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The Diarist Episode 3 -- Audio Drama Podcast

https://youtu.be/heHHCY9NHfU

The Diarist Episode 3 - Script

NOTE: In an effort to provide the script along with the audio clip, I am posting a version that has not gone through the complete editing process. It will have typos and some spelling issues from time to time but I will do my best to clean it up. 

EPISODE 3

ANDREA

(monologue)

Of course I couldn't tell mother or father the truth. The next morning the children slept late. It was no wonder. I had no reason to get to work early, although I probably should have gotten them up early and taken them back to the apartment, checked on Margaret. But, Elizabeth called the next morning instructing me to return the children at noon-per Mr. Hayes' instruction and that I could have the morning off. So I woke, dressed and left the little darlings in their sweet dreams. Who knew what the day would hold for them. I went and sat with mother and father in the kitchen, had coffee. I had no appetite for food, and of course that suited mother just fine. As long as I stayed thin and attractive she was content. It seemed so was I.

Episode 3, Scene 1 ---------------------------

MOTHER

I don't understand why he doesn't have her put away somewhere for her own sake—and the children's.

ANDREA

I don't know mother.

MOTHER

something terrible is waiting to happen. You can't leave a woman like that.

ANDREA

I think Richard feels conflicted.

MOTHER

Richard?

ANDREA

Yes. Why?

MOTHER

It seems rather informal.

ANDREA

Why shouldn't it be?

MOTHER

don't get short with me Andrea. What am I supposed to think? You have the man's children and he calls late into the evening—

ANDREA

to check on the children.

MOTHER

I shouldn't say it but I heard you crying after the call—

ANDREA

Well mother why wouldn't you come in and see if I was all right.

MOTHER

Andrea I'm not going to argue with you. I'm not the one wading out into impropriety. (to father) You haven't said a thing Norman. What do you think of all this?

FATHER

I don't know.

MOTHER

You mean you find it acceptable that your unmarried daughter is working as a secretary and now involved in this man's very volatile personal life?

FATHER

No. I suppose you should be more careful.

MOTHER

I should say so!

ANDREA

Mother you'll wake the children—

MOTHER

Do you realize how difficult this is for me? Those children shouldn't be here. I should have my grandchildren fast asleep down the hall. They shouldn't be a married man's children!

ANDREA
please. It doesn't matter anyway. Mr. Hayes has asked me to stay out of the domestic affairs and focus more on my work—He has me working on advertising campaigns you know—

MOTHER

(after a moment) I am in utter disbelief Andrea.

ANDREA

why?

MOTHER

do you expect me to congratulate you?

FATHER

Now. Beverly—why don't you let her be?

MOTHER

Let her be? I've heard nothing but selfishness from that girl. Twenty four years old and caring for a married man's children, talking late into the night, and now she tells me she derives some perverse satisfaction out of taking on business responsibilities?

ANDREA

perverse?

MOTHER

Please don't mock me. (pause) My nerves can't take any more of this nonsense. Maybe you can talk some sense into her. I can't take it.

EXIT MOTHER

FATHER

should I ask?

ANDREA

what?

FATHER

is it an affair?

ANDREA

of course not.

FATHER

I have no problem with love and passion—one can't help that.

ANDREA

I wouldn't—

FATHER

I'm not suggesting—

ANDREA

What do you mean? You just asked. I care about him, of course I do. And the children. Everything seemed to be working out for me. I really love working on campaigns.

FATHER

You are not meant for the mundane life—you think you are but you're not. There's no way to have both. At least not while you are here, in Connecticut. Even in New York. It's too close.

ANDREA

for what?

FATHER

to find fulfillment.

ANDREA

but I think I have.

FATHER

no. you're too young to know. I think this man—this Richard is dangerous. Your mother see's it. The way it all stacks up, you're in love with him.

ANDREA

I wouldn't say that.

FATHER

you wouldn't admit it.

ANDREA

No...it's the work too...

FATHER

all right. I believe it. But the one place your mother will acquiesce is to send you some place abroad. It gives her something to brag about. She's terrified of what's happening.

ANDREA

nothing's happening.

FATHER

I don't agree with her but I don't have to live her life either. Or yours for that matter—

ANDREA

so you want me to leave, run away?

FATHER

if you follow your dreams, find adventure then you'll see you'll be a different person. You'll be glad for it. (lights a cigarette) Would you like a cigarette?

ANDREA

thank you.

FATHER

see? Here we are, two equals. Father and daughter. And you can not be equal to this Richard.

ANDREA

I don't know what you mean.

FATHER

Just take my advice won't you?

ANDREA

but I don't want to leave. Why would I?

FATHER

you're my only child. I have money. I can send you any where you'd like to go.

ANDREA

that's just it. I want to stay here. I want to work for Richard. Any attraction has died out. It just reached the surface under these traumatic circumstances.

FATHER

perhaps. But there you are living in the city alone. Your own apartment. You have this employer, he's trapped in a marriage. You're young and beautiful. You work closely together.

ANDREA

I'm insulted.

FATHER

all right. I'm sorry. I just see what you can be. Things are beginning to look a certain way-

ANDREA

you sound like mother.

FATHER

(lowers voice) but she wants to see you locked away, trapped in mediocrity and circumscribed to a life of servitude.

ANDREA

is that how you see family? Motherhood?

FATHER

I want to set you free. I want you to live. I would die a broken man if I thought you let your zest for life peter out. If you settled. But you're playing a dangerous game right now darling. You have no idea.

Episode 3, SCENE 2-------------------------------------

ANDREA

(monologue)

After the trip to Orlando and our conversation the night before, Richard became cooler with me, more professional. At first I couldn't read him. That secret intimacy we shared seemed to have been replaced by professional demands. He hadn't changed outwardly, still the reserved executive, refraining from flirtation with the office girls. Sharp dominant demeanor on the phone or in business meetings. There were no more smiles as I served coffee during the presentations. Sometimes a nod. If he were on the phone and I had to deliver a message, he'd hold out his hand and often not even look at me. He'd read the message while I waited for instruction and while I finally got recognition it was simply a nod, headshake, or an instruction written on the message and handed back to me.

OFFICE SOUNDS. Phone rings. Andrea picks up.

ANDREA

Hello Mr. Hayes' office...

SECRETARY (voice)
Hi Andrea, it's Mary over at Mr. Nelson's office.

ANDREA

Hello Mary.

SECRETARY (voice)

He'd like to speak to Mr. Hayes, he said he'd be expecting the call...

ANDREA

hang on just a moment would you?

SECRETARY

Of course.

KNOCKS ON OFFICE DOOR

ANDREA

Richard?

RICHARD

I asked you not to interrupt my work, Andrea. It's very disruptive.

ANDREA

I'm sorry...It's Mr. Nelson from Zenith. He said it's important and that you were expecting the call. (pause) should I?

RICHARD

What are you standing there for?

ANDREA

(let's out a low gasp). I'm sorry—I--

RICHARD

just connect the call through, Andrea.

OFFICE SOUNDS

ANDREA

(back on phone) Hi Mary-- I'll ring him through so you can connect him. I'm sorry to keep you waiting.

SECRETARY

Don't be silly. You didn't keep me waiting.

(a moment passes) OFFICE SOUNDS

LUCY

Boo!

ANDREA

oh you scared me.

LUCY

well I meant to...keep you on your toes (pause)

ANDREA

what are you doing back in the office?

LUCY

You can't keep me away from this place--No, Really I here to meet Nathan. Mother has tangled him up in the wedding planning—it's wedding cakes today.

ANDREA

(distracted) cakes? That's funny...

LUCY

Hey, what's the matter?

ANDREA

Lucy, was Mr. Hayes ever short with you? Unhappy with your work?

LUCY

Why? What did he say to you?

ANDREA

It seems I can't do anything right.

LUCY

I'm not sure. You're very competent--

ANDREA

It seems I've overstepped my bounds. I took his children home one night—things were awful at the Hayes' apartment--

LUCY

You did what? I mean I'm sure you had a –Why would you?

ANDREA

Margaret Hayes had gone crazy. I was worried for their safety.

LUCY

Yes. But he has staff—I'm sure you had to...Is he cross with you?

ANDREA

It's been over two weeks and he hardly says a word to me. It used to be so different—before all that I mean. He encouraged my work, gave me little gifts—

LUCY

Little gifts?

ANDREA

Didn't he give you thank you tokens?

LUCY

um...sure. Sure he did.

ANDREA

He did?

LUCY

Honestly no. he didn't. At Christmas he gave me a basket. I'd always give it to my mother. It was lovely but nothing I personal. Fruit and jams. Oh and one time there was two tickets to an opera.

ANDREA

An opera?

LUCY

yes. It was La Bohem. I took mother for her birthday—he had the tickets, this was a couple of years ago before Mrs. Hayes got really sick—you know what I mean?

ANDREA

Of course, I suppose I never thought of her being well. Their life before...

LUCY

Well she came down with something... no that's not it. Why can't I remember the details-it ws before she became really sick. It was a flu or...

ANDREA

Before she went crazy you mean?

LUCY

Yes. I'm afraid so. It's a shame isn't it? She's so pretty—before. It's hard to believe isn't it?

ANDREA

Yes. But...he never gave you anything more than that? The fruit baskets and the opera tickets?

LUCY

No. Not that I can think of.

ANDREA

He's given me a necklace and one time a pair of earrings.

LUCY

Jewelry? No he never gave me jewelry.

ANDREA

just tokens.

LUCY

I'm sorry. I've been so preoccupied with Nathan since I've been here. I'm sure that's why he hasn't—He wouldn't want Nathan to get the wrong idea...

ANDREA

Yes. I'm sure you're right. (pause) Nathan. Of course. Here I am talking about myself and you are just weeks away from getting married. Are you happy?

LUCY

Yes. I'm terribly happy. Mother and I were out shopping. I told her not to buy me so many linens and things. You know I'll get an awful lot at the shower and as gifts. But she insists—you know how it is—

ANDREA

Yes. I'm afraid I do. My mother can't wait for me to get married.

LUCY

Aren't they all that way. Mother treats Nathan just like her son. It's comical he's closer to her age than mine—honestly. She's a hoot. You'll meet mother at the receptions. She is a woman who gets her own way. Imagine a partner at Roth, Hayes, and Johnson indulging my mother in such frivolity as picking out wedding cakes.

ANDREA

Nathan sounds sweet.

RICHARD

(OVER THE INTERCOM)

Andrea—come take a dictation.

ANDREA

All right dear, I'll talk with you soon. I have to go.

LUCY
Darling, don't worry about him. Maybe things are so bad at home—it's a terrible situation. He just wants things done his way.

RICHARD

Andrea!

LUCY

You shouldn't let him bully you though. I've never known him to be that way. He was always –strict you know—but always very kind.

ANDREA

I'll be all right. I'll see you on Saturday. I'm happy for you. You look lovely, you're glowing.

ENTERS OFFICE

RICHARD

close the door please Andrea.

ANDREA

Of course I would. I always close the door behind me.

RICHARD

I need you to take a dictation.

ANDREA

Richard I need to get something off my chest... I haven't done anything to deserve this treatment.

RICHARD

Treatment? I expect you to fulfill the duties of a secretary, a personal assistant. It seems you're falling short. Perhaps the position is too much for you. You didn't come into it with much experience and things are falling apart around you. (lights a cigarette) Isn't that right? Maybe you're just not experienced enough for the job.

ANDREA

I graduated from Kathleen Gibbs. I was top of my class.

RICHARD

So you were. Maybe it's book smarts—around here things aren't always by the books. And, given that you're falling behind here I've had Ellen hire a household assistant, you won't be needed beyond the job. Focus on getting things right here then we'll see about privileges.

ANDREA

Privileges? How is going beyond the job a privilege? I did it because I cared about you.

RICHARD

Well you don't have to any more. Just care about your job.

ANDREA

You can be as cruel as you want but I know you're upset with me after the phone call a couple of weeks ago. You felt as if I had pulled the rug--

RICHARD

Andrea, I'm your boss, not your boyfriend. It is unprofessional for you to come into my office and speak with me so casually. I won't have it. I'm a partner in the biggest advertising firm in New York. I won't have it.

ANDREA

What was I supposed to say to you that night? Honestly? You know my upbringing or at least I hope I have conveyed that to you in the manner in which I present myself. I'm not a woman to talk with a married man on the phone at night--

RICHARD

Are you about finished?

ANDREA

(after a moment) Have I imagined all of it? Have I made this all up?

RICHARD

I'm afraid you have. You're a girl with a very big imagination. That's part of the problem, I'm afraid.

ANDREA

All right then.

RICHARD

All right then, what?

ANDREA

I'm ready for the dictation.

RICHARD

Good. That's more like it. (dictation faces to outro) Dear Maynard, I regretfully inform you that Roth, Hayes, and Johnson is unable to work with you on your campaign request. We recognize Star toothpast is a leader in the dental product business. However, regretfully –no not regretfully—However, we are under contract with Hanson Barrows, maker of competitor products. It would be conflict of interest....(fade)

[SOUND dictation fades, monologue comes up]

ANDREA

(monologue)

I considered leaving and after several months of this treatment I felt almost no attraction towards him. I wasn't sure if I should even work on advertising ideas and sketches for him. Why should I, I reasoned. Why should I give him anything. All I ever did was help him and care for him! What was I supposed to do? Have an affair with a married man? A man whose wife was so ill she was like a child. I had scruples, dignity, and I'd like to think I was moral.

All right. I must interject one confession. Perhaps it was my fault after all. I go back to this story and re-write trying to deliver an honest retelling. To be honest, I continued to make myself attractive for work. Not just that. It became a second occupation. My weekends were spent shopping with mother for sophisticated outfits. I only took my appearance a small step above my previous. It seemed—I realized later—that I had subconsciously tallied the types of clothes, shoes, and hairstyles that piqued Richard's interest in the past. Even during the cold months, there were times –I could see—when an acknowledgement of approval slipped out before he could snuff it out with contempt.

Yes. I suppose he had grown to hate a part of me. The part he believed he couldn't have. Had I known my one obligatory rebuff would have these cascading effects I would have delivered a softer rejection.

Still, I knew he liked Mary Jane or T-strapped pumps. It seemed black was his preference. He preferred crew neck cashmere sweaters rather than blouses. And, I found when the sweaters and skirts were similar shades, almost monochromatic, he was a little nicer to me. Of course I couldn't wear the same style every day and I took chances with other styles. He seemed interested in a black dress with a mauve panel in the front, three matching mauve buttons.

Episode 3, Scene 3-------------------------------------

SOUND Office Sounds.

ANDREA

Morning Ellen.

ELLEN

Morning. Here's a package for Mr. Hayes. Somehow it ended up in my office.

ANDREA

Oh I'll make sure he gets it. Thank you for bringin it over. I would have been happy to come get it.

ELLEN
I needed the exercise.

ANDREA
Ha ha. Very funny.

ELLEN
Will you be joining us for lunch?

ANDREA
No. I have to sit in on the meeting with Mr. Hayes and Steve Morris.

ELLEN
The Zenith campaign?

ANDREA
That's right.

ELLEN
Lucky girl. Steve Morris is single you know.

ANDREA
I hadn't thought of it.

ELLEN
Well he was asking about you.

ANDREA
He was was he?

ELLEN
You know him pretty well don't you?

ANDREA
Well yes, but I never got the idea that—

ELLEN
well do get the idea. He asked if you were involved.

ANDREA
Isn't it apparent that I'm not?

ELLEN
Oh come on. You're such a smart and pretty girl. He's worked with you on sketches and story boards, he's impressed. He's no oaf. He graduated from Princeton. It won't be long before he's a partner here or at his own firm. He's very handsome. He's kind too. If I weren't married, he's the one I'd go after.

ANDREA
Really? Do you have a little crush on him?

ELLEN
Absolutely I do. The rest of these sharks are all talk. I wouldn't let any of them walk me across the street.

ANDREA
I know what you mean. It has been absolutely horrible with Richard.

ELLEN
with Mr. Hayes?

ANDREA
Yes. That's right.

ELLEN
What do you mean?

ANDREA
I don't know how to say it—Lucy was as surprised as you when I told her. He's bordering on cruel—

ELLEN
Cruel? How so. What has he done. That's very out of character.

ANDREA
Can you keep a secret?

ELLEN
Yes. Of course.

ANDREA
One night I took the children.

ELLEN
His children?

ANDREA
Yes. I'd gone over to the Hayes' place and things were falling apart at the seams—not I'm afraid it was worse than that

ELLEN
She'd gone over the deep end?

ANDREA
Yes. It was terrifying for me and the house staff, it was too much for the children.

ELLEN
I'm sure you're right. Where was Mr. Hayes.

ANDREA
He was still at work. It was the night before the Orlando trip.

ELLEN
Yes. I remember. That was a few months back.

ANDREA
Well, that night—once I had the children home—oh are you sure you can keep a secret.

ELLEN
You know I can. I've grown very fond of you Andrea. You're one of my closest friends here..

ANDREA
He called and we spoke briefly. I must have imagined it but it was something he said. I took it the wrong way

ELLEN
Well what did he say?

ANDREA
I—I don't remember the exact words but at the time, I understood him to be telling me he had feelings for me.

ELLEN
I wouldn't doubt it other than it is so out of character for him. You see how he is around here...very respectful.

ANDREA
Yes. That's just it. He turns into a monstor when we are alone together rnow.

ELLEN
How so?

ANDREA
He is very brusque and demanding with me. I suppose it's because I tried to talk about what happened –you know clear the air. But that just lit the fuse on the powder keg-- every day it gets worse. He says I'm not doing a good job and that I should try harder. That I'm not qualified.

ELLEN
What does he expect?

ANDREA
That's just it. I don't know.

ENTER Steve Morris

STEVEN
afternoon girls

ELLEN
(startled) Oh Steven. We were deep in conversation. I forgot where we were for a moment. Isn't that silly?

STEVEN
Oh I'm sorry. I didn't mean to sneak up on you. (to Andrea). I've got the story boards. Will you be joining us in the meeting?

ANDREA
taking notes, only I'm afraid. My work on this campaign doesn't go beyond initial sketches and a few ideas.

STEVEN
Well why not? What happened? You used to do so much. Remember the Byrds' Frozen food campaign. You practically put together the whole thing.

ANDREA
things have gotten busy I suppose. Mr. Hayes is very busy and I was hired as his secretary.

STEVEN
I'll bet he wants to keep him all to yourself. So some other department doesn't snatch you up.

ANDREA
that's nice of you to say.

ELLEN
All right Andrea. I'll talk with you soon. Come with us later, the girls are getting drinks.

STEVEN
Me too?

ELLEN
You're always welcome...but I'm afraid we just can't trust you with the gossip. This place would fall apart if all our secrets got out.

ANDREA
I'll let Mr. Hayes know you're here.

(knocks on the door, opens it)

ANDREA (to Richard).

Steve Morris is here.

RICHARD

Good. Send him in. And Andrea--I'd like you to sit in and take notes.

ANDREA
Certainly. (to Steven) Come on in. Let me take the boards for you. I'll set them up at the end of the table.

STEVEN
Rich.

RICHARD
I'm looking forward to the pitch.

STEVEN
It's pretty good. Andrea here got us started with the sketches...my boys took it from there. She's a talented girl.

RICHARD
Andrea, please move the boards to the stands—the three of them there in a row like that.

ANDREA
Certainly. (finishes pause) Can I get you some drinks before we start?

RICHARD
No that will do. On second thought I think we'll be all right without the notes today Andrea.

ANDREA
You don't want me to sit in?

RICHARD
That's right (to STEVEN) Walk me through this campaign—the pitch.

STEVEN
Rich, she's been very helpful on the campaigns. It would help me to have her input.

RICHARD
That will be all Andrea.

ANDREA
Is it all right if I go to lunch?

STEVEN
I'll bet you can still catch Ellen. The girls have quite a lot to talk about I've been--

RICHARD
No. I may need something. Please stay at your desk.

ANDREA
Of course

SOUND OFFICE

ANDREA
(monologue)

Believe it or not I cried. The office was practically empty and in those three hours –miraculously—the phone didn't ring once. I cried and I realized I would have to take control of my own fate. He could be as cruel as he wanted but it was up to me to make the life I wanted for myself. I knew I didn't want to leave the firm—not after how much I'd invested. I had ambitions. Steven Morris himself had said it. No. I decided, Richard could treat me as horribly as he wanted. He could be a petulant child. I would find a new way to reach my aspirations. Steven Morris wanted to take me out on a date? Well then I decided to go on a date with Steven Morris. And if it becomes something more then so be it. I'm not waiting around for a married man...a doctor Jeckle and Mr. Hyde. Maybe I was in love with him but what difference did it make? He hated me.

By the time the door open I had fully convinced myself that I would become a new Andrea Davies. It started as a day dream but the more I imagined it, fueled by my anger towards Richard the more I believed it might just be possible. I'd heard the rumors that Steve Morris was going to go out on his own one day...maybe he'd marry a girl like me. Maybe if she were talented and knew the business....maybe there would be a place for her on the art team. Not a secretary but an artist or a writer. An idea person. Less a muse, more a collaborator.

SOUND Door opening men exiting

RICHARD
Very good then. Between the two of us we'll reel them in—

STEVEN
I'll have the team finish up the final boards—(to Andrea) We went with your idea! To outter space and beyond!

ANDREA
You did? Really?

STEVEN
The outter space TV station...all of it. You're a genius.

RICHARD
Andrea—come in and bring my messages

ANDREA
There were no calls. I don't have any mess--

RICHARD
Andrea. Now.

STEVEN
I don't want to get you in trouble.

ANDREA
It's no bother. I'm grateful for the compliments on my work.

STEVEN
Maybe I'll see you around

ANDREA
(laughs) I'm sure you will. We work in the same office after all.

STEVEN
Oh hey—by the way—

ANDREA
I've got to go--

Richard & Andrea into Richard's office DOOR CLOSES

A moment passes

RICHARD
Why do you have that look?

ANDREA
Do I? what look? I'm not sure I know what you mean.

RICHARD
Is something wrong?

ANDREA
No. (looks around for a reason for her upbeat mood) Well, I've forgotten how beautiful your office is. Or maybe it's the afternoon light, the large windows. And your paintings. They look lovely in this light.

RICHARD
(softens) that's nice of you to say.

ANDREA
It feels to me like that day when you first asked me to be your secretary. I was so hopeful. The light was very much the same except I don't feel hopeful-- I'm not sure if I'm very good at this position at all.

RICHARD
It's a difficult job.

ANDREA
yes but...I feel you are being unfair to me--I feel as if I am doing all right and then you ---well you make me feel as if I'm completely incompetent.

RICHARD
Is that how you see it?

ANDREA
I mean Steve Morris mentioned how much he liked my campaign—

RICHARD
That would be something—if you were an ad man. But you're not. You're a secretary. I have a very important position and I have to remind you of the smallest things--

ANDREA
Yes but...(starting to cry) If I'm doing such a poor job--Should I resign Richard? I feel so confused. Should I--

RICHARD
I'd like you to take a dictation. I've got to get a letter out to Zenith.

ANDREA
Of course. I just wanted—you see? You treat me as if I'm a child. Why do you keep me here if you don't like me or my work? Why do you? You can have anything you want...you don't have to endure my "incompetence" as you say--

RICHARD
...Have you finished Andrea?

ANDREA
No. You're very unkind to me and I'm trying so hard.

RICHARD
Andrea. Look at me for a moment.

ANDREA

(looks up at him) Yes?

RICHARD
I'm sorry if I've hurt your feelings. Or if something I've said has led you to believe I think you're incompetent.

ANDREA
It's just been so long since you've given me any encouragement or compliments on my--

RICHARD
Andrea. (pause, lets out a long breath). I do notice you-- I like that blouse on you. Very much. You look very pretty just as you are right now.

ANDREA
Oh... well I --

RICHARD
It's very pretty on you.

ANDREA
Thank you.

RICHARD
What sort of fabric is it?

ANDREA
It's silk.

RICHARD
It's very lovely. You have very good taste in clothes. I notice. (pause) Would you mind removing your cardigan?

ANDREA
My sweater?

RICHARD
Yes. so I can see the blouse in its entirety.

ANDREA
Why?

When Richard doesn't respond Andrea removes cardigan

RICHARD
I like it very much. You see? I do notice you. You know that don't you? I don't have to tell you I notice these things. You know when I like something don't you?

ANDREA
I don't' know.

RICHARD
I know its awkward now. Things have been very stressful here at the office. I havent' had the opportnity--I have something for you. To say thank you. (pause) And Andrea, I do recognize your work on Zenith and the other campaigns.

ANDREA
You do? That means so much to me because I spend a lot of time on it. I think of ideas even when I'm at home or on the train--

RICHARD
Andrea. Come over here. I have a small gift for you.

(ANDREA stands and walks over to desk. Picks up the box, a scarf).

ANDREA
A scarf. (inhales and exhales slowly) Its very nice. Thank you. It matches my blouse perfectly. A perfect complement. But I...I'm just...

RICHARD
What's the matter?

ANDREA
I'm afraid I'll say the wrong thing. I don't want to say the wrong thing or do the wrong thing any more...

RICHARD stands and walks over to her.

RICHARD
Do you mind if I help you with it?

ANDREA
No. of course not.

(Richard ties the scarf loosely around her neck. )

RICHARD
It suits you, Andrea. It looks lovely with that blouse. I notice these things. I want to make that clear to you. Even when I'm busy I notice. Even with I'm short with you, I notice.–shall we get back to work?

ANDREA
Yes.

(Walks back to desk sits behind it. )

RICHARD
You'll have to hand deliver this letter to Zenith just as soon as we're finished and you've typed it up.

ANDREA
Of course. Yes.

RICHARD
And then I'll need you back here. I'm afraid we'll have to work late on these... [add transition] (dictation) Dear Neil, Steve Morris and I just finalized the boards. I think you'll be very happy with the campaign. We are entering an immensely exciting new frontier –no strike that—this campaign is all together new. The space age is a new frontier. If you can imagine it, zenith can pick up signals all the way from the moon. I'd like to arrange a meeting with you and Robert Hughs from NJH broadcasting. We'll focus on print, radio, and then by Christmas have things put together for television...

WORDS fade--EXIT—music

ANDREA
(monologue) perhaps other girls may have found it abhorrent or unkind. But I didn't. I was hungry for his attention. It was a dormant desire that would not go away. I knew he had no way to show his feelings for me but in private and I suspect his anger was simply hurt. From what I'm told men can be rather childish when it comes to love. I suppose a part of me felt I deserved the treatment, the belief that on the other side would be something beyond my imagination. You see that drop—that morsel of attention—satisfied a deep, forbidden hunger. So on the way back to my apartment that night I repeated his words in my mind. "I notice you." That was it wasn't it? I wanted someone to notice me. Not andrea the daughter, the wife, the secretary. Not even Andrea the artist or ad girl. I wanted someone anyone to see me. More than anything it was Richard.

Please don't think unkind of me dear listener. Haven't you been in love? If not I'm sorry for you. If you have never had to endure suffering of the heart then I pity you.

[OUTRO]