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,i

A VIEW FROM THE BRIDGE

First performtd al thc Comedy Theatre, London, on 11 October 1956,

witl, the Jollowíng casi:

LOUIS Richard Harris
MlltB Norrnan Mitchell
ALPIBRI Michael Gwynn
EDDIB Anthony Quaylc
CATHBRlNB Mary Ure
BEATRICB Megs Jenkins
Manco Ian Bannen
TONY Ralph Nossek
RODOLPHO Brian Bedford

FIRST IMMIGRATION OFFICER John Stone

SECOND IMMIGRATlON OFPICBR Colin Rix

MR LIPARI Mervyn Blake

MRS LIPARI Catherine Willmer
'SUJlMARINII' Peter jones
 CHARACTERS OF THE PLAY ACT ONE

Lours
T/,e street and house-front of a tenement building. The front is
MIKB FIRST IMMIGRATlON .~kcletal entirely. The main actíng area ís the livíng-room-díníng-
OFFICER room 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,
ALFIERI SECOND IMMIGRATION
OPPICER
I/lith chairs; and a portable phonograph.
At [Jack are a bedroom door and an opening to the kitchen; none of
EDDIB MR LIPARI these interiors is seen.
At the right,forestage, a desk. This is Mr Alfieri' s law office.
CATHERINB MRS LIPARI
T"ere is also a telephone booth. This is not used until the last scenes,
BEATRICE Two 'SUBMARINHS' .10 it may be covered or left in view.

A stairway leads up to the apartmem, and then farther up to the

MARCO NHIGHBOURS
next storey, which is not seen.
TONY
Ramps, representing the street, run upstage and off to right and leJt.
As (he curtain rises, LOUIS and MIKE, longshoremen, are pitching
RODOLPHO 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.]

ALFIERI: You wouldn't have known it, but something amu-

sing 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
12 A VIEW FROM THB BRIDGE ACT ON! 13

lie three thousand years of distrust. A lawyer means the law, 'I'liis one's name was Eddie Carbone, a longshoreman
and in Sicily, from where their fathers carne, the law has not W( ,rking the docks from Brooklyn Bridge to the breakwater
been a friendly idea since the Greeks were beaten. whcrc the open sea begins.
1 am inclined to notice the ruins in things, perhaps because IALFIERI walks into darkness.]
1 was born in Italy .... 1 only came here when 1was twenty- 1111 11I E [moving up steps into doorway]: WeU, I'U see ya, [ellas.
five. In those days, Al Capone, the greatest Carthaginian of ICATHERINE entersfrom kitchen, aosses down te window,
all, was learning his trade on these pavements, and Frankie looks out.]
Yale himself was cut precisely in half by a machine-gun on 1 (11 J I S: Y ou workin' tomorrow?
the comer ofUnion Street, two blocks away. Oh, there were 111111IE: Yeah, there's another dayyeton thatship. See ya, Louis.
many here who were justly shot by unjust men. Justice is IEDDIE goes into the house, as light rises in the apartment.
very important here. CATHERINE is waving to LOUIsfrom the window and turns
But this is Red Hook, not Sicily. This is the slum that faces to him.]
the bay on the seaward side of Brooklyn Bridge. This is the ChTllRRINE: Hi, Eddie!
gullet of New York swallowing the tonnage of the world. [EDDIE is pleased and therefore shy about it; he hangs up his
And now we are quite civilized, quite American. Now we cap and jacket.]
settle for half, and 1 like it better. 1 no longer keep a pistol 1l1lPIE: Where you goin' all dressed up?
in my.filing cabinet. CA'fllERINB [running her hands over her skirt]: Ijust gotit. You
And my practice is entirely unromantic. likc it?
My wife has wamed me, so have my friends; they teU me 1!lI () I E: Yeah, it' s niee. And what happened to your hair]
the people in this neighbourhood laek eleganee, glamour. ChTlIERINE: You like it? 1 fixed it different. [Calling to
After all, who have 1 dealt with in my life? Longshoremen kitchen] He's here, B.!
and their wives, and fathers, and grandfathers, eompensation 1'.11 () 1B: Beautiful. Tum around, lemme see in the back. [She

cases, evictions, family squabbles - the petty troubles of the tutns for him.] Oh, if your mother was alive to see you now I
poor - and yet •.. every few years there is still a case, and Shc wouldn't believe it,
as the parties tell me what the trouble is, the fiar air in my Ci\THERINE: You like it, huh?
offiee suddenly washcs in with the green scent of the sea, the l! 1> DIE: You look like one of them girls that went to college.
dust in chis air is blown away and the chought comes that in Where you goin'?
some Caesar's year, in Calabria perhaps or on the cliff at (i\THERINE [taking his arm]: Wait'll B. comes in, I'll tell you
Syracuse, another lawyer, quite differendy dressed, heard I
something. Here, sit down. She is walking him to the arm-
the same complaint and sat there as powerless as 1, and chair. Calling offitage] Hurry up, will you, BJ
watehed it run its bloody eourse. J.IIDIE [sittíng]: What's goin' on?
[EDDIE has appeared and has been pítching coins with the men CATHERINE: 1'11 get you a beer, all right?
and is highlighted among them. He is Jorty - a husky, slightly I! 11 D J E: Well, tell me what happened. Come over here, talk
ovetweight longshoremarl.] to me.
14 A VIBW FROM THI! BIUDGI! ACT ONI IS
CATHBRINE: J want to wait till B. comes in. [She slts 011 he, 111 IH'" :1 big girl now, you gotta keep yomse1f more, you
heels beside hím.] Guess how much we paid for the skirt. c .111'1 he so friendly, kid. [Calls] Hey, B., what're you doin'
EDDIE: 1 think it's too short, ain't it? 111 cllC'rd {Yo CATHERINE] Get her in here, will you? 1 got
CATHERINE [standing]: No! not when 1 stand up. IWWSfiJr her.
EDDIE: Yeah, but you gotta sit down sometimes. t fllllI!IUNll [starting out]: What?
CHHERINE: Eddie, it's the style now. [She walks to show him.} 111'I'II!: IIcr cousins landed.
1 mean, if you see me walkin' down the street - , flTlIl!lllNB [clapping her hands together]: No! [She turns in-
EDDIE: Listen, you been givin' me the willies the way you I/I/II//y and starts for the kitchen.1 B.! Your cousins!
walk down the street, 1 mean it. In\!A.TRICE enters, wiping her hands with a towel.]
CATHERINE: Why? 1\l\hTltlCIl [in theface of CATHERINE'S shout]: What?
EDDIE: Catherine, 1 don't want to be a pest, but I'm tellin' you t fIT 11 J!IU NE: Y our cousins got in l

you're walkin' wavy. IIl!flTlllCE [astolmded, turns to EDDIE]: What are you talkin'
CATHERINE: I'm walkin' wavy? ;\\JCl\lt?Where?
EDDIE: Now don't aggravate me, Katie, you are walkin' 11" l)f I!: 1 was just knockin' off work before and Tony Bereli
wavy! 1 don't like the looks they're givin' you in the candy t "IlIC over to me; he says the ship is in the North River.
sto re. And with them new high heels on the sidewalk - III!h T iu C H [ - her hands are clasped at ner breast; she seems ha/f in
clack, clack, clack. The heads are tumin' like windrnills. ¡;',", hn/f in unutterable joy]: They're all right?
CATHERINE: But those guys look at all the girls, you know l' IlIJ 11\: He didn't see them yet, they're still 011 board. But as
that. SOOIJas they get off he'll meet them. He figures about ten
EDDIE: You ain't 'all the girls', (,'c:\ock they'll be here.
CATHERINE [almost in tears because he disapproves}: What do 111',h T RICE [sits, almost weak from tension]: And they'lllet them
yOl! want me to do? You want me to- ,.Ir rlie ship all right? That's fixed, heh?
EDDIE: Now don't get mad, kid. 1\ IlIJ i n: Sure, they give thern regular seamen papers and they
CATHERINE: Well, 1 don't know what you want from me. walk off with the crew: Don't worry about it, B., there's
EDDIE: Katie, 1 promised your mother on her deathbed. I'm IIlllhin' to it. Couple of hours they'll be here.
responsible for you. Y ou' re a baby, you don' t understand 111' hT 111 CE: What happened? They wasn't supposed to be till
these things. 1 mean like when you stand here by the win- urxt Thursday.
dow, wavin' outside. l' 1) III E: 1 don't know; they put thern on any ship they can get
CATHERINE: 1 was wavin' to Louis! rhcm 011. Maybe the other ship they was supposed to take
EDDIE: Listen, 1 could tell you things about Louis which you t licrc was some danger - What you cryin' about?
wouldn't wave to him no more. 1\ 1',h T R 1 C E [astounded and afraid]: r
m - 1just - 1can' t believe it!
CATHERINE [trying tojoke him out ofhis warning]: Eddie, 1 wish I didn't even buy a new tablecloth; 1 was gOlllla wash the
there was one guy you couldn't tell me things about! walls -
EDDIE: Catherine, do me a favour, will you? You're getting I'.IJ n 1 E: Listcn, they'll think it's a millionairc' s house compared
 16 A TII!W •• 0],( TBI B.IDGI ACT ONI 17
to the way they live. Don't worry about the walls. They'll 11P.A T R 1 C B: Well, their house burned down!
be thankful. [To CATHEIUNE] Whyn't you run down buy I!DDIE: Yeah, but it didn't keep burnin' for rwo weeks!
a tablecloth. Go ahead, here. [He is reaching into his pocket.] JlEATRICE: All right, look, 1'11tell thern to go someplace else.
CA THERINE: There's no stores open now. [She starts lnto the kitchen.]
EDDIE [to BEATRICE]: You was gonna put a new cover on HOOIE: Now wait a minute. Beatrice l [She halts. He goes to
the chair, her.] 1 just don't want you bein' pushed around,that's al!.
BEA TRI CE: 1 know - well, 1 thought it was gonna be next You got too big a heart. [He touches her hand.] What're you
week! 1 was gonna clean the walls, 1 was gonna wax the so touchy?
floors, [Sht stands disturbeá.) BEATRICE: I'mjust afraid ifit don't turn out good you'l1 be
CATHERINE [pointing upwará]: Maybe MrsDonderoupstairs- mad at me.
BEATRICE [oJthe tabltcloth]: No,hers is worse than this one. EDDJE: Listen, if everybody keeps his mouth shut, nothin' can
[Suddenlr] My God, 1 don't even have nothin' to eat for happen, They'll pay for their board.
them! [She starts Jor th« k;tchm.] BEATRICE: Oh, 1 told thern.
EDDIE [reach;ng out 41ndgrabbing her arm): Hey, hey! Take it EDDIE: Then what the hell. [Pause. He moves.] It's an honour,
easy. B. 1 mean it. 1 was just thinkin' before, comin' home, sup-
BEATRICE: No, I'mjustnervous, that's all. [To CATHERINE] pose my father didn't come to this country, and 1 was
1'11make the fish. starvin' like them over there '" and 1 had people in
EDDIB: You're savin' their lives, what're you worryin' about America could keep me a couple of months? The man
the rablecloth? They probably didn't see a tablecloth in their would be honoured to lend me a place to sleep.
whole life where rhey come from, BEATRICE [ - there are tears in her eres. She turns to CATHER-
BEATRICE [looking into his eres]: I'mjust worried about you, INE]: You see what he is? [She turns and grabs EDDIE'S
that' s all I'm worried. Jace in her hands.] Mmm! You're an angel! God'll bless
liDDIE: Listen, aslong as they knowwherethey're gonna sleep. you. [He is grateJully smilíng.] You'll see, you'll get a bless-
BEATRICE: 1 told thern in the letters. They're sleepin' on the ing for this!
floor. EDDJE [laughing): 1'11settle for my own bed.
EDDIE: Beatrice, all I'rn worried about is you got such a heart BEATRICE: Go, Baby, set the table.
that 1'11end up on the floor wirh you, and they'll be in our CATHERINE: We didn't tell him about me yet.
bed. BEATRIcn: Let him eat first, then we'll tell him. Bring every-
BEATRICE: All right, stop it. thing in. [She hurries CATHERINE out.]
EDDIE: Because as soon as you see a tired relative, 1end up on EDDIE [sitting at the table]: What's all that about? Where's she
the floor. goin'?
BEATRICE: When did you end up on the floor? BEATRICE: Noplace. It's very good news, Eddie. 1 want you
EDDIE: When your father's house burned down I didn't end to be happy.
up on the floor] EDDIE: What's goin' on?
18 A VIBW FROM THE BRIDG! ACT ONE 19

[CA THBRINE enters with plates, forks.] 11""111 l/o CATHERINE, surprised]: Fifty?
BBATRJCE: She's got ajobo I " 1 111'.111 N E: 1 swear.
[Pause. EDDIE looks al CATHERINE, then back to 11 "IfISC.]
BBATRICE.] 111' l' 11\: What about all the stuff you wouldn't leam this year,
EDDJE: What job? She's gonna finish school. Ihll\lgh?
CA THERJNE: Eddie, you won't believe it - I " 1 11 H 111N E: There's nothin' more to learn, Eddie, 1 just
EOOJE: No - no, you gonna finish sehoo1. What kinda job, I',,,tt:, practise from now on. 1 know all the symbols and 1
what do you mean? All of a sudden you - kuow the keyboard. I'll just get faster, that's aU. And when
CATHBRINB: Listen a minute, it's wonderful. 1'111 workin' I'U keep gettin' better and better, you sed

EOOJE: It's not wonderful. You'll never get nowheres unless 111''' T H \ e E: Work is the best practice anyway.

you finish schoo1. You can't take no job. Why didn't you 1\"" 11\: That ain't what I wanted, though.
ask me before you take a job? I ATIIHItINE: Why!lt'sagreatbigeompany-
BEATRICE: She's askin' you now, she didn't take nothin' yet. 1\ " 111 H: I don' t like that neighbourhood over there.
CATHERINB: Listen a minute! 1 came to school this morning I A T 11 Hit I N E: It' s a block and half from the subway, he says;
and the principal called me out of the class, sed To go to I! 1'11\ ,,: Near the Navy Yard plenry can happen in a block and

rus ofíice. .1 1!;¡1f. And a plumbin' company! That' s one step over the
EOOIE: Yeah? warcrtront. They'rc practically longshoremen.
CA THBRINE: SO 1 went in and he says to me he's got my IIIIAT 111C E: Yeah, but she'll be in the office, Eddie.
records, y'know? And there's a eompany wants a girl right l' 1111\ H: 1 know she'U be in the office, but that ain' t what I had
away. It ain't exaetly a secretary, it's a stenographer first, 111 mind.
but pretty soon you get to be secretary ..And he says to me 111'." T It \ C B:Listen, she' s gotta go to work sometime.
that I'm the best student in the whole class- l' p t 11 B: Listen, B., she'll be with a lotta plumbers? And sailors
BEATRICE: You hear that? 111' and down the street? So what did she go to school for?
EODIE: Well, why not? Sure she's the best. ( ATllERINE: But it's fifey a week, Eddie.
CATHERINE: I'rn the best student, he says, and if 1 want, I I'IIIH": Look, did 1 ask you for money? 1 supported you this
should take the job and the end of the year he'll let me take I(lllg. 1 support you a little more. PIe ase, do me a favour,
the examination and he'll give me the certifica te. So 1'11save will ya? I want you to be with different kind of people. 1
practically ayear! w.uit you to be in a nice oflice. Maybe a lawyer's offiee
BODIE [strangdy nervous]: Where's the job? What company? ~(llllcpIace in New York in one of thern nice buildings. 1
CA THERINB: It's a big plumbing company over Nostrand IIIC:lnif you're gonna get outa here then get out; don't go
Avenue. I'ractically in the same kind of neighbourhood.
EDOIE: Nostrand Avenue and where? [pause. CA THERINE lowers her eyes.]
CATHERINE: It's someplace by the Navy Yard. 1I1' .••• Go, Baby, bring in the supper. (CATHERINE
TRICE:

BEATRICE: Fifty dollars a week, Eddie. gor:s out.] Think about it a linle bit, Eddie. PIcase. She' s
 ACT ONB 21
20 A VIBW PROM THB BRIDGE

crazy to start work. It's not a little shop, it's a big company. ',1", 1,1"'I,k at hu.] What're you cryin' about? {He is affected
Some day she could be a secretary. They picked her out of ,,)' ',rr. 11111 smiles his emotion away.]
rhe whole class. [He is silent, staring down at the tablecloth , "IIIIIIlINI\ [sitting at het place]: 1 just - [Bursting out] I'rn
fingeríng the pattern.] What are you worried about? She 1'."1111.1 11lIyall new dishes with my first pay! [Yhey laugh
could take care of herself. She'll get out of the subway and "',II,,,ly.\1 mean it. 1'11 fix up the whole house! I'U buy a rug!
be in the ofíice in two minutes. III.PtI'· Ami then you'll move away.
EDDIE [somehow sickened]: 1 know that neighbourhood, B., 1 , flIIII\IlINIl: No, Eddie!
don't like it. 1'1'1'111I.~rjnnjng]: Why not? That's life. And you'U come visit
BEATRICE: Listen, if nothin' happened to her in this neigh- "11 SIIIHlayS, then once a month, then Christmas and New
bourhood it ain't gonna happen no place else. [She turns his y l' .11 ~, íinally.
[ace to her.] Look, you gotta get used to it, she' s no baby no I N B [grasping his arm to reassure him and to erase the
, fll 11111I
more. TeU her to take it. [He turns his head away.] You hear ,1'/ I/wlion]: No, ple ase !
me? [S he ls angering.] 1don't understand you; she's seventeen 1111 Iing hut hurt]: 1 onIy ask you one thing - don' t trust
l' 111I.~ftlj

years old, you gonna keep her in the house all her life? 1llIlHldy. You got a good aunt but she's got too big a heart,
EDDIE [insulted]: What kinda remark is that? y. >\1k-arned bad from her. Believe me.
BEATRICE [with sympathy but insisten: force]: Well, 1 don't 1111'"T IUcu: Be the way you are, Katie, don't listen to him.

understand when it ends. First it was gonna be when she 11111111( [lO BEATRICE - strangely and quickly reseniful]: You
graduated high-school, so she graduated high-school. Then livrcl in a house all your life, what do yon know about it?
it was gonna be when she learned stenographer, so she y 1111 ncver worked in your life.
leamed stenographer. So what're we gonna wait for now? .••.'1'1\1CB: She likes people. What' s wrong with that]
111'
1 mean it, Eddie, sometimes 1 don't understand you; they 1'1'1' lE: Bccause most people ain't people. She's goin' to work;
picked her out of the whole class, it's an honour for her. '.\lIlllhcrs; they'll chew her to pieces if she don't watch out.
[CATHERINE enters with food, which she silently sets on l'/'o eA. THERINE] Believe me, Katie, the less you trust, the
the table. Afier a moment of watching her face, EDDIE breaks Ic-ssyou be sorry.
into a smile, but it almost seems that tears will form in his [E () j) 1E aosses himself and the women do the same, and they
eyes.] /,,11. ]
EDDIE: With your hair that way you look like a madonna, •••• T 11E H1 N E: First thing 1'11 buy is a rug, heh, B.?
you know that? You're the madonna type. [She doesn't look III'hTHICE: 1 don't mind, [Yo EDDIE] 1 smelled coffee all
at him, but continues ladling out food on lo the plates.] You
wanna go to work, heh, Madonna?
j •la Y today. Y ou unloadin' coffee today?
1'11I1IH: Yeah, a Brazil ship.
CATHERINE [sofily]: Yeah. • •••T 11HRINE:1 smelledit too.1t smelledall over theneighbour-

EDDIE [with a sense ofher childhood, her babyhood, and the years]: II(lod.
A11 right, go to work. [She looks at him, then rushes and hugs •\Il 1111\:That' s one time, boy, to be a longshoreman is a
him.] Hey, hey! Take it easy! [He holds her face away from plcasure. 1 could work coffee ships twenty hours a day. You
 22 A VIBW PROM THB BRIDGB ACT ONE 23
go down in the hold, y'know? It's like flowers, that smell. ..",1 m'N rhem sleepin' 00 the floor, it never comes out of
We'l1 bust a bag tomorrow, 1'11bring you some. yoolll IIIOlllh who they are or what rhey're doin' here.
BEATRICE: Just be sure there's no spiders in it, will ya? 1 mean 11M ~ 1 111 e 11: Y cah, but my mother'll know -
it. [She direas this to CATHERrNB, rolling her eres upward.] MIOIOIII Surc she'l1 know, butjust don't you be the one who
J still remember that spider coming out of that bag he brung 1101,1 hrr , that's a11. This is the United States government
home. 1nearly died. y 0011'J(' pbyill' with now, this is the Immigrarion Bureau.
BDDIE: You call that a spider? You oughta see what comes 11 yt 111 ~aid it you knew it, if you didn't say it you didn't
outa the bananas sornetimes. ~ IlIOW it.
BEA TRICE: Don't talk about itl • fllllllnlNB: Yeah, but Eddie, suppose somebody-
EDDIE: 1 seen spiders couId stop a Buick. 1'" 11111: I don't care what question it is. You - don't - know-
BBA T RI CE [clapping her hands over her ears]: A11right, shut up 1 111,111111'. They got stool pigeons all over this neighbourhood,
EDDrE [Iaughing and taking ti watch out ofhis pocke!]: We11, who d ••.y',.c payin' thern every week for information, and you
started with spiders? ,1••II't know who they are. It couId be your best friendo You
BEATRICE: A11 right, I'rn sorry, J didn't mean it. Just don't lu·.•,.? rTo BEATRICE] Like Vinny Bolzano, remember
bring none home again. What time is it? Vllllly?
EDDrE: Quarter nine. [Puts watch back in his pochet.] 111' fI T 111 e H: Oh, yeah. God forbid.
[They continue eating in silenu.] 111' 11111: Tdl heraboutVinny. (TOCATHERINE] You think I'm
CATHERINE: He's bringin' thern ten o'clock, Tony? 1.I"will' steam here] [To BEATRICE] Go ahead, tell her.
EDDIE: Around, yeah. [He eats.] ,'/í, CATHERINE] You was a baby then, There was a family
CA THERINE: Eddie, suppose somebody asks if they're livin' livrd uext door to her mother, he was about sixteen -
here. [He looks at her as though already she had divulged some- 1111A T I! 1 e E: No, he was no more than fourteen, 'cause 1 was
thing publicly. Defensively] I mean if they ask, 111 his coníirmation in Saint Agnes. But the farnily had an
EDDIE: Now look, Baby, 1 can see we're gettin' míxed up ,,"dc that they were hidin' in the housc, and he snitched
again here. 1" I he Immigration,
CATHERINE: No, Ijust mean ... people'l1 see them goin' in t A 1'11 H I! I N E: The kid snitched?
and out. """ J1!: On his own uncle!
EDDIE: 1 don't care who sees them goin' in and out as long as What, was he crazy?
, fI T IJ I! 1(1 N E:
you don't see rhem goin' in and out. And this goes for you 11111' 111: He was crazy after, J te11you that, boy.
too, B. You don't see nothin' and you don't know nothin'. 1111 fI T H 1 e E: Oh, it was terrible. He had five brothers and the
BEATRICE: What do you mean? I understand. e .lcll3ther. And they grabbed him in the kitchen and pulled
EDDIE: You don't understand; you still think you can talk I.illl down the stairs - rhree flights his head was bouncin'
about this ro somebody just a little bit. Now lemme say it lik c a coconut. And they spit on him in the street, bis own
once and for a11' beca use you' re rnakin' me nervous again, I.lther and his brothers. The whole neighbourhood was
borh of you. I don't care if somebody comes in the house ( I yiu',
 24 A VIBW FROM THE BRIDGE ACT ONE 25
CATHERINE: Ts! So what happened to him? " ,.,. Idlll, a childish one and a knowing fear, and the tears
BEATRICE: 1 think he went away. [To EDDIEJ 1 never seen ,/".", ;" I,;s qes - and they are shy before the avowal. J
him again, did you?
.1' " 11I 1 ""l/y sllliling, yet somehow proud of her J: Well •.. 1
EDDIB frises during this, taking out his watchJ: Him? You'lI 1'"1'" Y"lI have good Iuck. 1 wish you the best. You know
never see him no more, a guy do a thing like that? How's tI"l. ~ltl.
he gonna show his face? [To CATHERINE, as he gets up , A 1 11 1\ 111 NI'. [rising, trying to laugh]: Y ou sound like I'm goin'
uneasily J Just remember, kid, you can quicker get back a .¡ ,"dljoll miles!
million dollars that was stole than a word that you gave "11 11. 1\ I k 1I0W. 1 guess 1 just never figured on one thing.
away. [He is standing now, stretching his back. J , ~ '"'II\'NI! [smiling]: What?
CA THERINE: Okay, 1 won't saya word to nobody, 1 swear. .."" 111 T!.;lt you would ever grow up. [He utters a soundless
EDD!E: GOIUla rain tomorrow. We'U be slidin' all over the /.",\:/, 1/( himself, feeUng the breast pocket of h;s shirt.] 1 left a

decks. Maybe you oughta put something on for thern, they '1" .: 11 111 Illy other coat, 1 think, [He statts jor the bedroom.]
be here soon. , ~' 111'. U J N E: Stay there! 1'11get it for you.
BEATRICE: 1 onIy got fish, 1 ha te to spoil itifthey atealready. ISI,/, lwrries out. There is a slight pause, and EDDIE turns to
I'U wait, it onIy takes a few minutes; 1 could broil ir, 1I1~ lIT Jt (C E, who has been avoiding his gaze.]
CATHERINE: What happens, Eddie, when that ship pulls out ""'>11': What are you mad at me Iately?
and they ain't on it, though? Don't the captain say nothin'] ItI' ~ • "' e 1\: Who' s mad? [She gets up, clearing the dishes.] I'm
EDDIE [slicing an apple with his pocket-knife]: Captain's pieced "." II);\(I. [She picks up the dishes and turns tohirn.] You're the
off, what do you mean? 11\11' l~; [She turns andgoes into the kitchen as CATHERINB
\lIad.
CA THERINE: Even the captain] rutrs , /;0/1/the bedroom with a cigar and a pack of matches.]
EDDIE: What's the matter, the captain don't have to live? , " , 11 ".111 N E: Hcre! I'11light it for you! [She strikes a match and
Captain gets a piece, maybe one of the mates, piece for thc /",/,/, ;1 lo his cigar. He puJfs. Quietly] Don't worry about me,
guy in Italy who fixed the papers for them, Tony here'll get hl,ljc·. lich?
a little bite. '" " " " 11'.: ()on' t bum yourself. Uust in time she blows out the
BEATRICE: Ijust hope they get work here, that's all 1 hope. ,,,.,(.1,.1 You bctter go in help her with the dishes.
EDDIE: Oh, the syndicate'U fixjobs for them; till they pay 'ern , " , 11 l' 11( N II [cums quickly to the cable, and, seeing the table
off rhey'Il get them work every day. It's after the pay-off, • /,.,,, ¡,ti, she says, almost guiltily]: Oh! [She hurries into th«
then they'U have to scrarnble like the rest of uso A·,(,I,r'I', and as she exits there J 1'11do the dishes, B.!
BEATRICE: Well, it be better than they got there. 1 •. 1/M,e, EDDIE stands looking towards the kitchen for a
EDDIE: Oh sure, well,listen. So you gOIUla start Monday, heh, uwment. Then he takes out his watch, glances at tt, replaces it
Madonna? in bis pocket, sits in the arnuhair, and stares at the smoke
CATHERINE [embarrassed]: I'm supposed to, yeah. /1"1/1;11.<: out of his mouth,
[EDDIE is standing facing the two seated women. First 'J'11t! lights go down, then come up on ALFIERl, who has
BEATRICE smiles, then CATHERINE, for a powerful emotion II/'/I"d O" to the forestage. ]
26 A VIEW FROM THB BRIDGB ACT ONB 27

ALfIERI: He was as good a man as he had to be in a life that ~'A 11' ti Ilm{j((/(ing ROOOLPHO]: My brother. Rodolpho.
was hard and even. He worked on the piers when there wal 11' , , 1, • , 1 l' 11()
nods. M A R C O comes with a certain formal stiffness
work, he brought home his pay, and he lived. And towards f,' ••••l' 111.11 want to tel1 you now Eddie - when you say
ten o' dock of that night, after they had eaten, the COUSill1 !l.". wr will go.
carne. I•• tI'lI' (lit, 110 .•• [Takes MARCO'S bag.]
[The lightsfade on ALflERI and rise on the street.] ~I"", ,,: I ,c-c it's a sma11house, but soon, maybe, we can have
[Enter TONY, escorting MARCO and RODOLPHO, each "111 IIWII house.
with a valise. TONY halts, induates the house. They standfor l' .' ••••• y e1\,' re welcome, Marco, we got p1enty of room here.
a moment looking at it.] H ""'., p;ivc thcm supper, heh? [Exits lnto bedroom with their
M A R C O [ - he is a square-built peasant of thirty-two, suspidous, /" II~' I
tender, and quiet-voiced]: Thank you. , " I '1111' 1 N 1\: Come here, sit down. 1'11get you some soup.
TONY: You're on your own now. Just be careful, that's a11. ~I " l" e, l/u (!tey go to the table]: We ate on the ship. Thank
Ground floor. ,'"ti ITo BDDIE, calling offto bedroom] Thank you.
MARCO: Thank you. 111./\ IlIle:lI: Get sorne coffee, We'11 a11have coffee. Come sit
TONY [indicating the house]: 1'11see you on the pier tomorrow, ,1" IV 11.
y ou'11go to work. IUIII'OLPHO and MARCO sit, at the table.]
[MARCO nods. TON Y continues on walking down the street.] " 1 111'UI N E [wondrously]: How come he's so dark and you're
RODOLPHO: This will be the first house 1 ever wa1ked into in '" IIV.hl, Rodolpho?
America! Imagine! She said they were poor I 1'''1,,''''110 [ready to /aughJ: 1 don't know. A thousand years
MARCO: Ssh! Come. .'1'.•.. ,hcy say, the Danes invaded Sici1y.
[They go to door. MARCO knocks. The lights rlse in the room. 1"11'" TRlcEkissesRoDoLPHO. They Iaugh aSEDDlunters.]
EDDIE goes and opens the door. Enter MARCO and ROO OL- , "111I'IIINB [to BEATRICE]: He's pracrically blondl
PHO, removing their caps. BEATRICE and CATHBRINB enur l' l' l' 111' Ilow' s the coffee doin'?

from the kitchen. The lights fade in the street.] , "IIII~IIINH [brought up]: I'm gettin' it. [She hurries out to
EDDIE: You Marco? ~II,/11'/1·1
MARCO: Marco. 1""'11' 1,;1.1 on his rocker]: Yiz have a nice trip]
EDOIE: Come on in! [He shakes MARCO'S hand.] " ~ '" .,: 'I'hc ocean is always rough. But we are good sailors.
BEATRICE: Here, take the bags! 1''''''11: No trouble gettin' here?
MARCO [nods, looks to the women, and fixes on BBATRICB. •• ~ lO I CI: No. The man brought usoVery nice mano
Crosses to BEATRICE.]: Are you my cousin? 1'" 1" " .·11 () [lO EDOIE]: He says we start to work tomorrow.
[She nods. He kisses her hand.] h 1••. honcst?
BEA TRICE [above the table, touching her chest with her hand]: 1"",'11 I/IIlIglzing]: No. But as long as you owe thern money,
Beatrice. This is my husband, Eddie. [All nod.] Catherine, 11••-y'll ~ct yOl!plenty of work. [To MARCO] Yiz ever work
my sister Nancy's daughter. [The brothers nod.] "11 • he piers in Italy?
28 A VIEW FROM THB BRIOGE ACT ON. 19
MARCO: Piers? Ts! - no. M~ 111 11 V ("~. 1 have three children.
ROOOLPHO [smilíng at the smallnessofhis town]: In our town '11' Al"" 11: 'I'h rcc! 1 thought only one.
there are no piers, on1y the beach, and little fishing boan, ~,~ I11 " (>1., lIO. 1 ha ve three now. Four years, five years, six
BRA TRICE: SO what kinda work did yiz do? y 1 '11 ,
MARCO [shrugging shyly, even embarrassed]: Whatever there U, !l1'A i\h ... 1 bet they're cryin' for you already, heh?
11'1111:
anything. u A " 1What can 1 do? The older one is sick in his chest.
"

RO o O L P H o: Sometirnes they build a house, or if they fue the M l' wll~' she feeds thern from her own mouth. 1 tell you
bridge - Marco is a mason and 1 bring him the cerncnt, 11•• 1111111, in stay there they wiil never grow up. They eat
[He laughs.] In harvest time we work in the fields .•. ir 11" OIlIl\llillC'.
there is work. Anything. '"' Al 11: My God. So how long you want to stay?
111'
EOOIE: Still bad there, heh? H ~ It." With your permission, we will stay maybe a-
MARCO: Bad, yes. 1'1'1'11' ~;lle don't mean in this house, she means in the
ROOOLPHO [laughing]: It's terrible! We stand around a11dny "'111111 y.
in the piazza listening to the fountain like birds. Everybody /, ~ 1" •• (>h. Maybe, four, five, six years, 1 think.
waits only for the train. ""/'''11'110 ISlIlilíng]: He trusts his wife.
BEATRICE: What's on the traín? It /' 11 , It I { 1\: Ycah, but maybe you'll get enough, you'U be
ROOOLPHO: Nothing. But if there are many passengers and .• 1,1. ItI j',O hack quicker.
you're lucky you make a few lire to push the taxi up the "A 111 ti I hopc, 1 don't know. [To EDDIE] Iunderstand it's
hill. 11,,1 ',,, j',')()\[ here either.
[En ter CATHERINE; she listens.] 1", 111" (>11, yOl! guys'U be all right - till you pay them off,
BEATRICB: You gotta push a taxi? 'II!\,W,'Y. Aftcr that, you'U havc to scrarnble, that's aU. But
ROOOLPHO [laughing]: Oh, sure! It's a feature in our town, \''' 11 '11 '";, k e bctter here than you could there.

The horses in our town are skinnier than goats. So if there 1'" 1" 1I 1'11 o: How much? We hcar a11kinds of figures. How
are too many passengers we help to push the carriages up to 11111.1, r • 111 a man make? We work hard, we'll work a11day,
the hotel. [He laughs.] In our town the horses are only fm .• 11111",1.1
show. 1~1" H co raises a hatld lo hush him.)
CATHERINE: Why don't they have automobile taxis? " l' l' 1l' I /w is coming more and more lo address MARCO only J:
ROOOLPHO: There is one. We push that too. [They laugh.j 1 '11 dw average a whole year? Maybe - well, it's hard to
Everything in our town, you gotta push! n I \" ',r·!". Sometimes we lay off, there' s no ships three, four
BEATRICE [to EDOIE]: How do you like that! vv , 1', ·,
EDOIE [to MARCO]: SO what're you wanna do, you gonn:l 11"'" .,' 'I'hrce, four weeks! - Ts!
stay here in this country or you wanna go back? "1' l' 1" 11111 I think you could probably - rhirry, forty a week,
MARCO [surprisea']: Go back? ,,\,,' IIIC" whole twelve months of the year.
EDDIE: Well, you're married, ain't you? U" u I () IriJ~s, trosses to EDDIE]: Dollars,
 3° A VIBW FROM TBS BRIDG! ACT ON! 31
EDDIE: Sure dollars. •• A'" " 1k .lrcams, he dreams.
[MARCO puts an atm round RODOLPHO and they laugh.) ••• It,,1 "110 110 MARCO]: Why? [To EOOIE] Messages! The
MARCO: If we can stay he re a few months, Beatrice- 11,1, I""ple" in the hotel always need someone who will
BEATRICE: Listen, you're welcome, Marco _ , '11'v ;, IIwssagc. But quickly, and with a great noise. With
MARCO: Because I could send them a little more ifI stay her •• ó4 I'¡,11"'11"(orcycle I would station myself in the courtyard
BEATRICE: As long as you want, we got pIenty a room. ,,1 tI'l 1'"ld, and in a little while 1 would have messages.
MARCO [his eyes are showing tears]: My wife - [To EOOIIII •. 1 A'" " WIWII you have no wife you have dreams.
My wife - 1 want to send right away maybe rwenry /tI'" '" Wlty run't youjust walk, or take a trolley, or sump'm?
dollars - 11"'0 IIHATRICE with coffee.]
EOOIE: You could send them something next week aIready. 1'''''''' "111): Oh, no, the machine, the machine is necessary.
MARCO [ - he is near tears]: Eduardo ... [He goes to EOOlft, ti "' "' '''llll"S into a great hotel and says, 1 am a messenger.
offering his hand.] \\/1,,, ,'. Ihis man? He disappears walking, there is no noise,
EOOIE: Don't thank me. Listen, what the hell, it's no skin oíl' ""tllIlIl'" Maybe he will never come back, maybe he will
me. [To
CATHERINE] What happened to the coffee? ", ,', 1 .lrlivcr the message. But aman who rides up on a
CATHERINE: I got it on. [To ROOOLPHO] You rnarried 1',',,1 11I:1I·ltinc,this man is responsible, this man exists. He
too? No. '\ 011 1 ••. ¡',iven messages. [He helps BEATRICE set out the
ROOOLPHO [rises]: Oh, no ..• ",/1,'<' tI';UgS,] 1 am also a singer, though.
BEATRICE [to CATHERINE]: 1 toId you he- "111''" y, III mean a regular - ?
CATHERINE: 1 know, 1 just thought maybe he got married " , , 1" '1 l' 11o: Oh, yeso One night last year Andreola got sick.
recently. 1/11'1,'111',And 1 took his place in the garden of the hotel.
ROOOLPHO: 1 have no money to get married. 1 have a nice 1111 :11ias 1 sang without a mistake! Thousand-lire notes
,1"

face, but no money. [He laughs.] .1" \' rhrr-w from the tables, money was falling like a storrn
CATHERINE [to BEATRICE]: He's a real blond! 1', tilO"n casury. It was magnificent. We lived six months on
BSA TRICE [to ROOOLPHO]: You want to stay here too, hch] d, ,1 Ili¡',lIt. ch, Marco?
For good? 1 M !I U ( : () nods do ubtJuIly .]

ROOOLPHO: Me? Ves, forever! Me, Iwant to be anAmerican. .'~I" ,': Two months.
And then I want to go back to Italy when I am rich, aud 1/1111111 lllll~hs,]
1 will huya motorcycle. [He smiles. MARCO shakes h{", 111~ I "1': 1',:Can't you get a job in that place?
affictionate/y. ] l' , , " , " l' 11o: Andreola got better. He' s a bari tone, very strong.
CA THERINE: A motorcyclel 1II'!ATl!lCE laughs.]
RODOLPHO: With a motorcycle in Italy you wiIl never starve ., ~ 'lO " Irc,~rr:tJully,to BEATRICE]:
He sang too loud .
any more. •" ,'," 1 1'11o: Why too loud?
BEATRICE: 1'11 get you coffee. [She exits to the kitchen.] " ~ "' ,': '1'()O loud. The guests in that hotel are all English-
BDDIB: W'h:lt you do with a motorcycle? 1111"11,
They don't like too loud.
32 A l'IIW P1tOM THB BRIDGI ACT ONI 33
RODOLPHO [to CATHERINE]: Nobody ever said it was toa .t4 •••• tl,e rest ofthe building]: Because we never had
1I/I,Ii(tltj",~

loud! 1\11 .111 1','"

~ hrrc ... and all of a sudden there' s a singer in
MARCO: 1 sayo It was too loud. [To BEATRICE]I knew it l. 11" h,,"_c', y'know what I mean?
soon as he started to sing. Too loud. •• A /1'" Y n, y(·s. You'll be quiet, Rodolpho,
RODOLPHO: Then why did they throw so much money? 111/011' I /" is ,ftushed]: They got guys all over the place,
MARCO: They paid for your courage. The English like M ,11'" I 111(';111.
courage. But once is enough. •• U o 00 YrN. lIc'll be quieto [To RODOLPHO] You'll be
RODO.LPHO [to all but MARCO]: 1never heard anybody say le '1"101
was too loud. Iuoo o nods.
11/ , 1, l' 11

CATHERINE: Did you ever hear ofjazz? 101010111 /"u risen, with iron control, even a smile. He moves to
RODOLPHO: Oh, sure! 1 sing jazz. , A 1 11 IIIt I N !l.]

CATHERINE [rises]: You could singjazz? .'0"110 Wlt;'I's the high heels for, Garbo?
RODOLPHO: Oh, I sing Napolidan, jazz, bel canto - 1 sing • A , 111' UI N 11: I ftgured for tonight -
Paper Doll, you like Paper Dol/? 1110 10 ti. 11" me a favour, will you? Go ahead.
CATHBRINE: Oh, sure. I'm crazy for Paper Doll. Go ahcad, 1'"l/o'III,wed now, IJngered, CATHBRINB goes out into the
sing it. 1",/1""1/1, IIIlATRICE watches her go andgets up; in passing,
RoD o L P H o [takes his stance after getting a nod oJ permission from ./Ir ,I:i ",'J Il D DIE a cold [ook, restrained only by the strangers,
MARCO, and with a high tenor voice begíns singing]: ,111,1 g,on lo (he table to pour coffee.]
1'11te11you boys it's tough to be alone, ~IOlolIl 1\(IÍI·i/l.~ to laugh, and to MARCO, but directed as much to
And it's tough to love a doll that's not your own. "1'" 1 IIIC· 1\ 1: All actresses they want to be around here.
I'm through with all of thern, .",,,,, IIlilppy about it]: In Italy too! All the girls.
1'1111

1'11never fa11again, l' "111 Hit 1N E emerges [rom the bedroom in low-heel shoes,
Hey, boy, what you gonna do? ,,0111(\ to tI,e table. RODOLPHO is lifiing a cup.]
I'm gonna buy a paper doll that I can cal1 my own, ~" "1 11 I "(~is sixing up R o DO L P H O, and there is a concealed
A do11 rhat orher íellows cannot steal. 'cII/'/oÍoO/lI:Ycah, heh?
[EDDIE rises anJ moves upstage.] ~"'" '1 1'1111: Yes! [Laughs, indicating CATHERINEl Especia11y
And then those flirry, flirty guys ",l ••l' dl('y are so beautiful!
With their flirty, flirty eyes , You like sugar?
~ 11I1I1I1Nl!:

Will have to flirt with dollies that are real - ~ " ,." 1 1'110: Sugar? Yes! I like sugar very much I
BDDIE: Hey, kid - hey, wait a minute - 11, l' 1>1 H is downstage, watching as she pours a spoonful oJ
CATHERINE [enthralled]: Leave him finish, it's beautiful! ['Iil "','~'" i,I/(J his cup, his face puffed with trouble, tlnd the room
BllATRICE] He's terrific! It's terrific, Rodolpho, "In
BDDIB: Look, kid; you don't want to be picked up, do ya? 1I,(/I(i tise on ALPUlllI.]
MARCO: No - no! [He rises.l • 1 1'111" 1: Who can ever know what will be: discovered] Bddie
 34 A VIEW FROM THE BRIDGE ACT ONB 35
Carbone had never expected to have a destiny. A mi" ¡",I,I, 11, u wliole song comes out of his mouth
- with
works, raises rus family, goes bowling, eats, gets old, "lid 'tI"lloom know what they're callin' him now? Paper
VO\!
then he dies. Now, as the weeks passed, there was a futur., 11,,11 d ••.y·,c callin' him, Canary, He's like a weird. He
there was a trouble that would not go away. • 111111. 11111 ou the pier, one-rwo-three, it's a regular free
[The lightsfade on ALFIERI, then rise on EDOIE stanJI".~ "' .1", I'V
the doorway ofthe house. BEATRICE enters on the street, sh, 1111Al" l' 11 W cll, he' s a kid; he don' t know how to behave
sees EODIE, smiles at him. He looks away. 1,111"" 1I yel.
She starts to enter the house when EODIE speaks.J .,,,'"1 1\11,1 with that wacky hair; he's like a chorus girl or
EODIE: It's afier eight.
.'"111' "'
BEATRICE: w-n, it's
a long show at the Paramount. 111,A , 111' 1\" So hc's blond, so -
EDOIE: They rnust've seen every picture in Brooklyn by now, 111""" 1',:.1 liope that's bis regular hair, that's all 1 hope.
\
He's supposed to stay in the house when he ain't working, '",A '"" crazy or sump'm? [She críes to turn him to her.]
11: VOl!
He ain't supposed to go advertising himself. 111' l' '" I 1,1' keeps his head turned away]: What' s so crazy? I
BEATRICE: Well, that's his trouble, what do you care? If t1~y ,\,,,,'1 Ilkc- liis whole way.
pick him up they pick him up, that's aU. Come in the house, It 11 A , '111 11: Listcn, you never seen a blond guy in your life?
EDOIE: What happened to the stenography? I don't see her W 1,
"hOlll Whitey Balso]
,1
practise no more. "1 1 '" 11II",;"g to her victoriously]: Sure, but Whitey don' t
'1

BEATRICE: She'll get back to it. She's excitcd, Eddie. .111,'" 11'" .lOlt't do likc that on the ships.
EOOIE: She tell you anything? ~ 1, ~ , l' 11 11: W di, maybe that' s thc way they do in Italy.
BEATRICE [comes to him, now the subject is openeJ]: What's the ".' '1111 '1'11<'11 why don't his brother sing? Marco goes around
matter with you? He's a nice kid, what do you want fmlll Id, ., 11,.\11; nobody kids Marco. [He moues from her, !u¡{ts.
him? ',/" ,,·,'¡j:t·J there is a campaign solidified in him.] I tell you the
EDOIE: That's a nice kid? He gives me the heeby-jeebies. ",,11, \'111 surpriscd I have to tell you all this. I mean I'm
B.EATRICE [smiling]: Ah, go on, you'rejustjealous. .11' 1" 1"'·.1. B.
EDDIE: Of hlm] Boy, you don't think much of me. 11' ~ , .' " 1 I - she goes lo him with purpose now]: Lis ten, you
1
.

BEATRICE: I don't understand you. What's so terrible about .,,,', 1',"lIl1a start nothin' here.
him? ''', '11" I ,lil1't startin' nothin', but 1 ain't gonna stand around
EDOIE: You mean it's all right with you? That's gonna be hrr 1",,1, .,,' ;11 rhat, For that charactcr 1 didn't bring her up. 1
husband? .'" 11, 11., l'm surprised at you; I sit there waitin' for you to

BEATRICE: Why? He's a nice fella, hard workin', he's a good .. " .1" "1' but everything is grcat with you.
lookin' fella. 111'" , 111' E: No, evcrything ain't great with me.
EODIE: He sings on the ships, didja know that? .,"'," No?
BEATRICE: What do you mean, he sings? """ , '111 1',: No. But 1 got other worries.
EDDIE: Just what I said, he sings. Right on the deck, a11of a "" 1>11' Veah. [He is already weakening.]
 36 A VIBW fROM THB BRIDGB ACT ONE 37

BEATRICE: Yeah, you want me to tell you? "'''''. 1/'/'1 1 (111\ S and MIKE coming, and sits on an iron rail-
. EDDIE [in retreat]: Why? What worries you got? /tIL' 141111'. ""tI MIKE enter.)
BEATRICE: When arn 1 gonna be a wife again, Eddie? .1111'1' \V bowlin' tonight?
,11111;1 V,O

EDDIE: 1 ain't been feelin' good. They bother me since they ""'"' rircd, Goin' to sleep,
1'111 IlItI

carne. 111111" II"w'~ yom two submarines?

BBATRICE: It's almost three months you don't fed goudl _'11' 11' 11 u y' r r lIkay.
they're only here a couple of weeks. It's three moutha, 111111" I~, 1 dH'y're gettin' work allatime.

Eddie. • ••••• l' 1 lit yr.lh, they're doin' all right.

EDDIE: 1 don't know, B. 1 don't want to talk about it, ..,." 111,1'" what we oughta do. We oughta leave the coun-

BEATRICE: What's the matter, Eddie, you don't like me, heh] 11 y ,,",1""11(" in under the water. Then we get work.
EDDIE: What do you mean, 1don't like you? 1said 1don't r".1 Ii''''"' \',,";till't kiddin'.
good, that' s all. lit 1t 1 '1 W ti l. w hat the hell. Y'knowj
B EA T R 1C E: Well, tell me, am 1 doing something wrong? 'J'alk 11'"' 11' '" 11C·_
to me. 111,1\'.1 ,;/, mI railing beside EDDIE1: Believe me, Eddie, you
EDDIE [- Pause. He can't speok, then]: 1can't. 1 can't talk ahout 1, •• 1 IInlit comin' to you.
., 1"11.1

it. ~"1tI1' 1\.111, .!tey don't bother me, don't cost me nutt'n.

BEATRICE: Well tell me what- ." ~ l' 111.1' "Ida one, boy, he's a regular bull. 1 seen him the

EDDIE: 1 got nothin' to say about it! "d •. 1 ,1.1 Y lilrin' coffee bags over the Matson Line. They
¡,.",
[She stands far a mOmetlt; he is looking off; she turns to .~(I 1, ."" 111,,1 ;t!olle he woulda load the whole ship by himself.

the house.] litti'"' v"dl. hc's a strong guy, that guy. Their father was a
EDDI E: ¡'11be a11right, B.;justlay off me, will ya? I'm worrlei] "1,"111 1'.1.1111, supposed to be.

about her. III'OJ', y"dl. you could see. He's a regular slave,
BEA TRI CE: The girl is gOlilla be eíghteen years old, it's tilll. .111' l. 1,.,,,,,JiIl,i!l: That blond one, though - [EDDIE looks at
already. ,,,,,, 11 k\ got a sense ofhumour. [LOUIS snickers.]
EDDIE: B., he's taking her for a ride! "1'1'1' I ,,·.l/cf¡i/I.l!ly]: Yeah. He's funny >

BRA TRICB: All right, that's her ride. V/hat're you gOIlI1. 1111' 1 I,t.ulillg lo laugh): Well he ain't exackly funny, but he's

stand over her rill she's forty? Eddie, 1 want you to C\It It ,.1.. 1\", IIL, makin' remarks like, y'know? He comes around,
out now, you hear me? 1 don't like it! Now come in tllt' , ,.. , \,I''i,Iy's laughin'. [LOUIS laughs.]
house. "1"" 1 I""",,,~{t,rlably grinning]: Yeah, well ... he's got a sense
EDDIE: 1 want to take a walk, 1'11 be in right away. ,,1 111111" iur.
BEA TRI CB: They ain't goin' to come any quicker if you st:1I111 1111' 11 1l.,,,g/Ji,,gJ: Yeah, 1 mean, he's always makin' like re-
in the street. It ain't nice, Eddie. '"·11 l· "o Ilke, y'know?
EDDIE: I'Il be in right away. Go ahead. 11111'11' y,;t!I, I know. But he's a kid yet, y'know? He - he's
[He walks off. She ¡oes into the house. BDDIE glanus ul' ,1" 1"" •• ki,l, that's all.
38 A VIEW PROM THE BRIDGE ACT ONB 39

MIKE [getting hysterical with LOUIS]: 1 know, You take ane 1"1'" 1 l' 1 1 ,,' 1 WO\lld like to go to Broadway once, Eddie. 1
look at him - everybody's happy. [LOUIS laughs.] 1 wurk..t ",0111.1 11\'" 1" walk with her once where the theatres are
one day with him last week over the Moore-MacCOrll\ll'~ .".1 "l' "11('1;1, Since 1 was a boy I see pictures of those lights.

Line, I'rn tellin' you they was a11hysterical. [LOUIS altJ lit "'", ti' 11"\ /i(tI" I'atience waning]: I want to talk to her a
explode in laughter.] 1,,111'11 •• Il'hlolpho. Go inside, wiil you?
EDDIE: Why? What'd he do? ti 11 1 " '1 l' 11 ". Fddic, we only walk together in the streets, She
MIKE: 1 don't know ... he was just humorous, You heVtr 1"11111 'l 11"",

can remember what he says, y'know? But it's the wuy !t. • Al 111' 1'1 '1 ti" VOl1know what he can't get over? That there's
says it. 1 mean he gives you a look sometimes and yOll .llt' "" 1,,"ll.liIlS in Brooklyn!
laughin' ! 111 ••••• ' 1"IIi1i",~"nlvillingly]: Fountains? [RODOLPHO smiles at
EDDIE: Yeah. [Troubled] He's got a sense ofhumour. ""fl'((/.}
", •• ·,,'11

MIKE [gasping]: Yeah. I A 1 1111111 n u: In ltaly he says, every town's got fountains, and
LOUIS [rising]: Well, we see ya, Eddie, d,. \ 1111,'1 rhcre. And you know what? They got oranges
EDDIE: Take it easy. "" "" 'I'TS whcre he comes frorn, and le mons. Imagine-
LOUIS: Yeah. See ya. ,," dIO '"TS? I mean it's interesting. But he's crazy for New
MIKE: If you wanna come bowlin' later we're goin' Flathlllll " .. 01,
Avenue. .."1" r 11" ¡a(tempting familiarity
., Eddie, why can't we go 1:
[Laughing, they move to exit, meeting RODOLPHO ,,,,J 1111" ,,, IIloadway - ?
CAT H ERIN E entering on the street. Their laughter rlst'J 'U l' l' ,. 11' I IIllk, 1 gotta tell her somcthing -
they see RODOLPHO, who does not.undetstand butj<li,IIIII, 1""'" 1 l' 11 (.: Maybe you can come too. 1want to see a11those
EDDIE moves to enter the house as LOUIS and MIKll r.>;I" 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.
CATHERINE stops him at the door.]
CATHERINE: Hey, Eddie - what a picture we saw! Did w. 1'" 11".1/,'\ ofT down the street.]
laugh! , • 1 11111' Why don't you talk to hirn, Eddie? He blesses
H 1':

EDDIE [- he can't help smiling at sight ofher]: Where'dYOll ¡.tll' , • '11,1111 \ YOU don' t talk to him hardly.

CATHERINE: Pararnount. It was with those two guys, y'kllow' , ,,'," I'''''r/''pillg her with his eyes]: 1 bless you and you don't
That- ,,11· 1" 111('. ¡He tries to smile,]
EDDIE: Brooklyn Paramount] •• , " l' 11 1 ,,1 I!: 1 don' t tal k to you? [She hits his arm.] What do

CATHERINE [with an edge of anger, embarrassed beJore ROIlOI- \ I ti I 11 ,e .1I1?

PHO): Sure, the Brooklyn Paramount. 1 told you we W;UII', 1,1' l' ,1 1, I"11 .t sce you no. more. 1come horne
orne vou'
yo.u re runmn ,
goin' to New York. \1 111111.1 \ulllcplace-
ÉDDIE [retreating before the threat ofher anger]: All right;J ollly , ,. 1111 l' 11,'1;: Wcll, he wants to see everything, that's a11,so
asked you. [To RODOLPHO] 1 just don't want her hall~ill' , 1'," .•• VOl! mad at me?
around Times Square, sed It's full of tramps over thcrc, .'1.,.11 r,J.,. ¡He movesfrom ha, smiling sadly.] It's just 1 used
'
 40 A VIBW FROM THE BRIDGB ACT ONB 41
to come home, you was always there. Now, 1 tum arollntl. k. ~I,,,OI" IUIWSto me! You got him a11 wrong, Eddie; 1
you're a big gírl, 1 don't know how to talk to you. ttl~~tI 11. Y
01"

CA THERINE: Why? •••••w le,II". II<"sonly bowin' to his passport,

BDDIE: 1 don't know, you're runnin', you're runnin', K.tI'l ti. t 11111111111 11is passport l
1 don't think you listening any more to me. ''''1111 11..11"right. He rnarries you he's got the right to be
C A T H E R 1 N E [going lo him]: Ah, Eddie, sure 1 amo Wh;¡ t'l th. 1•• ""11111.111ritizen, That's what's goin' on here. [She is
matter? You don't like him]
[Slighl pause.]
r."- ./1'I/.",.lw1I'rised.] You understand what I'm tellin' you?
t ItI 1',11Y I~ 1,lokin' for his break, that's a11he' s lookin' foro
BDDIE [turns to her]: You like him, Katie? '-6'11111111/11 I/",ím~d]: Oh, no, Eddie, 1 don't think so.
CATHERINE [with a blush but holding her grouná]: Yeah, 111" .,''" 1- Y 1111.101I't think so! Katie, you're gonna make me cry
him. h. It "Ib,,!;¡ workin' man? What does he do with his first
I!DDIE [ - his smile goes]: You like him. 111"111 y l' 1\ ~1I:tppy new jacket he buys, records, a pointy
CA THERINE [looking down]: Yeah. [Now she looks al him ¡Clr,h, I'~'I 11.w ·dlll('S and his brother's kids are starvin' over there
consequences, smiling but tense. He looks at her like a lost bCly,1 ••Id, 11I1"'lIlIlosis? That's a hit-and-run guy, baby; he's got
What're you got against hirn] 1 don'r understand. He 0111, 111'1.111 II",II(~;in his head, Broadway. Them guys don't think
blesses you. ..1 1l 1""ly 1'lIt theirself! You marry him and the next time
00

EDDIE [turns away]: He don't bless me, Katie. II!II ".• 111111 it'Íl be for divorce!
CATHERINE: He does! You're like a father to him l lA 1111'"111111,\11'1'5 towards hím]: Eddie, he never said a word
BDDIE [turns lo her]: Katie. _1"'1111••..1"'1)lTSor-
CA THERINE: What, Eddie? ~III.III VIlII 1I1(':Inhe's supposed to tell you that?
EDDIE: You gonna marry hirn? I 4 11'" 11IIH,: 1 don' t think he' s even thinking about it.
CATHERINE: 1 don't know. We just been oo. goin' aroum], Itlll'"' W¡';j('s bctter for him to think about! He could be
that' s a11. [Turns to him.] What' re you got against him, d.~-.III\, :llly day here and he's back pushin' taxis up the
Eddie? Please, te11me. What?
EDDIE: He don't respect you,
I ,,111
1 ~ 1111111 1N 11:No, 1 don't believe it.
CA THERINE: Why? ~II,,"' 1':,111<'. clou't break my heart, listen to me.
EDDIE: Katie
oo. if you wasn't an orphan, wouldn't he A.k I 4 1111'"1r~11:I don't want to hear it.
your father's permission before he run around with you lik« lól"" 11 1( "líe, listcn
oo.

this? I ~ I " l' 11 1N I!: 1le laves me!

CATHJ'!RINE: Oh, we11, he didn't think you'd mind. ~"I'II' I".itl, dccp alarm]: Don't say that, for God's sake! Tlús
EDDIE: He knows 1 mind, hut it don't bother him if I mim], l. d" •.I.lcst rackct in the country-
don't you see that? I ~ 11111111 r~ 11Id/'5perately, as though he had made hís imprint]: 1
CATHERINE: No, Eddie, he's got a11kinds of respect for me, .1"11'11" hr vc it! [She rushes to the house.]
And you too! We walk across the street he takes my arm ~ ""1'111 1/"l/lIlIlí,,! her]: They beenpullin' this since the
42 A VIEW fROM THE BRIDGE ACT ON! 43

Immigration Law was put in! They grab a green kld ,b •• A I 111'11I",'I','r losing her aroused alarm]: Sit down, honey, 1
don't know nothin' and they- ..,411'1,,1,11 YOII sornething. Here, sit down. Was there ever
CATHERINE [sobbingJ: 1 don't believe ir and 1 wish tu h ""\' 1,11.• 1••, lik(~dfor you? There wasn't, was there?
you' d stop it! ••, I 111'1111111 IIl1t hc says Rodolpho's just after hispapers.
HDDIE: Katie! 111 A I 111'11 l. .k, hc'll say anything. What do es he care what
H

[They enter the apartment, The Iights in the livi"g-r()()", 11,,'" 1,•.• '. 1" JI il was a prince carne here for you it would be no
l'

risen and BEATRICE is there. She looks past th« ,ff.MIIi ,1111 .•• 111 You know that, don't you?
CATHERINE at EDDIE, who in the presence ofhis 111/'" .'. IIIIIIIII~II: Yrah,l guess .
makes an awkward gesture of eroded command, illllll'l"I,., ••••Al 111'11,So what does that mean?
CA THERINE.] • A I 111' IIII~1',I,dowly turns her head to B EA TRI CE]: Whatr
EDDIE: Why don't you straighten her out? "" A 1 l' l' u 11 mcans you gotta be your own self more. y ou

BEA TRI CE [inwardly angered at nis flowing emotion, /11111(11 lit .11111I111l"vou're a litrle girl, honey. But nobody else can
itself alarms her l: When are you going to leave hcr alllll&l' 111"1,,"1' yOllf núnd for you any more, you understand?
HODIE: B., the guy is no good! '"'' 1',1111.\ give him to understand that he can't give you
BEATRICE [suddenly, with openfright andjury]: You goilljC lit "1,1,1' Illllllorc.
leave her alone? Or you gOlilla drive me crazy? [He ,''',", , A , 11l' 11 1I~ 1'.: Yeah, but how am 1 going to do that? He rhinks
striving to reta in his dignity, but nevertheless in guilt wal/u "id r lIt'. I,.d,y.

of the house, into the street and aUJay. C A T H E R I N E starts ¡"h' , III'A 1111'1',:Ikcause yor/ thinkyou're a baby. 1 told you fifty
bedroom.] Listen, Catherine. [CATHERINE halts, turns le' ,'" 11,",~ .drc';\lly, you can't act the way you act. You still walk
sheepishly.] What are you going to do with yoursclf? ., """, \ 111[ront ofhim in your slip-
CATHERINE: 1 don't know. , A 11111111 ti 1',: W elll forgot,

BEATRICE: Don't tell me you don't know; you're not a hllhy 11li ~ 111" 11:W ell you can' t do it, Or like you sit on the edge
any more, what are yon going to do with yoursclf? ,,1 11••. luthtub talkin' to lúm when he's shavin' in his
CATHERINE: He won't listen to me. tll" l. , wr': u·~
BEATRICE: 1 dori't understand this. He's not your (;\,111", , A 11111111 N I!: When'd 1 do that?

Catherine. 1 don't understand what's going on hcre, l'" ~ 1u l' '1',:1 sccn you in there this moming.
CATHERINE [as one who herself;s try;ng to rationalize a l",rI,J , A 1111, 111N I!: Oh ... well, 1 wanted to tell him something
impulse]: What am 1 going to do, just kick him in thc 1111' ,.",11
wirh it? 111'A 11111H: 1 know, honey. But if you act like a baby and he
8EATRICE: Look, honey, you wanna get married, or 111111'1 1" 1II',llill' you like a baby. Like when he comes home
you wanna get married? What are you worricd ail,,",. o •• t uucs you throw youself at him like when you was
IIt'

Katie? 1", 1 v,' ycars old.

CATHERINE [quierly trembling]: 1 don't know B, Itjust srf'lIl' , Al 111' 111N n: Well1 like to see him and I'rn happy so 1-
wrong if he' s against it so mucho 111'~ 1\111:11: Look, l' m not tellin' you what to do honey, but -
44 A VIEW FROM THE BRIDGE ACT ONll 45

CATHERINE: No, you could tell me, B.! Gee, I'm al! mil,'" ."""'I",,r, ",jth a díscovery, to BEA TRI cs. She is at the edge of
up. See, I - He lcoks so sad now and it hurts me. " ,,, " ,/1 I/'ollgh a familiar world had shattered.]
BEA TRICE: We11100k, Katie, if it's goin' to hurt you so 1U11ll1. I,A 111""11'11\: Okay.
you're gonna end up an oId maid here. 1/ ;1:/'1\ ()/It on them and up on ALPIERI, seated behind his
CATHERINE: No! ", ,A, 1

BEA TRICE: I'rn tellin' you, I'm not makin' a joke. 1 trier] tn A I I 1" 111 It W:lS at this time that he first carne to me. 1 had
tell you a couple of times in the last year or so. That's wlty " 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
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.,. 111111 IlIhn him now as he wa1ked through my doorway -
pendent. I mean it. !t's wonderful for a whole family tu \111/'" 11() n lE down right ramp.}
love each other, but you're a grown woman and yOIl'I'(, 111 "lo, y":' wcrc like tunnels; my first thought was that he had
the same house with a grown mano So you'll act diflcrrlll '"lIlIlIillnl a crime,
now, heh? 1""" 111 sits beside the desk, cap in hand, looking out.]
CATHERINE: Yeah, 1 will. 1'11remember. 1,,,, i""1I I saw it was on1y a passion that had moved into
BEATRICE: Because it ain't only up to him, Katie, you under- Id, 1,",ly, like a stranger. pauses, looks down at his
[ALFIBRI

stand? 1 told him the same thing already. ". '~. //11"11 (() IlDDIB as though he were continuing a convusation
CATHERINE [quícklyJ: What? ".;,/, /,1",. J I don't quite understand
what 1 can do for you.
BEATRICE: That he should Iet you go. But, you see, if olllr I l. tI" le ;l quesrion oflaw somewhere?
te11hirn, he thinks I' m just bawlin' him out, or maybe 1111 111""" Tluu's what 1 want to ask you.
~ 1 , '" l' t ; Iln:ausc there' S nothing illegal about a girl falling in
jealous or sornethin', you know?
CA THERINE [astonished]: He said you was jealous? 1,,1" ",idl an immigrant.
BEA TRI CE: No, I'm just sayin' maybe that's what he thilllu, " .'" 1" Y cah, but what about it if the only reason for it is
[She reaches over /0 CA THERINE'S hand; with a strained SIIIII,I ,,, 1',' t his papers?
You think I' m jealous of you, honey? A' I"'I! l. I'irst of áU you don't know that.
CATHERINE: No! It's the first I thought ofit. '11' " 1 11 I '.n· it in his eyes; he' s laughin' at her and he' s laugrun'
BEATRICE [with a quiet sad laugh]: .w-u you should Juavr ·,lllIr

thought of it before ... but I'm noto We'll be a11right. .1"1' A' , '" '" ¡:,¡Jdic, I'm a lawyer. 1 can only deal in what's
give him to understand; you don't have to fight, yOIl"1' 1"" v . .1lit-. YOl! nnderstand that, don't you? Can you prove
just - You're a woman, that's all, and you got a nicc hoy, doo'"
and now the time came when yotl said good-bye. All right P ''', l' 11' / )..,"'111 tvhat' s in his mind, Mr A!fieri!
CATHERINE [strangely moved at the prospect]: All right .... 11 ~ I , ", ¡:,ddic, cven iE you could prove that -
l' 1

I can. 111' "ll! I ISlm ..• will you listen to me a minute? My father
BEATRICE: Honey ... you gotta. ,ti \\'.1 y:. \.1 i,I yOll was a smart mano 1 want you to listen to me.
[CA THERINE, sensing now an imperious demand, turm 11'111, A, ,t "" 1, l' 11\ only a lawyer, Eddie.
 46 A VIBW PROM THE BRIDGE ACT ONB 47
EDDIE: Will you listen a minute? I'rn talkin' about the IIW, 40. 1 1'1111.'I<lund. 1mean - high. You know what 1mean?
Lemme just bring Out what 1 mean. Aman, which h•• A' tll'lll w-n, thar's a tenor.
comes into the country illegal, don't it stand to reason h,l, "t "111 1 ~11'IW ;¡ tenor, Mr Alfieri. This ain't no tenor. 1 mean
gonna take every penny and put it in the sock? Because tlUl'y " V"II '.1111("in the house and you didn't know who was
don't know from one day to another, right? 11111',111'.
you wouldn't be lookin' for him you be lookin' for
ALFIERI: All right. le••
EDDIE: He's spendin'. Récords he buys now, Shoes. ]ackrtl. A '11111'1 Yt"S.hut that's not -
y'understand me? This guy ain't worried. This guy ¡s Irlrl. "'"'111 1'111u-llin' you surnp'rn, wait a minute. Please, Mr
So it must be that he's got it alllaid out in his mind alre:Hly • Mil. 11 1'111tryin' to bring out my thoughts here. Couple
he's stayin'. Right? ••1 1II1',I'I~ago my mece brings out a dress which it's too
ALFIERI: Well? What about it? 1"",11111,!ct"f. bccause she shot up like a light this last year.
ED DIE: All right. [He glances at ALFIERI, then down to the jlc"".1 110l., ~n 111(" dress, lays it on the table, he cuts it up; one-rwo-
I'm talking to you confidential, ain't I? 1111'" lit" makcs a new dress. 1 mean he looked so sweet
ALFIERI: Certainly. 11,." , Ic~.(':111angd - you could kiss him he was so sweet.
EDDIE: 1 mean it don't go no place but here. Because I dOIlI, ~' 11111t 1 N'IW look, Eddie -
like to say this about anybody. Even my wife 1 d¡du', ''''''11' MI Alficri, they're laughin' at him on the piers, I'rn
exactly say this. ~_II,tI"",1. l'apcr Doll they call him. Blondie now. His
ALFIERI: What is it? 1".. dl'l rhiuks it's beca use he's got a sense ofhumour, see
EOOIE [takes a breatk and glances briefiy ovu each shoulder]: Tia. \\,111,11Iw's got - but that ain't what they're laughin'.
guy ain't right, Mr Alfieri. \VIii. l. thr y'rc not goin' to come out with it because they
ALFIERI: What do you mean? ~I\.. w lit"'S lIIy eelative, which they have to see me if they
EOOIE: 1 mean he ain't right. III·,L· .1 Ilack, y'know? But I know what they're laughin'
ALFIERI: 1 don't get you. '11.,111.1whcn I think of that guy layin' his hands on her 1
EODIE [shijis to another position in the chair]: Dja ever gce • , .. "Id I mcan it's catin' me out, Mr Alfieri, because 1
look at him? ,11"1',1',lnl f~)r that girl. And now he comes in my house
ALFIERI: Not that 1 know 0[, no. '11\.1
EOOIE: He's a blond guy. Like ... platinum. You know wluI' 41 111'Itl. 1:"Idie, look - 1 have my own children, 1 understand
1 mean? \'"'' 11111 rhc law is very specific. The law does not ...
ALFIERI: No. 111'I'II! III';(/' a ¡ul/er jlow o¡ indignation]: You mean to tell me
EOOIE: 1 mean if you close the paper fast - you could hlnw "",1 dll'lr-'s 110law that a guy which he ain't right can go to
him overo ", •.d, .1I1I11lI;lrrya girl and - ?
ALFIERI: Well that doesn'r mean _ ~111l' It1 Y'III llave no recourse in the law, Eddie.
EOOIE: Wait a minute, I'rn tellin' you sump'm. He sings, art'o 111'Ii 111 Y1"..11,hut if he ain't right, Me Alfieri, you mean to
Which is-I mean it's a11right, but sometimes he hits a Ilotc!, l. 11iur
4-& A VIBW nOM THE lI11IDGI ACT ON. 49
ALI'IJlRI: There is nothing you can do, Eddie, believe m •• 1"" 1111\ f(l",ds.)
EOOlE: Nothin', 1'11111' W rll, all right, thanks. Thanks very mucho
ALFIERI: Nothing at a11.There's only one legal question h(lr•• AII'II'III WIt:lI are you going to do?
EOOIE: What? """1' 1"'ltll " I,dpless but ironic gesture]: What can 1 do? I'rn
ALFIERI: The manner in which they entered the COW1try. n"l • l"ll,y, what can a patsy do? 1 worked like a dog twenty
1 don't think you want to do anything about that, do yuu' V'~" ~•• u puuk could have her, so that's what 1 done. 1
EOOJE: You mean - ? 111' '111, 111 die worst times, in the worst, when there wasn't
ALFIERI: We11, they entered illegally. ••• 1111' 'IHllill' in the harbour, 1 didn't stand around lookin'
EOOJE: Oh, ]esus, no, 1 wouldn't do nothin' about tlllal, I 1"1 .,11,1 i hustled. When there was empty piers in Brook-
mean- r-nt 10 Hoboken, StatenIsland, the West Side.jersey,
I~II I \.•...
ALFJERI: A11right, then, let me talk now, eh? ~ll "VII hernnse 1 made a promise. 1 took out of my own
EOOJE: Mr Alíieri, 1 can't belicve what you tell me. I 1llC"1" 1I1,,"dl 1'1 give to her. 1 took out of my wife's mouth. 1
there must be some kinda law which - lO',.1~• d 111111f~ry plenty days in this city! [It begins to break
ALFJERJ: Eddie, 1 want you to listen to me. [Pause.] You knuw, ".,,'u~'11 I Alld now 1 gotta sit in my own house and look
sornctimes God mixes up the people. We a11 love 50111'- ,,1 ,1 '11111 •• ra-bitch punk like that - which he carne out of
body, the wife, the kids - every man's got somebody thl' ••""IIIIC·II givc him my house to sleep! 1 take the blankets
he loves, heh? But sometimes ... there's too mucho YUI! ,,11 IlIy 1\("<1 íor him, and he takes and puts his dirty filthy
know? There's too much, and it goes where it musrn't, A II,I!"I~"" hcr like a goddam thief!
man works hard, he brings up a child, sornetimes it'a • Al 1 11"'1 I,;¡;",d:
But, Eddie, she's a woman now.
niece, sometimes evcn a daughter, and he never realizcs Ir. 1i1••• I.' 1k\ stcaling from me!
but through the years - there is too much love for 111. Al 1'1111' 1 \11(' wants to get married, Eddie. She can't marrv
daughter, there is too much lo ve for the niece. Do yu" V"I!, •. 111 Sial"?
understand what I'm saying to you? l<.tI'"' 1/"'¡(lfIS/Y]: What're you talkin' about, marry me! 1
EOOIE [sardonically): What do you mean, 1 shouldn't l()o~ .1111\'1 kuow what the hell you'rc talkin' aboutl
out for her good?
l' ',111\(·1
ALFIERI: Yes, but those things have to end, Eddie, that's Illl. Al 11111'1 1 I~;¡VC you my advice, Eddie. That's it.
The child has to grow up and go away, and the man 1m 111 11' 1"'11\ .'!"tf¡ers hímselJ. A pause.]
learn to forget. Because after all, Eddie - what other w.y 11l' 11111 w-u, ihanks. Thanks very mucho It just - it's breakin'
can it end? [Pause.] Let her go. That's my advice. YOll !litl
"'\' 1',_"1, y'know. 1-
your job, now it's her life: wish her luck, and let her fto. _ •• 1 .' "1 1 IIlIllrrstand. Put it out of your mind. Can you do
[Pause.) will you do that? Because there's no law, Eddír. 11'.'1"
mak.e up your mind to it; the law is not interested in thí., • 1'" 11' /J~fuls the threat of sobs, and with a helpless
1'11 I [

BDDIE: You mean to rell me, even if he's a punld lfhe's- 1/',11" I 1'11 ~("c you around. [He goes out up the dght ramp·l
ALfIBlI: There's nothing you can do, ~ 1 l' 1 • ~ 1 11;11 ",. deslc]: There are times when you want to
 ACT ON! 51
50 A VIEW fROM THE BRIDGE

spread an alar m, but nothing has happened. 1kncw, 1 kn.w t. A • "1' " Y'kuow, Marco, what 1 don't understand - there's
'1111 nI' hsh and yiz are all starvin'.
then and there - 1 could have fmished the whole story Ih•• "1 '"' ,'11

aftemoon. It wasn't as though there was a mystery tu 111\ •• • .",", 11", Y W lila ha ve boats, nets, you need money-
ravel. 1 could see every step coming, stcp after stcp, lik, • \, ,., 1'111111N 1\ r"urs.]
dark figure waIking down a hall towards a certain door, I ".11111 1\ Yl"ah, hut couldn't they like fish from the beach?
knew where he was heading for, 1 knew where he WII VoolI,rr- rhr ru down Coney Island-
going to end. And 1 sat here many aftemoons asking mYl,lf litA'" 11 ',"lOlill(,~.
why, being an intelligent man, 1 was so powerless to stop le, 1"""1 ',1111". Il.dllgltit,gl How you gonna catch sardines on a
1 even went to a certain old lady in the neighbourhood, •
very wise old woman, and 1 told her, and she only nodded,
.U 1100,,~ "
"1\' 11

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

()h, 1 didn't
sardines!
know they're sardines. [To
and said, "Pray for him .. .' And so 1 - waited here.
[As lights go out on ALFIERI, they rise in the apartlll'''' 1, A • 11111' 1 N u: Y (';\h, they follow them all over the ocean,
where all arefinishing dinner. BEATRICE and CATHBltlNII "1,1, ,l. YIIl',llslavia .•• [She sits and begins to look through a
are clearing the table.] ••,,'!'Ir II"'g,,..¡I/r. RODOLPHO joins her.]
CATHERINE: You know where they went? 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
BEATRICE: Where?
CA THERINE: They went to Africa once. On a fishing bOII, ~",I,f'''11',(1, ,/jshrs.]
[EDDIEglances at her.] It's true, Eddie. lA 11"'llItH\: I know. It's like oranges and lemons on a tree,
[BEATRICE exits into the kitchen with dishes.] \ '" 11"1111111 mean you ever think of oranges and lemons
EDDIE: 1 didn't say nothin', [He goes to his rocker, picks ul' " 0011 '1 1,1'( ~

lIewspaper. ] til'\l11I Yr.lh, I know. It's funny. [To MARCO] 1heard that
CATHERINE: And 1 was never even in Staten Island. 111' y 1""111 die ()ranges to make them look orange.
EDDIE [sitting wíth the paper]: You didn't llÚSS nothin', 11\1\'" 1111 e Il (n(rrs.]
[Pause. CA THERINE takes dishes out.] How long that tllk. uA "' ',1 IlIIs bun reading a leuer]: Paint?
Ilr
you, Marco - to get to Africa? l' \1 \1111 'y'1'.I1a, 1 hcard that they grow like green.
MARCO [rísíng]: Oh ... two days. We go al! overo •• ,. 1" " NIl, in Italy the oranges are orange.
R O D O L P H O [rísíng]: Once we went to Yugoslavia. ti 11 \1" 1 1'1111: 1.C'1I1011S are green.
EDDIE [to MARCO]: They pay all right on thern boats? ~\lI'1I1 1,(lr"(;I/.~ I,;s instruction]: 1 know lemons are green,
[B EA TR 1CE enters. She and R O D O L PHO staclc th« remai,'¡"jl 1", I 11l1'11's sakc, you see them in the store they're green

dishes. ] ."'11' 1III,n, I said orangcs they paint, 1 didn't say nothin'
MARCO: lf they catch fish they pay all right. [Sits on a '«(1011 "1,,, •• 1 lo-IIIIlIIS.
RODOLPHO: They're family boats, though. And nobody ill 111' ~ 1 1'1' 11 1 ~j(lj"g; diverting their attention]: Your wife is
our family owned ane. So we only worked when 01lC' ,,1 ." 1111" tllI" moucy all right, Marco?
the families was sick. ~u'" 11. ( )b. ycs. She bought medicine for my boy.
52 A VIEW FROM THE BRIDGE ACT ONB 53

BEATRICE: That's wonderful. You feel better, heh? W"~I I III("an, Marco? lt ain't that much different here.
MARCO: Oh, yes! But I'm lonesome. •• ~ ", 11 1""HI"".dy 1: Ves.
BEATRICE: Ijust hope you ain't gonna do like some of them lit A I 1111 11: W ell, he didn' t exactly drag her off though,
around here. They're here twenty-five years, sorne 11\('11, "'1,1 ••
and they didn't get enough together to go back twice. MI""" I kuow, but 1 seen sorne ofthem get the wrong idea
MARCO: Oh, I know, We have many fa mili es in our tOWII, .1I11i1lilllr~. \ '1'0 RODOLPHO] 1 mean it might be a little
the children never saw the father. But 1 will go home, 111"" It rl' hrre but it's just as strict.

Three, four years, 1 think. 1"111'11'1111: 1 llave respect for her, Eddie. 1 do anything
BEATRlCE: Maybe you should keep more here. Became \<\> 1 "1 '1''''
maybe she thinks it comes so easy you'll never get ahead 01' PI""" IlIlIk, kitl, I ain't her father, I'rn only her uncle-
yourself. II"~' "" 11; w-u
then, be an uncl: then. [EDDIE foob al ha,
MARCO: Oh, no, she saves. 1 send everyrhing. My wife is v('ry ,111',1/" ,,' hrr (rilicizing force.] 1 mea n .
lonesome. [He smiles shyly.J •• u' liNo, lIeatrice, if he does wrong you must telllum.
BEA TRl CE: She must be nice. She pretty? I bet, heh? I '" What does he do wrong?
1111111111

MA R co [hlushingJ: No, but she understand everything. '", W (·11, Marco, till he came here she was never out on
" 111

RODOLPHO: Oh, he's got a clever wifc! ,11' .1, (1'1 1 wclve o' dock at rught
EDDIE: I betcha there's plenty surprises somctimes when thOlI' •• A 111 CI 1'" /l(\[)OLPHO]: You come home early now.
guys get back there, heh? IH~ '"1111 \10 CATHERINE]: Well, you said the movie
MARCO: Surprises? tll,l. ,11.111', didn't you?
EDDIE [/aughing]: I mean, you know - they count thc kit!. I A 1 11""1 N 1\: Ycah.
and there's a couple extra than when they left? 'lilA 1111' 11: w-n, tell him, honey. [T, EDDle] The movie
MARCO: No - no ... The women wait, Eddie. Most. MOIt. ,",1. .l Lu r.
Very few surprises. 111' "", IC r
1, ,k, n., m just sayin' - he thinks she always stayed
RODOLPHO: It's more striet in our town. [EDDIE looks at ",,,, ,,"1 IIL,· rh.u.
now.] It's not so free. ., ~ 1" ,. Y (11' come home early now, Rodolpho.
EDDlE frises, paces up and down]: It ain't so free he re cithrr, " CI 111 '1 ,."" \md,llrrassed]: All right, sure. But 1 can' t stay in
Rcdolpho, like you think. I seen greenhorns sornetirncs Krl 111' l."",,' :.11 [he time, Eddie.
in trouble that way - they think just because a girl don't ~tI 111".11 1 kid, I'm not only talkin' about her. The more
IlIlIk,
around with a shawl over her head that she ain't strkr, \"," ouud like that the more chance you're takin'. [To
.1111 .o

y'know? Girl don' t have to wear blaek dress to be strirt, 11 l' ~ 1 1.1 ( 1\ I 1 mean suppose he gets lút by a car or some-

Know what I mean? 1111111'. I'/''' MAltCO] Where's his papers, who is he? Know
RODOLPHO: Well, I always have respect- ",1.·.1 IIIIC':III?

EDDIE: 1 know, but in your town you wouldn'tjust drag nlr 111'" 1 111' I!: Y call. but who is he In the daynme, though? It' s
some girl without permission, 1 mean. [He turns.] You know 11" """11' chauce in the daytime.
54 A VIEW FROM THE BRIDGE ACT ONE 55

BDDIE [holding back a voice full of anger]: Yeah, but he don', M•• '" V". ver cal vcry good on the boats - especia11y when
ha ve to go lookin' for it, Beatrice. If he's here to work, t1tl,tllll,ltll'''III('S along: everybody gets fato
then he should work; if he's here for a good time then 1" ti! ~111" 11 (lit. 11(" cooks?

could foo1 around! [To MARCO] But 1 understood, Marco, •• A"'" '.11' (". v('ry good cook. Rice, pasta, fish, everything.
that you was both comin' to make a livin' for your family, 1""'" l' '.'I/WJ ¡,is paper.]
You understand me, don't you, Marco? [He goes to MI tl"tI" 11,',.1 IlInk, toa! [Looking al RODOLPHO] He sings,
rocker. ] 1•• '""~-
MARCO: 1 beg your pardon, Eddie. 1',""'" "1") smiles thankfully.]
BDDIE: l rnean, that's what 1 understood in the first place, Ice, IU 11' l' 11 w-u
it's good, he could always make a living.
MARCO: Yeso That's why we carne. 111"'"' It" wOlldrrful. He sings, he cooks, he could make
EDDlE [sits on his rockerJ: We11, that's a11I'm askin', ,ti' ••••
reads his paper. There is a pause, an awkwardlltll.
[EDDIE I .111 'I'hey get some high pay, them guys. Thc head
,. 10' H 11:

Now C A T H E R 1 N E gets up and puts a record on the pllO''''. ,l •• h 111 .dl,hr hig hotels are men. You read about thern.
graph - Paper Doll.] lil"'"' IIa.I'·~ what ¡'IUsayin'.
CATHERlNB [fiushed with revolt]: You wanna dance, Rodul. l. 1\ IIIIIUINI! tlnd RODOLPHO continue dancing.]
pho? [EDDIEfreezes.] • ~ lit" lOI N 11: Y (';\1., wdl, 1 mean.
RODOLPHO [in deference to EDDIE]: No, 1- I'm tired. "''''11' 1/.' IIl1hTRICE1: He's lucky, believe me. [Slight pause.
BEA TRICE: Go ahead, dance, Rodolpho. /1, I••••~·, .'II'''y. then back lo BEATRICE.] That's why the
CATHERINE: Ah, come on. They got a beautiful quartet, the •., " ."" 1, 1111' is no place for him. [They stop dancíng.
guys. Come. "" 111 " 1'11 () I,I",S off phonograph.] I mean like me - 1 can't
[She has taken his hand and he sti.ffiy rises,feeling EDDII1" , .".~. I •. 111',sillg, 1 can' t make dresses, so l' m on the water-
eyes on his back, and they dance.] ,. ",,' lit 11 ir I could cook, if 1 could sing, ifI could make
EDDIE [to CATHERINE]: What's that, a new record? ,l., .,. \. I wlIlIlJn't be on the water-front. [He has been
CATHERINE: It's the same one. We bought it the other (J¡ly. """."" ""/I/Y Ill'isting the newspaper into a tigilt roll. They are
BEATRICE [to EDDIE]: They only bought three records. ¡Sil, .'/1 "I~I""'"g hin: "OWj he senses he is exposing the issue and he
watches them dance; EDDIE tutns his head away. MAIlCO , •• /11"'" "".11 would be someplace else. 1 would be like in
just sits there, waiting. Now BEATRICE turns to BDDm.] M\I~I .•• 1•• '., ',1 •• r r , [1 le ¡!as bent the rol/ed paper and it suddenly lears
be nice to go all over in one of them fishin' boats. l would ¡II '"'.' I/t' s'l/ldo/ly gets up and pulls his pants up over his belly
like that myself. See a11thern other countries? ''"./ ""(1 t, M h 1\ C. o.] What do you say, Marco, we go to the
EDDIE: Yeah. 1 •. ,"" '" K' S:ltllrday night. You nevcr seen a fight, did you?
BEA TRlCE [to MARCO]: But the women don't go along, I hrl. .\ \ l" " 1,,1/(',,~il)'l: Only in the moving pictures
MARCO: No, not on the boats. Hard work. \ ""1' 1,.,'i".l! (O IwnoLPHo]: 1'11treat yiz. What do you say,
BEATRICE: What're you got, a regular kitchen and evcry- ,. "'I'.Ia,' V 011 wanna come along? 1'1l buy the tickets,
thing? "" 111" 1'1111: Sute. 1 like to go.
56 A VIEW FROM THE BRIDGB ACT ONB 57
CATHEIUNE [goes to EDDIE; nerllously happy now]: 1'11make you can't hurt me. [RODOLPHO, more seriouslr, jabs at
some coffee, all right? EDDIE'sjaw andgrazes it.] Attaboy.
BDDIE: Go ahead, make some! Make it nice and strong. [c A T H E R 1N E comes jrom the kitehen, watehes.]
[Mystijied, sh« smiles and exits to kitchen. He is weirdiy elated, Now I'm gonna hit you, so block me, sed
rubbing his fists into his palms. He strides to MARCO.] You CATHERINE [with beginning alarm]: What are they doin'?
wait, Marco, you see some real fights here. You ever do any [They are lightly boxing now.]
boxing? BEATRICE [ - she senses only the comradesiiip in it now]: He's
MARCO: No, 1 nevero teachin' him; he's very good!
EDDIE [to RODOLPHO]: Betcha you have done some, heh? EDDIE: Sure, he's terrific! Look at him gol [RODOLPHO
RODOLPHO: No. lands a blow.) 'at's it! Now, watch out, here 1come, Danish!
EDDIE: Well, come on, I'll teach you. [He feints with his lt;fi hand and lands with his right. It mild1r
BEATRICE: What's he got to learn that for? staggers RODOLPHO. MARCO rises.)
EDDIE: Ya can't tell, one a these days somebody's liable to CATHERINE [rushing to RODOLPHO]: Eddie!
step on his foot or sump'm, Come on, Rodolpho, 1 show fjDDIE: Why? 1didn't hurt him. Did 1hurt you, kid? [He rubs
you a couple a passes. [He stands below table.] the back of his hand aaoss his mouth.]
BEATRIC!: Go ahead, Rodolpho. He's a good boxer, he could RODOLPHO: No, no, he didn't hurt me. [To EDDIE with a
teach you. certain gleam and a smile) 1 was only surprised.
RODOLPHO [embarrassed]: Well, 1 don't know how to - [He BEA TRICE [pullíng EDDIE down into the roeker): That's enough,
moves down to EDDIE.] Eddie; he did pretty good, though.
BDDIE: Just put your hands up. Like this, sed That's right. EDDIE: Yeah. [Rubbing his fists together) He could be very
That's very good, keep your left up, because you lead with good, Marco. 1'11teach him again.
the left, see, like this, [He gently moves his left into Ro D o L- [MARCO nods at him dubiously.]
PHO'S jaee.) Sed Now what you gotta do is you gotta RODOLPHO: Dance, Catherine. Come.
block me, so when 1 come in like that you - [RODOLPHO [He takes her !land; they go to phoflograph and start it. It plays
parries his lt;fi.] Hey, that's very good! [RODOLPHO laughs.] Paper Doll.
A1l right, now come into me. Come on. RODOLPHO takes her in his arms. They dance. EDDIE in
RODOLPHO: 1 don't want to hit you, Eddie. rhought sits in his chair, and MARCO takes a chair, places it in
EDDIE: Don't pity me, come on. Throw it, I'll show you how front of EDDIE, and 100ks down at it. BEATRICE and EDDIB
toblock it. [RODOLPHO jabsat him, laughing. The othersjoin.] watch him.]
'at's it. Come on again. For the jaw right here. [RODOLPHO
MARCO: Can you líft this chair?
jabs with more assurance.) Very good! EDDIE: What do you mean?
BBATRICE [to MARCO): He's very good! MARCO: From here. [He gets on one knee with one hand behind
[EDDIE crosses direetir upstage ojRODOLPHO.] his back, and grasps the bottom of one of the chait legs but does
BDDIE: Sure, he's great! Come on, kid, put sump'm behind it, no' reise il.]
58 A VIEW FROM THE BRIDGE

EDDIE: 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.] ACT TWO
It's on an angle, that's why, heh?
MARCO: Here.
[He kneels, grasps, and with strain slowly raises the chair [Light rises on ALFIERI at his desk.]
higher and higher, getting to his [eet now. RODOLPHO and
CA THERINE have stopped dancing as MARCO raises the ALFIERI: On the rwenty-third of that December a case of
chair over his head. Scotch whisky slipped from a net while being unloaded - as
MARCO isface toface with EDDIE, a strained tension gripping a case of Scotch whisky is inclined to do on the twenty-
his eyes and jaw, his neck stiff, the chair raised like a weapon third ofDecember on Pier Forty-one. There was no snow,
over EDDIE'S head - and he transjorms what might appear but it was cold, his wife was out shopping. Marco was still
Iike a g/are of warning into a smile of triumph, and EDDIE's at work. The boy had not been hired that day; Catherine
grin vanishes as he absorbs his look.] told me later that this was the first time they had been alone
together in the house.
CURTAIN [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.
60 A VIEW FROM THE BRIDGE ACT TWO 61

RODOLPHO [his smile vanishing]: When? [Slight pause.]

CA THERINE: Well ... when we get married. RODOLPHO [steps closer to her]: We wouldn't live here. Once
RODOLPHO [astonished]: You want to be an Italian? 1 am a citizen I could work anywhere and I would find
CATHERINE: No, but I could live there without being Italian. better jobs and we wouId have a house, Catherine. IfI were
Americans live there. not afraid to be arrested 1 would start to be something
RODOLPHO: For ever? wonderful here!
CATHERINE: Yeah. CA THERINE [steeling herseif]: Tell me something. Imean just
RODOLPHO [crosses to rocker]: You're fooling. tell me, Rodolpho - would you still want to do it if it
CA THERINE: No, I mean it. turned out we had to go live in ltaIy? I mean just if it
RODOLPHO: Where do you get such an idea? turned out that way.
CATHERINE: Well, you're always saying it's so beautiful RODOLPHO: This is your question or his question?
there, with the mountains and the ocean and all the - CA THERINE: I would like to know, Rodolpho. I mean it,
RODOLPHO: You're fooling me. RODOLPHO: To go there with nothing.
CA THERINE: I mean it. CA THERINE: Yeah,
RODOLPHO [goes to her slowly]: Catherine, ifl ever brought RODOLPHO: No. [She looks at him wide-eyed.] No.
you home with no money, no business, nothing, they wouId CATHERINE: You wouldn't?
call the priest and the doctor and they wouId say Rodolpho RODOLPHO: No; I will not marry you to live in !taly. I want
is crazy. you to be my wife, and I want to be a citizen. Tell hirn that,
CA THERINE: I know, but 1 think we would be happier there. or I will. Yeso [He moves about angrily.] And tell him also,
RODOLPHO: Happier! What would you eat? You can't cook and tell yourself, please, that 1 am not a beggar, and you
the view! are not a horse, a gift, a favour for a poor immigrant.
CA THERINE: Maybe you could be a singer, like in Rome or- CA THERINE: Well, don't get mad!
RODOLPHO: Rome! Rome is full of singers. RODOLPHO: 1 am furious! [Coes to her.] Do you think I arn
CATHERINE: Well, 1 couId work then. so desperate? My brother is desperate, not me. You think 1
RODOLPHO: Where? would carry on my back the rest of my life a woman I
CATHERINE: God, there must be jobs somewhere! didn' t love j ust to be an American? !t's so wonderful? y ou
RODOLPHO: There's nothing! Nothing, nothing, nothing. think we have no tall buildings in Italy? Electric lights? No
Now tell me what you're taIking about. How can 1 bring wide streets? No flags? No automobiles? On1y work we
you from a rich country to suffer in a poor country? What don' t have. I want to be an American so 1can work, that is
are you talking about? [She searches for words.] 1 would be a the only wonder here - work! How can you insult me,
criminal stealing your face. In two years you wouId have an Catherine?
old, hungry face. When my brorher's babies cry they give CA THERINE: 1 didn't mean that -
them water, water that boiIed a bone. Don' t you believe that? RODOLPHO: My heart dies to Iook at you. Why are you so
CATHERINE [quietly]: I'm afraid ofEddie here. afraid of him?
62 A VIBW FROM THB BRIDGB ACT TWO 63
CATHERINB [near tears]: I don'tknow! RODOLPHO: Catherine, If 1 take in my hands a little bird.
RODOLPHO: Do you trust me, Catherine? You? And she grows and wishes to By. But 1 will not let her out
CA THERINE: It's only that 1- He was good to me, Rodolpho. of my hands because 1 love her so much, is that right for me
y ou don' t know him; he was al ways the sweetest guy to me. to do? I don't say you must hate him; but anyway you must
Good. He razzes me a11 the time but he don't mean it. 1 go, mustn't you? Catherine?
know.l would - just feel ashamed ifI made him sad. 'Cause CATHERINE: [softly]: Hold me.
1 always dreamt that when 1 got married he would be RODOLPHO [e/asping her to him]: Oh, my little girl.
happy at the wedding, and laughin' - and now he's - mad CATHERINE: Teach me. [She is weeping.] 1 don't know any-
a11the time and nasty - [She is weeping.] Te11 him you' d live thing, teach me, Rodolpho, hold me.
in Italy - just tell him, and maybe he would start to trust RODOLPHO: There's nobody here now. Come inside. Come.
you a little, see? Because I want him to be happy; 1 mean - I [He is leading her towards the bedrooms.] And don't cry :my
like him, Rodolpho - and I can't stand it! more.
RODOLPHO: Oh, Catherine - oh, little girl. (Light rises on the street. In a moment EDDIE 4ppears. He is
CA THERINE: I love you, Rodolpho, I love you. unsteady, drunk. He mounts the stairs. He enters the apart-
RODOLPHO: Then why are you afraid? That he'll spank ment, looks around, takes out a boule from one pockt:t, puts it on
you? the table. Then another bottle from another pocket, and a third
CATHERINE: Don't, don't laugh at me! I've be en here a11my from an inside pocket. He sees the pattern and e/ath, goes ovet
life .... Every day 1 saw him when he left in the morning to it and touthes it, and turns towards upstage.]
and when he carne home at night. Y ou think it' s so easy to BDDIE: Beatrice? [He gaes to the open kitchen door and Iooks in.]
turn around and say to aman he's nothin' to you no more? Beatrice? Beatrice?
RODOLPHO: 1know, but- (CATHERINE entets ¡rom bedroom; under his gaze she adjusts
CATHERINE: You don'c know; nobody knows! I'm not a her dress.]
baby, I know a lot more than people think 1 know. Bcatrice CATHERINE: You got home early.
says to be a woman, but- EDDIE: Knocked off for Christrnas earIy. [Indicating the
RODOLPHO: Ves. paltern] Rodolpho makin' you a dress?
CATHERINE: Then why don't she be a woman? IfI was a wife CATHERINE: No. I'm makin' a blouse.
I would make aman happy instead of goin' at him a11the .1 [RODOLPHO appears in the bedroom doorway. EDDIE sees
time. 1 can te11a block away when he's blue in his mind and him and his arm jerks slightly in shock. R O DO L P H O nods to
just wants to talk to somebody quiet and nice •... 1 can tell him testíngly.]
when he's hungry or wants a beer before he even says RODOLPHO: Beatrice went to buy presents for her mother,
anything. 1 know when his feet hurt him, 1 mean 1 know [Pause.]
him and now I'rn supposed to turn around and make a EDDIE: Pack it up. Go ahead. Get your stuff and get outa here.
stranger out ofh.im? 1 don't know why 1 have to do that, 1 [CATHERINE instantly turns and walks towards the bedroom, and
mean. EDDIEgrabs he: arm.] Where you goin'?
¡
64 A VIJlW FROM THB BIUDGI ACT TWO 65
eA. TH!!1lINE [tr~mbling withfright]: I think 1 have to get out of RODOLPHO is rigid. They are like anlmals that hav« torn at
here, Eddie. one another and broken up without a dedsion, each waitingfor
EDDIE: No, you ain't goin' nowheres, he's the one. the othet' s mood.]
CA THERINE: 1 think 1 can't stay here no more. [She frus her EDDIE [to CATHERINE]: You see? [To RODOLPHO] I give
atm, steps back towards the bedroom.] I'm sorry, Eddie. [She you su tomorrow, kid. Get outa here. Alone. You hear
sus the tears in his qes.] W ell, don' t cry. 1'11be around the me? Alone.
neighbourhood; 1'11see yOll. 1 just can't stay here no more. CATHERINE: I'm going with him, Eddie. [She starts towards
you know 1 can' t. [Her sobs of pity and love for him break her RODOLPHO.]
composure.] Don't you know 1 can't? You know that, don't EDDIE [indicating RODOLPHO with his head]: Not with that.
you? [Sh~ goes to him.] Wish me luck. [She clasps her hands [She halts, frightened. He slts, still panting [or breath, and they
prayerfulIy.] Oh, Eddie, don't be like thatl watch him helplessly as he leans towards them over the table.]
EDDIE: You ain't goin' nowheres. Don't make me do nuttin', Catherine. Watchyour step.sub-
CATHERINE: Eddie, I'm not gonna be a baby ::my more! marine. By rights they oughta throw you back in the water.
You- But I got pity for you. [He moves unsteadily towards the door,
[He reaches out suddenly, draws her to him, and as sh« strives alwaysfacing RODOLPHO.] Just get outa here and don'tlay
to free herself he kisses her on the mouth.] another hand on her unless you wanna go out feet first,
II.ODOLPHO: Don't! [He pulls on EDDIE'S arm.] Stop that! [He goes out of the apartment.
Rave respect for her! The lights go down, as they rise on ALFIERI.]
EDDIE [spun round by RODOLPHO]: You want something? ALFIERI: On December twenty-seventh 1 saw him next. 1
II.ODOLPHO: Yes! She'll be my wife. That is what 1 want. My norma11y go home well before six, but that day 1 sat around
wifel Iooking out my window at the bay, and when I saw him
EDDIE: But what're you gonna be? waIking through my doorway, 1 knew why 1 had waited.
RODOLPHO: 1 show you what 1 be! And if 1 seem to te11 this like a dream, it was that way.
CATHERINE: Wait outside; don't argue with him! Several moments arrived in the course of the two talks we
Come on, show me! What're you gonna be? Show had when it occurred to me how - almost transfixed 1 had

I
EDDIE:
me! come to feel. 1 had lost my strength somewhere. [EDDIE
RODOLPHO [with tears of rage]: Don't say that to me! enters, removing his cap, sits in the chair, looks thoughtJully out.]
;,
[RODOLPHO fiies at him in attack. EDDIE pins his atms, 1 looked in his eyes more than 1 listened - in fact, 1 can
¡
laughing, and suddenly kisses him.] '\ hard1y remember the conversation. But 1 will never forget
C A T HE R 1N E: Eddie! Let go; ya hear me! 1'11kill you! Leggo ~'
how dark the room became when he looked at me; his eyes
of him l were like tunnels. 1 kept wanting to ca11 the police, but
[S he tears at EDDIE'sface and EDDIE releases RODOLPHO. ~ nothing had happened. Nothing at a11had rea11y happened.
ID DIE stands there with tears roIlingdownhis [ace as he laughs [He breaks off and looks down at the desk. Then he turns to
~
mockintlr lIt llODOLPHO. She is staring at him in horror. ~(.! EDDIE.] SO in other words, he won't leave?
11
í:
66 A VIEW FROM THE BRIDGE ACT TWO 67
EDDIE: My wife is talkin' about renting a room upstairs for And bless her. [A phone booth begins to glow on the opposite
them. An old lady on the top floor is got an empty room. side of the stagej a faint, lonely blue. EDDIE stands up, jaws
ALFIERI: What do es Marco say? clenched.) Somebody had to come for her, Eddie, sooner or
EDDIE: He just sits there. Marco don't say mucho la ter. [EDDIE starts turning to go and ALFIERI rises with new
ALFIERI: 1 guess they didn't tell him, heh? What happened? anxiety.} You won't have a friend in the world, Eddie!
EDDIE: 1 don't know; Marco don't say mucho Even those who understand wiIl tum against you, even the
ALFIERI: What does your wife say? ones who feel the same will despise you! [EDDIE moves off]
EDDIE [unwilIing to pursue this]: Nobody's taIkin' much in the Put it out of your mind! Eddie!
house. So what about that? [He follows into the darkness, calling desperately.
ALFIERI: But you didn't prove anything about him. It sounds EDDIE is gone. The phone is glowing in light now. Líght is
like he just wasn't strong enough to break your grip. out on ALFIERI. EDDIB has at the same time appeared
EDDIE: I'm tellin' you 1 know - he ain't right. Somebody beside the phone. ]
that don't want it can break it. Even a mouse, if you catch EDDIE: Give me the number of the Immigration Bureau.
a teeny mouse and you hold it in your hand, that mouse Thanks. [He dials.] 1 want to report something. Illegal
can give you the right kind of fight. He didn't give me the immigrants. Two of them. That's right. 441 Saxon Street,
right kind of fight, 1 know it, Mr Alfieri, the guy ain' t right. Brooklyn, yeah. Ground floor. Heh? [With greater difficulty]
ALFIERI: What did you do that for, Eddie? ! I'm just around the neighbourhood, that's a11. Heh?
EDDIE: To show her what he is! So she would see, once and [Evidently he is being questioned further, and he slowly hangs
for all! Her mother'll tum over in the grave! [He gathers J
ij'
up. He leaves the phone just as LOUIS and MIKE come down
"imself almost peremptorily.] So what do 1 gottado now? Tell "( the street.]
me what to do. "
LOUIS: Go bowlin', Eddie?
ALFIERI: She actually said she's marrying him? EDDIE: No, I'm due home.
EDDIE: She told me, yeah. So what do 1 do? LOUIS: Well, take it easy.
[Slight pause.] EDDIE: 1'11see yiz.
ALFIERI: This is my last word, Eddie, take it or not, that's [They leave him, exiting right, and he watches them go. He
your business. Morally and Iegally you have no rights, you g/ances about, then goes up into the house. The lights go on in
cannot stop it; she is a free agent. the apartment. BEATRICE is taking down Christmas decora-
EDDIE [angering]: Didn't you hear what 1 told you? tions and packing them in a box.]
ALFIERI [with a tougher tonel: 1 heard what you toId me, and EDDIE: Where is everybody? [BEATRICE does not answer.]
I'm telling you what the answer is. I'm not onIy telling you 1 says where is everybody?
now, I'm warning you - the law is nature. The Iaw is only BEA TRICE [lookingup at him, wearied with it, and concealing afear
a word for what has a right to happen. When the Iaw is of him 1: 1 decided to move them upstairs with Mrs Dondero.
wrong it's because it's unnaturaI, but in this case it is natural EDDIE: Oh, they're all moved up there already?
and a river will drown you if you buck it now. Let her go. BEATRIcn: Yeah.
68 A VIEW FROM THE BRIDGE ACT TWO 69
EDDIE: Where's Catherine? She Up there? EDDIE [quietly]: The guy ain't right, Beatrice, [She is silent.]
BEATRICE: Only to bring pillow-cases. Did )'ou hear what 1said?
EDDIE: She ain't movin' in with them. BEA TRICE: Look, I'm finished with it. That's all. [She resumes
BEATRICB: Look, I'm sick and tired ofit. I'rn sick and tired her work.]
ofit! EDDIE [helping her to pack the tinsel]: I'm gonna have it Ollt
BDDIE: All righr, all right, take it easy. 1& with you one of rhese days, Beatrice.
BEATRICE: 1 don't wanna hear no more about it, you under- BEA TRICE: Nothin' to have out with me, it's all settled. Now
stand? Nothin'I we gonna be like it never happened, that's all.
EDDIB: What're you blowin' off about? Who brought them EDDIE: 1 want my respect, Beatrice, and you know what I'm
in here? talkin' about.
BEATRICE: All right, I'rn sorry; 1 wish I'd a drop dead before BEA TRICE: What?
1 told them to come. In the ground 1 wish 1 was. [Pause. ]
EDDIE: Don't drop dead, just keep in mind who brought EDDIB [ - finally his resolutlon hardens]: What 1 feellike doin'
them in here, that's all. [He moves about restlessly.] 1 mean 1 in the bed and what I don't feellike doin', 1 don't want no-
got a couple of rights here. [He moves, wanting to beat down BEATRICE: When'd 1 say anything about that?
,
her euident disapproval of him.] This is my house here not EDDIE: You said, you said, 1 ain't deaf. 1 don't want no more
their house, { conversations about that, Beatrice. 1 do what 1 feellike doin'
BEATRICE: What do you want from me? They're moved out; i or what 1 don't feellike doin'.
~
what do you want now? BEATRICE: Okay.
f
EDDIE: 1 want my respect! [Pause. ]
BEATRICB: SO I moved thern out, what more do yOll want? EDDIE: You used to be different, Beatrice. You had a whole
y ou got your house now, you got your respecto different way.
EDDIE [ - he moves about biting his lip]: 1 don't like the way BEA TRICE: r« no different.
yOll talk to me, Bcatrice. EDDIE: You didn't used to jump me all the time about every-
BEATRICE: I'mjust tellin' yOll 1 done what you wantl thing. The Íast year or two 1 come in the house 1 don't
EDDIE: 1 don't like it! The way you talk to me and the way know what's gonna hit me. It's a shootin' gallery in here and
you look at me. This is my house. And she is my niece and r m the pigeon.
I' m responsible for her. BEATRICE: Okay, okay.
BEATRICE: SO that's why yOll done that to him? EDDIE: Don't tell me okay, okay, I'm tellin' you the truth.
EDDIE: 1 done what to him? A wife is supposed to believe the husband. If 1 teU you that
BEATRICE: What you done to him in front ofher; you know guy ain't right don't tell me he is right.
what I'm talkin' about. She goes around shakin' all the BEATRICE: But how do you know?
time, she can' t go to sleep! That' s what 10u call responsible EDDIE: Because 1 know. 1 don't go around makin' accusations.
for her? He give me the heeby-jeebies the first minute 1 seen him.

i
7° A VIEW PROM THE BRIDGE ACT TWO 71
And I don't like you sayin' 1 don't want her marryin' any- his eres.] What're you, cryin'? [She goes to hlm, holds his
body. 1 broke my back payin' her stenography lessons so face.] Go ... whyn'tyougo tell heryou'resorry? [CATHERINE
she could go out and meet a better class of people, W ould is seen on the upper landing of the stairway, and they hear her
1do that ifI didn't want her to get married? Sometimes you descending.] There ... she's comin' down. Come on, shake
talk like 1 was a crazy man or sump'm. hands with her.
BEA TRI CE: But she likes him. EDDIE [moving with suppressed suddenness]: No, 1 can't, 1 can't
EDDIE: Beatrice, she's a baby, how is she gonna know what taIk to her.
she likes? BEA TRI CE: Eddie, give her a break; a wedding should be
BEATRICE: Well, you kept her a baby, you wouldn't let her "1
happy!
go out. 1 told you a hundred times. l EDDIE: I'm goin', I'rn goín' for a walk.
[Pause.] ~i

[He goes upstage for his jacket. CATHERINE enters and starts
EDDIE: All right. Let her go out, then. ( for the bedroom door.]
BEA TRI CE: She don't wanna go out now. It's too late, Eddie.
~~
t BEATRICE: Katie? ... Eddie, don't go, wait a minute, [She
[Pause.] ~,

embraces EDDIE'S arm with warmth.] Ask him, Katie. Come

EDDIE: Suppose 1 told her to go out. Suppose 1 - on, honey.
BEATRICE: They're going to get married next week, Eddie. EDDIE: !t's all right, I'm - [He starts to go and she holds
EDDIE [ - his headjerks around to her]: She said that? him.]
BEATRICE: Eddie, ifyou want my advice, go to her and tell BEATRICE: No, she wants to ask you. Come on, Katie, ask
her good luck. 1 think maybe now that you had it out you him. We'll have a party! What're we gonna do, hate each
leamed better. other? Come on!
EDDIE: What's the hurry next week? CATHERINE: I'm gonna get married, Eddie. So if you wanna
BEATRICE: Well, she's been worried about him bein' picked come, the wedding be on Saturday.
up; this way he could start to be a citizen. She loves him, [Pause.]
Eddie. [He gets up, moves about uneasily, restlessly.] Why EDDIE: Okay. 1 only wanted the best for you, Katie. 1 hope
don't you give her a good word? Because 1 still think she you know that.
wouId like you to be a friend, y'know? [He is standing, look- CATHERINE: Okay. [She starts out again.]
ing at the floor.] 1 mean like if you told her yo u' d go to the EDDIE: Catherine? [She tutns to him.] 1was just tellin' Beatrice
wedding. . .. if you wanna go out, like ... I mean 1 realize maybe 1
EDDIE: She asked you that? kept you home too mucho Because he's the first guy you
B EA TRI CE: 1 know she would like it. r d like to make a party
ever knew, y'know? 1 mean now that you got a job, you
here for her. 1 mean there oughta be some kinda send-off. might meet some fellas,and you get a different idea, y'know?
Heh? 1 mean she'll have trouble enough in her life, let's 1 mean you could always come back to him, you're still
startit offhappy. What do you say? 'Cause in her heart she only kids, the both of yiz. What' s the hurry? Maybe you'll
stillloves yo u, Eddie. 1know it. [He presses his .fingers against get around a little bit, you grow up a litcle more, maybe
j
72 A VIEW FROM THE BRIDGB AeT TWO 73
you'l1 see different in a couple of months. 1 mean you be BDDIE: How do you know what enemies Lipari's got?
surprised, it don't have to be him. Which they' d love to stab him in the back?
CATHERINE: No, we made it up already. CATHERINE: Well what'll 1 do with them?
E D DI E [with inaeasino anxiety]: Katie, wait a minute. EDDIE: The neighbourhood is full of rooms. Can't you stand
CA THERINE: No, 1 made up my mind. :fi to live a couple ofblocks away from him? Get thern out of
EDDIE: But you never knew no other fella, Katie! How could i the house!
you make up your mind? i CATHERINE: Well maybe tomorrow night 1'11-
CA THERINE: 'Cause 1 did. 1 don't want nobody else. EDDIE: Not tomorrow, do it now. Catherine, you never mix
EDDIE: But, Katie, suppose he gets picked up. yourself with somebody else's family! These guys get picked
CA THERINE: That's why we gonna do it right away. Soon as up, Lipari's liable to blame you or me and we got his whole
we finish the wedding he's goin' right over and start to be family on our head. They got a temper, that family.
a citizen. 1 made up my mind, Eddie. I'm sorry. [To [Two men in overcoats appear outside, start into the house.]
BEA TRI CE] Could 1 take two more pillow-cases for the eA THERINE: How'm 1 gonna find a place tonight?
other guys? EDDIE: Will you stop arguin' with me and get them out! You
BEATRICE: Sure, go ahead. Only don't let her forget where think I'rn always tryin' to fool you or sump'm? What's
they carne from. the matter with you, don' t you believe 1 couId think of your
[CA THERINE goes into a bedroom.] good? Did 1 ever ask sump'm for myself? You think 1 got
EDDIE: She's got other boarders up there? no feelin's? 1 never told you nothin' in my life that wasn't
BEATRICE: Yeah, there's two guys thatjust came overo for your own good. N othin'! And look at the way you talk
EDDIE: What do you mean, carne over? to me! Like 1 was an enemy! Like 1 - [A knock on the door.
BEATRICE: From Italy. Lipari the butcher - his nephew. They His head swerves. They all stand motionless. Another knock.
come from Bari, they just got here yesterday. 1 didn't even ED DIE, in a whisper, pointing upstage.] Go up the fire escape,
know till Marco and Rodolpho moved up there before. get them out over the back fence.
[CATHERINE enters,going towards exit with two pillow-cases.] [CATHERINE stands motionless, uncomprehending.]
It'll be nice, they couId all talk together. FIRST OFFICER [in the hall]: Immigration! Open up in there!
EDDIE: Catherine l [She halts near the exit door. He takes in EDDIE: Go, go. Hurry up! [She stands a moment staring at him
BEATRICE too.] What're you, got no brains? You put them in a realízed horror.] Well, what're you lookin' atl
up there with two other submarines? FIRST OFFICER: Open up!
CA THERINE: Why? EDDIE [calling towards the door]: Who's that there?
EDDIE [in a drivingfright and anger]: Why! How do you know FIRST OFFICER: Immigration, open up.
they're not trackin' these guys? They'll come up for thern [EDDIE turns, looks at BEA TRI CE. She sits. Then he Iooks at
and find Marco and Rodolphol Get them out of the eATHBRINE. With a sob offury CATHERINE streaks into a
house! bedroom.
BEATRICE: But they been here so long already- Knock is repeated.)
74 A VIBW FROM THB BRIDGB ACT TWO 75

BDDIB: All right, take it easy, take it easy. [He goes and opens grants, followed by SECOND OFFICER. BEATRICE hurries
th« door. The OFFICER steps inside.] What's all this] lo door.]
FlRST OFFICER: Where are they? CATHERINE [backing down stairs,fighting with fIRST OFfICER;
[SECOND OFFICER sweeps past and,glancing about,goes into as they appear on (he stairs]: What do yiz want from them?
the kitchen.] They work, that's all. They're boarders upstairs, they work
EDDIE: Where's who? on the piers.
FIRST OFFICER: Come on, come on, where are they? [He BEATRICE [to FIRST OFFICER]: Ah, Mister, what do you want
hurries into the bedrooms.] from them, who do they hurt?
BDDIB: Who? We got nobody here. [He looks at BEATRICE, CATHERINE [pointing to RODOLPHO]: They ain't no sub-
who tutns her head away. Pugnaciously,furious, he steps towards marines, he was born in Philadelphia.
BEATRICE.] What's the matter with you? FIRST OFFICER: Step aside, lady.
[FIRST OFFI CERenters [rom the bedroom, calls to the kitchen.] CATHERINE: What do you mean? You can't just come in a
FlRST OFFlCER: Dominickj 1"
house and-
'1
[Enter SBCOND OFFICERfrom kitchen.] I FIRST OFFlCER: All right, take it easy. [To RODOLPHO]
SECOND OFFICER: Maybe it's a different apartment, What street were you bom in Philadelphia?
fIRST OFFICER: There's only two more floors up there. I'll I
CATHERINE: What do you mean, what street? Could you tell
take the front, you go up the fire escape. I'll let you in. I me what street you were bom?
Watchyour step up there. fIRST OFFICER: Sure. Four blocks away, III Union Street.
SECOND OFFICER: Okay,right,Charley. [FIRST ofFIcERgoes Let's go fellas.
out apartment door and tuns up the stairs.] This is 441, isn' t it? CATHERINB [Jending him off RODOLPHO]: No, you can't!
EDDIE: That's right. Now, get outa he re !
[SECOND OFFICER goes out into the kitchen. flRST OFFICER: Look, girlie, if they're all right they'll be
EDDIE turns to BBATRICE. She looks at him now and sees out tomorrow, If they're illegal they go back where they
his ~error.] carne from. If you want, get yourself a lawyer, alrhough
BEATRICE [weakened withfear]: Oh,]esus, Eddie. I'm tellin' you now you're wasting your money. Let's get
EDDIE: What's the matter wirh you? them in the car, Dom, [To the men] Andiamo, andiamo,let's
BEATRICE [pressing her palms against her face]: Oh, my God, go.
my God. [The men start, but MARCO hangs back.]
EDDIE: What're you, accusin' me? BEATRICE (from doorway]: Who're they hurtin', for God's
BEATRI CE [ - her final thrust is to tum towards him instead of sake, what do yon want frem them? They're starvin' over
runningfrom himJ: My God, what did you do? there, what do you want! Marco!
[Many steps on the outer sta ir draw his attention. We see [MARCO suddenly breaksfrom the group and dashes into the
the FIRST OFfICER descending, w¡th MARCO, be}¡ind him room andfaces EDDIE; BEATRICE and FIRST OFFICER rush
RODOLPHO, and CATHBRINB, and the two strange immi- in as MARCO spits ¡nto EDDIE'sface.
 ACT TWO 77
76 A VIBW PROM THB BRIDGB

CATHERINE runs lnto hallway and throws herself into fIRST OFfICER: Step aside, lady, come on now ...
RODOLPHO'S atms. EDDIE, with an enraged ery, Iungesfor [The SECOND OFFlCER has moved off with the two strange
MARCO.] men. MARCO, taking advantage of the FIRST OFFICER'S
EDDIE: Oh, you mother's - I being occupied with CATHERINE, suddenly frees himself and
[FIRST OFFICER quickly intercedes and pushes EDDIEfrom points back at EDDIE.)
MARCO, who stands there accusingly.] MARCO: That one! 1 accuse that one!
FIRST OFFICER [between them, pushing EDDIBfrom MARCO]: [EDDIE brushes BEATRICE aside and rushes out lo the stoop.]
Cut it out! FIRST OFFlCER [grabbing him and moving him quickly off up the
EDDIE [over the FIRST OFFICER'S shoulder, to MARCO]: 1'11 kill lefi street]: Come on!
you for that, you son of a bitch! M A R C O [as he is taken off, pointíng back at E D DIE]: That one!

FIRST OFfICER: Hey! [Shakes him.] Stay in here now, don't He killed my children! That one stole the food from my
come out, don't bother him. You hear me? Don't come clúldren!
out, fella. [MARCO is gone. The crowd has turned to EDDIE.]
[For an instant there is silence. Then FIRST OFFICER turns EDDIE [to LIPARI and wifel: He's crazy! 1 give thern the
and takes M ARCO' s arm and then gives a last, informatitJe look blankets off my bed. Six months 1 kept them like my own
at EDDIE. As he and MARCO are going out into the hall, brothers!
EDDIE erupts.] [L 1PAR 1, the buuher, turns and starts up lejt with his arm

EDDIE: 1 don't forget that, Marco! You hear what I'm sayin'? around his wife.]
[Out in the hall, FIRST OFFICER and MARCO go down the EDDIE: Lipari! [Hefollows UPARI up lejt.] For Christ's sake, 1
stairs. Now, in the street, LOUIS, MIKE, and several neigh- kept thern, 1 give thern the blankets off my bed!
bours including the butcher, LIPARI - a stout, intense, middle- [UPARI and wife exit. EDDIE turns and statts crossing down
aged man - are gathering around the stoop. right to LOUIS and MIKE.]
Ll P A RI, the butther, walks over to the two strange men and EDDIE: Louis l Louisl
kisses them. His wife, keening, goes and kisses their hands. [LOUIS barely turns, then walks off and exits down right with
EDDIE is emerging from the house shouting ajter MARCO. MIKE. Only BEATRICE is lefi on the stoop, CATHERINE
B E A T R 1 C E is trying to restrain him.) now returns, blank-eyed, from offstage and the caro EDDIE
EDDIE: That's the thanks 1 get? Wlúch 1 took the blankets off calls after LOUIS and MIKE.]
my bed for yiz? You gonna apologize to me, Marco! Marco! EDDIE: He's gonna take that back. He's gonna take that back
FIRST OFFICER [in the doorway with MARCO]: All right, lady, or 1'11kill hirn l You hear me? 1'11kill him! 1'11kill him!
let them go. Get in the car, fellas, it's right over there. [He exits up street calling.
[RODOLPHO is almost carrying the sobbing CATHERINE off There is a pause of darkness before the Iights sise, on the
up the street, lejt.] reception room of a prison. MARCO is seated; ALFIERI,
CA THERINE: He was bom in Philadelphia l What do you CATHERINE, and RODOLPHO standing.]
want from him? ALFIERI: I'm waiting, Marco, what do you say?
78 A VIEW PROM THE BIUDGB ACT TWO 79

RODOLPHO: Marco never hurt anybody. MARCO [looking at ALFIERI]: No?

ALFlERI: 1 can bail you out until your hearing comes up. But ALFIERI:No.
I'm not going to do it, you understand me? Unless 1 have MARCO [gesturing with his head - this is a new idea]: Then what
your promise. Y ou' re an honourable man, 1 will believe is done with such aman?
your prornise. Now what do you say? ALFIERI: Nothing. Ifhe obeys the law, he lives. That's all.
MARCO: In my country he would be dead now. He would not MARCO frises, turns to ALFlERIJ: The law? All the law is not
live this long. in a book.
ALFlERI: All right, Rodolpho - you come with me now. ~~I ALFlERI: Yeso In a book. There is no other law.
RODOLPHO: No! Please, Mister. Marco - promise the mano -_(i MARCO [his anger rising]: He degraded my brother. My blood.
PIcase, 1 want you to watch the wedding. How can 1 be j He robbed my children, he mocks my work. 1 work to
married and you're in here? PIcase, you're not going to do come here, mister l
anything; you know you're noto .1 ALFlERI: 1 know, Marco -
[MAReo is silent.] MARCO: There is no law for that? Where is the law for that?
CATHERINE [kneeling left oJ MARCO]: Marco, don't you ALFIERI: There is none.
understand? He can't bail you out if you're gonna do sorne- MARCO [shakíng h¡s head, sitting]: 1 don't understand this
thing bad. To hell with Eddie. Nobody is gonna talk to country.
him again if he lives to a hundred. Everybody knows you ALFIERI: Well? What is your answer? You have five or six
spit in his face, that's enough, isn't it? Give me the satisfac- weeks you could work. Or else you sit here, What do you
tion - 1 want you at the wedding. You got a wife and kids, say to me?
Marco. Y ou could be workin' till the hearing comes up. MARCO [lowers his eyes. It almost seems he is asltamed): All right.
instead of layin' around here. ALFIERI: You won't touch him. This is your promise,
MARCO [to ALFlERI]: 1 have no chance? [Slíght pause.]
ALFIERI [crosses to behind MARCO]: No, Marco. You're going MARCO: Maybe he wants to apologize to me.
back. The hearing is a formality, that's all. [MARCO is staring away. ALFIERI takes one oJhis hands.]
MARCO: But him? There is a chance, eh? ALFIERI: This is not God, Marco. You hear? On1y God makes
ALFIERI: When she marries him he can start to become an justice.
American. They permit that, if the wife is born here. MARCO: All right.
MARCO [looking at RODOLPHO]: Well - we did something. ALFIER1 [nodding, not with assurance]: Good! Catheríne, Rodol-
[He lays a palm on RODOLPHO'S arm and RODOLPHO covers pho, Marco, let us go.
it. ] [CATHERINE kisses RODOLPHO and MARCO, then kísses
RODOLPHO: Marco, tell the mano ALFIERr's Itand]
MARCO [puIling his hand away]: What will 1 tell him? He I CATHERINE: I'll get Beatrice and meet you at the church.
knows such a promise is dishonourable. ,1
[She leaves quickly.
ALFIERI: To promise not to kill is not dishonourable. MARCO tises. RODOLPHO suddenly embraces him. MARCO

j
80 A VIBW FROM THE BRIDGE
ACT TWO 81

pats him on the back and RODOLPHO exits after CATHER- BEATRICE: shut up, Katie. [She turns CA THERINE around.]
INE. MARcofaces ALFIERI.]
CATHERINE: You're gonna come with mel
ALFIERI: Only God, Marco. BEATRICE: 1 can't, Katie, 1 can't ...
[MARCO tutns and walks out. ALFIERI with a certaln prous- CA THERINE: How can you listen to him? This ratl
sional tread leaves the stage. The lights dim out. BEATRICE [shaking CATHERINE]: Don't you call him that!
The lights rise in the apartment, EDDIE ls alone in the rocker, CATHERINE [clearingfrom BEATRICE]: What're you scaredof?
rocking back and forth in little surges. Pause. Now BEA TRI CE He's a rat! He belongs in the sewerl
emerges from a bedroom. She is in her best clothes, wearing a hat.] BEATRICE: Stop it!
BEATRICE [withfear,going to EDDIE]: 1'11be back in about an CATHERINE [weeping]: He bites people when they sleep! He
hour, Eddie. A11right? comes when nobody's lookin' and poisons decent people,
EDDIE [quietly, almost inaudíbly, as though drained]: What, have \'1 In the garbage he belongs!
1 been talkin' tú myself? 1, [EDDIE seems about to pick up the table andjling it at her.]

BEATRICE: Eddie, for God's sake, it's her wedding.

fl
i
BEATRICE: No, Eddie! Eddie! [To CATHERINE] Then we
EDDIE: Didn't you hear what 1 told you? You walk out that all belong in rhe garbage. You, and me too. Don't say thar.
door to that wedding you ain't comin' back here, Beatrice. Whatever happened we a11done it, and don' t you ever
BEATRICE: Why! What do you want? forget it, Catherine. [She goes to CA THERINE.] Now go, go
EDDIE: 1want my respectoDidn't you ever hear ofthat? From
to your wedding, Katie, 1'11stay home. Go. God bless you,
my wife? God bless your children.
[CATHERINE entersfrom bedroom.] [En ter RODOLPHO.]
CA THERINE: It's after three; we're supposed to be there RODOLPHO: Eddie?
already, Beatrice. The priest won't wait. EDDIE: Who said you could come in here? Get outa herel
BEA TRICE: Eddie. It's her wedding. There'11be nobody there
RODOLPHO: Marco is coming, Eddie. (Pause. BEATRICE
from her family. For my sister let me go. I' m goin' for my raises her hands in terror.] He's praying in the church. You
sister. understand? [Pause. RODOLPHO advances in the room.]
EDDIE [as though hurt]: Look, 1 been arguin' with you a11day Catherine, 1 think it is better we go. Come with me.
already, Beatrice, and 1said what I'm gonna sayoHe's gonna CATHERINE: Eddie, go away please,
come here and apologize to me or nobody from this house BEATRICE [quietly]: Eddie. Let's go someplace. Come. You
is goin' into that church today. Now if that's more toyou and me. [He has not moved.] 1 don't want you to be here
than 1 am, then go. But don' t come back. y ou be on my when he comes. 1'11get your coat.
side or on their side, that's all. EDDIE: Where? Where am 1 goin'? This is my house,
CATHERINE [suddenly]: Who the he11do you think you are? llEATRICE [crying out]: What's the use ofit! He's crazv now,
BEATRICE: Sssh! you know the way they get, what good is it! You got
CATHERINE: You got no more right to te11nobody nothin'! nothin' against Marco, you always liked Marco l
EDDIE: 1got nothin' against Marco? Which he called me a rat
Nobody! The rest of your life, nobody I

1
 82 A VIEW FROM THE BRIDGE ACT TWO 83
in front of the whoIe neighbourhood? Which he said 1 kilIed IIUATRICE: You want somethin' else, Eddie, and you can
his chiIdren! Where you been? ncver have her!
RODOLPHO (quite suddenlv, stepping up to EDDIEJ: It is my CATHERINE [in horror]: B.I
fault, Eddie. Everything. 1wish to apoIogize. It was wrong HDDIE [shocked, horrified, hísfists c1mching]: Beatrice!
that 1 do not ask your permission, 1 kiss your hand. [He [MARCO appears outside, walking towards the door from a
reachesjor EDDIE'S hand, but EDDIE snaps it away from him.J distan: point.]
BEATRICE: Eddie, he's apologizing! IIEATRICB [crying out, weeping]: The truth is not as bad as
RODOLPHO: 1 have made alI our troubles. But you have insult blood, Eddie! I'm tellin' you the truth - telI her good-bye
me too. Maybe God understand why you did that to me. for ever!
Maybe you did not mean to insult me at alI _ E D DIE [crying out in agony]: That' s what you think of me - that
BEATRICE: Listen to him! Eddie, listen what he's teUin' you! 1 would have such a thoughts? [His fists clench his head as
RODOLPHO: Ithink, maybe when Marco comes, if we can tell though it will burst.]
him we are comrades now, and we have no more argument MARCO [calling near the door outside]: Eddie Carbonel
between uso Then maybe Marco wilI not _ [EDDIE swerves about; all stand tran4ixed for an instant.
EDDIE: Now, listcn - People appear outside.]
CA THERINE: Eddie, give him a chance! i EDDIE [as though .flinging his challengeJ: Yeah, Marco! Eddie
BEATRICE: What do you want! Eddie, what do you want! 11 Carbone. Eddie Carbone. Eddie Carbone. [He goes up the
EDDIE: I want my name! He didn't take my name; he's only ~! staits and emerges from the apattment. RODOLPHO streaks up
a punk. Marco's got my name - [to RODOLPHO] and you

¡
and out past him and tuns to MARCO.]
can run tell him, kid, that he's gonna give it back to me in RODOLPHO: No, Marco, pIeasel Eddie, please, he has child-
front of this neighbourhood, or we have it out. [Hoisting "P ren! Y ou will kill a fami1y!
his pants] Come on, where is he? Take me to him. BEATRICE: Go in me house! Eddie, go in the house!
BEATRICE: Eddie, listen- EDDIB [ - he gradualIy comes to address the people]: Maybe he
EDDIE: 1 heard enough! Come on, let's gol come to apologize to me. Heh, Marco? For what you said
BEATRICE: OnIy bIood is good? He kisscd your hand! about me in front of the neighbourhood? [He is incensing
EDDIE: What he does don't mean nothin' to nobody! (To himsel] and liule bits of laughter even escape him as his eres are
RODOLPHO] Come on! murderous and he cracks his knuckles in his hands with a strange
BEA TRICE [barring his way to the stairsJ: What's gonna mean sort of relaxation.] He knows that ain't right. To do like
somethin'P Eddie, listen to me. Who could give you your that? To aman? Which 1 put my roof over their head and
name? Listen to me, 1 love you, I' m talkin' to you, 1 love my food in their mouth? Like in the Bible? Strangers 1
you; if Marco'll kiss your hand outside, if he goes on his never seen in my whole life? To come out of the water and
knees, what is he got to give you? That's not what you grab a girl for a passport? To go and cake from your own
want. family like from the stabIe - and never a word to me? And
EDDIE: Don't bother mel now accusations in the bargain! [Directly to MARCO]
84 A VJEW PROM THE BRIDGE ACT TWO 8S
Wipin' the neighbourhood with my name like a dirty rag! The lights have gone down, leaving him in a glow, while
1want my name, Marco. [He is moving now, carifully, towards behind him the dull prayers of the people and the keening of the
MARCO.] Now gimme my name and we go together to the women continue.]
wedding. ALFIERI: Most of the time now we settle for half and 1 like
BEATRICE and CATHERJNE [keening]: Eddie! Eddie, don't! it better. But the truth is holy, and even as 1 lrnow how
Eddie! wrong he was, and his death use1ess,1 tremble, for 1 con-
EDDIE: No, Marco lrnows what's right from wrong. Tell the fess that something perverse1y pure calls to me from his
people, Marco, tell them what a liar you are! [He has his memory - not pure1y good, but himself pure1y, for he
atms spread and MARCO is spreading his.] Come on, liar, you allowed himself to be wholly lrnown and for that 1 think
lrnow what you done! 1 willlove him more than all my sensible clients. And yet,
[He lunges for MARCO as a great hushed shout goes up from itis better to settle for half, it must be! And so 1 mourn
the people. him - 1 admit it - with a certain ... alarmo
MARCO strikes EDDJE beside the neck.]
MARCO: Animal! You go on your lrnees to me! CURTAIN

[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.