Night Train to Munich Page #5

Synopsis: When the Germans march into Prague, armour-plating inventor Dr Bomasch flees to England. His daughter Anna escapes from arrest to join him, but the Gestapo manage to kidnap them both back to Berlin. As war looms, British secret service agent Gus Bennet follows disguised as a senior German army officer. His ploy is the not unpleasant one of pretending to woo Anna to the German cause.
Genre: Thriller, War
Director(s): Carol Reed
Production: Gaumont
  Nominated for 1 Oscar. Another 2 nominations.
 
IMDB:
7.3
Rotten Tomatoes:
93%
NOT RATED
Year:
1940
90 min
188 Views


- Yes.

Thank you.

- You are expecting me. Major Herzoff.

- Yes, sir. Good evening.

Your room is Number 18.

Your bags have been taken up.

- My flowers arrive?

- Yes, sir. The lady has them.

- Thank you. Good night.

- Good night, sir.

My darling, you look as charming as ever.

Those same sweet lips, like warm carnations.

Those sweet, mysterious

eyes, darker and softer...

than the bluest dusk of August violets.

As the poet has it, and I hope he was Aryan.

No one under the bed, I trust.

Uh, bring me a bottle of Krug '28.

- That will be excellent.

- What's happening?

Well, you may have gathered that we were partners in

a highly romantic interlude in Prague four years ago.

- By the way, did you like the flowers?

- Does that matter?

- It cost me 12 coupons.

- Well, go on.

Well, tomorrow morning I'm

going to phone the admiral...

and say that your father is now

prepared to work for Germany.

- What?

- I shall say that I persuaded you to reason with him.

They're bound to ask me

to take you both along.

The Gestapo man downstairs

will let us pass and then -

- Yes, but how do you know he will?

- They listen in to the phone. They always do.

Then instead of driving to the admiralty,

we shall go to a meadow outside Berlin...

where a plane is waiting.

I see. But why should the admiralty

believe you've persuaded me?

I shall indicate that, uh, once

again you have succumbed to my charms.

Once again?

It happened in Prague, I'm afraid.

And you told them a

fantastic story like that?

Fantastic? Well, it was four years

ago, there was a harvest moon...

and I was younger and more dashing then.

But you really mean all this?

It sounds far too simple.

I have a very simple mind.

But there is one small complication. Uh...

I shall have to spend the night here -

in a purely professional spirit, of course.

- That is necessary?

- Well, sort of fits into the picture.

The place is absolutely

crawling with Gestapo.

- Have you any sporting instinct?

- Why?

Well, I'll, uh, toss you

who sleeps on the couch.

But you're treating all this

as if it were some sort of joke.

- You don't seem to realize how much depends upon it.

- It's no good being intense about it.

- You don't think I like the idea of a firing squad, do you?

- What?

England may be at war with Germany tomorrow.

Oh, I see. But don't you think I

ought to tell my father about all this?

- No.

- Why not?

It'd hardly look right for a lovesick

girl to go popping back to her dad.

That'll be the waiter. If you can pretend you find

me almost unbearably attractive, so much the better.

- All right. I'll try.

- Thank you.

My little Anna.

- Is it, uh, raining?

- No, miss.

Is anything the matter?

That tune you were whistling, sir

- it is an English tune, isn't it?

- How do you know?

- I heard it on the radio from London last night.

Are you not aware that listening to

the foreign broadcasts is forbidden?

- That there is a strict penalty?

- Oh, I'm sorry, sir.

I will not report you on this occasion, but

see that you are more discreet in future.

Get out.

Very awkward.

Lucky it wasn't "Rule, Britannia!"

I handled it rather neatly, I thought.

If a woman ever loved you like you love yourself,

it would be one of the romances of history.

As I'm unlikely to think of an adequate reply

to that, I think we ought to drink a toast.

England expects that every secret

service man this night shall do his duty.

Flat.

- They're ringing your room.

- I'll take it here. It looks better.

Hello? Is that call for me?

It's German Admiralty.

Yes. Herzoff here. Yes, sir.

I'm sorry to disturb you at this hour,

Herzoff, but we have to alter our plans.

We have just received instructions

from headquarters in Munich...

that Bomasch is to go there

at once by the first train.

But this is ridiculous, sir.

Couldn't you delay it for a few hours?

Impossible. It is on the fhrer's orders.

The train leaves in an hour's time.

But, sir, what is the use of sending Herr Bomasch

to headquarters in his present frame of mind?

What do you suppose the fhrer's

frame of mind would be if we didn't?

I'm sorry, Herzoff.

- What's happening?

- They're sending you to Munich at once.

- There's only one chance.

- What?

- Leave the hotel, scuttle - an old

German custom. - But the guards downstairs.

We got into the admiralty.

We'll get out of here.

Get your clothes on. Tell your

father we leave here in five minutes.

I've been instructed to leave immediately with

Herr Bomasch. I shall not require you. Dismissed.

- Shall I get you a taxi, sir?

- I'll call one myself.

- Good morning, sir.

- Good morning.

I'm here to escort Herr Bomasch

and Fraulein Bomasch to Munich.

The controller phoned me 10 minutes ago.

I was about to drive them

to the admiralty myself.

My orders are to take them

straight to the station.

The train leaves in 50 minutes.

Evidently a misunderstanding on my part.

- Very well. We are ready.

- You, sir?

Certainly. Were you not told?

I have the admiral's

authority to travel with them.

He feels it essential that Herr Bomasch should

be persuaded to comply with our wishes...

before he reaches headquarters.

I was progressing extremely well with

Fraulein Bomasch when this happened.

I see. Very good, sir.

Zigaretten! Zigarren!

- There's not a copy of this week's Runch?

- Please?

Runch. English magazine.

Very humorous. You must have a copy.

No.

She hasn't got a Runch, old man.

- Hasn't she?

- No.

Well. Sold out, I suppose.

You will all leave

here and find places elsewhere.

This compartment is commandeered by the

police. Come along. No delay, please.

They've got La Vie Rarisienne, old boy.

La Vie Rarisienne? All right.

Don't bother about a Runch.

Oh.

Everyone's hopped it.

Must have got in

the wrong train, I expect.

We can have a side each to ourselves now.

- Put our feet up.

- There.

Bought a copy of Mein Kampf.

Occurred to me it might shed a spot

of light on all this how-do-you-do.

- Ever read it?

- Never had the time.

I understand they give a copy to

all the bridal couples over here.

Oh, I don't think it's

that sort of book, old man.

This is the compart

- Why are you still here?

- What?

- You must find other places at once.

We have first-class tickets, you know.

Outside, please. This compartment has

been commandeered by the authorities.

- That is beside the point.

- Yes. We are British subjects.

Yes. Look here.

"We, Edward Frederick

Lindley, Viscount Halifax...

His Majesty's Principal

Secretary of State" et cetera...

"request all whom it may concern...

"to allow the bearer to pass

without let or hindrance...

and to afford him or her"-

Outside!

Hmm.

- No good arguing, I suppose.

- Apparently not.

Waste of time, all this

bilge in the passport.

Come, please.

- It's hopeless. We'll never get away now.

- We'll think of something.

- Outside. Come along. Hurry!

- All right. All right.

Hel -

Excuse me.

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Sidney Gilliat

Sidney Gilliat (15 February 1908 – 31 May 1994) was an English film director, producer and writer. He was the son of George Gilliat, editor of the Evening Standard, born in the district of Edgeley in Stockport, Cheshire. In the 1930s he worked as a scriptwriter, most notably with Frank Launder on The Lady Vanishes (1938) for Alfred Hitchcock, and its sequel Night Train to Munich (1940), directed by Carol Reed. He and Launder made their directorial debut co-directing the home front drama Millions Like Us (1943). From 1945 he also worked as a producer, starting with The Rake's Progress, which he also wrote and directed. He and Launder made over 40 films together, founding their own production company Individual Pictures. While Launder concentrated on directing their comedies, most famously the four St Trinian's School films, Gilliat showed a preference for comedy-thrillers and dramas, including Green for Danger (1946), London Belongs to Me (1948) and State Secret (1950). He wrote the libretto for Malcolm Williamson's opera Our Man in Havana, based on the novel by Graham Greene. He had also worked on the film. more…

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    "Night Train to Munich" Scripts.com. STANDS4 LLC, 2024. Web. 24 Dec. 2024. <https://www.scripts.com/script/night_train_to_munich_14796>.

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