A View from the Bridge (10 page)
Read A View from the Bridge Online
Authors: Arthur Miller
BEATRICE: She don't wanna go out now. It's too late, Eddie.
Pause.
EDDIE: Suppose I told her to go out. Suppose Iâ
BEATRICE: They're going to get married next week, Eddie.
EDDIEâ
his head jerks around to her:
She said that?
his head jerks around to her:
She said that?
BEATRICE: Eddie, if you want my advice, go to her and tell her good luck. I think maybe now that you had it out you learned better.
EDDIE: What's the hurry next week?
BEATRICE: Well, she's been worried about him bein' picked up; this way he could start to be a citizen. She loves him, Eddie.
He gets up, moves about uneasily, restlessly.
Why don't you give her a good word? Because I still think she would like you to be a friend, y'know?
He is standing, looking at the floor.
I mean like if you told her you'd go to the wedding.
He gets up, moves about uneasily, restlessly.
Why don't you give her a good word? Because I still think she would like you to be a friend, y'know?
He is standing, looking at the floor.
I mean like if you told her you'd go to the wedding.
EDDIE: She asked you that?
BEATRICE: I know she would like it. I'd like to make a party here for her. I mean there oughta be some kinda send-off. Heh? I mean she'll have trouble enough in her life, let's start it off happy. What do you say? Cause in her heart she still loves you, Eddie. I know it.
He presses his fingers against his eyes.
What're you, cryin'?
She goes to him, holds his face.
Go ... whyn't you go tell her you're sorry?
Catherine is seen on the upper landing of the stairway, and they hear her descending.
There ... she's comin' down. Come on, shake hands with her.
He presses his fingers against his eyes.
What're you, cryin'?
She goes to him, holds his face.
Go ... whyn't you go tell her you're sorry?
Catherine is seen on the upper landing of the stairway, and they hear her descending.
There ... she's comin' down. Come on, shake hands with her.
EDDIE,
moving with suppressed suddenness:
No, I can't, I can't talk to her.
moving with suppressed suddenness:
No, I can't, I can't talk to her.
BEATRICE: Eddie, give her a break; a wedding should be happy!
EDDIE: I'm goin', I'm goin' for a walk.
He goes upstage for his jacket. Catherine enters and starts for the bedroom door.
BEATRICE: Katie? ... Eddie, don't go, wait a minute.
She embraces Eddie's arm with warmth.
Ask him, Katie. Come on, honey.
She embraces Eddie's arm with warmth.
Ask him, Katie. Come on, honey.
EDDIE: It's all right, I'mâ
He starts to go and she holds him.
He starts to go and she holds him.
BEATRICE: No, she wants to ask you. Come on, Katie, ask him. We'll have a party! What're we gonna do, hate each other? Come on!
CATHERINE: I'm gonna get married, Eddie. So if you wanna come, the wedding be on Saturday.
Pause.
EDDIE: Okay. I only wanted the best for you, Katie. I hope you know that.
CATHERINE: Okay.
She starts out again.
She starts out again.
EDDIE: Catherine?
She turns to him.
I was just tellin' Beatrice ... if you wanna go out, like ... I mean I realize maybe I kept you home too much. Because he's the first guy you ever knew, yâknow? I mean now that you got a job, you might meet some fellas, and you get a different idea, y'know? I mean you could always come back to him, you're still only kids, the both of yiz. What's the hurry? Maybe you'll get around a little bit, you grow up a little more, maybe you'll see different in a couple of months. I mean you be surprised, it don't have to be him.
She turns to him.
I was just tellin' Beatrice ... if you wanna go out, like ... I mean I realize maybe I kept you home too much. Because he's the first guy you ever knew, yâknow? I mean now that you got a job, you might meet some fellas, and you get a different idea, y'know? I mean you could always come back to him, you're still only kids, the both of yiz. What's the hurry? Maybe you'll get around a little bit, you grow up a little more, maybe you'll see different in a couple of months. I mean you be surprised, it don't have to be him.
CATHERINE: No, we made it up already.
EDDIE,
with increasing anxiety:
Katie, wait a minute.
with increasing anxiety:
Katie, wait a minute.
CATHERINE: No, I made up my mind.
EDDIE: But you never knew no other fella, Katie! How could you make up your mind?
CATHERINE: Cause I did. I don't want nobody else.
EDDIE: But, Katie, suppose he gets picked up.
CATHERINE: That's why we gonna do it right away. Soon as we finish the wedding he's goin' right over and start to be a citizen. I made up my mind, Eddie. I'm sorry.
To Beatrice :
Could I take two more pillow cases for the other guys?
To Beatrice :
Could I take two more pillow cases for the other guys?
BEATRICE: Sure, go ahead. Only don't let her forget where they came from.
Catherine goes into a bedroom.
EDDIE: She's got other boarders up there?
BEATRICE: Yeah, there's two guys that just came over.
EDDIE: What do you mean, came over?
BEATRICE: From Italy. Lipari the butcherâhis nephew. They come from Bari, they just got here yesterday. I didn't even know till Marco and Rodolpho moved up there before.
Catherine enters, going toward exit with two pillow cases.
It'll be nice, they could all talk together.
Catherine enters, going toward exit with two pillow cases.
It'll be nice, they could all talk together.
EDDIE: Catherine!
She halts near the exit door. He takes in Beatrice too.
What're you, got no brains? You put them up there with two other submarines?
She halts near the exit door. He takes in Beatrice too.
What're you, got no brains? You put them up there with two other submarines?
CATHERINE: Why?
EDDIE,
in a driving fright and anger:
Why! How do you know they're not trackin' these guys? They'll come up for them and find Marco and Rodolpho! Get them out of the house!
in a driving fright and anger:
Why! How do you know they're not trackin' these guys? They'll come up for them and find Marco and Rodolpho! Get them out of the house!
BEATRICE: But they been here so long alreadyâ
EDDIE: How do you know what enemies Lipari's got? Which they'd love to stab him in the back?
CATHERINE : Well what'll I do with them?
EDDIE: The neighborhood is full of rooms. Can't you stand to live a couple of blocks away from him? Get them out of the house!
CATHERINE: Well maybe tomorrow night I'llâEDDIE: Not tomorrow, do it now. Catherine, you never mix yourself with somebody else's family! These guys get picked up, Lipari's liable to blame you or me and we got his whole family on our head. They got a temper, that family.
Two men in overcoats appear outside, start into the house.
CATHERINE: How'm I gonna find a place tonight?
EDDIE: Will you stop arguin' with me and get them out! You think I'm always tryin' to fool you or sump'm? What's the matter with you, don't you believe I could think of your good? Did I ever ask sump'm for myself? You think I got no feelin's? I never told you nothin' in my life that wasn't for your good. Nothin'! And look at the way you talk to me! Like I was an enemy! Like Iâ
A knock on the door. His head swerves. They all stand motionless. Another knock. Eddie, in a whisper, pointing upstage.
Go up the fire escape, get them out over the back fence.
A knock on the door. His head swerves. They all stand motionless. Another knock. Eddie, in a whisper, pointing upstage.
Go up the fire escape, get them out over the back fence.
Catherine stands motionless, uncomprehending.
FIRST OFFICER,
in the hall:
Immigration! Open up in there!
in the hall:
Immigration! Open up in there!
EDDIE: Go, go. Hurry up!
She stands a moment staring at him in a realized horror.
Well, what're you lookin' at!
She stands a moment staring at him in a realized horror.
Well, what're you lookin' at!
FIRST OFFICER: Open up!
EDDIE,
calling toward door:
Who's that there?
calling toward door:
Who's that there?
FIRST OFFICER: Immigration, open up.
Eddie turns, looks at Beatrice. She sits. Then he looks at Catherine. With a sob of fury Catherine streaks into a bedroom.
Knock is repeated.
EDDIE: All right, take it easy, take it easy.
He goes and opens the door. The Officer steps inside.
What's all this?
He goes and opens the door. The Officer steps inside.
What's all this?
FIRST OFFICER: Where are they?
Second Officer sweeps past and, glancing about, goes into the kitchen.
EDDIE: Where's who?
FIRST OFFICER: Come on, come on, where are they?
He hurries into the bedrooms.
He hurries into the bedrooms.
EDDIE: Who? We got nobody here.
He looks at Beatrice, who turns her, head away. Pugnaciously, furious, he steps toward Beatrice.
What's the matter with you?
He looks at Beatrice, who turns her, head away. Pugnaciously, furious, he steps toward Beatrice.
What's the matter with you?
First Officer enters from the bedroom, calls to the kitchen.
FIRST OFFICER: Dominick?
Enter Second Officer from kitchen.
SECOND OFFICER: Maybe it's a different apartment.
FIRST OFFICER: There's only two more floors up there. I'll take the front, you go up the fire escape. I'll let you in. Watch your step up there.
SECOND OFFICER: Okay, right, Charley. First Officer
goes out apartment door and runs up the stairs.
This is Four-forty-one, isn't it?
goes out apartment door and runs up the stairs.
This is Four-forty-one, isn't it?
EDDIE: That's right.
Second Officer goes out into the kitchen.
Eddie turns to Beatrice. She looks at him now and sees his terror.
BEATRICE,
weakened with fear:
Oh, Jesus, Eddie.
weakened with fear:
Oh, Jesus, Eddie.
EDDIE: What's the matter with
you?
you?
BEATRICE,
pressing her palms against her face:
Oh, my God, my God.
pressing her palms against her face:
Oh, my God, my God.
EDDIE: What're you, accusin' me?
BEATRICE
âher final thrust is to turn toward him instead of running from him:
My God, what did you do?
âher final thrust is to turn toward him instead of running from him:
My God, what did you do?
Many steps on the outer stair draw his attention. We see the First Officer descending, with Marco, behind him Rodolpho, and Catherine and the two strange immigrants, followed by Second Officer. Beatrice hurries to door.
CATHERINE,
backing down stairs, fighting with First Officer; as they appear on the stairs:
What do yiz want from them? They work, that's all. They're boarders upstairs, they work on the piers.
backing down stairs, fighting with First Officer; as they appear on the stairs:
What do yiz want from them? They work, that's all. They're boarders upstairs, they work on the piers.
BEATRICE,
to First Officer:
Ah, Mister, what do you want from them, who do they hurt?
to First Officer:
Ah, Mister, what do you want from them, who do they hurt?
CATHERINE,
pointing to Rodolpho:
They ain't no submarines, he was born in Philadelphia.
pointing to Rodolpho:
They ain't no submarines, he was born in Philadelphia.
FIRST OFFICER: Step aside, lady.
CATHERINE: What do you mean? You can't just come in a house andâ
FIRST OFFICER: All right, take it easy.
To Rodolpho:
What street were you born in Philadelphia?
To Rodolpho:
What street were you born in Philadelphia?
CATHERINE: What do you mean, what street? Could you tell me what street you were born?
FIRST OFFICER: Sure. Four blocks away, One-eleven Union Street. Let's go fellas.
CATHERINE,
fending him off
Rodolpho: No, you can't! Now, get outa here!
fending him off
Rodolpho: No, you can't! Now, get outa here!
FIRST OFFICER: Look, girlie, if they're all right they'll be out tomorrow. If they're illegal they go back where they came from. If you want, get yourself a lawyer, although I'm tellin' you now you're wasting your money. Let's get them in the car, Dom.
To the men:
Andiamo, Andiamo, let's go.
To the men:
Andiamo, Andiamo, let's go.
The men start, but Marco hangs back.
BEATRICE,
from doorway:
Who're they hurtin', for God's sake, what do you want from them? They're starvin' over there, what do you want! Marco!
from doorway:
Who're they hurtin', for God's sake, what do you want from them? They're starvin' over there, what do you want! Marco!
Marco suddenly breaks from the group and dashes into the room and faces Eddie; Beatrice and First Officer rush in as Marco spits into Eddie's face.
Catherine runs into hallway and throws herself into Rodolpho's arms. Eddie, with an enraged cry, lunges for Marco.
EDDIE: Oh, you mother'sâ!
First Officer quickly intercedes and pushes Eddie from Marco, who stands there accusingly.
FIRST OFFICER,
between them, pushing Eddie from Marco:
Cut it out!
between them, pushing Eddie from Marco:
Cut it out!
EDDIE,
over the First Officer's shoulder, to Marco:
I'll kill you for that, you son of a bitch!
over the First Officer's shoulder, to Marco:
I'll kill you for that, you son of a bitch!
FIRST OFFICER: Hey!
Shakes him.
Stay in here now, don't come out, don't bother him. You hear me? Don't come out, fella.
Shakes him.
Stay in here now, don't come out, don't bother him. You hear me? Don't come out, fella.
For an instant there is silence. Then First Officer turns and takes Marco's arm and then gives a last, informative look at Eddie. As he and Marco are going out into the hall, Eddie erupts.
EDDIE: I don't forget that, Marco! You hear what I'm sayin'?
Out in the hall, First Officer and Marco go down the stairs. Now, in the street, Louis, Mike, and several neighbors including the butcher, Lipariâa stout, intense, middle-aged manâare gathering around the stoop.
Lipari, the butcher, walks over to the two strange men and kisses them. His wife, keening, goes and kisses their hands. Eddie is emerging from the house shouting after Marco. Beatrice is trying to restrain him.
EDDIE: That's the thanks I get? Which I took the blankets off my bed for yiz? You gonna apologize to me, Marco!
Marco!
Marco!
FIRST OFFICER,
in the doorway with Marco:
All right, lady, let them go. Get in the car, fellas, it's over there.
in the doorway with Marco:
All right, lady, let them go. Get in the car, fellas, it's over there.
Rodolpho is almost carrying the sobbing Catherine off up the street, left.
CATHERINE: He was born in Philadelphia! What do you want from him?
FIRST OFFICER: Step aside, lady, come on now ...
The Second Officer has moved off with the two strange men. Marco, taking advantage of the First Officer's being occupied with Catherine, suddenly frees himself and points back at Eddie.
MARCO: That one! I accuse that one!
Eddie brushes Beatrice aside and rushes out to the stoop.
FIRST OFFICER,
grabbing him and moving him quickly off up the left street: Come on!
grabbing him and moving him quickly off up the left street: Come on!
Marco,
as he is taken off, pointing back at Eddie:
That one! He killed my children! That one stole the food from my children!
as he is taken off, pointing back at Eddie:
That one! He killed my children! That one stole the food from my children!
Marco is gone. The crowd has turned to Eddie.
EDDIE,
to Lipari and wife:
He's crazy! I give them the blankets off my bed. Six months I kept them like my own brothers!
to Lipari and wife:
He's crazy! I give them the blankets off my bed. Six months I kept them like my own brothers!
Lipari, the butcher, turns and starts up left with his arm around his wife.
EDDIE: Lipari!
He follows Lipari up left.
For Christ's sake, I kept them, I give them the blankets off my bed!
He follows Lipari up left.
For Christ's sake, I kept them, I give them the blankets off my bed!
Lipari and wife exit. Eddie turns and starts crossing down right to Louis and Mike.
EDDIE: Louis!
Louis!
Louis!
Louis barely turns, then walks off and exits down right with Mike. Only Beatrice is left on the stoop. Catherine now returns, blank-eyed, from offstage and the car. Eddie calls after Louis and Mike.
EDDIE: He's gonna take that back. He's gonna take that back or I'll kill him! You hear me? I'll kill him! I'll kill him!
He exits up street calling.
He exits up street calling.
There is a pause of darkness before the lights rise, on the reception room of a prison. Marco is seated; Alfieri, Catherine, and Rodolpho standing.
ALFIERI: I'm waiting, Marco, what do you say?
RODOLPHO: Marco never hurt anybody.
ALFIERI: I can bail you out until your hearing comes up. But I'm not going to do it, you understand me? Unless I have your promise. You're an honorable man, I will believe your promise. Now what do you say?
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