captioning funded by cbs and ford >> pelley: tonight, and expanded edition of "60 minutes presents: remembering bob simon." it's hard to imagine what cbs news would have been like over the past 47 years without bob simon. >> you don't think that socialism necessarily... >> pelley: for decades, his reports were the centerpiece of major broadcasts on world events, from places like the philippines... >> this could have been as close as the 20th century has come to the storming of the bastile. >> if it shuts down and pulls out, sarajevo will become a slaughterhouse. >> pelley: ...and haiti... >> the only law that enforces darwin's law, the survival of the fittest. >> pelley: ...just to name a few. propelled by natural curiosity and wanderlust... >> boy, oh, boy.

>> pelley: ...it was his love of adventure that drove him to explore exotic and often dangerous places. >> these are real bullets. >> the problem is, no one can control the local village militias. >> pelley: and he always took us along with him. >> the top of the food chain here on the top of the world. >> pelley: tonight, a look at the life and work of bob simon... >> this desolate road... >> pelley: ...the quintessential foreign correspondent. >> ...in a war which is already raging not very far from here. >> pelley: that and three of our late colleague's most memorable stories.

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i'm steve kroft. welcome to "60 minutes presents." tonight, we remember and celebrate the life and extraordinary career of our friend and colleague, bob simon. he spent 47 years covering the world for cbs news and "60 minutes," and survived dozens of wars and other calamities. he died 11 days ago in a new york city traffic accident not far from this studio. the irony would not have been lost on bob. irony was one of his favorite journalistic devices. he was a brilliant combination of sophistication and street smarts who liked to tell people he was just a jewish kid from the bronx. he didn't tell you that he was also phi beta kappa, and had been a fulbright scholar, or that he came to become television's quintessential foreign correspondent. >> simon: we've traveled to remote places before, but never on an ice breaker. this is the natural habitat of the polar bear, these ice floes.

there's nothing on this 130- square mile peninsula other than monasteries and monks. nothing. we landed right in the middle of a party. ♪ ♪ ♪ the guests of honor? us. what is going on? >> whoa, that's quite a welcome! >> simon: who are these people? >> these are the papasena people. they seem to like you. >> kroft: and bob simon liked being there, wherever there happened to be. he reported from 130 different countries, propelled by natural curiosity and wanderlust. it was his love of adventure and the search for new experiences that drove him to explore exotic and often dangerous places. >> simon: the problem is no one can control the local village

militias. >> kroft: and he always took us along with him, to earthquakes and tsunamis... >> this is my house. >> simon: that's your house? >> kroft: ...wars and revolutions. >> simon: the battle of bucharest seems to be almost over, but it is ending not with a whimper, but with a bang. >> jeff fager: i always thought, "i don't even have to tell him what the story's about. if i tell him, 'there's a story waiting for you, get on a plane,' he'd be on the plane." >> kroft: jeff fager worked with bob simon for more than 30 years as a producer, executive producer of the cbs evening news, and later, executive producer of "60 minutes." >> fager: he'd always raise his hand, ready to go. his voice mail said, "i'm not in, and i may be gone for the next several months." ( laughter ) he would rather be out covering a story anywhere in the world than be stuck in an office. >> kroft: it's hard to imagine what cbs news would have been like over the last 47 years without bob simon.

>> simon: you don't think that socialism necessarily evolves into... >> kroft: for decades, his reports were the centerpiece of major broadcasts on world events, from places like the philippines... >> simon: this could be as close as the 20th century has come to the storming of the bastille. >> kroft: ...bosnia... >> simon: if it shuts down and pulls out, sarajevo will become a slaughter house. >> kroft: ...and haiti... >> simon: the only law in force is darwin's law, it is the survival of the fittest. >> kroft: ...just to name a few. >> stahl: he did it better that anybody. >> kroft: lesley stahl first met bob in jerusalem in the late 1970s. >> stahl: he was the most dashing foreign correspondent there was. he was so handsome. and his stories had such a uniqueness. he was special. he was always a serious, fabulous reporter with a distinctive voice. >> simon: childhood was cancelled in sarajevo this year. it is a casualty of war. the agreement this time was for a cease-fire. and here it is on the streets of ramallah, a cease-fire.

it gives new meaning to the phrase "a fragile truce." >> kroft: bob simon's voice was distinctive, not just in pitch and timbre, but in the words he chose and the stories he composed and spoke in that rolling, melodic prose that you could call "simonic pentameter." >> simon: and it keeps getting worse-- bigger battles, more funerals, flags being turned into shrouds. the only peace, the peace of death. >> kroft: what do you think made him so great as a correspondent? >> stahl: well, obviously, the first thing is his writing. he had a way of showing you a picture, and then bringing you behind it with his brilliant almost poetic writing. >> simon: you can't really believe how bad it is here until you see it. it could be as close as you'll get to hell on earth, with the smoke, the fumes, the heat. >> kroft: this is a scene bob painted on a beach in bangladesh where giant ships were being torn apart for salvage by men

and boys earning a dollar a day. >> simon: the men carry metal plates, each weighing more than a ton, from the shoreline to waiting trucks, walking in step like pallbearers, or like members of a chain gang. >> kroft: morley safer, one of simon's first mentors, says it was not just great writing, but great reporting, the ability to see something that no one else did. >> safer: he had that ability to stand back from the story, take another look at it, and look at the small detail, which often tells you much more than simply recording the facts of the story. >> kroft: simon had joined cbs news in 1967 as a rookie reporter on the assignment desk in new york. he was only 26, but he knew he wanted to be a foreign correspondent. two years later, he got his chance in the london bureau where morley safer was his boss.

>> safer: clearly, he was going to be and was already a damn good reporter. >> kroft: it turned out to be a pretty good hire. >> safer: he was a terrific hire. >> kroft: out of london, he covered the troubles in northern ireland. >> simon: a machine gun opened fire from a high window in that apartment house. >> kroft: he also covered the troubles of the beatles. >> simon: the event is so momentous that historians may one day view it as landmark in the decline of the british empire. the beatles are breaking up. >> kroft: like every up-and- coming cbs newsman in the 1970s, bob's next stop was vietnam. his cameraman was australian norman lloyd. and of all the stories they covered together, there was one neither would ever forget, a report from route one near quang tri in 1972. >> norman lloyd: this day, we pulled over and there was, you know, big firefight going on. >> simon: much of the day's

fighting is left to the regional forces, the local people's militia. >> lloyd: and there was very close combat, and a lot of guys were getting hit, and this truck full of refugees-- all we heard was the explosion. we ran over and it... it was full of women and children. >> kroft: the truckload of refugees had hit a land mine. >> simon: some are dead, some are not dead. by evening, government spokesmen are saying another grand victory has been won in quang tri province. the situation is once again stabilized, but there will be more fighting and more words. words spoken by generals journalists, politicians. but here on route one, it's difficult to imagine what those words can be. there's nothing left to say about this war. there's just nothing left to say. bob simon, cbs news, route one. >> kroft: simon left vietnam a short time later, but it was only the beginning of his career

as a war correspondent. he first arrived in the middle east in 1973, to cover the yom kippur war. and over the next two decades, the arab-israeli conflict would be a story that he'd come to know as well as any foreign correspondent of his generation. >> simon: and el al steps are being wheeled up to a plane bearing the words, "the arab republic of egypt." will miracles never cease? >> kroft: he was there when israel made its historic peace with egypt, and he did such a good job covering the middle east, cbs promoted him to cover the state department. but bob, his wife francoise, and daughter tanya were not overjoyed. bob was happy to go anywhere except washington d.c. >> simon: in the view of officials here... i hated it. i hated every minute of it. and, i mean, i didn't go into this business to sit in a small cubicle, which is what it was, and to be manipulated by politicians and government officials.

>> simon: after about a year on the job, he'd had enough, so on a rare trip abroad with secretary of state alexander haig, simon decided to reassign himself. >> simon: when the falklands war began in '82, alexander haig who was then secretary of state, went down to try to mediate between the british and the argentineans. he failed. and then he took his plane back to washington with a press plane. and i deliberately missed the press plane. so i stayed there for the whole war. >> fager: he needed to be out in the world. he needed to be out reporting and... and adventure. >> kroft: he would find it in israel, where he had been reassigned by the time the first palestinian uprising broke out in 1987, the beginning of another turbulent tenure. by then, simon knew everyone of any consequence there, both palestinian and israeli, and he wasn't afraid to be tough on the israeli government.

>> simon: young rock-throwing arabs were chased up a steep and rugged hill by israeli soldiers, who eventually caught two of them. much is done in the middle east in what passes for the heat of passion. this seemed cold, deliberate methodical. it went on for 40 minutes. >> kroft: he reported from every country in the region, and his status only grew following the first gulf war, when he and three of his cbs colleagues were captured by saddam hussein's troops after giving his american minders the slip and wandering into iraqi territory. there was a period of a couple of weeks when he was missing in action and... >> stahl: oh, i remember. really, cbs news was mobilized to try and find somebody who could find out if they were alive. >> bob scheiffer: freedom at last for an american news team held by iraq. bob simon, peter bluff, roberto alvarez and juan caldera were finally set free in baghdad. >> kroft: bob rejoined his family after 40 days in an iraqi cell. and a day later, he and his

fellow cbs captives sat down with "60 minutes" correspondent ed bradley to describe the ordeal. >> simon: we were blindfolded, which made it all the more frightening. they beat us with... with canes, with sticks, on the legs, on the head. >> bradley: has it changed you? >> simon: yeah. >> bradley: how? >> simon: i don't know. too early to tell. >> kroft: when "60 minutes" came calling in 1998, the new job offered bob the opportunity and the freedom to pursue his curiosities like never before. any kind of a story he couldn't do? >> fager: he could do any kind of story. his range was so great, it almost didn't matter what he was covering. ♪ ♪ ♪ >> fager: he loved opera. we all know he loved classical music. the metropolitan opera was his favorite place on earth. ♪ ♪ ♪ >> simon: tonight, we're going to take you backstage at the met and show it to you in a way

you've never seen it before. >> stahl: so he did a lot of opera, he did a lot of symphony stories, conductors. it was his passion and it came through with his pieces. >> simon: there's something about gustavo that is primal something that makes people describe him as a conducting animal. he coaxes his musicians. he inspires them. >> stop! >> simon: he amuses them. >> kroft: from the big symphony halls to a warehouse in the congo... ♪ ♪ ♪ ...bob found joy in music. >> simon: it's called the ode to joy, the last movement of beethoven's last symphony. it has been played with more expertise before, but with more joy? hard to imagine. ♪ ♪ ♪

>> kroft: so, what made bob, bob? four of his producers-- harry radliffe, joel bernstein draggan mihailovich and michael gavshon-- traveled with him far and wide and were like members of his family. >> harry radliffe: he would ask questions that sometimes seemed off kilter a little bit. it was often only a question that bob would think to ask, that produced extraordinary responses. >> draggan mihailovich: he could make you laugh, he could make you cry. he could make you think. i mean, they're not that many correspondents out there that could do that. >> michael gavshon: there was no place he wasn't prepared to go regardless of the story. if there was somewhere to go, he would go. >> kroft: he just wanted to go. >> gavshon: he just wanted to go. >> radliffe: bob never complained about spending time in places like mount athos. >> simon: it's about as beautiful as it gets. >> radliffe: bob used to go to monasteries on his own.

he loved the tranquility. >> simon: you stain the silence just by walking in. >> radliffe: he found comfort in the solitude and the quiet. he could just be on his own. the monks wouldn't bother him. i mean, he couldn't believe that he was actually there. >> simon: there's no place on earth closer to heaven than mount athos. >> joel bernstein: you know, everybody thinks bob was a great writer, and he... he was a great writer. but he was also a terrific interviewer. >> simon: the big serpent was saddam hussein and the americans are the small serpent? >> muqtada al sadr: it is the opposite, my friend. >> simon: we met muqtada al sadr in his small mosque in najaf and conducted the only interview he's granted to a western tv news organization. >> simon: the americans are the big serpent. the americans got rid of your enemy, saddam hussein. isn't the enemy of your enemy your friend? >> al sadr: just because we're rid of saddam and the evil baathists doesn't mean the

occupation is a good thing. our salvation from saddam was only with the grace of god. >> simon: if getting rid of saddam was a favor of god, why was it that god waited until the americans came in to do the job? >> al sadr: all praises to allah, he works in mysterious ways. >> kroft: what did bob bring to the story? >> mihailovich: he'd always bring an enthusiasm and a curiosity, a natural curiosity. and you could get him to do just about anything. >> simon: today is intel... >> mihailovich: we went to an intel factory, and he gets in a clean suit in the clean room that they have there. >> simon: it's supposed to have curative powers. >> mihailovich: you could put him in an oil bath in baku azerbaijan. you could, uh, get him on a vertical treadmill to test out gravity, what it would be like if you were walking on the moon. he was at a 90 degree angle. >> we should sign you up for the astronaut corps. >> simon: i'd sign. >> kroft: were there any stories that bob didn't know anything about? >> gavshon: there were a number

of stories that he knew nothing about, but that really did not prevent him from being extremely enthusiastic about them. we did a story about the new bobby fischer, the world champion chess player, magnus carlsson. bob didn't know the moves of each piece on the board. and yet, he found a way of telling the story coherently and brilliantly. >> simon: you were intimidated by playing the world's champion when you were already 13 years old? >> magnus carlsson: yeah, go figure. >> kroft: what are some of your favorite stories? >> fager: i think my favorite, if i had to pick one, was the lost boys. >> simon: once a week, the lost boys saw their destiny on a bulletin board. the staples of life. on this day, 90 learned they'd be going to america. >> kroft: the story documented the epic survival of thousands of sudanese boys who had escaped war and walked a thousand miles across east africa to a refugee camp in kenya. in 2000, the united states decided to bring them to this

country. >> simon: where are you going? >> that's kansas city. >> simon: kansas city. do you know where it is? >> i don't know. >> fager: it was rich, it had everything that bob does well. it had adventure, it had real human drama. >> simon: they had four days to pack their luggage. they took little, left less behind. >> fager: and boy, did he write that beautifully. >> mihailovich: bob loved underdogs, and the lost boys of sudan were the ultimate underdogs. >> simon: once the lost boys made it to america and a completely new world... in america, we call him santa claus. >> okay, santa claus. >> kroft: bob and producer draggan mihailovich continued to update the story over a 12-year period. >> congratulations. you're a united states citizen. >> mihailovich: and they loved seeing bob, you know, every two or three years-- "hey, bob simon!" >> hey, bob simon! how you doing?

>> mihailovich: he became a real celebrity amongst the lost boys. >> hey, how you doing, buddy? >> kroft: he did a lot of animal stories there for a while. ( laughter ) >> fager: he accused me of making him our wildlife correspondent. and it's true, i did. he did them so well. >> simon: we headed towards an unspoiled, remote area called the pantanal. we had to cross more than a 125 rustic wooden bridges over dried-up ponds and lakes, home to piranhas and caimans, cousins to the crocodile. it was good to be in a car. >> this is a rare sight. i've never caught them in the water. i've never gotten them in the water before. that was a young one. >> kroft: young didn't always mean small. >> simon: they may be little they may be orphans, but trust me... >> yeah. >> simon: ...they're not as little as they look. in fact, i feel like i'm in an

elephant sandwich. >> kroft: why was he so fond of animals? >> simon: an animal is never duplicitous. an animal will never get involved in gratuitous cruelty. it's very refreshing to go see them after you've spent a lot of time interviewing politicians. these elephants are playing sort of amateur wrestling for pachyderms. nobody gets hurt. kids fall and get up the way kids do. you think you're going to hit to my forehand or my backhand? >> kroft: bob was a big kid himself, whether at play with tennis star novak djokovic... >> simon: hey! >> novak djokovic: are you kidding me!? >> simon: my god, what a sight! >> kroft: ...or at 16,000 feet in chile, where a giant radio telescope, peering into deepest space, discovered something that intrigued bob. >> we found a simple sugar called glycol aldehyde. >> simon: excuse me, i can't resist-- there's sugar out there? >> there's sugar out there

there's alcohol. >> simon: this is very good news. ( laughs ) >> yes, indeed. >> roberto benigni: oh! mamma mia... >> kroft: the most fun bob may have ever had on a story was with the italian actor roberto benigni... >> benigni: i jumped on him. >> simon: you jumped on the pope? >> benigni: yeah! and i told... >> kroft: ...who explained in jumbled english how he greeted pope john paul. >> benigni: and i kissed here and here and here, in everywhere i kissed him. >> gavshon: it was one of bob's favorite moments in his career. >> benigni: and i called him dad! >> gavshon: he saw the enthusiasm of this actor who couldn't contain himself of his excitement. >> benigni: dad, finally, i found you again! >> kroft: but it wasn't always laughter. bob had his dark periods. he suffered from occasional bouts with depression. eventually, he always snapped out of it. he was overjoyed by the birth of his first grandchild. his office walls were covered with pictures of jack, and bob sent him letters on his blackberry, even though jack wasn't old enough to read them. >> gavshon: every day on the

road, wherever we were in the world, he would write a letter to jack. >> stahl: he once told me that one of the reasons he was just so insanely in love with his grandchild was because he had finally met a person who didn't lie. sweet. >> kroft: bob had been in a good place, recently. he was working with his daughter tanya, a talented producer at "60 minutes," and the two of them had just finished a story that aired last week about a treatment for ebola. >> simon: of all the viruses you have in here, is ebola number one? is that the most dangerous? >> yeah, it is one of the most aggressive, if not the most aggressive. >> kroft: then he walked out the door one night... and never came back. >> pelley: we have some sad news tonight from within our cbs news family. our "60 minutes" colleague bob simon was killed this evening. it was a car accident in new york city. >> safer: i couldn't believe it. and to go this way is unthinkable. i mean, you couldn't write it in a novel. >> fager: his last day was one

of his happiest. he'd shown us a piece that went incredibly well. it was what we call around "60 minutes" a "great screening." i told him we were going to have it on sunday night. and he left that screening room and walked around, told everybody who would listen that his story had bumped another one. ( laughter ) and he was really proud of that. and it was a story he'd done with his daughter. so i think that just made him feel extra good about it. >> kroft: bob had been everywhere, done everything, and had the talent and experience to translate what he saw for millions of people. that's not hyperbole. it's why he had 27 emmys. he'll be missed. how does this impact the broadcast, bob's death? >> fager: it's a really big hole. you know, bob simon was so good at what he did. we're still all in a bit of shock about it. i think it really does have an impact on "60 minutes," because you can fill his job, but you can't replace bob simon.

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the dodge brothers spirit lives on. if you have crohn's disease or ulcerative colitis, the crohn's & colitis foundation of america is here to help at ccfa.org. cbs cares. >> stahl: we continue tonight with three of bob simon's most

memorable stories. it wasn't an easy choice to pick only three, given the hundreds of stories he did and the range of subjects he took on. but we begin with bob's distinguished work as a war correspondent. he combined bravery, an eye for the telling detail and, at times, a righteous indignation at war's folly and its consequences. in 1999, as the fighting in the former yugoslavia entered a new phase in kosovo, bob looked at what happened in srebrenica-- the slaughter by serb troops of more than 8,000 muslim civilians in that bosnian town. it was the serbs who did the killing, but the shame of srebrenica also fell on a group of soldiers from another country-- the dutch, sent to the town as u.n. peacekeepers; the dutch, who had such high ideals when they volunteered for the most dangerous job in bosnia only to see those ideals shattered by what they saw, what they did, and what they didn't

do. here's how bob reported that story. >> simon: it took only days after the massacre in 1995 for u.s. spy planes to photograph freshly plowed fields near srebrenica, and it wasn't the season for planting. the truth on the ground was even more gruesome. a thin veil of earth concealed the biggest mass graves dug in europe since world war ii. work was still continuing last fall, three and a half years after the massacre. and still more graves will be uncovered next spring, graves that tell the story of a well- planned job carried out systematically and methodically, a job of genocide. if you want a sense of the enormity of what happened in srebrenica, there's no better place to come than here, to old mining tunnels dug into the bosnian hills. this is where the bodies are

stored, more than 1,800 of them- - a small fraction of the missing, but more than any morgue on earth could handle. none of these bodies have been identified, so they can't be buried. in bosnia, even the dead can't go home. the bodies are still coming in evidence of a colossal war crime. the dutch troops, whose mandate was to prevent the massacre, have been home for three years and many are now speaking out. >> wim dijkema: we came there to help. we came there to protect them. we came there with a will to do as much as we could do, but we failed. >> simon: warrant officer wim dijkema belonged to that dutch battalion which was sent to srebrenica to stop an attack on the town. >> dijkema: when... when the war started and the shelling started, we had some of those

people in our bunkers, and they cried and they begged us "please, help us." >> simon: when the attack began, the dutch tried to help. they called in air strikes. dijkema filmed the dutch hiding in the safety of their bunker while two nato planes destroyed one serb tank. that's when serb general ratko mladic threatened to kill the u.n. peacekeepers if the air strikes continued. that's when the air strikes stopped, and the defense of srebrenica was effectively over. >> rob franken: we were beaten in every way. >> simon: major rob franken, the dutch second-in-command, was in charge of the troops on the ground. >> franken: we got orders to defend srebrenica from the u.n. in.. in sarajevo with all means. and we got the order not to bring body bags back to holland, so security of our own personnel was... had priority. >> simon: now, one minute-- you're getting orders not to

bring body bags back to holland? >> franken: that's correct. >> simon: but at the same time... >> franken: we had to defend the city. if you call it the definition of nonsense, i could agree with that. >> simon: the serbs took the town quickly. mladic walked the streets congratulating his men, but he wasn't ready to celebrate. he wanted more than the town. he wanted the muslims, and he was in a hurry. "on to portocari," he said. "don't stop." portocari was a suburb of srebrenica, an industrial area site of the main dutch base, which had now filled up with thousands of muslims desperate to keep the dutch peacekeepers between them and the advancing serbs. >> gert kremer: you cannot describe it. you have to be there. you have to smell it, you have to hear it. >> simon: dr. gert kremer, a dutch colonel, was busy treating the wounded. >> kremer: you cannot describe a

situation where 5,000 people are in a factory building. and when they have to stay there for... for more than a few hours, what the smell is, and the sound of crying children weeping mothers. it's... it's unbelievable. you never forget this. >> simon: hasan nuhanovic will never forget either. he was working as a translator for the u.n. when srebrenica fell. when the serbs attacked the town, hasan headed for the dutch compound. he was relieved to find his mother, father and brother safely inside. hasan had convinced his family the dutch would protect them. he'd been most worried about his 20-year-old brother. during the bosnian war, not many men of military age captured by the serbs had survived. >> hasan nuhanovic: at that moment, i thought, "we're all safe."

finally, you know, the episode of three and a half years of suffering in srebrenica was over. we were going to maybe hang around in portocari for a couple of days, the u.n. is going to do something and save all the people who suffered, and, you know, take them to a safe place. >> simon: but there was no safe place for srebrenica's muslim men. general mladic was on the scene to make sure of that. serb soldiers closed in on the u.n. compound; 5,000 terrified refugees had been let in the gates. more than 20,000 others were stranded outside, with only the dutch peacekeepers between them and the serbs. the dutch made a brief attempt to keep the serb troops away from the muslim refugees, but they were outnumbered and outgunned. the dutch had 160 combat troops facing thousands of serbs. this young dutch lieutenant tries to stop mladic. mladic says, "i'm in charge here. i don't care about your commander."

then, mladic assures the refugees they will be taken to safety. and in fact, the women and children were bused across the front line and dumped in safe territory. the men, thousands of them, were bused to neighboring serb villages, lined up, and shot. could the dutch have resisted, or at least defended, the refugees until help arrived? >> franken: if we would have started firing, there would be a massacre. i was absolutely convinced of that. >> simon: a massacre of... >> franken: of those refugees. >> simon: one thing all parties agree on is that the dutch cooperated with the serbs in making sure the evacuation ran smoothly. in fact, they strung up a tape to create a path for the refugees to follow. the tape ended here at what was the gate. that's where the serbs took over, and separated the men from the women and the children. >> nuhanovic: you know, they just planned everything to

efficiently empty the camp, just tell the people to walk like cattle, you know, towards the gate. >> simon: as the muslims were being taken away, a serb cameraman asked colonel kremer what was happening. >> what's going on today here? >> kremer: you know what's going on. >> i just came here. hey, see... >> kremer: by that time, everybody understood that it was well-organized, that it was planned in advance... that the trucks arrived, and the only thing we could do at that time was to help the people get in... into the trucks in a decent way. >> simon: and the men were separated from the women? >> kremer: they were brought to the serbs. and there where the buses went and the serbs were... they were separated. the women and the elderly went to the right, and the men went to the left. >> simon: images of auschwitz.

>> kremer: i've seen pictures, and... and i realized while i was standing there that i saw two pictures at the same time. there was a man with a baby, and he had to give that baby away to us because the serb soldier didn't allow him to travel on with the baby. so, "sophie's choice" and another movie passed... passed before my eyes. >> simon: "schindler's list"? >> kremer: "schindler's list," at the same time, yes. >> simon: hidden from the serbs, wim dijkema continued filming. at the time, he didn't fully realize he was documenting the first stages of genocide. >> dijkema: i realized that i had been very, very naive. when mladic said, "i guarantee their safety," that i believed him.

and for me, it's unbelievable now, at this moment, but that time... perhaps i wanted to believe him, i don't know. >> simon: but when you saw the teenage boys and the old men being taken out of the compound, it didn't occur to you that the serbs were going to slaughter them? >> dijkema: of course, it occurred to me, but that... i ask myself over and over again "what could we have done?" >> simon: initially, the dutch tried to do something. major franken sent a few troops to accompany the first busloads of male refugees, but the serbs took away their jeeps, their weapons, even their uniforms. >> franken: my personnel were stripped, and came back to the enclave in their underwear etc., etc.

>> simon: so the men who left in their buses, the men who were taken away by the serbs, you weren't allowed to accompany them? >> franken: yeah, we tried but... but actually, we didn't... we couldn't because we were stopped. >> simon: your soldiers who tried to accompany them were stopped and humiliated? >> franken: yes, that's correct. >> simon: as the compound emptied out, hasan nuhanovic began to panic. remember, he was a u.n. employee. he could stay. but the dutch insisted that his brother be handed over to the serbs. hasan knew that if his brother went, his mother and father would go, too. he made a final plea to major franken. >> nuhanovic: one last time, i asked him if i could keep my brother with me inside the camp, because he said that the interpreters could stay. but he didn't... didn't allow it to me. so my brother and mother and father walked out the camp. >> simon: and you were standing right here?

>> nuhanovic: just... yeah right here. i was... i was crying all the time, and i told my brother and my family that i was going to walk outside together with them, but i walked like ten or 15 meters, and they all turned around and said that, you know i had to stay. >> simon: "sophie's choice"? hasan's choice. if you could talk to hasan today, what would you say to him? >> franken: i would try to inform him. anyway, give him... try to give him the... the conviction that we, as far as we... as i see it, we did what we could. >> simon: and it was... >> franken: you have to make choices, and there are choices who are... who are hard. >> nuhanovic: major franken completed his job by, you know expelling the last refugees from the camp so he could start with the evacuation plan for himself and the dutch battalion.

>> simon: you think that's all they were really interested in the dutch, was taking care of themselves? >> nuhanovic: nothing else. just two hours before my family was kicked out, a man was shot at the back of his head in front of dutch soldiers, very near the gate. >> simon: some of the refugees under your "protection" were getting killed within 100 meters of where you were. >> franken: yes. >> simon: and you were trying to keep that secret from the mass of muslim men inside the base? >> franken: yes. we wouldn't know how they would react. >> simon: so your prime objective at that point was to avoid panic inside the camp? >> franken: that's correct. >> simon: so, in a sense, you achieved your objective. there... you avoided panic. >> franken: well... >> simon: you maintained a certain amount of control. the evacuation was conducted in a relatively orderly fashion. >> franken: yes, as far as i know. >> simon: and all the men are dead. >> franken: i don't know whether all those men are dead, but the... the mass of them are dead, that's correct. >> simon: hasan's family and more than 8,000 other muslims

from srebrenica have never been seen again. general mladic has been indicted for war crimes. and the dutch are home in holland, where "srebrenica" is the name of a nightmare. was the dutch battalion completely humiliated in srebrenica? >> franken: i felt humiliated, that may be, that's clear, because i was... as a soldier, i was not able to effectively protect those people. >> nuhanovic: you know, as i said, it was just a nightmare, it... and it still is a nightmare. it's not finished yet, because i still don't know what happened. >> simon: do you think you'll ever find out? >> nuhanovic: well, i'll do my best to find out what exactly happened. i want to know every detail-- what happened to my family from the moment they walked out of this camp to the moment maybe they were killed or put in some prison or something. i want to know every detail. without that, i'm going... i'm not going to have any rest for the rest of my life. for memories of bob simon

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>> pelley: bob simon was always ready for an adventure, a chance to travel somewhere he'd never seen and tell us all about it. he had a gift for finding the surprising, even the magical, in the most unexpected places. in the wake of the 2004 asian tsunami that killed some 280,000 from indonesia to india, bob found a story of survival. he encountered members of a remarkable and ancient culture who lived precisely where the tsunami hit hardest, but who suffered no casualties at all.

they are the sea gypsies of the andaman sea, or, as they call themselves, the moken. they've lived for hundreds of years on the islands off the coast of thailand and burma. they are, of all the peoples of the world, among the least touched by modern civilization. and, as bob reported, they miraculously survived the tsunami because they knew it was coming. >> simon: it's their intimacy with the sea that saved them. they're born on the sea, live on the sea, die on the sea. they know its moods and motions better than any marine biologist. they're nomads, constantly moving from island to island living more than six months a year on their boats. at low tide, they collect sea cucumbers and catch eels. at high tide, they dive for shellfish. and they've been living this way for so many generations, they've become virtually amphibious.

kids learn to swim before they can walk. underwater, they can see twice as clearly as the rest of us and, by lowering their heart rate, can stay underwater twice as long. they are truly sea urchins. this old man decided he wanted a fish for breakfast. it took him one toss of his spear. it was a puffer fish. if it's not cut properly, it can kill you. the moken cut it properly. we found this moken village on an island two hours by speedboat from the coast of thailand. it had become something of an exotic tourist mecca before the tsunami. a bangkok movie star and amateur photographer named aun was here on december 26, taking pictures of moken village life when

someone noticed the sea receding into the distance. how far? >> aun: like, you see the blue water? you see the blue water and you see the green water? you didn't see any water. >> simon: no kidding. >> aun: yes, it was really far. >> simon: you could walk way out there, huh? >> aun: yes. >> simon: aun continued taking pictures. they show the moken on the beach, crying. did you have any idea why they were crying? >> aun: i feel like they know what bad will happen. >> simon: and aun's pictures show the moken fleeing towards higher ground long before the first wave struck. >> aun: the first water is come over here. >> simon: the water got that high? and that was just the first wave. the worst was yet to come, as the moken knew because of signs from the sea. it wasn't only the sea that was acting strangely. it was the animals, too. on the mainland, elephants started stampeding toward higher ground.

off thailand's coast, divers noticed dozens of dolphins swimming for deeper water. and on these islands, the cicadas, which are usually so loud, suddenly went silent. and the silence was heard by saleh kalathalay, that skilled spear-fisherman, who was on a different part of the island. he ran around warning everyone. when you told people in the village and said something was wrong, did they believe you? >> saleh kalathlay: the young people called me a liar. i said, "we've told the story of the wave since the old times but none of the kids believed me." i grabbed my daughter by the hand and said, "child, get out of here or you'll die!" she said, "you're a liar father, you're drunk." i hadn't had a drop to drink. >> simon: saleh brought the skeptics to the water's edge where they too saw the signs. eventually, everyone, the moken and the tourists, climbed to higher ground and were saved.

but the village itself? there's nothing left. why do think the tsunami happened? >> kalathlay: the wave is created by the spirit of the sea. the big wave had not eaten anyone for a long time, and it wanted to taste them again. >> simon: do you think that they consider themselves very unlucky because their village was destroyed or lucky because they survived? >> narumon hinshiranan: hmm, i think they just take it as a matter of fact. >> simon: dr. narumon hinshiranan is an anthropologist, one of the very few who speaks the moken language. tell me, what is it in your mind that permitted the moken to know that the tsunami was coming? >> hinshiranan: the water receded very fast and one wave one small wave came, so they recognized that this is not ordinary. and then they have this kind of

legend that passed from generations to generations about seven waves. >> simon: it's a legend recited around campfires, bearing an astonishing resemblance to what actually happened on december 26. they call it the laboon the wave that eats people, and it's brought on by the angry spirits of the ancestors. before it comes, the sea recedes. then, the waters flood the earth, destroy it, and make it clean again. so, basically, this... the tsunami myth is that the world is reborn after it is covered with water. >> jacques ivanoff: yes. >> simon: so, we're back to the biblical flood. >> ivanoff: yes. >> simon: french anthropologist jacques ivanoff is the world's foremost authority on the moken, and has been living with them on and off for more than 20 years. we joined him on a voyage of discovery. he was going to the moken

islands off the coast of burma a military dictatorship closed to the outside world. there had been no news of what had happened to these moken since the tsunami. we knew that the moken survived the tsunami, the moken in thailand survived. we really don't know for sure what happened in burma, do we? >> ivanoff: nobody can know, because no information get out of burma. everybody has to say nothing happened. that means the tsunami stopped at the border. that's it, finished, end of the story. >> simon: ivanoff's boat, a converted cargo ship called "the moken queen," could have sailed right off the pages of joseph conrad. the captain was called "long ear"; the crew, all burmese. the deck shrouded in nets to protect us from malarial mosquitoes. all sense of time, of the 21st century, seemed to evaporate into the tropical night air as we probed further and further into what often seemed to be the heart of darkness.

it's really difficult to get more remote than this, isn't it? >> ivanoff: you are outside of everywhere. you are nowhere, in fact. >> simon: when we got to shore we talked to a family of moken living on their boat on the beach. but during the tsunami, they had also been at sea. we started by introducing ourselves. my name is bob. >> bob, bob, bob, bob. >> simon: we had come here to find out whether or not these people had survived the tsunami. we wound up captivated by their culture. we had never seen anything like it. all right, how old is this gentleman? >> ivanoff: he doesn't know. >> simon: why, i mean, everyone we ask how old they are, the answer is the same. they don't know. how do you explain that? >> ivanoff: time is not the same concept as we have.

you can't say, for instance, "when." it's not exist in moken language. >> simon: "when" doesn't exist. the word, the question "when" doesn't exist. and ivanoff says "when" is not the only word missing from the moken language. >> ivanoff: "want." >> simon: "want." >> ivanoff: yes, that's... you use it very often. take that out of your language and you see how often you use it. "i want this, i want that." >> simon: there is no word for "want." >> ivanoff: no. there is a word for "take." you take something. you give or you take. you don't want. >> simon: the fact is, the moken want very little. what they don't want is to accumulate anything. baggage is not good for a nomadic people. ties you down. they have no notion and no desire for wealth. remember saleh, the spear- fisherman? that was breakfast. he'll think about lunch later on. okay, there's no word for when there's no word for want. anything else that would be... >> ivanoff: no good-bye, no hello. >> simon: no good-bye or hello? >> ivanoff: right.

that's quite difficult. imagine after one year, you live with them, and then you go, you go. that's it. finish. >> simon: no greetings. while we were on a thai moken island, a flotilla from burma dropped by. they didn't seem terribly excited by this. visits from relatives, and they're all relatives, happen all the time. and since there is no notion of time, it doesn't matter if the last visit was a week ago or five years ago. there's just a constant commingling. and in the wake of the tsunami they're all busy now, rebuilding their boats and their lives. >> ivanoff: what i saw since the tsunami is, yes, they take this opportunity, you know, to make the strong group stronger. for instance...

you are sitting on his boat. >> simon: is it okay with him? >> ivanoff: no problem. >> simon: but he thought he should point it out, or he wanted to use the boat? >> ivanoff: no, he wanted to work a bit on the boat, but... >> simon: but he doesn't mind waiting? >> ivanoff: of course not. >> simon: you're sure it's not a problem? >> ivanoff: i'm sure. >> simon: but the moken do have problems. the burmese have turned some of their islands into military bases. the thais are having them make trinkets for tourists, a trend which could ultimately threaten their way of life far more than any number of tsunamis. but the moken don't seem terribly worried by all this. perhaps that's because "worry" is just one more of those words which doesn't exist in their language. >> now a cbs sports update brought to you by pfizer. in college bassett-- basketball

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community i serve. nobody wants to be without power. i don't want my family to be without power. it's much more personal to me for that reason. i don't think there's any place i really would rather be. >> whitaker: bob simon's great passion, apart from his family and good writing, was music. he delighted particularly in opera, but a symphony in kinshasa, a young conductor in caracas, or a rap star from brooklyn were all worthy of bob's attention, and in his judgment, ours.

in 2013, he led us to sweet sounds rising above foul odors to a town built on a garbage dump on the outskirts of asuncion, the capital of the tiny, impoverished south american country of paraguay. it's called cateura, and bob went there not because of the poverty or the filth, but because of the incredible imagination and ingenuity of the people who live there. this story is testament to bob's belief that, ultimately, music will triumph everywhere and anywhere. >> simon: garbage is the only crop in cateura. and the harvest lasts 12 months a year. it is cateura's curse, its livelihood, and the only reason people live here. it provides hundreds of jobs to peasant farmers who were kicked off their plots by large landowners.

they are the trash pickers. it is their profession. they sift through the stench 24 hours a day, scrounging for anything they can sell. ten cents for a pound of plastic, five cents for a pound of cardboard. you'll be amazed at what else people here are doing with this trash. just look and listen. ♪ ♪ ♪ this is the recycled orchestra of cateura. the violins are fashioned from oven trays, the cellos from oil barrels. even the strings are recycled. the saxophones and trumpets are made from old drain pipes. the keys were once coins and bottle caps.

this drum skin used to be an x- ray plate. the guitar from dessert tins. the idea came from environmental technician favio chavez. when he came to cateura and saw the kids working and playing on this miserable hill, he came up with the idea of starting a music school to lift the kids' lives out of the trash. from the start, favio realized that even if he could raise the money, new instruments were out of the question. a factory-made violin would cost more than a house here, and would almost certainly get stolen. but these fiddles aren't worth a dime. they are the handiwork of trash worker and carpenter don colaá gomez. three days a week, he goes to the dump to find the raw materials. then, in his tiny workshop at the edge of the dump, he goes to work.

favio first asked him to make a violin. but this stradivarius of south america had never seen one or heard one. but do you realize how unusual it is? >> don colá gomez( translated ): yes, that's the way it is. when you need something, you need to do whatever it takes to survive. >> simon: he was soon making three violins a week. then cellos, and finally guitars, drums, and double basses, all out of trash. ♪ ♪ ♪ take a look and listen to what colaá has created. ♪ ♪ ♪ 15-year-old ada rios has been playing for three years now. today, she is the orchestra's first violinist. the first time you went and saw the orchestra, you saw all these instruments with all these different colors. were you surprised when you learned that they were made from

trash? >> ada rios ( translated ): yes. i was very surprised because i had thought that trash was useless. but thanks to the orchestra, i now realize that there are so many different things that can be done with the stuff. >> simon: cateura didn't exist before paraguay's capital asuncion started dumping its trash here. the town grew up around the garbage and became one of the poorest places in south america. 2,500 families live here now. there is hardly any electricity or plumbing. the drinking water is contaminated. many of the children move from broken homes to crime and drugs. but ada and her younger sister noelia, who plays the cello, say that music has become their salvation, the centerpiece of their lives. >> ada rios ( translated ): when i play the violin, i feel like i am somewhere else.

i imagine that i'm alone in my own world and forget about everything else around me, and i feel transported to a beautiful place. >> simon: can you describe that beautiful place? >> ada rios: yes. i'm transported to a place that is completely different to where i am now. it has clear skies, open fields, and i see lots of green. it's clean with no trash. there is no contamination where we live. it's just me alone playing my violin. ♪ ♪ ♪ >> simon: every saturday, this drab schoolyard is transformed into a multi-colored oasis of music. the kids flock here to learn and to play. ♪ ♪ ♪ cateura is a long way from julliard, but these music students are just as dedicated as those prodigies in new york. ♪ ♪ ♪

and they don't get rained on like the kids here. paraguay is in the tropics, and you are reminded of that all the time. but the band plays on. the veterans-- 15-year-olds-- are teaching the novices. many are barely big enough to hold a violin. the music can't compete with the downpour, but there is refuge in a classroom. favio chavez says that music teaches the kids respect and responsibility, not common commodities in the gang-ridden streets of cateura.

>> favio chavez ( translated ): these values are completely different to those of gangs. if these kids love being part of the orchestra, they are absolutely going to hate being part of a gang. ♪ ♪ ♪ >> simon: for the first time the children are getting out of cateura, performing around the country. and to chavez, the pied piper of paraguay, that's the most important thing-- they are being seen, they are being heard. >> chavez: these are children that were hidden. nobody even knew they existed. we have put them on a stage, and now everybody looks at them and everybody knows they exist. >> simon: that's mainly because of a documentary that's being made about the orchestra called "landfill harmonic."

last november, the producers put their trailer up on youtube. it went viral. the orchestra began getting bookings worldwide. it is such stuff as dreams are made on. >> simon: and when you talk to the parents, you hear what you hear from poor people everywhere. they want their kids to have a better life than they've had. jorge rios is ada and noelia's father. if she becomes a professional musician, she'd probably be leaving town. how would you react to that? >> jorge rios ( translated ): yes, the truth is, if you asked that question to every parent here, they would say they would leave this place if they could. i, of course, would like her to have a better life than the one i've had. and if she leaves, i hope she takes me with her!

>> simon: what's hard to believe is that most of the parents and the people of cateura had never heard the children play. that was about to change. a concert was finally scheduled. there were banners in the streets, the local radio station was ready to broadcast. the church was transformed into a concert hall. the children wore their finest. this was, after all, opening night. ( applause ) it could have been new york. ( playing "new york, new york" ) all the students were on stage for the finale. some of the musicians were performing after just one rehearsal. the parents were proud, of course. but just listen to the girls' grandma, mirian.

>> mirian rios ( translated ): i would say it's a blessing from god. people used to humiliate us and call us "trash pickers." today, they are more civilized. they call us the "recyclers." so, i feel that this is a reward from god-- that our children who come from this place, can play beautiful music in this way. ♪ ♪ ♪ >> simon: and here's a final note from the recycled orchestra of cateura. go on, send us your garbage. we'll send it back to you as music. ( musical flourish ) ( cheers and applause )

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>> stahl: it wasn't long after word of bob simon's death that

we began to get poignant letters from people who had been in some of bob's favorite stories. we heard from all kinds-- israeli leaders, art forgers nuns, snowboarders, baseball stars, even the egyptian jon stewart. this from the communications director of f.c. barcelona, the spanish club best known for its soccer team and the great leo messi. "as you know, in late 2012, the club opened its doors for mr. simon and his team to produce a report for '60 minutes.' that very report will eternally live on as a true journalistic jewel, one of the most important and outstanding news pieces to have ever been dedicated to f.c. barcelona." and then there was this from the conductor of the story bob did about the kimbanguist symphony orchestra. "his visit to kinshasa remains unforgettable for us because the story, 'joy in the congo,' shown

in the united states, opened many doors for us outside of africa-- a trip to los angeles in 2013 and a tour to the united kingdom in september 2014. i also became an honorary member of the royal philharmonic society. bob brought us joy, and we will never forget him." and finally this, a note with a subject line "on the loss of our friend," from father maximos about bob's story on mount athos, one of the holiest places in eastern orthodox christianity. "early this morning, i received the terrible news of bob's death. i'm shocked and deeply saddened. i have sent word to the holy mountain, where i am sure prayers are being offered for him and his family." as they are here. i'm lesley stahl. we'll be back next week with a new edition of "60 minutes." good night. ♪ for the first time in forever... ♪ ♪ ...there'll be music... ♪ ♪ ...there'll

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