Notorious (Lux Radio Theater, 26/Jan/1948)
Listen to this broadcast...
- broadcast as part of Lux Radio Theater
- date: 26/Jan/1948
- length: 60 minutes
- Joseph Cotten — Devlin
- Ingrid Bergman — Alicia Huberman
- Joseph Kearns — Alex Sebastian
- Gerald Moore — Prescott
- Janet Scott — Madame Sebastian
JOHN KENNEDY: Lux presents... Hollywood!
JOHN KENNEDY: Lever Brothers Company, the makers of Lux Flakes, bring you the Lux Radio Theatre starring Ingrid Bergman and Joseph Cotten in Notorious. Ladies and gentlemen, your producer, Mr. William Keighley.
APPLAUSE and MUSIC out.
WILLIAM KEIGHLEY: Greetings from Hollywood, ladies and gentlemen. With the collapse of Nazi Germany after World War II, it was commonly believed that many of Hitler's more fanatic followers escaped to the western hemisphere to pursue their relentless plotting for world domination. Our play tonight, while purely fictional, is a sample of how these isolated groups may operate and how they may be brought to justice. It's Alfred Hitchcock's thrilling hit, Notorious, produced by R.K.O. and stars its original leading lady, Ingrid Bergman and Joseph Cotten, two of Hollywood's leading performers. Notorious might take place in any city but actually we find ourselves in teeming and exotic Rio de Janeiro. One of the most exciting cities of the New World. I have an airmail letter from a friend of ours who made a flying visit to Rio and reports: “While shopping in the fashionable Copacabana section I purchased several exquisite examples of Brazilian lace. Imagine my surprise when I examined them to discover each piece labeled ‘Wash only in Lux.' Fortunately, Lux Flakes are available at almost every store in Rio. So, were we to stay here longer, I'd have little trouble following such sensible advice.” Well, for that message from Rio de Janeiro, all our thanks, as we take you shortly to that colorful metropolis with Act One of Notorious starring Ingrid Bergman as Alicia Huberman and Joseph Cotten in the role of Devlin.
WILLIAM KEIGHLEY: It's the height of the tourist season in Miami, Florida and the passengers of a plane from New York have hastened to their hotels. All, save one, a Mr. Devlin who has gone directly to a building owned by the United States government. There in an obscure and private office...
PRESCOTT: ... and last Thursday, John Huberman, traitor, was sentenced to twenty years in the federal penitentiary.
DEVLIN: So I heard, Prescott. Congratulations.
PRESCOTT: Oh, thanks, Devlin. But I didn't drag you down here to pat me on the back. Huberman has a daughter here in Miami.
PRESCOTT: Oh, she was in no way involved with her father or with any of the other Nazi agents who worked against us during the war. I believe she can be of great help to us now. That's what I want you to find out.
DEVLIN: You've approached her?
PRESCOTT: No, not yet. But we know a great deal about her. Oh, here's her photograph.
DEVLIN: Alicia Huberman. Hm. Attractive.
PRESCOTT: Very. And something of a problem. Miss Huberman is not what our mothers would have called a nice girl. Out every night, drinks a lot, gets arrested once a week for reckless driving.
PRESCOTT: But whatever she may be, we think she's still a good American. I, er, I've made arrangements for you to meet her tomorrow night.
DEVLIN: That should be pleasant.
PRESCOTT: Yes. Tomorrow night Alicia Huberman is throwing a party. If it's her customary party, it'll be loud, long, and alcoholic. On Sunday, she plans to leave on a cruise with friends. I want you to find out if she'll go to work for us instead in South America.
DEVLIN: South America?
PRESCOTT: Yes. Rio de Janeiro. Well, here's the whole file on Miss Huberman. Look it over and then start asking questions.
MUSIC in. A car engine ROARS. MUSIC out.
DEVLIN: Do this often, Miss Huberman? Leave your party, go for rides at two in the morning?
ALICIA: Why, I thought you invited me to take a ride.
DEVLIN: I didn't — I didn't think you'd accept.
DEVLIN: Hey, don't you think I better drive?
ALICIA: No. No, I thought that was understood. Or do you think I'm drunk?
DEVLIN: Oh, no, no.
ALICIA: You know something, Mister— er, what's—?
ALICIA: Devlin. Devlin. How'd you get to my party?
DEVLIN: The Hopkins, remember?
ALICIA: No. No, I don't remember.
DEVLIN: Anyway, you were saying?
ALICIA: Anyway, I like you. You're quite a boy, aren't you?
DEVLIN: Oh, terrific.
ALICIA: How'm I doing?
DEVLIN: Eighty miles an hour.
POLICE SIREN approaches.
ALICIA: You can stop grinning. I don't like gentlemen who grin at me.
DEVLIN: I was really grinning at the man in the mirror.
ALICIA: What mirror? Er, um, what man?
DEVLIN: A man on a motorcycle. We're being pursued.
ALICIA: Cops. Oh, they make me sick.
Car ENGINE throttles down. Motorcycle ENGINE and SIREN approach.
DEVLIN: Well, I'm glad you're stopping. I think this cop wants to talk to you.
ALICIA: Oh, am I drunk? If I am, I go to jail. Whole family in jail. Who cares?
SIREN and ENGINES stop.
MOTORCYCLE COP: Havin' a time for yourself, aren't you?
ALICIA: People like you ought to be in bed.
MOTORCYCLE COP: Been drinking, huh?
DEVLIN: Just a minute, officer.
MOTORCYCLE COP: No arguments, mister.
MOTORCYCLE COP: What do I want your license for? She was at the wheel.
DEVLIN: This isn't a driver's license.
MOTORCYCLE COP: Huh? ... Ohhhh. Sorry.
MOTORCYCLE COP: Sure you can handle her?
DEVLIN: Thanks, though.
MOTORCYCLE COP: Well, you ought to know. Good night.
Motorcycle engine REVS and recedes into the distance.
ALICIA: Oh, wait. That-that-that cop. He saluted you.
DEVLIN: Did he?
ALICIA: Why, you— you double-crossing—! You're a cop yourself!
DEVLIN: Now, we'll argue about that later. Right now, I'm taking you home
ALICIA: Get out of my car.
DEVLIN: Now, look...
ALICIA: You're not taking me anywhere.
DEVLIN: Move over. I'll drive.
ALICIA: Get out! Get your hands off me! Crashing my party! You are a federal copper, aren't you? Aren't you?
DEVLIN: I said, move over.
ALICIA: Get out! Leave me alone! You're trying me to get something on me!
DEVLIN: You gonna calm down?
ALICIA: Get out! Get out of—
A long PAUSE.
DEVLIN: I'm sorry, Miss Huberman.
Car ENGINE turns over.
DEVLIN: First time this week I've socked a lady.
MUSIC in and out.
DEVLIN: Morning, Alicia. Feeling better?
ALICIA: Oh, what do you care how I feel? You cop.
DEVLIN: It's eight o'clock. Your other guests left about three hours ago. Oh, uh, want a refill for that ice bag?
ALICIA: Say, what's all this about? What's your angle?
DEVLIN: What angle?
ALICIA: Why did you crash my party?.
DEVLIN: Wanted to meet you.
ALICIA: Oh? So you could frame me?
DEVLIN: No, I've got a job for you.
ALICIA: Don't tell me. There's only one job that you coppers would want me for. I-I'm not a stool pigeon, Mister Devlin.
DEVLIN: My department has authorized me to offer you a job in Brazil.
ALICIA: Oh, go away.
DEVLIN: Some of the German gentry whom your father once worked for are in Rio now, busy as little bees.
ALICIA: I'm not interested.
DEVLIN: We're working with the Brazilian government to smoke them out. My chief thinks that the daughter of a ...
ALICIA: Of a traitor?
DEVLIN: Well, he thinks you could be valuable to us and you could make up a little for your daddy's peculiarities.
ALICIA: Why should I?
ALICIA: Patriotism! Waving the flag with one hand and picking pockets with the other. That's your patriotism. And you can have it.
DEVLIN: What'll you have?
ALICIA: My own life. Go away and leave me alone.
DEVLIN: Your own life? What's that?
ALICIA: Good times. And laughs with people I like. No underhanded cops who want to put me up in a shooting gallery. People of my own kind who treat me right, and like me, and understand me.
DEVLIN: Like Mr. Hopkins?
ALICIA: What about Mr. Hopkins?
DEVLIN: Just phoned. Said to remind you his yacht sails at noon. They're all calling for you at eleven.
ALICIA: Oh, then, why don't you get out of here?
DEVLIN: The plane to Rio leaves tomorrow morning.
ALICIA: Then you must drop me a postcard, Mr. Devlin. Rio must be beautiful this time of year...
MUSIC in and out. Airplane ENGINE.
DEVLIN: We're coming into Rio, Miss Huberman.
DEVLIN: Well what?
ALICIA: When are you going to ask me why I changed my mind? Why I took a plane instead of a yacht.
DEVLIN: Well, you're here, aren't you? Soon as we land we'll look up Mr. Prescott.
ALICIA: Who's Mr. Prescott?
DEVLIN: Our boss.
ALICIA: Mm hm.
DEVLIN: Miss Huberman. Just now when I was talking to the pilot...
ALICIA: He told you we were coming into Rio...
DEVLIN: Told me something else. Message came in over the radio. Your father.
ALICIA: What about my father?
DEVLIN: He... he committed suicide this morning in his cell.
DEVLIN: I'm sorry.
ALICIA (sighs): But I don't know why I should care. But I do. When I found out about my father a few years ago — who he was, what he was doing — everything went to pot. I didn't care what happened to me, but— But now I suddenly remember how nice he-he once was. How nice we both once were.
DEVLIN: Anything I can do?
ALICIA: No. No. It's a very curious feeling — as if something had happened to me and not to him. You see, I don't have to hate my father anymore. Or myself.
MUSIC in and out.
ALICIA: Well, Dev, how do you like the apartment Mr. Prescott found for me?
DEVLIN: It's very attractive.
ALICIA: Will I be staying here?
DEVLIN: I wish I could tell you. I don't know.
ALICIA: When will you know?
DEVLIN: Soon, I think. Prescott's meeting now with the Brazilian intelligence. Oh, so you fixed dinner, huh?
ALICIA: Mm hmm.
DEVLIN: Have time for another drink?
ALICIA: Thanks, I've had enough. Well, aren't you impressed? I'm practically on the wagon.
DEVLIN: Well, it's a phase.
ALICIA: You don't think a woman can change?
DEVLIN: Sure. Change is fun. For a while.
ALICIA: For a while.
DEVLIN: You've been sober for ten days now and as far as I know, you've made no new conquests.
ALICIA: Well, that's something, isn't it?
DEVLIN: Ten days. Practically whitewashed.
ALICIA: What a rat you are. I'm very happy, Dev. Why won't you let me be happy?
DEVLIN: Nobody's stopping you.
ALICIA: Why don't you give that copper's brain of yours a rest? Every time you look at me, it tells you “No, no, no. Stay away from her.” It says, “She's no good, she never will be”.
ALICIA: Go on, Dev. Go on. You can take my hand. I won't blackmail you for it afterwards.
ALICIA: You are afraid. Afraid you're falling in love with me?
DEVLIN: That wouldn't be hard to do.
ALICIA: Oh, no, no, no. Careful, Devvy, careful.
DEVLIN: You enjoy making fun of me, don't you?
ALICIA: No. I'm making fun of myself. I'm pretending I'm a very nice, unspoiled child whose heart is full of daisies and buttercups.
DEVLIN: Nice daydream. Then what?
ALICIA: I think I will have another drink.
DEVLIN: Yeah. Thought you'd get around to it.
ALICIA: Why won't you believe in me, Dev? Just a little? Why won't you?
DEVLIN: How do you know I don't?
Romantic MUSIC gently under.
ALICIA: I know because you're sore. You've fallen for me and you don't like it. No. People will laugh at you. Poor Dev, poor Dev, in love with a no-good gal, huh? It must be awful.
DEVLIN: Come here.
ALICIA: Don't say anything, Dev. Just kiss me. Don't say anything.
MUSIC up full and out.
PRESCOTT: What's the matter with you, Devlin? Something wrong?
DEVLIN: Wrong? No, no. Nothing's wrong, Prescott.
PRESCOTT: I, er, I'm sorry I had to send for you. I'm sorry I interrupted your date with Miss Huberman. Well, here's the set-up, okayed by Brazil intelligence. The leader of the German agents here in Rio is a man named Alex Sebastian.
DEVLIN: Well, if we know who he is, why can't we pick him up?
PRESCOTT: Oh, sure, sure, we could pick him up. And the next day someone else takes his place and whatever it is they're working on continues. Their headquarters is Sebastian's home. We need somebody to get inside that house. Somebody in Sebastian's confidence.
DEVLIN: In other words, Alicia Huberman.
PRESCOTT: Right. You said you were having dinner with her when I called? Well, go back to her apartment, then, and tell her. She's good at making friends with gentlemen, so...
DEVLIN: If that's meant to be funny, I—
PRESCOTT: What the devil's eating you?
DEVLIN: I... I don't know if she'll do it.
PRESCOTT: You haven't even discussed it.
DEVLIN: No, but... I don't think she's that type of woman. She-she's never been trained for that kind of work, they'll-they'll see through her.
PRESCOTT: Miss Huberman was chosen for two reasons. One, her father was a Nazi agent. Two, Sebastian once knew her in Washington.
DEVLIN: Sebastian knew her?
PRESCOTT: Yes. He was in love with her.
DEVLIN: Oh, I didn't know that.
PRESCOTT: Well, you know it now. You've got to get Miss Huberman inside his house and find out what's going on there.
DEVLIN: How, er, how does she meet him?
PRESCOTT: Well, I think the riding club would be best. Sebastian rides every morning. The rest is up to you and Miss Huberman.
MUSIC in and out.
ALICIA: You've hardly said a word, Dev. My cooking isn't that bad. A little well done maybe but still...
DEVLIN: I'm sorry I was so late getting back. Uh, Prescott, er, well, he...
ALICIA: What's the matter, Dev? Trouble?
DEVLIN: In a way.
ALICIA: All this secrecy's going to ruin my little dinner. Come on, handsome, what is darkening your brow?
DEVLIN: Uh, later.
ALICIA: No, no, no. Now. Look, I'll make it easy for you. The time has come when you must tell me that you have a wife and two adorable children and this madness between us can go on no longer.
DEVLIN: I'll bet you've heard that line often enough.
ALICIA: Oh, that wasn't fair, Dev.
DEVLIN: Then skip it. You remember a man named Sebastian?
ALICIA: Alex Sebastian?
ALICIA: He was one of my father's friends.
DEVLIN: Had quite a crush on you.
ALICIA: I wasn't very responsive.
DEVLIN: Well, he's in town. He's part of the combine that built up the German war machine and hopes to keep on going.
ALICIA: Something big?
DEVLIN: All the earmarks. We'll have to contact him.
ALICIA: Go on, let's have all of it.
DEVLIN: We're meeting him tomorrow morning and you're going to go to work on him.
ALICIA: Mata Hari? She makes love for the secret papers? Prescott's orders?
ALICIA: Did you say anything? I mean, that maybe I wasn't the right girl for such shenanigans?
DEVLIN: No. I figured that was up to you, if... if you care to back out.
ALICIA: I suppose you told them, "Alicia Huberman will have this Sebastian eating out of her hand in a couple of weeks. She's so good at that. Always was."
DEVLIN: I didn't say anything.
ALICIA: Not a word? For that little lovesick lady who cooked dinner for you?
DEVLIN: I told you, that's the assignment.
ALICIA: Don't get cross, Dev. I'm only fishing for a little bird call from my — my dream man. One little remark, such as, "How dare you suggest that Alicia Huberman — the new Miss Huberman — be submitted to so ugly a fate?"
DEVLIN: That's not funny, either.
ALICIA: Oh, darling, what you didn't tell Prescott, tell me. That you believe I'm nice, and that I love you, and that I'll never change back.
DEVLIN: I'm waiting for your answer.
ALICIA: What a little pal you are. Never believing me. Not a word of faith. Just down the drain with Alicia. That's where she belongs. Oh, Dev. Pour me a drink and tell me what I do for Uncle Sam.
DEVLIN: We'll meet Sebastian on the bridle path. When he questions you about me, I'm with Pan American Airways, public relations.
ALICIA: Anything else?
DEVLIN: I happen to meet you on the plane from Miami. The less detail the better. That's all.
ALICIA: That's all? My beautiful dinner. Cold. Cold as ice.
MUSIC in and out. Crowd NOISES and dinner MUSIC.
SEBASTIAN: I can't get over it, Alicia. Meeting you this morning — of all places a bridle path in Rio de Janeiro.
ALICIA: How do you know I wasn't looking for you, Alex?
SEBASTIAN: Oh, if I could only believe that.
ALICIA: You should. Didn't I prevail upon you to take me to dinner?
SEBASTIAN: Ha ha! Prevail!
ALICIA: You look very well, Alex.
SEBASTIAN: After four years here, dullness and disintegration.
ALICIA: You look younger than you did in Washington.
SEBASTIAN: Entirely due to your presence, Alicia. You always affected me like a tonic. Who are you looking at, my dear?
ALICIA: That man who just came in.
SEBASTIAN: Do you know him?
ALICIA: I-I don't think I do.
SEBASTIAN: His name is Prescott, espionage.
SEBASTIAN: The American embassy is loaded with them.
SEBASTIAN: They've bothered you since you came here?
ALICIA: No. No, not yet. That's one reason I left Miami, to get away from their snooping.
SEBASTIAN: I wondered why you left your father.
ALICIA: He insisted, Alex. He was so unselfish. He kept begging me to leave. I had no idea he was going to die.
SEBASTIAN: Many have died, Alicia. We mustn't let our spirit die with them. Perhaps I can help you forget.
ALICIA: Oh, Alex.
SEBASTIAN: There's— There's someone else, of course.
ALICIA: Is there?
SEBASTIAN: Who, Alicia? That, er, Mister Devlin who was with you this morning?
ALICIA (laughs): Mister Devlin doesn't interest me in the least. I-I've just been so lonely. I could have gone riding this morning with Peter Rabbit.
SEBASTIAN: You will let me help your loneliness?
ALICIA: Oh, you're very sweet to forget what a — what a brat I was... once.
SEBASTIAN: Well, then I'll test your repentance immediately. Will you have dinner with me again tomorrow night? My mother is giving a little party at home.
ALICIA: Oh, Alex, how nice. Are you sure she won't mind an extra guest?
SEBASTIAN: Oh, an old friend is never an extra guest.
ALICIA: Thank you, Alex.
MUSIC up and out.
PRESCOTT: You look very beautiful, Miss Huberman. Don't you agree, Devlin?
DEVLIN: Sebastian is sending his car for Miss Huberman. I suggest we get out of her apartment.
PRESCOTT: Oh, there's time. Now, part of your job tonight, Miss Huberman, will be to get the names of all the men you see in Sebastian's house.
ALICIA: You mean the Germans? That won't be difficult.
DEVLIN: Don't underestimate them. They're a very keen and desperate bunch.
ALICIA: Anything else?
PRESCOTT: No, nothing. Good luck.
ALICIA: Thank you.
DEVLIN: Oh, unless you have something urgent to report, we'd better avoid each other for the next few days just in case Sebastian's crowd wants to check on you after tonight.
ALICIA: Very well.
PRESCOTT: And don't meet here when you do. What about the racetrack, Devlin?
DEVLIN: The racetrack's fine. We can arrange a date by phone. (fading away) G'night, Alicia.
CROWD noises at the race track.
DEVLIN: Miss Huberman! Well, well! Good afternoon!
ALICIA: Mr. Devlin! How nice seeing you again!
DEVLIN: Picking any winners? (quietly) You alone?
ALICIA: No, Alex and his mother.
ALICIA: A box in the clubhouse. I'm sure they can't see us.
DEVLIN: Play it safe. And keep smiling.
ALICIA: I've seen Alex twice since dinner at his house.
DEVLIN: Who was there?
ALICIA: His mother. A servant named Joseph. And four other men. William Rossner, Eric Mathis, Emil Hupka, and a Professor Anderson.
DEVLIN: Go on.
ALICIA: Have you ever heard of Anderson?
ALICIA: He-he's some kind of scientist. Medium height, gentle face, er, sixty years old, gray hair, deep crease in his forehead. You writing this down?
DEVLIN (for all to hear): Oh, I'm just trying to check these horses on my program. (quietly) Look happy, will you?
ALICIA: What about Emil Hupka? Heard of him?
ALICIA: He made quite a scene after dinner about a bottle of wine.
DEVLIN: Bottle of wine?
ALICIA: Yes. It was on the buffet. Hupka became quite excited. He said it should be removed at once.
DEVLIN: What happened?
ALICIA: They just ignored him and kept the conversation going. Hupka seemed quite flustered, apologetic. I-I couldn't figure it out.
DEVLIN: Did they serve the wine?
ALICIA: No, not that particular bottle. Do you think it had any significance?
DEVLIN: I don't know. I don't know. Uh, what brand was it?
ALICIA: All I saw of the label was vintage 1934.
DEVLIN: Has Hupka pulled anything since?
ALICIA: I haven't seen him since.
DEVLIN: Well, what else?
ALICIA: Just a minor item you may want for the record.
ALICIA: You can add Sebastian's name to my list of playmates.
DEVLIN (bitterly): Huh. Pretty fast work.
ALICIA: That's what you wanted, wasn't it? His mother suspects me.
ALICIA: Oh, don't worry. She believes I'm after her son's money.
ALICIA (for all to hear): You betting on this race, Mr. Devlin? They're about to start.
ALICIA: Alex says number ten is sure to win.
DEVLIN (quietly): I can't help recalling some of your remarks about being a new woman. Daisies and buttercups, wasn't it?
ALICIA: What are you angry about? You knew very well what I was doing.
DEVLIN: Did I?
ALICIA: You could have stopped me with one word. But, no, you threw me at him.
DEVLIN: I threw you at no one.
The crowd ROARS as the race starts and CHEERS throughout the following:
DEVLIN: Keep your eyes on the race. Use your binoculars.
ALICIA: Didn't you tell me to go ahead?
DEVLIN: A man doesn't tell a woman what to do. A woman tells herself. You almost had me believing in that little hokey-pokey miracle of yours, that a woman like you could change her spots.
ALICIA: Oh, you're rotten.
DEVLIN: That's why I didn't try to stop you. The answer had to come from you.
ALICIA: I see. Some kind of love test.
DEVLIN: That's right.
ALICIA: Well, you never believed in me anyway, so what's the difference?
DEVLIN: There goes your number ten. What if I had believed in you. What if I had figured: "She could never go through with it. She's been made over by love..."
ALICIA (starts to cry): If you only once had said that... that you loved me. Oh, Dev.
DEVLIN: Listen. You've chalked up another boyfriend. That's all. No harm done.
ALICIA: I hate you.
DEVLIN: No occasion to. You're doing fine work. I'll see that they're told.
DEVLIN: We're having a meeting tomorrow with Barbosa, Brazilian intelligence. In case you're interested, number ten is winning the race. Yeah, Sebastian knows how to pick 'em.
The race ends and the crowd SETTLES DOWN to normal.
ALICIA: That's all you've got to say to me?
DEVLIN: Aw, dry your eyes, baby. It's out of character. And be quick about it — here comes dreamboat.
ALICIA: Oh, no.
SEBASTIAN: Ah, Mr. Devlin.
ALICIA: Oh, Alex. What a wonderful race.
DEVLIN: Alicia tells me you had a bet on that number ten. Sorry I didn't get you earlier. (fading away) Well, see you soon, I hope.
ALICIA: Yes. What's the matter, Alex? You're not at all excited about the race?
SEBASTIAN: I didn't see the race. I was watching you and Mister Devlin. You had an appointment to meet him here?
ALICIA: Don't be absurd. I just happened to bump into him.
SEBASTIAN: You didn't appear anxious to get away. I watched you. I thought maybe you're in love with him.
ALICIA: Oh, Alex, really! I detest him.
SEBASTIAN: I'd like to be convinced. Would you maybe care to convince me, Alicia?
MUSIC in and out.
PRESCOTT: Of course, you know Mr. Devlin, Senor Barbosa?
BARBOSA: Mr. Devlin.
PRESCOTT: And this is Mr. Beardsley, also of our office.
BARBOSA: How do you do?
PRESCOTT:Senor Barbosa, Brazilian intelligence.
BARBOSA: Sit down, gentlemen. Well?
PRESCOTT: Our little theatrical plan is working, senor.
PRESCOTT: Thanks to Miss Huberman, we know that Otto Rensler is working here in Rio.
BEARDSLEY: He was one of Hitler's scientific wizards, now known as Professor Anderson.
DEVLIN: And that body found in the surf two days ago...
BARBOSA: Yes. Identify him?
DEVLIN: His description fits Emil Hupka, one of the boys who must have said the right thing at the wrong time.
BEARDSLEY: I'd still like to know about that wine bottle.
A door OPENS.
BIT: Excuse me, senor.
BIT: Miss Huberman to see Mr. Prescott or Mr. Devlin.
BIT: Yes, sir.
PRESCOTT: Show her in.
PRESCOTT: I don't like this, her coming here.
BEARDSLEY: She's had me worried for some time. A woman of that sort.
DEVLIN: What sort is that, Mr. Beardsley?
BEARDSLEY: Oh, I don't think any of us have any illusions about Miss Huberman, have we Devlin?
DEVLIN (bitterly ironic): Not the slightest. Miss Huberman is first, last, and always not a lady. She may be risking her life, but when it comes to being a lady, she doesn't hold a candle to your wife, sir, sitting in Washington playing bridge with three other ladies of great unimpeachable honor.
PRESCOTT: Take it easy, Dev.
BEARDSLEY: I think those remarks about my wife are uncalled for.
DEVLIN: Withdrawn. I apologize.
The door OPENS.
PRESCOTT: Oh, come in, Miss Huberman. Mister Beardsley, Senor Barbosa.
ALICIA: How do you do?
BARBOSA: Senorita, you have the esteem of my government.
BEARDSLEY: But we're worried about you visiting this office.
ALICIA: I promise not to break the rules again, but I need advice, I couldn't find Mister Devlin.
DEVLIN: Something happened?
ALICIA: Yes, Mr. Sebastian has asked me to marry him.
PRESCOTT: Well, well.
ALICIA: I'm to give him my answer at lunch. I didn't know what the department might think about such a move.
PRESCOTT: You're willing to go that far for us, Miss Huberman?
ALICIA: Yes. If you wish.
DEVLIN: May I ask what inspired Sebastian to go this far?
ALICIA: He's in love with me.
DEVLIN: And he thinks you're in love with him?
ALICIA: Yes, that's what he thinks.
BARBOSA (delighted): Gentlemen, it is the cream of the jest.
ALICIA: Then... then, it is all right?
PRESCOTT: Oh, it's an ideal marriage... for us.
DEVLIN: Yes, everything seems to be arranged perfectly. I don't think you need me here any longer, Prescott?
PRESCOTT: Uh, no. But we, er—
DEVLIN: If you'll excuse me then? Oh, uh, congratulations, Alicia.
ALICIA (darkly): Thank you, Dev. I knew you'd be impressed.
MUSIC in and out. APPLAUSE.
WILLIAM KEIGHLEY: In a moment, we will return with Act Two of Notorious. Meanwhile, here's Libby Collins, our Hollywood reporter. I looked for you last Monday evening, Libby at the Metro-Goldwyn-Mayer premiere of Cass Timberlane.
LIBBY COLLINS: Oh, I was there, Mr. Keighley. I don't wonder you didn't see me in those crowds.
WILLIAM KEIGHLEY: It certainly was an exciting opening. It looked as if practically every star in Hollywood turned out to see the screen version of Sinclair Lewis' powerful novel.
LIBBY COLLINS: You know, it seemed just as dramatic the second time, even though I'd seen a preview at the studio. Spencer Tracy is marvelous in the title role.
WILLIAM KEIGHLEY: With Lana Turner for romantic interest, well, it just couldn't miss. The triangular love story is always a great theme.
LIBBY COLLINS: Especially when Zachary Scott is the rival for Lana Turner's love.
WILLIAM KEIGHLEY: A perfect cast and a gripping play like that is every producer's dream.
LIBBY COLLINS: And every feminine moviegoer will envy Lana Turner when, as Ginny in Cass Timberlane, she goes on a shopping spree in New York. She buys herself an expensive glamor wardrobe, including some wonderfully wispy nylon stockings. I said to myself, if John Kennedy here had been technical adviser, he would have included a shot of her buying Lux Flakes to take care of them.
JOHN KENNEDY: Well, Libby, it's highly probable that Sinclair Lewis' heroine did. Because smart women everywhere know that Lux makes stockings last longer.
LIBBY COLLINS: Well, as a matter of fact, I know that the studio kept those stockings lovely as new for retakes by washing them with Lux Flakes after every wearing.
JOHN KENNEDY: A wise procedure for women everywhere. Because tests show that stockings actually last twice as long when they're washed with Lux. It was really surprising how quickly identical stockings washed with a strong soap or rubbed with cake soap went into runs. The Luxed ones kept going twice as long. And the colors looked so much fresher too.
LIBBY COLLINS: That extra wear is just like getting an extra pair of stockings every time you buy a pair. That's why Lux Flakes are America's favorite stocking care.
JOHN KENNEDY: We return you now to William Keighley.
WILLIAM KEIGHLEY: Continuing with Act Two of Notorious, starring Ingrid Bergman as Alicia and Joseph Cotten as Devlin.
WILLIAM KEIGHLEY: A few hours have passed. Elated by Alicia's consent to marry him, Alex Sebastian has just brought the news to his mother.
MOTHER: Marry her? What are you, a moonstruck boy? Of course, she is beautiful, but...
SEBASTIAN: But what?
MOTHER: But many things. Her sympathies, for instance. Where do they lie?
SEBASTIAN: I've told you a dozen times, Mother. Alicia does not concern herself with politics.
MOTHER: At her father's trial, why did she not testify in his behalf?
SEBASTIAN: Because her father insisted she be kept clear of it.
MOTHER: So she says.
SEBASTIAN: Mother, are you accusing Alicia of lying?
MOTHER: I accuse only you. Thinking of marriage at a time like this! Risking everything we have worked for, suffered for.
SEBASTIAN: Oh, Alicia knows nothing. She will know nothing.
MOTHER: But I know.
SEBASTIAN: Know what?
MOTHER: That she came here for one purpose. To capture the rich Alex Sebastian for a husband.
MOTHER: And she has succeeded.
SEBASTIAN: Oh, you're being absurd.
MOTHER: We will discuss it more fully tonight.
SEBASTIAN: We will not discuss it tonight. You're jealous — just as you've always been jealous of any woman I've been interested in. Now, Alicia and I shall be married next week. It'll be private. We shall both be pleased to have you present, if you wish.
MUSIC in and out.
ALICIA: Come in, Joseph. Did you want something?
JOSEPH: Only to tell you how happy I am that you and Mr. Sebastian are home again. The house needs you, madame.
ALICIA: Thank you.
JOSEPH: You had a pleasant wedding trip?
ALICIA: Very. Oh, as long as you're here, Joseph. My clothes. I'd like all my dresses put out on the bed, please.
JOSEPH: I have aired all the closets, madame.
ALICIA: Mmm. But there isn't enough closet space in this bedroom. Isn't there a storeroom down the hall?
JOSEPH: Y-yes, madame. But the door, it is locked.
ALICIA: Then bring me the key, please.
JOSEPH: Mr. Sebastian's mother, madame, she has all the house keys.
ALICIA: Oh. Do you know where Mister Sebastian is?
JOSEPH: I believe he is having a business meeting in his study.
ALICIA: Business meeting?
JOSEPH: Professor Anderson, madame. And the other gentlemen.
SEBASTIAN: What were you saying, Professor?
PROF. ANDERSON: That I have news for you, my friends. My work is done.
The men GASP.
SEBASTIAN: Ah, you've been successful?
PROF. ANDERSON: Yes, Alex, yes.
A KNOCK at the door, which immediately opens.
ALICIA: Oh, I'm terribly sorry.
SEBASTIAN: Oh, Alicia, my dear, come in.
ALICIA: Oh, I didn't know you were busy, Alex. Some of the closets seem to have been locked. Could you give me the keys?
SEBASTIAN: The keys? You mean my mother hasn't given— Yes, I'll get them for you at once. Excuse me, gentlemen.
The DOOR opens. MUSIC under.
ALICIA: Should I go with you, Alex?
SEBASTIAN: No, you just wait in your room, Alicia. (yelling angrily) Mother? Mother, where are you?
MUSIC up full and out. Birds CHIRP.
ALICIA: Are you sure this is all right, Dev? Meeting you like this in a public park?
DEVLIN: Oh, stop worrying. You were talking about keys.
DEVLIN: His mother keeps them, hm?
ALICIA: Yes, all but one. The key to the wine cellar. Alex keeps that one himself. Joseph told me.
DEVLIN: Then get it from him.
ALICIA: Get it? How?
DEVLIN: Don't you live near him?
ALICIA: What do I look for in the wine cellar?
DEVLIN: Look for a bottle of wine, like-like that one that unnerved the late Mr. Hupka. Vintage 1934.
ALICIA: All wine bottles look alike to me. I'm no mastermind.
DEVLIN: You're doing all right.
ALICIA: It's no fun, Dev.
DEVLIN: Eh. It's too late for that now, isn't it? Look, why don't you persuade your husband to throw a large shindig and introduce his bride to Rio society, next week, say?
DEVLIN: Invite me, and I'll try and find out about that wine cellar.
ALICIA: I don't think my husband is interested in entertaining.
DEVLIN: Don't underestimate your charms, Mrs. Sebastian, you can promote a party.
ALICIA: It won't be easy getting you there. He thinks you're in love with me.
DEVLIN: Then, uh, tell him that you think if you invited me and I could see how happily married you are, the horrid passion I have for you might diminish.
ALICIA: I'll try.
DEVLIN: Good. And get the key.
ALICIA: I'll be looking forward to seeing you, Mr. Devlin.
DEVLIN: It's always a pleasure meeting you, madame. Good day.
MUSIC in and out. Running WATER in a sink.
ALICIA (loud, so as to be heard over the water): Still shaving, Alex? Do hurry, dear. Our guests should be arriving soon.
SEBASTIAN (from the bathroom): Don't tell me you're dressed?
ALICIA: Of course.
SEBASTIAN (emerges from the bathroom): Let me, let me look at you.
SEBASTIAN: Oh, Alicia. Like a dream. A dream.
ALICIA: Now, please hurry, dear.
SEBASTIAN (retreats to the bathroom): Oh, don't go. Stay there and talk to me.
ALICIA: Oh, what about? Oh, you're dressing table.
SEBASTIAN (from the bathroom): What's wrong with my dressing table?
ALICIA: Do you mean to say you carry all these things around in your pockets?
SEBASTIAN (from the bathroom): Ha ha. Well, what of it?
ALICIA: Well, talk about a woman's purse. Look at this litter. Papers and letters, two wallets, cigarette case, cigarette holder, keys...
MUSIC in on the word “keys.” Sebastian LAUGHS at her list.
ALICIA (quietly, to herself): Keys.
SEBASTIAN (from the bathroom): You know, my dear, I'm really surprised at Mister Devlin's coming tonight.
ALICIA (quietly, to herself): The key to the wine cellar.
Keys JINGLE on a chain under the following:
SEBASTIAN (from the bathroom): Alicia!
ALICIA: Y-y-yes, dear?
SEBASTIAN (from the bathroom): You're suddenly silent. Don't worry, I don't blame anyone for falling in love with you. Oh, it's not that I don't trust you, darling. But when you're in love at my age...
The JINGLING stops as the key chain is DROPPED on the dressing table.
SEBASTIAN (suddenly emerging from the bathroom) Alicia? Is anything wrong?
SEBASTIAN: Well, my word! You look so serious. Oh, I'm a fool. I should never have mentioned Devlin. Forgive me, darling.
ALICIA: Of course.
ALICIA: What-what do you want?
SEBASTIAN: Your hand, dear. Mayn't I kiss your hand? Oh, Alicia, not that clenched-up little fist. Are you hiding something in your hand?
ALICIA: Oh, Alex. Alex, doesn't it occur to you that I might like to kiss you, too?
SEBASTIAN: Oh, Alicia. Alicia.
MUSIC up full and out. Party guests CHATTER.
DEVLIN: Evening, Mr. Sebastian.
SEBASTIAN: Mr. Devlin, I'm glad to see you.
DEVLIN: It's kind of your bride to invite me.
SEBASTIAN: Oh, we both invited you, Mister Devlin. Excuse me, Alicia, I must introduce Madame Esterich (fading away) to Professor Anderson....
Devlin and Alicia talk QUIETLY throughout the following:
ALICIA: Yeah, in my hand.
DEVLIN: Good. Now, this won't be easy. He's quite sensitive about you. He's going to be watching us like a hawk. How's the liquor supply up here?
ALICIA: What do you mean?
DEVLIN: I mean, if he should run out, he'd go down the cellar for more, wouldn't he?
ALICIA: Oh, I hadn't thought of that.
DEVLIN: That's quite a point.
ALICIA: You must work fast.
DEVLIN: Can't. I'm supposed to be a guest here. I'll slip away later on. You'd better go to your friends. I'll find you.
CROSSFADE to waltz MUSIC and guests CHATTERING.
SEBASTIAN: It's a nice party, isn't it, Alicia?
ALICIA: It's a wonderful party.
SEBASTIAN: You handled things perfectly. I'm very proud.
ALICIA: Thank you, thank you, Alex.
SEBASTIAN: Why, what happened to Mr. Devlin? I haven't seen him for an hour.
ALICIA: Oh, he's around, I imagine, trying to drown his sorrows.
ALICIA: Excuse me, dear, I think I'll ask the orchestra to play some livelier. We've had nothing but waltzes all evening.
Waltz MUSIC up and out. Livelier MUSIC in, but distant. Devlin and Alicia talk QUIETLY throughout the following:
DEVLIN: This is the pantry, huh?
DEVLIN: Anyone see you come in here?
ALICIA: No. I don't think so.
DEVLIN: And, er, is this the door to the wine cellar?
ALICIA: Yes. For heaven's sake, Dev, hurry.
DEVLIN: Lots of time.
ALICIA: I-I'll be out in the garden. There's a door from the wine cellar that leads to the garden. When you get downstairs, open it.
DEVLIN: You'll be there?
ALICIA: Yes, I'll be there in case anything happens. (fades) Now, hurry...
Lively MUSIC and CHATTER out. Suspense MUSIC in. Glass bottles CLINK.
DEVLIN (mutters to himself): Nineteen thirty-four. Vintage of nineteen thirty-four. Thirty-four. That's it.
Bottle is KNOCKED off shelf and SHATTERS.
ALICIA: What happened?
ALICIA: That bottle. What was in it?
DEVLIN: Look, sand. It was— it was filled with sand.
ALICIA: It couldn't be sand.
DEVLIN: Probably some kind of metal ore. I've got to try to clean this up.
ALICIA: Yes. Yes.
DEVLIN: I'll push the glass under the bottom shelf.
Broken glass CLINKING.
ALICIA: Wh-what about the sand?
DEVLIN: I'm taking some of it for a sample. This is a little weird, isn't it?
ALICIA: Here, here. I'll put this bottle in place of the one you broke. It has the same label.
DEVLIN: Stop shaking.
ALICIA: Oh, I have a feeling we're so slow. And I— Sh! Someone's coming.
DEVLIN: No, relax.
ALICIA: There is. Listen.
DEVLIN: Get out of here. No, no, not upstairs. The door to the garden.
ALICIA: But he's coming that way.
DEVLIN: Keep quiet.
ALICIA: It's Alex. He sees us.
DEVLIN: Keep looking at me. I'm going to kiss you.
ALICIA: No, no. He'll only think that I —
DEVLIN: That's what I want him to think.
Crickets in the garden CHIRP. A long PAUSE.
ALICIA: Oh, Dev.
DEVLIN: It's almost as if we meant it, wasn't it? Now, push me away.
SEBASTIAN (ironic): I'm sorry to intrude on this tender scene.
ALICIA: Alex, Alex, I-I couldn't help it. He's been drinking.
SEBASTIAN: Why are you out here or did he carry you out?
ALICIA: Oh, Alex.
SEBASTIAN: You love him.
ALICIA: Oh, no, no, I don't. (to Devlin) Please go, Dev, please.
DEVLIN: For what it's worth, as an apology, Mr. Sebastian, your wife is telling the truth. I knew her before you, loved her before you, but wasn't as lucky as you. (fading away, to Alicia) Sorry, Alicia.
SEBASTIAN: He kissed you.
ALICIA: Alex, don't— I-I came out here because he threatened to make a scene unless I'd see him alone.
SEBASTIAN: He kissed you.
ALICIA: I couldn't stop him. I tried.
SEBASTIAN: We'll talk about it later. We have guests inside.
ALICIA: You're not coming with me?
SEBASTIAN: I came to get more wine. No, I'd better go back with you. People... people may wonder.
MUSIC in and out.
SEBASTIAN: Alicia, darling, it's late, I thought you went upstairs long ago.
ALICIA: I've been helping Joseph clean up. Besides you-you said you wanted to see me.
SEBASTIAN: Oh, er, uh, Devlin.
SEBASTIAN: Oh, I acted like a stupid schoolboy. Once again, I'm ashamed of myself.
ALICIA: You do believe me?
SEBASTIAN: Well, Alicia, of course.
ALICIA: Thank you. Aren't you coming up, dear?
SEBASTIAN: No, not for a while. Professor Anderson's still in the study. Sleep well, Alicia.
ALICIA: Good night, Alex. Thanks for being so nice.
MUSIC in and out. KNOCKING on a door.
SEBASTIAN: Mother. Mother.
MOTHER: Come in.
Door OPENS and CLOSES.
MOTHER: Why are you up so early?
SEBASTIAN: I need your help.
MOTHER: Something is wrong?
SEBASTIAN: A great deal. Alicia.
MOTHER: I have expected it. I knew it. I knew. Who is it? Mr. Devlin?
SEBASTIAN: Oh, no. It's much more serious than that. I am married to an American agent.
SEBASTIAN: Late last night after she went to bed, Joseph came to me. There were some bottles to be returned to the cellar. He asked me for the key. This key. It was gone.
MOTHER: Gone? Where was it?
SEBASTIAN: Ten minutes ago when I woke up, it was back on my key chain. She'd been down there. The wine cellar.
MOTHER: It is easy to see now. I knew long ago but I did not see. They picked her up because of her father.
SEBASTIAN: I must have been insane to behave like an idiot, to believe in her.
MOTHER: Oh, stop wallowing in your memories.
SEBASTIAN: I'm done, mother, I'm finished. They'll find out. Anderson, Eric Mathis, Rossner. Look what they did to Hupka. He did next to nothing and I've betrayed them. I'd do the same myself — kill the fool who betrayed them.
MOTHER: There's no need for them to find out.
SEBASTIAN: Oh, they're too clever.
MOTHER: Who would imagine that you are married to an American agent? No. For a while at least, the enormity of your stupidity is your protection.
SEBASTIAN: Alicia, I'll take care of her myself.
MOTHER: No. Not that way.
SEBASTIAN: I stood looking at her just now as she lay sleeping in there. It'd be so easy.
MOTHER: You are almost as impetuous as you were before your wedding. You barred me from that episode. Let me arrange this one. No one else must know what she is. There must be no suspicion. She must be allowed to move about freely. But she will be on a leash. And then, in time, it will happen. But it must happen slowly. She will become ill, remain ill for a time, until one day...
MUSIC up, APPLAUSE, MUSIC out.
ANNOUNCER: We pause now for station identification. This is CBS, the Columbia Broadcasting System.
MUSIC in and out.
WILLIAM KEIGHLEY: Our stars will return with Act III of Notorious in a moment. Our guest tonight is that rarity in Movie Town, a native Californian. Blonde, blue-eyed Jacqueline White. I understand you've been interested in a movie career since childhood, Jacqueline.
JACQUELINE WHITE: That's right, Mr. Keighley.
WILLIAM KEIGHLEY: And now you've seen your dream come true with many successful picture roles.
JACQUELINE WHITE: Well, I was especially happy with my part in R.K.O.'s new picture, Night Song.
WILLIAM KEIGHLEY: You gave a very fine performance, Jacqueline, as Merle Oberon's best friend.
JACQUELINE WHITE: She was wonderful in her role, Mr. Keighley. It's an inspiring performance.
WILLIAM KEIGHLEY: And Dana Andrews at his best in those tender, sensitive love scenes with Merle.
JACQUELINE WHITE: Dana told me he really enjoyed playing the part of a composer because he loves music so.
WILLIAM KEIGHLEY: There's plenty of that in Night Song. And for every taste.
JACQUELINE WHITE: I loved every minute we were working. But I did have a twinge of envy when I saw those gorgeous clothes designed for Merle Oberon. One negligee in particular. It was very simply made. But the softest, most beautiful satin imaginable. Merle told me she was going to have it copied for her own wardrobe. And, er, John Kennedy might be interested in something else she said about it.
JOHN KENNEDY: Something about Lux?
JACQUELINE WHITE: Oh, yes. Because she didn't think it would wash until the studio Luxed it and it came out lovely. Was she impressed!
JOHN KENNEDY: R.K.O., just like other leading Hollywood studios insists on Lux care for all nice washables. So, what could be safer for a star's own lovely things? Or for any girl's? And here's another interesting point. Did you know that with Lux care you can have three times as many pretty underthings?
JACQUELINE WHITE: Well, that's for me, Mr. Kennedy. But how do you figure it?
JOHN KENNEDY: Well, underthings washed the Lux way stay lovely three times as long. Tests prove that. Identical slips and nighties washed the wrong way soon look faded and drab. So, instead of replacing slips often because they're old looking, you can buy extra new ones, have three times as many. And, as you say, Jacqueline, that's something any girl would like. Thank you for coming tonight, Miss White. Back now to our producer, William Keighley.
WILLIAM KEIGHLEY: Be sure to join us after our final curtain for a brief chat with tonight's stars. Here's the third act of Notorious starring Ingrid Bergman as Alicia and Joseph Cotten as Devlin.
WILLIAM KEIGHLEY: The passing days have brought to Alicia not the slightest inkling that her husband and his mother are well aware of her real purpose in the Sebastian residence. Now, in response to a phone call from Prescott, Alicia meets Devlin in the quiet corner of a public park.
ALICIA: I'm sorry I couldn't make it on time, Dev.
DEVLIN: It gets a bit lonely squatting on a bench all day.
ALICIA: I was ill. Oh, don't let it alarm you. I'm all right now. Prescott said you'd have a message for me.
DEVLIN: He wants you to know you can be proud of yourself. That sample of sand I got shows uranium ore. Your job from now on is to help us find out where the ore is coming from.
ALICIA: Anything else?
DEVLIN: Putting some new men on the case. You may soon have a new contact.
ALICIA: You're leaving?
DEVLIN: Possibly. Paris may be more interesting.
ALICIA: Yes. Yes, there really isn't very much for a brainy fellow like you to do here anymore.
DEVLIN: That's right. I'm going stale. I— Say, you don't look so hot.
ALICIA: Well, this fresh air will help me.
DEVLIN: Getting too much sun?
ALICIA: Oh, don't be so charitable, Dev. It could be a hangover, you know.
DEVLIN: Back to the bottle again, huh?
ALICIA: It lightens my chores.
DEVLIN: Big party?
ALICIA: Oh, just the family circle.
DEVLIN: Must've been quite an evening. Well, go on, have fun. There's no reason why you shouldn't.
ALICIA: No. Well, goodbye, Dev.
DEVLIN: What do you mean, goodbye?
ALICIA: Just goodbye. Fresh air isn't as good for a hangover as I thought.
DEVLIN: Sit down, you're still tight.
ALICIA: I-I don't want to.
DEVLIN: Where are you going?
ALICIA: Home. Back... home. (fading away) Alex is coming home early. I...
MOTHER: Alex. The drug. You were able to get some more?
SEBASTIAN: Yes. I've got it. Mother, you're sure? You're sure she doesn't suspect?
MOTHER: She knows she is ill. That is all. She is going to feel a little worse after dinner. As matter of fact, right after she drinks her coffee.
MUSIC up full and out.
MOTHER: Well, we might all go into the living room. Joseph will bring our coffee in there.
PROF. ANDERSON: Alicia?
ALICIA: Yes, Professor?
PROF. ANDERSON: My dear, you don't look at all well. Alex, what, er, what's wrong with her?
SEBASTIAN: We-we-we just don't know.
ALICIA (tries to make light of it): It's those highballs I sneak on the side.
SEBASTIAN: Oh, darling, don't joke about it. Why, she hasn't had so much as a sherry all week.
PROF. ANDERSON: Hadn't you better see a doctor, Alicia?
ALICIA: I never go near doctors. They always want to cart you off to a hospital.
PROF. ANDERSON: Perhaps you belong in a hospital. When did all this start?
ALICIA: Oh, I don't know. Maybe-maybe after the party. I—
SEBASTIAN: I still think a sea trip would be much better for you, darling, than doctors and hospitals.
ALICIA: Oh, no, no, no. I'll be all right.
PROF. ANDERSON: What about the mountains? Altitude, fresh air. I'm going next week.
ALICIA: Oh, you're leaving us, Professor? I'm sorry. I'll miss you.
PROF. ANDERSON: You could come with me. The [Imorez?] mountains are beautiful, covered with flowers —
SEBASTIAN (interrupts): What Alicia needs is rest, not mountain-climbing.
ALICIA: I've heard about the Imorez and those little native towns. Are you going to Leopoldina?
PROF. ANDERSON: No, no, no. I am going to Santa Ma—
SEBASTIAN (interrupts): Well! Here's our coffee.
MOTHER: Just leave it, Joseph. I'll serve.
JOSEPH: Yes, madame.
PROF. ANDERSON: I will not allow you to wait on me, madame. I can serve myself.
MOTHER: No! That is not your cup!
PROF. ANDERSON: My cup?
SEBASTIAN: No, that's Alicia's cup.
PROF. ANDERSON: But, I—
SEBASTIAN: It's not quite full, you'll notice. Ah, you've given our little secret away, Professor.
PROF. ANDERSON: Oh?
MOTHER: Yes. We, er, we have a confession. You know how Alicia loves coffee, Professor. Alex and I think she has been taking too much. We cheat a little. Here you are, dear.
RATTLE of cup and saucer.
ALICIA: Thank you.
SEBASTIAN: Is it, er, is it hot enough?
ALICIA: It's fine, Alex.
PROF. ANDERSON: Eh, perhaps Alex is right Alicia, about rest. When you are young, rest is the best doctor.
ALICIA: Ahh... Excuse me. I want to go to bed, I think.
SEBASTIAN: Pain again, darling?
ALICIA: Sorry to complain all the time.
SEBASTIAN: May I take you to your room?
ALICIA: No, please. (fading away) I'll be all right.
PROF. ANDERSON: Alex. I'm worried about her.
MOTHER: We wanted to call a doctor yesterday but she simply won't—
JOSEPH: Mr. Sebastian! Mr. Sebastian!
MOTHER: What is it, Joseph?
JOSEPH: Mrs. Sebastian! She collapsed!
MUSIC in and out.
ALICIA (delirious): No. No. Go away. No.
SEBASTIAN: It's all right, Alicia. It's all right. You'll feel better soon. You're here in your own bed.
ALICIA (delirious): I don't want to—
PROF. ANDERSON: Please let me call the hospital.
MOTHER: Professor, you're already late for your meeting with Eric Mathis.
PROF. ANDERSON: Oh, yes. I-I must go, I suppose. I, er— good night.
SEBASTIAN: I'll go to the door with you.
JOSEPH: Yes, madame?
MOTHER: She must have absolute quiet. Disconnect the telephone.
MOTHER: Take it out of the room, Joseph.
MUSIC in and out.
DEVLIN: Five days now, Prescott. Alicia hasn't been near the park for five days.
PRESCOTT: She was to check with one of us at least every other day.
PRESCOTT: That must be quite a binge she's on.
DEVLIN: No. No, I don't think so.
PRESCOTT: Well, you were the one who said she was drinking.
DEVLIN: Yeah, I've had time to think it over. I don't believe it now.
PRESCOTT: Why should she lie about it?
DEVLIN: I don't know. I don't know, but it wasn't a hangover. She was sick. She looked like the ragged end of nowhere.
PRESCOTT: Well, it still sounds like a hangover to me.
DEVLIN: Well, I'm-I'm going to pay a call.
PRESCOTT: Now, wait a minute...
DEVLIN: Don't worry. I won't mess anything up. Just a social call. I'm a friend of the family.
PRESCOTT: Call me when you get back.
DEVLIN: I'll do that.
PRESCOTT: For a man about to be leaving for Paris—
DEVLIN: I want to talk to you later about that. (fading away) I'd like to see that transfer held up for a while...
JOSEPH: I am very sorry, Mr. Devlin, Mister Sebastian asked me not to disturb him.
JOSEPH: He's in the study with some business associates, sir.
DEVLIN: How long will he be tied up?
JOSEPH: I do not know.
DEVLIN: Mrs. Sebastian at home?
JOSEPH: Yes, sir, but she is very ill.
DEVLIN: Oh. Oh. Er, how long has she been ill?
JOSEPH: A week, sir.
DEVLIN: Has she had a doctor?
JOSEPH: I believe so, sir. I really do not know. We are very concerned about her. (fading away) If you will wait here, Mr. Devlin, I will tell Mister Sebastian.
SEBASTIAN: Yes, go on, professor, this sounds serious to me.
ERIC MATHIS: Yes, what happened Monday?
PROF. ANDERSON: The same thing, Eric. When I left the bank, a man was following me. And this morning when I-I went to the ticket office, he was there again.
A KNOCK at the door.
JOSEPH: I am very sorry, sir, but Mr. Devlin is calling.
SEBASTIAN: Oh, er, tell him I'll be with him in a minute.
JOSEPH: Yes, sir.
SEBASTIAN: Now, the ticket office. What man, Professor? What did he look like?
PROF. ANDERSON: Obviously not a Brazilian. It's hard to describe.
ERIC MATHIS: Alex. Mr. Devlin. He's waiting.
SEBASTIAN: I-I-I, er— Let him wait. This is terrible news, professor, this is terrible...
CROSSFADE to FOOTSTEPS on a stair and then down a hallway. A door OPENS.
DEVLIN: Alicia? Alicia?
ALICIA (weakly): Dev. Dev. How did you get up here?
DEVLIN: I'm supposed to be downstairs waiting for your husband.
ALICIA: I'm so glad you came.
DEVLIN: I couldn't stand it any more. Waiting and wondering. Alicia, what is it?
ALICIA: I'm sick. They're poisoning me. I couldn't get away, Dev. I tried but I was too weak.
DEVLIN: How long?
ALICIA: Ever since the party. Alex and his mother, they found out.
DEVLIN: Come on. Try to sit up. Here, let me help you. I've got to get you out of here.
ALICIA: I thought you'd left Rio.
DEVLIN: No. I-I had to see you once more and speak my piece. I was — I was getting out because I love you. I couldn't bear seeing you and him together.
ALICIA: You love me? But why didn't you tell me before?
DEVLIN: I-I just couldn't see straight, think straight.
ALICIA: You love me.
DEVLIN: Long ago. All the time. Since the beginning. Here, here, darling, your robe.
ALICIA: I can't, Dev. I'm afraid. They gave me pills to sleep.
DEVLIN: Here, you've got to keep awake. Keep talking. Keep talking. Get your coat. Put it over your robe.
ALICIA: Alex... Alex and his mother, they don't want the others to know about me.
DEVLIN: Don't stop talking, what happened?
ALICIA: Alex found out.
DEVLIN: Not the others?
ALICIA: No, no. They'd kill Alex if they knew. Mathis would kill him. He killed Emil Hupka.
DEVLIN: Here, put your arm around me. You've got to stand up.
ALICIA: Oh, Dev. Say it again, it helps.
DEVLIN: I love you. I love you. Alicia, please, stand up. Come on, talk. Talk.
ALICIA: Professor Anderson.
ALICIA: The sand comes from Imorez mountains.
DEVLIN: We'll find it.
ALICIA: A town called Santa Ma— Santa Ma-something.
DEVLIN: Good, good. We'll take care of that later. Now, you're on your feet, Alicia. Move them. Move them. Walk. Start walking.
ALICIA: They're all down there in his study. We can't make it.
DEVLIN: We've made the doorway. The stairs aren't far. I've got hold of you, darling.
DEVLIN: But you've got to walk yourself. If you don't keep moving—
ALICIA: Don't ever leave me.
DEVLIN: You'll never get rid of me again.
ALICIA: I never tried to, Dev.
DEVLIN: Brace up. Here he comes.
SEBASTIAN (fading in): What is this? What are you doing, Alicia? What is this, Mister Devlin?
DEVLIN: Taking her to the hospital to get the poison out of her.
DEVLIN: How would you like your friends down there to know?
SEBASTIAN: I'm taking Alicia back to her room.
ALICIA: No, Dev. No.
DEVLIN: I've got a gun, Sebastian. It'll raise quite a rumpus if you try.
SEBASTIAN: Be quiet, mother.
MOTHER: Alex, he knows?
PROF. ANDERSON (from downstairs): What is happening, Alex?
MOTHER (calls out to Prof. Anderson): Alicia!
DR. ANDERSON: She is worse?
DEVLIN (quietly): Stay right where you are, Sebastian.
ALICIA: Dev, go on.
FOOTSTEPS going down stairs.
DEVLIN (quietly): We're going, dear. We're going downstairs. You haven't forgotten what they did to Emil Hupka, have you, Sebastian?
MOTHER (quietly): Help him, Alex.
DEVLIN (quietly): Yeah. I'm glad you have a head on you, madame.
SEBASTIAN (quietly): I'm not afraid to die.
DEVLIN (quietly): You've got your chance for that right here and now. Just call your friends to come out into the hall and tell them who Alicia really is.
PROF. ANDERSON (from downstairs): You need any help, Alex?
DEVLIN (calls out to them): No, we can handle her.
PROF. ANDERSON (from downstairs): Where are you taking her?
DEVLIN (quietly): You answer that one, Sebastian.
MOTHER (calls out): To the hospital. (quietly, to Sebastian) Alex, talk to them.
PROF. ANDERSON (from downstairs): I'm glad she's going, Alex. You should not have waited this long.
DEVLIN: (quietly): What do I do, Sebastian, start shooting? (to a struggling Alicia) Hold on, darling, hold on. Only twenty yards to go out the front door and then into my car.
ERIC MATHIS (from downstairs): Alex! What are you doing?
DEVLIN: (quietly): Who's that one?
SEBASTIAN (quietly): Mathis. Eric Mathis.
ERIC MATHIS (from downstairs): Alex!
SEBASTIAN: Oh-oh, we're-we're taking Alicia to the hospital, Eric. She had another attack. Mr. Devlin heard her scream as he was waiting for me. (to Alicia) Come, Alicia. Come, come.
DEVLIN (to the men): I phoned the hospital as soon as I saw how she was, Mr. Mathis.
ERIC MATHIS: Why didn't you send for an ambulance?
MOTHER: Here, Alex. Your coat.
ERIC MATHIS: You are going with them, madame?
MOTHER: No. Alex will call me. I'll wait here.
PROF. ANDERSON: Oh, the poor child. Here, I'll open the door.
DEVLIN (quietly, to Alicia): A few more steps, Alicia. How do you feel?
ALICIA: Oh, the air... dizzy.
DEVLIN: Take some— take some deep breaths.
SEBASTIAN: I'll open the car door.
The car door OPENS.
DEVLIN: Ah, you made it. You made it, Alicia. Sit down, darling. Easy. Easy now.
SEBASTIAN: Hurry, please, hurry. They're in the doorway. They're watching me.
DEVLIN: Close the door, Sebastian.
The car ENGINE turns over.
SEBASTIAN: Just a minute, I must go with you.
DEVLIN: No room, Sebastian.
SEBASTIAN: You must take me. I can't go back there.
DEVLIN: That's your headache.
SEBASTIAN (begins to panic): Please. Please. Please!
The car DRIVES OFF.
ERIC MATHIS (calls out to Sebastian): Alex! Come here!
SEBASTIAN (whispers to himself): Alicia. Alicia.
ERIC MATHIS (calls out to Sebastian): I have just been up to her room. There is no telephone in her room, Alex. How could he have called the hospital? Alex, will you come in, please? We wish to talk to you.
MUSIC up full. APPLAUSE. MUSIC out.
JOHN KENNEDY: Before our stars return for their curtain call, Libby Collins and I have some really big news for the ladies. A brand new, easy-to-enter contest.
LIBBY COLLINS: Tell about the wonderful prizes first, John.
JOHN KENNEDY: They're just about the most sensational prizes you ever heard of. One hundred thousand dollars in gorgeous furs and cash. Imagine, first prize every week for five weeks is a three thousand dollar mink coat.
LIBBY COLLINS: And if there's a girl in this country who wouldn't like a mink coat, I haven't heard of her.
JOHN KENNEDY: And there are other superb prizes, too. Three fur coats worth a thousand dollars each. Five fur jackets worth five hundred dollars a piece. Twenty fur scarves, each valued at two hundred dollars. Fifty scarves worth a hundred dollars a piece.
LIBBY COLLINS: And that's not all.
JOHN KENNEDY: There are two hundred and fifty additional prizes every week. Each one, a crisp ten dollar bill.
LIBBY COLLINS: And here's a really unusual feature. We don't select the fur for you. No, ma'am, you choose it yourself. The kind of fur, the style you want, at any furrier you want.
JOHN KENNEDY: Or you can take your prize in cash if you prefer.
LIBBY COLLINS: There's a contest every single week for five weeks. So, if you don't win the first time, try again.
JOHN KENNEDY: This is just about the easiest contest to enter you ever heard of. Here's all you do. On entry blank available at your dealer, or on any piece of paper, write twenty-five words or less telling why you like any one of six famous Lever products, Lux Flakes, Lux Toilet Soap, Lifebuoy, Rinso, Swan, or Spry. Yes, any one of these products and you can send in as many entries as you wish every week. Just be sure to include with each entry a wrapper or box top from any one of these six Lever products. Print your name and address on your letter together with the name and address of the dealer from whom you buy your Lever products. Mail your entry to Lever, L-E-V-E-R, Lever Fur Contest, Box 1, New York, 8, New York.
LIBBY COLLINS: The first contest closes in just about two weeks, February eighth. So get your entry in tonight or tomorrow sure.
JOHN KENNEDY: Entries received after this date will be entered in the next week's contest. Winners of the big prizes will be announced on this program. Incidentally, you have to live in the continental United States, Alaska or Hawaii to enter. The contests are subject to all federal, state, and local regulations and to the complete rules printed on entry blanks you can get from your dealer.
LIBBY COLLINS: Now, I'll repeat. Just write twenty-five words about why you like any Lever product: Lux Flakes, Lux Toilet Soap, Lifebuoy, Rinso, Swan, or Spry. Be sincere. Give us your own experience. Print your name and address on your letter. Print your dealer's name and address, too, because if he helps you to win, he too will get a prize. Enclose a wrapper or box top from one of these six products.
JOHN KENNEDY: Address your letter to Lever, L-E-V-E-R, Lever Fur Contest, Box 1, New York, 8, New York.
LIBBY COLLINS: I'll repeat that. Lever Fur Contest, Box 1, New York, 8, New York.
JOHN KENNEDY: There are five weekly contests. You can enter as often as you wish. So, get busy and a beautiful fur coat may soon be yours. Here's Mr. Keighley at the microphone.
WILLIAM KEIGHLEY: It's time for that tradition of the theater, a curtain call for our stars. And here they are at the footlights. Ingrid Bergman and Joseph Cotten.
WILLIAM KEIGHLEY: We enjoyed you both immensely in tonight's play. And, incidentally, Ingrid, one could say that word “notorious” applies to the kind of character you play in your next Enterprise production.
INGRID BERGMAN: I guess you could say that of Joan who I am play with Charles Boyer in Arch of Triumph.
JOSEPH COTTEN: A very different kind of Joan, then, from the one you're currently so famous for.
INGRID BERGMAN: Nothing alike but the names, Joe.
WILLIAM KEIGHLEY: I understand, Ingrid, you've become quite a winter sports enthusiast these days.
INGRID BERGMAN: My husband and I just returned from four weeks of skiing, Bill.
JOSEPH COTTEN: Well, there's nothing like skiing.
INGRID BERGMAN: The way I do it, there's nothing like it.
WILLIAM KEIGHLEY: I didn't know you were a skiing enthusiast, Joe.
JOSEPH COTTEN: Oh, yes. Down south, where I come from I used to get quite a kick out of it.
INGRID BERGMAN: Oh, now...
Mild audience LAUGHTER
INGRID BERGMAN: Now, they-they have snow down-down south?
JOSEPH COTTEN: Not much. But they have those newsreel theaters where you can sit and watch the experts whizzing down frozen mountainsides while you sit comfortable and warm.
Less audience LAUGHTER
JOSEPH COTTEN: That's really getting pleasure out of skiing.
A trickle of LAUGHTER
INGRID BERGMAN: While Joe does his armchair exercise next Monday night, Bill, what will you be presenting in this theatre?
WILLIAM KEIGHLEY: Next week, from Twentieth Century Fox, a rollicking romance of the theatre. The backstage adventure of a lovable, laughable couple in their climb to success. It's that musical screen hit, Mother Wore Tights, starring Betty Grable and Dan Dailey. And in this warm, nostalgic story, Betty and Dan present those popular songs that made the original screen play such a smash success.
JOSEPH COTTEN (trying to keep a straight face): Yes, Mother Wore Tights was a great hit, Bill.
INGRID BERGMAN: And it ought to make a great hit with your audience next Monday, Bill. Good night.
JOSEPH COTTEN: Night.
WILLIAM KEIGHLEY: Good night and thanks for Notorious. Most of us are happy in so far as we look forward to the future...
WILLIAM KEIGHLEY: ... to security, and continuing to have those simple luxuries and pleasures we deserve through work and careful, conscientious saving. And there is no form of saving that is at once so easy and so safe and at the same time so helpful to your economic welfare as United States Savings Bonds. They offer you a cash reserve, plus profit, for United States Savings Bonds return four dollars for every three that you invest. Buy them where you work through the Payroll Savings Plan or, if you're self-employed, through the Bond-a-Month Plan at your bank. Make United States Savings Bonds the basis for your future happiness.
WILLIAM KEIGHLEY: Lever Brothers Company, the makers of Lux Flakes, join me in inviting you to be with us again next Monday evening when the Lux Radio Theatre presents Betty Grable and Dan Dailey in Mother Wore Tights. This is William Keighley, saying good night to you from Hollywood.
JOHN KENNEDY: Joseph Cotten appeared by arrangement with David O. Selznick, producer of Alfred Hitchcock's The Paradine Case. Heard in our cast tonight were Joseph Kearns as Alex Sebastian, Gerald Moore as Prescott, and Janet Scott as Madame Sebastian. Our music was directed by Louis Silvers. And this is your announcer, John Milton Kennedy, reminding you to join us again next Monday night to hear Mother Wore Tights starring Betty Grable and Dan Dailey.
APPLAUSE. MUSIC out.
ANNOUNCER: Pepsodent won by three to one. Yes, in a recent survey, families throughout America compared new Pepsodent toothpaste with the brands they'd been using at home. By an overwhelming average of three to one, they preferred new Pepsodent with irium to any other brand they tried. They said new Pepsodent toothpaste tastes better, makes breath cleaner, makes teeth brighter. Yes, with families who make comparison tests, Pepsodent won by three to one.
JOHN KENNEDY: Be sure to listen next Monday night to the Lux Radio Theatre presentation of Mother Wore Tights, starring Betty Grable and Dan Dailey. Stay tuned for My Friend Irma which follows immediately over most of these stations. This is CBS, the Columbia Broadcasting System.
APPLAUSE. MUSIC out.