CAROL Script

CAROL
By PHYLLIS NAGY
Adapted from the novel by PATRICIA HIGHSMITH
FIFTH DRAFT- REVISED & CORRECTED b
OCTOBER 2, 2013
1 EXT. NYC SUBWAY STATION. APRIL 1953. NIGHT. 1
JACK TAFT, 20s, emerges from the LEXINGTON and 59TH ST

STATION. He’s energized for a night out, in contrast to the
COMMUTERS around him who are winding down from a day at work.
JACK buys an evening paper from a nearby stand and makes his
way downtown across 59th Street.
CUT TO:
2 EXT./INT. RITZ TOWER HOTEL. NIGHT. 2
JACK enters the hotel and we follow him as he walks through

the lobby to the bar. The bar isn’t too busy-- JACK pulls up
a stool. JACK and the BARTENDER nod greetings to each other;
JACK has clearly been here before. JACK tosses the BARTENDER
the newspaper. The BARTENDER points to a bottle of Dewar’s.
JACK gives him a thumbs up and scans the cocktail lounge
adjacent to the bar-- not much activity in there, either: a
FEW TABLES OF BUSINESSMEN getting drunk, and ELDERLY COUPLE,
TWO WOMEN tucked away in a corner table, but JACK doesn’t
take any of them in. He’s antsy. JACK checks his watch. The
BARTENDER sets down a neat Dewar’s for him.
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.
JACK gets up.
CUT TO:
3 INT. RITZ TOWER HOTEL. BAR/LOUNGE. NIGHT. 3
JACK makes his way through the lounge on his way to a

telephone booth. As he makes his way across the lounge, he
takes a long look at the TWO WOMEN tucked away at the corner
table deep in conversation, and realizes he knows one of
them. He breaks into a big smile, calls out:
JACK
Hey Therese- long time no see!
2.
THERESE, the younger of the women, turns to look at JACK. It

seems to take her a moment or two before she recognizes him
and. JACK walks towards the table.
CUT TO:
4 INT. LOUNGE. NIGHT. CONTINUOUS. 4
At the table, THERESE BELIVET stands to greet JACK. They hug.
THERESE
Jack.
JACK
Gee but it’s great to see you, Therese.
It’s been, well, months.
THERESE
At least.
The OTHER WOMAN at the table lights a cigarette. THERESE

glances at her, and they hold a look for a moment before
THERESE remembers her manners.
THERESE (cont’d)
Jack, this is Carol Aird.
JACK holds out his hand. CAROL shakes it.
JACK
Pleased to meet you.
CAROL
Likewise.
CAROL retreats back to her own thoughts, smokes.
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 and CAROL exchange a quick look.
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 takes a step towards THERESE as if to perhaps embrace

her, but doesn’t.
CAROL (cont’d)
You two have a wonderful night.
And she’s gone. THERESE doesn’t move, doesn’t turn around to

watch CAROL leave.
JACK
Lemme call Ted, see where he’s got to.
Back in a flash.
And JACK’S off to the phone booth. A beat, before THERESE

turns around. She scans the bar and beyond for CAROL, but
she’s not there.
CUT TO:
5 INT. LADIES ROOM. RITZ TOWER HOTEL. NIGHT. 5
THERESE at a sink. The water is running. THERESE watches the

water run into the sink and drain. She takes some deep
breaths- but it’s no help in warding off the dry heaves. She
bows her head towards the sink, splashes some water on her
face, her neck.
CUT TO:
6 INT. RITZ TOWER HOTEL. BAR/LOUNGE. NIGHT. 6
JACK stands where he left THERESE. She’s nowhere in sight.

Just as he’s about to leave, he feels a hand on his arm. He
turns, it’s THERESE, more composed. She attempts a smile.
4.
JACK
Hey, I thought you ditched me.
CUT TO:
7 INT./EXT. NYC TAXI CAB. NIGHT. 7
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...
CAROL AIRD, for just a moment, seen from a distance, in

winter coat, with a green silk scarf tied loosely around her
head and neck, stood in front of a toy train in a department
store. She turns towards something or someone and smiles...
and then she’s gone as we...
CUT TO:
8 INT. THERESE’S APARTMENT. EAST 50’S. DECEMBER 1952. MORNING. 8
Barely discernible figure of THERESE BELIVET asleep on a

single bed, buried beneath blankets. An alarm clock erupts,
shrill and startling. THERESE doesn’t stir. The alarm
continues, insistent. Finally, THERESE, in one skilled
manoeuver, pushes herself up and out of bed, still cocooned
within the blankets. She finds the alarm clock and shuts it
off. She looks at the alarm clock. It’s 7.00 A.M. She sets
down the clock. THERESE moves through her morning rituals:
she throws open her window shades, moves on to a small gas
stove, strikes a match and lights the stove to take the chill
off, moves on to the kitchen sink set in one corner of the
room, which functions as a combination sink and partial home
darkroom-- developer and fixer trays stacked to the side of
the sink, an Argus C3 camera from the late 1930s set on a
shelf above the sink, along with a collection of red or amber
light bulbs that THERESE swaps out of the main light fixture
above the sink when she needs to develop photos. The room is
sparsely but neatly furnished, and much of the wall space is
taken up with THERESE’S black and white photos, mostly NY
City street scenes and landscapes. THERESE turns on a tap,
finds a toothbrush, brushes her teeth. THERESE’S doorbell
5.
rings. Once. Twice. Three times. She sheds her blankets and
goes to the window, opens it, leans out.
CUT TO:
9 EXT. THERESE’S APARTMENT BUILDING. CONTINUOUS. 9
THERESE’S boyfriend, RICHARD SEMCO, looks up at her from the

street. He’s well-bundled in scarves and hat against the
cold. He stands striding a bicycle. RICHARD rings his bicycle
bell, puts his hand over his heart.
RICHARD
I don’t know how you look a million bucks
first thing in the morning. Be still my
heart.
RICHARD blows her a kiss.
THERESE
I won’t be a minute.
CUT TO:
10 EXT. CENTRAL PARK. NY CITY. MORNING. 10
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.
RICHARD accelerates. THERESE laughs, holds on tighter.

RICHARD begins to sing: “I love Paris in the... summer-time!”
as they speed away.
CUT TO:
11 EXT. FRANKENBERG’S DEPARTMENT STORE. MORNING. 11
Outside the employee’s entrance, RICHARD and THERESE stand in

a longish line of MOSTLY YOUNG STAFF waiting to begin their
work day. Everyone looks exactly the same: a lot cold, a
little Soviet-factory-worker glum. A SECURITY GUARD opens the
6.
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.
THERESE takes her cap, doesn’t put it on, moves inside.
CUT TO:
12 INT. FRANKENBERG’S. EMPLOYEE CAFETERIA. MORNING. 12
From a table in the corner, THERESE sips at a cup of coffee

and watches a sea of Santa-capped and uniform-smocked STAFF
move wordlessly along the breakfast line, accepting gooey
eggs and cups of coffee. THERESE looks down at a
Frankenberg’s employee handbook. We glimpse bits and pieces
of information as she struggles to read through it: “...2
weeks vacation after 5 years, 4 weeks vacation after 15
years....” “... full pension, benefits...” It’s too
depressing to take in. THERESE slips the handbook back into
her purse and removes a copy of Joyce’s “Portrait of the
Artist as a Young Man.” She settles into reading this just as
ROBERTA WALLS, an officious supervisor in bright red
harlequin glasses, swoops by THERESE. She places a Santa cap
firmly onto THERESE’S head as she moves on by.
ROBERTA WALLS
You’re needed upstairs, Miss Belivet.
Make it snappy.
CUT TO:
13 INT. FRANKENBERG’S. DOLL STOCK ROOM. MORNING. 13
THERESE, surrounded by rows of identical Christmas dolls, counts

stock. THERESE watches a very middle-aged, wheezing employee,
RUBY ROBICHEK, struggle with carrying seven or eight large boxes
across the stock room floor. RUBY can’t see in front of her, and
THERESE, anticipating disaster, leaps up to help RUBY, and in
doing so, she slips on a bit of ribbon and slides right into the
edge of a cabinet, cutting her calf. It looks like a nasty cut,
and THERESE instinctively takes off her Santa cap and uses it to
try to stop the bleeding. RUBY turns towards THERESE and as she
does, the doll boxes tumble out of her arms and onto the floor.
CUT TO:
7.
14 INT. FRANKENBERG’S. EMPLOYEE LOCKER ROOM. MORNING. 14
RUBY helps THERESE bandage up her cut. She’s making a mess of

it, though, with far too much tape and what looks like bits of
sanitary napkin substituted for gauze so that THERESE’S leg
looks lumpen, misshapen.
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:
15 INT. FRANKENBERG'S. TOY DEPARTMENT. MORNING. 15
Just before opening. A surreal calm and silence. THERESE, in

Santa cap, and makeshift bandage, stands beside an elaborate
model train set. She flips a switch and the train set comes
to life-- the tiny lights, the tinny whir of the engine as
the train chugs its way along the track. A LOUD BUZZER
sounds. Behind THERESE, we can see the analogue lift
indicator start to move: 5th floor, 4th floor, 3rd floor...
as the lift descends to accept its first load of daily
customers. We hear a DEPARTMENT STORE ANNOUNCER speak over an
intercom system throughout this.
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:
16 INT. FRANKENBERG’S. DOLL DEPARTMENT. LATE MORNING. 16
THERESE sits behind a display case full of dolls. She tries

to make herself invisible while she surreptitiously reads her
book. The department is full of MOTHERS buying Christmas
gifts for their children. THERESE’S reading is interrupted by
a SHARP WAILING. She looks up to see a TODDLER throwing a
tantrum and an EMBARRASSED MOM trying to get the situation
under control. Just then, ROBERTA WALLS bustles through the
department, sees THERESE, points to THERESE’S head- where’s
the Santa cap? ROBERTA WALLS seems to say without saying it.
THERESE hurriedly stashes her book into her handbag and pulls
out the cap. Some of the white snowy fringe of the cap has
blood on it, and THERESE tries to hide it as she arranges it
on her head. ROBERTA WALLS, satisfied, nods to THERESE and
moves on.
THERESE settles back down, bored. A CUSTOMER looks

expectantly to THERESE; THERESE pretends she doesn’t see the
CUSTOMER and ducks down to her handbag to retrieve her book.
She looks up above the desk to see where the CUSTOMER went
and instead spies a glance of another woman- a woman whose
green silk scarf tied loosely around her neck and head
catches THERESE’S attention. This WOMAN appears to be the
only customer surrounded by no one or nothing else. This is
CAROL AIRD. CAROL bends down to examine the train set, and
inadvertently toggles the on/off switch-- the train shuts
down. CAROL stands up, turns around towards the doll
department, smiling, as if asking for help... THERESE meets
CAROL’S eyes for a split second- and they hold a look...
until the EMBARRASSED MOM and the screaming TODDLER appear in
front of THERESE, blocking THERESE’S view of anything else.
EMBARRASSED MOM
Where’s the ladies room, honey?
THERESE
To the left, past men’s shoes, and hang a
right at the tie racks.
EMBARRASSED MOM nods her thanks and hoists TODDLER away.

THERESE looks for CAROL, but she’s no longer there, the train
set back on, and being admired by several sets of FATHERS and
SONS.
CUT TO:
9.
17 INT. FRANKENBERG’S. DOLL DESK. LATE MORNING. 17
Behind and below the desk, THERESE checks on her bandage. It

looks awful- and a bit of dried blood pokes through the gauze.
As she rises, she sees a pair of black leather gloves tossed
onto the desk. THERESE looks up to see CAROL stood before her, a
half-smile playing against CAROL’S lips. THERESE can’t stop
staring at her- at her well-tailored suit, her blonde hair, her
green silk scarf. She’s breathtaking.
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.
CAROL (CONT'D) (cont’d)

I wonder if you might help me find this
doll for my daughter.
THERESE reads 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.
Throughout THERESE’S following speech, CAROL rummages around her

purse to find an expensive cigarette case and lighter.
THERESE
We have plenty of other dolls. All kinds
of... dolls...
THERESE is feeling tongue-tied. CAROL looks up at her.
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.
CAROL raises a cigarette to her lips, begins to light it,

THERESE interrupts.
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 laughs. A spontaneous, genuine response to THERESE’S

remark.
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?
THERESE looks up, clocks CAROL watching her, looks down. A

bit of an awkward moment that CAROL rescues:
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 realizes that she’s become a bit carried away by her

enthusiasm for the train set, notices that CAROL’S been watching
her all the while...
THERESE (cont’d)
I think you’ve already seen it. Over there,
by the elevators. I would show you more of
it, but...
THERESE glances down at her bandaged leg. It’s embarrassing.
THERESE (cont’d)
I’m sort of confined. To this desk.
THERESE points towards the train set. CAROL turns to look at it

for a long moment. THERESE watches her every move.
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.
They stand there, nodding at each other for a moment.
CAROL (cont’d)
Shall I pay now?
THERESE
Oh-- yes, of course.
THERESE begins writing out a sales slip. CAROL watches her

write in the amount. THERESE slides the sales slip over to
CAROL with a pen. A pause-- does THERESE detect a slight hint
of sadness in CAROL? Or is it-- what is it? They look at each
other for a brief moment before THERESE speaks.
THERESE (cont’d)
I need your account details. And your
shipping address.
12.
CAROL writes down her details as she speaks.
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 finishes, looks up to THERESE, flashes a bright smile.

THERESE doesn’t quite follow her, but she doesn’t want CAROL
to stop talking.
CAROL (cont'd)
Done.
CAROL hands the pen and sales slip back to THERESE.
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.
And just as suddenly as she appeared, CAROL’S gone. THERESE

watches her go off past the train set and elevators. She stands
on tip-toe to see CAROL, but it’s no good. She’s gone. For a
moment THERESE watches as the empty spaces left behind by CAROL
are filled by shoppers and staff. She looks down at the doll
desk and sees that CAROL has left her gloves behind.
CUT TO:
18 INT./EXT. TAXI. NEW YORK CITY. NIGHT. FLASH-FORWARD, APRIL 18

1953
THERESE stares out the window, still wrapped up in her memory

of CAROL at the doll desk, those gloves... the taxi pulls up
to a brownstone, and THERESE’S reverie is broken- JACK and
13.
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.
THERESE looks up-- she stares at PHIL.
PHIL (cont’d)
Okay, it hasn’t been that long since
you’ve seen me. Say hello!
THERESE
Sorry. I was-- elsewhere.
DANNIE, PHIL’S brother, leans out of the window next to PHIL.
DANNIE
Well you’re here, now, right?
THERESE
You better have saved me a beer.
Someone rings THERESE and the others in. It makes an annoying

sound- a buzzing sound that makes THERESE frown, and as she
moves up the stairs and into the building, we...
CUT TO:
19 INT. FRANKENBERG’S. EMPLOYEE LOCKER ROOM. EVENING. 19
We hear the BUZZER indicating that the store is now closed. It

goes on and on... THERESE at her open locker. She takes off her
Frankenberg’s smock and puts on a pair of dark tights that she’s
just bought, to cover up her bandage. It does the trick. She
puts on her coat, scarf, etc. The inside of her locker door is
decorated with lots of photographs THERESE has taken, and two
smaller photographs: THERESE and RICHARD stood before the Coney
Island Ferris wheel and another of RICHARD flanked by his
parents. THERESE holds CAROL’S gloves, trying to figure out what
to do with them. She puts them into her handbag. The BUZZING
finally stops. THERESE lets out a breath- thank God for that.
She removes a makeup mirror from the locker and checks herself
in it. In the mirror she can see RUBY ROBICHEK at her locker
across the room. RUBY sits on the bench in front of her locker
pulling on some winter boots with great difficulty. THERESE
avoids making any eye contact with RUBY, quickly dabs on some
powder, puts the mirror back and shuts her locker.
CUT TO:
14.
20 INT. CINEMA PROJECTION ROOM. NIGHT. 20
THERESE, RICHARD, PHIL and DANNIE McELROY crowded together in

the small dark space. THERESE sits on RICHARD’S lap. PHIL
McELROY is the film projectionist. His brother, DANNIE, sits as
close as he can to the modest glass panel through which the
inhabitants of the projection room can see the movie screen. The
film is Sunset Boulevard. The scene is Norma Desmond’s New
Year’s Eve party for two when she dances with Joe Gillis on the
marble ballroom floor built for Valentino. RICHARD isn’t really
watching the film. He’s happier kissing THERESE’S neck. THERESE
is fascinated by DANNIE, who watches the film intently and jots
down notes every once in a while in a small notebook. PHIL slaps
the back of DANNIE’S head.
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.
DANNIE, embarrassed, moves slightly away from the glass. But he

still watches, still jots notes. THERESE watches him.
CUT TO:
21 INT. GREENWICH VILLAGE BAR. NIGHT. 21
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.
RICHARD and PHIL feign awe.
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 rolls his eyes.
PHIL
Everybody’s a writer....
DANNIE tries to blend into the woodwork. He catches THERESE’S

eye. She smiles at him. He appreciates it.
16.
PHIL (cont’d)
Say, Therese- before I get too drunk to
remember....
PHIL digs into a large messenger bag, pulls out a small

homemade photo enlarger: it looks like parts of a magnifying
glass attached to a gooseneck lamp arm, all of it
precariously attached to a piece of plywood. But to THERESE,
it’s the most welcome sight in the world.
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.
RICHARD and PHIL laugh, toast, drink. THERESE isn’t amused.

DANNIE clocks this.
CUT TO:
22 EXT. THIRD AVENUE. NIGHT. 22
THERESE walks with DANNIE. THERESE cradles her new enlarger in

her arms. RICHARD and PHIL, now very drunk and rowdy, walk
slightly ahead of them. RICHARD guides his bicycle unsteadily
along the pavement. RICHARD and PHIL pore over shipping
17.
brochures and schedules. RICHARD turns around to speak to

THERESE. He walks unsteadily backwards, has trouble guiding the
bicycle.
RICHARD
July 5th. The President Taylor departs
for France. Me, you. Be there or be
square.
THERESE
Richard, be careful!
But she’s not in time to save RICHARD from backing into a

lamppost. He falls down, the bicycle topples down on top of
him. PHIL attempts to help but tumbles onto RICHARD, and they
both dissolve into a fit of drunken laughter.
DANNIE
(to THERESE)
Europe. I’ve never been. You’re lucky.
THERESE
Am I?
A beat, as they watch PHIL and RICHARD make a meal of getting

up.
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.
And they’ve forgotten all about RICHARD and PHIL...
CUT TO:
23 INT. THERESE’S APARTMENT. LATE NIGHT. 23
THERESE and RICHARD lie together side by side in bed. THERESE is

fully clothed. RICHARD wears a vest and boxer shorts. They are
18.
engaged in a pretty passionate embrace. RICHARD starts to

unbutton THERESE’S blouse. She stops him, gently. He rolls on
top of her. Again, she stops him. RICHARD rolls off THERESE,
sits up. He takes her into his arms, kisses her nose.
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 lets go of THERESE’S hand and leans back, closes his

eyes. He lets out a low moan. THERESE watches RICHARD
intently the whole time, as if he’s some kind of experiment.
As if the act of giving him a hand job, though not at all
unpleasant, is something in which she’s not an active
participant. RICHARD’S breathing becomes shallow. He tenses
up and comes.
RICHARD
(as he comes)
I love you, Terry.
RICHARD relaxes. THERESE pulls her hand out of RICHARD’S shorts.

She looks down at the semen on her hand. RICHARD sits up, takes
off his vest, switches off the light.
RICHARD (cont’d)
Jesus, Terry, you shouldn’t look at it.
RICHARD laughs, wipes THERESE’S hand with his vest. THERESE

laughs, too. RICHARD throws the vest onto the floor and leans
19.
forward, kisses THERESE deeply, tenderly. THERESE pulls away

suddenly.
THERESE
I forgot your aspirin.
THERESE plants a quick kiss on his forehead, jumps out of bed

and runs to the bathroom. RICHARD, exhausted and happy, falls
back onto the bed.
CUT TO:
24 THERESE’S APARTMENT. LATE NIGHT. 24
RICHARD is asleep. THERESE sits at her small kitchen table. We

can see that PHIL’S home made enlarger has taken pride of place
on THERESE’S sink board. THERESE holds CAROL’S gloves and the
sales slip from Frankenberg’s with CAROL’S name, address and
signature neatly written on it. She considers the slip for a
moment before propping it up against a salt shaker with the
gloves. She draws her knees into her chest and rocks herself to
and fro. She watches RICHARD sleep.
CUT TO:
25 EXT. THERESE’S STREET. LATE NIGHT. 25
THERESE in front of a postbox. There’s not a soul about in the

cold night. THERESE wears a coat over her night clothes. She
looks at a small package addressed to “Mrs. H. Aird” for a
moment before dropping it into the postbox. She looks up at her
window, perhaps expecting RICHARD to catch her outside at this
hour? THERESE is seized by a chill as she runs up the stoop to
her building.
CUT TO:
26 EXT. SUBURBAN NEW JERSEY STREET. LATE MORNING. 26
A MAILMAN pulls up to a house, grabs a handful of mail, jumps

down and begins walking up a driveway.
CUT TO:
27 INT. CAROL’S HOUSE. LATE MORNING. 27
FLORENCE, CAROL’S housekeeper, mops the entrance foyer. Mail

is dropped through the letter slot. She picks it up, places
it on a small table, goes back to her work. On top of the
pile of mail is THERESE’S package to CAROL.
CUT TO:
20.
CAROL and her daughter RINDY in CAROL’S bedroom. RINDY is sat on

CAROL’S lap. They sit at CAROL’S vanity. CAROL brushes her
daughter’s hair. RINDY counts the brush strokes.
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, CAROL’S husband, appears in the bedroom doorway. He

carries the pile of mail.
HARGE
(to RINDY)
Hiya, sunshine.
CAROL looks up. She sees HARGE reflected in the vanity

mirror. RINDY turns, sees him, is delighted, jumps down from
her mother’s lap, runs to him.
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.
He puts RINDY down. Catches sight of CAROL staring at him. He

puts the mail down onto the vanity.
CUT TO:
CAROL, HARGE and RINDY in the kitchen. RINDY sits on HARGE’S

lap. She’s using crayons to draw a picture. CAROL hands her
crayons as she needs them. FLORENCE prepares a hot meal in the
background.
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.
CAROL checks RINDY’S drawing, slides another color over to

her. As she does, HARGE slides a hand over CAROL’S.
HARGE
I’d like you to be there.
CAROL looks at HARGE’S hand on hers. She looks up at him.
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:
30 INT. FRANKENBERG’S DEPARTMENT STORE. DAY. 30
The shipping department. THERESE waits her turn in a long line

at a window behind which stands a SHIPPING CLERK. She steps up
to the window.
THERESE
Hi. Could you trace a shipment?
She hands the SHIPPING CLERK a copy of an order. The SHIPPING

CLERK looks at the order, then sorts through a large file of
shipping mandates. The CLERK doesn’t pay attention to THERESE
while she speaks the following:
THERESE (CONT’D) (cont’d)

I told this customer it would get to her by
Christmas Eve. I mean, it probably will.
Plenty of time before then. Or maybe I
shouldn’t have told her it would be, but--
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:
31 INT. CAROL’S HOUSE. DUSK. 31
CAROL’S bedroom. She sits before her dressing table brushing out
her hair. A lit cigarette burns down in an ashtray on the
23.
dressing table. A tumbler of scotch on the rocks rests beside

the ashtray. The house is very quiet. We can see through the
mirror that on the floor behind CAROL sits a fully assembled
train set. CAROL finishes brushing out her hair, puts down the
brush. In her lap, she holds the gloves she’d left at
Frankenberg’s and a note from THERESE. She takes a drag of the
cigarette and reads the note again. It says: “Salutations from
Frankenberg’s Department Store. Employee 645-A.” She puts the
note on the dressing table. She takes a long drag of her
cigarette, sets it down into an ashtray, picks up the letter and
crumples it up, tosses it into a small waste paper bin beside
the table. She picks up the gloves, begins to put them on,
stops. She puts the gloves down onto the table, reaches into the
waste bin, retrieves the note, smooths it open, reads it again,
puts it down onto the table. She takes another drag on the
cigarette and, keeping the cigarette between her lips, puts on
the black leather gloves. She looks at herself in the mirror for
a moment before taking a sip of scotch and another drag on the
cigarette.
CUT TO:
32 INT. FRANKENBERG’S. DOLL DESK. THE NEXT DAY. LATE AFTERNOON. 32
THERESE at her desk is being exhausted by a PICKY FEMALE

CUSTOMER. A score of open doll boxes and dolls are sprawled
across the desk. ROBERTA WALLS appears, as always, as if from
nowhere. She crooks a finger at THERESE.
ROBERTA WALLS
Miss Belivet. Mr Logan’s office. Now.
THERESE wonders what she’s done now as ROBERTA WALLS snaps

her fingers for another SALES CLERK to take over from
THERESE.
CUT TO:
33 INT. FRANKENBERG’S. ASSISTANT MANAGERS’S OFFICE. CONTINUOUS. 33
MR. LOGAN, an assistant manager, and ROBERTA WALLS, hover

over THERESE. She hesitates, then picks up a phone.
THERESE
Hello?
CUT TO:
34 INT. CAROL’S HOUSE. LATE AFTERNOON. 34
CAROL in the kitchen on the phone to THERESE. CAROL cooks dinner

as she speaks-- it’s a way to get through making a phone call
which makes her slightly shy, though she can’t or won’t yet
24.
identify the reason for her shyness. A radio is tuned in to some

big band music.
CAROL
So it was it you.
CUT TO:
35 INT. FRANKENBERG’S. PERSONNEL OFFICE. LATE AFTERNOON. 35
THERESE on the phone. LOGAN and WALLS stony-faced and staring.

It’s awkward for THERESE to talk with these two at either
shoulder.
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.
CAROL (CONT’D) (cont’d)

No. I mean to say-- do you get a lunch hour
there? Let me take you to lunch. It’s the
least I can do.
CUT TO:
37 INT. FRANKENBERG’S. PERSONNEL OFFICE. LATE AFTERNOON. 37
As before. THERESE blinks. Hard. She holds a long breath before

replying, mindful of her bosses attuned to her every word.
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.
38 INT. RESTAURANT. FRIDAY. DAY. 38
CAROL and THERESE at a quiet table. Red and white checked

tablecloth, lighted candle stuck in a chianti bottle. A WAITER
hovers while CAROL studies her menu. THERESE hasn’t even picked
up her menu. She’s so still, she might not be there. But her
eyes are quick and alert, taking in everything about CAROL from
the way a delicate gold bracelet falls against her wrist as she
turns the menu pages to the way CAROL’S fingers grip the water
glass.
CAROL looks up to the WAITER.
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.
The WAITER nods, goes off. CAROL clocks all of THERESE’S

shyness, her hesitation. THERESE not wanting to stare at
CAROL, now picks up her menu and thumbs through it.
CAROL
Cigarette?
CAROL offers THERESE a cigarette from her exquisite silver case.

THERESE notices that CAROL’S hands are lovely and smooth, her
fingernails exquisitely manicured, in contrast to THERESE’S own
nails, which are neat but home manicured. THERESE takes a
cigarette from the case. CAROL lights THERESE’S cigarette. They
smoke for a few moments in silence, all the while THERESE taking
in the way CAROL inhales deeply, holds the smoke and arches her
neck slightly up to exhale.
The WAITER reappears with their drinks, sets them down,

leaves. CAROL picks up her glass, toasts.
CAROL (cont’d)
Cheers.
THERESE picks up her glass, toasts.

26.
THERESE
Cheers.
CAROL sips at her martini. THERESE watches her for a moment,

then downs half her own drink. She draws a deep breath, sets
her glass down. The potency of the drink catches her by
surprise, but she’s not going to reveal that to CAROL. CAROL
clocks this, smiles.
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 watches as CAROL massages the back of her neck for a

moment.
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.
THERESE doesn’t know what to say. CAROL smiles, changes the

subject.
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.
CAROL looks up at THERESE, raised eyebrow smile.
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 nods, almost looks past THERESE- what is she thinking

about? Suddenly it seems to THERESE that CAROL’S mood has
somehow darkened.
The WAITER appears with their food. He sets their plates

down. CAROL picks up her silverware, the cloud seemingly
past.
CAROL
I’m starved. Bon appetit.
CAROL eats. THERESE watches her eat, almost has to force

herself to pick up her fork and knife to eat. But she does.
CAROL looks up at her for a moment:
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?
CAROL waits for THERESE’S answer.
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:
39 EXT. RESTAURANT. DAY. 39
THERESE watches from just outside the restaurant entrance as

CAROL gets in to a convertible across the street. CAROL’S best
friend, ABBY, drives. She and CAROL greet each other with
European-style kisses. THERESE notices that ABBY’S hand lingers
on CAROL’S arm. Then CAROL turns around and waves to THERESE.
THERESE waves back. The convertible takes off. THERESE watches
it disappear into traffic.
CUT TO:
40 INT. ABBY’S CAR. DAY. 40
ABBY drives along Sixth Avenue.
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 and ABBY exchange a brief glance.
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:
41 INT. FRANKENBERG’S. EMPLOYEE LOCKER ROOM. DAY. 41
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:
42 EXT. NEW JERSEY. EARLY EVENING. 42
A well-kept road full of impressive houses. Very understated old

wealth here. ABBY’S convertible pulls up at the end of a
particular driveway-- this is HARGE’S boss’s house. There’s
clearly a party going on inside. Music, laughter. We see well-
dressed GUESTS arriving, valets opening car doors, taking car
keys, etc. ABBY shuts off the engine, turns to CAROL. CAROL’S
mood in the car is in stark contrast to the sounds we hear
coming from the party.
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 leans over towards CAROL, touches her arm.
ABBY
You look fine.
CAROL looks at ABBY.
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 nods. She looks towards the house again, gathers

herself.
31.
CAROL
Here goes nothing.
CUT TO:
43 INT. CY HARRISON’S HOUSE. EARLY EVENING. 43
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.
And he makes his way through the GUESTS to get CAROL.
CUT TO:
44 INT. CY HARRISON’S HOUSE. NIGHT. 44
The party in full-swing. A DANCE BAND plays for the GUESTS.

HARGE and CAROL dance a slow fox-trot. CAROL notices how most of
the other women are dressed-- much more formally than she is
dressed. HARGE clocks this. He draws her closer to him.
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.
45 INT. CY HARRISON’S HOUSE. NIGHT. 45
Dinner. A room set up with tables to accommodate all the GUESTS.

WAITERS hover, the DANCE BAND can still be heard from another
room. CAROL, HARGE, CY, JEANETTE, JENNIFER and JOHN sit at a
table.
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 exchanges a brief look with HARGE before answering.
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.
Another awkward pause. JENNIFER and the others resume eating.

JEANETTE and CAROL exchange an oh-brother look...
CUT TO:
33.
46 EXT. CY HARRISON’S HOUSE. EVENING. 46
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 takes another look inside the party.
CAROL (cont’d)
(watching the dancing)
But I’m thinking of going away by myself.
At least for a few days.
CUT TO:
47 INT. NEW YORK TIMES. NIGHT. 47
A junior photo editor’s office. THERESE is in heaven. She takes

in everything: the contact sheets dangling from light boards,
the new enlargers, the expensive trays and lenses, a couple of
new cameras-- but mostly it’s the photos themselves that she’s
in awe of. Candids, crime scenes, sports photos, everything that
34.
makes up the visual narrative of a newspaper. DANNIE sits at a

desk and sets up dinner for them. He’s brought it from home--
wrapped sandwiches, bottles of beer. THERESE doesn’t dare touch
anything. DANNIE clocks this.
DANNIE
Nothing will break if you pick it up. You
want a sandwich?
THERESE shakes her head, picks up a contact sheet and a

magnifier, looks at the pictures through the magnifier.
DANNIE watches her.
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.
A pause. THERESE looks through a camera lens at DANNIE. He

looks up at her, she lowers the lens.
THERESE
I don’t-- feel comfortable. Taking
pictures of people. I don’t-- it’s an
invasion of--
DANNIE
Privacy?
THERESE
Yes.
DANNIE opens a beer, holds it out to THERESE. She takes it.
DANNIE
Listen. All of us, we have affinities for
people, right?
THERESE doesn’t answer.

35.
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 grabs a sandwich.
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.
A beat. DANNIE moves to THERESE, takes the beer bottle away

from her, puts it down. He puts his hand on THERESE’S
shoulders.
THERESE
It’s late. I should go.
DANNIE kisses her. THERESE is very still. DANNIE breaks off

the kiss, steps away from her.
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.
THERESE gathers her things together, goes to the door.
DANNIE
Come back tomorrow? The day after?
THERESE
Maybe. I don’t know.
THERESE leaves.
CUT TO:
48 EXT. CAROL’S HOUSE. LATE NIGHT. 48
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 unlocks the door. She opens it, turns to HARGE.
CAROL (cont’d)
I would invite you in for a cup of coffee,
but.
A silence. There’s nothing more to be said about that. CAROL

kisses HARGE’S cheek.
CAROL (cont’d)
Good night, Harge.
She starts to go inside the house. HARGE stops her gently.
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.
She starts to step inside the house.
HARGE
It shouldn’t be like this.
CAROL
I know.
And she quietly shuts the door on HARGE.
CUT TO:
49 INT. CAROL’S HOUSE. NIGHT. 49
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:
CAROL switches on a light. The first thing she sees is the

assembled train set, still on the floor beside her bed. She
switches on the train set and sits on the edge of her bed. She
38.
watches the train begin its slow route along the tracks. She
betrays no emotion.
CUT TO:
51 EXT. FRANKENBERG’S. SEVENTH AVENUE ENTRANCE. EARLY SUNDAY 51

AFTERNOON.
THERESE, in coat, scarf and gloves, waits for CAROL’S car to

pull up outside. RICHARD waits with her.
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.
CAROL pulls up to the kerb.
THERESE
There’s my ride.
RICHARD accompanies THERESE to the car. He opens the door for

her, she gets in, shuts the door, rolls down the window. He
leans down to kiss her.
RICHARD
Eight o’clock?
THERESE
Eight o’clock.
RICHARD looks into the car, holds up a hand in greeting to

CAROL.
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?
CAROL smiles, salutes her assent. THERESE is slightly

embarrassed.
RICHARD leans into the car and touches THERESE’S chin

lightly.
RICHARD (cont’d)
Love you.
But THERESE has already rolled up the window. CAROL drives

away.
CUT TO:
52 INT. CAROL’S CAR. EARLY AFTERNOON. 52
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.
CAROL turns to THERESE for a moment. She frowns, just for a

moment, then the frown turns into a half smile that THERESE
can’t read. CAROL switches on the car radio. Jo Stafford’s
“You Belong to Me” comes on. THERESE leans back in her seat
as they speed through the tunnel, and we...
CUT TO:
53 INT. PHIL’S APARTMENT. NIGHT. FLASH-FORWARD, APRIL 1953 53
... where “You Belong To Me” also plays as several COUPLES

DANCE, among them RICHARD and a PRETTY YOUNG WOMAN. They are
very into each other. THERESE watches them from a hallway
just outside the living room. She drinks a beer. RICHARD
catches sight of THERESE as he spins the PRETTY YOUNG WOMAN
into a dip. And for just a moment, RICHARD tenses as he
stares at THERESE, his smile disappears, and just as
suddenly, he spins his partner up and away from THERESE’S
gaze. THERESE averts her eyes from RICHARD’S, and as she
does, she spots a WOMAN on the opposite side of the living
room who’s clearly cruising her. THERESE holds her gaze for a
few seconds, but she can feel herself blush, and she looks
down. When she looks back up, the WOMAN has disappeared.
THERESE listens to the song and her gaze falls on DANNIE and
his girlfriend LOUISE slow-dancing- they’re barely moving,
but they’re in perfect sync, holding on to each other the way
people do when they’re newly in love.
CUT TO:
54 INT./EXT. CAROL’S CAR. NEW JERSEY. AFTERNOON. 54
At a Christmas tree lot, THERESE sits in the car loading her

camera with film. When she’s done, she watches CAROL pay a
TEENAGED BOY with a bad cold for a Douglas Fir. The TEENAGED BOY
keeps sneezing as he ties up the tree. CAROL offers him tissues
and a big tip. THERESE clocks CAROL’S kindness to the boy.
41.
THERESE gets out of the car. From a distance, she begins to take
pictures of CAROL buying the tree.
CUT TO:
55 INT. CAROL’S CAR. AFTERNOON. 55
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:
56 INT. CAROL’S HOUSE. AFTERNOON. 56
The kitchen. THERESE prepares a tray of tea and cookies. Through

an open door that looks into the living room, THERESE watches
CAROL and RINDY decorate the Christmas tree. They’re almost
finished. CAROL sets up a ladder near the tree.
CAROL
Where’s the star?
RINDY roots around in the pile of ornaments, finds it.
RINDY
This one, Mommy.
CAROL
That’s my girl.
THERESE watches as CAROL ascends the ladder and places the

star at the top of the tree. RINDY is delighted. THERESE is,
too.
42.
O/S FLORENCE
You find everything you need, miss?
THERESE, startled, turns to see FLORENCE standing at the rear

of the kitchen, near a back door.
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.
And FLORENCE picks up the tray, walks through to the living

room.
CUT TO:
The living room. A fire’s been built in the fireplace. CAROL

sits under the tree and does her best to wrap the train set, but
it’s a daunting task. A half-empty bottle of white wine and a
couple of glasses are nearby. THERESE sits at the piano. She’s
improvising, jumps from one bit of a tune to another.
CAROL
You took pictures of me at the tree lot.
Why?
THERESE stops playing. A silence.
THERESE
I’m sorry. I should have asked.
CAROL turns towards THERESE.
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.
THERESE begins to play “Easy Living.” CAROL listens for a

moment, rises, stands behind THERESE at the piano, watches
43.
her play. CAROL begins to massage THERESE’S shoulders.

THERESE tenses up, aware of CAROL’S hands on her- the way
they make her feel like holding her breath.
CAROL
Relax.
She does. She continues the song. CAROL listens.
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.
THERESE finishes the song. A beat. Then, CAROL very gently

kisses the top of THERESE’S head. THERESE closes her eyes.
And then it’s over. CAROL backs away, walks over to a table
by the couch, opens a cigarette box, takes one out, lights
one. She sits on the couch. THERESE watches her.
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.
From outside, the sound of a car pulling into the driveway.

Car door opens and slams. The moment broken, CAROL rises
quickly. She thinks she knows who this might be.
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?
CAROL doesn’t answer. HARGE moves towards her. As he reaches out

to greet CAROL, he sees THERESE at the piano in the living room.
HARGE stops in his tracks. He looks to THERESE, then to CAROL.
CAROL looks away from HARGE. HARGE moves past CAROL down the
hall and into the kitchen. THERESE clocks it all.
CUT TO:
In the living room, THERESE being as quiet and inconspicuous

as she can be while CAROL and HARGE are in the kitchen. The
kitchen door that leads to the living room is cracked open
enough so that THERESE can catch glimpses of CAROL pace to
and fro, smoking, and there are sounds of HARGE repairing a
pipe under the kitchen sink. THERESE listens, wanting to help
but unable to do so... what can she do?
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.
60 INT. CAROL’S HOUSE. THE KITCHEN. CONTINUOUS. 60
SOUND OF DROPPED TOOLS, and HARGE emerges from beneath the

sink. He’s hurt his hand. CAROL goes to help him up. And as
he gets up, he spies THERESE standing at the slightly open
door. He walks over to the door, opens it fully. A silence.
THERESE backs up, slightly.
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.
HARGE sizes THERESE up for a moment before he turns back into

the kitchen, walks past CAROL and exits into the back of the
house to a cloakroom where we hear sounds of his cleaning up.
A moment, before CAROL goes to the living room doorway.
THERESE hasn’t moved.
THERESE
Can I-- do--
CAROL
Just... leave it be.
CAROL gently shuts the door. THERESE is left standing there,

shut out.
CUT TO:
61 EXT. CAROL’S HOUSE. EVENING. 61
The driveway. A UNIFORMED CHAUFFEUR, alert and silent at the

wheel of HARGE’S car. CAROL belts RINDY up in the back seat,
checking to see that RINDY’S got her gloves, scarf, hat, etc.
CAROL wears a thin sweater thrown around her shoulders. It’s
very cold outside. HARGE waits at CAROL’S front door. He smokes
a cigarette. CAROL gives RINDY a big kiss.
46.
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.
RINDY and CAROL hug each other tightly.
CAROL (cont’d)
You’re going to have a wonderful Christmas,
baby. Promise me.
RINDY pulls back from the hug. She has an idea.
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?
RINDY smiles, a bright smile. CAROL hugs RINDY to her, kisses

her eyelids. RINDY can’t see how distressed CAROL is by all of
this. CAROL clocks the CHAUFFEUR watching her through the rear
view mirror. He sees her see him, and quickly looks away.
CUT TO:
62 INT. CAROL’S HOUSE. EVENING. CONTINUOUS 62
The living room. MUSIC PLAYS softly from the phonograph.

THERESE tries to make herself useful by tidying up, and she
can see through the bay window CAROL’S painful parting with
RINDY. She sees HARGE step off of the front porch, stub out
his cigarette, and walk towards CAROL as CAROL shuts the car
door.
CUT TO:
63 EXT. CAROL’S HOUSE. EVENING. CONTINUOUS. 63
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.
He pulls her closer to him, he closes his eyes, tries to

dance with her.
CAROL (cont’d)
I’m very cold, Harge.
CUT TO:
64 INT. CAROL’S HOUSE. EVENING. CONTINUOUS. 64
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 tries to take her hand, she backs away.
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:
THERESE goes to the phonograph, increases the volume

slightly, so that she can hear only the rising and falling of
the voices outside. We stay with her a moment before we go...
BACK TO:
HARGE reaches out to grab CAROL, she backs away. He stumbles,

falls onto his knees. A silence, as he catches his breath.
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 is about to respond, but he suddenly realizes he’s on his

hands and knees, drunk, before CAROL, who is very still and very
silent.
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 at the phonograph-- still, silent. She hears the

front door quietly shut. When she looks up to the living room
doorway, CAROL is there, watching THERESE-- it’s almost as if
CAROL is looking through her, though, and THERESE can’t read
it. A silence. Then CAROL goes to THERESE, looks at her for a
moment, switches off the phonograph. CAROL moves off to pour
herself a drink. THERESE watches her pour out the drink
before she speaks.
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.
A pause. CAROL drinks. THERESE covers her upset.
CAROL (cont’d)
The next train’s at 6.45. I’ll drive you
to the station.
CUT TO:
69 INT. CAROL’S CAR. EVENING. 69
CAROL drives THERESE to the station. There’s no one else on

the road; it’s utterly noiseless. There couldn’t be more
distance between them-- they inhabit separate worlds at this
moment.
CUT TO:
70 INT. TRAIN CAR. EVENING. 70
THERESE sits against a window and watches as CAROL backs out

and pulls away from the station. A group of HOLIDAY REVELERS,
50.
laughing and tipsy, bump against THERESE’S seat as they make

their way through the car. When THERESE turns back to the
window, CAROL’S car is gone. The train starts to move, and
THERESE makes herself as small as she can against the window.
She is crying.
CUT TO:
71 INT. SEMCO APARTMENT. NIGHT. 71
It’s a warm, ramshackle apartment full of overstuffed,

mismatched furniture and bowling trophies. In the kitchen,
RICHARD washes up a pile of dinner plates while MRS. SEMCO sits
at the table with THERESE. She takes a thermometer out of
THERESE’S mouth and holds it up to the light to read it.
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 reads the thermometer for MRS. SEMCO.
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 and THERESE exchange a look. RICHARD’S mother has

embarrassed him.
RICHARD
Ma-- cut it out.
51.
MRS. SEMCO
What? Cut it out what?
MR. SEMCO appears in the kitchen doorway. He wears a bowling

shirt and carries a bowling bag.
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’S even more embarrassed.
RICHARD
Come on, what is this? The Inquisition?
THERESE
(defusing the situation)
Okay-- I’ll eat.
MRS SEMCO beams, pinches THERESE’S cheek.
MRS. SEMCO
That’s my girl!
She prepares THERESE a plate. RICHARD and THERESE exchange a

look. He appreciates her assist.
CUT TO:
72 INT. SEMCO APARTMENT. NIGHT. 72
RICHARD’S ROOM. THERESE and RICHARD sit on his bed. THERESE

holds a wrapped box on her lap.
THERESE
I can’t open this now. It’s days before
Christmas.
RICHARD
But I want you to. (he shrugs) I’m
impatient.
THERESE unwraps and opens the box. Inside are brochures of

France- and two tickets for passage on a ship. The date of
departure: March 1, 1952. A pause.
THERESE
Richard... what is this?
RICHARD beams, takes one of the tickets from THERESE.

52.
RICHARD
Well, that one’s mine. I thought it was
more romantic to wrap ‘em up together.
THERESE stares at the ticket in her hand, picks up one of the

brochures full of pictures of Paris landmarks...
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 looks up at RICHARD.
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.
THERESE just stares at him, unable to say a word.
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.
That hurts THERESE- she covers. A silence. RICHARD knows he’s

spoken out of line. He tries to make it up to her.
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:
73 INT. THERESE’S APARTMENT BUILDING. LATE NIGHT. 73
THERESE arriving home from RICHARD’S. She moves up the stairs

to her apartment with the weight of the world bearing down on
her. As she gets to her front door, the HALL TELEPHONE RINGS.
Once, twice. THERESE answers it, holds it to her ear a beat
before she speaks:
THERESE
Hello?
A door down the hall cracks opens- THERESE’S LANDLADY peers

out towards THERESE.
LANDLADY
Do you know what time it is, Miss
Belivet?
THERESE
I’m sorry, I’m sorry-- it’s for me.
None too pleased, THE LANDLADY goes back inside. THERESE

returns her attention to the phone.
THERESE (cont’d)
Who’s there?
No one answers.
CUT TO:
74 INT. CAROL’S HOUSE. LATE NIGHT. 74
The kitchen. CAROL smokes. She listens to THERESE.
O/S THERESE
Hello?
CAROL exhales.
BACK TO:
75 INT. THERESE AT THE PHONE. LATE NIGHT. CONTINUOUS. 75
And suddenly, THERESE knows who’s on the other end of the

line. She closes her eyes.
54.
THERESE
Carol.
BACK TO:
76 INT. CAROL’S HOUSE. LATE NIGHT. CONTINUOUS. 76
CAROL
(after a beat)
I was-- horrible. Before. Will you
forgive me?
BACK TO:
77 INT. THERESE AT THE PHONE. LATE NIGHT. CONTINUOUS. 77
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:
78 INT. CAROL’S HOUSE. LATE NIGHT. CONTINUOUS. 78
CAROL
(after a beat)
Ask me. Things. Please.
BACK TO:
79 THERESE AT THE PHONE. LATE NIGHT. CONTINUOUS. 79
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:
The party in full swing-- more of a crowd, more LAUGHTER,

boozing. THERESE stands at a window near a SMALL GROUP OF
55.
PEOPLE, including GENEVIEVE CANTRELL, the woman who was

cruising THERESE earlier. THERESE tries to watch GENEVIEVE
without being seen to do it. She’s unsuccessful. GENEVIEVE
approaches THERESE.
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 smiles- touche. THERESE smiles, too, loosening up,

enjoying the flirting.
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.
GENEVIEVE hands THERESE a beer, and they clink in a toast.

THERESE smiles, she enjoys GENEVIEVE’S attention, but she
can’t hold GENEVIEVE’S gaze, something about its boldness
draws her away from the moment, from this party...
CUT TO:
81 INT. FRANKENBERG’S. EMPLOYEE CAFETERIA. TWO DAYS BEFORE 81

CHRISTMAS. DAY.
The employee Christmas party in progress, which consists of the

same old lunch plus Christmas cookies, holiday music and
decorations. THERESE stands next to RUBY ROBICHEK in a long line
of staff. When it’s RUBY’S turn, the SERVER gives RUBY double of
56.
everything in a food box. THERESE notices this, and RUBY sees

her notice it.
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.
RUBY ROBICHEK (cont’d)

I know everything there is to know about
this place. I’ll fill you in.
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 nods. RUBY takes THERESE’S meal and shovels it into

her food box.
RUBY ROBICHEK (cont’d)

You’re a good kid. I can get through two,
three days with this.
THERESE
Merry Christmas, Ruby.
CUT TO:
57.
82 EXT. MIDTOWN MANHATTAN. SAME DAY. 82
From a distance, we see CAROL’S car pulled swiftly into a

parking space in front of the building in which FRED HAYMES
maintains his law offices. CAROL gets out, hurries into the
building.
CUT TO:
83 INT. LAW OFFICES. CONTINUOUS. 83
CAROL strides purposefully through the corridor leading to FRED

HAYMES’ office. She walks right past HAYMES’ SECRETARY and into
FRED’S inner office.
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?
An awkward silence. FRED clears his throat.
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.
A beat. CAROL is stunned. She sits.
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.
FRED HAYMES (cont'd)

One. For the, uh, permanent custody
petition, that is.
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 looks up to FRED, nods.
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 lights a cigarette, looks out of FRED’S window over Sixth

Avenue.
CAROL
A morality clause. (beat) I see.
FRED HAYMES
Do you?
CAROL
Yes. There’s nothing moral about keeping
Rindy from me.
CUT TO:
84 EXT. FIFTH AVENUE. SAME AFTERNOON. 84
CAROL in a daze, devastated, as she walks aimlessly through the

streets, the crowds with places to go, things to do, a holiday
to celebrate-- she’s not one of those people. She pays attention
to none of the city sounds, its vibrancy. She stops at a corner
for a red light, but then steps into the street absentmindedly--
a SHRIEK OF CAR HORN wakes her up and a PEDESTRIAN pulls her
back to the sidewalk.
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:
85 INT. RECORD SHOP. FIFTH AVENUE. SAME LATE AFTERNOON. 85
THERESE flips through the jazz section. She’s looking for

something. She finds it: A Billie Holiday album, with “Easy
Living” prominently displayed on its cover. She removes it from
the rack, starts towards the cash register, when she catches
sight of TWO WOMEN in line to pay. One of them is elegant and
ever so noticeably butch in tailored trousers and jacket over
button-down shirt, short hair, horn-rimmed glasses. The other
wears a tailored woman’s suit, very professional-sleek. These
two are obviously a couple. THERESE slips into the line and
watches them for a moment. The BUTCH WOMAN clocks THERESE
watching her- hold THERESE’S look for a split second before
THERESE quickly looks down.
CUT TO:
86 EXT. RECORD SHOP. EAST 50’S. LATE AFTERNOON. 86
RICHARD waits for THERESE as she exits the record shop. He

hops on his bicycle, pats the seat for her to hop on.
THERESE
I feel like walking. Do you mind?
RICHARD
Your wish is my command.
RICHARD hops off his bike. They walk.
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.
A pause. THERESE attempts to change the subject...
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?
THERESE stops, brooding.
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 nods. They resume walking.
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.
They reach THERESE’S building. RICHARD leans his bike against

a railing, takes THERESE’S hands in his.
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.
THERESE runs up the stairs to her building’s front door, and

is in before RICHARD can say another word.
CUT TO:
87 INT. COCKTAIL BAR. SAME LATE AFTERNOON/EARLY EVENING. 87
ABBY and CAROL. A pitcher of martinis on the table. The brown

two-tone suitcase CAROL saw in the shop rests against the table.
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?
A silence. ABBY has said something she didn’t mean to say.

She looks away from CAROL. CAROL leans in towards her.
CAROL
Abby. Hey.
ABBY Looks at her.
CAROL (cont’d)
We weren’t a disaster. Or a mistake. It
just...
CAROL doesn’t have the words.
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?
They share a naughty smile, thinking about serious redheads.

They toast. ABBY gestures to the suitcase.
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.
CAROL nods her agreement- there’s no denying it.
ABBY (cont’d)
Tell me you know what you’re doing.
CAROL
I probably don’t. But...
65.
And neither of them can deny that...
CUT TO:
88 INT. THERESE’S APARTMENT. SAME NIGHT. 88
THERESE at her kitchen table. CAROL’S Christmas present is

wrapped and on the table. THERESE has showered and changed into
a pretty dress, her prettiest. She’s cleaned up, too. THERESE is
antsy-- she checks the clock on the kitchen wall, does a scan of
the studio to make sure everything is just so. She lets her eye
wander to the newest print on her wall: a photograph she took of
CAROL in the Christmas tree lot. She pops a record onto her
phonograph-- “Because of You,” Tony Bennett. THERESE can’t sit
still-- she hides CAROL’S gift beneath her pillow; she makes
herself a cup of coffee. There’s a KNOCK at the door. Another
KNOCK. THERESE checks her hair and makeup in a mirror and
answers the door. It’s CAROL, the suitcase on the floor beside
her.
CAROL
Your landlady let me in.
CAROL lights a cigarette. THERESE can do nothing but... look

at CAROL, take her in. A pause. THERESE’S gaze falls on to
the suitcase. CAROL pushes it over the threshold with her
foot.
CAROL (cont’d)
Merry Christmas, Therese.
THERESE just stares at the suitcase.
CAROL (cont’d)
Aren’t you going to open it?
THERESE bends down to open the suitcase. Inside is a brand

new camera and plenty of rolls of film.
CUT TO:
89 INT. THERESE’S APARTMENT. SAME NIGHT. 89
CAROL looks at THERESE’S photographs. She takes her time,

really looks at them. THERESE watches without crowding CAROL--
eager for her good opinion. CAROL comes to the photograph
THERESE took of her at the tree lot. She’s moved by it, by
the primacy of place THERESE has given it on the wall.
THERESE
It’s not that good. I was rushed, I
mean... I can do better. Next time.
66.
CAROL
It’s perfect.
CAROL glances at THERESE’S kitchen sink/dark room. THERESE

clocks how tired CAROL looks, how worried.
CAROL (cont’d)
Do you keep anything in the icebox
besides photo chemicals? I’m feeling--
THERESE
Sure.
CAROL sits down on the edge of THERESE’S bed. THERESE goes to

the icebox, fishes out a couple of beers, opens them. When
she turns back to CAROL, she sees that CAROL is trying not to
sob.
THERESE is frozen for a moment, not expecting to see CAROL

like this. But she goes to her, sets the beers down, sits on
the bed next to CAROL. She’s not sure what to do-- how to
comfort CAROL. Does she dare to touch her? Finally, she puts
her hand on CAROL’S shoulder, squeezes it, and all at once
CAROL no longer holds back her tears, no longer silent, and
she turns to THERESE, who holds CAROL in her arms while she
cries.
CUT TO:
90 EXT. THERESE’S APARTMENT BUILDING. SAME NIGHT. 90
CAROL and THERESE stand on THERESE’S roof. CAROL sips a cup of

coffee. They look out over the rooftop-- there’s not much of a
view, but they can see the tips of the impressive buildings, the
lights, the cloudy night sky. It’s pretty enough.
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.
A pause. CAROL sees that she’s hurt THERESE, but THERESE

covers.
67.
CAROL (cont’d)
That’s not true.
THERESE turns to CAROL.
CAROL (cont’d)
I’m going away for a while.
THERESE
When?... Where?
CAROL
Wherever my car will take me. West. Soon.
THERESE can’t quite hide her dismay.
CAROL (cont’d)
And I thought... you might like to come
with me.
A beat. CAROL looks directly at THERESE.
CAROL (cont’d)
Would you?
A long, held moment before THERESE makes a decision.
THERESE
Yes. Yes, I would.
A few snow flurries swirl around them.
CUT TO:
91 INT. FRANKENBERG’S. EMPLOYEE LOCKER ROOM. CHRISTMAS EVE. DAY. 91
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.
THERESE nods. She steps back to allow ROBERTA WALLS to assign

it to a NEW GIRL, who looks absolutely miserable. THERESE
exits without looking back.
CUT TO:
92 INT. THERESE’S APARTMENT. CHRISTMAS EVE. DAY. 92
THERESE and RICHARD at the kitchen table. THERESE’S packed

suitcase sits on the bed.
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 looks up at her sharply. THERESE looks away from him.
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.
THERESE and RICHARD exchange a sharp look-- that stings him.
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?
A silence. THERESE has surprised herself with her boldness

here.
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 gets up.
RICHARD
Next week, the week after... you won’t
feel like this at all. You’ll see.
THERESE
Richard...
They hold a look. THERESE can’t go on, can’t convince him--

so what’s the use. She looks down. We stay with THERESE as
RICHARD exits the apartment, slams the door behind him.
CUT TO:
93 INT./EXT. CAROL’S HOUSE. EARLY CHRISTMAS MORNING. 93
A guest room. THERESE in pyjamas stands at a second storey

window, looking down to the driveway. It has snowed
overnight, a thick blanket coats the trees, the driveway.
ABBY’S convertible pulls up. CAROL is outside, a coat thrown
70.
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.
ABBY tries to stifle a laugh, doesn’t quite. CAROL puts a

finger to her lips: “shh.”
CUT TO:
94 EXT. CAROL’S DRIVEWAY. CONTINUOUS. 94
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.
ABBY hops out of the car.
CUT TO:
95 INT. CAROL’S HOUSE. HALLWAY. CONTINUOUS. 95
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.
ABBY stifles a snort. CAROL ribs her, good-naturedly. THERESE

guardedly watches the way these women, who have known each
other for a long time and in a way that THERESE doesn’t know
CAROL, interact with each other.
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.
ABBY shakes THERESE’S hand, warmly. THERESE relaxes--

somewhat.
CUT TO:
96 INT. CAROL’S HOUSE. EARLY MORNING. 96
ABBY helps THERESE pack sandwiches and drinks into a basket

for the road trip.
THERESE
Have you known Carol for a long time?
ABBY
Uh-huh.
A pause while they work.
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 smiles at the memory. She grabs a pack of cigarettes

from the counter, lights one. THERESE watches her. ABBY
offers her a cigarette, THERESE takes it, ABBY lights it for
her.
ABBY (cont’d)
Are you old enough to smoke?
A beat, before ABBY breaks out into a smile, and THERESE

decides to smile along with her, accepting the gentle
ribbing.
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 looks out a kitchen window, smokes.
ABBY
No. I don’t think you would.
A pause.
THERESE
What happened to the furniture store?
ABBY turns back to THERESE. She sighs. She suddenly looks a

little sad to THERESE.
73.
ABBY
It was-- some things just don’t work out,
no matter how much you want them to.
CUT TO:
97 EXT. CAROL’S CAR. EARLY CHRISTMAS MORNING. 97
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:
98 EXT. ON THE ROAD. EARLY CHRISTMAS MORNING. 98
CAROL’S car glides along a pretty country road and a painted

sign of a little Dutch boy wearing big clogs. There’s a cartoon
blurb coming out of the boy’s mouth which says: WELCOME TO
PENNSYLVANIA! HOME OF THE PENNSYLVANIA DUTCH!
CUT TO:
99 EXT. INNER PHILADELPHIA. LATE MORNING. 99
CAROL drives the car through mostly deserted streets. Christmas

music from the radio. It’s as if the music is the only sound in
the world right now. CAROL drives very slowly. THERESE,
consulting a map, points out a building in the distance.
THERESE
There’s the mint.
CAROL
You would know that.
THERESE
(looking around)
I could get used to having a whole city to
myself.
CAROL smiles, watches THERESE taking it all in.
CUT TO:
74.
100 INT. AUTOMAT CAFETERIA. INNER PHILADELPHIA. LATE AFTERNOON. 100
Dreary and virtually empty. A few pathetic strands of tinsel and

garland strewn about for holiday effect. A tacky green and red
cardboard banner: MER Y CH TMAS (the missing letters dangling
from the back of the banner). CAROL and THERESE eat tomato soup
and crackers. THERESE’S new camera rests conspicuously on the
table. THERESE reaches under her seat and produces a gift for
CAROL, nicely wrapped. She holds it out to her.
CAROL
You shouldn’t have.
But CAROL is pleased, and THERESE is pleased that she’s

pleased.
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.
A held moment- anything might happen. Then, THERESE picks up

her camera, focuses on CAROL, snaps a picture. CAROL brings
her hands up to her face, THERESE instinctively leans over to
take them back down.
CAROL (cont’d)
Oh God, I look tired and--
THERESE
No-- you look-- great. (beat) Just-- stay
like that. Let me take another one.
THERESE realizes she’s holding CAROL’S hands in her own. She

quickly looks around the automat: no one else is looking at
them, and THERESE feels slightly embarrassed. CAROL clocks
this. She squeezes THERESE’S hands, gently extricates
herself, sits back into the booth.
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.
A silence. THERESE realizes she probably shouldn’t have

brought up the subject of home to CAROL. She watches CAROL’s
mood darken, slightly...
CUT TO:
101 INT. AUTOMAT CAFETERIA. INNER PHILADELPHIA. DUSK. 101
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:
102 INT. PHONE BOOTH. CONTINUOUS. 102
CAROL’S call rings through. We HEAR THE RINGS: Once. Twice.

Three times. Four times. CAROL glances out of the booth to
see a WOMAN IN HER THIRTIES and THREE YOUNG CHILDREN enter
the automat, one of whom, a BABY GIRL, clings to her mother’s
neck. CAROL replaces the receiver in its cradle before the
call can be answered. She leaves the phone booth and walks
down the hallway to the ladies room. THERESE is no longer
there.
CUT TO:
103 INT. CAROL’S CAR. LATE NIGHT/EARLY MORNING. 103
CAROL drives. THERESE is sleeping, huddled up against the

passenger side window. A blanket covers her to her waist. CAROL
listens to the radio news.
RADIO V.O.
....and that concludes our Holiday
Greetings from President-elect and Mrs.
Eisenhower. This is WOR-Pittsburgh wishing
you and yours--
CAROL switches off the radio. She looks over to check on

THERESE, takes one hand off the steering wheel and pulls up the
blanket so THERESE is mostly covered.
CUT TO:
76.
104 EXT. TWO-LANE HIGHWAY OUTSIDE OF PITTSBURGH. LATE NIGHT/EARLY 104

MORNING.
CAROL’S roadster glides silently along the empty road, behind

it, the eerie glow of the Pittsburgh skyline, ahead of it--
pitch black.
CUT TO:
105 INT. ABBY’S HOUSE. NIGHT. 105
There’s a ferocious banging on the front door. ABBY rushes to

the front door, tying up her robe as she goes. She opens the
door. It’s HARGE. He’s furious, breathing hard.
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.
ABBY begins to close the door.
HARGE
(stops her from shutting the door)
I love her.
ABBY
(after a beat)
I can’t help you, Harge.
ABBY quietly shuts the door to him.
CUT TO:
106 EXT. MCKINLEY MOTEL. CANTON, OHIO. THE NEXT DAY. DUSK. 106
CAROL’S car pulls into the drive of a small motel with an

elaborate and large painted likeness of William McKinley on wood
billboard.
CUT TO:
107 INT. MCKINLEY MOTEL. CANTON, OHIO. DUSK. 107
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.
A moment before CAROL responds.
CAROL
We’ll take two standard rooms.
THERESE
Why not take the Presidential Suite?
CAROL and THERESE exchange a look.
THERESE (CONT’D) (cont’d)

I mean, if the rate’s attractive...
CUT TO:
108 EXT. MCKINLEY MOTEL. CANTON, OHIO. NIGHT. 108
THERESE at the ice dispenser. She’s bundled up in scarf, gloves,

overcoat-- but wears bunny slippers. She fills up an ice bucket.
She’s shivering.
78.
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.
YOUNG MAN (cont’d)

‘Evening, miss.
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:
109 INT. MOTEL ROOM. NIGHT. 109
The Presidential Suite. Framed photographs of William McKinley

and his wife hang over the twin beds. A dressing table with fan-
shaped mirror. Bedside cabinets. Table lamps. Striped wall
paper. THERESE’S record player is set up on one of the beds. It
plays “Manana,” by Peggy Lee. THERESE sits beside CAROL at the
dressing table. CAROL applies mascara to THERESE’S eyelashes.
CAROL
Don’t blink. (beat) Now look at you.
CAROL turns THERESE around to the mirror.
THERESE
I need lipstick.
CAROL chooses a lipstick, gives it to THERESE and watches as

THERESE applies it. CAROL hands THERESE a tissue. THERESE
blots, hands CAROL the tissue.
THERESE (cont’d)
Next?
CAROL picks up a perfume bottle, hands it to THERESE.

79.
CAROL
Would mademoiselle be so kind as to apply
at the pulse points only?
THERESE applies perfume to the inside of her wrists, the crook

of her arms, and her neck. She turns to CAROL. CAROL holds out
her wrists to THERESE.
CAROL (cont’d)
Me, too.
THERESE applies perfume to CAROL’S wrists, then to the crook of

her arm, then to the temples and finally to the pulse points in
CAROL’S neck. CAROL closes her eyes, arches her back slightly.
CAROL (cont’d)
That’s divine. Smell that.
A beat, and THERESE leans forward to smell CAROL’S perfume.
CUT TO:
110 INT. THE MOTEL ROOM. LATE NIGHT. 110
CAROL and THERESE in separate beds. CAROL’S fast asleep. THERESE

watches CAROL sleep. She gets out of her bed, goes to CAROL,
sits next to her on the edge of the bed. A few beats before
THERESE holds her hand over CAROL’S face, then lightly runs a
finger over CAROL’S cheek. CAROL turns over in her sleep.
THERESE waits to be sure CAROL won’t wake, then returns to her
own bed.
CUT TO:
111 INT. THE MOTEL ROOM. MORNING. 111
CAROL’S in the bathroom. Sound of water running. Her overnight

case is open on her bed. THERESE is already dressed.
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.
THERESE finds the case, opens it. Takes a moment to look at

CAROL’S clothes in the case before she actually touches them.
She knows she shouldn’t do it, but she can’t help going through
CAROL’S clothes-- just to touch them, to feel them against her
skin. Something at the bottom of the case catches her eye. A
glint of metal beneath some stockings. She removes the
stockings. Beneath it rests a pistol. Small. Pearl-handled. A
80.
moment, as she takes it in. What’s it doing there? She reaches

out, tentatively, to touch it. CAROL calls out to her from the
bathroom.
O/S CAROL
Hey, slowpoke...
THERESE quickly withdraws her hand. She hurriedly replaces

CAROL’S clothing in the place. Finds the red sweater.
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.
THERESE makes for the door. CAROL watches her.
CUT TO:
112 INT. MOTEL OFFICE. MORNING. 112
At the back of the office is a crummy little improvised

breakfast room. A few mismatched tables and chairs, a pitcher of
orange juice and a bowl of stale rolls and fruit set up on a
picnic table. THERESE eats greedily. The YOUNG MAN from the ice
dispenser enters. When he sees THERESE, he smiles broadly. He
carries a large, black case. He stops to pick up a cup of coffee
before going to THERESE.
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.
He extends his hand to her. She shakes it.
THERESE
Therese Belivet. (beat) What’s in the case?
TOMMY TUCKER
Notions.
THERESE sips at her coffee. CAROL enters. She hesitates for a

moment when she sees TOMMY at the table, but continues on to
fetch some coffee before sitting down at the table.
CAROL
(to THERESE)
Lousy coffee.
TOMMY, rises politely as CAROL joins them at the table.
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.
CAROL looks up at TOMMY, who tips his hat to her.
TOMMY TUCKER
I sell things.
THERESE
The notions are in that case.
TOMMY sits down again.
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 smiles politely, but she’s really not interested.
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?
Brief pause. TOMMY shakes his head, smiles.
TOMMY TUCKER
Nope. Course I don’t. I am doomed to remain
without a sale.
TOMMY returns to his coffee.
CUT TO:
113 INT. CAROL’S CAR. ON THE ROAD TO CHICAGO. DAY. 113
CAROL drives; THERESE retrieves a sandwich from a basket on the

back seat. CAROL’S packed suitcase rests beside the basket on
the back seat. THERESE gives CAROL’S suitcase a long look before
she settles into her seat.
THERESE
Do you feel... safe. With me, I mean?
CAROL
(laughs)
You’re full of surprises.
83.
THERESE considers this, eats.
THERESE
Do you?
CAROL glances at her. THERESE holds her gaze for a beat--

she’s not backing down from that question. CAROL turns her
attention back to the road.
CAROL
It’s the wrong question.
A silence.
THERESE
But you would tell me... if something
scared you. And I could help.
CAROL shakes her head, smiles-- where is this coming from?
CAROL
I’m not frightened, Therese.
CUT TO:
114 INT. DRAKE HOTEL. CHICAGO. NIGHT. 114
A BELLBOY carries CAROL and THERESE’S bags into an opulent room.

CAROL tips him, he leaves. THERESE has never been in a hotel
room that’s so well appointed. CAROL collapses onto one of the
beds.
CAROL
Finally. A real bed. Heaven.
THERESE inspects the room. She’s like a detective, or an

anthropologist making a big find. She bends to run her hand
through the carpet.
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.
116 INT. WESTERN UNION OFFICE. CHICAGO. DAY. CONTINUOUS. 116
THERESE on line to pick up her mail. She looks around for

CAROL, spots her dialing in the phone booth...
CUT TO:
117 INT. HARGE’S OFFICE. NEW YORK. DAY. 117
His private phone rings. He picks up.
HARGE
Hargess Aird. Hello.
Nothing from the other end.
HARGE (CONT’D) (cont’d)

All right, Carol. Tell me where you are.
CUT TO:
118 INT. WESTERN UNION PHONE BOOTH. CHICAGO. DAY. 118
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.
119 INT. WESTERN UNION OFFICE. CHICAGO. DAY. 119
CAROL joins THERESE at the post desk. THERESE has picked up a

few letters.
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.
THERESE shoots CAROL an inquiring look. THERESE knows she’s

tried to call someone.
CUT TO:
120 INT. DEPARTMENT STORE. CHICAGO. DAY. 120
THERESE and CAROL at a gifts counter. All the usual items on

display: fancy boxes of candy, manicure kits, key rings, pens...
THERESE’S gaze falls on a stack of canned Virginia hams.
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.
THERESE starts to leave. CAROL stops her.
CAROL
It’s a lovely gesture, Therese. Send it.
CUT TO:
CAROL and THERESE eat dinner in the Drake’s restaurant. It’s a

busy place, with WAITERS moving briskly and efficiently through
it all. THERESE scans the room. She spots a smiling TOMMY TUCKER
and an elegant WOMAN IN HER 50s being seated at a table at the
far end of the restaurant. THERESE thinks it odd he’s staying
here, too... but forgets about him in an instant as she turns
her gaze back to CAROL...
CUT TO:
122 EXT. LAKE SHORE DRIVE. CHICAGO. NEW YEAR’S EVE. MID-MORNING. 122
CAROL and THERESE stand considering a flat tire. CAROL busies

herself with the tire while THERESE tries to flag down a
motorist for help. A brightly colored pick-up truck slows to a
86.
stop behind them. The driver gets out. It is TOMMY TUCKER. He

tips his hat to them.
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:
123 EXT. THE LAKE. CHICAGO. DAY. 123
Groups of SKATERS cluster around the ice: kids and their

parents, teenagers, young couples. CAROL and THERESE skate
haltingly around the ice while they watch TOMMY gliding
skillfully around them in circles. He’s very, very good. He does
a double-toe loop as he skates past them. THERESE applauds. As
87.
much as she hates to admit it, CAROL is enjoying herself,

enjoying THERESE’S joy.
CUT TO:
124 EXT. THE LAKE. CHICAGO. LATE AFTERNOON. 124
TOMMY and THERESE sit at an outdoor table overlooking the

skating area. There’s a canteen behind them.
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 appears at the table. She carries a tray of hot chocolates

and sets it down on the table.
CAROL
No whipped cream. But lots of sugar.
They clink mugs together and drink.
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:
125 EXT. WATERLOO, IOWA. EARLY EVENING. 125
On the road leading into Waterloo, CAROL’S car speeds by a

billboard sign with a cartoon of Napoleon being strangled by
Nelson. In fancy script below the cartoon is written: WATERLOO
BECKONS. POP. 12,070. The sky is a deep red.
CUT TO:
126 INT. JOSEPHINE MOTOR LODGE. MOTEL ROOM. NIGHT. 126
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.
They face each other in silence, listening to the faraway radio

broadcast-- a moment when anything could happen. THERESE, for
the first time, reaches out ever so slightly to brush her
fingers against CAROL’S. CAROL looks down at their fingertips
touching.
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.
THERESE squeezes CAROL’S hand ever so slightly-- it’s to

reassure her, really, that she is not alone. A silence. The Guy
Lombardo band strikes up a bright New Year’s tune. CAROL unties
her robe and lets it fall open, revealing her nakedness to
THERESE. It’s so still, it’s as if all breath in the room is
endlessly suspended. THERESE stands up. CAROL takes her face
gently in both her hands and finally kisses THERESE’S lips. It’s
a wondrous kiss for them both, slow and unhurried. Afterwards,
CAROL removes her hands from THERESE’S face and eases off her
robe, letting it drop to the floor. She removes the towel, drops
that to the floor. THERESE doesn’t move.
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 (CONT'D) (cont’d)

I never looked like this.
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.
CAROL nods, slides up THERESE’S body and plays with one of

THERESE’S nipples with the tip of her tongue. THERESE moans
90.
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:
128 EXT. JOSEPHINE MOTOR LODGE. MORNING. 128
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.
CAROL storms over to the trunk, brushes past THERESE on the

way, finds her suitcase, flings it open. THERESE somehow
knows what she’s looking for as CAROL rifles through her
clothes, not caring where they land, and finds the pistol.
THERESE tries to block her way.
THERESE
What are you going to do with that? Carol-
- calm down!
CAROL pushes past THERESE.
CUT TO:
129 EXT. JOSEPHINE MOTOR LODGE. MORNING. 129
CAROL kicks at the door of the cabin next to her’s.
CAROL
Open up right NOW. You hear me in there?
I’m KICKING IT IN. YOU HEAR ME?
THERESE runs up to the door to join CAROL.
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.

(to TOMMY)
Where’s the tape, you sonofabitch.
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.

How much is Harge paying you for this? I’ll
give you double, triple. Anything you want.
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.
A tense pause. CAROL moves towards TOMMY. He remains quite calm,

still. But he keeps his eye on her all the while. CAROL advances
very close to TOMMY, raises the pistol to TOMMY’S temple.
CAROL
How do I know you’re not lying?
TOMMY TUCKER
(a beat; he remains calm)
You don’t.
CAROL pushes the pistol right up against TOMMY’S temple. She

tenses up, her index finger on the trigger... and then, quickly
before anyone has time to intervene, CAROL whirls around to the
recording equipment, points the gun to it, pulls the trigger:
the gun just clicks and jams. CAROL throws the gun in sheer
frustration at the recording equipment. It’s happened so fast
that THERESE can only now respond: she moves towards CAROL,
touches her arm.
THERESE
Carol...
CAROL, exhausted and distraught, gives THERESE the telegram

and moves outside of the cabin, slumps down onto the cabin
steps. THERESE exchanges a look with TOMMY, who’s still cool
as a cucumber. THERESE retrieves the gun, joins CAROL
outside. CAROL lights a cigarette, looks out towards the
highway. THERESE reads the telegram, then looks up to TOMMY,
still standing half dressed in his cabin.
THERESE (cont’d)
(to TOMMY)
How could you.
TOMMY TUCKER
I am a professional, Miss Belivet. It’s not
personal.
93.
A silence. CAROL smokes, THERESE shakes her head at TOMMY, not

wanting to believe this is happening. TOMMY tips his hat to
THERESE, and shuts the door to her.
CAROL
Let’s go. Abby’s waiting by the phone.
CUT TO:
130 EXT. GAS STATION. MORNING. 130
THERESE at a dumpster. She carries the pistol and the telegram.

She opens the lid of the dumpster, places the pistol on top of a
bag of trash. Stares at it. Not good enough. She has to bury,
deep, in the trash bag. She does. Her hand is filthy. She cleans
up as best she can using the telegram. She rounds a corner
looking for a rest room. She comes upon CAROL at a phone box.
She steps back instinctively, wanting to give CAROL privacy. She
overhears the end of CAROL’S call to ABBY.
CAROL
... earliest flight into LaGuardia is
tomorrow afternoon... oh Abby, I don’t
know how to fix this-- I haven’t the
strength...
THERESE wishes she could hold CAROL in her arms at this

moment. But she knows she can’t.
CUT TO:
131 INT. CAROL’S CAR. EARLY EVENING. 131
CAROL drives in silence as they approach Chicago. THERESE smokes

a cigarette. You could cut the tension with a knife. CAROL
glances at THERESE.
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?
THERESE begins to cry, softly. CAROL pulls over to the side of

the road. She turns THERESE towards her. Dries her tears. CAROL
and THERESE regard each other, calm, steady.
CAROL
I took what you gave willingly.
A pause. CAROL runs a finger along THERESE’S cheek. She turns

back to the wheel. Restarts the car.
CAROL (cont’d)
It’s not your fault, Therese.
More silence. CAROL, at a loss to make the situation better,

accelerates quickly onto the highway.
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:
133 INT. DRAKE HOTEL. CHICAGO. MORNING. 133
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.
A brief pause. ABBY takes a long drag on her cigarette.

95.
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:
134 INT. ROADSIDE DINER OUTSIDE OF CHICAGO. LATE MORNING. 134
ABBY and THERESE at breakfast. THERESE hasn’t touched her

meal.
ABBY
Eat something.
THERESE stares out the window.
ABBY (cont’d)
Suit yourself. I’ll eat it.
ABBY slides THERESE’S plate to her side of the table. THERESE

turns to her.
THERESE
Why don’t you like me? I’ve never done
anything to you.
A pause. ABBY starts to say something, thinks better of it,

settles herself. She leans in towards THERESE.
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.
A beat-- it surprises THERESE that ABBY thinks she’s smart.

ABBY clocks this.
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?
A silence. THERESE is really trying to hold it together at

the table.
CUT TO:
135 INT. CAROL’S CAR. ROADSIDE DINER. LATE MORNING. 135
THERESE She rips open an envelope which is addressed by hand to:

THERESE. As she reads it to herself, we hear CAROL’S V.O.
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:
136 INT. MOTEL. NIGHT. 136
ABBY in the bathroom, washing out some clothes. Through a crack

in the door, she watches as THERESE rocks to and fro on the bed,
expressionless, but in obvious pain. ABBY knows she can’t-- and
shouldn’t-- help at this moment.
97.
V.O. CAROL (CONT’D.)

Please don’t be angry when I tell you that
you seek resolutions and explanations
because you’re young. But you will
understand this one day. And when it
happens, I want you to imagine me there to
greet you like the morning sky, our lives
stretched out ahead of us, a perpetual
sunrise.
CUT TO:
137 INT./EXT. COUNTRY ROAD. DAY. 137
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.
V.O. CAROL (CONT’D.)

But until then, there must be no contact
between us. I have much to do, and you, my
darling, even more. Please believe that I
would do anything to see you happy and so I
do the only thing I can-- I release you.
CUT TO:
138 INT. THERESE’S APARTMENT. NEW YORK. DAY. 138
THERESE, in her overcoat, suitcase beside her, stands in the

middle of her apartment. It’s full of her things, but it
looks all different to her now to her, a foreign land. She
looks around for something she recognizes as home, an anchor.
She sees all of her photographs on the walls-- it seems to
her that someone else has taken these, and she takes them
down, one by one. When she gets to the picture of CAROL she
took in the Christmas tree lot, she hesitates-- she thinks
she might cry again-- but she doesn’t, and steels herself as
she rips the photograph down from the wall.
CUT TO:
139 INT. THERESES’S APARTMENT. THAT SAME NIGHT. 139
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.
akimbo in a tumble of sheets, one hand resting delicately on

her chest... she’s stunning...
CUT TO:
140 INT./EXT. THERESE’S APARTMENT BUILDING. HALLWAY. LATE NIGHT. 140
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:
The kitchen. CAROL on the phone. She listens, makes a

movement as if to say something, doesn’t. She hangs up,
gently. She keeps her hand on the phone.
BACK TO:
142 INT. HALLWAY. PHONE. 142
THERESE hears CAROL hang up, then hangs up herself. A pause,

then:
THERESE
I miss you... I miss you.
CUT TO:
143 INT. HARGE’S PARENTS HOUSE. NEW JERSEY. LATE AFTERNOON. 143
HARGE, CAROL, JENNIFER and JOHN are sitting down to a Sunday

dinner. Everything is pristine, in its place, and deadly
silent.
JENNIFER
More mashed potatoes, Carol?
CAROL
(she doesn’t really want more)
Yes. Yes, thanks. They’re delicious.
99.
CAROL reaches over to take the bowl of mashed potatoes, but

HARGE gets to it first, spoons some out for CAROL. The
atmosphere is polite, but not quite relaxed.

Thank you. (beat) I thought... maybe...
Chester and Marge would be here... with
Rindy... by now.
JENNIFER
A watched pot never boils, dear.
HARGE shoots his MOTHER a tight look...
HARGE
(to CAROL)
I’m sure they’ll be here soon.
CAROL appreciates HARGE’S small kindness...
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?
HARGE shoots CAROL a look-- ease off.

I do like him. Very much. He’s a huge
help.
JENNIFER and JOHN, oblivious to CAROL’S pain, continue

eating. CAROL sets down her eating utensils on the table and
sits quietly, her hands folded in her lap.
100.
SOUND OF A CAR pulling up the driveway to the house. CAROL

looks up, catches HARGE’S eye.
CAROL (cont’d)
They’re here.
And CAROL’S up in a flash, runs out of the room towards the

front door... HARGE rises.
CUT TO:
144 EXT. HARGE’S PARENTS HOUSE. LATE AFTERNOON/EARLY EVENING. 144

CONTINUOUS.
CAROL runs to greet RINDY, who walks hand-in-hand with an

MIDDLE AGED COUPLE, RINDY’S AUNT AND UNCLE. When she sees her
Mother, RINDY lets go of their hands and runs towards CAROL.
They meet. CAROL kneels down and sweeps RINDY into her arms.
She hugs her tightly, holding on for dear life.
CAROL
Oh baby... my baby girl...
CUT TO:
145 INT. THERESE’S APARTMENT. AFTERNOON. 145
DANNIE and THERESE have been repainting and redecorating.

THERESE’S is on a ladder, painting some molding near the
ceiling. DANNIE is below. They’ve been at it for quite some
time. DANNIE looks up at THERESE- she wipes some sweat away,
she’s obviously beat.
DANNIE
Break time. I’ll get us some brews.
THERESE
Yeah. Sounds good.
DANNIE goes to the kitchen, gets some beer, looks for an

opener at the sink. THERESE has been developing some photos-
all the photos she took on the trip with CAROL, almost all of
them pictures of CAROL, including the one we saw THERESE
develop. DANNIE can’t help but look at them. He hears
something behind him, turns around. THERESE is there.
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.
THERESE goes to DANNIE, holds his gaze for a moment, then

picks up all the pictures. She starts to go back into the
living room. DANNIE stops her.
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 lost in her own thoughts; DANNIE is clueless. She

looks up at him.
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.
146 INT. THERESE’S APARTMENT. LATE NIGHT. 146
THERESE at her kitchen table. She’s placing photographs into

neat piles. Older landscapes, still life- and some newer
photos- she’s clearly been working. Photos of kids playing in
the street, old women dragging shopping carts. Virtually all
of them depicting people. At the bottom of one pile is the
picture of CAROL buying the Christmas tree. She considers it
a moment before placing it at the top of a pile.
CUT TO:
147 INT. TRAIN CAR. EVENING. 147
THERESE looks out of a window at the New Jersey countryside

whizzing by.
CUT TO:
148 INT. TAXI. SUBURBAN NEW JERSEY. NIGHT. 148
A cab drives slowly down a residential street-- CAROL’S

street. The DRIVER glances at THERESE in the rear view
mirror. She is looking intently at the houses. She sees
CAROL’S house just ahead.
THERESE
Stop. Right here. Thank you.
The DRIVER stops. THERESE leans forward to really see CAROL’S

house. It’s dark. CAROL’S car is parked in the driveway. But
there are no lights on in the house. THERESE presses her hand
to the cab’s window-- this is as close as she can get to
CAROL now. A light snaps on in an upstairs window in CAROL’S
house. THERESE glimpses CAROL for a brief moment at the
window, CAROL looking out at nothing in particular, lost in
her thoughts, before CAROL draws the curtains. THERESE
catches the DRIVER looking at her in the rear view mirror.
THERESE (cont’d)
I’m sorry. It’s-- there’s no one home.
Take me back to the station, please.
And the cab takes off.
CUT TO:
149 INT. CAROL’S HOUSE. NEW JERSEY. NIGHT 149
CAROL’S and ABBY in the kitchen, deep into a pot of coffee

and a pack of smokes.
103.
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:
150 EXT. CENTRAL PARK. A FEW DAYS LATER. AFTERNOON. 150
THERESE and RICHARD on a park bench, a cardboard box with

some of THERESE’S belongings set between them on the bench.
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.
A silence. THERESE looks away from RICHARD.

104.
THERESE
I didn’t write because I couldn’t find
the words. I just... couldn’t.
She tries to touch his shoulder, he moves away from her.
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.
A beat, before RICHARD leaves. THERESE doesn’t move.
CUT TO:
151 EXT. HUDSON RIVER PIER. NEW YORK. NIGHT. 151
DANNIE and THERESE look across the river to New Jersey.
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?
THERESE smiles, shakes her head.
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 struggles for this...
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.
There’s nothing else to say. THERESE looks out over the

river.
FADE TO:
THERESE in PHIL’S bathroom. She sits on the edge of the

bathtub, window wide open, taking in the fresh air. She can
hear the party in progress, people having a great time, but
she’s not ready to rejoin them. A COUPLE OF RAPID KNOCKS ON
THE DOOR.
THERESE
Sorry. Just a second.
THERESE gathers herself, gets up, opens the door. It’s

GENEVIEVE. She wears her coat, has her bag, she’s about to
take off.
THERESE (cont’d)
Oh. You’re leaving.
GENEVIEVE
Will you miss me?
107.
THERESE doesn’t look away from GENEVIEVE this time. GENEVIEVE

moves closer to THERESE, whispers in her ear.
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 takes THERESE’S hand, writes her address in ink

onto THERESE’S palm.
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:
153 EXT. TIMES SQUARE. MID-APRIL. MORNING. 153
THERESE, dressed for work in smart clothes, hurries through the

morning commuter CROWD towards the New York Times building. Her
hair is different, perhaps more sophisticated, or longer... She
dodges and weaves her way through the CROWD.
CUT TO:
154 INT. TAXI. TIMES SQUARE. MORNING. 154
CAROL in a cab on her way to FRED HAYMES’S office. As the cab

slows to make a turn, CAROL sees THERESE crossing the street at
43rd Street on her way to the New York Times building. Is she
really seeing her? She is. As the taxi moves away from 43rd
Street, CAROL turns to watch as THERESE enters the building, and
disappears from view.
CUT TO:
155 INT. LAW OFFICES. DAY. 155
CAROL, HARGE, HARGE’S LAWYER- JERRY RIX, FRED HAYMES and a

STENOGRAPHER in FRED’S conference room. CAROL and HARGE at
opposite ends of the table.
108.
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?
A silence, as everybody in the room looks to CAROL.
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.
A pause; FRED nods to the STENOGRAPHER to continue. CAROL pours

herself a glass of water before she continues. All eyes on
her...

I wanted-- I did want-- to talk about...
duty... sacrifice. I had planned to. But...
Now I’m here, I can’t. I can’t do it
109.

because... -- those things, I don’t believe
in them. (beat) I don’t know-- what I
believe today or what I even know... except
that... I know I want to see my daughter--
to hear her voice... all the time. Always.
To be there when she’s-- (CAROL holds back
tears: she’s not going to do that right
here, right now, composes herself before
continuing) I want you to be... happy...
Harge. I didn’t give you that-- I failed
you-- we both could have... given. More.
(beat) But we gave each other Rindy, and
that’s-- the most-- breathtaking, the
most... generous... of gifts. (beat) And I
wonder why we’re spending so much time
coming up with ways to keep her from each
other. (beat) What happened with Therese...
I wanted it to happen. I won’t deny it
or... regret it... but I do regret, I--
grieve... the mess we’re about to make...
of our child’s life. We, Harge... we are
both... responsible. Let’s... set it right.
(beat) I want Harge to have permanent...
custody... of Rindy because--
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...
CAROL gathers herself- stares FRED down; he capitulates.

I’m no martyr. I have no clue... what’s
best for me. But I do know... I feel...
feel it in my bones... what is best for my
daughter. (beat) I want visits with her,
Harge. I don’t care if they’re supervised.
I just want them to be-- available. Because
I need to hold her hand through...
everything. (beat) There was a time... not
so long ago... I would have locked myself
away... done most anything... just to keep
Rindy with me. But... what use am I to
her... to us... by denying... who I am?
Rindy deserves-- joy. That’s all. I can’t
give her that... unless I find my own joy.
(beat) That’s the best I can do, Harge. I
can’t... negotiate. Don’t let this get...
ugly. We’re not ugly people, Harge.
110.
A silence. CAROL pours herself another glass of water. She

drinks it, gets up, and leaves the room quietly. Everyone else
sits there in utter silence.
CUT TO:
156 EXT. COFFEE SHOP. SEVENTH AVENUE. DAY. 156
We see CAROL through the window at a table. A pot of coffee.

A cigarette burning in an ashtray. CAROL finishes writing a
note. She reads it. Signs it. Seals it inside an envelope.
CUT TO:
157 EXT. NEW YORK TIMES BUILDING. DAY. 157
CAROL stands opposite the building on 43rd Street for a

moment before she crosses and enters the building. She holds
the note she’s just written.
CUT TO:
158 INT. NEW YORK TIMES. DARKROOM. DAY. 158
THERESE is helping a senior editor develop some prints. She

watches as a photo appears in the developing liquid. It’s always
like magic her. A KNOCK on the door. THERESE makes sure it’s all
right to turn on the regular lights and open the door. She does.
Another PHOTO CLERK stands there with an envelope. THERESE’S
name is written across the front.
CLERK
Hand delivered. Fancy.
THERESE takes the envelope. She recognizes CAROL’S

handwriting.
CUT TO:
159 INT. NEW YORK TIMES. OFFICE. LATE AFTERNOON. 159
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.
compact, checks her makeup, perhaps fixes a strand of hair,

brushes something off a shoulder... she’s ready. She rises,
opens the door, and she does, she sees THERESE being shown to
a corner table, THERESE looking more grown-up and put
together, THERESE thanking the MAITRE D’, THERESE sitting
down, looking a bit pensive... CAROL takes a breath, leaves
the phone booth...
CUT TO:
161 INT. RITZ TOWER HOTEL. BAR. EARLY EVENING. 161
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?
THERESE looks away from CAROL, drinks some tea. Silence.
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 regrets answering so quickly. She frowns, puts her head

down. When she looks up again, CAROL is staring at her, quite
intently.
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 smiles at the memory. THERESE does not. CAROL lights a

cigarette.
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 gives CAROL a little smile-- a bit of thaw. Not much,

but something.
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 puts out her cigarette, stares at her cigarette lighter

on the table.
CAROL (cont’d)
I love you.
A silence. THERESE wants to say something, but can’t.
O/S JACK TAFT

Hey Therese- long time no see!
And the moment is gone. THERESE looks up, turns towards the
source of the greeting.
CUT TO:
162 POV THERESE. CONTINUOUS. 162
It’s a smiling JACK TAFT, halfway across the room, near the
bar.
BACK TO:
163 INT. HOTEL BAR. CONTINUOUS. 163
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.
CAROL lights a cigarette. THERESE glances at her, and they

hold a look for a moment before THERESE speaks.
THERESE (cont’d)
Jack, this is Carol Aird.
JACK holds out his hand. CAROL shakes it.
JACK
Pleased to meet you.
CAROL
Likewise.
CAROL retreats back to her own thoughts, smokes.
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.
THERESE and CAROL exchange a quick look.
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 takes a step towards THERESE as if to perhaps embrace

her, but doesn’t.
CAROL (cont’d)
You two have a wonderful night.
And she’s gone. THERESE doesn’t move, doesn’t turn around to

watch CAROL leave.
JACK
Lemme see where Ted’s got to. Back in a
flash.
And JACK’S off to the phone booth. A beat, before THERESE

turns around. She scans the bar and beyond for CAROL, but
she’s not there. THERESE walks to the lobby entrance-- she
scans the lobby-- but CAROL is well and truly gone-- and it
only now hits THERESE that she let CAROL walk away. THERESE
makes her way to the LADIES ROOM in a bit of a daze-- and we
follow her as she enters the LADIES ROOM and makes her way
over to the sink. She turns on the tap...
CUT TO:
164 INT. PHIL’S APARTMENT. NIGHT. 164
THERESE threads her way through PHIL’S GUESTS on her way to

the front door-- it’s no easy task navigating, especially
since no one seems to notice THERESE, or anything other than
their own good time. When she finally reaches the door,
THERESE takes a look back into the living room to see if
she’s missed out on any good-byes. She spots DANNIE and
LOUISE on the floor, knees-up to PHIL’S small black and white
TV set, intently watching a film, oblivious to the noise
around them. DANNIE jots notes every once in a while in his
little notebook. All seems right here-- for other people, but
not for her. She slips out the door.
CUT TO:
165 EXT. GREENWICH VILLAGE STREET. NIGHT. 165
THERESE walks down a quaint, cobbled street. It’s a lovely night

and there are various PEDESTRIANS out strolling. It seems to
THERESE that she’s the only person who isn’t smiling, isn’t
engaged with someone who’s actually beside her on such a lovely
evening. She looks at the palm of her hand, checks the address,
keeps walking. As she approaches the address, THERESE spots an
ELDERLY COUPLE arm in arm, supporting each other, walking down
the street towards her. They look like they’ve been together for
ever, sharing an intimacy that’s only apparent to other people
when the bond is strong and real: the ELDERLY WOMAN leaning in
to her HUSBAND as they stroll... THERESE stops to watch them,
and as they pass her by, the ELDERLY MAN tips his hat to
116.
THERESE... And then... the quiet, and THERESE’S contemplation of

the COUPLE’S obvious love, is pierced through with SHARP
LAUGHTER. THERESE turns to sees GENEVIEVE CANTRELL lean
backwards out of a window. She holds a bottle of champagne which
spills down into the street below. GENEVIEVE gestures to someone
inside, and ANOTHER WOMAN joins GENEVIEVE at the window-- the
two begin to make out. THERESE watches their embrace for a
moment; it’s tremendously sexy. GENEVIEVE pulls the WOMAN back
into the apartment, and the window’s slammed shut behind them.
The night is suddenly very quiet. THERESE turns back towards the
direction the ELDERLY COUPLE took... she starts walking that
way, too, away from GENEVIEVE. And in this quiet, THERESE comes
to understand where she has to be. She begins to walk more
quickly, and more quickly still-- and finally breaks into a run.
CUT TO:
166 INT. THE OAK ROOM. PLAZA HOTEL. NIGHT. 166
THERESE, winded, enters the restaurant. A WAITER stops her.
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.

CAROL Script

Caricato da

Informazioni sul documento

Copyright

Formati disponibili

Condividi questo documento

Condividi o incorpora il documento

Opzioni di condivisione

Hai trovato utile questo documento?

Questo contenuto è inappropriato?

Copyright:

Formati disponibili

CAROL Script

Caricato da

Copyright:

Formati disponibili

CAROL

Adapted from the novel by PATRICIA HIGHSMITH

FIFTH DRAFT- REVISED & CORRECTED b

JACK TAFT, 20s, emerges from the LEXINGTON and 59TH ST

2 EXT./INT. RITZ TOWER HOTEL. NIGHT. 2

JACK enters the hotel and we follow him as he walks through

JACK gets up.

3 INT. RITZ TOWER HOTEL. BAR/LOUNGE. NIGHT. 3

JACK makes his way through the lounge on his way to a

THERESE, the younger of the women, turns to look at JACK. It

4 INT. LOUNGE. NIGHT. CONTINUOUS. 4

At the table, THERESE BELIVET stands to greet JACK. They hug.

The OTHER WOMAN at the table lights a cigarette. THERESE

JACK holds out his hand. CAROL shakes it.

CAROL retreats back to her own thoughts, smokes.

THERESE and CAROL exchange a quick look.

CAROL takes a step towards THERESE as if to perhaps embrace

And she’s gone. THERESE doesn’t move, doesn’t turn around to

And JACK’S off to the phone booth. A beat, before THERESE

5 INT. LADIES ROOM. RITZ TOWER HOTEL. NIGHT. 5

THERESE at a sink. The water is running. THERESE watches the

6 INT. RITZ TOWER HOTEL. BAR/LOUNGE. NIGHT. 6

JACK stands where he left THERESE. She’s nowhere in sight.

7 INT./EXT. NYC TAXI CAB. NIGHT. 7

CAROL AIRD, for just a moment, seen from a distance, in

8 INT. THERESE’S APARTMENT. EAST 50’S. DECEMBER 1952. MORNING. 8

Barely discernible figure of THERESE BELIVET asleep on a

9 EXT. THERESE’S APARTMENT BUILDING. CONTINUOUS. 9

THERESE’S boyfriend, RICHARD SEMCO, looks up at her from the

RICHARD blows her a kiss.

10 EXT. CENTRAL PARK. NY CITY. MORNING. 10

RICHARD accelerates. THERESE laughs, holds on tighter.

11 EXT. FRANKENBERG’S DEPARTMENT STORE. MORNING. 11

Outside the employee’s entrance, RICHARD and THERESE stand in

THERESE takes her cap, doesn’t put it on, moves inside.

12 INT. FRANKENBERG’S. EMPLOYEE CAFETERIA. MORNING. 12

From a table in the corner, THERESE sips at a cup of coffee

13 INT. FRANKENBERG’S. DOLL STOCK ROOM. MORNING. 13

THERESE, surrounded by rows of identical Christmas dolls, counts

14 INT. FRANKENBERG’S. EMPLOYEE LOCKER ROOM. MORNING. 14

RUBY helps THERESE bandage up her cut. She’s making a mess of

15 INT. FRANKENBERG'S. TOY DEPARTMENT. MORNING. 15

Just before opening. A surreal calm and silence. THERESE, in

16 INT. FRANKENBERG’S. DOLL DEPARTMENT. LATE MORNING. 16

THERESE sits behind a display case full of dolls. She tries

THERESE settles back down, bored. A CUSTOMER looks

EMBARRASSED MOM nods her thanks and hoists TODDLER away.

17 INT. FRANKENBERG’S. DOLL DESK. LATE MORNING. 17

Behind and below the desk, THERESE checks on her bandage. It

CAROL (CONT'D) (cont’d)

THERESE reads the slip of paper.

Throughout THERESE’S following speech, CAROL rummages around her

THERESE is feeling tongue-tied. CAROL looks up at her.

CAROL raises a cigarette to her lips, begins to light it,

CAROL laughs. A spontaneous, genuine response to THERESE’S

THERESE looks up, clocks CAROL watching her, looks down. A

THERESE realizes that she’s become a bit carried away by her

THERESE glances down at her bandaged leg. It’s embarrassing.

THERESE points towards the train set. CAROL turns to look at it

They stand there, nodding at each other for a moment.

THERESE begins writing out a sales slip. CAROL watches her

CAROL writes down her details as she speaks.

CAROL finishes, looks up to THERESE, flashes a bright smile.

CAROL hands the pen and sales slip back to THERESE.