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0:39

Film buffs and fiction fans rejoice. On

0:42

this selected shorts, stories that have been

0:44

adapted for the screen including All About

0:46

Eve, The Twilight Zone and Alice in

0:49

Wonderland. I'm Meg Wolitzer. Pop

0:51

some popcorn and gather round for movies

0:53

on the radio. You're

1:02

listening to Selected Shorts, where our

1:04

greatest actors transport us through the

1:06

magic of fiction, one short story

1:08

at a time. We

1:11

at Selected Shorts love movies. Film

1:13

and fiction are both storytelling media,

1:15

of course, with plenty of heroes

1:18

and quests and life lessons. And

1:20

each discipline is inspired by the

1:22

other. Movies provide fiction writers with

1:24

all kinds of fodder, and fiction

1:26

activates the imaginations of filmmakers. I've

1:31

been fortunate to have my novels adapted for the

1:33

screen. The first film Nora

1:35

Efron ever directed, This Is My Life, was

1:37

based on my novel. But I never

1:40

fantasize about the possible movie versions of

1:42

my books when I'm writing. I

1:44

don't picture actors, nor do I even see

1:46

the faces of the characters. Instead,

1:48

I sort of see a blurry version.

1:50

The features may be slightly distorted, but

1:53

I could still pick those people out

1:55

in a crowd of literary characters. And

1:58

you know how often in films characters different

2:00

books get together. So yes,

2:02

like all of you, we love film. But

2:05

wow, if you want to talk about not

2:07

only love a film but commitment to sharing

2:09

and showcasing the medium, look no further than

2:11

the Tribeca Film Festival. Since

2:13

2003, Robert De Niro, Jane Rosenthal, and

2:17

Craig Hatkoff's annual celebration has brought

2:19

countless new movies and new artists

2:21

to our attention. And conversations,

2:24

expositions, and much more to those of

2:26

us lucky enough to live in New

2:28

York City. And this

2:30

week, each of you listening can be a part of

2:32

the Tribeca Festival too. Selected Shorts

2:34

recently teamed up with the festival, bringing

2:36

famous stories that have been adapted into

2:39

film to a packed house at our

2:41

home theater of symphony space. Later

2:44

in the hour, we'll hear the story

2:46

that inspired the Bette Davis classic, All

2:48

About Eve. But let's start our

2:50

exploration with Button Button, a story

2:52

that was adapted into a 1985

2:55

episode of The Twilight Zone and a

2:57

film called The Box. It

3:00

was written by Richard Matheson whose titles

3:02

include The Shrinking Man and his work

3:04

is very adaptable. His novel,

3:06

I Am Legend, has made it to the

3:09

screen not once or twice, but three times.

3:12

Performing this Matheson story is the

3:14

very talented, very busy, Marin

3:16

Ireland. She has appeared

3:18

in recent series including Sneaky Pete and

3:21

films including The Boogie Man. Listen

3:23

closely for the twist and the

3:25

audience's powerful reaction right at the

3:28

story's finish. And

3:30

now Marin Ireland performs Richard

3:32

Matheson's Button Button. Button

3:44

Button. The

3:47

package was lying by the front door,

3:50

a cube shaped carton sealed with

3:52

tape, their name and address printed

3:55

by hand. Mr. and Mrs.

3:57

Arthur Lewis, 217 East 37th Street,

4:00

New York, New York, 10016. Norma

4:04

picked it up, unlocked the door and went

4:06

into the apartment. It was just getting dark.

4:09

After she put the lamb chops in the broiler, she

4:12

sat down to open the package. Inside

4:15

the carton was a push-button unit

4:17

fastened to a small wooden box.

4:20

A glass dome covered the button. Norma

4:23

tried to lift it off, but it was locked in

4:25

place. She turned the unit over

4:28

and saw a folded piece of paper scotch

4:30

taped to the bottom of the box. She

4:32

pulled it off. Mr. Stewart

4:34

will call on you at 8

4:36

o'clock p.m. Norma

4:38

put the button unit beside her on the couch. She

4:41

reread the typed note, smiling. A

4:44

few moments later, she went back into the kitchen to make

4:46

the sound. The doorbell rang

4:48

at 8 o'clock. I'll get it, Norma

4:50

called from the kitchen. Arthur was in

4:53

the living room reading. There

4:55

was a small man in the hallway. He

4:58

removed his hat as Norma opened the door.

5:01

Mrs. Lewis, he inquired politely.

5:04

Yes. I'm Mr.

5:06

Stewart. Oh,

5:09

yes. Norma repressed a

5:11

smile. She was sure now it was

5:13

a sales pitch. May

5:15

I come in? asked Mr. Stewart.

5:17

I'm rather busy, Norma said. I'll

5:19

get you your wetchamacallit, though. She

5:22

started to turn. Don't you want

5:24

to know what it is? Norma

5:26

turned back. Mr. Stewart's tone

5:29

had been offensive. No, I don't

5:31

think so, she replied. It

5:34

could prove very valuable, he

5:36

told her. Monetarily, she

5:39

challenged. Mr. Stewart

5:41

nodded. Monetarily, he said. Norma frowned.

5:46

She didn't like his attitude. What are

5:48

you trying to sell? she asked. I'm

5:51

not selling anything, he answered. Arthur

5:54

came out of the living room. Something wrong? Mr. Stewart

5:57

introduced himself. Oh, the

6:00

Arthur pointed toward the living room and smiled,

6:02

what is that gadget anyway? It

6:05

won't take long to explain, replied Mr.

6:07

Stewart. May I come in? If

6:10

you're selling something, Arthur said. Mr.

6:12

Stewart shook his head, I'm not.

6:15

Arthur looked up at Norma. Up

6:18

to you, she said. He

6:21

hesitated. Well, why not,

6:23

he said. They

6:25

went into the living room and Mr. Stewart sat

6:27

in Norma's chair. He reached

6:30

into an inside coat pocket and went through

6:32

a small sealed envelope. Inside

6:34

here is a key to

6:36

the Bell Unit dome, he said. He

6:39

set the envelope on the chair side table. The

6:42

bell is connected to our office.

6:45

What's it for, asked Arthur. If

6:48

you push the button, Mr. Stewart told

6:51

him, somewhere in the world,

6:53

someone you don't know will die.

6:57

In return for which, you will receive a payment

6:59

of $50,000. Norma

7:03

stared at the small man. He

7:05

was smiling. What are

7:08

you talking about, Arthur asked him. Mr.

7:10

Stewart looked surprised. But I just

7:12

explained, he said. Is

7:14

this a practical joke, asked Arthur. Not

7:16

at all, the offer is completely genuine.

7:19

You aren't making sense, Arthur said.

7:22

You expect us to believe. Who

7:24

do you represent, demanded Norma. Mr.

7:27

Stewart looked embarrassed. I'm afraid I'm

7:29

not at liberty to tell you that, he

7:31

said. However, I assure

7:33

you, the organization is of international

7:35

scope. I

7:37

think you'd better leave, Arthur said, standing.

7:40

Mr. Stewart rose. Of

7:42

course. And take your button unit

7:44

with you. Are

7:46

you sure you wouldn't care to think about it for

7:48

a day or so? Arthur

7:51

picked up the button unit and the envelope and

7:53

thrust them into Mr. Stewart's hands. He walked into

7:55

the hall and pulled open the door. I'll

7:58

leave my card, said Mr. Stewart. He

8:00

placed it on the table by the door. When

8:03

he was gone, Arthur tore it in half and tossed

8:05

the pieces on the table. Norma

8:07

was still sitting on the sofa. What

8:10

do you think it was? she asked. I

8:12

don't care to know, he answered. She

8:15

tried to smile but couldn't. Aren't

8:17

you curious at all? No.

8:21

He shook his head. After

8:23

Arthur returned to his book, Norma went back

8:25

to the kitchen and finished washing the dishes.

8:29

Why won't you talk about it? Norma

8:31

asked. Arthur's eyes shifted

8:33

as he brushed his teeth. He

8:35

looked at his reflection in the bathroom mirror. Doesn't

8:39

it intrigue you? It

8:41

offends me, Arthur said. I know.

8:45

But... Norma rolled another curler

8:47

in her hair. Doesn't it intrigue

8:49

you too? You

8:53

think it's a practical joke? she asked as they went

8:55

into the bedroom. If it is, it's a sick one.

8:58

Norma sat on her bed and took off

9:01

her slippers. Maybe it's some kind of psychological

9:03

research. Arthur shrugged.

9:06

Could be. Maybe some eccentric

9:08

millionaire is doing it. Maybe.

9:10

Wouldn't you like to know? Arthur

9:13

shook his head. Why? Because

9:18

it's immoral, he told her. Norma

9:21

slid beneath the covers. Well,

9:24

I think it's intriguing, she said. Arthur

9:27

turned off the lamp and leaned over to kiss her.

9:31

Good night, he said. Good

9:33

night. She patted his back. Norma

9:36

closed her eyes. Fifty

9:40

thousand dollars, she thought.

9:45

In the morning, as she left the apartment,

9:47

Norma saw the card halves on the table.

9:50

Impulsively, she dropped them into her purse.

9:53

She locked the front door and joined Arthur in

9:55

the elevator. While she

9:57

was on her coffee break, she took the card

9:59

halves from her room. purse and held the torn

10:02

edges together. Only

10:04

Mr. Stewart's name and telephone number were printed

10:06

on the card. After

10:08

lunch, she took the card halves from her

10:10

purse again and scotch taped the edges

10:12

together. Why am I doing this? She thought.

10:16

Just before five, she dialed

10:18

the number. Good

10:20

afternoon, said Mr. Stewart's voice.

10:24

Norma almost hung up but restrained herself.

10:26

She cleared her throat. This

10:28

is Mrs. Lewis, she said.

10:30

Yes, Mrs. Lewis. Mr.

10:33

Stewart sounded pleased. I'm

10:36

curious. That's natural,

10:38

Mr. Stewart said. Not that

10:40

I believe a word of what you told us. Oh,

10:43

it's quite authentic, Mr. Stewart answered.

10:46

Well, whatever, Norma swallowed.

10:49

When you said someone in the world

10:51

would die. What

10:53

did you mean? Exactly

10:56

that, he answered. It could

10:58

be anyone. All we

11:00

guarantee is that you don't

11:02

know them. And

11:05

of course, that you wouldn't have to watch them

11:07

die. For $50,000, Norma

11:11

said. That is correct. She

11:14

made a scoffing sound.

11:16

That's crazy. Nonetheless, that is

11:18

the proposition, Mr. Stewart said. Would

11:20

you like me to return the button

11:22

unit? Norma stiffened. Certainly

11:25

not. She hung up angrily.

11:29

The package was lying by the front door.

11:31

Norma saw it as she left the elevator.

11:33

Well, of all the nerve, she thought. She

11:36

glared at the carton as she unlocked the

11:38

door. I just won't take it in, she

11:40

thought. She went inside and started dinner. Later,

11:43

she went into the front hall. Opening

11:46

the door, she picked up the package and carried it

11:48

into the kitchen, leaving it on the table. She

11:51

sat in the living room looking out the window. After

11:55

a while, she went back into the kitchen to turn

11:57

the cutlets in the broiler. She put the

11:59

package in a bottom She'd

12:01

throw it out in the morning. Maybe

12:04

some eccentric millionaire is playing games

12:06

with people, she said. Arthur

12:09

looked up from his dinner. I

12:11

don't understand you. What

12:14

does that mean? Let it

12:16

go, he told her. Norma

12:20

ate in silence. Suddenly

12:22

she put her fork down. Suppose it's

12:24

a genuine offer, she said. Arthur

12:27

stared at her. Suppose

12:31

it's a genuine offer.

12:35

All right, suppose it is. He looked

12:37

incredulous. What would you like to do, get the

12:39

button back and push it? Murder

12:41

someone? Norma looked

12:43

disgusted. Murder. How

12:47

would you define it? If you don't

12:49

even know the person? Norma

12:52

said. Norma looked astounded.

12:54

Are you saying what I think you are?

12:57

If it's some old

12:59

peasant ten thousand miles

13:01

away? How

13:05

about a baby boy in Pennsylvania? Arthur

13:08

countered. Some beautiful little girl on

13:10

the next block. Now you're loading things.

13:13

The point is, Norma, he continued, what's

13:15

the difference? Whom you kill, it's still

13:17

murder. The point is, Norma broke in,

13:20

if it's someone you've never seen in

13:22

your life, and never will

13:24

see, someone whose death you don't even have to know

13:26

about, you still wouldn't push the button?

13:30

Arthur stared at her, appalled. You

13:32

mean you would? Fifty

13:35

thousand dollars, Arthur. What

13:38

has the amount? Fifty thousand

13:42

dollars, Arthur.

13:45

Norma interrupted. A chance

13:47

to take that trip to Europe we've always talked

13:49

about. Norma, no. A

13:52

chance to buy that cottage on

13:54

the island. Norma, no. His

13:56

face was white. She shuddered. All right, take it

13:58

easy. easy," she said.

14:00

Why are you getting so upset? It's

14:02

only talk. After

14:05

dinner, Arthur went into the living room. Before

14:07

he left the table, he said, I'd

14:09

rather not discuss it anymore, if

14:12

you don't mind. Norma shrugged.

14:15

Fine with me. She

14:17

got up earlier than usual to make

14:20

pancakes, eggs, and bacon for Arthur's breakfast.

14:23

What's the occasion? He asked with

14:25

a smile. No occasion.

14:28

Norma looked offended. I wanted to do it,

14:30

that's all. Good,

14:32

he said. I'm glad you did. She

14:35

refilled his cup. Wanted to show you

14:37

I'm not. She

14:39

shrugged. Not what?

14:43

Selfish. Did

14:45

I say you were? Well, she

14:47

gestured vaguely. Last night. Arthur

14:51

didn't speak. All that

14:53

talk about the button, Norma said. I

14:55

think you, well, misunderstood

14:57

me. In

15:00

what way? His voice

15:02

was guarded. I think you felt, she

15:05

gestured again, that I

15:07

was only thinking of myself. Oh.

15:13

I wasn't. Norma. Well,

15:15

I wasn't. When

15:17

I talked about Europe, a cottage on the

15:20

island. Norma, why are we getting

15:22

so involved in this? I'm not involved at

15:24

all. I'm

15:26

not. She drew in a shaking breath. I'm

15:29

simply trying to indicate that what? That

15:31

I'd like for us to go to

15:33

Europe. Like for

15:35

us to have a cottage on the island.

15:38

Like for us to have a nicer apartment,

15:40

nicer furniture, nicer clothes, a car. Like

15:43

for us to finally have a baby, for that

15:45

matter. Norma, we will,

15:47

he said. When? He

15:51

stared at her in dismay. Norma, when? Really?

15:55

Are you really saying? I'm saying that they're probably

15:57

doing it for some research project.

16:00

She cut him off. That they want

16:02

to know what average people would do

16:04

under such a circumstance. That

16:07

they're just saying someone would die in

16:09

order to study reactions, see if there'd

16:11

be guilt, anxiety, whatever. You don't think

16:14

they'd kill somebody, do you? Arthur

16:18

didn't answer. She

16:20

saw his hands trembling. After

16:23

a while, he got up and left. When

16:26

he'd gone to work, Norma remained at the

16:28

table, staring into her coffee. I'm

16:31

going to be late, she thought. She

16:34

shrugged. What difference did it make? She

16:37

should be home anyway, not working in an

16:39

office. While

16:41

she was stacking dishes, she termed abruptly,

16:43

dried her hands, and took the package

16:46

from the bottom cabinet. Opening

16:48

it, she set the button unit on the table.

16:51

She stared at it for a long time before

16:54

taking the key from its envelope and removing

16:56

the glass dome. She stared

16:58

at the button. How

17:01

ridiculous, she thought, all

17:03

this furor over a meaningless

17:05

button. Reaching

17:08

out, she pressed it down. For

17:11

us, she thought angrily. She

17:15

shuddered. Was it

17:17

happening? A

17:19

chill of horror swept across

17:21

her. In

17:24

a moment, it had passed. She

17:27

made a contemptuous noise. Ridiculous,

17:29

she thought, to get so

17:31

worked up over nothing. She

17:33

threw the button unit, dome, and key into

17:35

the wastebasket and hurried to dress for work. She

17:39

had just turned over the supper stakes when

17:42

the telephone rang. She

17:44

picked up the receiver. Hello,

17:46

Mrs. Lewis? Yeah.

17:50

This is the Lenox Hill Hospital. She

17:55

felt unreal as the voice informed her of the

17:57

subway accident. The

18:01

shoving crowd, Arthur pushed

18:04

from the platform in front of the train.

18:08

She was conscious of shaking her

18:10

head but couldn't stop. As

18:14

she hung up, she remembered Arthur's life

18:17

insurance policy for $25,000 with double indemnity

18:22

for no, she

18:25

couldn't seem to breathe. She struggled

18:27

to her feet and walked into the kitchen

18:29

numbly. Something cold pressed at

18:31

her skull as she removed the button

18:33

unit from the wastebasket. There were no

18:35

nails or screws visible. She couldn't see

18:37

how it was put together. Abruptly,

18:40

she began to smash it on the sink edge,

18:42

pounding it harder and harder until the wood

18:44

split. She pulled the sides apart,

18:46

cutting her fingers without noticing. There

18:48

were no transistors in the box,

18:50

no wires or tubes. The

18:54

box was empty. She

18:57

whirled with a gasp as the telephone rang. Stumbling

18:59

into the living room, she picked up the receiver.

19:03

Mrs. Lewis, Mr. Stewart

19:05

asked. It

19:08

wasn't her voice shrieking, so it

19:10

couldn't be. You said

19:12

I wouldn't know the one that

19:14

died. My

19:17

dear lady, Mr. Stewart said, do

19:21

you really think you knew

19:24

your husband? That

19:41

was Marin, Ireland, with Richard Matheson's

19:43

story, Button Button. Ah, that

19:45

finish. Did you hear the live audience

19:48

gasp? It's less of a twist

19:50

than a twist of the knife. Anyway,

19:52

I'm sure you can see why that story would

19:55

be ripe for adaptation. If

19:57

you push the button, two things. You

20:03

will receive a payment

20:05

of one million

20:13

dollars. Are

20:20

you for real? The

20:22

mysterious box with a button in it, it's such

20:24

a clear image in my mind, and I've never

20:26

even seen the movie The Box. I

20:29

plan to see it if it's streaming, if only

20:31

I can figure out the buttons on my remote.

20:35

Our next piece has played a part in

20:37

many films, at least peripherally. It's

20:39

by Lewis Carroll, whose Alice's Adventures

20:41

in Wonderland seems to be endlessly

20:43

adaptable. The poem we're about

20:46

to hear is Jabberwocky, a fun excerpt

20:48

from Carroll's sequel, Alice Through the Looking

20:50

Glass. The actor

20:52

performing Jabberwocky is Michael Stuhlberg,

20:54

who plays gentle souls, as he

20:56

did in A Simple Man, just as well

20:59

as he does Maniacal Men, as he does

21:01

in the series Your Honor. Here,

21:03

he does his playful best with Lewis

21:05

Carroll's Jabberwocky. And

21:54

some the Frumious Banders

21:56

snatch. took

22:00

his vorpal sword and hand. Long

22:04

time the manxome foe

22:06

he sought, so

22:09

rested he by the tum-tum

22:11

tree, and stood

22:13

a while in thought. And

22:18

as in uffish thought he

22:20

stood, the jabber-walk with eyes

22:22

of flame came

22:24

whiffling through the talji

22:27

wood, and burbled

22:29

as it came. One

22:32

two, one two, and

22:34

through and through. The

22:37

vorpal blade went snicker-snack.

22:41

He left it dead, and

22:45

with its head he went glumfing

22:47

back. And

22:52

hast thou slain the

22:54

jabber-walk? Come

22:56

to my arms, my beamish

22:58

boy. O,

23:01

prep just day, caloo,

23:04

calay! He

23:06

chortled in his joy. It

23:12

was brillig, and

23:14

the sly thee-toes did jire

23:17

and gimbal in the wabe.

23:20

So mimsy where the burrow

23:23

grows, and

23:25

the mow-rats outgrave.

24:00

Alex, my personal favorite

24:02

is Frumious, though I hope you

24:04

never feel Frumious when thinking about our

24:06

show. When we

24:08

return, a story that became all about

24:10

Bette Davis. I'm Meg

24:12

Wallitzer. You're listening to Selected

24:14

Shorts, recorded live in performance at

24:16

Symphony Space in New York City and

24:18

at other venues nationwide. Fasten

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are Black & Unlimited. Visit walmart.com/Black & Unlimited

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to discover more. That's walmart.com/Black & Unlimited. Welcome

24:59

back. This

25:18

is Selected Shorts, where our greatest actors

25:20

transport us through the magic of fiction,

25:22

one short story at a time. I'm

25:25

Meg Wallitzer. On this show,

25:27

we're hearing stories so compelling they

25:29

inspired films. Our

25:31

final story is The Wisdom of Eve,

25:34

a classic by actor and writer Mary

25:36

Orr. Fans of

25:38

old Hollywood might already sense that yes,

25:40

in fact, this story inspired the famous

25:42

Bette Davis movie All About Eve. And

25:45

though Orr didn't receive screen credit, we

25:47

certainly want to do our part to make the connection.

25:50

In addition to being an actress, Orr

25:52

was the author of five novels, including

25:55

Diamonds in the Sky and Lucky Star.

25:57

Still, this is her most well-known story.

26:01

Reading this piece is the very funny

26:03

Andrea Martin. She's an Emmy

26:05

and Tony-winning actor who is well-remembered for

26:07

films such as My Big Fat Greek

26:09

Wedding and series including Only Murders in

26:12

the Building. And she's

26:14

a writer. Her memoir Lady Parts came

26:16

out in 2014. Now

26:18

Andrea Martin brings us Mary Orr's The

26:21

Wisdom of Eve. The

26:30

Wisdom of Eve. A

26:37

young girl is on her way

26:39

to Hollywood with a contract for

26:41

$1,000 a week from a major

26:43

film company in her pocketbook.

26:46

I shall call her Eve

26:49

Harrington because that

26:51

is not her name, though the Eve

26:53

part of the alias is not on

26:56

apt considering the original snakey

26:58

activities in a once-peaceful

27:00

garden period. In

27:03

a year or two I am sure

27:05

Miss Harrington will be as much a

27:07

household word to you as Ingrid Bergman

27:10

or Joan Fontaine. When

27:12

she is a star I am

27:14

equally positive that the slick publicity

27:17

agents of Hollywood who surround these

27:19

celestial beings with glamour will give

27:21

you their version of her success.

27:25

But no matter what they concoct it

27:27

will not be as interesting or

27:29

ironic as her real

27:31

story. It would never

27:33

occur to them to tell you

27:36

the truth. Stars

27:38

must be presented to their public in

27:40

a warm sympathetic light and one could

27:42

scratch a long time before

27:45

kindling any such spark from

27:47

the personality of Eve Harrington.

27:50

I first saw her on

27:52

a cold snowy night in January.

27:54

I was sitting snugly

27:56

under a fur rug in the back seat

27:59

of Margola Kranstler. in the Houston's town car. We

28:02

were parked at the stage entrance of Margolis'

28:04

theater waiting for her to come out.

28:07

By we, I mean her chauffeur,

28:09

Henry and I. Henry

28:11

sat patiently in front of me, displaying the

28:14

proper fortitude of one whose cheap

28:16

occupation and life is to wait. But

28:19

marking time is not my long suit, and

28:22

my gloved fingers played an irritating

28:24

tattoo on Margolis'

28:26

polychrome upholstery. I'm

28:29

an actress myself, and I'm able to get in

28:31

and out of my makeup with the same speed

28:33

that I duck in and out of a cold

28:35

shower. Not so Margolis. Rarely

28:38

did she leave the theater before a quarter to

28:41

12. What went on

28:43

in her dressing room for three quarters of an

28:45

hour was a mystery known only to her

28:47

maid, Alice, and herself. Consequently,

28:50

if one wanted to see Margolis after

28:52

the theater, one waited. However,

28:56

it was not a lone vigil. There

28:59

was a crowd at the stage door. There

29:01

were the usual autograph fans, all with

29:03

little books open and fountain pens

29:05

dripping ink. I could

29:08

hear their enthusiastic comments through the tiny

29:10

opening where I'd lowered the car window

29:12

to let my cigarette smoke out. A

29:15

few were boys in uniform with

29:17

dreams of dating Margolis, dreams that

29:19

would not come true. There

29:22

was only one person standing there I

29:25

could not catalog. She

29:27

stood nearest the car, and

29:29

I could see her face clearly in the light

29:31

of the street lamp. It

29:34

was the young, unusual face, but

29:36

not in the least pretty, because

29:39

she was rather plain. The amount

29:41

of makeup she was wearing seemed to me very odd.

29:45

What I mean is false eyelashes can

29:47

look very much at home on Lana Turner, but

29:50

the same pair could be incongruous on

29:52

a schoolteacher. She was

29:54

dressed in a warm, practical red coat.

29:57

Her hands were thrust in her pockets in a

29:59

shabby purse. dangle from her left arm.

30:02

Her manner was shy and reticent.

30:05

Under their long lashes her eyes stared

30:07

at the ground. She stood

30:10

first on one foot, then on

30:12

the other to keep warm, but displayed

30:14

no fatigue at the long wait.

30:17

I continued to wonder who she was

30:19

and why she was there until

30:22

Margola finally appeared at the stage

30:24

entrance. I had seen her

30:27

come out many times. It

30:29

was a superb act. I

30:31

knew perfectly well she was not

30:33

in the least surprised to see the

30:35

crowd gathered, but her expression was one

30:38

of delighted amazement. So

30:40

many people there to see her,

30:42

it could not be. She smiled

30:45

and signed the autographed books and

30:47

spoke first to one and then

30:49

to another. Oh she radiated graciousness.

30:52

Everyone would go away claiming,

30:54

what charm? So

30:56

modest, how kind.

30:59

Margola would then climb into the

31:02

car and apologize for keeping

31:04

me waiting by saying, those

31:06

tiresome people, such bores, what

31:09

fools. I

31:12

was one of Margola's few women friends.

31:14

My husband Lloyd Richards had written the

31:16

play in which she was then appearing

31:18

with great success. No one

31:20

knew better than he that a large part of

31:22

his success was due to Margola's performance,

31:24

for there was no doubt that

31:26

Margola was truly a great

31:29

actress. We got along together

31:31

from the first day we met. I

31:33

often disagreed with her, argued with her,

31:36

and wisecracked at her expense. Sometimes

31:38

Lloyd would look worried and tell me

31:41

not to go too far to remember

31:43

that I owed my penthouse and sables

31:45

largely to her. However,

31:47

in spite of my acid tongue

31:49

to this day, she has preferred

31:51

my company to most other

31:54

women's. On the night

31:56

in question we were heading home and

31:58

home to Margola is a nest of 40 rooms

32:01

at Great Neck Long Island

32:03

called Capulet's Cottage. That

32:06

meant I had to stay all night for the

32:08

first. There would be a huge supper and then

32:10

conversation until three or four in the morning as

32:12

Margola loves to talk by the light of the

32:14

moon. Consequently, my

32:17

overnight bag rested uncomfortably on

32:19

my feet. Lloyd

32:21

had kissed me goodbye when I'd left for the

32:23

theater and gone off with a gleam in his

32:25

eye to a stag poker session. Have a

32:28

nice cat party had been his parting

32:30

words and I knew that he

32:33

was privately relieved we were not

32:35

having a foursome with Margola's husband

32:37

Clement Howell. Clement is

32:39

a clever enough director and

32:41

producer and very English, very

32:43

pompous. Margola was close

32:46

to the car when the shabby little girl

32:48

with the red coat suddenly stepped into her

32:50

line of vision. I saw

32:52

Margola's eyes cloud up and

32:54

her expression changed to one of annoyance.

32:57

The girl spoke a few words and

32:59

looked at her in the most supplicating

33:01

way, her large eyes filled with tears,

33:04

but she didn't succeed in melting

33:06

the stars icy attitude. I couldn't

33:09

hear what Margola said to her exactly, but

33:11

I knew it wasn't nice and

33:14

I did catch the last phrase which was, I

33:17

don't want you pestering me every

33:19

night. With

33:21

that she climbed into the car and

33:23

slammed the door. Get going Henry she

33:26

commanded and sank back into the corner

33:28

like a sulky child. Well

33:30

I said in my most sarcastic tone,

33:33

I thought you were always so charming

33:35

to your public. What's the matter with

33:37

a little mess red coat? Is she

33:39

selling something? Margola

33:41

glared at me. You

33:44

don't know what I've been through with

33:46

that girl. You can't

33:48

imagine what she said and done to me,

33:50

how she lied to me and made a

33:52

fool of me. Now

33:54

Margola don't be so dramatic. What could a

33:56

poor girl like that do to you? It's

33:58

a long story. Besides, I

34:00

get the rage every time I think

34:03

about it. I lit

34:05

a cigarette and handed it to her. Come on, you'll

34:07

have to tell me now. We've got a long drive

34:09

ahead and nothing to do with talk. She

34:13

inhaled deeply. Her

34:18

name is Eve Harrington. Translated

34:21

its spells, well, she

34:23

is the most awful girl I've ever

34:25

met. There are no lengths

34:28

to which she won't go. Start

34:30

at the beginning, I urge, not with the

34:33

third act. How did you happen to meet

34:35

this paragon of all the virtues? It

34:37

was Clemens' fault. Margot sighed after a

34:40

moment's pause. He first drew my attention

34:42

to her. He asked me if I'd

34:44

ever noticed the girl that stood at

34:46

the stage entrance and simply watched me come

34:49

out. She didn't ask for an

34:51

autograph or a picture or tried to speak to

34:53

me. She just stood there and looked. I

34:56

said that I hadn't. He said she always

34:58

wore a red coat and to be sure to give

35:00

a look next time. She

35:03

was wearing a red coat tonight, I

35:05

interrupted. I know. She

35:08

flicked my remark aside impatiently. Well, the next

35:10

time I went into the theater for a

35:12

matinee, it was. I saw her.

35:15

She was there when the afternoon performance was

35:17

over. I saw her again when I came

35:20

back after dinner. And when the evening performance

35:22

was over, she was still there.

35:24

This time when I got rid of the

35:26

crowd, I spoke to her. I asked if there was

35:28

anything I could do for her. And she said, no.

35:32

I said I had noticed her at the matinee and

35:34

that my husband had seen her before. She said

35:36

she stood there every night. I

35:39

couldn't believe my ears. I

35:41

said, well, what do

35:43

you want? She

35:45

said, nothing.

35:49

I said there must be something.

35:53

And finally, she said that she knew if

35:55

she stood there long enough, eventually I would

35:57

speak to her. I asked if that

35:59

was all. she wanted. And she said yes,

36:01

that she had first seen me in San

36:04

Francisco when I toured in, have a heart.

36:07

She followed me to Los Angeles and eventually

36:09

come on to New York. Just

36:12

to stand at your stage door, I

36:14

asked a maze. She went to the

36:16

plays off and as she could afford to. What

36:20

devotion, I said. That

36:23

said Margolis sadly is what

36:25

I assumed. I

36:27

was most impressed. I thought this is my

36:30

most ardent fan. She follows me

36:32

clear across the great divide. She

36:34

sees my plays constantly when she obviously

36:36

has very little money. She

36:39

stands night after night at my

36:41

stage door just to see me come

36:43

out and finally have me speak to her.

36:45

I was moved. So what

36:49

went on, I urged. Well

36:52

Margolis answered. I felt that I had

36:54

to do something to repay this child

36:56

for her admiration. She was only 22.

36:58

I thought I'll

37:01

give her an evening she'll always remember so

37:03

I invited her to come home with me. She

37:05

acted as if she were in seventh heaven.

37:08

She had a slight accent which told

37:11

me she was Norwegian, that

37:13

her people had come over here six or

37:15

seven years before and had left her with an

37:17

aunt and gone back to Norway. Of course

37:21

because of the war they hadn't been able

37:23

to return and she hadn't heard from them

37:25

in months. In the meantime she had married

37:27

a young American flyer and had been living

37:30

in San Francisco because he had gone from

37:32

the Pacific from there. I

37:34

asked her how she got along and

37:36

she said at first she had her

37:38

husband's allotment but then he had been

37:40

killed over Bougainville and since then she

37:42

had lived very meagly on his insurance.

37:45

How sad. Exactly

37:48

what I thought. Margolis

37:52

said she told me to sing

37:54

me act and watching my plays had

37:56

been her only happiness and she'd had

37:58

the wire about it. her husband, it

38:00

seemed to me that I must do

38:03

something for her. Well,

38:05

I found out that she could type and

38:08

do shorthand. She had worked

38:10

as a secretary in San Francisco. It

38:12

suddenly came to me that this girl might

38:14

just be the secretary for

38:16

me. You know

38:19

I'm hard to please. But

38:21

here was someone who

38:23

adored me, who would

38:25

be loyal, who was quiet and at

38:27

the same time well-bred. She

38:30

spoke English beautifully and seemed intelligent. So

38:32

I asked her if she'd like to

38:35

work for me. You've never seen such

38:37

a response. She burst into tears

38:39

and kissed my hand. I

38:42

generally hate that sort of thing, because I

38:44

know it's insincere. But this time, I was

38:47

sure it was genuine. She

38:50

was so naive, so

38:53

unful. The way

38:55

you read that line suggests she wasn't.

38:57

Don't jump cues, Margola

38:59

snapped. And

39:01

for my impatience, I had to wait three or

39:03

four pups on her cigarette. Well, I

39:07

gave the wretched girl clothes to wear. I gave

39:09

her $25 a week. All

39:12

she had to do was tend to my

39:14

correspondence, send out pictures, and so forth.

39:16

Some letter she was to answer without

39:19

bothering me. But anything that she felt

39:21

needed my particular attention, she was to

39:23

show to me. At first, she was ideal.

39:25

Then after a month or so, she

39:27

began to annoy me. How?

39:30

I couldn't help asking by

39:34

staring at me. She

39:36

stared at me all the time. I

39:39

would turn around suddenly and catch her eyes on

39:41

me. It gave me the creep. Finally,

39:44

I couldn't stand it any longer. I

39:46

suddenly realized that she was studying me,

39:49

imitating my gestures, my ways

39:51

of speech, almost doing the

39:53

same things. It was like

39:55

having a living shadow. At

39:59

last, I told her. Clement that he should use

40:01

the girl at the office that she could

40:03

attend to my mail there instead of at

40:05

home. I wanted to get her

40:07

out of the house and at the same time I

40:10

didn't want to fire her. I felt

40:12

sorry for her. Besides

40:14

her work was very satisfactory.

40:18

Clement was delighted with her. She

40:20

began to read plays for us

40:22

and made some quite intelligent observations.

40:25

Then one day we had a rehearsal.

40:28

It was when we were putting Miss Caswell

40:30

into the sister part and I had a

40:32

toothache and I didn't go. My

40:34

understudy hadn't been called and the stage manager

40:36

wasn't able to get in touch with her.

40:40

Eve had gone to the rehearsal with Clement

40:42

to take his notes and when

40:44

there wasn't anybody to do my part

40:47

she volunteered. Clement

40:49

told the stage manager to give her the

40:51

script so she could read it and to

40:53

his amazement she said, oh I don't need

40:55

that. Well

40:57

my dear, Margola

40:59

leaned closer to me as the car spun

41:01

around a corner. Would

41:05

you believe it? She

41:08

knew every line of

41:10

my part. Not

41:13

only every line but every

41:15

inflection, every gesture. Clement

41:18

was there to watch Miss Caswell and

41:20

he said he forgot all about her.

41:22

He was so fascinated by Eve's unexpected

41:24

performance. Was she really that good? Good?

41:28

Margola raised a pencil eyebrow. Good. She

41:31

was marvelous. Clement

41:33

even hinted she was slightly better than I

41:35

am. He

41:38

said that if he closed his eyes he wouldn't have

41:40

known the difference. What

41:42

about the Norwegian accent? Apparently

41:45

Margola shrugged. That just

41:47

went. I

41:50

understand why now. Anyway,

41:53

Clement was so amazed at the

41:55

girl's exhibition that he took her out to

41:57

tea afterward. She confessed that she had been

42:00

that always wanted to be an actress and asked him

42:02

to help her. Asked him, not

42:05

me. Don't you think

42:07

that was hatefully deceitful? She

42:09

told him that she'd only stood around my

42:11

stage door because she wanted to meet him.

42:14

That she considered him the most brilliant

42:17

director and producer in New York. Clem

42:20

was very flattered. He

42:23

told me she was the most talented young girl he

42:25

had ever seen in years, that we must

42:27

help her. I

42:29

said nothing. I

42:32

knew how to handle this very carefully. I

42:35

asked Eve why she hadn't told me. She

42:37

wanted to be an actress and asked me to

42:40

help her. She had the nerve

42:42

to tell me she knew I wouldn't like the

42:44

competition. I

42:47

laughed out loud. It was ridiculous.

42:50

Even the best actors in her supporting

42:52

cast have a tendency to melt

42:54

into the scenery when Margola gets

42:56

into her stride. Oh, she

42:59

doesn't lack ego, I chuckled. Ego.

43:02

Margola stubbed out her cigarette in the

43:04

ashtray. Wait till I tell you about

43:06

the letter. It arrived several

43:08

days after this rehearsal. Eve came to

43:10

my dressing room before the performance with

43:13

four or five letters. This

43:15

particular one was among them. She told

43:17

me she thought I ought to give

43:19

them my personal attention. I

43:21

put them into my purse, took them home,

43:23

forgot about them. Several days

43:25

later, Eve asked if I'd read them. And

43:27

I said I hadn't. I

43:29

hate reading mail. In a few

43:31

days, she was nagging me again to know if

43:33

I'd read the letters. I still hadn't. That

43:36

night, Alice told me that Miss

43:39

Harrington had come to my dressing room

43:41

while I was on stage and

43:43

had gone through my pockets and my

43:45

purse looking for something. I

43:49

didn't like that. And

43:51

after the show, I called Eve downward.

43:54

She said she was looking for those letters, that

43:57

there was one that, on second thought, not

44:00

to see. I said that as

44:03

she had given me the letter in the first

44:05

place, it was a little absurd to decide now

44:07

that I shouldn't see it. But whether

44:09

I'd read the letters or not, she was never again

44:11

to go through my things. She

44:14

burst into tears and cried that she only

44:16

wanted to spare me pain. I had

44:18

been so kind to her, she didn't want

44:20

my feelings hurt. She'd only given

44:22

me the letter because when she had first read

44:24

it, she had been so thrilled she wanted me

44:26

to see it. Thinking it over, she

44:29

realized that it might hurt me. I remarked

44:32

that after the things critics had

44:34

written about me, nothing in any

44:36

letter could possibly faze me. I

44:40

realize now that this entire performance was

44:42

one to get me to read that

44:44

letter without any more delay and I'm

44:46

sorry to say it worked. That

44:49

night when I got home, it was the first thing

44:52

I did. It went

44:54

something like this. Dear

44:57

Miss Cranston, today

44:59

I was buying a ticket to see a

45:02

performance of your play. The

45:04

door to the theater was open and

45:06

as I could hear voices and no one

45:08

was watching the door, I

45:10

wandered inside to see what was going

45:12

on. It seemed to be

45:15

a rehearsal. A young

45:17

girl was playing the part that I

45:19

recognized when I saw the actual performance

45:21

as your role. I

45:23

presume she was your understudy. I know

45:26

that stars of your caliber are always

45:29

jealous of the ability of young people,

45:32

but my dear Miss Cranston, I

45:34

put you above such petty feelings.

45:37

I am sure that loving the theater as

45:39

you do, you will wish to enrich it.

45:42

In your company, hidden

45:44

backstage, is the most

45:47

brilliant young performer I have ever seen.

45:49

I was

45:51

spellbound. She brought all

45:53

your ability plus youth to

45:56

the part. I

45:59

waited outside for the day. young girl and asked

46:01

her name. It was

46:03

Harrington. Do

46:05

help her to get the break she

46:08

so richly deserves. It

46:10

was signed. One

46:12

of your devoted followers." Of

46:16

course she voted herself, I guess. I

46:19

think so, Margola said. I was positive,

46:21

but it was typewritten so I couldn't

46:23

prove it. The next day I merely said

46:26

to Eve that it was quite a coincidence

46:28

that the theater door was ajar when she

46:30

happened to be rehearsing my part. We

46:33

never mentioned it again. I

46:37

resisted comment. I could

46:39

sense Margola was working up to a big scene.

46:42

Not long after this, the John

46:44

Bishop auditions came up. I

46:47

nodded. John Bishop is one

46:49

of Broadway's better producers. Every season he

46:52

holds auditions where talented unknowns can come

46:54

to a scene of their own choosing

46:56

on the stage of his theater. The

46:59

judges are other producers, talent scouts

47:01

from film companies and agents. The

47:03

winner often steps right into a

47:05

Broadway show. Well,

47:08

darling, Margola went on. Eve

47:11

was crazy to participate in Johnny's

47:13

auditions. She went to Clem and

47:15

pleaded with him to give her

47:17

an introduction. He said it

47:20

wasn't necessary that she merely had to

47:22

fill in the application in Johnny's office.

47:24

When her turn came, she would be called.

47:27

She found that to be true. And

47:29

from then on, she was no use

47:31

as a secretary at all. She

47:34

was in a complete dither about what scene

47:37

to do and wanted Clement to advise and

47:39

coach her. I told her to do a

47:41

scene from A Kiss for Cinderella as I

47:43

felt she was rather the pathetic whistle type.

47:47

But Clem picked out a bit of Ibsen,

47:49

Hilda in the master

47:52

builder because it would

47:54

soothe her Scandinavian accent. She

47:58

naturally took Clement's advice. not

48:00

mine. She studied the scene and when she

48:02

had memorized it, Clem and Herder go through

48:05

it, he came home

48:07

enthralled. He insisted that I come

48:09

down to the theater and give her some

48:11

suggestions. By this time I was so curious,

48:14

I consented. One day before the

48:16

matinee I went to the theater early and she did

48:18

the scene for me. Was she

48:20

really terrific? I asked. I

48:23

was impressed. Margola admitted

48:25

reluctantly she was talented. There

48:27

was no question about that. She

48:30

had a marvelous voice and she read

48:32

the lines with great sincerity, though this

48:34

didn't disguise the fact that she was

48:37

utterly inexperienced and awkward. I did what

48:39

I could to help her hide these

48:41

defects and showed her a few other

48:43

little tricks and she picked them up

48:45

quickly enough. I wasn't

48:47

as excited as Clement, but I could

48:49

see that there was something to his

48:52

statements. The auditions

48:54

took place over a few. She got

48:56

down to the finals and then on

48:58

the big day won them. Everybody

49:00

was terribly excited about her. Movie

49:02

scouts knocked themselves out to make

49:04

tests of her. Agents wanted to

49:06

put her on her their files.

49:08

She thought she was made. She

49:10

was a star overnight, so now

49:12

the story would come out. What

49:16

story? Her

49:18

story. Her true

49:20

story. Pathetic, wistful,

49:22

naive Eve Harrington gave an

49:24

interview to the newspapers on

49:26

how she had fooled the

49:29

finest actress in the theater

49:31

for several months. Fooled

49:35

you? How? In

49:38

every way. Her

49:41

entire story was a piece of fiction.

49:43

She'd never been any closer to

49:45

San Francisco than Milwaukee, where she

49:48

was born. She was Norwegian by descent,

49:50

but had picked up her accent from

49:52

a waitress in her father's restaurant. Why

49:56

did she want an accent? Glamour, my

49:58

dear. So many foreign an actress is

50:00

a successful here. But the

50:03

parents being trapped by the war in Norway?

50:05

What was the point of that, I ask?

50:07

Sympathy. The husband was a plea in the

50:09

same direction. You mean she wasn't

50:12

a widow? She'd never been married! My

50:15

God! The entire plot

50:17

was a masterpiece of detail.

50:20

Margola went on enjoying my amazement. In

50:23

Milwaukee, she had been a secretary with

50:25

stage ambitions. She saved enough to come

50:27

to New York and live for six

50:29

months. Once here, she laid

50:32

a careful campaign to get ahead in the

50:34

theater. She made up her mind to become

50:36

acquainted with Clem and me. I think her

50:38

ideas went even further. I believe she planned

50:41

to break up our marriage! Being

50:43

married to a big producer-director would just

50:45

suit Eve. She once made

50:47

a remark to me that every important actress

50:49

in the theater had a successful man

50:51

behind her. That part hadn't

50:54

gelled, but the rest had worked pretty

50:56

well. As Clem's secretary,

50:58

she had met most of the

51:00

big agents, playwrights, and important actors.

51:03

That interview was the loudest crowing

51:05

I ever wrote. The

51:07

funniest part was how I

51:09

had fallen for that stuff about

51:12

being my great fan. I could

51:14

have scrambled her! Naturally,

51:16

she didn't want to be fired. She

51:18

resigned as Clem's secretary, told him he

51:20

couldn't be tied down to an office

51:22

anymore. She began to dress in

51:25

clothes and costumes that would be

51:27

noticed. She began to wear makeup in

51:29

quantity because the report on most of

51:31

her screen tests was no sex appeal.

51:35

Why is she still standing on your stage door?

51:37

I asked. I don't

51:40

understand. That's where we had

51:42

the last laugh, said Margola brightly. The

51:44

only thing that happened that she hadn't

51:46

bargained for. You know what

51:48

Broadway's like. One day you're the toast

51:50

of the town, the next

51:52

you're forgotten. She was

51:55

too inexperienced to have learned that real

51:57

and lasting success is built only on

51:59

long-term theater. foundation. She

52:01

thought she was all set and it went to

52:03

her head. She took a

52:05

few more screen tests but didn't photograph

52:07

well enough to be sensational and Hollywood

52:10

doesn't bother to experiment with lights and

52:12

makeup unless you have a real hit

52:14

behind you. She was

52:16

an odd type, certainly not the conventional

52:19

ingenue and no part turned up for

52:21

her. Pretty soon the agents

52:23

and producers just forgot about her. She

52:25

couldn't even get in to see John

52:27

Bishop himself and she was his official

52:29

protege. That's when she came

52:31

crying back to Clem and me. She

52:34

says she'll stand at the stage door

52:36

every night until I forgive her, that

52:38

she was a silly fool when she

52:40

gave out that interview, that she really

52:42

did adore me and at first her

52:44

only thought had been to get to

52:46

know me, that she'll be everlastingly grateful

52:48

if we will only help her to

52:50

get apart. But I

52:52

don't fall into the same trap twice,

52:54

said Margola, determinedly. So

52:57

far as I'm concerned she can stand at

52:59

that entrance until she turns into a statue.

53:01

I shan't lift a finger to help

53:03

her. It's rather a

53:06

pity, I said, since you say she really

53:08

is talented. So what? Margola

53:10

said. Lots of girls are talented, never get a

53:13

chance to show it. She had a

53:15

chance. She must it by

53:17

her own conceit. She'll never have

53:19

another opportunity. Probably

53:22

not, I sighed and stared

53:24

through the car window with the reflected

53:26

stars twinkling like footlights in Little Neck

53:28

Bay. No, I thought

53:30

to myself, the girl with the red

53:32

coat will probably spend the rest of

53:34

her life in obscurity. But

53:37

I was wrong and

53:39

so was Margola. Eve

53:42

Harrington had that rare second

53:44

chance. I cursed the day

53:46

that she got it for Margola

53:48

was right. Eve was

53:50

a bitch. I

53:54

know for it was through me that

53:56

opportunity knocked twice on her door. After

54:00

Margola told me the story, Lloyd

54:02

finished his new play and a

54:05

prominent manager made immediate plans to

54:07

produce it. It was a

54:09

strange play, different from anything Lloyd had written

54:11

before and very hard to cast. There

54:14

was one part which presented a real dilemma. It

54:17

required a young emotional actress of great strength

54:19

and power. At the

54:21

same time, it wasn't large enough for a

54:23

star, having only three scenes. Lloyd

54:26

and the manager tried actress after

54:28

actress and no one was right. He

54:31

wanted a certain timid quality that

54:33

was apparently unobtainable from the

54:35

synthetic blonds of Broadway. I

54:38

knew where he could find it. I

54:40

knew the perfect girl was standing at

54:42

Margola's stage door. I'd

54:44

never forgotten the shy expression in E.

54:47

Barrington's wide eyes. Finally,

54:49

when in desperation the manager was about

54:51

to call the production off, I

54:54

suggested her to Lloyd. Go

54:57

round there, I suggested. She

54:59

always wears a red coat. You

55:01

can't miss her. If you

55:03

wash the makeup off her face, you'll

55:05

have exactly the right type. Furthermore,

55:08

I hear she can really

55:10

act. Lloyd thought

55:12

I was kidding, but finally he did as I

55:14

told. Eve read the part the next

55:16

day and they gave it to her. The

55:18

search was over. All

55:20

the rehearsals, Lloyd and the director carefully

55:23

coached Eve to hide her awkwardness. Lloyd

55:25

began taking her out to lunch to

55:27

talk about the past. On

55:29

the opening night, she walked off for the show.

55:32

It was a hit and I

55:34

had to admit it was partly her

55:36

performance. Her notices were

55:38

amazing. The movies got

55:40

excited about her all over again.

55:42

This time with success behind her,

55:45

her tests were a different story. What

55:47

had once struck Hollywood as a lack

55:50

of sex appeal now is called a rare

55:53

quality. So

55:56

Eve is on the train with a

55:58

contract in her pocket. I'm

56:02

going on a trip also. I'm

56:04

heading for Reno to get a divorce. For

56:08

in spite of her success, Eve

56:10

had found the time to get engaged

56:12

to a famous playwright. She's

56:14

gonna marry my husband, Lloyd

56:17

Richards. Thank you. That

56:32

was Andrea Martin performing Mary Orr's story,

56:34

The Wisdom of Eve. Okay,

56:37

I have to say here that my

56:39

high school musical was Applause, which starred

56:41

Lauren Bacall on Broadway and was based

56:43

on the movie All About Eve. I

56:46

played the best friend Karen Richards and

56:48

my real-life best friend Lisa played the

56:51

Margola character who, in the movie and

56:53

the musical, was called Margot Channing. And

56:55

our Sias at High School version was

56:57

clearly the definitive one. Ask

56:59

anyone. And now, as

57:02

they say in the biz, we fade to black.

57:04

Here's hoping this hour linked a favorite

57:06

film to the literature that inspired it,

57:09

or that it made you curious to seek

57:11

out that visual adaptation if you've never seen

57:13

it. The art of translation

57:16

is tricky. It's true. But

57:18

when you've got incredible source material, you've got

57:20

more than a head start. I'm

57:24

Meg Walitzer. Our

57:27

thanks to the Tribeca Festival

57:48

and our thanks to you for

57:50

joining us on this edition of Selected Shorts.

58:02

Selected Shorts is produced by Jennifer

58:04

Brennan, Jenny Falcon, and Sarah Malterkeuk.

58:06

Our team includes Matthew Love, Drew

58:08

Richardson, Mary Shimkin, Vivienne Woodward,

58:10

and Magdalene Roblesky. The

58:12

readings are recorded by Miles B. Smith. Our

58:15

mix engineer for this episode was Joe Plourde.

58:18

Her theme music is David Peterson's That's

58:20

the Deal, performed by the Dierdorf Peterson

58:22

Group. Selected Shorts is

58:24

supported by the Dungannon Foundation. This

58:27

program is also made possible with public funds

58:29

from the New York State Council on the Arts

58:31

with the support of Governor Kathy Hochul and

58:33

the New York State Legislature. Selected

58:36

Shorts is produced and distributed with synths and eases.

58:57

The program is produced by the Dierdorf Peterson Group.