Enigma Page #5

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


And this time,|we don't know where.

And one golden rule--|absolute radio silence.

- And wh-- wh--|- What then?

Either the convoy is lucky and misses|the ambush, or it isn't lucky.

And the fiirst U-boat to make contact|with the convoy breaks radio silence.

-How?|-Minimally, using the short signal book.

It compresses the necessary information|to a few letters--

sighting of convoy,|position, course and speed.

That's repeated every two hours.|As it's picked up by the other|U-boats in the line...

they start to converge on the convoy|and send a contact signal in their turn.

Contact signal.

They'll shadow|the convoy till nightfall.|They prefer to attack in the dark.

We haven't got as much time|as we'd thought. I'd say, a day,|a day and a half at the outside.

- Mary Jane Hawkins.|- The oracle has spoken.

They changed the weather code,|but they didn't change|the short signal code book.

It's our way back into Shark,|so long as the U-boats fiind our convoy.

Don't you see?|It's our convoy.

We know what the U-boats|are sending. It's the crib|that we've been looking for.

- Would you get enough material?|- How many signals do you need?

One group of letters|for the convoy sighted...

two groups for grid reference, one group|for course, one group for speed.

Five groups of letters|per contact signal every two hours.

Shadowing the convoy for maybe 10 hours,|12-- that's 25 groups of letters.

And how many U-boats joining in?|Eight, ten?

Each one a contact signal|every two hours.

My God, he's right.|He's found us a crib.

- Brilliant.|- A-A-Appalling.

We've never had an operation on this|scale. The contact signals could easily|build up to give us a crib...

of 100 group of letters|and we've got the short|signal code book in the museum.

He's right, Guy.

Where are the keys to the museum?

Good Christ, Tom. We have to protect|the convoys, not sacrifiice them.

You know what it's like out there.

The success of this plan|depends on arranging a massacre.

No. No, we are not arranging anything.|What happens is going to happen.

But if we can use it to|our advantage, we'll be able|to decipher every signal...

sent by every U-boat|on the high seas for 24 hours!

- Including the weather reports.|- Yeah. We'll have the plain text.

We can make a start on reconstructing|the new weather code.

- This puts us back in the fiight.|- And there will be many more|convoys to protect.

You're back in business,|old thing.

Garbled text from Beaumanor.|Somebody get on the blower.

Miss Chamberlain, would you?|Get them to check their fiile copy.

Pam, does Beaumanor keep copies|of everything they send us?

- Yes. It's all there on fiile.|- Thank you.

Hello. Could I have Beaumanor 392?

Miss Wallace!

No female visitors upstairs.|That's the rule!

Mr Jericho, wake up.|It's not over.

- We need to borrow your Enigma machine.|- Didn't you hear?

Top copy goes straight to|your people by teleprinter...

or by dispatch rider,|depending on priority.

The second copy we keep,|in case of garbles.

Can we see?

Well, if you want.|There's not much to it.

It's a treat for us,|you know, a visit from head offiice|to the country cousins.

It's good of you to say so,|but, um...

a fat lot of use we'd be|without your intercepts, Major.

We keep them a couple of months,|fiiled chronologically.

These sets are tuned to the|Eastern Front-- Kestrel, Buzzard, Kite.

- And you're intercepting everything?|- Absolutely.

Except that time|the other week, of course.

Kestrel, wasn't it?

Yes, your Miles Mermagen came|on the blower in a frightful panic.

''No more ADU, thank you very much.|Not now, not ever.''

- What's that about?|- Orders from above.

We'd just sent him|four good, clean signals.

It was Kay here who handled|our mystery station.

Carry on.

Yeah, he has a good fiist, ADU.|Touch like a concert pianist.

He's still transmitting?

Of course, I don't take him down any|more, but he was awful busy last week.

Oh, excuse me, sir.

What was it you said|you did again, Mr--

-Jericho.|-Jericho.

Can't say, I'm afraid.|Catch you up.

- Major, how many machines|did you say you have here?|- We have 48 here.

Excuse me.

He's on now,|if you're interested, sir.

Thank you.

I don't mean|to bother you, sir...

but it is important,|isn't it?

I know I shouldn't ask.|I mean, no one ever tells us.

You are making sense of it?|It is important?

Yes.

This is our only war, you see,|in here-- beep, beep, bloody beep.

And it's always nonsense,|nonsense, nonsense.

Yes, we are|making sense of it...

and it is important.

Eleven ADU signals|and launchings.

That's the car.|Man, woman, two-seater roadster.

Invite him to stop, shall we?

Take him, man! Take him!

Mr Jericho, stop! Stop! Stop!

Look out!

Sh*t.

Bravo, Mr Jericho.

Reckon, given the circumstances,|Miss Wallace...

we might now risk|fiirst names.

Hester.

Tom.

This might be good.|It looks deserted enough.

Well spotted.

Bliss.

- What would they do to us if they knew?|- Feed us to the dogs.

Charming.

Right.

March and April|Beaumanor log sheets...

and the intercepts|from March 28th...

April 3rd, April 9th,|15th, 16th, 17th...

and Kestrel settings--|last one fiirst.

Might tell us|why Claire disappeared.

Right. April 17, rotor order.

R-X-O.

- Plug board settings.|- A-O-E-M.

The current passes|from the keyboard...

to the lamps by way|of the rotors and the plugs.

And every time you press a key,|it changes the path of the current.

Press the same key ten times,|it comes out ten different ways|on the lamp board.

You never know which letters|will light up. Simply brilliant.

Message key X-A-T.

- Ready?|- Ready.

- ''Y.''|- ''K.''

- ''E.''|- ''A.''

''W.''

''C.''

- ''U.''|- Zed.

''M.''

''V.''

- ''Q''|- ''X.''

It's not right, is it?|This isn't German.

Keep going. Sometimes the operator|pads out with nonsense.

Keep going.

- Um, ''K.''|- Zed.

- ''E.''|- ''R.''

- ''O.''|- ''A.''

- ''F.''|- ''D.''

Isn't German.|Come on, genius!

I'm sorry. It's double coded,|or the settings must be wrong.

It's all been for nothing.

I'm afraid I have to ask you|to hurry up.

Search the barn.

This is Mr Leveret.|Detective Inspector Leveret.

He wants to know what you've been up to.|But fiirst things fiirst.

You've been here before?

And you?

Line up in the street|and search the area.

Have a look at this, sir.|It's down there.

- Right, sir.|- There?

Drag the river.

Please talk to me! What do you want to|know? I'll tell you anything you want.

Give me your hand.

Do you wanna know about Shark?|Any secret. Ask me!

Come this way.

I've got something to show you.|Get your notebook out.

Miss Wallace fiirst.

I am showing the witness|one ladies' coat, colour grey...

trimmed with black velvet.

Label:
Hunters, Burlington Arcade.

- And the witness responded--|- Yes. It's hers.

Yes.

Next, one ladies' shoe...

black high heel.

Uh, heel snapped off.

And the witness responded--

Yes.

It's an old quarry.

They built the town|with what they dug out.

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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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