Green for Danger Page #3

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
185 Views


- [Vehicle Approaching]

- Isn't that one?

Mm-mmm.

Only a car.

- Thanks. How's Barney?

- All right, sir.

Did I detect a slight note of friction

in the theatre this evening?

- Saccharin?

- Of course.

- I like Barney.

- So do I, curiously enough.

Naturally,

since you're engaged.

- We're not.

- Hmm?

- Since when?

- This evening.

Oh, I am sorry.

What's the trouble? Or shouldn't I ask?

I suppose it's my fault.

When a woman says that,

it usually means she's convinced it isn't.

Well, I don't know. We always seem

to be getting on each other's nerves.

Well, nobody's nerves

are quite what they were.

Especially after being cooped up here

for years, working long hours...

under one sort of bombardment

or another.

- I suppose not.

- Not that I ever interfere in these things.

- Don't you?

- Anyway, I never admit it.

- What's the matter?

- I was just looking at you and thinking.

- What?

- That Barney must be an awful fool.

He's not. He's sweet.

- It is my fault, in a way.

- In what way?

Well, he's probably a better sort of person

than I am altogether, but he gets so possessive.

And he's firmly of the opinion that

there should be only one man in your life.

To wit, Barney.

- It wasn't that sort of quarrel.

- Wasn't it?

Not really.

[V-1 Passing Overhead]

That wasn't a car.

[V-1 Stops]

[Explosion]

That was near.

[Eden]

I'm sorry.

Please forgive me.

[Man]

Look out!

[Groaning, Muttering]

It's cut out.

It's coming down.

Hear it?

It's gonna hit us!

It's all right. It's gone over.

You're quite safe.

I had just come into the ward

when he started.

[Moaning]

London under fire.

Terrible V-1!

Terrible V-1!

Churchill telling lies.

Telling lies to save...

- What is it?

- I don't know. Some sort of quotation.

- [Muttering Continues]

- Don't talk any more, old man.

Take it easy.

There's nothing to worry about.

You're going to sleep now.

Give him a sixth of morphia.

I'd just come to look for you, Mr. Eden,

about the operation tomorrow.

- I understand you want it at 10:00.

- That's right, Sister.

- Then I'll put back the cartilage until 11:00.

- Thank you, Sister.

- Good night, Mr. Eden.

- Good night, Sister.

[Higgins Moaning, Sobbing]

[Sobbing]

Oh, there you are, Esther.

Where have you been?

It must be awfully late.

- Freddi overslept or something.

- There's some cocoa for you. I'll heat it up.

- Please don't bother. I don't want anything.

- Esther.

Esther, what's the matter?

Mr. Eden wants me to leave here.

Well, he's very sensible.

You should never have come back.

- I can't go yet. I won't!

- Well, it's up to you.

Are you sure you're all right?

- He saw I was upset over Higgins.

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

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