The First Legion Page #5

Genre: Drama
Director(s): Douglas Sirk
Production: United Artists
  1 nomination.
 
IMDB:
6.9
APPROVED
Year:
1951
86 min
65 Views


just before the start of a concert.

And like music that

swept you off your feet.

Father .. oh Father, bless me.

Bless me.

Father ..

Thanks.

How is the boy, Doctor?

The poor kid didn't have a chance.

Is he?

Of course. The trip alone

was enough to kill him.

I only tried a million-to-one shot.

Alright Miss Hamilton.

You're elected .. break

the news to his mother.

Shall I send her in here?

I suppose so. Technicalities and stuff.

Oh, do you want to see a Father Arnoux?

Is he waiting?

Since you went into surgery.

Okay .. hold it.

First, get me the file on Father Sierra.

It's here.

Alright. Thank you.

Please step in, Father.

Thank you.

Hello, Father. Hello, Doctor.

You have a very busy hospital.

Most haven't got a cent. Sit down.

They go up the hill to

be cured by your people ..

And then they need medical attention

and we get them .. cigarette?

You look a little tattered.

Did you get caught in the crowd?

More like a cattle stampede.

Yes. The rich, the hurt,

the lame, the blind .. the poor.

And all because someone

started to cry "miracle".

Half of them would have come just as

quickly if somebody had shouted "gold".

Humanity I love, but crowds ..

Well now .. may I please see

the records on Father Sierra?

Records? Oh yes .. yes, of course.

They're around here somewhere.

Here we are.

Thank you.

Nothing much there. Just a record of

visits made. A few medicines ordered.

Is that all? That's all.

No X-Rays?

I guess there were none.

Neuro-circulatory asthenia.

Yes.

Something like "shell-shock" isn't it?

Well, that depends.

And medicine you think,

cannot account for his cure?

Look, Father .. human beings are just

so many wonderful machines.

Sometimes you can fix them.

Sometimes you cannot.

I see .. and you couldn't ..

Fix Father Sierra.

What is this? Cross examination?

Not at all. But you haven't

answered my question.

Excuse me, Doctor .. but Mrs Dunne ..

Ah.

Her son just died a couple of

minutes ago. Sure, send her in.

One of the "pilgrims"? Uhuh.

Please sit down. There are several

papers to be filled out, Mrs Dunne.

Please don't mind. They

won't need much time.

First, I want to tell you about your son.

He had no pain when he died.

Father .. why is my boy dead?

Why? Explain to me why.

Mrs Dunne, please ..

They said there was a miracle here.

They said all I had to do was to come

here and my baby would be alright.

Please Mrs ..

I came, and look at me.

I converted my insurance policy. I sold

everything I had. I'd have sold my flesh.

What did I have other

than the life of my baby?

Can you explain to me why he is dead?

Mrs Dunne .. Why?

Miss Hamilton. No.

No, I don't want .. I want ..

Now, now Mrs Dunne.

Where is he? I haven't seen him yet.

May I go with you? Thank you.

I want to see my boy.

I wish I could have

done more for the boy.

He would have died anyhow,

but not so soon.

He couldn't stand the excitement.

You mean he died of too much miracle?

I'll be going. I am sorry

I have taken your time.

Not at all .. not at all.

Good morning, Miss Hamilton.

Good morning, Doctor.

The State Medical Association called up.

They want to arrange

an appointment with you.

Tell them tomorrow. No, make

it the day after tomorrow.

Some of the doctors have

come from out of town.

What do they want?

Well, I'm not sure they know.

No two of them seem to agree on

anything. But they'd like to talk to you.

Fine. Always glad to talk to doctors

who can't agree on miracles.

Make it this afternoon.

[ Phone rings ]

Doctor Morrell speaking .. who?

Mrs Gilmartin? Of course, put her on.

And how are you?

When did you get back?

Yes.

What's that?

I wouldn't have called you

at the hospital, Peter.

But Terry is running a high temperature.

Yes .. 103 to 104 ..

Alright Nora, don't worry.

I'll be right over.

Yup ..

Can I come in?

Oh hello, Peter. Hi, Nora.

I don't know what to think.

She seemed fine yesterday.

We were packing for this trip and all of

a sudden, she began to run a temperature.

It's been rising ever since.

Oh, she was so excited about the trip.

Do you think that is what it is, Peter?

The excitement?

Never a moment of peace.

You go right on in, Peter. I'll be with

you in a few moments. Alright.

Hello? Oh, hello Alice.

I've been so worried.

Terry is sick and I don't know what ..

Hello, angel.

Your mother tells me

you are not feeling well.

Taking your own temperature, huh?

Uhuh. Thank you.

Do you mind?

Say, all these yours?

Uhuh.

Not bad .. dancing girls and everything.

You've come a long way. A lot

better than the last time I was here.

"107" .. you know you're

a lucky young woman.

With a temperature like that you

should have been dead hours ago.

Oh, Peter ..

I feel awful.

Just awful. I know.

But you'd feel better if you'd really

put this over on me, wouldn't you.

Tell me, what did you use?

A hot-water bottle.

Peter, you beast.

You knew all the time.

Of course.

When I was a boy we used to use the

radiator to get a really high temperature.

Only trouble was, we sometimes

burned our tongues.

Oh Peter, look.

I love mother and I wouldn't

hurt her for anything.

If you're a good sport you won't

tell how I tried to fool her, will you?

Why shouldn't I?

Because ..

I don't want to go to Europe.

I want to stay right here.

Now don't be silly. You're

not making sense, Terry.

I don't want to make sense.

I want the impossible to happen

just once in my life, Peter.

You mustn't say that, Terry.

You mustn't even think of it.

I know.

Be a good girl, Terry.

Be a brave girl, Terry.

Keep on drawing pictures of

all the things you can never do ..

Well, Peter?

It's alright Nora, just a sudden flare-up.

I think the fever will go down

about as suddenly as it went up.

Thanks, Peter .. I've been so worried.

Tell me, how soon are

you leaving for Europe?

The day after tomorrow.

Well, I think you can still

make that trip if you like.

In fact, I would strongly recommend it.

What Terry needs is a good

change of climate .. at once.

But her fever?

Don't worry about her fever. Here ..

Just see that she gets a few of

these, and take a few yourself.

Just relax. Thanks, Peter.

Well .. have a nice trip.

Thank you, Peter.

Thank you for everything.

Thank you.

Of course, we can't anticipate

the decision of the church.

But is there a reason the pilgrims can't

be allowed to say prayers in our Chapel?

If, of course, they don't disturb the

regular schedules of our novices.

Father Rector, photographers want to take

some pictures of Father Sierra's room.

No, that's quite impossible.

Father, there are times when pictures

are more moving than rosaries.

No .. and tell them that is final.

We've been quite liberal with the

press and they must be content.

Content? Press?

It seems to me that when a tide is

moving there is only one thing to do.

We should move with it.

Father, there are sixteen new

applications for the novitiate.

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Emmet Lavery

Emmet Godfrey Lavery (November 8, 1902 – January 1, 1986) was an American playwright and screenwriter. Born in Poughkeepsie, Lavery trained as a lawyer, before devoting his career to the theatre and to film. He wrote the English libretto for Ernst Krenek's 1940 chamber opera Tarquin. 1943 saw him writing for three films: He was one of the team of 22 writers collaborating on the film Forever and a Day. He adapted Gregor Ziemer's book Education For Death for Edward Dmytryk's film Hitler's Children. He wrote the American war film Behind the Rising Sun, based on the 1941 book] by James R. Young.Lavery was president of the Screenwriters Guild of Los Angeles from 1945 to 1947. He served as vice president of the Academy of Motion Picture Arts and Sciences in 1946. In 1946, Lavery was one of six Hollywood figures listed by William Wilkerson in a The Hollywood Reporter editorial under the headline "Hywd's Red Commissars!" Drawing on the biography Mr. Justice Holmes by Francis Biddle, he wrote the play The Magnificent Yankee, which opened in 1946, and he adapted it for the 1950 film version. In 1949, Lavery wrote his play The Song at the Scaffold, adapted from the novel Die Letzte am Schafott by Gertrud von Le Fort. In April–May 1949, Lavery had secured a contract from von Le Fort that granted him all rights to theatrical adaptations of her novel, and formally had declared his own play to be 'the only authorized dramatic version of the novel'. In 1952, Lavery learned of stage productions of Dialogues des Carmélites by Georges Benanos, which Bernanos had written as a film screenplay and completed in 1948, just before his death. In January 1949, von Le Fort had granted the Bernanos heirs permission to publish the screenplay, and had gifted her portion of the royalties due to her, as creator of the original story, over to Bernanos' widow and children. Lavery contacted the literary agent for the Bernanos heirs, Albert Béguin, to inform the latter of the status of theatrical adaptation rights to the von Le Fort novel. Their subsequent two-year literary rights dispute reached arbitration by a jury from La Societé des Auteurs in Paris. On 20 July 1954, this jury ruled unanimously for Lavery, and ordered the Bernanos heirs to pay Lavery 100,000 FF for past contract infringements. In addition, the ruling required the Bernanos heirs to pay Lavery, with respect to all future productions of Dialogues des Carmélites, 15% of the royalties from English-language productions, and 10% from productions in all other languages. This allowed Lavery to earn royalties from both his own play and the Bernanos adaptation, with no contribution of his own to the latter, because of von Le Fort's waiver of her share of royalties and retroactive application of copyright. Separately, Francis Poulenc had begun to compose an opera based on Bernanos' work. He curtailed work on his opera in March 1954, in light of his understanding of the Béguin-Lavery dispute. Following the July 1954 decision, separate negotiations occurred between Béguin and Lavery, via Lavery's agent Marie Schebeko, on rights and royalties to allow Poulenc to write his opera. Lavery claimed to have met Poulenc in October 1954 and to have come to a cordial agreement on terms and royalties. However, the final formal agreement was not dated until 30 March 1955, and acknowledged Bernanos, Lavery, von Le Fort, Bruckberger, and Agostini. The terms stipulated that the Poulenc opera was adapted from Bernanos 'with the authorization of Monsieur Emmet Lavery', with Lavery listed in the credits after Bernanos and before von Le Fort, with no contributions of his own at all to Poulenc's libretto.In 1950, Lavery wrote Guilty of Treason; in 1953, Bright Road ; in 1955 The Court-Martial of Billy Mitchell, which was nominated for "Best Story and Screenplay" at the 28th Academy Awards. He wrote Williamsburg: the Story of a Patriot, a 1957 orientation film for Colonial Williamsburg. Lavery and his wife Genevieve Lavery had two children. Their son Emmet G. Lavery, Jr. (1927-2014) was himself a lawyer and a producer in Hollywood. Their second child was a daughter, Elizabeth Taylor. His wife and children survived Lavery. more…

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    "The First Legion" Scripts.com. STANDS4 LLC, 2024. Web. 20 Nov. 2024. <https://www.scripts.com/script/the_first_legion_20221>.

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