Shortly after the start of World War II, a ukulele player (George) takes the wrong boat and finds himself in (still uninvaded) Norway. He is mistaken for a fellow British intelligence agent by a woman (Mary), and becomes involved in trying to defeat German agents.
Source: IMDB
Source: IMDB
Category
🎥
Short filmTranscript
00:01:30Good evening, everybody.
00:01:46This is Mark Mendes and his music broadcasting from the majestic Hotel Bergen.
00:01:50Our next number will be, Oh, Don't the Wind Blow Cold.
00:02:36Thank you, Mark.
00:02:48Oh, hello.
00:02:48Is that you, Mark?
00:02:53Strickland speaking.
00:02:54Good news for you.
00:02:55I got you a youth player.
00:02:57Yep.
00:02:58He's a first class man.
00:02:59His name's Bill Norman.
00:03:03Who?
00:03:04Norman?
00:03:05Norman? Oh, the fellows with Cortez. That's swell.
00:03:10Leon? Yeah, what a terrible business.
00:03:14No, no, no. The police are absolutely baffled.
00:03:17The gun must have been fitted with the silencer.
00:03:19How soon can Norman get here?
00:03:21He's selling on the marmoset tonight.
00:03:23Maybe you can send one of the boys down to meet him.
00:03:25Yes, yes. Slim will go and meet him at the docks.
00:03:27Okay, that's fine.
00:03:29Well, Colonel, let's settle.
00:03:31Winnie?
00:03:33Ginger up that call to Bill Norman.
00:03:34You're sure he's an absolutely reliable man?
00:03:36Colonel, have I ever let you down?
00:03:38On the contrary. Intelligence is deeply inundated to him.
00:03:42Hello, hello. Strickland speaking.
00:03:44Is that you, Bill? All set to sail?
00:03:47Fine. Hold the line.
00:03:48Colonel Hargett wants to speak to you.
00:03:51How do you do, Mr. Norman?
00:03:53I understand Mr. Strickland has explained the importance of this job.
00:03:56Our agent in Bergen will contact you as soon as you arrive,
00:03:59and I'm sending my assistant, Conway, to see you on board tonight.
00:04:01Dover Harbor Station, nine sharp, under the clock.
00:04:05Yes, sir, I'll be carrying my Uke case.
00:04:07Goodbye.
00:04:08Good luck.
00:04:09Better get going, Conway.
00:04:10Yes, sir.
00:04:12So long, Mr. Strickland.
00:04:14So long.
00:04:15Well, what's it all about this time, Colonel?
00:04:17Don't tell me you've got something on the great Mindy's.
00:04:19He's the chief Nazi agent in Bergen.
00:04:21A British subject spying for Hitler?
00:04:24Born in Hamburg.
00:04:25A very dangerous man.
00:04:26He's collecting information about merchant shipping and passing it on to U-boats.
00:04:30Never.
00:04:31How do you manage to tip them off?
00:04:32Well, that's what Leon was trying to find out when Mendez killed him.
00:04:35Yes.
00:04:36Excuse me.
00:04:37Well, I must be going.
00:04:38Goodbye, and thanks very much.
00:04:39Nor a bit, Colonel.
00:04:41Anything, anytime.
00:04:42Yes?
00:04:43Central Pier Blackpool, sir.
00:04:44They want a concert party to open Monday night.
00:04:46Well, we've got one to send them, haven't we?
00:04:48I don't think so, sir.
00:04:49Yes, we have one.
00:04:50Here.
00:04:51Here we have the dinky-doos.
00:04:52They arrive at Dover tonight.
00:04:53Go down and catch them before they split up and send them up to Blackpool.
00:04:56What, me?
00:04:57Go down to Dover tonight?
00:04:58In the blackout, sir?
00:04:59Yeah, better go at once.
00:05:00But, dear, I've made all arrangements.
00:05:02It's my night for ARP.
00:05:04Here's a quid.
00:05:05Take her with you.
00:05:06But I...
00:05:06Go on.
00:05:07Mind you back there, please.
00:05:11Mr. Stationmaster, I'm looking for the dinky-doos.
00:05:15First door on the left, sir.
00:05:15No, no.
00:05:16They're Mr. Strickland's concert party.
00:05:18Concert party.
00:05:19Oh, they came in a quarter of an hour ago, sir.
00:05:20That way.
00:05:21Thanks so much.
00:05:22My wife and I go on the Bergen boat.
00:05:24What use is one berth in one cabin for me and another berth in another cabin for my wife?
00:05:27She gets sick, what do I do?
00:05:28I'm sorry, sir, but the boat's full.
00:05:30I will not permit my wife to be party for me, sir.
00:05:32If we are sick, we must be sick together.
00:05:34I'm sorry, sir, but I cannot help you.
00:05:36Excuse me, are you a dinky-doos?
00:05:38She is not.
00:05:38She's a respectable married woman.
00:05:40Go away.
00:05:41Well, here we are, boys and girls.
00:05:42Home sweet home.
00:05:43There's no place like home.
00:05:44I wouldn't bear if we could say it.
00:05:46Oh, say you were the dinky-doos.
00:05:48Well, we were.
00:05:49Bless my soul, it's Sibby.
00:05:50How are you?
00:05:51We're here.
00:05:52Oh, thank goodness.
00:05:54Mr. Strickland sent me down.
00:05:55He's got you a date up in Blackpool.
00:05:56Opening on Monday.
00:05:57Blackpool Monday?
00:05:58Yes, you've got to go straight up there tonight.
00:06:01Now, are you all here?
00:06:02Yes, I think so.
00:06:03Well, let's see.
00:06:04Alf, Parker, Mabel, Gladys, Hepplewhite.
00:06:09Where's Hepplewhite?
00:06:10Wait.
00:06:15Oh.
00:06:16Turned out nice again, hasn't it?
00:06:19So that's the lot, then.
00:06:21If you'll all come to the refreshment bar with me, I'll give you all your tickets.
00:06:24Hey, hey, hey.
00:06:25Alf, I believe we don't want to lose you.
00:06:27Give us your hand.
00:06:27Here, you take mine.
00:06:28Ted, you take Mabel's.
00:06:29Then we'll all keep together.
00:06:30Give me your hand, George.
00:06:31Quick.
00:06:31Oh, it's cold.
00:06:32That's not my hand.
00:06:33It's my ukulele.
00:06:35Hey, wait a minute.
00:06:36I've left my bike.
00:06:37Don't go.
00:06:37Wait a minute.
00:06:38Wait for me.
00:06:39I can't find it.
00:06:40Where's my bike?
00:06:41Be careful, darling.
00:06:42Here, let me go first.
00:06:44Give me your hand.
00:06:46Hey, look, Alf.
00:06:47Please, mind what you're doing.
00:06:48Well, I can't find my hand.
00:06:49Are you all right, dear?
00:06:50Come on.
00:06:51There we are.
00:06:51I've got it.
00:06:52Give me your hand.
00:06:53Oscar.
00:06:54Yes, dear?
00:06:55Someone's got hold of my hand.
00:06:57It's all right, darling.
00:06:58It's me.
00:06:58No.
00:06:59My other hand.
00:07:00It's a strange man.
00:07:02What?
00:07:02Please, let go of my wife's hand.
00:07:04Leave off, Ted.
00:07:05This is no time for kidding.
00:07:06Give over, Gladys.
00:07:07This is my wife.
00:07:08How can Gladys be your wife when you're already married?
00:07:11That would be arson.
00:07:13It's not Gladys.
00:07:14Look for yourself.
00:07:17Hey, you're right.
00:07:19It isn't Gladys.
00:07:20I beg your pardon, Miss.
00:07:21She just thought you were a dinky-do.
00:07:23For the second time, she is not a dinky-do.
00:07:25And leave go of her hand.
00:07:26Oh, oh, so you'd strike me, eh?
00:07:29No.
00:07:30Police.
00:07:30No, I'm not.
00:07:31Police.
00:07:31I didn't know anything.
00:07:33You're joking me out of them.
00:07:35Oh, oh.
00:07:36Oh, oh.
00:07:37Oh, oh.
00:07:39Police.
00:07:39Police.
00:07:40Police.
00:07:40Police.
00:07:41Police.
00:07:41Excuse me.
00:07:43Excuse me.
00:07:44Excuse me.
00:07:45Excuse me.
00:07:46Police.
00:07:47Oh, now, sir.
00:07:48You have never set eyes on me before, have you?
00:07:49No, I've never.
00:07:51You've never seen me before.
00:07:52No, I remember your face now.
00:07:54Allow me, sir.
00:07:55What do you be here?
00:07:56A musical instrument in case.
00:07:58I put it on the table so.
00:08:00I cover it up with the old school tie.
00:08:02And I've passed the fluence through it.
00:08:04Now then, watch me closer, ladies and gentlemen.
00:08:05I have nothing up my sleeves.
00:08:07Not even a shirt.
00:08:07Voila.
00:08:10Now, sir.
00:08:11Open your keys.
00:08:13What have we here?
00:08:15And there I do, ladies and gents, from his grandpa who fell into Waterloo.
00:08:18Or was he King's Cross?
00:08:2314 and 6, George.
00:08:24Good work.
00:08:24She's leaving in five minutes.
00:08:26I'll see to the heavy luggage and meet you on board.
00:08:28Who's that?
00:08:29A chap from Strickland's.
00:08:31Oh, of course, you haven't heard the glad news.
00:08:32Freddie Strickland's booked to Central Pier Blackpool.
00:08:34We open Monday.
00:08:35Go on.
00:08:36That's right.
00:08:36We've got to get up there straight away.
00:08:38Here, but it'll take a long time to be trained.
00:08:40Going by boat, old boy.
00:08:42The railways have all been commandeered by the Ministry of Information.
00:08:45Oh, fancy no trains.
00:08:46In fact, didn't you hear that chap say he'd meet us aboard?
00:08:49Oh, yes, I did.
00:08:51Come on, boys and girls.
00:08:51We can't keep the Queen Mary waiting.
00:08:53Five o' tuppence, please.
00:08:54Your turn to push the boat out, George.
00:08:55What, the Queen Mary?
00:08:56No, you're round.
00:08:57And, George, bring my bags along.
00:08:58There's a pound.
00:08:59Well, wait for me.
00:09:00Five o' tuppence, please.
00:09:04Here, what's this?
00:09:06A trouser button?
00:09:07Trouser button?
00:09:08Well, I'm good to our house.
00:09:09I've gone and given that port a sixpence by mistake.
00:09:13Goodbye.
00:09:19Just a minute.
00:09:27Oop.
00:09:28Oop.
00:09:29Oop.
00:09:29Oop.
00:09:29Oop, what's to do?
00:09:31I thought you were never coming.
00:09:32We must hurry.
00:09:33She sails in a few minutes.
00:09:34Are you the chap from Strickland?
00:09:35Sure, my name's Conway. Afraid you won't have a very comfortable voyage. She's packed out.
00:09:39Oh, I don't mind. It's the job at the other end. I'm looking forward to it. Sounds champion.
00:09:43You'll have quite an exciting time. I'll bet I will.
00:09:45You'll find Mary Wilson a grand person to work with.
00:09:48I've got to work with a woman? Of course, didn't you know?
00:09:50She'll contact you when the moment you arrive.
00:09:52See, fancy that. What do we do? The usual croft dark act?
00:09:56Oh, certainly. She'll say to you, do take early morning tea.
00:09:59Your reply is, no thanks, just a glass of orange juice.
00:10:02Nobody will think anything funny about that.
00:10:04It's perfectly safe. Now, remember, she'll say, do you take early morning tea?
00:10:08Then you'll give her the answer.
00:10:10See what? No, just in time.
00:10:12Here's your ticket.
00:10:14Have all the other runaway?
00:10:15It looks like in here. This is your expense. It's 75.
00:10:1870 quid?
00:10:20Goodbye. The best of luck to you.
00:10:22Goodbye. Goodbye.
00:10:24Goodbye. Goodbye.
00:10:26Goodbye. Goodbye.
00:10:28Goodbye. Goodbye.
00:10:30Goodbye. Goodbye.
00:10:31Goodbye. Goodbye, Mr.
00:10:33How can you take a black bull rock?
00:10:43This is your cabin, sir. Madam's is over here.
00:10:45But this is absurd.
00:10:47The man with whom I share must go and sleep in my wife's cabin.
00:10:50Well, I bet that'll be okay with him if the missus don't object.
00:10:53Idiot. My wife will come into number six with me.
00:10:56But you can't shove the gent in here. What about the lady in the upper berth?
00:10:59It's all right, Oscar. I shall be quite safe.
00:11:02Well, if you are disturbed, darling, call for me. Good night.
00:11:08Good night.
00:11:11Good night, sir.
00:11:13Eh? Oh.
00:11:15Here you are.
00:11:16Thank you, sir.
00:11:17Good night.
00:11:20Good night.
00:11:21Now, Thompson.
00:11:22Yes, sir.
00:11:23There will only be one lady, number nine, upper berths cancelled a passage.
00:11:26Very good, sir.
00:11:27You better tell the lower berths husband.
00:11:28I think he'll want to move in with her.
00:11:30Yes, sir. I'll tell him.
00:11:31In the morning.
00:11:33Anything I can fetch you, sir?
00:11:34Not feeling well, sir?
00:11:35No.
00:11:36Ah, that's what they call a grand swell.
00:11:37How'd you suffer, sir?
00:11:38I had it, but I haven't got it now.
00:11:40Bob, are you sure I have to have a light in your cabin?
00:11:41Shall I help you down to it, sir?
00:11:42Oh, must you?
00:11:43Well, I can't bring the cabin up, sir.
00:11:44Can't you?
00:11:45I could.
00:11:46You'll be all right when the moon comes up.
00:11:47Oh, what's that going to come up to?
00:11:48What's your number, sir?
00:11:49What's your number, sir?
00:11:50Nine.
00:11:51Oh, that's half, sir.
00:11:52Where's Aftam?
00:11:53I'm a stranger on this ship.
00:11:54This way, sir.
00:11:55Oh, I'm not sure I have to have a light in your cabin.
00:11:57I'm not sure I have to have a light in your cabin.
00:11:58Shall I help you down to it, sir?
00:11:59Oh, must you?
00:12:00Well, I can't bring the cabin up, sir.
00:12:01Can't you?
00:12:02I could.
00:12:03Ha.
00:12:04You'll be all right when the moon comes up.
00:12:06Oh, what's that going to come up to?
00:12:08What's your number, sir?
00:12:14Nine.
00:12:15Oh, that's half, sir.
00:12:16Where's Aftam?
00:12:17I'm a stranger on this ship.
00:12:18This way, sir.
00:12:19Excuse me, sir.
00:12:34Excuse me, sir.
00:12:35Are you the gentleman who ordered a Welsh rabbit?
00:12:37No.
00:12:49No.
00:12:50Have you always read?
00:12:52What?
00:13:05Only reading, please.
00:13:06Yeah.
00:13:07Don't tell diamonds.
00:13:08Never.
00:13:09I don't know.
00:13:10Anyone else near your boyfriend?
00:13:11Wow, can you�?
00:13:12Yes.
00:13:14Oh, my God.
00:13:44Oh, my God.
00:14:14Come in.
00:14:33Who's there?
00:14:35It's me. What do you want?
00:14:36Open this door.
00:14:37Who's up there?
00:14:40Oh!
00:14:42Open the door!
00:14:44I'll break it open.
00:14:46You can't come in.
00:14:47You can't come in.
00:14:47There's an idiot.
00:14:48I'll break it open.
00:14:54Oscar!
00:14:55You're the man again!
00:14:56I'll break it open.
00:14:56Oh, I've got to get out.
00:14:59What can I do?
00:15:00Help!
00:15:01Help!
00:15:02Help!
00:15:02Help!
00:15:03Help!
00:15:04Your turn.
00:15:09Excuse me.
00:15:11Excuse me.
00:15:15I beg your pardon.
00:15:17mercy.
00:15:18Oh, my God.
00:15:21Oh, my God.
00:15:23Peel me.
00:15:26Gangway.
00:15:27Gangway.
00:15:30Excuse me.
00:15:31Excuse me.
00:15:31Come by you.
00:15:32I'm out of the way.
00:15:32Please.
00:15:33Sir, we've been doing this.
00:15:35Why are you up?
00:15:36No, you're up.
00:15:37No, you're up.
00:15:38You're up.
00:15:39Gangway!
00:15:43Gangway!
00:15:44Let me take your bag, sir.
00:15:45Thanks.
00:15:46I can't run faster without him.
00:15:47Which is the way out?
00:15:48Can't go into the customs, sir.
00:15:49Customs?
00:15:50What fancy customs?
00:15:51I love me.
00:15:52I love me.
00:15:53I love me.
00:15:54This way, sir.
00:15:59Excuse me.
00:16:00There's a lot of foreigners about.
00:16:03Yes, sir.
00:16:04You've got all kinds in Bergen.
00:16:05Yes.
00:16:06What?
00:16:07B-B-Bergen?
00:16:08This is Blackpool.
00:16:09No, sir.
00:16:10Bergen.
00:16:11Yes, sir.
00:16:12Bergen?
00:16:13Oh, mother.
00:16:14I've got to get back.
00:16:15Tell the captain he's got to take me back to Blackpool.
00:16:16I'm a dinky-doo.
00:16:17Mister, look.
00:16:18I've got the wrong boat.
00:16:19I've got the wrong luggage.
00:16:20And I'm in the wrong place.
00:16:21Right.
00:16:22Oh, please ask the captain if he'll take me back, will you?
00:16:25We'll take you back, sir.
00:16:26But you've got to go to Iceland first.
00:16:27Iceland?
00:16:28Oh!
00:16:29I'll get me death a cold.
00:16:31You are undone?
00:16:32Yes.
00:16:33No, but I will be undone if I don't get back to Blackpool.
00:16:36The key?
00:16:37It doesn't belong to me.
00:16:38It's Mr. Arbuckles.
00:16:39Yes.
00:16:40That is nice.
00:16:41Have you anything to declare?
00:16:43No, nothing.
00:16:44Nothing, eh?
00:16:45Look!
00:16:46See a class.
00:16:49Ah, joke, eh?
00:16:51Yes.
00:16:54No.
00:16:55Explain, please.
00:16:57Hey, look.
00:16:58It's empty.
00:17:00Oh!
00:17:05What is this?
00:17:06Open, please.
00:17:07Me?
00:17:08Open?
00:17:09Please.
00:17:10I was afraid of that.
00:17:12See?
00:17:13Look.
00:17:14Nothing in it.
00:17:16I will see for myself.
00:17:17Yes, go on.
00:17:18There's nothing in it.
00:17:19You have a look.
00:17:20Bonjour, eh?
00:17:21You give me the bird, eh?
00:17:23No.
00:17:24I didn't know it was there, mister.
00:17:25Also, you did not know this was there.
00:17:27And this.
00:17:28And this.
00:17:29And this.
00:17:30A lot of nothings, eh?
00:17:32Well, it isn't mine.
00:17:33It belongs to Mr. Arbuckle.
00:17:34And where's Mr. Arbuckle?
00:17:35I don't know.
00:17:37Perhaps it's in here, too.
00:17:38And what's this?
00:17:39And this?
00:17:40Tobacco, eh?
00:17:41No.
00:17:42I don't know what it is.
00:17:43Then I will test it and see it.
00:17:44No.
00:17:45You must know it belongs to Mr. Arbuckle.
00:17:46Give it to me.
00:17:51He assaulted my wife.
00:17:52Most disgraceful behavior.
00:17:54And I want him arrested.
00:18:02There he is!
00:18:03Officer, arrest that man!
00:18:05Get out of me!
00:18:06Arrest him!
00:18:07Arrest him!
00:18:08Arrest him!
00:18:10Arrest him!
00:18:13Arrest him!
00:18:14Arrest him!
00:18:16Arrest him!
00:18:17Arrest him!
00:18:19Arrest him!
00:18:20Arrest him!
00:18:21Arrest him!
00:18:26Oh, there you are.
00:18:28In here.
00:18:28Oh, thanks!
00:18:33Stop that THACKY!
00:18:35Now what's the hurry?
00:18:36I don't know what a pally you've been to me?
00:18:38Not at all.
00:18:39himself with. Mark Mendes sent me to meet you. Who? Mendes. It's Mark Mendes. Yes, you're Bill
00:18:45Norman, aren't you? No, I'm George Applewhite. You see, what happened was I got in the wrong
00:18:48cabin well earlier. Well, if you're not Bill Norman, what are you doing with that uke? I play it. I'm a
00:18:51dinky-do. You're a dinky-what? A dinky-do. You know, the dinky-do's concert party when on our way to
00:18:56Blackpool for the season. Well, what are you doing here in Bergen? One of Strickland's chaps put me
00:19:00on the boat. Well, he did, did he? Yes, well, I didn't know you. Oh, I see what happened. Strickland
00:19:05was sending Mendes a new uke player. Unless he couldn't get Bill Norman, he sent you instead.
00:19:09Well, me? Well, I'm not that good, but I've never played with anybody as good as Mark
00:19:14Mendes before. Well, if you've got anything, your fortune's made. Oh, here we are. You go
00:19:18in and register, and I'll explain to Mr. Mendes.
00:19:27Ah! The morning! Oh, I'm sorry, I beg your pardon. I'm sorry, let me walk. Oh, oh!
00:19:33I'm sorry, I beg your pardon. Oh, how do you do? Good morning, sir. We've
00:19:39a room reserved for you on the first floor. How did you know I was coming? You're Mr.
00:19:43Mendes, new ukulele player, aren't you? Yes, that's right. That would me probably. I'll be here.
00:19:47Mr. Strickland sent you, didn't he? Yes. Fancy you knowing all that. Do you take early morning tea?
00:19:55If you want me to. I said, do you take early morning tea? Yes, sweet. I mean, for lumps.
00:20:04I've just seen Mendes. Oh, yes? What did he say? He wants to hear what you can do.
00:20:08What now? Yes, the boys are rehearsing. I'll take you along. Oh, please.
00:20:11Darling, here, let me go first. Oh, good morning, missus.
00:20:19One bedroom for myself and my wife. One, you understand? One!
00:20:23Yes, sir. Will you register? Rita, will you take over for a minute? I just want to write a note.
00:20:34Let's take the last minute bars again.
00:20:38Well, didn't I tell you? Oh, look what I've found in my ukulele case.
00:20:42Meet me tonight after the showroom 64. M.
00:20:45Well, I don't know anybody in Bergen. You don't, eh?
00:20:48Oh, who? M.
00:20:49Well, that's from Mendes, of course. Mr. Mendes?
00:20:52Sure. Room 64, that's where he signs his contract. Is it really?
00:20:55Yes. Oh, fancy. Twenty-five quid.
00:20:57Well, why should Mendes come and send? Come on. Come on.
00:20:59Oh, they need you. Hurry up. Hurry up.
00:21:00I'll come in.
00:21:04I'll have them orchestrated and put them in my next broadcast.
00:21:07Thank you, bye.
00:21:09Three merchant ships and the Newcastle Bergen boat.
00:21:12Tomorrow night's broadcast.
00:21:13Look at this one.
00:21:16Well, what about it?
00:21:17Heppelwhite found it in his ukule case.
00:21:20He doesn't know a soul in Bergen.
00:21:21Hey, someone's tried to contact him. Undercover.
00:21:24Maybe this was meant for Norman.
00:21:26They didn't know this boob had turned up instead.
00:21:31If he is a boob, he might be another British agent.
00:21:34His passport will tell us that.
00:21:36How?
00:21:37Microscopic sign on the photograph.
00:21:39A British agent's used for mutual identification.
00:21:41Get hold of it.
00:21:42By force?
00:21:43Oh, dear. Fascination.
00:21:44Park yourself in room 64.
00:21:46If anyone comes in but Heppelwhite, it's our friend M.
00:21:49Oh, dear.
00:22:10Oh, dear.
00:22:13Hello.
00:22:28Oh, beg your pardon, I thought this was room 64.
00:22:31So it is. Come and sit down, won't you?
00:22:35Thanks very much. I've come here to meet Mr. Mendez.
00:22:39Oh, well, I think I'd better wait outside. I'm frightened I might break my contract.
00:22:47You're not scared of me, are you?
00:22:49No, I'm scared of me.
00:22:51Nonsense. Then sit down.
00:22:54Well...
00:23:01Do you care for one night of love?
00:23:03Mother!
00:23:04What's the name of my perfume?
00:23:06Nice indeed.
00:23:08I'd better not sniff any more, there won't be enough left to go round.
00:23:10Will you put some behind your ears?
00:23:12No, I can't sniff behind me unless I jerk my head round quick.
00:23:14No, you tickly don't.
00:23:16Oh, there, now you've made me spill some on your coat.
00:23:19Let me rub it off.
00:23:24No, stop it, it tickles.
00:23:26Oh, how strong you are.
00:23:28Do you think so?
00:23:29Do you know what they say about me back home?
00:23:31I've got the eyes of an hawk, the strength of a fox, the speed of a hare, and the brains of an ox.
00:23:35Hey.
00:23:37I've got that wrong somewhere.
00:23:38You must be strong.
00:23:40I've never seen a man with such broad shoulders.
00:23:43No, I don't suppose you have, but most men have the shoulders up here.
00:23:46Oh, yes.
00:23:47But the muscle would go right down here.
00:23:49My bicycle, muscle.
00:23:50Now, go where you're tickling me, you cheeky-fasca.
00:23:52Go.
00:23:55That's where you're tickling me.
00:23:56Well, there.
00:23:57Well, there, now.
00:23:58I'm going to fall.
00:23:59Whoa, whoa, whoa.
00:24:00I'm out of here.
00:24:01I'm out of here.
00:24:02Go, go, go.
00:24:03Hey!
00:24:08I'm going to fall.
00:24:09I'm out of here.
00:24:10What's the matter, dear?
00:24:13Look.
00:24:14Look.
00:24:19I'm out of here.
00:24:20I'm out of here.
00:24:21I'm out of here.
00:24:22I'm out of here.
00:24:23You!
00:24:24I'm out of here.
00:24:25You, step in your way.
00:24:26I'm out of here.
00:24:27Oh!
00:24:28Oh!
00:24:29Oh!
00:24:30Oh!
00:24:31Oh!
00:24:32You, again!
00:24:33So you throw shillings at me, now!
00:24:35I will get her I'm out of here.
00:24:36Oh, beg your pardon.
00:24:38Oscar, it's that man, again!
00:24:40Oh!
00:24:41Oscar!
00:24:42Ah!
00:24:43Ah!
00:24:44Ah!
00:24:45Huh? Another one? What sort of a hotel is this?
00:24:52You picked a fine time to play around with your girlfriend.
00:24:55Me? No, you're wrong. I don't want the hotel to think that I was...
00:25:00I never met her before this morning.
00:25:01Fast worker, eh?
00:25:02No, it was her. She wouldn't let me alone. She's had her eye on me ever since I came here.
00:25:06I wonder if she's working for Mendy's.
00:25:09Of course she is. Didn't you know?
00:25:11I see. You are a fast worker.
00:25:15Now listen. I've discovered the secret of Mendy's success.
00:25:19You see...
00:25:19There's nothing clever about that. It's his music, of course.
00:25:22So you've tumbled to it, too.
00:25:26And I thought I'd been smart.
00:25:29It's as plain as the nose on your face.
00:25:31Oh.
00:25:32No, I didn't mean that. Yours is a nice nose.
00:25:34And I like your face, too. Yours would be a nice face even without a nose.
00:25:38Never mind that, love.
00:25:40It was Leon who first got on the track.
00:25:41He noticed that fresh U-boat sinkings followed each of the Mendy's broadcasts.
00:25:46U-boats? Mendy's?
00:25:47Poor old Leon was killed the day after that.
00:25:49Killed? Well, I...
00:25:49Now, look here. Will you let me finish?
00:25:51I realized then that Mendy's must be using a musical code to send his shipping information to the U-boats.
00:25:57And that's where you come in.
00:25:58You've got to get the key to that code.
00:26:00Me?
00:26:01Well, the British Intelligence Service didn't send you out here to twiddle your thumbs.
00:26:04British, intelligent, but I'm not intelligent. I'm a dinky-doo.
00:26:09A what? But you're Bill Norman, aren't you?
00:26:13No. I'm George Applewhite. There's been a mistake.
00:26:17But if you thought that I was, then you must be a...
00:26:20You're not a young lady at all. You're a British spy.
00:26:23Oh.
00:26:25Fancy, I didn't know they had spies like you.
00:26:27Oh, what a colossal fool I've made of myself.
00:26:31Aye, what a muck-up I've landed myself in.
00:26:33But now that you know, you've got to keep quiet about this. Promise?
00:26:38Cross my heart.
00:26:40I'll go further than that for you, miss.
00:26:42How far would you go?
00:26:44As far as you like.
00:26:45You would?
00:26:46Yes.
00:26:47Splendid. You realize, of course, this is dangerous work.
00:26:49Yes. What?
00:26:51Mendy's is a killer, but once you've got the key to his code, we've settled his hash for good.
00:26:55Oh, well, perhaps I'm not the right chap for the job after all.
00:26:59Scared?
00:27:00No, I'm not scared, but my mother wouldn't like me to get mixed up in anything underhanded.
00:27:05I thought so.
00:27:08I don't suppose you would see anything underhand at all in Mendy's sinking a lot of unarmed merchant ships.
00:27:14Oh, yes, I do, but you must understand that...
00:27:16Well, you can blame yourself if your mother has to go without her breakfast bacon for the rest of the war.
00:27:21Mother, when I...
00:27:21Goodbye, Mr. Hebblewhite.
00:27:23Just go on playing your ukulele while other people's ships go down.
00:27:26Yes, but I...
00:27:28Blame it.
00:27:29I'll tell her.
00:27:34Soz, you're coming in here as cool as you like, treating me like a piece of dirt.
00:27:40Who does she think she is?
00:27:43Secret agent.
00:27:45Mendy's a German spy.
00:27:47Tell it to me, I'm funny.
00:27:49Don't it just seem a bit funny, that fella sending me upstairs?
00:27:53I'm not going to get myself bumped off like the other fella did.
00:27:56She can get bumped off if she wants to.
00:27:59Fat lot, I care.
00:28:03Hmm.
00:28:04Nice girl, too.
00:28:05As bad as you can't keep a civil tongue in her head.
00:28:07I feel sorry for her.
00:28:15And no bacon for my mother's breakfast.
00:28:18It's a shame.
00:28:23It's a downright crying shame, that's what it is.
00:28:26More than flesh and blood can stand.
00:28:30What was it, she said?
00:28:31If I got the key of the code, I'd settle his ash.
00:28:39She couldn't call me a coward if I got that for her.
00:28:42I'd be a hero.
00:28:44There'd be medals and things.
00:28:46Arise, Sir George Applewhite, B.C.
00:28:49Who's afraid of that snake, Mendy's?
00:28:52Me, no, sir.
00:28:55I'll say, come on, Mendy's, you rat.
00:28:57Hand over the key of the code if you don't want me to blow the brains out of you.
00:29:00Oh, me afraid of him.
00:29:03I'll show him whether I'm afraid or not.
00:29:06Look out, Mr. Mendy's, here I come.
00:29:11What the devil do you mean, breaking into my room without knocking?
00:29:14Well, I was thinking I might...
00:29:17I'm sorry, Mr. Mendy's.
00:29:19Well, now you're here, what do you want?
00:29:21I want the key.
00:29:21Key?
00:29:22Well, the broadcast tomorrow night, I want to know what key it's in.
00:29:26Is that all you've come here for?
00:29:28Well, it's Mr. Mendy's.
00:29:30As it happens, you can have it.
00:29:31It's finished.
00:29:33Thank you, Mr. Mendy's.
00:29:34No, that's not it.
00:29:35I thought I could do a bit of practising.
00:29:38Here it is.
00:29:39Straightforward stuff, and I want it played note for note.
00:29:41Do you understand?
00:29:42Yes, Mr. Mendy's.
00:29:43You know, twiddly bits of your own.
00:29:44Yes, sir.
00:29:44No, Mr. Mendy's.
00:29:45Now, hop it.
00:29:46I'm busy.
00:29:46Thank you, Mr. Mendy's.
00:29:47What are you waiting for?
00:29:52It's this music.
00:29:53It's a bit difficult.
00:29:54Now, don't give me that stuff.
00:29:55Hand it over.
00:29:57Well, I haven't got it.
00:29:58I haven't got the hang of it.
00:30:00Well, what's difficult about it?
00:30:02That.
00:30:02That's four bars rest.
00:30:04That means you're tacit.
00:30:05I myself.
00:30:06Oh, get out, will you?
00:30:07Get out!
00:30:08Yes.
00:30:08That was it.
00:30:14That was it.
00:30:14I'll bet me bottom dollar that was it.
00:30:38I'll bet you.
00:31:08I'll bet you.
00:31:38I'll bet you.
00:31:39I'll bet you.
00:32:08I'll bet you.
00:32:38I'll bet you.
00:32:39I'll bet you.
00:32:40I'll bet you.
00:32:41I'll bet you.
00:32:42I'll bet you.
00:32:43I'll bet you.
00:32:44I'll bet you.
00:32:45I'll bet you.
00:32:46I'll bet you.
00:32:47I'll bet you.
00:32:48I'll bet you.
00:32:49I'll bet you.
00:32:50I'll bet you.
00:32:51I'll bet you.
00:32:52I'll bet you.
00:32:53I'll bet you.
00:32:54I'll bet you.
00:32:55I'll bet you.
00:32:56I'll bet you.
00:32:57I'll bet you.
00:32:58I'll bet you.
00:32:59I'll bet you.
00:33:00I'll bet you.
00:33:01I'll bet you.
00:33:02I'll bet you.
00:33:03I'll bet you.
00:33:04I'll bet you.
00:33:05I'll bet you.
00:33:06I'll bet you.
00:33:07I'll bet you.
00:33:08I'll bet you.
00:33:09I'll bet you.
00:33:10I'll bet you.
00:33:11I'll bet you.
00:34:41Oh!
00:35:11Hey, water in this bin.
00:35:34Hey, water in this bin.
00:36:04Stop it.
00:36:05My inside's coming out.
00:36:07Oh, I can't stop it.
00:36:11Oh, my stomach's inside out.
00:36:20Here.
00:36:21We're out.
00:36:22Reach out.
00:36:23Come.
00:36:24Here.
00:36:25You've got your leg out.
00:36:27Righto.
00:36:28Half a move.
00:36:29I'll scrape you down.
00:36:30Oh.
00:36:31We're out.
00:36:32We're out.
00:36:33We're out.
00:36:34We're out.
00:36:35We're out.
00:36:36Hold it down.
00:36:37Hold it down.
00:36:38I'm gonna try it down.
00:36:43Thanks, Bill.
00:36:48Thanks, Bill.
00:36:49Come on.
00:36:50You're out.
00:36:52Come on.
00:36:56Go.
00:38:31It's it. It's the key, right enough.
00:38:33Are you sure?
00:38:34I'm certain.
00:38:35Let's have a look.
00:38:37I can't see.
00:38:38No, I can.
00:38:39Them funny lines, what do they all mean?
00:38:41It's as simple as ABC.
00:38:43You see all those squares, each mark with the letter?
00:38:45Yes.
00:38:46Well, letter means place.
00:38:48And see those numbers at the bottom?
00:38:50They mean time.
00:38:51Oh, we've done it.
00:38:53We've done it.
00:38:54We've got old Mendes where we want him.
00:38:57Beg your pardon?
00:38:57Yes, but we've got to find out how he sends the letter and the number to the U-boats.
00:39:03Oh, yes.
00:39:03So we have.
00:39:04Where's that music Mendes gave you?
00:39:05It's over here.
00:39:07Play it?
00:39:08Play it?
00:39:09I can't.
00:39:09Why not?
00:39:10Well, it's written for different kinds of instruments.
00:39:12Play what you can of it.
00:39:13Will you hold it?
00:39:15Go something like this.
00:39:16How's that bit go?
00:39:20Well, that's for trumpets.
00:39:21I can't blow down a uke.
00:39:22Try it.
00:39:23Try and blow.
00:39:30Now, here's a bit for three trombones.
00:39:32Play it?
00:39:33Play it?
00:39:34Do I look like three trombones?
00:39:35Play it, please.
00:39:37All right.
00:39:41Now, play the trumpet bit again.
00:39:45Wait a minute.
00:39:46H.
00:39:51Play the last bit again.
00:39:57Six.
00:39:57H-six.
00:39:58What does that mean?
00:39:58Believe it or not, it's Commodore Garden Morse.
00:40:01See for yourself what H-six means.
00:40:02Hold up.
00:40:04H is a square halfway between Norway and Aberdeen.
00:40:07That's right on the course of the Newcastle-Bergen line.
00:40:10And six is 3.30 a.m.
00:40:11George, we've got it.
00:40:12Have we?
00:40:13When the trumpets and trombones play that break into tonight's broadcast,
00:40:16it's Mendy's message to the German new boats,
00:40:18telling them that in square H at 3.30 a.m.
00:40:21there'll be merchant shipping to be sent to the bottom.
00:40:23Oh, I'd like to get my foot on Mendy's square H.
00:40:26Clear the first bit of all again.
00:40:29Wait a minute.
00:40:30Ac-ac, that's the call signal, meaning stand by.
00:40:37Well, what does this bit mean that I play?
00:40:39Ta-ta-ta-ta-ta, ta-ta-ta-ta, ac-ah, that means end of message.
00:40:45You know, you are a clever young lady.
00:40:47Let's look again.
00:40:50Well, let me help you.
00:40:51I'll hold it still.
00:40:52I can manage.
00:40:53Well, I won't bother then.
00:40:55How are we going to stop Mendy's broadcasting?
00:40:56We're not going to...
00:40:57Stop him broadcasting.
00:41:00What, no, stop...
00:41:00We're going to let him go on.
00:41:01Oh, but you...
00:41:02Mendy's tells the U-boats where to go by means of this musical code.
00:41:05Yes?
00:41:06Suppose the Admiralty get a copy of that code.
00:41:08Oh.
00:41:10Oh!
00:41:11Oh!
00:41:11And then how are these tribes can go where Mendy says and wait for the U-boats?
00:41:14And then?
00:41:15Well, at Mrs. Duckett, your mother's want to book it.
00:41:17Yes, yes, yes.
00:41:36What?
00:41:38The new number you played last night was not a success.
00:41:41I have to tell you we have lost three of our best customers.
00:41:45Three?
00:41:46Well, it's impossible.
00:41:48Our competitors have learned the trick of writing numbers such as this.
00:41:51It is your fault.
00:41:52I will visit you later.
00:41:55That was Schwartz.
00:41:57He said three U-boats were sunk last night.
00:41:59He thinks the British have got hold of the code, and he's right.
00:42:01If little George is the wolf in sheep's clothing after all, then I'm surely temple.
00:42:05It's as plain as a pike staff.
00:42:07What is?
00:42:08They're using Hepplewhite, and he doesn't know it.
00:42:10A toucan play at that game.
00:42:13Scapellamine.
00:42:14Scapell... what?
00:42:15You remember the trials in Moscow, and their confessions?
00:42:18Uh-huh.
00:42:18Scapellamine?
00:42:19Is that the drug they used beforehand to make them talk?
00:42:21Right.
00:42:22Go and find Hepplewhite, Slim.
00:42:23Sure.
00:42:24Oh, wait up.
00:42:25Four coffees and send them up to my room.
00:42:26Certainly, sir.
00:42:27Make it three.
00:42:28Little Georgie panics at the sight of me.
00:42:34I've been in the papers.
00:42:35Three U-boats, sir.
00:42:37Very good, sir.
00:42:38I'll have them sent straight up to your room.
00:42:39Eh?
00:42:40Oh, beg your pardon.
00:42:41Sorry, Mary, I didn't...
00:42:43Now, listen.
00:42:43This is urgent.
00:42:44You've got to...
00:42:45As I said, sir, I'll have them sent straight up to your room.
00:42:48Yes, and about time, too.
00:42:49Any more sauce from you, and I'll report you to the manager.
00:42:51I am the manager, sir.
00:42:53Yes.
00:42:54Eh?
00:42:54How dare you be impertinent to a guest.
00:42:56I'm very sorry, sir, but...
00:42:57Don't answer back.
00:42:58Take a week's notice.
00:42:58Oh, you can't do that.
00:42:59You'll muck up everything.
00:43:00I beg your pardon, sir.
00:43:02Well, I mean, it's her old mother.
00:43:03She has to support her.
00:43:04Eh?
00:43:05And besides her mother, she has a lot of little children.
00:43:07All of her own.
00:43:08It's all my fault.
00:43:09I mean, if she gets married, she'll have a lot of little...
00:43:12Don't sack her, Mr. Manager.
00:43:14Very well.
00:43:15But more careful, Miss Wilson.
00:43:17Good afternoon, sir.
00:43:18Good afternoon.
00:43:18Listen, you've got to get away from here now.
00:43:22Away where?
00:43:22Back to England.
00:43:23If Mendez finds out about us, he'll stop at nothing.
00:43:26Here's your ticket.
00:43:27It's the SS McCauley.
00:43:28Sales at nine tonight.
00:43:29Your key, madam.
00:43:32But I can't leave you on the job by yourself.
00:43:34Thank you, sir.
00:43:36My job's nearly finished.
00:43:37I'm expecting orders to leave.
00:43:39Well, I'm not leaving without you.
00:43:40There you are, George.
00:43:41The boss wants you.
00:43:41Me?
00:43:42Yes.
00:43:42Mendez?
00:43:43Yes, he wants to have a talk with you.
00:43:44Come on.
00:43:46Don't tell me you've fallen for that boob.
00:43:48Of course not.
00:43:49Besides, he's not a boob.
00:43:50Hey, hey, hey.
00:43:51No need to bite my head off.
00:43:53Sorry.
00:44:14Come in, Hepplewhite.
00:44:16Shut the door, Slim.
00:44:18It's about last night's broadcast.
00:44:20I thought it might be.
00:44:22I understand it was surprisingly effective.
00:44:25Go on.
00:44:26And I put that down entirely to you.
00:44:28Do you?
00:44:30So you're going to get what's coming to you right now.
00:44:34I'm going to raise your salary.
00:44:36I'm going to give you another 20 quid a week.
00:44:39Oh, thank you, Mr. Mendez.
00:44:43I'll go and put it in the savings bank.
00:44:45Oh, now, stay and have a cup of coffee.
00:44:46Well, well, no.
00:44:48I don't mind if I don't.
00:44:50You don't think I want to poison you because I'm jealous of your success, do you?
00:44:53Ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha.
00:44:57Ha, ha, ha.
00:45:02Ha, ha, ha, ha, ha, ha.
00:45:03Ha, ha, ha, ha.
00:45:05Makes you feel full of beans, doesn't it?
00:45:06Yes, coffee beans.
00:45:08Glad you'd like it. Have some more. Slim.
00:45:09Yes.
00:45:14Do you know, when I came in here, I was shivering in my shoes.
00:45:18Oh, really? Why?
00:45:20Well, a couple of ugly customers like you.
00:45:22Why? Don't you like me, Hubblewhite?
00:45:25Not much. And I hate the sight of him.
00:45:28Do you do anything besides playing the ukulele?
00:45:31Oh, yes, I'm a spy.
00:45:32Who does smoke?
00:45:33Now, tell us about it. It must be a very fascinating occupation.
00:45:37Go on, Mr. Mendis.
00:45:39No, you go on, George.
00:45:44I can't teach my grandmother to suck eggs.
00:45:47I'm a spy. You're a spy. He's a spy.
00:45:49Tra-la-la-la. We're all spies.
00:45:51How long have you been at it?
00:45:53Oh, a couple of days.
00:45:54But last night, she all put me top of the bill.
00:45:57Really?
00:45:59Why?
00:45:59Why? Because I sank three U-boats.
00:46:02You amaze me.
00:46:04Go on, Mr. Mendis. Kidding again.
00:46:06The way you were U-boats, I sank.
00:46:09Oh, yes, of course. I've forgotten that.
00:46:10Hey, you are now. I've given yourself away.
00:46:13You know, when I tell my mother how I diddled them,
00:46:14she'll not start laughing for a week.
00:46:16How did you diddle me?
00:46:21How?
00:46:22Well, I pinched you a chord while you were singing in your bath.
00:46:29You've got a rotten voice.
00:46:31What did you do with it?
00:46:32I give it to Mary.
00:46:34Mary? Mary who?
00:46:35Oh, Mary. Mary.
00:46:37Quite contrary.
00:46:38Will you marry me and become Lady George Applewhite?
00:46:44V.C.
00:46:44V.C.
00:46:46Mary who?
00:46:48Mary Wilson.
00:46:50Mary Wilson?
00:46:51Who's she?
00:46:52The girl at the reception desk.
00:46:58Hello?
00:47:00Yes, you're speaking.
00:47:02Oh, is that you, Schwartz?
00:47:03Hold the line a minute, will you?
00:47:04I'll get him back to his room. We'll fix him later.
00:47:06Sure.
00:47:06Sorry to keep you waiting.
00:47:11Yes, I have found out who it is.
00:47:13I can't tell you on the telephone.
00:47:15Now, you know my room number.
00:47:17Yeah, I'll be waiting for you.
00:47:18Oh, my God.
00:47:48What did you do with it?
00:47:49What did you do with it?
00:47:52Good evening, Herr Hitler.
00:47:53This is Mark Mendes speaking.
00:47:55The first item on our program this evening
00:47:57is the execution of Mary Wilson
00:47:59and George Applewhite.
00:48:01Sting them up, you guys.
00:48:08Camberhardt! Camberhardt!
00:48:10What have you done with Mary Wilson?
00:48:11She's in a hot spot where you'll never find her.
00:48:14Sash you.
00:48:18Mary, Mary, where are you?
00:48:26George, I'm half big.
00:48:28Save me, George.
00:48:29Don't worry, look.
00:48:30I'm on my way.
00:48:31Here I am.
00:48:35George.
00:48:37George, you're wonderful.
00:48:39Oh, I know I am.
00:48:43Aha, so it's you again.
00:48:45Where is Mary Wilson?
00:48:47Hamperrook.
00:48:48All right.
00:48:49Here she comes.
00:48:52My hero.
00:48:53Mary, will you marry me?
00:48:54True marriage is a maid in heaven.
00:48:56Search me.
00:48:57All aboard.
00:48:58Here we go.
00:48:59Have you anything to declare?
00:49:12Yes.
00:49:12Four no-trumps.
00:49:14You can't come in.
00:49:15You haven't got the ears of nerves.
00:49:17The ears of nerves?
00:49:17Who is he?
00:49:18Adolf Hitler.
00:49:19Now, I'll not be long, love.
00:49:20You pick out a nice, soft cloud for us both
00:49:23and I'll be back in time for dinner.
00:49:25Goodbye, dear.
00:49:25So long.
00:49:26Goodbye, dear.
00:49:53Goodbye, dear.
00:49:54I'll send you some Berlin rock.
00:49:56Hey, you! Hey, Winbach!
00:50:23Adolf!
00:50:24Well, you've asked for it.
00:50:31Hang on.
00:50:32And I'm out of here.
00:50:35Look out, Adolf! I'm coming after you.
00:50:37I'm determined on self-determination.
00:50:40I wipe the British Empire from the face of the earth.
00:50:43Hello, Adolf! I want you.
00:50:45Why?
00:50:46You're my last territorial demand in Europe.
00:50:48I knock your head off of the block.
00:50:51Not if I knock you block off first.
00:50:53Oh!
00:50:55Oh, I'm out of here!
00:50:56Oh!
00:50:57Oh!
00:50:58Oh!
00:51:00Oh!
00:51:01Oh, oh!
00:51:02Oh!
00:51:03Oh!
00:51:04Oh!
00:51:05And so, Herr Mendez, if those instructions are carried out, our failure of last night will be partly redeemed.
00:51:22Yes, now let's check the arrangements. U-36 surfaces at two o'clock out in the fjord, four miles due west of here.
00:51:28I board her and radio instructions to U-58 and U-93, giving them the positions of the British troopships Hurricane and Magnificent.
00:51:35Right, and you remain aboard U-36 when she attacked the Macaulay, which sailed from here at 9.30.
00:51:41I promise you there'll be no interference this time.
00:51:43Oh, what about Heppelwhite and the Wilson girl, Herr Schwarz?
00:51:47You will use your discretion, Herr Selwyn.
00:51:52Steamship Macaulay speaking. Majestic Attell, hold the line, please. You call, miss.
00:51:56Is that you, Greta? Did you give him my note? The door's locked and there's no answer to the phone.
00:52:02But you must find him. It's urgent. He's in danger.
00:52:05Now, try once more.
00:52:09She's not there.
00:52:12Is Miss Wilson after you, dear?
00:52:13No, Mr. Mendez, but her mother is dangerously ill and she's sailing tonight for England.
00:52:17On the Macaulay?
00:52:18I believe so.
00:52:19Oh, well, she's an excellent ship. I'm sure she'll have a pleasant journey.
00:52:25Oh, the key.
00:52:25Oh, oh, oh, oh.
00:52:37So there you are. What's the noise?
00:52:38Can't wait the balance.
00:52:39Hi, wait a minute. Message for you. It's important.
00:52:43Wow.
00:52:44Give me.
00:52:47Can't wait.
00:52:48Can't wait.
00:52:48Can't wait.
00:52:49Yes.
00:52:49Come here.
00:52:52You take over from me after the first number.
00:52:54What time are we starting with?
00:52:56What the devil?
00:52:57Get ready!
00:52:59Get ready!
00:53:01We start with, oh, don't the wind blow cold.
00:53:03I get you.
00:53:04Pity, he was a good Duke player.
00:53:09Good evening, everybody.
00:53:10This is Mark Mendes and his music broadcasting to you from the majestic Hotel Bergen.
00:53:15We start our program tonight with your new favorite, oh, don't the wind blow cold.
00:53:19Oh, I've got to eat.
00:53:24Hey, mister, the Macaulay.
00:53:30Have you seen the Macaulay?
00:53:31Macaulay?
00:53:31Yes.
00:53:32Thanks.
00:53:34I can't see her.
00:53:35Where is she?
00:53:36She's out of sight.
00:53:37What, gone sales?
00:53:39Half an hour ago.
00:53:40Oh, mother, I must catch it.
00:53:42Oh.
00:53:54We're all set to go.
00:54:00Tableau.
00:54:01Good.
00:54:01We're just about beyond time.
00:54:14The U-bird surface is at two o'clock.
00:54:16Three miles due south of Smaroy.
00:54:18You get that, Olaf?
00:54:19Tableau.
00:54:20I'll get it going.
00:54:20How do you all have?
00:54:35General.
00:54:50There she is, just coming up.
00:55:02There she is, sir.
00:55:05Ah, got you.
00:55:15Herr Mendes?
00:55:16Nice timing, commander.
00:55:17You have the information?
00:55:20The movement of three troop ships.
00:55:23And the Macaulay.
00:55:24Excellent.
00:55:25You come with me.
00:55:29Now, if you're ready to hear the other two boats,
00:55:30we ought to be able to beg the lot.
00:55:32Your man.
00:55:32He had better come aboard.
00:55:33He might talk.
00:55:34Olaf, you needn't worry about him.
00:55:36All the same, we take no chances.
00:55:37Just as you say, commander.
00:55:39Olaf, come aboard.
00:55:40And set the boat adrift.
00:55:41Yavu?
00:55:41Come on.
00:55:42Come on.
00:55:47I'll teach these British to play tricks with me.
00:55:53I've got a little debt to pay on board the Macaulay.
00:55:55So.
00:55:56We should submerge.
00:55:57Where is this fellow?
00:55:59Olaf.
00:56:00Yavu.
00:56:10Now hurry, will you?
00:56:11Yavu.
00:56:14Come down now, please.
00:56:15Go ahead, Olaf.
00:56:16Yavu.
00:56:17Close all leads.
00:56:33Diving stations.
00:56:35Slow ahead, boat.
00:56:36Slow ahead, boat.
00:56:38Take her to 15 meters.
00:56:39Blood number one, two, seven, eight.
00:56:41Blood one, two, seven, eight.
00:56:4215 meters, sir.
00:57:0015 meters, sir.
00:57:02Teddy at 15 meters.
00:57:04Full ahead, boat.
00:57:05Full ahead, boat.
00:57:06Two or three degrees.
00:57:07Two or three degrees, sir.
00:57:08Keeper at 15 meters.
00:57:11You have the details of the ships?
00:57:13Yes, they're all here.
00:57:14Three troop ships and the Macaulay.
00:57:15Good.
00:57:17I will wireless them to our sister craft.
00:57:18Here.
00:57:19Take this to the wireless operator.
00:57:21Come ahead to my quarter.
00:57:22Thanks.
00:57:24Olaf.
00:57:25You remain here.
00:57:26Aye.
00:57:27What?
00:57:28Yavu.
00:57:28Yavu.
00:57:28From the commander, to U-58 and 93.
00:57:36Urgent.
00:57:36Wait a minute.
00:57:45It's all right.
00:57:46Yeah.
00:57:46Hello.
00:57:54Hello.
00:57:54Hello.
00:57:56Hello, U-36 calling U-58.
00:57:58Calling U-58.
00:58:00Hello.
00:58:00Hello.
00:58:01U-36 calling U-93.
00:58:04Calling U-93.
00:58:05U-58.
00:58:06U-58.
00:58:07Stand by.
00:58:08Ready.
00:58:09U-58.
00:58:10U-58.
00:58:11Commander's orders.
00:58:12Stand by to attack British troopship.
00:58:14Magnificent.
00:58:15British troopship.
00:58:16Magnificent.
00:58:17Latitude.
00:58:20Hello.
00:58:21Latitude.
00:58:23Repeat it.
00:58:31Latitude.
00:58:33Latitude.
00:58:35U-36.
00:58:35Repeat latitude.
00:58:36Hello, U-58.
00:58:37U-58.
00:58:38Can you hear me?
00:58:39Hello, U-58.
00:58:40U-5...
00:58:42Ah.
00:58:46U-58 calling U-36.
00:58:59U-58.
00:58:59U-58.
00:59:00Hello.
00:59:01Hello.
00:59:01Hello.
00:59:01I don't know your telephone number.
00:59:03It's urgent.
00:59:04Hello.
00:59:04I don't know your telephone number.
00:59:05Hello.
00:59:06Hello.
00:59:06Hello.
00:59:06Hello.
00:59:07Hello.
00:59:07S.S. Macaulay.
00:59:08Hello.
00:59:09Hello.
00:59:10Sorry, you've been troubled.
00:59:11Hello.
00:59:11Hello.
00:59:12S.S. Macaulay.
00:59:13Hello.
00:59:13Hello.
00:59:13Hello.
00:59:18Hello.
00:59:19S.S. Macaulay.
00:59:20Hello, S.S. Macaulay.
00:59:21good evening you're about to hear our news in english the entire british fleet was sunk last
00:59:28night off wigan pier by order of mr winston churchill i will now tell you oh i'll tell you
00:59:34a few things about time hello hello ss mccauley answer hello hello team ship mccauley answering
00:59:42oh don't go away hello ss mccauley can you hear me yes who are you i'm a dinky do i don't know
00:59:47her is she a british ship no no i'm a british secret service i want to speak to mary
00:59:51you want the queen mary oh no not the queen mary the mccauley i want to speak to mary wilson mary
00:59:56wilson one of your passengers she's a pretty girl you'll soon i mean you can't it's a matter of life
01:00:01and death i'll try and get her keep on the air but there's trouble with the radio sir i can't
01:00:04make contact you've got to keep on trying it is vital yes sir hold on she's coming hello hello
01:00:13is that you mary oh mary george what's happened to you i fell off the boat of mr chandelier i mean i
01:00:19fell off the chandelier and missed the boat i'll listen i'll tell you about that later mendes is in
01:00:22the submarine and he's going to sink the macaulay the macaulay yes and three troop ships we've got
01:00:27to stop him they're going to radio to their other submarines wait a minute george george what is it
01:00:35what happened george george george shut up
01:00:47sorry it's all right now mary what happened what was the hold up nothing just interference we've got
01:00:54to stop mendy's somehow you see he's in a submarine yes that's right yes and where are you i'm in the
01:00:59the same submarine with mendes yes but he doesn't know it yet what are we going to do we might
01:01:06contact the destroyer ask him his position oh what's your position i'm sitting down now oh no where's
01:01:13the submarine it's under the sea we're about how do i know i can't see out what time do you say the
01:01:20macaulay left 9 30 and if we can't while this soon we shall miss the lot we go and see ask me if you
01:01:25got a chart have you got a chart it's no good i couldn't read a chart if i had one haven't you
01:01:30any idea where you are don't you know where you started from started oh yes that's right we started
01:01:36three miles due south of yes i don't know please do everything you can hang on george and try to
01:01:44stop them please stop them by myself excuse me they're all big men and they've got plenty of guns
01:01:50mary tell me what to do oh mary tell me what to do mary mary hey there mary oh what did you do
01:02:11what's happening to him i don't know it must be a shock from the transmitter then no messages
01:02:15have been sent but all the our biggest chance we are too late for the troop ships but we can get
01:02:20to macaulay you can we ourselves we are on her course now now get her there's the girl on board
01:02:25that boat that's worth half a dozen troop ships to me i take it 220 degrees starboard 15. keep us
01:02:38steady steady full ahead both hello ferocious calling macaulay ferocious now searching for enemy
01:02:46submarine stand by okay ferocious message received standing by that's all we can do miss
01:02:59uh there is a ship now is it the macaulay i don't know we go closer starboard one oh
01:03:11starboard one oh bring her up to 10 meters flow threes and fours no threes and fours
01:03:1610 meters sir 10 meters sir keep her steady
01:03:26yes it is the macaulay can you get her naturally group it on what one five
01:03:35action stations number two two stand by number two two stand by number two two low
01:03:40number two two ready number two two ready number three and four two stand by number three and four
01:03:52four ready four three and the chips now we let her have one
01:04:01turned out nice again hasn't it you you not here
01:04:05uh
01:04:16uh
01:04:18uh
01:04:20uh
01:04:30uh
01:04:32Topia attack. On deck, miss. You've won the process.
01:04:56Nearly got us that time.
01:04:57Look!
01:04:59The destroyer!
01:05:02It's your leader, Jackson.
01:05:04Stand by, Jeff Dodgers.
01:05:07Fire!
01:05:13Excitations!
01:05:17Put on the brakes!
01:05:32Get out. Get out of all you're nesting!
01:05:50Let me out. Let me out!
01:05:52Stand like a surface.
01:05:54Take him in, sir.
01:05:56He's coming out, sir.
01:05:58She's coming up sir. We must have got her. She's got a heavy lift. Prepare to board her.
01:06:18Let me out! Let me out!
01:06:28Commander, I'm afraid I must ask you to come aboard.
01:06:33Let me out! Mr. Mendez, let me out! I can't stop in here, I'd rather be shot!
01:06:40Ah, Mr. Mendez, your passage is booked to London.
01:06:43I'm sure you didn't get the McCauley. Perhaps I will.
01:06:51It's a shell!
01:06:59George!
01:07:02George!
01:07:03Uh-huh, never touch me.
01:07:05George, are you hurt? George, say something.
01:07:10Turned out nice again, hasn't it?
01:07:12Yeah.