Video Transcript

An old clip shows the opening credits of a movie starring Hedy Lamarr.

The narrator says HEDY LAMARR WAS
BOX OFFICE DYNAMITE.
A SMOULDERING FEMME FATALE
KNOWN AS THE MOST BEAUTIFUL
WOMAN IN FILM, AND CINEMA'S
VERY FIRST NUDE.
BUT WHEN HER LOOKS BEGAN TO
FADE, HOLLYWOOD REJECTED HER,
AND IN HER MID-30S, HER LIFE
FELL APART.
HER ENDLESS SEARCH FOR LOVE
AND STABILITY LED TO SIX
DISASTROUS MARRIAGES.
AND HER STRUGGLE TO COMBINE HER
CAREER WITH MOTHERHOOD ENDED
WITH HER REJECTING HER
CHILDREN.

A woman sitting at a movie theatre says I THINK HEDY SAW HERSELF,
TOWARDS THE END OF HER DAYS, AS
A BEAUTY WHOSE BEAUTY HAD BEEN
LOST, AND SHE BECAME VERY
RECLUSIVE.

The narrator says COSMETIC SURGERY TO RETURN
HER GOOD LOOKS HAD DISASTROUS
RESULTS, AND ALONE AND ON THE
BREADLINE, A BEWILDERED HEDY
FOUND HERSELF ON TRIAL FOR
SHOPLIFTING.

A reporter DID YOU HAVE A SHOPPING
BAG IN YOUR POSSESSION OUTSIDE
THE STORE?

Hedy says I DON'T KNOW.
I HAD MY SHOES, YES, SO THEY
MUST HAVE BEEN IN THE SHOPPING
BAG.

The narrator says THIS COULD HAVE BEEN THE
TRAGIC END TO A ONCE-GLAMOROUS
LIFE ON THE SILVER SCREEN.
BUT THEN, CAME REDEMPTION,
BECAUSE HEDY LAMARR, HOLLYWOOD
MOVIE STAR, HAD ALSO BEEN AN
INVENTOR, AND HER REMARKABLE
INVENTION WAS TO PLACE HER
AMONGST THE GREATEST MINDS AT
THE FOREFRONT OF MODERN
COMMUNICATION TECHNOLOGY,
BECAUSE ALL LAPTOPS AND MOBILE
PHONES CAN SURF THE INTERNET
THANKS TO AN INVENTION OF
HEDY LAMARR'S.
THE ROLE OF INVENTOR WAS THE
BEST SHE HAD EVER PLAYED.

(MOVIE MUSIC PLAYING)

A montage of images showing famous women in history rolls.

The name of the show "Extraordinary Women. Hedy Lamarr."

(KNOCKING)

A clip from a black and white movie called "Strange Woman" rolls.

Hedy says MR. POSTER!
AND THEN, HE BEAT ME AND BEAT ME
UNTIL I THOUGHT...

A montage of images showing famous women in history rolls.

The narrator says HEDY LAMARR, HOLLYWOOD FILM
STAR AND INVENTOR, WAS BORN
HEDWIG EVA MARIA KIESLER ON THE
9TH OF NOVEMBER, 1914 IN
VIENNA, AUSTRIA.
HER PARENTS WERE JEWISH.
HER MOTHER A PIANIST, AND HER
FATHER A SUCCESSFUL BANKER.
AND THE KIESLERS LIVED IN A
FASHIONABLE, CULTURED AND
MIDDLE-CLASS DISTRICT IN THE
HEART OF VIENNA'S ARTISTIC
QUARTER.
HEDY'S CHILDHOOD WAS FILLED
WITH MUSIC AND THE PERFORMING
ARTS.

A woman impersonating Hedy says "ONE DAY, MOTHER
PROMISED ME A NICE PRESENT IF
I WERE GOOD.
THE PRESENT WAS A VISIT,
MY FIRST, TO THE THEATRE.
I WAS THRILLED AND SPEECHLESS."

The narrator says IT WAS ON THAT DAY
THAT SHE FIRST DREAMED OF A
LIFE ON THE SILVER SCREEN.

(AUDIENCE GASPING)

The narrator says THE YOUNG HEDY WAS BEAUTIFUL,
AND IN 1930, AGE JUST 16, SHE
FOUND SHE WAS GETTING NOTICED.
SHE BEGAN TO LAND SMALL ROLES
IN VIENNA'S LIVELY FILM
INDUSTRY.
CRITICS REPORTED THAT THIS
UNKNOWN, UNNAMED ACTRESS HAD
EYES AS PRETTY AS A PICTURE.
ONE CRITIC EVEN DECLARED HEDY
TO BE "THE MOST BEAUTIFUL GIRL
IN THE WORLD."
HEDY, ALMOST WITHOUT TRYING,
HAD MADE HER MARK AS AN ACTRESS
IN VIENNA.
BUT SHE HAD GREATER AMBITIONS.
SHE KNEW THAT IF SHE WANTED TO
MAKE IT BIG, SHE COULDN'T
REMAIN IN AUSTRIA.
SO, IN AUGUST 1931, THE
TEENAGED HEDY LEFT VIENNA AND
HEADED TO BERLIN, THE HEART OF
EUROPE'S FILM INDUSTRY.
(CROWD CHEERING)
GERMANY IN THE 1930S WAS
POLITICALLY UNSTABLE AND NEAR
COLLAPSE, CRIPPLED BY THE
POVERTY OF THE GREAT
DEPRESSION.
AND WHEN HEDY ARRIVED THERE IN
1931, THE NAZIS WERE ON THE
RISE AND BLAMING THE JEWS FOR
GERMANY'S ECONOMIC PLIGHT.
HITLER APPEALED DIRECTLY TO
BOTH THE WORKING AND MIDDLE
CLASSES, AND WAS USING
PROPAGANDA TO GAIN SUPPORT FOR
HIS ANTI-SEMITIC POLICIES.

A clip shows Hitler's supporters cheering on the streets.

(CROWD CHEERING)

The narrator says HIS NOW-IMMENSE NAZI PARTY WAS
POISED TO TAKE OVER GERMAN
POLITICS.

The crowd says SIEG HEIL!

The narrator says BUT DESPITE THE DIRE ECONOMIC
AND POLITICAL SITUATION, GERMAN
FILMMAKERS WERE STILL MANAGING
TO FILL THE CINEMAS.
FOR A TIME, HEDY WORKED IN BOTH
THEATRE AND FILM IN BERLIN.
BUT IN 1932 CAME A
BREAKTHROUGH.
HEDY WAS CAST IN THE CENTRAL
ROLE OF EVA IN A HIGHLY
CONTROVERSIAL CZECH FILM,
ECSTASY.
EVA WAS A BEAUTIFUL YOUNG WOMAN
WHO MARRIES AN OLDER MAN, ONLY
TO FIND A YOUNGER LOVER.
BUT IT WASN'T THE PLOT THAT
MADE THE FILM SO CONTROVERSIAL,
IT WAS THE SEX.

A caption reads "Doctor Ruth Barton. Lecturer in Film Studies."

Ruth is in her late forties, with chin-length brown hair and wears a gray shirt, a black V-neck sweater and a black necklace.

She says THIS WAS THE FILM THAT SHE
RAN NUDE FROM THE BUSHES TO THE
LAKE FOR A DIP, AND THE FILM
THAT SHE HAS AN ORGASM IN.
AND FOR AUDIENCES AT THE TIME,
THIS WAS TRULY SHOCKING.
THIS WAS THE 1930S, THIS WAS NOT
A TIME WHERE PEOPLE BEHAVED LIKE
THIS ONSCREEN, EVEN IF IT WAS A
EUROPEAN ART FILM.

The narrator says THE FILM WAS RELEASED ON THE
18TH OF FEBRUARY, 1933, IN
VIENNA.
SOME CRITICS SAID IT WAS
TASTEFUL EROTIC ART.
OTHER CRITICS CLAIMED IT WAS
PORNOGRAPHY.
THE FILM WAS BANNED IN GERMANY,
IN AMERICA, AND BY THE POPE.

Ruth says THIS MADE HER NAME, AND IT
MADE HER NAME IN THE ART HOUSE
CIRCLES WHERE THE FILM WAS
HIGHLY REGARDED, BUT IT MADE HER
NAME AS A SCANDAL IN HOLLYWOOD
AND IN AMERICA, WHERE PEOPLE
ONLY HEARD ABOUT THESE
SEQUENCES.
THEY PROBABLY NEVER SAW THE
FILM.

The narrator says BUT
ECSTASY
GOT HEDY IN THE
HEADLINES, AND SEEMED TO LAUNCH
HER ON THE PATH TO STARDOM.
BUT THEN, HEDY FELL IN LOVE.
FRITZ MANDL WAS A WEALTHY
AUSTRIAN BUSINESSMAN 13 YEARS
HEDY'S SENIOR.
A CATHOLIC, BUT OF JEWISH
DESCENT.
HE HAD SEEN HEDY ON STAGE AND
SCREEN, AND PURSUED HER.
HEDY, AGE JUST 19, WAS SOON
HEAD OVER HEELS IN LOVE.

Ruth says IT'S HARD TO KNOW WHY SHE
FELL FOR FRITZ MANDL, BUT SHE
DOES SEEM TO HAVE BEEN ATTRACTED
TO POWERFUL MEN, AND I THINK SHE
MAY HAVE SEEN HIM AS A WAY OUT,
AS A WAY FORWARD, AS MAYBE
SOMEBODY WHO COULD HELP HER
CAREER.
MAYBE HE WAS VERY RICH, MAYBE
THAT WAS WHAT SHE WAS ATTRACTED
TO.

The narrator says BY MAY 1933, THE COUPLE WERE
ENGAGED, AND HEDY ANNOUNCED HER
EARLY RETIREMENT FROM THE
MOVIES.

Hedy's impersonator says "I AM SO HAPPY ABOUT MY
ENGAGEMENT THAT I'M UNABLE TO
BE SAD ABOUT MY DEPARTURE FROM
THE STAGE."

The narrator says HEDY'S FILM CAREER
SEEMED TO BE OVER ALMOST BEFORE
IT HAD BEGUN.
THE HAPPY COUPLE WERE MARRIED
IN VIENNA ON THE 10TH OF
AUGUST, 1933.
HEDY AND HER NEW
HUSBAND SPENT AN EXTENDED
HONEYMOON VISITING EUROPE'S
MOST EXCLUSIVE RESORTS.
THEY TOURED PARIS AND NICE,
AND YACHTED AROUND CANNES AND
VENICE.

Hedy's impersonator says "WE SPENT MANY GOLDEN,
GLAMOROUS WEEKS AT THE LIDO,
DINING, DANCING, SWIMMING,
GLIDING ALONG THE VENETIAN
CANALS ON OUR OWN."

The narrator says AND WHEN THEY
RETURNED TO AUSTRIA IN JANUARY
1934, MANDL GAVE HEDY
EVERYTHING HE THOUGHT A YOUNG
WIFE COULD WANT.
A HUGE HOUSE IN A SPRAWLING
ESTATE, SERVANTS, FINE CLOTHES
AND JEWELS.
BUT HEDY DID NOT HAVE HER
FREEDOM.

Ruth says FRITZ MANDL SAW A BEAUTIFUL
YOUNG FILM STAR, SOMEBODY WHO
WAS BEING TALKED ABOUT, SOMEBODY
WHO WAS ALREADY BEING MENTIONED
AS A GREAT BEAUTY.
SOMEBODY HE COULD BRING TO HIS
DINNER TABLE, PRODUCE AS HIS
TROPHY BRIDE, WHO COULD BE
RELIED UPON TO DRESS UP, LOOK
BEAUTIFUL, MAKE CONVERSATION,
BE KNOWLEDGEABLE, BUT WHO
WOULDN'T STEP OUT OF HER PLACE.
AND THAT'S WHY HE MARRIED HER.

The narrator says MANDL REFUSED TO ALLOW HER TO
RETURN TO ACTING, AND SHE WAS
PRACTICALLY A PRISONER IN HER
OWN HOME.
OUTINGS WERE RESTRICTED TO
VISITS TO HIS WORKPLACE, AND
THE LAVISH SUPPERS THEY HELD
AT THEIR SPRAWLING MANSION.
GUESTS FOR DINNER AT THE MANDL
ESTATE INCLUDED EMINENT
AUSTRIAN FIGURES LIKE
PSYCHOANALYST SIGMUND FREUD,
AND POLITICIAN COUNT VON
STAUFFENBERG, BUT THEY ALSO
INCLUDED MEN LIKE BENITO
MUSSOLINI, BECAUSE MANDL, KNOWN
AS THE "MERCHANT OF DEATH," WAS
ARMS DEALER TO EUROPE'S FASCIST
REGIMES.

A clip shows a crowd cheering for Mussolini.

(CROWD CHEERING)

The narrator says BY THE MID-1930S, FASCISM
WAS ON THE RISE ACROSS EUROPE.
(SPEAKING ITALIAN)

The narrator says IN ITALY, MUSSOLINI, AS THE
HEAD OF THE FASCIST PARTY, HAD
USED EXTREME VIOLENCE TO CRUSH
ALL OPPOSITION.
IN GERMANY, HITLER HAD
PROCLAIMED HIMSELF THE FUHRER,
CHANCELLOR AND SUPREME LEADER
OF ALL GERMANY.

A clip shows Hitler addressing a crowd in one of his speeches.

(SPEAKING GERMAN)
(CROWD CHEERING)
(SPEAKING GERMAN)
(CROWD CHEERING)
(HORNS BLOWING)

The narrator says AND IN 1935, AS A FIRST STEP
TO SOLVING WHAT HE SAW AS "THE
JEWISH PROBLEM," HITLER
INTRODUCED THE NUREMBERG LAWS,
WHICH DEPRIVED JEWS OF THEIR
RIGHTS AS GERMAN CITIZENS.
THROUGHOUT MUCH OF EUROPE,
FASCISM WAS TAKING A
STRANGLEHOLD.
JEWISH BY BIRTH, HEDY LOATHED
FASCISM, AND SHE HATED WHAT
HITLER WAS DOING TO FELLOW JEWS
IN GERMANY.
AND BY 1936, SHE COULD NO
LONGER BEAR TO BE MARRIED TO
FRITZ MANDL, A MAN MAKING HIS
FORTUNE SELLING WEAPONS TO EVIL
REGIMES.

Ruth says TO HER, I BELIEVE HIS
POLITICS WERE REPELLENT.
SHE SEEMS TO HAVE KNOWN FROM A
VERY EARLY AGE THAT HIS DEALINGS
WITH MUSSOLINI, HIS DEALINGS
WITH THE AUSTRIAN FASCIST PARTY,
THAT HIS... I MEAN, HE WAS A
MUNITIONS BARON.
HE WAS SELLING ARMS TO WHOEVER
WAS READY TO BUY, AND THOSE
WEREN'T THE PEOPLE THAT SHE
APPROVED OF.
SO, I THINK SHE REALIZED VERY
EARLY ON THAT THIS WAS NOT THE
MAN FOR HER, THAT SHE HAD MADE
A MISTAKE.

In a movie clip, Hedy says I CAN'T GO ON WITH THIS.
YOU'RE NOT HELPING ME.
YOU'RE INSULTING ME!

The narrator says AFTER SEVERAL FAILED ATTEMPTS
TO ESCAPE, SHE DISGUISED
HERSELF AS A MAID AND FLED
MANDL, BUT NOT WITHOUT TAKING
A HUGE BAG OF JEWELS HE HAD
GIVEN HER.
AND IN THE SUMMER OF 1937, HEDY
ARRIVED IN LONDON, WHERE SHE
WOULD MEET A MAN WHO WOULD
CHANGE HER LIFE.
(CLOCK BELL RINGING)
BECAUSE IN LONDON WAS THE TOP
MAN FROM MGM, ONE OF
HOLLYWOOD'S GREATEST STUDIOS,
LOUIS B. MAYER.
HE WAS THERE TO SIGN UP THE
VERY BEST OF THE EUROPEAN
ACTORS WHO HAD FLED THE
OPPRESSIVE GERMAN REGIME.
HEDY WAS INTRODUCED TO HIM,
BUT MAYER WAS ONLY INTERESTED
IN GIVING HER A STANDARD
CONTRACT ON A STANDARD WAGE.
HEDY HAD A BETTER IDEA.
SHE HAD TO GET HIM ON HIS OWN.
(SHIP HORN HONKING)
SHE KNEW MAYER WAS BOUND FOR
NEW YORK ON THE TRANSATLANTIC
LINER, THE NORMANDIE, LEAVING
SOUTHAMPTON IN SEPTEMBER, 1937.
SHE MADE SURE SHE WAS ON THAT
BOAT, AND THAT THIS TIME, SHE
REALLY GOT NOTICED.
DURING THAT JOURNEY, MAYER
AGREED TO GIVE HER A LUCRATIVE
CONTRACT AND TO SET HER ON THE
PATH TO STARDOM, BUT THERE WERE
TWO CONDITIONS.

Ruth says SHE HAD TO FULFIL CERTAIN
HOLLYWOOD REQUIREMENTS.
LOSE A LITTLE BIT OF WEIGHT,
LOOK A LITTLE BIT MORE
GLAMOROUS, AND OF COURSE, HER
NAME.
JEWISH, OBVIOUSLY, GERMAN,
OBVIOUSLY THAT WOULDN'T DO.

The narrator says HEDY KIESLER WOULD HAVE TO
CHANGE HER STYLE AND HER NAME.
MAYER DEMANDED PERFECTION,
AND HE GOT IT.

WHEN THEY ARRIVED ON THE 30TH
OF SEPTEMBER, 1937, HEDY
KIESLER HAD BECOME HEDY LAMARR.
SHE WAS JUST 22, AND POISED TO
TAKE HOLLYWOOD BY STORM.
ON THE 13TH OF
JULY, 1938, HEDY APPEARED IN
HER FIRST HOLLYWOOD FILM,
ALGIERS.
THE FILM WAS A CLASSIC ROMANCE,
AND HEDY TOOK THE LEAD ROLE.

Ruth says THEY NEEDED A BEAUTY FOR THIS
FILM.
THEY NEEDED SOMEONE WHO WOULD
LOOK GLAMOROUS, EXOTIC,
MYSTERIOUS.
THEY DIDN'T HAVE TO BE ABLE TO
ACT, THIS PERSON.
THEY JUST HAD TO LOOK BEAUTIFUL.
AND SO, THEY TOOK ON HEDY LAMARR
AND THAT WAS THE MAKING OF HER.
ALGIERS
MADE HER A STAR
OVERNIGHT.
IT MADE HER FACE FAMILIAR.
SHE WAS ON NOTICE BOARDS.
SHE WAS ON POSTERS.
SHE WAS ON THE FRONT OF FILM
STAR MAGAZINES.
SHE WAS EVERY GIRL'S DREAM.
EVERYBODY SUDDENLY WANTED TO
LOOK LIKE HEDY LAMARR.

A series of pictures show Hedy posing in a glamorous way.

A clip shows Hedy arriving at the premier of the film.

The narrator says THE FILM WAS AN OVERNIGHT
SENSATION.
THE CRITICS LOVED HER.
HEDY HAD ACHIEVED WHAT FEW
OTHERS HAD, AND MADE THE
TRANSFORMATION FROM EUROPEAN
ART HOUSE ACTRESS TO HOLLYWOOD
STAR.
BUT HEDY, ALONE IN A FOREIGN
COUNTRY, COULDN'T TRULY ENJOY
HER SUCCESS, BECAUSE BACK HOME,
A SHOCKING CHAIN OF EVENTS WAS
UNFOLDING.
BY 1938, NAZI GERMANY HAD
ANNEXED HEDY'S NATIVE AUSTRIA.
HER FELLOW JEWISH NEIGHBOURS,
HER FAMILY, EVERYONE IN HER
CHILDHOOD COMMUNITY, WERE NOW
CLASSED AS ENEMIES OF THE
STATE.
ON THE 9TH OF NOVEMBER, 1938,
JEWISH HOMES WERE RANSACKED.
NAZI BROWNSHIRTS ATTACKED
SHOPS AND SYNAGOGUES WITH
SLEDGEHAMMERS, LEAVING THE
STREETS DEEP IN SHATTERED
GLASS, IN AN EVENT THAT WAS TO
BECOME KNOWN AS KRISTALLNACHT.
"THE NIGHT OF BROKEN GLASS."
30,000 JEWISH MEN, A QUARTER OF
ALL JEWISH MEN IN GERMANY, WERE
ROUNDED UP AND TAKEN TO THE
NEWLY FORMED CONCENTRATION
CAMPS.
KRISTALLNACHT WAS A TURNING
POINT, THE BEGINNING OF A
VICIOUS NEW PHASE OF HITLER'S
ANTI-SEMITISM THAT FORESHADOWED
THE GENOCIDE TO COME.
HEDY WAS APPALLED BY THE
VIOLENCE, BUT IN HOLLYWOOD,
COULD DO NOTHING MORE THAN TO
WATCH THE DISINTEGRATION OF HER
HOMELAND FROM A DISTANCE.

Ruth says OFTEN, HEDY WOULD BE GOING ON
SET, HAVING TO MAKE A FILM
KNOWING THAT HER COUNTRY WAS
BEING DESTROYED, AND
PARTICULARLY HER OWN JEWISH
INHERITANCE BEING WIPED OUT.
WE MAY GUESS THAT MANY OF HER
NEIGHBOURS MET THEIR END IN
THE CONCENTRATION CAMPS.
IT MUST HAVE BEEN DEVASTATING
FOR THOSE PEOPLE WORKING IN
AMERICA, FAR AWAY FROM EUROPE,
HEARING ABOUT EVENTS SECOND-HAND
AND NOT ABLE TO DO ANYTHING.

The narrator says HEDY, BY NOW DIVORCED FROM
HER FIRST HUSBAND FRITZ MANDL,
WAS FEELING VULNERABLE AND
ALONE.
SHE WAS IN NEED OF STABILITY,
AND IN SEARCH OF LOVE.
IT WAS TIME TO FIND HUSBAND
NUMBER TWO.

GENE MARKEY WAS A CHARMING
SOCIALITE AND PLAYBOY, AS WELL
AS A HOLLYWOOD SCREENWRITER,
AND IN THE SPRING OF 1939, HE
AND HEDY BEGAN A WHIRLWIND
ROMANCE.

A picture of Hedy and Gene appears.

The narrator says ON THE 4TH OF MARCH, 1939, JUST
ONE MONTH AFTER THEIR FIRST
MEETING, THEY WERE MARRIED AT
THE GOVERNOR'S PALACE IN
MEXICO.
THE WEDDING WAS A SPONTANEOUS
AFFAIR WITH ONLY THREE
WITNESSES.
HEDY EVEN WENT BACK TO WORK AT
THE STUDIOS THE FOLLOWING DAY.
LATER THAT YEAR, THE COUPLE
ADOPTED A SON, JAMES.
ALMOST OVERNIGHT, HEDY HAD AN
AMERICAN HUSBAND AND FAMILY.
BUT HEDY AND MARKEY'S
RELATIONSHIP WAS SHORT-LIVED.
JUST FOUR MONTHS LATER ON THE
3RD OF OCTOBER, 1940, THEY WERE
DIVORCED.
HEDY, AGE JUST 25, HAD CLOCKED
UP ANOTHER FAILED RELATIONSHIP.
BUT VERY SOON, EVENTS WOULD
UNFOLD THAT WOULD TRANSFORM
HEDY FROM HOLLYWOOD STARLET
INTO ONE OF THE MOST IMPORTANT
INVENTORS OF ALL TIME.

Clips from World War Two roll.

(CANNONS FIRING, EXPLOSIONS)

The narrator says BY 1940, EUROPE
WAS AT WAR.
POLAND HAD FALLEN, AND THE
GERMAN ARMY HAD INVADED AND
CONQUERED MUCH OF SCANDINAVIA,
THE NETHERLANDS AND BELGIUM,
AND HAD OVERTHROWN FRANCE.
HITLER'S ALLIES, THE JAPANESE,
WERE ALREADY AT WAR WITH CHINA
WHEN GERMANY INVADED THE SOVIET
UNION.
THE WAR HAD GONE GLOBAL.
IN AMERICA, PRESIDENT ROOSEVELT
WAS HOLDING ONTO HIS POLICY OF
NON-INTERVENTION, BUT ALL THAT
WAS ABOUT TO CHANGE.
ON THE MORNING OF THE 7TH OF
DECEMBER, 1941, JAPANESE ENEMY
AIRCRAFT LAUNCHED A SURPRISE
ATTACK ON THE U.S. PACIFIC
FLEET AT PEARL HARBOR.
(EXPLOSIONS)

The narrator says WITHIN JUST 24 HOURS,
ROOSEVELT'S NON-INTERVENTIONISM
WAS OVER.
AMERICA HAD NO CHOICE BUT TO
DECLARE WAR ON JAPAN.

Roosevelt says LET THE CONGRESS DECLARE
THAT SINCE THE UNPROVOKED AND
DASTARDLY ATTACK BY JAPAN, A
STATE OF WAR HAS EXISTED BETWEEN
THE UNITED STATES AND THE
JAPANESE EMPIRE.

(APPLAUSE)

The narrator says ROOSEVELT'S GOVERNMENT NOW
HAD TO FIND A WAY TO FINANCE
THE WAR, AND IT WAS CLEAR THAT
EVERYONE, HOLLYWOOD INCLUDED,
WAS GOING TO HAVE TO
CONTRIBUTE.

(NEWS STING PLAYING)

An newsreel slate reads "Everybody joins U.S. war efforts."

A reporter says HOLLYWOOD'S MOST
FAMOUS MOVIE STARS LEAVE THE
FILM CAPITAL TO HELP THE
GOVERNMENT SELL WAR BONDS.
IRENE DUNNE, RONALD COLMAN,
HEDY LAMARR, GREER GARSON, ALL
PART OF A CONTINGENT OF SOME 50
SCREEN CELEBRATES GIVING THEIR
TIME AND TALENTS TO AID THE
NATIONAL WAR EFFORT.

The narrator says ROOSEVELT'S BIG
IDEA WAS WAR BONDS, A VOLUNTARY
LOAN SYSTEM THAT GENERATED
INSTANT CASH FOR HIS GOVERNMENT
AT THE SAME TIME AS MAKING THE
AMERICAN PEOPLE FEEL MORE
INVOLVED IN THE WAR EFFORT,
AND ALL THE HOLLYWOOD STARS
STEPPED UP TO BOOST SALES.

A clip shows a man singing a song that says THE TALL MAN WITH THE HIGH HAT
WILL BE COMING DOWN YOUR WAY
GET YOUR SAVINGS OUT
WHEN YOU HEAR HIM SHOUT
"ANY BONDS TODAY?"
"ANY BONDS TODAY?"

The narrator says HEDY WAS ESPECIALLY
DETERMINED TO PROVE HER LOYALTY
TO HER NEW HOME COUNTRY BY
PUTTING HER FACE AND NAME TO
THE WAR BOND SALES DRIVE.

The reporter says AND HOW THAT CROWD
LINES UP TO BUY BONDS FROM THEIR
FAVOURITES!
THEY BUY KNOWING THAT EVERY
DOLLAR INVESTED HELPS SEND MORE
PLANES, TANKS AND SHIPS TO THE
UNITED NATIONS.

The narrator says OVER THE COURSE OF THE WAR,
85 MILLION AMERICANS PURCHASED
BONDS TOTALLING OVER 180
BILLION DOLLARS.
WE ALL INVEST IN THE USA
HEDY ALONE RAISED 25 MILLION DOLLARS
IN BONDS, VISITING 16 CITIES
IN JUST TEN DAYS.
BUT HEDY WOULD DO SO MUCH MORE.
A MILLION AMERICAN CITIZENS
ENLISTED INTO THE ARMED
FORCES, KNOWING THE GRUELLING
CONDITIONS AND EXTREME
SUFFERING THAT AWAITED THEM
ON THE FRONT LINES.
SO, THE HOLLYWOOD GREATS
DECIDED TO DO SOMETHING FOR
THEM.
ON THE 3RD OF OCTOBER, 1942,
THE HOLLYWOOD CANTEEN OPENED.
IT WAS A CLUB FOR ENTERTAINING
ALLIED SERVICEMEN ON THEIR WAY
TO WAR.
THE SERVICEMAN'S TICKET FOR
ADMISSION WAS HIS UNIFORM.
EVERYTHING AT THE CANTEEN WAS
FREE OF CHARGE, AND COOKING THE
FOOD AND WAITING THE TABLES
WERE THE HOLLYWOOD GREATS.

Ruth says IN THE HOLLYWOOD CANTEEN,
JUST LIKE EVERYBODY ELSE, SHE
HAD TO WAIT TABLES.
SHE HAD TO COOK, SHE HAD TO WASH
UP, AND SHE HAD TO KISS THE
SOLDIERS, SOMETHING THAT SHE
SAID SHE FOUND VERY
UNCOMFORTABLE, BUT THAT SHE GOT
USED TO DOING.
SO, A KISS FROM HEDY LAMARR WAS
YOUR SEND-OFF TO THE FRONT, AND
MANY SOLDIERS REMEMBERED IT TO
THE END OF THEIR DAYS.

As Hedy, a woman says "I CONSTANTLY WORKED
AT THE CANTEEN, AND I WORKED
HARD.
SOME NIGHTS I SIGNED SO MANY
AUTOGRAPHS, I THOUGHT MY ARM
WOULD DROP OFF, BUT I COULDN'T
RESIST THOSE BOYS, AND IN THE
END, I WAS ABLE TO DANCE WITH
PLEASURE."

The narrator says BUT HEDY WAS
FRUSTRATED.
SHE DIDN'T FEEL AT EASE IN
HOLLYWOOD WHILE THE REST OF
EUROPE WAS SUFFERING, AND SHE
WAS CONVINCED SHE COULD PLAY A
MORE USEFUL ROLE IN ENDING THE
WAR, PARTICULARLY AS SHE'D BEEN
KEEPING A CLOSE EYE ON HOW THE
BATTLE OF THE ATLANTIC WAS
DEVELOPING.

(EXPLOSION)

The narrator says THE ALLIES IN EUROPE WERE IN
DESPERATE NEED OF VITAL
SUPPLIES OF FOOD, EQUIPMENT AND
TROOPS FROM AMERICA.
BUT BY THE END OF 1942, GERMAN
ENEMY U-BOATS WERE PERILOUSLY
CLOSE TO COMPLETELY SEVERING
THE LIFELINE THAT STRETCHED
ACROSS THE ATLANTIC FROM
AMERICA TO BRITAIN.
THE U-BOATS' TORPEDOES WERE
SINKING THOUSANDS OF MERCHANT
SHIPS.
OVER THE COURSE OF THE WAR,
75,000 LIVES WERE LOST, AND
OVER 14 MILLION TONS OF GOODS
SUNK TO THE BOTTOM OF THE
OCEAN.
EVEN CHURCHILL LATER ADMITTED
THAT THE ONLY THING THAT REALLY
FRIGHTENED HIM DURING THE WAR
WAS THE U-BOAT PERIL.
THE ALLIES NEEDED A WAY OF
HITTING BACK, AND BELIEVED THE
ANSWER LAY IN DEVELOPING
SUPER-ACCURATE TORPEDOES.

An officer says FIRE ONE!
FIRE TWO!

The narrator says MOST TORPEDOES, ONCE
LAUNCHED, COULDN'T BE GUIDED.
BUT THE ALLIES KNEW IF THEY
COULD DEVELOP A REVOLUTIONARY
NEW GUIDANCE SYSTEM, THEY COULD
BE SURE OF DESTROYING THEIR
ENEMY TARGETS MORE OFTEN.
CRITICALLY, THAT SYSTEM HAD TO
BE A SECRET ONE, SO THE ENEMY
WOULD NEVER BE ABLE TO
INTERCEPT OR JAM IT.

A man says U.S. NAVY ACTIVITY,
TORPEDO TRIAL.

The narrator says BUT THE ALLIES SIMPLY
COULDN'T FIND A WAY OF SECRETLY
GUIDING THEIR TORPEDOES.
HEDY, THOUGH, WAS CERTAIN SHE
HAD THE ANSWER.
SHE JUST NEEDED TO FIND THE
RIGHT PERSON TO HELP HER PUT IT
TOGETHER.
GEORGE ANTHEIL WAS THE
SELF-STYLED BAD BOY OF MUSIC.
HE WAS ONE OF THE MOST TALENTED
COMPOSERS AND CONCERT PIANISTS
OF HIS TIME, BUT HIS
AVANT-GARDE, ATONAL STYLE HAD
GAINED HIM A REPUTATION FOR
BEING RADICAL AND
UNPREDICTABLE.

(PLAYING PIANO)

The narrator says HIS BEST-KNOWN COMPOSITION,
"BALLET MÉCANIQUE," WAS NOT A
BALLET FOR HUMAN DANCERS, BUT
FOR 16 SYNCHRONIZED AUTOMATED
PIANOS.

AND KNOWING ANTHEIL'S
CUTTING-EDGE MUSICAL STYLE HAD
GIVEN HEDY AN IDEA.

Ruth says SO, AT A HOLLYWOOD DINNER
PARTY, SHE MET GEORGE ANTHEIL.
SHE REALIZED HE WAS THE MAN WHO
COULD HELP HER.
SHE SCRAWLED HER NAME ON HIS CAR
IN LIPSTICK, AND A TELEPHONE
NUMBER.
IT SAID "CONTACT ME," WHICH OF
COURSE, HE DID.

The narrator says ANTHEIL MAY HAVE BEEN BOWLED
OVER BY HEDY'S BEAUTY, BUT HE
WAS EQUALLY IMPRESSED BY HER
MIND.

As George, a man says "THE HEDY WHOM WE
KNOW IS NOT THE HEDY YOU KNOW.
YOU KNOW SOMETHING WHICH THE
MGM PUBLICITY DEPARTMENT HAS,
IN ALL ITS CUNNING, DREAMT UP.
THERE IS NO SUCH HEDY.
THEY HAVE LONG AGO DECIDED THAT
IN ORDER TO GIVE HER A
SUFFICIENT SEX APPEAL, THEY
WILL MAKE HER FAINTLY STUPID.
BUT HEDY IS VERY, VERY BRIGHT.
HEDY IS AN INTELLECTUAL GIANT."

The narrator says HEDY PERSUADED
ANTHEIL TO WORK WITH HER ON AN
INVENTION WHICH SHE BELIEVED
COULD PROTECT SHIPPING AND WIN
THE BATTLE OF THE ATLANTIC.
BECAUSE HEDY HAD AN IDEA FOR
A SECRET RADIO-CONTROLLED
TORPEDO GUIDANCE SYSTEM.

(EXPLOSION)

Ruth says IT SEEMS THAT WHEN SHE WAS IN
VIENNA, WHEN SHE WAS STILL
MARRIED TO FRITZ MANDL, SHE HAD
BEEN LISTENING TO SOME
INTERESTING CONVERSATIONS THAT
TOOK PLACE AROUND THE DINNER
TABLE.
IN PARTICULAR, THE GERMANS AND
THE AUSTRIANS AT THAT TIME
WANTED TO DEVELOP THE TECHNOLOGY
FOR LAUNCHING MISSILES TO
ATTACK, SAY, A SUBMARINE.

The narrator says HEDY HAD REALIZED THAT ANY
TORPEDO GUIDANCE SYSTEM THAT
COMMUNICATED ON ONE SINGLE
RADIO FREQUENCY COULD BE EASILY
DETECTED, AND THEREFORE JAMMED
BY THE ENEMY.
BUT SHE HAD WORKED OUT THAT IF
THE SIGNAL WAS SPREAD SO THAT
MANY SEEMINGLY RANDOM
FREQUENCIES WERE USED ONE AFTER
THE OTHER, THEN THE ENEMY WOULD
FIND INTERCEPTING THE SIGNAL
ALMOST IMPOSSIBLE.
AND THAT'S WHERE GEORGE ANTHEIL
STEPPED IN.
HE REALIZED HEDY'S IDEA OF
HOPPING QUICKLY FROM ONE RADIO
FREQUENCY TO ANOTHER COULD BE
COORDINATED IN THE VERY SAME
WAY THAT HE HAD COORDINATED
THE AUTOMATED PIANOS IN HIS
"BALLET MÉCANIQUE."
IN HEDY AND ANTHEIL'S DESIGN,
A PIANO PAPER ROLL WILL BE
PLACED IN BOTH THE TRANSMITTER
AND IN THE TORPEDO RECEIVER.
EACH PAPER ROLL WOULD BE
PERFORATED WITH THE SAME
COMPLEX RANDOM PATTERN, A SET
OF SECRET INSTRUCTIONS FOR
SWITCHING COMMUNICATION
FREQUENCIES.
BECAUSE THE ROLLS WERE
IDENTICAL AND WERE STARTED AT
EXACTLY THE SAME TIME, THE
TRANSMITTER AND TORPEDO WOULD
COMMUNICATE IN PERFECT
SYNCHRONIZATION.
IF THE ENEMY CHANCED UPON ONE
PART OF THE SIGNAL, IT WAS
ALMOST IMPOSSIBLE FOR THEM TO
FOLLOW THE SIGNAL TO THE NEXT
RANDOM FREQUENCY.
HEDY AND ANTHEIL'S FREQUENCY
HOPPING, OR SPREAD SPECTRUM
INVENTION, AS THEY CALLED IT,
WAS ALMOST IMPOSSIBLE TO JAM.

(EXPLOSION)

The narrator says THEIR FINAL DESIGN USED 88
FREQUENCIES, THE SAME NUMBER AS
THERE ARE KEYS ON A PIANO.
HEDY AND ANTHEIL SENT THEIR
REVOLUTIONARY SPREAD SPECTRUM
IDEA TO THE PATENT OFFICE IN
WASHINGTON, D.C., IN 1940.
THE IDEA WAS LEAKED TO THE
PRESS, WHO PROCLAIMED...

A man says "SO VITAL IS HER
DISCOVERY TO NATIONAL DEFENCE
THAT GOVERNMENT OFFICIALS WILL
NOT ALLOW PUBLICATION OF ITS
DETAILS.
HER INVENTION, HELD SECRET BY
THE GOVERNMENT, IS CONSIDERED
OF GREAT POTENTIAL IN THE
NATIONAL DEFENCE PROGRAM."

The narrator says A PATENT FOR HEDY AND
ANTHEIL'S SECRET COMMUNICATIONS
SYSTEM WAS GRANTED ON THE 11TH
OF AUGUST, 1942.
ANTHEIL THEN PRESENTED IT TO
THE AMERICAN GOVERNMENT.

Ruth says GEORGE ANTHEIL WENT TO
WASHINGTON AND NEGOTIATED AS
BEST HE COULD, SOLD THE IDEA AS
BEST HE COULD.
BUT IN THE END OF THE DAY,
PEOPLE THOUGHT, "WELL, THAT'S
FUNNY.
THAT'S FUNNY, THE MODERNIST
COMPOSER, THE VIENNESE ACTRESS,
AND THEY THINK THEY'RE GOING TO
SOLVE THE WAR PROBLEM."
SO, I THINK THEY WERE LISTENED
TO, BUT THEY WERE NOT REALLY
LISTENED TO.

The narrator says BUT FOR ALL THE HYPE, HEDY
AND ANTHEIL'S IDEA WAS
REJECTED.
HEDY, DEFLATED, WENT BACK TO
THE DAY JOB.
SHE HAD LEARNED ONE LESSON:
THAT PEOPLE CONSIDERED HER
BRAIN TO BE LESS IMPORTANT THAN
HER LOOKS.

(music plays)

The narrator says IN 1942, HEDY WAS
CAST AS TONDELAYO IN
WHITE CARGO.
THE FILM WAS ONE OF HER BIGGEST
HITS, AND SECURED HER
REPUTATION AS AN EXOTIC, EROTIC
FANTASY.
AND IT WAS WHILE SHE WAS
FILMING FOR
WHITE CARGO
THAT ON
CHRISTMAS DAY, 1942, JUST AFTER
HER 28TH BIRTHDAY, HEDY MET
ETON-EDUCATED ENGLISHMAN
JOHN LODER.

Ruth says APPARENTLY, BETTE DAVIS
INTRODUCED HIM TO HER, AND SHE
WAS VERY ATTRACTED TO THIS MAN.
HE WAS A DEBONAIR ENGLISHMAN,
VERY MUCH SORT OF CLARK GABLE
LOOKS OF THE DAY, AND HE HAD A
MINOR CAREER, NOTHING TOO
EXTRAVAGANT, BUT I THINK HE
REPRESENTED STABILITY FOR HER.

(PIANO PLAYS WEDDING MARCH)

The narrator says JOHN LODER BECAME HUSBAND
NUMBER THREE ON THE 27TH OF
MAY, 1943.
IT WAS A QUIET, CIVIL WEDDING
WITH ONLY FIVE GUESTS.
ONCE MARRIED, HEDY AND LODER
ADOPTED A MORE DOWN-TO-EARTH
LIFESTYLE, AS FAR REMOVED FROM
THE GLITZ AND GLAMOUR OF
HOLLYWOOD AS POSSIBLE.
HEDY WAS HAPPY.
HER INVENTION MAY HAVE BEEN
REJECTED, BUT AS WELL AS A
FLOURISHING MOVIE CAREER, SHE
HAD A COMFORTABLE HOME AND THE
STABILITY SHE HAD ALWAYS
CRAVED.
IT WAS A HIGH POINT IN HER
LIFE.
AND THEN, IN THE SPRING OF
1945, HEDY AND LODER HAD A
DAUGHTER, DENISE.
BY THE WINTER OF 1945, HEDY WAS
PREGNANT AGAIN, THIS TIME WITH
A SON, ANTHONY.

Ruth says I THINK JUST FOR A SHORT
PERIOD, IT SEEMED TO HER LIKE
SHE HAD GOT EVERYTHING.
SHE HAD EMIGRATED, SHE HAD MADE
HER WAY IN HOLLYWOOD, SHE WAS A
STAR, SHE WAS A NAME ON
EVERYBODY'S LIPS.
SHE HAD A HUSBAND, HAD A PERFECT
HOME, AND THE FUTURE LOOKED VERY
ROSY, JUST FOR A SHORT PERIOD.
SHE SEEMED TO HAVE IT ALL.

A newsreel slate reads "The war ends in Europe."

(CROWD CHEERING)

A reporter says THROUGHOUT THE
WORLD, THRONGS OF PEOPLE HAILED
THE END OF THE WAR IN EUROPE.
IT IS FIVE YEARS AND MORE SINCE
HITLER MARCHED INTO POLAND.

The narrator says BY NOW, THE WAR
WAS OVER.
IT SHOULD ALL HAVE BEEN
PERFECT.
BUT THINGS WEREN'T WORKING OUT
BETWEEN HEDY AND HUSBAND NUMBER
THREE, JOHN LODER.
THEY COULDN'T EVEN AGREE ON THE
STORY OF THEIR BREAK-UP.
ACCORDING TO HEDY, IN THE
CHRISTMAS OF 1945, SHE TOLD
LODER SHE WAS BOTH PREGNANT AND
WANTED A DIVORCE.
LODER REMOVED HIS PIPE FROM HIS
MOUTH, TOLD HER SHE WAS A
COLD BITCH, AND THEN RETURNED
TO READING HIS BOOK.
BUT ACCORDING TO LODER, HEDY
TOLD HER AGENT TO BREAK THE
NEWS BY PHONE, EXPLAINING THE
BREAK-UP WAS BECAUSE LODER WAS
BOTH A MEDIOCRE ACTOR AND A
TERRIFIC BORE AT HOME.
EITHER WAY, ON THE 17TH OF
JULY, 1947, HEDY AND LODER
FINALIZED THE PAPERWORK.
SHE GAINED CUSTODY OF HER THREE
CHILDREN, ADOPTED JAMES, DENISE
AND BABY ANTHONY.
AT JUST 32 YEARS OLD, HEDY WAS
DIVORCED FOR THE THIRD TIME,
AND DESPERATE NOT TO LOSE HER
REPUTATION AS AN A-LIST STAR.
A black and white clip rolls.

Director Cecil B. Demille says OKAY, CUT.
CAMERA?

A man says ALL RIGHT HERE, SIR.

Cecil says SOUND?

The sound recorder says OKAY, SIR.

Cecil says ALL RIGHT, PRINT IT.

The narrator says IN 1947, ONE OF
HOLLYWOOD'S GREATEST DIRECTORS,
CECIL B. DEMILLE BEGAN CASTING
FOR HIS BIBLICAL EXTRAVAGANZA
SAMSON AND DELILAH.
SHE SAW IT AS ONE LAST CHANCE
TO REALLY MAKE HER MARK.

Ruth says SHE IS RAVISHING AS
DELILAH.
THIS IS CECIL B. DEMILLE WITH
ALL HIS CAMP CLASSIC GLORY.
THIS FILM IS TO DIE FOR.
THIS IS A FILM ALL ABOUT
SPECTACLE, IT'S ABOUT
INDULGENCE, IT'S ABOUT
DECADENCE, AND SHE JUST LAYS
BACK LETTING THE CAMERA CARESS
HER.
THE CAMERA LOVES HER IN THIS
FILM, AND SHE IS SEDUCTIVE,
SHE'S BEAUTIFUL, SHE'S LANGUID.
SHE IS THE TEMPTRESS, SHE IS
THE PERFECT DELILAH, AND IT WAS
A GREAT COUP TO CAST HER IN THAT
FILM.

The narrator says THIS WAS HEDY'S BEST-EVER
PERFORMANCE.
THE CRITICS LOVED HER, AND THE
AUDIENCE LOVED HER.
SAMSON AND DELILAH
WAS THE
HIGHEST-GROSSING FILM OF THE
YEAR.
BETTER STILL, THE FILM RECEIVED
HOLLYWOOD'S GREATEST
RECOGNITION, TWO OSCARS.

Ruth says IT DID HUGELY WELL WITH
AUDIENCES.
THEY FLOCKED TO SEE IT, AND JUST
FOR A MOMENT, JUST FOR A MOMENT,
IT LOOKED LIKE SHE HAD
RE-ENTERED HOLLYWOOD.
SHE WAS BIG AGAIN.
AND I THINK SHE THOUGHT, "I'M
BACK."
BUT OF COURSE, SHE WASN'T.

The narrator says BY NOW, HEDY WAS 35 YEARS
OLD, AND HER LIFE WAS BEGINNING
TO UNRAVEL.
HER CAREER HAD BEEN BASED
LARGELY UPON HER EXTRAORDINARY
BEAUTY, BUT HOLLYWOOD NOW
WANTED NOT JUST A YOUNGER LOOK,
BUT A DIFFERENT LOOK
ALTOGETHER.
WOMEN LIKE MARILYN MONROE WOULD
BE THE NEW LEADING LADIES.

In a movie, Hedy says LET HER GO.
I'LL GIVE YOU THE MONEY.

A man says YOU'RE MRS. POSTER.

Hedy says YES!

(GUNSHOTS)

The narrator says HEDY WAS HAVING TO FIGHT
HARDER AND HARDER FOR THE
STRONG WOMEN ROLES AT WHICH
SHE EXCELLED.
SHE REALIZED HER TIME AT THE
TOP WAS COMING TO AN END.
SHE WANTED A FRESH START.
TIME FOR HUSBAND NUMBER FOUR.

(BAND PLAYING)

The narrator says TED STAUFFER WAS A LADIES'
MAN, A NIGHTCLUB OWNER AND
FORMER BANDLEADER.
HE'D MADE HIS NAME IN SWING
AND JAZZ.
IN 1949, STAUFFER WAS LIVING
THE HIGH LIFE IN ACAPULCO,
MEXICO.
HEDY VISITED, FELL IN LOVE, AND
ON THE 11TH OF JUNE, 1951, THEY
WERE MARRIED.
BUT IT DIDN'T LAST.
VERY SOON, BOTH HEDY'S MARRIAGE
AND RELATIONSHIP WITH HER
CHILDREN WOULD COLLAPSE.
BACK IN HOLLYWOOD, SHE FOUND
SHE HAD TO EARN THE MONEY TO
SUPPORT HER FAMILY.
SHE ALSO REGULARLY VISITED A
PSYCHOTHERAPIST, AND WAS
BEGINNING TO FEEL OVERWHELMED
BY THE PRESSURES OF COMBINING
WORK AND MOTHERHOOD.
BY FEBRUARY, 1952, SHE HAD
MOVED BACK TO BEVERLY HILLS,
AND HAD PLACED ALL THREE OF HER
CHILDREN AT A BOARDING SCHOOL
THERE.

Ruth says I THINK SHE WAS UNDER A LOT
OF PRESSURE AT THIS TIME.
SHE WAS THE BREADWINNER IN THE
FAMILY.
SHE HAD TO FIND ROLES IN AN
INDUSTRY THAT WAS LARGELY
REJECTING HER, AND SHE WAS
REALLY LOSING IT, AND THE
CHILDREN WERE AN AGGRAVATION.
SO, I THINK ALTHOUGH SHE ALWAYS
SAW HERSELF AS A MOTHER, THE
ACTUAL NITTY-GRITTY OF PARENTING
REALLY ELUDED HER, AND IT BECAME
MORE CONVENIENT TO HAVE SOMEBODY
ELSE LOOK AFTER THESE CHILDREN.

The narrator says HEDY'S ELDEST CHILD JAMES WAS
DISRUPTIVE AT SCHOOL, AND FOUND
IT DIFFICULT TO SETTLE IN, AND
HEDY DIDN'T SEEM TO KNOW QUITE
WHAT TO DO WITH HIM.

Ruth says SHE SEEMS TO HAVE BEEN ALWAYS
JUST A LITTLE BIT LESS FOND OF
THE ADOPTED CHILD, JAMES LODER,
THAN SHE WAS OF HER OWN BIRTH
CHILDREN, AND HE SEEMS TO HAVE
BEEN A TROUBLED CHILD.
MAYBE HE SENSED THIS.
MAYBE HE SENSED THAT HE WAS A
LITTLE DIFFERENT, A LITTLE BIT
LESS FAVOURED, AND THERE SEEM
TO HAVE BEEN CONSTANT FRICTIONS,
JUST LITTLE RUN-INS BETWEEN HER
AND HIM.
AND THEN, JUST INEXPLICABLY AND
REALLY UNFORGIVABLY, SHE THEN
OFFLOADED HIM.
SHE MORE OR LESS TOLD HIM NOT TO
COME HOME FROM SCHOOL, AND SEEMS
TO HAVE FOUND A SURROGATE FAMILY
TO BRING HIM UP.

The narrator says HEDY SIMPLY ABANDONED HER
ADOPTED SON.
HE WAS RESCUED BY HIS TEACHER
AND HER HUSBAND, WHO TOOK HIM
IN TO LIVE PERMANENTLY WITH
THEM.
IT WOULD BE 40 YEARS BEFORE
THEY WOULD REPAIR THEIR
RELATIONSHIP.

A clip from the movie "Strange Woman" rolls.

A man says THIS IS ONE BEATING YOU'LL
NOT LIKE.

(KNOCKING)

Hedy desperately knocks on a door and says MR. POSTER!
AND THEN, HE BEAT ME AND BEAT ME
UNTIL I THOUGHT...

The narrator says HUSBAND STAUFFER WAS NEXT ON
THE LIST TO GO.

Hedy says LOOK AT MY BACK.

The narrator says CLAIMING THAT HE HAD HIT HER
ON SEVERAL OCCASIONS, HEDY
BEGAN DIVORCE PROCEEDINGS IN
MARCH, 1952.
ALONE AND WITH NO CALLS FROM
HOLLYWOOD, THE MONEY BEGAN TO
RUN OUT.
("WEDDING MARCH" PLAYING)

The narrator says SO, J. HOWARD LEE, OIL BARON
AND MILLIONAIRE, BECAME HUSBAND
NUMBER FIVE ON THE 23RD OF
DECEMBER, 1953, IN NEW YORK.
THE HAPPY COUPLE SETTLED IN
TEXAS, IN LUXURY.
BUT BY AUGUST, 1958, HEDY WAS
AGAIN SEEKING DIVORCE, AND WITH
IT, A LARGE SUM OF MONEY.
HEDY, ALONE YET AGAIN, MANAGED
TO HOLD FIRE FOR OVER FOUR
YEARS, BEFORE LOOKING FOR
HUSBAND NUMBER SIX, BUT SHE
DIDN'T LOOK FAR.
ON THE 4TH OF MARCH, 1963, SHE
MARRIED HER DIVORCE LAWYER,
LEWIS BOIES, JUNIOR.
THIS MARRIAGE LASTED JUST OVER
A YEAR.
IN 1964, SHE SUED FOR DIVORCE,
CLAIMING SHE HAD SUFFERED
EXTREME CRUELTY.

Ruth says I THINK ANYBODY WHO CAME FROM
A BACKGROUND AS SHE HAD, WHERE
HER WHOLE CULTURE, HER COUNTRY,
EVERYTHING THAT SHE KNEW WAS
DESTROYED, I THINK SHE WAS
ALWAYS SEARCHING FOR SECURITY.
MAYBE EVEN SEARCHING FOR SOMEONE
TO REPLACE THE FATHER THAT SHE
HAD LOVED AS A CHILD.
AND SHE NEVER FOUND THAT PERSON.
IT WAS ALWAYS A DREAM.
IT WAS A FIGMENT OF HER
IMAGINATION, SO EACH MARRIAGE
TURNED OUT TO BE A
DISAPPOINTMENT, OFTEN VERY
QUICKLY.

The narrator says HEDY, AGE 50, WAS ALONE.
SHE HAD SPENT OVER THREE
DECADES IN AND OUT OF DIVORCE
COURTS.
THEN, JUST WHEN SHE THOUGHT HER
LIFE COULDN'T UNRAVEL FURTHER,
SHE FOUND HERSELF IN COURT
ONCE AGAIN.
BUT THIS TIME, FOR A VERY
DIFFERENT REASON, BECAUSE IN
1966, HEDY WAS CHARGED WITH
SHOPLIFTING.
IT BEGAN ON THE 27TH OF JANUARY
WHEN AT THE MAY COMPANY
DEPARTMENT STORE, ITEM AFTER
ITEM FOUND THEIR WAY INTO HER
BAG, TO THE VALUE OF JUST 86 DOLLARS.
HEDY APPEARED BEWILDERED AT
THE EVENTS.

At a press conference, Hedy says PARDON ME?

A reporter says DID YOU HAVE A SHOPPING
BAG IN YOUR POSSESSION OUTSIDE
THE STORE, AS THE SECURITY
GUARDS CLAIMED?

Hedy says WHAT DO YOU MEAN, A SHOPPING
BAG?

The reporter says A SHOPPING BAG
CONTAINING EIGHT ITEMS.

Hedy says WELL, I DON'T KNOW.

The narrator says THAT APRIL SHE WAS SUMMONED
TO THE COURTROOM.
THE TRIAL LASTED SIX DAYS.
HEDY PUT IN THE PERFORMANCE OF
HER LIFETIME.

Hedy's impersonator says "I WAS MY MOST NATURAL
AND CONVINCING IN COURT."

The narrator says AFTER A FIVE-HOUR
DELIBERATION FROM THE JURY,
HEDY WAS DECLARED NOT GUILTY.

At the press conference, Hedy's agent says I THINK MS. LAMARR HAS BEEN
MORE THAN GENEROUS, THANK YOU
VERY MUCH.

Ruth says OF COURSE IT MADE THE
HEADLINES IN A WAY THAT NOBODY
COULD HAVE ANTICIPATED, AND IT
DID NOTHING FOR HER REPUTATION.
IT WAS SHOCKING.
HERE WAS A NAME THAT PEOPLE HAD
KIND OF FORGOTTEN.
SHE HAD BEEN OUT OF THE
HEADLINES FOR A WHILE, AND
SUDDENLY SHE WAS BACK AND SHE
WAS BEING ARRESTED FOR
SHOPLIFTING.
IT WAS IGNOMINIOUS.

Hedy's impersonator says "TODAY, I AM A WOMAN
OVER 50 WITH NO MONEY FOR THE
NEXT MEAL, AND CHILDREN THAT
I'M UNABLE TO HELP."

The narrator says BY THE 1970S, HEDY WAS IN
INCREASINGLY POOR HEALTH.
YEARS OF PLASTIC SURGERY HAD
TAKEN THEIR TOLL ON HER LOOKS.

Ruth says I THINK HEDY SAW HERSELF
TOWARDS THE END OF HER DAYS AS
A BEAUTY WHOSE BEAUTY HAD BEEN
LOST, AND SHE BECAME VERY
RECLUSIVE.
SHE LOOKED BACK ON HER FILM
ROLES, AND I THINK SHE REGRETTED
WHAT MIGHT HAVE BEEN, AND I
THINK SHE ALWAYS THOUGHT THAT
HOLLYWOOD HADN'T MADE THE BEST
USE OF HER.
SO, SHE HAD A CERTAIN RESENTMENT
ALWAYS TOWARDS HOLLYWOOD.
IT HAD MADE HER, BUT IT HADN'T
MADE HER ENOUGH.

The narrator says BY THE EARLY 1980S, HEDY WAS
LIVING ALONE, LARGELY
HOUSEBOUND, A NAME FROM THE
PAST.
FEW OF HER NEIGHBOURS REALIZED
THEY HAD A FORMER HOLLYWOOD
STAR LIVING JUST NEXT DOOR.
BUT THEN, CAME REDEMPTION.
AND REDEMPTION CAME FROM MOBILE
PHONES.
IN THE 1990S, MOBILE PHONE
DEVELOPERS NEEDED TO FIND A WAY
OF ALLOWING PHONES TO
COMMUNICATE WIRELESSLY WITHOUT
JAMMING OR INTERFERENCE.
THEY CHOSE A METHOD KNOWN AS
CODE-DIVISION MULTIPLE ACCESS,
OR CDMA, AS THE INDUSTRY
STANDARD FOR WIRELESS
COMMUNICATION, AND IT TURNED
OUT THAT CDMA WAS IN FACT
SIMPLY A MODERN DEVELOPMENT OF
HEDY AND ANTHEIL'S FREQUENCY
HOPPING SPREAD SPECTRUM IDEA
OF 50 YEARS EARLIER.
WHAT HEDY HAD INTENDED AS A WAY
OF SECRETLY GUIDING TORPEDOES
TO THEIR TARGETS IN WORLD WAR
II WAS NOW BEING ADAPTED FOR
WI-FI NETWORKS AND MOBILE PHONE
COMMUNICATION THE WORLD OVER.

Ruth says SO, SUDDENLY, WHAT HAD BEEN
PURELY SPECULATIVE, WHAT HAD
BEEN THE CRAZED IDEA OF A
VIENNESE STAR AND A MODERNIST
COMPOSER, WAS BACK IN THE
HEADLINES, AND SHE WAS BEING
RECOGNIZED.
IT WAS WONDERFUL BECAUSE ONE
AFTER ANOTHER, THE AWARDS CAME
IN, THE RECOGNITION CAME IN,
PEOPLE WERE WRITING ABOUT HER.

The narrator says SO IMPORTANT WAS HER
INVENTION THAT HER BIRTHDAY,
THE 9TH OF NOVEMBER, WAS
CELEBRATED AS INVENTOR'S DAY
IN HER HOME COUNTRY, AUSTRIA.
NOW IN HER 80S, SHE WAS ONCE
AGAIN RICH AND FAMOUS.

Ruth says AND OF COURSE, FROM THAT
MOMENT ONWARDS, IT'S WONDERFUL
BECAUSE SHE BEGAN TO GET THE
RECOGNITION THAT SHE'D NEVER
GOT.
AND NOT ONLY THAT, SHE GOT
RECOGNITION FOR HER BRILLIANCE,
FOR HER GENIUS, WHICH HAD
CERTAINLY ELUDED HER IN HER
PROFESSIONAL LIFE, AND PEOPLE
WERE TALKING ABOUT HER NOT AS A
BEAUTY, NOT AS A FAILED FILM
STAR, BUT AS THE MOTHER, IF YOU
LIKE, OF MODERN TECHNOLOGY.

The narrator says HEDY LAMARR, THE HOLLYWOOD
STAR FAMOUS FOR HER GOOD LOOKS,
WAS NOW BEING RECOGNIZED FOR
HAVING A BRILLIANT MIND.
WHEN SHE DIED ON THE 19TH OF
JANUARY, 2000, HEDY LEFT THREE
CHILDREN, A MULTI-MILLION
DOLLAR ESTATE, AND A
TECHNOLOGICAL LEGACY THAT
CHANGED THE WAY THE WORLD
COMMUNICATES.

Music plays as the end credits roll.

Narrator, Sophie Okonedo.

Executive producer, Matthew Barrett.

Produced and directed by Johanna Gibbon.

Produced by WMR Productions in association with BBC Worldwide.

Copyright 2010, World Media Rights.

Logo: BBC.