Death of a Salesman (16 page)
Read Death of a Salesman Online
Authors: Arthur Miller
WILLY: They’re knocking on the wrong door.
THE WOMAN: But I felt the knocking. And he heard us talking in here. Maybe the hotel’s on fire!
WILLY [
his terror rising
]: It’s a mistake.
his terror rising
]: It’s a mistake.
THE WOMAN: Then tell him to go away!
WILLY: There’s nobody there.
THE WOMAN: It’s getting on my nerves, Willy. There’s somebody standing out there and it’s getting on my nerves!
WILLY [
pushing her away from him
]: All right, stay in the bathroom here, and don’t come out. I think there’s a law in Massachusetts about it, so don’t come out. It may be that new room clerk. He looked very mean. So don’t come out. It’s a mistake, there’s no fire.
pushing her away from him
]: All right, stay in the bathroom here, and don’t come out. I think there’s a law in Massachusetts about it, so don’t come out. It may be that new room clerk. He looked very mean. So don’t come out. It’s a mistake, there’s no fire.
[
The knocking is heard again. He takes a few steps away from her, and she vanishes into the wing. The light follows him, and now he is facing
YOUNG BIFF,
who carries a suitcase.
BIFF
steps toward him. The music is gone.
]
The knocking is heard again. He takes a few steps away from her, and she vanishes into the wing. The light follows him, and now he is facing
YOUNG BIFF,
who carries a suitcase.
BIFF
steps toward him. The music is gone.
]
BIFF: Why didn’t you answer?
WILLY: Biff! What are you doing in Boston?
BIFF: Why didn’t you answer? I’ve been knocking for five minutes, I called you on the phone—
WILLY: I just heard you. I was in the bathroom and had the door shut. Did anything happen home?
BIFF: Dad—I let you down.
WILLY: What do you mean?
BIFF: Dad . . .
WILLY: Biffo, what’s this about? [
Putting his arm around
BIFF] Come on, let’s go downstairs and get you a malted.
Putting his arm around
BIFF] Come on, let’s go downstairs and get you a malted.
BIFF: Dad, I flunked math.
WILLY: Not for the term?
BIFF: The term. I haven’t got enough credits to graduate.
WILLY: You mean to say Bernard wouldn’t give you the answers?
BIFF: He did, he tried, but I only got a sixty-one.
WILLY: And they wouldn’t give you four points?
BIFF: Birnbaum refused absolutely. I begged him, Pop, but he won’t give me those points. You gotta talk to him before they close the school. Because if he saw the kind of man you are, and you just talked to him in your way, I’m sure he’d come through for me. The class came right before practice, see, and I didn’t go enough. Would you talk to him? He’d like you, Pop. You know the way you could talk.
WILLY: You’re on. We’ll drive right back.
BIFF: Oh, Dad, good work! I’m sure he’ll change it for you!
WILLY: Go downstairs and tell the clerk I’m checkin’ out. Go right down.
BIFF: Yes, sir! See, the reason he hates me, Pop—one day he was late for class so I got up at the blackboard and imitated him. I crossed my eyes and talked with a lithp.
WILLY [
laughing
]: You did? The kids like it?
laughing
]: You did? The kids like it?
BIFF: They nearly died laughing!
WILLY: Yeah? What’d you do?
BIFF: The thquare root of thixthy twee is . . . [WILLY
bursts out laughing;
BIFF
joins him.
] And in the middle of it he walked in!
bursts out laughing;
BIFF
joins him.
] And in the middle of it he walked in!
[WILLY
laughs and
THE WOMAN
joins in offstage.
]
laughs and
THE WOMAN
joins in offstage.
]
WILLY [
without hesitation
]: Hurry downstairs and—
without hesitation
]: Hurry downstairs and—
BIFF: Somebody in there?
WILLY: No, that was next door.
[THE WOMAN
laughs offstage.
]
laughs offstage.
]
BIFF: Somebody got in your bathroom!
WILLY: No, it’s the next room, there’s a party—
THE WOMAN [
enters, laughing. She lisps this
]: Can I come in? There’s something in the bathtub, Willy, and it’s moving!
enters, laughing. She lisps this
]: Can I come in? There’s something in the bathtub, Willy, and it’s moving!
[WILLY
looks at
BIFF,
who is staring open-mouthed and horrified at
THE WOMAN.]
looks at
BIFF,
who is staring open-mouthed and horrified at
THE WOMAN.]
WILLY: Ah—you better go back to your room. They must be finished painting by now. They’re painting her room so I let her take a shower here. Go back, go back . . . [
He pushes her.
]
He pushes her.
]
THE WOMAN [
resisting
]: But I’ve got to get dressed, Willy, I can’t—
resisting
]: But I’ve got to get dressed, Willy, I can’t—
WILLY: Get out of here! Go back, go back . . . [
Suddenly striving for the ordinary
] This is Miss Francis, Biff, she’s a buyer. They’re painting her room. Go back, Miss Francis, go back . . .
Suddenly striving for the ordinary
] This is Miss Francis, Biff, she’s a buyer. They’re painting her room. Go back, Miss Francis, go back . . .
THE WOMAN: But my clothes, I can’t go out naked in the hall!
WILLY [
pushing her offstage
]: Get outa here! Go back, go back!
pushing her offstage
]: Get outa here! Go back, go back!
[BIFF
slowly sits down on his suitcase as the argument continues offstage.
]
slowly sits down on his suitcase as the argument continues offstage.
]
THE WOMAN: Where’s my stockings? You promised me stockings, Willy!
WILLY: I have no stockings here!
THE WOMAN: You had two boxes of size nine sheers for me, and I want them!
WILLY: Here, for God’s sake, will you get outa here!
THE WOMAN [
enters holding a box of stockings
]: I just hope there’s nobody in the hall. That’s all I hope. [
To
BIFF] Are you football or baseball?
enters holding a box of stockings
]: I just hope there’s nobody in the hall. That’s all I hope. [
To
BIFF] Are you football or baseball?
BIFF: Football.
THE WOMAN [
angry, humiliated
]: That’s me too. G’night. [
She snatches her clothes from
WILLY,
and walks out.
]
angry, humiliated
]: That’s me too. G’night. [
She snatches her clothes from
WILLY,
and walks out.
]
WILLY [
after a pause
]: Well, better get going. I want to get to the school first thing in the morning. Get my suits out of the closet. I’ll get my valise. [BIFF
doesn’t move.
] What’s the matter? [BIFF
remains motionless, tears falling.
] She’s a buyer. Buys for J. H. Simmons. She lives down the hall—they’re painting. You don’t imagine—[
He breaks off. After a pause
] Now listen, pal, she’s just a buyer. She sees merchandise in her room and they have to keep it looking just so . . . [
Pause. Assuming command
] All right, get my suits. [BIFF
doesn’t move.
] Now stop crying and do as I say. I gave you an order. Biff, I gave you an order! Is that what you do when I give you an order? How dare you cry? [
Putting his arm around
BIFF] Now look, Biff, when you grow up you’ll understand about these things. You mustn’t—you mustn’t overemphasize a thing like this. I’ll see Birnbaum first thing in the morning.
after a pause
]: Well, better get going. I want to get to the school first thing in the morning. Get my suits out of the closet. I’ll get my valise. [BIFF
doesn’t move.
] What’s the matter? [BIFF
remains motionless, tears falling.
] She’s a buyer. Buys for J. H. Simmons. She lives down the hall—they’re painting. You don’t imagine—[
He breaks off. After a pause
] Now listen, pal, she’s just a buyer. She sees merchandise in her room and they have to keep it looking just so . . . [
Pause. Assuming command
] All right, get my suits. [BIFF
doesn’t move.
] Now stop crying and do as I say. I gave you an order. Biff, I gave you an order! Is that what you do when I give you an order? How dare you cry? [
Putting his arm around
BIFF] Now look, Biff, when you grow up you’ll understand about these things. You mustn’t—you mustn’t overemphasize a thing like this. I’ll see Birnbaum first thing in the morning.
BIFF: Never mind.
WILLY [
getting down beside
BIFF]: Never mind! He’s going to give you those points. I’ll see to it.
getting down beside
BIFF]: Never mind! He’s going to give you those points. I’ll see to it.
BIFF: He wouldn’t listen to you.
WILLY: He certainly will listen to me. You need those points for the U. of Virginia.
BIFF: I’m not going there.
WILLY: Heh? If I can’t get him to change that mark you’ll make it up in summer school. You’ve got all summer to—
BIFF [
his weeping breaking from him
]: Dad . . .
his weeping breaking from him
]: Dad . . .
WILLY [
infected by it
]: Oh, my boy . . .
infected by it
]: Oh, my boy . . .
BIFF: Dad . . .
WILLY: She’s nothing to me, Biff. I was lonely, I was terribly lonely.
BIFF: You—you gave her Mama’s stockings! [
His tears break through and he rises to go.
]
His tears break through and he rises to go.
]
WILLY [
grabbing for
BIFF]: I gave you an order!
grabbing for
BIFF]: I gave you an order!
BIFF: Don’t touch me, you—liar!
WILLY: Apologize for that!
BIFF: You fake! You phony little fake! You fake! [
Overcome, he turns quickly and weeping fully goes out with his suitcase.
WILLY
is left on the floor on his knees.
]
Overcome, he turns quickly and weeping fully goes out with his suitcase.
WILLY
is left on the floor on his knees.
]
WILLY: I gave you an order! Biff, come back here or I’ll beat you! Come back here! I’ll whip you!
[STANLEY
comes quickly in from the right and stands in front of
WILLY.]
comes quickly in from the right and stands in front of
WILLY.]
WILLY [
shouts at
STANLEY]: I gave you an order . . .
shouts at
STANLEY]: I gave you an order . . .
STANLEY: Hey, let’s pick it up, pick it up, Mr. Loman. [
He helps
WILLY
to his feet.
] Your boys left with the chippies. They said they’ll see you home.
He helps
WILLY
to his feet.
] Your boys left with the chippies. They said they’ll see you home.
[
A second waiter watches some distance away.
]
A second waiter watches some distance away.
]
WILLY: But we were supposed to have dinner together.
[
Music is heard,
WILLY’S
theme.
]
Music is heard,
WILLY’S
theme.
]
STANLEY: Can you make it?
WILLY: I’ll—sure, I can make it. [
Suddenly concerned about his clothes.
] Do I—I look all right?
Suddenly concerned about his clothes.
] Do I—I look all right?
STANLEY: Sure, you look all right. [
He flicks a speck off
WILLY’S
lapel.
]
He flicks a speck off
WILLY’S
lapel.
]
WILLY: Here—here’s a dollar.
STANLEY: Oh, your son paid me. It’s all right.
WILLY [
putting it in
STANLEY’S
hand
]: No, take it. You’re a good boy.
putting it in
STANLEY’S
hand
]: No, take it. You’re a good boy.
STANLEY: Oh, no, you don’t have to . . .
WILLY: Here—here’s some more. I don’t need it any more. [
After a slight pause
] Tell me—is there a seed store in the neighborhood?
After a slight pause
] Tell me—is there a seed store in the neighborhood?
STANLEY: Seeds? You mean like to plant?
[
As
WILLY
turns,
STANLEY
slips the money back into his jacket pocket.
]
As
WILLY
turns,
STANLEY
slips the money back into his jacket pocket.
]
WILLY: Yes. Carrots, peas . . .
STANLEY: Well, there’s hardware stores on Sixth Avenue, but it may be too late now.
WILLY [
anxiously
]: Oh, I’d better hurry. I’ve got to get some seeds. [
He starts off to the right.
] I’ve got to get some seeds, right away. Nothing’s planted. I don’t have a thing in the ground.
anxiously
]: Oh, I’d better hurry. I’ve got to get some seeds. [
He starts off to the right.
] I’ve got to get some seeds, right away. Nothing’s planted. I don’t have a thing in the ground.
[WILLY
hurries out as the light goes down.
STANLEY
moves over to the right after him, watches him off. The other waiter has been staring at
WILLY.]
hurries out as the light goes down.
STANLEY
moves over to the right after him, watches him off. The other waiter has been staring at
WILLY.]
STANLEY [
to the waiter
]: Well, whatta you looking at?
to the waiter
]: Well, whatta you looking at?
[
The waiter picks up the chairs and moves off right.
STANLEY
takes the table and follows him. The light fades on this area. There is a long pause, the sound of the flute coming over. The light gradually rises on the kitchen, which is empty.
HAPPY
appears at the door of the house, followed by
BIFF. HAPPY
is carrying a large bunch of long-stemmed roses. He enters the kitchen, looks around for
LINDA.
Not seeing her, he turns to
BIFF,
who is just outside the house door, and makes a gesture with his hands, indicating “Not here, I guess.” He looks into the living-room and freezes. Inside,
LINDA,
unseen, is seated,
WILLY’S
coat on her lap. She rises ominously and quietly and moves toward
HAPPY,
who backs up into the kitchen, afraid.
]
The waiter picks up the chairs and moves off right.
STANLEY
takes the table and follows him. The light fades on this area. There is a long pause, the sound of the flute coming over. The light gradually rises on the kitchen, which is empty.
HAPPY
appears at the door of the house, followed by
BIFF. HAPPY
is carrying a large bunch of long-stemmed roses. He enters the kitchen, looks around for
LINDA.
Not seeing her, he turns to
BIFF,
who is just outside the house door, and makes a gesture with his hands, indicating “Not here, I guess.” He looks into the living-room and freezes. Inside,
LINDA,
unseen, is seated,
WILLY’S
coat on her lap. She rises ominously and quietly and moves toward
HAPPY,
who backs up into the kitchen, afraid.
]
HAPPY: Hey, what’re you doing up? [LINDA
says nothing but moves toward him implacably.
] Where’s Pop? [
He keeps backing to the right, and now
LINDA
is in full view in the doorway to the living-room.
] Is he sleeping?
says nothing but moves toward him implacably.
] Where’s Pop? [
He keeps backing to the right, and now
LINDA
is in full view in the doorway to the living-room.
] Is he sleeping?
LINDA: Where were you?
HAPPY [
trying to laugh it off
]: We met two girls, Mom, very fine types. Here, we brought you some flowers. [
Offering them to her
] Put them in your room, Ma.
trying to laugh it off
]: We met two girls, Mom, very fine types. Here, we brought you some flowers. [
Offering them to her
] Put them in your room, Ma.
[
She knocks them to the floor at
BIFF’S
feet. He has now come inside and closed the door behind him. She stares at
BIFF,
silent.
]
She knocks them to the floor at
BIFF’S
feet. He has now come inside and closed the door behind him. She stares at
BIFF,
silent.
]
HAPPY: Now what’d you do that for? Mom, I want you to have some flowers—
LINDA [
cutting
HAPPY
off, violently to
BIFF]: Don’t you care whether he lives or dies?
cutting
HAPPY
off, violently to
BIFF]: Don’t you care whether he lives or dies?
HAPPY [
going to the stairs
]: Come upstairs, Biff.
going to the stairs
]: Come upstairs, Biff.
BIFF [
with a flare of disgust, to
HAPPY]: Go away from me! [
To
LINDA] What do you mean, lives or dies? Nobody’s dying around here, pal.
with a flare of disgust, to
HAPPY]: Go away from me! [
To
LINDA] What do you mean, lives or dies? Nobody’s dying around here, pal.
LINDA: Get out of my sight! Get out of here!
BIFF: I wanna see the boss.
LINDA: You’re not going near him!
BIFF: Where is he? [
He moves into the living-room and
LINDA
follows.
]
He moves into the living-room and
LINDA
follows.
]
LINDA [
shouting after
BIFF]: You invite him to dinner. He looks forward to it all day—[BIFF
appears in his parents’ bedroom, looks around, and exits
]—and then you desert him there. There’s no stranger you’d do that to!
shouting after
BIFF]: You invite him to dinner. He looks forward to it all day—[BIFF
appears in his parents’ bedroom, looks around, and exits
]—and then you desert him there. There’s no stranger you’d do that to!
HAPPY: Why? He had a swell time with us. Listen, when I—[LINDA
comes back into the kitchen
]—desert him I hope I don’t outlive the day!
comes back into the kitchen
]—desert him I hope I don’t outlive the day!
LINDA: Get out of here!
HAPPY: Now look, Mom . . .
LINDA: Did you have to go to women tonight? You and your lousy rotten whores!
[BIFF
reenters the kitchen.
]
reenters the kitchen.
]
HAPPY: Mom, all we did was follow Biff around trying to cheer him up! [
To
BIFF] Boy, what a night you gave me!
To
BIFF] Boy, what a night you gave me!
LINDA: Get out of here, both of you, and don’t come back! I don’t want you tormenting him any more. Go on now, get your things together! [
To
BIFF] You can sleep in his apartment. [
She starts to pick up the flowers and stops herself.
] Pick up this stuff, I’m not your maid any more. Pick it up, you bum, you!
To
BIFF] You can sleep in his apartment. [
She starts to pick up the flowers and stops herself.
] Pick up this stuff, I’m not your maid any more. Pick it up, you bum, you!
[HAPPY
turns his back to her in refusal.
BIFF
slowly moves over and gets down on his knees, picking up the flowers.
]
turns his back to her in refusal.
BIFF
slowly moves over and gets down on his knees, picking up the flowers.
]
LINDA: You’re a pair of animals! Not one, not another living soul would have had the cruelty to walk out on that man in a restaurant!
BIFF [
not looking at her
]: Is that what he said?
not looking at her
]: Is that what he said?
LINDA: He didn’t have to say anything. He was so humiliated he nearly limped when he came in.
HAPPY: But, Mom, he had a great time with us—
BIFF [
cutting him off violently
]: Shut up!
cutting him off violently
]: Shut up!
[
Without another word,
HAPPY
goes upstairs.
]
Without another word,
HAPPY
goes upstairs.
]
LINDA: You! You didn’t even go in to see if he was all right!
BIFF [
still on the floor in front of
LINDA,
the flowers in his hand; with self-loathing
]: No. Didn’t. Didn’t do a damned thing. How do you like that, heh? Left him babbling in a toilet.
still on the floor in front of
LINDA,
the flowers in his hand; with self-loathing
]: No. Didn’t. Didn’t do a damned thing. How do you like that, heh? Left him babbling in a toilet.
LINDA: You louse. You . . .
BIFF: Now you hit it on the nose! [
He gets up, throws the flowers in the wastebasket.
] The scum of the earth, and you’re looking at him!
He gets up, throws the flowers in the wastebasket.
] The scum of the earth, and you’re looking at him!
LINDA: Get out of here!
BIFF: I gotta talk to the boss, Mom. Where is he?
LINDA: You’re not going near him. Get out of this house!
Other books
Sharpe's Waterloo by Bernard Cornwell
The Quick and the Thread by Lee, Amanda
Pakistan: A Hard Country by Anatol Lieven
Gone But Knot Forgotten by Mary Marks
Whose Bride Is She Anyway by Dakota Cassidy
Three Major Plays by Lope de Vega, Gwynne Edwards
Lolito by Ben Brooks
Darkest Knight by Cynthia Luhrs
Carousel Court by Joe McGinniss
