Green for Danger Page #3

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
229 Views


And there wasn't any risk.

The patient was perfectly fit.

Should've taken the anesthetic

without turning a hair.

Well, the fact remains he didn't.

This would have to happen in my very first

month here. It's most distressing.

- Any views, Purdy?

- Well, of course I wasn't there.

But it certainly seems

a bit strange.

- Might get a clue from the postmortem.

- Clue?

Oh, I see what you mean.

Well, we shall soon know.

No doubt it'll all straighten itself out.

Thank you, gentlemen.

I don't think I need keep you.

Thank you, sir.

By the way, I don't see that this

need be any reason for canceling...

tonight's little gathering.

- It started some time ago.

- Hmm?

- Oh, quite.

- # [Swing]

Well, it makes a break for the nurses.

Helps morale.

- I might even look in a little later myself.

- That'll be nice.

Dr. Barnes, would you mind

staying behind a moment.

- [Laughing, Chattering]

- # [Swing Continues]

- I'll see you at the party.

- Right.

He spoke of our little gathering

as though it needed lancing.

Most distressing.

"Quite. Oh, quite".

[Chuckling]

Barnes, you were in practice in this district

before joining the hospital, I believe.

- I was.

- Yes. [Clears Throat]

Frankly, I'm told this won't be the first inquest

of its kind you've had to attend at Heron's Park.

- That's true. The other was four years ago.

- Yes.

- Just a little unfortunate.

- I don't know what you're implying.

- The surgeon and I were both exonerated.

- Obviously.

I'm not suggesting for a moment...

Natural causes, cardiac failure...

it might happen to any of us.

- The fact remains, people talked.

- They generally do.

- They will, in this case.

- Let them.

I don't know that we can take quite so...

[Chuckles] carefree a view.

- We have the hospital to think of now.

- I can see that. But, after all...

For instance, soon after you came here,

I believe an anonymous letter was received.

- From some illiterate half-wit.

- Beneath contempt, of course.

Still, candidly, I was rather hoping

for a gesture from you.

- Oh?

- It might... I merely throw out the suggestion.

It might simplify matters if you were to

discontinue your theatre duties pending...

You mean, admit responsibility

for Higgins's death?

- Good heavens, no!

- If I'm suspended, that's what it amounts to.

My dear fellow, I merely suggested that I was

hoping the gesture would come from you.

- Well, it won't.

- Now, listen, Barnes...

In fact, the only gesture I feel like making

is far from polite.

There's no necessity to be vulgar.

I'm sure my predecessor...

Under your predecessor,

this hospital had a magnificent record...

partly because

he backed his staff to the hilt.

This is intolerable.

I ask for cooperation, and what do I get?

You don't want cooperation.

What you want is a scapegoat

neatly trussed up as a convenient sacrifice...

in case anyone

starts throwing bricks at you.

- I... Really! I...

- Suspend me if you like!

If you do, I shall appeal.

Good night!

[Door Slams]

# [Swing Continues]

# [Ends]

Excuse me.

- Barney.

- Hello.

- I only just heard. What's happening?

- Everything.

I've bumped off a patient, insulted the

superintendent and practically been suspended.

- Large scotch.

- [Woman] Only small gins.

- Barney.

- Small gins. All right.

- Have you really been suspended?

- White's hinting at it.

- It wasn't your fault... No, thank you.

- That seems to be beside the point.

- Why didn't you come and tell me?

- After yesterday?

We both said a lot of things

we didn't mean.

Freddi...

Ladies and gentlemen, Paul Jones!

[People Chattering, Laughing]

- Freddi, do you mean...

- Come on, Freddi!

Barney.! Barney.! Barney!

- # ["Here We Go Round The Mulberry Bush"]

- Come along, old man!

Come on!

[Laughing]

# [Continues]

# [Humming Along]

- # [Stops]

- [People Laughing]

# [Mid-tempo Jazz]

Really, Dr. Barnes!

When you said just now

you didn't mean what you said yesterday...

- I didn't say that, exactly.

- Well, what?

Couldn't we forget the whole thing?

Oh, all right.

Are we back where we were before?

[Sighs]

I'm awfully fond of you, Barney.

You do believe that, don't you?

The mere thought of losing you

drives me absolutely dotty.

You haven't answered my question.

- Barney...

- It's not that I mean to be awkward.

I naturally like to know

where I stand.

If you want to boot me out,

well, boot me out and I'll... I'll go.

Well?

Please don't ask me now, Barney.

I'm all in a muddle.

I want to be quite sure.

- Please.

- All right.

Thought about

what I was saying last night?

Yes. I'm going against

the very best medical advice and staying here.

You remind me very much of your mother.

She wouldn't see reason either.

Now, why shouldn't we speak of her?

You won't get anywhere by

driving this thing into the back of your mind.

Get away, my dear. Bring it into the open

and do a good job of forgetting.

I mustn't forget ever.

She was desperately afraid of the bombing,

and I left her to face it alone.

- You can scarcely be blamed for that.

- I left her alone.

Listen, Esther.

Your mother was

the most possessive woman I've ever known.

Jealously, hysterically possessive.

- You've no right to say that.

- The truth isn't less true for being brutal.

You've a chance now

to live your own life. Take it.

- # ["Here We Go Round The Mulberry Bush"]

- # Don't you believe a word he says

Word he says, word he says #

- # Don't you believe a word he says #

- # [Continues]

# [Ends]

# [Swing]

Hello, Sister.

Having a good time?

- No.

- Oh.

Well, I don't feel exactly festive myself.

Have a drink.

- I've got one.

- Mmm.

They make what's called

a handsome couple, don't they?

Yes.

Well, I don't know about him.

That's where I have

the advantage over you.

- What?

- I do know about him.

All about him.

- You think I'm an awful fool, don't you?

- Why?

Oh, you know.

Everybody knows by now.

It's funny.

I do my work and keep my head.

I might be a machine,

but when it comes to him I...

- It's funny, isn't it?

- What about a dance?

He's sick of me...

and I'm sick of myself.

- Now, look...

- You're a fool too.

- You know that, don't you?

- We all have our off moments.

I saw him kissing her

in the ward last night.

What?

That hurt, didn't it?

Now you know how I feel.

I saw him. I saw the way he looked at her.

He's in love, as far as he ever can be.

If I were you,

I'd have a nice cup of cocoa and go to bed.

You know it's the truth.

If he wanted to marry her, do you think

she'd hesitate if you weren't here?

- Well, I am here.

- You won't be much longer.

- Not if he knows about it.

- What are you getting at?

You killed a girl, didn't you?

A few years ago in Heron's Park.

That's not true,

and I've had just about enough of it.

Now there's been another death,

and White's had you on the carpet.

- What's this got to do with Eden?

- You're in his way, that's all.

- You're imagining things.

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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. 18 Nov. 2024. <https://www.scripts.com/script/green_for_danger_9319>.

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