MUSIC BY MICHAEL GORE LYRICS BY DEAN PITCHFORD. ; BOOK BY LAWRENCE D. COHEN a BASED ON THE NOVEL BY STEPHEN KING R: THEATRTC ALS aniucel comma (601 West 26th Street « Suite 312 + New York, NY 10001 ‘Tel 800/400.8160 or 212/564.4000 Fax 212/268.1245 www.rnh.com ‘CARRIE the misieal Music by Michael Gore, Lyrics by Dean Pitchford, Book by Lawrence D. Cohen, ‘Music and Lyrics © 2012 Telekinetic Music (BMI) / Dean Pitchford Music (BMI) / Mind Alone Music (BMD. Book Copyright © 2012 Gusto Productions Inc. All songs, music and lyrics administered by Imagem Music LLC. International Copyright Secured, All Rights Reserved, Used by Permission,COPYRIGHT WARNING Professionals and amateurs are hereby advised that this material is fully protected by copyright in the United States of America and throughout the world, Al rights including performance of any kind or nature by professionals or arcateurs, recitation, lecturing, public reading, radio or television broadcast, cable television, videotape, audio recording, motion pictures and tights of translation into foreign languages are strictly reserved. Any performance, copying (including photocopying), arranging, adapting, inserting or storing ina retrieval system, transmitting in any forms or by any means whatsoever, including ‘mechanical or electronic, or any portion of this material without the prior writen consent of the copyright owners is an infringement of copyright thereby entitling the copyright ‘owners to injunctive and other relief to the full extent of the law. (RAH.S/23/2013.RS)CAST OF CHARACTERS CARRIE WHITE MARGARET WHITE i SUB SNELL TOMMY ROSS CHRIS HARGENSEN BILLY NOLAN MISS GARDNER i MR. STEPHENS ( REVEREND BLISS (can be played by the same actor as Mr. Stephens) SUE’S INTERROGATORS (Voices Only: 1 Male & 1 Female) { FRIEDA NORMA : i HELEN : | t GEORGE, ‘STOKES ‘ FREDDY OTHER KIDS (for casts larger than 14)MUSICAL SYNOPSIS ‘Chamberlain, « small town in Western Maine. The present. acTI Prologue: Interrogation Space Scene 1: Chamberiain High Schoo! Scene 2: Gils’ Locker Room/Guidance Counselor's Office CARRIE. Scene 3: Streets of Chamberiain/Cerrie’s Private World CARRIE (continucd).. Scene 3A: Interrogation Space Scene 4: Town Park Scene 5: White Bungalow ‘OPEN YOUR HEART. AND EVE WAS WEAK.. Scone 6: Interrogation Space/Chris ‘THE WORLD ACCORDING TO CHRIS....... Scone 7: White Bungalow/A Street in Town EVENING PRAYERS. Scene 8: Fourth Period English Class carrie Reverend Bliss, Margaret, Carrie & Choir runmennnonerimnenlargaret & Cattle sw Chris, Billy, Sue, Tommy & Kids LUNSUSPECTING HEARTS. Scene 10: School Library, Other Locales : DO MB A FAVOR . ~- Sue, Chris, Tommy, Billy & Kids Scene 12: Principal's Office Scene 13: White Bungalow ‘Scene 14: White Bungalow Dining Room 1 REMEMBER HOW THOSE BOYS COULD DANCE ninacti Scene 1: Interrogation Space/School Courtyard ANIGHT WE'LL NEVER FORGET ‘Scene 2: Interrogation Space/Schoo! Hallway Scene 3: Gymnasium YOU SHINE... ‘Scene 4: Shedows/Carric’s WHY NOT ME? secsnmosonmainene STAY HERE INSTEAD ... ‘Scene 5: White Bungalow WHEN THERE’ NO ONB...-snonoe Scene 6: The Gym PROM ARRIVAL wn UNSUSPECTING HEARTS (REPRISE), DREAMER IN DISGUISE (REPRISE) . PROM CLIMAX.. ALMA MATER. ‘THE DESTRUCTION Scene 7: White Bungalow/S! ‘CARRIE (REPRISE) .. EPILOGUE Kids, Sue, Tommy, Chris & Billyfe KD OVERALL NOTE: With the exception of three adult actors, our cast consists of high school seniors living through the intense final weeks leading up to Senior Prom and graduation. Notwithstanding that these Kids are all highly iconic figures inthe adolescent landscape, they should also very much be individuals, CARRTE WHITE: A painfully shy outsider who, in spite of her best efforts to belong, has been the victim of her classmates’ cruel jokes since childhood, es well as her mother’s strict, biblically-ordained ‘control at home. She transforms from ugly duckling into graceful — and then vengeful ~ swan. Vocally, she must be capable of lyrical sweetness as well as flerce power. MARGARET WHITE: A woman of visceral extremes, she balances her fervent religious convictions ‘with equelly sincere true-believer spirituality and tender, maternal love for Carrie, Like Carte, with ‘whom she shares several duets, her voice must range from expressive and melodic to ferocious and frightening. ‘SUE SNELL: A straight-A student who's been popular her entire life, she's remarkably level headed for ‘her age, Her unthinking participation ina cruel act of bullying causes acrisis of conscience that leads her ‘on a journey to try to right things. Vocally, she hes a pop ballad voice that delivers sweet sincerity and strength. ‘TOMMY ROSS: Popular star athet, valedictorian, and all around stand-out, he's the boy that ll the girls want tobe with, and al the boy want to be. Yet he also has unexpected, quirky sensitivity and is just starting to mine his personal life and feelings —a budding poet. His voice should have an effortless pop quality, CHRIS HARGENSEN: Rich, spoiled-rotten, and wickedly funny, Chris is a popular beauty whose arrogant selfassurance makes her believe thatthe rules don’t apply to her. Loaded with sexual dynamite, she has serious daddy and anger-management issues. Her voice is pop-rock percussive and powerful. BILLY NOLAN: Now in his sixth year in high school, Billy's a sexy, stupi-like-a-fox bad boy whose ‘wise mouth troublemaking has led bim to spend more time in detention than in class. All these qualities sake it easy for his girlfriend Chris to manipulate him to do her bidding, His voice is that of a wailing rooker, MISS GARDNER: Mid-30s, this girls’ PE. teacher can be a strict disciplinarian if necessary, but when. Carrie arouses her maternal instinct, she surprises herself by also revealing a protective “fairy godmother” side. Her voice is warm and strong, just like the woman. MR. STEPHENS: Late-30s, this well-intentioned English teacher and guidance counselor struggles to help his students realize their potential. A dedicated educator, he’s stretched thin in his duties, woefully underpaid, and a bit overwhelmed as to how to handle the Billy Nolans of the classroom combat zone. NORMA: Bitchy, gossipy and a shameless suck-up to authority, Normais second-in-command to Chris’ queen bee. ular FRIEDA; Sue's brainy pal, she's an easy-going, get-along follower and a tireless extracur committee volunteer.‘HELEN: Giggly and easily shocked, her immaturity and need to belong make her the perfect example of ‘the herd mentality. GEORGE: Tommy's jock wingman since childhood, George idolizes him, Perhaps a little too much... STOKES: A bit of a nerd, he’s happy to be included as one of Tommy's posse, : FREDDY: The wise-cracking class clown and official yearbook photographer, he can't believe any git] ‘would ever give him the time of day. iAUTHORS’ NOTES. “On Broadway these days, being facetious is easy (Rock of Ages, Book of Mormon]. Being serious is the real daredevil challenge. The few musicals that succaed at It (Miss Saigon, Spring Awakening) sully protect themselves from ridicule by setting thelr stories In distant times and places. Corrie tries to turn ordinary, alltoo-fomiliar high school angst Into the stuff of tragedy. The show has guts.” Richard Zoglin, TIME MAGAZINE ‘Stephen King’s 1974 debut novel and Brian de Palma’s 1976 film both used the vocabulary of their distinct media ~ the page and the screen — to tell this tale. Our Carrie isa piece for the stage, and we strongly encourage you to imagine it~ as we have ~ in theatrical terms. Unpack every bit of stagecraft at ‘your disposal to bring it to life, ‘With that in mind, let us share a few thoughts: | TONE: From the moment we began writing Carrie, our intent as authors was to tll a dramatic fable about a girl whose very name hes become synonymous with high school bullying. As a poster-child for cruel victimization that’s unfortunately grown to epidemic proportions, Carre and the stage musical that bears her name deserve tobe treated with respect and dignity —her story staged and acted with emotional convietion. We were never interested in seeing our show done in @ campy or kitschy style; we've been offered that opportunity, and have never chosen to go down that road. Treating the material seriously, ‘however, doesn't mean that it should be performed without humor, excitement, or fun; on the contrary, it absolutely needs these elements. Between ws, we always considered Sweeney Todd — Stephen Sondheim's | ripping, often wickedly funny musical tragedy — one of our inspiring models. THE SET, as described in the libretto, is deliberately non-naturalistic; whatever their differences, our show's first two productions shared this perspective, The original 1988 Broadway version was set within ‘the confines ofa classic black box ~a theatrical term referring to a simple and unadorned performance space, which our designer gave a spin by painting white. The stripped-down 2012 off-Broadway production, written to frame and tell the story in Sue Snell's mind, featured an eerie, ever-presentbackdrop of a burnt-out gymnasium with doors a versatile landscape on which a shifting mosaic of time, place and memory could be enacted, ‘Neither production was bound by naturalism; there were no sets lumbering on and off with literal furniture, We would encourage a similarly creative and abstract approsch. One additional note: from the show's earliest day's, we considered the possiblity of staging the piece in site-specific space instead of a theater ~ a high school gymnasium with bleachers, for example, or perhaps an empty warehouse or old factory ~ and we offer up that kind of out-of-the-box thinking for ‘your consideration as well. SUR'S INTERROGATORS: Our approach to dramatizing Carrie, inspired by an idea in the King ‘novel, was fo tell the story from the perspective of Sue Snell, the lone survivor of the tragedy that claimed the lives of her classmates and teachers, So we've always imagined that the voices she hears are in her ‘mind, In this ibretto, the source ofthe voices questioning her is deliberately unspecified. Whether they're pre-recorded and handled as sound cues—or coming from the shadows onstage or off —or even {from somewhere else ~ that’s up to you, Combining these disembodied voices with the harsh cone of light which glares down on her (as noted in the serip) will convey the unrelenting loop of haunting memories that Sue is forced to recive, CARRIE’S POWERS: King’s story is about a gil with the gift of felekinesis (TK) the ability to move ‘objects with her mind, Carrie's power is first glimpsed following the traumatic onset of he period and her ‘rue! hazing by the other girls - events that are capped by a light bulb exploding overhead in the girls’ locker room. The power surfaces a second time when Carrie, upon being taunted by Billy Nolan, “unwittingly causes him to go sprawling off his skateboard. ‘These beats build to the critical moment when Cerrie, locked alone in her prayer closet, ‘experiences a rush of emotion that causes a figurine of Jesus to levitate, It is only, however after researching the subject of telekinesis in the library that Carrie starts to truly harness and hone her “gif. All ofthese occurrences build toa climactic confrontation with Margaret a the end of Act 1. At the height of a raging thunderstorm, Carrie consciously uses her mind to slam the windows in the house ‘nd demonstrate her newfound powers in tis life-and-death battle of wills with her mother. With the help of our sound designer, we created a distinctive sound ~ an eerie, hollow WHOOSH! ~to accompany each oceurrence of TK, s0 that Carrie's power had an aural as well as visual component, We recommend you do a similar exploration for your production, When these audio/visual |‘moments are delivered in striking, memorable ways, Cartie’s horrific display of power in the Destruct ‘will feel emotionally earned, rather than simply a gratuitous display of special effects. ‘THE BLOOD: Perhaps the show's most controversial element is the bucket of blood that Chris and Billy ‘dump on Carrie as a vengeful prank atthe Prom, It's essential that this organic story point be executed ‘onstage in a way thatthe audience accepts it and finds it satisfying, AAs for stage blood, there's no getting around it— like any liquid, it’s wet and comes with all sorts of potential challenges. It can stain a dress and clog a body mic. It can make the stage diffeutt to navigete. If, however, you can figure outa smart and effective way to work with liquid, by all means go fort, But don’t overlook other possible elegant, stylized solutions to convey the dropping of the blood. Lights? Fabric? Shadows? Projections? You get the idea... ‘Always remember that this is theaver, where imagination is your greatest asset. Then challenge yourself to find a workable, imaginative, and ultimately thrilling solution. Finally, a word about CAST SIZE: On Broadway, Carrie featured a cast of 27 and an orchestra of 23. ‘The off-Broedway production was re-scaled for a cast of 14 and a band of 7, and that number ~ which is reflected in this ibretto and score and on the CD* seems to us the minimum number for the show to ‘work, Don’t feel obliged to use more than 14, but it’s worth noting thet enlarging the ensemble offors the ‘opportunity to make the school and the classrooms and the Prom feel more populated. It also gives Billy ‘and Tommy, and Chris and Sue the chance to each have more of a “posse.” As authors, the writing — and rewriting — of Carrie has been a remarkable journey, and we're thrilled to have this version to send out into the world. We hope you have a great time exploring this timely and ‘timeless story, and we can’t wait to see what you do with it! Lawrence D. Cohen Michael Gore Dean Pitchford 2012 *Available at www sh-k-boom.com"Nobody was really surprised when it happened, not really, not at ‘the subconscious level where savage things grow." ~ Stephen King, CARRIE “Atonement is a process that never ends,” ~Teddy Kennedy + "Be kinder than necessary, for everyone ‘you meet is fighting some kind of battle.”Act! Prol rrogatior (G¥e see what appear to be the bumnt-out remains of a high school gymnasium, The site of some terrible disaster, it emanates palpable dread, It's both realistle and abstract a landscape of ‘ruth and memary,) (A faint, ghostly overture of sounds grows louder and more distinc: a school bel, the shriek of a whistle, cries and seroams, 911 calls, ire sirens, etc. They culminate in a booming explosion. BLACKOUT) (WROOSH! A CONE OF HARSH WHITE LIGHT suddenly illuminates a lone figure in a chair, causing her 10 flinch and cry out as if waking from a nightmare. It's SUB SNELL, haunted witness and tour guide to ow story. FIGURES from SUE's memory are silhouetted in shadow behind her. A MALE VOICE, startling her, demands:) MALE VOICE ‘Name, please, State your full name, SUE ‘You already know my name. I's Sue~ Susan Snell, MALE VOICE ‘And you were born in the town of...? SUE (Chamberlain, Maine. | was bom and raised there. FEMALE VOICE ‘When did you first meet Carrie White? (The FIGURES let out a collective, audible exhale,) SUE In elementary school. We were inthe same grade, I don’t think I'd said a hundred words to her before this all began — (squinting up atthe light) Could you turn that down, please? Tcan’t see, MALE VOICE ‘Tell us about the night of May 28 — about the occurrences that led up to the alleged event. SUE “Alleged event?” Why do you keep asking the same thing over and over? Gilence) ‘You want to catch me in a li, is that it? MALE VOICE We need the truth,1-1-2 SUE ve already told you what I know, How many times do we have to go through this? MALE VOICE Until it makes sense. FEMALE VOICE Until we understand, SUE What you need to understand is that we were just kids... (See --okids trying to do our best. We were kids. (Zhe FIGURES in the shadows start to méve.) ‘SUE, CHRIS, TOMMY, BILLY & KIDS ‘STOP Go WHO AMI? MOVE - HA! COME ON, COME IN FATHER, MOTHER, PREACHER, TEACHER FAILURE! AMP? AM? AM I? AM I? . Nol ‘ ‘AMI STUPID? ‘AML HOPELESS? VIOLENCE! SILENCE! | BROKEN, USED, BLACK, BRUISED WHAT ABOUT MB? WHAT ABOUT ME? IDREAMI DROWN! I WAIT (LIGHTS bump up as SUE joins her CLASSMATES for a day inthe life) ‘Scene 1: Chamberlain High Schoo! KIDS EVERY DAY IJUST PRAY EVERY MOVE IMAKE IS RIGHT TOMMY & SUE WHERE I GOSUE & CHRIS WHOIKNOW SUE, TOMMY, CHRIS, BILLY & KIDS WILL I BE ALONE ON SATURDAY NIGHT? NORMA, HELEN, FREDDY & STOKES ANDI WORRY FRIEDA, HELEN, GEORGE & FREDDY WHAT IF 1 STAND OUT ONE BIT? CHRIS, FRIEDA, BILLY & TOMMY 1 WORRY SUE, TOMMY, CHRIS, BILLY & KIDS ‘WHAT CAN I POSSIBLY DO TO FIT IN? (LIGHTS return FIGURES to shadows.) HELEN, CHRIS, GEORGE, ‘SUE, NORMA, FRIEDA, ‘STOKES & BILLY FREDDY & TOMMY PERFECT CLOTHES AMT? AMT AMP NOSE AMD AMD AMP THE PERFECT. AMT AME AMP AMIE SUE, TOMMY, CHRIS, BILLY & KIDS SKIN FACE ALL ACE! (LIGHTS bump book wp) NORMA, SUE, BILLY, HELEN, GEORGE & FREDDY BOTH MY FOLKS ALL TOTAL JOKES CHRIS & BILLY ALL THEY DO IS CHEW MY ASS ‘SUE, CHRIS, TOMMY, BILLY & KIDS BLAH BLAH BLAH BLAH BLAH BLAH BLAH HELEN, FREDDY & STOKES ‘THEY SHOULD JUST BE GLAD IMAKE IT TO CLASS 1-1-3SUE, CHRIS, TOMMY, BILLY & KIDS IDON'T WORRY CHRIS & BILLY IF 1BLOW MY SATs ‘SUE, CHRIS, TOMMY, BILLY & KIDS WORRY WHAT CAN I POSSIBLY DO TO SQUEEZE IN? Pow! WHY NOT NOW? WHEN WILL 1 BELONG? LOOK WHERE I AM — DAMN! ‘MY WHOLE LIFE FEELS WRONG WHAT FIDO SNAP? HOLY CRAP! PD CRAWL OUT OF MY SKIN AND SO WOULD YOU cuz LIFE JUST DOESN'T BEGIN : UNTIL YOU'RE IN (The KIDS band together in CLIQUES ~ SUE with bf. TOMMY ROSS; her best friend CHRIS HARGENSEN with bad-boy BILLY NOLAN - as Phys fd teacher MISS GARDNER appears in hher gym out, whistle around her neck,) MISS GARDNER Don’t you all have somewhere to be? BILLY (irty and provocative) ‘Walt, there's somewhere I'd like to be, Miss G.. MISS GARDNER ‘What ase you, Mr. Nolan — twelve? Gpotting TOMMY kissing SUB) ‘Tommy Ross - watch those hands and definitely no tongue. TOMMY ‘Yes, ma’am.I-1-5 CHRIS (10 TOMMY and SUB) Hey, you two —get a room! MISS GARDNER And you, Chris Hargensen, lose the gum before class. CHRIS ‘Where should I put it, Miss Gardner? MISS GARDNER ‘Anywhere you like, Just get it out of your mouth. (CARRIE, arriving late, does her best to be invisible.) Carrie White, get a move on! Gym olass in two minutes! ‘SUE, CHRIS, TOMMY, BILLY & KIDS HA AH AH AH HA AH AH AH (The GIRLS exit to change.) Boys GOD, IT’S ROUGH STAYIN’ TOUGH. WONDRIN’ WHAT THE WORLD WILL SAY. “MAKE A PLAN!” f “BE A MAN ALL THIS FRICKIN’ BULLSHIT GETS IN THE WAY (CARRIE and the GIRLS return in their gym clothes and begin a competitive game of volleyball. CARRIE, eager to join in, finds herself excluded.) ‘SUE, CHRIS, TOMMY, BILLY & KIDS 1G0 CRAZY ‘NOBODY CARES WHAT IT DOES TO ME ID'S CRAZY 1 WOULD Go OUT OF MY MIND TO BE. ‘SUE, CHRIS, GARDNER & GIRLS TOMMY, BILLY & BOYS IN AMI? SHIT! AMI? AMI? INISITL ‘AM I? AMI? WHAT COMES CLOSE T0 THAT?. UNTIL YOU'VE BEEN CHRIS, SUE, NORMA, GEORGE, HELEN, GARDNER, BILLY & STOKES: FRIEDA, TOMMY & FREDDY IN AMT? AMI?1-1-6 YOU AINT WHERE IT’S AT (CUZ WHEN YOURE OUT- WELL! LIFE IS HELL. ‘YOU CAN NEVER WIN ‘THERE'S NO DOUBT THAT LIFE JUST DOESNT BEGIN UNTIL YOURE — (The bail is passed to CARRIE who fionbles and drops ALL AWN NORMA Way to go, Carrie! FRIEDA ‘Yeah, way to blow the game! (CARRIE recoils, accidentally bumping into SUB) SUE Hey, watch where you're going! CHRIS (to CARRIE) Loser! MISS GARDNER Hit the showers, girls! Go change up! (ALL exit. Alone now, CARRIE kneels.) CARRIE AMI? AMI? AMI? AT— AMI? AMI? AMI? AMI? AMITAMI? AMIAMI? AMI? AMI? DOESN'T BEGIN UNTIL YOU'RE - it) ‘Our Father, who art in heaven, hallowed be thy name. Thy kingdom come, thy willbe done, on earth as it i is in heaven. Amen. (She heads offto shower as the KIDS re-enter.) SUE, CHRIS & GIRLS AND SOMEDAY IF [DONT STAND OUT ONE BIT SUE, CHRIS, TOMMY, BILLY & KIDS OH, SOMEDAY IMAY BE NORMAL ENOUGH TO FIT IN1-1-7 JEEZ! ‘SHOOT ME, PLEASE! PUT ME OUT OF MY PAIN ‘AMIA MESS? a: ‘YES! ‘TOTALLY INSANE IF [AMNOT MISSED I DON'T EXIST ‘THAT'S THE GREATEST SIN PD RATHER BE SHOT cuz LIFE JUST DOESNT BEGIN DOESN'T BEGIN— DOESN'T BEGIN— DOESNT BEGIN— DOESNT BEGIN UNTIL YOURE mt | CARRIE (SCREAMS!It1) (rapped in a towel, CARRIE bolts from the SHOWER into the locker room — a ribbon of blood dripping down her leg, her bloody hand extended.) NORMA What the hell? CARRIE Help me! Please help met FRIEDA Oh my God ~ that’s blood HELEN What's happened? CHRIS It's Carrie. NORMA What'd she do now? SUE She's hurt1-1-8 CARRIE (reaching ou fo CHRIS) Tm bleeding! CHRIS ‘Yuck — get away from me! CARRIE Grantically running to SUB) 1m dying =! SUE i (laughs — exasperated and revulsed) For God?s sake, Carrie ~ you've just got your period! CARRIE What...? (FIELEN mimes throwing-up, to much laughter.) Hey, everybody — Carrie's got her period! Peri CHRIS & GIRLS: Period! Period! Goddamn retard! Dumb bitch, (etc.) (in unison) Period, period, period! (NORMA films the event on her smart phone.) CHRIS : (rallying the troops) Carrie's got the cu-rse! Caries got the curse! q CARRIE : 1m bleeding! ‘ i SUE Well, clean yourself up! (She grabs a tampon and throws itat her. CHRIS hurls more.) 1 { CHRIS; Period! Per-iod! (The chant spreads as the GIRLS — SUE included — bombard CARRIE with tampons, towels, socks, etc.) CHRIS, SUE & 2 GIRLS REST OF GIRLS Period! Per-iod! Per-iod! Per-iod! (interweaving) (moving into) Carrie! L1-1-9 Plug it up! Plug it up! Plug it upt Carrot Capris! (MISS GARDNER rushes in) GARDNER ‘What the hell's going on? GIRLS Corrie! Carrie! CARRIE! (As they close in, CARRIE backs up, howling and flaiting.) CARRIE Stopt (At that moment, an overhead LIGHT suddenly explodes! [FLEX SOUND] The GIRLS scream.) CHRIS Shit! Didja see that?! SUE Oh, my God! (As they laugh in nervous release, GARDNER yanks SUE back) MISS GARDNER What are you doing? (SUE stops in mid-laugh — the spell broken.) Cartie? Hey, what’s going on? CARRIE It... hurts, My stomach... MISS GARDNER Stand up and take care of yourself. ‘SUE | think this must be the first time she’s ever had her period, MISS GARDNER (to CARRIE, incredulous) ‘Ob, my God, you don't know? (arms around her) ‘You're okay, Carrie — you're going to be all right. Im sorry, I didn’t know. HELEN ‘You have got to be kidding,1-2-10 NORMA Talk about clueless, MISS GARDNER All ight ~show’s over! Clean up this mess and get to class? (As she sends CARRIE off the GIRLS begin to disperse.) CHRIS (to SUB) Can you stand it? She never knew — MISS GARDNER Chis! SUE ‘But Chis is tight, Miss Gardner. MISS GARDNER Sue, what's gotten into you? ‘SUE ‘Oh, c'mon, its just Carri. MISS GARDNER ‘Shame on you! (With a glance up at the remains of the shattered LIGHT, she shakes her head at its bizarre ‘ocewrrence and exits,) Pens) Scene 2: Girls’ Locker Rot elor’s Office SUE (stung by GARDNER's disapproval) Do you believe her, going off on me like that? CHRIS (imitating GARDNER) “Sue, shame on you! What's gotten into you...” (unable to resist the dig) _-besides Toramy Ross’ tongue! SUE laughing) Stop it (tlt smarting, though) T mean, who does she think she is, anyway? It's not like this was all my fault. | wasn’t the only one...1-2-1 CHRIS Screw her. Who gives a damn what some lezzie gym teacher thinks, anyway? ‘SUE She's not a lesbian, At least I don't think so. She's not. Is she? CHRIS Who cares? Details, detals...Oh, my God — (shows SUE her smart phone) Norma's already posted about it! (Gn another space, MISS GARDNER updates guidance counselor and English teacher MR. STEPHENS) MR. STEPHENS Its hard to betieve any girl today could stil be ignorant of the facts of life, = MISS GARDNER ‘That's just it: when I tried to explain it to Carrie, she didn’t seem to know what I was talking about. MR. STEPHENS mean, what are the odds? MISS GARDNER You'd have thought her mother would have told her. i (CRISSCROSS between the two conversations.) i ‘ CHRIS ‘And that mother of hers, always ranting how everybody's going straight to hell - except her and her precious little Car-rie, SUE ; Oh, my God, remember that time in third grade when she got down on her knees in the cafeteria? CHRIS Prayin’ — with tat bible! ‘SUE ‘And that dress! Remember? (asing-song chant) PRAYIN' CARRIE. SUE & CHRIS UGLY, SHORT AND HAIRY ‘ALL HER FRIENDS ARB (bumping hips) (UH) IMAGINARY! }1-2-12 (They hovel at the childhood memory.) MISS GARDNER AAs usual, Chris Hargensen was the ringleader. MR. STEPHENS: No surprise there, MISS GARDNER But even Sue Siell was doing it. MR. STEPHENS Te expect a stunt like this from Chris, but Suc... MISS GARDNER All the girls were doing it. MR. STEPHENS. Well, you!l have to take care of it, Lynn. Read them the riot act. CHRIS ‘And that fight bulb: did you love it? (As CARRIE, head down, passes by, she yells:) Pow! (SUE sees CARRIE flinch,) SUE Her mother should have told her. CHRIS (Catcalls CARRIE) Like mother, like daughter! SUE Shh she'll hear yout CHRIS ‘You care too much what people think. Oh, [alinost forgot ~ my folks are away, Party at my house tonight! : (CARRIE reaches MR. STEPHENS and MISS GARDNER) (USrEMe a MISS GARDNER Carrie, go home and rest for the remainder of the day. MR. STEPHENS We're all terribly sorry about this, Carrie.