Carrie



FADE IN:

From an absolutely glistening WHITE ­ an image which first appears to be a  brilliantly shining glass globe, and then gradually becomes more of a piece of solid matter, less of a mystery. It's the

EXT. WHITE BUNGALOW (OR HOUSE) ­ DAY

1. FILLING THE FRAME like a picture postcard. Modest, old-fashioned, spotless ­ a vision of small town normalcy and virtue.

This is the home of MARGARET WHITE and her daughter CARRIE. It seems to have been scrubbed from roof to porch; it is white. Even the lawn seems to  have been washed and bleached. Antiseptic.

We hear a woman's voice:

MARGARET (o.s.) Carrie! Carrie

The voice is distant but insistent. It is heard, in perspective, through the following prologue, which initially involves:

2. STELLA HORAN ­ DAY

An all-American sunbathing beauty of eighteen, getting the tan of her life with only a skimpy white bikini running interference between her skin and the sun.

The CAMERA SLOWLY PANS OVER the expanse of her body ­ luxuriant, taking it in  inch for inch as she dreamily rubs in suntan lotion and licks her lips. The MUSIC is coming from a transistor radio by her side; she's on a beach blanket in the Horan back yard.

3. DOWNWARDS ANGLE ­ STELLA

As she senses someone standing over her, someone staring at her body through the half- grown hedge which separates the Horan back yard from the White house next door.

VOICE (O.S.) What are those? 2

4. STELLA'S POV ­ CARRIE WHITE

A terribly appealing little girl, a child of indeterminable age. Pink cheeks, a halo of blonde- white hair which will darken in time. What sets her apart from other children, however, are a pair of bright button brown eyes; and it's these eyes that we notice as she peers at Stella through the hedge.

STELLA Hiya, Carrie. Gee you gave me a fright. (turning down the radio) How long have you been there?

CARRIE (not smiling; pointing with her finger) What are those?

Stella looks where Carrie is pointing; the top of her bikini has slipped, just barely revealing her breasts ­ white against the golden tan. Stella adjusts her suit ­ not out of any particular modesty of her own but as a reflex at being stared at so strangely.

STELLA Those are my breasts, honey.

CARRIE (a beat; then solemnly) I wish I had some.

STELLA You will. `Course you'll have to wait a                        couple of years, but ­

CARRIE (a fact) No I won't.

STELLA Why, sure you will.

CARRIE (emphatic) No, I won't.                               (glancing behind her) Momma says no... Momma says good girls don't.                                                                                                  3

STELLA (at something of a loss) Well, I'm a good girl. And besides, doesn't your mother have breasts?

5   CARRIE Glances anxiously at the mention of her mother at the White house next door. She swallows her words so that all Stella and we hear is:

CARRIE ...dirtypillows.

STELLA What?

CARRIE Momma calls them dirtypillows. Says she's got them `cuz she was bad when she made me.

6  STELLA

Incredulous. But she senses that Carrie is both perfectly serious and quite worried, and she too glances warily over at the White house just beyond the half-grown hedge.

She kneels next to Carrie and tries to laugh it off.

STELLA Now, honey, that's just silly. Listen ­ you must be real hot in that long dress. What do you say we go inside and get us some lemonade, would you like that?

7  CARRIE

Clearly torn ­ tempted but in the clutch of some weird terror ­ as if she expected the earth to open and swallow her up. She shakes her head.

STELLA C'mon. (offering her hand) It'll be our secret.

Carrie ­ now really scared ­ shakes her head and disappears farther into the hedge. 4

CARRIE I can't!

STELLA Sure you can. I make it nice and sweet, and ­

And just at that moment, a figure appears in the second-story window in the White house. Although Stella and we really can't distinctly see through the sun's glare, it's unmistakably MARGARET WHITE. The moment this big woman sees her daughter with Stella, she lets out a bloodcurdling scream:

MARGARET CAARRIEETTAAA!!!

8 CARRIE, STELLA Both frozen by this terrible sound

9 STELLA'S POV ­ CLOSER ON CARRIE

As she sucks in her breath, quivering with fright, looking as if she might faints. She looks quickly to Stella, then back at the White house, then back to Stella. For the merest flash, she seems to smile ­ or is she about to cry?

And then, she's gone ­ running around the hedge and then up the porch stairs and into the White house as fast her legs can carry her.

10. STELLA

Stands there, riveted. Not knowing what's happened, what to do. It's utterly silent for a moment.

And then, an incredible CACOPHONY of strange sounds starts coming from the White house ­ an unearthly babble as Margaret White screams, rants, and screeches; as Carrie sobs that she's sorry, that she forgot.

STELLA Mother! (louder) Mother! 5

11. THE HORAN HOUSE

As MRS. HORAN ­ in an old housedress with the hem falling down in the back ­ rushes out to answer to her daughter's call.

MRS. HORAN What in the name of God? What's the matter?

STELLA (frantic) I don't know... Carrie was just talking to me, and Mrs. White started screaming and...

12. THE WHITE HOUSE

The sun glistening brilliantly on it as in the opening shot. Again, it should appear like a huge glass globe over which we counterpoint one mother/daughter dialogue with the less distinct babble of another:

MARGARET (v.o.) I told you to stay away from there, I told you....

CARRIE (v.o.) I'm sorry, Momma.

MARGARET (v.o.) ...to stay away from that girl, that whore...

CARRIE (v.o.) Please, Momma!

MARGARET (v.o.) ... of Babylon!

Which continues over:

13. TWO SHOT ­ STELLA AND MRS. HORAN

Their eyes riveted on the house ­ trying, squinting to see through the sun's terrible glare.

STELLA Don't you yell at her like that! Stop that!

MRS. HORAN That poor sweet child... 6

STELLA Mother, we've got to do something!

MRS. HORAN What?

STELLA Call the police? Mother, call the police!

MRS. HORAN (not about to interfere; hopeless) The child...

At this point, the hysteric babble reaches its crescendo; we should be able to pick out phrases in this cacophony as Margaret rants at Carrie to go into her closet and pray for forgiveness; as Carrie's frightened little voice proclaims that she forgot, that she's sorry. And then suddenly the screaming stops and it's quiet ­ dead quiet.

14 THE WHITE HOUSE

As it becomes more distinct, visible. There's a low WHISTLING sound, and then what appears to be a stone the size of a small pebble lands on the roof.

Another, slightly larger one appears a second or two later. And then another, and another, and...

15 TIGHTER TWO SHOT ­ STELLA AND MRS. HORAN

squinting, blinking at the pebbles which are coming down like marbles.

16 THE WHITE HOUSE

as it's pelted with what are now even larger stones ­ WHISTLING, SCREAMING in the air like miniature bombs.

Stones from a perfectly blue summer day.

Stones ranging in size from marbles to handballs.

One of them hits a downspout, knocking it onto the lawn. CRASHING, CRACKING SOUNDS as these pieces of granite tear into the stucco roofing, leaving holes.

The effect is that of a drum being bombarded. 7

17. TWO SHOT ­ MRS. HORAN AND STELLA

Frozen to the spot: Mrs. Horan with her hands over her ears, her screams blending with the SOUND of larger and larger stones as they pelt the house and we hear Margaret throughout screaming:

MARGARET'S VOICE Stop that! Stop that!

Stella is clutching Mrs. Horan like a child terrified by the freakiest of summer storms ­ a healthy young woman as her figure in the bikini testifies, but a child nonetheless, this nightmarish moment.

18 THE HOUSE

As still larger stones hail from the sky.

And then just as suddenly and inexplicably as they started, they stop.

19 TWO SHOT ­ THE WOMEN

Mrs. Horan with her hands still over her ears, her daughter standing next to her, transfixed on the lawn. Once again, it's quiet.

20 THE WHITE HOUSE

As one final stone ­ this one the size of a mere pebble ­ falls from the roof and plops onto the lawn.

The image grows lighter and lighter. All the color seems to bleach out, turning the screen once again into an incredible, silently blazing white.

MAIN TITLES.

21 EXT. THE WHITE HOUSE ­ MORNING

Now some years later ­ and no longer glistening so whitely or mysteriously. We see the front of the house as the door flies open. Carrie, now sixteen or seventeen, appears in the doorway, carrying school books. As she comes out on the porch, the screen door bangs behind her. 8

She is wearing a shapeless, drab dress ­ much too long, not so much out of style as utterly without style. What remains in this adolescent girl that links her with the pretty child we glimpsed in the prologue are those remarkable eyes.

As she comes down the porch stairs, we hear:

MARGARET'S VOICE Carrie!

Carrie stops, turns to reply into the house.

CARRIE Yes, Momma.

MARGARET'S VOICE You come straight home from school.

A moment of hesitation on Carrie's part, a very slight hint of rebellion, but:

CARRIE (sweetly) I always do, Momma.

Then she turns, walks to the street, gathering pace, quickening.

22. EXT WHITE HOUSE ­ ANOTHER ANGLE

As Carrie walks down the path from the porch and turns at the sidewalk, in the course of which she passes by where the Horans used to live. Only the Horans no longer live here. No one does. It's a vacant lot with a FOR SALE sign out front, with overgrown weeds. From the looks of them, the house vanished a long time ago.

23 EXT. TOWN STREETS ­ DAY

Carrie is walking to school, the sun shining brightly above her. The farther she gets from her house, the livelier she seems. We sense that underneath this drab dress is a girl pushing out, an altogether different creature than her appearance would suggest. And to help persuade us about this possibility, there is MUSIC.

24 BOBBY ERBETER

About five, BOBBY bikes on the other side of one of the streets, keeping pace with Carrie on a twenty-inch Schwinn with training wheels. 9

BOBBY Hey, fart-face! Hey, old praying Carrie! Praying, Carrie, praying Carrie, praying Carrie!

Carrie favors him with a sweet tolerant smile and goes on toward the high school, in the background:

Bobby, frustrated, stops astride is bike and screams after her.

Bobby's face ­

DISSOLVE TO:

25 THE FACE OF AN ADOLESCENT

Or as he is known in school, THE BEAK. He is pathetically thin, myopic, weak-chinned, beak-nosed, almost a caricature of an adolescent reject. Over his face, we HEAR:

FROMM'S VOICE What are you going to leave for us, You people in your big cars Spewing pollution into the air?

We PAN the faces of adolescents, listening with various degrees of attention, indifference, or  reluctance, to:

FROMM'S VOICE You people with heavy feet Trampling down the wilderness? You people who peer into the back seats of our cars Hours after you come out of the back doors of your motels. Soon all we will have is each other, and that could be enough...

26 INT. CLASSROOM ­ FROMM ­ DAY

Or, as he is known to his pupils, BIG BELLY FROMM, at his desk in front of the class, reading from an assignment paper.

FROMM ...If you will let us have room enough And air enough And peace enough To love each other As you never could 10

He sets down the paper, and looks at the class.

27 FROMM'S POV ­ THE CLASS

We will see, among others, Carrie.

We also see TOMMY ROSS ­ a mid-seventies version of the boy next door. Good-looking, clean-cut, intelligent, athletic.

28 FROMM

He is nodding his head slowly, affecting a kind of puzzlement.

FROMM I must say ­ I must confess ­ this poem displays an extraordinary talent... (the knife) ...a talent extraordinary for you, Tommy Ross.

29 THE CLASS

All eyes are on Tommy, who doesn't seem very abashed. In fact, he turns, clasps his hands over his head, to the delight of his classmates. But you don't get the feeling he is a goof-off; he is a kid aware of his own popularity and comfortable with it.

30 FROMM

FROMM Tommy, this is slightly different from running for a                      touchdown... Any criticisms?

31 THE CLASS

The usual hesitation. Then Carrie's hand shoots up.

32 FROMM

He appears surprised to see Carrie, ordinarily shy, volunteering.

FROMM Carrie White?

33 THE CLASS ­ FEATURING CARRIE 11

Her volunteering has surprised her as well. But she's stuck with it. The eyes of the class are on her. And she has to say something. So she does.

CARRIE It's... beautiful.

34 FROMM

He leaves his desk, moving into the class area, seeming to pounce on Carrie.

FROMM `Beautiful.' `Bee-t-ti-ful!' `Oh beautiful for spacious skies, for amber waves of grain.' Is that the beautiful you mean?

The class is snickering. Carrie throws a despairing glance toward Tommy. Tommy looks at  her, and away, embarrassed. Carrie looks down at her desk, almost burying herself.

FROMM That isn't exactly a criticism, Miss White. (looking around) Anyone else? (no one else) Well, at least we've finally gotten Carrie White to say something!

Tommy looks toward Carrie, with something suggesting compassion. Then he looks toward Fromm, and he is muttering something. Or to be specific:

TOMMY (muttering) You suck.

FROMM Tommy? You said something?

TOMMY Yes, sir.                          (moment; "popular" grin) I said... `shucks.'

But everyone in the class knows.

CUT TO:

35 OMITTED 12

36 EXT. VOLLEYBALL COURT ­ DAY

Two teams of girls, among them NORMA WATSON, HELEN SHYRES, CORA and RHONDA WILSON (sisters although not identical twins), CHRIS HARGENSEN and SUE SNELL. Supervising the game is MISS COLLINS wearing a warm-up suit and holding a whistle awaiting the next point. Among the girls is CARRIE anxiously watching for the ball to come her way. It has apparently been a close game, the competition building steadily. When the shot begins, Miss Collins has just blown her whistle to announce:

COLLINS Okay, now. This is game point.

This is the final point of the game and Rhonda Wilson is serving (she is on the opposite team as Carrie).

RHONDA (giving the score) Twenty ­ Twenty.

The ball is successfully served and remains in play for some time as the girls skillfully volley it back and forth over the net. And then, just when the tension is its greatest, the ball comes over the net toward Carrie. It's evident that the outcome of the game depends upon her success. The little boy who decided to put his finger in the dyke had it easier.

The other girls are (AD LIB) shouting cautions and admonitions to Carrie. Carrie almost trembles with tension, about to bat the ball over the net, afraid to hit it.

Carrie whacks the ball. She shacks it hard. And on a line ­ straight into the net.

Another chorus of groans, with remarks like "Wouldn't you know!" and "Dumbo!" reinforcing them. Chris storms back toward Carrie.

CHRIS (low, harsh) You eat shit!

Miss Collins blows her WHISTLE.

CUT TO: 13

37 INT SHOWER ROOM ­ DAY

Steam partially obscures the girls as they whoop and holler and cavort under individual showers. They banter little barbed pleasantries, bits of sexual information, family plaints, talk of college ­ all of which we hear from separate stalls.

One by one the showers are turned off, the girls stepping out, removing pastel bathing caps, toweling, spraying deodorant, bras hooked, underpants stepped into. Steam hangs in the air. So do words, running into one another, tumbling, drifting.

`...Tommy says he hated it on me... My sister's husband picks his nose... So does your sister... too cheap to spend a penny... we'll go after school... I'm going with Billy, we'll meet you... Friday night...'

We PICK UP Miss Collins as she steps among the girls, spies Carrie still standing under the shower. She claps her hands together once, smartly.

COLLINS What are you waiting for, Carrie? (as Carrie looks at her) Bell in five minutes.

CARRIE Oh uh?

As Collins departs, and the other girls start to move toward their lockers, Carrie is left alone in her shower stall. She is soaping herself. In a virtual reverie, she begins at her shoulders, moving her hands over her breasts in small, regular, virtually erotic circles. Her hand goes out of frame, below her stomach. Slowly, it emerges back into frame ­ full of blood. And just as she and we see this, so do the girls.

CHRIS Peer-iod! Peer-iod!

Carrie stares at her dumbly.

The other girls are quick to take up the chant. Chris leads them.

GIRLS Peer-iod! Peer-iod! Peer-iod! Peer-iod!

One voice chimes in:

NORMA 14

Plug it up!

Others take up this new chant. For a while, like counterpoint, he chants overlap; then the new chant emerges solely:

GIRLS Plug it up! Plug it up! Plug it up! Plug it up!

Dime-sized drops are striking the tile floor at Carrie's feet.

SUE For God's sakes, Carrie, you got your period. (as Carrie turns toward her) Clean yourself up!

Carrie seems bewildered.

SUE (furiously) You're bleeding! You dumb pudding, you're bleeding!

Carrie looks down and wails, the sound is very loud.

A tampon strikes Carrie's chest, plops to her feet. Carrie just stares at it.

NORMA She thinks they're for lipstick.

Behind her, another girl pretends to throw up.

Shrieks of laughter. Another tampon strikes Carrie. Another. The girls are bombarding her with tampons and sanitary napkins, some from purses, some from the broken dispenser on the wall. As they bombard Carrie:

GIRLS Plug it up, plug it up, plug it up, plug it up....

We isolate Sue Snell at the moment she joins in the chant, and watch her beginning to be caught up in what can only be described as a fury.

Carrie howls and begins to back away, howling louder and louder.

The door is flung open by Collins.

COLLINS 15

What is this?

And she takes it in. She jerks the whistle to her mouth, blows and blows! The sound is louder than a shriek (which it resembles) or a howl (which it doesn't).

And there is sudden silence.

COLLINS (to girls) Get out! Get out!

The girls retreat, Sue last.

SUE It must be her first...

COLLINS Out!

As the girls slip out, Collins turns to Carrie, who has backed up and is whimpering. Collins slaps her face, not too hard at first, then with a flash of anger.

CARRIE M... M... Miss Collins...

COLLINS Stand up. Take care of yourself.

CARRIE I'm bleeding.

One blind searching hand comes up, clutches Collins' white shorts, leaving a bloody handprint.

COLLINS Damn you!

She hurls Carrie part way across the room toward the broken sanitary napkin dispenser.

COLLINS Get over there! And take one!

CARRIE 16

I don't know...

COLLINS Never mind the coin slot... It's broken.

CARRIE It hurts... my stomach...

COLLINS (grabbing her) Do it! Now.

CARRIE I can't. I don't know how!

There's a bright flash as a light BULB POIPS, fizzling out. Collins is surprised.

COLLINS What...?

And she looks at Carrie. Her anger seems to seep away. Her voice softens.

COLLINS Carrie, don't you know...? (shakes her head, realizing and wondering) You don't.                          (reaches for Carrie) I'll show you.

DISSOLVE TO:

38A INSERT INT WAITING ROOM ­ DAY CARRIE AND MISS FINCH

38 INT. PRINCIPAL'S OFFICE ­ DAY

HENRY MORTON, the principal, a decent but somewhat plodding man in his mid-forties, is  tapping out his pipe as he talks to Collins.

MORTON Isn't she a bit old for her...

Well, he can't quite say it.

COLLINS 17

Her first period?

MORTON Ah, yes.

COLLINS Morty, until a half hour ago, I don't think she knew there was such a thing.

He hesitates a moment ­ noticing Carrie's bloody handprint on Collins' gym shorts.

MORTON It's hard to believe in this day and age a girl in high school wouldn't know... something... the facts.

COLLINS Well, knowing that mother of hers...

MORTON (cutting her off) Miss Collins, if you'd been with us longer, you'd             understand we cannot interfere with people's beliefs. As for the girls ­

COLLINS Carrie's always been their scapegoat. So they...

MORTON You'll have to do something.

COLLINS I will. But I understood how those girls felt. The whole thing just made me want to take the girl and shake her.

MORTON Ummm.

COLLINS It's just her period, for God's sake.

MORTON (cutting in; uncomfortable) We'll send her home. (to intercom) Miss Finch, send in Cassie Wright. 18

COLLINS It's Carrie White.

MORTON (fiddling with paper clips on his desk) Oh.

The door is opened. Carrie stands in the doorway.

MORTON Come in, Cassie.

Collins starts to correct him, but:

MORTON Close the door. No, wait. (up) Miss Finch, bring in a dismissal slip. (to Carrie) I think you might take the rest of the day and go home and, uh, well... take care of yourself, Cassie.

CARRIE (hardly a murmur) Carrie.

MORTON We're all sorry about this incident.

MISS FINCH, elderly, spinsterish, goggles in with the yellow dismissal slip, brings it to Morton who initials it.

MORTON (to Finch, as she goes) Thank you. (to Carrie) Would you like to go to the infirmary?...

Carrie is shaking her head.

MORTON ...lie down for a while...

COLLINS I think Carrie can go home. 19

MORTON Would you like a ride?

Again, Carrie is shaking her head.

MORTON We could call you a cab.

COLLINS I'm sure she can walk home. And Carrie, you're excused from gym for a week. Take study hall instead.

Morton picks up the dismissal slip, hands it to Carrie.

MORTON We are sorry about this, Cassie.

CARRIE (sudden fury) That's not my name!

Two things happen simultaneously; Morton recoils slightly and the ashtray quakes a little and then tumbles from the desk.

Then Carrie goes out.

Morton comes around the desk, stoops to pick up the ashtray, stares at it curiously for a  moment, then looks at Collins.

COLLINS (slowly) That reminds me. A light blew out while I was trying to calm her down.

MORTON I'll send a janitor to fix it.

Okay, that's reality. He puts the ashtray back on the desk decisively, dismissing any "peculiar" thought he may have had.

DISSOLVE TO:

39 A RED SCREEN

PULL BACK QUICKLY to show red circles of a traffic light. 20

Carrie is standing at an intersection, waiting for the light to change.

40 CARRIE'S POV ­ CHAMBERLAIN STREET

Cars are flashing by; they seem to leave blurs of light.

41 FLASH CUT

Carrie's tormentors.

42. FLASH CUT

Carrie.

43. LONGER CUT

The girls throwing tampons and sanitary napkins.

44. LONGER CUT

Carrie, hatred showing.

45 THE GIRLS ­ FEATURING CHRIS

Suddenly their motions are ARRESTED. Their images polarize; the girls disappear, except for Chris. Her image REMAINS.

46 CARRIE

Concentrating her hatred

47 CHRIS' IMAGE

It begins to shatter. And then explodes.

48 THE LIGHT

Turns green

49 CARRIE

She walks across the street. 21

50 EXT. ANOTHER STREET ­ DAY

A quiet residential street in a lower middle-class neighborhood. Carrie is walking down the street, slowly.

51 ANOTHER ANGLE

There comes Bobby Erbeter again on his bike, paralleling Carrie (as before)

BOBBY Hey, fart-face! Hey, old praying Carrie!

52 CARRIE

She keeps on walking, ignoring him.

53 BOBBY

Keeping pace with Carrie, shouting across the street.

BOBBY Fart-face, fart-face, fart-face...

54 CARRIE

Turning toward him, her face contorted with rage.

55 CARRIE'S POV ­ ANGLE ON BOBBY

The bike wobbles on its training wheels.

And the bike topples over, on top of Bobby, who screams

56 OMITTED

57 CARRIE

CLOSE now, featuring her eyes most prominently. Her face is uncertain, confused. What just happened? She thought (that's right, thought) something and it happened...

And we HEAR another SCREAM, more of an angry shriek, and then the strange sight and SOUND of: 22

58 FLASH CUT

As the stones pelt the White bungalow years ago.

59 CLOSER

The stones pelting the roof.

60 CARRIE

She is staring across the street at:

61 BOBBY

Screaming with anger (more than anything else) as he disentangles himself. He stands up, looks toward Carrie across the street, shakes his little fist.

BOBBY (defiantly) Fart-face!

62 CARRIE

The boy's defiant chant can be heard as Carrie blinks, wondering. Then she opens her eyes, wider. She looks at the boy. She frowns for a moment.

63 FLASH CUTS

The stones.

The light bulb exploding.

The ashtray falling.

We hear:

BOBBY'S VOICE Fart-face, fart-face, fart-face!

64 CARRIE

A faint smile, partly of wonder, partly of a strange kind of joy. She knows. 23

DISSOLVE TO:

65 INT. SNELL KITCHEN ­ ELEANOR SNELL ­ DAY

Sue's mother. Out of a margarine commercial ­ a packaged, nice lady, neat, trim ­ a good mother, good wife. She is preparing dinner; in her line of sight, a television game show glitters.

DOORBELL

Eleanor frowns momentarily, leaves the kitchen.

66 INT. SNELL HOUSE ­ TRACKING ELEANOR ­ DAY

Through the middleclass, rather tasteful home, to the front door.

Eleanor opens the door.

67 ANGLE ON MARGARET WHITE

Standing in the doorway. She is a large lady dressed in black, carrying a worn black leather sack, which we will discover is bulging with religious tracts.

68 ELEANOR WITH MARGARET

Margaret White is not a welcome visitor, but Eleanor Snell is a polite lady.

ELEANOR Oh, Mrs. White.

MARGARET How have you been, Mrs. Snell?

ELEANOR Fine.

MARGARET And the doctor?

ELEANOR Fine.

MARGARET And your daughter? 24

ELEANOR Sue is... fine.

An impasse. Finally Eleanor feels constrained to open the door wider, put a smile on her face, and:

ELEANOR Won't you come in, Mrs. White?

MARGARET Thank you.

She steps inside and Eleanor closes the door behind her, saying:

ELEANOR I think Carrie is in some of Sue's classes.

MARGARET Yes.

ELEANOR Perhaps some time Carrie might visit...

MARGARET I'm here on the Lord's work.

ELEANOR Yes, of course.

Margaret is fishing tracts out of her bag.

MARGARET These will interest the doctor and you.

Eleanor looks at the tracts with pretended interest

ELEANOR I'm sure they will.

MARGARET And your daughter.

ELEANOR (a smile) Well, I don't think Sue would be ­ 25

MARGARET (cutting in) Children are godless these days, Mrs. Snell.

Margaret's voice is almost toneless ­ now and throughout.

ELEANOR My Sue is a good girl.

MARGARET These are Godless times.

ELEANOR I'll drink to that!

Humor ­ and she regrets it immediately.

ELEANOR (continuing; quietly) We'll all read... these.

The telephone RINGS.

ELEANOR Excuse me. (retreating) Please sit down.

Margaret doesn't sit, and Eleanor flees into the kitchen.

69 INT KITCHEN ­ DAY

As Eleanor reaches the phone.

ELEANOR Hello... Betty, can I call you back? Margaret White is here...                Right... right... Let me get rid of her and I'll call you back.

She hangs up, opens a drawer, takes out some hidden household money (a couple of bills), and drags herself back into the living room.

70 INT. SNELL LIVING ROOM ­ DAY

Margaret is still where we left her. 26

ELEANOR We'd like to contribute ten... (a look at Margaret) ...twenty dollars.

MARGARET Thank you. I'll give you a receipt.

Eleanor shifts from foot to foot while Margaret writes out the receipt, gives it to her.

ELEANOR Thank you, Mrs. White.

MARGARET I'll pray you find Jesus before it's too late.

What can one say? Eleanor stands there, completely exasperated but retaining her politeness like a steel, middle-class glove. She accompanies Margaret to the door and the latter leaves. Eleanor is about to close the door, stops, seeing:

71 EXT SNELL HOUSE ­ FROM DOOR ­ DAY

Sue is coming toward the door. She passes Margaret with a quick (inaudible) greeting and hurries to the front door where her mother is waiting.

SUE That's Carrie White's mother...

As Eleanor nods and closes the door.

SUE (apprehensively) What did she want?

ELEANOR (indicating tracts) She gave us these ­ (conspiratorial sigh) ...and I gave her a donation.

Sue's face betrays relief, but Eleanor notices nothing.

ELEANOR (brightly) Well, how was school today? 27

SUE Today? Like always.

HOLD ON Sue, staring at the tracts on the table (or perhaps out the window as Margaret  leaves). A long beat, then:

DISSOLVE TO:

72 CARRIE

Who is sitting in an old Boston rocker by the window in her room which overlooks the street. She is wearing just a slip or perhaps an old terrycloth robe ­ her plain dress and school books on the narrow bed.

She is leafing through a teenage magazine on the order of "Seventeen" ­ absorbed in the mundane fantasies of models in their pantyhose and underwear; long gowns and mystery men. An escape of sorts.

And we reveal Carrie's bedroom in the low attic of the White house: tiny, plain, severe. It's  decorated with just the fewest embellishments (i.e. high school pennant) that Margaret would allow in exchange for her own prices ­ a crucifix above Carrie's bed, a small bureau with an  equally small mirror, a Bible and plastic glow-in-the-dark Madonna and child, and various religious prints and plaster quotations on the wall.

73 ANGLE ­ FEATURING CARRIE

Caught up in the magazine, in the most normal of female fantasies courtesy of the slick Madison Avenue mind. And then, with that extra sense of perception apparatus that fears it's  about to be caught doing something it shouldn't, Carrie glances out the window and down to   see:

74 EXT THE STREET ­ MARGARET

As this formidable vision of black strides down the walk. Another woman like this would be  coming home from a funeral; Margaret actually seems to like black.

75 CLOSEUP ­ CARRIE

Her heart pounding as we glimpse that look of terror we witnessed earlier ­ a scared little girl now encased in the body of an adolescent.

As she hears Margaret close the front door and call out her name as she hangs up her coat, Carrie hastily stashes the magazine under the mattress. Then she begins to dress as we hear the SOUNDS of Margaret in the kitchen, starting her daily afternoon ritual of making tea. 28

And then the telephone RINGS ­ only to stop as Margaret picks up the receiver. It's just as Carrie dreaded ­ it's the school ­ and she stands by the door, trying desperately to overhear Margaret's muffled voice. And then Margaret hangs up, and in a deadly tone of voice ­ not yelling but enunciation with a terrible clarity ­ she calls up the stairs:

MARGARET'S VOICE I know you're listening. Come downstairs.

And defeated, Carrie braces herself and goes down the:

76 HALLWAY, STAIRS, LIVING ROOM, FOLLOWING CARRIE

As she hurries down toward her mother and into:

77 INT WHITE KITCHEN ­ DAY

Where Margaret is standing by the stove, her back to her in stony silence.

CARRIE Hello, Momma.

No response. The teakettle is just beginning to boil over the gas burner, and in this altogether strange little kitchen ­ a veritable arsenal of lace-tatted religious art ­ Margaret is a rock. 29

Carrie sits down at the kitchen table, bursting with shame and the need to talk. Yet she recognizes her mother's wall of silence, knowing she won't speak until she's ready. They've been through this dance a thousand times. Finally, Carrie breaks.

CARRIE Who was it that called? (no response) What did they say?

78 MARGARET

Point one and some grim satisfaction. Yet she doesn't respond immediately. Then she turns from the stove.

MARGARET (softly) You're a woman now.

CARRIE Oh Momma, why didn't you tell me something? I was so scared...

Margaret walks over to the table and sits next to Carrie. She puts on rimless glasses, then opens the Bible and starts to read with one of those strange Kathryn Kuhlman looks on her face:

MARGARET `And God made Eve from the rib of Adam. And Eve was weak and loosed the raven on the world, and the raven was called Sin ­ `

She pushes the Bible at Carrie, her finger on the place.

MARGARET ...and the raven was called sin...

CARRIE Why didn't you tell me? Oh, Momma ­

MARGARET (overriding) ...and the raven was called Sin! ...and the first sin was intercourse. 30

CARRIE I was so scared! And the other girls, they made fun of me              and threw things and ­

Margaret's hand flashes out, backhanding Carrie into the wall. It's a wallop of a slap, the sting of it bringing tears to her eyes.

CARRIE Momma, please listen. It wasn't my fault.

Another backhanded blow knocks Carrie to the floor.

CARRIE Momma!

MARGARET And Eve was weak and... say it, woman!

Kick.

CARRIE Momma, please help me.

MARGARET And Eve was weak and loosed the raven on the world.

CARRIE They threw things...

MARGARET (overriding) ...and the raven was called Sin... Sin! ...and the first sin was intercourse.

CARRIE Momma, please listen.

A kick.

MARGARET And the Lord visited Eve with a curse, and the curse was the Curse of Blood! 31

The teakettle starts to WHISTLE.

CARRIE You should have told me!

Margaret clutches Carrie's wrist in a vise.

MARGARET (heavenward) O Lord, help this sinning woman see the sin of her days and ways. Show her that if she had remained sinless ­

CARRIE No!

MARGARET -- the Curse of Blood would never have come on her. She may have been tempted by the Antichrist. She may have committed the Sin of              Lustful Thoughts.

The teakettle is WHISTLING louder ­ a high-pitched scream.

CARRIE No, Momma.

MARGARET Don't you lie to me, Carietta, don't you know by now I can see inside you? I can see your sin just as surely as God can.

CARRIE Momma, let me go.

Margaret flings open the door of the kitchen closet.

MARGARET We will pray. We will pray, woman, we will pray to Jesus for our woman-weak, wicked, sinning souls...

She switches on the light, and there is Jesus on the wall, rictus, crown of thorns, bathed in an ominous blue light. A vision of a wrathful God. Throughout the following, Carrie struggles desperately, but she's no match for her mother. 32

MARGARET And the Lord visited Eve with a Curse, and the Curse was the Curse of Blood. And there was a Second Curse, and this was the Curse of                Childbearing, and Eve brought forth Cain in sweat and blood!

She propels Carrie into the closet, slams the door behind her. Margaret's voice continues, overlapping onto:

79 INT. CLOSET ­ CARRIE ­ DAY

Very much the little girl now as she sinks to the floor of the closet ­ crying, disheveled, beaten. The closet is just what every child ever dreaded about the night.

80 JESUS

Looking down at Carrie.

81 CARRIE

She looks away ­ and inwards. With her, we see:

82 SPLATS OF BLOOD

Falling on the shower floor.

83 THE GIRLS ­ IN THE SHOWER ROOM

Surrounding Carrie, jeering her, bombarding her.

84 JESUS

Impassive, impersonal, unconcerned ­ or so it seems.

85 CHRIS ­ IN THE SHOWER ROOM

In the forefront of the pack.

86 CARRIE ­ IN THE SHOWER ROOM

As the girls would see her, cowering, the bloody napkins pelting her.

87 JESUS ­ CLOSER ANGLE

The blood seems to be streaming down his face; it moves. 33

88 CARRIE ­ IN THE CLOSET

Tears are streaming down her face. She whispers:

CARRIE Please!

DISSOLVE TO:

89 EXT. THE HILL ­ NIGHT

MOVING IN SLOWLY on Tommy Ross' 1963 Ford, which is parked in the shadows on The Hill (something of a ridge which overlooks the town and is dedicated to Eros by high school students and occasional graduates). The MUSIC swells as we MOVE IN. And finally, we PEER into the car, where we see:

90 INT. TOMMY'S FORD ­ NIGHT

Sue and Tommy have finished making love in the back seat. They are both putting their clothes in order, silently, slowly.

Then they climb into the front seat. Sue takes out a cigarette. Tommy lights it with the dashboard lighter. They say nothing as Sue smokes for a few moments. Then Tommy looks at her closely.

TOMMY Hey.

She turns away.

TOMMY Hey, what's the matter?

He puts his arm around her clumsily.

SUE Nothing.

TOMMY What did I do?

SUE Nothing. It's not you. 34

TOMMY Hey, everything's all right. I love you, honey. (silence) Did I...?

SUE (blurting) It's Carrie.

TOMMY Who?

SUE Carrie. Carrie White.

TOMMY Praying Carrie?

SUE (sharply) Don't call her that.

TOMMY (imitating Carrie) It's... beautiful. (laughing) That's what she said when I read that poem you wrote for me.

SUE Tommy, please...

TOMMY (going on) And Big Belly Fromm saying... (imitating) That isn't exactly criticism, Miss White. (exploding) Jesus!

Sue has turned away from him.

TOMMY Hey, honey, it was a beautiful poem. I wish I could have written it. (silence) Honey? 35

SUE Don't call me that.

TOMMY Don't call her that. Don't call me that. What the hell's the matter with you?

She is crying, that's what.

TOMMY Hey, are you crying? (yes, stupid) Are you?

He tries to turn her toward him. She struggles. Manfully, he forces her around.

TOMMY Jesus, Sue, what is it?

SUE (trying to turn away) I told you.

TOMMY Told me what?

SUE

About Carrie.

TOMMY That thing in the shower? (she's silent) Hey, it was a joke, wasn't it? I mean, everyone was doing it.

SUE I'm not everyone.

TOMMY You're special.

SUE I was one of them.

TOMMY So you were teasing Carrie White ­ 36

SUE We were hurting her ­

TOMMY She's used to it. Jesus, you remember how she'd get down on her knees and say grace in the cafeteria... alone, for Christ's sake. And the way she dresses... Hey, Sue, she's asking for it.

SUE (vehemently) How would you like to be Carrie White?

TOMMY How would I like to be Carrie White?

SUE How would you like to be Carrie White? How would you like to be Carrie White instead of being Tommy Ross... big man, big jock, popular.

TOMMY What's the big deal about being popular? I mean, one day I'll wake up and find myself working at my dad's car lot and out Friday nights and Saturdays at Uncle Billy's or the Cavalier drinking beer and maybe married with a bunch of kids... (stops) What's that got to do with Carrie White? Or anything?

SUE I did something wrong and I feel bad about it.

TOMMY I can understand that. Hey, back in seventh grade, there was this kid...

SUE (interrupting) I've got to do something about it.

TOMMY Like what?

SUE I don't know yet. Apologize.

TOMMY Okay, you tell her you're sorry. 37

SUE That's not enough. That's like something my mom would do.

TOMMY What are you going to do? Kiss her, for God's sake?

SUE God, I hate you sometimes!

TOMMY What the hell do you want me to do?

SUE I want you to help me. Or are you just interested in fucking me?

TOMMY (angrily) Don't say that!

SUE Fucking me, fucking me...

TOMMY Cut it out!

SUE Then help me!

Tommy moves back from Sue. He is looking at her, trying to figure her out. He wants to do something, he doesn't want an argument, but...

TOMMY Okay, what can I do?

SUE I want you to think about Carrie White. 38

TOMMY (incredulously) You want me to sit here and think about... Jesus! (moment) Are you serious? (moment) You're serious. (moment) What's there to think about?

SUE Think about it.

TOMMY Jesus.

He stares off through the windshield. He is really puzzled. He steals a look at Sue. He starts to put his arm around her; she moves a little, subtly but clearly. Tommy stares off into space again.

TOMMY I never thought about her. I mean, she wasn't someone you had to              think about. (beat) She was always there ­ keeping to herself in that stupid dress ­ that weird mother. (beat) You know what I mean?

Sue glances toward him. Of course she knows. And he is beginning to understand.

Tommy looks straight ahead again. He is starting to think. It's not all that easy.

TOMMY (almost under his breath) Carrie White?

It does come out as a question.

DISSOLVE TO: 39

91 INT. WHITE LIVING ROOM ­ NIGHT

Margaret is at the sewing machine. She is either listening to a reasonable facsimile of Kathryn Kuhlman preaching on the radio, or instead, to an old Victrola which plays Tennessee Ernie Ford's "Let the Lower Lights Be Burning." A Black Forest cuckoo clock, providing a sense of lapsed time.

Suddenly the treadle on the sewing machine depresses itself. The needle begins to dip up and down; the bobbin whirs and jerks.

Margaret turns around to see:

92 CARRIE

She is standing in the entrance of the living room. Her demeanor seems more peaceful, calm, almost too calm.

93 MARGARET

A touch of fear in her eyes. But:

MARGARET Go to bed.

94 CARRIE

She crosses over to her mother, kisses her lightly on the (unmoving) head.

CARRIE Good night, Momma.

Carrie goes to the stairs.

95 UP THE STAIRS

With Carrie.

96 UPPER HALLWAY

Carrie goes into her room. 40

97 INT. CARRIE'S ROOM ­ NIGHT

Carrie turns on a light. She undresses slowly, wearily. And then she stops and looks at herself in the mirror. A close, tired inspection. Her eyes seem hollow, haunted. Carrie doesn't like what she sees; she doesn't like herself.

Flex. Slowly cracks appear in the mirror, spiderwebs.

Flex. The mirror cracks wider.

And flex: the mirror shatters, crashes to the dresser in pieces, loudly; some of the pieces fall on the floor.

MARGARET Carrie! Carrie? Carrie!

A moment of utter panic ­ now what?

98 HALLWAY STAIRS

As Margaret strides up them, past the landing, and tries the knob on Carrie's door. It's locked. She rattles the knob. But to no avail. Then:

MARGARET Carrie! Carrie, open this door! (a beat; nothing) Carrie!

Another beat; then:

CARRIE'S VOICE (sweetly) It's open, Momma.

Margaret tries the knob again, and it is, indeed, open.

99 INT CARRIE'S ROOM

Where Carrie is kneeling by her bed, now in her flannel nightgown, praying.

MARGARET What was that noise?

CARRIE 41

Nothing, Momma.

Margaret peers around the room; she did hear a mirror break, no mistake about it. But there it  is ­ whole again as her reflection in it testifies. Margaret walks over to it, rearranges the plastic glow-in-the-dark Madonna and child on the dresser.

MARGARET Go to bed.

She leaves the doorway and we return to Carrie, who smiles sweetly. And then:

Flex.

The door slams closed.

100 INT. THE GYM ­ TRACKING SHOT ­ DAY

Down the class of twenty-five or so girls, still in their street clothes, lined up against the gym wall under their class numbers as:

101 COLLINS

Walks in front of them with a clipboard taking roll.

Collins ...Shyres...

SHYRES (o.s.) Present

COLLINS ...Snell...

102 THE GIRLS

STILL TRACKING, FEATURING Sue

SUE Here.

COLLINS (o.s.) Watson...

WATSON Present. 42

The CAMERA COMES to an empty space ­ without being told, we can tell it's Carrie's.

103 COLLINS

Hesitates, then moves right along.

COLLINS ...and the Wilsons.

Who're identical twins.

CORA Here...

RHONDA ...Miss Collins.

COLLINS (small smile; then, closing her book) Okay. Sit down.

All the girls ­ except Chris ­ obey.

COLLINS You too, Chris. And spit out that gum.

CHRIS (overly sweet) Where'll I put it, Miss Collins?

COLLINS You can choke on it for all I care. Now sit down.

104 CHRIS

Pausing for a second, then deciding it's better to go along without talking back. She sits down.

105 THE GIRLS

Shifting nervously, unused to Collins' absolute no-nonsense tone.

106 COLLINS

Taking a deep breath. 43

COLLINS Okay. I just want you all to know that you did a shitty thing yesterday. A really shitty thing.

107 HELEN SHYRES

the freckled, slightly pudgy girl sitting next to Sue ­ giggles nervously. But no one joins her, and she clasps her hand over her mouth, trying to stifle it.

108 COLLINS

Glaring at Helen, silencing her.

COLLINS Did any of you stop to think that Carrie White has feelings? Do any of you ever stop to think? No, I guess you've got your minds on your dates and the Prom. Chris, I imagine you can take your pick, who's the lucky guy?

CHRIS (mumbling) Billy Nolan.

COLLINS (loudly) Who? Speak up! I can't hear you.

Chris tries to control her anger ­ is barely able to.

CHRIS Billy Nolan

Collins ­ eye-to-eye with Chris now, smiles.

COLLINS Well, isn't he the lucky one.

She walks down the line, stopping in front of Sue.

COLLINS And what about you, Sue? Who's taking you?

SUE Tommy Ross. 44

COLLINS Right (beat; then) Okay. Now my idea for this little trick you pulled was three days' suspension and refusal of your prom tickets.

109 THE GIRLS

As Collins' words sink in ­ groans of disappointment.

110 SUE'S POV ­ COLLINS

Almost seeming o single Sue out as she continues ­ at least that's the way it seems to Sue.

COLLINS That would hit you where you live, now, wouldn't it? And you'd                 deserve it ­ I don't think any of you have any idea of just how nasty what you did was. The office has decided that you're to have one week's detention.

The girls sigh with relief. Chris has a particularly smug look. Collins takes in their reactions; then she reels in the line:

COLLINS But. There's one little catch. It's to be my detention. Right here in                 the gym. Fifty minutes every day. Get the picture?

111 THE GIRLS

As they realize just how they've been had ­ indeed, getting the picture.

112 CHRIS

Furious, defiant.

CHRIS I won't come.

113 COLLINS

No less determined, but cool. 45

COLLINS That's up to you, Chris. That's up to all of you. Punishment for skipping detention is three days' suspension and the loss of your prom tickets. Any other thoughts?

114 THE GIRLS

Sober, slightly frightened.

115 INT. HALL OUTSIDE GYM ­ CARRIE ­ DAY

She is standing in the hall, looking into the gym through the small glass window cut in the door.

116 INT. GYM

Collins has finished with the girls, she stands in front of them, the victor.

COLLINS Right. Now change up.

The girls start to turn.

117 INT. HALL OUTSIDE GYM

Carrie quickly pulls away from the door before she can be seen, hastens away.

118 INT. GYM

Collins watches the girls filing into the locker room, a small triumphant smile on her face.

119 INT. HALL OUTSIDE GYM

Carrie is now far down the hall, a small distant figure. Now she goes out of sight around a  corner. The hall is empty and still; HOLD, then:

CUT TO:

120 INT. THE LOCKER ROOM

As the girls change silently into their green gym outfits ­ quiet, subdued, most of them resigned to their punishment. Chris, however, is about to blow up; she tosses her skirt into her locker and slams the door shut.

CUT TO: 46

121 AN INDEX CARD ­ SCHOOL LIBRARY

And then another, and another, and yet another flipping by us, one title following another as   Carrie looms over the card catalog, searching. The title cards include POISON, POLITICS and POLTERGEISTS ­ on this latter card, it reads: "A ghost supposed to be responsible for   table rappings and other mysterious, noisy disturbances." It also contains a cross-reference ­ see tele ­ and the rest of the word is blurred.

121A CARRIE

Her face ­ curious, deciding to follow it up.

121B A FASTER MONTAGE

As Carrie flips through the "T" card catalog ­ passing everything from Talmud to Tarantula until she gets to:

121C TELEKINESIS ­ A CLOSER SHOT

On the word, and below it:

`Thought to be the ability to move or to cause changes in objects by force of the mind, perhaps a genetic-recessive in origin.'

121D CARRIE ­ CLOSE

Her mind struggling with the words on the card, pondering, thoughtful. Her heart starts to   beat.

122 INT. THE GYM ­ TRACKING SHOT

On the girls, all of them in the green gym suits, being run ragged, just as Collins promised. She's pushing them extremely hard, barking orders at them, using her whistle like a drill instructor.

123 ANGLE ­ ON CHRIS

As she runs to position herself next to Sue.

CHRIS She can't get away with this. I'm going to get her. That goddamn snerd ­

SUE Let it go, Chris. 47

And Sue runs on, leaving Chris ­ red in the face, breathless, furious ­ behind. Chris deliberately slows down and then just halts.

COLLINS The period's not up, Hargensen.

CHRIS It is for me.

COLLINS There are ten minutes left.

CHRIS Stick them up your ass.

Chris starts to stalk past Collins who reaches out and firmly pushes her back. Chris becomes immediately hysterical.

CHRIS You can't hit us! You'll get canned for this, you bitch! My father ­

COLLINS One more word from you and I'll throw you across the room. Want to                 see if I'm telling the truth?

124 GROUP SHOT ­ FEATURING CHRIS

Appealing to the others now; flailing, out of control.

CHRIS She can't get away with this! Goddammit! If we all stick together, we can ­

125 THE GIRLS

As Chris looks to them for support, none of them quite knowing what to do.

CHRIS Norma... Helen... Sue! 48

126 ANOTHER ANGLE

Featuring Chris and Sue

SUE (lifeless) Shut up, Chris. Just shut up.

127 CHRIS

A mutineer without a single ally now. She realizes it and heads for the door leading to the locker room, and this time, Collins doesn't even try to stop her. At the door:

CHRIS This isn't over. This isn't over by a long shot.

The door slams shut, leaving the girls and Collins frozen by Chris's outburst. The BELL gives a shrill RING, and we:

CUT TO:

128 INT. THE CAVALIER ­ AFTERNOON

The local after-school hangout. Clusters of students milling in and around booths. Pinball machines, a jukebox thumping "NO WHERE TO RUN" by Martha Reeves and the Vandellas.

Sue is sitting, reading, alone in one of the booths as Chris enters, says hello to some of her clique, and spots her.

CHRIS Hey, Sue! Just who I've been looking for!

Sue looks up and tries to force her face into a smile. Chris slides into the booth across from her and thrusts her John F. Kennedy school yearbook across the table ­ an action which Sue involuntarily jerks away from out of nervousness.

CHRIS (continuing) I wanted you to sign my yearbook. Hey, where's you old man, did he stand you up?

SUE (busying herself with the yearbook) Still at practice 49

CHRIS Well, I guess you've heard I'm out of the prom. I bet that cocksucker Morton loses his job, though. Daddy's suing them. Hey, Billee! Billee! Come over and say hi to Sue.

Sue slides the yearbook back across the table to Chris, who examines it:

CHRIS (continuing) Hey, is that it? Just Sue Snell?

Billy goons INTO FRAME next to Chris, glomming his arm around her neck.

BILLY Hey, Suze.

CHRIS I think we're going anyway, right, Billee?

BILLY Sure thing, Charlie.

Chris playfully jabs him in the ribs.

SUE You mean crash?

CHRIS Sure, why not? Hey, listen, I've got a good one. "Roses are red,               violets are blue, sugar is sweet, but Carrie White eats shit."

Billy, goon that he is, cracks up.

Sue finds it not at all funny, but doesn't know exactly what to do about what she's feeling.

SUE Chris, I've got to go.

A new tune comes on the juke ­ Shirley and Company whooping it up on "SHAME, SHAME, SHAME."

CHRIS (oblivious, her laughter turning to fury) That goddamn Carrie! If only the rest of you had walked out with me...               Jesus, Sue, why didn't you? 50

SUE I took the detention because I thought we ­ I ­ earned it. It was a shitty thing to have done. End of statement.

CHRIS Bullshit! That goddamn snerd and her batshit mother ­ saying we're all going to hell.

SUE (rising) What'd she ever do to you, Chris? Or to any of us? Why do you hate her so much?

CHRIS Hey, hey... tell me if I'm wrong, but who was that n there pitching with the rest of us?

SUE Me. (it comes out a pinched nerve) Me. But I stopped.

CHRIS (dawning on her; getting it finally) Oh. Oh, aren't you just it? Oh, my, yes. (imitating; prissy) You stopped. Hey, Billee, she stopped.

Sue is scared now ­ she hears it coming. There's no question about it, though; the rumbles have already begun, and there's no stopping what's coming.

CHRIS (continuing) God, I'm dumb sometimes. Billee, hey, Billee, do you want to know why Suze here didn't walk out?

Billy's over by the pinball machines with some of his goon squad. He boastfully struts around ­ much to their obvious delight ­ making the sound of a chicken in reply.

129 SUE ­ CLOSE

Seeing this; feeling it all about to lurch out of control and turn against her. The bottom's  falling out. 51

SUE I'll see you around, Chris.

130 TWO SHOT ­ SUE AND CHRIS

FEATURING Chris prominently ­ a bloodhound now sure of the scent.

CHRIS No. Wait. You stopped, remember? So just stop again. (uglier) Why didn't you walk out? Why didn't you walk out, Sue?

SUE Okay, Chris. That's enough.

CHRIS You didn't walk out, Sue... little Suze... little Suzy Creamcheese...                  because you didn't want to miss a moment of your precious prom.

Bulls-eye. Sue fights back the tears and fury, trembling now. But she tries to muster up some dignity.

SUE And you don't?

CHRIS (not about to be put off) You're goddamn right, I don't. But we're on your case now. (beat) I'll bet you've got your dress all picked out, too. What color is it? Yellowguts?

She's about to break, holding it in as best she can. Chris just as quickly as she spots the weakness, shuts it off, bottling up all the rage into he cruelest stainless-steel smile she can muster.

CHRIS (continuing) Okay. (dismissively) See you around, Sue.

And that's it ­ shut up, shut down, shut out. 52

Sue turns and starts to walk out of the Cavalier. In the background behind her, it's all out of  focus, an incoherent babble of snickering and clucking laughter. She's crossed the line.

DISSOLVE TO:

131 EXT. ATHLETIC FIELD ­ DAY

Sue sits in the bleachers overlooking the field. She is preoccupied, still shaken by the afternoon's confrontation with Chris. The track team is moving past the bleachers (a coach in  the field clocking them and shouting orders). Tommy, in his track uniform, peels away from the group and comes running up to Sue.

TOMMY Hi!

SUE I want to talk to you.

TOMMY Sure, what's up?

To avoid the noise of the cheerleaders practicing down in front of them, and the other girls sitting in the bleachers half watching their boyfriends and half eyeing Tommy and Sue, Sue beckons Tommy to follow her away from the group behind the bleachers, and as they walk off together we hear the following:

SUE If I asked you to do something for me ­ something special ­ would you?

TOMMY (nodding) Uh-huh.

SUE No matter how crazy it sounded?

TOMMY Sure. What?

The sound is muffled, and we don't hear what she says. But we do hear:

TOMMY (continuing; exploding) Are you out of your mind? 53

CUT TO:

132 EXT. VAN NUYS BOULEVARD ­ NIGHT

A big hangout-cruising night on the boulevard. Neon, convertibles, "Rebel Without a Cause" meets "American Graffiti" seventies-style. In other words, the works -- with MUSIC.

133 EXT. INTERSECTION ­ NIGHT

As a '61 Chevy leaves a sizeable patch of rubber on the street as it GRINDS to a hard stop, just barely halting before it almost went through a red light and collided with the traffic already in the intersection.

134 INT. THE CHEVY

which belongs to the aforementioned BILLY NOLAN ­ a character whose life and brains stopped around the time he saw "Rebel" on television. He's Chris's boyfriend, and a huge cross swings around his neck. Right now, he's utterly amused by his harrowing driving, and turns to Chris who ignores him, still brooding over her afternoon losses. Billy takes a huge toke from a joint and hands it to her; she ignores that too, and proceeds to busy herself applying makeup in the visor window. So Billy looks out his window and strikes up some banter with a fellow cruiser idling beside them at the light. The light changes, and Billy peels out ­ an action with throws Chris backwards onto the seat.

CHRIS Goddamnit, Billy!

He just laughs as he weaves through traffic.

CHRIS (continuing) Slow down! (as he pays no heed) Slow down, you stupid shit!

BILLY Scared, Chuckie?

CHRIS No. You'll kill us, you stupid shit!

Billy lazily slaps her, speeds up. 54

BILLY Don't call me that.

CHRIS Stupid shit.

He slaps her again.

CHRIS (continuing; under her breath) Stupid shit.

BILLY (disgustedly) Oh wow!

He slams on the brakes, and pulls into:

135 EXT. CARNEY'S (SUNSET BLVD.) ­ DOWNWARDS ANGLE ­ NIGHT

LOOKING DOWN on a parking lot where cars are parked; a huge pullman's car which has been converted into a restaurant. This after-school hangout is called the Cavalier.

136 INT. CHEVY

As Billy reaches over, very confidently, to draw Chris to him.

She lets herself be kissed, then pulls away abruptly.

He grabs at her, and she pulls away.

BILLY What's wrong?

CHRIS Can't you wait a minute?

BILLY What for?

CHRIS You're so ignorant.

BILLY That's what you like. 55

CHRIS Bullshit.

BILLY No? I'll show you what you like, Chuckie.

Grab.

CHRIS No.

BILLY Jesus.

Grab.

CHRIS No!

She pushes him away.

He grabs her. She pushes; he grabs. A struggle. Grabs at her tit. There goes the blouse; the buttons are ripped off.

BILLY ...How you... gonna... explain that...

CHRIS Dumb shit!

He slaps her.

BILLY What'd I tell you?

Silence. Then, after some time, he leans over and kisses her. She lets him. He kisses her again, and she responds. He goes at it. And she squirms away.

BILLY (continuing) Hell is this?

CHRIS I want you to do something. 56

BILLY| What? (eagerly) Yeah, what?

CHRIS I want you to do something for me. Something important.

BILLY (warily) Something important?

CHRIS It will be very important to me. It will make me feel very good if you do it.

She moves closer to him. Her hand dips down out of FRAME. She blows in his ear. Billy is  beginning to writhe; he moves in on her, but she holds him off, playing him like a puppet.

CHRIS (continuing) Billy, I hate Carrie White.

CUT TO:

137 TELEVISION SCREEN

On which we see the opening, helicopter-credit-sequence from "Duel at Diablo." The television is in:

138 INT. SNELL LIVING ROOM ­ NIGHT

Where the movie's SOUND continues uninterrupted for a bit over an incredible silence between Tommy and Sue. They are sitting on a couch. The silence is finally broken by a  reluctant:

TOMMY Okay. I'll do it.

And we:

DISSOLVE TO: 57

139 INT. WHITE HALLWAY ­ NIGHT

Margaret slowly opens the door to Carrie's room and enters. Light filters in from the street. Carrie is lying in bed, motionless, asleep.

Margaret crosses the room quietly. She leans over the bed. On the table next to it is the glow-in-the-dark statue ­ not in its usual place on the dresser. Carrie's face, in the soft light, seems very innocent.

MARGARET (low) Carrie, did you pray?

No answer.

Margaret bends over Carrie. And with surprising tenderness, she kisses Carrie's forehead.

The she straightens up quickly, as though she has violated herself, and leaves the room.

Carrie opens her eyes. She pulls a book out from under the covers; then she stares at the Madonna-child figurine, it begins to glow brighter and brighter, illuminating the room. It's bright enough to read by now, and we leave Carrie expanding her education and:

DISSOLVE TO:

140 INT. SCHOOL LIBRARY ­ DAY

As Carrie examines a shelf of books with titles like "Cosmic Consciousness" and R.D. Ogilve's "Hidden Powers of the Mind." She decides on the latter just as a voice startles her:

TOMMY'S VOICE Carrie?

CARRIE Ohuh?

She stares at him and quickly covers the binding of the book with her hand, covering the title. He looks as startled as she does.

TOMMY How're you doing?

CARRIE (after a beat; almost inaudibly) Okay. 58

It's harder than he thought it would be; just trying to make small talk is agonizing. But try it, he does:

TOMMY I thought you had gym this period.

All she can do is shake her head. And a young man not easily deterred, he tries again.

TOMMY (continuing) What're you reading?

CARRIE (trying to cover, and not very well) It's about... um.. sewing...

Right. Check and stalemate. Which brings him to:

TOMMY Umm... if you don't have a date for the Prom, would you want to go with me?

CARRIE What?

TOMMY The Prom...

Without saying a word, Carrie walks down the aisle of book shelves. He follows her into the main room where students are reading, working.

TOMMY (continuing) ...It's next Friday, and I know this is later notice, but they stop selling tickets soon, and ­

The bell RINGS.

CARRIE I don't like to be tricked.

A couple of students stare at Tommy talking to Carrie as they start leaving the library.

TOMMY Carrie... 59

But it's too late ­ she's gone, already out the door.

CUT TO:

141 INT. HALL ­ TRACKING ­ DAY

As Tommy weaves through the crowd after her. Gangly GEORGE DAWSON spots him:

GEORGE Hey, Ross!

But Tommy ignores him in his singular pursuit.

TOMMY Hey, Carrie! Wait!

A couple of other students watch this ­ is this their Tommy Ross actually trying to speak with Carrie? But he's oblivious of any looks now, any snickering ­ all he wants is to catch up with Carrie.

Which he does; he manages to touch her arm, and it's a weird moment, this contact. She turns around, her head painfully ducked down.

TOMMY (continuing) Hey, it's no big deal.

And she looks up and stares at him with that peculiar intensity that cuts through all the clamor around them. Quiet, quietly:

CARRIE Do you people think you can just go on tricking me forever?

A beat. Tommy stands there helpless, sensing just how much of a big deal it is. Seeing that she's on the verge of tears, he's feeling even worse, and all he can say is:

TOMMY Sorry.

But it's too little, and too late. She's crying. And what's more, she's gone ­ swallowed up into the clamor of students rushing to beat the bell. Which RINGS as we:

DISSOLVE TO: 60

142 INT. GIRLS' LOCKER ROOM ­ AFTERNOON

As Collins tidies up after one of the classes ­ throwing towels into huge cans, etc. Only to hear a mewing, whimpering sound and come upon Carrie who's huddled in one of the dark corners of the room, crying. It's almost as if she created her own closet of space.

COLLINS Carrie? (on no response) Carrie, what's the matter? (on still no response) Was it one of the girls? Did one of the girls do something to you? Do you want a Kleenex?

CARRIE No.

COLLINS It's all right. Just tell me, there's nothing to be afraid of.

CARRIE Miss Collins...

COLLINS That's it...

CARRIE When can I come back to gym?

COLLINS Not until Monday. Now what is it? Are you going to tell me? Come on, Carrie, tell me.

CARRIE I got asked to the prom.

COLLINS That's great!

CARRIE Tommy Ross asked me.

COLLINS Tommy Ross ­ that's wonderful. He's cute. 61

CARRIE I know who he goes around with. They're trying to trick me                  again. I know.

COLLINS Maybe he really meant it. I mean, maybe he really did mean it. Maybe you should think about it. It might be really fun. You might have a really good time!

CARRIE It would be a nightmare.

COLLINS C'mon, Carrie. You should have a better image of yourself. You just think you're unattractive, but look at your hair. It's really beautiful. If you just fixed it up a little... here, I'll show you.

CUT TO:

143 OMIT

144 INT. FACULTY LOUNGE ­ DAY

where Collins and Morton are grabbing a quick cup of coffee.

COLLINS Carrie's been asked to the prom.

MORTON Who?

COLLINS Carrie White.

MORTON By whom? The Beak?

COLLINS By Tommy Ross.

Morton goes into a coughing fit, accidentally knocking over his coffee in the process. Collins watches, slightly amused by his reaction. When he recovers:

MORTON What about his girlfriend? Doesn't he date the little Snell girl? 62

COLLINS I think she put him up to it.

145 INT. OFFICE ­ DAY

Where Collins is grilling a very nervous Sue ­ just Sue so far.

COLLINS Who's brainstorm was this? (no response) What are you trying to do?

SUE You've got it wrong.

COLLINS I hope so. I wouldn't have expected this from you, Sue. Not any of it. Well?

SUE What do you want to know?

COLLINS Why Tommy asked her to the prom. (after a beat) Well?

SUE (reluctant; able to go this far) I asked him to.

COLLINS Why?

SUE (swallowing) I asked him to.

COLLINS But, in God's name, what for? What could you possibly have in mind?

146 DIFFERENT ANGLE ­ FEATURING TOMMY

Who's also in the office for this interrogation ­ ill at ease, trying to appear cool. 63

SUE You mean what good would it do? Maybe it'll... bring her out of...              make her a...

COLLINS A part of things? Oh, come on, Sue. None of us are that stupid. And neither is Carrie.

SUE Maybe not.

COLLINS And you're not going to go? You're going to stay home and miss your senior prom?

Just as this point, NORMA WATSON ­ a prissy little pleaser with a mouth whose verbal discretion could make the telephone obsolete ­ enters the room with a sheaf of attendance sheets for the next week. All conversation ceases.

COLLINS (continuing) Yes, Norma? What is it?

NORMA Just the attendance sheets, Miss Collins.

COLLINS Just leave them on the desk. (to Sue) You understand, you can't come without a date?

Sue understands perfectly well, but with Norma there, she's not about to say a word. And Collins finally picks up on this:

COLLINS (continuing) Is there something else, Norma?

NORMA (butter could melt) No, Miss Collins.

And she exits as slowly as she can ­ trying to hear the last possible word. Then: 64

COLLINS (to Tommy) Which brings us to you.

TOMMY Miss Collins, I have to get to practice.

COLLINS That's too bad.

TOMMY Look, this is between Sue and me. If you don't mind...

COLLINS Oh, but I do. Or would you rather we continue this discussion in Mr. Morton's office?

TOMMY (bluffed; then off-handedly ­ like we first saw him in Fromm's class) What's the big deal?

COLLINS Because it's a very big deal for Carrie White. And you know it.

TOMMY Anyway, she's already said no.

SUE You can make her change her mind.

TOMMY Don't overrate me.

COLLINS Just don't try.

TOMMY Okay.

SUE It's not okay. (to Collins) You can't order anyone not to take someone to the prom.

COLLINS 65

I can make sure you don't hurt Carrie.

SUE We're not trying to hurt her. We're trying to help her.

COLLINS How?

Silence.

COLLINS (continuing) Tommy, when you come to the prom with Carrie White, don't you think you'll look a little ridiculous?

TOMMY Well...

SUE We don't care how we look.

Sue looks over at Tommy.

SUE (continuing) Do we?

Tommy says nothing; he's caught between a rock and a hard place.

DISSOLVE TO:

147 EXT. WHITE HOUSE ­ DAY

As Tommy's Volkswagen parks across the street, Tommy gets out and approaches the White house.

Carrie is inside, watching him come up the stairs. She remains on the hall side of the screen door.

TOMMY So this is where you live.

CARRIE What... what're you doing here? 66

TOMMY (laughs) Aren't you going to ask me in?

She shakes her head; he laughs again, a little nervously. Throughout this scene in which he remains on the porch side of the screen door, he catches glimpses of the weird house within.

TOMMY (continuing) Why not?

CARRIE Momma's resting. What do you want?

TOMMY Right to the point, huh? Okay, about the prom.

CARRIE I already told you.

TOMMY (a little charm) Nothing to stop you changing your mind. Girls do it              all the time.

CARRIE Why are you doing this?

TOMMY Hey, I'm asking you because I want to.

CARRIE No.

TOMMY Look, I don't do anything I don't want to.

CARRIE I can't.

TOMMY Sure you can.

In the background ­ in the kitchen, perhaps ­ Margaret calls out Carrie's name. 67

Carrie glances nervously behind her; then back at Tommy.

CARRIE You better go.

MARGARET'S VOICE Carrie! Who are you talking to?

TOMMY Don't you think you better answer?

CARRIE No one, Momma.

TOMMY You're going with me.

CARRIE I can't.

TOMMY You're going.

CARRIE They'll laugh.

TOMMY No one will laugh. We'll see to it.

CARRIE Please. Please go.

TOMMY Not `til you say yes.

Carrie swipes at her eyes with the back of her hand; helpless, honest, confused. She'd really like to go at this point, but that extra sense in her is resisting.

CARRIE Why? Why is it so important to you?

TOMMY I don't know. Maybe it's because you liked my poem. 68

MARGARET (o.s.) Carietta!!!

And in just these split seconds, she decides; had he not "liked" her poem, had Margaret not called, perhaps she could have held back.

CARRIE Yes. (beat) Okay.

TOMMY I'll pick you up at eight.

CARRIE (whispering) Fine. (then) Thank you.

Tommy smiles at her and, turning to leave, touches her hand against the screen door. A  goodbye, nothing more. He goes down the walk toward his car.

149 CARRIE

Watching him. She takes the hand he "touched" and brushes the hair back from her face. A  little beautiful? You bet.

MARGARET'S VOICE Carrie? Did you hear me?

CARRIE Coming, Momma. Coming.

And as she turns away from the door, we:

CUT TO:

150 INT. GYM ­ AFTERNOON

SUE Why not?

HELEN Why did you do it? God, everyone's talking. 69

We PULL BACK to see the gym. The entire back wall has been devoted to a giant mural of stars and planets ­ it seems the prom is to have a celestial theme, and the gymnasium is in the process of being hung with a great deal of crepe paper, moons, etc.

SUE I asked Tommy to take Carrie. I thought I owed her that much.

HELEN Where does that put the rest of us?

SUE You have to make up your own mind.

HELEN And Tommy went along with it?

SUE Uh-huh. (pauses) I guess the other kids think I'm stuck-up.

HELEN Well... they're all talking about it. But most of them still think you're okay.

151 HELEN'S POV ­ THE GYM ­ CHRIS AND NORMA WATSON

as thick as thieves, off in the corner, whispering.

152 TWO SHOT ­ SUE AND HELEN

HELEN There is... (giggles) ...a small dissenting faction.

SUE I guess she's having a field day with this.

HELEN Susie, she hates your guts.

Sue nods ­ she knew it, now she hears it. 70

153 EXT. WHITE HOUSE ­ EVENING

FULL FRONTAL VIEW of thee bungalow IN the FRAME.

The lights are on downstairs; there's a slight drizzle and haze. HOLD, then:

CUT TO:

154 INT. WHITE KITCHEN

As Carrie and Margaret finish dinner. Silence ­ punctuated only by the slight DRIZZLE outside and occasional flashes of THUNDER and lightning. Then:

MARGARET You haven't touched your pie, Carrie.

CARRIE It makes me have pimples, Momma.

MARGARET Your pimples are the Lord's way of chastising you.

CARRIE Momma?

MARGARET Yes?

CARRIE Momma, please see that I have to start to get... to try and get along with people.

MARGARET Whatever are you going on about? Have you been showering with the other girls again?

CARRIE I... I've been invited to the prom.

MARGARET (a foreign language) Prom?

CARRIE It's next Friday, and ­ 71

MARGARET It's that teacher, the one that called. She'll be sorry.

CARRIE Momma, please see that I'm not like you. I'm funny, I mean, the kids think I'm funny. I don't want to be. I want to try and be a whole person before it's too late to ­

Margaret throws her cup of tea in Carrie's face. It's cold, wet, sticky. But Carrie holds herself in, she's going to be in charge this time. She takes a deep swallow and continues:

CARRIE (continuing) His name is Tommy Ross, and he's a very nice boy. He's ­

MARGARET No!

CARRIE -- promised to stop in and meet you before, and ­

MARGARET (overlapping) -- I said no!

CARRIE -- have me in by midnight. I've ­

MARGARET (shaking her head now; uncontrollable) No, no, no ­

CARRIE -- accepted.

Pause.

Margaret's shaking with fury, trembling.

Carrie wipes the stringy wet hair from her forehead.

CARRIE (continuing) I've accepted, Momma. I have accepted. 72

MARGARET The closet.

CARRIE No.

MARGARET After all you've been taught ­

CARRIE Everyone isn't bad, Momma, everything isn't sinful.

MARGARET Go to your closet and pray. Ask to be forgiven!

CARRIE You'll like this boy, he....

And Margaret at this word shifts gears and winds up ­ in the grip of a weird babble.

MARGARET Boys. Yes, boys come next. After the blood, the boys come. Like sniffing dogs...

CARRIE Momma ­

MARGARET ...grinning and slobbering, trying to find out where the smell comes from, where the smell is. That... smell!

CARRIE Please stop...

MARGARET Yes, in cars. Yes. I know where they take you in their cars. Roadhouses. Music. Whiskey. I've seen it, all right. Oh, yes.

CARRIE Momma, you better stop.

MARGARET You're not going. 73

CARRIE I've already said I would, Momma.

MARGARET Then say no. Say no. Or we'll move.

CARRIE No.

MARGARET We'll move from here and you'll never see that boy again.

A gust of wind causes the window to blow open. Margaret gets up and starts toward the window. Carrie is silent, watching herself being shut out.

MARGARET (continuing) The rain's coming in.

CARRIE Momma, sit down.

MARGARET I'm going to close the windows.

CARRIE I'll get them. Please sit and talk to me.

MARGARET No.

Margaret continues toward the kitchen window to close it.

Carrie knits her brow, and flex, the window closes.

Margaret whips around, facing Carrie.

CARRIE I'm going, Momma. And things are going to change around here.

Flex.

The SOUND of a window shutting in another room. 74

MARGARET Witch!

Flex.

Another window.

MARGARET (continuing) It's Satan's power. First he entered your father, carried him off...

CARRIE He ran away, Momma. Everyone knows that.

Flex.

A couple of windows.

MARGARET The devil tempted him.

CARRIE He ran away with a woman, Momma.

MARGARET All men are the same. That boy, he's like all the rest, he doesn't ­

Flex.

The rest of the windows in the house THUNDER shut.

CARRIE I don't care. He asked me to go. And I'm going. I'm going, Momma. You can't stop me.

HOLD ­

SLOW DISSOLVE TO:

155 & 156 OMITTED 75

157 EXT. ROAD ­ NIGHT

Leading to Henty's farm. A slight drizzle; or, the ground is still wet. A little more than a  crescent moon silhouettes a group of five: Billy and Chris in front, and Billy's twitchy zoo ­ a   completely wrecked KENNY GARSON, a very nervous FREDDY DE LOIS, and an   occasionally giggling, goggled HENRY TRENNANT ­ trailing behind. De Lois is swinging a nine-pound sledge-hammer in the air; the other two goons are struggling with an ice-chest and steel pails. Henty's farmhouse and barn are in the distance.

DE LOIS Hell of a risk for a joke.

Trennant giggles inanely. Billy stops and glares at De Lois.

BILLY You want out?

DE LOIS (hastily) No, uh-uh. (then) It's a good joke, Billy.

Trennant giggles again.

Garson is stoned silly ­ zonked, deadpan. He greedily sucks the last remnants of a joint into oblivion before our eyes.

De Lois angrily snatches the roach out of Garson's fingers.

DE LOIS (continuing) Hey, piggie...

Trennant just giggles inanely.

Another long beat, then:

DE LOIS (continuing) You sure Old Man Henty won't be around? 76

CHRIS I told you. He's at a funeral.

Trennant explodes into a fit of high-pitched laughter.

BILLY Shut up, Henry.

DE LOIS Whose funeral did he go to?

BILLY His mother's.

DE LOIS His mother's? Jesus Christ, she musta been older than God!

Trennant lurches into another cackle. And in spite of themselves, Billy and Chris start laughing, too. Even De Lois starts laughing.

The group passes a "No Trespassing" sign, prompting:

DE LOIS (continuing) The bastard is going to shit where he stands when he comes back and gets a look.

Garson drops one of the pails on the ground.

BILLY Asshole.

The sound of Trennant's high-pitched giggle.

DISSOLVE TO:

158 CHRIS'S POV ­ THE HOG PEN

And OVERLAPS INTO the harmonic chanting of De Lois, Trennant and Garson:

THE BOYS Soo-ee, soo-ee Pig-pig-pig... Soo-ee, soo-ee Pig-pig-pig... 77

And an old sleeping boar and two sows are GRADUALLY REVEALED.

159 FULL SHOT ­ PANNING

The face of five ­ COMING TO REST on De Lois.

DE LOIS Doan worry, piggies, doan worry. I'm gonna bash your fuckin' heads in, and you woan have to worry `bout the bomb no more.

BILLY Shut up and do it already.

DE LOIS I will, I will. I'm not gonna give `em time to burp.

BILLY The throat.

But it's too late. De Lois has lost all conviction.

DE LOIS I... can't.                         (then) You.

He hands the sledge hammer to Billy.

Chris, chilled to the bone, rubs herself to keep warm.

CHRIS Do it, Billy.

Billy touches the ball of his thumb to the edge of the sledge hammer.

CHRIS (continuing) Do it quick.

And Billy smiles. Yes, he actually smiles. As he raises the sledge hammer, we GO TO:

BLACK

FADE IN: 78

160 EXT. THE WHITE HOUSE ­ AFTERNOON

The sun is shining ­ perhaps the next day, a day later. The house is a picture postcard ­ under it, we hear the sweet, muffled sound of "Amazing Grace." It's just loud enough for us to hear it ­ joyous, triumphant.

DISSOLVE TO:

160A. INT. WHITE LIVING ROOM ­ AFTERNOON

Margaret sits beneath the plaster crucifix.

The sampler, however, sits in her lap ­ unfinished, unminded. She's virtually catatonic.

"Amazing Grace" ­ a sweet, contemporary rendition ­ is on the Webcor. A pleasure after Kathryn Kuhlman.

Carrie sits at the sewing machine, finishing work on the pattern for her prom dress. She removes the material from the sewing machine, which we now see is a lush crushed velvet.

MARGARET Red. I might have known it would be red.

The cuckoo clock is TICKING, TICKING.

Carrie stares at Margaret, then turns the sewing machine off. She looks back at Margaret, then turns her attention to the machine, her eyes sparkling.

Courtesy of Carrie, the treadle on the machine depresses itself.

The needle starts to bob up and down, up and down, up and down... WHIRRING, jerking.

The side wheel spins. And then stops.

CARRIE (softly) Only clearing the thread, Momma.

She smiles. Then rises and goes to start up the stairs to her room.

Margaret looks after her. Hate. And fear.

MARGARET (abruptly) It's Satan. 79

Carrie pauses.

CARRIE (wearily; pitying) Oh, momma.

MARGARET He has given you a power.

CARRIE Momma, it doesn't have anything to do with Satan. It's me. If                I concentrate hard enough, I can make things move.

MARGARET Satan is clever.

CARRIE Momma, there are other people... people with the power... It's a part of me.

MARGARET Satan...

CARRIE If it were, I'd know it.

MARGARET You poor child. He doesn't let you know he's working through you.

CARRIE Momma, I'd know.

MARGARET You are to renounce this power. You must give it up. You must never use it.

CARRIE I'm going to do my homework, Momma.

Another step up the stairs, stopping as Margaret hurls after her.

MARGARET There's going to be a judgement!

There's nothing more to say. Carrie walks up to the stairs, and we:

DISSOLVE TO: 80

161 INT. GYMNASIUM ­ NIGHT

Very dark, shadowy, deserted. The night before the prom. Silence, then a SCRAPING sound of a:

162 WINDOW

Being jimmied open. Behind the thick glass, we see a face ­ just whose isn't clear yet. The slip-lock comes free, the sill is being pushed up, and Billy's head appears. Chris is right behind him.

163 LONG SHOT ­ THE GYM

As a flashlight is shined upwards ­ at the criss-crossing girders sheathed in crepe paper; at  banks of lights which will later be used to shine down and highlight two areas in particular ­ the huge wall mural and the chalked-in spot where the King and Queen of the Prom will be  crowned.

164 TWO SHOT ­ BILLY AND CHRIS

DOLLYING right behind them as they proceed toward the stage area ­ past the numerous tables set up for the prom-goers, past the twin bandstands. Billy is carrying the ice chest, Chris the flashlight.

165 ANOTHER ANGLE

As they arrive behind the stage. Billy puts the chest down and takes out a pair of Playtex rubber gloves, snaps them on. Then he takes out two small pulleys and a coil of twine.

166 CHRIS' POV ­ BILLY

Looking somewhat like a bizarre mountaineer, climbing a ladder which takes him up to a  narrow platform overlooking the stage area.

167 CLOSEUP ­ CHRIS

Shining the flashlight to guide Billy, her face flushed with excitement.

168 BILLY

As he disappears behind a short draw curtain which obscures the girders over the stage.

169 CHRIS 81

unable to see him, suddenly feeling very alone.

CHRIS What's it like up there? (no response) Billee? (no answer; genuinely scared) Billy!

And just at that moment, a piece of crepe paper floats into the FRAME and lands in Chris's hair. She jumps, utterly unnerved. She looks up to see Billy staring down at her from the platform, grinning.

BILLY Boo.

CHRIS You stupid shit.

BILLY (still in good humor) Nice talk.

CHRIS Hurry up. Do you hear me, just hurry up.

BILLY (blackface) Yes'um. Yes'um. Weeze doing the best we can.

CHRIS I want to go home.

BILLY Just keep your tits on and I'll let you pull it when the time comes.

CHRIS I plan to.

DISSOLVE TO: 82

170 A SERIES OF SCENES ­ LEADING TO THE PROM

CUTTING between the final arrangements for the prom itself and Carrie's preparations as the night approaches. The emphasis is on these two paralleling elements, although this montage ­ scored throughout with happier and happier MUSIC ­ will also feature some of our lesser characters.

Among other things, we will see:

A) THE GYM ­ as last-minute arrangements are made ­ more crepe paper hung,        party favors put on tables, etc.;

B) CARRIE ­ in a town store as she shops for makeup;

C) NORMA WATSON ­ under a hair dryer, her mouth going a mile a minute as a        manicurist does her nails and looks utterly exhausted;

D) TOMMY ­ picking out Carrie's corsage at the florist;

E) CARRIE ­ at the sewing machine, finishing her dress (which we still don't        see), a happy look on her face;

F) THE GYM ­ as a bank of lights suddenly illuminate the mural on the stage        wall;

G) SUE ­ having dinner with her parents

H) THE TWINS ­ in front of their dressing tables; both of them putting on        enormous fake eyelashes simultaneously;

I) ERNEST ­ the class president ­ making sure the microphone on the stage        works;

J) THE BAND ­ among them, The Beak, setting up;

K) SANDRA STENCHFELD, practicing her fabulous twirling baton act;

L) A DOOR ­ which opens to reveal the twins in their high heels, both of them        several inches taller than their depressed-looking dates;

M) GEORGE AND FRIEDA ­ he in his tuxedo, she in her prom dress; a flash as        Freida's parents take a Polaroid of this night to remember;

N) THE GYM ­ with the adult chaperones ­ teachers, administrators ­ standing        around, looking for something to do.                                                                                                    83

It is now the night of the Prom ­ just minutes before it officially begins, we end this montage and:

DISSOLVE TO:

171 INT. CARRIE'S ROOM ­ NIGHT

Carrie sits in front of that same mirror, but this time, there's a different attitude. And a different girl, which pleases her. She looks different, very different, from before. She's dressed in her lush red crushed velvet prom dress, but the SHOT is ANGLED in such a way that we don't see it. In any case, it is not prim. She is wearing some makeup. She looks... well, there has been a transformation.

In the background, the door is opened by Margaret.

CARRIE Come in, Momma.

Margaret advances into the room.

Carrie opens a florist box and takes out a lovely corsage of tiny tea roses.

CARRIE Do you want to pin it on, Momma?

MARGARET I can see your dirtypillows. Everyone will.

CARRIE Breasts, Momma, breasts. Every woman has them.

Carrie's voice is calm; nothing, not even Margaret, will spoil tonight, and ever so slightly, this scene ­ and all that follow for a considerable period of time ­ has an edge of unreality to it. It's all been diffused a bit ­ a fairy tale through Carrie's eyes. What would look bad or tacky looks acceptable; what looked good before now looks spectacular.

MARGARET Take off that dress.

CARRIE No.                                                                                               84

MARGARET We'll burn it together, we'll pray for forgiveness.

CARRIE No, Momma.

The Black Forest CUCKOO CLOCK sings out downstairs. It's eight o'clock.

MARGARET He's not coming.

CARRIE Stop it, Momma. I'm nervous enough.

Margaret reaches up and pinches her cheek hard, leaving a red mark. She looks toward Carrie.

Carrie is pinning the tea roses on herself.

Margaret hooks her right hand into a claw, rips at her cheek, leaving a thin line of blood.

CARRIE Stop hurting yourself, Momma. That's not going to stop me either.

Margaret strikes herself in the mouth with her fist.

CARRIE Go away, Momma.

MARGARET You know I'm right. He'll laugh at you. They'll all laugh at you.

CARRIE No. It'll be okay.

Bur she's rattled, and nervously starts moving around a series of objects in the room. Cosmetics on the bureau, the florist box, the glow-in-the-dark statue. But it's sheer will at this point. It's after eight, and there's no sign of Tommy.

MARGARET It's not too late. You can stay here with me.

CARRIE No.                                                                                               85

MARGARET I'll answer the door and say you're sick, I'll say ­

CARRIE Momma, sit on the bed.

Flex.

Margaret is pushed back on the bed. Horrified, she rises again.

MARGARET I'll say that you changed your mind, I'll say ­

Flex.

Margaret is thrust back on the bed.

MARGARET `Thou shalt not suffer a witch to live.'

The words stop. But Margaret's eyes are fixed on Carrie, as Carrie leans toward her. Carrie's voice is soft and compassionate.

CARRIE You'll say nothing, Momma. You are going to have to learn that I'm not like you, not anymore.

The BUZZER downstairs sounds. Carrie goes to her window and sees:

172 CARRIE'S POV ­ TOMMY

at the front door, the overhead light shining on his hair, making it glisten. He looks very handsome.

173 CARRIE

She goes back to the bed and picks up her wrap; then, to Margaret:

CARRIE I'll be home early, Momma.

The BUZZER downstairs sounds again.

MARGARET There's going to be a judgement! 86

CARRIE Momma, you will be quiet until I'm gone. (beat; then, at the door) I love you, Momma.

And she's gone, down the

174 STAIRS, LIVING ROOM, TO THE FRONT DOOR ­ TRACKING

Carrie who opens the door.

175 ANGLE ON TOMMY

Well, we know he's beautiful. And he's looking at Carrie. He didn't know:

176 CARRIE ­ TOMMY'S POV

He didn't know she could be beautiful. And she is.

177 TOMMY AND CARRIE

He reaches out his hand.

TOMMY Hi.

Carrie takes his hand.

178 EXT. WHITE HOUSE ­ NIGHT

Hand in hand, Carrie and Tommy walk down the path toward his car.

They are observed by:

179 MARGARET

at the window of Carrie's room.

180 INT. CARRIE'S ROOM ­ NIGHT

Margaret leaves the window as we HEAR Tommy's car drive off.

She goes out of the room. 87

181 TRACKING MARGARET

Down the stairs, through the dining room, into the kitchen. Almost the same path that Carrie trod, but trod so differently. While Carrie's pace had been light, nervously expectant, Margaret's is slow and heavy.

182 INT. WHITE KITCHEN ­ NIGHT

Margaret crosses to one of the drawers.

She reaches in and takes out a long carving knife; it gleams in the light.

CUT TO:

183 EXT. SCHOOL PARKING LOT ­ NIGHT

The school gymnasium is lit up brightly for the Prom; cars are pulling in, among them, Tommy's Ford.

184 INT. TOMMY'S CAR

as Tommy turns off the ignition. Carrie's staring at the other couples getting out of their cars. Tommy watches her taking it all in.

CARRIE It's like a dream.

TOMMY You can still change your mind, you know.

She turns to him and realizes he's teasing her.

CARRIE Easier said than done.

TOMMY (grinning) C'mon.

CARRIE No. Please ­ not yet.

TOMMY Scared? 88

CARRIE Yes. (beat) Can we sit here another minute?

Tommy laughs and nods. A moment of silence. Carrie is miserable ­ she's happy to be with Tommy, she's trying to have a good time, but it's hard. It's like getting up to dance the first time. Perhaps it would be better to sit this one out.

CARRIE Tommy... (and then out it comes) Maybe... maybe this was a mistake.

TOMMY Hey, it won't be so bad.

She tries to smile at him. It's not very persuasive.

TOMMY Really, I mean it. They're okay, you'll see. (beat; she's trying to believe him) Don't be nervous. Besides... (a little self-mocking) I'd look awfully silly dancing by myself.

And that's just enough ­ he's taken her mind off her own fear just enough to make her laugh.

CUT TO:

185 INT. GYM

where the prom is already under way, the band PLAYING an energetic version of "Harlem  Nocturne." From Carrie's POV it's all magic ­ explosions of pastel color, everyone looking like they stepped out of an advertisement for happiness.

Carrie just stands at the double-doors which are the main entrance to the gym, taking it all in  as Tommy hands their tickets to ushers at the door. As Carrie stares at the giant mural on the stage wall ­ full of celestial moon, stars and rockets ­ a VOICE bellows out behind her.

VOICE Hey, Ross. Gawd, you look queer. 89

186 GEORGE DAWSON

The source of the salutation and Tommy's best friend. He bounds INTO FRAME, wearing a T-shirt with a painted black tie under his dinner jacket. His girlfriend, Frieda Jason, tags behind.

TOMMY When did you come out of the treetops, Bomba?

GEORGE Ross, if I'd known you were going to look this good, I'd have asked you instead of Frieda.

The two boys immediately go into a mock fight. Frieda comes up to Carrie.

FRIEDA Don't let it bother you. If they destroy each other, I'll dance with you.

Carrie smiles back at her nervously; there's an awkward silence.

FRIEDA Hey, where'd you buy your dress? I love it.

CARRIE (shyly) I made it.

FRIEDA (unaffected surprise) Made it? No shit.

Carrie hesitates; realizes Frieda is quite sincere.

CARRIE No shit.

Frieda laughs; so does Carrie, and the tension eases up. Behind them, Tommy keeps one eye on Carrie. He shrugs ­ it's working, goddammit ­ and he stuffs his hands into his dinner jacket.

187 ANOTHER ANGLE ­ THE GYM

Carrie and Frieda, Tommy and George right behind them, head for their tables. 90

FRIEDA The mural's nice.

CARRIE Yes. (confiding) I'm really nervous.

FRIEDA S'okay. We're sitting together.

And she takes Carrie's arm.

Norma Watson rushes over to them ­ all breathy taffeta and green chiffon.

NORMA Carrie! (looking her up and down) That's a lovely dress, Carrie. Wherever did you get it?

CARRIE I made it.

NORMA Well, of course you did. I can't get over it, you look so different. You're positively glowing. What's your secret?

CARRIE I'm Don MacLean's secret lover.

NORMA (a half-beat late, getting it, tittering) Don MacLean's secret... How funny you are. (cutting her) Why, hello Tommy. Aren't you excited?

TOMMY Cold sweat is running down my thighs in rivers.

NORMA (smile slipping a full notch now) Well, I have to hurry back. Stan'll think I got lost. 91

GEORGE (King Kong; right on top of her) Bom-ba!

NORMA (tittering, moving away smack into Frieda) And, Frieda, don't you look nice.

FRIEDA (toothpaste smile) Get douched, Norma.

CUT TO:

188 MONTAGE

As the prom gets underway:

A) JOSIE AND THE MOONGLOWS ­ THE BAND ­ make like Lawrence Welk         and launch into an oldie-but-goodie. On drums ­ The Beak himself.              B) THE TWINS ­ CORA AND RHONDA ­ dressed identically, dancing with C) ERNEST PETERSON, the black class president, is wonderfully officious as he         gets the evening's first entertainment organized. It (or she) is ­              D) SANDRA STENCHFIELD and her fabulous twirling baton act, a phenomenon to the lilting STRAINS of "Raindrops Keep Falling On My Head." E) NORMA is off in a corner, bending another girl's ear; STAN is standing idly         by, pretending to be invisible.              F) MORTON, FROMM and the other chaperones including MISS FISH look for something to do, for someone who's stepping out of line. And find it. In the person of         FREDDY DE LOIS, who's guzzling the punch. G) TOMMY and CARRIE sit at their table next to GEORGE and FRIEDA.         Tommy lights a candle.

189 ANGLE ­ TOMMY AND CARRIE'S TABLE

As Josie and the Moonglows launch into a new NUMBER. George suddenly comes to life.

GEORGE Viiibes!

He grabs Frieda, and they make their way out onto the dance floor, Frieda shrugging helplessly at Carrie.

CARRIE They're nice. George is funny. 92

TOMMY He's a good guy. (beat) See, didn't I tell you? (beat) Sure you don't want to dance?

CARRIE Could we just sit here for a minute?

Tommy nods ­ it's okay with him.

VOICE Carrie?

Carrie turns around and finds herself facing Collins ­ dressed up, looking more like one of the students than a teacher.

CARRIE You look very pretty, Miss Collins.

COLLINS Thank you (beat) You too. Beautiful.

CARRIE It's awfully nice of you to say so. I know I'm not... not really...              but thank you anyway.

Tommy ­ feeling like a fifth wheel ­ clears his throat and stands up.

TOMMY `scuse me. (to Carrie) Be right back, okay?

He goes off into the crowd.

COLLINS (gesturing to his seat) May I?

Carrie nods, and she sits down, pulling the chair next to her. They're virtually alone at this moment; everyone else is dancing or occupied. 93

COLLINS Carrie, anything that happened before... well, it's all forgotten. I want you to know that.

CARRIE I can't forget it. (beat) But it's over with. It's over.

Collins smiles; she looks at the dance floor and Carrie's eyes follow hers. At this particular moment, the band is PLAYING a quiet number ­ slow, romantic.

COLLINS I remember my own prom. I was two inches taller than the boy I              went with when I was in my heels. He gave me a corsage that clashed with my gown. But it was magic. I don't know why. But I've never had a date like it, ever since. Is it like that for you?

CARRIE It's very... nice.

COLLINS (smiling) Just nice?

CARRIE No. There's more. I don't know... (hesitating; then) ...it's like being on Mars.

COLLINS You'll never forget it.

CARRIE I think you're right.

And then, on sheer impulse, Carrie reaches out and hugs her, hugs her tightly.

CARRIE Thank you.

COLLINS Have a lovely time, Carrie. 94

TOMMY (o.s.) Hey, what's going on here?

There is Tommy, looking "stern."

TOMMY (to Collins) What are you doing with my date?

COLLINS Girl secrets.

A smile at Carrie, and she goes off.

TOMMY Don't let me catch you hugging any guys.

CARRIE You won't.

TOMMY Better not. Hey, listen, do you really have to be back so early?

CARRIE I promised.

TOMMY Okay. I understand.

CARRIE I'm sorry.

TOMMY No, it's okay. Listen, the other kids are going over to Lewiston after the Prom ­

CARRIE (breaking in) That's okay.

TOMMY What is?

CARRIE You want to go with your friends. I don't want to spoil anything... 95

TOMMY Hey, let me finish. What I was going to say, I mean if it'd be alright with you, what do you say we go to the Cavalier?

CARRIE (surprised; she'd love to) I've never been there.

TOMMY Hey, great. We'll have the place all to ourselves. Great! (he means it) Then it's settled.

He takes her arm, turns her toward the dance floor.

CARRIE (holding back) Tommy...

TOMMY C'mon...

CARRIE I don't... I can't... I...

TOMMY You can.

He has his arms around her and half-spins, half tugs her out onto the floor. He is a young man of considerable confidence ­ the best part of his popularity ­ and it's a contagious trait. Gradually, Carrie gets caught up in the slow dancing, begins to follow him less and less awkwardly, begins to get less and less self-conscious, and, in short, starts to glide into her freedom.

190 A CORNER OF THE GYM

Tommy and Carrie dance into this corner; Carrie is a bit breathless and very happy. For some moments, Tommy keeps his arms around Carrie, looking at her. And then he leans forward, about to kiss her, impulsively. And impulsively and instinctively, she draws back. And is immediately embarrassed.

TOMMY Hey... 96

CARRIE I'm sorry.

TOMMY I...

CARRIE It's just...

TOMMY No harm, no foul.

They stand there for a couple of seconds.

And suddenly and swiftly, Carrie kisses Tommy. It's a quick, awkward, frightened kiss. A bird peck.

And again they stand there, until:

CARRIE I don't know... anything. I can't dance...

TOMMY You danced.

CARRIE I don't even know how to...

TOMMY It's easy.

And he kisses her. She breaks, looking up at him.

CARRIE Tommy... why?

TOMMY Why what?

CARRIE Why am I here?

TOMMY It's the prom. 97

CARRIE With you.

TOMMY Because I asked you. And...

CARRIE Why? Why did you?

TOMMY Because I wanted to.

CARRIE Why?

TOMMY Because...

He pauses; he's on the edge. And steps back.

TOMMY ...you liked my poem. Only I didn't write it. Someone else did.

CARRIE Oh.

She's puzzled. And she's about to ask something else.

TOMMY (quickly) Look, Carrie, we're here, we're together... and I like it, you know...              I mean, I...

CARRIE But...

A commotion from the floor.

Tommy turns.

TOMMY Hey, look!

Carrie looks off, following his glance, at: 98

191 STAGE AREA ­ POV

As the head Custodian supervises the sliding of two thrones from the wings onto pre-set marks on the stage apron. They're sheathed in white ­ strewn with crepe papers and flowers to match the prom's celestial theme.

192 CARRIE AND TOMMY

CARRIE (uneasily) It's a fairy tale.

TOMMY (beaming; taking her arm) C'mon.

He starts to lead her towards their table while:

CUT TO:

193 EXT. SCHOOL ­ STREET ­ NIGHT

Sue Snell ­ unable to contain her curiosity about how all this has worked out ­ pulls up in one of her parents' cars, parks, and deliberates coming in. The lights of the gymnasium are glowing. While inside:

194 INT. GYM ­ STAGE AREA

Class president Ernest Peterson makes his way to the microphone. He takes all this quite seriously.

ERNEST All right, ladies and gentlemen. Take your seats, please ­ it's                 time for the voting.

NORMA This contest is an insult to women!

A couple of CHEERS, scattered APPLAUSE.

GEORGE It insults men, too!

Louder CLAPPING, foot STOMPING, WHISTLES. 99

ERNEST (over the noise) Please take your seats. It's time to vote for the King and Queen.

Several ushers go up and down the aisles, passing out ballots.

195 ANGLE ­ TOMMY AND CARRIE'S TABLE

as Norma Watson haughtily drops a ballot on their table in front of Tommy, another in front of George.

Carrie examines the paper.

CARRIE Tommy... (looking up to see him smiling at her) ...we're on here!

TOMMY I know. (seeing her concern) Want to decline?

CARRIE Do you want to?

TOMMY Hell, no. If you win, all you do is sit up there for the school song and one dance. And they put your picture in the yearbook so everyone can see we looked like idiots. Besides, it's the last year.

Carrie looks up at the stage ­ at the massive thrones all in white.

CARRIE They're beautiful.

TOMMY You're beautiful.

Carrie meets his eyes and blushes; it's all overwhelming her, and she has to look away ­ at the tiny party favor boat on the table in front of her, at the tiny pencil next to it.

CARRIE Who do we vote for? They're more your crowd than mine. 100

TOMMY Whatever you like.

CARRIE In fact, I don't really have a crowd.

TOMMY Let's vote for ourselves. To the devil with false modesty.

She laughs aloud ­ the sound of her own laughter is so foreign to her that she claps a hand over her mouth, at her own daring. She takes the pencil and quickly circles their names ­ so quickly that the pencil breaks, bringing a small drop of blood to her finger. She gasps.

TOMMY Hurt yourself?

CARRIE No.                        (trying to smile) But I broke it and it was a souvenir.

TOMMY There's still your boat. (he pushes it gently toward her) Toot, toot.

196 INT. SCHOOL ­ NIGHT

as Sue ­ hardly in formal attire ­ stares through the same small window in the gym door that Carrie stared through earlier ­ she stares inside as:

197 INT. GYM ­ STAGE AREA

The ballots are being counted, Morton and Fish helping Ernest separate them into piles. We ought to notice either De Lois or Trennant hanging around the voting tables ­ perhaps Norma Watson as well.

198 ANGLE ­ TOMMY AND CARRIE'S TABLE

Carrie is holding Tommy's hand tightly ­ too tightly.

TOMMY Hey, hey.

CARRIE 101

Sorry.

TOMMY Don't know your own strength. Whew.

He sees she's taking him seriously. Sensitive to her reaction, he smiles at her.

TOMMY Hey, it's okay.

In the background Josie and the Moonglows provide a flourish of drums.

199 THE STAGE

as Ernest walks up to the microphone and almost drops the ballots in the process.

ERNEST We've sort of hit a snag. Mr. Morton says this is the first time in the history of the Spring Prom that ­

VOICE How far does he go back? 1800?

LAUGHTER, CATCALLS.

ERNEST We've got a tie.

GEORGE Polka-dot or striped?

ERNEST Sixty-three votes for Frank Grier and Cora Wilson, and sixty-three votes for Tommy Ross and Carrie White.

Silence, then the APPLAUSE begins and starts to swell as we...

CUT TO:

200 TOMMY's POV ­ CARRIE

An island in the APPLAUSE around her, her head lowered...

201 TOMMY 102

Watching her intently, his mouth slightly open...

202 THE STAGE ­ ERNEST

Vainly trying to speak over the APPLAUSE.

ERNEST Attention! If I could have your attention, please...

203 TOMMY AND CARRIE

Tommy still staring at her.

ERNEST (o.s.) We're going to have a run-off ballot. When you get yours, please write the couple you favor on it.

204 CARRIE

Slowly looking up, seeing Tommy.

CARRIE They're not applauding for us. It can't be for us.

TOMMY Maybe it's for you.

CUT TO:

205 CHRIS AND BILLY

Just exactly where they are isn't clear yet, nor should it be. But we do hear the Prom noises.

BILLY I thought you said they'd win.

CHRIS They will. They will. Won't even be close.

BILLY If you screwed up...

CHRIS Don't worry. I called in a few favors. 103

206 INT. WHITE HOUSE ­ NIGHT

The black cuckoo clock ­ STRIKING TEN

207 INT. WHITE KITCHEN

as Margaret, mumbling to herself, with the fixated attention of the damned, continues to scrub a sliver of whetstone along the gleaming edge of the knife's blade.

CUT TO:

208 INT. GYM ­ CARRIE AND TOMMY'S TABLE

as new ballots arrive courtesy of Norma, who leans over them and whispers breathily:

NORMA Good luck!

As Tommy picks up the pencil, Carrie puts her hand on his.

CARRIE Don't.

TOMMY What?

CARRIE Don't vote for us.

TOMMY In for a penny, in for a pound. That's what my grandmother used to say.

CARRIE (swallowing) Don't. Please.

Tommy hesitates for a second, seeing her face so full of premonition. Then he overcomes it, and scrawls their names on the slip of paper, folding it.

TOMMY For you.

He hands it to Norma Watson, and it's off ­ spirited away, gone. 104

TOMMY Tonight you go first-class.

Carrie stares at the receding figure of Norma as if she were the messenger of doom.

CUT TO:

209 INT. GYM ­ VOTING TABLES

Where we get a sense of exactly what Chris meant by favors as De Lois, Trennant, and a once again completely wrecked Kenny Garson plus Norma bring over more ballots. It's not exactly what one would call an honest ballot.

210 GYM DOOR ­ POV

as Sue manages to slip by Fromm, who's still lazily monitoring the door. She starts heading for the backstage area, trying to be as unobtrusive as possible.

211 NORMA

At the voting table, she spies Sue coming in, and finding it irresistible, blurts out the news, whispering to:

212 MORTON

Who's just finishing the ballot counting. He looks in the direction that Norma's pointing in, seeing:

213 SUE

Going backstage, heading into the wings to watch:

214 INT. GYM ­ THE STAGE

as Ernest returns to the microphone.

The BAND plays another FANFARE OF DRUMS. Ernest sees this as his big moment; he  almost drops the ballots. He pauses for a moment, surveying the gym floor and the anxious prom-goers. An actors savoring the tension. Then he smiles, white teeth grinning:

ERNEST Tommy and Carrie win. By one vote.

Begin SLOW MOTION 105

Silence. Everything a half-beat exaggerated, slowed.

Carrie gasps inwardly; the candle in front of her blows out.

Tommy grins, amused. He shrugs his shoulders at Carrie.

And the applause begins ­ some of it, most of it, genuine, but some of it mocking too.

The band launches into a rock version of "Pomp and Circumstance."

Ushers appear at Tommy and Carrie's table. George is pounding Tommy's back. An  aluminum foil scepter is thrust into Tommy's hand; a robe with a fur collar is thrust over Carrie's shoulders.

215 SUE ­ STAGE WINGS

Peering out farther to get a good look. Unseen at first by her, there's a cord on the edge of the FRAME.

216 MORTON

Blocked by the clamor of the students, he's unable to make a straight bee-line for Sue in the wings. So he takes the long way around ­ back behind the stage...

217 TOMMY AND CARRIE

Dollying as they're led down the center aisle; past a blur of smiling faces, the APPLAUSE SWELLING. They're being led toward the stage area ­ the thrones waiting for them. The lights get brighter; the MUSIC gets louder.

218 THE BANDSTAND

As they pass by. The Beak winds conspiratorially at Carrie.

219 THE STAGE

as Tommy gives Carrie his hand, helping her up the steps, over tangles of black power cables.

220 BENEATH THE STAGE

Where we finally reveal just where Chris and Billy have been hiding all this time. Chris listens to the footsteps (of Carrie and Tommy) coming overhead; grasping the cord that Billy has hooked up, holding it very tightly... 106

221 CARRIE AND TOMMY

as they're helped into the massive thrones; behind them is the huge mural of stars and ships.

222 ERNEST

the showman now, P.T. Barnum in all of his expansiveness.

223 SUE

In the wings, watching this action. In the corner of the FRAME, the cord we glimpsed earlier ­ the same one which Chris clutched beneath the stage ­ jiggles, and Sue notices it move. She traces its path with her eyes, seeing that it goes up to:

224 A BANK OF LIGHTS

Concealing a single silver bucket; meanwhile:

225 CARRIE

Staring down at the gym floor; the lights are searing ­ so hot and bright that it's impossible to  see clearly, and a new set of spotlights being shone on Tommy and her only makes it harder.

226 ANOTHER ANGLE ­ CARRIE

as a piece of crepe paper lands in her hair...

227 THE STUDENTS

A sea of faces, the spectrum of reactions.

228 ERNEST

spreading his arms; a politician.

ERNEST Ladies and gentlemen, I give you he King and Queen of the Spring Prom ­ TOMMY ROSS AND CARRIE WHITE!

The Band starts playing the school SONG, and we...

CUT TO: 107

229 SUE IN THE WINGS

The implications of the cord and bucket positioned over the throne just starting to dawn on  her as everyone begins singing the school song:

ALL (o.s.) All rise for the John F. Kennedy Hiyyyyh...

And a hand comes into FRAME, clutching Sue's wrist. It belongs to:

MORTON What're you doing here, young lady?

SUE (trying to head for cord under stage) Something's wrong!

ALL (o.s.) We'll raise your banner to the skyyyyh...

But Morton has no interest in what Sue is trying to tell him:

MORTON I'll say there is.

230 ANOTHER ANGLE ­ CARRIE'S POV

From the throne, she sees Sue ­ and Morton and he pulls her toward the back exit.

231 BENEATH STAGE

Chris is almost hyperventilating as the school song continues.

BILLY What's the matter with you? Pull it!

Chris is frozen ­ immobilized, terrified.

232 CARRIE'S POV ­ SUE

As Morton firmly pushes Sue out the rear gym door. The door shuts, and as it closes:

233 CARRIE

Confused, wondering what's happening in the glare of lights and noise... 108

234 EXT. BACK OF GYM ­ SUE

locked out by Morton, trying to get back in. The door won't open. She debates going to try another door.

235 UNDER STAGE ­ CHRIS AND BILLY

as the song reaches its crescendo:

ALL (o.s.) With pride we wear the red and whyyyte...

BILLY (leering) It can stay there until hell freezes over, Chuckie.

Chris shudders involuntarily at the mention of this nickname. She violently jerks the cord with both hands, yanking it. A sound ­ half-scream, half-moan ­ comes from her mouth, overlapping into:

237 THE STEEL BUCKET

high above the stage, slowly tipping over, the blood pouring from it.

238 LONG SHOT ­ THE STAGE

almost proscenium-like in this FRAMING, from all the way in the back of the gym.

Carrie and Tommy sit on their huge thrones as the buckets above them deposit their contents on top of them.

239 CLOSER

The blood splashing down...

240 THE MURAL

Some of it splattering on the celestial cyclorama, running downward, streaking...

241 THE BAND

As more blood splatters them in their white dinner jackets, the MUSIC halting. 109

242 THE STAGE

End SLOW MOTION.

Tommy and Carrie, drenched with blood.

243 CHRIS AND BILLY ­ UNDER THE STAGE

Preparing to leave now that their mission has been accomplished, just about to crawl out as  they spot:

244 MORTON ­ CHRIS AND BILLY'S POV

realizing they'll have to stay put ­ trapped now.

CHRIS (panicky) Billee!!!

BILLY (nervous too, hissing) Shut up!

They crawl back under the stage, out of sight.

245 INT. GYM ­ THE STUDENTS

As the singing stops, the students staring at the stage.

246 CARRIE

Her eyes tightly clenched shut, looking as if she's been dipped in a bucket of red paint. She's  gotten the worst of it.

247 THE BUCKET

dangling on the pulleys over the throne, clanging back and forth. A high-pitched GIRL'S  VOICE SCREAMS.

248 TOMMY

Splattered with blood. Below them, the sounds of hysteria begin ("My God, that's blood!") Tommy starts toward Carrie just as: 110

249 ANOTHER ANGLE ­ STAGE ­ FEATURING TOMMY

As the bucket falls and hits Tommy on the head; it knocks him unconscious, and he slumps to   the floor.

250 THE STUDENTS ­ FEATURING HELEN SHYRES

Watching this in pure horror. She starts to giggle uncontrollably, the kind of hysterical laugh that comes out of pure terror. It overlaps onto:

251 STUDENTS ­ ANOTHER ANGLE (S) ­ SWISH PANS

As the hysteria begins to spread.

252 CARRIE

as she starts toward the unconscious Tommy.

253 THE STUDENTS

as more of them start laughing... the sound of it becoming contagious.

254 CARRIE

hearing the dreaded laughter.

255 CARRIE'S POV ­ THE STUDENTS

Through the harsh glare of the lights ­ laughing, pointing (see Norma Watson), doubling up in   hysteria, utterly out of control.

256 FACES, FACES, FACES

Laughing...

256A BILLY AND CHRIS

reacting to their "success."

257 CARRIE

Putting her hands to her blood-covered face, slowly getting to her feet.

258 THE STAGE 111

As Carrie makes her way to the stairs, tripping over the black power cords. A horrified Collins is on her way up the stairs.

COLLINS Oh, Carrie ­ let me help you.

Carrie hesitates at the sight of the teacher. But it's too late for help, and in the fastest flex we've seen to date, she jerks her head and Collins bounces backward ­ down the stairs, slamming into a wall.

259 THE STUDENTS

Laughing harder now, unable to stop.

260 THE GYM ­ ANOTHER ANGLE

Where all is pandemonium.

Morton makes his way to Collins, giving her his handkerchief; she has a bloody nose.

COLLINS (to Morton) Call the police!

261 CARRIE

Tears streaming down her face, the blood streaking, as she takes in the sight of her tormentors.

262 THE GYM ­ YET ANOTHER ANGLE

Helen Shyres is still laughing so hard that she's about to throw up or go into shock.

George Dawson has climbed on the stage and is hunched over the slumped figure of Tommy Ross, examining him.

GEORGE Call a doctor! Hey, call a doctor, quick!

He tries to pick Tommy up, and in the process the throne topples over on the stage.

263 INT. HALL CORRIDORS ­ SUE

Frantic, rushing back into the school and down the hall toward the prom doors. 112

264 CARRIE

Takes a deep breath, mustering her energy. She closes her eyes and sees:

265 THE GYM DOORS ­ THREE SETS OF DOUBLE DOORS

All of them open, a few students milling around them as...

266 CARRIE

Closes her eyes even tighter and flexes. And ­ in SWISH PANS:

267 THE DOORS

slam shut. In the process, several things are accomplished at once. The prom-goers are trapped inside, and one or two of them get their hands or legs caught in the doors as they close, screaming with surprise and pain.

268 INT. HALL ­ SUE

who once again was just a little late, arriving just as the DOORS SLAMMED SHUT; she sees the screaming prom-goers unlucky enough to have been caught in the doors.

269 INT. GYM

Utter pandemonium as students rush toward the doors.

270 THE BEAK

Near the bandstand area, looking up at the stage and realizing that it's Carrie who's  responsible for closing the doors.

THE BEAK It's Carrie! It's Carrie!

Fromm starts heading toward the stage to get control of the microphone, to stop the panic.

The kids continue rushing toward the closed doors.

271 CARRIE

A small smile at being recognized by the Beak as the one responsible, the one with the power now. It's not what she wanted, but it no longer matters. They're going to know her now and never forget her. 113

272 CARRIE'S POV ­ GYM WALL

Between two sets of double-doors, FEATURING a huge firehouse installed in case of an   emergency.

273 CARRIE

Seeing the hose, getting the idea... NOTE: SPLIT SCREENS begin here.

274 CLOSER

as her eyes narrow and focus on the hose, zeroing on it.

275 THE HOSE

As it starts to unwind, to unspiral into the air, starting to spray a burst of water.

276 THE HOSE ­ ANOTHER ANGLE

As it becomes snake-like, water springing from the nozzle.

277 THE STUDENTS

Cries of surprise as it begins to spray water on them, ruining their clothes.

278 THE HOSE

As the velocity of the water increases, stronger and stronger.

279 CARRIE

Eyes gleaming, a glimmer of triumph as she concentrates and surveys ­

280 THE STUDENTS

Like rats in a maze ­ a slapstick chaos as they try to get away from the animated hose. The water forces the students back from the doors, backwards toward the stage.

280A CHRIS AND BILLY ­ UNDER THE STAGE

As they see students propelled toward them by the hose. 114

281 CARRIE

A smile of satisfaction. For the first time, she's showing them ­ they're the ones being made to look foolish. She's standing on one side of the stage.

283 ERNEST

Level-headed to the end, making his way through the pandemonium toward the stage area and the bandstand as fast as he can...

284 CARRIE

Still controlling the hose, she spots Ernest, seeing him move toward the stage area.

285 TRACKING ­ ERNEST

knowing somehow ­ with some sixth sense ­ that Carrie's watching him. He feverishly hurries toward the area where the band equipment is plugged in... where the high voltage cables are hooked up to the electrical current.

Behind him, Fromm has reached the microphone and is trying to be heard, telling everyone to  remain calm.

286 CARRIE

Realizing just what Ernest plans to do:

CARRIE (gently; determined) No.

And she mentally fixes on him, jerking her head just so... so ­

287 ERNEST

Is flung invisibly and forcibly away from the area by Carrie's will.

288 FROMM

Big belly and all, trying to steady the mike. He puts his hand on it. The water, however, has reached him, and just as he touches the mic, he's electrocuted ­ his arm bursting into flame, unable to let go as his body goes into an electric dance, his mouth gaping open like a fish on  land. 115

289 CARRIE

Watching this; another flex, and:

290 FROMM

Is propelled backwards from the microphone; he falls backward into the cyc, his flaming arm igniting it. A celestial fantasy immediately bursts into flames. It prevents any of the students from using the back exit.

291 THE STUDENTS

Watching, riveted with horror, some of them screaming, others frozen to the spot as the cyc CRACKLES. Utter pandemonium.

292 CARRIE

Her face flushed, a vein in her forehead throbs, her heart pounding. She spots:

293 THE LIGHTING T-BAR

hanging over the bandstand.

294 THE DOORS

as the prom-goers press against the opaque glass, straining to get out. Fish in an aquarium.

295 COLLINS

moving toward the dazed Ernest, who's recuperating from his bout with Carrie.

296 CARRIE

her heart pounding like an anvil. She's staring at:

297 THE LIGHTING BAR

298 CARRIE

She flexes. 116

299 CEILING POV

Collins and Ernest directly below the path of the lighting bar. We see the flaming cyc on the stage collapse forward. The light bar begins to shake. Plaster drops, and the light bar DROPS ­ just short of Collins' head ­ as far as its wires carry it.

300 CARRIE

Watching all this ­ a giggle (or is it a sob?) emerging from deep within her.

Another flex.

301 THE LIGHT BAR

starts to swing recklessly around the gym. Back and forth, back and forth ­ it hits the ceiling, igniting it and the decorations. Flaming stars and planets begin dropping from the ceiling.

302 BENEATH THE STAGE ­ CHRIS AND BILLY

seeing their chance to escape while Carrie is busy with the light bar.

The back door (which Sue couldn't enter from the outside, and which the cyc flames  prevented any of the students on the gym floor to get to) is now free, and Billy and Chris see their chance to escape. They burst out from under the stage as:

303 CARRIE

Spots them. In the instant it takes her to wonder what they're doing there, it's too late. They're out the door, and there's absolutely nothing she can do.

304 THE GYM ­ FEATURING THE LIGHT BAR

As it swings, catching Norma Watson in its path, casually whipping this screaming girl in her green chiffon dress back into a wall.

Helen Shyres is backed into a corner, giggling with horror, in shock, utterly hysterical.

Students have climbed onto the back of the bleachers, trying in vain to pry off the screens on  the windows so they can escape.

Morton has grabbed a chair and is trying to smash it through another of the windows. All this to no avail. End SPLIT SCREEN. 117

305 CARRIE

As she makes her way down the stage stairs and out onto the floor. She spots the cord going under the stage first, and realizes just how the trick was engineered... that Billy and Chris did it.

306 THE STUDENTS

Moving aside as Carrie walks through them ­ an endless series of blurred, hysterical faces.

307 WIDE SHOT ­ THE GYM

As Carrie makes it to one set of double doors, flexes them open, and exits.

308 EXT. GYM ­ HALLWAY

As Carrie exits, the doors swinging shut. Behind her, through the windows, we see a wall of  fire collapse behind her.

She passes Sue in the hall who's sobbing hysterically. And as Carrie exits, Sue runs into this inferno of fire to find Tommy. And then the town WHISTLE BLOWS... and BLOWS. It  overlaps onto:

DISSOLVE TO:

309 EXT. TOWN STREETS ­ NIGHT

Carrie's on her way home. At this point, she looks less like a girl that the survivor of a grisly car accident; wet, caked with blood, eyes glistening madly, almost shapeless. She goes down a hill, and then, from:

310 ANOTHER ANGLE ­ THE HILL ­ NIGHT

as a fire truck rushes toward the school, past Carrie. And then shortly afterward, out of  nowhere, Billy's Chevy ­ it's headlights gleaming, lurches forward; it's headed right for her.

311 CARRIE

Turns around and sees it coming toward her.

312 INT. THE CHEVY

Chris screaming "Get her! Get her!" at the top of her lungs, Billy grinning madly behind the wheel. 118

313 CARRIE

As the Chevy heads right for her, standing in the headlights in its path, bloated, swaying back and forth, her arms thrown out.

314 THE CHEVY

Almost right on top of her...

315 CARRIE

Flexing, averting the car just as it almost smacks into her. It just misses her.

316 INT. THE CHEVY

Billy is livid, turning around to see Carrie in the back window.

BILLY Goddamnit!

CHRIS Billy!!!

BILLY Shut up! Just shut up!

But the car is headed for an embankment. Billy realizes this and starts pumping the brakes. But the car's accelerating, not responding to Billy's efforts to slow it down.

317 CARRIE

Her head pounding, flexing.

318 INT. CHEVY

As Billy attempts to turn the wheel; it, too, has turned traitor ­ it won't turn.

They're heading right for the embankment. Billy's eyes are bugging out, Chris is screaming as:

319 THE CHEVY

Plows smack into the embankment and rolls over several times. It then bursts into a sheet of  flames. 119

320 CARRIE

Watching this explosion turn into a conflagration. We see the fire reflected in her puffy, exhausted face ­ brighter and brighter as we HEAR the sound of the WHISTLE merging with SOUND OF SIRENS, and:

DISSOLVE TO:

321 EXT WHITE HOUSE ­ NIGHT

The house is totally dark. Not even a porch light. In the distance, perhaps, the glow from the burning gymnasium.

A figure is moving toward the house.

It is Carrie.

322 AT DOOR

Carrie tries the front door. It is unlocked. She opens it partially.

CARRIE (small voice) Momma? Momma?

She opens the door wider.

CARRIE (louder) Momma?

Silence. Carrie steps inside.

CARRIE (louder) Momma, I'm home.

Silence.

Carrie closes the front door.

323 INT. WHITE HOUSE ­ NIGHT

With the closing of the door, Carrie turns on a light. She looks around. The house is  ominously empty, ominously still. 120

CARRIE MOMMA!

Silence floods back in.

Carrie moves to the foot of the stairs, turning on lights as she goes. She mounts the stairs, goes along the narrow hallway to her room.

324 INT. CARRIE'S ROOM ­ NIGHT

Carrie turns on the lights, closes the door.

She stares at the Madonna-child figurine on the bureau.

Then, slowly, she removes her blood-stained clothing, letting it lie in a heap.

Clutching a robe, she goes into the bathroom.

325 INT. BATHROOM ­ NIGHT

Carrie turns on the shower, waits for it to get hot. It is almost steaming as she steps in.

Very carefully, Carrie scrubs herself clean.

Then she steps out of the shower, dries herself off briefly, puts on her robe, and turns off the bathroom light. What's important here is this gives us time to breathe, to focus on Carrie.

326 INT. CARRIE'S ROOM ­ NIGHT

Carrie returns to her room. She is clean now; her wet hair hangs. A feeling of despair about her or perhaps she is emptied out.

Carrie almost mouths:

CARRIE Momma...

It is a little child's voice and there is no answer.

She goes out into the hallway.

327 INT. HALLWAY ­ NIGHT

Carrie goes to the head of the stairs. Once again, she mouths the words: 121

CARRIE Momma...

Something ­ a movement? An instinct? -- makes her turn. She sees:

328 MARGARET

Coming toward her.

329 CARRIE

She flings out her arms and cries out:

CARRIE Oh, Momma!

And throws herself against her mother, holds her. A movement from Margaret, a quick movement, hard to define. And Carrie recoils, her hands clutching her stomach.

Briefly we see the knife in Margaret's hand.

Then Carrie tumbles down the stairs.

330 ANGLE DOWN STAIRS

On Carrie, lying like a broken doll, huddled at the foot of the stairs.

331 MARGARET

Carrying the knife, she stares down the stairs.

MARGARET It says in the Lord's Book: `Thou shalt not suffer a witch to live.'

332 CARRIE

Dazed, she sees her mother coming, dimly, everything distorted. She begins to crawl backwards, her eyes always on her mother, who is slowly but inexorably coming down the stairs.

MARGARET And now the devil has come home. 122

CARRIE (whimpering) Momma, it's not right.

Carrie starts crawling to the kitchen.

333 INT. KITCHEN ­ NIGHT

Carrie crawls farther and farther from the door, until she reaches the far end of the kitchen, just as Margaret, the knife gleaming in her hand, pointed toward Carrie, reaches the bottom of  the stairs and turns toward the kitchen, mumbling all the while.

Carrie flexes: the kitchen door swings shut.

Margaret is coming toward the kitchen.

Carrie flexes again ­ to hold the door shut.

But it's no use ­ Margaret is relentless now, and the door opens. She raises the knife and starts toward Carrie, the door swinging behind her.

MARGARET I should have killed you when you were born.

CARRIE Momma, I love you. Please help me!

MARGARET Sin never dies.

There's nothing else to be done. Carrie flexes, and a serving fork ­ dangling from a hook on  the way ­ suddenly hurtles through the air, piercing Margaret. It is followed by another and another as a rain of instruments strikes Margaret.

Margaret collapses.

Carrie, horrified by what she's done, starts toward her mother.

And then she and we see Sue standing in the doorway, clasping her hand to her mouth, stifling her screams.

CARRIE You. You tricked me. 123

SUE No.

CARRIE Get out.

SUE We were just trying to...

CARRIE Get out.

And then something hits the roof, rattling. A small sound. A stone.

Then another.

Then a third.

CARRIE Get out! Get out!

The stones are beginning to rain on the roof, like hail.

Sue is rooted to the spot, terrified.

CARRIE Get out, get out, get out!

The stones are coming down harder. All sound as one or two of them break through the roof, rattle on the floor below.

CARRIE GET OUT!

A stone of fairly small size crashes through into the kitchen.

Carrie flexes.

And Sue stumbles backwards toward the door.

Flex.

Sue is whipped around, as though by a great wind. 124

333A EXT. WHITE HOUSE ­ NIGHT

Stones are crashing on the house.

Sue is hurtled out of the house.

334 INT. KITCHEN

As a couple of larger stones crash into the room, Carrie heads for the closet.

335 EXT. WHITE HOUSE ­ NIGHT

Sue, rising from the ground, see stones crashing into the house.

She begins to run away.

336 INT. WHITE HOUSE ­ NIGHT

Carrie walks toward the closet; the figure of Jesus is illuminated ­ welcoming her? She goes into the closet.

She closes the door.

Stones crash down, obliterating the scene.

337 EXT. WHITE HOUSE ­ NIGHT

Sue stops running. She turns to look at the White house.

338 WHITE HOUSE ­ SUE'S POV

The stones are flattening the house. The house is being pounded into the ground.

339 SUE

Terror and disbelief. Nightmare.

340 THE WHITE HOUSE

The rain of stones stops.

Silence.

Then the house begins to sink ­ slowly, slowly, slowly ­ into the ground. 125

And the ground is swallowing up the house.

And covering it until ­ nothing remains. Not a trace.

DISSOLVE TO:

341 EXT. SNELL HOUSE ­ DAY

Some time later ­ a week, perhaps two weeks after the nightmares of Prom Night.

342 INT. SNELL HOUSE

A home in the course of losing its family. White sheets cover furniture. Boxes in the midst of  being packed.

Eleanor Snell, looking incredibly tired, is attending to the last-minute details of moving. She sorts through magazines and books, discarding some, putting others into cartons. And she comes across the religious tracts left behind by Margaret White, forgotten until now. They have a momentary hypnotic effect on her.

The phone RINGS, startling her. She rushes to answer it in the kitchen, catching it on the first or second ring.

ELEANOR (hushed voice) Hello? Oh, thank God it's you, Betty. I don't think I could have handled one more reporter. (she appears to hear a noise upstairs) Just a sec, dear. (she comes into the living room and looks toward the upstairs) Sue? (a little louder) Sue? (no answer, she returns to the phone) Sorry, Betty, I just wanted to make sure the phone didn't wake her. We're all a bit edgy. (beat) Better. Sleeping too much, I guess, but Schneider says that's to be                 expected after what she's gone through. He says she's young enough to forget it in time. Knock wood.

As Eleanor's side of the conversation continues, the camera conveys her tension. Half of her is listening and talking to Betty; the rest of her mind is on Sue upstairs. With good reason. Because: 126

343 EXT. EMPTY LOT ­ DAY

Where the Horan house used to stand, now vacant. Strewn with beer cans, overgrown with grass and weeds and wildflowers. And a FOR SALE sign.

We PAN over next door where the White house used to stand. It, too, is vacant but utterly bald ­ there's been no time for anything to grow here. There is another FOR SALE sign put up by Born Realty.

344 SUE SNELL

looking utterly haggard and perhaps a bit on the loony side from a lack of sleep stands staring at the lot. She's standing there in her white nightgown, barefoot.

345 THE WHITE LOT ­ SUE'S POV

as she slowly walks toward it. Underwater, almost floating. We come closer on the sign which now starts appearing a bit odder ­ less like a simple FOR SALE sign and more like a  grave marker.

And when we get close enough, we see that some graffiti has been hastily scrawled in chalk on the sign:

CARRIE WHITE IS BURNING IN HELL FOR HER SINS

And below it, in a second vandal's handwriting, some idiot's notion of one final joke:

JESUS NEVER FAILS

346 SUE

as she kneels down, putting the wreath she's carrying next to the marker. She proceeds to try to wipe off the red chalk with the palm of her hand; it smudges badly.

She stares at her hand, fixating on it, remembering Carrie in the shower. Suddenly, a second hand thrusts into frame, onto her nightgown.

A bloody hand.

A hand from the Earth itself.

Carrie's hand

It clutches a horrified Sue by the wrist. Tightly. A vice. 127

Sue begins screaming uncontrollably. The hand is trying to pull her into the ground. Her screams turn into howling.

CUT TO:

347 SUE

Still screaming. But now in her room, waking from what is, indeed, a bad nightmare. Upright in bed, screaming her head off, her face covered with perspiration.

Eleanor Snell rushes into the room to the bed, embraces her hysterical daughter.

ELEANOR It's all right, it's all right, darling.

SUE Mother?

And we come in close on Sue's stricken face as her mother holds her, calming her, cradling her. Closer still on Sue's eyes. She closes them, and we go to:

BLACK