Notorious

TITLE CARD over a sun-drenched Miami skyline:

Miami, Florida. Three-Twenty P.M.

April the Twenty-Fourth,

Nineteen Hundred and Forty-Six...

DISSOLVE TO:

INT. COURTHOUSE - DAY

A CAMERA held to a photographer's hip. A dozen or so MEN, photographers andjournalists, stand chatting in a HALLWAY outside an impressive pair of oakdoors, above which reads:

UNITED STATES DISTRICT COURT

SOUTHERN DISTRICT OF FLORIDA

A MAN AT THE DOORS opens them a crack and peers inside the COURTROOM. From

a distance, he sees the BACKS of a defendant, JOHN HUBERMAN, and his COUNSELstanding to face the judge.

JUDGE:

... any legal reason why sentence should

not be pronounced?

DEFENSE COUNSEL:

No, your honor.

HUBERMAN:

Yes. I have something to say. You can put me

away. But you can't put away what's going to

happen to you and to this whole country next

time. Next time we are going to...

DEFENSE COUNSEL:

(whispers to Huberman)

I wouldn't say any more. We'll leave that for

the appeal.

JUDGE:

It is the judgment of this court that the

defendant, John Huberman, having been found

guilty of the crime of treason against the

United States by the jury of this court for

the southern district of Florida at Miami,

be committed to the custody of the United

States Attorney General for imprisonment in

an institution of the penitentiary type for

a period of twenty years. And the defendant

may be forthwith remanded to the custody of

the United States Marshall. Court is now

adjourned.

The MAN AT THE DOORS turns to the media vultures behind him.

MAN AT THE DOORS

Here she comes.

The PHOTOGRAPHERS ready their cameras and press forward. As the courtroom

empties, a stylishly dressed ALICIA HUBERMAN emerges into the HALLWAY witha blank look on her pretty but pale face, to be awakened from her daze byflash photography. She steels herself for the deluge and keeps walking.

REPORTERS:

(ad lib)

Just a minute, Miss Huberman. Hold it,

Miss Huberman.

1st REPORTER

We'd like a statement from you, Miss Huberman,

about your father.

2nd REPORTER

For instance, do you think your father got

what he deserved?

3rd REPORTER

Could we say that you're pleased that your

father is going to pay the penalty for being

a German worker?

As she presses on grimly, a tall, MOUSTACHED MAN watches the mob go by, thenturns to a bespectacled plainclothes detective.

MOUSTACHED MAN:

(to the detective)

Let us know if she tries to leave town.

The detective nods and follows Alicia and her entourage.

DISSOLVE TO:

EXT. ALICIA'S BUNGALOW - DAY

The detective casually checks his watch as he walks past the Hubermans'Miami Beach BUNGALOW on a sunny, palm tree-lined street. A train whistle

WAILS in the distance.

DISSOLVE TO:

EXT. ALICIA'S BUNGALOW - NIGHT

The BUNGALOW late at night; the lights are on, pop MUSIC plays.

DISSOLVE TO:

INT. ALICIA'S BUNGALOW - NIGHT

In the BUNGALOW'S LIVING ROOM, a party is unsteadily in progress. A tipsycouple dances. Everyone else either drinks or is drunk, especially Alicia,

who turns out to be something of a party girl in an outfit that shows offher bare waist. Among them sits a mysteriously silent man who watches theproceedings. Only the back of his head and shoulders are visible in thisscene.

ETHEL:

(to her dancing

partner, Hopkins)

Would you care to pause for some

refreshments, Mister Hop... kins?

WOMAN:

Alicia, were you really followed by a

policeman? It sounds very exciting.

ALICIA:

I'm going to shoot it out with them tomorrow.

Alicia tries to pour a drink for the Commodore, a rich old man.

COMMODORE:

No, thanks, had enough. So've you.

ALICIA:

Now, don't be silly. The important drinkinghasn't started yet.

Alicia adjusts the phonograph as a record ends.

HOPKINS:

Everybody down here's got a stuffed fish hangin'on the wall. Where'd they get it? Never seen

a fish.

Alicia offers to refill the silent man's glass.

ALICIA:

How 'bout you, handsome?

He accepts and she pours.

ALICIA:

(to the silent man)

Haven't I seen you somewhere before? Oh, itdoesn't matter.

(sits opposite him)

I like party crashers.

ETHEL:

(to Alicia)

He's not a party crasher. I brought him.

ALICIA:

Oh.

ETHEL:

(to Hopkins)

Mister Hopkins, would you mind [?]

HOPKINS:

Wouldn't think of it.

WOMAN:

(crossing to Alicia)

I wouldn't mind being followed by a cop.

Alicia pours the woman a drink.

ALICIA:

I hate low underhanded people like policemen,

pussyfooting after you. Because I'm a marked

woman, you know. I'm liable to blow up thePanama Canal any minute now. Do you want someice in it?

WOMAN:

No, thank you.

COMMODORE:

(to Alicia)

It's not becoming for a lovely girl like youto be worried about policemen. You won't be

tomorrow.

ALICIA:

Oh? Really?

COMMODORE:

We sail at ten.

ALICIA:

Really? We just sail away, huh?

HOPKINS:

Show me a fish and I'll show you a liar.

No fish.

ALICIA:

(off Hopkins' comment)

What this party needs is a little glandtreatment.

COMMODORE:

We'd better start breaking up, Alicia. Have

to be on board at nine. One week in Havana

and this whole thing about your father willhave blown over.

Glancing at the silent man, Alicia turns to the Commodore.

ALICIA:

Do you love me, Commodore?

COMMODORE:

You're a very beautiful woman.

ALICIA:

I'll have another drink to 'preciate that.

Hopkins no longer wants to dance and breaks away from Ethel.

ETHEL:

(to Hopkins)

Where are you going?

HOPKINS:

Fishin'.

ETHEL:

This time of night? You're mad.

HOPKINS:

What's the difference? There's no fish, dayor night.

ALICIA:

(to the silent man)

How about you? Still drinking? You know

something? I like you.

Hopkins collapses on the couch. The Commodore gets up to leave.

COMMODORE:

Well, I'll see you on board, Alicia. Nine

o'clock.

ALICIA:

(to the Commodore)

Oh, I-I have to think that over.

COMMODORE:

(leaving)

Well, you don't have to pack. We'll pick up

some things in Havana.

ETHEL:

(to Alicia, off Hopkins)

I think I'll have to leave him here to dry out

a little.

ALICIA:

I'm very sorry. You all have to go. It has been

a perfectly hideous party. Good night.

GUESTS:

(ad lib)

Good night.

The back of the silent man's HEAD remains conspicuously still as the otherguests depart.

FADE OUT:

INT. ALICIA'S BUNGALOW - NIGHT

FADE IN on a similar view of the silent man's HEAD, in the living room, sometime later that morning, but now he turns to reveal his face as he inspectswhat's left of the alcohol. He is T. R. DEVLIN, not only tall, dark andhandsome, but apparently unaffected by the liquor in his system. The same

could not be said for Alicia, who sits opposite Devlin, staring dreamilyinto his eyes while MUSIC plays from the phonograph.

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