Indeed, Hitchcock later claimed he was followed by the FBI for several months after he and Hecht discussed uranium with Robert Millikan at Caltech in mid-1945. In any event, the dropping of the atomic bomb on Hiroshima on August 6, 1945, and the release of details of the Manhattan Project, removed any doubts about its use. By June 1945, "Notorious" reached its turning point. Selznick "was losing faith in a film that never really interested him"; the MacGuffin still bothered him, as did the Devlin character, and he worried that audiences would dislike the Alicia character. More worrisome, though, was the drain on his cash reserves imposed by the voracious "Duel in the Sun". Finally, he agreed to sell the "Notorious" package to RKO: script, Bergman and Hitchcock. The deal was a win-win-win situation: Selznick got $800,000 cash, plus 50% of the profits, RKO obtained a prestige production with an ascendant star and an emerging director, and Hitchcock, though he received no money, did escape from under Selznick's stifling thumb. He also got to be his own producer for the first time, an important step for him: "supervising everything from the polishing of the script to the negotiation of myriad post-production details, the director could demonstrate to the industry at large his skill as an executive." RKO assumed the project in mid-July 1945, and furnished office space, studio space, distribution—and freedom. There was no getting away from Selznick completely, though. He contended that his 50% stake in the profits still entitled him to input into the project. He still dictated sheaves of memos about the script, and tried to oust Cary Grant from the cast in favor of his contractee, Joseph Cotten. When the United States detonated two atomic bombs over Japan in August, the memos commenced anew and centered mainly on Selznick's continuing dissatisfaction with the script. Hitchcock was abroad, so Dozier called on playwright Clifford Odets, who previously wrote "None But the Lonely Heart" for RKO and Grant, to do a rewrite. With Hitchcock and Selznick both busy, Selznick's script assistant Barbara Keon would be his only contact. Odets's script tried to bring more atmosphere to the story than had previously been present. "Extending the characters' emotional range, he heightened the passion of Devlin and Alicia and the aristocratic ennui of Alex Sebastian.