Night Train to Munich Page #7

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
189 Views


Hello? I want a

long-distance call to Berlin.

Oliver

2-4-double 6.

What? Yes. Yes, of course it's important.

- It's all in German.

- Hmm.

What?

Well, how long then? Oh, all right.

Blasted junction's engaged by the

military. They'll call me back.

These people seem to have

no idea of business as usual.

If I were asked to give a snap

judgment, I should say that was an "S."

- More like an "F."

- I do not know, sir.

I used to know someone

who made his S's like that.

- Someone in the War Office?

- Well, no.

Ach. We can't afford to waste time.

You didn't give him permission to

travel with the prisoners, did you, sir?

No, no. But he may have assumed it.

If you remember, we more or

less gave him carte blanche.

The only thing is to check

up with the War Office, sir.

- I suppose so.

- War Office.

If he's right, this will be

very serious for you, Kampfeldt.

Very serious indeed.

The letter was addressed to you.

There's no denying that, Kampfeldt.

Quite right. I'm afraid I

shall have to sack my secretary.

Hello?

That'll be our call.

Aufschliessen!

Hmm! What infernal impudence.

I'll bet it's my call.

Marsen speaking. Yes, sir.

Listen, Marsen. You were right.

We have been completely fooled.

Herzoff is not known at the War Office.

There is no officer of

that name on the army list.

Then, uh -

Yes, sir. Obviously. An enemy agent.

I say, Charters, there's

another phone in there.

What? Oh. Lucky.

Hello? Hello? Hello!

Gone dead.

- Hello!

- Why not try the thingamy? Yeah.

- You know, the... gadget.

- Oh.

Hello -

It's the extension. That chap out there.

Well, perhaps he'll be

off the line in a minute.

- Shh!

- What's up?

They're talking

about what's-his-name.

You know, Herzoff.

No. He doesn't suspect.

Yes, sir. I see.

All

passengers aboard, pleasel

No time to stand here now,

sir. The train is leaving.

What? Listen, we can't afford to take risks.

Carry on with Herzoff to Munich.

Let him think he's getting

away with it. Understand?

I'll get on to army headquarters there.

Very good, sir.

All passengers aboard, pleasel

- Everybody on the trainl

- What is it?

Well, as far as I can make

out, Herzoff isn't Herzoff.

- What?

- No.

They're sending an escort to arrest him

- when we get to Munich.

- Herzoff?

- Yes.

Well

- Then -

- Listen, if- if Herzoff

isn't Herzoff- - What?

- Well, he must be Dicky Randall.

- Yes.

Everybody on the train! All

passengers aboard, please!

All passengers on the last two coaches only!

All passengers aboard!

- All passengers aboard.

- After you, Major.

All passengers on the last two coaches only.

All passengers on the last two coaches.

All passengers aboard.

All passengers on the last two coaches only.

All passengers on the last two coaches.

All passengers aboard.

Keep within call. I shall need

you at Munich, perhaps before.

One thing emerges very clearly from all this.

- Caldicott!

- The train! There it goes!

Oh, my, my! That's a mess!

That was a near thing.

I thought we were going to be

in this infernal country for the duration.

Oh, my Lord.

Don't anticipate, old man.

What were you saying just now about

something emerging very clearly?

- I said?

- Mmm.

- When?

- On the platform.

- About something emerging?

- Mmm.

What was it?

- What was what?

- What emerged.

- You never said.

- Oh.

We do not wish to persuade you to become

a National Socialist, Herr Bomasch.

I explained that to your

daughter. Have I not?

And you may work wherever you choose, Father.

- Isn't that so?

- Quite.

- After all, we should have our freedom.

- I know, my dear.

But freedom is strangely

interpreted in this country.

I do not agree with you, Herr Bomasch.

Freedom in Germany is a great

advance on freedom elsewhere.

It's properly organized

and controlled by the state.

I'd much rather we kept politics out of it.

Herr Bomasch unfortunately

refuses to understand...

the sacred importance of

the Nazi world mission.

- His stay in England perhaps.

- No doubt. A corrupt influence.

A corrupt country.

Controlled by international

Freemasons and theJew Churchill.

But since you wish it, Herr

Bomasch, we will drop politics...

and discuss it from a more personal basis.

I'm certain, Charters, that

what you were about to say...

was that we've stumbled on

something pretty serious.

There's no doubt which

side Randall's playing for.

- Ours?

- Yes.

Yes. That's what was emerging so clearly.

It's up to us to find

some way of warning him.

Yes. Come on. Let's find him.

- I say, Caldicott.

- Yes?

- Do you think we're wise rushing into this?

- How do you mean?

Well, I mean we've no proof that

Randall's working for England.

- Well, everything points to it.

- Yes, but is that enough?

We're enemy aliens...

and these Nazis are pretty

free with their firing party.

Hmm. Well, ought we to

let that stand in our way?

Well, certainly not.

I mean if

- if we were certain.

As it is, we've just got to bear it in mind.

I don't see what else he can be doing.

For all we know, he may

be an international crook.

Crooks don't generally

play for the Gentlemen.

Raffles did.

That's fiction.

Still, you may be right, Charters.

Of course, if we were certain,

we'd do our duty and take the risk.

Yes, of course.

As it is, I can get on with Mein Kampf.

Haven't got out of Hitler's boyhood yet.

And, Herr Bomasch, what

is even more important...

your daughter will be able to live

with you or wherever she pleases.

- You must give me time to think.

- Certainly.

We should be in Munich in... 40 minutes.

Indeed. For the first time, I will

be sorry when the journey's over.

Yes. I

- I can believe that.

- I think we should order something to eat.

- An excellent idea.

Just in case we do not find headquarters

in a very... hospitable frame of mind.

- Please.

- Oh, sorry.

You don't choose to stand up

when a German officer passes?

You see, we're English.

Your passports.

Oh, beg your pardon. You're quite right.

The English should not stand up.

They should go down on

their fat bellies and crawl.

- Now look here!

- So, you are standing up.

Very well. We shall generously

permit you to run back to England...

no doubt to find yourselves safe jobs.

Meanwhile, you may sit down.

- "Fat bellies. "

- "Safe jobs. "

As if they weren't all taken by now anyway.

Caldicott, this is absolutely

and finally the last straw.

- Yes, Charters.

- We'll warn Dicky Randall at once, come what may.

I'm with you, old man.

It's things like that

that bring it home to you.

Sandwiches, biscuits. Yes, sir.

Will you take tea substitute

or coffee substitute?

Tea for me, please.

- Tea.

- Fine.

He's in there. That

Gestapo fellow's there too.

Yes. A couple of storm troopers in there.

How the devil are we going to pass him

the word without that fellow spotting it?

- We've got to do it somehow.

- Yes.

Of course, he

- he might come out for a minute. I mean, most people do.

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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. 25 Dec. 2024. <https://www.scripts.com/script/night_train_to_munich_14796>.

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