Carol Page #21

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She stops, holding back tears, which she refuses to allow.

Gathering herself, she levels her eyes directly to Harge, and

makes her case directly to him.

CAROL (CONT'D)

Harge, I want you to be... happy. I

didn’t give you that - I failed you

-we both could have... given.

More. (beat) But we gave each otherRindy, and that’s - the most -

breathtaking, the most...

generous... of gifts. (beat) So whyare we spending so much time...

coming up with ways to keep herfrom each other. (beat) What

happened with Therese... I wanted.

I won’t deny it or-

HARGE looks down.

CAROL (CONT'D)

... But I do regret, I -grieve...

the mess we’re about to make... of

our child’s life. We, Harge... weare both... responsible. Let’s...

set it right. (beat) I want Hargeto have... permanent custody-

Amidst the sudden chaos HARGE’s eyes take hold of her and

don’t let up.

FRED HAYMES JERRY RIX

Let’s take a break, folks and Fred - no, I think yourresume when I’ve had a moment client has made it perfectlyto confer with my-clear given her statement-

CAROL:

No, Fred. Let me have my say.

Because - if you stop me... Iwon’t... be able... to cope...

(Rectangle comment ccaruso

10/30/2015 11:
49:14 PM

blank)

CAROL stands, stepping away from the table, to regain hercomposure. Silence returns before she continues.

CAROL (CONT’D) (CONT’D)

I’m no martyr. I have no clue...

what’s best for me. But I do

know... I feel, I feel it in mybones... what’s best for mydaughter.

She starts to turn and walk again, addressing HARGE.

109

CAROL (CONT'D)

(beat) I want visits with her,

Harge. I don’t care if they’resupervised. But they need to beregular. (beat) There was a time...

I would have locked myself away -

done most anything... just to keepRindy with me. But... what use am Ito her... to us... livingagainst... my own grain? Rindydeserves - joy. How do I give herthat not knowing what it means...

myself.

She pours herself another glass of water.

CAROL (CONT'D)

That’s the deal. Take it or leave

it. I can’t - I won’t negotiate.

If you... leave it, we go to courtand it gets ugly. We’re not uglypeople, Harge.

Feeling suddenly shaky she turns and starts out of the room.

HARGE stands, staring at her as she goes, as FRED leaps tohis feet and hurries after her, calling her name.

EXT. COFFEE SHOP. SEVENTH AVENUE. DAY.

Through reflections we see CAROL seated at a table, writing anote. Beside her a pot of coffee and cigarette burning in anashtray. She signs it. Seals it inside an envelope, andbegins gathering her things.

INT. NEW YORK TIMES. PHOTO DEPARTMENT. DAY.

THERESE organizes black and white prints during a meeting ofphoto editors, gathered around a large table. Smoke in theair. Through the glass a MESSENGER is seen speaking to aCLERK. The CLERK spots THERESE inside the room and brings herthe envelope.

CLERK:

Belivet.

THERESE, looks up, and hurries over to the CLERK by the door.

He hands her the envelope.

CLERK (CONT’D)

Hand delivered. Swank.

THERESE takes the envelope and returns to the table. Glancingdown, she recognizes CAROL’S handwriting.

110

INT. NEW YORK TIMES. PHOTO DEPARTMENT. LATER.

THERESE types labels at her cubicle. The open note sitsbeside her on her desk. She stops typing and looks over atthe note. She picks it up and holds it for a moment beforecrumpling it up and tossing it into a desk drawer. Shereturns to typing.

INT. RITZ TOWER HOTEL. NIGHT.

CAROL is entering the hotel from the street entrance,

removing her scarf and adjusting her hair. She makes her wayto the pay telephones and slips inside an empty booth. Therewe see her dial a number and make a quick call. She hangs up,

takes out her compact and powders her nose. She steps out ofthe booth and stops.

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

There, across the room, is THERESE being shown to a cornertable, THERESE looking more grown-up and put together,

THERESE thanking the MAITRE D’, THERESE sitting down... CAROLtakes a breath, then makes her way across the room.

THERESE looks up and sees her.

CAROL:

I wasn’t sure you’d come. It’s niceof you to see me.

THERESE:

Don’t say that.

CAROL settles in opposite THERESE, moving her coat aside.

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 down. She pours herself some tea.

CAROL (CONT’D)

Abby tells me you’re thriving.

You’ve no idea how pleased I am foryou. (beat) You look very fine, youknow. As if you’ve suddenlyblossomed. Is that what comes of

getting away from me?

THERESE:

(answers quickly)

No.

She frowns, regretting answering so quickly, and lookingdown. When she looks up again, CAROL is staring at her,

quite intently.

THERESE (CONT’D)

What?

CAROL:

Nothing. I was just thinking aboutthat day. In the doll department.

THERESE:

I always wondered... Why did youcome over to me?

CAROL:

Because you were the only girl notbusy as hell. (beat) Disappointed?

THERESE shakes her head no. CAROL smiles at the memory andlights a cigarette.

CAROL (CONT’D)

Harge and I are selling the house.

I’ve taken an apartment. On MadisonAvenue. And a job, believe it ornot. I’m going to work for afurniture house on Fourth Avenue as

a buyer. Some of my ancestors musthave been carpenters.

THERESE gives CAROL a little smile - a bit of thaw.

THERESE:

Have you seen Rindy?

CAROL:

(after a beat)

Once or twice. At the lawyer’soffice. She sat on my lap and we...

(holding THERESE’S gaze): She’s

going to live with Harge. For now.

It’s... the right thing.

CAROL can’t quite cover the pain of this, but she tries.

CAROL (CONT’D)

Anyway, the apartment’s a nice bigone - big enough for two. I washoping you might like to come andlive with me, but I guess youwon’t. (beat) Would you?

112

A held breath.

THERESE:

No. I don’t think so.

CAROL:

That’s... your decision.

THERESE:

Yes.

A silence.

CAROL:

I’m meeting some people from thefurniture 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 lighteron the table.

CAROL (CONT’D)

I love you.

A silence. THERESE wants to say something, but can’t.

O/S JACK TAFT

Therese? Is that you?

And the moment is gone. THERESE looks up, turns towards thesource of the greeting.

It’s a smiling JACK TAFT, halfway across the room, near thebar.

JACK:

What do you know! (starts over) I’m

saying to myself, I know that girl.

THERESE watches JACK make his way over to her. She givesCAROL a quick look - CAROL, staring down at the table, notknowing what to do, vulnerable... THERESE rises to greetJACK.

THERESE:

Jack.

JACK:

Gee but it’s great to see you. It’sbeen, well, months.

THERESE:

Months.

CAROL lights a cigarette. THERESE glances at her, and theyhold a look for a moment before THERESE speaks.

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