The Fallen Idol Page #5

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


That was all right, wasn't it?

Well, I can't say it any other way.!

- Now, you would, wouldn't you? | - Yes, please.

There you are. You see?

Station officer, Chelsea Police.

Yes, Doctor?

Serious? Fatal.

Come and sit over here. | Come on.

Tell me your name.

What time was that?

- Now then, come on. Tell me your name. | - Yes, Doctor. Of course.

What's the matter?

Come on.

Phillipe.

Phillipe? Phillipe what?

- Yes. | - That's all.

Come on.

It's a bit long, isn't it? | You want a haircut.

I'll have one sent over. | Anything else I can do?

Phillipe? Phillipe what, eh? | Where do you live?

Come on, chum. | You pop your feet into these.

Oh! Aren't you a lucky boy!

Oh, look. | They'd last forever.

- I'd like a pair of those. | - Good night, Doctor.

Jones.

There's been an accident | - 48 Cheston Square.

You know, that embassy.

Woman killed herself. | Fell down a flight of stairs.

Get an ambulance sent over. | Ask for Mr. Baines.

Is it too hot? Is it?

Here, try it now. Go on.

- Now, Rose, have you got the address? | - Give me time.

Did you say the name was Baines?

Uh, yes, Baines. 48 Cheston Square.

Baines.

What's the matter?

Do you know him?

I live there.

What made you run away, sonny?

Nothing.

You weren't frightened or anything?

No.

Then everything | was all right at home?

Yes.

Does your father | work at the embassy?

No. He's ambassador.

Oh!

I know your daddy!

Oh, there you are, Phile.

We picked him up in Hilton Street.

There's been an accident?

Yes.

- Over there? | - The doctor's with her now.

Now...

just -

just -just sit down there...

for a moment, Phile.

- How did it happen? | - We'd had a few words up there.

She was angry with the boy | for some reason.

The next thing I knew...

she'd slipped going down the stairs.

- Can I help at all, sir? | - No. Just an accident.

I'll be off. There's | nothing more that I can do.

You better tell the ambassador at once.

He's away. | I've phoned the first secretary.

Don't worry, man. | More than you can help.

You did all that you could. | These things happen, you know.

- I can't believe that she's - | - I know.

The ambulance will be coming.

I'll sign the certificate | first thing in the morning.

- Let me see. Where did I leave my coat? | - It's here, I think.

Don't think me heartless. | In my position one must try to be hard.

Death is like a business.

It has to be attended to.

Why, it's Phillipe, isn't it?

What are you doing here? | You ought to be in bed.

We found him wandering around.

We were going to send him home | when we heard about the accident.

He said he was sleepwalking.

Why, I know Phillipe. | He doesn't walk in his sleep.

Do you, Phillipe?

What's the boy been doing?

Now, listen, Phillipe, | did anything happen to frighten you?

We went to the zoo, that's all. | The boy's tired out.

I'll take him upstairs to bed.

Wait a moment. | Come here, Phillipe.

- Did he see it? | - I don't think so.

Well, you're a fine | sort of chap, aren't you,...

...wandering about at | night in your pajamas.

Who do you think you are- | Nick Carter?

Where'd you get this outfit?

We had to find him those | at the station.

Why did you run away, Phillipe?

I've told you - | she went for the boy.

Tell me everything you know, Phillipe.

Then you won't be frightened anymore.

It's long past bedtime. | We'll go upstairs.

- He needs sleep. | - I'm a doctor, Baines.

Why was she angry with you, Phillipe?

Because of secrets.

Secrets? | Do you know what he means?

You've no business pestering the boy. | He's half asleep.

What were those secrets, Phillipe?

Come on. You can tell me. | Was she angry at the zoo?

- No. | - Was everything all right at the zoo?

- Yes. | - Do you know what made her angry?

No.

You're not angry with Baines, | are you?

No. Of course not.

You're not going | to send him to prison.

Doctors don't do that.

I don't mind going to bed now.

You'd better take him up there, Baines.

Give him one of these tablets.

Was it self-defense, | like in Africa?

Dr., um - Dr. What's-his-name | is the police doctor, isn't he? Dr. Wilson?

Good evening, Dr. Fenton.

This is a terrible business. | Is Baines about?

He's upstairs putting the child to bed.

He was found in the street, scared.

What about?

I should like the police doctor | called in, if you don't mind.

Police doctor? | What's he got to do with it?

I should like Dr. Wilson called.

Surely there is nothing | to worry you, is there?

Possibly not.

I don't like it. | I don't like it at all.

The ambassador's a great stickler.

He won't like the police | within the embassy.

You do realize that this is | officially foreign territory.

Police are not allowed | in here without permission.

The woman's dead.

Yes, but an accident, surely.

- Probably. | - Well, wasn't it?

Perhaps.

But I'm not prepared | to sign the death certificate.

Very well. I'll have to phone | the foreign office in Scotland Yard.

Goodness only knows whether | there'll be anybody there this hour.

The Yard doesn't close, sir.

I meant the foreign office.

It'll make you sleep.

You've got to try and put it | right out of your head, Phile...

everything you've seen | and heard tonight.

I understand.

Well, go to sleep...

and forget it.

I'm going to give you | two night-lights tonight.

It'll be daylight before | you can sayJack Robinson.

Baines, are you going?

Listen, Phile, you -

you remember that telegram | Mrs. Baines sent me?

You had it. | You -You made a dart of it.

- What did you do with it? | - I threw it away.

Where?

I - I don't remember.

Why?

Well, I wouldn't - | I wouldn't like anyone else to find it.

You see, th-they think Mrs. Baines | was with us at the zoo.

It'd look funny, | that telegram coming.

And I - I don't want them to know | Julie was with us tonight.

She wouldn't like it.

There's no need to tell the police | more than they know.

Yes, I understand.

Are you scared?

Scared? No.

Only we've -we've got to be careful | what we say to policemen.

Oh, well, no good | putting it off, I suppose.

Better go down and talk to them.

Good night, Phile.

Baines, you could run away.

I remember.

I remember where I threw it.

Well, then I heard the boy say, | "Was it in self-defense?"

He admits there was a quarrel | at the head of the stairs.

- Is that the staircase? | - Yes.

Are the injuries consistent | with a slip-

Evening, Fenton. | It's an awful hour to be called out.

- I'm used to it. It's the hour for babies. | - Is it? Well, what's the trouble?

This is Inspector Hart, sir, | of the special branch.

He'll help with any interpreting.

I wouldn't mind so much | if the ambassador was here.

- You were here at the time? | - No.

I was having dinner with some friends | in a restaurant.

All right, all right. | Where is this fellow Baines?

In the basement, I think.

No, he went upstairs | putting the child to bed.

There'd be no objection, I suppose,...

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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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