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Curtains
MANUSCRIPT FADE
IN: EXT.
THE CITY OF LONDON – EVENING Aerial
view. Move slowly across city through
the drizzling rain to a modest area of town. Superimposed
on the scene is “the early 1970’s”. EXT. OLD, SMALL COTTAGE – EVENING In a neighborhood
of many such cottages. INT. COTTAGE,
BEDROOM – EVENING It's a cramped and plain room, neatly arranged with a
bureau, stuffed chair and large bed. Lying on the bed
is ANN, a small, pale, gravely ill woman in her early 50’s. Near her, making a compress is MOLLY, a
middle-aged woman with faded red hair, thick freckled arms and large chapped
hands. As Molly applies
the cloth to Ann's forehead, Ann looks up with a mixture of pain and triumph. ANN I am dying. MOLLY The ambulance is coming. Be still, Ann. ANN They can't help me now. MOLLY Let them decide that. ANN Do you remember your promise? Molly does not
answer. ANN (CONT’D) Do you remember, Molly! MOLLY Yes, I do. Of course, I do. Stay quiet now, Ann. Be still. Ann grabs onto
Molly and clings to her. ANN Elizabeth is not to know! You promised! There's no need now! She's grown. And you promised! Molly nods her
head, almost in defeat. She gently frees
herself from Ann and reaches into a pocket, pulling out a small object wrapped
in cloth. MOLLY I
brought it with me. She unwraps the cloth to
reveal a small, diamond-covered star, attached to a chain. She holds it out to Ann who grimaces with
hate. ANN No!
Get it away! Get it away from me! Molly draws back. Then hears the front DOOR OPEN and FOOTSTEPS
in the hall. She awkwardly rewraps the
star and returns it to her pocket. Through the open bedroom
door, ELIZABETH enters. In her early
thirties, she is pretty in a simple way, with short, fair hair and a slender
build. When she takes off her coat,
Elizabeth reveals a maid's uniform. She
goes to Ann's side. MOLLY The ambulance is on the way, Elizabeth. ANN I'm not going. ELIZABETH You have to go to the hospital, Mother. ANN What difference will it make? A few weeks? A few hours! (triumphantly) I'm dying! ELIZABETH Mother...! Molly quietly
exits the bedroom. ANN What will you do now, Elizabeth? ELIZABETH Now...? ANN When I’m dead. Elizabeth shakes her head
in chagrin at Ann's attitude. ANN (CONT’D) Go back to John! He'll take you back!
That silly new wife, he can take care of that! With money.
Go back to him! ELIZABETH No, Mother. I wouldn't be happy. Is that what you want for me? ANN Are you happy now? (looks at the
uniform) A servant! Stupid...that's what you were... Ann fights the pain. ANN
(CONT’D) Leaving him! Stupid...though not as stupid as before...up
there on that big stage – ELIZABETH Don't. ANN Painted, flaunting...You loved
it! The great actress! Ha!
You believed those...those things they wrote about you...believed it! ELIZABETH That was a long time ago, Mother. Don't talk about it. Don't think about it. It's over. ANN (pleading) Is it, Elizabeth? ELIZABETH Yes, Mother. In the distance
screams the SIREN of an ambulance approaching.
Ann is losing consciousness, talking more to herself than to her
daughter. ANN Please don't do it again. Don't hurt me like that...hurt me like that...why did you torture me? (pauses, then quietly)
You don't look like her. (with childish pride) I did.
Once. But not you. Still, you're like her. (with hate) Like her! (with sorrow) Like her... Ann loses
consciousness. And then life. EXT. MOLLY'S
COTTAGE (NEXT DOOR TO ANN’S) - DAY The front yards
of both cottages are small, but Molly’s front yard has a busy, healthy garden,
compared to the barrenness of Ann’s yard. INT. MOLLY’S COTTAGE,
KITCHEN – DAY The cozy, crowded room, is
marked by the 1950’s. Molly finishes
preparing a tea tray, then carries it out her back door. EXT. BACK YARDS OF MOLLY
AND ANN – DAY Molly crosses the yards to
Ann’s back door. INT. ANN'S
COTTAGE, PARLOR – DAY The parlor is sparsely
furnished with large dark pieces from the 1940’s. Elizabeth is packing boxes. Molly comes in
and sets the tray down. MOLLY Rest a bit, Elizabeth.
Here, have some tea. ELIZABETH Thank you, Mol. Molly begins
serving. MOLLY The Feldmans
said for you to take the week off and settle things. ELIZABETH I don't need a week. MOLLY Take it, dear. Stay with me and take your time to – settle things. (disturbed by Elizabeth’s composure) Are you all right, Elizabeth? ELIZABETH Perfectly. They sit in silence until
Elizabeth can no longer ignore Molly's grim expression. ELIZABETH (CONT’D) I'm sorry, Mol, but I'm not
upset. I don't care. My mother's dead and I don't care. She wanted to die. I'm happy for her. MOLLY It was her kidneys, dear. She – ELIZABETH She wanted to die. MOLLY Don't talk that way. ELIZABETH Why not? MOLLY ...You sound like her. ELIZABETH (finally breaking) Do you think I don't know that, Mol?
I'm thirty-four years old. I started a "great career" and
walked away from it. I began the "perfect marriage" and walked out on
that. I'm not sorry. I don't want to go back.
I don't – want – (with some wonder) I don't want anything anymore. (with horror) Every day, I see the world, more and more, through my mother's eyes. Molly answers
Elizabeth’s expression of pain with one of such compassion that Elizabeth has
to turn away. ELIZABETH (CONT’D) I don't want any of these things, Molly.
Maybe some of the neighbors can use them. Molly puts down her cup
and takes a deep breath, then: MOLLY You weren't always like this. ELIZABETH (sincerely asking) When did I change? MOLLY When you left the theatre. Elizabeth's expression
goes suddenly cold and she turns away again. EXT. ANN’S
COTTAGE – LATE AFTERNOON An expensive car parks in
front of the cottage. From behind the
wheel steps JOHN, a man of about forty, tall, good-looking, fair and well
dressed. INT. MOLLY’S
COTTAGE, PARLOR – LATE AFTERNOON The cheerful, cluttered
room exhibits several beautiful quilts used as throws on the furniture. Molly, at the window, watches John arrive
next door. She sees him enter Ann’s
cottage. She waits, worried, yet
hopeful. INT. MOLLY’S COTTAGE,
PARLOR – EVENING Molly and John sit in
silence. MOLLY (finally) Then she won't let you help her...? JOHN She says there's nothing I can
do. You know how she is. MOLLY Will you help her, John? JOHN In any way I can. Molly leaves the room. INT. MOLLY’S KITCHEN -
EVENING Molly goes to a drawer and
pulls out the wrapped star. INT. MOLLY’S PARLOR -
EVENING Molly returns to John and
silently unwraps the star. EXT. CEMETERY -
DAY The burial
service is in progress. Elizabeth,
Molly, John and only a few OTHERS are in attendance. The MURMUR of a prayer is heard, delivered
from an elderly MINISTER, rather desiccated in appearance. Elizabeth is dry-eyed. EXT. MOLLY'S
COTTAGE - NIGHT A soft rain
falls. Light shines from several rooms. INT. MOLLY’S
PARLOR – NIGHT Molly enters the
room, where Elizabeth is lost in thought.
Molly puts her hand in her pocket, appears to steel herself, and crosses
the room to Elizabeth. MOLLY Where do you think your mother came from? ELIZABETH Sussex. Both her parents died before I was born. MOLLY I never knew your father, Elizabeth. He left before you were born – ELIZABETH I know. MOLLY But I've known your mother since you was four years old, when she married Ralph and the three of you moved in next door. And I knew Oliver from the day he was born to them – ‘til the day he left. Still, for all that time of livin' close, your mother and me was never really good friends, just neighbors – but good neighbors. ELIZABETH You are the closest thing to a friend Mother ever had, Molly. MOLLY That's why when Ralph died and left her a widow, she came to me. She had the cottage and she had his pension, but if anything happened to her, she wanted to be sure her children had a home to go to, so she came to me and she...gave me this. Molly shows the
star to Elizabeth. ELIZABETH She gave you that? MOLLY And I gave her a promise. If anything did happen to her, I was to send you and Oliver – and this – to – her mother. That's if you weren't grown. ELIZABETH But her parents were dead! MOLLY (shakes her head) No.
Her father was. But her mother was still alive. Is still alive – and not in Sussex. ELIZABETH Where is she? Who is she?
I have a grandmother? MOLLY I always thought you had the right to know. But I made this promise to your mother. Years ago.
If you and Oliver were grown when she died, then you was never to see this.
I’m to sell it and give you two the money, but never let you see it.
And never tell you where it came from. ELIZABETH Where does it come from, Mol? MOLLY I’m breakin’
a promise. I’m going against the last thing she asked
me. But you’re not right, Elizabeth. Something in you has been fadin’ these last years. You’ve shut down, shut yourself away. Maybe this will bring you back. ELIZABETH Mol!
Tell me! Where does that come from? MOLLY From America, where your mother was born as Diana Sloane. ELIZABETH America! Where in America? MOLLY (carefully) She grew up on an estate in Beverly Hills.
They call it Golden Green. ELIZABETH She lived there? Molly nods. ELIZABETH (CONT’D) Daniel Sloane’s daughter? MOLLY And Victoria Kingsley’s. Diana – Ann - was their only child. Elizabeth is shocked and
silent. ELIZABETH (finally) They were like – royalty – in the silent movies. MOLLY It's no wonder you went on stage. ELIZABETH Victoria Kingsley is my grandmother?! Molly nods. ELIZABETH (CONT’D) My grandfather died... MOLLY A long time ago, but your grandmother is still alive – and living at Golden Green. EXT. LONDON
AIRPORT - DAY Heavy traffic and
mist surround the terminals. INT. LONDON
AIRPORT – DAY John and Elizabeth stand
in a crowded area. He hands her a large
packet. JOHN Here are your papers and some funds. ELIZABETH Thank you. John picks up her
bags. JOHN I'll send along the rest when the cottage is taken care of. They start walking to the
gate. ELIZABETH You must take out of the cottage sale what you’ve already given me. JOHN That isn’t necessary. ELIZABETH You must, John. You can’t just give me money! It’s been years since I was your wife. Julia must find this all very annoying. JOHN I’m no longer your husband, Elizabeth, but I am still your friend. (smiling) And helping you get set-up in another country does suit my
wife. ELIZABETH Julia is perfect for you. JOHN She is. ELIZABETH I’m sorry I wasn’t. JOHN Don’t go into that. You made me very happy. I just didn’t have the same affect on you. ELIZABETH There was nothing in the world wrong with you. Nothing. I – JOHN You should never have given up the theatre. Elizabeth’s
expression shuts down. They continue in
silence. INT. LONDON
AIRPORT, GATE – DAY John and
Elizabeth stand, waiting. He has set
down her bags. ELIZABETH I'll get a postal box as soon as I can.
You can use general delivery ‘til then. JOHN Why must you do it this way, Elizabeth? ELIZABETH I don't know what I'll find, or how I'll feel about it – or if I'm welcome. JOHN She's your grandmother! ELIZABETH She doesn't seem to know I'm
alive! Or, maybe she does know about
me, but doesn’t – JOHN Just go to her, tell her who you are, and what you need to know. ELIZABETH I'm doing that. JOHN You're not telling her who you
are! You're the granddaughter of Victoria Kingsley, possibly the heir to Golden Green – and all you can think of presenting yourself as is a housemaid! ELIZABETH I told you! I don’t know what I’ll find.
I don’t know if she wants to see
me, if she even knows about me! And I may not want to know her! I go this way or not at all. John shakes his
head then recovers his business-like manner. JOHN When did you last hear from Oliver? ELIZABETH It's been – I can’t say. Five years? JOHN I'll look into that. No one seems to have any idea of where he went off to. I know you insist on giving him half of what you get for the cottage, but there is a time limit on that sort of thing. ELIZABETH I understand. And I hope you understand how much I appreciate everything you’re doing. JOHN My penchant for detail used to bore you. Elizabeth smiles
affectionately. John pulls a note out of
his pocket. JOHN (CONT’D) But I'll risk one more. This is the agency Golden Green hires most of their domestic help from, in Beverly Hills. Elizabeth takes the note,
surprised and delighted. JOHN (CONT’D) It's not the job, Elizabeth. But it's the best place to look for
it. I suggest you sign up with them for temporary work until they can secure an interview for you at Golden Green. PERSONNEL open
the doors for boarding. LOUDSPEAKER (O.S.) Flight 722 now boarding at Gate 6. ELIZABETH You have no idea how much this means to me. JOHN May you find what you need over there. ELIZABETH If I do, it will be you who made it possible. JOHN Goodbye, Elizabeth. She gives him a
hug and then she is gone. EXT. LONDON – DAY Aerial shots as it
disappears from view. EXT. LOS
ANGELES - DAY Establishing
shots of Los Angeles, then to the Strip, and on to Beverly Hills, up tree-lined
streets to the hills, to estates on greater acreage to EXT. GOLDEN GREEN
– DAY A large two-story house, a
former hunting lodge, sits behind a wrought iron fence which winds some
distance in both directions enclosing a large area. Inside the gates is a circular drive. INT. GOLDEN
GREEN, DOWNSTAIRS FOYER – DAY The foyer is in the center
of the house, at the foot of an elaborate staircase. The area opens unto the large living room at
the back of the house. One of the foyer
wall’s is flanked by a full-length portrait of Victoria Kingsley in her late thirties. Elizabeth stands before
the stunning portrait. She sees the star
necklace of which she has the miniature.
JACQUES (O.S.) She was the greatest star. Elizabeth turns
to the man who’s walked up behind her.
JACQUES is in his late 60’s, tall and balding. He wears spectacles and a butler's uniform. ELIZABETH How is she now? A large woman,
MISS VERNON, in a white uniform, who carries herself with great
self-importance, comes down the stairs and past them. She scowls at Jacques and then enters a door
under the stairway. Jacques turns away
from her. JACQUES (to Elizabeth) Follow me, please. Jacques leads
Elizabeth back down the hall towards the front door, then stops at a doorway on
the left. INT. SITTING ROOM
– DAY A gracious room appointed
with French Provincial furnishings. There is silence, but for
a CLOCK TICKING. Elizabeth sits before
Jacques who looks at her references. JACQUES (finally) Excellent. ELIZABETH Thank you. JACQUES I understand you've worked for this agency less than five months, yet you've been offered permanent positions from at least two of their other clients – and have refused. ELIZABETH I was waiting for an interview here, sir.
If you don't accept my application – JACQUES I accept it, Elizabeth Rhodes. But I am interested in your – desire – to apply here. ELIZABETH I have heard of Golden Green all my life...and I...would consider it an honor to work here. JACQUES I have heard those words many times. ELIZABETH I am sure. Jacques stands. JACQUES But not for many years. Come with me, please. INT. HALL – DAY Jacques leads
Elizabeth back to the foyer and to the kitchen door under the stairs. JACQUES (CONT’D) Bridget will show you your duties on Monday and take you through the house then. As Jacques opens
the door, Elizabeth turns again to the full-length portrait. She pauses, unable to take her eyes from the
picture. Jacques stops, also, pleased by her reaction.
JACQUES (CONT’D) (on impulse) But perhaps you'd like to see this now. He leads her back
down the hall toward the front door again.
He points to the left as they walk. JACQUES (CONT’D) Through there is the dining room. And through these doors, as you know, a sitting room. He points to a
door just near the front entrance. JACQUES (CONT’D) The cloakroom is located there. And here – On the other side
of the hall, he goes to a large double door, and opens it. INT. BALLROOM –
DAY The room, graced
by chandeliers and brocaded wallpaper, is built to entertain at least 200
people. Charmingly arranged, Queen Anne
armchairs and loveseats surround the marble dance floor. Elizabeth does
not speak. Finally she looks up at
Jacques whose eyes are filled with memories.
She smiles. ELIZABETH Is it still used? JACQUES Certainly. (with reverence and pride) The Golden Green Charity Ball. ELIZABETH (delighted) I thought that was discontinued! JACQUES Never! (defensively) It's only every three years now, of course, but it is. INT. KITCHEN –
DAY A large rectangular room,
lined on two walls by cooking appliances with a long worktable down the center. At the far end of the room
is an eating area set in an alcove with a bay window. At the stove is VERA, a
woman of about fifty, small, neat, reserved in manner. At the alcove table is BRIDGET, a statuesque,
blond maid, in her twenties. At the
center table stands the intrepid Miss Vernon.
Jacques and Elizabeth
enter. Miss Vernon picks up a tray of
food and starts out of the room. JACQUES Is she awake now? MISS
VERNON No, this is my lunch. Miss Vernon walks out of
the kitchen. Vera gives Jacques a
disapproving look. JACQUES Now, Vera, it's necessary. Her job is - (remembers Elizabeth) rather - difficult. Elizabeth, this is Vera, our cook. And Bridget, the other maid you'll be working with. The back door opens and
HILDE enters. She's a young German maid,
as sweet as she is pretty. JACQUES And Hilde,
the young lady you will be replacing. HILDE Hi! Bridget and Vera
nod to Elizabeth, who smiles warmly.
ELIZABETH Hello. Jacques motions to where
Bridget is sitting. JACQUES This is where we take our meals. He points to the
back door. JACQUES
(CONT’D) And this leads to our quarters. You, of course, only use this door. ELIZABETH Of course. JACQUES I'll show you to the back gate. Suddenly a BUZZER, which
hangs on the wall, begins to ring. Jacques looks up at it. HILDE I'll lead her out, Jacques. Jacques takes a
tray and begins preparing it, with Vera's help.
The BUZZER does not stop: it rings on angrily. He shows no sign of irritation, although
Bridget exhibits some contempt for his lack of reaction. JACQUES Goodbye, then, Elizabeth. We will see you on Monday. ELIZABETH Yes, sir. See you then. She nods to Vera
and Bridget, but they are not looking at her.
Hilde leads her out the back door. EXT. KITCHEN EXIT
– DAY Almost opposite
the kitchen door, across a large driveway, is a five-car garage. To the left of the garage is a small grove of
trees, and then the servant quarters. Hilde points to the two-story building fronted with a
porch. HILDE That’s where we live. I’ll have all my things out of there late Saturday morning. Come on, I’ll show you the way to the back gate. They start up the
path, past the garage, to the back gate. HILDE
(CONT’D) I hope you like it here. ELIZABEH I'm sure I will. Haven't you? HILDE Oh, yes, but – it's something of a tomb. Coming down the path from
the back gate is MAGGIE KINGSLEY, a tall woman in her early 70’s, carrying a
basket, wearing boots, slacks, a smock and a big floppy hat, with her salt and
pepper gray hair flying loose. When she
sees Hilde and Elizabeth, she steps off the path,
avoiding them. HILDE
(CONT’D) That's Maggie Kingsley. ELIZABETH Maggie...! HILDE Miss Kingsley's sister. They're twins, you know. ELIZABETH I know, but - ! HILDE But they're nothing alike. Maggie looks at Hilde and does a sudden pantomime of sweeping floors. Hilde smiles and
waves. Maggie looks at Elizabeth with a
blank expression, and then she hurries past them toward the back of the
estate.
ELIZABETH I thought...Maggie Kingsley was... well, kept in institutions! HILDE Looney bins. Elizabeth is
amazed. Hilde
is matter-of-fact. HILDE
(CONT’D) She's crazy. ELIZABETH And she lives here? HILDE Uh huh. She continues to
lead Elizabeth to the back gate, but points behind them in the direction of the
wooded area. HILDE
(CONT’D) Past our quarters, where the woods begin.
There's a cottage back in there. Hilde smiles at Elizabeth’s shocked expression. HILDE (CONT’D) It's okay. She's harmless. Sometimes I don't even think
she's crazy, 'though I'm sure she's senile. Don't let it bother you. It has nothing to do with you, anyway. ELIZABETH No, of course not. They have arrived
at a tall wrought iron gate. HILDE Well, here you are. I’ve got to get back. ELIZABETH Goodbye, Hilde,
and best wishes to you. HILDE Goodbye! Hilde goes back down the path. Elizabeth stands at the gate and looks up at
the house with wonder and pleasure. INT. GOLDEN
GREEN, DINING ROOM - DAY The formal dining
room seats twelve. BRIDGET
(O.S.) This room is dusted every other day, too.
And the marble surfaces are waxed weekly. Bridget and
Elizabeth, in the hall, stand at the open doorway. Then Bridget closes the dining room door. INT. DOWNSTAIRS
FOYER – DAY The two women come down the hall to the foyer and start up
the staircase. BRIDGET And this railing is polished every day. INT. UPSTAIRS
FOYER – DAY The stairs come out on a
large rectangle foyer. Straight ahead,
the length of the opposite wall is one suite entered by a large double door. Bridget turns left. Elizabeth follows. They head to the suite at one end of the
foyer. Bridget points to the three
closed doors they are passing. BRIDGET This is an office, we clean twice weekly. This is a
bathroom and this is a cleaning supply closet. They arrive at the only
door on the far wall. Bridget KNOCKS. BRIDGET (CONT’D) And this is Hugh Logan’s suite. The brother. She KNOCKS again. At no answer, she enters. Elizabeth follows. INT. LOGAN’S
SUITE – DAY It contains a
sitting room, bedroom and bathroom.
There are several photographs of the same man - handsome in a vapid
way. He looks to be in his mid-40’s,
‘though he is, in fact, two decades older than that. Bridget points to one of the pictures. BRIDGET
That's him. Clean these rooms like the others, but don't bother anything on his dresser. Elizabeth stares at
the line of various toupees. BRIDGET
(CONT’D) He doesn't use those anymore. Got his hair transplanted, one at a time – surgery. ELIZABETH (referring to pictures) It’s no wonder he looks so young. BRIDGET That's the facelift. Bridget opens the closet
and reveals endless racks of clothes with no less than 40 pairs of shoes. BRIDGET
(CONT’D) Jacques takes care of his clothes, but we vacuum in here, too. Bridget leads
Elizabeth out of the room and closes the door behind them. INT. UPSTAIRS
FOYER – DAY ELIZABETH Why isn't his last name Kingsley? BRIDGET Logan is his "professional"
name, though I never heard of any movie he ever made. Bridget crosses back
toward the stairs and past them to the end of the foyer opposite Logan’s. She opens the door to a suite and they step
into the anteroom. INT. DIANA’S SUITE – DAY The suite's decorations
are reminiscent of the late 30’s/early 40’s, from a young and feminine perspective. The anteroom has an open door to the left, a
bedroom; an open door to the right, the bath; and straight ahead, a spacious
sitting room. BRIDGET This is dusted at least once a week. Elizabeth looks at a
number of photos on the walls and on several surfaces, pictures mainly of
Daniel Sloane, Victoria Kingsley and daughter Diana. The photo of an adolescent
Diana in the anteroom mesmerizes her. ELIZABETH Who is that girl? BRIDGET The daughter. ELIZABETH Where is she now? BRIDGET Who knows. Jacques says she left in a snit years ago. Come on, I'll introduce you to "The
Secretary." ELIZABETH Is this suite ever used? BRIDGET Not these days. Bridget stares at Elizabeth,
annoyed and puzzled by her questions.
Elizabeth gives Bridget a wan smile and steps back into the main
foyer. Bridget, still staring at her,
steps out also, and closes the door. INT. UPSTAIRS
FOYER – DAY Bridget goes to
the office door and knocks. ALICIA
(O.S.) Come in. INT. OFFICE – DAY The office is
moderate in size with Regency Period furnishings. ALICIA RIX, a woman of about forty, with an
imperial kind of beauty, sits behind a desk covered with a minimum of office
paraphernalia. Bridget opens the door,
Elizabeth stands near. BRIDGET Elizabeth, this is Mr. Logan's secretary, Alicia Rix. Miss Rix, Elizabeth. She's replacing Hilde. Alicia nods at Elizabeth,
her expression one of frank appraisal. ELIZABETH Miss Rix. INT. UPSTAIRS
FOYER – DAY Up the staircase comes
HUGH LOGAN. HUGH Good morning, Bridget! BRIDGET Good morning, Mr. Logan. This is Elizabeth, the new maid. HUGH Hello, Elizabeth. ELIZABETH How do you do, Mr. Logan. He walks into Alicia’s
office and closes the door behind him.
Bridget goes to the stairs and starts down them. Elizabeth does not move, her eyes locked on
the double doors across the foyer. ELIZABETH
(CONT’D) What about Miss Kingsley's suite? BRIDGET Oh, Miss Vernon, or Venom, or whatever her name is, takes care of that. Elizabeth looks puzzled. BRIDGET (CONT’D) That Amazon in the white uniform. Don't try to remember her name, she'll
go like the others. Bridget goes on down the
stairs. Elizabeth has to follow. INT. LIVING ROOM
– DAY Elizabeth and Bridget
pause at the bottom of the stairway in front of the living room. ELIZABETH When do we see Miss Kingsley? BRIDGET We don't. Bridget leads Elizabeth
across the living room. The rear wall is
a line of French doors opening onto a lush garden. The left wall, also lined with French doors,
reveals a swimming pool. Beyond the pool
is a duplex guesthouse. Bridget points
to it. BRIDGET
(CONT’D) That's the guesthouse. There are two suites in it. Once in a while we dust one of them, but the other one has to be cleaned twice
weekly. The grandson lives there. Elizabeth turns pale. ELIZABETH The grandson? BRIDGET Yes, Oliver Taylor. Well, you may as well get started in here. I'll - are you okay? ELIZABETH Yes. BRIDGET You sure? ELIZABETH Yes...yes...it's...this California heat...I'm not used to it. BRIDGET I'm crazy about it. Well, get what you need from the kitchen closet and start in here. I'll do the upstairs. Elizabeth
nods. Bridget goes upstairs. Trying to overcome her shock, Elizabeth
finally pulls herself together and heads toward the kitchen for supplies. INT. LIVING ROOM
– DAY Elizabeth
polishes a table, her mind on the guesthouse. She works for a moment, then
stops, looking out the glass doors, until she feels someone's eyes on her. She turns toward the stairs, where Bridget
stands watching her. BRIDGET It makes no difference to me, but, if I were you, I'd at least look busy. Bridget continues
on her way to the kitchen. Elizabeth
goes back to work. Then she reaches a
decision and goes to a door, opens it, and steps into the garden. EXT. GARDEN – DAY Elizabeth is
about to start across the lawn to the guesthouse when she stops, slightly
startled: Maggie is in the garden, planting.
She looks up at Elizabeth with a blank expression. Elizabeth smiles. ELIZABETH Hello... Maggie stares at
her and then slowly starts to rise, to escape. ELIZABETH
(CONT’D) It's all right, Miss Maggie. I'm just a maid. Elizabeth
pantomimes "sweeping”, as she remembers Maggie's exchange with Hilde. Maggie stops
and watches her. Elizabeth dresses up
her pantomime with polishing glass.
Maggie's expression begins to soften.
Elizabeth pantomimes shaking a rug and getting some dust in her
eyes. Maggie smiles back, shyly. Elizabeth looks
to the guesthouse, realizing this is not the time to go. She smiles at Maggie and steps back into the
living room. INT. KITCHEN -
DAY Jacques, Vera, Elizabeth
and Bridget are eating lunch. JACQUES Well, Elizabeth, do you like your room? ELIZABETH Yes.
Very much. JACQUES (to Bridget) Did you introduce her to Mr. Logan? BRIDGET And "Miss Rix." ELIZABETH What does Miss Rix
do? Bridget drops her eyes and
barely suppresses a smile. JACQUES Miss Rix
assists the attorney with some of Miss Kingsley's business, such as our paychecks. And she assists Mr. Logan with his business. Bridget smiles
openly. Vera gives Bridget a chiding
look. ELIZABETH What kind of business does he have? Bridget
laughs. Vera shakes her head. JACQUES Very little. VERA (to Elizabeth) Miss Kingsley allows him a part-time secretary because it makes him happy. And this job suits Alicia, thank heavens. Before she came we'd been through every temp agency in town. (to Bridget) Miss Rix does
suit. BRIDGET Oh, I'm sure! JACQUES It's not like that. And it's not correct for you to make fun of him. BRIDGET I know, but his calf love is so comical. ELIZABETH (trying to change the subject) I really like my room. And the sitting room we share. – All of
it. This house. Golden Green - JACQUES Quite an estate, isn't it? ELIZABETH Quite.
I would like to have seen it when it was... BRIDGET Alive. JACQUES (offended) You will - this summer. BRIDGET Who's coming to the ball? JACQUES Everyone. ELIZABETH Miss Kingsley, too? VERA She doesn't go anymore. JACQUES She made an appearance six years ago. VERA But not the last time. And Miss Maggie hides for the week. I don't know why we still have it. JACQUES Because this is Golden Green and as long as she lives - VERA I know, Jacques, I know. I'm sorry.
Have some more potatoes. The BUZZER starts
to ring. Jacques rises immediately and
gets a tray. ELIZABETH May I get it? They all look at
her as if she were out of her mind. EXT. KITCHEN
ENTRANCE - NIGHT A light is on
outside the kitchen door, and lights shine above the garage and on the servant
quarters’ porch. All garage doors are
closed but one. That space is empty. INT. KITCHEN -
NIGHT Elizabeth sits
alone in the alcove, looking out the bay window watching the garage area. EXT. PATH BY
KITCHEN DOOR – NIGHT Maggie comes down
the path from the back gate, past the garage, and in the direction of her
cottage. Vera comes out of the servant
quarters. They nod hello. Vera continues to the kitchen and enters. INT. KITCHEN –
NIGHT VERA Hello, Elizabeth. Elizabeth smiles
in greeting. Vera begins to prepare a
snack. VERA
(CONT’D) I guess it's a little lonesome here, especially at night. We're watching “The Johnny Carson Show”, Bridget and me. Would you like to join us? ELIZABETH No, thank you. Though it's kind of you to ask. – Vera, can Miss Maggie talk? VERA Sure she can. She can do a lot of things. She's just – a little – eccentric. ELIZABETH How long has she lived here? VERA Always. Well, off and on, anyway. But I've been here ten years now and I don't think she's been - sent off – for several years, at least. ELIZABETH Why doesn't she talk? VERA It's just a little game she plays. She was an actress, too, you
know. She and Miss Kingsley started off together in vaudeville with that twin act. And they say Miss Maggie was the best of the two with - Vera can't think of the
word. ELIZABETH Pantomime? VERA (nods) But Miss Maggie always had a – nervous problem. Always did.
And anyway, she wasn't – Miss Kingsley. Vera picks up the
tray to leave. VERA
(CONT’D) You sure you won't join us? ELIZABETH No, thank you just the same. Vera smiles and
leaves. Elizabeth continues watching the
garage. INT. KITCHEN –
NIGHT Elizabeth is
still waiting. Finally she gives up,
puts the cup in the dishwasher, turns out the light and leaves the kitchen. EXT. KITCHEN EXIT
- NIGHT Elizabeth starts
for the servant quarters, but stops at the SOUND of a car pulling in the back
drive and around to the garage. She
steps into the shadows. EXT. GARAGE -
NIGHT The car is
parked. OLIVER steps out of it and comes
up the path. He is in his late 20’s,
dark, handsome. Elizabeth watches
him. He goes down the
path to the end of the house, turning left, presumably to cross the garden and
go to his guesthouse. EXT. TREES
BETWEEN GARAGE AND SERVANT QUARTERS – NIGHT Elizabeth stands
in the shadows, trying to decide what action to take. INT. OLIVER'S
SUITE - NIGHT The decor is
Mediterranean, and more like a magazine spread than a home. Oliver enters,
removes his jacket and hangs it up. He
is emptying his pockets when he hears a KNOCK at the door. He goes to the door a little puzzled and
opens it. Elizabeth stands
there. It takes him a moment but he
recognizes her - and is shocked and displeased.
They stare at
each other, Oliver's defensiveness almost concealed by his usual
cockiness. Elizabeth is angry, but cool. ELIZABETH Hello, Oliver. OLIVER ...So you found out. Elizabeth nods,
then steps inside. He closes the door. OLIVER (CONT’D) How? ELIZABETH Molly.
And you? OLIVER Through my father. ELIZABETH You couldn't have. He died when you were small. OLIVER Well, his brother didn't and when I went to him some years back to borrow money he told me where I could get some that belonged to me. ELIZABETH I suppose he suggested you go live off relatives? OLIVER Hardly, but he thought I should know who my relatives were, since I needed a few things. A lot of things actually. What are you getting? Do I have a neighbor in this lovely bungalow now? ELIZABETH No.
I live in the servant quarters. Oliver looks
puzzled. ELIZABETH (CONT’D) I work here. He looks more
closely at what she is wearing. OLIVER What are you up to? ELIZABETH You wouldn't understand. I just came to tell you I'm here - but they don't know who I am and I don't want them to. OLIVER Do you expect me to believe that? ELIZABETH I expect nothing from you, but I hope you'll help me on this. OLIVER Well, it certainly suits me. ELIZABETH Why didn't they contact Mother when you first came? OLIVER So I wondered, worried, I should say.
Oliver crosses to
a built-in liquor cabinet, picks up a decanter and pours himself a drink. OLIVER (CONT’D) But don't you know, Elizabeth? Our dear mother left here years ago of her own accord and refused to return of her own accord. He holds up the
decanter and offers a drink to Elizabeth.
She shakes her head. OLIVER (CONT’D) It seems she's welcome, more than welcome, but only of her own free will.
Isn't that thoughtful? ELIZABETH Well, Mother's home, all right. OLIVER (sharply) What do you mean? ELIZABETH She's dead. OLIVER ...and to what am I indebted? ELIZABETH Her kidneys. OLIVER How very clever of her kidneys. Well, then, that leaves just you and me. – I liked it better when it was just me. ELIZABETH It still is - unless, of course, you told them of me, your sister? OLIVER My half sister. And no, I shouldn't think so. I didn't lie, mind you. I just - omitted the fact. ELIZABETH I appreciate that. Oliver puts down
his glass casually, then moves to Elizabeth, standing close to her, almost threateningly. OLIVER What’s your game, girl? ELIZABETH I've come to see Victoria Kingsley. OLIVER Why the charade? ELIZABETH I didn't know what I’d find. OLIVER When are you going to the lawyers? Elizabeth loses
some of her composure and moves away from him. ELIZABETH I don't know. Is that what you did? OLIVER I came here directly, and since "Grandmamma" did not accept callers, I was ushered in to see Uncle Hughie. You’ve met him? Elizabeth nods. OLIVER (CONT’D) Well, he promptly fell apart and ran off to the lawyer who summoned me to his office and, ultimately, presented me with this lovely "home" and the use of a
rather exceptional automobile and the privilege of what seemed, at the time, a generous allowance. - When are you going to the lawyer? ELIZABETH I don't know that I will. I just came to meet Grandmother. OLIVER Well, you can forget that. Elizabeth is
understandably surprised. OLIVER (CONT’D) No one sees her. Just Uncle Hughie and dear old Jacques, and whatever fool he hires to help with her. ELIZABETH Miss Vernon? OLIVER I don't know her name this month. ELIZABETH ...and no one else? OLIVER Oh, well, the lawyer and doctor of course. Each week, like clockwork. But no one else. Especially not pretty, young things like secretaries and maids. ELIZABETH (astonished) And you've never met her? Oliver shakes his
head and grins. OLIVER That's the condition under which I stay. ELIZABETH Condition?! OLIVER Peculiar, don't you think. Well, perhaps you'll have better luck. ELIZABETH I should hope so. OLIVER And if you don't? ELIZABETH I don't know. OLIVER And if you do? ELIZABETH I - don't know. OLIVER You don't know! Elizabeth looks
defiant, but has no answer. OLIVER (CONT’D) You come all the way out here, cross an ocean - and you don’t know? ELIZABETH (unsure and defensive) I just want to meet her. OLIVER And then what? ELIZABETH I don't know! OLIVER Well, when you do, you let me
know. That's my condition for
covering you. ELIZABETH Very well then. INT. DOWNSTAIRS
SITTING ROOM - DAY Bridget is
dusting in the room where Jacques interviewed Elizabeth. The front DOORBELL rings. Jacques walks by the sitting room to the
front door. Bridget hears the DOOR OPEN. JACQUES
(O.S.) Good afternoon, Doctor Winters. WINTERS (O.S.) Jacques. Jacques and DR.
SAMUEL WINTERS come down the hall, past the sitting room. The doctor is a man in his sixties, very
professional in appearance, but with the demeanor of a country
practitioner. INT. UPSTAIRS
FOYER – DAY Hugh comes out of
his suite, leaves his door open, and pauses at a hall mirror to check his
appearance. Jacques and Winters are
coming up the stairs. WINTERS (O.S.) Did you make those vitamin additions to the tomato juice? JACQUES (O.S.) Yes, sir. And she took no notice. Hugh turns,
smiles as they come to the top of the stairs. WINTERS Good afternoon, Hugh. HUGH Hello, Dr. Winters. Jacque and
Winters go through the double doors of Miss Kingsley's suite. Hugh opens the office door, enters, and then
closes the door behind him. INT. DIANA'S
SUITE – DAY Elizabeth, in the
anteroom, stares across the foyer at the double doors of Miss Kingsley’s rooms.
She has seen Jacques and Winters enter the suite. She continues dusting until a particular
picture arrests her attention: the photo is of Victoria as a young woman. Elizabeth picks it up, looks at it, then
looks in the mirror at herself, then back at the picture. Ann was right: she looked like Victoria years
ago, but Elizabeth does not. Finally
Elizabeth shakes herself from her thoughts and resumes polishing. INT. OFFICE – DAY Hugh is
pouting. Alicia looks amused - and
irritated. HUGH Anyone would be proud to go to the ball with me. ALICIA Then ask anyone. Hugh gives up,
terribly disappointed, starts to leave. ALICIA
(CONT’D) Oh, all right, Hugh. HUGH You mean it, Alicia? You'll go with me? ALICIA But no nonsense out of you. Do you understand? HUGH I promise. ALICIA Now stop making a nuisance of yourself. HUGH I know you're busy. ALICIA You know I'm not. But I'd rather be bored alone than bored with
you. Out of here now. HUGH You could come in one day a week, instead of two, but then I couldn't see you as much, unless - ALICIA That's the nonsense I mean. No, Hugh.
I don't want you hanging around my apartment. I'll sit here two days a week and you can stare at me half the time, but enough for today - out of here, now! HUGH Yes, Alicia! INT. UPSTAIRS
FOYER – DAY As Hugh returns
to his rooms, the double doors open and Jacques and Winters come out of Miss
Kingsley's suite. Still working in
Diana’s suite, Elizabeth is aware of them as they cross the foyer and start
down the stairs. She comes to the doorway of Diana’s suite and stares at the
double doors. INT. STAIRWAY –
DAY WINTERS You take very good care of her, Jacques. JACQUES Thank you, sir. WINTERS 'Though, as usual, I'd like to hear that she's eating more. They pause at the
bottom of the stairs. JACQUES Yes, sir. And you should find Miss Maggie
out back now. WINTERS Thank you, Jacques. Jacques turns and
starts up the stairs again. INT. KITCHEN –
DAY Vera prepares a
major soup. Bridget clears dishes from
the table. Oliver’s vehicle
is HEARD coming down the drive. Bridget sees
the car out the window, glances over at Vera and starts for the back door. Vera turns and looks at her with some
disapproval and then returns to her cooking. EXT. KITCHEN EXIT
– DAY Oliver is getting
out of his car as Bridget watches him from the back door. He sees her and smiles. She blows him a kiss and he “catches” it as
he goes down the path toward the back of the house. She leans against the door watching him walk
away and smiles to herself. EXT. LIVING ROOM
FRENCH DOORS – DAY Oliver opens a
door and enters the house. INT. LIVING ROOM
– DAY Oliver proceeds
to the stairway and heads upstairs. INT. OFFICE – DAY Alicia is at her
desk. She hears Oliver’s FOOTSTEPS. ALICIA No, Oliver, the checks haven't come yet. Oliver arrives at
the doorway. OLIVER Now why do you always say that? How do you know that's what I
want? ALICIA Hit on Jacques, as usual. OLIVER She says, with a note of disapproval, or is it contempt? ALICIA He's in with Her Majesty, at the moment. The SOUND is
heard of the double doors opening and then closing. INT. UPSTAIRS
FOYER – DAY Oliver watches
from the office doorway as Jacques crosses from the double doors to Hugh's door
and knocks. Jacques looks greatly
upset. Hugh opens the door. JACQUES May I speak with you a moment, Mr. Logan? Hugh steps back
and Jacques enters. The door closes. INT. OFFICE – DAY ALICIA
This doesn't sound like the right time to ask. OLIVER Anytime is the right time with Jacques. He understands my position. ALICIA Does he. INT. UPSTAIRS
FOYER – DAY Oliver waits in
the foyer. Finally Hugh's door opens. Hugh and Jacques
come out. Hugh crosses to Miss
Kingsley's suite, opens the doors, enters, and closes them behind him. Jacques
waits in the foyer, quite agitated.
Oliver goes to him. OLIVER I say, Jacques, you look positively glum. Jacques is so
upset he cannot speak. Raised VOICES are
heard from behind the closed doors. OLIVER
(CONT’D) May I be of assistance, old boy? Jacques shakes
his head, then tries to pull himself together. JACQUES Are you short, Master Oliver? OLIVER That I am, Jacques, can you help me out? JACQUES Certainly, sir. Jacques pulls
money out of a pocket and gives it to Oliver. OLIVER Thank you. Hugh comes out of
Miss Kingsley's suite, closes the door, and gives Jacques a look of absolute
defeat. Jacques' expression
crumples. He then crosses the foyer and
goes downstairs. Hugh just stands in the
hall. HUGH No ball! What's the use of this place anymore? What's it for? We don't live here. We - it's - OLIVER Come along, Uncle Hugh, let's have a drink. We can cry together. Alicia? ALICIA Get out of here. Both of you. Oliver puts his
arm around Hugh's shoulders as they start for the stairs. Hugh looks back at the double doors. HUGH I hate her. EXT. GARDEN/POOL
- DAY ELIZABETH cleans
pool furniture. Maggie comes down the
path from the wooded area. ELIZABETH Good morning, Miss Maggie. Maggie stops and
waits. Elizabeth does her cleaning
imitation. Maggie smiles shyly and then
adds a bit of “cleaning” pantomime herself.
Elizabeth smiles back and asks, in pantomime, where she's going. Maggie really smiles, pantomiming “shopping”. Then they HEAR a
commotion from the house. Maggie
freezes. Elizabeth starts toward the open French doors. Maggie turns and hurries towards the
driveway. Elizabeth crosses
to the doors and enters. INT. LIVING ROOM
– DAY The UPROAR is
from the second floor. Miss Vernon is
shouting and something is heard to HIT a door, then comes the sound of the
double doors being SLAMMED. MISS
VERNON (O.S.) No one, I tell you, I don't care who they are, even if they're sick, which she's not, she's just mean – no one talks to me like that! ALICIA
(O.S.) Miss Vernon, let me get Jacques. MISS
VERNON (O.S.) Don't bother and you can mail my check to me - and someone had better turn off that bath water! Miss Vernon,
carrying her purse, comes marching down the stairs, past Elizabeth and towards
the kitchen. ALICIA
(O.S.) Oh, for crying out loud. Elizabeth hurries
up the stairs. INT. UPSTAIRS
FOYER – DAY Alicia stands
near the office. ALICIA
(CONT’D) Where's Jacques? ELIZABETH I don't know. May I help? ALICIA (impatiently) Yes.
Find Jacques! Elizabeth looks
as if she is about to enter the suite. ALICIA
(CONT’D) She'll fire the first person who walks in there - and that's just for starters. Now go find Jacques. Elizabeth hurries
down the stairs. INT. KITCHEN –
DAY Elizabeth enters
and finds no one in the room. The BUZZER
is ringing angrily. She starts to go out
the back door to look for Jacques, but then changes her mind. She stands indecisively; finally, with
purpose, she exists the kitchen through the door she entered. INT. UPSTAIRS
FOYER - DAY Alicia still
stands near the office. She hears
FOOTSTEPS on the stairs, expecting Jacques, but Elizabeth comes into view. ELIZABETH I can't find him. Without
hesitation, Elizabeth goes to the double doors, opens them, and closes them
behind her. Alicia is
shocked. INT. MISS
KINGSLEY’S SUITE, HALL – DAY Elizabeth is
standing in a short hallway, facing another set of double doors which are
open. She hears a bit of MUMBLING coming
from the bedroom. To her left is a large
dressing room. To her right is a large
bathroom. INT. MISS
KINGSLEY’S SUITE, BATHROOM – DAY Elizabeth enters
the luxurious bathroom and turns off the water which is almost to the top of
the tub. Then her resolution falters. She can still exit the suite and not risk
losing the position she has so patiently cultivated, but she braces herself and
exits the bathroom. INT. MISS
KINGSLEY’S SUITE, HALL – DAY Elizabeth, now
composed, walks through the second doorway. INT. MISS
KINGSLEY’S SUITE, BEDROOM – DAY It is a huge
rectangular room. The long wall opposite
Elizabeth is a row of curtained French doors.
To the right is a sitting-room arrangement and to the left is a large,
canopied bed flanked by nightstands. In the center of
the bed is MISS KINGSLEY. She looks like
her sister, but for the red curls - a wig on closer inspection - and the
bifocals she wears. Around her neck is
the star necklace of which Elizabeth has the miniature. Elizabeth looks at her, barely able to hide
her shock. The woman looks back,
sharply, piercingly, regally. Yet the
crooked wig and the near-sighted squint give her a look of impotence. MISS KINGSLEY Who are you? ELIZABETH Excuse me, madam. MISS KINGSLEY Who are you! What are you doing in here? ELIZABETH I am one of the housemaids, madam, and no one is in the house to answer your buzzer. So I came to see what you need. MISS KINGSLEY I'll tell you what I need! I need Jacques when I ring for him! I need service when I ring for it! I need a respectable maid and not a
bully! I'll tell you what I need! Elizabeth has
been moving closer and closer to the bed.
Now she stands by it. ELIZABETH (softly and spontaneously) You're a great actress. Miss Kingsley
stops immediately. She is surprised and
(easily) flattered, but she does not grant Elizabeth a “thank you”. Elizabeth sees the thrown juice splashed on
one of the doors, the glass lying on the carpet. ELIZABETH (CONT’D) What may I get you? MISS KINGSLEY What are you doing in here? ELIZABETH I came when you rang the buzzer, Miss Kingsley. Miss Kingsley now
looks more confused than irritated. ELIZABETH (CONT’D) Are you hungry? Miss Kingsley
shakes her head. Elizabeth notices the
wheelchair near the bed and looks from it to the bathroom, then back at Miss
Kingsley. ELIZABETH (CONT’D) Well, I don't know what you want, but I do know what you don't
want. MISS KINGSLEY What? ELIZABETH That bath. MISS KINGSLEY No!
No! No! No!
No! ELIZABETH Well, you're quite right. Miss Kingsley
looks at Elizabeth with surprise. ELIZABETH (CONT’D) You're much too upset. MISS KINGSLEY Who are you? ELIZABETH Just a maid. I know you don't want anyone coming in here like I have, surprising and upsetting you, but I was more concerned that you might need something. So I came to help. Please forgive me if I've intruded. MISS KINGSLEY I don't like intruders! ELIZABETH I should think not. MISS KINGSLEY Where's my maid? ELIZABETH She's gone now. Seemed quite put out by your behavior. MISS KINGSLEY She is, is she? Well, they'll get me another. ELIZABETH I don't doubt it. And you'll run her off, too, I suppose. MISS KINGSLEY If I can. ELIZABETH Aren't you going to run me off? MISS KINGSLEY ...In a bit. ELIZABETH Well, before you do, let me get whatever you rang for. MISS KINGSLEY I wanted Jacques! Where is he? ELIZABETH I’m sure he thinks Miss Vernon is here to help you. But I'll go find him. MISS KINGSLEY Never mind! I'm so mad I’m all mixed up and I can't remember what I wanted him for! - What do you want? ELIZABETH ...To take care of you. MISS KINGSLEY What? ELIZABETH I want to be your maid, Miss Kingsley. MISS KINGSLEY No! ELIZABETH Well, then, they'll just have to send in another stranger. MISS KINGSLEY No!
No! No! No!
No! I don't like strangers! ELIZABETH Well, the way you run through maids, you must meet a good deal of them. Miss Kingsley is
definitely considering Elizabeth's proposal, but she can't give in. MISS KINGSLEY You're too young. ELIZABETH I'm very old. And I can take care of you much better than any of them ever have - if you give me the chance. I'll spoil you, too, the way you should be spoiled and when you've had enough of my help, you can throw some tomato juice at me
and I'll step aside for the next stranger. MISS KINGSLEY Have you ever had tomato juice thrown at you? ELIZABETH No - are you going to? MISS KINGSLEY If I feel like it. ELIZABETH Please, Miss Kingsley, allow me the honor of serving you. MISS KINGSLEY (finally) I want some more tomato juice! ELIZABETH Yes, Miss Kingsley. MISS KINGSLEY And I want Jacques! ELIZABETH All right. MISS KINGSLEY And I don't want that bath! ELIZABETH We shall see, Miss Kingsley. MISS KINGSLEY (imitating Elizabeth's accent) Oh, "we shall, shall we?!" –
Well! I don't know if I want you! ELIZABETH We shall see about that, too. INT. KITCHEN -
DAY Vera and Bridget
prepare a meal. Jacques and Elizabeth
stand near the center table. JACQUES
I don't doubt you can carry a tray and change a bed and run a bath – but how dare you! How dare you, Elizabeth! ELIZABETH I'm sorry, Jacques. I really am.
It seemed the proper thing to do at the time. And if it doesn't work out, I'll quit - but I couldn't do worse than the others. JACQUES You think you'll do better! ELIZABETH I should hope so. Please, don't be angry, Jacques. You know her so well.
I need your help! JACQUES (somewhat mollified) I can't help you. It's your job. You're the personal maid. ELIZABETH But you know her much better than
I. Than anyone! I need your advice! JACQUES Well, you be sure she eats her meals and you be sure you do everything she says. BRIDGET She can't do both. JACQUES And I'm not replacing you as a housemaid until we see how it works out.
And something else - don't wear lipstick and let that hem out on your uniform and - BRIDGET Age fifty years. JACQUES Things are changing. It's not the same anymore. Jacques exits
through the back door. JACQUES
(O.S.) Nothing's the same. EXT. FRONT
DRIVEWAY - DAY A gardener is
working along the drive. Hugh retrieves
mail from the gate’s interior mailbox.
Maggie comes around the house and down the drive. HUGH And how are we today, Maggie? Maggie ignores
him and keeps walking. HUGH
(CONT’D) It sure is a lovely day, isn't it! Maggie now stops
and stares at him vacantly. HUGH
(CONT’D) (uncomfortably) Well, we do look fine! Yes, we do! He goes back to
the front door. Maggie stares after him. INT. FIRST FLOOR HALL - DAY Hugh comes down
the hall from the front door, heading to the stairway. Jacques steps out of the dining room. HUGH Good morning, Jacques! JACQUES Good morning, sir. Excuse me - HUGH Yes? JACQUES Have you spoken to her again, sir? Hugh does not
understand. JACQUES (CONT’D) In regard to the Ball... HUGH Oh, no, I haven't. But I'm going up now with something. Hugh holds up a
piece of mail. HUGH (CONT’D) I'll ask again! (a little fearfully) Do you think it will make any difference? JACQUES I hope so, sir. INT. MISS KINGSLEY'S BEDROOM - DAY She is alone,
awake, sitting up, looking bored and petulant. There is a KNOCK and then Hugh
enters. HUGH Hello, Vicki! MISS KINGSLEY (peevishly) Hello. Hugh goes to her and
kisses her on the cheek. HUGH Have you eaten yet? MISS KINGSLEY No.
I'm not feeling well. Hugh sits down by
the bed. HUGH Well, you're supposed to eat, you know. She nods
sadly. Hugh pulls a check out of one of
the envelopes he’s carrying, and shows it to her. HUGH (CONT’D) Look!
You see. MISS KINGSLEY What's that? HUGH I earned some money. MISS KINGSLEY Doing what? HUGH A talk show. MISS KINGSLEY A talk show! On that dreadful – thing? HUGH Aren't you pleased? MISS KINGSLEY I'd be pleased if you talked to me
more.
I pay you better. HUGH stands,
angrily, ready to leave. MISS KINGSLEY (CONT’D) Oh, sit down. Come back here. You know I'm not well. I can't help it if I get upset easily. Hugh sits down
again. She pats his hand absently. He looks at her out of a corner of an eye,
calculating. Then he begins, almost with
a whine. HUGH Vicki, my account's had the same amount put in it for years. And things cost more now. Don't - MISS KINGSLEY I don't know about that! I don't want to know about that! The lawyer knows. He told me.
If he thinks you should get more, he'll give it to you. I'm too sick.
I can't worry about those things. Stop begging, always begging! Hugh walks out,
truly insulted. INT. UPSTAIRS
FOYER – DAY Hugh exits the
suite and SLAMS the doors. INT. FOOT OF
STAIRWAY – DAY Jacques stands at
the bottom of the stairs. He has heard
the doors slam. Greatly disappointed, he
walks towards the kitchen. EXT. GARDEN - DAY Just outside the
living room doors, several of which are open, Elizabeth watches Jacques go to
the kitchen. Then she continues clipping
flowers for a bouquet. After a moment,
she feels someone watching her. She
turns and sees Oliver standing there. OLIVER And how is "grandmamma"
today? Elizabeth ignores
him. OLIVER (CONT’D) How did you do it, Elizabeth? I've been here five years and never set eyes on her. You're here a few weeks and – presto! She still ignores
him. OLIVER (CONT’D) Well, is she as wonderful as you expected? Or, as I've heard, just a mean old woman? ELIZABETH I'm not sure what she is. But I am sure what made her so. OLIVER Ah, ha! You found the villain! I thought you would. That mean old "stardom." – Don't be an
ass, Elizabeth. It doesn't do that to anyone. She did it all by herself. He turns to
leave, then stops. OLIVER (CONT’D) You could have had it, too, you know.
I thought you did. He holds up his
thumb and index finger, close together. OLIVER (CONT’D) Came this close to being the darling of the London stage. But, you dumped it – just like that. Elizabeth is
ignoring him again. OLIVER (CONT’D) Couldn't hack it, eh? - Now
no one will know how far you might have gone. Just didn't have the stuff.
Well, don't feel badly. One star in the family is quite adequate. Bridget comes
around the corner of the house from the kitchen exit. Oliver smiles at her as she approaches, then
bows to them both. OLIVER (CONT’D) Ladies. Bridget gives him
a sultry curtsey. BRIDGET Gentleman. Oliver crosses
the lawn to his cottage. Bridget stares
after him and then turns to Elizabeth. BRIDGET (CONT’D) Jacques asked if you'd make a bouquet for the downstairs hall, too. ELIZABETH All right. BRIDGET Though I don't know why. No one sees them but us. ELIZABETH And Jacques. Bridget runs out
of conversation, but makes no move to leave.
Elizabeth stops working. ELIZABETH (CONT’D) What is it, Bridget? BRIDGET What is what? Elizabeth
waits. Finally, Bridget motions toward
the guest cottage. BRIDGET (CONT’D) You trying to get something going with him? ELIZABETH No.
Though we often speak of England. Bridget does not
accept this. ELIZABETH (CONT’D) I don't like him, Bridget. I think he's a phony. Though you obviously don't think so. Elizabeth resumes
clipping flowers. BRIDGET I think he's worse - but one of these days I'm going to marry a rich man and why can't he be handsome as well? ELIZABETH That one may be handsome, but I doubt that he's rich. BRIDGET How do you know? ELIZABETH I don't. - What about Mr. Logan? BRIDGET Are you blind? He's gone on Alicia. And he can't marry anyway. (to Elizabeth's surprised look) He's been married. Twice.
Years ago in his simple youth. And divorced. Twice. Elizabeth still
doesn't understand. BRIDGET (CONT’D) Oh, he can marry again. But they figure two huge settlements are enough. So if he marries again – he's out of the estate. ELIZABETH Who are "they"? BRIDGET Miss Kingsley. The lawyers.
I don't know. But 'til she dies, little brother is not really eligible. Unless he wants to leave all this – and if he did – who would want him? Bridget walks
off. Elizabeth stares after her,
bemused. INT. MISS
KINGSLEY’S BEDROOM - DAY Miss Kingsley
sits up in bed, quite docile and satisfied.
Elizabeth is removing a lunch tray.
Most of the food on it has been eaten.
Elizabeth leaves the room and soon Miss Kingsley hears the BATH WATER
running. Her sweetness dissolves at the
sound. Elizabeth returns. She arranges the cushions on the wheelchair
and sets the slippers by it, pretending not to notice Miss Kingsley’s chagrin. MISS KINGSLEY I don't feel good anymore. ELIZABETH What's the matter? Miss Kingsley
shakes her head sadly. ELIZABETH (CONT’D) What's wrong, Miss Kingsley? Miss Kingsley
pouts and stares at her hands. ELIZABETH (CONT’D) What do you need? Miss Kingsley
shrugs helplessly. ELIZABETH (CONT’D) Is your stomach upset? Miss Kingsley
thinks about that and then shakes her head. ELIZABETH (CONT’D) But you don't feel well? Miss Kingsley
looks at Elizabeth, wide-eyed and tragic. ELIZABETH (CONT’D) Well, then, I think a nap is in order. - Can you manage that? Miss Kingsley
nods her head and Elizabeth helps her to lay down. INT. MISS
KINGSLEY’S BEDROOM – DAY. Elizabeth sits
across the room while Miss Kingsley appears to be napping. Then Elizabeth gets up and walks around for a
minute. Miss Kingsley opens her eyes to
see if Elizabeth is gone, then closes them again. Elizabeth knows what's going on. She looks at her watch and then goes to the
bed very quietly - just in time to see Miss Kingsley sneak another look. ELIZABETH How do you feel now? Miss Kingsley
does not answer. ELIZABETH
(CONT’D) You look quite rested - now that you're awake. Miss Kingsley
opens her eyes and looks quite out of humor. ELIZABETH
(CONT’D) You don't want that bath, do you? Miss Kingsley
shakes her head, adamantly. ELIZABETH
(CONT’D) And I don't want to see you do something you don't like. Miss Kingsley
starts to smile. ELIZABETH
(CONT’D) But sometimes you must and this is one of those times. Elizabeth goes to
the wheelchair and moves it to the bed. MISS
KINGSLEY (full voice) I'll slap you! ELIZABETH (smiling) I'm bigger than you and I'll catch your wrist. And I'm stronger than you, I'll lift you into this chair. - And I care more than you. You'll take this bath. Miss Kingsley
goes limp on the “I care more than you”.
Elizabeth pulls back the covers and helps her into the wheelchair. She settles Miss Kingsley with great
gentleness and care, then goes behind the chair and rolls it toward the
bathroom. Miss Kingsley looks to be a
spoiled and happy child.
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