Lux Radio Theatre - All About Eve

Summary

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Podcast Summary: Lux Radio Theatre – All About Eve

Podcast: Harold's Old Time Radio
Host: Harold's Old Time Radio
Episode Date: July 23, 2026
Stars: Ann Blythe (Eve), Claire Trevor (Margot), William Conrad (Bill), Don Randolph (Addison DeWitt)
Source: Lux Radio Theatre adaptation of “All About Eve” (original screenplay and Mary Orr’s story “The Wisdom of Eve”)

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Main Theme and Purpose

This episode features a radio-theatre adaptation of the classic film "All About Eve," exploring ambition, fame, rivalry, trust, and betrayal in the world of the theatre. The story is a sharp, witty, and insightful look at the cutthroat ambition of Eve Harrington as she insinuates herself into the life of famous actress Margot Channing, eventually threatening Margot’s career and personal relationships.

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Key Discussion Points and Insights

1. Setting the Stage: Eve’s Rise and Introduction

• Opening (02:43): The story begins at the prestigious Sarah Siddons Award ceremony, honoring Eve Harrington’s meteoric rise. The audience is introduced to the principal characters—critic Addison DeWitt, playwright Lloyd Richards and his wife Karen, director Bill Sampson, Margot’s loyal maid Birdie, and, of course, Margot Channing and Eve herself.
  • Memorable Quote:
    “Yes, this is Eve’s arm. Beautiful, radiant poise. She’s about to make her speech of acceptance. The hall rings with applause and bravos. Everyone is looking at Eve.” – Addison DeWitt (02:43)
• Flashback to the Rainy Night (03:06): The episode uses a reflective flashback structure, returning to the night a starstruck, seemingly innocent Eve first meets Karen Richards at the stage door. Eve’s tragic backstory elicits sympathy and gains her entry into Margot’s inner circle.

2. Ambition Unveiled: Eve’s Manipulation

• Eve’s Integration (13:46): Eve transitions from a fan to Margot’s personal assistant. Her devotion and anticipation of Margot’s needs makes her indispensable, but Birdie (Margot’s maid) grows suspicious of her motives.
  • Notable Moment: Birdie warns Margot, “She’s studying you, like you was a book or a play or a set of blueprints.” (16:00)
• Jealousy and Insecurity (19:02–20:54): Tensions rise during Bill’s homecoming party. Margot, feeling threatened by Eve’s youth and apparent perfection, becomes increasingly jealous and paranoid.
  • Memorable Exchange:
    Margot: “So young and so fair.”
    Bill: “I can’t believe you’re making this up. It sounds like something out of an old Clyde Fitch play.” (19:26–19:43)

3. The Understudy Scheme

• Eve Becomes Understudy (23:25): Eve maneuvers Karen into recommending her as Margot’s new understudy, ostensibly innocently. Margot is not informed—fueling her suspicions further.
• The Audition Incident (25:33–28:07): During an audition, Margot discovers not only that Eve is her understudy, but that Eve has performed brilliantly in her absence. Addison DeWitt sings her praises, deepening the wedge between Margot and her colleagues.
  • Quote:
    Addison DeWitt: “You were one [moment of revelation]. Eve Harrington is another.” (26:22)

4. Betrayal and Blackmail

• The Country Weekend (35:27–37:31): Karen and Margot are stranded when Eve sabotages their car to ensure Margot misses a show—leading Eve to triumphantly go on in her stead.
• Press Manipulation (40:03–43:09): Addison writes a glowing review of Eve’s performance, published when every key critic “coincidentally” attends. As the truth unravels, Karen confronts Eve, who, having tasted success, is willing to blackmail Karen for the lead in Lloyd’s new play.
  • Chilling Moment:
    Eve: “If I play Cora, Addison will never tell what happened, in or out of print. A simple exchange of favor.” (48:39)

5. Truth, Confrontation, and the Price of Ambition

• Addison’s Threat (54:57): Addison exposes Eve’s lies—her name, her past, and her manipulations—cornering her into his own control and emphasizing that, in the end, her ruthless ambition leaves her isolated.
  • Memorable Quote:
    Addison: “You and I. We have that in common. Also an inability to love. Insatiable ambition and talent. We deserve each other. Are you listening to me?” – (57:03)
• Closure and Reflection (57:50–59:00): The story comes full circle to the awards ceremony. Eve gives a gracious acceptance speech, but Margot and Karen, now wise to her tactics, see through her performance and warn a new ingénue about the cost of “getting ahead” in show business.

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Notable Quotes & Memorable Moments with Timestamps

• “You’re talented, famous, wealthy—people waiting around night after night just to see you. Even in the rain.” – Eve to Margot (04:57)
• “You may change this star anytime you want, for a new and fresh and exciting one, fully equipped with fire and music.” – Margot (29:43)
• “The piano realized it had not written the concerto.” – Lloyd (30:07)
• “A body with a voice and a great actress.” – Bill (31:18)
• “You really have a low opinion of me, haven’t you?” – Eve (46:45)
• “You’ll give the performance of your life.” – Addison to Eve, coercing her (57:22)
• “Congratulations, Eve.” “My, but I wouldn’t worry too much about your heart, darling. You know that little statue they gave you? You can always put that where your heart ought to be.” – Margot, with icy brilliance (58:25–58:37)
• Addison’s final advice for up-and-comers:
  “If you want to have an award like that, ask Eve Harrington how to get one. Ms. Harrington knows all about it.” (58:59)

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Timestamps for Key Segments

• Opening Scene & Sarah Siddons Awards: 02:43–03:06
• Eve’s Backstory Introduction: 07:01–07:59
• Eve Becomes Margot’s Assistant: 13:46
• Margot’s Jealousy Emerges: 19:02–20:54
• Eve Becomes Understudy: 23:25
• Eve’s Audition Triumph: 25:33–28:07
• Bill and Margot’s Breakup: 32:04–32:20
• Karen and Eve’s Weekend Plot: 35:27
• Eve’s Triumph as Understudy: 40:03
• Addison Exposes Eve: 54:57–57:17
• Ending at the Awards Ceremony: 57:50–59:15

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Summary of the Play’s Arc

• Humble and ingratiating, Eve Harrington rapidly intwines herself into Margot’s life.
• As her true ambitions are revealed, Eve manipulates colleagues, creating rifts, and ultimately blackmails her way into the lead role in Lloyd’s new play—all while maintaining the exterior of humility and innocence.
• Addison DeWitt exposes Eve’s true past and intentions, binding her to him through shared ambition and mutual cynicism.
• Though Eve achieves stardom, her manipulative rise warns of the moral and personal emptiness success can bring without integrity or true relationships.

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Tone and Language

The adaptation is both witty and biting, filled with sharp theatrical dialogue, clever banter, and layered exchanges that expose the ambitions, insecurities, and vulnerabilities of the characters. The performance captures both the glamour and the darkness of the theatre world, and the complex interplay of gratitude, jealousy, ruthlessness, and loneliness among the principal characters.

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For New Listeners

This radio adaptation of “All About Eve” is a brilliantly acted, tightly plotted story that remains as relevant today as in its original release. The episode is rich in drama, luminous with classic dialogue, and stands as an engrossing tale of talent, envy, manipulation, and the double-edged sword of ambition in show business.

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Transcript

[Announcer]

This episode sponsored by She's Bertie. Every woman knows that feeling, and she's Bertie knows it, too. The just in case feeling. Just in case I hear something. Just in case someone tries the door. Just in case I need to wake up fast. It's not fear. It's awareness. And Birdie Box from She's Birdie was made for exactly that. Birdie Box is a portable travel door alarm designed by She's Bertie for hotels, dorms, Airbnbs and anywhere you're staying away from home. It installs in seconds on the door frame, and if the door is opened, it activates a loud siren and flashing strobe to help draw attention instantly. She's because peace of mind should check in with you. Birdie Box by she's birdie visit she'sbirdie.com that's S-H-E-S-B-I-R-I-E.com and order your Birdie box before your next day away from home.

[Narrator]

Welcome to Hollywood. The Armed Forces Radio and Television Service brings you the Hollywood Radio Theater starring Ann Blythe and Claire Trevor in all about Eve. Ms. Blythe appears by arrangement with MGM, producers of the Technicolor picture the Last Time I Saw Paris, starring Elizabeth Taylor, Van Johnson, Walter Pidgeon and Donna Reed. Ladies and gentlemen, your producer, Mr. Irving Cumming.

[Producer Irving Cummings]

Greetings from Hollywood, ladies and gentlemen. Tonight we present another of our 20 greats. It's a recent motion picture which was immediately acclaimed as one of the screen's greatest comedies when 20th Century Fox brought All About Eve to the screen. Perhaps you had already read about Eve's unorthodox behavior in Mary Earl's original story, Wisdom of Eve. And tonight, I'm sure you'll be fascinated by a story again, as played by our stars, Ann Blythe and Claire Trevor. Ms. Trevor has graciously stepped in for Idolapino, who is ill now. Act one of All About Eve, starring Ann Blythe as Eve and Claire Trevor as Margot. To those of the New York theater, no other tribute, critical acclaim or glorification can approach the heights of recognition represented in the Sarah Siddons Award for Distinguished Achievement. A moment ago, this most cherished honor came to a young actress named Eve Harrington. Among the many eminent personalities present is the noted critic Alison DeWitt.

[Addison DeWitt]

Yes, this is Eve's arm. Beautiful, radiant poise. She's about to make her speech of acceptance. The hall rings with applause and bravos. Everyone is looking at Eve. All except Karen Richards. Karen has made a little pile of Crumbs on the tablecloth. She's patting him with a spoon, staring at it absently. I wonder what Karen Richard is thinking about.

[Eve Harrington]

Eve. Eve Harrington. Seems a lifetime ago. That rainy night in October, I hurried down the alley to the stage door. But where was she? Strange. I'd become so accustomed to seeing her here. Night after night, I found myself looking for a girl I'd never spoken, wondering where she was.

[Margot Channing]

This is Richard.

[Eve Harrington]

Oh, there you are. It seemed odd suddenly you're not being here. After all. Six nights a week for weeks, watching Margot Channing enter and leave a theater.

[Karen Richards]

Oh, I hope you don't mind my speaking to you. It took every bit of courage I could raise to speak to a playwright's wife.

[Eve Harrington]

I'm the lowest form of celebrity.

[Karen Richards]

You're Margot Channing's best friend. You and your husband are always with her.

[Eve Harrington]

Tell me, what do you do in between the time Margot goes in the theater and comes out? Just huddle and wait?

[Karen Richards]

Oh, no, no. I see the play.

[Eve Harrington]

See the play? You mean you've seen every performance?

[Karen Richards]

Yes.

[Eve Harrington]

Well, apart from everything else. Don't you find it expensive?

[Karen Richards]

Standing room doesn't cost much. I manage.

[Eve Harrington]

You're coming with me, young lady. I'm going to take you to Margot.

[Karen Richards]

Oh, no.

[Eve Harrington]

Oh, yes. She's got to meet you.

[Karen Richards]

Oh, no, no. I'd be imposing on her. I'd be just another tongue tied, gushing fan.

[Eve Harrington]

There isn't another like you. There couldn't be. By the way, what's your name?

[Karen Richards]

Eve. Eve Harrington.

[Eve Harrington]

Margot was in her dressing room. Lloyd, my husband, was with her. And of course, Bertie, Margo's maid.

[Birdie Coonan]

Oh, come on in, Karen. Margot's just been interviewed by a lady

[Bill Sampson]

reporter from the south.

[Lloyd Richards]

And the minute it gets printed, they're gonna fire on Gettysburg all over again.

[Margot Channing]

It was Fort Sumter. They fired on Birdie. Where's my cold cream? Lloyd, honey, be a playwright with guts and write me a play about a nice, normal woman who shoots her husband.

[Eve Harrington]

I find these wisecracks increasingly less funny. Margot Aged in Wood happens to be a fine and distinguished play.

[Birdie Coonan]

That's my loyal little woman.

[Margot Channing]

Oh, relax, K. It's just me and

[Eve Harrington]

my big mouth that you get me so mad sometimes. Of all the women in the world with nothing to complain about.

[Margot Channing]

Ain't it the truth? Yes, it is.

[Eve Harrington]

You're talented, famous, wealthy people waiting around night after night just to see you. Even in the rain.

[Margot Channing]

You mean autograph themes? Those little beasts?

[Eve Harrington]

They're your fans, your audience.

[Margot Channing]

They're nobody's audience. They Never see a play or a movie even. They're never indoors long enough.

[Eve Harrington]

Well, there's one indoors right now. I brought her back to see you.

[Margot Channing]

You what?

[Eve Harrington]

She's just outside the door.

[Karen Richards]

Uh, Birdie.

[Margot Channing]

Yeah, the heave ho.

[Eve Harrington]

You can't put her out, Margot. She worships you. You must have spotted her by now. She's always there.

[Margot Channing]

You mean the mousy one with the trench coat and the funny hat?

[Karen Richards]

Yeah. Come in, Eve.

[Eve Harrington]

Margot, this is Eve Harrington.

[Karen Richards]

How do you do, my dear?

[Lloyd Richards]

Oh, brother.

[Karen Richards]

Hello, Miss Channing. My husband.

[Birdie Coonan]

Hello, Miss Harrington.

[Karen Richards]

How do you do, Mr. Richards.

[Margot Channing]

And this is my dear friend and companion, Miss Bertie Coonan. Oh, brother.

[Producer Irving Cummings]

Oh.

[Birdie Coonan]

Oh, brother. What?

[Lloyd Richards]

When she gets like this, all of a sudden she's playing Hamlet's mother.

[Margot Channing]

Birdie, dear, I'm sure you must have things to do in the bathroom.

[Lloyd Richards]

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

[Eve Harrington]

Dear Birdie, I was just telling Margot and Lloyd how often you've seen the play.

[Karen Richards]

Oh, yes. Every performance.

[Birdie Coonan]

Well, then, am I safe in assuming

[Addison DeWitt]

that you like it?

[Karen Richards]

Oh, I'd like anything Miss Channing played in.

[Margot Channing]

Now, would you really?

[Karen Richards]

Isn't that so sweet? Your new play is for Miss Channing too, isn't it?

[Birdie Coonan]

Well, how'd you hear about it?

[Karen Richards]

There was an item in Addison de Witt's column. I like the title. Footsteps on the Ceiling.

[Birdie Coonan]

Let's get back to this one. Every performance, huh?

[Margot Channing]

Why, yes. There are other plays.

[Karen Richards]

Not with you in them. Not by Mr. Richard.

[Birdie Coonan]

But you must have friends, a home, family.

[Karen Richards]

No.

[Eve Harrington]

Tell us about it, Eve.

[Karen Richards]

If I only knew how. Try. Well, it started with the play before this one.

[Margot Channing]

Remembrance? You mean, did you see it here in New York?

[Karen Richards]

San Francisco. The most important night of my life. Until now. I found myself going the next night and the next and the next. And then when the show went east, I went east. Eve, why don't you start at the beginning? Oh, it couldn't possibly interest you.

[Margot Channing]

Please.

[Karen Richards]

No. Well, I guess it started back home. Wisconsin. There was just mom and dad and me. Farmers were poor in those days, so I quit school and became a secretary in a brewery. It wasn't much fun, but it helped at home. There was a little theater group there, like a drop of rain on the desert. That's where I met Eddie. We played Lilliam three times. Oh, I was awful. And when the war came, we got married. Eddie was in the air force. They sent him to the South Pacific. Then a letter arrived. Eddie had a leave coming up, and I went To San Francisco to meet him. But Eddie wasn't there. Just a telegram saying that Eddie was dead. I found a job and his insurance helped. And then one night, Margot Channing came to San Francisco in the play remembrance. And, well, here I am.

[Lloyd Richards]

What a story. Everything but the bloodhound snapping at her rear fender.

[Margot Channing]

Listen, Birdie, there are some human experiences that Even an ex 5th rate vaudevillian should understand and respect. I want to apologize for Birdie.

[Lloyd Richards]

Oh, sorry. It's just my way of talking.

[Karen Richards]

You didn't hurt my feelings, Ms. Coonan.

[Lloyd Richards]

Call me Birdie. Oh, hiya, Mr. Sampson.

[Bill Sampson]

Hiya, Bertie. For your information, Margot, my plane takes off in exactly 47 minutes. And how do I find you? Not ready yet and looking like a junkyard.

[Margot Channing]

Thank you, sir.

[Karen Richards]

Bill, this.

[Bill Sampson]

You know, the airlines have clocks, even if you haven't. I start shooting a week from Monday.

[Karen Richards]

Bill.

[Margot Channing]

I'm a junkyard. Bill, this is Eve Harrington.

[Bill Sampson]

Hi. My wonderful junkyard.

[Eve Harrington]

Hi.

[Bill Sampson]

The mystery and dreams you find in a junkyard. Oh, hello. What's your name?

[Karen Richards]

Eve. Eve Harrington.

[Eve Harrington]

You've already met, huh?

[Bill Sampson]

Where?

[Karen Richards]

Eve.

[Eve Harrington]

You're not going?

[Karen Richards]

Well, I think I'd better. It's been. Oh, I can hardly find the words to say how it's been. Been. Thank you. You just stick around.

[Margot Channing]

I tell you what. We'll put Mr. Stanislavski on his plane, you and I, and then go somewhere and talk.

[Karen Richards]

Well, if I'm not in the way.

[Margot Channing]

No, I'll shower and dress. I won't be a minute.

[Eve Harrington]

Yes? Bill was going to Hollywood to direct a picture. I can't remember why Lloyd and I couldn't go to the airport with them. But I do remember that as we

[Karen Richards]

left, Eve started talking a bit. So you're going to Hollywood, Mr. Samson?

[Bill Sampson]

Oh, just for one picture. Why?

[Karen Richards]

I just wondered.

[Bill Sampson]

Just wondered what?

[Karen Richards]

Why you'd want to go out there. I. I mean, when a man's the best and most successful young director in the theater.

[Narrator]

The theater?

[Bill Sampson]

What book of rules says the theater exists only in New York. Listen, Junior, and learn.

[Karen Richards]

Yes, Mr. Sands?

[Bill Sampson]

You want to know what the theater is? A flea circus. Also opera, rodeos, carnivals, ballets, Indian tribal dances, Punch and Judy. A one man. There's magic and make believe and an audience. It's all theater. You don't understand them all. You don't like them all. Well, why should you? The theater's for everybody, you included, but not exclusively. So don't approve or disapprove. It may not be your theater, but it's theater for Somebody, somewhere.

[Karen Richards]

I just asked a simple question.

[Bill Sampson]

And I shot my mouth off. Nothing personal, Junior. Hey, Margot. I'm gonna leave here in exactly three seconds.

[Margot Channing]

So am I, if I can find my code.

[Lloyd Richards]

It's right where you left it. Oh.

[Bill Sampson]

Any messages for Toronto Power?

[Narrator]

Bertie?

[Lloyd Richards]

Yeah. Give him my phone number.

[Margot Channing]

Say, Birdie, have you got the key?

[Lloyd Richards]

Well, I ain't forgot it yet.

[Margot Channing]

I'll see you at home in an hour. Eve, where are you going?

[Karen Richards]

Oh, you don't really want me tagging along.

[Margot Channing]

Now, don't be silly. Come on.

[Karen Richards]

This way.

[Margot Channing]

It's quicker if we cut across the stage. Bill, where is she? What happened to Eve?

[Bill Sampson]

She's at the desk picking up my tickets. She said we had so little time to be together.

[Margot Channing]

You know, she's quite a girl, Bill. I'd forgotten they grew that way anymore.

[Bill Sampson]

Yeah, that lack of pretense, that strange sort of understanding.

[Margot Channing]

Yes, isn't it silly? You know, suddenly I've developed a big protective feeling toward her. A lamb loose in our big stone jungle. Bill.

[Bill Sampson]

What?

[Karen Richards]

Take care of yourself out there.

[Bill Sampson]

I understand they have the Indians pretty well in hand.

[Margot Channing]

Just don't get stuck on some glamour puss, will you?

[Bill Sampson]

I'll try it.

[Margot Channing]

You're a setup for some gorgeous, wide eyed young babe.

[Bill Sampson]

How childish are you gonna get before you stop this?

[Margot Channing]

Well, I don't want to be childish, but I'll settle for just a few years.

[Bill Sampson]

You cut that out right now.

[Margot Channing]

Bill, am I going to lose you?

[Eve Harrington]

Am I?

[Bill Sampson]

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

[Karen Richards]

Everything's ready, Mr. Sampson.

[Narrator]

Oh.

[Bill Sampson]

Oh, thank you.

[Karen Richards]

Your tickets. They'd like you to get right on the plane.

[Bill Sampson]

You've been very helpful. Good luck.

[Karen Richards]

Goodbye, Mr. Sampson.

[Bill Sampson]

Margot. Knit me a muffler, huh?

[Karen Richards]

First, kiss me goodbye.

[Margot Channing]

Call me when you get in on the hour.

[Bill Sampson]

Hey, Junior, keep an eye on her. She's a loose lamb in a jungle.

[Margot Channing]

That same night, we went for Eve's things, her few pitiful possessions, and she

[Karen Richards]

moved into the little guest room.

[Announcer]

This episode sponsored by She's Bertie. Every woman knows that feeling. And she's Bertie knows it, too. The just in case feeling. Just in case I hear something. Just in case someone tries the door. Just in case I need to wake up fast. It's not fear, it's awareness. And Birdie Box from She's Birdie was made for exactly that. Birdie Box is a portable travel door alarm designed by She's Bertie for hotels, dorms, Airbnbs, and anywhere you're staying away from home. It installs in seconds. On the door frame. And if the door is opened, it activates a loud siren and flashing strobe to help draw attention instantly. She's because peace of mind should check in with you. Birdie box by she's birdie visit she'sbirdie.com that's S-H-E-S-B-I-R-I-E.com and order your Birdie box before your next. Stay away from home.

[Lloyd Richards]

Chu. Chu.

[Producer Irving Cummings]

Chu.

[Lloyd Richards]

Chu.

[Eve Harrington]

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[Margot Channing]

Eve became my sister, lawyer, mother, friend, psychiatrist and cop. Her quiet efficiency, her constant anticipation of my wishes drove Birdie mad. And I loved it. Yes, the honeymoon was on. Early one morning, the telephone awakened me. I was half groggy. Operator made no sense at all.

[Karen Richards]

We are ready with your call to Beverly Hills, California.

[Birdie Coonan]

Where?

[Karen Richards]

What call? We are ready with the call you

[Margot Channing]

placed for 12 midnight, California time to Mr. William Sampson in Beverly Hills.

[Karen Richards]

Go ahead, please.

[Bill Sampson]

Hello, Margo.

[Birdie Coonan]

Margot.

[Bill Sampson]

What a wonderful surprise.

[Narrator]

What a thoughtful, ever loving thing that do.

[Margot Channing]

Bill. Have I gone crazy?

[Bill Sampson]

Bill, you're my girl, aren't you?

[Margot Channing]

That I am.

[Addison DeWitt]

Then you're crazy.

[Margot Channing]

Oh, when are you coming back?

[Bill Sampson]

In a week. Well, I'm waiting. When are you going to say it?

[Margot Channing]

Oh, now, Bill, you know how much I do, but over a phone?

[Bill Sampson]

Not really.

[Margot Channing]

That's kid stuff, kid.

[Bill Sampson]

Stepping out. It doesn't happen every day. And if you won't say it, then you can sing it. Sing it like the Western Union boys.

[Producer Irving Cummings]

Yes, they do.

[Karen Richards]

Bill.

[Margot Channing]

It's your birthday and who remembered it?

[Bill Sampson]

Who was there on the.at 12 midnight?

[Karen Richards]

Happy birthday, darling.

[Narrator]

Well, the reading could have been better,

[Bill Sampson]

but you said it anyway. Hey, I got a party, don't I?

[Margot Channing]

Of course you do. Birthday and coming home. Who will I ask?

[Bill Sampson]

It's no secret. I know all about the party. Eve wrote me.

[Margot Channing]

Eve?

[Karen Richards]

She did?

[Bill Sampson]

Why, she hasn't missed a week since I left. But you know all about that. You probably tell her what to Write.

[Chumba Casino Advertiser]

Tell me.

[Bill Sampson]

How is Eve? Okay.

[Karen Richards]

Okay.

[Bill Sampson]

I love you.

[Margot Channing]

I'll check with Eve.

[Bill Sampson]

What?

[Margot Channing]

I love you, too. Good night, darling. I thought a lot about that phone call in the morning when Birdie came

[Karen Richards]

in with my breakfast.

[Lloyd Richards]

That's a silly question to ask me.

[Margot Channing]

Well, all I said was. You don't like Eve, do you?

[Lloyd Richards]

You want an argument or an answer?

[Margot Channing]

I'd like an answer.

[Eve Harrington]

No.

[Margot Channing]

Why not?

[Lloyd Richards]

Now you want an argument?

[Margot Channing]

Well, she's loyal and efficient, like an

[Lloyd Richards]

agent with only one client.

[Margot Channing]

She thinks only of me, doesn't she?

[Lloyd Richards]

I'll say.

[Margot Channing]

How do you mean that?

[Lloyd Richards]

Well, I'll tell you how like. Well, like she's studying you. Like you was a book or a play or a set of blueprints. How you walk, talk, eat, think, sleep.

[Margot Channing]

I'm sure that's very flattering, Birdie. And I'm also sure that.

[Karen Richards]

Morning.

[Margot Channing]

Oh, Eve.

[Karen Richards]

Good morning. I'm going downtown now, Miss Channing. Is there anything else you've thought of?

[Margot Channing]

Well, there's that script to take back to the Guild.

[Karen Richards]

I've got it.

[Margot Channing]

Oh, and those checks for the income

[Karen Richards]

tax man I write in this envelope. Well, it seems I can't think of a thing you haven't thought of. That's my job, Miss Channing.

[Margot Channing]

Eve, by any chance, did you place a call from me to Bill Sampson for midnight California time?

[Karen Richards]

Oh, golly, I forgot to tell you.

[Margot Channing]

Yes, dear, you forgot all about it.

[Karen Richards]

Oh, well, I was sure. Sure you'd want to, of course, being his birthday and you've been so busy.

[Eve Harrington]

Very thoughtful of you, Eve.

[Karen Richards]

Mr. Sampson's birthday. I couldn't forget that. You'd never forgive me. As a matter of fact, I sent him a telegram myself.

[Margot Channing]

Did you say something?

[Lloyd Richards]

Who said something?

[Margot Channing]

Don't.

[Narrator]

In a moment, we'll hear the second act of All About Eve. With our American servicemen stationed in many countries around the world, they have a wonderful opportunity to observe new customs and traditions. What might have seemed strange before is becoming pretty familiar to them. For instance, in many parts of the world, young girls of the villages are chosen to preside over festivities of the group. This is true not only in the more primitive tribes, but also in celebrations in Europe and Asia at the time of planting or harvest. The dancing and music that accompany these celebrations date back through the years. The finest costumes are brought out for the occasion. The girls are, of course, symbols of good luck. And in the times of antiquity, they were sacrificed to the gods to ensure fertility of the soil, to bring rain or to produce a good harvest. The ceremonies still survived. But today, these girls are honored as queens of the festivals. Well, as our servicemen have observed, we have the same tradition in our own culture. The citrus growers choose an orange queen, the cotton planters a cotton queen. Portland, Oregon chooses a rose queen. Portland, Maine chooses Miss Halibut. We have a Ms. America, Mrs. America, and even Miss Universe. Colleges and high schools choose a queen to reign over their Harvest Ball or Spring Festival. And so it goes. The same is true of other traditions and customs of all countries. The way of doing things may be different, but the ideals are the same. And it's by observing these customs that our servicemen are helping to maintain goodwill with other people in other lands. Now, our producer, Mr. Cummings.

[Producer Irving Cummings]

Act two of All About Eve. Starring Ann Blythe as Eve and Claire Trevor as Margo. With William Conrad as Bill.

[Margot Channing]

Bill's welcome home birthday party. A night to go down in history. Even before it started, I could smell disaster in the air. When I went down the stairs, I was surprised to find that Bill had already arrived.

[Bill Sampson]

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

[Margot Channing]

I thought you were going to be late. How long have you been here?

[Bill Sampson]

Oh, just a few minutes. I ran into Eve. She seemed so interested in Hollywood.

[Margot Channing]

She's a girl of so many interests.

[Bill Sampson]

Yeah, it's a pretty rare quality these days.

[Margot Channing]

A girl of so many rare qualities.

[Bill Sampson]

So she seems.

[Margot Channing]

So. You point it out so often. So many qualities. So often. And so young. So young and so fair.

[Bill Sampson]

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

[Margot Channing]

Clyde Fitch, although you may not think so, was well before my time.

[Bill Sampson]

I always denied the legend that you were in Our American Cousin the night Lincoln was shot.

[Margot Channing]

I don't think that's funny.

[Bill Sampson]

Oh, of course it's funny. Whipping yourself into a jealous froth because I spent 10 minutes with a stage struck kid.

[Margot Channing]

Stage struck kid? She's a young lady of qualities. And I'll have you know I'm fed up with both the young lady and her qualities. Studying me as if I were a play or a blueprint. How I walk, talk, think, act, sleep. As it happens, there are particular aspects of my life to which I would like to maintain sole and exclusive rights and privileges.

[Bill Sampson]

For instance, what?

[Margot Channing]

For instance, you.

[Bill Sampson]

This is my cue to take you in my arms and reassure you. But I'm not going to. I'm too mad. Too guilty mad. You know, darling, there are certain characteristics for which you are famous on stage and off. I love you for some of them. And in spite of others. They're part of your equipment for getting along in what is laughingly called our environment. You have to keep your teeth sharp. All right. But I will not have you sharpen them on me or on Eve.

[Margot Channing]

What about her teeth?

[Bill Sampson]

She hasn't even cut him yet and you know it. Eve Harrington has never indicated anything to me but her adoration for you and her happiness at our being in love. And to animate anything else spells a paranoiac insecurity that you should be ashamed of.

[Margot Channing]

Cut and print. What happened to the next reel? Do I get dragged off screaming to the snake pit?

[Karen Richards]

Excuse me, Miss Channing.

[Margot Channing]

Oh, yes, Eve.

[Karen Richards]

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

[Margot Channing]

Well, thank you, Eve. I'd like a martini, very dry and very double.

[Birdie Coonan]

I've been looking for you, Margot. Karen and I have to run along. It's been a swell party.

[Margot Channing]

Oh, well, where is King Karen? Upstairs, Lloyd.

[Birdie Coonan]

Yeah, getting her coat, I think.

[Margot Channing]

How's a new play coming along?

[Birdie Coonan]

Footsteps in the Ceiling. All right, I guess.

[Margot Channing]

And the girl, is she still 20?

[Birdie Coonan]

20 ish. It's not important.

[Margot Channing]

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

[Birdie Coonan]

Margo, you haven't got any age.

[Margot Channing]

Miss Channing is ageless. Spoken like a press agent. But I'm not 20ish. I'm not 30ish. Three months ago, I was 40 years old. 44. Oh, boy, that slipped out. I hadn't quite made up my mind to admit it.

[Birdie Coonan]

You've had another fight with Bill. Am I right?

[Margot Channing]

Bill is 32. He looks 32. He looked at five years ago, and he'll look at 20 years from now. I hate men. Don't worry, Lloyd. I'll play your play. I'll wear rompers and come in rolling a hoop if you like. Now get out of here. Go find your wife.

[Eve Harrington]

So nice have you to come upstairs with me.

[Karen Richards]

I just wanted to be sure you'd find your coat, Mrs. Richards.

[Eve Harrington]

Tell me, Eve, how are things going?

[Lloyd Richards]

Happy.

[Karen Richards]

Oh, there should be a new word for happiness. Being here with Ms. Channing. Oh, she's been so wonderful. Done so much for me.

[Eve Harrington]

You've done your share, too, Eve. Well, good night, Mrs. Richards. Karen.

[Karen Richards]

Karen, isn't it awful? I'm about to ask you for another favor after all you've done already.

[Eve Harrington]

Yeah, it's nonsense.

[Karen Richards]

It's just that Miss Channing's affairs are in such good shape now. And I heard that Miss Channing's understudy was going to have a Baby. And they'd have to replace her, so I.

[Eve Harrington]

You want to be Margot's new understudy?

[Karen Richards]

I don't let myself think about it, even. But I do know the part so well. And every bit of the staging. Oh, but suppose I had to go on one night to an audience that had come to see Margot Channing? Oh, no, no, I couldn't possibly.

[Eve Harrington]

Well, I wouldn't worry about that. Margot just doesn't miss performances. If she can walk, crawl or roll, she plays.

[Karen Richards]

The show must go on.

[Eve Harrington]

No, dear. Margot must go on.

[Karen Richards]

Matter of fact, I don't see why

[Eve Harrington]

you shouldn't be her understudy.

[Karen Richards]

Do you think she'd approve?

[Eve Harrington]

I think she'd cheer.

[Karen Richards]

Oh, but Mr. Richards and Mr. Sampson.

[Eve Harrington]

Stop worrying. They'll do as they're told.

[Karen Richards]

I seem to be forever thanking you for something, don't I? Good night, Karen.

[Eve Harrington]

Good night, dear.

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[Bill Sampson]

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[Eve Harrington]

So Eve became Margot's understudy. Naturally, I assumed that Margot approved. One afternoon, Margot went to the theater. Someone else was leaving the cast, and Margot had consented to help with an audition. A friend of Addison DeWitt, a Ms. Caswell, was trying out for the part.

[Karen Richards]

Margot.

[Addison DeWitt]

How nice to feel.

[Margot Channing]

Well, I should think you'd be in the theater, Alison, at the side of your protege, lending her moral support.

[Addison DeWitt]

Oh, but I did. The audition, however, is over.

[Margot Channing]

Well, it can't be. I came here to read with Miss Caswell.

[Addison DeWitt]

The audition was called for 2.30. It's now nearly 4.

[Karen Richards]

Is it real? Who read with Miss Caswell? Bill?

[Addison DeWitt]

No.

[Margot Channing]

Lloyd?

[Addison DeWitt]

No.

[Margot Channing]

Well, who then?

[Addison DeWitt]

Naturally enough. Your understudy.

[Margot Channing]

Well, I consider it highly unnatural to allow a girl in an advanced stage of pregnancies.

[Addison DeWitt]

I refer to your new understudy, Miss Eve Harrington.

[Margot Channing]

Eve? My understudy?

[Addison DeWitt]

Didn't you know?

[Margot Channing]

Of course I knew.

[Addison DeWitt]

Oh, it just slipped your mind?

[Margot Channing]

How was Miss Caswell?

[Addison DeWitt]

Frankly, I don't remember.

[Margot Channing]

Just slip your mind?

[Addison DeWitt]

Completely. Nor can anyone else tell you whether Miss Caswell read or wrote a pogo stick.

[Margot Channing]

Was she that bad?

[Addison DeWitt]

Margot, as you know, I have lived in the theater as a Trappist monk lives in his faith. And once in a great while, I experience that moment of revelation for which all true believers wait and pray. You were one. Eve Harrington is another.

[Karen Richards]

I take it you read well.

[Addison DeWitt]

It was something made of. Made of fire and music. Brilliant, vivid, unforgettable.

[Margot Channing]

How nice.

[Addison DeWitt]

In time, she'll be what you are.

[Margot Channing]

A mass of fire and music. That's me. An old kazoo with some sparklers. Tell me, was. Was Bill swept away too? Or were you too full of revelation to notice?

[Addison DeWitt]

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

[Margot Channing]

How nice for Lloyd. How nice for Eve. How nice for everyone.

[Addison DeWitt]

Eve was incredibly modest. She insisted that Lloyd felt as he did only because she read his lines exactly as he'd written them.

[Margot Channing]

The implication being that I have not

[Karen Richards]

been reading them as written.

[Addison DeWitt]

To the best of my recollection, neither your name nor your performance enter the conversation. Oh, well. May I give you a lift somewhere?

[Margot Channing]

No, I came here to help with an audition.

[Karen Richards]

I'll just run into them.

[Margot Channing]

No, I did come after all. I. You know, I must start wearing a watch. I. I never have, you know.

[Karen Richards]

Margot.

[Bill Sampson]

Well, how are you, darling?

[Margot Channing]

Well, I'm terribly sorry I'm late, Max. Lunch was long and I couldn't find a cab. Well, shall we start? Where's Miss Caswell? Oh, hello, Bill.

[Lloyd Richards]

Lloyd.

[Margot Channing]

Hello, Eve.

[Karen Richards]

Hello, Miss Channing.

[Bill Sampson]

It's all over, Margot.

[Margot Channing]

What's all over?

[Bill Sampson]

The audition. Eve read with Ms. Caswell.

[Margot Channing]

Eve? Well, how enchanting. However did you get the idea of letting Eve read?

[Birdie Coonan]

Well, she's your understudy.

[Margot Channing]

Eve? My understudy? I had no idea.

[Birdie Coonan]

She was put on over a week ago.

[Karen Richards]

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

[Margot Channing]

Really, Eve?

[Karen Richards]

Why, if you'd been here to begin with, I never would have dared to read. I couldn't have.

[Margot Channing]

Oh, and what a pity. All that fire and music going to waste.

[Bill Sampson]

What fire and music?

[Margot Channing]

Oh, you wouldn't understand.

[Karen Richards]

Why was dreadful, Mr. Channing, believe me.

[Margot Channing]

I'm sure you underestimate yourself, Eve. You always do.

[Birdie Coonan]

You'd have been proud of her, Margot.

[Margot Channing]

Eve was a revelation to you too, Lloyd.

[Birdie Coonan]

What do you mean by that?

[Margot Channing]

Well, I mean, among other things, it must have been a revelation to have a 24 year old character played by a 24 year old actress. Also, it must have seemed so. So new and fresh to you, so. So exciting to have your lines read just as you wrote them.

[Bill Sampson]

Oh, Addison. You've seen Addison.

[Margot Channing]

So full of meaning, fire and music.

[Bill Sampson]

You've been talking to that venomous fool.

[Birdie Coonan]

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

[Margot Channing]

Not mouse. Never mouse. If anything, rat.

[Birdie Coonan]

This genius of yours for making a bar room brawl out of perfectly innocent misunderstanding at most.

[Margot Channing]

Perfectly innocent men have been hanged for less. I'm lied to, attacked behind my back, accused of reading your silly dialogue inaccurately as if it were the holy gospel.

[Birdie Coonan]

I never said it was.

[Margot Channing]

Tell me. When you listen as if someone else has written your play, whom do you have in mind? Arthur Miller? Sherwood? Beaumont and Fletcher?

[Birdie Coonan]

What makes you think either Miller or Sherwood would stand for the nonsense I take from you? You better stick to Beaumont and Fletcher. They've been dead for 300 years.

[Margot Channing]

All playwrights should be dead for 300 years.

[Birdie Coonan]

That would solve none of their problems because actresses never die. The stars never die and never change.

[Margot Channing]

You may change this star anytime you want for a new and fresh and exciting one, fully equipped with fire and music.

[Birdie Coonan]

I shall never understand the weird process by which a body with a voice fancies itself as a mind? Just when exactly does an actress decide they're her words she's saying and her thoughts she's expressing?

[Margot Channing]

Usually at the point when she has to rewrite and rethink them to keep the audience from leaving the theater.

[Birdie Coonan]

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

[Karen Richards]

Well.

[Margot Channing]

And where is Princess Fire and Music?

[Bill Sampson]

Who?

[Margot Channing]

The kid, Junior.

[Bill Sampson]

He's gone.

[Margot Channing]

Well, I must have frightened her away.

[Bill Sampson]

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

[Margot Channing]

I'm nothing but a body with a voice, no mind.

[Bill Sampson]

What a body. What a voice. Now calm down. The gong rang the fight, so I

[Margot Channing]

will not calm down.

[Bill Sampson]

All right, don't calm down.

[Margot Channing]

And I will not be plotted against.

[Bill Sampson]

Oh, here we go.

[Margot Channing]

What do you take me for? Little Nell from the country? He's been my understudy for over a week. Arrives here for an audition when everybody knows I will be here and gives a performance.

[Bill Sampson]

You've been all through that with Floyd.

[Margot Channing]

Full of fire and music and whatnot. Carefully rehearsed, I have no doubt. Full of those Bill Sampson touches.

[Bill Sampson]

I am sick and tired of these paranoid outbursts. I didn't even know Eve Harrington was here under study until half past two this afternoon.

[Karen Richards]

Hell out, doctor.

[Margot Channing]

Along with the rest of it.

[Bill Sampson]

No, I'll tell it to you. For the last time, I'll tell it to you. I love you. You're a beautiful and intelligent woman.

[Margot Channing]

A body with a voice and a great actress.

[Bill Sampson]

You have every reason for happiness.

[Margot Channing]

Except happiness.

[Bill Sampson]

Every reason. But due to some uncontrollable unconscious drive, you permit the slightest action of a kid like. Of a kid like Eve to turn you into a hysterical screaming harpy. Now, once and for all, sir, stop it.

[Margot Channing]

It's obvious you're not a woman.

[Bill Sampson]

I've been aware of that for some time.

[Margot Channing]

Well, I am.

[Bill Sampson]

Yeah, I'll say. Now, come on, Margot. Let's make peace, huh?

[Margot Channing]

Terms are too high. Unconditional surrender.

[Bill Sampson]

Well, just being happy. Just stopping all this nonsense about Eve. About Eve and me.

[Margot Channing]

Not nonsense. I wish it were.

[Bill Sampson]

I said before it was going to be my last try and I meant it. I can't think of anything else to do. I wish I could. Goodbye, Marco.

[Margot Channing]

Bill, where are you going? To find Eve.

[Bill Sampson]

That suddenly makes the whole thing believable.

[Eve Harrington]

Bill. Frankly, Lloyd, I don't understand a word you're saying.

[Birdie Coonan]

Not only was Margot two hours late, but then that childish, heavy handed routine about not knowing Eve was her understudy.

[Eve Harrington]

Well, it's just possible Margo didn't know.

[Birdie Coonan]

Of course she knew. Addison told her. Karen, somebody's got to stop Margo now. How's gonna do it? Who's gonna give her that good boot she needs and deserves?

[Eve Harrington]

It's going to be a very cozy weekend, dear.

[Addison DeWitt]

Now, what weekend?

[Eve Harrington]

We are driving out to the country tomorrow. Night, Margot. You and I?

[Birdie Coonan]

Oh, well, we've spent weekends before with nobody talking. Just be sure to lock up all the blunt instruments.

[Eve Harrington]

Lloyd was right, of course. That boot Margo had coming to her, Heaven knows she deserved it. But how?

[Karen Richards]

How to do it?

[Eve Harrington]

And then it came to me, my boy. Big idea. After all, it'd be nothing more than a perfectly harmless joke.

[Karen Richards]

Which Margot herself would be the first to enjoy.

[Eve Harrington]

And no reason at all why she herself shouldn't be told about it. End time. My big idea required a telephone call.

[Margot Channing]

Hello?

[Eve Harrington]

Will you please call Ms. Harrington to the phone?

[Karen Richards]

Yes, Ms. Eve Harrington.

[Narrator]

In a moment. Act three of All About Eve. Captain John J. Degnan had never seen the French city of Royan, except from the air. During World War II, our Flying Fortresses were forced to destroy it almost entirely. It was during a critical time. The Battle of the Bulge. And Royal was a key point in the German supply line. But after the war, Captain Deignan got a bunch of his friends together to help the people of Royan. Not long afterwards, 600 babies wore clothes collected by his group, as did more than a thousand school children. These clothes possibly are still being worn by other children in Royan. Such acts by you and your friends today are shaping our world of tomorrow. We pause now for station identification.

[Producer Irving Cummings]

The curtain rises on act 3 of all about eve. Starring ann blythe as eve and claire trevor as margot. With don randolph as addison dewitt.

[Eve Harrington]

That was a cold weekend we spent in the country, but somehow we staggered through. Late Monday afternoon, my big idea went into operation. It's been purpose was to make Margot miss her performance so that Eve would have to take her place. All I did was drain the gas tank of the car. My timing was perfect. Margot missed her train and we sat there on the highway, the two of us, while Lloyd, cursing softly, went down the road in search of gasoline.

[Karen Richards]

Cigarette, Karen?

[Eve Harrington]

No. No, thank you, dear.

[Karen Richards]

I haven't been very pleasant this weekend.

[Eve Harrington]

We've all been a little tense lately.

[Margot Channing]

More than any two people I know,

[Karen Richards]

I. I don't want you and Lloyd to be angry with me.

[Eve Harrington]

How could we?

[Bill Sampson]

Your Margo.

[Karen Richards]

And what is that? Besides something spelled out in light bulbs, I mean. Besides something called a temperament, which consists mostly of swooping about on a broomstick and screaming at the top of my voice. Infants behave the way I do, you know. You know, they get drunk if they know how, when they can't have what they want. When they feel unwanted or insecure or unloved. What about Bill?

[Eve Harrington]

He's in love with you.

[Karen Richards]

More than anything in this world, I love Bill. And I want him to love me. But me, not Margo Channing. And if I can't tell them a

[Margot Channing]

thought, how can he? Karen, About Eve. I've acted pretty disgracefully toward her, too. Well, at best, let's say I've been oversensitive to.

[Karen Richards]

Well, to the fact that she's young, feminine, so helpless. To so many of the things I want to be for Bill.

[Eve Harrington]

Margaret, I want you to know how sorry I am about this.

[Karen Richards]

About what?

[Eve Harrington]

Getting stuck like this.

[Karen Richards]

I can't tell you how sorry I am. Don't give it a thought. One of destiny's merry pranks.

[Margot Channing]

After all, you didn't personally drain the gasoline tank.

[Narrator]

What?

[Margot Channing]

I said, you personally didn't drain the gasoline tanks.

[Addison DeWitt]

This is Addison DeWitt warning.

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[Eve Harrington]

Fantastic.

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[Addison DeWitt]

It is now my turn to tell you all about Eve. That night with Margot Channing Maroon in the country, Eve Harrington took her place on the stage. Her performance was magnificent. But one thing puzzled me. Why was I invited to that particular performance? How could anyone have known until curtain time when Margot failed to appear. Afterwards, I went backstage. Her dressing room door was closed. But I overheard a rather interesting conversation. Eve and Bill Sampson.

[Bill Sampson]

Well, you can be very proud of yourself, Eve. That was a wonderful job did tonight. I. I'll admit I had my doubts.

[Karen Richards]

You shouldn't have had any doubts.

[Bill Sampson]

Yes, you're right. With work and patience, you'll be a good actress. If that's what you want to be.

[Karen Richards]

Is that what you want me to be?

[Bill Sampson]

Well, I'm talking about you and what you want. So am I. Oh, what have I got to do with it?

[Karen Richards]

Everything.

[Bill Sampson]

The names I've been called but never Svengali. Good luck, Eve.

[Karen Richards]

Don't run, Bill. Don't run away.

[Bill Sampson]

From what would I be running?

[Karen Richards]

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

[Bill Sampson]

I'm foreign.

[Karen Richards]

Then face it. Ever since that first night here in

[Bill Sampson]

this theater, when I told you whatever a young actress should know, when you

[Karen Richards]

told me that whatever I became, it would be because of me.

[Bill Sampson]

Your makeup's a little heavy.

[Karen Richards]

And who are you?

[Bill Sampson]

You're quite a girl.

[Karen Richards]

You think

[Bill Sampson]

I'm in love with Margot? Haven't you heard?

[Karen Richards]

Hear all kinds of things.

[Bill Sampson]

I'm only human. Rumors to the contrary, and I'm as curious as the next man.

[Karen Richards]

Find out.

[Bill Sampson]

Oh, one thing. What I go after, I want to go after. I don't want it to come after me. You just score it as an incomplete forward pass.

[Addison DeWitt]

I waited a reasonable length of time. Then I, too, had a chat with Eve.

[Karen Richards]

It's so kind of you to stop by, Mr. DeWitt. And I'm. I'm so glad you like me tonight. But it's still Ms. Channing's performance. I'm just the carbon copy you read when you can't find the original.

[Addison DeWitt]

I've heard much about your modesty, Ms. Harrington, but I Find it just as false not to blow your horn at all as to blow it too loudly.

[Karen Richards]

One pretty good performance by an understudy, it'll be forgotten tomorrow.

[Addison DeWitt]

It needn't be.

[Karen Richards]

Why not? I'm a nobody.

[Addison DeWitt]

I am somebody.

[Karen Richards]

You certainly are.

[Addison DeWitt]

After you change, if you're not too busy, we could have supper.

[Karen Richards]

I'd love to.

[Addison DeWitt]

I shall want to do a column about you.

[Karen Richards]

I'm not even enough for a paragraph.

[Narrator]

No.

[Addison DeWitt]

I've heard your story, but only in bits. Your home in Wisconsin, your tragic marriage, your fanatical attachment to Margot. It started in San Francisco, didn't it?

[Karen Richards]

Yes. Yes, that's right.

[Addison DeWitt]

What theater in San Francisco was that, Eve? Was it the Shubert?

[Karen Richards]

Yes, the Schubert.

[Addison DeWitt]

Fine old theater, the Shubert. Full of dignity and traditions.

[Karen Richards]

Really, if I'm ever going to change. I'll only be a moment, Mr. DeWitt.

[Addison DeWitt]

Where would you like to go? Eve, we must make this a special night.

[Margot Channing]

You take charge.

[Addison DeWitt]

Thank you. I believe I will.

[Margot Channing]

Stop saying you can't believe it, Karen. It's right here in print, isn't it? By Addison DeWitt.

[Karen Richards]

Listen to this.

[Margot Channing]

Miss Harrington had much to tell me about the lamentable practice of permitting mature actresses to play roles requiring a youth and vigor of which they retain but a dim memory. I still can't about the understandable reluctance on the part of our entrenched first ladies of the stage to encourage younger actresses. About Miss Harrington's own long, unsupported struggle for the opportunity.

[Eve Harrington]

Eve couldn't have said anything like that.

[Margot Channing]

You know what gets me is how all the papers in town just happened to catch that particular performance last night. That little witch must have sent out Indian runners. Well, she's not going to get away with it. NOR Will Addison DeWitt and his poison pen. And don't try to tell me that

[Bill Sampson]

it came as soon as I read that piece of filth.

[Karen Richards]

Bill.

[Eve Harrington]

Oh, thank goodness.

[Bill Sampson]

Oh, Margo, I run all the way. Bill's here, baby. Everything's all right.

[Eve Harrington]

I guess at this point you and Margo might rather be alone.

[Bill Sampson]

Do you mind, Karen? Oh, Margo. Margo, baby. Thanks, Karen. We'll phone you later.

[Addison DeWitt]

That night, Eve and I were having a bit of supper in the Cub Room when they walked in. Margo, Bill, Lloyd. They seemed unusually happy and gay.

[Bill Sampson]

In brief, our big news is simply this. Margot and I are gonna get married.

[Margot Channing]

Glory hallelujah, Margo. When?

[Karen Richards]

When are you gonna do it?

[Bill Sampson]

We meet at City hall tomorrow morning at 10.

[Birdie Coonan]

City Hall? That's for prize fighters and reporters.

[Bill Sampson]

Oh, it's only for the license. There's a three day wait for blood tests.

[Margot Channing]

You know I'll marry you if it turns out you have no blood at all. What are you gonna wear? Oh, something simple. A fur coat over a pair of shorts.

[Bill Sampson]

No. The point is that, well, we want you to beside us as our nearest and dearest friends. Excuse me, Mrs. Richards?

[Margot Channing]

Oh, yes.

[Karen Richards]

Waiter.

[Bill Sampson]

This note, it's for you Miss Harrington sent.

[Eve Harrington]

Miss Harrington?

[Margot Channing]

Well, here, you read. It says, dear Karen, please forgive me for butting in, but it's most important that I speak with you. Please. And that's underlined. Please meet me in the ladies room, Eve.

[Bill Sampson]

I understand she's now the understudy in there after all.

[Birdie Coonan]

Maybe Eve just wants to apologize.

[Bill Sampson]

I'll go on. Karen.

[Margot Channing]

Karen. During all the years of our friendship, I've never let you go into the ladies room alone. Now I must, because I'm busting to find out what's going on in that feverish little brain waiting in there. Well, all right.

[Karen Richards]

Thank you for coming. Karen. I just had to speak to you. It's about Mr. DeWitt's column.

[Eve Harrington]

Are you going to tell me you didn't really say any of those things?

[Karen Richards]

All I know is that I tried to answer Mr. DeWitt's questions. You try to say what you mean, but somehow the words, they become his words. And suddenly you're not saying what you

[Margot Channing]

mean at all, but what he means.

[Karen Richards]

I just wanted you to know the responsibility is mine. And the disgrace?

[Eve Harrington]

Let's not get over dramatic.

[Karen Richards]

You really have a low opinion of me, haven't you?

[Margot Channing]

You'll be glad to know I've been told off in no uncertain terms all over town.

[Eve Harrington]

Eve, don't cry. After all, you still have a powerful friend in Addison De Witt.

[Karen Richards]

He's not my friend. You were my friends.

[Margot Channing]

I'll never get over this.

[Narrator]

Never.

[Eve Harrington]

Oh, yes, you will. You're very young and very talented. And believe it or not, if there's anything I can do.

[Karen Richards]

Well, there is something.

[Eve Harrington]

Yes, I think I know.

[Karen Richards]

Something most important you can do.

[Eve Harrington]

Lloyd's new play. You want me to tell Lloyd I

[Karen Richards]

think you should play the lead? If you told him to, he'd give me the part. He said he would.

[Eve Harrington]

Don't you know that part was written for Margo?

[Karen Richards]

It might have been 15 years ago. It's my part now.

[Margot Channing]

You've got to tell Lloyd it's for me.

[Eve Harrington]

I don't think anything in the world would make me say that.

[Karen Richards]

Addison wants me to play it.

[Eve Harrington]

Over my dead Body.

[Karen Richards]

That won't be necessary, Karen. E. Addison knows how Margo happened to miss that performance last night and how I happen to know she'd miss it in time to call him and notify every paper in town. You'd better sit down, Karen. You look a bit wobbly. If I play Cora, Addison will never tell what happened, in or out of print. A simple exchange of favor. I'm so happy I can do something for you at long last. Your friendship with Margot. Your deep, close friendship. What would happen, do you think, if she knew the cheap trick you'd played on her for my benefit? No. No. It'd be so much easier for everyone concerned if I were to play Cora. So much better theater, too. You do all that just for a

[Eve Harrington]

part in a play?

[Karen Richards]

I'd do much more for a part that good. Excuse me, Karen. Addison's waiting for me.

[Birdie Coonan]

Well, what happened, Karen?

[Karen Richards]

Nothing much.

[Eve Harrington]

She apologized.

[Margot Channing]

And with tears.

[Karen Richards]

With tears?

[Margot Channing]

Oh, very classy stuff. Lots of technique. Hey, groom. Why, may I have a wedding present?

[Bill Sampson]

What would you like? Texas?

[Margot Channing]

I want everybody to shut up about Eve. Just shut up about Eve. That's all I want. Never have I been so happy. So happy and forgiving. You know I forgive Eve. You know why I forgive Eve? She left good behind. The four of us here together. You know that's Eve's fault. I forgive her.

[Karen Richards]

And my Bill.

[Margot Channing]

Especially my Bill. She did that, too.

[Birdie Coonan]

You know. She probably means well.

[Margot Channing]

After all, she's a louse.

[Bill Sampson]

Never try to outgast Margot.

[Margot Channing]

Correct. Which brings me to you, Lloyd. Lloyd, I. I don't want to play Cora.

[Eve Harrington]

You what?

[Margot Channing]

Now, wait a minute, Karen. You've always been so touchy about his plays. It isn't the part. It's a great part. But not for me anymore. Not for a four square, upright, downright, forthright married lady.

[Birdie Coonan]

What's your being married got to do with it?

[Margot Channing]

Well, it means I finally got a life to live. I don't have to play parts I'm too old for just because I've got nothing to do with my nights. Oh, Lloyd, please understand.

[Karen Richards]

Please.

[Birdie Coonan]

Karen, what's so funny?

[Karen Richards]

Nothing.

[Bill Sampson]

Nothing.

[Margot Channing]

Everything is so funny. Everything.

[Addison DeWitt]

In due time, they were wed, Margot and Bill. Also in due time, rehearsals started for the new play starring Eve Harrington. Finally, the play was ready for its out of town opening in New Haven. That afternoon, I saw Eve at her hotel.

[Karen Richards]

Isn't it strange, Addison? I thought I'd be panic stricken.

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[Eve Harrington]

Fantastic.

[ZipRecruiter Advertiser]

So whether you need to hire four, 40 or 400 people, get ready to meet first rate talent. Just go to ZipRecruiter.com Zip to try ZipRecruiter for free. Don't forget that ZipRecruiter.com Zip finally, that ZipRecruiter.com zip I can't wait for tonight to come.

[Karen Richards]

To come and go.

[Addison DeWitt]

Are you sure of tonight?

[Karen Richards]

Aren't you?

[Addison DeWitt]

Frankly, yes.

[Karen Richards]

It'll bring me everything I ever wanted. The end of an old road, the beginning of a new one.

[Addison DeWitt]

All paved with diamonds and gold.

[Karen Richards]

You know me better than that.

[Addison DeWitt]

Paved with what then?

[Karen Richards]

Stars. What time is it?

[Addison DeWitt]

Almost four.

[Eve Harrington]

Good.

[Karen Richards]

Plenty of time for a nice long nap.

[Addison DeWitt]

You could sleep now, couldn't you?

[Karen Richards]

Why not?

[Addison DeWitt]

The mark of a true killer. Sleep tight. Rest Easy and come out fighting.

[Karen Richards]

Why did you call me a killer?

[Addison DeWitt]

Oh, did I say killer? I meant champion. I get my boxing terms mixed.

[Karen Richards]

Oh, by the way, there'll be a party here tonight. You'll come, won't you? We're having everyone up after the performance.

[Addison DeWitt]

We are?

[Karen Richards]

Lloyd and I. A few moments ago, I said that this would be a night to remember. I didn't mean just the theater.

[Addison DeWitt]

What else?

[Karen Richards]

Lloyd. He's going to leave Karen. We're going to be married.

[Addison DeWitt]

So that's it. Still just the theater, after all.

[Karen Richards]

It's nothing of the kind. Lloyd loves me.

[Addison DeWitt]

I know nothing of Lloyd and his lovers. I leave those to Louisa May Alcott. But I do know you.

[Karen Richards]

I'm in love with Lloyd. Oh, Addison, won't it be just perfect? Oh, there's no telling how far we can go. He'll write great plays for me, and I'll make them great. You're the only one I've told. The only one who knows, except Lloyd and me.

[Addison DeWitt]

And Karen.

[Karen Richards]

She doesn't know.

[Addison DeWitt]

She knows enough not to be here.

[Karen Richards]

But not all of it. Not that Lloyd and I are going to be married. Well, say something. Anything. Congratulations.

[Narrator]

School.

[Karen Richards]

Good work. Eve.

[Addison DeWitt]

What do you take me for? Is it possible, even considering that you've confused me with that gang of gullible children you've played tricks on? I'm nobody's fooly, least of all yours.

[Karen Richards]

I never intended you to be.

[Addison DeWitt]

Yes, you did, and you still do.

[Karen Richards]

I still don't know what you're getting at.

[Addison DeWitt]

You know it as well as I do that Lloyd may leave Karen, but he will not leave her for you.

[Karen Richards]

What do you mean by that?

[Addison DeWitt]

You will not marry Lloyd Richards, or anyone else for that matter, because I will not permit it.

[Karen Richards]

Will not permit it? Oh, that sounds medieval. Something out of an old melodrama.

[Addison DeWitt]

So does the history of the world for the past 20 years, frankly. Frankly, I hope somehow you'd have known that. You'd have taken it for granted that you and I.

[Margot Channing]

You and I. Oh, no.

[Addison DeWitt]

Now, remember, as long as you live, never to laugh at me. At anything or anybody else, but never at me. Now, to begin with, your name is not Eve Harrington. It's Gertrude Slezinski.

[Margot Channing]

Get out.

[Addison DeWitt]

It's true that you worked in a brewery, but life among the malt and hops was apparently not as dull as you pictured it. In fact, it got less and less dull until your boss's wife had your boss followed by detectives.

[Karen Richards]

She never proved anything?

[Margot Channing]

Not a thing.

[Addison DeWitt]

But the $500 you were paid to

[Narrator]

get out of town.

[Addison DeWitt]

Brought you straight to New York, didn't it?

[Margot Channing]

She was a liar. She was a liar.

[Addison DeWitt]

There was no Eddie, no pilot. You've never been married. San Francisco has no Shubert Theater. You've never been to San Francisco. That was a stupid lie. Not worthy of you.

[Karen Richards]

I had to meet my Margot.

[Margot Channing]

I had to say something, be somebody. Make her like me.

[Addison DeWitt]

And she did like you. She helped you and trusted you. You paid her back by trying to take Bill away.

[Karen Richards]

That's not true.

[Addison DeWitt]

After you failed with Bill, you used my name and my column to blackmail Karen, to getting you the part of Cora. And you lied to me about it.

[Karen Richards]

No, no, sweetie.

[Addison DeWitt]

I had lunch with Karen not three hours ago. As always with women, she told more than she learned. That I should want you at all suddenly strikes me me is the height of improbability. But that in itself is probably the reason. You are an improbable person, Eve. So am I. We have that in common. Also an inability to love. Insatiable ambition and talent. We deserve each other. Are you listening to me?

[Karen Richards]

Yes, Addison.

[Addison DeWitt]

Then you realize, and you agree how completely you belong to me.

[Karen Richards]

Yes, Addison.

[Addison DeWitt]

Then take your nap and good luck for tonight.

[Margot Channing]

I won't go on tonight.

[Karen Richards]

I couldn't.

[Addison DeWitt]

You'll give the performance of your life.

[Margot Channing]

I won't. I won't. I can't.

[Addison DeWitt]

But of course, she did go on. And ever since, her triumph has endured. That's why she's here tonight, here at the Sarah Sitton Society. Eve is now in the daze, so gracious, so modest. Telling the distinguished guests that the award belongs not to her, but to those who made it possible. Margot and Karen, Bill and Lloyd. Let's listen.

[Karen Richards]

Well, without their kindness and friendship and faith and confidence in me, this night could never have been. How can I ever repay them? Although I'm going to Hollywood next, do not think for a moment that I am leaving you. My heart is here in the theater. I'll be back to claim it, and soon. That is, if you want me back.

[Eve Harrington]

Congratulations, Eve.

[Karen Richards]

Thank you, Karen.

[Margot Channing]

Nice speech, Eve.

[Karen Richards]

Thank you.

[Margot Channing]

My, but I wouldn't worry too much

[Karen Richards]

about your heart, darling.

[Margot Channing]

You know the little statue they gave you? You can always put that where your

[Karen Richards]

heart ought to be. Oh, Mr. DeWitt.

[Addison DeWitt]

Why, Miss Caswell, how nice to see you again.

[Karen Richards]

Isn't she wonderful, Mr. DeWitt?

[Addison DeWitt]

There's no one like Eve, Miss Caswell. No one in the world. Oh, tell me, Miss Caswell, do you want someday to have an award like that of your own?

[Karen Richards]

Oh, more than anything.

[Addison DeWitt]

Then you must ask Eve Harrington how to get one. Ms. Harrington knows all about it.

[Narrator]

In a moment, our stars will return. Make a friend and you make an ally. There's a thought for you to keep in mind, as many another American has. That's a thought which the 4H clubs of America had in mind. When they began sponsoring the International Farm Youth Exchange. The main purpose of the IFYE is to select young farmers, or those who've majored in university agricultural courses, whom they send abroad for short periods to work with the people and promote understanding and friendship. Last summer, for example, three young California farmers were chosen to spend four to five months in Ecuador. While there, they visited farms, discussed agriculture with the people and lent what assistance they could. The work of these grassroots ambassadors, as they are called, is voluntary. For although their trips are sponsored by the 4H clubs in their neighborhood, the major portion of their expenses is paid by the young farmers themselves. Their work can in no way be considered charity, because they learn as much from people in other countries as those people learn from them. Yes, members of the International Farm Youth Exchange have learned the secret of international understanding. That by helping others, you help your country. Now, here's Mr. Cummings with our stars.

[Producer Irving Cummings]

And here they are Ann Blythe and Claire Trevor. And, my dear, I'm shocked, simply shocked, to hear you portray such an unscrupulous young woman.

[Karen Richards]

Oh, I've played several of them before, Irving.

[Margot Channing]

And beautifully, too. You know, I'll never forget Anne's performance

[Karen Richards]

as the daughter in Mildred Pierce. Oh, thank you very much, Claire. But, you know, I hope it's understood now that although I love playing characters like Eve, I don't approve of them at all.

[Producer Irving Cummings]

We know that, Anne, but I think that's why you and Claire like to play them. You really have to act, Claire.

[Karen Richards]

If you were to play something besides the wicked women you do so well, what would you choose?

[Margot Channing]

Well, darling, let's see. Oh, I think I'd like to be a musical comedy queen. Dancing on a cloud and singing like an angel. Incidentally, congratulations on your receiving Modern Screens Award as the most popular actress of the year.

[Karen Richards]

Thank you very much, Clinton. I was really surprised and so pleased. Now, Irving, before we say goodbye, how about next week's play?

[Producer Irving Cummings]

It's an exciting drama of terror and suspense. The horrifying experience of a young girl who believes she killed a man. And the newspaper man who tries to vindicate her. It's the thrilling Warner Brothers picture, the Blue Gardenia. And as our stars, a dynamic actress, Ruth Roman. And one of your top favorites, Dana Andrews.

[Margot Channing]

Well, it really sounds exciting. Good night. Oh, and Ida, darling, hurry and get well. Yes.

[Karen Richards]

Good night, everybody.

[Producer Irving Cummings]

Good night.

[Narrator]

Hollywood Radio Theater is produced by Irving Cummings. Our orchestra is directed by Rudy Schrager. This is your announcer, Ken Carpenter, inviting you to be with us again next week at this same time for another presentation of the Hollywood Radio Theater. This is the United States Armed Forces Radio and Television Service.

[Karen Richards]

Sam.

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[ZipRecruiter Advertiser]

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[Eve Harrington]

Fantastic.

[ZipRecruiter Advertiser]

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[Eve Harrington]

That's it.

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