Carrie

Synopsis: Carrie boards the train to Chicago with big ambitions. She gets a job stitching shoes and her sister's husband takes almost all of her pay for room and board. Then she injures a finger and is fired. This is the 1890s. Charles Drouet, a salesman she met on the train, comes to her rescue, invites her to dine at Fitzgerald's where the manager George Hurstwood sends over a bottle of champagne. Stay in Drouet's apartment. He will be on the road 10 days. When she leaves the apartment many months later -- on a train bound for New York -- her traveling companion is Hurstwood. Why is he in such a hurry?
Genre: Drama, Romance
Director(s): William Wyler
Production: Paramount Pictures
  Nominated for 2 Oscars. Another 3 nominations.
 
IMDB:
7.4
Year:
1952
118 min
224 Views


- Hello, Meeber.

- Morning, Tom.

I wanna buy a ticket to Chicago.

- You going to Chicago?

- Not me. Another one of my girls.

- Round trip?

- No. One-way.

Goodbye, Mama.

- Goodbye, Papa.

- Goodbye, Carrie.

- Say goodbye to sister Carrie.

- Bye, Carrie.

Goodbye, Maudie.

Remember the things we said.

All aboard.

Let me help you with that.

- Thank you.

- Welcome.

Were you visiting in Columbia City?

- I live there.

- No.

Why, you look like you just

stepped right off Michigan Boulevard.

Did they tell you not to talk

to strangers?

Everybody's a stranger

till you meet them.

Almost got run over, didn't you?

Allow me to introduce myself.

"Drouet." My father was French.

Charles S. Drouet.

S for smiles. Charlie to his friends.

That's engraved.

That's nothing. Forget it.

Rub your thumb over that. Go ahead.

Keep it. I got plenty of them.

Stick it in your bureau mirror with the

dance programmes, picture postcards.

Hey, let me show you a trick

I learned my first year on the road.

Minnie, my sister, went to Chicago

without knowing a soul.

Then she met Sven.

He's in the stockyards.

And they got married.

Now she's got a little boy

and a flat with gas and running water.

- Did all right, huh?

- Yes. You should see her letters.

And you're off to do the same, huh?

I can do better than Minnie.

I went through school.

Yeah. And looking like you do

ain't gonna hurt any.

South Chicago.

That's not us. That's the slums.

It's South Chicago.

- It's where they told me to get off.

- I don't know where you live.

Goodbye, Mr Drouet.

Here you are, Sven.

Hello, Gussie.

I walked home, La Salle Street.

If it was to save the fare, you shouldn't.

I told you you could take it out

of the board money.

- You'll scrub the skin off.

- I wish I could.

Minnie, I hate my job.

I could be there 100 years

and never have anything to show for it.

I can't even buy a coat for winter.

I haven't got what to stake you. If you

want a stake, you gotta work for it.

But no matter what you make,

I gotta have $5 board money.

They're always stacked high

in front of you. Keep it moving.

The light's so bad I can't see my fingers.

Do you want to give up your machine?

Take your foot off the pedal,

you fool!

Hold it there.

Don't try to get it out. Don't pull.

Turn that wheel slow.

All right. There it is.

Just went through the nail.

Everybody back to your machines.

Nothing serious.

Wash the dirt off that

and take the day off.

- Stop at my desk on the way out.

- Yes, sir.

It ain't a bad one, Carrie.

Here's a dollar. A whole day's pay.

You can keep the change.

Sign this release.

Make an X if you can't write.

I'll let you know when to come back.

- You don't know where I live.

- I'll find out.

Hey, you, come over here.

- Have you got an apron?

- Yes, sir.

Follow me.

Want me to take you home?

How can I go home? I'm fired.

I've gotta find another job right away.

Thank you, Anna.

- He's coming right down.

- Thank you.

Oh, I know my apples

But, girlie, you're a peach

Oh, hello. Hello, Sally.

Skidoo.

Where you been keeping yourself?

- At my sister's.

- That a fact?

I've been thinking about you, Sally,

but I've been busier than a scalded dog.

- My name's Carrie. Carrie Meeber.

- Well, of course, Carrie.

- I just wanted to see if you knew.

- Mr Drouet...

Charlie's the name,

charm's the game. What's up?

Would there be work in your company?

- For you?

- Yes. I lost my job this morning.

No, they don't hire girls.

I've been all over the city.

I just can't find anything.

You look pretty whipped, Carrie.

This is not the girl

that I saw on that train.

I've been working in a shoe factory.

I got my finger caught

in the machine...

- You did?

- I just don't know what to do.

Carrie, that's no work for you.

- Does it hurt?

- Not very much.

Let me see it. Give me your hand.

I wanna give you something.

- Here's $10.

- Oh, no.

Take it.

Buy yourself something nice to wear.

You look for a job like that,

they'll hand you a broom.

- I could never pay it back.

- Not if you don't take it, you can't.

- I'll take half.

- Never take half.

This'll see you through till you get a job.

I've got some things

to finish up here before we close.

Go home, wash your face.

You got something else to wear?

- Yes.

- Put it on. We'll see Chicago tonight.

Have you been to Fitzgerald's? I'm

gonna buy you the best meal in town.

Meet me there at seven.

It's on Adams. Everybody knows it.

Take a hack. Seven o'clock.

You won't be able to work

at the machines.

Why weren't you more careful?

What's Sven gonna say?

It's all right. He didn't dock me.

He gave me two weeks' salary

in advance. Here.

- I'm gonna give this to Sven tonight.

- Where'd you get that?

The boss gave it to me.

My things.

- Who brought them?

- Anna Yankowski.

You were fired.

Who gave you the money, Carrie?

You're going home tomorrow, Carrie.

I didn't do anything wrong.

It was a loan.

- From a man?

- Yes.

Sven won't take that kind of money.

If you do, you'll regret it all your life.

Miss.

Oh, miss.

Out. Out, please.

- Can I help you?

- I don't know.

- I'm supposed to meet someone.

- Do you see him here?

No.

- He'll probably be in the restaurant.

- There?

But I don't think I'd walk

through the bar if I were you.

Oh, I'm sorry.

The entrance is right next door.

There you are.

Thank you.

A little thing like that

kind of breaks the monotony.

I'm sorry, we do not seat

unescorted ladies, miss.

I don't want to sit down.

I want to leave a message.

Yes. What is it?

Well, would you tell Mr Drouet,

Mr Charlie Drouet,

that I couldn't come?

That I can't meet him,

and I couldn't wait to tell him.

And if you'll give this back to him.

- What is it, Louis?

- I don't know.

- Who were you meeting?

- Mr Drouet, Charlie Drouet.

- Let's see if he's here.

- He isn't. I'm early.

Well, maybe he's early. He should be.

Shall we look?

Well, it would be better

if I could just leave this.

- Were you going to have dinner here?

- Yes, I was.

Well, why don't you wait?

- It's a very good restaurant.

- I know.

- It looks it.

- Carrie. Hello. You got here early.

- Good evening, Mr Hurstwood.

- Mr Drouet, good evening.

Say, you've got a good memory

for names.

I haven't been here in months.

Will you follow me?

Louis.

- A nice table for Mr Drouet.

- Thank you.

This way, please.

Try to be a sensible girl.

Stop worrying. Put the money away.

It's just a loan from a friend.

I'm not gonna give it another thought.

Buy yourself a little coat.

You need a coat, don't you?

There you are. Pay me back when you

get a job. Anything wrong with that?

Put that money away

before the waiter picks it up.

Look out.

Now, then, that's settled.

You've been awfully nice, Mr Drouet.

Why not? Everybody gets

a little help from somebody.

Some of the finest ladies

in Chicago are right here.

Where do you think they get everything

from? From their husbands. Or friends.

Rate this script:0.0 / 0 votes

Theodore Dreiser

Theodore Herman Albert Dreiser (; August 27, 1871 – December 28, 1945) was an American novelist and journalist of the naturalist school. His novels often featured main characters who succeeded at their objectives despite a lack of a firm moral code, and literary situations that more closely resemble studies of nature than tales of choice and agency. Dreiser's best known novels include Sister Carrie (1900) and An American Tragedy (1925). more…

All Theodore Dreiser scripts | Theodore Dreiser Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Carrie" Scripts.com. STANDS4 LLC, 2024. Web. 21 Nov. 2024. <https://www.scripts.com/script/carrie_5103>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    Carrie

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What is the "second act" in a screenplay?
    A The main part of the story where the protagonist faces challenges
    B The introduction of the characters
    C The resolution of the story
    D The climax of the story