Enigma Page #4

Synopsis: During the heart of World War II, in March of 1943, cryptoanalysts at Britain's code-breaking center have discovered to their horror that Nazi U-boats have changed their Enigma Code. Authorities enlist the help of a brilliant young man named Tom Jericho to help them break the code again. The possibility of a spy within the British code-breakers' ranks looms and Tom's love, Claire, has disappeared. To solve the mysteries, Tom recruits Claire's best friend, Hester Wallace. In investigating Claire's personal life, the pair discovers personal and international betrayals.
Director(s): Michael Apted
Production: Manhattan Pictures Internation
  3 wins & 6 nominations.
 
IMDB:
6.4
Metacritic:
64
Rotten Tomatoes:
72%
R
Year:
2001
119 min
Website
1,136 Views


Take and eat this in remembrance|that Christ died for you.

Thank you for your note.

I take it it's about Claire.|Have you heard anything?

She hasn't turned up,|if that's what you mean.

- But you've got something.|- Take this and eat this in remembrance|that Christ died for you.

I don't know why I'm doing this.

The body of our Lord,|Jesus Christ, which was given freely.

Preserve my body and soul--

ADU is the call sign|of Nachtrichten, Regiment 537...

a motorized German|Army signals unit based...

in the Ukraine.

Its messages are encoded in the standard|cipher for the Russian campaign.

- We call it Kestrel.|- Kestrel.

Seven messages|with the call sign ADU...

were intercepted|in March and April...

not counting the last four|on April the 17th, which you found.

I've written down the dates|and times of interception.

A spy doesn't steal the enemy's signals.|And anyway, they were never de--

They were never decoded. Why would|she steal four messages she can't read?

She must have stolen them|to read them.

She stole them to read them.|But there's no way she could have.

- Why not?|- She couldn't. It just--

Just take my word for it.

God preserve me.|Another one.

I seem to move, Mr Jericho,|in an endless round...

from one patronizing male|to another...

forever being told what I am|and what I am not allowed to know.

Well, that ends here.

So, what would she need|to read them?

I'm sorry.|You can't ask me that.

But you can ask me to sneak|into the Index Room and risk|getting hung up by my thumbs.

- Good morning.|- Cheerio, then.

Oh, Chr-- Miss Wallace.

Miss Wallace!

She'd need--|She'd need a Typex machine.

Every day, our Typex machines|have to be set...

the same way the Germans|set their Enigmas.

Otherwise, you just get|nonsense from nonsense.

And working out each day's settings|is the hard part.

That's where|the code breakers come in.

- How?|- Well, you-- you need a crib.

- I'll see you later, then.|- Suppose that gravestone was in code.

If I knew who was buried here, more|or less, I'd know what the code meant.

That's a crib.

And when you've set the machine,|you type in the coded message.

If it comes out nonsense,|the settings are wrong.

If it comes out|''Mary Jane Hawkins''...

you've broken Enigma for that day.

Why would Claire get hold of the|Kestrel settings for April the 17th?

She couldn't have,|unless she had help.

Kestrel would be fiiled in Hut 6.

It's your hut.

So now I'm a traitor too.

Well, maybe she got access|to one of the Typex machines from you.

Typex girls work around the clock.

Sorry.

Stuck.

Look.

The fiirst seven ADUs were decoded.

Now, what happens|to decoded messages?

They get written into the German book.|That's Claire's job.

Then what?

Well, then they get fiiled with|everything else in the main registry.

- Ever been in there?|- Once or twice to check some--

No. No, no, no, no.

Oh, dear, would you like some tea?

- Reference or loan?|- Reference.

- Section?|- Hut 6. Control.

- What are they?|- Kestrel intercepts, March and April.

- He's been a dark horse, hasn't he?|- Hmm. Surprise a minute.

But there are complications.

Sorry to have been so long.

I've never come across this before.

- The fiile was empty?|- There was a typewritten note...

dated April the 17th...

referring all inquiries|to the Offiice of the Director General.

And that night, four fiinal ADU|messages got in under the wire...

never deciphered, never fiiled...

taken home by Claire and hidden.

Who is the Director General?

Chief of the Special|Intelligence Service.

And he gets his orders straight|from the prime minister.

We're stuck again.

Maybe. Maybe not.

I've got the hang|of this detective work.

But l've been told|that everything's oay

You're out of bounds!

- Mr Mermagen.|- What are you doing?

Can you help me?

Machine Room needs the Kestrel settings|for the last couple of weeks.

They've found a batch of intercepts|fallen behind a desk.

- They've done what?|- I know.

But please don't tell.|It was actually a friend of mine.

Ah, you girls.

You know, I should really|report you for this...

but--

One good turn|deserves another, hmm?

Why, Mr Mermagen.

What will your wife say?

The Kestrel settings|for the whole of March and April.

Christ.

So, at least there's still|a chance we can read the ones|you found in Claire's bedroom.

- I've burnt them.|- You what?

Hello, Tom.|Mind if we join you?

- You can't m-m-m-mean it.|- Well, of course I mean it.

Drowning herself was Virginia Woolf's|greatest contribution|to English literature.

- Actually, we were just leaving.|- Waste not, want not.

Whale meat.|Brain food, Tom.

- You burned them!|- I had a close call with that lounge|lizard Wigram from Special Intelligence.

I panicked. But the worst of it is,|I could have read them.

- How?|- I didn't need a Typex machine.

We've got a real Enigma|in the museum.

- Well, when did you fiind that out?|- Well, I knew. I just-- I just forgot.

You forgot?

And you're the genius.

You know, I won a newspaper|crossword competition.

I beat two men. All three of us|were recruited for Bletchley.

They're cryptanalysts now.

And I'm a glorifiied fiile clerk.

'Course, if I'd been a daddy's girl|from some posh fiinishing school--

God, look, it's time|to go back on shift.

- You?|- Not for a bit.

Right.

Did she ever say anything about me?

Well, she must like you.

The way she talks about the others--

A bus load, you said?

The Romilly effect.

One look, and they're ''Romillied.''

Who was she seeing?|I only mean it might be a way forward.

- I know what you think about me.|- No, you don't.

Well, I feel like an idiot.

And you aren't the one standing here|with the Kestrel settings|stuffed into your knickers.

Look, I don't know|who she was seeing...

and I really think|we'd better call this a day.

Don't you?

Bye, then.

Miss Wallace.

I haven't been lookin'|to the right or left...

so there's something|I didn't see clearly.

What's that?

That you're a remarkable--

I think you're simply wonderful.

Tom, nice of you to turn up.

- Look, I don't know|what Skynner's been saying.|- Shut the door.

He wants you out.

''Send him back to Cambridge,|and this time make the bugger walk.''

I got you the rail pass.

- Not now!|- No, you can't do that, Guy. Tell them|you want to give me a couple of days.

- Why?|- To see if I can fiind a way|back into Shark.

Tom, it was you that announced|that it couldn't be done in four days.

It was you that made Skynner look|a fool in front of his clients.

Now you want me to go back and|tell him-- Piss off, for God's sake!

Sorry, Guy. Hello, Thomas.|You'd better come and hear this.

Two long signals from U-boat|headquarters in the last 12 hours.

One just before midnight,|one just after. Rebroadcast twice.

- Then nothing.|U-boat fleet is on radio silence.|- Christ.

They're on battle stations.

Say 12 U-boats 20 miles apart...

possibly two lines,|possibly three.

An ambush covering|hundreds of miles of ocean.

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Tom Stoppard

Sir Tom Stoppard OM CBE FRSL (born Tomáš Straussler; 3 July 1937) is a British playwright and screenwriter, knighted in 1997. He has written prolifically for TV, radio, film and stage, finding prominence with plays such as Arcadia, The Coast of Utopia, Every Good Boy Deserves Favour, Professional Foul, The Real Thing, and Rosencrantz and Guildenstern Are Dead. He co-wrote the screenplays for Brazil, The Russia House, and Shakespeare in Love, and has received one Academy Award and four Tony Awards. Themes of human rights, censorship and political freedom pervade his work along with exploration of linguistics and philosophy. Stoppard has been a key playwright of the National Theatre and is one of the most internationally performed dramatists of his generation. more…

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Submitted on August 05, 2018

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