Green for Danger Page #4

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


- No, I'm not.

I'm seeing the truth.

You get like that.

You get to see people

like you never did before...

all the rotten things about them

you shut your eyes to once.

And that hurts,

and it's a comfort.

You're in his way.

Don't you see?

- What are you getting at?

- # [Ends]

- [Applause]

- You'll find out.

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

- I'm going to join in.

# [Ends]

# [Orchestra, Slow]

- I'm sorry it's come to this.

- What?

Spoiling your evening

having to dance with me.

- Don't be absurd.

- Do you think I don't know?

Now, Marion,

why can't you be sensible?

We neither of us ever pretended

it was serious.

It was all over months ago

and no harm done.

Except to me.

I've tried to be considerate,

but you won't let me.

Considerate?

You can't afford to be anything else.

- What do you mean?

- You see, I happen to know.

- Know what?

- Can't you guess?

I can't.

Do you really

want me to tell you? Here?

- What are you talking about? What is all this?

- [Applause]

- You know all right.

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

# [Continues]

# [Continues]

Listen, everybody!

I'm sorry to interrupt the dancing,

but I have an important announcement to make.

A patient called Higgins

died in the theatre this morning.

But it wasn't natural causes

and it wasn't an accident.

Shall I tell you what it was?

- Murder.

- [Gasping, Murmuring]

Yes, he was murdered!

I found out how it was done.

Oh, quite by accident,

but I found out.

- Sister...

- And, believe it or not, I know who did it!

Marion, please.

Think what you're doing.

And I've got something that'll prove it.

I know where it is, because I've hidden it.

I've hidden it, and I'm

the only one that knows where!

All right, but I suggest

you tell Dr. White all about it.

- Let me alone! I'll go where I please!

- [People Murmuring]

Get them going, Nurse.

- McCoy.

- Hello, Sister.

Could I have the key

to the operating theatre, please?

I won't be long.

I'm just going back for a minute.

Okay.

# [Phonograph:

"Here We Go Round The Mulberry Bush"]

[Gasps]

[Twig Snaps]

[Gasps]

What on earth is the matter

with you, Marion?

- For heaven's sake, what is it?

- There was someone following me.

- Don't be absurd.

- It was you.

- It was you!

- Marion!

Marion, come back!

Marion!

- # [Slow Jazz]

- [People Chattering, Laughing]

- Oh, I thought you were asleep.

- Uh, no. Not me. No.

Dr. Barnes wanted the theatre key.

Sister Bates took it

five minutes ago.

Sister Bates? Oh.

Very well. I'll tell him.

[Slam]

[Screams]

[Screams]

[Screams]

[Man Narrating]

It was early the next morning, the 19th...

that I myself, in person,

arrived on the scene.

[V-1 Passing Overhead]

[V-1 Stops]

[Explosion]

- Good morning. Could I have...

- Well?

Considering everything, yes.

- I have...

- What's wrong with you?

Hmm? Just the usual slight discomfort

after meals. Nothing...

I have an appointment with the superintendent.

Do you mind telling him I'm here?

- What name?

- Cockrill. Inspector Cockrill.

Yes, Scotland Yard, I'm afraid.

[Chuckles]

Sickening.

Dr. White, please.

- A terrible business, Inspector.

- Mmm. Frightful. Where's the body?

- In the theatre, just as it was found.

- Police surgeon there?

Yes. I do hope everything

can be arranged discreetly.

Shouldn't think so for a moment.

- Why not?

- Press.

- Do they have to be seen?

- Can't keep 'em out.

- Oh, dear.

- I don't mind. Always give me a good write-up.

- Good morning, sir.

- Good morning.

- Turning colder, don't you think?

- [Constable] Yes, sir.

- Hello, Hendricks.

- Morning, sir.

- Kiddies well?

- Fine.

- Good.

- Body's on the floor.

Well, Doctor, any views?

- Stabbed twice, of course.

- So I see.

Surgical knife found in second wound.

First in heart. Cause of death.

Took place 9:
00 or 10:00 last night.

Couldn't put it any nearer.

You don't have to.

We know within 10 minutes.

Found these on the floor. Probably worn

by whoever did it and left behind.

Hmm. Any fingerprints?

Nice set of hers low down

on that cupboard door. Right hand.

Dr. White, could you assemble

all the people you mentioned at once.

- Somewhere private. I'd like to talk to them.

- Yes, Inspector.

[Sighs] I wish the man

would come and get it over.

[Woods] He's conducting a war of nerves.

That's what it is.

When I think of her lying there like that

and only a few minutes before she was alive...

That's enough, Freddi.

Why the devil is he only after five of us here?

That's what I want to know.

Because you are the only people who seem

to have been concerned with both murders.

- Simple, when you think of it, isn't it?

- This is Inspector Cockrill.

Mr. Eden, Dr. Barnes,

Nurse Woods, Sanson, Linley.

Delighted.

Inspector, you said both murders.

- Sister Bates and what's-his-name... Higgins.

- Who said Higgins was murdered?

Well, Sister Bates herself,

for one, last night.

- I understood you were there, Dr. Barnes.

- Yes, but I didn't realize that she knew...

- Didn't you?

- [Eden] What about the Higgins postmortem?

- [White] Completely negative.

- But why should anyone want to murder Higgins?

My dear young lady, how should I know?

I've only just got here.

I understand from Dr. White

that all of you were present when he died.

- Not Freddi.

- Except Nurse Linley.

[Chuckles]

Interesting trust count.

I beg your pardon.

Except Nurse Linley.

Who was, however, on duty on Higgins's ward

the whole of the night before.

Yes. So I was.

And all of you were at the party.

So there you are.

Are you implying

that one of us did it?

Well, it seems very likely.

Don't you think?

Inspector Cockrill, I can't help feeling

that there must be some

innocent explanation

of this terrible business.

- Dr. White, please don't be fatuous.

- Really!

We are dealing with

two premeditated murders.

Can anyone tell me anything

they think I ought to know?

If so, now is the time.

Very well. Pause for 30 seconds

while you cook up your alibis.

Did you get us here

just to insult us?

No. I only like to strike

an informal note.

- Well?

- I've cooked mine up, Inspector.

- I hope it's good.

- [Laughs] Oh! Done to a turn.

Well, uh, I-I stayed here

for a few minutes after Sister ran out.

And then I went straight back

to our rooms in the coach house.

Uh, f-five minutes' walk.

- Anyone see you?

- I don't know.

Hmm. I'm sure

you can do better, Mr. Eden.

- I?

- With the exercise of a little imagination.

- You followed Sister Bates, I believe.

- Yes.

Did you catch her?

[Chuckles]

As if you'd tell me if you did.

I followed her out to the terrace,

but she'd disappeared.

I waited a moment or two, but she didn't show up,

so I went direct to the sister's room.

- What? Eden.

- [Cockrill] One moment, Dr. Barnes.

- Anyone see you?

- I shouldn't think so.

The invisible man.

[Chuckles] Thanks.

Nurse Sanson, your turn.

[Eden]

Is that necessary, Inspector?

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

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