The Lady Vanishes Page #7

Synopsis: Passengers on a scheduled train out of the mountainous European country of Mandrika are delayed by a day due to an avalanche, and thus get up close and personal with each other out of necessity in the only and what becomes an overcrowded inn in the area. Once the train departs, the one person who it is uncertain is on the train is a middle aged English governess named Miss Froy. Iris Henderson, who was vacationing in Mandrika with girlfriends before heading back to England to get married, is certain that Miss Froy was on the train as they were in the same compartment and they had tea together in the dining car, but all those people who can corroborate her story don't seem to want to do so. Iris' thoughts are easily dismissed as a possible concussion as Iris was hit over the head just before boarding the train. Iris will take anyone's help in finding Miss Froy, even that of an Englishman named Gilbert, a musicologist with whom she had a not so pleasant encounter at the inn the evening b
Genre: Mystery, Thriller
Director(s): Alfred Hitchcock
Production: Gaumont British Picture Corporation
  1 win & 1 nomination.
 
IMDB:
7.9
Rotten Tomatoes:
98%
NOT RATED
Year:
1938
96 min
Website
335 Views


to these lengths to get hold of you?

l haven't the faintest idea.

l'm a children's governess...

l think they've made

some terrible mistake.

Why are holding out on us?

Tell the truth.

You got us involved in this fantastic

plot you might at least trust us.

l really don't know...

-ls there anyone else?

-There's only the dining cart...

but there won't be

anybody there now.

What do you make it, tea time?

l'll go have a look.

Come on.

We'd better stick together.

There's the old girl

turned up.

Told you there was lots of fuss about

nothing. Bolt must have jammed.

l've got something to say.

Please listen.

An attempt has been made

to abduct this lady by force.

l believe they are

going to try again.

What's the fellow

drivelling about?

Look out of the window. This train's

been diverted to a branch line.

What are you talking about?

Abduction, diverted trains...

-We're telling the truth.

-l'm not interested.

You've annoyed us long enough

with your ridiculous stories.

You've got hold of

the wrong end of the stick.

-These things don't happen.

-We're not in England now.

-l don't see the difference.

-We're stopping.

You see those cars? They're

here to take Miss Froy away.

Nonsense.

There go a couple of people.

The cars have come

to pick them up.

Then why uncoupling

the train and diverting it.

Uncoupling?

There's no train

beyond the sleeping car.

There must be. Our bags are

in the First Class carriage.

Not any longer.

Would you like to take a look?

lf this is a practical joke, l warn

you l shan't think it very funny.

Good Lord!

Bring some brandy.

You don't suppose there's something

in this fellow's story, Caldicott.

-Seems a bit queer.

-People don't go about tying up nuns.

Someone's coming.

They can't possibly do anything

to us. We're British subjects.

l have come

to offer sincere apologies.

An extremely serious

incident has occurred.

An attempt has been made to interfere

with passengers on this train.

Fortunately it was brought

to the notice of the authorities.

lf you will accompany me

to Morsken...

l will inform the British

Embassy at once.

Ladies and Gentlemen,

the cars are at your disposal.

We're grateful. lt's lucky

some of you speak English.

-l was at Oxford.

-Really, so was l.

This woman is trying

to say something.

l don't understand

but it may be important.

-Would you...

-Certainly.

-That's fixed him.

-That's all right. He's only stunned.

-What did you to that for?

-l was at Cambridge.

But you heard

what he said, didn't you?

l heard what she said. That was

a trick to get us off the train.

l don't believe it. The explanation

was quite satisfactory.

This might cause a war.

l'm going to tell them it's up to us

to apologise and put the matter right.

-You were right. Do you mind?

-Certainly.

Looks as if they mean business.

lt would mean

an international situation.

lt's happened before.

-They're coming.

-Don't let them in. They'll murder us.

They daren't let us go now.

-l order you to surrender at once.

-Nothing doing.

-lf you come any nearer l'll fire.

-l've warned you.

Better take cover.

They'll start any minute now.

-Nasty jam. Don't like the look of it.

-Got plenty of ammunition.

-Whole pouch full.

-Good.

-Duck down, you.

-l'm not going to fight. lt's madness.

lt's safer to protest down here.

They're trying to work

round to the other side.

You're behaving

like a pack of fools.

What chance have we got

against those armed men?

You heard what the

Mother Superior said.

lf we surrender now,

we're in for it.

We'll never get to

the match now.

Give it to me.

Give it to me.

-What's going on here?

-He's got a gun and he won't use it.

l won't be a party to this sort

of thing. l don't believe in fighting.

Pacifist? Won't work. Christians

tried it and got thrown to the lions.

Come on, hand it over.

l'm not afraid to use it.

Probably more used to it.

l once won a box of cigars.

He's talking rot.

He's a good shot.

Hope the old hand hasn't lost it's

cunning. l'm inclined to believe...

that there's some

rational explanation to all this.

Rotten shot,

only knocked his head off.

Would you mind if we talk

for a minute?

-What, now?

-Please, it's very important.

-Hang on to this for me, will you?

-All right. l'll hold the fort.

lt's safer along here.

You come in too.

l just wanted to tell you that

l must be getting along now.

You'll never get away.

You'll be shot down.

l must take the risk.

lf l'm unlucky and you get

through, take back a message...

to Mr. Callendar

at the Foreign Office.

-Then you are a spy.

-l think that is such a grim word.

What is the message?

lt's a tune.

lt contains, in code...

the vital clause of a secret pact

between two European countries.

l want you to memorise it.

The first part goes like this...

l'd better write it down.

Let me a piece of paper.

l was brought up on music.

l can memorise anything.

Very well.

The old girl's

gone off her rocker.

Face it, those swines will go on

firing till they kill us all.

For goodness sake,

shut up, Eric.

Now we've got

two chances instead of one.

-You're sure you'll remember it?

-l won't stop whistling it.

-l suppose this is my best way out?

-Yes, just about.

But even if you do get away

they'll stop you at the frontier.

-We can't let her go.

-You're taking a big risk.

ln this sort of job one

must take risks.

l'm grateful to you both

for all you've done.

l do hope and pray no harm

will come to you...

and that we shall

all meet again.

-l hope so too. Good luck.

-Good luck.

-Will you help me out?

-Yes, rather.

Take the weight, on top,

right you are, l've got you.

Goodbye.

-Was she hit?

-l'm not sure.

-That's the end of my twelve.

-There's not much left here, either.

We've only got one chance.

We've got to get this train going.

Go back to the main line and

try and cross the frontier.

That's a bit of a tall order.

Those drivers are not

likely to do as you tell them.

We'll bluff them with this.

Who's coming?

-You can count on me.

-Me too.

We can't all go.

You stay here...

lf we have any luck we'll stop

the train at the point...

-and you switch them over.

-Okay.

You idiots, you're just

inviting death.

l've had enough.

Just because l try and avoid

being murdered...

l'm accused of pacifist. l'd rather

be called a rat than die like one.

lf we give ourselves up, they

daren't murder us in cold blood.

-They're bound to give us a trial.

-Stop gibbering.

-Nobody's listening to you.

-You go your way, l'll go mine.

-Where are you off to?

-l'm doing the only sensible thing.

Let him go if he wants to.

Don't please. Why aren't we going?

Why aren't we going?

They said we were going.

Why aren't we?

lf only he can get us

away now. He must.

Only one left.

l'll keep that for a sitter.

They're moving away from the cars.

They're coming towards us.

-Pity we haven't a few more rounds.

-lt's funny.

Rate this script:0.0 / 0 votes

Ethel Lina White

Ethel Lina White (1876 – 13 August 1944) was a British crime writer, best known for her novel The Wheel Spins (1936), on which the Alfred Hitchcock film, The Lady Vanishes (1938), was based. more…

All Ethel Lina White scripts | Ethel Lina White Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "The Lady Vanishes" Scripts.com. STANDS4 LLC, 2024. Web. 25 Jul 2024. <https://www.scripts.com/script/the_lady_vanishes_12161>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    The Lady Vanishes

    Browse Scripts.com

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    Which film won the Academy Award for Best Picture in 1998?
    A The Thin Red Line
    B Life Is Beautiful
    C Shakespeare in Love
    D Saving Private Ryan