
Browse content similar to Escape to Athena. Check below for episodes and series from the same categories and more!
| Line | From | To | |
|---|---|---|---|
GUNSHOTS | 0:03:34 | 0:03:36 | |
GUNSHOT | 0:03:48 | 0:03:49 | |
GUNSHOT | 0:03:52 | 0:03:54 | |
Ionian column, 5th century BC, | 0:04:21 | 0:04:24 | |
is it not? | 0:04:24 | 0:04:26 | |
No, it is 3rd century BC, Doric. | 0:04:28 | 0:04:31 | |
You're a few centuries off. | 0:04:31 | 0:04:33 | |
Leutenant Braun, | 0:06:22 | 0:06:24 | |
one never kills a cook, | 0:06:24 | 0:06:27 | |
especially an Italian cook. | 0:06:27 | 0:06:31 | |
We will spare Signor Rotelli | 0:06:32 | 0:06:35 | |
and hang this man in his place. | 0:06:35 | 0:06:39 | |
Attention! | 0:08:54 | 0:08:56 | |
Professor Blake, | 0:09:13 | 0:09:15 | |
what is this incessant compulsion to escape? | 0:09:15 | 0:09:19 | |
It's a habit I picked up during World War I. | 0:09:19 | 0:09:23 | |
Where would you be | 0:09:23 | 0:09:25 | |
if the Fuhrer's antiquarian reclamation unit | 0:09:25 | 0:09:29 | |
had not rescued you from various internment camps? | 0:09:29 | 0:09:32 | |
I certainly would not be looting Greece. | 0:09:32 | 0:09:36 | |
Sergeant Johnson, where would you be | 0:09:38 | 0:09:41 | |
if your skills of climbing and rigging | 0:09:41 | 0:09:44 | |
had not enticed me into plucking you from your prison camp? | 0:09:44 | 0:09:49 | |
Rotelli, if you weren't a cook... | 0:09:49 | 0:09:52 | |
I'm not a cook. | 0:09:52 | 0:09:54 | |
That is true. | 0:09:54 | 0:09:56 | |
I'm a racing driver. Sometimes I sing. | 0:09:56 | 0:10:00 | |
Your defection to the Allies | 0:10:00 | 0:10:02 | |
must have been taken as a mixed blessing. | 0:10:02 | 0:10:06 | |
There are three dead archaeologists here | 0:10:06 | 0:10:09 | |
who cannot be replaced. | 0:10:09 | 0:10:11 | |
That didn't deter Sergeant Mann from shooting. | 0:10:11 | 0:10:14 | |
In the interest of harmony... | 0:10:14 | 0:10:16 | |
Harmony ain't what's about to happen. | 0:10:16 | 0:10:19 | |
Major Hecht, I am pleased | 0:10:22 | 0:10:24 | |
that you are conducting their trial. | 0:10:24 | 0:10:27 | |
Have you determined their punishment? | 0:10:27 | 0:10:29 | |
I was about to. | 0:10:29 | 0:10:31 | |
Oh, please proceed. | 0:10:31 | 0:10:34 | |
As I was saying, | 0:10:34 | 0:10:36 | |
to prevent further disruptions, | 0:10:36 | 0:10:38 | |
you will immediately be confined | 0:10:38 | 0:10:41 | |
to your sleeping quarters. | 0:10:41 | 0:10:43 | |
This camp exists for one purpose - | 0:10:43 | 0:10:46 | |
to exhume priceless archaeological relics. | 0:10:46 | 0:10:48 | |
No-one shall interfere! | 0:10:48 | 0:10:51 | |
I suggest you confine them in here. | 0:10:51 | 0:10:54 | |
Remove the grating. | 0:10:58 | 0:11:00 | |
Open it! | 0:11:00 | 0:11:02 | |
Jump in, men. | 0:11:07 | 0:11:09 | |
The SS will play no favourites. | 0:11:18 | 0:11:21 | |
Put the dead men in with them. | 0:11:21 | 0:11:24 | |
Shall I give the order? | 0:11:29 | 0:11:31 | |
Let me remind you | 0:11:31 | 0:11:33 | |
that in this camp, I am in command. | 0:11:33 | 0:11:38 | |
You're quite right. | 0:11:40 | 0:11:42 | |
I have exceeded my authority. | 0:11:42 | 0:11:44 | |
Have they located the transmitter? | 0:12:09 | 0:12:11 | |
No, sir. The Greeks never transmit long enough. | 0:12:11 | 0:12:17 | |
Please come here. | 0:12:47 | 0:12:49 | |
Please come this way. | 0:12:49 | 0:12:52 | |
Don't do that. | 0:13:05 | 0:13:07 | |
You don't even care. | 0:13:13 | 0:13:15 | |
Your resistance heroes turned five girls into whores | 0:13:15 | 0:13:18 | |
to spy on the Germans for you. | 0:13:18 | 0:13:22 | |
We have a date for an Allied naval invasion. | 0:13:28 | 0:13:32 | |
Who's invading us this time? | 0:13:32 | 0:13:35 | |
The British. The Americans. | 0:13:35 | 0:13:37 | |
The Germans are neater from a madam's viewpoint. | 0:13:37 | 0:13:42 | |
They just hang old men in the village square. | 0:13:44 | 0:13:49 | |
The resistance has a specific target now. | 0:13:50 | 0:13:54 | |
All right. | 0:14:04 | 0:14:07 | |
Yes, the submarine refuelling depot. | 0:14:07 | 0:14:10 | |
Where did you get real coffee? | 0:14:10 | 0:14:13 | |
Leutenant Braun. | 0:14:13 | 0:14:15 | |
How did you get it? | 0:14:21 | 0:14:23 | |
Follow me. | 0:14:43 | 0:14:45 | |
Heil Hitler. | 0:14:48 | 0:14:50 | |
Atchoo! | 0:14:50 | 0:14:51 | |
Gesundheit! | 0:14:51 | 0:14:52 | |
I hope it's not catching. | 0:14:52 | 0:14:55 | |
Oops. Charlie! | 0:14:58 | 0:15:01 | |
Mamma Mia! | 0:15:01 | 0:15:02 | |
Hey! | 0:15:05 | 0:15:07 | |
What are they doing down there? | 0:15:07 | 0:15:10 | |
They're prisoners who tried to escape. | 0:15:10 | 0:15:12 | |
They said this was a country club! | 0:15:12 | 0:15:15 | |
JAZZ MUSIC PLAYS | 0:15:28 | 0:15:30 | |
KNOCK ON DOOR | 0:15:36 | 0:15:38 | |
Enter. | 0:15:38 | 0:15:39 | |
Ah, the Americans. | 0:15:42 | 0:15:43 | |
Charlie Dane. Dottie Delmar. | 0:15:43 | 0:15:45 | |
Major Otto Hecht. | 0:15:45 | 0:15:48 | |
Great likeness! | 0:15:48 | 0:15:51 | |
Louis Armstrong! | 0:15:51 | 0:15:53 | |
Are you a jazz lover? | 0:15:53 | 0:15:55 | |
Sure. Fancy-looking junk! | 0:15:55 | 0:15:57 | |
It is a 5th century Aegean vase. | 0:15:59 | 0:16:02 | |
I thought it was 4th century. | 0:16:02 | 0:16:05 | |
You were shot down? | 0:16:09 | 0:16:11 | |
On our way to do a USO show. | 0:16:11 | 0:16:15 | |
I see you are a swimmer. | 0:16:15 | 0:16:18 | |
Do you swim underwater? | 0:16:18 | 0:16:19 | |
What do you mean? | 0:16:19 | 0:16:22 | |
We are exploring the coastline | 0:16:22 | 0:16:24 | |
for ancient art treasures. | 0:16:24 | 0:16:26 | |
I'm your man, Major. | 0:16:26 | 0:16:28 | |
Aptly put. | 0:16:30 | 0:16:31 | |
And you, Mr Dane? | 0:16:31 | 0:16:34 | |
What is your speciality? | 0:16:35 | 0:16:37 | |
I'm a stand-up comic. | 0:16:39 | 0:16:41 | |
I'm afraid there's no place here for a comedian. | 0:16:43 | 0:16:47 | |
But you need a swimmer? | 0:16:47 | 0:16:49 | |
Even if Miss Delmar were not a swimmer, | 0:16:49 | 0:16:53 | |
she would not be useless. | 0:16:53 | 0:16:56 | |
Well, thank you, Major. | 0:16:56 | 0:16:58 | |
Major Volkmann | 0:16:58 | 0:17:00 | |
will be wishing to interrogate you. | 0:17:00 | 0:17:03 | |
Is he another jazz lover? | 0:17:03 | 0:17:05 | |
He is a major in the SS. | 0:17:05 | 0:17:08 | |
Oy. | 0:17:10 | 0:17:11 | |
I could catalogue your art collection, | 0:17:11 | 0:17:14 | |
write little biographies of jazz immortals. | 0:17:14 | 0:17:17 | |
I do mending, washing. | 0:17:17 | 0:17:19 | |
Let's see how things work out. | 0:17:19 | 0:17:22 | |
I could teach dancing. | 0:17:22 | 0:17:24 | |
And Gershwin, an American in Paris... | 0:17:24 | 0:17:27 | |
Gershwin has been forbidden. | 0:17:27 | 0:17:29 | |
And not a moment too soon. | 0:17:29 | 0:17:32 | |
-Sergeant! -Herr Major! | 0:17:32 | 0:17:35 | |
What took him so long? | 0:17:35 | 0:17:38 | |
Take Mr Dane to barracks seven. | 0:17:38 | 0:17:41 | |
Escort Miss Delmar to the guest quarters next to the Carpenters'. | 0:17:41 | 0:17:48 | |
-I hope you won't mind the banging. -She never has! | 0:17:48 | 0:17:54 | |
Charlie... | 0:17:59 | 0:18:01 | |
This Kraut could have a good thing going. | 0:18:06 | 0:18:10 | |
Not everyone's as crooked as you. | 0:18:10 | 0:18:12 | |
You want to bet? | 0:18:12 | 0:18:14 | |
You will stay here. | 0:18:16 | 0:18:18 | |
I'll take care of the tip, sweetie. | 0:18:18 | 0:18:22 | |
I'll meet you in the bar. | 0:18:22 | 0:18:25 | |
KNOCK ON DOOR | 0:19:00 | 0:19:02 | |
Who is it? | 0:19:04 | 0:19:05 | |
It's me. | 0:19:05 | 0:19:07 | |
The kite is up. | 0:19:07 | 0:19:10 | |
Braun's trying to locate the radio. | 0:19:12 | 0:19:16 | |
He'll never find it the way he's been looking. | 0:19:16 | 0:19:19 | |
You can change all that. | 0:19:19 | 0:19:22 | |
That's a commitment I will not make. | 0:19:22 | 0:19:25 | |
Then stop complaining. Climb back to your monastery. | 0:19:25 | 0:19:29 | |
I intend to. | 0:19:29 | 0:19:31 | |
Is that part of your plan? | 0:19:31 | 0:19:35 | |
You forget I said that. | 0:19:39 | 0:19:43 | |
KNOCK ON DOOR | 0:20:25 | 0:20:27 | |
Who is it? | 0:20:27 | 0:20:29 | |
Otto Hecht. | 0:20:29 | 0:20:31 | |
Do I know you? | 0:20:31 | 0:20:33 | |
I am the Kommandant. | 0:20:33 | 0:20:35 | |
Sorry. | 0:20:35 | 0:20:37 | |
I have a tough time with names, | 0:20:37 | 0:20:40 | |
but I never forget a face. | 0:20:40 | 0:20:43 | |
Well, my dear Miss Delmar, | 0:20:44 | 0:20:47 | |
I see you adapt quickly to new situations. | 0:20:47 | 0:20:51 | |
Everything in its proper place. | 0:20:51 | 0:20:53 | |
I always like to make things homey. | 0:20:53 | 0:20:57 | |
We travel a lot. | 0:20:57 | 0:20:59 | |
We? | 0:20:59 | 0:21:00 | |
You and Charlie? | 0:21:00 | 0:21:02 | |
No, no. "We" in show business. | 0:21:02 | 0:21:05 | |
Charlie and I met on this aquacade gig. | 0:21:05 | 0:21:09 | |
Aquacade? | 0:21:09 | 0:21:11 | |
That is an American word I am not knowing. | 0:21:11 | 0:21:15 | |
It's like a wet Busby Berkely routine. | 0:21:15 | 0:21:18 | |
It gives the farmers a chance | 0:21:18 | 0:21:21 | |
to see a lot of floating boobs. | 0:21:21 | 0:21:23 | |
Boobs? | 0:21:23 | 0:21:24 | |
Would you like to sit down? | 0:21:27 | 0:21:30 | |
Thank you. | 0:21:30 | 0:21:33 | |
Oh, no, no. Go ahead. | 0:21:33 | 0:21:36 | |
Why don't we drink to something? | 0:21:36 | 0:21:39 | |
All right. | 0:21:39 | 0:21:41 | |
Like... | 0:21:41 | 0:21:43 | |
Like peace for the world. | 0:21:44 | 0:21:47 | |
Oh. | 0:21:47 | 0:21:48 | |
-Prosit! -Sure. | 0:21:50 | 0:21:52 | |
What's going to happen to us? | 0:21:52 | 0:21:55 | |
To you, nothing. | 0:21:58 | 0:22:00 | |
I'm not so sure about your Jewish friend. | 0:22:00 | 0:22:04 | |
You know he's Jewish? | 0:22:04 | 0:22:06 | |
In the Third Reich, | 0:22:06 | 0:22:09 | |
they assume everyone is Jewish | 0:22:09 | 0:22:11 | |
unless proven otherwise. | 0:22:11 | 0:22:13 | |
You have nice thighs. | 0:22:13 | 0:22:17 | |
Thanks. | 0:22:18 | 0:22:20 | |
I would like to... | 0:22:22 | 0:22:24 | |
So what's stopping you? | 0:22:26 | 0:22:28 | |
I anticipate that you might. | 0:22:30 | 0:22:33 | |
I may look dumb, but I'm not stupid. | 0:22:34 | 0:22:39 | |
Is something wrong? | 0:22:48 | 0:22:51 | |
You are not responding. | 0:22:51 | 0:22:53 | |
You said you wanted to. | 0:22:53 | 0:22:56 | |
I didn't say I did. | 0:22:56 | 0:22:58 | |
I do think that under the circumstances | 0:22:58 | 0:23:02 | |
you might cultivate a little warmth. | 0:23:02 | 0:23:06 | |
Goodnight. | 0:23:06 | 0:23:08 | |
Aren't you going to take your wine back? | 0:23:08 | 0:23:13 | |
That would not be the act of a gentleman. | 0:23:13 | 0:23:17 | |
And blackmail is? | 0:23:17 | 0:23:19 | |
Only if it succeeds. | 0:23:21 | 0:23:23 | |
Goodnight. | 0:23:23 | 0:23:25 | |
Where's the tunnel, Professor? | 0:23:43 | 0:23:45 | |
Somebody's always digging a tunnel. | 0:23:45 | 0:23:48 | |
Not here. | 0:23:48 | 0:23:50 | |
That's a relief. | 0:23:50 | 0:23:52 | |
I could sit out the war here. | 0:23:52 | 0:23:55 | |
Our Austrian Kommandant feels the same way. | 0:23:55 | 0:23:58 | |
What is it? | 0:23:58 | 0:24:00 | |
That's about 200 BC. | 0:24:00 | 0:24:02 | |
It's a miniature of some household god. | 0:24:02 | 0:24:06 | |
How do you know? | 0:24:06 | 0:24:08 | |
I come from a long line of archaeologists. | 0:24:08 | 0:24:12 | |
When the sun never set on the empire, | 0:24:12 | 0:24:16 | |
we looted treasure from Egypt and Persia. | 0:24:16 | 0:24:19 | |
Isn't that Hecht's racket? | 0:24:19 | 0:24:21 | |
He used to be | 0:24:21 | 0:24:23 | |
a dishonest art dealer in Vienna. | 0:24:23 | 0:24:26 | |
The ordinary archaeological finds go to Berlin. | 0:24:26 | 0:24:29 | |
Anything of real value | 0:24:29 | 0:24:31 | |
is shipped to his sister. | 0:24:31 | 0:24:33 | |
What else? | 0:24:33 | 0:24:36 | |
You found one like this yesterday. | 0:24:36 | 0:24:40 | |
They made them in sets of two - | 0:24:40 | 0:24:43 | |
husband and wife. | 0:24:43 | 0:24:45 | |
How come everything is under the camp? | 0:24:46 | 0:24:50 | |
All this was one beautiful temple of Neptune. | 0:24:50 | 0:24:54 | |
What happens if we run out of things to dig up? | 0:24:54 | 0:24:59 | |
We won't. | 0:24:59 | 0:25:01 | |
We take precautions. | 0:25:01 | 0:25:03 | |
Nat, put him back to bed. | 0:25:03 | 0:25:06 | |
Now you see him. Now you don't. | 0:25:06 | 0:25:09 | |
Where's the real heavy stuff? | 0:25:09 | 0:25:12 | |
Dane! Major Hecht. | 0:25:12 | 0:25:14 | |
Komm! | 0:25:14 | 0:25:15 | |
If he could only stand up by himself | 0:25:15 | 0:25:19 | |
without having to rely on me. | 0:25:19 | 0:25:21 | |
Are you still here? | 0:25:30 | 0:25:32 | |
It's not a bad life. | 0:25:32 | 0:25:35 | |
Got a match? | 0:25:35 | 0:25:37 | |
Hi, Fraulein! | 0:25:43 | 0:25:45 | |
Give 'em hell! | 0:25:45 | 0:25:47 | |
-A beautiful woman! Your mother? -My wife. | 0:25:49 | 0:25:53 | |
There's a dainty quality about her, Sergeant! | 0:25:53 | 0:25:58 | |
Charlie. | 0:26:02 | 0:26:04 | |
Nice view. | 0:26:07 | 0:26:08 | |
Have you ever been to Hollywood? | 0:26:11 | 0:26:14 | |
I played there. | 0:26:14 | 0:26:16 | |
Do you know Ann Sheridan? | 0:26:16 | 0:26:19 | |
Do I know Ann Sheridan? | 0:26:19 | 0:26:22 | |
No. | 0:26:22 | 0:26:23 | |
Miss Sheridan is what they call the "oomph girl". | 0:26:25 | 0:26:29 | |
All the time. | 0:26:29 | 0:26:32 | |
What is oomph? | 0:26:32 | 0:26:34 | |
Oomph is the icing on the strudel, Major. | 0:26:34 | 0:26:40 | |
That is what I would like to discuss. | 0:26:43 | 0:26:47 | |
Your status here does not permit you | 0:26:47 | 0:26:51 | |
connubial privileges with Miss Delmar. | 0:26:51 | 0:26:54 | |
So far. | 0:26:54 | 0:26:55 | |
Consider it a closed door. | 0:26:55 | 0:26:58 | |
However, there is no reason | 0:26:59 | 0:27:02 | |
that we all must suffer. | 0:27:02 | 0:27:04 | |
Certainly not. | 0:27:04 | 0:27:07 | |
Idle machinery rusts. | 0:27:07 | 0:27:09 | |
Precisely. | 0:27:09 | 0:27:11 | |
Given the uncertainty of your position here... | 0:27:11 | 0:27:15 | |
You might need a social director. | 0:27:15 | 0:27:18 | |
I'll put on shows Saturday night. | 0:27:18 | 0:27:21 | |
I do a fabulous Jolson routine. | 0:27:21 | 0:27:24 | |
You have my permission. | 0:27:24 | 0:27:28 | |
You'll have the grooviest camp in the mountains. | 0:27:28 | 0:27:32 | |
Back to the question of oomph. | 0:27:32 | 0:27:35 | |
I thought that was going fine. | 0:27:35 | 0:27:38 | |
On the surface, yes, but... | 0:27:38 | 0:27:41 | |
Uh-uh. | 0:27:41 | 0:27:42 | |
It's hard for some ladies to fake it. | 0:27:43 | 0:27:47 | |
Well, she could look upon it as... | 0:27:47 | 0:27:51 | |
theatre. | 0:27:51 | 0:27:53 | |
I don't know, Major. | 0:27:54 | 0:27:56 | |
A jazz lover like you stooping to this! | 0:27:56 | 0:28:00 | |
The spoils of war, my friend. | 0:28:00 | 0:28:03 | |
Have the girls heard anything about those two Americans? | 0:28:33 | 0:28:36 | |
No. Why? | 0:28:36 | 0:28:38 | |
They may have been planted by the Germans. | 0:28:38 | 0:28:41 | |
I'm waiting to hear from Allied intelligence. | 0:28:41 | 0:28:45 | |
We may have to kill them. | 0:28:45 | 0:28:47 | |
KNOCK ON DOOR | 0:28:47 | 0:28:48 | |
Yes? | 0:28:48 | 0:28:49 | |
It's Zoe. | 0:28:49 | 0:28:51 | |
If it's a man from the prison camp, you take him. | 0:28:51 | 0:28:57 | |
It's Braun. | 0:28:57 | 0:28:58 | |
With or without his truck? | 0:28:58 | 0:29:00 | |
With. | 0:29:00 | 0:29:01 | |
Don't be jealous. He's with his truck. | 0:29:01 | 0:29:05 | |
It's the truck that upsets me. | 0:29:05 | 0:29:10 | |
Hecht's got his girl. He doesn't seem to mind. | 0:29:23 | 0:29:27 | |
He minds. | 0:29:27 | 0:29:29 | |
I don't trust him. | 0:29:29 | 0:29:33 | |
Telling bad jokes doesn't make a man a collaborator. | 0:29:33 | 0:29:37 | |
Dottie can sing Lilli Marlene for the men. | 0:29:38 | 0:29:42 | |
You got it! So how's business? | 0:29:42 | 0:29:44 | |
Berlin is satisfied. | 0:29:44 | 0:29:46 | |
Are you? | 0:29:46 | 0:29:48 | |
We're finding things of historical interest. | 0:29:48 | 0:29:51 | |
You wouldn't be here | 0:29:51 | 0:29:53 | |
if that's all there was to find. | 0:29:53 | 0:29:55 | |
Is that a complement? | 0:29:55 | 0:29:57 | |
Bubele, from me, that's a complement. | 0:29:57 | 0:30:01 | |
The real treasures are up there | 0:30:01 | 0:30:04 | |
in a monastery on Mount Athena. | 0:30:04 | 0:30:07 | |
Triptychs, icons - | 0:30:07 | 0:30:09 | |
jewelled, carved in gold. | 0:30:09 | 0:30:11 | |
Byzantine masterpieces. | 0:30:11 | 0:30:13 | |
And, of course, there are the plates. | 0:30:13 | 0:30:16 | |
What plates? | 0:30:16 | 0:30:18 | |
Gold plates. | 0:30:19 | 0:30:21 | |
Two-headed eagles | 0:30:22 | 0:30:24 | |
commissioned by Constantine VI in 790 AD. | 0:30:24 | 0:30:29 | |
Worth how much? | 0:30:29 | 0:30:31 | |
10 million. | 0:30:31 | 0:30:32 | |
Marks? | 0:30:32 | 0:30:34 | |
Swiss francs. | 0:30:34 | 0:30:35 | |
That's two million bucks. | 0:30:35 | 0:30:37 | |
Ja, and when we win this war, | 0:30:37 | 0:30:41 | |
I will liberate those treasures. | 0:30:41 | 0:30:44 | |
You won't win this war. | 0:30:44 | 0:30:46 | |
Well, then I am quite sure | 0:30:46 | 0:30:49 | |
that you will liberate them. | 0:30:49 | 0:30:53 | |
I enjoy your company, Bubele. | 0:30:54 | 0:30:57 | |
I love you, too, Otto. | 0:30:57 | 0:30:59 | |
Thanks for the airing and the smoke. | 0:30:59 | 0:31:03 | |
Is that you, Otto? | 0:31:05 | 0:31:06 | |
Who else? | 0:31:06 | 0:31:08 | |
You! | 0:32:04 | 0:32:06 | |
Out. | 0:32:08 | 0:32:10 | |
Slowly. | 0:32:15 | 0:32:17 | |
Sergeant, I'm taking this Greek in | 0:32:19 | 0:32:22 | |
for a curfew violation. | 0:32:22 | 0:32:24 | |
You'll drive. | 0:32:24 | 0:32:26 | |
Get in the car. | 0:32:27 | 0:32:29 | |
I was just... | 0:32:29 | 0:32:30 | |
Get in the car! | 0:32:30 | 0:32:32 | |
Die Bremse ist kaputt! | 0:33:04 | 0:33:06 | |
Ich kann den Wagen nicht halten! | 0:33:06 | 0:33:09 | |
Ich kann den Wagen nicht halten! | 0:33:12 | 0:33:15 | |
# She will leave you and then | 0:33:35 | 0:33:37 | |
# Come back again | 0:33:37 | 0:33:39 | |
# A pretty girl... # | 0:33:39 | 0:33:42 | |
Oy gevalt. | 0:33:42 | 0:33:44 | |
Ever make it with a German girl? | 0:33:44 | 0:33:48 | |
Not yet. | 0:33:48 | 0:33:49 | |
Don't. | 0:33:49 | 0:33:51 | |
Charlie? | 0:33:51 | 0:33:52 | |
-No? -You're in the club. | 0:33:56 | 0:33:59 | |
Smashing! | 0:33:59 | 0:34:00 | |
I'm a singles man on the courts. | 0:34:00 | 0:34:04 | |
Don't you ever give up? | 0:34:04 | 0:34:06 | |
What shall I do? | 0:34:06 | 0:34:07 | |
Kill. | 0:34:07 | 0:34:08 | |
So there will be a tunnel. | 0:34:13 | 0:34:16 | |
No, Charlie. | 0:34:16 | 0:34:18 | |
We're breaking in, not out. | 0:34:18 | 0:34:20 | |
I don't get it. | 0:34:20 | 0:34:22 | |
We're taking over the camp, | 0:34:22 | 0:34:24 | |
not leaving it. | 0:34:24 | 0:34:26 | |
Whose idea is that? | 0:34:26 | 0:34:28 | |
The Greek resistance. | 0:34:28 | 0:34:30 | |
What will we do with this camp? | 0:34:30 | 0:34:33 | |
They'll let us know. | 0:34:33 | 0:34:35 | |
Now here's the camp. | 0:34:35 | 0:34:37 | |
Your job... | 0:34:37 | 0:34:38 | |
I think I'll resign from this club. | 0:34:38 | 0:34:41 | |
You don't want to do that. | 0:34:53 | 0:34:55 | |
Wait a minute, Otto. | 0:35:32 | 0:35:35 | |
Charlie. | 0:35:35 | 0:35:36 | |
Sorry. | 0:35:36 | 0:35:38 | |
You win a few. You lose a few. | 0:35:38 | 0:35:42 | |
You're travelling first class. | 0:35:42 | 0:35:43 | |
It's not a tragic figure. | 0:35:43 | 0:35:46 | |
I make do. | 0:35:46 | 0:35:47 | |
You should understand that. | 0:35:47 | 0:35:49 | |
Dig, dig, dig. | 0:35:49 | 0:35:51 | |
I'm not attacking you, honey. | 0:35:51 | 0:35:54 | |
We're partners. | 0:35:54 | 0:35:55 | |
Partner, we're joining the army. | 0:35:55 | 0:35:57 | |
Is our army here? | 0:35:57 | 0:35:59 | |
No, their army's here. | 0:35:59 | 0:36:01 | |
We're taking over the camp. | 0:36:01 | 0:36:04 | |
What will they be doing? | 0:36:04 | 0:36:06 | |
Watching you strip. | 0:36:06 | 0:36:08 | |
We're putting on a show. | 0:36:08 | 0:36:10 | |
I have to undress for Germans? | 0:36:10 | 0:36:13 | |
Today Otto. Tomorrow the world. | 0:36:13 | 0:36:16 | |
Ha, ha. | 0:36:16 | 0:36:18 | |
Does anyone have to get hurt? | 0:36:18 | 0:36:20 | |
Probably. What's the difference? | 0:36:20 | 0:36:22 | |
Otto's been very good to us. | 0:36:22 | 0:36:25 | |
Maybe you should tell him. | 0:36:25 | 0:36:27 | |
Give him a little advance notice. | 0:36:27 | 0:36:30 | |
You wouldn't be here if it weren't for him. | 0:36:30 | 0:36:34 | |
I'll keep it in mind. | 0:36:34 | 0:36:36 | |
What will you guys do afterward? | 0:36:36 | 0:36:39 | |
Climb up to that monastery | 0:36:39 | 0:36:41 | |
to do some select looting | 0:36:41 | 0:36:43 | |
before your friend gets everything. | 0:36:43 | 0:36:46 | |
That's my baby. | 0:36:46 | 0:36:48 | |
Hey, Charlie, | 0:36:48 | 0:36:50 | |
you want to kiss and make up? | 0:36:50 | 0:36:54 | |
How about just kiss? | 0:36:54 | 0:36:55 | |
You don't have to play tough guy with me. | 0:36:55 | 0:37:00 | |
Charlie, can you make it? | 0:37:02 | 0:37:05 | |
For two million bucks in gold plates, | 0:37:05 | 0:37:08 | |
I'd climb the Empire State Building. | 0:37:08 | 0:37:13 | |
Why didn't you help Leutenant Braun? | 0:37:28 | 0:37:31 | |
I was afraid. | 0:37:31 | 0:37:34 | |
Has a woman ever been executed here? | 0:37:34 | 0:37:38 | |
No, sir. | 0:37:38 | 0:37:39 | |
This one will be the first. | 0:37:39 | 0:37:42 | |
She's only a prostitute. | 0:37:42 | 0:37:44 | |
It may not be too upsetting to the locals. | 0:37:44 | 0:37:48 | |
A housewife would be too upsetting. | 0:37:48 | 0:37:52 | |
-When do you want it done? -Immediately. | 0:37:52 | 0:37:56 | |
And put this on the loudspeakers. | 0:37:56 | 0:37:58 | |
If Leutnant Braun's murderer | 0:37:58 | 0:38:00 | |
does not surrender within 48 hours, | 0:38:00 | 0:38:03 | |
10 more citizens of Kariai will die. | 0:38:03 | 0:38:07 | |
GUNSHOTS | 0:38:07 | 0:38:08 | |
LOUDSPEAKER: 'Achtung! | 0:38:08 | 0:38:10 | |
'Wenn der Morder von Leutnant Braun | 0:38:10 | 0:38:12 | |
'sich nicht innerhalb 48 stunden freiwillig stellt, | 0:38:12 | 0:38:15 | |
'werden 10 weitere Einwohner von Kariai erschossen.' | 0:38:15 | 0:38:20 | |
You didn't have to kill Braun! | 0:39:01 | 0:39:04 | |
Beat it. | 0:39:04 | 0:39:06 | |
I'll be the judge of that. | 0:39:06 | 0:39:08 | |
I was paying him off. | 0:39:08 | 0:39:11 | |
He was satisfied with it! | 0:39:11 | 0:39:14 | |
We couldn't rely on that indefinitely. | 0:39:14 | 0:39:17 | |
Are the two Americans next? | 0:39:17 | 0:39:19 | |
No. They've been cleared. | 0:39:19 | 0:39:23 | |
How merciful! | 0:39:23 | 0:39:24 | |
Do your superiors know | 0:39:24 | 0:39:26 | |
your personal reason for killing Braun? | 0:39:26 | 0:39:29 | |
What kind of man do you think I am? | 0:39:29 | 0:39:33 | |
We find out now. | 0:39:33 | 0:39:35 | |
Will you let them shoot 10 more | 0:39:35 | 0:39:38 | |
to save yourself? | 0:39:38 | 0:39:40 | |
No-one will be killed. | 0:39:40 | 0:39:42 | |
I don't believe you. | 0:39:42 | 0:39:44 | |
You'll see. There's a plan. | 0:39:44 | 0:39:47 | |
Will you give yourself up if it fails? | 0:39:47 | 0:39:51 | |
No. | 0:39:56 | 0:39:57 | |
You're a pig! | 0:39:59 | 0:40:01 | |
Zoe's death will be avenged. | 0:40:05 | 0:40:07 | |
I hope so. Because if I must, | 0:40:07 | 0:40:10 | |
I'll turn you over to Volkmann myself. | 0:40:10 | 0:40:14 | |
Exquisite. | 0:40:20 | 0:40:22 | |
Absolutely exquisite. | 0:40:22 | 0:40:25 | |
Thank you, Professor. | 0:40:25 | 0:40:27 | |
It explains the time line of this dig. | 0:40:27 | 0:40:31 | |
90% of the other finds | 0:40:31 | 0:40:34 | |
come from the Christian era. | 0:40:34 | 0:40:36 | |
We have run into the antique collection | 0:40:36 | 0:40:39 | |
of a first-century Greek. | 0:40:39 | 0:40:41 | |
2,000 years ago, some rich merchant | 0:40:41 | 0:40:44 | |
saw 200 BC as ancient times. | 0:40:44 | 0:40:47 | |
Thank you, Professor. | 0:40:49 | 0:40:52 | |
Goodnight, Major. | 0:40:52 | 0:40:53 | |
You are free to drop in whenever you want. | 0:40:53 | 0:40:58 | |
Thank you. | 0:40:58 | 0:40:59 | |
Pick them up. | 0:41:23 | 0:41:25 | |
What's that? | 0:41:29 | 0:41:30 | |
A present for the Krauts. | 0:41:30 | 0:41:32 | |
What's it for? | 0:41:32 | 0:41:34 | |
An herb called Socrates' revenge. | 0:41:34 | 0:41:36 | |
-LOUDSPEAKER: -'Now, direct from a one-night engagement at La Scala, | 0:42:14 | 0:42:18 | |
'the greatest Italian voice since Mussolini, | 0:42:18 | 0:42:22 | |
'our own Bruno Rotelli!' | 0:42:22 | 0:42:27 | |
# Recitar | 0:42:28 | 0:42:30 | |
# Mentre preso dal delirio | 0:42:30 | 0:42:37 | |
# Non so piu quel che dico | 0:42:37 | 0:42:41 | |
# E quel che faccio | 0:42:41 | 0:42:45 | |
# Eppur e d'uopo | 0:42:45 | 0:42:46 | |
# Sforzati | 0:42:46 | 0:42:48 | |
# Bah | 0:42:48 | 0:42:50 | |
# Se tu forse un uom? | 0:42:50 | 0:42:54 | |
# Ha ha! | 0:42:54 | 0:42:56 | |
# Tu se' pagliaccio | 0:42:58 | 0:43:06 | |
# Vesti la giubba | 0:43:08 | 0:43:13 | |
# E la faccia infarina | 0:43:13 | 0:43:18 | |
# La gente paga | 0:43:18 | 0:43:22 | |
# E rider vuole qua... # | 0:43:22 | 0:43:25 | |
This one looks rare, doesn't it? | 0:43:56 | 0:44:00 | |
It looks like early Harrods. | 0:44:00 | 0:44:02 | |
He stepped in front of the bus. | 0:44:21 | 0:44:25 | |
HE SPEAKS GREEK | 0:44:25 | 0:44:27 | |
Get the gate. | 0:44:37 | 0:44:38 | |
OPERA CONTINUES | 0:44:48 | 0:44:51 | |
They loved it! | 0:46:16 | 0:46:18 | |
BOOING | 0:46:22 | 0:46:24 | |
Relax, Fritz. | 0:46:26 | 0:46:28 | |
# Da da da da da. # | 0:46:44 | 0:46:49 | |
Watch the ball. | 0:46:59 | 0:47:01 | |
Put it in this hand. | 0:47:01 | 0:47:03 | |
The ball is gone. | 0:47:05 | 0:47:07 | |
So she says to the bartender, | 0:47:10 | 0:47:13 | |
"The first two guys were OK, | 0:47:13 | 0:47:15 | |
"but the one in the fur coat was rough." | 0:47:15 | 0:47:19 | |
She thought the bear | 0:47:24 | 0:47:26 | |
was another guy wearing a fur coat. | 0:47:26 | 0:47:27 | |
Ha, ha. | 0:47:29 | 0:47:30 | |
Now the lady we've been waiting for, | 0:47:38 | 0:47:41 | |
America's answer to Lilli Marlene. | 0:47:41 | 0:47:43 | |
'The star of stage, screen, radio, industrial shows. | 0:47:43 | 0:47:50 | |
'Direct from the Radio City Music Hall, | 0:47:50 | 0:47:53 | |
'the Roxy Theatre...' | 0:47:53 | 0:47:55 | |
..The lovely, | 0:48:01 | 0:48:02 | |
the fabulous, the fantastically terrific | 0:48:02 | 0:48:05 | |
Miss Dottie Delmar! | 0:48:05 | 0:48:09 | |
# My mama done told me | 0:48:22 | 0:48:25 | |
# When I was in pigtails | 0:48:25 | 0:48:27 | |
# My mama done told me | 0:48:27 | 0:48:30 | |
# Hon | 0:48:31 | 0:48:34 | |
# A man's gonna sweet-talk | 0:48:34 | 0:48:37 | |
# And give you the big eye | 0:48:37 | 0:48:39 | |
# But when the sweet talking's done | 0:48:41 | 0:48:45 | |
# A man is a two-faced | 0:48:45 | 0:48:49 | |
# A worrisome thing who'll leave you to sing | 0:48:49 | 0:48:52 | |
# The blues | 0:48:52 | 0:48:55 | |
# In the night... # | 0:48:55 | 0:48:57 | |
Come on, boys. Get your hands out of your pockets! | 0:49:01 | 0:49:04 | |
# My mama done told me | 0:49:04 | 0:49:07 | |
# Hear that lonesome whistle | 0:49:07 | 0:49:11 | |
# Heading 'cross the tracks... # | 0:49:11 | 0:49:13 | |
Give the lady some encouragement! | 0:49:13 | 0:49:17 | |
# My mama done told me | 0:49:17 | 0:49:19 | |
# A-whooo-eee a-whooo-eee | 0:49:19 | 0:49:22 | |
# A-whooo-eee a-whooo-eee | 0:49:22 | 0:49:26 | |
# I'm echoin' back the blues | 0:49:26 | 0:49:30 | |
# In the night | 0:49:30 | 0:49:33 | |
# A-whooo-eee a-whooo-eee... # | 0:49:33 | 0:49:36 | |
Let's hear it, guys! | 0:49:36 | 0:49:38 | |
# A-whooo-eee a-whooo-eee | 0:49:41 | 0:49:44 | |
# A-whooo-eee a-whooo-eee | 0:49:46 | 0:49:49 | |
# A-whooo-eee a-whooo-eee... # | 0:49:49 | 0:49:53 | |
Sergeant, sit down! | 0:49:55 | 0:49:57 | |
You'll go to the Russian front. | 0:49:59 | 0:50:01 | |
Meine Hose! | 0:50:04 | 0:50:05 | |
You want more? | 0:50:09 | 0:50:11 | |
Catch! | 0:50:50 | 0:50:51 | |
I hope they don't kill us! | 0:51:13 | 0:51:16 | |
Thank you. | 0:51:29 | 0:51:31 | |
We appreciate your cooperation. | 0:51:31 | 0:51:33 | |
Now let's bring on Sergeant Mann. | 0:51:33 | 0:51:36 | |
Let's hear it for Sergeant Mann. | 0:51:36 | 0:51:39 | |
Sergeant! Sergeant! | 0:51:39 | 0:51:41 | |
You are one cool cat. | 0:51:41 | 0:51:43 | |
Can I correctly assume that there is no way on earth... | 0:51:43 | 0:51:49 | |
..that, with a simple wave, | 0:51:49 | 0:51:52 | |
I can remove your automatic | 0:51:52 | 0:51:54 | |
from your holster? | 0:51:54 | 0:51:56 | |
-Am I correct? -There's no way. | 0:51:56 | 0:51:59 | |
Shoo-bop, she-boo. | 0:51:59 | 0:52:01 | |
And I'll be damned. | 0:52:01 | 0:52:03 | |
Bravo! | 0:52:03 | 0:52:04 | |
# That old black magic has me in its spell... # | 0:52:04 | 0:52:07 | |
Hands on your heads! | 0:52:07 | 0:52:09 | |
Order them to surrender. | 0:52:09 | 0:52:11 | |
Surrender your weapons. | 0:52:19 | 0:52:20 | |
I hope you know what you're doing. | 0:52:24 | 0:52:28 | |
All of you. | 0:52:31 | 0:52:32 | |
Those weapons flew | 0:52:41 | 0:52:43 | |
at the supersonic speed | 0:52:43 | 0:52:45 | |
of 3,300 kilometres per hour | 0:52:45 | 0:52:47 | |
and had a range of 200km. | 0:52:47 | 0:52:53 | |
You can see from these Allied pictures | 0:52:54 | 0:52:58 | |
their devastating effect on the city of London. | 0:52:58 | 0:53:02 | |
Yes, that's enough. | 0:53:02 | 0:53:04 | |
Pull the curtains. | 0:53:04 | 0:53:06 | |
Our new weapon has greater significance. | 0:53:13 | 0:53:15 | |
When directed at Allied ships, it could achieve in moments | 0:53:15 | 0:53:20 | |
what conventional coastal artillery | 0:53:20 | 0:53:22 | |
couldn't achieve in days. | 0:53:22 | 0:53:24 | |
That is all, gentlemen, unless there are any questions. | 0:53:24 | 0:53:28 | |
Have some more tea. | 0:53:28 | 0:53:31 | |
Why bother with Hecht? | 0:53:45 | 0:53:47 | |
He has invaded my country. | 0:53:47 | 0:53:49 | |
What's with this woman? | 0:53:49 | 0:53:52 | |
We need Hecht so Volkmann doesn't find out | 0:53:52 | 0:53:56 | |
what's happened here. | 0:53:56 | 0:53:57 | |
Maybe I can persuade him. | 0:53:57 | 0:53:59 | |
You have my permission. | 0:53:59 | 0:54:01 | |
I didn't do this fighting | 0:54:01 | 0:54:03 | |
to change from Krauts to Greeks. | 0:54:03 | 0:54:07 | |
How long before Volkmann | 0:54:07 | 0:54:09 | |
finds out what's happened, | 0:54:09 | 0:54:11 | |
even with Hecht? | 0:54:11 | 0:54:12 | |
We have other plans. | 0:54:12 | 0:54:14 | |
-So do I. -What? | 0:54:14 | 0:54:17 | |
I want to climb up to that monastery | 0:54:17 | 0:54:20 | |
on Mount Athena. | 0:54:20 | 0:54:22 | |
-Why? -I'm an art lover. | 0:54:26 | 0:54:29 | |
Charlie, there are priorities. | 0:54:29 | 0:54:31 | |
You don't suppose we can climb | 0:54:31 | 0:54:33 | |
up to that monastery | 0:54:33 | 0:54:36 | |
without Volkmann's troops noticing us. | 0:54:36 | 0:54:39 | |
We? You, too? | 0:54:39 | 0:54:41 | |
You're an art lover? | 0:54:41 | 0:54:43 | |
I want a word with Major Hecht. | 0:54:46 | 0:54:50 | |
That was well done. | 0:54:56 | 0:54:58 | |
Thank you. | 0:54:58 | 0:54:59 | |
We need Volkmann to continue thinking | 0:54:59 | 0:55:02 | |
everything is in order here. | 0:55:02 | 0:55:05 | |
So we want you to tell him that it is. | 0:55:05 | 0:55:10 | |
You're assuming that because a man | 0:55:10 | 0:55:12 | |
steals from his country, he'll also betray it. | 0:55:12 | 0:55:16 | |
Not quite. | 0:55:16 | 0:55:18 | |
Then let me ask you something else. | 0:55:18 | 0:55:21 | |
How would you feel | 0:55:21 | 0:55:23 | |
if the shoe was on the other foot? | 0:55:23 | 0:55:27 | |
Fortunately, it's not. | 0:55:27 | 0:55:29 | |
I'll make it easy for you. | 0:55:29 | 0:55:32 | |
If you don't help us, Zeno will kill you. | 0:55:32 | 0:55:37 | |
You're allied with him. | 0:55:38 | 0:55:40 | |
Will you share that responsibility? | 0:55:40 | 0:55:42 | |
With difficulty. | 0:55:42 | 0:55:44 | |
And there's no other alternative? | 0:55:44 | 0:55:47 | |
What happened? | 0:56:04 | 0:56:06 | |
Nothing yet. He's making up his mind. | 0:56:06 | 0:56:10 | |
HE SPEAKS GREEK | 0:56:10 | 0:56:13 | |
Thank you. It would have been a waste. | 0:56:25 | 0:56:29 | |
You all know Otto. | 0:56:40 | 0:56:42 | |
He's a good kid. | 0:56:42 | 0:56:44 | |
Not that good. | 0:56:44 | 0:56:46 | |
What must I do? | 0:56:49 | 0:56:51 | |
In 18 hours, Volkmann intends to shoot 10 people. | 0:56:51 | 0:56:54 | |
That won't happen, and the Germans will be stopped. | 0:56:54 | 0:56:58 | |
Just like that? | 0:56:58 | 0:57:00 | |
I've discussed my plan with the Professor. | 0:57:00 | 0:57:04 | |
He agrees it's feasible. | 0:57:04 | 0:57:06 | |
We can go to the monastery? | 0:57:06 | 0:57:08 | |
You have a one-track mind. | 0:57:08 | 0:57:10 | |
We're to take the village | 0:57:10 | 0:57:12 | |
and the refuelling depot, | 0:57:12 | 0:57:14 | |
so the German submarines can't function | 0:57:14 | 0:57:17 | |
against the Allied invasion fleet. | 0:57:17 | 0:57:19 | |
After that, I don't care what you do - | 0:57:19 | 0:57:22 | |
except - and listen very carefully, gentlemen - | 0:57:22 | 0:57:25 | |
the treasures of Athena belong to the Greek people. | 0:57:25 | 0:57:30 | |
Begin by infiltrating the village brothel. | 0:57:30 | 0:57:32 | |
Surely you don't want | 0:57:38 | 0:57:40 | |
your so-called soldiers expiring of priapism. | 0:57:40 | 0:57:43 | |
Permission granted. | 0:57:43 | 0:57:44 | |
Done. | 0:57:46 | 0:57:48 | |
Now it's up to you. | 0:57:48 | 0:57:51 | |
Imagine that Austrian antique dealer | 0:57:54 | 0:57:56 | |
visiting a whorehouse before breakfast. | 0:57:56 | 0:57:59 | |
ROMANTIC MUSIC ON GRAMOPHONE | 0:58:13 | 0:58:17 | |
Leutenant, have the men dismount. | 0:58:53 | 0:58:55 | |
Absteigen! | 0:59:04 | 0:59:06 | |
Absteigen! | 0:59:06 | 0:59:08 | |
Herr Major? | 0:59:12 | 0:59:14 | |
Ja. | 0:59:14 | 0:59:15 | |
There are executions today. | 0:59:15 | 0:59:17 | |
Major Volkmann asked that your men be present. | 0:59:17 | 0:59:21 | |
Please inform Herr Major we shall be delighted | 0:59:22 | 0:59:26 | |
to lend our presence to the occasion. | 0:59:26 | 0:59:30 | |
Marsch! | 0:59:38 | 0:59:40 | |
Hey! So long as we're here... | 1:00:06 | 1:00:10 | |
Go down stairs. Take the prisoners down. | 1:00:10 | 1:00:14 | |
ORDERS SHOUTED IN GERMAN | 1:01:03 | 1:01:06 | |
They'll attack the depot soon. | 1:01:10 | 1:01:12 | |
Take up your positions. | 1:01:12 | 1:01:14 | |
Remember - short bursts, Charlie. | 1:01:23 | 1:01:25 | |
Not rat-tat-tat-tat like in the gangster movies. | 1:01:25 | 1:01:29 | |
The barrel heats up. | 1:01:29 | 1:01:31 | |
Rat-tat-tat. | 1:01:31 | 1:01:33 | |
What's he saying? | 1:02:03 | 1:02:05 | |
That he likes motza ball soup! | 1:02:05 | 1:02:08 | |
HE SHOUTS ORDERS IN GERMAN | 1:02:26 | 1:02:29 | |
'Eagle Four, this is Swordfish. | 1:02:59 | 1:03:01 | |
'Position X-ray 42 yellow grid. | 1:03:01 | 1:03:03 | |
'Will give you ETA later.' | 1:03:03 | 1:03:05 | |
Eagle Four to Swordfish. Channel nets will be open. | 1:03:05 | 1:03:10 | |
Ihre Papiere, bitte. | 1:03:16 | 1:03:19 | |
-Alert the frogmen. -Yes, sir. | 1:03:28 | 1:03:31 | |
SIREN WAILS | 1:04:08 | 1:04:10 | |
Is it safe? | 1:04:57 | 1:04:59 | |
There's nobody there so we should be OK until the next submarine appears. | 1:05:11 | 1:05:16 | |
-Herr Hecht's too close. -That's his problem. | 1:06:23 | 1:06:27 | |
Take over. | 1:06:41 | 1:06:43 | |
Gewehr ab! | 1:07:25 | 1:07:27 | |
Ahh! | 1:07:28 | 1:07:30 | |
Oh, Christ. | 1:07:59 | 1:08:00 | |
Rat-tat-tat. Rat-tat-tat. | 1:08:02 | 1:08:04 | |
Get him! | 1:09:45 | 1:09:46 | |
-WHISPERS: -# Hey, my name is Alice and my husband's name is Al | 1:13:06 | 1:13:09 | |
-# We come from Alabama... -# CRASHING | 1:13:09 | 1:13:11 | |
I assume everything went well in the village. | 1:14:13 | 1:14:17 | |
For your country or mine? | 1:14:18 | 1:14:20 | |
For mine. | 1:14:20 | 1:14:22 | |
There's no such thing as country, Major. | 1:14:22 | 1:14:25 | |
There are rivers, mountains and people. Country is an abstraction. | 1:14:25 | 1:14:28 | |
You don't really believe that. | 1:14:28 | 1:14:32 | |
No. | 1:14:32 | 1:14:34 | |
Thank you for trying. | 1:14:34 | 1:14:35 | |
You seem to be in good shape. | 1:14:35 | 1:14:38 | |
I'm not sure. | 1:14:38 | 1:14:40 | |
Here's today's log. What does this mean? | 1:14:40 | 1:14:43 | |
There's a U-boat out there somewhere | 1:14:43 | 1:14:46 | |
coming in for refuelling. | 1:14:46 | 1:14:48 | |
What's in here? | 1:15:15 | 1:15:17 | |
The key to the monastery. | 1:15:17 | 1:15:19 | |
MORSE CODE BLEEPS | 1:15:19 | 1:15:21 | |
What does it say? | 1:15:27 | 1:15:29 | |
"Athena, goddess of war, | 1:15:35 | 1:15:37 | |
"wisdom, and music." | 1:15:37 | 1:15:41 | |
A very confused goddess. | 1:15:41 | 1:15:43 | |
What does it mean? | 1:15:43 | 1:15:46 | |
Looks like... Looks like it's pretty good here, huh? | 1:15:56 | 1:16:01 | |
Not a bad show. Element of total surprise, what. | 1:16:01 | 1:16:05 | |
Dig him. | 1:16:05 | 1:16:07 | |
So, when do we hit the monastery? | 1:16:07 | 1:16:10 | |
There's a problem. Volkmann may have radioed for help. | 1:16:10 | 1:16:13 | |
Where to? | 1:16:13 | 1:16:14 | |
"Where" is the problem. | 1:16:14 | 1:16:16 | |
That's why Zeno is dragging his heels. | 1:16:16 | 1:16:19 | |
The Allied invasion here has been advanced 30 days. | 1:16:19 | 1:16:23 | |
That's a week from today. And I'm to act immediately. | 1:16:23 | 1:16:27 | |
Charlie, Rotelli, up here! | 1:16:30 | 1:16:32 | |
What does our Greek mother want now? | 1:16:32 | 1:16:36 | |
Coming, mother! | 1:16:36 | 1:16:38 | |
I've got good news. | 1:16:40 | 1:16:42 | |
Volkmann didn't transmit anything, | 1:16:42 | 1:16:44 | |
or if he did, nobody was listening. | 1:16:44 | 1:16:47 | |
How do you know? | 1:16:47 | 1:16:49 | |
How do I know? | 1:16:49 | 1:16:51 | |
This is how I know. | 1:16:52 | 1:16:55 | |
Allied intelligence in Turkey monitors this area. | 1:16:55 | 1:16:59 | |
We hang out here until the invasion? | 1:16:59 | 1:17:02 | |
We could have lots of time | 1:17:02 | 1:17:05 | |
to climb to the monastery. | 1:17:05 | 1:17:08 | |
You change your mind fast, Zeno. | 1:17:08 | 1:17:10 | |
You said the treasures of Athena belong to the Greek people. | 1:17:10 | 1:17:15 | |
-They do. -Right. | 1:17:15 | 1:17:17 | |
The first troops that land here, | 1:17:17 | 1:17:19 | |
regardless of national origin, will steal everything. | 1:17:19 | 1:17:23 | |
-It might as well be us. -Agreed? | 1:17:23 | 1:17:27 | |
The monks will be conned by someone. | 1:17:27 | 1:17:30 | |
Rotelli? | 1:17:30 | 1:17:32 | |
I agree with both. | 1:17:32 | 1:17:34 | |
We'll have to climb up carrying heavy weapons and explosives. | 1:17:36 | 1:17:41 | |
For a bunch of monks? | 1:17:41 | 1:17:43 | |
They may have buried the treasure and sealed it. | 1:17:45 | 1:17:49 | |
I understand dynamite, but why the fancy hardware? | 1:17:49 | 1:17:53 | |
There's still a war going on, Charlie. | 1:17:53 | 1:17:56 | |
You know something? | 1:17:56 | 1:17:58 | |
I don't trust you. | 1:17:58 | 1:18:00 | |
But I'm more greedy than I am cautious. | 1:18:00 | 1:18:04 | |
When do we start? | 1:18:04 | 1:18:06 | |
Right now. | 1:18:06 | 1:18:07 | |
What have you got? | 1:19:40 | 1:19:42 | |
Submarine surfacing. Zone three. | 1:19:42 | 1:19:44 | |
'Eagle four, this is Swordfish. ETA 13.30. Over.' | 1:19:46 | 1:19:50 | |
Tell him we have a fuel leak. | 1:19:50 | 1:19:54 | |
He won't believe it. | 1:19:54 | 1:19:55 | |
Tell him! | 1:19:55 | 1:19:57 | |
'Eagle four, this is Swordfish.' | 1:19:57 | 1:19:59 | |
Swordfish, Swordfish, Eagle four. | 1:20:03 | 1:20:06 | |
I can't believe people do this for fun! | 1:20:08 | 1:20:11 | |
'Will proceed to Eagle six as alternate. | 1:20:12 | 1:20:15 | |
'Over and out.' | 1:20:15 | 1:20:16 | |
How will I immobilise this place? | 1:20:16 | 1:20:19 | |
There are some things | 1:20:19 | 1:20:21 | |
you have to find out for yourself. | 1:20:21 | 1:20:25 | |
We have some limpet mines. | 1:20:25 | 1:20:27 | |
Dottie... | 1:20:27 | 1:20:29 | |
Five...six... Can you get down about 18 feet without equipment? | 1:20:29 | 1:20:34 | |
Well, I guess so. | 1:20:35 | 1:20:37 | |
Anything for the war effort. | 1:20:37 | 1:20:39 | |
First open the valves. | 1:20:41 | 1:20:42 | |
I hope there are no underwater surprises. | 1:20:42 | 1:20:46 | |
What's that? | 1:20:49 | 1:20:51 | |
It looks like transmitting equipment. | 1:20:51 | 1:20:53 | |
For a bunch of monks? | 1:20:54 | 1:20:57 | |
What do they do with it? | 1:20:57 | 1:21:00 | |
Maybe they got a talk show. | 1:21:00 | 1:21:02 | |
"Morning folks, this is Brother Zotos." | 1:21:02 | 1:21:04 | |
Those Germans must have an installation here. | 1:21:04 | 1:21:08 | |
Well, at least try to sound surprised. | 1:21:08 | 1:21:12 | |
Are you saying...? | 1:21:12 | 1:21:13 | |
You took us up here | 1:21:13 | 1:21:16 | |
for reasons other than what we're looking for. | 1:21:16 | 1:21:18 | |
Right. | 1:21:18 | 1:21:20 | |
So am I. | 1:21:20 | 1:21:21 | |
They have a communications centre there. | 1:21:21 | 1:21:24 | |
Before they radio for help, | 1:21:24 | 1:21:27 | |
we have to knock it out. | 1:21:27 | 1:21:29 | |
How many men are in there? | 1:21:29 | 1:21:32 | |
There can't be too many. | 1:21:32 | 1:21:35 | |
I suppose you worked out some sort of plan. | 1:21:35 | 1:21:39 | |
We should throw you down the mountain. | 1:21:39 | 1:21:42 | |
You wouldn't get the plates. | 1:21:42 | 1:21:44 | |
If something happens to me, | 1:21:44 | 1:21:47 | |
20 years from now, | 1:21:47 | 1:21:49 | |
when Germans sell Volkswagen everywhere, | 1:21:49 | 1:21:50 | |
I will be angry. | 1:21:50 | 1:21:53 | |
PHONE RINGS | 1:22:09 | 1:22:12 | |
It can't be for us. | 1:22:16 | 1:22:18 | |
Maybe it's your agent. | 1:22:18 | 1:22:20 | |
-Really? -No. | 1:22:20 | 1:22:22 | |
Jawohl. Ja, alles normal hier. | 1:22:27 | 1:22:30 | |
Ja, geht in ordnung. | 1:22:30 | 1:22:32 | |
Ja, gut. | 1:22:32 | 1:22:33 | |
Jump! | 1:27:45 | 1:27:46 | |
Nice of them to make it easy to climb down. | 1:28:04 | 1:28:09 | |
Touch it only with your boots. | 1:28:13 | 1:28:15 | |
Now. | 1:28:15 | 1:28:17 | |
My silencer doesn't fit. | 1:32:13 | 1:32:15 | |
Is this your idea of not many? | 1:32:31 | 1:32:34 | |
There's a whole army down there! | 1:32:34 | 1:32:37 | |
Take off the lid. | 1:32:37 | 1:32:39 | |
Hexaclyde II? Sounds like a stain remover. | 1:32:39 | 1:32:42 | |
When they wake up, there'll be new management. | 1:32:42 | 1:32:46 | |
Hold your breath. | 1:33:00 | 1:33:02 | |
Naturlich. | 1:33:20 | 1:33:22 | |
Danke schon. | 1:33:26 | 1:33:28 | |
The radio is dead. | 1:33:30 | 1:33:32 | |
This is Athena. Come in. | 1:33:53 | 1:33:55 | |
Call the Crete air base. | 1:33:55 | 1:33:57 | |
Crete, come in. | 1:34:08 | 1:34:09 | |
What's next? | 1:34:15 | 1:34:17 | |
There are not too many now. | 1:34:17 | 1:34:19 | |
I can't raise Crete. | 1:34:26 | 1:34:27 | |
Ela! | 1:34:31 | 1:34:32 | |
Let's go. | 1:34:35 | 1:34:36 | |
For the treasure? | 1:34:36 | 1:34:38 | |
Yes. | 1:34:38 | 1:34:39 | |
Check the antenna. | 1:34:52 | 1:34:54 | |
Halt! | 1:35:01 | 1:35:03 | |
Oh, thank you! | 1:35:18 | 1:35:20 | |
Put the garrison on alert. | 1:35:22 | 1:35:24 | |
Supervise the manning of all stations. | 1:35:24 | 1:35:27 | |
Sir. | 1:35:27 | 1:35:29 | |
Are we getting close to the treasure yet? | 1:36:35 | 1:36:38 | |
Schroeder speaking, sir. | 1:36:43 | 1:36:46 | |
Phase one. | 1:36:46 | 1:36:48 | |
SIREN WAILS | 1:36:48 | 1:36:52 | |
Is that where they keep the treasure? | 1:37:31 | 1:37:35 | |
You lied to us! | 1:37:35 | 1:37:38 | |
Zeno, what's going on? | 1:37:46 | 1:37:49 | |
They could work the music hall. | 1:37:58 | 1:38:00 | |
Charlie, shut up! | 1:38:00 | 1:38:02 | |
You lied to us! | 1:38:09 | 1:38:11 | |
Liar! | 1:38:11 | 1:38:12 | |
Now you know what you're really doing here. | 1:38:49 | 1:38:52 | |
You'll be a hero, Charlie. Big decorations. | 1:38:52 | 1:38:56 | |
We'll stop the invasion fleet from being destroyed. | 1:38:56 | 1:38:59 | |
So the invasion is on. | 1:38:59 | 1:39:01 | |
In a few days. | 1:39:04 | 1:39:06 | |
I don't get it. | 1:39:06 | 1:39:08 | |
What are they doing now? | 1:39:08 | 1:39:11 | |
Don't worry about your share of the loot. | 1:39:11 | 1:39:15 | |
Zeno can be trusted. | 1:39:15 | 1:39:16 | |
I'm worrying about what else he has got them into. | 1:39:16 | 1:39:20 | |
Nothing they can't get out of. | 1:39:20 | 1:39:23 | |
SIREN WAILS | 1:39:23 | 1:39:28 | |
Let's stop that thing and get out of here. | 1:40:11 | 1:40:15 | |
If you hit that liquid oxygen, | 1:40:15 | 1:40:18 | |
you'll blow us all back to the village. | 1:40:18 | 1:40:21 | |
Sorry. | 1:40:21 | 1:40:23 | |
The opening in the wall, the cross - | 1:40:30 | 1:40:34 | |
that's the missile room. | 1:40:34 | 1:40:36 | |
Throw this in. | 1:40:36 | 1:40:38 | |
If I get clear, follow me. | 1:41:04 | 1:41:07 | |
Come on. | 1:41:11 | 1:41:12 | |
Holy cow. | 1:41:48 | 1:41:49 | |
Where's the gold plates? | 1:42:54 | 1:42:57 | |
-Can't you ever stop? -Never. | 1:42:57 | 1:42:59 | |
Mind if we liberated a few monks first? | 1:42:59 | 1:43:03 | |
Find them, will you, Nat? | 1:43:03 | 1:43:06 | |
Nat, find the monks. | 1:43:10 | 1:43:12 | |
You're an equal partner with Otto and the professor. | 1:43:12 | 1:43:16 | |
Where is the treasure? | 1:43:24 | 1:43:26 | |
Where are the gold plates? | 1:43:26 | 1:43:28 | |
At the end of the tunnel to the right. | 1:43:28 | 1:43:32 | |
Move, move, quick. | 1:43:44 | 1:43:45 | |
Ela! | 1:43:59 | 1:44:00 | |
Someone's been here. | 1:44:36 | 1:44:38 | |
This place is ready to self-destruct. | 1:45:21 | 1:45:25 | |
Did you hear that? | 1:45:26 | 1:45:28 | |
Charlie, we got to go. | 1:45:28 | 1:45:30 | |
The place is going to blow up! | 1:45:30 | 1:45:34 | |
Leave me alone! | 1:45:34 | 1:45:36 | |
Charlie! | 1:46:13 | 1:46:14 | |
Good timing. | 1:46:57 | 1:46:58 | |
Heil Hitler. | 1:47:07 | 1:47:08 | |
Now you can leave the brothel business. | 1:47:17 | 1:47:20 | |
With the Germans gone, you'll have to. | 1:47:20 | 1:47:23 | |
Greeks - they don't pay. | 1:47:23 | 1:47:27 | |
They don't have to. | 1:47:28 | 1:47:31 | |
I hope your treasure survived | 1:47:33 | 1:47:36 | |
the destruction of the monastery. | 1:47:36 | 1:47:39 | |
They are hidden in the house of pleasure. | 1:47:39 | 1:47:44 | |
In the... | 1:47:44 | 1:47:46 | |
You don't have to actually say where the plates are. | 1:47:46 | 1:47:52 | |
All we want is to copy them. | 1:47:52 | 1:47:55 | |
If I'm getting close, | 1:48:43 | 1:48:45 | |
say, "You're getting hotter." | 1:48:45 | 1:48:48 | |
May I see them? | 1:49:01 | 1:49:03 | |
I intend you to. | 1:49:03 | 1:49:05 | |
I'll be your representative in New York. | 1:49:11 | 1:49:14 | |
I will be your representative in Rome. | 1:49:14 | 1:49:18 | |
None of this will be possible. | 1:49:18 | 1:49:20 | |
Opa! | 1:49:35 | 1:49:37 | |
Opa! | 1:49:41 | 1:49:42 | |
Otto, take me inside. | 1:50:04 | 1:50:06 | |
I've always wanted to see | 1:50:06 | 1:50:08 | |
where people go when they... | 1:50:08 | 1:50:10 | |
How typical of nice girls. | 1:50:10 | 1:50:13 | |
Charlie! | 1:50:16 | 1:50:18 | |
We've been looking for you. We've got to celebrate. | 1:50:19 | 1:50:24 | |
What's to celebrate? | 1:50:24 | 1:50:25 | |
We haven't found any treasure, | 1:50:25 | 1:50:28 | |
and I'm losing my partner. | 1:50:28 | 1:50:30 | |
Charlie, you're gaining one. | 1:50:30 | 1:50:32 | |
You're going to join my act? | 1:50:32 | 1:50:35 | |
I hope that you both will join mine. | 1:50:35 | 1:50:39 | |
Please, let me explain. | 1:50:39 | 1:50:41 | |
Switzerland ain't just cuckoo clocks and watches. | 1:50:41 | 1:50:45 | |
I have there treasures from all over Europe. | 1:50:45 | 1:50:48 | |
We will make flawless copies | 1:50:48 | 1:50:51 | |
which you will sell in America. | 1:50:51 | 1:50:54 | |
Even to the Greeks. | 1:50:54 | 1:50:56 | |
I can start a mail-order business, | 1:50:56 | 1:51:00 | |
sell to museums. | 1:51:00 | 1:51:01 | |
You won't be selling to museums. | 1:51:01 | 1:51:04 | |
Let's stick to my area. | 1:51:04 | 1:51:07 | |
After all, being an antiquarian... | 1:51:07 | 1:51:09 | |
You can handle all the museums. | 1:51:09 | 1:51:12 | |
We should incorporate. Give us a name. | 1:51:12 | 1:51:15 | |
Golden Oldies. | 1:51:15 | 1:51:17 | |
What a team! | 1:51:17 | 1:51:19 | |
This building was the headquarters | 1:51:44 | 1:51:47 | |
of the Greek resistance. | 1:51:47 | 1:51:49 | |
Now a museum, it houses treasures, | 1:51:49 | 1:51:52 | |
including the famous plates from Mount Athena. | 1:51:52 | 1:51:55 | |
# I've been living like Caesar | 1:51:55 | 1:51:57 | |
# For long enough to know | 1:51:57 | 1:51:59 | |
# Cos bein' a hero | 1:51:59 | 1:52:01 | |
# Don't make your dollars grow | 1:52:01 | 1:52:03 | |
# So I'm only after something I deserve | 1:52:03 | 1:52:07 | |
# And I want to place an order on the future in reserve | 1:52:08 | 1:52:13 | |
# Got a feeling to guide me | 1:52:13 | 1:52:15 | |
# And I've only just begun | 1:52:15 | 1:52:16 | |
# Had a notion inside me | 1:52:16 | 1:52:19 | |
# That the best is yet to come | 1:52:19 | 1:52:21 | |
# And it keeps me reaching out for something more | 1:52:21 | 1:52:25 | |
# Cos I never had the chance | 1:52:25 | 1:52:27 | |
# To think it out this way before | 1:52:27 | 1:52:30 | |
# Keep tomorrow for me | 1:52:30 | 1:52:32 | |
# Don't let anyone use it | 1:52:32 | 1:52:34 | |
# Keep tomorrow for me | 1:52:34 | 1:52:36 | |
# Now I've come this far don't want to lose it | 1:52:36 | 1:52:39 | |
# Keep tomorrow for me | 1:52:39 | 1:52:41 | |
# Don't let anyone use it | 1:52:41 | 1:52:43 | |
# Keep tomorrow for me. # | 1:52:43 | 1:52:45 |