FADE IN:

INT. DINING HALL - SARAH SIDDONS SOCIETY - NIGHT

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Karen continues her doodling. 

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

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

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

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

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

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

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

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

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

Margo sloshes her drink around moodily, pulls at it.

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

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

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

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

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

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

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

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

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

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

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

Addison's glance moves from Karen to Margo. 

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

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

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

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

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

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

THE WAITERS applaud enthusiastically...

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

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

MAX has come to. He applauds lustily.

ADDISON's applauding too, more discreetly. 

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

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

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

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

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

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

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

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

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

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

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

							DISSOLVE TO:

EXT. NEW YORK THEATER STREET - NIGHT

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

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

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

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

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

EXT. ALLEY - CURRAN THEATER - NIGHT

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

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

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

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

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

			EVE
	 Why should you think I wouldn't be?

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

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

			KAREN
	 Not at all. 

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

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

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

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

			EVE
	 He's the best. 

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

			EVE
	 Oh, no. I see the play. 

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

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

Karen contemplates Eve. Then she takes her arm. 

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

			EVE
		(hanging back)
	 Oh, no...

			KAREN
	 She's got to meet you-

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

Karen practically propels her toward the stage door. 

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

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

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

			EVE
	 Eve. Eve Harrington. 

Karen opens the door. They go in. 

INT. BACKSTAGE - CURRAN THEATER - NIGHT

Everything, including the doorman, looks fireproof. 

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

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

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

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

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

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

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

Eve smiles shakily. At the same moment:

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

Karen enters during the line. 

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

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

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

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

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

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

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

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

			LLOYD
	 How was the concert?

			KAREN
	 Loud.

			BIRDIE
	 Lemme fix you a drink. 

			KAREN
	 No thanks, Birdie. 

Karen laughs with them. 

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

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

			MARGO
	 It was Fort Sumter they fired on-

			BIRDIE
	 I never played Fort Sumter.

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

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

			LLOYD
	 That was way back...

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

Birdie comes out of the bathroom without the wig. 

			BIRDIE
	 You need new girdles. 

			MARGO
	 Buy some. 

			BIRDIE
	 The same size? 

			MARGO
	 Of course!

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

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

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

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

			MARGO
	 It's the tight girdle that does it. 

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

			LLOYD
	 - 'at's my loyal little woman. 

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

			LLOYD
	 Easy, now...

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

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

			MARGO
		(dryly)
	 Ain't it the truth?

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

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

			KAREN
	 They're your fans, your audience-

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

There is a pause. Lloyd applauds lightly. 

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

			MARGO
	 You've what? 

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

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

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

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

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

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

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

She looks to Birdie. 

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

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

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

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

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

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

			BIRDIE
		(mutters)
	 Oh, brother. 

			EVE
	 Hello, Miss Channing. 

			KAREN
	 My husband...

			LLOYD
		(nicely)
	 Hello, Miss Harrington. 

			EVE
	 How do you do, Mr. Richards. 

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

			BIRDIE
	 Oh, brother. 

			MARGO
	 Miss Coonan...

			LLOYD
		(to Birdie)
	 Oh brother what? 

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

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

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

She goes into the bathroom. 

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

			KAREN
	 Harrington. 

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

			EVE
	 Thank you. 

She sits. A short lull.

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

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

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

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

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

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

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

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

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

			MARGO
	 Of course it is.

			LLOYD
	 How'd hear about it?

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

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

Eve looks at Margo, then drops her eyes. 

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

			MARGO
	 There are other plays...

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

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

Eve pauses. Then shakes her head. 

			KAREN
	 Tell us about it - Eve...

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

			EVE
	 If I only knew how...

			KAREN
	 Try...

			EVE
	 Well...

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

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

			LLOYD
	 'Remembrance'.

			MARGO
	 Did you see it here in New York?

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

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

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

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

			EVE
	 It couldn't possibly interest you. 

			MARGO
	 Please...

Eve speaks simply and without self-pity. 

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

			LLOYD
	 Not at all...

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

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

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

That breaks the spell. Margo turns to her-

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

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

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

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

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

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

			MARGO
	 Thank you so much. 

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

			MARGO
	 Show me a human and I might have!

			KAREN
		(conscious of Eve)
	 Bill...

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

			KAREN
		(louder)
	 Bill-

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

Bill grins suddenly, drops to one knee beside her.

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

			MARGO
	 I'm a junk yard. 

			KAREN
		(yells)
	 Bill!

			BILL
		(vaguely; to Karen)
	 Huh?

			KAREN
	 This is Eve Harrington.

Bill flashes a fleeting look at Eve. 

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

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

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

			BILL
	 Hello, what's your name? 

			EVE
	 Eve. Eve Harrington. 

			KAREN
	 You've already met. 

			BILL
	 Where? 

			KAREN
	 Right here. A minute ago. 

			BILL
	 That's nice. 

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

			BIRDIE
	 Imagine. All this admiration in
	 just one room. 

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

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

			KAREN
	 You're not going, are you?

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

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

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

Margo, impulsively crosses to Eve. 

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

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

			MARGO
	 I won't be a minute. 

She darts into the bathroom. Eve sits down again. 

			KAREN
	 Lloyd, we've got to go-

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

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

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

			KAREN
	 Good luck, genius...

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

			LLOYD
	 I'm not worried about you. 

			BILL
	 Keep the thought. 

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

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

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

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

			EVE
	 I'd like that. 

			LLOYD
	 It's been a real pleasure, Eve. 

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

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

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

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

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

INT. MARGO'S DRESSING ROOM - NIGHT

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

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

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

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

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

There's a sudden sharp yelp from the bathroom. 

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

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

Bill grins. 

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

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

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

Bill grunts in the affirmative. Silence. 

			BILL
	 Why?

			EVE
	 I just wondered.

			BILL
	 Just wondered what?

			EVE
	 Why.

			BILL
	 Why what?

			EVE
	 Why you have to go out there.

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

			EVE
	 Is it the money?

			BILL
	 Eighty percent of it will go for
	 taxes. 

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

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

			EVE
	 I just asked a simple question. 

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

He lies down again. 

			EVE
	 But Hollywood. You mustn't stay
	 there. 

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

			EVE
	 So few come back...

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

A pause.

			EVE
	 I read George Jean Nathan every
	 week.

			BILL
	 Also Addison deWitt. 

			EVE
	 Every day. 

			BILL
	 You didn't have to tell me. 

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

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

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

			BILL
	 Throw that dreary thing away, it
	 bores me-

Margo drops it in the wastebasket, keeps rummaging. 

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

			BIRDIE
	 It'll show up.

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

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

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

			BIRDIE
	 Right where you left it...

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

			BILL
		(to Margo)
	 The seams. 

Margo starts to straighten them. 

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

			BILL
	 Like a nylon lemon peel-

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

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

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

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

Bill kisses her cheek. She kisses Bill. 

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

			MARGO
		(nods)
	 See you home...

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

EXT. LAGUARDIA FIELD - NIGHT

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

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

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

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

The man up ahead moves on.

			BILL
	 Ah...

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

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

			EVE
	 Of course not. 

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

EXT. PASSAGE AND GATE - LAGUARDIA - NIGHT

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

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

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

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

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

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

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

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

			MARGO
	 Take care of yourself out there...

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

			MARGO
	 Bill...

			BILL
	 Huh?

			MARGO
	 Don't get stuck on some glamour
	 puss-

			BILL
	 I'll try.

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

			BILL
	 Everybody can't be Gregory Peck.

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

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

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

			BILL
		(firmly)
	 And cut that out right now. 

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

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

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

			EVE
	 All ready.

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

INT. BOARDING GATE - LAGUARDIA - NIGHT

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

			BILL
	 Thanks for your help... good luck. 

			EVE
	 Goodbye, Mr. Sampson.

Bill puts his arms around Margo. 

			BILL
	 Knit me a muffler. 

			MARGO
	 Call me when you get in...

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

Bill pauses en route to the plane. 

			BILL
	 Hey - junior...

Margo turns to look at him with Eve. 

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

Eve looks at Margo. Margo smiles. 

			EVE
	 Don't worry...

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

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

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

INT. DINING HALL - NIGHT

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

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

ADDISON eyeing her quizzically. He offers her the whiskey. 

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

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

INT. MARGO'S LIVING ROOM - DAY

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

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

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

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

The phone rings.

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

Birdie glares first at her, then at Margo. 

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

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

INT. BACKSTAGE - CURRAN THEATER - DAY

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

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

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

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

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

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

			STAGE MANAGER
	 One more?

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

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

			MARGO
	 What - again?

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

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

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

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

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

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

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

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

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

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

INT. MARGO'S DRESSING ROOM - NIGHT

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

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

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

			BIRDIE
	 Something maybe grew a size bigger.

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

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

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

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

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

			EVE
	 The curtains. I made them myself. 

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

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

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

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

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

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

			EVE
	 No trouble at all. 

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

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

			MARGO
	 Behind in your dues? How much?

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

			MARGO
	 Well?

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

			MARGO
		(catching on)
	 Oh-oh.

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

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

INT. BACKSTAGE - CURRAN THEATER - NIGHT

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

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

MARGO watches her curiously. Then she smiles. 

			MARGO
		(calling)
	 Eve-

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

MARGO smiles understandingly. 

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

Wordlessly, Eve brings it toward her...

INT. MARGO'S BEDROOM - NIGHT

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

			MARGO
	 Hello..

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

			MARGO
	 Call, what call?

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

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

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

			MARGO
	 I placed...?

			OPERATOR'S VOICE
	 Go ahead, please...

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

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

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

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

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

			MARGO
	 That I am...

			BILL
	 Then you're crazy. 

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

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

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

			BILL 
	 You in a hurry?

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

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

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

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

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

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

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

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

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

Margo knows damn well it wasn't she. 

			MARGO
		(miserably)
	 Happy birthday, darling...

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

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

			BILL 
	 I get a party, don't I?

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

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

			MARGO
	 She did...?

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

			MARGO
	 Yeah... I will.

			BILL 
	 How is Eve? Okay?

			MARGO
	 Okay. 

			BILL 
	 I love you...

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

			BILL
	 What? 

			MARGO
	 I love you too. Good night, darling-

			BILL 
	 See you...

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

INT. MARGO'S BEDROOM - DAY

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

			MARGO
	 Birdie-

			BIRDIE
	 Hmm?

			MARGO
	 You don't like Eve, do you?

			BIRDIE
	 Do you want an argument or an
	 answer?

			MARGO
	 An answer. 

			BIRDIE
	 No. 

			MARGO
	 Why not?

			BIRDIE
	 Now you want an argument. 

			MARGO
	 She works hard. 

			BIRDIE
	 Night an' day. 

			MARGO
	 She's loyal and efficient-

			BIRDIE
	 Like an agent with one client.

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

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

			MARGO
	 How do you mean that?

Birdie stops whatever it is she's doing.

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

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

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

			EVE
	 Good morning!

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

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

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

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

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

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

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

			EVE
	 I've got it. 

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

			EVE
	 Right here. 

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

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

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

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

			MARGO
	 Yes, dear. You forgot all about it. 

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

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

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

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

INT. DINING HALL - SARAH SIDDONS SOCIETY - NIGHT

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

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

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

INT. MARGO'S BEDROOM - NIGHT

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

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

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

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

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

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

			EVE
	 Hollywood. 

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

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

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

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

She starts out. 

			EVE
		(hesitantly)
	 Mrs. Richards. 

			KAREN
		(pauses, smiles)
	 Karen.

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

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

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

She looks down at the coverlet once more. 

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

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

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

			EVE
		(nods proudly)
	 The show must go on. 

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

			EVE
	 Do you think Miss Channing would
	 approve?

			KAREN
	 I think she would cheer. 

			EVE
	 But Mr. Richards and Mr. Sampson-

			KAREN
	 They'll do as they're told.

Eve smiles a little. A pause. 

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

			KAREN
	 Of course. 

			EVE
	 You won't forget it?

			KAREN
	 I won't forget. 

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

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

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

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

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

			KAREN
	 What did you expect - live sables?

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

They start out. 

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

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

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

INT. SECOND FLOOR LANDING AND STAIRS - NIGHT

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

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

Addison is holding forth:

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

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

			BILL'S VOICE
	 And probably has. 

			MISS CASWELL
	 Sable. 

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

			MISS CASWELL
	 Either one. 

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

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

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

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

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

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

			MAX
	 This answer satisfies me a hundred
	 percent. 

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

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

			ADDISON
	 That happens to be your particular
	 abnormality. 

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

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

The butler goes right by.

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

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

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

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

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

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

Max leaves with her empty glass. 

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

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

			EVE
		(abruptly)
	 Yes. Yes, it does. 

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

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

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

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

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

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

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

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

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

			KAREN
	 Margo, really...

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

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

Max has come up with Miss Caswell's drink. 

			LLOYD
	 How about calling it a night?

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

			BILL
	 It's a good thought. 

			MARGO
	 It won't play. 

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

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

			MARGO
	 Happy little housewife...

			BILL
	 Cut it out.

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

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

			ADDISON
	 Hear, hear...

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

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

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

She starts upstairs.

			BILL
	 Need any help?

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

			EVE
	 If you'd like. 

			MARGO
	 I wouldn't like. 

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

			MAX
	 I forgot I had it. 

			MISS CASWELL
	 I didn't. 

Bill gets up and goes after Margo...

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

Eve turns away abruptly, in sudden tears. 

			LLOYD
	 Coming?

			KAREN 
	 In a minute...

She crosses to Eve, puts an arm around her. 

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

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

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

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

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

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

Karen smiles back. She joins Lloyd and Max. 

			LLOYD
	 Max is going to drop us...

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

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

			ADDISON 
	 And too many of them are produced. 

			MISS CASWELL
	 Let's go sit by the piano. 

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

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

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

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

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

INT. DINING HALL - SARAH SIDDONS SOCIETY - NIGHT

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

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

INT. MARGO'S BEDROOM - NIGHT

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

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

Birdie comes in. 

			BIRDIE
	 You all put together? 

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

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

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

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

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

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

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

			BIRDIE
	 Late for what?

			MARGO
	 Don't be dense. The party. 

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

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

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

INT. THIRD FLOOR LANDING - NIGHT

Margo speeds up going down the stairs. 

INT. SECOND FLOOR LANDING - NIGHT

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

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

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

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

INT. MARGO'S LIVING ROOM - NIGHT

As Margo strolls up, very off-hand.

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

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

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

			EVE
	 I'd like to hear it. 

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

			EVE
	 Of course.

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

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

			MARGO
	 I thought you were going to be late-

			BILL 
	 When I'm guest of honor?

			MARGO 
	 I had no idea you were even here. 

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

			MARGO
	 That never stopped you before. 

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

			MARGO
	 She's a girl of so many interests. 

			BILL 
	 It's a pretty rare quality these
	 days. 

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

			BILL 
	 So she seems. 

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

Bill catches the drift. Incredulously. 

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

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

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

			MARGO
	 I don't think that's funny!

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

			MARGO
	 Twenty minutes!

			BILL 
	 Thirty minutes, forty minutes! What
	 of it?

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

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

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

			BILL 
	 For instance what?

			MARGO
	 For instance - you!

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

			MARGO
	 - guilty.

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

			MARGO
	 What about her teeth? What about
	 her fangs? 

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

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

			EVE'S VOICE
		(quietly)
	 Miss Channing?

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

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

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

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

Eve, involuntarily, looks to Margo.

			MARGO
	 A milkshake?

Eve smiles, turns to Bill. 

			EVE
	 A Martini. Very dry, please...

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

			EVE
		(to Karen)
	 May I have your coat?

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

			EVE
	 Please...

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

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

			MARGO
	 ... Among so many quiet qualities.

They start for the living room.

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

			MARGO
	 I'm so happy you're happy. 

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

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

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

			MAX
	 How about me what? 

They've come to a halt near the fireplace. 

			MARGO
	 Supposed you dropped dead. What
	 about your inventory?

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

			KAREN 
	 This is the most ghoulish
	 conversation...

Bill brings two Martinis. He hands one to Margo. 

			MARGO
		(it drips ice)
	 Thank you. 

			BILL 
	 Nothing, really...

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

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

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

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

			MARGO
		(to Bill)
	 What is he talking about? 

			BILL 
	 Macbeth. 

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

Margo surveys them all. 

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

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

			WOMAN #1
	 Margo, darling!

			WOMAN #2
	 Darling!

			MARGO
		(passing)
	 Darlings...

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

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

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

			MARGO
	 I do not. How do you do?

			MISS CASWELL
	 We never met. That's why. 

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

			EVE
		(deferentially)
	 Good evening, Mr. deWitt.

			MARGO
	 I had no idea you knew each other.

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

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

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

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

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

			ADDISON
	 We have that in common. 

			MARGO
	 Then you two must have a long talk-

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

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

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

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

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

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

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

			MARGO
	 Amen.

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

INT. MARGO'S LIVING ROOM - NIGHT

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

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

			MARGO
		(quietly)
	 "Liebestraum."

			PIANIST
	 I just played it. 

			MARGO
	 Play it again. 

			PIANIST
	 But that was the fourth straight
	 time. 

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

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

			MARGO
	 "Liebestraum."

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

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

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

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

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

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

			MARGO
	 You know nothing about feelings,
	 natural or unnatural. 

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

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

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

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

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

			BILL 
	 No heart to burn. 

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

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

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

She takes off. Max waits to set Bill straight. 

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

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

INT. PANTRY - NIGHT

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

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

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

			MARGO
	 Miss Caswell?
		(Max nods)
	 What?

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

He adds water to the bicarb. 

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

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

			MARGO
	 When's the audition?

			MAX
	 A couple of weeks. 

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

			MAX
	 Would you?

			MARGO
	 Anything to help you out, Max. 

			MAX
	 This is real cooperation. I
	 appreciate it. 

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

			MAX
	 All you got to do is name it. 

			MARGO
	 Give Eve Harrington job in you
	 office.

Max burps. 

			MARGO
	 You get quick action, don't you?

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

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

			MAX
	 But what could she do?

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

			MAX
	 Well...

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

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

			MARGO
	 Promise. 

			MAX
	 I promise. 

			MARGO
		(happily)
	 That's my Max. 

Lloyd enters, looking for her. 

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

			MARGO
	 Where is she?

			LLOYD
	 Up in the room. 

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

He goes out. A pause. 

			MARGO
	 Who's left out there?

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

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

Another pause. 

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

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

			MARGO
	 When you do, let me in on it. 

			LLOYD
	 I will. 

Another pause. 

			MARGO
	 How's the new one coming?

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

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

			LLOYD
	 Twentyish. It isn't important. 

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

			LLOYD
	 How do you mean? 

			MARGO
	 Don't be evasive. 

			LLOYD
	 Margo, you haven't got any age. 

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

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

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

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

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

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

A pause. Margo closes the box of bicarb. 

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

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

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

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

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

And as Margo speaks - or before - we 

FADE OUT.

FADE IN:

EXT. N.Y. THEATER STREET - DAY

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

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

INT. LOBBY AND FOYER - CURRAN THEATER - DAY

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

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

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

			MARGO
	 The ladies' - shall we say -
	 lounge?

			ADDISON
	 Being violently ill to her tummy. 

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

She heads for the auditorium.

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

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

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

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

			ADDISON
	 Naturally enough, your understudy. 

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

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

			MARGO
	 Eve! My understudy...

			ADDISON
		(keenly)
	 Didn't you know?

			MARGO
		(quickly)
	 Of course I knew. 

			ADDISON
	 It just slipped your mind. 

A moment of silence. 

			MARGO
	 How... how was Miss Caswell?

			ADDISON
	 Frankly, I don't remember.

			MARGO
	 Just slipped your mind. 

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

			MARGO
	 Was she that bad?

As Addison speaks, he rises with excitement.

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

			MARGO
		(flatly)
	 I take it she read well.

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

			MARGO
	 How nice. 

			ADDISON
	 In time she'll be what you are. 

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

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

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

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

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

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

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

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

			ADDISON 
	 Feeling better, my dear?

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

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

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

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

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

He takes her toward the street. 

INT. THEATER - CURRAN THEATER - DAY

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

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

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

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

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

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

			EVE
	 Hello, Miss Channing. 

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

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

			BILL 
	 It's all over. 

			MARGO
	 What's all over?

			BILL 
	 The audition. 

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

			LLOYD
	 She's your understudy.

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

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

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

Max submerges further in his seat. 

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

			MARGO
	 Really, Eve? Why?

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

			MARGO
	 Why not?

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

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

			BILL 
	 What fire and music?

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

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

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

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

			LLOYD
	 You'd have been proud of her.

			MARGO
	 I'm sure. 

			LLOYD
	 She was a revelation...

			MARGO
	 To you, too?

			LLOYD
	 What do you mean?

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

			LLOYD
	 That's beside the point. 

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

			BILL 
	 Addison-!

			MARGO
	 So full of meaning, fire and music!

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

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

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

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

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

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

			LLOYD
	 I never said it was!

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

Max has edged his way to the stage. 

			MAX
		(from below)
	 May I say a word?

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

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

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

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

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

He starts up the aisle with Max. 

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

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

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

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

			MAX
	 Are you breaking the contract?

			MARGO
	 Answer my question!

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

			MARGO
	 I didn't hear you. 

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

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

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

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

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

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

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

			BILL 
	 Who?

			MARGO
	 The kid. Junior. 

			BILL 
		(looks lazily)
	 Gone.

			MARGO
	 I must have frightened her away. 

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

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

			BILL 
	 Don't mix your metaphors. 

			MARGO
	 I mix what I like. 

			BILL 
	 Okay. Mix. 

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

			BILL
	 What a body, what a voice. 

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

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

			MARGO
	 I will not calm down!

			BILL 
	 Don't calm down. 

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

			BILL 
	 I'm trying terribly hard. 

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

			BILL 
	 Here we go...

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

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

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

			BILL 
	 You've been all through that with
	 Lloyd-

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

			BILL 
	 I am sick and tired of these
	 paranoiac outbursts!

			MARGO
	 Paranoiac!

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

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

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

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

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

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

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

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

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

			MARGO
	 Well, I am. 

			BILL 
	 I'll say. 

			MARGO
	 Don't be condescending. 

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

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

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

			MARGO
	 The terms are too high.
	 Unconditional surrender. 

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

			MARGO
	 It's not nonsense. 

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

			MARGO
	 I wish it were. 

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

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

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

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

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

No word from her. He starts away. 

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

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

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

INT. RICHARDS' STUDIO APARTMENT - DAY

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

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

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

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

			KAREN
	 Lloyd, what happened...?

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

			KAREN
	 Margo, again...

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

			KAREN
	 That's on time for Margo. 

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

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

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

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

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

			KAREN
	 Margo hasn't done badly by it.

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

He starts up the stairs to the bedroom. 

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

			LLOYD
		(pauses)
	 What is?

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

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

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

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

She lies down, folds her hands behind her head. 

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

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

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

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

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

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

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

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

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

There's an answer at the other end. 

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

And as she waits we...

							DISSOLVE TO:

EXT. COUNTRYSIDE - NIGHT

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

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

INT. COUPE - NIGHT

Lloyd driving. All three in the front seat. 

			KAREN
	 What time is it?

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

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

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

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

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

			MARGO
	 Peace and quit is for libraries. 

The car swerves - suddenly and slightly. 

			KAREN
	 Lloyd, be careful...

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

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

			LLOYD
	 I have no intention of having an
	 accident!

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

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

			LLOYD
	 Now what's this...?

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

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

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

			LLOYD
	 Incredible. 

Futilely, he runs the started again. 

			MARGO
		(crisply)
	 How much time have we? 

			KAREN
	 Roughly ten minutes. 

			MARGO
	 How far to the station?

			KAREN
	 Three or four miles...

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

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

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

A moment of silence. 

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

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

			KAREN
	 You'll break your neck on that ice. 

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

			KAREN
	 Don't joke about such things.

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

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

			MARGO
	 Thank you, Lloyd. Godspeed. 

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

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

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

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

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

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

			MARGO
	 Do you want it on?

			KAREN
	 It doesn't matter. 

			MARGO
	 I detest cheap sentiment. 

She turns it off. Another pause. 

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

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

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

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

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

			KAREN
	 You're Margo. Just - Margo. 

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

There's a pause. 

			KAREN
	 What about Bill?

			MARGO
	 What about Bill?

			KAREN
	 He's in love with you. 

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

			KAREN
	 Why should he - and why should you? 

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

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

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

			KAREN
	 Not to you. Not to Bill.

			MARGO
	 Isn't that what they always say? 

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

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

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

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

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

			KAREN
	 Well...

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

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

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

			MARGO
	 About what? 

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

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

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

EXT. THEATER ALLEY - CURRAN THEATER - NIGHT

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

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

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

He starts to walk toward the stage door. 

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

He goes in the stage door. 

INT. BACKSTAGE - CURRAN THEATER - NIGHT

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

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

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

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

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

INT. MARGO'S DRESSING ROOM - NIGHT

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

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

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

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

			EVE
	 You shouldn't have had any doubts.

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

			EVE
	 Is that what you want me to be? 

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

			EVE
	 So am I. 

			BILL 
	 What have I got to do with it?

			EVE
	 Everything. 

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

He starts out. Addison ducks. 

			EVE
	 Don't run away, Bill. 

			BILL 
		(stops)
	 From what would I be running?

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

			BILL 
		(curiously)
	 I'm for it. 

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

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

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

			BILL 
	 Your make-up's a little heavy. 

			EVE
	 - and for you. 

			BILL 
		(slowly)
	 You're quite a girl. 

			EVE
	 You think?

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

			EVE
	 You hear all kinds of things. 

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

			EVE
	 Find out. 

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

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

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

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

			ADDISON
	 May I come in?

			EVE
	 Certainly, Mr. deWitt...

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

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

She starts creaming her face, removing make-up.

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

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

			ADDISON
	 You're more than modest.

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

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

			EVE
	 Please do.

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

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

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

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

			ADDISON
	 It needn't be. 

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

			ADDISON
	 I am somebody. 

Eve rises. She eyes him steadily. 

			EVE
	 You certainly are. 

She goes into the bathroom. 

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

Eve does so. 

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

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

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

			EVE
	 I'm not enough for a paragraph. 

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

			EVE
	 That's right. 

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

			EVE
	 Yes. I do. 

			ADDISON
	 And that memorable night when Margo
	 first dazzled you from the stage -
	 which theater was it in San
	 Francisco? Was it - the Shubert?

			EVE
		(a slight pause)
	 Yes. The Shubert. 

			ADDISON
		(grins happily)
	 A fine old theater, the Shubert.
	 Full of tradition, untouched by the
	 earthquake - so sorry - fire... by
	 the way, what was your husband's
	 name? 

			EVE
	 Eddie...

			ADDISON
	 Eddie what?

Eve sticks her head and naked shoulder around the door. 

			EVE
	 I'm about to go into the shower, I
	 won't be able to hear you...

			ADDISON
	 I can wait. Where would you like to
	 go? We'll make this a special
	 night...

			EVE
		(trustingly)
	 You take charge. 

			ADDISON
	 I believe I will.

She closes the door. He leans back, lights a cigarette. 

EXT. 52ND STREET - NEW YORK - NIGHT

A cab drives up to "21."

			KAREN'S VOICE
	 Some of the morning papers carried
	 a little squib about Eve's
	 performance. Not much, but full
	 praise...
	 I couldn't imagine how they found
	 out about it - but Lloyd said Max's
	 publicity man probably sent out the
	 story...

Karen gets out of the cab, pays and goes in. 

			KAREN'S VOICE
	 ... at any rate, I feel terribly
	 guilty and ashamed of myself - and
	 wanted nothing so much as to forget
	 the whole thing. Margo and I were
	 having lunch at "21" - just like
	 girlfriends - with hats on...

INT. LOBBY - "21" - DAY

Karen consults her watch and the doorman as she enters. 

			KAREN
	 Has Miss Channing come in?

			DOORMAN
	 Not yet, Mrs. Richards...

Karen sees Eve who waits as Addison hands his hat, coat, and
cane to an attendant. She smiles, crosses to her.

			KAREN
	 Eve. I've heard the most wonderful
	 things about your performance-

			EVE
	 Mostly relief that I managed to
	 stagger through it at all...

			ADDISON
	 She was magnificent. 

			KAREN
		(pleased)
	 Then you've heard too. 

			ADDISON
	 I was there. An eyewitness.

			KAREN
		(staggered)
	 You were there? At the play - last
	 night?

			ADDISON 
		(smiles)
	 A happy coincidence.

			EVE
		(quickly)
	 We're having lunch with a movie
	 talent scout. 

			KAREN
	 They certainly don't waste much
	 time. 

			EVE
	 Nothing definite yet - it's just to
	 have lunch. 

			ADDISON
	 They'll be wasting this much of
	 their time at any rate. Eve has no
	 intention of going to Hollywood. 

He turns to Karen, changing the subject. 

			ADDISON
	 From the smartness of your dress, I
	 take it your luncheon companion is
	 a lady?

			KAREN
		(smiles)
	 Margo. 

			ADDISON
	 Margo? Lunching in public?

			KAREN
	 It's new Margo. But she's just as
	 late as the old one. 

			ADDISON
	 She may be later than you think...

As he speaks, he crosses to pick up an evening paper, opens
it as he comes back. 

			ADDISON
		(handing it to her)
	 Why not read my column to pass the
	 time? The minutes will fly like
	 hours...
		(he takes Eve's arm)
	 ... and now we must join our
	 sunburned eager beaver. 

He goes up the stairs with Eve. Karen glances after them
curiously, then at the column.
It is headed: "Things I Promised Not To Tell" by Addison
deWitt. He expression becomes increasingly horrified. She
drops the paper and rushes out...

INT. MARGO'S LIVING ROOM - DAY

Addison's column quivers in Margo's hand as she strides about
reading it. Karen sits miserably. 

			MARGO
		(declaiming)
	 "... my hat which has, lo, these
	 many seasons become more firmly
	 rooted about my ears, is lifted to
	 Miss Harrington. I am once more
	 available for dancing in the
	 streets and shouting from the
	 housetops." ... I thought that one
	 went out with Woollcott... 
		(she skips part of the
		 column)
	 Down here... here, listen to this-
	 "... Miss Harrington had much to
	 tell - and these columns shall
	 report her faithfully - about the
	 lamentable practice in our Theater
	 of permitting, shall we say -
	 mature - actresses to continue
	 playing roles requiring a youth and
	 vigor of which they retain but a
	 dim memory-"

			KAREN
	 I just can't believe it. 

			MARGO
	 It get better! "- About the
	 understandable reluctance on the
	 part of our entrenched First Ladies
	 of the Stage to encourage, shall we
	 say - younger - actresses; about
	 Miss Harrington's own long and
	 unsupported struggle for
	 opportunity-"

			KAREN
	 I can't believe Eve said those
	 things!

Margo crumples the paper as if it were Eve's neck. 

			MARGO
		(pacing)
	 In this rat race, everybody's
	 guilty till they're proved
	 innocent! One of the differences
	 between the Theater and
	 civilization... 
		(she hurls the paper away)
	 ... what gets me is how all of
	 those papers in town happened to
	 catch that particular performance!

			KAREN
		(weakly)
	 Lloyd says it's a publicity
	 release...

			MARGO
	 The little witch must have had
	 Indians runners out snatching
	 critics out of bars, steam rooms
	 and museums or wherever they hole
	 up... well, she won't get away with
	 it! Nor will Addison deWitt and his
	 poison pen! If Equity or my lawyer
	 can't or won't do anything about
	 it, I will personally stuff that
	 pathetic little lost lamb down Mr.
	 deWitt's ugly throat...

She pauses in midair to look at... Bill. He has come up the
stairs tow at a time, stands at the landing. 

			BILL 
		(quietly)
	 I came as soon as I read that piece
	 of filth. I ran all the way...

Margo suddenly starts to cry. She turns from him. Bill takes
her in his arms. He holds her...

			BILL 
	 Bill's here, baby. Everything's all
	 right, now...

Margo says nothing, just hides in his embrace. He soothes
her, pets her... he looks over at Karen. 

			KAREN
	 I guess at this point I'm what the
	 French call 'de trop'...

			BILL 
		(smiles)
	 Maybe just a little around the
	 edges.

Karen smiles back, waves, and goes out. 

INT. RICHARDS' APARTMENT - DAY

Karen's having some lunch. Lloyd, still in his robe, sits
opposite her having some coffee and a cigarette. A copy of
the interview before him. 

			LLOYD
		(is saying)
	 - it's Addison, from start to
	 finish, it drips with his brand of
	 venom... taking advantage of a kid
	 like that, twisting her words,
	 making her say what he wanted her
	 to say-

			KAREN
	 Where'd you get all that
	 information?

			LLOYD
		(put out his cigarette)
	 Eve. 

			KAREN
	 Eve?

			LLOYD
	 She's been to see me, as a matter
	 of fact she left just before you
	 came in - you just missed her...

			KAREN
	 That was a pity...

			LLOYD
		(gets up)
	 She wanted to explain about her
	 interview, wanted to apologize to
	 someone - and didn't dare face
	 Margo...

			KAREN
	 I wonder why.

Lloyd wanders about - he seems to be searching for words, for
a position to maintain...

			LLOYD
	 She started to tell me all about it
	 - and she couldn't finish, she
	 cried so...

He's over by a window, his back to her. Karen eyes him
curiously, waiting for the payoff...

			LLOYD
		(finally)
	 You know, I've been going over our
	 financial condition - if you'll
	 pardon the expression...

			KAREN
	 That's quite a change of subject. 

			LLOYD
		(walks again)
	 What with taxes coming up - and
	 since I'm a playwright and not an
	 oil well operator - well, I've been
	 thinking...

			KAREN
	 I'm trying hard to follow you.

			LLOYD
	 If - instead of waiting until next
	 season to do 'Footsteps on the
	 Ceiling', which is in pretty good
	 shape - and if Margo can be talked
	 into going on tour with 'Aged in
	 Wood' - we could put 'Footsteps...'
	 into production right away...

			KAREN
	 I'm beginning to catch up. 

			LLOYD
	 If we could cast it properly, that
	 is...

			KAREN
		(carefully)
	 Maybe get some younger actress for
	 the part? Someone who'd look the
	 part as well as play it? 

			LLOYD
		(smiles)
	 You've got to admit it would be a
	 novelty. 

			KAREN
	 Now you're quoting Addison. Or Eve. 

A pause. 

			LLOYD
	 Eve did mention the play, you know.
	 But just in passing - she's never
	 ask to play a part like "Cora,"
	 she'd never have the nerve...

			KAREN
	 Eve would ask Abbott to give her
	 Costello. 

			LLOYD
	 No, I got the idea myself - while
	 she was talking to me...

			KAREN
	 With gestures, of course. 

			LLOYD
		(wistfully)
	 For once, to write something and
	 have it realized completely. For
	 once, not to compromise-

Now Karen explodes. She rises.

			KAREN
	 Lloyd Richards, you are not to
	 consider giving that contemptible
	 little worm the part of "Cora."

			LLOYD
	 Now just a minute-

			KAREN
	 Margo Channing has not been exactly
	 a compromise all these years, half
	 the playwrights in the world would
	 give their shirts for that
	 particular compromise!

			LLOYD
		(angry)
	 Now just a minute!

			KAREN
	 It strikes me that Eve's disloyalty
	 and ingratitude must be contagious!

Lloyd's full of anger and guilt. He snaps back.

			LLOYD
	 All this fuss and hysteria because
	 an impulsive kid got carried away
	 by excitement and the conniving of
	 a professional manure slinger named
	 deWitt! She apologized, didn't she? 

			KAREN
	 On her knees, I have no doubt! Very
	 touching, very Academy-of-Dramatic
	 Arts!

			LLOYD
	 That bitter cynicism of yours is
	 something you've acquired since you
	 left Radcliffe!

			KAREN
	 The cynicism you refer to, I
	 acquired the day I discovered I was
	 different from little boys!

The phone has been ringing. Lloyd snarls into it.

			LLOYD
	 Hello!
		(he quiets down)
	 ... hi, Margo... no, not at all,
	 Karen and I were just chatting...
	 hmm?... why - why, yes, I'm sure we
	 can and I'm sure we'd love to...
	 right... 11:45ish. See you then...

He hangs up. He smiles - suddenly, there's peace.

			LLOYD
	 Margo - and Bill - want us to meet
	 them at the Cub Room tonight, after
	 theater. For a bottle of wine. 

			KAREN
		(smiles)
	 Margo in the Cub Room. I couldn't
	 be more surprised if she'd said
	 Grant's Tomb. 

			LLOYD
	 I'm glad Bill's back. 

			KAREN
	 They'd die without each other. 

A pause. 

			LLOYD
	 Darling, I didn't promise Eve
	 anything. Just said I thought she'd
	 be fine for the part, but there
	 were some practical difficulties...

			KAREN
	 Such as?

			LLOYD
		(grins)
	 You - for one. I told her you were
	 set on Margo playing the part - and
	 I certainly wouldn't make a change
	 without your approval. 

Karen smiles happily.

			KAREN
	 That's fine. Fine and dandy. I'd
	 enjoy nothing more. Just refer all
	 of Miss Harrington's future
	 requests to me...

INT. CUB ROOM - STORK CLUB - NIGHT

Margo, Karen, Bill and Lloyd are ensconced happily at a table
in the rear of the room. A bottle of fine wine is being
poured. Their mood is equally bubbly. 

			BILL
	 The so-called art of acting is not
	 one for which I have a particularly
	 high regard...

			MARGO
	 Hear, hear...

			BILL 
	 But you may quote me as follows.
	 Quote. Tonight Miss Margo Channing
	 gave a performance in your
	 cockamamie play, the like of which
	 I have never seen before and expect
	 rarely to see again. Unquote. 

			MARGO
	 He does not exaggerate. I was good. 

			BILL 
	 You were great. 

As they look at each other, they reflect the understanding
that has hit them both at last. 

			LLOYD
	 It's been quite a night. I
	 understand that your understudy -
	 Miss Harrington - has given her
	 notice. 

			MARGO
		(eyes still on Bill)
	 Too bad. 

			BILL 
		(eyes still on Margo)
	 I'm broken up about it...

The wine has been poured by now. 

			LLOYD
	 For some reason you can't just pick
	 up champagne and drink it.
	 Somebody's got to be very witty
	 about a toast.	
		(he lifts his glass)
	 For instance...

			BILL 
		(abruptly)
	 I'm going to propose the toast.
	 Without wit. With all my heart. 

Lloyd lowers his glass. There's a little pause. 

			BILL 
	 To Margo. To my bride-to-be.

			MARGO
	 Glory Hallelujah.

			LLOYD
	 Well of all-

			KAREN
	 Margo!

			BILL 
	 Drink.

They drink, then burst into a flurry of questions. 

			KAREN
	 When? When are you going to do it?

			BILL 
	 Tomorrow we meet at City Hall at
	 ten-
		(to Margo)
	 - and you're going to be on time. 

			MARGO
	 Yes, sir. 

			LLOYD
	 City Hall, that's for prize
	 fighters, and reporters - I see a
	 cathedral, a bishop, banks of
	 flowers...

			BILL 
	 It's only for the license. There's
	 a three-day wait - blood tests,
	 things like that...

			MARGO
	 I'll marry you if it turns out you
	 have no blood at all. 

			LLOYD
	 Three days, that's for the
	 bourgeois - I see a midnight
	 elopement, waking up a village
	 person...

			KAREN
		(to Margo)
	 What are you going to wear?

			MARGO
	 Something simple. A fur coat over a
	 nightgown...

			BILL 
	 The point is - in the cathedral, a
	 ball park or a penny arcade - we
	 want to have you two beside us our
	 nearest and dearest friends.

Lloyd fills all the glasses. 

			LLOYD
	 There are very few moments in life
	 as good as this. Let's remember it.
		(he lifts his glass)
	 To each of us and all of us...
	 never have we been more close - may
	 we never be farther apart.

They drink. A waiter approaches with a note. 

			WAITER
	 Mrs. Richards?

			KAREN
	 Yes?

			WAITER
	 For you. 

Karen stares at it curiously, then opens it. 

			LLOYD
	 Very discreet. A note right out in
	 the open like that. Next time tell
	 your lover to blow smoke rings - or
	 tap a glass...

			MARGO
	 Lloyd, I want you to be big about
	 this... the world is full of love
	 tonight, no woman is safe...

			KAREN
		(angrily)
	 This beats all world's records for
	 running, standing and jumping gall!

She whips the note to Margo, who reads it aloud. 

			MARGO
		(reading)
	 "Please forgive me for butting into
	 what seems such a happy occasion -
	 but it's most important that I
	 speak with you. Please" - it's
	 underlined - "meet me in the
	 Ladies' Room. Eve."

			BILL 
	 I understand she is now the
	 understudy in there. 

			MARGO
		(looking about)
	 Pass me the empty bottle. I may
	 find her... why, look. There's
	 Rasputin. 

Addison sits near the entrance, at a banquette table for two.
A crumpled napkin and a wine glass indicate Eve's place. He
nibbles daintily at some blini. 

Margo hails a passing captain.

			MARGO
	 Encore du champagne.

			CAPTAIN
	 More champagne, Miss Channing?

			MARGO
	 That's what I said, bub.

			LLOYD 
		(to Karen)
	 After all, maybe she just wants to
	 apologize...

			KAREN
	 I have no possible interest in
	 anything she'd have to say.

			BILL 
	 But what could she say? That's what
	 fascinates me...

			LLOYD
	 Go on - find out...

			MARGO
	 Karen, in all the years of our
	 friendship, I have never let you go
	 to the Ladies' Room alone. But now
	 I must. I am busting to know what
	 goes on in that feverish little
	 brain waiting there...

			KAREN
	 Well... all right.

She gets up and goes. The CAMERA takes her past Addison's
table. He rises in polite surprise. 

			ADDISON
	 Karen! How nice...

She walks past him without a word. He smiles, looks toward
the group. He raises his glass in a toast. 

Margo responds to the toast by waving an onion with a grand
flourish, then eating it. 

			BILL 
	 Very effective. But why take it out
	 on me? 

He eats one in self-defense. 

INT. LADIES' ROOM - STORK CLUB - NIGHT

Never having been, I can't say what it looks like. It is to
be hoped that there is an outer and inner room. We are
concerned with the outer. 

There is an attendant in charge, and a constantly changing
flow of ladies who pause to make various repairs. All cafe
society - including one young drunk stretched out under a
mink coat and a wet towel.

There are two chairs - or a banquette - in a corner. Eve
waits there. She rises as Karen approaches. 

			EVE
	 I was wondering whether you'd come
	 at all..

			KAREN
	 Don't get up.
		(she smiles grimly)
	 And don't act as if I were the
	 queen mother. 

			EVE
	 I don't expect you to be pleasant. 

			KAREN
	 I don't intend to be. 

			EVE
	 Can't we sit down? Just for a
	 minute...

She sits down. Karen remains standing.

			EVE
	 I've got a lot to say. And none of
	 it is easy. 

			KAREN
	 There can't be very much-

			EVE
	 Oh, but there is-

			KAREN
	 - and easy or not, I won't believe
	 a word. 

			EVE
	 Why shouldn't you?
		(a pause)
	 Please sit down. 

Karen sits, reluctantly and rigidly.

			EVE
	 You know, I've always considered
	 myself a very clever girl. Smart.
	 Good head on my shoulders, that
	 sort of thing, never the wrong word
	 at the wrong time... but then, I'd
	 never met Addison deWitt.
		(another pause)
	 I remember once I had a tooth
	 pulled. They gave me some
	 anaesthetic - I don't remember the
	 name - and it affected me in a
	 strange way. I heard myself saying
	 things I wasn't even thinking... as
	 if my mind were someplace outside
	 of my body, and couldn't control
	 what I did or said-

			KAREN
		(leading her on)
	 - and you felt just like that
	 talking to Addison. 

			EVE
		(nods)
	 In a way. You find yourself trying
	 to say what you mean, but somehow
	 the words change - and they become
	 his words - and suddenly you're not
	 saying what you mean, but what he
	 means-

			KAREN
		(sharply)
	 Do you expect me to believe that
	 you didn't say any of those things -
	 that they were all Addison?

			EVE
	 No! I don't expect you to believe
	 anything. Except that the
	 responsibility is mine. And the
	 disgrace. 

			KAREN
	 Let's not get over-dramatic. 

			EVE
		(smiles grimly)
	 You've really got a low opinion of
	 me, haven't you? We'll I'll give
	 you some pleasant news. I've been
	 told off in no uncertain terms all
	 over town. Miss Channing should be
	 happy to hear that. To know how
	 loyal her friends are - how much
	 more loyal they are than she had a
	 right to expect me to be...

She turns away from Karen. Karen's embarrassed. 

			KAREN
	 Eve... don't cry. 

			EVE
		(turned away)
	 I'm not crying.

			KAREN
	 Tell me. How did your lunch turn
	 out - with the man from Hollywood? 

			EVE
	 Some vague promises of a test,
	 that's all - if a particular part
	 should come along, one of those
	 things-

			KAREN
	 But the raves about your
	 performance-

			EVE
	 - an understudy's performance. 

			KAREN
	 Well. I think you're painting the
	 picture a little darker than it is,
	 really. If nothing else - and don't
	 underestimate him - you have a
	 powerful friend in Addison. 

			EVE
	 He's not my friend. You were my
	 friends...

			KAREN
	 He can help you. 

			EVE
	 I wish I'd never met him, I'd like
	 him to be dead... I want my friends
	 back. 

This time she does cry. Softly, miserably. Karen looks about.
A pause. She puts an arm around Eve. 

			KAREN
	 Eve. I - I don't think you meant to
	 cause unhappiness. But you did.
	 More to yourself, perhaps - as it
	 turned out - than to anyone else...

			EVE
	 I'll never get over it. 

			KAREN
		(smiles)
	 Yes, you will. You Theater people
	 always do. Nothing is forever in
	 the Theater. Love or hate, success
	 or failure - whatever it is, it's
	 here, it flares up and burns hot -
	 and then it's gone. 

			EVE
	 I wish I could believe that. 

			KAREN
	 Give yourself time. Don't worry too
	 much about what people think,
	 you're very young and very
	 talented... 
		(she gets up, her hand
		 still on Eve's shoulder)
	 ... and, believe it or not, if
	 there's anything I can do-

Eve has reached up to take Karen's hand. She holds it now, as
she turns slowly to face her. 

			EVE
	 There is something. 

Karen stares down at her. Eve's eyes burn into tears. Karen
is caught, fascinated by them. 

			KAREN
	 I think I know...

			EVE
	 Something most important you can
	 do. 

			KAREN
	 You want to play "Cora." You want
	 me to tell Lloyd I think you should
	 play it. 

			EVE
	 If you told him so, he'd give me
	 the part. He said he would. 

			KAREN
	 After all you've said... don't you
	 know the part was written for
	 Margo? 

			EVE
	 It could have been - fifteen years
	 ago. It's my part now. 

			KAREN
	 You talk just as Addison said you
	 did. 

			EVE
	 "Cora" is my part. You've got to
	 tell Lloyd it's for me. 

			KAREN
	 I don't think anything in the world
	 could make me say that. 

She turns away again, but Eve's grip is like a vise. 

			EVE
	 Addison wants me to play it. 

			KAREN
	 Over my dead body...

			EVE
		(cold, relentless)
	 That won't be necessary. Addison
	 knows how Margo happen to miss that
	 performance - how I happened to
	 know she'd miss it in time to call
	 him and notify every paper in
	 town...
		(Karen stops struggling)
	 ... it's quite a story.
	 Addison could make quite a thing of
	 it - imagine how snide and vicious
	 he could get and still write
	 nothing but the truth. I had a time
	 persuading him...
		(she smiles, now)
	 ... you'd better sit down. You look
	 a bit wobbly. 
		(Karen sits)
	 If I play "Cora," Addison will
	 never tell what happened - in or
	 out of print. A simple exchange of
	 favors. And I'm so happy I can do
	 something for you - at long last...
		(Karen covers her face
		 with her hands)
	 Your friendship with Margo - your
	 deep, close friendship - what would
	 happen to it, do you think, if she
	 knew the chap trick you'd played on
	 her - for my benefit? And you and
	 Lloyd - how long, even in the
	 Theater, before people forgot what
	 happened - and trusted you again?
		(now Eve gets up)
	 No... it would be so much easier on
	 everyone concerned, if I were to
	 play "Cora." And so much better
	 theater, too...

Karen looks up slowly.

			KAREN
	 A part in a play. You'd do all that
	 - just for a part in a play. 

			EVE
		(smiles)
	 I'd do much more - for a part that
	 good.

She leaves. Karen is alone. 

INT. CUB ROOM - NIGHT

Eve enters and slides in beside Addison. 

			ADDISON
	 Hungry?

			EVE
	 Just some coffee. 

			ADDISON
		(pours)
	 I'm not surprised. After all that
	 humble pie...

			EVE
	 Nothing of the kind. Karen and I
	 had a nice talk. 

			ADDISON
	 Heart to heart? Woman to woman?
	 Including a casual reference to the
	 part of "Cora" - and your hopes of
	 playing it. 

			EVE
	 I discussed it very openly. I told
	 her that I had spoken to Lloyd -
	 and that he was interested. 

			ADDISON
	 She mentioned, of course, that
	 Margo expects to play the part?

			EVE
	 Oddly enough - she didn't say a
	 word about Margo. Just that she'll
	 be happy to do what she can to see
	 that I play the part.   

Addison puffs at his cigarette, bemused. 

			ADDISON
	 Just like that, eh?

			EVE
	 Just like that. 

			ADDISON
		(thoughtfully)
	 Do you know, Eve - sometimes I
	 think you keep things from me. 

Eve's feelings are hurt. 

			EVE
	 I don't think that's funny. 

			ADDISON
	 It wasn't meant to be. 

			EVE
	 I confide in you and rely on you
	 more than anyone I've ever known!
	 To say a thing like that now -
	 without any reason - when I need
	 you more than ever...

			ADDISON
		(breaks in)
	 I hope you mean what you say, Eve.
	 I intend to hold you to it. 

Their eyes meet. 

			ADDISON
	 We have a great deal in common, it
	 seems to me...

They both look as Karen passes them on her way back to her
table. 

GROUP, as Karen joins them. Another bottle of champagne has
come and almost gone - there's a fine, cheery feeling among
them. Margo, in particular, is cheery. A pause. Karen downs a
glass of champagne.

			LLOYD
	 - well? What happened?

			KAREN
	 Nothing much. She apologized. 

			MARGO
	 With tears?

			KAREN
	 With tears. 

			MARGO
	 But not right away? First the
	 business of fighting them off, chin
	 up, stout fella...

			KAREN
	 Check. 

			MARGO
	 Very classy stuff, lots of
	 technique-

			LLOYD
	 You mean - all this time - she'd
	 done nothing but apologize? What'd
	 you say? 

			KAREN
	 Not much.

			MARGO
	 Groom-
		(Bill says "huh?")
	 - may I have a wedding present? 

			BILL 
	 What would you like? Texas?

			MARGO
	 I want everybody to shut up about
	 Eve. Just shut up about Eve, that's
	 all I want. Give Karen more wine...
		(blissfully)
	 ... never have I been so happy.
	 Isn't this a lovely room? The Cub
	 Room. What a lovely, clever name.
	 Where the elite meet. Never have I
	 seen so much elite - and all with
	 their eyes on me. Waiting for me to
	 crack that little gnome over the
	 noggin with a bottle. But not
	 tonight. Even Eve. I forgive Eve...
	 there they go.  

They all look. 

ADDISON AND EVE, they get up and go without looking back.

GROUP, they watch for an instant. 

			MARGO
	 There goes Eve. Eve evil, Little
	 Miss Evil. But the evil that men do
	 - how does it go, groom? Something
	 about the good they leave behind -
	 I played it once in rep in Wilkes
	 Barre...

			BILL 
	 You've got it backwards. Even for
	 Wilkes-Barre.

			MARGO
	 You know why I forgive Eve? Because
	 she's left good behind - the four
	 of us, together like this, it's
	 Eve's fault - I forgive her...

Karen's reactions are, of course, most important. Knowing
what she's done to Margo - wondering how to do what she must. 

			MARGO
	 ... and Bill. Especially Bill. Eve
	 did that, too. 

			LLOYD
	 You know, she probably means well,
	 after all...

			MARGO
	 She is a louse. 

			BILL 
		(to Lloyd)
	 Never try to outguess Margo. 

			MARGO
	 Groom.

			BILL 
	 Yes, dear. 

			MARGO
	 You know what I'm going to be?

			BILL 
	 A cowboy. 

			MARGO
	 A married lady. 

			BILL 
	 With the paper to prove it. 

			MARGO
	 I'm going to have a home. Not just
	 a house I'm afraid to stay in...
	 and a man to go with it. I'll look
	 up at six o'clock - and there he'll
	 be... remember, Karen? 

			KAREN
		(quietly)
	 I remember. 

			MARGO
		(to Bill)
	 You'll be there, won't you. 

			BILL 
		(grins)
	 Often enough to keep the franchise. 

			MARGO
	 A foursquare, upright, downright,
	 forthright married lady... that's
	 for me. And no more make believe!
	 Off stage or on... remember, Lloyd.
		(Lloyd nods)
	 I mean it, now. Grown-up women
	 only, I might even play a mother -
	 only one child, of course, not over
	 eight...	
		(they all smile)
	 Lloyd, will you promise not to be
	 angry with me? 

			LLOYD
		(smiles)
	 That depends. 

			MARGO
	 I mean really, deeply angry...

			LLOYD
	 I don't think I could be.

			MARGO
	 Well. I don't want to play "Cora."

			KAREN
		(explodes)
	 What?

Margo misinterprets her vehemence. 

			MARGO
		(hastily)
	 Now wait a minute, you're always so
	 touchy about his plays, it isn't
	 the part - it's a great part. And a
	 fine play. But not for me anymore -
	 not a foursquare, upright,
	 downright, forthright married lady.

			LLOYD
	 What's your being married got to do
	 with it? 

			MARGO
	 It means I've finally got a life to
	 live! I don't have to play parts
	 I'm too old for - just because I've
	 got nothing to do with my nights!
		(then quietly)
	 I know you've made plans. I'll make
	 it up to you, believe me. I'll tour
	 a year with this one, anything -
	 only you do understand - don't you,
	 Lloyd?

Lloyd never gets to answer. Because Karen, before anyone can
stop her, bursts into hysterical laughter...

			LLOYD
	 What's so funny?

			KAREN
	 Nothing...

			BILL 
	 Nothing?

			KAREN
	 Everything... everything's so
	 funny... 

Margo removes the champagne glass from in front of Karen...

FADE OUT.

FADE IN:

INT. THEATER - CURRAN THEATER - DAY

Karen is seated unobtrusively in a rear lower box. Lloyd sits
beside Max up front.

On stage, the play is "on its feet." Eve plays a dramatic
scene with a young man. They carry "sides" but do not consult
them.

As she speaks, Eve moves upstage, turns to face the young man
who is forced to turn his back to the auditorium. 

Bill calls a halt. He indicates to Eve that she was to have
remained downstage. 

Eve seems to be at a loss. She looks at Lloyd. 

Lloyd rises, says that he told her to make the change. 

Bill comes down to the footlights to tell him to stick to
writing, he'll do the directing. It mounts swiftly to a
screaming fight. Bill throws the script out into the
auditorium, takes his coat and stalks off.

Eve runs after him. Max retrieves the script. Lloyd remains
adamant. Karen has risen in dismay. 

Eve drags Bill back. Without looking at Lloyd, he takes the
script from Max, tells the actors to pick up where they left
off. 

Eve whispers to Lloyd from the stage. Lloyd smiles,
mollified, sits down again with Max. 

Karen walks up the side aisle, out of the theater...

			KAREN'S VOICE
	 Lloyd never got around, somehow -
	 to asking me whether it was all
	 right with me for Eve to play
	 "Cora"... Bill, oddly enough,
	 refused to direct the play at first
	 - with Eve in it. Lloyd and Max
	 finally won him over... Margo never
	 came to a rehearsal, too much to do
	 around the house, she said. I'd
	 never known Bill and Lloyd to fight
	 as bitterly and as often... and
	 always over some business for Eve,
	 or a move or the way she read a
	 speech... but then I'd never known
	 Lloyd to meddle as much with Bill's
	 directing - as far as it affected
	 Eve, that is... somehow, Eve kept
	 them going. Bill stuck it out - and
	 Lloyd seemed happy - and I thought
	 it might be best if I skipped
	 rehearsals from then on... 

INT. RICHARDS' BEDROOM - NIGHT

It is a lovely, large room. Two double beds, not alongside
each other and each with an extension phone beside it. In
addition to the door to the living room, there are two more -
to separate dressing rooms and baths. Lloyd is asleep. But
not Karen. She turns restlessly, finally sits up, lights a
cigarette. 

			KAREN'S VOICE
	 It seemed to me I had known always
	 that it would happen - and here it
	 was.
	 It felt helpless, that helplessness
	 you feel when you have no talent to
	 offer - outside of loving your
	 husband. How could I compete?
	 Everything Lloyd loved about me, he
	 had gotten used to long ago... 

The phone jangles suddenly, startling her. It wakes Lloyd up.
Karen answers. 

			KAREN
	 Hello... who?... who's calling Mr.
	 Richards?

INT. ROOMING HOUSE - NIGHT

A girl, in a wrapper, at a wall phone. Her hair's in curlers.
She's frightened. 

			GIRL
	 My name wouldn't mean anything. I
	 room across the hall from Eve
	 Harrington, and she isn't well.
	 She's been crying all night and
	 hysterical, and she doesn't want a
	 doctor...

RICHARDS' BEDROOM, Lloyd is sitting on the edge of the bed,
looking over...

			LLOYD
	 Who is it? What's it all about?

			KAREN
		(into phone)
	 Did Miss Harrington tell you to
	 call Mr. Richards?

Lloyd picks up his phone. 

ROOMING HOUSE

			GIRL
	 No, Eve didn't say to call him, but
	 I remembered I saw Mr. Richards
	 with her a couple of times - and I
	 thought they being such good
	 friends...

RICHARDS' BEDROOM

			LLOYD
		(into phone)
	 Hello...hello, this is Lloyd
	 Richards. Where is Eve? Let me talk
	 to her-

ROOMING HOUSE

			GIRL
	 She's up in her room, Mr. Richards.
	 I really hate to bother you like
	 this, but the way Eve's been
	 feeling - I'm just worried sick
	 what with her leaving for New Haven
	 tomorrow, and everything...

RICHARDS' BEDROOM

			LLOYD
	 Tell her not to worry - tell her
	 I'll be right over. 

ROOMING HOUSE

			GIRL
	 I'll tell her, Mr. Richards.

She hangs up. As she moves from the phone, the ANGLE WIDENS
to disclose Eve at the foot of the stairs. The girls smile at
each other. They go upstairs, arm in arm. 

RICHARDS' BEDROOM, Karen is still in bed, phone still in her
hand. She hangs up, swings her legs out, puts out her
cigarette, gets into a robe. The open door and light of the
dressing room tell us where Lloyd is.

Karen walks to the door, starts to say something, changes her
mind. She crosses to a table, lights a fresh cigarette, comes
back to the door. 

			KAREN
		(finally)
	 Aren't you... broadening the duties
	 of a playwright just a bit? Rushing
	 off in the middle of the night 
	 like a country doctor?

No answer except the opening and closing of drawers. 

			KAREN
	 What would you do if, instead of
	 Eve, the leading man had called up
	 to say her was hysterical?

Still no answer. Her tension increasing, Karen goes back to
the table, snubs out the fresh cigarette, then strides
swiftly back to the open door. 

			KAREN
	 Lloyd, I don't want you to go!

Now Lloyd appears. He's in flannels, and a sport shirt with
no tie. He's confused and guilty and tortured.

			LLOYD
	 I didn't think you would! It seems
	 to me, Karen, that for some tine,
	 now, you've been developing a deep
	 unconcern for the feeling of human
	 being in general-

			KAREN
	 I'm a human being, I've got some!

			LLOYD
		(goes right on)
	 - and for my feelings in
	 particular! For my play, my career -
	 and now for a frightened,
	 hysterical girl on the eve of her
	 first night in the Theater!

He goes back into his room. 

			KAREN
	 Have you forgotten about Eve? What
	 she is, what she's done?

			LLOYD
	 Old wives' tales, born of envy and
	 jealousy! And a phobia against
	 truth!

			KAREN
	 Then tell me this isn't true! That
	 your concern for your play and
	 career is one thing - and that poor
	 frightened hysterical girl another -
	 and that your concern for her has
	 nothing to do with either your play
	 or your career!

Lloyd comes out wearing a jacket. He crosses to the door,
Karen after him.

			KAREN
	 That first, last, and foremost -
	 your reason for going now is that
	 you want to be with Eve! Three in
	 the morning or high noon - play or
	 no play - wife or no wife!
		(Lloyd stops at the door)
	 Isn't it true, Lloyd?

Lloyd goes out. Karen looks after him, despairing.

EXT. SHUBERT THEATER - NEW HAVEN - DAY

The theater is but a few doors from the TAFT HOTEL. The
marquee announces a new play by Lloyd Richards, presented by
Max Fabian, opening tonight. 

Addison and Eve stand before the theater admiring her photo
on a lobby display. None of the actors are starred. 

			ADDISON'S VOICE
	 To the Theater world - New Haven,
	 Connecticut, is a short stretch of
	 sidewalk between the Shubert
	 Theater and the Taft Hotel,
	 surrounded by what looks very much
	 like a small city. It is here that
	 managers have what are called out
	 of-town openings - which are
	 openings for New Yorkers who want
	 to go out of town...

They start for the hotel - Eve's arm through Addison's.

			EVE
	 What a day - what a heavenly day...

			ADDISON
	 D-day.

			EVE
	 Just like it. 

			ADDISON
	 And tomorrow morning you will have
	 won your beachhead on the shores of
	 Immortality...

			EVE
		(grins)
	 Stop rehearsing your column...
	 Isn't it strange, Addison?
	 I thought I'd be panic-stricken,
	 want to run away or something.
	 Instead, I can't wait for tonight
	 to come. To come and go...

			ADDISON
	 Are you that sure of tomorrow?

			EVE
	 Aren't you?

			ADDISON
	 Frankly - yes.

They've arrived in front of the hotel. 

			EVE
	 It'll be a night to remember. It'll
	 bring to me everything I've ever
	 wanted. The end of an old road -
	 and the beginning of a new one...

			ADDISON
	 All paved with diamonds and gold?

			EVE
	 You know me better than that. 

			ADDISON
	 Paved with what, then?

			EVE
	 Stars.

She goes in. Addison follows her. 

INT. CORRIDOR - TAFT HOTEL - DAY

Addison accompanies Eve along the corridor to her door.

			EVE
	 What time?

			ADDISON
	 Almost four.

			EVE
	 Plenty of time for a nice long nap -
	 we rehearsed most of last night...

			ADDISON
	 You could sleep, too, couldn't you?

			EVE
	 Why not?

They've arrived at her door. She opens it. 

			ADDISON
	 The mark of a true killer.
		(he holds out his hand)
	 Sleep tight, rest easy - and come
	 out fighting...

			EVE
	 Why'd call me a killer?

			ADDISON
	 Did I say killer? I meant champion.
	 I get my boxing terms mixed. 

He turns to go. After a few steps-

			EVE
		(calling)
	 Addison-
		(he pauses)
	 - come on in for just a minute,
	 won't you? There's... I've got
	 something to tell you. 

Addison turns curiously, and enters behind her. 

INT. EVE'S SUITE - TAFT HOTEL - DAY

Old-fashioned, dreary and small. The action starts in the
living room and continues to the bedroom. 

Addison closes the door, crosses to a comfortable chair. 

			ADDISON
	 Suites are for expense accounts.
	 Aren't you being extravagant? 

			EVE
	 Max is paying for it. He and Lloyd
	 had a terrific row but Lloyd
	 insisted... well. Can I fix you a
	 drink?

She indicates a table elaborately stocked with liquor,
glasses, etc. Addison's eyebrows lift.

			ADDISON
	 Also with the reluctant compliments
	 of Max Fabian. 

			EVE
	 Lloyd. I never have any, and he
	 likes a couple of drinks after we
	 finish - so he sent it up...

			ADDISON
	 Some plain soda.
		(Eve starts to fix it)
	 Lloyd must be expecting a record
	 run in New Haven...

			EVE
	 That's for tonight. You're invited.
	 We're having everyone up after the
	 performance. 

			ADDISON
	 We're?

			EVE
	 Lloyd and I.

She carries the soda to him, sits on an ottoman at his feet. 

			ADDISON
	 I find it odd that Karen isn't here
	 for the opening, don't you?

He sips his soda and puts away, carefully avoiding a look at
Eve. As he looks back-

			EVE
	 Addison...

			ADDISON
		(blandly)
	 She's always been so fantastically
	 devoted to Lloyd. I would imagine
	 that only death or destruction
	 could keep her-

			EVE
		(breaks in)
	 Addison, just a few minutes ago.
	 When I told you this would be a
	 night to remember - that it would
	 bring me everything I wanted-

			ADDISON
		(nods)
	 - something about an old road
	 ending and a new one starting -
	 paved with stars...

			EVE
	 I didn't mean just the Theater.

			ADDISON
	 What else?

Eve gets up, crosses to look out over the Common.

			EVE 
		(her back to him)
	 Lloyd Richards. He's going to leave
	 Karen. We're going to be married.

For just a flash, Addison's eyes narrow coldly, viciously.
Then they crinkle into a bland smile. 

			ADDISON
	 So that's it. Lloyd. Still just the
	 Theater, after all...

			EVE
		(turns; shocked)
	 It's nothing of the kind! Lloyd
	 loves me, I love him!

			ADDISON
	 I know nothing about Lloyd and his
	 loves - I leave those to Louisa May
	 Alcott. But I do know you.

			EVE
	 I'm in love with Lloyd!

			ADDISON
	 Lloyd Richards is commercially the
	 most successful playwright in
	 America-

			EVE
	 You have no right to say such
	 things!

			ADDISON
	 - and artistically, the most
	 promising! Eve dear, this is
	 Addison.

Eve drops her shocked manner like a cape. Her face lights up -
she crosses back to the ottoman. 

			EVE
	 Addison, won't it be just perfect?
	 Lloyd and I - there's no telling
	 how far we can go... he'll write
	 great plays for me, I'll make them
	 be great!
		(as she sits)
	 You're the only one I've told, the
	 only one that knows except Lloyd
	 and me...

			ADDISON
	 ... and Karen.

			EVE
	 She doesn't know. 

			KAREN
	 She knows enough not to be here.

			EVE
	 But not all of it - not that Lloyd
	 and I are going to be married.

			ADDISON
		(thoughtfully)
	 I see. And when was this unholy
	 alliance joined?

			EVE
	 We decided the night before last,
	 before we came up here...

			ADDISON
		(increasingly tense)
	 Was the setting properly romantic -
	 the lights on dimmers, gypsy
	 violins off stage?

			EVE
	 The setting wasn't romantic, but
	 Lloyd was. He woke me up at three
	 in the morning, banging on my door -
	 he couldn't sleep, he told me -
	 he's left Karen, he couldn't go on
	 with the play or anything else
	 until I promised to marry him... we
	 sat and talked until it was light.
	 He never went home...

			ADDISON
	 You sat and talked until it was
	 light...

			EVE
		(meaningly)
	 We sat and talked, Addison. I want
	 a run of the play contract. 

			ADDISON
		(quietly)
	 There never was, there'll never be
	 another like you. 

			EVE
		(happily)
	 Well, say something - anything!
	 Congratulations, skol - good work,
	 Eve!

Addison rises slowly, to his full height. As Eve watches him,
as her eyes go up to his, her smile fades-

			ADDISON
	 What do you take me for?

			EVE
		(cautiously)
	 I don't know what I take you for
	 anything...

			ADDISON
		(moving away)
	 It is possible - even conceivable -
	 that you've confused me with that
	 gang of backward children you've
	 been playing tricks on - that you
	 have the same contempt for me that
	 you have for them?

			EVE
	 I'm sure you mean something by
	 that, Addison, but I don't know
	 what...

			ADDISON
	 Look closely, Eve, it's time you
	 did. I am Addison deWitt. I'm
	 nobody's fool. Least of all -
	 yours.

			EVE
	 I never intended you to be.

			ADDISON
	 Yes, you did. You still do. 

Eve gets up, now. 

			EVE
	 I still don't know what you're
	 getting at. Right now I want to
	 take my nap. It's important that I-

			ADDISON
		(breaks in)
	 - it's important right now that we
	 talk. Killer to killer.

			EVE
		(wisely)
	 Champion to champion. 

			ADDISON
	 Not with me, you're no champion.
	 You're stepping way up in class. 

			EVE
	 Addison, will you please say what
	 you have to say plainly and
	 distinctly - and then get out so I
	 can take my nap!

			ADDISON
	 Very well, plainly and distinctly.
	 Although I consider it unnecessary -
	 because you know as well as I, what
	 I am about to say.
		(they are now facing each
		 other)
	 Lloyd may leave Karen, but he will
	 not leave Karen for you. 

			EVE
	 What do you mean by that?

			ADDISON
	 More plainly and more distinctly? I
	 Have not come to New Haven to see
	 the play, discuss your dreams, or
	 to pull the ivy from the walls of
	 Yale! I have come to tell you that
	 you will not marry Lloyd - or
	 anyone else - because I will not
	 permit it. 

			EVE
	 What have you got to do with it?

			ADDISON
	 Everything. Because after tonight,
	 you will belong to me. 

			EVE
	 I can't believe my ears...

			ADDISON
	 A dull cliche.

			EVE
	 Belong - to you? That sound
	 medieval - something out of an old
	 melodrama...

			ADDISON
	 So does the history of the world
	 for the past twenty years. I don't
	 enjoy putting it as bluntly as
	 this, frankly I had hoped that you
	 would, somehow, have known - have
	 taken it for granted that you and
	 I...

			EVE
	 ... taken it for granted? That you
	 and I...

She smiles. Then she chuckles, then laughs. A mistake.
Addison slaps her sharply across the face. 

			ADDISON
		(quietly)
	 Remember as long as you live, never
	 to laugh at me. At anything or
	 anyone else - but never at me.

Eve eyes him coldly, goes to the door, throws it open.

			EVE
	 Get out!

Addison walks to the door, closes it. 

			ADDISON
	 You're too short for that gesture.
	 Besides, it went out with Mrs.
	 Fiske.

			EVE
	 Then if you won't get out, I'll
	 have you thrown out.

She goes to the phone. 

			ADDISON
	 Don't pick it up! Don't even put
	 your hand on it...

She doesn't. Her back is to him. Addison smiles. 

			ADDISON
	 Something told you to do as I say,
	 didn't it? That instinct is worth
	 millions, you can't buy it, cherish
	 it, Eve. When that alarm goes off,
	 go to your battle stations...

He comes up behind her. Eve is tense and wary.

			ADDISON
	 Your name is not Eve Harrington. It
	 is Gertrude Slescynski.

			EVE
	 What of it?

			ADDISON
	 It is true that your parents were
	 poor. They still are. And they
	 would like to know how you are -
	 and where. They haven't heard from
	 you for three years...

			EVE
		(curtly)
	 What of it?

She walks away. Addison eyes her keenly. 

			ADDISON
	 A matter of opinion. Granted. It is
	 also true that you worked in a
	 brewery. But life in the brewery
	 was apparently not as dull as you
	 pictured it. As a matter of fact,
	 it got less and less dull - until
	 you boss's wife had your boss
	 followed by detectives!

			EVE
		(whirls on him)
	 She never proved anything, not a
	 thing!

			ADDISON
	 But the $500 you got to get out of
	 town brought you straight to New
	 York - didn't it?

Eve turns and runs into the bedroom, slamming the door.
Addison opens it, follows close after her... he can be seen
in the bedroom, shouting at Eve who is offscene.

			ADDISON
	 That $500 brought you straight to
	 New York - didn't it?

INT. BEDROOM - DAY

Eve, trapped, in a corner of the room. 

			EVE
	 She was a liar, she was a liar!

			ADDISON
	 Answer my question! Weren't you
	 paid to get out of town?

Eve throws herself on the bed, face down, bursts in tears.
Addison, merciless, moves closer. 

			ADDISON
	 Fourth. There was no Eddie - no
	 pilot - and you've never been
	 married! That was not only a lie,
	 but an insult to dead heroes and to
	 the women who loved them...
		(Eve, sobbing, puts her
		 hands over her ears;
		 Addison, closer, pulls
		 them away)
	 ... Fifth. San Francisco has no
	 Shubert Theater and North Shore,
	 you've never been to San Francisco!
	 That was a stupid lie, easy to
	 expose, not worthy of you...

Eve twists to look up at him, her eyes streaming.

			EVE
	 I had to get in, to meet Margo! I
	 had to say something, be somebody,
	 make her like me!

			ADDISON
	 She did like you, she helped and
	 trusted you! You paid her back by
	 trying to take Bill away!

			EVE
	 That's not true!

			ADDISON
	 I was there, I saw you and heard
	 you through the dressing room door!

Eve turns face down again, sobbing miserably.

			ADDISON
	 You used my name and my column to
	 blackmail Karen into getting you
	 the part of "Cora" - and you lied
	 to me about it!

			EVE
		(into the bed)
	 No-no-no...

			ADDISON
	 I had lunch with Karen not three
	 hours ago. As always with women who
	 want to find out things, she told
	 more than she learned...
		(he lets go of her hands)
	 ... do you want to change your
	 story about Lloyd beating at your
	 door the other night?

Eve covers her face with her hands. 

			EVE
	 Please... please...

Addison get off the bed, looks down at her. 

			ADDISON
	 That I should want you at all
	 suddenly strikes me as the height
	 of improbability. But that, in
	 itself, is probably the reason.
	 You're an improbable person, Eve,
	 and so am I. We have that in
	 common. Also a contempt for
	 humanity, an inability to love or
	 be loved, insatiable ambition - and
	 talent. We deserve each other. Are
	 you listening to me?

Eve lies listlessly now, her tear-stained cheek against the
coverlet. She nods.

			ADDISON
	 Then say so. 

			EVE
	 Yes, Addison.

			ADDISON
	 And you realize - you agree how
	 completely you belong to me?

			EVE
	 Yes, Addison.

			ADDISON
	 Take your nap, now. And good luck
	 for tonight.

He starts out. 

			EVE
		(tonelessly)
	 I won't play tonight.
		(Addison pauses)
	 I couldn't. Not possibly. I
	 couldn't go on...

			ADDISON
		(smiles)
	 Couldn't go on? You'll give the
	 performance of your life.

He goes out. The CAMERA REMAINS on Eve's forlorn, tear
stained face. Her eyes close... she goes to sleep.

INT. DINING HALL - SARAH SIDDONS SOCIETY - NIGHT

THE STOPPED ACTION of Eve reaching out for the award. The
applause and bulb-popping still going on.

			ADDISON'S VOICE
	 And she gave the performance of her
	 life. And it was a night to
	 remember, that night...

THE ACTION picks up where it left off. Eve accepts the award
from the Aged Actor, kisses him tenderly, folds the award to
her bosom and waits for quiet.

She speaks with assurance, yet modestly and humbly.

			EVE
	 Honored members of Sarah Siddons
	 Society, distinguished guests,
	 ladies and gentlemen: What is there
	 for me to say? Everything wise and
	 witty has long since been said - by
	 minds more mature and talents far
	 greater than mine. For me to thank
	 you as equals would be presumptuous
	 - I am an apprentice in the Theater
	 and have much to learn from you
	 all. I can say only that I am proud
	 and happy and that I regard this
	 great honor not so much as an award
	 for what I have achieved, but as a
	 standard to hold against what I
	 have yet to accomplish.
		(applause)
	 And further, I regard it as
	 bestowed upon me only in part. The
	 larger share belongs to my friends
	 in the Theater - and to the Theater
	 itself, which has given me all I
	 have. In good conscience, I must
	 give credit where credit is due. To
	 Max Fabian-

MAX sits erect, beaming proudly.

			EVE'S VOICE
	 - dear Max. Dear, sentimental,
	 generous, courageous Max Fabian -
	 who took a chance on an unknown,
	 untried, amateur...

EVE, after applause greets Max. 

			EVE
	 And to my first friend in the
	 Theater - whose kindness and
	 graciousness I shall never
	 forget... Karen - Mrs. Lloyd
	 Richards...

KAREN resumes her doodling as applause breaks out for her...

			EVE'S VOICE
	 ... and it was Karen who first
	 brought me to one whom I had always
	 idolized - and who was to become my
	 benefactor and champion. A great
	 actress and a great woman - Margo
	 Channing.

MARGO, part of Eve's tribute has been over her CLOSE-UP. She
smiles grimly in reaction to the applause.

EVE looks to her right, waits for the applause to die. 

			EVE
	 My director - who demanded always a
	 little more than my talent could
	 provide-

BILL, seated at the speakers' table. He has his award before
him - a smaller one. He puts out a cigarette expressionlessly
as the applause breaks out. 

			EVE
	 - but who taught me patiently and
	 well... Bill Sampson.

LLOYD sits beside Bill. He, too, has a smaller award. As Eve
speaks, he throws her a brief glance. 

			EVE'S VOICE
	 And one, without whose great play
	 and faith in me, this night would
	 never have been. How can I repay
	 Lloyd Richards?

EVE waits for the applause to die. 

			EVE
	 Hoe can I repay the many others? So
	 many, that I couldn't possibly name
	 them all...

ADDISON smiles approvingly. 

			EVE'S VOICE
	 ... whose help, guidance and advice
	 have made this, the happiest night
	 of my life, possible. 

EVE stares at the award for an instant, as if fighting for
self-control.

			EVE
	 Although I am going to Hollywood
	 next week to make a film - do not
	 think for a moment that I am
	 leaving you. How could I? For my
	 heart is here in the Theater - and
	 three thousand miles are too far to
	 be away from one's heart.
	 I'll be back to claim it - and
	 soon. That is, if you want me back.

Another storm of applause. Much ad lib shouting as Bill and
Lloyd are summoned to pose beside her for more pictures.
People are thronging out. The Aged Actor shouts above the
hubbub...

			AGED ACTOR
	 A good night to all - and to all a
	 good night!

Eve disengages herself from the photographers, makes her way
toward Addison's table... Bill and Lloyd follow. CAMERA
FOLLOWS Lloyd to Karen. They kiss. He gives her the award. 

			LLOYD
	 For services rendered - beyond the
	 whatever-it-is-of-duty, darling.

Max bustles into the SHOT.

			MAX
	 Come on! I'm the host, I gotta get
	 home before the guests start
	 stealing the liquor...

She and Lloyd follow Max. Addison and Eve are on their way.
Lloyd goes right by. Karen pauses at Eve.

			KAREN
	 Congratulations, Eve. 

			EVE
	 Thank you, Karen.

Karen goes. Eve is being constantly congratulated. Some ad
lib about seeing her at Max's party...

			MAX
		(to Addison)
	 I'm giving her a very high-class
	 party. It ain't like a rehearsal,
	 she don't have to be late. 

			ADDISON
	 As soon as the peasants stop pawing
	 her. 

Max hurries out. Margo and Bill step into the SHOT. Eve turns
from a well-wisher to face her. 

			MARGO
	 ... nice speech, Eve. But I
	 wouldn't worry too much about your
	 heart. You can always put that
	 award where your heart ought to be. 

Eve looks at her wordlessly. Margo and Bill leave. Addison
and Eve are alone. The tables about them are empty. Suddenly,
her face becomes expressionless, her eyes dull... she glances
at the table.

			EVE
	 I don't suppose there's a drink
	 left...

			ADDISON
	 You can have one at Max's. 

			EVE
		(sits)
	 I don't think I'm going. 

			ADDISON
		(sighs)
	 Why not?

			EVE
	 Because I don't want to. 

			ADDISON
		(patiently)
	 Max has gone to a great deal of
	 trouble, it's going to be an
	 elaborate party, and it's for you. 

			EVE
	 No, it's not.
		(she holds up the award)
	 It's for this. 

			ADDISON
	 It's the same thing, isn't it?

			EVE
	 Exactly.
		(she gives him the award)
	 Here. Take it to the party instead
	 of me. 

			ADDISON
	 You're being childish.

A well-wisher rushes up to Eve with an "Eve, darling, I'm so
happy!" Eve rises, thanks her graciously. Then she pulls her
wrap over her shoulder.

			EVE
	 I'm tired. I want to go home. 

			ADDISON
		(curtly)
	 Very well. I shall drop you and go
	 on to the party. I have no
	 intention of missing it...

They exit from the room, now empty of everything but tables,
waiters, and the usual banquet debris. 

EXT. PARK AVENUE - NIGHT

Eve gets out of taxi in front of a fashionable apartment
hotel. She doesn't say good night to Addison, she enters the
hotel as the cab drives off. She hasn't the award with her. 

INT. CORRIDOR OUTSIDE EVE'S APARTMENT - NIGHT

Smart, but not gaudy. Eve crosses from the elevator to her
apartment. She lets herself in. 

INT. EVE'S HOTEL APARTMENT - NIGHT

A small foyer, from which one door leads to the leaving room,
another to the bedroom. The bedroom and living room do not
connect except through the foyer. 

All the lights are out. Eve turns them on in the foyer, the
same as she enters the bedroom. There are some new trunks, in
various stages of being packed. Eve tosses her wrap on the
bed, goes through the foyer to the living room.

She turns on the light in the living room. CAMERA FOLLOWS her
to a smart small bar where she fixes a stiff drink. As she
turns from the bar, she stares - starts in fright - and drops
the drink. 

A young girl, asleep in a chair, wakes with a jump. She
stares at Eve, horror-stricken. 

			EVE
	 Who are you?

			GIRL
	 Miss Harrington...

			EVE
	 What are you doing here?

			GIRL
	 I - I guess I fell asleep.

Eve starts for the phone. The girl rises in panic. 

			GIRL
	 Please don't have me arrested,
	 please! I didn't steal anything -
	 you can search me!

			EVE
		(pauses)
	 How did you get in here?

			GIRL
	 I hid outside in the hall till the
	 maid came to turn down your bed.
	 She must've forgot something and
	 when she went to get it, she left
	 the door open. I sneaked in and hid
	 till she finished. Then I just
	 looked around - and pretty soon I
	 was afraid somebody'd notice the
	 lights were on so I turned them off
	 - and then I guess, I fell asleep.

			EVE
	 You were just looking around...

			GIRL
	 That's all. 

			EVE
	 What for?

			GIRL
	 You probably won't believe me. 

			EVE
	 Probably not. 

			GIRL
	 It was for my report. 

			EVE
	 What report? To whom?

			GIRL
	 About how you live, what kind of
	 clothes you wear - what kind of
	 perfume and books - things like
	 that. You know the Eve Harrington
	 clubs - that they've got in most of
	 the girls' high schools?

			EVE
	 I've heard of them.

			GIRL
	 Ours was one of the first. Erasmus
	 Hall. I'm the president. 

			EVE
	 Erasmus Hall. That's in Brooklyn,
	 isn't it?

			GIRL
	 Lots of actresses come from
	 Brooklyn. Barbara Stanwyck, Susan
	 Hayward - of course, they're just
	 movie stars. 

Eve makes no comment. She lies wearily on the couch. 

			GIRL
	 You're going to Hollywood - aren't
	 you?
		(Eve murmurs "uh-huh")
	 From the trunks you're packing, you
	 must be going to stay a long time.

			EVE
	 I might. 

			GIRL
	 That spilled drink is going to ruin
	 your carper. 

She crosses to it. 

			EVE
	 The maid'll fix it in the morning. 

			GIRL
	 I'll just pick up the broken glass.

			EVE
	 Don't bother. 

The girl puts the broken glass on the bar. She starts to mix
Eve a fresh drink. 

			EVE
	 How'd you get all the way up here
	 from Brooklyn?

			GIRL
	 Subway.

			EVE
	 How long does it take?

			GIRL
	 With changing and everything, a
	 little over an hour.

She carries the drink over to Eve. 

			EVE
	 It's after one now. You won't get
	 home till all hours.

			GIRL
		(smiles)
	 I don't care if I never get home. 

The door buzzer sounds. 

			EVE
	 That's the door. 

			GIRL
	 You rest. I'll get it...

She goes to the door, opens it. Addison stands there, the
Sarah Siddons Award in his hands. 

			ADDISON
	 Hello, there. Who are you?

			GIRL
		(shyly)
	 Miss Harrington's resting, Mr.
	 deWitt. She asked me to see who it
	 is...

			ADDISON
	 We won't disturb her rest. It seems
	 she left her award in the taxicab.
	 Will you give it to her?

She holds it as if it were the Promised Land. Addison smiles
faintly. He knows the look. 

			ADDISON
	 How do you know my name?

			GIRL
	 It's a very famous name, Mr.
	 deWitt. 

			ADDISON
	 And what is your name?

			GIRL
	 Phoebe. 

			ADDISON
	 Phoebe?

			GIRL
		(stubbornly)
	 I call myself Phoebe. 

			ADDISON
	 Why not? Tell me, Phoebe, do you
	 want some day to have an award like
	 that of your own? 

Phoebe lifts her eyes to him. 

			PHOEBE
	 More than anything else in the
	 world. 

Addison pats her shoulder lightly. 

			ADDISON
	 Then you must Miss Harrington how
	 to get one. Miss Harrington knows
	 all about it...

Phoebe smiles shyly. Addison closes the door. Phoebe stares
down at the award for an instant. 

			EVE'S VOICE
		(sleepy; from the living
		 room)
	 Who was it?

			PHOEBE
	 Just a taxi driver, Miss
	 Harrington. You left the award in
	 his cab and he brought it back...

			EVE'S VOICE
	 Oh. Put it on one of the trunks,
	 will you? I want to pack it...

			PHOEBE
	 Sure, Miss Harrington...

She takes the award into the bedroom, sets it on a trunk. As
she starts out, she sees Eve's fabulous wrap on the bed. She
listens. Then, quietly, she puts on the wrap and picks up the
award. 

Slowly, she walks to a large three-mirrored cheval. With
grace and infinite dignity she holds the award to her, and
bows again and again... as if to the applause of a multitude. 

							FADE OUT.

				 THE END

Back to IMSDb