Crook's Tour (1941)
1h 20min | Comedy, Mystery, Drama | 24 May 1941 (UK)
Charters and Caldicott, touring in the Near East, are mistaken for German agents and handed in error a gramophone record which contains vital information for Britain's enemies.
Director: John Baxter
Writers: John Watt (from an original story by), Max Kester (from an original story by)
Stars: Basil Radford, Naunton Wayne, Greta Gynt
1h 20min | Comedy, Mystery, Drama | 24 May 1941 (UK)
Charters and Caldicott, touring in the Near East, are mistaken for German agents and handed in error a gramophone record which contains vital information for Britain's enemies.
Director: John Baxter
Writers: John Watt (from an original story by), Max Kester (from an original story by)
Stars: Basil Radford, Naunton Wayne, Greta Gynt
Category
🎥
Short filmTranscript
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00:11:45Good evening, sir. Table for one, this way.
00:11:48One moment. I wish to see Herr Rosling. I'll be expecting him.
00:11:51Herr Rosling? This is your first visit to Baghdad.
00:11:54Yes, but I have a plan that will break the record.
00:11:58Record? I understand. This way.
00:12:02♪♪♪
00:12:08Ah, it is you, Ali. You got my message?
00:12:10Yeah. You are worrying without cause.
00:12:12You may go back to your master and tell him he may trust the word of Jami.
00:12:16Abdulmamre is most anxious, Herr Roslinger, that no breath of suspicion should attach to him.
00:12:21His help in this matter has involved a very big risk.
00:12:24The Sheikh Ramla is a friend of the British government.
00:12:27And if he should suspect my master...
00:12:29And what about the risk to us?
00:12:31But, friend Raghav, my master does not like taking risks.
00:12:34Half the money he's paid in Berlin, he invests in British three and a half percents, in case anything should go wrong.
00:12:39He may rest assured that nothing will.
00:12:41Within an hour, the information will be on its way to K7.
00:12:44I shall wait here until I know that.
00:12:46As you wish. Two agents with American passports will arrive from Germany tonight.
00:12:50They will dine here. And when they leave, they will take the record with them.
00:12:54Yeah. Apparently, just an ordinary gramophone record.
00:12:58Actually, it contains a summary of the report you got from Abdulmamre.
00:13:02They will come here to your office to collect it?
00:13:04I dare not take that chance. Baghdad is full of British and French agents.
00:13:08They are watching all the night hordes, including this...
00:13:11How do you know that?
00:13:12You know we have here La Palermo.
00:13:14La Palermo, the dancer?
00:13:16Yeah. She too works for the Fatherland.
00:13:18She's very friendly with a number of British and French officers in the city.
00:13:22I see.
00:13:23Markov, find out if those two agents have arrived yet.
00:13:26But here are Singer.
00:13:28If they do not come here to collect the record, how will they receive it?
00:13:33At the end of La Palermo's act,
00:13:35it is usual for a little Turkish girl to move among the guests selling records of her song.
00:13:40She will give the record to the agents?
00:13:42Yeah. They will leave Baghdad at once.
00:13:44And the record will be in the hands of K7 very soon.
00:13:47How will she know they are the right men? How will you know?
00:13:50A very simple and effective signal, Ali.
00:13:52They will order certain dishes from the menu.
00:13:55A certain wine.
00:13:58Have you forgotten I'm traveling tonight?
00:14:00Ah, La Palermo.
00:14:02You need money, huh?
00:14:04I always need money. I have hotel, this wine, those dress bills.
00:14:07How do you think I'll pay them?
00:14:08Yeah. I think this will cover it.
00:14:10This is Ali. You know, I told you of him.
00:14:13No sign of the agents yet, Herr Rosenkrantz?
00:14:15No. They are late. They must have been delayed.
00:14:18I will tell Rakov to put La Palermo over to the second half.
00:14:21And why must I play in the second half?
00:14:23You are passing over information to German agents during your act.
00:14:26Always business is interfering with my act.
00:14:28It is impossible, I tell you.
00:14:30How can I think of my unveiling and serve the Fuhrer at the same time?
00:14:33A bit raffish, isn't it?
00:14:35Oriental architecture, you know?
00:14:37Good evening, gentlemen.
00:14:38Good evening.
00:14:39Good evening.
00:14:40You care to leave your hats?
00:14:42Straight down the stairs, gentlemen.
00:14:44Ah.
00:14:45I suppose we shall see those hats again.
00:14:47You are developing a very suspicious mind.
00:14:51Sir, do you think it's all right?
00:14:53Looks pretty good to me.
00:15:00Good evening, gentlemen.
00:15:01Good evening.
00:15:02You desire a table?
00:15:03Yes, two, please.
00:15:04Certainly, sir.
00:15:05This way, two, please.
00:15:18I'm sure you wouldn't like me nearer.
00:15:20Positive.
00:15:21I don't wish to appear Victorian,
00:15:23but is that the sort of display you'd like to bring Edith to?
00:15:26But we haven't brought Edith.
00:15:28True, Conacher, but after all, you're engaged to her.
00:15:30And what is more, Charters,
00:15:31it never occurred to me to bring Edith to a show like this.
00:15:34I don't understand.
00:15:35I was only pointing out that...
00:15:36Here you are, gentlemen.
00:15:37The menu.
00:15:38Oh, thank you.
00:15:40Here's to a mixture of French and Arabic.
00:15:43Well, speaking for myself,
00:15:44I'd prefer something that they can't translate into Arabic.
00:15:46In that case, what about soup?
00:15:48Good idea. Order it.
00:15:49Part of our celery, please, waiter.
00:15:51The same here, please.
00:15:52Yes, sir.
00:15:53And to follow?
00:15:54Oh, here's something I had last time I was in New York.
00:15:57Some sort of fried chicken.
00:15:58By all means.
00:15:59Two, please.
00:16:00And to follow?
00:16:01Yes, sir.
00:16:02And to follow?
00:16:03Oh, here's something I had last time I was in New York.
00:16:06Some sort of fried chicken.
00:16:07By all means.
00:16:08And to follow?
00:16:09Oh, here's something I had last time I was in New York.
00:16:11Some sort of fried chicken.
00:16:12By all means.
00:16:13Two, uh, poulet Maryland, please, waiter.
00:16:15Poulet Maryland?
00:16:16Yes.
00:16:17That's all right, isn't it?
00:16:18Oh, yes, sir.
00:16:19Anything else?
00:16:20Another wine list?
00:16:21Yes, sir.
00:16:22Here it is.
00:16:23Oh, thank you.
00:16:24I'll leave the choice of wines to you, Charters.
00:16:26I think that's more up your street.
00:16:28Up my vineyard, you mean.
00:16:29Yes, sir.
00:16:30Oh, I say.
00:16:31Oh, here's a bit of luck.
00:16:32Here's one I can vouch for.
00:16:33I sampled the bottle only last summer with old Fruity Watkinson.
00:16:36Yes.
00:16:37Collegate, I do wish you'd pay attention.
00:16:49If you can tear your eyes away for just one moment.
00:16:51Well, it just occurred to me that it's supposed to represent a harem.
00:16:55I was about to order wine.
00:16:57Oh, spend it.
00:16:58Go ahead.
00:16:59All right, then.
00:17:00A bottle of 14.
00:17:01Lafite Rothschild, 1929.
00:17:03What's the matter?
00:17:04Uh, nothing, sir.
00:17:05Lafite Rothschild.
00:17:06Lafite Rothschild, 1929.
00:17:08Yes, sir.
00:17:09That's what I said.
00:17:10A very excellent wine, sir.
00:17:17I could have sworn that waiter gave me a sort of wink.
00:17:19Probably had something in his eye.
00:17:21Place is full of untidy eaters.
00:17:23Pierre Rossinger.
00:17:24Well, what is it?
00:17:25They are here, the two agents.
00:17:26You hear that, Dolly?
00:17:27You a serpent?
00:17:28I have just taken their order.
00:17:29First, Potter's Celery.
00:17:31Second, Poulet Maryland.
00:17:33Third, Lafite Rothschild, 1929.
00:17:35That is the correct signal?
00:17:36Absolutely.
00:17:37Now, serve them like any ordinary guests.
00:17:39What is their table number?
00:17:40Eight, 14.
00:17:41Let me see that.
00:17:51Well, that's that.
00:17:53Good.
00:17:54Now you'll be able to get on with your soup.
00:17:56I was merely allowing it time to cool off.
00:18:08This is the turn we saw advertised, old man.
00:18:10So I gathered.
00:18:19There's no need for lovely phrases of sweet delight.
00:18:24There's no need of speeches coming from you.
00:18:29All the words are there revealed in those big brown eyes.
00:18:35Giving away your thoughts, telling me all.
00:18:43You don't have to tell me.
00:18:46It's written in your eyes.
00:18:50Every time you look at me.
00:18:58Something seems to tell me you're oh so very wise.
00:19:05Every time you look at me.
00:19:13Seems that bill and queen would appeal to you.
00:19:20Now I think you would like to.
00:19:27You don't have to tell me.
00:19:31It's written in your eyes.
00:19:35Every time you look at me.
00:20:01I say, she's a stunning looker-all, boy.
00:20:04Hardly my type.
00:20:06Comparatively well-dressed by local standards, though.
00:20:29Did you notice that she's accidentally dropped one of her veils?
00:20:32I don't think it's a maxim, old man.
00:20:33What?
00:21:01Good evening, gentlemen.
00:21:02Would you like to buy a record?
00:21:03Well, no, thanks, sir.
00:21:04We're just going.
00:21:05Well, how much are they?
00:21:06Two hundred and fifty.
00:21:07You don't want one of those things, old man.
00:21:08I think you do, sir.
00:21:09Well, I certainly don't.
00:21:10Well, it might be fun to have one as a souvenir.
00:21:12Remind you of the glad eyes she gave you, I suppose.
00:21:13I think that's very uncalled for.
00:21:14As a matter of fact, I thought it might appeal to Edith.
00:21:15I can't imagine anything less likely to appeal to Edith.
00:21:16Well, then, I'll take it.
00:29:17Well, yes, of course.
00:29:18I'll take it down for you Thank you very much.
00:29:19Edith Charters.
00:29:20All have say and I?
00:29:21Not bad at all.
00:29:24What about meeting in half an hour's time alone?
00:29:32No, I do have first bath.
00:29:34No, no, you have first.
00:29:35Well, that's all right.
00:29:36I can wait.
00:29:37All right, no good arguing about it.
00:29:38See you in half an hour's time.
00:29:39All right, darling.
00:29:40Go and stand by the river.
00:29:41If there is any chance of their bodies being discovered, you know what to do.
00:29:44Hello, yes?
00:29:45Listen to me.
00:29:46Are you listening?
00:29:47Hello.
00:29:48Who is it?
00:29:49Get out of your hotel at once.
00:29:50You and your friend.
00:29:51Do you hear me?
00:29:52Get out.
00:29:53If you stay, you'll...
00:29:54Hello.
00:29:55Hello.
00:29:56I'm sorry to leave her.
00:29:57Get out of the hotel.
00:29:58It's absurd.
00:29:59You've only just come in.
00:30:00I'm sorry.
00:30:01I'm sorry.
00:30:02I'm sorry.
00:30:03I'm sorry.
00:30:04I'm sorry.
00:30:05I'm sorry.
00:30:06I'm sorry.
00:30:07I'm sorry.
00:30:08I'm sorry.
00:30:09I'm sorry.
00:30:10I'm sorry.
00:30:11I'm sorry.
00:30:12I'm sorry.
00:30:13The forbidden girls.
00:30:14It's about time I've left you.
00:30:15I'm sorry.
00:30:16I'm sorry.
00:30:17I'm sorry.
00:30:18We'll find another time.
00:30:19Your turn.
00:30:20I'm sorry.
00:30:21I'm sorry.
00:30:22Now.
00:30:23I'm sorry.
00:30:24It's about time I've left you.
00:30:25I'm sorry.
00:30:26I'm sorry.
00:30:27I'm sorry.
00:30:28Now.
00:30:29You've just come in.
00:30:30Have you got...
00:30:31Colvigut.
00:30:32Good lord.
00:30:33Colvigut.
00:30:34Colvigut, how deep is it?
00:30:36Hold on.
00:30:36Colvigut.
00:30:37Hold on to what, old man?
00:30:38Colvigut, it's you.
00:30:39Across is me.
00:30:40Always has been, Mr. Hanna.
00:30:43You're all right?
00:30:45Yes. What's up? You're as white as a sheet.
00:30:47It wasn't you.
00:30:49Who?
00:30:50You. You were standing in the doorway and I slapped you on the back.
00:30:55I beg your pardon?
00:30:57It wasn't you then.
00:30:59Who?
00:31:00The chap I tapped on the back. He fell in.
00:31:02Where?
00:31:03In here.
00:31:06My goodness. There's no floor.
00:31:08That's what I mean. It's a trick of some sort.
00:31:10Just a sheer drop. What's down there?
00:31:12Water. Can't you hear it? Bosphorus.
00:31:16Well, that's very dangerous. I might have stepped in there and...
00:31:19I know. And it's labelled bathroom.
00:31:21But that's ridiculous. It should be labelled Bosphorus.
00:31:24Well, what is it?
00:31:25This is terrible. They've killed Ali.
00:31:26What?
00:31:27The men have just put his body onto the water.
00:31:28Ali, the fool. What are we to say to K7?
00:31:31We must act quickly. Get everybody. Don't answer it.
00:31:35Hello.
00:31:36Can't you get them?
00:31:37No, no reply. It's all right just now.
00:31:38Oh, that reminds me. The most extraordinary thing.
00:31:41Eh?
00:31:42Yes. That's why I was looking for you.
00:31:44Somebody rang me up.
00:31:45Rang you up?
00:31:46Mm.
00:31:47Who?
00:31:48Well, it was a woman. An English woman.
00:31:50Told me to get out of the hotel.
00:31:51Why?
00:31:52I don't know. Line went dead.
00:31:54This is very extraordinary.
00:31:55Well, that's what I thought.
00:31:56You know, Charter, this is a very peculiar hotel.
00:31:58Yes, it's a very inefficient one, too.
00:32:00I don't like it.
00:32:01I got struck in it myself.
00:32:02Well, what about hopping out and going to another place?
00:32:04I'm all for it.
00:32:05Good. After all, there are limits.
00:32:07Mm.
00:32:12What about that fella?
00:32:14What, the man you pushed overboard?
00:32:16The man I brushed against.
00:32:18Better mention it on the way out.
00:32:20What do we have?
00:32:21Place seems to be empty.
00:32:22Shit.
00:32:24No one at the desk.
00:32:26Doesn't seem to be a soul in the place.
00:32:31All this is very mysterious.
00:32:33Why did you order us to leave the hotel so suddenly?
00:32:35Because everything has gone wrong.
00:32:37Quick, helicopter. Get in.
00:32:40Come on. Can't you walk a bit faster, old man?
00:32:43Doesn't seem to be a taxi anywhere.
00:32:45You know, I've been thinking about that extraordinary business
00:32:47of the man in the glass, the boss of this room.
00:32:49I can't make that out at all.
00:32:51You don't think we ought to go and tell the police?
00:32:53I'm sorry.
00:32:54I might have to appear in court.
00:32:56Hardly.
00:32:57I might even be charged with murder.
00:32:59Why, it's impossible.
00:33:01I mean, we've got a pact with Turkey.
00:33:02That doesn't give me diplomatic immunity, old man.
00:33:05Besides, think of Egypt. You'd be worried for them.
00:33:08Say nothing of the West in this test match.
00:33:10Oh, no. Must miss that.
00:33:11Well, it's no use standing here talking.
00:33:13I don't like this place. Let's get on to Budapest.
00:33:15But the train doesn't leave until tomorrow morning.
00:33:17Well, take a plane. There's a regular service.
00:33:19I know. It says so in my guidebook.
00:33:21All right. Anything to get out of this place.
00:33:23Ah, here's a taxi.
00:33:30Airport, please.
00:33:39I still cannot understand what happened.
00:33:41Ali was impatient to get that record.
00:33:43Fool, he went up to the room too early.
00:33:46Ali has paid for his foolishness.
00:33:48What do you mean?
00:33:50Ali is dead. Drowned.
00:33:52They killed him anyway.
00:33:54I'm dealing with desperate men.
00:33:56I'm glad it is you who have to tell K7 I'm not dying.
00:33:59I will handle it, all right.
00:34:09When's the next plane to Budapest?
00:34:11Oh, very soon now, sir. Have you much luggage?
00:34:13No, only these small cases.
00:34:15Lucky we set our other luggage on charges, sir.
00:34:17Will you go up to the desk, sir, and take your tickets?
00:34:19There's just time to have your luggage examined.
00:34:21Thank you. First bit of luck with Hansover.
00:34:26We leave at once for Budapest.
00:34:28Ah, that makes matters easier.
00:34:30But when we get to Budapest, how shall we get to Budapest?
00:34:32I don't know, sir.
00:34:34We leave at once for Budapest.
00:34:36Ah, that makes matters easier.
00:34:38But when we get to Budapest, how shall we find them?
00:34:40Ah, the telegram.
00:34:42The one they handed to Irma.
00:34:44Here it is.
00:34:46Hotel Maggia.
00:34:48We two will stay at the Hotel Maggia.
00:34:50But I'm due to appear at the Montana.
00:34:52Oh, that does not matter. We depend on you.
00:34:54I shall telephone to K7.
00:34:56He will be less displeased now that things can be settled without further trouble.
00:34:59In Budapest, he can arrange a plane for himself.
00:35:01We can order a special plane.
00:35:03We can overtake them if necessary.
00:35:25Good evening, gentlemen.
00:35:27Welcome to the Hotel Maggia.
00:35:29Yes, we want two single rooms, please.
00:35:31Yes, with bathrooms.
00:35:33Have they got baths in them?
00:35:35Of course. I will give you two splendid rooms with balconies.
00:35:37If you would care to register.
00:35:43Room 47 and 48, sir.
00:35:47My name is Charters.
00:35:49I believe my sister may have arrived.
00:35:51I do not recollect the name. One moment.
00:35:53Is there a Miss Charters staying in the hotel?
00:35:55No, sir.
00:35:57I think I'm going straight off to bed.
00:35:59Excuse me. Will you be dining, gentlemen?
00:36:01No, thanks. We'll go right up to our rooms. I really must have some sleep.
00:36:03I feel as if I've been up for weeks.
00:36:09Good evening, sir. Good evening, madame.
00:36:11Do you have some rooms reserved for us?
00:36:13In the name of Rosicruel?
00:36:15Oh, yes, of course. Rooms 46 and 49.
00:36:17Will you register, please?
00:36:27Yes, madame?
00:36:29I should like to speak to the manager.
00:36:31This way, please, madame. Shall I take your bag and coat?
00:36:35Thank you, madame.
00:36:37Good evening, madame.
00:36:39Are you the manager?
00:36:41At your service, madame.
00:36:43Well, I am Miss Edith Charters.
00:36:45Can you tell me if my brother is staying here with a Mr. Caldicott?
00:36:47Yes, madame. They are in 47 and 48.
00:36:49They inquired for you when they arrived, madame.
00:36:51When was that?
00:36:53Half an hour ago.
00:36:55Half an hour ago?
00:36:57They went straight to bed.
00:36:59To bed? Yes, madame.
00:37:01I wish to speak to Mr. Charters at once.
00:37:03Bring Mr. Charters' room, if you please, madame.
00:37:05Room 48, please.
00:37:09Here you are, madame. Thank you.
00:37:21Hello.
00:37:23I thought you'd forgotten my existence,
00:37:25but this is Edith.
00:37:27Oh, hello, Edith.
00:37:29Oh, girls, so you've arrived.
00:37:31I arrived in Budapest six hours ago.
00:37:33Since then, I've been dragging myself
00:37:35round all the hotels in the city,
00:37:37inquiring for you and Sinclair.
00:37:39It is now ten o'clock at night,
00:37:41and I find that you have quite typically retired to bed.
00:37:43Didn't you get our telegram?
00:37:45I received nothing.
00:37:47When I got here, I thought that at least you would have sent a message to Spindle's office.
00:37:49But we sent a telegram from Istanbul.
00:37:51Horty, get out of bed.
00:37:53I must see you immediately.
00:37:55Yes, madame.
00:38:03Is everything quite clear, Ada?
00:38:05The Englishman's room is just across the balcony.
00:38:07There are no lights or anything.
00:38:09He must have gone out. Now is our chance.
00:38:11You've got to act quickly.
00:38:13Your record will most likely be in one of the suitcases.
00:38:15You will wait here?
00:38:17Yes, I will wait. Now, be careful.
00:38:35What's that?
00:38:37Good lord, laughing at me.
00:38:39Oh, I'm so sorry.
00:38:41It's the wrong room. I...
00:38:43I must have made a mistake.
00:38:45Mistake? I like that.
00:38:47You can't come charging into a man's bedroom
00:38:49without his record.
00:38:51Let go.
00:38:53I don't want to hurt you, but this is my room.
00:38:55If you don't let go, I shall bite you.
00:38:57Unless I can get a satisfactory explanation, I shall telephone the manager.
00:38:59But I've done nothing, I tell you.
00:39:01What are you doing in my room?
00:39:03Good heavens.
00:39:07Oh, hello, Edith.
00:39:09This is a surprise. I...
00:39:11I didn't know you'd got here.
00:39:13Obviously.
00:39:15This is my fiancée, Miss Charters.
00:39:17I know now why I never received that telegram.
00:39:19Oh, Edith, you don't understand.
00:39:21The situation speaks for itself.
00:39:23But, Edith, you must listen to me.
00:39:25As it looks, Edith, it's probably only an infatuation.
00:39:27It's nothing of the sort. I was lying...
00:39:29I don't doubt this.
00:39:31I was lying there, and she came in, and...
00:39:33I despair my sister's assorted details.
00:39:35Quite. Perhaps you will take me to my room at once, Horty.
00:39:37I find the atmosphere here utterly nauseating.
00:39:39Very well, Edith.
00:39:41I must confess, I'm not altogether surprised at this.
00:39:43I'd always suspected there was a shoddy streak in St. Pierre's character.
00:39:45This is dreadful.
00:39:47But, here, you must explain...
00:39:49Where is she?
00:39:51Nothing.
00:39:53Miss... Miss Watson.
00:39:57What happened?
00:39:59Where's the record?
00:40:01I didn't get it. He was there all the time in bed.
00:40:03He saw you?
00:40:05Yes, but luckily some horse-faced woman came in, and I got away.
00:40:07He recognized you?
00:40:09Yes. He said he was going to call the manager.
00:40:11We must leave this hotel at once.
00:40:13We can't risk any trouble with the police.
00:40:15But what about the record?
00:40:17Oh, I hate to think what K7 will say to this, but we must go.
00:40:19Come on.
00:40:27Manager.
00:40:35Oh, come in.
00:40:37Come in.
00:40:41I understand you rang for me, Mr. Colicot.
00:40:43Yes.
00:40:45It may be rather an extraordinary thing to ask,
00:40:47but could you tell me who occupies the room next door?
00:40:49Again, have they been annoying you, sir?
00:40:51Yes. Uh, and no.
00:40:53Let me see.
00:40:55Your next-door neighbor is rather a big man with a small mustache.
00:40:57I think his name is Charters.
00:40:59No, no, no, not him. No, he's my friend.
00:41:01Oh, I beg your pardon.
00:41:03As a matter of fact, this is a lady.
00:41:05Oh.
00:41:07Yes. If it would help at all,
00:41:09she goes under the name of La Palermo,
00:41:11but that might not be her real name.
00:41:13Uh, no, sir.
00:41:15Perhaps if you could describe her, any clothes she wears,
00:41:17I might be able to help.
00:41:19It's rather difficult to say. I've very rarely seen her with any clothes on.
00:41:21Oh, you see?
00:41:23So...
00:41:25Yes. What I mean is, she's on the stage,
00:41:27sings and dances and that sort of thing.
00:41:29Oh, artisto.
00:41:31Perhaps if you can describe her face to me.
00:41:33I hardly notice her face. Of course, she has a face.
00:41:35And eyes. Green eyes.
00:41:37I think there are two of them.
00:41:39And long hair. Well, not very long,
00:41:41but, you know, comes down that way.
00:41:43And a white throat. Very nice throat.
00:41:45And she sings out of that.
00:41:47Oh, hello, Charters.
00:41:49Well, then, manager, you try and trace this woman.
00:41:51I will, sir, immediately.
00:41:55I'll see one.
00:41:57I'm trying to find out some more about La Palermo.
00:41:59I suppose that's the purpose.
00:42:01She's...
00:42:03She's calling it off?
00:42:05Absolutely.
00:42:07She says she's grateful for one thing she found out in time.
00:42:09Personally, I don't blame her.
00:42:11It's not playing the game, Corley,
00:42:13but I can't put it stronger than that.
00:42:15I think you're behaving in a most unbearable manner.
00:42:17I wake up, I find La Palermo hearing about the bedroom...
00:42:19You don't expect me to believe a story like that.
00:42:21I'm going to get this matter put straight if we have to stay in Budapest until...
00:42:23Well, until we miss the test match.
00:42:25Come in.
00:42:27Pardon.
00:42:29I don't know why you're staying at this hotel,
00:42:31but I have just discovered there is the lady of that name
00:42:33appearing at the Montana cabaret tonight.
00:42:35Ah, that's her. There's no doubt about it.
00:42:37Thank you very much.
00:42:39I'm going to find this woman, Charters.
00:42:41If you take my advice, you won't come near her.
00:42:43I've taken your advice often enough.
00:42:45That woman has got to be made to explain to Edith.
00:42:47Go on, get dressed. We're going to the Montana.
00:42:49Well, Edith, the Montana is full tonight.
00:42:51Naturally, when I appear, everything's full.
00:42:53Oh, the vanity of these artists.
00:42:55Well, it's nearly 12 o'clock.
00:42:57Would you like a drink before you appear?
00:42:59No, thank you, but I think you should have one.
00:43:01Ah, you're right.
00:43:03I hesitate to tell K7 we have not succeeded in getting that record.
00:43:05What do you think he will say?
00:43:07I do not think he will regard our effort as a great achievement.
00:43:09It's all very well for K7 to give these mysterious instructions,
00:43:11but why doesn't he?
00:43:13They're here, in the restaurant.
00:43:15Who?
00:43:17The Englishmen.
00:43:19Did they see you?
00:43:21I don't think so.
00:43:23Why'd they come here?
00:43:25If we had set a trap,
00:43:27it could not have been better planned.
00:43:29What will you do?
00:43:31A few drops of something in their drinks.
00:43:33That is all that is necessary.
00:43:35The head waiter will receive his orders.
00:43:37Ah, good evening, gentlemen.
00:43:39Table 42, sir.
00:43:41We want to see La Palermo.
00:43:43Ah, you will want a front table, sir.
00:43:45No, no, no, no, thank you.
00:43:47We don't want to see her perform. We want to see her privately.
00:43:49Oh, but I'm afraid that is not possible.
00:43:51You see, the cabaret is just about to begin.
00:43:53Pleasure, sir. May I take you to a table?
00:43:55Thanks, sir.
00:44:11Gone, gypsy lover,
00:44:17gone from me.
00:44:21Gone like a broken melody.
00:44:30Music playing,
00:44:32a gypsy dance around the fire.
00:44:34Thought is swaying
00:44:36in every glance of wild desire.
00:44:38What care I?
00:44:43Oh, you're gone.
00:44:48Flashing eyes around me.
00:44:51Gay love is mine tonight.
00:44:56Gone, gypsy lover,
00:45:01far away.
00:45:05Gone, leaving me
00:45:10an empty day.
00:45:14Gypsy music
00:45:17will help forget a breaking heart.
00:45:19Happy laughter,
00:45:21can I forget you played a part?
00:45:23Where are you,
00:45:28Romani?
00:45:33Play the music
00:45:37on with the dance.
00:45:41You know,
00:45:42watching her, it's hard to believe that she's a gypsy.
00:45:47Music playing,
00:45:52It's warming up for the takeoff, old man.
00:45:54Your whiskeys, gentlemen.
00:45:57Music playing,
00:46:01It's gone, hasn't it happened to others?
00:46:03Don't touch that whiskey, it's poisonous.
00:46:05He's all right, he's all right.
00:46:07Ladies and gentlemen, this was only the switch.
00:46:10La Paloma, she will start again.
00:46:13I say, old man, look at this.
00:46:15What is it?
00:46:16It was put into my hand when the lights went out.
00:46:18Read it.
00:46:46Music playing,
00:47:06Music playing,
00:47:20Music playing,
00:47:27Yes, well,
00:47:30I think we might be able to get going now.
00:47:32Well, look very slowly.
00:47:33We're going to just come in.
00:47:36I think you must be careful.
00:47:38What do you mean?
00:47:39They did not touch their drinks.
00:47:41Are you sure?
00:47:42Certain.
00:47:43Why, who could have told them?
00:47:46I doubt everything is going wrong.
00:47:49See, they're leaving.
00:47:52Music playing,
00:47:58I do not understand it.
00:47:59These people have their spies everywhere.
00:48:01So have we, haven't we?
00:48:02They are making absolute fools of us.
00:48:04They did not touch their drinks.
00:48:06There was nothing wrong with the lights.
00:48:07Someone must have switched them off.
00:48:09What am I going to say to Case 7?
00:48:11Perhaps Clacken has got the record.
00:48:13They could have had time.
00:48:15Ali was quite right.
00:48:16We ought to have killed them on the train.
00:48:19You know, I'm not sure that we're not making awful fools of ourselves.
00:48:23What do you mean?
00:48:24Well, dashing away from that place just because somebody put a note in our hand about a gramophone record.
00:48:29I've got a key.
00:48:30Yes.
00:48:31In my pocket.
00:48:32What are we whispering for?
00:48:33Shh.
00:48:34Open the door, Clacken.
00:48:35There might be someone inside.
00:48:41What's that?
00:48:46It's gone.
00:48:47The record.
00:48:48See if that's gone too.
00:48:49Well, wait a minute.
00:48:50After Law Watson disappeared, what did I do with it?
00:48:53How should I know?
00:48:55I've got it.
00:48:56I put it down somewhere.
00:48:57Where?
00:48:58I know.
00:48:59On a seat.
00:49:00In the bathroom.
00:49:01Well, it must be there still.
00:49:03It is.
00:49:04I say, that's a good luck.
00:49:05Let's have a look at it.
00:49:08Looks like an ordinary record to me.
00:49:10Let's try it.
00:49:11I don't see the use of playing it.
00:49:12After all, the label speaks for itself.
00:49:14Every time you look at me, it's sung by La Palermo.
00:49:16But the note said it was terribly important.
00:49:18Well, should we believe that?
00:49:19Why not?
00:49:20Don't you realize that if all this is true, it means someone's attempting to take our lives?
00:49:23Oh, that's absurd.
00:49:24Well, anyway, let's try the record.
00:49:34Just La Palermo singing.
00:49:35Nothing very sinister about that.
00:49:37No.
00:49:38She's got a very nice voice, I think.
00:49:48Oh, Lord.
00:49:49It's German.
00:49:50I only know three words of German.
00:49:52Heil.
00:49:53What?
00:49:54That's practically all they know themselves, remember?
00:49:56Sounds to me as if he's saying there are no more territorial claims in Europe.
00:49:59Well, we'd better find out what it's all about.
00:50:01Turn it on slowly.
00:50:02We'll have to pick out what we can.
00:50:23Well, what do you make of all that?
00:50:30Well, my German is apparently not as good as I thought it was.
00:50:34I know what Achtung and the beginning means, though.
00:50:36Yes, I saw it once on a gate.
00:50:37Achtung der Hund.
00:50:38The where of the dog in English.
00:50:40What a peculiar thing to say.
00:50:41Then there was some reference to a fellow called Abdul Memory.
00:50:44Yeah, I gathered that.
00:50:45I also recognize the word oil.
00:50:47What kind of oil?
00:50:48What do you mean?
00:50:49Well, I mean there are all kinds of oil.
00:50:51Just oil.
00:50:52There was something about a pipeline and a lot of ammunition.
00:50:54Very mysterious.
00:50:55One thing emerges.
00:50:56Whatever it is, it's highly important.
00:50:58From your translation, that's absolutely clear.
00:51:01Oh, by the way, didn't that note say something about being at St. Joseph's bars at 11 o'clock tomorrow morning?
00:51:07Yes.
00:51:08Well, I suppose we'd better go and see what it's all about.
00:51:10You're probably right.
00:51:12In the meantime, I shall hide that record where nobody can find it.
00:51:23I say, Charles, look at that girl on the other side.
00:51:25Wonderful figure.
00:51:27Not to be compared to the Edith, of course.
00:51:32She wears a bit of a splash.
00:51:34Oh, I wouldn't say that.
00:51:35She's a very good swimmer.
00:51:42Good heavens, I...
00:51:43Well, it can't be.
00:51:45Yes, it is.
00:51:46What?
00:51:47The flower boxes.
00:51:53There's a voice.
00:51:54It's probably behind us, you know.
00:51:55What?
00:51:56I mean, laugh and laugh.
00:51:57She's shadowing us to find out where we left that record.
00:52:00Well, it's quite obvious.
00:52:01We haven't got it on us now.
00:52:02Shh.
00:52:03It's lining up.
00:52:04Be careful.
00:52:07Good morning.
00:52:08Good morning.
00:52:09Is this chair free?
00:52:10Yes, rather.
00:52:11Sit down.
00:52:13As a matter of fact, we were just going.
00:52:14Come on, Claudia.
00:52:15I think you'd better stay.
00:52:16Sit down.
00:52:19Do you remember the voice in the dark last night?
00:52:21Don't drink that whiskey.
00:52:22It's poison.
00:52:23Good heavens.
00:52:24It was you.
00:52:25And on the telephone, it was Jean-Marie.
00:52:27That was you too?
00:52:28Yes.
00:52:29Well, that's astounding.
00:52:30I'm sorry if I've been a nuisance, but it was necessary.
00:52:32You see, I'm working for the British Secret Service.
00:52:35It's a comedy.
00:52:36That explains all this funny business.
00:52:39Espionage.
00:52:40And where mixed up in it?
00:52:41Yes.
00:52:42How?
00:52:43Well, because of the gramophone record.
00:52:44It contains the details of the sabotage scheme in the Middle East.
00:52:46Where is it now?
00:52:47Charles says, where is it?
00:52:49I hid it in a very cunning place in the hotel.
00:52:55Will you two do something for me?
00:52:56Yes, rather.
00:52:57Yes.
00:52:58Wait a minute.
00:52:59What is it?
00:53:00I want you to take the record to the Traveller's Club in the Hohenstrasse
00:53:02and ask for Captain Spansvig.
00:53:04Spansvig?
00:53:05I said, not EJK Spansvig.
00:53:07He used to play cricket for Gloucester.
00:53:09Yes.
00:53:10Good gracious me.
00:53:11Yes, well, yes.
00:53:12He's been sent by the British intelligence to collect the record
00:53:14and take it back to London.
00:53:15You want us to deliver it?
00:53:16Yes.
00:53:17You simply have to say that I'm interfering, don't you?
00:53:19What do you say, Charters?
00:53:20Well, I...
00:53:21That's all you have to do.
00:53:22Deliver it.
00:53:23Then you can go on with your holiday in peace.
00:53:26In that case...
00:53:28I knew you'd help me.
00:53:29Captain Spansvig will be at the Traveller's Club at 1 o'clock.
00:53:31You mean today?
00:53:32Yes.
00:53:33You ought to go right away.
00:53:35Goodbye.
00:53:44Are you certain you remember where you put the record?
00:53:46I found a perfect place.
00:53:47Where?
00:53:48Amongst the other records in the dining room.
00:53:49But you'll never find it.
00:53:51I know exactly where it is, old man.
00:53:53Fifteenth from the end.
00:53:56Charters, do you hear that?
00:53:58It's her song.
00:53:59Her voice, too.
00:54:00It's the record.
00:54:01Quick, before it gets to the Germans, sir.
00:54:17Hey!
00:54:18Colligan!
00:54:20I've got it!
00:54:21I've got it, Colligan!
00:54:26This is it, old man.
00:54:27Well, what do we do when we meet him?
00:54:28Give him the record, I suppose.
00:54:29I do think we ought to be extremely guarded.
00:54:34In here, gentlemen.
00:54:37Oh, uh...
00:54:38Captain Spansvig?
00:54:39In the flesh.
00:54:40My name's Charters.
00:54:41I'm Colligan.
00:54:42How do you do?
00:54:43How do you do?
00:54:44How do you do?
00:54:45We're friends of Miss Deering.
00:54:46So I understand.
00:54:47Oh, sit down, won't you?
00:54:48Thank you very much.
00:54:51And how is Miss Deering?
00:54:53Well, last time we saw her, she was getting along swimmingly.
00:54:57If you follow our meaning.
00:54:59I rather think I do.
00:55:00You'll be glad to hear that we have the consignment of wax.
00:55:05I beg your pardon?
00:55:06The sample disc for you to take to your firm.
00:55:11Oh, you mean that gramophone record?
00:55:14Somebody might hear.
00:55:16Oh, we're all right in here.
00:55:18Well, where is it?
00:55:19Under Caldicott's coat.
00:55:21I suggest he slips it under his chair.
00:55:23You can take it away when we've gone.
00:55:25No point in being flirty.
00:55:27Someone always notices if you are.
00:55:29I'll take it now.
00:55:30What?
00:55:31Just like that?
00:55:32Why not?
00:55:34In that case, here you are.
00:55:37Thanks, old man.
00:55:38I don't mind telling you we're very glad to get it out of our hands.
00:55:42Cheers.
00:55:43Congratulations.
00:55:44You fellows have put up a jolly good show.
00:55:46It's very nice of you to say so.
00:55:48Well, we have to do our best, you know.
00:55:51By the way, have you heard this record?
00:55:54Yes, yes, as a matter of fact, we have.
00:55:56Then you know its contents.
00:55:58Well, more or less, you know, more or less.
00:55:59It's in German.
00:56:00I have a fair command of the language.
00:56:02I gather it refers to some hidey-doo in the Middle East.
00:56:04I only know.
00:56:05That's right, yes.
00:56:06And I believe there's a dog in it somewhere, too.
00:56:08Well, yes, possibly.
00:56:10I'm leaving for England with this tonight.
00:56:12Oh.
00:56:13Well, then, you'll be in time for the last West Indies Test match.
00:56:16We hope to get there, too.
00:56:17Yes.
00:56:18As a matter of fact, you may not know it, but Charters and I are great admirers of yours.
00:56:22We were in a stand at Lord's in 1929 when you played against Middlesex.
00:56:27Middlesex?
00:56:28Yes, you carried a bat for 75, including two magnificent strikes for six.
00:56:33One of them landed in our stand.
00:56:35It is Charters who threw the ball back.
00:56:37Yes.
00:56:38I don't suppose you remember that, though.
00:56:39I'm afraid I don't follow.
00:56:40You are E.J.K., aren't you?
00:56:42E.J.K.?
00:56:43Yes.
00:56:44Stansvig, the cricketer.
00:56:46No.
00:56:47Oh.
00:56:48I don't play cricket.
00:56:50Don't play cricket?
00:56:54Excuse me, sir.
00:56:55Mr. Charters, Mr. Cavendish.
00:56:57You are wanted on the phone at once.
00:56:58An urgent call.
00:56:59Eh?
00:57:00That's an extraordinary thing.
00:57:01Excuse us, Willis Vanderwood.
00:57:02Certainly.
00:57:10I wonder who it could be.
00:57:13I don't know.
00:57:14At the desk, sir.
00:57:15The receiver is on.
00:57:19Hello?
00:57:20Yes?
00:57:21Who's there?
00:57:22La Palermo.
00:57:23Miss Dearing.
00:57:24Listen to me.
00:57:25You must not meet Captain Stansvig.
00:57:26Do you understand?
00:57:27But we've already met him.
00:57:28Then leave quickly.
00:57:29Whatever you do, don't give him the record.
00:57:31I'm afraid he's already got it.
00:57:33Listen to me.
00:57:34The man you've just met is an imposter.
00:57:36Captain Stansvig's body was found in the Danube this morning.
00:57:39Good heavens.
00:57:40You must get that record back.
00:57:41You must.
00:57:42Do you understand?
00:57:43All right.
00:57:44We'll try.
00:57:45Hold on.
00:57:46What's all the fuss about?
00:57:47Stansvig's dead.
00:57:48He can't be.
00:57:49We've just seen him.
00:57:50Stansvig's not Stansvig.
00:57:51He's a fraud.
00:57:52Well, don't.
00:57:53I'll go and catch him.
00:57:54Now, dear.
00:57:55Miss...
00:57:56Miss...
00:57:57Miss Watson.
00:57:58Listen.
00:57:59I can't hold on any longer.
00:58:00He's seen me.
00:58:01He's coming towards me.
00:58:02Mr. Gallagher, they've caught me.
00:58:03Get that record back.
00:58:04Whatever you do.
00:58:06Hello.
00:58:07Hello.
00:58:09Hello.
00:58:10Hello.
00:58:12Hello.
00:58:13Is that the operator?
00:58:14Well, I've been cut off.
00:58:16Can you trace that call?
00:58:17I say, old boy.
00:58:18The fellow's gone.
00:58:19And the record.
00:58:20So is she, old man.
00:58:21Who?
00:58:22Ah, dear.
00:58:23Miss Palermo.
00:58:24Miss Most Extraordinary.
00:58:25Hello?
00:58:26Yes.
00:58:28Where?
00:58:30Oh, thank you.
00:58:31I say, that's very odd.
00:58:32What?
00:58:33She was phoning from a public call box
00:58:34at the Central Station.
00:58:35And she suddenly shouted,
00:58:36he's coming towards me, screamed,
00:58:38and then cut off.
00:58:39Did she say who was coming towards her?
00:58:40No.
00:58:41But how could whoever it was
00:58:42be coming towards her in a telephone box?
00:58:43It's beyond me.
00:58:45First she says,
00:58:46give the record to Spanswick.
00:58:47Then she says,
00:58:48Spanswick's floating down the Danube.
00:58:50Then she screams
00:58:51that someone's coming towards her
00:58:52and cuts off.
00:58:53Why?
00:58:54Perhaps he pushed her against button B.
00:58:55Hmm.
00:58:56What are we going to do about it?
00:58:57I'll tell you what.
00:58:58Let's go back to the hotel
00:58:59and a couple of drinks and talk it over.
00:59:00That's a good idea.
00:59:01Let's do the one.
00:59:02In fact, several.
00:59:04Well, I feel better now.
00:59:06Yes, now.
00:59:07Let's review the situation.
00:59:09Do you suppose it'd be any good
00:59:11if we told our story to the British Consul?
00:59:13He'd never believe it.
00:59:14We could leave out all the ridiculous bits.
00:59:16There wouldn't be much left, sir.
00:59:17What else can we do?
00:59:18Excuse me, gentlemen.
00:59:19Yes?
00:59:20A Miss Granowski is asking for you.
00:59:22Granowski?
00:59:23Granowski?
00:59:24I don't know.
00:59:25Granowski, do you?
00:59:26No.
00:59:27She is standing over there, sir.
00:59:31Good afternoon.
00:59:32You wish to see us?
00:59:33Mr. Charters?
00:59:34Caldicott?
00:59:35That's right.
00:59:36I sell chocolate on the Central Station.
00:59:39Oh.
00:59:40Very nice for you.
00:59:41This afternoon,
00:59:42a lady shall lean out of the train window
00:59:44to buy a packet of chocolate
00:59:46and give me a hundred tango
00:59:48with this note.
00:59:50Oh.
00:59:51Mrs. Charters and Caldicott, Hotel Niagara.
00:59:53Yes.
00:59:54Oh, well, thank you very much.
00:59:55Here.
00:59:56Here's something for your trouble.
00:59:57Oh.
01:00:01Central Station?
01:00:02Must be from her.
01:00:03Quick, open it.
01:00:08La Paloma.
01:00:09We'll be out.
01:00:10Yes.
01:00:11Obviously taken at the end of her dance.
01:00:13So observed.
01:00:14What does this mean?
01:00:15Schwarzhoff, Krimmelberg, SOS.
01:00:17SOS?
01:00:18It's quite a distress, old man.
01:00:20Yes, but Schwarzhoff, Krimmelberg.
01:00:22Probably some address she wants us to go to.
01:00:24We'll ask at the desk.
01:00:26Oh.
01:00:27I say.
01:00:28Yes, sir?
01:00:29Do you know where the Schwarzhoff, Krimmelberg is?
01:00:30Krimmelberg.
01:00:31It's opposite town near the Hungarian border, sir.
01:00:33But I do not know Schwarzhoff.
01:00:34Oh.
01:00:35Perhaps the guidebook will help us.
01:00:36I have one.
01:00:37One more for me.
01:00:38I don't think we ought to do anything hasty.
01:00:40I mean, we don't want to start out in a wild goose chase.
01:00:42Not goose, old man.
01:00:43Owl.
01:00:44Here we are.
01:00:45Krimmelberg, page 47.
01:00:47Thanks.
01:00:48Let's see.
01:00:49Here we are.
01:00:50Krimmelberg.
01:00:51I say, Charters, here it is.
01:00:52What?
01:00:53Look, on the summit of which is the Schwarzhoff,
01:00:55a 15th century castle.
01:00:57Formerly the residence of Count Halongi.
01:00:59What time do the trains leave Krimmelberg?
01:01:01I'll look them up.
01:01:02Sinclair.
01:01:03Portrait.
01:01:06Sir, you're back.
01:01:08Oh.
01:01:09Hello, Edith.
01:01:10Whenever I see you too lately, you give me a hunted look,
01:01:12mumble a lot of balderdash, and rush off like a couple of rabbits.
01:01:15Oh, really?
01:01:16I suppose it would be too much to ask for an explanation.
01:01:18Or, supposing there is one.
01:01:19Oh, yes.
01:01:20Yes, rather.
01:01:21There's an explanation.
01:01:22All right.
01:01:23At just the moment, we can't think what it is.
01:01:24Sinclair, what's that photograph you're holding in your hand?
01:01:26It's that woman.
01:01:27Give it to me this minute.
01:01:28I can't do that, Edith, because there's something written on the other side.
01:01:30No doubt.
01:01:31It looks pretty bad.
01:01:32Couldn't be worse, Portrait.
01:01:33I shall speak to mother about you when I get back.
01:01:35And as for you, Sinclair, I shall visit your grandfather at Bishop's Store
01:01:38and lay the whole matter before him.
01:01:40My good woman, what's his grandfather got to do with it?
01:01:42Excuse me, gentlemen.
01:01:44There's a train leaving for Krimmelberg in a quarter of an hour.
01:01:47What time's the next one?
01:01:48Not until this evening, sir.
01:01:49We can't wait till then.
01:01:50Fifteen minutes.
01:01:51We can just make it.
01:01:52Yes, of course we can.
01:01:55Sinclair?
01:01:56Portrait, come back.
01:01:57Can't stop now, girl.
01:01:58We'll explain later.
01:01:59You won't have the opportunity.
01:02:01After this, I'm returning to England at once.
01:02:03At once, do you hear?
01:02:28I am sorry about all this, Ada,
01:02:30but you know you brought it on yourself.
01:02:33The case servant asked me to apologize
01:02:35for the iron bars at the window.
01:02:38In the old days, this room used to be used as a prison cell.
01:02:42In fact, in the whole history of the castle,
01:02:44no one has ever succeeded in escaping from this room.
01:02:48In spite of that, I find the room quite pleasant, Harold Fink.
01:02:50Yeah?
01:02:51Well, you'd better make the best of it.
01:02:53They will not be so considerate in Berlin.
01:02:56Berlin?
01:02:58So that is where I'm being taken.
01:03:00Yeah, in the morning.
01:03:02Unless you reconsider your attitude.
01:03:04You know, Ada, you are very foolish
01:03:06for refusing to answer case servants' questions.
01:03:08I shall behave just as foolishly in Berlin?
01:03:11Your obstinacy is absurd!
01:03:13I myself saw you talking to those Englishmen at the bars.
01:03:15And why should I not?
01:03:16Who else could have told them
01:03:17to take that gramophone record to Captain Spansvik?
01:03:19That alone is conclusive proof
01:03:21that you are working for the British.
01:03:24Now you are being absurd.
01:03:39Is that a window?
01:03:40It's open over there.
01:03:42Well, it looks like it is.
01:03:44You see, they're asking you in person, aren't they?
01:03:47They're going to be.
01:03:48Come on.
01:03:53Come on.
01:03:57After them, we'd better be here before we get inside.
01:04:00I hope she'll realize what we're doing for her.
01:04:24Come on, sing a song.
01:04:27Do you hear that?
01:04:28Now watch this.
01:04:30Maybe there.
01:04:32Come on.
01:04:53Come on.
01:04:57Listen.
01:04:58Something's coming.
01:04:59Every time you look at me
01:05:06Something seems to tell me
01:05:09You're oh so very wise
01:05:13Every time you look at me
01:05:22Good evening, gentlemen.
01:05:24Mr. Charters and Mr. Caldicott, I presume.
01:05:27Yes.
01:05:28That's right.
01:05:29Beg pardon for disturbing you,
01:05:30but I understood the two of you were in here.
01:05:32And seeing your feet protruding from under the curtains,
01:05:35I took the liberty of drawing them.
01:05:37Oh.
01:05:39Very kind of you.
01:05:40Yes, sir.
01:05:41You are a little later than we expected.
01:05:43Yes.
01:05:44What?
01:05:45Oh, well, you see,
01:05:46we were in the neighborhood
01:05:48and we thought we'd just pop in
01:05:50and have a look around the castle.
01:05:53Yes, it's a wonderful old place, isn't it?
01:05:56Fifteenth century, sir.
01:05:57Oh, really, yes.
01:05:58Well, I don't think there's anything to keep us any longer,
01:06:01is there, Charters?
01:06:03No, I don't think so.
01:06:04Just a minute, sir.
01:06:05I believe you are dining with my master.
01:06:10Master?
01:06:11Yes, sir.
01:06:13Extraordinarily decent of him.
01:06:15Yes, sir.
01:06:17As a matter of fact, I'm afraid we have another appointment.
01:06:20I don't think you have, sir.
01:06:23Ah, good evening, gentlemen.
01:06:26Good evening.
01:06:27Captain Spanswick.
01:06:28Captain Spanswick, there's no doubt you've learned.
01:06:30He's unfortunately dead.
01:06:32I ventured to take his place when you came to the Traveler's Club.
01:06:35Yes, and you took that record, too.
01:06:36What have you done with it?
01:06:37And what have you done with this thing?
01:06:39She'll be here in a moment.
01:06:40May I introduce myself?
01:06:42I am Max Bauer,
01:06:44and I work quite hard for the German Intelligence Service.
01:06:48I figure in their records,
01:06:49in the sensational way secret services have,
01:06:52as K-7.
01:06:56I always said we ought to have gone to the British Consul.
01:06:58Look here.
01:06:59If you think we're going to stay here and have dinner with you,
01:07:01you're sadly mistaken.
01:07:02Yes.
01:07:03We're leaving at once.
01:07:04I don't think so, Mr. Corleycott.
01:07:06I don't think so.
01:07:08In fact, to be brutally frank,
01:07:09I'm very much afraid that neither of you will leave here at all,
01:07:12ever.
01:07:14What?
01:07:16You mean you're going to be killed?
01:07:18It is a political necessity.
01:07:21That would be murder.
01:07:22I regret the necessity almost as much as you do.
01:07:25But haven't you got hold of the wrong end of the stick?
01:07:27How do you mean?
01:07:29Well, we're not British agents or anything like that.
01:07:32Oh, quite.
01:07:34But you told me yourselves
01:07:35at the Traveller's Club in Budapest
01:07:37that this gramophone record
01:07:39referred to a sabotage scheme of ours in the Middle East,
01:07:42not unconnected with oil.
01:07:44Did we?
01:07:45We all make mistakes, you know.
01:07:47Yes.
01:07:48Especially Charters when he tries to translate German.
01:07:50Oh, rather.
01:07:51I hardly know that nine means yes.
01:07:53Indeed.
01:07:54Nevertheless, you will understand
01:07:55that we are not anxious for Britain
01:07:56to know the details of our scheme,
01:07:58especially with the attack on your pipeline
01:08:01timed for midnight tomorrow.
01:08:03Our pipeline?
01:08:04Midnight tomorrow.
01:08:05So that's it.
01:08:06Really, Mr. Kaye, what do you call it?
01:08:08I've seldom heard of a dirtier piece of work.
01:08:10Here, here.
01:08:11Quite.
01:08:12But you see my difficulty.
01:08:13I dare not allow even a hint of our plans to leak out.
01:08:16But, look here,
01:08:17couldn't we be merely imprisoned until it's all over?
01:08:21Being men of honour,
01:08:22you would no doubt attempt to escape.
01:08:24Naturally.
01:08:25After all, it's our pipeline.
01:08:27Well, there you are, gentlemen.
01:08:29You compel me to take care of you.
01:08:32And now, do let us have dinner.
01:08:41I don't think I'm very hungry.
01:08:43Food's poisoned, of course.
01:08:45My dear Mr. Caldicott,
01:08:46I assure you, you can eat without the slightest mistake.
01:08:49Oh, well, in that case...
01:08:50After you, gentlemen.
01:08:53You know, it is such a pity.
01:08:56You're very good fellows, I can see that.
01:08:58That's very nice of you to say, sir.
01:09:00I'm really sorry that all this has happened.
01:09:04You can serve dinner right away.
01:09:10A little more pork, I suppose.
01:09:12Oh, thank you.
01:09:13Yes, it's a tragic business.
01:09:15There you both were, enjoying your holiday.
01:09:17Oh, just a second, please.
01:09:19Do you mind if we stick to the present tense?
01:09:21After all, we're still in it.
01:09:24Just.
01:09:25I do beg your pardon.
01:09:27But truly, I've thought of your own.
01:09:28You stumbled into this affair,
01:09:30and I find the whole thing very disturbing.
01:09:33So do we, as a matter of fact.
01:09:35We understand your problem, though.
01:09:37Please, do let's change the subject.
01:09:39Yes.
01:09:40Excellent porch you've got here.
01:09:42Oh, we take a pride in ourselves.
01:09:44Come in.
01:09:46Ah, come in, both of you.
01:09:49I think you know these gentlemen, Rosinger.
01:09:52Yeah, I think I do.
01:09:54And so I believe does Miss Dearing.
01:09:56Yes.
01:09:57I'm terribly sorry about this.
01:09:59Oh, that's all right.
01:10:00You couldn't help it.
01:10:01Miss Dearing is leaving in the morning for Berlin.
01:10:03I say, you can't send her there.
01:10:05An officer and a party of men will arrive here by plane
01:10:07during the night to collect her.
01:10:09They will attend to you before they leave.
01:10:13Oh.
01:10:15May I ask how?
01:10:17I mean, what method?
01:10:19It is painful to me to discuss it,
01:10:21but I imagine they will shoot you in the courtyard.
01:10:23Oh, not in the heart.
01:10:26Well, gentlemen, perhaps you'd like to get a little sleep.
01:10:29I've had my own room prepared for you.
01:10:31Oh, that's awfully decent of you.
01:10:33I could hardly do less.
01:10:34Hogan, show these gentlemen to their room.
01:10:36Yes, sir.
01:10:37This way, gentlemen.
01:10:39Well, Miss Dearing, I suppose we'd better say goodbye.
01:10:43I don't expect you'll be getting up to see us off.
01:10:48I can't tell you how I...
01:10:49Please.
01:10:50I only wish I could help you, that's all.
01:10:53Same here.
01:10:56Goodbye, Mr. Caldicott.
01:10:58Goodbye, Miss...
01:10:59What's this?
01:11:14Funny sort of position to be in.
01:11:16Yes.
01:11:17Funny sort of holiday.
01:11:18Funny sort of business altogether.
01:11:20I never thought it would finish like this.
01:11:22Neither did I.
01:11:24I wonder if Edith will ever hear about this.
01:11:26I don't suppose anybody will hear anything about it ever again.
01:11:37What's he saying?
01:11:39There is just a chance.
01:11:41There is just a chance.
01:11:43Caldicott.
01:11:44We have a friend here who will try to substitute blanks for bullets.
01:11:50Good heavens.
01:11:52But he may not succeed.
01:11:54Oh, dear.
01:11:56When shots are fired, fall at once.
01:12:00Wait two minutes, then go to the gate in the west wall.
01:12:04It will be unlocked.
01:12:07Sign D.
01:12:09Yes, Miss Dearing.
01:12:10I say, Charles, this is wonderful.
01:12:12Yes, but suppose this fellow doesn't put the blanks in.
01:12:16Well, he still falls.
01:12:40You will stand with your back to the wall.
01:12:59Now, gentlemen, you may have the choice.
01:13:03Choice.
01:13:04What?
01:13:05Of being shot or not?
01:13:06Of bandage or no bandage.
01:13:09No bandage.
01:13:12No bandage.
01:13:13Very good.
01:13:26So goodbye, old man, just in case.
01:13:31Goodbye, Caldicott.
01:13:37And so matters will now go through as arranged, my dear Rossinger, in spite of all your blunders.
01:13:43Come in.
01:13:47I have to report, sir, that the two prisoners have been executed according to your orders.
01:13:51Good.
01:13:52You will proceed to collect the woman Dearing.
01:13:55She is in the east tower.
01:13:57Very good, sir.
01:14:00That friend must have managed to shove in those blanks.
01:14:03Apparently.
01:14:04See anybody about?
01:14:05No.
01:14:07We'd better get up.
01:14:08Yes.
01:14:09We'd better make for that gate in the west wall.
01:14:10Come on.
01:14:23Yeah.
01:14:24Thank you, sir.
01:14:26Well, Rossinger, that is that.
01:14:28Yeah, I admit I am not sorry.
01:14:30True to type, these Britishers, they're really so stupid.
01:14:34They all with the simplest trap.
01:14:37Rossinger, it's gone.
01:14:38What?
01:14:39The record.
01:14:40It was here last night.
01:14:42What is the matter?
01:14:43Woman's room.
01:14:44It is empty.
01:14:45She has gone.
01:14:46What?
01:14:47Of course.
01:14:48Too sad.
01:14:49They may be shot.
01:14:50Well, their bodies have disappeared.
01:14:51They are doomed to proceed.
01:14:52But that is not possible.
01:14:53Impossible or not, it's happened.
01:14:54Get out with them, Grouse.
01:14:55Hello.
01:14:56Hello.
01:14:57Tell Paul to bring a car out at once.
01:15:00What's that?
01:15:01What?
01:15:03Paul's gone?
01:15:04And the car?
01:15:08We must hurry.
01:15:09There's no time to lose.
01:15:10We must get that message to the admiral before tonight.
01:15:12Step on it, old man.
01:16:03Well, we'll soon be there now, Mr. Earing.
01:16:05London at last, eh?
01:16:06It's too late for the Westminster, sir.
01:16:08Well, we'll still be able to see them playing against Sussex, old man.
01:16:11I expect the whole of the foreign office will be waiting to welcome you,
01:16:14after all you've done for them.
01:16:15Oh, we're not given recognition and we don't expect any.
01:16:18Well, I think it's a shame, after all you've been through.
01:16:21I don't know what I would have done without both of you.
01:16:23I hardly go as far as to say that.
01:16:25No, just a little initiative, common sense, you know.
01:16:28Well, I suppose your fiancé will be waiting for you, Mr. Calderfoot.
01:16:31Well, that's unlikely.
01:16:33I'd be unlikely.
01:16:34Yes.
01:16:35Even if there's no official welcome, I suppose there'll be somebody waiting for you?
01:16:39Oh, that's even more unlikely.
01:16:41Is it really?
01:16:42Well, if you're going to be all alone, I mean, I'm not engaged or anything,
01:16:47and I thought perhaps we could...
01:16:50Yes, perhaps we could.
01:16:51Well, shall we?
01:16:53Mm-hmm.
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