Green for Danger Page #2

Synopsis: In a rural English hospital during WWII, a postman dies on the operating table. One of the nurses states that she has proof of who the murderer is. The facetious Inspector Cockrill suspects one of the five doctors and nurses who were in the operating theater to be the assassin. But four poisonous pills have disappeared....
Director(s): Sidney Gilliat
Production: Eagle-Lion Films
 
IMDB:
7.6
Rotten Tomatoes:
77%
APPROVED
Year:
1947
91 min
206 Views


where you'd be helping just as much.

- I want to carry on here.

- My dear, you're young.

You don't want to poison your life blaming

yourself for something which you couldn't help.

- I knew your mother, don't forget, and...

- Please.

All right.

[Moaning Softly]

Me helmet.

You never turned off the wireless.

- You never turned off...

- You poor thing.

[Moaning, Muttering]

Am I late, Esther? Sorry.

I fell asleep, and...

- What's the matter?

- Oh, hello, Freddi.

- You look completely out on your feet, dear.

- Yes, I am a bit.

Plenty of sleep, that's what you need.

Hop off now. I'll see to everything.

- Anyone to fix?

- Yes. Three stat, one S.O.S.

- It's all in the prescription book.

- I'll give them. Off you go.

- Thank you, Freddi. Good night.

- Good night. See you in the morning.

Aren't you going

to kiss me good night, Nurse?

Hello, Nurse.

Spare a cuppa for the poor old surgeon?

- Yes, I think so, sir.

- Wonderful. I'm parched.

Busy night after all.

You never know how it's

going to be with buzz bombs.

No. We shall all end up

with elephantiasis of the ears.

- [Vehicle Approaching]

- Isn't that one?

Mm-mmm.

Only a car.

- Thanks. How's Barney?

- All right, sir.

Did I detect a slight note of friction

in the theatre this evening?

- Saccharin?

- Of course.

- I like Barney.

- So do I, curiously enough.

Naturally,

since you're engaged.

- We're not.

- Hmm?

- Since when?

- This evening.

Oh, I am sorry.

What's the trouble? Or shouldn't I ask?

I suppose it's my fault.

When a woman says that,

it usually means she's convinced it isn't.

Well, I don't know. We always seem

to be getting on each other's nerves.

Well, nobody's nerves

are quite what they were.

Especially after being cooped up here

for years, working long hours...

under one sort of bombardment

or another.

- I suppose not.

- Not that I ever interfere in these things.

- Don't you?

- Anyway, I never admit it.

- What's the matter?

- I was just looking at you and thinking.

- What?

- That Barney must be an awful fool.

He's not. He's sweet.

- It is my fault, in a way.

- In what way?

Well, he's probably a better sort of person

than I am altogether, but he gets so possessive.

And he's firmly of the opinion that

there should be only one man in your life.

To wit, Barney.

- It wasn't that sort of quarrel.

- Wasn't it?

Not really.

[V-1 Passing Overhead]

That wasn't a car.

[V-1 Stops]

[Explosion]

That was near.

[Eden]

I'm sorry.

Please forgive me.

[Man]

Look out!

[Groaning, Muttering]

It's cut out.

It's coming down.

Hear it?

It's gonna hit us!

It's all right. It's gone over.

You're quite safe.

I had just come into the ward

when he started.

[Moaning]

London under fire.

Terrible V-1!

Terrible V-1!

Churchill telling lies.

Telling lies to save...

- What is it?

- I don't know. Some sort of quotation.

- [Muttering Continues]

- Don't talk any more, old man.

Take it easy.

There's nothing to worry about.

You're going to sleep now.

Give him a sixth of morphia.

I'd just come to look for you, Mr. Eden,

about the operation tomorrow.

- I understand you want it at 10:00.

- That's right, Sister.

- Then I'll put back the cartilage until 11:00.

- Thank you, Sister.

- Good night, Mr. Eden.

- Good night, Sister.

[Higgins Moaning, Sobbing]

[Sobbing]

Oh, there you are, Esther.

Where have you been?

It must be awfully late.

- Freddi overslept or something.

- There's some cocoa for you. I'll heat it up.

- Please don't bother. I don't want anything.

- Esther.

Esther, what's the matter?

Mr. Eden wants me to leave here.

Well, he's very sensible.

You should never have come back.

- I can't go yet. I won't!

- Well, it's up to you.

Are you sure you're all right?

- He saw I was upset over Higgins.

- Higgins?

The postman.

The unidentified fracture.

I hadn't recognized him then, of course.

Not until I cleaned him up.

He was buried too, like she was.

They had to dig him out.

I couldn't help thinking of...

Higgins?

[Man Narrating]

And at 9:
50, precisely...

Joseph Higgins was wheeled

to the operating theatre.

- [Barnes] How many cases left today?

- [Woods] Three, so far.

[Woods]

But the next's only removal of plaster.

I shall need a new oxygen cylinder, Nurse.

We nearly ran this one out last time.

- Very well, sir.

- Good morning, Nurse.

- Good morning, sir.

- How's the patient?

- I could do with a pint.

- That's the preoperative atropine.

- Thank you very much.

- We shan't keep you long.

There's no need to worry. It's only a

small thing. Hardly an operation at all.

- Dr. Barnes, ain't it?

- That's right.

You remember me? Joe Higgins?

- Yes. You're the postman.

- Thought you would.

You gonna do the anesthetic?

- Yes.

- You've got a nerve.

- All right?

- Perfectly.

- New cylinder, sir.

- All right. Shove it in.

Oh, Sister, I think

I'll give the anesthetic on the table.

Save time.

He's not the nervous type.

Very well.

Did you say you're giving

the anesthetic on the table?

- That's right.

- Mm-hmm.

Sanson!

- Bring the machine in, Woods.

- But...

- Do hurry!

- Yes, Sister.

Sanson, you can bring

the patient in right away.

Yes, Sister.

Ah, well, as Churchill says...

"Man the guns, sweep the skies,

plow the fields and pull the trolley".

Who's that? Who's that?

- I know that voice. I've heard it before.

- What's the matter?

It's the patient, sir.

I think he's a bit excited.

- Shh. It's only one of the nurses.

- I've heard it before somewhere.

- I can't remember where I heard it.

- Don't worry now.

It'll all come back later.

- Nurse?

- Yes?

There's no danger, is there?

No, of course not.

No danger at all.

Now take it quite easily, old man.

Just relax.

Breathe quite normally.

That's right. Quite gently.

No hurry at all.

Don't like his color.

[Barnes] I've cut down the gas

and increased the oxygen.

Not responding.

Nothing but oxygen now.

Still not responding.

- Doesn't seem to be any obstruction?

- I'll slip an airway in to make sure.

- [Eden] All right?

- Yes.

- Still pure oxygen?

- Yes.

- He's stopped breathing.

- Artificial respiration?

- Yes.

- Adrenaline, Sister.

Intravenous Coramine, Nurse.

[Man Narrating] They took the necessary action.

They neglected nothing.

It made no difference.

Joseph Higgins was quite dead.

- There'll have to be an inquest, of course.

- [Eden] Quite.

Most unfortunate.

These things always create

such a mistaken impression outside.

Of course I'm not suggesting

anyone is in the least to blame.

Barnes, are you quite certain

that the tubes were uncrossed?

- Positive.

- You checked the machine?

- Of course.

- Hmm.

Well, I'm inclined to take the view

that the man was still suffering from shock.

These things are bound

to happen now and then...

when taking justifiable risks

in urgent cases.

- I'm afraid we can't tell the coroner that.

- Oh? Why not?

- Because this case wasn't particularly urgent.

- Oh.

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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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    "Green for Danger" Scripts.com. STANDS4 LLC, 2024. Web. 25 Jul 2024. <https://www.scripts.com/script/green_for_danger_9319>.

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