View from the Bridge (Heinemann Plays)

...

_._._._ ... _--~

,i

A VIEW First performtd

al

FROM

THE

BRIDGE

thc Comedy Theatre, London, on

October

11

1956,

witl, the Jollowíng casi: Richard Harris

LOUIS

Norrnan

MlltB

Michael Gwynn

ALPIBRI

Mary Ure

CATHBRlNB

Megs Jenkins

BEATRICB

Ian Bannen

Manco

Ralph Nossek

TONY

Brian

RODOLPHO IMMIGRATION

SECOND

IMMIGRATlON

MR LIPARI MRS

Quaylc

Anthony

EDDIB

FIRST

Mitchell

LIPARI

'SUJlMARINII'

OFFICER

Bedford

John Stone Colin

OFPICBR

Mervyn Catherine

Rix

Blake

Willmer

Peter jones

CHARACTERS

OF

THE

Lours MIKB

FIRST IMMIGRATlON OFFICER

ALFIERI

SECOND IMMIGRATION OPPICER

EDDIB

MR LIPARI

CATHERINB

MRS LIPARI

BEATRICE

Two

MARCO

NHIGHBOURS

TONY RODOLPHO

ACT ONE

PLAY

'SUBMARINHS'

T/,e street and house-front of a tenement building. The front is .~kcletal entirely. The main actíng area ís the livíng-room-díníngroom of Eddíe' S apartment. It is a worker' s fiat, dean, sparse, 11Omely. There is a rocker down front; a round diníng-table at centre, I/lith chairs; and a portable phonograph. At [Jack are a bedroom door and an opening to the kitchen; none of these interiors is seen. At the right,forestage, a desk. This is Mr Alfieri' s law office. T"ere is also a telephone booth. This is not used until the last scenes, .10 it may be covered or left in view. A stairway leads up to the apartmem, and then farther up to the next storey, which is not seen. Ramps, representing the street, run upstage and off to right and leJt. As (he curtain rises, LOUIS and MIKE, longshoremen, are pitching coins against the building at leJt. A distan: foghorn blows. [Enter ALFIERI, a lawycr in his Jifties turning grey; he is portly, good-humoured, and thoughiful. The two pitchers nod to hím as he passes. He crosses the stage to his desk, remo ves his hat, runs his fingers through his hair, and grinning, speaks to the audience.] You wouldn't have known it, but something amusing has just happened. You see how uneasily they nod to me? That's because 1am a lawyer. In this neighbourhood to meet a lawyer or a priest on the strect is unlucky. We're only thought of in connexion with disasters, and they' d rather not get too close. 1often think that behind that suspicious little nod of theirs

ALFIERI:

12

A VIEW

FROM

THB

ACT

BRIDGE

lie three thousand years of distrust. A lawyer means the law, and in Sicily, from where their fathers carne, the law has not been a friendly idea since the Greeks were beaten. 1 am inclined to notice the ruins in things, perhaps because 1 was born in Italy .... 1 only came here when 1was twentyfive. In those days, Al Capone, the greatest Carthaginian of all, was learning his trade on these pavements, and Frankie Yale himself was cut precisely in half by a machine-gun on the comer ofUnion Street, two blocks away. Oh, there were many here who were justly shot by unjust men. Justice is very important here. But this is Red Hook, not Sicily. This is the slum that faces the bay on the seaward side of Brooklyn Bridge. This is the gullet of New York swallowing the tonnage of the world. And now we are quite civilized, quite American. Now we settle for half, and 1 like it better. 1 no longer keep a pistol in my.filing cabinet. And my practice is entirely unromantic. My wife has wamed me, so have my friends; they teU me the people in this neighbourhood laek eleganee, glamour. After all, who have 1 dealt with in my life? Longshoremen and their wives, and fathers, and grandfathers, eompensation cases, evictions, family squabbles - the petty troubles of the poor - and yet •.. every few years there is still a case, and as the parties tell me what the trouble is, the fiar air in my offiee suddenly washcs in with the green scent of the sea, the dust in chis air is blown away and the chought comes that in some Caesar's year, in Calabria perhaps or on the cliff at Syracuse, another lawyer, quite differendy dressed, heard the same complaint and sat there as powerless as 1, and watehed it run its bloody eourse. [EDDIE has appeared and has been pítching coins with the men and is highlighted among them. He is Jorty - a husky, slightly ovetweight longshoremarl.]

13

ON!

'I'liis one's name was Eddie Carbone, a longshoreman ,rking the docks from Brooklyn Bridge to the breakwater whcrc the open sea begins.

W(

walks into darkness.] [moving up steps into doorway]: WeU, I'U see ya, [ellas. ICATHERINE entersfrom kitchen, aosses down te window, looks out.]

IALFIERI 1111 11I E

1 (11 J I S: 111111IE:

Y ou workin' tomorrow? Yeah, there's another dayyeton

thatship. See ya, Louis.

goes into the house, as light rises in the apartment. CATHERINE is waving to LOUIsfrom the window and turns to him.] IEDDIE

ChTllRRINE:

Hi, Eddie!

is pleased and therefore shy about it; he hangs up his cap and jacket.] [EDDIE

1l1lPIE:

Where you goin' all dressed up?

[running her hands over her skirt]: Ijust gotit. You likc it? 1!lI () I E: Yeah, it' s niee. And what happened to your hair] ChTlIERINE: You like it? 1 fixed it different. [Calling to kitchen] He's here, B.! 1'.11 () 1B: Beautiful. Tum around, lemme see in the back. [She tutns for him.] Oh, if your mother was alive to see you now I Shc wouldn't believe it, Ci\THERINE: You like it, huh? l! 1> DIE: You look like one of them girls that went to college. Where you goin'? (i\THERINE [taking his arm]: Wait'll B. comes in, I'll tell you something. Here, sit down. She is walking him to the armchair. Calling offitage] Hurry up, will you, BJ J.IIDIE [sittíng]: What's goin' on? CATHERINE: 1'11 get you a beer, all right? I! 11 D J E: Well, tell me what happened. Come over here, talk to me.

CA'fllERINB

I

14

A VIBW

FROM

THI!

ACT

BIUDGI!

J want to wait till B. comes in. [She slts 011 he, heels beside hím.] Guess how much we paid for the skirt. EDDIE: 1 think it's too short, ain't it? CATHERINE [standing]: No! not when 1 stand up. CATHBRINE:

EDDIE: Yeah, but you gotta sit down sometimes. CHHERINE: Eddie, it's the style now. [She walks to show him.} 1 mean, if you see me walkin' down the street EDDIE: Listen, you been givin' me the willies the way you walk down the street, 1 mean it. CATHERINE: Why? EDDIE: Catherine, 1 don't want to be a pest, but I'm tellin' you you're walkin' wavy. CATHERINE: I'm walkin' wavy? EDDIE: Now don't aggravate me, Katie, you are walkin' wavy! 1 don't like the looks they're givin' you in the candy sto re. And with them new high heels on the sidewalk clack, clack, clack. The heads are tumin' like windrnills. CATHERINE: But those guys look at all the girls, you know that. EDDIE: You ain't 'all the girls', CATHERINE [almost in tears because he disapproves}: What do yOl! want me to do? You want me toEDDIE: Now don't get mad, kid. CATHERINE: Well, 1 don't know what you want from me. EDDIE: Katie, 1 promised your mother on her deathbed. I'm responsible for you. Y ou' re a baby, you don' t understand these things. 1 mean like when you stand here by the window, wavin' outside. CATHERINE: 1 was wavin' to Louis! EDDIE: Listen, 1 could tell you things about Louis which you wouldn't wave to him no more. CATHERINE [trying tojoke him out ofhis warning]: Eddie, 1 wish there was one guy you couldn't tell me things about! EDDIE: Catherine, do me a favour, will you? You're getting

111

IH'"

:1

ONI

IS

big girl now, you gotta keep yomse1f more, you

he so friendly, kid. [Calls] Hey, B., what're you doin' cllC'rd {Yo CATHERINE] Get her in here, will you? 1 got

c .111'1 111

IWWSfiJr her. fllllI!IUNll [starting out]: What? 111'I'II!: IIcr cousins landed. , flTlIl!lllNB [clapping her hands together]: No! [She turns inI/I/II//y and starts for the kitchen.1 B.! Your cousins! In\!A.TRICE enters, wiping her hands with a towel.] 1\l\hTltlCIl [in theface of CATHERINE'S shout]: What? t fIT 11 J!IU NE: Y our cousins got in l IIl!flTlllCE [astolmded, turns to EDDIE]: What are you talkin' ;\\JCl\lt?Where? 11" l)f I!: 1 was just knockin' off work before and Tony Bereli t "IlIC over to me; he says the ship is in the North River. III!h T iu C H [ - her hands are clasped at ner breast; she seems ha/f in ¡;',", hn/f in unutterable joy]: They're all right? l' IlIJ 11\: He didn't see them yet, they're still 011 board. But as SOOIJas they get off he'll meet them. He figures about ten (,'c:\ock they'll be here. 111',h T RICE [sits, almost weak from tension]: And they'lllet them ,.Ir rlie ship all right? That's fixed, heh? 1\ IlIJ i n: Sure, they give thern regular seamen papers and they walk off with the crew: Don't worry about it, B., there's IIlllhin' to it. Couple of hours they'll be here. 111' hT 111 CE: What happened? They wasn't supposed to be till

t

urxt Thursday. III E: 1 don't know; they put thern on any ship they can get rhcm 011. Maybe the other ship they was supposed to take t licrc was some danger - What you cryin' about? 1\ 1',h T R 1 C E [astounded and afraid]: m - 1just - 1can' t believe it! I didn't even buy a new tablecloth; 1 was gOlllla wash the

l' 1)

r

I'.IJ

walls n 1 E: Listcn, they'll think it's a millionairc' s house compared

16

A TII!W

•• 0],( TBI B.IDGI

to the way they live. Don't worry about the walls. They'll be thankful. [To CATHEIUNE] Whyn't you run down buy a tablecloth. Go ahead, here. [He is reaching into his pocket.] CA THERINE: There's no stores open now. EDDIE [to BEATRICE]: You was gonna put a new cover on the chair, BEA TRI CE: 1 know - well, 1 thought it was gonna be next week! 1 was gonna clean the walls, 1 was gonna wax the floors, [Sht stands disturbeá.) CATHERINE [pointing upwará]: Maybe MrsDonderoupstairsBEATRICE [oJthe tabltcloth]: No,hers is worse than this one. [Suddenlr] My God, 1 don't even have nothin' to eat for them! [She starts Jor th« k;tchm.] EDDIE [reach;ng out 41ndgrabbing her arm): Hey, hey! Take it easy. BEATRICE: No, I'mjustnervous, that's all. [To CATHERINE] 1'11make the fish. EDDIB: You're savin' their lives, what're you worryin' about the rablecloth? They probably didn't see a tablecloth in their whole life where rhey come from, BEATRICE [looking into his eres]: I'mjust worried about you, that' s all I'm worried. liDDIE: Listen, aslong as they knowwherethey're gonna sleep. BEATRICE: 1 told thern in the letters. They're sleepin' on the floor. EDDIE: Beatrice, all I'rn worried about is you got such a heart that 1'11end up on the floor wirh you, and they'll be in our bed. BEATRICE: All right, stop it. EDDIE: Because as soon as you see a tired relative, 1end up on the floor. BEATRICE: When did you end up on the floor? EDDIE: When your father's house burned down I didn't end up on the floor]

ACT 11P.A T R 1 C B:

I!DDIE:

ONI

17

Well, their house burned down!

Yeah, but it didn't keep burnin' for rwo weeks!

All right, look, 1'11tell thern to go someplace else. [She starts lnto the kitchen.] HOOIE: Now wait a minute. Beatrice l [She halts. He goes to her.] 1 just don't want you bein' pushed around,that's al!. You got too big a heart. [He touches her hand.] What're you so touchy? BEATRICE: I'mjust afraid ifit don't turn out good you'l1 be mad at me. EDDJE: Listen, if everybody keeps his mouth shut, nothin' can happen, They'll pay for their board. BEATRICE: Oh, 1 told thern. EDDIE: Then what the hell. [Pause. He moves.] It's an honour, B. 1 mean it. 1 was just thinkin' before, comin' home, suppose my father didn't come to this country, and 1 was starvin' like them over there '" and 1 had people in America could keep me a couple of months? The man would be honoured to lend me a place to sleep. BEATRICE [ - there are tears in her eres. She turns to CATHERINE]: You see what he is? [She turns and grabs EDDIE'S Jace in her hands.] Mmm! You're an angel! God'll bless you. [He is grateJully smilíng.] You'll see, you'll get a blessing for this! EDDJE [laughing): 1'11settle for my own bed. BEATRICE: Go, Baby, set the table. CATHERINE: We didn't tell him about me yet. BEATRIcn: Let him eat first, then we'll tell him. Bring everything in. [She hurries CATHERINE out.] EDDIE [sitting at the table]: What's all that about? Where's she goin'? BEATRICE: Noplace. It's very good news, Eddie. 1 want you to be happy. EDDIE: What's goin' on? JlEATRICE:

18

A VIBW [CA THBRINE

BBATRJCE:

[Pause.

FROM

THE

ACT

BRIDG!

enters with plates, forks.]

EDDIE

looks

al

CATHERINE,

then

back

What job? She's gonna finish school. CA THERJNE: Eddie, you won't believe it EOOJE: No - no, you gonna finish sehoo1. What kinda job, what do you mean? All of a sudden you CATHBRINB: Listen a minute, it's wonderful. EOOJE: It's not wonderful. You'll never get nowheres unless you finish schoo1. You can't take no job. Why didn't you ask me before you take a job? BEATRICE: She's askin' you now, she didn't take nothin' yet. CATHERINB: Listen a minute! 1 came to school this morning and the principal called me out of the class, sed To go to

rus ofíice.

Yeah?

SO 1 went in and he says to me he's got my records, y'know? And there's a eompany wants a girl right away. It ain't exaetly a secretary, it's a stenographer first, but pretty soon you get to be secretary ..And he says to me that I'm the best student in the whole classBEATRICE: You hear that? EODIE: Well, why not? Sure she's the best. CATHERINE: I'rn the best student, he says, and if 1 want, I should take the job and the end of the year he'll let me take the examination and he'll give me the certifica te. So 1'11save practically ayear! BODIE [strangdy nervous]: Where's the job? What company? CA THERINB: It's a big plumbing company over Nostrand Avenue. EDOIE: Nostrand Avenue and where? CATHERINE: It's someplace by the Navy Yard. BEATRICE: Fifty dollars a week, Eddie.

19

surprised]: Fifty?

1 swear.

11 "IfISC.]

to 111'

l' 11\: What about all the stuff you wouldn't

leam this year,

Ihll\lgh?

EDDJE:

CA THBRINE:

CATHERINE,

I " 1 111'.111 N E:

BBATRICE.]

EOOIE:

l/o

11""111

She's got ajobo

ONE

1 11 H 111N E: There's nothin' more to learn, Eddie, 1 just I',,,tt:, practise from now on. 1 know all the symbols and 1 kuow the keyboard. I'll just get faster, that's aU. And when 1'111 workin' I'U keep gettin' better and better, you sed 111''' T H \ e E: Work is the best practice anyway. 1\"" 11\: That ain't what I wanted, though. I ATIIHItINE: Why!lt'sagreatbigeompany1\ " 111 H: I don' t like that neighbourhood over there. I A T 11 Hit I N E: It' s a block and half from the subway, he says; I! 1'11\ ,,: Near the Navy Yard plenry can happen in a block and .1 1!;¡1f. And a plumbin' company! That' s one step over the warcrtront. They'rc practically longshoremen. IIIIAT 111C E: Yeah, but she'll be in the office, Eddie. l' 1111\ H: 1 know she'U be in the office, but that ain' t what I had

I

"

111

mind.

Listen, she' s gotta go to work sometime. l' p t 11 B: Listen, B., she'll be with a lotta plumbers? And sailors 111' and down the street? So what did she go to school for? ( ATllERINE: But it's fifey a week, Eddie. I'IIIH": Look, did 1 ask you for money? 1 supported you this I(lllg. 1 support you a little more. PIe ase, do me a favour, will ya? I want you to be with different kind of people. 1 w.uit you to be in a nice oflice. Maybe a lawyer's offiee ~(llllcpIace in New York in one of thern nice buildings. 1 IIIC:lnif you're gonna get outa here then get out; don't go I'ractically in the same kind of neighbourhood.

111'." T It \ C B:

[pause.

CA THERINE

lowers her eyes.]

Go, Baby, bring in the supper. (CATHERINE gor:s out.] Think about it a linle bit, Eddie. PIcase. She' s

1I1' .•••

TRICE:

20

A VIBW

PROM

THB

ACT

BRIDGE

',1", 1,1"'I,k at hu.] What're you cryin' ,,)' ',rr. 11111 smiles his emotion away.]

crazy to start work. It's not a little shop, it's a big company. Some day she could be a secretary. They picked her out of rhe whole class. [He is silent, staring down at the tablecloth fingeríng the pattern.] What are you worried about? She could take care of herself. She'll get out of the subway and be in the ofíice in two minutes. EDDIE [somehow sickened]: 1 know that neighbourhood, B., 1 don't like it. BEATRICE: Listen, if nothin' happened to her in this neighbourhood it ain't gonna happen no place else. [She turns his [ace to her.] Look, you gotta get used to it, she' s no baby no more. TeU her to take it. [He turns his head away.] You hear me? [S he ls angering.] 1don't understand you; she's seventeen years old, you gonna keep her in the house all her life? EDDIE [insulted]: What kinda remark is that? BEATRICE [with sympathy but insisten: force]: Well, 1 don't understand when it ends. First it was gonna be when she graduated high-school, so she graduated high-school. Then it was gonna be when she learned stenographer, so she leamed stenographer. So what're we gonna wait for now? 1 mean it, Eddie, sometimes 1 don't understand you; they picked her out of the whole class, it's an honour for her. [CATHERINE enters with food, which she silently sets on the table. Afier a moment of watching her face, EDDIE breaks

about? {He

is affected

, "IIIIIIlINI\ [sitting at het place]: 1 just - [Bursting out] I'rn 1'."1111.1 11lIyall new dishes with my first pay! [Yhey laugh "',II,,,ly.\1 mean it. 1'11 fix up the whole house! I'U buy a rug! III.PtI'· Ami then you'll move away. , flIIII\IlINIl: No, Eddie! 1'1'1'111I.~rjnnjng]: Why not? That's life. And you'U come visit "11 SIIIHlayS, then once a month, then Christmas and New y l'

.11 ~,

íinally.

, fll 11111I I N B [grasping his arm to reassure him and to erase the ,1'/ I/wlion]: No, ple ase ! 1111 l' 111I.~ftlj Iing hut hurt]: 1 onIy ask you one thing - don' t trust 1llIlHldy. You got a good aunt but she's got too big a heart, y. >\1k-arned bad from her. Believe me. 1111'" T IUcu: Be the way you are, Katie, don't listen to him. 11111111( [lO BEATRICE - strangely and quickly reseniful]: You livrcl in a house all your life, what do yon know about it? y 1111 ncver worked in your life. 111' .••.'1'1\1CB: She likes people. What' s wrong with that] 1'1'1' lE: Bccause most people ain't people. She's goin' to work; '.\lIlllhcrs; they'll chew her to pieces if she don't watch out. l'/'o eA. THERINE] Believe me, Katie, the less you trust, the

Ic-ssyou be sorry. [E ()

into a smile, but it almost seems that tears will form in his eyes.] EDDIE: With your hair that way you look like a madonna, you know that? You're the madonna type. [She doesn't look at him, but continues ladling out food on lo the plates.] You wanna go to work, heh, Madonna? CATHERINE [sofily]: Yeah. EDDIE [with a sense ofher childhood, her babyhood, and the years]: A11 right, go to work. [She looks at him, then rushes and hugs him.] Hey, hey! Take it easy! [He holds her face away from

21

ONB

j)

1E

aosses himself and the women do the same, and they

/,,11. ]

11E H1 N E: First thing 1'11 buy is a rug, heh, B.? III'hTHICE: 1 don't mind, [Yo EDDIE] 1 smelled coffee all •la Y today. Y ou unloadin' coffee today?

•••• T

j

1'11I1IH: Yeah, a Brazil ship. • •••T 11HRINE:1 smelledit too.1t smelledall over theneighbourII(lod. •\Il 1111\:That' s one time, boy, to be a longshoreman is a plcasure. 1 could work coffee ships twenty hours a day. You

22

A VIBW

PROM

THB

BRIDGB

ACT

go down in the hold, y'know? It's like flowers, that smell. We'l1 bust a bag tomorrow, 1'11bring you some. BEATRICE: Just be sure there's no spiders in it, will ya? 1 mean it. [She direas this to CATHERrNB, rolling her eres upward.] J still remember that spider coming out of that bag he brung home. 1nearly died. You call that a spider? You oughta see what comes outa the bananas sornetimes. BEA TRICE: Don't talk about itl EDDIE: 1 seen spiders couId stop a Buick. BDDIE:

[clapping her hands over her ears]: A11right, shut up 1 [Iaughing and taking ti watch out ofhis pocke!]: We11, who

BBA T RI CE EDDrE

started with spiders? A11 right, I'rn sorry, J didn't mean it. Just don't bring none home again. What time is it? EDDrE: Quarter nine. [Puts watch back in his pochet.] BEATRICE:

[They continue eating in silenu.] He's bringin' thern ten o'clock, Tony? Around, yeah. [He eats.]

CATHERINE: EDDIE:

CA THERINE:

Eddie, suppose somebody

asks if they're

livin'

here. [He looks at her as though already she had divulged something publicly. Defensively] I mean if they ask, EDDIE: Now look, Baby, 1 can see we're gettin' míxed up again here. CATHERINE:

No, Ijust mean ...

people'l1 see them goin' in

and out. 1 don't care who sees them goin' in and out as long as you don't see rhem goin' in and out. And this goes for you too, B. You don't see nothin' and you don't know nothin'. BEATRICE: What do you mean? I understand. EDDIE: You don't understand; you still think you can talk about this ro somebody just a little bit. Now lemme say it once and for a11' beca use you' re rnakin' me nervous again, borh of you. I don't care if somebody comes in the house EDDIE:

..",1 m'N rhem sleepin'

ONE

23

the floor, it never comes out of yoolll IIIOlllh who they are or what rhey're doin' here. 11M ~ 1 111 e 11: Y cah, but my mother'll know MIOIOIII Surc she'l1 know, butjust don't you be the one who 1101,1 hrr , that's a11. This is the United States government y 0011'J(' pbyill' with now, this is the Immigrarion Bureau. 11 yt 111 ~aid it you knew it, if you didn't say it you didn't ~ IlIOW it. • fllllllnlNB: Yeah, but Eddie, suppose somebody1'" 11111: I don't care what question it is. You - don't - know111,111111'. They got stool pigeons all over this neighbourhood, d ••.y',.c payin' thern every week for information, and you ,1••II't know who they are. It couId be your best friendo You lu·.•,.? rTo BEATRICE] Like Vinny Bolzano, remember Vllllly? 111' fI T 111 e H: Oh, yeah. God forbid. 111' 11111: Tdl heraboutVinny. (TOCATHERINE] You think I'm 1.I"will' steam here] [To BEATRICE] Go ahead, tell her. ,'/í, CATHERINE] You was a baby then, There was a family livrd uext door to her mother, he was about sixteen 1111A T I! 1 e E: No, he was no more than fourteen, 'cause 1 was 111 his coníirmation in Saint Agnes. But the farnily had an ,,"dc that they were hidin' in the housc, and he snitched 1" I he Immigration, t A 1'11 H I! I N E: The kid snitched? 00

On his own uncle! What, was he crazy? 11111' 111: He was crazy after, J te11you that, boy. 1111 fI T H 1 e E: Oh, it was terrible. He had five brothers and the e .lcll3ther. And they grabbed him in the kitchen and pulled I.illl down the stairs - rhree flights his head was bouncin' lik c a coconut. And they spit on him in the street, bis own I.lther and his brothers. The whole neighbourhood was ( I yiu',

"""

J1!:

, fI T IJ I! 1(1 N E:

24

A VIBW

FROM

THE

BRIDGE

Ts! So what happened to him? 1 think he went away. [To EDDIEJ him again, did you?

ACT

CATHERINE: BEATRICE:

1 never seen

frises during this, taking out his watchJ: Him? You'lI never see him no more, a guy do a thing like that? How's he gonna show his face? [To CATHERINE, as he gets up uneasily J Just remember, kid, you can quicker get back a million dollars that was stole than a word that you gave away. [He is standing now, stretching his back. J CA THERINE: Okay, 1 won't saya word to nobody, 1 swear. EDD!E: GOIUla rain tomorrow. We'U be slidin' all over the decks. Maybe you oughta put something on for thern, they be here soon. EDDIB

" ,.,. Idlll, a childish one and a knowing fear, and the tears ,/".", ;" I,;s qes - and they are shy before the avowal. J .1' " 11I 1 ""l/y sllliling, yet somehow proud of her J: Well •.. 1 1'"1'" Y"lI have good Iuck. 1 wish you the best. You know tI"l. ~ltl. , A 1 11 1\ 111 NI'. [rising, trying to laugh]: Y ou sound like I'm goin' .¡ ,"dljoll miles! "11 11. 1\ I k 1I0W. 1 guess 1 just never figured on one thing. , ~ '"'II\'NI! [smiling]: What? .."" 111 T!.;lt you would ever grow up. [He utters a soundless /.",\:/, 1/( himself, feeUng the breast pocket of h;s shirt.] 1 left a '1" .: 11 111 Illy other coat, 1 think, [He statts jor the bedroom.] , ~'

111'. U J N E:

1 onIy got fish, 1 ha te to spoil itifthey atealready. I'U wait, it onIy takes a few minutes; 1 could broil ir,

BEATRICE:

What happens, Eddie, when that ship pulls out and they ain't on it, though? Don't the captain say nothin'] EDDIE [slicing an apple with his pocket-knife]: Captain's pieced off, what do you mean? CA THERINE: Even the captain] EDDIE: What's the matter, the captain don't have to live? Captain gets a piece, maybe one of the mates, piece for thc guy in Italy who fixed the papers for them, Tony here'll get a little bite. '" CATHERINE:

Ijust hope they get work here, that's all 1 hope. EDDIE: Oh, the syndicate'U fixjobs for them; till they pay 'ern off rhey'Il get them work every day. It's after the pay-off, then they'U have to scrarnble like the rest of uso BEATRICE: Well, it be better than they got there. EDDIE: Oh sure, well,listen. So you gOIUla start Monday, heh, Madonna? [EDDIE BEATRICE

[embarrassed]: I'm supposed to, yeah. is standing facing the two seated women. First smiles, then CATHERINE, for a powerful emotion

Stay there! 1'11get it for you.

ISI,/, lwrries out. There is a slight pause, and 1I1~ lIT Jt (C E, who has been avoiding his gaze.] ""'>11': ItI' ~ • "."

EDDIE

turns to

What are you mad at me Iately? "' e 1\: Who' s mad? [She gets up, clearing the dishes.] I'm II);\(I. [She picks up the dishes and turns tohirn.] You're the

"

[She turns andgoes into the kitchen as CATHERINB the bedroom with a cigar and a pack of matches.] " , 11 ".111 N E: Hcre! I'11light it for you! [She strikes a match and /",/,/, ;1 lo his cigar. He puJfs. Quietly] Don't worry about me, hl,ljc·. lich? " " 11'.: ()on' t bum yourself. Uust in time she blows out the

,

"

11\11'

l~;

\lIad.

rutrs , /;0/1/

,

,,,.,(.1,.1

BEATRICE:

CATHERINE

25

ONE

, 11 l' 11(

You bctter go in help her with the dishes. N II

[cums quickly to the cable, and, seeing the table

• /,.,,, ¡,ti, she says, almost guiltily]: Oh! [She hurries into th« A·,(,I,r'I', and as she exits there J 1'11do the dishes, B.! 1 •. 1/M,e, EDDIE stands looking towards the kitchen for a

uwment. Then he takes out his watch, glances at tt, replaces it in bis pocket, sits in the arnuhair, and stares at the smoke /1"1/1;11.<: out of his mouth, 'J'11t! lights go down, then come up on ALFIERl, who has II/'/I"d O" to the forestage. ]

26

A VIEW

FROM

THB

He was as good a man as he had to be in a life that was hard and even. He worked on the piers when there wal work, he brought home his pay, and he lived. And towards ten o' dock of that night, after they had eaten, the COUSill1 carne. [The lightsfade on ALflERI and rise on the street.] [Enter TONY, escorting MARCO and RODOLPHO, each with a valise. TONY halts, induates the house. They standfor a moment looking at it.] M A R C O [ - he is a square-built peasant of thirty-two, suspidous, tender, and quiet-voiced]: Thank you. TONY: You're on your own now. Just be careful, that's a11. Ground floor. MARCO: Thank you. TONY [indicating the house]: 1'11see you on the pier tomorrow, y ou'11go to work. [MARCO nods. TON Y continues on walking down the street.] RODOLPHO: This will be the first house 1 ever wa1ked into in America! Imagine! She said they were poor I MARCO: Ssh! Come. [They go to door. MARCO knocks. The lights rlse in the room. EDDIE goes and opens the door. Enter MARCO and ROO OLPHO, removing their caps. BEATRICE and CATHBRINB enur from the kitchen. The lights fade in the street.] EDDIE: You Marco? MARCO: Marco. EDOIE: Come on in! [He shakes MARCO'S hand.] BEATRICE: Here, take the bags! MARCO [nods, looks to the women, and fixes on BBATRICB. Crosses to BEATRICE.]: Are you my cousin? [She nods. He kisses her hand.] BEA TRICE [above the table, touching her chest with her hand]: Beatrice. This is my husband, Eddie. [All nod.] Catherine, my sister Nancy's daughter. [The brothers nod.]

ALfIERI:

ACT

BRIDGB

~'A 11'

ONB

27

Ilm{j((/(ing ROOOLPHO]: My brother. Rodolpho. nods. M A R C O comes with a certain formal stiffness f,' ••••l' 111.11 want to tel1 you now Eddie - when you say !l.". wr will go. I•• tI'lI' (lit, 110 .•• [Takes MARCO'S bag.] ~I"", ,,: I ,c-c it's a sma11house, but soon, maybe, we can have ti

11' , , 1, • , 1 l' 11()

house.

"111 IIWII

y e1\,' re

l' .' •••••

/" II~'

welcome, Marco, we got p1enty of room here.

p;ivc thcm supper, heh? [Exits lnto bedroom with their

H ""'.,

I Come here, sit down. 1'11get you some soup. go to the table]: We ate on the ship. Thank BDDIE, calling offto bedroom] Thank you. Get sorne coffee, We'11 a11have coffee. Come sit

, " I '1111' 1 N 1\:

l/u (!tey

e,

~I " l" ,'"ti

ITo

111./\ IlIle:lI:

,1" IV 11.

and MARCO sit, at the table.] [wondrously]: How come he's so dark and you're '" IIV.hl, Rodolpho? 1'''1,,''''110 [ready to /aughJ: 1 don't know. A thousand years .'1'.•.. ,hcy say, the Danes invaded Sici1y. 1"11'" TRlcEkissesRoDoLPHO. They Iaugh aSEDDlunters.] , "111I'IIINB [to BEATRICE]: He's pracrically blondl l' l' l' 111' Ilow' s the coffee doin'? , "IIII~IIINH [brought up]: I'm gettin' it. [She hurries out to IUIII'OLPHO

" 1 111'UI N E

~II,/11'/1·1

1""'11'

1,;1.1 on his rocker]: Yiz have a nice trip]

" ~ '" .,: 'I'hc ocean is always rough. But we are good sailors. 1''''''11: No trouble gettin' here? ••

~ lO I CI:

No. The man brought usoVery nice mano [lO EDOIE]: He says we start to work tomorrow.

1'" 1" " .·11 ()

h 1••. honcst?

I/IIlIglzing]: No. But as long as you owe thern money, 11••-y'll ~ct yOl!plenty of work. [To MARCO] Yiz ever work "11 • he piers in Italy?

1"",'11

28 MARCO:

A VIEW

FROM

THB

BRIOGE

ACT

Piers? Ts! - no.

ROOOLPHO

M~

[smilíng at the smallnessofhis

town]: In our town

there are no piers, on1y the beach, and little fishing boan, BRA TRICE: SO what kinda work did yiz do? MARCO [shrugging shyly, even embarrassed]: Whatever there U, anything.

o O L P H o: Sometirnes they build a house, or if they fue the bridge - Marco is a mason and 1 bring him the cerncnt, [He laughs.] In harvest time we work in the fields .•. there is work. Anything. EOOIE: Still bad there, heh? MARCO: Bad, yes.

'11' Al""

Nothing. But if there are many passengers and you're lucky you make a few lire to push the taxi up the

ROOOLPHO:

hill. [En ter

CATHERINE;

she listens.]

You gotta push a taxi? ROOOLPHO [laughing]: Oh, sure! It's a feature in our town, The horses in our town are skinnier than goats. So if there are too many passengers we help to push the carriages up to the hotel. [He laughs.] In our town the horses are only fm show. BEATRICB:

Why don't they have automobile taxis? ROOOLPHO: There is one. We push that too. [They laugh.j Everything in our town, you gotta push! BEATRICE [to EDOIE]: How do you like that! EDOIE [to MARCO]: SO what're you wanna do, you gonn:l stay here in this country or you wanna go back? MARCO [surprisea']: Go back? EDDIE: Well, you're married, ain't you? CATHERINE:

i\h ... 1 bet they're cryin' for you already, heh? What can 1 do? The older one is sick in his chest. M l' wll~' she feeds thern from her own mouth. 1 tell you 11•• 1111111, in stay there they wiil never grow up. They eat

!l1'A

u

ir

[laughing]: It's terrible! We stand around a11dny in the piazza listening to the fountain like birds. Everybody waits only for the train. BEATRICE: What's on the traín?

I11 "

y 1 '11 ,

RO

ROOOLPHO

V ("~. 1 have three children. 11: 'I'h rcc! 1 thought only one. (>1., lIO. 1 ha ve three now. Four years, five years, six

111 11

~,~

19

ON.

11'1111:

A "

1

"

OIlIl\llillC'.

11"

11: My God. So how long you want to stay? With your permission, we will stay maybe a1'1'1'11' ~;lle don't mean in this house, she means in the "'111111 y. /, ~ 1" •• (>h. Maybe, four, five, six years, 1 think. ""/'''11'110 ISlIlilíng]: He trusts his wife. It /' 11 , It I { 1\: Ycah, but maybe you'll get enough, you'U be .• 1,1. ItI j',O hack quicker. "A 111 ti I hopc, 1 don't know. [To EDDIE] Iunderstand it's 11,,1 ',,, j',')()\[ here either. 1", 111" (>11, yOl! guys'U be all right - till you pay them off, 'II!\,W,'Y. Aftcr that, you'U havc to scrarnble, that's aU. But \''' 11 '11 '";, k e bctter here than you could there. 1'" 1" 1I 1'11 o: How much? We hcar a11kinds of figures. How 11111.1, r • 111 a man make? We work hard, we'll work a11day, '"'

Al

111'

H ~ It."

.• 11111",1.1

1~1" I

H

" l' l' 1l'

1 '11 n I \"

vv

,

11"'" "1'

l' 1" ,,\,,'

U"

u I

co raises a

hatld lo hush him.)

/w is coming more and more lo address

MARCO

only J:

dw average a whole year? Maybe - well, it's hard to ',r·!". Sometimes we lay off, there' s no ships three, four 1', ·,

.,' 'I'hrce, four weeks! - Ts! 11111 I think you could probably - rhirry, forty a week, IIIC" whole twelve months of the year. () IriJ~s, trosses to EDDIE]: Dollars,

A VIBW

3°

FROM

ACT

TBS BRIDG!

[MARCO

puts an atm round

RODOLPHO

and they laugh.)

If we can stay he re a few months, BeatriceListen, you're welcome, Marco _ MARCO: Because I could send them a little more ifI stay her •• BEATRICE: As long as you want, we got pIenty a room. MARCO [his eyes are showing tears]: My wife - [To EOOIIII My wife - 1 want to send right away maybe rwenry dollars MARCO:

BEATRICE:

You could send them something [ - he is near tears]: Eduardo ...

EOOIE: MARCO

next week aIready.

[He goes to

EOOlft,

offering his hand.] Don't thank me. Listen, what the hell, it's no skin oíl' CATHERINE] What happened to the coffee? CATHERINE: I got it on. [To ROOOLPHO] You rnarried too? No. ROOOLPHO [rises]: Oh, no ..• BEATRICE [to CATHERINE]: 1 toId you heCATHERINE: 1 know, 1 just thought maybe he got married recently. EOOIE:

me.

[To

1 have no money to get married. 1 have a nice

ROOOLPHO:

[He laughs.] [to BEATRICE]: He's a real blond! [to ROOOLPHO]: You want to stay here too, hch]

face, but no money. CATHERINE BSA TRICE

For good? Me? Ves, forever! Me, Iwant to be anAmerican. And then I want to go back to Italy when I am rich, aud 1 will huya motorcycle. [He smiles. MARCO shakes h{",

ROOOLPHO:

affictionate/y. ] CA THERINE: RODOLPHO:

A motorcyclel With a motorcycle

1'11 get you coffee. [She exits W'h:lt you do with a motorcycle?

BEATRICE:

1k .lrcams, he dreams. ••• It,,1 "110 110 MARCO]: Why? [To EOOIE] Messages! The 11,1, I""ple" in the hotel always need someone who will , '11'v ;, IIwssagc. But quickly, and with a great noise. With ó4 I'¡,11"'11"(orcycle I would station myself in the courtyard ,,1 tI'l 1'"ld, and in a little while 1 would have messages. •. 1 A'" " WIWII you have no wife you have dreams. /tI'" '" Wlty run't youjust walk, or take a trolley, or sump'm? 11"'0 IIHATRICE with coffee.] 1'''''''' "111): Oh, no, the machine, the machine is necessary. ti "' "' '''llll"S into a great hotel and says, 1 am a messenger. \\/1,,, ,'. Ihis man? He disappears walking, there is no noise, ""tllIlIl'" Maybe he will never come back, maybe he will ", ,', 1 .lrlivcr the message. But aman who rides up on a 1',',,1 11I:1I·ltinc,this man is responsible, this man exists. He '\ 011 1 ••. ¡',iven messages. [He helps BEATRICE set out the ",/1,'<' tI';UgS,] 1 am also a singer, though. "111''" y, III mean a regular - ? " , , 1" '1 l' 11o: Oh, yeso One night last year Andreola got sick. 1/11'1,'111',And 1 took his place in the garden of the hotel. 1111 :11ias 1 sang without a mistake! Thousand-lire notes .1" \' rhrr-w from the tables, money was falling like a storrn 1', tilO"n casury. It was magnificent. We lived six months on d, ,1 Ili¡',lIt. ch, Marco? ,1"

1 M !I U ( : () nods do ubtJuIly .] .'~I" ,': Two months. 1/1111111 lllll~hs,]

111~ I "1': 1',:Can't you get a job in that place? l' , , " , " l' 11o: Andreola got better. He' s a bari tone, very strong.

laughs.] Irc,~rr:tJully,to BEATRICE]:

1II'!ATl!lCE

in Italy you wiIl never starve

any more. BDDIB:

31

•• A'" "

Sure dollars.

EDDIE:

ON!

to the kitchen.]

He sang too loud . •" ,'," 1 1'11o: Why too loud? " ~ "' ,': '1'()O loud. The guests in that hotel are all English1111"11, They don't like too loud. .,

~

'lO

"

32

A l'IIW

RODOLPHO

[to

P1tOM

CATHERINE]:

THB

ACT

BRIDGI

Nobody

ever said

it was toa

tl,e rest ofthe building]: Because we never had ~ hrrc ... and all of a sudden there' s a singer in 11" h,,"_c', y'know what I mean? •• A /1'" Y n, y(·s. You'll be quiet, Rodolpho, 111/011' I /" is ,ftushed]: They got guys all over the place, M ,11'" I 111(';111. •• U o 00 YrN. lIc'll be quieto [To RODOLPHO] You'll be

.t4 ••••

1I/I,Ii(tltj",~

1\11 .111 1','"

loud! 1 sayo It was too loud. [To BEATRICE]I knew it l. soon as he started to sing. Too loud. RODOLPHO: Then why did they throw so much money? MARCO: They paid for your courage. The English like courage. But once is enough. RODO.LPHO [to all but MARCO]: 1never heard anybody say le was too loud. CATHERINE: Did you ever hear ofjazz? RODOLPHO: Oh, sure! 1 sing jazz. CATHERINE [rises]: You could singjazz? RODOLPHO: Oh, I sing Napolidan, jazz, bel canto - 1 sing Paper Doll, you like Paper Dol/? CATHBRINE: Oh, sure. I'm crazy for Paper Doll. Go ahcad, sing it. MARCO:

RoD

33

ONI

'1"101 Iuoo

, A 1 11 IIIt I N !l.] .'0"110

1110 10 ti.

1'"l/o'III,wed

and with a high tenor voice begíns singing]:

1'11te11you boys it's tough to be alone, And it's tough to love a doll that's not your own. I'm through with all of thern, 1'11never fa11again, Hey, boy, what you gonna do? I'm gonna buy a paper doll that I can cal1 my own, A do11 rhat orher íellows cannot steal. [EDDIE

rises anJ moves upstage.]

And then those flirry, flirty guys With their flirty, flirty eyes Will have to flirt with dollies that are real BDDIE: Hey, kid - hey, wait a minute CATHERINE [enthralled]: Leave him finish, it's beautiful! ['Iil BllATRICE] He's terrific! It's terrific, Rodolpho, BDDIB: Look, kid; you don't want to be picked up, do ya? MARCO: No - no! [He rises.l

Wlt;'I's the high heels for, Garbo? I ftgured for tonight 11" me a favour, will you? Go ahead.

• A , 111' UI N 11:

o L P H o [takes his stance after getting a nod oJ permission from

MARCO,

o nods. /"u risen, with iron control, even a smile. He moves to

11/ , 1, l' 11

101010111

~IOlolIl

now, IJngered, CATHBRINB goes out into the 1",/1""1/1, IIIlATRICE watches her go andgets up; in passing, ./Ir ,I:i ",'J Il D DIE a cold [ook, restrained only by the strangers, ,111,1 g,on lo (he table to pour coffee.] 1\(IÍI·i/l.~ to laugh, and to MARCO, but directed as much to 1 IIIC· 1\

"1'"

1: All actresses

they want to be around here.

IIlilppy about it]: In Italy too! All the girls. l' "111 Hit 1N E emerges [rom the bedroom in low-heel shoes, ,,0111(\ to tI,e table. RODOLPHO is lifiing a cup.] ~" "1 11 I "(~is sixing up R o DO L P H O, and there is a concealed 'cII/'/oÍoO/lI:Ycah, heh? ~"'" '1 1'1111: Yes! [Laughs, indicating CATHERINEl Especia11y

.",,,,,

1'1111

",l ••l' dl('y are so beautiful! You like sugar? ~ " ,." 1 1'110: Sugar? Yes! I like sugar very much I

,

~ 11I1I1I1Nl!:

11, l' 1>1 H

is downstage,

watching as she pours

a

spoonful

oJ

"','~'" i,I/(J his cup, his face puffed with trouble, tlnd the room "In

1I,(/I(i tise on ALPUlllI.] 1: Who can ever know what will be: discovered] Bddie

• 1 1'111"

34

A VIEW

FROM

THE

BRIDGE

ACT

Carbone had never expected to have a destiny. A mi" works, raises rus family, goes bowling, eats, gets old, "lid then he dies. Now, as the weeks passed, there was a futur., there was a trouble that would not go away.

[The lightsfade on ALFIERI, then rise on EDOIE stanJI".~ "' the doorway ofthe house. BEATRICE enters on the street, sh, sees EODIE, smiles at him. He looks away. She starts to enter the house when EODIE speaks.J

- with know what they're callin' him now? Paper 11,,11 d ••.y·,c callin' him, Canary, He's like a weird. He • 111111. 11111 ou the pier, one-rwo-three, it's a regular free

She'll get back to it. She's excitcd, Eddie. She tell you anything?

BEATRICE: EOOIE:

[comes to him, now the subject is openeJ]: What's the matter with you? He's a nice kid, what do you want fmlll him?

BEATRICE

That's a nice kid? He gives me the heeby-jeebies. [smiling]: Ah, go on, you'rejustjealous. EDDIE: Of hlm] Boy, you don't think much of me. BEATRICE: I don't understand you. What's so terrible about him? EDOIE:

B.EATRICE

You mean it's all right with you? That's gonna be hrr husband?

EDOIE:

Why? He's a nice fella, hard workin', lookin' fella.

BEATRICE:

he's a good ..

He sings on the ships, didja know that? What do you mean, he sings? Just what I said, he sings. Right on the deck, a11of a

VO\!

.1", I'V 1111Al"

l'

1,111""

11

1I

111,A

,

W cll, he' s a kid; he don' t know how to behave

yel.

1\11,1

.,,,'"1

.'"111'

w-n, it's

a long show at the Paramount. EDOIE: They rnust've seen every picture in Brooklyn by now, He's supposed to stay in the house when he ain't working, He ain't supposed to go advertising himself. BEATRICE: Well, that's his trouble, what do you care? If t1~y pick him up they pick him up, that's aU. Come in the house, EDOIE: What happened to the stenography? I don't see her practise no more. BEATRICE:

35

wliole song comes out of his mouth

11, u

'tI"lloom

It's afier eight.

EODIE:

EODIE:

¡",I,I,

ONB

with that wacky hair; he's like a chorus girl or

"'

111'

1\"

So hc's blond, so -

1',:.1 liope that's bis regular hair, that's all 1 hope. crazy or sump'm? [She críes to turn him to her.] 111' l' '" I 1,1' keeps his head turned away]: What' s so crazy? I ,\,,,,'1 Ilkc- liis whole way. It 11 A , '111 11: Listcn, you never seen a blond guy in your life? 111"""

\

'",A '""

"hOlll Whitey Balso] 11II",;"g to her victoriously]: Sure, but Whitey don' t .111,'" 11'" .lOlt't do likc that on the ships. ~ 1, ~ , l' 11 11: W di, maybe that' s thc way they do in Italy. ".' '1111 '1'11<'11 why don't his brother sing? Marco goes around Id, ., 11,.\11; nobody kids Marco. [He moues from her, !u¡{ts. ',/" ,,·,'¡j:t·J there is a campaign solidified in him.] I tell you the ",,11, \'111 surpriscd I have to tell you all this. I mean I'm .11' 1" 1"'·.1. B. 11' ~ , .' " 1 I - she goes lo him with purpose now]: Lis ten, you .,,,', 1',"lIl1a start nothin' here. ''', '11" I ,lil1't startin' nothin', but 1 ain't gonna stand around 1",,1, .,,' ;11 rhat, For that charactcr 1 didn't bring her up. 1 .'" 11, 11., l'm surprised at you; I sit there waitin' for you to " .1" "1' but everything is grcat with you. 111'" , 111' E: No, evcrything ain't great with me. W

"1

1

'"

1,

11: VOl!

,1

'1

1

.

.,"',"

BEATRICE:

"""

EDDIE:

""

No? , '111

1>11'

1',: No. But 1 got other worries.

Veah. [He is already weakening.]

36

A VIBW

fROM

THB

ACT

BRIDGB

Yeah, you want me to tell you?

BEATRICE:

"'''''.

[in retreat]: Why? What worries you got? BEATRICE: When arn 1 gonna be a wife again, Eddie? EDDIE:

1 ain't been feelin' good. They bother me since

they

carne. BBATRICE:

they're Eddie.

It's almost three months you don't fed goudl only here a couple of weeks. It's three moutha,

1 don't know, B. 1 don't want to talk about it, What's the matter, Eddie, you don't like me, heh] EDDIE: What do you mean, 1don't like you? 1said 1don't good, that' s all. B EA T R 1C E: Well, tell me, am 1 doing something wrong? 'J'alk to me. EDDIE [- Pause. He can't speok, then]: 1can't. 1 can't talk ahout it. BEATRICE: Well tell me whatEDDIE: 1 got nothin' to say about it!

EDDIE:

BEATRICE:

r".1

¡,.",

[She stands far a mOmetlt; he is looking off; she turns to .~(I the house.] EDDI E: ¡'11be a11right, B.;justlay off me, will ya? I'm worrlei] about her.

The girl is gOlilla be eíghteen years old, it's tilll. already. EDDIE: B., he's taking her for a ride! BRA TRICB: All right, that's her ride. V/hat're you gOIlI1. stand over her rill she's forty? Eddie, 1 want you to C\It It out now, you hear me? 1 don't like it! Now come in tllt' house. EDDIE: 1 want to take a walk, 1'11 be in right away. BEA TRI CB: They ain't goin' to come any quicker if you st:1I111 in the street. It ain't nice, Eddie. EDDIE: I'Il be in right away. Go ahead. [He walks off. She ¡oes into the house. BDDIE glanus ul' ,1" BEA TRI CE:

1/'/'1

/tIL'

. EDDIE

1 (111\ S

141111'.

""tI

and

MIKE

MIKE

37

ONE

coming, and sits on an iron rail-

enter.)

bowlin' tonight? rircd, Goin' to sleep, 111111" II"w'~ yom two submarines? _'11' 11' 11 u y' r r lIkay. 111111" I~, 1 dH'y're gettin' work allatime. • ••••• l' 1 lit yr.lh, they're doin' all right. ..,." 111,1'" what we oughta do. We oughta leave the coun11 y ,,",1""11(" in under the water. Then we get work.

.1111'1'

\V

""'"'

1'111 IlItI

,11111;1 V,O

Ii''''"' \',,";till't kiddin'. lit

W ti

1t 1 '1

11'"' 11'

l. w hat the hell. Y'knowj

'" 11C·_

,;/, mI railing beside EDDIE1: Believe me, Eddie, you IInlit comin' to you. ~"1tI1' 1\.111, .!tey don't bother me, don't cost me nutt'n. ." ~ l' 111.1' "Ida one, boy, he's a regular bull. 1 seen him the "d •. 1 ,1.1 Y lilrin' coffee bags over the Matson Line. They 1, ."" 111,,1 ;t!olle he woulda load the whole ship by himself. litti'"' v"dl. hc's a strong guy, that guy. Their father was a "1,"111 1'.1.1111, supposed to be. III'OJ', y"dl. you could see. He's a regular slave, .111' l. 1,.,,,,,JiIl,i!l: That blond one, though - [EDDIE looks at ,,,,,, 11 k\ got a sense ofhumour. [LOUIS snickers.] "1'1'1' I ,,·.l/cf¡i/I.l!ly]: Yeah. He's funny 1111' 1 I,t.ulillg lo laugh): Well he ain't exackly funny, but he's ,.1.. 1\", IIL, makin' remarks like, y'know? He comes around, , ,.. , \,I''i,Iy's laughin'. [LOUIS laughs.] "1"" 1 I""",,,~{t,rlably grinning]: Yeah, well ... he's got a sense

111,1\'.1

1, •• 1

., 1"11.1

>

,,1 111111" iur. 1111' 11

1l.,,,g/Ji,,gJ: Yeah, 1 mean, he's always makin' like re-

'"·11 l· "o Ilke, y'know? y,;t!I, I know. But he's a kid yet, y'know?

11111'11'

1"" •• ki,l, that's all.

He - he's

38

A VIEW

PROM

THE

ACT

BRIDGE

[getting hysterical with LOUIS]: 1 know, You take ane look at him - everybody's happy. [LOUIS laughs.] 1 wurk..t one day with him last week over the Moore-MacCOrll\ll'~ Line, I'rn tellin' you they was a11hysterical. [LOUIS altJ lit

MIKE

1"1'" 1 l' 1 1 ,,' 1 WO\lld like to go to Broadway ",0111.1

they move to exit, meeting RODOLPHO ,,,,J entering on the street. Their laughter rlst'J 'U they see RODOLPHO, who does not.undetstand butj;I" CATHERINE stops him at the door.] [Laughing,

CAT H ERIN E

CATHERINE:

[-

he can't help smiling at sight ofher]: Where'd Pararnount.

YOll ¡.tll' It was with those two guys, y'kllow'

ThatBrooklyn

CATHERINE

Paramount]

[with an edge of anger, embarrassed beJore

Sure, the Brooklyn goin' to New York. PHO):

Paramount.

1"11111

W;UII',

""

11"",

VOl1know what he can't get over? That there's

in Brooklyn! 1"IIi1i",~"nlvillingly]: Fountains?

1,,"ll.liIlS

'

[RODOLPHO

""fl'((/.} A 1 1111111 n u: In ltaly he says, every town's d,. \ 1111,'1 rhcre. And you know what? "" "" 'I'TS whcre he comes frorn, and ,," dIO '"TS? I mean it's interesting. But

smiles at

", •• ·,,'11

I

got fountains, and They got oranges le mons. Imaginehe's crazy for New

" .. 01,

1:

r 11" ¡a(tempting familiarity Eddie, why can't we go 1111" ,,, IIloadway - ? l' l' ,. 11' I IIllk, 1 gotta tell her somcthing 1""'" 1 l' 11 (.: Maybe you can come too. 1want to see a11those 111'1".; l' it' sees no response in EDDIE'S face. He glances al • " 1 11 I! 11 1 N p,} I'll wal.k by the river before 1 go to sleep.

.."1"

.,

1'"

11".1/,'\

ofT down

the street.]

Why don't you talk to hirn, Eddie? He blesses , • '11,1111 \ YOU don' t talk to him hardly. , ,,'," I'''''r/''pillg her with his eyes]: 1 bless you and you don't ,,11· 1" 111('. ¡He tries to smile,] •• , " l' 11 1 ,,1 I!: 1 don' t tal k to you? [She hits his arm.] What do H 1':

• 1 11111'

\ I ti

I

11

\1 111111.1

,

around Times Square, sed It's full of tramps over thcrc,

.'1.,.11

,. 1111

, 1'," '

,e .1I1? 1,

1,1' l' ,1

[retreating before the threat ofher anger]: All right;J ollly asked you. [To RODOLPHO] 1 just don't want her hall~ill'

ÉDDIE

'l

111' 1'1 '1 ti"

111 •••••

ROIlOI-

1 told you we

'1

• Al

,

CATHERINE:

EDDIE:

ti 11 1 "

Hey, Eddie - what a picture we saw! Did w.

laugh! EDDIE

ti' 1,,111'11

Why? What'd he do? MIKE: 1 don't know ... he was just humorous, You heVtr can remember what he says, y'know? But it's the wuy !t. says it. 1 mean he gives you a look sometimes and yOll .llt' laughin' ! EDDIE: Yeah. [Troubled] He's got a sense ofhumour. MIKE [gasping]: Yeah. LOUIS [rising]: Well, we see ya, Eddie, EDDIE: Take it easy. LOUIS: Yeah. See ya. MIKE: If you wanna come bowlin' later we're goin' Flathlllll Avenue.

once, Eddie. 1 11\'" 1" walk with her once where the theatres are "11('1;1, Since 1 was a boy I see pictures of those lights. 11"\ /i(tI" I'atience waning]: I want to talk to her a •• Il'hlolpho. Go inside, wiil you? l' 11 ". Fddic, we only walk together in the streets, She

"l'

.".1 "'",

explode in laughter.] EDDIE:

39

ONB

orne vou' yo.u re runmn , I"11 .t sce you no. more. 1come horne \ulllcplaceWcll, he wants to see everything,

l' 11,'1;:

.••

r,J.,.

that's a11,so

VOl! mad at me? ¡He movesfrom ha, smiling sadly.] It's just 1 used

40

A VIBW

FROM

THE

BRIDGB

ACT

to come home, you was always there. Now, 1 tum arollntl. you're a big gírl, 1 don't know how to talk to you.

,h,

oo.

41

me! You got him a11 wrong, Eddie; 1 ttl~~tI 11. Y •••••w le,II". II<"sonly bowin' to his passport, ti. t 11111111111 11is passport l ''''1111 11..11"right. He rnarries you he's got the right to be 1•• ""11111.111ritizen, That's what's goin' on here. [She is ./1'I/.",.lw1I'rised.] You understand what I'm tellin' you? t ItI 1',11 Y I~ 1,lokin' for his break, that's a11he' s lookin' foro '-6'11111111/11 I/",ím~d]: Oh, no, Eddie, 1 don't think so. .,''" 1- Y 1111.101I't think so! Katie, you're gonna make me cry h. It "Ib,,!;¡ workin' man? What does he do with his first 111"111 y l' 1\ ~1I:tppy new jacket he buys, records, a pointy I'~'I 11.w ·dlll('S and his brother's kids are starvin' over there ••Id, 11I1"'lIlIlosis? That's a hit-and-run guy, baby; he's got 111'1.111 II",II(~;in his head, Broadway. Them guys don't think ..1 1l 1""ly 1'lIt theirself! You marry him and the next time II!II ".• 111111 it'Íl be for divorce! lA 1111'"111111,\11'1'5 towards hím]: Eddie, he never said a word _1"'1111••..1"'1)lTSor~III.III VIlII 1I1(':Inhe's supposed to tell you that? I 4 11'" 11IIH,: 1 don' t think he' s even thinking about it. Itlll'"' W¡';j('s bctter for him to think about! He could be d.~-.III\, :llly day here and he's back pushin' taxis up the ,,111 1 ~ 1111111 1N 11:No, 1 don't believe it. ~II,,"' 1':,111<'. clou't break my heart, listen to me. I 4 1111'"1r~11:I don't want to hear it. lól"" 11 1( "líe, listcn I ~ I " l' 11 1N I!: 1le laves me! ~"I'II' I".itl, dccp alarm]: Don't say that, for God's sake! Tlús l. d" •.I.lcst rackct in the countryI ~ 11111111 r~ 11Id/'5perately, as though he had made hís imprint]: 1 .1"11'11" hr vc it! [She rushes to the house.] ""1'111 1/"l/lIlIlí,,! her]: They beenpullin' this since the 01"

Why? BDDIE: 1 don't know, you're runnin', you're runnin', K.tI'l 1 don't think you listening any more to me. C A T H E R 1 N E [going lo him]: Ah, Eddie, sure 1 amo Wh;¡ t'l th. matter? You don't like him] [Slighl pause.] BDDIE [turns to her]: You like him, Katie? CATHERINE [with a blush but holding her grouná]: Yeah, 111" him. I!DDIE [ - his smile goes]: You like him. CA THERINE [looking down]: Yeah. [Now she looks al him ¡Clr consequences, smiling but tense. He looks at her like a lost bCly,1 What're you got against hirn] 1 don'r understand. He 0111, blesses you. EDDIE [turns away]: He don't bless me, Katie. CATHERINE: He does! You're like a father to him l BDDIE [turns lo her]: Katie. CA THERINE: What, Eddie? EDDIE: You gonna marry hirn? CATHERINE: 1 don't know. We just been goin' aroum], that' s a11. [Turns to him.] What' re you got against him, Eddie? Please, te11me. What? EDDIE: He don't respect you, CA THERINE: Why? EDDIE: Katie if you wasn't an orphan, wouldn't he A.k your father's permission before he run around with you lik« this? CATHJ'!RINE: Oh, we11, he didn't think you'd mind. EDDIE: He knows 1 mind, hut it don't bother him if I mim], don't you see that? CATHERINE: No, Eddie, he's got a11kinds of respect for me, And you too! We walk across the street he takes my arm ~ CA THERINE:

oo.

k. ~I,,,OI" IUIWSto

ONB

r."-

00

I

oo.

42

A VIEW

fROM

THE

Immigration Law was put in! They grab a green kld ,b don't know nothin' and theyCATHERINE [sobbingJ: 1 don't believe ir and 1 wish tu h you' d stop it! HDDIE: Katie! [They enter the apartment, The Iights in the livi"g-r()()", 11,,'" risen and BEATRICE is there. She looks past th« ,ff.MIIi CATHERINE at EDDIE, who in the presence ofhis 111/'" makes an awkward gesture of eroded command, illllll'l"I,., CA THERINE.]

Why don't you straighten her out? [inwardly angered at nis flowing emotion, /11111(11 lit itself alarms her l: When are you going to leave hcr alllll&l' HODIE: B., the guy is no good! BEATRICE [suddenly, with openfright andjury]: You goilljC lit leave her alone? Or you gOlilla drive me crazy? [He ,''',", striving to reta in his dignity, but nevertheless in guilt wal/u "id of the house, into the street and aUJay. C A T H E R I N E starts ¡"h' , bedroom.] Listen, Catherine. [CATHERINE halts, turns le' ,'" sheepishly.] What are you going to do with yoursclf? CATHERINE: 1 don't know. BEATRICE: Don't tell me you don't know; you're not a hllhy any more, what are yon going to do with yoursclf? CATHERINE: He won't listen to me. BEATRICE: 1 dori't understand this. He's not your (;\,111", Catherine. 1 don't understand what's going on hcre, CATHERINE [as one who herself;s try;ng to rationalize a l",rI,J impulse]: What am 1 going to do, just kick him in thc 1111' wirh it? 8EATRICE: Look, honey, you wanna get married, or 111111'1 you wanna get married? What are you worricd ail,,",. Katie? CATHERINE [quierly trembling]: 1 don't know B, Itjust srf'lIl' wrong if he' s against it so mucho EDDIE:

BEA TRI CE

ACT

BRIDGE

ON!

43

A I 111'11I",'I','r losing her aroused alarm]: Sit down, honey, 1 ..,411'1,,1,11 YOII sornething. Here, sit down. Was there ever ""\' 1,11.• 1••, lik(~dfor you? There wasn't, was there? ••, I 111'1111111 IIl1t hc says Rodolpho's just after hispapers. 111 A I 111'11 l. .k, hc'll say anything. What do es he care what 1,•.• '. 1" JI il was a prince carne here for you it would be no ,1111 .•• 111 You know that, don't you? .'. IIIIIIIII~II: Yrah,l guess . ••••Al 111'11,So what does that mean? • A I 111' IIII~1',I,dowly turns her head to B EA TRI CE]: Whatr "" A 1 l' l' u 11 mcans you gotta be your own self more. y ou .11111I111l"vou're a litrle girl, honey. But nobody else can 111"1,,"1' yOllf núnd for you any more, you understand? '"'' 1',1111.\ give him to understand that he can't give you "1,1,1' Illllllorc. , A , 11l' 11 1I~ 1'.: Yeah, but how am 1 going to do that? He rhinks

••

H

l'

r lIt

'. I,.d,y. 1111'1',:Ikcause yor/ thinkyou're a baby. 1 told you fifty 11,",~ .drc';\lly, you can't act the way you act. You still walk ., """, \ 111[ront ofhim in your slip, A 11111111 ti 1',: W elll forgot, 11li ~ 111" 11:W ell you can' t do it, Or like you sit on the edge ,,1 11••. luthtub talkin' to lúm when he's shavin' in his

III'A

tll"

l. , wr':

u·~

11111111 N I!: When'd 1 do that? l'" ~ 1u l' '1',:1 sccn you in there this moming. , A 1111, 111N I!: Oh ... well, 1 wanted to tell him something ,.",11 111'A 11111H: 1 know, honey. But if you act like a baby and he 1" 1II',llill' you like a baby. Like when he comes home o •• t uucs you throw youself at him like when you was 1", 1 v,' ycars old. , Al 111' 111N n: Well1 like to see him and I'rn happy so 1111'~ 1\111:11: Look, l' m not tellin' you what to do honey, but -

, A

IIt'

A VIEW

44

FROM

THE

ACT

BRIDGE

No, you could tell me, B.! Gee, I'm al! mil,'" up. See, I - He lcoks so sad now and it hurts me. BEA TRICE: We11100k, Katie, if it's goin' to hurt you so 1U11ll1. you're gonna end up an oId maid here. CATHERINE: No! BEA TRICE: I'rn tellin' you, I'm not makin' a joke. 1 trier] tn tell you a couple of times in the last year or so. That's wlty 1 was so happy you were going to go out and get wllrk, you wouldn' t be here so much, yo u' d be a litrle more hui.,. pendent. I mean it. !t's wonderful for a whole family tu love each other, but you're a grown woman and yOIl'I'(, 111 the same house with a grown mano So you'll act diflcrrlll now, heh? CATHERINE: Yeah, 1 will. 1'11remember. BEATRICE: Because it ain't only up to him, Katie, you understand? 1 told him the same thing already. CATHERINE [quícklyJ: What? BEATRICE: That he should Iet you go. But, you see, if olllr I te11hirn, he thinks I' m just bawlin' him out, or maybe 1111 jealous or sornethin', you know? CA THERINE [astonished]: He said you was jealous? BEA TRI CE: No, I'm just sayin' maybe that's what he thilllu,

."""'I",,r,

CATHERINE:

[She reaches over

/0 CA THERINE'S

I,A

ofit. BEATRICE [with a quiet sad laugh]: .w-u you should Juavr thought of it before ... but I'm noto We'll be a11right. .1"1' give him to understand; you don't have to fight, yOIl"1' just - You're a woman, that's all, and you got a nicc hoy, and now the time came when yotl said good-bye. All right P CATHERINE [strangely moved at the prospect]: All right .... 11 I can. BEATRICE: Honey ... you gotta.

sensing now an imperious demand, turm 11'111,

",jth a díscovery, to BEA TRI cs. She is at the edge of I/'ollgh a familiar world had shattered.]

,/1

Okay.

111""11'11\:

1/

()/It on them and up on

;1:/'1\

", ,A,

ALPIERI,

seated behind his

1

It W:lS at this time that he first carne to me. 1 had " 1'" ~,,"t('(1bis father in an accident case some years before, ~II,I I W.IS .icquainted with the Eamily in a casual way. I 111111 IlIhn him now as he wa1ked through my doorway -

A I I 1" 111

11() n lE

\111/'"

"lo,

down right ramp.}

y":' wcrc like tunnels; my first thought was that he had

'"lIlIlIillnl

1""" 1,,,,

a crime,

111 sits

i""1I

beside the desk, cap in hand, looking out.]

I saw it was on1y a passion that had moved

". '~.

//11"11 (() IlDDIB

into

pauses, looks down at his as though he were continuing a convusation

Id, 1,",ly, like a stranger.

[ALFIBRI

".;,/, /,1",. J I don't quite understand

what 1 can do for you. l. tI" le ;l quesrion oflaw somewhere? 111""" Tluu's what 1 want to ask you. ~ 1 , '" l' t ; Iln:ausc there' S nothing illegal about a girl falling in ",idl an immigrant.

1,,1" " .'"

hand; with a strained SIIIII,I

You think I' m jealous of you, honey? CATHERINE: No! It's the first I thought

[CA THERINE,

" ,,, "

45

ONll

Y cah, but what about it if the only reason for it is

1"

,,, 1','

t

A' I"'I!

his papers? I'irst of áU you don't know that. I '.n· it in his eyes; he' s laughin' at her and he' s laugrun'

l.

'11' " 1 11 ·,lllIr

A' , '" '"

1""

v .

¡:,¡Jdic, I'm a lawyer. 1 can only deal in what's .1lit-. YOl! nnderstand that, don't you? Can you prove

doo'" ''',

l' 11'

/

)..,"'111

tvhat' s in his mind, Mr A!fieri!

¡:,ddic, cven iE you could prove that 111' "ll! I ISlm ..• will you listen to me a minute? My father ,ti \\'.1 y:. \.1 i,I yOll was a smart mano 1 want you to listen to me. ~ I , ",

A,

l' 1

,t ""

1,

l' 11\ only a lawyer,

Eddie.

46

A VIBW

PROM

THE

BRIDGE

ACT

Will you listen a minute? I'rn talkin' about the IIW, Lemme just bring Out what 1 mean. Aman, which h•• comes into the country illegal, don't it stand to reason h,l, gonna take every penny and put it in the sock? Because tlUl'y don't know from one day to another, right? ALFIERI: All right. EDDIE:

EDDIE:

He's spendin'. Récords he buys now, Shoes. ]ackrtl.

y'understand me? This guy ain't worried. This guy ¡s Irlrl. So it must be that he's got it alllaid out in his mind alre:Hly • he's stayin'. Right? ALFIERI: Well? What about it? All right. [He glances at ALFIERI, then down to the jlc"".1 I'm talking to you confidential, ain't I? ALFIERI: Certainly. ED DIE:

1 mean it don't go no place but here. Because I dOIlI, like to say this about anybody. Even my wife 1 d¡du', exactly say this. ALFIERI: What is it? EDDIE:

EOOIE

[takes a breatk and glances briefiy ovu each shoulder]:

Tia.

guy ain't right, Mr Alfieri. ALFIERI: What do you mean? EOOIE: 1 mean he ain't right. ALFIERI: 1 don't get you. EODIE

[shijis to another position in the chair]: Dja ever gce •

look at him? ALFIERI: Not that 1 know

0[,

no.

He's a blond guy. Like ... platinum. 1 mean? ALFIERI: No. EOOIE:

You know wluI'

1 mean if you close the paper fast - you could hlnw him overo ALFIERI: Well that doesn'r mean _ EOOIE:

Wait a minute, I'rn tellin' you sump'm. He sings, Which is-I mean it's a11right, but sometimes he hits a

EOOIE:

art'o Ilotc!,

ONB

47

1 1'1111.'I
40.

A'

"t

tll'lll

le••

A '11111'1 Yt"S.hut that's not -

1'111u-llin' you surnp'rn, wait a minute. Please, Mr Mil. 11 1'111tryin' to bring out my thoughts here. Couple

"'"'111

••1 1II1',I'I~ago my mece brings out a dress which it's too 1"",11111,!ct"f. bccause she shot up like a light this last year. 110l., ~n 111(" dress, lays it on the table, he cuts it up; one-rwo1111'" lit" makcs a new dress. 1 mean he looked so sweet 11,." , Ic~.(':111angd - you could kiss him he was so sweet. ~' 11111t 1 N'IW look, Eddie ''''''11' MI Alficri, they're laughin' at him on the piers, I'rn ~_II,tI"",1. l'apcr Doll they call him. Blondie now. His 1".. dl'l rhiuks it's beca use he's got a sense ofhumour, see \\,111,11Iw's got - but that ain't what they're laughin'. \VIii. l. thr y'rc not goin' to come out with it because they ~I\.. w lit"'S lIIy eelative, which they have to see me if they III·,L· .1 Ilack, y'know? But I know what they're laughin' '11.,111.1whcn I think of that guy layin' his hands on her 1 , .. "Id I mcan it's catin' me out, Mr Alfieri, because 1 ,11"1',1',lnl f~)r that girl. And now he comes in my house '11\.1 41 111'Itl. 1:"Idie, look - 1 have my own children, 1 understand \'"'' 11111 rhc law is very specific. The law does not ... 111'I'II! III';(/' a ¡ul/er jlow o¡ indignation]: You mean to tell me "",1 dll'lr-'s 110law that a guy which he ain't right can go to ", •.d, .1I1I11lI;lrrya girl and - ? ~111l' It1 Y'III llave no recourse in the law, Eddie. 111'Ii 111 Y1"..11,hut if he ain't right, Me Alfieri, you mean to l. 11iur

4-& ALI'IJlRI: EOOlE:

A VIBW

nOM

THE

lI11IDGI

1""

There is nothing you can do, Eddie, believe m ••

Nothin',

Nothing at a11.There's only one legal question h(lr•• What? ALFIERI: The manner in which they entered the COW1try. n"l 1 don't think you want to do anything about that, do yuu' EOOJE: You mean - ? ALFIERI: We11, they entered illegally. EOOJE: Oh, ]esus, no, 1 wouldn't do nothin' about tlllal, I meanALFJERI: A11right, then, let me talk now, eh? EOOJE: Mr Alíieri, 1 can't belicve what you tell me. I 1llC"1" there must be some kinda law which ALFJERJ: Eddie, 1 want you to listen to me. [Pause.] You knuw, sornctimes God mixes up the people. We a11 love 50111'body, the wife, the kids - every man's got somebody thl' he loves, heh? But sometimes ... there's too mucho YUI! know? There's too much, and it goes where it musrn't, A man works hard, he brings up a child, sornetimes it'a • niece, sometimes evcn a daughter, and he never realizcs Ir. but through the years - there is too much love for 111. daughter, there is too much lo ve for the niece. Do yu" understand what I'm saying to you? EOOIE [sardonically): What do you mean, 1 shouldn't l()o~ out for her good? ALFIERI: Yes, but those things have to end, Eddie, that's Illl. The child has to grow up and go away, and the man 1m 111 learn to forget. Because after all, Eddie - what other w.y can it end? [Pause.] Let her go. That's my advice. YOll !litl your job, now it's her life: wish her luck, and let her fto. [Pause.) will you do that? Because there's no law, Eddír. mak.e up your mind to it; the law is not interested in thí., BDDIE: You mean to rell me, even if he's a punld lfhe'sALfIBlI: There's nothing you can do, ALFIERI:

EOOIE:

ACT ON.

1'11111'

49

1111\ f(l",ds.) W rll, all right, thanks. Thanks very mucho

AII'II'III

WIt:lI

"""1' 1"'ltll

are you going to do?

" I,dpless but ironic gesture]: What can 1 do? I'rn • l"ll,y, what can a patsy do? 1 worked like a dog twenty V'~" ~•• u puuk could have her, so that's what 1 done. 1 die worst times, in the worst, when there wasn't ••• 1111' 'IHllill' in the harbour, 1 didn't stand around lookin' 1"1 .,11,1 i hustled. When there was empty piers in BrookI~II I \.•... r-nt 10 Hoboken, StatenIsland, the West Side.jersey, ~ll "VII hernnse 1 made a promise. 1 took out of my own 1I1,,"dl 1'1 give to her. 1 took out of my wife's mouth. 1 lO',.1~• d 111111f~ry plenty days in this city! [It begins to break ".,,'u~'11 I Alld now 1 gotta sit in my own house and look ,,1 ,1 '11111 •• ra-bitch punk like that - which he carne out of ••""IIIIC·II givc him my house to sleep! 1 take the blankets ,,11 IlIy 1\("<1 íor him, and he takes and puts his dirty filthy 111' '111, 111

like a goddam thief! But, Eddie, she's a woman now. 1i1••• I.' 1k\ stcaling from me! Al 1'1111' 1 \11(' wants to get married, Eddie. She can't marrv II,I!"I~"" hcr

I,;¡;",d:

Al 1 11"'1

V"I!,

•. 111

Sial"?

l<.tI'"' 1/"'¡(lfIS/Y]: What're you talkin' about, marry .1111\'1 kuow what the hell you'rc talkin' aboutl

me! 1

l' ',111\(·1 Al 11111'1

1

11l' 11111 "'\' _ ••

you my advice, Eddie. That's it.

I~;¡VC

11' 1"'11\

.'!"tf¡ers hímselJ. A pause.]

w-u,

ihanks. Thanks very mucho It just - it's breakin'

y'know. 11 IIlIllrrstand. Put it out of your mind. Can you do

1',_"1, 1 .' "1

11'.'1"

/J~fuls the threat of sobs, and with a helpless 1/',11" I 1'11 ~("c you around. [He goes out up the dght ramp·l ~ 1 l' 1 • ~ 1 11;11 ",. deslc]: There are times when you want to

• 1'"

11'

1'11 I

[

50

A VIEW

fROM

THE

ACT

BRIDGE

spread an alar m, but nothing has happened. 1kncw, 1 kn.w then and there - 1 could have fmished the whole story Ih•• aftemoon. It wasn't as though there was a mystery tu 111\ •• ravel. 1 could see every step coming, stcp after stcp, lik, • dark figure waIking down a hall towards a certain door, I knew where he was heading for, 1 knew where he WII going to end. And 1 sat here many aftemoons asking mYl,lf why, being an intelligent man, 1 was so powerless to stop le, 1 even went to a certain old lady in the neighbourhood, • very wise old woman, and 1 told her, and she only nodded, and said, "Pray for him .. .' And so 1 - waited here.

[As lights go out on ALFIERI, they rise in the apartlll'''' where all arefinishing dinner. BEATRICE and CATHBltlNII are clearing the table.] You know where they went? Where? CA THERINE: They went to Africa once. On a fishing bOII, [EDDIEglances at her.] It's true, Eddie.

CATHERINE: BEATRICE:

exits into the kitchen with dishes.] EDDIE: 1 didn't say nothin', [He goes to his rocker, picks ul' " lIewspaper. ] CATHERINE: And 1 was never even in Staten Island. EDDIE [sitting wíth the paper]: You didn't llÚSS nothin', [Pause. CA THERINE takes dishes out.] How long that tllk. [BEATRICE

you, Marco - to get to Africa? MARCO [rísíng]: Oh ... two days. We go al! overo R O D O L P H O [rísíng]: Once we went to Yugoslavia. EDDIE [to MARCO]: They pay all right on thern boats? [B EA TR 1CE

enters. She and

R O D O L PHO

staclc th« remai,'¡"jl

dishes. ] lf they catch fish they pay all right. [Sits on a '«(1011 They're family boats, though. And nobody ill our family owned ane. So we only worked when 01lC' ,,1 the families was sick.

MARCO:

RODOLPHO:

t. A • "1' " "1

'"'

,'11

Y'kuow, Marco, what 1 don't understand - there's '1111 nI' hsh and yiz are all starvin'.

11", Y W lila

• .",", \,

,.,

ha ve boats, nets, you need money-

r"urs.] Yl"ah, hut couldn't they like fish from the beach?

1'111111N 1\

".11111

1\

rhr ru down

VoolI,rr-

litA'" 1"""1

51

ON!

Coney Island-

',"lOlill(,~.

11

Il.dllgltit,gl

',1111".

.U

1100,,~ " "1\'

()h,

11

How you gonna catch sardines on a

1 didn't

know

they're

sardines.

[To

, ,. 1 111'"1 N 111 'I'hey're

sardines! u: Y (';\h, they follow them all over the ocean, "1,1, ,l. YIIl',llslavia .•• [She sits and begins to look through a ••,,'!'Ir II"'g,,..¡I/r. RODOLPHO joins her.] 111' A 1111' 111111 1\1I1>1B1: It's funny, y'knoW. You never think ,,111, tI",l wdincs are swimming in the ocean! [She exits to

1, A • 11111' 1 N

~",I,f'''11',(1, lA

,/jshrs.]

I know. It's like oranges and lemons on a tree, 11"1111111 mean you ever think of oranges and lemons

11"'llItH\: \ '"

0011 '1 1,1'( ~

Yr.lh, I know. It's funny.

til'\l11I

[To

MARCO]

1heard that

111' y 1""111 die ()ranges to make them look orange. 11\1\'" 1111

',1

e Il (n(rrs.]

IlIIs bun reading a leuer]: Paint? 'y'1'.I1a, 1 hcard that they grow like green. •• ,. 1" " NIl, in Italy the oranges are orange. ti 11 \1" 1 1'1111: 1.C'1I1011S are green. ~\lI'1I1 1,(lr"(;I/.~ I,;s instruction]: 1 know lemons are green, 1", I 11l1'11's sakc, you see them in the store they're green ."'11' 1III,n, I said orangcs they paint, 1 didn't say nothin'

uA

"'

Ilr

l' \1 \1111

"1,,, •• 1 lo-IIIIlIIS. 11 1 ~j(lj"g;

111' ~ 1 1'1'

." 1111"

~u'"

diverting

their attention]:

Your

tllI" moucy all right, Marco? )b. ycs. She bought medicine for my boy.

11. (

wife is

52

A VIEW

FROM

THE

ACT

BRIDGE

That's wonderful. You feel better, heh? MARCO: Oh, yes! But I'm lonesome. BEATRICE: Ijust hope you ain't gonna do like some of them around here. They're here twenty-five years, sorne 11\('11, and they didn't get enough together to go back twice. MARCO: Oh, I know, We have many fa mili es in our tOWII, the children never saw the father. But 1 will go home, Three, four years, 1 think. BEATRlCE: Maybe you should keep more here. Became maybe she thinks it comes so easy you'll never get ahead 01' yourself. MARCO: Oh, no, she saves. 1 send everyrhing. My wife is v('ry lonesome. [He smiles shyly.J BEA TRl CE: She must be nice. She pretty? I bet, heh? MA R co [hlushingJ: No, but she understand everything. RODOLPHO: Oh, he's got a clever wifc! EDDIE: I betcha there's plenty surprises somctimes when thOlI' guys get back there, heh? MARCO: Surprises? EDDIE [/aughing]: I mean, you know - they count thc kit!. and there's a couple extra than when they left? MARCO: No - no ... The women wait, Eddie. Most. MOIt. Very few surprises. RODOLPHO: It's more striet in our town. [EDDIE looks at ",,,, now.] It's not so free. EDDlE frises, paces up and down]: It ain't so free he re cithrr, Rcdolpho, like you think. I seen greenhorns sornetirncs Krl in trouble that way - they think just because a girl don't ~tI around with a shawl over her head that she ain't strkr, y'know? Girl don' t have to wear blaek dress to be strirt, Know what I mean? RODOLPHO: Well, I always have respectEDDIE: 1 know, but in your town you wouldn'tjust drag nlr some girl without permission, 1 mean. [He turns.] You know

I

W"~I

BEATRICE:

•• ~ ",

lit

III("an,

Marco?

lt ain't that much different

1""HI"".dy 1: Ves. W ell, he didn'

11

53

ONB

A I 1111 11:

t exactly

drag

here.

her off though,

"'1,1 •• MI""" I kuow, but 1 seen sorne ofthem get the wrong idea .1I11i1lilllr~. \ '1'0 RODOLPHO] 1 mean it might be a little 111"" It rl' hrre but it's just as strict. 1"111'11'1111: 1 llave respect for her, Eddie. 1 do anything 1 "1

\<\>

PI"""

'1''''

kitl, I ain't her father, I'rn only her uncle-

IlIlIk,

w-u

then, be an uncl: then. hrr (rilicizing force.] 1 mea n . liNo, lIeatrice, if he does wrong

II"~' ""

11;

[EDDIE

foob al ha,

,111',1/" ,,'

•• u'

I '"

you must telllum.

What does he do wrong? W (·11, Marco, till he came here she was never out on ,11' .1, (1'1 1 wclve o' dock at rught •• A 111 CI 1'" /l(\[)OLPHO]: You come home early now. IH~ '"1111 \10 CATHERINE]: Well, you said the movie tll,l. ,11.111', didn't you?

'",

1111111111

" 111

I A 1 11""1

N 1\:

'lilA

11:

1111'

Ycah. tell him, honey. [T,

w-n,

EDDle]

The movie

,",1. .l Lu r. 1, ,k, n., m just sayin' - he thinks she always stayed ,,"1 IIL,· rh.u.

111' "",

., "

~ 1" CI

r

IC

early now, Rodolpho. \md,llrrassed]: All right, sure. But 1 can' t stay in

Y (11' come home

,.

111 '1

,.""

l."",,'

111' 111".11

:.11 [he time, Eddie.

kid, I'm not only talkin' about her. The more ouud like that the more chance you're takin'. [To 11 l' ~ 1 1.1 ( 1\ I 1 mean suppose he gets lút by a car or some1111111'. I'/''' MAltCO] Where's his papers, who is he? Know IlIlIk,

1

\","

.1111 .o

",1.·.1

IIIIC':III?

111'" 1 111' I!:

11"

"""11'

Y call. but who is he In the daynme, chauce in the daytime.

though?

It' s

54

A VIEW

FROM

THE

ACT

BRIDGE

[holding back a voice full of anger]: Yeah, but he don', ha ve to go lookin' for it, Beatrice. If he's here to work, then he should work; if he's here for a good time then 1" could foo1 around! [To MARCO] But 1 understood, Marco, that you was both comin' to make a livin' for your family, You understand me, don't you, Marco? [He goes to MI

BDDIE

M•• '"

BDDIE: MARCO: EDDlE

ti! ~111"

•• A"'"

1""'"

l' '.'I/WJ

¡,is paper.]

11,',.1 IlInk, toa! [Looking al

tl"tI"

RODOLPHO]

He sings,

1•• '""~-

1 beg your pardon, Eddie. l rnean, that's what 1 understood in the first place, Yeso That's why we carne. [sits on his rockerJ: We11, that's a11I'm askin',

1',""'"

Ice,

reads his paper. There is a pause, an awkwardlltll. Now C A T H E R 1 N E gets up and puts a record on the pllO''''. graph - Paper Doll.] CATHERlNB [fiushed with revolt]: You wanna dance, Rodul. pho? [EDDIEfreezes.] RODOLPHO [in deference to EDDIE]: No, 1- I'm tired. [EDDIE

Go ahead, dance, Rodolpho. CATHERINE: Ah, come on. They got a beautiful quartet, the •., guys. Come. BEA TRICE:

[She has taken his hand and he sti.ffiy rises,feeling eyes on his back, and they dance.] EDDIE [to CATHERINE]: What's that, a new record?

EDDII1"

IU

turns to

BDDm.]

smiles thankfully.]

it's good, he could always make a living. It" wOlldrrful. He sings, he cooks, he could make

,ti' •••• 'I'hey get some high pay, them guys. Thc head .dl,hr hig hotels are men. You read about thern. lil"'"' IIa.I'·~ what ¡'IUsayin'. l. 1\ IIIIIUINI! tlnd RODOLPHO continue dancing.] • ~ lit" lOI N 11: Y (';\1., wdl, 1 mean. "''''11' 1/.' IIl1hTRICE1: He's lucky, believe me. [Slight pause. /1, I••••~·, .'II'''y. then back lo BEATRICE.] That's why the " ."" 1, 1111' is no place for him. [They stop dancíng. "" 111 " 1'11 () I,I",S off phonograph.] I mean like me - 1 can't , .".~. I •. 111',sillg, 1 can' t make dresses, so l' m on the water-

I .111

,. 10' H 11:

,l •• h 111

,. ",,'

lit

11

ir I could

,l., .,. \. I wlIlIlJn't

It's the same one. We bought it the other (J¡ly. BEATRICE [to EDDIE]: They only bought three records. ¡Sil, watches them dance; EDDIE tutns his head away. MAIlCO BEATRICE

"1")

w-u

11' l' 11

111"'"'

M\I~I

be nice to go all over in one of them fishin' boats. l would like that myself. See a11thern other countries? EDDIE: Yeah. BEA TRlCE [to MARCO]: But the women don't go along, I hrl. MARCO: No, not on the boats. Hard work. BEATRICE: What're you got, a regular kitchen and evcrything?

cook, if 1 could sing, ifI could make be on the water-front. [He has been

"""."" ""/I/Y Ill'isting the newspaper into a tigilt roll. They are .'/1 "I~I""'"g hin: "OWj he senses he is exposing the issue and he

CATHERINE:

just sits there, waiting. Now

V". ver cal vcry good on the boats - especia11y when along: everybody gets fato 11 (lit. 11(" cooks? '.11' (". v('ry good cook. Rice, pasta, fish, everything.

t1tl,tllll,ltll'''III('S

rocker. ] MARCO:

55

ONE

, •• /11"'"

"".11

.•• 1•• '.,

',1 •• r r ,

¡II

I/t'

'"'.'

''"./

""(1

1 •. ,"" .\

\ l"

'" "

t,

would be someplace else. 1 would be like in

[1 le ¡!as bent the rol/ed paper and it suddenly lears s'l/ldo/ly gets up and pulls his pants up over his belly M h 1\ C. o.]

What do you say, Marco, we go to the

K' S:ltllrday night. You nevcr seen a fight, did you? 1,,1/(',,~il)'l:

Only in the moving

pictures

\ ""1' 1,.,'i".l! (O IwnoLPHo]: 1'11treat yiz. What do you say, ,. "'I'.Ia,' V 011 wanna come along? 1'1l buy the tickets, ""

111"

1'1111:

Sute. 1 like to go.

56

A VIEW

FROM

THE

BRIDGB

[goes to EDDIE; nerllously happy now]: 1'11make some coffee, all right? BDDIE: Go ahead, make some! Make it nice and strong. [Mystijied, sh« smiles and exits to kitchen. He is weirdiy elated, rubbing his fists into his palms. He strides to MARCO.] You wait, Marco, you see some real fights here. You ever do any boxing? MARCO: No, 1 nevero EDDIE [to RODOLPHO]: Betcha you have done some, heh? RODOLPHO: No. EDDIE: Well, come on, I'll teach you. BEATRICE: What's he got to learn that for? EDDIE: Ya can't tell, one a these days somebody's liable to step on his foot or sump'm, Come on, Rodolpho, 1 show you a couple a passes. [He stands below table.] BEATRIC!: Go ahead, Rodolpho. He's a good boxer, he could teach you. RODOLPHO [embarrassed]: Well, 1 don't know how to - [He moves down to EDDIE.] BDDIE: Just put your hands up. Like this, sed That's right. That's very good, keep your left up, because you lead with the left, see, like this, [He gently moves his left into Ro D o LPHO'S jaee.) Sed Now what you gotta do is you gotta block me, so when 1 come in like that you - [RODOLPHO parries his lt;fi.] Hey, that's very good! [RODOLPHO laughs.] A1l right, now come into me. Come on. RODOLPHO: 1 don't want to hit you, Eddie. EDDIE: Don't pity me, come on. Throw it, I'll show you how toblock it. [RODOLPHO jabsat him, laughing. The othersjoin.] 'at's it. Come on again. For the jaw right here. [RODOLPHO jabs with more assurance.) Very good! BBATRICE [to MARCO): He's very good! [EDDIE crosses direetir upstage ojRODOLPHO.] BDDIE: Sure, he's great! Come on, kid, put sump'm behind it, CATHEIUNE

ACT

ONB

57

you can't hurt me. [RODOLPHO, more seriouslr, jabs at EDDIE'sjaw andgrazes it.] Attaboy. [c A T H E R 1N E comes jrom the kitehen, watehes.] Now I'm gonna hit you, so block me, sed CATHERINE [with beginning alarm]: What are they doin'? [They are lightly boxing now.] BEATRICE [ - she senses only the comradesiiip in it now]: He's teachin' him; he's very good! EDDIE: Sure, he's terrific! Look at him gol [RODOLPHO lands a blow.) 'at's it! Now, watch out, here 1come, Danish! [He feints with his lt;fi hand and lands with his right. It mild1r staggers RODOLPHO. MARCO rises.) CATHERINE [rushing to RODOLPHO]: Eddie! fjDDIE: Why? 1didn't hurt him. Did 1hurt you, kid? [He rubs the back of his hand aaoss his mouth.] RODOLPHO: No, no, he didn't hurt me. [To EDDIE with a certain gleam and a smile) 1 was only surprised. BEA TRICE [pullíng EDDIE down into the roeker): That's enough, Eddie; he did pretty good, though. EDDIE: Yeah. [Rubbing his fists together) He could be very good, Marco. 1'11teach him again. [MARCO nods at him dubiously.] RODOLPHO: Dance, Catherine. Come. [He takes her !land; they go to phoflograph and start it. It plays Paper Doll. RODOLPHO takes her in his arms. They dance. EDDIE in rhought sits in his chair, and MARCO takes a chair, places it in front of EDDIE, and 100ks down at it. BEATRICE and EDDIB watch him.] MARCO: Can you líft this chair? EDDIE: What do you mean? MARCO: From here. [He gets on one knee with one hand behind his back, and grasps the bottom of one of the chait legs but does no' reise il.]

58

A VIEW

FROM

THE

BRIDGE

Sure, why not? [He comes to the chair, kneels, grasps the leg, raises the chair one inch, but it leans over to the .fioor.] Gee, that' s hard, 1never knew that. [He tries again, and again fails.] It's on an angle, that's why, heh? MARCO: Here. [He kneels, grasps, and with strain slowly raises the chair higher and higher, getting to his [eet now. RODOLPHO and CA THERINE have stopped dancing as MARCO raises the chair over his head. MARCO isface toface with EDDIE, a strained tension gripping his eyes and jaw, his neck stiff, the chair raised like a weapon over EDDIE'S head - and he transjorms what might appear Iike a g/are of warning into a smile of triumph, and EDDIE's grin vanishes as he absorbs his look.] EDDIE:

CURTAIN

ACT TWO [Light rises on

ALFIERI

at his desk.]

On the rwenty-third of that December a case of Scotch whisky slipped from a net while being unloaded - as a case of Scotch whisky is inclined to do on the twentythird ofDecember on Pier Forty-one. There was no snow, but it was cold, his wife was out shopping. Marco was still at work. The boy had not been hired that day; Catherine told me later that this was the first time they had been alone together in the house. [Light is rising on CATHERINE in the apartment. RODOLPHO is watching as she arranges a paper pattern on cloth spread on the table.] CATHERINE: You hungry? RODOLPHO: Not for anything to eat. [Pause.] 1 have nearly three hundred dollars. Catherine? CA THERINE: 1 heard you. RODOLPHO: You don't like to talk about it any more? CA THERINE: Sure, 1 don't mind talkin' about it. RODOLPHO: What worries you, Catherine? CATHERINE: 1 been wantin' to ask you about something. Could I? RODOLPHO: All the answers are in my eyes, Catherine. But you don't look in my eyes lately. You're full of secrets. [She /ooks at him. She seems withdrawn.] What is the question? CA THERINE: Suppose 1 wanted to live in Italy. RODOLPHO [smiling at the incongruity]: You going to marry somebody rich? CATHERINE: No, 1 mean live there - you and me. ALFIERI:

60 RODOLPHO

A VIEW

FROM

THE

BRIDGE

[his smile vanishing]: When?

Well ... when we get married. RODOLPHO [astonished]: You want to be an Italian? CATHERINE: No, but I could live there without being Italian. Americans live there. RODOLPHO: For ever? CATHERINE: Yeah. RODOLPHO [crosses to rocker]: You're fooling. CA THERINE: No, I mean it. RODOLPHO: Where do you get such an idea? CATHERINE: Well, you're always saying it's so beautiful there, with the mountains and the ocean and all the RODOLPHO: You're fooling me. CA THERINE: I mean it. RODOLPHO [goes to her slowly]: Catherine, ifl ever brought you home with no money, no business, nothing, they wouId call the priest and the doctor and they wouId say Rodolpho is crazy. CA THERINE: I know, but 1 think we would be happier there. RODOLPHO: Happier! What would you eat? You can't cook the view! CA THERINE: Maybe you could be a singer, like in Rome orRODOLPHO: Rome! Rome is full of singers. CATHERINE: Well, 1 couId work then. RODOLPHO: Where? CATHERINE: God, there must be jobs somewhere! RODOLPHO: There's nothing! Nothing, nothing, nothing. Now tell me what you're taIking about. How can 1 bring you from a rich country to suffer in a poor country? What are you talking about? [She searches for words.] 1 would be a criminal stealing your face. In two years you wouId have an old, hungry face. When my brorher's babies cry they give them water, water that boiIed a bone. Don' t you believe that? CATHERINE [quietly]: I'm afraid ofEddie here. CA THERINE:

ACT

TWO

61

[Slight pause.] [steps closer to her]: We wouldn't live here. Once

RODOLPHO

1 am a citizen I could work anywhere and I would find

better jobs and we wouId have a house, Catherine. IfI were not afraid to be arrested 1 would start to be something wonderful here! CA THERINE [steeling herseif]: Tell me something. Imean just tell me, Rodolpho - would you still want to do it if it turned out we had to go live in ltaIy? I mean just if it turned out that way. RODOLPHO: This is your question or his question? CA THERINE: I would like to know, Rodolpho. I mean it, RODOLPHO: To go there with nothing. CA THERINE:

Yeah,

No. [She looks at him wide-eyed.] No. CATHERINE: You wouldn't? RODOLPHO: No; I will not marry you to live in !taly. I want you to be my wife, and I want to be a citizen. Tell hirn that, or I will. Yeso [He moves about angrily.] And tell him also, and tell yourself, please, that 1 am not a beggar, and you are not a horse, a gift, a favour for a poor immigrant. CA THERINE: Well, don't get mad! RODOLPHO: 1 am furious! [Coes to her.] Do you think I arn so desperate? My brother is desperate, not me. You think 1 would carry on my back the rest of my life a woman I didn' t love j ust to be an American? !t's so wonderful? y ou think we have no tall buildings in Italy? Electric lights? No wide streets? No flags? No automobiles? On1y work we don' t have. I want to be an American so 1can work, that is the only wonder here - work! How can you insult me, Catherine? CA THERINE: 1 didn't mean that RODOLPHO: My heart dies to Iook at you. Why are you so afraid of him?

RODOLPHO:

62 CATHERINB

A VIBW

FROM

THB

BRIDGB

ACT

[near tears]: I don'tknow!

Do you trust me, Catherine? You? CA THERINE: It's only that 1- He was good to me, Rodolpho. y ou don' t know him; he was al ways the sweetest guy to me. Good. He razzes me a11 the time but he don't mean it. 1 know.l would - just feel ashamed ifI made him sad. 'Cause 1 always dreamt that when 1 got married he would be happy at the wedding, and laughin' - and now he's - mad a11the time and nasty - [She is weeping.] Te11 him you' d live in Italy - just tell him, and maybe he would start to trust you a little, see? Because I want him to be happy; 1 mean - I like him, Rodolpho - and I can't stand it! RODOLPHO: Oh, Catherine - oh, little girl. CA THERINE: I love you, Rodolpho, I love you. RODOLPHO: Then why are you afraid? That he'll spank you? CATHERINE: Don't, don't laugh at me! I've be en here a11my life .... Every day 1 saw him when he left in the morning and when he carne home at night. Y ou think it' s so easy to turn around and say to aman he's nothin' to you no more? RODOLPHO: 1know, butCATHERINE: You don'c know; nobody knows! I'm not a baby, I know a lot more than people think 1 know. Bcatrice says to be a woman, butRODOLPHO: Ves. CATHERINE: Then why don't she be a woman? IfI was a wife I would make aman happy instead of goin' at him a11the time. 1 can te11a block away when he's blue in his mind and just wants to talk to somebody quiet and nice •... 1 can tell when he's hungry or wants a beer before he even says anything. 1 know when his feet hurt him, 1 mean 1 know him and now I'rn supposed to turn around and make a stranger out ofh.im? 1 don't know why 1 have to do that, 1 mean.

63

TWO

Catherine, If 1 take in my hands a little bird. And she grows and wishes to By. But 1 will not let her out of my hands because 1 love her so much, is that right for me to do? I don't say you must hate him; but anyway you must go, mustn't you? Catherine? CATHERINE: [softly]: Hold me. RODOLPHO [e/asping her to him]: Oh, my little girl. CATHERINE: Teach me. [She is weeping.] 1 don't know anything, teach me, Rodolpho, hold me. RODOLPHO: There's nobody here now. Come inside. Come. [He is leading her towards the bedrooms.] And don't cry :my more.

RODOLPHO:

RODOLPHO:

(Light rises on the street. In a moment EDDIE 4ppears. He is unsteady, drunk. He mounts the stairs. He enters the apartment, looks around, takes out a boule from one pockt:t, puts it on the table. Then another bottle from another pocket, and a third from an inside pocket. He sees the pattern and e/ath, goes ovet to it and touthes it, and turns towards upstage.] BDDIE: Beatrice? [He gaes to the open kitchen door and Iooks in.] Beatrice? Beatrice? (CATHERINE

entets ¡rom bedroom; under his gaze she adjusts

her dress.] You got home early. Knocked off for Christrnas earIy. paltern] Rodolpho makin' you a dress? CATHERINE: No. I'm makin' a blouse.

CATHERINE: EDDIE:

.1

[Indicating

the

appears in the bedroom doorway. EDDIE sees him and his arm jerks slightly in shock. R O DO L P H O nods to him testíngly.] [RODOLPHO

RODOLPHO:

Beatrice went to buy presents for her mother,

[Pause.] EDDIE:

Pack it up. Go ahead. Get your stuff and get outa here.

[CATHERINE

EDDIEgrabs ¡

instantly turns and walks towards the bedroom, and he: arm.] Where you goin'?

64

A VIJlW

FROM

THB

BIUDGI

ACT

eA. TH!!1lINE [tr~mbling withfright]: I think 1 have to get out of here, Eddie. EDDIE: No, you ain't goin' nowheres, he's the one. CA THERINE: 1 think 1 can't stay here no more. [She frus her atm, steps back towards the bedroom.] I'm sorry, Eddie. [She sus the tears in his qes.] W ell, don' t cry. 1'11be around the neighbourhood; 1'11see yOll. 1 just can't stay here no more. you know 1 can' t. [Her sobs of pity and love for him break her composure.] Don't you know 1 can't? You know that, don't you? [Sh~ goes to him.] Wish me luck. [She clasps her hands prayerfulIy.] Oh, Eddie, don't be like thatl EDDIE: You ain't goin' nowheres. CATHERINE: Eddie, I'm not gonna be a baby ::my more! You-

is rigid. They are like anlmals that hav« torn at one another and broken up without a dedsion, each waitingfor the othet' s mood.] EDDIE [to CATHERINE]: You see? [To RODOLPHO] I give RODOLPHO

you

II.ODOLPHO:

[indicating RODOLPHO with his head]: Not with that. [She halts, frightened. He slts, still panting [or breath, and they watch him helplessly as he leans towards them over the table.] Don't make me do nuttin', Catherine. Watchyour step.sub-

marine. By rights they oughta throw you back in the water. But I got pity for you. [He moves unsteadily towards the door, alwaysfacing RODOLPHO.] Just get outa here and don'tlay another hand on her unless you wanna go out feet first,

[He goes out of the apartment. The lights go down, as they rise on

wifel RODOLPHO:

C A T HE R 1N E:

EDDIE

pins his atms,

Eddie! Let go; ya hear me! 1'11kill you! Leggo

of him l [S he tears at EDDIE'sface and EDDIE releases RODOLPHO. ID DIE stands there with tears roIlingdownhis [ace as he laughs mockintlr lIt llODOLPHO. She is staring at him in horror.

ALFIERI.]

On December twenty-seventh 1 saw him next. 1 norma11y go home well before six, but that day 1 sat around Iooking out my window at the bay, and when I saw him waIking through my doorway, 1 knew why 1 had waited. And if 1 seem to te11 this like a dream, it was that way. Several moments arrived in the course of the two talks we had when it occurred to me how - almost transfixed 1 had come to feel. 1 had lost my strength somewhere. [EDDIE

ALFIERI:

EDDIE:

fiies at him in attack. laughing, and suddenly kisses him.]

I'm going with him, Eddie. [She starts towards

EDDIE

You want something? Yes! She'll be my wife. That is what 1 want. My

[RODOLPHO

kid. Get outa here. Alone. You hear

RODOLPHO.]

RODOLPHO]:

But what're you gonna be? 1 show you what 1 be! CATHERINE: Wait outside; don't argue with him! EDDIE: Come on, show me! What're you gonna be? Show me! RODOLPHO [with tears of rage]: Don't say that to me!

tomorrow,

CATHERINE:

Rave respect for her!

[spun round by

su

me? Alone.

[He reaches out suddenly, draws her to him, and as sh« strives to free herself he kisses her on the mouth.] II.ODOLPHO: Don't! [He pulls on EDDIE'S arm.] Stop that! EDDIE

65

TWO

I ;,

¡

'\ ~'

~ ~ ~(.!

11

í:

enters, removing his cap, sits in the chair, looks thoughtJully out.] 1 looked in his eyes more than 1 listened - in fact, 1 can hard1y remember the conversation. But 1 will never forget how dark the room became when he looked at me; his eyes were like tunnels. 1 kept wanting to ca11 the police, but nothing had happened. Nothing at a11had rea11y happened.

[He breaks off and looks down at the desk. Then he turns to EDDIE.]

SO in other words, he won't leave?

66

A VIEW

FROM

THE

BRIDGE

My wife is talkin' about renting a room upstairs for them. An old lady on the top floor is got an empty room. ALFIERI: What do es Marco say? EDDIE: He just sits there. Marco don't say mucho ALFIERI: 1 guess they didn't tell him, heh? What happened? EDDIE: 1 don't know; Marco don't say mucho ALFIERI: What does your wife say? EDDIE [unwilIing to pursue this]: Nobody's taIkin' much in the house. So what about that? ALFIERI: But you didn't prove anything about him. It sounds like he just wasn't strong enough to break your grip. EDDIE: I'm tellin' you 1 know - he ain't right. Somebody that don't want it can break it. Even a mouse, if you catch a teeny mouse and you hold it in your hand, that mouse can give you the right kind of fight. He didn't give me the right kind of fight, 1 know it, Mr Alfieri, the guy ain' t right. ALFIERI: What did you do that for, Eddie? EDDIE: To show her what he is! So she would see, once and for all! Her mother'll tum over in the grave! [He gathers "imself almost peremptorily.] So what do 1 gottado now? Tell me what to do. ALFIERI: She actually said she's marrying him? EDDIE: She told me, yeah. So what do 1 do?

ACT

This is my last word, Eddie, take it or not, that's your business. Morally and Iegally you have no rights, you cannot stop it; she is a free agent. EDDIE [angering]: Didn't you hear what 1 told you? ALFIERI [with a tougher tonel: 1 heard what you toId me, and I'm telling you what the answer is. I'm not onIy telling you now, I'm warning you - the law is nature. The Iaw is only a word for what has a right to happen. When the Iaw is wrong it's because it's unnaturaI, but in this case it is natural and a river will drown you if you buck it now. Let her go. ALFIERI:

67

And bless her. [A phone booth begins to glow on the opposite

EDDIE:

[Slight pause.]

TWO

side of the stagej a faint, lonely blue. EDDIE stands up, jaws clenched.) Somebody had to come for her, Eddie, sooner or la ter. [EDDIE starts turning to go and ALFIERI rises with new anxiety.} You won't have a friend in the world, Eddie! Even those who understand wiIl tum against you, even the who feel the same will despise you! [EDDIE moves off] Put it out of your mind! Eddie!

ones

[He follows into the darkness, calling desperately. is gone. The phone is glowing in light now. Líght is out on ALFIERI. EDDIB has at the same time appeared beside the phone. ] EDDIE

Give me the number of the Immigration Bureau. Thanks. [He dials.] 1 want to report something. Illegal immigrants. Two of them. That's right. 441 Saxon Street, Brooklyn, yeah. Ground floor. Heh? [With greater difficulty] I'm just around the neighbourhood, that's a11. Heh?

EDDIE:

!

J

ij'

"( "

[Evidently he is being questioned further, and he slowly hangs up. He leaves the phone just as LOUIS and MIKE come down the street.] LOUIS: EDDIE: LOUIS: EDDIE:

Go bowlin', Eddie? No, I'm due home. Well, take it easy. 1'11see yiz.

[They leave him, exiting right, and he watches them go. He g/ances about, then goes up into the house. The lights go on in the apartment. BEATRICE is taking down Christmas decorations and packing them in a box.] EDDIE: Where is everybody? [BEATRICE does not answer.] 1 says where is everybody?

[lookingup at him, wearied with it, and concealing afear of him 1: 1 decided to move them upstairs with Mrs Dondero.

BEA TRICE

EDDIE: BEATRIcn:

Oh, they're all moved up there already? Yeah.

68

A VIEW

FROM

THE

BRIDGE

Where's Catherine? She Up there? Only to bring pillow-cases. EDDIE: She ain't movin' in with them. BEATRICB: Look, I'm sick and tired ofit. I'rn sick and tired ofit! BDDIE: All righr, all right, take it easy. BEATRICE: 1 don't wanna hear no more about it, you understand? Nothin'I EDDIB: What're you blowin' off about? Who brought them in here? BEATRICE: All right, I'rn sorry; 1 wish I'd a drop dead before 1 told them to come. In the ground 1 wish 1 was. EDDIE: Don't drop dead, just keep in mind who brought them in here, that's all. [He moves about restlessly.] 1 mean 1 got a couple of rights here. [He moves, wanting to beat down her euident disapproval of him.] This is my house here not their house, BEATRICE: What do you want from me? They're moved out; what do you want now? EDDIE: 1 want my respect! BEATRICB: SO I moved thern out, what more do yOll want? y ou got your house now, you got your respecto EDDIE [ - he moves about biting his lip]: 1 don't like the way yOll talk to me, Bcatrice. BEATRICE: I'mjust tellin' yOll 1 done what you wantl EDDIE: 1 don't like it! The way you talk to me and the way you look at me. This is my house. And she is my niece and I' m responsible for her. BEATRICE: SO that's why yOll done that to him? EDDIE: 1 done what to him? BEATRICE: What you done to him in front ofher; you know what I'm talkin' about. She goes around shakin' all the time, she can' t go to sleep! That' s what 10u call responsible for her?

ACT

TWO

69

[quietly]: The guy ain't right, Beatrice, [She is silent.] Did )'ou hear what 1said? BEA TRICE: Look, I'm finished with it. That's all. [She resumes

EDDIE:

EDDIE

BEATRICE:

her work.] [helping her to pack the tinsel]: I'm gonna have it Ollt with you one of rhese days, Beatrice.

EDDIE 1&

Nothin' to have out with me, it's all settled. Now we gonna be like it never happened, that's all. EDDIE: 1 want my respect, Beatrice, and you know what I'm talkin' about. BEA TRICE: What? BEA TRICE:

[Pause. ] [ - finally his resolutlon hardens]: What 1 feellike doin'

EDDIB

,

{ i

~

f

in the bed and what I don't feellike doin', 1 don't want noWhen'd 1 say anything about that? EDDIE: You said, you said, 1 ain't deaf. 1 don't want no more conversations about that, Beatrice. 1 do what 1 feellike doin' or what 1 don't feellike doin'. BEATRICE: Okay.

BEATRICE:

[Pause. ] You used to be different, Beatrice. You had a whole different way. BEA TRICE: r« no different. EDDIE: You didn't used to jump me all the time about everything. The Íast year or two 1 come in the house 1 don't know what's gonna hit me. It's a shootin' gallery in here and r m the pigeon. BEATRICE: Okay, okay. EDDIE: Don't tell me okay, okay, I'm tellin' you the truth. A wife is supposed to believe the husband. If 1 teU you that guy ain't right don't tell me he is right. BEATRICE: But how do you know? EDDIE: Because 1 know. 1 don't go around makin' accusations. He give me the heeby-jeebies the first minute 1 seen him.

EDDIE:

i

7°

A VIEW

PROM

THE

BRIDGE

And I don't like you sayin' 1 don't want her marryin' anybody. 1 broke my back payin' her stenography lessons so she could go out and meet a better class of people, W ould 1do that ifI didn't want her to get married? Sometimes you talk like 1 was a crazy man or sump'm. BEA TRI CE: But she likes him. EDDIE: Beatrice, she's a baby, how is she gonna know what she likes? BEATRICE: Well, you kept her a baby, you wouldn't let her go out. 1 told you a hundred times. [Pause.] EDDIE: All right. Let her go out, then. BEA TRI CE: She don't wanna go out now. It's too late, Eddie. [Pause.] EDDIE: Suppose 1 told her to go out. Suppose 1 BEATRICE: They're going to get married next week, Eddie. EDDIE [ - his headjerks around to her]: She said that? BEATRICE: Eddie, ifyou want my advice, go to her and tell her good luck. 1 think maybe now that you had it out you leamed 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 1 still think she wouId like you to be a friend, y'know? [He is standing, looking at the floor.] 1 mean like if you told her yo u' d go to the wedding. EDDIE: She asked you that? B EA TRI CE: 1 know she would like it. r d like to make a party here for her. 1 mean there oughta be some kinda send-off. Heh? 1 mean she'll have trouble enough in her life, let's startit offhappy. What do you say? 'Cause in her heart she stillloves yo u, Eddie. 1know it. [He presses his .fingers against

ACT

"1

l ~i

( ~~ t ~,

j

TWO

71

his eres.] What're you, cryin'? [She goes to hlm, holds his face.] Go ... whyn'tyougo tell heryou'resorry? [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, 1 can't, 1 can't taIk to her. BEA TRI CE: Eddie, give her a break; a wedding should be happy! EDDIE: I'm goin', I'rn goín' 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. EDDIE: !t's all right, I'm - [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. 1 only wanted the best for you, Katie. 1 hope you know that. CATHERINE: Okay. [She starts out again.] EDDIE: Catherine? [She tutns to him.] 1was just tellin' Beatrice . .. if you wanna go out, like ... I mean 1 realize maybe 1 kept you home too mucho Because he's the first guy you ever knew, y'know? 1 mean now that you got a job, you might meet some fellas,and you get a different idea, y'know? 1 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 litcle more, maybe

72

A VIEW

FROM

THE

AeT

BRIDGB

you'l1 see different in a couple of months. 1 mean you be surprised, it don't have to be him. CATHERINE: No, we made it up already. E D DI E [with inaeasino anxiety]: Katie, wait a minute. CA THERINE: No, 1 made up my mind. EDDIE: But you never knew no other fella, Katie! How could you make up your mind? CA THERINE: 'Cause 1 did. 1 don't want nobody else. EDDIE: But, Katie, suppose he gets picked up. CA THERINE: 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. 1 made up my mind, Eddie. I'm sorry. [To BEA TRI CE] Could 1 take two more pillow-cases for the other guys? BEATRICE: Sure, go ahead. Only don't let her forget where they carne from. [CA THERINE goes into a bedroom.] EDDIE: She's got other boarders up there? BEATRICE: Yeah, there's two guys thatjust came overo EDDIE: What do you mean, carne over? BEATRICE: From Italy. Lipari the butcher - his nephew. They come from Bari, they just got here yesterday. 1 didn't even know till Marco and Rodolpho moved up there before. [CATHERINE enters,going towards exit with two pillow-cases.] It'll be nice, they couId all talk together. EDDIE: Catherine l [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? CA THERINE: Why? EDDIE [in a drivingfright and anger]: Why! How do you know they're not trackin' these guys? They'll come up for thern and find Marco and Rodolphol Get them out of the house! BEATRICE: But they been here so long already-

i

i

73

How do you know what enemies Lipari's got? Which they' d love to stab him in the back? CATHERINE: Well what'll 1 do with them? EDDIE: The neighbourhood is full of rooms. Can't you stand to live a couple ofblocks away from him? Get thern out of the house! CATHERINE: Well maybe tomorrow night 1'11EDDIE: 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.] eA THERINE: How'm 1 gonna find a place tonight? EDDIE: Will you stop arguin' with me and get them out! You think I'rn always tryin' to fool you or sump'm? What's the matter with you, don' t you believe 1 couId think of your good? Did 1 ever ask sump'm for myself? You think 1 got no feelin's? 1 never told you nothin' in my life that wasn't for your own good. N othin'! And look at the way you talk to me! Like 1 was an enemy! Like 1 - [A knock on the door. His head swerves. They all stand motionless. Another knock. ED DIE, 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! EDDIE: Go, go. Hurry up! [She stands a moment staring at him in a realízed horror.] Well, what're you lookin' atl FIRST OFFICER: Open up! EDDIE [calling towards the door]: Who's that there? FIRST OFFICER: Immigration, open up. [EDDIE turns, looks at BEA TRI CE. She sits. Then he Iooks at eATHBRINE. With a sob offury CATHERINE streaks into a bedroom. Knock is repeated.)

BDDIE:

:fi

TWO

A VIBW FROM THB BRIDGB

ACT TWO

BDDIB: All right, take it easy, take it easy. [He goes and opens th« door. The OFFICER steps inside.] What's all this] FlRST 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.] BDDIB: Who? We got nobody here. [He looks at BEATRICE, who tutns her head away. Pugnaciously,furious, he steps towards BEATRICE.] What's the matter with you? [FIRST OFFI CERenters [rom the bedroom, calls to the kitchen.] FlRST OFFlCER: Dominickj [Enter SBCOND OFFICERfrom 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. Watchyour step up there. SECOND OFFICER: Okay,right,Charley. [FIRST ofFIcERgoes out apartment door and tuns up the stairs.] This is 441, isn' t it? EDDIE: That's right. [SECOND OFFICER goes out into the kitchen. EDDIE turns to BBATRICE. She looks at him now and sees his ~error.] BEATRICE [weakened withfear]: Oh,]esus, Eddie. EDDIE: What's the matter wirh you? BEATRICE [pressing her palms against her face]: Oh, my God, my God. EDDIE: What're you, accusin' me? BEATRI CE [ - her final thrust is to tum towards him instead of runningfrom himJ: My God, what did you do? [Many steps on the outer sta ir draw his attention. We see the FIRST OFfICER descending, w¡th MARCO, be}¡ind him RODOLPHO, and CATHBRINB, and the two strange immi-

grants, followed by SECOND OFFICER. BEATRICE hurries lo door.] CATHERINE [backing down stairs,fighting with fIRST OFfICER; as they appear on (he 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? CATHERINE [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 andFIRST OFFlCER: All right, take it easy. [To RODOLPHO] What street were you bom in Philadelphia? CATHERINE: What do you mean, what street? Could you tell me what street you were bom? fIRST OFFICER: Sure. Four blocks away, III Union Street. Let's go fellas. CATHERINB [Jending him off RODOLPHO]: No, you can't! Now, get outa he re ! flRST OFFICER: Look, girlie, if they're all right they'll be out tomorrow, If they're illegal they go back where they carne from. If you want, get yourself a lawyer, alrhough 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. [The men start, but MARCO hangs back.] BEATRICE (from doorway]: Who're they hurtin', for God's sake, what do yon want frem them? They're starvin' over there, what do you want! Marco! [MARCO suddenly breaksfrom the group and dashes into the room andfaces EDDIE; BEATRICE and FIRST OFFICER rush in as MARCO spits ¡nto EDDIE'sface.

74

1"

'1 I

I I

75

76

A VIBW CATHERINE RODOLPHO'S

PROM

THB

ACT

BRIDGB

runs lnto hallway and throws herself into atms. EDDIE, with an enraged ery, Iungesfor

MARCO.] EDDIE:

Oh, you mother's

- I

quickly intercedes and pushes EDDIEfrom MARCO, who stands there accusingly.] FIRST OFFICER [between them, pushing EDDIBfrom MARCO]: Cut it out! EDDIE [over the FIRST OFFICER'S shoulder, to MARCO]: 1'11 kill [FIRST

OFFICER

you for that, you son of a bitch! OFfICER: Hey! [Shakes him.] Stay in here now, don't come out, don't bother him. You hear me? Don't come out, fella.

FIRST

[For an instant there is silence. Then FIRST OFFICER turns and takes M ARCO' s arm and then gives a last, informatitJe look at EDDIE. As he and MARCO are going out into the hall, EDDIE erupts.] EDDIE: 1 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 neighbours including the butcher, LIPARI - a stout, intense, middleaged man - are gathering around the stoop. Ll P A RI, the butther, 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 ajter MARCO. B E A T R 1 C E is trying to restrain him.) That's the thanks 1 get? Wlúch 1 took the blankets off my bed for yiz? You gonna apologize to me, Marco! Marco! FIRST OFFICER [in the doorway with MARCO]: All right, lady, let them go. Get in the car, fellas, it's right over there. EDDIE:

is almost carrying the sobbing up the street, lejt.] [RODOLPHO

He was bom want from him?

CA THERINE:

CATHERINE

in Philadelphia l What

off

do you

fIRST

OFfICER:

TWO

77

Step aside, lady, come on now ...

[The SECOND OFFlCER 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! 1 accuse that one! [EDDIE brushes BEATRICE aside and rushes out lo the stoop.] FIRST OFFlCER [grabbing him and moving him quickly off up the lefi street]: Come on! M A R C O [as he is taken off, pointíng back at E D DIE]: That one! He killed my children!

That one stole the food from my

clúldren! [MARCO

[to

EDDIE

is gone. The crowd has turned to EDDIE.] and wifel: He's crazy! 1 give thern the

LIPARI

blankets off my bed. Six months 1 kept them like my own brothers! [L 1PAR 1, the buuher, turns and starts up lejt with his arm around his wife.] EDDIE: Lipari! [Hefollows UPARI up lejt.] For Christ's sake, 1

kept thern, 1 give thern the blankets off my bed!

and wife exit. EDDIE turns and statts crossing down right to LOUIS and MIKE.] EDDIE: Louis l Louisl [LOUIS barely turns, then walks off and exits down right with MIKE. Only BEATRICE is lefi on the stoop, CATHERINE now returns, blank-eyed, from offstage and the caro EDDIE calls after LOUIS and MIKE.] [UPARI

He's gonna take that back. He's gonna take that back or 1'11kill hirn l You hear me? 1'11kill him! 1'11kill him!

EDDIE:

[He exits up street There is a pause reception room of CATHERINE, and ALFIERI: I'm waiting,

calling. of darkness before the Iights sise, on the a prison. MARCO is seated; ALFIERI, RODOLPHO standing.] Marco, what do you say?

A VIEW PROM THE BIUDGB

ACT TWO

RODOLPHO: Marco never hurt anybody. ALFlERI: 1 can bail you out until your hearing comes up. But I'm not going to do it, you understand me? Unless 1 have your promise. Y ou' re an honourable man, 1 will believe your prornise. Now what do you say? MARCO: In my country he would be dead now. He would not live this long. ALFlERI: All right, Rodolpho - you come with me now. RODOLPHO: No! Please, Mister. Marco - promise the mano PIcase, 1 want you to watch the wedding. How can 1 be married and you're in here? PIcase, you're not going to do anything; you know you're noto [MAReo is silent.] CATHERINE [kneeling left oJ MARCO]: Marco, don't you understand? He can't bail you out if you're gonna do sornething bad. To hell with Eddie. Nobody is gonna talk to him again if he lives to a hundred. Everybody knows you spit in his face, that's enough, isn't it? Give me the satisfaction - 1 want you at the wedding. You got a wife and kids, Marco. Y ou could be workin' till the hearing comes up. instead of layin' around here. MARCO [to ALFlERI]: 1 have no chance? ALFIERI [crosses to behind MARCO]: No, Marco. You're going back. The hearing is a formality, that's all. MARCO: But him? There is a chance, eh? ALFIERI: When she marries him he can start to become an American. They permit that, if the wife is born here. MARCO [looking at RODOLPHO]: Well - we did something. [He lays a palm on RODOLPHO'S arm and RODOLPHO covers

MARCO [looking at ALFIERI]: No? ALFIERI:No. MARCO [gesturing with his head - this is a new idea]: Then what is done with such aman? ALFIERI: Nothing. Ifhe obeys the law, he lives. That's all. MARCO frises, turns to ALFlERIJ: The law? All the law is not in a book. ALFlERI: Yeso In a book. There is no other law. MARCO [his anger rising]: He degraded my brother. My blood. He robbed my children, he mocks my work. 1 work to come here, mister l ALFlERI: 1 know, Marco MARCO: There is no law for that? Where is the law for that? ALFIERI: There is none. MARCO [shakíng h¡s head, sitting]: 1 don't understand this

78

~~I -_(i

j .1

country. ALFIERI: Well? What is your answer? You have five or six weeks you could work. Or else you sit here, What do you say to me? MARCO [lowers his eyes. It almost seems he is asltamed): All right. ALFIERI: You won't touch him. This is your promise,

[Slíght pause.] MARCO: Maybe he wants to apologize to me. [MARCO is staring away. ALFIERI takes one oJhis hands.] ALFIERI: This is not God, Marco. You hear? On1y God makes

it. ] RODOLPHO: Marco, tell the mano MARCO [puIling his hand away]: What will 1 tell him? He knows such a promise is dishonourable. ALFIERI: To promise not to kill is not dishonourable.

79

I ,1

j

justice. MARCO: All right. ALFIER1 [nodding, not with assurance]: Good! Catheríne, Rodolpho, Marco, let us go. [CATHERINE kisses RODOLPHO and MARCO, then kísses ALFIERr's Itand] CATHERINE: I'll get Beatrice and meet you at the church.

[She leaves quickly. MARCO tises. RODOLPHO suddenly embraces him. MARCO

80

A VIBW

FROM

THE

ACT

BRIDGE

pats him on the back and RODOLPHO exits after CATHERINE. MARcofaces ALFIERI.] ALFIERI: Only God, Marco. [MARCO tutns and walks out. ALFIERI with a certaln proussional tread leaves the stage. The lights dim out. The lights rise in the apartment, EDDIE ls alone in the rocker, rocking back and forth in little surges. Pause. Now BEA TRI CE emerges from a bedroom. She is in her best clothes, wearing a hat.] BEATRICE [withfear,going to EDDIE]: 1'11be back in about an hour, Eddie. A11right? EDDIE [quietly, almost inaudíbly, as though drained]: What, have 1 been talkin' tú myself? BEATRICE: Eddie, for God's sake, it's her wedding. EDDIE: Didn't you hear what 1 told you? You walk out that door to that wedding you ain't comin' back here, Beatrice. BEATRICE: Why! What do you want? EDDIE: 1want my respectoDidn't you ever hear ofthat? From my wife? [CATHERINE entersfrom bedroom.] CA THERINE: It's after three; we're supposed to be there already, Beatrice. The priest won't wait. BEA TRICE: Eddie. It's her wedding. There'11be nobody there from her family. For my sister let me go. I' m goin' for my sister. EDDIE [as though hurt]: Look, 1 been arguin' with you a11day already, Beatrice, and 1said what I'm gonna sayoHe's gonna come here and apologize to me or nobody from this house is goin' into that church today. Now if that's more toyou than 1 am, then go. But don' t come back. y ou be on my side or on their side, that's all. CATHERINE [suddenly]: Who the he11do you think you are? BEATRICE: Sssh! CATHERINE: You got no more right to te11nobody nothin'! Nobody! The rest of your life, nobody I

CATHERINE:

fl i

1

81

shut up, Katie. [She turns CA THERINE around.] You're gonna come with mel BEATRICE: 1 can't, Katie, 1 can't ... CA THERINE: How can you listen to him? This ratl BEATRICE [shaking CATHERINE]: Don't you call him that! CATHERINE [clearingfrom BEATRICE]: What're you scaredof? He's a rat! He belongs in the sewerl BEATRICE: Stop it! CATHERINE [weeping]: He bites people when they sleep! He comes when nobody's lookin' and poisons decent people, In the garbage he belongs! [EDDIE seems about to pick up the table andjling it at her.] BEATRICE: No, Eddie! Eddie! [To CATHERINE] Then we all belong in rhe garbage. You, and me too. Don't say thar. Whatever happened we a11done it, and don' t you ever forget it, Catherine. [She goes to CA THERINE.] Now go, go to your wedding, Katie, 1'11stay home. Go. God bless you, God bless your children. [En ter RODOLPHO.] RODOLPHO: Eddie? EDDIE: Who said you could come in here? Get outa herel RODOLPHO: Marco is coming, Eddie. (Pause. BEATRICE raises her hands in terror.] He's praying in the church. You understand? [Pause. RODOLPHO advances in the room.] Catherine, 1 think it is better we go. Come with me. CATHERINE: Eddie, go away please, BEATRICE [quietly]: Eddie. Let's go someplace. Come. You and me. [He has not moved.] 1 don't want you to be here when he comes. 1'11get your coat. EDDIE: Where? Where am 1 goin'? This is my house, llEATRICE [crying out]: What's the use ofit! He's crazv now, you know the way they get, what good is it! You got nothin' against Marco, you always liked Marco l EDDIE: 1got nothin' against Marco? Which he called me a rat

BEATRICE:

\'1 1,

TWO

82

A VIEW

FROM

THE

in front of the whoIe neighbourhood? his chiIdren! Where you been?

BRIDGE

ACT

Which he said 1 kilIed

You want somethin' ncver have her! CATHERINE [in horror]: B.I IIUATRICE:

(quite suddenlv, stepping up to EDDIEJ: It is my fault, Eddie. Everything. 1wish to apoIogize. It was wrong that 1 do not ask your permission, 1 kiss your hand. [He

RODOLPHO

reachesjor BEATRICE:

EDDIE'S

hand, but

EDDIE

[shocked, horrified, hísfists c1mching]: Beatrice! appears outside, walking towards the door from a distan: point.] IIEATRICB [crying out, weeping]: The truth is not as bad as

RODOLPHO:

What do you want! Eddie, what do you want! EDDIE: I want my name! He didn't take my name; he's only a punk. Marco's got my name - [to RODOLPHO] and you can run tell him, kid, that he's gonna give it back to me in front of this neighbourhood, or we have it out. [Hoisting "P his pants] Come on, where is he? Take me to him. BEATRICE: Eddie, listen1 heard enough! Come on, let's gol OnIy bIood is good? He kisscd your hand! EDDIE: What he does don't mean nothin' to nobody! RODOLPHO] Come on! EDDIE:

BEATRICE:

(To

[barring his way to the stairsJ: What's gonna mean somethin'P Eddie, listen to me. Who could give you your name? Listen to me, 1 love you, I' m talkin' to you, 1 love you; if Marco'll kiss your hand outside, if he goes on his knees, what is he got to give you? That's not what you want. EDDIE: Don't bother mel BEA TRICE

and you can

[MARCO

snaps it away from him.J

BEATRICE:

else, Eddie,

HDDIE

Eddie, he's apologizing!

1 have made alI our troubles. But you have insult me too. Maybe God understand why you did that to me. Maybe you did not mean to insult me at alI _ BEATRICE: Listen to him! Eddie, listen what he's teUin' you! RODOLPHO: Ithink, maybe when Marco comes, if we can tell him we are comrades now, and we have no more argument between uso Then maybe Marco wilI not _ EDDIE: Now, listcn CA THERINE: Eddie, give him a chance!

83

TWO

blood, Eddie! I'm tellin' you the truth - telI her good-bye for ever! E D DIE [crying out in agony]: That' s what you think of me - that 1 would have such a thoughts? [His fists clench his head as

though it will burst.] [calling near the door outside]: Eddie Carbonel [EDDIE swerves about; all stand tran4ixed for an instant. People appear outside.] EDDIE [as though .flinging his challengeJ: Yeah, Marco! Eddie Carbone. Eddie Carbone. Eddie Carbone. [He goes up the staits and emerges from the apattment. RODOLPHO streaks up and out past him and tuns to MARCO.] MARCO

i 11

~!

¡

No, Marco, pIeasel Eddie, please, he has children! Y ou will kill a fami1y! BEATRICE: Go in me house! Eddie, go in the house! EDDIB [ - he gradualIy comes to address the people]: Maybe he come to apologize to me. Heh, Marco? For what you said about me in front of the neighbourhood? [He is incensing RODOLPHO:

himsel] and liule bits of laughter even escape him as his eres are murderous and he cracks his knuckles in his hands with a strange sort of relaxation.] He knows that ain't right. To do like that? To aman? Which 1 put my roof over their head and my food in their mouth? Like in the Bible? Strangers 1 never seen in my whole life? To come out of the water and grab a girl for a passport? To go and cake from your own family like from the stabIe - and never a word to me? And now accusations in the bargain! [Directly to MARCO]

84

A VJEW

PROM

THE

BRIDGE

Wipin' the neighbourhood with my name like a dirty rag! 1want my name, Marco. [He is moving now, carifully, towards MARCO.] Now gimme my name and we go together to the wedding. BEATRICE and CATHERJNE [keening]: Eddie! Eddie, don't! Eddie! EDDIE: No, Marco lrnows what's right from wrong. Tell the people, Marco, tell them what a liar you are! [He has his atms spread and MARCO is spreading his.] Come on, liar, you lrnow what you done! [He lunges for MARCO as a great hushed shout goes up from the people. MARCO strikes EDDJE beside the neck.] MARCO: Animal! You go on your lrnees to me! [EDDIEgoes down with the blow and MARCO starts to raise a foot to stomp him when EDDJE springs a knife into his hand and MARCO steps back. LOUIS rushes in towards EDDIE.] LOUIS: Eddie, for Christ's sake! [EDDJE raises the knife and LOUIS halts and steps back.] EDDIE: You lied about me, Marco. Now say it. Come on now, say it! MARCO: Anima-a-a-l! [EDDJE lunges with the knife. MARCO grabs his arm, turning the blade inward and pressing it heme as the women and LOUIS and MIKE rush in anJ separate them, anJ EDDIE, the knife still in his hand,falls to his knees before M A R C O. The two women support him for a moment, calling his name again and again.] CA THERJNE: Eddie, 1 never meant to do nothing bad to you. EDDIE: Then why - Oh, B.! BEATRJCE: Yes, yes! EDDJE: My B.! [He dies in her arms, and BEATRICE covers him with her body. ALFlERJ, who is in the crowd, tutns out to th« audience.

ACT

TWO

8S

The lights have gone down, leaving him in a glow, while behind him the dull prayers of the people and the keening of the women continue.] ALFIERI: Most of the time now we settle for half and 1 like it better. But the truth is holy, and even as 1 lrnow how wrong he was, and his death use1ess,1 tremble, for 1 confess that something perverse1y pure calls to me from his memory - not pure1y good, but himself pure1y, for he allowed himself to be wholly lrnown and for that 1 think 1 willlove him more than all my sensible clients. And yet, itis better to settle for half, it must be! And so 1 mourn him - 1 admit it - with a certain ... alarmo CURTAIN