Monday, August 06, 2012

Survival Guide for Congregations - St. Stephen's, Espanola


First, a Bible Quiz for you:
What is the first mention of baseball in the Bible?
“In the big-inning.”

Who is the shortest person in the Bible?
“Nehemiah . . . Bildad the Shuhite . . . Peter, he was so short he slept on his watch.”

Why was there only bread and wine at the Last Supper?
“It was a pot luck and only guys were invited.”

Next question is not really from the Bible . . but it is an important one:
Who is the absolute hardest person for God to work with?
Someone who is perfect – or thinks he or she is perfect – or never wrong.

We’ll come back to that, but first: while I was reading our passage from Ephesians over and over again in preparation for this morning, my first thought was “This is a wonderful, moving description of what a Christian congregation should be. I mean, it is really very inspiring.” Then I thought: why would St. Paul write that? He didn’t have a word processor – or even a decent typewriter. He, himself, acknowledged that writing was very difficult for him.

“I entreat you. . that you live up to your calling. Be humble always and gentle, and patient, too. Be forbearing with one another and charitable. Spare no effort to make fast with bonds of peace the unity which the Spirit gives. There is one body and one Spirit, as there is also one hope held out in God’s call to you; one Lord, one faith, one baptism; one God and Father of all, who is over all and through all and in all.” (4:1-6)

I believe Paul wrote that because that congregation was struggling – most likely coming apart at the seams. You find the same thing in I Corinthians – only there it is worse. Almost the whole of that Epistle is “Hey, come on guys!”

On the other side, I think most people who come to the Episcopal Church have the same response: “What a great church.” “I really feel accepted here.” “Everything here is what I’ve always wanted in a church.” And do you know something?  That’s true. And you want to know something else? That’s not the whole story, the entire reality. And given that, what I want to do this morning is to give you a Congregational Survival Guide – through several images.

When I was an undergraduate, I got to take three different courses with the great theologian, Paul Tillich. From that experience, the one thing which continues to rattle around in my brain was his constant reference to a single verse in Paul’s letter to the Romans, always spoken by Tillich with such anguish: “The good that I would, I do not  - and that which I would not . . . is what I do, what I end up doing.” Every parent knows the truth of that. I know that despite trying to avoid what my parents got wrong I could hear my father’s voice in my own. That which I would not. . . is what I did.

            That is who we are: it is not all that we are, but it is part of who we are: “Everyone must have two pockets into which he or she can reach from time to time,” said the Rabbi of Kobryn.
“In the one pocket it shall be written: ‘For my sake were the heavens and earth created.’ And in the other, ‘I am but dust and ashes.”’ Both pockets.  The whole story of each of us . .and of this and every other congregation.

            The second image has to do with a friend of mine in Santa Fe – you may know her or have heard of her. Her name is Sallie Bingham – one of the wealthiest people in Santa Fe if not NM. She is also one of the kindest and most generous people I’ve known. About a year ago in the middle of our Sunday service at St. Bede’s, a really disheveled homeless guy wandered into the church and to the shock of everyone started checking out the altar and then knelt in front of it babbling nonsense.

I went up from my pew and knelt beside him and then quietly asked if he would join me in the front pew. Something quite magical happened then. As I put my arm around his shoulder, he rested his head on mine. And so it was through the service.

            It was then that the second and more important miracle happened. When the fellow had left, Sallie Bingham came up to me and said, “Tom, I am so glad there is a place for that man here at St. Bede’s, because that means there is a place for me.” I was. . and I remain . . stunned. What was it that Sallie understood? But she understood – as few people understand.

            The third image is from the beginning of Sermon on the Mount (Matt. 5). Jesus, looking out over this large crowd which has gathered to hear him speak, says “You are the light of the world. . .” Just a week ago a know it all theologian quoted that verse and wrote, Jesus is telling us who we have to be – we need to be the light the world.”

BEEP     “Wrong answer, try again.”

When Jesus says to those in the crowd: “You are the light of the world,” there is no “ought,” no “should,” no “You better watch out, you better not cry, you better be good and I’m telling you why. Jesus Christ has come to town.”

            It is simply (and this is Jesus talking directly to each one of us) “You are the light of the world.” I think that is the hardest verse in the whole Bible. “I am the light of the world? Come on, get serious.” And then, once I begin to “get” that, comes the second step. All these other people here -- they, too, are the light of the world. Despite all those efforts by well meaning people through history to transform the Kingdom of God into someone’s notion of morality or being good, the kingdom is not a matter of having all the right moral merit badges.

            How can we stay in touch with that? Let me try with a Puppet Show: in two parts. The first is the World’s Shortest Hand Puppet Show - which probably should have been in the joke section: [two bare hands facing one another]  “Oh, look, Adam, we are naked.” “Oh, Eve, I am so ashamed.”

            Then, the second part: The World’s Most Important Hand Puppet Show! It could be two kids on the playground – or a married/unmarried couple. James and John, Peter and Paul, or Adam and Eve. [Again, hiding behind the pulpit, with sock covered hands serving as two puppets] “I heard what you said to them. You told a lie about me.” Did not. . . did too. . did not . .did too. You are the worst . . . no worse than you . . . I’ve had it with you. . . No, I’ve had it with you!” And then the puppeteer appears and, seeing that they have been given life by the same puppeteer, they each realize that their, that our lives are tied together –  and in a way that is different from any other place in world.

            Those stupid puppets and their connection with one another are so important to understanding the reality of Holy Communion. It is not the point that we become Jesus. Jesus gets to be Jesus – and he’s got plenty to do. The consecrated bread and wine. . they take on our DNA. Our Lord blessing and informing who we are. . . both pockets . . the homeless guy and Sallie Bingham . . the diversity of this congregation. Maybe it is only those who regard themselves as perfect or as always right who miss the blessing.

            With all that in mind, where is the survival guide? It is the same thing that happens in pre-marriage instruction. You know, marriages based primarily on romance nearly always go bad. I’ve seen it over and over again: “We are so much in love with one another and we know this will go on forever. I will feel loved. . . and I will be able to love him/ her forever.” Romantic love is good – but it comes and goes. And there are long stretches when it seems absent and there are times when we hurt one another and it is hard to forgive. . .

            But there are two kinds of love – Romantic and Necessary Love. While romantic love is sweet nothings, candlelight dinners, and sleeping in on Saturday mornings (notice that I did not say “Sunday mornings”).  Necessary love is taking out the trash, holding one’s flu-ridden partner’s head over the toilet during the worst of the flu and asking forgiveness, sometimes even when it wasn’t your fault. Christ is in the Romance – in every aspect of it. Christ is also in the Necessary Love – in all the day to day loving, forgiving and healing.

You know, we don’t get to have the opportunity to experience God face to face. Mostly we experience God sacramentally, through the gifts God give us – husband, wife, partner, St. Stephen’s. It is primarily through their love, their healing, their forgiveness that we will experience the love, the healing power and the forgiveness of God.

            In your life here, there will always be glitches – some through my fault, sometimes by those on this side of the aisle, sometimes by those on that side of the aisle. But there will also be miracles – miracles of love and acceptance, grace and goodness, forgiveness and healing.

The walls of this church have heard it all – heartbreaks, losses and deep sadness / baptisms, weddings and growing closeness with God and with one another. Do not let anyone fool you. . . please, don’t let anyone fool you:  this is the pearl of great price.

Friday, August 03, 2012

Question for Governor Romney

Would you be willing to accept an election won on the basis of voter suppression brought about by your party?


Friday, July 27, 2012

Bobbie's Aria from the opera "And the Winner Is. ."



What follows is the libretto for Bobbie Wentworth's aria from the opera "And the Winner Is," composed by Daniel Steven Crafts with libretto by Thomas B. Woodward. We hope to have the video of this aria as well as Tony's aria and the closing duet by Bobbie and Tony posted in the near future. If you want more information about the opera, contact Tom Woodward, 13 Calle Loma, Santa Fe, NM 87507; 505-474-4229 or 505-231-9829 cell.

During their wait offstage for Bobbie Wentworth’s appearance before the cameras, Tony and Bobbie have been involved in serious flirting with one another; but when, on camera, Tony asks Bobbie when she first became interested in the Ms. American Pageant, Bobbie responds, “It was about five months after my sex change operation.” Chaos ensues. When things die down a bit Bobbie reveals that her real talent is not baton twirling, but hiding her disability:

BOBBIE’S ARIA
Tony, I was thinking.
Twirling a baton, playing a piano, singing "It's a Wonderful World,"
or even overflowing, amply overflowing a one piece bathing suit.
None of that really has anything to do with becoming something like,
something like an adequate example
(to audience)for girls like you.

So I thought to myself:
“Self, how would it be if this year's Ms. American
were the exact same person,
no kidding, the exact same person
as Ms. Disability of the U.S. of A?”

Think of it, Tony. Wouldn't that be
a real inspiration to the American people
who need inspiration
from the likes of you and me?

Oh, Tony, the indignity, the utter indignity of it all.
Ms. Alaska, North Dakota and Utah and Maine,
they and the others are all feeling the same.
What I just heard from backstage
is a slowly developing rage
and it's erupting, corrupting the stage.

Look, I dare you to look at Ms. Alaska.
She's as pissed off as pissed off can be.
She has just come to realize
that to compete for the pageant's prize,
she had to have a boob job
and newly capped teeth and then,
the anorexic dieting for months upon end!

Oh,Tony, Alaska came to me, nearly in tears
while dressed in that gown from her neighborhood Sears.
She said, "If I" - that's her speaking, and really not me -
"If I were to win this thing,
the plain girls from everywhere
are soon going to think that they must have boob jobs
and teeth capped as well
and fake being brain dead
to be a real woman and not suffer Hell.”

So, calm yourself, Tony, forget about your pay.
Come stand here beside me.
This may be a new day.
Your sponsors have vanished and your producer's away.
It's time for the future to finally hold sway.
Oh Tony, this could be a real inspiration.

Oh, Tony, my leg hurts so much when I try
when I try, when I try to stand up
and look presentable, surrounded by glitter and such.
But my heart sings . . sings so gladly
when I think of my family,
my mother, my sister, my homophobic aunt.
May we, maybe together . . .
Oh, give me your arm.

Sing, sing, sing for our country an inspiring new song.
May you in the audience and you in your home
stand up as you can in your dress, jeans, or sarong!
Sing, sing, sing with our voices an inspiring new song.
May you in the audience and you in your home
stand up as you can in your dress, jeans, or your thong.
Dare to sing, sing, sing a new song!

Closing Duet from the opera "And the Winner Is. ."


            As Bobbie’s disability becomes more and more obvious, the two sit down and Tony confesses that he has not always been honest with Bobbie. He reveals that his name has not always been “Tony.” “Antonia?” Bobbie responds. “Yes, Bobbie, Antonia.” The two then see the possibility of a life together.

CLOSING DUET

REFRAIN (BOBBIE & TONY)
I have a dream. The dream of a lifetime
and that dream of a lifetime is mine.

TONY
O Bobbie, I love you.
Our hearts will entwine.

BOBBIE
Thanks to our surgeons, you now can me mine.

TONY
No longer in hiding,
our lives as transgender;

BOBBIE
Who could ever have guessed
our hearts were so tender?
Tossing small minds’ expectations
into a Kitchen-Aid Blender.

REFRAIN

TONY
Can you forgive me my flirting,
my behavior so rude?

                        BOBBIE
My fuss about nicknames,
I'm shocked at how crude.
All that talk about "Oscar"
and the size of my bust. . .

TONY
All is forgiven!
It was mutual lust.

REFRAIN

BOBBIE
O Tony, I love you.
Our love will entwine.

TONY
And after that special dinner
and several glasses of wine. .

BOBBIE
Well-bodied and lame,
full-bodiced and plain.
We're not who we were -
and at last with no shame.

TONY
Oh, Bobbie!

BOBBIE
Oh, Tony! You are my hero.

TONY
You are my heroine.

BOBBIE
Your struggles so human.

TONY
Your courage divine. . .
I'm dying to hold you
and call you my own.

BOBBIE
So what's keeping you, Tony?
Don't mind the frills on my gown!

REFRAIN


Crisis Intervention Network - Program to Reduce Gang Violence


Please note: The following information is meant to share with you the details of The Crisis Intervention Network, a highly successful comprehensive gang program that dramatically decreased gang fatalities in Philadelphia for over a decade. If you want the magazine article, "Crisis Strategy Works: 12 Years Prove It," or a copy of the advertisement that led to this program, email Tom Woodward)

As noted in the magazine article, “Crisis Strategy Works: 12 Years Prove It,” deaths from gang violence dropped 66% in the first year of this program and then averaged slightly over 2% in the following eleven years of the program. 
 Ron Bloomberg

The Crisis Intervention Network was also adopted by city of Los Angeles on a limited basis in the 1990s. However, the pilot program proved to be too successful, because when fatalities dropped significantly within a twelve month period, the City of Los Angeles in its wisdom withdrew further funding -- and since root causes of gang violence (joblessness, lack of parental discipline, etc.) had not been dealt with, there were few lasting effects from the pilot program..

My own involvement with the problem of gang violence began when I created the ad, “Hail, hail, the gang’s been here. What the heck do we care?” and received a massive response from the ad. After working with community people for seven years, Bennie Swans, Larry Rawls, and I created the Crisis Intervention Network. The results of our success and a breakdown of the components of the network are enclosed along with a copy of the initial advertisement and an article that describes the initial and on-going success in greatly reducing the incidence of gang violence.

If after reviewing these materials, you want to explore more about the program, please contact me or Tom Woodward, my Associate:.
       Ron Bloomberg - Ronbloom2@aol.com - Tom Woodward - TBWSalinas@aol.com



REDUCING GANG VIOLENCE:  
THE CRISIS INTEVENTION NETWORK

This program of Crises Teams was successful in reducing gang violence significantly in Philadelphia. After one year of the crises teams hitting the streets, gang fatalities amazingly were cut by over 60%. That figure quickly fell to just over 2% and remained so for over a decade.

CRISIS TEAMS:   The heart of The Crisis Intervention Network is a number of six member gang worker teams, living in the area they work, equipped with cars and cell phones, and on call 24/7. These teams are given three months of skilled mediation training before hitting the streets. The key component of these Crises Teams is accountability built in from top to bottom. The tasks of the Crises Teams are:

MEDIATION: This is the primary component of the program. The teams are not involved in apprehension: once a violent act has been committed, that is strictly police business;

FORMING AND MAINTAINING GANG COUNCILS:  Treaties are established and rigorously scheduled meetings are held to iron out disputes that arise. Crises Teams are given the responsibility to see that gang leaders show up for these meetings and that treaties do not fall apart;

COMMUNICATION:  Police gang units, schools, community leaders, neighborhood groups,  parents’ councils, churches and synagogues, and recreation centers all have roles to play in the prevention of gang violence. They all should be on the same page: it is the job of the Crises Teams to see that they are;

ANTICIPATING VIOLENCE, the key to preventing violence. Once a gang member gets in his car to shoot a rival gang member, it is too late. Keeping the flow of information going so Crises Team members can quickly mediate something that went down at school or in the streets is imperative;

WORKING WITH THE PROBATION DEPARTMENT:  This is a huge factor in whether violence escalates or diminishes. At any given time a number of gang members are released from prison and then return to their neighborhoods. These “older heads” can have enormous clout as to which direction a gang will take. The Probation Department has some sway over these individuals and in many cases the Crises Teams working with parole officers can help turn those being released from prison into a positive factor.


The selection of the Crisis Team members has to be vigorous. Applicants must have respect in the community in which they work. They must have street smart intelligence, organizational skills, and be dedicated to keeping kids alive.

Innovation is a further key to the success of the program. Creative approaches are needed in dealing with an irrational problem. Certainly a wider view of the world should be given to gang members and there is a great deal of talent in the city that is rarely called  upon to help in these situations – universities, the entertainment and business communities, and professional sports teams can be called upon to contribute ideas, strategies and resources. 





Wednesday, April 18, 2012

Toward a Minimalist Anglican Covenant


Toward a Minimalist Anglican Covenant

An expansion of the Chicago-Lambeth Quadrilateral

  1. Of Christian Belief
    1. The Holy Scriptures of the Hebrew and Christian Covenants (also known in the Church as the Old and New Testaments) set forth the revealed Word of God.†1


 

Footnotes

Tuesday, January 10, 2012

A 15 Minute Play About Forgiveness

A MATTER OF LIFE OR DEATH


CAST OF CHARACTERS:

HARRY: a male clerk of any age.
SUSAN: a troubled young woman, between 25 and 35 years old.

WARD: a middle-aged man, dressed and groomed well.

TIME: Daytime – the present.

PROPS: A cell phone for Harry. A life-sized cutout of a
clean-cut man.

TIME: Daytime – the present.

SCENE: A tobacco (or similar)shop with a counter and a bench
for customers who are waiting. HARRY is speaking on
his cell phone.

For permission to perform this play, contact Tom Woodward, 13 Calle Loma, Santa Fe, NM 87507. (505) 231-9829. The play works well as a stand alone play or as a sermon.


HARRY (talking on phone)
OK, OK. That one didn't work, so here’s another. There was this guy who was close to death and he was on this makeshift bed just off the kitchen - and the smell of freshly baked chocolate chip cookies is in the air and his kids are surrounding him on every side. With what little energy the guy has left before he dies, he asks his daughter if she would please bring him a couple of those chocolate chip cookies. Just when she returns with the cookies and he reaches out to take one, his wife swoops down, jerks the cookies away and scolds him, saying, "Don't you dare eat those cookies – they’re for the wake!" . . . So that was just pretty good? . . OK, you want my best. . . So here we go. Sarah Palin and these two alligators walk into a bar. .

SUSAN walks into the store and begins to browse at the rear of the stage.

HARRY (Cont'd.)
Look, someone just came in. Let me get back to you. . . That's right, Sarah Palin and two alligators. Hold that thought. . .

HARRY (Cont’d, turning his attention to SUSAN)
Oh, Hi. Welcome to the store. . . Can I help you?

SUSAN (caught by surprise)
Will you say that again?

HARRY
Why? Do you have a hearing problem?

SUSAN
No, I just need to hear those words again.

HARRY
Sure. Can I help you?

SUSAN
I don't think so.

HARRY
I say "Can I help you?" not once, but twice -- and you tell me you don't think so?

SUSAN
I mean I don't know.

HARRY
You don’t think so? You don't know? What’s next?

SUSAN
I mean I'm not doing very well.

HARRY
You’re feeling sick?

SUSAN
Worse.

HARRY
That means you’re depressed?

SUSAN
Worse.

HARRY
That means you’re feeling hopeless?

SUSAN
Worse.

HARRY
That means. . .Suicide?

SUSAN (nodding her head "yes")
Suicide.

HARRY
There went my afternoon.

SUSAN
Your afternoon? What about me?

HARRY
I’m sorry. Why? Why suicide?

SUSAN
Why not?

HARRY
Why not? You've got your whole life ahead of you.

SUSAN
That's why.

HARRY
That's why? Because you have your whole life in front of you?

SUSAN
I can't take it any longer.

HARRY
It must be pretty bad.

SUSAN
It is more than pretty bad.

HARRY
And not just bad. .now.

SUSAN
That's right - not just bad now!

HARRY
Never ending?

SUSAN
That's it! Never ending - and it's time to put an end to never ending.

HARRY
But never ending is just beginning.

SUSAN
Cute.

HARRY
Seriously, are you telling me that you can't take it for another. . .what? Month? Week? Day?

SUSAN
Try half an hour.

HARRY
"Half an hour."

SUSAN
Cute. Very cute.

HARRY
What was that?

SUSAN
Cute. Very cute, Asshole!

HARRY
Bingo!

SUSAN
Bingo?

HARRY
Bingo! You just climbed out of yourself.

SUSAN
I don't know what you mean.

HARRY
Just for an instant, with that splendid little piece of sarcasm, you left your little corner of self-pity -- and joined the real world.

SUSAN
This is not self-pity -- it's really bad!

HARRY
What could be that bad?

SUSAN whispers in HARRY’S ear. HARRY listens thoughfully, then looks directly at SUSAN.

HARRY
You’re right. That’s bad. In fact, that’s really bad … but look, I’ll forgive you for $100.

SUSAN
You’ll forgive me for $100? Are you making fun of me?

HARRY
Am I making fun of you? No, I'm not making fun of you. I said I would forgive you for $100 and I will. And if that is making fun of you, OK. I’ll forgive you for $500.

SUSAN
You’ll forgive me for $500?

HARRY
Do you want to hear me say it again?

SUSAN
O God, No. I just don't understand.

HARRY
It's simple: I've got what you need - and you've got . . .

SUSAN
$500.

HARRY
The amount is not so important.

SUSAN
But you just. . . .

HARRY
I said, "The amount is not important."

SUSAN
Then what is important?

HARRY
That you know it doesn't come easy - that it's worth something.

Long pause while SUSAN pulls something out of her purse.

SUSAN
Here's the $500 . . . but what difference does it make if you forgive me!

HARRY
Well, who else is there?

SUSAN
The people I hurt.

HARRY
Sorry. If they forgive you - that's for them. . . not you. If they forgive you, that allows them to go on with their lives. It really has nothing to do with you.

SUSAN
Can you say that again?

HARRY
Honey, I'm not sure I said anything that smart the first time.

SUSAN
Are you saying that if they forgive me - that lets them go on with their lives? But it doesn't do anything for me?

HARRY
Right.

SUSAN
But that doesn't seem fair.

HARRY
That doesn't seem fair?

SUSAN
No. It's not fair.

HARRY
What's not fair about it?

SUSAN
Well, for one thing, they are forgiving ME . . .but I don't get anything out of it! I'm not part of it!

HARRY
Exactly!

SUSAN
I don't get it.

HARRY
Exactly! You don't get it. They can't give it to you.

SUSAN
So I'm stuck.

HARRY
You’re not stuck, you’re. . . .No, I take that back. You’re stuck. . . But maybe there is something that can loosen that up a bit.

SUSAN
I don’t see how.

HARRY
Look. Bear with me for a while . . just for a short while, because I don’t want you to think I’m crazy. So let me tell you about a friend of mine.

SUSAN
“A friend of yours?” Sure. Where have I heard that before?

HARRY
OK, Susan, let me tell you my story – which is not an easy thing for me. . .

SUSAN
What did you say?

HARRY
About it not being easy for me?

SUSAN
No. You called me by my name. How could you know my name?

HARRY
Don’t worry about it.

SUSAN
Don’t worry about it? What in the Hell is going on here?

HARRY
Look, we’ll get to that in good time, but there is some really hard stuff that comes first. And this is going to be awkward for me.

SUSAN
Awkward for you? Not so fast, Hot Shot. First you offer to forgive me for $100, then $500 . . . as though you were. . . and then you seem to know my name without my telling you. I repeat: What in the Hell is going on here?

HARRY
We’ll get to that. But first. . .how shall I start this? . . (seriously pondering how to proceed) I’ve often wondered what it would be like to be God.

SUSAN
Are you going to talk to me about religion? Cuz if you are, I’m out of here.

HARRY
No, I’m not going to talk to you about religion. This is the nitty-gritty that comes before religion – and, fair warning, it’s not very pretty.

SUSAN
I’m uneasy already. Look, you’ve got five minutes – and then I’m out of here.

HARRY
Do you see these lines on my face?

SUSAN
The tracks that tears make?

HARRY
Yes, the tear tracks. They weren’t always there. I started out with something so beautiful, so full of hope and promise – and a lot of that still survives.

SUSAN
Is this going to be a sad story?

HARRY
Given what you are considering, I think you can handle it.

SUSAN
Not if this is some kind of grandiose stall for time.

HARRY
I won’t be long. To tell it all would be more than you. . or I could handle. . . Do you know the name “Matthew Shepard?”

SUSAN
Wasn’t he that gay guy in Montana who was – how do they say it? – crucified on a barbed wire fence outside the town?

HARRY
And these numbers on my arm – do you know what they mean?

SUSAN
Is that the combination to your safe deposit box?

HARRY
A long way from that. This is the number the Nazi’s tattooed on the arm of Hannah Klein, wife of Isaac, mother of Aaron and Deborah. I watched her standing naked in the cold outside a
crematorium, cradling her babies in her arms, trying to comfort them as they were herded into the cement structure where they would be gassed to death.

SUSAN
The Holocaust.

HARRY
The Holocaust. Do you know how many Isaacs, how many Hannahs and Aarons and Deborahs wore these numbers?

SUSAN
Too many.

HARRY
Way more than too many – millions more than too many! And do you know why?

SUSAN
I must have heard, but I can’t imagine why.

HARRY
It was because they had my name.

SUSAN
You’re losing me. Are you telling me that your name is Hannah Klein?

HARRY
Hannah, Isaac, Aaron, Deborah Klein. Klein and also Cohen and Greenberg, Bloom and Katz and … (painfully) Yes, that is my name.

SUSAN
You said you wouldn’t talk about religion; but if you are talking about God, there is so much that is good in the world.

HARRY
Don’t get me wrong, Susan. I love the gratitude, the songs, the prayers and all that; but the pain: the terrible, unrelenting pain and the . .. darkness just seem to overwhelm it all.

SUSAN
But that was a long time ago.

HARRY
Sixty four years ago – that may be a long time for you, but I feel it like today. And all this is not just then, but now. In the Sudan, Dafur, Nigeria, Argentina, and even in Juarez, five hours south from where we are standing just this minute. And if that’s too far to drive, it’s happening on your own block.

SUSAN
My own block? What are you talking about?

HARRY
You know Phyllis Chesney, three doors down?

SUSAN
The nice woman who had the miscarriage.

HARRY
The miscarriage after her husband knocked her teeth out and stomped on her stomach because she wouldn’t have sex with him the way he wanted it before he went to work.

SUSAN
Oh, my God! I didn’t know.

HARRY
Don’t get me wrong, Susan. The world is a place of incredible beauty and such heroism and loving kindness; but, but, but how can even the most beautiful gesture make up for the horror
faced by Matthew Shepherd, Phyllis Chesney, by the Hannahs and their children? And on a slightly different level, by you?

SUSAN
But. . .but . . .

HARRY
Tell me, Susan. Tell me how many birthday parties with helium balloons and party favors does it take. . to make up for just one Hannah and her children?

SUSAN
I’m sorry. I don’t understand. . . I’m overwhelmed.

HARRY
And so am I. I am overwhelmed.

SUSAN
But those soft, kindly lines on your face?

HARRY
Do you know what thought preoccupies my mind? Do you know what single thought … preoccupies my mind? (whispers in SUSAN’S ear.) . .

SUSAN
No!

HARRY
Yes.

SUSAN
“Suicide?” You?

HARRY
I think about it every day.

SUSAN (after stunned silence)
But you – whoever you are – you can’t. . .

HARRY
It’s not that I can’t – I won’t.

SUSAN
You won’t? Why not?

HARRY
Because. . . because in a strange way, I suppose, knowing the extent of my guilt in allowing all that – and accepting that … that opens, that gives the depth and the urgency to my compassion for those who struggle so hard.

SUSAN
Are you telling me that you are God?

HARRY
Am I God? Do I look like some kind of Cosmic Teddy Bear overflowing with mushy, sentimental Hallmark love . .who is unwilling to hold anyone, any country – even your own – accountable for anything?

SUSAN
Then you’re not God.

HARRY
Did I say that?

SUSAN
I am really confused.

HARRY
Confused is the best place to start.
SUSAN
So who are you?

HARRY
For right here? Right now? Susan, it doesn’t matter who I am. I’ll take care of that. What matters right here, right now is what you do with your own pain and guilt -- and your incredible personal beauty.

SUSAN
I don’t know about the beauty, but I think I can understand something about the pain and the guilt – that they don’t need to be the end.

HARRY
Not the end, but the beginning.

SUSAN
Of what?

HARRY
As they say, Susan, God only knows. But I can tell you one thing: those who are in deepest deficit need you. They need you -- in all you can bring -- more than anything, anyone else.

SUSAN
But, but . . .I don’t understand. And you just keep confusing me more and more.

HARRY (with emotion building)
Susan. Susan, listen to me. Let your pain – even your self- inflicted suffering – be the deepening. . .not the block. . to your heart.

SUSAN
But I’m so. . .

HARRY
Look, who would you want beside you in your deepest distress: Gregory Goody-Goody or Disappointing Old Fart, which is me?

SUSAN
That’s easy.

HARRY
And of your friends in dire need – who do they need, a Cindy Crawford model of perfection or a tarnished young woman named Susan? … They need you.

SUSAN
Because I’ve stood on the edge?

HARRY
Because of your own wounds.

SUSAN
But. . but. . I think I understand, but then you just keep confusing me more and more.

HARRY
Look, Susan, I need to go next door for a few minutes. Can you handle things here for a few minutes?

SUSAN
But I don’t know how things work here.

HARRY
You’ll do fine. Trust me.

SUSAN
Sure, just like an hour ago.

HARRY exits. WARD enters.

SUSAN (Cont’d.)
Can I help you?

WARD
Will you say that again?

SUSAN
Why? Do you have a hearing problem?

WARD
No, I just need to hear those words again.

SUSAN
Sure. Can I help you?

WARD
I don't think so.

SUSAN
I say "Can I help you?" not once, but twice and you tell me you don't think so?

WARD
I mean I don't know.

SUSAN
I know, Ward, I know.

WARD
What did you say?

SUSAN
Don’t worry about it. We’ve got more important things to talk about. . .

SUSAN and WARD find a place to sit. She takes his hand in hers and they begin talking to one another. HARRY reappears quietly and watches as the lights fade.

- THE END -