Episode 443 - Stars of "All About Eve"

Summary

Stars on Suspense (Old Time Radio)
Episode 443 – Stars of "All About Eve"
March 12, 2026
Host: Mean Streets Podcasts

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Episode Overview

This episode of "Stars on Suspense" is a celebration of legendary Hollywood actresses Bette Davis and Anne Baxter, the iconic leads of the film "All About Eve." The podcast offers an enthralling journey through radio suspense classics, featuring performances by both stars. The episode includes three segments:

1. "Always Room at the Top" (Suspense, 1947) starring Anne Baxter
2. "Goodnight, Mrs. Russell" (Suspense, 1949) starring Bette Davis
3. "All About Eve" (Lux Radio Theater, 1951) – a radio dramatization featuring Davis, Baxter, and original cast members

Throughout, listeners are treated to the actresses' dramatic range across themes of ambition, obsession, murder, and betrayal, all encapsulated within old-time radio’s atmospheric style.

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Key Discussion Points & Insights

Tribute to "All About Eve" and Its Stars

• The host frames the episode as a dual homage: to "All About Eve"—the Oscar-winning, darkly comic drama of aging star Margot Channing and her ambitious protegée Eve Harrington—and to its celebrated stars.
• Context: "All About Eve" won six Oscars (including Best Picture), was lauded for its sharp dialogue and incisive portrayal of ambition in the theater, and gave both Bette Davis and Anne Baxter some of their most memorable roles.

[00:52] Host/Narrator:
"All this month, we're spotlighting movies that took home the Oscar for Best Picture. And this week, our movie is All About Eve, Joseph Mankiewicz's biting dark comedy... The picture's two stars, Bette Davis and Anne Baxter, were also Oscar nominated for their performances."

• The host introduces the episode’s structure, building anticipation: "Fasten your seatbelts. We've got three great shows starring a pair of classic Hollywood actresses." ([01:56])

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Segment 1: "Always Room at the Top" (Anne Baxter) [08:42–34:06]

Synopsis

• Anne Baxter plays Helen Brandt, a determined art director caught up in office intrigue after the mysterious death of her predecessor, Jean Thornton.
• The story unfolds with classic noir elements—a tense job interview, murder, blackmail, and moral ambiguity.

Notable Moments & Dialogue

• Ambition and Cynicism:
  Helen's ruthless desire for success is established early.

  [09:24] Helen (Anne Baxter):
  "I'm not a lot of other people. I think I've got ability and you know it... I'm sick of being brushed off."

• Atmosphere of Suspense:
  The shock of witnessing a body fall from the building is described in vivid, radio-perfect detail.

  [11:39] Helen (Baxter):
  "Look, I saw the body falling and the scream came to us at the same moment. We stood there, frozen, horrified."

• Morality vs. Success:
  Helen leverages the tragedy for career advancement, underscoring the cynical tone.

  [13:21] Helen:
  "You're going to have to have a new art director... And I've been trying to see her for months. And now you're on a spot."

• Psychological Manipulation:
  The sinister secretary, Marie, plays a pivotal role in ramping up the intrigue, warning Helen of office dangers.

  [15:02] Marie:
  "By previous experience, does it mean just in the advertising business, any experience that might be applicable?... there's always the possibility of suicide. I suppose you've thought of that... Or murder."

• Climactic Twist:
  In a series of revelations, it’s uncovered that Jean faked her own death as part of an insurance and embezzlement scheme, Marie blackmails both Jean and Bill, and Helen is left caught in noirish existential dread.

Thematic Takeaways

• Ambition Corrupted: Desperate pursuit of the top leads to moral compromise.
• Paranoia: In corporate and personal relationships, no one is trustworthy.
• Women in Power: The roles and limitations of women in mid-century professional spaces, wrapped in double-crosses and secret alliances.

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Segment 2: "Goodnight, Mrs. Russell" (Bette Davis) [37:46–66:04]

Synopsis

• Bette Davis stars as Mrs. Russell, a middle-aged widow whose ordinary life turns harrowing after she befriends Henry, a lonely, disturbed café owner, who descends into madness and threatens her life.

Notable Moments & Dialogue

• Establishing Normalcy:
  Mrs. Russell’s solitary routine and gentle interaction with Henry.

  [40:29] Mrs. Russell:
  "He was always especially nice to me. I suppose that was because I'm, well, a little older than the others..."

• Henry’s Growing Unhinged:
  The escalation from mild eccentricity to paranoia and danger is gradual and chilling.

  [52:04] Henry:
  "Yes, I did, Mrs. Russell. I didn't want to kill you at the café, you see. Kill me? Yes, Mrs. Russell. Kill you... dead."

• Descent Into Darkness:
  Davis’s character is kidnapped, tied up, and menaced in a locked room.

  [53:17] Henry:
  "You'll lie here in the dark and listen to the clock for half an hour. Just half an hour, Mrs. Russell. Then I'll kill you..."

• Using Wit for Survival:
  Mrs. Russell uses conversational trickery and appeals to Henry's ego to buy time and eventually escape.

  [55:49] Mrs. Russell:
  "Henry, you are torturing yourself more than you are me, Henry. Do you know that?"

• Climactic Tension:
  After a harrowing escape and chase, the resolution is left unnervingly unresolved, with Henry reclaiming her.

  [62:34] Henry:
  "You shouldn't have tried to get away, Mrs. Russell. You made me very mad..."

Thematic Takeaways

• Isolation and Vulnerability:
  The dangers faced by women alone, especially those overlooked by society.
• Paranoia and Mental Illness:
  Radio’s ability to create psychological horror through monologue and off-screen threats.
• Davis’s Range:
  Bette Davis brings world-weary intelligence, resourcefulness, and terror to the character of Mrs. Russell.

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Segment 3: "All About Eve" (Lux Radio Theater, 1951) [67:57–End]

Synopsis

• A full-length radio adaptation of the film, starring Bette Davis (Margot Channing), Anne Baxter (Eve Harrington), and original cast members as the ambitious Eve insinuates herself into the life of the revered actress Margot, ultimately attempting to usurp her professional and personal worlds.

Major Scenes & Quotes

• Opening Awards Ceremony:
  The story is framed with Eve winning the Sarah Siddons Award.

  [70:13] Addison DeWitt:
  "Yes, this is Eve's hour. Beautiful, radiant, poised..."

• Eve’s First Contact with Her Idols:
  The brilliant introduction scene is recreated.

  [75:00] Eve (Baxter):
  "I guess it started back home. Wisconsin, that is... There was just Mom and Dad and me. Farmers were poor..."

• Margot’s Wit and Vulnerability:
  Bette Davis delivers Margot’s legendary barbs:

  [72:08] Margot (Davis):
  "Write me a play about a nice, normal woman who just shoots her husband."

  [87:14] Margot:
  "So young and so fair."

  [87:43] Margot:
  "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..."

• Ambition Unmasked:
  Eve’s subterfuge, flattery, and calculated manipulation are revealed piece by piece, culminating in Addison’s exposure of her lies.

  [121:57] Addison DeWitt:
  "Your name is not Eve Harrington. It's Gertrude Schlesinski... There was no Eddie, no pilot. You've never been married... You're an improbable person, Eve, and so am I. We have that in common..."

• Margot’s Growth:
  In a powerful scene, Margot renounces the role that once defined her for the sake of love and self-respect.

  [117:48] Margot:
  "It isn't the part. It's good. A great part in a fine play. But not for me anymore. Not for a four square, upright, downright, forthright married lady..."

• The Final Irony:
  The cyclical nature of ambition is highlighted in the play’s celebrated ending as a new ingénue appears, eager to repeat Eve's ascent.

Thematic Takeaways

• Fame’s Double-Edged Sword:
  How success breeds envy, manipulation, and ultimately emptiness.
• Aging and Insecurity:
  Margot’s battle with time, insecurity, and her place in the spotlight.
• Ambition Without Scruples:
  Baxter’s Eve as the personification of ruthless desire, her rise echoing show-business archetypes that are timeless.

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Memorable Quotes & Moments

• "Fasten your seatbelts. We've got three great shows starring a pair of classic Hollywood actresses." ([01:56] Host)
• "Just do your job the way you've been doing it, and you’ll be all right." ([22:06] Bill, "Always Room at the Top")
• "You said four is lucky. Don’t you see, Mrs. Russell? Number four is lucky. You said four for four." ([54:19] Henry, "Goodnight, Mrs. Russell")
• "The theater’s for everybody, you included, but not exclusively... It may not be your theater, but it’s theater for somebody, somewhere." ([78:12] Bill Sampson, "All About Eve")
• "Margot Channing is ageless." ([89:30] Margot)
• "She was a revelation... full of fire and music." ([95:01] Bill and Addison, on Eve)
• "You're an improbable person, Eve, and so am I. We have that in common. Also an inability to love, insatiable ambition, and talent. We deserve each other." ([122:49] Addison DeWitt)
• "Never try to outguess Margot." ([117:32] Bill)
• "That little statue they gave you, you can always put it where your heart ought to be." ([124:55] Margot)

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Timestamps for Important Segments

• Episode Introduction & Tribute to "All About Eve" – [00:52–02:52]
• Anne Baxter in "Always Room at the Top" (Suspense) – [08:42–34:06]
• Bette Davis in "Goodnight, Mrs. Russell" (Suspense) – [37:46–66:04]
• "All About Eve" (Lux Radio Theatre, full play) – [67:57–End (~127:54)]
• Classic Confrontation: Margot & Bill’s Jealousy Scene – [86:45–90:32]
• Margot Renounces the Lead to Eve – [117:48]
• Addison Unmasks Eve – [121:57]
• All About Eve’s Famous “Cycle of Ambition” Ending – [125:07–End]

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Tone and Style

The episode maintains a reverent, literate, and theatrical tone—honoring old-time radio’s richly scripted and dramatically performed stories. The host’s style is enthusiastic yet measured, offering just enough context to frame the stories without overshadowing the legendary performances.

The dialogue, particularly in the "All About Eve" segment, is loaded with wit, psychological insight, and biting one-liners delivered in the original voices of the era’s greatest stars.

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Conclusion

This podcast episode is a must-listen for fans of "All About Eve," classic Hollywood, and radio theater. It vividly illustrates the allure and dangers of ambition, the ferocity of show business, and the enduring legacy of two of cinema’s greatest leading ladies.

"Stars on Suspense" masterfully resurrects the tension, glamour, and psychological complexity of midcentury entertainment—reminding us why Davis and Baxter remain icons, and why these radio thrillers still captivate."

Transcript

[Announcer]

Would you hand me that, please?

[Bill Sampson]

Thank you. Now, let's see.

[Announcer]

Survey. Survive. Susanna. Suspect. Ah, here we are. Suspense. Meaning held in doubt, expressing doubt. The state of being uncertain, undecided or insecure.

[Bill Sampson]

State of anxious expectation or waiting for

[Announcer]

information such as to keep one in suspense. Therefore delay acquainting him with what he is eager to know. Suspense.

[Narrator]

Hello and welcome to Stars on Suspense with more Hollywood legends and radio's outstanding theater of thrills. All this month we're spotlighting movies that took home the Oscar for Best Picture. And this week, our movie is All About Eve, Joseph Mankiewicz's biting dark comedy about an aging Broadway leading lady and the ambitious younger fan with a plan to steal her career. Nominated for 14 Oscars, it won six along with Best Picture. It also took home Best Director, Best Adapted Screenplay, and Best Supporting Actor for George Sanders. The picture's two stars, Bette Davis and Anne Baxter, were also Oscar nominated for their performances. And today we'll hear both of them on suspense and in a Lux Radio Theater recreation of the film. All About Eve can be rented or purchased digitally through your preferred retailer. You can also find it on Blu Ray in a two disc set from the Criterion Collection. Anne Baxter opens the program today in Always Room at the Top, a suspense show from February 20, 1947. Then the great Bette Davis makes her one and only suspense appearance in Goodnight, Mrs. Russell from October 20, 1949. And finally, the two leading ladies reunite as the Lux Radio Theater presents All About Eve in a broadcast from October 10, 1951. Fasten your seatbelts. We've got three great shows starring a pair of classic Hollywood actresses. We'll kick things off with Anne Baxter right after these messages.

[Announcer]

There's a common phrase that's being kicked around in your house and mine more and more every day, and that is high cost of living. Sound familiar? I bet it does. I'm sure you've heard Mother and Dad mention it more often than once, and you will undoubtedly hear it many more times as the days go by. Now, just in case you're hazy on exactly what it means, let me give you a rough idea. It means that the cost of your clothes and food has gone up to a point where the family budget has become somewhat strained. Well, that's one of those things. And you can't be expected to increase the family income. But there are some things you can do to help. For instance, take better care of your clothes when you come home from school. Change into old clothes before you go out to play. Take care of your health. Because doctors and medicines are expensive. Eat well, but don't waste. Take your full share, but eat all you take. Try not to ask Mother and Dad to buy you things you don't actually need. Make the best of the most of what you've got. Try to be more than usually careful of your school equipment, such as paper, pencils and so forth. Make them last and go as far as you possibly can. Remember that all members of a family must pull together at a time like this. So do your share.

[Bill Sampson]

Let's turn back the clock about 24 hours and drop in on Mr. And Mrs. Johnson. They're just returning from a football game. Well, here we are.

[Announcer]

Home at last. And boy, am I hungry.

[Margot Channing]

So am I.

[Eve Harrington]

Let's start thinking about some food. Big juicy hamburgers, maybe.

[Announcer]

Say, that's for me. With plenty of catsup.

[Karen Richards]

Uh huh.

[Eve Harrington]

Del Monte Catsup. It has such marvelous flavor.

[Bill Sampson]

And Mrs. Johnson really knows her catsup. Del Monte Catsup. The zestiest, liveliest catsup that ever pleased a man. Now that football season is in full

[Announcer]

swing, you'll find Del Monte Catsup a bigger help than ever.

[Bill Sampson]

When planning lunches before the game or supper afterwards.

[Eve Harrington]

It's a smart hostess who serves hearty

[Margot Channing]

food and lots of it, with plenty

[Eve Harrington]

of Del Monte Catsup.

[Margot Channing]

Handy to add bright, rich, spiced tomato flavor.

[Bill Sampson]

Yes, that marvelous tomato flavor you find in Del Monte Catsup. The only catsup made with pineapple vinegar. That superlative vinegar that coaxes out all the best in tomato flavor. Remember, for real zip and zest, it's Del Monte Catsup every time. Next time you go shopping, look for Del Monte Catsup.

[Eve Harrington]

You'll like its quality and you'll like its thrifty price.

[Bill Sampson]

Are you looking for a smooth shave?

[Announcer]

Men. Then try Fitch's no Brush Shaving Cream.

[Bill Sampson]

It'll give you the kind of shave you want.

[Host/Interviewer]

Because 40 years of experience have gone

[Bill Sampson]

into the making of this product, Fitch's

[Announcer]

no Brush contains a special skin conditioner ingredient that takes the work out of shaving.

[Bill Sampson]

You won't have to struggle and scrape against stubborn whiskers. Because the skin conditioner prepares your face beforehand. It holds the whiskers up so your

[Announcer]

razor can zip them down closely and quickly. Even against the grain of a tough

[Host/Interviewer]

beard, your razor will glide swiftly, never

[Bill Sampson]

nicking or scraping pitches.

[Margot Channing]

No Brush is a boon to sensitive

[Announcer]

faces because it lubricates gently, keeping that tender skin from being irritated. After this quick, easy shave, your skin will feel cool and refreshed, wonderfully smooth. And if you prefer a lather Cream? Try Fitch's Brush Cream.

[Bill Sampson]

It forms a rich, abundant lather when applied with a brush.

[Addison DeWitt]

This lather stays moist all during the shave.

[Announcer]

Fitch's Brush Cream also contains the special

[Bill Sampson]

skin conditioner for sensitive faces.

[Announcer]

Fitch's Brush and Fitch's no Brush Shaving Cream are available in handy 25 and 50 cent sizes.

[Host/Interviewer]

For a shave you like, switch to

[Announcer]

Fitch from coast to coast. Ford owners agree the big new Ford brings you more for your money. More in comfort, more in performance and more in economy.

[Host/Interviewer]

But only through personal experience can you

[Announcer]

appreciate the restful ease of Ford's famous midship ride and the luxurious comfort of Ford's non sag foam rubber cushion front seat. Only by driving this great car can you enjoy its smooth power and solid roadability. And only by getting the facts about Ford's economy can you understand that so powerful, so smooth riding and so beautiful a car can cost so little to

[Host/Interviewer]

buy, to run and to maintain.

[Announcer]

Find out how much it saves you. Yes, before you buy any car at any price, it will pay you to stop by your local Ford dealers. Take the wheel of the 100 horsepower V8 on its companion in quality, the 95 horsepower 6.

[Host/Interviewer]

Once you've driven it, you'll agree the

[Announcer]

new Ford is the one truly fine car in the low price field.

[Addison DeWitt]

And now, a tale well calculated to keep you in

[Announcer]

suspense. Yes, Roma Wines taste better because only Roma selects from the world's greatest wine reserves for your pleasure. And now, Roma Wines. R O M A Roma Wines presents Suspense. Tonight, Roma Wines bring you Miss Ann Baxter in Always Room at the Top, a suspense play produced, edited and directed for Roma Wines by William Speer. Suspense Radio's outstanding theater of thrills is presented for your enjoyment by Roma Wines. That's R O M a Roma Wine, those better tasting California wines enjoyed by more Americans than any other wine. For friendly entertaining, for delightful dining. Yes, right now a glass full would be very pleasant as Roma Wines bring you Anne Baxter in a remarkable tale of suspense.

[Eve Harrington]

Reception. Yes, she is Ms. Thornton. Very well, Ms. Thornton. I'll have her come in. Ms. Brant. Yes, Ms. Thornton. We'll see you now. Large corner office at the end of the hall. Thank you. Jean Thornton was a tall, square shouldered blonde with high cheekbones and a good figure. And nervous as a cat. More than that. I hadn't been in her office five minutes before. I knew that she was afraid of something.

[Announcer]

Her boy.

[Eve Harrington]

The responsibilities of her job. Something. I couldn't understand it. She was art director of William J. Farrell and Company, One of the best advertising agencies in town, she had everything I wanted professionally and a couple of other ways. And yet she was afraid I couldn't understand it then. Yes, yes, these are quite good. Quite good. Miss Brant. Helen Brandt. Yes, Miss Brant, quite good, but. Cigarette? Thanks. Oh, how cute. Silly thing. Mr. Farrell sent it to me from Mexico. Where else in the world would anybody have the patience to sit down, put together a musical cigarette case? But as I was saying. What was I saying? Oh. Oh, yes, yes. These are really very good layouts, Ms. Rand. I like them, but I don't quite see how we can use you just now. You said that before, Ms. Thornton. Yes, so I did. Well, look, Ms. Thornton, I don't need the job. I'm not one of those desperate people that's coming to cry on your shoulder. I have a job at Maxfield and Ellis. But they're stupid there. I'm not getting anyplace. In a firm like this, where people have imagination, you have a chance. That's all I want, a chance. So do a lot of other people, Ms. Brant. Well, I'm not a lot of other people. I think I've got ability and you know it. Commercial ability. I think I could be professional. Yes. Yes. Well, if there's an opening, we'll get in touch with you. You'll get in touch. I know what that means. I've been given the brush off by ex. That will be all, Ms. Brent. But I'm sick of being brushed off. I've got ability as much as you have and maybe more. And I'll show you. Miss Brent. Will you leave my office or shall I have you thrown out? All right, mister.

[Karen Richards]

Good day.

[Eve Harrington]

Of course, that would be the last time I'd ever lay eyes on Gene Thornton. That's what I thought. I went back to my office and worked most of the night catching up on my own stuff, doing a little extra that I was peddling around town. I was standing on the sidewalk kidding with a night elevator man while I waited for a cab and looking up at the tower against the early morning sky. That dark tower 36 floors above the street, three blocks up the where the William J. Farrell Agency had their offices and where I'd have given my right arm to be working.

[Announcer]

You'll miss all your beauty sleep working this late, Ms. Brandt.

[Eve Harrington]

Now, Charlie, who says I need beauty sleep?

[Announcer]

Oh, you don't.

[Eve Harrington]

I like to work at night.

[Margot Channing]

It's quiet.

[Eve Harrington]

Think of all the sunrises I see. Look at that sky.

[Announcer]

Yeah, it's gonna be a nice day, I guess.

[Eve Harrington]

Look, I saw the body falling and the screen came to us at the same moment. We stood there frozen, horrified. Fascina.

[Announcer]

Oh, Lord, I wish I hadn't seen that.

[Eve Harrington]

Charlie. That was someone from the Farrell agent.

[Announcer]

Whoever it was, poor devil.

[Eve Harrington]

A woman.

[Announcer]

Oh, wait, Miss Brand.

[Eve Harrington]

I wouldn't go up there, Miss Brand. Even by the time I got there, a patrol car had appeared out of nowhere, the way they will in this town. And the usual crowd of early birds. A night owls standing around. Quite. They were trying to cover it up with a blanket.

[Announcer]

All right, stand back. Stand back. Who is it? You know, you couldn't tell anyway. A woman.

[Eve Harrington]

I wanted to look, but I. I couldn't. A cop was picking up stuff that had rolled out of a handbag in the street, going through it methodically, opening things up. And then I heard it. And I didn't have to look.

[Announcer]

I knew.

[Bill Sampson]

Please.

[Eve Harrington]

I tell you, I don't know when Mr. Farrell's coming in.

[Announcer]

You wouldn't try to kid the press, would you, sister? You might as well tell us, because we'll just sit here anyway until. Mr. Farrell. Mr. Farrell, I'm from the Mute. I'd like to know.

[Eve Harrington]

Please.

[Announcer]

I can't tell you anything now.

[Eve Harrington]

Mr. Farrell, please. I'm Helen Brad.

[Announcer]

Mr. Farrell, my paper would like to know if Miss.

[Eve Harrington]

Door.

[Announcer]

Now, please. Please.

[Eve Harrington]

Get out of here, all you.

[Announcer]

Get out. I told you, I can't talk to any reporters. Now give me your.

[Eve Harrington]

I'm not a reporter, Mr. Farrell. I'm Helen Brandt. I'm art director of a small advertising agency. But I've got samples here. Mr. Farrell, please, just look at me. You're going to have to have a new art director.

[Announcer]

What did you say?

[Eve Harrington]

Sure, you're shocked, but it can't hurt her. And I've been trying to see her for months. And now you're on a spot.

[Announcer]

And if you just take those things out of my face and get out of here.

[Eve Harrington]

Just look at them first. That's all I ask. All I ask is that you.

[Announcer]

Well.

[Eve Harrington]

And this one for Parker's shoes. I followed Ms. Thornton's general ideas, but I've added. Well, that they're goodness about. And if you say they aren't.

[Announcer]

All right, all right, they're good. They're very good. But if you think I'd hire a woman who hasn't any more decency than to barge in here at a time like this.

[Eve Harrington]

What's decency got to do with it? Do you need an art director or a Sunday school teacher?

[Announcer]

Now, if you don't mind, my paper wants to know what Ms. Thornton was doing in her office at 5 o' clock this morning? She must have been working all night on the new Parker layouts.

[Eve Harrington]

They have to be out by.

[Announcer]

They have to be out by 3 this afternoon. Working all night. Maybe went to the window for fresh air. Tired. Got dizzy. Look, Miss Brant.

[Eve Harrington]

Helen Brandt.

[Announcer]

Miss Brandt. Miss Brandt, I think you're one of the most despicable women I've ever had the misfortune to meet. But I've got a very big job to get out this afternoon. My assistant art director is homesick and by the time I interview these, you can arrange the details with my secretary in there. And frankly, the less I have to do with you myself, the better I'll like it.

[Eve Harrington]

I think you'll change your mind about that, Mr. Farrell.

[Announcer]

Now, Mr. Farrell, if you wouldn't mind. We know things are tough and you don't want to tell it, but.

[Karen Richards]

Yes?

[Eve Harrington]

Are you Mr. Farrell's secretary? Yes. Oh, well, I'm Helen Brandt. Marie Harris. How do you do?

[Karen Richards]

How do you do?

[Eve Harrington]

I'm taking Miss Thorn. Taking Miss Thornton's place, I see. Yes. Temporarily. Well, you're not one to let the grass grow under your feet, are you, my dear? Mr. Farrell said I could arrange the details with you. To be sure, I expect you'd better make out one of our regular employment forms. Oh, thank you. Temporarily, you said? Yes. Still, doesn't it feel a bit odd to be filling a dead woman's shoes that are hardly cold, so to speak? I don't see anything so odd about it, Ms. Harris. Somebody would have to. No, of course you wouldn't. By previous experience, does it mean just in the advertising business, any experience that might be applicable? It has occurred to you, I suppose, Ms. Brant, that when someone like Ms. Thornton is cut off in mid career, so to speak, there's usually a reason for it. They say it was an accident. An accident, do they now? Will this be all right, Ms. Harris? Yes. Yes, that'll do. Of course, there's always the possibility of suicide. I suppose you've thought of that. I suppose it might have been. Will you show me my office, please? Certainly. This way. Might as well have the dead woman's. That is Ms. Thornton's office. And of course there is another possibility, isn't there? What other possibility? The possibility of murder. Murder? Why, yes. Here's your office, Miss. Brad. If you need anything, just call me. I want to make you as comfortable as possible under the circumstances.

[Announcer]

For suspense. Roma Wines are bringing you Anne Baxter in. Always room at the top. Roma Wines presentation tonight in radio's outstanding theater thrills suspense. Between the acts of suspense. This is Ken Niles for Roma Wines. Next time you buy wine, remember, more Americans enjoy Roma than any other wine. Yes, Roma wine is America's first choice because there's an important difference in Roma wine. A difference in fuller bouquet, richer body, better taste. A difference that means more enjoyment, more pleasure for you and your guests to bring you wines that are superior, that taste better. Roma starts with California's choicest grapes. Then Roma. Master vintners with America's finest winemaking resources guide this choice grape treasure unhurriedly to tempting taste perfection. Later, along with Roma wines of years before, these cuvees await selection from the world's greatest reserves of fine wines for your pleasure. That's what makes the difference in Roma wines. That's why Roma wines taste better every time. So for your best buy in good taste, insist on Roma wine. R O M A Roma, the greatest name in wine. And now Roma Wines bring back to our Hollywood sound stage. And Baxter as Helen Brandt. With Kathy Lewis as Marie and Wally Mayer as Bill Farrell in Always Room at the Top. A tale well calculated. To keep you in suspense,

[Eve Harrington]

I'd met Marie Harris's type before. Jealous of her authority is the boss's secretary. Resentful of every newcomer and determined to make them uncomfortable. Though it was only natural for her to resent someone like myself, a total stranger who walked into the job of art director for one of the best advertising outfits in town, the William J. Farrell Agency. And even though Mr. Farrell had said temporary, I knew that I had the job. I knew it. Before the first campaign was over, I was in. And then one night, the first of those funny little things began to happen. I was just taking off my hat and coat when I saw it there on my desk. A picture. A big framed picture of a dead girl, Jean Thornton. And written across the face of it, it said, bill Darling to the swellest guy and the swellest boss any girl ever had. Admiring your predecessor, Ms. Brandt? Where did that come from? I'm sure I haven't the faintest idea. It wasn't there when I left last night. Somebody put it there. Possibly some well wisher. Miss Brant, some sincere well wisher is a sort of warning. A warning of what? What are you driving at? Miss Thornton and Mr. Ferrell were quite close at one time. And what's that got to do with me? You know what happened, Miss Brant, to Miss Thornton. Look, Marie, are you hinting that female art directors in this office have A habit of falling for the boss and then falling out the window. I'm not hinting anything, Ms. Brant. You asked me for an explana of how the picture got there. I've given you one. Doubtless it is far fetched. Certainly it must seem so to you. It's crazy, of course. Will that be all, Ms. Brandt? Listen, Marie, let you and I cut out the formality and let down our hair. Is there anything around here that I, well, ought to know? I'm sure I don't know what you mean, Ms. Brandt.

[Margot Channing]

All right.

[Eve Harrington]

The girl who used to have my job is dead. You've been hitting around enough about it. Is there anything that you know that I don't? Now is that plain enough? Quite. I can only say that I have not hinted at anything. I have perhaps engaged in certain idle speculations on matters which were better left as they are. That's all okay, Marie. But the way things look now, I'm liable to be around here for quite a while. Oh, I should think it likely. And you and I ought to learn to get along. You'll have no trouble getting along with me, Ms. Brent. But you mean I may with him? I can only say, Ms. Brandt, as your sincere friend and well wisher. Yes. That you're working for a man who's subject to singularly strong enthusiasms. Sometimes these enthusiasms are apt to be carried to extremes. It is essential to appreciate this in dealing with Mr. Farrell. I don't suppose this picture gag would be one of Mr. Farrell's little enthusiasms? Under the circumstances I should think it most unlikely. And it wouldn't be one of yours, my little well wisher. No, Ms. Brant, it would not. You couldn't help but believe her. She was so prim and proper. But I was determined to have a showdown anyway on the whole thing. My job and everything. I stalked into Bill Farrell's office with a picture in my hand and without benefit of knocking.

[Announcer]

Oh, hello Helen.

[Margot Channing]

Come in.

[Eve Harrington]

Something that appears to be from your desk seems to have popped up on mine. Here.

[Announcer]

Where did you get that?

[Eve Harrington]

I just told you, on my desk. Your ever tactful Marie has suggested that some well wisher left it as a warning.

[Announcer]

Poor Jean, she gave me that when

[Eve Harrington]

that explanation still seems to leave several questions unanswered, Mr. Fowles.

[Announcer]

Look Helen, you'll hear a lot of funny things in this office like any other office. But take my word for it, they don't mean a thing. Just do your job the way you've been doing it and you'll you'll be all right.

[Eve Harrington]

How right is that?

[Announcer]

You like the job, don't you?

[Eve Harrington]

I like the work. I haven't got the job.

[Announcer]

Do you want it?

[Eve Harrington]

What do you think?

[Announcer]

Well, you've certainly earned it.

[Eve Harrington]

Helen, will you stop beating around the bush? Am I the new art director of the William J. Farrell Agency or not?

[Announcer]

All right, you are. You are hereby officially the new art director of the William J. Farrell Agency. From this day forward until.

[Eve Harrington]

Until what?

[Announcer]

As long as you want the job, Helen.

[Eve Harrington]

Until death do us part, is what he'd started to say. I forgot it, though. I forgot it almost the moment he said it. For the next 24 hours, I was watching Walking on Air. It wasn't just a job. It was something even better. I knew Bill Farrow was falling in love with me. I knew that was just a matter of time, too. Morning, Marie. Mr. Farrell in? Not yet, Ms. Grant. I wish you wouldn't be so formal with me, Marie. Everybody calls everybody else by their first names around here, except you. I am used to more conventional methods in most things, Miss Brand. Okay, okay. Let me know when he comes in, though, will you? I want to see him. Yes, Miss Brand. Hello, Bill, darling. You hear it? Yes. It's that silly little thing you sent me from Mexico. I got it just this morning, and so I wanted to tell you how sweet it was and thank you. This way. Marie.

[Margot Channing]

Marie.

[Announcer]

Marie.

[Eve Harrington]

Yes, Miss Brand? Maria. I just heard her voice. Whose voice, Miss brand?

[Margot Channing]

Hers.

[Eve Harrington]

Jean. Ms. Thornton, why don't you lie down on the couch for a moment? Miss Brand, you've been working too hard lately. Now, get you some water. No, I tell you, I heard it right in this room. In this room. Yes, I know. It was because there was that. That music box, that cigarette case of hers. Oh, yes, Yes, I remember. So do I. Because the last time I heard it was down there when they were picking up a thing. There's no one here now, Miss Brant. No one but you and me. I know, but I heard it. Was she. Was it speaking to you? This boy? No, to Bill. To Mr. Farrell. Something personal. Oh, I dare say. Have you ever looked in this closet by the door, Miss Brandt? Why, not especially? No, I think there's probably a perfectly logical explanation of what you heard, Miss Brant. Yes. Yes, you see. Oh, a dictograph. It used to be Ms. Thornton's. They use dictographs for everything in this office. They say it saves them $40,000 a year in stenographic help. I see. Something must have turned it on. Yes, there you see this box of pencils that has fallen off the shelf? It must have been that. What turned it off? Marie? I'm sure I don't know. It's quite simple, isn't it? Here's the switch. Hello, Bill, darling. Stop it. Stop it. Yes, Miss Brand. And I'll get it out of here. Certainly, Miss Brandt. Is there any particular. I don't care what you do with it. Do anything you like. Throw it out the window. What was that, Miss Brand? Just get it out of here and leave me alone. Tilly, I know that it could have happened that way. It must been have just as Marie said. But all the time in the back of my mind was a lurking horror, a nameless thing that I felt hanging over that office and over me. Something about a girl who was dead. A girl who had plunged to her death from that same dark tower that was now my dark tower plunged screaming to her death only a few short weeks ago. The next night, I had to work late again to make up. I'd been out to supper alone. I was conscious of the light still burning in Bill's office when I got back. I wasn't particularly anxious to see him just then. Truthful, I was avoiding him, I suppose. I'd been in my office about an hour and a half when the phone rang. I thought it was strange because I was certain that I'd asked to have my Nightline disconnected. Out of habit, I picked it up to answer it. Hello, Bill? Bill, is that you?

[Karen Richards]

Bill?

[Announcer]

Bill.

[Eve Harrington]

Bill. What?

[Bill Sampson]

Helen, What?

[Announcer]

What is it?

[Eve Harrington]

Oh, Bill.

[Announcer]

Helen, darling.

[Eve Harrington]

Here, tell me.

[Announcer]

Baby. Baby, what is it? What's happened?

[Eve Harrington]

I heard her again. Heard who, dear? Jean. Jean Thornton.

[Announcer]

Jean?

[Eve Harrington]

Yes, on the telephone. I know it was. I swear it.

[Announcer]

But, darling, it couldn't have been.

[Eve Harrington]

Oh, brill. I think I'm going mad.

[Announcer]

Oh, Helen, darling, listen to me.

[Eve Harrington]

The picture, the dictograph. All right, but this.

[Announcer]

Helen. Helen, look at me.

[Eve Harrington]

Yes, Bill?

[Announcer]

I love you, Helen. You know that, don't you?

[Margot Channing]

Yes.

[Eve Harrington]

Oh, yes, darling, I do. I'm afraid. There's nothing to be afraid of, darling. No, not that I'm afraid, because now I know that you're afraid.

[Karen Richards]

I am?

[Eve Harrington]

Yes, you are, aren't you?

[Announcer]

Helen, I.

[Eve Harrington]

Bill, please, you've got to tell me now.

[Announcer]

Now, look, darling, I'm in a jam. A bad jam. An awful bad jam. Yes, but it's nothing that you have to worry about. It's nothing that isn't going to straighten itself out. It's that I'm going to let affect us ever.

[Eve Harrington]

Bill. If it affects you, it does affect us.

[Announcer]

Darling. Darling, you've got to trust me just a little longer.

[Eve Harrington]

Bill, I do. I will. But it's about Jean, isn't it?

[Announcer]

Yes. Yes, it's about Jean.

[Eve Harrington]

And it was. She didn't just fall.

[Announcer]

It was a terrible thing, Helen. Terrible. About as terrible as it could be. But, Helen, just remember this, darling. There's nothing to be afraid of. It'll all be over soon, very soon.

[Eve Harrington]

Is that all? All you can tell me?

[Announcer]

It's all I can tell you now. Oh, darling, I know what this is like for you, but please, please go home now and forget all about it.

[Eve Harrington]

How can I forget about it?

[Announcer]

Well, try. Try anyway. I've got some things to finish up here, and then I'll call for you and we'll start making our plans. Oh, you will marry me, won't you, Helen?

[Eve Harrington]

Oh, Bill, yes.

[Announcer]

Then. Then everything's all right. Go on now. Go on.

[Eve Harrington]

All right.

[Announcer]

Good night for now. My.

[Eve Harrington]

I went out. I didn't go home. I couldn't. I walked. Walked for miles, trying to think. But nothing made any sense except that I was in love and in an agony of fear for what might happen to spoilers. And suddenly I realized that I had to know everything now, tonight, whatever it was. So I went back to the office. Bill's light was still on, and I was just at the door when I stopped. You're insane.

[Bill Sampson]

Crazy.

[Announcer]

Suppose somebody saw you and recognized you,

[Eve Harrington]

sent me a message.

[Margot Channing]

I did not.

[Announcer]

I gave no message to no one.

[Eve Harrington]

Why do you lie to me like that? I'm not going to. I threw open the door and she was standing there. Jean. Jean Thornton, a woman who is dead. When I came to, I was lying on the couch in Bill's office. At first it seemed perfectly natural. Lying there and Bill sitting beside me, holding my hands. Her there, Jean standing over by the desk, talking to him. Well, what are you going to do about her?

[Announcer]

Do? What do you mean, do?

[Eve Harrington]

You're going to have to do something. She knows, doesn't she? Or she will when she snaps out of her.

[Announcer]

I'm not going to do anything.

[Eve Harrington]

I suppose you're in love with her.

[Announcer]

What if I am?

[Eve Harrington]

Because it makes a difference, my sweet.

[Karen Richards]

To me.

[Eve Harrington]

Bill.

[Announcer]

Oh, darling, darling, it's all right.

[Eve Harrington]

Is she. Is she really? Yes.

[Announcer]

Yes, it's Jean.

[Eve Harrington]

But I saw her that morning. I saw her lying. You were supposed to think then who?

[Announcer]

Just a girl.

[Eve Harrington]

You might as well tell her. At least then she'll be in it as deep as the rest of us.

[Announcer]

Jean, please.

[Eve Harrington]

Your boyfriend there had been dipping into the till about a quarter of a million dollars worth of the client's money. My insurance and what the company had me insured for was just about enough to cover it. Like a fool, I agreed to it.

[Announcer]

You suggested it.

[Eve Harrington]

I thought he was in love with me then. But there was a girl. A girl who worked in the office. No friends, no family. I fired her the day before, then got her to come up here that night. Another chance. Modeling, I said, was my clothes. Cigarette case. I dug up another one. I knew people would remember that bill.

[Announcer]

I told you it was bad.

[Eve Harrington]

Oh, darling, I don't care. I don't care what it was as long as I think you better let me take charge of things now, Mr. Farrell. Marie, please don't move. I'm quite prepared to shoot if I have to.

[Announcer]

Marie, this is insane.

[Eve Harrington]

Is it the shakedown?

[Announcer]

What do you want, Marie?

[Eve Harrington]

Quite a lot, I'm afraid, Mr. Ferrell. How do you expect to get it? It's your word against ours. Three of us. You forget, Ms. Thornton, that you are legally dead. As for the rest. Do you remember, Ms. Brant, that I said we used dictographs for practically everything in this office? It was you. I tried my best to warn you, Ms. Brant. I'm truly sorry for you. Listen, you might as well tell her. At least then she'll be in as deep as the rest of us.

[Announcer]

Jean, please.

[Eve Harrington]

Your boyfriend there has been dipping into the till about a quarter of a million dollars worth of the client's money. My insurance. There is more, of course, but I'm sure that will suffice. Now, Ms. Thornton, I think you and I had better have a little talk alone.

[Announcer]

What do you want us to do, Marie?

[Eve Harrington]

I'll come to you later, Mr. Farrell. For the moment, I must ask you to step into the conference room. Behind you. You too, Miss brant.

[Announcer]

Marie.

[Eve Harrington]

Please, Mr. Farrell, not now. I shall have to lock you in, but it will not be for long, I think. You know, of course, that there's no other way out except down. We stood there, huddled together by the locked door, but we could hear nothing until there was a sound like a window behind being opened. And then.

[Announcer]

Marie.

[Bill Sampson]

Marie.

[Eve Harrington]

Marie. Marie.

[Announcer]

What have you done to her?

[Eve Harrington]

Ms. Thornton has, shall we say, taken the easy way out.

[Announcer]

You mean you, Foster?

[Eve Harrington]

Very well, if you prefer. I'm sure it can make little difference now. You, Ms. Brant, I take it, are in love with Mr. Farrell. Hence you spite of my warnings. Yes. Then I'm sure I can count on your Silence. Knowing the results to Mr. Farrell, if you were to break it. Yes, yes, anything. But I'm afraid your marital plans will have to wait. What do you mean? I think it's best this way. For my own protection, of course. If anything were to happen to Mr. Farrell this way, everything would come to me.

[Announcer]

What would? How?

[Eve Harrington]

The firm and the money. You see, Ms. Brant, Mr. Farrell is going to marry me. I looked at Bill. I knew he'd do as she said. What else? I turned and left the room without speaking. In my own office, I found a little automatic where lately I'd always kept it. When I came back, Bill was staring out the window. And Marie was making up her face from a little compact. They didn't even glance in my direction. I'm waiting for the police. I've been looking over the new layout. The Dulcet soap campaign is particularly good. We did it together, Bill and I. The theme was a bride and groom.

[Announcer]

Suspense presented by Roma Wines. R O M A Roma, America's favorite wine. This is Ken Niles bringing back to our suspense audience the lovely, talented, star of tonight's play, Anne Baxter. Ann, you did a marvelous job. We're sorry you weren't cast as a sweet young thing tonight. But then, most of our suspense characters are pretty rugged, you know.

[Eve Harrington]

Well, I can't be the sweet young thing all the time, Mr. Niles.

[Announcer]

Well, bad or good? To show you how we feel about you, Ann, here's a gift basket of Roma wines with the compliments of your host tonight. Roma Wines.

[Eve Harrington]

Thank you, Ken. And Roma, too.

[Lloyd Richards]

Let's see.

[Eve Harrington]

Is there a Roma wine in my basket that goes with baked beans? Saturday night favorite?

[Announcer]

Oh, positively. Ann. For a combination fit for a king, try this delicious Roma California Burgundy with old fashioned baked beans. It's a tempting treat. And whatever the dish, robust Roma Burgundy adds zest to everyday meals.

[Eve Harrington]

Ken, I could use you at home to help sell my cooking.

[Announcer]

Don't eat of that, Anne. When you serve Roma Burgundy, you'll find Roma Burgundy works wonders for the simplest dishes. Brings out the natural flavor goodness of any hearty food. And remember, with Roma wines, you enjoy an important difference. An extra goodness in Fuller bouquet. Richer body and better taste. Yes, that difference in Roma wines, that better taste is the reason more Americans enjoy Roma than any other wine.

[Eve Harrington]

It certainly makes sense, Ken. Thank you and good night.

[Announcer]

Anne Baxter is currently being seen in the 20th Century Fox Daryl F. Zanuck production. The Razor's Edge. Tonight's suspense play was written by Eleanor Beeson. Next Thursday, same time, you will Hear William Bendix as star of suspense produced and directed by William Speer for the Roma Wine Company of Fresno, California. Until next week, enjoy more suspense thrills as compiled in Suspense magazine. In the coming weeks, Suspense will present such stars as James Stewart, Eddie Bracken, Howard De Silva and others. Make it a point to listen each Thursday to Suspense Radio's outstanding theater thrills. Stay tuned for the thrilling adventures of the FBI in peace and war following immediately over most of these stations. This is cbs, the Columbia Broadcasting System sa.

[Addison DeWitt]

Suspense. Autolyte and its 96,000 dealers present Ms. Betty Davis in Good Night, Mrs. Russell,

[Bill Sampson]

a suspense play produced and edited by William Speer. Say, Harlow, what's the idea? Why do you stand there so st stiffly and keep banging your hand on your forehead? I'm saluting, Hap. Saluting? Yeah.

[Margot Channing]

Oh, I get it.

[Bill Sampson]

Saluting auto light resistor, spark plug. No, no, not that. Those wonder working wide gap whizzes don't warrant a whale of a whack on the welkin.

[Henry]

They do.

[Bill Sampson]

They do. But tonight I'm saluting the truckers of America. The nifty nonpareil purveyors of conveyors who are holding their annual get together and GabFest in Boston, Massachusetts, starting tomorrow. Oh, you mean the American Trucking Association? The same. Why? They've got millions of accident free miles to their credit. Seldom if ever make a mistake on the road.

[Margot Channing]

How do they do it?

[Bill Sampson]

I'm not sure, but I think auto light resistor, spark plugs must be behind it because. Well, because you're always right. With Autolite.

[Addison DeWitt]

And now with Goodnight, Mrs. Russell, starring

[Bill Sampson]

Miss Betty Davis with Elliot Reid. Autolight. Hoping once again to keep you in suspense.

[Margot Channing]

There's no escaping now. He hasn't said a word for 10 minutes. I know he's turning over in his mind how he's going to kill me. Argument and reasoning are useless. It's almost dawn now. In a little while, the milkman and the paper boys will be making their rounds. I'll be dead. The cafe was just half a block away from where I worked. It was a small, pleasant little place, spotlessly clean, with a large plate glass window on the sidewalk. And there was always a beautiful looking roast turkey and a juicy baked ham in the window. And you could watch Henry carve off succulent pieces of meat and arrange them into meat sandwiches with an olive and a dab of potato salad on the plate. Every noon, all of us who worked in the Hilmar building would go there for lunch. We crowded in on the High stools and jabbered as women do. While Henry patiently served us and put up with our female children. He was always the only one there.

[Henry]

How are you today, ma'?

[Announcer]

Am?

[Margot Channing]

Fine, thank you, Henry. How about some of your nice baked ham?

[Henry]

Yes, ma'.

[Addison DeWitt]

Am.

[Henry]

Coming up.

[Margot Channing]

He was always especially nice to me. I suppose that was because I'm, well, a little older than the others. Other girls are all very young. Very cute. Henry always seemed uncomfortable a little with them.

[Henry]

Yes, ma'.

[Margot Channing]

Am.

[Henry]

Coffee, please.

[Margot Channing]

And I believe I'll have some of your cherry pie. You're an excellent cook, Henry.

[Henry]

Why, thank you, ma'.

[Karen Richards]

Am.

[Henry]

I'm glad you think so. 20 and 15, 35. And.

[Margot Channing]

And Henry had been right in the middle of adding up my check when he stopped and stood very still and looked out of the corner of his eye with his head cocked on one side as though he were listening something. His expression was a little horrified. I thought maybe he'd heard a sound that meant something to him. You know, like. Like the refrigerator out of water or something. Then all of a sudden, he shook his head and rushed away. Whatever it was he'd heard.

[Henry]

20 and 15, 35 and 45. You should try one of my dinners sometime, ma'. Am.

[Karen Richards]

Henry.

[Margot Channing]

Henry, how about some service?

[Henry]

Excuse me, ma'.

[Margot Channing]

Am. That was Henry. Oh, one other thing. Funny, but Henry never smiled. Perhaps I should have realized about him because of that, but I didn't. He was so nice and clean and polite. I rather liked him. As a rule, I make my own dinner in the apartment. But one night I had to work quite late at the office. And I decided to stop by Henry's and get a little bite before catching the streetcar home. Ever since my husband's death, I felt just a little uneasy on the streets, alone at night. I was glad to see the bright light in Henry's little cafe down the block. Henry was alone inside, and I could see him fussing around, cleaning up the place. He didn't hear me approaching.

[Bill Sampson]

What's that?

[Announcer]

Oh, you.

[Henry]

You frighten me, ma'.

[Karen Richards]

Am.

[Henry]

I didn't hear you coming.

[Margot Channing]

I just thought I'd try one of your dinners tonight, Henry. You mentioned it.

[Henry]

Yes, I know. Sit down, won't you, Ma'?

[Eve Harrington]

Am?

[Margot Channing]

You weren't closing or anything?

[Eve Harrington]

No, no, not at all.

[Henry]

What would you like?

[Margot Channing]

Oh, I'll try your number four dinner.

[Henry]

Number four? Yes, ma'.

[Addison DeWitt]

Am.

[Margot Channing]

He seemed frightened about something. Or suspicious. Yes, that was that. He seemed suspicious about something. I thought I wanted to help him somehow, but I didn't want to butt

[Henry]

in this is the first time you've ever been by here at night, ma'?

[Addison DeWitt]

Am?

[Margot Channing]

Yes. I had to work late tonight, Henry. Didn't want to go home without dinner, you know.

[Henry]

I see.

[Margot Channing]

Is something wrong, Henry?

[Eve Harrington]

No, no.

[Henry]

I'll get the rest of your dinner.

[Margot Channing]

Delicious soup.

[Henry]

Thank you, ma'.

[Lloyd Richards]

Am.

[Henry]

You don't often work late, do you?

[Eve Harrington]

No, I don't.

[Margot Channing]

This is the. The first time, in fact. My boss asked me to stay late to type some letters.

[Henry]

I know you work in the Hilmar building.

[Margot Channing]

Why, yes, I do.

[Henry]

How do I know? Lots of things, ma'.

[Announcer]

Am.

[Margot Channing]

This is a good dinner, Henry. I guess I'm not as hungry as I thought I was. I'm afraid I'm going to have to leave some of it.

[Henry]

I thought you liked my cooking. You said so just the other day.

[Margot Channing]

I do. I think you're a fine cook, Henry. I'm just not hungry tonight. I waited too long to eat, I guess.

[Henry]

You don't have to make excuses, ma'.

[Karen Richards]

Am.

[Henry]

If you didn't like it, just say so.

[Margot Channing]

Oh, no, I mean it. Your food is wonderful, Henry. If it weren't, I wouldn't have come here.

[Henry]

Wouldn't you?

[Margot Channing]

No.

[Karen Richards]

No.

[Margot Channing]

Could I have my check, please?

[Henry]

85 cents, ma'.

[Announcer]

Am.

[Margot Channing]

All right. There you are, Henry. You may keep the change.

[Henry]

I'd rather not, ma'.

[Karen Richards]

Am.

[Addison DeWitt]

Here.

[Margot Channing]

Very well. Good night, Henry.

[Bill Sampson]

Good night.

[Announcer]

And, ma'?

[Henry]

Am?

[Margot Channing]

Yes?

[Henry]

Next time you come, I'll have something you like.

[Margot Channing]

But I did like. Oh. Good night, Henry.

[Henry]

Good night, Mrs. Russell.

[Margot Channing]

It was good food, but I. Oh, I felt ill at ease in there for some reason. That's why I couldn't eat. I decided not to go back there alone. Rather hard to talk to, Henry. And I didn't go back alone. That is, not for three weeks. Had to work late. And again. And for the last time, I went to Henry's. Hello, Henry.

[Henry]

Ah, you decided to try me again, I see.

[Margot Channing]

Why, Henry, I've been eating here every day.

[Henry]

Not at night.

[Margot Channing]

What's the difference?

[Henry]

Well, in the daytime, you're always with your friends.

[Margot Channing]

I like to eat with my friends. Now, come on. Let's have no more of this silly talk. How about one of your wonderful dinners, Henry? I promise to eat all of it tonight.

[Henry]

All right, ma'.

[Announcer]

Am.

[Henry]

Which one?

[Margot Channing]

I'll try the number four again, please. I think that way I can convince you I really like it.

[Host/Interviewer]

Why?

[Eve Harrington]

Why?

[Margot Channing]

Oh, because I think four is lucky. Don't you?

[Henry]

All right, ma'.

[Karen Richards]

Am.

[Henry]

It's all ready.

[Margot Channing]

You don't have many Customers at night, do you, Henry?

[Bill Sampson]

No, ma'.

[Karen Richards]

Am.

[Announcer]

Not many.

[Margot Channing]

I'm surprised you stay open.

[Announcer]

Are you? There you are.

[Henry]

I hope you. I hope.

[Margot Channing]

Henry. What is it? You seem to be listening for something. Is there?

[Henry]

Are you enjoying your dinner?

[Margot Channing]

I hate to sound like I'm prying. I know it isn't my business at all, but I. I do think something's bothering you.

[Henry]

Do you?

[Margot Channing]

Ye. Yes. Isn't there some way I can help you?

[Henry]

Nothing's bothering me, ma'.

[Announcer]

Am.

[Margot Channing]

Yes? You know, I had a son like you.

[Henry]

Did you?

[Margot Channing]

He was in the army. Killed in the war. He was very much like you.

[Henry]

I see.

[Margot Channing]

That left me all alone in the world. My husband Leonard, died four years ago.

[Henry]

Yes.

[Margot Channing]

He was a wonderful man. Everyone admired him. A contractor, you know.

[Henry]

I see.

[Margot Channing]

Notice that as I talked away about my family and everything, he became very quiet.

[Karen Richards]

He.

[Margot Channing]

He sat down on the cooler back of the counter and just watched me. His face absolutely blank. Couldn't tell what he was thinking. When I'd ask him a question, he'd just answered with I see or yes or no. Sometimes he wouldn't answer at all. Just stare at me. I was getting uneasy again. I just about decided to make up an excuse to pay my bill and leave. It was getting quite late when my head began to feel heavy. And I began to feel sick.

[Eve Harrington]

Hmm.

[Margot Channing]

Henry. Henry, I feel ill. Henry, I'm awfully dizzy. I don't think I can. Henry, can't you hear me? I believe I'm going to faint. Perhaps you'd better help. Did you do something?

[Henry]

Good night, Mrs. Russell.

[Bill Sampson]

Autolite is bringing you Miss Betty Davis in. Good night, Mrs. Russell. Tonight's production and radio's outstanding theater of thrills suspense. Say, Harlo, how'd you stain your tie? Oh, that's from the Alphabet soup we had at dinner. Boy, do I love that soup.

[Henry]

Crazy about it.

[Addison DeWitt]

Yeah.

[Bill Sampson]

We have a special Alphabet too. Only the letters alrsp, A, L, R, S, P stand for Auto light Resistor Spark plugs.

[Henry]

Oh, brother.

[Bill Sampson]

Say, when you eat it, do you make noises that sound like ALRSP noise? No, sir. Everything's smooth with auto light resistor spark plugs. Because only auto light resistor spark plugs have the built in 10,000 ohm resistor that makes practical their wider gap setting. And results in 1,200% longer electrode life.

[Announcer]

2.

[Bill Sampson]

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[Announcer]

4.

[Bill Sampson]

Less spark plug interference with radio and television from passing cars and trucks. Auto light resistor Spark plugs are backed by the engineering know how of Autolite leader in resistor spark plugs. Millions are in use today. So get yourself a set of Autolite resistor spark plugs. Remember, you're always right with Autolite. And now Autolight brings back to our

[Addison DeWitt]

Hollywood sound stage our star, Betty Davis

[Bill Sampson]

with Elliot Reed and good night, Mrs. Russell. A tale well calculated to keep you in suspend.

[Margot Channing]

I don't know how long I was unconscious. It seemed just for a moment. A moment crowded with horrible nightmares and dreadful sounds. I remember hearing a woman screaming. Screaming and crying. Crying horribly. It was ghastly. I must have been unconscious several hours. And when I opened my eyes, it was dark. Pitch dark. A clock was ticking somewhere. And I realized that the screaming woman had been me. Is anyone here? Where at? I'm tied up. Who's there? Can anyone hear me? Help.

[Lloyd Richards]

Help.

[Margot Channing]

Help. Where am I?

[Henry]

You're in my room, Mrs. Russell.

[Margot Channing]

It was Henry. Where was he? The room was black as night. I could see nothing. What was I doing here? Why was I tied up? How did I get here? I remembered nothing after. After feeling dizzy at Henry's. So that was it. You. You put something in my food, didn't you, Henry?

[Henry]

Yes, I did, Mrs. Russell. I didn't want to kill you at the cafe, you see. Kill me? Yes, Mrs. Russell.

[Eve Harrington]

Kill you

[Addison DeWitt]

dead.

[Margot Channing]

Why, Henry? Why?

[Henry]

Because you're my enemy. You and all the others.

[Margot Channing]

Your enemy. I. I like you, Henry. I've always liked you.

[Henry]

I don't lie, Mrs. Russell. You thought I didn't know, didn't you? You thought I didn't know what you were up to.

[Margot Channing]

What I was up to?

[Henry]

Planning to kill me. Night after night. I've heard you, all of you. Outside my window, whispering. Whispering. Talking about how you were going to kill me. Didn't you know I could hear you?

[Margot Channing]

I'm saying, oh, no.

[Henry]

I'm smart, Mrs. Russell, and you know it. That's why all of you planned to kill me. Get rid of me. Oh, it's just lucky I found out you were one of the. Oh, you'll be the first to die, Mrs. Russell. And you're going to die slowly in the dark. How do you like that, Mrs. Russell? Be quiet, Mrs. Russell, or I'll have to beat you up before I kill you.

[Margot Channing]

I tried to make myself think I remember to. You're supposed to humor people like Henry. I tried to control myself.

[Henry]

No one can hear you. No one even knows you're here. And I'm not going to untie you either. Not until you're Dead.

[Margot Channing]

Henry. Henry, I'm just. I'm only in.

[Henry]

You'll lie here and the dark and listen to the clock for half an hour. Just half an hour, Mrs. Russell. Then I'll kill you. You see, I want you to suffer like you've made me suffer.

[Margot Channing]

Henry. I'm. I'm just an ordinary woman.

[Henry]

Oh, I'm smart enough to see through those remarks.

[Margot Channing]

You made remarks.

[Henry]

Always talking about what a good cook I was. As if you felt I wasn't a man. I know what you were thinking, Henry.

[Margot Channing]

I. I didn't mean anything. Of the same thought. I really.

[Henry]

And then rubbing it in about your precious son in the army. Rubbing it in, Torturing me.

[Margot Channing]

Henry, that's wrong.

[Henry]

And always ordering number four dinner. Oh, I'm smart, you see, Mrs. Russell. I can figure things out. Number four is lucky. You said four for four.

[Bill Sampson]

F. You meant Henry.

[Margot Channing]

Henry, all those things, they were your imagination. I. I didn't mean them that way at all. I didn't know about the other weak excuses.

[Henry]

Mrs. Russell. You're like all the rest. I am too smart for you, and you know it. So you want to kill me. I'm a dangerous enemy, Mrs. Russell.

[Margot Channing]

Oh, how long have I got to live, Henry?

[Henry]

Oh, a half hour. I don't know. The alarm will ring. Then I'll kill you.

[Margot Channing]

I was resigned to it, then. Seemed so hopeless. But then I thought if I could just get him to turn on the light, I might see a way out. It was a forlorn hope, but I tried it. Henry. Henry, how do you know you set the clock right? Henry?

[Henry]

I heard you.

[Margot Channing]

No, you didn't answer. I thought.

[Henry]

You thought you could get me to turn on the light. Sorry, Mrs. Russell.

[Margot Channing]

Henry, you are torturing yourself more than you are me, Henry. Do you know that?

[Henry]

What do you mean?

[Margot Channing]

Well, you don't know when the alarm's going to ring either. You must be sitting on the edge of your seat waiting to hear it, aren't you? You see, when it rings, I know that I'll have to die. But. But you know that you'll have to commit a terrible crime. Murder. Henry.

[Bill Sampson]

Shut up.

[Margot Channing]

It is true then, isn't it, John?

[Henry]

You can't trick me into turning on the light. I'm too smart for that. You're going to suffer in the dark as I have. I decided to turn on the light, Mrs. Russell.

[Margot Channing]

At first I was blind to having been in the dark so long. Then I saw his hands. They were long and slim and brown. Blue veins stood out on the backs of them. I looked up at him. He was glaring at me from beneath his belting forehead. Then he picked up the alarm clock and looked at it. Henry, I see. It's ten minutes to three.

[Henry]

Yes, Mrs. Russell. You have ten minutes to live. Can you wait?

[Margot Channing]

It was a tiny, neat living room. I was on a couch. The shades were down. There was no phone or the front door might be unlocked. It might be. I can wait, Henry. Eight minutes now. Somehow with the lights on, I felt more optimistic, though the hands were racing each other around the face of the clock.

[Lloyd Richards]

But I think.

[Margot Channing]

Just get untied now. There'll be a chance. I'd have to be careful. But quick.

[Karen Richards]

Quick.

[Henry]

Five minutes, Mrs. Russell.

[Margot Channing]

Henry, what are those things strapped to that board over there on the wall?

[Lloyd Richards]

What?

[Henry]

Oh, that's my collection.

[Margot Channing]

A collection?

[Henry]

Match folders.

[Margot Channing]

Oh, you collect match folders?

[Henry]

Oh, yes. I'll show them to you.

[Margot Channing]

I held my breath as he took them down off the wall. If that clock would only stand still for five minutes.

[Bill Sampson]

Here. See?

[Henry]

I have folders from all the famous night spots. Here's Ciro's and the stork Club and 21. I bet you didn't think I'd been to all those places, did you?

[Margot Channing]

Why, no. Have you, Henry?

[Announcer]

Oh, sure.

[Henry]

Lots of times. People would never believe me. That's why I have these.

[Margot Channing]

They're lovely. Henry. Henry, my arms and legs are numb from being tied up like this. Could you.

[Eve Harrington]

No.

[Henry]

I warned you not to get tricky, Mrs. Russell.

[Margot Channing]

I just wanted you to loosen my hand so. So I could look at your collection.

[Henry]

Well, just your hands.

[Margot Channing]

I'd forgotten about everything in his collection for the moment. But that alarm would go any second and I would remind him. As he untied my hands, my eyes fell on a large jade bookend beside the couch.

[Bill Sampson]

There.

[Henry]

Now, be careful, Mrs. Russell. You just wanted to see my collection, remember?

[Margot Channing]

Yes, Henry. Show it to me now.

[Karen Richards]

Oh.

[Henry]

See this one? That's from the Coconut Grove.

[Margot Channing]

Yes. Yes, Henry. I let my hand steal along the couch toward the bookend.

[Bill Sampson]

You are.

[Henry]

Isn't that beautiful?

[Karen Richards]

Yes.

[Margot Channing]

Yes, it is, Henry. I had it in my hand.

[Henry]

You're not paying attention.

[Margot Channing]

Oh, yes, I am, Henry. I don't remember doing it, but somehow I'd gotten the bindings off my feet and I was outside in the night. He'd been telling the truth. His house was completely isolated on one block. I ran down the block as hard as I could. I didn't even think about direction, just ran. I knew he'd come to in a minute, and I had to get out of sight. I'm not used to such exercise and my. My heart was pounding so hard it ached. In the middle of the next block, I stopped for a moment and leaned against a tree to breathe. And I looked back. And I saw him. I could see him beneath the street lamp. He'd stopped, not knowing which way I'd gone. He was wild. His mouth was hanging open loosely. I shrank back further in the shadows and prayed he'd go the other way. He didn't. He started walking rapidly again in my direction. Then there was a house in this block. A big, rambling place. It was after 3am and the people would be asleep. But I knew I could run no further. Help. Help. Let me in, please. Please open the door. Open and. And then I. I saw the note pinned to the door. It said, no milk for 10 days.

[Eve Harrington]

I could hear.

[Margot Channing]

I hear Henry's footsteps down the street. And I knew he must have heard me. My heart felt as though it would burst. The street was deserted. And then I heard a car approaching. He was a block away. I ran out of the street and waved my arms. Help. Help me. Stop.

[Bill Sampson]

Please.

[Margot Channing]

Please stop.

[Henry]

Hello, Mrs. Russell.

[Karen Richards]

Henry.

[Henry]

Come on, Mrs. Russell. Come on now. We're going home again, Mrs. Russell.

[Margot Channing]

There's no escaping now. He hasn't said a word for 10 minutes. I know. He's turning over in his mind. How he's going to kill me. It's almost dawn now. In a little while, the man, milkman and paper boys will be making their rounds. I'll be dead.

[Henry]

You shouldn't have tried to get away, Mrs. Russell. You made me very mad.

[Margot Channing]

I know.

[Henry]

You shouldn't have hit me either. You were even smarter than I thought, Mrs. Russell. You almost made it. But you weren't smart enough, were you?

[Margot Channing]

If you're going to kill me, Henry, please do it. Haven't you tortured me enough?

[Henry]

You see, it just didn't do you any good to be my enemy, did it? I don't like to kill you, but I have to. It's the only way I can protect.

[Margot Channing]

Don't you see you're not well? Henry, please try to listen to me.

[Henry]

We'll have to kill all the others, too. If I don't, they'll kill me.

[Margot Channing]

The others?

[Henry]

Oh, don't pretend you don't know, Mrs. Russell. I've heard them whispering about me. You must have heard them, too. The voices, the voice. All the time. Just like I told you. When I'm at work and even here at home, I hear them plotting. They don't know. I know, Henry.

[Margot Channing]

There's no one. It's all an illusion. Don't you see?

[Henry]

I, just like you are. They're afraid of me because they know I can outsmart them. I'm too clever for them, and they know it. That's why they want to kill me. That's why you want to kill me, isn't it, Mrs. Russell?

[Margot Channing]

I don't want to kill you, Henry.

[Henry]

If only I sort of got to like you. Mrs. Russell. If you weren't dangerous to me, I might let you live.

[Margot Channing]

I'm not dangerous to you, Henry.

[Henry]

Oh, yes, you are. I've decided to choke you. If you close your eyes, it will happen very quickly. You'll hardly know it. Are you ready, Mrs. Russell? Please don't struggle. It'll be much easier for both of us. Aren't you gonna close your eyes?

[Margot Channing]

No.

[Bill Sampson]

What's that?

[Margot Channing]

What?

[Lloyd Richards]

Listen.

[Henry]

You can hear them. Don't you hear them? The voices.

[Margot Channing]

The voices. The voices.

[Henry]

Don't you hear them?

[Margot Channing]

Yes, I hear them, Henry.

[Announcer]

See?

[Henry]

Now you believe me, don't you?

[Bill Sampson]

You hear what they're saying?

[Margot Channing]

Yes. Yes. It's just as you said, Henry.

[Bill Sampson]

They must be right near.

[Margot Channing]

Yes. Right near.

[Henry]

There are a lot of them.

[Margot Channing]

Too many. You'd better hide, Henry.

[Henry]

Yes.

[Margot Channing]

Yes, but where?

[Bill Sampson]

They sound louder all the time.

[Margot Channing]

They're getting closer. Have you a closet? Yes, that's it.

[Henry]

The closet over here.

[Margot Channing]

Shall I help you, Henry?

[Henry]

Yes, yes, but be quick.

[Bill Sampson]

This closet.

[Announcer]

I'll hide in here.

[Margot Channing]

All right, Henry. I'll protect you. There. A good place to hide.

[Henry]

What if they find me here?

[Margot Channing]

I'll lock the door, Henry.

[Henry]

No.

[Bill Sampson]

I don't want to be locked in.

[Margot Channing]

They're getting closer, Henry.

[Eve Harrington]

You'll unlock the door when they're gone.

[Margot Channing]

Yes, Henry. Lock the door, Mrs. Russell. You'll be safe now. Good night, Henry.

[Addison DeWitt]

Suspense presented by Autolight.

[Bill Sampson]

Tonight's star, Ms. Betty Davis with Elliot Reed. You know, Harlow, it's really marvelous how

[Henry]

safely and courteously American truckmen drive.

[Bill Sampson]

You said it happened. Auto Light cooperates regularly with the American trucking associations in their excellent highway safety programs. Say that.

[Henry]

Swell, Harlow.

[Bill Sampson]

Swell. Say, that reminds me. We haven't said anything about the more than 400 products Autolight makes for cars, trucks, planes and boats in 28 plants coast to coast. They're swell too. And Autolight makes complete electrical systems for many of America's finest cars. Batteries, spark plugs, generators, starting motors, coils, distributors. All engineered to fit together perfectly, work together perfectly because they're a perfect team. So folks don't accept electrical parts that are supposed to be as good. Ask for and insist on Autolite original factory parts at your neighborhood service station, car dealer, garage or repair shop. Remember, you're always right with Auto Light. Next Thursday for suspense. Victor Mature will be our star. The play is called Momentum. And it is, as we say, a tale well calculated to keep you in suspense. Tonight's suspense play was produced and edited by William Spear and directed by Norman McDonnell. Music for suspense is composed by Lucian Morowek and conducted by Lud Gluskin. Goodnight. Mrs. Russell was an original radio player written by Ben S. Hunter. Bette Davis will soon be seen in the Warner Brothers production Beyond the Forest.

[Margot Channing]

You can buy Auto Light resistor, spark plugs, Auto Light staple batteries, Auto Light electrical parts at your neighborhood Autolite dealer. Switch to Auto Light. Good night.

[Bill Sampson]

This is cbs, the Columbia Broadcasting System.

[Host/Interviewer]

Lux presents Hollywood. Lieber brothers company. The makers of lux flakes bring you the lux radio theater. Starring bette davis, anne baxter, reginald gardner and gary merrill in all about eve. Greetings from Hollywood, ladies and gentlemen. While I was directing plays on the New York stage, I had a firsthand opportunity to watch the frantic struggle with of young actresses to attain stardom in the theater. But I'm happy to say that none of them used the tactics of the young woman in our play tonight, All About Eve. I first read of Eve's unorthodox behavior in a magazine story by Mary Orr entitled the Wisdom of Eve. And I was delighted to see 20th Century Fox turn it into the Academy Award winning picture of 1950. A portion of this honor may be attributed to the unforgettable performances of Bette Davis, Ann Baxter and Gary Merrill. We're very gratified to present them tonight in their original roles starring with Reginald Gardner as the malicious critic. And I'm sure if we really knew All About Eve, we'd discover luxe flakes in her household. Luxe flakes are a must for all discriminating women who demand gentle, safer, washing care. Now, All About Eve, starring Bette Davis as Margot, Anne Baxter as Eve, Reginald Gardner as Addison DeWitt and Garry Merrill as Bill. 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 Appearance Achievement. A moment ago, in the venerable hall of the Saracidan Society, this most cherished honor came to a young actress named Eve Harrington. Among the many eminent personalities present is the noted critic Addison De Witt.

[Addison DeWitt]

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

[Karen Richards]

Eve.

[Lloyd Richards]

Eve Harrington. It seemed 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 to, wondering where.

[Karen Richards]

Mrs. Richards. Oh, there you are.

[Lloyd Richards]

Well, 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]

I hope you don't mind my speaking to you. It took every bit of courage I

[Lloyd Richards]

could raise to speak to a playwright's wife. I'm the lowest form of celebrity.

[Karen Richards]

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

[Lloyd Richards]

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. I see the play.

[Lloyd Richards]

See the play?

[Margot Channing]

You mean you.

[Lloyd Richards]

You've seen every performance?

[Karen Richards]

Yes.

[Lloyd Richards]

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

[Karen Richards]

Standing room doesn't cost much.

[Lloyd Richards]

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

[Karen Richards]

Oh, no.

[Margot Channing]

Oh, yes.

[Lloyd Richards]

She's got to meet you.

[Eve Harrington]

Oh, no, no.

[Karen Richards]

I'd be imposing on her. I'd be just another tongue tied, gushing fan.

[Lloyd Richards]

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

[Margot Channing]

Eve.

[Karen Richards]

Eve Harrington.

[Lloyd Richards]

Margot was in her dressing room. Lloyd. My husband was with her. And, of course, Birdie, Margot's maid.

[Bill Sampson]

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

[Eve Harrington]

reporter from the south, and the minute

[Margot Channing]

it gets printed, they're gonna fire on Gettysburg all over again. It was Fort Sumter they fired on Birdie. Where's my cold cream? Lloyd, honey, be a playwright with guts. Write me a play about a nice, normal woman who just shoots her husband.

[Lloyd Richards]

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

[Bill Sampson]

That's my loyal little woman.

[Margot Channing]

Oh, relax, kid. It's just me and my big mouth.

[Karen Richards]

Well, it's.

[Lloyd Richards]

It's just 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?

[Lloyd Richards]

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

[Margot Channing]

Autograph fiends. Little beasts.

[Lloyd Richards]

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.

[Lloyd Richards]

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

[Margot Channing]

You've what?

[Lloyd Richards]

She's just outside the door.

[Margot Channing]

Birdie? Yeah, the heave ho.

[Lloyd Richards]

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

[Margot Channing]

Oh, I know. The mousy one with the trench coat and the funny hat.

[Lloyd Richards]

Yes.

[Margot Channing]

Oh, how could I miss her? Every night, every matinee.

[Lloyd Richards]

Oh, come in, Eve. Margot, this is Eve Harrington.

[Margot Channing]

How do you do, my dear? Oh, brother.

[Karen Richards]

Hello, Miss Channing.

[Lloyd Richards]

My husband.

[Bill Sampson]

Hello, Miss Harrington.

[Karen Richards]

How do you do, Mr. Richards?

[Margot Channing]

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

[Karen Richards]

Miss Coonan.

[Bill Sampson]

Oh, brother.

[Addison DeWitt]

What?

[Margot Channing]

When she gets like this all of a sudden she's playing Hamlet's mother. I'm sure you must have things to do in the bathroom, Birdie, dear. If I haven't, I'll find something till you get normal.

[Lloyd Richards]

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

[Karen Richards]

Yes, every performance.

[Bill Sampson]

Well, then am I safe in assuming that you like it?

[Karen Richards]

I'd like anything Miss Channing played in.

[Margot Channing]

Would you really?

[Karen Richards]

How sweet.

[Bill Sampson]

I doubt very much that you'd like her in the Hairy Ape.

[Karen Richards]

Oh, please don't misunderstand me, Mr. Richards. I think that part of Miss Channing's greatness lies in her ability to pick the best plays. Your new plays for Miss Channing, isn't it?

[Addison DeWitt]

Well, how'd you hear about it?

[Karen Richards]

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

[Bill Sampson]

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

[Margot Channing]

Why, yes. There are other plays.

[Karen Richards]

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

[Bill Sampson]

But you must have friends, home, family?

[Karen Richards]

No.

[Lloyd Richards]

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. Did you see it here in New York?

[Karen Richards]

San Francisco. I went one night. The most important night of my life. Until now. I found myself going the next night and the next and the next. Then when the show went east, I went east.

[Lloyd Richards]

Eve, why don't you start at the beginning?

[Karen Richards]

Oh, I couldn't possibly interest you.

[Margot Channing]

Oh, please.

[Karen Richards]

Well, I guess it started back home. Wisconsin, that is. There was Just mom and dad and me. Farmers were poor in those days, so I quit school, 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 Lillian three times. I was awful. Then the war came and we got married. Eddie was in the Air Force. They sent him to the South Pacific. You were with the OWI, weren't you, Mr. Richards?

[Addison DeWitt]

How did you know that?

[Karen Richards]

I looked you up in who's who. Then came a letter from Eddie. He had a leave coming up. I went to San Francisco to meet him. Eddie wasn't there. They forwarded the telegram, the one from Washington to say that Eddie wasn't coming at all. But Eddie was dead. I decided to stay in San Francisco. I found a job and his insurance helped. And there were theaters in San Francisco. And then one night, Margot Channing came to play in remembrance. And, well, here I am.

[Margot Channing]

What a story. Everything but the bloodhound snapping at her rear end. Birdie, there are some human experiences that do not take place in a vaudeville house and that Even an ex 5th rate vaudevillian should understand and respect. I want to apologize for Birdie. Sorry, it's just my way of talking.

[Karen Richards]

Oh, you didn't hurt my feelings, Ms. Coonan.

[Margot Channing]

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

[Bill Sampson]

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

[Margot Channing]

Thank you so much.

[Bill Sampson]

Does my career mean nothing to you? Have you no human consideration?

[Margot Channing]

Show me a human and I might have.

[Bill Sampson]

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

[Margot Channing]

Bill, I'm a junkyard.

[Lloyd Richards]

Bill, this is Eve Harrington.

[Bill Sampson]

Hi. My wonderful junkyard. The mystery and dreams you find in a junkyard.

[Margot Channing]

Heaven help me, I love a psychotic.

[Bill Sampson]

Oh, hello. What's your name?

[Karen Richards]

Eve. Eve Harrington.

[Lloyd Richards]

You've already met.

[Addison DeWitt]

Hmm? Where?

[Lloyd Richards]

Oh, Eve, you're not going.

[Karen Richards]

I think I'd better. It's been. I can hardly find the words to say how it's been. Thank you.

[Margot Channing]

No, no, don't go.

[Karen Richards]

Well, the four of you must have so much to say to each other with Mr. Sampson leaving.

[Margot Channing]

No, no, stick around. Tell you what. We'll put 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]

I'll shower and dress. I won't be a minute.

[Lloyd Richards]

Oh, Lloyd, we've got to go.

[Eve Harrington]

Yeah.

[Lloyd Richards]

Good luck, genius.

[Bill Sampson]

Geniuses don't need luck. I do. We're not worried about you. Good night, Eve. I hope to see you again soon.

[Karen Richards]

I'll be at the old stand tomorrow,

[Lloyd Richards]

matinee this time as a friend.

[Karen Richards]

I'll never forget this night as long as I live, Mrs. Richards. And I'll never forget you for making it possible.

[Lloyd Richards]

I can't remember why Lloyd and I had to leave, but I do remember that as we left, Eve started talking to Bill.

[Karen Richards]

So you're going to Hollywood, Mr. Sampson?

[Bill Sampson]

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 mean, when a man's the best and most successful young director in the theater.

[Bill Sampson]

The theater? What book of rules says the theater exists only in New York. Listen, Junior, and learn. Yes, you want to know what the theater is? The flea circus. Also opera, rodeo's, carnivals, ballets, Indian tribal dances, Punch and Judy, a one man band. Wherever there's magic and make believe in an audience, there's theater. From Donald Duck to Eleanor, A doozer, all theater. You don't have to understand them all. You don't like them all. Why should you? The theater's for everybody, you included, but not exclusively. So don't approve or disapprove. It may not be your theater, but it's theater for somebody, somewhere.

[Karen Richards]

I just asked a simple question and

[Bill Sampson]

I shut my mouth off. Nothing personal, Junior. Margot, I am leaving here in exactly three seconds.

[Margot Channing]

So am I. If I can find my coat. It's right where you left it. Oh.

[Bill Sampson]

Any messages for Tyrone Power, Bertie?

[Margot Channing]

Just give them my phone number. Kill the people, Mr. Sampson.

[Bill Sampson]

Thanks, Bertie.

[Margot Channing]

You got the key, Birdie? I ain't forgot it yet. I'll see you at home in an hour, Eve. Where are you going, dear?

[Karen Richards]

You don't really want me tagging along.

[Margot Channing]

Well, now, don't be silly. This way it's quicker if we cut across the street stage. Where is she, Bill? What happened to Eve?

[Bill Sampson]

Oh, she's at the desk picking up my tickets. She said we had so little time together that she.

[Margot Channing]

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

[Bill Sampson]

That lack of pretense, that sort of strange directness and understanding.

[Margot Channing]

Isn't it silly? Suddenly I've developed a big protective feeling toward her. A lamb loose in our big stone jungle. Bill. Take care of yourself out there.

[Bill Sampson]

I understand they have the Indians pretty well in hand.

[Margot Channing]

Don't get stuck on some glamour, puss. I'll try you're not such a bargain, you know. You're a setup for some gorgeous, wide eyed young babe.

[Bill Sampson]

How childish are you gonna get before you stop it?

[Margot Channing]

I don't want to be childish. I'd settle for just a few years.

[Bill Sampson]

And cut that out right now.

[Margot Channing]

Am I going to lose you, Bill?

[Karen Richards]

Am I?

[Bill Sampson]

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

[Karen Richards]

Everything's ready, Mr. Sampson.

[Announcer]

Huh?

[Addison DeWitt]

Oh.

[Bill Sampson]

Oh, thanks. Eve.

[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]

Knit me a muffler, Margot.

[Margot Channing]

Kiss me. Goodbye, Bill. Call me when you get in on the hour.

[Bill Sampson]

Hey, Junior, keep your 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 moved into the little guest room. The next few weeks were out of a fairy tale. I was Cinderella in the last act. Eve became my sister, lawyer, mother, friend, psychiatrist and cop. Her quiet efficiency, her constant anticipation of my wishes, drove Birdie crazy. And I loved it. Yes, the honeymoon was on. Early one morning, the telephone awakened me. I was half groggy with sleep and the operator made no sense at all.

[Karen Richards]

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

[Eve Harrington]

Where? What call?

[Karen Richards]

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

[Margot Channing]

Go ahead, please.

[Bill Sampson]

Margot, what a wonderful surprise. What a thoughtful, ever loving thing to do.

[Margot Channing]

Bill, Have I gone crazy?

[Bill Sampson]

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

[Margot Channing]

That I am.

[Bill Sampson]

Then you're crazy.

[Margot Channing]

Oh, when are you coming back?

[Bill Sampson]

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

[Margot Channing]

Oh, now, Bill, you know how much I do, but over a phone. Now, really, that's kid stuff.

[Bill Sampson]

Kid stuff or not, it doesn't happen every day. And if you won't say it, then you can sing it.

[Margot Channing]

Sing it?

[Karen Richards]

Sure.

[Bill Sampson]

Like the Western Union boys used to do.

[Margot Channing]

Bill, it's your birthday and who remembered it?

[Bill Sampson]

Who was there on the.at 12 midnight?

[Margot Channing]

Happy birthday, darling.

[Bill Sampson]

The reading could have been better, but you said it. Now. Many happy returns of the day.

[Margot Channing]

Many happy returns of the day.

[Bill Sampson]

I get a party, don't I?

[Margot Channing]

Of course. Birthday and coming home. Who'll I ask?

[Bill Sampson]

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

[Margot Channing]

He wrote me, Eve. She did?

[Karen Richards]

Sure.

[Bill Sampson]

She hasn't missed a week since I left. But you know all about that. You probably tell her what to write. Anyway, I sent her a list of the people to ask, so check with her.

[Margot Channing]

Yes, I will.

[Bill Sampson]

How Is Eve okay?

[Margot Channing]

Okay.

[Bill Sampson]

I love you.

[Margot Channing]

I'll check with Eve. I love you too. Good night, darling. I thought he. About that phone call in the morning when Birdie came in with my breakfast. That's a silly question to ask me. I don't think it's silly at all. All I said. Well, you don't like Eve, do you? You want an argument or an answer? I'd like an answer. No. Why not? Now you want an argument? She's loyal and efficient, like an agent with only one client. She thinks only of me, doesn't she? Well, let's say she thinks only about you anyway. How do you mean that? Well, I'll tell you how Like. Well, like she's studying you.

[Eve Harrington]

Like you was a book or a

[Margot Channing]

play or a set of blueprints. How you walk, talk, eat, think, sleep. I'm sure that's very flattering, Birdie. And I'm also sure. Good morning. Oh, good morning, Eve.

[Karen Richards]

I'm going downtown now, Ms. 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]

Those checks for the income tax.

[Karen Richards]

Right in this envelope.

[Margot Channing]

Seems I can't think of a thing you haven't thought of.

[Karen Richards]

That's my job, Ms. Channing.

[Margot Channing]

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

[Karen Richards]

Golly, I forgot to tell you.

[Margot Channing]

Yes, dear, you forgot all about it.

[Karen Richards]

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

[Margot Channing]

It was 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 anything, Bertie? Who said something? Well, don't.

[Host/Interviewer]

Theodore Dreiser's much discussed novel of the twenties, an American Tragedy, has been made into a distinguished screenplay brought up to date in time and settings by Paramount under the title, A Place in the Sun. A superb cast. Montgomery Clift, Elizabeth Taylor and Shelley Winters. And the critics seem to agree that all three give the best performances of their careers. The story, told with mounting suspense, concerns a poor boy, played by Montgomery Clift, who finds comfort in a lonely factory girl, Shelley Winters. But as he progresses to wealth and success, he falls in love with Elizabeth Taylor and aspires to the social set of which she is a part of his unwillingness to marry Shelley when she needs him, involves him in the famous boating accident that leads to his downfall. A Place in the sun definitely deserves A place on your list of films to see the cast alone. Bill is a triple threat.

[Karen Richards]

And Elizabeth Taylor as a wealthy society girl wears such gorgeous clothes. For instance, Edith Head, Paramount's well known designer created a stunning luxable costume for the important scene at the lake. It's white organdy with layers of organdy petticoats to give it that doll waisted look. So smart. This season it was luxed again and

[Lloyd Richards]

again and stayed just as lovely as new Shelley.

[Host/Interviewer]

Winter's wardrobe looks extra drab by comparison.

[Margot Channing]

Well, she plans to make up for

[Karen Richards]

it on her trip to Paris. She's counting on a shopping spree collecting gorgeous handmade slips and 90s negligees. And if I know Shelly, she took several boxes of luxe in her luggage to make sure her things get the safest possible care.

[Host/Interviewer]

Scores of famous Hollywood screen stars say there's nothing like new luxe with color freshener. It's perfect for all kinds of lingerie. Silks, rayons, nylons and fine cottons. Whites stay dazzling white as new. Delicate colors more brilliant than ever before.

[Karen Richards]

No wonder makers of lingerie advise luxe 33 to 1.

[Host/Interviewer]

Why don't you get a big box of new luxe tomorrow? Give your nice things that nice as new luxe look. Act 2 of All About Eve Starring Bette Davis as Margot, Ann Baxter as Eve, Reginald Gardner as Addison DeWitt and Garry Merrill 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 near. When I went down the stairs I was surprised to find that Bill had already arrived.

[Bill Sampson]

Well, looks like I'm gonna 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 wanted to know about Hollywood. She seemed so interested.

[Margot Channing]

She's a girl of so many interests.

[Bill Sampson]

It's a pretty rare quality these days.

[Margot Channing]

A girl of so many rare qualities

[Bill Sampson]

and so she seems.

[Margot Channing]

So you've pointed out so often. So many qualities. So often.

[Lloyd Richards]

And so young.

[Margot Channing]

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, though you may not think so, was well before my time.

[Bill Sampson]

I've 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]

Of course it's funny. This is all too laughable to be anything else. Whipping yourself into a jealous froth because I spent 10 minutes with a stage struck kid. 20 minutes, 30 minutes, 40. What of it?

[Margot Channing]

Stage struck, kid. She's a young lady.

[Karen Richards]

Of course.

[Margot Channing]

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.

[Narrator]

What?

[Margot Channing]

For instance, you, darling.

[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.

[Margot Channing]

Guilty.

[Bill Sampson]

Mad? Darling, there are certain characteristics for which you are famous on stage and off. I love you for some of them and in spite of others. 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? What about her face?

[Bill Sampson]

She hasn't cut them 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 intimate anything else doesn't spell jealousy to me. It spells a paranoiac insecurity that you should be ashamed of cutting.

[Lloyd Richards]

Print it.

[Margot Channing]

What happens in 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]

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

[Bill Sampson]

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

[Margot Channing]

Where's Karen?

[Bill Sampson]

Upstairs, Lloyd, getting her coat, I think.

[Margot Channing]

How's the new play coming along?

[Bill Sampson]

Footsteps on the ceiling. All right, I guess.

[Margot Channing]

The girl, she's still 20.

[Addison DeWitt]

20ish. It's not important.

[Margot Channing]

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

[Bill Sampson]

Margot, you haven't got any.

[Margot Channing]

Margot Channing is ageless. Spoken like a press agent. Lloyd, I'm not 20ish. I'm not 30ish. Three months ago, I was 40 years old. 44.

[Lloyd Richards]

Oh,

[Margot Channing]

that slipped out. I hadn't quite made up my mind to admit it. Now I suddenly feel as if I had taken all my clothes off week after week.

[Bill Sampson]

The thousands of people you regret.

[Announcer]

Young as you want.

[Margot Channing]

As young as they want, you mean. And I'm not interested whether thousands of people think I'm 6 or 600.

[Bill Sampson]

Just one person, isn't that so? You've had Another fight with bill, right?

[Margot Channing]

Bill's 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. I'll wear rompers and come in rolling a hoop if you like. Now get out of here. Go find your wife.

[Lloyd Richards]

It's so nice of you to come upstairs with me, Eve.

[Karen Richards]

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

[Lloyd Richards]

Tell me, Eve, how are things going?

[Margot Channing]

You happy?

[Karen Richards]

There should be a new word for happiness. Being here with Miss Channing. She's been so wonderful, done so much for me.

[Lloyd Richards]

Well, you've done your share, too, Eve. You've worked wonders with Margot.

[Karen Richards]

Well, good night, Mrs. Richards.

[Lloyd Richards]

Oh, Karen.

[Karen Richards]

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

[Lloyd Richards]

Well, that's nonsense.

[Karen Richards]

It's just that Miss Channing's affairs are in such good shape now, and I. I heard Mr. Fabian tell Ms. Channing that her understudy was going to have a baby and they'd have to replace her, so I, I.

[Lloyd Richards]

You want to be Margot's new understudy?

[Karen Richards]

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

[Lloyd Richards]

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.

[Lloyd Richards]

No, dear. Margot must go on. As a matter of fact, I. I don't see why you shouldn't be here, Understudy.

[Karen Richards]

Do you think she'd approve?

[Lloyd Richards]

I think she'd cheer.

[Karen Richards]

But Mr. Richards and Mr. Sampson.

[Lloyd Richards]

Ah, they'll do as they're told.

[Karen Richards]

Then would you speak to Mr. Fabian about it? After all, he's the producer, and if he doesn't like me, stop worrying. I seem to be forever thanking you for something, don't I? Good night, Karen.

[Lloyd Richards]

Good night, dear. So Eve became Margot's understudy. Naturally, I assumed that Margot knew and approved. Then one Friday 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's, a Ms. Caswell, was trying out for the part.

[Addison DeWitt]

Margot, how nice to see you.

[Margot Channing]

Waiting for someone, Addison? I think you'd be in the theater side of your protege, lending her moral support.

[Addison DeWitt]

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

[Margot Channing]

But 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.

[Margot Channing]

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

[Addison DeWitt]

No.

[Margot Channing]

Lloyd?

[Addison DeWitt]

No.

[Margot Channing]

Well, it can't have been Max.

[Addison DeWitt]

Who, naturally enough, your understudy.

[Margot Channing]

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

[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.

[Bill Sampson]

Ah.

[Addison DeWitt]

It just slipped your mind.

[Margot Channing]

How was Miss Caswell?

[Addison DeWitt]

Frankly, I don't remember.

[Margot Channing]

Just slipped your mind?

[Addison DeWitt]

Completely. Nor can anyone else tell you how Miss Caswell read or 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 true Trappist monk lives in his faith. And once in a great while, I experienced that moment of revelation for which all true believers wait and pray. You were one. Eve Harrington is another.

[Margot Channing]

I take it you read well.

[Addison DeWitt]

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

[Karen Richards]

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 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. He listened to his play as if he. 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 been reading them as written.

[Addison DeWitt]

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

[Karen Richards]

No.

[Margot Channing]

I came here to help with an audition. I'll just run on in to see so they'll know I did come after all. I must start wearing a watch. I never have, you know. Margot.

[Bill Sampson]

Well, how are you, darling?

[Margot Channing]

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

[Lloyd Richards]

Eve?

[Margot Channing]

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

[Bill Sampson]

Well, she's your understudy Eve, My understudy.

[Margot Channing]

I had no idea.

[Bill Sampson]

Why, I thought you knew. She was put on over a week ago.

[Karen Richards]

Miss 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]

What a pity. All that fire and music going to waste.

[Bill Sampson]

What fire and music?

[Margot Channing]

You wouldn't understand.

[Karen Richards]

I was dreadful, Miss Channing, believe me.

[Margot Channing]

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

[Bill Sampson]

Oh, you'd have been proud of her, Margot. Eve was a revelation.

[Margot Channing]

Oh, to you too, Lloyd.

[Bill Sampson]

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 exciting to have your lines read just as you wrote them.

[Addison DeWitt]

Addison.

[Bill Sampson]

You've seen Addison.

[Margot Channing]

So full of meaning, fire and music.

[Bill Sampson]

You've been talking to that fish wife.

[Margot Channing]

In this case, apparently as trustworthy as the world almanac.

[Bill Sampson]

You knew when you came in here 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.

[Bill Sampson]

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

[Margot Channing]

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

[Bill Sampson]

I never said it was.

[Margot Channing]

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

[Bill Sampson]

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 over 300 years.

[Margot Channing]

All playwrights should be dead for 300 years.

[Bill Sampson]

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

[Margot Channing]

Oh, you may change this star anytime you want for a new and fresh and exciting one, fully equipped with fire and music. Anytime you want. Starting with tonight's performance.

[Bill Sampson]

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 thought 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.

[Bill Sampson]

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

[Margot Channing]

And you, I take it, Bill Are the Paderewski who plays his concerto on me, the piano. Where is Princess Fire and Music?

[Addison DeWitt]

Who?

[Margot Channing]

The kid, Junior.

[Bill Sampson]

Gone.

[Margot Channing]

I must have frightened her away.

[Bill Sampson]

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

[Margot Channing]

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's over.

[Margot Channing]

I will not calm down.

[Bill Sampson]

Don't calm down.

[Margot Channing]

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

[Bill Sampson]

I'm trying terribly hard.

[Margot Channing]

Well, you needn't be. I will not be tolerated and I will not be plotted against.

[Bill Sampson]

Here we go.

[Margot Channing]

Such nonsense. What do you all take me for? Little Nell from the country. She's been my understudy for over a week. Arrives here for an audition when everyone knows I will be here and gives a performance out of nowhere. Gives a performance?

[Bill Sampson]

You've been all through that with Lloyd.

[Margot Channing]

The playwright does not make the performance, and it doesn't just happen. And this one didn't. Full of fire and music and whatnot. Carefully rehearsed, I have no doubt. Full of those Bill Sampson touches.

[Bill Sampson]

I'm sick and tired of these paranoiac outbursts. I didn't even know Eve Harrington was your understudy until half past two this afternoon.

[Margot Channing]

Tell that to Dr. Freud 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 an intelligent woman. Body with a voice and a great actress. 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 a kid like Eve to turn you into an hysterical, screaming harpy. Now, once and for all, stop it.

[Margot Channing]

Well, 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]

I'll say.

[Margot Channing]

Don't be condescending.

[Bill Sampson]

Now, come on, Margot, let's get out of here. I'll buy you a drink.

[Margot Channing]

I'll admit I may have seen better days, but I'm still not to be had for the price of a cocktail. Like a salted peanut?

[Bill Sampson]

Margo, let's make peace.

[Margot Channing]

Terms are too high. Unconditional surrender.

[Bill Sampson]

Just being happy. Just stopping all this nonsense about Eve and Eve and me.

[Margot Channing]

Oh, it's not nonsense. I wish it were.

[Bill Sampson]

Margot, tell me what's behind all this.

[Margot Channing]

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

[Bill Sampson]

I think you do know. But you won't or can't tell me. I said before, it was going to be my last try. And I meant it. I. I just can't think of anything else to do. I wish I could. Goodbye, Margot.

[Margot Channing]

Bill, where are you going? To find Eve.

[Bill Sampson]

That suddenly makes the whole thing believable.

[Margot Channing]

Oh, Bill.

[Host/Interviewer]

Bill.

[Lloyd Richards]

Frankly, Lloyd, I don't understand a word you're saying. You're too angry for coherence.

[Bill Sampson]

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

[Lloyd Richards]

Well, it's just possible that Margot didn't know.

[Bill Sampson]

Of course she knew. Addison told her. Just tell me one thing, Karen. Just one thing. Somebody's got to stop Margot. All right? Now who's going to do it? Who's going to give her that boot in the rear that she needs and deserves?

[Lloyd Richards]

Going to be a very cozy weekend, dear.

[Bill Sampson]

What weekend? What are you talking about?

[Lloyd Richards]

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

[Bill Sampson]

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

[Lloyd Richards]

Lloyd was right, of course. That boot Margo had coming to her. Evan knows she deserved it. We'd all felt those size fives of hers often enough.

[Eve Harrington]

But how? How to do it?

[Lloyd Richards]

And then it came to me. My big idea. Only two people in the whole world would know. Also, the boot would land where it would do the most good for all concerned. After all, it was nothing more than a perfectly harmless joke, which Margot herself would be the first to enjoy. And no reason at all why she herself shouldn't be told about it. In time, my big idea required a telephone call. Hello, this is Mrs. Richards. Will you please call Ms. Harrington to the phone? Yes, Ms. Eve Harrington.

[Host/Interviewer]

Before we continue with Act 2 of All About Eve, I'd like to introduce a special guest, Ms. Jean Mayberry, the charming daughter of the casting director at 20th Century Fox. I understand, Gene, that your career started with ice skating.

[Karen Richards]

That's right. I joined an ice show troupe and traveled all over, even to Cuba.

[Host/Interviewer]

A generation ago, ice skating in Cuba would have been as fantastic as an invasion from another planet.

[Karen Richards]

But today, such a possibility isn't so fantastic. 20th Century Fox has made a picture

[Host/Interviewer]

about it, the Day the Earth Stood Still. A very provocative picture. Michael Rennie, as a man from another planet, arrives to warn the Earth that they must maintain peace or be destroyed.

[Karen Richards]

I was fascinated by the huge flying disc that carries him to Earth.

[Host/Interviewer]

And Patricia Neal was fascinated by Michael. And both Michael and Hugh Marlow found her fascinating too.

[Karen Richards]

Well, no wonder she did look Excitingly lovely in that simple wardrobe she wears.

[Margot Channing]

In the Day the Earth Stood Still.

[Karen Richards]

Still, those magic white touches on her dress and white blouse are just as smart as can be.

[Host/Interviewer]

You know, while she was making the picture, they were luxed again and again. New luxe with color freshener just worked miracles, keeping them looking white as new luxing after luxing. Amazing new luxe, you know. Keeps white silks and rayons whiter than ever before. And white cottons from piques to organdies look dazzlingly white without bleaching. Colors stay unbelievably vivid and new looking.

[Karen Richards]

Oh, I'm a Lux fan from way back, Mr. Kennedy. I was born and raised in Hollywood, so I know how the screen stars love Lux. Patricia Neal says new luxe is even better than ever.

[Host/Interviewer]

Thank you, Jane Jean Mayberry. We were delighted to have you tonight. Women all over the country are excited about wonderful new luxe. Now they're using it for nicer everyday washables as well as their loveliest dresses and blouses. It's so safe. The perfect way to give all washables that nice as new luxe look. We pause now for station identification. This is the CBS Radio Network. The curtain rises on act 3 of all about eve, starring betty davis as margo, anne baxter as eve, reginald gardner as addison dewitt, and gary merrill as bill.

[Lloyd Richards]

That was a cold week we spent in the country. Bill didn't come at all. Margot didn't know where he was and didn't care, she kept saying. Somehow we staggered through. Late Monday afternoon, Lloyd and I set out to drive Margot to the station and my big idea went into operation. Its 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, the two of us, while Lloyd, cursing softly, went down the road in search of gasoline.

[Margot Channing]

Cigarette, Karen?

[Lloyd Richards]

Um, no. No, thank you, dear.

[Margot Channing]

I haven't been very pleasant this weekend.

[Lloyd Richards]

Well, we've all been a little tense lately.

[Margot Channing]

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

[Eve Harrington]

Well, how could we?

[Lloyd Richards]

Your Margo.

[Margot Channing]

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. They'd get drunk if they knew how when they can't have what they want. When they feel unwanted or. Or insecure or unloved.

[Lloyd Richards]

What about Bill? He's in love with you.

[Margot Channing]

More than anything in this world, I love Bill. And I want Bill. And I want him to want me. But me, not Margot Channing. And if I can't tell them apart, how can he? And Karen, About Eve. I've acted pretty disgracefully toward her, too.

[Eve Harrington]

Well, I.

[Margot Channing]

No, no, no, no. Don't fumble for excuses. Not here and now with my hair down. At best, let's say I've been oversensitive to. Well, to the fact that she's so young, so feminine and so helpless. To so many things I want to be for Bill.

[Lloyd Richards]

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

[Margot Channing]

About what?

[Lloyd Richards]

Getting stuck like this. I. I can't tell you how sorry I am.

[Karen Richards]

Karen.

[Margot Channing]

Don't give it a thought. One of destiny's merry pranks. After all, you didn't personally drain the gasoline tank.

[Karen Richards]

What?

[Margot Channing]

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

[Karen Richards]

O.

[Addison DeWitt]

This is Addison DeWitt. It is now my turn to tell you all about Eve. That night, with Margot Channing marooned 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 along with half a dozen other critics? A performance about which the management knew nothing until curtain time, when Margot failed to appear. Afterwards, I went backstage. The dressing room door was closed, but I had no trouble overhearing a rather interesting conversation. Eve and Bill Sampson.

[Bill Sampson]

So you can be very proud of yourself, Eve. That was a wonderful job you did tonight. I'll admit I was worried when Max called me.

[Addison DeWitt]

I had my doubts.

[Karen Richards]

You shouldn't have had any doubts.

[Bill Sampson]

Well, your audition the other day was one scene. The woods are full of one scene sensations. But you did it. With work and patience, you'll be a 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.

[Karen Richards]

So am I.

[Bill Sampson]

Well, 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 go, 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 for it.

[Karen Richards]

Then face it. Ever since that first night here in

[Bill Sampson]

this theater, when I told you what every young actress should know, when you

[Karen Richards]

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

[Bill Sampson]

Your makeup's a little heavy.

[Karen Richards]

And for you.

[Bill Sampson]

You're quite a girl. You think I'm in love with Margot? Hadn't you heard?

[Karen Richards]

You hear all kinds of things.

[Bill Sampson]

I'm only human, rumors to the contrary, and I'm as curious as the next man. One thing. What? I go after, I want to go after. I don't want it to come after me, just score it as an incomplete forward pass.

[Addison DeWitt]

I waited a reasonable length of time after Bill left, and then I, too, had a chat with Eve Harrington. I wanted to write a column about Eve. There were many questions to ask.

[Karen Richards]

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

[Addison DeWitt]

I've heard about your modesty, Miss Harrington, but I think the time has come for you to shed some of your humility. It's just as false not to blow your horn at all as to blow it too loudly.

[Karen Richards]

I don't think I've done anything to sound off about 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 busy, we could have supper.

[Karen Richards]

I'd love to. Or should I pretend I'm busy?

[Addison DeWitt]

Well, let's have a minimum of pretending. I shall want to do a column about you.

[Karen Richards]

I'm not even enough for a paragraph.

[Addison DeWitt]

There's so much I want to know. I've heard your story in bits and pieces. Your home in Wisconsin, your tragic marriage, your fanatical attachment to Margot. It started in San Francisco, didn't it?

[Karen Richards]

Yes. Yes, that's right.

[Addison DeWitt]

And that memorable night when Margot first dazzled you. What theatre in San Francisco is that, Eve? Was it the Schubert?

[Karen Richards]

Yes, the Schubert.

[Addison DeWitt]

Ah. Fine old theatre, the Schubert. Full of dignity and traditions. Tell me, what was your husband's name?

[Karen Richards]

Eddie.

[Addison DeWitt]

Eddie what?

[Karen Richards]

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

[Addison DeWitt]

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

[Karen Richards]

You take charge.

[Addison DeWitt]

Thank you. I believe I will. I learned a lot about Eve that night. After I brought her home, I went to my office to write my column. What I wrote pleased me exceedingly.

[Margot Channing]

Stop saying you can't believe it, Karen. It's right here in print, isn't it? Listen to this. Miss Harrington had much to tell about the lamentable practice of permitting, shall we say, mature actresses to play roles requiring a youth and vigor of which they retain but a dim memory.

[Lloyd Richards]

I still can't believe that Eve, of

[Margot Channing]

the understandable reluctance on the part of our entrenched first ladies of the stage to encourage younger actresses about Ms. Harrington's own long, unsupported struggle for the opportunity.

[Lloyd Richards]

But Eve couldn't have said anything like that.

[Margot Channing]

What gets me is how all the papers in town just happened to catch that particular performance last night. The little witch must have sent out Indian runners. Well, she won't get away with it. Nor will Addison do Witt and his poisoned pen. And don't try to tell me I.

[Bill Sampson]

I came as soon as I read

[Addison DeWitt]

that piece of Phil.

[Margot Channing]

Oh, Bill.

[Lloyd Richards]

Thank goodness.

[Karen Richards]

Oh, Bill.

[Host/Interviewer]

Margot.

[Eve Harrington]

Margo.

[Bill Sampson]

I ran all the way. Bill's here, baby. Everything's all right now.

[Lloyd Richards]

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

[Addison DeWitt]

Yeah.

[Bill Sampson]

Do you mind? Karen.

[Announcer]

Margo.

[Bill Sampson]

Margo, baby. Thanks, Karen.

[Announcer]

We'll phone you later.

[Addison DeWitt]

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

[Bill Sampson]

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

[Margot Channing]

Glory hallelujah.

[Addison DeWitt]

Well, of them, Margot.

[Eve Harrington]

Who?

[Margot Channing]

When?

[Lloyd Richards]

When are you going to do it?

[Bill Sampson]

Tomorrow we meet at city hall at 10. And you, Margo, are going to be on time for once.

[Margot Channing]

Yes, sir.

[Bill Sampson]

City hall, that's for prize fighters and reporters. It's only for the license. There's a three day wait for blood tests.

[Margot Channing]

I'll marry you if it turns out to have no blood at all.

[Lloyd Richards]

What are you going to wear?

[Margot Channing]

Oh, something simple. A fur coat over a nightgown.

[Bill Sampson]

The point is, we want you two beside us as our nearest and dearest friends.

[Lloyd Richards]

Which we are. Which we'll always be.

[Bill Sampson]

Excuse me, Mrs. Richards?

[Lloyd Richards]

Oh, yes, Ma.

[Announcer]

This note. It's for you.

[Lloyd Richards]

Oh, thank you.

[Bill Sampson]

Very indiscreet car. Next time tell your lover to blow smoke rings atap a glass.

[Margot Channing]

The world is full of love tonight, Lloyd. No woman is safe.

[Lloyd Richards]

Well, this beats all world's records for

[Margot Channing]

running, jumping or standing gall.

[Lloyd Richards]

Margo.

[Margot Channing]

Here.

[Lloyd Richards]

Read this. Please.

[Margot Channing]

Forgive me for butting into what seems a giant happy occasion, but it's most important that I speak with you. Please. And that's underlined. Meet me in the ladies room. Eve.

[Bill Sampson]

I understand she's now the understudy in there. Well, after all. Maybe Eve just wants to apologize.

[Lloyd Richards]

I have no possible interest in anything she'd have to say.

[Bill Sampson]

What could she say? That's what fascinates me. Go on, Karen.

[Announcer]

Find out.

[Margot Channing]

Karen, during all the years of our friendship, I have never let you go into the ladies room alone. Now I must.

[Karen Richards]

I must.

[Margot Channing]

I am busting to find out what's going on in that feverish little brain waiting in there.

[Lloyd Richards]

Well, all right.

[Karen Richards]

Thank you for coming, Karen. I just had to speak to you.

[Lloyd Richards]

I don't know what you have to tell me, Eve, but I won't believe

[Karen Richards]

a word of it. Why should you? It's about Mr. DeWitt's column.

[Margot Channing]

Oh.

[Lloyd Richards]

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

[Karen Richards]

All I know is that, well, you find yourself trying to say what you mean, but somehow the words change. They become his words, and suddenly you're not saying what you mean, but what he means. I just wanted you to know. Responsibility is mine. And the disgrace.

[Lloyd Richards]

Oh, now, let's not get over dramatic.

[Karen Richards]

You really have a low opinion of me, haven't you? You'll be glad to know I've been told off in no uncertain terms all over town. Miss Channing should be happy to hear that.

[Lloyd Richards]

Now, Eve, don't cry.

[Karen Richards]

I'm not crying.

[Lloyd Richards]

After all, you still have a powerful friend Left in Addison DeWitt.

[Karen Richards]

He's not my friend. You are my friends. I wish I'd never met him. I'll never get over this.

[Margot Channing]

Never.

[Lloyd Richards]

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]

There is something.

[Lloyd Richards]

Yes, I think I know something most

[Karen Richards]

important you can do.

[Lloyd Richards]

Lloyd's new play. You want to play the lead? You want me to tell Lloyd I think you should play Cora?

[Karen Richards]

If you told him to, he'd give me the part. He said he would.

[Lloyd Richards]

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

[Karen Richards]

It might have been 15 years ago. It's my part now. You've got to tell Lloyd it's for me.

[Lloyd Richards]

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

[Karen Richards]

Addison wants me to play it.

[Margot Channing]

Over my dead body.

[Karen Richards]

That won't be necessary. Karen. Eve, Addison knows how Margot happened to miss that performance last night. And how I happened to know she'd miss it in time to call him and notify every paper in town. You 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 favors. I'm so happy I can do something for you. At long last Your friendship with Margo. Your deep, close friendship. What would happen to it, do you think, if she knew the cheap trick you'd played on her for my benefit? No. It'd be so much easier for everyone concerned if I were to play Cora. So much better theater, too.

[Lloyd Richards]

You do all that just for a part in a play?

[Karen Richards]

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

[Addison DeWitt]

Care to look at a menu, Eve? But you can't be very hungry after all that humble pie.

[Karen Richards]

Oh, nothing of the kind. Karen and I had a nice talk.

[Addison DeWitt]

Including a casual reference to the part of Cora and your hopes of playing it?

[Karen Richards]

I discussed it very openly.

[Addison DeWitt]

And Karen mentioned, of course, that Margot expects to play the part.

[Karen Richards]

Oddly enough, she didn't say a word about Margot. Just that she'll be happy to do what she can to see that I play the part.

[Addison DeWitt]

Just like that, huh?

[Karen Richards]

Just like that.

[Addison DeWitt]

You know, Eve, sometimes I think you keep things from me.

[Karen Richards]

I don't think that's funny.

[Addison DeWitt]

It wasn't meant to be.

[Karen Richards]

I confide in you and rely on you more than. Than anyone I've ever known. To say a thing like that now, without any reason, when I need you more than ever.

[Addison DeWitt]

I hope you mean what you say. I intend to hold you to it. We have a great deal in common, it seems to me.

[Announcer]

Well, what happened, Karen?

[Lloyd Richards]

Oh, nothing much. She apologized.

[Margot Channing]

With tears.

[Lloyd Richards]

With tears.

[Margot Channing]

Very classic stuff. Lots of technique. Groom, 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 so forgiving. I forgive Eve. Do you know why I forgive Eve? She left good behind. The four of us here together. It's Eve's fault. I forgive her. And Bill. Especially Bill. She did that, too.

[Bill Sampson]

You know, she probably means well.

[Margot Channing]

After all, she is a louse.

[Bill Sampson]

Never try to outguess Margot.

[Margot Channing]

Correct. Which brings me to you, Lloyd. Lloyd promised not to be angry with me.

[Addison DeWitt]

Well, it depends.

[Margot Channing]

I'd better just come right out and say it. I don't want to play Cora.

[Karen Richards]

You what?

[Margot Channing]

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

[Bill Sampson]

What's your being married got to do with.

[Margot Channing]

Oh, 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. I know you may. Planter. Please understand.

[Eve Harrington]

Please.

[Bill Sampson]

What's so funny?

[Addison DeWitt]

Oh, nothing, nothing.

[Margot Channing]

Everything's 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. Occasionally I dropped by the theater, not only to admire Eve, but to be amused of the increasing tension developing because of Eve between those two old friends, Lloyd the writer and Bill the director. Something was in the air. The play was now 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, want to run away or something. Instead, I can't wait for tonight to come. 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've 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.

[Karen Richards]

Good. 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]

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. I find it odd

[Addison DeWitt]

that Karen isn't here for the opening, don't you? She's always been so fanatically devoted to Lloyd.

[Karen Richards]

Addison. A few moments ago I said this would be a night to remember. I didn't mean just the theatre.

[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 loves. I leave those to Louisa May Alcott. But I know you.

[Karen Richards]

I'm in love with Lloyd. Oh, Edison, won't it be just perfect? There's no telling how far we can go. You'll write great plays for me. 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, Scold. Good work, Eve.

[Addison DeWitt]

What do you take me for? Is it possible, even conceivable, that you've confused me with that gang of backward children you've played tricks on? That you have the same contempt for me you have for them.

[Karen Richards]

I'm sure you mean something by that, Addison. I don't know what.

[Addison DeWitt]

I'm nobody's fool, Eve, 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. But Lloyd may leave Karen, but he will not leave her for you.

[Karen Richards]

What do you mean by that?

[Addison DeWitt]

I have not come to New Haven to see the play, discuss your dreams or climb the ivy walls of Eli Yale. I have come here to tell you that you will not marry Lloyd Richards, or anyone else for that matter, because I will not permit it.

[Karen Richards]

Will not permit it? That sounds medieval. Something out of an old melodrama.

[Addison DeWitt]

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

[Karen Richards]

You and I.

[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 Schlesinski.

[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 bus followed by detectives.

[Karen Richards]

She never proved anything. Not a thing.

[Addison DeWitt]

But the $500 you were paid to get out of town brought you straight to New York, didn't it?

[Karen Richards]

She was a liar. She was a liar.

[Addison DeWitt]

There was no Eddie, no pilot. You've never been married. That was not only a lie, but it was an insult to dead heroes and to women who love them. San Francisco has no Shubert Theater. You've never been to San Francisco. That was a stupid lie and not worthy of you.

[Lloyd Richards]

I had to meet Margot.

[Karen Richards]

I had to say something, be somebody,

[Margot Channing]

make her like me.

[Addison DeWitt]

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

[Margot Channing]

That's not true.

[Addison DeWitt]

After you failed with Bill, you used my name and my column to blackmail Karen into getting with a pot of co. And you lied to me about it.

[Karen Richards]

No.

[Host/Interviewer]

No, sweetie.

[Addison DeWitt]

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

[Karen Richards]

Yes, Addison.

[Addison DeWitt]

And 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.

[Karen Richards]

I won't go on tonight.

[Eve Harrington]

I couldn't.

[Karen Richards]

Not possibly. I couldn't go on.

[Addison DeWitt]

You'll give the performance of your life.

[Karen Richards]

I won't. I won't.

[Margot Channing]

I can't.

[Addison DeWitt]

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

[Karen Richards]

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

[Addison DeWitt]

She's coming toward me now to our table. It'll take a while, all those photographers. And then, of course, she'll have to pause for a moment at their table. Margot's and Bill's. Lloyd's and Karen.

[Lloyd Richards]

Congratulations, Eve.

[Eve Harrington]

Thank you, Karen.

[Margot Channing]

Nice. But I wouldn't worry too much about your heart. That little statue they gave you, you can always put it where your heart ought to be.

[Karen Richards]

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 her, Miss Caswell. No one in the world. Tell me, Miss Caswell, do you want someday to have an award like that of your own?

[Eve Harrington]

Oh, more than anything.

[Addison DeWitt]

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

[Host/Interviewer]

We hope you enjoyed our show as much as our stars enjoyed doing it for you. Of course, you know what a reputation screen stars have for beautiful clothes. Well, you can give your washables the very same care the stars insist on for their own gorgeous things. It's new luxe with color freshener. The most wonderful improvement ever made in a wonderful product. Don't take my word for it. Try it yourself and you'll agree you've Never seen anything like the magic it works on colors. It actually keeps white things white as new, makes colors sparkle like jewels, and keeps your prints sharp and brilliantly clear. No other soap, no other type of suds is safer for your nice things, your washable silks, rayons, nylons and fine cottons. Once you've tried New Lux with color freshener, you'll never again put up with anything else. Get a big box of New Luxe with color freshener tomorrow. Use it for all your washables. You'll be thrilled with their nicest new luxe look. And here they are, an outstanding cast to take a bow for outstanding performances. Bette Davis, Ann Baxter, Reginald Gardner and Garry Merrill. And how nice to have you back again. We haven't seen you here since the arrival of little Katrina.

[Karen Richards]

You know how I love appearing on the Lux radio theater.

[Margot Channing]

Love appearing indeed. Quite a way to get some more luxe flakes.

[Karen Richards]

Anne, Betty, when you have a new baby, you need all the Lux you can get.

[Margot Channing]

Watch this girl. Remember as Eve, she'll want all our Lux flakes in a minute.

[Host/Interviewer]

Now, girls, the play is over. There's plenty in the wings for all.

[Karen Richards]

Lux flakes really are a must in our house. Even before Katrina.

[Addison DeWitt]

All this talk of young children. Why didn't anyone ask me to be a godfather?

[Bill Sampson]

Do you think you're quite the type? After listening to you for the last hour, I. I thought you relished little children as part of your diet.

[Addison DeWitt]

Well, don't be silly. I just finished A picture of 20th Century Fox starring Clifton Webb called Elopement, in which I played a godfather. Now I'm at RKO in Androcles and the Lion.

[Margot Channing]

Typecasting again.

[Announcer]

This is the Columbia Broadcasting System.

[Narrator]

We just heard Bette Davis and Ann Baxter, the stars of All About E. Eve that will do it for this week's show. Thanks so much for joining me today. I hope you'll be back next week as we continue our month of best picture winners with the stars of the Lost Weekend. In the meantime, you can check out down these Mean Streets, my old Time Radio Detective podcast. New episodes of that show are out on Sundays. If you like what you're hearing, don't be a stranger. You can rate and review the show on Apple Podcasts or wherever you listen. And if you'd like to lend support to the show, you can visit buymeacoffee.com meanstsotr now, good night until next week when I'll be back with the stars of the Lost Weekend, each of them appearing in a tale well calculated to keep you in

[Bill Sampson]

suspense,

[Announcer]

Ladies and gentlemen. The chief hope of our enemies is to divide the United States along racial and religious lines and thereby conquer us. Let's not spread prejudice. A divided America is a weak America. Through our behavior, we encourage the respect of our children and make them better neighbors to all races and religions. Remind them that being good neighbors has helped make our country great and kept her free. Thank you.