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EPISODE 2

--------------SCENE 1 –OFFICE / RICHARD'S OFFICE

ANDREA
(monologue)

After that luncheon at the Lotus Room. I began working for Richard Hayes and it seemed after all that the lunch had been platonic—the rest of it a product of my imagination. Nothing more than a welcome gesture. Nothing more. Time flew by in my new position as his executive secretary. He was right I did possess the skills to do a superb job. I'd even say that I was meant for more challenging work. I had been worried the first two months. At first, after our luncheon my attraction grew unbearable. When I wasn't working I was out purchasing clothes or pampering myself at the beauty salon. I wanted those stolen glances and lingering looks from Richard—but he seemed to have retreated back into his benevolent, reserved ways I'd like to say I'd lost romantic interest in Richard, but it wasn't like that at all. It was a relief to feel needed. We worked very well together. Very well. You see, I was quite a good executive secretary. After a few short months I began developing a growing ambition—for what I didn't fully know

Also, Ellen and I had grown quite close. It seemed we'd become the top girls in the agency. She the ever competent office manager and me—well—behind every great man...

SOUND [Office sounds]

ANDREA
Ellen dear, I've got to run all sorts of errands for Mr. Hayes tonight. He's had me preparing the birds eye campaign. I'm on a very tight schedule... then I've got to get his suits over to the house—and Mrs. Hayes--

ELLEN
Oh dear, Is she at it again?

ANDREA
(whispers) I'm afraid so...remember, not a word to the other girls.

ELLEN
of course—what's happened?

ANDREA
It's been three days of—

RICHARD
(on intercom) Andrea-bring the story boards in please--

ANDREA
(through intercom ] Yes sir. I just picked them up from the art department. I'll bring them now.

(to Ellen). All right dear. If Richard gives me the go ahead I'll come find you. I hope he doesn't shoot it down. I'll have to tell the art team to stay late. I don't want to run all the way over to the west side to drop off his suits—and besides I don't know what kind of state Mrs. Hayes will be--

ELLEN
Oh dear—

SOUND [speaker interrupts]

RICHARD
(on speaker) Andrea—have you got those story boards?

ANDREA
Yes. I'm sorry. I'm coming.

ELLEN
Let me help you dear. What can I do?

ANDREA
Tell you what if Richard's all right with it, I'll have you cover his calls so I can get to the cleaners. But I've got to go over these campaign materials first...I'd love to have dinner before ten at least one night this week—

SOUND [Office sounds fade]

SOUND [door closes, papers shuffle]

RICHARD
(Lights cigarette) ok walk me through it. The whole thing just the way you told it to the art team.

ANDREA
All right. Shall I set it up here? The story boards

RICHARD
Yes. Pretend you're me. I'll be the client.

ANDREA
All right. [shuffles boards] This is only my first idea I have back ups of course—

RICHARD
(Lights a cigarette)I'm the client remember?

ANDREA
yes. I'm sorry...Mr. Byrd. [changes to professional choice]

RICHARD
(laughs) You are very clever Andrea Davies.

ANDREA
I'm ready—Ok. This will be a two page spread – 3 panels, Life magazine, good housekeeping. The first panel will be a lovely housewife, beautiful blonde. She's wearing an apron. We can see she's watching her soap operas on the television. Her face is one of dramatic shock over the scene on the tv in front of her. The clock reads 330.

Panel two Still watching her programs, Touching her eyes with her handkerchief. The clock reads 500 and we can see Mr. Husband through the window about to enter the house.

Panel three We see the whole family smiling as housewife serves dinner. She's smiling and winking. The whole family is happy.

And the line is "Byrds Eye Frozen Dinners for the Busy Housewife."

RICHARD
(claps) very good. Very very good.

ANDREA
Really? I did this one almost by my self—the idea I mean.

RICHARD
Well you did very well--I like it. Bring them here would you?

ANDREA
(collects the boards brings them over).

RICHARD
You worked with Steve Morris's team on this?

ANDREA
I met with them and showed them some sketches and we worked on it together.

RICHARD
They're good. (pause) I like the story boards but maybe not the story as much.

ANDREA
Oh. They're not final.

RICHARD
Why isn't the housewife is busy running errands? We don't want to offend anybody.

ANDREA
Well that's an awful lot like the burger king campaign.

RICHARD
hmm. We don't want that -- do we?

ANDREA
No. I don't know why I didn't think of it...should I come back after checking in on Margaret and the children?

RICHARD
No. this will get me started. (notices Andréa disappointed). You're very valuable here. Your work is very good. This is better than most of the ad executives.

ANDREA
Thank you. I find I love this work. I can make use of my natural talent for drawing.

RICHARD
I can see that.

ANDREA
I mean these are the art teams –but based on my initial sketches. (after a moment) well I'm off to the cleaners.

RICHARD
Are you sure it's no trouble—dropping them by the apartment?

ANDREA
Oh of course not. I'm happy to.

RICHARD
Andrea

ANDREA
yes?

RICHARD
I have a little something here for you

ANDREA
Oh that's not—

RICHARD
to say thank you for all your hard work. You're very valuable. (pause) here, come here.

[walks over. Takes box. Opens]

ANDREA
Oh Mr. Hayes—Richard-- This is lovely.

RICHARD
just a little something. To say thank you.

ANDREA
A locket. [opens] there's nothing in there. I suppose I could put a photograph of mother and father

RICHARD
Let me put it on you.

ANDREA
(lets out a breath) You really didn't have to, but I love it. Thank you.

RICHARD
All right. I'll see you tomorrow then?

SOUND [typing starts, sound of the elevator... and fades into 1950s song low, background as...]

ANDREA
(monologue)

Would you believe it if I told you that during the whole taxi ride I could still feel his hand on my neck fastening the necklace clasp? It wasn't how it seemed...Once in a while, he'd leave a small gift for me, thanking me for my contribution. They were lovely a silk scarf or a silver bracelet. He didn't leave them often enough that I would be spoiled by it or take it as an advance.I suppose you could say we'd become friends—as illogical as that may seem. A married executive and his young secretary. I grew to feel as if the office were my home and I was a sort of wife to him. Oh that doesn't sound right now that I say it.

And what an opportunity for an office girl. My drawings were often given to the art team to render story boards and used in presentations. I'd even begun regular visits to his house, picking up his suits from the housekeeper and taking them to the cleaners. It was true, his wife had been very ill and never once did I see her when I went to the house. It wasn't just his suits, I also dropped storyboards off, or delivered contracts if we had been on a rush schedule. I enjoyed working late, really it was a pleasure to anticipate his needs and meet them before he asked. I think he liked the arrangement too. I was an asset.

--------------SCENE 2 – HAYES' MANHATTAN APARTMENT

ANDREA

(monologue)

One evening I was returning to Richard's apartment to drop off his suits. He was still at the office. It was late but I knew he was leaving early for a plane to Orlando and he'd need a light fabric suit. I wanted to make sure they were clean and ready for him in time. I was dressed in a light linen suit. It was July and there had been a heat wave for over a week. I had on a white skirt with a sailor top. Navy blue pumps. I had started wearing my hair down, shoulder length. I kept the wave with hairspray and sometimes wore a headband as I did that evening. Im sure you don't need these inconsequential details but you see they weren't inconsequential. I was at the height of my competence and confidence. You see Richard had given me this air beneath my wings. I thought I would fly into success and adulthood.

SOUND[sound of traffic passing, door close and enter apartment building]

DOORMAN
Evening Miss Davies.

ANDREA
Good evening Tom. I'll bring these up for Mr. Hayes.

DOORMAN
Of course.

SOUND [sound of elevator tones as elevator descends—metal elevator gate opening.]

DOORMAN
Here we are.

ANDREA
I can see my way up.

DOORMAN
It's not a bother Ms. Davies.

ANDREA
I had a peculiar feeling in the elevator in the way up. I kept my glance towards the floor, avoiding the attendant. The ride up to the penthouse seemed long for some reason. I looked up at him and smiled.

DOORMAN
Here we are.

ANDREA
I can never get used to how beautiful the vestibule is. The marble...chandileers...

DOORMAN

Yes mam' . me too.

SOUND gates metal gates open. Andrea exits elevator.]

[ANDREA knocks on the door]

ELIZABETH (housekeeper)

I'll take those Miss Davies.

ANDREA
Is everything all right, Elizabeth?

ELIZABETH
(holding back tears) No not really Andrea. It's happening again—worse.

MARGARET
[shrill scream in the background]

ANDREA
What is it? Is there something I can do? Let me--Is Mr. Hayes here

ELIZABETH

No. He's still out. She's at it again—worse. Oh Andrea, I didn't know what to do!

MARGARET
(shrill scream in the background and then nonsense talk) Now Dotty you've heard what I've said haven't you? I have things packed, must just check for the driver. Oh dear! Let's hurry—only what you can carry.

ELIZABETH

I have to go attend to Margaret

ANDREA
Wait--Where is Margeaux?

ELIZABETH

I've told her to stay in her room with the Nanny.

ANDREA
I'm taking her with me. I'll take Margeaux and once this is sorted out, I'll bring her home. This is no place for a child.

ELIZABETH

All the way to your apartment? You'll bring them all the way to your home? That's a train ride. It's getting late

[SOUND Another pained scream broke through the air "Dotty! I insist on speaking to her immediately... a loud crash.]

ANDREA
Here Elizabeth. I'm coming in. Have you called an ambulance?

ELIZABETH

Yes.

ANDREA
Well call and cancel it. I'll calm her. I don't want to make things difficult for Richard. He's leaving early in the morning and there's no need for him to spend hours at the hospital. I'll calm her down then I'll take the children. It's important he gets his rest. (in house, see's Margaret. Inhales deeply when she sees the sight of her)

MARGARET

(runs to Andréa, embraces, yelling) Dotty!

ANDREA

You'll be all right now Margaret. Oh dear, you poor girl. Look at you.

MARGARET

Of course! I must tell you everything Dotty.(acting like a film star) I never smoke. Today is my first!

ANDREA
(scolding) Now Margaret. You must get ahold of yourself. How about I help you get dressed. I'll make you some tea and help you calm down. You must do that for the children. They must be terrified. I'm certain of it.

MARGARET

(Again she became another person.) The children! Dorothy Lindon, don't you know the two of them have been scheming. Why they aren't children at all. I can hear the small one but the girl won't tell me. They're conspiring with evil to drive me crazy. The little one—but the girl won't tell me.

ANDREA
Enough is enough! come now. I'll take the Margeaux with me while you get some rest. Mr. Hayes will be home soon. Don't you want to calm down before he gets here?

MARGARET

(stops in her tracks, puts her arms around ANDREAs neck and starts crying then whispers) Oh you don't know the things he does to me. I think he's going to kill me. He'll kill me! I pray he won't.

ANDREA
he won't what Margaret?

MARGARET
every come back.

ANDREA
You must get control of yourself Margaret. Can't you see you're hysterical? (pause) Has something happened to you dear?

ELIZABETH (enters)

Has she calmed down yet?

ANDREA
Have you got something to help her relax?

ELIZABETH
Yes. I've brought her pill.

ANDREA
Bring it to me and call the doctor. Tell them Margaret will be all right tonight. I'll ask Mr. Hayes if I can make arrangements for her in the morning. (to Margaret) Isn't that right, dear?

MARGARET
(childlike) Yes, of course is.

ANDREA
I'll take Margeaux once I have her settled in. Mrs. Hayes be just fine for tonight.

(ANDREA leads Margaret to her room and helped her dress in a new night dress and robe. Elizabeth brought a pill in with a glass of water)

ANDREA
Thank you Elizabeth we're just fine now. (to Margaret) Here dear take your pill. It will help you calm down. How about I sit with you until fall asleep.

MARGARET

Oh would you? I would like that very much.

ANDREA
of course.

MARGARET

Won't you read something to me Dotty?

ANDREA
Of course. What would you like me to read?"

MARGARET
What's there, Dotty—there on the side table by the window?

ANDREA
(monologue)

I stood and looked down at her in the bed. There she was that thin brittle hair, nearly white—the blonde must have lost it's color from some sort of nutritional deficiency or perhaps lack of grooming. The nightdress she had on, had a Victorian collar, ruffled around her neck. I couldn't help but think she looked more like a corpse in a coffin than a young mother. A terrible thought for which I tried to immediately erase from my thoughts.

I stood over her like a nurse or mother. I ran my hand over her hair and smoothed it down, so it lay flat in waves around the pillow. Already she looked much more alive. Her blue pale eyes looked wet.

ANDREA
Are you about to cry Margaret?

MARGARET

You're so kind to me Dotty. You're the only one.

ANDREA
Darling you know my name's not Dotty, don't you?"

MARGARET

What is it then? Have you changed it again?"

ANDREA
No I haven't changed anything. My name is Andrea. We've just met this evening. (pause) Don't try to sit up. Just rest.

MARGARET

(laying back down) It seems I'm dizzy. Influenza I think. It's killed so many poor souls like me, hasn't it?

ANDREA
You're very funny, you know that?

MARGARET

It's a coincidence isn't it?"

ANDREA
What's is Margaret?

MARGARET

You're name. It's just the same as the character in my book. Over on the table. You're going to read to me aren't you Dotty dear?

ANDREA
(picks up the book) Madam Bovary. (laughs a little) Is this your book Margaret?

MARGARET
(clearly woozy) Yes that's it. You share the name.

ANDREA
Now you know that isn't true don't you Margaret? The character's name is Emma.

MARGARET

Isn't that what you told me? You said you weren't Dotty—you told me you are Emma Bovary? Why did you come here tonight? You want my husband don't you?

ANDREA
Oh you are silly. Please don't say such a thing.

MARGARET
Well, I don't want him. I never did. He stole me...You have him. Set me free.

SOUND dreamy music.

ANDREA
(monologue) Poor thing. Crazy as she was, she was like a child to me and I did love children. I straightened her covers around her and sat down on the wing back chair near her bed. I opened the book to the place kept by a velvet ribbon book mark. I wondered if Margaret had been reading the book on her own or if someone else—like I was about to – read it to her to help her sleep. And, what a book to help a confused, deranged wife fall asleep. Madam Bovary. I should think it would be unsettling but really I didn't know her tastes at all. Perhaps a tragic affair preoccupied an otherwise tormented mind. Before I started I sat quite for a moment. I could hear Margaret's breathing. I looked at her and her eyes were open, staring up at the ceiling. Before I turned to the book I noticed a framed picture of Richard by her bed. He looked a bit younger, dashing. That same charming smile. More alive than most. In fact, in the dim light of night in Margaret's bedroom I compared the two of them, her ghostly appearance to his strong handsomeness. I realized what a prison his life had been and I felt fortunate that he trusted me as his confidant. I almost felt as if I was the only person who could understand. Maybe I felt that way because without realizing it, I had fallen in love with him. I began reading

ANDREA
Here we are. I'll start here where the bookmark is...(reading from Mdm. Bovary) She did not know if she regretted having yielded to him, or whether she did not wish, on the contrary, to enjoy him the more. The humiliation of feeling herself weak was turning to rancor, tempered by their voluptuous pleasures. It was not affection; it was like a continual seduction. He subjugated her; she almost feared him...

FADE then...

ANDREA

(monologue)

When I looked up again, Margaret had fallen into a deep sleep. As cruel as it sounds-and it wasn't cruelty that brought this thought, rather compassion—as terrible as it was, I felt perhaps Margaret was too frail for this world. A world that required resilience and fortitude. A world where one could only have real love if they lived in reality, able to carry on with the mundane as well as the passionate. I realized she could not fulfill the needs of a man like Richard and never would be able to.

-------------Episode 2, SCENE 3 ANDREA's parents home

ANDREA

(monologue)

That night I assumed a greater role as dutiful companion to Richard. I would try harder to anticipate his every need. After Margaret fell asleep, I began my new position. I closed Margaret's door slowly so as not to wake her. I straighten my skirt and held my head high. I entered the kitchen where the ELIZABETH and the Nanny were seated, having tea—no doubt gossiping.

ANDREA
Elizabeth, Please bring Margeaux to me and pack her an overnight bag.

ELIZABETH

Of course Andrea—is she all right? All the way to your apartment?

ANDREA
No. I'll be taking a taxi-cab to my parents' home in Connecticut.

ELIZABETH

Oh Andrea that's quite a ways--

ANDREA
I'd prefer if you called me Miss Davies. I can see Mr. Hayes needs me to manage some things. I'll need to take on a more professional role. He depends on me to make sure things are just so. He needs to attend to his work and these disturbances need to stop. I will leave my telephone number. You are to call me if there are any problems, do you understand?"

ELIZABETH

well--yes Miss Davies.

ANDREA
Very well. Let's not speak of it again. --I'll be taking Margeaux with me this evening. I will make sure she is cared for and safe. I will speak with Mr. Hayes this evening and together we will decide what to do next (after a moment). I must be professional that's all. After all we were to work together, be allies in the best interests of little Margaux. I will help. I promise.

ELIZABETH

Thank you. We do need help.

ANDREA
You're welcome, Elizabeth. All right. Now that Margaret is asleep, please do as I say. Dress the Margeaux and pack a bag. Tell her that her father's friend is taking them on a special overnight adventure. Once you bring her to me I'll do the rest.

ELIZABETH starts out.

ANDREA
Elizabeth wait. (pulls a roll of lifesavers from purse). Here give her a candy to settle and distract her.

ELIZABETH

Yes ma'am." She said and held out her hand. I gave her the candy and she left the room.

SOUND Elevator gates. Taxi door opens. Enters. Sound of engine, and low sound of city outside.

ANDREA
(monologue)

How do I describe the taxi cab ride with Margeaux. If ever there was a revelatory event in my life, it was that one single ride from New York City to my parents' home in the suburbs. Little Margeaux her red curls up in ribbons. She took indulged in my maternal offering. As soon as we entered the cab and settled in, she slid her body next to mine. She lay her head against me and put her hand in mind. It was moments before she was asleep. There I was with this child that I already felt was my own. I can say with the deepest sincerity, I already loved Margeaux.

That night after Margeaux was asleep into the guest room, I settled into the couch under one of mother's old quilts. I knew Richard would call and likely soon. After all, he had a long flight in the morning and he was likely part relieved, part concerned about his daughter. Margaret was likely fast asleep and would stay so until late morning. So, I felt a bit of comfort in knowing he would be able to have a little peace in the evening before he went to bed too. I expected that he would call, and share that personal time with me.

Of course I was correct.

SOUND Telephone rings.

ANDREA
Hello?

RICHARD
Andrea? (tender, vulnerable) are you there?"

ANDREA
Yes. Of course. I'm sorry.

RICHARD
Are you all right? I haven't woken you have I?

ANDREA
I'm here--I'm sorry. I was dozing off.

RICHARD
I've woken you? Shall I call in the morning?

ANDREA
No-- No. Of course not. How are you?

RICHARD
Andrea I don't know how to thank you. I'm stunned. At your compassion. I am indebted to you. This will be the first night I've slept through.

ANDREA
You shouldn't be—you shouldn't have to deal with these domestic problems.

RICHARD
Well, this may just be my lot in life.

ANDREA
I want to help you. I can. It's nothing for me to add help to my duties. I know you need your time to rest before the presentation. I'll keep things running smoothly—for the firm. So you can focus your attention.

RICHARD
Andrea—I don't know if I can burden you—

ANDREA
Why shouldn't you?

RICHARD
It's beyond the job.

ANDREA
I'd like to help you. I like doing things for you.

(long silence)

RICHARD
Andrea?

ANDREA
yes?

RICHARD
I've forgotten what it means to be cared about in this way. (pause) Honestly, Andrea. I'm being sincere.

ANDREA
Thank you for saying so.

ANDREA
I'm saying I have feelings...beyond our work. I don't know what it means but I wanted to tell you—For some time I've been wanting to tell you...

ANDREA
Richard. I wasn't raised to be that kind of girl—

RICHARD
Don't you share these feelings?

ANDREA
To be indiscreet--

RICHARD
Of course. I know you don't...but do you care for me too...have feelings...beyond the job? I can't be alone in my feelings...

ANDREA
...It's my job. It's no bother--Richard, I would do the same for any employer. You know that don't you? I'm a very dedicated employee—I'm an ambitious girl.

[beat]

ANDREA
I don't know what I'm saying. I don't want to sound unappreciative...I'm so grateful. You've made me see I'm not just a typist. I love working for you.

RICHARD
(turns cold) Please return Margeaux tomorrow.

ANDREA
Of course--I'm sorry. Things aren't coming out right— To be honest I'm half asleep. I must sound so silly.

RICHARD
Andrea, Elizabeth told me it was her understanding that you've been hired to manage the household—did you convey that to her that? Give her that impression?

ANDREA
Well, no...Please wait—this is going too fast, you haven't given me a moment to respond.

RICHARD
you've made your feelings clear. Let me make mine. You're my secretary. That's all.

ANDREA
Of course. Richard I was just caught off guard that's all...

RICHARD
I'll have Elizabeth settle things with Margaret. I'll see you at the office when I'm back from Orlando.

ANDREA
May I say one more thing?

RICHARD
No.

SOUND – hand up on Richard's end of the line

ANDREA

Richard wait—I want to tell you--

SOUND Dial tone...

ANDREA
(starting to cry) Have I rejected you? Just for my propriety? Because I'm a respectable girl? (almost whispering) mother! Why have you made me this way? Why can't I love who I want?

SOUND silence and then the slight cry of a child.

Margeaux on the bed.

ANDREA
There you are darling... Look at what a good little girl you are. Shhh...(sings and fades)

Hush, little baby, don't say a word.

Papa's gonna buy you a mockingbird

And if that mockingbird won't sing,

Papa's gonna buy you a diamond ring

And if that diamond ring turns brass,

Papa's gonna buy you a looking glass

And if that looking glass gets broke,

[FADE – Margaret's monologue fades in]

MARGARET
This one's different. Emma. The house is full --Something is coming, knocking on our doors. What does the house staff care? What do the children care? It's me. I have to barricade these doors, but what am I to do about the windows? Even the pains are thin. The wood is rotten. I can't stay in this cold house any more. No food. Emma. That's what he talks about Emma Bovary. Of course I haven't seen her, but if I look out the window—more like a keyhole I'd say—if I look when he leaves. She's a brunette and very sophisticated. I ask him and he gives me that suspicious look as if I've gone through the things in his study. I have. There is one drawer in particular, it's full of drawings of the girl. The mother of his children.

I tell him I've seen them too "go and get her, please. Let me go too." Things have changed. He tells me, as soon as I'm dead, he'll fetch her. She'll take care of his children and he and Emma can be together.

I talk with him as though he's a reasonable man and we are conducting a business deal. "but why kill me, when I want to leave?"

"you have no place to go."

"Dotty is my friend. She'll take me in."

Oh Andrea--I see you. I see you reading my words. How do you like the thoughts of a dead woman? Likely I'm a ghost by the time you read these words. Likely you are too.

Note to Actor playing Margaret I moved past her into the house. For the first time I laid eyes on Margaret Hayes. Oh she was a sight. She was rail thin with fly away blonde hair. Her face was sunken with terribly dark circles around her eyes. She was standing on the couch and in a white night dress. She looked like an apparition. She looked half human.