All about Eve

0:01:03 > 0:01:07The Sarah Siddons Award for Distinguished Achievement is perhaps unknown to you.

0:01:07 > 0:01:10It has been spared the sensational and commercial publicity

0:01:10 > 0:01:13of such questionable honours as the Pulitzer Prize

0:01:13 > 0:01:18and those awards presented annually by that film society.

0:01:18 > 0:01:22The distinguished-looking gentleman is an extremely old actor.

0:01:22 > 0:01:25Being an actor, he will go on speaking for some time.

0:01:25 > 0:01:29It is not important that you hear what he says.

0:01:29 > 0:01:31However, it is important that you know where you are

0:01:31 > 0:01:33and why you are here.

0:01:33 > 0:01:36This is the dining hall of the Sarah Siddons Society.

0:01:36 > 0:01:39The occasion is the annual banquet and presentation

0:01:39 > 0:01:42of the highest honour our theatre knows,

0:01:42 > 0:01:45the Sarah Siddons Award for Distinguished Achievement.

0:01:45 > 0:01:48These hallowed walls, indeed many of these faces,

0:01:48 > 0:01:52have looked upon Modjeska, Ada Rehan and Minnie Fiske.

0:01:52 > 0:01:55Mansfield's voice filled this room.

0:01:55 > 0:01:59It is unlikely that the windows have been opened since his death.

0:01:59 > 0:02:04The minor awards, as you can see, have already been presented.

0:02:04 > 0:02:07Minor awards are for such as the writer and director,

0:02:07 > 0:02:10since their function is merely to construct a tower

0:02:10 > 0:02:14so that the world can applaud a light which flashes on top of it.

0:02:14 > 0:02:18And no brighter light has ever dazzled the eye than Eve Harrington.

0:02:18 > 0:02:21Eve... But more of Eve later.

0:02:21 > 0:02:23All about Eve, in fact.

0:02:23 > 0:02:25To those of you who do not read,

0:02:25 > 0:02:29attend the theatre, listen to unsponsored radio programmes

0:02:29 > 0:02:32or know anything of the world in which you live,

0:02:32 > 0:02:35it is perhaps necessary to introduce myself.

0:02:35 > 0:02:37My name is Addison DeWitt.

0:02:37 > 0:02:40My native habitat is the theatre.

0:02:40 > 0:02:43In it, I toil not. Neither do I spin.

0:02:43 > 0:02:45I am a critic and commentator.

0:02:45 > 0:02:48I am essential to the theatre.

0:02:48 > 0:02:50This is Karen Richards.

0:02:50 > 0:02:52She is the wife of a playwright,

0:02:52 > 0:02:54therefore of the theatre by marriage.

0:02:54 > 0:02:57Nothing in her background or breeding should have brought her

0:02:57 > 0:03:01any closer to the stage than Row E.

0:03:01 > 0:03:03However, during her senior year at Radcliffe,

0:03:03 > 0:03:06Lloyd Richards lectured on the drama.

0:03:06 > 0:03:10The following year, Karen became Mrs Lloyd Richards.

0:03:10 > 0:03:13There are, in general, two types of theatrical producers.

0:03:13 > 0:03:18One has a great many wealthy friends who will risk a tax-deductible loss.

0:03:18 > 0:03:20This type is interested in art.

0:03:20 > 0:03:24The other is one to whom each production means potential ruin or fortune.

0:03:24 > 0:03:27This type is out to make a buck.

0:03:27 > 0:03:29Meet Max Fabian.

0:03:29 > 0:03:31He is the producer of the play

0:03:31 > 0:03:35which has won for Eve Harrington the Sarah Siddons Award.

0:03:35 > 0:03:39Margo Channing is a star of the theatre.

0:03:39 > 0:03:42She made her first stage appearance at the age of four

0:03:42 > 0:03:45in Midsummer Night's Dream.

0:03:45 > 0:03:49She played a fairy and entered, quite unexpectedly, stark naked.

0:03:49 > 0:03:52She has been a star ever since.

0:03:52 > 0:03:56Margo is a great star. A true star.

0:03:56 > 0:03:59She never was or will be anything less or anything else.

0:04:01 > 0:04:03Having covered in tedious detail

0:04:03 > 0:04:07not only the history of the Sarah Siddons Society,

0:04:07 > 0:04:08but also the history of acting

0:04:08 > 0:04:12since Thespis first stepped out of the chorus line,

0:04:12 > 0:04:16our distinguished chairman has finally arrived at our reason for being here.

0:04:16 > 0:04:19I have been proud and privileged

0:04:19 > 0:04:22to have spent my life in the theatre,

0:04:22 > 0:04:28a poor player that struts and frets his hour upon the stage,

0:04:28 > 0:04:31and I've been honoured to be, for 40 years,

0:04:31 > 0:04:34chief prompter of the Sarah Siddons Society.

0:04:35 > 0:04:4039 times have I placed in deserving hands

0:04:40 > 0:04:44this highest honour the theatre knows.

0:04:44 > 0:04:47Surely no actor is older than I.

0:04:47 > 0:04:49I've earned my place out of the sun.

0:04:49 > 0:04:51LAUGHTER

0:04:51 > 0:04:56And never before has this award gone to anyone younger than its recipient tonight.

0:04:56 > 0:05:01How fitting that it should pass from my hands to hers.

0:05:01 > 0:05:04Such young hands. Such a young lady.

0:05:04 > 0:05:09Young in years, but whose heart is as old as the theatre.

0:05:09 > 0:05:11Some of us are privileged to know her.

0:05:11 > 0:05:15We have seen beyond the beauty and artistry

0:05:15 > 0:05:18that have made her name resound through the nation.

0:05:18 > 0:05:22We know her humility, her devotion,

0:05:22 > 0:05:24her loyalty to her art,

0:05:24 > 0:05:28her love, her deep and abiding love for us,

0:05:28 > 0:05:33for what we are and what we do, the theatre.

0:05:33 > 0:05:35She has had one wish,

0:05:35 > 0:05:39one prayer, one dream,

0:05:39 > 0:05:42to belong to us.

0:05:42 > 0:05:44Tonight her dream has come true,

0:05:44 > 0:05:48and henceforth we shall dream the same of her.

0:05:48 > 0:05:50Honoured members, ladies and gentlemen,

0:05:50 > 0:05:53for distinguished achievement in the theatre,

0:05:53 > 0:05:57the Sarah Siddons Award to Miss Eve Harrington.

0:05:57 > 0:06:01APPLAUSE

0:06:20 > 0:06:21Bravo!

0:06:35 > 0:06:39Eve. Eve, the golden girl. The cover girl.

0:06:39 > 0:06:43The girl next door, the girl on the moon. Time has been good to Eve.

0:06:43 > 0:06:45Life goes where she goes.

0:06:45 > 0:06:48She's been profiled, covered, revealed, reported,

0:06:48 > 0:06:51what she eats and what she wears and whom she knows

0:06:51 > 0:06:54and where she was and when and where she's going.

0:06:54 > 0:06:56Eve.

0:06:56 > 0:07:00You all know all about Eve.

0:07:00 > 0:07:02What can there be to know that you don't know?

0:07:03 > 0:07:06When was it? How long?

0:07:06 > 0:07:09It seems a lifetime ago.

0:07:09 > 0:07:11Lloyd always said that in the theatre a lifetime was a season

0:07:11 > 0:07:13and a season a lifetime.

0:07:13 > 0:07:17It's June now. That was early October.

0:07:18 > 0:07:20Only last October.

0:07:22 > 0:07:25It was a drizzly night. I remember I asked the taxi to wait.

0:07:32 > 0:07:33Where was she?

0:07:33 > 0:07:38Strange. I'd become so accustomed to seeing her there night after night,

0:07:38 > 0:07:41I found myself looking for a girl I'd never spoken to,

0:07:41 > 0:07:43wondering where she was.

0:07:48 > 0:07:51Mrs Richards?

0:07:52 > 0:07:54There you are.

0:07:54 > 0:07:58It seemed odd, suddenly, your not being here.

0:07:58 > 0:08:01- Why should you think I wouldn't be? - Why should you be?

0:08:01 > 0:08:03Six nights a week for weeks

0:08:03 > 0:08:06of watching even Margo Channing enter and leave a theatre.

0:08:06 > 0:08:09- I hope you don't mind my speaking to you?- Not at all.

0:08:09 > 0:08:12I've seen you so often. It took every bit of courage I could raise.

0:08:12 > 0:08:15To speak to just a playwright's wife?

0:08:15 > 0:08:17I'm the lowest form of celebrity.

0:08:17 > 0:08:19You're Margo Channing's best friend.

0:08:19 > 0:08:22You and your husband are always with her.

0:08:22 > 0:08:25And Mr Sampson. What's he like?

0:08:25 > 0:08:29Bill Sampson? He's a director.

0:08:29 > 0:08:31- He's the best. - He'll agree with you.

0:08:31 > 0:08:36Tell me. What do you do in between the time Margo goes in and comes out?

0:08:36 > 0:08:38Just huddle in that doorway and wait?

0:08:38 > 0:08:41Oh, no. I see the play.

0:08:41 > 0:08:46You see the play? You've seen every performance of this play?

0:08:46 > 0:08:48Yes.

0:08:48 > 0:08:49But don't you find it...

0:08:49 > 0:08:53Apart from everything else, don't you find it expensive?

0:08:53 > 0:08:56Standing room doesn't cost much. I manage.

0:08:57 > 0:09:00- I'm gonna take you to Margo. - Oh, no!

0:09:00 > 0:09:03- Oh, yes. She's got to meet you. - No! No, I'd be imposing on her.

0:09:03 > 0:09:05I'd be just another tongue-tied fan.

0:09:05 > 0:09:09There isn't another like you. There couldn't be.

0:09:09 > 0:09:11If I'd known... Some other time. Looking like this.

0:09:11 > 0:09:15You look just fine. By the way, what's your name?

0:09:15 > 0:09:17Eve. Eve Harrington.

0:09:20 > 0:09:24- Good evening, Gus. - Good evening, Mrs Richards.

0:09:24 > 0:09:26- Good night. - Good night, Gus.

0:09:45 > 0:09:47You can breathe it, can't you?

0:09:48 > 0:09:51Like some magic perfume.

0:09:56 > 0:09:58LAUGHTER FROM BEHIND THE DOOR

0:09:59 > 0:10:01Wait right here. Don't run away.

0:10:01 > 0:10:04"If the South had won, you could write plays about the North."

0:10:04 > 0:10:07- Hi.- Hello!

0:10:07 > 0:10:09"I don't think you can rightly say we lost the war."

0:10:09 > 0:10:12"We was more starved out, you might say."

0:10:12 > 0:10:16"I don't understand all these plays about love-starved Southern women."

0:10:16 > 0:10:19"Love is one thing we were never starved for in the South."

0:10:19 > 0:10:22Margo's interview with a reporter from the South.

0:10:22 > 0:10:25The minute it gets printed, they're gonna fire on Gettysburg again.

0:10:25 > 0:10:29- It was Fort Sumter they fired on. - I never played Fort Sumter.

0:10:30 > 0:10:35Honeychild had a point. Lloyd, honey, be a playwright with guts.

0:10:35 > 0:10:39Write me one about a nice, normal woman who just shoots her husband.

0:10:39 > 0:10:41- You need new girdles. - Buy some.

0:10:41 > 0:10:43- Same size? - Of course.

0:10:43 > 0:10:46I find these wisecracks increasingly less funny.

0:10:46 > 0:10:50- Aged in Wood happens to be a fine play.- That's my loyal little woman.

0:10:50 > 0:10:54The critics thought so. The audiences certainly think so.

0:10:54 > 0:10:56Packed houses, tickets four months in advance.

0:10:56 > 0:10:59I can't see that Lloyd's plays have hurt you any.

0:10:59 > 0:11:03- Easy now.- Relax, kid, it's just me and my big mouth.

0:11:03 > 0:11:06It's just you get me so mad sometimes.

0:11:06 > 0:11:08Of all the women with nothing to complain about...

0:11:08 > 0:11:11- Ain't it the truth? - Yes, it is.

0:11:11 > 0:11:13You're talented, famous, wealthy.

0:11:13 > 0:11:16People waiting around night after night just to see you.

0:11:16 > 0:11:18Even in the wind and the rain.

0:11:18 > 0:11:20Autograph fiends. They're not people.

0:11:20 > 0:11:22Those little beasts that run around in packs like coyotes.

0:11:22 > 0:11:25- They're your fans. - They're nobody's fans.

0:11:25 > 0:11:29They're juvenile delinquents. They're nobody's audience.

0:11:29 > 0:11:33They never see a play or a movie. They're never indoors long enough.

0:11:33 > 0:11:36Well, there's one indoors right now.

0:11:36 > 0:11:39I've brought her back to see you.

0:11:39 > 0:11:40You've what?

0:11:40 > 0:11:42She's just outside the door.

0:11:42 > 0:11:44The heave-ho.

0:11:44 > 0:11:47But you can't put her out. I promised.

0:11:47 > 0:11:49Margo, you've got to see her.

0:11:49 > 0:11:52She worships you. It's like something out of a book.

0:11:52 > 0:11:55That book is out of print. Those days are gone.

0:11:55 > 0:11:57But if you'd only see her. You're her whole life.

0:11:57 > 0:12:01You must have spotted her by now. She's always there.

0:12:01 > 0:12:05Oh, the mousy one with the trench coat and the funny hat.

0:12:05 > 0:12:08How could I miss her? Every night, every matinee.

0:12:11 > 0:12:13Come in, Eve.

0:12:17 > 0:12:19- I thought you'd forgotten about me. - Not at all.

0:12:19 > 0:12:21Margo, this is Eve Harrington.

0:12:21 > 0:12:24- How do you do, my dear? - Oh, brother.

0:12:24 > 0:12:26- Hello, Miss Channing. - My husband.

0:12:26 > 0:12:28- Hello, Miss Harrington. - How do you do?

0:12:28 > 0:12:31And this is my dear friend and companion, Miss Birdie Coonan.

0:12:31 > 0:12:33- Oh, brother. - Miss Coonan.

0:12:33 > 0:12:36- Oh, brother, what? - When she gets like this,

0:12:36 > 0:12:38she starts playing Hamlet's mother.

0:12:38 > 0:12:42I'm sure you must have things to do in the bathroom, Birdie, dear.

0:12:42 > 0:12:45If I haven't, I'll find something till you get normal.

0:12:49 > 0:12:51Won't you sit down, Miss Worthington?

0:12:51 > 0:12:53Harrington.

0:12:53 > 0:12:55I'm so sorry, Harrington. Won't you sit down?

0:12:55 > 0:12:57Thank you.

0:12:59 > 0:13:03- Would you like a drink?- I was saying how often you've seen the play.

0:13:03 > 0:13:05No, thank you.

0:13:05 > 0:13:07Yes, I've seen every performance.

0:13:07 > 0:13:11Every performance? Then am I safe in assuming you like it?

0:13:11 > 0:13:14I'd like anything Miss Channing played in.

0:13:14 > 0:13:16Would you really? How sweet.

0:13:16 > 0:13:19I doubt very much that you'd like her in The Hairy Ape.

0:13:19 > 0:13:22Please don't misunderstand me, Mr Richards.

0:13:22 > 0:13:26I think part of Miss Channing's greatness lies in her ability to pick the best plays.

0:13:26 > 0:13:29Your new play is for Miss Channing, isn't it?

0:13:29 > 0:13:31Of course it is.

0:13:31 > 0:13:34- How did you hear about it? - There was an item in The Times.

0:13:34 > 0:13:37I like the title, Footsteps on the Ceiling.

0:13:37 > 0:13:39Yes, but let's get back to this one.

0:13:39 > 0:13:42- Have you really seen every performance?- Yes.

0:13:42 > 0:13:44Why? I'm curious.

0:13:44 > 0:13:47Well, if I didn't come to see the play,

0:13:47 > 0:13:50I wouldn't have anywhere else to go.

0:13:50 > 0:13:51There are other plays.

0:13:51 > 0:13:54Not with you in them. Not by Mr Richards.

0:13:54 > 0:13:57But you must have friends, a home, family?

0:14:00 > 0:14:02Tell us about it, Eve.

0:14:03 > 0:14:05If I only knew how.

0:14:05 > 0:14:06Try.

0:14:08 > 0:14:10- Well... - DOOR OPENS

0:14:27 > 0:14:30Well, it started with the play before this one.

0:14:30 > 0:14:33- Remembrance. - Remembrance.

0:14:33 > 0:14:36- Did you see it here in New York? - San Francisco.

0:14:36 > 0:14:39It was the last week. I went one night.

0:14:39 > 0:14:42The most important night of my life, until now.

0:14:42 > 0:14:46I found myself going the next night and the next and the next.

0:14:46 > 0:14:48Every performance.

0:14:48 > 0:14:53Then, when the show went East, I went East.

0:14:53 > 0:14:55Eve, why don't you start at the beginning?

0:14:55 > 0:14:57Oh, it couldn't possibly interest you.

0:14:57 > 0:15:00Please.

0:15:00 > 0:15:04I guess it started back home. Wisconsin, that is.

0:15:04 > 0:15:06It was just Mom and Dad and me.

0:15:06 > 0:15:08I was an only child.

0:15:08 > 0:15:11I used to make believe a lot when I was a kid.

0:15:11 > 0:15:15Acted out all sorts of things. What they were isn't important.

0:15:15 > 0:15:17But, somehow, acting and make-believe

0:15:17 > 0:15:20began to fill up my life more and more.

0:15:20 > 0:15:23It got so I couldn't tell the real from the unreal.

0:15:23 > 0:15:26Except that the unreal seemed more real to me...

0:15:28 > 0:15:31- I'm talking a lot of gibberish, aren't I?- Not at all.

0:15:32 > 0:15:35Farmers were poor in those days.

0:15:35 > 0:15:37That's what Dad was, a farmer.

0:15:37 > 0:15:39I had to help out.

0:15:39 > 0:15:46So I quit school, went to Milwaukee, became a secretary in a brewery.

0:15:46 > 0:15:49When you're a secretary in a brewery,

0:15:49 > 0:15:52it's hard to make believe you're anything else.

0:15:52 > 0:15:53Everything is beer.

0:15:55 > 0:15:58It wasn't much fun, but it helped at home.

0:15:58 > 0:16:01And there was a little theatre group there,

0:16:01 > 0:16:03like a drop of rain on the desert.

0:16:03 > 0:16:06That's where I met Eddie.

0:16:06 > 0:16:08He was a radio technician.

0:16:08 > 0:16:11We played Liliom for three performances.

0:16:12 > 0:16:15I was awful.

0:16:15 > 0:16:18Then the war came and we got married.

0:16:18 > 0:16:20Eddie was in the air force.

0:16:20 > 0:16:23They sent him to the South Pacific.

0:16:24 > 0:16:27You were with the OWI, weren't you, Mr Richards?

0:16:27 > 0:16:29That's what Who's Who says.

0:16:29 > 0:16:33Well, with Eddie gone, my life went back to beer.

0:16:33 > 0:16:36Except for a letter a week.

0:16:36 > 0:16:39One week he wrote me he had leave coming up.

0:16:39 > 0:16:41I'd saved my money and vacation time

0:16:41 > 0:16:44and went to San Francisco to meet him.

0:16:45 > 0:16:48But Eddie wasn't there.

0:16:48 > 0:16:51They forwarded the telegram from Milwaukee.

0:16:51 > 0:16:53The one that came from Washington.

0:16:53 > 0:16:56To say that Eddie wasn't coming at all.

0:16:57 > 0:17:00That Eddie was dead.

0:17:06 > 0:17:08I figured I'd stay in San Francisco.

0:17:08 > 0:17:12I was alone. I couldn't go back without Eddie.

0:17:13 > 0:17:15I found a job, and his insurance helped.

0:17:17 > 0:17:20And there were theatres in San Francisco.

0:17:20 > 0:17:24And then, one night, Margo Channing came to play in Remembrance,

0:17:24 > 0:17:26and I went to see it.

0:17:29 > 0:17:31Well...

0:17:31 > 0:17:33Here I am.

0:17:38 > 0:17:40What a story.

0:17:40 > 0:17:43Everything but the bloodhounds snapping at her rear end.

0:17:43 > 0:17:47There are some human experiences that do not take place in a vaudeville house!

0:17:47 > 0:17:51And that even a fifth-rate vaudevillian should understand and respect.

0:17:52 > 0:17:54I want to apologize for Birdie.

0:17:54 > 0:17:57You don't have to apologise for me.

0:18:00 > 0:18:02I'm sorry if I hurt your feelings.

0:18:02 > 0:18:05It's just my way of talking.

0:18:05 > 0:18:07You didn't hurt my feelings, Miss Coonan.

0:18:07 > 0:18:10Call me Birdie.

0:18:10 > 0:18:12And as for being fifth-rate,

0:18:12 > 0:18:16I closed the first half for 11 years, and you know it.

0:18:23 > 0:18:2547 minutes from now my plane takes off and how do I find you?

0:18:25 > 0:18:28- Not ready, looking like a junkyard. - Thank you so much.

0:18:28 > 0:18:31Is it sabotage? Does my career mean nothing to you?

0:18:31 > 0:18:34- Have you no human consideration? - Show me a human and I might have.

0:18:34 > 0:18:35Airlines have clocks, even if you don't.

0:18:35 > 0:18:39I start shooting a week from Monday. Zanuck is impatient.

0:18:39 > 0:18:41Zanuck, Zanuck! What are you two? Lovers?

0:18:41 > 0:18:44- Only in some ways. You're prettier. - I'm a junkyard.

0:18:44 > 0:18:47- Bill. This is Eve Harrington. - Hi.

0:18:47 > 0:18:51My wonderful junkyard. The mystery and dreams you find in a junkyard.

0:18:51 > 0:18:53Heaven help me.

0:18:53 > 0:18:55I love a psychotic.

0:18:57 > 0:19:01- Hello. What's your name? - Eve. Eve Harrington.

0:19:01 > 0:19:03- You've already met. - Huh? Where?

0:19:03 > 0:19:07- Right here, just a minute ago. - That's nice.

0:19:11 > 0:19:13- You're not going, are you? - I think I'd better.

0:19:13 > 0:19:18It's been... I can hardly find the words to say how it's been.

0:19:18 > 0:19:20No, don't go.

0:19:20 > 0:19:26The four of you must have so much to say to each other with Mr Sampson leaving.

0:19:26 > 0:19:28No, stick around, please.

0:19:28 > 0:19:31Tell you what. We'll put Stanislavsky on his plane,

0:19:31 > 0:19:33then go somewhere and talk.

0:19:33 > 0:19:36Well, if I'm not in the way...

0:19:36 > 0:19:38I won't be a minute.

0:19:42 > 0:19:44Lloyd, we've got to go.

0:19:49 > 0:19:51Good night, Margo.

0:19:51 > 0:19:53- I'll call you tomorrow. - Not too early.

0:19:57 > 0:20:00- Good luck, genius.- Geniuses don't need good luck. I do.

0:20:01 > 0:20:05- I'm not worried about you. - Keep the thought.

0:20:05 > 0:20:08Good night, Eve. I hope I see you again soon.

0:20:08 > 0:20:11I'll be at the old stand tomorrow matinee.

0:20:11 > 0:20:13Not just that way. As a friend.

0:20:13 > 0:20:15I'd like that.

0:20:18 > 0:20:19It's been a real pleasure, Eve.

0:20:19 > 0:20:22I hope so, Mr Richards. Good night.

0:20:22 > 0:20:24Good night.

0:20:24 > 0:20:26Mrs Richards?

0:20:26 > 0:20:29I'll never forget this night as long as I live.

0:20:29 > 0:20:32And I'll never forget you for making it possible.

0:20:37 > 0:20:40And I'll never forget you, Eve.

0:20:40 > 0:20:43Where were we going that night, Lloyd and I?

0:20:43 > 0:20:46Funny, the things you remember

0:20:46 > 0:20:48and the things you don't.

0:20:56 > 0:20:59- So you're going to Hollywood? - Mm-hm.

0:21:01 > 0:21:04- Why? - I just wondered.

0:21:04 > 0:21:06Just wondered what?

0:21:06 > 0:21:07Why?

0:21:07 > 0:21:09Why what?

0:21:09 > 0:21:12Why you have to go out there.

0:21:12 > 0:21:16- I don't have to. I want to. - Is it the money?

0:21:16 > 0:21:1980% of it'll go for taxes.

0:21:19 > 0:21:23Then why? Why, if you're the most successful young director in the theatre...

0:21:23 > 0:21:26The theatre. The theatre.

0:21:26 > 0:21:29What rules say the theatre exists only within some ugly buildings

0:21:29 > 0:21:32crowded into one square mile of New York City?

0:21:32 > 0:21:34Or London, Paris or Vienna?

0:21:36 > 0:21:38Listen, Junior, and learn.

0:21:38 > 0:21:43Do you wanna know what the theatre is? A flea circus. Also opera.

0:21:44 > 0:21:47Also rodeos, carnivals, ballets,

0:21:47 > 0:21:51Indian tribal dances, Punch and Judy, a one-man band, all theatre.

0:21:51 > 0:21:54Wherever there's magic and make-believe

0:21:54 > 0:21:57and an audience, there's theatre.

0:21:57 > 0:22:00Donald Duck, Ibsen and The Lone Ranger.

0:22:00 > 0:22:02Sarah Bernhardt and Poodles Hanneford.

0:22:02 > 0:22:04Lunt and Fontanne, Betty Grable.

0:22:04 > 0:22:08Rex the Wild Horse, Eleonora Duse, all theatre.

0:22:08 > 0:22:11You don't understand them all. You don't like them all.

0:22:11 > 0:22:12Why should you?

0:22:12 > 0:22:16The theatre's for everybody, you included, but not exclusively.

0:22:16 > 0:22:18So, don't approve or disapprove.

0:22:18 > 0:22:22It may not be your theatre, but it's theatre for somebody, somewhere.

0:22:22 > 0:22:25I just asked a simple question.

0:22:25 > 0:22:28And I shot my mouth off.

0:22:28 > 0:22:31Nothing personal, Junior. No offence.

0:22:31 > 0:22:36It's just that there's so much bushwa in this ivory greenroom they call the theatre,

0:22:36 > 0:22:39sometimes it gets up around my chin.

0:22:39 > 0:22:43But Hollywood. You mustn't stay out there.

0:22:43 > 0:22:46- It's only a one-picture deal. - So few come back.

0:22:48 > 0:22:52I read George Jean Nathan every week.

0:22:52 > 0:22:53Also Addison DeWitt.

0:22:53 > 0:22:55Every day.

0:22:56 > 0:22:59- You didn't have to tell me. - DOOR OPENS

0:22:59 > 0:23:01It's the latest thing, one earring.

0:23:01 > 0:23:05If it isn't, it's going to be. I can't find the other one.

0:23:05 > 0:23:08Throw that dreary letter away. It bores me.

0:23:08 > 0:23:11- Where do you suppose it could be? - It'll show up.

0:23:11 > 0:23:14Oh, I give up. Look in the wigs. Maybe it got caught in one.

0:23:14 > 0:23:17Real diamonds in a wig. The world we live in.

0:23:17 > 0:23:20- Where's my coat? - Right where you left it.

0:23:23 > 0:23:25The seams.

0:23:25 > 0:23:28He can't take his eyes off my legs.

0:23:28 > 0:23:30Like a nylon lemon peel.

0:23:30 > 0:23:33Byron couldn't have said it more graciously.

0:23:33 > 0:23:36Here we go.

0:23:36 > 0:23:38Got any messages?

0:23:38 > 0:23:40What do you want me to tell Tyrone Power?

0:23:40 > 0:23:44Just give him my phone number. I'll tell him myself.

0:23:44 > 0:23:46Kill the people.

0:23:48 > 0:23:50- You got your key? - See you at home.

0:23:55 > 0:23:59I have a suggestion. There's really not very much time left.

0:23:59 > 0:24:01I mean, you haven't had a minute alone yet.

0:24:01 > 0:24:06And I could take care of everything here and meet you at the gate with the ticket,

0:24:06 > 0:24:08if you'd like.

0:24:08 > 0:24:09I think we'd like very much.

0:24:09 > 0:24:12- Sure you won't mind? - Of course not.

0:24:21 > 0:24:23She's quite a girl, this whatshername.

0:24:23 > 0:24:25Eve. I'd forgotten they grew that way.

0:24:25 > 0:24:29That lack of pretence, that strange directness and understanding.

0:24:29 > 0:24:32Did she tell you about the theatre and what it meant?

0:24:32 > 0:24:34No, I told her. I sounded off.

0:24:34 > 0:24:37All the religions in the world rolled into one,

0:24:37 > 0:24:40and we're gods and goddesses.

0:24:40 > 0:24:44Isn't it silly? Suddenly I've developed a big, protective feeling toward her.

0:24:44 > 0:24:47A lamb loose in our big stone jungle.

0:24:52 > 0:24:54Take care of yourself out there.

0:24:54 > 0:24:57I understand they have the Indians pretty well in hand.

0:24:57 > 0:25:01- Bill. Don't get stuck on some glamour puss.- I'll try.

0:25:01 > 0:25:04You're not much of a bargain. You're conceited, thoughtless and messy.

0:25:04 > 0:25:06Everybody can't be Gregory Peck.

0:25:06 > 0:25:10You're a setup for some gorgeous, wide-eyed, young babe.

0:25:10 > 0:25:12How childish are you gonna get before you stop it?

0:25:12 > 0:25:15I don't wanna be childish. I'd settle for a few years.

0:25:15 > 0:25:17And cut that out right now.

0:25:17 > 0:25:20Am I going to lose you, Bill? Am I?

0:25:20 > 0:25:22As of this moment, you're six years old.

0:25:22 > 0:25:25All ready.

0:25:40 > 0:25:42Thanks for your help. Good luck.

0:25:42 > 0:25:45Goodbye, Mr Sampson.

0:25:45 > 0:25:47- Knit me a muffler? - Call me when you get in.

0:26:02 > 0:26:05Hey, Junior!

0:26:05 > 0:26:08Keep your eye on her. Don't let her get lonely.

0:26:08 > 0:26:10She's a loose lamb in a jungle.

0:26:10 > 0:26:12Don't worry.

0:26:25 > 0:26:30That same night, we sent for Eve's things, her few pitiful possessions.

0:26:30 > 0:26:33She moved into the little guest room on the top floor.

0:26:36 > 0:26:39The next three weeks were out of a fairy tale,

0:26:39 > 0:26:41and I was Cinderella in the last act.

0:26:41 > 0:26:45Eve became my sister, lawyer, mother, friend,

0:26:45 > 0:26:47psychiatrist and cop.

0:26:48 > 0:26:51The honeymoon was on.

0:27:03 > 0:27:05APPLAUSE

0:27:40 > 0:27:43CHEERING

0:27:54 > 0:27:56One more?

0:27:56 > 0:27:58From now on it isn't applause,

0:27:58 > 0:28:02just something to do till the aisles get cleared.

0:28:03 > 0:28:05What, again?

0:28:08 > 0:28:12I could watch you play that last scene a thousand times,

0:28:12 > 0:28:13cry every time.

0:28:13 > 0:28:16Performance number 1,000 of this one, if I play it that long,

0:28:16 > 0:28:19will take place in a well-padded booby hatch.

0:28:22 > 0:28:26I must say, you can certainly tell Mr Sampson's been gone a month.

0:28:26 > 0:28:28You certainly can.

0:28:28 > 0:28:32Especially if you're me between now and tomorrow morning.

0:28:32 > 0:28:35You bought the new girdles a size smaller. I can feel it.

0:28:35 > 0:28:38Something maybe grew a size larger.

0:28:38 > 0:28:41You can get into one of those girdles and act for two and a half hours.

0:28:41 > 0:28:45I couldn't get into the girdle in two and a half hours.

0:28:50 > 0:28:54You haven't noticed my latest bit of interior decorating.

0:28:54 > 0:28:57But you've done so much. What's new?

0:28:57 > 0:29:00The curtains. I made them myself.

0:29:02 > 0:29:05They're lovely. Aren't they lovely, Birdie?

0:29:05 > 0:29:06Adorable.

0:29:06 > 0:29:10We now got everything a dressing room needs except a basketball hoop.

0:29:10 > 0:29:12Just because you can't even work a zipper!

0:29:12 > 0:29:16It was very thoughtful of you, Eve. I appreciate it.

0:29:16 > 0:29:19I'll just take this to the wardrobe mistress.

0:29:19 > 0:29:21Don't bother. Mrs Brown will be along soon.

0:29:21 > 0:29:23No trouble at all.

0:29:28 > 0:29:31May I be so bold as to say something?

0:29:31 > 0:29:33Have you ever heard of the word "union"?

0:29:33 > 0:29:35Behind in your dues? How much?

0:29:35 > 0:29:38- I haven't got a union. I'm slave labour.- Well?

0:29:38 > 0:29:41But the wardrobe women have got one and, next to a tenor,

0:29:41 > 0:29:45a wardrobe woman is the touchiest thing in show business.

0:29:45 > 0:29:46Oh, oh.

0:29:46 > 0:29:49She's got two things to do - carry clothes and press 'em wrong.

0:29:49 > 0:29:52And don't let anybody try to muscle in.

0:30:00 > 0:30:03Eve.

0:30:05 > 0:30:09We'd better let Mrs Brown pick up the wardrobe.

0:30:22 > 0:30:23PHONE RINGS

0:30:36 > 0:30:37Hello.

0:30:37 > 0:30:39We are ready with your call to Beverly Hills.

0:30:39 > 0:30:44- Call? What call?- Is this Templeton 89970? Miss Channing?

0:30:44 > 0:30:46Yes, it is, but I don't understand.

0:30:46 > 0:30:49We are ready with the call you placed for 12 midnight,

0:30:49 > 0:30:51California time, to Mr William Sampson.

0:30:51 > 0:30:54- I placed? - Go ahead, please.

0:30:54 > 0:30:58Margo, what a wonderful surprise.

0:30:58 > 0:31:01What a thoughtful, ever-lovin' thing to do.

0:31:01 > 0:31:05Bill. Have I gone crazy, Bill?

0:31:05 > 0:31:07- You're my girl, aren't you? - That I am.

0:31:07 > 0:31:09Then you're crazy.

0:31:10 > 0:31:13- When are you coming back? - I leave in a week.

0:31:13 > 0:31:16The picture's wrapped up. We previewed last night.

0:31:16 > 0:31:18Oh, those previews.

0:31:18 > 0:31:21Like opening out of town, but terrifying.

0:31:21 > 0:31:22There's nothing you can do.

0:31:22 > 0:31:25You're trapped. You're in a tin can.

0:31:25 > 0:31:30In a tin can, cellophane or wrapped in a Navajo blanket, I want you home.

0:31:30 > 0:31:35- You in a hurry?- In a big hurry, so be quick about it.

0:31:35 > 0:31:38Goodbye, darling. Sleep tight.

0:31:38 > 0:31:41Hey, wait a minute. You haven't even said it.

0:31:41 > 0:31:45Oh, now, Bill. You know how much I do, but over a phone...

0:31:45 > 0:31:48Now, really. That's kids' stuff.

0:31:48 > 0:31:52Kids' stuff or not. It doesn't happen every day and I wanna hear it.

0:31:52 > 0:31:55- And if you won't say it, you can sing it.- Sing it?

0:31:55 > 0:31:58Sure, like the Western Union boys used to do.

0:32:02 > 0:32:05Bill...

0:32:05 > 0:32:07it's your birthday.

0:32:07 > 0:32:12And who remembered it? Who was there on the dot at 12 midnight?

0:32:12 > 0:32:14Happy birthday, darling.

0:32:14 > 0:32:17The reading could've been better, but you said it.

0:32:17 > 0:32:20Now, "Many happy returns of the day."

0:32:20 > 0:32:23Many happy returns of the day.

0:32:23 > 0:32:27- I get a party, don't I?- Of course. Birthday and coming home.

0:32:27 > 0:32:30- Who will I ask?- It's no secret. I know all about the party.

0:32:30 > 0:32:32Eve wrote me.

0:32:33 > 0:32:36- She did?- She hasn't missed a week since I left.

0:32:36 > 0:32:38But you know all about that. You probably tell her what to write.

0:32:38 > 0:32:41I sent her a list of people to ask, so check with her.

0:32:41 > 0:32:43Yeah, I will.

0:32:43 > 0:32:46- How is Eve? OK? - OK.

0:32:46 > 0:32:49- I love you. - I'll check with Eve.

0:32:49 > 0:32:51Hm?

0:32:51 > 0:32:52I love you, too.

0:32:52 > 0:32:55Good night, darling.

0:32:55 > 0:32:57See ya.

0:33:40 > 0:33:43- Birdie.- Hm?

0:33:43 > 0:33:45You don't like Eve, do you?

0:33:45 > 0:33:47You want an argument or an answer?

0:33:47 > 0:33:50- An answer.- No.

0:33:50 > 0:33:52- Why not? - Now you want an argument.

0:33:53 > 0:33:55She works hard.

0:33:55 > 0:33:56Night and day.

0:33:56 > 0:33:58She's loyal and efficient.

0:33:58 > 0:34:01Like an agent with only one client.

0:34:02 > 0:34:06She thinks only of me,

0:34:06 > 0:34:08doesn't she?

0:34:08 > 0:34:11Well, let's say she thinks only about ya, anyway.

0:34:11 > 0:34:15- How do you mean that? - I'll tell ya how.

0:34:15 > 0:34:17Like...

0:34:17 > 0:34:19Like she's studying you.

0:34:19 > 0:34:22Like you was a play, or a book, or a set of blueprints.

0:34:22 > 0:34:24How you walk, talk, eat, think...

0:34:24 > 0:34:27I'm sure that's flattering. There's nothing wrong with it.

0:34:27 > 0:34:29KNOCK ON DOOR

0:34:29 > 0:34:33Good morning. Well, what do you think of my elegant new suit?

0:34:33 > 0:34:36It looks much better on you than it did on me.

0:34:36 > 0:34:41I can imagine. All it needed was a little taking in here and letting out there.

0:34:41 > 0:34:42Are you sure you won't want it yourself?

0:34:42 > 0:34:46Quite sure. I find it too seventeenish for me.

0:34:46 > 0:34:48Come now, as though you were an old lady.

0:34:48 > 0:34:50I'm on my way. Is there anything more you thought of?

0:34:50 > 0:34:53- That script to take to the Guild. - I've got it.

0:34:53 > 0:34:55And those checks for the income-tax man.

0:34:55 > 0:34:58Right here.

0:34:58 > 0:35:01It seems I can't think of a thing you haven't thought of.

0:35:01 > 0:35:04That's my job. See you at teatime.

0:35:06 > 0:35:08Eve?

0:35:08 > 0:35:11By chance, did you place a call from me to Bill

0:35:11 > 0:35:14for midnight California time?

0:35:14 > 0:35:15Golly, I forgot to tell you!

0:35:15 > 0:35:17Yes, dear, you forgot all about it.

0:35:17 > 0:35:20I was sure you'd want to, being his birthday.

0:35:20 > 0:35:22You've been so busy lately.

0:35:22 > 0:35:25Last night I meant to tell you before you went out.

0:35:25 > 0:35:27I guess I was asleep when you got home.

0:35:27 > 0:35:31Yes, I guess you were. It was very thoughtful of you, Eve.

0:35:31 > 0:35:34Mr Sampson's birthday, I couldn't forget that.

0:35:34 > 0:35:36You'd never forgive me.

0:35:42 > 0:35:45As a matter of fact, I sent him a telegram myself.

0:36:11 > 0:36:16Bill's welcome-home birthday party, a night to go down in history.

0:36:16 > 0:36:20Even before the party started, I could smell disaster in the air.

0:36:20 > 0:36:24I knew it. I sensed it even as I finished dressing

0:36:24 > 0:36:26for that blasted party.

0:36:27 > 0:36:28You all put together?

0:36:28 > 0:36:30My back's open.

0:36:31 > 0:36:32Extra help get here?

0:36:32 > 0:36:35There's some loose characters dressed as maids and butlers.

0:36:35 > 0:36:37Did you call the William Morris Agency?

0:36:37 > 0:36:41You're not funny. Actors would cost less. How about the food?

0:36:41 > 0:36:43The caterer had to go back for the hors d'oeuvres.

0:36:43 > 0:36:45Voila!

0:36:45 > 0:36:48That French ventriloquist taught you a lot.

0:36:48 > 0:36:51There was nothing he didn't know.

0:36:56 > 0:36:58There's a message from the bartender.

0:36:58 > 0:37:01"Does Miss Channing know that she ordered domestic gin by mistake?"

0:37:01 > 0:37:04The only thing I ordered by mistake is the guests.

0:37:04 > 0:37:07They don't care what they drink as long as it burns.

0:37:07 > 0:37:10- Where's Bill? He's late. - Late for what?

0:37:10 > 0:37:11Don't be dense. The party.

0:37:11 > 0:37:14I ain't dense. He's been here for 20 minutes.

0:37:14 > 0:37:18Well, I certainly think it's odd he hasn't even come up to...

0:37:35 > 0:37:37- LAUGHTER - The cameraman said,

0:37:37 > 0:37:41"Even DeMille couldn't see anything looking through the wrong end!" So...

0:37:41 > 0:37:44Don't let me kill the point. Or isn't it a story for grown-ups?

0:37:44 > 0:37:48You've heard it. I looked through the wrong end of the camera.

0:37:48 > 0:37:52Remind me to tell you about the time I looked into the heart of an artichoke.

0:37:52 > 0:37:56- I'd like to hear it.- Some snowy night in front of the fire.

0:37:56 > 0:37:59Meanwhile, would you check about the hors d'oeuvres, Eve?

0:37:59 > 0:38:02The caterer forgot them. The varnish wasn't dry or something.

0:38:02 > 0:38:04Of course.

0:38:15 > 0:38:17Looks like I'm going to have a very fancy party.

0:38:17 > 0:38:21- I thought you were going to be late.- Well, I'm guest of honour.

0:38:21 > 0:38:23I had no idea you were even here.

0:38:23 > 0:38:26I ran into Eve and she told me you were dressing.

0:38:26 > 0:38:28That's never stopped you before.

0:38:30 > 0:38:33She wanted to know about Hollywood. She seemed so interested...

0:38:33 > 0:38:35She's a girl of so many interests.

0:38:35 > 0:38:37It's a pretty rare quality these days.

0:38:37 > 0:38:41- A girl of so many rare qualities. - So she seems.

0:38:41 > 0:38:43So you've pointed out so often.

0:38:43 > 0:38:45So many qualities so often.

0:38:45 > 0:38:49Her loyalty, efficiency, devotion, warmth and affection, and so young.

0:38:49 > 0:38:51So young and so fair.

0:38:53 > 0:38:55I can't believe you're making this up.

0:38:55 > 0:38:58It sounds like something out of an old Clyde Fitch play.

0:38:58 > 0:39:02Clyde Fitch, though you may not think so, was well before my time.

0:39:02 > 0:39:05I've always denied the legend that you were in Our American Cousin

0:39:05 > 0:39:06the night Lincoln was shot.

0:39:06 > 0:39:08I don't think that's funny.

0:39:08 > 0:39:09Of course it's funny.

0:39:09 > 0:39:12This is all too laughable to be anything else.

0:39:12 > 0:39:14You know what I feel about your age obsession.

0:39:14 > 0:39:16And this getting into a jealous froth

0:39:16 > 0:39:19because I spent ten minutes with a stage-struck kid.

0:39:19 > 0:39:21- 20! - 30 minutes, 40 minutes. What of it?

0:39:21 > 0:39:24Stage-struck kid, she's a young lady of qualities.

0:39:24 > 0:39:28And I'm fed up with both the young lady and her qualities.

0:39:28 > 0:39:31Studying me as if I were a play or a blueprint.

0:39:31 > 0:39:34How I walk, talk, think, act, sleep.

0:39:34 > 0:39:38How can you take offence at a kid trying to be like her ideal?

0:39:38 > 0:39:40Stop calling her a kid.

0:39:42 > 0:39:45As it happens, there are particular aspects of my life

0:39:45 > 0:39:50to which I would like to maintain sole and exclusive rights and privileges.

0:39:50 > 0:39:51For instance, what?

0:39:51 > 0:39:53For instance, you.

0:39:55 > 0:39:59This is my cue to take you in my arms and reassure you.

0:39:59 > 0:40:01But I'm not going to. I'm too mad.

0:40:01 > 0:40:02- Guilty!- Mad!

0:40:02 > 0:40:05There are certain characteristics for which you are famous,

0:40:05 > 0:40:06on stage and off.

0:40:06 > 0:40:08I love you for some and in spite of others.

0:40:08 > 0:40:11I haven't let those become too important.

0:40:11 > 0:40:15They're part of your equipment for getting along in what is called "our environment".

0:40:15 > 0:40:18You have to keep your teeth sharp, all right.

0:40:18 > 0:40:21But I will not have you sharpen them on me, or on Eve.

0:40:21 > 0:40:23What about her teeth? Her fangs?

0:40:23 > 0:40:25She hasn't cut them yet and you know it!

0:40:25 > 0:40:28So when you start judging an idealistic, dreamy-eyed kid

0:40:28 > 0:40:30by the bar-room, Benzedrine standards

0:40:30 > 0:40:33of this megalomaniac society, I won't have it!

0:40:33 > 0:40:37Eve Harrington has never by word, look, thought or suggestion

0:40:37 > 0:40:39indicated anything to me but adoration for you

0:40:39 > 0:40:41and happiness at our being in love.

0:40:41 > 0:40:43To intimate anything else doesn't spell jealousy,

0:40:43 > 0:40:46it spells a paranoiac insecurity that you should be ashamed of.

0:40:46 > 0:40:48Cut. Print it. What happens in the next reel?

0:40:48 > 0:40:51Do I get dragged off screaming to the snake pits?

0:40:51 > 0:40:53Miss Channing?

0:40:55 > 0:40:59The hors d'oeuvres are here. Is there anything else I can do?

0:41:03 > 0:41:06Thank you, Eve. I'd like a martini, very dry.

0:41:06 > 0:41:08I'll get it.

0:41:11 > 0:41:13- What'll you have? - A milk shake?

0:41:14 > 0:41:16A martini, very dry, please.

0:41:16 > 0:41:19LAUGHTER AND CHATTER

0:41:20 > 0:41:23- The party's on the first floor. - Hi, Bill.

0:41:23 > 0:41:26- Hello, Mrs- Richards. - How are you, dear?- Hello, Eve.

0:41:26 > 0:41:28Good evening, Mr Richards. Mr Fabian.

0:41:28 > 0:41:31- Hello, Eve. Hello. - May I have your coat?

0:41:31 > 0:41:32Don't bother, I'll take it up.

0:41:32 > 0:41:33- Please.- Thank you.

0:41:33 > 0:41:36- Hi.- Hi, Margo.

0:41:36 > 0:41:39- The house looks lovely.- Thank you. - I like that girl.

0:41:39 > 0:41:41That quality of quiet graciousness.

0:41:41 > 0:41:44Among so many quiet qualities.

0:41:44 > 0:41:46Shall we?

0:41:46 > 0:41:51- It's made me so happy your taking Eve in.- I'm so happy you're happy.

0:41:51 > 0:41:54Look, you haven't been running a settlement house exactly.

0:41:54 > 0:41:56The kid has earned her way.

0:41:56 > 0:41:58You had a pretty mixed-up inventory when she took over.

0:41:58 > 0:42:01Merchandise laying all over the shop.

0:42:01 > 0:42:03You got Margo mixed up with a five-and-ten cents store.

0:42:03 > 0:42:05Make it Bergdorf Goodman.

0:42:05 > 0:42:08Everything on its proper shelf, eh, Max? All done up in little ribbons.

0:42:08 > 0:42:11I could die right now and nobody'd be confused.

0:42:11 > 0:42:12How about you, Max?

0:42:12 > 0:42:13How about me what?

0:42:13 > 0:42:17Suppose you dropped dead. What about your inventory?

0:42:17 > 0:42:21I ain't going to drop dead. Not with the heat.

0:42:21 > 0:42:24This is the most ghoulish conversation.

0:42:24 > 0:42:26- Thank you.- Nothing.

0:42:26 > 0:42:28Max! Mon vieux!

0:42:28 > 0:42:30Fife!

0:42:30 > 0:42:32"The kid" will be down in a minute,

0:42:32 > 0:42:34unless you'd like to take her drink up to her.

0:42:34 > 0:42:38I can get a fresh one... Karen, you're a Gibson girl.

0:42:38 > 0:42:41The general atmosphere is very Macbethish.

0:42:41 > 0:42:44- What has or is about to happen? - What is he talking about?

0:42:44 > 0:42:47- Macbeth. - We've seen you like this before.

0:42:47 > 0:42:50Is it over or is it just beginning?

0:42:59 > 0:43:03Fasten your seat belts. It's going to be a bumpy night.

0:43:05 > 0:43:07- Margo, darling! - How are you?

0:43:07 > 0:43:10Mademoiselle, je vous remercie pour l'invitation.

0:43:10 > 0:43:13Enchantee to you too.

0:43:13 > 0:43:16I distinctly remember, Addison, crossing you off my guest list.

0:43:16 > 0:43:17What are you doing here?

0:43:17 > 0:43:20Dear Margo, you were an unforgettable Peter Pan.

0:43:20 > 0:43:22You must play it again soon.

0:43:22 > 0:43:24- Remember Miss Casswell? - I do not. How do you do?

0:43:24 > 0:43:27- We've never met. Maybe that's why. - Miss Casswell is an actress.

0:43:27 > 0:43:30A graduate of the Copacabana School of Dramatic Art.

0:43:32 > 0:43:34Ah... Eve.

0:43:34 > 0:43:37- Good evening, Mr DeWitt. - I had no idea you knew each other.

0:43:37 > 0:43:40This must be, at long last, our formal introduction.

0:43:40 > 0:43:42Until now, we've only met in passing.

0:43:42 > 0:43:45That's how you met me. In passing.

0:43:45 > 0:43:47Eve, this is an old friend of Mr DeWitt's mother.

0:43:47 > 0:43:50- Miss Casswell, Miss Harrington. - Miss Casswell.- How do you do?

0:43:50 > 0:43:53I've been wanting you to meet Eve for the longest time.

0:43:53 > 0:43:56Your natural timidity must have kept you from mentioning it.

0:43:56 > 0:44:00- You know of her interest in the theatre?- We have that in common.

0:44:00 > 0:44:02Then you two must have a long talk.

0:44:02 > 0:44:05I'm afraid Mr DeWitt would find me boring before too long.

0:44:05 > 0:44:08You won't bore him, honey. You won't even get a chance to talk.

0:44:08 > 0:44:10Claudia, come here.

0:44:12 > 0:44:15You see that man? That's Max Fabian, the producer.

0:44:15 > 0:44:17Now, go and do yourself some good.

0:44:17 > 0:44:20Why do they always look like unhappy rabbits?

0:44:20 > 0:44:24Cos that's what they are. Now go and make him happier.

0:44:26 > 0:44:30Now, don't worry about your little charge. She'll be in safe hands.

0:44:41 > 0:44:43Amen!

0:44:47 > 0:44:50MUSIC: Liebestraum by Franz Liszt

0:45:19 > 0:45:22MUSIC CHANGES TO A JAUNTY TUNE

0:45:24 > 0:45:27- Liebestraum. - I just played it.

0:45:27 > 0:45:30- Play it again.- But that was the fourth straight time.

0:45:30 > 0:45:33Then this will be five.

0:45:35 > 0:45:40Many of your guests are wondering when they may be permitted to view the body.

0:45:40 > 0:45:42Where has it been laid out?

0:45:42 > 0:45:44It hasn't been laid out.

0:45:44 > 0:45:47We haven't finished with the embalming.

0:45:47 > 0:45:50As a matter of fact, you're looking at it.

0:45:50 > 0:45:54The remains of Margo Channing

0:45:54 > 0:45:56sitting up.

0:45:56 > 0:45:59It is my last wish to be buried sitting up.

0:45:59 > 0:46:02Wouldn't you feel more natural taking a bow?

0:46:02 > 0:46:06You know nothing about feelings, natural or unnatural.

0:46:06 > 0:46:09Your guests were also wondering whether the music couldn't be

0:46:09 > 0:46:13a shade more on the, shall we say, happier side?

0:46:13 > 0:46:15If my guests do not like it here,

0:46:15 > 0:46:18I suggest they accompany you to the nursery

0:46:18 > 0:46:22where I'm sure you will all feel more at home.

0:46:22 > 0:46:27Margo, you by any chance haven't got any bicarbonate of soda in the house?

0:46:27 > 0:46:30Poor Max. Heartburn?

0:46:31 > 0:46:33It's that Miss Casswell.

0:46:33 > 0:46:37I don't see why she hasn't given Addison heartburn.

0:46:37 > 0:46:38No heart to burn.

0:46:38 > 0:46:42Everybody has a heart, except some people.

0:46:43 > 0:46:45Of course I've got bicarb.

0:46:45 > 0:46:48I've got a box in the pantry.

0:46:48 > 0:46:51We'll put your name on it. "Max Fabian."

0:46:51 > 0:46:55It will stay there always, just for you.

0:46:56 > 0:47:00Let the rest of the world beat their brains out for a buck.

0:47:00 > 0:47:02It's friends that count.

0:47:02 > 0:47:07- And I have friends. - I love you, Max. I really mean it.

0:47:07 > 0:47:09I love you.

0:47:09 > 0:47:12Come to the pantry.

0:47:12 > 0:47:15She loves me like a father. Also, she's loaded.

0:47:30 > 0:47:32There you are, Maxie dear.

0:47:32 > 0:47:35One good burp and you'll be rid of that Miss Casswell.

0:47:35 > 0:47:38The situation I'm in ain't the kind you can belch your way out of.

0:47:38 > 0:47:42- I made a promise. - To Miss Casswell? What?

0:47:42 > 0:47:44For an audition for this part we are replacing.

0:47:44 > 0:47:47What's her name? Your sister?

0:47:47 > 0:47:49- One? - No, two, please.

0:47:49 > 0:47:51If she can act, she might not be bad.

0:47:51 > 0:47:54She looks like she might burn down a plantation.

0:47:54 > 0:47:57Right now, I feel like there is one burning in me.

0:47:57 > 0:48:00- When's the audition? - A couple of weeks.

0:48:00 > 0:48:04Tell you what. Why don't I read with her?

0:48:04 > 0:48:07- Would you? - Anything to help you out, Max.

0:48:07 > 0:48:10Now that's cooperation. I appreciate it.

0:48:10 > 0:48:14Not at all. And now you can do me a great favour.

0:48:14 > 0:48:16Just name it.

0:48:16 > 0:48:19Give Eve Harrington a job in your office.

0:48:22 > 0:48:23HE BELCHES

0:48:23 > 0:48:25You get quick action, don't you?

0:48:25 > 0:48:28I wouldn't think of taking that girl away from you.

0:48:28 > 0:48:31You said yourself my inventory was in shape,

0:48:31 > 0:48:33all my merchandise put away.

0:48:33 > 0:48:36To keep her here with nothing to do, I'd be standing in her way.

0:48:36 > 0:48:39- And you need her, Max. - What will she do?

0:48:39 > 0:48:42She'd be a great help. She'd read scripts,

0:48:42 > 0:48:47interview people you have to see, get rid of those you don't have to.

0:48:47 > 0:48:49You'd be a man of leisure, Maxie.

0:48:49 > 0:48:51- Well... - Think of your health.

0:48:51 > 0:48:55More time to relax in the fresh air at a racetrack.

0:48:55 > 0:48:58- I don't think it's such a good idea.- Promise?

0:48:58 > 0:49:01- Promise. - That's my Max.

0:49:02 > 0:49:04Oh, there you are, both of you.

0:49:04 > 0:49:06Max, Karen's decided it's time to go.

0:49:06 > 0:49:09- Where is she now? - Up in your room.

0:49:09 > 0:49:12If you'll excuse me, I'll go and tell Miss Casswell.

0:49:16 > 0:49:18- Who's left out there? - Too many.

0:49:18 > 0:49:21And, besides, you got a new guest. A movie star from Hollywood.

0:49:21 > 0:49:26Shucks! And I sent my autograph book to the cleaners.

0:49:30 > 0:49:33You disapprove of me when I'm like this, don't you?

0:49:33 > 0:49:37Not exactly. Sometimes, though, I wish I understood you better.

0:49:37 > 0:49:40- When you do, let me in on it. - I will.

0:49:42 > 0:49:46- How's the new one coming? - The play? Oh, all right, I guess.

0:49:47 > 0:49:50Cora. Still a girl of 20?

0:49:50 > 0:49:5220-ish. It's not important.

0:49:52 > 0:49:55Don't you think it's about time it became important?

0:49:55 > 0:49:58- How do you mean? - Don't be evasive.

0:49:58 > 0:50:00Margo, you haven't got any age.

0:50:00 > 0:50:04Miss Channing is ageless. Spoken like a press agent.

0:50:04 > 0:50:07I know what I'm talking about. They're my plays.

0:50:07 > 0:50:10Spoken like an author.

0:50:10 > 0:50:13Lloyd, I'm not 20-ish. I'm not 30-ish.

0:50:13 > 0:50:16Three months ago I was 40 years old.

0:50:16 > 0:50:1840! 4-0.

0:50:21 > 0:50:23That slipped out.

0:50:23 > 0:50:26I hadn't quite made up my mind to admit it.

0:50:27 > 0:50:31Now I suddenly feel as if I've taken all my clothes off.

0:50:34 > 0:50:37To thousands of people you're as young as you want.

0:50:37 > 0:50:40As young as they want, you mean.

0:50:40 > 0:50:43I'm not interested whether thousands of people think I'm six or 600.

0:50:43 > 0:50:46Just one person, isn't that so?

0:50:49 > 0:50:51You know what this is all about.

0:50:51 > 0:50:53It has little to do with whether you should play Cora.

0:50:53 > 0:50:56It has everything to do with you having a fight with Bill.

0:50:56 > 0:51:00Bill's 32. He looks 32.

0:51:00 > 0:51:04He looked it five years ago. He'll look it 20 years from now.

0:51:04 > 0:51:06I hate men.

0:51:08 > 0:51:11Don't worry, Lloyd. I'll play your play.

0:51:11 > 0:51:15I'll wear rompers and come in rolling a hoop, if you like.

0:51:19 > 0:51:23Who'd show up at this hour? It's time people went home.

0:51:25 > 0:51:27Hold that coat up.

0:51:28 > 0:51:30SHE WOLF WHISTLES

0:51:30 > 0:51:33- Whose is it? - Some Hollywood movie star.

0:51:33 > 0:51:36- Her plane got in late. - Discouraging, isn't it?

0:51:36 > 0:51:40Women with furs like that where it never even gets cold.

0:51:40 > 0:51:42Hollywood.

0:51:44 > 0:51:48Tell me, Eve. How are things going with you? Happy?

0:51:48 > 0:51:50There should be a new word for happiness.

0:51:50 > 0:51:54Being here with Miss Channing has been a... I just can't say.

0:51:54 > 0:51:57She's been so wonderful, done so much for me.

0:51:58 > 0:52:01Lloyd says Margo compensates for underplaying on stage

0:52:01 > 0:52:04by overplaying reality.

0:52:05 > 0:52:09Next to that sable, my new mink seems like an old bed jacket.

0:52:09 > 0:52:11You've done your share, Eve.

0:52:11 > 0:52:14You've worked wonders with Margo. Good night.

0:52:14 > 0:52:17- Mrs Richards? - Karen.

0:52:17 > 0:52:19Karen.

0:52:19 > 0:52:22Isn't it awful? I'm about to ask you for another favour,

0:52:22 > 0:52:24after all you've done already.

0:52:24 > 0:52:26Nobody's done so much.

0:52:26 > 0:52:30Stop thinking of yourself as one of the hundred neediest cases.

0:52:30 > 0:52:34- What is it?- Miss Channing's affairs are in good shape,

0:52:34 > 0:52:37so there isn't enough to keep me as busy as I should be.

0:52:37 > 0:52:40Not that I'd consider anything that would take me away from her.

0:52:40 > 0:52:44But the other day when Mr Fabian told Miss Channing

0:52:44 > 0:52:48that her understudy was going to have a baby and they'd have to replace her...

0:52:48 > 0:52:50You want to be Margo's new understudy?

0:52:50 > 0:52:53I don't let myself think about it even.

0:52:53 > 0:52:56But I do know the part so well, and every bit of the staging,

0:52:56 > 0:52:59there'd be no need to break in a new girl.

0:53:00 > 0:53:03Suppose I had to go on one night

0:53:03 > 0:53:06to an audience that came to see Margo Channing.

0:53:06 > 0:53:08Oh, no, I couldn't possibly!

0:53:08 > 0:53:10I wouldn't worry too much about that.

0:53:10 > 0:53:12Margo just doesn't miss performances.

0:53:12 > 0:53:15If she can walk, crawl or roll, she plays.

0:53:15 > 0:53:17The show must go on.

0:53:17 > 0:53:19No, dear. Margo must go on.

0:53:19 > 0:53:23I don't see any reason why you shouldn't be her understudy.

0:53:23 > 0:53:26- You think Miss Channing would approve?- I think she'd cheer.

0:53:26 > 0:53:29But Mr Richards and Mr Sampson?

0:53:29 > 0:53:31They'll do as they're told.

0:53:31 > 0:53:34Then would you speak to Mr Fabian about it?

0:53:34 > 0:53:37- Of course. - You won't forget?

0:53:37 > 0:53:39I won't forget.

0:53:41 > 0:53:45I seem to be forever thanking you for something, don't I?

0:53:53 > 0:53:56The bed looks like a dead animal act.

0:53:56 > 0:53:59- Which one is sable? - But she just got here.

0:53:59 > 0:54:03Well, she's on her way with half the men in the joint.

0:54:03 > 0:54:06- It's only a fur coat. - What do you expect? Live sable?

0:54:06 > 0:54:10Diamond collar, gold sleeves. You know, picture people.

0:54:12 > 0:54:15Every now and then, some elder statesmen of the theatre or cinema

0:54:15 > 0:54:19assures the public that actors and actresses are just plain folks,

0:54:19 > 0:54:23ignoring the fact that their greatest attraction to the public

0:54:23 > 0:54:26is their complete lack of resemblance to normal human beings.

0:54:26 > 0:54:30Now there's something a girl could make sacrifices for.

0:54:30 > 0:54:32- And probably has. - Sable.

0:54:32 > 0:54:36- Sable? Did she say sable or Gable? - Either one.

0:54:36 > 0:54:39We all have abnormality in common.

0:54:39 > 0:54:43We're a breed apart from the rest of humanity, we theatre folk.

0:54:43 > 0:54:46We are the original displaced personalities.

0:54:46 > 0:54:50You won't have to read his column tomorrow, Eve. You just heard it.

0:54:50 > 0:54:54- I don't agree, Addison. - That's your particular abnormality.

0:54:54 > 0:54:57I admit there's a screwball element in the theatre.

0:54:57 > 0:55:01It sticks out, it's got spotlights on it and a brass band.

0:55:01 > 0:55:03But it isn't basic. It isn't standard.

0:55:03 > 0:55:06If it were, the theatre couldn't survive.

0:55:06 > 0:55:08Oh, waiter.

0:55:08 > 0:55:10That isn't a waiter, my dear. That's a butler.

0:55:10 > 0:55:12Well, I can't yell out "butler", can I?

0:55:12 > 0:55:15Maybe somebody's name is Butler.

0:55:15 > 0:55:18You have a point. An idiotic one, but a point.

0:55:18 > 0:55:22I don't want to make trouble. All I want is a drink.

0:55:22 > 0:55:27- Leave it to me.- I'll get you one. - Thank you, Mr Fabian.

0:55:27 > 0:55:31Well done. I can see your career rising in the east like the sun.

0:55:33 > 0:55:38- You were saying?- The theatre is nine-tenths hard work.

0:55:38 > 0:55:42Work done the hard way, by sweat, application and craftsmanship.

0:55:42 > 0:55:46To be a good actor or actress, or anything in the theatre,

0:55:46 > 0:55:49means wanting to be that more than anything else.

0:55:49 > 0:55:51Yes. Yes, it does.

0:55:51 > 0:55:55It means a concentration of desire or ambition and sacrifice

0:55:55 > 0:55:57such as no other profession demands.

0:55:57 > 0:56:01And the man or woman who accepts those terms can't be ordinary,

0:56:01 > 0:56:03can't be just someone.

0:56:03 > 0:56:06To give so much for almost always so little.

0:56:06 > 0:56:08"So little?"

0:56:08 > 0:56:10"So little," did you say?

0:56:11 > 0:56:15Why, if there's nothing else, there's applause.

0:56:15 > 0:56:18I've listened backstage to people applaud.

0:56:18 > 0:56:20It's like...

0:56:20 > 0:56:25Like waves of love coming over the footlights and wrapping you up.

0:56:25 > 0:56:27Imagine, to know every night

0:56:27 > 0:56:30that different hundreds of people love you.

0:56:30 > 0:56:34They smile, their eyes shine, you've pleased them.

0:56:34 > 0:56:37They want you. You belong.

0:56:38 > 0:56:41Just that alone is worth anything.

0:56:55 > 0:56:59Don't get up. And please stop acting as if I were the Queen Mother.

0:56:59 > 0:57:02- I'm sorry, I didn't... - Outside of a beehive, Margo,

0:57:02 > 0:57:05your behaviour is hardly queenly or motherly.

0:57:05 > 0:57:07You're in a beehive, pal.

0:57:07 > 0:57:12We're all busy little bees, full of stings, making honey day and night.

0:57:12 > 0:57:14- Aren't we, honey? - Margo, really.

0:57:14 > 0:57:17Please don't play governess, Karen.

0:57:17 > 0:57:20I haven't your unyielding good taste.

0:57:20 > 0:57:23I wish I could have gone to Radcliffe, too,

0:57:23 > 0:57:25but Father wouldn't hear of it.

0:57:25 > 0:57:27He needed help behind a notions counter.

0:57:27 > 0:57:32I'm being rude now, aren't I? Or should I say, ain't I?

0:57:32 > 0:57:35You're maudlin and full of self-pity. You're magnificent.

0:57:35 > 0:57:38How about calling it a night?

0:57:38 > 0:57:40And you pose as a playwright.

0:57:40 > 0:57:43A situation pregnant with possibilities,

0:57:43 > 0:57:45and all you can think of is "go to sleep."

0:57:45 > 0:57:49- It's a good thought. - It won't play.

0:57:49 > 0:57:52As a non-professional, I think it's an excellent idea.

0:57:52 > 0:57:54Excuse me.

0:57:54 > 0:57:57Undramatic, perhaps, but practical.

0:57:57 > 0:57:59- Happy little housewife. - Cut it out.

0:57:59 > 0:58:02This is my house, not a theatre.

0:58:02 > 0:58:04In my house you're a guest, not a director.

0:58:04 > 0:58:08Then stop being a star and treating your guests as your supporting cast.

0:58:08 > 0:58:11- Let's not get into a big hassle. - It's about time we did.

0:58:11 > 0:58:15Margo has to realise what's attractive on stage need not be attractive off.

0:58:15 > 0:58:17All right!

0:58:17 > 0:58:19I'm going to bed.

0:58:26 > 0:58:28You be host. It's your party.

0:58:28 > 0:58:31Happy birthday. Welcome home.

0:58:31 > 0:58:33And we who are about to die salute you.

0:58:33 > 0:58:35Need any help?

0:58:41 > 0:58:45To put me to bed? Take my clothes off, hold my head?

0:58:45 > 0:58:49Tuck me in, turn out the lights and tiptoe out?

0:58:50 > 0:58:53Eve would, wouldn't you, Eve?

0:58:53 > 0:58:55- If you'd like. - I wouldn't like.

0:59:02 > 0:59:05- Oh, I forgot I had it. - I didn't.

0:59:12 > 0:59:15Too bad. We're going to miss the third act.

0:59:15 > 0:59:18They're going to play it offstage.

0:59:21 > 0:59:23- Coming, Max? - In a minute.

0:59:26 > 0:59:30Eve, you mustn't mind Margo too much, even if I do.

0:59:30 > 0:59:34There must be some reason, something I've done without knowing.

0:59:34 > 0:59:37The reason is Margo and don't try to figure it out. Einstein couldn't.

0:59:37 > 0:59:40But if I thought I'd offended her, of all people...

0:59:40 > 0:59:43Eve... I'm fond of Margo, too.

0:59:43 > 0:59:45But I know Margo. And every now and then,

0:59:45 > 0:59:50there is nothing I want to do so much as kick her right square in the pants.

0:59:50 > 0:59:53Well, if she has to pick on someone,

0:59:53 > 0:59:55I'd just as soon it was me.

0:59:58 > 1:00:00- Max is going to drop us. - Good night.

1:00:00 > 1:00:03- Good night. - Good night.

1:00:03 > 1:00:04Mrs Richards?

1:00:04 > 1:00:07You won't forget, will you? What we talked about before?

1:00:07 > 1:00:09No, Eve. I won't forget.

1:00:35 > 1:00:37Why so remote, Addison?

1:00:37 > 1:00:40You should be at the side of your protegee, lending her moral support.

1:00:40 > 1:00:44Miss Casswell is where I can lend no support, moral or otherwise.

1:00:44 > 1:00:47In the ladies', shall we say, "lounge"?

1:00:47 > 1:00:48Being violently ill to her tummy.

1:00:48 > 1:00:51It's good luck before an audition. She'll be all right once it starts.

1:00:51 > 1:00:54Miss Casswell got lucky too late. The audition is over.

1:00:54 > 1:00:58It can't be. I came here to read with Miss Casswell. I promised Max.

1:00:58 > 1:01:01The audition was at 2.30. It's now nearly four.

1:01:01 > 1:01:04Is it really? I must start wearing a watch. I never have, you know.

1:01:04 > 1:01:07Who read with Miss Casswell?

1:01:07 > 1:01:09- Bill?- No. - Lloyd?- No.

1:01:09 > 1:01:13- Well, it can't have been Max. Who? - Naturally enough, your understudy.

1:01:13 > 1:01:16It's unnatural to allow a girl in an advanced state of pregnancy...

1:01:16 > 1:01:21I refer to your new and unpregnant understudy, Miss Eve Harrington.

1:01:21 > 1:01:24Eve? My understudy?

1:01:24 > 1:01:27- Didn't you know? - Of course I knew.

1:01:27 > 1:01:29It just slipped your mind?

1:01:33 > 1:01:36How was Miss Casswell?

1:01:36 > 1:01:38Frankly, I don't remember.

1:01:38 > 1:01:41- Just slipped your mind? - Completely.

1:01:41 > 1:01:44Nor can anyone else present tell you how Miss Casswell read,

1:01:44 > 1:01:47or whether Miss Casswell read or rode a pogo stick.

1:01:47 > 1:01:50Was she that bad?

1:01:50 > 1:01:54Margo, I have lived in the theatre as a Trappist monk lives in his faith.

1:01:54 > 1:01:57I have no other world, no other life.

1:01:57 > 1:02:00Once in a great while, I experience that moment of revelation

1:02:00 > 1:02:03for which all true believers wait and pray. You were one.

1:02:03 > 1:02:06Jeanne Eagels another, Paula Wessely, Hayes.

1:02:06 > 1:02:08There are others, three or four.

1:02:08 > 1:02:11Eve Harrington will be among them.

1:02:11 > 1:02:13I take it she read well.

1:02:13 > 1:02:15It wasn't a reading, it was a performance.

1:02:15 > 1:02:19Brilliant, vivid, something made of music and fire.

1:02:19 > 1:02:21How nice.

1:02:21 > 1:02:24In time, she'll be what you are.

1:02:24 > 1:02:27A mass of music and fire.

1:02:27 > 1:02:30That's me. An old kazoo with some sparklers.

1:02:33 > 1:02:36Tell me, was Bill swept away, too?

1:02:36 > 1:02:39Or were you too full of revelation to notice?

1:02:39 > 1:02:40Bill didn't say.

1:02:40 > 1:02:43But Lloyd listened to his play

1:02:43 > 1:02:45as if it had been written by someone else, he said.

1:02:45 > 1:02:49It sounded so fresh, so new, so full of meaning.

1:02:49 > 1:02:54How nice for Lloyd. How nice for Eve. How nice for everybody.

1:02:54 > 1:02:58Eve was incredibly modest. She insisted that no credit was due her.

1:02:58 > 1:03:02That Lloyd felt as he did only because she read his lines exactly as he'd written them.

1:03:02 > 1:03:05The implication being that I did not read them as written?

1:03:05 > 1:03:10Neither your name nor your performance entered the conversation.

1:03:10 > 1:03:11DOOR OPENS

1:03:14 > 1:03:18Ah! Feeling better, my dear?

1:03:20 > 1:03:24Like I just swam the English Channel. Now what?

1:03:24 > 1:03:28Your next move, it seems to me, should be towards television.

1:03:31 > 1:03:35Tell me this. Do they have auditions for television?

1:03:35 > 1:03:39That's all television is, my dear. Nothing but auditions.

1:03:44 > 1:03:46Oh, Margo, darling.

1:03:51 > 1:03:52Mm-hm!

1:03:56 > 1:04:00Terribly sorry I was late. Lunch was long and I couldn't find a cab.

1:04:00 > 1:04:04- Where's Miss Casswell? Oh, hello, Eve.- Hello, Miss Channing.

1:04:04 > 1:04:06How are you making out in Mr Fabian's office?

1:04:06 > 1:04:09Now, Max, I don't want you working this child too hard

1:04:09 > 1:04:11just because you promised.

1:04:11 > 1:04:14As you see, I kept my promise, too.

1:04:14 > 1:04:16It's all over.

1:04:16 > 1:04:19- What's all over? - The audition.

1:04:19 > 1:04:22Eve read with Miss Casswell.

1:04:22 > 1:04:24Eve? How enchanting.

1:04:24 > 1:04:27How did you get the idea of letting Eve read with Miss Casswell?

1:04:27 > 1:04:31- Well, she's your understudy. - Eve? My understudy? I had no idea.

1:04:31 > 1:04:33I thought you knew. She started a week ago.

1:04:33 > 1:04:36I've never seen her backstage,

1:04:36 > 1:04:40but with so many people loitering about... Well, well.

1:04:40 > 1:04:42So Eve is not working for Max, after all.

1:04:43 > 1:04:46Max, you sly puss.

1:04:48 > 1:04:51Miss Channing, I can't tell you how glad I am

1:04:51 > 1:04:52that you arrived so late.

1:04:52 > 1:04:54Really, Eve? Why?

1:04:54 > 1:04:58If you'd been here to begin with, I never would have dared to read at all.

1:04:58 > 1:05:01- Why not?- If you'd come in the middle, I couldn't have gone on.

1:05:01 > 1:05:05What a pity. All that fire and music being turned off.

1:05:05 > 1:05:08- What fire and music? - You wouldn't understand.

1:05:08 > 1:05:10How was Miss Casswell?

1:05:10 > 1:05:12Back to the Copacabana.

1:05:12 > 1:05:15But Eve, Margo. Let me tell you about Eve.

1:05:15 > 1:05:16I was dreadful, Miss Channing.

1:05:16 > 1:05:20I have no right to be anyone's understudy, much less yours.

1:05:20 > 1:05:23I'm sure you underestimate yourself. You always do.

1:05:23 > 1:05:25You were about to tell me about Eve.

1:05:25 > 1:05:27- You'd have been proud of her. - I'm sure.

1:05:27 > 1:05:29- She was a revelation. - Oh, to you too?

1:05:29 > 1:05:32- What do you mean by that? - Among other things,

1:05:32 > 1:05:35it must have been a revelation to have a 24-year-old character

1:05:35 > 1:05:36played by a 24-year-old actress.

1:05:36 > 1:05:39- That's beside the point. - It is right to the point.

1:05:39 > 1:05:41Also, it must have seemed so new and fresh to you,

1:05:41 > 1:05:45so exciting, to have your lines read just as you wrote them.

1:05:45 > 1:05:48- Addison. - So full of meaning, fire and music.

1:05:49 > 1:05:52You've talked to that venomous fishwife Addison DeWitt.

1:05:52 > 1:05:55In this case, apparently as trustworthy as the world almanac.

1:05:55 > 1:05:58You knew when you came in that Eve was your understudy.

1:05:58 > 1:06:00Playing that childish little game of cat and mouse.

1:06:00 > 1:06:03Not mouse. Never mouse. If anything, rat.

1:06:03 > 1:06:05Your genius of yours for making a bar-room brawl

1:06:05 > 1:06:08out of a perfectly innocent misunderstanding at most.

1:06:08 > 1:06:11Perfectly innocent? Men have been hanged for less.

1:06:11 > 1:06:13I'm lied to, attacked behind my back,

1:06:13 > 1:06:16accused of reading your silly dialogue as if it were the holy gospel.

1:06:16 > 1:06:18I never said it was.

1:06:18 > 1:06:21When you listen as if someone else had written your play,

1:06:21 > 1:06:22whom do you have in mind?

1:06:22 > 1:06:26Arthur Miller? Sherwood? Beaumont and Fletcher?

1:06:26 > 1:06:28May I say a word?

1:06:28 > 1:06:29No!

1:06:29 > 1:06:33What makes you think Miller or Sherwood would stand for the nonsense I take from you?

1:06:33 > 1:06:36You'd better stick to Beaumont and Fletcher.

1:06:36 > 1:06:38They've been dead for 300 years!

1:06:38 > 1:06:42All playwrights should be dead for 300 years!

1:06:42 > 1:06:46That would solve none of their problems because actresses never die!

1:06:50 > 1:06:54The stars never die and never change.

1:06:54 > 1:06:56You may change this star any time you want

1:06:56 > 1:06:58for a new and fresh and exciting one,

1:06:58 > 1:07:00fully equipped with fire and music.

1:07:00 > 1:07:04Any time you want, starting with tonight's performance.

1:07:04 > 1:07:06This is for lawyers to talk about.

1:07:06 > 1:07:10This concerns a contract that you cannot rewrite or ad-lib.

1:07:10 > 1:07:15Are you threatening me with legal action, Mr Fabian?

1:07:15 > 1:07:17Are you breaking the contract?

1:07:17 > 1:07:19Answer my question.

1:07:19 > 1:07:23- Who am I to threaten? I'm a dying man.- I don't hear you.

1:07:23 > 1:07:25I said I'm a dying man!

1:07:25 > 1:07:29Not until the last drugstore has sold its last pill.

1:07:29 > 1:07:33I shall never understand the process by which a body with a voice

1:07:33 > 1:07:36suddenly fancies itself as a mind.

1:07:36 > 1:07:38Just when does an actress decide

1:07:38 > 1:07:42they're her words she's saying and her thoughts she's expressing?

1:07:42 > 1:07:45Usually at the point when she has to rewrite and rethink them

1:07:45 > 1:07:48to keep the audience from leaving the theatre.

1:07:48 > 1:07:52It's about time the piano realised it has not written the concerto!

1:07:57 > 1:07:59And you, I take it,

1:07:59 > 1:08:04are the Paderewski who plays his concerto on me, the piano?

1:08:06 > 1:08:08Where is Princess Fire and Music?

1:08:08 > 1:08:11- Who? - The kid. Junior.

1:08:16 > 1:08:19- Gone. - I must have frightened her away.

1:08:19 > 1:08:22I wouldn't be surprised. Sometimes you frighten me.

1:08:22 > 1:08:25Poor little flower. Dropped her petals and folded her tent.

1:08:25 > 1:08:28- Don't mix your metaphors. - I'll mix what I like!- OK, mix!

1:08:28 > 1:08:32I'm nothing but a body with a voice. No mind.

1:08:32 > 1:08:35What a body. What a voice.

1:08:35 > 1:08:39That ex ship-news reporter. No body, no voice, all mind.

1:08:39 > 1:08:41The gong rang, the fight's over, calm down.

1:08:41 > 1:08:43I will not calm down.

1:08:43 > 1:08:45Don't calm down.

1:08:48 > 1:08:51You're being terribly tolerant, aren't you?

1:08:51 > 1:08:52I'm trying terribly hard.

1:08:52 > 1:08:53Well, you needn't be.

1:08:53 > 1:08:57I will not be tolerated and I will not be plotted against.

1:08:57 > 1:09:00- Here we go.- Such nonsense. What do you take me for?

1:09:00 > 1:09:02Little Nell from the country?

1:09:02 > 1:09:04Been my understudy for a week without my knowing it.

1:09:04 > 1:09:07- Carefully hidden, no doubt. - Now, don't get carried away.

1:09:07 > 1:09:11Arrives here for an audition when everyone knows I will be here,

1:09:11 > 1:09:13and gives a performance out of nowhere.

1:09:13 > 1:09:16You've been all through that with Lloyd.

1:09:16 > 1:09:20The playwright doesn't make the performance. It doesn't just happen.

1:09:20 > 1:09:23Full of fire and music and whatnot.

1:09:23 > 1:09:25Carefully rehearsed, I have no doubt.

1:09:25 > 1:09:28Full of those Bill Sampson touches.

1:09:28 > 1:09:31- I am sick and tired of these paranoiac outbursts.- Paranoiac?

1:09:31 > 1:09:34I didn't know Eve was your understudy until 2:30 this afternoon.

1:09:34 > 1:09:36Tell that to Dr Freud along with the rest of it.

1:09:36 > 1:09:40No, I'll tell it to you. For the last time, I'll tell it to you.

1:09:40 > 1:09:44Cos you've got to stop hurting the two of us by these paranoiac tantrums.

1:09:44 > 1:09:46That word. I don't even know what it means.

1:09:46 > 1:09:48It's about time you found out.

1:09:48 > 1:09:50- I love you. I love you!- Hah!

1:09:50 > 1:09:53- You're beautiful and intelligent. - A body with a voice.

1:09:53 > 1:09:57A beautiful and an intelligent woman, and a great actress.

1:09:58 > 1:10:00A great actress at the peak of her career.

1:10:00 > 1:10:02You have every reason for happiness.

1:10:02 > 1:10:04- Except happiness. - Every reason.

1:10:04 > 1:10:06But due to some uncontrollable drive,

1:10:06 > 1:10:09you permit the slightest action of a kid...

1:10:09 > 1:10:12- A kid!- ..of a kid to turn you into a hysterical screaming harpy.

1:10:12 > 1:10:15Now, once and for all, stop it.

1:10:32 > 1:10:35It's obvious you're not a woman.

1:10:35 > 1:10:39- I've been aware of that for some time.- Well, I am.

1:10:39 > 1:10:42I'll say.

1:10:42 > 1:10:44Don't be condescending.

1:10:44 > 1:10:46Come on, get up. I'll buy you a drink.

1:10:46 > 1:10:48I admit I may have seen better days,

1:10:48 > 1:10:51but I'm still not to be had for the price of a cocktail.

1:10:51 > 1:10:53Like a salted peanut.

1:10:54 > 1:10:56Margo, let's make peace.

1:10:56 > 1:10:59The terms are too high. Unconditional surrender.

1:10:59 > 1:11:03Just being happy? Just stopping all this nonsense about Eve?

1:11:03 > 1:11:06- And Eve and me? - It's not nonsense.

1:11:06 > 1:11:10But if I tell you it is, as I just did, were you listening to me?

1:11:12 > 1:11:14Isn't that enough?

1:11:14 > 1:11:15I wish it were.

1:11:15 > 1:11:18Then what would be enough?

1:11:18 > 1:11:20If we got married?

1:11:20 > 1:11:23I wouldn't want you to marry me just to prove something.

1:11:23 > 1:11:27You've had so many reasons for not wanting to marry me.

1:11:28 > 1:11:31Margo, tell me what's behind all this.

1:11:31 > 1:11:33I don't know, Bill.

1:11:33 > 1:11:36It's just a feeling. I don't know.

1:11:36 > 1:11:38I think you do know.

1:11:38 > 1:11:41But you won't or can't tell me.

1:11:42 > 1:11:46I said before it was going to be my last try, and I meant it.

1:11:46 > 1:11:50I can't think of anything else to do. I wish I could.

1:11:51 > 1:11:54We usually wind up screaming as the curtain comes down.

1:11:54 > 1:11:57Then it comes up again and everything's fine.

1:11:57 > 1:11:59But not this time.

1:12:01 > 1:12:04No playwright in the world could make me believe

1:12:04 > 1:12:07this would happen between two adult people.

1:12:08 > 1:12:10Goodbye, Margo.

1:12:16 > 1:12:18Bill?

1:12:20 > 1:12:22Where are you going?

1:12:22 > 1:12:24To find Eve?

1:12:26 > 1:12:29That suddenly makes the whole thing believable.

1:12:39 > 1:12:40SHE SOBS

1:12:47 > 1:12:48DOOR OPENS

1:12:51 > 1:12:54Lloyd.

1:12:54 > 1:12:57- Lloyd, what's happened?- Up to here, that's where I've got it.

1:12:57 > 1:13:00Of all the star-ridden, presumptuous, hysterical...

1:13:00 > 1:13:02- Margo again. - And again and again.

1:13:02 > 1:13:05- Two hours late for the audition. - That's on time for Margo.

1:13:05 > 1:13:09And then a childish routine about not knowing Eve was her understudy.

1:13:09 > 1:13:11- It's possible she didn't. - Of course she knew.

1:13:11 > 1:13:15Addison told her how superbly Eve had read the part.

1:13:15 > 1:13:17Karen, let me tell you about Eve.

1:13:17 > 1:13:19She's got everything. A born actress.

1:13:19 > 1:13:23Sensitive, understanding, young, exciting, vibrant...

1:13:23 > 1:13:24You'll run out of adjectives, dear.

1:13:24 > 1:13:27Everything a playwright first thinks of wanting to write about,

1:13:27 > 1:13:30until his play becomes a vehicle for Miss Channing.

1:13:30 > 1:13:32Margo hasn't done badly by it.

1:13:32 > 1:13:35Margo's great. She knows it, that's the trouble.

1:13:35 > 1:13:38She can play Peck's Bad Boy all she wants and who's to stop her?

1:13:38 > 1:13:42Who's to give her that boot in the rear she needs and deserves?

1:13:44 > 1:13:46It's going to be a cosy weekend.

1:13:46 > 1:13:49- What is?- We're driving to the country tomorrow.

1:13:49 > 1:13:53Just the four of us. Bill, Margo, you and I.

1:13:53 > 1:13:57Well, we've spent weekends before with nobody talking.

1:13:57 > 1:14:01Just be sure to lock up all blunt instruments and throwable objects.

1:14:04 > 1:14:06Newton, they say,

1:14:06 > 1:14:09thought of gravity by getting hit on the head by an apple.

1:14:09 > 1:14:11And the man who invented the steam-engine,

1:14:11 > 1:14:13he was watching a teakettle.

1:14:13 > 1:14:18But not me. My big idea came to me just sitting on a couch.

1:14:19 > 1:14:23That boot in the rear to Margo. Heaven knows, she had one coming.

1:14:23 > 1:14:27From me, from Lloyd, from Eve, Bill, Max and so on.

1:14:27 > 1:14:30We'd all felt those size fives of hers often enough.

1:14:30 > 1:14:35But how? The answer was buzzing around me like a fly.

1:14:35 > 1:14:37I had it.

1:14:37 > 1:14:41But I let it go. Screaming and calling names is one thing,

1:14:41 > 1:14:43but this could mean...

1:14:44 > 1:14:49Why not? "Why," I said to myself, "not?"

1:14:49 > 1:14:51It would all seem perfectly legitimate.

1:14:51 > 1:14:54And only two people in the world would know.

1:14:54 > 1:14:58Also, the boot would land where it would do the most good for all concerned.

1:14:58 > 1:15:01After all, it was no more than a harmless joke

1:15:01 > 1:15:04which Margo herself would be the first to enjoy.

1:15:04 > 1:15:08And no reason why she shouldn't be told about it, in time.

1:15:15 > 1:15:20Hello. Will you please call Miss Eve Harrington to the phone?

1:15:21 > 1:15:23Not at all. I'll wait.

1:15:25 > 1:15:29It was a cold weekend, outside and in.

1:15:29 > 1:15:31Bill didn't come at all.

1:15:31 > 1:15:35Margo didn't know where he was and didn't care, she kept saying.

1:15:35 > 1:15:38Somehow we staggered through Sunday,

1:15:38 > 1:15:41and by the time we drove Margo to the station late Monday afternoon,

1:15:41 > 1:15:46she and Lloyd had thawed out to the extent of being civil to each other.

1:15:46 > 1:15:48What time is it?

1:15:48 > 1:15:51When you asked a minute ago, it was 5.42.

1:15:51 > 1:15:54It is now 5.43. When you ask again a minute from now...

1:15:54 > 1:15:56I just don't want Margo to miss her train.

1:15:56 > 1:15:58As it is, she'll barely make the theatre.

1:15:58 > 1:16:025.55. We'll be at the station in plenty of time.

1:16:02 > 1:16:05That little place "just two hours from New York."

1:16:05 > 1:16:08It's on my list of things I'll never understand,

1:16:08 > 1:16:11like collecting shrunken Indian heads.

1:16:11 > 1:16:14You should know what it means to want a little peace and quiet.

1:16:14 > 1:16:16Peace and quiet is for libraries.

1:16:16 > 1:16:17TYRES SCREECH

1:16:17 > 1:16:19Lloyd. Please.

1:16:19 > 1:16:22Just a little skid, that's all. This road's like glass.

1:16:22 > 1:16:25Karen and I just don't want an accident.

1:16:25 > 1:16:26I have no intention of having an accident.

1:16:26 > 1:16:31It isn't important whether you do. We are wearing long underwear.

1:16:31 > 1:16:33ENGINE WINDS DOWN

1:16:33 > 1:16:35Now what's this?

1:16:39 > 1:16:41CAR FAILS TO START

1:16:50 > 1:16:52But it can't be. We can't be out of gas.

1:16:52 > 1:16:54I filled it myself yesterday.

1:16:54 > 1:16:56Wasn't it full when you drove to Brewster this morning?

1:16:56 > 1:17:00I didn't look. You know I don't pay attention to those things.

1:17:00 > 1:17:02Just incredible.

1:17:02 > 1:17:05- How much time have we got? - Roughly ten minutes.

1:17:05 > 1:17:08- How far is the station? - About three or four miles.

1:17:08 > 1:17:10Any houses where we can borrow gas?

1:17:10 > 1:17:12There's not much along this back road.

1:17:12 > 1:17:15Not many cars either. Not much chance of a lift.

1:17:15 > 1:17:16No sense in sitting here.

1:17:16 > 1:17:19I'm going to walk up about half a mile, just in case.

1:17:29 > 1:17:33MUSIC: Liebestraum by Franz Liszt

1:17:36 > 1:17:38You want it on?

1:17:38 > 1:17:39It doesn't matter.

1:17:39 > 1:17:42I detest cheap sentiment.

1:17:42 > 1:17:44RADIO OFF

1:17:48 > 1:17:50- Karen?- Mm-hm?

1:17:50 > 1:17:51No, thank you.

1:17:51 > 1:17:54I haven't been very pleasant this weekend.

1:17:54 > 1:17:56We've all been a little tense lately.

1:17:56 > 1:17:59Come to think of it, I haven't been very pleasant for weeks.

1:17:59 > 1:18:01For that, I'm truly sorry.

1:18:01 > 1:18:02More than any two people I know,

1:18:02 > 1:18:05I don't want you and Lloyd to be angry with me.

1:18:05 > 1:18:09We're never deeply angry. We just get mad the way you do.

1:18:09 > 1:18:11We know you too well.

1:18:11 > 1:18:13So many people know me.

1:18:13 > 1:18:17I wish I did. I wish someone would tell me about me.

1:18:17 > 1:18:20You're Margo. Just Margo.

1:18:20 > 1:18:25And what is that? Besides something spelled out in light bulbs, I mean.

1:18:25 > 1:18:26Besides a temperament,

1:18:26 > 1:18:30which consists mostly of swooping about on a broomstick

1:18:30 > 1:18:33and screaming at the top of my voice.

1:18:33 > 1:18:35Infants behave the way I do, you know.

1:18:35 > 1:18:39They carry on and misbehave. They'd get drunk if they knew how,

1:18:39 > 1:18:42when they can't have what they want.

1:18:42 > 1:18:46When they feel unwanted or insecure or...

1:18:46 > 1:18:48..unloved.

1:18:49 > 1:18:53- What about Bill? - What about Bill?

1:18:53 > 1:18:54He's in love with you.

1:18:54 > 1:18:59More than anything in this world, I love Bill. And I want Bill.

1:18:59 > 1:19:01And I want him to want me.

1:19:01 > 1:19:03But me, not Margo Channing.

1:19:04 > 1:19:08And if I can't tell them apart, how can he?

1:19:08 > 1:19:10Well, why should he and why should you?

1:19:10 > 1:19:12Bill's in love with Margo Channing.

1:19:12 > 1:19:15He's fought with her, worked with her, loved her.

1:19:15 > 1:19:19But ten years from now Margo Channing will have ceased to exist.

1:19:19 > 1:19:23And what's left will be...what?

1:19:24 > 1:19:27Margo, Bill is all of eight years younger than you.

1:19:27 > 1:19:32Those years stretch as the years go on. I've seen it happen too often.

1:19:32 > 1:19:34Not to you, not to Bill.

1:19:34 > 1:19:37Isn't that what they always say?

1:19:41 > 1:19:44I don't suppose the heater runs if the motor doesn't.

1:19:44 > 1:19:46Silly, isn't it?

1:19:46 > 1:19:50You'd think they'd fix it so people could just sit in a car and keep warm.

1:19:50 > 1:19:53About Eve.

1:19:53 > 1:19:56I've acted pretty disgracefully toward her too.

1:19:57 > 1:20:00- Well... - Don't fumble for excuses.

1:20:00 > 1:20:02Not here and now with my hair down.

1:20:04 > 1:20:07At best, let's say I've been oversensitive to...

1:20:07 > 1:20:12Well, to the fact that she's so young, so feminine and so helpless.

1:20:12 > 1:20:15To so many things I want to be for Bill.

1:20:16 > 1:20:18It's funny, a woman's career.

1:20:18 > 1:20:22The things you drop on your way up so you can move faster.

1:20:22 > 1:20:26You forget you'll need them again when you get back to being a woman.

1:20:26 > 1:20:29That's one career all females have in common,

1:20:29 > 1:20:31whether we like it or not.

1:20:31 > 1:20:33Being a woman.

1:20:33 > 1:20:36Sooner or later, we've got to work at it.

1:20:36 > 1:20:40No matter how many other careers we've had or wanted.

1:20:41 > 1:20:45And in the last analysis, nothing's any good unless you can

1:20:45 > 1:20:50look up just before dinner or turn around in bed and there he is.

1:20:50 > 1:20:52Without that, you're not a woman.

1:20:52 > 1:20:56You're something with a French provincial office or a...

1:20:56 > 1:20:58A book full of clippings.

1:20:59 > 1:21:01But you're not a woman.

1:21:05 > 1:21:07Slow curtain. The end.

1:21:09 > 1:21:15Margo. Margo, I want you to know how sorry I am about this.

1:21:15 > 1:21:17- About what? - This.

1:21:17 > 1:21:20I can't tell you how sorry I am.

1:21:20 > 1:21:23Don't give it a thought. One of destiny's merry pranks.

1:21:23 > 1:21:27After all, you didn't personally drain the gasoline tank yourself.

1:21:34 > 1:21:36- ADDISON:- Eve, of course, was superb.

1:21:36 > 1:21:41Many of the audience understandably preferred to return another time to see Margo.

1:21:41 > 1:21:45But those who remained cheered loudly, lustily and long for Eve.

1:21:45 > 1:21:49How thoughtful of her to call and invite me that afternoon.

1:21:49 > 1:21:52And what a happy coincidence that several representatives

1:21:52 > 1:21:55of other newspapers happened to be present.

1:21:55 > 1:21:57All of us invited that afternoon

1:21:57 > 1:22:00to attend an understudy's performance,

1:22:00 > 1:22:02about which the management knew nothing

1:22:02 > 1:22:05until they were forced to ring up the curtain at nine o'clock.

1:22:05 > 1:22:07Coincidence.

1:22:07 > 1:22:09You were better than all right.

1:22:09 > 1:22:12You rang a bell. Little things here and there, but it doesn't matter.

1:22:12 > 1:22:15Be proud of yourself. You've got a right to be.

1:22:15 > 1:22:17Are you proud of me, Bill?

1:22:17 > 1:22:20I admit I was worried when Max called. I had my doubts.

1:22:20 > 1:22:22You shouldn't have had any doubts.

1:22:22 > 1:22:24After all, the other day was one scene.

1:22:24 > 1:22:27The woods are full of one-scene sensations.

1:22:27 > 1:22:31But you did it. With work and patience, you'll be a good actress,

1:22:31 > 1:22:32if that's what you want to be.

1:22:32 > 1:22:34Is that what you want me to be?

1:22:34 > 1:22:38- I'm talking about you and what you want.- So am I.

1:22:40 > 1:22:43- What have I got to do with it? - Everything.

1:22:45 > 1:22:50The names I've been called, but never Svengali. Good luck.

1:22:53 > 1:22:55Don't run away, Bill.

1:22:55 > 1:22:58From what would I be running?

1:22:59 > 1:23:04You're always after truth on the stage. What about off?

1:23:04 > 1:23:07- I'm for it. - Then face it. I have.

1:23:07 > 1:23:11Ever since that first night in here.

1:23:11 > 1:23:13I told you what every actress should know.

1:23:13 > 1:23:17You told me that whatever I became, it would be because of you.

1:23:17 > 1:23:19- Make-up's a little heavy. - And for you.

1:23:20 > 1:23:23- You're quite a girl. - You think?

1:23:23 > 1:23:26I'm in love with Margo. Hadn't you heard?

1:23:26 > 1:23:28You hear all kinds of things.

1:23:28 > 1:23:30I'm only human, rumours to the contrary,

1:23:30 > 1:23:32and I'm as curious as the next man.

1:23:32 > 1:23:35- Find out. - Only thing,

1:23:35 > 1:23:37what I go after I want to go after.

1:23:37 > 1:23:39I don't want it to come after me.

1:23:46 > 1:23:49Don't cry. Just score it as an incomplete forward pass.

1:24:09 > 1:24:11KNOCKING

1:24:11 > 1:24:13Who is it?

1:24:14 > 1:24:16May I come in?

1:24:17 > 1:24:19Certainly, Mr DeWitt.

1:24:22 > 1:24:26I expected to find this room with a theatreful of people at your feet.

1:24:26 > 1:24:28I'm lucky they didn't throw things.

1:24:28 > 1:24:31Your performance was no surprise to me.

1:24:31 > 1:24:34After the other day, I regarded it as no more than a promise fulfilled.

1:24:34 > 1:24:38You're more than kind. But it's still Miss Channing's performance.

1:24:38 > 1:24:41I'm the carbon copy you read when you can't find the original.

1:24:41 > 1:24:46- You're more than modest.- It's not modesty. I don't try to kid myself.

1:24:46 > 1:24:49A revolutionary approach to the theatre.

1:24:49 > 1:24:53- But if I may make a suggestion... - Please do.

1:24:53 > 1:24:56I think the time has come to shed some of your humility.

1:24:56 > 1:25:00It is just as false not to blow your horn at all as it is to blow it too loudly.

1:25:00 > 1:25:03I don't think I've done anything to sound off about.

1:25:03 > 1:25:07We come into this world with our little egos equipped with individual horns.

1:25:07 > 1:25:09If we don't blow them, who else will?

1:25:09 > 1:25:13Even so. One pretty good performance by an understudy,

1:25:13 > 1:25:16it'll be forgotten tomorrow.

1:25:17 > 1:25:20It needn't be.

1:25:20 > 1:25:25Even if I wanted to, as you say, be less humble, blow my own horn,

1:25:25 > 1:25:29how would I do it? I'm less than nobody.

1:25:30 > 1:25:33- I'm somebody. - You certainly are.

1:25:35 > 1:25:38Leave the door open a bit, so we can talk.

1:25:43 > 1:25:47After you change, if you're not busy elsewhere, we could have supper.

1:25:47 > 1:25:51I'd love to. Or should I pretend I'm busy?

1:25:51 > 1:25:53Let's have a minimum of pretending.

1:25:53 > 1:25:55I shall want to do a column about you.

1:25:55 > 1:25:57I'm not even enough for a paragraph.

1:25:57 > 1:25:59Perhaps more than one.

1:25:59 > 1:26:02There's so much I want to know. I've heard your story in bits and pieces.

1:26:02 > 1:26:04Your home in Wisconsin, your tragic marriage,

1:26:04 > 1:26:07your fanatical attachment to Margo.

1:26:07 > 1:26:10It started in San Francisco, didn't it?

1:26:10 > 1:26:15I say, your idolatry of Margo started in San Francisco, didn't it?

1:26:15 > 1:26:16That's right.

1:26:16 > 1:26:20San Francisco, an oasis of civilisation in the California desert.

1:26:20 > 1:26:24Tell me, do you share my high opinion of San Francisco?

1:26:24 > 1:26:27Yes, I do.

1:26:27 > 1:26:31And that memorable night when Margo first dazzled you from the stage,

1:26:31 > 1:26:35what theatre was it in San Francisco? Was it the Shubert?

1:26:35 > 1:26:38Yes, the Shubert.

1:26:38 > 1:26:41Fine old theatre, the Shubert. Full of tradition.

1:26:41 > 1:26:45Untouched by the earthquake. Or should I say fire?

1:26:45 > 1:26:48Tell me, what was your husband's name?

1:26:48 > 1:26:51- Eddie. - Eddie what?

1:26:54 > 1:26:58I'm about to go into the shower. I won't be able to hear you.

1:26:58 > 1:27:00Well, it can wait.

1:27:00 > 1:27:03Where would you like to go? We must make this a special night.

1:27:03 > 1:27:06You take charge.

1:27:06 > 1:27:08I believe I will.

1:27:16 > 1:27:17SHOWER RUNNING

1:27:22 > 1:27:26- KAREN:- Some morning papers carried a squib about Eve's performance.

1:27:26 > 1:27:28Not much, but full of praise.

1:27:28 > 1:27:31I couldn't imagine how they found out about it.

1:27:31 > 1:27:35But Lloyd said Max's publicity man probably sent out the story.

1:27:35 > 1:27:38At any rate, I felt terribly guilty and ashamed of myself

1:27:38 > 1:27:41and wanted nothing so much as to forget the whole thing.

1:27:41 > 1:27:44Margo and I were having lunch at 21,

1:27:44 > 1:27:46just like girlfriends, with hats on.

1:27:48 > 1:27:50- Has Miss Channing come in? - Not yet, Mrs Richards.

1:27:50 > 1:27:52Thank you.

1:27:53 > 1:27:58Oh, Eve! I've heard the most wonderful things about your performance.

1:27:58 > 1:28:00Mostly relief that I managed to stagger through it.

1:28:00 > 1:28:01She was magnificent.

1:28:01 > 1:28:03- Then you've heard, too. - I was there.

1:28:03 > 1:28:06- You were at the play last night? - A happy coincidence.

1:28:06 > 1:28:08We're having lunch with a movie talent scout.

1:28:08 > 1:28:10They certainly don't waste much time, do they?

1:28:10 > 1:28:12It's nothing definite. Just lunch.

1:28:12 > 1:28:14They'll be wasting their time at any rate.

1:28:14 > 1:28:17Eve has no intention of going to Hollywood.

1:28:17 > 1:28:20By your smart dress, I take it your companion is a lady?

1:28:20 > 1:28:23- Margo. - Margo lunching in public?

1:28:23 > 1:28:25It's a new Margo, but she's just as late as the old one.

1:28:25 > 1:28:28She may be later than you think.

1:28:31 > 1:28:34Why not read my column to pass the time?

1:28:34 > 1:28:37- The minutes will fly like hours. - Thank you, Addison.

1:28:37 > 1:28:39Now we must join our sunburned eager beaver.

1:28:39 > 1:28:41- Goodbye, Karen. - Goodbye.

1:29:03 > 1:29:06"And so my hat which has, lo, these many seasons,

1:29:06 > 1:29:10"become firmly rooted about my ears, is lifted to Miss Harrington.

1:29:10 > 1:29:14"I am available for dancing in the streets and shouting from the housetops."

1:29:14 > 1:29:17I thought that one went out with Woollcott. Now listen to this.

1:29:17 > 1:29:22"Miss Harrington had much to tell and these columns shall report her faithfully

1:29:22 > 1:29:25"about the lamentable practice in our theatre of permitting,

1:29:25 > 1:29:28"shall we say, mature actresses to continue playing roles

1:29:28 > 1:29:33"requiring a youth and vigour of which they retain but a dim memory."

1:29:33 > 1:29:36- I just can't believe it. - It gets better.

1:29:36 > 1:29:39"About the understandable reluctance of our entrenched first ladies

1:29:39 > 1:29:43"of the stage to encourage, shall we say, younger actresses,

1:29:43 > 1:29:46"about Miss Harrington's own long and unsupported struggle for opportunity."

1:29:46 > 1:29:49- I can't believe Eve said those things.- In this rat race,

1:29:49 > 1:29:52everybody's guilty till proved innocent.

1:29:52 > 1:29:57One of the differences between the theatre and civilisation.

1:29:57 > 1:29:59What gets me is how all the papers in town

1:29:59 > 1:30:02happened to catch that particular performance.

1:30:02 > 1:30:04Lloyd says it's a publicity release.

1:30:04 > 1:30:06The little witch must have sent out Indian Runners,

1:30:06 > 1:30:10snatching critics out of bars, steam rooms and museums

1:30:10 > 1:30:12or wherever they hole up.

1:30:12 > 1:30:13She won't get away with it.

1:30:13 > 1:30:15Nor will Addison DeWitt and his poison pen.

1:30:15 > 1:30:19If Equity or my lawyer can't or won't do anything about it,

1:30:19 > 1:30:22I shall personally stuff that pathetic little lost lamb

1:30:22 > 1:30:24down Mr DeWitt's ugly throat!

1:30:24 > 1:30:25FOOTSTEPS

1:30:34 > 1:30:39I came as soon as I read that piece of filth. I ran all the way.

1:30:49 > 1:30:52Bill's here, baby.

1:30:52 > 1:30:54Everything's all right now.

1:31:02 > 1:31:05I guess at this point I'm what the French call "de trop."

1:31:05 > 1:31:08Maybe just a little around the edges.

1:31:20 > 1:31:24It's Addison from start to finish. It drips with his brand of venom.

1:31:24 > 1:31:26Taking advantage of a kid like that, twisting her words,

1:31:26 > 1:31:29making her say what he wanted her to say.

1:31:29 > 1:31:33- Where did you get all that information?- Eve.

1:31:33 > 1:31:36- Eve? - She's been to see me.

1:31:36 > 1:31:39She left just before you came in. You just missed her.

1:31:39 > 1:31:42- That was a pity.- Wanted to explain about the interview.

1:31:42 > 1:31:46Wanted to apologise to someone, and didn't dare face Margo.

1:31:46 > 1:31:50- I wonder why.- She started telling me all about it and couldn't finish.

1:31:50 > 1:31:52She cried so.

1:31:53 > 1:31:56I've been going over our financial position,

1:31:56 > 1:31:57if you'll pardon the expression.

1:31:57 > 1:32:00That's quite a change of subject.

1:32:00 > 1:32:02What with taxes coming up, and,

1:32:02 > 1:32:05since I'm a playwright and not an oil-well operator,

1:32:05 > 1:32:06I've been thinking...

1:32:06 > 1:32:08I'm trying hard to follow you.

1:32:08 > 1:32:10If instead of waiting until next season to do

1:32:10 > 1:32:13Footsteps on the Ceiling, which is in pretty good shape,

1:32:13 > 1:32:17and if Margo can be talked into going on tour with Aged in Wood,

1:32:17 > 1:32:20we could put Footsteps into production right away.

1:32:20 > 1:32:22I'm beginning to catch up.

1:32:22 > 1:32:24If we can cast it properly, that is.

1:32:24 > 1:32:27Maybe get some younger actress?

1:32:27 > 1:32:29Someone who'd look the part as well as play it?

1:32:29 > 1:32:31You've got to admit, it'd be a novelty.

1:32:31 > 1:32:33Now you're quoting Addison, or Eve.

1:32:33 > 1:32:36Eve did mention the play, but just in passing.

1:32:36 > 1:32:39She'd never ask to play a part like Cora, she'd never have the nerve.

1:32:39 > 1:32:42Eve would ask Abbott to give her Costello.

1:32:42 > 1:32:45I got the idea myself while she was talking to me about the play.

1:32:45 > 1:32:47With gestures, of course.

1:32:47 > 1:32:51For once to write something and have it realised completely.

1:32:51 > 1:32:53For once, not to compromise.

1:32:53 > 1:32:57Lloyd Richards, you are not to consider giving that contemptible little worm the part of Cora!

1:32:57 > 1:32:59Now just a minute...

1:32:59 > 1:33:02Margo Channing's not been exactly a compromise all these years.

1:33:02 > 1:33:06Half the playwrights in the world would give their shirts for that particular compromise.

1:33:06 > 1:33:07Now just a minute...

1:33:07 > 1:33:11Eve's disloyalty and ingratitude must be contagious.

1:33:11 > 1:33:13All this fuss and hysteria because an impulsive kid

1:33:13 > 1:33:15got carried away by excitement and the conniving

1:33:15 > 1:33:17of a professional manure-slinger named DeWitt.

1:33:17 > 1:33:21- She apologised, didn't she? - On her knees, I've no doubt.

1:33:21 > 1:33:24Very touching. Very Academy of Dramatic Arts.

1:33:24 > 1:33:26That bitter cynicism of yours is something you've acquired

1:33:26 > 1:33:28since you left Radcliffe.

1:33:28 > 1:33:31That cynicism you refer to I acquired the day I discovered

1:33:31 > 1:33:32I was different from little boys.

1:33:32 > 1:33:34PHONE RINGS

1:33:34 > 1:33:36Hello.

1:33:36 > 1:33:39Oh, hi, Margo.

1:33:39 > 1:33:41No, not at all.

1:33:42 > 1:33:45Karen and I were just chatting.

1:33:45 > 1:33:46Hm?

1:33:48 > 1:33:52Why, yes, I'm sure we can and I'm sure we'd love to.

1:33:52 > 1:33:54Right. 11.45ish.

1:33:56 > 1:33:58See you then.

1:33:59 > 1:34:04Margo and Bill want us to meet them at the Cub Room tonight after the theatre.

1:34:04 > 1:34:07Margo Channing in the Cub Room.

1:34:07 > 1:34:10I couldn't be more surprised if she'd said Grant's tomb.

1:34:10 > 1:34:12I'm glad Bill's back.

1:34:12 > 1:34:14They'd die without each other.

1:34:14 > 1:34:17darling, I didn't promise Eve anything.

1:34:17 > 1:34:21Just that I thought she'd be fine for the part but there were practical difficulties.

1:34:21 > 1:34:23- Such as? - You, for one.

1:34:23 > 1:34:26I told her you were set on Margo playing the part

1:34:26 > 1:34:28and I wouldn't make a change without your approval.

1:34:28 > 1:34:30That's fine. Fine and dandy.

1:34:30 > 1:34:34Just refer all of Miss Eve Harrington's future requests to me.

1:34:37 > 1:34:42The so-called art of acting is not one for which I have a particularly high regard.

1:34:42 > 1:34:45- Hear, hear. - But you may quote me as follows.

1:34:45 > 1:34:48"Tonight, Miss Margo Channing gave a performance

1:34:48 > 1:34:51"in your cockamamie play, the like of which

1:34:51 > 1:34:56"I have never seen before and expect rarely to see again."

1:34:56 > 1:34:59- He does not exaggerate. I was good. - You were great.

1:34:59 > 1:35:02It's been quite a night. I understand your understudy,

1:35:02 > 1:35:04a Miss Harrington, has given her notice.

1:35:04 > 1:35:06- Too bad. - I'm broken up about it.

1:35:06 > 1:35:09You just can't pick up champagne and drink it.

1:35:09 > 1:35:12Somebody's got to be very witty about a toast.

1:35:12 > 1:35:14I shall propose the toast,

1:35:14 > 1:35:18without wit, with all my heart.

1:35:18 > 1:35:20To Margo.

1:35:20 > 1:35:23- To my bride-to-be. - Glory hallelujah.

1:35:23 > 1:35:25- Margo.- Drink!

1:35:28 > 1:35:29When? When are you going to do it?

1:35:29 > 1:35:32Tomorrow we meet at City Hall at ten.

1:35:32 > 1:35:34- And you're going to be on time. - Yes, sir.

1:35:34 > 1:35:37City Hall, that's for prize-fighters and reporters.

1:35:37 > 1:35:39I see a cathedral, a bishop, banks of flowers...

1:35:39 > 1:35:43It's only for the license. There's a three-day wait for blood tests.

1:35:43 > 1:35:47I'll marry you if it turns out you have no blood at all.

1:35:47 > 1:35:50- What are you going to wear? - Something simple,

1:35:50 > 1:35:52a fur coat over a nightgown.

1:35:52 > 1:35:56The point is this. In a cathedral, a ballpark or a penny arcade,

1:35:56 > 1:36:00we want you two beside us, as our nearest and dearest friends.

1:36:00 > 1:36:04Which we are. Which we'll always be.

1:36:04 > 1:36:08There are very few moments in life as good as this. Let's remember it.

1:36:08 > 1:36:12To each of us and all of us, never have we been more close.

1:36:12 > 1:36:14May we never be farther apart.

1:36:17 > 1:36:19- Mrs Richards?- Yes.

1:36:19 > 1:36:21- For you. - Thank you.

1:36:22 > 1:36:25Very indiscreet. A note in the open like that.

1:36:25 > 1:36:28Next time, tell your lover to blow smoke rings or tap a glass.

1:36:28 > 1:36:30Lloyd, I want you to be big about this.

1:36:30 > 1:36:34The world is full of love tonight. No woman is safe.

1:36:34 > 1:36:36Well, this beats all world's records

1:36:36 > 1:36:39for running, jumping or standing gall.

1:36:41 > 1:36:44"Forgive my butting in to what seems such a happy occasion,

1:36:44 > 1:36:46"but it's important that I speak with you.

1:36:46 > 1:36:49"Please," and that's underlined,

1:36:49 > 1:36:52"meet me in the ladies' room. Eve."

1:36:52 > 1:36:56I understand she's now the understudy in there.

1:36:56 > 1:36:58Hand me that empty bottle. I may find her.

1:37:01 > 1:37:03Well, look. There's Rasputin.

1:37:09 > 1:37:10Encore du champagne.

1:37:10 > 1:37:14- More champagne, Miss Channing? - That's what I said, bub.

1:37:14 > 1:37:16Maybe she just wants to apologise.

1:37:16 > 1:37:19I have no possible interest in anything she'd have to say.

1:37:19 > 1:37:22But what could she say? That's what fascinates me.

1:37:22 > 1:37:27- Go on, find out.- Karen, during all the years of our long friendship,

1:37:27 > 1:37:30I have never let you go to the ladies' room alone.

1:37:30 > 1:37:33Now I must. I am busting to find out

1:37:33 > 1:37:37what's going on in that feverish little brain waiting in there.

1:37:39 > 1:37:42Well... All right.

1:37:47 > 1:37:49Karen!

1:37:49 > 1:37:51How nice.

1:38:02 > 1:38:04Very effective, but why take it out on me?

1:38:28 > 1:38:31I was wondering whether you'd come at all.

1:38:31 > 1:38:34Don't get up. And don't act as if I were the Queen Mother.

1:38:34 > 1:38:36I don't expect you to be pleasant.

1:38:36 > 1:38:38I don't intend to be.

1:38:38 > 1:38:42Can't we sit down just for a minute? I've got a lot to say and none of it's easy.

1:38:42 > 1:38:44- There can't be very much. - But there is.

1:38:44 > 1:38:49- Easy or not, I won't believe a word of it.- Why should you?

1:38:49 > 1:38:51Please sit down.

1:38:56 > 1:39:00You know, I've always considered myself a very clever girl.

1:39:00 > 1:39:03Smart, good head on my shoulders, that sort of thing.

1:39:03 > 1:39:06Never the wrong word at the wrong time.

1:39:06 > 1:39:09But then I'd never met Addison DeWitt.

1:39:11 > 1:39:13I remember I had a tooth pulled once.

1:39:13 > 1:39:17They gave me some anaesthetic. I don't remember the name.

1:39:17 > 1:39:18It affected me strangely.

1:39:18 > 1:39:22I found myself saying things I wasn't even thinking.

1:39:22 > 1:39:24As if my mind was outside of my body

1:39:24 > 1:39:26and couldn't control what I did or said.

1:39:26 > 1:39:29- And you felt just like that talking to Addison?- In a way.

1:39:29 > 1:39:32You find yourself trying to say what you mean,

1:39:32 > 1:39:34but somehow the words change.

1:39:34 > 1:39:36They become his words.

1:39:36 > 1:39:40And suddenly you're not saying what you mean, but what he means.

1:39:40 > 1:39:43Do you expect me to believe that you didn't say any of those things?

1:39:43 > 1:39:45That they were all Addison?

1:39:45 > 1:39:47I don't expect you to believe anything,

1:39:47 > 1:39:51except that the responsibility is mine, and the disgrace.

1:39:52 > 1:39:55Let's not get overdramatic.

1:39:56 > 1:40:00You really have a low opinion of me, haven't you?

1:40:00 > 1:40:02I'll give you some pleasant news.

1:40:02 > 1:40:06I've been told off in no uncertain terms, all over town.

1:40:06 > 1:40:09Miss Channing should be happy to hear that.

1:40:09 > 1:40:12To know how loyal her friends are,

1:40:12 > 1:40:16how much more loyal than she had a right to expect me to be.

1:40:16 > 1:40:19- Eve, don't cry. - I'm not crying.

1:40:20 > 1:40:25Tell me, how did your luncheon turn out with the man from Hollywood?

1:40:25 > 1:40:27Some vague promises of a test.

1:40:27 > 1:40:30If a particular part should come along, one of those things.

1:40:30 > 1:40:32But the raves about your performance...

1:40:32 > 1:40:34An understudy's performance.

1:40:34 > 1:40:39Well, I think you're painting the picture a little blacker than it is, really.

1:40:39 > 1:40:41If nothing else, don't underestimate him.

1:40:41 > 1:40:43You have a powerful friend in Addison.

1:40:43 > 1:40:46He's not my friend. You were my friends.

1:40:46 > 1:40:48- He can help you. - I wish I'd never met him.

1:40:48 > 1:40:50I'd like him to be dead.

1:40:50 > 1:40:53I want my friends back.

1:40:53 > 1:40:58Eve. I don't think you meant to cause unhappiness.

1:40:58 > 1:41:02But you did. More to yourself perhaps, as it turned out, than to anyone else.

1:41:02 > 1:41:05- I'll never get over it. - Oh, yes, you will.

1:41:05 > 1:41:10You theatre people always do. Nothing is forever in the theatre.

1:41:10 > 1:41:14Whatever it is, it's here, it flares up, burns hot,

1:41:14 > 1:41:17and it's gone.

1:41:17 > 1:41:19I wish I could believe that.

1:41:19 > 1:41:20Give yourself time.

1:41:20 > 1:41:23Don't worry too much about what people think.

1:41:23 > 1:41:25You're very young and very talented.

1:41:27 > 1:41:31And, believe it or not, if there's anything I can do...

1:41:31 > 1:41:33There is something.

1:41:35 > 1:41:37I think I know.

1:41:37 > 1:41:40Something most important you can do.

1:41:40 > 1:41:41You want to play Cora.

1:41:41 > 1:41:45You want me to tell Lloyd I think you should play it.

1:41:45 > 1:41:48If you told him so, he'd give me the part. He said he would.

1:41:48 > 1:41:49After all you've said.

1:41:49 > 1:41:52Don't you know that part was written for Margo?

1:41:52 > 1:41:55It might've been 15 years ago. It's my part now.

1:41:55 > 1:41:58You talk just as Addison said you did.

1:41:58 > 1:42:01Cora is my part. You've got to tell Lloyd it's for me.

1:42:01 > 1:42:03Nothing in the world would make me say that.

1:42:03 > 1:42:05Addison wants me to play it.

1:42:05 > 1:42:06Over my dead body.

1:42:06 > 1:42:08That won't be necessary.

1:42:08 > 1:42:12Addison knows how Margo happened to miss that performance,

1:42:12 > 1:42:17how I happened to know she'd miss it in time to call him and notify every paper in town.

1:42:17 > 1:42:20It's quite a story. Addison could make quite a thing of it.

1:42:20 > 1:42:22Imagine how snide and vicious he could get,

1:42:22 > 1:42:24and still tell nothing but the truth.

1:42:24 > 1:42:27I had a time persuading him.

1:42:28 > 1:42:31You better sit down. You look a bit wobbly.

1:42:35 > 1:42:39If I play Cora, Addison will never tell what happened,

1:42:39 > 1:42:40in or out of print.

1:42:40 > 1:42:43A simple exchange of favours.

1:42:43 > 1:42:46I'm so happy I can do something for you at long last.

1:42:48 > 1:42:51Your friendship with Margo,

1:42:51 > 1:42:53your deep, close friendship.

1:42:53 > 1:42:55What would happen to it

1:42:55 > 1:42:59if she knew the cheap trick you played on her for my benefit?

1:42:59 > 1:43:04You and Lloyd, how long, even in the theatre,

1:43:04 > 1:43:08before people forgot what happened and trusted you again?

1:43:10 > 1:43:11No.

1:43:12 > 1:43:17It would be so much easier for everyone concerned if I were to play Cora.

1:43:17 > 1:43:20So much better theatre, too.

1:43:20 > 1:43:22A part in a play.

1:43:23 > 1:43:26You'd do all that just for a part in a play?

1:43:26 > 1:43:29I'd do much more for a part that good.

1:43:51 > 1:43:53Hungry?

1:43:55 > 1:43:59I'm not surprised, after all that humble pie.

1:43:59 > 1:44:02Nothing of the kind. Karen and I had a nice talk.

1:44:02 > 1:44:05Heart to heart? Woman to woman?

1:44:05 > 1:44:09Including a casual reference to the part of Cora and your hopes of playing it?

1:44:09 > 1:44:11I discussed it very openly.

1:44:11 > 1:44:14I told her I'd spoken to Lloyd, and that he was interested.

1:44:14 > 1:44:18And Karen mentioned, of course, that Margo expects to play the part?

1:44:18 > 1:44:22Oddly enough, she didn't say a word about Margo.

1:44:22 > 1:44:26Just that she'll be happy to do what she can to see that I play it.

1:44:27 > 1:44:30Just like that, eh?

1:44:30 > 1:44:32Just like that.

1:44:32 > 1:44:36You know, Eve, sometimes I think you keep things from me.

1:44:37 > 1:44:41- I don't think that's funny. - It wasn't meant to be.

1:44:41 > 1:44:44I confide in you and rely on you more than anyone I've ever known.

1:44:44 > 1:44:47To say a thing like that now, without any reason,

1:44:47 > 1:44:50when I need you more than ever.

1:44:50 > 1:44:52I hope you mean what you say.

1:44:52 > 1:44:55I intend to hold you to it.

1:44:56 > 1:44:59We have a great deal in common, it seems to me.

1:45:08 > 1:45:12- Well, what happened? Nothing much.- She apologised.

1:45:12 > 1:45:14- With tears? - With tears.

1:45:14 > 1:45:18But not right away. First fight them back, chin up, stout fellow.

1:45:18 > 1:45:20- Check. - Very classy. Lots of technique.

1:45:20 > 1:45:24You mean all this time she's done nothing but apologise?

1:45:24 > 1:45:25What did you say?

1:45:25 > 1:45:27Not much.

1:45:30 > 1:45:33Groom, may I have a wedding present?

1:45:33 > 1:45:34What would you like? Texas?

1:45:34 > 1:45:37I want everybody to shut up about Eve.

1:45:37 > 1:45:40Just shut up about Eve. That's all I want.

1:45:40 > 1:45:42Give Karen more wine.

1:45:42 > 1:45:44Never have I been so happy.

1:45:44 > 1:45:47Isn't it a lovely room? The Cub Room.

1:45:47 > 1:45:51What a lovely, clever name. Where the elite meet.

1:45:51 > 1:45:56Never have I seen so much elite, all with their eyes on me,

1:45:56 > 1:46:00waiting for me to crack that little gnome on the noggin with a bottle.

1:46:00 > 1:46:04But not tonight. I'm forgiving tonight. Even Eve. I forgive Eve.

1:46:05 > 1:46:08There they go.

1:46:09 > 1:46:10There goes Eve.

1:46:10 > 1:46:13Eve Evil, little Miss Evil.

1:46:14 > 1:46:17But "the evil that men do..." How does that go, groom?

1:46:17 > 1:46:20Something about the good they leave behind.

1:46:20 > 1:46:22I played it once in rep in Wilkes-Barre.

1:46:22 > 1:46:25You've got it backwards, even for Wilkes-Barre.

1:46:25 > 1:46:29Do you know why I forgive Eve? She left good behind.

1:46:29 > 1:46:33The four of us here together, it's Eve fault. I forgive her.

1:46:33 > 1:46:38And Bill, especially Bill. She did that too.

1:46:38 > 1:46:40You know, she probably means well after all.

1:46:40 > 1:46:42She is a louse.

1:46:42 > 1:46:44Never try to outguess Margo.

1:46:44 > 1:46:47- Groom? - Yes, dear.

1:46:47 > 1:46:49- Do you know what I'm going to be? - A cowboy?

1:46:49 > 1:46:52- A married lady. - With a paper to prove it.

1:46:52 > 1:46:56I'm going to look up at six o'clock, and there he'll be.

1:46:56 > 1:46:58Remember, Karen?

1:46:58 > 1:47:00I remember.

1:47:00 > 1:47:01You'll be there, won't you?

1:47:01 > 1:47:04Often enough to keep the franchise.

1:47:04 > 1:47:06No more make-believe, offstage or on.

1:47:06 > 1:47:09Remember, Lloyd? I mean it now.

1:47:09 > 1:47:13Lloyd, will you promise not to be angry with me?

1:47:13 > 1:47:16- That depends. - No, I mean deeply angry.

1:47:16 > 1:47:18I don't think I could be.

1:47:18 > 1:47:21Well, I don't want to play Cora.

1:47:21 > 1:47:24- What?- You're always so touchy about his plays.

1:47:24 > 1:47:27It isn't the part. It's a great part and a fine play.

1:47:27 > 1:47:28But not for me anymore.

1:47:28 > 1:47:33Not for a foursquare, upright, downright, forthright, married lady.

1:47:33 > 1:47:35What's your being married got to do with it?

1:47:35 > 1:47:39It means I've finally got a life to live.

1:47:39 > 1:47:41I don't have to play parts I'm too old for

1:47:41 > 1:47:46just because I've got nothing to do with my nights.

1:47:46 > 1:47:48Oh, Lloyd, I'll make it up to you, believe me.

1:47:48 > 1:47:51I'll tour a year with this one, anything.

1:47:51 > 1:47:53Only you do understand, don't you?

1:47:59 > 1:48:02- What's so funny? - Nothing.

1:48:02 > 1:48:04Nothing?

1:48:04 > 1:48:06Everything! Everything's so funny.

1:48:17 > 1:48:22Lloyd never got around somehow to asking whether it was all right

1:48:22 > 1:48:24with me for Eve to play Cora.

1:48:24 > 1:48:28Bill, oddly enough, refused to direct the play at first,

1:48:28 > 1:48:29with Eve in it.

1:48:29 > 1:48:32Lloyd and Max finally won him over.

1:48:32 > 1:48:33Margo never came to rehearsal.

1:48:33 > 1:48:37"Too much to do around the house," she said.

1:48:37 > 1:48:41I'd never known Bill and Lloyd to fight as bitterly and often,

1:48:41 > 1:48:44and always over some business for Eve,

1:48:44 > 1:48:47or a move, or the way she read a speech.

1:48:47 > 1:48:51But I'd never known Lloyd to meddle as much with Bill's directing,

1:48:51 > 1:48:54as far as it affected Eve, that is.

1:48:54 > 1:48:57Somehow Eve kept them going.

1:48:57 > 1:49:00Bill stuck it out. Lloyd seemed happy.

1:49:04 > 1:49:08And I thought it might be best if I skipped rehearsals from then on.

1:49:10 > 1:49:13It seemed to me I had known always that it would happen.

1:49:13 > 1:49:14And here it was.

1:49:14 > 1:49:16I felt helpless.

1:49:16 > 1:49:19That helplessness you feel when you have no talent to offer,

1:49:19 > 1:49:21outside of loving your husband.

1:49:21 > 1:49:25How could I compete? Everything Lloyd loved about me,

1:49:25 > 1:49:27he'd gotten used to long ago.

1:49:27 > 1:49:29PHONE RINGS

1:49:32 > 1:49:34Hello?

1:49:34 > 1:49:36Who? Who's calling Mr Richards?

1:49:36 > 1:49:38My name wouldn't mean anything.

1:49:38 > 1:49:40I room across the hall from Eve Harrington.

1:49:40 > 1:49:44She isn't well. She's been crying all night and she's hysterical.

1:49:44 > 1:49:46She doesn't want a doctor and...

1:49:46 > 1:49:48Who is it? What's it all about?

1:49:48 > 1:49:51Did Miss Harrington tell you to call?

1:49:51 > 1:49:53Oh, no. Eve didn't say to call him.

1:49:53 > 1:49:56I remember I saw Mr Richards with her a couple of times.

1:49:56 > 1:49:58I thought, they being such good friends...

1:49:58 > 1:50:01Hello, this is Lloyd Richards. Where is Eve? Let me talk to her.

1:50:01 > 1:50:04Hello, Mr Richards. She's upstairs in her room.

1:50:04 > 1:50:08I really hate to bother you this way, but the way Eve's been feeling,

1:50:08 > 1:50:12I've been worried sick, what with her leaving tomorrow for New Haven.

1:50:12 > 1:50:15Tell her not to worry. Tell her I'll be right over.

1:50:33 > 1:50:36- ADDISON:- To the theatre world, New Haven, Connecticut,

1:50:36 > 1:50:41is a short stretch of sidewalk between the Shubert Theatre and the Taft Hotel,

1:50:41 > 1:50:44surrounded by what looks very much like a small city.

1:50:44 > 1:50:49It is here that managers have what are called out-of-town openings,

1:50:49 > 1:50:54which are openings for New Yorkers who want to go out of town.

1:50:54 > 1:50:57What a day. What a heavenly day.

1:50:57 > 1:51:00- D-day. - Just like it.

1:51:00 > 1:51:03Tomorrow morning, you will have won your beachhead

1:51:03 > 1:51:04on the shores of immortality.

1:51:04 > 1:51:07Stop rehearsing your column.

1:51:07 > 1:51:09Isn't it strange, Addison?

1:51:09 > 1:51:13I thought I'd be panic-stricken, want to run away or something.

1:51:13 > 1:51:18Instead, I can't wait for tonight to come. To come and go.

1:51:18 > 1:51:20Are you that sure of tomorrow?

1:51:20 > 1:51:22- Aren't you? - Frankly, yes.

1:51:29 > 1:51:31It'll be a night to remember.

1:51:31 > 1:51:34It'll bring me everything I've ever wanted.

1:51:34 > 1:51:36The end of an old road, the beginning of a new one.

1:51:36 > 1:51:38All paved with diamonds and gold?

1:51:38 > 1:51:40You know me better than that.

1:51:40 > 1:51:43Paved with what, then?

1:51:43 > 1:51:45Stars.

1:51:46 > 1:51:48What time?

1:51:48 > 1:51:51Almost four.

1:51:51 > 1:51:53Plenty of time for a nice, long nap.

1:51:53 > 1:51:56We rehearsed most of last night.

1:51:56 > 1:51:58You could sleep now, couldn't you?

1:51:58 > 1:51:59Why not?

1:51:59 > 1:52:02The mark of a true killer.

1:52:02 > 1:52:05Sleep tight, rest easy and come out fighting.

1:52:05 > 1:52:08Why did you call me a killer?

1:52:08 > 1:52:12Did I say killer? I meant champion. I get my boxing terms mixed.

1:52:13 > 1:52:16Addison, come in for a minute, will you?

1:52:16 > 1:52:19I've got something to tell you.

1:52:28 > 1:52:31Suites are for expense accounts. Aren't you being extravagant?

1:52:31 > 1:52:35Max is paying for it. He and Lloyd had a terrific row,

1:52:35 > 1:52:37but Lloyd insisted.

1:52:37 > 1:52:39Can I fix you a drink?

1:52:39 > 1:52:42Also with the reluctant compliments of Max?

1:52:42 > 1:52:44Lloyd. I never have any.

1:52:44 > 1:52:47He likes a few drinks after we finish, so he sent it up.

1:52:47 > 1:52:51Some plain soda. Lloyd must be expecting a record run in New Haven.

1:52:51 > 1:52:55That's for tonight. You're invited.

1:52:55 > 1:52:58We're having everyone up after the performance.

1:52:58 > 1:53:00"We are?"

1:53:00 > 1:53:02Lloyd and I.

1:53:03 > 1:53:06I find it odd that Karen isn't here for the opening, don't you?

1:53:06 > 1:53:09- Addison... - She was always so devoted to Lloyd.

1:53:09 > 1:53:11One would think only death could keep her...

1:53:11 > 1:53:12Addison.

1:53:12 > 1:53:16Just a few minutes ago, I said this would be a night to remember,

1:53:16 > 1:53:19that it would bring me everything I ever wanted.

1:53:19 > 1:53:21Oh, yes. Something about an old road ending

1:53:21 > 1:53:23and a new one starting, all paved with stars.

1:53:23 > 1:53:26I didn't mean just the theatre.

1:53:26 > 1:53:28What else?

1:53:30 > 1:53:33Lloyd Richards.

1:53:33 > 1:53:37He's going to leave Karen. We're going to be married.

1:53:38 > 1:53:41So that's it. Lloyd.

1:53:41 > 1:53:44Still just the theatre, after all.

1:53:44 > 1:53:46It's nothing of the kind.

1:53:46 > 1:53:48Lloyd loves me. I love him.

1:53:48 > 1:53:50I know nothing of Lloyd and his loves.

1:53:50 > 1:53:52I leave those to Louisa May Alcott. But I do know you.

1:53:52 > 1:53:54I'm in love with Lloyd.

1:53:54 > 1:53:57Lloyd Richards is commercially the most successful playwright in America.

1:53:57 > 1:54:01- You have no right to say that.- And, artistically, the most promising.

1:54:01 > 1:54:03Eve, dear, this is Addison.

1:54:05 > 1:54:07Oh, Addison, won't it be just perfect?

1:54:07 > 1:54:11Lloyd and I. There's no telling how far we can go.

1:54:11 > 1:54:14He'll write great plays for me. I'll make them great.

1:54:14 > 1:54:16You're the only one I've told,

1:54:16 > 1:54:18- the only one who knows, except Lloyd and me.- And Karen.

1:54:18 > 1:54:19She doesn't know.

1:54:19 > 1:54:21She knows enough not to be here.

1:54:21 > 1:54:22But not all of it.

1:54:22 > 1:54:26- Not that Lloyd and I are going to be married.- I see.

1:54:26 > 1:54:29And when was this unholy alliance joined?

1:54:29 > 1:54:32We decided night before last, before we came up here.

1:54:32 > 1:54:36I trust the setting was properly romantic.

1:54:36 > 1:54:39Lights on dimmers and gypsy violins offstage.

1:54:39 > 1:54:42The setting wasn't romantic,

1:54:42 > 1:54:44but Lloyd was.

1:54:44 > 1:54:47He woke me up at three o'clock in the morning, banging on my door.

1:54:47 > 1:54:50He couldn't sleep, he said. He'd left Karen.

1:54:50 > 1:54:55Couldn't go on with the play or anything else until I promised to marry him.

1:54:55 > 1:54:58We sat and talked until it was light.

1:54:58 > 1:55:00He never went home.

1:55:00 > 1:55:04- You sat and talked until it was light?- We sat and talked, Addison.

1:55:05 > 1:55:08I want a run-of-the-play contract.

1:55:09 > 1:55:13There never was, and there never will be, another like you.

1:55:14 > 1:55:17Well, say something. Anything.

1:55:17 > 1:55:19Congratulations. Skal. Good work, Eve.

1:55:26 > 1:55:28What do you take me for?

1:55:28 > 1:55:31I don't know that I "take you" for anything.

1:55:31 > 1:55:34Is it possible, even conceivable, that you've confused me

1:55:34 > 1:55:37with that gang of backward children you've played tricks on?

1:55:37 > 1:55:40That you have the same contempt for me as for them?

1:55:40 > 1:55:42I'm sure you mean something by that but I don't know what.

1:55:42 > 1:55:45Look closely, Eve. It's time you did.

1:55:45 > 1:55:50I am Addison DeWitt. I'm nobody's fool, least of all yours.

1:55:50 > 1:55:54- I never intended you to be. - Yes, you did, and you still do.

1:55:54 > 1:55:56I still don't know what you're getting at.

1:55:56 > 1:55:58But I want to take my nap. It's important...

1:55:58 > 1:56:01- It's important that we talk, killer to killer.- Champion to champion.

1:56:01 > 1:56:04Not with me, you're no champion. You're stepping up in class.

1:56:04 > 1:56:07Please say what you have to say, plainly and distinctly,

1:56:07 > 1:56:08and then let me take my nap.

1:56:08 > 1:56:12Very well, plainly and distinctly, though I consider it unnecessary,

1:56:12 > 1:56:14because you know as well as I do what I'm going to say.

1:56:14 > 1:56:18Lloyd may leave Karen, but he will not leave Karen for you.

1:56:18 > 1:56:22- What do you mean by that? - More plainly and more distinctly?

1:56:22 > 1:56:26I have not come to New Haven to see the play, discuss your dreams,

1:56:26 > 1:56:29or pull the ivy from the walls of Yale.

1:56:29 > 1:56:32I came to tell you that you will not marry Lloyd, or anyone else,

1:56:32 > 1:56:34because I will not permit it.

1:56:34 > 1:56:37- What have you got to do with it? - Everything.

1:56:37 > 1:56:40Because after tonight you will belong to me.

1:56:40 > 1:56:44Belong? To you?

1:56:45 > 1:56:47I can't believe my ears.

1:56:47 > 1:56:49What a dull cliche.

1:56:49 > 1:56:51"Belong" to you?

1:56:51 > 1:56:54That sounds medieval. Something out of an old melodrama.

1:56:54 > 1:56:57So does the history of the world for the past 20 years.

1:56:57 > 1:56:59I don't enjoy putting it this bluntly.

1:56:59 > 1:57:03I'd hoped that you would have taken it for granted that you and I...

1:57:03 > 1:57:05"Taken it for granted?"

1:57:05 > 1:57:07"That you and I...?"

1:57:12 > 1:57:15Now remember, as long as you live, never to laugh at me.

1:57:15 > 1:57:18At anything or anyone else, but never at me.

1:57:21 > 1:57:25- Get out. - You're too short for that gesture.

1:57:25 > 1:57:27Besides, it went out with Mrs Fiske.

1:57:28 > 1:57:31Then if you won't get out, I'll have you thrown out.

1:57:31 > 1:57:34Don't pick up that phone. Don't even touch it.

1:57:34 > 1:57:37Something told you to do what I said, didn't it?

1:57:37 > 1:57:41That instinct is worth millions. You can't buy it, Eve. Cherish it.

1:57:41 > 1:57:44When that alarm goes off, go to your battle stations.

1:57:45 > 1:57:48To begin with, your name is not Eve Harrington.

1:57:48 > 1:57:50It's Gertrude Slescynski.

1:57:50 > 1:57:51What of it?

1:57:51 > 1:57:53It's true, your parents were poor, and they still are.

1:57:53 > 1:57:56They would like to know how you are and where.

1:57:56 > 1:57:58They haven't heard from you for three years.

1:57:58 > 1:58:01What of it?

1:58:01 > 1:58:03A matter of opinion, granted.

1:58:03 > 1:58:05It's also true that you worked in a brewery.

1:58:05 > 1:58:09But life there was apparently not as dull as you pictured it.

1:58:09 > 1:58:11In fact, it got less and less dull,

1:58:11 > 1:58:14until your boss's wife had your boss followed by detectives.

1:58:14 > 1:58:15She never proved anything, not a thing!

1:58:15 > 1:58:17But the 500 you got to get out of town

1:58:17 > 1:58:21brought you straight to New York, didn't it?

1:58:29 > 1:58:31That 500 brought you straight to New York.

1:58:31 > 1:58:33She was a liar. She was a liar!

1:58:33 > 1:58:37Answer my question. Weren't you paid to get out of town?

1:58:40 > 1:58:43There was no Eddie, no pilot. You've never been married.

1:58:43 > 1:58:46That was not only a lie, it was an insult to dead heroes

1:58:46 > 1:58:48and the women who loved them.

1:58:48 > 1:58:50San Francisco has no Shubert Theatre.

1:58:50 > 1:58:52You've never been to San Francisco.

1:58:52 > 1:58:56That was a stupid lie, easy to expose, not worthy of you.

1:58:56 > 1:58:58I had to get in to meet Margo.

1:58:58 > 1:59:01I had to say something, be somebody. Make her like me!

1:59:01 > 1:59:03She did like you. She helped and trusted you.

1:59:03 > 1:59:07- You paid her back her by trying to take Bill away.- That's not true!

1:59:07 > 1:59:11I was there. I saw you and heard you through the dressing-room door.

1:59:11 > 1:59:14You used my name to blackmail Karen into getting you the part of Cora.

1:59:14 > 1:59:16You lied to me about it.

1:59:16 > 1:59:18No, no, no!

1:59:18 > 1:59:20I had lunch with Karen not three hours ago.

1:59:20 > 1:59:23As always with women who try to find out things,

1:59:23 > 1:59:26she told more than she learnt.

1:59:26 > 1:59:27Now do you want to change your story

1:59:27 > 1:59:30about Lloyd beating at your door the other night?

1:59:30 > 1:59:32Please, please.

1:59:36 > 1:59:39That I should want you at all suddenly strikes me

1:59:39 > 1:59:41as the height of improbability.

1:59:41 > 1:59:45But that in itself is probably the reason.

1:59:45 > 1:59:50You're an improbable person, Eve, and so am I. We have that in common.

1:59:50 > 1:59:54Also a contempt for humanity, an inability to love and be loved.

1:59:54 > 1:59:58Insatiable ambition and talent.

1:59:58 > 2:00:01We deserve each other. Are you listening to me?

2:00:03 > 2:00:06- Then say so. - Yes, Addison.

2:00:06 > 2:00:11And you realise and you agree how completely you belong to me?

2:00:11 > 2:00:13Yes, Addison.

2:00:13 > 2:00:16Then take your nap, and good luck for tonight.

2:00:21 > 2:00:23I won't play tonight.

2:00:23 > 2:00:27I couldn't. Not possibly. I couldn't go on.

2:00:27 > 2:00:31"Couldn't go on"? You'll give the performance of your life.

2:00:45 > 2:00:46DOOR CLOSES

2:00:49 > 2:00:52And she gave the performance of her life.

2:00:52 > 2:00:55And it was a night to remember, that night.

2:00:55 > 2:00:58APPLAUSE AND CHEERING

2:01:05 > 2:01:08Honoured members of the Sarah Siddons Society,

2:01:08 > 2:01:11distinguished guests, ladies and gentlemen.

2:01:12 > 2:01:15What is there for me to say?

2:01:15 > 2:01:18Everything wise and witty has long since been said

2:01:18 > 2:01:23by minds more mature and talents far greater than mine.

2:01:23 > 2:01:26For me to thank you as equals would be presumptuous.

2:01:26 > 2:01:28I am an apprentice in the theatre,

2:01:28 > 2:01:32and have much to learn from all of you.

2:01:32 > 2:01:36Let me say only that I am proud and happy,

2:01:36 > 2:01:39and that I regard this great honour

2:01:39 > 2:01:42not so much as an award for what I have achieved,

2:01:42 > 2:01:45but as a standard to hold against what I have yet to accomplish.

2:01:45 > 2:01:48APPLAUSE

2:01:48 > 2:01:52And, further, that I regard it as bestowed upon me only in part.

2:01:53 > 2:01:58The larger share belongs to my friends in the theatre,

2:01:58 > 2:02:00and to the theatre itself

2:02:00 > 2:02:03which has given me all I have.

2:02:05 > 2:02:09In good conscience, I must give credit where credit is due.

2:02:10 > 2:02:14To Max Fabian. Dear Max.

2:02:14 > 2:02:18Dear sentimental, generous, courageous Max Fabian,

2:02:18 > 2:02:22who took a chance on an unknown, untried amateur.

2:02:22 > 2:02:23APPLAUSE

2:02:26 > 2:02:30To my first friend in the theatre,

2:02:30 > 2:02:34whose kindness and graciousness I shall never forget,

2:02:34 > 2:02:36Karen. Mrs Lloyd Richards.

2:02:36 > 2:02:38APPLAUSE

2:02:42 > 2:02:46It was Karen who first brought me to one whom I'd always idolised,

2:02:46 > 2:02:50one who became my benefactress and champion.

2:02:50 > 2:02:54A great actress and a great woman,

2:02:54 > 2:02:56Margo Channing.

2:02:56 > 2:02:58CHEERING

2:03:01 > 2:03:03To my director,

2:03:03 > 2:03:08who demanded always a little more than my talent could provide,

2:03:08 > 2:03:12but who taught me patiently and well,

2:03:12 > 2:03:14Bill Sampson.

2:03:14 > 2:03:16APPLAUSE

2:03:16 > 2:03:22And one without whose great play and faith in me,

2:03:22 > 2:03:24this night could never have been.

2:03:24 > 2:03:27How can I repay Lloyd Richards?

2:03:27 > 2:03:29APPLAUSE

2:03:29 > 2:03:32How can I repay the many others,

2:03:32 > 2:03:35so many, I couldn't possibly name them all,

2:03:35 > 2:03:39whose help, guidance, and advice

2:03:39 > 2:03:44have made this, the happiest night of my life, possible.

2:03:48 > 2:03:52Although I am going to Hollywood next week to make a film,

2:03:52 > 2:03:56do not think for a moment that I am leaving you.

2:03:56 > 2:03:58How could I?

2:03:58 > 2:04:01My heart is here in the theatre,

2:04:01 > 2:04:05and 3,000 miles are too far to be away from one's heart.

2:04:05 > 2:04:08I'll be back to claim it, and soon.

2:04:10 > 2:04:13That is, if you want me back.

2:04:13 > 2:04:16APPLAUSE

2:04:20 > 2:04:23Good night to you all, and to all, a good night.

2:04:30 > 2:04:34For services rendered beyond whatever it is of duty, darling.

2:04:39 > 2:04:40Come on, I'm the host.

2:04:40 > 2:04:44I got to get home before my guests start stealing the liquor.

2:04:47 > 2:04:49- Congratulations, Eve. - Thank you, Karen.

2:04:52 > 2:04:57- Congratulations, Miss Harrington. - Oh, thank you so much.

2:04:57 > 2:05:02Nice speech, Eve. But I wouldn't worry too much about your heart.

2:05:02 > 2:05:05You can always put that award where your heart ought to be.

2:05:08 > 2:05:10I don't suppose there's a drink left?

2:05:10 > 2:05:13- You can have one at Max's. - I don't think I'm going.

2:05:13 > 2:05:14Why not?

2:05:14 > 2:05:17Because I don't want to.

2:05:17 > 2:05:19I'm so happy for you, Eve.

2:05:19 > 2:05:20Thank you so much.

2:05:21 > 2:05:24Max has gone to a great deal of trouble.

2:05:24 > 2:05:26This is going to be an elaborate party and it's for you.

2:05:26 > 2:05:30No, it isn't. It's for this.

2:05:30 > 2:05:33- It's the same thing, isn't it? - Exactly.

2:05:34 > 2:05:37Here, take it to the party instead of me.

2:05:37 > 2:05:39You're being very childish.

2:05:39 > 2:05:43- I'm tired. I want to go home. - Very well. I'll drop you off.

2:05:43 > 2:05:46I shall go to the party alone. I have no intention of missing it.

2:07:09 > 2:07:12- Who are you? - Miss Harrington.

2:07:12 > 2:07:15- What are you doing here? - I... I guess I fell asleep.

2:07:18 > 2:07:20Please don't have me arrested.

2:07:20 > 2:07:22I didn't steal anything. You can search me.

2:07:22 > 2:07:24How did you get in here?

2:07:24 > 2:07:27I hid outside in the hall till the maid came to turn down your bed.

2:07:27 > 2:07:29She went out to get something and left the door open.

2:07:29 > 2:07:33I sneaked in and hid till she'd finished. Then I just looked around.

2:07:33 > 2:07:37I was afraid someone would notice the lights were on, so I turned them off.

2:07:37 > 2:07:38Then I guess I fell asleep.

2:07:38 > 2:07:40You were just looking around?

2:07:40 > 2:07:42- That's all. - What for?

2:07:42 > 2:07:45- You probably won't believe me. - Probably not.

2:07:45 > 2:07:47- It was for my report. - What report? To whom?

2:07:47 > 2:07:50About how you live, what kind of clothes you wear,

2:07:50 > 2:07:54what kind of perfume and books, things like that.

2:07:54 > 2:07:58You know the Eve Harrington Club that they have in most girls' high schools?

2:07:58 > 2:08:02- I've heard of them.- Ours was one of the first, Erasmus Hall.

2:08:02 > 2:08:06- I'm the president.- Erasmus Hall. That's in Brooklyn, isn't it?

2:08:06 > 2:08:08Lots of actresses come from Brooklyn.

2:08:08 > 2:08:10Barbara Stanwyck and Susan Hayward.

2:08:10 > 2:08:13Of course, they're just movie stars.

2:08:13 > 2:08:15You're going to Hollywood, aren't you?

2:08:15 > 2:08:17Mm-hm.

2:08:17 > 2:08:18From the trunks you're packing,

2:08:18 > 2:08:20you must be going to stay a long time.

2:08:20 > 2:08:22I might.

2:08:26 > 2:08:29That spilled drink's going to ruin your carpet.

2:08:29 > 2:08:31Maid'll fix it in the morning.

2:08:32 > 2:08:35I'll just clean up the mess.

2:08:35 > 2:08:36Don't bother.

2:08:36 > 2:08:39- How'd you get up here from Brooklyn?- Subway.

2:08:40 > 2:08:42How long does it take?

2:08:42 > 2:08:45With changing and everything, a little over an hour.

2:08:45 > 2:08:49It's after one now. You won't get home till all hours.

2:08:50 > 2:08:52I don't care if I never get home.

2:08:52 > 2:08:55BUZZER

2:08:55 > 2:08:57That's the door.

2:09:00 > 2:09:02You rest. I'll get it.

2:09:09 > 2:09:12Hello. Who are you?

2:09:12 > 2:09:15Miss Harrington's resting, Mr DeWitt.

2:09:15 > 2:09:16She asked me to see who it is.

2:09:16 > 2:09:18Well, we won't disturb her rest.

2:09:18 > 2:09:22It seems Miss Harrington left her award in the taxi cab.

2:09:22 > 2:09:23Will you give it to her?

2:09:24 > 2:09:28Tell me, how did you know my name?

2:09:28 > 2:09:31It's a very famous name, Mr DeWitt.

2:09:31 > 2:09:34- And what's your name? - Phoebe.

2:09:34 > 2:09:37- Phoebe? - I call myself Phoebe.

2:09:38 > 2:09:40And why not?

2:09:40 > 2:09:45Tell me, Phoebe, do you want someday to have an award like that of your own?

2:09:45 > 2:09:48More than anything else in the world.

2:09:48 > 2:09:50Then ask Miss Harrington how to get one.

2:09:51 > 2:09:54Miss Harrington knows all about it.

2:10:02 > 2:10:04Who was it?

2:10:04 > 2:10:07Just a taxi driver, Miss Harrington.

2:10:07 > 2:10:11You left your award in his cab, and he brought it back.

2:10:11 > 2:10:14Put it on one of the trunks, will you? I want to pack it.

2:10:14 > 2:10:17Sure, Miss Harrington.