The Fallen Idol Page #3

Synopsis: Philippe, a diplomat's son and good friend of Baines the butler, is confused by the complexities and evasions of adult life. He tries to keep secrets but ends up telling them. He lies to protect his friends, even though he knows he should tell the truth. He resolves not to listen to adults' stories any more when Baines is suspected of murdering his wife and no-one will listen to Philippe's vital information.
Director(s): Carol Reed
Production: Rialto
  Nominated for 2 Oscars. Another 7 wins & 5 nominations.
 
IMDB:
7.8
Metacritic:
88
Rotten Tomatoes:
100%
NOT RATED
Year:
1948
95 min
$57,745
371 Views


Don't eat enough to keep a fly alive. | No lunch and -

and now no supper, Master Phillipe.

So that's why you've lost your appetite, | Master Phillipe.

Been eating between meals. | Buying cream buns again.

- That's not what your pocket money is for. | - I didn't.

Don't lie to me, Master | Phillipe. You're going to be...

...a fine worry to your | mother when I tell her.

I will not put up with any more lies. | You're becoming a regular little liar!

I won't put up with | any more lies from you!

They gave it to me!

- They? | - Baines I mean.

"They. "

Oh.

So that's it.

Yes.

You mustn't mind Mrs. Baines, | Master Phillipe.

She, um-She lets her tongue | run away with her.

We have a secret now...

you and I...

that I know all about them.

Can you keep a secret?

- Yes. | - Good.

I suppose she was having tea with him.

Just tea. No cakes.

Is she young?

Of course. She's his niece.

So that's what he said.

The old scoundrel.

It's all right. She's | not seeing him anymore.

Tomorrow she's going away.

Is she? Tomorrow.

You can keep our secret now? | Hmm? Yes?

Yes.

You do, and I'll get you | that 2A Meccano set.

Do you want the light up there?

He hasn't eaten his supper. | Think he'd be hungry after his long walk.

Wait till I put on the light.

I don't think I want to go on | with our talk tonight, if you don't mind.

You know when you two | were out this afternoon?

- What? Me and Phile? | - Yes.

I thought to myself, | "Perhaps I stay indoors too much.

I ought to get out more, | take some time off. "

- I've been telling you that for weeks. | - Yes. So you have.

I think it might be a very good idea.

You asleep, Phile?

Come on, Phile. Time to wake up.

Come on, Phile. Up you get.

Where's Mrs. Baines?

- She's gone to see her Aunt Hilda. | - No. Why?

Said she needed an outing, Phile. | Like you and me.

- When will she come back? | - Not until tomorrow morning.

Are we really alone?

Of course we are. We're | going to spend the day together.

- Will we be alone all day, Baines? | - We'll be together, Phile.

It's misty still.

The cat's been out all night. | There she is, sniffing round the railings.

There's Doris shaking the mats out.

It's a great life if you don't weaken.

- It's early, isn't it? | - It's going to be a long day, Phile.

Now, you get dressed, | and I'll be cooking the sausages.

Yes. To see her aunt.

I'm quite alone,you understand?

No. Not about that. No. | I'll explain it all.

Oh, you must come. | You promised you would.

We'll have the whole day together.

Oh, it makes no difference | about the boy.

Yes. Uh, back here to supper,Julie.

Ah, of course it's safe. I -Well, I'm so | looking forward to seeing you,Julie.

I must talk to you.

I'll- I'll wait for you. | Of course I'll wait for you.

It'll amuse the boy, | and we'll be able to talk.

No. Of course he doesn't understand.

3:
00, and we'll be able to talk quietly.

I'd rather see the snakes, Baines.

I was sure you'd like the lions. | My old legs are getting tired.

- You're not so old, Baines. | - I'm not so young as I used to be.

I'll tell you what. | Let's sit down over there.

I'll tell you things. | Then we'll go to the reptile house.

Did you shoot lions in Africa?

Oh,just a few. I mostly let them live.

- You shot a man though, Baines. | - Who told you that?

You did. | You murdered him, you said.

Murdered? | I never murdered anyone.

You said you killed someone, | once in Africa with that gun.

Oh, yes, yes. Oh, well, | that wasn't murder, Phile.

That was self-defense.

You see, one day the blackies planned | what they call a rising.

I was the only white man | for miles around.

Well, this chap - | He called himself a king.

He got the blackies properly | worked up, speechifying.

They-

Yes? Go on. Go on.

Uh, th-they all came up to my hut.

Hundreds of them. | Knives, spears, clubs.

- Well, all I had was that - that gun I showed you. | - Go on.

"Clear off," I said to that king of theirs. | "Hop it," I said.

But he was after my blood.

Well, if they'd got me, | it wouldn't have ended there.

They'd have tasted blood.

- Like those lions there. | - Th-Then what happened?

Oh, I plugged him. Then I threw the gun away | and went in with my fists.

But you found the gun again.

Oh, yeah. Yes. So I did. | I'll tell you about that one day.

I wish I could | go away with you to Africa.

Oh, look. There's your niece.

Oh, yes. So it is.

Now can we go and see | the reptile house?

- Look. Would you like an ice cream, Phile? | - I wouldn't say no, Baines.

Well, here's a bob. Get one forJulie too. | There you are. Over there.

What did she -

- Did you tell her? | - No.

I couldn't get around to it somehow. | And then she went away.

- Two wafers, please. | - Two wafers.

- Here you are. | - Thank you.

Then everything's just the same.

Give me time. I'll manage it somehow.

- There's your ice cream. | - Thank you, Phillipe.

I've been telling Julie | she's gotta have supper with us.

But you asked on the telephone, | and she said she would.

- The things you know. | - It would only be worse afterwards.

She doesn't trust my cooking, Phile.

Oh, can't we see the snakes, Baines?

Of course we're | going to see the snakes.

Hello, polly. | I'd like to find a snake like Macgregor.

- Who's Macgregor? | - It's a secret.

We don't need to have secrets from Julie.

Are you scared to come back home?

- Scared of what? | - Mrs. Baines.

Look, Phile. There - | There's the reptile house. Over there.

Ah. You are pretty.

- What time's the boat train? | - 9:00.

Can you get food on the train?

I'm taking sandwiches.

Newhaven - Dieppe?

Dover - Calais.

Have you packed?

Of course I have.

Oh, stop looking after me.

Oh, dear.

Baines.

- Do come and have a look at the snake. | - Is it as nice as Macgregor?

- Oh, you've told her. | - I said we don't have secrets from Julie.

- I do. | - Macgregor wouldn't be frightened of me, would he?

There's only one person | in the whole world he's frightened of.

- And who's that? | - Mrs. Baines.

Baines!

Baines!

Oh, look, Baines. | Come and look at this.

Baines.! What are they doing?

Here.

Where's Phile?

- Oh. There he is. | - Phile.!

Time to be off. | She's coming back, Phile.

We'll all three have supper together.

Wouldn't Mrs. Baines be angry if she knew!

Suppose she came back after all?

She won't do that. Not | when her mind's made up.

She - She doesn't know | about yesterday, does she?

No. Phile's a wonder for secrets.

- Is it very important to keep secrets? | - It certainly is.

- Even if you don't like the person? | - That makes no difference.

Even Mrs. Baines's secrets?

Yes, Phillipe. | Even Mrs. Baines's secrets.

I'll just go and open up.

This is a "man's hole. " You can get | right down to the sewers through here.

You're very fond of | Baines, aren't you, Phillipe?

Of course.

But you don't like girls.

Baines doesn't either. Not really.

Come in, you two.

Telegram! Telegram! | Can I open it?

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Graham Greene

Henry Graham Greene (2 October 1904 – 3 April 1991), better known by his pen name Graham Greene, was an English novelist regarded by many as one of the greatest writers of the 20th century. Combining literary acclaim with widespread popularity, Greene acquired a reputation early in his lifetime as a major writer, both of serious Catholic novels, and of thrillers (or "entertainments" as he termed them). He was shortlisted, in 1966 and 1967, for the Nobel Prize for Literature. Through 67 years of writings, which included over 25 novels, he explored the ambivalent moral and political issues of the modern world, often through a Catholic perspective. Although Greene objected strongly to being described as a Roman Catholic novelist, rather than as a novelist who happened to be Catholic, Catholic religious themes are at the root of much of his writing, especially the four major Catholic novels: Brighton Rock, The Power and the Glory, The Heart of the Matter, and The End of the Affair; which are regarded as "the gold standard" of the Catholic novel. Several works, such as The Confidential Agent, The Quiet American, Our Man in Havana, The Human Factor, and his screenplay for The Third Man, also show Greene's avid interest in the workings and intrigues of international politics and espionage. Greene was born in Berkhamsted in Hertfordshire into a large, influential family that included the owners of the Greene King Brewery. He boarded at Berkhamsted School in Hertfordshire, where his father taught and became headmaster. Unhappy at the school, he attempted suicide several times. He went up to Balliol College, Oxford, to study history, where, while an undergraduate, he published his first work in 1925—a poorly received volume of poetry, Babbling April. After graduating, Greene worked first as a private tutor and then as a journalist – first on the Nottingham Journal and then as a sub-editor on The Times. He converted to Catholicism in 1926 after meeting his future wife, Vivien Dayrell-Browning. Later in life he took to calling himself a "Catholic agnostic". He published his first novel, The Man Within, in 1929; its favourable reception enabled him to work full-time as a novelist. He supplemented his novelist's income with freelance journalism, and book and film reviews. His 1937 film review of Wee Willie Winkie (for the British journal Night and Day), commented on the sexuality of the nine-year-old star, Shirley Temple. This provoked Twentieth Century Fox to sue, prompting Greene to live in Mexico until after the trial was over. While in Mexico, Greene developed the ideas for The Power and the Glory. Greene originally divided his fiction into two genres (which he described as "entertainments" and "novels"): thrillers—often with notable philosophic edges—such as The Ministry of Fear; and literary works—on which he thought his literary reputation would rest—such as The Power and the Glory. Greene had a history of depression, which had a profound effect on his writing and personal life. In a letter to his wife, Vivien, he told her that he had "a character profoundly antagonistic to ordinary domestic life," and that "unfortunately, the disease is also one's material." William Golding described Greene as "the ultimate chronicler of twentieth-century man's consciousness and anxiety." He died in 1991, at age 86, of leukaemia, and was buried in Corseaux cemetery. more…

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Submitted on August 05, 2018

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