All About Eve


All About Eve

FADE IN:

INT. DINING HALL - SARAH SIDDONS SOCIETY - NIGHT

It is not a large room and jammed with tables, mostly for
four but some for six and eight. A long table of honor, for
about thirty people, has been placed upon a dais. 

Diner is over. Demi-tasses, cigars and brandy. The overall
effect is one of worn elegance and dogged gentility. It is
June.

The CAMERA, as it has been throughout the CREDIT TITLES, is
on the SARAH SIDDONS AWARD. It is a gold statuette, about a
foot high, of Sarah Siddons as The Tragic Muse. Exquisitely
framed in a nest of flowers, it rests on a miniature altar in
the center of the table of honor. 

Over this we hear the crisp, cultured, precise VOICE of
ADDISON deWITT:

         ADDISON'S VOICE
     The Sarah Siddons Award for
     Distinguished Achievement is
     perhaps unknown to you. It has been
     spared the sensational and
     commercial publicity that attends
     such questionable "honors" as the
     Pulitzer Prize and those awards
     presented annually by the film
     society...

The CAMERA has EASED BACK to include some of the table of
honor and a distinguished gentleman with snow-white hair who
is speaking. We do not hear what he says. 

         ADDISON'S VOICE
     The distinguished looking gentleman
     is an extremely old actor. Being an
     actor - he will go on speaking for
     some time. It is not important what
     you hear what he says. 

The CAMERA EASES BACK some more, and CONTINUES until it
discloses a fairly COMPREHENSIVE SHOT of the room

         ADDISON'S VOICE
     However it is important that you
     know where you are, and why you are
     here. This is the dining room of
     the Sarah Siddons Society.
     The occasion is its annual banquet
     and presentation of the highest
     honor our Theater knows - the Sarah
     Siddons Award for Distinguished
     Achievement. 

A GROUP OF WAITERS are clustered near the screen masking the
entrances of the kitchen. The screens are papered with old
theatrical programs. The waiters are all aged and venerable.
They look respectfully toward the speaker. 

         ADDISON'S VOICE
     These hollowed walls, indeed many
     of these faces, have looked upon
     Modjeska, Ada Rehan and Minnie
     Fiske; Mansfield's voice filled the
     room, Booth breathed this air. It
     is unlikely that the windows have
     been opened since his death. 

CLOSE - THE AWARD on its altar, it shines proudly above five
or six smaller altars which surround it and which are now
empty. 

         ADDISON'S VOICE
     The minor awards, as you can see,
     have already been presented. Minor
     awards are for such as the writer
     and director - since their function
     is merely to construct a tower so
     that the world can applaud a light
     which flashes on top of it and no
     brighter light has ever dazzled the
     eye than Eve Harrington. Eve... but
     more of Eve, later. All about Eve,
     in fact.  

THE CAMERA MOVES TO: CLOSE - ADDISON deWITT, not young, not
unattractive, a fastidious dresser, sharp of eye and
merciless of tongue. An omnipresent cigarette holder projects
from his mouth like the sward of D'Artagnan. 

He sits back in his chair, musingly, his fingers making
little cannonballs out of bread crumbs. His narration covers
the MOVE of the CAMERA to him:

         ADDISON'S VOICE
     To those of you who do not read,
     attend the Theater, listen to
     uncensored radio programs or know
     anything of the world in which we
     live - it is perhaps necessary to
     introduce myself. My name is
     Addison deWitt.
     My native habitat is the Theater -
     in it I toil not, neither do I
     spin. I am a critic and
     commentator. I am essential to the
     Theater - as ants are to a picnic,
     as the ball weevil to a cotton
     field... 

He looks to his left. KAREN RICHARDS is lovely and thirtyish
in an unprofessional way. She is scraping bread crumbs,
spilled sugar, etc., into a pile with a spoon. Addison takes
one of her bread crumbs. She smiles absently. Addison rolls
the bread crumb into a cannonball. 

         ADDISON'S VOICE
     This is Karen Richards. She is the
     wife of a playwright, therefore of
     the Theater by marriage. Nothing in
     her background or breeding should
     have brought her any closer the
     stage than row E, center...

Karen continues her doodling. 

         ADDISON'S VOICE
     ... however, during her senior year
     in Radcliffe, Lloyd Richards
     lectured on drama. The following
     year Karen became Mrs. Lloyd
     Richards. Lloyd is the author of
     'Footsteps on the Ceiling' - the
     play which has won for Eve
     Harrington the Sarah Siddons
     Award...

Karen absently pats the top of her little pile of refuse. A
hand reaches in to take the spoon away. Karen looks as the
CAMERA PANS with IT to MAX FABIAN. He sits at her left. He's
a sad-faced man with glasses and a look of constant
apprehension. He smiles apologetically and indicated a white
powder with he unwraps. He pantomimes that his ulcer is
snapping.   

Karen smiles back, returns to her doodling. Addison mashes a
cigarette stub, pops it out of his holder. He eyes Max. 

         ADDISON'S VOICE
     There are two types of theatrical
     producers. One has a great many
     wealthy friends who will risk a tax
     deductible loss. This type is
     interested in Art. 

Max drops the powder into some water, stirs it, drinks, burps
delicately and close his eyes. 

         ADDISON'S VOICE
     The other is one to whom each
     production mean potential ruin or
     fortune. This type is out to make a
     buck. Meet Max Fabian. He is the
     producer of the play which has won
     Eve Harrington the Sarah Siddons
     Award...

Max rests fitfully. He twitches. A hand reaches into the
SCENE, removes a bottle of Scotch from before him. The CAMERA
follows the bottle to MARGO CHANNING. She sits at Max's left,
at deWitt's right. An attractive, strong face. She is
childish, adult, reasonable, unreasonable - usually one when
she should be the other, but always positive. She pours a
stiff drink.   

Addison hold out the soda bottle to her. She looks at it, and
at him, as if it were a tarantula and he had gone mad. He
smiles and pours a glass of soda for himself. 

         ADDISON'S VOICE
     Margo Channing is the Star of the
     Theater. She made her first stage
     appearance, at the age of four, in
     'Midsummer Night's Dream'. She
     played a fairy and entered - quite
     unexpectedly - stark naked. She has
     been a Star ever since. 

Margo sloshes her drink around moodily, pulls at it.

         ADDISON'S VOICE
     Margo is a great Star. A true Star.
     She never was or will be anything
     less or anything less... 
        (slight pause)
     ... the part for which Eve
     Harrington is receiving the Sarah
     Siddons Award was intended
     originally for Margo Channing...

Addison, having sipped his soda water, puts a new cigarette
in his holder, leans back, lights it, looks and exhales in
the general direction of the table of honor. As he speaks the
CAMERA MOVES in the direction of his glance...

         ADDISON'S VOICE
     Having covered in tedious detail
     not only the history of the Sarah
     Siddons Society, but also the
     history of acting since Thespis
     first stepped out of the chorus
     line - our distinguished chairman
     has finally arrived at our reason
     for being here...  

At this point Addison's voice FADES OUT and the voice of the
aged actor FADES IN. CAMERA is in MEDIUM CLOSE SHOT of him
and the podium. 

         AGED ACTOR
     I have been proud and privileged to
     have spent my life in the Theater -
     "a poor player ... that struts and
     frets his hour upon the stage" -
     and I have been honored to be, for
     forty years, Chief Promoter of the
     Sarah Siddons Society...
        (he lifts the Sarah
         Siddons Award from its
         altar)
     Thirty-nine times have I placed in
     deserving hands this highest honor
     the Theater knows...
        (he grows a bit arch, he
         uses his eyebrows)
     Surely no actor is older than I - I
     have earned my place out of the
     sun...
        (indulgent laughter)
     ... and never before has this Award
     gone to anyone younger than its
     recipient tonight. How fitting that
     it should pass from my hands to
     hers...

EVE HANDS: Lovely, beautifully groomed. In serene repose,
they rest between a demi-tasse cup and an exquisite small
evening cup.  

         AGED ACTOR
     Such young hands. Such a young
     lady. Young in years, but whose
     heart is as old as the Theater...

Addison's eyes narrow quizzically as he listens. Then,
slowly, he turns to look at Karen...

         AGED ACTOR
     Some of us a privileged to know
     her. We have seen beyond the beauty
     and artistry- 

Karen never ceases her thoughtful pat-a-cake with the crumbs. 

         AGED ACTOR
     -that have made her name resound
     through the nation. We know her
     humility. Her devotion, her loyalty
     to her art. 

Addison's glance moves from Karen to Margo. 

         AGED ACTOR
     Her love, her deep and abiding love
     for us-

Margo's face is a mask. She looks down at the drink which she
cradles with both hands. 

         AGED ACTOR
     -for what we are and what we do.
     The Theater. She has had one wish,
     one prayer, one dream. To belong to
     us. 
        (he's nearing his curtain
         line)
     Tonight her dream has come true.
     And henceforth we shall dream the
     same of her. 
        (a slight pause)
     Honored members, ladies and
     gentlemen - for distinguished
     achievement in the Theater - the
     Sarah Siddons Award to Miss Eve
     Harrington. 

The entire room is galvanized into sudden and tumultuous
applause. Some enthusiastic gentlemen rise to her feet...
Flash bulbs start popping about halfway down the table of the
Aged Actor's left... 

Eve rises - beautiful, radiant, poised, exquisitely gowned.
She stands in simple and dignified response to the ovation. 

A dozen photographers skip, squat, and dart about like water
bugs. Flash bulbs pop and pop and pop...

THE WAITERS applaud enthusiastically...

AGED ACTOR, Award in hand, he beams at her...

EVE smiles sweetly to her left, then to her right...

MAX has come to. He applauds lustily.

ADDISON's applauding too, more discreetly. 

MARGO, not applauding. But you sense no deliberate slight,
merely an impression that as she looks at Eve her mind is on
something else...

KAREN, nor is she applauding. But her gaze is similarly fixed
on Eve in a strange, faraway fashion. 

ADDISON, still applauding, his eyes flash first at Margo and
then at Karen. Then he directs them back to Eve. He smiles
ever so slightly.  

The applause has continued unabated. EVE turns now, and moves
gracefully toward the Aged Actor. She moves through
applauding ladies and gentlemen; from below the flash bulbs
keep popping... 

As she nears her goal, the Ages Actor turns to her. He holds
out the award. Her hand reaches out for it. At that precise
moment - with the award just beyond her fingertips - THE
PICTURE HOLDS, THE ACTION STOPS. The SOUND STOPS. 

         ADDISON'S VOICE
     Eve. Eve, the Golden Girl. The
     cover girl, the girl next door, the
     girl on the moon... Time has been
     good to Eve, Life goes where she
     goes - she's been profiled,
     covered, revealed, reported, what
     she eats and when and where, whom
     she knows and where she was and
     when and where she's going...   

ADDISON has stopped applauding, he's sitting forward, staring
intently at Eve... his narration continues unbroken.

         ADDISON'S VOICE
     ... Eve. You all know all about
     Eve... what can there be to know
     that you don't know...?

As he leans back, the APPLAUSE FADES IN as tumultuous as
before. Addison's look moves slowly from Eve to Karen.  

KAREN, she leans forward now, her eyes intently on Eve. Her
lovely face FILLS THE SCREEN as the APPLAUSE FADES ONCE MORE -
as she thinks back:

         KAREN'S VOICE
     When was it? How long? It seems a
     lifetime ago. Lloyd always said
     that in the Theater a lifetime was
     a season, and a season a lifetime.
     It's June now. That was - early
     October... only last October. It
     was a drizzly night, I remember I
     asked the taxi to wait...

                         DISSOLVE TO:

EXT. NEW YORK THEATER STREET - NIGHT

Traffic is not heavy, the shows have broken some half-hour
before. The rain is just a drizzle. 

There are other theaters on the street; display lights are
being extinguished. Going out just as Karen's taxi pulls up
is: MARGO CHANNING in 'AGED IN WOOD'. The marquis display
below includes "Max Fabian Presents" and "By Lloyd Richards."

The taxi comes to a stop at the alley. Karen can be seen
through the closed windows telling the driver to wait. Then
she gets out. She takes a step, hesitates, then looks about
curiously:

         KAREN'S VOICE
     Where was she? Strange... I had
     become so accustomed to seeing her
     there night after night - I found
     myself looking for a girl I'd never
     spoken to, wondering where she
     was...

She smiles a little at her own romanticism, puts her head
down and makes her way into the alley. 

EXT. ALLEY - CURRAN THEATER - NIGHT

Karen moves toward the stage door. She passes a recess in the
wall - perhaps an exit - about halfway. 

         EVE'S VOICE
        (softly)
     Mrs. Richards...

Karen hesitates, looks. Eve is barely distinguishable in the
shadow of the recess. Karen smiles, waits. Eve comes out. A
gooseneck light above them reveals her... 

She wears a cheap trench coat, low-heeled shoes, a rain hat
stuck on the back of her head... Her large, luminous eyes
seem to glow up at Karen in the strange half-light. 

         KAREN
     So there you are. It seemed odd,
     suddenly, your not being there...

         EVE
     Why should you think I wouldn't be?

         KAREN
     Why should you be? After all, six
     nights a week - for weeks - of
     watching even Margo Channing enter
     and leave a theater-

         EVE
     I hope you don't mind my speaking
     to you...

         KAREN
     Not at all. 

         EVE
     I've seen you so often - it took
     every bit of courage I could raise-

         KAREN
        (smiles)
     To speak to just a playwright's
     wife? I'm the lowest form of
     celebrity...

         EVE
     You're Margo Channing's best
     friend. You and your husband are
     always with her - and Mr.
     Sampson... what's he like?

         KAREN
        (grins)
     Bill Sampson? He's - he's a
     director.

         EVE
     He's the best. 

         KAREN
     He'll agree with you. Tell me, what
     do you between the time Margo goes
     in and comes out? Just huddle in
     that doorway and wait? 

         EVE
     Oh, no. I see the play. 

         KAREN
        (incredulous)
     You see the play? You've seen the
     play every performance?
        (Eve nods)
     But, don't you find it - I mean
     apart from everything else - don't
     you find it expensive? 

         EVE
     Standing room doesn't cost much. I
     manage. 

Karen contemplates Eve. Then she takes her arm. 

         KAREN
     I'm going to take you to Margo...

         EVE
        (hanging back)
     Oh, no...

         KAREN
     She's got to meet you-

         EVE
     No, I'd be imposing on her, I'd be
     just another tongue-tied gushing
     fan...

Karen practically propels her toward the stage door. 

         KAREN
        (insisting)
     There isn't another like you, there
     couldn't be- 

         EVE
     But if I'd known... maybe some
     other time... I mean, looking like
     this. 

         KAREN
     You look just fine...
        (they're at the stage
         door)
     ... by the way. What's your name?

         EVE
     Eve. Eve Harrington. 

Karen opens the door. They go in. 

INT. BACKSTAGE - CURRAN THEATER - NIGHT

Everything, including the doorman, looks fireproof. 

Eve enters like a novitiate's first visit to the Vatican.
Karen, with a "Good evening, Gus -" to the doorman, leads the
way toward Margo's stage dressing room. Eve, drinking in the
wonderment of all the surveys, lags behind. Karen waits for
her to catch up... 

         EVE
     You can breathe it - can't you?
     Like some magic perfume...

Karen smiles, takes Eve's arm. They proceed to Margo's
dressing room. 

EXT. MARGO'S DRESSING ROOM - CURRAN THEATER - NIGHT

No star on the closed door; the paint is peeling. A type
written chit, thumbtacked, says MISS CHANNING.

As Karen and Eve approach it, an uninhibited guffaw from
Margo makes them pause. 

         KAREN
        (whispers)
     You wait a minute...
        (smiles)
     ... now don't run away-

Eve smiles shakily. At the same moment:

         MARGO'S VOICE
        (loudly; through the door)
     "Honey chile," I said, "if the
     South had won the war, you could
     write the same plays about the
     North!"

Karen enters during the line. 

INT. MARGO'S DRESSING ROOM - CURRAN THEATER - NIGHT

It is a medium-sized box, lined with hot water pipes and
cracked plaster. It is furnished in beat-up wicker. A door
leads to an old-fashioned bathroom. 

Margo is at the dressing table. She wears an old wrapper, her
hair drawn back tightly to fit under the wig which lies
before her like a dead poodle. Also before her is an almost
finished drink. 

LLOYD RICHARDS is stretched out on the wicker chaise. He's in
his late thirties, sensitive, literate. 

Between them, by the dressing table, is BIRDIE - Margo's
maid. Her age is unimportant. She was conceived during a
split week in Walla Walla and born in a carnival riot. She is
fiercely loyal to Margo. 

Karen enters during the line Margo started while she was
outside. Lloyd chuckles, Birdie cackles. 

         KAREN
     Hi.
        (she goes to kiss Lloyd)
     Hello, darling-

         MARGO 
     Hi. 
        (she goes right on - in a
         think "Suth'n" accent)
     "Well, now Mis' Channin', ah don't
     think you can rightly say we lost
     the wah, we was mo' stahved out,
     you might say - an' that's what ah
     don' unnerstand about all these
     plays about love-stahved Suth'n
     women - love is one thing we was
     nevah stahved for the South!"

         LLOYD
     How was the concert?

         KAREN
     Loud.

         BIRDIE
     Lemme fix you a drink. 

         KAREN
     No thanks, Birdie. 

Karen laughs with them. 

         LLOYD
     Margo's interview with a lady
     reporter from the South-

         BIRDIE
     The minute it gets printed they're
     gonna fire on Gettysburg all over
     again...

         MARGO
     It was Fort Sumter they fired on-

         BIRDIE
     I never played Fort Sumter.

She takes the wig into the bathroom. Margo starts creaming
the make-up off her face. 

         MARGO
     Honey chili had a point. You know,
     I can remember plays about women -
     even from the South - where it
     never even occurred to them whether
     they wanted to marry their fathers
     more than their brothers...

         LLOYD
     That was way back...

         MARGO
     Within your time, buster. Lloyd,
     honey, be a playwright with guts.
     Write me one about a nice, normal
     woman who shoots her husband. 

Birdie comes out of the bathroom without the wig. 

         BIRDIE
     You need new girdles. 

         MARGO
     Buy some. 

         BIRDIE
     The same size? 

         MARGO
     Of course!

         BIRDIE
     Well. I guess a real tight girdle
     help when you're playin' a lunatic.  

She picks up Lloud empty glass, asks "more"? He shakes his
head. She pours herself a quick one. 

         KAREN
        (firmly)
     Margo does not play a lunatic,
     Birdie. 

         BIRDIE
     I know. She just keeps hearin' her
     dead father play the banjo. 

         MARGO
     It's the tight girdle that does it. 

         KAREN
     I find these wisecracks
     increasingly less funny! 'Aged in
     Wood' happens to be a fine and
     distinguished play-

         LLOYD
     - 'at's my loyal little woman. 

         KAREN
     The critics thought so, the
     audiences certainly think so -
     packed houses, tickets for months
     in advance - I can't see that
     either of Lloyd's last two plays
     have hurt you any!

         LLOYD
     Easy, now...

         MARGO
        (grins)
     Relax, kid. It's only me and my big
     mouth...

         KAREN
        (mollified)
     It's just that you get me so mad
     sometimes... of all the women in
     the world with nothing to complain
     about-

         MARGO
        (dryly)
     Ain't it the truth?

         KAREN
     Yes, it is! You're talented,
     famous, wealthy - people waiting
     around night after night just to
     see you, even in the wind and
     rain...

         MARGO
     Autograph fiends! They're not
     people - those little beast who run
     in packs like coyotes-

         KAREN
     They're your fans, your audience-

         MARGO
     They're nobody's fans! They're
     juvenile delinquents, mental
     detectives, they're nobody's
     audience, they never see a play or
     a movie, even - they're never
     indoors long enough!

There is a pause. Lloyd applauds lightly. 

         KAREN
     Well... there's one indoors now.
     I've brought her back to see you. 

         MARGO
     You've what? 

         KAREN
        (in a whisper)
     She's just outside the door. 

         MARGO
        (to Birdie; also a
         whisper)
     The heave-ho. 

Birdie starts. Karen stops her. It's all in whisper, now,
until Eve comes in. 

         KAREN
     You can't put her out, I
     promised... Margo, you've got to
     see her, she worships you, it's
     like something out of a book-

         LLOYD
     That book is out of print, Karen,
     those days are gone.
     Fans no longer pull the carriage
     through the streets - they tear off
     clothes and steal wrist watches...

         KAREN
     If you'd only see her, you're her
     whole life - you must have spotted
     her by now, she's always there...

         MARGO
     Kind of mousy trench coat and funny
     hat?
        (Karen nods)
     How could I miss her? Every night
     and matinee - well...

She looks to Birdie. 

         BIRDIE
     Once George Jessel played my
     hometown. For a girl, gettin' in to
     see him was easy. Gettin' out was
     the problem...

They all laugh. Karen goes to the door, opens it. Eve comes
in. Karen closes the door behind her. A moment. 

         EVE
        (simply)
     I thought you'd forgotten about me. 

         KAREN
     Not at all. 
        (her arm through Eve's)
     Margo, this is Eve Harrington. 

Margo changes swiftly into a first-lady-of-the-theater
manner. 

         MARGO
        (musically)
     How do you do, my dear. 

         BIRDIE
        (mutters)
     Oh, brother. 

         EVE
     Hello, Miss Channing. 

         KAREN
     My husband...

         LLOYD
        (nicely)
     Hello, Miss Harrington. 

         EVE
     How do you do, Mr. Richards. 

         MARGO
        (graciously)
     And this is my good friend and
     companion, Miss Birdie Coonan.

         BIRDIE
     Oh, brother. 

         MARGO
     Miss Coonan...

         LLOYD
        (to Birdie)
     Oh brother what? 

         BIRDIE
     When she gets like this... all of a
     sudden she's playin' Hamlet's
     mother...

         MARGO
        (quiet menace)
     I'm sure you must have things to do
     in the bathroom, Birdie dear. 

         BIRDIE
     If I haven't, I'll find something
     till you're normal.

She goes into the bathroom. 

         MARGO
     Dear Birdie. Won't you sit down,
     Miss Worthington? 

         KAREN
     Harrington. 

         MARGO
     I'm so sorry... Harrington. Won't
     you sit down? 

         EVE
     Thank you. 

She sits. A short lull.

         MARGO
     Would you like a drink? It's right
     beside you... 

         KAREN
     I was telling Margo and Lloyd about
     how often you'd seen the play...

They start together, and stop in deference to each other.
They're a little flustered. But not Eve. 

         EVE
        (to Margo)
     No, thank you.
        (to Lloyd)
     Yes. I've seen every performance. 

         LLOYD
        (delighted)
     Every performance? Then - am I safe
     in assuming you like it? 

         EVE
     I'd like anything Miss Channing
     played...

         MARGO
        (beams)
     Would you, really? How sweet-

         LLOYD
        (flatly)
     I doubt very much that you'd like
     her in 'The Hairy Ape'.

         EVE
     Please, don't misunderstand me, Mr.
     Richards. I think that part of Miss
     Channing's greatness lies in her
     ability to choose the best plays...
     your new play is for Miss Channing,
     isn't it, Mr. Richards?

         MARGO
     Of course it is.

         LLOYD
     How'd hear about it?

         EVE
     There was an item in the Times. i
     like the title. 'Footsteps on the
     Ceiling'.

         LLOYD
     Let's get back to this one. Have
     you really seen every performance? 
        (Eve nods)
     Why? I'm curious...

Eve looks at Margo, then drops her eyes. 

         EVE
     Well. If I didn't come to see the
     play, I wouldn't have anywhere else
     to go. 

         MARGO
     There are other plays...

         EVE
     Not with you in them. Not by Mr.
     Richards...

         LLOYD
     But you must have friends, a
     family, a home-

Eve pauses. Then shakes her head. 

         KAREN
     Tell us about it - Eve...

Eve looks at her - grateful because Karen called her "Eve."
Then away, again...

         EVE
     If I only knew how...

         KAREN
     Try...

         EVE
     Well...

Birdie comes out of the bathroom. Everybody looks at her
sharply. She realizes she's in on something important. She
closes the door quietly, leans against it.

         EVE
     Well... it started with the play
     before this one...

         LLOYD
     'Remembrance'.

         MARGO
     Did you see it here in New York?

         EVE
     San Francisco. It was the last
     week. I went one night... the most
     important night in my life - until
     this one. Anyway... I found myself
     going the next night - and the next
     and the next. Every performance.
     Then, when the show went East - I
     went East. 

         BIRDIE
     I'll never forget that blizzard the
     night we played Cheyenne. A cold
     night. First time I ever saw a
     brassiere break like a piece of
     matzos... 

Eve looks at her unsmilingly, then back to her hands. 

         KAREN
     Eve... why don't you start at the
     beginning? 

         EVE
     It couldn't possibly interest you. 

         MARGO
     Please...

Eve speaks simply and without self-pity. 

         EVE
     I guess it started back home.
     Wisconsin, that is. There was just
     mum, and dad - and me. I was the
     only child, and I made believe a
     lot when I was a kid - I acted out
     all sorts of things... what they
     were isn't important. But somehow
     acting and make-believe began to
     fill up my life more and more, it
     got so that I couldn't tell the
     real from the unreal except that
     the unreal seemed more real to
     me... I'm talking a lot of
     gibberish, aren't I? 

         LLOYD
     Not at all...

         EVE
     Farmers were poor in those days,
     that's what dad was - a farmer. I
     had to help out. So I quit school
     and I went to Milwaukee. I became a
     secretary. In a brewery.
        (she smiles)
     When you're a secretary in a
     brewery - it's pretty hard to make
     believe you're anything else.
     Everything is beer. It wasn't much
     fun, but it helped at home -  and
     there was a Little Theater Group...
     like a drop of rain in the desert.
     That's where I met Eddie. He was a
     radio technician. We played
     'Liliom' for three performances, I
     was awful - then the war came, and
     we got married. Eddie was in the
     air force - and they sent him to
     the South Pacific. You were with
     the O.W.I., weren't you Mr.
     Richards?
        (Lloyd nods)
     That's what 'Who's Who' says...
     well, with Eddie gone, my life went
     back to beer. Except for a letter a
     week. One week Eddie wrote he had a
     leave coming up. I'd saved my money
     and vacation time. I went to San
     Francisco to meet him. 
        (a slight pause)
     Eddie wasn't there. They forwarded
     the telegram from Milwaukee - the
     one that came from Washington to
     say that Eddie wasn't coming at
     all. That Eddie was dead...
        (Karen puts her hand on
         Lloyd's)
     ... so I figured I'd stay in San
     Francisco. i was alone, but
     couldn't go back without Eddie. I
     found a job. And his insurance
     helped... and there were theaters
     in San Francisco. And one night
     Margo Channing came to play in
     'Remembrance'... and I went to see
     it. And - well - here I am...

She finishes dry-eyes and self-composed. Margo squeezes the
bridge of her nose, dabs at her eyes. 

         BIRDIE
        (finally)
     What a story. Everything but the
     bloodhounds snappin' at her rear
     end...

That breaks the spell. Margo turns to her-

         MARGO
     There are some human experiences,
     Birdie, that do not take place in a
     vaudeville house - and that even a
     fifth-rate vaudevillian should
     understand and respect!
        (to Eve)
     I want to apologize for Birdie's-

         BIRDIE
        (snaps in)
     You don't have to apologize for me!
        (to Eve)
     I'm sorry if I hurt your feelings.
     It's just my way of talkin'...

         EVE
        (nicely)
     You didn't hurt my feelings, Miss
     Coonan...

         BIRDIE
     Call me Birdie. 
        (to Margo)
     As for bein' fifth-rate - i closed
     the first half for eleven years an'
     you know it!

She slams into the bathroom again. At that precise instant
BILL SAMPSON flings open the door to the dressing room. He's
youngish, vital, undisciplined. He lugs a beat-up suitcase
which he drops as he crosses to Margo-

         BILL
     Forty-five minutes from now my
     plane takes off and how do I find
     you? Not ready yet, looking like a
     junk yard-

         MARGO
     Thank you so much. 

         BILL
     Is it sabotage, does my career mean
     nothing to you? Have you no human
     consideration? 

         MARGO
     Show me a human and I might have!

         KAREN
        (conscious of Eve)
     Bill...

         BILL
     The air lines have clocks, even if
     you haven't! I start shooting a
     week from Monday - Zanuck is
     impatient, he wants me, he needs
     me!

         KAREN
        (louder)
     Bill-

         MARGO
     Zanuck, Zanuck, Zanuck! What are
     you two - lovers? 

Bill grins suddenly, drops to one knee beside her.

         BILL
        (smiling)
     Only in some ways. You're
     prettier...

         MARGO
     I'm a junk yard. 

         KAREN
        (yells)
     Bill!

         BILL
        (vaguely; to Karen)
     Huh?

         KAREN
     This is Eve Harrington.

Bill flashes a fleeting look at Eve. 

         BILL
     Hi.
        (to Margo)
     My wonderful junk yard. The mystery
     and dreams you find in a junk yard-

         MARGO
        (kisses him)
     Heaven help me, I love a psychotic. 

Bill grins, rises, sees Eve as if for the first time. 

         BILL
     Hello, what's your name? 

         EVE
     Eve. Eve Harrington. 

         KAREN
     You've already met. 

         BILL
     Where? 

         KAREN
     Right here. A minute ago. 

         BILL
     That's nice. 

         MARGO
     She, too, is a great admirer of
     yours. 

         BIRDIE
     Imagine. All this admiration in
     just one room. 

         BILL
     Take your mistress into the
     bathroom and dress her.
        (Birdie opens her mouth)
     Without comment. 

Birdie shuts it and goes into the bathroom. In a moment we
hear a shower start to run. Eve gets up. 

         KAREN
     You're not going, are you?

         EVE
     I think I'd better. It's been -
     well, I can hardly find the words
     to say how it's been...

         MARGO
        (rises)
     No, don't go...

         EVE
     The four of you must have so much
     to say to each other - with Mr.
     Sampson leaving...

Margo, impulsively crosses to Eve. 

         MARGO
     Stick around. Please. Tell you what
     - we'll put Stanislavsky on his
     plane, you and I, then go somewhere
     and talk. 

         EVE
     Well - if I'm not in the way...

         MARGO
     I won't be a minute. 

She darts into the bathroom. Eve sits down again. 

         KAREN
     Lloyd, we've got to go-

Lloyd gets up. Karen crosses to pound on the bathroom door.
She yells - the shower is going...

         KAREN
     Margo, good night! I'll call you
     tomorrow!

Margo's answer is lost in the shower noise. Karen crosses to
kiss Bill. She's joined by Lloyd. 

         KAREN
     Good luck, genius...

         BILL
     Geniuses don't need good luck.
        (he grins)
     I do. 

         LLOYD
     I'm not worried about you. 

         BILL
     Keep the thought. 

They shake hands warmly. Karen and Lloyd move to Eve. 

         KAREN
     Good night, Eve. I hope I see you
     again soon-

         EVE
     I'll be at the old stand, tomorrow
     matinee-

         KAREN
     Not just that way. As a friend...

         EVE
     I'd like that. 

         LLOYD
     It's been a real pleasure, Eve. 

         EVE
     I hope so, Mr. Richards. Good
     night...

Lloyd shakes her hand, crosses to join Karen who waits at the
open dressing room door. 

         EVE
     Mrs. Richards.
        (Karen and Lloyd look
         back)
     ... I'll never forget this night as
     long as I live. And I'll never
     forget you for making it possible. 

Karen smiles warmly. She closes the door. They leave. 

         KAREN'S VOICE
     - and I'll never forget you, Eve.
     Where were we going that night,
     Lloyd and I? Funny the things you
     remember - and the things you
     don't...

INT. MARGO'S DRESSING ROOM - NIGHT

Eve sits on the same chair. Bill keeps moving around. Eve
never takes her eyes off him. He offers her a cigarette. She
shakes her head. He looks at his watch. 

         EVE
     You said forty-seven minutes.
     You'll never make it. 

         BILL
        (grins)
     I told you a lie. We'll make it
     easily. Margo's got no more
     conception of time than a halibut. 

He goes to the dressing table, picks up Margo's pocketbook,
opens it. He finds a letter. He glances at it, puts it back.

         BILL
     She's been carrying that letter
     around for weeks. I've read it
     three times...

There's a sudden sharp yelp from the bathroom. 

         MARGO'S VOICE
     You're supposed to zip the zipper -
     not me. 

         BIRDIE'S VOICE
     Like tryin' to zip a pretzel -
     stand still!

Bill grins. 

         BILL
     What a documentary those two would
     make... like the mongoose and the
     cobra-

He sprawls on the chaise, closes his eyes. A pause.

         EVE
        (finally)
     So you're going to Hollywood.

Bill grunts in the affirmative. Silence. 

         BILL
     Why?

         EVE
     I just wondered.

         BILL
     Just wondered what?

         EVE
     Why.

         BILL
     Why what?

         EVE
     Why you have to go out there.

         BILL
     I don't have to. I want to.

         EVE
     Is it the money?

         BILL
     Eighty percent of it will go for
     taxes. 

         EVE
     Then why? Why, if you're the best
     and most successful young director
     in the Theater-

         BILL
     The Theatuh, the Theatuh-
        (he sits up)
     - what book of rules says the
     Theater exists only within some
     ugly buildings crowded into one
     square mile of New York City? Or
     London, Paris or Vienna?
        (he gets up)
     Listen, junior. And learn. Want to
     know what the Theater is? A flea
     circus. Also opera. Also rodeos,
     carnivals, ballets, Indian tribal
     dances, Punch and Judy, a one-man
     band - all Theater. Wherever
     there's magic and make-believe and
     an audience - there's Theater.
     Donald Duck, Ibsen, and The Lone
     Ranger, Sarah Bernhardt, Poodles
     Hanneford, Lunt and Fontanne, Betty
     Grable, Rex and Wild, and Eleanora
     Duse. You don't understand them
     all, you don't like them all, why
     should you? The Theater's for
     everybody - you included, but not
     exclusively - so don't approve or
     disapprove. It may not be your
     Theater, but it's Theater of
     somebody, somewhere. 

         EVE
     I just asked a simple question. 

         BILL
        (grins)
     And I shot my mouth off. Nothing
     personal, junior, no offense...
        (he sits back down)
     ... it's just that there's so much
     bushwah in this Ivory Green Room
     they call the Theatuh - sometimes
     it gets up around my chin...

He lies down again. 

         EVE
     But Hollywood. You mustn't stay
     there. 

         BILL
        (he closes his eyes)
     It's only one picture deal. 

         EVE
     So few come back...

         BILL
     Yeah. They keep you under drugs out
     there with armed guards...

A pause.

         EVE
     I read George Jean Nathan every
     week.

         BILL
     Also Addison deWitt. 

         EVE
     Every day. 

         BILL
     You didn't have to tell me. 

Margo, putting on an earring, buzzes out of the bathroom
followed by Birdie. Bill sits up. 

         MARGO
        (en route)
     I understand it's the latest thing -
     just one earring. If it isn't, it's
     going to be - I can't find the
     other...

She grabs her pocketbook, starts rummaging. Out comes the
letter...

         BILL
     Throw that dreary thing away, it
     bores me-

Margo drops it in the wastebasket, keeps rummaging. 

         EVE
        (concerned)
     Where do you suppose it could be?

         BIRDIE
     It'll show up.

         MARGO
        (gives up)
     Oh well...
        (to Birdie)
     ... look through the wigs, maybe it
     got caught-

         BILL
     Real diamonds in a wig. The world
     we live in...

         MARGO
        (she's been looking)
     Where's my coat?

         BIRDIE
     Right where you left it...

She goes behind the chaise. She comes up with a magnificent
mink. 

         BILL
        (to Margo)
     The seams. 

Margo starts to straighten them. 

         MARGO
        (to Eve)
     Can't keep his eyes off my legs. 

         BILL
     Like a nylon lemon peel-

         MARGO
        (straightens up)
     Byron couldn't have said it more
     graciously... here we go-

By now she's in the coat and has Eve's arm, heading for the
door. Bill puts his arms around Birdie. 

         BILL
     Got any messages? What do you want
     me to tell Tyrone Power?

         BIRDIE
     Just give him my phone number, I'll
     tell him myself. 

Bill kisses her cheek. She kisses Bill. 

         BIRDIE
     Kill the people. 
        (to Margo)
     Got your key?

         MARGO
        (nods)
     See you home...

Margo and Eve precede Bill out of the door...

EXT. LAGUARDIA FIELD - NIGHT

American Airlines baggage counter. The rain has stopped, but
it's wet. 

Margo, Eve, and Bill are stymied behind two or three couples
waiting to be checked in. Margo's arm is through Bill's. They
become increasingly aware of their imminent separation. Eve
senses her superfluity. 

A lull. Bill cranes at the passenger heading the line, in
earnest conversation with the dispatcher. He sighs. 

         MARGO
     They have to time it so everybody
     gets on at the last minute. So they
     can close the doors and let you
     sit. 

The man up ahead moves on.

         BILL
     Ah...

         EVE
     I have a suggestion.
        (they look at her)
     There's really not much time left -
     I mean, you haven't had a minute
     alone yet, and - well, I could take
     care of everything here and meet
     you at the gate with the ticket...
     if you'd like. 

         BILL
     I think we'd like very much. Sure
     you won't mind?

         EVE
     Of course not. 

Bill hands Eve the ticket. Margo smiles gratefully at her.
Eve smiles back. 

EXT. PASSAGE AND GATE - LAGUARDIA - NIGHT

It's covered, with glass windows. Margo's arm is in Bill's. 

         BILL
     She's quite a girl, that what's-her
     name...

         MARGO
     Eve. I'd forgotten they grew that
     way...

         BILL
     The lack of pretense, that sort of
     strange directness and
     understanding-

         MARGO
     Did she tell you about the Theater
     and what it meant? 

         BILL
        (grins)
     I told her. I sounded off. 

         MARGO
     All the religions in the world
     rolled into one, and we're Gods and
     Goddesses... isn't it silly,
     suddenly I've developed a big
     protective feeling for her - a lamb
     loose in our big stone jungle...

Bill pauses and pulls her to one side. Some passengers go by.
A pause. 

         MARGO
     Take care of yourself out there...

         BILL
     I understand they've got the
     Indians pretty well in hand...

         MARGO
     Bill...

         BILL
     Huh?

         MARGO
     Don't get stuck on some glamour
     puss-

         BILL
     I'll try.

         MARGO
     You're not such a bargain, you
     know, conceited and thoughtless and
     messy-

         BILL
     Everybody can't be Gregory Peck.

         MARGO
     - you're a setup for some gorgeous
     wide-eyed young babe.

         BILL
     How childish are you going to get
     before you quit it? 

         MARGO
     I don't want to be childish, I'd
     settle for just a few years-

         BILL
        (firmly)
     And cut that out right now. 

         MARGO
     Am I going to lose you, Bill? Am I?

         BILL
     As of this moment you're six years
     old...

He starts to kiss her, stops when he becomes aware of Eve
standing near them. She has his ticket in her hand. 

         EVE
     All ready.

She hands Bill his ticket, they start toward the gate. 

INT. BOARDING GATE - LAGUARDIA - NIGHT

The D.C. 6 in the b.g. A few visitors. Bill hands his ticket
to the guard, turns to Eve. 

         BILL
     Thanks for your help... good luck. 

         EVE
     Goodbye, Mr. Sampson.

Bill puts his arms around Margo. 

         BILL
     Knit me a muffler. 

         MARGO
     Call me when you get in...

They kiss. Margo's arms tighten desperately. Bill pulls away,
kisses her again lightly, starts for the plane. Margo turns
away. Eve puts her arms through Margo's. 

Bill pauses en route to the plane. 

         BILL
     Hey - junior...

Margo turns to look at him with Eve. 

         BILL
     Keep your eyes on her. Don't let
     her get lonely. She's a loose lamb
     in a jungle...

Eve looks at Margo. Margo smiles. 

         EVE
     Don't worry...

Bill waves, climbs aboard. The door is closed behind him, the
departure routine starts...

Margo and eve turn to go. They walk down the passage. As they
walk, Eve gently disengages her arm from Margo's and puts it
comfortingly about her...

         MARGO'S VOICE
     That same night we sent for Eve's
     things, her few pitiful
     possessions... she moved into the
     little guest room on the top
     floor...

INT. DINING HALL - NIGHT

MARGO slides her fingers reflectively up and down the sides
of the almost empty highball glass. 

         MARGO'S VOICE
     ... she cried when she saw it - it
     was so like her little room back
     home in Wisconsin.

ADDISON eyeing her quizzically. He offers her the whiskey. 

MARGO shakes her head, absently. She looks down at her glass
again. Then, she raises her eyes to look at Eve. 

         MARGO'S VOICE
     ... the next three weeks were out
     of a fairy tale - and I was
     Cinderella in the last act. Eve
     became my sister, lawyer, mother,
     friend, psychiatrist and cop - the
     honeymoon was on...

INT. MARGO'S LIVING ROOM - DAY

It's one floor above street level. A long narrow room,
smartly furnished - including a Sarah Siddons Award. 

MARGO'S NARRATIVE overlaps into the scene which is a SILENT
ONE. 

Eve sits at a smart desk. She is just arranging a stack of
letters which she carries to Margo with a pen. Margo sits
comfortably by the fire with a play script. She hands the
scrips up to Eve, shakes her head and holds her nose. Eve
smiles, takes the script, hands Margo the letters to sign.

Birdie comes in with a tea tray which she sets on a low table
before the fire. 

The phone rings.

Birdie and Eve both go for it. Eve gets there first. By her
polite but negative attitude, we know she is giving someone a
skillful brush-off.

Birdie glares first at her, then at Margo. 

Margo leans her head back, closes her eyes blissfully...

Birdie slams the double door to the landing on her way out...

INT. BACKSTAGE - CURRAN THEATER - DAY

From the wings. The audience is never visible. Eve in the
f.g. Margo and company taking a curtain call. Tumultuous
applause... the curtain falls. The cast, except for Margo and
two male leads, walk off. The curtain rises again...

EVE, watching and listening to the storm of applause. Her
eyes shine, she clasps and unclasps her hands...

THE STAGE, Eve again in the f.g., but closer. Again the
curtain falls. This time the two men go off. Curtain rises on
Margo alone. If anything, the applause builds...

EVE, that same hypnotic look... there are tears in her eyes.
The curtain falls offscene, then rises again - 

MARGO, the curtain falls again between her and CAMERA...

BACKSTAGE, the curtain just settling on the floor. Margo
starts off. 

         STAGE MANAGER
     One more?

         MARGO
        (shakes her head)
     From now on it's not applause -
     just something to do till the
     aisles get less crowded...

She walks as she talks and winds up at Eve - still in the
wings. Eve's eyes are wet, she dabs at her nose. 

         MARGO
     What - again?

         EVE
     I could watch you play that last
     scene a thousand times and cry
     every time-

         MARGO
        (grins)
     Performance number one thousand of
     this one - if I play it that long -
     will take place in a well-padded
     booby hatch...

She takes Eve's arm, they stroll toward her dressing room. 

         EVE
     I must say you can certainly tell
     Mr. Sampson's been gone a month. 

         MARGO
     You certainly can. Especially if
     you're me between now and tomorrow
     morning...

         EVE
     I mean the performance. Except for
     you, you'd think he'd never even
     directed it - it's disgraceful the
     way they change everything
     around...

         MARGO
        (smiles)
     Well, teacher's away and actors
     will be actors...

         EVE
     During your second act scene with
     your father, Roger Ferraday's
     supposed to stay way upstage at the
     arch. He's been coming closer down
     every night...

         MARGO
     When he gets too close, I'll spit
     in his eye.

They're at her dressing room by now. Margo's been unhooking
her gown, with Eve's help. They go in. 

INT. MARGO'S DRESSING ROOM - NIGHT

It's undergone quite a change. A new carpet, chintz covers
for the furniture, new lampshades, dainty curtains across the
filthy barred window. 

Birdie waits within. She's listening to a fight; she shuts it
off as they enter.

         MARGO
        (entering)
     You bought the new girdles a size
     smaller. I can feel it. 

         BIRDIE
     Something maybe grew a size bigger.

         MARGO
     When we get home you're going to
     get into one of those girdles and
     act for two and half hours. 

         BIRDIE
     I couldn't get into the girdle in
     two an' a half hours...

Margo's out of her wig and dress by now. She gets into her
robe, sits at the dressing table. Eve's on the chaise, by the
discarded costume.

         EVE
     You haven't noticed my latest bit
     of interior decorating...

         MARGO
        (turns, looks)
     Well, you've done so much... what's
     new? 

         EVE
     The curtains. I made them myself. 

         MARGO
     They are lovely. Aren't they
     lovely, Birdie? 

         BIRDIE
     Adorable. We now got everything a
     dressing room needs except a
     basketball hoop. 

         MARGO
     Just because you can't even work a
     zipper. It was very thoughtful,
     Eve, and I appreciate it- 

A pause. Eve rises, picking up Margo's costume.

         EVE
     While you're cleaning up, I'll take
     this to the wardrobe mistress-

         MARGO
     Don't bother. Mrs. Brown'll be
     along for it in a minute. 

         EVE
     No trouble at all. 

And she goes out with the costume. Birdie opens her mouth,
shuts it, then opens it again. 

         BIRDIE
     If I may so bold as to say
     something - did you ever hear the
     word "union"?

         MARGO
     Behind in your dues? How much?

         BIRDIE
     I haven't got a union. I'm slave
     labor. 

         MARGO
     Well?

         BIRDIE
     But the wardrobe women have got
     one. And next to a tenor, a
     wardrobe woman is the touchiest
     thing in show business-

         MARGO
        (catching on)
     Oh-oh.

         BIRDIE
     She's got two things to do - carry
     clothes an' press 'em wrong - an'
     just let anybody else muscle in...

As she talks, Margo hurries to the door and out after Eve. 

INT. BACKSTAGE - CURRAN THEATER - NIGHT

Margo pops out, looks for Eve, then stares in amazement. 

EVE, near the wings. She stands before a couple of cheval
mirrors set up for cast members. She has Margo's dress held
up against her body. She turns this way and that, bows as if
to applause - mimicking Margo exactly...

MARGO watches her curiously. Then she smiles. 

         MARGO
        (calling)
     Eve-

EVE, startled, whips the gown away, turns to Margo. 

MARGO smiles understandingly. 

         MARGO
        (quietly)
     I think we'd better let Mrs. Brown
     pick up the wardrobe...

Wordlessly, Eve brings it toward her...

INT. MARGO'S BEDROOM - NIGHT

Margo's asleep. A bedside clock with a luminous dial reads 3
A.M. exactly. The phone rings. Her head comes up out of the
pillow, she shakes it. She fumbles, switches on a lamp, then
picks up the phone. 

         MARGO
     Hello..

         OPERATOR'S VOICE
     We are ready with your call to
     Beverly Hills...

         MARGO
     Call, what call?

         OPERATOR'S VOICE
     It this Templeton 89970? Miss Margo
     Channing? 

         MARGO
     That's right, but I don't
     understand-

         OPERATOR'S VOICE
     We are ready with the call you
     placed for 12 midnight, California
     time, to Mr. William Sampson in
     Beverly Hills...

         MARGO
     I placed...?

         OPERATOR'S VOICE
     Go ahead, please...

         BILL'S VOICE
        (a loud, happy squawk)
     Margo! What a wonderful surprise!

Margo jumps at his vehemence. As she does so, the SCREEN
WIPES DOWN DIAGONALLY LEFT TO RIGHT, so that Margo remains in
the lower right-hand diagonal of the screen and Bill is
disclosed in the upper left. He, too, is in bed, reading. His
clock says midnight. 

         BILL
        (continuing)
     What a thoughtful, ever-lovin'
     thing to do-

         MARGO
        (dazed)
     Bill? Have I gone crazy, Bill?

         BILL
     You're my girl, aren't you?

         MARGO
     That I am...

         BILL
     Then you're crazy. 

         MARGO
        (nods in agreement)
     When - when are you coming back? 

         BILL 
     I leave in a week - the picture's
     all wrapped up, we previewed last
     night... those previews. Like
     opening out of town, but
     terrifying. There's nothing you can
     do, you're trapped, you're in a tin
     can-

         MARGO
     - in a tin can, cellophane or
     wrapped in a Navajo blanket, I want
     you home...

         BILL 
     You in a hurry?

         MARGO
     A big hurry, be quick about it - so
     good night, darling, and sleep
     tight...

         BILL 
     Wait a minute! You can't hang up,
     you haven't even said it-

         MARGO
     Bill, you know how much I do - but
     over the phone, now really, that's
     kid stuff...

         BILL
     Kid stuff or not, it doesn't happen
     every day, I want to heat it - and
     if you won't say it, you can sing
     it...

         MARGO
        (convinced she's gone mad)
     Sing it?

         BILL 
     Sure! Like the Western Union boys
     used to do...

Margo's eyes pop. Her jaw and the phone sag. 

         MARGO
     Bill... Bill, it's your birthday. 

         BILL 
     And who remembered it? Who was
     there on the dot, at twelve
     midnight...?

Margo knows damn well it wasn't she. 

         MARGO
        (miserably)
     Happy birthday, darling...

         BILL 
     The reading could have been better,
     but you said it - now "many happy
     returns of the day..."

         MARGO
        (the same)
     Many happy returns of the day...

         BILL 
     I get a party, don't I?

         MARGO
     Of course, birthday and welcome
     home... who'll I ask?

         BILL 
        (laughs)
     It's no secret, I know all about
     the party - Eve wrote me...

         MARGO
     She did...?

          BILL 
     She hasn't missed a week since I
     left - but you know all that, you
     probably tell her what to write...
     anyway, I sent her a list of people
     to ask - check with her. 

         MARGO
     Yeah... I will.

         BILL 
     How is Eve? Okay?

         MARGO
     Okay. 

         BILL 
     I love you...

         MARGO
        (mutters)
     I'll check with Eve...

         BILL
     What? 

         MARGO
     I love you too. Good night, darling-

         BILL 
     See you...

Margo hangs up. Bill hangs up. He replaces the phone, picks
up his book... SLOW WIPE until ONLY MARGO is on screen. She
puts her phone away. She gets a cigarette. She lights it. She
rolls over on her back...

INT. MARGO'S BEDROOM - DAY

Margo is propped up in bed, still reflective. Birdie comes in
with her breakfast tray and a "hi" which gets a "hi" from
Margo. She starts on some petty chores. Margo takes a sip of
orange juice...

         MARGO
     Birdie-

         BIRDIE
     Hmm?

         MARGO
     You don't like Eve, do you?

         BIRDIE
     Do you want an argument or an
     answer?

         MARGO
     An answer. 

         BIRDIE
     No. 

         MARGO
     Why not?

         BIRDIE
     Now you want an argument. 

         MARGO
     She works hard. 

         BIRDIE
     Night an' day. 

         MARGO
     She's loyal and efficient-

         BIRDIE
     Like an agent with one client.

         MARGO
     She thinks only for me...
        (no answer from Birdie)
     ... doesn't she? 

         BIRDIE
        (finally)
     Well... let's say she thinks only
     about you, anyway...

         MARGO
     How do you mean that?

Birdie stops whatever it is she's doing.

         BIRDIE
     I'll tell you how. Like - let's see
     - like she was studyin' you, like
     you were a play or a book or a set
     of blueprints. How you walk, talk,
     think, eat, sleep-

         MARGO
        (breaks in; sharply)
     I'm sure that's very flattering,
     Birdie, and I'm sure there's
     nothing wrong with that!

There is a sharp, brisk knock. Eve comes in. She's dressed in
a smart suit. She carries a leather portfolio.

         EVE
     Good morning!

Margo says "good morning," Birdie says nothing. Eve shows off
the suit, proudly. 

         EVE
     Well - what do you think of my
     elegant new suit? 

         MARGO
     Very becoming. It looks better on
     you than it did on me. 

         EVE
        (scoffs)
     I can imagine... you know, all it
     needed was some taking in here and
     letting out there - are you sure
     you won't want it yourself? 

         MARGO
     Quite sure. I find it just a bit
     too - too "Seventeenish" for me...

         EVE 
        (laughs)
     Oh, come now, as though you were an
     old lady... I'm on my way. Is there
     anything more you've thought of-?

         MARGO
     There's the script to go back to
     the Guild-

         EVE
     I've got it. 

         MARGO
     - and those checks or whatever it
     is for the income tax man. 

         EVE
     Right here. 

         MARGO
     It seems I can't think of a thing
     you haven't thought of...

         EVE
        (smile)
     That's my job.
        (she turns to go)
     See you at tea time...

         MARGO
     Eve...
        (Eve turns at the door)
     ... by any chance, did you place a
     call from me to Bill for midnight
     California time? 

         EVE
        (gasps)
     Oh, golly. And I forgot to tell you-

         MARGO
     Yes, dear. You forgot all about it. 

         EVE
     Well, I was sure you'd want to, of
     course, being his birthday, and
     you've been so busy these past few
     days, and last night I meant to
     tell you before you went out with
     the Richards - and I guess I was
     asleep when you got home...

         MARGO
     Yes, I guess you were. It - it was
     very thoughtful of you, Eve. 

         EVE
     Mr. Sampson's birthday. I certainly
     wouldn't forget that. You'd never
     forgive me. 
        (she smiles shyly)
     As a matter of fact, I sent him a
     telegram myself...

And she's gone. Margo stares at the closed door. Then at
Birdie. Birdie, without comment, goes out. Margo, alone,
looks down at her orange juice. Absently, she twirls it in
its bed of shaved ice...

INT. DINING HALL - SARAH SIDDONS SOCIETY - NIGHT

MARGO, reflectively twirling her highball glass. The applause
continues. She lifts her glass to drink. Her glance meets
Karen's. She raises the glass in a silent toast.   

KAREN smiles wanly at Margo's toast. Then the smile fades as
she looks reflectively back to Eve...

         KAREN'S VOICE
     I saw Eve quite often after our
     first meeting, but we never really
     talked again - until the party
     Margo gave for Bill when he
     returned from Hollywood...

INT. MARGO'S BEDROOM - NIGHT

It's January. The bed is littered with fur coats. Through the
open door, from the floor below, the murmur of a party at a
late hour. No hilarity. 

         KAREN'S VOICE
     It's always convenient at a party
     to know the hostess well enough to
     use her bedroom rather than go
     where all the others have to go...

Karen is making repairs at Margo's dressing table. Eve
enters, carrying a magnificent sable coat which she drops on
the bed. 

         KAREN
     Now who's show up at this hour?
     It's time people went home - hold
     that coat up...
        (Eve holds it up; Karen
         whistles)
     ... whose is it? 

         EVE
     Some Hollywood movie star, her
     plane got in late. 

         KAREN
     Discouraging, isn't it? Women with
     furs like that where it never gets
     cold...

         EVE
     Hollywood. 

         KAREN
     Tell me, Eve - how are things with
     you? Happy? 

Eve melts into warmth. She beams, sits on the bed. Karen has
spun around on the dressing table stool. 

         EVE
     There should be a new word for
     happiness. Being here with Miss
     Channing has been - I just can't
     say, she's been so wonderful, done
     so much for me-

         KAREN
        (smiles)
     Lloyd says Margo compensates for
     underplaying on the stage by
     overplaying reality...
        (she gets up, gets her
         coat)
     ... next to that sable, my new mink
     seems like an old bedjacket... 
        (throws it over her
         shoulder)
     ... you've done your share, Eve.
     You've worked wonders with Margo...

She starts out. 

         EVE
        (hesitantly)
     Mrs. Richards. 

         KAREN
        (pauses, smiles)
     Karen.

         EVE
     Karen...
        (she picks at the
         coverlet)
     ... isn't it awful, I'm about to
     ask you for another favor - after
     all you've already done. 

         KAREN
        (crosses to her)
     Nobody's done so much, Eve, you've
     got to stop thinking of yourself as
     one of the Hundred Neediest
     Cases... what is it? 

         EVE
     Well... Miss Channing's affairs are
     in such good shape... there isn't
     enough to keep me as busy as I
     should be, really - not that I've
     ever considered anything that would
     take me away from her... but the
     other day - when I heard Mr. Fabian
     tell Miss Channing that her
     understudy was going to have a
     baby, and they'd have to replace
     her... 

She looks down at the coverlet once more. 

         KAREN
     ... you want to be Margo's new
     understudy. 

         EVE
     I don't let myself think about it,
     even- 
        (she looks up, rises as
         she speaks)
     - but I do know the part so well,
     and every bit of the staging,
     there'd be no need to break in a
     new girl-
        (suddenly afraid, she
         sits)
     - but suppose I had to go on one
     night? To an audience that came to
     see Margo Channing. No, I couldn't
     possibly...

         KAREN
        (laughs)
     Don't worry too much about that.
     Margo just doesn't miss
     performances. If she can walk,
     crawl or roll - she plays. 

         EVE
        (nods proudly)
     The show must go on. 

         KAREN
     No, dear. Margo must go on. 
        (she sits beside Eve)
     As a matter of fact, I see no
     reason why you shouldn't be Margo's
     understudy...

         EVE
     Do you think Miss Channing would
     approve?

         KAREN
     I think she would cheer. 

         EVE
     But Mr. Richards and Mr. Sampson-

         KAREN
     They'll do as they're told.

Eve smiles a little. A pause. 

         EVE
     Then - would you talk to Mr. Fabian
     about it? 

         KAREN
     Of course. 

         EVE
     You won't forget it?

         KAREN
     I won't forget. 

         EVE
     I seem to be forever thanking you
     for something, don't I?

She hugs Karen, leaves. She nearly collides with Birdie on
her way in. 

         BIRDIE
     The bed looks like a dead animal
     act. Which one is sables?

         KAREN
        (pointing)
     But she just got here...

         BIRDIE
     She's on her way. With half the men
     in the joint. 
        (she hold up the coat)
     It's only a fur coat...

         KAREN
     What did you expect - live sables?

         BIRDIE
     A diamond collar, gold sleeves -
     you know, picture people...

They start out. 

         KAREN
     Bill says actors out there eat just
     as infrequently as here-

         BIRDIE
     They can always grab oranges off
     trees. This you can't do in Times
     Square...

Through the open door, we see them go down the stairs and out
of sight. 

INT. SECOND FLOOR LANDING AND STAIRS - NIGHT

Karen and Birdie come down the stairs to Bill, Max, Addison,
a blonde young lady named MISS CASWELL (Addison's protegee-of
the-moment) - and, at the feet of Bill and Addison... Eve.
They are all seated on the steps.

Birdie goes through and down the stairs to the first floor.
Karen remains with the others. 

Addison is holding forth:

         ADDISON 
     Every now and then, some elder
     statesman of the Theater or cinema
     assures the public that actors and
     actresses are just plain folk.
     Ignoring the fact that their
     greatest attraction to the public
     is their complete lack of
     resemblance to normal human beings.

         MISS CASWELL
        (as Birdie and the sables
         pass)
     Now there's something a girl could
     make sacrifices for. 

         BILL'S VOICE
     And probably has. 

         MISS CASWELL
     Sable. 

         MAX
        (to Miss Caswell)
     Did you say sable - or Gable?

         MISS CASWELL
     Either one. 

         ADDISON
     It is senseless to insist that
     theatrical folk in New York,
     Hollywood and London are no
     different from the good people of
     Des Moines, Chillicothe and
     Liverpool. By and large, we are
     concentrated gatherings of
     neurotics, egomaniacs, emotional
     misfits, and precocious children-

         MAX
        (to Bill)
     Gable. Why a feller like that don't
     come East to do a play...

         BILL 
        (nods)
     He must be miserable, the life he
     lives out there-

         ADDISON
     These so-called abnormalities -
     they're our stock in trade, they
     make us actors, writers, directors,
     et cetera in the first place-

         MAX
     Answer me this. What makes a man
     become a producer?

         ADDISON 
     What makes a man walk into a lion
     cage with nothing but a chair?

         MAX
     This answer satisfies me a hundred
     percent. 

         ADDISON 
     We all have abnormality in common.
     We are a breed apart from the rest
     of the humanity, we Theater folk.
     We are the original displaced
     personalities...

         BILL 
        (laughs; to Eve)
     You don't have to read his column
     tomorrow - you just heard it. I
     don't agree, Addison...

         ADDISON
     That happens to be your particular
     abnormality. 

         BILL 
     Oh, I admit there's a screwball
     element in the Theater. It sticks
     out, it's got spotlights on it and
     a brass band. But it isn't basic,
     it isn't standard - if it were, the
     Theater couldn't survive...

         MISS CASWELL
        (to a passing butler)
     Oh, waiter...

The butler goes right by.

         ADDISON
     That isn't a waiter, my dear.
     That's a butler. 

         MISS CASWELL
     Well, I can't yell "Oh, butler,"
     can I? Maybe somebody's name is
     Butler...

         ADDISON 
     You have a point. An idiotic one,
     but a point. 

         MISS CASWELL
     I don't want to make trouble. All I
     want is a drink. 

         MAX
        (getting up)
     Leave me get you one...

         MISS CASWELL
        (pitching)
     Oh, thank you, Mr. Fabian.

Max leaves with her empty glass. 

         ADDISON
     Well done. I see your career rising
     in the East like the sun...
        (to Bill)
     ... you were saying?

         BILL 
     I was saying that the Theater is
     nine-tenths hard work. Work done
     the hard way - by sweat,
     application and craftsmanship. I'll
     agree to this - that to be a good
     actor, actress, or anything else in
     the Theater, means wanting to be
     that more than anything else in the
     world...

         EVE
        (abruptly)
     Yes. Yes, it does. 

         BILL
        (goes on)
     It means concentration of ambition,
     desire, and sacrifice such as no
     other profession demands... And
     I'll agree that the man or woman
     who accepts those terms can't be
     ordinary, can't be - just someone.
     To give so much for almost always
     so little...

Eve speaks almost unaware of what she says. She looks at no
one in particular, just off...

         EVE
     So little. So little, did you say?
     Why, if there's nothing else -
     there's applause. It's like - like
     waves of love coming over the
     footlights and wrapping you up.
     Imagine...
     To know, every night, that
     different hundreds of people love
     you... they smile, their eyes shine
     - you've pleased them, they want
     you, you belong. Just that alone is
     worth anything...

She becomes aware of Addison's strange smile, of Bill's looks
of warm interest. She's embarrassed, she turns away - then
scrambles to her feet as Margo approaches with Lloyd from the
direction of the pantry. 

Margo's had too much to drink. Her fake smile fades as Eve
gets up. She's unpleasant and depressed. 

         MARGO
     Don't get up. And please stop
     acting as if I were the queen
     mother. 

         EVE
        (hurt)
     I'm sorry, I didn't mean to-

         BILL
        (sharply)
     Outside of a beehive, Margo, your
     behavior would hardly be considered
     either queenly or motherly!

         MARGO
     You're in a beehive, pal, didn't
     you know? We're all busy little
     bees, full of stings, making honey
     day and night-
        (to Eve)
     - aren't we, honey?

         KAREN
     Margo, really...

         MARGO
     Please don't play governess, Karen,
     I haven't your unyielding good
     taste, I wish I'd gone to Radcliffe
     too but father wouldn't hear of it -
     he needed help at the notions
     counter...
        (to Addison)
     I'm being rude now, aren't I? OR
     should I say "ain't I"?

         ADDISON
     You're maudlin and full of self
     pity. You're magnificent. 

Max has come up with Miss Caswell's drink. 

         LLOYD
     How about calling it a night?

         MARGO
     And you pose as a playwright. A
     situation pregnant with
     possibilities - and all you can
     think of is everybody to go to
     sleep...

         BILL
     It's a good thought. 

         MARGO
     It won't play. 

         KAREN
     As a nonprofessional, I think it's
     an excellent idea. Undramatic, but
     practical...

As she speaks, she makes her way to Lloyd's side. 

         MARGO
     Happy little housewife...

         BILL
     Cut it out.

         MARGO
     This is my house, not a theater! In
     my house you're a guest, not a
     director-!

         KAREN
     Then stop being a star - start
     treating your guests as your
     supporting cast!

         ADDISON
     Hear, hear...

         LLOYD
     Now let's not get into a big hassle-

         KAREN 
     It's about time we did! It's about
     time Margo realized that what's
     attractive on stage need not
     necessarily be attractive off.

         MARGO
        (suddenly)
     All right! I'm going to bed.
        (to Bill)
     You be the host. It's your party.
     Happy Birthday, welcome home, and
     we-who-are-about-to-die-salute-you.

She starts upstairs.

         BILL
     Need any help?

         MARGO
        (pauses, smiles)
     To put me to bed? Take my clothes
     off, hold my head, tuck me in, turn
     off the lights, tiptoe out...? eve
     would. Wouldn't you, Eve?

         EVE
     If you'd like. 

         MARGO
     I wouldn't like. 

She goes up, exits out of sight. A pause. Miss Caswell
reaches up to take the drink out of Max's hand. 

         MAX
     I forgot I had it. 

         MISS CASWELL
     I didn't. 

Bill gets up and goes after Margo...

         ADDISON
     Too bad! We'll miss the third act.
     They're going to play it off stage. 

Eve turns away abruptly, in sudden tears. 

         LLOYD
     Coming?

         KAREN 
     In a minute...

She crosses to Eve, puts an arm around her. 

         KAREN 
     You mustn't mind Margo too much,
     even if I do...

         EVE
     But there must be some reason,
     something I've done without
     knowing...

         KAREN 
     The reason is Margo and don't try
     to figure it out. Einstein
     couldn't. 

         EVE
     If I thought I'd offended her, of
     all people-

         KAREN 
     Eve. I'm fond of Margo too. But I
     know Margo. And every now and then
     there is nothing I want to do so
     much as to kick her right square in
     the pants.

         EVE
        (smiles)
     Well - if she's got to pick on
     someone, I'd just as soon it was
     me.

Karen smiles back. She joins Lloyd and Max. 

         LLOYD
     Max is going to drop us...

         ADDISON 
     I've often wondered, Max, why you
     bother with a chauffeur and
     limousine in New York City.

         MAX
     In my case it's necessary. Too many
     taxi drivers write plays. 

         ADDISON 
     And too many of them are produced. 

         MISS CASWELL
     Let's go sit by the piano. 

         ADDISON
     You have me confused with Dan
     Dailey. You go sit by the piano.
        (to Eve)
     And you come sit by me.
        (to the others)
     Good night. 

They laugh, say "good night," and start downstairs. As Eve
crosses to Addison:

         EVE
     Karen...
        (Karen pauses)
     ... you won't forget, will you?
     What we talked about before?

         KAREN
        (smiles)
     No, Eve, I won't forget...

She follows the men downstairs. CLOSE UP of an old engraving
of Mrs. Siddons as 'The Tragic Muse' which hangs among other
theatrical mementos on the stair wall...

INT. DINING HALL - SARAH SIDDONS SOCIETY - NIGHT

The applause continues. Margo sits back in her chair now,
picking at a bit of fingernail polish...

         MARGO'S VOICE
     Bill's welcoming-home-birthday
     party... a night to go down in
     history. Like the Chicago Fire - or
     the Massacre of the Huguenots. Even
     before the party started, I could
     smell disaster in the air...

INT. MARGO'S BEDROOM - NIGHT

The same night as the previous sequence, but before the party
has started. Margo is all dressed except for jewelry. She
stands before her dressing table putting it on. She sips at
an enormous Martini...

         MARGO'S VOICE
     I knew it, I sensed it even as I
     finished dressing for that blasted
     party...

Birdie comes in. 

         BIRDIE
     You all put together? 

         MARGO
     My back's open.
        (Birdie goes to work on
         it)
     Did the extra help get here?

         BIRDIE
     There's some loose characters
     dressed like maids and butlers.
     Who'd you call - the William Morris
     Agency?

         MARGO
     You're not being funny, I could get
     actors for less. What about the
     food? 

         BIRDIE
     The caterer had to back for hors
     d'oeuvres-
        (she zips Margo)
     Voila. 

         MARGO
        (laughs)
     That French ventriloquist taught
     you a lot, didn't he?

         BIRDIE
     There was nothing he didn't know.
        (she starts tidying the
         room)
     There's a message from the
     bartender. Does Miss Channing know
     we ordered domestic gin by mistake?

         MARGO
     The only thing I ordered by mistake
     is the guests.
        (Birdie cackles)
     They're domestic, too, and they
     don't care what they drink as long
     as it burns... where's Bill? He's
     late. 

         BIRDIE
     Late for what?

         MARGO
     Don't be dense. The party. 

         BIRDIE
     I ain't dense. And he's been here
     twenty minutes. 

         MARGO
     Well, I certainly think it's odd he
     hasn't even come up...

Her glance meets Birdie's. She turns and strolls out. 

INT. THIRD FLOOR LANDING - NIGHT

Margo speeds up going down the stairs. 

INT. SECOND FLOOR LANDING - NIGHT

Margo shows up again deliberately as she reaches the landing.
Sound of Bill and Eve laughing together from the living room.
Margo strolls toward it casually. 

We see Eve seated, looking up fascinated at Bill as he talks -
out of the laughter...

         BILL 
     "Don't let it worry you," said the
     cameraman, "Even DeMille couldn't
     see anything looking through the
     wrong end-"
        (Eve chuckles)
     So that was the first and last time-

Eve sees Margo approach. She gets up. Bill turns. 

INT. MARGO'S LIVING ROOM - NIGHT

As Margo strolls up, very off-hand.

         MARGO
     Don't let me kill the point. Or
     isn't it a story for grownups?

         BILL 
     You've heard it. About when I
     looked through the wrong end of a
     camera finder. 

         MARGO
        (to Eve)
     Remind me to tell you about when I
     looked into the heart of an
     artichoke. 

         EVE
     I'd like to hear it. 

         MARGO
     Some snowy night in front of the
     fire... in the meantime, while
     we're on the subject, will you
     check about the hors d'oeuvres? The
     caterer forgot them, the varnish
     wasn't dry or something...

         EVE
     Of course.

She leaves. A short lull. Margo looks into cigarette boxes.
Bill eyes her curiosity, crosses to the fire. 

         BILL 
     Looks like I'm going to have a very
     fancy party...

         MARGO
     I thought you were going to be late-

         BILL 
     When I'm guest of honor?

         MARGO 
     I had no idea you were even here. 

         BILL 
     I ran into Eve on my way upstairs;
     she told me you were dressing. 

         MARGO
     That never stopped you before. 

         BILL 
     Well, we started talking, she
     wanted to know all about Hollywood,
     she seemed so interested...

         MARGO
     She's a girl of so many interests. 

         BILL 
     It's a pretty rare quality these
     days. 

         MARGO
     She's a girl of so many rare
     qualities. 

         BILL 
     So she seems. 

         MARGO
        (the steel begins to
         flash)
     So you've pointed out, so often. So
     many qualities, so often. Her
     loyalty, efficiency, devotion,
     warmth, affection - and so young.
     So young and so fair...

Bill catches the drift. Incredulously. 

         BILL 
     I can't believe you're making this
     up - it sounds like something out
     of an old Clyde Fitch play...

         MARGO
     Clyde Fitch, thought you may not
     think so, was well before my time!

         BILL 
        (laughs)
     I've always denied the legend that
     you were in 'Our American Cousin'
     the night Lincoln was shot...

         MARGO
     I don't think that's funny!

         BILL 
     Of course it's funny - this is all
     too laughable to be anything else.
     You know what I think about this -
     this age obsession of yours - and
     now this ridiculous attempt to whip
     yourself up into a jealous froth
     because I spent ten minutes with a
     stage-struck kid-

         MARGO
     Twenty minutes!

         BILL 
     Thirty minutes, forty minutes! What
     of it?

         MARGO
     Stage-struck kid... she's a young
     lady - of qualities. And I'll have
     you know I'm fed up with both the
     young lady and her qualities!
     Studying me as if - as if I were a
     play or a set of blueprints! How I
     walk, talk, think, eat, sleep!

         BILL 
     Now how can you take offense at a
     kid trying in every way to be as
     much like her ideal as possible! 

         MARGO
     Stop calling her a kid! It so
     happens there are particular
     aspects of my life to which I would
     like to maintain sole and exclusive
     rights and privileges!

         BILL 
     For instance what?

         MARGO
     For instance - you!

         BILL 
     This is my cue to take you in my
     arms and reassure you - but I'm not
     going to. I'm too mad-

         MARGO
     - guilty.

         BILL 
     Mad! Darling, there are certain
     characteristics for which you are
     famous - on stage and off. I love
     you for some of them - and in spite
     of others. I haven't let those
     become too important to me. They're
     part of your equipment for getting
     along in what is laughably called
     out environment - you've got to
     keep your teeth sharp. All right.
     But you will not sharpen them on me
     - or on Eve...

         MARGO
     What about her teeth? What about
     her fangs? 

         BILL 
     She hasn't cut them yet, and you
     know it! So when you start judging
     an idealistic dreamy-eyed kid by
     the barroom, Benzedrine standards
     of this megalomaniac society - I
     won't have it! Eve Harrington has
     never by word, look, thought or
     suggestion indicated anything to me
     but her adoration for you and her
     happiness at our being in love! And
     to intimate anything else doesn't
     spell jealousy to me - it spells a
     paranoic insecurity that you should
     be ashamed of!

         MARGO
     Cut! Print it! What happens in the
     next reel? Do I get dragged off
     screaming to the snake pit? 

         EVE'S VOICE
        (quietly)
     Miss Channing?

Bill and Margo look off. Eve is in the room. They have no way
of knowing how long she's been there. 

         EVE
     The hors d'oeuvres are here. Is
     there anything else I can do? 

         MARGO
     Thank you, Eve. I'd like a Martini -
     very dry. 

         BILL 
     I'll get it.
        (he crosses to Eve)
     What'll you have? 

Eve, involuntarily, looks to Margo.

         MARGO
     A milkshake?

Eve smiles, turns to Bill. 

         EVE
     A Martini. Very dry, please...

Bill smiles back and starts across the landing toward the
pantry. As he crosses the stairs, Karen, Lloyd and Max come
up from the street level below. General greetings. Bill
continues up to pantry. Eve and then Margo come up to add
their welcome...

         EVE
        (to Karen)
     May I have your coat?

         KAREN
     Don't bother, I can take it up
     myself...

         EVE
     Please...

Karen yields with a "thank you, Eve-." Eve goes up with the
coat. Lloyd looks after her approvingly.

         LLOYD
     I like that girl. That quality of
     quiet graciousness...

         MARGO
     ... Among so many quiet qualities.

They start for the living room.

         KAREN 
     Margo, nothing you've ever done has
     made me as happy as your taking Eve
     in...

         MARGO
     I'm so happy you're happy. 

         MAX
     Look, you haven't been running a
     settlement house exactly - the
     kid's earned her way. You had a
     pretty mixed-up inventory when she
     took over - merchandise laying all
     over the shop...

         LLOYD
     You've got Margo mixed up with a
     five-and-ten-cent store...

         MARGO
     Make it Bergdorf Goodman... and now
     everything is on its proper shelf,
     eh, Max? Done up in little ribbons.
     I could die right now and nobody'd
     be confused. How about you, Max?

         MAX
     How about me what? 

They've come to a halt near the fireplace. 

         MARGO
     Supposed you dropped dead. What
     about your inventory?

         MAX
     I ain't gonna die. Not with a hit. 

         KAREN 
     This is the most ghoulish
     conversation...

Bill brings two Martinis. He hands one to Margo. 

         MARGO
        (it drips ice)
     Thank you. 

         BILL 
     Nothing, really...

         MARGO
     The kid - junior, that is - will be
     right down. Unless you'd like to
     take her drink up to her...

         BILL 
        (smiles)
     I can always get a fresh one. Karen
     - you're a Gibson girl...

He hands Eve's drink to Karen. Max has wandered off. Other
guests are arriving. Margo gulps her drink, hands Bill the
empty glass. He puts it on a passing tray. Margo takes a
fresh one at the same time. 

         LLOYD
     The general atmosphere is very
     Macbethish. What has or is about to
     happen? 

         MARGO
        (to Bill)
     What is he talking about? 

         BILL 
     Macbeth. 

         KAREN 
        (to Margo)
     We know you, we've seen you before
     like this. Is it over - or just
     beginning? 

Margo surveys them all. 

         MARGO
     Fasten your seat belts. It's going
     to be a bumpy night. 

She downs the drink, hands the empty glass to Bill, and
leaves them. She passes two women, gabbing by the piano. As
they see her:

         WOMAN #1
     Margo, darling!

         WOMAN #2
     Darling!

         MARGO
        (passing)
     Darlings...

She arrives at the landing just as Addison comes up with Miss
Caswell. Margo takes a drink from a passing tray. 

         MARGO
        (to Addison)
     I distinctly remember striking your
     name from the guest list. What are
     you doing here?

         ADDISON
     Dear Margo. You were an
     unforgettable Peter Pan - you must
     play it again, soon. You remember
     Miss Caswell?

         MARGO
     I do not. How do you do?

         MISS CASWELL
     We never met. That's why. 

         ADDISON
     Miss Caswell is an actress. A
     graduate of Copacabana School of
     Dramatic Arts. 
        (his glance is attracted
         by Eve coming downstairs)
     Ah... Eve.

         EVE
        (deferentially)
     Good evening, Mr. deWitt.

         MARGO
     I had no idea you knew each other.

         ADDISON 
     This must be, at long last, our
     formal introduction. Until now we
     have met only in passing...

         MISS CASWELL
     That's how you met me. In passing. 

         MARGO
        (smiles)
     Eve, this is an old friend of Mr.
     deWitt's mother - Miss Caswell,
     Miss Harrington...
        (the two girls say hello)
     Addison, I've been wanting you to
     meet Eve for the longest time-

         ADDISON
        (murmurs)
     It could only have been your
     natural timidity that kept you from
     mentioning it...

         MARGO
     You've heard of her great interest
     in the Theater-

         ADDISON
     We have that in common. 

         MARGO
     Then you two must have a long talk-

         EVE
     I'm afraid Mr. deWitt would find me
     boring before too long. 

         MISS CASWELL
     You won't bore him, honey. You
     won't even get to talk. 

         ADDISON
        (icily)
     Claudia dear, come closer.
        (she does, and he points)
     This is Max Fabian. He is a
     producer. Go do yourself some good. 

         MISS CASWELL
        (sighs)
     Why do they always look like
     unhappy rabbits? 

         ADDISON
     Because that is what they are. Go
     make him happy. 

Miss Caswell drapes her coat over the rail, heads for Max.
Addison puts Eve's arm in his. 

         ADDISON
        (to Margo)
     You mustn't worry about your little
     charge. She is in safe hands. 

         MARGO
     Amen.

Eve smiles uncertainly at Margo as he leads her away. Margo
looks after them. She downs her drink...

INT. MARGO'S LIVING ROOM - NIGHT

It's many Martinis later. Most of the guests have gone. The
party has reached that static state - everyone's assumed more
or less permanent places. 

Birdie passes, carrying a cup of coffee. CAMERA FOLLOWS her
to the piano where Margo sits on the bench beside the
pianist. He is just finishing "Liebestraum" and she stares
moodily into a Martini. Birdie halts beside her with the
coffee. Margo looks up. Birdie holds out the coffee. Margo
takes the onion out of the Martini, drops it into the coffee
and waves Birdie away. Birdie goes. "Liebestraum" comes to an
end. The pianist tries to ease into a more sophisticated
rhythm. Margo stops him. 

         MARGO
        (quietly)
     "Liebestraum."

         PIANIST
     I just played it. 

         MARGO
     Play it again. 

         PIANIST
     But that was the fourth straight
     time. 

         MARGO
     Then this will be five. I suppose
     you think I'm too drunk to count. 

         PIANIST
     No. You're just crazy about
     "Liebestraum."

         MARGO
     "Liebestraum."

         PIANIST
     Look, Miss Channing... it's kind of
     depressing. If you don't mind my
     saying so, everybody's kind of
     dying on the vine...

         MARGO
     My dear Horowitz. In the first
     place, I'm paying you union scale.
     Second, it's my piano. Third, if
     everybody doesn't like kind of
     dying on the vine, they can get off
     the vine and go home.
     "Liebestraum."

Unhappily, he plays "Liebestraum." Margo sips her Martini,
stares down into it again. Bill tiptoes up. 

         BILL
        (whispers)
     Many of your guests have been
     wondering when they may be
     permitted to view the body. Where
     has it been laid out? 

         MARGO
        (somberly)
     It hasn't been laid out, we haven't
     finished with the embalming. As a
     matter of fact, you're looking at
     it. The remains of Margo Channing.
     Sitting up. It is my last wish to
     be buried sitting up. 

         BILL 
        (trying to kid her out of
         it)
     Wouldn't you feel more natural
     taking a bow?

         MARGO
     You know nothing about feelings,
     natural or unnatural. 

         BILL 
     Then without feeling, your guests
     were also wondering whether the
     music couldn't be a shade more on
     the - shall we say, happier side?

         MARGO
     If my guests do not like it here, I
     suggest they accompany you to the
     nursery where I'm sure you will all
     feel more at home. 

Bill is about to get mad - when Max bustles up. 

         MAX
     Margo. You by any chance got
     bicarbonate of soda in the house?

         MARGO
        (sympathetic)
     Poor Max. Heartburn?
        (Max nods)
     It's that Miss Caswell. I don't
     know why she doesn't give Addison
     heartburn. 

         BILL 
     No heart to burn. 

         MARGO
     Everybody has a heart - except some
     people.
        (she finishes her drink,
         stands up)
     Of course I've got bicarb. There's
     a box in the pantry. We'll put your
     name on it. Max Fabian. It'll say
     there. Always. Just for you. 

         MAX
        (touched)
     Let the rest of the world beat
     their brains out for a buck. It's
     friends that count. And I got
     friends. 

         MARGO
     I love you, Max. I really mean it.
     I love you. Come to the pantry. 

She takes off. Max waits to set Bill straight. 

         MAX
     She loves me like a father. Also,
     she's loaded. 

He starts off after Margo. As the CAMERA PANS with Bill we
see Margo going into the pantry with Max following her. Bill
joins Addison and Miss Caswell on the stairs. 

INT. PANTRY - NIGHT

It's a good sized one. In the b.g., the caterers are packing
dishes, glassware, etc. Margo crosses to a cupboard. She
finds the bicarb. 

         MARGO
     Here you are, Maxie dear. One good
     burp and you'll be rid of that Miss
     Caswell...

         MAX
     The situation I'm in ain't the kind
     you can belch your way out. I made
     a promise...

         MARGO
     Miss Caswell?
        (Max nods)
     What?

         MAX
     An audition for the part we're
     replacing. What's-her-name, your
     sister...

He adds water to the bicarb. 

         MARGO
     Well, if she can act, she might not
     be bad. She looks like she might
     burn down a plantation...

         MAX
        (mixing)
     I feel right now like there's one
     burning in me. 

         MARGO
     When's the audition?

         MAX
     A couple of weeks. 

         MARGO
     I tell you what. Why don't I read
     with her? 

         MAX
     Would you?

         MARGO
     Anything to help you out, Max. 

         MAX
     This is real cooperation. I
     appreciate it. 

         MARGO
     Not at all. And you could do me a
     big favor, if you would-

         MAX
     All you got to do is name it. 

         MARGO
     Give Eve Harrington job in you
     office.

Max burps. 

         MARGO
     You get quick action, don't you?

         MAX
     Margo, I wouldn't think of taking
     that girl away from you...

         MARGO
     You said yourself my inventory was
     in good shape - all of my
     merchandise put away. To keep her
     here with nothing to do - I'd be
     standing in her way... and you need
     her, Max. 

         MAX
     But what could she do?

         MARGO
     She'd be a great help - read
     scripts, interview people you have
     to see, get rid of the ones you
     don't have to... you'd be a man of
     leisure-

         MAX
     Well...

         MARGO 
     Think of your health, Max - more
     time to relax out in the fresh air
     at a race track...

         MAX
     I don't know if this would be a
     wise move...

         MARGO
     Promise. 

         MAX
     I promise. 

         MARGO
        (happily)
     That's my Max. 

Lloyd enters, looking for her. 

         LLOYD
     There you are, both of you. Max,
     Karen has decided it's time to go.

         MARGO
     Where is she?

         LLOYD
     Up in the room. 

         MAX
     If you'll excuse me-
        (to Margo)
     I'll tell Miss Caswell...

He goes out. A pause. 

         MARGO
     Who's left out there?

         LLOYD
     Too many. And you've got a new
     guest. A movie star from Hollywood. 

         MARGO
     Shucks. And my autograph book is at
     the cleaners.

Another pause. 

         MARGO
     You disapprove of me when I'm like
     this, don't you?

         LLOYD
     Not exactly. Sometimes, though, I
     wish I understood you better.

         MARGO
     When you do, let me in on it. 

         LLOYD
     I will. 

Another pause. 

         MARGO
     How's the new one coming?

         LLOYD
     The play? All right, I guess...

         MARGO
     "Cora." She's - still a girl of
     twenty?

         LLOYD
     Twentyish. It isn't important. 

         MARGO
     Don't you think it's about time it
     became important?

         LLOYD
     How do you mean? 

         MARGO
     Don't be evasive. 

         LLOYD
     Margo, you haven't got any age. 

         MARGO
     Miss Channing is ageless. Spoken
     like a press agent.

         LLOYD
     I know what I'm talking about,
     after all they're my plays...

         MARGO
     Spoken like an author.
        (abruptly)
     Lloyd, I'm not twentyish. I am not
     thirtyish. Three months ago, I was
     forty years old. Forty. Four oh.
        (smiles)
     That slipped out, I hadn't quite
     made up my mind to admit it. Now I
     feel as if I'd suddenly taken all
     my clothes off...

         LLOYD
     Week after week, to thousands of
     people, you're as young as you
     want...

         MARGO
     ... as young as they want, you
     mean. And I'm not interested in
     whether thousands of people think
     I'm six or six hundred-

         LLOYD
     Just one person. Isn't that so?
        (Margo doesn't answer)
     You know what this is all about,
     don't you? It has very little to do
     with whether you should play "Cora"
     - it has everything to do with the
     fact that you've had another fight
     with Bill. 

A pause. Margo closes the box of bicarb. 

         MARGO
     Bill's thirty-two. He looks thirty
     two. He looked it five years ago,
     he'll look it twenty years from
     now. I hate men. 
        (she puts the box down)
     Don't worry, Lloyd. I'll play your
     play. I'll wear rompers and come in
     rolling a hoop if you like... let's
     go say good night. 

They exit into the dining room. As they open the swinging
door, the CAMERA REMAINS in the doorway. Margo and Lloyd walk
toward the stairs. In the b.g., Eve is talking to the group.
How much she says is dependent on how long it takes Margo and
Lloyd to reach her. 

         EVE
        (in the b.g.)
     Imagine... to know, every night,
     that different hundreds of people
     love you... They smile, their eyes
     shine - you've pleased them, they
     want you, you belong. Anything's
     worth that. 

Just as before, she becomes aware of Margo's approach with
Lloyd. She scrambles to her feet...

         MARGO
     Don't get up. And please stop
     acting as if I were the queen
     mother. 

And as Margo speaks - or before - we 

FADE OUT.

FADE IN:

EXT. N.Y. THEATER STREET - DAY

Margo gets out of a cab in front of the theater and goes in.
It's Friday afternoon - no performance. 

         MARGO'S VOICE
     What was it the wise man said -
     "This, too, will pass away"? Two
     weeks later - the day of the
     audition - all was well with Bill
     and me, the world and me-

INT. LOBBY AND FOYER - CURRAN THEATER - DAY

Margo comes from the street through the lobby ( a few people
buying tickets) and into the deserted foyer. She spots
Addison sprawled on one of the sofas. 

         MARGO
     Why so remote, Addison? I should
     think you'd be at the side of your
     protegee, lending her moral
     support...

         ADDISON
     Miss Caswell, at the moment, is
     where I can lend no support - moral
     or otherwise.

         MARGO
     The ladies' - shall we say -
     lounge?

         ADDISON
     Being violently ill to her tummy. 

         MARGO
     It's good luck before an audition.
     She'll be all right once it starts.

She heads for the auditorium.

         ADDISON
     Miss Caswell got lucky too late.
     The audition is over. 

         MARGO
        (stops)
     Over? It can't be. I've come to
     read with her. I promised Max. 

         ADDISON
     The audition was called for 2:30.
     It is now nearly four. 

         MARGO
        (lightly)
     Is it really? I must start wearing
     a watch, I never do, you know...
     who read with Miss Caswell? Bill?
        (he shakes his head)
     Lloyd?
        (he shakes his head)
     Well, it couldn't have been Max!
     Who?

         ADDISON
     Naturally enough, your understudy. 

         MARGO
     I consider it highly unnatural to
     allow a girl in an advanced state
     of pregnancy-

         ADDISON
     I refer to your new and unpregnant
     understudy. Eve Harrington. 

         MARGO
     Eve! My understudy...

         ADDISON
        (keenly)
     Didn't you know?

         MARGO
        (quickly)
     Of course I knew. 

         ADDISON
     It just slipped your mind. 

A moment of silence. 

         MARGO
     How... how was Miss Caswell?

         ADDISON
     Frankly, I don't remember.

         MARGO
     Just slipped your mind. 

         ADDISON
     Completely. Nor, I am sure, could
     anyone else present tell you how
     Miss Caswell read or whether Miss
     Caswell read or rode a pogo stick.

         MARGO
     Was she that bad?

As Addison speaks, he rises with excitement.

         ADDISON
     Margo, as you know, i have lived in
     the Theater as a Trappist monk
     lives in his faith. I have no other
     world, no other life - and once in
     a great while I experience that
     moment of Revelation for which all
     true believers wait and pray. You
     were one. Jeanne Eagels another...
     Paula Wessely... Hayes - there are
     others, three or four. Eve
     Harrington will be among them...

         MARGO
        (flatly)
     I take it she read well.

         ADDISON
     It wasn't reading, it was a
     performance. Brilliant, vivid,
     something made of music and fire...

         MARGO
     How nice. 

         ADDISON
     In time she'll be what you are. 

         MARGO
     A mass of music and fire. That's
     me. An old kazoo and some sparkles.
     Tell me - was Bill swept away, too,
     or were you too full of Revelation
     to notice?

         ADDISON
     Bill didn't say - but Lloyd was
     beside himself. He listened to his
     play as if someone else had written
     it, he said, it sounded so fresh,
     so new, so full of meaning...

         MARGO
     How nice for Lloyd. And how nice
     for Eve. How nice for everybody.

Addison, of course, knows exactly what she's doing. He senses
the approaching typhoon, he whips it up...

         ADDISON
     Eve was incredibly modest. She
     insisted that no credit was due
     her, that Lloyd felt as he did only
     because she read lines exactly as
     he had written them. 

         MARGO
     The implication being that I have
     not been reading them as written.

         ADDISON
     To the best of my recollection,
     neither your name nor your
     performance entered the
     conversation. 

Miss Caswell appears, uncertain, in the b.g.

         ADDISON 
     Feeling better, my dear?

         MISS CASWELL
     Like I just swam the English
     Channel. Now what?

         ADDISON
     You next move, it seems to me,
     should be toward television. 

Margo, abruptly, starts for the auditorium. Addison smiles.
He takes Miss Caswell's arm. 

         MISS CASWELL
     Tell me this. Do they have
     auditions for television?

         ADDISON
     That's all television is, my dear.
     Nothing but auditions. 

He takes her toward the street. 

INT. THEATER - CURRAN THEATER - DAY

The curtain is up; the set, covered, is a bedroom in a
deteriorating Southern mansion. 

There is no one in the theater but Max, seated on the aisle
about two-thirds down, and Eve with Lloyd and Bill on the
stage. She is seated; they stand between her and auditorium.
There is some ad lib talk among the three which we cannot
make out. Margo marches down the aisle with a steady pace. 

She passes Max smiles a sickly, hopeful smile. She ignores
him as if he were a used paper cup. She disappears through
the door which leads backstage. 

Max whistles. Lloyd turns. Max indicated the door and puts
his hands to his head in despair. 

Margo walks out of the wings on stage. Bill and Lloyd turn to
her. Eve rises. 

         MARGO
        (cheerily)
     Terribly sorry I'm late, lunch was
     long and I couldn't find a cab -
     where's Miss Caswell, shall we
     start? Oh, hello, Eve...

         EVE
     Hello, Miss Channing. 

         MARGO
     How are you making out in Mr.
     Fabian's office?
        (over the footlights to
         Max)
     I don't want you working the child
     too hard, Max - just because you
     promised. As you see, I kept my
     promise, too...

Max slumps in his seat. By the time Margo turns back to them,
the others have exchanged swift looks. 

         BILL 
     It's all over. 

         MARGO
     What's all over?

         BILL 
     The audition. 

         MARGO
        (pleased astonishment)
     Eve?
        (she turns to her)
     How enchanting...
        (to Lloyd and Bill)
     Wherever did you get the idea of
     having Eve read with Miss Caswell?

         LLOYD
     She's your understudy.

         MARGO
     Eve? Eve, my understudy? But I had
     no idea...

         LLOYD
     I thought you knew... She was put
     on over a week ago-

         MARGO
     It seems almost inconceivable that
     I haven't seen her backstage, but
     with so many people loitering
     around... well, well. So Eve is not
     working for Max after all-
        (out to Max again)
     - Max you sly puss.

Max submerges further in his seat. 

         EVE
     Miss Channing, I can't tell you how
     glad I am that you arrived so late.

         MARGO
     Really, Eve? Why?

         EVE
     Well, if you'd been here to begin
     with, I wouldn't have dared to read
     at all...

         MARGO
     Why not?

         EVE
     ... and if you'd come in the
     middle, I'd have stopped, I
     couldn't have gone on-

         MARGO
        (murmurs)
     What a pity, all that fire and
     music being turned off...

         BILL 
     What fire and music?

         MARGO
     You wouldn't understand. 
        (to Lloyd)
     How was Miss Caswell?

         LLOYD
     Back to Copacabana. But Eve. Margo,
     let me tell you about Eve-

         EVE
        (breaking in)
     I was dreadful, Miss Channing,
     believe me - I have no right to be
     anyone's understudy, much less
     yours...

         MARGO
     I'm sure you underestimate
     yourself, Eve. You always do.
        (to Lloyd)
     You were about to tell me about
     Eve...

         LLOYD
     You'd have been proud of her.

         MARGO
     I'm sure. 

         LLOYD
     She was a revelation...

         MARGO
     To you, too?

         LLOYD
     What do you mean?

         MARGO
        (the ice begins to form)
     I mean, among other things, that it
     must have been a revelation to have
     your twenty-four-year-old character
     played by twenty-four-year-old
     actress...

         LLOYD
     That's beside the point. 

         MARGO
     It's right to the point. Also that
     it must have sounded so new and
     fresh to you - so exciting to have
     the lines read as you wrote them!

         BILL 
     Addison-!

         MARGO
     So full of meaning, fire and music!

         LLOYD
     You've been talking to that
     venomous fishwife, Addison deWitt-

         MARGO
     - in this case, apparently, as
     trustworthy as the World Almanac!

         LLOYD
     You knew when you came in that the
     audition was over, that Eve was
     your understudy! Playing that
     childish game of cat and mouse...

         MARGO
     Not mouse, never mouse! If anything
     - rat!

         LLOYD
     You have a genius for making
     barroom brawl out of a perfectly
     innocent misunderstanding at most! 

         MARGO
     Perfectly innocent! Man have been
     hanged for less! I'm lied to,
     attacked behind my back, accused of
     reading your silly dialogue
     inaccurately - as if it were Holy
     Gospel!

         LLOYD
     I never said it was!

         MARGO
     Then you listened as if someone
     else had written you play - whom
     did you have in mind? Sherwood?
     Arthur Miller? Beaumont and
     Fletcher? 

Max has edged his way to the stage. 

         MAX
        (from below)
     May I say a word?

         LLOYD
     No!
        (to Margo)
     What makes you think that either
     Miller or Sherwood would stand for
     the nonsense I take from you -
     you'd better stick to Beaumont and
     Fletcher! They've been dead for
     three hundred years! 

He stalks into the wings. Bill's reaction to the fight is
typical. He lights a cigarette, stretches out on the covered
bed. Eve stands frozen with fear. Margo yells after Lloyd
into the wings. 

         MARGO
     And they're getting better
     performances today than they ever
     got! All playwrights should be dead
     for three hundred years!

Lloyd comes out of the door leading to the auditorium. The
battle goes on without a pause. As he yells back, he crosses
to Max at row A, center. 

         LLOYD
     That would solve none of their
     problems - because actresses never
     die! The stars never die and never
     change!

He starts up the aisle with Max. 

         MARGO
     You can change this star any time
     you want! For a new, fresh,
     exciting one fully equipped with
     fire and music! Any time you want -
     starting with tonight's
     performance!

Now it's Max who stops and shouts back at her.

         MAX
     This is for lawyers to talk about,
     this concerns a run-of-the-play
     contract, and this you can't
     rewrite or ad lib!

         MARGO
        (from the stage)
     Are you threatening me with legal
     action, Mr. Fabian?

         MAX
     Are you breaking the contract?

         MARGO
     Answer my question!

         MAX
     Who am I to threaten? I'm a dying
     man. 

         MARGO
     I didn't hear you. 

         MAX 
        (yelling)
     I said I'm a dying man!

         MARGO
     Not until the last drugstore has
     sold its last pill!

         LLOYD
        (from the top of the
         aisle)
     I shall never understand the weird
     process by which a body with a
     voice suddenly fancies itself a
     mind! Just when exactly does an
     actress decide they're her words
     she's saying and her thoughts she's
     expressing? 

         MARGO
     Usually at the point when she's got
     to rewrite and rethink them to keep
     the audience from leaving the
     theater!

         LLOYD
     It's about time the piano realized
     it has not written the concerto!

Max has already walked out unhappily. Lloyd now slams out.
Margo glares after him, then turns to Bill who smokes his
cigarette peacefully on the bed. 

         MARGO
        (quiet menace)
     And you, I take it, are the
     Paderewski who plays his concerto
     on me, the piano? 
        (Bill waves his cigarette;
         he's noncommittal)
     Where is Princess Fire-and-Music?

         BILL 
     Who?

         MARGO
     The kid. Junior. 

         BILL 
        (looks lazily)
     Gone.

         MARGO
     I must have frightened her away. 

         BILL 
     I wouldn't be surprised. Sometimes
     you frighten me. 

         MARGO
        (paces up and down)
     Poor little flower. Just dropped
     her petals and folded her tent...

         BILL 
     Don't mix your metaphors. 

         MARGO
     I mix what I like. 

         BILL 
     Okay. Mix. 

         MARGO
     I'm nothing but a body with a
     voice. No mind. 

         BILL
     What a body, what a voice. 

         MARGO
     The ex-ship news' reporter. No
     body, no voice, all mind!

         BILL 
     The gong rang. The fight's over.
     Calm down. 

         MARGO
     I will not calm down!

         BILL 
     Don't calm down. 

         MARGO
     You're being terribly tolerant,
     aren't you?

         BILL 
     I'm trying terribly hard. 

         MARGO
     Well, you needn't. I will not be
     tolerated. And I will not be
     plotted against!

         BILL 
     Here we go...

         MARGO
     Such nonsense, what do you all take
     me for - little Nell from the
     country? Been my understudy for
     over a week without my knowing,
     carefully hidden no doubt-

         BILL 
        (sits up)
     Now don't get carried away-

         MARGO
        (going right on)
     - shows up for an audition when
     everyone knew I'd be here... and
     gives a performance! Out of nowhere
     - gives a performance!

         BILL 
     You've been all through that with
     Lloyd-

         MARGO
     The playwright doesn't make the
     performance - and it doesn't just
     happen! And this one didn't - full
     of fire and music and whatnot, it
     was carefully rehearsed I have no
     doubt, over and over, full of those
     Bill Sampson touches!

         BILL 
     I am sick and tired of these
     paranoiac outbursts!

         MARGO
     Paranoiac!

         BILL 
     I didn't know Eve Harrington was
     your understudy until half past two
     this afternoon!

         MARGO
     Tell that to Dr. Freud! Along with
     the rest of it...

She turns away. Bill grabs her, pulls her down on the bed. He
holds her down. 

         BILL 
     No, I'll tell it to you! For the
     last time, I'll tell it to you.
     Because you've got to stop hurting
     yourself, and me, and the two of us
     by these paranoiac tantrums!

         MARGO
        (struggling)
     That word again! I don't even know
     what it means...

         BILL 
        (firmly)
     It's time you found out. I love
     you.
        (Margo says "Ha!")
     I love you. You're a beautiful and
     intelligent woman-     
        (Margo says "A body with a
         voice")
     - a beautiful and intelligent woman
     and a great actress-
        (he waits; Margo says
         nothing)
     - at the peak of her career. You
     have every reason for happiness-
        (Margo says "Except
         happiness")
     - every reason, but due to some
     strange, uncontrollable,
     unconscious drive you permit the
     slightest action of a kid-
        (Margo sneers "Kid!")
     - kid like Eve to turn you into a
     hysterical, screaming harpy! Now
     once and for all, stop it!  

Margo seems quiet. He gets up. She sits up. 

         MARGO
     It's obvious you're not a woman.

         BILL 
     I've been aware of that for some
     time. 

         MARGO
     Well, I am. 

         BILL 
     I'll say. 

         MARGO
     Don't be condescending. 

         BILL 
     Come on, get up. I'll buy you a
     drink. 

         MARGO
        (with dignity)
     I admit I may have seen better
     days, but I am still not to be had
     for the price of a cocktail - like
     a salted peanut.

         BILL 
        (laughs)
     Margo, let's make peace.

         MARGO
     The terms are too high.
     Unconditional surrender. 

         BILL 
     Just being happy? Just stopping all
     this nonsense about Eve - and Eve
     and me?

         MARGO
     It's not nonsense. 

         BILL 
     But if I tell you it is - as I just
     did. Were you listening to me? 
        (Margo nods)
     Isn't that enough?

         MARGO
     I wish it were. 

         BILL 
     Then what would be enough?
        (Margo doesn't answer)
     If we were married?

         MARGO
     I wouldn't want you to marry me
     just to prove something. 

         BILL 
     You've had so many reasons for not
     wanting to marry me... Margo, tell
     me what's behind all this.

         MARGO
     I - I don't know, Bill. Just a
     feeling, I don't know...

         BILL 
     I think you do know but you won't
     or can't tell me. 
        (Margo doesn't say)
     I said before it was going to be my
     last try, and I meant it. I can't
     think of anything else to do. I
     wish I could. 
        (a pause)
     We usually wind up screaming and
     throwing things as the curtain
     comes down. Then it comes up again
     and everything's fine. But not this
     time.
        (he takes a breath)
     You know there isn't a playwright
     in the world who could make me
     believe this would happen between
     two adult people. Goodbye, Margo. 

No word from her. He starts away. 

         MARGO
     Bill...
        (he stops)
     ... where are you going? To find
     Eve? 

         BILL 
        (smiles grimly)
     That suddenly makes the whole thing
     believable.

He goes out. Margo, alone, sit for a moment sadly. Then she
begins to cry...

INT. RICHARDS' STUDIO APARTMENT - DAY

One large room, a small foyer with a door to the corridor. A
stair up one wall to a narrow balcony from which a couple of
bedroom open.

Karen is painting. Earnestly but badly. A still life of an
orange, an avocado, an eggplant and three bananas. 

         KAREN'S VOICE
     On the day of the audition, my
     biggest worry was to keep a banana
     looking part of an eggplant... then
     Lloyd came home.
        (in the b.g., Lloyd lets
         himself in)
     It was right after his brawl with
     Margo...

Lloyd slams the door, flings his hat away, strides in,
peeling off muffler and overcoat. 

         KAREN
     Lloyd, what happened...?

         LLOYD
     Up to here! That's where I've got
     it - up to here! Of all the star
     ridden, presumptuous, hysterical-

         KAREN
     Margo, again...

         LLOYD
     And again and again! Two hours late
     for the audition, to begin with-

         KAREN
     That's on time for Margo. 

         LLOYD
     Then a childish, heavy-handed
     routine about not knowing Eve was
     her understudy-

         KAREN
     It's just possible she didn't...

         LLOYD
     Of course she knew! For one thing,
     Addison told her how superbly Eve
     had read the part-!
        (suddenly softening)
     Karen, let me tell you about Eve.
     She's got everything - a born
     actress. Sensitive, understanding,
     young, exciting, vibrant-

         KAREN
     - don't run out of adjectives,
     dear. 

         LLOYD
     - everything a playwright first
     thinks of wanting to write about...
     until his play becomes a vehicle
     for Miss Channing...

         KAREN
     Margo hasn't done badly by it.

         LLOYD
     Margo. Margo's great. She knows it.
     That's the trouble.
     She can play Peck's Bad Boy all she
     wants, and who's to stop her? Who's
     to give her that boot in the rear
     she needs and deserves? 

He starts up the stairs to the bedroom. 

         KAREN
        (murmurs)
     It's going to be a cozy weekend.

         LLOYD
        (pauses)
     What is?

         KAREN
     We're driving out to the country
     tomorrow night. Just the four of
     us. Bill, Margo, you and I...

         LLOYD
     Well. We've spent weekends before
     with nobody talking...
        (continues up stairs)
     ... just be sure to lock up all
     blunt instruments and throwable
     objects...

As he goes into one of the bedrooms, Karen sits thoughtfully
on a couch. She muses...

         KAREN'S VOICE
     Newton - they say, thought of
     gravity by getting hit on the head
     by an apple. And the man who
     invented the steam engine, he was
     watching a tea-kettle... but not
     me. My Big Idea came to me just
     sitting on a couch...

She lies down, folds her hands behind her head. 

         KAREN'S VOICE
     That boot in the rear to Margo.
     Heaven knows she had one coming.
     From me, from Lloyd, from Eve,
     Bill, Max, and so on - we'd all
     felt those size fives of hers often
     enough... but how? The answer was
     buzzing around me like a fly...

She sits up. She smiles. The smile fades...

         KAREN'S VOICE
     I had it. But I let it go.
     Screaming and calling names is one
     thing - but this could mean...

She shakes her head, crosses to her easel, resumes work on
the bananas. She slows down, then stops. 

         KAREN'S VOICE
     Why not? Why, I said to myself,
     not? It would all seem perfectly
     legitimate. And there were only two
     people in the world who would know.
     Also, the boot would land where it
     would do the most good for all
     concerned-

She puts the brush away and crosses to the phone which is by
Lloyd's work chair. As she crosses:

         KAREN'S VOICE
     And after all, it was not more than
     a perfectly harmless joke which
     Margo, herself, would be the first
     to enjoy...

She looks in a leather phone book, pick up the phone and
dials. 

         KAREN'S VOICE
     ... and no reason why she shouldn't
     be told about it - in time. 

There's an answer at the other end. 

         KAREN
        (into phone)
     Hello... will you call Miss Eve
     Harrington to the phone, please?
     Not at all... thank you.  

And as she waits we...

                         DISSOLVE TO:

EXT. COUNTRYSIDE - NIGHT

Open country. Preferably no houses in sight. Plenty of snow.
Lloyd's car drives along. 

         KAREN'S VOICE
     It was a cold weekend - outside and
     in. Bill didn't come at all.
     Margo didn't know where he was and
     didn't care - she kept saying.
     Somehow we staggered through Sunday
     - and by the time we drive Margo to
     the station late Monday afternoon,
     she and Lloyd had thawed out to the
     extent of being civil to each
     other...

INT. COUPE - NIGHT

Lloyd driving. All three in the front seat. 

         KAREN
     What time is it?

         LLOYD
     When you asked a minute ago it was
     five-forty-two. It is now five
     forty-three. When you ask a minute
     from no, it will be-

         KAREN
     I just don't want Margo to miss her
     train. As it is, she'll barely make
     the theater...

         LLOYD
     Five-fifty-five. We'll be at the
     station in plenty of time...

         MARGO
     That little place just two hours
     form New York. It's on my list of
     things-I'll-never-understand. Like
     collecting shrunken Indian heads...

         KAREN
     Of all people you should know what
     it means to want some peace and
     quiet-

         MARGO
     Peace and quit is for libraries. 

The car swerves - suddenly and slightly. 

         KAREN
     Lloyd, be careful...

         LLOYD
     Just a little skid, that's all.
     This road's like glass. 

         MARGO
     Karen and I just don't want an
     accident-

         LLOYD
     I have no intention of having an
     accident!

         MARGO
     It's not important whether you do.
     We are wearing long underwear. 

They all laugh. Suddenly the car slows and stops - with that
hissing sound that can mean only one thing - no gas. 

         LLOYD
     Now what's this...?

He tries to start it again. No luck. He turns on the
dashboard lights. The gas gauge reads empty. 

         LLOYD
     But it can't be! We can't be out of
     gas! I filled it myself yesterday!
        (to Karen)
     Wasn't it full when you drove to
     Brewster this morning?

         KAREN
        (very low)
     I guess I didn't look. You know I
     don't pay attention to those
     things...

         LLOYD
     Incredible. 

Futilely, he runs the started again. 

         MARGO
        (crisply)
     How much time have we? 

         KAREN
     Roughly ten minutes. 

         MARGO
     How far to the station?

         KAREN
     Three or four miles...

         MARGO
     Any houses or farms around where we
     can borrow gas?

         KAREN
        (looking)
     None in sight, there aren't many
     along this back road...

         MARGO
     Not many car either, not much
     chance of a lift...

A moment of silence. 

         LLOYD
     Well. No sense my just sitting
     here. I'm going to walk up about
     half a mile, just in case.

He starts out of the car. The cold comes in like a knife, the
women react. 

         KAREN
     You'll break your neck on that ice. 

         LLOYD
        (grins)
     What a way to die - trying to get
     an actress to the theater in time.
     Tell Max I want to be buried with
     royalties...

         KAREN
     Don't joke about such things.

         MARGO
        (quietly)
     How fortunate that I have an
     understudy so ready, so willing and
     so able to go on. 

         LLOYD
     The audience will want its money
     refunded, believe me. 

         MARGO
     Thank you, Lloyd. Godspeed. 

Lloyd starts down the road. He slips once, recovers, waves
and keeps going. 

         KAREN
     He always looks so pathetic
     whenever he does anything physical-

         MARGO
     It seems to me that walking, for
     most people, is not very dangerous. 

         KAREN
        (smiles)
     I just never think of Lloyd as
     anywhere but indoors and anything
     but sitting down. 

         MARGO
     Be brave. He'll come back - with or
     without gas. 

They tuck the fur car robe around them. A pause. Margo turns
on the radio... it's "Liebestraum."

         MARGO
     Do you want it on?

         KAREN
     It doesn't matter. 

         MARGO
     I detest cheap sentiment. 

She turns it off. Another pause. 

         MARGO
     Karen.
        (Karen says "hm?")
     I haven't been pleasant this
     weekend. 

         KAREN
     We've all seemed a little tense
     lately...

         MARGO
     Come to think of it, I haven't been
     very pleasant for weeks. For that,
     I'm truly sorry. More than any two
     people I know, I don't want you and
     Lloyd to be angry with me...

         KAREN
     We're never deeply angry, we just
     get sore. The way you do. We know
     you too well...

         MARGO
     So many people - know me. I wish I
     did. I wish someone would tell be
     about me...

         KAREN
     You're Margo. Just - Margo. 

         MARGO
     And what is that? Besides something
     spelled out in light bulbs, I mean.
     Besides something called
     temperament, which consists mostly
     of swooping about on a broomstick
     creaming at the top of my voice...
     infants behave the way I do, you
     know. They carry on and misbehave -
     they'd get drunk if they knew how -
     when they can't have what they
     want. When they feel unwanted and
     insecure - or unloved.   

There's a pause. 

         KAREN
     What about Bill?

         MARGO
     What about Bill?

         KAREN
     He's in love with you. 

         MARGO
     More than anything in this world, I
     love Bill. And I want Bill. I want
     him to want me. But me. Not Margo
     Channing. And if I can't tell they
     apart - how can he? 

         KAREN
     Why should he - and why should you? 

         MARGO
     Bill's in love with Margo Channing.
     He's fought with her, worked with
     her, loved her... but ten years
     from now - Margo Channing will have
     ceased to exist. And what's left
     will be... what?

         KAREN
     Margo. Bill is all of eight years
     younger than you. 

         MARGO
     Those years stretch as the years go
     on. I've seen it happen too often. 

         KAREN
     Not to you. Not to Bill.

         MARGO
     Isn't that what they always say? 

She turns the radio on again. A piano nocturne...

         MARGO
     I don't suppose the heater runs
     when the motor doesn't?

         KAREN
     Silly, isn't it? You'd think they'd
     fix it so people could just sit in
     a car and keep warm...

Margo nods, get some cigarettes out of her bag. She offers
one to Karen. They light up. 

         MARGO
     About Eve. I've acted pretty
     disgracefully toward her, too. 

         KAREN
     Well...

         MARGO
     Let's not fumble for excuses, not
     here and now with my hair down. At
     best, let's say I've been
     oversensitive to... well, to the
     fact that she's so young - so
     feminine and helpless. To so many
     things I want to be for Bill...
     funny business, a woman's career.
     The things you drop on your way up
     the ladder, so you can move faster.
     You forget you'll need them again
     when you go back to being a woman.
     That's one career all females have
     in common - whether we like it or
     not - being a woman.
     Sooner or later we've all got to
     work at it, no matter what other
     careers we've had or wanted... and,
     in the last analysis, nothing is
     any good unless you can look up
     just before dinner or turns around
     in bed - and there he is. Without
     that, you're not woman. You're
     something with a French provincial
     office or a book full of clippings -
     but you're not a woman...  
        (she smiles at Karen)
     ... slow curtain. The end. 

A pause. There are tears in Karen's eyes. 

         KAREN
     Margo.
        (she hesitates)
     Margo, I want you to know how sorry
     I am about this...

         MARGO
     About what? 

         KAREN
        (indicating their
         predicament)
     This. I can't tell you how sorry I
     am!

         MARGO
     Don't give it another thought, one
     of destiny's many pranks. After
     all, you didn't personally drain
     the gasoline out of the tank...

She snuggles down into her furs. Karen flashes an unhappy
look at her. She, too, snuggles down...

EXT. THEATER ALLEY - CURRAN THEATER - NIGHT

The snow has been shoveled to either side of the alley,
making a lane. The performance is just over. 

Addison, his back to us, stands looking toward the stage
door. A few actors, on their way out. 

         ADDISON'S VOICE
     Eve, of course, was superb. Many of
     the audience understandably
     preferred to return another time to
     see Margo.
     But those who remained cheered
     loudly, lustily and long for Eve...
     how thoughtful of her to call and
     invite me - that afternoon...

He starts to walk toward the stage door. 

         ADDISON'S VOICE
     ... and what a happy coincidence
     that several representatives of
     other newspapers happened to be
     present. All of us - invited that
     afternoon to attend an understudy's
     performance...

He goes in the stage door. 

INT. BACKSTAGE - CURRAN THEATER - NIGHT

More activity than last time, the performance being just
over. Addison comes through the door, picks his way toward
Margo's dressing room. 

         ADDISON'S VOICE
     ... about which the management knew
     nothing until they were forced to
     ring up the curtain at nine
     o'clock. Coincidence. Also every
     indication of intrigue, skulduggery
     and fraud...  

The door tot he dressing room is open just a bit. Addison
pauses beside the door to listen. 

         BILL 
        (from within)
     ... you were better than all right,
     kid, you gave a performance, you
     rang a bell-

Addison uses his cane to swing the door open farther, so that
both he and WE can see as well as hear. 

INT. MARGO'S DRESSING ROOM - NIGHT

Bill faces Eve, who wears Margo's costume. She is a ravishing
sight. Her eyes shine up to his radiantly:

         BILL 
        (continuing)
     - little things here and there, it
     doesn't matter. You can be proud of
     yourself, you've got a right to be. 

         EVE
        (quietly)
     Are you proud of me, Bill?

         BILL 
     I'll admit I was worried when Max
     called. I had my doubts.

         EVE
     You shouldn't have had any doubts.

         BILL
     - after all, the other day was one
     scene, the woods are full of one
     scene sensations. But you did it.
     With work and patience, you'll be a
     fine actress. If that's what you
     want to be. 

         EVE
     Is that what you want me to be? 

         BILL 
     I'm talking about you. And what you
     want. 

         EVE
     So am I. 

         BILL 
     What have I got to do with it?

         EVE
     Everything. 

         BILL 
        (lightly)
     The names I've been called. But
     never Svengali. 
        (he pats her shoulder)
     Good luck. 

He starts out. Addison ducks. 

         EVE
     Don't run away, Bill. 

         BILL 
        (stops)
     From what would I be running?

         EVE
     You're always after truth - on the
     stage. What about off?

         BILL 
        (curiously)
     I'm for it. 

         EVE
     Then face it. I have. Since that
     first night - here - in the
     dressing room. 

         BILL 
        (smiles)
     When I told you what every young
     actress should know. 

         EVE
     When you told me that whatever I
     became, it would be because of you-

         BILL 
     Your make-up's a little heavy. 

         EVE
     - and for you. 

         BILL 
        (slowly)
     You're quite a girl. 

         EVE
     You think?

         BILL 
     I'm in love with Margo. Hadn't you
     heard? 

         EVE
     You hear all kinds of things. 

         BILL 
     I'm only human, rumors to the
     contrary. And I'm as curious as the
     next man...

         EVE
     Find out. 

         BILL 
        (deliberately)
     Only thing, what I go after, I want
     to go after. I don't want it to
     come after me.  

Tears come to Eve's eyes. She turns away slowly. 

         BILL 
     Don't cry. Just score it as an
     incomplete forward pass. 

He walks out. Addison ducks to avoid being seen. Eve glares
after Bill, tears the wig from her head, throws it on the
dressing table. Her glance is caught by a pair of scissors.
Swiftly, she snatches them up and in a sharp, vicious gesture
she slashes the wig. Addison knocks politely at the door. Eve
turns. 

         ADDISON
     May I come in?

         EVE
     Certainly, Mr. deWitt...

         ADDISON
        (entering)
     I expected to find this little room
     overcrowded, with a theater full of
     people at your feet...

         EVE
     I consider myself lucky they didn't
     throw things. 

She starts creaming her face, removing make-up.

         ADDISON
     Of course your performance was no
     surprise to me. After the other day
     I regarded it as no more than - a
     promised fulfilled.

         EVE
     You're more than kind. But it's
     still Miss Channing's performance.
     I'm just a carbon copy you read
     when you can't find the original...

         ADDISON
     You're more than modest.

         EVE
     It's not modesty. I just don't try
     to kid myself. 

         ADDISON
     A revolutionary approach to the
     Theater. However, if I may a
     suggestion...

         EVE
     Please do.

         ADDISON
     I think the time has come for you
     to shed some of your humility. It
     is just as false not to blow your
     horn at all as it is to blow it too
     loudly... 

         EVE
     I don't think I've done anything to
     sound off about. 

         ADDISON
     We all come into this world with
     our little egos equipped with
     individual horns. If we don't blow
     them - who will?

         EVE
     Even so. One isolated pretty good
     performance by an understudy. It'll
     be forgotten tomorrow. 

         ADDISON
     It needn't be. 

         EVE
     Even if I wanted to - as you say -
     be less humble, blow my own horn...
     how would I do it? I'm less than
     nobody. 

         ADDISON
     I am somebody. 

Eve rises. She eyes him steadily. 

         EVE
     You certainly are. 

She goes into the bathroom. 

         ADDISON
     Leave the door open a bit, so we
     can talk. 

Eve does so. 

         ADDISON
     After you change, if you're not
     busy elsewhere, we can have supper.

         EVE
        (from the bathroom)
     I'd love to! Or should I pretend
     I'm busy?

         ADDISON
        (smiling)
     Let's have a minimum of pretending.
     I'll want to do a column about you-

         EVE
     I'm not enough for a paragraph. 

         ADDISON
     - perhaps more than one. There's so
     much I want to know. I've heard
     your story in bits and pieces...
     your home in Wisconsin, your tragic
     marriage, your financial attachment
     to Margo - it started in San
     Francisco, didn't it? 
        (no answer; Addison
         smiles)
     I say - your idolatry of Margo
     started in San Francisco, didn't
     it?

         EVE
     That's right. 

         ADDISON
     San Francisco. An oasis of
     civilization in the California
     desert. Tell me, do you share my
     high opinion of San Francisco? 

         EVE
     Yes. I do. 

         ADDISON
     And that memorable night when Margo
     first dazzled you from the stage -
     which theater was it in San
     Francisco? Was it - the Shubert?

         EVE
        (a slight pause)
     Yes. The Shubert. 

         ADDISON
        (grins happily)
     A fine old theater, the Shubert.
     Full of tradition, untouched by the
     earthquake - so sorry - fire... by
     the way, what was your husband's
     name? 

         EVE
     Eddie...

         ADDISON
     Eddie what?

Eve sticks her head and naked shoulder around the door. 

         EVE
     I'm about to go into the shower, I
     won't be able to hear you...

         ADDISON
     I can wait. Where would you like to
     go? We'll make this a special
     night...

         EVE
        (trustingly)
     You take charge. 

         ADDISON
     I believe I will.

She closes the door. He leans back, lights a cigarette. 

EXT. 52ND STREET - NEW YORK - NIGHT

A cab drives up to "21."

         KAREN'S VOICE
     Some of the morning papers carried
     a little squib about Eve's
     performance. Not much, but full
     praise...
     I couldn't imagine how they found
     out about it - but Lloyd said Max's
     publicity man probably sent out the
     story...

Karen gets out of the cab, pays and goes in. 

         KAREN'S VOICE
     ... at any rate, I feel terribly
     guilty and ashamed of myself - and
     wanted nothing so much as to forget
     the whole thing. Margo and I were
     having lunch at "21" - just like
     girlfriends - with hats on...

INT. LOBBY - "21" - DAY

Karen consults her watch and the doorman as she enters. 

         KAREN
     Has Miss Channing come in?

         DOORMAN
     Not yet, Mrs. Richards...

Karen sees Eve who waits as Addison hands his hat, coat, and
cane to an attendant. She smiles, crosses to her.

         KAREN
     Eve. I've heard the most wonderful
     things about your performance-

         EVE
     Mostly relief that I managed to
     stagger through it at all...

         ADDISON
     She was magnificent. 

         KAREN
        (pleased)
     Then you've heard too. 

         ADDISON
     I was there. An eyewitness.

         KAREN
        (staggered)
     You were there? At the play - last
     night?

         ADDISON 
        (smiles)
     A happy coincidence.

         EVE
        (quickly)
     We're having lunch with a movie
     talent scout. 

         KAREN
     They certainly don't waste much
     time. 

         EVE
     Nothing definite yet - it's just to
     have lunch. 

         ADDISON
     They'll be wasting this much of
     their time at any rate. Eve has no
     intention of going to Hollywood. 

He turns to Karen, changing the subject. 

         ADDISON
     From the smartness of your dress, I
     take it your luncheon companion is
     a lady?

         KAREN
        (smiles)
     Margo. 

         ADDISON
     Margo? Lunching in public?

         KAREN
     It's new Margo. But she's just as
     late as the old one. 

         ADDISON
     She may be later than you think...

As he speaks, he crosses to pick up an evening paper, opens
it as he comes back. 

         ADDISON
        (handing it to her)
     Why not read my column to pass the
     time? The minutes will fly like
     hours...
        (he takes Eve's arm)
     ... and now we must join our
     sunburned eager beaver. 

He goes up the stairs with Eve. Karen glances after them
curiously, then at the column.
It is headed: "Things I Promised Not To Tell" by Addison
deWitt. He expression becomes increasingly horrified. She
drops the paper and rushes out...

INT. MARGO'S LIVING ROOM - DAY

Addison's column quivers in Margo's hand as she strides about
reading it. Karen sits miserably. 

         MARGO
        (declaiming)
     "... my hat which has, lo, these
     many seasons become more firmly
     rooted about my ears, is lifted to
     Miss Harrington. I am once more
     available for dancing in the
     streets and shouting from the
     housetops." ... I thought that one
     went out with Woollcott... 
        (she skips part of the
         column)
     Down here... here, listen to this-
     "... Miss Harrington had much to
     tell - and these columns shall
     report her faithfully - about the
     lamentable practice in our Theater
     of permitting, shall we say -
     mature - actresses to continue
     playing roles requiring a youth and
     vigor of which they retain but a
     dim memory-"

         KAREN
     I just can't believe it. 

         MARGO
     It get better! "- About the
     understandable reluctance on the
     part of our entrenched First Ladies
     of the Stage to encourage, shall we
     say - younger - actresses; about
     Miss Harrington's own long and
     unsupported struggle for
     opportunity-"

         KAREN
     I can't believe Eve said those
     things!

Margo crumples the paper as if it were Eve's neck. 

         MARGO
        (pacing)
     In this rat race, everybody's
     guilty till they're proved
     innocent! One of the differences
     between the Theater and
     civilization... 
        (she hurls the paper away)
     ... what gets me is how all of
     those papers in town happened to
     catch that particular performance!

         KAREN
        (weakly)
     Lloyd says it's a publicity
     release...

         MARGO
     The little witch must have had
     Indians runners out snatching
     critics out of bars, steam rooms
     and museums or wherever they hole
     up... well, she won't get away with
     it! Nor will Addison deWitt and his
     poison pen! If Equity or my lawyer
     can't or won't do anything about
     it, I will personally stuff that
     pathetic little lost lamb down Mr.
     deWitt's ugly throat...

She pauses in midair to look at... Bill. He has come up the
stairs tow at a time, stands at the landing. 

         BILL 
        (quietly)
     I came as soon as I read that piece
     of filth. I ran all the way...

Margo suddenly starts to cry. She turns from him. Bill takes
her in his arms. He holds her...

         BILL 
     Bill's here, baby. Everything's all
     right, now...

Margo says nothing, just hides in his embrace. He soothes
her, pets her... he looks over at Karen. 

         KAREN
     I guess at this point I'm what the
     French call 'de trop'...

         BILL 
        (smiles)
     Maybe just a little around the
     edges.

Karen smiles back, waves, and goes out. 

INT. RICHARDS' APARTMENT - DAY

Karen's having some lunch. Lloyd, still in his robe, sits
opposite her having some coffee and a cigarette. A copy of
the interview before him. 

         LLOYD
        (is saying)
     - it's Addison, from start to
     finish, it drips with his brand of
     venom... taking advantage of a kid
     like that, twisting her words,
     making her say what he wanted her
     to say-

         KAREN
     Where'd you get all that
     information?

         LLOYD
        (put out his cigarette)
     Eve. 

         KAREN
     Eve?

         LLOYD
     She's been to see me, as a matter
     of fact she left just before you
     came in - you just missed her...

         KAREN
     That was a pity...

         LLOYD
        (gets up)
     She wanted to explain about her
     interview, wanted to apologize to
     someone - and didn't dare face
     Margo...

         KAREN
     I wonder why.

Lloyd wanders about - he seems to be searching for words, for
a position to maintain...

         LLOYD
     She started to tell me all about it
     - and she couldn't finish, she
     cried so...

He's over by a window, his back to her. Karen eyes him
curiously, waiting for the payoff...

         LLOYD
        (finally)
     You know, I've been going over our
     financial condition - if you'll
     pardon the expression...

         KAREN
     That's quite a change of subject. 

         LLOYD
        (walks again)
     What with taxes coming up - and
     since I'm a playwright and not an
     oil well operator - well, I've been
     thinking...

         KAREN
     I'm trying hard to follow you.

         LLOYD
     If - instead of waiting until next
     season to do 'Footsteps on the
     Ceiling', which is in pretty good
     shape - and if Margo can be talked
     into going on tour with 'Aged in
     Wood' - we could put 'Footsteps...'
     into production right away...

         KAREN
     I'm beginning to catch up. 

         LLOYD
     If we could cast it properly, that
     is...

         KAREN
        (carefully)
     Maybe get some younger actress for
     the part? Someone who'd look the
     part as well as play it? 

         LLOYD
        (smiles)
     You've got to admit it would be a
     novelty. 

         KAREN
     Now you're quoting Addison. Or Eve. 

A pause. 

         LLOYD
     Eve did mention the play, you know.
     But just in passing - she's never
     ask to play a part like "Cora,"
     she'd never have the nerve...

         KAREN
     Eve would ask Abbott to give her
     Costello. 

         LLOYD
     No, I got the idea myself - while
     she was talking to me...

         KAREN
     With gestures, of course. 

         LLOYD
        (wistfully)
     For once, to write something and
     have it realized completely. For
     once, not to compromise-

Now Karen explodes. She rises.

         KAREN
     Lloyd Richards, you are not to
     consider giving that contemptible
     little worm the part of "Cora."

         LLOYD
     Now just a minute-

         KAREN
     Margo Channing has not been exactly
     a compromise all these years, half
     the playwrights in the world would
     give their shirts for that
     particular compromise!

         LLOYD
        (angry)
     Now just a minute!

         KAREN
     It strikes me that Eve's disloyalty
     and ingratitude must be contagious!

Lloyd's full of anger and guilt. He snaps back.

         LLOYD
     All this fuss and hysteria because
     an impulsive kid got carried away
     by excitement and the conniving of
     a professional manure slinger named
     deWitt! She apologized, didn't she? 

         KAREN
     On her knees, I have no doubt! Very
     touching, very Academy-of-Dramatic
     Arts!

         LLOYD
     That bitter cynicism of yours is
     something you've acquired since you
     left Radcliffe!

         KAREN
     The cynicism you refer to, I
     acquired the day I discovered I was
     different from little boys!

The phone has been ringing. Lloyd snarls into it.

         LLOYD
     Hello!
        (he quiets down)
     ... hi, Margo... no, not at all,
     Karen and I were just chatting...
     hmm?... why - why, yes, I'm sure we
     can and I'm sure we'd love to...
     right... 11:45ish. See you then...

He hangs up. He smiles - suddenly, there's peace.

         LLOYD
     Margo - and Bill - want us to meet
     them at the Cub Room tonight, after
     theater. For a bottle of wine. 

         KAREN
        (smiles)
     Margo in the Cub Room. I couldn't
     be more surprised if she'd said
     Grant's Tomb. 

         LLOYD
     I'm glad Bill's back. 

         KAREN
     They'd die without each other. 

A pause. 

         LLOYD
     Darling, I didn't promise Eve
     anything. Just said I thought she'd
     be fine for the part, but there
     were some practical difficulties...

         KAREN
     Such as?

         LLOYD
        (grins)
     You - for one. I told her you were
     set on Margo playing the part - and
     I certainly wouldn't make a change
     without your approval. 

Karen smiles happily.

         KAREN
     That's fine. Fine and dandy. I'd
     enjoy nothing more. Just refer all
     of Miss Harrington's future
     requests to me...

INT. CUB ROOM - STORK CLUB - NIGHT

Margo, Karen, Bill and Lloyd are ensconced happily at a table
in the rear of the room. A bottle of fine wine is being
poured. Their mood is equally bubbly. 

         BILL
     The so-called art of acting is not
     one for which I have a particularly
     high regard...

         MARGO
     Hear, hear...

         BILL 
     But you may quote me as follows.
     Quote. Tonight Miss Margo Channing
     gave a performance in your
     cockamamie play, the like of which
     I have never seen before and expect
     rarely to see again. Unquote. 

         MARGO
     He does not exaggerate. I was good. 

         BILL 
     You were great. 

As they look at each other, they reflect the understanding
that has hit them both at last. 

         LLOYD
     It's been quite a night. I
     understand that your understudy -
     Miss Harrington - has given her
     notice. 

         MARGO
        (eyes still on Bill)
     Too bad. 

         BILL 
        (eyes still on Margo)
     I'm broken up about it...

The wine has been poured by now. 

         LLOYD
     For some reason you can't just pick
     up champagne and drink it.
     Somebody's got to be very witty
     about a toast. 
        (he lifts his glass)
     For instance...

         BILL 
        (abruptly)
     I'm going to propose the toast.
     Without wit. With all my heart. 

Lloyd lowers his glass. There's a little pause. 

         BILL 
     To Margo. To my bride-to-be.

         MARGO
     Glory Hallelujah.

         LLOYD
     Well of all-

         KAREN
     Margo!

         BILL 
     Drink.

They drink, then burst into a flurry of questions. 

         KAREN
     When? When are you going to do it?

         BILL 
     Tomorrow we meet at City Hall at
     ten-
        (to Margo)
     - and you're going to be on time. 

         MARGO
     Yes, sir. 

         LLOYD
     City Hall, that's for prize
     fighters, and reporters - I see a
     cathedral, a bishop, banks of
     flowers...

         BILL 
     It's only for the license. There's
     a three-day wait - blood tests,
     things like that...

         MARGO
     I'll marry you if it turns out you
     have no blood at all. 

         LLOYD
     Three days, that's for the
     bourgeois - I see a midnight
     elopement, waking up a village
     person...

         KAREN
        (to Margo)
     What are you going to wear?

         MARGO
     Something simple. A fur coat over a
     nightgown...

         BILL 
     The point is - in the cathedral, a
     ball park or a penny arcade - we
     want to have you two beside us our
     nearest and dearest friends.

Lloyd fills all the glasses. 

         LLOYD
     There are very few moments in life
     as good as this. Let's remember it.
        (he lifts his glass)
     To each of us and all of us...
     never have we been more close - may
     we never be farther apart.

They drink. A waiter approaches with a note. 

         WAITER
     Mrs. Richards?

         KAREN
     Yes?

         WAITER
     For you. 

Karen stares at it curiously, then opens it. 

         LLOYD
     Very discreet. A note right out in
     the open like that. Next time tell
     your lover to blow smoke rings - or
     tap a glass...

         MARGO
     Lloyd, I want you to be big about
     this... the world is full of love
     tonight, no woman is safe...

         KAREN
        (angrily)
     This beats all world's records for
     running, standing and jumping gall!

She whips the note to Margo, who reads it aloud. 

         MARGO
        (reading)
     "Please forgive me for butting into
     what seems such a happy occasion -
     but it's most important that I
     speak with you. Please" - it's
     underlined - "meet me in the
     Ladies' Room. Eve."

         BILL 
     I understand she is now the
     understudy in there. 

         MARGO
        (looking about)
     Pass me the empty bottle. I may
     find her... why, look. There's
     Rasputin. 

Addison sits near the entrance, at a banquette table for two.
A crumpled napkin and a wine glass indicate Eve's place. He
nibbles daintily at some blini. 

Margo hails a passing captain.

         MARGO
     Encore du champagne.

         CAPTAIN
     More champagne, Miss Channing?

         MARGO
     That's what I said, bub.

         LLOYD 
        (to Karen)
     After all, maybe she just wants to
     apologize...

         KAREN
     I have no possible interest in
     anything she'd have to say.

         BILL 
     But what could she say? That's what
     fascinates me...

         LLOYD
     Go on - find out...

         MARGO
     Karen, in all the years of our
     friendship, I have never let you go
     to the Ladies' Room alone. But now
     I must. I am busting to know what
     goes on in that feverish little
     brain waiting there...

         KAREN
     Well... all right.

She gets up and goes. The CAMERA takes her past Addison's
table. He rises in polite surprise. 

         ADDISON
     Karen! How nice...

She walks past him without a word. He smiles, looks toward
the group. He raises his glass in a toast. 

Margo responds to the toast by waving an onion with a grand
flourish, then eating it. 

         BILL 
     Very effective. But why take it out
     on me? 

He eats one in self-defense. 

INT. LADIES' ROOM - STORK CLUB - NIGHT

Never having been, I can't say what it looks like. It is to
be hoped that there is an outer and inner room. We are
concerned with the outer. 

There is an attendant in charge, and a constantly changing
flow of ladies who pause to make various repairs. All cafe
society - including one young drunk stretched out under a
mink coat and a wet towel.

There are two chairs - or a banquette - in a corner. Eve
waits there. She rises as Karen approaches. 

         EVE
     I was wondering whether you'd come
     at all..

         KAREN
     Don't get up.
        (she smiles grimly)
     And don't act as if I were the
     queen mother. 

         EVE
     I don't expect you to be pleasant. 

         KAREN
     I don't intend to be. 

         EVE
     Can't we sit down? Just for a
     minute...

She sits down. Karen remains standing.

         EVE
     I've got a lot to say. And none of
     it is easy. 

         KAREN
     There can't be very much-

         EVE
     Oh, but there is-

         KAREN
     - and easy or not, I won't believe
     a word. 

         EVE
     Why shouldn't you?
        (a pause)
     Please sit down. 

Karen sits, reluctantly and rigidly.

         EVE
     You know, I've always considered
     myself a very clever girl. Smart.
     Good head on my shoulders, that
     sort of thing, never the wrong word
     at the wrong time... but then, I'd
     never met Addison deWitt.
        (another pause)
     I remember once I had a tooth
     pulled. They gave me some
     anaesthetic - I don't remember the
     name - and it affected me in a
     strange way. I heard myself saying
     things I wasn't even thinking... as
     if my mind were someplace outside
     of my body, and couldn't control
     what I did or said-

         KAREN
        (leading her on)
     - and you felt just like that
     talking to Addison. 

         EVE
        (nods)
     In a way. You find yourself trying
     to say what you mean, but somehow
     the words change - and they become
     his words - and suddenly you're not
     saying what you mean, but what he
     means-

         KAREN
        (sharply)
     Do you expect me to believe that
     you didn't say any of those things -
     that they were all Addison?

         EVE
     No! I don't expect you to believe
     anything. Except that the
     responsibility is mine. And the
     disgrace. 

         KAREN
     Let's not get over-dramatic. 

         EVE
        (smiles grimly)
     You've really got a low opinion of
     me, haven't you? We'll I'll give
     you some pleasant news. I've been
     told off in no uncertain terms all
     over town. Miss Channing should be
     happy to hear that. To know how
     loyal her friends are - how much
     more loyal they are than she had a
     right to expect me to be...

She turns away from Karen. Karen's embarrassed. 

         KAREN
     Eve... don't cry. 

         EVE
        (turned away)
     I'm not crying.

         KAREN
     Tell me. How did your lunch turn
     out - with the man from Hollywood? 

         EVE
     Some vague promises of a test,
     that's all - if a particular part
     should come along, one of those
     things-

         KAREN
     But the raves about your
     performance-

         EVE
     - an understudy's performance. 

         KAREN
     Well. I think you're painting the
     picture a little darker than it is,
     really. If nothing else - and don't
     underestimate him - you have a
     powerful friend in Addison. 

         EVE
     He's not my friend. You were my
     friends...

         KAREN
     He can help you. 

         EVE
     I wish I'd never met him, I'd like
     him to be dead... I want my friends
     back. 

This time she does cry. Softly, miserably. Karen looks about.
A pause. She puts an arm around Eve. 

         KAREN
     Eve. I - I don't think you meant to
     cause unhappiness. But you did.
     More to yourself, perhaps - as it
     turned out - than to anyone else...

         EVE
     I'll never get over it. 

         KAREN
        (smiles)
     Yes, you will. You Theater people
     always do. Nothing is forever in
     the Theater. Love or hate, success
     or failure - whatever it is, it's
     here, it flares up and burns hot -
     and then it's gone. 

         EVE
     I wish I could believe that. 

         KAREN
     Give yourself time. Don't worry too
     much about what people think,
     you're very young and very
     talented... 
        (she gets up, her hand
         still on Eve's shoulder)
     ... and, believe it or not, if
     there's anything I can do-

Eve has reached up to take Karen's hand. She holds it now, as
she turns slowly to face her. 

         EVE
     There is something. 

Karen stares down at her. Eve's eyes burn into tears. Karen
is caught, fascinated by them. 

         KAREN
     I think I know...

         EVE
     Something most important you can
     do. 

         KAREN
     You want to play "Cora." You want
     me to tell Lloyd I think you should
     play it. 

         EVE
     If you told him so, he'd give me
     the part. He said he would. 

         KAREN
     After all you've said... don't you
     know the part was written for
     Margo? 

         EVE
     It could have been - fifteen years
     ago. It's my part now. 

         KAREN
     You talk just as Addison said you
     did. 

         EVE
     "Cora" is my part. You've got to
     tell Lloyd it's for me. 

         KAREN
     I don't think anything in the world
     could make me say that. 

She turns away again, but Eve's grip is like a vise. 

         EVE
     Addison wants me to play it. 

         KAREN
     Over my dead body...

         EVE
        (cold, relentless)
     That won't be necessary. Addison
     knows how Margo happen to miss that
     performance - how I happened to
     know she'd miss it in time to call
     him and notify every paper in
     town...
        (Karen stops struggling)
     ... it's quite a story.
     Addison could make quite a thing of
     it - imagine how snide and vicious
     he could get and still write
     nothing but the truth. I had a time
     persuading him...
        (she smiles, now)
     ... you'd better sit down. You look
     a bit wobbly. 
        (Karen sits)
     If I play "Cora," Addison will
     never tell what happened - in or
     out of print. A simple exchange of
     favors. And I'm so happy I can do
     something for you - at long last...
        (Karen covers her face
         with her hands)
     Your friendship with Margo - your
     deep, close friendship - what would
     happen to it, do you think, if she
     knew the chap trick you'd played on
     her - for my benefit? And you and
     Lloyd - how long, even in the
     Theater, before people forgot what
     happened - and trusted you again?
        (now Eve gets up)
     No... it would be so much easier on
     everyone concerned, if I were to
     play "Cora." And so much better
     theater, too...

Karen looks up slowly.

         KAREN
     A part in a play. You'd do all that
     - just for a part in a play. 

         EVE
        (smiles)
     I'd do much more - for a part that
     good.

She leaves. Karen is alone. 

INT. CUB ROOM - NIGHT

Eve enters and slides in beside Addison. 

         ADDISON
     Hungry?

         EVE
     Just some coffee. 

         ADDISON
        (pours)
     I'm not surprised. After all that
     humble pie...

         EVE
     Nothing of the kind. Karen and I
     had a nice talk. 

         ADDISON
     Heart to heart? Woman to woman?
     Including a casual reference to the
     part of "Cora" - and your hopes of
     playing it. 

         EVE
     I discussed it very openly. I told
     her that I had spoken to Lloyd -
     and that he was interested. 

         ADDISON
     She mentioned, of course, that
     Margo expects to play the part?

         EVE
     Oddly enough - she didn't say a
     word about Margo. Just that she'll
     be happy to do what she can to see
     that I play the part.   

Addison puffs at his cigarette, bemused. 

         ADDISON
     Just like that, eh?

         EVE
     Just like that. 

         ADDISON
        (thoughtfully)
     Do you know, Eve - sometimes I
     think you keep things from me. 

Eve's feelings are hurt. 

         EVE
     I don't think that's funny. 

         ADDISON
     It wasn't meant to be. 

         EVE
     I confide in you and rely on you
     more than anyone I've ever known!
     To say a thing like that now -
     without any reason - when I need
     you more than ever...

         ADDISON
        (breaks in)
     I hope you mean what you say, Eve.
     I intend to hold you to it. 

Their eyes meet. 

         ADDISON
     We have a great deal in common, it
     seems to me...

They both look as Karen passes them on her way back to her
table. 

GROUP, as Karen joins them. Another bottle of champagne has
come and almost gone - there's a fine, cheery feeling among
them. Margo, in particular, is cheery. A pause. Karen downs a
glass of champagne.

         LLOYD
     - well? What happened?

         KAREN
     Nothing much. She apologized. 

         MARGO
     With tears?

         KAREN
     With tears. 

         MARGO
     But not right away? First the
     business of fighting them off, chin
     up, stout fella...

         KAREN
     Check. 

         MARGO
     Very classy stuff, lots of
     technique-

         LLOYD
     You mean - all this time - she'd
     done nothing but apologize? What'd
     you say? 

         KAREN
     Not much.

         MARGO
     Groom-
        (Bill says "huh?")
     - may I have a wedding present? 

         BILL 
     What would you like? Texas?

         MARGO
     I want everybody to shut up about
     Eve. Just shut up about Eve, that's
     all I want. Give Karen more wine...
        (blissfully)
     ... never have I been so happy.
     Isn't this a lovely room? The Cub
     Room. What a lovely, clever name.
     Where the elite meet. Never have I
     seen so much elite - and all with
     their eyes on me. Waiting for me to
     crack that little gnome over the
     noggin with a bottle. But not
     tonight. Even Eve. I forgive Eve...
     there they go.  

They all look. 

ADDISON AND EVE, they get up and go without looking back.

GROUP, they watch for an instant. 

         MARGO
     There goes Eve. Eve evil, Little
     Miss Evil. But the evil that men do
     - how does it go, groom? Something
     about the good they leave behind -
     I played it once in rep in Wilkes
     Barre...

         BILL 
     You've got it backwards. Even for
     Wilkes-Barre.

         MARGO
     You know why I forgive Eve? Because
     she's left good behind - the four
     of us, together like this, it's
     Eve's fault - I forgive her...

Karen's reactions are, of course, most important. Knowing
what she's done to Margo - wondering how to do what she must. 

         MARGO
     ... and Bill. Especially Bill. Eve
     did that, too. 

         LLOYD
     You know, she probably means well,
     after all...

         MARGO
     She is a louse. 

         BILL 
        (to Lloyd)
     Never try to outguess Margo. 

         MARGO
     Groom.

         BILL 
     Yes, dear. 

         MARGO
     You know what I'm going to be?

         BILL 
     A cowboy. 

         MARGO
     A married lady. 

         BILL 
     With the paper to prove it. 

         MARGO
     I'm going to have a home. Not just
     a house I'm afraid to stay in...
     and a man to go with it. I'll look
     up at six o'clock - and there he'll
     be... remember, Karen? 

         KAREN
        (quietly)
     I remember. 

         MARGO
        (to Bill)
     You'll be there, won't you. 

         BILL 
        (grins)
     Often enough to keep the franchise. 

         MARGO
     A foursquare, upright, downright,
     forthright married lady... that's
     for me. And no more make believe!
     Off stage or on... remember, Lloyd.
        (Lloyd nods)
     I mean it, now. Grown-up women
     only, I might even play a mother -
     only one child, of course, not over
     eight...   
        (they all smile)
     Lloyd, will you promise not to be
     angry with me? 

         LLOYD
        (smiles)
     That depends. 

         MARGO
     I mean really, deeply angry...

         LLOYD
     I don't think I could be.

         MARGO
     Well. I don't want to play "Cora."

         KAREN
        (explodes)
     What?

Margo misinterprets her vehemence. 

         MARGO
        (hastily)
     Now wait a minute, you're always so
     touchy about his plays, it isn't
     the part - it's a great part. And a
     fine play. But not for me anymore -
     not a foursquare, upright,
     downright, forthright married lady.

         LLOYD
     What's your being married got to do
     with it? 

         MARGO
     It means I've finally got a life to
     live! I don't have to play parts
     I'm too old for - just because I've
     got nothing to do with my nights!
        (then quietly)
     I know you've made plans. I'll make
     it up to you, believe me. I'll tour
     a year with this one, anything -
     only you do understand - don't you,
     Lloyd?

Lloyd never gets to answer. Because Karen, before anyone can
stop her, bursts into hysterical laughter...

         LLOYD
     What's so funny?

         KAREN
     Nothing...

         BILL 
     Nothing?

         KAREN
     Everything... everything's so
     funny... 

Margo removes the champagne glass from in front of Karen...

FADE OUT.

FADE IN:

INT. THEATER - CURRAN THEATER - DAY

Karen is seated unobtrusively in a rear lower box. Lloyd sits
beside Max up front.

On stage, the play is "on its feet." Eve plays a dramatic
scene with a young man. They carry "sides" but do not consult
them.

As she speaks, Eve moves upstage, turns to face the young man
who is forced to turn his back to the auditorium. 

Bill calls a halt. He indicates to Eve that she was to have
remained downstage. 

Eve seems to be at a loss. She looks at Lloyd. 

Lloyd rises, says that he told her to make the change. 

Bill comes down to the footlights to tell him to stick to
writing, he'll do the directing. It mounts swiftly to a
screaming fight. Bill throws the script out into the
auditorium, takes his coat and stalks off.

Eve runs after him. Max retrieves the script. Lloyd remains
adamant. Karen has risen in dismay. 

Eve drags Bill back. Without looking at Lloyd, he takes the
script from Max, tells the actors to pick up where they left
off. 

Eve whispers to Lloyd from the stage. Lloyd smiles,
mollified, sits down again with Max. 

Karen walks up the side aisle, out of the theater...

         KAREN'S VOICE
     Lloyd never got around, somehow -
     to asking me whether it was all
     right with me for Eve to play
     "Cora"... Bill, oddly enough,
     refused to direct the play at first
     - with Eve in it. Lloyd and Max
     finally won him over... Margo never
     came to a rehearsal, too much to do
     around the house, she said. I'd
     never known Bill and Lloyd to fight
     as bitterly and as often... and
     always over some business for Eve,
     or a move or the way she read a
     speech... but then I'd never known
     Lloyd to meddle as much with Bill's
     directing - as far as it affected
     Eve, that is... somehow, Eve kept
     them going. Bill stuck it out - and
     Lloyd seemed happy - and I thought
     it might be best if I skipped
     rehearsals from then on... 

INT. RICHARDS' BEDROOM - NIGHT

It is a lovely, large room. Two double beds, not alongside
each other and each with an extension phone beside it. In
addition to the door to the living room, there are two more -
to separate dressing rooms and baths. Lloyd is asleep. But
not Karen. She turns restlessly, finally sits up, lights a
cigarette. 

         KAREN'S VOICE
     It seemed to me I had known always
     that it would happen - and here it
     was.
     It felt helpless, that helplessness
     you feel when you have no talent to
     offer - outside of loving your
     husband. How could I compete?
     Everything Lloyd loved about me, he
     had gotten used to long ago... 

The phone jangles suddenly, startling her. It wakes Lloyd up.
Karen answers. 

         KAREN
     Hello... who?... who's calling Mr.
     Richards?

INT. ROOMING HOUSE - NIGHT

A girl, in a wrapper, at a wall phone. Her hair's in curlers.
She's frightened. 

         GIRL
     My name wouldn't mean anything. I
     room across the hall from Eve
     Harrington, and she isn't well.
     She's been crying all night and
     hysterical, and she doesn't want a
     doctor...

RICHARDS' BEDROOM, Lloyd is sitting on the edge of the bed,
looking over...

         LLOYD
     Who is it? What's it all about?

         KAREN
        (into phone)
     Did Miss Harrington tell you to
     call Mr. Richards?

Lloyd picks up his phone. 

ROOMING HOUSE

         GIRL
     No, Eve didn't say to call him, but
     I remembered I saw Mr. Richards
     with her a couple of times - and I
     thought they being such good
     friends...

RICHARDS' BEDROOM

         LLOYD
        (into phone)
     Hello...hello, this is Lloyd
     Richards. Where is Eve? Let me talk
     to her-

ROOMING HOUSE

         GIRL
     She's up in her room, Mr. Richards.
     I really hate to bother you like
     this, but the way Eve's been
     feeling - I'm just worried sick
     what with her leaving for New Haven
     tomorrow, and everything...

RICHARDS' BEDROOM

         LLOYD
     Tell her not to worry - tell her
     I'll be right over. 

ROOMING HOUSE

         GIRL
     I'll tell her, Mr. Richards.

She hangs up. As she moves from the phone, the ANGLE WIDENS
to disclose Eve at the foot of the stairs. The girls smile at
each other. They go upstairs, arm in arm. 

RICHARDS' BEDROOM, Karen is still in bed, phone still in her
hand. She hangs up, swings her legs out, puts out her
cigarette, gets into a robe. The open door and light of the
dressing room tell us where Lloyd is.

Karen walks to the door, starts to say something, changes her
mind. She crosses to a table, lights a fresh cigarette, comes
back to the door. 

         KAREN
        (finally)
     Aren't you... broadening the duties
     of a playwright just a bit? Rushing
     off in the middle of the night 
     like a country doctor?

No answer except the opening and closing of drawers. 

         KAREN
     What would you do if, instead of
     Eve, the leading man had called up
     to say her was hysterical?

Still no answer. Her tension increasing, Karen goes back to
the table, snubs out the fresh cigarette, then strides
swiftly back to the open door. 

         KAREN
     Lloyd, I don't want you to go!

Now Lloyd appears. He's in flannels, and a sport shirt with
no tie. He's confused and guilty and tortured.

         LLOYD
     I didn't think you would! It seems
     to me, Karen, that for some tine,
     now, you've been developing a deep
     unconcern for the feeling of human
     being in general-

         KAREN
     I'm a human being, I've got some!

         LLOYD
        (goes right on)
     - and for my feelings in
     particular! For my play, my career -
     and now for a frightened,
     hysterical girl on the eve of her
     first night in the Theater!

He goes back into his room. 

         KAREN
     Have you forgotten about Eve? What
     she is, what she's done?

         LLOYD
     Old wives' tales, born of envy and
     jealousy! And a phobia against
     truth!

         KAREN
     Then tell me this isn't true! That
     your concern for your play and
     career is one thing - and that poor
     frightened hysterical girl another -
     and that your concern for her has
     nothing to do with either your play
     or your career!

Lloyd comes out wearing a jacket. He crosses to the door,
Karen after him.

         KAREN
     That first, last, and foremost -
     your reason for going now is that
     you want to be with Eve! Three in
     the morning or high noon - play or
     no play - wife or no wife!
        (Lloyd stops at the door)
     Isn't it true, Lloyd?

Lloyd goes out. Karen looks after him, despairing.

EXT. SHUBERT THEATER - NEW HAVEN - DAY

The theater is but a few doors from the TAFT HOTEL. The
marquee announces a new play by Lloyd Richards, presented by
Max Fabian, opening tonight. 

Addison and Eve stand before the theater admiring her photo
on a lobby display. None of the actors are starred. 

         ADDISON'S VOICE
     To the Theater world - New Haven,
     Connecticut, is a short stretch of
     sidewalk between the Shubert
     Theater and the Taft Hotel,
     surrounded by what looks very much
     like a small city. It is here that
     managers have what are called out
     of-town openings - which are
     openings for New Yorkers who want
     to go out of town...

They start for the hotel - Eve's arm through Addison's.

         EVE
     What a day - what a heavenly day...

         ADDISON
     D-day.

         EVE
     Just like it. 

         ADDISON
     And tomorrow morning you will have
     won your beachhead on the shores of
     Immortality...

         EVE
        (grins)
     Stop rehearsing your column...
     Isn't it strange, Addison?
     I thought I'd be panic-stricken,
     want to run away or something.
     Instead, I can't wait for tonight
     to come. To come and go...

         ADDISON
     Are you that sure of tomorrow?

         EVE
     Aren't you?

         ADDISON
     Frankly - yes.

They've arrived in front of the hotel. 

         EVE
     It'll be a night to remember. It'll
     bring to me everything I've ever
     wanted. The end of an old road -
     and the beginning of a new one...

         ADDISON
     All paved with diamonds and gold?

         EVE
     You know me better than that. 

         ADDISON
     Paved with what, then?

         EVE
     Stars.

She goes in. Addison follows her. 

INT. CORRIDOR - TAFT HOTEL - DAY

Addison accompanies Eve along the corridor to her door.

         EVE
     What time?

         ADDISON
     Almost four.

         EVE
     Plenty of time for a nice long nap -
     we rehearsed most of last night...

         ADDISON
     You could sleep, too, couldn't you?

         EVE
     Why not?

They've arrived at her door. She opens it. 

         ADDISON
     The mark of a true killer.
        (he holds out his hand)
     Sleep tight, rest easy - and come
     out fighting...

         EVE
     Why'd call me a killer?

         ADDISON
     Did I say killer? I meant champion.
     I get my boxing terms mixed. 

He turns to go. After a few steps-

         EVE
        (calling)
     Addison-
        (he pauses)
     - come on in for just a minute,
     won't you? There's... I've got
     something to tell you. 

Addison turns curiously, and enters behind her. 

INT. EVE'S SUITE - TAFT HOTEL - DAY

Old-fashioned, dreary and small. The action starts in the
living room and continues to the bedroom. 

Addison closes the door, crosses to a comfortable chair. 

         ADDISON
     Suites are for expense accounts.
     Aren't you being extravagant? 

         EVE
     Max is paying for it. He and Lloyd
     had a terrific row but Lloyd
     insisted... well. Can I fix you a
     drink?

She indicates a table elaborately stocked with liquor,
glasses, etc. Addison's eyebrows lift.

         ADDISON
     Also with the reluctant compliments
     of Max Fabian. 

         EVE
     Lloyd. I never have any, and he
     likes a couple of drinks after we
     finish - so he sent it up...

         ADDISON
     Some plain soda.
        (Eve starts to fix it)
     Lloyd must be expecting a record
     run in New Haven...

         EVE
     That's for tonight. You're invited.
     We're having everyone up after the
     performance. 

         ADDISON
     We're?

         EVE
     Lloyd and I.

She carries the soda to him, sits on an ottoman at his feet. 

         ADDISON
     I find it odd that Karen isn't here
     for the opening, don't you?

He sips his soda and puts away, carefully avoiding a look at
Eve. As he looks back-

         EVE
     Addison...

         ADDISON
        (blandly)
     She's always been so fantastically
     devoted to Lloyd. I would imagine
     that only death or destruction
     could keep her-

         EVE
        (breaks in)
     Addison, just a few minutes ago.
     When I told you this would be a
     night to remember - that it would
     bring me everything I wanted-

         ADDISON
        (nods)
     - something about an old road
     ending and a new one starting -
     paved with stars...

         EVE
     I didn't mean just the Theater.

         ADDISON
     What else?

Eve gets up, crosses to look out over the Common.

         EVE 
        (her back to him)
     Lloyd Richards. He's going to leave
     Karen. We're going to be married.

For just a flash, Addison's eyes narrow coldly, viciously.
Then they crinkle into a bland smile. 

         ADDISON
     So that's it. Lloyd. Still just the
     Theater, after all...

         EVE
        (turns; shocked)
     It's nothing of the kind! Lloyd
     loves me, I love him!

         ADDISON
     I know nothing about Lloyd and his
     loves - I leave those to Louisa May
     Alcott. But I do know you.

         EVE
     I'm in love with Lloyd!

         ADDISON
     Lloyd Richards is commercially the
     most successful playwright in
     America-

         EVE
     You have no right to say such
     things!

         ADDISON
     - and artistically, the most
     promising! Eve dear, this is
     Addison.

Eve drops her shocked manner like a cape. Her face lights up -
she crosses back to the ottoman. 

         EVE
     Addison, won't it be just perfect?
     Lloyd and I - there's no telling
     how far we can go... he'll write
     great plays for me, I'll make them
     be great!
        (as she sits)
     You're the only one I've told, the
     only one that knows except Lloyd
     and me...

         ADDISON
     ... and Karen.

         EVE
     She doesn't know. 

         KAREN
     She knows enough not to be here.

         EVE
     But not all of it - not that Lloyd
     and I are going to be married.

         ADDISON
        (thoughtfully)
     I see. And when was this unholy
     alliance joined?

         EVE
     We decided the night before last,
     before we came up here...

         ADDISON
        (increasingly tense)
     Was the setting properly romantic -
     the lights on dimmers, gypsy
     violins off stage?

         EVE
     The setting wasn't romantic, but
     Lloyd was. He woke me up at three
     in the morning, banging on my door -
     he couldn't sleep, he told me -
     he's left Karen, he couldn't go on
     with the play or anything else
     until I promised to marry him... we
     sat and talked until it was light.
     He never went home...

         ADDISON
     You sat and talked until it was
     light...

         EVE
        (meaningly)
     We sat and talked, Addison. I want
     a run of the play contract. 

         ADDISON
        (quietly)
     There never was, there'll never be
     another like you. 

         EVE
        (happily)
     Well, say something - anything!
     Congratulations, skol - good work,
     Eve!

Addison rises slowly, to his full height. As Eve watches him,
as her eyes go up to his, her smile fades-

         ADDISON
     What do you take me for?

         EVE
        (cautiously)
     I don't know what I take you for
     anything...

         ADDISON
        (moving away)
     It is possible - even conceivable -
     that you've confused me with that
     gang of backward children you've
     been playing tricks on - that you
     have the same contempt for me that
     you have for them?

         EVE
     I'm sure you mean something by
     that, Addison, but I don't know
     what...

         ADDISON
     Look closely, Eve, it's time you
     did. I am Addison deWitt. I'm
     nobody's fool. Least of all -
     yours.

         EVE
     I never intended you to be.

         ADDISON
     Yes, you did. You still do. 

Eve gets up, now. 

         EVE
     I still don't know what you're
     getting at. Right now I want to
     take my nap. It's important that I-

         ADDISON
        (breaks in)
     - it's important right now that we
     talk. Killer to killer.

         EVE
        (wisely)
     Champion to champion. 

         ADDISON
     Not with me, you're no champion.
     You're stepping way up in class. 

         EVE
     Addison, will you please say what
     you have to say plainly and
     distinctly - and then get out so I
     can take my nap!

         ADDISON
     Very well, plainly and distinctly.
     Although I consider it unnecessary -
     because you know as well as I, what
     I am about to say.
        (they are now facing each
         other)
     Lloyd may leave Karen, but he will
     not leave Karen for you. 

         EVE
     What do you mean by that?

         ADDISON
     More plainly and more distinctly? I
     Have not come to New Haven to see
     the play, discuss your dreams, or
     to pull the ivy from the walls of
     Yale! I have come to tell you that
     you will not marry Lloyd - or
     anyone else - because I will not
     permit it. 

         EVE
     What have you got to do with it?

         ADDISON
     Everything. Because after tonight,
     you will belong to me. 

         EVE
     I can't believe my ears...

         ADDISON
     A dull cliche.

         EVE
     Belong - to you? That sound
     medieval - something out of an old
     melodrama...

         ADDISON
     So does the history of the world
     for the past twenty years. I don't
     enjoy putting it as bluntly as
     this, frankly I had hoped that you
     would, somehow, have known - have
     taken it for granted that you and
  I...

         EVE
     ... taken it for granted? That you
     and I...

She smiles. Then she chuckles, then laughs. A mistake.
Addison slaps her sharply across the face. 

         ADDISON
        (quietly)
     Remember as long as you live, never
     to laugh at me. At anything or
     anyone else - but never at me.

Eve eyes him coldly, goes to the door, throws it open.

         EVE
     Get out!

Addison walks to the door, closes it. 

         ADDISON
     You're too short for that gesture.
     Besides, it went out with Mrs.
     Fiske.

         EVE
     Then if you won't get out, I'll
     have you thrown out.

She goes to the phone. 

         ADDISON
     Don't pick it up! Don't even put
     your hand on it...

She doesn't. Her back is to him. Addison smiles. 

         ADDISON
     Something told you to do as I say,
     didn't it? That instinct is worth
     millions, you can't buy it, cherish
     it, Eve. When that alarm goes off,
     go to your battle stations...

He comes up behind her. Eve is tense and wary.

         ADDISON
     Your name is not Eve Harrington. It
     is Gertrude Slescynski.

         EVE
     What of it?

         ADDISON
     It is true that your parents were
     poor. They still are. And they
     would like to know how you are -
     and where. They haven't heard from
     you for three years...

         EVE
        (curtly)
     What of it?

She walks away. Addison eyes her keenly. 

         ADDISON
     A matter of opinion. Granted. It is
     also true that you worked in a
     brewery. But life in the brewery
     was apparently not as dull as you
     pictured it. As a matter of fact,
     it got less and less dull - until
     you boss's wife had your boss
     followed by detectives!

         EVE
        (whirls on him)
     She never proved anything, not a
     thing!

         ADDISON
     But the $500 you got to get out of
     town brought you straight to New
     York - didn't it?

Eve turns and runs into the bedroom, slamming the door.
Addison opens it, follows close after her... he can be seen
in the bedroom, shouting at Eve who is offscene.

         ADDISON
     That $500 brought you straight to
     New York - didn't it?

INT. BEDROOM - DAY

Eve, trapped, in a corner of the room. 

         EVE
     She was a liar, she was a liar!

         ADDISON
     Answer my question! Weren't you
     paid to get out of town?

Eve throws herself on the bed, face down, bursts in tears.
Addison, merciless, moves closer. 

         ADDISON
     Fourth. There was no Eddie - no
     pilot - and you've never been
     married! That was not only a lie,
     but an insult to dead heroes and to
     the women who loved them...
        (Eve, sobbing, puts her
         hands over her ears;
         Addison, closer, pulls
         them away)
     ... Fifth. San Francisco has no
     Shubert Theater and North Shore,
     you've never been to San Francisco!
     That was a stupid lie, easy to
     expose, not worthy of you...

Eve twists to look up at him, her eyes streaming.

         EVE
     I had to get in, to meet Margo! I
     had to say something, be somebody,
     make her like me!

         ADDISON
     She did like you, she helped and
     trusted you! You paid her back by
     trying to take Bill away!

         EVE
     That's not true!

         ADDISON
     I was there, I saw you and heard
     you through the dressing room door!

Eve turns face down again, sobbing miserably.

         ADDISON
     You used my name and my column to
     blackmail Karen into getting you
     the part of "Cora" - and you lied
     to me about it!

         EVE
        (into the bed)
     No-no-no...

         ADDISON
     I had lunch with Karen not three
     hours ago. As always with women who
     want to find out things, she told
     more than she learned...
        (he lets go of her hands)
     ... do you want to change your
     story about Lloyd beating at your
     door the other night?

Eve covers her face with her hands. 

         EVE
     Please... please...

Addison get off the bed, looks down at her. 

         ADDISON
     That I should want you at all
     suddenly strikes me as the height
     of improbability. But that, in
     itself, is probably the reason.
     You're an improbable person, Eve,
     and so am I. We have that in
     common. Also a contempt for
     humanity, an inability to love or
     be loved, insatiable ambition - and
     talent. We deserve each other. Are
     you listening to me?

Eve lies listlessly now, her tear-stained cheek against the
coverlet. She nods.

         ADDISON
     Then say so. 

         EVE
     Yes, Addison.

         ADDISON
     And you realize - you agree how
     completely you belong to me?

         EVE
     Yes, Addison.

         ADDISON
     Take your nap, now. And good luck
     for tonight.

He starts out. 

         EVE
        (tonelessly)
     I won't play tonight.
        (Addison pauses)
     I couldn't. Not possibly. I
     couldn't go on...

         ADDISON
        (smiles)
     Couldn't go on? You'll give the
     performance of your life.

He goes out. The CAMERA REMAINS on Eve's forlorn, tear
stained face. Her eyes close... she goes to sleep.

INT. DINING HALL - SARAH SIDDONS SOCIETY - NIGHT

THE STOPPED ACTION of Eve reaching out for the award. The
applause and bulb-popping still going on.

         ADDISON'S VOICE
     And she gave the performance of her
     life. And it was a night to
     remember, that night...

THE ACTION picks up where it left off. Eve accepts the award
from the Aged Actor, kisses him tenderly, folds the award to
her bosom and waits for quiet.

She speaks with assurance, yet modestly and humbly.

         EVE
     Honored members of Sarah Siddons
     Society, distinguished guests,
     ladies and gentlemen: What is there
     for me to say? Everything wise and
     witty has long since been said - by
     minds more mature and talents far
     greater than mine. For me to thank
     you as equals would be presumptuous
     - I am an apprentice in the Theater
     and have much to learn from you
     all. I can say only that I am proud
     and happy and that I regard this
     great honor not so much as an award
     for what I have achieved, but as a
     standard to hold against what I
     have yet to accomplish.
        (applause)
     And further, I regard it as
     bestowed upon me only in part. The
     larger share belongs to my friends
     in the Theater - and to the Theater
     itself, which has given me all I
     have. In good conscience, I must
     give credit where credit is due. To
     Max Fabian-

MAX sits erect, beaming proudly.

         EVE'S VOICE
     - dear Max. Dear, sentimental,
     generous, courageous Max Fabian -
     who took a chance on an unknown,
     untried, amateur...

EVE, after applause greets Max. 

         EVE
     And to my first friend in the
     Theater - whose kindness and
     graciousness I shall never
     forget... Karen - Mrs. Lloyd
     Richards...

KAREN resumes her doodling as applause breaks out for her...

         EVE'S VOICE
     ... and it was Karen who first
     brought me to one whom I had always
     idolized - and who was to become my
     benefactor and champion. A great
     actress and a great woman - Margo
     Channing.

MARGO, part of Eve's tribute has been over her CLOSE-UP. She
smiles grimly in reaction to the applause.

EVE looks to her right, waits for the applause to die. 

         EVE
     My director - who demanded always a
     little more than my talent could
     provide-

BILL, seated at the speakers' table. He has his award before
him - a smaller one. He puts out a cigarette expressionlessly
as the applause breaks out. 

         EVE
     - but who taught me patiently and
     well... Bill Sampson.

LLOYD sits beside Bill. He, too, has a smaller award. As Eve
speaks, he throws her a brief glance. 

         EVE'S VOICE
     And one, without whose great play
     and faith in me, this night would
     never have been. How can I repay
     Lloyd Richards?

EVE waits for the applause to die. 

         EVE
     Hoe can I repay the many others? So
     many, that I couldn't possibly name
     them all...

ADDISON smiles approvingly. 

         EVE'S VOICE
     ... whose help, guidance and advice
     have made this, the happiest night
     of my life, possible. 

EVE stares at the award for an instant, as if fighting for
self-control.

         EVE
     Although I am going to Hollywood
     next week to make a film - do not
     think for a moment that I am
     leaving you. How could I? For my
     heart is here in the Theater - and
     three thousand miles are too far to
     be away from one's heart.
     I'll be back to claim it - and
     soon. That is, if you want me back.

Another storm of applause. Much ad lib shouting as Bill and
Lloyd are summoned to pose beside her for more pictures.
People are thronging out. The Aged Actor shouts above the
hubbub...

         AGED ACTOR
     A good night to all - and to all a
     good night!

Eve disengages herself from the photographers, makes her way
toward Addison's table... Bill and Lloyd follow. CAMERA
FOLLOWS Lloyd to Karen. They kiss. He gives her the award. 

         LLOYD
     For services rendered - beyond the
     whatever-it-is-of-duty, darling.

Max bustles into the SHOT.

         MAX
     Come on! I'm the host, I gotta get
     home before the guests start
     stealing the liquor...

She and Lloyd follow Max. Addison and Eve are on their way.
Lloyd goes right by. Karen pauses at Eve.

         KAREN
     Congratulations, Eve. 

         EVE
     Thank you, Karen.

Karen goes. Eve is being constantly congratulated. Some ad
lib about seeing her at Max's party...

         MAX
        (to Addison)
     I'm giving her a very high-class
     party. It ain't like a rehearsal,
     she don't have to be late. 

         ADDISON
     As soon as the peasants stop pawing
     her. 

Max hurries out. Margo and Bill step into the SHOT. Eve turns
from a well-wisher to face her. 

         MARGO
     ... nice speech, Eve. But I
     wouldn't worry too much about your
     heart. You can always put that
     award where your heart ought to be. 

Eve looks at her wordlessly. Margo and Bill leave. Addison
and Eve are alone. The tables about them are empty. Suddenly,
her face becomes expressionless, her eyes dull... she glances
at the table.

         EVE
     I don't suppose there's a drink
     left...

         ADDISON
     You can have one at Max's. 

         EVE
        (sits)
     I don't think I'm going. 

         ADDISON
        (sighs)
     Why not?

         EVE
     Because I don't want to. 

         ADDISON
        (patiently)
     Max has gone to a great deal of
     trouble, it's going to be an
     elaborate party, and it's for you. 

         EVE
     No, it's not.
        (she holds up the award)
     It's for this. 

         ADDISON
     It's the same thing, isn't it?

         EVE
     Exactly.
        (she gives him the award)
     Here. Take it to the party instead
     of me. 

         ADDISON
     You're being childish.

A well-wisher rushes up to Eve with an "Eve, darling, I'm so
happy!" Eve rises, thanks her graciously. Then she pulls her
wrap over her shoulder.

         EVE
     I'm tired. I want to go home. 

         ADDISON
        (curtly)
     Very well. I shall drop you and go
     on to the party. I have no
     intention of missing it...

They exit from the room, now empty of everything but tables,
waiters, and the usual banquet debris. 

EXT. PARK AVENUE - NIGHT

Eve gets out of taxi in front of a fashionable apartment
hotel. She doesn't say good night to Addison, she enters the
hotel as the cab drives off. She hasn't the award with her. 

INT. CORRIDOR OUTSIDE EVE'S APARTMENT - NIGHT

Smart, but not gaudy. Eve crosses from the elevator to her
apartment. She lets herself in. 

INT. EVE'S HOTEL APARTMENT - NIGHT

A small foyer, from which one door leads to the leaving room,
another to the bedroom. The bedroom and living room do not
connect except through the foyer. 

All the lights are out. Eve turns them on in the foyer, the
same as she enters the bedroom. There are some new trunks, in
various stages of being packed. Eve tosses her wrap on the
bed, goes through the foyer to the living room.

She turns on the light in the living room. CAMERA FOLLOWS her
to a smart small bar where she fixes a stiff drink. As she
turns from the bar, she stares - starts in fright - and drops
the drink. 

A young girl, asleep in a chair, wakes with a jump. She
stares at Eve, horror-stricken. 

         EVE
     Who are you?

         GIRL
     Miss Harrington...

         EVE
     What are you doing here?

         GIRL
     I - I guess I fell asleep.

Eve starts for the phone. The girl rises in panic. 

         GIRL
     Please don't have me arrested,
     please! I didn't steal anything -
     you can search me!

         EVE
        (pauses)
     How did you get in here?

         GIRL
     I hid outside in the hall till the
     maid came to turn down your bed.
     She must've forgot something and
     when she went to get it, she left
     the door open. I sneaked in and hid
     till she finished. Then I just
     looked around - and pretty soon I
     was afraid somebody'd notice the
     lights were on so I turned them off
     - and then I guess, I fell asleep.

         EVE
     You were just looking around...

         GIRL
     That's all. 

         EVE
     What for?

         GIRL
     You probably won't believe me. 

         EVE
     Probably not. 

         GIRL
     It was for my report. 

         EVE
     What report? To whom?

         GIRL
     About how you live, what kind of
     clothes you wear - what kind of
     perfume and books - things like
     that. You know the Eve Harrington
     clubs - that they've got in most of
     the girls' high schools?

         EVE
     I've heard of them.

         GIRL
     Ours was one of the first. Erasmus
     Hall. I'm the president. 

         EVE
     Erasmus Hall. That's in Brooklyn,
     isn't it?

         GIRL
     Lots of actresses come from
     Brooklyn. Barbara Stanwyck, Susan
     Hayward - of course, they're just
     movie stars. 

Eve makes no comment. She lies wearily on the couch. 

         GIRL
     You're going to Hollywood - aren't
     you?
        (Eve murmurs "uh-huh")
     From the trunks you're packing, you
     must be going to stay a long time.

         EVE
     I might. 

         GIRL
     That spilled drink is going to ruin
     your carper. 

She crosses to it. 

         EVE
     The maid'll fix it in the morning. 

         GIRL
     I'll just pick up the broken glass.

         EVE
     Don't bother. 

The girl puts the broken glass on the bar. She starts to mix
Eve a fresh drink. 

         EVE
     How'd you get all the way up here
     from Brooklyn?

         GIRL
     Subway.

         EVE
     How long does it take?

         GIRL
     With changing and everything, a
     little over an hour.

She carries the drink over to Eve. 

         EVE
     It's after one now. You won't get
     home till all hours.

         GIRL
        (smiles)
     I don't care if I never get home. 

The door buzzer sounds. 

         EVE
     That's the door. 

         GIRL
     You rest. I'll get it...

She goes to the door, opens it. Addison stands there, the
Sarah Siddons Award in his hands. 

         ADDISON
     Hello, there. Who are you?

         GIRL
        (shyly)
     Miss Harrington's resting, Mr.
     deWitt. She asked me to see who it
     is...

         ADDISON
     We won't disturb her rest. It seems
     she left her award in the taxicab.
     Will you give it to her?

She holds it as if it were the Promised Land. Addison smiles
faintly. He knows the look. 

         ADDISON
     How do you know my name?

         GIRL
     It's a very famous name, Mr.
     deWitt. 

         ADDISON
     And what is your name?

         GIRL
     Phoebe. 

         ADDISON
     Phoebe?

         GIRL
        (stubbornly)
     I call myself Phoebe. 

         ADDISON
     Why not? Tell me, Phoebe, do you
     want some day to have an award like
     that of your own? 

Phoebe lifts her eyes to him. 

         PHOEBE
     More than anything else in the
     world. 

Addison pats her shoulder lightly. 

         ADDISON
     Then you must Miss Harrington how
     to get one. Miss Harrington knows
     all about it...

Phoebe smiles shyly. Addison closes the door. Phoebe stares
down at the award for an instant. 

         EVE'S VOICE
        (sleepy; from the living
         room)
     Who was it?

         PHOEBE
     Just a taxi driver, Miss
     Harrington. You left the award in
     his cab and he brought it back...

         EVE'S VOICE
     Oh. Put it on one of the trunks,
     will you? I want to pack it...

         PHOEBE
     Sure, Miss Harrington...

She takes the award into the bedroom, sets it on a trunk. As
she starts out, she sees Eve's fabulous wrap on the bed. She
listens. Then, quietly, she puts on the wrap and picks up the
award. 

Slowly, she walks to a large three-mirrored cheval. With
grace and infinite dignity she holds the award to her, and
bows again and again... as if to the applause of a multitude. 

                         FADE OUT.

              THE END

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