Night Train to Munich Page #6

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
168 Views


Now, don't forget that

you're terribly attracted to me.

The two guards' compartment is in there, sir.

All right. Thank you.

- Would you like to face the engine?

- Whatever you like.

Did you notice that German officer

who came into our compartment?

Yes. Why?

Well, I could've sworn

it was old Dicky Randall.

Dicky Randall?

Yes. We were at Balliol together.

You must have heard me talking about

him. He used to bowl slow leg breaks.

Played for the Gentlemen once.

Caught and bowled for a duck, I remember.

Oh, yes. Dicky Randall.

Well, if he's a German officer,

how can he be Dicky Randall?

Well, I knew him quite well.

His rooms were next to mine.

Why on earth -

You don't think he's working for the

Nazis like that fellow what's-his-name?

Traitor? Hardly, old man.

He played for the Gentlemen.

Only once.

It was last Easter. I was looking

in a shop window in the Graben...

and I saw the reflection of a girl.

For a moment, I thought it was you.

- Were you by yourself?

- Yes. Why?

I just wondered.

It's a blackout.

You know what that means so far west as this.

England and France have declared war.

We have nothing to fear. The

nation is behind the fhrer.

Yes, but how far behind?

We're stopping.

Everybody out at once, please!

Everybody out on the platform.

Everybody out of the compartment,

please. Everybody out at once, please.

- Why are we stopping here?

- I don't know yet, sir. Just had the order.

Everybody out, please.

Everybody out. Everybody out.

- How far are we from Munich?

- About an hour's journey.

All passengers off the train, please.

All passengers off the train.

All passengers off the train, please.

- What's happening?

- Everybody-

Heil Hitlerl This train

is required for troops.

There will be only a small amount

of room available for passengers.

- My party must have the same accommodations.

- Oh, yes.

The train leaves again in 20 minutes.

May I have your carriage number, please, sir?

- Yes. It's, uh, 0735.

- 0735.

Oh, I beg your pardon.

Aren't you old Dicky Randall?

Major Herzoff, Corps of Engineers.

Oh, I'm frightfully sorry.

It was very silly of me,

but it's an amazing likeness.

Yes, you'd better come along, old man.

Extraordinary. English, I presume.

- Apparently.

- They're a very peculiar race.

We have a small waiting room, sir.

Perhaps you would prefer to wait in there.

- Thank you.

- This way, please.

Please. Please, this way.

Everybody off the train now, please!

Everybody off the train!

You know, you -you made me feel

painfully embarrassed, Caldicott.

Well, I can't help it if old

Dicky Randall has a double.

You must realize that we're

traveling in very difficult times.

What's the matter?

I can't help thinking of your face when he

said, "Major Herzoff, Corps of Engineers. "

Well, all I can say, Charters,

is that when it comes to humor...

we live in entirely different worlds.

This waiting room is required.

Every passenger must wait outside. Come on.

Und you too, please. Come

on. So quick like possible.

- This is getting beyond a joke.

- Yes. We can't stand for this.

Come on, please. Out.

Everybody out so quick as possible.

Everybody must wait outside.

All passengers must wait outside. Rlease go.

No good being undignified, old man.

No, quite right.

Come on. Please, please,

please, please. Come on. Come on.

Come on. So. Please. Please. Please.

Oh, Major. May I phone Munich

to notify them of our delay?

Of course.

My absence may provide the opportunity for

Fraulein Bomasch to approach her father.

It might help.

You seem to have made a considerable

impression on the lady, Major.

I apologize for doubting your capabilities.

Stay on guard here. See

that no one enters or leaves.

Understand? No one.

- That man who spoke to you, did you know him?

- Yes, I did. A fellow called Caldicott.

It's probably the first time he's ever left

England before the end of the cricket season.

- Just my luck. He gave me a very nasty moment.

- No one would have guessed it.

I was a member of the Foreign

Office operatic society.

Do you know I once played Pooh-Bah

to the Foreign Secretary's Ko-Ko?

- Have you thought of any way of getting us out of this?

- I have.

A car will be waiting at Munich

to take us to headquarters.

We'll be quite a crowd, and I shall ask

for a second car so that we can be alone.

- Suppose they don't give it to us.

- They will.

Because by that time, we shall be on the verge

of persuading your father to work for Germany.

You, on the other hand, must

be asking for time to think.

- You get the

idea? - Yes, but -

Then we only have the chauffeur to deal with. And after that

- Switzerland.

- Switzerland?

- Well, we can hardly break through the Siegfried line.

Yes, but Switzerland's

a long way from Munich.

If we can bluff them into giving

us that car, we'll make it.

So from now on, Mr. Bomasch,

you've got to make up your mind...

whether to keep your armor

plating or let it go rusty.

- Is that quite clear?

- I think so.

And you're still so crazy about me that you would sell

the armor plating for a very small lock of my hair.

All right.

You can't sit here!

- Why not?

- This truck is required.

Come on. Off, off, off, off, off, off.

I suppose these bags aren't required too?

Off, off, off, off, off, off, off.

Pushed about from pillar to post by this

railway ever since we got on the train.

- Everything we sit on seems to be required.

- It's monstrous.

- We shall write to the company about this.

- Hmm!

You're not at war with England yet, you know.

But you are mistaken.

France declared war this afternoon.

Und England declared war this morning. So!

Achtungl

War.

Yes.

- Good heavens.

- What's the matter?

My golf clubs.

Where are they?

I lent them to Max in Berlin.

Like a fool, I said he needn't

bring them back till next Wednesday.

Probably seen the last of them.

Yes. I expect they'll require

them for something or other.

I read in the paper that

they're pulling up park railings.

I don't see the connection, old man.

Well, your clubs are steel, aren't they?

- Yes.

- So.

There you are then.

Whip shafts too.

Especially made for me.

Why not get in touch with Max?

- How?

- On the telephone.

Ask him to send them to London immediately.

It's a desperate chance,

but it's worth taking.

I shall never be able to replace them.

- Oh, uh, telephone?

- Hmm?

Stationmaster's office.

Captain Strasse? Marsen here.

- I'm speaking from Kurtbaden.

- Oh, I beg your pardon.

It concerns Major Herzoff, sir.

I think a full inquiry

should be made at once...

in view of something which

happened a few minutes ago.

A few minutes ago? You mean he's with you?

Admiral Hassinger gave him the authority.

Hassinger did? He never told me.

That's very suspicious.

Yes, but the admiral himself introduced him.

I'll ask him. I'll phone you back.

Uh, what is your number there?

Yes, yes, yes. In a few minutes.

Admiral Hassinger, please.

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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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Submitted on August 05, 2018

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    "Night Train to Munich" Scripts.com. STANDS4 LLC, 2024. Web. 26 Jul 2024. <https://www.scripts.com/script/night_train_to_munich_14796>.

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