doing.
The two of them scramble up the fig tree. A beat. The branches open, and we see them now
.
MARY : I can’t believe you did that.
LILLIAN : I’m amazingly strong for my age.
MARY
shakes her head in wonderment
.
I saved you.
MARY : Hey, wait a minute. It was
my
uncle, and
my
house—
LILLIAN : What are friends for?
MARY : —and
my
story. And now you’re the queen of it. You’re always doing that!
LILLIAN : Doing what?
MARY : You always take over—
LILLIAN : I do not.
MARY : You do, too.
LILLIAN : No I don’t—
MARY : Yes you do. Look at us—we’re hiding in
your
fig tree. Guess what? There are no fig trees in Minneapolis!
The branches close over them. We hear a terrible thrashing noise
. MARY
falls from the tree. Splat
.
BLACKOUT
.
Scene 2
“Fact & Fiction”
FACT :
I’D LIKE TO INTRODUCE MYSELF
THE NAME IS FRANKIE FACT
FICTION :
HI, I’M DICK FICTION
AND FRANKLY, THAT’S A FACT
BOTH :
AT TIMES WE TEND TO TANGLE
THERE’S FRICTION IN THE ACT
FACT :
’CAUSE “FICTION” PLAYS IT FAST AND LOOSE
FICTION :
AND “FACT” IS SO EXACT
BOTH :
BUT WHEN WE DO OUR NUMBER
IT’S SOMETHING OF AN ART
AND NOW AND THEN THEY EVEN SAY
IT’S TOUGH TO TELL US APART
FACT :
FACT
FICTION :
AND FICTION
BOTH :
COMIN’ TO YA WITH A SONG AND DANCE
TAKIN’ FOCUS WHILE WE GOT THE CHANCE
SEE THE DAPPER DANCIN’ FELLERS
EACH CAN BE THE BEST O’ SELLERS
FACT :
FACT
FICTION :
AND FICTION
WHAT’S IT LIKE TO BE IN SUCH GOOD TASTE?
FACT :
HOW’S IT FEEL TO KNOW YOU’RE “LOOSELY BASED”?
FICTION :
FACT’LL OFTEN ACT OFFICIOUS
FACT :
LEAST I’LL NEVER BE FICTITIOUS
BOTH :
WE’VE BEEN BOOKED AT THE PALACE
WE’VE BEEN BOOKED IN DULUTH
FICTION :
ONCE I SOLOED IN DALLAS
FACT :
THINLY DISGUISING THE TRUTH
BOTH :
WE’RE
FACT :
FACT
FICTION :
AND FICTION
BOTH :
AND SINCE YOU’RE COMFORTABLE WITH WHICH IS WHICH
SOME PERFORMANCES WE PULL A SWITCHEROO
FACT MAY IN FACT BE FICTION
OUT OF HIS JURISDICTION
SOMETIMES, IN FACT, THERE’S FICTION, TOO
FICTION :
WHAT IF I USE POETIC LICENSE?
FACT :
BETTER TO USE A NAKED FACT
FICTION :
WHAT IF IT NEEDS EMBELLISHING?
FACT :
A FRAUD IS A FRAUD
FICTION :
WHAT IF IT TAKES A FIB
TO GET THE FOLKS TO APPLAUD?
FACT :
[To the audience.]
PLEASE, I BEG YA, DON’T PROVOKE ’IM
ALL YOU’LL EVER GET IS HOKUM
FICTION :
WHAT IF I CHANGE THE NAMES A LITTLE?
WHAT IF I FEEL THE NEED FOR TACT?
WHAT IF HER NAME IS EVA AND I CALL HER YVONNE?
FACT :
WHY WOULD YOU CALL IT FICTION WHEN THE FICTION IS
“NON”?
FICTION :
FACT IS GETTIN’ KIND O’ CRANKY
BOTH :
SAIL ALONG WITH DICK AND FRANKIE
BOTH :
WE’VE BEEN BOOKED IN THE CACTUS
WE’VE BEEN BOOKED IN THE SNOW
FACT :
I’M A STICKLER FOR PRACTICE
FICTION :
I MAKE IT UP AS I GO
[They dance.]
BOTH :
IT’S WORTH ALL THE CONSTANT FRICTION
WORTH EV’RY CONTRADICTION
WORTH IT WHEN FACT AND FICTION BOW
WHEN WE TAKE A BOW
LET’S HEAR IT FOR FACT AND FICTION NOW
Scene 3
Rich and famous
.
LILLIAN : Rich.
MARY : Famous.
LILLIAN : Much more famous.
MARY : Much less rich.
LILLIAN : You said it, sister.
MARY : And much less famous. But famous.
[Beat.]
In 1963 I published a best-seller called
The Group
. It was made into a movie. It was a novel about a group of women who’d gone to Vassar together—
LILLIAN : —viciously reviewed by some of your closest friends. In 1969 I published my first memoir—
MARY : You were washed up as a playwright—
LILLIAN : It was a best-seller called
An Unfinished Woman
—
MARY : I went to Vietnam and wrote about the war—
LILLIAN : No one read it. I wrote another best-selling memoir called
Pentimento
.
MARY : “Pentimento” is Italian for “I couldn’t really remember, so I just made it up.”
LILLIAN : A chapter in it, called “Julia,” was made into a movie—
MARY : We’ll get to that shortly. I went to Washington to write about Watergate—
LILLIAN : Did you? I’d forgotten that if I ever knew it. I wrote another