Green for Danger Page #9

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


- Good heavens!

- Mmm. That's where they got the paint.

- [Linley Moaning]

- She's coming round.

Freddi.

If I were you, I'd walk her about the theatre for

a bit. The poor girl must be feeling the strain.

- What?

- With a fractured skull?

It may possibly disappoint

you to learn that

the young lady's cranium

is at least as sound as yours.

Hello, Barney.

It's all right. You're safe.

Yes. Her life

is no longer in any danger.

But of course, she told me yesterday

what she was going to say about that gown.

What was it?

She said the hole

the knife made was too big.

Almost as if something had been cut out.

She was quite right.

- Something had been cut out?

- Of course.

But I couldn't

for the life of me think what.

Until just now, when I noticed this smear

of black paint on Nurse Woods's gown.

Nurse Woods, have you any idea what it was

that Sister Bates had hidden in this theatre?

- No.

- It was this.

Thought you might know,

because it happens to be your gown.

Mine?

Mmm. The one you wore last time,

when Higgins died.

And look. Just here...

curiously enough, there used to be another

smear of black paint from the first cylinder.

- The one that killed Higgins.

- [Barnes] And Sister Bates spotted it.

And jumped to the right conclusion.

You see, one thing

the murderer couldn't control

was the time the paint took to dry:

About 12 hours.

But why dress Sister Bates up in the thing

and stab her again?

To distract attention from the tear

where the paint had been...

by sticking the knife... through it.

It's all right.

Do you think I could sit down?

Of course, Nurse Sanson.

Yes. It must have been

a terrifying moment for the murderer...

alone here in this theatre

with Sister Bates dead at his feet.

In the moonlight,

with the wind screeching outside...

and the window slamming

and opening.

Slamming and opening...

with the gown clutched

in the dead woman's hand...

with its telltale streak of paint...

and time pressing...

so that any action was better than none

and first thoughts had to be best.

- Can't you see it?

- For heaven's sake, come to the point.

Ah, but that is the point. Time.

Each of you had a motive for killing Higgins

after you'd recognized him...

but which of you had time?

Was there someone you thought

would be incriminated...

if Nurse Linley had been allowed

to speak yesterday?

- I don't understand you.

- I think you do. Who was it?

I don't know. Nobody.

- I can't tell you anything. I don't...

- Can't you leave her alone?

I told you before.

She's in no state...

Why, on the day before Higgins's death,

did Mr. Eden urge you to leave this hospital?

I don't know.

Because this was the worst possible place

for her. I've explained that before.

I warn you. She's in no condition

to be questioned,

and you can place no reliance

on her answers.

Oh, can't I, Mr. Eden?

That's most illuminating.

What time did you leave the ward after

examining Higgins the night before he died?

- What's that got to do with it?

- Answer my question.

- About 10:
30.

- Where did you go?

- Back to my room.

- Did you pass the paint store on the way?

Probably.

What became of those tablets

that were taken from the poison cupboard?

How should I know?

- Nurse Linley, do you feel well enough to talk?

- Yes.

- If I can help.

- Now please think very carefully.

What time did you go on duty

on the night before Higgins died?

I was a bit late.

About five past 10:00.

Whereupon, presumably,

Nurse Sanson left.

- Yes. As soon as I got there.

- Say about 10:
10.

What time did Nurse Sanson

reach your quarters?

It was late, wasn't it?

- Yes. She said Freddi had overslept.

- What time was it?

Oh, well, uh, quarter to 11:00.

But... But I'm sure she...

Thank you. It should have taken you

five minutes, yet it took you nearly 40. Why?

- I don't know. I didn't feel very well.

- Did you pass the paint store?

[Sanson]

Yes. I suppose I did.

[Cockrill] Did you see anyone or anything

in there that made you pause or stop?

- [Sanson] I can't remember.

- Try. Was the door open?

- It may have been.

- Was there a light on inside?

- I don't know. I can't remember.

- Did you see anyone or anything in there?

[Shouts]

Did you?

- Or were you there alone?

- Can't you see she's had enough?

I've warned you, Inspector.

Mr. Eden, why do you keep on interrupting?

Are you afraid of something she might say?

- I've given you my reasons.

- [Cockrill] This time I'd like the truth.

- May I speak to her alone?

- No! Are you going to answer me, Mr. Eden?

[Cockrill]

Stop him!

Eden! Eden, open this door!

[Banging]

Eden!

I'm sorry, Esther. I've got to.

Look out!

[White]

Eden!

Esther Sanson, I arrest you

for the willful murder

of Joseph Higgins and Marion Bates...

and for the attempted murder

of Frederica Linley.

I must warn you that anything you say

may be used in evidence.

- Esther.

- What?

- It can't be.

- [Cockrill] It is.

- Eden.

- It's not true. How could it be?

She got me out of my room

when the gas...

Oh, yes. She intended to make

a dramatic rescue.

Just too late.

But she arrived back a bit too early.

Then she saw me approaching,

smashed the window and dragged you out.

And saved my life.

And contrived to let you

fall headlong down the stairs.

By that time she had to be content

with second best.

Esther. You didn't do it, did you?

I did.

You knew, didn't you?

I was almost certain,

but I didn't know how.

[Barnes] But why should she want to

kill Higgins? What had he done?

Tell them.

Higgins was head of the rescue

squad that left her mother to die.

- [Woods] What?

- That was how it seemed to her.

They had no choice,

but she couldn't see it that way.

She transferred

her obsession of guilt to Higgins...

the blame she attached to herself

for leaving her mother alone.

By punishing him,

she was relieving herself.

I don't understand that.

I was quite right, of course.

Could I have a drink of water, please?

- Purdy.

- But Freddi and Sister Bates.

Yes. That was bad.

But I couldn't let them talk...

otherwise I should have been found out

and punished for something that was right.

- Esther, I'm sorry.

- You understand, don't you?

Water, quick. She's fainted.

She's dead.

What?

She can't be dead.

She can't be dead.

- Can't you do something?

- It's too late.

Mr. Eden, you have deliberately

connived in her death.

Have I? How?

You followed her in here

with that hypodermic.

Quite true.

There is a penalty for helping a

criminal to evade the consequences.

Aren't you being a little rash?

You don't know yet how she died.

- Well?

- Have you forgotten those tablets?

I have not.

And neither, I imagine, did you forget them.

They killed Esther.

A lethal dose self-administered.

- Self? Then what...

- When I realized it must be Esther...

I knew she was definitely insane

and that she had the tablets.

I wanted to be ready, but you came over to me,

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

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