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    Heidi Chronicles

    Uploaded by

    Dorian Fournier

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    © All Rights Reserved
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    WENDY ‘WASSERSTEIN THE HEIDI | CHRONICLES AND | OTHER PLAYS VINTAGE BOOKS ADIVISION of RANDOM HOUSE, INC. NEW YORK sr Von Bons oman 191 opp ©1978, 184,198,990) Wendy Wasersin erent Rye 19909 Haru oan Me Arig ocelot acd a hneran Capri Coven. ANGE acted ans Wage ky Son fandom oe, See eed Cons by Rens Hone Cds Lined, ‘Soom Sgn tied hardy Hater Bae Joann ‘tne 980. sot Hah Songbook spyah 959 by Moun Hooke Cale we {6 Geos fon te Mount Hots Clie Bales 96667, end Raed ee Stet neque lene penet fMown Hato Cale, Novem ‘Satie The maemo ly Dkr ken om Te Compe Poems of inh Dc eed by Tamas H Jamon, cpr 1929 Man Die reg 1946 y De tor Lipps reve. Te om You SFominbehapy op © 96 ek Gano andgh Thelin Den pri © 1967 fry ean eee Ty ems lh hal np ened atsi-TTPROMANTIG hei ne Roman by Loren Has (kbd Redcap © 1352 by Famous Mase Corporation, opi fe SSD sy Fanon Man Corpora ae eine 0 perio. e Ito “See, Sure Jy Bo Selon Harm, © 1964 Aly Mui Cap. nd on Ma Ce oy pmo a ei re The a, nals esse Plu, ms by. B.S and BO Roma, © chp 1 yn sue Ts oe Tithe Sm Cami ie snby pein aria reed Sete tata me pon Peri, igh eed The es am “The Sop Sop Sang eh Fn aly a eh, ety ley Mant Gap Te eee Ince ey peri al pas ore. The nese esd ‘Soy pn hi ree om Se Frio sed “AT rig te te of Bode ee? {rn Fens pom in Coney ld of he Min © 1958 ingen py perms of Now rats bang ran Grete Mantes 0 We Th eS ak. NY HEIDI CHRONICLES To Christopher ‘The Heidi Chronicles was Bist produced April 6, 1988, in workshop by The Seattle Repertory Theatre (in association with Playwrights Horizons). Ie was then presented by Play rights Horizons in New York City, on December 12, 1988. Ik was dicected by Daniel Sullivan; the ses were designed by “Thomas Lynch; costumes by Jenifer von Mayrhauser; igh ing by Pat Collins; sound by Scott Lehre; slides by Wendell Harrington, Roy Hartis was production stage manager; Car Mulert was production manager. The cast was as follows: HEIDI HOLLAND Joan Allen susan jorsrox Ellen Parker {TV ATTENDANT, WATER, RAY Drew McVety PETER PATRONE Boyd Gaines scoor noseNaaum Peter Friedman JILL, DEBBIE, LSA Anne Lange RAN, MOLLY, BETSY, APRIL. Joanne Camp Sarah Jessica Parker ‘The play moved to the Plymouth Theatte on Broadway, ‘March 9, 1989. Ir was produced by the Shubert Organization, Suntory International Corp., and James Walsh in association with Playwrights Horizons, The cast remained the same, ex cept that Cynthia Nixon replaced Sarah Jessica Parker as Becky, Clara, and Denise. CHARACTERS In order of appearance: SUSAN JOHNSTON su ACT ONE Prologue: A lecture hall, New York, 1989, Seene 1: Chicago, 1965 Scene 2: Manchester, New Hampshire, 1968 Scene 3: Ann Arbor, Michigan, 1970 Seene 4 Chicago, 1974 Scene 5: New York, 1977 ACT TWO Al scenes take place in New York. Prologue: A lecture hall, 1989 Scene 1: An apartment, 1980 Seene 2: A TV studio, 1982 Scene 3: A restaurant, 1986 Scene 4: The Plaza Hotel, 1986 Scene 5: A pediatrics ward, 1987 Scene 6: An apartment, 1989 ACT ONE Prologue 1989. Lecture hall, Columbia University. weiot stands in front ofa sere. Slides of paintings are shown as she lectures. ‘unto; Sofonisba Anguittola pained this portrait of her sister, ‘Minerva in 1559. Not only was Sofonisba a painter with ‘an international reputation, but so were her si sisters. “Here's half the family in Sofonisha’s “Three Sisters Play ing Chess,” painted in 1555. Looks up at the painting. “Hello, picts” Although Sofonisba was praised in the seventeenth century as being a portraitist equal to Titian, land at least thirty of hee paintings are known tous, there is no trace of he, ot any other woman artist prior t0 the ‘twentieth century, in your current art history textbook. Of course in my day this same standard text mentioned rho women ‘from the daven of history to the present.” ‘Are you with me? Okay. Clara Peeters, oughly 1594 to 1657, whose undated self-portrait we see here, was, T believe, the greatest ‘woman artist of the seventeenth century. And now T'é like you to name ten others, Petes! work predates the reat period of northem sil fe painting. Inher breakfast ‘The Hei Chronicles 161 paintings—Clara’s term, not mine—she used more ge ‘ometzy and less detail than her male peers. Notice here the cylindrical silver canister, the disk ofthe plate, and the triangular cuts inthe cheese. Trust me, this i cheese. ‘Avr breakfast, infact, Clara went through a prolonged cheese perio. ‘A leap, but go with me. “We Both Must Fade,” painted in 1869 by the American genre painter Lily Mar tin Spencer, combines in a “vanitas” painting the formal portraitare of Sofonisba and the stil-ife composition of Peeters. We have a young woman posing in an exquisitely detailed dress, surrounded by symbolic still-life objects. ‘The fading flower and che clockface are both reminders ‘of mortality and time passing, while the precious jewelry spilling out is an allusion to the transience of earthly possestions. This portraitcan be perceived asa meditation ‘onthe brevity of youth, beauty, and life. Bue what can’t? ‘Okay. To the vital isu at hand: how ro remember these paintings for next week's midterm. Sofonisba An- uissola, formal portraiture in the style of Titian with a taste for red jewelry; Clara Peeters, stil-lfe master of geomecry and cheese. As for Mrs. Lily Martin Spencer fand "We Both Must Fade," frankly, this painting has always reminded me of me at one of those horrible high- school dances. And you sort of want ro dance, and you sort of want to go home, and you sort of don't know ‘what you want, So you hang around, a fading cose in an exquisitely detailed dress, waiting to see what might happen. 162 ‘The Heidi Chronic and ther ays Scene 1 1965. A high-school dance, with folding chars, streamers, and a table with a punch bowl. Two sixteen-year-old girls enter, susaN, wearing a skirt and a cardigan sweater, and ‘MBIDL ina traditional Actin dress. The gine fnd a commer and look out atthe dancefloor as they sing and soay to the msc. “The Shoop Shoop Song” is playing. “Does he lave me? I ‘wanna know. How cam I tell if be loves me 30.” Is in his eyes? Ob, noo0000, you'll be deceived, 1s it in his eyes? ‘Oh, no, he'll make believe. sus: Heid Het Look athe guy over at he ada, ‘erp: Which one? oy dae Sos In th ls jeans, reed ack, and che Wen. Metpr: They're all wearing that. * sosas The oe in the ve, Be jeans, eed jacket, a ‘Weejuns. , bakes ed vot Cute SUA Looks kind like Bobby Kennedy tb: Kinds, Yop e's deiely cue sss Look! He'can twist and smoke a the sme tne. love shat susan anton her seater and pulls sek, lee out of ber parse The Hee Chronies 16 wexD1: Susie, what are you doing? SUSAN: Heidi, men rely on frst impressions. Oh, God, he’s incredible! Heidi, movel xeiDI: What, Susie? susan: Just move! The worst thing you can do is cluster. "Cause then it looks like you just wanna hang around with your girlfriend. But don’ look desperate. Men don’t ance with desperate wornen. Oh my God! There's one ‘coming, Will you stare moving! Trust me. tieioi begins to move, She doesnt notice a boy, CHRIS BOXER, ‘coming over to her. cus: Hi verb: Hi ‘nis: Hi I'm Chris Boxer, Stadent Council president here HetDt: I'm Heidi Holland, editor of the newspaper some there ele, ‘cunts: Great. I knew I could talk to you. Do you want to dance? Begins to twist snetor: I'm sorry, [can't leave my gieliriend, Moves back to susan: I don't believe this. re1Dt: Ths is my girlfriend, Susan Johnston. We came tothe dance together. ‘cous; Oh, I thought you were alone, susan: She is. We just met, Ccunis: Well, very nice to meet you both. Begins to walk aay. susan Chris, don't go HeiDI: Please don’t go. We can all dance together. We can form a line and hally-gully, baby. uns, sicomfortable, looks around: Well, that’s the head 168 “Te Hei Chronicles ad Other Pays 7 master. I guess Ihave to go and, uh, ask him how i's ‘going. Keep the faith, He snaps his fingers. espn: We wil, cons begins 10 walk away again, SUSAN call after him: Nice meeting you. Begins whispering to wEIDL I can't believe you did that. Heidi, we're at a dance! You know, gel meets boy. They hold hands wale: ing in the sand. Then they go tothe Chapel of Love. Get eID: Gos it “Satisfaction” begins to py. voice: The next dance is gonna be a Ladies’ Choice. susan, ehriled: Allright, Let's get organized here, Heidi, stand in front of me. I can't ask Twist and Smoke 10 dance with my skre this long, What should Isay to him? SUSAN rolle up her sir. HEIDI: Ask him how he coordinstes the twisting with the smoking. SUSAN: You know, as your best frend, I must tll you frankly that you're going to et really messed up unless you leam to take men seriously. ‘HEIDI: Susan, there is absolutly no diference berween you and me and him. Except that he can twist and smoke at the same time and we can get out of gym with an excuse called “I have my monthly.” SUSAN: Shit! I's stil t00 long. Continues 0 roll the west of her shirt until it is midthigh. Can you get home al right by yourself? expt; He'll never even suspect I even know you, F The Heidi Chronic, 165 ‘susan: Wish me luck! Ero kisses her on the cheek: Luck! SUSAN jumps back in horror: Heit Don't! HEIDI: Keep the faith! Snaps her fingers as cunts noxe did susan: SHhhhh! Don't make me laugh or my skire will roll down, se1D1: I'l call you tomorrow. SUSAN exits as he waves good-bye to HEIDI, HEIDI sits om chair, takes out @ book, reads it for a moment, then puts it ‘on her lap as she stares out. “Play with Fire" splayed. PETER, ‘4 young man in a St. Mark's school blazer, approaches. He looks at her. She smiles and looks down. even: You must be very bright ‘HED: Excuse me? pPetER: You look so bored you must be very bright err: Pm sorry? vetex: Don’t be sorry. I appreciate bored peopl. Bored, de- pressed, anxious. These are the qualities I look for in a ‘woman, Your lady friend is dancing with the gentleman who looks like Bobby Kennedy. I find men who smoke and twist atthe same time so dreary se1DI: Not worth the coordination, realy. peter: Do you have any? wMetDt; [can sit and read atthe same time. pete: What book is that? HEIDI: Death Be Not Proud. petex: OF course HEIDE: A favorite of mine at dances. PETER: I was drawn to you from the moment I saw you shielding tha unfortunate wench rollin up her garments | in the tempest. reren; Please. Don’t apologize for being the most attractive wortan on this cruise. weit: Cruise? veren: She docks tonight in Portsmouth. And then farewell to the Queen Mary. Forever to harbor in Long Beach, California. C'est rst, west pas? veroi: Ce n'est pas bor. even, excitedly: Our tragic paths were meant to cross. eave tomorrow for the sanatorium in Zurich, Coughs uuzipi: How odd! I'm going to the sanatorium in Milan ‘Coughs. He offers her his handkerchief. She refuse. My parents are heartbroken. They thought I was en- tering Williams College in the fal sun1pr: My parents put down a deposit at Vassar paren: We've only this night together. I'm Peter, small noise from Winnetka tried to pick out your name... Amanda, Lady Clara, Estelle peter: No, don’t tell me. I want to remember you as you ae Beside me inthe mooaligh, the stars above us HEIDI: The sea below us. vereR: Glenn Miller and the orchestra. It's all 0 peaceful HeiDt: Mmmmmm. Quite peaceful. “The Shoop Shoop Song” is beard again verex: The twistand-smokers are heaving themselves on ‘her lady friends. This must be the final song. Would you do me the honor of one dance? sett: Cert rere: Ahhh! “The Shoop Shoop Song,” Baroque but fragile. HEIDE: Melodie but atonal ‘The Hei Cronies 167 vyevex: Will you marry me? HEIDI I covet my independence. peter: Perhaps when you leave the sanatorium, you'l think ‘otherwise. want t0 know you all my life. If we can't marry, lee’ be great fiends ‘us101: [will keep your punch cup, as a memento, beside my pillow. even: Well shall we hully-gully, baby? suziD1: Really, 1 even: Don’t worry I'll teach you. He begins to doa form of shimmy line dance. Holding Heidi's band, be instructs her. The dance is somewhat interpretive ‘and becomes a minuet. They sing as they dance together. How "bout the way he acts? (Oh, noode, tha’s not the way. [And you'ce not listen’ ro all I say If you wanna know if he loves you 80. Takes Heidi's waiet and dips her es in bis kis, Oh, yeaht I's im is kiss! ‘They continue to dance asthe lights fade. 168 “The Hei Chronicles and Osher Plays Scene 2 1968. A dance, There are “Eugene McCarthy for President” signs. "Take a Piece of My Heat,” by Janis Joplin and Big Brother and the Holding Company, cam be heard. A hippie in a Sergeant Pepper jacket smokes a joint. When HED en ters, he offeshera drag. we1o%, wearing a floral shawl, refwes «and stands by the food table, ScooP ROSENBAUM, intense but charismatic, in blue jeans and work shit, goes over to her. LHe takes a beer from a bucket on stage scoor: Are you guarding the chips? IDI: No, scoor: Then you're being very dificult ‘MEtDl: Please, help yourselt scoor; Where are you going? HEIDI: Pm trying to listen to the music. scoor: Janis Joplin and Big Brother and the Holding Com: pany. A~ singer. C+ band, Fa lst innovative than the Kinks. You know, you really have one hell of an inferi- rity complex. weror: I do? scoor: Sure. Thave no right ro say you're dificult, Don't you believe in human dignity? I mean, you're obviously a liberal, or you woulda’t be here HHe1DK: Leame with a friend, scoor: You came to Manchester, New Hampshire, ina bliz- ard to ring doorbells for Gene McCarthy because of a fiend? Why the fuck didn'c you go skiing instead? vuerot: I don't ski. The Heidt Chromices 169 scoor offers HEIDI a potato chip: B~ texture. C+ crunch ‘You go to one of those Seven Sister schools? sieior: How did you know? scoor: You're all concerned citizens. HEIDI I told you, I came because ofa friend. scoor: That's bullshit. Be real. You're neat and clean for ‘Eugene. You think if you go door to door and ring bells, this sucker will become president, and well ll be good people, and wars in places you've never heard of before will end, and everyone will have enough to eat and send their daughters ro Vassar, Like I said, neat and clean for Eugene. erp: Would you excuse me? scoor smiles and extends his hand to ber: It's been lovely chatting with me. suexoi: A pleasure. scoor: What's your name? HEIDE: Suse. scoor: Susan what? expt: Susan Johnston. See ya, scoor: Hey, Susan Johnston, wouldn't you like to know who Tam? went: Uh scooP: C'mon. Nice girl lke you isn’t going to look a man in the eye and tell im, “I have absolutely no interest in you, You've been incredibly obnoxious and your looks are B=." ‘ust: Why do you grade everything? scooP: [used to be a very good student. HEIDI: Used to? coor: I dropped out of Princeton. The Woodrow Wilson School of International Bullshit. HerDI: So what do you do now? 170 ‘The Hed Chronic and Oe Pips y The Heit Chronicles i scoor: This and that. Here and there HEIDI: You work for McCarthy? Well, you are ata McCarthy dance coor: I came with a friend, Susan, don’t you know this is just the tip of the iceberg? McCarthy is irrelevant, He's C+ Adlai Stevenson. The changes in this country could be enormous. Beyond anything your sister mind can imagine. urDt: Are you 4 real-life radical? Scoor: You mean, do I make bombs in my parents’ West Hartford basement? Susan, how could Ibe a radical I played lacrosse at Exeter and I'm a Jew whose frst name Is Scoop. You're not very good at nuance. And you're 00 eager to categorize I'm a journalist I'm just here to have a Took around. HEIDI: Do you work for a paper? scoor: Did they teach you at Vassar to ask so many inaae ‘questions in order to keep a conversation going? te1D1: Well, like I said, Ihave to go meet my friend, scoor: Me too. I have to meet Paul Newman HEIDI: Please tll him Susan says “Hi.” scoop: You don't believe Ihave to meet Paul Newman. vio: I'm sure you do. coor: I'm picking him up atthe airport and taking him and ‘Mr. McCarthy o a press conference. Paul's a great guy ‘Why don’t you come drinking with us? We ean cap over a few brews. eID: I'm socry I can. scoor: Why not? eto I just can, Scoop: Susan, let me get this straight. You would rather dive back to Poughkeepsie with five virgins in a Volk- swagen discussing Norman Mailer and bisth control on dangerous frozen roads than go drinking with Eugene McCarthy, Paul Newman, and Scoop Rosenbaum? You're cute, Susan. Very cute seiot: And you are cally isting! Scoor: That's the frst honest thing you've said all night? Lady, you beter learn to stand up for yourself. Ul let you in on a scoop from Scoop. sus1br: Did they teach you construction like that at Princeton? scoo®: I dig you, Susan. I dig you a lot eID: Can we say “ke” instead of “dig”? I mean, while I am standing up for myself scoor: I like you, Susan. You're prissy, foe eip1: Well, I don't know if like you. scoor: Why should you like me? I'm arrogant and dificult, But I'm very smart. So you'll put up with me. What vunrp1: What what? scoop: You'te thinking something. bHeIDE: Actually, Twas wondering what mothers teach their sons that they never bother co tell che daughters. scoor: What do you mean? EIDE: I mean, why the fuck are you so confident? scoop: Ten points for Susan! HEIDI: Have we moved on to points, from leter grades? scoor: There's hope for you. You're going to be quite the ltd politico, sib: I'm planning to be an art historian, ‘coor: Please don't say that. Thats really suburban, ‘Hz1Dr; I'm interested in the individual expression ofthe hu- ‘man soul. Content over form. scoop: But I thought the point of contemporary artis that the form becomes the content, Look at Albers’ “Homage to a Square.” Three superimposed squares, and we're but I ike you a 172 The Hei Chronic and Other Plas talking. perception, integration, isolation. Just three squares, and they reflect the gross inadequacies of our Society. Therefore, your argument is inconclusive. eupi: Don't give me a Marxist imterpretation of Albers, scoor: You really are one fuck ofa liberal! Next thing youl tell me is how much Herbert Marcuse means t0 you. What? etot: Nothing. ‘coor: I don’ fuckin’ believe itt You've never read Marcuse! prot: Isn't Paul Newman waiting for you, Scoop? coor: Isn't your friend wating for you, Heidi? Jumps up ‘Basket, Rosenbaum. Thirty points. The score is 30 to 10. erp: How did you kiow my name? scoor; [told you I'm a journalist. Do you really think any ‘thing—takes oud the paper to show her—gets by the Lib ‘erated Earth New! verDr: That's your paper? scooP: Editor in chief, Circulation 362 and growing. Okay. “Truth, [know your name is Heid because it says so right bhere—looks in the paper and then up at her breast—on your name tag, Heidi H-ELD1. etot: Ont scoor: Ohh! ‘uetol: Ob, well... Begins to pull she tg off scooP: You don't have to look atthe floor. scoor: I've got nothing on you so far. Why ate you so afraid to speak up? riot: Pm not afraid to speak up. scoor: Heidi, you don't understand. You're the one this is all going co affect. You're the one whose life this wil all change significantly. Has to, You're avery serious perso. The Hei Chroiies 1a In fact, you're the unfortunate contradiction in erms—a serious good person. And I enry you that. erp: Thank you. | guess. scooP: Yup. You'll be one of those rue believers who didn't ‘understand it was all just a phase. The Trotskyite daring Lenin's New Economic Policy. The worshiper of fallen images in Christian Judea, sueipi: And you? scoop: Me? I told you. I'm just here to have a look around, nipt: What if you get let behind? scoor: You mean if after al the politics, you gitls decide to 0 “hog wild,” demanding equal pay, equal rights, equal orgasms? twe1Dt: All people deserve to full their potential scoor: Absolutly. HEIDI: I meaa, why should some well-educated woman waste her life making you and your children tuna-sh sand: wiches? scoor: She shouldn't, And, for that matter, neither should 1 badly educated woman, Heidel, I'm on your side sHe1Dr: Don't call me Heidella. I's diminutive. scoor: You mean “demeaning,” and i's not. I's endearing. HEIDE: You're deliberately eluding my train of thought scoor: No. I'm subtly asking you to goto bed with me. - before I go meet Paul Newman. Pause HEIDI: Oh, scoop: You have every right to say no. I can't guarantee solute equality of experience. err: [can take care of myself, hanks. 16 “Th Heid Chronicles and Othe Ply scoop: You've already got the lingo down, kiddo. Prety soon you'll be burning bras. HEIDI: Maybe I'll go “hog wild.” scooP: Ihope #0. Are you a virgin? HEIDI: Excuse me? scooP: If you choose to accept this mission, I'l ind out one ‘way ofthe other ‘ne1D1, embarrassed: That's okay. coor: Why do you cover your mouth when you talk abost eit: Hygiene. scoor takes her hand away from her mouth: | told you You're a serious good person. And I'm honored. Maybe you'll think fondly ofall thsi some Proustian haze when you're thirty-five and picking your daughter up from Eth ical Culture School to escort her to cello class before dinner with Dad, the noted psychiatrist and Mieé poster collector. te1Di: No, Pl be busy torching lingerie scoor: Maybe I'll remember it one day when I'm thieey-fve and watching my son'sperformanceas Jonny Appleseed. Maybe I'l look at my wife, who puts up with me, and flash on when I was editor ofa crackpot liberal newspaper and thought I could fall n love with Heidi Holland, the canvassing art historian, that fst snowy night in Man chester, New Hampshire, 1968. suEIDI: Are you guarding the chips? scoor: No. I trust ther, He kisses her passionately as “White Rabbit" begins playing. scoor then looks at his watch ad gathers hie coat. He begine to leave the room: and turns back t0 HEIDI. She looks at ber swatch and follows hin. He clenches his fit in success. The Heidi Chronicle 17s Scene 3 1970, Church basement in Ann Arbor, Michigan. yt, forty, immaculate in a whale turtleneck and a pleated skirt, and RAN, thirty, in army fatigues, ae setting out Danish pastry, cookies, and coffe. Aretha Franklin's “Respect” blares in the background. exan dances and sings along, “Sock it t0 me, sock it to me.” suit: Fran, I think it would be mach cozir if we met next time in one of ovr homes. ‘rea; Jil, we'te not the fuck’ Junior League, JUL: T just hope that everyone is comfortable here. Begins ‘moving chair. Maybe we should rearrange things and make a conversation nook. Raw: You sound like my fuckin’ mother. She decorates with sheets. Begins 10 arrange chairs, BECKY, seventeen, in blue jeans and a poncho, enters while they are moving chars and singing. Raw looks up, notices her: Hi there. piu Hi aan: We're just getting into the mood. Shuts off the music. All right, A-RE-THA! ru: Can we help you? BECKY: Sure. I'm Becky Groves. I saw your poster upstairs. JUL and eRAN immediately go over to BECKY and embrace her. 1%6 “The Hed Chronic nd Other Pas siti: Becky, 'm Jil and I'm 40 glad you came. nan; Becky, 'm Fran and I'm zo gad you came. JILL takes a plat of cookies over to BECKY: Becky, how about ' peanut-butter granola cookie? We each take turns pro- viding the goodies. RAN: “Goodies?” Jil, we'te also not the fuckin’ Brownies. ‘ecxy: I sometimes call sweets and cookies “goodies.” siti: Thank you, Becky. san: Becky, plese let me know if come on alice strong. Tm tying to work through that. siti: Love you, Fan. etDt and susan enter. Both are wearing blue jeans, biking boots, and down jackets. susan: Sorry. Sorry. Im sorry we're late. Those snowdits are mammoth raw: Bigger than Aphrodite's sis RAN and JILL embrace SUSAN. J: Hello, Susan. 1's s0 good to see you. ‘aN: Hello, Susan, I's s0 good 10 see you. susaw: This is my friend Heid. She's visiting for the week. JILL embraces wetDt: Hello, Hedi Is 20 good to see you wan: This is Becky, whois joining us this week. sas embraces nicky’: Hello, Becky. It's s0 good to see you ‘raw: All right! Let the good times rol! They all eit down. wetD1 moves her chair and sits slighty outside the circle, behind FRAN. sit; Pd like to call to order this meeting of the Huron Street ‘Ann Arbor Consciousness-raising Rap Group. Heidi Becky, since you're new, I want you to know that every thing here is very fre, very easy. I've been a member of the group for about five months now. I'm a mother of four daughters, and when | frst camel was, as Fran would say, fackin” Hostess cupcake." Everybody in my life— ry husband, Bill, my daughters, my friends—could lean ‘on perfect fil. The only problem was, there was one person I had completely forgotten ro take cate of srcey: Who was that? i: Jil ecxy: I fel that way sometimes. ‘susan: We all feel that way sometimes. secey: You do? nan: No. We grow up on fuckin’ “Father Knows Best” and we think we have rights! You think Jane Wyatt demanded clitoral satisfaction from Robert Young? No fuckin’ way. susan: [ove you, Fran JILL Love you too, Fan, RAN primps: Maybe I should deess for combat mote often. SUSAN: Fran, sometimes I think you ler your defensiveness ‘overwhelm your tremendous vulnerability ‘mut: Becky, Heidi, you should know that Fran isa gited physics, and a lesbian, and we support her choice ro sleep with women. rcxr: Sut, ‘Fax: Do you support my choice, Heidi? ‘Mm0Dr: I'm just visting reas: [ have to say right now that T don’t feel comfortable ‘with a “jus visting” in the room, I need to be able 10

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