The Show Must Go On Raid

By: desertpat51

The Rat Patrol is returning from a mission and has stopped for the night in a wadi with the two Jeeps parked end to end for a quick escape, if needed. Dinner is over and the four men are sitting around a small fire between the two Jeeps. The radio is on and tuned to the German Station, Radio Belgrade.

Troy is enjoying a smoke and Hitch is laying on his back looking up at the stars. It seems as though every star in the heavens is adding its light to the night, which makes it difficult to pick out specific constellations. However, Moffitt is trying his best to point out a set of constellations to Tully and to explain about the mythical warrior, lovely ladies and fierce animal depicted above.

Troy notes the song that is starting, Lili Marlen, and looks at his watch, "Is it already 2155 hours? Where did the time go?" There's the sound of bugles then drums. Hitch pipes up, "Hey Doc, we always listen to this song out of the German radio station, and I know it's a love song. But what is she saying?"

Moffitt listens more closely as the sultry voice begins to sing, then translates, "At the barracks, in front of the big gate, there's a lantern. And is she still in front of it? We want to see each other again. We want to stand by the lantern. Like Lili Marlen once did. Like Lili Marlen once did."

Moffitt continues, "Our two shadows, looked like one. That we loved each other, you could see that right away. And all people should see it. When we stand by the lantern. Like Lili Marlen once did. Like Lili Marlen once did."

Another stanza, "She knows your steps, your beautiful walk. It burns every evening. But she long forgot me. And should I suffer? Who will stand by the lantern, with you Lili Marlen, with you Lili Marlen?"

He speaks the final words, "From the deep space, from the bottom of the earth. Raises itself as in a dream, your mouth in love. When the late mists turn, who will stand by the lantern, with you Lili Marlen, with you Lili Marlen? When the late mists turn, who will stand by the lantern, with you Lili Marlen, with you Lili Marlen?"

The song ends and Radio Belgrade's broadcast day is over. The channel goes dark and Troy turns off the radio. Moffitt adds, "You know, Lili Marlen was originally written as a poem during World War One. It was put to music and recorded in 1939 by Lale Anderson, the woman you heard singing." Hitch smiles, "She really has a sultry voice. Very romantic. Thanks, Doc." Troy lets the conversation end then says, "We've got a long drive back to Tripoli tomorrow. Time to get some sleep. I'll take the first watch." The others bed down for the night. Troy picks up his Thompson and heads out to check the perimeter.

The next morning a desert camo-painted C-47, with the words Ellie's Express scrolled across the side of the nose, sits on the runway at Berca Field, Benghazi with the engines running. There is a crowd of Allied soldiers, mainly British but a few Americans, giving cheers, whistles and cat calls. The main attraction is a group of three women, the British Entertainments National Service Associations (E.N.S.A.), Song Birds, a blond, a brunette and a red head. They are in dark gray slacks and blousy long sleeve blue blouses with their hair tied up in colorful bandanas. The night before they had given a lively, and sometimes romantic, early Valentine's Day concert for the soldiers at Benghazi. Now they are headed, by way of El Agheila, for the new front lines and Tripoli that was retaken in late January 1943. The women wave to the crowd of soldiers and send kisses through the air as they board the plane.

As the crowd cheers, the pilot does the pre take-off run-up then taxis to the runway threshold. The engines roar, the plane rolls down the runway and takes off with a rousing farewell from the crowd. The wheels retract as far as they will go, with the lower parts still visible below the fuselage.

The women settle in for the short flight from Benghazi to El Agheila where they will pick up other passengers, a colonel and his aide, then on to Tripoli. The inside of the plane's cargo hold is only a little wider than a man is tall and is filled with white wooden boxes, lashed to the deck. They are marked with red crosses, indicating medical supplies. There are also personal travel trunks, cases and bags along with two cases of bootlegged Kentucky bourbon secured tightly to the rear bulkhead with straps and cargo netting. The plane is noisy, so the three women move in close to the only man in the back. The blonde says, "John, we want to meet our flight crew." The man, who is still buckled into his canvas seat, waves them forward, "Be my guest. I'm staying right here." The blonde smiles, "Party pooper!"

They all laugh and make their way forward to the first bulkhead. They peek into the small compartment where the early twenty something radio operator is finishing a call, "Thanks, Berca Field. Dakota 4876, on our way to El Aghiela. Out." He hangs up the mic, flips a couple of switches and turns to see the women crowded at the door. The blonde, with short curly hair and bright blue eyes again takes the lead, yelling over the engine noise, "Hi. We just wanted to introduce ourselves. I'm Dotty Jones. The red-head with green eyes is Lizzy Davies and the brown on brown is Maggie Baker." Margaret, as she prefers, jabs Dotty in the ribs and they all laugh at their little inside joke, since, in public, she is relegated to using her 'stage name'. The radio man also laughs, "Welcome aboard. Pleased to meet you. I'm Clyde Owen. I'll be handling the radio today and hopefully keeping us on course." He points to the front and yells over the engine noise, "That old guy in the left seat is Flight Lieutenant Joe Nelson, your pilot." Joe absently waves and ignores the old guy comment; he's only 26. Clyde smiles, "And that lad in the right seat is Pilot Officer Eddie Palmer, your co-pilot." Eddie glowers at Clyde's lad comment (meaning boy). But Dotty frowns, "Isn't he a bit young to be flying this plane?" Eddie looks back at Clyde who smiles, "Don't worry. He was flying gliders when he was sixteen." Dotty asks, "How old is he now?" Clyde smiles, "Twenty." Dotty shakes her head, "Well, I guess if we have to glide somewhere we'll be in good hands." They all smile. Clyde now points to the man sprawled out on one of the fold-down seats, presumably asleep, "Who's the sad sack in the back?" Dotty again takes the lead, "John Ratliff, our E.N.S.A. manager. I'm sure he'll sleep all the way to Tripoli." Lizzy now asks, "I was wondering about Ellie's Express written on the front." Clyde shouts, "Ellie is Joe's wife… and we're a transport."

About an hour later, the plane approaches El Agheila. Clyde dials in the radio frequency and depresses the mic key, "El Agheila ground, this is Dakota 4876. Anyone home?" To his surprise there is an immediate response, "Right-oh, Dakota. I'm supposing you'd be the blokes looking for Colonel Peterson. Make sure to stay on the landing strip closest to what's left of the hanger. The other one is still covered with Jerry mines. Look for the Jeep. El Agheila out." The plane lands on the refurbished hard-packed strip, with only one bounce, and taxis over to where a Jeep is waiting. The door on the left side near the tail opens and Clyde deploys the stair. A British Colonel, who is clutching an attaché case, gets out of the Jeep and walks to the stair. He holds out his identification, which Clyde checks, then he boards the plane. The Jeep driver pulls a duffel bag out of the Jeep and hands it up to Clyde, who shouts something but the driver shrugs his shoulders. The driver goes back to the Jeep and moves it away from the plane. Clyde and the driver exchange waves then Clyde pulls the stairs up and closes the door.

As Joe and Eddie taxi the plane toward the threshold of the dirt strip, Clyde salutes and yells over the engine noise, "Welcome aboard, Colonel Peterson. But I thought your aide, a Lieutenant Gerald Taylor, was supposed to be joining us today." Peterson, an early fifties, greying at the temples, sort of fellow, nods, "Quite right. But you see, Taylor was a bit under the weather this morning, I'm afraid. I insisted he stay behind. I'm sure he'll catch up in a day or two." Clyde nods, "All right, Sir. Please have a seat. We'll be taking off immediately. It will be just about three hours to Tripoli. Your traveling companions are The Song Birds and their manager." Peterson turns to the women who are seated across from the door, with belts buckled, next to the snoozing man, "Ladies." They smile and give a little wave. Then he has a seat on the other side, the left side and nearest the door, and buckles up.

Clyde heads back into the radio compartment and picks up the mic, "El Agheila ground, this is Dakota 4876 ready for takeoff." He gets the reply and nods an affirmative to Joe. Joe replies with a thumbs up and the Dakota accelerates down the hard packed strip and lifts off into the clear desert air.

Once the plane is airborne and on the way, Clyde comes into the cargo area again, scooting by the boxes, and addresses his passengers, "You're welcome to look out the windows and walk about. The Gulf of Sirte will be on the right, the desert on the left." Lizzy stands then kneels on her canvas seat and looks out the window, "We're flying awfully low." Clyde nods, "About three thousand feet. No need to go higher. We'll just be following the coast all the way." Dotty says, "Look at the fishing boats down there." The others look out the windows and watch from their airborne metal tube as El Agheila disappears in the rear and the sand and water pass by below.

A little less than an hour later Joe signals to Eddie, who nods. They've spotted their next checkpoint below and he yells over the engine noise, "There's Sirte. We'll follow the coast northward now to Misratah then its northwest again to Tripoli." Everyone in back is interrupted from their naps when Clyde calls back, "You might want to look out the right side. We're heading over the fishing town of Sirte. It's the town the gulf is named after." The Colonel acts as though he's seen it before and just clutches his attaché case. John doesn't care and closes his eyes again. The ladies move to the windows and watch as Sirte, with fishing boats off shore, passes by below, rather quickly at about 185 mph.

After another fifteen or twenty minutes of sitting in her seat being bored, Lizzy walks to the left side of the plane, a couple of seats down from the Colonel, and gazes out across the open desert. But after a moment, she frowns, and says to herself, "What is that?" She waves to Dotty and Maggie who join her. She points. They too frown. Dotty looks at Peterson, "Colonel, do you know what that is?" He looks over his shoulder, then takes another look. He unbuckles, stands and takes a hard look then, without putting the case down and as he passes the women on his way forward, says, "Trouble."

Colonel Peterson pokes his head into Clyde's compartment, "Warrant Officer Owen. There's a problem. Look." He points out the small left window of the radio compartment. Clyde doesn't appreciate the intrusion but looks through the hazy sand-scratched plexi. He glances at Peterson then stands and pokes his head into the pilot's compartment. Joe is taking a nap while Eddie is building hours in the C-47 from the right seat. They haven't seen what's approaching from the left rear. Clyde shakes Joe who wakes with a start. He motions over his left shoulder and yells, "Captain. Sand storm!" Joe cranes his neck to look out the cockpit windscreen and sees the wall of sand and dust coming fast from behind. The storm is over six thousand feet high and they've been flying low at only three thousand feet.

Joe yells back, "Sit down! Buckle up! Fast!" Clyde waves to the Colonel who stumbles back to his seat.

Eddie shouts to Joe, "She's all yours." Joe nods, takes his control yoke and pulls back gently, "You've got to climb out slow. She's not a race plane or a glider." Eddie nods. Joe calls out, "Banking left. We don't want to end up over the gulf." But as they turn the blinding dust front hits and the plane shudders sideways. Joe and Eddie both now fight the control yokes and continue banking to the left to counter the force of the rear and side-hitting front until they're heading straight into the storm.

They're blind as the turbulence of the roiling dust throws the plane around and everyone in the back, now strapped in, holds on for dear life. Eddie checks the altimeter, "Fifty-five hundred." Joe nods and Ellie's Express continues to climb. The air above them starts to turn blue. They quickly pop out of the dust and climb above the storm. They both look ahead and out to the sides. But now they have no ground references. Everything below is obscured by blowing dust and sand.

Joe yells back, "Clyde, get us a heading… fast!" But the engines begin to sputter. Eddie yells over to Joe, "Sand in the engines?" Joe nods, "Bit of a problem, that!"

To make matters worse, tracer rounds appear in front of the plane. Joe looks down and sees a line of German trucks through a break in the sandstorm. He yells again pointing down, "Must be stragglers from Rommel's retreating army." From the sand below, the German convoy, trying to join the retreat, has heard then spotted the plane and has let loose with a quad mount of 20mm auto-cannons. A shell hits the left engine and explodes, sending shrapnel into the cockpit. Joe slumps in his seat. Eddie grabs onto the yoke with both hands and yells, "Clyde. Joe's hit."

Clyde is hunkered over his radio and yelling into the mic, "Mayday… Mayday… Mayday… RAF Castel Benito, Tripoli, Aerodrome. Come in please. Tripoli, Castel Benito. Come in please. Mayday… Mayday… Mayday… Dakota 4876. Altitude 6000 feet, on a heading of 2-8-5… correction 2-7-0 degrees, northwest of Sirte. Right engine sustained damaged from a sand storm. We've been hit by German anti-aircraft fire. Left engine out. Repeat. German convoy northwest of Sirte. Eight on board with medical supplies. Mayday… Mayday… Mayday!"

In a large room in Tripoli, several soldiers man the radios at what is now a very busy Allied air base. One soldier, not yet in contact with landing or departing aircraft, relaxes in front of a radio unit with headphones on, monitoring the chatter and munching on an apple. He sits up with a start as the plane's radio message comes in. He grabs a pad and pencil and hurriedly jots down the pertinent information, then depresses the mic key, "Dakota 4876. This is RAF Castel Benito, Tripoli. Come in, please." There's a crackling and a barely audible, "… Mayday… May…" But then there's only silence. He tries again, "Dakota 4876. This is RAF Castel Benito, Tripoli. Come in please…"

Back in the plane Eddie reaches over to Joe and gives a little shake, "Joe?… Joe!" He checks for a pulse and gives a sigh of relief. He then looks back into the radio operator's compartment but Clyde is now slumped onto the radio table, "Clyde?" He also sees that shrapnel has torn through the radio.

Meanwhile, the exploding shells have sent flack spraying through the cabin. The women are screaming and all four civilians duck, as much as they can being strapped in. They watch as the Colonel, sitting on the left side, slumps in his seat. Blood begins dripping down the side of his face.

The shelling stops. They are out of reach of the German guns. Eddie grips the yoke and takes a deep breath. He looks out and down and can no longer see the convoy… in fact he can't see anything below as the sand storm has once again intensified. He feathers the dead left engine propeller, trims for level flight, flips on the autopilot (and hopes it will hold), unbuckles his harness and moves to the radio cubby to check on Clyde. He nods to himself after feeling a pulse then climbs back into the cargo area.

Seeing Eddie on his feet, Lizzy, Dotty, Maggie and Jack unbuckle their seat belts and all meet by the Colonel. Lizzy yells, "What about Joe and Clyde?" Eddie yells back, "Injured but alive. We're down to one engine and on autopilot… not much time." He checks on the Colonel then nods to the others, "He's got a pulse but a bad head wound." Maggie says, "I've had some medical training." He nods and she opens one of the supply boxes, pulling out a medical aid kit. While she tends to the Colonel's head wound, Eddie looks at the others, "Get back to your seats. Buckle up."

Eddie heads back to Clyde who is now pushing himself up off the table, grabbing at his left arm and groaning, "Clyde…Thank the heavens above! Are you alright?" Clyde almost laughs, "No, my young friend. Of course not. But I'm good enough." Together, and with some difficulty, they pull Joe out of the left seat, drag him through the small opening and strap him into Clyde's seat. They climb back into the cockpit. Eddie is about to get into the right seat again, but Clyde shakes his head, "You're the pilot now." Eddie is almost in shock but recovers quickly, takes a deep breath, climbs into the left seat, and switches off the autopilot. Clyde struggles into the right seat with his injured left arm.

Eddie yells, "Okay. Refresh my memory. I need numbers for single engine ops." Clyde grabs the operations manual and quickly checks the index, "You know, I haven't actually flown one of these birds in months." Eddie counters, "Yeah? Well this is my first time… as pilot, that is." Clyde starts checking the instruments, and going through the numbers, "Get back on a heading of 2-7-0. It's what I told Tripoli at last contact. And if we deviate too much, any rescue party they send will never find us out here." He checks the altimeter, "Wow. That storm and losing the left engine sucked off half our altitude. Well, let's just try keeping her at 3000 feet. Maintain at least 90 knots." Eddie suggests, "What if we try to climb a bit. At least we'd have a little more air to play with if we lose the right…"

Just then there is a change in the sound as the right engine finally dies. Clyde yells over the still considerable wind noise, "Well, we're a glider now, lad." Eddie looks over at Clyde, and yells back, "Feathering the right engine prop now. Clyde, I've never flown a glider this big. I need some more numbers, fast." Clyde quickly turns to the pages for 'engines off' operation. He shouts out, "Okay. With no engines the Dakota has a max glide range of 3.25 miles to 1000 feet lost." Eddie shakes his head, "So, like a flying brick." Clyde yells, "I'd like to get us as far away from that Kraut column as possible." He checks the instruments and makes some quick calculations, "Okay, with gear up, no flaps, ah… speed for max range… 106 knots and I'd keep it above 90. Don't want to get too close to stall." Eddie nods.

Both Eddie and Clyde now start looking over the nose and out the sides to see what's below. Without engine thrust they're definitely coming down. Thankfully, the storm ahead is lessening and they start seeing hints of sand dunes. The altimeter continues to unwind… 2750 feet… 2500 feet… 2225 feet… Clyde turns in his seat and yells back to Maggie who is finishing binding the Colonel's head wound, "Maggie, get back to your seat. The landing may get a bit rough." She nods, takes her seat next to Jack and the other Song Birds, buckles up and says, "I think we're crashing!"

Eddie points to a slightly more open area far ahead nestled between some dunes, "Looks like hardpan." Clyde shakes his head, "Hard to tell from up here." Blowing dust is still skimming off the tops of the dunes but it gives Eddie a clear picture of the wind direction. He banks slightly left so they are heading directly into the wind, for a shorter landing, and lines up on the hardpan. They check the altimeter, 1500 feet. Clyde yells, "Let's try it with feet down. At least we'd have a chance of flying her out of here, if we can get the right engine started again." Eddie yells, "Okay. But remember, there's no go-arounds!" Clyde reaches over with his good right arm, lowers the gear, and starts adding flaps. The decent rate increases significantly with the added drag. And now they're heading for the patch of desert they hope is hardpan. Steady… steady… a bit of buffeting from the wind rolling over the dunes as they near the ground. Eddie pulls back slightly on the yoke and Ellie's Express flares just above the sand…

The Rat Patrol cruises down the streets of Tripoli. It's almost noon and they are looking forward to a shave, their two minute showers and getting some real food. They pull up to Allied headquarters to check in and get their billets, but are met outside by a corporal who addresses Troy, "Are you Sergeant Troy?" Troy nods. He continues, "I know you guys are just getting in but Captains Woolsey and Boggs need to see you ASAP." They glance at each other, leave their Jeeps and follow the corporal inside.

The two captains, one American, one British, along with six other men, are standing next to a table with a large map laid out. The six are a rough looking bunch, obviously Brits, all with beards, some with shorts and knee socks and all with long sleeved shirts with the sleeves rolled up. Boggs looks up as the Rats enter, "I'm sorry to have to do this to you, but we've got a plane down and I need you to help with the rescue." The Rats give a collective sigh as Boggs continues, "I'll introduce these men in a minute. First the mission. A C-47 has gone down somewhere west of Sirte." He points to an area on the map, "Two Hurricanes have been redirected to see if they can find her." He shakes his head, "The plane was caught in a sand storm then got hit with German anti-aircraft fire." Troy frowns, "A German column west of Sirte? Shouldn't they all be in Tunisia by now?" Boggs nods, "We were as surprised as you. So no telling what you might find out there." Then Moffitt asks, "If I may, Sir, what is special about this particular aircraft?" Boggs says, "Besides medical supplies, and a group of singers from the E.N.S.A. The Song Birds, I think, the main concern is an intelligence man, a Colonel Peterson, and his aid, who are carrying classified material. We need to get to that plane before the Jerrys do."

Moffitt frowns, "Excuse me, Sir. Did you say The Song Birds?" Boggs glances at him, a bit annoyed, "Yes." Tully and Hitch notice that Moffitt seems distracted as Boggs continues, "This is Captain Malcolm Woolsey and his team from the SAS. Sergeant Sam Troy of the Rat Patrol, this is Sergeant Taylor Dawson." The two shake hands. Dawson smiles, "Just call us Desert Rats, mate." Troy smiles, "Desert Rats, it is." Boggs breaks in, "Hold the rest of the introductions for later. Captain Woolsey?" Woolsey takes over, "You'll be escorting a truck with a medic. We don't know if the plane landed, crashed, burned, or what have you. But we need to salvage as much as possible. Now, I know you've all been out on patrol and were probably looking forward to some R&R. But considering that the plane ran into a Jerry patrol, we need to move fast. Boggs here tells me you're the best. Hopefully, five Jeeps and the ten of you will deter any Jerry attacks. Questions?" Troy asks, "Who's in charge, Sir?" Boggs says, "Since it's a British plane, crew and passengers… Sergeant Dawson will be in command of this one, Troy." Troy isn't happy, "Yes Sir." Woolsey says, "Alright. You've got one hour. Check with Lieutenant Jameson to get the radio code for the Hurricanes. Good luck, gentlemen." Troy and Dawson salute for their respective groups and Troy holds his tongue as Dawson says, "No worries. We'll find them."

Outside HQ, everyone is trying to remember each other's names: Sergeants Troy and Moffitt, then their Privates who go by their first names, Hitch and Tully. On the SAS side, Sergeant Dawson, Corporal Billy Jenkins, Lance Corporal Teddy Lloyd, and the privates and drivers, Stan Collins, Bernie Cole and Wally Bailey. Tully looks at the group, "Maybe we need name tags." They all laugh and the bonding begins.

After the one minute showers, shaves and fresh uniforms, it's off to the motor pool. They'll have to eat on the go. The Jeeps are loaded and the group meets the medic, Corporal Kelly, and the driver, Private Sanders. They mount up, but Tully and Hitch notice that Moffitt still seems a bit preoccupied. Moffitt says, almost under his breath, "The Song Birds… Elizabeth?" Tully looks at Hitch, "Here we go again!"

Backstory into a FLASHBACK: Moffitt was with the British Expeditionary Force (BEF) in 1940. He was wounded in the leg. Unable to be evacuated after Dunkirk (26 May-04 June) he was hidden on a farm in France for over a month where he met a lovely farmer's daughter and fell in love. In mid-July he was evacuated to England, where he spent weeks recuperating. Now it is mid-September and he has one more day of leave in London before shipping out to Palestine to join the Royal Scots Grays, a tank unit…

Jack Moffitt, back in uniform, walks almost normally now, with only a slight limp, down a fog-shrouded street of London in the evening. Two-story brick buildings line both sides of the curving cobblestone street, with shops below and residences above. He checks his watch. It's 1800 hours and he's getting hungry. Ahead, he spots ladies and gents sitting outside at several small tables enjoying food and drink. The sign over the door reads, The Gray Gayle Pub. From inside a beautiful female voice filters out, enticing him to come closer. He enters.

The interior is fairly large, much longer than wide, but still cozy and packed this evening. The entire interior is wispy with cigarette smoke but not so thick as to make a non-smoker choke. To the right, several men are engaged in a game of darts. Further down to the right is a dark wooden bar packed with service men ordering and enjoying drinks… from the proprietress, an older, hefty but jolly, gray haired woman… perhaps for whom the pub is named. Other round tables are filled with couples trying to enjoy some together time amid the ruckus. At one table several sailors are keeping an elderly woman company. Other tables have groups of men playing cards or board games. One table has two women, with their flowered hats, enjoying cups of steaming tea.

On all the walls are pictures with various scenes. Half way down the room on the left is a fireplace emanating crackling sounds, light and warmth. Beyond are several more tables and a small stage with a piano player to the left. Most people are talking or laughing but a few are listening to the beautiful red head, on the makeshift stage, who is singing. He takes a table close to the stage, orders a class of wine and listens to the sultry singer as she continues with the song that drew him there in the first place…

"Moonlight and love songs, never out of date. Hearts full of passion, jealousy and hate. Woman needs man and man must have his mate… that no one can deny…"

She notices him watching her and sings the final words to him, "It's still the same old story, a fight for love and glory, a case of do or die. The world will always welcome lovers… As time goes by."

The piano player adds a little ching-a-ring at the end and she takes a bow. Moffitt and a few others clap.

She steps off the stage, greets the other patrons then makes her way to Jack's table. He stands and smiles. She returns the smile, "I'm Elizabeth Davies. Lizzy, if you like. May I join you?" He nods, "I'm Jack Moffitt. Sergeant Moffitt. It would be my pleasure." He helps her with her chair then hails the waiter, sits back down, then asks, "What would you like to drink?" She nods at the waiter, "The usual." He nods back and already has a glass ready. She takes the glass and smiles at Jack, "Lemon water… for my voice." He smiles, "You have a lovely voice." She takes a slow sip, "Thank you. So, Sergeant Jack Moffitt, what brings you to London?" Jack takes a sip of his wine, "I've been recuperating. I was in France, you see, when the German offensive started. I was wounded and… well… I finally got out a couple of months ago. The leg is almost back to normal." Lizzy frowns, "That must have been…"

But just then an air raid siren goes off. Everyone in the pub moves to the exit. Jack is a bit unnerved, still a bit shell shocked from his experiences in France. But Lizzy smiles and takes his arm, "It seems as though we go through this sort of thing several times a week now. Follow me." They head out into the street and follow the crowd two blocks over then down the steps into the nearest Tube Station of the London Underground. Ladies are handing out blankets and there is a table where hot tea is being served. The two spend the night huddled against a cold cement wall with hundreds of other Londoners as the German bombs fall. They talk about everything, enjoy hot tea, and cuddle close until dawn.

As they emerge onto the bombed-out street Lizzy takes Jack's arm, "I know a little place to get some breakfast, if it's still standing, that is." He smiles and nods. They start down the street… But Lizzy stops short and sees one bombed-out building in particular, "Oh no!" She runs over to where the gray-haired woman is standing in front of what used to be The Gray Gayle Pub. She grabs the lady's arm, "Auntie Gayle…" The proprietress pats Lizzie's hand and stoically shakes her head, "I am so sorry, sweetie. It seems I'll be closed for a while after this one. See if you can find any of your belongings, but I wouldn't hope for much. Watch your step, dearie." Lizzy stands there a moment in shock at the sight. She takes a deep breath, pats Auntie Gayle, as everyone calls her, on the arm, and nods.

Jack has now approached and she turns to him, "I lived upstairs." Then he follows her into the rubble… but there is no more upstairs. She searches through the timbers and bricks but only finds a small metal box. She picks it up, tries to blow and brush off the dust then lifts the latch to find her keepsakes inside, "Metal. It was my father's." Then tears start rolling down her cheek, "My mum and dad were killed just last month. Auntie Gayle… she's not really my Aunt, you know. But she took me in after my parents…" She starts crying. He takes her in his arms and holds her tight, "It's alright. Everything is going to be alright." They stand there for a long while.

Lizzy finally pushes away slightly and takes a deep breath, "I'm sorry. You must think me a child." But he understands, "No… No." He smiles down at her, "I lost so many friends in France. I understand what it means to lose those close to you. I mean, I haven't lost any of my own family, at least not yet… but…"

They walk back out to the street. Auntie Gayle is no longer there. Lizzy stares at the destruction, takes a deep breath, "What am I to do now? I have no home, no job. This box and the clothes I'm wearing are all I have in the whole world." Jack thinks for a moment, "You know, while I was strolling about London yesterday, I came across an office for the E.N.S.A. And there was a sign out front advertising for singers. You have such a wonderful voice. I would think you could get a job there straight away." Lizzy shakes her head, "Oh… They wouldn't want someone like me. I'm not that good." Jack smiles, "But you are. And they are looking for singers. And you are most definitely a singer… a very good one!" He motions to the burned out hulk of a building, "What do you have to lose?" She smiles, "Nothing, I suppose."

They head down the street and a few turns later come to a three-story building that, amazingly, was not destroyed by the previous night's bombings. A banner hangs above the door 'E.N.S.A. Singers Wanted. Apply Within.' A young man stands outside handing out flyers and engaging with passersby, "Do you sing? Can you tell jokes? Do you dance? Do you know someone who does? Well then, step right up. Today is your lucky day." The couple walks up and Jack motions to Lizzy, "She can sing." The young man turns, "You can sing?" She nods, "Well, sort of. I've been singing at The Gray Gayle Pub, and…" But he stops her, "What's your name?" She says, "Elizabeth Davies… Lizzy." He smiles, "Lizzy. I like it. I'm Shawn. Sing a few bars." She's a bit startled and looks at Jack. But he nods and she takes a breath, "There'll be bluebirds over… the white cliffs of Dover…" He stops her again, "That's fantastic! And a redhead, to boot. You'll be perfect for the new group we're putting together, The Song Birds!" Lizzy smiles, "Really?" She turns to Jack, "I…" He gives an impish grin, "You will be the hit of the show."

She turns back to Shawn and he says, "You best be gettin' your things. If I'm any judge of singers, and I'm a pretty good judge, I know they'll want you to start today." Her whole body slumps as she holds her box, "I'm afraid this is all I have left. My apartment was destroyed last night." He sighs then nods, "Yeah. That happens, all too often these days, I'm afraid. But not to worry, love. If you don't have it, we can provide everything you need… clothes, meals, transportation, a place to stay." She turns to Jack. He smiles, "Well… I would say things are looking up." She smiles back, stands on her toes, wraps her arms around his neck and whispers into his ear, "Thank you, Jack. I'll never forget you." They kiss and Jack finally lets her go, "Perhaps we'll meet again." She returns his impish grin and starts singing, "We'll meet again… Don't know where, don't know when… But I know we'll meet again some sunny day…"

Shawn smiles and interrupts her again, "Yup. You're perfect, Miss Lizzy. Now you best be gettin' inside." Lizzy nods, turns to Jack. One more kiss, one more embrace. Then she runs up the steps, turns and waves one last time. Jack smiles and waves back as she disappears through the doorway.

The young man turns to Jack, "Don't you worry a bit, mate. We'll take good care of your lady." But Jack shakes his head, "Oh. It's not like that. We just met last night." But the young man smiles, "Well, isn't that the way of things these days?" He motions to Jack's uniform, "And we certainly appreciate all you're doing for the cause." Jack nods then turns and heads down the street. As he walks he starts humming then singing, "We'll meet again… Don't know where, don't know when… But I know we'll meet again some sunny day…" His voice fades but Shawn has caught enough and shakes his head, "Too bad he's in the Army. We could use a voice like that." Shawn turns and goes back to handing out flyers…

Present: Sergeant Jack Moffitt sits in the passenger seat of his Jeep as it speeds across the desert, in the little convoy. Tully says, "Hey Doc. I didn't know you could sing." Moffitt looks over at Tully, "What?" Tully smiles, "Where have you been, Doc?" Moffitt smiles, "Oh, just thinking." Tully glances over at his sergeant, "Sounds like you were thinking about a lady… We'll meet again?" Moffitt sighs and Tully says, "Sounds like an interesting story. Care to share?" Moffitt looks over at Tully, "Maybe some other time."

Meanwhile, back in the downed C-47, Eddie and Clyde are shaking off the hard landing, unbuckle their harnesses and move aft. Joe is still buckled in. Eddie checks for a pulse and nods to Clyde. They make their way to the back. Incredibly, all of the medical boxes are still lashed down along with the cases and the two boxes in the back. Eddie asks, "Is everyone okay?" The ladies and Jack are a bit shaken up but all nod an okay, unbuckle their seat belts and help each other out of their seats. Peterson's attaché case became a flying projectile but managed to miss everything important, including the civilians.

Eddie and Clyde now go back and gently lift Joe out of the seat and take him into the cargo hold. Maggie grabs a blanket out of the open medical box, places it on the deck and they lay Joe down to start assessing the damage. They find several shrapnel wounds and the ladies get to work.

Eddie and Clyde leave Joe in capable hands, enlist the help of Jack, and force the rear door open. There's no step down, since the landing gear was ripped off in what turned out to be sand, not hard pan, and Ellie's Express is now sitting on her belly with crumpled props. The men stand outside and survey the damage but Clyde smiles and claps Eddie on the back, "Well, any landing you can walk away from, mate!" Eddie smiles back, "I guess it could have been worse. And it will make an interesting entry in my logbook." Clyde sighs, "Let's see what we can salvage in the way of supplies."

A while later, Joe has been patched up as well as possible but he's still unconscious with a head wound. The Colonel is now conscious and resting... and again holding on to his case. The others have been going through what's usable on board: A survival kit, a fire extinguisher, obviously the medical supplies, some sandwiches, candy bars, ten gallons of water and the two cases of bootlegged Kentucky bourbon. Clyde shakes his head, "Well, it looks like we'll be rationing for a while. I hope Tripoli got the message."

On the sand and moving as fast as the governors will allow, at only about 42 miles per hour, the Jeep and truck convoy is heading south towards the area on the map that Captain Boggs had indicated.

Above, in the sky, the two Hurricanes are flying a grid pattern to try and locate the downed plane in the wide expanse of the open desert.

At Ellie's Express, Eddie has fashioned an Arab-style head covering out of his handkerchief and some twine and sits atop a nearby dune watching the desert, and the sky, with binoculars. Dotty, Lizzy and Maggie, having checked on Joe and the Colonel, and leaving Jack to snooze again, climb the dune and hand Eddie a canteen, which he gratefully accepts. They plop down on the sand and are using blankets, held over their heads and shoulders to shield themselves from the mid-afternoon sun. Dotty asks, "Anything?" Eddie shakes his head, "Nothing yet." He checks his watch, "It's been a little over three hours since last contact." Lizzy and the others scan the horizon. She says, "I hope they got the message."

The four sit for a while then hear a sound in the distance. They all look around but Eddie has already spotted the black speck in the sky. He points. The ladies squint and finally see the plane. Eddie smiles, "It's a Hurricane!" They get to their feet and start waving, even though the pilot can't see them yet. Dotty yells down to the others, "Look!" She points and Jack, Clyde and Peterson come out just as the Hurricane, with its single engine, speeds over at a few thousand feet… and keeps going. Dotty yells as if the pilot can hear, "No! Come back!" But then the plane does a wingover and returns, waggling its wings. The pilot makes another pass and waves to the group on the ground as they wave back.

Still heading south across the desert, the combined Rats see a speck in the sky. One of the Hurricanes passes by overhead, wings waggling. Dawson signals for the convoy to stop. He gets out of his Jeep, they set up the radio, antenna reaching for the sky, and he makes contact. The Hurricane's pilot circles in a wide arc above the convoy as he transmits the information. Dawson writes down the Dakota's coordinates but then holds up his hand for everyone to be quiet. He listens to more information and finally signs off. The Hurricane waggles its wings over the group then turns north and heads for home.

Troy has already retrieved and unrolled the map on the Jeep hood as Dawson hangs up the mic. He turns to the others, "The Dakota is on the ground, seems to be intact and there are survivors." There is a collective sigh of relief. But then Dawson takes a slow breath, "A bit of disturbing news, though. It appears we have an imposter on board."

Back at the plane, Clyde is feeling a little better, his left arm in a sling. He sits atop the sand dune with Maggie and Dotty and scans the desert. It's almost 1700 hours and the sun is heading toward the horizon. They all feel the temperature start to drop. But then Clyde cocks his head, "Do you hear that?" Both ladies shake their heads. Then the five Jeeps and truck come around the end of a sand dune. Maggie and Dotty jump to their feet and help Clyde up. They wave their arms, start shouting and slide-walk down the dune, almost falling head-over-teakettle in the process. Several men in the Jeeps wave back. Eddie, Lizzy and the Colonel emerge from the plane and all converge near the rear cargo door.

Tully stops the Jeep and now watches Moffitt as his eyes come to rest on the redhead standing near the plane. Moffitt breaths a sigh of relief then heads straight for Lizzy. She spots him, puts a hand to her mouth then calls out, "Jack?" Everyone watches as the friends fall into an embrace. She looks up at him, "I guess we did meet again… some sunny day!" He smiles down at her, "When I heard it was The Song Birds on board… I'm so glad you're alright." Then he looks at the others, "That you're all alright." Dotty smiles and asks Lizzy, "So who's the tall, dark and handsome?"

Moffitt smiles at the comment then quickly glances at Troy and, with an unsaid understanding, he leads the civilians away from the plane door towards the truck, the driver and the waiting medic. Tully and Hitch move to Eddie and Clyde, seeming to check on them, but also guide them towards the truck.

Troy, Dawson and the rest of the Desert Rats now turn their attention to the Colonel, but pleasantries are over. All the Rats pull their guns and Dawson points to the case, "I'll take that." The Colonel frowns, "What do you think you are doing, Sergeant? How dare you raise your weapons to me? Do you know who I am?" Troy says, "We know who you aren't. Turns out Colonel Peterson and his aid were found this afternoon tied up in a utility shed on the far side of El Agheila air field. We don't know who you are, but you're not Colonel Peterson." The imposter starts to reach for his sidearm but is stopped as several men rush in, grab the case, disarm him and hold him tight. Dawson says, "Tie this Kraut bastard up."

It's now after sunset, and a fire illuminates the left side of the plane. All, except for Hitch and Private Stan Collins who have guard duty, sit close and are wrapped in blankets against the cold of an early February desert night. The imposter is tied and leans against the plane where he can be watched by all. Joe rests on a stretcher, conscious, an IV in his arm and Dotty holding his hand. Eddie and Clyde sit on the sand and Clyde says, "Don't you worry, Joe. There'll be another Ellie's Express." Joe smiles and gives Eddie a shaky thumbs-up, "Right good landing… old chap." Eddie proudly gives a thumbs-up in reply.

Everyone is enjoying cups of Kentucky bourbon. Maggie sits next to Sergeants Troy and Dawson, "Thank you for coming to our rescue… and for bringing that wonderful food. We thought we would have to survive on candy bars and bourbon." Everyone agrees. Dawson says, "Happy to oblige, Miss. However, it sure is decent of you to supply the bourbon. Makes the rations almost palatable!" Maggie smiles, "Thank the flight crew for that." They all toast the three men.

The fire crackles as Lizzy huddles next to Jack. All three ladies start singing in harmony and a cappella:

"There'll be bluebirds over the white cliffs of Dover, tomorrow, just you wait and see. There'll be love and laughter and peace ever after, tomorrow, when the world is free…."

Jack and Lizzy hug and all watch the flickering flames as the singing continues. The song drifts up to the dune where Hitch and Stan Collins are on guard duty. They smile, relax a bit and enjoy the melody.

As the night progresses, all finally move into the plane to get some shelter from the cold, except for two men at a time who take two-hour shifts on guard duty. But all remains quiet throughout the night.

The next morning Tully and Private Wally Bailey sit atop the nearest sand dune scanning the horizon for any unwelcome guests. Below, the truck is backed up close to the C-47's cargo door and the last of the medical supplies are being transferred into the truck. After several minutes Tully spots a dust trail in the distance. He nudges Wally, who sees it, and they slide-walk down to the flat. Tully runs to the plane, "Hey, Sarge. We got company. Looks like only two halftracks, but German for sure, coming in fast from the west." Troy asks, "How far?" Tully shakes his head, "Maybe ten minutes, if we're lucky."

Troy motions for Tully to join him and they climb back up the dune. Flat on their bellies, with binoculars in hand, Troy smiles, "Is that who I think it is?" Tully looks more closely and spots a German officer, with peaked visor cap, standing on the passenger seat of the first halftrack, and scanning the desert with his binoculars. They both recognize the figure, even from this distance. Tully says, "Dietrich. Sarge, we don't have enough time." Troy nods, "Yeah." He looks back at the group. "Come on. I've got a plan."

They head back down the dune and Troy goes first to Sergeant Dawson, "Sergeant. German halftracks coming fast. They'll be here in less than ten minutes." Dawson shouts, "Men…" But Troy stops him, "Sergeant, we know this German. I think he can be reasoned with. And with the women and wounded, I don't think we want a firefight. I'd like to try something first." Dawson thinks for a moment, "All right, Mate. But if it goes all to pot, it's on you." Troy nods confidently, "It won't." They confer, then Dawson goes to talk to his men as Troy turns to the women and flight crew, "If there's anything else in that plane you want, get it, and get it loaded. We're about to have company." He turns to Private Sanders, "I need you to off-load three boxes of the medical supplies… and the case of bourbon with the missing bottle." But Sanders is a bit confused. Tully claps him on the back and smiles, "Don't worry. He's got a plan."

A few minutes later, two German halftracks round the end of the dune. Captain Hans Dietrich is startled by what he sees and signals for the two vehicles to stop with his standard downward hand pump. He and his men survey the scene. There is a very sad looking C-47 on its belly with Ellie's Express written on the nose. Out front are two familiar Jeeps with Moffitt and Hitch on the 0.50's, Tully in his driver's seat with his Thompson and Troy standing in front of his Jeep with his Thompson. A supply truck is backed up to the plane's cargo door but there are two unfamiliar Jeeps in front of it and a third unfamiliar Jeep near one man and three women in civilian clothes who are standing next to a man on a stretcher. Those three other Jeeps are manned by six rather serious looking fellows and all have their guns trained on Dietrich's group. Next to the supply truck, and behind the Jeeps, stand two Allied soldiers and two men in Allied flight suits, one with his left arm in a sling, but all with weapons at the ready. Realizing he is outgunned, Dietrich nonchalantly returns his attention to the two Jeeps in the foreground and to a man dressed as a British Colonel who is bound and gagged, sitting in the passenger seat of Troy's Jeep. But what intrigues Dietrich the most is the white flag with its pole stuck in the sand next to Troy.

The Captain comments quietly to his second, climbs down from his perch and approaches the lead Jeeps with hands clasped behind his back. He stops a couple of meters out and Troy salutes for the group, "Good morning, Captain." Dietrich returns the salute, eyeing the group, "Gentlemen." He motions to the white flag, "Are you all surrendering?" Troy almost smiles and shakes his head, "No, Captain. We're here to make a deal." Dietrich asks, "A deal. What kind of a deal?"

Troy says, "We take what belongs to us… and you take what belongs to you." He now motions towards his captive, and continues, "By the way, who is he? We know he isn't Colonel Peterson, but he's not talking." Dietrich looks at the man, takes a slow breath, "An agent with Abwerh." The 'agent' struggles and objects through his gag to his identity being given away so easily. But they both ignore him and Troy nods, "Abwerh. Makes sense. So you get your man… but not the attaché case he stole."

Dietrich's mood darkens and it becomes very clear to Troy that the case was the main reason for the Captain coming all this way and back into what is now Allied territory. He asks, "And if I refuse your so-called deal?" Troy answers, "I don't think you want to start a firefight this morning, Captain. If you hadn't noticed, you're outgunned this time. And I don't think you want to be responsible for injuring or killing civilians, especially women." Dietrich glances at the three women then back to Troy, "Who are they?" Troy pulls out a trifold, opens it for the Captain to see, "E.N.S.A. entertainers." Dietrich takes the flyer, looks at the three in fairly modest poses but with big smiles on their faces and the words Song Birds splashed across the top. Troy adds, "You don't want to start killing women, Captain." Dietrich glances around at the group again then holds the flyer out, but Troy doesn't take it, "Keep it. If you do agree to our deal, it might come in handy when you explain to your superiors why you didn't attack."

Dietrich now eyes Troy, "You must admit Sergeant that I am getting, as you would say, the short end of this deal." Troy smiles and points to a stack of boxes next to the open rear door of the plane, "I've thought about that. So along with your man, and just to sweeten the deal a little, I'm willing to throw in those three boxes of medical supplies, a case of contraband Kentucky bourbon… ah, one bottle missing…" Tully chimes in, "And I'm from Kentucky, Captain. That bourbon was very smooth." Dietrich almost smiles as Troy tries to ignore the interruption, "…And a carton of American cigarettes."

Dietrich eyes Troy again and smiles, "I want six boxes of medical supplies." Troy counters, "Six? Don't get greedy, Captain… Four." But now the Captain is enjoying the game, "Five." Troy contemplates the offer, realizes that with the loss of the case, in Dietrich's mind, he at least needs a win on this front. Troy smiles, "Well, with your army in retreat, you could probably use the extra medical supplies. Alright. Five boxes and we head back to our lines and you head back to yours. Do we have a deal, Captain?" Dietrich glances around at the group again, then nods, "Alright, Sergeant. We have a deal."

As they have done before and almost in unison, the two men turn to their respective troops and give the orders to lower their weapons, that a deal has been struck and to begin loading the vehicles.

The Song Birds have been watching and now stop Troy as he directs the offloading of two more boxes of medical supplies. Maggie asks, "Sergeant Troy. Who is that German you were talking with?" Troy glances at the Captain, "Captain Dietrich." Dotty says, "We noticed you gave him one of our flyers." Troy now looks at the women, "Yes. He wanted to know who you are." Dotty smiles, "Well then, perhaps we should introduce ourselves." Before Troy can stop them, they are halfway to the halftrack.

Dotty waves to get Dietrich's attention, "Captain Dietrich, is it?" He nods, clasping his hands behind his back. Dotty continues, "We just wanted to introduce ourselves. I'm Dotty, this is Lizzy and Maggie and, well, to say thank you for not killing us." He's a bit taken aback by the last comment then smiles, "It is not my habit to injure or kill civilians, especially such lovely ladies as yourselves." The three smile at the gallant comment. At that moment Troy catches up, "Ladies. If you don't mind." He's motioning them back to the truck. Dotty smiles, "Captain." He smiles, nods and turns back to his men.

But Maggie hangs back then approaches Dietrich again, "Captain. I hope I'm not being too forward." He turns back to her, "Not at all. Was there something else?" He can tell she is building up her courage. He's seen it before in his soldiers when they have to tell him something they don't think he'll want to hear. So he waits patiently, then she smiles, "You see, I've never talked to a German before… except for my parents, that is." This catches Dietrich's attention as she continues rather hurriedly, "Well, they immigrated to England in 1912 and I was born there. They've never wanted to talk about our relatives and, well, I wanted to visit Germany, but… then the war broke out. Have you ever been to the northern part of Germany?" He smiles, "Yes. I was raised in Kiel." She thinks trying to remember the map, "Is that near Rendsburg? You see, my grandparents have a farm there." He nods, "Rendsburg is south and west of Kiel. I know it well." Maggie is now excited, "Indeed? Well then, perhaps you know them. Fredrick and Wilhelmina Bakker." Dietrich tenses at the names, but Maggie doesn't notice and she continues, "But that's about all I know. Any time I have asked about our relatives, my father just walks out of the room. Do you know them?" Dietrich hesitates then, "What is your father's name?" She looks at him, "Albert. Albert Baker. Oh, they dropped the second 'k' after they moved to England. Why do you ask?" The Captain takes a hard look at Maggie, "Kann es sein?" She asks, "Can it be, what? Yes. I speak German." He now measures his words carefully, "My grandparents also own a farm in Rendsburg. When I was twelve, I spent the summer there. One day I found a list of my close relatives, and there was a name which was not familiar to me. An uncle that I had never met… Albert Bakker." Maggie's jaw drops as Dietrich continues, "I asked my mother about him but all she would say is that her brother, Albert, had left with his wife and moved to England just before the first war. Something about a family argument." She stares at him, "But, that would mean…" He nods, "My mother's parents are Fredrick and Wilhelmina Bakker." He hesitates, then, "It would appear that, you and I… are cousins."

At that moment, Troy approaches again, "We have to get going." Then he notices Maggie's startled look and continues, "Am I interrupting something?" Maggie snaps out of it, "Ah… No. Not at all, Sergeant Troy." She looks at Dietrich then to Troy, "We were just discussing…" Dietrich finishes the thought, "Music. Yes, it is a pity we won't be able to hear the ladies sing. However, Sergeant Troy is correct. We should be leaving." Maggie turns to Troy, "I'll be right there, Sergeant." He studies the two, knows there's more than music being discussed, but decides not to pursue it and says, "You'll be in the truck." She nods, "Alright. Thank you." Realizing she wants more time, Troy nods and heads back to his Jeep.

Maggie turns to Dietrich, who is watching Troy walk away. Then she sees something she has perhaps, subconsciously, been ignoring; the eagle holding a swastika above the right breast pocket on his tunic, and she takes a step back, "Are you a Nazi?" This takes him by surprise and he shakes his head, "No, I'm not." But now her comments are cutting, "And yet you wear their symbol. You fight for them." He sighs, "The symbol is part of the uniform and I fight for my country." She asks, "If you weren't in the military, would you join the party?" Now he stands his ground, "No. I do not agree with their policies or methods." He hesitates, "If you will, consider this. What if it had been my parents who had moved to England? I would now be fighting for the Allies… and wouldn't you be singing for German soldiers?" She thinks about it for a moment, then takes a measured breath and nods, "I guess I hadn't thought about it in that way. I suppose you're right."

She quickly glances at the waiting group then turns back to Dietrich, "I wish we had more time. May I write to you? But, I don't even know your first name." He smiles, "It's Hans and I would welcome a letter. Try posting it with the Red Cross." She smiles, "I will… Hans… A very proper German name." She extends her hand and he takes it, "It has been a most unexpected meeting, Hans." He nods just a bit, "Most unexpected, Maggie." She hesitates, "Actually, I prefer Margaret." He smiles, "Margaret."

Dawson stands near Troy and Moffitt, "I'm impressed. I've never seen such a tame Kraut before." But Moffitt says, "Do not underestimate the Captain. We were very lucky this time. This could have ended very differently." Troy nods in agreement, but is finally tired of waiting. He leaves the two, approaches Dietrich and they both watch Maggie as she heads for the truck. Troy says, "If anyone but you had been sent, there probably would have been a firefight, and a lot of people might have died. I'm glad we could make a deal." Dietrich nods, "As am I." Troy then turns to the Captain, "You weren't talking about music, were you." Dietrich hesitates, "You are quite correct, Sergeant… It is time to leave." Troy almost smiles, but takes the hint, salutes, and says nothing more than, "Captain." Dietrich returns the salute, "Sergeant." They exchange a slight nod, and then their meeting on the desert is over.

Troy heads back to his Jeep, and grabs and stows the white flag. He signals to Dawson who shouts, "Mount up. Move out!" Dietrich turns, climbs into the lead halftrack and stands on the front passenger seat. For a moment, he watches the Allied convoy as, one by one, the vehicles drive around the disabled plane's left wing and head north into the dunes. He then motions for his convoy of two to turn and head out into the open desert and west to rejoin Rommel's forces.

Thankfully, the trek north and back to Tripoli is uneventful. All the vehicles come to a halt in front of the Allied headquarters and Captains Boggs and Woolsey are there to greet them. The wounded and the truck full of medical supplies are sent to the hospital. Eddie accompanies his mates. Both captains are happy to greet The Song Birds and their manager and they are sent off with a corporal to their quest quarters. Finally, Boggs is glad that Troy was able to defuse the unexpected meeting with the Germans and Woolsey is pleased when Sergeant Dawson hands over the attaché case, with seal still intact.

In the guest quarters, Lizzy, Dotty and Maggie are finally able to shower, wash the sand out of their hair, and everywhere else, and relax after the crash, the Germans, the drive… Oh my goodness! As they dress for their evening's performance, Dotty and Lizzy are watching Maggie as she sits on the bed absently brushing her hair. Finally Dotty says, "Okay Maggie. What were you and Captain Dietrich talking about?" Maggie is hesitant. Lizzy sits next to Maggie and jabs her friend in the arm, "Come on now, Maggie. Don't keep us in suspense." Maggie takes a deep breath, "I've never told you, but my parents… my parents are from Germany." The two gasp. Dotty says, "Germany?" In defense of her heritage, Maggie blurts out, "They moved to England in 1912, before the last war. That's over thirty year ago. We love England. I was born there. I'm not…" She hangs her head. Dotty and Lizzy now both sit next to their friend and wrap their arms around Maggie's shoulders. Lizzy says, "Sweetie. Look at me. Where do you think I got this red hair? My parents, God rest their souls, were from Ireland. You can't choose your family but you can choose your friends. Come on, now. What does this have to do with the Captain?" Maggie takes a breath, "It has everything to do with him. He is family… He's my cousin."

Once the shock wears off, Maggie tells them about the conversation and how she will write to Hans… and hopefully get a response. But Dotty has become more withdrawn at the telling. Finally, Lizzy looks to their friend, "What's bothering you?" A tear rolls down Dotty's face and, usually the most outgoing of the bunch, says, "You both have families and you know where you come from. I was thrown away, left at an orphanage. I'm not saying my adoptive parents have been… They've been so wonderful. But…" She holds back more tears. Lizzy hugs her, "Maybe someday you'll find your family. But until then, you have us! And let's think about this. You have blond hair and blue eyes. You could be German." But Maggie, now feeling a bit better, affects an accent in a sing-song way, "Or you could be Sveedish." Maggie and Lizzy smile and finally Dotty laughs, "You're right. And I do have a family." They hug in a three-way embrace. Just then Jack sticks his head through the door, "Aren't you three ready yet? You know… the show must go on! And it starts in fifteen minutes." Maggie assures him, "We'll be ready."

A makeshift stage is surrounded by a sea of soldiers. It seems as though the entire complement of the base has turned out for the performance, including the entire group of Rats who stand off to the left of the stage. Catcalls and whistles and calls of 'bring out the girls' echo through the crowd.

Jack Ratliff walks out on stage and holds up his hands to call for quiet. He holds a microphone, "I bid a welcome to you all. And without further ado, it is my great pleasure to introduce to you… The Song Birds!" The ladies, wearing flower-print dresses and flats, bound onto the stage to a rousing cheer from the crowd. They take a bow then each grabs a microphone and Lizzy says, "Here's one for you Yanks out there." And they dive into their first song, a rousing rendition, of Boogie Woogie Bugle Boy:

He was a famous trumpet man from out Chicago way. He had a boogie style that no one else could play. He was the top man at his craft, but then his number came up and he was gone with the draft. He's in the army now, a blowin' reveille. He's the boogie woogie bugle boy of Company B.

They made him blow a bugle for his Uncle Sam. It really brought him down because he couldn't jam. The captain seemed to understand. Because the next day the cap' went out and drafted a band. And now the company jumps, when he plays reveille. He's the boogie woogie bugle boy of Company B…

The audience is rocking to the music and clapping in time as the women sing. As they end the song, cheers go up and the three take a bow. The audience is warmed up for more.

Lizzy now speaks in a more sultry voice, "Some of you may not know this, but we were in a plane crash yesterday." A gasp rises from the crowd. She holds up her hand, "So, we would like to dedicate this next song to all of the men who came to our rescue and made it possible for us to be here with you tonight." Maggie plays her accordion and Lizzy starts out solo and locks eyes with Jack Moffitt:

You must remember this, a kiss is just a kiss, a sigh is just a sigh. The fundamental things apply, as time goes by. And when two lovers woo, they still say I love you, on that you can rely. No matter what the future brings, as time goes by.

Jack is smiling and the others note the connection between the two, as Maggie and Dotty join in:

Moonlight and love songs, never out of date. Hearts full of passion, jealousy and hate. Woman needs man, and man must have his mate, that no one can deny.

As the women sing, the soldiers are transported away from the horrors of war, even if for just a while, and think of their loved ones back home. The song finally ends with:

It's still the same old story, a fight for love and glory, a case of do or die. The world will always welcome lovers, as time goes by.

The three take a bow to thunderous applause. A few more songs and more rounds of applause… and then the finale. All three women sing in harmony. Jack and now Tully, who finally understands, smile:

We'll meet again, don't know where, don't know when, but I know we'll meet again some sunny day.

Keep smiling through, just like you always do, 'till the blue skies drive the dark clouds far away.

So will you please say hello, to the folks that I know, tell them I won't be long. They'll be happy to know, that, as you saw me go, I was singing this song.

We'll meet again, don't know where, don't know when, but I know we'll meet again some sunny day.

As Maggie plays an interlude on the accordion, the three invite all to join in. And the song is amplified by hundreds of voices that echo throughout the base:

We'll meet again, don't know where, don't know when, but I know we'll meet again some sunny day.

Keep smiling through, just like you always do, 'till the blue skies drive the dark clouds far away.

So will you please say hello, to the folks that I know, tell them I won't be long. They'll be happy to know, that, as you saw me go, I was singing this song.

We'll meet again, don't know where, don't know when, but I know we'll meet again some sunny day.

The show, at the Allied base in Tripoli, comes to a close with a rousing cheer and thunderous applause.

Miles away, at the German field camp in Tunisia, and inside the mess tent, Dietrich relaxes at a table with some of his officers, while the enlisted men, from the days' trek, sit at another table, a bottle of Kentucky bourbon on each. They all enjoy small cups of the contraband, American cigarettes and music on a radio. Dietrich stares at the flyer and at the brown-haired Song Bird. His Lieutenant asks, "Captain, if I may, the lady you spoke with, who is she?" Dietrich rotates the flyer on the table for all to see, "A British singer. The three ladies are The Song Birds. It's a shame we couldn't hear them sing."

One of the soldiers turns up the radio and announces, "Achtung… Lili Marlen." The soldiers go quiet. Dietrich checks his watch. It is 2155 hours as the bugle then drums then a sultry female voice begins:

Bei der Kaserne, Vor dem grossen Tor. Steht 'ne Laterne, Und steht sie noch davor. Da wollen wir uns wiedersehen. Bei der Laterne wollen wir stehen. Wie einst Lili Marlen. Wie einst Lili Marlen.

In the Allied base hospital in Tripoli, Lizzy and Maggie are sitting with some wounded soldiers as Dotty sits quietly next to Joe's bed holding his hand. Eddie and Clyde also sit next to the bed. Joe's resting and enjoying the company. All in the ward are listening to Lili Marlen as the song continues:

Unsere beiden Schatten, Sah'n wie einer aus. Dass wir lieb uns hatten, Dass sah man gleich daraus. Und alle Leute sollen es sehen. Wenn wir bei der Laterne steh'n. Wie einst Lili Marlen. Wie einst Lili Marlen.

Also at the Allied base the four members of the Rat Patrol and the six members of the SAS team are enjoying the evening, sitting on the sand near their Jeeps before returning to their assigned quarters for the night. They are sharing a round of Kentucky bourbon, watching the flames of the camp fire and listening to Lili Marlen on one of the Jeep radios:

Deine Schritte kennt sie,Deinen schoenen Gang, Alle Abend brennt sie, Doch mich vergass sie lang, Und sollte mir ein leids geschehen. Wer wird bei der Laterne stehen. Mit dir Lili Marlen? Mit dir Lili Marlen?

Aus dem tiefen Raume, Aus der Erde Grund. Hebt sich wie im Traume, Dein verliebter Mund. Wenn sich die spaeten Nebel dreh'n. Wer wird bei der Laterne stehen. Mit dir Lili Marlen. Mit dir Lili Marlen. Wenn sich die spaeten Nebel dreh'n. Wer wird bei der Laterne stehen. Mit dir Lili Marlen. Mit dir Lili Marlen.

The song ends and the channel goes dark for the night. Hitch stands and turns off the radio. The ten men relax on the sand, watching the dancing flames of the fire as the stars twinkle overhead.

Author's Notes with history you might find interesting:

The London Underground and the 'Blitz' (derived from Blitzkrieg - lightning war): After the British Expeditionary Force was evacuated from Dunkirk in June 1940, the German Luftwaffe mounted sustained bombing attacks on British towns and cities from September 1940 to May 1941. Londoners used the Underground (tube train stations) as shelters. Families stayed overnight, school children learned their lessons, boys played cards, and refreshments, including tea, were served.

ENSA: Entertainments National Service Association: Started in 1939 by Basil Dean and Leslie Hanson to provide entertainment for British forces in WW2. It operated as part of the Navy, Army, and Air Force Institutes. One of the comments by a WW2 service man about the ENSA: 'From enthusiastic amateurs to first class entertainers. All did their best in trying conditions.' Several groups visited North Africa including The Glamour Girls (upon which The Song Birds are based) who sang and distributed cigarettes and beer to the troops (picture dated 26 July 1942). Another photo shows a woman on a stage with piano accompaniment. Those entertaining closer to home in England also included not only musical groups and comedy acts but also theatrical plays with stages and props.

SAS: British Special Air Service, upon which the Rat Patrol is based, were pioneers of guerilla warfare. They worked in small groups, using specially modified Jeeps which usually had both Browning and Vickers K machine guns. They carried out clandestine operations behind enemy lines in WW2 North Africa including intelligence gathering on German targets. A picture taken 18.1.43 (January 18 1943) shows three Jeeps with six men. Some are wearing shorts, others with long trousers. Those with shorts have knee socks. All have long sleeve uniform shirts, with sleeves rolled up or not, and Arab style head gear. All have beards. The caption: A patrol of S.A.S. Desert Rats just back from a three month trip behind enemy lines. Taken by Cpt. Kenting, W.O. (war office) Ass. No. 956

Radio Station Belgrade: In Belgrade Yugoslavia, Radio Beograd-Rakovica, was started in 1924, and became Radio Beograd AD in 1929 with music, news, radio-drama, etc. Belgrade was bombed on 6 April 1941 by Germans in "Operation Punishment". The radio station was then taken over by the Germans as Soldatensender Belgrad (Soldiers Radio Belgrade), and operated on the same frequency. It was the most powerful short wave radio available to the German Army, and was received throughout Europe and the Mediterranean. To start with, they only had a few records. But the head of the station found an album with Lili Marlen by Lale Andersen (1939) and started playing it regularly. It also became very popular with both Axis and Allied soldiers in the deserts of North Africa. However, the Third Reich propaganda minister, Joseph Goebbels, discovered that Anderson had "Jewish sympathies" and had her arrested and sent to a concentration camp. The Nazis also took the song off the air. But letters and demands from Axis soldiers brought it back. And when the BBC heard of Anderson's imprisonment, they broadcast a cutting parody of the song, ridiculing Hitler, and eventually Andersen was freed.

Music of WW2: In order to go back to those times, you should google WW2 music. There are great YouTube originals including Big Band Sounds, songs by the Andrews Sisters and by Vera Lynn. The most popular vocalist in WW2 Britain was Vera Lynn. However, one of the most popular songs, listened to by Allied and Axis soldiers alike, including Field Marshal Rommel, was Lili Marlen by Lale Anderson. Her sultry voice filled the airwaves every night at 9:55pm (2155 hours) when Soldier's Radio Belgrade would end their broadcast day with her rendition of Lili Marlen. Please note that I found several lyric versions for this song and choose the one which was both in German and English. So apologies to the German speakers out there if what I have presented does not match with what you know. Finally, Lili Marlen is the song playing on Dietrich's radio and the Rat Patrol's radio at the beginning of Season 1, Episode 1!

NOTE: No C-47's were harmed in the writing of this story! The named airfields were real. However, the facilities at El Agheila were destroyed as the Germans withdrew to the west and BOTH landing strips, unlike what is portrayed in this story, were mined and deemed unusable, and never used by the Allies.

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