Carrie - Libretto New(1)

Transcript

LIBRETTO-VOCAL   NOT FOR SALE PROPERTY OF 9/24/2012 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 ______________________________________________ IMPORTANT WARNING! DO NOT affix inserts into this material by any means whatsoever including staples, tape, paste or glue. Make marks lightly in black pencil only and erase thoroughly before returning. Charges will be assessed for all unerased, damaged, missing and overdue material per the signed License Agreement relating to this rental material. BOOK BY LAWRENCE D. COHEN MUSIC BY MICHAEL GORE LYRICS BY DEAN PITCHFORD BASED ON THE NOVEL BY STEPHEN KING               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 This Libretto-Vocal Edition of CARRIE © 2012 by Lawrence D. Cohen, Michael Gore and Dean Pitchford. International Copyright Secured. All Rights Reserved. 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(R&H.9/24/2012.RS) CAST OF CHARACTERS CARRIE WHITE MARGARET WHITE SUE SNELL TOMMY ROSS CHRIS HARGENSEN BILLY NOLAN MISS GARDNER MR. STEPHENS REVEREND BLISS (can be played by the same actor as Mr. Stephens) FRIEDA NORMA HELEN GEORGE STOKES FREDDY OTHER KIDS (for casts larger than 14) MUSICAL SYNOPSIS Chamberlain, a small town in Western Maine. The present. ACT I Prologue: Interrogation Space Scene 1: Chamberlain High School IN ....................................................................................................................................................... Kids Scene 2: Girls’ Locker Room/Guidance Counselor’s Office CARRIE .......................................................................................................................................... Carrie Scene 3: Streets of Chamberlain/Carrie’s Private World CARRIE (continued) ....................................................................................................................... Carrie Scene 3A: Interrogation Space Scene 4: Town Park Scene 5: White Bungalow Living Room OPEN YOUR HEART ........................................................... Reverend Bliss, Margaret, Carrie & Choir AND EVE WAS WEAK............................................................................................. Margaret & Carrie Scene 6: Interrogation Space/Chris’ House THE WORLD ACCORDING TO CHRIS.......................................... Chris, Billy, Sue, Tommy & Kids Scene 7: White Bungalow/A Street in Town EVENING PRAYERS ............................................................................................... Carrie & Margaret Scene 8: Fourth Period English Class DREAMER IN DISGUISE .......................................................................................................... Tommy ONCE YOU SEE ................................................................................................................................ Sue Scene 9: Soccer Field/Girls’ Locker Room UNSUSPECTING HEARTS ............................................................................... Miss Gardner & Carrie Scene 10: School Library, Other Locales DO ME A FAVOR ............................................................................. Sue, Chris, Tommy, Billy & Kids Scene 11: Library Stacks Scene 12: Principal’s Office Scene 13: White Bungalow Front Porch Scene 14: White Bungalow Dining Room I REMEMBER HOW THOSE BOYS COULD DANCE .......................................... Carrie & Margaret ACT II Scene 1: Interrogation Space/School Courtyard A NIGHT WE’LL NEVER FORGET ............................................... Kids, Sue, Tommy, Chris & Billy Scene 2: Interrogation Space/School Hallway Scene 3: Gymnasium YOU SHINE .................................................................................................................... Tommy & Sue Scene 4: Limbo/Carrie’s Bedroom WHY NOT ME? ............................................................................................................................. Carrie STAY HERE INSTEAD ............................................................................................ Margaret & Carrie Scene 5: White Bungalow Front Porch WHEN THERE’S NO ONE ...................................................................................................... Margaret Scene 6: The Gym PROM ARRIVAL ............................................................................................... Kids, Tommy & Carrie UNSUSPECTING HEARTS (REPRISE)............................................................ Carrie & Miss Gardner DREAMER IN DISGUISE (REPRISE) ....................................................................... Tommy & Carrie PROM CLIMAX ............................................................................. Chris, Billy, Carrie, Tommy & Kids ALMA MATER ................................................................................................................................ Kids THE DESTRUCTION ............................................................................................... Carrie & Ensemble Scene 7: White Bungalow Living Room CARRIE (REPRISE) ................................................................................................. Margaret & Carrie EPILOGUE .................................................................................................................... Sue & Ensemble CAST BREAKDOWN 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 in the adolescent landscape, they should also very much be individuals. CARRIE 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, as 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 fierce power. MARGARET WHITE: A woman of visceral extremes, she balances her fervent religious convictions with equally sincere true-believer spirituality and tender, maternal love for Carrie. Like Carrie, 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 in a cruel act of bullying causes a crisis of conscience that leads her on a journey to try to right things. Vocally, she has a great pop ballad voice that delivers sweet sincerity and strength. TOMMY ROSS: Popular star athlete, valedictorian, and all around stand-out, he's the boy that all the girls want to be with, and all 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 self-assurance makes her believe that the 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, stupid-like-a-fox bad boy whose wise mouth troublemaking has led him to spend more time in detention than in the classroom. All these qualities make it easy for his girlfriend Chris to manipulate him to do her bidding. His voice is that of a wailing rocker. MISS GARDNER: Mid-30s, this girls' P.E. 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, Norma is second-in-command to Chris' queen bee. FRIEDA; Sue's brainy pal, she's an easy-going, get-along follower and a tireless extracurricular 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 girl would ever give him the time of day. AUTHOR 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  succeed  at  it  (Miss  Saigon,  Spring  Awakening)   usually  protect  themselves  from  ridicule  by  setting  their  stories  in  distant  times  and  places.  Carrie   tries  to  turn  ordinary,  all-­‐too-­‐familiar  high  school  angst  into  the  stuff  of  tragedy.  The  show  has   guts.”   Richard  Zoglin,  TIME  MAGAZINE     TONE: From the moment we began writing Carrie, our intent as authors was to tell a dramatic fable about a girl whose very name has become synonymous with high school bullying. As a poster-child for cruel victimization that’s unfortunately grown to epidemic proportions, Carrie and the stage musical that bears her name deserve to be treated with respect and dignity -- her story staged and acted with emotional conviction. We were never interested in seeing our show done in a 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 us, we always considered Sweeney Todd -- Stephen Sondheim’s gripping, often wickedly funny musical tragedy –- one of our inspiring models. STAGING: 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 is a 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: 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 of a 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 approach. One additional note: from the show’s earliest days, we considered the possibility of staging the piece in a 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. SUE’S INTERROGATORS: Our approach to dramatizing Carrie, inspired by an idea in the King novel, was to 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 head. In this libretto, the source of the 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 script) will convey the unrelenting loop of haunting memories that Sue is forced to re-live. CARRIE’S POWERS: King’s story is about a girl with the gift of telekinesis (TK) –- the ability to move objects with her mind. Carrie’s power is first glimpsed following the traumatic onset of her period and her cruel 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 Carrie, 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 ‘gift’. All of these occurrences build to a climactic confrontation with Margaret at the end of Act I. At the height of a raging thunderstorm, Carrie consciously uses her mind to slam the windows in the house and demonstrate her newfound powers in this 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! –- which accompanied each occurrence of TK, so that Carrie’s power had an aural as well as a visual component. We recommend you do a similar exploration for your production. When these audio/visual moments are delivered in striking, memorable ways, Carrie’s horrific display of power in the Destruction 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 at the Prom. It’s essential that this organic story point be executed onstage in a way that the audience accepts it and finds it satisfying. As 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 difficult to navigate. If, however, you can figure out a smart and effective way to work with liquid, by all means go for it. 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 theater, 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-Broadway production was re-scaled for a cast of 14 and a band of 7, and that number –- which is reflected in this libretto 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 that enlarging the ensemble offers 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 about having 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! *Available at www.sh-k-boom.com Lawrence D. Cohen Michael Gore Dean Pitchford 2012 "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."   I–1–1 ACT I 1 Prologue: Interrogation Space (We see what appear to be the burnt-out remains of a high school gymnasium. The site of some terrible disaster, it emanates palpable dread. It’s both realistic and abstract – a landscape of truth and memory.) (A faint, ghostly overture of sounds grows louder and more distinct: a school bell, the shriek of a whistle, cries and screams, 911 calls, fire sirens, etc. They culminate in a booming explosion. BLACKOUT!) (WHOOSH! A CONE OF HARSH WHITE LIGHT suddenly illuminates a lone figure in a chair, causing her to flinch and cry out as if waking from a nightmare. It’s SUE SNELL, haunted witness and tour guide to our 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. It’s Sue – Susan Snell. MALE VOICE And you were born in the town of…? SUE Chamberlain, Maine. I was born and raised there. FEMALE VOICE When did you first meet Carrie White? (The FIGURES let out a collective exhale.) SUE In elementary school. We were in the same grade. I don’t think I’d said a hundred words to her before this all began – (squinting up at the light) Could you turn that down, please? I can’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? (silence) You want to catch me in a lie, is that it?! MALE VOICE We need the truth. I–1–2 SUE I’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... MUSIC 1: IN …kids trying to do our best. We were kids. (The FIGURES in the shadows start to move.) SUE, CHRIS, TOMMY, BILLY & KIDS STOP GO WHO AM I? MOVE – HA! COME ON, COME IN FATHER, MOTHER, PREACHER, TEACHER FAILURE! AM I? AM I? AM I? AM I? NO! AM I STUPID? AM I HOPELESS? VIOLENCE! SILENCE! BROKEN, USED, BLACK, BRUISED WHAT ABOUT ME? WHAT ABOUT ME? I DREAM! I DROWN! I WAIT! (LIGHTS bump up as SUE joins her CLASSMATES for a day in the life.) Scene 1: Chamberlain High School KIDS EVERY DAY I JUST PRAY EVERY MOVE I MAKE IS RIGHT TOMMY & SUE WHERE I GO I–1–3 SUE & CHRIS WHO I KNOW SUE, TOMMY, CHRIS, BILLY & KIDS WILL I BE ALONE ON SATURDAY NIGHT? NORMA, HELEN, FREDDY & STOKES AND I WORRY FRIEDA, HELEN, GEORGE & FREDDY WHAT IF I STAND OUT ONE BIT? CHRIS, FRIEDA, BILLY & TOMMY I WORRY SUE, TOMMY, CHRIS, BILLY & KIDS WHAT CAN I POSSIBLY DO TO FIT IN? (LIGHTS return FIGURES to shadows.) HELEN, CHRIS, GEORGE, STOKES & BILLY PERFECT CLOTHES NOSE THE PERFECT… SUE, NORMA, FRIEDA, FREDDY & TOMMY AM I? AM I? AM I? AM I? AM I? AM I? AM I? AM I? AM I? AM I? SUE, TOMMY, CHRIS, BILLY & KIDS …SKIN FACE ALL ACE! (LIGHTS bump back up.) 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 I MAKE IT TO CLASS I–1–4 SUE, CHRIS, TOMMY, BILLY & KIDS I DON’T WORRY CHRIS & BILLY IF I BLOW MY S.A.T.s SUE, CHRIS, TOMMY, BILLY & KIDS I WORRY WHAT CAN I POSSIBLY DO TO SQUEEZE IN? POW! WHY NOT NOW? WHEN WILL I BELONG? LOOK WHERE I AM – DAMN! MY WHOLE LIFE FEELS WRONG WHAT IF I DO SNAP? HOLY CRAP! I’D 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 b.f. TOMMY ROSS; her best friend CHRIS HARGENSEN with bad-boy BILLY NOLAN – as Phys Ed teacher MISS GARDNER appears in her gym outfit, whistle around her neck.) MISS GARDNER Don’t you all have somewhere to be? BILLY (flirty and provocative) Well, there’s somewhere I’d like to be, Miss G… MISS GARDNER What are you, Mr. Nolan – twelve? (spotting TOMMY kissing SUE) Tommy Ross – watch those hands – and definitely no tongue. TOMMY Yes, ma’am. I–1–5 CHRIS (to TOMMY and SUE) 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 class 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 WOND’RIN’ WHAT THE WORLD WILL SAY “MAKE A PLAN!” “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 I GO CRAZY NOBODY CARES WHAT IT DOES TO ME IT’S CRAZY I WOULD GO OUT OF MY MIND TO BE SUE, CHRIS, GARDNER & GIRLS IN SHIT! IN IS IT! WHAT COMES CLOSE TO THAT? TOMMY, BILLY & BOYS AM I? AM I? AM I? AM I? AM I? UNTIL YOU'VE BEEN CHRIS, SUE, NORMA, GEORGE, HELEN, GARDNER, BILLY & STOKES IN FRIEDA, TOMMY & FREDDY AM I? AM I? I–1–6 YOU AIN'T WHERE IT’S AT AM I? AM I? AM I? AT— CUZ WHEN YOU'RE OUT – WELL! LIFE IS HELL YOU CAN NEVER WIN THERE'S NO DOUBT THAT LIFE JUST DOESN'T BEGIN UNTIL YOU'RE – AM I? AM I? AM I? AM I? AM I? AM I? AM I? AM I? AM I? AM I? DOESN’T BEGIN UNTIL YOU’RE – (The ball is passed to CARRIE who fumbles and drops it.) ALL Awwwwwww… NORMA Way to go, Carrie! FRIEDA Yeah, way to blow the game! (CARRIE recoils, accidentally bumping into SUE.) 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 Our Father, who art in heaven, hallowed be thy name. Thy kingdom come, thy will be done, on earth as it is in heaven. Amen. (She heads off to shower as the KIDS re-enter.) SUE, CHRIS & GIRLS AND SOMEDAY IF I DON'T STAND OUT ONE BIT SUE, CHRIS, TOMMY, BILLY & KIDS OH, SOMEDAY I MAY BE NORMAL ENOUGH TO FIT IN! I–1–7 JEEZ! SHOOT ME, PLEASE! PUT ME OUT OF MY PAIN     AM I A MESS? YES! TOTALLY INSANE IF I AM NOT MISSED I DON'T EXIST THAT'S THE GREATEST SIN I’D RATHER BE SHOT CUZ LIFE JUST DOESN'T BEGIN DOESN'T BEGIN— DOESN'T BEGIN— DOESN'T BEGIN— DOESN'T BEGIN UNTIL YOU'RE IN! CARRIE (SCREAMS!!!!) (Wrapped 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 me! 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. I–1–8 CARRIE (reaching out to CHRIS) I'm bleeding! CHRIS Yuck – get away from me! CARRIE (frantically running to SUE) I'm dying – ! SUE (laughs – exasperated and revulsed) For God’s sake, Carrie – you've just got your period! CARRIE What...? (HELEN mimes throwing-up, to much laughter.) CHRIS Hey, everybody – Carrie’s got her period! Period! Period! 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 cur-rse! Carrie’s got the cur-rse! CARRIE I'm bleeding! SUE Well, clean yourself up! (She grabs a tampon and throws it at her. CHRIS hurls more.) CHRIS Per-iod! Per-iod! (The chant spreads as the GIRLS (SUE included) bombard CARRIE with tampons, towels, socks, etc.) CHRIS, SUE & 2 GIRLS Per-iod! Per-iod! Per-iod! Per-iod! (moving into) REST OF GIRLS (interweaving) Carrie! I–1–9 Plug it up! Plug it up! Plug it up! Carrie! …. CARRIE! (MISS GARDNER rushes in.) GARDNER What the hell's going on? GIRLS Carrie! Carrie! CARRIE! (As they close in, CARRIE backs up, howling and flailing.) CARRIE Stop! (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.) Carrie? Hey, what’s going on? CARRIE It … hurts. My stomach… MISS GARDNER Stand up and take care of yourself. SUE I think this must be the first time she’s ever had her period. MISS GARDNER (to CARRIE, incredulous) Oh, my God, you don't know? (arms around her) You’re okay, Carrie – you're going to be all right. I'm sorry, I didn’t know. HELEN You have got to be kidding… I – 2 – 10 NORMA Talk about clueless… MISS GARDNER All right – show’s over! Clean up this mess and get to class! (As she sends CARRIE off, the GIRLS begin to disperse.) CHRIS (to SUE) Can you stand it? She never knew – MISS GARDNER Chris! SUE But Chris is right, Miss Gardner. MISS GARDNER Sue, what’s gotten into you? SUE Oh, c’mon, it's just Carrie. MISS GARDNER Shame on you! (With a glance up at the remains of the shattered LIGHT, she shakes her head at its bizarre occurrence and exits.) MUSIC 2: SHOWER AFTERMATH (UNDERSCORE) Scene 2: Girls’ Locker Room/Guidance Counselor’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 Tommy Ross’ tongue! SUE (laughing) Stop it! (still smarting, though) I mean, who does she think she is, anyway? It's not like this was all my fault. I wasn’t the only one... I – 2 – 11 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, details…Oh, my God – (showing SUE her smart phone) Norma’s already posted about it! (In another space, MISS GARDNER updates guidance counselor and English teacher MR. STEPHENS:) MR. STEPHENS It's hard to believe any girl today could still 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 I mean, what are the odds? MISS GARDNER You’d have thought her mother would have told her. (CRISSCROSS between the two conversations.) CHRIS And that mother of hers, always ranting how everybody's going straight to hell – except her and her precious little Car-rie. (SUE eyes CARRIE passing by, head down and miserable.) SUE Oh, my God, remember that time in third grade when she got down on her knees in the cafeteria? CHRIS Prayin’ – with that bible! SUE And that dress! Remember? (a sing-song chant) PRAYIN’ CARRIE SUE & CHRIS UGLY, SHORT AND HAIRY ALL HER FRIENDS ARE (bumping hips) (UH!) IMAGINARY! I – 2 – 12 (They howl at the childhood memory.) MISS GARDNER As usual, Chris Hargensen was the ringleader. MR. STEPHENS No surprise there. MISS GARDNER But even Sue Snell was doing it. MR. STEPHENS I'd expect a stunt like this from Chris, but Sue… MISS GARDNER All the girls were doing it. MR. STEPHENS Well, you'll have to take care of it, Lynn. Read them the riot act. CHRIS And that light bulb: did you love it? (As CARRIE, head down, passes by, CHRIS 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 you! CHRIS You care too much what people think. Oh, I almost forgot – my folks are away. Party at my house tonight! (CARRIE reaches MR. STEPHENS and MISS GARDNER.) MUSIC 3: CARRIE MISS GARDNER Carrie, go home and rest for the remainder of the day. MR. STEPHENS We’re all terribly sorry about this, Carrie. I – 2 – 13 MISS GARDNER Skip gym this week. Take study hall instead. CHRIS You know what Norma calls her? Scary White! I just call her dumb bitch! CHRIS (CONT'D) Scary White! Do you love it! KIDS Scary White...Scary White... SCARY WHITE! SCARY WHITE! (As the KIDS encircle CARRIE in shadows, the cacophony of real and imagined insults she's endured build in her mind until she explodes.) CARRIE THAT'S NOT MY NAME! (LIGHTS change.)   DOESN’T ANYBODY EVER GET IT RIGHT? CARRIE! WHY DON’T THEY REMEMBER I AM CARRIE WHITE? CARRIE! IS THAT ANY HARDER TO SAY THAN GODDAMN TOAD AND SPASTIC AND WEIRDO AND DUMB BITCH?   DOESN’T ANYBODY THINK THAT I CAN HEAR? I HEAR! ’SPECIALLY WHEN I GOT ’EM SCREAMING IN MY EAR I HEAR EVERY DAY THEY MOCK ME AND PUSH ME AROUND ’TIL I DROP IF I HAD A WISH, GOD, I WISH THEY’D STOP! CARRIE (CONT'D) WHEN WILL THEY…? I WISH THEY'D…! WHEN WILL THEY…? WHEN WILL THEY…? WHEN WILL THEY…? KIDS Scary White… Scary White… CARRIE (CONT'D) SOMETIMES THEIR HATRED IS OUT OF CONTROL GOD, HOW THEY HURT ME! MOMMA SAYS SUFF’RING IS GOOD FOR THE SOUL BUT THEY HURT ME! AND IF I COULD I’D BRING THEM ALL DOWN TO THEIR KNEES I’D MAKE THEM SORRY FOREVER FOR TEASING I – 3 – 14 CARRIE CARRIE CARRIE. (The FIGURES recede.) Scene 3: Streets of Chamberlain/Carrie’s Private World (CARRIE's journey takes her through this small town, as well as through the shifting moods and colors of her own inner life.) CARRIE (CONT'D) I WILL NOT CRY I’M OKAY I TRY SO HARD TO PLAY THEIR WAY WHY DO THEY FIND IT SO HARD TO SAY ‘CARRIE?’ WHY DO THEY ALWAYS TREAT ME SO BAD? THEY ALL KNOW MY NAME IT'S CARRIE I DON'T KNOW WHY THEY ALL GET SO MAD IT'S ALWAYS THE SAME (Stricken by a cramp, she winces and clutches her stomach.)   WHAT'S GOING ON DEEP IN ME? ALL OF THESE FEELINGS SUDDENLY IF I AM CHANGING, WILL I STILL BE CARRIE? OR WHAT IF I AM SOMEBODY NEW? IMAGINE THE THINGS I MIGHT DO I MIGHT TAKE A CHANCE I’VE ALWAYS WONDERED HOW MAYBE I’LL DANCE AND TRY HARD TO LAUGH MORE THAN I DO NOW AND THE WORLD WILL OPEN ITS EYES AND FOR ONCE THE WHOLE WORLD WILL RECOGNIZE CARRIE! THEN ALL THOSE PEOPLE WHO SCREAM NIGHT AND DAY: ‘POOR, PRAYIN’ CARRIE!’ THEY’D SEE THE NEW ME, AND THEY MIGHT EVEN SAY: ‘LOOK, IT'S CARRIE!’ I – 4 – 15 AND FINALLY I'D HEAR THAT WORD SOUNDING SO SWEET THOUSANDS OF VOICES FOREVER REPEATING: ‘CARRIE!’ ‘CARRIE!’ ‘CARRIE!’ I AM THE SOUND OF DISTANT THUNDER THE COLOR OF FLAME   I’M CARRIE I AM A SONG OF ENDLESS WONDER THAT NO ONE WILL CLAIM BUT SOMEDAY OH, MY! SOMEDAY SOMEONE WILL KNOW MY NAME! Scene 3A: Interrogation Space (WHOOSH! That CONE OF WHITE LIGHT finds SUE again.) MALE VOICE What exactly was Tommy Ross’ involvement in all this? SUE Forget it! I’m not going there. MALE VOICE Surely, there’s something. FEMALE VOICE Please, Sue – (gentler, cajoling) Tell us... SUE (struggling to get her emotions in check) He… he was an amazing athlete, but he was good at whatever he did. On or off the field. He… he was my – (searching for the word) – Tommy. Scene 4: Town Park (TOMMY enters, tossing a ball around with best bud and wingman GEORGE, gangly brain STOKES, and class comic FREDDY.) I – 4 – 16 FREDDY, STOKES & GEORGE Heads-up, Ross! Hey, Tom-my! (etc.) FREDDY Yo, Ross, you psyched about Prom? TOMMY Yeah, right. You ever seen me in a tux? I look like a freakin’ penguin. GEORGE Shut up, Tommy, you’re gonna look great! (seeing the others react) What? Girls eat that shit up. STOKES Anyway… You invited Sue yet? TOMMY Tonight. I've sort of been waiting for the right moment. GEORGE Dude, you wait much longer, Prom’s gonna be over. (BILLY zooms in on a skateboard, narrowly missing TOMMY.) BILLY Yo, suckers! Beep-beep – coming through! TOMMY Jesus, Billy – watch it! BILLY So what are you girls up to? (CARRIE passes by.) Well, if it ain’t Prayin’ Carrie! (circling her on skateboard) Wonder who’s taking her to the Prom…her mother? TOMMY Leave her alone, Billy. (Ignoring him, BILLY fiddles with CARRIE’s long skirt.) BILLY Hey, baby, I bet you're a real hottie under all ... that! TOMMY You're such an asshole. (CARRIE cowers, which only encourages BILLY.) I – 5 – 17 BILLY C’mon, church-girl, dance with me. I'll make you see God! (She glares at him [FLEX SOUND]. His skateboard flies out from under him, and he goes sprawling.) Oof! What the hell? GEORGE Good one, Nolan! STOKES How’s your pussy, princess? (BILLY jumps up and shoves STOKES.) BILLY What’re you laughing at, huh? The goddamn bitch tripped me! (Angry and embarrassed, he storms off.) TOMMY (to CARRIE) Hey, you all right? (She nods shyly. The BOYS snicker.) GEORGE Hey, Tommy – you coming or what? STOKES Yeah, leave the freak, and let’s go. TOMMY Don’t pay any attention to those clowns. They’re just messing around. MUSIC 4: OPEN YOUR HEART (As he exits, she dares to look up after him. LIGHTS fade as the scene shifts and we hear, as through a radio…) Scene 5: The White Bungalow Living Room (...a CHURCH CHOIR and radio pastor MATTHEW BLISS.) REVEREND BLISS Welcome, fellow travelers in the darkness – welcome, and fear no more! This is the Reverend Matthew Bliss, coming to you across the blessed airwaves of W-O-R-D radio, bringing you the true Gospel of the Lord across the land. CHOIR OOH – OOH – OOH – OOH – OPEN YOUR HEART LET JESUS IN I – 5 – 18 (At her sewing table, MARGARET sings along as she works.) CHOIR OPEN YOUR HEART LET JESUS IN MARGARET, REV. BLISS & CHOIR LORD YOU HAVE FOUND ME, A-WANDERIN’ IN THE DARKNESS LIGHT MY WAY WITH YOUR TRUE FAITH AND I’LL SING WITH JOY OF MY NEW FAITH MARGARET JESUS, POSSESS ME SWEET SAVIOUR BE MY SHEPHERD REVEREND BLISS & CHOIR OOH – OOH – MARGARET, REV. BLISS & CHOIR BLESS EACH ENDEAVOR MARGARET ’TIL I FINALLY JOIN YOU FOREVER. REV. BLISS & CHOIR OOH… OOH… (CARRIE enters.) CARRIE Hello, Momma. MARGARET Ah, Carrie – there’s my sweet girl! (She extends a hand and CARRIE reluctantly joins her. As the music swells, the radio reality is transformed by MARGARET’s heightened true-believer rapture.) MARGARET & CARRIE LORD, I WILL SEE CHOIRS OF SAINTS AND ANGELS SINGING FIN’LLY FREE FROM TEMPTATION AND THE FLAMES OF HELL’S DEVASTATION THEN HE WILL TAKE ME AND WASH ME IN THE RIVER I WILL MAKE CELEBRATION IN THE JOY OF FINAL THE LIGHT OF FINAL THE FIRE OF FINAL SALVATION! (CARRIE and MARGARET embrace.) REVEREND BLISS & CHOIR OOH – OOH… OOH – OH – AHH – JOY FINALLY FINAL SALVATION! I – 5 – 19 CHOIR OPEN YOUR HEART LET JESUS IN… CARRIE CHOIR I love you, Momma. OOH – MARGARET I love you, Carrie. Now, go wash your hands, and set the table for dinner, please. I have a lot of work to finish. CHOIR OOH – (She turns off the radio and busies herself with a pile of clothing.) CARRIE Momma? MARGARET Just as the laundry was about to close, Eleanor Snell brought in some last-minute alterations. I think the Snells are having a graduation party for Sue. She’s in your class, isn’t she? CARRIE Momma, listen – MARGARET Anyway, Eleanor said she’d pay double, so I’ll be up all night trying to get it all done. Heaven knows, we can use the extra money. CARRIE Momma, please – something happened at school today. Something terrible. MARGARET Terrible things are the Lord’s way of testing us, Carrie. CARRIE I know, but the other girls – MARGARET You’re not like the other girls. CARRIE But I am, Momma – I am. I never thought so, but – MARGARET You’re not, Carrie – you’re special. Special. CARRIE You’re not listening to me, Momma. MARGARET I’ve heard all I want to hear. Now go set the table. I – 5 – 20 CARRIE Momma, in the shower – MARGARET What have I told you about showering with the other girls? CARRIE I know, but – MARGARET What have I told you? CARRIE Sin. It’s a sin. MARGARET And as such, it is forbidden. CARRIE But Momma – MARGARET Forbidden. CARRIE I started to bleed! MUSIC 5: AND EVE WAS WEAK (MARGARET takes in this news: her worst fear actualized.) CARRIE (CONT’D) Momma, I started to bleed, and the other girls, they laughed at me and called me names, and I was so scared. (seeing her mother’s face) Momma, why are you looking at me like that? MARGARET (whispers) The Curse of Blood.... (She takes a Bible from a drawer.) CARRIE Momma, you’re frightening me. MARGARET Bow your head and pray, woman. I – 5 – 21 (reading from the Bible) “And God made Eve from the rib of Adam. And Eve was weak and loosed the raven on the world.” CARRIE Momma, it wasn’t my fault! MARGARET “And the raven was called Sin. So God visited Eve with a Curse, and the Curse was the Curse of Blood.” Say it, woman! MARGARET (CONT’D) AND GOD MADE EVE FROM ADAM’S RIB AND EVE WAS WEAK AND EVE WAS WEAK AND EVE WAS WEAK AND GOD MADE EVE TO BEAR THE CURSE: THE CURSE OF BLOOD THE CURSE OF BLOOD THE CURSE OF BLOOD CARRIE Momma, how could I know? Why didn’t you tell me? It’s not a curse! Miss Gardner said it’s something all girls go through! (CARRIE breaks free of her grip.) CARRIE You should have told me! (MARGARET uses the Bible to force CARRIE to her knees.) MARGARET You’re a woman now. Pray to heaven for your wicked soul! MARGARET (CONT’D) THE RAVEN CAME TO PLAGUE THE WORLD, ITS NAME WAS SIN. ITS NAME WAS SIN. ITS NAME WAS SIN – Begin! CARRIE IT’S NOT A SIN OH, MOMMA, IT’S NOT A SIN AND LUST WAS HOW THE SIN BEGAN THE SIN WAS MAN WELL, UNDERSTAND! THE SIN WAS MAN I DON’T UNDERSTAND NO! WHAT HAVE I DONE?   MARGARET (CONT’D) GOD HAS SEEN YOUR SINNING JUST BEGINNING PRAY FOR YOUR SALVATION FROM DAMNATION PRAY OR HE WILL BURN YOU! HE WILL BURN YOU! I – 5 – 22 MARGARET (CONT’D) THE SEED CONVEYS THE POWER AND IT’S COME AGAIN IT’S COME AGAIN IT’S COME AGAIN CARRIE MOMMA, WHAT IS THIS SEED? DON’T YOU CARE THAT I STARTED TO BLEED? MARGARET (CONT’D) UNTIL THE SEED IS CRUSHED THE POWER NEVER ENDS IT NEVER ENDS IT NEVER ENDS CARRIE MOMMA, I WAS SO SCARED AND THEY ALL STARED! THEN I STARTED CRYING I THOUGHT I WAS DYING! MOMMA! MARGARET HAVE YOU NO SENSE OF SHAME? PRAY FOR MERCY, GET DOWN ON YOUR KNEES CARRIE (CONT’D) PLEASE, DON’T HURT ME SATAN’S STAKING HIS CLAIM ’CAUSE YOUR SOUL IS A HOLE OF DISEASE PLEASE DON’T HURT ME I CAN SEE YOU INSIDE DON’T BELIEVE WITH YOUR EYES FULL OF SIN, FULL OF PRIDE THOSE ARE LIES, MOMMA, LIES THAT’S HOW LUCIFER FELL MOMMA, HOW COULD I KNOW? AND YOU’RE HEADED FOR HELL I WON’T LET YOU GO! MOMMA, LET ME GO! (MARGARET drags a desperate and resisting CARRIE across the room and flings open the door to a small, eerily lit PRAYER CLOSET.) MARGARET (CONT’D) HEAVEN HATES A SINNER HATES A SINNER! SAVE YOUR SOUL FROM BURNING GOD, SHE’S BURNING! PRAY OR HE WILL BURN YOU! HE WILL BURN YOU! CARRIE (CONT’D) I’M NOT A SINNER MOMMA, STOP THAT’S BURNING! STOP! IT’S BURNING! MOMMA NO! NO! PLEASE! MOMMA, STOP! I – 6 – 23 (She thrusts CARRIE into the CLOSET and locks the door.) MARGARET (CONT’D) AND GOD MADE EVE FROM ADAM’S RIB AND EVE WAS WEAK AND EVE WAS WEAK AND I WAS WEAK I PRAYED THIS DAY WOULD NEVER COME I SHOULD HAVE KNOWN I SHOULD HAVE KNOWN NOW I’M ALONE AND SO AFRAID OH, LORD, I’VE SEEN THIS POWER BEFORE THE FLESH IS WEAK AND I IMPLORE: FATHER, DON’T FORSAKE HER FATHER, TAKE HER CLEANSE AND PURIFY HER WITH THE FIRE AND THE POWER AND THE GLORY FOREVER AND EVER AND EVER AMEN! Scene 6: Interrogation Space/Chris’ House (US in shadow, CHRIS and the KIDS lounge and horse around at an impromptu party.) (WHOOSH! DS, the CONE OF WHITE LIGHT bumps up on SUE.) SUE Chris and I were best friends. Our mothers had grown up together and were still incredibly close. We were the two most popular girls – everyone just assumed we’d be friends forever. (The tableau behind her breaks.) CHRIS Suze – hey, Suze! (SUE turns to see CHRIS approaching with a bottle of champagne.) Let’s celebrate! I’ve got some great news! SUE What’s up? CHRIS It looks like we’ll be going to college together after all! I – 6 – 24 SUE But I thought Brown turned you down. CHRIS Yeah, well, Daddy pulled a few strings, and now I’m in, so we can be roomies. Is that perfect or what? (BILLY arrives waving a bag of weed.) BILLY Party’s here, bitches! CHRIS Hey, Billy! Bill-ee! (She opens her arms and puckers up for a kiss. He crosses to her and obliges.) BILLY (then, without a beat) Man, I’m starved. What’d’ya got to eat? (He saunters off to join the other KIDS.) SUE (sotto voce to CHRIS) No offense, but you – you could have anyone. What do you see in him? CHRIS Easy – he totally freaks out my old man. Daddy’s already offered to buy me a new car if I promise to stop seeing him. (with a grin) I’m holding out for a Beemer. (to the KIDS) So, did you guys believe that stunt in the showers today? NORMA Oh, my God! BILLY What happened? CHRIS Carrie White happened. Seventeen-freaking-years-old, guys, and this stupid spazz just stands there, having her very first period! BILLY Gross! In the shower? (GIRLS join in laughing as NORMA zombie-mocks CARRIE.) I – 6 – 25 NORMA “I'm dy-ing! I'm dy-ing!” CHRIS The blood was dripping down her leg like – like, “Yo, mom, I'm on the rag!” (BILLY, munching on a bag of chips, stops, disgusted.) BILLY Hey – I’m eating here! CHRIS Standing there squealing like a stuck pig. SUE Chris! Enough already! It’s not funny. CHRIS Guys, wait. (the KIDS stop laughing) Sue’s right. It’s not funny. (a beat) It’s hilarious! MUSIC 6: THE WORLD ACCORDING TO CHRIS (to SUE) Oh, sweetie, there’s always a runt in every litter – a nobody. And our nobody is Carrie. (sings) GUESS WHAT? EVERY SINCE THE WORLD BEGAN SAME PLOT! EVERYONE’S BEEN DUMPING ON THEIR FELLOW MAN POUNDING PEOPLE THEY FEEL BETTER THAN   I HOPE YOU’RE TAKING NOTES CUZ YOU FEEL EVERYONE DESERVES A SHOT GET REAL! SOME OF US HAVE GOT IT, GIRL, AND SOME GOT SQUAT THAT’S THE TRUTH, OH, HONEY, LIKE IT OR NOT I HATE TO BREAK IT TO YOU   MY DADDY TAUGHT ME YOU GET NOWHERE BEING NICE SO NOW I’M SHARING HIS ADVICE THE WORLD ACCORDING TO CHRIS IS I – 6 – 26 BETTER TO STRIKE THAN GET STRUCK BETTER TO SCREW THAN GET SCREWED YOU’D PROBABLY THINK IT’S BIZARRE BUT THAT’S THE WAY THINGS ARE SUE But that doesn’t mean it has to be that way. I mean, what does it cost to be kind? CHRIS “What does it cost to be kind?” Ewww. What have you done with my best friend? Billy, you’ve been in high school, like what – seven years? (He offers up six fingers.) So tell me: am I right, or am I right? BILLY Trust me –   I SWEAR THERE’S A DICK IN EV’RY CLASS NOT FAIR! EACH AND EV’RY TIME I FAIL, THOSE LOSERS PASS HEY, EV’RY ONE OF THEM CAN KISS MY ASS CHRIS (to SUE with a shrug) YOU WONDER WHY I LOVE HIM? BILLY ONE YEAR, THERE WAS THIS GOOD-LOOKIN’ GUY SO QUEER! AND, ON TOP OF THAT, HE HAD A WAND’RING EYE ONE DAY HE LOOKS AT ME AND BILLY GEORGE & STOKES (punch!) BYE-BYE! Unh! CHRIS I BET HE GOT THE MESSAGE CHRIS & BILLY (to SUE and TOMMY) WE’RE HERE TO TELL YOU HOW THIS WHOLE DAMN FREAK SHOW WORKS IF YOU DON’T LISTEN THEN YOU’RE JERKS! KIDS OH. OH. OH. OH. OH. OH. OH OO YEAH YEAH YEAH I – 6 – 27 CHRIS, BILLY & KIDS (NO SUE OR TOMMY) THE WORLD ACCORDING TO CHRIS IS BETTER TO PUNCH THAN GET PUNCHED BETTER TO BURN THAN GET BURNED LEARN THAT AND YOU’RE GONNA GO FAR CUZ THAT’S THE WAY THINGS ARE CHRIS HAH NAH NAH NAH NAH NAH NAH NAH NAH HAH NAH NAH NAH NAH NAH NAH NAH (She leads the crowd in dance.) CHRIS, BILLY & KIDS HAH NAH NAH NAH NAH NAH NAH NAH NAH HAH NAH NAH NAH NAH NAH NAH NAH (SUE pulls TOMMY aside.) SUE Do you believe her? TOMMY C’mon, she’s just being Chris. SUE No, you weren’t there. It was awful. We were hurting Carrie. TOMMY I’m sure it wasn’t that bad. SUE TOMMY, YOU DON’T UNDERSTAND WHAT WAS JUST A JOKE GOT OUT OF HAND WE KEPT ON SCREAMIN’ TIL SHE HIT THE FLOOR TOMMY Everybody was doing it. SUE HEY! I WAS IN THERE, TOO! WHAT CAME OVER ME WAS SOMETHING NEW I DID THINGS I’VE NEVER DONE BEFORE CHRIS (calling from the group) Suze, c’mon! I – 6 – 28 SUE AND NOW I WISH THERE’S SOMETHING I COULD DO OR SAY I’VE NEVER EVER FELT THIS WAY TOMMY LOOK, SUE! DON’T BE SO HARD ON YOURSELF YOU CAN TELL ME TO KEEP MY MOUTH SHUT BUT WANNA KNOW WHAT I’D ADVISE? SUE What? TOMMY (shrugs) APOLOGIZE SUE “Apologize”! Tommy, that’s genius! CHRIS (crossing to her) OOH, SUE! I CAN TELL YOU’RE FEELING SAD CHRIS, BILLY & KIDS BOO HOO! SO WE CLOBBERED CARRIE, AND THAT’S TOO DAMN BAD CHRIS THIS IS WHY YOU GOTTA LOVE MY DAD BILLY & KIDS HE’S GOT THE RIGHT IDEA CHRIS MY DADDY TAUGHT ME WHO’S ON TOP AND WHO’S BELOW BILLY & KIDS OH OH OH OH OH OH OH OH OH WHO’S BELOW AND NOW IT’S TIME I LET YOU KNOW CHRIS, BILLY & KIDS (to SUE) THE WORLD ACCORDING TO CHRIS CHRIS SUE You’re joking, right? You can’t possibly mean all this. I – 6 – 29 CHRIS Why are you being such a buzzkill? SUE Chris, grow up. (She exits with TOMMY.) KIDS HAH NAH NAH NAH NAH NAH NAH NAH HAH NAH NAH NAH NAH NAH NAH NAH NAH HAH NAH NAH NAH NAH NAH NAH NAH BILLY Let’s party, people! (Stoking the group’s frenzy as he leads them off) FRIEDA, NORMA STOKES & GEORGE ACCORDING TO CHRIS HER WORLD FREDDY & HELEN HA NAH NAH NAH NAH NAH NAH NAH NAH HAH NAH NAH NAH NAH NAH NAH NAH ACCORDING TO CHRIS HER WORLD HER WORLD HAH NAH NAH NAH NAH NAH NAH NAH NAH HAH NAH NAH NAH NAH NAH NAH NAH KIDS HER WORLD (…leaving CHRIS alone onstage.) CHRIS (unexpectedly vulnerable) THE WORLD ACCORDING TO CHRIS IS BETTER TO WHIP THAN GET WHIPPED EVEN IF SOMEBODY BLEEDS PLEASE! NOBODY DIES FROM A SCAR AND THAT’S THE WAY THINGS ARE (LIGHTS fade. MUSIC segues.) BILLY THE WORLD ACCORDING TO CHRIS THE WORLD ACCORDING TO CHRIS THE WORLD ACCORDING TO CHRIS THE WORLD ACCORDING TO CHRIS I – 7 – 30 Scene 7: White Bungalow/A Street in Town MUSIC 7: EVENING PRAYERS (CARRIE prays in her tiny closet full of religious icons.) CARRIE JESUS WATCHES FROM THE WALL BUT HIS FACE IS COLD AS STONE IF HE LOVES ME WHY DO I FEEL SO ALL ALONE? BABY SAVIOUR, MEEK AND MILD WHAT DO YOU DO WITH MY PRAYERS? IF YOU HEAR ME WHY DO I FEEL THAT NO ONE CARES? (MARGARET prays in a separate space.) MARGARET FATHER ALMIGHTY, SHE’S ONLY A CHILD BUT THE WOMAN IS WAKING INSIDE HER SHE WILL BE LOST IF HER PASSION RUNS WILD SO I CAN’T LET HER STUMBLE AND FALL AS YOU HELPED YOUR CHILD DIVINE GIVE ME THE STRENGTH TO HELP MINE (FADE on them and reveal TOMMY walking SUE home.) SUE I feel sick about what happened with Carrie. TOMMY I’m telling you, this whole thing will blow over. SUE I don’t think so. I mean, what is going on with everybody? TOMMY Hey-hey-hey – shh… (beat) Listen, what if instead of going to all those parties after Prom, you and me drive out to the beach, and watch the sun come up together – just the two of us? SUE (staring at him in wonder) How do you do that? I – 7 – 31 TOMMY What? SUE Make everything better? (LIGHTS fade on their embrace and come up on CARRIE.) CARRIE MOMMA SEES INSIDE MY SOUL BUT HER FACE IS COLD AS STONE IF SHE LOVES ME WHY DO I FEEL SO ALL ALONE? SO ALONE THERE’S A MOVEMENT IN MY HEAD SAINTS AND ANGELS, WHAT CAN IT BE? IT’S GROWING IT’S STIRRING IT’S CHURNING! SHIFTING! BENDING! (As her emotions intensify, [FLEX SOUND], a figurine of Jesus levitates before her eyes. CARRIE watches, awestruck – only for it to drop back into her hands.) CARRIE (CONT’D) What’s happening to me? (Hearing MARGARET unbolt the lock, she hurriedly replaces the figurine just as the door opens.) MARGARET You can go to bed now. CARRIE Yes, Momma. MARGARET You must forget what happened today. CARRIE Yes, Momma. MARGARET God will protect you. CARRIE Yes, Momma. MARGARET God will forgive us. CARRIE Yes, Momma. I – 7 – 32 MARGARET It’s getting late. Say your prayers. CARRIE Now I lay me down to sleep. CARRIE & MARGARET Pray the Lord my soul to keep. If I die before I wake Pray the Lord my soul to take. (CARRIE heads off to bed, but is stopped by:) MARGARET I NEVER WANTED TO CAUSE YOU SUCH PAIN BUT THERE ARE TIMES WHEN MY LIFE IS SO FRIGHT’NING MAYBE I DO THINGS THAT I CAN’T EXPLAIN BUT MY FEELINGS FOR YOU NEVER CHANGE YOU ARE STILL MY PRECIOUS ONE CAN YOU FORGIVE WHAT I’VE DONE? CARRIE MOMMA, YOU DON’T NEED FORGIVENESS FROM ME OH, I KNOW THAT YOU DO WHAT YOU HAVE TO I WANT TO DRY ALL YOUR TEARS SO YOU’LL SEE THAT I’M SORRY FOR LETTING YOU DOWN WON’T YOU BLESS ME NOW? MARGARET I WAS WRONG IT HURTS ME TO HURT YOU I’D RATHER DIE THAN SEE YOU SUFFER ONE DAY YOU’LL BLESS ME FOR LIGHTING THE WAY LOOK INSIDE YOUR HEART CAN YOU LOOK INSIDE YOUR HEART? SHOW ME THE MERCY THAT YOU’VE ALWAYS SHOWN WE HAVE NO ONE EXCEPT EACH OTHER I’M SO AFRAID THAT YOU’LL LEAVE ME ALONE AND I’D DIE IF YOU PUSHED ME AWAY PROMISE ME YOU’LL BE HERE THAT’S WHERE FORGIVENESS MUST START AFTER ALL WE HAVE NO ONE EXCEPT EACH OTHER THE WORLD OUTSIDE CAN’T UNDERSTAND YOU WHEN THEY BETRAY YOU I’LL ALWAYS BE HERE YOU’RE THE REASON I’M ALIVE YOU’RE THE REASON I’M ALIVE YOU’RE THE ONLY REASON I I – 8 – 33 YOU’RE MY SURVIVAL IN MY LIFE THERE’S ONLY ONE THING TRUE I LOVE YOU SURVIVE IN MY LIFE THERE’S ONLY ONE THING TRUE I WILL ALWAYS LOVE YOU Scene 8: Fourth Period English Class (MR. STEPHENS addresses his unruly class.) MR. STEPHENS Okay, okay – settle down now, people – settle down. Now that many of you have been accepted into college, I know you think that you can coast through the rest of the term, but you are sorely mistaken. (BILLY makes a farting sound, which MR. STEPHENS ignores.) As I was saying, the abysmally low quality of your assignments this week was only exceeded by Mr. Nolan – BILLY (bowing, waving proudly) Thank you – thank you all very much! MR. STEPHENS – who couldn’t even be bothered to turn one in. I don’t suppose you’d care to offer an explanation. BILLY (pretends to think, then shrugs) I got nothin’. MR. STEPHENS Surprise, surprise. And for the record, Mr. Nolan, it’s “I haven't got anything.” BILLY You ain’t got nothin’, neither?! (He hoots at his own joke, but MR. STEPHENS forges ahead.) MR. STEPHENS There is, however, one ray of light – one composition that touched me with the authenticity of its emotion. I’d like that person to recite his work for the rest of you. Tommy Ross. BILLY Yay, Tammay-boy – way to go! MR. STEPHENS One more word out of you, Mr. Nolan, and you can repeat this class for the third time, which, God knows, is one more time than either of us can survive. (turning from BILLY) Tommy – TOMMY Do I have to? I – 8 – 34 MR. STEPHENS Yep. Stand, please, and read your poem. GEORGE (cheering him on) Go, Cap! TOMMY (good-naturedly) Shut up. (deep breath, then) "Dreamer in Disguise" by Tommy Ross. BILLY Oh, my God! MUSIC 8: DREAMER IN DISGUISE TOMMY An eagle’s just another bird Until he can spread his wings. (As some KIDS snickers, FREDDY flaps his arms.) FREDDY (SQUAWK! SQUAWK!) MR. STEPHENS Hey, guys, c’mon! Freddy – that looks like a plane, not a bird. Now shut up. TOMMY A river is just a sheet of ice Til winter turns to spring. (he sings) AND THOUGH THE CLOUDS MAY BLOCK THE SUN DON’T MEAN THAT IT’S LEFT THE SKY JUST WHEN YOU THINK YOU’VE SEEN IT ALL THERE’S MORE THAN MEETS THE EYE LIKE THINGS I DREAM AND THINGS I FEEL THERE’S MORE TO ME THAN I REVEAL AND CUZ I SHINE IN QUIET WAYS I’M SOMEONE YOU DON’T RECOGNIZE I AM A DIAMOND IN THE ROUGH A DREAMER IN DISGUISE AN EAGLE’S JUST ANOTHER BIRD UNTIL HE CAN SPREAD HIS WINGS I – 8 – 35 (As the GIRLS sigh, BILLY stomps his feet, razzing.) MR. STEPHENS Thank you, Tommy. All right, class – comments? (no one responds) Well, don’t all raise your hands at once. Come on, anyone – anyone at all? CARRIE ... beautiful. MR. STEPHENS (surprised and pleased) Carrie White? Excellent! Speak up, please, Carrie, and share your thoughts with the class. CARRIE It was beautiful. Just beautiful. BILLY “Beautiful?” Like, “oh, beautiful, for amber waves of gay”? Nice one, Period Girl! (KIDS laugh.) TOMMY Shut up, Billy. MR. STEPHENS Go on, Carrie. How did the poem speak to you? CARRIE I think ... I think it says that just because something – or somebody – seems one way, it doesn’t mean it is that way. CHRIS (scornfully) And I think I’m gonna hurl. (The bell rings.) MR. STEPHENS Quiz next time, class. If I were you, I’d brush up on your "Moby Dick" – the book, not the movie. Now, get out of here. (SUE, hanging back, eyes CARRIE.) FRIEDA C’mon, Sue – we’ve got a Prom Committee meeting. SUE Start without me. I’ll be there in a minute. I – 8 – 36 FRIEDA You got it. (FRIEDA exits. Curious, CHRIS hangs back.) SUE Hi, Carrie. (CARRIE quickly glances up, then stares back down.) That was nice – really nice – what you said about Tommy’s poem. I thought it was beautiful, too. (She takes CARRIE’s silence as a sign that it’s okay to proceed.) Look, um, about yesterday – you know, what happened. I don’t know, things just sort of got out of control, and I just wanted you to know— (CARRIE, spotting CHRIS, assumes it’s a prank.) CARRIE Haven’t you had enough?! Do you think you can just go on tricking me forever?! (She runs out, leaving SUE stunned and bewildered.) CHRIS My, my – little mousie’s got a temper. (SUE doesn’t answer.) Suze? (No reply. Shaking her head at her friend’s strange behavior, CHRIS exits, leaving SUE alone.) MUSIC 9: ONCE YOU SEE SUE FOR YEARS YOU LOOK YOU LOOK AT SOMEONE PASSING BY AND THEN ONE DAY YOU SEE HER ONE DAY YOU FINALLY SEE HER MY GOD! SHE SHOOK AND THEN SHE LOOKED ME IN THE EYE I’D NEVER SEEN HER ANGRY I HATE I MADE HER ANGRY. SHE SHE’S ALWAYS BEEN THERE I I NEVER KNEW I FELT AS THOUGH THIS GIRL REVEALED HERSELF TO ME I – 9 – 37 AND NOW I KNOW THAT ONCE YOU SEE, YOU CAN’T UNSEE Scene 9: Soccer Field/Girls’ Locker Room (As the bell rings, GARDNER runs the GIRLS ragged.) MISS GARDNER C’mon, you hotshots – I want to see you sweat! Faster – faster! (spotting NORMA faking it) Norma, move it! Get those knees up! NORMA (whining) I don’t like running. (As SUE joins them, GARDNER blows her whistle.) MISS GARDNER Okay, line up – eyes front! (They comply. GARDNER paces before them.) Well, aren’t you just the bunch to send off to graduation and out into the world? Oh, my, yes. And Prom’s next Saturday. Sue, you’ll be going with Tommy Ross, I imagine. And Chris, well, I bet you can take your pick. Who’s the lucky guy? CHRIS Billy Nolan. MISS GARDNER Who? CHRIS Billy Nolan. MISS GARDNER Well, isn’t that perfect? Do any of you stop to think that Carrie White has feelings? Do any of you ever stop to think? Wipe that smirk off your face, Norma. (trying another tack) You know, ladies, life is all about choices – about making the right choice. I just want you to know that yesterday you made the wrong one, and did a really shitty thing. (HELEN giggles; GARDNER’s glare stops her cold.) So this is how it’s going to go down. You’re each going to apologize to Carrie. CHRIS, NORMA, HELEN (etc.) Whaaaat?! MISS GARDNER Apologize to her in front of everyone. I – 9 – 38 CHRIS Forget it. I won’t. MISS GARDNER That’s up to you, Chris. That’s up to all of you. CHRIS And if we don’t? MISS GARDNER Do you really want to find out? (She goes off to get CARRIE.) CHRIS (furious) That goddamn Scary White! This is all her fault! SUE Let it go, Chris. CHRIS Why are you taking her side? SUE This isn’t about sides. What did Carrie ever do to you? Or to any of us? CHRIS Well, well, aren’t you getting to be the Joan of Arc around here? Oh, wait, remind me: who was that in there pitching with the rest of us? SUE I was. But I’m sorry. CHRIS You’re sorry. Oh, Little Miss Perfect is sorry. Hey, everybody – (poking SUE’s shoulder, she chants:) Su-zie is sor-ry! Su-zie is sor-ry! Su-zie is sorry! (NORMA, spotting GARDNER returning, hisses:) NORMA Chris – zip it! (GARDNER enters with CARRIE.) MISS GARDNER Okay, girls, you’ve all got something to say to Carrie. Who’s going first? (A beat. Then SUE step forward.) I – 9 – 39 SUE Carrie... Carrie, I’m sorry. MISS GARDNER Frieda... FRIEDA (shrugging) Sorry, Carrie. MISS GARDNER Your turn, Norma. NORMA (busily texting, she walks past CARRIE) Sor-ry. MISS GARDNER Helen ... HELEN Sorry. (CHRIS is the lone holdout.) MISS GARDNER Okay, Chris – let’s hear it. CHRIS (under her breath) When goddamn pigs fly… MISS GARDNER We’re waiting, Chris. I can’t hear you. CARRIE Please, it’s okay... (Seeing no choice, CHRIS sighs deeply and puts on her "sincere" face.) CHRIS Carrie – Carrie, I – CARRIE You don’t have to do this! (At this sign of pity from CARRIE, CHRIS stops, then crosses until she’s in CARRIE’s face.) CHRIS Carrie White eats shit! I – 9 – 40 (The GIRLS explode in shocked laughter.) MISS GARDNER That’s it, Hargensen – you’re out of the Prom! CHRIS What?! MISS GARDNER You heard me. You’re out. End of story. CHRIS You can’t get away with this! MISS GARDNER Watch me. (as CHRIS storms past her, she grabs her arm) The period’s not over yet. There are still ten minutes left. CHRIS Stick them up your ass! (CHRIS shoves GARDNER, and GARDNER shoves her back. In their altercation, CHRIS trips and falls to the ground. The GIRLS gasp and giggle at her.) MISS GARDNER Class dismissed! CHRIS (jumping up, humiliated) My daddy’s a lawyer! He’ll sue your ass! MISS GARDNER Shut up! CHRIS You’ll never get another job teaching! MISS GARDNER (to the other GIRLS) Get moving! All of you – now! (They begin to exit.) CHRIS (to the GIRLS) She can’t get away with this! If we all stick together, we can – I – 9 – 41 MISS GARDNER Go, go, go! CHRIS (desperate now) Helen... Norma... Sue! SUE Shut up, Chris – just shut up! Not everything’s about you. CHRIS (calling after them, enraged) You can all go to hell! (She storms out.) (GARDNER crosses to CARRIE in the locker room.) MISS GARDNER Carrie? Oh, Carrie, if I’d had any idea it was going to turn out like this, I’d never – CARRIE Miss Gardner, you’ve got to let Chris go. You’ve just got to! MISS GARDNER What are you talking about? CARRIE Prom – it’s very important to her. MISS GARDNER And what’s right is important to me. CARRIE But Prom is everything to those girls. (haltingly) It’s the one night, they all get dressed up… and they look beautiful. It’s like a dream – a perfect dream. MISS GARDNER And what about you? CARRIE Me? Oh, no, I’m not going. I’m different. MISS GARDNER Not that different. CARRIE Yes, I am. They’ve all got someone. I – 9 – 42 MISS GARDNER So will you. One day, you’ll see. Things change. (trying another approach) I’ll tell you what. Let’s pretend – CARRIE Oh, Miss Gardner – MISS GARDNER – just for a minute – pretend that the right someone comes up to you, and says, “Carrie, will you be my date for Prom?” (A pause as CARRIE is almost caught up in the fantasy.) Well, what would you say? CARRIE No. MISS GARDNER Carrie! Why not? CARRIE I’m… not pretty. MISS GARDNER Sure, you are. MUSIC 10: UNSUSPECTING HEARTS Come over here. (taking her to a mirror) See there, now, that’s a pretty girl.   SO MANY YEARS YOU FACED THE WORLD ALONE FRIGHTENED THAT LIFE MIGHT PASS YOU BY THEN HE APPEARS SOMEONE WHO SMILES AT YOU THIS IS NO TIME TO QUESTION WHY LOVE CAN FIND YOU WHEN YOU LEAST EXPECT FUNNY HOW TWO LIVES CONNECT THAT’S HOW IT STARTS TWO UNSUSPECTING HEARTS LET YOURSELF GO GIVE SOMEONE HALF A CHANCE MAYBE HE’S WAITING JUST FOR YOU YOU NEVER KNOW I – 9 – 43 THIS COULD BE PARADISE MAYBE YOUR DREAMS JUST MIGHT COME TRUE AND YOU NEVER KNOW HOW THINGS MIGHT GO ONCE YOU SHARE THAT FIRST ‘HELLO’ THAT’S HOW IT STARTS TWO UNSUSPECTING HEARTS CARRIE Oh, I don’t know, Miss Gardner. MISS GARDNER And you never will if you don’t give it a chance. Now, listen to me: you are a beautiful young woman. CARRIE Me? MISS GARDNER Yes, you, silly – you! Look at those eyes … and with the right shade of lipstick – CARRIE Lipstick?! But my mother would never – MISS GARDNER And with the perfect dress – Carrie, it could be wonderful! (sings) IN A WORLD WHERE NOTHING’S SURE AND NOTHING’S EVER GUARANTEED YOU SHOULD TRUST THE WAY YOU FEEL THAT’S THE ONLY THING THAT’S REAL IT’S LIKE MAGIC HOW YOUR SPIRIT SOARS ONCE YOU FEEL HIS HAND IN YOURS THAT’S HOW IT STARTS TWO UNSUSPECTING HEARTS CARRIE (caught up in the spell) IN A WORLD WHERE NOTHING’S SURE AND NOTHING’S EVER GUARANTEED MISS GARDNER NOTHING’S GUARANTEED CARRIE YOU SHOULD TRUST THE WAY YOU FEEL MISS GARDNER TRUST THE WAY YOU FEEL I – 10 – 44 CARRIE THAT’S THE ONLY… CARRIE & MISS GARDNER ...THING THAT’S REAL IT’S LIKE MAGIC HOW YOUR SPIRIT SOARS CARRIE ONCE YOU FEEL HIS HAND IN YOURS MISS GARDNER THAT’S HOW IT ... CARRIE THAT’S HOW IT ... MISS GARDNER THAT’S HOW IT STARTS CARRIE TWO UNSUSPEC— MISS GARDNER TWO UNSUSPEC— CARRIE & MISS GARDNER ...TING HEARTS! (They embrace.) MUSIC 10A: TOMMY’S FUTURE (UNDERSCORE) Scene 10: School Library, Other Locales (LIGHTS up on TOMMY and SUE studying.) TOMMY Hey, can I run something by you? SUE I was about to ask you the same thing. TOMMY You go first. SUE No, you. I – 10 – 45 TOMMY Okay. So I was thinking, you know how everything’s laid out in front of us, our whole future, all planned out. SUE Yeah… TOMMY Well, I thought I might – try something different. SUE “Different?” TOMMY What would happen if I put the whole sports thing on hold, and see if I’ve got what it takes to be – a writer? (when she doesn’t respond) Too much, huh? I knew it was stupid. SUE No, no – it’s epic! TOMMY “Epic”? SUE Yes – you could be amazing writer. TOMMY Yeah? You mean it? Thanks. (now it’s her turn) So, what did you want to ask me? SUE Nothing. That’s okay. TOMMY Come on, what’s really been going on with you? SUE You wouldn’t understand. TOMMY Not fair. Try me. MUSIC 11: DO ME A FAVOR SUE (after a deep breath) TOMMY, LATELY, I’VE JUST NOT BEEN FEELING RIGHT I’M SO ASHAMED OF HOW WE’VE ALL BEEN TREATING CARRIE WHITE I – 10 – 46 NOW I REALIZE THIS IS HARDLY YOUR CONCERN I HATE TO DRAG YOU INTO THIS, BUT I’VE GOT NOWHERE ELSE TO TURN DO ME A FAVOR? (LIGHTS up on CHRIS and BILLY making out.) KIDS DO ME A FAVOR WHATCHA SAY? SUE DO ME A FAVOR KIDS DO ME A FAVOR WANNA PLAY? BILLY (moaning with pleasure) Oh, baby – yes, yes, yes! CHRIS (suddenly pulling away) No, Billy. I’m not in the mood! KIDS DO ME A FAVOR SAY “OKAY.” BILLY What the hell? Why’d you stop? CHRIS I’m pissed! KIDS DO ME A FAVOR MAKE ’EM PAY DO ME A FAVOR BILLY Jesus! Can’t you just forget about it? KIDS DO ME A FAVOR CHRIS I don’t want to forget about it, Billy. They humiliated me, and you know who I blame? That goddamn freak!   THERE’S SOMETHIN’ THAT CARRIE WHITE’LL JUST HAVE TO LEARN IF SHE PLAYS WITH FIRE, SHE’S GONNA GET BURNED I WANT HER TO PAY UP FOR ALL THAT SHE’S COST ME AND MAKE HER GOOD AND SORRY THAT SHE EVER CROSSED ME CHRIS (CONT’D) YOU GOTTA HELP ME SUE IF YOU HELP ME KIDS IF YOU… I – 10 – 47 SUE & CHRIS (to TOMMY & BILLY) I COULD EVEN UP THIS DEBT AND WE COULD BOTH GIVE CARRIE WHITE A NIGHT SHE WON’T FORGET KIDS DO ME A FAVOR (CRISSCROSS between the two conversations.) TOMMY (to SUE) Wait – “both?” What do you mean, ‘both?’ BILLY (to CHRIS) Me? Whatdya need me for? CHRIS Revenge, Billy, and you’re gonna help me get it. I don’t know what it is, but I swear by the time we’re done with her, that stupid troll’s not gonna know what hit her! BILLY YOU ALWAYS AMAZE ME WITH THE WAY YOU THINK IF I WAS YOUR DADDY I WOULD BUY YOU A SHRINK YOU’RE PISSED-OFF! THAT’S SO HOT! I LIKE YOU THIS WAY WHATEVER YOUR GAME IS, GIRL, I’M READY TO PLAY! SUE (to TOMMY) I’VE BEEN THINKING ’BOUT HOW SHE WOULD BE IF ONLY YOU’D TAKE CARRIE TO THE PROM INSTEAD OF ME (Speechless, TOMMY can only stare at her.) KIDS HAH NAH NAH NAH NAH NAH NAH NAH NAH HAH NAH NAH NAH NAH NAH NAH NAH HAH NAH NAH NAH NAH NAH NAH NAH NAH TOMMY DO WHAT?! WHO DO YOU WANT ME TO INVITE? I THOUGHT THAT WAS SUPPOSED TO BE OUR NIGHT   I KNOW YOU’RE ONLY TRYING TO DO WHAT’S RIGHT BUT, WHOA! I WON’T BE TAKING CARRIE WHITE! I – 10 – 48 SUE THINK OF CARRIE! I’VE SAID EVERYTHING I COULD BUT ONE SMALL ACT OF KINDNESS MIGHT CHANGE CARRIE’S LIFE FOR GOOD KIDS (overlapping below) Ten … nine … eight … seven … six … five … four … three … two … one TOMMY Think about what you’re asking me here. I’m sorry. I … just can’t do this. SUE (icily, wounded) Okay, never mind. TOMMY Sue! SUE No, I need to try to fix this. (She starts to leave.) TOMMY Fine. KIDS COME ON! COME ON! COME ON! SUE What? You mean it? You’ll do it? TOMMY OKAY! OKAY! OKAY! (SUE flings her arms around him.) KIDS (overlapping with below) OH, BABY! OH, BABY! CHRIS THERE’S SOMETHING THAT CARRIE WHITE’LL JUST HAVE TO LEARN IF SHE PLAYS WITH FIRE THEN SHE’S GONNA GET BURNED BILLY ONLY I CAN DO IT! ONLY I GET REALLY GET DOWN TO IT SUE ONCE YOU HELP ME WE CAN EVEN UP THIS DEBT TOMMY I WILL! I WOULD DO ANYTHING FOR YOU BUT STILL! WHAT AM I GETTING INTO? I – 12 – 49 CHRIS & SUE I’M BEGGIN’! I’M PLEADIN’! I’M DOWN ON MY KNEES KIDS BEGGIN’! PLEADIN’! ALL IF YOU REALLY LOVE ME, WELL, THEN, BABY, BABY, PLEASE DO ME A FAVOR! Scene 11: Library Stacks MUSIC 12: TELEKINESIS (CARRIE sits reading a reference book.) CARRIE “Telekinesis: the ability to move objects by sheer force of the mind alone. Scientifically unproven, the phenomenon is thought to be electrochemical in nature... (with growing excitement) Numerous incidents have been reported of individuals possessing such an ability. They are termed ‘anomalies.’” (considering this, amazed) Anomaly… (She stands, places the book on her chair, and checks to make sure she’s alone. Then, taking a deep breath, she stares at a pair of chairs across the room.) I can do this. (Nothing happens.) Concentrate... (Instinctively, she raises one hand, and now the chairs move – shakily at first, but definitely moving. She gasps in surprise and delight at her newfound abilities.) (Now more confident, she turns and aims her mind at the chair with the book on it. It tips backwards – farther … farther – only for NORMA to enter, breaking her concentration. The chair and book crash to the floor. NORMA is oblivious.) NORMA Hey, Carrie – that’s a fierce sweater! (CARRIE hurriedly retrieves the book and runs off with a giddy smile.) Scene 12: Principal’s Office (A single LIGHT up on FREDDY broadcasting over the school’s P.A. system:) FREDDY Good afternoon, Chamberlain High! It’s Freddy here with a quick announcement. Don’t forget to preorder your Prom photos! I’m gettin’ all Annie Leibowitz on Saturday, so boys, better suit up! Oh, and ladies – clothing is optional! I – 13 – 50 Scene 13: White Bungalow Front Porch MUSIC 12A: THE INVITATION (UNDERSCORE) (SUE trails TOMMY as they approach CARRIE’s house.) SUE Tommy – TOMMY I’m going to look pretty stupid when she turns me down. SUE She won’t. TOMMY How do you know? SUE I’ve seen the way she looks at you. Trust me. She’ll do it. TOMMY (still far from convinced) All right.... (She gives him an encouraging little push, and leaves. Nervous, he hesitates – then goes to the front door and knocks. CARRIE appears.) Hi, Carrie. (Freaked, she glances inside, then back in disbelief.) CARRIE What are you doing here? TOMMY So ... this is where you live, huh? Aren’t you going to ask me in? CARRIE (shaking her head) Momma – Momma’s resting. What do you want? TOMMY Wow, right to the point, huh? (she doesn’t respond) O-kay… If you don’t have a date, would you like to go to Prom with me? (pulling out the tickets) Pr-ommm? It’s this Saturday, and I know it’s late notice, but – CARRIE I don’t like to be tricked. I – 13 – 51 TOMMY Oh, c’mon, Carrie – CARRIE I know who you hang around with. TOMMY I don’t hang with anyone I don’t want to. CARRIE Why are you doing this? TOMMY ’Cuz I want to. CARRIE No, you’re not. TOMMY I don’t know… Maybe ’cuz you liked my poem? Come on, Carrie – say yes. CARRIE I can’t! TOMMY Yes you can. Will you go to Prom with me? MARGARET (O.S.) Carrie? Supper! CARRIE (trying to sound calm) In a minute, Momma. (to TOMMY) You better go. TOMMY Not till you say yes. CARRIE (to herself) I’d love to. TOMMY Then do it. It’ll be all right. MARGARET (O.S.) Whatever are you doing out there? I – 14 – 52 CARRIE (more frantic) Please… if she finds you here – TOMMY Say yes, and I’ll go. CARRIE Yes. TOMMY Yes? CARRIE Yes – okay. Yes. MARGARET (O.S.) Carrie! (A flash of lightning precedes a rumble of thunder.) TOMMY Good. CARRIE You knew I would. TOMMY No. But now I do. I’ll pick you up at eight. CARRIE Fine. (With a grin, TOMMY dashes off.) MUSIC 12B: THANK YOU! (UNDERSCORE) CARRIE (CONT’D) (euphoric, calling after him) Thank you! (CARRIE crosses to take her seat…) Scene 14: White Bungalow Dining Room (…opposite MARGARET at the dining room table, as the storm outside worsens. MARGARET slices a home-made pie for dessert.) MUSIC 13: ACT I FINALE/I REMEMBER HOW THOSE BOYS COULD DANCE I – 14 – 53 MARGARET I don’t know what you’ve been dreaming about tonight, Carrie. You hardly touched your supper. (serving her a plate) Now, have some pie. CARRIE It makes me have pimples, Momma. MARGARET Nonsense! As Peter says, the only beauty that matters in the precious light that comes from within. CARRIE MOMMA, DON’T YOU THINK IT’S TIME I SHOULD TRY TO GET ALONG? MARGARET Whatever are you going on about, Carrie? Being different is the Lord’s blessing. CARRIE MOMMA, PEOPLE THINK I’M STRANGE ALL THE KIDS HAVE CALLED ME NAMES MARGARET Well, then just don’t listen to them. It is written, “He who hears My voice alone shall be saved.” CARRIE MOMMA, CAN’T WE STOP AND TALK? THERE’S THIS BOY NAMED TOMMY ROSS MARGARET CARIETTA! CARRIE I’VE BEEN INVITED TO THE PROM MARGARET Prom? CARRIE I NEVER DREAMED THAT I COULD GO WHEN HE FIRST ASKED AND I SAID ‘NO’ HE ASKED ME TWICE HE ASKED ME TWICE. AND SO I FINALLY TOLD HIM ‘YES’ I THOUGHT IF I COULD MAKE MY DRESS I MIGHT LOOK NICE I MIGHT LOOK NICE I KNOW I’M NOT LIKE ALL THE OTHERS I – 14 – 54 SOMETIMES I DREAM IN COLORS SOMETIMES I EVEN THINK I’M LOVELY NOBODY FEELS THE THINGS THAT I DO MOMMA, PLEASE, I’M JUST NOT LIKE YOU MAYBE I’LL FIND SOMEONE TO LOVE ME (SFX: thunder, wind and rain.) Tommy’s a very nice boy, and he’ll have me home by midnight. It’s Saturday. I’ve accepted, Momma. I’ve accepted. MARGARET I REMEMBER HOW THOSE BOYS COULD DANCE PRESSING CLOSE ON FRIDAY NIGHTS THEY COULD SWEEP ME AWAY CARRIE Momma? MARGARET OH, HOW THOSE BOYS WERE DEMONS OF ROMANCE IN THEIR CARS WE’D CHASE THE LIGHTS I KNOW JUST HOW BOYS WILL BEHAVE CARRIE Not this boy, Momma. He isn’t like the others. He’s nice. You’ll see, really you will! Everyone isn’t bad, Momma. Everything’s not a sin. MARGARET OH, HOW YOUR FATHER WHISPERED IN MY EAR FIRST THE KISS, AND THEN THE TOUCH MIXING LIES WITH THE TRUTH HE WOULD SIGH AND TRY TO DRAW ME NEAR OH, HE’D SWEAR HE CARED SO MUCH THAT’S WHAT THE BOYS DO! THEY’LL MAKE PROMISES THEY WILL BREAK YOUR HEART THEN THEY’LL LAUGH AT YOU WATCHING YOU FALL APART DON’T YOU THINK THAT I KNOW? DON’T YOU THINK THIS HAS HAPPENED BEFORE? IT’S THE SMELL OF THE BLOOD THAT WILL DRIVE THEM MAD CHASING YOU LIKE A WHORE! CARRIE No! I – 14 – 55 MARGARET Yes! DON’T YOU KNOW THEIR GAME? HAVE YOU LOST YOUR MIND? CAN’T YOU SEE SATAN’S PASSION HAS MADE YOU BLIND? AND THIS BOY’S LIKE THE REST AND THEY’RE ALL LIKE THE SERPENTS WHO CRAWL YOU CAN BEG ALL YOU WANT TO, BUT I RECALL HOW YOUR FATHER CAME TO ME THAT NIGHT CARRIE THAT DOESN’T MEAN THAT THE SAME THING WILL HAPPEN TO ME MARGARET WITH THE SMELL OF SMOKE AND GIN CARRIE GIVE ME THE CHANCE AND YOU’LL SEE! MARGARET WITH THE LUST IN HIS EYES AND HE TOOK ME AND TOUCHED ME I TRIED TO FIGHT CARRIE MOMMA, PLEASE LISTEN! YOU DON’T HEAR A WORD THAT I’VE SAID! MARGARET SATAN MADE YOUR FATHER SIN CARRIE SOMETIMES I WISH YOU WERE DEAD! MARGARET AND THE SIN NEVER DIES! CARRIE Momma, please stop! MARGARET You’re not going! CARRIE I’ve already said I would, Momma! I said yes! MARGARET Then say no! Tell him you’ve changed your mind. I – 14 – 56 (Lightning flashes. SFX: louder rain pouring down.) CARRIE Momma, come back! MARGARET The rain’s coming in. I have to close the windows. CARRIE I’ll get them! (CARRIE extends her hand [FLEX SOUND] and across the room, a window slams. MARGARET screams. One after another, CARRIE shuts all the windows – BAM-BAM-BAM!) MARGARET Witch! CARRIE (with quiet determination) I AM NOT AFRAID OF YOU AT ALL I HAVE NOTHING LEFT TO LOSE I HAVE POWER I CAN USE NOTHING YOU CAN SAY OR DO WILL EVER STOP ME AGAIN (As MARGARET cowers, CARRIE returns to the table and sits down to finish her pie. SLOW FADE TO BLACK.) END OF ACT I II – 1 – 57 ACT II Scene 1: Interrogation Space/School Courtyard MUSIC 14: ENTR’ACTE (BLACKOUT and WHOOSH! – the harsh LIGHT hits SUE in interrogation mode.) MALE VOICE (O.S.) Turning to the night of May 28, what can you tell us about the events leading up to the Prom? MUSIC 15: A NIGHT WE’LL NEVER FORGET SUE (a painful memory) Prom ... It was meant to be a celebration – the biggest night of our lives. It was supposed to be the end of one chapter, and the beginning of another... (FIGURES emerge from the shadows.) KIDS, MISS GARDNER & MR. STEPHENS (whispered) YOU AIN’T SEEN NOTHIN’ YET IT’S GONNA BE A NIGHT WE’LL NEVER FORGET YOU AIN’T SEEN NOTHIN’ YET IT’S GONNA BE A NIGHT WE’LL NEVER FORGET FRIEDA, SUE, CARRIE, TOMMY, STEPHENS & STOKES YOU AIN’T SEEN NOTHIN’ YET IT’S GONNA BE A NIGHT WE’LL NEVER FORGET YOU AIN’T SEEN NOTHIN’ YET NORMA, FREDDY, CHRIS, GEORGE & GARDNER OH OH OH OH. OH OH OH OH. OH OH OH OH. HELEN OH. OH. BILLY OH. YEAH. OH. YEAH. KIDS IT’S GONNA BE A NIGHT WE’LL NEVER FORGET (Memory takes over, as SUE is once again back in the past.) KIDS HOLY SHIT! SENIOR PROM’S JUST A FEW DAYS AWAY HELEN I’VE HAD NOTHING TO EAT SINCE YESTERDAY NORMA I’LL BE GONE FROM THIS DUMP BY THE FINAL WEEK OF MAY! II – 1 – 58 FRIEDA & HELEN ALL I CARE’S I’LL BE THERE WITH THE BEST-LOOKIN’ GUY FREDDY IF SHE ASKS ME TO DANCE, I SWEAR I’LL DIE! NORMA I WILL NEVER LOOK BACK ONCE I FIN’LLY SAY GOODBYE GIRLS THIS WILL BE JUST GREAT! KIDS OH, MY LIFE IS GONNA TAKE FLIGHT GIRLS CAN’T WAIT TIL SATURDAY NIGHT KIDS YEAH! (MISS GARDNER attempts to teach a class – in vain.) STOKES EIGHTY BUCKS FOR A TUX?! BOYS DAMN, WE BETTER GET LAID! FRIEDA (to BOYS) YOU’VE BEEN PRAYIN’ FOR THAT SINCE SEVENTH GRADE GEORGE Yeah. BOYS IT’S THE LEAST WE DESERVE AFTER EVERYTHING WE’VE PAID `GIRLS (exchanging a head-wag) Sad! NORMA GOT THE BOOZE STOKES GOT THE WEED II – 1 – 59 GEORGE & HELEN GOT THE LIMO FOR TEN KIDS AND WE WON’T GET A CHANCE LIKE THIS AGAIN MISS GARDNER Sit down! BOYS WE’LL BE LEAVING AS BOYS, BUT WE’RE COMING HOME AS MEN! KIDS THIS WILL BE JUST GREAT YEAH, MY LIFE IS GONNA TAKE FLIGHT CAN’T WAIT (I CAN’T WAIT) TIL SATURDAY NIGHT (Exasperated, GARDNER exits.) YOU AIN’T SEEN NOTHIN’ YET IT’S GONNA BE A NIGHT WE’LL NEVER FORGET TOMMY, SUE, STOKES & GIRLS YOU AIN’T SEEN NOTHING YET IT’S GONNA BE A NIGHT WE’LL NEVER FORGET FREDDY & GEORGE WOAH OO-OH NIGHT WE’LL NEVER FORGET (SUE passes GIRLS who, seeing her, stop talking – clearly about her. FRIEDA runs after her.) FRIEDA God, Sue – everybody’s talking. SUE Let them. I don’t care. FRIEDA I can’t believe you’re going to miss your own Senior Prom. SUE C’mon, it’s just one night. (TOMMY’S PALS surround him.) STOKES You’re taking Scary White to Prom?! TOMMY Look, I know it sounds a little crazy. II – 1 – 60 FREDDY Have you lost your frickin’ mind? GEORGE Yeah, if you were that desperate, why didn’t you just ask me? (off the GUYS’ stares) What?! (smacking TOMMY’s butt) Joking! TOMMY, SUE & KIDS YOU AIN’T SEEN NOTHIN’ YET IT’S GONNA BE A NIGHT WE’LL NEVER FORGET CARRIE (experimenting with makeup) I BET OTHER GIRLS ALREADY KNOW THE WAYS TO GET THEIR SKIN TO GLOW AND I CAN LEARN I’M NOT SURE HOW ALL THESE COLORS MIX THOSE OTHER GIRLS, THEY’VE GOT THEIR TRICKS BUT I CAN LEARN IT’S MY TURN ON SATURDAY NIGHT! (MR. STEPHENS enters with MISS GARDNER.) MR. STEPHENS You honestly think Sue put Tommy up to this? MISS GARDNER I’m sure of it. MR. STEPHENS Why in God’s name would she do such a thing? MISS GARDNER That’s what I intend to find out. MR. STEPHENS What about Chris – is she still giving you grief? MISS GARDNER Not a peep. (a beat) Which honestly worries me even more… (CHRIS furtively enters the dimly lit gym shining a flashlight.) CHRIS I BELIEVE IN GETTING EVEN II – 1 – 61 THAT’S WHAT I BELIEVE BUT I JUST DON’T FORGIVE AND FORGET (She signals the coast is clear, and BILLY follows, lugging a steel pail.) I DON’T TURN THE OTHER CHEEK FOR SOME PATHETIC FREAK CARRIE WHITE’S GOT A LOT TO REGRET (BILLY stumbles, and liquid sloshes onto the floor.) Watch it – you’re getting blood everywhere, you stupid shit! BILLY Who’re you calling “stupid shit”? This whole thing was your idea! CHRIS Damn straight, it was. And it’s gonna be good! KIDS NEVER FORGET… NEVER FORGET... (BILLY dips a finger in the pail, and it comes up red with blood. He paints her cheek with stripes like a tribal warrior.) BILLY OLD MAN HENRY HAD A FARM EE YI EE YI OH KIDS NEVER FORGET... (CHRIS follows suit – streaking his face, too.) CHRIS AND ON THAT FARM… KIDS NEVER FORGET.... CHRIS & BILLY …WE KILLED A PIG! BILLY EE YI EE YI CHRIS EE YI EE YI BILLY EE YI EE YI CHRIS & BILLY OH! OH! OH! OH! (Things turn sexual between them.) KIDS OH! OH! OH! OH! OH! OH! OH-OH-OH-OH!. II – 1 – 62 (SUE and CARRIE appear in separate spaces.) CARRIE (making her dress) I NEVER DREAMED THAT I COULD GO WHEN HE FIRST ASKED AND I SAID NO CARRIE (CONT’D) HE ASKED ME TWICE HE ASKED ME TWICE SUE WHEN TOMMY ASKED ME OF COURSE, I TOLD HIM YES SUE NOW HE’LL NEVER KNOW, I GUESS, HOW I MIGHT HAVE LOOKED IN MY BLUE DRESS CARRIE I MIGHT LOOK NICE SUE I MIGHT HAVE LOOKED NICE (CHRIS aims her flashlight to guide BILLY who’s climbing to the ceiling with a coil of rope over one shoulder.) CARRIE, NORMA, FRIEDA & TOMMY THIS WILL BE JUST GREAT CHRIS, HELEN, FREDDY, GEORGE & STOKES THIS WILL BE GREAT WE’RE GETTING THERE, BUT NOT QUITE CAN’T WAIT TIL SATURDAY NIGHT! NOT QUITE TIL SATURDAY NIGHT ALL KIDS YOU AIN’T SEEN NOTHIN’ YET IT’S GONNA BE A NIGHT WE’LL NEVER FORGET YOU AIN’T SEEN NOTHIN’ YET IT’S GONNA BE A NIGHT WE’LL NEVER FORGET CARRIE, HELEN, SUE, STOKES & TOMMY YOU AIN’T SEEN NOTHING YET IT’S GONNA BE A NIGHT WE’LL NEVER FORGET YOU AIN’T SEEN NOTHING YET IT’S GONNA BE A NIGHT WE’LL NEVER NORMA, FRIEDA, FREDDY & GEORGE THIS WILL BE GREAT CHRIS & BILLY OH— OH! THIS WILL BE GREAT A NIGHT WE’LL NEVER OH— TOMMY, SUE, CHRIS, BILLY & KIDS NO NEVER WE’LL NEVER FORGET II – 2 – 63 (A rope drops from the rafters. CHRIS hooks the bucket to it and signals BILLY, who, from above, hoists it up into the shadows.) TOMMY, SUE, CHRIS, BILLY & KIDS (CONT’D) A NIGHT WE’LL NEVER FORGET! Scene 2: Interrogation Space/School Hallway (WHOOSH! The LIGHT hits SUE.) SUE (anguished) If only… if only… MALE VOICE (O.S.) “If only” what…? SUE If only that day in the shower hadn't happened; if only I hadn't asked Tommy to take Carrie to the Prom; if only somebody had listened … and paid attention… MISS GARDNER (from the shadows) Sue? SUE If only I could go back and— MISS GARDNER Sue, are you listening? (LIGHTS change. SUE turns to find GARDNER questioning TOMMY.) SUE Sorry...? MISS GARDNER Well? Why did Tommy ask Carrie to Prom? SUE I thought we could help her – get her to join in, and I don’t know – MISS GARDNER Make her “a part of things?” What could you possibly be thinking? SUE This is really none of your business. MISS GARDNER Excuse me? II – 2 – 64 SUE What is the big deal? MISS GARDNER It is a very “big deal” to Carrie! (to TOMMY) And don’t you think you’re going to look just a little ridiculous when you show up to Prom with her? SUE We don’t care how we look. Right, Tommy? TOMMY Well… now that you mention it. SUE Seriously? Oh, great! MISS GARDNER Clearly, you two have a lot to discuss. (a parting shot) Listen to me, and listen good: hurt Carrie in any way, and you’ll have me to answer to. (She exits.) MUSIC 15A: I’M JUST DISAPPOINTED (UNDERSCORE) SUE I thought we were on the same page about this. TOMMY We are! SUE Then why are you having second thoughts? (faltering) Tommy, you don’t have to go through with this if you don’t want to. TOMMY Look, I said I’d do it, and I will. SUE I thought we agreed to help Carrie, and now you’re mad at me. TOMMY I’m not mad. I’m just ... disappointed. I wanted to take my girl to Prom. SUE And I wanted to make things right! II – 3 – 65 TOMMY Listen to me. All this high-school drama -- all this stuff -- none of it means anything. Before you know it, it’s all gonna be over. SUE What about us? Are we going to be over, too? TOMMY What? Is that what you’re worried about? Babe, a month from now, we’ll be off backpacking through Europe, and all this will seem like ancient history. SUE Promise? TOMMY I promised I’d show you the world, didn’t I? (taking her hand) Come with me. SUE What are you doing? TOMMY Just come on. (As they exit, LIGHTS up on…) Scene 3: Gymnasium (MR. STEPHENS supervises the KIDS who enter carrying Prom decorations.) KIDS (a capella) HAIL, ALMA MATER OH MOTHER, WE SALUTE YOU, (etc.) (NORMA hands MR. STEPHENS a box of ballots.) NORMA Here you go, Mr. Stephens. MR. STEPHENS Thanks for picking up the ballots, Norma – I really appreciate it. NORMA Oh, anything you need, Mr. Stephens, just ask. (flirting shamelessly) Anything at all. (A bit uncomfortable, he exits as the bell rings.) II – 3 – 66 FRIEDA Hey, you guys – leave the decorations. We’ll finish them after lunch. STOKES Last one out gets the lights! GEORGE (flicking the lights off, excitedly) Chicken patties! (All exit except NORMA. Once she’s alone, she signals off to CHRIS, who joins her in the shadows.) CHRIS Did you do what I told you? NORMA Don’t I always? (She hands CHRIS a stack of brightly-colored Prom ballots.) All fixed and ready to go. (CHRIS fans the ballots with pleasure.) CHRIS You’re such a good friend, Norma. (They’re startled by SUE and TOMMY’s approaching voices.) SUE (O.S.) Tommy! TOMMY (O.S.) Shh – go with me on this… (CHRIS and NORMA slip out, unseen.) (TOMMY leads SUE into the darkened gym.) TOMMY (CONT’D) Keep your eyes shut one more sec. Wait here. (crossing to the light switch) Okay, you can open them – now! (He flicks on the LIGHTS, and she opens her eyes to see the half-decorated gym.) SUE Oh, my God! TOMMY We may not have tomorrow night, but we’ve got right now, and that’s all that counts. II – 3 – 67 MUSIC 16: YOU SHINE Now I’ve just pulled up in my dad’s car – (mimics brakes squealing! horn honking!) - and you’re in your pink dress – SUE Blue – TOMMY Oooo, you always look great in blue. And I’m wearing my rented tux, looking like a total dork. And the whole thing’s kinda cheesy, but… nice. Then you drag me onto the dance floor,… (she mimes doing just that) …and of course I hate dancing, but it’s the last dance of Senior Year, and I’m with you: the most incredible person I know. SUE Me? Yeah, right. All I do lately is mess up. TOMMY I mean it – you don’t give yourself enough credit.   IF YOU COULD SEE THE WAY THAT YOU LOOK TO ME I BET THAT YOU’D BE AMAZED AT THE SIGHT SUE Tommy... TOMMY YOU’D SEE A HEART THAT’S FEARLESS AND TRUE FROM MY POINT OF VIEW OH, YOU SHINE SUE What about you? Why is it always so easy for you? TOMMY Man, if you only knew. Half the time, I’m just faking it, hoping no one will discover I’m a complete fraud. SUE I THINK YOU HIDE SO MUCH YOU FEEL INSIDE BUT I KNOW DEEP DOWN THERE’S A FIRE BURNING BRIGHT FROM WHERE YOU STAND, IT MIGHT NOT BE CLEAR BUT YOU SHINE FROM HERE TOMMY & SUE NO DOUBTS II – 3 – 68 NO MORE FEARS I SEE YOU SHINE AND THE DARK DISAPPEARS TOMMY THEN I KNOW EVERYTHING IS GONNA BE FINE BECAUSE YOU SHINE OH, HOW YOU SHINE YOU SHINE (He pulls her into an embrace and they slow-dance.) SUE WHAT A SURPRISE! GAZING INTO YOUR EYES, I SWEAR THAT I STILL GET LOST IN THE LIGHT NO PHOTOGRAPH COULD POSSIBLY SHOW THE YOU I KNOW TOMMY & SUE NO DOUBTS NO MORE FEARS I SEE YOU SHINE AND THE DARK DISAPPEARS I’LL BE YOUR MIRROR AND YOU CAN BE MINE LOOK TO ME AND YOU’LL SEE JUST HOW YOU SHINE (He kisses her. Then she tickles him.) TOMMY (wriggling away, laughing) What is that? Get out of here! (glances at his watch) Damn! I gotta pick up my tux before they close. (He starts off.) SUE Tommy? (he turns) Thank you. TOMMY I love you. (Then he’s gone. Alone, she seems to be answering her INTERROGATORS as much as herself.) SUE “I love you” ... He’d never said that before. That’s what I remember most about that day. NO DOUBTS NO MORE FEARS II – 4 – 69 I SEE YOU SHINE AND THE DARK DISAPPEARS THEN I KNOW EVERYTHING IS GONNA BE FINE BECAUSE YOU’RE MINE YOU SHINE Scene 4: Limbo/Carrie’s Bedroom (CARRIE and KIDS appear in various stages of undress and Prom readiness.) MUSIC 17: WHY NOT ME? KIDS BREATHE! THIS WILL BE GREAT NAILS? DRIED BOW? TIED TEETH? BRUSHED FACE? FLUSHED LOOKIN’ GOOD GOT THE CAR! SCORE! KEG PARTY! DOUBLE SCORE! UNBUCKLE IT! KICK THAT SHIT! SAFETY OFF! HEY, HOW ’BOUT A ‘MAYBE?’ DRIVE! SAFETY OFF SMOKES? GOT ’EM! GETTIN’ IT UP! GETTIN’ IT UP! BREATHE! PACES HEART RACES ONE SHOT (to CARRIE) READY? (LIGHTS up.) CARRIE Not. (The KIDS exit, leaving CARRIE alone, dressed in a slip. Through the number, she readies herself.) IF I CAN MAKE IT DOWN THE STAIRS II – 4 – 70 IF I CAN MAKE IT TO THE DOOR IF I CAN OPEN IT AND SAY, ‘OH, TOMMY! HI!’   MAYBE HE WON’T EVEN NOTICE THAT I’M STARING AT THE FLOOR BUT IF OTHER GIRLS CAN DO THIS WHY CAN’T I? IF I CAN KEEP MY KNEES FROM BUCKLING IF I CAN KEEP MY PULSE IN CHECK THEN I WILL NEVER GIVE THE WORLD A CHANCE TO SEE THAT UNDERNEATH THE SMILE I’M SMILING I’M SO TOTALLY A WRECK BUT IF OTHER GIRLS GET THROUGH THIS WHY NOT ME? WHY NOT ME? WHY NOT ME? OH, I ANTICIPATE THE SNICKERS AND I EXPECT THAT KIDS WILL STARE BUT THEY WON’T RATTLE ME, NO MATTER WHAT THEY DO I KNOW I MAY NOT BE WELCOME BUT AT LEAST I WILL BE THERE AND IF OTHER GIRLS BELONG, THEN I DO, TOO WHY NOT ME? WHY NOT ME?   I KNOW IT’S ONLY A DANCE AND I KNOW IT’S ONLY ONE NIGHT BUT THIS MIGHT BE THE START OF MY JOURNEY OUT OF THE SHADOWS AND INTO THE LIGHT WHY NOT ME? I’M GONNA TALK ABOVE A WHISPER I’M GONNA WALK IN THREE-INCH HEELS I’M GONNA FIGHT THE URGE TO TURN AROUND AND FLEE AND THEN I WILL FEEL THE MAGIC I’M TOLD ANYONE CAN FEEL WHEN THE STARS ALIGN AND LIFE IS FILLED WITH POSSIBILITY AND IF EVERYBODY FEELS THAT WAY THEN WHY WHY NOT ME? (MARGARET appears suddenly, startling CARRIE.) Momma! II – 4 – 71 MUSIC 18: STAY HERE INSTEAD MARGARET He’s not coming. CARRIE He is coming. MARGARET Don’t you see, you mustn’t go. I know you don’t understand, but I’m trying to protect you. CARRIE I don’t need your protection, Momma. MARGARET I won’t let you go. CARRIE I don’t want to fight with you. Now, I have to finish getting ready. (She continues with her preparations.) MARGARET STAY HERE INSTEAD JUST TELL ME WHAT YOU’D LIKE TO DO WE’LL TALK AND WE’LL LAUGH AND I’LL SING TO YOU AND I PROMISE YOU WE WON’T FIGHT DON’T LEAVE TONIGHT CARRIE MOMMA, I’M LATE MARGARET THAT BOY DOESN’T CARE! NOT AT ALL CARRIE HE’LL BE HERE AT EIGHT MARGARET HE’LL BUILD YOU UP ONLY TO WATCH YOU FALL CARRIE YOU DON’T KNOW THESE PEOPLE THEY’RE NOT YOUR FRIENDS CARRIE THEY’RE ONLY WAITING TO TEAR YOU IN TWO CARRIE What if they like me? II – 4 – 72 MARGARET JUST LIKE YOUR FATHER, THEY’LL LEAVE WHEN THEY’RE THROUGH CARRIE They might like me. They’ll like me. MARGARET You’re such a fool! (CARRIE reacts with a glance – a reminder of her power. MARGARET softens her tone.) AREN’T YOU AWARE HOW PEOPLE DECEIVE? THEY’LL TAKE YOU AND BREAK YOU AND THEN THEY WILL LEAVE YOU CARRIE CARRIE CARRIE! YOU ARE THE LOVE I WAS BETRAYED FOR MY PRIDE AND MY SHAME MY CARRIE! CARRIE, WE’RE ONE AND THE SAME OH, CARRIE CARRIE MOMMA, I LOVE YOU MARGARET CARRIE CARRIE I’LL ALWAYS LOVE YOU MARGARET DON’T GO! DON’T GO! DON’T GO! (TOMMY, dressed for Prom, rings the front door buzzer.) MARGARET (CONT’D) (hearing the buzzer, panics) I’ll say you’re sick, I’ll say you changed your mind – CARRIE You’ll say nothing, Momma. You’ll stay here and not say a word. TOMMY (calling) Carrie? II – 5 – 73 (CARRIE goes off to finish dressing.) MARGARET (calling after her) You must stay here – “For strait is the gate and narrow is the path to salvation.” The Lord has said, “there will be a day of judgment, and an angel with his sword and his arm, and on that day, there will be reckoning!” (no response) Carrie? (still nothing; to herself) It has been foretold: “the sun shall be turned to darkness, and the moon to crimson-red. And there shall be a rain of blood…” MUSIC 18A: CARRIE TRANSFORMATION (UNDERSCORE) (CARRIE appears in her pink dress – radiant, beautiful, transformed. She walks past MARGARET and stops DS for a final glance at herself in the mirror. After a deep breath, she crosses to…) Scene 5: White Bungalow Front Door (…where TOMMY waits anxiously, holding a wrist corsage. Seeing her, he’s dumbstruck.) TOMMY Hi. CARRIE Hi. TOMMY (re: the corsage) This is for you. Do you want me to put it on? CARRIE Please. (She extends a hand, and he slides it onto her wrist. An awkward silence.) Am I all right? TOMMY Yes. Yes. (the truth?) You’re beautiful. MUSIC 19: WHEN THERE’S NO ONE (They go, leaving MARGARET alone in the empty house.) MARGARET Did not God himself command Abraham to take his son Isaac upon the mountain and sacrifice him? She must be sacrificed. “Thou shalt not suffer a witch to live.” II – 6 – 74   WHEN THERE’S NO ONE THERE IS DARKNESS ALL THE LIGHT THAT USED TO SHINE THAT ONCE WAS MINE NO LONGER GLOWS AND THERE IS NO SUN WHEN THERE’S NO ONE WHEN THE SONG DIES THERE IS SILENCE WHEN THE TUNE THAT FILLED MY DAYS NO LONGER PLAYS THE ROOM IS STILL AND I HEAR LONG SIGHS WHEN THE SONG DIES WAS I SO FOOLISH TO THINK I COULD PRAY WHEN THERE’S ONLY ONE CHANCE I CAN SAVE YOU? I GAVE YOU LIFE, I CAN TAKE IT AWAY LET THE SHADOWS DESCEND LIKE A KNIFE BUT WHEN I AM ALL ALONE WILL I CRY, “CARRIE?” OH, MY CARRIE! WHO WILL HOLD ME WHEN THERE’S NO ONE? WHEN THE SMILES I USED TO SEE ARE NOT FOR ME WHAT WILL I DO? NOBODY’S TOLD ME WHO WILL HOLD ME THERE IS NO SUN WHEN THERE’S NO ONE (Fade out.) Scene 6: The Gym (The KIDS strut their stuff as they see each other for the first time in their Prom finery.) MUSIC 20: PROM ARRIVAL HELEN, FREIDA & STOKES OH OH OH OH OH OH OH NORMA OH OH OH OH OH OH OH GEORGE & FREDDY OH OH OH OH II – 6 – 75 HELEN, FREDDY & STOKES CHECK IT OUT! CHECK IT OUT! CHECK IT! OOH FRIEDA, NORMA & GEORGE CHECK IT OUT! CHECK IT OUT! (LOVE IT) HATE IT HATE IT LOVE IT (HATE IT) HATE IT CHECK IT OUT! LOOK AT YOU LOOK A-LOOK AT YOU OOH IT LOOKS AS IF WE FIN’LLY MADE IT CHECK IT OUT! LOOK AT YOU LOOK A-LOOK AT YOU OOH IT LOOKS AS IF WE FIN’LLY MADE IT (Class photographer FREDDY aims his camera at them.) FREDDY All right, bitches -- this is for the yearbook. Smile and say ... (wickedly) ... “penis!” HELEN & STOKES YEAH. YEAH. YEAH. KIDS Penis! HELEN, NORMA, FREDDY & GEORGE LET’S GO! GO! GO! GO! GO! FRIEDA & STOKES LET’S GO! GO! GO! KIDS (CONT’D) WE’LL DRINK ’TIL WE DROP AND WE’LL PARTY ON OH. THIS IS GREAT (THIS WILL BE GREAT!) A NIGHT WE’LL NEVER FORGET   YOU AIN’T SEEN NOTHIN’ YET IT’S GONNA BE A NIGHT WE’LL NEVER FORGET YOU AIN’T SEEN NOTHIN’ YET IT’S GONNA BE A NIGHT WE’LL NEVER FORGET (CARRIE and TOMMY arrive and survey the KIDS dancing. CARRIE is awed and intimidated, and TOMMY notices.) TOMMY You okay? CARRIE I think so... II – 6 – 76 CARRIE (CONT’D) (admitting) Nervous. TOMMY Me, too. (THE KIDS turn as one to stare at her – at them.) TOMMY (CONT’D) (taken aback) Whoa... (to CARRIE) We could go somewhere else. Grab something to eat. CARRIE No. No, I want to do this. TOMMY All right, then – let’s do it! (He extends his hand, and she takes it.) KIDS YOU AIN’T SEEN NOTHIN’ YET NIGHT IT’S GONNA BE A NIGHT WE’LL NEVER FORGET (TOMMY leads CARRIE through the mob of KIDS. Some buzz in disbelief, some in admiration; others use phones to capture their entrance on video.) HELEN Carrie? FREDDY Is that Carrie White? NORMA You have got to be kidding. GEORGE No frickin’ way! FRIEDA Way. God, Carrie, you look great! CARRIE Thank you. II – 6 – 77 GEORGE (checking out TOMMY) Dude, if I’d known you were gonna clean up this good, I would’ve taken you instead of what’s-hername... (jerking a thumb at FRIEDA) ... over here. (FRIEDA swats him.) TOMMY (good-naturedly) Yeah, yeah – in your dreams, Dawson! FRIEDA (to CARRIE) Don’t pay any attention to them. (a "grown-up" headshake) Men! (CARRIE’s smile encourages FRIEDA.) Where’d you buy your dress? It’s awesome. CARRIE I made it. FRIEDA ‘Made it?’ No shit! CARRIE No shit. (As they share a laugh, NORMA rushes over, oozing false enthusiasm.) NORMA Why, Carrie! I can’t get over it, you look so different! You’re positively glowing! And Frieda – don’t you look sweet? FRIEDA Norma – get douched. KIDS, STEPHENS & GARDNER YOU AIN’T SEEN NOTHIN’ YET IT’S GONNA BE A NIGHT WE’LL NEVER FORGET! (TOMMY guides CARRIE over to a quiet space.) TOMMY I told you it would be okay. They’re not so bad once you get to know them. CARRIE It’s all so strange. I hoped I’d be okay. II – 6 – 78 TOMMY You are – you saw how they treated you. FREDDY (surprising them) Okay, you two – hold it right there! MUSIC 20A: I REMEMBER MY PROM (UNDERSCORE) (They turn and FREDDY aims his camera.) FREDDY (CONT’D) All right, this one’s for posterity! (CARRIE and TOMMY pose. FREDDY takes a flash photo, then checks the camera screen.) FREDDY (CONT’D) (pleased) And that’s a keeper! (With a tweak of TOMMY’s nose, he’s off.) MISS GARDNER Carrie? (CARRIE turns to find MISS GARDNER all dressed up, too.) CARRIE Oh, Miss Gardner, you look incredible! MISS GARDNER You, too, Carrie – you look absolutely amazing! TOMMY Hi, Miss Gardner. MISS GARDNER (nodding, coolly) Tommy. TOMMY (suddenly self-conscious) Why don’t I go get us something to drink? CARRIE That would be nice. TOMMY Miss Gardner? II – 6 – 79 MISS GARDNER (softening a tad) Why, thank you, Tommy, I’d love that. TOMMY (to CARRIE) Will you be okay? CARRIE Fine. Thank you. TOMMY Be right back. (He heads off.) (CARRIE, awestruck, gapes at the Prom wonderland around her. GARDNER notices.) MISS GARDNER What are you doing? CARRIE Trying to memorize it all – every single detail. MISS GARDNER So tell me, is it everything you dreamed? CARRIE It’s… nice. MISS GARDNER Just “nice”? CARRIE It’s – it’s like being on Mars. Now that I’m here, I’m not really sure what I’m supposed to do. MISS GARDNER I remember my Prom. I went with the captain of the basketball team. He was 6 feet 7 inches tall! So I went out and bought a pair of these stiletto heels, so that our kiss goodnight would be a little less awkward. Anyway, we went in his pickup truck, which of course broke down, so we had to walk the last half mile to the Prom. CARRIE Oh, no! MISS GARDNER By the time we got there, my feet were so blistered that all I could do was sit there. I was sure I’d ruined the night – I couldn’t dance. MUSIC 21: UNSUSPECTING HEARTS – REPRISE II – 6 – 80 But instead, we just sat there and talked. And you know what? It turned out to be one of the best nights of my entire life. CARRIE SO I GUESS I’M NOT THE ONLY ONE WHO’S EVER FELT THIS WAY NOW I’M THINKING, SUDDENLY, IF YOU GOT THROUGH THIS, WHY NOT ME? MISS GARDNER OH, THE SWEETEST MEMORY’S NEVER PLANNED LET LIFE TAKE YOU BY THE HAND THAT’S HOW IT STARTS CARRIE THAT’S HOW IT STARTS MISS GARDNER & CARRIE TWO UNSUSPECTING HEARTS (CARRIE hugs her, and MISS GARDNER hugs her back.) MISS GARDNER Oh, honey… (Just then, TOMMY returns and jests:) TOMMY Better not let me catch you hugging any guys like that. CARRIE You won’t. TOMMY (handing her the drink) Miss Gardner – MISS GARDNER (raising her glass) Cheers, you two. Have a lovely time. (She walks off.) MUSIC 21A: HOME BY TWELVE (UNDERSCORE) TOMMY Now, how ’bout a dance? CARRIE Oh, no, I couldn’t. II – 6 – 81 TOMMY (teasing her sweetly) Don’t be so nerrrrvous! CARRIE Not yet. Please. TOMMY At least you didn’t say no. (a beat) Do you really have to be home by twelve? CARRIE Yes, I promised. TOMMY Okay. CARRIE Sorry. TOMMY Oh, no, that’s all right. After Prom, a few of us are going – CARRIE Okay. TOMMY What? CARRIE No, if you want to go off with your friends, I don’t want to spoil anything. TOMMY What I was going to say is, if you’d like to, we could stop in at the Blazer for a little while. CARRIE I’ve never been there. TOMMY They have the best fries. CARRIE I’d love to. TOMMY Well, then, it’s decided. (MR. STEPHENS and MISS GARDNER take the floor.) II – 6 – 82 MR. STEPHENS Attention, ladies and gentlemen – LADIES AND GENTLEMEN – if I could have your attention, please! It’s time to vote for your Prom King and Queen. HELEN This contest insults women! (Scattered applause for this token protest is followed by:) FREDDY (mock-imitating her) This contest insults men! (Much LAUGHTER and HOOTING.) MR. STEPHENS People, please! MISS GARDNER When you receive your ballots, vote for your favorite couple. NORMA (handing ballots to TOMMY and CARRIE) Here you go, kids. CARRIE (reading the ballot) Tommy, we’re on here! MUSIC 22: DREAMER IN DISGUISE – REPRISE TOMMY Yeah, I see. Do you want to decline? CARRIE Do you? TOMMY No way. If you win, all you do is go up there for the school song. They take your photo for the class yearbook, so years from now, your kids can see what idiots you were. CARRIE Well, who do we vote for? They’re more your crowd than mine. (shrugs) I don’t really have a crowd. TOMMY Let’s vote for ourselves, then. To hell with false modesty. II – 6 – 83 CARRIE To hell with it! (No sooner have they checked off their names than NORMA snatches the ballots out of their hands and strides off.) TOMMY Now it’s time for that dance. CARRIE (hesitant) Tommy – TOMMY Come on, take my hand. (she stares at her feet) No, no – don’t look down. (indicating his eyes) Look right here, and forget about everything else. (leading her onto the floor) AN EAGLE’S JUST ANOTHER BIRD UNTIL HE CAN SPREAD HIS WINGS A RIVER’S JUST A SHEET OF ICE TILL WINTER TURNS TO SPRING CARRIE (tentatively) AND THOUGH THE CLOUDS MAY BLOCK THE SUN DON’T MEAN THAT IT’S LEFT THE SKY TOMMY JUST WHEN YOU THINK YOU’VE SEEN IT ALL THERE’S MORE THAN MEETS THE EYE CARRIE LIKE THINGS I DREAM TOMMY AND THINGS I FEEL CARRIE THERE’S MORE TO ME... TOMMY & CARRIE ...THAN I REVEAL TOMMY AND CUZ I SHINE IN QUIET WAYS I’M SOMEONE YOU DON’T RECOGNIZE II – 6 – 84 TOMMY & CARRIE I AM A DIAMOND IN THE ROUGH A DREAMER IN DISGUISE (They dance, surrounded by the other KIDS.) (SUE, unobserved, appears and answers her unseen INTERROGATORS.) SUE I just couldn’t stay home. After everything that had happened, I had to see for myself how it had all worked out. I needed to see… CHRIS, BIILLY, KIDS, GARDNER & STEPHENS Oooh.... Oooh... (etc.) SUE (CONT’D) Carrie looked so at ease – so happy. (LIGHTS on NORMA with HELEN, eyeing CARRIE and TOMMY.) NORMA Well, will you get a load of them! Couldn’t you just barf? HELEN I can’t believe Chris is missing this. NORMA Trust me, doll – (conspiratorial wink) – she isn’t missing a thing. (waving ballots overhead) Ballots! (She crosses the floor, continuing to collect ballots.) MUSIC 23: CHRIS AND BILLY PROM (CHRIS and BILLY appear high above, spying down on TOMMY and CARRIE.) CHRIS LOOK AT HOW SHE’S SMILING NOW THAT STUPID, LITTLE COW WELL, THE REAL FUN HAS NOT STARTED YET BILLY I’VE HAD IT UP TO HERE WITH ALL YOUR DEMANDS REMEMBER! I’M NOT THE ONLY ONE WITH BLOOD ON HIS HANDS NOW I REALIZE YOU’VE GOT A BONE TO PICK BUT EVEN FOR ME THIS TRICK IS PRETTY DAMN SICK! II – 6 – 85 CHRIS I’VE GOT ONE LAST LITTLE BEAT AND THEN MY PLAN’S COMPLETE FOR A NIGHT THAT SHE’LL NEVER FORGET KIDS GIVIN’ IT, GIVIN’ IT! (SUE comes upon NORMA, who is furtively swapping real ballots for fake ones.) SUE Norma? What are you doing? (Flustered, NORMA hides the ballots behind her back.) NORMA Uh.. Sue. Hi! I didn’t expect to see you here tonight. God, you’re underdressed. KIDS GIVIN’ IT, GIVIN’ IT. SUE What are you up to? GIVIN’ IT. NORMA Um ... nothing. SUE What’s going on? GIVIN’ IT, GIVIN’ IT NORMA I would love to stop and chat, but I’m on official ballot duty. (smirking) But stick around, Sue – it’s gonna be the best Prom night ev-er! MUSIC 24: PROM CLIMAX (SUE tries to stop her, but NORMA gets away. Spotting a scrap of a ballot NORMA has left behind, SUE picks it up and examines it, puzzled.) KIDS GIVIN’ IT, GIVIN’ IT. MOVE! KIDS GROUP 1 IN AND OUT. SLOWER, CLOSER, CLOSER, SLOWER, CLOSER FEEL THE HEAT, YOU ON ME AND ME, YOU! KIDS GROUP 2 OOH CLOSER, CLOSER SLOWER, CLOSER OOH FEEL THE HEAT, YOU ON ME AND ME, YOU! II – 6 – 86 (NORMA pushes through the crowd to reach MR. STEPHENS.) NORMA (shouting over the music) Mr. Stephens, I’ve collected all the ballots. Here you go. (She hands him the rigged ballots.) MR. STEPHENS (also shouting) Why thank you, Norma. Thank you very much. Wow, this is all so incredibly exciting, isn’t it? NORMA (seeing how clueless he is) You’re such a tool. MR. STEPHENS (thinking he misheard her) I’m sorry. Say again – ? NORMA (big fake grin) I said – I just love this school! (He smiles and nods. Oblivious.) KIDS OOH! FEEL THE HEAT, YOU ON ME AND ME, YOU! IT LOOKS AS IF WE’RE GONNA MAKE IT (SUE moves through the gym, looking around suspiciously.) CHRIS I BELIEVE IN GETTING EVEN THAT’S WHAT I BELIEVE CARRIE WHY NOT ME? WHY NOT ME? FRIEDA & HELEN YEAH YEAH YEAH BILLY YOU ALWAYS AMAZE ME WITH THE WAY THAT YOU THINK KIDS YOU AIN’T SEEN NOTHIN’ YOU AIN’T SEEN YOU AIN’T SEEN NOTHIN’ YET KIDS THIS IS GREAT! WE’RE GETTING THERE, BUT NOT QUITE STEPHENS, FREDDY & GEORGE WE’RE NOT QUITE THERE TOMMY AN EAGLE’S JUST ANOTHER BIRD II – 6 – 87 FRIEDA, NORMA & STOKES A NIGHT WE’LL NEVER FORGET CHRIS & BILLY YOU AIN’T SEEN NOTHIN’ YOU AIN’T SEEN YOU AIN’T SEEN NOTHIN’ YET STEPHENS, GARDNER & KIDS THIS IS GREAT! SO GRAB YOUR DATE AND HOLD TIGHT – HOLD TIGHT (SO HOLD ON TIGHT) YOU AIN’T SEEN NOTHIN’ YOU AIN’T SEEN YOU AIN’T SEEN NOTHIN’ YET THIS IS GREAT THE NIGHT’S ABOUT TO TAKE FLIGHT (TAKE FLIGHT) A NIGHT WE’LL NEVER   ALL NO NEVER WE’LL NEVER FORGET! (MR. STEPHENS and MISS GARDNER step up to the microphone.) MR. STEPHENS (reading a tally sheet) All right, here we go! We give you this year’s King and Queen of the Prom – (He pauses for dramatic effect as MISS GARDNER joins him.) MR STEPHENS & MISS GARDNER Tommy Ross and Carrie White! (Shock, buzzing; then applause, hoots and whistles!) KIDS Woo-woo!, (etc.) GEORGE Yo, Tom-meee, my man! MUSIC 25: ALMA MATER (Flanked by their classmates, TOMMY and CARRIE parade to the coronation area.) KIDS, STEPHENS & GARDNER HAIL, ALMA MATER OH, MOTHER, WE SALUTE YOU WE PROCLAIM OUR DEVOTION AS WE SET OUR DREAMS INTO MOTION OOH… II – 6 – 88 (DS, SUE’s attention is caught by a movement overhead. She looks up to see the rope leading to the bucket.) SUE Oh, my God! (desperate for help) Miss Gardner – Miss Gardner! MISS GARDNER (startled to see her) Sue? What are you doing here? SUE Thank God! You’ve got to listen – something terrible’s going to happen! MISS GARDNER I knew it – I knew you were up to something! SUE You’ve got it all wrong. It’s not me— MISS GARDNER (in no mood to listen) Sue, I warned you – get out! (She pushes SUE out the gym doors…) SUE (wailing) No! (…and shuts the doors firmly behind her.) KIDS, STEPHENS & GARDNER ALL OUR HEARTS BEAT TRUE ALMA MATER! (TOMMY and CARRIE are crowned King and Queen.) CHRIS Billy, pull the damn cord – pull it! (He yanks the rope, and the pail tilts, pouring blood down onto CARRIE.) MUSIC 26: THE DESTRUCTION (PART I) (CARRIE flinches and shuts her eyes as the amplified, echoing sound of the liquid’s splash turns into a roar.) II – 6 – 89 CARRIE (anguished) Our Father who art in heaven, hallowed be thy name... (All action slows to a distended, stylized reality, and naturalistic sound gives way to a surreal, heightened wave of reverberating effects.) (In shock and revulsion, TOMMY backs away from CARRIE. The KIDS, stunned at first, start to point and laugh.) (When CARRIE opens her eyes, she sees blood on her hands.) CARRIE (CONT’D) Omigod, omigod, omigod...   I WILL NOT CRY I’M OKAY I TRIED SO HARD TO PLAY THEIR WAY   Momma, you should have told me!   GOD MADE EVE TO BEAR THE CURSE THE CURSE OF BLOOD. CARRIE & ENSEMBLE THE CURSE OF BLOOD CARRIE His name is Tommy Ross, Momma – he’ll have me home by midnight...   AN EAGLE’S JUST ANOTHER BIRD UNTIL HE CAN SPREAD HIS WINGS GARDNER, STEPHENS, TOMMY, CHRIS, BILLY & KIDS OPEN YOUR HEART! LET JESUS IN! CARRIE THEY’LL MAKE FUN OF YOU! THEY WILL BREAK YOUR HEART! THEN THEY’LL LAUGH AT YOU WATCHING YOU FALL APART GARDNER, STEPHENS, TOMMY, CHRIS, BILLY & KIDS SCARY CARRIE! GARDNER, STEPHENS, TOMMY, CHRIS, BILLY & KIDS HA, HA, HA, HA, HA II – 6 – 90 (As all these elements converge, Carrie’s rage combusts.) CARRIE DOESN’T ANYBODY EVER GET IT RIGHT?! DOESN’T ANYBODY THINK THAT I HEAR?! MUSIC 27: THE DESTRUCTION (PART 2) ([FLEX SOUND]. CARRIE flings an arm out, and a chair goes flying! A door SLAMS shut!) (She FLEXES again, and the rear theater doors crash closed, locking the audience in.) KIDS - What’s going on? - The doors won’t open! - We’re locked in! (Another FLEX, and the LIGHTS go out. In the BLACKOUT, the PROMGOERS panic, screaming and yelling.) MISS GARDNER Everybody stay calm! KIDS Help! Somebody, please help! (etc.) (LIGHTS snap back on, then flicker, and strobe. In the eerie half-light, CARRIE extends her arms like the wings of an avenging angel, and exacts her terrible revenge on friend and enemy alike – dispatching BILLY and CHRIS, of course, but MISS GARDNER and FRIEDA, too.) (Confused and disoriented in the near-dark, her victims scream in terror – levitated in the air and hurled against the walls like rag dolls.) (Destruction complete, CARRIE FLEXES open the gym doors and exits, the doors slamming behind her. The gym looks as if it’s been hit by a tornado with bodies strewn among the wreckage. Whimpers, gasps and cries rise from the rubble.) (Suddenly, unexpectedly, a shockingly loud explosion shakes the gym. Then the LIGHTS fade. The shriek of a whistle pierces the night, rising and falling along with sirens. The cone of LIGHT finds SUE traumatized and shaking – the lone survivor.) SUE I felt so helpless. (choking up) There was nothing I could do. (composing herself) I followed the path of destruction. It led from the school … through the town … and up Chamberlain Street … to Carrie’s house. That’s where I would find her. II – 7 – 91 Scene 7: White Bungalow Living Room (As sirens wail in the distance, MARGARET paces in her white nightdress.) MARGARET (mantra-like, in a trance) “… he who believeth in me, though he were dead, yet shall he live and never die… I am the resurrection and the life; he who believeth in me, though he were dead, yet shall he live and never die… I am the resurrection…” (CARRIE enters.) CARRIE Momma..? MUSIC 28: CARRIE – REPRISE (MARGARET turns and, seeing her daughter in the blood-streaked dress, is overcome.) MARGARET Oh, my angel – my poor angel! CARRIE Momma, you were right. They all laughed at me! MARGARET My girl – my sweet, sweet girl. CARRIE Momma, please hold me. MARGARET Shh-shh-shh – (Taking CARRIE in her arms, she leads her to a chair where she sits. CARRIE sinks to her knees and buries her head in MARGARET’s lap.) It’s all right now. You’re home. You’re safe. We’re together. (Tenderly and lovingly, she strokes CARRIE’s hair.) BABY, DON’T CRY NOW NO MORE TEARS MOMMA WILL SAVE YOU FROM ALL YOUR FEARS LOO LULLABY NOW MOMMA IS HERE CARRIE ALWAYS REMEMBER THAT I LOVE YOU MY LOVE IS SO DEEP MY CARRIE II – 7 – 92 SMILE AT THE ANGELS UP ABOVE YOU AND SLEEP, BABY, SLEEP CARRIE I love you, Momma. MARGARET I love you, Carrie.   BABY DON’T CRY NOW LOO LULLABY NOW BABY, DON’T CRY – (From its hiding place, she raises a kitchen knife overhead. For one moment, its blade glints in the light before she plunges it into CARRIE’s back.) (With a pained gasp, CARRIE recoils. Wounded and terrified, she crawls away, but MARGARET – hell-bent on her divine duty – pursues her, knife in hand.) CARRIE Momma, no -- no! (She reaches up to defend herself, and her FLEX forces her mother to drop the knife. It clatters to the floor. But MARGARET keeps coming.) (With a final FLEX, CARRIE squeezes her extended hand into a fist. With a cry, MARGARET clutches her chest and drops to her knees.) MARGARET Carrie – (Her magnified heartbeat grows louder and louder…) Carrie! Don’t – ! (…as her heart beats slower … slower, and then comes to a full stop. A dot of crimson-red appears on MARGARET’s nightdress over her heart. It expands across the white fabric as she slumps to her knees – then to the floor. And finally, she exhales her last breath.) CARRIE (not comprehending what’s just happened) Momma? Momma, please – (But only silence greets her cry.) CARRIE (CONT’D) (realizing) Momm-aaaa! NO! (SUE arrives, taking in the bloody scene that will haunt her forever. Hearing CARRIE groan, she rushes to kneel by her side.) II – 7 – 93 SUE Carrie... MUSIC 29: EPILOGUE (As CARRIE moans, SUE realizes how badly she’s wounded.) SUE (CONT’D) Oh, my god. Carrie.... CARRIE I’m so scared. SUE (fighting her own fear) Don’t be afraid. It’s all right. CARRIE I hurt. I want my Momma... SUE (taking CARRIE’s hands) I’m here for you. CARRIE I’m so cold. SUE (gathering CARRIE in her lap) I’ve got you. (blinking back tears, she tries to comfort her.) NO DOUBTS NO MORE FEARS I SEE YOU SHINE AND THE DARK DISAPPEARS (CARRIE dies in SUE’s arms.) No! No! (As she cradles CARRIE’s lifeless body, LIGHTS CHANGE. FIGURES – the ghosts of SUE’S memories – emerge from the shadows to join in a requiem of redemption.) TOMMY ONE DAY YOU FIN’LLY SEE HER FRIEDA & CHRIS ONE DAY YOU FIN’LLY SEE HER HELEN, GARDNER, GEORGE & FREDDY ONE DAY YOU FIN’LLY SEE HER TOMMY, HELEN & STOKES FIN’LLY SEE HER TOMMY, CHRIS, BILLY, GARDNER, STEPHENS, SUE & KIDS FIN’LLY SEE HER II – 7 – 94 CHRIS, SUE & TOMMY FOR YEARS, YOU LOOK TOMMY, CHRIS, BILLY, GARDNER, STEPHENS & KIDS YOU LOOK AT SOMEONE PASSING BY AND THEN ONE DAY YOU SEE HER ONE DAY YOU FIN’LLY SEE HER NOW SUE HOW CAN I NOT SEE? SUE, TOMMY, CHRIS, BILLY, GARDNER, STEPHENS & KIDS ME! AM I SO BLIND? I COULD SAY “THANK GOD THAT'S NOT ME” BUT WHAT DOES IT COST TO BE KIND? TOMMY, CHRIS, BILLY, GARDNER, STEPHENS & KIDS BLINDED AND SILENT TOO SCARED TO BE AND TO FIN’LLY SEE AND TO FIN’LLY SEE (As LIGHTS on them FADE and reality returns, SUE is left shell-shocked and bereft. Gently, she lays CARRIE down and crosses her arms across her lifeless body.) SUE I FELT AS THOUGH THIS GIRL REVEALED HERSELF TO ME AND NOW I KNOW THAT ONCE YOU SEE, YOU CAN’T UNSEE TOMMY, CHRIS, BILLY, GARDNER, STEPHENS & KIDS I FINALLY SEE I FINALLY SEE (WHOOSH! Abruptly, the blinding CONE OF LIGHT hits SUE. She flinches, cries out, and looks up into the light – having come full circle in an ever-repeating nightmare loop.) MALE VOICE Name, please. (BLACKOUT) MUSIC 30: BOWS THE END TABLE OF CONTENTS 1. 3. 4. 5. 6. 7. 8. 9. 10. 11. 13. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 28. 29. In ....................................................................................................................................................... 1 Carrie .............................................................................................................................................. 11 Open Your Heart............................................................................................................................. 16 And Eve Was Weak ........................................................................................................................ 21 The World According To Chris ...................................................................................................... 27 Evening Prayers .............................................................................................................................. 36 Dreamer In Disguise ....................................................................................................................... 41 Once You See ................................................................................................................................. 43 Unsuspecting Hearts ....................................................................................................................... 44 Do Me A Favor ............................................................................................................................... 48 Act I Finale (I Remember How Those Boys Could Dance) ........................................................... 56 A Night We’ll Never Forget ........................................................................................................... 62 You Shine ....................................................................................................................................... 74 Why Not Me? ................................................................................................................................. 78 Stay Here Instead ............................................................................................................................ 83 When There’s No One .................................................................................................................... 86 Prom Arrival ................................................................................................................................... 88 Unsuspecting Hearts – Reprise ....................................................................................................... 95 Dreamer In Disguise – Reprise ....................................................................................................... 97 Chris And Billy Prom ................................................................................................................... 100 Prom Climax ................................................................................................................................. 102 Alma Mater ................................................................................................................................... 107 The Destruction (Part 1) ............................................................................................................... 110 Carrie – Reprise ............................................................................................................................ 113 Epilogue ........................................................................................................................................ 114