All language subtitles for 25 Thunderbirds - The Cham-Cham

Five,

four,

three, two...

..one.

Thunderbirds are go.

Well, they're
bringing her out now.

All security systems
are operational, sir.

Shouldn't be a
thing to worry about.

Yes, that's what we thought
last time. We were wrong.

She certainly looks good, sir.

Frankly, Scheiler,
at this moment,

the physical contours of the
RTL2 interest me much less

than the success of
the whole operation.

Hitchins, have the crew been
given their sealed orders yet?

Yes, sir. They should be
opening them about now.

OK, so now we know where
we've got to deliver the goods to.

Macklin, have you
read your orders yet?

- Yes, sir.
- Let's set a course, huh?

Sure thing, Captain. Right away.

Right. I guess I'd better have
a final word with the old man.

Savage, the only danger
in this operation can arise

if an enemy were to find out

where your aircraft
is at any given time.

So I want you to preserve
complete radio silence.

As soon as you've levelled out,

I don't want to hear
another word out of you.

- Is that clear?
- Perfectly, sir.

Break silence only in a
case of extreme emergency.

Right, you got your orders.

All you gotta do is carry
them out. Good luck.

I'll sure be glad when we've
delivered this little cargo.

Now, Radio Maxwell is proud
to bring back to the microphone

here at Paradise Peaks
the Cass Carnaby Five

with their great hit
number currently topping

the international chart,
Dangerous Game.

♪ Dangerous Game

Gee, I hope Tin-tin's listening.
She really digs this number.

Yeah. It's great.

This is RTL2 calling
Central Control.

This is RTL2 calling
Central Control.

Loud and clear. RTL2, go ahead.

Central Control,
we are under attack.

We are under attack.

Three fighters with some
kind of oval markings.

We can't stand up to much
more of this punishment.

The radio's gone bad,
Hitchins. Did you get a fix?

Yes, sir. Our relief
aircraft are on their way.

It's the third time this
has happened, Scheiler.

The third time.

I wonder if it was
a coincidence.

What are you
talking about, Alan?

It's that tune Dangerous Game.

Just before the transporter crashed,
they were playing it on Radio Maxwell.

So what? What's
unusual about that?

They must have played that tune
a million times in the past month.

But they were playing it Radio Maxwell
before the other transporters crashed, too.

- The first and the second.
- What are you getting at?

Dad, it's simply that each time

these transporters
have been attacked,

the Cass Carnaby Five have
been giving a live performance.

Live? That was pretty
observant of you.

But surely the Cass Carnaby Five

can have nothing to
do with this business.

There could be a
connection, you know.

Where are they now?

They're doing a season
at Paradise Peaks.

Isn't that that super deluxe
hotel high up in the Alps?

- That's right.
- What do you think, Brains?

It's certainly an interesting
observation that Alan made.

I'll get John in the satellite
to radio us a recording

of that Cass Carnaby broadcast
and see what I make of it.

Right. Meanwhile we'll
get this hotel investigated.

And I know just
who to send there.

Tea, m'lady?

Oh, thank you, Parker.

Tea on the lawn.

And isn't it a lovely day?

Oh, yes, m'lady.

I was just wondering, in fact,

if I might have the rest
of the afternoon off?

I thought I might take
Cook out for a punt.

Why, certainly, Parker.
You deserve a break.

Thank you, m'lady.

I'll just go and change into
something more suitable.

International Rescue.
Lady Penelope speaking.

Hello, Penny. Jeff here.

Why, Jeff, what a
pleasant surprise.

Penny, I'm organising
an investigation

into the crashing of these rocket
transporters and I require your assistance.

I see. What do
you want me to do?

Go to Switzerland to
the Paradise Peaks Hotel

and investigate the cabaret
act, the Cass Carnaby Five.

Cass Carnaby?

There seems to be
some connection.

Very well, Jeff. I'll get Parker
to arrange a flight at once.

♪ Jolly boating weather

♪ Da-da-da-dee-der-der

Oh, yes.

When Cook sees me in this gear

she'll be like
putty in my hands.

.Parker, we are off
on a mission again.

Oh.

Very good, m'lady.

What sort of business
will it be this time?

Show business, Parker.

I believe you have
connections in the theatre world.

Oh, yes, m'lady.

Excellent connections.

Wanda Lamour? Who the
heck is Wanda Lamour anyway?

She's by way of being a
very provocative torch singer.

Look, Nosey, I'd really
love to do you a favour,

just for old times' sake,
but I run a big agency here.

I can't send out
to Paradise Peaks

a singer I've never
even heard of.

Now, that is a pity.

A real pity.

Cos I was in the
States last week

and I was only saying
to Punchy Patterson...

Punchy Patterson?

I thought he was inside.

Punchy? No, I ask you,
could you see a bloke

like Punchy staying
long behind bars?

With his muscles.

Nosey, what are you getting at?

You didn't tell him I'm
over this side now, did you?

To tell you the truth Maxie,

I didn't really know what to do.

He was in a very anxious state.

Very anxious indeed.

Kept on about some
unfinished business.

All right, Nosey, I...

I get the message.

- You... you want to do a deal.
- That's right, Maxie.

You engage Wanda
Lamour at Paradise Peaks.

And you keep your mouth shut.

OK, then,

what's this Wanda Lamour like?

Is she blonde or brunette?

Good. I think that
ought to do the trick.

Come in.

Oh.

Beg pardon, miss.

I was looking for her ladyship.

Come in. So you
didn't recognise me?

Well, it looks as if my
disguise is a success.

I should go down well.

They say that if you go
down well at Paradise Peaks,

you'll go down well anywhere.

I just hope I can keep
this pose up long enough.

Still, the show must go on.

I'm all set, Alan.

OK, Tin-Tin, you're clear to go.

Good luck.

How is it going,
Penny? I mean, Wanda?

All right, Jeff. My
flight will be departing

in about ten minutes.
Any new developments?

Not yet. Brains is working full
time on the Cass Carnaby recording.

He's exploring the
possibility of melodic patterns

causing mechanical
changes in the aircraft.

A radio was playing in the aircraft
at the time of the last disaster.

You see, Alan,

repeated melodic patterns
from the Cass Carnaby group

could be used to impede
the efficiency of the aircraft.

But, Brains, the transporters

each time reported
they were under attack.

It was the fighters
that shot them down.

True, but perhaps the music was
affecting their ability to retaliate.

However, I agree with you that
there could be something in the music.

Something like a musical code.

Let's try and decode it. Penelope
and Tin-Tin will arrive at the hotel soon.

They need all the
help we can give them.

They weren't joking when the said
this was the highest hotel in Europe.

- It really is a long way up.
- And I do feel rather lost
without Parker.

I'm beginning to wish
we'd taken the Rolls.

Remember what they said. It's a
very long road and a dangerous one.

Perhaps it's just this disguise
that is making me nervous.

Cheer up, Penelope. You'll be all
right provided they don't ask you to sing.

I'm just going to plead
a little throat trouble.

That should give us a chance
to get on with our investigations.

Look. There it is.

Paradise Peaks Hotel.

I just can't believe
they've got anything to do

with the sabotage
business. I can't.

Thanks a lot, ladies
and gentlemen.

Isn't he gorgeous?

Now, ladies and gentlemen,

I want you to say hello to our
next guest star here at the Peaks.

I would ask her to sing for you,

but unfortunately her opening
has had to be postponed

because of an infection
in her pretty little throat.

Ladies and gentlemen, I
give you Miss Wanda Lamour.

Gee, Miss Carannon, it was real nice of
you to come round and see me like this.

When did you get here?

Just today. I came
with Miss Lamour.

Oh, yeah, Miss Lamour.

The lady with a
frog in her throat.

I must have heard Dangerous
Game a million times

but it still knocks me cold
every time I hear it, Mr Carnaby.

Well, thanks. You're a bit
of a knockout yourself, too.

And I wish you'd call me Cass.

All right. Cass.

But you must get tired
of playing that tune.

Don't you sometimes
want to vary it?

You know, change the
tempo or something?

We leave that to Mr Olsen.

Yeah, well... kids I
hate to break this up

but I have some
things to attend to.

A couple of points I'd like
to raise with you, too, Cass.

So, Mr Olsen is your
musical arranger?

Yeah. Funny guy

but sure knows the business.

Funny? In what way?

Maybe temperamental
would be a better word.

Sometimes he'll make a last-minute
change before we go on air.

It drives us crazy. Still, like I
say, he knows the business.

It's certainly funny that our paths
have never crossed before, Miss Lamour.

I know most of the
warblers in show business.

Oh, I've been around, you know.

High society keeps
me pretty busy.

Yeah, that figures.

But you're still a
lady of mystery.

You've told me
everything and nothing.

You intrigue me.

Oh, that's enough about me.

Tell me about
yourself, Mr Olsen.

I hear you keep the Cass
Carnaby boys on their toes.

What else have you heard?

That you also are a mystery.

Tell me, Mr Olsen,

what is your secret?

Of my success? Or
of my good looks?

Both, Mr Olsen. Both.

Plenty of beauty
sleep, Miss Lamour

and I'm afraid that's
my cue to excuse myself

from your very charming company.

Oh, so soon?

Good night.

Psst! M'lady.

Why, Parker.

You're a sight for sore eyes.

What are you doing here?

I've got a job as
part-time bouncer, m'lady.

I thought I might be more
useful to you up here at the hotel.

Oh, Parker, we seem to
be having very little success.

How I would enjoy one of
your splendid cups of tea.

Very good, m'lady.

I'll fetch you up some at once.

Mmm. Just right.

Thank you very much, Parker.

Now, tell me, how are
your investigations going?

Well, m'lady,

I did overhear your Mr Olsen

talking to Benito,
the head waiter.

He was saying something about
expecting a message tomorrow morning.

I wonder what he meant by that.

Well, it sounds interesting.

Where does Olsen live, Parker?

In a chalet round the
other side of the mountain.

We ought to follow
this up at once.

I'm afraid that he's soon
going to find out that I'm a fake.

Right. Let's report
it to Mr Tracy.

Calling International Rescue.
Calling International Rescue.

♪ Dangerous Game

How are the experiments
going, Brains?

Well, Mr Tracy,

I've definitely established

that there is some kind of
electronic pattern in the music.

You mean the music
was really used as a code?

It looks quite likely.

But I still got to
decode the music

before I'm sure
there is a code in it.

If you see what I mean.

Laboratory.

Brains, tell Dad that Tin-Tin
would like a word with him.

Jeff Tracy speaking.
What's the situation, Tin-Tin?

Nothing definite but we feel
that Olsen the music arranger

could be the man
we're looking for.

The thing we don't know is

whether he is working alone
or all the group are involved.

Brains is pretty
certain that the music

has some kind of hidden
meaning. Do you want help?

Not yet, Mr Tracy. We'll let you
know more definitely tomorrow.

After we've called on Mr Olsen.

We're nearly there.

What is that machine
he's working at?

I don't know.

Some kind of
electronic computer.

- Did you get a close-up?
- I certainly did.

He's just been getting his orders
for the next sabotage operation.

Come on. We've got to warn Jeff.

- Give me Banino quickly.
- Oui, monsieur.

Hello.

I see.

I see...

That singer that no-one
has ever heard of.

Very well.

I shall deal with them.

Right, ski thrust on.

What do you suppose
is going on up there?

Why, that's Parker.

Oh, my goodness.

They appear to be
heading this way.

Oh, dear. I'm sure this isn't
doing Parker's vertigo any good.

Oh, I must apologise for the
unconventional entrance, m'lady.

But I had to apprehend
him somehow.

You mean, that bullet

was meant for us?

Yes, m'lady. I'm afraid
the masquerade is over.

Our friend here had been ordered

to dispose of you
and Miss Tin-Tin.

I'm not surprised, Parker, now
they know we're onto their little game.

We must get back to
the hotel and contact Jeff.

And we have to hide
him away somewhere.

The broom cupboard is
the best place for him, miss.

Out of sight, out of
mind, as the saying goes.

When he comes to,

I hope we'll be a
long way from here.

I just can't get Brains and
Alan to eat anything today.

They say they haven't got time.

Well, Mother, they've got to get
the code combination cracked.

Well, it seems to me...

Go ahead, Penny.

Jeff, urgent news.

We've traced the man who's
been sabotaging transporter planes.

Good work, Penny.
Brains, are you there?

- I want you up here.
- I'm on my way.

OK, Penny, we got to work fast.

Right. Now Tin-Tin is going to
show you some of the evidence.

Go ahead, Tin-Tin.

This was after that machine of
.his had done the translating for him.

That's it.

Oh, of course.

Why didn't I think of it before?

Think of what, Brains?
What are you talking about?

That's it. It's a cham-cham.

A cham-cham?

What's a cham-cham, Brains?

It's a new electronic machine

that is sensitive to ultrasonic
harmonics and microtones.

Of course.

Now that I know the technique they've
been using, I'll soon break their code.

Right, this is what we'll do.

Brains will return to the lab
and work out the key to the code.

Penelope, I want you and Tin-Tin
to stand by for my next message.

Scott, get me Washington DC.

Yes, sir.

We've got to save that
next transporter aircraft.

But, sir, these men
could be on the level.

You know that
International Rescue

is an organisation we can trust.

If we paid attention to
every nut who telephoned

in to say he was
International Rescue...

But, sir, Washington thinks
they were the real thing.

I'm in charge of
this outfit, Scheiler,

and I don't intend to make my unit
the laughing stock of the US Air Force,

just because some kook
wants to play musical chairs.

Yes, sir.

No good, Father?

No, Alan, they
wouldn't listen to me.

Washington were sympathetic

but the commander at
Matthews Field wasn't.

Brains has worked
out the musical code.

He's calculated how
the tune should be altered

so that Olsen's
message gets changed.

Good. From here on in, it's
up to Penelope and Tin-Tin.

Only they can save that
aircraft from destruction.

All right, Cass,

let's try the tune
this way tonight.

There's just a few
minor modifications.

But, Mr Olsen, I don't
see what the point is.

Look, Cass, never
mind the objections.

When we drew up that contract,
you agreed to do it my way.

OK, then.

We'll change the
arrangement for broadcast.

That's my boy. You'd better
let the other fellows know.

You're on in five minutes.

Thanks, Mr Olsen.

Cass, if you must
alter the arrangement,

you must change it to our way.

Look, Tin-Tin, if you asked me to play
Dangerous game on 3/4 time, I'd do it,

but I'd still want to know why.

Don't let's go into that
again. I can't tell you

how I came to be involved in
all this. Just trust me, please.

Honey, this season at the Peaks
is the biggest break I'll ever get.

I can't break my contract.
I've got to do as Mr Olsen says.

Well, Father, I'm all set to go.

Right, Scott, let's hope
this gamble is gonna pay off.

It's a desperate step
I'm getting you to take

but it's the only way to prove
we're in dead earnest. Good luck.

Thanks, Father.

Right, boys, it's nearly
time for the broadcast.

Let's see what is happening
at Paradise Peaks. Brains?

- Are you ready?
- Yes, Mr Tracy.

I told Penelope how
to alter the arrangement

to divert those enemy fighters.

I just hope they can
persuade Cass Carnaby

to play it that way
instead of Olsen's.

Ladies and gentlemen,
I am happy to present

the Cass Carnaby Five.

Oh, dear. Only Penelope
can save us now.

I wonder where
Mr Olsen has got to.

♪ Dangerous Game

Good. Our contact at the hotel

has a message for us.

Yes, I am getting a direction

on the flight path of
the transporter craft.

♪ When you play

♪ The dangerous game

♪ You must learn...

The message is changing.

♪ Learn to watch every glance

She's done it.

She's changing the
key and the code.

I read, 6-2-9-6-6...

..8.

Action stations.

Intercept transporter craft

at position 6-2-9-6-6-8.

I repeat,

6-2-9-6-6-8.

Intercept transporter
craft and destroy.

♪ ..on the bottom of the pack

♪ So beware

♪ It may be a friend

♪ You must gamble hard

♪ When you play

♪ That dangerous game

Parker, look.

♪ The dangerous game

Right, Virgil, get out
to Paradise Peaks.

Penelope and Tin-Tin
could be in great danger.

Alan, you'd better go with him.

Yes, sir.

Sir, I've just received a
request for permission to land.

Sir, it's...
International Rescue.

International Rescue?

This is International Rescue

calling Matthews Field Control.

A short time ago
we tried to tell you

your transporter was about to
be destroyed by enemy fighters.

- But you would not listen.
- What's this all about?

I am informing you that we
have diverted these fighters

and they are about to overfly
the outskirts of this airfield.

That must be the three
reported unidentified aircraft.

Look, Scheiler,
those oval markings.

These must be the fighters Savage
reported before his radio went dead.

- Call action stations.
- Yes, sir.

These aircraft
must be destroyed.

So...

International Rescue
have done it again.

Oh, dear, I feel dreadful
slipping away like this.

We haven't even paid our bill.

It's the only way
to avoid Mr Olsen.

I wonder where he can be.

Good.

The three of them.

Now to make sure they don't
interrupt any more broadcasts.

That's strange.

We've stopped.

I can't understand it.

Parker, press the alarm bell.

Yes, m'lady.

That sounded like
the cable car alarm.

- What was that?
- I don't like this at all.

Calling International Rescue.

Come in, International Rescue.

Jeff, it looks as if Olsen is
going to get his revenge after all.

I thought we were
getting away too easily.

Virgil expects to arrive at
Paradise Peaks in two minutes.

What is the problem?

OK, Father, I get it.

We should be sighting
the hotel any moment now.

The girls and Parker are trapped in
a cable car. Olsen is cutting the cable.

Olsen! Olsen, cut that out!

You crazy fool,
the cables are free.

That car will never stop.

What's that?

Hey, just look at that.

He's cut the cable.

Right, Alan, I'm gonna get
close down on top of that car.

When I give you the command,
fire the magnetic grabs.

FAB.

He's coming very close.

Right, Alan, now!

It's no use. The
grabs just won't hold.

Thunderbird 2 calling
Penelope. Come in, Penelope.

Loud and clear, Virgil.

Penelope, you are gonna
have to give us a hand with this.

Let me talk to Parker.

Gee, I hope Parker has
got a good head for heights.

Right, lowering cables... now.

Parker... use this.

He won't make it. He
won't make it in time!

Hurry, Parker. Hurry.

Right, Alan, stand
by with retros.

Standing by.

Now!

Parker, are you all right?

Parker?

Oh, dear.

What could have happened to him?

Look. There he is.

♪ Dangerous Game

Well, it's nice to
know that lovely tune

can't be used for any
sinister purpose any more.

You don't think the hotel people
know we're from International Rescue?

No, but Cass is pretty intrigued

to know how we found
out about the code.

Where's Tin-Tin got to? I haven't
seen her since the last dance.

Oh...

Alan and she went out
for a breath of air, I think.

And tomorrow
she's off home again.

Ah, well.

That's show business.

Well, Tin-Tin, I... I
suppose you're all cut up

about going back
to the base tomorrow

and leaving Cass and the fellas?

Oh, I'm getting quite
used to it by now,

this "hello,
goodbye" all the time.

And, you know, it's always
nice to get home again.