ISNTTIT ROMANTIC. i compe TINE enn ISN'T IT ROMANTIC was presented by Playwrights Hori- zons, in New York City, December 15, 1983. It was directed by Gerald Gutierrez; the scenery was desi ‘Andrew Jack- “The Engl lnguge sock and amaeut nage performance sighs in he Uni Se % SISA ES PP RonnatTig ae ones cacy ‘Basouatists PLAY SERVICE, INC, 440 Park Avnoe South, New Yoo NY 10016, Bier wer pon of DRAMATISTS PLAY SERVICE INC nd ppg sui fe, Inguies conaing all ober sight shoud be aldraned to Imemavion! Cree Miaponen cy 40 West 70h Sect New York NY 1003. prodveed ISN'T IT ROMANTIC Of Broadway in 1983. ISN"TIT ROMANTIC ws commlaioned by the Phoenix Tear in 1979, 1 ‘andan cater esion ofthe ply was produced by them in 1981, ‘SPECIAL NOTE ON SONGS AND RECORDINGS Fer performances of copyrighted song, srangemens or recordings mentioned inthis Pay, the permation of the copyright owner) matt be obtained, Other song, aringemen ot recordings may be subritated provided permison fiom the epyight owner) of auch ong wangerient or readings is obained; oF songs arrangements or recordings intheISN’T IT ROMANTIC For Andid and Gory twho made it possible PROLOGUE! for me to dedicate this play ‘Music and sounds of Manhattan fade into a voice on a phone To My Prats tn, Pan malin gman esto ha 4s no action during thse prologue messages. Characters JANIE. Hi, this is Janie Blumberg. I'm not in right now, but if (in order of eppearance) You leave me yout name and number I should be able to get Janie Blumberg Harriet Cornwall Marty Sterling ‘Tasha Blumberg Simon Blumberg Lillian Cornvall, Paul Stuart Viadimie ‘The play takes place in 1983 in New York, New York. ‘The action is set in various locations in Manhattan and the set should reflect the variety of locales. ete production at laywrghs Haisont Saded during the phone mesnnge segment “See Special Note on copyright page. 5ACT ONE Scene One. Central Park South. Janie Blumberg, 28, is sitting on a park seach, Her appearance isa litle hooky, a litle sued, litle ‘the coer gird onthe Best werking women's magazin, She is ae ci ey it, harming nd ely gee, Hari took a year off in Tealy to look at pictu cold, aloof, distant. Very sexy. Can T JANIE. Sure. HARRIET, I can't stay for breakfast. I told him I could come HARRIET, Of course there's absolutely no reason why you should believe me. JANIE. You have an M.B.A. from Harvard, Of course I believe you. HARRIET. You sound like your mother. JANIE. No. Tasha would believe you cause you're thin. Look su. You look ke a Vermeer and Took ike extra in Poem HARRIET. Janie, I think someone's watching us. JANIE. (Fluffing her hair.) Do T look all right? You know what I resent? 6 HARRIET. What? JANIE. Just about everything except you. I resent having to ;pay the phone bill, be nice to the super, find meaningful work, {all in love, get hurt, all of srry the pervert who's staring at guess I could always move back fers in something useful like “Women's Pottery”. Do a litte freelance writing. Oh God, it's ‘exhausting. HARRIET, He's coming. (Mery Sterling enters vt. Janies mother's dream come true. A prince and a bit ofa card.) tainable, Frightened to death, but attainable. I'm not attracted 10 cold people anymore, Who needs that kind of trouble? HARRIET. I don’t know. MARTY. So what do you do? JANIE, Oh, I scream here on Central Park South. I'm taking a bbreak now. HARRIET. Janie and I just moved back to New York together. Well, atthe same time. I lived in Italy for a year and Janie was lingering in Brookline, Mass, MARTY. Good old Brookline. Ever go to Jack and Marian’s restaurant? Unbelievable Kesha Varnishka. HARRIET, Excuse me. MARTY. Kasha. Little noodle bow ties with barley. Uh, my father’s in the restaurant business. Are you familiar with Yee JANIE, WellHARRIET. Yup. That's her brother, Ben. MARTY. I went to Camp Kibbutz with Ben Blumberg when I ‘was nine, JANIE. Yup, that’s my brother, Ben. MARTY. Would you tell your brother Murray Schlimovite says hello. JANIE, Who's Murray Schlimovitz? MARTY. Me. Before my father owned the Sterling Tavernes, he owned The Schlimovitz Kosher Dairy Restaurants in Brook: lyn. But around 15 years ago all the Schlimovitz Restaurants burned down. So for the sake of the family and the business, we changed our names before I entered Harvard. Nice to see you. Bye. (Marty eis.) HARRIET. What were you doing? “Maybe you two should sit ray Marty view. My friend, Joe Stine, the headhunter, says they only have you back if they're going to hire you. JANIE. Well; if you don't marry Marty Sterling, Tl marry ‘him, Wait til I tell my parents Iran into him. Tasha Blumberg JANIE. Sure, If T can get myself up. HARRIET, Do I look like a successful single woman? JANIE. Well. HARRIET. What, well? JANIE. Hattie, you know the wisdom of Tasha Blumberg? HARRIET. Which one? JANIE. Always look nice when you throw out the garbage, you ‘never know who you might meet. Put on your jacket, sweet- heart, Always walk with your head up and chest out. Think “Lam*. HARRIET, I am, (Putting on jack, iting her head and chest.) JANIE. Now I can be seen with you. (Jani slumps. They exit arm in arm.) END SCENE ‘TELEPHONE MACHINE #2 HARRIET. (Ring. Bus.) Janie, I got the job. Sorry I got you up so early. [love you. Bye, (Ske sng.) “School bells ring and childrer sing, its back to Robert Hall again.” Bye. (Hang up.) JULIE STERN, (Bep.) Miss Bloomberg. This is Julie Stern at ‘Woman's Work Magazine. We read your portfolio. Our readers feel you haven't experienced enough women’s pain to ‘our market. Thank you. (Hang up.)ACT ONE Scene Two Jonids opartment. She is asleep on the soa. Tasha Blumberg ‘enlers with an attacke case. Tasha is an unteditonal Jewish mother with traditional values. She looks over the apartment with disdain. She sets care dwn on the boxes and sits next lo Janie on the sofa. gratulations on your new apartment. JANIE. "TASHA. Your father and I came over to celebrate your new apartment. What kind of place is this? There isn a doorman. Is this place safe for you? JANIE. Ob Jesus, what are you doing here? T came to celebrate. You know your mother. I like T came over yesterday and you weren't home #0 hhad the super give me the key. I thought some- thing happened with the movers. JANIE. Nothing happened with the movers. Mother, it’s seven clock in the morning. ‘TASHA. Inn't that nice. You can have breakfast with me and your father. (Tasha opens the attache case and tums on an ecrbics lape. Ske stars to warm up.) JANIE. What are you doing? TASHA. Tm up for my morning dance class. Why don’t you get u it with me? Ifyou exercised, you'd have the energy to unpack your crates. (Tasha continues lo exercise.) JANIE. Mother, Ive only been here two nights, Fl unpack them later. TASHA. Janie, people who wait, wait I like go-go. Watch, Til show you how to do it (Ske dees.) The gis at dancing school ad- ‘ire me so much. They tell me they wish their mothers had so ‘much energy. 10 JANIE. Their mothers probably wear clothes. "TASHA. Why are you so modest? JANIE. Tm your daughter. T shouldn't be seeing you in tie- ‘dyed underwear. TASHA. You're making fun of me. "TASHA. I sent him to pick up some coffee. JANIE. Do the girls at dancing think its strange you order up breakftat om a cafes shop every mers TASHA, Sweetheart, when you get married, you make break- fast at your house and invite me. Anything you make is fine. You want to make sausages, [ll eat sausages. Do you know what sausages are made of? (Janie les back on sofa.) Janie, please don’t lie there like a body. You have everything to look forward not chaty enters with bog w/eaffee @ sandwich.) Janie, is this place safe for you? There isn't a doorman. Why don’t you put in the SEMON You want to ple this egg sandwich widh me? TASHA. Simon, please, there's a proper way to do this. First ‘we have to toast Janie's new apartment. (Tasha hands out the ‘offes.) T remember my first apartment in New York, Of une, Ket much yoonger then you sod U wes mari 0 Your father ant have fo brag up four cfs. JANIE. You want me to have a roommate? uTASHA. I want you to be happy: Talk to her Simon like a {father and a daughter. Maybe she wants to tell you her prob- lems. JANIB. I don’t have any problems. How's the business, Dad? ‘SIMON. Your father always with the business right? You want to see something, Janie? (He pulls out‘an envelope.) Smell this. JANIE. (Smells the exoedope.) Tes nice. ‘SIMON. I can't make them fast enough. And then those jerks ‘hip me a million envelopes without any perfume. You know 0 do to the Valentine season? Your father ie) TASHA, Look at thse thighs, Tim dying. (Ste continues dancing.) ‘SIMON. Whats his name called our house last night looking, for you. ‘TASHA. (Stops dancing.) Who? Who? 2 ‘SIMON. The pop-over boy. He called Ben caune they went to summer camp together. And Ben didn't have your new number nice boy. He said to give you a message to hospital. He was in the emergency room at JANIE, Don't get too excited. He probably wants Harriet number. ‘TASHA. What does Harriet have to do with the pop-over boy? JANIE. He’s her friend. "TASHA. Why do you be of attitude is that? (Tasha yourself all the time? What kind .) Why don’t you walk into a ‘chest out and think, “I am", right, Simon? ‘TASHA. Sweetheart, stop thinking about those envelopes and look at your daughter. From a man’s point of view, isn’t that ‘some beautiful face? JANIE. I am beautiful. People stop each other on the street to TASHA. The girls at dancing say you can always have a good time with Tasha, Honey, it’s wonderful to see you. Thank you for having us, I loved your cooking, and I'm sure you'd like me 3to stay and chat all day but your father isn't the only one who has to get to work. 'm demonstrating in class today. SIMON. Have a nice day, Janie. (He kisses Janie and starts to ait) ‘TARA. Where are you going? Give her some money shel buy a lock. SIMON. (Giving Janie some bills.) Honey, I'm sorry if I seem preoccupied. Mother walks me to work every morning now. ‘Once I walk'a few blocks, my mind gets stimulated. You know, Janie, 1 used to have the same trouble with my legs as you do. I ‘would have to sit in bed and rest all the time. But you know what makes the difference? Ripple soles. You get a pair of shoes Uke shen and then you're in busines (2 gt Jai mare bil) JANIE. (Pats Tasha’ head.) ¥ will call him, "TASHA. Am I getting shorter? I'm getting shorter. JANIE. You're fine mother. (Janie flops back onto sof.) "TASHA. Body, please, don't get back into the bed. You have ‘everything ahead of you. You can have a family, you can have a ‘eareer, and you can learn to tap dance. JANIE. Are you taking tap dancing? "TASHA. Ies part of life. ll teach you. (She laps quite smoothly, calling out the steps, lop, bel, lop, touch,” and ends in a “Tada” ) ‘SIMON. (1 Tate dance) told your mother she could run her own dancing school. TASHA. (Ends dance.) Two lessons, SIMON. Don't you think your mother looks nice? That's anew (Tasha stats to go.) Remember. Ripple soles. (He ext Janie lops back on sofa.) JANIE. Oy! "TASHA. Janie, please, only old ladies sigh. Oy! (Ste exit.) END SCENE “ ACT ONE Scene Tunez ills Coals fe, Lilien Carl ip viously Dick, our only choice is to go national t care what tome kid in your department says fold on a minute, will you. (Ste pushes a button sete plone) Lien Comal (She yells of sage.) Pauline, no one's picking up the phone here. (Sie hits another button.) Dick, trust me on this one. I'm not being too harsh, No, I didn't think. baby, it’s nice to see is, HARRIET. Youle oshing wel (79H LILLIAN, What brings you here? Would you like me to order {you a salad or some lunch? I eall Tom and get us into the Four is allright. T have to get back to the office, nme Hari tats tata andlor then, hn LILLIAN. Hmmmm?HARRIET. We'e changing the test market from Sacramento to Syracuse, LILLIAN. Makes sense. And your personal life? HARRIET. Mother! is that better or worse than fine? Janie’s back in New York and that’s nice. from Harvard, Joe Stine, the headhunter. LILLIAN. Sweet though. No you're right. A litte dull. HARRIET, And I'm sort of interested in some guy in my of- fice. LILLIAN. Is that a good idea? HARRIET, I'm not seeing him. I'm just attracted to him. LILLIAN. Sounds like a pleasant arrangement. What does he do? HARRIET. Mother! LILLIAN. His job, baby, what does he do? HARRIET. He docs all right. He's my boss's boss, LILLIAN. How old is he? HARRIET. Around forty LILLIAN. Around forty? He should be further along than your ‘boss's boss. HARRIET. Happy Birthday mother. LILLIAN. Harriet, you can ask me questions about my life right afier 'm finished with yours. You're not making this easy, baby. can be my date. HARRIET. Mother, do you remember when you would take ‘me to Group Sales Meetings in Barbados? And I would appear in Mary Janes as your date at candle lit dinners by the ocean. LILLIAN. You were a wonderful date. Interesting, attractive, bright. Certainly more suitable than what was available, 16 HARRIET, Mother, your so eran. Ubope Pm going tbe al it. LILLIAN. You'll be fine. Don't dwell on it. Your generation is absolutely fascinated with itself. Think about science? Tech- nology is going to change our world significantly. So, do you want to come? HARRIET, Sure. LILLIAN. God, I dread going to these kinds of things. HARRIET. Me too. LILLIAN. Fim not being too harsh? HARRIET. No, you're not bei rah, LILLIAN. Comb your hair, baby. [like it better off your face. END SCENE ACT ONE ‘Scene Four alian Restaurant, Marly and Janie seated. MARTY. Do you want dessert? Because if you don’t like the dessert here, my father is giving away free pop-overs in the Paramus Mall. So what do you think you're going to do now? JANIE, With my life? At this restaurant? Tonight? MARTY. Now that you've come home. JANIE. I don't know. Retire. I sent aivay for some brochures trom Heritage Village. MARTY. I think about retirement. Not that I don't like being a doctor, but I don't want to get trapped. You know what I mean? First, you get the cuisinart, then the bigger apartment, and then the Mercedes, and the next thing you know, you're charg- ing $250 to Mrs, Feldman, with the rash, to tell her, “Mrs. Feldman, you have a rash”, JANIE. Whenever I get most depressed, I think I should take ‘charge of my life and apply to medical school. ‘Then I remember that T once identified a liver ax a heart. Really, 1 demonstrated the right auricle and the left ventile on this liver. aMARTY. I eft medical school after my first year to do earpen- tty for a year. JANIE, Your father must have liked that. MARTY. He wants me to be happy. Tim very close to my patents. JANIE. That’s nice. (Pause) I'm sorry. I was thinking about ‘my parents, MARTY. Are you close to them? JANIE, [na way. She's a dancer and he's very sweet. Ie com- plicated. MARTY, My father started out in show business. He used to tell jokes at Grossingers. Thha's why he does the pop-over com- meveials himself. Now he's the Toastmaster General for the York or Tel Aviv. JANIE, Ob, MARTY. Why, are you anti-lsracl? JANIE, No. Of course not. I preferred the people my parent's ‘age there to the younger ones. The people my age intimidated ime. P'd be sleeping and they'd go off to turn deserts into forests. ‘The older ones had more humanity. They rested sometimes. MARTY. T think Jewish families should have at least three children. JANIE. Excuse me? ‘MARTY. Its a dying religion. Intermarriage, Ivy League Col- leges, the New York Review of Books. ( Pause.) So, how's Har- riet? JANIE, She's fine, MARTY. She's not sweet like you. JANIE. Harriet is wonderful. MARTY. She's lke those medical schoo! girls, They/re nice but they bite your balls off. You think Israelis have no sense of humor. Believe me, women medical students are worse. (He later Jani¢: hand.) Janie, you're one of the few real people I've ever met in afong time. Most of the women I meet aren't funny. 18 JANIE. (Quicky.) Marty, I think I should tell you I find the JAIME ri Many, nk ta ye i discriminatory. I support the concept of Israel and would prob- ably be a much happier, healthier person if I could go out into it is wondering why they have swizzle sticks in the the Godfather.) I got connections i (itor tts Jni hed) Sl ake You JANIE. What? MARTY. Want to go home? JANIE, No. My interior decorator is there. MARTY. Want wo come fo my parents houte? They should be ner form ht. Afier Paramus, there's a UJA teatimonial din- for my ime. Xmen ohm ae he been ving away 50 = 4, they alos Seay much den they almost revoked hit JTANTE. Tes weird going to someone's parents houte, Should "we have mortgages and children? " .ACT ONE Scene Five. down to 3.x. of sof, stops and poset. PAUL. You remind me a lot of my firet wife. HARRIET. Mr. Stuart, would you like something to drink? I don't have much. I just moved here, PAUL. Scotch on the rocks. My first wife hated office Christmas parties. HARRIET. I'm sorry. Did I make you leave? PAUL. Definitely not. You're one of the most amusing people Tve met at Colgate in a long time. Can I ell you something asa fiend? You don't have to call me Mr. Stuart. HARRIET. I think its funny your name is Paul Stuart. Ifyour ‘name was Brooks Brothers, Pd call you Mr. Brothers. (Ske hands shim napkin with erackr and plat.) Pate? PAUL. (le tol it.) Where are you from originally? (Paul cracks up.) Have you ever noticed when you try a conversation opener like, “Where are you from originally, you always sound like 2 2 HARRIET. 1 grew up in New York, My mother sl lives on East 69th Street. PAUL. East 63th Street. You were a rich kid. HARRIET. No. Upper middle class. PAUL. Only rich kids know what upper middle clas is. HARRIET. Well, I wasn't spoiled. Definitely not spoiled. PAUL. Your father was a lawyer? HARRIET. Yup. PAUL. Jesus, I interviewed with your mother once. That ‘women has bails, Do you know what it took for a woman at her time to get as far as she did? 20 HARRIET. Yup. PAUL. Poor baby, I bet you do. (He lights her cigarette.) Would rte op yous ei Fra ithe ed ind, you get tense too easily. (Tizy both start laughing.) Why are you laughing? eae HARRIET. You're amazing. First you tell me how amusing I am, then you want to spoil me and now you tell me what a good mind I have. What are you going to do next? Atk me to come up and see your etchings? (Pes! moves aay this drink.) Ym sorry. This ia making me a little uncomfortable. Office romance woman so no one will know. Is that an incentive? HARRIET. (Rises.) Cathy? Do you live with Cathy? PAUL. How do you know Cathy? HARRIET. She calls the office three times a day. PAUL. ( Riss.) You've been paying attention. HARRIET, Tim a smart kid. PAUL. (Grobling Hari a.) Smart woman, WRRIET. (Pulling away.) Paul, 1 generally try n¢ in telved wid unevallle mon. nn 7 HARRIET. Are you all right? PAUL. Jesus, were there any nuts in that pate? My doctor told ‘me not fo eat nuts. I've got this stomach thing. I tell you, when wonderful for you Harriet. You'll try to change me, youll ne tae ceetioe e marry some nice investment banker and make happy. am HARRIET. I don't think my mother particularly wants me to get married. I dont particularly want me to get married. PAUL. You'l change your mind. Career girls, when they hit athirty, all change their minds. Look, whatever is happening here, we better do it quickly because Cathy is expecting me home with the laundry at 11:00. I'm very attracted to you, Har- viet. HARRIET, 40% of the people at McKinsey, huh? PAUL. And those are just the ones crazy enough to fill out the questionnaire. HARRIET. Gct out of her. ; PAUL. C’mere. Deal from strength, Harriet. Men really like strong women. END SCENE ACT ONE Scene Six Janie in her apartment, typing. Doorbell rings, Janie opens morning it was time for you to unpack. Did I walk in with my right foot first? JANIE. I don't know. | HARRIET, Then I have to do it again. (Ske exits. Doorbell rings Joie opens door and Harriet reenters.) Congratulations on your ‘new apartment! JANIE. What are you doing? HARRIET, I looked all Now, what are we going to do with these crates? (Hart picks up crocs.) JANIE. Harriet, what are you doing? You're lying around the Saturday. tell you that in the Oxford (Eniers empty handed.) It’s Paul Stuarts day at home with Cathy. You want me to put the typewriter in the bedroom? (Ste picks up pewter.) ; JANIE, (Siepr hr.) No, Tm working. Marty's father hired an ‘actor to play a popover at the opening of the New Sterling Tavern in the Green Acres Mall and Mary got me a job writing the pop-over’s opening remarks. Hattie, don't you mind not seeing Paul on the weekend? 1 Stuart is fine until I JANIE. 1 you that so you'd sit down. (Janie sis.) HARRIET. So, is it something with Marty? JANIE, He decided to open his practice here next month and he's invited me to his paren many Ma marry HARRIET. I've always hated women who sit around talking about how there are no men in New York. Or everyone is gay or married. JANIE. What docs this have to do with my marrying Marty? HARRIET. These women would tell you, “Marry him. He's straight, he'll make a nice living, he'll be a good father.” Janie, what women like Cynthia Peterson don't know is, no matter hhow lonely you get or how many birth announcements you receive, the trick is not to get frightened. There's nothing wrong, with being alone, 2JANIE, Harriet, do you remember when we would listen to “My Guy" and iron our hair before going to a High School dance? HARRIET. Oh God, I've blocked all of that. JANIE. I don't know. (Janie answers door. Vladimir around 30, a ‘Russian taxicab drier, ory impresred with copialsm is ther, holding & ar. The bar has safari motif.) you have the ight JANIE. Do you apartment? ‘VLADIMIR. You are Miss Blumberg? JANIE. Yes. VLADIMIR. For you. I am Vladimir. I am filmmaker from Moscow. I drive taxi now. (He enters witk bar. He sees Herre.) Hello. Hi. SIMON. (Briers with stool.) Janie, do you like this bar? Helo, Harriet. We thought you might need something to entertain at home. "TASHA. (Eaters with stol.) Don’t force her Simon. Hello dar ling. (Notices Hamiz.) Harriet, you look terrific. Are you seeing JANIE. That's nice. Do you like it here? cs TASHA. That does IF you ie people you speak every language. 1 long in any county. If you smile, saa ‘You're kidding. This man is here six weeks and he gets and a dancing mother-in-law. HARRIET & JANIE. Good-bye. Gaal aye Nice wo sce you. VLADIMIR. (To Hari.) Good-bye. (To Janie.) Good-bye. (He exits.) JANIE. One of these days, I'm going to write a book, My Mother “Herel. Pm sorry, Hattie. That was the only way I could get them out of here. HARRIET. (Looking at Bor.) Did Tasha go on safari? JANIE. No, she went hunting at K-Mart, Harriet, they brought ‘over a Russian taxi cab driver for me to marry! Maybe I should move back to Brookline tomorrow. 5HARRIET. You can't leave me here with Lillian and Paul ‘Stuart. I brought Lillian a birthday present that I bought with ‘my last lire in Italy. She hardly opened it. She couldn't wait 10 get back tothe intercom to harass Pauline. Janic, sit, it’s the day Of rest. Now you can open your present. (Harriet brings her the bag ‘and thy sit on the sof. Janie puts the bow on Ber head and takes out @ loaf of Hellah bread, box of hasher salt, suger, matches and a candle.) JANIE. What kind of diet are you on? HARRIET. According to the Oxford Companion, this is what Bread— JANIE. I have that. HARRIET, And a candle to light the way. (She lights candle.) Janie, you know what T remember more than those mixers? JANIE. What? (She puts her erm on Harriet shoulder.) -n you and I would meet for dinner ‘meeting and Tasha only had Brewers Yeast in thought, well, I do have a family. that sill helps alot. [always assumed chs up sugar.) Le Chaim. (They clink the boxer.) END SCENE ‘TELEPHONE MACHINE #3 HART FARRELL, (Beep) Janie Blumberg. This is Hart Far~ rell in the personnel department at Sesame Street. A temp in ‘our office recognized your name from a part he played in the Green Acres Mall. I heard your pieces. I'm going to pass them ‘on to Tajlei Kaplan Singleberry. Nice song Luv. (Phone hangs up) CYNTHIA PETERSON. (Beep. Cong.) Janie, ita Cynthia. ‘Thank God you have your machine on. Far home, I'm broke, amy trainer is on retreat, I've been rejected by every man on the 6 Upper West Side and I'm about to get drunk. Janie, do you know a good dry cleaner? END SCENE ACT ONE Scene Seven Sonie's apartment, 1. Sofa and TV on a box. Harrie’ living ‘oom/Bedroors, x. Foldout bed, otoman, TV. Paul @ Harriet in bed. Light up on Jones apartment. JANIE. (Enuering.) [fucked up Chanukah. "MARTY. (Entering.) You were sweet. JANIE. I'm sorry I spilled horseradish on your sister-in-law. "They have a nice baby. Really, Schlomo is very sweet. I'm reflective and eager to please interpretive dance. (She exits into sweatshirt ond eoralls.) That didn't come out ri JANIE, Thats O.K. MARTY. You know something nice: fh or she'll work with the elderly — and she won't conquer the world, but shell have a nice life. (Pause.) Monkey, I don’t want t0 be alone. But I think it’s 7