Carol Page #3

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THERESE:

We have plenty of other dolls. Allkinds, umm...

THERESE, suddenly tongue-tied, turns toward the doll display,

which CAROL turns to as well.

CAROL:

Right. What was your favorite dollwhen you were four? Do youremember?

THERESE:

Me? I never... Not many, to be

honest.

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

THERESE interrupts.

THERESE (CONT’D)

Sorry. No smoking on the salesfloor.

CAROL:

Oh, of all the - forgive me. (beat)

Shopping makes me nervous.

THERESE:

That’s okay. Working here makes menervous.

CAROL laughs, appreciating THERESE’S commiseration.

CAROL:

You’re very kind.

Their eyes meet for a moment, before CAROL rummages insideher purse again. She produces a billfold, opens it, shows itto THERESE. It’s a photo of RINDY, CAROL’S 4-YEAR-OLDDAUGHTER.

THERESE:

She looks like you. Around themouth. The eyes.

CAROL:

(glancing at THERESE)

You think so?

THERESE looks up, clocks CAROL watching her, looks down. Abit of an awkward moment that CAROL rescues:

CAROL (CONT’D)

So what did you want? When you werethat age?

THERESE:

(no hesitation)

A train set.

CAROL:

Really. That’s a surprise. (beat)

Do you know much about train sets?

THERESE:

I do actually. And there’s a newmodel, just in last week. Hand-

built with hand-painted cars - it’sa limited edition of five thousand,

with the most sophisticatedelectric switching system - it’squite...

THERESE checks her own enthusiasm, noticing CAROL’S eyes onher.

THERESE(CONT’D)

You may have seen it. Over by theelevators? Just there-

THERESE points towards the train set and CAROL turns to look,

mulling it over. 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, threedays. Two days. We’ll even assembleit.

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, then slides it overto CAROL with a pen, glancing up at her. CAROL snaps out of abrief moment of thought, a distance.

THERESE (CONT’D)

We’ll need your account details,

your shipping address.

CAROL:

Of course. (she begins writing) I

love Christmas. At least I love the

preparation. Wrapping gifts, allthat. And then... you somehow windup overcooking the turkey anyway.

She finishes, flashing a bright smile. THERESE doesn’t quitefollow 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 abouttrain sets, anyway?

THERESE:

I - read... Too much, probably.

CAROL:

It’s refreshing. Thank you.(beat)

And Merry Christmas.

THERESE:

Merry Christmas.

CAROL walks away. THERESE watches her, takes her all in - hermanner, her style, her walk. CAROL turns back for a moment,

and points to THERESE’S cap.

CAROL:

I like your hat.

THERESE watches her go off past the train set and elevators.

For a moment she watches as the empty spaces left behind arefilled by shoppers and staff. She cranes her neck for onelast look but it’s no good. She’s gone. THERESE sighs. Shelooks down at the doll desk and sees that CAROL has left her

gloves behind.

CUT BACK TO:

INT./EXT. TAXI. NEW YORK CITY. NIGHT. (APRIL 1953)

THERESE stares out the window, still wrapped up in thoughts.

Up front, JACK is pointing out the West Village apartmentbuilding (”Here-here-here!”) and the taxi screeches to a

halt. Everyone tumbles out as JACK pays the driver. Before

she knows it, THERESE is climbing the stairs to PHILMcELROY’S building. A window is thrown open above them andPHIL McELROY, with typically unkempt hair, leans out.

PHIL:

It’s about time, Belivet. Say helloat least - It hasn’t been that

long!

THERESE:

Hello - Phil - sorry, I was...

DANNIE, PHIL’S brother, leans out of the window next to PHIL.

DANNIE:

There she is! Get up here! (picking

up on her state): What?

THERESE:

Nothing! There better be beer. Orwine.

OTHERS:

Or beer!

Someone rings THERESE and the others in. It makes an annoyingsound - a buzzing sound that makes THERESE frown, and as shemoves up the stairs and into the building we

RETURN TO:

FLASHBACK:
DECEMBER, 1952

INT. FRANKENBERG’S. EMPLOYEE LOCKER ROOM. EVENING.

THERESE stands at her open locker, as the BUZZER indicatingthat the store is closed blares incessantly. She takes offher Frankenberg’s smock and puts on a pair of dark tightsthat she’s just bought, to cover up her bandage. It does thetrick. She puts on her coat, scarf, etc. The inside of herlocker door is decorated with photographs THERESE has taken,

shots of THERESE and RICHARD in Coney Island. As THERESE putsCAROL’S gloves into her handbag, the BUZZING finally stops.

She can see RUBY ROBICHEK at her locker across the room,

pulling on some winter boots with great difficulty. THERESEquickly dabs on some powder and shuts her locker.

INT. CINEMA PROJECTION ROOM. NIGHT.

THERESE, RICHARD, PHIL and DANNIE McELROY sit crowded

together in the small dark space, watching a movie throughthe modest glass panel, smoking cigarettes. THERESE sits onRICHARD’S lap, but RICHARD is more content kissing the backof her neck than watching the film. PHIL McELROY, the filmprojectionist and host, sits near the gears while hisbrother, DANNIE, sits as close as he can to the movie,

jotting down occasional notes in a small notebook. The filmis Sunset Boulevard, and the scene is Norma Desmond’s NewYear’s Eve party for two when she dances with Joe Gillis onthe marble ballroom floor. THERESE is fascinated by DANNIE,

but PHIL slaps him on the back of his head.

PHIL:

Move over. Nobody else can see thescreen.

RICHARD:

(through his nuzzling ofTHERESE)

Nobody else is watching.

THERESE:

(laughs)

I’m watching.

DANNIE:

(to THERESE)

I’ve seen it six times. I’m

charting the correlation betweenwhat the characters say and howthey really feel.

PHIL:

My kid brother, the movie jerk.

DANNIE, embarrassed, moves slightly away from the glass. Buthe still watches, still jots notes. THERESE watches him.

INT. GREENWICH VILLAGE BAR. NIGHT.

RICHARD and PHIL have been drinking quite a bit. A row ofempty beer bottles is lined up on the table in front of them.

DANNIE sips at a glass of Coca-Cola. THERESE nurses a glassof wine.

DANNIE:

I’m strictly a beer man. Everythingelse makes me want to vomit.

THERESE:

Wine makes me feel naughty. In agood way.

PHIL:

Is there any other way to feel

naughty?

RICHARD:

I drink to forget I gotta get upfor work in the morning.

PHIL:

That’s your problem, Semco. You

really ought to drink because youremember you have a job.

Employment’s a curse.

THERESE:

You have a job, Phil.

PHIL:

You call that a job? I call it anillusion.

DANNIE:

You get paid. Is money an illusion?

PHIL:

My kid brother, the jerk

philosopher.

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