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 and 
journalists, stand chatting in a HALLWAY outside an impressive pair of oak 
doors, 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 COUNSEL 
standing 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 with 
a blank look on her pretty but pale face, to be awakened from her daze by 
flash 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, then 
turns 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 tipsy 
couple 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 off 
her bare waist.   Among them sits a mysteriously silent man who watches the 
proceedings.  Only the back of his head and shoulders are visible in this 
scene.

				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 drinking 
		hasn'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, it 
		doesn'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 the 
		Panama Canal any minute now. Do you want some 
		ice in it?

				WOMAN
		No, thank you.

				COMMODORE 
			(to Alicia)
		It's not becoming for a lovely girl like you 
		to 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 gland 
		treatment.

				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 will 
		have 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, day 
		or 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 other 
guests depart.

								FADE OUT

INT. ALICIA'S BUNGALOW - NIGHT

FADE IN on a similar view of the silent man's HEAD, in the living room, some 
time later that morning, but now he turns to reveal his face as he inspects 
what's left of the alcohol.  He is T. R. DEVLIN, not only tall, dark and 
handsome, but apparently unaffected by the liquor in his system.  The same 
could not be said for Alicia, who sits opposite Devlin, staring dreamily 
into his eyes while MUSIC plays from the phonograph. 

				DEVLIN
		There's one more drink left apiece.  Shame 
		about the ice.

				ALICIA
		What is?

				DEVLIN  
		Gone.

				ALICIA  
		Who's gone?

				DEVLIN  
		The ice.  
			(off the music) 
		Why do you like that song?

				ALICIA 
			(laughs)
		Because it's a lot o' hooey.  
			(suddenly serious) 
		There's nothing like a love song to give you 
		a good laugh.

				DEVLIN  
		That's right.

				ALICIA 
			(puts her hand to her mouth)
		It's stuffy in here, isn't it?

				DEVLIN  
		Might be.

				ALICIA  
		What about... we have a picnic?

				DEVLIN  
		Outside?

Alicia rises and Devlin follows.

				ALICIA  
		It's too stuffy in here for a picnic. 
			(off his drink) 
		Wanna finish that?

				DEVLIN  
		Shame to leave it.

He polishes most of it off, handily.

				ALICIA  
		You're quite a boy. 

She takes the glass and finishes the rest.

				ALICIA  
		My car is outside.

				DEVLIN  
		Naturally.

				ALICIA  
		Wanna go for a ride?

				DEVLIN  
		Very much.  What about your guests?

Hopkins sleeps on the sofa, an equally unconscious Ethel in his lap.

				ALICIA  
		They'll crawl out under their own steam.  I-I'm 
		going to drive.  That's understood.

But she's too drunk to even put her glass down properly.  Devlin takes it 
from her and follows her to the front door.

				DEVLIN  
		Don't you need a coat?

				ALICIA  
		You'll do.

On the BUNGALOW'S FRONT PORCH, they step out into the breezy night air.

				DEVLIN  
		Wait a minute.  Let me put this on you.  You 
		might catch cold.

Devlin takes a large handkerchief from his pocket and ties it around her bare 
midriff before he escorts her off the porch.

								DISSOLVE TO:

EXT. WINDING ROAD - NIGHT

Alicia's speeding CONVERTIBLE weaves badly down an empty, winding road, 
lined with palm trees, just a little before dawn.  Devlin, in the passenger 
seat, lights a cigarette, seemingly unconcerned with the grinning inebriate 
at the wheel.

				ALICIA  
		How'm I doing?

				DEVLIN  
		Not bad.

				ALICIA  
		Scared?

				DEVLIN  
		No.

				ALICIA  
		Oh, no, you're not scared of anything, are 
		you?

				DEVLIN  
		Not too much.

But he does make ready to grab the handbrake as her wind-blown hair obscures 
her vision.

				ALICIA  
		This fog gets me.

				DEVLIN  
		That's your hair in your eyes.

				ALICIA 
			(brushing it back):  
		Oh... What does the speedometer say?

				DEVLIN  
		Sixty-five. 

Devlin smiles at her.

				ALICIA  
		I want to make it eighty and wipe that grin 
		off your face.  I don't like gentlemen who 
		grin at me.

As the car picks up speed and its weaving gets worse, Devlin readies his hand 
to grab the steering wheel.  At the sound of a POLICE SIREN, Devlin turns to 
see a motorcycle cop pursuing them.

				DEVLIN  
		A cop.

				ALICIA  
		What?

				DEVLIN  
		A policeman is chasing us.  
			(adjusts the rearview mirror) 
		Look.

				ALICIA  
		They make me sick.

The cop pulls alongside them.

				DEVLIN 
			(to Alicia)
		He wants to talk to you.

Alicia slows down and pulls over to the side of the road.

				ALICIA 
		Drunken driving. My second offense.  Now I go 
		to jail.  Whole family in jail.  Who cares?

Both vehicles stop.  The cop dismounts and slowly approaches the car.

				MOTORCYCLE COP 
			(to Alicia)
		Havin' a time for yourself, aren't you?

				ALICIA 
			(to the cop)
		People like you ought to be in bed.

				MOTORCYCLE COP 
			(to Devlin)  
		Drunk, huh?

				DEVLIN  
		Just a minute, officer.

				MOTORCYCLE COP
		No arguments, mister.  Y'ain't got a leg to 
		stand on.

Devlin pulls some identification from his jacket pocket and hands it across 
to the cop.  Alicia barely registers this.  The cop looks at the I.D. and 
then at Devlin.  The cop returns the I.D. to Devlin.

				MOTORCYCLE COP
		Sorry, but you didn't speak up.

				DEVLIN 
		That's all right.

				MOTORCYCLE COP
		Sure you can handle it?

				DEVLIN 
		No trouble.

				MOTORCYCLE COP  
		Well, you ought to know.

A dazed Alicia looks up in time to see the cop smartly salute Devlin and 
walk off.  

				ALICIA 
			(to Devlin)
		Where's the ticket?

The cop REVS his engine and rides away.

				ALICIA  
		He didn't give me a ticket.  What-what's 
		your name?

				DEVLIN  
		Devlin.

				ALICIA  
		When you showed that cop something, he saluted 
		you.

				DEVLIN  
		Did he?

				ALICIA  
		I saw him.  Why, you double-crossing buzzard!  
		You're a cop!

				DEVLIN 
			(reaches for the steering wheel)
		All right, we'll argue later.

Alicia slaps his hand away.

				ALICIA  
		Get away from my car. Get out of my car.

				DEVLIN  
		I'm gonna take you home.

				ALICIA  
		You're not going to take me home at all.  Oooh.

				DEVLIN  
		Move over.  Come on.

Alicia resists Devlin's attempt to get into the driver's seat, so he delivers
a wicked slap to her arm.  She puts up quite a struggle.

				ALICIA  
		Ow!  Get out of my car, Federal Cop!  Crashing 
		my party just like that buzzard with the 
		glasses!  Leave me alone!  You're trailing me 
		to get something on me!  Get out!

She stops struggling for a moment.

				DEVLIN  
		Gonna calm down?  Good, now, move over.  Oh...

But a moment later, she starts thrashing him again.

				ALICIA  
		I'm not going to l--

Finally, he forces her into the passenger seat, knocking her unconscious in 
the process.  He takes the wheel and glances down at her.

				DEVLIN 
			(relieved)
		Whew!

Devlin starts the car.

								FADE OUT 

INT. ALICIA'S BUNGALOW - DAY

FADE IN on ALICIA'S BEDROOM, a little before 9 a.m. that morning. She's in 
bed, slowly regaining consciousness.  A glass of what looks like a nasty 
hangover remedy rests on a chair beside her.

				DEVLIN  
		You'd better drink that.

From her bed, a clearly hungover Alicia sees Devlin's silhouette leaning in 
the doorway to her bedroom.

				ALICIA  
		All right. [mumbles]

				DEVLIN  
		Go on, drink it.

Alicia takes a swallow.

				ALICIA
		Ohh...

				DEVLIN  
		Finish it.

She takes another swallow.  Still groggy, she watches Devlin approach and 
stand over her.

				DEVLIN 
		Feel better?

				ALICIA  
		What do you care how I feel?  You -- you copper.

A train whistle BLOWS somewhere far off.

				ALICIA  
		What's this all about, huh?  What's your angle?

				DEVLIN  
		What angle?

				ALICIA  
		About last night.

				DEVLIN  
		Just wanted to be friends.

				ALICIA  
		Friends, yeah? So you could frame me, hm?

				DEVLIN  
		No, I've got a job for you.

				ALICIA  
		Don't tell me, there's only -- ooh. There's 
		only one job that you coppers would want me 
		for.  Well, you can forget it, Mister...

				DEVLIN  
		Devlin.

				ALICIA  
		What?

				DEVLIN 
		Devlin.

				ALICIA  
		I am no stool pigeon, Mister Devlin.

				DEVLIN  
		My department authorized me to engage you to do 
		some work for us, it's a job in Brazil.

				ALICIA  
		Oh, go away.  The whole thing bores me.

				DEVLIN  
		Some of the German gentry who were paying your 
		father are working in Rio.  Ever hear of the 
		I. G. Farben Industries?  

				ALICIA  
		I tell you, I'm not interested.

				DEVLIN  
		Farben has men in South America, planted there 
		before the war.  We're cooperating with the 
		Brazilian government to smoke them out.  My 
		chief thinks that the daughter of a, uh...

				ALICIA  
		Of a traitor?

				DEVLIN  
		Well, he thinks you might be valuable in the 
		work.  They might sort of trust you.  And you 
		could make up a little for your daddy's 
		peculiarities.

				ALICIA  
		Why should I?

				DEVLIN  
		Patriotism.

				ALICIA  
		That word gives me a pain.  No, thank you, I 
		don't go for patriotism, nor -- or patriots.

				DEVLIN 
			(leaving the room)
		I'd like to dispute that with you.

				ALICIA  
		Waving the flag with one hand and picking 
		pockets with the other.  That's your 
		patriotism.  Well, you can have it.

She gets out of bed.  Devlin, in the LIVING ROOM, readies the record player.

				DEVLIN  
		We've had your bungalow wired for three 
		months.  
		
Devlin reads aloud from the label on a phonograph record.

				DEVLIN
		Conversation between John Huberman and 
		daughter Alicia, six-thirty p.m., January 
		the ninth, nineteen forty-six at Miami Beach,
		Florida.  

Devlin puts the record on the turntable.

				DEVLIN
		Some of the evidence that wasn't used at 
		the trial.

				ALICIA  
		I don't want to hear that.

				DEVLIN  
		Relax, hardboard, and listen.

The recording begins.  As it plays, Alicia emerges slowly from the bedroom.

				HUBERMAN'S VOICE
		[?]...money in it, Alicia.

				ALICIA'S VOICE
		I told you before Christmas I wouldn't do it.

				HUBERMAN'S VOICE
		You don't use your judgment.  You can have 
		anything you want.  The work is easy.  

				ALICIA'S VOICE
		I'll not listen, father.

				HUBERMAN'S VOICE
		This is not your country, is it?

				ALICIA'S VOICE
		My mother was born here.  We have American 
		citizenship.

				HUBERMAN'S VOICE
		Where is your judgment?  In your feelings, you 
		are German.  You've got to listen to me.  You 
		don't know what we stand for.

				ALICIA'S VOICE
		I know what you stand for.  You and your murdering 
		swine.  I've hated you ever since I found out.

				HUBERMAN'S VOICE
		My daughter, don't talk to me like that.

				ALICIA'S VOICE
		Stay on your side of the table!

				HUBERMAN'S VOICE
		Alicia, put your voice down.

				ALICIA'S VOICE
		I hate you all.  And I love this country, do 
		you understand that?  I love it.  I'll see 
		you all hang before I raise a finger against 
		it.  Now, go on and get out of here.  Or so 
		help me, I'll turn you in.  Don't ever come 
		near me or speak to me again 'bout your 
		rotten schemes.

The recording ends.  Alicia, obviously affected, tries to shrug it off.

				ALICIA 
			(to Devlin)
		Well, that doesn't prove much.  I didn't 
		turn him in.

				DEVLIN  
		We didn't expect you to.  Well, what do you 
		say?

				ALICIA  
		Ah, go away and leave me alone.  I have my 
		own life to lead.  Good times.  That's what 
		I want.  And laughs with people I like...  

The front doorbell BUZZES.

				ALICIA  
		...and no underhanded cops who want to put me 
		up in a shooting gallery...  

A KNOCK at the door.

				ALICIA 
		...but people of my own kind who'll treat me 
		right, and like me, and understand me.
 
The front door opens and the rich old Commodore appears, sailor cap in hand, 
to Alicia's surprise.

				COMMODORE 
			(very pleasant)
		Good morning, Alicia.

				ALICIA 
		Oh, hello.

				COMMODORE
		Thought you might need a hand this morning.  
		We're sailing with the tide, you know.  Are 
		you ready?

				ALICIA 
		Yes.

				COMMODORE
		Don't tell me you've forgotten, my dear.

				ALICIA 
		Almost.

				COMMODORE
		I'll help you pack.  Although you really don't 
		need anything.  We've got everything on board.

				ALICIA 
		Thank you, I'll pack myself.

				COMMODORE
		We're moored at the hotel pier.  You know the spot.

				ALICIA 
		Yes.

				COMMODORE
		You're a darling.  
			(to Devlin) 
		Sweetest girl I ever knew.   
			(to Alicia) 
		See you soon.

The Commodore leaves.  Devlin readies a cigarette.

				DEVLIN
		Well, what about it?  Plane leaves tomorrow 
		morning, early.

				ALICIA  
		All right.  
			(nods in the Commodore's direction) 
		You better tell him.

Without a word, Devlin leaves to inform the Commodore at once.  Alicia 
watches him go.  Suddenly, Alicia discovers Devlin's handkerchief still tied 
around her waist. 

								FADE OUT 

EXT.  MOUNTAIN RANGE - DAY

FADE IN on an aerial view of a mountain range in Brazil, some days later.

								DISSOLVE TO: 

EXT. AIRPLANE - DAY

A Pan American World Airways PLANE en route to Rio de Janeiro.  

								DISSOLVE TO:

INT. AIRPLANE CABIN - DAY

Inside the plane, Alicia, at a window seat, turns to the rear to see Devlin, 
standing in the aisle, ending a conversation with a seated passenger, 
CAPTAIN PAUL PRESCOTT.

				DEVLIN 
			(to Prescott)
		Hmm... I'll tell her.

				PRESCOTT 
			(to Devlin)
		See you later.

Devlin leaves Prescott to sit beside Alicia.

				ALICIA 
			(off Prescott)
		Very nice looking man.

				DEVLIN  
		You'll be seeing him in Rio.

				ALICIA  
		Oh, no. No, I won't be seeing any men in Rio.

				DEVLIN  
		Oh, yes, you will.  That's our boss, Paul 
		Prescott.

				ALICIA  
		Did he say anything 'bout the job?

				DEVLIN  
		No.

				ALICIA  
		No hints?  

				DEVLIN  
		No.  But he had some news about your father 
		he picked up at the last stop.

				ALICIA  
		What about him?

				DEVLIN  
		He died this morning.

This hits hard.

				ALICIA  
		Oh.  How?

				DEVLIN  
		Poison capsule.

				ALICIA 
		He did it himself?

				DEVLIN  
		Yes, in his cell.  Sorry.

				ALICIA  
		I don't know why I should feel so bad.  
		When he told me a few years ago what he 
		was, everything went to pot.  I didn't 
		care what happened to me.  But now I 
		remember how nice he once was.  How 
		nice we both were.  Very nice.  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 him anymore.  
		Or myself.

				DEVLIN  
		We're coming into Rio.

From her window, Alicia catches a glimpse of the famous Cristo Redentor 
statue. 

				ALICIA  
		Oh, yes.  So we are.
 
And when she leans across Devlin to peer out the windows on the other side 
of the plane, he suddenly finds himself as interested in Alicia's face as 
she is in the scenery.

								DISSOLVE TO: 

EXT. RIO DE JANEIRO - MONTAGE - DAY

A montage of Rio sights, ending on a SIDEWALK CAFE.

								DISSOLVE TO: 

EXT. SIDEWALK CAFE - DAY

Devlin and Alicia share a table, drinking.

				ALICIA 
		I wonder if at the embassy someone could 
		get me a maid.  It's a nice apartment and 
		I don't mind dusting and sweeping but I 
		hate cooking.

				DEVLIN  
		I'll ask them.

				ALICIA  
		And while you're at it, find out when I go 
		to work, and what.

				DEVLIN  
		Yes, ma'am.

The waiter arrives and says something.

				DEVLIN 
			(to Alicia)
		Have another drink?

				ALICIA  
		No, thank you.  I've had enough.

Devlin orders a drink for himself and the waiter leaves.

				ALICIA  
		Well, do you hear that?  I'm practically on 
		the wagon.  That's quite a change.

				DEVLIN  
		It's a phase.

				ALICIA  
		You don't think a woman can change?

				DEVLIN  
		Sure. But change is fun.  For a while.

				ALICIA  
		For a while.  What a rat you are, Devlin.

				DEVLIN  
		All right.  You've been sober for eight days.  
		As far as I know, you've made no new conquests.

				ALICIA  
		Well, that's something.

				DEVLIN  
		Eight days. Practically whitewashed.

				ALICIA  
		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, 
		I can see it dwelling over its slogans. 
		Once a crook, always a crook.  Once a tramp, 
		always a tramp.  Go on.  You can hold my 
		hand, I won't blackmail you for it afterwards.  
		Scared?

				DEVLIN  
		I've always been scared of women.  But I 
		get over it.

				ALICIA  
		Now you're scared of yourself.  You're afraid 
		you'll fall in love with me.

				DEVLIN  
		That wouldn't be hard.

				ALICIA  
		Ooh, now, careful, careful.

				DEVLIN  
		You enjoy making fun of me, don't you?

				ALICIA  
		No, Dev.  I'm making fun of myself.  I'm 
		pretending I'm a nice, unspoiled child 
		whose heart is full of daisies and 
		buttercups.

				DEVLIN  
		Nice daydream.  Then what?

She's stung.  The waiter arrives with Devlin's glass.

				ALICIA 
			(to Devlin)
		I think I will have another drink.

				DEVLIN  
		I thought you'd get around to it.

				ALICIA  
		Make it a double.

Devlin orders the drink and the waiter departs.

				ALICIA  
		Why won't you believe in me, Dev?  Just a 
		little?  Why won't you?

He says nothing and starts drinking.

								DISSOLVE TO: 

EXT.  THE HILLS ABOVE RIO - DAY

A brief montage of the couple parking their car and walking in the 
picturesque HILLS overlooking Rio, a while later.  Alicia picks up the thread 
of their last conversation.

				ALICIA  
		I know why you won't, Dev.  You're sore.  
		You're sore because you've fallen for a 
		little drunk you tailed in Miami and you 
		don't like it.  Makes you sick all over, 
		doesn't it?  People will laugh at you, 
		the invincible Devlin in love with someone 
		who isn't worth even wasting the words on.  
		Poor Dev, in love with a no-good gal.  It 
		must be awful.  I'm sorr-- 

He can stand it no longer.  He shuts her up by grabbing her and delivering a 
passionate kiss.

								DISSOLVE TO: 

EXT. U.S. EMBASSY - DAY

The U.S. EMBASSY in Rio, that day.

								DISSOLVE TO: 

INT. PRESCOTT'S OFFICE - DAY

Captain Prescott, the man Devlin spoke to on the plane, confers with the 
Brazilian official BARBOSA and others.

				PRESCOTT
		Gentlemen, I assure you, she's the perfect 
		type for the job.

				BARBOSA 
		It's not the girl.  It's this German scientist 
		I'm worried about. I simply question why we 
		don't find some way of taking them into custody.

				AMERICAN OFFICIAL
		It'd do no good.  Even if we arrested their 
		leader, Alexander Sebastian, tomorrow another 
		Farben man takes his place and their work 
		goes on.

				BARBOSA 
		Yes, you're right.  I see, Captain Prescott, 
		your method is the best way.

				PRESCOTT  
		Well, she's good at making friends with 
		gentlemen and we want somebody inside his 
		house, in his confidence.

				BARBOSA 
		Do you have faith in this procedure, Captain 
		Prescott?

				PRESCOTT 
		Oh, yes.  With somebody on the inside...

				BRAZILIAN OFFICIAL
		Have you consulted the young lady?

				PRESCOTT 
		No, not yet.  As a matter of fact, our man 
		Devlin just brought her down here the other 
		day.  Now, we're waiting for Sebastian to 
		come back to Rio.

				BRAZILIAN OFFICIAL
		Has your Mister Devlin told her of the nature 
		of the work?

				PRESCOTT 
		No, we haven't discussed it with him at all.  
		But I can set your mind at rest about her.

				BARBOSA 
		You're sure of her political side?

				PRESCOTT 
		Oh, oh, yes.

				BARBOSA 
		Well, there is nothing to be lost if we 
		proceed as you advise.

				PRESCOTT 
		Now, that's fine.  I'll give Devlin his 
		instructions right away.

								DISSOLVE TO: 

EXT. MONTAGE - DAY

A montage of the BEACH at Leblon, Alicia and Devlin arriving by car at her 
APARTMENT HOUSE, and their entering her APARTMENT.  

INT. ALICIA'S APARTMENT - DAY

Once inside, Devlin takes in the magnificent view of the beach from the 
BALCONY.  Alicia quickly joins him.  They embrace, kiss deeply, and remain 
in each others' arms throughout the following:

				ALICIA 
		It's nice out here.  Let's not go out for 
		dinner. Let's stay here.

				DEVLIN  
		We have to eat.

				ALICIA  
		We can eat here. I'll cook.  

				DEVLIN  
		I thought you didn't like to cook.

				ALICIA  
		No, I don't like to cook.  But I have a 
		chicken in the icebox and you're eating it.

				DEVLIN  
		What about all the washing up afterward?

				ALICIA  
		We'll eat it with our fingers.

				DEVLIN 
		Don't we need any plates?

				ALICIA 
		Yes.  One for you and one for me.

				DEVLIN  
		Mind if I have dinner with you tonight?

				ALICIA  
		I'd be delighted. 

Devlin attempts to break away.

				ALICIA
		Where are you going?

				DEVLIN  
		Well, if you're going to stay in, I have to 
		telephone the hotel, see if there are any 
		messages.

But they are too much in love to break the intimacy and so she accompanies 
him INSIDE to the phone.

				ALICIA  
		You have to?

				DEVLIN  
		I have to.

Hardly breaking the embrace, she hands him the receiver.  He dials.  They 
continue to nuzzle one another throughout the call.

				ALICIA  
		This is a very strange love affair.

				DEVLIN  
		Why?

				ALICIA  
		Maybe the fact that you don't love me.

				DEVLIN  
			(into the phone) 
		Hello, Palace Hotel?  Parle anglais?  This 
		is T.R. Devlin, are there any messages for 
		me? 
			(to Alicia) 
		When I don't love you, I'll let you know.

				ALICIA  
		You haven't said anything.

				DEVLIN  
		Actions speak louder than words. 
			(into the phone) 
		There is?  Good, read it to me, please. 

After a pause and a long kiss from Alicia, Devlin hangs up the phone.

				DEVLIN  
		Prescott wants me over right away.

				ALICIA  
		Did he say what about?

				DEVLIN  
		No.

				ALICIA  
		Then it's our assignment.

				DEVLIN  
		Probably.  

Devlin and Alicia head for the door, still keeping close to one another.

				DEVLIN
		Want me to bring anything back with me?

				ALICIA  
		Yes.  What about a nice bottle of wine?  
		We'll celebrate.

Devlin opens the door.

				DEVLIN   
		What time shall I come back?

				ALICIA  
		Seven o'clock.

				DEVLIN  
		Goodbye.

				ALICIA  
		Goodbye.

Finally, they break.  Devlin leaves.  Alicia, swooning like a schoolgirl, 
leans on the door after she closes it behind him.

								DISSOLVE TO:

EXT. U.S. EMBASSY - DAY

Devlin arrives at the EMBASSY, carrying a champagne bottle.

								DISSOLVE TO:

INT. PRESCOTT'S OFFICE - DAY

The champagne BOTTLE sits on a table in the office, a few minutes later.  
Devlin slaps the table with his hand and rises from his chair, much to the 
confusion of Prescott and another American official, BEARDSLEY.

				PRESCOTT  
		What is it, Devlin?  What's the matter?

				DEVLIN  
		I don't know if she'll do it.

				PRESCOTT  
		What do you mean you don't think she'd -- 
		You haven't discussed it with her, have you?

				DEVLIN  
		No, I didn't know what the job was until 
		this moment.

				PRESCOTT  
		Well, what do you mean she wouldn't do it?

				DEVLIN  
		Well, I don't think she's that type of woman.  
		She strikes me as being rather--

				PRESCOTT 
		I don't understand your attitude.  Why do you 
		think she won't do it?

				DEVLIN  
		Well, she's had no experience.

				PRESCOTT  
		Oh, come now.  What experience does she lack, 
		do you think?

				DEVLIN  
		She's never been trained for that kind of 
		work, they'll see through her.

				PRESCOTT 
		Miss Huberman was chosen not only because 
		her father gives her an ideal background 
		but because Sebastian knows her.

This is news to Devlin.

				PRESCOTT  
		Oh, yes.  He was once in love with her.

				DEVLIN 
			(ironic)
		Oh, I didn't know that.

				BEARDSLEY  
		I don't see why we're arguing about petty 
		things like this.  We've got important work 
		to do.  Sebastian's house is a cover-up for 
		whatever this Farben group's up to here in Rio.  
		We've got to get Miss Huberman inside that 
		house and find out what's going on there.

				PRESCOTT  
		Yes, that's right.  
			(to Devlin) 
		So I think you'd better go back to Miss 
		Huberman and explain to her what she has 
		to do.

				DEVLIN 
		I, er...

				PRESCOTT  
		Well, what is it?

				DEVLIN  
		Nothing, sir.

				PRESCOTT  
		Oh.  I thought you were going to say 
		something.

				DEVLIN  
		How is the meeting to be arranged?

				PRESCOTT  
		Oh, well, we've discussed that.  I think 
		the riding club would be the best place.  
		Sebastian usually rides there in the mornings.  
		So the rest is up to you and Miss Huberman. 
			(after an awkward pause) 
		Okay, Devlin, that's all.

				DEVLIN  
		All right.

Devlin walks out of the room while a mildly confused Prescott eyes the 
CHAMPAGNE BOTTLE that Devlin leaves behind.

								DISSOLVE TO:

INT. ALICIA'S APARTMENT - NIGHT

Devlin dejectedly enters ALICIA'S APARTMENT after sundown.  Alicia is in 
the kitchen.  He slowly wanders out to the balcony, not wanting to face her.

				ALICIA 
			(from the kitchen)
		Dev, is that you?

				DEVLIN  
		Uh huh.

				ALICIA  
		I'm glad you're late.  This chicken took 
		longer than I expected.  What did they say?  

Alicia mangles an overcooked chicken with a knife and fork

				ALICIA
		Hope it isn't done too -- too much.  It 
		caught fire once.  I think it's better if 
		I cut it up out here.  Unless you want a 
		half a one for yourself.  We're going to 
		have knives and forks after all.  I've 
		decided we're going to eat in style.  

Alicia joins Devlin on the balcony with two plates that she sets on a 
candlelit table.

				ALICIA
		Marriage must be wonderful with this sort 
		of thing going on every day.  I wonder if 
		it's too cold out here, maybe we should eat 
		inside.  

Alicia hugs and kisses Devlin. 

				ALICIA
		Hasn't something like this happened before? 

He's unresponsive.  She senses something's wrong.

				ALICIA 
			(keeps it light)
		What's the matter? Don't look so tense. 
		Troubles? Well, handsome, I think you'd 
		better tell mama what's going on. All this 
		secrecy's going to ruin my little dinner. 
		Come on, Mister D., what is darkening your 
		brow?
              
				DEVLIN 
		After dinner.
              
				ALICIA 
		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't go on any longer.
             	 
				DEVLIN 
		I'll bet you've heard that line often enough.
              
				ALICIA 
			(stung badly)
		Right below the belt every time. Oh, that 
		isn't fair, Dev.
              
				DEVLIN 
		Skip it. We have other things to talk about. 
		We've got a job.
              
				ALICIA 
		Oh. So there is a job?
              
				DEVLIN 
		You, uh, you remember a man named Sebastian? 
              
				ALICIA 
		Alex Sebastian?
              
				DEVLIN 
		Yes.
              
				ALICIA 
		One of my father's friends, yes.
              
				DEVLIN 
		He had quite a crush on you.
              
				ALICIA 
		I wasn't very responsive.
              
				DEVLIN 
		Well, he's here. The head of a large German 
		business concern.
              
				ALICIA 
		His family always had money.
              
				DEVLIN 
		He's part of the combine that built up the 
		German war machine and hopes to keep on going.
              
				ALICIA 
		Something big?
              
				DEVLIN 
		It has all the earmarks of being something 
		big. We have to contact him.

Alicia sits at the table.
              
				ALICIA
		Go on, let's have all of it.
              
				DEVLIN 
		We're meeting him tomorrow. The rest is up to 
		you. You've got to work on him and land him. 
              
				ALICIA 
		Mata Hari. She makes love for the papers. 
              
				DEVLIN 
		There are no papers. You land him. Find out 
		what's going on inside his house, what the 
		group around him is up to, and report to us.
              
				ALICIA 
		I suppose you knew about this pretty little 
		job of mine all the time.
              
				DEVLIN 
		No. I only just found out about it.
        
				ALICIA 
		Did you say anything? I mean, that maybe I 
		wasn't the girl for such shenanigans?
              
				DEVLIN 
		I figured that was up to you, if you'd cared 
		to back out.
              
				ALICIA 
		I suppose you told them, "Alicia Huberman 
		would have this Sebastian eating out of her 
		hand in a couple of weeks. She's good at that. 
		Always was."
              
				DEVLIN 
		I didn't say anything. 
              
				ALICIA 
		Not a word for that-that little lovesick 
		lady you left an hour ago?
              
				DEVLIN 
		I told you, that's the assignment.
              
				ALICIA 
		Oh, well now, don't get sore, Dev. I'm only 
		fishing for a little bird call from my dream 
		man.  One little remark, such as, "How dare 
		you gentlemen suggest that Alicia Huberman 
		-- the new Miss Huberman -- be submitted to 
		so ugly a fate?" 
              
She rises and crosses to him.

				DEVLIN 
		That's not funny.

He lights a cigarette.

				ALICIA 
		Do you want me to take the job?
              
				DEVLIN 
		You're answering for yourself.
              
				ALICIA 
		I am asking you.
              
				DEVLIN 
		It's up to you.
              
				ALICIA 
		Not a peep, hm?  Oh, darling, what you 
		didn't tell them, tell me. That you believe 
		I'm nice, and that I love you, and I'll 
		never change back.
              
				DEVLIN 
		I'm waiting for your answer.

Alicia slowly walks into the apartment.
       
				ALICIA  
		What a little pal you are. Never believing 
		me, hm? Not a word of faith. Just down the 
		drain with Alicia. That's where she belongs. 
		Oh, Dev, Dev.  

Alicia pours herself a drink and takes a swallow.

				ALICIA
		When do I go to work for Uncle Sam?
              
				DEVLIN 
		Tomorrow morning.

He joins her inside.  She looks out at their candlelight dinner on the 
balcony.

				ALICIA 
		Oh, we shouldn't have had this out here. It's 
		all cold now. 

Alicia sees Devlin looking around as if he's lost something.

				ALICIA
		What are you looking for?               

				DEVLIN 
		I had a bottle of champagne, I must have left 
		it somewhere.

								FADE OUT

EXT. TAXI CAB - DAY

FADE IN on a TAXI, driving through Rio, the next morning.

								DISSOLVE TO:

INT. TAXI CAB - DAY

Devlin and Alicia, in riding clothes, travel to Sebastian's club.

				DEVLIN 
		In case you're asked, I'm with Pan American 
		Airways.

				ALICIA  
		As Devlin?

				DEVLIN  
		Yes.  Public relations office.

				ALICIA  
		Anything else?

				DEVLIN  
		No, except we met on the plane coming in 
		from Miami.  Less detail the better.

								DISSOLVE TO:

EXT. THE RIDING CLUB - DAY

Not long after, Alicia and Devlin ride side by side, down a path, on rented 
horses.  They trail behind another couple and keep their voices low.

				DEVLIN 
		Are you sure that's him?

				ALICIA 
		Yes.

				DEVLIN  
		We'll go by him easy, let him spot you.  
		Come on.

ALEXANDER SEBASTIAN, a short, fiftyish businessman, more distinguished-looking
than handsome, rides alongside a woman his age, SENORA ORTIZ.  Sebastian 
glances at Alicia as she and Devlin ride past, but the brim of Alicia's hat 
obscures her eyes, and he fails to recognize her.  Once past Sebastian,
Devlin and Alicia confer quietly.

				ALICIA 
		I guess I'm the girl nobody remembers.

				DEVLIN  
		Was it Sebastian?

				ALICIA  
		Yes.

				DEVLIN  
		We'll stick around.  Give him another chance.

Devlin gets an idea and furtively kicks Alicia's horse in its side, causing 
it to run wild down the path -- Alicia stays in the saddle but is unable to 
halt the horse. Sebastian, seeing the runaway, gives chase and reins it in.  
From a distance, Devlin observes the couple.  He sees Sebastian recognize 
Alicia and shake hands with her.  Devlin's face registers mixed emotions at 
the success of his ploy.

								DISSOLVE TO:

EXT. SIDEWALK CAFE - NIGHT

Devlin unhappily sitting at a table in the SIDEWALK CAFE opposite an empty 
chair, a few nights later.  He smokes a cigarette to the accompaniment of 
ugly traffic NOISE.

								FADE OUT
       
INT. FANCIER RESTAURANT - NIGHT

FADE IN on Alicia unhappily sitting at a table inside a much FANCIER 
RESTAURANT opposite an empty chair, that same night.  She nurses a drink to 
the accompaniment of beautiful orchestral MUSIC.  An apprehensive Sebastian 
enters and joins her at the table, kissing her hand.

				SEBASTIAN  
		My dear, Alicia.  Will you forgive me for 
		being late?  
			(sits) 
		Last minute conference at the office.  You 
		got my message?

				ALICIA  
		Yes.  It's all right, Alex.

				SEBASTIAN  
		Sweet of you to wait.  I was afraid you 
		might run off.

				ALICIA  
		Oh, I'm not that easily put off.  I was too 
		anxious to meet you again.

				SEBASTIAN  
		You know, I'm tired.  The worst thing about 
		business is it makes you feel old and look old.

				ALICIA  
		You seem to have escaped all of that.

				SEBASTIAN  
		Four years of dullness and disintegration.  
		Awful.

				ALICIA  
		Alex, you look younger than you did in Washington.

				SEBASTIAN  
		Well, it's a temporary improvement, entirely 
		due to your presence, my dear.  You always 
		affected me like a tonic.  Perhaps now with 
		you here in Rio -- unless you insist on running 
		away from me again -- 

The waiter arrives.

				SEBASTIAN
			(to Alicia) 
		Oh, uh, would you like another drink?

				ALICIA 
		Yes.

Sebastian orders the drink as Alicia catches sight of Captain Prescott in 
another part of the restaurant, sitting down to dinner with a lady friend.
Sebastian follows her gaze.

				SEBASTIAN 
			(to Alicia)
		You know him?

				ALICIA 
		Hm?  No, I don't think so. But he seems 
		familiar.

				SEBASTIAN 
			(matter-of-fact)
		Captain Prescott, intelligence man.  He's 
		down here as part of the Washington espionage.  
		The American embassy is loaded with them.

				ALICIA 
		Really?

Sebastian looks back at Prescott.

				SEBASTIAN
		Hey, he's rather handsome, isn't he?

				ALICIA  
		I'm allergic to American agents. Their fine 
		points don't particularly appeal to me.

				SEBASTIAN  
		They've bothered you since you came down?

				ALICIA  
		No.  No, not yet.

				SEBASTIAN  
		They were troublesome in Miami?

				ALICIA 
		Yes, that's why I left right after the trial, 
		to get away from their snooping.

				SEBASTIAN 
		I wondered why you left your father.

				ALICIA 
		He insisted.  He was so unselfish.  He kept 
		worrying about me, begging me to leave.  I 
		had no idea he was going to die.

				SEBASTIAN 
		Many things have died for all of us. We 
		mustn't let our spirit die with them. 
		Perhaps I can help you to forget. I'd like 
		to.

				ALICIA 
		It's odd, but I feel at home with you.
              
				SEBASTIAN 
		You know my dear, I knew this was going 
		to happen. I knew when we met the other 
		day that if I saw you again, I'd feel 
		what I used to for you. The same hunger. 
		You're so lovely, my dear.  Oh, now I'm 
		going to make a fool of myself again.  
		There's someone else, of course.  Who is 
		it this time?  That Mister Devlin you 
		were with?

				ALICIA 
		There is no one.

				SEBASTIAN 
		He seemed attentive.

				ALICIA 
		Mister Devlin has pestered me with his 
		attentiveness ever since I arrived.  I met 
		him on the plane from Miami.

				SEBASTIAN 
		You made a pretty couple.

				ALICIA 
		Alex, Mister Devlin doesn't interest me.  
		I was so lonely that day I could have gone 
		riding with Peter Rabbit.

				SEBASTIAN 
		You'll let me help your loneliness?

				ALICIA 
		You are very sweet to forget what a 
		brat I was... once.

				SEBASTIAN 
		My dear, I shall test out your repentance 
		at once.  Will you have dinner with me 
		again tomorrow night?

				ALICIA 
		Thank you, very much.

				SEBASTIAN 
		My house?

				ALICIA 
		Yes, how nice.

				SEBASTIAN 
		My mother is giving a dinner party.

				ALICIA 
		She won't mind an extra guest?

				SEBASTIAN 
		An old friend is never an extra guest.  Well, 
		shall we order now?

				ALICIA 
		Yes.  Yes, I'm starved.

				SEBASTIAN 
			(to the waiter) 
		Garcon?  
			(to Alicia) 
		Now, let's see, what shall we -- what shall we 
		have for our first dinner together?

Alicia's face registers mixed emotions at her success in gaining access to 
Sebastian's house.

								FADE OUT

INT. ALICIA'S APARTMENT - NIGHT

FADE IN on a gift card and flowers in ALICIA'S APARTMENT, the next evening.
On the card, the printed "Alexander Sebastian" is crossed out and replaced 
by a handwritten "Alex".  Devlin gives this a dirty look while pretending to 
read a magazine. Prescott is watching Devlin curiously when Alicia enters 
the living room from her bedroom, looking rather stunning in a white fur. 
Devlin averts his gaze.

				ALICIA 
			(to both men)
		Good evening.

				PRESCOTT 
			(off her clothes)
		Very good.

				ALICIA 
		Yes.  Yes, isn't it?

				PRESCOTT 
		Oh, I'd like you to wear these.  They're 
		rented for the occasion.

Prescott produces an expensive necklace.

				ALICIA 
		Oh.  All right. 

She needs help fastening the clasp and is about to ask Devlin, but thinks 
better of it.

				ALICIA 
			(to Prescott)
		Would you help me, please? I --

				PRESCOTT 
			(surprised)
		Wh-- Why, yes, certainly.

				ALICIA 
		Thank you.

				PRESCOTT 
			(while fastening the necklace) 
		So, the old boy knew me, eh?

				ALICIA 
		Yes, he thought you were very handsome.

				PRESCOTT 
		Oh, you don't say?  Sorry I'm not going with 
		you.  
			(off the jewelry) 
		Oh, Dev'll pick those up later. Now, try to 
		memorize the names of all the people you see 
		there tonight. The men, I mean. And get 
		their nationalities. That's very important.

				ALICIA 
		You mean the Germans?  That won't be 
		difficult for me.

				PRESCOTT 
		And I suggest that you, uh, don't ask any 
		questions. Just use your eyes and ears. 
		They're a pretty keen and desperate bunch. 
		Don't underestimate them. 

				ALICIA 
		Thank you for your instructions.  Good 
		evening.

				PRESCOTT 
			(to both Devlin and Alicia)
		Oh, by the way, unless you have something 
		very urgent to report, I suggest that you 
		two keep shy of each other for the next 
		few days.  That's in case Sebastian's people 
		want to check on you after you visit.

				ALICIA 
		Yes, I understand.

				PRESCOTT 
		That's all.  Good luck.

				ALICIA 
		Good evening.

				DEVLIN  
		Good night.

Prescott closes the door behind Alicia as she leaves.

								FADE OUT 

EXT. SEBASTIAN'S FRONT STEPS - NIGHT

FADE IN on Alicia's taxi arriving at the FRONT STEPS of the Sebastian mansion
that night.

								DISSOLVE TO:

EXT. THE FRONT DOOR - NIGHT

Alicia stands at the FRONT DOOR moments later as JOSEPH, the butler, lets her
in.

				ALICIA 
		Good evening.  I'm Miss Huberman.  Would 
		you tell Mister Sebastian that I'm here?

INT. THE ENTRY HALL - NIGHT

Joseph leads Alicia through the mansion's large ENTRY HALL, past the closed 
door of the study from which she hears the muffled voices of the other 
guests, and into the LIBRARY.  She watches nervously as Sebastian's 
imperious mother, MADAME SEBASTIAN, walks down the entry hall's curving 
grand staircase to greet her.

				MME. SEBASTIAN 
		Miss Huberman?

				ALICIA 
		Yes.

				MME. SEBASTIAN 
		Please, forgive me for keeping you waiting.

				ALICIA 
		Not at all.

				MME. SEBASTIAN 
		You resemble your father very much.  I'm 
		Alex's mother.

				ALICIA 
		I knew when I saw you.

				MME. SEBASTIAN 
		Alex has always admired you.  Now at last 
		I know why.

				ALICIA 
		You're very kind.

				MME. SEBASTIAN 
		You did not testify at your father's trial. 
		We thought that unusual.
              
				ALICIA 
		He didn't want me to. He refused to let his 
		lawyers call me on the stand.

				MME. SEBASTIAN 
		I wonder why.

Sebastian arrives.

				SEBASTIAN  
		Hello.  

Sebastian kisses Alicia's hand.

				SEBASTIAN
		 Alicia.  I'm so glad.  You met my mother?

				ALICIA 
		Yes, we just met.

				SEBASTIAN  
		You didn't meet Alicia when we were in 
		Washington four years ago, did you, mother?  
		I don't know where you were at the time.

				MME. SEBASTIAN 
		Alex, I think we should join our other guests.

All three head for the study.

				SEBASTIAN 
			(to Alicia, en route)
		May I take your wrap?

Sebastian takes the fur and he and his mother enter the STUDY.  Alicia pauses 
in the doorway, aware that she's about to enter a lion's den. 

INT. THE STUDY - NIGHT

Once inside, Sebastian introduces Alicia to the male guests, the "keen and 
desperate bunch" Prescott had warned her about.  One by one, the men approach 
and kiss her outstretched hand. 

				SEBASTIAN 
		Miss Huberman, may I present Eric Mathis?

				ERIC 
			(intense but polished)
		How do you do?

				ALICIA 
		How do you do?

				SEBASTIAN 
		William Rossner.

				ALICIA 
		How do you do?

				ROSSNER 
		Very honored.
 
				SEBASTIAN 
		Emil Hupka.

				ALICIA 
		How do you do?

				EMIL 
			(all smiles)
		Delighted.

				SEBASTIAN 
		And Mister Knerr. And Doctor Anderson.

				ALICIA 
		Doctor Anderson.

				DR. ANDERSON 
			(genuinely)
		It gives me great pleasure.

				SEBASTIAN 
			(to Alicia)
		Doctor Anderson is our guest of honor 
		tonight...

				MME. SEBASTIAN 
			(interrupting)
		You mustn't bore Miss Huberman, Alex, with 
		discourses on science, not before dinner 
		anyway.

				JOSEPH
		Dinner is served, Madame.

Everyone heads for the dining room.

								DISSOLVE TO:

INT. THE DINING ROOM - NIGHT

The guests file into the DINING ROOM, moments later.  Mme. Sebastian is 
clearly in charge.

				MME. SEBASTIAN 
		Doctor Anderson, you will sit beside me, 
		over there.  Eric, you will sit next to 
		Miss Huberman.

Sebastian seats Alicia.  While Doctor Anderson makes small talk with one of 
the female guests, Alicia notices Emil Hupka agitatedly whisper to Sebastian 
and point to a WINE BOTTLE on a nearby table.  Sebastian calms Emil down, 
whispers some reassurance ("You're mistaken"), and leads him to his seat.  
Emil sits, somewhat ashamed.

				DR. ANDERSON 
		You have just come from Spain, Senora?

				SENORA
		A few weeks ago.  It seems ages.  Travel 
		does not mean anything anymore, it goes 
		so swift.  One has the feeling of not going 
		anywhere.  I suppose we can expect rocket
		ships to be carrying us across the ocean 
		very soon.

				DR. ANDERSON 
		You can expect many strange things.

				SEBASTIAN 
			(to Eric Mathis)
		See a good movie this afternoon, Eric?

				ERIC
		No.  I was disappointed.

				SEBASTIAN  
		Hm, must've been a comedy.  
			(to Alicia) 
		You know, Eric loves to go to the movies 
		to cry.  He's very sentimental.

Alicia sees Sebastian scowl at the others, apparently with regard to Emil.

				SENORA 
			(rambles on) 
		[?] It takes nearly as long to go from the 
		city to the airport as it does to cross the [?]...

Alicia eyes the WINE BOTTLES with concern.

								FADE OUT

INT. THE ENTRY HALL - NIGHT

FADE IN on Emil Hupka pacing outside the closed doors of the STUDY, shortly 
after dinner. 

								CUT TO:

INT. THE STUDY - NIGHT

The other men, seated around a table, enjoy brandy and cigars.

				ERIC
		I'm afraid, gentlemen, that something must 
		be done about Emil.

				DR. ANDERSON  
		I don't know.  It was an understandable slip.  
		Man was tired.

				ROSSNER
		Bah.  It is a very dangerous slip.

				KNERR
		It's not the first one.  There have been 
		several other lapses before.  There'll be 
		more, if we permit them.

				DR. ANDERSON 
		That's bad.  That's very bad.

				ERIC  
		I think, gentlemen, you can leave it to me 
		to find some way.  When you drive up to 
		Petropolis the road winds quite a bit.  It 
		is very high.  There are some very awkward 
		turns.  I'm sure I'll not have any difficulty 
		in getting Emil to give me a lift in his car.  
		It's quite a trick to jump clear.  I'll just 
		have to be careful, that is all.  Turned my 
		ankle the last time.

Eric turns to see Emil Hupka enter and approach the table.

				EMIL 
			(to Alex)
		Madame says, will you join the others or will 
		you take your coffee in here?

				SEBASTIAN 
		Oh, I think we'll take coffee in here, Emil.

				EMIL 
			(to all)
		I'm very sorry, gentlemen, to make such an 
		exhibition.

				DR. ANDERSON 
		Nonsense.  We all have nerves.  

				ERIC  
			(to Emil) 
		You have been overworking.  
			(to Rossner) 
		Don't you think so, Rossner?  
			(to Emil) 
		You need a rest.  Your health is very important to us.

				EMIL
		That's very considerate.  I am very tired.  
		So, now I think perhaps if-if you'll make 
		my pardon to the ladies, Alex, for my leaving 
		so early then I will go now.

				ERIC 
			(rises)
		Maybe, Emil, it would be better if I came 
		with you.  I think that perhaps if you 
		drive all the way up to Petropolis, it 
		might be too much for you.  I shall drive 
		you.

				EMIL 
			(apprehensive)
		No.  That would be too much for you.  All 
		that way.  That's too much to ask.

				ERIC 
		Nonsense.  I'd love to go.  

Eric leads Emil to the door.

				ERIC
			(to Emil)	
		Come on, Emil. 
			(to all)
		Good night, gentlemen.  

				EMIL
		Good night, Alex.

				ROSSNER 
		I hope you feel better in the morning, Emil.

				EMIL
		Thank you.  And I'm very sorry to make a 
		scene before strangers.  Very sorry. 

Emil exits.  Eric turns in the doorway, as polished as ever.

				ERIC  
		Thank you, Alex, for an excellent dinner.  
		And please tell your mother for me that the 
		dessert was superb.

Eric closes the study door.

								FADE OUT 

EXT. THE RACETRACK - DAY

FADE IN on the huge early morning crowd that packs the big RACETRACK in Rio 
at the foot of a picturesque mountain, a day or so later.

								DISSOLVE TO:

A CLOSER VIEW of the same.

								DISSOLVE TO:

EXT. SEBASTIAN'S BOX - DAY

Sebastian, peering through binoculars, and his mother, reading a newspaper, 
sit with Alicia's empty seat between them. 

				MME. SEBASTIAN 
		Miss Huberman has been gone a long time.
              
				SEBASTIAN 
		Mother, is it necessary for you to always 
		address Alicia as Miss Huberman? I do wish 
		you'd be a little more cordial to her.

				MME. SEBASTIAN 
		Really, I thought I was behaving rather well. 
		Has she been complaining about me? 

				SEBASTIAN 
		No. 

				MME. SEBASTIAN 
		I'm grateful.
              
				SEBASTIAN 
		You might smile at her.

				MME. SEBASTIAN 
		Wouldn't it be a little too much if we both 
		grinned at her like idiots?
              
				SEBASTIAN 
		Please, mother. I want to enjoy myself.

				MME. SEBASTIAN 
		Is it so boring to sit with me alone?
              
				SEBASTIAN 
		Not at all, not at all.

								DISSOLVE TO:
       
EXT. IN THE CROWD - DAY

Devlin spots Alicia in the racetrack CROWD as she leans against a guard 
rail, moments later.  He joins her, and they put on a show of pretending 
that this is a chance encounter.

				DEVLIN 
		Hello.

				ALICIA 
		Oh, hello.  

Devlin shakes Alicia's hand.

				DEVLIN 
		I thought I saw you.

				ALICIA 
		How are you?

				DEVLIN 
		Fine, thanks.  Great turnout, isn't it?

				ALICIA 
		Yes.

They lower their voices.

				DEVLIN 
		Where are they?

				ALICIA 
		In a box in the stands.  I don't think they 
		can see us, Alex and his mother.

				DEVLIN 
		Don't telephone me anymore.  Just rely upon 
		my popping up.

				ALICIA 
		Can you hear me?

Devlin pretends to fill out a racing form while taking notes.

				DEVLIN 
		Sure, go ahead.

				ALICIA 
		Heard of, uh, Doctor Anderson?

				DEVLIN 
		No.

				ALICIA 
		He's some kind of a scientist.  Kind face, 
		sixty years old, gray hair, deep crease in 
		forehead.

				DEVLIN 
		Tall or short?

				ALICIA 
		Short.

				DEVLIN 
		Hmmph.

				ALICIA 
		Emil Hupka?  Heard of him?

				DEVLIN 
		No.

				ALICIA 
		He made quite a scene about a wine bottle 
		the other night.

				DEVLIN 
		Didn't like the vintage?

				ALICIA 
		He seemed to think there was something else 
		in the bottle.

				DEVLIN 
		Was there?

				ALICIA 
		No.  It was wine.  We drank it.

				DEVLIN 
		Has he pulled anything since?

				ALICIA 
		Haven't seen him since.

				DEVLIN 
		Anything else?

				ALICIA 
		Nothing important.  Just a minor item that 
		you may want for the record.

				DEVLIN 
		What is it?
              
				ALICIA 
		You can add Sebastian's name to my list of 
		playmates.

A pause, as Devlin's jealousy surfaces, changing his whole demeanor.

				DEVLIN 
			(bitterly)
		Pretty fast work.
              
				ALICIA 
			(loses her composure)
		That's what you wanted, wasn't it?
             		 
				DEVLIN 
			(harsh)
		Skip it.

				ALICIA 
			(back to putting on a show) 
		Are you betting on this race?

				DEVLIN 
		No.

				ALICIA 
		Alex says number ten is sure to win.  He knows 
		the owner.

				DEVLIN 
		Thanks for the tip.

				ALICIA 
		Alex says they've been holding him back all 
		season --

They lower their voices again.

				DEVLIN 
		I can't help recalling some of your remarks.  
		About being a new woman. Daisies and 
		buttercups, wasn't it?
              
				ALICIA 
		You idiot. What are you sore about? You knew 
		very well what I was doing. 
              
				DEVLIN 
		Did I?
              
				ALICIA 
		You could have stopped me with one word. But, 
		no, you wouldn't. You threw me at him.
              
				DEVLIN 
		I threw you at nobody.
              
				ALICIA 
		Didn't you tell me to go ahead?
              
				DEVLIN 
		A man doesn't tell a woman what to do. She 
		tells herself. You almost had me believing 
		in that little hokey-pokey miracle of yours, 
		that a woman like you could ever change her 
		spots.
         
Alicia raises her binoculars to her face to watch the race, or perhaps to 
hide her anguish from Devlin.
     
				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 
		Lucky for both of us I didn't. It wouldn't 
		have been pretty if I believed in you. If 
		I'd figured: "She'll never be able to go 
		through with this. She's been made over by 
		love..."
              
				ALICIA 
			(starts to cry)
		If you only once had said that you loved 
		me. Oh, Dev.
              
				DEVLIN 
		Listen. You chalked up another boyfriend. 
		That's all. No harm done. 
              
				ALICIA 
		I hate you.
              
				DEVLIN 
			(grins)
		There's no occasion to. You're doing good 
		work. 
			(off the race) 
		Number ten's out in front. Looks as if 
		Sebastian knows how to pick 'em. 
              
				ALICIA 
		Is that all you have to say to me?
              
				DEVLIN 
		Dry your eyes, baby. It's out of character. 
		Except, keep on your toes -- it's a tough 
		job we're on.

Devlin sees Sebastian coming.

				DEVLIN
			(to Alicia)
		Snap out of it, here comes dreamboat.

Sebastian threads through the crowd and joins them as Alicia tries to regain 
her composure.

				ALICIA  
		Oh, hello, Alex.  It was so exciting, a 
		beautiful horse.  Do you remember Mister 
		Devlin?

				SEBASTIAN 
			(to Devlin)
		How do you do?

				DEVLIN 
			(to Sebastian)
		Hello. Alicia tells me you had a bet on 
		number ten.  Sorry I didn't get the tip 
		earlier.  So long. 

Devlin walks off.

				ALICIA 
		See you sometime, Dev.  
			(to Alex) 
		It was a wonderful race.  Did you have 
		much money on the winner?

				SEBASTIAN  
		I didn't see the race.

				ALICIA  
		Didn't you?  I thought I saw you looking 
		through your field glasses.

				SEBASTIAN  
		I was watching you and your friend, Mister 
		Devlin.  I presume that's why you left my 
		mother and me.  You had an appointment to 
		meet him.

				ALICIA  
		Don't be absurd.  I met him purely by accident.

				SEBASTIAN  
		You didn't seem very anxious to get away 
		from him.

				ALICIA  
		Oh, he's just...

				SEBASTIAN  
		I watched you.  I thought maybe you're in 
		love with him.

				ALICIA 
		Don't talk like that. I detest him.

				SEBASTIAN  
		Really?  He's very good looking.

				ALICIA  
		Alex, I've told you before. Mister Devlin 
		doesn't mean a thing to me.

				SEBASTIAN 
		I'd like to be convinced. Would you maybe 
		care to convince me, Alicia, that Mister 
		Devlin means nothing to you?

								DISSOLVE TO:

EXT. U.S. EMBASSY - DAY

The U.S. EMBASSY, not long after.

								DISSOLVE TO:

INT. PRESCOTT'S OFFICE - DAY

Prescott sits with Beardsley and Beardsley while a moody Devlin stands, 
staring out a window.
               
				PRESCOTT  
		... pleased to hear, Senor Barbosa, that 
		our little theatrical plan is working.  We've 
		got hold of something concrete for a change.

				BARBOSA  
		I'm delighted, gentlemen.  What is it?

				PRESCOTT 
		Professor Wilhelm Otto Rensler is working 
		here in Brazil.  

				BEARDSLEY
		One of Germany's scientific wizards.

				BARBOSA 
		I didn't know he was here.

				PRESCOTT 
		Oh, yes.  He's living and experimenting in 
		Sebastian's house.  They call him Doctor 
		Anderson.

A KNOCK at the door.

				BARBOSA 
		Entree.

A young man, RIBIERO, enters.

				RIBIERO
		Excuse me, sir.  Miss Huberman wishes to see 
		Captain Prescott or Mister Devlin.

				PRESCOTT 
		What do you mean, she's here?

				RIBIERO
		Yes, sir.

				BEARDSLEY
		Well, show her in, Ribiero.

				RIBIERO
		Yes, sir.

He goes to fetch her.

				PRESCOTT 
		I don't like this.  I don't like her coming 
		here.

				BEARDSLEY
		She's had me worried for some time.  A woman 
		of that sort.

				DEVLIN 
			(to Beardsley)
		What sort is that, Mr. Beardsley? 

				BEARDSLEY
		Oh, I don't think any of us have any illusions 
		about her character, have we Devlin?
              
				DEVLIN 
			(bitterly ironic)
		Not at all, 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 honor and virtue.
              
				PRESCOTT 
		Take it easy, Dev.

				DEVLIN 
			(to Prescott)
		Sorry.

				BEARDSLEY
		I think those remarks about my wife are 
		uncalled for.

				DEVLIN 
			(to Beardsley)
		Withdrawn.  Apologized, sir.

The door opens and a dazed Alicia is shown into the office.

				PRESCOTT 
		How do you do, Miss Huberman?

				ALICIA  
		How do you do?

				PRESCOTT 
			(introduces the others)
		This is Mister Beardsley and Senor Julio 
		Barbosa.  Care to sit down?

				ALICIA 
			(sits)  
		Thank you.

				BARBOSA  
		You have the esteem of my government, 
		Senorita.

				BEARDSLEY
		But we are worried about you visiting 
		this office.

				ALICIA  
		I promise not to break the rules again, 
		but I need some advice and I couldn't 
		find Mister Devlin.  In fact, I need it 
		before lunch.

				PRESCOTT 
		Something happened?

				ALICIA 
		Yes, something rather confusing.  Mister 
		Sebastian has asked me to marry him.

				BEARDSLEY
		What?

				PRESCOTT 
		Well, well.
           
				ALICIA 
		He... he wants me to marry him right away 
		and I am to give him my answer at lunch.  
		And I didn't know what the department might 
		think about such a step.

				PRESCOTT 
		Are you willing to go this far for us, Miss 
		Huberman?
              
				ALICIA 
			(to Prescott)
		Yes, if you wish.
              
				PRESCOTT 
		What do you think of this, Devlin?
             	 
				DEVLIN 
		Oh, I think it's a useful idea. 
              
				BEARDSLEY 
			(to Devlin)
		Well, you know the situation better than 
		any of us.
              
				DEVLIN 
			(to Alicia)
		May I ask what inspired Alex Sebastian to 
		go this far?
              
				ALICIA 
		He's in love with me.
              
				DEVLIN 
		And he thinks you're in love with him?
              
				ALICIA 
			(more to Devlin than the others)
		Yes, that's what he thinks.

				BARBOSA 
			(delighted)
		Gentlemen, it's the cream of the jest.

				ALICIA 
			(looks straight at Devlin) 
		Then... then, it's all right?

Prescott sees the look pass between Alicia and Devlin but doesn't know what 
to make of it.

				PRESCOTT 
		Well.  Yes, I-I'd say so.  Of course, it's 
		a perfect marriage... for us.

				DEVLIN 
		There's only one thing. Won't it delay us a bit?

				PRESCOTT 
		What do you mean?

				DEVLIN 
		Well, Mister Sebastian is a very romantic 
		fellow, isn't he, Alicia?

				ALICIA 
		Yes.

				DEVLIN 
		Then he'll probably want to take his bride 
		away for a long honeymoon.  Won't that hold 
		us up?

				BEARDSLEY
		Devlin's got a point there.

				PRESCOTT 
		Oh, I don't know.  I think we can rely on 
		Miss Huberman to get back into the house, 
		quickly.

				ALICIA 
			(quietly)
		Yes, I think I can manage that.

Devlin abruptly begins leaving the room to cover his emotion.

				DEVLIN  
		Well, everything seems to be nicely arranged.  
		I don't think you need me here anymore, 
		do you, Captain Prescott?

Devlin closes the door on his way out, leaving a drained Alicia with the 
others.

				PRESCOTT 
		I do want to thank you, Miss Huberman, very 
		much.  I think so far everything has been 
		managed with great intelligence.

				BARBOSA 
		Yes.  Thank you very much.

								DISSOLVE TO:

INT. MME. SEBASTIAN'S BEDROOM - DAY

Not long after, Sebastian stands, watching his seated mother doing her 
needlepoint.

				MME. SEBASTIAN  
		Are you quite sure she didn't come down 
		here to see you?  To capture the rich Alex 
		Sebastian for a husband?

				SEBASTIAN 
		Oh, don't be absurd, mother.  She didn't 
		even know I was here.

				MME. SEBASTIAN 
		We will discuss it more fully tonight.

				SEBASTIAN 
		We will not discuss it tonight. You know, 
		all these carping questions are merely 
		the expression of your own jealousy -- 
		just as you've always been jealous of any 
		woman I've ever shown any interest in.  In 
		this case, there's nothing more to discuss. 

				MME. SEBASTIAN 
		You mean, then, you are going ahead with 
		this marriage?

				SEBASTIAN
		I mean that the wedding will be next week.  
		It'll be private.  We shall both be pleased 
		to have you present, if you wish.

Sebastian leaves the room, closing the door behind him.  Mme. Sebastian
sits alone.

								FADE OUT

EXT. SEBASTIAN'S MANSION - NIGHT

FADE IN on Sebastian's limousine as it arrives at the MANSION some weeks 
later.

								DISSOLVE TO:
 
EXT. SEBASTIAN'S FRONT STEPS - NIGHT

Sebastian and his wife Alicia, arm in arm, exit the limo and mount the 
FRONT STEPS, moments later.

								DISSOLVE TO:

INT. THE ENTRY HALL - NIGHT

In the darkened ENTRY HALL, Joseph the butler goes to answer the KNOCKING at 
the front door.  He checks the peephole and is surprised to see the 
newlyweds.  He hurriedly lets them in.

				JOSEPH 
		Oh.  Good evening, sir.  Madame.

				ALICIA 
		Good evening, Joseph.

				SEBASTIAN 
		Joseph. 
			(seeing the darkness) 
		Joseph, it doesn't look very cheerful in here.

				JOSEPH 
		I'm sorry, sir.  Madame Sebastian wasn't 
		certain you'd be back tonight.

				SEBASTIAN 
		Why not?  I telegraphed her.

Joseph turns on some lights.

				JOSEPH
		Madame Sebastian said we were all to 
		retire, sir.

				SEBASTIAN 
		Where is my mother?

Joseph takes their wraps.

				JOSEPH 
		Madame Sebastian went to bed very early, sir.

				SEBASTIAN 
			(to Alicia)
		I'm sorry, my dear, I'm afraid this isn't a 
		very bright homecoming for you.

				ALICIA 
		That's all right, Alex.

				SEBASTIAN 
		Well, what shall we do?  Shall we have Joseph 
		arrange a little food for us?

				ALICIA 
		Not unless you want to, I'm rather tired 
		myself.

				SEBASTIAN 
		We'll go right up then?

				ALICIA 
			(to Joseph)
		Good night.

				JOSEPH 
		Good night.

Sebastian and Alicia go up the grand staircase.

								FADE OUT 

INT. ALICIA'S BEDROOM - DAY

FADE IN on Alicia and the household staff moving her things into the mansion,
the next morning.

				ALICIA 
			(to a maid)
		I'd like to have all my dresses put out 
		on the bed here. Don't hang anything up, 
		I'd like to know where everything goes. 
			(to Joseph) 
		Oh, Joseph, did you have the closets aired?

				JOSEPH 
		Yes, Madame.

Joseph shows Alicia a closet.

				ALICIA 
		Oh, this isn't very large.  I'll need 
		more room.

Alicia leads Joseph into the HALLWAY to hunt for more closet space.  She 
tries a door.

				ALICIA 
		This door is locked.

				JOSEPH 
		That's used for a storeroom, Madame.

				ALICIA 
		Oh.  May I have the key?

				JOSEPH 
		I do not have the keys, Madame.

				ALICIA 
		Where are they?

				JOSEPH 
		Madame Sebastian has charge of all the 
		housekeys, Madame.

				ALICIA 
		Oh.  Do you know where Mister Sebastian is?

				JOSEPH 
		I believe he is having a business meeting 
		downstairs in the study, Madame.

								CUT TO:

INT. THE ENTRY HALL - DAY

The study DOORS are closed.

								DISSOLVE TO:

INT. THE STUDY - DAY

Sebastian's "business meeting" is underway.  All the men introduced to 
Alicia at the party are present, except one, of course.

				DR. ANDERSON  
		I miss Hupka.  He was a first-class metallurgist.

				SEBASTIAN 
		Leykin is just as good.

				DR. ANDERSON 
		Such is your opinion.  But I don't want to 
		criticize.  What, er, were you asking?  Oh, 
		you want a report.  [?] Well, my friends.  
		My work is done.

				SEBASTIAN 
		You've been successful?

				DR. ANDERSON 
		Yes.

									CUT TO:

INT. THE ENTRY HALL - DAY

Alicia approaches the study DOORS, knocks, and quickly barges in on the 
meeting.

				ALICIA 
		Oh, I'm very sorry.

Sebastian joins her at the doorway.

				SEBASTIAN 
		Not at all, come on in.

				ALICIA 
		No, I'm sorry to interrupt you, I didn't 
		know you were busy.  Some of the closets 
		are locked.  Could you give me the keys?

				SEBASTIAN 
		Oh, I'm so sorry.  I'd forgotten about the 
		keys.  Of course, I'll get them for you at 
		once.

Sebastian closes the door and he and Alicia walk hand-in-hand up the stairs.

								DISSOLVE TO:

INT. UPSTAIRS HALLWAY - DAY

Alicia and Sebastian arrive at the top of the stairs, where they separate -- 
she heads for her room and he heads for his mother's.

				SEBASTIAN 
			(to Alicia)
		I'll bring the keys to you right away, my 
		dear.

Alicia watches as Sebastian walks down the hall and knocks on his mother's 
door.

				SEBASTIAN 
		Mother? Mother?

				MME. SEBASTIAN 
		Come in.

Alicia watches as Sebastian enters his mother's room and closes the door 
behind him.  She hears their muffled voices quickly raised in argument.

				SEBASTIAN 
		Mother, Alicia wants the keys to get into 
		the closets.

				MME. SEBASTIAN 
		I think they can be safer left to me.  After 
		all if she wants the keys...

				SEBASTIAN 
		Please, mother, stop arguing!  Give me 
		those keys.

				MME. SEBASTIAN 
		I will not. [You won't get these keys and 
		that's it.?]

				SEBASTIAN 
		Mother, will you please give me the keys?  
		Thank you.

Sebastian exits his mother's room and strides down the hall grimly, but is 
all smiles by the time he enters Alicia's bedroom.

INT. ALICIA'S BEDROOM - DAY

Sebastian finds Alicia arranging her many clothes.

				SEBASTIAN 
		Well, here they are.  

Sebastian places the keys in Alicia's hand.

				SEBASTIAN
		Afraid I'm going to be busy for the rest 
		of the morning, my dear.  

Sebastian kisses Alicia's cheek

				SEBASTIAN
		See you at lunch.

				ALICIA 
		Thank you, dear.

He leaves, closing the door behind him, while she eyes the keys in her hand.

								DISSOLVE TO:

INT. MONTAGE - DAY

Alicia and Joseph unlock doors to a number of closets and storerooms, ending 
on a Unica brand lock in the PANTRY for which Alicia has no key.

				JOSEPH 
		Mister Sebastian has the key for this, 
		Madame.  It's the wine cellar.

As they walk away from the door, Alicia glances back over her shoulder at 
the UNICA LOCK.

								FADE OUT

EXT. CITY PARK - DAY

FADE IN on Devlin and Alicia sitting on a park bench, some time later.

				DEVLIN 
		Well, then, the wine cellar is the obvious 
		place to look.

				ALICIA 
		Alex has the key to that.

				DEVLIN 
		Then get it from him.

				ALICIA 
		Get it?  How?

				DEVLIN 
		Don't you live near him?

				ALICIA 
		What do I look for if I get the key?

				DEVLIN 
		You look for a bottle of wine, like the one 
		that rattled the fellow at dinner that night.

				ALICIA 
		All the bottles look alike to me. I'm no 
		mastermind.
              
				DEVLIN 
		You're doing all right.
              
				ALICIA 
		It's no fun, Dev.
              
				DEVLIN 
		Too late for that now, isn't it? Look, uh, 
		why don't you persuade your husband to throw 
		a large shindig, so that he can introduce 
		his bride to Rio society, say sometime next 
		week?
              
				ALICIA 
		Why?
              
				DEVLIN 
		Consider me invited, and I'll try and find 
		out about that wine cellar business.
              
				ALICIA 
		I don't think my husband is interested in 
		entertaining just yet.
              
				DEVLIN 
		The honeymoon isn't over, huh? Don't 
		underestimate your charms, Mrs. Sebastian, 
		you can handle it.
              
				ALICIA 
		I don't think it's going to be so easy 
		about you. He thinks you're in love with me.
              
				DEVLIN 
		Well, then, tell him you thought if you 
		invited me to the house and I saw how 
		happily married you were, then the horrid 
		passion I have for you might be torn out 
		of me.
              
				ALICIA 
		That sounds very logical.

				DEVLIN 
		Good, next week then, and get the key.  I 
		have to fly up to Belem, but I'll be back 
		in time.

				ALICIA 
		All right.

Alicia rises.

				ALICIA
		I'll be looking forward to seeing you.

Devlin rises, gallantly removing his hat.

				DEVLIN 
		Always a pleasure meeting you, Madame.

She walks off.

								DISSOLVE TO:

EXT. SEBASTIAN'S MANSION - NIGHT

The Sebastian MANSION early one night, about a week later.  All the lights 
are on in preparation for a "large shindig."

								DISSOLVE TO:

INT. UPSTAIRS HALLWAY - NIGHT

Inside the mansion, the night sky is visible through a window next to a 
grandfather clock which reads what looks like twenty to seven.

								DISSOLVE TO:

INT. SEBASTIAN'S DRESSING ROOM - NIGHT

Alicia, rather stunning in a black gown, puts on earrings as she approaches 
Sebastian's DRESSING ROOM.  She sees that he is in his bathroom, the door of 
which is slightly ajar.  She then spots his key chain on a nearby table.  
She reaches for it, pausing at the sound of his voice.

				SEBASTIAN 
			(from the bathroom)
		I'm surprised at Mister Devlin coming 
		tonight.  I don't blame anyone for being 
		in love with you, darling.  I-I just 
		hope that, er, nothing will happen to 
		give him any false impression.  Be with 
		you in a minute.

As he speaks, Alicia picks up the key chain, finds the Unica key, and 
removes it.  She is on her way out of the dressing room, clutching the key 
in her fist, when Sebastian suddenly emerges from the bathroom in a robe 
and crosses to her.

				SEBASTIAN 
		Darling.

He takes both her HANDS in his.  She tenses up.

				SEBASTIAN 
		It's not that I don't trust you, but when 
		you're in love at my age, every man who 
		looks at a woman is a menace.  Will you 
		forgive me for even talking about it?  
		I'm very contrite.

To show his contrition, Sebastian opens Alicia's right hand and slowly 
kisses her palm.  She realizes he is about to do the same with her left 
hand, the one with the key in it.  To prevent this, she throws her arms 
around him in what's meant to be a passionate embrace. As she does this, 
she drops the key on the carpet behind him and somehow pushes it under a 
table with her foot.

								DISSOLVE TO:

INT. THE ENTRY HALL - NIGHT

In the mansion's well-lit ENTRY HALL, the big party is just getting underway.
From top to bottom:  a crystal chandelier, a curving grand staircase, a 
sizable number of formally-dressed party guests drawn from Rio's elite, and,
in the center of it all, the dapper host who greets each guest at the front 
door, his lovely new wife -- and a stolen wine cellar key that she secretly 
clutches in a nervous hand.  The only thing missing is a certain American 
intelligence agent who has not yet shown up, much to Alicia's concern.

				SEBASTIAN 
			(to Alicia)
		Well, I think we might join the rest of 
		the party now.  I think all our guests 
		are here.

Sebastian leads her away just before Devlin arrives.  A SERVANT takes his
coat.

				DEVLIN 
			(to the servant)  
		Where can I find Alex Sebastian?

				SERVANT
		By the drawing room, sir.

				DEVLIN
		Thanks.

Devlin strides off to the drawing room.

INT. DRAWING ROOM - NIGHT

Devlin spots Alicia, who approaches him.  A jealous Sebastian watches them 
from the opposite side of the room.

				ALICIA 
		Hello, Dev.

				DEVLIN 
		Good evening.

Devlin kisses Alicia's hand, palming the key.

				ALICIA 
		You haven't seen the house, have you?

				DEVLIN 
		Well, it's quite a jolly little cottage.

				ALICIA 
		Let me show you around the place.

				DEVLIN 
		Later, his [nips?] is on the trail.

Sebastian approaches and shakes hands with Devlin.

				SEBASTIAN 
		Mister Devlin.  

				DEVLIN 
		Good evening.

				SEBASTIAN 
		Glad to see you.

				DEVLIN 
		It was kind of your bride to invite me.

				SEBASTIAN 
		We both invite you, Mister Devlin.  
			(to Alicia)  
		See that our guest is fed, my dear, amused. 
	 	You know -- 

Sebastian sees a guest he has not yet greeted.

				SEBASTIAN
			(to Alicia)
		Oh, excuse me.  
			(to the guest) 
		Madame Esterich, I'm so glad to see you...

Sebastian abruptly walks off.  Devlin and Alicia speak in low voices as they 
head for the bar.

				DEVLIN 
		This isn't going to be easy.
              
				ALICIA 
		Why?
              
				DEVLIN 
		He, er, he's quite sensitive about you. He's 
		going to watch us like a hawk.
              
				ALICIA 
		Yes, he's rather jealous of anyone.
              
				DEVLIN 
		Where'd you get the key? Off his chain? 
              
				ALICIA 
		Yes.
              
				DEVLIN 
		Let's hope the liquor doesn't run out and 
		start him down the cellar for more.

				ALICIA 
		Oh, I hadn't thought about that.

				DEVLIN 
		Quite a point.

								CUT TO:

INT. THE BAR - NIGHT

At the bar, a man who looks rather like the famed movie director Alfred 
Hitchcock sucks down a glass of champagne.  He leaves just as Devlin and 
Alicia enter.  Joseph pours drinks.  Alicia hands one to Devlin.

				DEVLIN 
		Thank you.

Devlin is suddenly accosted by Senora Ortiz, the woman with whom Sebastian 
was riding at his club.

				SENORA ORTIZ
		Oh, Mister Devlin, how nice. You remember 
		me?

				DEVLIN 
		Senora Ortiz.

				SENORA ORTIZ
		How sweet.  Young men usually have short 
		memories.  

Someone offers her a glass.

				SENORA ORTIZ
		Oh, here's something I adore, champagne. 

She takes first the glass, and then Devlin's arm, meaning to steal him away 
from Alicia.

				SENORA ORTIZ
			(to Alicia) 
		Oh, er, may I?

Alicia smiles her assent and Senora Ortiz leads Devlin away.  A preoccupied 
Alicia turns to look at the ice chest full of champagne bottles.

				ALICIA 
		Joseph?

				JOSEPH 
		Madame?

				ALICIA 
		Do you think you have enough champagne to 
		last for the rest of the evening?

				JOSEPH 
		I don't know, Madame.  I hope so.

Alicia, after noting Sebastian engaged in a conversation with a guest, heads 
back to Devlin and Senora Ortiz chatting in the ENTRY HALL.

INT. THE ENTRY HALL - NIGHT

				ALICIA 
		Enjoying yourself, Mister Devlin?

				DEVLIN 
		Very much, thank you.

				ALICIA 
		There are so many things I would like to 
		ask you about the states.  I haven't heard 
		anything for a long time.

				DEVLIN 
		I'll be glad to tell you.  Will you excuse 
		me, Senora Ortiz?

Alicia and Devlin grab a seat.  Sebastian sees them sitting together and 
waves.  Alicia smiles and toasts him with her glass.  Alicia and Devlin 
pretend to chat amiably.

				ALICIA 
		We better hurry.

				DEVLIN 
		Lots of time.

				ALICIA 
		No.  Joseph may have to ask Alex for more 
		wine.

				DEVLIN 
		Uh huh.

				ALICIA 
		He's running out faster than he thought.

				DEVLIN 
		Oh, I'm sorry to hear that. 
			(re: Sebastian) 
		Is he watching? 

				ALICIA 
		Yes. You'd better go out in the garden alone 
		and wait around back of the house for me and 
		I'll show you the wine cellar door.

				DEVLIN 
		Um hmm.

Sebastian starts walking toward the seated couple just as they rise and 
separate.  Alicia, all smiles, crosses to meet Sebastian.

				SEBASTIAN 
		Nice party, isn't it?

				ALICIA 
		A wonderful party.

				SEBASTIAN 
		I think you've done it wonderfully well.  
		I'm very proud.  Mister Devlin bother 
		you much?

				ALICIA 
		Oh, no, darling.  He's trying to drown 
		his sorrows.

								CUT TO:

INT. THE BAR - NIGHT

Devlin gets a light for his cigarette.  He notes the ice chest full of 
bottles, then slowly makes his way out of the house by way of the TERRACE.

								CUT TO:

INT. AMONGST THE GUESTS - NIGHT

Alicia, fans herself.  She and Sebastian listen to a French-speaking guest.  
A servant proffers a tray full of champagne glasses.  Alicia declines.  She 
decides to break away.

				ALICIA 
			(to Sebastian and the guest)
		Excuse me, I think I'll ask the orchestra 
		to play some Brazilian music.  They've 
		played waltzes all evening.

				SEBASTIAN  
		[?], my dear.

Alicia departs.  Sebastian remains, genuinely engrossed in the conversation.

								CUT TO:

EXT. THE GARDEN - NIGHT

Devlin, pacing in the GARDEN, outside the door that leads to the pantry.  He 
puts out his cigarette just as Alicia turns on the light inside.  She opens 
the garden door to let him to the PANTRY.

								CUT TO:

INT. THE PANTRY - NIGHT

Alicia points Devlin to the wine cellar.

				ALICIA 
		There's the door.

				DEVLIN 
		Right.

They cross to the wine cellar door and Devlin unlocks it.

				ALICIA 
		I'll keep the garden door open and I'll 
		tell you if anything happens.

Devlin enters the WINE CELLAR and snaps on the light.  Alicia waits nervously 
by the garden door as Devlin investigates.

								CUT TO:

INT. THE BAR - NIGHT

Upstairs, Joseph pours wine.  He glances at the dwindling number of bottles 
in the ice chest.

								CUT TO:

INT. THE WINE CELLAR - NIGHT

Devlin looks over the wine stock. Reaching for an inventory, he accidentally 
knocks a bottle of fine Pommard wine off a shelf.  It SHATTERS and, to his 
surprise, it's filled not with wine, but with what looks like black sand.  
Alicia, hearing the noise, enters the wine cellar.

				ALICIA 
		What happened?

				DEVLIN 
		Look, vintage sand.  

Devlin checks the other bottles.

				DEVLIN
		Hmmph.  We've got to leave things as we 
		found them.  Help me find a bottle of wine 
		with the same label as these others.  

				ALICIA 
		But that isn't really sand, is it?

				DEVLIN 
		No, I think it's some kind of metal ore.

While Alicia looks for a bottle to replace the broken one, Devlin takes a 
sample of the ore from the floor, using an envelope from his pocket. 

								CUT TO:

INT. THE BAR - NIGHT

Joseph sees that the ice chest has only three bottles in it.  He leaves to 
fetch Sebastian.

								CUT TO:

INT. THE WINE CELLAR - NIGHT

Devlin scoops up the ore with a funnel improvised from a sheet of paper and 
hides broken bits of glass underneath the wine shelves.  

				DEVLIN 
		This is a bit weird.

				ALICIA 
		I'm terrified.

Alicia has poured the contents of a Pommard wine bottle down a sink and hands
the empty bottle to Devlin.

				DEVLIN 
		Just pretend you're a janitor.  Janitors 
		are never terrified.

				ALICIA 
		I have a feeling we're very slow.

				DEVLIN 
		We're on schedule.  Take it easy.

Alicia crosses nervously to look out the cellar door.

				ALICIA  
		I keep hearing someone coming.

				DEVLIN 
		Ah, that'll be nice.

Devlin, using the paper funnel, fills the empty wine bottle with the ore.  
Alicia crosses back to him.

				ALICIA 
		Think if he comes down with Joseph.

				DEVLIN 
		Unfortunate.

								CUT TO:

INT. AMONGST THE GUESTS - NIGHT

Upstairs, Joseph searches for Sebastian, finds him, and tells him about the 
need for more champagne.

								CUT TO:

INT. THE WINE CELLAR - NIGHT

Devlin uses his handkerchief to dust the last remains of ore under the wine 
shelves.  Alicia has capped the bottle with a paper label and Devlin returns 
it to its place on the shelf.  They shut off the light, head into the PANTRY
and shut the door.  

INT. THE PANTRY - NIGHT

Devlin returns the key to Alicia.  But as they hustle for the garden door, 
Alicia spots a shadow that indicates someone coming down the stairs at the 
opposite end of the pantry.

				ALICIA 
			(quietly)
		Someone's coming.

Devlin leads her into the garden and closes the door.  

EXT. THE GARDEN - NIGHT

Devlin and Alicia are in the GARDEN, but visible through a window in the 
garden door.  Alicia recognizes the shadow.

				ALICIA 
		Alex.  He's seen us.
              
She wants to run but Devlin holds her back.

				DEVLIN 
		Wait a minute, I'm going to kiss you.
              
				ALICIA 
		No, he'll only think that we'd -- 
              
				DEVLIN 
		What I want him to think.

Devlin kisses her.  

INT. THE PANTRY - NIGHT

Descending the PANTRY stairs, both Sebastian and Joseph see Devlin and Alicia 
kissing, framed in the window of the garden door.  Sebastian turns to Joseph.

				SEBASTIAN 
		You'd better stay upstairs, Joseph.  They 
		may need you.

				JOSEPH 
			(no fool, he)
		Yes, sir.

Joseph heads back up the stairs.  

EXT. THE GARDEN - NIGHT

Devlin and Alicia continue to kiss, but it's no longer play-acting -- for 
either of them.

				ALICIA 
		Oh, Dev, Dev.

Devlin sees Sebastian crossing to the garden door to confront them.

				DEVLIN 
			(whispers to Alicia) 
		Push me away.

Sebastian opens the garden door and confronts the couple.

				SEBASTIAN 
			(ironic)
		I'm sorry to intrude on this tender scene.

Devlin and Alicia stand apart from one another.

				ALICIA 
			(to Sebastian)
		I couldn't help what happened.  He's been 
		drinking.

				SEBASTIAN 
		So, he carried you down here, hm?

				ALICIA 
		Oh, please, Alex.

				SEBASTIAN 
			(pure jealousy)
		You love him.

				ALICIA 
		No, of course not.  
			(to Devlin) 
		Please go.

				DEVLIN 
			(to Sebastian) 
		For what it's worth, as an apology, your 
		wife is telling the truth.  I knew her 
		before you, loved her before you, but I 
		wasn't as lucky as you. 
			(to Alicia)  
		Sorry, Alicia.

				ALICIA 
			(to Devlin)
		Please go.

				DEVLIN 
		Good night.

Devlin leaves via the garden.

				ALICIA 
		Alex, don't be foolish.  I-I came down here 
		because he threatened to make a scene unless 
		I'd see him alone.

				SEBASTIAN 
		He kissed you.

				ALICIA 
		I-I couldn't stop him.  I tried.

				SEBASTIAN 
		We'll talk about it later.  Your guests are 
		upstairs.  Would you please go to them?

Sebastian watches Alicia as she leaves through the garden.

								CUT TO: 

INT. THE ENTRY HALL - NIGHT

Madame Sebastian sees a servant help Devlin into his coat.

				MME. SEBASTIAN 
		Oh, Mister Devlin, are you going so soon?

				DEVLIN 
		Yes, I'm afraid I have to be up early in 
		the morning.  Thank you, and good night.

The unreadable Madame Sebastian watches Devlin leave.

								CUT TO: 

INT. THE PANTRY - NIGHT

Sebastian, calling to Joseph, at the top of the PANTRY STAIRS.

				SEBASTIAN 
		Oh, Joseph?

				JOSEPH 
		Yes, sir?

				SEBASTIAN 
		We can go down for the wine now.

				JOSEPH 
		Yes, sir.

Sebastian descends to the PANTRY with Joseph, pulls out his KEY CHAIN and 
realizes that the wine cellar key is missing.  He looks at the wine cellar 
door.  A dark thought occurs to him.

				SEBASTIAN 
		You know, Joseph.  I don't think we need give 
		them any more champagne.  We still have some 
		upstairs, haven't we?

				JOSEPH 
		Yes, sir.

Sebastian heads back to the stairs, Joseph follows.

				SEBASTIAN 
		And some whiskey and wine?

				JOSEPH 
		Yes, sir.

				SEBASTIAN 
		Well, I think we'll give them that.

				JOSEPH 
		Very good, sir.

								DISSOLVE TO:

INT. THE ENTRY HALL - NIGHT

The party is over. A servant tidies up a table.  Sebastian kisses his mother 
good night and she climbs the grand staircase.  He then turns to Alicia.

				ALICIA 
		I'm sorry about what happened, Alex.

				SEBASTIAN 
		Oh, my dear, I shall never forgive myself 
		for behaving like a stupid schoolboy.

				ALICIA 
		Then you believe me?

				SEBASTIAN 
		Well, of course.  It isn't worth mentioning 
		again.

				ALICIA 
		Thank you.  Are you coming up?

				SEBASTIAN 
		Not for a little while.  Doctor Anderson's 
		waiting for me in the study. Sleep well.  

Sebastian kisses Alicia's cheek.

				SEBASTIAN
		It was a very successful party.

				ALICIA 
		Good night, then.

				SEBASTIAN 
		Good night.

				ALICIA 
		Thanks for being so nice.

Sebastian watches Alicia suspiciously as she climbs the stairs.

								DISSOLVE TO:

INT. SEBASTIAN'S DRESSING ROOM - NIGHT

Later that night, Sebastian removes his jacket and drapes it over a chair.
From here, he can see Alicia, asleep in her bed.  He takes his KEY CHAIN out 
of his pocket, looks at, and drops it on the dressing room table.

								DISSOLVE TO:

INT. UPSTAIRS HALLWAY - DAY 

Sunlight shines through the window next to the grandfather clock, the next
morning.

								DISSOLVE TO:

A CLOSER VIEW of the clock as it STRIKES six.

								DISSOLVE TO:

INT. SEBASTIAN'S BEDROOM - DAY

Sebastian, awake in his bed, turns over to look at Alicia, apparently asleep 
in hers.  Sebastian rises, puts on a robe, crosses the BEDROOM, enters his 
DRESSING ROOM, looks at the table -- and finds the Unica KEY on his key chain.

								DISSOLVE TO:

INT. THE WINE CELLAR - DAY

Sebastian, still in his robe, enters the WINE CELLAR, minutes later.  He 
crosses immediately to the Pommard wine bottles, but at first glance, they 
seem undisturbed.  He inspects the rest of the cellar, but sees nothing amiss 
until he happens to look in the sink and spots spilt wine near the drain.  
He crosses back to the Pommard bottles for a closer look.  All the bottles 
are labeled 1934 except one, labeled 1940, filled with ore, and with no 
cork, merely a paper label.  On the floor, Sebastian finds traces of ore, 
and under the wine shelves, shards of broken glass, one of which has a 1934 
label on it.

								DISSOLVE TO:

INT. THE ENTRY HALL - DAY

Sebastian slowly walks through the darkened ENTRY HALL and climbs the 
staircase, not long after.  He reaches the top and pauses, his face grim.

								DISSOLVE TO:

INT. MME. SEBASTIAN'S BEDROOM - DAY

Sebastian sits in his mother's BEDROOM, minutes later.  Madame Sebastian is 
asleep in bed.

				SEBASTIAN  
		Mother.  Mother.

She awakens and looks at the clock on her night stand.

				MME. SEBASTIAN 
		Why are you up so early?
              
				SEBASTIAN 
		I need your help.

				MME. SEBASTIAN 
		Something is wrong?
              
				SEBASTIAN 
		A great deal. Alicia. 

Madame Sebastian breaks into a smile.

				MME. SEBASTIAN  
		I have expected it. I knew. I knew. What is 
		it? Mr. Devlin?
              
				SEBASTIAN 
		No. I am married to an American agent.

A deadly pause.  Madame Sebastian lights a cigarette.

								DISSOLVE TO:

INT. SEBASTIAN'S BEDROOM - DAY

Alicia, still asleep in her bed.  Sebastian's bed is empty.

								DISSOLVE TO:

INT. MME. SEBASTIAN'S BEDROOM - DAY

Sebastian and his mother assess the situation, that same morning.

				MME. SEBASTIAN 
		Yes, it is easy to see now. I knew but I 
		didn't see. They picked her because of her 
		father.
              
				SEBASTIAN 
		I must have been insane, mad. Behaved like 
		an idiot, to believe in her with her clinging 
		kisses.

				MME. SEBASTIAN 
		Stop wallowing in your foul memories.
              
				SEBASTIAN 
		Then what do I do? There's nothing to do. 
		I'm done, finished. They'll find out.

				MME. SEBASTIAN 
		They won't find out.
              
				SEBASTIAN 
		They'll find out what I'm married to. Look 
		what they did to Emil Hupka. Emil, who did 
		nothing. And I've betrayed them, I've bungled 
		and there's no excuse. I'd do the same myself 
		-- kill the fool that betrayed them.
              
				MME. SEBASTIAN 
		There's no need for them to find out.
              
				SEBASTIAN 
		Mathis is very sharp.
              
				MME. SEBASTIAN 
		Yes. He dislikes you. But his criticism of 
		your talents wouldn't go that far to imagine 
		that you are married to an American agent. 
		You are protected by the enormity of your 
		stupidity.  For a time.
              
				SEBASTIAN 
		Alicia, I'll take care of her myself.
              
				MME. SEBASTIAN 
		No, not that way. 

				SEBASTIAN 
		I stood looking at her when she was asleep.  
		I could have--

				MME. SEBASTIAN  
		Quiet.  Alex.  You're almost as impetuous 
		as before your wedding.  You barred me 
		from that episode.  Let me arrange this 
		one. Listen to me. No one must know what 
		she is. There must be no suspicion of her, 
		of you, or me. She must be allowed to move 
		about freely. But she will be on a leash. 
		She will learn nothing further to inform. 
		She must go, but it must happen slowly. 
		If she could become ill and remain ill 
		for a time, until... 

Sebastian listens to his mother.

								FADE OUT

EXT. THE TERRACE - DAY

FADE IN on Alicia and Sebastian seated at a breakfast table on the TERRACE 
that morning.  Madame Sebastian sits nearby.

				SEBASTIAN 
			(to Alicia, with concern)
		Drink your coffee, darling.  It's getting 
		cold.

				ALICIA 
		Are you going out this afternoon, Alex?

				SEBASTIAN 
		No, my dear, I have some letters to write.  
		What are you going to do?

				ALICIA 
		Oh, I just have a little shopping.

Alicia's COFFEE CUP rests on a saucer. 

				ALICIA 
		I'd like to go to the Imperiale.

Alicia picks up the COFFEE CUP.

				ALICIA 
		And maybe I'll go to [Cosmo's?] and see if 
		they have any new books in from New York.

Alicia drinks from the COFFEE CUP.

				SEBASTIAN 
		Oh, if you're going down there, would you go 
		into [Sir Crooz?] for me and see if my 
		cigars have arrived.  Should be about a 
		thousand of them.  If they have, ask them 
		to keep them in the humidor for me, will you?

Madame Sebastian works her needlepoint, without a word.

								DISSOLVE TO:

INT. PRESCOTT'S APARTMENT - DAY

Alicia sits in PRESCOTT'S APARTMENT, rubbing her brow, sometime later.  
Prescott and Alicia sit on a sofa, next to a window, bright sunlight 
streaming in.

				PRESCOTT 
		Anything wrong?

				ALICIA 
		No.  No, the light bothers me. I have a bit 
		of a headache. Would you mind?

				PRESCOTT 
		Oh, yes, I think we can fix that.  

He closes the blinds.

				ALICIA 
		Thank you.

				PRESCOTT 
		You know some people get too much sun down 
		here, you must be careful.  I think you can 
		be very proud of yourself, Mrs., er, Sebastian.  
		That sand that Devlin brought in shows uranium 
		ore.  So, now we know what we're driving at.  
		And your job from now on will be to try to help 
		us find out where that sand comes from.  The 
		location of the uranium deposit is of vast 
		importance and we're putting quite a few 
		people on it.  But I think you'll be of 
		great help.

				ALICIA 
		All right.

				PRESCOTT 
		But that isn't the main reason why I asked 
		you to come up here this afternoon.

				ALICIA 
		No?

				PRESCOTT 
		No, I wanted to tell you that I'm going to 
		change your contact in about a week.  Mister 
		Devlin's been transferred to Spain.

				ALICIA 
		To Spain?  Does Mister Devlin know that?

				PRESCOTT 
		Oh, yes.  He asked for the transfer.

				ALICIA 
		Why?

				PRESCOTT 
		Well, I guess he thought he was going 
		stale here.

				ALICIA 
		He wants to leave Rio?

				PRESCOTT 
		Yes, I guess he thought he'd find Spain 
		more interesting.

				ALICIA 
		Yes, I imagine it would be.  There really 
		isn't very much for a brainy fellow like 
		Mister Devlin to do in Rio anymore.

				PRESCOTT 
		Well, of course, it is more or less routine 
		now.

				ALICIA 
		In the meantime, I am to report to Mister 
		Devlin as usual?

				PRESCOTT 
		Oh, yes.  He'll be here until the new man 
		arrives.

They rise and cross to the door.

				ALICIA 
		Thank you, Captain Prescott.  I'll keep my 
		ears wide open.  Goodbye.

				PRESCOTT 
		Goodbye.  

Prescott shows her out.

				PRESCOTT
		Oh, and, uh, go easy on that sun, hey?

								DISSOLVE TO:

EXT. THE TERRACE - DAY

An empty COFFEE CUP sits on a table on the TERRACE.  In the distance, 
Sebastian and Alicia walk side by side across the lawn, near Doctor Anderson.
Alicia suddenly stops and puts her hand to her forehead.

				SEBASTIAN 
		Darling, what is it?

				ALICIA 
		I don't know.

				SEBASTIAN 
		Are you in pain?

				ALICIA  
		Yes, I-I'm so dizzy. I...

Doctor Anderson crosses to Sebastian and Alicia.

				DR. ANDERSON 
			(to Sebastian)
		Wh-what happened to her?

				SEBASTIAN 
		We were walking and she was stricken 
		suddenly.

Alicia takes Sebastian's arm for support.

				ALICIA 
		I'll be all right.  Let's go inside.

								DISSOLVE TO:

EXT. RIO - DAY

A busy area of Rio de Janeiro.

								DISSOLVE TO:

EXT. THE BENCH - DAY

Alicia walks rather slowly to the BENCH where Devlin sits, reading a 
newspaper.  She joins him.

				ALICIA 
		I'm sorry I couldn't make it on time.

				DEVLIN 
		It gets a bit lonely squatting on a bench 
		all day.

				ALICIA 
			(ironic)
		Yes, Rio can be a very dull town.

				DEVLIN 
		What's new?

				ALICIA 
		Nothing.  What's new with you?

				DEVLIN 
		Nothing.  Any domestic troubles about 
		the other night?

				ALICIA 
		No.

				DEVLIN 
		Any footprints in that sand yet?

				ALICIA 
		No.  Nothing yet.

				DEVLIN 
		Just a social visit, huh?

				ALICIA 
		A little fresh air helps.

				DEVLIN 
		You don't look so hot.  Sick?

				ALICIA 
			(dark sarcasm)
		No.  Hangover.

				DEVLIN 
			(misses the sarcasm)
		That's news.  Back to the bottle again, huh?

				ALICIA 
		Sort of lightens my chores.

				DEVLIN 
		Big party?

				ALICIA 
		Just the family circle.

				DEVLIN 
		Sounds quite jolly.

				ALICIA 
		It helps life in a dull town.

				DEVLIN 
		You ought to take it easy on that liquor.

				ALICIA 
		Don't you find Rio a little hard to take, 
		too?

				DEVLIN 
		Not a bad town.  You look all mashed up.  
		Must've been quite an evening.

				ALICIA 
		Yeah.  It was.

				DEVLIN 
		Okay.  If you wanna play that way, go on, 
		have fun.  No reason why you shouldn't.

				ALICIA 
		That's right, Dev.  Here's something that 
		belongs to you.  

Alicia takes a familiar handkerchief from her purse.

				ALICIA
		I should've given it to you sooner.

				DEVLIN 
		What is it?

				ALICIA 
		A scarf that you lent me once in Miami.

				DEVLIN 
		Cleaning house, hm? 

Alicia rises, slowly.

				ALICIA 
		Well, goodbye, Dev.

				DEVLIN 
		What do you mean, goodbye?

				ALICIA 
		Nothing, just goodbye.  

Alicia staggers slightly.

				ALICIA
		Fresh air isn't as good for a hangover as 
		I thought.

				DEVLIN 
		Sit down, you're still tight.

				ALICIA 
		I don't want to.

				DEVLIN 
		Where are you going?

				ALICIA 
		Back... home.

Devlin watches her walk off, concerned.

								DISSOLVE TO:

INT. SEBASTIAN'S LIBRARY - DAY

Not long after, the "family circle" is drinking coffee.  Doctor Anderson 
stands.  Alicia, Sebastian and Madame Sebastian sit. Alicia is pale, and so 
weak she hardly moves throughout the following:

				DR. ANDERSON 
			(to Alicia)
		You are not taking care of yourself, Alicia.

				ALICIA 
		I feel much better.

				DR. ANDERSON 
		You look like something awful. Circles under 
		the eyes.

Madame Sebastian pours coffee into a COFFEE CUP.

				DR. ANDERSON 
		My dear child, you must have a doctor find 
		out what is the matter with you.

				ALICIA 
		I never go near doctors....  

Madame Sebastian picks up the COFFEE CUP and brings it to Alicia.

				ALICIA 
		...they always want to cart you off to a 
		hospital.

				DR. ANDERSON 
		Maybe you belong in a hospital.  

Madame Sebastian puts the COFFEE CUP on the table next to Alicia.

				DR. ANDERSON 
		Tell me, when did you first feel sick?

				ALICIA 
		Oh, I-I don't remember.  Maybe the party.  
		I think.

				SEBASTIAN 
		I still think a sea trip would be much 
		better for you, darling, than doctors 
		and hospitals.  A little cruise somewhere, 
		maybe Spain.  Put the roses back in your 
		cheeks, my sweet.

				ALICIA 
		I don't think so.  I don't care much for 
		boats.

				MME. SEBASTIAN 
		We could go together, my dear, if you could 
		bear to leave Alex behind for a few weeks.

				ALICIA 
		I prefer Alex to a case of seasickness.  
		I always get seasick.

				DR. ANDERSON 
		Then you might like the mountains, hm?  
		The air is fresh and pure and -- I am 
		going next week.

				ALICIA 
		Oh, you're leaving?  I'm sorry.  I'll miss 
		you.

				DR. ANDERSON 
		Yes, I'm delaying my work too long.  

Sebastian gives Doctor Anderson a disapproving look.

				DR. ANDERSON 
			(to Alicia)
		If you'll come with me, the mountains won't 
		make you seasick.  And the Imorez mountains 
		are beautiful, covered with flowers and --

				SEBASTIAN 
			(interrupts, to Doctor Anderson)
		Oh, um, what Alicia needs is rest, not 
		mountain-climbing.

Alicia picks up her coffee cup from the table next to her.

				ALICIA 
			(to Doctor Anderson)
		I've heard about the Imorez.

				DR. ANDERSON 
		Did you? Really?

Alicia drinks from her coffee cup.

				ALICIA 
		Mm hmm.  Yes.  About the beautiful little 
		native towns.

Alicia sets her coffee cup back on the table, next to Doctor Anderson's.

				ALICIA 
		Tell me, are you going to Leopoldina?

				DR. ANDERSON 
		No, no, no.  I'm going to Santa Ma--

				SEBASTIAN 
			(interrupts, to Doctor Anderson)
		Care for some more brandy, Otto?

				DR. ANDERSON 
		No, no thank you.  I, er, never drink more 
		than one brandy and even this is sometimes 
		too much. I'll just finish my coffee.

Anderson mistakenly picks up Alicia's coffee cup.  Sebastian and his mother 
react simultaneously:

				MME. SEBASTIAN 
		No, that is--

				SEBASTIAN 
		But that --

				DR. ANDERSON 
		Oh, I'm sorry.

Doctor Anderson returns the cup.  It begins to dawn on Alicia why she is ill.
As Doctor Anderson continues speaking, Alicia looks at her coffee cup, at 
Madame Sebastian, and at Sebastian.

				DR. ANDERSON 
		Perhaps Alex is right, my dear child, when 
		you're young, rest's the best doctor.  And 
		if you lie still for a few days, reading, 
		relaxing, forgetting all your troubles, it 
		might be as well as medicine or sea air.  
		When I come back you will be all well, 
		making us all very happy once more.

Alicia staggers to her feet.

				ALICIA 
		Ohh... Excuse me, I-I want to go to bed.

But the poison is taking effect.  Suddenly, from Alicia's point of view, the 
voices she hears take on a weird echo effect.

				SEBASTIAN 
			(solicitous, to Alicia)
		Pain again, darling?

				ALICIA 
		Sorry to complain.

Alicia's vision blurs.  To her, Sebastian and his mother become eerie 
silhouettes.

				SEBASTIAN 
		Shall I take you up to your room?

				MME. SEBASTIAN  
		May I help you, my dear?  Some hot water 
		maybe?

As the silhouettes walk toward her, Alicia covers her eyes with her hands.

				ALICIA 
		No.  No, please, don't bother.  I'll be 
		all right.

As Alicia staggers out, she sees the two shadows of Sebastian and his mother 
blend into one against the living room door.

				DR. ANDERSON 
			(to Sebastian)
		[?] I insist you call a doctor.  I don't 
		like the way she looks, Alex.  I'm worried 
		about her.  I'm afraid she's very ill. [?]

Alicia makes it out of the library and into the ENTRY HALL.  

								CUT TO:

INT. THE ENTRY HALL - DAY

Alicia looks at the front door but heads for the grand staircase instead.  As 
she reaches it, she collapses.  Doctor Anderson enters and sees her 
unconscious on the floor.

				DR. ANDERSON 
		Alicia!

Sebastian enters followed by his mother.

				SEBASTIAN 
		Joseph!

Joseph comes running.  Together, Joseph and Doctor Anderson get Alicia to her 
feet.

				MME. SEBASTIAN  
		[?] must take her up to her room.

				SEBASTIAN 
		Carry her up to her room.

				DR. ANDERSON 
		Come on, my dear.

The entire group escorts Alicia up the stairs.  Sebastian leads the way, 
Joseph and Doctor Anderson support Alicia, and Madame Sebastian brings up 
the rear.

				DR. ANDERSON 
			(to Sebastian)
		Told you she was sick. 
			(to Alicia) 
		Don't exert yourself.  Be quiet.

				ALICIA 
			(terrified)
		No!  Go -- go away!  No.

Upstairs, Sebastian leads them into Alicia's BEDROOM.

								CUT TO:

INT. ALICIA'S BEDROOM - DAY

Everyone talks at once.  They put Alicia on her bed.

				MME. SEBASTIAN 
			(to the others) 
		It's some sort of spasm, I'm sure it's 
		not serious.

				DR. ANDERSON 
		We must get a doctor, poor child is suffering 
		too much.  I'll call the hospital... [?].

Sebastian and his mother stand over Alicia who looks up at them with intense 
fear.

				MME. SEBASTIAN 
			(to Doctor Anderson)
		Don't worry, dear Otto.  We'll get a doctor.  
		A good one.  We'll take the best care of her.

				SEBASTIAN 
		Joseph, disconnect the telephone.  Madame must 
		have absolute quiet.  Take it out of the room, 
		Joseph. 

								DISSOLVE TO:

EXT. SOMEWHERE IN RIO - DAY

Devlin, beneath a sunny sky, fidgets on a BENCH somewhere in Rio.  Alicia 
hasn't shown up for a rendezvous.

								DISSOLVE TO:

INT. ALICIA'S BEDROOM - DAY

Alicia lies unconscious in her bed.  Madame Sebastian sits nearby doing 
needlepoint.

								DISSOLVE TO:

EXT. SOMEWHERE IN RIO - NIGHT

Devlin, paces near the same BENCH, after nightfall.

								DISSOLVE TO:

INT. PRESCOTT'S APARTMENT - NIGHT

Prescott, lying in bed, spreads something on crackers while Devlin stands 
over him, smoking a cigarette.

				PRESCOTT 
		Five days, eh?  Say, that must be quite 
		a binge she's on.

				DEVLIN 
		I don't think so.

				PRESCOTT 
		Well, you said she was drinking last week 
		and drunk when you saw her.

				DEVLIN 
		Yes, but I've had time to think it over.

				PRESCOTT 
		Think what over?

				DEVLIN 
		That drinking of hers.  I don't believe it.

				PRESCOTT 
		Why should she lie to you about that?

				DEVLIN 
		I don't know.  She wasn't drunk, she was sick.

				PRESCOTT 
		Maybe that's why she hasn't shown up.

				DEVLIN 
		She looked like the ragged end of nowhere.

				PRESCOTT 
		Well, it still sounds like a hangover to me.

				DEVLIN 
		Yes, but I'm going to pay a call.

				PRESCOTT 
		Now, wait a minute.  I don't want you to 
		mess things up.  We hope to close this case 
		out in a few days.

				DEVLIN 
		I won't mess anything up.  Just a social 
		call.  I, er, I'm a friend of the family.

				PRESCOTT 
		All right, go ahead, if you want to.  But 
		don't take any chances.  Oh, and, uh, call 
		me up when you get back.

				DEVLIN 
		I'll do that.

				PRESCOTT 
		'Kay.

Devlin walks out, closing the door behind him.

								DISSOLVE TO:

EXT. SEBASTIAN'S FRONT STEPS - NIGHT

Devlin's car pulls up right in front of Sebastian's FRONT STEPS that night.
Devlin parks and walks up the steps to the front door.

								DISSOLVE TO:

INT. THE ENTRY HALL - NIGHT

Joseph opens the door, moments later.

				JOSEPH  
		Good evening, sir.

				DEVLIN  
		Good evening.  Family home tonight?

				JOSEPH  
		Yes, sir.

				DEVLIN  
		Would you mind telling Mister Sebastian 
		that Mister Devlin is here? 
			(an awkward pause) 
		What is it, Joseph?

				JOSEPH  
		I'm very sorry, sir, but since Mister 
		Sebastian asked me not to disturb him, 
		I don't know.

				DEVLIN  
		Asleep?

				JOSEPH  
		No, sir.  He's in the study with some 
		business associates.

				DEVLIN  
		How long do you think he'll be tied up?

				JOSEPH  
		I don't know, sir.

				DEVLIN  
		Mrs. Sebastian home?

				JOSEPH  
		Er, yes, sir.

				DEVLIN  
		Would you mind telling her?

				JOSEPH  
		I'm afraid I can't, sir.

				DEVLIN  
		Why not?

				JOSEPH  
		Mrs. Sebastian is very ill and confined to 
		her bed.

				DEVLIN  
		Oh, I'm sorry to hear that.  How long has 
		she been ill?

				JOSEPH  
		A week.

				DEVLIN  
		Has she had a doctor?

				JOSEPH  
		I think so, sir.  We're all very concerned 
		about her.  If you will wait here, Mister 
		Devlin, I'll tell Mister Sebastian.

				DEVLIN  
		Right.

Joseph closes the front door and leaves Devlin in the entry hall.

								CUT TO:

INT. THE STUDY - NIGHT

Joseph enters the STUDY.

				JOSEPH  
		Excuse me, sir.

				SEBASTIAN 
		What is it, Joseph?

Sebastian sits at his desk.  Doctor Anderson, Rossner and Eric Mathis are 
present.

				JOSEPH  
		Mister Devlin to see you, sir.

				SEBASTIAN 
			(not at all pleased)
		Oh.  Tell him I'll be with him in a minute, 
		will you?

				JOSEPH  
		Yes, sir.

Joseph exits.

				SEBASTIAN 
		Go on, professor, this sounds serious to me.

				ERIC 
		To me also. 
			(to Doctor Anderson) 
		What happened Monday?

As Doctor Anderson speaks, Eric notices a strange look on Sebastian's face.

				DR. ANDERSON 
		Same thing.  When I left the bank, a man 
		was following me.  But this morning when 
		I went to the ticket office, the same man 
		came inside and stood beside me.

								CUT TO:

INT. THE ENTRY HALL - NIGHT

Devlin sits in the ENTRY HALL.  Looking up the grand staircase, he sees 
Madame Sebastian enter her bedroom on the second floor.  Stealthily climbing 
the stairs, he reaches the UPSTAIRS HALLWAY and opens the door that leads to Alicia's BEDROOM.  

INT. ALICIA'S BEDROOM - NIGHT

Devlin sees Alicia lying in her bed and closes the door behind him.  Alicia, 
still groggy, watches Devlin approach and stand over her.  He puts his face 
close to hers and they speak softly throughout the following:

				DEVLIN 
		Alicia.  Alicia. 

He takes her hand.

				ALICIA 
			(weakly)
		Dev.

				DEVLIN 
		Alicia.  What's wrong with you? 

				ALICIA 
		I'm so glad you came.

He touches his face to hers.

				DEVLIN 
		I had to.  I couldn't stand any more.  
		Waiting and worrying about you.  That 
		wasn't a hangover you had that day.  You 
		were sick then. What is it? 

She touches his face with her free hand.

				ALICIA 
		Yes, I was sick.

				DEVLIN 
		What's wrong with you, Alicia?

				ALICIA 
		Oh, Dev.

				DEVLIN 
		What is it, dear?  What's wrong with you?

				ALICIA 
		They're poisoning me.  I couldn't get away 
		from them.  I tried but I was too weak.

				DEVLIN 
		How long?

				ALICIA 
		Since the party. Alex and his mother found 
		out.

Devlin helps her up.

				DEVLIN 
 		Come on.  Try and sit up. Sit up. I'm going 
		to get you out of here. 
              
				ALICIA 
		I thought you had gone.
              
				DEVLIN 
		No. I had to see you once, speak my piece. 
		I was getting out because I love you. I 
		couldn't bear seeing you and him together. 
            
Alicia hugs him.

				ALICIA  
		Oh, you love me. Why didn't you tell me 
		before?
              
				DEVLIN 
		I know. But I couldn't see straight or think 
		straight. I was a fatheaded guy, full of pain. 
		It tore me up not having you.

				ALICIA 
		Oh, you love me. You love me.
              
				DEVLIN 
		Long ago. All the time. Since the beginning.  
		Here, put on your robe.  

He helps her into her robe.

				DEVLIN
		Come on.  Try to sit up.  

				ALICIA  
		Oh, Dev.  I'm afraid.  I can't make it 
		because they gave me pills to sleep.

				DEVLIN 
		Keep awake. Keep talking.  Have you got 
		a coat?

				ALICIA 
		In the closet. 

She kisses him.

				ALICIA
		They didn't want the others to know about 
		me.

He goes to the closet.

				DEVLIN 
		Keep talking.  

He returns and drapes the coat around her.

				DEVLIN
		Go on, what happened?  What happened?
              
				ALICIA 
		Alex found out.

				DEVLIN 
		And the others haven't?

				ALICIA 
		They'd kill him if they knew.  They killed 
		Emil.

				DEVLIN 
		Are you in pain?

				ALICIA 
		I don't know, the pills.

				DEVLIN  
		On your feet.

				ALICIA 
		Say it again, it keeps me awake.
              
				DEVLIN 
		I love you. Stand up. 

He helps her to her feet.

				DEVLIN
		Stand up. Come on, wake up. Talk.

				ALICIA 
		Doctor Anderson...

Devlin supports her as they walk.

				DEVLIN
		Go on, go on, walk, talk.

They slowly cross the bedroom to the door.

				ALICIA 
		The sand comes from the Imorez mountains.

				DEVLIN 
		We'll find it.

				ALICIA  
		From a town, Santa Ma-something.

				DEVLIN 
		Good girl.  We'll take care of it later.  
		Come on, keep awake, keep walking.

				ALICIA 
		Oh, I'm afraid.  Dev, I'm afraid.  They're 
		all in the house.  We can't make it.
      
Devlin opens the door and looks out before leading Alicia into the empty UPSTAIRS HALLWAY.

								CUT TO:

INT. THE ENTRY HALL - NIGHT

Devlin and Alicia stand at the top of the stairs looking down into the entry 
hall.

				ALICIA 
		Don't ever leave me.

				DEVLIN 
		You'll never get rid of me again.

				ALICIA 
		Never tried to.

Devlin sees Sebastian coming up the stairs.

				DEVLIN 
			(to Alicia)
		Brace up.  Here he comes.

Sebastian confronts Devlin and Alicia at the top of the stairs.

				SEBASTIAN 
			(to Alicia)
		What are you doing, Alicia?  
			(to Devlin) 
		What is this, Mister Devlin?

				DEVLIN 
			(to Sebastian)
		I'm taking her to the hospital to get the 
		poison out of her.

				SEBASTIAN 
		Poison?

				DEVLIN 
		How'd you like your friends downstairs to 
		know? They've yet to be told.

Madame Sebastian emerges from her bedroom.

				SEBASTIAN 
			(to Devlin)
		I'm taking her back to her room.

				ALICIA 
		Oh, Dev.

				DEVLIN 
			(to Sebastian)
		I'll raise quite a rumpus if you try.

Devlin indicates that he has a gun in his pocket.  Madame Sebastian joins her 
son.  

				MME. SEBASTIAN 
			(to Sebastian)
		Alex?  He knows?

				SEBASTIAN 
		Yes.

				DR. ANDERSON'S VOICE
		What is happening, Alex?

Doctor Anderson emerges from the study into the ENTRY HALL below.

				MME. SEBASTIAN 
			(calls out to Doctor Anderson)
		Alicia.

				DR. ANDERSON 
		She's worse?

				MME. SEBASTIAN  
		Yes.

				ALICIA 
			(weakly, to Devlin)
		Go.

				DEVLIN 
			(quietly, to Alicia) 
		All right, dear, we're going, we're going. 

Devlin and Alicia start slowly down the STAIRCASE.  With Doctor Anderson 
watching, Sebastian and his mother have no choice but to go along.

				DEVLIN 
			(quietly, to Sebastian) 
		You haven't forgotten what they did to Emil, 
		have you, Sebastian?

Still descending, Sebastian sees Eric Mathis and Rossner emerge from the 
study, joining Doctor Anderson in the ENTRY HALL.

				MME. SEBASTIAN 
			(quietly, to Sebastian)
		Help him, Alex.

				DEVLIN 
			(quietly, to Madame Sebastian)
		I'm glad you have a head on you, Madame.

But Sebastian makes no move to help his wife down the stairs.

				SEBASTIAN 
			(quietly, defiantly)
		I'm not afraid to die.

				DEVLIN 
			(quietly, to Sebastian)
		You've got your chance here and now. 
			(off the men below) 
		Tell them who she is.     

As the four descend, they slowly approach the ominous trio of men below.

				DR. ANDERSON 
		Need any help, Alex?

				DEVLIN 
			(calls out to them)
		No, we can handle her.

				DR. ANDERSON 
		Where are you taking her?

				DEVLIN 
			(quietly, to Sebastian)
		You answer that one, Sebastian.

But Sebastian remains stubborn, refusing to respond.

				MME. SEBASTIAN 
			(calls out)
		To the hospital.  
			(quietly, to Sebastian) 
		Alex, talk to them, quick.

				DR. ANDERSON 
		Glad she's going.  Should not have waited 
		so long, Alex.

Near the bottom of the stairs, Devlin puts his hand in his pocket. 

				DEVLIN 
			(quietly, to Sebastian) 
		Well, what am I going to do, start shooting? 
			(to a struggling Alicia) 
		Hold on, darling, you've only got about maybe 
		twenty yards to go.

A few steps from the bottom, they practically come face to face with the men.

				ROSSNER 
		What happened, Alex?

				SEBASTIAN 
		Hmm?  

The intense look on Eric Mathis' face seems to terrify Sebastian -- he 
responds as if coming out of a daze.

				SEBASTIAN  
		Oh, uh, sh-she collapsed.  Mister Devlin 
		heard her scream and was waiting for me.  
			(to Alicia) 
		Come on, Alicia.

				DEVLIN 
			(to the men)
		Yes, I telephoned the hospital as soon as I 
		saw how she was.

				MME. SEBASTIAN 
		You have a car, Mister Devlin?

				DEVLIN 
		Out in front.

				MME. SEBASTIAN 
		Your [hat?], Alex.

				ERIC 
			(to Madame Sebastian)
		You're going with them, Madame?

				MME. SEBASTIAN 
		No.  Alex will call me up.  I'll wait here.

Doctor Anderson opens the front door so that Sebastian and Devlin may escort 
Alicia out, then down the FRONT STEPS and into the car.  

								CUT TO:

EXT. SEBASTIAN'S FRONT STEPS - NIGHT

Doctor Anderson, Eric Mathis and Rossner stand in the doorway to watch the 
trio's progress.

				DEVLIN 
			(quietly, to Alicia)
		How do you feel?

				ALICIA 
		A bit dizzy.

				DEVLIN 
		Take some deep breaths.

				SEBASTIAN 
			(quietly)
		Hurry, hurry.

Sebastian opens the passenger side door of Devlin's car.  Devlin puts Alicia 
in the passenger seat and then follows her in, shutting the door on Sebastian.

				SEBASTIAN 
			(to Devlin) 
		Now, just a minute, I must sit with her.

				DEVLIN  
		No room, Sebastian.

Devlin moves into the driver's seat as he locks the passenger door.  Sebastian
pleads with Devlin through the passenger window.

				SEBASTIAN
		But you must take me.  They're watching me.

				DEVLIN  
		That's your headache.

Devlin starts the car.  Alicia is smiling at Devlin as the car pulls away.

				SEBASTIAN 
			(begins to panic) 
		Please, take me.  Please.  Please.  Please!

But the car is gone.  A helpless Sebastian stands alone in front of the steps.
Rossner and Eric Mathis stand in the DOORWAY watching all this.

				ROSSNER 
			(matter-of-fact, to Eric) 
		There is no telephone in her room to call 
		the hospital.

Eric's eyes widen.  Sebastian remains by the FRONT STEPS.

				ERIC 
			(calls out to Sebastian)
		Alex, will you come in, please? I wish to 
		talk to you.

A look of dread passes over Sebastian's face as he turns and slowly walks up 
the steps to the doorway where Rossner and Eric stand.  Once inside the 
house, Eric closes the door behind him.

								FADE OUT