tag:blogger.com,1999:blog-74371095260727113122024-03-08T11:34:45.492-08:00ALL ABOUT EVEEelveEhttp://www.blogger.com/profile/04343357520043384445noreply@blogger.comBlogger1125tag:blogger.com,1999:blog-7437109526072711312.post-2000960581733706542007-03-24T10:52:00.000-07:002007-03-24T10:54:45.322-07:00ALL ABOUT EVEALL ABOUT EVE <br /><br /> Screenplay by<br /> Joseph L. Mankiewicz <br /> Based on "The Wisdom of Eve," a short story and radio play by Mary Orr<br /><br /><br /><br /><br /><br /><br />FADE IN:<br /><br />INT. DINING HALL - SARAH SIDDONS SOCIETY - NIGHT<br /><br />It is not a large room and jammed with tables, mostly for<br />four but some for six and eight. A long table of honor, for<br />about thirty people, has been placed upon a dais. <br /><br />Diner is over. Demi-tasses, cigars and brandy. The overall<br />effect is one of worn elegance and dogged gentility. It is<br />June.<br /><br />The CAMERA, as it has been throughout the CREDIT TITLES, is<br />on the SARAH SIDDONS AWARD. It is a gold statuette, about a<br />foot high, of Sarah Siddons as The Tragic Muse. Exquisitely<br />framed in a nest of flowers, it rests on a miniature altar in<br />the center of the table of honor. <br /><br />Over this we hear the crisp, cultured, precise VOICE of<br />ADDISON deWITT:<br /><br /> ADDISON'S VOICE<br /> The Sarah Siddons Award for<br /> Distinguished Achievement is<br /> perhaps unknown to you. It has been<br /> spared the sensational and<br /> commercial publicity that attends<br /> such questionable "honors" as the<br /> Pulitzer Prize and those awards<br /> presented annually by the film<br /> society...<br /><br />The CAMERA has EASED BACK to include some of the table of<br />honor and a distinguished gentleman with snow-white hair who<br />is speaking. We do not hear what he says. <br /><br /> ADDISON'S VOICE<br /> The distinguished looking gentleman<br /> is an extremely old actor. Being an<br /> actor - he will go on speaking for<br /> some time. It is not important what<br /> you hear what he says. <br /><br />The CAMERA EASES BACK some more, and CONTINUES until it<br />discloses a fairly COMPREHENSIVE SHOT of the room<br /><br /> ADDISON'S VOICE<br /> However it is important that you<br /> know where you are, and why you are<br /> here. This is the dining room of<br /> the Sarah Siddons Society.<br /> The occasion is its annual banquet<br /> and presentation of the highest<br /> honor our Theater knows - the Sarah<br /> Siddons Award for Distinguished<br /> Achievement. <br /><br />A GROUP OF WAITERS are clustered near the screen masking the<br />entrances of the kitchen. The screens are papered with old<br />theatrical programs. The waiters are all aged and venerable.<br />They look respectfully toward the speaker. <br /><br /> ADDISON'S VOICE<br /> These hollowed walls, indeed many<br /> of these faces, have looked upon<br /> Modjeska, Ada Rehan and Minnie<br /> Fiske; Mansfield's voice filled the<br /> room, Booth breathed this air. It<br /> is unlikely that the windows have<br /> been opened since his death. <br /><br />CLOSE - THE AWARD on its altar, it shines proudly above five<br />or six smaller altars which surround it and which are now<br />empty. <br /><br /> ADDISON'S VOICE<br /> The minor awards, as you can see,<br /> have already been presented. Minor<br /> awards are for such as the writer<br /> and director - since their function<br /> is merely to construct a tower so<br /> that the world can applaud a light<br /> which flashes on top of it and no<br /> brighter light has ever dazzled the<br /> eye than Eve Harrington. Eve... but<br /> more of Eve, later. All about Eve,<br /> in fact. <br /><br />THE CAMERA MOVES TO: CLOSE - ADDISON deWITT, not young, not<br />unattractive, a fastidious dresser, sharp of eye and<br />merciless of tongue. An omnipresent cigarette holder projects<br />from his mouth like the sward of D'Artagnan. <br /><br />He sits back in his chair, musingly, his fingers making<br />little cannonballs out of bread crumbs. His narration covers<br />the MOVE of the CAMERA to him:<br /><br /> ADDISON'S VOICE<br /> To those of you who do not read,<br /> attend the Theater, listen to<br /> uncensored radio programs or know<br /> anything of the world in which we<br /> live - it is perhaps necessary to<br /> introduce myself. My name is<br /> Addison deWitt.<br /> My native habitat is the Theater -<br /> in it I toil not, neither do I<br /> spin. I am a critic and<br /> commentator. I am essential to the<br /> Theater - as ants are to a picnic,<br /> as the ball weevil to a cotton<br /> field... <br /><br />He looks to his left. KAREN RICHARDS is lovely and thirtyish<br />in an unprofessional way. She is scraping bread crumbs,<br />spilled sugar, etc., into a pile with a spoon. Addison takes<br />one of her bread crumbs. She smiles absently. Addison rolls<br />the bread crumb into a cannonball. <br /><br /> ADDISON'S VOICE<br /> This is Karen Richards. She is the<br /> wife of a playwright, therefore of<br /> the Theater by marriage. Nothing in<br /> her background or breeding should<br /> have brought her any closer the<br /> stage than row E, center...<br /><br />Karen continues her doodling. <br /><br /> ADDISON'S VOICE<br /> ... however, during her senior year<br /> in Radcliffe, Lloyd Richards<br /> lectured on drama. The following<br /> year Karen became Mrs. Lloyd<br /> Richards. Lloyd is the author of<br /> 'Footsteps on the Ceiling' - the<br /> play which has won for Eve<br /> Harrington the Sarah Siddons<br /> Award...<br /><br />Karen absently pats the top of her little pile of refuse. A<br />hand reaches in to take the spoon away. Karen looks as the<br />CAMERA PANS with IT to MAX FABIAN. He sits at her left. He's<br />a sad-faced man with glasses and a look of constant<br />apprehension. He smiles apologetically and indicated a white<br />powder with he unwraps. He pantomimes that his ulcer is<br />snapping. <br /><br />Karen smiles back, returns to her doodling. Addison mashes a<br />cigarette stub, pops it out of his holder. He eyes Max. <br /><br /> ADDISON'S VOICE<br /> There are two types of theatrical<br /> producers. One has a great many<br /> wealthy friends who will risk a tax<br /> deductible loss. This type is<br /> interested in Art. <br /><br />Max drops the powder into some water, stirs it, drinks, burps<br />delicately and close his eyes. <br /><br /> ADDISON'S VOICE<br /> The other is one to whom each<br /> production mean potential ruin or<br /> fortune. This type is out to make a<br /> buck. Meet Max Fabian. He is the<br /> producer of the play which has won<br /> Eve Harrington the Sarah Siddons<br /> Award...<br /><br />Max rests fitfully. He twitches. A hand reaches into the<br />SCENE, removes a bottle of Scotch from before him. The CAMERA<br />follows the bottle to MARGO CHANNING. She sits at Max's left,<br />at deWitt's right. An attractive, strong face. She is<br />childish, adult, reasonable, unreasonable - usually one when<br />she should be the other, but always positive. She pours a<br />stiff drink. <br /><br />Addison hold out the soda bottle to her. She looks at it, and<br />at him, as if it were a tarantula and he had gone mad. He<br />smiles and pours a glass of soda for himself. <br /><br /> ADDISON'S VOICE<br /> Margo Channing is the Star of the<br /> Theater. She made her first stage<br /> appearance, at the age of four, in<br /> 'Midsummer Night's Dream'. She<br /> played a fairy and entered - quite<br /> unexpectedly - stark naked. She has<br /> been a Star ever since. <br /><br />Margo sloshes her drink around moodily, pulls at it.<br /><br /> ADDISON'S VOICE<br /> Margo is a great Star. A true Star.<br /> She never was or will be anything<br /> less or anything less... <br /> (slight pause)<br /> ... the part for which Eve<br /> Harrington is receiving the Sarah<br /> Siddons Award was intended<br /> originally for Margo Channing...<br /><br />Addison, having sipped his soda water, puts a new cigarette<br />in his holder, leans back, lights it, looks and exhales in<br />the general direction of the table of honor. As he speaks the<br />CAMERA MOVES in the direction of his glance...<br /><br /> ADDISON'S VOICE<br /> Having covered in tedious detail<br /> not only the history of the Sarah<br /> Siddons Society, but also the<br /> history of acting since Thespis<br /> first stepped out of the chorus<br /> line - our distinguished chairman<br /> has finally arrived at our reason<br /> for being here... <br /><br />At this point Addison's voice FADES OUT and the voice of the<br />aged actor FADES IN. CAMERA is in MEDIUM CLOSE SHOT of him<br />and the podium. <br /><br /> AGED ACTOR<br /> I have been proud and privileged to<br /> have spent my life in the Theater -<br /> "a poor player ... that struts and<br /> frets his hour upon the stage" -<br /> and I have been honored to be, for<br /> forty years, Chief Promoter of the<br /> Sarah Siddons Society...<br /> (he lifts the Sarah<br /> Siddons Award from its<br /> altar)<br /> Thirty-nine times have I placed in<br /> deserving hands this highest honor<br /> the Theater knows...<br /> (he grows a bit arch, he<br /> uses his eyebrows)<br /> Surely no actor is older than I - I<br /> have earned my place out of the<br /> sun...<br /> (indulgent laughter)<br /> ... and never before has this Award<br /> gone to anyone younger than its<br /> recipient tonight. How fitting that<br /> it should pass from my hands to<br /> hers...<br /><br />EVE HANDS: Lovely, beautifully groomed. In serene repose,<br />they rest between a demi-tasse cup and an exquisite small<br />evening cup. <br /><br /> AGED ACTOR<br /> Such young hands. Such a young<br /> lady. Young in years, but whose<br /> heart is as old as the Theater...<br /><br />Addison's eyes narrow quizzically as he listens. Then,<br />slowly, he turns to look at Karen...<br /><br /> AGED ACTOR<br /> Some of us a privileged to know<br /> her. We have seen beyond the beauty<br /> and artistry- <br /><br />Karen never ceases her thoughtful pat-a-cake with the crumbs. <br /><br /> AGED ACTOR<br /> -that have made her name resound<br /> through the nation. We know her<br /> humility. Her devotion, her loyalty<br /> to her art. <br /><br />Addison's glance moves from Karen to Margo. <br /><br /> AGED ACTOR<br /> Her love, her deep and abiding love<br /> for us-<br /><br />Margo's face is a mask. She looks down at the drink which she<br />cradles with both hands. <br /><br /> AGED ACTOR<br /> -for what we are and what we do.<br /> The Theater. She has had one wish,<br /> one prayer, one dream. To belong to<br /> us. <br /> (he's nearing his curtain<br /> line)<br /> Tonight her dream has come true.<br /> And henceforth we shall dream the<br /> same of her. <br /> (a slight pause)<br /> Honored members, ladies and<br /> gentlemen - for distinguished<br /> achievement in the Theater - the<br /> Sarah Siddons Award to Miss Eve<br /> Harrington. <br /><br />The entire room is galvanized into sudden and tumultuous<br />applause. Some enthusiastic gentlemen rise to her feet...<br />Flash bulbs start popping about halfway down the table of the<br />Aged Actor's left... <br /><br />Eve rises - beautiful, radiant, poised, exquisitely gowned.<br />She stands in simple and dignified response to the ovation. <br /><br />A dozen photographers skip, squat, and dart about like water<br />bugs. Flash bulbs pop and pop and pop...<br /><br />THE WAITERS applaud enthusiastically...<br /><br />AGED ACTOR, Award in hand, he beams at her...<br /><br />EVE smiles sweetly to her left, then to her right...<br /><br />MAX has come to. He applauds lustily.<br /><br />ADDISON's applauding too, more discreetly. <br /><br />MARGO, not applauding. But you sense no deliberate slight,<br />merely an impression that as she looks at Eve her mind is on<br />something else...<br /><br />KAREN, nor is she applauding. But her gaze is similarly fixed<br />on Eve in a strange, faraway fashion. <br /><br />ADDISON, still applauding, his eyes flash first at Margo and<br />then at Karen. Then he directs them back to Eve. He smiles<br />ever so slightly. <br /><br />The applause has continued unabated. EVE turns now, and moves<br />gracefully toward the Aged Actor. She moves through<br />applauding ladies and gentlemen; from below the flash bulbs<br />keep popping... <br /><br />As she nears her goal, the Ages Actor turns to her. He holds<br />out the award. Her hand reaches out for it. At that precise<br />moment - with the award just beyond her fingertips - THE<br />PICTURE HOLDS, THE ACTION STOPS. The SOUND STOPS. <br /><br /> ADDISON'S VOICE<br /> Eve. Eve, the Golden Girl. The<br /> cover girl, the girl next door, the<br /> girl on the moon... Time has been<br /> good to Eve, Life goes where she<br /> goes - she's been profiled,<br /> covered, revealed, reported, what<br /> she eats and when and where, whom<br /> she knows and where she was and<br /> when and where she's going... <br /><br />ADDISON has stopped applauding, he's sitting forward, staring<br />intently at Eve... his narration continues unbroken.<br /><br /> ADDISON'S VOICE<br /> ... Eve. You all know all about<br /> Eve... what can there be to know<br /> that you don't know...?<br /><br />As he leans back, the APPLAUSE FADES IN as tumultuous as<br />before. Addison's look moves slowly from Eve to Karen. <br /><br />KAREN, she leans forward now, her eyes intently on Eve. Her<br />lovely face FILLS THE SCREEN as the APPLAUSE FADES ONCE MORE -<br />as she thinks back:<br /><br /> KAREN'S VOICE<br /> When was it? How long? It seems a<br /> lifetime ago. Lloyd always said<br /> that in the Theater a lifetime was<br /> a season, and a season a lifetime.<br /> It's June now. That was - early<br /> October... only last October. It<br /> was a drizzly night, I remember I<br /> asked the taxi to wait...<br /><br /> DISSOLVE TO:<br /><br />EXT. NEW YORK THEATER STREET - NIGHT<br /><br />Traffic is not heavy, the shows have broken some half-hour<br />before. The rain is just a drizzle. <br /><br />There are other theaters on the street; display lights are<br />being extinguished. Going out just as Karen's taxi pulls up<br />is: MARGO CHANNING in 'AGED IN WOOD'. The marquis display<br />below includes "Max Fabian Presents" and "By Lloyd Richards."<br /><br />The taxi comes to a stop at the alley. Karen can be seen<br />through the closed windows telling the driver to wait. Then<br />she gets out. She takes a step, hesitates, then looks about<br />curiously:<br /><br /> KAREN'S VOICE<br /> Where was she? Strange... I had<br /> become so accustomed to seeing her<br /> there night after night - I found<br /> myself looking for a girl I'd never<br /> spoken to, wondering where she<br /> was...<br /><br />She smiles a little at her own romanticism, puts her head<br />down and makes her way into the alley. <br /><br />EXT. ALLEY - CURRAN THEATER - NIGHT<br /><br />Karen moves toward the stage door. She passes a recess in the<br />wall - perhaps an exit - about halfway. <br /><br /> EVE'S VOICE<br /> (softly)<br /> Mrs. Richards...<br /><br />Karen hesitates, looks. Eve is barely distinguishable in the<br />shadow of the recess. Karen smiles, waits. Eve comes out. A<br />gooseneck light above them reveals her... <br /><br />She wears a cheap trench coat, low-heeled shoes, a rain hat<br />stuck on the back of her head... Her large, luminous eyes<br />seem to glow up at Karen in the strange half-light. <br /><br /> KAREN<br /> So there you are. It seemed odd,<br /> suddenly, your not being there...<br /><br /> EVE<br /> Why should you think I wouldn't be?<br /><br /> KAREN<br /> Why should you be? After all, six<br /> nights a week - for weeks - of<br /> watching even Margo Channing enter<br /> and leave a theater-<br /><br /> EVE<br /> I hope you don't mind my speaking<br /> to you...<br /><br /> KAREN<br /> Not at all. <br /><br /> EVE<br /> I've seen you so often - it took<br /> every bit of courage I could raise-<br /><br /> KAREN<br /> (smiles)<br /> To speak to just a playwright's<br /> wife? I'm the lowest form of<br /> celebrity...<br /><br /> EVE<br /> You're Margo Channing's best<br /> friend. You and your husband are<br /> always with her - and Mr.<br /> Sampson... what's he like?<br /><br /> KAREN<br /> (grins)<br /> Bill Sampson? He's - he's a<br /> director.<br /><br /> EVE<br /> He's the best. <br /><br /> KAREN<br /> He'll agree with you. Tell me, what<br /> do you between the time Margo goes<br /> in and comes out? Just huddle in<br /> that doorway and wait? <br /><br /> EVE<br /> Oh, no. I see the play. <br /><br /> KAREN<br /> (incredulous)<br /> You see the play? You've seen the<br /> play every performance?<br /> (Eve nods)<br /> But, don't you find it - I mean<br /> apart from everything else - don't<br /> you find it expensive? <br /><br /> EVE<br /> Standing room doesn't cost much. I<br /> manage. <br /><br />Karen contemplates Eve. Then she takes her arm. <br /><br /> KAREN<br /> I'm going to take you to Margo...<br /><br /> EVE<br /> (hanging back)<br /> Oh, no...<br /><br /> KAREN<br /> She's got to meet you-<br /><br /> EVE<br /> No, I'd be imposing on her, I'd be<br /> just another tongue-tied gushing<br /> fan...<br /><br />Karen practically propels her toward the stage door. <br /><br /> KAREN<br /> (insisting)<br /> There isn't another like you, there<br /> couldn't be- <br /><br /> EVE<br /> But if I'd known... maybe some<br /> other time... I mean, looking like<br /> this. <br /><br /> KAREN<br /> You look just fine...<br /> (they're at the stage<br /> door)<br /> ... by the way. What's your name?<br /><br /> EVE<br /> Eve. Eve Harrington. <br /><br />Karen opens the door. They go in. <br /><br />INT. BACKSTAGE - CURRAN THEATER - NIGHT<br /><br />Everything, including the doorman, looks fireproof. <br /><br />Eve enters like a novitiate's first visit to the Vatican.<br />Karen, with a "Good evening, Gus -" to the doorman, leads the<br />way toward Margo's stage dressing room. Eve, drinking in the<br />wonderment of all the surveys, lags behind. Karen waits for<br />her to catch up... <br /><br /> EVE<br /> You can breathe it - can't you?<br /> Like some magic perfume...<br /><br />Karen smiles, takes Eve's arm. They proceed to Margo's<br />dressing room. <br /><br />EXT. MARGO'S DRESSING ROOM - CURRAN THEATER - NIGHT<br /><br />No star on the closed door; the paint is peeling. A type<br />written chit, thumbtacked, says MISS CHANNING.<br /><br />As Karen and Eve approach it, an uninhibited guffaw from<br />Margo makes them pause. <br /><br /> KAREN<br /> (whispers)<br /> You wait a minute...<br /> (smiles)<br /> ... now don't run away-<br /><br />Eve smiles shakily. At the same moment:<br /><br /> MARGO'S VOICE<br /> (loudly; through the door)<br /> "Honey chile," I said, "if the<br /> South had won the war, you could<br /> write the same plays about the<br /> North!"<br /><br />Karen enters during the line. <br /><br />INT. MARGO'S DRESSING ROOM - CURRAN THEATER - NIGHT<br /><br />It is a medium-sized box, lined with hot water pipes and<br />cracked plaster. It is furnished in beat-up wicker. A door<br />leads to an old-fashioned bathroom. <br /><br />Margo is at the dressing table. She wears an old wrapper, her<br />hair drawn back tightly to fit under the wig which lies<br />before her like a dead poodle. Also before her is an almost<br />finished drink. <br /><br />LLOYD RICHARDS is stretched out on the wicker chaise. He's in<br />his late thirties, sensitive, literate. <br /><br />Between them, by the dressing table, is BIRDIE - Margo's<br />maid. Her age is unimportant. She was conceived during a<br />split week in Walla Walla and born in a carnival riot. She is<br />fiercely loyal to Margo. <br /><br />Karen enters during the line Margo started while she was<br />outside. Lloyd chuckles, Birdie cackles. <br /><br /> KAREN<br /> Hi.<br /> (she goes to kiss Lloyd)<br /> Hello, darling-<br /><br /> MARGO <br /> Hi. <br /> (she goes right on - in a<br /> think "Suth'n" accent)<br /> "Well, now Mis' Channin', ah don't<br /> think you can rightly say we lost<br /> the wah, we was mo' stahved out,<br /> you might say - an' that's what ah<br /> don' unnerstand about all these<br /> plays about love-stahved Suth'n<br /> women - love is one thing we was<br /> nevah stahved for the South!"<br /><br /> LLOYD<br /> How was the concert?<br /><br /> KAREN<br /> Loud.<br /><br /> BIRDIE<br /> Lemme fix you a drink. <br /><br /> KAREN<br /> No thanks, Birdie. <br /><br />Karen laughs with them. <br /><br /> LLOYD<br /> Margo's interview with a lady<br /> reporter from the South-<br /><br /> BIRDIE<br /> The minute it gets printed they're<br /> gonna fire on Gettysburg all over<br /> again...<br /><br /> MARGO<br /> It was Fort Sumter they fired on-<br /><br /> BIRDIE<br /> I never played Fort Sumter.<br /><br />She takes the wig into the bathroom. Margo starts creaming<br />the make-up off her face. <br /><br /> MARGO<br /> Honey chili had a point. You know,<br /> I can remember plays about women -<br /> even from the South - where it<br /> never even occurred to them whether<br /> they wanted to marry their fathers<br /> more than their brothers...<br /><br /> LLOYD<br /> That was way back...<br /><br /> MARGO<br /> Within your time, buster. Lloyd,<br /> honey, be a playwright with guts.<br /> Write me one about a nice, normal<br /> woman who shoots her husband. <br /><br />Birdie comes out of the bathroom without the wig. <br /><br /> BIRDIE<br /> You need new girdles. <br /><br /> MARGO<br /> Buy some. <br /><br /> BIRDIE<br /> The same size? <br /><br /> MARGO<br /> Of course!<br /><br /> BIRDIE<br /> Well. I guess a real tight girdle<br /> help when you're playin' a lunatic. <br /><br />She picks up Lloud empty glass, asks "more"? He shakes his<br />head. She pours herself a quick one. <br /><br /> KAREN<br /> (firmly)<br /> Margo does not play a lunatic,<br /> Birdie. <br /><br /> BIRDIE<br /> I know. She just keeps hearin' her<br /> dead father play the banjo. <br /><br /> MARGO<br /> It's the tight girdle that does it. <br /><br /> KAREN<br /> I find these wisecracks<br /> increasingly less funny! 'Aged in<br /> Wood' happens to be a fine and<br /> distinguished play-<br /><br /> LLOYD<br /> - 'at's my loyal little woman. <br /><br /> KAREN<br /> The critics thought so, the<br /> audiences certainly think so -<br /> packed houses, tickets for months<br /> in advance - I can't see that<br /> either of Lloyd's last two plays<br /> have hurt you any!<br /><br /> LLOYD<br /> Easy, now...<br /><br /> MARGO<br /> (grins)<br /> Relax, kid. It's only me and my big<br /> mouth...<br /><br /> KAREN<br /> (mollified)<br /> It's just that you get me so mad<br /> sometimes... of all the women in<br /> the world with nothing to complain<br /> about-<br /><br /> MARGO<br /> (dryly)<br /> Ain't it the truth?<br /><br /> KAREN<br /> Yes, it is! You're talented,<br /> famous, wealthy - people waiting<br /> around night after night just to<br /> see you, even in the wind and<br /> rain...<br /><br /> MARGO<br /> Autograph fiends! They're not<br /> people - those little beast who run<br /> in packs like coyotes-<br /><br /> KAREN<br /> They're your fans, your audience-<br /><br /> MARGO<br /> They're nobody's fans! They're<br /> juvenile delinquents, mental<br /> detectives, they're nobody's<br /> audience, they never see a play or<br /> a movie, even - they're never<br /> indoors long enough!<br /><br />There is a pause. Lloyd applauds lightly. <br /><br /> KAREN<br /> Well... there's one indoors now.<br /> I've brought her back to see you. <br /><br /> MARGO<br /> You've what? <br /><br /> KAREN<br /> (in a whisper)<br /> She's just outside the door. <br /><br /> MARGO<br /> (to Birdie; also a<br /> whisper)<br /> The heave-ho. <br /><br />Birdie starts. Karen stops her. It's all in whisper, now,<br />until Eve comes in. <br /><br /> KAREN<br /> You can't put her out, I<br /> promised... Margo, you've got to<br /> see her, she worships you, it's<br /> like something out of a book-<br /><br /> LLOYD<br /> That book is out of print, Karen,<br /> those days are gone.<br /> Fans no longer pull the carriage<br /> through the streets - they tear off<br /> clothes and steal wrist watches...<br /><br /> KAREN<br /> If you'd only see her, you're her<br /> whole life - you must have spotted<br /> her by now, she's always there...<br /><br /> MARGO<br /> Kind of mousy trench coat and funny<br /> hat?<br /> (Karen nods)<br /> How could I miss her? Every night<br /> and matinee - well...<br /><br />She looks to Birdie. <br /><br /> BIRDIE<br /> Once George Jessel played my<br /> hometown. For a girl, gettin' in to<br /> see him was easy. Gettin' out was<br /> the problem...<br /><br />They all laugh. Karen goes to the door, opens it. Eve comes<br />in. Karen closes the door behind her. A moment. <br /><br /> EVE<br /> (simply)<br /> I thought you'd forgotten about me. <br /><br /> KAREN<br /> Not at all. <br /> (her arm through Eve's)<br /> Margo, this is Eve Harrington. <br /><br />Margo changes swiftly into a first-lady-of-the-theater<br />manner. <br /><br /> MARGO<br /> (musically)<br /> How do you do, my dear. <br /><br /> BIRDIE<br /> (mutters)<br /> Oh, brother. <br /><br /> EVE<br /> Hello, Miss Channing. <br /><br /> KAREN<br /> My husband...<br /><br /> LLOYD<br /> (nicely)<br /> Hello, Miss Harrington. <br /><br /> EVE<br /> How do you do, Mr. Richards. <br /><br /> MARGO<br /> (graciously)<br /> And this is my good friend and<br /> companion, Miss Birdie Coonan.<br /><br /> BIRDIE<br /> Oh, brother. <br /><br /> MARGO<br /> Miss Coonan...<br /><br /> LLOYD<br /> (to Birdie)<br /> Oh brother what? <br /><br /> BIRDIE<br /> When she gets like this... all of a<br /> sudden she's playin' Hamlet's<br /> mother...<br /><br /> MARGO<br /> (quiet menace)<br /> I'm sure you must have things to do<br /> in the bathroom, Birdie dear. <br /><br /> BIRDIE<br /> If I haven't, I'll find something<br /> till you're normal.<br /><br />She goes into the bathroom. <br /><br /> MARGO<br /> Dear Birdie. Won't you sit down,<br /> Miss Worthington? <br /><br /> KAREN<br /> Harrington. <br /><br /> MARGO<br /> I'm so sorry... Harrington. Won't<br /> you sit down? <br /><br /> EVE<br /> Thank you. <br /><br />She sits. A short lull.<br /><br /> MARGO<br /> Would you like a drink? It's right<br /> beside you... <br /><br /> KAREN<br /> I was telling Margo and Lloyd about<br /> how often you'd seen the play...<br /><br />They start together, and stop in deference to each other.<br />They're a little flustered. But not Eve. <br /><br /> EVE<br /> (to Margo)<br /> No, thank you.<br /> (to Lloyd)<br /> Yes. I've seen every performance. <br /><br /> LLOYD<br /> (delighted)<br /> Every performance? Then - am I safe<br /> in assuming you like it? <br /><br /> EVE<br /> I'd like anything Miss Channing<br /> played...<br /><br /> MARGO<br /> (beams)<br /> Would you, really? How sweet-<br /><br /> LLOYD<br /> (flatly)<br /> I doubt very much that you'd like<br /> her in 'The Hairy Ape'.<br /><br /> EVE<br /> Please, don't misunderstand me, Mr.<br /> Richards. I think that part of Miss<br /> Channing's greatness lies in her<br /> ability to choose the best plays...<br /> your new play is for Miss Channing,<br /> isn't it, Mr. Richards?<br /><br /> MARGO<br /> Of course it is.<br /><br /> LLOYD<br /> How'd hear about it?<br /><br /> EVE<br /> There was an item in the Times. i<br /> like the title. 'Footsteps on the<br /> Ceiling'.<br /><br /> LLOYD<br /> Let's get back to this one. Have<br /> you really seen every performance? <br /> (Eve nods)<br /> Why? I'm curious...<br /><br />Eve looks at Margo, then drops her eyes. <br /><br /> EVE<br /> Well. If I didn't come to see the<br /> play, I wouldn't have anywhere else<br /> to go. <br /><br /> MARGO<br /> There are other plays...<br /><br /> EVE<br /> Not with you in them. Not by Mr.<br /> Richards...<br /><br /> LLOYD<br /> But you must have friends, a<br /> family, a home-<br /><br />Eve pauses. Then shakes her head. <br /><br /> KAREN<br /> Tell us about it - Eve...<br /><br />Eve looks at her - grateful because Karen called her "Eve."<br />Then away, again...<br /><br /> EVE<br /> If I only knew how...<br /><br /> KAREN<br /> Try...<br /><br /> EVE<br /> Well...<br /><br />Birdie comes out of the bathroom. Everybody looks at her<br />sharply. She realizes she's in on something important. She<br />closes the door quietly, leans against it.<br /><br /> EVE<br /> Well... it started with the play<br /> before this one...<br /><br /> LLOYD<br /> 'Remembrance'.<br /><br /> MARGO<br /> Did you see it here in New York?<br /><br /> EVE<br /> San Francisco. It was the last<br /> week. I went one night... the most<br /> important night in my life - until<br /> this one. Anyway... I found myself<br /> going the next night - and the next<br /> and the next. Every performance.<br /> Then, when the show went East - I<br /> went East. <br /><br /> BIRDIE<br /> I'll never forget that blizzard the<br /> night we played Cheyenne. A cold<br /> night. First time I ever saw a<br /> brassiere break like a piece of<br /> matzos... <br /><br />Eve looks at her unsmilingly, then back to her hands. <br /><br /> KAREN<br /> Eve... why don't you start at the<br /> beginning? <br /><br /> EVE<br /> It couldn't possibly interest you. <br /><br /> MARGO<br /> Please...<br /><br />Eve speaks simply and without self-pity. <br /><br /> EVE<br /> I guess it started back home.<br /> Wisconsin, that is. There was just<br /> mum, and dad - and me. I was the<br /> only child, and I made believe a<br /> lot when I was a kid - I acted out<br /> all sorts of things... what they<br /> were isn't important. But somehow<br /> acting and make-believe began to<br /> fill up my life more and more, it<br /> got so that I couldn't tell the<br /> real from the unreal except that<br /> the unreal seemed more real to<br /> me... I'm talking a lot of<br /> gibberish, aren't I? <br /><br /> LLOYD<br /> Not at all...<br /><br /> EVE<br /> Farmers were poor in those days,<br /> that's what dad was - a farmer. I<br /> had to help out. So I quit school<br /> and I went to Milwaukee. I became a<br /> secretary. In a brewery.<br /> (she smiles)<br /> When you're a secretary in a<br /> brewery - it's pretty hard to make<br /> believe you're anything else.<br /> Everything is beer. It wasn't much<br /> fun, but it helped at home - and<br /> there was a Little Theater Group...<br /> like a drop of rain in the desert.<br /> That's where I met Eddie. He was a<br /> radio technician. We played<br /> 'Liliom' for three performances, I<br /> was awful - then the war came, and<br /> we got married. Eddie was in the<br /> air force - and they sent him to<br /> the South Pacific. You were with<br /> the O.W.I., weren't you Mr.<br /> Richards?<br /> (Lloyd nods)<br /> That's what 'Who's Who' says...<br /> well, with Eddie gone, my life went<br /> back to beer. Except for a letter a<br /> week. One week Eddie wrote he had a<br /> leave coming up. I'd saved my money<br /> and vacation time. I went to San<br /> Francisco to meet him. <br /> (a slight pause)<br /> Eddie wasn't there. They forwarded<br /> the telegram from Milwaukee - the<br /> one that came from Washington to<br /> say that Eddie wasn't coming at<br /> all. That Eddie was dead...<br /> (Karen puts her hand on<br /> Lloyd's)<br /> ... so I figured I'd stay in San<br /> Francisco. i was alone, but<br /> couldn't go back without Eddie. I<br /> found a job. And his insurance<br /> helped... and there were theaters<br /> in San Francisco. And one night<br /> Margo Channing came to play in<br /> 'Remembrance'... and I went to see<br /> it. And - well - here I am...<br /><br />She finishes dry-eyes and self-composed. Margo squeezes the<br />bridge of her nose, dabs at her eyes. <br /><br /> BIRDIE<br /> (finally)<br /> What a story. Everything but the<br /> bloodhounds snappin' at her rear<br /> end...<br /><br />That breaks the spell. Margo turns to her-<br /><br /> MARGO<br /> There are some human experiences,<br /> Birdie, that do not take place in a<br /> vaudeville house - and that even a<br /> fifth-rate vaudevillian should<br /> understand and respect!<br /> (to Eve)<br /> I want to apologize for Birdie's-<br /><br /> BIRDIE<br /> (snaps in)<br /> You don't have to apologize for me!<br /> (to Eve)<br /> I'm sorry if I hurt your feelings.<br /> It's just my way of talkin'...<br /><br /> EVE<br /> (nicely)<br /> You didn't hurt my feelings, Miss<br /> Coonan...<br /><br /> BIRDIE<br /> Call me Birdie. <br /> (to Margo)<br /> As for bein' fifth-rate - i closed<br /> the first half for eleven years an'<br /> you know it!<br /><br />She slams into the bathroom again. At that precise instant<br />BILL SAMPSON flings open the door to the dressing room. He's<br />youngish, vital, undisciplined. He lugs a beat-up suitcase<br />which he drops as he crosses to Margo-<br /><br /> BILL<br /> Forty-five minutes from now my<br /> plane takes off and how do I find<br /> you? Not ready yet, looking like a<br /> junk yard-<br /><br /> MARGO<br /> Thank you so much. <br /><br /> BILL<br /> Is it sabotage, does my career mean<br /> nothing to you? Have you no human<br /> consideration? <br /><br /> MARGO<br /> Show me a human and I might have!<br /><br /> KAREN<br /> (conscious of Eve)<br /> Bill...<br /><br /> BILL<br /> The air lines have clocks, even if<br /> you haven't! I start shooting a<br /> week from Monday - Zanuck is<br /> impatient, he wants me, he needs<br /> me!<br /><br /> KAREN<br /> (louder)<br /> Bill-<br /><br /> MARGO<br /> Zanuck, Zanuck, Zanuck! What are<br /> you two - lovers? <br /><br />Bill grins suddenly, drops to one knee beside her.<br /><br /> BILL<br /> (smiling)<br /> Only in some ways. You're<br /> prettier...<br /><br /> MARGO<br /> I'm a junk yard. <br /><br /> KAREN<br /> (yells)<br /> Bill!<br /><br /> BILL<br /> (vaguely; to Karen)<br /> Huh?<br /><br /> KAREN<br /> This is Eve Harrington.<br /><br />Bill flashes a fleeting look at Eve. <br /><br /> BILL<br /> Hi.<br /> (to Margo)<br /> My wonderful junk yard. The mystery<br /> and dreams you find in a junk yard-<br /><br /> MARGO<br /> (kisses him)<br /> Heaven help me, I love a psychotic. <br /><br />Bill grins, rises, sees Eve as if for the first time. <br /><br /> BILL<br /> Hello, what's your name? <br /><br /> EVE<br /> Eve. Eve Harrington. <br /><br /> KAREN<br /> You've already met. <br /><br /> BILL<br /> Where? <br /><br /> KAREN<br /> Right here. A minute ago. <br /><br /> BILL<br /> That's nice. <br /><br /> MARGO<br /> She, too, is a great admirer of<br /> yours. <br /><br /> BIRDIE<br /> Imagine. All this admiration in<br /> just one room. <br /><br /> BILL<br /> Take your mistress into the<br /> bathroom and dress her.<br /> (Birdie opens her mouth)<br /> Without comment. <br /><br />Birdie shuts it and goes into the bathroom. In a moment we<br />hear a shower start to run. Eve gets up. <br /><br /> KAREN<br /> You're not going, are you?<br /><br /> EVE<br /> I think I'd better. It's been -<br /> well, I can hardly find the words<br /> to say how it's been...<br /><br /> MARGO<br /> (rises)<br /> No, don't go...<br /><br /> EVE<br /> The four of you must have so much<br /> to say to each other - with Mr.<br /> Sampson leaving...<br /><br />Margo, impulsively crosses to Eve. <br /><br /> MARGO<br /> Stick around. Please. Tell you what<br /> - we'll put Stanislavsky on his<br /> plane, you and I, then go somewhere<br /> and talk. <br /><br /> EVE<br /> Well - if I'm not in the way...<br /><br /> MARGO<br /> I won't be a minute. <br /><br />She darts into the bathroom. Eve sits down again. <br /><br /> KAREN<br /> Lloyd, we've got to go-<br /><br />Lloyd gets up. Karen crosses to pound on the bathroom door.<br />She yells - the shower is going...<br /><br /> KAREN<br /> Margo, good night! I'll call you<br /> tomorrow!<br /><br />Margo's answer is lost in the shower noise. Karen crosses to<br />kiss Bill. She's joined by Lloyd. <br /><br /> KAREN<br /> Good luck, genius...<br /><br /> BILL<br /> Geniuses don't need good luck.<br /> (he grins)<br /> I do. <br /><br /> LLOYD<br /> I'm not worried about you. <br /><br /> BILL<br /> Keep the thought. <br /><br />They shake hands warmly. Karen and Lloyd move to Eve. <br /><br /> KAREN<br /> Good night, Eve. I hope I see you<br /> again soon-<br /><br /> EVE<br /> I'll be at the old stand, tomorrow<br /> matinee-<br /><br /> KAREN<br /> Not just that way. As a friend...<br /><br /> EVE<br /> I'd like that. <br /><br /> LLOYD<br /> It's been a real pleasure, Eve. <br /><br /> EVE<br /> I hope so, Mr. Richards. Good<br /> night...<br /><br />Lloyd shakes her hand, crosses to join Karen who waits at the<br />open dressing room door. <br /><br /> EVE<br /> Mrs. Richards.<br /> (Karen and Lloyd look<br /> back)<br /> ... I'll never forget this night as<br /> long as I live. And I'll never<br /> forget you for making it possible. <br /><br />Karen smiles warmly. She closes the door. They leave. <br /><br /> KAREN'S VOICE<br /> - and I'll never forget you, Eve.<br /> Where were we going that night,<br /> Lloyd and I? Funny the things you<br /> remember - and the things you<br /> don't...<br /><br />INT. MARGO'S DRESSING ROOM - NIGHT<br /><br />Eve sits on the same chair. Bill keeps moving around. Eve<br />never takes her eyes off him. He offers her a cigarette. She<br />shakes her head. He looks at his watch. <br /><br /> EVE<br /> You said forty-seven minutes.<br /> You'll never make it. <br /><br /> BILL<br /> (grins)<br /> I told you a lie. We'll make it<br /> easily. Margo's got no more<br /> conception of time than a halibut. <br /><br />He goes to the dressing table, picks up Margo's pocketbook,<br />opens it. He finds a letter. He glances at it, puts it back.<br /><br /> BILL<br /> She's been carrying that letter<br /> around for weeks. I've read it<br /> three times...<br /><br />There's a sudden sharp yelp from the bathroom. <br /><br /> MARGO'S VOICE<br /> You're supposed to zip the zipper -<br /> not me. <br /><br /> BIRDIE'S VOICE<br /> Like tryin' to zip a pretzel -<br /> stand still!<br /><br />Bill grins. <br /><br /> BILL<br /> What a documentary those two would<br /> make... like the mongoose and the<br /> cobra-<br /><br />He sprawls on the chaise, closes his eyes. A pause.<br /><br /> EVE<br /> (finally)<br /> So you're going to Hollywood.<br /><br />Bill grunts in the affirmative. Silence. <br /><br /> BILL<br /> Why?<br /><br /> EVE<br /> I just wondered.<br /><br /> BILL<br /> Just wondered what?<br /><br /> EVE<br /> Why.<br /><br /> BILL<br /> Why what?<br /><br /> EVE<br /> Why you have to go out there.<br /><br /> BILL<br /> I don't have to. I want to.<br /><br /> EVE<br /> Is it the money?<br /><br /> BILL<br /> Eighty percent of it will go for<br /> taxes. <br /><br /> EVE<br /> Then why? Why, if you're the best<br /> and most successful young director<br /> in the Theater-<br /><br /> BILL<br /> The Theatuh, the Theatuh-<br /> (he sits up)<br /> - what book of rules says the<br /> Theater exists only within some<br /> ugly buildings crowded into one<br /> square mile of New York City? Or<br /> London, Paris or Vienna?<br /> (he gets up)<br /> Listen, junior. And learn. Want to<br /> know what the Theater is? A flea<br /> circus. Also opera. Also rodeos,<br /> carnivals, ballets, Indian tribal<br /> dances, Punch and Judy, a one-man<br /> band - all Theater. Wherever<br /> there's magic and make-believe and<br /> an audience - there's Theater.<br /> Donald Duck, Ibsen, and The Lone<br /> Ranger, Sarah Bernhardt, Poodles<br /> Hanneford, Lunt and Fontanne, Betty<br /> Grable, Rex and Wild, and Eleanora<br /> Duse. You don't understand them<br /> all, you don't like them all, why<br /> should you? The Theater's for<br /> everybody - you included, but not<br /> exclusively - so don't approve or<br /> disapprove. It may not be your<br /> Theater, but it's Theater of<br /> somebody, somewhere. <br /><br /> EVE<br /> I just asked a simple question. <br /><br /> BILL<br /> (grins)<br /> And I shot my mouth off. Nothing<br /> personal, junior, no offense...<br /> (he sits back down)<br /> ... it's just that there's so much<br /> bushwah in this Ivory Green Room<br /> they call the Theatuh - sometimes<br /> it gets up around my chin...<br /><br />He lies down again. <br /><br /> EVE<br /> But Hollywood. You mustn't stay<br /> there. <br /><br /> BILL<br /> (he closes his eyes)<br /> It's only one picture deal. <br /><br /> EVE<br /> So few come back...<br /><br /> BILL<br /> Yeah. They keep you under drugs out<br /> there with armed guards...<br /><br />A pause.<br /><br /> EVE<br /> I read George Jean Nathan every<br /> week.<br /><br /> BILL<br /> Also Addison deWitt. <br /><br /> EVE<br /> Every day. <br /><br /> BILL<br /> You didn't have to tell me. <br /><br />Margo, putting on an earring, buzzes out of the bathroom<br />followed by Birdie. Bill sits up. <br /><br /> MARGO<br /> (en route)<br /> I understand it's the latest thing -<br /> just one earring. If it isn't, it's<br /> going to be - I can't find the<br /> other...<br /><br />She grabs her pocketbook, starts rummaging. Out comes the<br />letter...<br /><br /> BILL<br /> Throw that dreary thing away, it<br /> bores me-<br /><br />Margo drops it in the wastebasket, keeps rummaging. <br /><br /> EVE<br /> (concerned)<br /> Where do you suppose it could be?<br /><br /> BIRDIE<br /> It'll show up.<br /><br /> MARGO<br /> (gives up)<br /> Oh well...<br /> (to Birdie)<br /> ... look through the wigs, maybe it<br /> got caught-<br /><br /> BILL<br /> Real diamonds in a wig. The world<br /> we live in...<br /><br /> MARGO<br /> (she's been looking)<br /> Where's my coat?<br /><br /> BIRDIE<br /> Right where you left it...<br /><br />She goes behind the chaise. She comes up with a magnificent<br />mink. <br /><br /> BILL<br /> (to Margo)<br /> The seams. <br /><br />Margo starts to straighten them. <br /><br /> MARGO<br /> (to Eve)<br /> Can't keep his eyes off my legs. <br /><br /> BILL<br /> Like a nylon lemon peel-<br /><br /> MARGO<br /> (straightens up)<br /> Byron couldn't have said it more<br /> graciously... here we go-<br /><br />By now she's in the coat and has Eve's arm, heading for the<br />door. Bill puts his arms around Birdie. <br /><br /> BILL<br /> Got any messages? What do you want<br /> me to tell Tyrone Power?<br /><br /> BIRDIE<br /> Just give him my phone number, I'll<br /> tell him myself. <br /><br />Bill kisses her cheek. She kisses Bill. <br /><br /> BIRDIE<br /> Kill the people. <br /> (to Margo)<br /> Got your key?<br /><br /> MARGO<br /> (nods)<br /> See you home...<br /><br />Margo and Eve precede Bill out of the door...<br /><br />EXT. LAGUARDIA FIELD - NIGHT<br /><br />American Airlines baggage counter. The rain has stopped, but<br />it's wet. <br /><br />Margo, Eve, and Bill are stymied behind two or three couples<br />waiting to be checked in. Margo's arm is through Bill's. They<br />become increasingly aware of their imminent separation. Eve<br />senses her superfluity. <br /><br />A lull. Bill cranes at the passenger heading the line, in<br />earnest conversation with the dispatcher. He sighs. <br /><br /> MARGO<br /> They have to time it so everybody<br /> gets on at the last minute. So they<br /> can close the doors and let you<br /> sit. <br /><br />The man up ahead moves on.<br /><br /> BILL<br /> Ah...<br /><br /> EVE<br /> I have a suggestion.<br /> (they look at her)<br /> There's really not much time left -<br /> I mean, you haven't had a minute<br /> alone yet, and - well, I could take<br /> care of everything here and meet<br /> you at the gate with the ticket...<br /> if you'd like. <br /><br /> BILL<br /> I think we'd like very much. Sure<br /> you won't mind?<br /><br /> EVE<br /> Of course not. <br /><br />Bill hands Eve the ticket. Margo smiles gratefully at her.<br />Eve smiles back. <br /><br />EXT. PASSAGE AND GATE - LAGUARDIA - NIGHT<br /><br />It's covered, with glass windows. Margo's arm is in Bill's. <br /><br /> BILL<br /> She's quite a girl, that what's-her<br /> name...<br /><br /> MARGO<br /> Eve. I'd forgotten they grew that<br /> way...<br /><br /> BILL<br /> The lack of pretense, that sort of<br /> strange directness and<br /> understanding-<br /><br /> MARGO<br /> Did she tell you about the Theater<br /> and what it meant? <br /><br /> BILL<br /> (grins)<br /> I told her. I sounded off. <br /><br /> MARGO<br /> All the religions in the world<br /> rolled into one, and we're Gods and<br /> Goddesses... isn't it silly,<br /> suddenly I've developed a big<br /> protective feeling for her - a lamb<br /> loose in our big stone jungle...<br /><br />Bill pauses and pulls her to one side. Some passengers go by.<br />A pause. <br /><br /> MARGO<br /> Take care of yourself out there...<br /><br /> BILL<br /> I understand they've got the<br /> Indians pretty well in hand...<br /><br /> MARGO<br /> Bill...<br /><br /> BILL<br /> Huh?<br /><br /> MARGO<br /> Don't get stuck on some glamour<br /> puss-<br /><br /> BILL<br /> I'll try.<br /><br /> MARGO<br /> You're not such a bargain, you<br /> know, conceited and thoughtless and<br /> messy-<br /><br /> BILL<br /> Everybody can't be Gregory Peck.<br /><br /> MARGO<br /> - you're a setup for some gorgeous<br /> wide-eyed young babe.<br /><br /> BILL<br /> How childish are you going to get<br /> before you quit it? <br /><br /> MARGO<br /> I don't want to be childish, I'd<br /> settle for just a few years-<br /><br /> BILL<br /> (firmly)<br /> And cut that out right now. <br /><br /> MARGO<br /> Am I going to lose you, Bill? Am I?<br /><br /> BILL<br /> As of this moment you're six years<br /> old...<br /><br />He starts to kiss her, stops when he becomes aware of Eve<br />standing near them. She has his ticket in her hand. <br /><br /> EVE<br /> All ready.<br /><br />She hands Bill his ticket, they start toward the gate. <br /><br />INT. BOARDING GATE - LAGUARDIA - NIGHT<br /><br />The D.C. 6 in the b.g. A few visitors. Bill hands his ticket<br />to the guard, turns to Eve. <br /><br /> BILL<br /> Thanks for your help... good luck. <br /><br /> EVE<br /> Goodbye, Mr. Sampson.<br /><br />Bill puts his arms around Margo. <br /><br /> BILL<br /> Knit me a muffler. <br /><br /> MARGO<br /> Call me when you get in...<br /><br />They kiss. Margo's arms tighten desperately. Bill pulls away,<br />kisses her again lightly, starts for the plane. Margo turns<br />away. Eve puts her arms through Margo's. <br /><br />Bill pauses en route to the plane. <br /><br /> BILL<br /> Hey - junior...<br /><br />Margo turns to look at him with Eve. <br /><br /> BILL<br /> Keep your eyes on her. Don't let<br /> her get lonely. She's a loose lamb<br /> in a jungle...<br /><br />Eve looks at Margo. Margo smiles. <br /><br /> EVE<br /> Don't worry...<br /><br />Bill waves, climbs aboard. The door is closed behind him, the<br />departure routine starts...<br /><br />Margo and eve turn to go. They walk down the passage. As they<br />walk, Eve gently disengages her arm from Margo's and puts it<br />comfortingly about her...<br /><br /> MARGO'S VOICE<br /> That same night we sent for Eve's<br /> things, her few pitiful<br /> possessions... she moved into the<br /> little guest room on the top<br /> floor...<br /><br />INT. DINING HALL - NIGHT<br /><br />MARGO slides her fingers reflectively up and down the sides<br />of the almost empty highball glass. <br /><br /> MARGO'S VOICE<br /> ... she cried when she saw it - it<br /> was so like her little room back<br /> home in Wisconsin.<br /><br />ADDISON eyeing her quizzically. He offers her the whiskey. <br /><br />MARGO shakes her head, absently. She looks down at her glass<br />again. Then, she raises her eyes to look at Eve. <br /><br /> MARGO'S VOICE<br /> ... the next three weeks were out<br /> of a fairy tale - and I was<br /> Cinderella in the last act. Eve<br /> became my sister, lawyer, mother,<br /> friend, psychiatrist and cop - the<br /> honeymoon was on...<br /><br />INT. MARGO'S LIVING ROOM - DAY<br /><br />It's one floor above street level. A long narrow room,<br />smartly furnished - including a Sarah Siddons Award. <br /><br />MARGO'S NARRATIVE overlaps into the scene which is a SILENT<br />ONE. <br /><br />Eve sits at a smart desk. She is just arranging a stack of<br />letters which she carries to Margo with a pen. Margo sits<br />comfortably by the fire with a play script. She hands the<br />scrips up to Eve, shakes her head and holds her nose. Eve<br />smiles, takes the script, hands Margo the letters to sign.<br /><br />Birdie comes in with a tea tray which she sets on a low table<br />before the fire. <br /><br />The phone rings.<br /><br />Birdie and Eve both go for it. Eve gets there first. By her<br />polite but negative attitude, we know she is giving someone a<br />skillful brush-off.<br /><br />Birdie glares first at her, then at Margo. <br /><br />Margo leans her head back, closes her eyes blissfully...<br /><br />Birdie slams the double door to the landing on her way out...<br /><br />INT. BACKSTAGE - CURRAN THEATER - DAY<br /><br />From the wings. The audience is never visible. Eve in the<br />f.g. Margo and company taking a curtain call. Tumultuous<br />applause... the curtain falls. The cast, except for Margo and<br />two male leads, walk off. The curtain rises again...<br /><br />EVE, watching and listening to the storm of applause. Her<br />eyes shine, she clasps and unclasps her hands...<br /><br />THE STAGE, Eve again in the f.g., but closer. Again the<br />curtain falls. This time the two men go off. Curtain rises on<br />Margo alone. If anything, the applause builds...<br /><br />EVE, that same hypnotic look... there are tears in her eyes.<br />The curtain falls offscene, then rises again - <br /><br />MARGO, the curtain falls again between her and CAMERA...<br /><br />BACKSTAGE, the curtain just settling on the floor. Margo<br />starts off. <br /><br /> STAGE MANAGER<br /> One more?<br /><br /> MARGO<br /> (shakes her head)<br /> From now on it's not applause -<br /> just something to do till the<br /> aisles get less crowded...<br /><br />She walks as she talks and winds up at Eve - still in the<br />wings. Eve's eyes are wet, she dabs at her nose. <br /><br /> MARGO<br /> What - again?<br /><br /> EVE<br /> I could watch you play that last<br /> scene a thousand times and cry<br /> every time-<br /><br /> MARGO<br /> (grins)<br /> Performance number one thousand of<br /> this one - if I play it that long -<br /> will take place in a well-padded<br /> booby hatch...<br /><br />She takes Eve's arm, they stroll toward her dressing room. <br /><br /> EVE<br /> I must say you can certainly tell<br /> Mr. Sampson's been gone a month. <br /><br /> MARGO<br /> You certainly can. Especially if<br /> you're me between now and tomorrow<br /> morning...<br /><br /> EVE<br /> I mean the performance. Except for<br /> you, you'd think he'd never even<br /> directed it - it's disgraceful the<br /> way they change everything<br /> around...<br /><br /> MARGO<br /> (smiles)<br /> Well, teacher's away and actors<br /> will be actors...<br /><br /> EVE<br /> During your second act scene with<br /> your father, Roger Ferraday's<br /> supposed to stay way upstage at the<br /> arch. He's been coming closer down<br /> every night...<br /><br /> MARGO<br /> When he gets too close, I'll spit<br /> in his eye.<br /><br />They're at her dressing room by now. Margo's been unhooking<br />her gown, with Eve's help. They go in. <br /><br />INT. MARGO'S DRESSING ROOM - NIGHT<br /><br />It's undergone quite a change. A new carpet, chintz covers<br />for the furniture, new lampshades, dainty curtains across the<br />filthy barred window. <br /><br />Birdie waits within. She's listening to a fight; she shuts it<br />off as they enter.<br /><br /> MARGO<br /> (entering)<br /> You bought the new girdles a size<br /> smaller. I can feel it. <br /><br /> BIRDIE<br /> Something maybe grew a size bigger.<br /><br /> MARGO<br /> When we get home you're going to<br /> get into one of those girdles and<br /> act for two and half hours. <br /><br /> BIRDIE<br /> I couldn't get into the girdle in<br /> two an' a half hours...<br /><br />Margo's out of her wig and dress by now. She gets into her<br />robe, sits at the dressing table. Eve's on the chaise, by the<br />discarded costume.<br /><br /> EVE<br /> You haven't noticed my latest bit<br /> of interior decorating...<br /><br /> MARGO<br /> (turns, looks)<br /> Well, you've done so much... what's<br /> new? <br /><br /> EVE<br /> The curtains. I made them myself. <br /><br /> MARGO<br /> They are lovely. Aren't they<br /> lovely, Birdie? <br /><br /> BIRDIE<br /> Adorable. We now got everything a<br /> dressing room needs except a<br /> basketball hoop. <br /><br /> MARGO<br /> Just because you can't even work a<br /> zipper. It was very thoughtful,<br /> Eve, and I appreciate it- <br /><br />A pause. Eve rises, picking up Margo's costume.<br /><br /> EVE<br /> While you're cleaning up, I'll take<br /> this to the wardrobe mistress-<br /><br /> MARGO<br /> Don't bother. Mrs. Brown'll be<br /> along for it in a minute. <br /><br /> EVE<br /> No trouble at all. <br /><br />And she goes out with the costume. Birdie opens her mouth,<br />shuts it, then opens it again. <br /><br /> BIRDIE<br /> If I may so bold as to say<br /> something - did you ever hear the<br /> word "union"?<br /><br /> MARGO<br /> Behind in your dues? How much?<br /><br /> BIRDIE<br /> I haven't got a union. I'm slave<br /> labor. <br /><br /> MARGO<br /> Well?<br /><br /> BIRDIE<br /> But the wardrobe women have got<br /> one. And next to a tenor, a<br /> wardrobe woman is the touchiest<br /> thing in show business-<br /><br /> MARGO<br /> (catching on)<br /> Oh-oh.<br /><br /> BIRDIE<br /> She's got two things to do - carry<br /> clothes an' press 'em wrong - an'<br /> just let anybody else muscle in...<br /><br />As she talks, Margo hurries to the door and out after Eve. <br /><br />INT. BACKSTAGE - CURRAN THEATER - NIGHT<br /><br />Margo pops out, looks for Eve, then stares in amazement. <br /><br />EVE, near the wings. She stands before a couple of cheval<br />mirrors set up for cast members. She has Margo's dress held<br />up against her body. She turns this way and that, bows as if<br />to applause - mimicking Margo exactly...<br /><br />MARGO watches her curiously. Then she smiles. <br /><br /> MARGO<br /> (calling)<br /> Eve-<br /><br />EVE, startled, whips the gown away, turns to Margo. <br /><br />MARGO smiles understandingly. <br /><br /> MARGO<br /> (quietly)<br /> I think we'd better let Mrs. Brown<br /> pick up the wardrobe...<br /><br />Wordlessly, Eve brings it toward her...<br /><br />INT. MARGO'S BEDROOM - NIGHT<br /><br />Margo's asleep. A bedside clock with a luminous dial reads 3<br />A.M. exactly. The phone rings. Her head comes up out of the<br />pillow, she shakes it. She fumbles, switches on a lamp, then<br />picks up the phone. <br /><br /> MARGO<br /> Hello..<br /><br /> OPERATOR'S VOICE<br /> We are ready with your call to<br /> Beverly Hills...<br /><br /> MARGO<br /> Call, what call?<br /><br /> OPERATOR'S VOICE<br /> It this Templeton 89970? Miss Margo<br /> Channing? <br /><br /> MARGO<br /> That's right, but I don't<br /> understand-<br /><br /> OPERATOR'S VOICE<br /> We are ready with the call you<br /> placed for 12 midnight, California<br /> time, to Mr. William Sampson in<br /> Beverly Hills...<br /><br /> MARGO<br /> I placed...?<br /><br /> OPERATOR'S VOICE<br /> Go ahead, please...<br /><br /> BILL'S VOICE<br /> (a loud, happy squawk)<br /> Margo! What a wonderful surprise!<br /><br />Margo jumps at his vehemence. As she does so, the SCREEN<br />WIPES DOWN DIAGONALLY LEFT TO RIGHT, so that Margo remains in<br />the lower right-hand diagonal of the screen and Bill is<br />disclosed in the upper left. He, too, is in bed, reading. His<br />clock says midnight. <br /><br /> BILL<br /> (continuing)<br /> What a thoughtful, ever-lovin'<br /> thing to do-<br /><br /> MARGO<br /> (dazed)<br /> Bill? Have I gone crazy, Bill?<br /><br /> BILL<br /> You're my girl, aren't you?<br /><br /> MARGO<br /> That I am...<br /><br /> BILL<br /> Then you're crazy. <br /><br /> MARGO<br /> (nods in agreement)<br /> When - when are you coming back? <br /><br /> BILL <br /> I leave in a week - the picture's<br /> all wrapped up, we previewed last<br /> night... those previews. Like<br /> opening out of town, but<br /> terrifying. There's nothing you can<br /> do, you're trapped, you're in a tin<br /> can-<br /><br /> MARGO<br /> - in a tin can, cellophane or<br /> wrapped in a Navajo blanket, I want<br /> you home...<br /><br /> BILL <br /> You in a hurry?<br /><br /> MARGO<br /> A big hurry, be quick about it - so<br /> good night, darling, and sleep<br /> tight...<br /><br /> BILL <br /> Wait a minute! You can't hang up,<br /> you haven't even said it-<br /><br /> MARGO<br /> Bill, you know how much I do - but<br /> over the phone, now really, that's<br /> kid stuff...<br /><br /> BILL<br /> Kid stuff or not, it doesn't happen<br /> every day, I want to heat it - and<br /> if you won't say it, you can sing<br /> it...<br /><br /> MARGO<br /> (convinced she's gone mad)<br /> Sing it?<br /><br /> BILL <br /> Sure! Like the Western Union boys<br /> used to do...<br /><br />Margo's eyes pop. Her jaw and the phone sag. <br /><br /> MARGO<br /> Bill... Bill, it's your birthday. <br /><br /> BILL <br /> And who remembered it? Who was<br /> there on the dot, at twelve<br /> midnight...?<br /><br />Margo knows damn well it wasn't she. <br /><br /> MARGO<br /> (miserably)<br /> Happy birthday, darling...<br /><br /> BILL <br /> The reading could have been better,<br /> but you said it - now "many happy<br /> returns of the day..."<br /><br /> MARGO<br /> (the same)<br /> Many happy returns of the day...<br /><br /> BILL <br /> I get a party, don't I?<br /><br /> MARGO<br /> Of course, birthday and welcome<br /> home... who'll I ask?<br /><br /> BILL <br /> (laughs)<br /> It's no secret, I know all about<br /> the party - Eve wrote me...<br /><br /> MARGO<br /> She did...?<br /><br /> BILL <br /> She hasn't missed a week since I<br /> left - but you know all that, you<br /> probably tell her what to write...<br /> anyway, I sent her a list of people<br /> to ask - check with her. <br /><br /> MARGO<br /> Yeah... I will.<br /><br /> BILL <br /> How is Eve? Okay?<br /><br /> MARGO<br /> Okay. <br /><br /> BILL <br /> I love you...<br /><br /> MARGO<br /> (mutters)<br /> I'll check with Eve...<br /><br /> BILL<br /> What? <br /><br /> MARGO<br /> I love you too. Good night, darling-<br /><br /> BILL <br /> See you...<br /><br />Margo hangs up. Bill hangs up. He replaces the phone, picks<br />up his book... SLOW WIPE until ONLY MARGO is on screen. She<br />puts her phone away. She gets a cigarette. She lights it. She<br />rolls over on her back...<br /><br />INT. MARGO'S BEDROOM - DAY<br /><br />Margo is propped up in bed, still reflective. Birdie comes in<br />with her breakfast tray and a "hi" which gets a "hi" from<br />Margo. She starts on some petty chores. Margo takes a sip of<br />orange juice...<br /><br /> MARGO<br /> Birdie-<br /><br /> BIRDIE<br /> Hmm?<br /><br /> MARGO<br /> You don't like Eve, do you?<br /><br /> BIRDIE<br /> Do you want an argument or an<br /> answer?<br /><br /> MARGO<br /> An answer. <br /><br /> BIRDIE<br /> No. <br /><br /> MARGO<br /> Why not?<br /><br /> BIRDIE<br /> Now you want an argument. <br /><br /> MARGO<br /> She works hard. <br /><br /> BIRDIE<br /> Night an' day. <br /><br /> MARGO<br /> She's loyal and efficient-<br /><br /> BIRDIE<br /> Like an agent with one client.<br /><br /> MARGO<br /> She thinks only for me...<br /> (no answer from Birdie)<br /> ... doesn't she? <br /><br /> BIRDIE<br /> (finally)<br /> Well... let's say she thinks only<br /> about you, anyway...<br /><br /> MARGO<br /> How do you mean that?<br /><br />Birdie stops whatever it is she's doing.<br /><br /> BIRDIE<br /> I'll tell you how. Like - let's see<br /> - like she was studyin' you, like<br /> you were a play or a book or a set<br /> of blueprints. How you walk, talk,<br /> think, eat, sleep-<br /><br /> MARGO<br /> (breaks in; sharply)<br /> I'm sure that's very flattering,<br /> Birdie, and I'm sure there's<br /> nothing wrong with that!<br /><br />There is a sharp, brisk knock. Eve comes in. She's dressed in<br />a smart suit. She carries a leather portfolio.<br /><br /> EVE<br /> Good morning!<br /><br />Margo says "good morning," Birdie says nothing. Eve shows off<br />the suit, proudly. <br /><br /> EVE<br /> Well - what do you think of my<br /> elegant new suit? <br /><br /> MARGO<br /> Very becoming. It looks better on<br /> you than it did on me. <br /><br /> EVE<br /> (scoffs)<br /> I can imagine... you know, all it<br /> needed was some taking in here and<br /> letting out there - are you sure<br /> you won't want it yourself? <br /><br /> MARGO<br /> Quite sure. I find it just a bit<br /> too - too "Seventeenish" for me...<br /><br /> EVE <br /> (laughs)<br /> Oh, come now, as though you were an<br /> old lady... I'm on my way. Is there<br /> anything more you've thought of-?<br /><br /> MARGO<br /> There's the script to go back to<br /> the Guild-<br /><br /> EVE<br /> I've got it. <br /><br /> MARGO<br /> - and those checks or whatever it<br /> is for the income tax man. <br /><br /> EVE<br /> Right here. <br /><br /> MARGO<br /> It seems I can't think of a thing<br /> you haven't thought of...<br /><br /> EVE<br /> (smile)<br /> That's my job.<br /> (she turns to go)<br /> See you at tea time...<br /><br /> MARGO<br /> Eve...<br /> (Eve turns at the door)<br /> ... by any chance, did you place a<br /> call from me to Bill for midnight<br /> California time? <br /><br /> EVE<br /> (gasps)<br /> Oh, golly. And I forgot to tell you-<br /><br /> MARGO<br /> Yes, dear. You forgot all about it. <br /><br /> EVE<br /> Well, I was sure you'd want to, of<br /> course, being his birthday, and<br /> you've been so busy these past few<br /> days, and last night I meant to<br /> tell you before you went out with<br /> the Richards - and I guess I was<br /> asleep when you got home...<br /><br /> MARGO<br /> Yes, I guess you were. It - it was<br /> very thoughtful of you, Eve. <br /><br /> EVE<br /> Mr. Sampson's birthday. I certainly<br /> wouldn't forget that. You'd never<br /> forgive me. <br /> (she smiles shyly)<br /> As a matter of fact, I sent him a<br /> telegram myself...<br /><br />And she's gone. Margo stares at the closed door. Then at<br />Birdie. Birdie, without comment, goes out. Margo, alone,<br />looks down at her orange juice. Absently, she twirls it in<br />its bed of shaved ice...<br /><br />INT. DINING HALL - SARAH SIDDONS SOCIETY - NIGHT<br /><br />MARGO, reflectively twirling her highball glass. The applause<br />continues. She lifts her glass to drink. Her glance meets<br />Karen's. She raises the glass in a silent toast. <br /><br />KAREN smiles wanly at Margo's toast. Then the smile fades as<br />she looks reflectively back to Eve...<br /><br /> KAREN'S VOICE<br /> I saw Eve quite often after our<br /> first meeting, but we never really<br /> talked again - until the party<br /> Margo gave for Bill when he<br /> returned from Hollywood...<br /><br />INT. MARGO'S BEDROOM - NIGHT<br /><br />It's January. The bed is littered with fur coats. Through the<br />open door, from the floor below, the murmur of a party at a<br />late hour. No hilarity. <br /><br /> KAREN'S VOICE<br /> It's always convenient at a party<br /> to know the hostess well enough to<br /> use her bedroom rather than go<br /> where all the others have to go...<br /><br />Karen is making repairs at Margo's dressing table. Eve<br />enters, carrying a magnificent sable coat which she drops on<br />the bed. <br /><br /> KAREN<br /> Now who's show up at this hour?<br /> It's time people went home - hold<br /> that coat up...<br /> (Eve holds it up; Karen<br /> whistles)<br /> ... whose is it? <br /><br /> EVE<br /> Some Hollywood movie star, her<br /> plane got in late. <br /><br /> KAREN<br /> Discouraging, isn't it? Women with<br /> furs like that where it never gets<br /> cold...<br /><br /> EVE<br /> Hollywood. <br /><br /> KAREN<br /> Tell me, Eve - how are things with<br /> you? Happy? <br /><br />Eve melts into warmth. She beams, sits on the bed. Karen has<br />spun around on the dressing table stool. <br /><br /> EVE<br /> There should be a new word for<br /> happiness. Being here with Miss<br /> Channing has been - I just can't<br /> say, she's been so wonderful, done<br /> so much for me-<br /><br /> KAREN<br /> (smiles)<br /> Lloyd says Margo compensates for<br /> underplaying on the stage by<br /> overplaying reality...<br /> (she gets up, gets her<br /> coat)<br /> ... next to that sable, my new mink<br /> seems like an old bedjacket... <br /> (throws it over her<br /> shoulder)<br /> ... you've done your share, Eve.<br /> You've worked wonders with Margo...<br /><br />She starts out. <br /><br /> EVE<br /> (hesitantly)<br /> Mrs. Richards. <br /><br /> KAREN<br /> (pauses, smiles)<br /> Karen.<br /><br /> EVE<br /> Karen...<br /> (she picks at the<br /> coverlet)<br /> ... isn't it awful, I'm about to<br /> ask you for another favor - after<br /> all you've already done. <br /><br /> KAREN<br /> (crosses to her)<br /> Nobody's done so much, Eve, you've<br /> got to stop thinking of yourself as<br /> one of the Hundred Neediest<br /> Cases... what is it? <br /><br /> EVE<br /> Well... Miss Channing's affairs are<br /> in such good shape... there isn't<br /> enough to keep me as busy as I<br /> should be, really - not that I've<br /> ever considered anything that would<br /> take me away from her... but the<br /> other day - when I heard Mr. Fabian<br /> tell Miss Channing that her<br /> understudy was going to have a<br /> baby, and they'd have to replace<br /> her... <br /><br />She looks down at the coverlet once more. <br /><br /> KAREN<br /> ... you want to be Margo's new<br /> understudy. <br /><br /> EVE<br /> I don't let myself think about it,<br /> even- <br /> (she looks up, rises as<br /> she speaks)<br /> - but I do know the part so well,<br /> and every bit of the staging,<br /> there'd be no need to break in a<br /> new girl-<br /> (suddenly afraid, she<br /> sits)<br /> - but suppose I had to go on one<br /> night? To an audience that came to<br /> see Margo Channing. No, I couldn't<br /> possibly...<br /><br /> KAREN<br /> (laughs)<br /> Don't worry too much about that.<br /> Margo just doesn't miss<br /> performances. If she can walk,<br /> crawl or roll - she plays. <br /><br /> EVE<br /> (nods proudly)<br /> The show must go on. <br /><br /> KAREN<br /> No, dear. Margo must go on. <br /> (she sits beside Eve)<br /> As a matter of fact, I see no<br /> reason why you shouldn't be Margo's<br /> understudy...<br /><br /> EVE<br /> Do you think Miss Channing would<br /> approve?<br /><br /> KAREN<br /> I think she would cheer. <br /><br /> EVE<br /> But Mr. Richards and Mr. Sampson-<br /><br /> KAREN<br /> They'll do as they're told.<br /><br />Eve smiles a little. A pause. <br /><br /> EVE<br /> Then - would you talk to Mr. Fabian<br /> about it? <br /><br /> KAREN<br /> Of course. <br /><br /> EVE<br /> You won't forget it?<br /><br /> KAREN<br /> I won't forget. <br /><br /> EVE<br /> I seem to be forever thanking you<br /> for something, don't I?<br /><br />She hugs Karen, leaves. She nearly collides with Birdie on<br />her way in. <br /><br /> BIRDIE<br /> The bed looks like a dead animal<br /> act. Which one is sables?<br /><br /> KAREN<br /> (pointing)<br /> But she just got here...<br /><br /> BIRDIE<br /> She's on her way. With half the men<br /> in the joint. <br /> (she hold up the coat)<br /> It's only a fur coat...<br /><br /> KAREN<br /> What did you expect - live sables?<br /><br /> BIRDIE<br /> A diamond collar, gold sleeves -<br /> you know, picture people...<br /><br />They start out. <br /><br /> KAREN<br /> Bill says actors out there eat just<br /> as infrequently as here-<br /><br /> BIRDIE<br /> They can always grab oranges off<br /> trees. This you can't do in Times<br /> Square...<br /><br />Through the open door, we see them go down the stairs and out<br />of sight. <br /><br />INT. SECOND FLOOR LANDING AND STAIRS - NIGHT<br /><br />Karen and Birdie come down the stairs to Bill, Max, Addison,<br />a blonde young lady named MISS CASWELL (Addison's protegee-of<br />the-moment) - and, at the feet of Bill and Addison... Eve.<br />They are all seated on the steps.<br /><br />Birdie goes through and down the stairs to the first floor.<br />Karen remains with the others. <br /><br />Addison is holding forth:<br /><br /> ADDISON <br /> Every now and then, some elder<br /> statesman of the Theater or cinema<br /> assures the public that actors and<br /> actresses are just plain folk.<br /> Ignoring the fact that their<br /> greatest attraction to the public<br /> is their complete lack of<br /> resemblance to normal human beings.<br /><br /> MISS CASWELL<br /> (as Birdie and the sables<br /> pass)<br /> Now there's something a girl could<br /> make sacrifices for. <br /><br /> BILL'S VOICE<br /> And probably has. <br /><br /> MISS CASWELL<br /> Sable. <br /><br /> MAX<br /> (to Miss Caswell)<br /> Did you say sable - or Gable?<br /><br /> MISS CASWELL<br /> Either one. <br /><br /> ADDISON<br /> It is senseless to insist that<br /> theatrical folk in New York,<br /> Hollywood and London are no<br /> different from the good people of<br /> Des Moines, Chillicothe and<br /> Liverpool. By and large, we are<br /> concentrated gatherings of<br /> neurotics, egomaniacs, emotional<br /> misfits, and precocious children-<br /><br /> MAX<br /> (to Bill)<br /> Gable. Why a feller like that don't<br /> come East to do a play...<br /><br /> BILL <br /> (nods)<br /> He must be miserable, the life he<br /> lives out there-<br /><br /> ADDISON<br /> These so-called abnormalities -<br /> they're our stock in trade, they<br /> make us actors, writers, directors,<br /> et cetera in the first place-<br /><br /> MAX<br /> Answer me this. What makes a man<br /> become a producer?<br /><br /> ADDISON <br /> What makes a man walk into a lion<br /> cage with nothing but a chair?<br /><br /> MAX<br /> This answer satisfies me a hundred<br /> percent. <br /><br /> ADDISON <br /> We all have abnormality in common.<br /> We are a breed apart from the rest<br /> of the humanity, we Theater folk.<br /> We are the original displaced<br /> personalities...<br /><br /> BILL <br /> (laughs; to Eve)<br /> You don't have to read his column<br /> tomorrow - you just heard it. I<br /> don't agree, Addison...<br /><br /> ADDISON<br /> That happens to be your particular<br /> abnormality. <br /><br /> BILL <br /> Oh, I admit there's a screwball<br /> element in the Theater. It sticks<br /> out, it's got spotlights on it and<br /> a brass band. But it isn't basic,<br /> it isn't standard - if it were, the<br /> Theater couldn't survive...<br /><br /> MISS CASWELL<br /> (to a passing butler)<br /> Oh, waiter...<br /><br />The butler goes right by.<br /><br /> ADDISON<br /> That isn't a waiter, my dear.<br /> That's a butler. <br /><br /> MISS CASWELL<br /> Well, I can't yell "Oh, butler,"<br /> can I? Maybe somebody's name is<br /> Butler...<br /><br /> ADDISON <br /> You have a point. An idiotic one,<br /> but a point. <br /><br /> MISS CASWELL<br /> I don't want to make trouble. All I<br /> want is a drink. <br /><br /> MAX<br /> (getting up)<br /> Leave me get you one...<br /><br /> MISS CASWELL<br /> (pitching)<br /> Oh, thank you, Mr. Fabian.<br /><br />Max leaves with her empty glass. <br /><br /> ADDISON<br /> Well done. I see your career rising<br /> in the East like the sun...<br /> (to Bill)<br /> ... you were saying?<br /><br /> BILL <br /> I was saying that the Theater is<br /> nine-tenths hard work. Work done<br /> the hard way - by sweat,<br /> application and craftsmanship. I'll<br /> agree to this - that to be a good<br /> actor, actress, or anything else in<br /> the Theater, means wanting to be<br /> that more than anything else in the<br /> world...<br /><br /> EVE<br /> (abruptly)<br /> Yes. Yes, it does. <br /><br /> BILL<br /> (goes on)<br /> It means concentration of ambition,<br /> desire, and sacrifice such as no<br /> other profession demands... And<br /> I'll agree that the man or woman<br /> who accepts those terms can't be<br /> ordinary, can't be - just someone.<br /> To give so much for almost always<br /> so little...<br /><br />Eve speaks almost unaware of what she says. She looks at no<br />one in particular, just off...<br /><br /> EVE<br /> So little. So little, did you say?<br /> Why, if there's nothing else -<br /> there's applause. It's like - like<br /> waves of love coming over the<br /> footlights and wrapping you up.<br /> Imagine...<br /> To know, every night, that<br /> different hundreds of people love<br /> you... they smile, their eyes shine<br /> - you've pleased them, they want<br /> you, you belong. Just that alone is<br /> worth anything...<br /><br />She becomes aware of Addison's strange smile, of Bill's looks<br />of warm interest. She's embarrassed, she turns away - then<br />scrambles to her feet as Margo approaches with Lloyd from the<br />direction of the pantry. <br /><br />Margo's had too much to drink. Her fake smile fades as Eve<br />gets up. She's unpleasant and depressed. <br /><br /> MARGO<br /> Don't get up. And please stop<br /> acting as if I were the queen<br /> mother. <br /><br /> EVE<br /> (hurt)<br /> I'm sorry, I didn't mean to-<br /><br /> BILL<br /> (sharply)<br /> Outside of a beehive, Margo, your<br /> behavior would hardly be considered<br /> either queenly or motherly!<br /><br /> MARGO<br /> You're in a beehive, pal, didn't<br /> you know? We're all busy little<br /> bees, full of stings, making honey<br /> day and night-<br /> (to Eve)<br /> - aren't we, honey?<br /><br /> KAREN<br /> Margo, really...<br /><br /> MARGO<br /> Please don't play governess, Karen,<br /> I haven't your unyielding good<br /> taste, I wish I'd gone to Radcliffe<br /> too but father wouldn't hear of it -<br /> he needed help at the notions<br /> counter...<br /> (to Addison)<br /> I'm being rude now, aren't I? OR<br /> should I say "ain't I"?<br /><br /> ADDISON<br /> You're maudlin and full of self<br /> pity. You're magnificent. <br /><br />Max has come up with Miss Caswell's drink. <br /><br /> LLOYD<br /> How about calling it a night?<br /><br /> MARGO<br /> And you pose as a playwright. A<br /> situation pregnant with<br /> possibilities - and all you can<br /> think of is everybody to go to<br /> sleep...<br /><br /> BILL<br /> It's a good thought. <br /><br /> MARGO<br /> It won't play. <br /><br /> KAREN<br /> As a nonprofessional, I think it's<br /> an excellent idea. Undramatic, but<br /> practical...<br /><br />As she speaks, she makes her way to Lloyd's side. <br /><br /> MARGO<br /> Happy little housewife...<br /><br /> BILL<br /> Cut it out.<br /><br /> MARGO<br /> This is my house, not a theater! In<br /> my house you're a guest, not a<br /> director-!<br /><br /> KAREN<br /> Then stop being a star - start<br /> treating your guests as your<br /> supporting cast!<br /><br /> ADDISON<br /> Hear, hear...<br /><br /> LLOYD<br /> Now let's not get into a big hassle-<br /><br /> KAREN <br /> It's about time we did! It's about<br /> time Margo realized that what's<br /> attractive on stage need not<br /> necessarily be attractive off.<br /><br /> MARGO<br /> (suddenly)<br /> All right! I'm going to bed.<br /> (to Bill)<br /> You be the host. It's your party.<br /> Happy Birthday, welcome home, and<br /> we-who-are-about-to-die-salute-you.<br /><br />She starts upstairs.<br /><br /> BILL<br /> Need any help?<br /><br /> MARGO<br /> (pauses, smiles)<br /> To put me to bed? Take my clothes<br /> off, hold my head, tuck me in, turn<br /> off the lights, tiptoe out...? eve<br /> would. Wouldn't you, Eve?<br /><br /> EVE<br /> If you'd like. <br /><br /> MARGO<br /> I wouldn't like. <br /><br />She goes up, exits out of sight. A pause. Miss Caswell<br />reaches up to take the drink out of Max's hand. <br /><br /> MAX<br /> I forgot I had it. <br /><br /> MISS CASWELL<br /> I didn't. <br /><br />Bill gets up and goes after Margo...<br /><br /> ADDISON<br /> Too bad! We'll miss the third act.<br /> They're going to play it off stage. <br /><br />Eve turns away abruptly, in sudden tears. <br /><br /> LLOYD<br /> Coming?<br /><br /> KAREN <br /> In a minute...<br /><br />She crosses to Eve, puts an arm around her. <br /><br /> KAREN <br /> You mustn't mind Margo too much,<br /> even if I do...<br /><br /> EVE<br /> But there must be some reason,<br /> something I've done without<br /> knowing...<br /><br /> KAREN <br /> The reason is Margo and don't try<br /> to figure it out. Einstein<br /> couldn't. <br /><br /> EVE<br /> If I thought I'd offended her, of<br /> all people-<br /><br /> KAREN <br /> Eve. I'm fond of Margo too. But I<br /> know Margo. And every now and then<br /> there is nothing I want to do so<br /> much as to kick her right square in<br /> the pants.<br /><br /> EVE<br /> (smiles)<br /> Well - if she's got to pick on<br /> someone, I'd just as soon it was<br /> me.<br /><br />Karen smiles back. She joins Lloyd and Max. <br /><br /> LLOYD<br /> Max is going to drop us...<br /><br /> ADDISON <br /> I've often wondered, Max, why you<br /> bother with a chauffeur and<br /> limousine in New York City.<br /><br /> MAX<br /> In my case it's necessary. Too many<br /> taxi drivers write plays. <br /><br /> ADDISON <br /> And too many of them are produced. <br /><br /> MISS CASWELL<br /> Let's go sit by the piano. <br /><br /> ADDISON<br /> You have me confused with Dan<br /> Dailey. You go sit by the piano.<br /> (to Eve)<br /> And you come sit by me.<br /> (to the others)<br /> Good night. <br /><br />They laugh, say "good night," and start downstairs. As Eve<br />crosses to Addison:<br /><br /> EVE<br /> Karen...<br /> (Karen pauses)<br /> ... you won't forget, will you?<br /> What we talked about before?<br /><br /> KAREN<br /> (smiles)<br /> No, Eve, I won't forget...<br /><br />She follows the men downstairs. CLOSE UP of an old engraving<br />of Mrs. Siddons as 'The Tragic Muse' which hangs among other<br />theatrical mementos on the stair wall...<br /><br />INT. DINING HALL - SARAH SIDDONS SOCIETY - NIGHT<br /><br />The applause continues. Margo sits back in her chair now,<br />picking at a bit of fingernail polish...<br /><br /> MARGO'S VOICE<br /> Bill's welcoming-home-birthday<br /> party... a night to go down in<br /> history. Like the Chicago Fire - or<br /> the Massacre of the Huguenots. Even<br /> before the party started, I could<br /> smell disaster in the air...<br /><br />INT. MARGO'S BEDROOM - NIGHT<br /><br />The same night as the previous sequence, but before the party<br />has started. Margo is all dressed except for jewelry. She<br />stands before her dressing table putting it on. She sips at<br />an enormous Martini...<br /><br /> MARGO'S VOICE<br /> I knew it, I sensed it even as I<br /> finished dressing for that blasted<br /> party...<br /><br />Birdie comes in. <br /><br /> BIRDIE<br /> You all put together? <br /><br /> MARGO<br /> My back's open.<br /> (Birdie goes to work on<br /> it)<br /> Did the extra help get here?<br /><br /> BIRDIE<br /> There's some loose characters<br /> dressed like maids and butlers.<br /> Who'd you call - the William Morris<br /> Agency?<br /><br /> MARGO<br /> You're not being funny, I could get<br /> actors for less. What about the<br /> food? <br /><br /> BIRDIE<br /> The caterer had to back for hors<br /> d'oeuvres-<br /> (she zips Margo)<br /> Voila. <br /><br /> MARGO<br /> (laughs)<br /> That French ventriloquist taught<br /> you a lot, didn't he?<br /><br /> BIRDIE<br /> There was nothing he didn't know.<br /> (she starts tidying the<br /> room)<br /> There's a message from the<br /> bartender. Does Miss Channing know<br /> we ordered domestic gin by mistake?<br /><br /> MARGO<br /> The only thing I ordered by mistake<br /> is the guests.<br /> (Birdie cackles)<br /> They're domestic, too, and they<br /> don't care what they drink as long<br /> as it burns... where's Bill? He's<br /> late. <br /><br /> BIRDIE<br /> Late for what?<br /><br /> MARGO<br /> Don't be dense. The party. <br /><br /> BIRDIE<br /> I ain't dense. And he's been here<br /> twenty minutes. <br /><br /> MARGO<br /> Well, I certainly think it's odd he<br /> hasn't even come up...<br /><br />Her glance meets Birdie's. She turns and strolls out. <br /><br />INT. THIRD FLOOR LANDING - NIGHT<br /><br />Margo speeds up going down the stairs. <br /><br />INT. SECOND FLOOR LANDING - NIGHT<br /><br />Margo shows up again deliberately as she reaches the landing.<br />Sound of Bill and Eve laughing together from the living room.<br />Margo strolls toward it casually. <br /><br />We see Eve seated, looking up fascinated at Bill as he talks -<br />out of the laughter...<br /><br /> BILL <br /> "Don't let it worry you," said the<br /> cameraman, "Even DeMille couldn't<br /> see anything looking through the<br /> wrong end-"<br /> (Eve chuckles)<br /> So that was the first and last time-<br /><br />Eve sees Margo approach. She gets up. Bill turns. <br /><br />INT. MARGO'S LIVING ROOM - NIGHT<br /><br />As Margo strolls up, very off-hand.<br /><br /> MARGO<br /> Don't let me kill the point. Or<br /> isn't it a story for grownups?<br /><br /> BILL <br /> You've heard it. About when I<br /> looked through the wrong end of a<br /> camera finder. <br /><br /> MARGO<br /> (to Eve)<br /> Remind me to tell you about when I<br /> looked into the heart of an<br /> artichoke. <br /><br /> EVE<br /> I'd like to hear it. <br /><br /> MARGO<br /> Some snowy night in front of the<br /> fire... in the meantime, while<br /> we're on the subject, will you<br /> check about the hors d'oeuvres? The<br /> caterer forgot them, the varnish<br /> wasn't dry or something...<br /><br /> EVE<br /> Of course.<br /><br />She leaves. A short lull. Margo looks into cigarette boxes.<br />Bill eyes her curiosity, crosses to the fire. <br /><br /> BILL <br /> Looks like I'm going to have a very<br /> fancy party...<br /><br /> MARGO<br /> I thought you were going to be late-<br /><br /> BILL <br /> When I'm guest of honor?<br /><br /> MARGO <br /> I had no idea you were even here. <br /><br /> BILL <br /> I ran into Eve on my way upstairs;<br /> she told me you were dressing. <br /><br /> MARGO<br /> That never stopped you before. <br /><br /> BILL <br /> Well, we started talking, she<br /> wanted to know all about Hollywood,<br /> she seemed so interested...<br /><br /> MARGO<br /> She's a girl of so many interests. <br /><br /> BILL <br /> It's a pretty rare quality these<br /> days. <br /><br /> MARGO<br /> She's a girl of so many rare<br /> qualities. <br /><br /> BILL <br /> So she seems. <br /><br /> MARGO<br /> (the steel begins to<br /> flash)<br /> So you've pointed out, so often. So<br /> many qualities, so often. Her<br /> loyalty, efficiency, devotion,<br /> warmth, affection - and so young.<br /> So young and so fair...<br /><br />Bill catches the drift. Incredulously. <br /><br /> BILL <br /> I can't believe you're making this<br /> up - it sounds like something out<br /> of an old Clyde Fitch play...<br /><br /> MARGO<br /> Clyde Fitch, thought you may not<br /> think so, was well before my time!<br /><br /> BILL <br /> (laughs)<br /> I've always denied the legend that<br /> you were in 'Our American Cousin'<br /> the night Lincoln was shot...<br /><br /> MARGO<br /> I don't think that's funny!<br /><br /> BILL <br /> Of course it's funny - this is all<br /> too laughable to be anything else.<br /> You know what I think about this -<br /> this age obsession of yours - and<br /> now this ridiculous attempt to whip<br /> yourself up into a jealous froth<br /> because I spent ten minutes with a<br /> stage-struck kid-<br /><br /> MARGO<br /> Twenty minutes!<br /><br /> BILL <br /> Thirty minutes, forty minutes! What<br /> of it?<br /><br /> MARGO<br /> Stage-struck kid... she's a young<br /> lady - of qualities. And I'll have<br /> you know I'm fed up with both the<br /> young lady and her qualities!<br /> Studying me as if - as if I were a<br /> play or a set of blueprints! How I<br /> walk, talk, think, eat, sleep!<br /><br /> BILL <br /> Now how can you take offense at a<br /> kid trying in every way to be as<br /> much like her ideal as possible! <br /><br /> MARGO<br /> Stop calling her a kid! It so<br /> happens there are particular<br /> aspects of my life to which I would<br /> like to maintain sole and exclusive<br /> rights and privileges!<br /><br /> BILL <br /> For instance what?<br /><br /> MARGO<br /> For instance - you!<br /><br /> BILL <br /> This is my cue to take you in my<br /> arms and reassure you - but I'm not<br /> going to. I'm too mad-<br /><br /> MARGO<br /> - guilty.<br /><br /> BILL <br /> Mad! Darling, there are certain<br /> characteristics for which you are<br /> famous - on stage and off. I love<br /> you for some of them - and in spite<br /> of others. I haven't let those<br /> become too important to me. They're<br /> part of your equipment for getting<br /> along in what is laughably called<br /> out environment - you've got to<br /> keep your teeth sharp. All right.<br /> But you will not sharpen them on me<br /> - or on Eve...<br /><br /> MARGO<br /> What about her teeth? What about<br /> her fangs? <br /><br /> BILL <br /> She hasn't cut them yet, and you<br /> know it! So when you start judging<br /> an idealistic dreamy-eyed kid by<br /> the barroom, Benzedrine standards<br /> of this megalomaniac society - I<br /> won't have it! Eve Harrington has<br /> never by word, look, thought or<br /> suggestion indicated anything to me<br /> but her adoration for you and her<br /> happiness at our being in love! And<br /> to intimate anything else doesn't<br /> spell jealousy to me - it spells a<br /> paranoic insecurity that you should<br /> be ashamed of!<br /><br /> MARGO<br /> Cut! Print it! What happens in the<br /> next reel? Do I get dragged off<br /> screaming to the snake pit? <br /><br /> EVE'S VOICE<br /> (quietly)<br /> Miss Channing?<br /><br />Bill and Margo look off. Eve is in the room. They have no way<br />of knowing how long she's been there. <br /><br /> EVE<br /> The hors d'oeuvres are here. Is<br /> there anything else I can do? <br /><br /> MARGO<br /> Thank you, Eve. I'd like a Martini -<br /> very dry. <br /><br /> BILL <br /> I'll get it.<br /> (he crosses to Eve)<br /> What'll you have? <br /><br />Eve, involuntarily, looks to Margo.<br /><br /> MARGO<br /> A milkshake?<br /><br />Eve smiles, turns to Bill. <br /><br /> EVE<br /> A Martini. Very dry, please...<br /><br />Bill smiles back and starts across the landing toward the<br />pantry. As he crosses the stairs, Karen, Lloyd and Max come<br />up from the street level below. General greetings. Bill<br />continues up to pantry. Eve and then Margo come up to add<br />their welcome...<br /><br /> EVE<br /> (to Karen)<br /> May I have your coat?<br /><br /> KAREN<br /> Don't bother, I can take it up<br /> myself...<br /><br /> EVE<br /> Please...<br /><br />Karen yields with a "thank you, Eve-." Eve goes up with the<br />coat. Lloyd looks after her approvingly.<br /><br /> LLOYD<br /> I like that girl. That quality of<br /> quiet graciousness...<br /><br /> MARGO<br /> ... Among so many quiet qualities.<br /><br />They start for the living room.<br /><br /> KAREN <br /> Margo, nothing you've ever done has<br /> made me as happy as your taking Eve<br /> in...<br /><br /> MARGO<br /> I'm so happy you're happy. <br /><br /> MAX<br /> Look, you haven't been running a<br /> settlement house exactly - the<br /> kid's earned her way. You had a<br /> pretty mixed-up inventory when she<br /> took over - merchandise laying all<br /> over the shop...<br /><br /> LLOYD<br /> You've got Margo mixed up with a<br /> five-and-ten-cent store...<br /><br /> MARGO<br /> Make it Bergdorf Goodman... and now<br /> everything is on its proper shelf,<br /> eh, Max? Done up in little ribbons.<br /> I could die right now and nobody'd<br /> be confused. How about you, Max?<br /><br /> MAX<br /> How about me what? <br /><br />They've come to a halt near the fireplace. <br /><br /> MARGO<br /> Supposed you dropped dead. What<br /> about your inventory?<br /><br /> MAX<br /> I ain't gonna die. Not with a hit. <br /><br /> KAREN <br /> This is the most ghoulish<br /> conversation...<br /><br />Bill brings two Martinis. He hands one to Margo. <br /><br /> MARGO<br /> (it drips ice)<br /> Thank you. <br /><br /> BILL <br /> Nothing, really...<br /><br /> MARGO<br /> The kid - junior, that is - will be<br /> right down. Unless you'd like to<br /> take her drink up to her...<br /><br /> BILL <br /> (smiles)<br /> I can always get a fresh one. Karen<br /> - you're a Gibson girl...<br /><br />He hands Eve's drink to Karen. Max has wandered off. Other<br />guests are arriving. Margo gulps her drink, hands Bill the<br />empty glass. He puts it on a passing tray. Margo takes a<br />fresh one at the same time. <br /><br /> LLOYD<br /> The general atmosphere is very<br /> Macbethish. What has or is about to<br /> happen? <br /><br /> MARGO<br /> (to Bill)<br /> What is he talking about? <br /><br /> BILL <br /> Macbeth. <br /><br /> KAREN <br /> (to Margo)<br /> We know you, we've seen you before<br /> like this. Is it over - or just<br /> beginning? <br /><br />Margo surveys them all. <br /><br /> MARGO<br /> Fasten your seat belts. It's going<br /> to be a bumpy night. <br /><br />She downs the drink, hands the empty glass to Bill, and<br />leaves them. She passes two women, gabbing by the piano. As<br />they see her:<br /><br /> WOMAN #1<br /> Margo, darling!<br /><br /> WOMAN #2<br /> Darling!<br /><br /> MARGO<br /> (passing)<br /> Darlings...<br /><br />She arrives at the landing just as Addison comes up with Miss<br />Caswell. Margo takes a drink from a passing tray. <br /><br /> MARGO<br /> (to Addison)<br /> I distinctly remember striking your<br /> name from the guest list. What are<br /> you doing here?<br /><br /> ADDISON<br /> Dear Margo. You were an<br /> unforgettable Peter Pan - you must<br /> play it again, soon. You remember<br /> Miss Caswell?<br /><br /> MARGO<br /> I do not. How do you do?<br /><br /> MISS CASWELL<br /> We never met. That's why. <br /><br /> ADDISON<br /> Miss Caswell is an actress. A<br /> graduate of Copacabana School of<br /> Dramatic Arts. <br /> (his glance is attracted<br /> by Eve coming downstairs)<br /> Ah... Eve.<br /><br /> EVE<br /> (deferentially)<br /> Good evening, Mr. deWitt.<br /><br /> MARGO<br /> I had no idea you knew each other.<br /><br /> ADDISON <br /> This must be, at long last, our<br /> formal introduction. Until now we<br /> have met only in passing...<br /><br /> MISS CASWELL<br /> That's how you met me. In passing. <br /><br /> MARGO<br /> (smiles)<br /> Eve, this is an old friend of Mr.<br /> deWitt's mother - Miss Caswell,<br /> Miss Harrington...<br /> (the two girls say hello)<br /> Addison, I've been wanting you to<br /> meet Eve for the longest time-<br /><br /> ADDISON<br /> (murmurs)<br /> It could only have been your<br /> natural timidity that kept you from<br /> mentioning it...<br /><br /> MARGO<br /> You've heard of her great interest<br /> in the Theater-<br /><br /> ADDISON<br /> We have that in common. <br /><br /> MARGO<br /> Then you two must have a long talk-<br /><br /> EVE<br /> I'm afraid Mr. deWitt would find me<br /> boring before too long. <br /><br /> MISS CASWELL<br /> You won't bore him, honey. You<br /> won't even get to talk. <br /><br /> ADDISON<br /> (icily)<br /> Claudia dear, come closer.<br /> (she does, and he points)<br /> This is Max Fabian. He is a<br /> producer. Go do yourself some good. <br /><br /> MISS CASWELL<br /> (sighs)<br /> Why do they always look like<br /> unhappy rabbits? <br /><br /> ADDISON<br /> Because that is what they are. Go<br /> make him happy. <br /><br />Miss Caswell drapes her coat over the rail, heads for Max.<br />Addison puts Eve's arm in his. <br /><br /> ADDISON<br /> (to Margo)<br /> You mustn't worry about your little<br /> charge. She is in safe hands. <br /><br /> MARGO<br /> Amen.<br /><br />Eve smiles uncertainly at Margo as he leads her away. Margo<br />looks after them. She downs her drink...<br /><br />INT. MARGO'S LIVING ROOM - NIGHT<br /><br />It's many Martinis later. Most of the guests have gone. The<br />party has reached that static state - everyone's assumed more<br />or less permanent places. <br /><br />Birdie passes, carrying a cup of coffee. CAMERA FOLLOWS her<br />to the piano where Margo sits on the bench beside the<br />pianist. He is just finishing "Liebestraum" and she stares<br />moodily into a Martini. Birdie halts beside her with the<br />coffee. Margo looks up. Birdie holds out the coffee. Margo<br />takes the onion out of the Martini, drops it into the coffee<br />and waves Birdie away. Birdie goes. "Liebestraum" comes to an<br />end. The pianist tries to ease into a more sophisticated<br />rhythm. Margo stops him. <br /><br /> MARGO<br /> (quietly)<br /> "Liebestraum."<br /><br /> PIANIST<br /> I just played it. <br /><br /> MARGO<br /> Play it again. <br /><br /> PIANIST<br /> But that was the fourth straight<br /> time. <br /><br /> MARGO<br /> Then this will be five. I suppose<br /> you think I'm too drunk to count. <br /><br /> PIANIST<br /> No. You're just crazy about<br /> "Liebestraum."<br /><br /> MARGO<br /> "Liebestraum."<br /><br /> PIANIST<br /> Look, Miss Channing... it's kind of<br /> depressing. If you don't mind my<br /> saying so, everybody's kind of<br /> dying on the vine...<br /><br /> MARGO<br /> My dear Horowitz. In the first<br /> place, I'm paying you union scale.<br /> Second, it's my piano. Third, if<br /> everybody doesn't like kind of<br /> dying on the vine, they can get off<br /> the vine and go home.<br /> "Liebestraum."<br /><br />Unhappily, he plays "Liebestraum." Margo sips her Martini,<br />stares down into it again. Bill tiptoes up. <br /><br /> BILL<br /> (whispers)<br /> Many of your guests have been<br /> wondering when they may be<br /> permitted to view the body. Where<br /> has it been laid out? <br /><br /> MARGO<br /> (somberly)<br /> It hasn't been laid out, we haven't<br /> finished with the embalming. As a<br /> matter of fact, you're looking at<br /> it. The remains of Margo Channing.<br /> Sitting up. It is my last wish to<br /> be buried sitting up. <br /><br /> BILL <br /> (trying to kid her out of<br /> it)<br /> Wouldn't you feel more natural<br /> taking a bow?<br /><br /> MARGO<br /> You know nothing about feelings,<br /> natural or unnatural. <br /><br /> BILL <br /> Then without feeling, your guests<br /> were also wondering whether the<br /> music couldn't be a shade more on<br /> the - shall we say, happier side?<br /><br /> MARGO<br /> If my guests do not like it here, I<br /> suggest they accompany you to the<br /> nursery where I'm sure you will all<br /> feel more at home. <br /><br />Bill is about to get mad - when Max bustles up. <br /><br /> MAX<br /> Margo. You by any chance got<br /> bicarbonate of soda in the house?<br /><br /> MARGO<br /> (sympathetic)<br /> Poor Max. Heartburn?<br /> (Max nods)<br /> It's that Miss Caswell. I don't<br /> know why she doesn't give Addison<br /> heartburn. <br /><br /> BILL <br /> No heart to burn. <br /><br /> MARGO<br /> Everybody has a heart - except some<br /> people.<br /> (she finishes her drink,<br /> stands up)<br /> Of course I've got bicarb. There's<br /> a box in the pantry. We'll put your<br /> name on it. Max Fabian. It'll say<br /> there. Always. Just for you. <br /><br /> MAX<br /> (touched)<br /> Let the rest of the world beat<br /> their brains out for a buck. It's<br /> friends that count. And I got<br /> friends. <br /><br /> MARGO<br /> I love you, Max. I really mean it.<br /> I love you. Come to the pantry. <br /><br />She takes off. Max waits to set Bill straight. <br /><br /> MAX<br /> She loves me like a father. Also,<br /> she's loaded. <br /><br />He starts off after Margo. As the CAMERA PANS with Bill we<br />see Margo going into the pantry with Max following her. Bill<br />joins Addison and Miss Caswell on the stairs. <br /><br />INT. PANTRY - NIGHT<br /><br />It's a good sized one. In the b.g., the caterers are packing<br />dishes, glassware, etc. Margo crosses to a cupboard. She<br />finds the bicarb. <br /><br /> MARGO<br /> Here you are, Maxie dear. One good<br /> burp and you'll be rid of that Miss<br /> Caswell...<br /><br /> MAX<br /> The situation I'm in ain't the kind<br /> you can belch your way out. I made<br /> a promise...<br /><br /> MARGO<br /> Miss Caswell?<br /> (Max nods)<br /> What?<br /><br /> MAX<br /> An audition for the part we're<br /> replacing. What's-her-name, your<br /> sister...<br /><br />He adds water to the bicarb. <br /><br /> MARGO<br /> Well, if she can act, she might not<br /> be bad. She looks like she might<br /> burn down a plantation...<br /><br /> MAX<br /> (mixing)<br /> I feel right now like there's one<br /> burning in me. <br /><br /> MARGO<br /> When's the audition?<br /><br /> MAX<br /> A couple of weeks. <br /><br /> MARGO<br /> I tell you what. Why don't I read<br /> with her? <br /><br /> MAX<br /> Would you?<br /><br /> MARGO<br /> Anything to help you out, Max. <br /><br /> MAX<br /> This is real cooperation. I<br /> appreciate it. <br /><br /> MARGO<br /> Not at all. And you could do me a<br /> big favor, if you would-<br /><br /> MAX<br /> All you got to do is name it. <br /><br /> MARGO<br /> Give Eve Harrington job in you<br /> office.<br /><br />Max burps. <br /><br /> MARGO<br /> You get quick action, don't you?<br /><br /> MAX<br /> Margo, I wouldn't think of taking<br /> that girl away from you...<br /><br /> MARGO<br /> You said yourself my inventory was<br /> in good shape - all of my<br /> merchandise put away. To keep her<br /> here with nothing to do - I'd be<br /> standing in her way... and you need<br /> her, Max. <br /><br /> MAX<br /> But what could she do?<br /><br /> MARGO<br /> She'd be a great help - read<br /> scripts, interview people you have<br /> to see, get rid of the ones you<br /> don't have to... you'd be a man of<br /> leisure-<br /><br /> MAX<br /> Well...<br /><br /> MARGO <br /> Think of your health, Max - more<br /> time to relax out in the fresh air<br /> at a race track...<br /><br /> MAX<br /> I don't know if this would be a<br /> wise move...<br /><br /> MARGO<br /> Promise. <br /><br /> MAX<br /> I promise. <br /><br /> MARGO<br /> (happily)<br /> That's my Max. <br /><br />Lloyd enters, looking for her. <br /><br /> LLOYD<br /> There you are, both of you. Max,<br /> Karen has decided it's time to go.<br /><br /> MARGO<br /> Where is she?<br /><br /> LLOYD<br /> Up in the room. <br /><br /> MAX<br /> If you'll excuse me-<br /> (to Margo)<br /> I'll tell Miss Caswell...<br /><br />He goes out. A pause. <br /><br /> MARGO<br /> Who's left out there?<br /><br /> LLOYD<br /> Too many. And you've got a new<br /> guest. A movie star from Hollywood. <br /><br /> MARGO<br /> Shucks. And my autograph book is at<br /> the cleaners.<br /><br />Another pause. <br /><br /> MARGO<br /> You disapprove of me when I'm like<br /> this, don't you?<br /><br /> LLOYD<br /> Not exactly. Sometimes, though, I<br /> wish I understood you better.<br /><br /> MARGO<br /> When you do, let me in on it. <br /><br /> LLOYD<br /> I will. <br /><br />Another pause. <br /><br /> MARGO<br /> How's the new one coming?<br /><br /> LLOYD<br /> The play? All right, I guess...<br /><br /> MARGO<br /> "Cora." She's - still a girl of<br /> twenty?<br /><br /> LLOYD<br /> Twentyish. It isn't important. <br /><br /> MARGO<br /> Don't you think it's about time it<br /> became important?<br /><br /> LLOYD<br /> How do you mean? <br /><br /> MARGO<br /> Don't be evasive. <br /><br /> LLOYD<br /> Margo, you haven't got any age. <br /><br /> MARGO<br /> Miss Channing is ageless. Spoken<br /> like a press agent.<br /><br /> LLOYD<br /> I know what I'm talking about,<br /> after all they're my plays...<br /><br /> MARGO<br /> Spoken like an author.<br /> (abruptly)<br /> Lloyd, I'm not twentyish. I am not<br /> thirtyish. Three months ago, I was<br /> forty years old. Forty. Four oh.<br /> (smiles)<br /> That slipped out, I hadn't quite<br /> made up my mind to admit it. Now I<br /> feel as if I'd suddenly taken all<br /> my clothes off...<br /><br /> LLOYD<br /> Week after week, to thousands of<br /> people, you're as young as you<br /> want...<br /><br /> MARGO<br /> ... as young as they want, you<br /> mean. And I'm not interested in<br /> whether thousands of people think<br /> I'm six or six hundred-<br /><br /> LLOYD<br /> Just one person. Isn't that so?<br /> (Margo doesn't answer)<br /> You know what this is all about,<br /> don't you? It has very little to do<br /> with whether you should play "Cora"<br /> - it has everything to do with the<br /> fact that you've had another fight<br /> with Bill. <br /><br />A pause. Margo closes the box of bicarb. <br /><br /> MARGO<br /> Bill's thirty-two. He looks thirty<br /> two. He looked it five years ago,<br /> he'll look it twenty years from<br /> now. I hate men. <br /> (she puts the box down)<br /> Don't worry, Lloyd. I'll play your<br /> play. I'll wear rompers and come in<br /> rolling a hoop if you like... let's<br /> go say good night. <br /><br />They exit into the dining room. As they open the swinging<br />door, the CAMERA REMAINS in the doorway. Margo and Lloyd walk<br />toward the stairs. In the b.g., Eve is talking to the group.<br />How much she says is dependent on how long it takes Margo and<br />Lloyd to reach her. <br /><br /> EVE<br /> (in the b.g.)<br /> Imagine... to know, every night,<br /> that different hundreds of people<br /> love you... They smile, their eyes<br /> shine - you've pleased them, they<br /> want you, you belong. Anything's<br /> worth that. <br /><br />Just as before, she becomes aware of Margo's approach with<br />Lloyd. She scrambles to her feet...<br /><br /> MARGO<br /> Don't get up. And please stop<br /> acting as if I were the queen<br /> mother. <br /><br />And as Margo speaks - or before - we <br /><br />FADE OUT.<br /><br />FADE IN:<br /><br />EXT. N.Y. THEATER STREET - DAY<br /><br />Margo gets out of a cab in front of the theater and goes in.<br />It's Friday afternoon - no performance. <br /><br /> MARGO'S VOICE<br /> What was it the wise man said -<br /> "This, too, will pass away"? Two<br /> weeks later - the day of the<br /> audition - all was well with Bill<br /> and me, the world and me-<br /><br />INT. LOBBY AND FOYER - CURRAN THEATER - DAY<br /><br />Margo comes from the street through the lobby ( a few people<br />buying tickets) and into the deserted foyer. She spots<br />Addison sprawled on one of the sofas. <br /><br /> MARGO<br /> Why so remote, Addison? I should<br /> think you'd be at the side of your<br /> protegee, lending her moral<br /> support...<br /><br /> ADDISON<br /> Miss Caswell, at the moment, is<br /> where I can lend no support - moral<br /> or otherwise.<br /><br /> MARGO<br /> The ladies' - shall we say -<br /> lounge?<br /><br /> ADDISON<br /> Being violently ill to her tummy. <br /><br /> MARGO<br /> It's good luck before an audition.<br /> She'll be all right once it starts.<br /><br />She heads for the auditorium.<br /><br /> ADDISON<br /> Miss Caswell got lucky too late.<br /> The audition is over. <br /><br /> MARGO<br /> (stops)<br /> Over? It can't be. I've come to<br /> read with her. I promised Max. <br /><br /> ADDISON<br /> The audition was called for 2:30.<br /> It is now nearly four. <br /><br /> MARGO<br /> (lightly)<br /> Is it really? I must start wearing<br /> a watch, I never do, you know...<br /> who read with Miss Caswell? Bill?<br /> (he shakes his head)<br /> Lloyd?<br /> (he shakes his head)<br /> Well, it couldn't have been Max!<br /> Who?<br /><br /> ADDISON<br /> Naturally enough, your understudy. <br /><br /> MARGO<br /> I consider it highly unnatural to<br /> allow a girl in an advanced state<br /> of pregnancy-<br /><br /> ADDISON<br /> I refer to your new and unpregnant<br /> understudy. Eve Harrington. <br /><br /> MARGO<br /> Eve! My understudy...<br /><br /> ADDISON<br /> (keenly)<br /> Didn't you know?<br /><br /> MARGO<br /> (quickly)<br /> Of course I knew. <br /><br /> ADDISON<br /> It just slipped your mind. <br /><br />A moment of silence. <br /><br /> MARGO<br /> How... how was Miss Caswell?<br /><br /> ADDISON<br /> Frankly, I don't remember.<br /><br /> MARGO<br /> Just slipped your mind. <br /><br /> ADDISON<br /> Completely. Nor, I am sure, could<br /> anyone else present tell you how<br /> Miss Caswell read or whether Miss<br /> Caswell read or rode a pogo stick.<br /><br /> MARGO<br /> Was she that bad?<br /><br />As Addison speaks, he rises with excitement.<br /><br /> ADDISON<br /> Margo, as you know, i have lived in<br /> the Theater as a Trappist monk<br /> lives in his faith. I have no other<br /> world, no other life - and once in<br /> a great while I experience that<br /> moment of Revelation for which all<br /> true believers wait and pray. You<br /> were one. Jeanne Eagels another...<br /> Paula Wessely... Hayes - there are<br /> others, three or four. Eve<br /> Harrington will be among them...<br /><br /> MARGO<br /> (flatly)<br /> I take it she read well.<br /><br /> ADDISON<br /> It wasn't reading, it was a<br /> performance. Brilliant, vivid,<br /> something made of music and fire...<br /><br /> MARGO<br /> How nice. <br /><br /> ADDISON<br /> In time she'll be what you are. <br /><br /> MARGO<br /> A mass of music and fire. That's<br /> me. An old kazoo and some sparkles.<br /> Tell me - was Bill swept away, too,<br /> or were you too full of Revelation<br /> to notice?<br /><br /> ADDISON<br /> Bill didn't say - but Lloyd was<br /> beside himself. He listened to his<br /> play as if someone else had written<br /> it, he said, it sounded so fresh,<br /> so new, so full of meaning...<br /><br /> MARGO<br /> How nice for Lloyd. And how nice<br /> for Eve. How nice for everybody.<br /><br />Addison, of course, knows exactly what she's doing. He senses<br />the approaching typhoon, he whips it up...<br /><br /> ADDISON<br /> Eve was incredibly modest. She<br /> insisted that no credit was due<br /> her, that Lloyd felt as he did only<br /> because she read lines exactly as<br /> he had written them. <br /><br /> MARGO<br /> The implication being that I have<br /> not been reading them as written.<br /><br /> ADDISON<br /> To the best of my recollection,<br /> neither your name nor your<br /> performance entered the<br /> conversation. <br /><br />Miss Caswell appears, uncertain, in the b.g.<br /><br /> ADDISON <br /> Feeling better, my dear?<br /><br /> MISS CASWELL<br /> Like I just swam the English<br /> Channel. Now what?<br /><br /> ADDISON<br /> You next move, it seems to me,<br /> should be toward television. <br /><br />Margo, abruptly, starts for the auditorium. Addison smiles.<br />He takes Miss Caswell's arm. <br /><br /> MISS CASWELL<br /> Tell me this. Do they have<br /> auditions for television?<br /><br /> ADDISON<br /> That's all television is, my dear.<br /> Nothing but auditions. <br /><br />He takes her toward the street. <br /><br />INT. THEATER - CURRAN THEATER - DAY<br /><br />The curtain is up; the set, covered, is a bedroom in a<br />deteriorating Southern mansion. <br /><br />There is no one in the theater but Max, seated on the aisle<br />about two-thirds down, and Eve with Lloyd and Bill on the<br />stage. She is seated; they stand between her and auditorium.<br />There is some ad lib talk among the three which we cannot<br />make out. Margo marches down the aisle with a steady pace. <br /><br />She passes Max smiles a sickly, hopeful smile. She ignores<br />him as if he were a used paper cup. She disappears through<br />the door which leads backstage. <br /><br />Max whistles. Lloyd turns. Max indicated the door and puts<br />his hands to his head in despair. <br /><br />Margo walks out of the wings on stage. Bill and Lloyd turn to<br />her. Eve rises. <br /><br /> MARGO<br /> (cheerily)<br /> Terribly sorry I'm late, lunch was<br /> long and I couldn't find a cab -<br /> where's Miss Caswell, shall we<br /> start? Oh, hello, Eve...<br /><br /> EVE<br /> Hello, Miss Channing. <br /><br /> MARGO<br /> How are you making out in Mr.<br /> Fabian's office?<br /> (over the footlights to<br /> Max)<br /> I don't want you working the child<br /> too hard, Max - just because you<br /> promised. As you see, I kept my<br /> promise, too...<br /><br />Max slumps in his seat. By the time Margo turns back to them,<br />the others have exchanged swift looks. <br /><br /> BILL <br /> It's all over. <br /><br /> MARGO<br /> What's all over?<br /><br /> BILL <br /> The audition. <br /><br /> MARGO<br /> (pleased astonishment)<br /> Eve?<br /> (she turns to her)<br /> How enchanting...<br /> (to Lloyd and Bill)<br /> Wherever did you get the idea of<br /> having Eve read with Miss Caswell?<br /><br /> LLOYD<br /> She's your understudy.<br /><br /> MARGO<br /> Eve? Eve, my understudy? But I had<br /> no idea...<br /><br /> LLOYD<br /> I thought you knew... She was put<br /> on over a week ago-<br /><br /> MARGO<br /> It seems almost inconceivable that<br /> I haven't seen her backstage, but<br /> with so many people loitering<br /> around... well, well. So Eve is not<br /> working for Max after all-<br /> (out to Max again)<br /> - Max you sly puss.<br /><br />Max submerges further in his seat. <br /><br /> EVE<br /> Miss Channing, I can't tell you how<br /> glad I am that you arrived so late.<br /><br /> MARGO<br /> Really, Eve? Why?<br /><br /> EVE<br /> Well, if you'd been here to begin<br /> with, I wouldn't have dared to read<br /> at all...<br /><br /> MARGO<br /> Why not?<br /><br /> EVE<br /> ... and if you'd come in the<br /> middle, I'd have stopped, I<br /> couldn't have gone on-<br /><br /> MARGO<br /> (murmurs)<br /> What a pity, all that fire and<br /> music being turned off...<br /><br /> BILL <br /> What fire and music?<br /><br /> MARGO<br /> You wouldn't understand. <br /> (to Lloyd)<br /> How was Miss Caswell?<br /><br /> LLOYD<br /> Back to Copacabana. But Eve. Margo,<br /> let me tell you about Eve-<br /><br /> EVE<br /> (breaking in)<br /> I was dreadful, Miss Channing,<br /> believe me - I have no right to be<br /> anyone's understudy, much less<br /> yours...<br /><br /> MARGO<br /> I'm sure you underestimate<br /> yourself, Eve. You always do.<br /> (to Lloyd)<br /> You were about to tell me about<br /> Eve...<br /><br /> LLOYD<br /> You'd have been proud of her.<br /><br /> MARGO<br /> I'm sure. <br /><br /> LLOYD<br /> She was a revelation...<br /><br /> MARGO<br /> To you, too?<br /><br /> LLOYD<br /> What do you mean?<br /><br /> MARGO<br /> (the ice begins to form)<br /> I mean, among other things, that it<br /> must have been a revelation to have<br /> your twenty-four-year-old character<br /> played by twenty-four-year-old<br /> actress...<br /><br /> LLOYD<br /> That's beside the point. <br /><br /> MARGO<br /> It's right to the point. Also that<br /> it must have sounded so new and<br /> fresh to you - so exciting to have<br /> the lines read as you wrote them!<br /><br /> BILL <br /> Addison-!<br /><br /> MARGO<br /> So full of meaning, fire and music!<br /><br /> LLOYD<br /> You've been talking to that<br /> venomous fishwife, Addison deWitt-<br /><br /> MARGO<br /> - in this case, apparently, as<br /> trustworthy as the World Almanac!<br /><br /> LLOYD<br /> You knew when you came in that the<br /> audition was over, that Eve was<br /> your understudy! Playing that<br /> childish game of cat and mouse...<br /><br /> MARGO<br /> Not mouse, never mouse! If anything<br /> - rat!<br /><br /> LLOYD<br /> You have a genius for making<br /> barroom brawl out of a perfectly<br /> innocent misunderstanding at most! <br /><br /> MARGO<br /> Perfectly innocent! Man have been<br /> hanged for less! I'm lied to,<br /> attacked behind my back, accused of<br /> reading your silly dialogue<br /> inaccurately - as if it were Holy<br /> Gospel!<br /><br /> LLOYD<br /> I never said it was!<br /><br /> MARGO<br /> Then you listened as if someone<br /> else had written you play - whom<br /> did you have in mind? Sherwood?<br /> Arthur Miller? Beaumont and<br /> Fletcher? <br /><br />Max has edged his way to the stage. <br /><br /> MAX<br /> (from below)<br /> May I say a word?<br /><br /> LLOYD<br /> No!<br /> (to Margo)<br /> What makes you think that either<br /> Miller or Sherwood would stand for<br /> the nonsense I take from you -<br /> you'd better stick to Beaumont and<br /> Fletcher! They've been dead for<br /> three hundred years! <br /><br />He stalks into the wings. Bill's reaction to the fight is<br />typical. He lights a cigarette, stretches out on the covered<br />bed. Eve stands frozen with fear. Margo yells after Lloyd<br />into the wings. <br /><br /> MARGO<br /> And they're getting better<br /> performances today than they ever<br /> got! All playwrights should be dead<br /> for three hundred years!<br /><br />Lloyd comes out of the door leading to the auditorium. The<br />battle goes on without a pause. As he yells back, he crosses<br />to Max at row A, center. <br /><br /> LLOYD<br /> That would solve none of their<br /> problems - because actresses never<br /> die! The stars never die and never<br /> change!<br /><br />He starts up the aisle with Max. <br /><br /> MARGO<br /> You can change this star any time<br /> you want! For a new, fresh,<br /> exciting one fully equipped with<br /> fire and music! Any time you want -<br /> starting with tonight's<br /> performance!<br /><br />Now it's Max who stops and shouts back at her.<br /><br /> MAX<br /> This is for lawyers to talk about,<br /> this concerns a run-of-the-play<br /> contract, and this you can't<br /> rewrite or ad lib!<br /><br /> MARGO<br /> (from the stage)<br /> Are you threatening me with legal<br /> action, Mr. Fabian?<br /><br /> MAX<br /> Are you breaking the contract?<br /><br /> MARGO<br /> Answer my question!<br /><br /> MAX<br /> Who am I to threaten? I'm a dying<br /> man. <br /><br /> MARGO<br /> I didn't hear you. <br /><br /> MAX <br /> (yelling)<br /> I said I'm a dying man!<br /><br /> MARGO<br /> Not until the last drugstore has<br /> sold its last pill!<br /><br /> LLOYD<br /> (from the top of the<br /> aisle)<br /> I shall never understand the weird<br /> process by which a body with a<br /> voice suddenly fancies itself a<br /> mind! Just when exactly does an<br /> actress decide they're her words<br /> she's saying and her thoughts she's<br /> expressing? <br /><br /> MARGO<br /> Usually at the point when she's got<br /> to rewrite and rethink them to keep<br /> the audience from leaving the<br /> theater!<br /><br /> LLOYD<br /> It's about time the piano realized<br /> it has not written the concerto!<br /><br />Max has already walked out unhappily. Lloyd now slams out.<br />Margo glares after him, then turns to Bill who smokes his<br />cigarette peacefully on the bed. <br /><br /> MARGO<br /> (quiet menace)<br /> And you, I take it, are the<br /> Paderewski who plays his concerto<br /> on me, the piano? <br /> (Bill waves his cigarette;<br /> he's noncommittal)<br /> Where is Princess Fire-and-Music?<br /><br /> BILL <br /> Who?<br /><br /> MARGO<br /> The kid. Junior. <br /><br /> BILL <br /> (looks lazily)<br /> Gone.<br /><br /> MARGO<br /> I must have frightened her away. <br /><br /> BILL <br /> I wouldn't be surprised. Sometimes<br /> you frighten me. <br /><br /> MARGO<br /> (paces up and down)<br /> Poor little flower. Just dropped<br /> her petals and folded her tent...<br /><br /> BILL <br /> Don't mix your metaphors. <br /><br /> MARGO<br /> I mix what I like. <br /><br /> BILL <br /> Okay. Mix. <br /><br /> MARGO<br /> I'm nothing but a body with a<br /> voice. No mind. <br /><br /> BILL<br /> What a body, what a voice. <br /><br /> MARGO<br /> The ex-ship news' reporter. No<br /> body, no voice, all mind!<br /><br /> BILL <br /> The gong rang. The fight's over.<br /> Calm down. <br /><br /> MARGO<br /> I will not calm down!<br /><br /> BILL <br /> Don't calm down. <br /><br /> MARGO<br /> You're being terribly tolerant,<br /> aren't you?<br /><br /> BILL <br /> I'm trying terribly hard. <br /><br /> MARGO<br /> Well, you needn't. I will not be<br /> tolerated. And I will not be<br /> plotted against!<br /><br /> BILL <br /> Here we go...<br /><br /> MARGO<br /> Such nonsense, what do you all take<br /> me for - little Nell from the<br /> country? Been my understudy for<br /> over a week without my knowing,<br /> carefully hidden no doubt-<br /><br /> BILL <br /> (sits up)<br /> Now don't get carried away-<br /><br /> MARGO<br /> (going right on)<br /> - shows up for an audition when<br /> everyone knew I'd be here... and<br /> gives a performance! Out of nowhere<br /> - gives a performance!<br /><br /> BILL <br /> You've been all through that with<br /> Lloyd-<br /><br /> MARGO<br /> The playwright doesn't make the<br /> performance - and it doesn't just<br /> happen! And this one didn't - full<br /> of fire and music and whatnot, it<br /> was carefully rehearsed I have no<br /> doubt, over and over, full of those<br /> Bill Sampson touches!<br /><br /> BILL <br /> I am sick and tired of these<br /> paranoiac outbursts!<br /><br /> MARGO<br /> Paranoiac!<br /><br /> BILL <br /> I didn't know Eve Harrington was<br /> your understudy until half past two<br /> this afternoon!<br /><br /> MARGO<br /> Tell that to Dr. Freud! Along with<br /> the rest of it...<br /><br />She turns away. Bill grabs her, pulls her down on the bed. He<br />holds her down. <br /><br /> BILL <br /> No, I'll tell it to you! For the<br /> last time, I'll tell it to you.<br /> Because you've got to stop hurting<br /> yourself, and me, and the two of us<br /> by these paranoiac tantrums!<br /><br /> MARGO<br /> (struggling)<br /> That word again! I don't even know<br /> what it means...<br /><br /> BILL <br /> (firmly)<br /> It's time you found out. I love<br /> you.<br /> (Margo says "Ha!")<br /> I love you. You're a beautiful and<br /> intelligent woman- <br /> (Margo says "A body with a<br /> voice")<br /> - a beautiful and intelligent woman<br /> and a great actress-<br /> (he waits; Margo says<br /> nothing)<br /> - at the peak of her career. You<br /> have every reason for happiness-<br /> (Margo says "Except<br /> happiness")<br /> - every reason, but due to some<br /> strange, uncontrollable,<br /> unconscious drive you permit the<br /> slightest action of a kid-<br /> (Margo sneers "Kid!")<br /> - kid like Eve to turn you into a<br /> hysterical, screaming harpy! Now<br /> once and for all, stop it! <br /><br />Margo seems quiet. He gets up. She sits up. <br /><br /> MARGO<br /> It's obvious you're not a woman.<br /><br /> BILL <br /> I've been aware of that for some<br /> time. <br /><br /> MARGO<br /> Well, I am. <br /><br /> BILL <br /> I'll say. <br /><br /> MARGO<br /> Don't be condescending. <br /><br /> BILL <br /> Come on, get up. I'll buy you a<br /> drink. <br /><br /> MARGO<br /> (with dignity)<br /> I admit I may have seen better<br /> days, but I am still not to be had<br /> for the price of a cocktail - like<br /> a salted peanut.<br /><br /> BILL <br /> (laughs)<br /> Margo, let's make peace.<br /><br /> MARGO<br /> The terms are too high.<br /> Unconditional surrender. <br /><br /> BILL <br /> Just being happy? Just stopping all<br /> this nonsense about Eve - and Eve<br /> and me?<br /><br /> MARGO<br /> It's not nonsense. <br /><br /> BILL <br /> But if I tell you it is - as I just<br /> did. Were you listening to me? <br /> (Margo nods)<br /> Isn't that enough?<br /><br /> MARGO<br /> I wish it were. <br /><br /> BILL <br /> Then what would be enough?<br /> (Margo doesn't answer)<br /> If we were married?<br /><br /> MARGO<br /> I wouldn't want you to marry me<br /> just to prove something. <br /><br /> BILL <br /> You've had so many reasons for not<br /> wanting to marry me... Margo, tell<br /> me what's behind all this.<br /><br /> MARGO<br /> I - I don't know, Bill. Just a<br /> feeling, I don't know...<br /><br /> BILL <br /> I think you do know but you won't<br /> or can't tell me. <br /> (Margo doesn't say)<br /> I said before it was going to be my<br /> last try, and I meant it. I can't<br /> think of anything else to do. I<br /> wish I could. <br /> (a pause)<br /> We usually wind up screaming and<br /> throwing things as the curtain<br /> comes down. Then it comes up again<br /> and everything's fine. But not this<br /> time.<br /> (he takes a breath)<br /> You know there isn't a playwright<br /> in the world who could make me<br /> believe this would happen between<br /> two adult people. Goodbye, Margo. <br /><br />No word from her. He starts away. <br /><br /> MARGO<br /> Bill...<br /> (he stops)<br /> ... where are you going? To find<br /> Eve? <br /><br /> BILL <br /> (smiles grimly)<br /> That suddenly makes the whole thing<br /> believable.<br /><br />He goes out. Margo, alone, sit for a moment sadly. Then she<br />begins to cry...<br /><br />INT. RICHARDS' STUDIO APARTMENT - DAY<br /><br />One large room, a small foyer with a door to the corridor. A<br />stair up one wall to a narrow balcony from which a couple of<br />bedroom open.<br /><br />Karen is painting. Earnestly but badly. A still life of an<br />orange, an avocado, an eggplant and three bananas. <br /><br /> KAREN'S VOICE<br /> On the day of the audition, my<br /> biggest worry was to keep a banana<br /> looking part of an eggplant... then<br /> Lloyd came home.<br /> (in the b.g., Lloyd lets<br /> himself in)<br /> It was right after his brawl with<br /> Margo...<br /><br />Lloyd slams the door, flings his hat away, strides in,<br />peeling off muffler and overcoat. <br /><br /> KAREN<br /> Lloyd, what happened...?<br /><br /> LLOYD<br /> Up to here! That's where I've got<br /> it - up to here! Of all the star<br /> ridden, presumptuous, hysterical-<br /><br /> KAREN<br /> Margo, again...<br /><br /> LLOYD<br /> And again and again! Two hours late<br /> for the audition, to begin with-<br /><br /> KAREN<br /> That's on time for Margo. <br /><br /> LLOYD<br /> Then a childish, heavy-handed<br /> routine about not knowing Eve was<br /> her understudy-<br /><br /> KAREN<br /> It's just possible she didn't...<br /><br /> LLOYD<br /> Of course she knew! For one thing,<br /> Addison told her how superbly Eve<br /> had read the part-!<br /> (suddenly softening)<br /> Karen, let me tell you about Eve.<br /> She's got everything - a born<br /> actress. Sensitive, understanding,<br /> young, exciting, vibrant-<br /><br /> KAREN<br /> - don't run out of adjectives,<br /> dear. <br /><br /> LLOYD<br /> - everything a playwright first<br /> thinks of wanting to write about...<br /> until his play becomes a vehicle<br /> for Miss Channing...<br /><br /> KAREN<br /> Margo hasn't done badly by it.<br /><br /> LLOYD<br /> Margo. Margo's great. She knows it.<br /> That's the trouble.<br /> She can play Peck's Bad Boy all she<br /> wants, and who's to stop her? Who's<br /> to give her that boot in the rear<br /> she needs and deserves? <br /><br />He starts up the stairs to the bedroom. <br /><br /> KAREN<br /> (murmurs)<br /> It's going to be a cozy weekend.<br /><br /> LLOYD<br /> (pauses)<br /> What is?<br /><br /> KAREN<br /> We're driving out to the country<br /> tomorrow night. Just the four of<br /> us. Bill, Margo, you and I...<br /><br /> LLOYD<br /> Well. We've spent weekends before<br /> with nobody talking...<br /> (continues up stairs)<br /> ... just be sure to lock up all<br /> blunt instruments and throwable<br /> objects...<br /><br />As he goes into one of the bedrooms, Karen sits thoughtfully<br />on a couch. She muses...<br /><br /> KAREN'S VOICE<br /> Newton - they say, thought of<br /> gravity by getting hit on the head<br /> by an apple. And the man who<br /> invented the steam engine, he was<br /> watching a tea-kettle... but not<br /> me. My Big Idea came to me just<br /> sitting on a couch...<br /><br />She lies down, folds her hands behind her head. <br /><br /> KAREN'S VOICE<br /> That boot in the rear to Margo.<br /> Heaven knows she had one coming.<br /> From me, from Lloyd, from Eve,<br /> Bill, Max, and so on - we'd all<br /> felt those size fives of hers often<br /> enough... but how? The answer was<br /> buzzing around me like a fly...<br /><br />She sits up. She smiles. The smile fades...<br /><br /> KAREN'S VOICE<br /> I had it. But I let it go.<br /> Screaming and calling names is one<br /> thing - but this could mean...<br /><br />She shakes her head, crosses to her easel, resumes work on<br />the bananas. She slows down, then stops. <br /><br /> KAREN'S VOICE<br /> Why not? Why, I said to myself,<br /> not? It would all seem perfectly<br /> legitimate. And there were only two<br /> people in the world who would know.<br /> Also, the boot would land where it<br /> would do the most good for all<br /> concerned-<br /><br />She puts the brush away and crosses to the phone which is by<br />Lloyd's work chair. As she crosses:<br /><br /> KAREN'S VOICE<br /> And after all, it was not more than<br /> a perfectly harmless joke which<br /> Margo, herself, would be the first<br /> to enjoy...<br /><br />She looks in a leather phone book, pick up the phone and<br />dials. <br /><br /> KAREN'S VOICE<br /> ... and no reason why she shouldn't<br /> be told about it - in time. <br /><br />There's an answer at the other end. <br /><br /> KAREN<br /> (into phone)<br /> Hello... will you call Miss Eve<br /> Harrington to the phone, please?<br /> Not at all... thank you. <br /><br />And as she waits we...<br /><br /> DISSOLVE TO:<br /><br />EXT. COUNTRYSIDE - NIGHT<br /><br />Open country. Preferably no houses in sight. Plenty of snow.<br />Lloyd's car drives along. <br /><br /> KAREN'S VOICE<br /> It was a cold weekend - outside and<br /> in. Bill didn't come at all.<br /> Margo didn't know where he was and<br /> didn't care - she kept saying.<br /> Somehow we staggered through Sunday<br /> - and by the time we drive Margo to<br /> the station late Monday afternoon,<br /> she and Lloyd had thawed out to the<br /> extent of being civil to each<br /> other...<br /><br />INT. COUPE - NIGHT<br /><br />Lloyd driving. All three in the front seat. <br /><br /> KAREN<br /> What time is it?<br /><br /> LLOYD<br /> When you asked a minute ago it was<br /> five-forty-two. It is now five<br /> forty-three. When you ask a minute<br /> from no, it will be-<br /><br /> KAREN<br /> I just don't want Margo to miss her<br /> train. As it is, she'll barely make<br /> the theater...<br /><br /> LLOYD<br /> Five-fifty-five. We'll be at the<br /> station in plenty of time...<br /><br /> MARGO<br /> That little place just two hours<br /> form New York. It's on my list of<br /> things-I'll-never-understand. Like<br /> collecting shrunken Indian heads...<br /><br /> KAREN<br /> Of all people you should know what<br /> it means to want some peace and<br /> quiet-<br /><br /> MARGO<br /> Peace and quit is for libraries. <br /><br />The car swerves - suddenly and slightly. <br /><br /> KAREN<br /> Lloyd, be careful...<br /><br /> LLOYD<br /> Just a little skid, that's all.<br /> This road's like glass. <br /><br /> MARGO<br /> Karen and I just don't want an<br /> accident-<br /><br /> LLOYD<br /> I have no intention of having an<br /> accident!<br /><br /> MARGO<br /> It's not important whether you do.<br /> We are wearing long underwear. <br /><br />They all laugh. Suddenly the car slows and stops - with that<br />hissing sound that can mean only one thing - no gas. <br /><br /> LLOYD<br /> Now what's this...?<br /><br />He tries to start it again. No luck. He turns on the<br />dashboard lights. The gas gauge reads empty. <br /><br /> LLOYD<br /> But it can't be! We can't be out of<br /> gas! I filled it myself yesterday!<br /> (to Karen)<br /> Wasn't it full when you drove to<br /> Brewster this morning?<br /><br /> KAREN<br /> (very low)<br /> I guess I didn't look. You know I<br /> don't pay attention to those<br /> things...<br /><br /> LLOYD<br /> Incredible. <br /><br />Futilely, he runs the started again. <br /><br /> MARGO<br /> (crisply)<br /> How much time have we? <br /><br /> KAREN<br /> Roughly ten minutes. <br /><br /> MARGO<br /> How far to the station?<br /><br /> KAREN<br /> Three or four miles...<br /><br /> MARGO<br /> Any houses or farms around where we<br /> can borrow gas?<br /><br /> KAREN<br /> (looking)<br /> None in sight, there aren't many<br /> along this back road...<br /><br /> MARGO<br /> Not many car either, not much<br /> chance of a lift...<br /><br />A moment of silence. <br /><br /> LLOYD<br /> Well. No sense my just sitting<br /> here. I'm going to walk up about<br /> half a mile, just in case.<br /><br />He starts out of the car. The cold comes in like a knife, the<br />women react. <br /><br /> KAREN<br /> You'll break your neck on that ice. <br /><br /> LLOYD<br /> (grins)<br /> What a way to die - trying to get<br /> an actress to the theater in time.<br /> Tell Max I want to be buried with<br /> royalties...<br /><br /> KAREN<br /> Don't joke about such things.<br /><br /> MARGO<br /> (quietly)<br /> How fortunate that I have an<br /> understudy so ready, so willing and<br /> so able to go on. <br /><br /> LLOYD<br /> The audience will want its money<br /> refunded, believe me. <br /><br /> MARGO<br /> Thank you, Lloyd. Godspeed. <br /><br />Lloyd starts down the road. He slips once, recovers, waves<br />and keeps going. <br /><br /> KAREN<br /> He always looks so pathetic<br /> whenever he does anything physical-<br /><br /> MARGO<br /> It seems to me that walking, for<br /> most people, is not very dangerous. <br /><br /> KAREN<br /> (smiles)<br /> I just never think of Lloyd as<br /> anywhere but indoors and anything<br /> but sitting down. <br /><br /> MARGO<br /> Be brave. He'll come back - with or<br /> without gas. <br /><br />They tuck the fur car robe around them. A pause. Margo turns<br />on the radio... it's "Liebestraum."<br /><br /> MARGO<br /> Do you want it on?<br /><br /> KAREN<br /> It doesn't matter. <br /><br /> MARGO<br /> I detest cheap sentiment. <br /><br />She turns it off. Another pause. <br /><br /> MARGO<br /> Karen.<br /> (Karen says "hm?")<br /> I haven't been pleasant this<br /> weekend. <br /><br /> KAREN<br /> We've all seemed a little tense<br /> lately...<br /><br /> MARGO<br /> Come to think of it, I haven't been<br /> very pleasant for weeks. For that,<br /> I'm truly sorry. More than any two<br /> people I know, I don't want you and<br /> Lloyd to be angry with me...<br /><br /> KAREN<br /> We're never deeply angry, we just<br /> get sore. The way you do. We know<br /> you too well...<br /><br /> MARGO<br /> So many people - know me. I wish I<br /> did. I wish someone would tell be<br /> about me...<br /><br /> KAREN<br /> You're Margo. Just - Margo. <br /><br /> MARGO<br /> And what is that? Besides something<br /> spelled out in light bulbs, I mean.<br /> Besides something called<br /> temperament, which consists mostly<br /> of swooping about on a broomstick<br /> creaming at the top of my voice...<br /> infants behave the way I do, you<br /> know. They carry on and misbehave -<br /> they'd get drunk if they knew how -<br /> when they can't have what they<br /> want. When they feel unwanted and<br /> insecure - or unloved. <br /><br />There's a pause. <br /><br /> KAREN<br /> What about Bill?<br /><br /> MARGO<br /> What about Bill?<br /><br /> KAREN<br /> He's in love with you. <br /><br /> MARGO<br /> More than anything in this world, I<br /> love Bill. And I want Bill. I want<br /> him to want me. But me. Not Margo<br /> Channing. And if I can't tell they<br /> apart - how can he? <br /><br /> KAREN<br /> Why should he - and why should you? <br /><br /> MARGO<br /> Bill's in love with Margo Channing.<br /> He's fought with her, worked with<br /> her, loved her... but ten years<br /> from now - Margo Channing will have<br /> ceased to exist. And what's left<br /> will be... what?<br /><br /> KAREN<br /> Margo. Bill is all of eight years<br /> younger than you. <br /><br /> MARGO<br /> Those years stretch as the years go<br /> on. I've seen it happen too often. <br /><br /> KAREN<br /> Not to you. Not to Bill.<br /><br /> MARGO<br /> Isn't that what they always say? <br /><br />She turns the radio on again. A piano nocturne...<br /><br /> MARGO<br /> I don't suppose the heater runs<br /> when the motor doesn't?<br /><br /> KAREN<br /> Silly, isn't it? You'd think they'd<br /> fix it so people could just sit in<br /> a car and keep warm...<br /><br />Margo nods, get some cigarettes out of her bag. She offers<br />one to Karen. They light up. <br /><br /> MARGO<br /> About Eve. I've acted pretty<br /> disgracefully toward her, too. <br /><br /> KAREN<br /> Well...<br /><br /> MARGO<br /> Let's not fumble for excuses, not<br /> here and now with my hair down. At<br /> best, let's say I've been<br /> oversensitive to... well, to the<br /> fact that she's so young - so<br /> feminine and helpless. To so many<br /> things I want to be for Bill...<br /> funny business, a woman's career.<br /> The things you drop on your way up<br /> the ladder, so you can move faster.<br /> You forget you'll need them again<br /> when you go back to being a woman.<br /> That's one career all females have<br /> in common - whether we like it or<br /> not - being a woman.<br /> Sooner or later we've all got to<br /> work at it, no matter what other<br /> careers we've had or wanted... and,<br /> in the last analysis, nothing is<br /> any good unless you can look up<br /> just before dinner or turns around<br /> in bed - and there he is. Without<br /> that, you're not woman. You're<br /> something with a French provincial<br /> office or a book full of clippings -<br /> but you're not a woman... <br /> (she smiles at Karen)<br /> ... slow curtain. The end. <br /><br />A pause. There are tears in Karen's eyes. <br /><br /> KAREN<br /> Margo.<br /> (she hesitates)<br /> Margo, I want you to know how sorry<br /> I am about this...<br /><br /> MARGO<br /> About what? <br /><br /> KAREN<br /> (indicating their<br /> predicament)<br /> This. I can't tell you how sorry I<br /> am!<br /><br /> MARGO<br /> Don't give it another thought, one<br /> of destiny's many pranks. After<br /> all, you didn't personally drain<br /> the gasoline out of the tank...<br /><br />She snuggles down into her furs. Karen flashes an unhappy<br />look at her. She, too, snuggles down...<br /><br />EXT. THEATER ALLEY - CURRAN THEATER - NIGHT<br /><br />The snow has been shoveled to either side of the alley,<br />making a lane. The performance is just over. <br /><br />Addison, his back to us, stands looking toward the stage<br />door. A few actors, on their way out. <br /><br /> ADDISON'S VOICE<br /> Eve, of course, was superb. Many of<br /> the audience understandably<br /> preferred to return another time to<br /> see Margo.<br /> But those who remained cheered<br /> loudly, lustily and long for Eve...<br /> how thoughtful of her to call and<br /> invite me - that afternoon...<br /><br />He starts to walk toward the stage door. <br /><br /> ADDISON'S VOICE<br /> ... and what a happy coincidence<br /> that several representatives of<br /> other newspapers happened to be<br /> present. All of us - invited that<br /> afternoon to attend an understudy's<br /> performance...<br /><br />He goes in the stage door. <br /><br />INT. BACKSTAGE - CURRAN THEATER - NIGHT<br /><br />More activity than last time, the performance being just<br />over. Addison comes through the door, picks his way toward<br />Margo's dressing room. <br /><br /> ADDISON'S VOICE<br /> ... about which the management knew<br /> nothing until they were forced to<br /> ring up the curtain at nine<br /> o'clock. Coincidence. Also every<br /> indication of intrigue, skulduggery<br /> and fraud... <br /><br />The door tot he dressing room is open just a bit. Addison<br />pauses beside the door to listen. <br /><br /> BILL <br /> (from within)<br /> ... you were better than all right,<br /> kid, you gave a performance, you<br /> rang a bell-<br /><br />Addison uses his cane to swing the door open farther, so that<br />both he and WE can see as well as hear. <br /><br />INT. MARGO'S DRESSING ROOM - NIGHT<br /><br />Bill faces Eve, who wears Margo's costume. She is a ravishing<br />sight. Her eyes shine up to his radiantly:<br /><br /> BILL <br /> (continuing)<br /> - little things here and there, it<br /> doesn't matter. You can be proud of<br /> yourself, you've got a right to be. <br /><br /> EVE<br /> (quietly)<br /> Are you proud of me, Bill?<br /><br /> BILL <br /> I'll admit I was worried when Max<br /> called. I had my doubts.<br /><br /> EVE<br /> You shouldn't have had any doubts.<br /><br /> BILL<br /> - after all, the other day was one<br /> scene, the woods are full of one<br /> scene sensations. But you did it.<br /> With work and patience, you'll be a<br /> fine actress. If that's what you<br /> want to be. <br /><br /> EVE<br /> Is that what you want me to be? <br /><br /> BILL <br /> I'm talking about you. And what you<br /> want. <br /><br /> EVE<br /> So am I. <br /><br /> BILL <br /> What have I got to do with it?<br /><br /> EVE<br /> Everything. <br /><br /> BILL <br /> (lightly)<br /> The names I've been called. But<br /> never Svengali. <br /> (he pats her shoulder)<br /> Good luck. <br /><br />He starts out. Addison ducks. <br /><br /> EVE<br /> Don't run away, Bill. <br /><br /> BILL <br /> (stops)<br /> From what would I be running?<br /><br /> EVE<br /> You're always after truth - on the<br /> stage. What about off?<br /><br /> BILL <br /> (curiously)<br /> I'm for it. <br /><br /> EVE<br /> Then face it. I have. Since that<br /> first night - here - in the<br /> dressing room. <br /><br /> BILL <br /> (smiles)<br /> When I told you what every young<br /> actress should know. <br /><br /> EVE<br /> When you told me that whatever I<br /> became, it would be because of you-<br /><br /> BILL <br /> Your make-up's a little heavy. <br /><br /> EVE<br /> - and for you. <br /><br /> BILL <br /> (slowly)<br /> You're quite a girl. <br /><br /> EVE<br /> You think?<br /><br /> BILL <br /> I'm in love with Margo. Hadn't you<br /> heard? <br /><br /> EVE<br /> You hear all kinds of things. <br /><br /> BILL <br /> I'm only human, rumors to the<br /> contrary. And I'm as curious as the<br /> next man...<br /><br /> EVE<br /> Find out. <br /><br /> BILL <br /> (deliberately)<br /> Only thing, what I go after, I want<br /> to go after. I don't want it to<br /> come after me. <br /><br />Tears come to Eve's eyes. She turns away slowly. <br /><br /> BILL <br /> Don't cry. Just score it as an<br /> incomplete forward pass. <br /><br />He walks out. Addison ducks to avoid being seen. Eve glares<br />after Bill, tears the wig from her head, throws it on the<br />dressing table. Her glance is caught by a pair of scissors.<br />Swiftly, she snatches them up and in a sharp, vicious gesture<br />she slashes the wig. Addison knocks politely at the door. Eve<br />turns. <br /><br /> ADDISON<br /> May I come in?<br /><br /> EVE<br /> Certainly, Mr. deWitt...<br /><br /> ADDISON<br /> (entering)<br /> I expected to find this little room<br /> overcrowded, with a theater full of<br /> people at your feet...<br /><br /> EVE<br /> I consider myself lucky they didn't<br /> throw things. <br /><br />She starts creaming her face, removing make-up.<br /><br /> ADDISON<br /> Of course your performance was no<br /> surprise to me. After the other day<br /> I regarded it as no more than - a<br /> promised fulfilled.<br /><br /> EVE<br /> You're more than kind. But it's<br /> still Miss Channing's performance.<br /> I'm just a carbon copy you read<br /> when you can't find the original...<br /><br /> ADDISON<br /> You're more than modest.<br /><br /> EVE<br /> It's not modesty. I just don't try<br /> to kid myself. <br /><br /> ADDISON<br /> A revolutionary approach to the<br /> Theater. However, if I may a<br /> suggestion...<br /><br /> EVE<br /> Please do.<br /><br /> ADDISON<br /> I think the time has come for you<br /> to shed some of your humility. It<br /> is just as false not to blow your<br /> horn at all as it is to blow it too<br /> loudly... <br /><br /> EVE<br /> I don't think I've done anything to<br /> sound off about. <br /><br /> ADDISON<br /> We all come into this world with<br /> our little egos equipped with<br /> individual horns. If we don't blow<br /> them - who will?<br /><br /> EVE<br /> Even so. One isolated pretty good<br /> performance by an understudy. It'll<br /> be forgotten tomorrow. <br /><br /> ADDISON<br /> It needn't be. <br /><br /> EVE<br /> Even if I wanted to - as you say -<br /> be less humble, blow my own horn...<br /> how would I do it? I'm less than<br /> nobody. <br /><br /> ADDISON<br /> I am somebody. <br /><br />Eve rises. She eyes him steadily. <br /><br /> EVE<br /> You certainly are. <br /><br />She goes into the bathroom. <br /><br /> ADDISON<br /> Leave the door open a bit, so we<br /> can talk. <br /><br />Eve does so. <br /><br /> ADDISON<br /> After you change, if you're not<br /> busy elsewhere, we can have supper.<br /><br /> EVE<br /> (from the bathroom)<br /> I'd love to! Or should I pretend<br /> I'm busy?<br /><br /> ADDISON<br /> (smiling)<br /> Let's have a minimum of pretending.<br /> I'll want to do a column about you-<br /><br /> EVE<br /> I'm not enough for a paragraph. <br /><br /> ADDISON<br /> - perhaps more than one. There's so<br /> much I want to know. I've heard<br /> your story in bits and pieces...<br /> your home in Wisconsin, your tragic<br /> marriage, your financial attachment<br /> to Margo - it started in San<br /> Francisco, didn't it? <br /> (no answer; Addison<br /> smiles)<br /> I say - your idolatry of Margo<br /> started in San Francisco, didn't<br /> it?<br /><br /> EVE<br /> That's right. <br /><br /> ADDISON<br /> San Francisco. An oasis of<br /> civilization in the California<br /> desert. Tell me, do you share my<br /> high opinion of San Francisco? <br /><br /> EVE<br /> Yes. I do. <br /><br /> ADDISON<br /> And that memorable night when Margo<br /> first dazzled you from the stage -<br /> which theater was it in San<br /> Francisco? Was it - the Shubert?<br /><br /> EVE<br /> (a slight pause)<br /> Yes. The Shubert. <br /><br /> ADDISON<br /> (grins happily)<br /> A fine old theater, the Shubert.<br /> Full of tradition, untouched by the<br /> earthquake - so sorry - fire... by<br /> the way, what was your husband's<br /> name? <br /><br /> EVE<br /> Eddie...<br /><br /> ADDISON<br /> Eddie what?<br /><br />Eve sticks her head and naked shoulder around the door. <br /><br /> EVE<br /> I'm about to go into the shower, I<br /> won't be able to hear you...<br /><br /> ADDISON<br /> I can wait. Where would you like to<br /> go? We'll make this a special<br /> night...<br /><br /> EVE<br /> (trustingly)<br /> You take charge. <br /><br /> ADDISON<br /> I believe I will.<br /><br />She closes the door. He leans back, lights a cigarette. <br /><br />EXT. 52ND STREET - NEW YORK - NIGHT<br /><br />A cab drives up to "21."<br /><br /> KAREN'S VOICE<br /> Some of the morning papers carried<br /> a little squib about Eve's<br /> performance. Not much, but full<br /> praise...<br /> I couldn't imagine how they found<br /> out about it - but Lloyd said Max's<br /> publicity man probably sent out the<br /> story...<br /><br />Karen gets out of the cab, pays and goes in. <br /><br /> KAREN'S VOICE<br /> ... at any rate, I feel terribly<br /> guilty and ashamed of myself - and<br /> wanted nothing so much as to forget<br /> the whole thing. Margo and I were<br /> having lunch at "21" - just like<br /> girlfriends - with hats on...<br /><br />INT. LOBBY - "21" - DAY<br /><br />Karen consults her watch and the doorman as she enters. <br /><br /> KAREN<br /> Has Miss Channing come in?<br /><br /> DOORMAN<br /> Not yet, Mrs. Richards...<br /><br />Karen sees Eve who waits as Addison hands his hat, coat, and<br />cane to an attendant. She smiles, crosses to her.<br /><br /> KAREN<br /> Eve. I've heard the most wonderful<br /> things about your performance-<br /><br /> EVE<br /> Mostly relief that I managed to<br /> stagger through it at all...<br /><br /> ADDISON<br /> She was magnificent. <br /><br /> KAREN<br /> (pleased)<br /> Then you've heard too. <br /><br /> ADDISON<br /> I was there. An eyewitness.<br /><br /> KAREN<br /> (staggered)<br /> You were there? At the play - last<br /> night?<br /><br /> ADDISON <br /> (smiles)<br /> A happy coincidence.<br /><br /> EVE<br /> (quickly)<br /> We're having lunch with a movie<br /> talent scout. <br /><br /> KAREN<br /> They certainly don't waste much<br /> time. <br /><br /> EVE<br /> Nothing definite yet - it's just to<br /> have lunch. <br /><br /> ADDISON<br /> They'll be wasting this much of<br /> their time at any rate. Eve has no<br /> intention of going to Hollywood. <br /><br />He turns to Karen, changing the subject. <br /><br /> ADDISON<br /> From the smartness of your dress, I<br /> take it your luncheon companion is<br /> a lady?<br /><br /> KAREN<br /> (smiles)<br /> Margo. <br /><br /> ADDISON<br /> Margo? Lunching in public?<br /><br /> KAREN<br /> It's new Margo. But she's just as<br /> late as the old one. <br /><br /> ADDISON<br /> She may be later than you think...<br /><br />As he speaks, he crosses to pick up an evening paper, opens<br />it as he comes back. <br /><br /> ADDISON<br /> (handing it to her)<br /> Why not read my column to pass the<br /> time? The minutes will fly like<br /> hours...<br /> (he takes Eve's arm)<br /> ... and now we must join our<br /> sunburned eager beaver. <br /><br />He goes up the stairs with Eve. Karen glances after them<br />curiously, then at the column.<br />It is headed: "Things I Promised Not To Tell" by Addison<br />deWitt. He expression becomes increasingly horrified. She<br />drops the paper and rushes out...<br /><br />INT. MARGO'S LIVING ROOM - DAY<br /><br />Addison's column quivers in Margo's hand as she strides about<br />reading it. Karen sits miserably. <br /><br /> MARGO<br /> (declaiming)<br /> "... my hat which has, lo, these<br /> many seasons become more firmly<br /> rooted about my ears, is lifted to<br /> Miss Harrington. I am once more<br /> available for dancing in the<br /> streets and shouting from the<br /> housetops." ... I thought that one<br /> went out with Woollcott... <br /> (she skips part of the<br /> column)<br /> Down here... here, listen to this-<br /> "... Miss Harrington had much to<br /> tell - and these columns shall<br /> report her faithfully - about the<br /> lamentable practice in our Theater<br /> of permitting, shall we say -<br /> mature - actresses to continue<br /> playing roles requiring a youth and<br /> vigor of which they retain but a<br /> dim memory-"<br /><br /> KAREN<br /> I just can't believe it. <br /><br /> MARGO<br /> It get better! "- About the<br /> understandable reluctance on the<br /> part of our entrenched First Ladies<br /> of the Stage to encourage, shall we<br /> say - younger - actresses; about<br /> Miss Harrington's own long and<br /> unsupported struggle for<br /> opportunity-"<br /><br /> KAREN<br /> I can't believe Eve said those<br /> things!<br /><br />Margo crumples the paper as if it were Eve's neck. <br /><br /> MARGO<br /> (pacing)<br /> In this rat race, everybody's<br /> guilty till they're proved<br /> innocent! One of the differences<br /> between the Theater and<br /> civilization... <br /> (she hurls the paper away)<br /> ... what gets me is how all of<br /> those papers in town happened to<br /> catch that particular performance!<br /><br /> KAREN<br /> (weakly)<br /> Lloyd says it's a publicity<br /> release...<br /><br /> MARGO<br /> The little witch must have had<br /> Indians runners out snatching<br /> critics out of bars, steam rooms<br /> and museums or wherever they hole<br /> up... well, she won't get away with<br /> it! Nor will Addison deWitt and his<br /> poison pen! If Equity or my lawyer<br /> can't or won't do anything about<br /> it, I will personally stuff that<br /> pathetic little lost lamb down Mr.<br /> deWitt's ugly throat...<br /><br />She pauses in midair to look at... Bill. He has come up the<br />stairs tow at a time, stands at the landing. <br /><br /> BILL <br /> (quietly)<br /> I came as soon as I read that piece<br /> of filth. I ran all the way...<br /><br />Margo suddenly starts to cry. She turns from him. Bill takes<br />her in his arms. He holds her...<br /><br /> BILL <br /> Bill's here, baby. Everything's all<br /> right, now...<br /><br />Margo says nothing, just hides in his embrace. He soothes<br />her, pets her... he looks over at Karen. <br /><br /> KAREN<br /> I guess at this point I'm what the<br /> French call 'de trop'...<br /><br /> BILL <br /> (smiles)<br /> Maybe just a little around the<br /> edges.<br /><br />Karen smiles back, waves, and goes out. <br /><br />INT. RICHARDS' APARTMENT - DAY<br /><br />Karen's having some lunch. Lloyd, still in his robe, sits<br />opposite her having some coffee and a cigarette. A copy of<br />the interview before him. <br /><br /> LLOYD<br /> (is saying)<br /> - it's Addison, from start to<br /> finish, it drips with his brand of<br /> venom... taking advantage of a kid<br /> like that, twisting her words,<br /> making her say what he wanted her<br /> to say-<br /><br /> KAREN<br /> Where'd you get all that<br /> information?<br /><br /> LLOYD<br /> (put out his cigarette)<br /> Eve. <br /><br /> KAREN<br /> Eve?<br /><br /> LLOYD<br /> She's been to see me, as a matter<br /> of fact she left just before you<br /> came in - you just missed her...<br /><br /> KAREN<br /> That was a pity...<br /><br /> LLOYD<br /> (gets up)<br /> She wanted to explain about her<br /> interview, wanted to apologize to<br /> someone - and didn't dare face<br /> Margo...<br /><br /> KAREN<br /> I wonder why.<br /><br />Lloyd wanders about - he seems to be searching for words, for<br />a position to maintain...<br /><br /> LLOYD<br /> She started to tell me all about it<br /> - and she couldn't finish, she<br /> cried so...<br /><br />He's over by a window, his back to her. Karen eyes him<br />curiously, waiting for the payoff...<br /><br /> LLOYD<br /> (finally)<br /> You know, I've been going over our<br /> financial condition - if you'll<br /> pardon the expression...<br /><br /> KAREN<br /> That's quite a change of subject. <br /><br /> LLOYD<br /> (walks again)<br /> What with taxes coming up - and<br /> since I'm a playwright and not an<br /> oil well operator - well, I've been<br /> thinking...<br /><br /> KAREN<br /> I'm trying hard to follow you.<br /><br /> LLOYD<br /> If - instead of waiting until next<br /> season to do 'Footsteps on the<br /> Ceiling', which is in pretty good<br /> shape - and if Margo can be talked<br /> into going on tour with 'Aged in<br /> Wood' - we could put 'Footsteps...'<br /> into production right away...<br /><br /> KAREN<br /> I'm beginning to catch up. <br /><br /> LLOYD<br /> If we could cast it properly, that<br /> is...<br /><br /> KAREN<br /> (carefully)<br /> Maybe get some younger actress for<br /> the part? Someone who'd look the<br /> part as well as play it? <br /><br /> LLOYD<br /> (smiles)<br /> You've got to admit it would be a<br /> novelty. <br /><br /> KAREN<br /> Now you're quoting Addison. Or Eve. <br /><br />A pause. <br /><br /> LLOYD<br /> Eve did mention the play, you know.<br /> But just in passing - she's never<br /> ask to play a part like "Cora,"<br /> she'd never have the nerve...<br /><br /> KAREN<br /> Eve would ask Abbott to give her<br /> Costello. <br /><br /> LLOYD<br /> No, I got the idea myself - while<br /> she was talking to me...<br /><br /> KAREN<br /> With gestures, of course. <br /><br /> LLOYD<br /> (wistfully)<br /> For once, to write something and<br /> have it realized completely. For<br /> once, not to compromise-<br /><br />Now Karen explodes. She rises.<br /><br /> KAREN<br /> Lloyd Richards, you are not to<br /> consider giving that contemptible<br /> little worm the part of "Cora."<br /><br /> LLOYD<br /> Now just a minute-<br /><br /> KAREN<br /> Margo Channing has not been exactly<br /> a compromise all these years, half<br /> the playwrights in the world would<br /> give their shirts for that<br /> particular compromise!<br /><br /> LLOYD<br /> (angry)<br /> Now just a minute!<br /><br /> KAREN<br /> It strikes me that Eve's disloyalty<br /> and ingratitude must be contagious!<br /><br />Lloyd's full of anger and guilt. He snaps back.<br /><br /> LLOYD<br /> All this fuss and hysteria because<br /> an impulsive kid got carried away<br /> by excitement and the conniving of<br /> a professional manure slinger named<br /> deWitt! She apologized, didn't she? <br /><br /> KAREN<br /> On her knees, I have no doubt! Very<br /> touching, very Academy-of-Dramatic<br /> Arts!<br /><br /> LLOYD<br /> That bitter cynicism of yours is<br /> something you've acquired since you<br /> left Radcliffe!<br /><br /> KAREN<br /> The cynicism you refer to, I<br /> acquired the day I discovered I was<br /> different from little boys!<br /><br />The phone has been ringing. Lloyd snarls into it.<br /><br /> LLOYD<br /> Hello!<br /> (he quiets down)<br /> ... hi, Margo... no, not at all,<br /> Karen and I were just chatting...<br /> hmm?... why - why, yes, I'm sure we<br /> can and I'm sure we'd love to...<br /> right... 11:45ish. See you then...<br /><br />He hangs up. He smiles - suddenly, there's peace.<br /><br /> LLOYD<br /> Margo - and Bill - want us to meet<br /> them at the Cub Room tonight, after<br /> theater. For a bottle of wine. <br /><br /> KAREN<br /> (smiles)<br /> Margo in the Cub Room. I couldn't<br /> be more surprised if she'd said<br /> Grant's Tomb. <br /><br /> LLOYD<br /> I'm glad Bill's back. <br /><br /> KAREN<br /> They'd die without each other. <br /><br />A pause. <br /><br /> LLOYD<br /> Darling, I didn't promise Eve<br /> anything. Just said I thought she'd<br /> be fine for the part, but there<br /> were some practical difficulties...<br /><br /> KAREN<br /> Such as?<br /><br /> LLOYD<br /> (grins)<br /> You - for one. I told her you were<br /> set on Margo playing the part - and<br /> I certainly wouldn't make a change<br /> without your approval. <br /><br />Karen smiles happily.<br /><br /> KAREN<br /> That's fine. Fine and dandy. I'd<br /> enjoy nothing more. Just refer all<br /> of Miss Harrington's future<br /> requests to me...<br /><br />INT. CUB ROOM - STORK CLUB - NIGHT<br /><br />Margo, Karen, Bill and Lloyd are ensconced happily at a table<br />in the rear of the room. A bottle of fine wine is being<br />poured. Their mood is equally bubbly. <br /><br /> BILL<br /> The so-called art of acting is not<br /> one for which I have a particularly<br /> high regard...<br /><br /> MARGO<br /> Hear, hear...<br /><br /> BILL <br /> But you may quote me as follows.<br /> Quote. Tonight Miss Margo Channing<br /> gave a performance in your<br /> cockamamie play, the like of which<br /> I have never seen before and expect<br /> rarely to see again. Unquote. <br /><br /> MARGO<br /> He does not exaggerate. I was good. <br /><br /> BILL <br /> You were great. <br /><br />As they look at each other, they reflect the understanding<br />that has hit them both at last. <br /><br /> LLOYD<br /> It's been quite a night. I<br /> understand that your understudy -<br /> Miss Harrington - has given her<br /> notice. <br /><br /> MARGO<br /> (eyes still on Bill)<br /> Too bad. <br /><br /> BILL <br /> (eyes still on Margo)<br /> I'm broken up about it...<br /><br />The wine has been poured by now. <br /><br /> LLOYD<br /> For some reason you can't just pick<br /> up champagne and drink it.<br /> Somebody's got to be very witty<br /> about a toast. <br /> (he lifts his glass)<br /> For instance...<br /><br /> BILL <br /> (abruptly)<br /> I'm going to propose the toast.<br /> Without wit. With all my heart. <br /><br />Lloyd lowers his glass. There's a little pause. <br /><br /> BILL <br /> To Margo. To my bride-to-be.<br /><br /> MARGO<br /> Glory Hallelujah.<br /><br /> LLOYD<br /> Well of all-<br /><br /> KAREN<br /> Margo!<br /><br /> BILL <br /> Drink.<br /><br />They drink, then burst into a flurry of questions. <br /><br /> KAREN<br /> When? When are you going to do it?<br /><br /> BILL <br /> Tomorrow we meet at City Hall at<br /> ten-<br /> (to Margo)<br /> - and you're going to be on time. <br /><br /> MARGO<br /> Yes, sir. <br /><br /> LLOYD<br /> City Hall, that's for prize<br /> fighters, and reporters - I see a<br /> cathedral, a bishop, banks of<br /> flowers...<br /><br /> BILL <br /> It's only for the license. There's<br /> a three-day wait - blood tests,<br /> things like that...<br /><br /> MARGO<br /> I'll marry you if it turns out you<br /> have no blood at all. <br /><br /> LLOYD<br /> Three days, that's for the<br /> bourgeois - I see a midnight<br /> elopement, waking up a village<br /> person...<br /><br /> KAREN<br /> (to Margo)<br /> What are you going to wear?<br /><br /> MARGO<br /> Something simple. A fur coat over a<br /> nightgown...<br /><br /> BILL <br /> The point is - in the cathedral, a<br /> ball park or a penny arcade - we<br /> want to have you two beside us our<br /> nearest and dearest friends.<br /><br />Lloyd fills all the glasses. <br /><br /> LLOYD<br /> There are very few moments in life<br /> as good as this. Let's remember it.<br /> (he lifts his glass)<br /> To each of us and all of us...<br /> never have we been more close - may<br /> we never be farther apart.<br /><br />They drink. A waiter approaches with a note. <br /><br /> WAITER<br /> Mrs. Richards?<br /><br /> KAREN<br /> Yes?<br /><br /> WAITER<br /> For you. <br /><br />Karen stares at it curiously, then opens it. <br /><br /> LLOYD<br /> Very discreet. A note right out in<br /> the open like that. Next time tell<br /> your lover to blow smoke rings - or<br /> tap a glass...<br /><br /> MARGO<br /> Lloyd, I want you to be big about<br /> this... the world is full of love<br /> tonight, no woman is safe...<br /><br /> KAREN<br /> (angrily)<br /> This beats all world's records for<br /> running, standing and jumping gall!<br /><br />She whips the note to Margo, who reads it aloud. <br /><br /> MARGO<br /> (reading)<br /> "Please forgive me for butting into<br /> what seems such a happy occasion -<br /> but it's most important that I<br /> speak with you. Please" - it's<br /> underlined - "meet me in the<br /> Ladies' Room. Eve."<br /><br /> BILL <br /> I understand she is now the<br /> understudy in there. <br /><br /> MARGO<br /> (looking about)<br /> Pass me the empty bottle. I may<br /> find her... why, look. There's<br /> Rasputin. <br /><br />Addison sits near the entrance, at a banquette table for two.<br />A crumpled napkin and a wine glass indicate Eve's place. He<br />nibbles daintily at some blini. <br /><br />Margo hails a passing captain.<br /><br /> MARGO<br /> Encore du champagne.<br /><br /> CAPTAIN<br /> More champagne, Miss Channing?<br /><br /> MARGO<br /> That's what I said, bub.<br /><br /> LLOYD <br /> (to Karen)<br /> After all, maybe she just wants to<br /> apologize...<br /><br /> KAREN<br /> I have no possible interest in<br /> anything she'd have to say.<br /><br /> BILL <br /> But what could she say? That's what<br /> fascinates me...<br /><br /> LLOYD<br /> Go on - find out...<br /><br /> MARGO<br /> Karen, in all the years of our<br /> friendship, I have never let you go<br /> to the Ladies' Room alone. But now<br /> I must. I am busting to know what<br /> goes on in that feverish little<br /> brain waiting there...<br /><br /> KAREN<br /> Well... all right.<br /><br />She gets up and goes. The CAMERA takes her past Addison's<br />table. He rises in polite surprise. <br /><br /> ADDISON<br /> Karen! How nice...<br /><br />She walks past him without a word. He smiles, looks toward<br />the group. He raises his glass in a toast. <br /><br />Margo responds to the toast by waving an onion with a grand<br />flourish, then eating it. <br /><br /> BILL <br /> Very effective. But why take it out<br /> on me? <br /><br />He eats one in self-defense. <br /><br />INT. LADIES' ROOM - STORK CLUB - NIGHT<br /><br />Never having been, I can't say what it looks like. It is to<br />be hoped that there is an outer and inner room. We are<br />concerned with the outer. <br /><br />There is an attendant in charge, and a constantly changing<br />flow of ladies who pause to make various repairs. All cafe<br />society - including one young drunk stretched out under a<br />mink coat and a wet towel.<br /><br />There are two chairs - or a banquette - in a corner. Eve<br />waits there. She rises as Karen approaches. <br /><br /> EVE<br /> I was wondering whether you'd come<br /> at all..<br /><br /> KAREN<br /> Don't get up.<br /> (she smiles grimly)<br /> And don't act as if I were the<br /> queen mother. <br /><br /> EVE<br /> I don't expect you to be pleasant. <br /><br /> KAREN<br /> I don't intend to be. <br /><br /> EVE<br /> Can't we sit down? Just for a<br /> minute...<br /><br />She sits down. Karen remains standing.<br /><br /> EVE<br /> I've got a lot to say. And none of<br /> it is easy. <br /><br /> KAREN<br /> There can't be very much-<br /><br /> EVE<br /> Oh, but there is-<br /><br /> KAREN<br /> - and easy or not, I won't believe<br /> a word. <br /><br /> EVE<br /> Why shouldn't you?<br /> (a pause)<br /> Please sit down. <br /><br />Karen sits, reluctantly and rigidly.<br /><br /> EVE<br /> You know, I've always considered<br /> myself a very clever girl. Smart.<br /> Good head on my shoulders, that<br /> sort of thing, never the wrong word<br /> at the wrong time... but then, I'd<br /> never met Addison deWitt.<br /> (another pause)<br /> I remember once I had a tooth<br /> pulled. They gave me some<br /> anaesthetic - I don't remember the<br /> name - and it affected me in a<br /> strange way. I heard myself saying<br /> things I wasn't even thinking... as<br /> if my mind were someplace outside<br /> of my body, and couldn't control<br /> what I did or said-<br /><br /> KAREN<br /> (leading her on)<br /> - and you felt just like that<br /> talking to Addison. <br /><br /> EVE<br /> (nods)<br /> In a way. You find yourself trying<br /> to say what you mean, but somehow<br /> the words change - and they become<br /> his words - and suddenly you're not<br /> saying what you mean, but what he<br /> means-<br /><br /> KAREN<br /> (sharply)<br /> Do you expect me to believe that<br /> you didn't say any of those things -<br /> that they were all Addison?<br /><br /> EVE<br /> No! I don't expect you to believe<br /> anything. Except that the<br /> responsibility is mine. And the<br /> disgrace. <br /><br /> KAREN<br /> Let's not get over-dramatic. <br /><br /> EVE<br /> (smiles grimly)<br /> You've really got a low opinion of<br /> me, haven't you? We'll I'll give<br /> you some pleasant news. I've been<br /> told off in no uncertain terms all<br /> over town. Miss Channing should be<br /> happy to hear that. To know how<br /> loyal her friends are - how much<br /> more loyal they are than she had a<br /> right to expect me to be...<br /><br />She turns away from Karen. Karen's embarrassed. <br /><br /> KAREN<br /> Eve... don't cry. <br /><br /> EVE<br /> (turned away)<br /> I'm not crying.<br /><br /> KAREN<br /> Tell me. How did your lunch turn<br /> out - with the man from Hollywood? <br /><br /> EVE<br /> Some vague promises of a test,<br /> that's all - if a particular part<br /> should come along, one of those<br /> things-<br /><br /> KAREN<br /> But the raves about your<br /> performance-<br /><br /> EVE<br /> - an understudy's performance. <br /><br /> KAREN<br /> Well. I think you're painting the<br /> picture a little darker than it is,<br /> really. If nothing else - and don't<br /> underestimate him - you have a<br /> powerful friend in Addison. <br /><br /> EVE<br /> He's not my friend. You were my<br /> friends...<br /><br /> KAREN<br /> He can help you. <br /><br /> EVE<br /> I wish I'd never met him, I'd like<br /> him to be dead... I want my friends<br /> back. <br /><br />This time she does cry. Softly, miserably. Karen looks about.<br />A pause. She puts an arm around Eve. <br /><br /> KAREN<br /> Eve. I - I don't think you meant to<br /> cause unhappiness. But you did.<br /> More to yourself, perhaps - as it<br /> turned out - than to anyone else...<br /><br /> EVE<br /> I'll never get over it. <br /><br /> KAREN<br /> (smiles)<br /> Yes, you will. You Theater people<br /> always do. Nothing is forever in<br /> the Theater. Love or hate, success<br /> or failure - whatever it is, it's<br /> here, it flares up and burns hot -<br /> and then it's gone. <br /><br /> EVE<br /> I wish I could believe that. <br /><br /> KAREN<br /> Give yourself time. Don't worry too<br /> much about what people think,<br /> you're very young and very<br /> talented... <br /> (she gets up, her hand<br /> still on Eve's shoulder)<br /> ... and, believe it or not, if<br /> there's anything I can do-<br /><br />Eve has reached up to take Karen's hand. She holds it now, as<br />she turns slowly to face her. <br /><br /> EVE<br /> There is something. <br /><br />Karen stares down at her. Eve's eyes burn into tears. Karen<br />is caught, fascinated by them. <br /><br /> KAREN<br /> I think I know...<br /><br /> EVE<br /> Something most important you can<br /> do. <br /><br /> KAREN<br /> You want to play "Cora." You want<br /> me to tell Lloyd I think you should<br /> play it. <br /><br /> EVE<br /> If you told him so, he'd give me<br /> the part. He said he would. <br /><br /> KAREN<br /> After all you've said... don't you<br /> know the part was written for<br /> Margo? <br /><br /> EVE<br /> It could have been - fifteen years<br /> ago. It's my part now. <br /><br /> KAREN<br /> You talk just as Addison said you<br /> did. <br /><br /> EVE<br /> "Cora" is my part. You've got to<br /> tell Lloyd it's for me. <br /><br /> KAREN<br /> I don't think anything in the world<br /> could make me say that. <br /><br />She turns away again, but Eve's grip is like a vise. <br /><br /> EVE<br /> Addison wants me to play it. <br /><br /> KAREN<br /> Over my dead body...<br /><br /> EVE<br /> (cold, relentless)<br /> That won't be necessary. Addison<br /> knows how Margo happen to miss that<br /> performance - how I happened to<br /> know she'd miss it in time to call<br /> him and notify every paper in<br /> town...<br /> (Karen stops struggling)<br /> ... it's quite a story.<br /> Addison could make quite a thing of<br /> it - imagine how snide and vicious<br /> he could get and still write<br /> nothing but the truth. I had a time<br /> persuading him...<br /> (she smiles, now)<br /> ... you'd better sit down. You look<br /> a bit wobbly. <br /> (Karen sits)<br /> If I play "Cora," Addison will<br /> never tell what happened - in or<br /> out of print. A simple exchange of<br /> favors. And I'm so happy I can do<br /> something for you - at long last...<br /> (Karen covers her face<br /> with her hands)<br /> Your friendship with Margo - your<br /> deep, close friendship - what would<br /> happen to it, do you think, if she<br /> knew the chap trick you'd played on<br /> her - for my benefit? And you and<br /> Lloyd - how long, even in the<br /> Theater, before people forgot what<br /> happened - and trusted you again?<br /> (now Eve gets up)<br /> No... it would be so much easier on<br /> everyone concerned, if I were to<br /> play "Cora." And so much better<br /> theater, too...<br /><br />Karen looks up slowly.<br /><br /> KAREN<br /> A part in a play. You'd do all that<br /> - just for a part in a play. <br /><br /> EVE<br /> (smiles)<br /> I'd do much more - for a part that<br /> good.<br /><br />She leaves. Karen is alone. <br /><br />INT. CUB ROOM - NIGHT<br /><br />Eve enters and slides in beside Addison. <br /><br /> ADDISON<br /> Hungry?<br /><br /> EVE<br /> Just some coffee. <br /><br /> ADDISON<br /> (pours)<br /> I'm not surprised. After all that<br /> humble pie...<br /><br /> EVE<br /> Nothing of the kind. Karen and I<br /> had a nice talk. <br /><br /> ADDISON<br /> Heart to heart? Woman to woman?<br /> Including a casual reference to the<br /> part of "Cora" - and your hopes of<br /> playing it. <br /><br /> EVE<br /> I discussed it very openly. I told<br /> her that I had spoken to Lloyd -<br /> and that he was interested. <br /><br /> ADDISON<br /> She mentioned, of course, that<br /> Margo expects to play the part?<br /><br /> EVE<br /> Oddly enough - she didn't say a<br /> word about Margo. Just that she'll<br /> be happy to do what she can to see<br /> that I play the part. <br /><br />Addison puffs at his cigarette, bemused. <br /><br /> ADDISON<br /> Just like that, eh?<br /><br /> EVE<br /> Just like that. <br /><br /> ADDISON<br /> (thoughtfully)<br /> Do you know, Eve - sometimes I<br /> think you keep things from me. <br /><br />Eve's feelings are hurt. <br /><br /> EVE<br /> I don't think that's funny. <br /><br /> ADDISON<br /> It wasn't meant to be. <br /><br /> EVE<br /> I confide in you and rely on you<br /> more than anyone I've ever known!<br /> To say a thing like that now -<br /> without any reason - when I need<br /> you more than ever...<br /><br /> ADDISON<br /> (breaks in)<br /> I hope you mean what you say, Eve.<br /> I intend to hold you to it. <br /><br />Their eyes meet. <br /><br /> ADDISON<br /> We have a great deal in common, it<br /> seems to me...<br /><br />They both look as Karen passes them on her way back to her<br />table. <br /><br />GROUP, as Karen joins them. Another bottle of champagne has<br />come and almost gone - there's a fine, cheery feeling among<br />them. Margo, in particular, is cheery. A pause. Karen downs a<br />glass of champagne.<br /><br /> LLOYD<br /> - well? What happened?<br /><br /> KAREN<br /> Nothing much. She apologized. <br /><br /> MARGO<br /> With tears?<br /><br /> KAREN<br /> With tears. <br /><br /> MARGO<br /> But not right away? First the<br /> business of fighting them off, chin<br /> up, stout fella...<br /><br /> KAREN<br /> Check. <br /><br /> MARGO<br /> Very classy stuff, lots of<br /> technique-<br /><br /> LLOYD<br /> You mean - all this time - she'd<br /> done nothing but apologize? What'd<br /> you say? <br /><br /> KAREN<br /> Not much.<br /><br /> MARGO<br /> Groom-<br /> (Bill says "huh?")<br /> - may I have a wedding present? <br /><br /> BILL <br /> What would you like? Texas?<br /><br /> MARGO<br /> I want everybody to shut up about<br /> Eve. Just shut up about Eve, that's<br /> all I want. Give Karen more wine...<br /> (blissfully)<br /> ... never have I been so happy.<br /> Isn't this a lovely room? The Cub<br /> Room. What a lovely, clever name.<br /> Where the elite meet. Never have I<br /> seen so much elite - and all with<br /> their eyes on me. Waiting for me to<br /> crack that little gnome over the<br /> noggin with a bottle. But not<br /> tonight. Even Eve. I forgive Eve...<br /> there they go. <br /><br />They all look. <br /><br />ADDISON AND EVE, they get up and go without looking back.<br /><br />GROUP, they watch for an instant. <br /><br /> MARGO<br /> There goes Eve. Eve evil, Little<br /> Miss Evil. But the evil that men do<br /> - how does it go, groom? Something<br /> about the good they leave behind -<br /> I played it once in rep in Wilkes<br /> Barre...<br /><br /> BILL <br /> You've got it backwards. Even for<br /> Wilkes-Barre.<br /><br /> MARGO<br /> You know why I forgive Eve? Because<br /> she's left good behind - the four<br /> of us, together like this, it's<br /> Eve's fault - I forgive her...<br /><br />Karen's reactions are, of course, most important. Knowing<br />what she's done to Margo - wondering how to do what she must. <br /><br /> MARGO<br /> ... and Bill. Especially Bill. Eve<br /> did that, too. <br /><br /> LLOYD<br /> You know, she probably means well,<br /> after all...<br /><br /> MARGO<br /> She is a louse. <br /><br /> BILL <br /> (to Lloyd)<br /> Never try to outguess Margo. <br /><br /> MARGO<br /> Groom.<br /><br /> BILL <br /> Yes, dear. <br /><br /> MARGO<br /> You know what I'm going to be?<br /><br /> BILL <br /> A cowboy. <br /><br /> MARGO<br /> A married lady. <br /><br /> BILL <br /> With the paper to prove it. <br /><br /> MARGO<br /> I'm going to have a home. Not just<br /> a house I'm afraid to stay in...<br /> and a man to go with it. I'll look<br /> up at six o'clock - and there he'll<br /> be... remember, Karen? <br /><br /> KAREN<br /> (quietly)<br /> I remember. <br /><br /> MARGO<br /> (to Bill)<br /> You'll be there, won't you. <br /><br /> BILL <br /> (grins)<br /> Often enough to keep the franchise. <br /><br /> MARGO<br /> A foursquare, upright, downright,<br /> forthright married lady... that's<br /> for me. And no more make believe!<br /> Off stage or on... remember, Lloyd.<br /> (Lloyd nods)<br /> I mean it, now. Grown-up women<br /> only, I might even play a mother -<br /> only one child, of course, not over<br /> eight... <br /> (they all smile)<br /> Lloyd, will you promise not to be<br /> angry with me? <br /><br /> LLOYD<br /> (smiles)<br /> That depends. <br /><br /> MARGO<br /> I mean really, deeply angry...<br /><br /> LLOYD<br /> I don't think I could be.<br /><br /> MARGO<br /> Well. I don't want to play "Cora."<br /><br /> KAREN<br /> (explodes)<br /> What?<br /><br />Margo misinterprets her vehemence. <br /><br /> MARGO<br /> (hastily)<br /> Now wait a minute, you're always so<br /> touchy about his plays, it isn't<br /> the part - it's a great part. And a<br /> fine play. But not for me anymore -<br /> not a foursquare, upright,<br /> downright, forthright married lady.<br /><br /> LLOYD<br /> What's your being married got to do<br /> with it? <br /><br /> MARGO<br /> It means I've finally got a life to<br /> live! I don't have to play parts<br /> I'm too old for - just because I've<br /> got nothing to do with my nights!<br /> (then quietly)<br /> I know you've made plans. I'll make<br /> it up to you, believe me. I'll tour<br /> a year with this one, anything -<br /> only you do understand - don't you,<br /> Lloyd?<br /><br />Lloyd never gets to answer. Because Karen, before anyone can<br />stop her, bursts into hysterical laughter...<br /><br /> LLOYD<br /> What's so funny?<br /><br /> KAREN<br /> Nothing...<br /><br /> BILL <br /> Nothing?<br /><br /> KAREN<br /> Everything... everything's so<br /> funny... <br /><br />Margo removes the champagne glass from in front of Karen...<br /><br />FADE OUT.<br /><br />FADE IN:<br /><br />INT. THEATER - CURRAN THEATER - DAY<br /><br />Karen is seated unobtrusively in a rear lower box. Lloyd sits<br />beside Max up front.<br /><br />On stage, the play is "on its feet." Eve plays a dramatic<br />scene with a young man. They carry "sides" but do not consult<br />them.<br /><br />As she speaks, Eve moves upstage, turns to face the young man<br />who is forced to turn his back to the auditorium. <br /><br />Bill calls a halt. He indicates to Eve that she was to have<br />remained downstage. <br /><br />Eve seems to be at a loss. She looks at Lloyd. <br /><br />Lloyd rises, says that he told her to make the change. <br /><br />Bill comes down to the footlights to tell him to stick to<br />writing, he'll do the directing. It mounts swiftly to a<br />screaming fight. Bill throws the script out into the<br />auditorium, takes his coat and stalks off.<br /><br />Eve runs after him. Max retrieves the script. Lloyd remains<br />adamant. Karen has risen in dismay. <br /><br />Eve drags Bill back. Without looking at Lloyd, he takes the<br />script from Max, tells the actors to pick up where they left<br />off. <br /><br />Eve whispers to Lloyd from the stage. Lloyd smiles,<br />mollified, sits down again with Max. <br /><br />Karen walks up the side aisle, out of the theater...<br /><br /> KAREN'S VOICE<br /> Lloyd never got around, somehow -<br /> to asking me whether it was all<br /> right with me for Eve to play<br /> "Cora"... Bill, oddly enough,<br /> refused to direct the play at first<br /> - with Eve in it. Lloyd and Max<br /> finally won him over... Margo never<br /> came to a rehearsal, too much to do<br /> around the house, she said. I'd<br /> never known Bill and Lloyd to fight<br /> as bitterly and as often... and<br /> always over some business for Eve,<br /> or a move or the way she read a<br /> speech... but then I'd never known<br /> Lloyd to meddle as much with Bill's<br /> directing - as far as it affected<br /> Eve, that is... somehow, Eve kept<br /> them going. Bill stuck it out - and<br /> Lloyd seemed happy - and I thought<br /> it might be best if I skipped<br /> rehearsals from then on... <br /><br />INT. RICHARDS' BEDROOM - NIGHT<br /><br />It is a lovely, large room. Two double beds, not alongside<br />each other and each with an extension phone beside it. In<br />addition to the door to the living room, there are two more -<br />to separate dressing rooms and baths. Lloyd is asleep. But<br />not Karen. She turns restlessly, finally sits up, lights a<br />cigarette. <br /><br /> KAREN'S VOICE<br /> It seemed to me I had known always<br /> that it would happen - and here it<br /> was.<br /> It felt helpless, that helplessness<br /> you feel when you have no talent to<br /> offer - outside of loving your<br /> husband. How could I compete?<br /> Everything Lloyd loved about me, he<br /> had gotten used to long ago... <br /><br />The phone jangles suddenly, startling her. It wakes Lloyd up.<br />Karen answers. <br /><br /> KAREN<br /> Hello... who?... who's calling Mr.<br /> Richards?<br /><br />INT. ROOMING HOUSE - NIGHT<br /><br />A girl, in a wrapper, at a wall phone. Her hair's in curlers.<br />She's frightened. <br /><br /> GIRL<br /> My name wouldn't mean anything. I<br /> room across the hall from Eve<br /> Harrington, and she isn't well.<br /> She's been crying all night and<br /> hysterical, and she doesn't want a<br /> doctor...<br /><br />RICHARDS' BEDROOM, Lloyd is sitting on the edge of the bed,<br />looking over...<br /><br /> LLOYD<br /> Who is it? What's it all about?<br /><br /> KAREN<br /> (into phone)<br /> Did Miss Harrington tell you to<br /> call Mr. Richards?<br /><br />Lloyd picks up his phone. <br /><br />ROOMING HOUSE<br /><br /> GIRL<br /> No, Eve didn't say to call him, but<br /> I remembered I saw Mr. Richards<br /> with her a couple of times - and I<br /> thought they being such good<br /> friends...<br /><br />RICHARDS' BEDROOM<br /><br /> LLOYD<br /> (into phone)<br /> Hello...hello, this is Lloyd<br /> Richards. Where is Eve? Let me talk<br /> to her-<br /><br />ROOMING HOUSE<br /><br /> GIRL<br /> She's up in her room, Mr. Richards.<br /> I really hate to bother you like<br /> this, but the way Eve's been<br /> feeling - I'm just worried sick<br /> what with her leaving for New Haven<br /> tomorrow, and everything...<br /><br />RICHARDS' BEDROOM<br /><br /> LLOYD<br /> Tell her not to worry - tell her<br /> I'll be right over. <br /><br />ROOMING HOUSE<br /><br /> GIRL<br /> I'll tell her, Mr. Richards.<br /><br />She hangs up. As she moves from the phone, the ANGLE WIDENS<br />to disclose Eve at the foot of the stairs. The girls smile at<br />each other. They go upstairs, arm in arm. <br /><br />RICHARDS' BEDROOM, Karen is still in bed, phone still in her<br />hand. She hangs up, swings her legs out, puts out her<br />cigarette, gets into a robe. The open door and light of the<br />dressing room tell us where Lloyd is.<br /><br />Karen walks to the door, starts to say something, changes her<br />mind. She crosses to a table, lights a fresh cigarette, comes<br />back to the door. <br /><br /> KAREN<br /> (finally)<br /> Aren't you... broadening the duties<br /> of a playwright just a bit? Rushing<br /> off in the middle of the night <br /> like a country doctor?<br /><br />No answer except the opening and closing of drawers. <br /><br /> KAREN<br /> What would you do if, instead of<br /> Eve, the leading man had called up<br /> to say her was hysterical?<br /><br />Still no answer. Her tension increasing, Karen goes back to<br />the table, snubs out the fresh cigarette, then strides<br />swiftly back to the open door. <br /><br /> KAREN<br /> Lloyd, I don't want you to go!<br /><br />Now Lloyd appears. He's in flannels, and a sport shirt with<br />no tie. He's confused and guilty and tortured.<br /><br /> LLOYD<br /> I didn't think you would! It seems<br /> to me, Karen, that for some tine,<br /> now, you've been developing a deep<br /> unconcern for the feeling of human<br /> being in general-<br /><br /> KAREN<br /> I'm a human being, I've got some!<br /><br /> LLOYD<br /> (goes right on)<br /> - and for my feelings in<br /> particular! For my play, my career -<br /> and now for a frightened,<br /> hysterical girl on the eve of her<br /> first night in the Theater!<br /><br />He goes back into his room. <br /><br /> KAREN<br /> Have you forgotten about Eve? What<br /> she is, what she's done?<br /><br /> LLOYD<br /> Old wives' tales, born of envy and<br /> jealousy! And a phobia against<br /> truth!<br /><br /> KAREN<br /> Then tell me this isn't true! That<br /> your concern for your play and<br /> career is one thing - and that poor<br /> frightened hysterical girl another -<br /> and that your concern for her has<br /> nothing to do with either your play<br /> or your career!<br /><br />Lloyd comes out wearing a jacket. He crosses to the door,<br />Karen after him.<br /><br /> KAREN<br /> That first, last, and foremost -<br /> your reason for going now is that<br /> you want to be with Eve! Three in<br /> the morning or high noon - play or<br /> no play - wife or no wife!<br /> (Lloyd stops at the door)<br /> Isn't it true, Lloyd?<br /><br />Lloyd goes out. Karen looks after him, despairing.<br /><br />EXT. SHUBERT THEATER - NEW HAVEN - DAY<br /><br />The theater is but a few doors from the TAFT HOTEL. The<br />marquee announces a new play by Lloyd Richards, presented by<br />Max Fabian, opening tonight. <br /><br />Addison and Eve stand before the theater admiring her photo<br />on a lobby display. None of the actors are starred. <br /><br /> ADDISON'S VOICE<br /> To the Theater world - New Haven,<br /> Connecticut, is a short stretch of<br /> sidewalk between the Shubert<br /> Theater and the Taft Hotel,<br /> surrounded by what looks very much<br /> like a small city. It is here that<br /> managers have what are called out<br /> of-town openings - which are<br /> openings for New Yorkers who want<br /> to go out of town...<br /><br />They start for the hotel - Eve's arm through Addison's.<br /><br /> EVE<br /> What a day - what a heavenly day...<br /><br /> ADDISON<br /> D-day.<br /><br /> EVE<br /> Just like it. <br /><br /> ADDISON<br /> And tomorrow morning you will have<br /> won your beachhead on the shores of<br /> Immortality...<br /><br /> EVE<br /> (grins)<br /> Stop rehearsing your column...<br /> Isn't it strange, Addison?<br /> I thought I'd be panic-stricken,<br /> want to run away or something.<br /> Instead, I can't wait for tonight<br /> to come. To come and go...<br /><br /> ADDISON<br /> Are you that sure of tomorrow?<br /><br /> EVE<br /> Aren't you?<br /><br /> ADDISON<br /> Frankly - yes.<br /><br />They've arrived in front of the hotel. <br /><br /> EVE<br /> It'll be a night to remember. It'll<br /> bring to me everything I've ever<br /> wanted. The end of an old road -<br /> and the beginning of a new one...<br /><br /> ADDISON<br /> All paved with diamonds and gold?<br /><br /> EVE<br /> You know me better than that. <br /><br /> ADDISON<br /> Paved with what, then?<br /><br /> EVE<br /> Stars.<br /><br />She goes in. Addison follows her. <br /><br />INT. CORRIDOR - TAFT HOTEL - DAY<br /><br />Addison accompanies Eve along the corridor to her door.<br /><br /> EVE<br /> What time?<br /><br /> ADDISON<br /> Almost four.<br /><br /> EVE<br /> Plenty of time for a nice long nap -<br /> we rehearsed most of last night...<br /><br /> ADDISON<br /> You could sleep, too, couldn't you?<br /><br /> EVE<br /> Why not?<br /><br />They've arrived at her door. She opens it. <br /><br /> ADDISON<br /> The mark of a true killer.<br /> (he holds out his hand)<br /> Sleep tight, rest easy - and come<br /> out fighting...<br /><br /> EVE<br /> Why'd call me a killer?<br /><br /> ADDISON<br /> Did I say killer? I meant champion.<br /> I get my boxing terms mixed. <br /><br />He turns to go. After a few steps-<br /><br /> EVE<br /> (calling)<br /> Addison-<br /> (he pauses)<br /> - come on in for just a minute,<br /> won't you? There's... I've got<br /> something to tell you. <br /><br />Addison turns curiously, and enters behind her. <br /><br />INT. EVE'S SUITE - TAFT HOTEL - DAY<br /><br />Old-fashioned, dreary and small. The action starts in the<br />living room and continues to the bedroom. <br /><br />Addison closes the door, crosses to a comfortable chair. <br /><br /> ADDISON<br /> Suites are for expense accounts.<br /> Aren't you being extravagant? <br /><br /> EVE<br /> Max is paying for it. He and Lloyd<br /> had a terrific row but Lloyd<br /> insisted... well. Can I fix you a<br /> drink?<br /><br />She indicates a table elaborately stocked with liquor,<br />glasses, etc. Addison's eyebrows lift.<br /><br /> ADDISON<br /> Also with the reluctant compliments<br /> of Max Fabian. <br /><br /> EVE<br /> Lloyd. I never have any, and he<br /> likes a couple of drinks after we<br /> finish - so he sent it up...<br /><br /> ADDISON<br /> Some plain soda.<br /> (Eve starts to fix it)<br /> Lloyd must be expecting a record<br /> run in New Haven...<br /><br /> EVE<br /> That's for tonight. You're invited.<br /> We're having everyone up after the<br /> performance. <br /><br /> ADDISON<br /> We're?<br /><br /> EVE<br /> Lloyd and I.<br /><br />She carries the soda to him, sits on an ottoman at his feet. <br /><br /> ADDISON<br /> I find it odd that Karen isn't here<br /> for the opening, don't you?<br /><br />He sips his soda and puts away, carefully avoiding a look at<br />Eve. As he looks back-<br /><br /> EVE<br /> Addison...<br /><br /> ADDISON<br /> (blandly)<br /> She's always been so fantastically<br /> devoted to Lloyd. I would imagine<br /> that only death or destruction<br /> could keep her-<br /><br /> EVE<br /> (breaks in)<br /> Addison, just a few minutes ago.<br /> When I told you this would be a<br /> night to remember - that it would<br /> bring me everything I wanted-<br /><br /> ADDISON<br /> (nods)<br /> - something about an old road<br /> ending and a new one starting -<br /> paved with stars...<br /><br /> EVE<br /> I didn't mean just the Theater.<br /><br /> ADDISON<br /> What else?<br /><br />Eve gets up, crosses to look out over the Common.<br /><br /> EVE <br /> (her back to him)<br /> Lloyd Richards. He's going to leave<br /> Karen. We're going to be married.<br /><br />For just a flash, Addison's eyes narrow coldly, viciously.<br />Then they crinkle into a bland smile. <br /><br /> ADDISON<br /> So that's it. Lloyd. Still just the<br /> Theater, after all...<br /><br /> EVE<br /> (turns; shocked)<br /> It's nothing of the kind! Lloyd<br /> loves me, I love him!<br /><br /> ADDISON<br /> I know nothing about Lloyd and his<br /> loves - I leave those to Louisa May<br /> Alcott. But I do know you.<br /><br /> EVE<br /> I'm in love with Lloyd!<br /><br /> ADDISON<br /> Lloyd Richards is commercially the<br /> most successful playwright in<br /> America-<br /><br /> EVE<br /> You have no right to say such<br /> things!<br /><br /> ADDISON<br /> - and artistically, the most<br /> promising! Eve dear, this is<br /> Addison.<br /><br />Eve drops her shocked manner like a cape. Her face lights up -<br />she crosses back to the ottoman. <br /><br /> EVE<br /> Addison, won't it be just perfect?<br /> Lloyd and I - there's no telling<br /> how far we can go... he'll write<br /> great plays for me, I'll make them<br /> be great!<br /> (as she sits)<br /> You're the only one I've told, the<br /> only one that knows except Lloyd<br /> and me...<br /><br /> ADDISON<br /> ... and Karen.<br /><br /> EVE<br /> She doesn't know. <br /><br /> KAREN<br /> She knows enough not to be here.<br /><br /> EVE<br /> But not all of it - not that Lloyd<br /> and I are going to be married.<br /><br /> ADDISON<br /> (thoughtfully)<br /> I see. And when was this unholy<br /> alliance joined?<br /><br /> EVE<br /> We decided the night before last,<br /> before we came up here...<br /><br /> ADDISON<br /> (increasingly tense)<br /> Was the setting properly romantic -<br /> the lights on dimmers, gypsy<br /> violins off stage?<br /><br /> EVE<br /> The setting wasn't romantic, but<br /> Lloyd was. He woke me up at three<br /> in the morning, banging on my door -<br /> he couldn't sleep, he told me -<br /> he's left Karen, he couldn't go on<br /> with the play or anything else<br /> until I promised to marry him... we<br /> sat and talked until it was light.<br /> He never went home...<br /><br /> ADDISON<br /> You sat and talked until it was<br /> light...<br /><br /> EVE<br /> (meaningly)<br /> We sat and talked, Addison. I want<br /> a run of the play contract. <br /><br /> ADDISON<br /> (quietly)<br /> There never was, there'll never be<br /> another like you. <br /><br /> EVE<br /> (happily)<br /> Well, say something - anything!<br /> Congratulations, skol - good work,<br /> Eve!<br /><br />Addison rises slowly, to his full height. As Eve watches him,<br />as her eyes go up to his, her smile fades-<br /><br /> ADDISON<br /> What do you take me for?<br /><br /> EVE<br /> (cautiously)<br /> I don't know what I take you for<br /> anything...<br /><br /> ADDISON<br /> (moving away)<br /> It is possible - even conceivable -<br /> that you've confused me with that<br /> gang of backward children you've<br /> been playing tricks on - that you<br /> have the same contempt for me that<br /> you have for them?<br /><br /> EVE<br /> I'm sure you mean something by<br /> that, Addison, but I don't know<br /> what...<br /><br /> ADDISON<br /> Look closely, Eve, it's time you<br /> did. I am Addison deWitt. I'm<br /> nobody's fool. Least of all -<br /> yours.<br /><br /> EVE<br /> I never intended you to be.<br /><br /> ADDISON<br /> Yes, you did. You still do. <br /><br />Eve gets up, now. <br /><br /> EVE<br /> I still don't know what you're<br /> getting at. Right now I want to<br /> take my nap. It's important that I-<br /><br /> ADDISON<br /> (breaks in)<br /> - it's important right now that we<br /> talk. Killer to killer.<br /><br /> EVE<br /> (wisely)<br /> Champion to champion. <br /><br /> ADDISON<br /> Not with me, you're no champion.<br /> You're stepping way up in class. <br /><br /> EVE<br /> Addison, will you please say what<br /> you have to say plainly and<br /> distinctly - and then get out so I<br /> can take my nap!<br /><br /> ADDISON<br /> Very well, plainly and distinctly.<br /> Although I consider it unnecessary -<br /> because you know as well as I, what<br /> I am about to say.<br /> (they are now facing each<br /> other)<br /> Lloyd may leave Karen, but he will<br /> not leave Karen for you. <br /><br /> EVE<br /> What do you mean by that?<br /><br /> ADDISON<br /> More plainly and more distinctly? I<br /> Have not come to New Haven to see<br /> the play, discuss your dreams, or<br /> to pull the ivy from the walls of<br /> Yale! I have come to tell you that<br /> you will not marry Lloyd - or<br /> anyone else - because I will not<br /> permit it. <br /><br /> EVE<br /> What have you got to do with it?<br /><br /> ADDISON<br /> Everything. Because after tonight,<br /> you will belong to me. <br /><br /> EVE<br /> I can't believe my ears...<br /><br /> ADDISON<br /> A dull cliche.<br /><br /> EVE<br /> Belong - to you? That sound<br /> medieval - something out of an old<br /> melodrama...<br /><br /> ADDISON<br /> So does the history of the world<br /> for the past twenty years. I don't<br /> enjoy putting it as bluntly as<br /> this, frankly I had hoped that you<br /> would, somehow, have known - have<br /> taken it for granted that you and<br /> I...<br /><br /> EVE<br /> ... taken it for granted? That you<br /> and I...<br /><br />She smiles. Then she chuckles, then laughs. A mistake.<br />Addison slaps her sharply across the face. <br /><br /> ADDISON<br /> (quietly)<br /> Remember as long as you live, never<br /> to laugh at me. At anything or<br /> anyone else - but never at me.<br /><br />Eve eyes him coldly, goes to the door, throws it open.<br /><br /> EVE<br /> Get out!<br /><br />Addison walks to the door, closes it. <br /><br /> ADDISON<br /> You're too short for that gesture.<br /> Besides, it went out with Mrs.<br /> Fiske.<br /><br /> EVE<br /> Then if you won't get out, I'll<br /> have you thrown out.<br /><br />She goes to the phone. <br /><br /> ADDISON<br /> Don't pick it up! Don't even put<br /> your hand on it...<br /><br />She doesn't. Her back is to him. Addison smiles. <br /><br /> ADDISON<br /> Something told you to do as I say,<br /> didn't it? That instinct is worth<br /> millions, you can't buy it, cherish<br /> it, Eve. When that alarm goes off,<br /> go to your battle stations...<br /><br />He comes up behind her. Eve is tense and wary.<br /><br /> ADDISON<br /> Your name is not Eve Harrington. It<br /> is Gertrude Slescynski.<br /><br /> EVE<br /> What of it?<br /><br /> ADDISON<br /> It is true that your parents were<br /> poor. They still are. And they<br /> would like to know how you are -<br /> and where. They haven't heard from<br /> you for three years...<br /><br /> EVE<br /> (curtly)<br /> What of it?<br /><br />She walks away. Addison eyes her keenly. <br /><br /> ADDISON<br /> A matter of opinion. Granted. It is<br /> also true that you worked in a<br /> brewery. But life in the brewery<br /> was apparently not as dull as you<br /> pictured it. As a matter of fact,<br /> it got less and less dull - until<br /> you boss's wife had your boss<br /> followed by detectives!<br /><br /> EVE<br /> (whirls on him)<br /> She never proved anything, not a<br /> thing!<br /><br /> ADDISON<br /> But the $500 you got to get out of<br /> town brought you straight to New<br /> York - didn't it?<br /><br />Eve turns and runs into the bedroom, slamming the door.<br />Addison opens it, follows close after her... he can be seen<br />in the bedroom, shouting at Eve who is offscene.<br /><br /> ADDISON<br /> That $500 brought you straight to<br /> New York - didn't it?<br /><br />INT. BEDROOM - DAY<br /><br />Eve, trapped, in a corner of the room. <br /><br /> EVE<br /> She was a liar, she was a liar!<br /><br /> ADDISON<br /> Answer my question! Weren't you<br /> paid to get out of town?<br /><br />Eve throws herself on the bed, face down, bursts in tears.<br />Addison, merciless, moves closer. <br /><br /> ADDISON<br /> Fourth. There was no Eddie - no<br /> pilot - and you've never been<br /> married! That was not only a lie,<br /> but an insult to dead heroes and to<br /> the women who loved them...<br /> (Eve, sobbing, puts her<br /> hands over her ears;<br /> Addison, closer, pulls<br /> them away)<br /> ... Fifth. San Francisco has no<br /> Shubert Theater and North Shore,<br /> you've never been to San Francisco!<br /> That was a stupid lie, easy to<br /> expose, not worthy of you...<br /><br />Eve twists to look up at him, her eyes streaming.<br /><br /> EVE<br /> I had to get in, to meet Margo! I<br /> had to say something, be somebody,<br /> make her like me!<br /><br /> ADDISON<br /> She did like you, she helped and<br /> trusted you! You paid her back by<br /> trying to take Bill away!<br /><br /> EVE<br /> That's not true!<br /><br /> ADDISON<br /> I was there, I saw you and heard<br /> you through the dressing room door!<br /><br />Eve turns face down again, sobbing miserably.<br /><br /> ADDISON<br /> You used my name and my column to<br /> blackmail Karen into getting you<br /> the part of "Cora" - and you lied<br /> to me about it!<br /><br /> EVE<br /> (into the bed)<br /> No-no-no...<br /><br /> ADDISON<br /> I had lunch with Karen not three<br /> hours ago. As always with women who<br /> want to find out things, she told<br /> more than she learned...<br /> (he lets go of her hands)<br /> ... do you want to change your<br /> story about Lloyd beating at your<br /> door the other night?<br /><br />Eve covers her face with her hands. <br /><br /> EVE<br /> Please... please...<br /><br />Addison get off the bed, looks down at her. <br /><br /> ADDISON<br /> That I should want you at all<br /> suddenly strikes me as the height<br /> of improbability. But that, in<br /> itself, is probably the reason.<br /> You're an improbable person, Eve,<br /> and so am I. We have that in<br /> common. Also a contempt for<br /> humanity, an inability to love or<br /> be loved, insatiable ambition - and<br /> talent. We deserve each other. Are<br /> you listening to me?<br /><br />Eve lies listlessly now, her tear-stained cheek against the<br />coverlet. She nods.<br /><br /> ADDISON<br /> Then say so. <br /><br /> EVE<br /> Yes, Addison.<br /><br /> ADDISON<br /> And you realize - you agree how<br /> completely you belong to me?<br /><br /> EVE<br /> Yes, Addison.<br /><br /> ADDISON<br /> Take your nap, now. And good luck<br /> for tonight.<br /><br />He starts out. <br /><br /> EVE<br /> (tonelessly)<br /> I won't play tonight.<br /> (Addison pauses)<br /> I couldn't. Not possibly. I<br /> couldn't go on...<br /><br /> ADDISON<br /> (smiles)<br /> Couldn't go on? You'll give the<br /> performance of your life.<br /><br />He goes out. The CAMERA REMAINS on Eve's forlorn, tear<br />stained face. Her eyes close... she goes to sleep.<br /><br />INT. DINING HALL - SARAH SIDDONS SOCIETY - NIGHT<br /><br />THE STOPPED ACTION of Eve reaching out for the award. The<br />applause and bulb-popping still going on.<br /><br /> ADDISON'S VOICE<br /> And she gave the performance of her<br /> life. And it was a night to<br /> remember, that night...<br /><br />THE ACTION picks up where it left off. Eve accepts the award<br />from the Aged Actor, kisses him tenderly, folds the award to<br />her bosom and waits for quiet.<br /><br />She speaks with assurance, yet modestly and humbly.<br /><br /> EVE<br /> Honored members of Sarah Siddons<br /> Society, distinguished guests,<br /> ladies and gentlemen: What is there<br /> for me to say? Everything wise and<br /> witty has long since been said - by<br /> minds more mature and talents far<br /> greater than mine. For me to thank<br /> you as equals would be presumptuous<br /> - I am an apprentice in the Theater<br /> and have much to learn from you<br /> all. I can say only that I am proud<br /> and happy and that I regard this<br /> great honor not so much as an award<br /> for what I have achieved, but as a<br /> standard to hold against what I<br /> have yet to accomplish.<br /> (applause)<br /> And further, I regard it as<br /> bestowed upon me only in part. The<br /> larger share belongs to my friends<br /> in the Theater - and to the Theater<br /> itself, which has given me all I<br /> have. In good conscience, I must<br /> give credit where credit is due. To<br /> Max Fabian-<br /><br />MAX sits erect, beaming proudly.<br /><br /> EVE'S VOICE<br /> - dear Max. Dear, sentimental,<br /> generous, courageous Max Fabian -<br /> who took a chance on an unknown,<br /> untried, amateur...<br /><br />EVE, after applause greets Max. <br /><br /> EVE<br /> And to my first friend in the<br /> Theater - whose kindness and<br /> graciousness I shall never<br /> forget... Karen - Mrs. Lloyd<br /> Richards...<br /><br />KAREN resumes her doodling as applause breaks out for her...<br /><br /> EVE'S VOICE<br /> ... and it was Karen who first<br /> brought me to one whom I had always<br /> idolized - and who was to become my<br /> benefactor and champion. A great<br /> actress and a great woman - Margo<br /> Channing.<br /><br />MARGO, part of Eve's tribute has been over her CLOSE-UP. She<br />smiles grimly in reaction to the applause.<br /><br />EVE looks to her right, waits for the applause to die. <br /><br /> EVE<br /> My director - who demanded always a<br /> little more than my talent could<br /> provide-<br /><br />BILL, seated at the speakers' table. He has his award before<br />him - a smaller one. He puts out a cigarette expressionlessly<br />as the applause breaks out. <br /><br /> EVE<br /> - but who taught me patiently and<br /> well... Bill Sampson.<br /><br />LLOYD sits beside Bill. He, too, has a smaller award. As Eve<br />speaks, he throws her a brief glance. <br /><br /> EVE'S VOICE<br /> And one, without whose great play<br /> and faith in me, this night would<br /> never have been. How can I repay<br /> Lloyd Richards?<br /><br />EVE waits for the applause to die. <br /><br /> EVE<br /> Hoe can I repay the many others? So<br /> many, that I couldn't possibly name<br /> them all...<br /><br />ADDISON smiles approvingly. <br /><br /> EVE'S VOICE<br /> ... whose help, guidance and advice<br /> have made this, the happiest night<br /> of my life, possible. <br /><br />EVE stares at the award for an instant, as if fighting for<br />self-control.<br /><br /> EVE<br /> Although I am going to Hollywood<br /> next week to make a film - do not<br /> think for a moment that I am<br /> leaving you. How could I? For my<br /> heart is here in the Theater - and<br /> three thousand miles are too far to<br /> be away from one's heart.<br /> I'll be back to claim it - and<br /> soon. That is, if you want me back.<br /><br />Another storm of applause. Much ad lib shouting as Bill and<br />Lloyd are summoned to pose beside her for more pictures.<br />People are thronging out. The Aged Actor shouts above the<br />hubbub...<br /><br /> AGED ACTOR<br /> A good night to all - and to all a<br /> good night!<br /><br />Eve disengages herself from the photographers, makes her way<br />toward Addison's table... Bill and Lloyd follow. CAMERA<br />FOLLOWS Lloyd to Karen. They kiss. He gives her the award. <br /><br /> LLOYD<br /> For services rendered - beyond the<br /> whatever-it-is-of-duty, darling.<br /><br />Max bustles into the SHOT.<br /><br /> MAX<br /> Come on! I'm the host, I gotta get<br /> home before the guests start<br /> stealing the liquor...<br /><br />She and Lloyd follow Max. Addison and Eve are on their way.<br />Lloyd goes right by. Karen pauses at Eve.<br /><br /> KAREN<br /> Congratulations, Eve. <br /><br /> EVE<br /> Thank you, Karen.<br /><br />Karen goes. Eve is being constantly congratulated. Some ad<br />lib about seeing her at Max's party...<br /><br /> MAX<br /> (to Addison)<br /> I'm giving her a very high-class<br /> party. It ain't like a rehearsal,<br /> she don't have to be late. <br /><br /> ADDISON<br /> As soon as the peasants stop pawing<br /> her. <br /><br />Max hurries out. Margo and Bill step into the SHOT. Eve turns<br />from a well-wisher to face her. <br /><br /> MARGO<br /> ... nice speech, Eve. But I<br /> wouldn't worry too much about your<br /> heart. You can always put that<br /> award where your heart ought to be. <br /><br />Eve looks at her wordlessly. Margo and Bill leave. Addison<br />and Eve are alone. The tables about them are empty. Suddenly,<br />her face becomes expressionless, her eyes dull... she glances<br />at the table.<br /><br /> EVE<br /> I don't suppose there's a drink<br /> left...<br /><br /> ADDISON<br /> You can have one at Max's. <br /><br /> EVE<br /> (sits)<br /> I don't think I'm going. <br /><br /> ADDISON<br /> (sighs)<br /> Why not?<br /><br /> EVE<br /> Because I don't want to. <br /><br /> ADDISON<br /> (patiently)<br /> Max has gone to a great deal of<br /> trouble, it's going to be an<br /> elaborate party, and it's for you. <br /><br /> EVE<br /> No, it's not.<br /> (she holds up the award)<br /> It's for this. <br /><br /> ADDISON<br /> It's the same thing, isn't it?<br /><br /> EVE<br /> Exactly.<br /> (she gives him the award)<br /> Here. Take it to the party instead<br /> of me. <br /><br /> ADDISON<br /> You're being childish.<br /><br />A well-wisher rushes up to Eve with an "Eve, darling, I'm so<br />happy!" Eve rises, thanks her graciously. Then she pulls her<br />wrap over her shoulder.<br /><br /> EVE<br /> I'm tired. I want to go home. <br /><br /> ADDISON<br /> (curtly)<br /> Very well. I shall drop you and go<br /> on to the party. I have no<br /> intention of missing it...<br /><br />They exit from the room, now empty of everything but tables,<br />waiters, and the usual banquet debris. <br /><br />EXT. PARK AVENUE - NIGHT<br /><br />Eve gets out of taxi in front of a fashionable apartment<br />hotel. She doesn't say good night to Addison, she enters the<br />hotel as the cab drives off. She hasn't the award with her. <br /><br />INT. CORRIDOR OUTSIDE EVE'S APARTMENT - NIGHT<br /><br />Smart, but not gaudy. Eve crosses from the elevator to her<br />apartment. She lets herself in. <br /><br />INT. EVE'S HOTEL APARTMENT - NIGHT<br /><br />A small foyer, from which one door leads to the leaving room,<br />another to the bedroom. The bedroom and living room do not<br />connect except through the foyer. <br /><br />All the lights are out. Eve turns them on in the foyer, the<br />same as she enters the bedroom. There are some new trunks, in<br />various stages of being packed. Eve tosses her wrap on the<br />bed, goes through the foyer to the living room.<br /><br />She turns on the light in the living room. CAMERA FOLLOWS her<br />to a smart small bar where she fixes a stiff drink. As she<br />turns from the bar, she stares - starts in fright - and drops<br />the drink. <br /><br />A young girl, asleep in a chair, wakes with a jump. She<br />stares at Eve, horror-stricken. <br /><br /> EVE<br /> Who are you?<br /><br /> GIRL<br /> Miss Harrington...<br /><br /> EVE<br /> What are you doing here?<br /><br /> GIRL<br /> I - I guess I fell asleep.<br /><br />Eve starts for the phone. The girl rises in panic. <br /><br /> GIRL<br /> Please don't have me arrested,<br /> please! I didn't steal anything -<br /> you can search me!<br /><br /> EVE<br /> (pauses)<br /> How did you get in here?<br /><br /> GIRL<br /> I hid outside in the hall till the<br /> maid came to turn down your bed.<br /> She must've forgot something and<br /> when she went to get it, she left<br /> the door open. I sneaked in and hid<br /> till she finished. Then I just<br /> looked around - and pretty soon I<br /> was afraid somebody'd notice the<br /> lights were on so I turned them off<br /> - and then I guess, I fell asleep.<br /><br /> EVE<br /> You were just looking around...<br /><br /> GIRL<br /> That's all. <br /><br /> EVE<br /> What for?<br /><br /> GIRL<br /> You probably won't believe me. <br /><br /> EVE<br /> Probably not. <br /><br /> GIRL<br /> It was for my report. <br /><br /> EVE<br /> What report? To whom?<br /><br /> GIRL<br /> About how you live, what kind of<br /> clothes you wear - what kind of<br /> perfume and books - things like<br /> that. You know the Eve Harrington<br /> clubs - that they've got in most of<br /> the girls' high schools?<br /><br /> EVE<br /> I've heard of them.<br /><br /> GIRL<br /> Ours was one of the first. Erasmus<br /> Hall. I'm the president. <br /><br /> EVE<br /> Erasmus Hall. That's in Brooklyn,<br /> isn't it?<br /><br /> GIRL<br /> Lots of actresses come from<br /> Brooklyn. Barbara Stanwyck, Susan<br /> Hayward - of course, they're just<br /> movie stars. <br /><br />Eve makes no comment. She lies wearily on the couch. <br /><br /> GIRL<br /> You're going to Hollywood - aren't<br /> you?<br /> (Eve murmurs "uh-huh")<br /> From the trunks you're packing, you<br /> must be going to stay a long time.<br /><br /> EVE<br /> I might. <br /><br /> GIRL<br /> That spilled drink is going to ruin<br /> your carper. <br /><br />She crosses to it. <br /><br /> EVE<br /> The maid'll fix it in the morning. <br /><br /> GIRL<br /> I'll just pick up the broken glass.<br /><br /> EVE<br /> Don't bother. <br /><br />The girl puts the broken glass on the bar. She starts to mix<br />Eve a fresh drink. <br /><br /> EVE<br /> How'd you get all the way up here<br /> from Brooklyn?<br /><br /> GIRL<br /> Subway.<br /><br /> EVE<br /> How long does it take?<br /><br /> GIRL<br /> With changing and everything, a<br /> little over an hour.<br /><br />She carries the drink over to Eve. <br /><br /> EVE<br /> It's after one now. You won't get<br /> home till all hours.<br /><br /> GIRL<br /> (smiles)<br /> I don't care if I never get home. <br /><br />The door buzzer sounds. <br /><br /> EVE<br /> That's the door. <br /><br /> GIRL<br /> You rest. I'll get it...<br /><br />She goes to the door, opens it. Addison stands there, the<br />Sarah Siddons Award in his hands. <br /><br /> ADDISON<br /> Hello, there. Who are you?<br /><br /> GIRL<br /> (shyly)<br /> Miss Harrington's resting, Mr.<br /> deWitt. She asked me to see who it<br /> is...<br /><br /> ADDISON<br /> We won't disturb her rest. It seems<br /> she left her award in the taxicab.<br /> Will you give it to her?<br /><br />She holds it as if it were the Promised Land. Addison smiles<br />faintly. He knows the look. <br /><br /> ADDISON<br /> How do you know my name?<br /><br /> GIRL<br /> It's a very famous name, Mr.<br /> deWitt. <br /><br /> ADDISON<br /> And what is your name?<br /><br /> GIRL<br /> Phoebe. <br /><br /> ADDISON<br /> Phoebe?<br /><br /> GIRL<br /> (stubbornly)<br /> I call myself Phoebe. <br /><br /> ADDISON<br /> Why not? Tell me, Phoebe, do you<br /> want some day to have an award like<br /> that of your own? <br /><br />Phoebe lifts her eyes to him. <br /><br /> PHOEBE<br /> More than anything else in the<br /> world. <br /><br />Addison pats her shoulder lightly. <br /><br /> ADDISON<br /> Then you must Miss Harrington how<br /> to get one. Miss Harrington knows<br /> all about it...<br /><br />Phoebe smiles shyly. Addison closes the door. Phoebe stares<br />down at the award for an instant. <br /><br /> EVE'S VOICE<br /> (sleepy; from the living<br /> room)<br /> Who was it?<br /><br /> PHOEBE<br /> Just a taxi driver, Miss<br /> Harrington. You left the award in<br /> his cab and he brought it back...<br /><br /> EVE'S VOICE<br /> Oh. Put it on one of the trunks,<br /> will you? I want to pack it...<br /><br /> PHOEBE<br /> Sure, Miss Harrington...<br /><br />She takes the award into the bedroom, sets it on a trunk. As<br />she starts out, she sees Eve's fabulous wrap on the bed. She<br />listens. Then, quietly, she puts on the wrap and picks up the<br />award. <br /><br />Slowly, she walks to a large three-mirrored cheval. With<br />grace and infinite dignity she holds the award to her, and<br />bows again and again... as if to the applause of a multitude. <br /><br /> FADE OUT.<br /><br /> THE ENDEelveEhttp://www.blogger.com/profile/04343357520043384445noreply@blogger.com0