Too Curvy for TV, Too Hot to Hide

Episode 1

Midnight radio, and Nora invites her listeners to take off their work shoes and say what they really want. One caller has become a regular—he's asked for her every night, and admits he thinks about her voice after he switches the radio off, then leaves it on. He'd rather hear her across a dinner table, even though he has no idea what she looks like.

Then the station moves. The advertisers want Eve on television, and Vivian starts rehearsals tomorrow. Five years of building trust in her voice, and Nora is expected to help someone else take her place—her name on another woman's picture. Her voice sells the show; Vivian's face sells the picture. The camera test she was promised is still just a promise.

Episode 2

The callers confess things to Nora they've never told their husbands—and she's meant to keep answering while Vivian takes the credit. The television job comes with a producer's salary, but she has to decide before Saturday's launch. If she walks, the show she spent five years building goes to Vivian. The pushback is blunt: make him hear you before Saturday.

At the advertiser launch, Nora is told to introduce Vivian as Eve. Then Miles walks in—the caller who's been listening for months—and the double game begins. He notices her voice sounds different in person. She lowers it for the radio, she explains; it makes people feel closer. Dinner is proposed, and nobody in the room knows how tangled this already is.

Episode 3

Over dinner, Nora tells Miles about a date who brought his wedding photographs—his wife was across the room. Miles laughs more tonight than he has all week. Ratings come up; he waves them off. Most people want the story behind his divorce, but he'd rather she just enjoy her dinner.

Later, on air, the lines blur. A caller describes the man who was telling her he wanted her. Nora can ask him anything except the one question that would give her away. Did he like her? Miles doesn't want to leave. He wanted to kiss her. The trouble is, the woman he's describing to the radio is the same woman sitting across from him—and only one of them knows it.

Episode 4

Miles admits he couldn't tell if she wanted him to kiss her. Nora, still hiding behind the microphone, nudges him to ask her—then he asks whether she'd mind if he stopped inviting her to dinner. She would mind. She tells him not to keep her waiting.

But the station is closing in. Martin has introduced Vivian as Eve, and Miles believed it. Tomorrow they're putting him in a photograph with Vivian for publicity. Nora insists she'll tell Miles the truth before the launch—she wants him to hear it from her. There's just one problem: Vivian needs Nora's answers on air, and Miles will be seated beside Eve, not the woman he's actually falling for.

Episode 5

A caller asks what to do about a man who says he loves her but asks her to leave when his friends come over. The advice comes sharp: don't spend another evening waiting outside his door. That's why people call—Nora says what they've been afraid to ask for.

Then the mirror turns. Miles loved the answer, but he was looking at Vivian while she gave it. Nora wanted him to turn around. He asks if she's free after the show at ten—and then comes the sting: he asked Eve to dinner for three months, finally meets Nora, and takes out someone else instead. The jealousy is real, and so is the fear that the man she wants is courting a voice she no longer owns.

Episode 6

Miles defends himself: he asked a woman on the radio, and she never agreed to meet him. Nora's answer is simple—she's agreeing now. But plans for tonight are already in motion, and the moment is clumsy, full of half-finished sentences and almost-confessions.

There's a quiet push and pull about who asked whom and what it means. Someone reminds him that good advice is worth taking—don't move, Miles. And the station still wants both of them together for the invitation, a publicity pairing that has nothing to do with what's actually growing between them. Nora is caught between wanting to be chosen as herself and being booked as a face for someone else's name.

Episode 7

The photograph is the breaking point. Nora sits for it, but Martin pushes for more than they agreed to. She tells him plainly: tell Martin they're having dinner, and don't use the shot. Miles called her show every night—doesn't that count for something?

The evening belongs to Nora, yet she ends up watching it slip away. She's accused of making a scene when all she wanted was for him to stay in his chair. Then the line that lands hardest: Vivian took her voice, and now she's taking her date. The publicity machine grinds on, and Nora has to decide how much of her private life she's willing to hand over for a producer's credit.

Episode 8

Nora demands the photograph be withdrawn—she told the photographer not to use it. The answer is cold: her calls helped sell the launch, and this is just publicity. She's still getting a producer credit. But she's been cropped out of her own dinner, and she wants her own chair in front of the camera.

The launch looms: tomorrow night, live, Miles introduces Vivian at midnight. Nora says she'll introduce the program with her private life kept out of it. Then a quieter moment—someone finds her before the show, and there's a kiss she wanted. If she answers now, she might lose it. If she keeps hiding, it belongs to a lie.

Episode 9

The truth finally surfaces. Nora asks whether Miles wrote those words for Vivian—every word, and the voice, were hers. Then he asks to tell her something without a microphone between them. She's frightened: he'll remember what she let him say and forget he wanted to kiss her before any of this.

On air, she tells her listeners about a woman who asked how long she should wait for someone to stop hiding her. Her answer: she doesn't have to wait. Then Nora says it—she's Eve. Miles admits he knew she was his caller after their first dinner; he just didn't know he was talking to his date. Tomorrow, she won't let them introduce Vivian as her.

Episode 10

The launch goes live, and the station makes its play: if Nora wants the television job, sit down and stay behind the screen. She refuses. She won't take it hidden. The advertisers are told to meet the woman behind the voice—Vivian is introduced as Eve, but Nora has had enough of her name being borrowed.

She takes the microphone and speaks as herself. Every call, every night—it was her. Miles hears it plainly: she's Eve. The segment is ordered to end, but Nora keeps talking, done with feeding answers to someone repeating them from behind a screen. Give her the microphone. She'd rather lose the job than help Vivian be her one more night.