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CAROL Script
CAROL Script
By PHYLLIS NAGY
OCTOBER 2, 2013
1 EXT. NYC SUBWAY STATION. APRIL 1953. NIGHT. 1
CUT TO:
JACK
Not much going on for a Friday.
BARTENDER
It’s early.
JACK downs his scotch, slides his empty glass over to the
BARTENDER, taps out a rhythm along the edge of the bar.
JACK
Make it a double. And buy one for
yourself. I gotta make a call.
CUT TO:
JACK
Hey Therese- long time no see!
2.
CUT TO:
THERESE
Jack.
JACK
Gee but it’s great to see you, Therese.
It’s been, well, months.
THERESE
At least.
THERESE (cont’d)
Jack, this is Carol Aird.
JACK
Pleased to meet you.
CAROL
Likewise.
JACK
Listen, Therese, Ted Gray’s meeting me
here and a bunch of us are going down to
Phil’s place for the party.
THERESE
I’m going, too.
JACK
You need a ride? Let’s catch a cab
together.
THERESE
Well I might... I had planned to get
there a little later.
3.
CAROL
You know, I should make a few calls
before dinner, anyway.
THERESE
(to CAROL)
Well, it would be great to catch a ride.
If you don’t mind.
CAROL
It’s-- fine. Really. You go on, Therese.
THERESE watches CAROL finish her tea and put out her
cigarette. CAROL gathers her things, rises. JACK beams:
that’s settled.
CAROL (cont’d)
You two have a wonderful night.
JACK
Lemme call Ted, see where he’s got to.
Back in a flash.
CUT TO:
CUT TO:
JACK
Hey, I thought you ditched me.
CUT TO:
THERESE crowded into the back of a taxi with JACK and a FEW
OTHER 20-SOMETHINGS, MALE AND FEMALE, all of them but THERESE
involved in animated conversation we can’t hear. THERESE,
apart from the rest, sits against the window, something
weighing on her as she takes in the night. The taxi stops for
a red light. THERESE catches sight of an ELEGANT YOUNG
COUPLE, arm-in-arm at the corner, crossing the avenue as the
light changes. A strong gust of wind gives THE ELEGANT YOUNG
WOMAN some difficulty as she tries to knot a green silk scarf
around her head and neck. As the COUPLE reach the sidewalk,
THE ELEGANT YOUNG WOMAN turns back to face the avenue to
better fight the wind as she adjusts her scarf. The light
turns green, the taxi begins to move off, and we watch, along
with THERESE as the woman recedes, as the image dissolves
into another image that THERESE alone sees...
CUT TO:
rings. Once. Twice. Three times. She sheds her blankets and
goes to the window, opens it, leans out.
CUT TO:
RICHARD
I don’t know how you look a million bucks
first thing in the morning. Be still my
heart.
THERESE
I won’t be a minute.
CUT TO:
RICHARD rides THERESE to work through the park. She sits with
her arms wrapped around his hips while he stands pumping away
at the pedals.
RICHARD
I got the liner schedules. Two sailings
to France in June, one in July. Whaddya
think?
THERESE
I think... it’s so cold I can’t think
straight.
RICHARD
Oh yeah? Well let’s get you warmed up.
CUT TO:
door and the line begins to move into the shop. As the STAFF
move into the store, the SECURITY GUARD hands each of them a
Santa Cap, and each puts on the cap. RICHARD reaches the
door, takes his cap, wordlessly puts it on, moves inside.
SECURITY GUARD
(holds out a cap to THERESE)
Compliments of the season from the
management.
CUT TO:
ROBERTA WALLS
You’re needed upstairs, Miss Belivet.
Make it snappy.
CUT TO:
CUT TO:
7.
RUBY ROBICHEK
I keep telling them upstairs we need some
first aid kits but they haven’t listened
in 30 years.
THERESE
You’ve been here 30 years?
RUBY ROBICHEK
Sure. Time flies. And when you’re here
long enough, you’ll get inventive with
the first aid, like me.
THERESE
I’m just a temporary. For the holiday.
RUBY ROBICHEK
(shrugs)
I said that once.
CUT TO:
V. O. STORE ANNOUNCER
Good morning, Happy Holidays and welcome,
shoppers, to Frankenberg’s. Be sure to
take advantage of our Congratulations Ike
and Mamie Inaugural Early Bird special in
our Beds and Bedding Department on the
second floor. And on your way there, you
won’t want to miss our brand new General
Electric television and stereophonic
display on the first floor, just past the
haberdashery.
8.
Behind THERESE, the lift doors open and all at once THERESE
is swallowed up by the rush of MANAGERS, STAFF and CUSTOMERS.
CUT TO:
EMBARRASSED MOM
Where’s the ladies room, honey?
THERESE
To the left, past men’s shoes, and hang a
right at the tie racks.
CUT TO:
9.
CAROL
I’m looking for a doll. She’s about this
high (she gestures) and this wide (she
gestures again) and-- Let’s begin again,
shall we?
CAROL steps away from the desk for a moment, rummages through
her purse and finds a crumpled up slip of paper, steps back up
to the desk, gives THERESE a big smile and the slip of paper.
THERESE
Bright Betsy. She cries.
CAROL
(raises an eyebrow)
Bright Betsy cries.
THERESE
That’s her talent. (beat) But we’re out
of stock.
CAROL
I’ve left it too long.
THERESE
We have plenty of other dolls. All kinds
of... dolls...
CAROL
What kind of doll did you most like when
you were four?
10.
THERESE
Me? I never... I didn’t like any, to be
honest.
THERESE (cont'd)
Sorry. No smoking on the sales floor.
CAROL
Oh, of all the-- of course I can’t smoke in
a department store. (beat) Shopping makes
me nervous.
THERESE
That’s okay. Working here makes me nervous.
CAROL
Thanks. I needed that.
Their eyes meet for a moment, before CAROL rummages inside her
purse again. She produces a billfold, opens it, shows it to
THERESE. It’s a photo of RINDY, CAROL’S 4-YEAR-OLD DAUGHTER.
THERESE
She looks like you. Around the mouth. The
eyes.
CAROL
(watches THERESE looking at the
photo)
You think so?
CAROL (cont’d)
What did you most want when you were her
age?
THERESE
(no hesitation)
A train set.
CAROL
(laughs)
Well, that’s a surprise. (beat) Do you
know much about train sets?
11.
THERESE
I do. There’s a new model, just in last
week. Hand-built and hand-painted cars, an
enormous caboose, in a limited edition of
five thousand, with the most sophisticated
electric switching system you’ve ever--
THERESE (cont’d)
I think you’ve already seen it. Over there,
by the elevators. I would show you more of
it, but...
THERESE (cont’d)
I’m sort of confined. To this desk.
CAROL
(turns back to THERESE)
Do you ship?
THERESE
Special delivery. Or courier. (beat) You’ll
have it in two, three days. Two days. We’ll
even assemble it.
CAROL
Well. That’s... that. Sold.
CAROL (cont’d)
Shall I pay now?
THERESE
Oh-- yes, of course.
THERESE (cont’d)
I need your account details. And your
shipping address.
12.
CAROL
I love Christmas. At least, I love the
preparation. Wrapping gifts, all that. And
then. You somehow wind up overcooking the
turkey anyway.
CAROL (cont'd)
Done.
CAROL (cont’d)
Where’d you learn so much about train sets,
anyway?
THERESE
I-- read. A lot. I guess. Maybe that’s...
I dunno...
CAROL
It’s refreshing. Thank you.(beat) And Merry
Christmas.
THERESE
Merry Christmas.
CAROL walks away. THERESE watches her, takes her all in- her
clothing, her stockings, her walk. CAROL turns back for a
moment, cocks her head, smiles, points to THERESE’S cap.
CAROL
I like your hat.
CUT TO:
THE OTHERS tumble out of the taxi, someone pulls THERESE out,
JACK pays, and before she knows it, THERESE is climbing the
stairs to PHIL McELROY’S building. A window is thrown open
above them. PHIL McELROY leans out.
PHIL
It’s about time, Belivet.
PHIL (cont’d)
Okay, it hasn’t been that long since
you’ve seen me. Say hello!
THERESE
Sorry. I was-- elsewhere.
DANNIE
Well you’re here, now, right?
THERESE
You better have saved me a beer.
CUT TO:
CUT TO:
14.
PHIL
Move over. Nobody else can see the screen.
RICHARD
(through his nuzzling of THERESE)
It’s okay. Nobody else is watching.
THERESE
(laughs)
I’m watching.
DANNIE
(to THERESE)
I’ve seen it six times. I’m charting the
correlation between what the characters
say and how they really feel.
PHIL
Yeah. My kid brother, the movie jerk.
CUT TO:
RICHARD and PHIL have been drinking quite a bit. A row of empty
beer bottles is lined up on the table in front of them. DANNIE
sips at a glass of Coca-Cola. THERESE nurses a glass of wine.
DANNIE
I’m strictly a beer man. Everything else
makes me want to vomit.
THERESE
Wine makes me feel naughty. In a good way.
15.
DANNIE
Is there a good way to feel naughty?
RICHARD
I drink to forget I gotta get up for work
in the morning.
PHIL
That’s your problem, Semco. You really
ought to drink because you remember you
have a job. Employment is a curse.
THERESE
You have a job, Phil.
PHIL
You call that a job? I call it an illusion.
DANNIE
You get paid. Is money an illusion?
PHIL
My kid brother, the jerk philosopher.
THERESE
Where do you work, Dannie?
RICHARD
(mock respect)
Didn’t you know-- Dannie works at the New
York Times.
THERESE
(she’s impressed)
No kidding.
PHIL
Printers don’t win Pulitzer Prizes.
DANNIE
(he shrugs)
It’s a job. (to THERESE) But I want to
write. That’s why I watch movies.
PHIL
Everybody’s a writer....
PHIL (cont’d)
Say, Therese- before I get too drunk to
remember....
THERESE
You did it! Oh, Phil, that’s incredible.
Thank you so much.
DANNIE
What is that?
THERESE
See, eventually, with a little tweak here
and there... it’ll be an enlarger.
DANNIE’S clueless.
THERESE (cont’d)
I take pictures. Well. I have a lot to
learn...
DANNIE
Oh. Wow. That’s... very cool.
THERESE
Yeah. It is.
RICHARD
(to PHIL, he’s joking- or is
he?)
She’s more excited about that piece of
crap you built than she is about sailing
with me to Europe.
PHIL
Women.
CUT TO:
RICHARD
July 5th. The President Taylor departs
for France. Me, you. Be there or be
square.
THERESE
Richard, be careful!
DANNIE
(to THERESE)
Europe. I’ve never been. You’re lucky.
THERESE
Am I?
THERESE (cont’d)
We should help them.
DANNIE
(after a beat)
Why don’t you come to the Times for
dinner one day? I work at night, so...
I’ve got a good pal who’s a junior photo
editor. He loves to pontificate. I’ll
introduce you.
THERESE
Really? That-- I would-- really like
that.
DANNIE
(pleased)
Yeah? Okay, then.
CUT TO:
RICHARD
Let me touch you.
THERESE
I’d rather touch you.
RICHARD
You sure?
THERESE nods her head. RICHARD takes THERESE’S hand and places
it on his boxer shorts, over his cock.
RICHARD (cont’d)
This okay?
THERESE
Uh-huh. Show me how.
RICHARD moves her hand inside his boxer shorts. He puts his hand
over hers and begins to guide her into a hand job, slow and
steady.
RICHARD
Like... that.
THERESE
Oh-- yeah. I get it.
RICHARD
(as he comes)
I love you, Terry.
RICHARD (cont’d)
Jesus, Terry, you shouldn’t look at it.
THERESE
I forgot your aspirin.
CUT TO:
CUT TO:
CUT TO:
CUT TO:
CUT TO:
20.
RINDY
Fifty-two, fifty-three, fifty....(she looks
up at her mother) sixty?
CAROL
(kisses her forehead)
Fifty-four.
RINDY
(determined to get it right)
Fifty-four. Fifty-five. (she looks up at
her mother again, laughs) Come skating with
Daddy and me!
CAROL
Not today, sweet pea.
RINDY
Pretty pretty please!
CAROL
Mommy’s got a lot to do, baby. Another
time. I promise. (back to the brushing)
Come on. Fifty-eight. Fifty-nine....
HARGE
(to RINDY)
Hiya, sunshine.
CAROL
You’re early.
HARGE shrugs.
RINDY
Daddy! I want Mommy to come with us!
She leaps into his arms. He spins her around. CAROL hasn’t moved
from the vanity.
21.
HARGE
Okeydokey, smokey, one thing at a time.
CUT TO:
HARGE
Cy Harrison’s wife asked after you.
CAROL
Jeanette. (to RINDY; hands her a crayon)
You need a little green for the trees,
honey.
HARGE
Yeah, Jeanette. (beat) She’ll be at the
party. I know she’d love to see you.
CAROL
Give her my best. I’ve always liked
Jeanette.
HARGE
I’d like you to be there.
CAROL
I’m sorry, Harge. I have plans with Abby.
RINDY
Mommy and Aunt Abby are exchanging gifts.
HARGE smiles, nods, pats CAROL’S hand, withdraws his hand, turns
his daughter around in his lap to face him.
HARGE
You been seeing a lot of Aunt Abby lately,
sunshine?
22.
CAROL shoots HARGE a look. He holds her gaze; he won’t give in.
She wants to remind him that FLORENCE is present, not to mention
he shouldn’t start this conversation in front of RINDY.
CAROL
I’ll re-arrange with Abby.
HARGE
Thank you.
CUT TO:
THERESE
Hi. Could you trace a shipment?
SHIPPING CLERK
(looks up at her, interrupts)
Should have been delivered this afternoon.
THERESE
Oh. Right. Thanks. (she turns to go, but
turns back to him after a beat) Really? Are
you sure? Did she sign for it?
SHIPPING CLERK
(all curt business here)
I’m sure.
THERESE
That’s.... great. Thanks. Again.
CUT TO:
CAROL’S bedroom. She sits before her dressing table brushing out
her hair. A lit cigarette burns down in an ashtray on the
23.
CUT TO:
ROBERTA WALLS
Miss Belivet. Mr Logan’s office. Now.
CUT TO:
THERESE
Hello?
CUT TO:
CAROL
So it was it you.
CUT TO:
THERESE
Did you receive the train set, Mrs. Aird?
CUT TO:
CAROL
I did. And the gloves. And the sweet note.
You’re a star for sending the gloves. So.
So I just called to say: thank you. Again.
CAROL picks up a saucepan lid. It’s too hot. She drops it. It
clatters on the floor.
CUT TO:
THERESE
I-- well. Ok. Yes. But you don’t have to--
(pause) Tomorrow?(pause) No, I don’t know
it. Hold on. (pause; sheepishly to MR.
LOGAN) I’m sorry. Can I borrow a piece of
paper and a pencil?
LOGAN and WALLS exchange a look. LOGAN slides paper and pencil
over to THERESE. THERESE would like to be anywhere else but
there, and quickly scribbles down an address...
CUT TO:
25.
CAROL
I’ll have the creamed spinach over poached
eggs. And a dry martini. With an olive.
CAROL and the WAITER look to THERESE. But she hasn’t even
looked at the menu. A beat, then:
THERESE
I’ll have the same.
WAITER
The meal or the drink?
THERESE
(not really sure, but she’ll go
for it)
All of it.
CAROL
Cigarette?
CAROL (cont’d)
Cheers.
THERESE
Cheers.
CAROL
I’m impressed.
THERESE
I’ve never drunk a martini in my life.
CAROL
Do you like it?
THERESE
I do.
CAROL and THERESE hold each other’s gaze for a brief but charged
moment. CAROL breaks the moment, leans back in her chair, takes
a deep drag on her cigarette.
CAROL
So what kind of a name is Belivet?
THERESE
It’s Czech. It’s changed. Originally--
CAROL
It’s very original.
THERESE
(she feels herself blush...)
What’s your name? Your first name?
CAROL
Carol. Please don’t ever call me
“Carole.”
THERESE
Please don’t ever call me “The-ree-za.”
CAROL
How do you like it pronounced? Therese?
The French way?
THERESE
Yes. The French way. (beat) I’m sure you
thought it was a man who sent back your
gloves.
27.
CAROL
I did. I thought it might be a man in the
ski department.
THERESE
I’m sorry.
CAROL
No, I’m delighted. I doubt very much if
I’d have gone to lunch with him.
THERESE
Your perfume.
CAROL
Yes?
THERESE
When you moved, just now, I smelled it.
It’s nice.
CAROL
Thank you. Harge bought me a bottle years
ago, before we were married. I’ve been
wearing it ever since.
THERESE
Harge is your husband?
CAROL
Yes. Well. Technically we-- We’re
divorcing.
THERESE
(after a beat)
I’m sorry.
CAROL
(stubs out her cigarette)
Don’t be.
CAROL (cont’d)
And do you live alone, Therese Belivet?
THERESE
I do. (beat) Well, there’s Richard. He
wants to live with me.
28.
THERESE (cont’d)
No, it’s nothing like that. It’s-- he’d
like to marry me.
CAROL
I see. Would you like to marry him?
A pause.
THERESE
(she makes light of it)
I barely know what to order for lunch.
CAROL
I’m starved. Bon appetit.
CAROL (cont’d)
What do you do on Sundays?
THERESE
Nothing in particular. What do you do?
CAROL
Nothing-- lately. If you’d like to visit
me some time, you’re welcome to. At least
there’s some pretty country around where
I live. Would you like to come out this
Sunday?
THERESE
Yes.
CAROL
What a strange girl you are.
THERESE
Why?
29.
CAROL
Flung out of space.
THERESE feels herself blush, she looks away from CAROL, and
begins to eat. CAROL clocks this.
CUT TO:
CUT TO:
CAROL
Harge’s mother always looks like she’s
swallowed a garlic glove when I wear
this. Maybe I should stop home and
change.
ABBY
And that’s precisely why you shouldn’t stop
home and change.
CAROL
Why don’t I just not show up?
ABBY
Oh honey, you’ve got to grin and bear it.
That’s the only way. (beat) You want to
tell me about her?
CAROL
(shrugs)
Therese? She returned my gloves.
ABBY
And?
30.
CAROL
And-- if you don’t get us out of this
traffic soon, I won’t have to worry about
that damned party.
CUT TO:
THERESE at her open locker. She now wears her employee smock.
She sits on the bench opposite her locker. She writes inside an
appointment diary-- the page she writes on is otherwise empty.
She writes slowly and carefully with a fountain pen: “Mrs. Carol
Aird. Seventh Avenue entrance. 2:00 PM Sunday.” She considers
what she’s written, blows on the ink so it dries.
CUT TO:
CAROL
Wish me luck.
CAROL rummages around in her purse for her compact, can’t seem
to find it-- a combination of nerves and darkness.
CAROL (cont’d)
Damn it.
ABBY
You look fine.
CAROL
Why don’t you come in with me?
ABBY
You know I like a good time, but...
you’re on your own with this crowd.
CAROL
Here goes nothing.
CUT TO:
A large room for entertaining right off the foyer. Big, open
fireplace. WAITERS circulate with food and drink. HARGE stands
in a group with his parents, JOHN and JENNIFER, and his boss CY
and CY’S wife JEANETTE.
JOHN
(to CY)
I’ve tried to talk sense to the boy, Cy. I
told him, son, Tri-State Capital’s not
going to buy that Murray Hill parcel unless
you improve your golf handicap.
HARGE
(to his father, slight edge)
I’ve got few other things on my mind, Dad.
An awkward silence. They all know what he’s talking about. HARGE
looks away from JOHN. He sees CAROL in the foyer, handing her
coat to a VALET.
HARGE (cont’d)
Excuse me.
CUT TO:
HARGE
You’re always the most beautiful woman in
any room.
CAROL
Tell your mother that.
They look across the room to see JENNIFER watching them, and
indeed, she looks as if she’s just swallowed a whole clove of
garlic.
CUT TO:
32.
JENNIFER
We might hire a local boy to appear as
Santa on Christmas morning. If only we
could find a way to get him down the
chimney for Rindy. (beat; to CAROL) How’ve
you arranged it in the past, Carol?
CAROL
What’s that?
JENNIFER
Christmas morning. With Rindy.
CAROL
(this is difficult for her)
We usually get up at dawn, Harge and I, and
we-- we wrap Rindy’s gifts together.
Arrange them under the tree and wait for
Rindy to wake. Which is-- she normally--
HARGE
(helps CAROL out)
Usually, she’s down the stairs in a shot
and barely notices us before she’s ripped
through all the wrapping paper.
CAROL
(smiles, she’s grateful to HARGE
for this)
Yes. That’s right.
JENNIFER
But no Santa Claus.
CAROL
No.
JENNIFER
I see.
CUT TO:
33.
CAROL and JEANETTE in the gardens. The party can be seen going
on through a row of French doors. They smoke cigarettes. CAROL
takes off her shoes, rubs her feet, relishes the feel of the
cool ground against her stockinged-feet.
JEANETTE
(takes a long drag on her
cigarette, inhales deeply)
Keep an eye inside, will you? Cy will
scream if he catches me with this.
CAROL
(laughs)
What will he do? Dock your allowance?
JEANETTE
(very matter of fact)
He doesn’t like me to smoke.
CAROL
So? You like it.
A slight pause. They both know that it’s simply the way it is:
JEANETTE defers to her husband’s wishes, just as CAROL has-- or
ought to.
JEANETTE
Carol, I-- it’s really not my business, but
if you’re going to be alone on Christmas,
Cy and I would love to have you.
CAROL
(she’s really touched by the
offer)
Thank you, Jeanette.
CAROL (cont’d)
(watching the dancing)
But I’m thinking of going away by myself.
At least for a few days.
CUT TO:
DANNIE
Nothing will break if you pick it up. You
want a sandwich?
DANNIE (cont’d)
What are your pictures like?
THERESE
They’re-- probably not very good. I don’t
know.
DANNIE
No. I mean... what are they? What do you
take pictures of?
THERESE
Trees. Birds. Windows. Anything, really.
(beat) What do you write about?
DANNIE
People.
THERESE
I don’t-- feel comfortable. Taking
pictures of people. I don’t-- it’s an
invasion of--
DANNIE
Privacy?
THERESE
Yes.
DANNIE
Listen. All of us, we have affinities for
people, right?
DANNIE (cont’d)
You like certain people, right?
THERESE
Sometimes.
DANNIE
And you don’t like certain other people,
and you don’t know why you’re attracted
to one person or another, the only thing
you know is-- you are or you’re not
attracted. And you bounce off each other
like pin balls. Physics.
THERESE
(smiles)
So now you’re a scientist?
DANNIE
Just trying to explain why I write about
people rather than trees.
THERESE
To figure them out?
DANNIE
No. To know what it feels like to
surrender to physics.
THERESE
Not everything’s as simple as a bunch of
pin balls reacting in combinations.
DANNIE
Some things don’t react. But everything’s
alive.
THERESE
It’s late. I should go.
THERESE (cont’d)
You shouldn’t have--
DANNIE
Why not? Did you mind?
36.
THERESE
No.
DANNIE
Would Richard mind?
THERESE
Probably. (beat) I have to go.
DANNIE
Come back tomorrow? The day after?
THERESE
Maybe. I don’t know.
THERESE leaves.
CUT TO:
HARGE has brought CAROL home from the party. They stand together
outside the door while CAROL looks for her keys. HARGE reaches
into his pocket and produces his set for CAROL.
HARGE
Use mine.
CAROL
(takes the keys)
Thanks.
CAROL (cont’d)
I would invite you in for a cup of coffee,
but.
CAROL (cont’d)
Good night, Harge.
HARGE
Come to my parents for Christmas. We had a
nice time tonight.
37.
CAROL
(not unkindly)
It was one night.
HARGE
I don’t like to think of you. Alone.
CAROL
I’m rarely alone. There’s Rindy. And
there’s--
She stops herself. HARGE knows what she was about to say.
HARGE
Abby. There’s always Abby.
CAROL
(after a pause)
Abby and I were over long before you and I
were over, Harge. (beat) I’ll have Rindy
packed and ready for you at four on
Christmas Eve.
HARGE
It shouldn’t be like this.
CAROL
I know.
CUT TO:
The living room. It’s very quiet. RINDY’S fallen asleep on the
sofa. FLORENCE has fallen asleep in a chair opposite, children’s
book open in her lap. CAROL is putting out the remains of a fire
in the fireplace. She finishes, goes to RINDY, leans over her,
brushes a strand of hair away from her eyes. CAROL stands,
switches off a lamp. The room’s dark. CAROL gently picks up
RINDY in her arms and carries her out of the room and up the
stairs to bed.
CUT TO:
watches the train begin its slow route along the tracks. She
betrays no emotion.
CUT TO:
RICHARD
Where’s this place in Jersey?
THERESE
The country. I don’t really know, Richard.
RICHARD
My uncle Sal lives in Union City and he
reckons it’s pretty dangerous at night so--
THERESE
It’s not Union City.
RICHARD
Okay, okay.
THERESE
There’s my ride.
RICHARD
Eight o’clock?
THERESE
Eight o’clock.
RICHARD
Hi.
CAROL
Hello. Carol Aird.
39.
RICHARD
(leans across THERESE to shake
CAROL’S hand)
Richard Semco. Glad to meet you.
CAROL
Likewise.
THERESE
(to RICHARD)
She wanted to meet you.
CAROL
Therese speaks very highly of you, Richard.
RICHARD
(he’s proud and pleased to hear it)
Well, that’s- swell. You’ll get her back
here safe and sound, won’t you?
RICHARD (cont’d)
Love you.
CUT TO:
CAROL and THERESE make their way downtown. It’s clear that CAROL
likes driving-- she’s at home behind the wheel-- relaxed,
confident. The car’s interior is incredibly opulent-- rich tan
leather, mahogany dashboard, the works. THERESE has never seen
anything like this, and CAROL is aware of this as she catches
glimpses of THERESE running her hands over the leather or the
grain of the dashboard wood. CAROL is careful to allow THERESE
the space in which to be a little intimidated, both by the
opulence of her surroundings. But it isn’t simply the richness
of the car that makes THERESE uncomfortable-- it’s the presence
of CAROL, an older, more sophisticated woman who wears silk
stockings and expensive perfume that THERESE has never dreamt of
wearing. THERESE is almost giddy with the intoxication of being
inside CAROL’S car, her private world. THERESE’S gaze rests on
CAROL’S purse beside her on the seat. It’s slightly open and
full of lipstick and other makeup-- it’s a serious purse, full
of mystery and address books and quite unlike anything THERESE
owns or has, indeed, seen any other woman of her age own.
40.
THERESE’S gaze wanders from the open purse down to CAROL’S legs,
clad in the most exquisite silk stockings, just for a moment--
and THERESE looks down to her own legs, clad in sensible wool
tights-- no mystery there. THERESE wonders if she will ever be
the kind of woman who owns such a car and can wear real
stockings, whose company will be enjoyed, desired, by a woman as
beautiful as CAROL... THERESE looks straight ahead as the car
enters the Lincoln Tunnel. The car is plunged into the semi-
darkness- and it feels like a cocoon, a safe haven for THERESE
to be shut off from anyone other than CAROL. She turns to CAROL,
watches CAROL’S fingers grip the wheel, the way CAROL squints
slightly when she concentrates.
THERESE
I wish this tunnel went on forever.
CUT TO:
CUT TO:
THERESE gets out of the car. From a distance, she begins to take
pictures of CAROL buying the tree.
CUT TO:
The Douglas Fir is tied up in the car, laid across the front and
back seats between THERESE and CAROL, as CAROL makes her way up
the driveway. THERESE loves the feeling of the needles against
her skin, the way it smells, the way she knows that CAROL is
beside her, though she can’t see her. The car comes to a halt in
front of CAROL’S house. It’s a big house, a bigger house than
THERESE has ever been inside. CAROL turns off the engine. A
brief silence.
CAROL
You still with me?
THERESE
Yes.
CAROL opens her door, pops out of the car. THERESE is about
to get out of the car when she sees the front door of the
house open. RINDY runs out to greet her mother. FLORENCE
stands in the doorway. THERESE sits in the car for a moment,
watches RINDY jump into CAROL’S arms, watches CAROL kiss her
daughter, before she opens the door to get out.
CUT TO:
CAROL
Where’s the star?
RINDY
This one, Mommy.
CAROL
That’s my girl.
O/S FLORENCE
You find everything you need, miss?
THERESE
Gosh, you scared me. How silly.
FLORENCE
(she’s not sorry)
I’m sorry, miss. (beat) I’ll take that
through for Mrs. Aird.
CUT TO:
CAROL
You took pictures of me at the tree lot.
Why?
THERESE
I’m sorry. I should have asked.
CAROL
Don’t apologize. Tell me why.
THERESE
Because... a friend of mine told me I
should be more interested. In people.
CAROL
Are you?
THERESE
(after a beat)
I am.
CAROL
Relax.
CAROL (cont’d)
That’s beautiful.
A pause.
CAROL (cont’d)
Is that what you want to be? A
photographer?
THERESE
I think so. If I have any talent for it.
CAROL
That’s something other people let you
know you have. You just... keep working.
Use what feels right. Throw away the
rest.
CAROL (cont’d)
Will you show me your work?
THERESE
Sure. I mean, I haven’t sold anything. Or
even shown a picture to anyone who could
buy one. So they’re all at my place.
Under the sink, mostly.
CAROL
Invite me round, then.
CUT TO:
44.
HARGE opens the front door with a key. A mistletoe hangs over
the entrance and HARGE’S head bumps into it. He takes it down as
he passes into the house. CAROL comes out of the living room.
She sees HARGE taking down the mistletoe.
CAROL
Harge. What’s wrong?
HARGE
Nothing. Does there have to be a problem
for me to visit my wife?
CUT TO:
O/S CAROL
... that’s not fair, Harge. We agreed
that Rindy would stay with me until
Christmas Eve.
O/S HARGE
My parents surprised me with a trip to
West Palm Beach for the holidays--
O/S CAROL
But I’m not-- ready-- Rindy’s not packed,
she’s not-- what about my Christmas with
my daughter?
O/S HARGE
--I’m sorry, but it can’t be helped. We
leave in the morning and-- Goddammit!
CUT TO:
45.
HARGE
How do you know my wife?
CAROL
Harge, please...
THERESE
I-- work at Frankenberg’s. The department
store.
CAROL
I ordered a gift from her desk. I forget
my gloves. She returned them. I thanked
her...
HARGE
(to CAROL)
That’s bold.
THERESE
Can I-- do--
CAROL
Just... leave it be.
CUT TO:
CAROL
I’ll call every day. And remember: in bed
by seven. I know how you take advantage of
Grandma Jennifer.(beat; RINDY’S all tucked
in) Okay, snow flake. Gimme a big one.
CAROL (cont’d)
You’re going to have a wonderful Christmas,
baby. Promise me.
RINDY
There’s room for you in the car, Mommy.
You can come with us!
CAROL
Oh, honey... I wish-- I could... but
sometimes... Mommies and Daddies decide
there isn’t enough room for them both in
the same place at the same time and--
(beat; she cannot bring herself to go
further than this now) and Mommy has to be
here to make sure Santa’s elf doesn’t give
your gift from Mommy to another little
girl. You understand that, don’t you?
CUT TO:
CUT TO:
CAROL ignores HARGE as she walks to the front door, opens it.
HARGE pulls her back towards him. A silence, as he takes her
hand in one of his. He can hear the music from inside the house.
He sways a little.
47.
HARGE
You smell good.
CAROL
You’re drunk.
CAROL (cont’d)
I’m very cold, Harge.
CUT TO:
THERESE steps into the hallway from the living room- she
looks towards the open door, sees HARGE step back, stumble
backwards really, away from CAROL. CAROL grabs him arm,
rights him.
CAROL
Let me get you some coffee.
HARGE
(he is a little drunk)
I’m not drunk.
HARGE takes a step towards CAROL. THERESE ducks back into the
living room. She’s probably doesn’t want to overhear this,
but she does...
O/S HARGE
You can still come with us. Go pack a
bag.
O/S CAROL
I can’t do that.
O/S HARGE
Yeah, you can. It’s easy. We’ll buy a
ticket at the airport in the morning.
BACK TO:
HARGE
What? You’re going to spend Christmas
with Abby? With-- with that shop girl?
48.
CAROL
Stop it, Harge.
HARGE
I put nothing past women like you.
CAROL
You married a woman like me.
BACK TO:
BACK TO:
HARGE
Come with me now. If you don’t-- if you--
let me-- open the car door for you... if
you won’t come--
CAROL
(she interrupts him)
Then what? Then it’s over?
HARGE
Goddamn you, Carol.
CAROL takes a step towards HARGE. She cannot bear to see him in
this state. But HARGE won’t accept her help now. He rises, and
takes a quick look at his waiting car, RINDY in the back seat.
She watches them. HARGE takes a few deep breaths. He smooths his
clothes, wipes his face with the palm of his hand. CAROL takes
another step towards him.
CAROL
I’m... so sorry.
HARGE stiffens, takes a step back from her, digs his hands deep
into his coat pocket and turns away, striding briskly away
towards his car. CAROL watches as HARGE gets into the car, shuts
49.
the door, and the car drives off. CAROL hugs herself tight
against the cold.
CUT TO:
THERESE
I should call a cab.
CAROL
And just when you think it can’t get any
worse, you run out of cigarettes.
THERESE
Oh-- I-- tell me where to go. I’ll buy
some for you. Really, I don’t mind doing--
CAROL
(snaps)
You don’t have to run out in the middle
of nowhere to buy cigarettes. Not for me.
I’m fine.
CAROL (cont’d)
The next train’s at 6.45. I’ll drive you
to the station.
CUT TO:
CUT TO:
CUT TO:
MRS. SEMCO
(refers to the thermometer)
What is this number? I can’t read it. My
eyes, they’re shot to shit.
RICHARD
Ma-- watch the language.
THERESE
Ninety-eight point six. Perfectly normal.
No fever.
RICHARD
You hear that ma, no fever.
MRS. SEMCO
Hey, my eyes is no good, not my ears. You
wanna plate of noodles, Terry? We saved you
a big plate.
THERESE
I’m really not that hungry.
MRS. SEMCO
(she’s kidding, but she’s not)
I thought you was a smart cookie. You
know that’s not the way to a mother-in-
law’s heart.
RICHARD
Ma-- cut it out.
51.
MRS. SEMCO
What? Cut it out what?
MR. SEMCO
(to THERESE)
You showed up. Good. I was tired of hearing
him moan about ya being late. Do me a
favour, Therese. Settle down with him
already.
RICHARD
Come on, what is this? The Inquisition?
THERESE
(defusing the situation)
Okay-- I’ll eat.
MRS. SEMCO
That’s my girl!
CUT TO:
THERESE
I can’t open this now. It’s days before
Christmas.
RICHARD
But I want you to. (he shrugs) I’m
impatient.
THERESE
Richard... what is this?
RICHARD
Well, that one’s mine. I thought it was
more romantic to wrap ‘em up together.
RICHARD (cont’d)
Jeez, Terry, you could cheer up a little.
It’s not every day you get a trip to
Europe for Christmas.
THERESE
We’re supposed to go in July.
RICHARD
I know, but-- look, I was gonna tell you
on Christmas day. Frankenberg’s offered
me a promotion. Assistant manager, beds
and bedding.
RICHARD (cont’d)
It’s a big raise. And they’re letting me
take a month off in March, two weeks of
it paid. The summer’s a busy time there
and--
THERESE
I can’t go in March.
RICHARD
Why not? You get laid off next week. It’s
not like you have any big plans.
RICHARD (cont’d)
I didn’t mean-- you know I think the
world of you and... well, I thought you
wanted to go to France. With me. And I
figured... what the hell, the sooner the
better...
THERESE
I do want to go. I did. (beat) It’s so--
soon. March.
53.
A silence. THERESE puts the ticket and brochure back into the
box, puts the lid back on to the box.
CUT TO:
THERESE
Hello?
LANDLADY
Do you know what time it is, Miss
Belivet?
THERESE
I’m sorry, I’m sorry-- it’s for me.
THERESE (cont’d)
Who’s there?
No one answers.
CUT TO:
O/S THERESE
Hello?
CAROL exhales.
BACK TO:
THERESE
Carol.
BACK TO:
CAROL
(after a beat)
I was-- horrible. Before. Will you
forgive me?
BACK TO:
THERESE
No. Yes. Yes- it’s-- okay.
O/S CAROL
Then will you-- would you-- let me...
come see you tomorrow night?
THERESE
Yes... Yes. (beat) I want to-- know. I
think. I mean, I want to ask you...
things. But I’m not sure you want that.
BACK TO:
CAROL
(after a beat)
Ask me. Things. Please.
BACK TO:
But THERESE can’t ask CAROL a single thing. She stands there,
clutching the phone to her ear. Silence. Which is suddenly
pierced by A GROUP OF YOUNG PEOPLE entering THERESE’S
building. They’re giddy and have had a few drinks... THERESE
is startled, looks down the stairs, to see them stumbling
into the building, and by the time she puts the phone back to
her ear, she knows CAROL’S hung up...
CUT TO:
GENEVIEVE
You’re Phil’s friend, aren’t you?
THERESE
I-- am. Yes.
GENEVIEVE
Aren’t you going to ask me how I knew
that?
THERESE
Well, most everyone here is Phil’s
friend. So...
GENEVIEVE
I can see why Phil speaks so highly of
you.
THERESE
Can you?
GENEVIEVE
Oh, definitely. I can see a lot.
THERESE
Really? What do you see?
GENEVIEVE
(gives her a good long look)
Enormous... potential.
CUT TO:
RUBY ROBICHEK
When you live alone, every penny counts.
You economize. You’ll learn.
THERESE
How do you know I live alone?
RUBY ROBICHEK
(very matter of fact)
You got that look.
THERESE and RUBY sit at a table. RUBY digs into her purse,
finds a slip of paper and pen, scribbles down her address and
telephone number and gives it to THERESE.
THERESE
I’m only here a few more days.
RUBY ROBICHEK
Yeah? Where you going? Macy’s? I knew it!
You look like the type who can go swanky.
This pleases RUBY, and she digs into her lunch with gusto. A
silence. THERESE watches her eat. She watches everybody eat,
seemingly in unison. THERESE slides her lunch tray over to
RUBY.
THERESE
You take it. I don’t feel like eating.
RUBY ROBICHEK
You sure? This is good brisket.
THERESE
Merry Christmas, Ruby.
CUT TO:
57.
CUT TO:
CAROL
What should I worry about now, Fred?
FRED HAYMES
I didn’t want you to come all the way down
here--
CAROL
Just-- give it to me, straight, Fred. No
bullshit.
FRED HAYMES
(after a beat)
Jerry Rix served some papers this morning,
to my complete surprise. Why don’t you sit
down, Carol?
CAROL
Why is it people think you’re going to take
bad news better if you’re sitting down?
FRED HAYMES
Harge took out an injunction which denies
you any access to Rindy until the custody
hearing. And I’m afraid Harge has changed
his mind about joint custody. He wants sole
custody of Rindy.
CAROL
But we’ve already reached an agreement
about custody. I don’t... understand...
FRED HAYMES
They’ll be filing the formal papers on the
twenty-seventh in District Family Court
58.
CAROL
Can he do this? Is it-- right?
FRED HAYMES
I don’t know if it’s right, but it’s
certainly legal.
CAROL
On what grounds.
FRED HAYMES
(he doesn’t really want to talk
about this now)
Listen. Let’s deal with this after
Christmas. I’ll explain then when we’re
both--
CAROL
(she interrupts him)
On. What. Grounds.
FRED HAYMES
They’re petitioning the judge to consider a
morality clause.
CAROL
A morality-- what the hell does that mean?
FRED HAYMES
(after a moment)
Okay. I won’t mince words with you. Abby
Gerhard.
CAROL
Abby is Rindy’s godmother. Abby is... (to
herself, really) If he can’t have me, I
can’t have Rindy. That’s it.
A silence.
FRED HAYMES
Carol?
CAROL
When’s the custody hearing?
59.
FRED HAYMES
That’s hard to say, with the holidays and a
backlog of cases, the court’s not likely to
set a date for--
CAROL
Your best guess, Fred.
FRED HAYMES
Not before the middle of March. Could be
April.
A silence.
CAROL
Can I see her?
FRED HAYMES
(not unkindly)
Harge has made some serious allegations
against your character, Carol. If you try
to see or even speak to your daughter
before the hearing... well, you risk losing
any chance of custody.
CAROL
A morality clause. (beat) I see.
FRED HAYMES
Do you?
CAROL
Yes. There’s nothing moral about keeping
Rindy from me.
CUT TO:
CAROL
I’m-- all right. Thank you.
60.
She moves away from the street, from the cars, finds herself
taking deep breaths against a shop window. She gathers herself,
turns, catches a glimpse of the window. It’s a vacation theme:
sunglasses on mannequins, cameras slung around their necks,
luggage stacked in artful piles. She lets her gaze fall on a
large two-tone brown leather suitcase.
CUT TO:
CUT TO:
THERESE
I feel like walking. Do you mind?
RICHARD
Your wish is my command.
RICHARD (cont’d)
(refers to the shopping bag
THERESE carries)
Find what you wanted?
THERESE
(no big deal)
Something for someone at the store.
RICHARD
You up for the jazz club later on?
THERESE
I don’t think so.
61.
RICHARD
Okay. (beat) You want to come to my place
for Christmas? My Mom’s planning on it.
THERESE
Christmas... that’s for families. I’d
feel-- I don’t know...
RICHARD
You are family, Terry.
THERESE
I’m thinking of putting together a
portfolio, you know, of my pictures.
Start taking portraits, even. Apply for
jobs. Maybe at a newspaper. Maybe at the
times. Dannie knows someone--
RICHARD
Have you been thinking more about Europe?
(no answer) Terry?
RICHARD (cont’d)
What?
THERESE
How many times have you been in love?
RICHARD
(laughs, not sure where this has
come from...)
Whoa. Never. Until You.
THERESE
Don’t lie. You told me about those two
other girls.
RICHARD
Come on. They were-- I had sex with them.
That’s not the same thing.
THERESE
Meaning... I’m different because you
haven’t... gone all the way with me?
RICHARD
No, no-- that’s not what I-- hey, what’s
this all about? I love you. That’s what’s
different.
62.
THERESE
Have you ever been in love with a boy?
RICHARD
(after a long beat)
No.
THERESE
But you’ve heard of it?
RICHARD
Of course. I mean, have I heard of people
like that? Sure.
THERESE
I don’t mean people like that. I mean two
people who just... fall in love. With
each other. Say, a boy and a boy. Out of
the blue.
RICHARD
I don’t know anyone like that. But I’ll
tell you this-- there’s always some
reason for it. In the background.
THERESE
So you don’t think it could happen to
you.
RICHARD
(laughs)
Okay, now I know you’re pulling my leg.
RICHARD (cont’d)
Don’t you know I want to spend my life
with you, Terry? Come to France with me.
Let’s get married.
THERESE
Richard, I’m not-- ready. For that. I
can’t make myself--
RICHARD
What? Tell me.
THERESE
I just... I have to go. I’m sorry.
63.
CUT TO:
CAROL
I found Rindy’s hair brush underneath my
pillow this morning. Full of her hair.
She does that, you know, to let me know
she’s been a good girl and brushed
properly. I usually clean it in the
mornings for her but I... couldn’t today.
CAROL downs her drink. She pushes it towards ABBY for a refill.
ABBY refills for them both.
ABBY
Hey. You know that tailor’s shop that
went bust in Hoboken?
CAROL
Sure. The one with the-- the-- that glass
thingy on the--
ABBY
Exactly. The glass thingy one. That one.
CAROL laughs.
CAROL
Bullshit. You have no idea what I’m
talking about.
ABBY
You’re right. But it really is nice to
hear you laugh again.
ABBY offers CAROL a cigarette, she takes it, ABBY lights it.
CAROL leans back in her chair, relaxes.
ABBY (cont’d)
Anyway, the landlord offered me a lease.
I was thinking-- another furniture shop?
I’ll need some help with restorations
every once in a while, and you’re the
varnish master, so....
CAROL
You’re serious.
64.
ABBY
That, I am. (beat) Couldn’t be any more
of a disaster than the shop we had,
right?
CAROL
Abby. Hey.
CAROL (cont’d)
We weren’t a disaster. Or a mistake. It
just...
ABBY
Timing. Never had it. (beat) Anyway, I’ve
got my eye on this redhead who owns a
steak house in Paramus. I’m talking--
serious Rita Hayworth redhead.
CAROL
Really? You think you have what it takes
to handle a redhead?
ABBY
You going somewhere?
CAROL
I was thinking... west. For a few weeks.
Until the hearing.
A silence.
ABBY
I know you don’t like to drive alone. So.
(beat; ABBY takes a deep breath, exhales)
She’s young.
ABBY (cont’d)
Tell me you know what you’re doing.
CAROL
I probably don’t. But...
65.
CUT TO:
CAROL
Your landlady let me in.
CAROL (cont’d)
Merry Christmas, Therese.
CAROL (cont’d)
Aren’t you going to open it?
CUT TO:
THERESE
It’s not that good. I was rushed, I
mean... I can do better. Next time.
66.
CAROL
It’s perfect.
CAROL (cont’d)
Do you keep anything in the icebox
besides photo chemicals? I’m feeling--
THERESE
Sure.
CUT TO:
THERESE
Is there any point in, I don’t know...
fighting it?
CAROL
The injunction? (beat) No.
THERESE
I feel-- useless. Like I can’t help you
or have anything to offer or--
CAROL
It has nothing to do with you.
CAROL (cont’d)
That’s not true.
CAROL (cont’d)
I’m going away for a while.
THERESE
When?... Where?
CAROL
Wherever my car will take me. West. Soon.
CAROL (cont’d)
And I thought... you might like to come
with me.
CAROL (cont’d)
Would you?
THERESE
Yes. Yes, I would.
CUT TO:
THERESE has cleared out her locker. It’s empty. She checks
the top shelf one last time, shuts the door, sits on the
bench opposite the locker, a black duffel bag beside her. A
silence. She opens the bag, removes her Frankenberg’s
Employee Handbook and her slightly bloody Frankenberg’s Santa
cap. She gets up, opens the locker, puts the handbook and cap
on the top shelf and shuts the door again. As she prepares to
leave, ROBERTA WALLS glides by, followed by a long line of
NEW RECRUITS, who look around the place as if it’s a Federal
prison.
ROBERTA WALLS
Is your locker cleared out, Miss Belivet?
I’ll be needing it now.
68.
CUT TO:
RICHARD
Who is this woman to you?
THERESE
She’s a friend.
RICHARD
I’m your friend, Terry. Phil is your
friend. Dannie. This woman-- you don’t
know her.
THERESE
(after a pause)
I’ve paid the rent through February. I
had some money saved up for our--
RICHARD
For our trip. Our trip, Terry. And now
you’re-- this makes no sense.
THERESE
I can’t explain it. I just-- have to do
this.
RICHARD
Don’t you think it’s pretty silly? You
know what? You’ve got one hell of a crush
on her... like a schoolgirl.
THERESE
That’s not-- I just like being with her.
I like talking with her. I’m fond of
anybody I can really talk to.
RICHARD
What I think is... you’ll get over it in
about a week, and she’ll get tired of
you, and then--
69.
THERESE
--You don’t understand--
RICHARD
--I do-- I understand completely. You’re
in a daze!
THERESE
I’m wide awake. I’ve never felt more
awake. (beat) Why don’t you leave me
alone?
RICHARD
Are we over? Is that what this is?
THERESE
(maintains her composure)
I’ll let you know where I am. I’ll write.
I’ll be back in a few weeks.
RICHARD
You made me buy boat tickets, I got a
better job for you... I asked you to
marry me, for Chrissakes.
THERESE
I didn’t make you do anything. I never
asked you for-- anything. Maybe that’s
the problem.
RICHARD
Next week, the week after... you won’t
feel like this at all. You’ll see.
THERESE
Richard...
CUT TO:
over her robe. Though CAROL whispers, THERESE can still hear
their conversation.
O/S CAROL
Are you on your way to bed or just
getting up?
O/S ABBY
Both.
CUT TO:
ABBY
Go for a ride?
CAROL
You nitwit.
ABBY
Well, I had to come see you off, didn’t
I?
CAROL
I’m not alone. And you know that.
ABBY
Uh-oh...
CAROL laughs.
CAROL
Oh, shut up and come inside.
CUT TO:
ABBY and CAROL enter the house. They see THERESE sitting at
the top of the stairs-- she’s fully dressed.
CAROL
We woke you. Go back to sleep, it’s
early...
THERESE
It’s okay. Can I-- come down?
71.
CAROL
Well, of course you can.
THERESE comes down the stairs. She holds out her hand to
ABBY. ABBY smiles, non-committal.
CAROL (cont’d)
This is Abby Gerhard.
ABBY
I have no manners.
CAROL
Absolutely none.
ABBY
But it’s nice to meet you all the same,
Therese.
CUT TO:
THERESE
Have you known Carol for a long time?
ABBY
Uh-huh.
THERESE
Did you ever take a trip? With Carol, I
mean?
ABBY
Two or three.
THERESE can’t quite cover her slight frown. ABBY clocks this.
ABBY (cont’d)
We had a furniture shop just outside of
Elizabeth. We traveled to buy antiques or
72.
ABBY (cont’d)
plain second-hand stuff and fixed it up.
I’ve never worked so hard in my life.
ABBY (cont’d)
Are you old enough to smoke?
THERESE
Okay, okay...
A beat, then:
ABBY
You know Carol’s got a lot of worries
right now, don’t you?
THERESE
Yes.
ABBY
And she’s lonely.
THERESE
Is that why she wants me to go with her?
ABBY
No. Not a bit.
THERESE
(after a beat)
I’d never hurt Carol.
ABBY
No. I don’t think you would.
A pause.
THERESE
What happened to the furniture store?
ABBY
It was-- some things just don’t work out,
no matter how much you want them to.
CUT TO:
THERESE and CAROL finish loading up the trunk and wiping the
last of the snow from the windshield. CAROL slams the trunk lid
shut, strides to the driver’s side, opens the door, gets in.
THERESE hurriedly removes the last of the snow from the back
windshield as CAROL starts up the car. She revs the engine. The
hot exhaust air creates a swirl of steam around the cold morning
air. A moment, as CAROL lets the engine run. CAROL shifts into
gear. THERESE slams the trunk lid shut and trots up to the
passenger side door. She takes a last look around familiar
surroundings before jumping into the car.
CUT TO:
CUT TO:
THERESE
There’s the mint.
CAROL
You would know that.
THERESE
(looking around)
I could get used to having a whole city to
myself.
CUT TO:
74.
CAROL
You shouldn’t have.
THERESE
Open it.
She watches CAROL unwrap the package. It’s the Billie Holiday
record with “Easy Living” on it.
THERESE (cont’d)
I played it for you. At your house.
CAROL
I remember. (beat; she looks up at THERESE)
I kissed the top of your head afterwards.
CAROL (cont’d)
Oh God, I look tired and--
THERESE
No-- you look-- great. (beat) Just-- stay
like that. Let me take another one.
CAROL
Do you miss Richard?
THERESE
(she thinks about it)
No. I haven’t thought about him all day.
Or of home.
75.
CAROL
Home.
CUT TO:
As THERESE exits the ladies room, she glances down a hallway and
sees CAROL in a phone booth. THERESE watches as CAROL sits at
the telephone without picking it up. She finally picks it up,
dials a number.
CUT TO:
CUT TO:
RADIO V.O.
....and that concludes our Holiday
Greetings from President-elect and Mrs.
Eisenhower. This is WOR-Pittsburgh wishing
you and yours--
CUT TO:
76.
CUT TO:
HARGE
I have to speak to her.
ABBY
You’re supposed to be in Florida. Why the
hell are you here?
HARGE
(after a beat)
I couldn’t do it. I had to-- Rindy-- she
wanted to see her mother on Christmas.
Not that it’s any of your business. Just
go get her. I know she’s here.
ABBY
You’ve got some fucking nerve showing up
like this. And, no. She’s not here.
HARGE
That’s impossible. She’s not home. She’s
not with me. She must be with you.
ABBY
(after a moment)
Yeah, you know, you have a point. You’ve
spent ten years making damned sure her only
point of reference is you, her only focus
in life is you, your job, your friends,
your family, your--
HARGE
(he’s heard enough)
WHERE IS SHE. (beat; he composes himself)
She’s still my wife, Abby. I’m responsible
for her.
ABBY
You should have thought of that before you
slapped her with that injunction. Goodbye.
77.
HARGE
(stops her from shutting the door)
I love her.
ABBY
(after a beat)
I can’t help you, Harge.
CUT TO:
106 EXT. MCKINLEY MOTEL. CANTON, OHIO. THE NEXT DAY. DUSK. 106
CUT TO:
The front desk. CAROL and THERESE are check. A very prim HOTEL
MANAGER assists them.
HOTEL MANAGER
Will that be one or two rooms? Our standard
rooms come equipped with stereophonic
console radios, or if you prefer, the
Presidential Suite is available. At a very
attractive rate.
CAROL
We’ll take two standard rooms.
THERESE
Why not take the Presidential Suite?
CUT TO:
YOUNG MAN
Whiskey’s sweeter with ice in your glass.
THERESE looks up. A tall, affable looking young man in his late
20s appears beside her. He smiles. He wears spectacles. He tips
his hat to her.
THERESE
I don’t drink much.
YOUNG MAN
Wise girl. You know, I really can’t see a
thing out here. So cold, my glasses have
fogged right the way over.
The YOUNG MAN smiles, takes off his glasses, wipes them clean
with his scarf.
He tips his hat to her. THERESE walks back to her room. She
turns back to say something to the YOUNG MAN, but he’s gone.
CUT TO:
CAROL
Don’t blink. (beat) Now look at you.
THERESE
I need lipstick.
THERESE (cont’d)
Next?
CAROL
Would mademoiselle be so kind as to apply
at the pulse points only?
CAROL (cont’d)
Me, too.
CAROL (cont’d)
That’s divine. Smell that.
CUT TO:
CUT TO:
O/S CAROL
Therese-- be a sweetie and fetch my red
knit sweater. It’s in the small suitcase.
Upper left hand side.
THERESE
Okay.
O/S CAROL
Hey, slowpoke...
THERESE
Found it.
THERESE takes the sweater to the bathroom door. The door opens.
CAROL’S standing there with a towel wrapped around her. Steam
filters out of the bathroom. CAROL and THERESE are inches apart.
A pause. Should THERESE ask her about the gun? She wants to ask.
But something tells her she ought not ask. THERESE holds CAROL’S
sweater to her. CAROL takes it, clocks that something’s on
THERESE’S mind.
CAROL
Everything all right?
THERESE
I’m just-- really hungry. I’m going to
grab breakfast.
CUT TO:
YOUNG MAN
‘Morning. Mind if I join you for a cup of
coffee?
THERESE
It’s lousy coffee, but, sure.
He sets the case carefully down near his chair, sits. THERESE
looks over the case. It looks heavy, full. He notices her
look at the case.
81.
YOUNG MAN
Tommy Tucker.
THERESE
Therese Belivet. (beat) What’s in the case?
TOMMY TUCKER
Notions.
CAROL
(to THERESE)
Lousy coffee.
TOMMY TUCKER
I’m sorry, ma’am. I didn’t know Miss
Belivet was travelling in company.
CAROL
(raises an eyebrow, smiles at
THERESE)
Miss Belivet?
THERESE
Carol Aird, this is Tommy Tucker.
TOMMY TUCKER
I sell things.
THERESE
The notions are in that case.
TOMMY TUCKER
Yes, ma’am. (beat) I don’t really know what
notions are. But at headquarters, they tell
me to use that word. Because it appeals to
women. (beat) I haven’t made a sale in two
weeks. Well. I sold a shoe horn in Omaha.
THERESE
(she wants to help him out)
Do you sell lipstick?
82.
TOMMY TUCKER
No. But I have a sewing kit. (beat) You
don’t need a sewing kit. I can tell.
CAROL
(to THERESE)
We should make Chicago by two or three.
TOMMY TUCKER
I’m headed to Chicago. There’s a short cut
across the interstates, knocks three hours
off the drive.
CAROL
Really? Thanks for the tip. (beat; to
THERESE) Let’s get an early start.
THERESE
Can we stop to buy some magazines?
TOMMY TUCKER
(reaching for his case)
You want magazines? I have Field and
Stream, National Geographic--
THERESE
Popular Photography?
TOMMY TUCKER
Nope. Course I don’t. I am doomed to remain
without a sale.
CUT TO:
THERESE
Do you feel... safe. With me, I mean?
CAROL
(laughs)
You’re full of surprises.
83.
THERESE
Do you?
CAROL
It’s the wrong question.
A silence.
THERESE
But you would tell me... if something
scared you. And I could help.
CAROL
I’m not frightened, Therese.
CUT TO:
CAROL
Finally. A real bed. Heaven.
THERESE
This carpet must be four inches thick.
She turns to look at CAROL. But CAROL’S fast asleep on the bed.
CUT TO:
115 INT. WESTERN UNION OFFICE. PHONE BOOTH. CHICAGO. DAY. 115
CAROL in a phone booth placing a call. She can see THERESE from
the booth, who stands in line to collect post.
CUT TO:
84.
CUT TO:
HARGE
Hargess Aird. Hello.
CUT TO:
CAROL hangs up. She can’t deal with HARGE now. She leans her
head against the phone box for a moment, gathers herself
together, and leaves.
CAROL
(refers to the letters)
Someone’s popular.
THERESE
All from Richard. (beat; she puts the
letters in her bag without opening them)
Aren’t you going to pick up your mail?
CAROL
Nobody knows I’m here.
THERESE
(she senses something troubles
CAROL)
Where were you just now?
CAROL
Nowhere. Ladies room.
85.
CUT TO:
THERESE
Do you think an older woman would like
that?
CAROL
I suppose. Depends on the woman.
THERESE
I worked with a woman at Frankenberg’s.
Ruby. She depressed me.
CAROL
Why?
THERESE
She’s old. Alone. Has no money. (beat) It’s
stupid, I know. Never mind.
CAROL
It’s a lovely gesture, Therese. Send it.
CUT TO:
CUT TO:
122 EXT. LAKE SHORE DRIVE. CHICAGO. NEW YEAR’S EVE. MID-MORNING. 122
THERESE
It’s you again.
TOMMY TUCKER
Yep. It’s me. (he bends to look at the
tire) And that’s flat. Why don’t I jack her
up for you?
THERESE
We haven’t got a jack.
TOMMY TUCKER
A shame I don’t sell jacks.
THERESE
We haven’t got a spare, either.
TOMMY TUCKER
All trunks carry spares.
CAROL
I removed it. Seemed like a good idea at
the time.
TOMMY TUCKER
I’ll drive on up ahead and fetch some help.
THERESE
It’s our last day here. We’re meant to be
ice skating.
TOMMY TUCKER
Up at the lake?
THERESE
That’s right.
TOMMY TUCKER
Well. I can help you out with that.
CUT TO:
CUT TO:
TOMMY TUCKER
I’m not a shy person. When I park my truck
in somebody’s driveway, I’m hopeful. And
then I knock on doors and I... can’t close
the sale. This one time, a woman invites me
in for a cup of coffee, feels sorry for me.
Guess she thinks I’m a mute or something.
(beat) Turns out, her husband sells Bibles.
I bought a King James’s black leather gold
leaf Bible from that woman.
CAROL
No whipped cream. But lots of sugar.
TOMMY TUCKER
Miss Belivet’s been telling me about you
being married and all.
CAROL
(gives THERESE a quick look)
Has she?
THERESE
We were just talking.
TOMMY TUCKER
Reckon your tire’s been put right by now at
that service station. (beat) Chicago’s an
awful nice place to spend New Year’s Eve. I
bet you’re going to a party.
CAROL
We’ll be on the road. And what about you?
88.
TOMMY TUCKER
Not me. Got a hunch it could be a big sales
night. I’m stocking up on hats and
sparklers. I’m hopeful.
CUT TO:
CUT TO:
Twin beds, quilted headboards, the usual. Radio tuned into Guy
Lombardo’s New Year’s Eve broadcast from the Waldorf Astoria,
New York. It’s almost midnight. Couple of chipped plastic trays
carrying the remnants of some ham and cheese sandwiches are set
on one of the beds. CAROL sits on one of the beds sipping beer
from a Champagne flute. She wears a bathrobe, as does THERESE.
CAROL’S hair is wrapped in a towel. She watches THERESE brush
out her hair at a dressing table. The countdown to the New Year
begins on the radio. Five. Four. Three. Two. One: HAPPY NEW
YEAR! And the familiar Lombardo signature “Auld Lang Syne”
begins. Neither CAROL nor THERESE acknowledges it in any way. A
long while before CAROL gets up from the bed and goes to
THERESE. She takes the brush from THERESE and begins to brush
THERESE’S hair, slowly, carefully. When she’s done, she puts the
brush down and turns THERESE around to face her.
CAROL
Happy New Year.
THERESE
Happy New Year.
CAROL
Harge and I never spend New Year’s Eve
together. There’s always a business
function, always clients to entertain.
THERESE
I’ve always spent New Year’s Eve alone. In
crowds. (beat) I’m not alone this year.
89.
CAROL
I’m sorry.
THERESE
For what?
CAROL
For everything that might happen. Later.
THERESE
(after a moment)
Take me to bed.
CAROL moves towards THERESE, takes her in her arms, leads her to
the bed.
CAROL
Lie down.
THERESE does. CAROL straddles THERESE. She strokes her face, her
hair. THERESE smiles. CAROL smiles back at her, leans down to
kiss her lightly on the forehead. CAROL removes THERESE’S robe,
taking THERESE’S body as its revealed to her. It’s a lovely
body.
CAROL slides down THERESE’S body and stops just below THERESE’S
belly button. She kisses her belly, moves down THERESE’S body
with her mouth. THERESE looks at the ceiling, tries not to cry
out in pleasure. She closes her eyes. CAROL starts to go down on
THERESE. THERESE gasps, opens her eyes. CAROL reaches across the
bed to shut off the light. THERESE stops her.
THERESE
Don’t. I want to see you.
slightly. She pulls CAROL up to her mouth and they kiss eagerly,
passionately. They begin to make love for the first time.
FADE TO:
127 INT. JOSEPHINE MOTOR LODGE. OFFICE. THE NEXT MORNING. 127
The deserted office is strewn with empty beer bottles and cheap
New Year’s decoration. CAROL looks around for a clerk, rings the
desk bell. An ANCIENT WOMAN shuffles on out of the back room.
She wears a party hat. She doesn’t immediately spot CAROL. Then
she does.
ANCIENT WOMAN
You the folks in thirteen?
CAROL
We’re checking out.
ANCIENT WOMAN
Telegram come for you last night.
The ANCIENT WOMAN shuffles on out of the room and comes back
with a telegram. She gives it to CAROL. CAROL opens the
telegram. Reads it. It’s not good news.
CAROL
When did this arrive last night?
ANCIENT WOMAN
I ain’t a clock, lady. Early. Seven. Nine.
CUT TO:
CAROL storms out of the office. She strides right up to the car,
where THERESE is packing the trunk with their belongings. CAROL
opens the driver’s side door, looks for something, doesn’t find
it, slams the door shut. She runs up to the cabin they just
left, goes in, almost immediately comes out again. She slams the
door shut. She’s furious.
THERESE
Carol! What the hell--
CAROL
(focusing on THERESE)
Where’s my suitcase?
THERESE
Carol-- wait a minute-- what’s going on?
91.
CAROL
(she snaps)
I want my fucking suitcase.
THERESE
What are you going to do with that? Carol-
- calm down!
CUT TO:
CAROL
Open up right NOW. You hear me in there?
I’m KICKING IT IN. YOU HEAR ME?
THERESE
You’re scaring me, you can’t--
CAROL
Stand out of the way, Therese.
And with a mighty heave, CAROL kicks open the door. TOMMY
TUCKER’S stood in the room getting dressed. His trousers are
half on, half off. He wears his hat. He grabs his spectacles off
a table and slips them onto the end of his nose. On the unmade
bed before him is his big black case, opened to reveal an
elaborate reel-to-reel tape recorder and sophisticated
microphones. THERESE stares at the equipment, uncomprehending.
CAROL kicks at the door frame, cocks her pistol, assumes the
shooting stance, aims directly between TOMMY’S eyes.
She enters the room, starts pulling apart the case, the
equipment, all the while keeping the pistol aimed at TOMMY.
TOMMY continues to dress himself, quite calmly.
92.
TOMMY TUCKER
I wish I could oblige you, ma’am. But the
tape is already on its way to your husband.
CAROL
That can’t be right.
TOMMY TUCKER
(shrugs)
My reputation rests on my efficiency, Mrs.
Aird.
CAROL
How do I know you’re not lying?
TOMMY TUCKER
(a beat; he remains calm)
You don’t.
THERESE
Carol...
THERESE (cont’d)
(to TOMMY)
How could you.
TOMMY TUCKER
I am a professional, Miss Belivet. It’s not
personal.
93.
CAROL
Let’s go. Abby’s waiting by the phone.
CUT TO:
CAROL
... earliest flight into LaGuardia is
tomorrow afternoon... oh Abby, I don’t
know how to fix this-- I haven’t the
strength...
CUT TO:
CAROL
You’ll get a cough.
THERESE
You don’t have a cough. (beat) I’m
selfish. I know.
CAROL
Don’t do this. You had no idea. How could
you have known?
THERESE
I did. I do. I-- I should have said no to
you. But I can never say no. And it’s
selfish because I take-- everything.
Because I don’t know-- anything. I don’t--
know what I want, all right? How can I know
94.
THERESE (cont'd)
what I really want if I say yes to
everything?
CAROL
I took what you gave willingly.
CAROL (cont’d)
It’s not your fault, Therese.
CUT TO:
CAROL and THERESE’S room. Twin beds. CAROL in one bed, awake,
composed. Light spills into the room from the bathroom. THERESE
exits the bathroom, switching off the light. She stands for a
moment in the dark before she climbs into the other bed.
Silence.
CAROL
You don’t have to sleep over there.
Silence. THERESE gets up, joins CAROL in the other bed. CAROL
puts an arm around THERESE, who curls herself up next to CAROL.
CAROL kisses THERESE gently. A beat, before THERESE kisses CAROL
back, a long, lingering, searching kiss.
CUT TO:
THERESE just waking. Eyes still shut, she reaches out for CAROL--
CAROL’S not there. No sound coming from the bathroom. She checks
the bedside clock-- 8 AM. She sits up in the bed, sees ABBY
sitting in an armchair in the semi-darkness. She smokes a
cigarette. And all at once THERESE understands what CAROL’S
absence means. Silence.
ABBY
I could tell you. So many things.
ABBY (cont’d)
It was February. We had the furniture store
then. It was late, very late, and my Ford
broke down at my Mother’s house. I’d picked
Carol up earlier because she’d been arguing
with Harge. Who knows why. And there we
were, stuck at Mom’s without a choice.
(beat) We played poker for pennies and
drank black coffee. Tried to wait up for
sunrise because. Because it seemed that if
we hadn’t waited... we’d. (beat) We didn’t
wait. (beat) We curled up together in my
old twin bed that night. One thing led to
another. Who knows why.
A silence.
THERESE
Thank you.
ABBY nods, puts out her cigarette, gets up and pulls open the
curtains. Cold, bright sunlight streams into the room.
CUT TO:
ABBY
Eat something.
ABBY (cont’d)
Suit yourself. I’ll eat it.
THERESE
Why don’t you like me? I’ve never done
anything to you.
ABBY
All right. Do you think I’ve flown
halfway across the country to drive you
back East because I hate you and want to
see you suffer?
96.
THERESE
I think you’re doing it for Carol. Not
for me.
ABBY
(after a beat)
That’s-- not why. And if you really
believe that, then you’re not as smart as
I think you are.
ABBY (cont’d)
That’s right. I think you’re very smart.
I also think you have guts and a big, big
heart. I’m doing this because we’ve all
been where you are right now. Difference
is, most of us have stumbled through it
alone. You don’t have to do that. Because
I’m here. Just-- accept that. Okay?
CUT TO:
V.O. CAROL
Dearest. There are no accidents and he
would have found us one way or another.
Everything comes full circle. Be grateful
it was sooner rather than later. You’ll
think it harsh of me to say so, but no
explanation I offer will satisfy you.
We see ABBY leave the diner as THERESE reads the letter. She
opens the car door and gets in, as we...
CUT TO:
CUT TO:
ABBY pulls the car off the road near a small grove of trees.
THERESE jumps out, makes for the trees and tries to hide herself
before she throws up. ABBY lights a cigarette and remains in the
car, watching THERESE from a distance.
CUT TO:
CUT TO:
THERESE at her sink, the red light in the fixture above the
sink, rows of negatives hang from hooks underneath the
kitchen cupboards, the various chemical trays set up in a
neat row. THERESE at the enlarger, finds a particular shot,
focuses, makes adjustments, marks the shot she wants. When
she’s satisfied, she moves through the steps to develop the
print- and at the final stage, she watches the photo appear
in its bath, slowly, a shadow here and there, a shape coming
into view-- it’s CAROL, CAROL asleep on her back, her body
98.
CUT TO:
THERESE leaves her apartment and goes to the phone. She picks
it up, thinks about dialling, hangs up. She almost
immediately picks it up again, dials without thinking. We
hear RINGING, more RINGING. Somebody picks up. A beat, then:
THERESE
Carol. (pause; no response from the other
end) Carol.
And that’s all she can say. No response from CAROL, but
THERESE holds the receiver close, a precious thing. It’s all
she’s got.
CUT TO:
BACK TO:
THERESE
I miss you... I miss you.
CUT TO:
143 INT. HARGE’S PARENTS HOUSE. NEW JERSEY. LATE AFTERNOON. 143
JENNIFER
More mashed potatoes, Carol?
CAROL
(she doesn’t really want more)
Yes. Yes, thanks. They’re delicious.
99.
JENNIFER
A watched pot never boils, dear.
HARGE
(to CAROL)
I’m sure they’ll be here soon.
JOHN
Harge tells us you’ve been getting along
quite well with your doctor, Carol.
CAROL
Has he?
JENNIFER
Yes, dear. And you should be getting on
well with him. He’s a very expensive
doctor.
CAROL
He’s not a doctor. He’s a
psychotherapist.
JOHN
He’s Yale educated, though.
CAROL
(ever so slightly edgy)
Does that make him a doctor?
CAROL (cont’d)
They’re here.
CUT TO:
CAROL
Oh baby... my baby girl...
CUT TO:
DANNIE
Break time. I’ll get us some brews.
THERESE
Yeah. Sounds good.
DANNIE
These are seriously good. I mean, they
really capture-- whoever this is.
THERESE
You think? (beat) How do you know? You
don’t know her.
101.
DANNIE
Hey. You have to put together a
portfolio. Say the word, I’ll introduce
you to my pal at the Times. There’s
always a clerk job going. You have to
start somewhere.
THERESE shakes her head, takes the pictures into the other
room, drops them into a waste paper basket. DANNIE sees this.
DANNIE (cont’d)
You went away with her, right?
THERESE
Yes.
DANNIE
You want to tell me--
THERESE
No. No, I-- can’t.
DANNIE
(after a beat)
Is it because I tried to kiss you that
day? Because if it is, don’t even think
about that, you don’t have to be afraid
of--
THERESE
I’m not afraid. (beat) She once said that
to me. I remember that day.
THERESE (cont’d)
Let’s finish while we still have light,
okay?
DANNIE shrugs-- it’s all okay. They get back to work. A beat,
before DANNIE glances at the photos in the waste paper
basket.
DANNIE
I still think you have to put together
that portfolio.
CUT TO:
102.
CUT TO:
CUT TO:
THERESE
Stop. Right here. Thank you.
THERESE (cont’d)
I’m sorry. It’s-- there’s no one home.
Take me back to the station, please.
CUT TO:
CAROL
I can’t do it anymore. I thought I
could... ignore it. Her. But...
ABBY
We do what we can. You can’t beat
yourself up for that.
CAROL
(self-aware laugh)
Oh yes, I can.
ABBY
She called me a few times. I tried to-- I
don’t know-- say the right things. But...
you know, I’m not so good at that. I have
a foot permanently in my mouth, so...
CAROL
You’re not so bad.
ABBY
Yeah, well... (beat) She says she’s doing
great at the Times. So. That’s something.
A silence.
CAROL
She stopped calling. About a month ago. I
couldn’t speak. Wanted to. Didn’t. And
now she doesn’t phone at all. I should
have said: Therese. Wait.
CUT TO:
RICHARD
Everything’s there. (beat) My mother
washed and ironed your blouses.
THERESE
Thank her for me?
RICHARD
You can thank her yourself. (beat) You
never wrote.
THERESE
I didn’t write because I couldn’t find
the words. I just... couldn’t.
RICHARD
Please don’t touch me.(he shakes his
head). After what we had-- you threw what
we had away for-- you did those things
with-- what’s wrong with you? Is there
something wrong with me?
THERESE
What did we have?
RICHARD
(after a beat)
Tell me something, Terry. Did you love me
even a little?
They hold a look, but THERESE can’t hurt him like this. She
turns away.
THERESE
It’s not-- you. Or me. (beat) Some things
just don’t work out, no matter how much
you want them to.
A silence.
RICHARD
You could have written once. To let me
know.
THERESE
Please don’t hate me. I’m still... me.
Still the same person I always was.
RICHARD
No. You’re one of those people now. And I
can’t forgive you. (beat) Goodbye, Terry.
CUT TO:
DANNIE
I’m glad you called. (this is light- not
a rebuke) I never see you now you’ve got
105.
DANNIE (cont'd)
that important job except when we pass
each other in the revolving door. You
punch out, I punch in.
THERESE
It doesn’t feel important on my feet all
day hauling gallon jugs of developer. But
I kind of love it, you know?
DANNIE
I do. (beat) Hey- guess what happened to
me? No? Can’t think of it?
DANNIE (cont’d)
I met a girl. Louise. She’s got these
cool green eyes, she’s a movie
encyclopedia, and the most amazing thing
of all? She thinks I’m the bees knees.
THERESE
(she’s pleased for DANNIE)
Go figure.
DANNIE
(he’s pleased she’s pleased)
Yeah. (beat) If you want, we can all hang
out. Go to a movie. If you’re getting out
more now.
THERESE
We’ll see. (pause) Did Richard talk to
you?
DANNIE
No. I think he wanted to one night, but I
cut it off before he got started.
THERESE
I hope he finds somebody to listen to
him. He needs an audience.
DANNIE
That’s a little harsh.
A silence.
THERESE
Use what feels right. Throw away the
rest.
106.
DANNIE
(laughs)
Where’d that come from?
THERESE
Something Carol once said to me.
DANNIE
(a beat, then:)
Did she... do that? To you?
THERESE
I can’t-- go. Back. To that place.
Inside... where you keep it locked up...
the sadness, that rage, the shame of--
you let people down. You let yourself--
down. So you cry and you-- hide. You hide
and you think-- things, crazy things,
like... you think if you stare at the
phone enough or-- if you take a train and
just... lurk-- (beat) And then one day
the phone is just a phone. A train going
to Jersey is just a train to Jersey. You
stop... crying and hiding. And you know
you’re able to use things and throw them
away.
FADE TO:
THERESE
Sorry. Just a second.
THERESE (cont’d)
Oh. You’re leaving.
GENEVIEVE
Will you miss me?
107.
GENEVIEVE (cont’d)
Listen, Therese. There’s an intime
gathering, quite exclusive you
understand, later on. At my place. I’d
like you to come. (beat) Quick. Show me
your hand.
THERESE
You a fortune teller?
GENEVIEVE
I’m a fortune giver.
GENEVIEVE (cont’d)
So you don’t forget where I live.
And GENEVIEVE’S off. THERESE watches her make her way to the
door.
CUT TO:
CUT TO:
CUT TO:
JERRY RIX
Given the seriousness of the charges and
the incontestability of the evidence, my
client has every reason to expect a
favorable outcome.
FRED HAYMES
Not so fast, Jerry. My client’s
psychotherapist is perfectly satisfied that
she’s... beyond... the events of the winter
and is more than capable of caring for her
child. She’s had no contact with Therese
Belivet in three months. We have the sworn
depositions of two Saddlebrook Institute
psychiatrists which clearly state that, in
their opinions, a series of events,
precipitated by my client’s husband, drove
her to suffer an emotional crisis. Which in
turn led to her-- aberrant behavior.
HARGE
(looks to his lawyer for help)
This is ridiculous.
FRED HAYMES
Furthermore, given the nature of how Tommy
Tucker got those tapes, we’re confident we
can exclude--
CAROL
(interrupts him)
Fred-- please. Don’t-- may I speak?
CAROL (cont’d)
I won’t deny the truth of what’s
contained in those tapes.
FRED HAYMES
(signals to the STENOGRAPHER)
This is off the record, honey.
CAROL
Might as well be on the record.
FRED HAYMES
Let’s take a break, folks and resume when
I’ve had a moment to confer with--
CAROL
No, Fred. Let me have my say. Because if
you don’t... if you stop me... I won’t...
be able... to cope...
CUT TO:
CUT TO:
CUT TO:
CLERK
Hand delivered. Fancy.
CUT TO:
THERESE at her cubicle. The open note on her desk. She picks
up the note holds it for a moment before crumpling it up and
tossing it into a desk drawer. She returns to her work-- some
typing of labels. Stops. Swivels round in her chair, opens
the drawer, removes the note... folds it up carefully, puts
it in her pocket.
CUT TO:
160 INT. RITZ TOWER HOTEL. BAR/LOUNGE PHONE BOOTH. EARLY EVENING. 160
CAROL replaces the receiver onto its hook. A beat as she sits
in the booth, before she digs into her purse, retrieves a
111.
CUT TO:
THERESE and CAROL at the table. A cup of tea set out near
THERESE.
CAROL
I wasn’t sure you’d come. It’s nice of
you to see me.
THERESE
Don’t say that.
Silence.
CAROL
Do you hate me, Therese?
THERESE
No. How could I hate you?
CAROL
I suppose you could. Didn’t you? For a
while?
CAROL (cont’d)
Abby tells me you’re thriving. You’ve no
idea how pleased I am for you. (beat) You
look very fine, you know. As if you’ve
suddenly blossomed. Is that what comes of
getting away from me?
THERESE
(answers quickly)
No.
THERESE (cont’d)
What are you thinking about?
112.
CAROL
Of that day. In the doll department.
THERESE
I’ve always wanted to know... why did you
come over to me?
CAROL
Because you were the only girl not busy
as hell.
CAROL (cont’d)
Disappointed?
THERESE
No.
Silence.
CAROL
Harge and I are selling the house. I’ve
taken an apartment on Madison Avenue. And
a job, believe it or not. I’m going to
work for a furniture house on Fourth
Avenue as a buyer. Some of my ancestors
must have been carpenters.
THERESE
Have you seen Rindy?
CAROL
(after a beat)
Once or twice. And today, at the lawyer’s
office. She sat on my lap and... I...
Rindy’s going to live with Harge. For
now. But not forever. It’s... the right
thing. For now.
CAROL can’t quite cover the pain of this... but she tries.
CAROL (cont’d)
Anyway, the apartment’s a nice big one--
big enough for two. I was hoping you
might like to come and live with me, but
I guess you won’t. (beat) Would you?
A held breath...
113.
THERESE
No. I don’t think so.
CAROL
That’s... your decision.
THERESE
Yes.
A silence.
CAROL
I’m meeting some people from the
furniture house at the Oak Room at nine.
If you want to have dinner... if you
change your mind... I think-- you’d like
them. (beat) Well. That’s that.
CAROL (cont’d)
I love you.
And the moment is gone. THERESE looks up, turns towards the
source of the greeting.
CUT TO:
It’s a smiling JACK TAFT, halfway across the room, near the
bar.
BACK TO:
THERESE watches JACK sees him make his way over to her. She
gives CAROL a quick look-- CAROL, staring down at the table,
not knowing what to do, vulnerable... THERESE rises to greet
JACK.
THERESE
Jack.
JACK
Gee but it’s great to see you. It’s been,
well, months.
114.
THERESE
At least.
THERESE (cont’d)
Jack, this is Carol Aird.
JACK
Pleased to meet you.
CAROL
Likewise.
JACK
Listen, Therese, Ted Gray’s meeting me
here and a bunch of us are going down to
Phil’s place for the party.
THERESE
I’m going, too.
JACK
You need a ride? Let’s catch a cab
together.
THERESE
Well I might... I had planned to get
there a little later.
CAROL
You know, I should make a few calls
before dinner, anyway. You go on,
Therese.
THERESE
(to CAROL)
Well, it would be great to catch a ride.
If you don’t mind.
CAROL
It’s-- fine. Really. You go on, Therese.
THERESE watches CAROL finish her tea and put out her
cigarette. CAROL gathers her things, rises. JACK beams:
that’s settled.
115.
CAROL (cont’d)
You two have a wonderful night.
JACK
Lemme see where Ted’s got to. Back in a
flash.
CUT TO:
CUT TO:
CUT TO:
WAITER
Do you have a reservation?
THERESE
I’m looking for someone.
WAITER
There is a dress code here, miss. I’m
afraid you don’t--
THERESE
(interrupts)
I have to find her. I won’t lose her again.
She moves away from the WAITER and scans the crowded room.
Nothing. Then, out of the corner of her eye, almost
imperceptible at first, at a table towards the rear of the room,
she sees a woman’s blonde head thrown back in laughter; the
woman seems to be encapsulated in or protected by a haze of
light and smoke-- it’s CAROL. CAROL as THERESE has always seen
her and as she will see her evermore: in slow motion, like a
dream or a single, pure moment of happiness, substantial yet
elusive, her reason for living. She moves towards her. CAROL
raises a wine glass to her lips and as she does so, she turns
slightly to see THERESE moving through the room towards her...
THERESE moves steadily through the crowd. THERESE holds out a
hand-- a lifeline-- to CAROL. THERESE is almost with her. CAROL
holds out her hand to THERESE. Their fingertips almost touch.
THE END.