The War Is Over Page #2

Synopsis: Diego is one of the chief of the spanish Communist Party. He is travelling back to Paris (where he lives) from a mission in Madrid. He is arrested at the border for an identity check but manages to go free thanks to Nadine, the daughter of the man whose passport is used by him. When he arrives in Paris, he starts searching one of his comrades, Juan, to prevent him from going to Madrid where he could be arrested by Franco's police...
Genre: Drama, War
Director(s): Alain Resnais
Production: Franco London Films
  Nominated for 1 Oscar. Another 4 wins & 3 nominations.
 
IMDB:
7.5
Rotten Tomatoes:
100%
Year:
1966
121 min
86 Views


police would have let me get away?

- Good luck, Carlos.

- Thanks.

Good-bye.

- Thank you.

- You're welcome.

Greetings, friend.

- Greetings, Rafael.

- Has Juan arrived?

- Juan? No news of Juan.

- You weren't expecting him?

Sometimes I don't know who's coming.

They just ask me to get a car ready.

One way to Paris

and a visitor's pass.

Have many been crossing lately?

Yesterday, two cars to Andalusia,

using their vacation to work for us.

Today, the same car that goes

to Bilbao every two weeks.

I've got a car ready, ordered by Paris.

No idea who it's for.

- For how long?

- The week.

- Maybe that one's for Juan.

- I think he'd go through Perpignan.

- Why?

- He's been using this side too much.

Perpignan. You don't know

who handles the crossings there?

It's not my district. Anyway, what

can you accomplish by going there?

Can you tell me

what's going on with Juan?

The bookseller brought a letter

saying Juan would arrive in Madrid.

He must be stopped from going.

Have there been arrests?

There's been no word in the press.

It's too early. It just started.

Anyway, if Juan shows up,

have him wait here for new orders.

Okay, but I bet he's going to cross

at Perpignan.

Perpignan. Here we are.

At 3:
34 p.m., you leave Bayonne

for Toulouse.

You arrive in Toulouse at 8:34 p.m.

You catch the train for Narbonne

at 9:
13 p.m.

At 11:
01 p.m., in Narbonne,

you catch the train to Perpignan.

You arrive in Perpignan

at 11:
55 p.m.

Not exactly an express.

No, not exactly.

Juan hasn't crossed over yet,

unless he went through Perpignan.

You don't know.

You can do nothing alone.

Antoine's right. You don't even know

who's in charge in Perpignan.

You should go to Paris.

Juan is probably still there.

You'll find him home.

You need to see your people...

Today.

Explain the Madrid situation to them,

that nobody should go there.

Eepecially not Juan.

He would be walking into a trap.

- If she hasn't told Lucienne, we're sunk.

- We are?

- How can she do it without Lucienne?

- She's used to it.

- Was she used to it at Royan last year?

- That's different. She wasn't at home.

Lucienne didn't leave just to be

with her nephews. Something happened.

You always dramatize.

I know what I'm saying.

She is lost without Lucienne!

Didn't she ask Lucienne to come?

The Marcels make two.

Unless Pierre comes. Two or three.

Then there's us, Raoul,

her two daughters, their husbands.

- And no Lucienne!

- Lucienne may be the first one there.

Without Lucienne, we're sunk!

Don't fret. Remember,

it's a holiday reunion.

Holiday?

With everyone in a foul mood?

Lucienne's not even family.

Don't exaggerate.

So what if she's not family?

Without her, we're a pretty family!

- I was sent by Antonio.

- What?

- Madame Lopez?

- No, I'm Madame Pluvier.

Sorry, I'm looking for

Madame Lopez.

There's no Madame Lopez here.

Building G, 10th floor,

number 107.

That's right,

but there's no Madame Lopez here.

Then I've made a mistake.

I beg your pardon.

Is she a refugee from Algeria?

A refugee? No, I don't think so.

I mean, on account of the name.

There's lots of them around here.

Thank you. Good-bye.

You came to see Juan a year ago.

Building G, 10th floor,

number 107.

Care of Madame Lopez, you thought.

But there's no Juan now,

no Madame Lopez.

Maybe it was some other Building G,

some other 10th floor.

Perhaps Juan did go,

and he'll walk right into the trap.

Roberto.

You must find Roberto now.

She'll wonder what's wrong.

She'll realize something's happened

to her husband.

You'd rather not see her today.

And yet you need her. She's the one

who can take you to Roberto.

Last Thursday at 6:00 p.m...

Andres failed to show up

at the Botanical Gardens.

You had a beer

at the Cafe Nacional.

You thought nothing of it.

You assumed you'd see Andres

at the next meeting place.

But toward nightfall

came signs of approaching danger.

The comrade who operates

the print shop failed to come home.

His brother notified the others.

The closed little world we live in...

became unsettled

and full of snares.

Carmen?

You here?

What is it? Is something wrong?

Andres?

What's happened to Andres?

By Friday it was clear

that Andres had disappeared...

and Luis and Jueto and Ricardo.

In the shadows we began to fight...

the unpredictable progress

of the police roundups...

severing the links

that bound one group to another...

suspending all meetings, all contacts,

setting new liaison networks.

But Andres had disappeared...

He has disappeared.

He could have disappeared

any day now for 15 years.

Carmen had expected, already accepted,

in anguish and rage...

this disappearance

that bursts upon her today.

Thursday evening at 6:00 p.m...

Andres did not show up

at the Botanical Gardens.

But you must wrest her

from her grief, her solitude.

She knows

where to find Roberto today...

among all these houses which empty

as the weekend draws to a close...

among all these lights

on a Sunday night.

Roberto organizes the crossings.

Only he will know

where to find Juan today.

He alone can catch up with Juan

before he too vanishes.

Roberto hates bad news.

An arrest gets on his nerves...

not just because it means

losing a comrade...

not just because of the months

and years of work...

to be done over from scratch...

but becauee the reality

of the world resists us...

because our actions seem

like a dream of indefinite progress.

He hates when reality

clashes with his dream.

It's as if he blames you...

for being the malicioue messenger

of the opaque reality...

that we cannot predict.

Ramon!

You have visitors.

I'll be damned! Carlos!

Why are you shouting?

What are you doing here?

You've put on some weight.

Getting old.

The easy life, you know.

Did Juan get away

all right this morning?

At noon. I finished his car last night

and he left today at noon.

- Which way did he go?

- Perpignan.

- And then to Barcelona?

- Yes, to Barcelona.

At noon?

Just at noon?

Where is he going to cross?

Where will he be tonight?

Perpignan.

Tomorrow he meets the contact who will

pick him up in Madrid in two weeks.

Then he crosses over.

- We can warn him, bring him back.

- It's of no use.

Anyway, it's too late.

Why not phone him in Perpignan?

The phone is too risky.

Oh, come on!

Then send him a wire.

Or one of us can catch the night train

and reach Perpignan in time.

Look, don't get so nervous.

In the morning

we meet with our comrades.

Right. We'll see tomorrow.

BORDER - TWO MILES

What's going on?

Why does Juan have to come back?

He mustn't go to Madrid.

They're making arrests.

Who have they arrested?

Andres and three more

from the Madrid committee.

The printer as well.

And it was still going on when I left.

Have you told Carmen?

We'll need to know more details

to tell if it's really serious.

You know as well as I

that they tend to exaggerate there.

It's natural. At the first sign of trouble,

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Jorge Semprún

Jorge Semprún Maura (Spanish: [ˈxorxe semˈpɾun]; 10 December 1923 – 7 June 2011) was a Spanish writer and politician who lived in France most of his life and wrote primarily in French. From 1953 to 1962, during the dictatorship of Francisco Franco, Semprún lived clandestinely in Spain working as an organizer for the exiled Communist Party of Spain, but was expelled from the party in 1964. After the death of Franco and change to a democratic government, he served as Minister of Culture in Spain's socialist government from 1988 to 1991. He was a screenwriter for two successive films by the Greek director Costa-Gavras, Z (1969) and The Confession (1970), which dealt with the theme of persecution by governments. For his work on the films The War Is Over (1966) and Z (1969) Semprun was nominated for the Academy Award. In 1996, he became the first non-French author elected to the Académie Goncourt, which awards an annual literary prize. more…

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Submitted on August 05, 2018

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    "The War Is Over" Scripts.com. STANDS4 LLC, 2024. Web. 18 Dec. 2024. <https://www.scripts.com/script/the_war_is_over_21601>.

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