Green for Danger Page #6

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
232 Views


He'd die of, well, lack of oxygen.

And you couldn't tell by the flowmeter

or the postmortem?

No. But the whole thing's quite ludicrous.

You must bear with me, Doctor.

I'm a child in these matters.

- Can I go now?

- No. I don't think so.

You had a similar experience

once before, didn't you?

- I suppose Dr. White's been talking.

- Incessantly.

It wasn't similar.

It was no comparison.

- And I made no mistake in either case.

- Splendid.

- Does Eden think that?

- Eden? What's he been saying?

Nothing to me.

You don't like him, do you?

If I discuss that with anybody,

it'll be with Eden.

Why not?

Confidentially,

do you think he did it?

How should I know?

Dr. Barnes.

About that anonymous letter.

If you're silly enough to attach

any importance to a thing like that...

Oh, it wasn't that exactly.

I was merely wondering if Higgins

was the postman who delivered it.

[Cockrill Narrating] Yes, I was idiotically

pleased with myself at the time.

But I am not so pleased

to think of it now...

because there was the vital evidence...

the clue to the whole business...

right under my nose.

If I had know then,

it might have saved another life.

The next morning my presence

lay over the hospital like a pall.

As I approached, voices were hushed...

and all eyes turned upon me.

Who was the guilty one?

When will he be arrested?

Who will be next?

[Chuckles]

That is what they were thinking.

I found it all tremendously enjoyable.

During the rest of that day

I continued my investigations...

with my accustomed energy.

Good afternoon, ladies.

[Chuckles]

No need to be alarmed.

We were only searching your rooms.

Well, I'll be...

- Did you know Higgins?

- Personally, no.

What precisely was your relationship

with Sister Bates?

Not exactly distant, I take it.

Harmless enough...

or so I thought.

Nevertheless, you certainly

had a motive for getting rid of her.

Only in her imagination.

She might have proved troublesome.

She was jealous and possessive.

Most women are if you give them

the slightest encouragement.

Which you invariably give them. Hmm?

[Chuckles]

Only sometimes not so slight.

- Are you trying to make me lose my temper?

- That was only a secondary object.

[Cockrill Narrating] From time to time,

one of those infernal devices roared overhead.

[V-1 Passing Overhead]

[V-1 Stops]

[Explosion]

But such trifles, of course, did not

for a moment distract me from my purpose.

Did Higgins say anything that night

that you think might help us?

- He'd only just got in when the bomb fell.

- He didn't speak again?

No. 'Cause I went clean out for a bit.

When I came round, all I

could hear was the radio.

Hmm? The radio?

Yes. Our old wireless set.

Still hollering a treat it was too.

- Ah. What was it playing?

- Wasn't playing.

- Hmm?

- It was talking.

- What about?

- Well, uh, let me think.

Come along now.

Surely you can remember.

I can't get it out of my mind. When I woke up

today I didn't remember at first.

Then it all came back.

I went to the window,

and there was the inspector

slinking about outside.

He's probably lurking about

in the bushes at this very moment.

- Oughtn't we go back?

- Why?

- It's a lovely night.

- We're still suspects.

That's a very good thought

to escape from.

It's not easy.

- Have you seen Barney?

- No.

I don't know what to do about him.

Isn't it time you made up your mind?

He's behaving so ridiculously.

I don't blame him.

He's in love with you.

I don't blame him for that either.

It is a lovely night.

Perfect.

"In such a night as this...

"when the sweet wind

did gently kiss the trees...

"and they did make no noise...

"in such a night...

"Troilus methinks

mounted the Troyan walls...

"and sighed his soul

towards the Grecian tents...

where Cressid lay that night".

[Cockrill]

"In such a night...

did young Lorenzo

swear he loved her well...

"stealing her soul

with many vows of faith...

and ne'er a true one".

Good night, Mr. Eden.

Good night, Dr. Barnes.

Nurse Woods.

Jane Woods.

Where she lived. When she came to London.

Everything you can find out.

Ring me right away. Bye.

[Sighs]

I must be getting old.

[Cockrill Narrating]

So much for the 19th.

The morning of the 20th

dawned like any other.

The condemned man

ate a hearty breakfast.

- Have some jam.

- No, thanks.

- You've eaten hardly anything.

- I've had quite enough.

- Besides, we ought to be going.

- Oh, we have 10 minutes yet.

- How about the washing up?

- I'll come back at 9:00 and do that.

Here's Freddi.

- Well, I wonder what today will bring.

- [Footsteps Approaching]

- No, it's not.

- What?

Freddi.

[Footsteps Approaching]

Anyone in?

- Oh, hello.

- Good morning, sir.

- [Sighs]

- Good morning.

- I didn't startle you, did I?

- Oh, no, sir.

- I clumped to warn you.

- [Chuckles] He clumped.

I've been wandering around

for about an hour.

Thought I'd just drop in,

see if you were all all right.

- Well, we're still here, sir.

- Somewhat to our surprise.

- Have some tea.

- Nothing go bump in the night?

- Only my heart. Oh, stick the kettle on, Esther.

- No. Please don't bother.

It's gotta go on again for Freddi's

hot-water bottle. Her bedroom's freezing.

If you're looking for Freddi,

she's not back yet.

- Oh, no. Really. I wasn't. I just dropped in.

- [Door Opens]

Oh, here she is.

Hello, children.

It's parky for an August day.

I thought I'd see Nurse Linley home

and come in and see if you were all right.

- [Chuckles] Seems to be a popular movement.

- Well, I'll push off.

- Got a cup of tea?

- Esther's getting it.

Esther's not.

Not until someone gives me a shilling.

The gas has died on us.

Oh, dear. It's my turn, and I forgot.

Unless there's one in my bag.

Bobs for the love of Allah.

[Woods]

Heads.

- [Woods] Good gracious.

- Not a bob among us.

- That's funny.

- How about you, sir?

Nothing doing.

Freddi, my pet, you'll have to go to bed

with half a lukewarm water bottle.

- I could slip over and ask McCoy...

- Of course not. I'm too tired to care.

I hardly slept at all yesterday.

Who did?

None of us, I imagine.

Speaking as the life and soul of the party,

I just can't keep it up.

Oh, don't worry, darling.

You've been wonderful. Really you have.

It's this wondering and watching.

I don't believe it was one of us.

It can't be, and...

and yet somebody

must have killed him.

But why? Why Higgins?

I was thinking during the night

about that gown.

- What gown?

- The one Sister Bates was found in.

- What about it?

- Well, you know the hole in it

where she was stabbed?

- Mmm.

- I knew there was something that seemed wrong.

I know it sounds silly, but it suddenly

dawned on me what it was.

- [Sanson] What?

- [Linley] It was...

- Shut up.

If you've anything to tell,

tell it to the inspector.

Aren't you being a little fanciful?

I must say.

I can't see any harm in it.

Oh, of course not.

The inspector did say

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

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