Generic Radio Workshop Script Library (BACK)

Series: Lux Radio Theater
Show: The Third Man
Date: Apr 09 1951

CAST:
John Milton Kennedy
William Keighley
Harry Lime/Orson Welles
Holly Martins/Joseph Cotton
Major Calloway
Sergeant Paine
Baron Kurtz
The Porter
The Porter's Wife
Hotel Clerk
Anna Schmidt/Evelyn Keyes
Little Boy
Landlady
Dr. Winkel
Libby Collins, Hollywood Reporter
Mr. Popescu
Viennese Man
Father
Official
Irene Winston, Actress
Captain Brodsky
Priest

KENNEDY:

Lux presents... Hollywood!

(MFX)

KENNEDY:

Lever Brothers, the makers of Lux Toilet Soap bring you "The Lux Radio Theatre", starring Joseph Cotton and Evelyn Keyes, in "The Third Man", with Orson Welles. Ladies and Gentlemen, your producer... Mr. William Keighley!

SFX:

APPLAUSE

KEIGHLEY:

Greetings from Hollywood, ladies and gentlemen! In tonight's play "The Third Man", we have a perfect setting for a murder mystery: post-war Europe, filled with spies, intrigue and black-markets! Into this atmosphere of cunning and subterfuge, comes an American only to take up the trail of the unknown murderer of his friend. A trail that leads him into hazardous and chilling adventure! As the stars of this suspenseful David O. Selznick production, we have in their original roles, two of the finest actors of screen and radio, Joseph Cotton and Orson Welles. And as their co-star, charming Evelyn Keyes. "The Third Man" not only has a plot to hold everyone's interest, but one of the most haunting of musical themes, played on a most unusual instrument... the zither. Now that spring is here, it won't be long before we hear another unforgettable theme, as Lux-lovely girls everywhere begin the wedding march! And women who give their complexions daily Lux Toilet Soap care, will, of course, be among the loveliest of brides!

(MFX)

KEIGHLEY:

Now the curtain rises on "The Third Man", starring Joseph Cotton as Holly Martins, Evelyn Keyes as Anna Schmidt, and Orson Welles as Harry Lime.

HARRY:

(narrating) I never knew the old Vienna before the war, with its Strauss music, its glamour and easy charm. Constantinople suited me better. I really got to know it in the classic period of the black market. We'd run anything if people wanted it enough, and had the money to pay. Of course a situation like that does tempt amateurs. You know they can't stay the course like a professional. Now the city is divided into four zones, you know, each occupied by a power: American, British, Russian and the French. But the center of the city, that's international, policed by an international patrol, one member of each of the four powers. Wonderful! What a hope they had. All strangers to the place and none of them could speak the same language, except of course a smattering of German. Good fellows on the whole. Did their best, you know. Vienna doesn't really look any worse than a lot of other European cities. Bombed about a bit. Oh, I was going to tell you, I was going to tell you about Holly Martins, an American came all the way here to visit a friend of his - the name was Lime. Harry Lime. Now Martins was broke and Lime had offered him some sort, I don't know, some sort of a job. Anyway, there he was, poor chap, didn't know Lime had been killed, then had to go to Lime's funeral and Martins without a cent.

MARTINS:

(narrating) When the funeral was over, I left the cemetery with a British officer... a "Major Calloway". He offered to drive me back into town; then he said he thought I needed a drink. The major was right.

CALLOWAY:

Yes, you've had a bit of a shock, Mr. Martins... you say you arrived in Vienna only this morning?

MARTINS:

Just in time to go to the funeral.

CALLOWAY:

You-er- you came to Vienna to attend the funeral-

MARTINS:

Came here to go to work. Friend of mine offered me a job, publicity work for some kind of charity he was running. Well, my friend's dead

CALLOWAY:

-Harry Lime offered you a job?

MARTINS:

Best friend I ever had.

CALLOWAY:

You're a writer you said?

MARTINS:

Did you ever hear of "The Lone Rider of Santa Fe"? "Death at the Double X Ranch"?

CALLOWAY:

I can't say that I have.

MARTINS:

(sardonically) Well, don't get any ideas about money- I'm broke. Harry even sent me an airplane ticket-

CALLOWAY:

No money at all

MARTINS:

-Little. Not very much.

CALLOWAY:

Where are you staying?

MARTINS:

Was going to stay with him... it was the porter at his apartment house who told me-

CALLOWAY:

-Told you what, Mr. Martins?

MARTINS:

About the accident. Harry had been killed.

CALLOWAY:

He didn't have many friends, did he? I mean, well, at the cemetery for instance... a handful of people-

MARTINS:

-Well, who were they? Did you know them?

CALLOWAY:

I know who they are, yes. A Dr. Winkel, Baron Kurtz, a girl named Anna Schmidt-

MARTINS:

Oh what a waste... it's a shame

CALLOWAY:

What

MARTINS:

-Him dying like that.

CALLOWAY:

Best thing that ever happened to him.

MARTINS:

What are you trying to say-

CALLOWAY:

-He was about the worst racketeer who ever made a dirty living in this city.

MARTINS:

So that's what you are... a policeman-

CALLOWAY:

This is the international zone your country, too has military police here. So do the French and the Russians. We try to work together-

MARTINS:

Pin it on a dead man. Some petty racket with gasoline or something. Just like a cop

CALLOWAY:

It wasn't petrol

MARTINS:

So it wasn't petrol. So it was tires, or saccharin... Why don't you catch a few murderers for a change

CALLOWAY:

-Well, you could say that murder was part of Harry Lime's racket.

MARTINS:

Why you-

SFX:

PUNCH/BODY FALLS TO FLOOR

CALLOWAY:

That's enough, Sergeant Paine. I don't think he'll try to punch me again...will you Mr. Martins?

MARTINS:

(groaning) Oooohhhh...

CALLOWAY:

Sergeant Paine-

PAINE:

-Yes sir?

CALLOWAY:

Drive Mr. Martins to Sacher's (pron. "SAH-kurs") Hotel-

PAINE:

Very good, sir

CALLOWAY:

Nothing elegant, Mr. Martins, military personnel mostly, but it's

MARTINS:

Now just a minute, Callaghan

CALLOWAY:

Calloway, I'm English not Irish

MARTINS:

-You're not going to close your files at a dead man's expense.

CALLOWAY:

Going to find me the real criminal? It sounds like one of your stories.

MARTINS:

When I've finished with you, you'll leave Vienna, you'll look so silly.

CALLOWAY:

You said you had very little cash; here's some army money. Should see you through tonight at the hotel, if you don't drink too much at the bar. We'll keep a seat for you on tomorrow's plane. All right, Sergeant take him to Sacher's. Don't hit him again, if he behaves.

(MFX)

MARTINS:

(narrating) They gave me a room on the second floor. I could hardly close the door, when the telephone rang...

SFX:

TELEPHONE RINGING (2 RINGS)/PICK UP

MARTINS:

(into phone) Hello?

KURTZ:

(tinny, muffled...sounding as if coming from an old phone) Mr. Martin?

MARTINS:

Who's this?

KURTZ:

Baron Kurtz-

MARTINS:

Who

KURTZ:

-I was a friend of Harry Lime.

MARTINS:

(getting it) I would very much like to meet you, Baron. Come around-

KURTZ:

-Austrians aren't allowed in your hotel. Couldn't we meet at the Mozart Caf?-

MARTINS:

-Where?

KURTZ:

Just around the corner.

MARTINS:

How will I know you?

KURTZ:

I'll carry a copy of one of your books. Harry gave it to me (as if reading it for the first time) "The-er-The Oklahoma Kid".

MARTINS :

I'll be right over-

KURTZ:

-Thank you, Mr. Martins.

SFX:

CAFE NOISE

MFX:

STRING QUARTET PLAYING MOZART

KURTZ:

Mr. Martins. Delighted to meet you. What would you like? Tea? Coffee-

MARTINS:

Coffee, please, black

KURTZ:

(to waiter) Zwei zwartze. It's wonderful how you keep the tension

MARTINS:

(not understanding) Tension

KURTZ:

The suspense... in this book, I mean

MARTINS:

-Oh... So you were a friend of Harry's?

KURTZ:

I think his best... except for you of course.

MARTINS:

The police have a crazy notion that he was mixed up in some sort of racket.

KURTZ:

Everyone in Vienna is. We all sell cigarettes and that kind of thing. I tell you, I've done things that would have seemed unthinkable before the war. Once, when I was hard up, I sold some tires on the black market. I wonder what my father would have said-

MARTINS:

I'm afraid the police meant more than that

KURTZ:

They get rather absurd ideas sometimes. Poor Harry, where he is now, he won't mind about that

MARTINS:

-Even so, I'm not going to leave it at this. Will you help me?

KURTZ:

I wish I could, but you know I am an Austrian. I have to be careful with the police. I'm afraid I can't help you, except with advice of course. Advice-

MARTINS:

I want to know how he was killed

KURTZ:

(not comprehending) With a truck! He was struck by the truck

MARTINS:

(getting frustrated) -Y-yeah, I mean, how did it happen?

KURTZ:

We will drink our coffee, Mr. Martins. It is not far from here where it happened. We will walk there and I will show you.

(MFX)

SFX:

SWEEPING ON CEMENT/HARD SURFACE

KURTZ:

We came out of his place there- where the porter is sweeping, and were walking toward the corner. A friend of his called to him from over there-

MARTINS:

That square across the street

KURTZ:

Exactly. Harry stepped off the curb and from up there came the truck

MARTINS:

That quickly

KURTZ:

Yes. His friend and I picked him up, carried him across over here. It was a terrible thing. Terrible. We laid him down just about here. And this is where he died. Even at the end, his thoughts were of you.

MARTINS:

What did he say?

KURTZ:

I don't remember the exact words, Holly...I may call you Holly, mayn't I? He always called you that to us. He was anxious that I look after you when you arrived. To see that you got safely home. Tickets you know and all that-

MARTINS:

But the porter said he died instantaneously

KURTZ:

-Well he died before the ambulance could reach us.

MARTINS:

Well, there was only you, and this friend of his. Who is he?

KURTZ:

A Romanian. Mr. Popescu.

MARTINS:

I'd like to talk to him.

KURTZ:

He's left Vienna.

MARTINS:

Oh, excuse me; I want to ask the porter something... (calling off mike) Oh-er- you! Did you know Mr. Lime well?

PORTER:

(doesn't speak/understand English well) Mr. Lime... yes-

MARTINS:

You remember me... This morning, I was here

PORTER:

Yes, I remember you

MARTINS:

-Well, who used to visit Mr. Lime?

PORTER:

Visit? (to Kurtz, in German) Was will er wissen-

KURTZ:

(in German) Er will wissen wer hier verkehrt

PORTER:

-So, es kommen so viele lauter heir -sie - den der...Popescu...und ich kann nicht alle kennen-

MARTINS:

-What does he say?

KURTZ:

He says he doesn't know everybody-

PORTER'S WIFE:

-Carl! Kannst due einen moment zu mir herein kommen?

PORTER:

Ein moment-

PORTER'S WIFE:

Du musst zum telefon

PORTER:

-Please... excuse me...

MARTINS:

Er- Baron Kurtz...who was at the funeral besides you?

KURTZ:

You saw them. Only his doctor, Dr. Winkel. And the British officer-

MARTINS:

-Wasn't there a girl there?

KURTZ:

Some girl of the Josefstadt Theatre. Well you know what Harry was. You oughtn't to speak to her. It would only cause her pain.

MARTINS:

Not necessarily. She'd probably want to help.

KURTZ:

What's the good of another post-mortem? Suppose you dig up something, well, discreditable to Harry?

MARTINS:

Will you give me your address?

KURTZ:

I live in the Russian sector, but you'll find me at the Casanova Club every night. One has to work the best way one can, you know.

MARTINS:

What's the name of this girl?

KURTZ:

I don't know. I don't think I ever heard it.

MARTINS:

But you did mention the theater.

KURTZ:

The Josefstadt. But I still think it won't do Harry any good. You'd do better to think of yourself.

MARTINS:

(chuckling) I'll be all right.

KURTZ:

Of course. I'm so glad to have met you.... A master of suspense. This book... such a good cover, I think.

(MFX)

HOTEL CLERK:

Mr. Martins, isn't it?

MARTINS:

My key... Number eight, please-

HOTEL CLERK:

Yes, sir

MARTINS:

Oh, how can I get a ticket for The Josefstadt Theatre? For tonight

HOTEL CLERK:

I think we can arrange that. Speaking of tickets, sir

MARTINS:

-Hm-

HOTEL CLERK:

-Major Calloway's compliments, sir. Here is the ticket for the plane tomorrow.

MARTINS:

Tell the major I won't need it. I've decided to stay for awhile-

HOTEL CLERK:

-Oh-

MARTINS:

Yeah

HOTEL CLERK:

-Yes, Mr. Martins. I will tell him.

MFX:

BRING PREV. TRACK UP

MARTINS:

(narrating) That night, I went to The Josefstadt Theatre. After the performance, a pack of cigarettes got me past the doorman to Anna Schmidt's dressing room.

ANNA:

(as if hearing it for the first time) "Holly Martins"? That name is supposed to mean something to me?

MARTINS:

I thought, perhaps Harry told you about me-

ANNA:

-No, he never told me about his friends.

MARTINS:

(trying to think of an ice breaker) Oh-er- I enjoyed the play very much. You were awfully good.

ANNA:

You are not here to talk about my performance.

MARTINS:

No. About Harry. Had you known him long?

ANNA:

Yes. But there's nothing really to say, is there? Nothing.

MARTINS:

Well, I saw you at the funeral.

ANNA:

I'm so sorry. I didn't notice much.

MARTINS:

You were in love with him, weren't you?

ANNA:

I don't know. How can you know a thing like that afterwards? I don't know anything any more. Except that I want to be dead too.

MARTINS:

I-I was talking to another friend of Harry's. A Baron Kurtz, do you know him?

ANNA:

That was the man that brought me some money when Harry died. He said Harry had been anxious at the last moment.

MARTINS:

He said he remembered me too. Seems to show he wasn't in much pain.

ANNA:

Dr. Winkel told me that-

MARTINS:

-Dr. Winkel? Who is he?

ANNA:

The doctor Harry used to go to. He was passing just after it happened.

MARTINS:

(stunned) His own doctor?

ANNA:

Yes. They said it wasn't the drivers' fault. Harry often said what a careful driver he was.

MARTINS:

The man in the truck... was Harry's driver? I don't get it. All of them there. Kurtz, this Romanian Popescu, his own driver knocking him over. His own doctor passing by. No strangers there at all.

ANNA:

I know. I wondered about it a hundred times, if it really was an: accident....What difference does it make? He's dead, isn't he?

MARTINS:

Well, if it wasn't an accident...

ANNA:

I'm sorry, I cannot stay here. They don't like us to use the light.

MARTINS:

Would you come with me?

ANNA:

Where-

MARTINS:

To Harry's apartment

ANNA:

At this hour

MARTINS:

-The porter saw it happen.

ANNA:

Then why worry?

MARTINS:

Do you know that porter?

ANNA:

Yes. All right, Mr. Martins. We will speak to the porter.

(MFX)

SFX:

DOOR OPEN/CLOSE

PORTER (coming up to mike):

It is better if we speak inside Mr. Lime's apartment. Sehen sei da gleich da unter. Da unten ist est passiert. Passiert-

MARTINS:

What's he saying

ANNA:

Come over to the window. He says it happened right down there

PORTER:

Happened...yes, happened right down there.

MARTINS:

You saw it-

PORTER:

-Not saw, heard, heard. I heard the brakes. Wham! Then I saw them carry the body to the other side of the Emperor Joseph Statue.

MARTINS:

Why didn't they bring him in the house? Could he have been conscious?

PORTER:

(not comprehending) Conscious? Cas sollich auch noch wissen?

MARTINS:

Oh, er, was he, was he still alive?

PORTER:

Er, alive? He couldn't have been alive, not with his head in the way it was.

MARTINS:

But how could he have talked about me, and this lady here, after he was dead? Why didn't you say all this at the inquest?

PORTER:

It is better not to be mixed up in things like this. I was not the only one who did not give evidence.

MARTINS:

Who else?

PORTE:

Three men helped to carry your friend to the statue.

MARTINS:

Kurtz.

PORTER:

Yes.

MARTINS:

The Romanian.

PORTER:

Yes.

MARTINS:

Who else? You mean that doctor?

PORTER:

There was a third man; he came later after they carried him to the Joseph Statue.

MARTINS:

What did he look like?

PORTER:

I didn't see his face. He might have been just anybody.

MARTINS:

Just anybody. I was told there were only two men there. You got to tell your story to the police-

PORTER:

Police? Why police? Das ist alles bludsum was sie da sangen. No, no. It is all nonsense, it was an accident

MARTINS:

You don't know it was an accident. You only saw a dead man and three men carry him

PORTER:

-I should have listened to my wife. She said you were up to no good. Gossip.

MARTINS:

Suppose I take your evidence to the police-

PORTER:

I have no evidence! It's not my business

MARTINS:

Well, make it your business

PORTER:

Fraulein... Fraulein Schmidt, I have always liked you but you must not bring this gentleman here again. You must go at once please

ANNA:

-We had better leave Mr. Martins.

MARTINS:

Oh... Can I take you home?

ANNA:

It does not matter... if you want to.

SFX:

DOOR OPENING/RED BALL BEING BOUNCED

MARTINS:

(narrating) Outside in the corridor, there was a little boy who was bouncing a rubber ball... he looked up and stared at me-

LITTLE BOY:

(speaking German off mike to the PORTER. The subtext being "That man who is with you?")

PORTER:

(speaking German off mike to the LITTLE BOY. The subtext being "Yes, what about him?")

LITTLE BOY:

(speaking German off mike to the PORTER. The subtext being "I do not think he likes you.")

MARTINS:

(to ANNA) What was that all about

ANNA:

He says you do not like the porter

PORTER:

-Yes, he says you do not like me! Maybe, he is right! Goodnight, Mr. Martins!: : (MFX)

MARTINS:

(narrating) I took Anna home- a small apartment building. We paused a moment in the entrance-

ANNA:

I have been thinking... Leave Vienna, Mr. Martins. Go home

MARTINS:

You're not the first person who's told me that

ANNA:

There is nothing you can do here

MARTINS:

Well, if I do find out something, may I look you up again

ANNA:

Oh, you know where I work, you know where I live... what could I

SFX:

DOOR SWINGING OPEN

MARTINS:

(narrating) Suddenly the door in front of us swung open! A woman-

LANDLADY:

Wo unglaublich stecken sie denn Fraulein Schmidt. Die Politzei is oben. Sie suchen nach papieron. Une lesen alle ihre briefe. Als wenn man ein werbrecher ware

MARTINS:

(narrating) She pushed me aside, talking to Anna excitedly

LANDLADY:

Das mussen sie doch wissen. Ich meine ohne grund wird die politzei doch nicht ins Hans komme Fraulein Schmidt, ein schande

MARTINS:

-What's she talking about?

ANNA:

The police. They're upstairs, searching my room-

LANDLADY:

(going off mike) Une was es sich handelt, Mein Eott das ist doch ichrecklich...

MARTINS:

(narrating) -I followed Anna to her room. In it were Sergeant Paine and Major Calloway...

CALLOWAY:

Getting around, Martins?

MARTINS:

What the devil? Pinning things on girls now?

CALLOWAY:

Miss Schmidt, I should like to see your papers, please-

MARTINS:

Don't give him anything

ANNA:

Here. My passport

CALLOWAY:

-Thank you. You were born in Graz of Austrian parents?

ANNA:

Yes.

CALLOWAY:

How much did you pay for this? I'm afraid I'll have to keep this for a while, Miss Schmidt-

MARTINS:

How do you expect her to live in this city without papers

CALLOWAY:

Write her out a receipt, Paine. Give her a receipt for these letters, too

PAINE:

Yes sir

MARTINS:

-I suppose it wouldn't interest you to know that Lime was murdered? You're too busy. You haven't even bothered to get complete evidence.

ANNA:

My letters... must you take those

PAINE:

They'll be returned, miss

ANNA:

They're private letters

PAINE:

-That's all right, miss. Don't worry. We're used to it - like doctors.

MARTINS:

And there was a third man there. I suppose that doesn't sound peculiar to you.

CALLOWAY:

I'm not interested in whether a racketeer like Lime was killed by his friends or by accident. The only important thing is that he's dead.....(ANNA GASPS). I'm sorry Miss Schmidt-

MARTINS:

Tactful, too, aren't we Callaghan

CALLOWAY:

Calloway

ANNA:

-Must you take those letters?

CALLOWAY:

I'm afraid so.

ANNA:

They're Harry's.

CALLOWAY:

That's the reason.

ANNA:

You won't learn anything from them. They are only love letters. There are not many of them.

CALLOWAY:

They'll be returned to you, Miss Schmidt, as soon as they've been examined.

ANNA:

There's nothing in them. Harry never did anything. Only a small thing once, out of kindness.

CALLOWAY:

And what was that?

ANNA:

My passport...you've got it in your hand.

CALLOWAY:

You'll have to come with us, Miss Schmidt-

MARTINS:

You're not locking her up

CALLOWAY:

Go home, Martins, like a sensible chap. You don't know what you're mixing in. Get the next plane

MARTINS:

-As soon as I get to the bottom of this, I'll get the next plane.

CALLOWAY:

Death is at the bottom of everything, Martins. Leave death to the professionals.

MARTINS:

Do you mind if I use that line in my next Western? You can't chuck me out, my papers are in order. (under his breath, to ANNA) Look, is there anything really wrong with your papers?

ANNA:

They're forged.

MARTINS:

Why?

ANNA:

The Russians would claim me. I come from Czechoslovakia.

CALLOWAY:

(from off mike) Miss Schmidt? Ready? Good night, Martins.

(MFX)

MARTINS:

(narrating) I stood out on the sidewalk as they drove off. Then I remembered the doctor- Doctor Winkel-! I got his address from a telephone book and hailed a taxicab-

WINKEL:

-What can I do for you, Mr. Martins?

MARTINS:

I realize this is no time for nightly calling, Doctor, but- well we were both friends of Harry Lime and I-

WINKEL:

I was his medical advisor, yes

MARTINS:

I want to find out all I can

WINKEL:

Find out

MARTINS:

-Hear the details.

WINKEL:

I can tell you very little. He was run over by a car. He was dead when I arrived.

MARTINS:

Who was with him?

WINKEL:

Two friends of his.

MARTINS:

Two? Are you sure?

WINKEL:

Quite sure.

MARTINS:

Could he have been at all conscious?

WINKEL:

I understand he was, yes, for a short time, while they carried him across the road. I was not there. My opinion is limited as to the cause of death. Have you any reason to be dissatisfied?

MARTINS:

Was, is it possible that his death might have been - not accidental? Could he have been...could he have been pushed, Dr. Winkel?

WINKEL:

I cannot give an opinion, the injuries to the head and skull would have been the same. And now I am afraid I must-

MARTINS:

-Yes-yes, of course. Thank you.: : (MFX)

CALLOWAY:

Well Sergeant?!? Come in, come in-

PAINE:

I followed Martins, sir. He went to Dr. Winkel's home. Then he came back here

CALLOWAY:

-Here?

PAINE:

He's down on the street, sir. Waiting for Miss Schmidt, I'd imagine.

CALLOWAY:

Yes, she's in the other office. Bring her in. (remembering) Oh, I-er showed her forged passport to the French, the Americans and the Russians-

PAINE:

-Yes, sir?

CALLOWAY:

Our Russian friend, Captain Brodsky is very interested. He wants us to hold it until he can talk to Colonel Polikov. (fading away by going off mike) Well, er, bring her in Sergeant.

ANNA:

(fading up by coming up to mike) ...My papers. You have not returned everything, have you?

CALLOWAY:

We will need your passport for a while longer. (beat) Miss Schmidt... you were intimate with Lime, weren't you?

ANNA:

We loved each other; do you mean that?

CALLOWAY:

Would you look at this photograph, please? Do you know this man?

ANNA:

I've never seen him-

CALLOWAY:

Joseph Harbin

ANNA:

-No-

CALLOWAY:

He works in a military hospital

ANNA:

-No.

CALLOWAY:

It's stupid to lie to me, Miss Schmidt. I'm in a position to help you-

ANNA:

I'm not lying. You're wrong about Harry. You are wrong about everything

CALLOWAY:

In one of his letters Harry Lime asked you to telephone a good friend of his called Joseph. He gave you the number of the Casanova Club. That is where a lot of friends of Lime used to go. What was the message

ANNA:

-It wasn't important. Something about meeting Harry at his home.

CALLOWAY:

Harbin disappeared the day you telephoned. We've got to find him. You can help us-

ANNA:

-What can I tell you but that you have got everything upside down? Am I under arrest?

CALLOWAY:

No, no. We will send for you when we want you. Oh-er-that American friend of yours is still waiting for you out there. He won't do you much good, Miss Schmidt-

ANNA:

-No?

CALLOWAY:

No. Good night, Miss Schmidt.

(MFX)

SFX:

APPLAUSE

KENNEDY:

In just a few moments, we'll continue with Act Two of "The Third Man". Now, here's Libby Collins, our Hollywood reporter with the "Lux Movie News Of The Week".

LIBBY COLLINS:

Our picture tonight deals with a problem of intense, human interest. A famous sportsman stages a comeback after a disabling accident. In "Follow The Sun", 20th Century Fox tells us how the great golfer, Ben Hogan, did just that. In the picture, Glen Ford is Ben. It's wonderful how he makes golf a thrilling game- even to a novice like me! I never expected so much suspense and action-

KENNEDY:

Isn't it true, Libby, that Ben Hogan himself worked with Glen throughout the filming

LIBBY COLLINS:

-Yes, that's true. And Anne Baxter, as Ben's wife, got her interpretation from Mrs. Hogan.

KENNEDY:

(chuckling) I got a kick out of Dennis O'Keefe's performance as "the golfing pro who loves to play to the galleries"-

LIBBY COLLINS:

(chuckling, too) -Oh yes indeed. "Follow The Sun" has its share of laughs. But, above all, it's a tender love story. Anne Baxter makes the part of "the devoted wife", just about perfect. One of Hollywood's finest young actresses and one of the loveliest.

KENNEDY:

I quite agree, Libby! She's a glamour girl all right! Always has that fresh, radiant look about her-

LIBBY COLLINS:

-Well, John, she's a "Lux Girl". Anne depends on Lux Soap for her complexion care. And uses the new bath size, too! Says it makes her Lux beauty bath, more Lux-urious than ever!

KENNEDY:

So many stars tell us that Libby... and no wonder! Lux is a soap you don't have to coax to lather. Even in the hardest water, you get plenty of rich, creamy lather-

LIBBY COLLINS:

-And I love the way it leaves skin so fresh. "Lux-lovely" all over!

KENNEDY:

Lux Soap, in the generous bath size, is made to please lovely women everywhere! Its active lather makes you sure of daintiness, sure of charm. Screen stars say they enjoy the delicate fragrance that a Lux Soap bath leaves in their skin! Put this generous new bath size on your shopping list, now. You'll be delighted with its creamy lather and flower-like fragrance. It's easy to be "Lux-lovely" all over! Find out for yourself, why nine out of ten screen stars use Lux Toilet Soap. Now our producer, Mr. William Keighley.

(MFX)

KEIGHLEY:

Act two of "The Third Man", starring Joseph Cotton as Holly Martins, Evelyn Keyes as Anna Schmidt, and Orson Welles as Harry Lime.

(MFX)

MARTINS:

(narrating) She saw me waiting under the street lamp in front of the government building. She would have gone on her way, if I hadn't stopped her. I suggested a drink at the Casanova Club.

(MFX)

KURTZ:

Good evening! So, you have found out my little secret, Mr. Martins. The Baron Kurtz, a violin player in a cheap caf?. A man must live. Good evening, Miss Schmidt-

ANNA:

-Good evening.

KURTZ:

You have proved to the police they are wrong, Mr. Martins?

MARTINS:

No, not yet.

KURTZ:

Mr. Popescu is here tonight.

MARTINS:

I thought he left Vienna?

KURTZ:

He is back now. I'll bring him to you.

ANNA:

(whispered) Haven't you done enough for tonight?

MARTINS:

(whispered) The porter said three men carried the body, and two of them are here.

MFX:

SAME AS ABOVE

KURTZ:

You, of course, know Miss Schmidt. Mr. Popescu - Mr. Martins-

MARTINS:

How do you do

POPESCU:

-How do you do? Any friend of Harry's is a friend of mine.

KURTZ:

I'll leave you together.

MARTINS:

I understand you were with Harry...

POPESCU:

It was a terrible thing. I was just crossing the road to go to Harry. He and the Baron were on the sidewalk. If I hadn't started to cross the road it wouldn't have happened. I can't help blaming myself and wishing things had been different. Anyway, he saw me and stepped off the sidewalk to meet me, and the truck... It was terrible, Mr. Martins, terrible. I have never seen a man killed before.

MARTINS:

I thought there was something funny about the whole thing-

POPESCU:

Funny

MARTINS:

-Something wrong.

POPESCU:

Of course there was. It was so terrible for a man like Harry to be killed in an ordinary street accident-

MARTINS:

That's all you meant

POPESCU:

What else

MARTINS:

-Who was the third man?

POPESCU:

What man would you be referring to, Mr. Martins?

MARTINS:

I was told that a third man helped you and Kurtz to carry the body.

POPESCU:

I don't know how you could have heard that here. The finding of the body was in the police report. There was just the two of us, me and the Baron. Who could have told you a story like that?

MARTINS:

The porter at Harry's place. He was cleaning the window at the time.

POPESCU:

And saw the accident?

MARTINS:

No, no. He didn't see the accident but he saw three men carrying the body.

POPESCU:

Wasn't he at the police inquiry?

MARTINS:

He didn't want to get involved.

POPESCU:

Will we never teach these Austrians to be good citizens? It was his duty to give the evidence. Even so, he remembered wrong. What else did he tell you?

MARTINS:

That Harry was dead before you got him to that statue. He probably knows a lot more than that. Somebody's lying, Mr. Popescu.

POPESCU:

Not necessarily.

MARTINS:

The police say he was mixed up in some racket.

POPESCU:

Oh, that's quite impossible. He had a great sense of duty, yes Miss Schmidt?

ANNA:

I'm afraid I have not been listening.

POPESCU:

Is there anything else, Mr. Martins?

MARTINS:

No... no. Thanks for stopping by.

POPESCU:

It was my pleasure. Good night, Miss Schmidt-

ANNA:

-Goodnight

POPESCU:

(to MARTINS) That's a nice girl Mr. Martins, but she ought to go careful in Vienna. (fading away by going away from the mike) Everybody ought to go careful in a city like this.

(MFX)

MARTINS:

(narrating) The next morning I went to Harry's apartment house. That little boy with the rubber ball was playing on the sidewalk.

LITTLE BOY:

(speaking German the subtext being "Have you come back to bother the Porter?")

MARTINS:

(acting like he understands) Yeah, no doubt about it, sonny, you're a hundred percent right.

LITTLE BOY:

(speaking German the subtext being "I know you don't like him. I can tell.")

MARTINS:

(acting like he understands) Yeah.

(MARTINS and LITTLE BOY fade away by going off mike)

 

PORTER:

(fading up by coming up to mike) What do want of me now? Is it so very important for you?

MARTINS:

Yes, it is.

PORTER:

(lowering his voice so his wife won't hear) I am not a bad man. I would like to tell you something.

MARTINS:

Then, how did a car- a truck...

PORTER:

Shhh. Not now, not here! My wife... is she thinks I tell you anything-Come tonight. My wife goes out.

MARTINS:

All right, I'll come back, but

PORTER:

-Come tonight. Early tonight. My wife goes out.

MARTINS:

But why does it have to be-

PORTER:

-Shhh. Tonight! (fading away by going off mike) You come here tonight!!

SFX:

DOOR KNOCKING/DOOR OPENING

ANNA:

Wer is da?

MARTINS:

That mean come in?

ANNA:

Oh, yes, yes, come in.

SFX:

DOOR CLOSING

MARTINS:

Hope you don't mind. I have something to tell you; the porter is going to talk to us again tonight-

ANNA:

(sighing) -Need we go through it all again?

MARTINS:

I can manage by myself. You'll be at the theatre, I suppose.

ANNA:

No, we do three plays a week. I do not appear again until Thursday-

MARTINS:

-Then why don't you want to-oh... bad day, huh?

ANNA:

It is always bad about this time. Harry used to look in around six. I've been frightened at being alone, without friends and money. But I've never known anything like this. Please talk. Tell me about him.

MARTINS:

Tell you what?

ANNA:

Oh, anything - just talk. When did you see him last?

MARTINS:

Oh, we didn't make much sense. Drank too much. Once he tried to steal my girl.

ANNA:

Where is she?

MARTINS:

Oh, that was twenty years ago.

ANNA:

Tell me more.

MARTINS:

Oh, it's very difficult. You know Harry; we didn't do anything very amusing. He just made everything seem like such, er, fun.

ANNA:

Was he clever when he was a boy?

MARTINS:

I suppose so - he could fix anything.

ANNA:

He fixed my papers for me. He heard that the Russians were repatriating people like me who came from Czechoslovakia. He knew the right person straight away for forging stamps.

MARTINS:

Yes. When he was fourteen, he taught me the three-card trick. That's growing up fast.

ANNA:

He never grew up. That world grew up around him, that's all, and- (starting to cry) -and buried him.

MARTINS:

Oh Anna, now... don't... you'll fall in love again.

ANNA:

I do not want to... I do not ever want to? (composing herself) If we have to see the Porter we'd better go.

MARTINS:

A moment ago you said you didn't want to see the porter.

ANNA:

We're both in it, Harry.

MARTINS:

Holly-Holly Martins, remember?

ANNA:

I'm so sorry.

MARTINS:

It's all right. You might get the name right.

ANNA:

I'm sorry. You know, you ought to find yourself a girl.

MARTINS:

Yeah, that's just what I keep telling myself.

(MFX)

SFX:

CROWD SOUNDS

MARTINS:

(narrating) It was dark when we turned the corner of Harry's street. We were still half a block a way when Anna noticed the crowd milling around the entrance. There was an ambulance at the curb-

ANNA:

An accident... another accident!

MARTINS:

Wait here, let me see what it's all about...What's the matter, what is loos...

VIENNESE MAN (in German) :

De porter ist um gebracht worden.

MARTINS:

I don't understand.

VIENNESE MAN:

The porter. Dead. Kaput. He's murdered. The porter is odraht, kaput!

MARTINS:

Porter? But I-

BOY:

Papa! Papa!

FATHER (in German):

Was willst den Hansel?

BOY:

Ta papa der war's. Der war's. Ja papa, der is der murder.

SFX:

CROWD SOUNDS STOP

MARTINS:

(narrating) Suddenly, everyone was silent. They were staring at me and drawing back and that boy was pointing his finger at me and shouting-

BOY:

Morder! Morder! So gemascht odraht. Papa! Papa der war's

SFX:

CROWD SOUNDS BEGIN AGAIN

MARTINS:

(narrating) -I didn't have to understand German to know what he meant. The porter had been murdered and the boy was saying I killed him. Suddenly, the crowd became alive again. I grabbed Anna and we ran away...

(MFX)

SFX:

FOOTSTEPS RUNNING

MARTINS:

(narrating/breathless) It was Anna who said we didn't have to run anymore...that the alley behind us was empty... that no one was after us...

ANNA:

(breathless) They are afraid. Like everyone in Vienna- afraid. Even of you-

MARTINS:

He was afraid too the porter. Now he's dead-

ANNA:

But the boy... why did the boy say that you

MARTINS:

-I-I don't know why.

ANNA:

What are you going to do? By now they've told the police- they will be looking for you-

MARTINS:

-I'm not quite sure what I should do-.

ANNA:

Then be sensible... tell Major Calloway.

MARTINS:

Calloway?? Maybe you're right. And you-

ANNA:

I will go with you

MARTINS:

Well who's being sensible, now? You shouldn't even be seen with me. Here, take a taxi and go home. I'd better not see you again

ANNA:

-I agree with you, Mr. Martins. Good night!

MFX:

REPEAT LAST TRACK OR LET IT PLAY THROUGH

CALLOWAY:

(fading up to mike) I told you to go away, Martins; you're lucky to have even gotten here alive! This isn't Santa Fe, I'm not a sheriff, and you aren't a cowboy. You have been blundering around with the worst bunch of racketeers in Vienna, your precious Harry's friends, and now you're wanted for murder-

MARTINS:

Put in drunk and disorderly, too

CALLOWAY:

I have. Stop behaving like a fool, Martins

MARTINS:

-I'm only a little fool. I'm an amateur at it... you're the professional. You've been shaking your cap and bells all over town.

CALLOWAY:

Paine, get me the Harry Lime file, and Mr. Martins a large whiskey-

MARTINS:

-I don't need your drinks, Calloway.

CALLOWAY:

You will. I don't want another murder in this case, and you were born to be murdered. So you're going to hear the facts. Have you ever heard of penicillin-

MARTINS:

Well

CALLOWAY:

In Vienna there hasn't been enough penicillin to go round. So a nice trade started here. Stealing penicillin from the military hospitals, diluting it to make it go further and selling it to patients. Do you see what that means

MARTINS:

Are you too busy chasing a few tubes of penicillin to investigate a murder

CALLOWAY:

These were murders. Men with gangrene legs, women in childbirth, and there were children, too. They used some of this diluted penicillin against meningitis. The lucky children died. The unlucky ones went off their heads. You can see them now in the mental ward. That is the racket Harry Lime organized

MARTINS:

Calloway, you haven't shown me one shred of evidence

CALLOWAY:

-We're just coming to that. Paine, the Lime file please?

SFX:

PHOTOS/PAPERS BEING HANDLED

PAINE:

Very good, sir.

CALLOWAY:

You know, Paine's one of your most devoted readers. He's promised to lend me one of your books. Which one is it, Paine-

PAINE:

-"The Lone Rider of Santa Fe", sir-

CALLOWAY:

-That's right, "The Lone Rider of Santa Fe"-

PAINE:

I'd like to visit Texas one day, sir

MARTINS:

Come on, show me what you've got to show

CALLOWAY:

You see this man here, a fellow called Harbin, medical orderly at the general hospital. He worked for Lime and helped to steal the stuff from the laboratories. We forced him to give information to us, which led us as far as Kurtz and Lime. But we didn't arrest them, as our evidence wasn't complete and it might have spoiled our chances of getting the others

MARTINS:

I would like a word with this orderly Harbin

CALLOWAY:

-So would I.

MARTINS:

Bring him in-

CALLOWAY:

-I can't. He disappeared four days ago. (fading away from mike)Now let's take a look at Baron Kurtz. We know for a fact that Lime met Kurtz a little over a year ago....

(MFX)

CALLOWAY:

(fading up to mike) Well, now you know the facts Mr. Martins. They turn my stomach.

MARTINS:

(shocked) How could he have done it? How could- how could Harry have done it-

CALLOWAY:

-Seventy pounds for a tube of penicillin. Go back to the hotel. And do keep out of trouble. I'll try and fix things with the Austrian police. You'll be all right in the hotel, but I can't be responsible for you in the streets.

MARTINS:

I'm not asking you to.

CALLOWAY:

I'm sorry, Martins-

MARTINS:

-I'm sorry too. Still got that airplane ticket on you?

CALLOWAY:

We'll send one across to your hotel in the morning.

MARTINS:

Thank you. This time I'm going to use it.

MFX:

LET LAST TRACK PLAY THROUGH

ANNA:

Come in-

SFX:

DOOR CLOSE

MARTINS:

(a little drunk) Thank you

ANNA:

-I thought you were going to go to Major Calloway. Aren't the police after you?

MARTINS:

I don't know.

ANNA:

You're drunk, aren't you?

MARTINS:

A bit. Sorry. But I did want to say good-bye before I pushed off. I'm going back home.

ANNA:

Why?

MARTINS:

It's what you've always wanted. All of you...

SFX:

CAT MEOWS

MARTINS:

Cat? I didn't know you had a cat. Kitty, kitty, kitty, kitty, kitty... Don't you want to play, kitty?

ANNA:

No. He only likes Harry. What made you decide so suddenly? Or has Calloway told you-

MARTINS:

Told me

ANNA:

-About Harry.

MARTINS:

You know-

ANNA:

I've seen Major Calloway today. He's better dead. I knew he was mixed up, but not like that.

MARTINS:

I knew him for ten-twenty years, at least I thought I knew him. I suppose he was laughing at fools like us all the time.

ANNA:

He liked to laugh.

MARTINS:

Seventy pounds a tube. He wanted me to write for his great medical charity. Perhaps I could have raised the price to eighty pounds for him-

ANNA:

Oh, please, for heaven's sake, stop making him in your own image. Harry was real. He wasn't just your friend and my lover. He was Harry

MARTINS:

-Well, don't preach wisdom to me. You talk about him as if he had occasional bad manners. I know, I'm just a hack writer who drinks too much and falls in love with girls. You...

ANNA:

Me-

MARTINS:

Don't be such a fool, of course

ANNA:

-If you'd rung me up and asked me if you were fair or dark, or had a mustache, I wouldn't have known.

MARTINS:

I'm leaving Vienna. I don't care whether Harry was murdered by Kurtz or Popescu or a third man. Whoever killed him, there was some sort of justice. Maybe I'd have killed him myself.

ANNA:

A person doesn't change because you find out more-

MARTINS:

Look, I've got a splitting headache and you just stand there and just talk, and talk and talk... I hate it

ANNA:

(chuckling sardonically) You hate it

MARTINS:

-First time I ever saw you laugh. Do it again.

ANNA:

There isn't enough for two laughs.

MARTINS:

If I make comic faces and stand on my head and grin at you between my legs, and tell all sorts of jokes... I wouldn't stand a chance, would I? All right, you did tell me I had to find myself a girl...

ANNA:

(crying) Go away... just go away...

(MFX)

SFX:

FOOTSTEPS

MARTINS:

(narrating) It was dark in the street... deserted. The large empty square with the black buildings looming up around it... not a sound. Just the mewing of a cat...

SFX:

CAT MEOWS

MARTINS:

Kitty? Kitty, kitty, kitty, kitty, kitty...

MARTINS:

(narrating) Suddenly I saw the cat was licking a pair of black shoes! (To whoever's been following him) Who's there? What kind of a spy do you think you are, waiting in the doorway to tail me? Cat got your tongue? Come on out of there! Come out-

(MFX)

MARTINS:

(shocked) Harry!

SFX:

FOOTSTEPS RUNNING AWAY

MARTINS:

Harry! Harry!

(MFX)

MARTINS:

(fading up on the mike) I followed his shadow until suddenly-

CALLOWAY:

Well

MARTINS:

This is where he vanished

CALLOWAY:

-I see.

MARTINS:

Suppose you don't believe me.

CALLOWAY:

No.

MARTINS:

Look, I tell you, you don't think I'm blind, do you?

CALLOWAY:

Yes. Where were you when you saw him last?

MARTINS:

Fifty yards right down there.

CALLOWAY:

Which side of the road?

MARTINS:

I was on that side, the shadow was on that side, and no turnings on either side.

CALLOWAY:

How about the doorway?

MARTINS:

I tell you I heard him running ahead of me.

CALLOWAY:

Yes, yes, yes, and then he vanished out there, I suppose, with a puff of smoke and like a clap of.... hello... it wasn't the gin after all-

MARTINS:

What's this? Where are we

PAINE:

It's a Kiosk, sir. Inside it are steps that lead to the main sewer, which runs right into the Blue Danube. Smells sweet, doesn't it?

CALLOWAY:

We should have dug deeper than a grave. Because if you saw Lime tonight... someone else was buried in that cemetery.

MFX:

REPEAT LAST TRACK

MARTINS:

(narrating) It was like a page out of Edgar Allen Poe... the gravediggers, the men holding torches, the open casket... and then an official of the cemetery turning to Calloway-

OFFICIAL:

You knew him, Major?

CALLOWAY:

Hm, yes, yes. Joseph Harbin...medical orderly at the general hospital. He used to work for Harry Lime-

MARTINS:

Joseph Harbin

CALLOWAY:

-Yes, he's the man I told you was missing. Next time, we'll have a foolproof coffin.

MFX:

LET LAST TRACK PLAY THROUGH

SFX:

CAR RUNNING

CALLOWAY:

Well, I suppose the least I can do is apologize, Martins. Obviously, you did see Harry Lime.

MARTINS:

Thanks-

CALLOWAY:

-I'll-er- I'll drop you off at the hotel and then I'll-

MARTINS:

-If you don't mind, you can drop me off at Anna Schmidt's apartment.

CALLOWAY:

You'll won't find her there-

MARTINS:

-Oh really? Why not?

CALLOWAY:

Because, by now, she's been arrested-

MARTINS:

Why? What for

CALLOWAY:

-Her passport. She's wanted by the Russian police... She should be at my office by now.

MARTINS:

Then I'll see her there-

CALLOWAY:

-No, Mr. Martins, you cannot see her there!

SFX:

RUNNING CAR FADES OUT

PAINE:

Well, if you'll just step into the office Miss Schmidt... Major Calloway wants to speak to you-

CALLOWAY:

Sorry to bring you back here at this hour Miss Schmidt

ANNA:

You're arresting me because of the passport, is that it

CALLOWAY:

-I'm not interested in your forged papers - that's purely a Russian case.: When did you last see Lime?

ANNA:

(not understanding) Two weeks ago-

CALLOWAY:

-I want the truth, Miss Schmidt. We know he's alive!

ANNA:

What did you say? I'm sorry....

CALLOWAY:

I said, another man was buried in his place-

ANNA:

-Where's Harry?

CALLOWAY:

That's what we want to find out.

ANNA:

I'm sorry, I don't seem to be able to understand anything you say. He's alive now this minute - he's doing something-

CALLOWAY:

Miss Schmidt, we know he is somewhere across the canal in the Russian sector. You may as well help us. In a few minutes Captain Brodsky will be questioning you about your papers. Tell me where Lime is

ANNA:

I don't know

CALLOWAY:

-If you help me, I am prepared to help you.

ANNA:

Martins always said you were a fool-

CALLOWAY:

-Vienna is a closed city, Miss Schmidt; he can't get away.

ANNA:

Poor Harry, I wish he was dead, he would be safe from all of you then.

CALLOWAY:

(sighing) All right Miss Schmidt, I'm afraid I have no alternative. Sergeant, take her to Brodsky!

(MFX)

SFX:

APPLAUSE

KEIGHLEY:

In a few moments we'll bring you Act Three of "The Third Man". I've chosen as our guest tonight, an actress who plays a most unusual role in a most unusual picture... the David O. Selznick/Alexander Korda production, "Gypsy Blood". Let me introduce Miss Irene Winston. I understand Irene your part is-er- heard, but not seen-

IRENE WINSTON:

(chuckling) -Yes, Mr. Keighley. I play a voice; the voice of a mother speaking to a daughter through a gypsy charm book. Jennifer Jones is the star, you know. A lovely, wild half-gypsy girl. When she wants guidance, she consults her book, and that's when I speak!

KEIGHLEY:

Hmm, "Gypsy Blood" was filmed abroad, wasn't it?

IRENE WINSTON Yes, except for my part filmed right here in Hollywood. I wish I could've gone to Wales and to Shropshire, England where the outdoor shots were made. They're magnificent!

KEIGHLEY:

You know I'd say this wild, romantic countryside is the right background for this fantastic tale-

IRENE WINSTON:

And Jennifer Jones is so right for the part of a Gypsy maid, with her dark, striking beauty... she never has to use make up, you know... with that fabulous complexion

KENNEDY:

-Speaking of charm books, Irene, I'm sure there's a leaf in yours on Lux Toilet Soap!

IRENE WINSTON:

I should say so, Mr. Kennedy! The very first page! Like the screen stars, I wouldn't trust my skin to any other soap. Lux soap facials are such a grand complexion care.

KENNEDY:

Won't you tell us how easy it is to be "Lux Lovely", Irene?

IRENE WINSTON:

I'd love to, Mr. Kennedy! I just cream the rich lather on with my fingertips, and work it in well... then I rinse with warm water and finish with little splashes of cold! Then I use a very soft towel and pat my face dry. I like the way my skin feels afterwards, too. So soft and smooth-

KENNEDY:

Thank you Miss Irene Winston... for telling us about Hollywood's own complexion care! Lux has "active lather" that makes you sure of gentle, thorough cleansing. Try these beauty facials and notice the difference in your skin! Discover why nine out of ten screen-stars depend on fragrant, white Lux Toilet Soap. We pause now for station identification. This is CBS- the Columbia Broadcasting System.

(MFX)

KEIGHLEY:

The curtain rises on Act Three of "The Third Man," starring Joseph Cotton as Holly Martins, Evelyn Keyes as Anna Schmidt, and Orson Welles as Harry Lime.

MFX:

MUSIC UP

MARTINS:

(narrating) I called on Dr. Winkle early the next morning. I told him I wanted to talk... to Harry Lime.

WINKEL:

(fading up to mike) -Harry Lime?!? Mr. Martins, are you mad?

MARTINS:

All right, I'm mad. I've seen a ghost. You tell Harry I want to see him. Today-this afternoon-

KURTZ:

-Be reasonable. How can you stand there and say-Come up and talk.

MARTINS:

-I saw Harry last night. Now, I passed a park a few blocks from here, an amusement park. You tell him I'll meet him there. You can arrange it; you or Kurtz!

KURTZ:

You take a great deal for granted Mr. Martins-

MARTINS:

-Do I? Tell Harry I'll wait by that Ferris wheel there. Or do ghosts only ride by night, Dr. Winkel? Got an opinion on that?

(MFX)

MARTINS:

(narrating) He was there at the amusement park at three o'clock. Harry Lime! Striding down the midway, a broad smile on his face, immaculate and chipper as always-

LIME:

-Holly! Hello, old man. How are you?

MARTINS:

Hello, Harry.

HARRY:

Well, well, they seem to've been giving you quite some busy time.

MARTINS:

Listen...

HARRY:

Yes.

MARTINS:

I want to talk to you.

HARRY:

Talk to me? Of course, let's get on the Ferris Wheel-

MARTINS:

(not understanding) Ferris wheel

HARRY:

Look, business must be bad; not a soul to get in our way. We'll have it all to ourselves for our little talk or does it make you dizzy way up there-

MARTINS:

-C'mon, we're wasting time...

SFX:

FERRIS WHEEL RUNNING

HARRY:

(fading up to mike) Now, what's wrong with this? Up we go, Holly! Kids used to ride this thing a lot in the old days. They haven't got the money nowadays, poor little devils. It's good to see you, old man-

MARTINS:

-I was at your funeral.

HARRY:

(starts to munch on antacid tablets) It was pretty smart, wasn't it? Oh, the same old indigestion, Holly. These are the only things that help - these tablets. These are the last. Can't get them anywhere in Europe any more-

MARTINS:

-Do you know what's happened to your girl? She's been arrested.

HARRY:

Tough, tough. Don't worry, old man. They won't hurt her-

MARTINS:

They're handing her over to the Russians

HARRY:

-What can I do, old man, I'm dead aren't I? Holly, exactly who did you tell about me, hm?

MARTINS:

I told the police.

HARRY:

Unwise, Holly-

MARTINS:

and Anna

HARRY:

-Did the police believe you?

MARTINS:

You don't care anything at all about Anna, do you?

HARRY:

Well, I've got quite a lot on my mind-

MARTINS:

You wouldn't do anything

HARRY:

What do you want me to do? Do you expect me to give myself up

MARTINS:

-Why not?

HARRY:

"It's a far better thing that I do..." Holly, you and I aren't heroes; the world doesn't make any heroes- outside of your stories. I've got to be careful. I'm only safe in the Russian Zone. I'm safe as long as they can use me-

MARTINS:

As long as they can use you

HARRY:

(swallowing a belch) I wish I could get rid of this thing

MARTINS:

Oh, so that's how they found out about Anna. You told them, didn't you

HARRY:

Don't try to be a policeman, old man

MARTINS:

What did you expect me to be, part of your

HARRY:

-Part? You can have any part you want, so long as you don't interfere. I have never cut you out of anything yet.

MARTINS:

I remember when they raided the gambling joint. You knew a safe way out-

HARRY:

Sure

MARTINS:

-Yes, safe for you, not safe for me.

HARRY:

Old man, you never should have gone to the police. You know you ought to leave this thing alone.

MARTINS:

Have you ever seen any of your victims-

HARRY:

Victims? Don't be melodramatic. Look down there. All of those human beings... don't they look like dots? Would you feel any pity if one of those dots stopped moving forever? If I offered you 20,000 pounds for every dot that stopped moving, would you really, old man, tell me to keep my money? Or would you calculate how many dots you could afford to spare? Free of income tax, old man. Free of income tax. It's the only way to save money nowadays

MARTINS:

A lot of good your money will do you in jail

HARRY:

-That jail is in another zone. There's no proof against me... besides you.

MARTINS:

I should be pretty easy to get rid of-

HARRY:

Pretty easy

MARTINS:

I wouldn't be too sure

HARRY:

I carry a gun. I don't think they'd look for a bullet wound after you'd hit that ground. Not from this height

MARTINS:

-They've dug up your coffin.

HARRY:

And found Harbin? Hmm, pity. (beat) Oh, Holly, what fools we are, talking to each other this way. As though I would do anything to you, or you to me. You're just a little mixed up about things in general. Nobody thinks in terms of human beings. Governments don't, so why should we? They talk about the people and the proletariat. I talk about the suckers and the mugs. It's the same thing. They have their five-year plans, and so have I-

MARTINS:

You used to believe in God

SFX:

FERRIS WHEEL COMES TO A STOP/OLD METAL DOOR SLIDING OPEN

HARRY:

-I still do believe in God, old man. I believe in God and Mercy and all that. The dead are happier dead. They don't miss much here, poor devils. What do you believe in? Well, if you ever get Anna out of this mess, be kind to her. You'll find she's worth it. I wish I had asked you to bring me some of these tablets from home. (noticing the wheel has stopped on the ground) Hm, it looks like our little journey into the ozone is over. Holly, I would like to cut you in, old man. Nobody left in Vienna I can really trust, and we have always done everything together. When you make up your mind, send me a message through Kurtz. I'll meet you any place, any time. And when we do meet, old man, it's you I want to see, not the police. Remember that, won't you? Don't be so gloomy. After all, it's not that awful. Remember what the fellow said. In Italy, for thirty years under the Borgias they had warfare, terror, murder, bloodshed, but they produced Michelangelo, Leonardo da Vinci and the Renaissance. In Switzerland they had brotherly love. They had five hundred years of democracy and peace, and what did that produce? The cuckoo clock. (walking away from mike) So long, Holly.

MFX:

MUSIC FADES OUT

CALLOWAY:

(fading up to mike) Look here, Martins. You can always arrange to meet Lime at some cafe here in the international zone-

MARTINS:

It wouldn't work

CALLOWAY:

We'll never get him in the Russian zone

MARTINS:

-Calloway, you expect too much. I know he deserves to hang, you proved your stuff. Don't ask me to tie the rope.

CALLOWAY:

(sighing) OK, forget it.

BRODSKY:

(from off mike) Busy, Major?

CALLOWAY:

(calling off mike) What is it, Captain Brodsky?

BRODSKY:

(coming up to mike) We have identified the girl. Anna Schmidt? Here is her report.

CALLOWAY:

I've questioned her. We've got nothing against her-

BRODSKY:

But we have. We shall apply for her at the Four Power meeting tomorrow. She has no right to be here

CALLOWAY:

-I've made an application, too. I've asked your people to help with Lime.

BRODSKY:

(choosing his words carefully) That is a different case... it is being looked into. So long, Major.

CALLOWAY:

That's the sort of thing we're up against, Martins. I think we would have captured Lime...with your help.

MARTINS:

What price would you pay?

CALLOWAY:

Name it.

(MFX)

SFX:

TRAIN STATION CROWD

PAINE:

There's your train over there, Miss. If there's anything else I can do-

ANNA:

I do not understand Major Calloway, Sergeant. Why has he done this... helping me to runaway

PAINE:

-I expect he has a soft spot for you, miss. You're well out of things, now. Good luck, miss.

ANNA:

Thank you.

SFX:

TRAIN STATION CROWD

MARTINS:

(coming up to the mike) Two minutes before the train leaves, Anna!

ANNA:

What are you doing here?

MARTINS:

I wanted to see you off.

ANNA:

How did you know I would be here? Have you been seeing Major Calloway again-

MARTINS:

Of course not. I don't live in his pocket. (quickly changing the subject) Now Anna, you send me a wire as soon as you arrive

ANNA:

-Where is Harry?

MARTINS:

He's safe in the Russian zone. I saw him today-

ANNA:

How is he

MARTINS:

He can look after himself, don't you worry

ANNA:

Did he say anything about me? Tell me

MARTINS:

Oh, the usual things

ANNA:

No. There is something wrong. Did you tell Calloway about meeting Harry

MARTINS:

Of course I didn't tell Calloway

ANNA:

-Why should he help me like that? The Russians will only make trouble for him.

MARTINS:

That's his headache.

ANNA:

Why are you lying to me-

MARTINS:

We're getting you out of here, aren't we

ANNA:

-No. I will not go. You have seen Calloway. What are you two doing?

MARTINS:

Well... well-they asked me to help... take him, and... I'm helping.

(beat)

 

ANNA:

Poor Harry-

MARTINS:

Poor Harry? Poor Harry! Wouldn't even lift a finger to help you

ANNA:

Oh, you've got your precious honesty and don't want anything else

MARTINS:

You still want him

ANNA:

I don't want him any more. I don't want to see him or hear him, but he is still part of me. That's a fact. I couldn't do a thing to harm him

SFX:

TRAIN WHISTLE

MARTINS:

-Anna get-get on the train-

ANNA:

No, no I will not do it

MARTINS:

Why do we always have to quarrel

ANNA:

-If you want to sell your services, I am not willing to be the price. I loved him. You loved him. What good have we done him? Look at yourself. They have names for faces like that.

SFX:

TRAIN PULLING AWAY FROM THE STATION

MARTINS:

(narrating) Anna didn't leave. I asked Calloway to get me on the first plane out of Vienna. This time he said I'd need a priority. He told me to come with him. He had another call to make first...

CALLOWAY:

Why don't you come in, too? You're a writer. Might interest you. This is the biggest children's hospital in Vienna. All the kids in here are the result of Lime's penicillin racket. She had meningitis. They gave her some of Lime's penicillin. Terribly pity, isn't it? Oh, I meant to tell you, Paine lent me one of your books, "Oklahoma Kid" I think it was. Read a bit of it. Think it's pretty good. What made you take up this sort of thing? Been doing it for long-

MARTINS:

All right, Calloway. You win

CALLOWAY:

I never knew there were snake charmers in Texas

MARTINS:

I said, you win

CALLOWAY:

-Win what?

MARTINS:

I'll be your dumb decoy duck.

(MFX)

MARTINS:

(narrating) The plan was very simple. Through Kurtz, I got word to Harry that I wanted to see him. Calloway picked the spot, the Caf? Aurore at 6 o'clock. At five minutes to six, I sat down at table on the corner, my eyes glued on the entrance, looking for Lime. I didn't even see her walk up...

ANNA:

He will not come. Not Harry.

MARTINS:

Anna! How did you know I was here?

ANNA:

From Kurtz. They have just been arrested. But Harry won't come, he's not a fool. What is your price this time? You can't tell me you're doing all this for nothing-

MARTINS:

No, no price, Anna! Now please, go away

ANNA:

Honest, sensible, sober, harmless Holly Martins. Holly, what a silly name! You must be very proud to be a police informer. To be able to

MARTINS:

(narrating) She stopped talking. She just stood there. Across the caf?, in the doorway, was Harry Lime

ANNA:

(yelling off mike) -Harry! Get away! The police are waiting for you. Run! Run!

MARTINS:

(narrating) Suddenly there was a gun in his hand! Sergeant Paine was in front of him now

SFX:

ONE GUNSHOT/CROWD NOISE

MARTINS:

(narrating) Harry fired once, but he never stopped moving! He moved through the caf? into the kitchen and he was gone

SFX:

POLICE WHISTLE/CROWD NOISE/GUNSHOTS/PEOPLE SCREAMING IN GERMAN

MARTINS:

(narrating) I was out in the street now! From all sides, the police were closing in. One group was running toward a "Kiosk"...one of those little buildings covering the entrance to the sewer. Among the group was Calloway

SFX:

FOOTSTEPS IN A SEWER/POLICE YELLING OUT IN GERMAN/GUNSHOTS

POLICEMEN:

Los! Halt! Stehen bleiben oder ich schisse. Bleib hier ich lauf hinunter. Hier ist nichts los toter...gang gehen richtung stadtpark. Licht! Halt - stehen - bleiben oder wir schissen! Halt - stehen - bleibenn oder wir schisson!

CALLOWAY:

(yelling off mike) Martins, get back! Don't be a fool!!

MARTINS:

(yelling off mike) I've got a gun! I've got Sergeant Paine's gun!! Where can Harry get to-

CALLOWAY:

(coming up to mike) To the Russian Zone, only he'll never make it!! We've got men closing in from both directions

MARTINS:

(at mike) They'll kill him

CALLOWAY:

(at mike) That is up to Mr. Lime! Wait at my office if you like Just get out of here!!

MFX:

REPEAT LAST TRACK

MARTINS:

(narrating) I went back to the street; there was a taxi on the corner, and I gave Anna's address. But it was the sewer I was thinking of. The sewer and the kiosk in the square across from Anna's house

(MFX)

SFX:

FAINT VOICES SCREAMING IN GERMAN

MARTINS:

(narrating) -I climbed down the iron ladder and waited. Far off I could hear the shouts of the police and below, as I clung to the wet wall, the sluggish churning of the water. Then... then a different sound.

SFX:

FOOTSTEPS THROUGH WATER

MARTINS:

(narrating) -Someone was coming closer... closer... (calling off mike to HARRY) Stay where you are Harry!

HARRY:

(yelling from off mike) Holly-

MARTINS:

(yelling from off mike) Yes

HARRY:

(yelling from off mike) My friend

SFX:

GUNSHOT

HARRY:

(yelling from off mike) My good friend, Holly

MARTINS:

(yelling from off mike) You're through, Harry. Come out! You haven't got a chance

HARRY:

(yelling from off mike) I won't miss a second time, and you're in my way

MARTINS:

(yelling from off mike) Harry give up! Give up before they

SFX:

GUNSHOTS

(MFX)

MARTINS:

(narrating) This was where I came in... the cemetery. The freshly dug grave. The priest reciting-

PRIEST:

(in the background behind MARTINS' narration) Herr gib ihnen die weige ruh und das weige licht leutche ihnen. Herr lass sie ruhen in frieden. Amen. In namen des vaters des sohnes und des heiligen geistes, Amen

MARTINS:

(narrating) -The gravediggers in the background... Calloway... and Anna. (after PRIEST says "Amen" the second time) Now it was over. The girl turned and started down the long road between the trees.

CALLOWAY:

What time is it?

MARTINS:

Oh? Uh-Two thirty.

CALLOWAY:

Get in the jeep. I'll have to step on it, if you're going to catch that plane.

SFX:

JEEP STARTS UP/PULLS AWAY/JEEP RUNNING

MARTINS:

Calloway, can't you do something about Anna?

CALLOWAY:

I'll do what I can, if she'll let me-

MARTINS:

She's so alone

CALLOWAY:

Perhaps I can

MARTINS:

-Wait a minute. Let me out.

SFX:

JEEP RUNNING/JEEP PULLS OVER/STOPS

CALLOWAY:

Well, there's not much time-

MARTINS:

-One can't just leave. Please.

CALLOWAY:

Be sensible, Martins.

MARTINS:

(ruefully) I haven't got a sensible name, Calloway.

MFX:

LET LAST TRACK PLAY THRU

MARTINS:

(narrating) We had passed her. I stood at the edge of the road and waited.

SFX:

FOOTSTEPS COMING CLOSER

MARTINS:

(narrating) What could I say to her? What could I tell her; there wasn't time to think... She was in front of me now... (to ANNA) Anna...

SXF:

FOOTSTEPS GOING AWAY

MARTINS:

(narrating) But Anna Schmidt did not turn her head, not even a glance... she just kept walking down the road...

SFX:

APPLAUSE

(MFX)

KENNEDY:

In just a moment we want you to meet our stars in person and Mr. Keighley will tell you all about next week's show. When you see Miriam Hopkins in her current pictures, you'll realize why she's considered one of Hollywood's fas