Bright Light's pilatn album "So Gay, So Dramatic" is a fantastic plunge to some of the bt queer pop around
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- DEATH OF A SALMAN: ACT 2ARTHUR MILLERTRACK 2 ON DEATH OF A SALMAN ARTHUR MILLER’S PLAY DEATH OF A SALMAN ADDRS LOSS OF INTY AND A MAN’S ABILY TO ACCEPT CHANGE WH HIMSELF AND SOCIETY. THE PLAY IS A MONTAGE OF MEMORI… READ MORE MAY. 9, 19861 VIEWER57.8K VIEWS30 CONTRIBUTORSDEATH OF A SALMAN: ACT 2 LYRICSACT IIMIC IS HEARD, GAY AND BRIGHT. THE CURTA RIS AS THE MIC FAS AWAY. WILLY, SHIRT SLEEV, IS STG AT THE KCHEN TABLE, SIPPG FFEE, HIS HAT HIS LAP. LINDA IS FILLG HIS CUP WHEN SHE N.WILLY: WONRFUL FFEE. MEAL SELF. LINDA:CAN I MAKE YOU SOME EGGS? WILLY: NO. TAKE A BREATH.LINDA: YOU LOOK SO RTED, AR.WILLY: I SLEPT LIKE A AD ONE. FIRST TIME MONTHS. IMAGE, SLEEPG TILL TEN ON A TUDAY MORNG. BOYS LEFT NICE AND EARLY, HEH?LINDA: THEY WERE OUT OF HERE BY EIGHT O’CLOCK.WILLY: GOOD WORK!LINDA: IT WAS SO THRILLG TO SEE THEM LEAVG TOGETHER. I N’T GET OVER THE SHAVGLOTNTHISHOE!WILLY: [SG.] MMM—LINDA: BIFF WAS VERY CHANGED THIS MORNG. HIS WHOLE ATTU SEEMED TO BEHOPEFUL. HE ULDN’T WA TO GET DOWNTOWN TO SEE OLIVER.WILLY: HE’S HEADG FOR A CHANGE. THERE’S NO QUTN, THERE SIMPLY ARE CERTAMENTHATTAKELONGERTOGET—SOLIDIFIED.HOWDIDHEDRS?LINDA: HIS BLUE SU. HE’S SO HANDSOME THAT SU. HE ULD BE A—ANYTHG THAT SU![WILLY GETS UP OM THE TABLE. LINDA HOLDS HIS JACKET FOR HIM.]WILLY: THERE’S NO QUTN, NO QUTN AT ALL. GEE, ON THE WAY HOME TONIGHT I’D LIKE TO BUY SOME SEEDS.LINDA: [LGHG.] THAT’D BE WONRFUL. BUT NOT ENOUGH SUN GETS BACK THERE. NOTHG’LL GROW ANY MORE.WILLY: YOU WA, KID, BEFORE ’S ALL OVER WE’RE GONNA GET A LTLE PLACE OUT THE UNTRY, AND I’LL RAISE SOME VEGETABL, A UPLE OF CHICKENS . . .LINDA: YOU’LL DO YET, AR.[WILLY WALKS OUT OF HIS JACKET. LINDA FOLLOWS HIM.]WILLY: AND THEY’LL GET MARRIED, AND E FOR A WEEKEND. I’D BUILD A LTLE GUT HOE. ’CSE I GOT SO MANY FE TOOLS, ALL I’D NEED WOULD BE A LTLE LUMBER AND SOME PEACE OF MD.LINDA: [JOYFULLY.] I SEWED THE LG . . .WILLY: I ULD BUILD TWO GUT HO, SO THEY’D BOTH E. DID HE CI HOWMUCH HE’S GOG TO ASK OLIVER FOR?LINDA: [GETTG HIM TO THE JACKET.] HE DIDN’T MENTN , BUT I IMAGE TEN ORFIFTEEN THOAND. YOU GOG TO TALK TO HOWARD TODAY?ARTHUR MILLER DEATH OF A SALMAN, ACT II 1587WILLY: YEAH. I’LL PUT TO HIM STRAIGHT AND SIMPLE. HE’LL JT HAVE TO TAKE ME OFF THE ROAD.LINDA: AND WILLY, DON’T FET TO ASK FOR A LTLE ADVANCE, BEE WE’VE GOT THE SURANCE PREMIUM. IT’S THE GRACE PERD NOW.WILLY: THAT’S A HUNDRED . . . ?LINDA: A HUNDRED AND EIGHT, SIXTY-EIGHT. BEE WE’RE A LTLE SHORT AGA. WILLY: WHY ARE WE SHORT?LINDA:WELL,YOUHADTHEMOTORJOBONTHER...WILLY: THAT GODDAM STUBAKER!LINDA: AND YOU GOT ONE MORE PAYMENT ON THE REIGERATOR . . .WILLY: BUT JT BROKE AGA!LINDA: WELL, ’S OLD, AR.WILLY NILLY: I TOLD YOU WE SHOULD’VE BOUGHT A WELL-ADVERTISED MACHE. CHARLEY BOUGHTA GENERAL ELECTRIC AND ’S TWENTY YEARS OLD AND ’S STILL GOOD, THAT SON-OF-A-BCH.LINDA: BUT, WILLY—WILLY: WHOEVER HEARD OF A HASTGS REIGERATOR? ONCE MY LIFE I WOULD LIKE TOOWN SOMETHG OUTRIGHT BEFORE ’S BROKEN! I’M ALWAYS A RACE WH THE JUNKYARD! I JT FISHED PAYG FOR THE R AND ’S ON S LAST LEGS. THE REIG- ERATOR NSUM BELTS LIKE A GODDAM MANIAC. THEY TIME THOSE THGS. THEY TIMETHEMSOWHENYOUFALLYPAIDFORTHEM,THEY’RSP.LINDA: [BUTTONG UP HIS JACKET AS HE UNBUTTONS .] ALL TOLD, ABOUT TWO HUNDRED DOLLARS WOULD RRY , AR. BUT THAT CLUS THE LAST PAYMENT ON THE MORT- GAGE. AFTER THIS PAYMENT, WILLY, THE HOE BELONGS TO .WILLY: IT’S TWENTY-FIVE YEARS!LINDA: BIFF WAS NE YEARS OLD WHEN WE BOUGHT .WILLY: WELL, THAT’S A GREAT THG. TO WEATHER A TWENTY-FIVE YEAR MORTGAGE IS— LINDA:IT’SANACPLISHMENT.WILLY: ALL THE CEMENT, THE LUMBER, THE RENSTCTN I PUT THIS HOE! THEREA’T A CRACK TO BE FOUND ANYMORE.LINDA: WELL, SERVED S PURPOSE.WILLY: WHAT PURPOSE? SOME STRANGER’LL E ALONG, MOVE , AND THAT’S THAT. IFONLY BIFF WOULD TAKE THIS HOE, AND RAISE A FAY . . . [HE STARTS TO GO.] GOOD-BYE, I’M LATE.LINDA: [SUDNLY REMEMBERG.] OH, I FOT! YOU’RE SUPPOSED TO MEET THEM FORDNER. WILLY: ME?LINDA: AT FRANK’S CHOP HOE ON FORTY-EIGHTH NEAR SIXTH AVENUE. WILLY: IS THAT SO! HOW ABOUT YOU?LINDA: NO, JT THE THREE OF YOU. THEY’RE GONNA BLOW YOU TO A BIG MEAL! WILLY: DON’T SAY! WHO THOUGHT OF THAT?LINDA: BIFF ME TO ME THIS MORNG, WILLY, AND HE SAID, “TELL DAD, WE WANT TO BLOW HIM TO A BIG MEAL.” BE THERE SIX O’CLOCK. YOU AND YOUR TWO BOYS ARE GOG TO HAVE DNER.WILLY: GEE WHIZ! THAT’S REALLY SOMETH’. I’M GONNA KNOCK HOWARD FOR A LOOP, KID. I’LL GET AN ADVANCE, AND I’LL E HOME WH A NEW YORK JOB. GODDAMM, NOW I’M GONNA DO !LINDA: OH, THAT’S THE SPIR, WILLY!WILLY: I WILL NEVER GET BEHD A WHEEL THE RT OF MY LIFE!LINDA: IT’S CHANGG, WILLY, I N FEEL CHANGG!WILLY: BEYOND A QUTN. G’BYE, I’M LATE. [HE STARTS TO GO AGA.]LINDA: [CALLG AFTER HIM AS SHE NS TO THE KCHEN TABLE FOR A HANDKERCHIEF.] YOU GOTYOUR GLASS?WILLY: [FEELS FOR THEM, THEN BACK .] YEAH, YEAH, GOT MY GLASS. LINDA: [GIVG HIM THE HANDKERCHIEF.] AND A HANDKERCHIEF.WILLY: YEAH, HANDKERCHIEF.LINDA: AND YOUR SACCHARE?7WILLY: YEAH, MY SACCHARE. LINDA:BEREFULONTHUBWAYSTAIRS.[SHE KISS HIM, AND A SILK STOCKG IS SEEN HANGG OM HER HAND. WILLY NOTIC .]WILLY: WILL YOU STOP MENDG STOCKGS? AT LEAST WHILE I’M THE HOE. IT GETS ME NERVO. I N’T TELL YOU. PLEASE.[LINDA HIS THE STOCKG HER HAND AS SHE FOLLOWS WILLY ACROSS THE FORTAGE ONT OF THE HOE.]LINDA: REMEMBER, FRANK’S CHOP HOE.WILLY: [PASSG THE APRON.] MAYBE BEETS WOULD GROW OUT THERE.LINDA: [LGHG.] BUT YOU TRIED SO MANY TIM.WILLY: YEAH. WELL, DON’T WORK HARD TODAY. [HE DISAPPEARS AROUND THE RIGHT RNER OFTHE HOE.]LINDA: BE REFUL! [AS WILLY VANISH, LINDA WAV TO HIM. SUDNLY THE PHONE RGS.SHE NS ACROSS THE STAGE AND TO THE KCHEN AND LIFTS .] HELLO? OH, BIFF! I’M SO GLAD YOU LLED, I JT . . . Y, SURE, I JT TOLD HIM. Y, HE’LL BE THERE FOR DNER AT SIX O’CLOCK, I DIDN’T FET. LISTEN, I WAS JT DYG TO TELL YOU. YOU KNOW THAT LTLE BBER PIPE I TOLD YOU ABOUT? THAT HE NNECTED TO THE GAS HEATER? I FALLY CID TO GO DOWN THE CELLAR THIS MORNG AND TAKE AWAY AND STROY . BUT ’S GONE! IMAGE? HE TOOK AWAY HIMSELF, ISN’T THERE! [SHE LISTENS.] WHEN? OH, THEN YOU TOOK . OH—NOTHG, ’S JT THAT I’D HOPED HE’D TAKEN AWAY HIMSELF. OH, I’M NOT WORRIED, DARLG, BEE THIS MORNG HE LEFT SUCH HIGH SPIRS, WAS LIKE THE OLD DAYS! I’M NOT AAID ANYMORE. DID MR. OLIVER SEE YOU? . . . WELL, YOU WA THERE THEN. AND MAKE A NICE IMPRSN ON HIM, DARLG. JT DON’T PERSPIRE TOO MUCH BEFORE YOU SEE HIM. AND HAVE A NICE TIME WH DAD. HE MAY HAVE BIG NEWS TOO! . . . THAT’S RIGHT, A NEW YORK JOB. AND BE SWEET TO HIM TONIGHT, AR. BE LOVG TO HIM. BEE HE’S ONLY A LTLE BOAT LOOKG FOR A HARBOR. [SHE IS TREMBLG WH SORROW AND JOY.] OH, THAT’S WONRFUL, BIFF, YOU’LL SAVE HIS LIFE. THANKS, DARLG. JT PUT YOUR ARM AROUND HIM WHEN HE TO THE RTRANT. GIVE HIM A SE. THAT’S THE BOY . . . GOOD-BYE, AR . . . YOU GOT YOUR B? . . . THAT’S FE. GOOD-BYE, BIFF AR.[IN THE MIDDLE OF HER SPEECH, HOWARD WAGNER, THIRTY-SIX, WHEELS ON A SMALL TYPEWRER TABLE ON WHICH IS A WIRE-RERDG MACHE AND PROCEEDS TO PLUG . THIS IS ON THE LEFT FORTAGE. LIGHT SLOWLY FAS ON LINDA AS RIS ON HOWARD. HOWARD IS TENT ON THREADG THE MACHE AND ONLY GLANC OVER HIS SHOULR AS WILLY APPEARS.]7. ARTIFICIAL SWEETENER ONCE REMEND AS A HEALTHY ALTERNATIVE TO SUGAR.WILLY: PST! PST!HOWARD: HELLO, WILLY, E .WILLY: LIKE TO HAVE A LTLE TALK WH YOU, HOWARD.HOWARD: SORRY TO KEEP YOU WAG. I’LL BE WH YOU A MUTE.WILLY: WHAT’S THAT, HOWARD?HOWARD: DIDN’T YOU EVER SEE ONE OF THE? WIRE RERR. WILLY:OH.CANWETALKAMUTE?HOWARD: RERDS THGS. JT GOT LIVERY YTERDAY. BEEN DRIVG ME CRAZY, THEMOST TERRIFIC MACHE I EVER SAW MY LIFE. I WAS UP ALL NIGHT WH .WILLY: WHAT DO YOU DO WH ?HOWARD: I BOUGHT FOR DICTATN, BUT YOU N DO ANYTHG WH . LISTEN TOTHIS. I HAD HOME LAST NIGHT. LISTEN TO WHAT I PICKED UP. THE FIRST ONE IS MY DGHTER. GET THIS. [HE FLICKS THE SWCH AND “ROLL OUT THE BARREL” IS HEARD BEG WHISTLED.]LISTENTOTHATKIDWHISTLE.WILLY: THAT IS LIFELIKE, ISN’T ? HOWARD:SEVENYEARSOLD.GETTHATTONE. WILLY: TS, TS. LIKE TO ASK A LTLE FAVOR IF YOU . . .[THE WHISTLG BREAKS OFF, AND THE VOICE OF HOWARD’S DGHTER IS HEARD.]HIS DAUGHTER: “NOW YOU, DADDY.”HOWARD: SHE’S CRAZY FOR ME! [AGA THE SAME SONG IS WHISTLED.] THAT’S ME! HA! [HEWKS.]WILLY: YOU’RE VERY GOOD![THE WHISTLG BREAKS OFF AGA. THE MACHE NS SILENT FOR A MOMENT.]HOWARD: SH! GET THIS NOW, THIS IS MY SON.HIS SON: “THE PAL OF ALABAMA IS MONTGOMERY; THE PAL OF ARIZONA IS PHOE-NIX; THE PAL OF ARKANSAS IS LTLE ROCK; THE PAL OF CALIFORNIA IS SACRA-MENTO . . .” [AND ON, AND ON.]HOWARD: [HOLDG UP FIVE FGERS.] FIVE YEARS OLD, WILLY!WILLY: HE’LL MAKE AN ANNOUNCER SOME DAY!HIS SON: [CONTUG.] “THE PAL . . .”HOWARD: GET THAT—ALPHABETIL ORR! [THE MACHE BREAKS OFF SUDNLY.] WA AMUTE. THE MAID KICKED THE PLUG OUT.WILLY: IT CERTALY IS A—HOWARD: SH, FOR GOD’S SAKE!HIS SON: “IT’S NE O’CLOCK, BULOVA WATCH TIME.8 SO I HAVE TO GO TO SLEEP.” WILLY: THAT REALLY IS—HOWARD: WA A MUTE! THE NEXT IS MY WIFE. [THEY WA.]HOWARD’S VOICE: “GO ON, SAY SOMETHG.” [PSE.] “WELL, YOU GONNA TALK?”HIS WIFE: “I N’T THK OF ANYTHG.”HOWARD’S VOICE: “WELL, TALK—’S TURNG.”HIS WIFE: [SHYLY, BEATEN.] “HELLO.” [SILENCE.] “OH, HOWARD, I N’T TALK TO THIS . . .” HOWARD: [SNAPPG THE MACHE OFF.] THAT WAS MY WIFE.WILLY: THAT IS A WONRFUL MACHE. CAN WE—8. PHRASE MONLY HEARD ON RAD PROGRAMS SPONSORED BY THE BULOVA WATCH COMPANY.1590 READING MORE DRAMAHOWARD: I TELL YOU, WILLY, I’M GONNA TAKE MY MERA, AND MY BANDSAW, AND ALL MY HOBBI, AND OUT THEY GO. THIS IS THE MOST FASCATG RELAXATN I EVER FOUND.WILLY: I THK I’LL GET ONE MYSELF.HOWARD: SURE, THEY’RE ONLY A HUNDRED AND A HALF. YOU N’T DO WHOUT . SUP-POSG YOU WANNA HEAR JACK BENNY,9 SEE? BUT YOU N’T BE AT HOME AT THAT HOUR.SOYOUTELLTHEMAIDTOTURNTHERADONWHENJACKBENNYON, AND THIS TOMATILLY GO ON WH THE RAD . . .WILLY: AND WHEN YOU E HOME YOU . . .HOWARD: YOU N E HOME TWELVE O’CLOCK, ONE O’CLOCK, ANY TIME YOU LIKE, ANDYOU GET YOURSELF A COKE AND S YOURSELF DOWN, THROW THE SWCH, AND THERE’SJACK BENNY’S PROGRAM THE MIDDLE OF THE NIGHT!WILLY: I’M FELY GOG TO GET ONE. BEE LOTS OF TIME I’M ON THE ROAD, ANDI THK TO MYSELF, WHAT I MT BE MISSG ON THE RAD!HOWARD: DON’T YOU HAVE A RAD THE R?WILLY: WELL, YEAH, BUT WHO EVER THKS OF TURNG ON?HOWARD: SAY, AREN’T YOU SUPPOSED TO BE BOSTON?WILLY: THAT’S WHAT I WANT TO TALK TO YOU ABOUT, HOWARD. YOU GOT A MUTE? [HEDRAWS A CHAIR OM THE WG.]HOWARD: WHAT HAPPENED? WHAT’RE YOU DOG HERE?WILLY: WELL . . .HOWARD: YOU DIDN’T CRACK UP AGA, DID YOU?WILLY: OH, NO. NO . . .HOWARD: GEEZ, YOU HAD ME WORRIED THERE FOR A MUTE. WHAT’S THE TROUBLE? WILLY: WELL, TELL YOU THE TTH, HOWARD. I’VE E TO THE CISN THAT I’D RATHERNOT TRAVEL ANYMORE.HOWARD: NOT TRAVEL! WELL, WHAT’LL YOU DO? WILLY:REMEMBER,CHRISTMASTIME,WHENYOUHADTHEPARTYHERE?YOAIDYOU’DTRY TO THK OF SOME SPOT FOR ME HERE TOWN.HOWARD: WH ?WILLY: WELL, SURE.HOWARD: OH, YEAH, YEAH. I REMEMBER. WELL, I ULDN’T THK OF ANYTHG FOR YOU,WILLY.WILLY: I TELL YA, HOWARD. THE KIDS ARE ALL GROWN UP, Y’KNOW. I DON’T NEED MUCHANYMORE. IF I ULD TAKE HOME—WELL, SIXTY-FIVE DOLLARS A WEEK, I ULD SWG.HOWARD: YEAH, BUT WILLY, SEE I—WILLY: I TELL YA WHY, HOWARD. SPEAKG ANKLY AND BETWEEN THE TWO OF ,Y’KNOW—I’M JT A LTLE TIRED.HOWARD: OH, I ULD UNRSTAND THAT, WILLY. BUT YOU’RE A ROAD MAN, WILLY, ANDWE DO A ROAD BS. WE’VE ONLY GOT A HALF-DOZEN SALMEN ON THE FLOOR HERE. WILLY: GOD KNOWS, HOWARD, I NEVER ASKED A FAVOR OF ANY MAN. BUT I WAS WHTHEFIRMWHENYOURFATHESEDTORRYYOUHEREHISARMS.HOWARD: I KNOW THAT, WILLY, BUT— WILLY:YOURFATHERMETOMETHEDAYYOUWEREBORNANDASKEDMEWHATITHOUGHT OF THE NAME OF HOWARD, MAY HE RT PEACE.HOWARD: I APPRECIATE THAT, WILLY, BUT THERE JT IS NO SPOT HERE FOR YOU. IF I HAD A SPOT I’D SLAM YOU RIGHT , BUT I JT DON’T HAVE A SGLE SOLARY SPOT.[HE LOOKS FOR HIS LIGHTER. WILLY HAS PICKED UP AND GIV TO HIM. PSE.]WILLY: [WH CREASG ANGER.] HOWARD, ALL I NEED TO SET MY TABLE IS FIFTY DOLLARS A WEEK.HOWARD: BUT WHERE AM I GOG TO PUT YOU, KID?WILLY: LOOK, ISN’T A QUTN OF WHETHER I N SELL MERCHANDISE, IS ? HOWARD: NO, BUT ’S A BS, KID, AND EVERYBODY’S GOTTA PULL HIS OWN WEIGHT. WILLY: [DPERATELY.] JT LET ME TELL YOU A STORY, HOWARD—HOWARD: ’CSE YOU GOTTA ADM, BS IS BS.WILLY: [ANGRILY.] BS IS FELY BS, BUT JT LISTEN FOR A MUTE. YOUDON’T UNRSTAND THIS. WHEN I WAS A BOY—EIGHTEEN, NETEEN—I WAS ALREADY ON THE ROAD. AND THERE WAS A QUTN MY MD AS TO WHETHER SELLG HAD A FUTURE FOR ME. BEE THOSE DAYS I HAD A YEARNG TO GO TO ALASKA. SEE, THERE WERE THREE GOLD STRIK ONE MONTH ALASKA, AND I FELT LIKE GOG OUT. JT FOR THE RI, YOU MIGHT SAY.HOWARD: [BARELY TERTED.] DON’T SAY. WILLY:OH,YEAH,MYFATHERLIVEDMANYYEARSALASKA.HEWASANADVENTUROMAN. WE’VE GOT QUE A LTLE STREAK OF SELF-RELIANCE OUR FAY. I THOUGHT I’D GO OUT WH MY OLR BROTHER AND TRY TO LOTE HIM, AND MAYBE SETTLE THE NORTH WH THE OLD MAN. AND I WAS ALMOST CID TO GO, WHEN I MET A SALMAN THE PARKER HOE. HIS NAME WAS DAVE SGLEMAN. AND HE WAS EIGHTY-FOUR YEARS OLD, AND HE’D DMMED MERCHANDISE THIRTY-ONE STAT. AND OLD DAVE, HE’D GO UP TO HIS ROOM, Y’UNRSTAND, PUT ON HIS GREEN VELVET SLIPPERS—I’LL NEVER FET—AND PICK UP HIS PHONE AND LL THE BUYERS, AND WHOUT EVER LEAVG HIS ROOM, AT THE AGE OF EIGHTY-FOUR, HE MA A LIVG. AND WHENISAWTHAT,IREALIZEDTHATSELLGWASTHEGREATTREERAMANULD WANT. ’CSE WHAT ULD BE MORE SATISFYG THAN TO BE ABLE TO GO, AT THE AGE OF EIGHTY-FOUR, TO TWENTY OR THIRTY DIFFERENT CI, AND PICK UP HIS PHONE AND BE REMEMBERED AND LOVED AND HELPED BY SO MANY DIFFERENT PEOPLE? DO YOU KNOW? WHEN HE DIED—AND BY THE WAY HE DIED THE ATH OF A SALMAN, HISGREENVELVETSLIPPERSTHMOKEROFTHENEWYORK,NEWHAVENAND HARTFORD, GOG TO BOSTON—WHEN HE DIED, HUNDREDS OF SALMEN AND BUYERS WERE AT HIS FUNERAL. THGS WERE SAD ON A LOTTA TRAS FOR MONTHS AFTER THAT. [HTANDSUP.HOWARDHASNOTLOOKEDATHIM.]INTHOSEDAYSTHEREWASPERSONALY , HOWARD. THERE WAS RPECT, AND RASHIP, AND GRATU . TODAY, ’S ALL CUT AND DRIED, AND THERE’S NO CHANCE FOR BRGG IENDSHIP TO BEAR— OR PERSONALY. YOU SEE WHAT I MEAN? THEY DON’T KNOW ME ANYMORE.HOWARD: [MOVG AWAY, TOWARD THE RIGHT.] THAT’S JT THE THG, WILLY.WILLY: IF I HAD FORTY DOLLARS A WEEK—THAT’S ALL I’D NEED. FORTY DOLLARS, HOWARD. HOWARD: KID, I N’T TAKE BLOOD OM A STONE, I—WILLY: [DPERATN IS ON HIM NOW.] HOWARD, THE YEAR AL SMH1 WAS NOMATED,YOUR FATHER ME TO ME AND—HOWARD: [STARTG TO GO OFF.] I’VE GOT TO SEE SOME PEOPLE, KID.WILLY: [STOPPG HIM.] I’M TALKG ABOUT YOUR FATHER! THERE WERE PROMIS MAACROSS THIS SK! YOU MTN’T TELL ME YOU’VE GOT PEOPLE TO SEE—I PUT THIRTY-FOUR YEARS TO THIS FIRM, HOWARD, AND NOW I N’T PAY MY SURANCE! YOU N’T EAT THE ORANGE AND THROW THE PEEL AWAY—A MAN IS NOT A PIECE OF U! [AFTER A PSE.] NOW PAY ATTENTN. YOUR FATHER— 1928 I HAD A BIG YEAR. I AVERAGED A HUNDRED AND SEVENTY DOLLARS A WEEK MISSNS.HOWARD: [IMPATIENTLY.] NOW, WILLY, YOU NEVER AVERAGED—WILLY: [BANGG HIS HAND ON THE SK.] I AVERAGED A HUNDRED AND SEVENTY DOLLARS AWEEKTHEYEAROF1928!ANDYOURFATHERMETOME—ORRATHER,IWASTHEOFFICE HERE— WAS RIGHT OVER THIS SK—AND HE PUT HIS HAND ON MY SHOULR— HOWARD: [GETTG UP.] YOU’LL HAVE TO EXCE ME, WILLY, I GOTTA SEE SOME PEOPLE.PULLYOURSELFTOGETHER.[GOGOUT.]I’LLBEBACKALTLEWHILE.[ON HOWARD’S EX, THE LIGHT ON HIS CHAIR GROWS VERY BRIGHT AND STRANGE.]WILLY: PULL MYSELF TOGETHER! WHAT THE HELL DID I SAY TO HIM? MY GOD, I WAS YELLG AT HIM! HOW ULD I! [WILLY BREAKS OFF, STARG AT THE LIGHT, WHICH OCCUPI THE CHAIR, ANIMATG . HE APPROACH THIS CHAIR, STANDG ACROSS THE SK OM .] FRANK, FRANK, DON’T YOU REMEMBER WHAT YOU TOLD ME THAT TIME? HOW YOU PUT YOUR HAND ONMYSHOULR,ANDFRANK...[HELEANSONTHESKANDASHPEAKSTHEAD MAN’S NAME HE ACCINTALLY SWCH ON THE RERR, AND STANTLY.]HOWARD’S SON: “. . . OF NEW YORK IS ALBANY. THE PAL OF OH IS CCNATI, THE PAL OF RHO ISLAND IS . . .” [THE RECATN NTU.]WILLY: [LEAPG AWAY WH IGHT, SHOUTG.] HA! HOWARD! HOWARD! HOWARD! HOWARD: [RHG .] WHAT HAPPENED?WILLY: [POTG AT THE MACHE, WHICH NTU NASALLY, CHILDISHLY, WH THE PAL CI.]SHUT OFF! SHUT OFF!HOWARD: [PULLG THE PLUG OUT.] LOOK, WILLY . . .WILLY: [PRSG HIS HANDS TO HIS EY.] I GOTTA GET MYSELF SOME FFEE. I’LL GET SOMEFFEE . . .[WILLY STARTS TO WALK OUT. HOWARD STOPS HIM.]HOWARD: [ROLLG UP THE RD.] WILLY, LOOK . . . WILLY: I’LL GO TO BOSTON.HOWARD: WILLY, YOU N’T GO TO BOSTON FOR . WILLY: WHY N’T I GO?HOWARD: I DON’T WANT YOU TO REPRENT . I’VE BEEN MEANG TO TELL YOU FOR A LONG TIME NOW.WILLY: HOWARD, ARE YOU FIRG ME?HOWARD: I THK YOU NEED A GOOD LONG RT, WILLY.WILLY: HOWARD—HOWARD: AND WHEN YOU FEEL BETTER, E BACK, AND WE’LL SEE IF WE N WORKSOMETHG OUT.WILLY: BUT I GOTTA EARN MONEY, HOWARD. I’M NO POSN TO—HOWARD: WHERE ARE YOUR SONS? WHY DON’T YOUR SONS GIVE YOU A HAND?WILLY: THEY’RE WORKG ON A VERY BIG AL.HOWARD: THIS IS NO TIME FOR FALSE PRI, WILLY. YOU GO TO YOUR SONS AND YOU TELLTHEM THAT YOU’RE TIRED. YOU’VE GOT TWO GREAT BOYS, HAVEN’T YOU? WILLY: OH, NO QUTN, NO QUTN, BUT THE MEANTIME . . . HOWARD:THENTHAT’STHAT,HEH? WILLY:ALLRIGHT,I’LLGOTOBOSTONTOMORROW.HOWARD: NO, NO.WILLY: I N’T THROW MYSELF ON MY SONS. I’M NOT A CRIPPLE!HOWARD: LOOK, KID, I’M BY, I’M BY THIS MORNG.WILLY: [GRASPG HOWARD’S ARM.] HOWARD, YOU’VE GOT TO LET ME GO TO BOSTON! HOWARD: [HARD, KEEPG HIMSELF UNR NTROL.] I’VE GOT A LE OF PEOPLE TO SEE THISMORNG. S DOWN, TAKE FIVE MUT, AND PULL YOURSELF TOGETHER, AND THEN GO HOME, WILL YA? I NEED THE OFFICE, WILLY. [HE STARTS TO GO, TURNS, REMEMBERG THE RERR, STARTS TO PH OFF THE TABLE HOLDG THE RERR.] OH, YEAH. WHENEVER YOU NTHISWEEK,’LLFEELBETTER,WILLY, AND THEN E BACK AND WE’LL TALK. PULL YOURSELF TOGETHER, KID, THERE’S PEOPLE OUTSI.[HOWARD EXS, PHG THE TABLE OFF LEFT. WILLY STAR TO SPACE, EXHSTED. NOW THE MIC IS HEARD—BEN’S MIC—FIRST DISTANTLY, THEN CLOSER, CLOSER. AS WILLY SPEAKS, BEN ENTERS OM THE RIGHT. HE RRI VALISE AND UMBRELLA.]WILLY: OH, BEN, HOW DID YOU DO ? WHAT IS THE ANSWER? DID YOU WD UP THE ALASKA AL ALREADY?BEN: DON’T TAKE MUCH TIME IF YOU KNOW WHAT YOU’RE DOG. JT A SHORT BI- NS TRIP. BOARDG SHIP AN HOUR. WANTED TO SAY GOOD-BY.WILLY: BEN, I’VE GOT TO TALK TO YOU.BEN: [GLANCG AT HIS WATCH.] HAVEN’T THE TIME, WILLIAM.WILLY: [CROSSG THE APRON TO BEN.] BEN, NOTHG’S WORKG OUT. I DON’T KNOW WHATTO DO.BEN: NOW, LOOK HERE, WILLIAM. I’VE BOUGHT TIMBERLAND ALASKA AND I NEED AMANTOLOOKAFTERTHGSFORME.WILLY: GOD, TIMBERLAND! ME AND MY BOYS THOSE GRAND OUTDOORS!BEN: YOU’VE A NEW NTENT AT YOUR DOORSTEP, WILLIAM. GET OUT OF THE CI,THEY’RE FULL OF TALK AND TIME PAYMENTS AND URTS OF LAW. SCREW ON YOUR FISTSAND YOU N FIGHT FOR A FORTUNE UP THERE. WILLY: Y, Y! LDA, LDA![LINDA ENTERS AS OF OLD, WH THE WASH.]LINDA: OH, YOU’RE BACK?BEN: I HAVEN’T MUCH TIME.WILLY: NO, WA! LDA, HE’S GOT A PROPOSN FOR ME ALASKA.LINDA: BUT YOU’VE GOT—[TO BEN.] HE’S GOT A BETIFUL JOB HERE. WILLY:BUTALASKA,KID,IULD—LINDA: YOU’RE DOG WELL ENOUGH, WILLY!BEN: [TO LINDA.] ENOUGH FOR WHAT, MY AR?LINDA: [FRIGHTENED OF BEN AND ANGRY AT HIM.] DON’T SAY THOSE THGS TO HIM! ENOUGHTO BE HAPPY RIGHT HERE, RIGHT NOW. [TO WILLY, WHILE BEN LGHS.] WHY MT EVERYBODY NQUER THE WORLD? YOU’RE WELL LIKED, AND THE BOYS LOVE YOU, AND SOMEDAY—[TOBEN.]—WHY,OLDMANWAGNERTOLDHIMJTTHEOTHERDAYTHAT IF HE KEEPS UP HE’LL BE A MEMBER OF THE FIRM, DIDN’T HE, WILLY?WILLY: SURE, SURE. I AM BUILDG SOMETHG WH THIS FIRM, BEN, AND IF A MAN IS BUILDG SOMETHG HE MT BE ON THE RIGHT TRACK, MTN’T HE?BEN: WHAT ARE YOU BUILDG? LAY YOUR HAND ON . WHERE IS ?WILLY: [HANTLY.] THAT’S TE, LDA, THERE’S NOTHG. LINDA:WHY?[TOBEN.]THERE’SAMANEIGHTY-FOURYEARSOLD—WILLY: THAT’S RIGHT, BEN, THAT’S RIGHT. WHEN I LOOK AT THAT MAN I SAY, WHAT IS THERETO WORRY ABOUT? BEN: BAH!WILLY: IT’S TE, BEN. ALL HE HAS TO DO IS GO TO ANY CY, PICK UP THE PHONE, AND HE’S MAKG HIS LIVG AND YOU KNOW WHY?BEN: [PICKG UP HIS VALISE.] I’VE GOT TO GO.WILLY: [HOLDG BEN BACK.] LOOK AT THIS BOY! [BIFF, HIS HIGH SCHOOL SWEATER, ENTERSRRYG SUSE. HAPPY RRI BIFF’S SHOULR GUARDS, GOLD HELMET, AND FOOTBALL PANTS.] WHOUT A PENNY TO HIS NAME, THREE GREAT UNIVERSI ARE BEGGG FOR HIM, AND OM THERE THE SKY’S THE LIM, BEE ’S NOT WHAT YOU DO, BEN. IT’S WHO YOU KNOW AND THE SE ON YOUR FACE! IT’S NTACTS, BEN, NTACTS! THE WHOLE WEALTH OF ALASKA PASS OVER THE LUNCH TABLE AT THE COMMODORE HOTEL, AND THAT’S THE WONR, THE WONR OF THIS UNTRY, THAT A MAN N END WH DIA- MONDS HERE ON THE BASIS OF BEG LIKED! [HE TURNS TO BIFF.] AND THAT’S WHY WHEN YOU GET OUT ON THAT FIELD TODAY ’S IMPORTANT. BEE THOANDS OF PEOPLE WILL BE ROOTG FOR YOU AND LOVG YOU. [TO BEN, WHO HAS AGA BEGUN TO LEAVE.] AND BEN! WHEN HE WALKS TO A BS OFFICE HIS NAME WILL SOUND OUT LIKE A BELL AND ALL THE DOORS WILL OPEN TO HIM! I’VE SEEN , BEN, I’VE SEEN A THOAND TIM! YOU N’T FEEL WH YOUR HAND LIKE TIMBER, BUT ’S THERE!BEN: GOOD-BY, WILLIAM.WILLY: BEN, AM I RIGHT? DON’T YOU THK I’M RIGHT? I VALUE YOUR ADVICE.BEN: THERE’S A NEW NTENT AT YOUR DOORSTEP, WILLIAM. YOU ULD WALK OUT RICH.RICH! [HE IS GONE.]WILLY: WE’LL DO HERE, BEN! YOU HEAR ME? WE’RE GONNA DO HERE![YOUNG BERNARD SH . THE GAY MIC OF THE BOYS IS HEARD.]BERNARD: OH, GEE, I WAS AAID YOU LEFT ALREADY!WILLY: WHY? WHAT TIME IS ?BERNARD: IT’S HALF-PAST ONE!WILLY: WELL, E ON, EVERYBODY! EBBETS FIELD NEXT STOP! WHERE’S THE PENNANTS?[HE SH THROUGH THE WALL-LE OF THE KCHEN AND OUT TO THE LIVG ROOM.] LINDA: [TO BIFF.] DID YOU PACK H UNRWEAR?BIFF: [WHO HAS BEEN LIMBERG UP.] I WANT TO GO!BERNARD: BIFF, I’M RRYG YOUR HELMET, A’T I?HAPPY: NO, I’M RRYG THE HELMET.BERNARD: OH, BIFF, YOU PROMISED ME.HAPPY: I’M RRYG THE HELMET.BERNARD: HOW AM I GOG TO GET THE LOCKER ROOM?LINDA: LET HIM RRY THE SHOULR GUARDS. [SHE PUTS HER AT AND HAT ON THEKCHEN.] BERNARD:CANI,BIFF?’CSEITOLVERYBODYI’MGOGTOBETHELOCKERROOM. HAPPY:INEBBETSFIELD’STHECLUBHOE.BERNARD: I MEANT THE CLUBHOE, BIFF!HAPPY: BIFF!BIFF: [GRANDLY, AFTER A SLIGHT PSE.] LET HIM RRY THE SHOULR GUARDS.HAPPY: [AS HE GIV BERNARD THE SHOULR GUARDS.] STAY CLOSE TO NOW.[WILLY SH WH THE PENNANTS.] WILLY:[HANDGTHEMOUT.]EVERYBODYWAVEWHENBIFFOUTONTHEFIELD.[HAPPY AND BERNARD N OFF.] YOU SET NOW, BOY? [THE MIC HAS DIED AWAY.]BIFF: READY TO GO, POP. EVERY MCLE IS READY.WILLY: [AT THE EDGE OF THE APRON.] YOU REALIZE WHAT THIS MEANS?BIFF: THAT’S RIGHT, POP.WILLY: [FEELG BIFF’S MCL.] YOU’RE ’ HOME THIS AFTERNOON PTA OF THEALL-SCHOLASTIC CHAMPNSHIP TEAM OF THE CY OF NEW YORK.BIFF: I GOT , POP. AND REMEMBER, PAL, WHEN I TAKE OFF MY HELMET, THAT TOUCHDOWNIS FOR YOU.WILLY: LET’S GO! [HE IS STARTG OUT, WH HIS ARM AROUND BIFF, WHEN CHARLEY ENTERS,AS OF OLD, KNICKERS.] I GOT NO ROOM FOR YOU, CHARLEY.CHARLEY: ROOM? FOR WHAT?WILLY:INTHER.CHARLEY: YOU GO’ FOR A RI? I WANTED TO SHOOT SOME SO.WILLY: [FURLY.] CASO! [INCRLOLY.] DON’T YOU REALIZE WHAT TODAY IS? LINDA: OH, HE KNOWS, WILLY. HE’S JT KIDDG YOU.WILLY: THAT’S NOTHG TO KID ABOUT!CHARLEY: NO, LDA, WHAT’S GO’ ON?LINDA: HE’S PLAYG EBBETS FIELD. CHARLEY:BASEBALLTHISWEATHER?WILLY: DON’T TALK TO HIM. COME ON, E ON! [HE IS PHG THEM OUT.] CHARLEY: WA A MUTE, DIDN’T YOU HEAR THE NEWS?WILLY: WHAT?CHARLEY: DON’T YOU LISTEN TO THE RAD? EBBETS FIELD JT BLEW UP.WILLY: YOU GO TO HELL! [CHARLEY LGHS. PHG THEM OUT.] COME ON, E ON!WE’RE LATE.CHARLEY: [AS THEY GO.] KNOCK A HOMER, BIFF, KNOCK A HOMER!WILLY: [THE LAST TO LEAVE, TURNG TO CHARLEY.] I DON’T THK THAT WAS FUNNY, CHARLEY.THIS IS THE GREATT DAY OF MY LIFE. CHARLEY:WILLY,WHENAREYOUGOGTOGROWUP? WILLY:YEAH,HEH?WHENTHISGAMEISOVER,CHARLEY,YOU’LLBELGHGOUTOFTHEOTHER SI OF YOUR FACE. THEY’LL BE LLG HIM ANOTHER RED GRANGE.2 TWENTY-FIVE THOAND A YEAR.CHARLEY: [KIDDG.] IS THAT SO?WILLY: YEAH, THAT’S SO.CHARLEY: WELL, THEN, I’M SORRY, WILLY. BUT TELL ME SOMETHG.WILLY: WHAT?CHARLEY: WHO IS RED GRANGE?WILLY: PUT UP YOUR HANDS. GODDAM YOU, PUT UP YOUR HANDS! [CHARLEY, CHUCKLG,SHAK HIS HEAD AND WALKS AWAY, AROUND THE LEFT RNER OF THE STAGE. WILLY FOLLOWS HIM. THE MIC RIS TO A MOCKG ENZY.] WHO THE HELL DO YOU THK YOU ARE, BETTER THAN EVERYBODY ELSE? YOU DON’T KNOW EVERYTHG, YOU BIG, IGNORANT, STUPID . . . PUT UP YOUR HANDS![LIGHT RIS, ON THE RIGHT SI OF THE FORTAGE, ON A SMALL TABLE THE RECEPTN ROOM OF CHARLEY’S OFFICE. TRAFFIC SOUNDS ARE HEARD. BERNARD, NOW MATURE, SS WHISTLG TO HIMSELF. A PAIR OF TENNIS RACKETS AND AN OVERNIGHT BAG ARE ON THE FLOOR BI HIM.]2. HAROLD EDWARD GRANGE (1903–1991), ALL-AMERIN HALFBACK AT THE UNIVERSY OF ILLOIS OM 1923 TO 1925; HE PLAYED PROFSNALLY FOR THE CHIGO BEARS.1596 READING MORE DRAMAWILLY: [OFFSTAGE.] WHAT ARE YOU WALKG AWAY FOR? DON’T WALK AWAY! IF YOU’RE GOG TO SAY SOMETHG SAY TO MY FACE! I KNOW YOU LGH AT ME BEHD MY BACK. YOU’LL LGH OUT OF THE OTHER SI OF YOUR GODDAM FACE AFTER THIS GAME. TOUCHDOWN! TOUCHDOWN! EIGHTY THOAND PEOPLE! TOUCHDOWN! RIGHT BETWEENTHEGOALPOSTS.[BERNARD IS A QUIET, EARNT, BUT SELF-ASSURED YOUNG MAN. WILLY’S VOICE IS G OM RIGHT UPSTAGE NOW. BERNARD LOWERS HIS FEET OFF THE TABLE AND LISTENS. JENNY, HIS FATHER’S SECRETARY, ENTERS.]JENNY: [DISTRSED.] SAY, BERNARD, WILL YOU GO OUT THE HALL? BERNARD: WHAT IS THAT NOISE? WHO IS ?JENNY: MR. LOMAN. HE JT GOT OFF THE ELEVATOR.BERNARD: [GETTG UP.] WHO’S HE ARGUG WH?JENNY: NOBODY. THERE’S NOBODY WH HIM. I N’T AL WH HIM ANYMORE, AND YOUR FATHER GETS ALL UPSET EVERYTIME HE . I’VE GOT A LOT OF TYPG TO DO, AND YOUR FATHER’S WAG TO SIGN . WILL YOU SEE HIM?WILLY: [ENTERG.] TOUCHDOWN! TOUCH—[HE SE JENNY.] JENNY, JENNY, GOOD TO SEE YOU. HOW’RE YA? WORK’? OR STILL HONT?JENNY: FE. HOW’VE YOU BEEN FEELG?WILLY: NOT MUCH ANYMORE, JENNY. HA, HA! [HE IS SURPRISED TO SEE THE RACKETS.] BERNARD: HELLO, UNCLE WILLY.WILLY: [ALMOST SHOCKED.] BERNARD! WELL, LOOK WHO’S HERE! [HE QUICKLY, GUILTILYTO BERNARD AND WARMLY SHAK HIS HAND.]BERNARD: HOW ARE YOU? GOOD TO SEE YOU.WILLY: WHAT ARE YOU DOG HERE? BERNARD:OH,JTSTOPPEDBYTOSEEPOP.GETOFFMYFEETTILLMYTRALEAV.I’M GOG TO WASHGTON A FEW MUT.WILLY: IS HE ?BERNARD: Y, HE’S HIS OFFICE WH THE ACUNTANT. S DOWN.WILLY: [STG DOWN.] WHAT’RE YOU GOG TO DO WASHGTON?BERNARD: OH, JT A SE I’VE GOT THERE, WILLY.WILLY: THAT SO? [INDITG THE RACKETS.] YOU GOG TO PLAY TENNIS THERE? BERNARD: I’M STAYG WH A IEND WHO’S GOT A URT.WILLY: DON’T SAY. HIS OWN TENNIS URT. MT BE FE PEOPLE, I BET.BERNARD: THEY ARE, VERY NICE. DAD TELLS ME BIFF ’S TOWN.WILLY: [WH A BIG SE.] YEAH, BIFF ’S . WORKG ON A VERY BIG AL, BERNARD. BERNARD: WHAT’S BIFF DOG?WILLY: WELL, HE’S BEEN DOG VERY BIG THGS THE WT. BUT HE CID TOTABLISH HIMSELF HERE. VERY BIG. WE’RE HAVG DNER. DID I HEAR YOUR WIFE HADA BOY?BERNARD: THAT’S RIGHT. OUR SEND.WILLY: TWO BOYS! WHAT DO YOU KNOW!BERNARD: WHAT KD OF A AL HAS BIFF GOT?WILLY: WELL, BILL OLIVER—VERY BIG SPORTG-GOODS MAN—HE WANTS BIFF VERY BADLY.CALLED HIM OM THE WT. LONG DISTANCE, RTE BLANCHE, SPECIAL LIVERI.YOUR IENDS HAVE THEIR OWN PRIVATE TENNIS URT?BERNARD: YOU STILL WH THE OLD FIRM, WILLY?WILLY: [AFTER A PSE.] I’M—I’M OVERJOYED TO SEE HOW YOU MA THE GRA, BERNARD,OVERJOYED. IT’S AN ENURAGG THG TO SEE A YOUNG MAN REALLY—REALLY—LOOKS VERY GOOD FOR BIFF—VERY—[HE BREAKS OFF, THEN.] BERNARD—[HE IS SO FULL OF EMOTN,HE BREAKS OFF AGA.]BERNARD: WHAT IS , WILLY?WILLY: [SMALL AND ALONE.] WHAT—WHAT’S THE SECRET?BERNARD: WHAT SECRET?WILLY: HOW—HOW DID YOU? WHY DIDN’T HE EVER TCH ON?BERNARD: I WOULDN’T KNOW THAT, WILLY.WILLY: [CONFINTIALLY, SPERATELY.] YOU WERE HIS IEND, HIS BOYHOOD IEND.THERE’S SOMETHG I DON’T UNRSTAND ABOUT . HIS LIFE END AFTER THAT EBBETS FIELD GAME. FROM THE AGE OF SEVENTEEN NOTHG GOOD EVER HAPPENED TO HIM.BERNARD: HE NEVER TRAED HIMSELF FOR ANYTHG.WILLY: BUT HE DID, HE DID. AFTER HIGH SCHOOL HE TOOK SO MANY RRPONNCEURS. RAD MECHANICS; TELEVISN; GOD KNOWS WHAT, AND NEVER MA THLIGHTT MARK.BERNARD: [TAKG OFF HIS GLASS.] WILLY, DO YOU WANT TO TALK NDIDLY?WILLY: [RISG, FAC BERNARD.] I REGARD YOU AS A VERY BRILLIANT MAN, BERNARD. IVALUE YOUR ADVICE.BERNARD: OH, THE HELL WH THE ADVICE, WILLY. I ULDN’T ADVISE YOU. THERE’S JTONE THG I’VE ALWAYS WANTED TO ASK YOU. WHEN HE WAS SUPPOSED TO GRADUATE,AND THE MATH TEACHER FLUNKED HIM—WILLY: OH, THAT SON-OF-A-BCH ED HIS LIFE.BERNARD: YEAH, BUT, WILLY, ALL HE HAD TO DO WAS GO TO SUMMER SCHOOL AND MAKP THAT SUBJECT.WILLY: THAT’S RIGHT, THAT’S RIGHT.BERNARD: DID YOU TELL HIM NOT TO GO TO SUMMER SCHOOL?WILLY: ME? I BEGGED HIM TO GO. I ORRED HIM TO GO! BERNARD:THENWHYWOULDN’THEGO?WILLY: WHY? WHY! BERNARD, THAT QUTN HAS BEEN TRAILG ME LIKE A GHOST FORTHE LAST FIFTEEN YEARS. HE FLUNKED THE SUBJECT, AND LAID DOWN AND DIED LIKE AHAMMER H HIM!BERNARD: TAKE EASY, KID.WILLY: LET ME TALK TO YOU—I GOT NOBODY TO TALK TO. BERNARD, BERNARD, WAS MYFLT? Y’SEE? IT KEEPS GOG AROUND MY MD, MAYBE I DID SOMETHG TOHIM. I GOT NOTHG TO GIVE HIM.BERNARD: DON’T TAKE SO HARD.WILLY: WHY DID HE LAY DOWN? WHAT IS THE STORY THERE? YOU WERE HIS IEND! BERNARD: WILLY, I REMEMBER, WAS JUNE, AND OUR GRAS ME OUT. AND HE’DFLUNKED MATH.WILLY: THAT SON-OF-A-BCH!BERNARD: NO, WASN’T RIGHT THEN. BIFF JT GOT VERY ANGRY, I REMEMBER, AND HEWAS READY TO ENROLL SUMMER SCHOOL.WILLY: [SURPRISED.] HE WAS?BERNARD: HE WASN’T BEATEN BY AT ALL. BUT THEN, WILLY, HE DISAPPEARED OM THEBLOCK FOR ALMOST A MONTH. AND I GOT THE IA THAT HE’D GONE UP TO NEW ENGLAND TO SEE YOU. DID HE HAVE A TALK WH YOU THEN? [WILLY STAR SILENCE.] WILLY?WILLY: [WH A STRONG EDGE OF RENTMENT HIS VOICE.] YEAH, HE ME TO BOSTON. WHAT ABOUT ?BERNARD:WELL,JTTHATWHENHEMEBACK—I’LLNEVERFETTHIS,ALWAYS MYSTIFIME.BEEI’DTHOUGHTSOWELLOFBIFF,EVENTHOUGHHE’DALWAYS TAKEN ADVANTAGE OF ME. I LOVED HIM, WILLY, Y’KNOW? AND HE ME BACK AFTER THAT MONTH AND TOOK HIS SNEAKERS—REMEMBER THOSE SNEAKERS WH “UNIVERSY OF VIRGIA” PRTED ON THEM? HE WAS SO PROUD OF THOSE, WORE THEM EVERY DAY. AND HE TOOK THEM DOWN THE CELLAR, AND BURNED THEM UP THE FURNACE. WE HAD A FIST FIGHT. IT LASTED AT LEAST HALF AN HOUR. JT THE TWO OF , PUNCHG EACH OTHER DOWN THE CELLAR, AND CRYG RIGHT THROUGH . I’VE OFTEN THOUGHT OF HOW STRANGE WAS THAT I KNEW HE’D GIVEN UP HIS LIFE. WHAT HAPPENED BOSTON, WILLY? [WILLY LOOKS AT HIM AS AT AN TR.] I JT BRG UP BEE YOU ASKED ME.WILLY: [ANGRILY.] NOTHG. WHAT DO YOU MEAN, “WHAT HAPPENED?” WHAT’S THAT GOT TO DO WH ANYTHG?BERNARD: WELL, DON’T GET SORE.WILLY: WHAT ARE YOU TRYG TO DO, BLAME ON ME? IF A BOY LAYS DOWN IS THAT MYFLT?BERNARD: NOW, WILLY, DON’T GET—WILLY: WELL, DON’T—DON’T TALK TO ME THAT WAY! WHAT DO THAT MEAN, “WHATHAPPENED?”[CHARLEY ENTERS. HE IS HIS VT, AND HE RRI A BOTTLE OF BOURBON.]CHARLEY: HEY, YOU’RE GOG TO MISS THAT TRA. [HE WAV THE BOTTLE.]BERNARD: YEAH, I’M GOG. [HE TAK THE BOTTLE.] THANKS, POP. [HE PICKS UP HIS RACKETS AND BAG.] GOOD-BYE, WILLY, AND DON’T WORRY ABOUT . YOU KNOW, “IF AT FIRST YOUDON’T SUCCEED . . .”WILLY:Y,IBELIEVETHAT. BERNARD:BUTSOMETIM,WILLY,’SBETTERFORAMANJTTOWALKAWAY.WILLY: WALK AWAY?BERNARD: THAT’S RIGHT.WILLY: BUT IF YOU N’T WALK AWAY? BERNARD:[AFTERASLIGHTPSE.]IGUSTHAT’SWHEN’STOUGH.[EXTENDGHISHAND.]GOOD-BYE, WILLY.WILLY: [SHAKG BERNARD’S HAND.] GOOD-BYE, BOY.CHARLEY: [AN ARM ON BERNARD’S SHOULR.] HOW DO YOU LIKE THIS KID? GONNA ARGUEASEONTOFTHESUPREMECOURT.BERNARD: [PROTTG.] POP!WILLY: [GENUELY SHOCKED, PAED, AND HAPPY.] NO! THE SUPREME COURT! BERNARD: I GOTTA N. ’BYE, DAD!CHARLEY: KNOCK ’EM AD, BERNARD![BERNARD GO OFF.]WILLY: [AS CHARLEY TAK OUT HIS WALLET.] THE SUPREME COURT! AND HE DIDN’T EVEN MENTN !CHARLEY: [COUNTG OUT MONEY ON THE SK.] HE DON’T HAVE TO—HE’S GONNA DO . WILLY: AND YOU NEVER TOLD HIM WHAT TO DO, DID YOU? YOU NEVER TOOK ANY TERTHIM.CHARLEY: MY SALVATN IS THAT I NEVER TOOK ANY TERT ANYTHG. THERE’S SOMEMONEY—FIFTY DOLLARS. I GOT AN ACUNTANT SI.WILLY: CHARLEY, LOOK . . . [WH DIFFICULTY.] I GOT MY SURANCE TO PAY. IF YOU N MANAGE —I NEED A HUNDRED AND TEN DOLLARS. [CHARLEY DON’T REPLY FOR A MOMENT; MERELY STOPS MOVG.] I’D DRAW OM MY BANK BUT LDA WOULD KNOW, AND I...CHARLEY: S DOWN, WILLY.WILLY: [MOVG TOWARD THE CHAIR.] I’M KEEPG AN ACUNT OF EVERYTHG, REMEMBER.I’LL PAY EVERY PENNY BACK. [HE SS.]CHARLEY:NOWLISTENTOME,WILLY.WILLY: I WANT YOU TO KNOW I APPRECIATE . . .CHARLEY: [STG DOWN ON THE TABLE.] WILLY, WHAT’RE YOU DO’? WHAT THE HELL ISGO’ONYOURHEAD?WILLY: WHY? I’M SIMPLY . . .CHARLEY: I OFFERED YOU A JOB. YOU N MAKE FIFTY DOLLARS A WEEK. AND I WON’TSEND YOU ON THE ROAD.WILLY: I’VE GOT A JOB.CHARLEY: WHOUT PAY? WHAT KD OF JOB IS A JOB WHOUT PAY? [HE RIS.] NOW,LOOK KID, ENOUGH IS ENOUGH. I’M NO GENI BUT I KNOW WHEN I’M BEGSULTED.WILLY: INSULTED!CHARLEY: WHY DON’T YOU WANT TO WORK FOR ME?WILLY: WHAT’S THE MATTER WH YOU? I’VE GOT A JOB. CHARLEY:THENWHAT’REYOUWALK’HEREEVERYWEEKFOR?WILLY: [GETTG UP.] WELL, IF YOU DON’T WANT ME TO WALK HERE—CHARLEY: I AM OFFERG YOU A JOB!WILLY: I DON’T WANT YOUR GODDAM JOB! CHARLEY:WHENTHEHELLAREYOUGOGTOGROWUP?WILLY: [FURLY.] YOU BIG IGNORAM, IF YOU SAY THAT TO ME AGA I’LL RAP YOUONE! I DON’T RE HOW BIG YOU ARE! [HE’S READY TO FIGHT. PSE.]CHARLEY: [KDLY, GOG TO HIM.] HOW MUCH DO YOU NEED, WILLY?WILLY: CHARLEY, I’M STRAPPED, I’M STRAPPED. I DON’T KNOW WHAT TO DO. I WAS JTFIRED.CHARLEY: HOWARD FIRED YOU?WILLY: THAT SNOTNOSE. IMAGE THAT? I NAMED HIM. I NAMED HIM HOWARD. CHARLEY: WILLY, WHEN’RE YOU GONNA REALIZE THAT THEM THGS DON’T MEAN ANY-THG? YOU NAMED HIM HOWARD, BUT YOU N’T SELL THAT. THE ONLY THG YOU GOT THIS WORLD IS WHAT YOU N SELL. AND THE FUNNY THG IS THAT YOU’RE A SALMAN, AND YOU DON’T KNOW THAT.WILLY: I’VE ALWAYS TRIED TO THK OTHERWISE, I GUS. I ALWAYS FELT THAT IF A MAN WAS IMPRSIVE, AND WELL LIKED, THAT NOTHG—CHARLEY: WHY MT EVERYBODY LIKE YOU? WHO LIKED J. P. MAN?3 WAS HE IMPR- SIVE?INATURKISHBATHHE’DLOOKLIKEABUTCHER.BUTWHHISPOCKETSONHE WAS VERY WELL LIKED. NOW LISTEN, WILLY, I KNOW YOU DON’T LIKE ME, AND NOBODY NSAYI’MLOVEWHYOU,BUTI’LLGIVEYOUAJOBBEE—JTFORTHEHELL OF , PUT THAT WAY. NOW WHAT DO YOU SAY?WILLY: I—I JT N’T WORK FOR YOU, CHARLEY.CHARLEY: WHAT’RE YOU, JEALO OF ME?WILLY: I N’T WORK FOR YOU, THAT’S ALL, DON’T ASK ME WHY. CHARLEY:[ANGERED,TAKOUTMOREBILLS.]YOUBEENJEALOOFMEALLYOURLIFE,3. AMERIN FANCIER (1837–1890), WILY CRICIZED FOR HIS BS ALGS WH THE U.S. ERNMENT.1600 READING MORE DRAMAYOU DAMNED FOOL! HERE, PAY YOUR SURANCE. [HE PUTS THE MONEY WILLY’SHAND.]WILLY: I’M KEEPG STRICT ACUNTS.CHARLEY: I’VE GOT SOME WORK TO DO. TAKE RE OF YOURSELF. AND PAY YOUR SURANCE. WILLY: [MOVG TO THE RIGHT.] FUNNY, Y’KNOW? AFTER ALL THE HIGHWAYS AND THE TRAS,AND THE APPOTMENTS, AND THE YEARS, YOU END UP WORTH MORE AD THAN ALIVE. CHARLEY: WILLY, NOBODY’S WORTH NOTH’ AD. [AFTER A SLIGHT PSE.] DID YOU HEARWHAT I SAID? [WILLY STANDS STILL, DREAMG.] WILLY!WILLY: APOLOGIZE TO BERNARD FOR ME WHEN YOU SEE HIM. I DIDN’T MEAN TO ARGUEWH HIM. HE’S A FE BOY. THEY’RE ALL FE BOYS, AND THEY’LL END UP BIG—ALL OF THEM. SOMEDAY THEY’LL ALL PLAY TENNIS TOGETHER. WISH ME LUCK, CHARLEY. HE SAW BILL OLIVER TODAY.CHARLEY: GOOD LUCK.WILLY: [ON THE VERGE OF TEARS.] CHARLEY, YOU’RE THE ONLY IEND I GOT. ISN’T THAT AREMARKABLE THG? [HE GO OUT.] CHARLEY: J![CHARLEY STAR AFTER HIM A MOMENT AND FOLLOWS. ALL LIGHT BLACKS OUT. SUDNLY R MIC IS HEARD, AND A RED GLOW RIS BEHD THE SCREEN AT RIGHT. STANLEY, A YOUNG WAER, APPEARS, RRYG A TABLE, FOLLOWED BY HAPPY, WHO IS RRYG TWO CHAIRS.]STANLEY: [PUTTG THE TABLE DOWN.] THAT’S ALL RIGHT, MR. LOMAN, I N HANDLE MYSELF. [HE TURNS AND TAK THE CHAIRS OM HAPPY AND PLAC THEM AT THE TABLE.]HAPPY: [GLANCG AROUND.] OH, THIS IS BETTER.STANLEY: SURE, THE ONT THERE YOU’RE THE MIDDLE OF ALL KDS A NOISE. WHEN-EVER YOU GOT A PARTY. MR. LOMAN, YOU JT TELL ME AND I’LL PUT YOU BACK HERE. Y’KNOW, THERE’S A LOTTA PEOPLE THEY DON’T LIKE PRIVATE, BEE WHEN THEY GO OUT THEY LIKE TO SEE A LOTTA ACTN AROUND THEM BEE THEY’RE SICK AND TIRED TO STAY THE HOE BY THEIRSELF. BUT I KNOW YOU, YOU A’T OM HACKENSACK. YOU KNOW WHAT I MEAN?HAPPY: [STG DOWN.] SO HOW’S G, STANLEY?STANLEY: AH, ’S A DOG LIFE. I ONLY WISH DURG THE WAR THEY’D A TOOK ME THEARMY.IUDABEENADBYNOW.HAPPY: MY BROTHER’S BACK, STANLEY.STANLEY: OH, HE E BACK, HEH? FROM THE FAR WT.HAPPY: YEAH, BIG TTLE MAN, MY BROTHER, SO TREAT HIM RIGHT. AND MY FATHER’SG TOO.STANLEY: OH, YOUR FATHER TOO!HAPPY: YOU GOT A UPLE OF NICE LOBSTERS?STANLEY: HUNDRED PER CENT, BIG.HAPPY: I WANT THEM WH THE CLAWS.STANLEY: DON’T WORRY, I DON’T GIVE YOU NO MICE. [HAPPY LGHS.] HOW ABOUT SOMEWE? IT’LL PUT A HEAD ON THE MEAL.HAPPY: NO. YOU REMEMBER, STANLEY, THAT RECIPE I BROUGHT YOU OM OVERSEAS?WH THE CHAMPAGNE ? STANLEY:OH,YEAH,SURE.ISTILLGOTTACKPYETTHEKCHEN.BUTTHAT’LLHAVE TO ST A BUCK APIECE ANYWAYS.HAPPY: THAT’S ALL RIGHT.STANLEY: WHAT’D YOU, H A NUMBER OR SOMETH’?HAPPY: NO, ’S A LTLE CELEBRATN. MY BROTHER IS—I THK HE PULLED OFF A BIG AL TODAY. I THK WE’RE GOG TO BS TOGETHER.STANLEY: GREAT! THAT’S THE BT FOR YOU. BEE A FAY BS, YOU KNOW WHAT I MEAN?—THAT’S THE BT.HAPPY: THAT’S WHAT I THK.STANLEY: ’CSE WHAT’S THE DIFFERENCE? SOMEBODY STEALS? IT’S THE FAY. KNOWWHAT I MEAN? [SOTTO VOCE.] LIKE THIS BARTENR HERE. THE BOSS IS GO’ CRAZY WHAT KDA LEAK HE’S GOT THE SH REGISTER. YOU PUT BUT DON’T E OUT.HAPPY: [RAISG HIS HEAD.] SH!STANLEY: WHAT?HAPPY: YOU NOTICE I WASN’T LOOK’ RIGHT OR LEFT, WAS I?STANLEY: NO.HAPPY: AND MY EY ARE CLOSED.STANLEY: SO WHAT’S THE—?HAPPY: STL’S ’.STANLEY: [CATCHG ON, LOOKS AROUND.] AH, NO, THERE’S NO—[HE BREAKS OFF AS A FURRED,LAVISHLY DRSED GIRL ENTERS AND SS AT THE NEXT TABLE. BOTH FOLLOW HER WH THEIR EY.]GEEZ, HOW’D YA KNOW?HAPPY: I GOT RADAR OR SOMETHG. [STARG DIRECTLY AT HER PROFILE.] OOOOOOOO . . .STANLEY.STANLEY: I THK, THAT’S FOR YOU, MR. LOMAN.HAPPY: LOOK AT THAT MOUTH. OH, GOD. AND THE BOCULARS.STANLEY: GEEZ, YOU GOT A LIFE, MR. LOMAN.HAPPY:WAONHER.STANLEY: [GOG TO THE GIRL’S TABLE.] WOULD YOU LIKE A MENU, MA’AM?GIRL: I’M EXPECTG SOMEONE, BUT I’D LIKE A—HAPPY: WHY DON’T YOU BRG HER—EXCE ME, MISS, DO YOU MD? I SELL CHAM-PAGNE, AND I’D LIKE YOU TO TRY MY BRAND. BRG HER A CHAMPAGNE, STANLEY. GIRL: THAT’S AWFULLY NICE OF YOU.HAPPY: DON’T MENTN . IT’S ALL PANY MONEY. [HE LGHS.]GIRL: THAT’S A CHARMG PRODUCT TO BE SELLG, ISN’T ?HAPPY: OH, GETS TO BE LIKE EVERYTHG ELSE. SELLG IS SELLG, Y’KNOW. GIRL: I SUPPOSE.HAPPY: YOU DON’T HAPPEN TO SELL, DO YOU?GIRL: NO, I DON’T SELL.HAPPY: WOULD YOU OBJECT TO A PLIMENT OM A STRANGER? YOU OUGHT TO BE ON A MAGAZE VER.GIRL: [LOOKG AT HIM A LTLE ARCHLY.] I HAVE BEEN. [STANLEY WH A GLASS OF CHAMPAGNE.]HAPPY: WHAT’D I SAY BEFORE, STANLEY? YOU SEE? SHE’S A VER GIRL. STANLEY: OH, I ULD SEE, I ULD SEE.HAPPY: [TO THE GIRL.] WHAT MAGAZE?GIRL: OH, A LOT OF THEM. [SHE TAK THE DRK.] THANK YOU.HAPPY: YOU KNOW WHAT THEY SAY FRANCE, DON’T YOU? “CHAMPAGNE IS THE DRK OF THE PLEXN”—HYA, BIFF![BIFF HAS ENTERED AND SS WH HAPPY.]BIFF: HELLO, KID. SORRY I’M LATE.HAPPY: I JT GOT HERE. UH, MISS—?GIRL: FORSYTHE.HAPPY: MISS FORSYTHE, THIS IS MY BROTHER.BIFF: IS DAD HERE?HAPPY: HIS NAME IS BIFF. YOU MIGHT’VE HEARD OF HIM. GREAT FOOTBALL PLAYER. GIRL: REALLY? WHAT TEAM?HAPPY: ARE YOU FAIAR WH FOOTBALL?GIRL: NO, I’M AAID I’M NOT.HAPPY: BIFF IS QUARTERBACK WH THE NEW YORK GIANTS.GIRL: WELL, THAT’S NICE, ISN’T ? [SHE DRKS.]HAPPY: GOOD HEALTH.GIRL: I’M HAPPY TO MEET YOU.HAPPY: THAT’S MY NAME, HAP. IT’S REALLY HAROLD, BUT AT WT POT THEY LLED MEHAPPY.GIRL: [NOW REALLY IMPRSED.] OH, I SEE. HOW DO YOU DO? [SHE TURNS HER PROFILE.] BIFF: ISN’T DAD G?HAPPY: YOU WANT HER?BIFF: OH, I ULD NEVER MAKE THAT.HAPPY: I REMEMBER THE TIME THAT IA WOULD NEVER E TO YOUR HEAD. WHERE’STHE OLD NFINCE, BIFF?BIFF: I JT SAW OLIVER—HAPPY: WA A MUTE. I’VE GOT TO SEE THAT OLD NFINCE AGA. DO YOU WANTHER?SHE’SONLL.BIFF: OH, NO. [HE TURNS TO LOOK AT THE GIRL.]HAPPY: I’M TELLG YOU. WATCH THIS. [TURNG TO SEE THE GIRL.] HONEY? [SHE TURNS TOHIM.] ARE YOU BY?GIRL: WELL, I AM . . . BUT I ULD MAKE A PHONE LL.HAPPY: DO THAT, WILL YOU, HONEY? AND SEE IF YOU N GET A IEND. WE’LL BE HEREFOR A WHILE. BIFF IS ONE OF THE GREATT FOOTBALL PLAYERS THE UNTRY. GIRL: [STANDG UP.] WELL, I’M CERTALY HAPPY TO MEET YOU.HAPPY: COME BACK SOON.GIRL: I’LL TRY.HAPPY: DON’T TRY, HONEY, TRY HARD. [THE GIRL EXS. STANLEY FOLLOWS, SHAKG HIS HEAD BEWILRED ADMIRATN.] ISN’T THAT A SHAME NOW? A BETIFUL GIRL LIKE THAT? THAT’S WHY I N’T GET MARRIED. THERE’S NOT A GOOD WOMAN A THOAND. NEW YORK IS LOAD WH THEM, KID!BIFF: HAP, LOOK—HAPPY:ITOLDYOHEWASONLL!BIFF: [STRANGELY UNNERVED.] CUT OUT, WILL YA? I WANT TO SAY SOMETHG TO YOU. HAPPY: DID YOU SEE OLIVER?BIFF: I SAW HIM ALL RIGHT. NOW LOOK, I WANT TO TELL DAD A UPLE OF THGS AND IWANT YOU TO HELP ME.HAPPY: WHAT? IS HE GOG TO BACK YOU?BIFF: ARE YOU CRAZY? YOU’RE OUT OF YOUR GODDAM HEAD, YOU KNOW THAT?HAPPY: WHY? WHAT HAPPENED?BIFF: [BREATHLSLY.] I DID A TERRIBLE THG TODAY, HAP. IT’S BEEN THE STRANGT DAY IEVER WENT THROUGH. I’M ALL NUMB, I SWEAR. HAPPY:YOUMEANHEWOULDN’TSEEYOU?BIFF: WELL, I WAED SIX HOURS FOR HIM, SEE? ALL DAY. KEPT SENDG MY NAME . EVENTRIEDTODATEHISSECRETARYSOSHE’DGETMETOHIM,BUTNOSOAP.HAPPY: BEE YOU’RE NOT SHOW’ THE OLD NFINCE, BIFF. HE REMEMBERED YOU, DIDN’T HE?BIFF: [STOPPG HAPPY WH A GTURE.] FALLY, ABOUT FIVE O’CLOCK, HE OUT. DIDN’T REMEMBER WHO I WAS OR ANYTHG. I FELT LIKE SUCH AN IDT, HAP.HAPPY: DID YOU TELL HIM MY FLORIDA IA?BIFF: HE WALKED AWAY. I SAW HIM FOR ONE MUTE. I GOT SO MAD I ULD’VE TORNTHE WALLS DOWN! HOW THE HELL DID I EVER GET THE IA I WAS A SALMAN THERE? IEVENBELIEVEDMYSELFTHATI’DBEENASALMANFORHIM!ANDTHENHEGAVEME ONE LOOK AND—I REALIZED WHAT A RIDICULO LIE MY WHOLE LIFE HAS BEEN! WE’VE BEENTALKGADREAMFORFIFTEENYEARS.IWASASHIPPGCLERK.HAPPY: WHAT’D YOU DO?BIFF: [WH GREAT TENSN AND WONR.] WELL, HE LEFT, SEE. AND THE SECRETARY WENT OUT.I WAS ALL ALONE THE WAG-ROOM. I DON’T KNOW WHAT ME OVER ME, HAP. THE NEXT THG I KNOW I’M HIS OFFICE—PANELED WALLS, EVERYTHG. I N’T EXPLA . I—HAP, I TOOK HIS FOUNTA PEN.HAPPY: GEEZ, DID HE TCH YOU? BIFF:IRANOUT.IRANDOWNALLELEVENFLIGHTS.IRANANDRANANDRAN. HAPPY:THATWASANAWFULDUMB—WHAT’DYOUDOTHATFOR?BIFF: [AGONIZED.] I DON’T KNOW, I JT—WANTED TO TAKE SOMETHG, I DON’T KNOW.YOU GOTTA HELP ME, HAP, I’M GONNA TELL POP.HAPPY: YOU CRAZY? WHAT FOR?BIFF: HAP, HE’S GOT TO UNRSTAND THAT I’M NOT THE MAN SOMEBODY LENDS THATKD OF MONEY TO. HE THKS I’VE BEEN SPG HIM ALL THE YEARS AND ’SEATG HIM UP.HAPPY: THAT’S JT . YOU TELL HIM SOMETHG NICE.BIFF: I N’T.HAPPY: SAY YOU GOT A LUNCH DATE WH OLIVER TOMORROW.BIFF: SO WHAT DO I DO TOMORROW?HAPPY: YOU LEAVE THE HOE TOMORROW AND E BACK AT NIGHT AND SAY OLIVER ISTHKG OVER. AND HE THKS OVER FOR A UPLE OF WEEKS, AND GRADUALLY FAS AWAY AND NOBODY’S THE WORSE.BIFF:BUT’LLGOONFOREVER!HAPPY: DAD IS NEVER SO HAPPY AS WHEN HE’S LOOKG FORWARD TO SOMETHG! [WILLYENTERS.] HELLO, SUT!WILLY: GEE, I HAVEN’T BEEN HERE YEARS![STANLEY HAS FOLLOWED WILLY AND SETS A CHAIR FOR HIM. STANLEY STARTS OFF BUT HAPPY STOPS HIM.]HAPPY: STANLEY![STANLEY STANDS BY, WAG FOR AN ORR.]BIFF: [GOG TO WILLY WH GUILT, AS TO AN VALID.] S DOWN, POP. YOU WANT A DRK? WILLY: SURE, I DON’T MD.BIFF: LET’S GET A LOAD ON.WILLY: YOU LOOK WORRIED.BIFF: N-NO. [TO STANLEY.] STCH ALL AROUND. MAKE DOUBL. STANLEY: DOUBL, RIGHT. [HE GO.]WILLY: YOU HAD A UPLE ALREADY, DIDN’T YOU?BIFF: JT A UPLE, YEAH.WILLY: WELL, WHAT HAPPENED, BOY? [NODDG AFFIRMATIVELY, WH A SE.] EVERYTHGGO ALL RIGHT?BIFF: [TAK A BREATH, THEN REACH OUT AND GRASPS WILLY’S HAND.] PAL . . . [HE IS SGBRAVELY,ANDWILLYISSGTOO.]IHADANEXPERIENCETODAY.HAPPY: TERRIFIC, POP.WILLY: THAT SO? WHAT HAPPENED?BIFF: [HIGH, SLIGHTLY ALHOLIC, ABOVE THE EARTH.] I’M GOG TO TELL YOU EVERYTHG ’SBEENASTRANGEDAY.[SILENCE.HELOOKSAROUND,POSHIMSELFAS BT HE N, BUT HIS BREATH KEEPS BREAKG THE RHYTHM OF HIS VOICE.] I HAD TO WA QUE A WHILE FOR HIM, AND—WILLY: OLIVER?BIFF: YEAH, OLIVER. ALL DAY, AS A MATTER OF LD FACT. AND A LOT OF—STANC—FACTS,POP, FACTS ABOUT MY LIFE ME BACK TO ME. WHO WAS , POP? WHO EVER SAID IWASASALMANWHOLIVER?WILLY: WELL, YOU WERE.BIFF: NO, DAD, I WAS SHIPPG CLERK.WILLY: BUT YOU WERE PRACTILLY—BIFF: [WH TERMATN.] DAD, I DON’T KNOW WHO SAID FIRST, BUT I WAS NEVER ASALMANFORBILLOLIVER.WILLY: WHAT’RE YOU TALKG ABOUT?BIFF: LET’S HOLD ON TO THE FACTS TONIGHT, POP. WE’RE NOT GOG TO GET ANYWHEREBULL’ AROUND. I WAS A SHIPPG CLERK.WILLY: [ANGRILY.] ALL RIGHT, NOW LISTEN TO ME—BIFF: WHY DON’T YOU LET ME FISH?WILLY: I’M NOT TERTED STORI ABOUT THE PAST OR ANY CRAP OF THAT KDBEE THE WOODS ARE BURNG, BOYS, YOU UNRSTAND? THERE’S A BIG BLAZEGOG ON ALL AROUND. I WAS FIRED TODAY.BIFF: [SHOCKED.] HOW ULD YOU BE?WILLY: I WAS FIRED, AND I’M LOOKG FOR A LTLE GOOD NEWS TO TELL YOUR MOTHER,BEETHEWOMANHASWAEDANDTHEWOMANHASSUFFERED.THEGISTOFIS THAT I HAVEN’T GOT A STORY LEFT MY HEAD, BIFF. SO DON’T GIVE ME A LECTURE ABOUT FACTS AND ASPECTS. I AM NOT TERTED. NOW WHAT’VE YOU GOT TO SAY TO ME? [STANLEY ENTERS WH THREE DRKS. THEY WA UNTIL HE LEAV.] DID YOU SEE OLIVER?BIFF: J, DAD!WILLY:YOUMEANYOUDIDN’TGOUPTHERE?HAPPY: SURE HE WENT UP THERE.BIFF: I DID. I—SAW HIM. HOW ULD THEY FIRE YOU?WILLY: [ON THE EDGE OF HIS CHAIR.] WHAT KD OF A WELE DID HE GIVE YOU?BIFF: HE WON’T EVEN LET YOU WORK ON MISSN?WILLY: I’M OUT. [DRIVG.] SO TELL ME, HE GAVE YOU A WARM WELE?HAPPY: SURE, POP, SURE!BIFF: [DRIVEN.] WELL, WAS KD OF—WILLY: I WAS WONRG IF HE’D REMEMBER YOU. [TO HAPPY.] IMAGE, MAN DON’TSEE HIM FOR TEN, TWELVE YEARS AND GIV HIM THAT KD OF A WELE! HAPPY:DAMNRIGHT!BIFF: [TRYG TO RETURN TO THE OFFENSIVE.] POP, LOOK—WILLY: YOU KNOW WHY HE REMEMBERED YOU, DON’T YOU? BEE YOU IMPRSED HIMTHOSEDAYS.BIFF: LET’S TALK QUIETLY AND GET THIS DOWN TO THE FACTS, HUH?WILLY: [AS THOUGH BIFF HAD BEEN TERPTG.] WELL, WHAT HAPPENED? IT’S GREAT NEWS,BIFF. DID HE TAKE YOU TO HIS OFFICE OR’D YOU TALK THE WAG-ROOM? BIFF: WELL, HE ME , SEE AND—WILLY: [WH A BIG SE.] WHAT’D HE SAY? BETCHA HE THREW HIS ARM AROUND YOU. BIFF: WELL, HE KDA—WILLY: HE’S A FE MAN. [TO HAPPY.] VERY HARD MAN TO SEE, Y’KNOW. HAPPY: [AGREEG.] OH, I KNOW.WILLY: [TO BIFF.] IS THAT WHERE YOU HAD THE DRKS?BIFF: YEAH, HE GAVE ME A UPLE OF—NO, NO!HAPPY: [CUTTG .] HE TOLD HIM MY FLORIDA IA.WILLY: DON’T TERPT. [TO BIFF.] HOW’D HE REACT TO THE FLORIDA IA?BIFF: DAD, WILL YOU GIVE ME A MUTE TO EXPLA?WILLY: I’VE BEEN WAG FOR YOU TO EXPLA SCE I SAT DOWN HERE! WHAT HAPPENED?HE TOOK YOU TO HIS OFFICE AND WHAT?BIFF: WELL—I TALKED. AND—HE LISTENED, SEE.WILLY: FAMO FOR THE WAY HE LISTENS, Y’KNOW. WHAT WAS HIS ANSWER?BIFF: HIS ANSWER WAS—[HE BREAKS OFF, SUDNLY ANGRY.] DAD, YOU’RE NOT LETTG METELL YOU WHAT I WANT TO TELL YOU!WILLY: [ACCG, ANGERED.] YOU DIDN’T SEE HIM, DID YOU?BIFF: I DID SEE HIM!WILLY: WHAT’D YOU SULT HIM OR SOMETHG? YOU SULTED HIM, DIDN’T YOU? BIFF: LISTEN, WILL YOU LET ME OUT OF , WILL YOU JT LET ME OUT OF !HAPPY: WHAT THE HELL!WILLY: TELL ME WHAT HAPPENED!BIFF: [TO HAPPY.] I N’T TALK TO HIM![A SGLE TMPET NOTE JARS THE EAR. THE LIGHT OF GREEN LEAV STAS THE HOE, WHICH HOLDS THE AIR OF NIGHT AND A DREAM. YOUNG BERNARD ENTERS AND KNOCKS ON THE DOOR OF THE HOE.]YOUNG BERNARD: [FRANTILLY.] MRS. LOMAN, MRS. LOMAN! HAPPY: TELL HIM WHAT HAPPENED!BIFF: [TO HAPPY.] SHUT UP AND LEAVE ME ALONE!WILLY: NO, NO. YOU HAD TO GO AND FLUNK MATH!BIFF: WHAT MATH? WHAT’RE YOU TALKG ABOUT? YOUNG BERNARD: MRS. LOMAN, MRS. LOMAN![LINDA APPEARS THE HOE, AS OF OLD.]WILLY: [WILDLY.] MATH, MATH, MATH!BIFF: TAKE EASY, POP!YOUNG BERNARD: MRS. LOMAN!WILLY: [FURLY.] IF YOU HADN’T FLUNKED YOU’D’VE BEEN SET BY NOW!BIFF: NOW, LOOK, I’M GONNA TELL YOU WHAT HAPPENED, AND YOU’RE GOG TO LISTENTO ME.YOUNG BERNARD: MRS. LOMAN!BIFF: I WAED SIX HOURS—HAPPY: WHAT THE HELL ARE YOU SAYG?BIFF: I KEPT SENDG MY NAME BUT HE WOULDN’T SEE ME. SO FALLY HE . . . [HE NTU UNHEARD AS LIGHT FAS LOW ON THE RTRANT.]YOUNG BERNARD: BIFF FLUNKED MATH!LINDA: NO!YOUNG BERNARD: BIRNBM FLUNKED HIM! THEY WON’T GRADUATE HIM!LINDA: BUT THEY HAVE TO. HE’S GOTTA GO TO THE UNIVERSY. WHERE IS HE? BIFF! BIFF! YOUNG BERNARD: NO, HE LEFT. HE WENT TO GRAND CENTRAL.LINDA: GRAND—YOU MEAN HE WENT TO BOSTON!YOUNG BERNARD: IS UNCLE WILLY BOSTON? LINDA:OH,,THEPOOR,POORBOY![LIGHT ON HOE AREA SNAPS OUT.]BIFF: [AT THE TABLE, NOW DIBLE, HOLDG UP A GOLD FOUNTA PEN.] . . . SO I’M WASHED UP WH OLIVER, YOU UNRSTAND? ARE YOU LISTENG TO ME?WILLY: [AT A LOSS.] YEAH, SURE. IF YOU HADN’T FLUNKED—BIFF: FLUNKED WHAT? WHAT’RE YOU TALKG ABOUT?WILLY: DON’T BLAME EVERYTHG ON ME! I DIDN’T FLUNK MATH—YOU DID! WHAT PEN? HAPPY:THATWASAWFULDUMB,BIFF,APENLIKETHATISWORTH—WILLY: [SEEG THE PEN FOR THE FIRST TIME.] YOU TOOK OLIVER’S PEN?BIFF: [WEAKENG.] DAD, I JT EXPLAED TO YOU.WILLY: YOU STOLE BILL OLIVER’S FOUNTA PEN!BIFF: I DIDN’T EXACTLY STEAL ! THAT’S JT WHAT I’VE BEEN EXPLAG TO YOU! HAPPY: HE HAD HIS HAND AND JT THEN OLIVER WALKED , SO HE GOT NERVOAND STUCK HIS POCKET!WILLY: MY GOD, BIFF!BIFF: I NEVER TEND TO DO , DAD!OPERATOR’S VOICE: STANDISH ARMS, GOOD EVENG!WILLY: [SHOUTG.] I’M NOT MY ROOM!BIFF: [FRIGHTENED.] DAD, WHAT’S THE MATTER? [HE AND HAPPY STAND UP.]OPERATOR: RGG MR. LOMAN FOR YOU!BIFF: [HORRIFIED, GETS DOWN ON ONE KNEE BEFORE WILLY.] DAD, I’LL MAKE GOOD, I’LL MAKEGOOD.[WILLYTRITOGETTOHISFEET.BIFFHOLDSHIMDOWN.]SDOWNNOW.WILLY: NO, YOU’RE NO GOOD, YOU’RE NO GOOD FOR ANYTHG.BIFF: I AM, DAD, I’LL FD SOMETHG ELSE, YOU UNRSTAND? NOW DON’T WORRY ABOUTANYTHG. [HE HOLDS UP WILLY’S FACE.] TALK TO ME, DAD.OPERATOR: MR. LOMAN DO NOT ANSWER. SHALL I PAGE HIM?WILLY: [ATTEMPTG TO STAND, AS THOUGH TO SH AND SILENCE THE OPERATOR.] NO, NO, NO! HAPPY: HE’LL STRIKE SOMETHG, POP.WILLY: NO, NO . . .BIFF: [DPERATELY, STANDG OVER WILLY.] POP, LISTEN! LISTEN TO ME! I’M TELLG YOOMETHG GOOD. OLIVER TALKED TO HIS PARTNER ABOUT THE FLORIDA IA. YOU LISTENG? HE—HE TALKED TO HIS PARTNER, AND HE ME TO ME . . . I’M GOG TO BEALLRIGHT,YOUHEAR?DAD,LISTENTOME,HAIDWASJTAQUTNOFTHE AMOUNT!HAPPY: HE’S GONNA BE TERRIFIC, POP! WILLY:[TRYGTOSTAND.]THENYOUGOT,HAVEN’TYOU?YOUGOT!YOUGOT! BIFF: [AGONIZED, HOLDS WILLY DOWN.] NO, NO. LOOK, POP. I’M SUPPOSED TO HAVE LUNCHWH THEM TOMORROW. I’M JT TELLG YOU THIS SO YOU’LL KNOW THAT I N STILL MAKE AN IMPRSN, POP. AND I’LL MAKE GOOD SOMEWHERE, BUT I N’T GOTOMORROW, SEE?WILLY: WHY NOT? YOU SIMPLY—BIFF: BUT THE PEN, POP!WILLY: YOU GIVE TO HIM AND TELL HIM WAS AN OVERSIGHT!HAPPY: SURE, HAVE LUNCH TOMORROW!BIFF: I N’T SAY THAT—WILLY: YOU WERE DOG A CROSSWORD PUZZLE AND ACCINTALLY ED HIS PEN!BIFF: LISTEN, KID, I TOOK THOSE BALLS YEARS AGO, NOW I WALK WH HIS FOUNTAPEN? THAT CLCH , DON’T YOU SEE? I N’T FACE HIM LIKE THAT! I’LL TRY ELSEWHERE. PAGE’S VOICE: PAGG MR. LOMAN!WILLY: DON’T YOU WANT TO BE ANYTHG?BIFF:POP,HOWNIGOBACK?WILLY: YOU DON’T WANT TO BE ANYTHG, IS THAT WHAT’S BEHD ?BIFF: [NOW ANGRY AT WILLY FOR NOT CREDG HIS SYMPATHY.] DON’T TAKE THAT WAY! YOU THK WAS EASY WALKG TO THAT OFFICE AFTER WHAT I’D DONE TO HIM? ATEAM OF HORS ULDN’T HAVE DRAGGED ME BACK TO BILL OLIVER! WILLY:THENWHY’DYOUGO?BIFF: WHY DID I GO? WHY DID I GO! LOOK AT YOU! LOOK AT WHAT’S BEE OF YOU![OFF LEFT, THE WOMAN LGHS.]WILLY: BIFF, YOU’RE GOG TO GO TO THAT LUNCH TOMORROW, OR— BIFF: I N’T GO. I’VE GOT AN APPOTMENT!HAPPY: BIFF, FOR . . . !WILLY: ARE YOU SPG ME?BIFF: DON’T TAKE THAT WAY! GODDAMM! WILLY:[STRIKBIFFANDFALTERSAWAYOMTHETABLE.]YOUROTTENLTLELOE!AREYOPG ME?THE WOMAN: SOMEONE’S AT THE DOOR, WILLY!BIFF: I’M NO GOOD, N’T YOU SEE WHAT I AM? HAPPY:[SEPARATGTHEM.]HEY,YOU’REARTRANT!NOWCUTOUT,BOTHOFYOU![THE GIRLS ENTER.] HELLO, GIRLS, S DOWN. [THE WOMAN LGHS, OFF LEFT.]MISS FORSYTHE: I GUS WE MIGHT AS WELL. THIS IS LETTA.THE WOMAN: WILLY, ARE YOU GOG TO WAKE UP?BIFF: [IGNORG WILLY.] HOW’RE YA, MISS, S DOWN. WHAT DO YOU DRK?MISS FORSYTHE: LETTA MIGHT NOT BE ABLE TO STAY LONG.LETTA: I GOTTA GET UP EARLY TOMORROW. I GOT JURY DUTY. I’M SO EXCED! WERE YOUFELLOWSEVERONAJURY? BIFF:NO,BUTIBEENONTOFTHEM![THEGIRLSLGH.]THISISMYFATHER. LETTA: ISN’T HE CUTE? S DOWN WH , POP.HAPPY: S HIM DOWN, BIFF!BIFF: [GOG TO HIM.] COME ON, SLUGGER, DRK UNR THE TABLE. TO HELL WH !COME ON, S DOWN, PAL.[ON BIFF’S LAST SISTENCE, WILLY IS ABOUT TO S.]THE WOMAN: [NOW URGENTLY.] WILLY, ARE YOU GOG TO ANSWER THE DOOR![THE WOMAN’S LL PULLS WILLY BACK. HE STARTS RIGHT, BEFUDDLED.]BIFF: HEY, WHERE ARE YOU GOG?WILLY:OPENTHEDOOR.BIFF: THE DOOR?WILLY: THE WASHROOM . . . THE DOOR . . . WHERE’S THE DOOR? BIFF: [LEADG WILLY TO THE LEFT.] JT GO STRAIGHT DOWN.[WILLY MOV LEFT.]THE WOMAN: WILLY, WILLY, ARE YOU GOG TO GET UP, GET UP, GET UP, GET UP?[WILLY EXS LEFT.]LETTA: I THK ’S SWEET YOU BRG YOUR DADDY ALONG.MISS FORSYTHE: OH, HE ISN’T REALLY YOUR FATHER! BIFF:[ATLEFT,TURNGTOHERRENTFULLY.]MISSFORSYTHE,YOU’VEJTSEENAPRCEWALK BY. A FE, TROUBLED PRCE. A HARDWORKG, UNAPPRECIATED PRCE. A PAL,YOU UNRSTAND? A GOOD PANN. ALWAYS FOR HIS BOYS.LETTA: THAT’S SO SWEET.HAPPY: WELL, GIRLS, WHAT’S THE PROGRAM? WE’RE WASTG TIME. COME ON, BIFF. GATHERROUND. WHERE WOULD YOU LIKE TO GO?BIFF: WHY DON’T YOU DO SOMETHG FOR HIM?HAPPY: ME!BIFF: DON’T YOU GIVE A DAMN FOR HIM, HAP?HAPPY: WHAT’RE YOU TALKG ABOUT? I’M THE ONE WHO—BIFF: I SENSE , YOU DON’T GIVE A GOOD GODDAM ABOUT HIM. [HE TAK THE ROLLED-UPHOSE OM HIS POCKET AND PUTS ON THE TABLE ONT OF HAPPY.] LOOK WHAT I FOUNDTHECELLAR,FORCHRIST’SSAKE.HOWNYOUBEARTOLETGOON?HAPPY: ME? WHO GO AWAY? WHO NS OFF AND—BIFF: YEAH, BUT HE DON’T MEAN ANYTHG TO YOU. YOU ULD HELP HIM—I N’T!DON’T YOU UNRSTAND WHAT I’M TALKG ABOUT? HE’S GOG TO KILL HIMSELF,DON’T YOU KNOW THAT?HAPPY: DON’T I KNOW ! ME!BIFF: HAP, HELP HIM! J . . . HELP HIM . . . HELP ME, HELP ME, I N’T BEAR TO LOOKAT HIS FACE! [READY TO WEEP, HE HURRI OUT, UP RIGHT.]HAPPY: [STARTG AFTER HIM.] WHERE ARE YOU GOG?MISS FORSYTHE: WHAT’S HE SO MAD ABOUT?HAPPY: COME ON, GIRLS, WE’LL TCH UP WH HIM.MISS FORSYTHE: [AS HAPPY PH HER OUT.] SAY, I DON’T LIKE THAT TEMPER OF HIS! HAPPY: HE’S JT A LTLE OVERSTNG, HE’LL BE ALL RIGHT!WILLY: [OFF LEFT, AS THE WOMAN LGHS.] DON’T ANSWER! DON’T ANSWER!LETTA: DON’T YOU WANT TO TELL YOUR FATHER—HAPPY: NO, THAT’S NOT MY FATHER. HE’S JT A GUY. COME ON, WE’LL TCH BIFF, AND,HONEY, WE’RE GOG TO PAT THIS TOWN! STANLEY, WHERE’S THE CHECK! HEY, STANLEY! [THEY EX. STANLEY LOOKS TOWARD LEFT.]STANLEY: [CALLG TO HAPPY DIGNANTLY.] MR. LOMAN! MR. LOMAN![STANLEY PICKS UP A CHAIR AND FOLLOWS THEM OFF. KNOCKG IS HEARD OFF LEFT. THE WOMAN ENTERS, LGHG. WILLY FOLLOWS HER. SHE IS A BLACK SLIP; HE IS BUTTONG HIS SHIRT. RAW, SENSUO MIC ACPANI THEIR SPEECH.]WILLY: WILL YOU STOP LGHG? WILL YOU STOP?THE WOMAN: AREN’T YOU GOG TO ANSWER THE DOOR? HE’LL WAKE THE WHOLE HOTEL. WILLY: I’M NOT EXPECTG ANYBODY.THE WOMAN: WHYN’T YOU HAVE ANOTHER DRK, HONEY, AND STOP BEG SO DAMNSELF-CENTERED?WILLY: I’M SO LONELY.THE WOMAN: YOU KNOW YOU ED ME, WILLY? FROM NOW ON, WHENEVER YOU ETO THE OFFICE, I’LL SEE THAT YOU GO RIGHT THROUGH TO THE BUYERS. NO WAG ATMY SK ANYMORE, WILLY. YOU ED ME.WILLY: THAT’S NICE OF YOU TO SAY THAT.THE WOMAN: GEE, YOU ARE SELF-CENTERED! WHY SO SAD? YOU ARE THE SADST, SELF-CENTERESTSOULIEVERDIDSEE-SAW.[SHELGHS.HEKISSHER.]COMEONSI, DMMER BOY. IT’S SILLY TO BE DRSG THE MIDDLE OF THE NIGHT. [AS KNOCKG IS HEARD.] AREN’T YOU GOG TO ANSWER THE DOOR?WILLY: THEY’RE KNOCKG ON THE WRONG DOOR.THE WOMAN: BUT I FELT THE KNOCKG. AND HE HEARD TALKG HERE. MAYBETHEHOTEL’SONFIRE!WILLY: [HIS TERROR RISG.] IT’S A MISTAKE. THEWOMAN:THENTELLTHEMTOGOAWAY!WILLY: THERE’S NOBODY THERE.THE WOMAN: IT’S GETTG ON MY NERV, WILLY. THERE’S SOMEBODY STANDG OUTTHERE AND ’S GETTG ON MY NERV!WILLY: [PHG HER AWAY OM HIM.] ALL RIGHT, STAY THE BATHROOM HERE, AND DON’TE OUT. I THK THERE’S A LAW MASSACHETTS ABOUT , SO DON’T E OUT. IT MAY BE THAT NEW ROOM CLERK. HE LOOKED VERY MEAN. SO DON’T E OUT. IT’S A MISTAKE, THERE’S NO FIRE.[THE KNOCKG IS HEARD AGA. HE TAK A FEW STEPS AWAY OM HER, AND SHE VANISH TO THE WG. THE LIGHT FOLLOWS HIM, AND NOW HE IS FACG YOUNG BIFF, WHO RRI A SUSE. BIFF STEPS TOWARD HIM. THE MIC IS GONE.]BIFF: WHY DIDN’T YOU ANSWER?WILLY: BIFF! WHAT ARE YOU DOG BOSTON?BIFF: WHY DIDN’T YOU ANSWER? I’VE BEEN KNOCKG FOR FIVE MUT, I LLED YOUONTHEPHONE—WILLY: I JT HEARD YOU. I WAS THE BATHROOM AND HAD THE DOOR SHUT. DIDANYTHG HAPPEN HOME?BIFF: DAD—I LET YOU DOWN.WILLY: WHAT DO YOU MEAN?BIFF: DAD . . .WILLY: BIFFO, WHAT’S THIS ABOUT? [PUTTG HIS ARM AROUND BIFF.] COME ON, LET’S GODOWNSTAIRS AND GET YOU A MALTED.BIFF: DAD, I FLUNKED MATH.WILLY: NOT FOR THE TERM?BIFF: THE TERM. I HAVEN’T GOT ENOUGH CREDS 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 POTS?BIFF: BIRNBM REFED ABSOLUTELY. I BEGGED HIM, POP, BUT HE WON’T GIVE ME THOSEPOTS. YOU GOTTA TALK TO HIM BEFORE THEY CLOSE THE SCHOOL. BEE IF HE SAW THE KD OF MAN YOU ARE, AND YOU JT TALKED TO HIM YOUR WAY, I’M SURE HE’D E THROUGH FOR ME. THE CLASS ME 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 ULD TALK.WILLY: YOU’RE ON. WE’LL DRIVE RIGHT BACK.BIFF: OH, DAD, GOOD WORK! I’M SURE HE’LL CHANGE FOR YOU!WILLY: GO DOWNSTAIRS AND TELL THE CLERK I’M CHECK’ OUT. GO RIGHT DOWN. BIFF:Y,SIR!SEE,THEREASONHEHATME,POP—ONEDAYHEWASLATEFORCLASSSOI GOT UP AT THE BLACKBOARD AND IMATED HIM. I CROSSED MY EY AND TALKEDWH A LHP.WILLY: [LGHG.] YOU DID? THE KIDS LIKE ?BIFF: THEY NEARLY DIED LGHG!WILLY: YEAH? WHAT’D YOU DO?BIFF: THE THQUARE ROOT OF THIXTHY TWEE IS . . . [WILLY BURSTS OUT LGHG; BIFF JOSHIM.] AND THE MIDDLE OF HE WALKED ! [WILLY LGHS AND THE WOMAN JOS OFFSTAGE.]WILLY: [WHOUT HATN.] HURRY DOWNSTAIRS AND— BIFF:SOMEBODYTHERE?WILLY: NO, THAT WAS NEXT DOOR.[THE WOMAN LGHS OFFSTAGE.]BIFF:SOMEBODYGOTYOURBATHROOM!WILLY: NO, ’S THE NEXT ROOM, THERE’S A PARTY—THE WOMAN: [ENTERS LGHG. SHE LISPS THIS.] CAN I E ? THERE’S SOMETHG THE BATHTUB, WILLY, AND ’S MOVG![WILLY LOOKS AT BIFF, WHO IS STARG OPEN-MOUTHED AND HORRIFIED AT THE WOMAN.]WILLY: AH—YOU BETTER GO BACK TO YOUR ROOM. THEY MT BE FISHED PATG BY NOW. THEY’RE PATG HER ROOM SO I LET HER TAKE A SHOWER HERE. GO BACK, GO BACK . . . [HE PH HER.]THE WOMAN: [RISTG.] BUT I’VE GOT TO GET DRSED, WILLY, I N’T—WILLY: GET OUT OF HERE! GO BACK, GO BACK . . . [SUDNLY STRIVG FOR THE ORDARY.] THIS IS MISS FRANCIS, BIFF, SHE’S A BUYER. THEY’RE PATG HER ROOM. GO BACK,MISS FRANCIS, GO BACK . . .THE WOMAN: BUT MY CLOTH, I N’T GO OUT NAKED THE HALL! WILLY: [PHG HER OFFSTAGE.] GET OUTA HERE! GO BACK, GO BACK![BIFF SLOWLY SS DOWN ON HIS SUSE AS THE ARGUMENT NTU OFFSTAGE.]THE WOMAN: WHERE’S MY STOCKGS? YOU PROMISED ME STOCKGS, WILLY!WILLY: I HAVE NO STOCKGS HERE!THE WOMAN: YOU HAD TWO BOX OF SIZE NE SHEERS FOR ME, AND I WANT THEM! WILLY: HERE, FOR GOD’S SAKE, WILL YOU GET OUTA HERE!THE WOMAN: [ENTERS HOLDG A BOX OF STOCKGS.] I JT HOPE THERE’S NOBODY THEHALL. THAT’S ALL I HOPE. [TO BIFF.] ARE YOU FOOTBALL OR BASEBALL?BIFF: FOOTBALL.THE WOMAN: [ANGRY, HUIATED.] THAT’S ME TOO. G’NIGHT. [SHE SNATCH HER CLOTHOM WILLY, AND WALKS OUT.]WILLY: [AFTER A PSE.] WELL, BETTER GET GOG. I WANT TO GET TO THE SCHOOL FIRST THG THE MORNG. GET MY SUS OUT OF THE CLOSET. I’LL GET MY VALISE. [BIFF DON’T MOVE.] WHAT’S THE MATTER? BIFF REMAS MOTNLS, TEARS FALLG.] SHE’S A BUYER. BUYS FOR J. H. SIMMONS. SHE LIV DOWN THE HALL—THEY’RE PATG. YOU DON’T IMAGE—[HE BREAKS OFF. AFTER A PSE.] NOW LISTEN, PAL, SHE’S JT A BUYER. SHE SE MERCHANDISE HER ROOM AND THEY HAVE TO KEEP LOOKG JT SO . . . [PSE. ASSUMG MAND.] ALL RIGHT, GET MY SUS. [BIFF DON’T MOVE.] NOW STOP CRYG AND DO AS I SAY. I GAVE YOU AN ORR. BIFF, I GAVE YOU AN ORR! IS THAT WHAT YOU DO WHEN I GIVE YOU AN ORR? HOW DARE YOU CRY! [PUTTG HIS ARM AROUND BIFF.] NOW LOOK, BIFF, WHEN YOU GROW UP YOU’LL UNRSTAND ABOUT THE THGS. YOU MTN’T—YOU MTN’T OVEREMPHASIZE A THG LIKE THIS. I’LL SEE BIRNBM FIRST THG THE MORNG.BIFF: NEVER MD.WILLY: [GETTG DOWN BI BIFF.] NEVER MD! HE’S GOG TO GIVE YOU THOSE POTS.I’LL SEE TO .BIFF: HE WOULDN’T LISTEN TO YOU.WILLY: HE CERTALY WILL LISTEN TO ME. YOU NEED THOSE POTS FOR THE U. OF VIRGIA. BIFF: I’M NOT GOG THERE.WILLY: HEH? IF I N’T GET HIM TO CHANGE THAT MARK YOU’LL MAKE UP SUMMERSCHOOL. YOU’VE GOT ALL SUMMER TO—BIFF: [HIS WEEPG BREAKG OM HIM.] DAD . . .WILLY: [INFECTED BY .] OH, MY BOY . . .BIFF: DAD . . .WILLY: SHE’S NOTHG TO ME, BIFF. I WAS LONELY, I WAS TERRIBLY LONELY.BIFF: YOU—YOU GAVE HER MAMA’S STOCKGS! [HIS TEARS BREAK THROUGH AND HE RIS TOGO.]WILLY: [GRABBG FOR BIFF.] I GAVE YOU AN ORR! BIFF: DON’T TOUCH ME, YOU—LIAR!WILLY: APOLOGIZE FOR THAT!BIFF: YOU FAKE! YOU PHONY LTLE FAKE! YOU FAKE![OVERE, HE TURNS QUICKLY AND WEEPG FULLY GO OUT WH HIS SUSE. WILLY IS LEFT ON THE FLOOR ON HIS KNE.]WILLY: I GAVE YOU AN ORR! BIFF, E BACK HERE OR I’LL BEAT YOU! COME BACK HERE! I’LL WHIP YOU! [STANLEY QUICKLY OM THE RIGHT AND STANDS ONT OF WILLY. WILLY SHOUTS AT STANLEY.] I GAVE YOU AN ORR . . .STANLEY: HEY, LET’S PICK UP, PICK UP, MR. LOMAN. [HE HELPS WILLY TO HIS FEET.] YOUR BOYS LEFT WH THE CHIPPI. THEY SAID THEY’LL SEE YOU HOME.[A SECOND WAITER WATCH SOME DISTANCE AWAY.] WILLY: BUT WE WERE SUPPOSED TO HAVE DNER TOGETHER.[MIC IS HEARD, WILLY’S THEME.]STANLEY:CANYOUMAKE? WILLY:I’LL—SURE,INMAKE.[SUDNLYNCERNEDABOUTHISCLOTH.]DOI—ILOOKALL RIGHT?STANLEY: SURE, YOU LOOK ALL RIGHT. [HE FLICKS A SPECK OFF WILLY’S LAPEL.] WILLY: HERE—HERE’S A DOLLAR. STANLEY:OH,’SALLRIGHT.WILLY: [PUTTG STANLEY’S HAND.] NO, TAKE . YOU’RE A GOOD BOY.STANLEY: OH, NO, YOU DON’T HAVE TO . . .WILLY: HERE—HERE’S SOME MORE, I DON’T NEED ANYMORE. [AFTER A SLIGHT PSE.] TELLME—IS THERE A SEED STORE THE NEIGHBORHOOD? STANLEY:SEEDS?YOUMEANLIKETOPLANT?[AS WILLY TURNS, STANLEY SLIPS THE MONEY BACK TO HIS JACKET POCKET.]WILLY: Y. CARROTS, PEAS . . .STANLEY: WELL, THERE’S HARDWARE STOR ON SIXTH AVENUE, BUT MAY BE TOO LATENOW.WILLY: [ANXLY.] OH, I’D BETTER HURRY. I’VE GOT TO GET SOME SEEDS. [HE STARTS OFFTO THE RIGHT.] I’VE GOT TO GET SOME SEEDS, RIGHT AWAY. NOTHG’S PLANTED. I DON’T HAVE A THG THE GROUND.[WILLY HURRI OUT AS THE LIGHT GO DOWN. STANLEY MOV OVER TO THE RIGHT AFTER HIM, WATCH HIM OFF. THE OTHER WAITER HAS BEEN STARG AT WILLY.]STANLEY: [TO THE WAITER.] WELL, WHATTA YOU LOOKG AT?[THE WAITER PICKS UP THE CHAIRS AND MOV OFF RIGHT. STANLEY TAK THE TABLE AND FOLLOWS HIM. THE LIGHT FAS ON THIS AREA. THERE IS A LONG PSE, THE SOUND OF THE FLUTE G OVER. THE LIGHT GRADUALLY RIS ON THE KCHEN, WHICH IS EMPTY. HAPPY APPEARS AT THE DOOR OF THE HOE, FOLLOWED BY BIFF. HAPPY IS RRYG A LARGE BUNCH OF LONG- STEMMED ROS. HE ENTERS THE KCHEN, LOOKS AROUND FOR LINDA. NOT SEEG HER, HE TURNS TO BIFF, WHO IS JT OUTSI THE HOE DOOR, AND MAK A GTURE WH HIS HANDS, DITG “NOT HERE, I GUS.” HE LOOKS TO THE LIVG-ROOM AND EEZ. INSI, LINDA, UNSEEN, IS SEATED, WILLY’S AT ON HER LAP. SHE RIS OMOLY AND QUIETLY AND MOV TOWARD HAPPY, WHO BACKS UP TO THE KCHEN, AAID.]HAPPY: HEY, WHAT’RE YOU DOG UP? [LINDA SAYS NOTHG BUT MOV TOWARD HIM IMPLAC- ABLY.] WHERE’S POP? [HE KEEPS BACKG TO THE RIGHT, AND NOW LINDA IS FULL VIEW THE DOORWAY TO THE LIVG-ROOM.] IS HE SLEEPG?LINDA: WHERE WERE YOU?HAPPY: [TRYG TO LGH OFF.] WE MET TWO GIRLS, MOM, VERY FE TYP. HERE, WEBROUGHTYOOMEFLOWERS.[OFFERGTHEMTOHER.]PUTTHEMYOURROOM,MA. [SHE KNOCKS THEM TO THE FLOOR AT BIFF’S FEET. HE HAS NOW E SI AND CLOSED THE DOOR BEHD HIM. SHE STAR AT BIFF, SILENT.] NOW WHAT’D YOU DO THAT FOR? MOM, I WANT YOU TO HAVE SOME FLOWERS—LINDA: [CUTTG HAPPY OFF, VLENTLY TO BIFF.] DON’T YOU RE WHETHER HE LIV OR DI?HAPPY: [GOG TO THE STAIRS.] COME UPSTAIRS, BIFF.BIFF: [WH A FLARE OF DISGT, TO HAPPY.] GO AWAY OM ME! [TO LINDA.] WHAT DOYOU MEAN, LIV OR DI? NOBODY’S DYG AROUND HERE, PAL. LINDA: GET OUT OF MY SIGHT! GET OUT OF HERE!BIFF: I WANNA SEE THE BOSS.LINDA: YOU’RE NOT GOG NEAR HIM!BIFF: WHERE IS HE? [HE MOV TO THE LIVG-ROOM AND LINDA FOLLOWS.]LINDA: [SHOUTG AFTER BIFF.] YOU VE HIM FOR DNER. HE LOOKS FORWARD TO ALL DAY—[BIFF APPEARS HIS PARENTS’ BEDROOM, LOOKS AROUND AND EXS.]—AND THEN YOUSERT HIM THERE. THERE’S NO STRANGER YOU’D DO THAT TO!HAPPY: WHY? HE HAD A SWELL TIME WH . LISTEN, WHEN I—[LINDA BACK TOTHE KCHEN.]—SERT 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 LOY ROTTEN WHOR![BIFF RE-ENTERS THE KCHEN.]HAPPY: MOM, ALL WE DID WAS FOLLOW BIFF AROUND TRYG TO CHEER HIM UP! [TO BIFF.] BOY, WHAT A NIGHT YOU GAVE ME!LINDA: GET OUT OF HERE, BOTH OF YOU, AND DON’T E BACK! I DON’T WANT YOU TORMENTG HIM ANYMORE. GO ON NOW, GET YOUR THGS TOGETHER! [TO BIFF.] YOU NSLEEPHISAPARTMENT.[SHTARTSTOPICKUPTHEFLOWERSANDSTOPSHERSELF.]PICK UP THIS STUFF, I’M NOT YOUR MAID ANYMORE. PICK UP, YOU BUM, YOU! [HAPPY TURNS HIS BACK TO HER REFAL. BIFF SLOWLY MOV OVER AND GETS DOWN ON HIS KNE, PICKG UP THE FLOWERS.] YOU’RE A PAIR OF ANIMALS! NOT ONE, NOT ANOTHER LIVG SOULWOULDHAVEHADTHECELTYTOWALKOUTONTHATMANARTRANT!BIFF: [NOT LOOKG AT HER.] IS THAT WHAT HE SAID?LINDA: HE DIDN’T HAVE TO SAY ANYTHG. HE WAS SO HUIATED HE NEARLY LIMPEDWHENHEME.HAPPY: BUT, MOM, HE HAD A GREAT TIME WH — BIFF: [CUTTG HIM OFF VLENTLY.] SHUT UP![WHOUT ANOTHER WORD, HAPPY GO UPSTAIRS.]LINDA: YOU! YOU DIDN’T EVEN GO TO SEE IF HE WAS ALL RIGHT!BIFF: [STILL ON THE FLOOR ONT OF LINDA, THE FLOWERS HIS HAND; WH SELF-LOATHG.] NO. DIDN’T. DIDN’T DO A DAMNED THG. HOW DO YOU LIKE THAT, HEH? LEFT HIMBABBLG A TOILET.LINDA: YOU LOE. YOU . . . BIFF:NOWYOUHONTHENOSE![HEGETSUP,THROWSTHEFLOWERSTHEWASTEBASKET.]THE SCUM OF THE EARTH, AND YOU’RE LOOKG AT HIM!LINDA: GET OUT OF HERE!BIFF: I GOTTA TALK TO THE BOSS, MOM. WHERE IS HE?LINDA: YOU’RE NOT GOG NEAR HIM. GET OUT OF THIS HOE!BIFF: [WH ABSOLUTE ASSURANCE, TERMATN.] NO. WE’RE GONNA HAVE AN ABPT N-VERSATN, HIM AND ME.LINDA: YOU’RE NOT TALKG TO HIM! [HAMMERG IS HEARD OM OUTSI THE HOE, OFIGHT. BIFF TURNS TOWARD THE NOISE. SUDNLY PLEADG.] WILL YOU PLEASE LEAVE HIMALONE?BIFF: WHAT’S HE DOG OUT THERE? LINDA: HE’S PLANTG THE GARN! BIFF: [QUIETLY.] NOW? OH, MY GOD![BIFF MOV OUTSI, LINDA FOLLOWG. THE LIGHT DI DOWN ON THEM AND UP ON THE CENTER OF THE APRON AS WILLY WALKS TO . HE IS RRYG A FLASHLIGHT, A HOE, AND A HANDFUL OF SEED PACKETS. HE RAPS THE TOP OF THE HOE SHARPLY TO FIX FIRMLY, AND THEN MOV TO THE LEFT, MEASURG OFF THE DISTANCE WH HIS FOOT. HE HOLDS THE FLASHLIGHT TO LOOK AT THE SEED PACKETS, READG OFF THE STCTNS. HE IS THE BLUE OF NIGHT.]WILLY: CARROTS . . . QUARTER-CH APART. ROWS . . . ONE-FOOT ROWS. [HE MEASUR OFF.] ONE FOOT. [HE PUTS DOWN A PACKAGE AND MEASUR OFF.] BEETS. [HE PUTS DOWN ANOTHER PACKAGE AND MEASUR AGA.] LETTUCE. [HE READS THE PACKAGE, PUTS DOWN.] ONE FOOT—[HE BREAKS OFF AS BEN APPEARS AT THE RIGHT AND MOV SLOWLY DOWN TO HIM.] WHAT A PROPOSN, TS, TS. TERRIFIC, TERRIFIC. ’CSE SHE’S SUFFERED, BEN, THE WOMAN HAS SUFFERED. YOU UNRSTAND ME? A MAN N’T GO OUT THE WAY HE ME , BEN, A MAN HAS GOT TO ADD UP TO SOMETHG. YOU N’T, YOU N’T— [BEN MOV TOWARD HIM AS THOUGH TO TERPT.] YOU GOTTA NSIR, NOW. DON’T ANSWER SO QUICK. REMEMBER, ’S A GUARANTEED TWENTY-THOAND-DOLLAR PROP- OSN. NOW LOOK, BEN, I WANT YOU TO GO THROUGH THE S AND OUTS OF THIS THG WH ME. I’VE GOT NOBODY TO TALK TO, BEN, AND THE WOMAN HAS SUFFERED, YOU HEAR ME?BEN: [STANDG STILL, NSIRG.] WHAT’S THE PROPOSN?WILLY: IT’S TWENTY THOAND DOLLARS ON THE BARRELHEAD. GUARANTEED, GILT-EDGED,YOU UNRSTAND?BEN: YOU DON’T WANT TO MAKE A FOOL OF YOURSELF. THEY MIGHT NOT HONOR THE POLICY. WILLY:HOWNTHEYDAREREFE?DIDN’TIWORKLIKEAOLIETOMEETEVERYPRE-MIUM ON THE NOSE? AND NOW THEY DON’T PAY OFF! IMPOSSIBLE!BEN: IT’S LLED A WARDLY THG, WILLIAM.WILLY: WHY? DO TAKE MORE GUTS TO STAND HERE THE RT OF MY LIFE RGG UPA ZERO?BEN: [YIELDG.] THAT’S A POT, WILLIAM. [HE MOV, THKG, TURNS.] AND TWENTYTHOAND—THAT IS SOMETHG ONE N FEEL WH THE HAND, IS THERE.WILLY: [NOW ASSURED, WH RISG POWER.] OH, BEN, THAT’S THE WHOLE BETY OF ! I SEE LIKE A DIAMOND, SHG THE DARK, HARD AND ROUGH, THAT I N PICK UP AND TOUCH MY HAND. NOT LIKE—LIKE AN APPOTMENT! THIS WOULD NOT BE ANOTHER DAMNED-FOOL APPOTMENT, BEN, AND CHANG ALL THE ASPECTS. BEE HE THKS I’M NOTHG, SEE, AND SO HE SP ME. BUT THE FUNERAL— [STRAIGHTENG UP.] BEN, THAT FUNERAL WILL BE MASSIVE! THEY’LL E OM MAE, MASSACHETTS, VERMONT, NEW HAMPSHIRE! ALL THE OLD-TIMERS WH THE STRANGE LICENSE PLAT—THAT BOY WILL BE THUNR-STCK, BEN, BEE HE NEVER REAL- IZED—I AM KNOWN! RHO ISLAND, NEW YORK, NEW JERSEY—I AM KNOWN, BEN, AND HE’LL SEE WH HIS EY ONCE AND FOR ALL. HE’LL SEE WHAT I AM, BEN! HE’SRASHOCK,THATBOY!BEN: [COMG DOWN TO THE EDGE OF THE GARN.] HE’LL LL YOU A WARD. WILLY: [SUDNLY FEARFUL.] NO, THAT WOULD BE TERRIBLE.BEN: Y. AND A DAMNED FOOL.WILLY: NO, NO, HE MTN’T, I WON’T HAVE THAT! [HE IS BROKEN AND SPERATE.] BEN: HE’LL HATE YOU, WILLIAM.[THE GAY MIC OF THE BOYS IS HEARD.]WILLY: OH, BEN, HOW DO WE GET BACK TO ALL THE GREAT TIM? USED TO BE SO FULL OF LIGHT, AND RASHIP, THE SLEIGH-RIDG WTER, AND THE DDS ON HIS CHEEKS. AND ALWAYS SOME KD OF GOOD NEWS G UP, ALWAYS SOMETHG NICE G UP AHEAD. AND NEVER EVEN LET ME RRY THE VALIS THE HOE, AND SIMONIZG, SIMONIZG THAT LTLE RED R! WHY, WHY N’T I GIVE HIM SOMETHG AND NOT HAVE HIM HATE ME?BEN: LET ME THK ABOUT . [HE GLANC AT HIS WATCH.] I STILL HAVE A LTLE TIME. REMARKABLE PROPOSN, BUT YOU’VE GOT TO BE SURE YOU’RE NOT MAKG A FOOL OF YOURSELF.[BEN DRIFTS OFF UPSTAGE AND GO OUT OF SIGHT. BIFF DOWN OM THE LEFT.]WILLY: [SUDNLY NSC OF BIFF, TURNS AND LOOKS UP AT HIM, THEN BEGS PICKG UP THE PACKAG OF SEEDS NFN.] WHERE THE HELL IS THAT SEED? [INDIGNANTLY.] YOU N’T SEE NOTHG OUT HERE! THEY BOXED THE WHOLE GODDAM NEIGHBORHOOD!BIFF: THERE ARE PEOPLE ALL AROUND HERE. DON’T YOU REALIZE THAT?WILLY: I’M BY. DON’T BOTHER ME.BIFF: [TAKG THE HOE OM WILLY.] I’M SAYG GOOD-BYE TO YOU, POP. [WILLY LOOKS ATHIM, SILENT, UNABLE TO MOVE.] I’M NOT G BACK ANYMORE.WILLY: YOU’RE NOT GOG TO SEE OLIVER TOMORROW?BIFF: I’VE GOT NO APPOTMENT, DAD.WILLY: HE PUT HIS ARM AROUND YOU, AND YOU’VE GOT NO APPOTMENT?BIFF: POP, GET THIS NOW, WILL YOU? EVERYTIME I’VE LEFT ’S BEEN A FIGHT THAT SENT MEOUT OF HERE. TODAY I REALIZED SOMETHG ABOUT MYSELF AND I TRIED TO EXPLA TO YOU AND I—I THK I’M JT NOT SMART ENOUGH TO MAKE ANY SENSE OUT OF FOR YOU. TO HELL WH WHOSE FLT IS OR ANYTHG LIKE THAT. [HE TAK WILLY’S ARM.]LET’SJTWRAPUP,HEH?COMEON,WE’LLTELLMOM.[HEGENTLYTRITO PULL WILLY TO LEFT.]WILLY: [FROZEN, IMMOBILE, WH GUILT HIS VOICE.] NO, I DON’T WANT TO SEE HER.BIFF: COME ON! [HE PULLS AGA, AND WILLY TRI TO PULL AWAY.]WILLY: [HIGHLY NERVO.] NO, NO, I DON’T WANT TO SEE HER.BIFF: [TRI TO LOOK TO WILLY’S FACE, AS IF TO FD THE ANSWER THERE.] WHY DON’T YOUWANT TO SEE HER?WILLY: [MORE HARSHLY NOW.] DON’T BOTHER ME, WILL YOU?BIFF: WHAT DO YOU MEAN, YOU DON’T WANT TO SEE HER? YOU DON’T WANT THEM LLGYOU YELLOW, DO YOU? THIS ISN’T YOUR FLT; ’S ME, I’M A BUM. NOW E SI! [WILLY STRAS TO GET AWAY.] DID YOU HEAR WHAT I SAID TO YOU?[WILLY PULLS AWAY AND QUICKLY GO BY HIMSELF TO THE HOE. BIFF FOLLOWS.]LINDA: [TO WILLY.] DID YOU PLANT, AR?BIFF: [AT THE DOOR, TO LINDA.] ALL RIGHT, WE HAD OUT. I’M GOG AND I’M NOT WRGANYMORE.LINDA: [GOG TO WILLY THE KCHEN.] I THK THAT’S THE BT WAY, AR. ’CSETHERE’S NO E DRAWG OUT, YOU’LL JT NEVER GET ALONG. [WILLY DON’T RPOND.]BIFF: PEOPLE ASK WHERE I AM AND WHAT I’M DOG, YOU DON’T KNOW, AND YOU DON’T RE. THAT WAY ’LL BE OFF YOUR MD AND YOU N START BRIGHTENG UP AGA. ALL RIGHT? THAT CLEARS , DON’T ? [WILLY IS SILENT, AND BIFF GO TO HIM.] YOU GONNA WISH ME LUCK, SUT? [HE EXTENDS HIS HAND.] WHAT DO YOU SAY?LINDA: SHAKE HIS HAND, WILLY.WILLY: [TURNG TO HER, SEETHG WH HURT.] THERE’S NO NECSY TO MENTN THE PENAT ALL, Y’KNOW.BIFF: [GENTLY.] I’VE GOT NO APPOTMENT, DAD.WILLY: [EPTG FIERCELY.] HE PUT HIS ARM AROUND . . . ?BIFF: DAD, YOU’RE NEVER GOG TO SEE WHAT I AM, SO WHAT’S THE E OF ARGUG? IFI STRIKE OIL I’LL SEND YOU A CHECK. MEANTIME FET I’M ALIVE. WILLY: [TO LINDA.] SPE, SEE?BIFF: SHAKE HANDS, DAD.WILLY: NOT MY HAND.BIFF: I WAS HOPG NOT TO GO THIS WAY.WILLY: WELL, THIS IS THE WAY YOU’RE GOG. GOOD-BYE. [BIFF LOOKS AT HIM A MOMENT, THENTURNSSHARPLYANDGOTOTHTAIRS.WILLYSTOPSHIMWH.]MAYYOUROTHELL IF YOU LEAVE THIS HOE!BIFF: [TURNG.] EXACTLY WHAT IS THAT YOU WANT OM ME?WILLY: I WANT YOU TO KNOW, ON THE TRA, THE MOUNTAS, THE VALLEYS, WHEREVERYOUGO,THATYOUCUTDOWNYOURLIFEFORSPE!BIFF: NO, NO.WILLY: SPE, SPE, IS THE WORD OF YOUR UNDOG! AND WHEN YOU’RE DOWN AND OUT,REMEMBERWHATDID.WHENYOU’REROTTGSOMEWHEREBITHERAILROADTRACKS, REMEMBER, AND DON’T YOU DARE BLAME ON ME! BIFF: I’M NOT BLAMG ON YOU!WILLY: I WON’T TAKE THE RAP FOR THIS, YOU HEAR?[HAPPY DOWN THE STAIRS AND STANDS ON THE BOTTOM STEP, WATCHG.]BIFF: THAT’S JT WHAT I’M TELLG YOU!WILLY: [SKG TO A CHAIR AT THE TABLE, WH FULL ACCATN.] YOU’RE TRYG TO PUT AKNIFE ME—DON’T THK I DON’T KNOW WHAT YOU’RE DOG!BIFF: ALL RIGHT, PHONY! THEN LET’S LAY ON THE LE. [HE WHIPS THE BBER TUBE OUT OFHIS POCKET AND PUTS ON THE TABLE.] HAPPY: YOU CRAZY—LINDA: BIFF![SHE MOV TO GRAB THE HOSE, BUT BIFF HOLDS DOWN WH HIS HAND.]BIFF: LEAVE THERE! DON’T MOVE !WILLY: [NOT LOOKG AT .] WHAT IS THAT?BIFF: YOU KNOW GODDAM WELL WHAT THAT IS.WILLY: [CAGED, WANTG TO PE.] I NEVER SAW THAT.BIFF: YOU SAW . THE MICE DIDN’T BRG TO THE CELLAR! WHAT IS THIS SUPPOSEDTO DO, MAKE A HERO OUT OF YOU? THIS SUPPOSED TO MAKE ME SORRY FOR YOU? WILLY: NEVER HEARD OF .BIFF: THERE’LL BE NO PY FOR YOU, YOU HEAR ? NO PY!WILLY: [TO LINDA.] YOU HEAR THE SPE!BIFF: NO, YOU’RE GOG TO HEAR THE TTH—WHAT YOU ARE AND WHAT I AM! LINDA: STOP !WILLY: SPE!HAPPY: [COMG DOWN TOWARD BIFF.] YOU CUT NOW!BIFF: [TO HAPPY.] THE MAN DON’T KNOW WHO WE ARE! THE MAN IS GONNA KNOW! [TO WILLY.] WE NEVER TOLD THE TTH FOR TEN MUT THIS HOE!HAPPY: WE ALWAYS TOLD THE TTH!BIFF: [TURNG ON HIM.] YOU BIG BLOW, ARE YOU THE ASSISTANT BUYER? YOU’RE ONE OFTHE TWO ASSISTANTS TO THE ASSISTANT, AREN’T YOU?HAPPY: WELL, I’M PRACTILLY—BIFF: YOU’RE PRACTILLY FULL OF ! WE ALL ARE! AND I’M THROUGH WH . [TO WILLY.]NOW HEAR THIS, WILLY, THIS IS ME.WILLY: I KNOW YOU!BIFF: YOU KNOW WHY I HAD NO ADDRS FOR THREE MONTHS? I STOLE A SU KANSASCY AND I WAS JAIL. [TO LINDA, WHO IS SOBBG.] STOP CRYG. I’M THROUGH WH .[LINDA TURNS AWAY OM THEM, HER HANDS VERG HER FACE.]WILLY: I SUPPOSE THAT’S MY FLT!BIFF: I STOLE MYSELF OUT OF EVERY GOOD JOB SCE HIGH SCHOOL!WILLY: AND WHOSE FLT IS THAT?BIFF: AND I NEVER GOT ANYWHERE BEE YOU BLEW ME SO FULL OF HOT AIR I ULDNEVER STAND TAKG ORRS OM ANYBODY! THAT’S WHOSE FLT IS!WILLY: I HEAR THAT!LINDA: DON’T, BIFF!BIFF: IT’S GODDAM TIME YOU HEARD THAT! I HAD TO BE BOSS BIG SHOT TWO WEEKS,AND I’M THROUGH WH !WILLY: THEN HANG YOURSELF! FOR SPE, HANG YOURSELF!BIFF: NO! NOBODY’S HANGG HIMSELF, WILLY! I RAN DOWN ELEVEN FLIGHTS WH A PEN MY HAND TODAY. AND SUDNLY I STOPPED, YOU HEAR ME? AND THE MIDDLE OF THAT OFFICE BUILDG, DO YOU HEAR THIS? I STOPPED THE MIDDLE OF THAT BUILDG AND I SAW—THE SKY. I SAW THE THGS THAT I LOVE THIS WORLD. THE WORK AND THE FOOD AND TIME TO S AND SMOKE. AND I LOOKED AT THE PEN AND SAID TO MYSELF, WHAT THE HELL AM I GRABBG THIS FOR? WHY AM I TRYG TO BEE WHAT I DON’T WANT TO BE? WHAT AM I DOG AN OFFICE, MAKG A NTEMP- TUO, BEGGG FOOL OF MYSELF, WHEN ALL I WANT IS OUT THERE, WAG FOR ME THE MUTE I SAY I KNOW WHO I AM! WHY N’T I SAY THAT, WILLY? [HE TRI TO MAKE WILLY FACE HIM, BUT WILLY PULLS AWAY AND MOV TO THE LEFT.]WILLY: [WH HATRED, THREATENGLY.] THE DOOR OF YOUR LIFE IS WI OPEN!BIFF: POP! I’M A DIME A DOZEN, AND SO ARE YOU!WILLY: [TURNG ON HIM NOW AN UNNTROLLED OUTBURST.] I AM NOT A DIME A DOZEN!I AM WILLY LOMAN, AND YOU ARE BIFF LOMAN![BIFF STARTS FOR WILLY, BUT IS BLOCKED BY HAPPY. IN HIS FURY, BIFF SEEMS ON THE VERGEOF ATTACKG HIS FATHER.]BIFF: I AM NOT A LEAR OF MEN, WILLY, AND NEHER ARE YOU. YOU WERE NEVER ANY- THG BUT A HARD-WORKG DMMER WHO LAND THE ASH N LIKE ALL THE RT OF THEM! I’M ONE DOLLAR AN HOUR, WILLY! I TRIED SEVEN STAT AND ULDN’T RAISE . A BUCK AN HOUR! DO YOU GATHER MY MEANG? I’M NOT BRGG HOME ANY PRIZ ANYMORE, AND YOU’RE GOG TO STOP WAG FOR ME TO BRG THEM HOME!WILLY: [DIRECTLY TO BIFF.] YOU VENGEFUL, SPEFUL MUT![BIFF BREAKS OM , IGHT, STARTS UP THE STAIRS. BIFF GRABS HIM.]BIFF: [AT THE PEAK OF HIS FURY.] POP, I’M NOTHG! I’M NOTHG, POP. CAN’T YOU UNRSTAND THAT? THERE’S NO SPE ANYMORE. I’M JT WHAT I AM, THAT’S ALL.[BIFF’S FURY HAS SPENT SELF, AND HE BREAKS DOWN, SOBBG, HOLDG ON TO WILLY, WHO DUMBLY FUMBL FOR BIFF’S FACE.]WILLY: [ASTONISHED.] WHAT’RE YOU DOG? WHAT’RE YOU DOG? [TO LINDA.] WHY IS HE CRYG?BIFF: [CRYG, BROKEN.] WILL YOU LET ME GO, FOR CHRIST’S SAKE? WILL YOU TAKE THAT PHONY DREAM AND BURN BEFORE SOMETHG HAPPENS? [STGGLG TO NTA HIMSELF, HE PULLS AWAY AND MOV TO THE STAIRS.] I’LL GO THE MORNG. PUT HIM— PUT HIM TO BED. [EXHSTED, BIFF MOV UP THE STAIRS TO HIS ROOM.]WILLY: [AFTER A LONG PSE, ASTONISHED, ELEVATED.] ISN’T THAT—ISN’T THAT REMARKABLE? BIFF—HE LIK ME!LINDA: HE LOV YOU, WILLY!HAPPY: [DEEPLY MOVED.] ALWAYS DID, POP.WILLY: OH, BIFF! [STARG WILDLY.] HE CRIED! CRIED TO ME. [HE IS CHOKG WH HIS LOVE,AND NOW CRI OUT HIS PROMISE.] THAT BOY—THAT BOY IS GOG TO BE MAGNIFICENT! [BEN APPEARS THE LIGHT JT OUTSI THE KCHEN.]BEN: Y, OUTSTANDG, WH TWENTY THOAND BEHD HIM.LINDA: [SENSG THE RACG OF HIS MD, FEARFULLY, REFULLY.] NOW E TO BED, WILLY.IT’S ALL SETTLED NOW.WILLY: [FDG DIFFICULT NOT TO SH OUT OF THE HOE.] Y, WE’LL SLEEP. COME ON. GOTO SLEEP, HAP.BEN: AND DO TAKE A GREAT KD OF MAN TO CRACK THE JUNGLE.[IN ACCENTS OF DREAD, BEN’S IDYLLIC MIC STARTS UP.]HAPPY: [HIS ARM AROUND LINDA.] I’M GETTG MARRIED, POP, DON’T FET . I’M CHANGG EVERYTHG. I’M GONNA N THAT PARTMENT BEFORE THE YEAR IS UP. YOU’LL SEE, MOM. [HE KISS HER.]BEN: THE JUNGLE IS DARK BUT FULL OF DIAMONDS, WILLY. [WILLY TURNS, MOV, LISTENG TO BEN.]LINDA: BE GOOD. YOU’RE BOTH GOOD BOYS, JT ACT THAT WAY, THAT’S ALL.HAPPY: ’NIGHT, POP. [HE GO UPSTAIRS.]LINDA: [TO WILLY.] COME, AR.BEN: [WH GREATER FORCE.] ONE MT GO TO FETCH A DIAMOND OUT.WILLY: [TO LINDA, AS HE MOV SLOWLY ALONG THE EDGE OF THE KCHEN, TOWARD THE DOOR.] IJT WANT TO GET SETTLED DOWN, LDA. LET ME S ALONE FOR A LTLE.LINDA: [ALMOST UTTERG HER FEAR.] I WANT YOU UPSTAIRS.WILLY: [TAKG HER HIS ARMS.] IN A FEW MUT, LDA. I ULDN’T SLEEP RIGHT NOW.GO ON, YOU LOOK AWFUL TIRED. [HE KISS HER.]BEN: NOT LIKE AN APPOTMENT AT ALL. A DIAMOND IS ROUGH AND HARD TO THE TOUCH. WILLY:GOONNOW.I’LLBERIGHTUP.LINDA: I THK THIS IS THE ONLY WAY, WILLY.WILLY: SURE, ’S THE BT THG.BEN: BT THG!WILLY: THE ONLY WAY. EVERYTHG IS GONNA BE—GO ON, KID, GET TO BED. YOU LOOKSO TIRED.LINDA: COME RIGHT UP.WILLY: TWO MUT. [LINDA GO TO THE LIVG-ROOM, THEN REAPPEARS HER BEDROOM.WILLY MOV JT OUTSI THE KCHEN DOOR.] LOV ME. [WONRGLY.] ALWAYS LOVEDME. ISN’T THAT A REMARKABLE THG? BEN, HE’LL WORSHIP ME FOR !BEN: [WH PROMISE.] IT’S DARK THERE, BUT FULL OF DIAMONDS.WILLY: CAN YOU IMAGE THAT MAGNIFICENCE WH TWENTY THOAND DOLLARS HISPOCKET?LINDA: [CALLG OM HER ROOM.] WILLY! COME UP!WILLY: [CALLG TO THE KCHEN.] Y! Y. COMG! IT’S VERY SMART, YOU REALIZE THAT,DON’TYOU,SWEETHEART?EVENBENSE.IGOTTAGO,BABY.’BYE!’BYE![GOG OVER TO BEN, ALMOST DANCG.] IMAGE? WHEN THE MAIL HE’LL BE AHEAD OF BERNARD AGA!BEN:APERFECTPROPOSNALLAROUND.WILLY: DID YOU SEE HOW HE CRIED TO ME? OH, IF I ULD KISS HIM, BEN!BEN: TIME, WILLIAM, TIME!WILLY: OH, BEN, I ALWAYS KNEW ONE WAY OR ANOTHER WE WERE GONNA MAKE , BIFFAND I!BEN: [LOOKG AT HIS WATCH.] THE BOAT. WE’LL BE LATE. [HE MOV SLOWLY OFF TO THEDARKNS.] WILLY:[ELEGIALLY,TURNGTOTHEHOE.]NOWWHENYOICKOFF,BOY,IWANTASEVENTY-YARD BOOT, AND GET RIGHT DOWN THE FIELD UNR THE BALL, AND WHEN YOU H, H LOW AND H HARD, BEE ’S IMPORTANT, BOY. [HE SWGS AROUND AND FAC THE DIENCE.] THERE’S ALL KDS OF IMPORTANT PEOPLE THE STANDS, AND THE FIRST THG YOU KNOW . . . [SUDNLY REALIZG HE IS ALONE.] BEN! BEN, WHERE DO I...? [HE MAK A SUDN MOVEMENT OF SEARCH.] BEN, HOW DO I...?LINDA: [CALLG.] WILLY, YOU G UP?WILLY: [UTTERG A GASP OF FEAR, WHIRLG ABOUT AS IF TO QUIET HER.] SH! [HE TURNS AROUNDAS IF TO FD HIS WAY; SOUNDS, FAC, VOIC, SEEM TO BE SWARMG UPON HIM AND HE FLICKS AT THEM, CRYG.] SH! SH! [SUDNLY MIC, FAT AND HIGH, STOPS HIM. IT RIS TENSY, ALMOST TO AN UNBEARABLE SCREAM. HE GO UP AND DOWN ON HIS TO, AND SH OFF AROUND THE HOE.] SHHH!LINDA: WILLY? [THERE IS NO ANSWER. LINDA WAS. BIFF GETS UP OFF HIS BED. HE IS STILL HIS CLOTH. HAPPY SS UP. BIFF STANDS LISTENG.] [WH REAL FEAR.] WILLY, ANSWER ME! WILLY! [THERE IS THE SOUND OF A R STARTG AND MOVG AWAY AT FULL SPEED.] NO!BIFF: [RHG DOWN THE STAIRS.] POP![AS THE R SPEEDS OFF, THE MIC CRASH DOWN A ENZY OF SOUND, WHICH BE THE SOFT PULSATN OF A SGLE CELLO STRG. BIFF SLOWLY RETURNS TO HIS BEDROOM. HE AND HAPPY GRAVELY DON THEIR JACKETS. LINDA SLOWLY WALKS OUT OF HER ROOM. THE MIC HAS VELOPED TO A AD MARCH. THE LEAV OF DAY ARE APPEARG OVER EVERYTHG. CHARLEY AND BERNARD, SOMBERLY DRSED, APPEAR AND KNOCK ON THE KCHEN DOOR. BIFF AND HAPPY SLOWLY SCEND THE STAIRS TO THE KCHEN AS CHARLEY AND BERNARD ENTER. ALL STOP A MOMENT WHEN LINDA, CLOTH OF MOURNG, BEARG A LTLE BUNCH OF ROS, THROUGH THE DRAPED DOORWAY TO THE KCHEN. SHE GO TO CHARLEY AND TAK HIS ARM. NOW ALL MOVE TOWARD THE DIENCE, THROUGH THE WALL-LE OF THE KCHEN. AT THE LIM OF THE APRON, LINDA LAYS DOWN THE FLOWERS, KNEELS, AND SS BACK ON HER HEELS. ALL STARE DOWN AT THE GRAVE.]REQUIEMCHARLEY: IT’S GETTG DARK, LDA.[LINDA DON’T REACT. SHE STAR AT THE GRAVE.]BIFF: HOW ABOUT , MOM? BETTER GET SOME RT, HEH? THEY’LL BE CLOSG THE GATE SOON.[LINDA MAK NO MOVE. PSE.]HAPPY: [DEEPLY ANGERED.] HE HAD NO RIGHT TO DO THAT. THERE WAS NO NECSY FOR . WE WOULD’VE HELPED HIM.CHARLEY: [GNTG.] HMMM.BIFF: COME ALONG, MOM.LINDA: WHY DIDN’T ANYBODY E?CHARLEY: IT WAS A VERY NICE FUNERAL.LINDA: BUT WHERE ARE ALL THE PEOPLE HE KNEW? MAYBE THEY BLAME HIM.CHARLEY: NAA. IT’S A ROUGH WORLD, LDA. THEY WOULDN’T BLAME HIM.LINDA: I N’T UNRSTAND . AT THIS TIME PECIALLY. FIRST TIME THIRTY-FIVE YEARSWE WERE JT ABOUT EE AND CLEAR. HE ONLY NEED A LTLE SALARY. HE WAS EVENFISHED WH THE NTIST.CHARLEY: NO MAN ONLY NEEDS A LTLE SALARY.LINDA: I N’T UNRSTAND .BIFF: THERE WERE A LOT OF NICE DAYS. WHEN HE’D E HOME OM A TRIP; OR ONSUNDAYS, MAKG THE STOOP; FISHG THE CELLAR; PUTTG ON THE NEW PORCH; WHEN HE BUILT THE EXTRA BATHROOM; AND PUT UP THE GARAGE. YOU KNOW SOME- THG, CHARLEY, THERE’S MORE OF HIM THAT ONT STOOP THAN ALL THE SAL HE EVER MA.CHARLEY:YEAH.HEWASAHAPPYMANWHABATCHOFCEMENT. LINDA: HE WAS SO WONRFUL WH HIS HANDS.BIFF: HE HAD THE WRONG DREAMS. ALL, ALL, WRONG.HAPPY: [ALMOST READY TO FIGHT BIFF.] DON’T SAY THAT!BIFF: HE NEVER KNEW WHO HE WAS.CHARLEY: [STOPPG HAPPY’S MOVEMENT AND REPLY. TO BIFF.] NOBODY DAST BLAME THISMAN. YOU DON’T UNRSTAND: WILLY WAS A SALMAN. AND FOR A SALMAN, THERE IS NO ROCK BOTTOM TO THE LIFE. HE DON’T PUT A BOLT TO A NUT, HE DON’T TELL YOU THE LAW OR GIVE YOU MEDICE. HE’S A MAN WAY OUT THERE THE BLUE, RIDG ON A SE AND A SHOHE. AND WHEN THEY START NOT SG BACK—THAT’S AN EARTHQUAKE. AND THEN YOU GET YOURSELF A UPLE OF SPOTS ON YOUR HAT, AND YOU’RE FISHED. NOBODY DAST BLAME THIS MAN. A SALMAN IS GOT TO DREAM, BOY. IT WH THE TERRORY.BIFF: CHARLEY, THE MAN DIDN’T KNOW WHO HE WAS.HAPPY: [INFURIATED.] DON’T SAY THAT!BIFF: WHY DON’T YOU E WH ME, HAPPY?HAPPY: I’M NOT LICKED THAT EASILY. I’M STAYG RIGHT THIS CY, AND I’M GONNABEATTHISRACKET![HELOOKSATBIFF,HISCHSET.]THELOMANBROTHERS!BIFF: I KNOW WHO I AM, KID.HAPPY: ALL RIGHT, BOY. I’M GONNA SHOW YOU AND EVERYBODY ELSE THAT WILLY LOMANDID NOT DIE VA. HE HAD A GOOD DREAM. IT’S THE ONLY DREAM YOU N HAVE—TO E OUT NUMBER-ONE-MAN. HE FOUGHT OUT HERE, AND THIS IS WHERE I’M GONNA WFORHIM.BIFF: [WH A HOPELS GLANCE AT HAPPY, BENDS TOWARD HIS MOTHER.] LET’S GO, MOM. LINDA: I’LL BE WH YOU A MUTE. GO ON, CHARLEY. [HE HAT.] I WANT TO, JT FOR A MUTE. I NEVER HAD A CHANCE TO SAY GOOD-BYE. [CHARLEY MOV AWAY, FOLLOWED BY HAPPY. BIFF REMAS A SLIGHT DISTANCE UP AND LEFT OF LINDA. SHE SS THERE, SUMMONG HERSELF. THE FLUTE BEGS, NOT FAR AWAY, PLAYG BEHD HER SPEECH.] FIVE ME, AR. I N’T CRY. I DON’T KNOW WHAT IS, BUT I N’T CRY. I DON’T UNRSTAND . WHY DID YOU EVER DO THAT? HELP ME, WILLY, I N’T CRY. IT SEEMS TO ME THAT YOU’RE JT ON ANOTHER TRIP. I KEEP EXPECTG YOU. WILLY, AR, I N’T CRY. WHY DID YOU DO ? I SEARCH AND SEARCH AND I SEARCH, AND I N’T UNRSTAND , WILLY. I MA THE LAST PAYMENT ON THE HOE TODAY. TODAY, AR. AND THERE’LL BE NOBODY HOME. [A SOB RIS HER THROAT.] WE’RE EE AND CLEAR. [SOBBG MORE FULLY, RELEASED.] WE’RE EE. [BIFF SLOWLY TOWARD HER.] WE’RE EE . . . WE’REEE . . .1EMBEDCANCELHOW TO FORMAT LYRICS:TYPE OUT ALL LYRICS, EVEN REPEATG SONG PARTS LIKE THE CHOSLYRICS SHOULD BE BROKEN DOWN TO DIVIDUAL LUSE SECTN HEARS ABOVE DIFFERENT SONG PARTS LIKE [VERSE], [CHOS], ETC.USE ALICS (<I>LYRIC</I>) AND BOLD (<B>LYRIC</B>) TO DISTGUISH BETWEEN DIFFERENT VOLISTS THE SAME SONG PARTIF YOU DON’T UNRSTAND A LYRIC, E [?]TO LEARN MORE, CHECK OUT OUR TRANSCRIPTN GUI OR VIS OUR TRANSCRIBERS FOMABOUT
- ALBUM REVIEW: SO GAY, SO DRAMATIC BY BRIGHT LIGHT BRIGHT LIGHT
DEATH OF A SALMAN: ACT 2ARTHUR MILLERTRACK 2 ON DEATH OF A SALMAN ARTHUR MILLER’S PLAY DEATH OF A SALMAN ADDRS LOSS OF INTY AND A MAN’S ABILY TO ACCEPT CHANGE WH HIMSELF AND SOCIETY. THE PLAY IS A MONTAGE OF MEMORI… READ MORE MAY. 9, 19861 VIEWER57.8K VIEWS30 CONTRIBUTORSDEATH OF A SALMAN: ACT 2 LYRICSACT IIMIC IS HEARD, GAY AND BRIGHT. THE CURTA RIS AS THE MIC FAS AWAY. WILLY, SHIRT SLEEV, IS STG AT THE KCHEN TABLE, SIPPG FFEE, HIS HAT HIS LAP. LINDA IS FILLG HIS CUP WHEN SHE N.WILLY: WONRFUL FFEE. MEAL SELF. LINDA:CAN I MAKE YOU SOME EGGS? WILLY: NO. TAKE A BREATH.LINDA: YOU LOOK SO RTED, AR.WILLY: I SLEPT LIKE A AD ONE. FIRST TIME MONTHS. IMAGE, SLEEPG TILL TEN ON A TUDAY MORNG. BOYS LEFT NICE AND EARLY, HEH?LINDA: THEY WERE OUT OF HERE BY EIGHT O’CLOCK.WILLY: GOOD WORK!LINDA: IT WAS SO THRILLG TO SEE THEM LEAVG TOGETHER. I N’T GET OVER THE SHAVGLOTNTHISHOE!WILLY: [SG.] MMM—LINDA: BIFF WAS VERY CHANGED THIS MORNG. HIS WHOLE ATTU SEEMED TO BEHOPEFUL. HE ULDN’T WA TO GET DOWNTOWN TO SEE OLIVER.WILLY: HE’S HEADG FOR A CHANGE. THERE’S NO QUTN, THERE SIMPLY ARE CERTAMENTHATTAKELONGERTOGET—SOLIDIFIED.HOWDIDHEDRS?LINDA: HIS BLUE SU. HE’S SO HANDSOME THAT SU. HE ULD BE A—ANYTHG THAT SU![WILLY GETS UP OM THE TABLE. LINDA HOLDS HIS JACKET FOR HIM.]WILLY: THERE’S NO QUTN, NO QUTN AT ALL. GEE, ON THE WAY HOME TONIGHT I’D LIKE TO BUY SOME SEEDS.LINDA: [LGHG.] THAT’D BE WONRFUL. BUT NOT ENOUGH SUN GETS BACK THERE. NOTHG’LL GROW ANY MORE.WILLY: YOU WA, KID, BEFORE ’S ALL OVER WE’RE GONNA GET A LTLE PLACE OUT THE UNTRY, AND I’LL RAISE SOME VEGETABL, A UPLE OF CHICKENS . . .LINDA: YOU’LL DO YET, AR.[WILLY WALKS OUT OF HIS JACKET. LINDA FOLLOWS HIM.]WILLY: AND THEY’LL GET MARRIED, AND E FOR A WEEKEND. I’D BUILD A LTLE GUT HOE. ’CSE I GOT SO MANY FE TOOLS, ALL I’D NEED WOULD BE A LTLE LUMBER AND SOME PEACE OF MD.LINDA: [JOYFULLY.] I SEWED THE LG . . .WILLY: I ULD BUILD TWO GUT HO, SO THEY’D BOTH E. DID HE CI HOWMUCH HE’S GOG TO ASK OLIVER FOR?LINDA: [GETTG HIM TO THE JACKET.] HE DIDN’T MENTN , BUT I IMAGE TEN ORFIFTEEN THOAND. YOU GOG TO TALK TO HOWARD TODAY?ARTHUR MILLER DEATH OF A SALMAN, ACT II 1587WILLY: YEAH. I’LL PUT TO HIM STRAIGHT AND SIMPLE. HE’LL JT HAVE TO TAKE ME OFF THE ROAD.LINDA: AND WILLY, DON’T FET TO ASK FOR A LTLE ADVANCE, BEE WE’VE GOT THE SURANCE PREMIUM. IT’S THE GRACE PERD NOW.WILLY: THAT’S A HUNDRED . . . ?LINDA: A HUNDRED AND EIGHT, SIXTY-EIGHT. BEE WE’RE A LTLE SHORT AGA. WILLY: WHY ARE WE SHORT?LINDA:WELL,YOUHADTHEMOTORJOBONTHER...WILLY: THAT GODDAM STUBAKER!LINDA: AND YOU GOT ONE MORE PAYMENT ON THE REIGERATOR . . .WILLY: BUT JT BROKE AGA!LINDA: WELL, ’S OLD, AR.WILLY NILLY: I TOLD YOU WE SHOULD’VE BOUGHT A WELL-ADVERTISED MACHE. CHARLEY BOUGHTA GENERAL ELECTRIC AND ’S TWENTY YEARS OLD AND ’S STILL GOOD, THAT SON-OF-A-BCH.LINDA: BUT, WILLY—WILLY: WHOEVER HEARD OF A HASTGS REIGERATOR? ONCE MY LIFE I WOULD LIKE TOOWN SOMETHG OUTRIGHT BEFORE ’S BROKEN! I’M ALWAYS A RACE WH THE JUNKYARD! I JT FISHED PAYG FOR THE R AND ’S ON S LAST LEGS. THE REIG- ERATOR NSUM BELTS LIKE A GODDAM MANIAC. THEY TIME THOSE THGS. THEY TIMETHEMSOWHENYOUFALLYPAIDFORTHEM,THEY’RSP.LINDA: [BUTTONG UP HIS JACKET AS HE UNBUTTONS .] ALL TOLD, ABOUT TWO HUNDRED DOLLARS WOULD RRY , AR. BUT THAT CLUS THE LAST PAYMENT ON THE MORT- GAGE. AFTER THIS PAYMENT, WILLY, THE HOE BELONGS TO .WILLY: IT’S TWENTY-FIVE YEARS!LINDA: BIFF WAS NE YEARS OLD WHEN WE BOUGHT .WILLY: WELL, THAT’S A GREAT THG. TO WEATHER A TWENTY-FIVE YEAR MORTGAGE IS— LINDA:IT’SANACPLISHMENT.WILLY: ALL THE CEMENT, THE LUMBER, THE RENSTCTN I PUT THIS HOE! THEREA’T A CRACK TO BE FOUND ANYMORE.LINDA: WELL, SERVED S PURPOSE.WILLY: WHAT PURPOSE? SOME STRANGER’LL E ALONG, MOVE , AND THAT’S THAT. IFONLY BIFF WOULD TAKE THIS HOE, AND RAISE A FAY . . . [HE STARTS TO GO.] GOOD-BYE, I’M LATE.LINDA: [SUDNLY REMEMBERG.] OH, I FOT! YOU’RE SUPPOSED TO MEET THEM FORDNER. WILLY: ME?LINDA: AT FRANK’S CHOP HOE ON FORTY-EIGHTH NEAR SIXTH AVENUE. WILLY: IS THAT SO! HOW ABOUT YOU?LINDA: NO, JT THE THREE OF YOU. THEY’RE GONNA BLOW YOU TO A BIG MEAL! WILLY: DON’T SAY! WHO THOUGHT OF THAT?LINDA: BIFF ME TO ME THIS MORNG, WILLY, AND HE SAID, “TELL DAD, WE WANT TO BLOW HIM TO A BIG MEAL.” BE THERE SIX O’CLOCK. YOU AND YOUR TWO BOYS ARE GOG TO HAVE DNER.WILLY: GEE WHIZ! THAT’S REALLY SOMETH’. I’M GONNA KNOCK HOWARD FOR A LOOP, KID. I’LL GET AN ADVANCE, AND I’LL E HOME WH A NEW YORK JOB. GODDAMM, NOW I’M GONNA DO !LINDA: OH, THAT’S THE SPIR, WILLY!WILLY: I WILL NEVER GET BEHD A WHEEL THE RT OF MY LIFE!LINDA: IT’S CHANGG, WILLY, I N FEEL CHANGG!WILLY: BEYOND A QUTN. G’BYE, I’M LATE. [HE STARTS TO GO AGA.]LINDA: [CALLG AFTER HIM AS SHE NS TO THE KCHEN TABLE FOR A HANDKERCHIEF.] YOU GOTYOUR GLASS?WILLY: [FEELS FOR THEM, THEN BACK .] YEAH, YEAH, GOT MY GLASS. LINDA: [GIVG HIM THE HANDKERCHIEF.] AND A HANDKERCHIEF.WILLY: YEAH, HANDKERCHIEF.LINDA: AND YOUR SACCHARE?7WILLY: YEAH, MY SACCHARE. LINDA:BEREFULONTHUBWAYSTAIRS.[SHE KISS HIM, AND A SILK STOCKG IS SEEN HANGG OM HER HAND. WILLY NOTIC .]WILLY: WILL YOU STOP MENDG STOCKGS? AT LEAST WHILE I’M THE HOE. IT GETS ME NERVO. I N’T TELL YOU. PLEASE.[LINDA HIS THE STOCKG HER HAND AS SHE FOLLOWS WILLY ACROSS THE FORTAGE ONT OF THE HOE.]LINDA: REMEMBER, FRANK’S CHOP HOE.WILLY: [PASSG THE APRON.] MAYBE BEETS WOULD GROW OUT THERE.LINDA: [LGHG.] BUT YOU TRIED SO MANY TIM.WILLY: YEAH. WELL, DON’T WORK HARD TODAY. [HE DISAPPEARS AROUND THE RIGHT RNER OFTHE HOE.]LINDA: BE REFUL! [AS WILLY VANISH, LINDA WAV TO HIM. SUDNLY THE PHONE RGS.SHE NS ACROSS THE STAGE AND TO THE KCHEN AND LIFTS .] HELLO? OH, BIFF! I’M SO GLAD YOU LLED, I JT . . . Y, SURE, I JT TOLD HIM. Y, HE’LL BE THERE FOR DNER AT SIX O’CLOCK, I DIDN’T FET. LISTEN, I WAS JT DYG TO TELL YOU. YOU KNOW THAT LTLE BBER PIPE I TOLD YOU ABOUT? THAT HE NNECTED TO THE GAS HEATER? I FALLY CID TO GO DOWN THE CELLAR THIS MORNG AND TAKE AWAY AND STROY . BUT ’S GONE! IMAGE? HE TOOK AWAY HIMSELF, ISN’T THERE! [SHE LISTENS.] WHEN? OH, THEN YOU TOOK . OH—NOTHG, ’S JT THAT I’D HOPED HE’D TAKEN AWAY HIMSELF. OH, I’M NOT WORRIED, DARLG, BEE THIS MORNG HE LEFT SUCH HIGH SPIRS, WAS LIKE THE OLD DAYS! I’M NOT AAID ANYMORE. DID MR. OLIVER SEE YOU? . . . WELL, YOU WA THERE THEN. AND MAKE A NICE IMPRSN ON HIM, DARLG. JT DON’T PERSPIRE TOO MUCH BEFORE YOU SEE HIM. AND HAVE A NICE TIME WH DAD. HE MAY HAVE BIG NEWS TOO! . . . THAT’S RIGHT, A NEW YORK JOB. AND BE SWEET TO HIM TONIGHT, AR. BE LOVG TO HIM. BEE HE’S ONLY A LTLE BOAT LOOKG FOR A HARBOR. [SHE IS TREMBLG WH SORROW AND JOY.] OH, THAT’S WONRFUL, BIFF, YOU’LL SAVE HIS LIFE. THANKS, DARLG. JT PUT YOUR ARM AROUND HIM WHEN HE TO THE RTRANT. GIVE HIM A SE. THAT’S THE BOY . . . GOOD-BYE, AR . . . YOU GOT YOUR B? . . . THAT’S FE. GOOD-BYE, BIFF AR.[IN THE MIDDLE OF HER SPEECH, HOWARD WAGNER, THIRTY-SIX, WHEELS ON A SMALL TYPEWRER TABLE ON WHICH IS A WIRE-RERDG MACHE AND PROCEEDS TO PLUG . THIS IS ON THE LEFT FORTAGE. LIGHT SLOWLY FAS ON LINDA AS RIS ON HOWARD. HOWARD IS TENT ON THREADG THE MACHE AND ONLY GLANC OVER HIS SHOULR AS WILLY APPEARS.]7. ARTIFICIAL SWEETENER ONCE REMEND AS A HEALTHY ALTERNATIVE TO SUGAR.WILLY: PST! PST!HOWARD: HELLO, WILLY, E .WILLY: LIKE TO HAVE A LTLE TALK WH YOU, HOWARD.HOWARD: SORRY TO KEEP YOU WAG. I’LL BE WH YOU A MUTE.WILLY: WHAT’S THAT, HOWARD?HOWARD: DIDN’T YOU EVER SEE ONE OF THE? WIRE RERR. WILLY:OH.CANWETALKAMUTE?HOWARD: RERDS THGS. JT GOT LIVERY YTERDAY. BEEN DRIVG ME CRAZY, THEMOST TERRIFIC MACHE I EVER SAW MY LIFE. I WAS UP ALL NIGHT WH .WILLY: WHAT DO YOU DO WH ?HOWARD: I BOUGHT FOR DICTATN, BUT YOU N DO ANYTHG WH . LISTEN TOTHIS. I HAD HOME LAST NIGHT. LISTEN TO WHAT I PICKED UP. THE FIRST ONE IS MY DGHTER. GET THIS. [HE FLICKS THE SWCH AND “ROLL OUT THE BARREL” IS HEARD BEG WHISTLED.]LISTENTOTHATKIDWHISTLE.WILLY: THAT IS LIFELIKE, ISN’T ? HOWARD:SEVENYEARSOLD.GETTHATTONE. WILLY: TS, TS. LIKE TO ASK A LTLE FAVOR IF YOU . . .[THE WHISTLG BREAKS OFF, AND THE VOICE OF HOWARD’S DGHTER IS HEARD.]HIS DAUGHTER: “NOW YOU, DADDY.”HOWARD: SHE’S CRAZY FOR ME! [AGA THE SAME SONG IS WHISTLED.] THAT’S ME! HA! [HEWKS.]WILLY: YOU’RE VERY GOOD![THE WHISTLG BREAKS OFF AGA. THE MACHE NS SILENT FOR A MOMENT.]HOWARD: SH! GET THIS NOW, THIS IS MY SON.HIS SON: “THE PAL OF ALABAMA IS MONTGOMERY; THE PAL OF ARIZONA IS PHOE-NIX; THE PAL OF ARKANSAS IS LTLE ROCK; THE PAL OF CALIFORNIA IS SACRA-MENTO . . .” [AND ON, AND ON.]HOWARD: [HOLDG UP FIVE FGERS.] FIVE YEARS OLD, WILLY!WILLY: HE’LL MAKE AN ANNOUNCER SOME DAY!HIS SON: [CONTUG.] “THE PAL . . .”HOWARD: GET THAT—ALPHABETIL ORR! [THE MACHE BREAKS OFF SUDNLY.] WA AMUTE. THE MAID KICKED THE PLUG OUT.WILLY: IT CERTALY IS A—HOWARD: SH, FOR GOD’S SAKE!HIS SON: “IT’S NE O’CLOCK, BULOVA WATCH TIME.8 SO I HAVE TO GO TO SLEEP.” WILLY: THAT REALLY IS—HOWARD: WA A MUTE! THE NEXT IS MY WIFE. [THEY WA.]HOWARD’S VOICE: “GO ON, SAY SOMETHG.” [PSE.] “WELL, YOU GONNA TALK?”HIS WIFE: “I N’T THK OF ANYTHG.”HOWARD’S VOICE: “WELL, TALK—’S TURNG.”HIS WIFE: [SHYLY, BEATEN.] “HELLO.” [SILENCE.] “OH, HOWARD, I N’T TALK TO THIS . . .” HOWARD: [SNAPPG THE MACHE OFF.] THAT WAS MY WIFE.WILLY: THAT IS A WONRFUL MACHE. CAN WE—8. PHRASE MONLY HEARD ON RAD PROGRAMS SPONSORED BY THE BULOVA WATCH COMPANY.1590 READING MORE DRAMAHOWARD: I TELL YOU, WILLY, I’M GONNA TAKE MY MERA, AND MY BANDSAW, AND ALL MY HOBBI, AND OUT THEY GO. THIS IS THE MOST FASCATG RELAXATN I EVER FOUND.WILLY: I THK I’LL GET ONE MYSELF.HOWARD: SURE, THEY’RE ONLY A HUNDRED AND A HALF. YOU N’T DO WHOUT . SUP-POSG YOU WANNA HEAR JACK BENNY,9 SEE? BUT YOU N’T BE AT HOME AT THAT HOUR.SOYOUTELLTHEMAIDTOTURNTHERADONWHENJACKBENNYON, AND THIS TOMATILLY GO ON WH THE RAD . . .WILLY: AND WHEN YOU E HOME YOU . . .HOWARD: YOU N E HOME TWELVE O’CLOCK, ONE O’CLOCK, ANY TIME YOU LIKE, ANDYOU GET YOURSELF A COKE AND S YOURSELF DOWN, THROW THE SWCH, AND THERE’SJACK BENNY’S PROGRAM THE MIDDLE OF THE NIGHT!WILLY: I’M FELY GOG TO GET ONE. BEE LOTS OF TIME I’M ON THE ROAD, ANDI THK TO MYSELF, WHAT I MT BE MISSG ON THE RAD!HOWARD: DON’T YOU HAVE A RAD THE R?WILLY: WELL, YEAH, BUT WHO EVER THKS OF TURNG ON?HOWARD: SAY, AREN’T YOU SUPPOSED TO BE BOSTON?WILLY: THAT’S WHAT I WANT TO TALK TO YOU ABOUT, HOWARD. YOU GOT A MUTE? [HEDRAWS A CHAIR OM THE WG.]HOWARD: WHAT HAPPENED? WHAT’RE YOU DOG HERE?WILLY: WELL . . .HOWARD: YOU DIDN’T CRACK UP AGA, DID YOU?WILLY: OH, NO. NO . . .HOWARD: GEEZ, YOU HAD ME WORRIED THERE FOR A MUTE. WHAT’S THE TROUBLE? WILLY: WELL, TELL YOU THE TTH, HOWARD. I’VE E TO THE CISN THAT I’D RATHERNOT TRAVEL ANYMORE.HOWARD: NOT TRAVEL! WELL, WHAT’LL YOU DO? WILLY:REMEMBER,CHRISTMASTIME,WHENYOUHADTHEPARTYHERE?YOAIDYOU’DTRY TO THK OF SOME SPOT FOR ME HERE TOWN.HOWARD: WH ?WILLY: WELL, SURE.HOWARD: OH, YEAH, YEAH. I REMEMBER. WELL, I ULDN’T THK OF ANYTHG FOR YOU,WILLY.WILLY: I TELL YA, HOWARD. THE KIDS ARE ALL GROWN UP, Y’KNOW. I DON’T NEED MUCHANYMORE. IF I ULD TAKE HOME—WELL, SIXTY-FIVE DOLLARS A WEEK, I ULD SWG.HOWARD: YEAH, BUT WILLY, SEE I—WILLY: I TELL YA WHY, HOWARD. SPEAKG ANKLY AND BETWEEN THE TWO OF ,Y’KNOW—I’M JT A LTLE TIRED.HOWARD: OH, I ULD UNRSTAND THAT, WILLY. BUT YOU’RE A ROAD MAN, WILLY, ANDWE DO A ROAD BS. WE’VE ONLY GOT A HALF-DOZEN SALMEN ON THE FLOOR HERE. WILLY: GOD KNOWS, HOWARD, I NEVER ASKED A FAVOR OF ANY MAN. BUT I WAS WHTHEFIRMWHENYOURFATHESEDTORRYYOUHEREHISARMS.HOWARD: I KNOW THAT, WILLY, BUT— WILLY:YOURFATHERMETOMETHEDAYYOUWEREBORNANDASKEDMEWHATITHOUGHT OF THE NAME OF HOWARD, MAY HE RT PEACE.HOWARD: I APPRECIATE THAT, WILLY, BUT THERE JT IS NO SPOT HERE FOR YOU. IF I HAD A SPOT I’D SLAM YOU RIGHT , BUT I JT DON’T HAVE A SGLE SOLARY SPOT.[HE LOOKS FOR HIS LIGHTER. WILLY HAS PICKED UP AND GIV TO HIM. PSE.]WILLY: [WH CREASG ANGER.] HOWARD, ALL I NEED TO SET MY TABLE IS FIFTY DOLLARS A WEEK.HOWARD: BUT WHERE AM I GOG TO PUT YOU, KID?WILLY: LOOK, ISN’T A QUTN OF WHETHER I N SELL MERCHANDISE, IS ? HOWARD: NO, BUT ’S A BS, KID, AND EVERYBODY’S GOTTA PULL HIS OWN WEIGHT. WILLY: [DPERATELY.] JT LET ME TELL YOU A STORY, HOWARD—HOWARD: ’CSE YOU GOTTA ADM, BS IS BS.WILLY: [ANGRILY.] BS IS FELY BS, BUT JT LISTEN FOR A MUTE. YOUDON’T UNRSTAND THIS. WHEN I WAS A BOY—EIGHTEEN, NETEEN—I WAS ALREADY ON THE ROAD. AND THERE WAS A QUTN MY MD AS TO WHETHER SELLG HAD A FUTURE FOR ME. BEE THOSE DAYS I HAD A YEARNG TO GO TO ALASKA. SEE, THERE WERE THREE GOLD STRIK ONE MONTH ALASKA, AND I FELT LIKE GOG OUT. JT FOR THE RI, YOU MIGHT SAY.HOWARD: [BARELY TERTED.] DON’T SAY. WILLY:OH,YEAH,MYFATHERLIVEDMANYYEARSALASKA.HEWASANADVENTUROMAN. WE’VE GOT QUE A LTLE STREAK OF SELF-RELIANCE OUR FAY. I THOUGHT I’D GO OUT WH MY OLR BROTHER AND TRY TO LOTE HIM, AND MAYBE SETTLE THE NORTH WH THE OLD MAN. AND I WAS ALMOST CID TO GO, WHEN I MET A SALMAN THE PARKER HOE. HIS NAME WAS DAVE SGLEMAN. AND HE WAS EIGHTY-FOUR YEARS OLD, AND HE’D DMMED MERCHANDISE THIRTY-ONE STAT. AND OLD DAVE, HE’D GO UP TO HIS ROOM, Y’UNRSTAND, PUT ON HIS GREEN VELVET SLIPPERS—I’LL NEVER FET—AND PICK UP HIS PHONE AND LL THE BUYERS, AND WHOUT EVER LEAVG HIS ROOM, AT THE AGE OF EIGHTY-FOUR, HE MA A LIVG. AND WHENISAWTHAT,IREALIZEDTHATSELLGWASTHEGREATTREERAMANULD WANT. ’CSE WHAT ULD BE MORE SATISFYG THAN TO BE ABLE TO GO, AT THE AGE OF EIGHTY-FOUR, TO TWENTY OR THIRTY DIFFERENT CI, AND PICK UP HIS PHONE AND BE REMEMBERED AND LOVED AND HELPED BY SO MANY DIFFERENT PEOPLE? DO YOU KNOW? WHEN HE DIED—AND BY THE WAY HE DIED THE ATH OF A SALMAN, HISGREENVELVETSLIPPERSTHMOKEROFTHENEWYORK,NEWHAVENAND HARTFORD, GOG TO BOSTON—WHEN HE DIED, HUNDREDS OF SALMEN AND BUYERS WERE AT HIS FUNERAL. THGS WERE SAD ON A LOTTA TRAS FOR MONTHS AFTER THAT. [HTANDSUP.HOWARDHASNOTLOOKEDATHIM.]INTHOSEDAYSTHEREWASPERSONALY , HOWARD. THERE WAS RPECT, AND RASHIP, AND GRATU . TODAY, ’S ALL CUT AND DRIED, AND THERE’S NO CHANCE FOR BRGG IENDSHIP TO BEAR— OR PERSONALY. YOU SEE WHAT I MEAN? THEY DON’T KNOW ME ANYMORE.HOWARD: [MOVG AWAY, TOWARD THE RIGHT.] THAT’S JT THE THG, WILLY.WILLY: IF I HAD FORTY DOLLARS A WEEK—THAT’S ALL I’D NEED. FORTY DOLLARS, HOWARD. HOWARD: KID, I N’T TAKE BLOOD OM A STONE, I—WILLY: [DPERATN IS ON HIM NOW.] HOWARD, THE YEAR AL SMH1 WAS NOMATED,YOUR FATHER ME TO ME AND—HOWARD: [STARTG TO GO OFF.] I’VE GOT TO SEE SOME PEOPLE, KID.WILLY: [STOPPG HIM.] I’M TALKG ABOUT YOUR FATHER! THERE WERE PROMIS MAACROSS THIS SK! YOU MTN’T TELL ME YOU’VE GOT PEOPLE TO SEE—I PUT THIRTY-FOUR YEARS TO THIS FIRM, HOWARD, AND NOW I N’T PAY MY SURANCE! YOU N’T EAT THE ORANGE AND THROW THE PEEL AWAY—A MAN IS NOT A PIECE OF U! [AFTER A PSE.] NOW PAY ATTENTN. YOUR FATHER— 1928 I HAD A BIG YEAR. I AVERAGED A HUNDRED AND SEVENTY DOLLARS A WEEK MISSNS.HOWARD: [IMPATIENTLY.] NOW, WILLY, YOU NEVER AVERAGED—WILLY: [BANGG HIS HAND ON THE SK.] I AVERAGED A HUNDRED AND SEVENTY DOLLARS AWEEKTHEYEAROF1928!ANDYOURFATHERMETOME—ORRATHER,IWASTHEOFFICE HERE— WAS RIGHT OVER THIS SK—AND HE PUT HIS HAND ON MY SHOULR— HOWARD: [GETTG UP.] YOU’LL HAVE TO EXCE ME, WILLY, I GOTTA SEE SOME PEOPLE.PULLYOURSELFTOGETHER.[GOGOUT.]I’LLBEBACKALTLEWHILE.[ON HOWARD’S EX, THE LIGHT ON HIS CHAIR GROWS VERY BRIGHT AND STRANGE.]WILLY: PULL MYSELF TOGETHER! WHAT THE HELL DID I SAY TO HIM? MY GOD, I WAS YELLG AT HIM! HOW ULD I! [WILLY BREAKS OFF, STARG AT THE LIGHT, WHICH OCCUPI THE CHAIR, ANIMATG . HE APPROACH THIS CHAIR, STANDG ACROSS THE SK OM .] FRANK, FRANK, DON’T YOU REMEMBER WHAT YOU TOLD ME THAT TIME? HOW YOU PUT YOUR HAND ONMYSHOULR,ANDFRANK...[HELEANSONTHESKANDASHPEAKSTHEAD MAN’S NAME HE ACCINTALLY SWCH ON THE RERR, AND STANTLY.]HOWARD’S SON: “. . . OF NEW YORK IS ALBANY. THE PAL OF OH IS CCNATI, THE PAL OF RHO ISLAND IS . . .” [THE RECATN NTU.]WILLY: [LEAPG AWAY WH IGHT, SHOUTG.] HA! HOWARD! HOWARD! HOWARD! HOWARD: [RHG .] WHAT HAPPENED?WILLY: [POTG AT THE MACHE, WHICH NTU NASALLY, CHILDISHLY, WH THE PAL CI.]SHUT OFF! SHUT OFF!HOWARD: [PULLG THE PLUG OUT.] LOOK, WILLY . . .WILLY: [PRSG HIS HANDS TO HIS EY.] I GOTTA GET MYSELF SOME FFEE. I’LL GET SOMEFFEE . . .[WILLY STARTS TO WALK OUT. HOWARD STOPS HIM.]HOWARD: [ROLLG UP THE RD.] WILLY, LOOK . . . WILLY: I’LL GO TO BOSTON.HOWARD: WILLY, YOU N’T GO TO BOSTON FOR . WILLY: WHY N’T I GO?HOWARD: I DON’T WANT YOU TO REPRENT . I’VE BEEN MEANG TO TELL YOU FOR A LONG TIME NOW.WILLY: HOWARD, ARE YOU FIRG ME?HOWARD: I THK YOU NEED A GOOD LONG RT, WILLY.WILLY: HOWARD—HOWARD: AND WHEN YOU FEEL BETTER, E BACK, AND WE’LL SEE IF WE N WORKSOMETHG OUT.WILLY: BUT I GOTTA EARN MONEY, HOWARD. I’M NO POSN TO—HOWARD: WHERE ARE YOUR SONS? WHY DON’T YOUR SONS GIVE YOU A HAND?WILLY: THEY’RE WORKG ON A VERY BIG AL.HOWARD: THIS IS NO TIME FOR FALSE PRI, WILLY. YOU GO TO YOUR SONS AND YOU TELLTHEM THAT YOU’RE TIRED. YOU’VE GOT TWO GREAT BOYS, HAVEN’T YOU? WILLY: OH, NO QUTN, NO QUTN, BUT THE MEANTIME . . . HOWARD:THENTHAT’STHAT,HEH? WILLY:ALLRIGHT,I’LLGOTOBOSTONTOMORROW.HOWARD: NO, NO.WILLY: I N’T THROW MYSELF ON MY SONS. I’M NOT A CRIPPLE!HOWARD: LOOK, KID, I’M BY, I’M BY THIS MORNG.WILLY: [GRASPG HOWARD’S ARM.] HOWARD, YOU’VE GOT TO LET ME GO TO BOSTON! HOWARD: [HARD, KEEPG HIMSELF UNR NTROL.] I’VE GOT A LE OF PEOPLE TO SEE THISMORNG. S DOWN, TAKE FIVE MUT, AND PULL YOURSELF TOGETHER, AND THEN GO HOME, WILL YA? I NEED THE OFFICE, WILLY. [HE STARTS TO GO, TURNS, REMEMBERG THE RERR, STARTS TO PH OFF THE TABLE HOLDG THE RERR.] OH, YEAH. WHENEVER YOU NTHISWEEK,’LLFEELBETTER,WILLY, AND THEN E BACK AND WE’LL TALK. PULL YOURSELF TOGETHER, KID, THERE’S PEOPLE OUTSI.[HOWARD EXS, PHG THE TABLE OFF LEFT. WILLY STAR TO SPACE, EXHSTED. NOW THE MIC IS HEARD—BEN’S MIC—FIRST DISTANTLY, THEN CLOSER, CLOSER. AS WILLY SPEAKS, BEN ENTERS OM THE RIGHT. HE RRI VALISE AND UMBRELLA.]WILLY: OH, BEN, HOW DID YOU DO ? WHAT IS THE ANSWER? DID YOU WD UP THE ALASKA AL ALREADY?BEN: DON’T TAKE MUCH TIME IF YOU KNOW WHAT YOU’RE DOG. JT A SHORT BI- NS TRIP. BOARDG SHIP AN HOUR. WANTED TO SAY GOOD-BY.WILLY: BEN, I’VE GOT TO TALK TO YOU.BEN: [GLANCG AT HIS WATCH.] HAVEN’T THE TIME, WILLIAM.WILLY: [CROSSG THE APRON TO BEN.] BEN, NOTHG’S WORKG OUT. I DON’T KNOW WHATTO DO.BEN: NOW, LOOK HERE, WILLIAM. I’VE BOUGHT TIMBERLAND ALASKA AND I NEED AMANTOLOOKAFTERTHGSFORME.WILLY: GOD, TIMBERLAND! ME AND MY BOYS THOSE GRAND OUTDOORS!BEN: YOU’VE A NEW NTENT AT YOUR DOORSTEP, WILLIAM. GET OUT OF THE CI,THEY’RE FULL OF TALK AND TIME PAYMENTS AND URTS OF LAW. SCREW ON YOUR FISTSAND YOU N FIGHT FOR A FORTUNE UP THERE. WILLY: Y, Y! LDA, LDA![LINDA ENTERS AS OF OLD, WH THE WASH.]LINDA: OH, YOU’RE BACK?BEN: I HAVEN’T MUCH TIME.WILLY: NO, WA! LDA, HE’S GOT A PROPOSN FOR ME ALASKA.LINDA: BUT YOU’VE GOT—[TO BEN.] HE’S GOT A BETIFUL JOB HERE. WILLY:BUTALASKA,KID,IULD—LINDA: YOU’RE DOG WELL ENOUGH, WILLY!BEN: [TO LINDA.] ENOUGH FOR WHAT, MY AR?LINDA: [FRIGHTENED OF BEN AND ANGRY AT HIM.] DON’T SAY THOSE THGS TO HIM! ENOUGHTO BE HAPPY RIGHT HERE, RIGHT NOW. [TO WILLY, WHILE BEN LGHS.] WHY MT EVERYBODY NQUER THE WORLD? YOU’RE WELL LIKED, AND THE BOYS LOVE YOU, AND SOMEDAY—[TOBEN.]—WHY,OLDMANWAGNERTOLDHIMJTTHEOTHERDAYTHAT IF HE KEEPS UP HE’LL BE A MEMBER OF THE FIRM, DIDN’T HE, WILLY?WILLY: SURE, SURE. I AM BUILDG SOMETHG WH THIS FIRM, BEN, AND IF A MAN IS BUILDG SOMETHG HE MT BE ON THE RIGHT TRACK, MTN’T HE?BEN: WHAT ARE YOU BUILDG? LAY YOUR HAND ON . WHERE IS ?WILLY: [HANTLY.] THAT’S TE, LDA, THERE’S NOTHG. LINDA:WHY?[TOBEN.]THERE’SAMANEIGHTY-FOURYEARSOLD—WILLY: THAT’S RIGHT, BEN, THAT’S RIGHT. WHEN I LOOK AT THAT MAN I SAY, WHAT IS THERETO WORRY ABOUT? BEN: BAH!WILLY: IT’S TE, BEN. ALL HE HAS TO DO IS GO TO ANY CY, PICK UP THE PHONE, AND HE’S MAKG HIS LIVG AND YOU KNOW WHY?BEN: [PICKG UP HIS VALISE.] I’VE GOT TO GO.WILLY: [HOLDG BEN BACK.] LOOK AT THIS BOY! [BIFF, HIS HIGH SCHOOL SWEATER, ENTERSRRYG SUSE. HAPPY RRI BIFF’S SHOULR GUARDS, GOLD HELMET, AND FOOTBALL PANTS.] WHOUT A PENNY TO HIS NAME, THREE GREAT UNIVERSI ARE BEGGG FOR HIM, AND OM THERE THE SKY’S THE LIM, BEE ’S NOT WHAT YOU DO, BEN. IT’S WHO YOU KNOW AND THE SE ON YOUR FACE! IT’S NTACTS, BEN, NTACTS! THE WHOLE WEALTH OF ALASKA PASS OVER THE LUNCH TABLE AT THE COMMODORE HOTEL, AND THAT’S THE WONR, THE WONR OF THIS UNTRY, THAT A MAN N END WH DIA- MONDS HERE ON THE BASIS OF BEG LIKED! [HE TURNS TO BIFF.] AND THAT’S WHY WHEN YOU GET OUT ON THAT FIELD TODAY ’S IMPORTANT. BEE THOANDS OF PEOPLE WILL BE ROOTG FOR YOU AND LOVG YOU. [TO BEN, WHO HAS AGA BEGUN TO LEAVE.] AND BEN! WHEN HE WALKS TO A BS OFFICE HIS NAME WILL SOUND OUT LIKE A BELL AND ALL THE DOORS WILL OPEN TO HIM! I’VE SEEN , BEN, I’VE SEEN A THOAND TIM! YOU N’T FEEL WH YOUR HAND LIKE TIMBER, BUT ’S THERE!BEN: GOOD-BY, WILLIAM.WILLY: BEN, AM I RIGHT? DON’T YOU THK I’M RIGHT? I VALUE YOUR ADVICE.BEN: THERE’S A NEW NTENT AT YOUR DOORSTEP, WILLIAM. YOU ULD WALK OUT RICH.RICH! [HE IS GONE.]WILLY: WE’LL DO HERE, BEN! YOU HEAR ME? WE’RE GONNA DO HERE![YOUNG BERNARD SH . THE GAY MIC OF THE BOYS IS HEARD.]BERNARD: OH, GEE, I WAS AAID YOU LEFT ALREADY!WILLY: WHY? WHAT TIME IS ?BERNARD: IT’S HALF-PAST ONE!WILLY: WELL, E ON, EVERYBODY! EBBETS FIELD NEXT STOP! WHERE’S THE PENNANTS?[HE SH THROUGH THE WALL-LE OF THE KCHEN AND OUT TO THE LIVG ROOM.] LINDA: [TO BIFF.] DID YOU PACK H UNRWEAR?BIFF: [WHO HAS BEEN LIMBERG UP.] I WANT TO GO!BERNARD: BIFF, I’M RRYG YOUR HELMET, A’T I?HAPPY: NO, I’M RRYG THE HELMET.BERNARD: OH, BIFF, YOU PROMISED ME.HAPPY: I’M RRYG THE HELMET.BERNARD: HOW AM I GOG TO GET THE LOCKER ROOM?LINDA: LET HIM RRY THE SHOULR GUARDS. [SHE PUTS HER AT AND HAT ON THEKCHEN.] BERNARD:CANI,BIFF?’CSEITOLVERYBODYI’MGOGTOBETHELOCKERROOM. HAPPY:INEBBETSFIELD’STHECLUBHOE.BERNARD: I MEANT THE CLUBHOE, BIFF!HAPPY: BIFF!BIFF: [GRANDLY, AFTER A SLIGHT PSE.] LET HIM RRY THE SHOULR GUARDS.HAPPY: [AS HE GIV BERNARD THE SHOULR GUARDS.] STAY CLOSE TO NOW.[WILLY SH WH THE PENNANTS.] WILLY:[HANDGTHEMOUT.]EVERYBODYWAVEWHENBIFFOUTONTHEFIELD.[HAPPY AND BERNARD N OFF.] YOU SET NOW, BOY? [THE MIC HAS DIED AWAY.]BIFF: READY TO GO, POP. EVERY MCLE IS READY.WILLY: [AT THE EDGE OF THE APRON.] YOU REALIZE WHAT THIS MEANS?BIFF: THAT’S RIGHT, POP.WILLY: [FEELG BIFF’S MCL.] YOU’RE ’ HOME THIS AFTERNOON PTA OF THEALL-SCHOLASTIC CHAMPNSHIP TEAM OF THE CY OF NEW YORK.BIFF: I GOT , POP. AND REMEMBER, PAL, WHEN I TAKE OFF MY HELMET, THAT TOUCHDOWNIS FOR YOU.WILLY: LET’S GO! [HE IS STARTG OUT, WH HIS ARM AROUND BIFF, WHEN CHARLEY ENTERS,AS OF OLD, KNICKERS.] I GOT NO ROOM FOR YOU, CHARLEY.CHARLEY: ROOM? FOR WHAT?WILLY:INTHER.CHARLEY: YOU GO’ FOR A RI? I WANTED TO SHOOT SOME SO.WILLY: [FURLY.] CASO! [INCRLOLY.] DON’T YOU REALIZE WHAT TODAY IS? LINDA: OH, HE KNOWS, WILLY. HE’S JT KIDDG YOU.WILLY: THAT’S NOTHG TO KID ABOUT!CHARLEY: NO, LDA, WHAT’S GO’ ON?LINDA: HE’S PLAYG EBBETS FIELD. CHARLEY:BASEBALLTHISWEATHER?WILLY: DON’T TALK TO HIM. COME ON, E ON! [HE IS PHG THEM OUT.] CHARLEY: WA A MUTE, DIDN’T YOU HEAR THE NEWS?WILLY: WHAT?CHARLEY: DON’T YOU LISTEN TO THE RAD? EBBETS FIELD JT BLEW UP.WILLY: YOU GO TO HELL! [CHARLEY LGHS. PHG THEM OUT.] COME ON, E ON!WE’RE LATE.CHARLEY: [AS THEY GO.] KNOCK A HOMER, BIFF, KNOCK A HOMER!WILLY: [THE LAST TO LEAVE, TURNG TO CHARLEY.] I DON’T THK THAT WAS FUNNY, CHARLEY.THIS IS THE GREATT DAY OF MY LIFE. CHARLEY:WILLY,WHENAREYOUGOGTOGROWUP? WILLY:YEAH,HEH?WHENTHISGAMEISOVER,CHARLEY,YOU’LLBELGHGOUTOFTHEOTHER SI OF YOUR FACE. THEY’LL BE LLG HIM ANOTHER RED GRANGE.2 TWENTY-FIVE THOAND A YEAR.CHARLEY: [KIDDG.] IS THAT SO?WILLY: YEAH, THAT’S SO.CHARLEY: WELL, THEN, I’M SORRY, WILLY. BUT TELL ME SOMETHG.WILLY: WHAT?CHARLEY: WHO IS RED GRANGE?WILLY: PUT UP YOUR HANDS. GODDAM YOU, PUT UP YOUR HANDS! [CHARLEY, CHUCKLG,SHAK HIS HEAD AND WALKS AWAY, AROUND THE LEFT RNER OF THE STAGE. WILLY FOLLOWS HIM. THE MIC RIS TO A MOCKG ENZY.] WHO THE HELL DO YOU THK YOU ARE, BETTER THAN EVERYBODY ELSE? YOU DON’T KNOW EVERYTHG, YOU BIG, IGNORANT, STUPID . . . PUT UP YOUR HANDS![LIGHT RIS, ON THE RIGHT SI OF THE FORTAGE, ON A SMALL TABLE THE RECEPTN ROOM OF CHARLEY’S OFFICE. TRAFFIC SOUNDS ARE HEARD. BERNARD, NOW MATURE, SS WHISTLG TO HIMSELF. A PAIR OF TENNIS RACKETS AND AN OVERNIGHT BAG ARE ON THE FLOOR BI HIM.]2. HAROLD EDWARD GRANGE (1903–1991), ALL-AMERIN HALFBACK AT THE UNIVERSY OF ILLOIS OM 1923 TO 1925; HE PLAYED PROFSNALLY FOR THE CHIGO BEARS.1596 READING MORE DRAMAWILLY: [OFFSTAGE.] WHAT ARE YOU WALKG AWAY FOR? DON’T WALK AWAY! IF YOU’RE GOG TO SAY SOMETHG SAY TO MY FACE! I KNOW YOU LGH AT ME BEHD MY BACK. YOU’LL LGH OUT OF THE OTHER SI OF YOUR GODDAM FACE AFTER THIS GAME. TOUCHDOWN! TOUCHDOWN! EIGHTY THOAND PEOPLE! TOUCHDOWN! RIGHT BETWEENTHEGOALPOSTS.[BERNARD IS A QUIET, EARNT, BUT SELF-ASSURED YOUNG MAN. WILLY’S VOICE IS G OM RIGHT UPSTAGE NOW. BERNARD LOWERS HIS FEET OFF THE TABLE AND LISTENS. JENNY, HIS FATHER’S SECRETARY, ENTERS.]JENNY: [DISTRSED.] SAY, BERNARD, WILL YOU GO OUT THE HALL? BERNARD: WHAT IS THAT NOISE? WHO IS ?JENNY: MR. LOMAN. HE JT GOT OFF THE ELEVATOR.BERNARD: [GETTG UP.] WHO’S HE ARGUG WH?JENNY: NOBODY. THERE’S NOBODY WH HIM. I N’T AL WH HIM ANYMORE, AND YOUR FATHER GETS ALL UPSET EVERYTIME HE . I’VE GOT A LOT OF TYPG TO DO, AND YOUR FATHER’S WAG TO SIGN . WILL YOU SEE HIM?WILLY: [ENTERG.] TOUCHDOWN! TOUCH—[HE SE JENNY.] JENNY, JENNY, GOOD TO SEE YOU. HOW’RE YA? WORK’? OR STILL HONT?JENNY: FE. HOW’VE YOU BEEN FEELG?WILLY: NOT MUCH ANYMORE, JENNY. HA, HA! [HE IS SURPRISED TO SEE THE RACKETS.] BERNARD: HELLO, UNCLE WILLY.WILLY: [ALMOST SHOCKED.] BERNARD! WELL, LOOK WHO’S HERE! [HE QUICKLY, GUILTILYTO BERNARD AND WARMLY SHAK HIS HAND.]BERNARD: HOW ARE YOU? GOOD TO SEE YOU.WILLY: WHAT ARE YOU DOG HERE? BERNARD:OH,JTSTOPPEDBYTOSEEPOP.GETOFFMYFEETTILLMYTRALEAV.I’M GOG TO WASHGTON A FEW MUT.WILLY: IS HE ?BERNARD: Y, HE’S HIS OFFICE WH THE ACUNTANT. S DOWN.WILLY: [STG DOWN.] WHAT’RE YOU GOG TO DO WASHGTON?BERNARD: OH, JT A SE I’VE GOT THERE, WILLY.WILLY: THAT SO? [INDITG THE RACKETS.] YOU GOG TO PLAY TENNIS THERE? BERNARD: I’M STAYG WH A IEND WHO’S GOT A URT.WILLY: DON’T SAY. HIS OWN TENNIS URT. MT BE FE PEOPLE, I BET.BERNARD: THEY ARE, VERY NICE. DAD TELLS ME BIFF ’S TOWN.WILLY: [WH A BIG SE.] YEAH, BIFF ’S . WORKG ON A VERY BIG AL, BERNARD. BERNARD: WHAT’S BIFF DOG?WILLY: WELL, HE’S BEEN DOG VERY BIG THGS THE WT. BUT HE CID TOTABLISH HIMSELF HERE. VERY BIG. WE’RE HAVG DNER. DID I HEAR YOUR WIFE HADA BOY?BERNARD: THAT’S RIGHT. OUR SEND.WILLY: TWO BOYS! WHAT DO YOU KNOW!BERNARD: WHAT KD OF A AL HAS BIFF GOT?WILLY: WELL, BILL OLIVER—VERY BIG SPORTG-GOODS MAN—HE WANTS BIFF VERY BADLY.CALLED HIM OM THE WT. LONG DISTANCE, RTE BLANCHE, SPECIAL LIVERI.YOUR IENDS HAVE THEIR OWN PRIVATE TENNIS URT?BERNARD: YOU STILL WH THE OLD FIRM, WILLY?WILLY: [AFTER A PSE.] I’M—I’M OVERJOYED TO SEE HOW YOU MA THE GRA, BERNARD,OVERJOYED. IT’S AN ENURAGG THG TO SEE A YOUNG MAN REALLY—REALLY—LOOKS VERY GOOD FOR BIFF—VERY—[HE BREAKS OFF, THEN.] BERNARD—[HE IS SO FULL OF EMOTN,HE BREAKS OFF AGA.]BERNARD: WHAT IS , WILLY?WILLY: [SMALL AND ALONE.] WHAT—WHAT’S THE SECRET?BERNARD: WHAT SECRET?WILLY: HOW—HOW DID YOU? WHY DIDN’T HE EVER TCH ON?BERNARD: I WOULDN’T KNOW THAT, WILLY.WILLY: [CONFINTIALLY, SPERATELY.] YOU WERE HIS IEND, HIS BOYHOOD IEND.THERE’S SOMETHG I DON’T UNRSTAND ABOUT . HIS LIFE END AFTER THAT EBBETS FIELD GAME. FROM THE AGE OF SEVENTEEN NOTHG GOOD EVER HAPPENED TO HIM.BERNARD: HE NEVER TRAED HIMSELF FOR ANYTHG.WILLY: BUT HE DID, HE DID. AFTER HIGH SCHOOL HE TOOK SO MANY RRPONNCEURS. RAD MECHANICS; TELEVISN; GOD KNOWS WHAT, AND NEVER MA THLIGHTT MARK.BERNARD: [TAKG OFF HIS GLASS.] WILLY, DO YOU WANT TO TALK NDIDLY?WILLY: [RISG, FAC BERNARD.] I REGARD YOU AS A VERY BRILLIANT MAN, BERNARD. IVALUE YOUR ADVICE.BERNARD: OH, THE HELL WH THE ADVICE, WILLY. I ULDN’T ADVISE YOU. THERE’S JTONE THG I’VE ALWAYS WANTED TO ASK YOU. WHEN HE WAS SUPPOSED TO GRADUATE,AND THE MATH TEACHER FLUNKED HIM—WILLY: OH, THAT SON-OF-A-BCH ED HIS LIFE.BERNARD: YEAH, BUT, WILLY, ALL HE HAD TO DO WAS GO TO SUMMER SCHOOL AND MAKP THAT SUBJECT.WILLY: THAT’S RIGHT, THAT’S RIGHT.BERNARD: DID YOU TELL HIM NOT TO GO TO SUMMER SCHOOL?WILLY: ME? I BEGGED HIM TO GO. I ORRED HIM TO GO! BERNARD:THENWHYWOULDN’THEGO?WILLY: WHY? WHY! BERNARD, THAT QUTN HAS BEEN TRAILG ME LIKE A GHOST FORTHE LAST FIFTEEN YEARS. HE FLUNKED THE SUBJECT, AND LAID DOWN AND DIED LIKE AHAMMER H HIM!BERNARD: TAKE EASY, KID.WILLY: LET ME TALK TO YOU—I GOT NOBODY TO TALK TO. BERNARD, BERNARD, WAS MYFLT? Y’SEE? IT KEEPS GOG AROUND MY MD, MAYBE I DID SOMETHG TOHIM. I GOT NOTHG TO GIVE HIM.BERNARD: DON’T TAKE SO HARD.WILLY: WHY DID HE LAY DOWN? WHAT IS THE STORY THERE? YOU WERE HIS IEND! BERNARD: WILLY, I REMEMBER, WAS JUNE, AND OUR GRAS ME OUT. AND HE’DFLUNKED MATH.WILLY: THAT SON-OF-A-BCH!BERNARD: NO, WASN’T RIGHT THEN. BIFF JT GOT VERY ANGRY, I REMEMBER, AND HEWAS READY TO ENROLL SUMMER SCHOOL.WILLY: [SURPRISED.] HE WAS?BERNARD: HE WASN’T BEATEN BY AT ALL. BUT THEN, WILLY, HE DISAPPEARED OM THEBLOCK FOR ALMOST A MONTH. AND I GOT THE IA THAT HE’D GONE UP TO NEW ENGLAND TO SEE YOU. DID HE HAVE A TALK WH YOU THEN? [WILLY STAR SILENCE.] WILLY?WILLY: [WH A STRONG EDGE OF RENTMENT HIS VOICE.] YEAH, HE ME TO BOSTON. WHAT ABOUT ?BERNARD:WELL,JTTHATWHENHEMEBACK—I’LLNEVERFETTHIS,ALWAYS MYSTIFIME.BEEI’DTHOUGHTSOWELLOFBIFF,EVENTHOUGHHE’DALWAYS TAKEN ADVANTAGE OF ME. I LOVED HIM, WILLY, Y’KNOW? AND HE ME BACK AFTER THAT MONTH AND TOOK HIS SNEAKERS—REMEMBER THOSE SNEAKERS WH “UNIVERSY OF VIRGIA” PRTED ON THEM? HE WAS SO PROUD OF THOSE, WORE THEM EVERY DAY. AND HE TOOK THEM DOWN THE CELLAR, AND BURNED THEM UP THE FURNACE. WE HAD A FIST FIGHT. IT LASTED AT LEAST HALF AN HOUR. JT THE TWO OF , PUNCHG EACH OTHER DOWN THE CELLAR, AND CRYG RIGHT THROUGH . I’VE OFTEN THOUGHT OF HOW STRANGE WAS THAT I KNEW HE’D GIVEN UP HIS LIFE. WHAT HAPPENED BOSTON, WILLY? [WILLY LOOKS AT HIM AS AT AN TR.] I JT BRG UP BEE YOU ASKED ME.WILLY: [ANGRILY.] NOTHG. WHAT DO YOU MEAN, “WHAT HAPPENED?” WHAT’S THAT GOT TO DO WH ANYTHG?BERNARD: WELL, DON’T GET SORE.WILLY: WHAT ARE YOU TRYG TO DO, BLAME ON ME? IF A BOY LAYS DOWN IS THAT MYFLT?BERNARD: NOW, WILLY, DON’T GET—WILLY: WELL, DON’T—DON’T TALK TO ME THAT WAY! WHAT DO THAT MEAN, “WHATHAPPENED?”[CHARLEY ENTERS. HE IS HIS VT, AND HE RRI A BOTTLE OF BOURBON.]CHARLEY: HEY, YOU’RE GOG TO MISS THAT TRA. [HE WAV THE BOTTLE.]BERNARD: YEAH, I’M GOG. [HE TAK THE BOTTLE.] THANKS, POP. [HE PICKS UP HIS RACKETS AND BAG.] GOOD-BYE, WILLY, AND DON’T WORRY ABOUT . YOU KNOW, “IF AT FIRST YOUDON’T SUCCEED . . .”WILLY:Y,IBELIEVETHAT. BERNARD:BUTSOMETIM,WILLY,’SBETTERFORAMANJTTOWALKAWAY.WILLY: WALK AWAY?BERNARD: THAT’S RIGHT.WILLY: BUT IF YOU N’T WALK AWAY? BERNARD:[AFTERASLIGHTPSE.]IGUSTHAT’SWHEN’STOUGH.[EXTENDGHISHAND.]GOOD-BYE, WILLY.WILLY: [SHAKG BERNARD’S HAND.] GOOD-BYE, BOY.CHARLEY: [AN ARM ON BERNARD’S SHOULR.] HOW DO YOU LIKE THIS KID? GONNA ARGUEASEONTOFTHESUPREMECOURT.BERNARD: [PROTTG.] POP!WILLY: [GENUELY SHOCKED, PAED, AND HAPPY.] NO! THE SUPREME COURT! BERNARD: I GOTTA N. ’BYE, DAD!CHARLEY: KNOCK ’EM AD, BERNARD![BERNARD GO OFF.]WILLY: [AS CHARLEY TAK OUT HIS WALLET.] THE SUPREME COURT! AND HE DIDN’T EVEN MENTN !CHARLEY: [COUNTG OUT MONEY ON THE SK.] HE DON’T HAVE TO—HE’S GONNA DO . WILLY: AND YOU NEVER TOLD HIM WHAT TO DO, DID YOU? YOU NEVER TOOK ANY TERTHIM.CHARLEY: MY SALVATN IS THAT I NEVER TOOK ANY TERT ANYTHG. THERE’S SOMEMONEY—FIFTY DOLLARS. I GOT AN ACUNTANT SI.WILLY: CHARLEY, LOOK . . . [WH DIFFICULTY.] I GOT MY SURANCE TO PAY. IF YOU N MANAGE —I NEED A HUNDRED AND TEN DOLLARS. [CHARLEY DON’T REPLY FOR A MOMENT; MERELY STOPS MOVG.] I’D DRAW OM MY BANK BUT LDA WOULD KNOW, AND I...CHARLEY: S DOWN, WILLY.WILLY: [MOVG TOWARD THE CHAIR.] I’M KEEPG AN ACUNT OF EVERYTHG, REMEMBER.I’LL PAY EVERY PENNY BACK. [HE SS.]CHARLEY:NOWLISTENTOME,WILLY.WILLY: I WANT YOU TO KNOW I APPRECIATE . . .CHARLEY: [STG DOWN ON THE TABLE.] WILLY, WHAT’RE YOU DO’? WHAT THE HELL ISGO’ONYOURHEAD?WILLY: WHY? I’M SIMPLY . . .CHARLEY: I OFFERED YOU A JOB. YOU N MAKE FIFTY DOLLARS A WEEK. AND I WON’TSEND YOU ON THE ROAD.WILLY: I’VE GOT A JOB.CHARLEY: WHOUT PAY? WHAT KD OF JOB IS A JOB WHOUT PAY? [HE RIS.] NOW,LOOK KID, ENOUGH IS ENOUGH. I’M NO GENI BUT I KNOW WHEN I’M BEGSULTED.WILLY: INSULTED!CHARLEY: WHY DON’T YOU WANT TO WORK FOR ME?WILLY: WHAT’S THE MATTER WH YOU? I’VE GOT A JOB. CHARLEY:THENWHAT’REYOUWALK’HEREEVERYWEEKFOR?WILLY: [GETTG UP.] WELL, IF YOU DON’T WANT ME TO WALK HERE—CHARLEY: I AM OFFERG YOU A JOB!WILLY: I DON’T WANT YOUR GODDAM JOB! CHARLEY:WHENTHEHELLAREYOUGOGTOGROWUP?WILLY: [FURLY.] YOU BIG IGNORAM, IF YOU SAY THAT TO ME AGA I’LL RAP YOUONE! I DON’T RE HOW BIG YOU ARE! [HE’S READY TO FIGHT. PSE.]CHARLEY: [KDLY, GOG TO HIM.] HOW MUCH DO YOU NEED, WILLY?WILLY: CHARLEY, I’M STRAPPED, I’M STRAPPED. I DON’T KNOW WHAT TO DO. I WAS JTFIRED.CHARLEY: HOWARD FIRED YOU?WILLY: THAT SNOTNOSE. IMAGE THAT? I NAMED HIM. I NAMED HIM HOWARD. CHARLEY: WILLY, WHEN’RE YOU GONNA REALIZE THAT THEM THGS DON’T MEAN ANY-THG? YOU NAMED HIM HOWARD, BUT YOU N’T SELL THAT. THE ONLY THG YOU GOT THIS WORLD IS WHAT YOU N SELL. AND THE FUNNY THG IS THAT YOU’RE A SALMAN, AND YOU DON’T KNOW THAT.WILLY: I’VE ALWAYS TRIED TO THK OTHERWISE, I GUS. I ALWAYS FELT THAT IF A MAN WAS IMPRSIVE, AND WELL LIKED, THAT NOTHG—CHARLEY: WHY MT EVERYBODY LIKE YOU? WHO LIKED J. P. MAN?3 WAS HE IMPR- SIVE?INATURKISHBATHHE’DLOOKLIKEABUTCHER.BUTWHHISPOCKETSONHE WAS VERY WELL LIKED. NOW LISTEN, WILLY, I KNOW YOU DON’T LIKE ME, AND NOBODY NSAYI’MLOVEWHYOU,BUTI’LLGIVEYOUAJOBBEE—JTFORTHEHELL OF , PUT THAT WAY. NOW WHAT DO YOU SAY?WILLY: I—I JT N’T WORK FOR YOU, CHARLEY.CHARLEY: WHAT’RE YOU, JEALO OF ME?WILLY: I N’T WORK FOR YOU, THAT’S ALL, DON’T ASK ME WHY. CHARLEY:[ANGERED,TAKOUTMOREBILLS.]YOUBEENJEALOOFMEALLYOURLIFE,3. AMERIN FANCIER (1837–1890), WILY CRICIZED FOR HIS BS ALGS WH THE U.S. ERNMENT.1600 READING MORE DRAMAYOU DAMNED FOOL! HERE, PAY YOUR SURANCE. [HE PUTS THE MONEY WILLY’SHAND.]WILLY: I’M KEEPG STRICT ACUNTS.CHARLEY: I’VE GOT SOME WORK TO DO. TAKE RE OF YOURSELF. AND PAY YOUR SURANCE. WILLY: [MOVG TO THE RIGHT.] FUNNY, Y’KNOW? AFTER ALL THE HIGHWAYS AND THE TRAS,AND THE APPOTMENTS, AND THE YEARS, YOU END UP WORTH MORE AD THAN ALIVE. CHARLEY: WILLY, NOBODY’S WORTH NOTH’ AD. [AFTER A SLIGHT PSE.] DID YOU HEARWHAT I SAID? [WILLY STANDS STILL, DREAMG.] WILLY!WILLY: APOLOGIZE TO BERNARD FOR ME WHEN YOU SEE HIM. I DIDN’T MEAN TO ARGUEWH HIM. HE’S A FE BOY. THEY’RE ALL FE BOYS, AND THEY’LL END UP BIG—ALL OF THEM. SOMEDAY THEY’LL ALL PLAY TENNIS TOGETHER. WISH ME LUCK, CHARLEY. HE SAW BILL OLIVER TODAY.CHARLEY: GOOD LUCK.WILLY: [ON THE VERGE OF TEARS.] CHARLEY, YOU’RE THE ONLY IEND I GOT. ISN’T THAT AREMARKABLE THG? [HE GO OUT.] CHARLEY: J![CHARLEY STAR AFTER HIM A MOMENT AND FOLLOWS. ALL LIGHT BLACKS OUT. SUDNLY R MIC IS HEARD, AND A RED GLOW RIS BEHD THE SCREEN AT RIGHT. STANLEY, A YOUNG WAER, APPEARS, RRYG A TABLE, FOLLOWED BY HAPPY, WHO IS RRYG TWO CHAIRS.]STANLEY: [PUTTG THE TABLE DOWN.] THAT’S ALL RIGHT, MR. LOMAN, I N HANDLE MYSELF. [HE TURNS AND TAK THE CHAIRS OM HAPPY AND PLAC THEM AT THE TABLE.]HAPPY: [GLANCG AROUND.] OH, THIS IS BETTER.STANLEY: SURE, THE ONT THERE YOU’RE THE MIDDLE OF ALL KDS A NOISE. WHEN-EVER YOU GOT A PARTY. MR. LOMAN, YOU JT TELL ME AND I’LL PUT YOU BACK HERE. Y’KNOW, THERE’S A LOTTA PEOPLE THEY DON’T LIKE PRIVATE, BEE WHEN THEY GO OUT THEY LIKE TO SEE A LOTTA ACTN AROUND THEM BEE THEY’RE SICK AND TIRED TO STAY THE HOE BY THEIRSELF. BUT I KNOW YOU, YOU A’T OM HACKENSACK. YOU KNOW WHAT I MEAN?HAPPY: [STG DOWN.] SO HOW’S G, STANLEY?STANLEY: AH, ’S A DOG LIFE. I ONLY WISH DURG THE WAR THEY’D A TOOK ME THEARMY.IUDABEENADBYNOW.HAPPY: MY BROTHER’S BACK, STANLEY.STANLEY: OH, HE E BACK, HEH? FROM THE FAR WT.HAPPY: YEAH, BIG TTLE MAN, MY BROTHER, SO TREAT HIM RIGHT. AND MY FATHER’SG TOO.STANLEY: OH, YOUR FATHER TOO!HAPPY: YOU GOT A UPLE OF NICE LOBSTERS?STANLEY: HUNDRED PER CENT, BIG.HAPPY: I WANT THEM WH THE CLAWS.STANLEY: DON’T WORRY, I DON’T GIVE YOU NO MICE. [HAPPY LGHS.] HOW ABOUT SOMEWE? IT’LL PUT A HEAD ON THE MEAL.HAPPY: NO. YOU REMEMBER, STANLEY, THAT RECIPE I BROUGHT YOU OM OVERSEAS?WH THE CHAMPAGNE ? STANLEY:OH,YEAH,SURE.ISTILLGOTTACKPYETTHEKCHEN.BUTTHAT’LLHAVE TO ST A BUCK APIECE ANYWAYS.HAPPY: THAT’S ALL RIGHT.STANLEY: WHAT’D YOU, H A NUMBER OR SOMETH’?HAPPY: NO, ’S A LTLE CELEBRATN. MY BROTHER IS—I THK HE PULLED OFF A BIG AL TODAY. I THK WE’RE GOG TO BS TOGETHER.STANLEY: GREAT! THAT’S THE BT FOR YOU. BEE A FAY BS, YOU KNOW WHAT I MEAN?—THAT’S THE BT.HAPPY: THAT’S WHAT I THK.STANLEY: ’CSE WHAT’S THE DIFFERENCE? SOMEBODY STEALS? IT’S THE FAY. KNOWWHAT I MEAN? [SOTTO VOCE.] LIKE THIS BARTENR HERE. THE BOSS IS GO’ CRAZY WHAT KDA LEAK HE’S GOT THE SH REGISTER. YOU PUT BUT DON’T E OUT.HAPPY: [RAISG HIS HEAD.] SH!STANLEY: WHAT?HAPPY: YOU NOTICE I WASN’T LOOK’ RIGHT OR LEFT, WAS I?STANLEY: NO.HAPPY: AND MY EY ARE CLOSED.STANLEY: SO WHAT’S THE—?HAPPY: STL’S ’.STANLEY: [CATCHG ON, LOOKS AROUND.] AH, NO, THERE’S NO—[HE BREAKS OFF AS A FURRED,LAVISHLY DRSED GIRL ENTERS AND SS AT THE NEXT TABLE. BOTH FOLLOW HER WH THEIR EY.]GEEZ, HOW’D YA KNOW?HAPPY: I GOT RADAR OR SOMETHG. [STARG DIRECTLY AT HER PROFILE.] OOOOOOOO . . .STANLEY.STANLEY: I THK, THAT’S FOR YOU, MR. LOMAN.HAPPY: LOOK AT THAT MOUTH. OH, GOD. AND THE BOCULARS.STANLEY: GEEZ, YOU GOT A LIFE, MR. LOMAN.HAPPY:WAONHER.STANLEY: [GOG TO THE GIRL’S TABLE.] WOULD YOU LIKE A MENU, MA’AM?GIRL: I’M EXPECTG SOMEONE, BUT I’D LIKE A—HAPPY: WHY DON’T YOU BRG HER—EXCE ME, MISS, DO YOU MD? I SELL CHAM-PAGNE, AND I’D LIKE YOU TO TRY MY BRAND. BRG HER A CHAMPAGNE, STANLEY. GIRL: THAT’S AWFULLY NICE OF YOU.HAPPY: DON’T MENTN . IT’S ALL PANY MONEY. [HE LGHS.]GIRL: THAT’S A CHARMG PRODUCT TO BE SELLG, ISN’T ?HAPPY: OH, GETS TO BE LIKE EVERYTHG ELSE. SELLG IS SELLG, Y’KNOW. GIRL: I SUPPOSE.HAPPY: YOU DON’T HAPPEN TO SELL, DO YOU?GIRL: NO, I DON’T SELL.HAPPY: WOULD YOU OBJECT TO A PLIMENT OM A STRANGER? YOU OUGHT TO BE ON A MAGAZE VER.GIRL: [LOOKG AT HIM A LTLE ARCHLY.] I HAVE BEEN. [STANLEY WH A GLASS OF CHAMPAGNE.]HAPPY: WHAT’D I SAY BEFORE, STANLEY? YOU SEE? SHE’S A VER GIRL. STANLEY: OH, I ULD SEE, I ULD SEE.HAPPY: [TO THE GIRL.] WHAT MAGAZE?GIRL: OH, A LOT OF THEM. [SHE TAK THE DRK.] THANK YOU.HAPPY: YOU KNOW WHAT THEY SAY FRANCE, DON’T YOU? “CHAMPAGNE IS THE DRK OF THE PLEXN”—HYA, BIFF![BIFF HAS ENTERED AND SS WH HAPPY.]BIFF: HELLO, KID. SORRY I’M LATE.HAPPY: I JT GOT HERE. UH, MISS—?GIRL: FORSYTHE.HAPPY: MISS FORSYTHE, THIS IS MY BROTHER.BIFF: IS DAD HERE?HAPPY: HIS NAME IS BIFF. YOU MIGHT’VE HEARD OF HIM. GREAT FOOTBALL PLAYER. GIRL: REALLY? WHAT TEAM?HAPPY: ARE YOU FAIAR WH FOOTBALL?GIRL: NO, I’M AAID I’M NOT.HAPPY: BIFF IS QUARTERBACK WH THE NEW YORK GIANTS.GIRL: WELL, THAT’S NICE, ISN’T ? [SHE DRKS.]HAPPY: GOOD HEALTH.GIRL: I’M HAPPY TO MEET YOU.HAPPY: THAT’S MY NAME, HAP. IT’S REALLY HAROLD, BUT AT WT POT THEY LLED MEHAPPY.GIRL: [NOW REALLY IMPRSED.] OH, I SEE. HOW DO YOU DO? [SHE TURNS HER PROFILE.] BIFF: ISN’T DAD G?HAPPY: YOU WANT HER?BIFF: OH, I ULD NEVER MAKE THAT.HAPPY: I REMEMBER THE TIME THAT IA WOULD NEVER E TO YOUR HEAD. WHERE’STHE OLD NFINCE, BIFF?BIFF: I JT SAW OLIVER—HAPPY: WA A MUTE. I’VE GOT TO SEE THAT OLD NFINCE AGA. DO YOU WANTHER?SHE’SONLL.BIFF: OH, NO. [HE TURNS TO LOOK AT THE GIRL.]HAPPY: I’M TELLG YOU. WATCH THIS. [TURNG TO SEE THE GIRL.] HONEY? [SHE TURNS TOHIM.] ARE YOU BY?GIRL: WELL, I AM . . . BUT I ULD MAKE A PHONE LL.HAPPY: DO THAT, WILL YOU, HONEY? AND SEE IF YOU N GET A IEND. WE’LL BE HEREFOR A WHILE. BIFF IS ONE OF THE GREATT FOOTBALL PLAYERS THE UNTRY. GIRL: [STANDG UP.] WELL, I’M CERTALY HAPPY TO MEET YOU.HAPPY: COME BACK SOON.GIRL: I’LL TRY.HAPPY: DON’T TRY, HONEY, TRY HARD. [THE GIRL EXS. STANLEY FOLLOWS, SHAKG HIS HEAD BEWILRED ADMIRATN.] ISN’T THAT A SHAME NOW? A BETIFUL GIRL LIKE THAT? THAT’S WHY I N’T GET MARRIED. THERE’S NOT A GOOD WOMAN A THOAND. NEW YORK IS LOAD WH THEM, KID!BIFF: HAP, LOOK—HAPPY:ITOLDYOHEWASONLL!BIFF: [STRANGELY UNNERVED.] CUT OUT, WILL YA? I WANT TO SAY SOMETHG TO YOU. HAPPY: DID YOU SEE OLIVER?BIFF: I SAW HIM ALL RIGHT. NOW LOOK, I WANT TO TELL DAD A UPLE OF THGS AND IWANT YOU TO HELP ME.HAPPY: WHAT? IS HE GOG TO BACK YOU?BIFF: ARE YOU CRAZY? YOU’RE OUT OF YOUR GODDAM HEAD, YOU KNOW THAT?HAPPY: WHY? WHAT HAPPENED?BIFF: [BREATHLSLY.] I DID A TERRIBLE THG TODAY, HAP. IT’S BEEN THE STRANGT DAY IEVER WENT THROUGH. I’M ALL NUMB, I SWEAR. HAPPY:YOUMEANHEWOULDN’TSEEYOU?BIFF: WELL, I WAED SIX HOURS FOR HIM, SEE? ALL DAY. KEPT SENDG MY NAME . EVENTRIEDTODATEHISSECRETARYSOSHE’DGETMETOHIM,BUTNOSOAP.HAPPY: BEE YOU’RE NOT SHOW’ THE OLD NFINCE, BIFF. HE REMEMBERED YOU, DIDN’T HE?BIFF: [STOPPG HAPPY WH A GTURE.] FALLY, ABOUT FIVE O’CLOCK, HE OUT. DIDN’T REMEMBER WHO I WAS OR ANYTHG. I FELT LIKE SUCH AN IDT, HAP.HAPPY: DID YOU TELL HIM MY FLORIDA IA?BIFF: HE WALKED AWAY. I SAW HIM FOR ONE MUTE. I GOT SO MAD I ULD’VE TORNTHE WALLS DOWN! HOW THE HELL DID I EVER GET THE IA I WAS A SALMAN THERE? IEVENBELIEVEDMYSELFTHATI’DBEENASALMANFORHIM!ANDTHENHEGAVEME ONE LOOK AND—I REALIZED WHAT A RIDICULO LIE MY WHOLE LIFE HAS BEEN! WE’VE BEENTALKGADREAMFORFIFTEENYEARS.IWASASHIPPGCLERK.HAPPY: WHAT’D YOU DO?BIFF: [WH GREAT TENSN AND WONR.] WELL, HE LEFT, SEE. AND THE SECRETARY WENT OUT.I WAS ALL ALONE THE WAG-ROOM. I DON’T KNOW WHAT ME OVER ME, HAP. THE NEXT THG I KNOW I’M HIS OFFICE—PANELED WALLS, EVERYTHG. I N’T EXPLA . I—HAP, I TOOK HIS FOUNTA PEN.HAPPY: GEEZ, DID HE TCH YOU? BIFF:IRANOUT.IRANDOWNALLELEVENFLIGHTS.IRANANDRANANDRAN. HAPPY:THATWASANAWFULDUMB—WHAT’DYOUDOTHATFOR?BIFF: [AGONIZED.] I DON’T KNOW, I JT—WANTED TO TAKE SOMETHG, I DON’T KNOW.YOU GOTTA HELP ME, HAP, I’M GONNA TELL POP.HAPPY: YOU CRAZY? WHAT FOR?BIFF: HAP, HE’S GOT TO UNRSTAND THAT I’M NOT THE MAN SOMEBODY LENDS THATKD OF MONEY TO. HE THKS I’VE BEEN SPG HIM ALL THE YEARS AND ’SEATG HIM UP.HAPPY: THAT’S JT . YOU TELL HIM SOMETHG NICE.BIFF: I N’T.HAPPY: SAY YOU GOT A LUNCH DATE WH OLIVER TOMORROW.BIFF: SO WHAT DO I DO TOMORROW?HAPPY: YOU LEAVE THE HOE TOMORROW AND E BACK AT NIGHT AND SAY OLIVER ISTHKG OVER. AND HE THKS OVER FOR A UPLE OF WEEKS, AND GRADUALLY FAS AWAY AND NOBODY’S THE WORSE.BIFF:BUT’LLGOONFOREVER!HAPPY: DAD IS NEVER SO HAPPY AS WHEN HE’S LOOKG FORWARD TO SOMETHG! [WILLYENTERS.] HELLO, SUT!WILLY: GEE, I HAVEN’T BEEN HERE YEARS![STANLEY HAS FOLLOWED WILLY AND SETS A CHAIR FOR HIM. STANLEY STARTS OFF BUT HAPPY STOPS HIM.]HAPPY: STANLEY![STANLEY STANDS BY, WAG FOR AN ORR.]BIFF: [GOG TO WILLY WH GUILT, AS TO AN VALID.] S DOWN, POP. YOU WANT A DRK? WILLY: SURE, I DON’T MD.BIFF: LET’S GET A LOAD ON.WILLY: YOU LOOK WORRIED.BIFF: N-NO. [TO STANLEY.] STCH ALL AROUND. MAKE DOUBL. STANLEY: DOUBL, RIGHT. [HE GO.]WILLY: YOU HAD A UPLE ALREADY, DIDN’T YOU?BIFF: JT A UPLE, YEAH.WILLY: WELL, WHAT HAPPENED, BOY? [NODDG AFFIRMATIVELY, WH A SE.] EVERYTHGGO ALL RIGHT?BIFF: [TAK A BREATH, THEN REACH OUT AND GRASPS WILLY’S HAND.] PAL . . . [HE IS SGBRAVELY,ANDWILLYISSGTOO.]IHADANEXPERIENCETODAY.HAPPY: TERRIFIC, POP.WILLY: THAT SO? WHAT HAPPENED?BIFF: [HIGH, SLIGHTLY ALHOLIC, ABOVE THE EARTH.] I’M GOG TO TELL YOU EVERYTHG ’SBEENASTRANGEDAY.[SILENCE.HELOOKSAROUND,POSHIMSELFAS BT HE N, BUT HIS BREATH KEEPS BREAKG THE RHYTHM OF HIS VOICE.] I HAD TO WA QUE A WHILE FOR HIM, AND—WILLY: OLIVER?BIFF: YEAH, OLIVER. ALL DAY, AS A MATTER OF LD FACT. AND A LOT OF—STANC—FACTS,POP, FACTS ABOUT MY LIFE ME BACK TO ME. WHO WAS , POP? WHO EVER SAID IWASASALMANWHOLIVER?WILLY: WELL, YOU WERE.BIFF: NO, DAD, I WAS SHIPPG CLERK.WILLY: BUT YOU WERE PRACTILLY—BIFF: [WH TERMATN.] DAD, I DON’T KNOW WHO SAID FIRST, BUT I WAS NEVER ASALMANFORBILLOLIVER.WILLY: WHAT’RE YOU TALKG ABOUT?BIFF: LET’S HOLD ON TO THE FACTS TONIGHT, POP. WE’RE NOT GOG TO GET ANYWHEREBULL’ AROUND. I WAS A SHIPPG CLERK.WILLY: [ANGRILY.] ALL RIGHT, NOW LISTEN TO ME—BIFF: WHY DON’T YOU LET ME FISH?WILLY: I’M NOT TERTED STORI ABOUT THE PAST OR ANY CRAP OF THAT KDBEE THE WOODS ARE BURNG, BOYS, YOU UNRSTAND? THERE’S A BIG BLAZEGOG ON ALL AROUND. I WAS FIRED TODAY.BIFF: [SHOCKED.] HOW ULD YOU BE?WILLY: I WAS FIRED, AND I’M LOOKG FOR A LTLE GOOD NEWS TO TELL YOUR MOTHER,BEETHEWOMANHASWAEDANDTHEWOMANHASSUFFERED.THEGISTOFIS THAT I HAVEN’T GOT A STORY LEFT MY HEAD, BIFF. SO DON’T GIVE ME A LECTURE ABOUT FACTS AND ASPECTS. I AM NOT TERTED. NOW WHAT’VE YOU GOT TO SAY TO ME? [STANLEY ENTERS WH THREE DRKS. THEY WA UNTIL HE LEAV.] DID YOU SEE OLIVER?BIFF: J, DAD!WILLY:YOUMEANYOUDIDN’TGOUPTHERE?HAPPY: SURE HE WENT UP THERE.BIFF: I DID. I—SAW HIM. HOW ULD THEY FIRE YOU?WILLY: [ON THE EDGE OF HIS CHAIR.] WHAT KD OF A WELE DID HE GIVE YOU?BIFF: HE WON’T EVEN LET YOU WORK ON MISSN?WILLY: I’M OUT. [DRIVG.] SO TELL ME, HE GAVE YOU A WARM WELE?HAPPY: SURE, POP, SURE!BIFF: [DRIVEN.] WELL, WAS KD OF—WILLY: I WAS WONRG IF HE’D REMEMBER YOU. [TO HAPPY.] IMAGE, MAN DON’TSEE HIM FOR TEN, TWELVE YEARS AND GIV HIM THAT KD OF A WELE! HAPPY:DAMNRIGHT!BIFF: [TRYG TO RETURN TO THE OFFENSIVE.] POP, LOOK—WILLY: YOU KNOW WHY HE REMEMBERED YOU, DON’T YOU? BEE YOU IMPRSED HIMTHOSEDAYS.BIFF: LET’S TALK QUIETLY AND GET THIS DOWN TO THE FACTS, HUH?WILLY: [AS THOUGH BIFF HAD BEEN TERPTG.] WELL, WHAT HAPPENED? IT’S GREAT NEWS,BIFF. DID HE TAKE YOU TO HIS OFFICE OR’D YOU TALK THE WAG-ROOM? BIFF: WELL, HE ME , SEE AND—WILLY: [WH A BIG SE.] WHAT’D HE SAY? BETCHA HE THREW HIS ARM AROUND YOU. BIFF: WELL, HE KDA—WILLY: HE’S A FE MAN. [TO HAPPY.] VERY HARD MAN TO SEE, Y’KNOW. HAPPY: [AGREEG.] OH, I KNOW.WILLY: [TO BIFF.] IS THAT WHERE YOU HAD THE DRKS?BIFF: YEAH, HE GAVE ME A UPLE OF—NO, NO!HAPPY: [CUTTG .] HE TOLD HIM MY FLORIDA IA.WILLY: DON’T TERPT. [TO BIFF.] HOW’D HE REACT TO THE FLORIDA IA?BIFF: DAD, WILL YOU GIVE ME A MUTE TO EXPLA?WILLY: I’VE BEEN WAG FOR YOU TO EXPLA SCE I SAT DOWN HERE! WHAT HAPPENED?HE TOOK YOU TO HIS OFFICE AND WHAT?BIFF: WELL—I TALKED. AND—HE LISTENED, SEE.WILLY: FAMO FOR THE WAY HE LISTENS, Y’KNOW. WHAT WAS HIS ANSWER?BIFF: HIS ANSWER WAS—[HE BREAKS OFF, SUDNLY ANGRY.] DAD, YOU’RE NOT LETTG METELL YOU WHAT I WANT TO TELL YOU!WILLY: [ACCG, ANGERED.] YOU DIDN’T SEE HIM, DID YOU?BIFF: I DID SEE HIM!WILLY: WHAT’D YOU SULT HIM OR SOMETHG? YOU SULTED HIM, DIDN’T YOU? BIFF: LISTEN, WILL YOU LET ME OUT OF , WILL YOU JT LET ME OUT OF !HAPPY: WHAT THE HELL!WILLY: TELL ME WHAT HAPPENED!BIFF: [TO HAPPY.] I N’T TALK TO HIM![A SGLE TMPET NOTE JARS THE EAR. THE LIGHT OF GREEN LEAV STAS THE HOE, WHICH HOLDS THE AIR OF NIGHT AND A DREAM. YOUNG BERNARD ENTERS AND KNOCKS ON THE DOOR OF THE HOE.]YOUNG BERNARD: [FRANTILLY.] MRS. LOMAN, MRS. LOMAN! HAPPY: TELL HIM WHAT HAPPENED!BIFF: [TO HAPPY.] SHUT UP AND LEAVE ME ALONE!WILLY: NO, NO. YOU HAD TO GO AND FLUNK MATH!BIFF: WHAT MATH? WHAT’RE YOU TALKG ABOUT? YOUNG BERNARD: MRS. LOMAN, MRS. LOMAN![LINDA APPEARS THE HOE, AS OF OLD.]WILLY: [WILDLY.] MATH, MATH, MATH!BIFF: TAKE EASY, POP!YOUNG BERNARD: MRS. LOMAN!WILLY: [FURLY.] IF YOU HADN’T FLUNKED YOU’D’VE BEEN SET BY NOW!BIFF: NOW, LOOK, I’M GONNA TELL YOU WHAT HAPPENED, AND YOU’RE GOG TO LISTENTO ME.YOUNG BERNARD: MRS. LOMAN!BIFF: I WAED SIX HOURS—HAPPY: WHAT THE HELL ARE YOU SAYG?BIFF: I KEPT SENDG MY NAME BUT HE WOULDN’T SEE ME. SO FALLY HE . . . [HE NTU UNHEARD AS LIGHT FAS LOW ON THE RTRANT.]YOUNG BERNARD: BIFF FLUNKED MATH!LINDA: NO!YOUNG BERNARD: BIRNBM FLUNKED HIM! THEY WON’T GRADUATE HIM!LINDA: BUT THEY HAVE TO. HE’S GOTTA GO TO THE UNIVERSY. WHERE IS HE? BIFF! BIFF! YOUNG BERNARD: NO, HE LEFT. HE WENT TO GRAND CENTRAL.LINDA: GRAND—YOU MEAN HE WENT TO BOSTON!YOUNG BERNARD: IS UNCLE WILLY BOSTON? LINDA:OH,,THEPOOR,POORBOY![LIGHT ON HOE AREA SNAPS OUT.]BIFF: [AT THE TABLE, NOW DIBLE, HOLDG UP A GOLD FOUNTA PEN.] . . . SO I’M WASHED UP WH OLIVER, YOU UNRSTAND? ARE YOU LISTENG TO ME?WILLY: [AT A LOSS.] YEAH, SURE. IF YOU HADN’T FLUNKED—BIFF: FLUNKED WHAT? WHAT’RE YOU TALKG ABOUT?WILLY: DON’T BLAME EVERYTHG ON ME! I DIDN’T FLUNK MATH—YOU DID! WHAT PEN? HAPPY:THATWASAWFULDUMB,BIFF,APENLIKETHATISWORTH—WILLY: [SEEG THE PEN FOR THE FIRST TIME.] YOU TOOK OLIVER’S PEN?BIFF: [WEAKENG.] DAD, I JT EXPLAED TO YOU.WILLY: YOU STOLE BILL OLIVER’S FOUNTA PEN!BIFF: I DIDN’T EXACTLY STEAL ! THAT’S JT WHAT I’VE BEEN EXPLAG TO YOU! HAPPY: HE HAD HIS HAND AND JT THEN OLIVER WALKED , SO HE GOT NERVOAND STUCK HIS POCKET!WILLY: MY GOD, BIFF!BIFF: I NEVER TEND TO DO , DAD!OPERATOR’S VOICE: STANDISH ARMS, GOOD EVENG!WILLY: [SHOUTG.] I’M NOT MY ROOM!BIFF: [FRIGHTENED.] DAD, WHAT’S THE MATTER? [HE AND HAPPY STAND UP.]OPERATOR: RGG MR. LOMAN FOR YOU!BIFF: [HORRIFIED, GETS DOWN ON ONE KNEE BEFORE WILLY.] DAD, I’LL MAKE GOOD, I’LL MAKEGOOD.[WILLYTRITOGETTOHISFEET.BIFFHOLDSHIMDOWN.]SDOWNNOW.WILLY: NO, YOU’RE NO GOOD, YOU’RE NO GOOD FOR ANYTHG.BIFF: I AM, DAD, I’LL FD SOMETHG ELSE, YOU UNRSTAND? NOW DON’T WORRY ABOUTANYTHG. [HE HOLDS UP WILLY’S FACE.] TALK TO ME, DAD.OPERATOR: MR. LOMAN DO NOT ANSWER. SHALL I PAGE HIM?WILLY: [ATTEMPTG TO STAND, AS THOUGH TO SH AND SILENCE THE OPERATOR.] NO, NO, NO! HAPPY: HE’LL STRIKE SOMETHG, POP.WILLY: NO, NO . . .BIFF: [DPERATELY, STANDG OVER WILLY.] POP, LISTEN! LISTEN TO ME! I’M TELLG YOOMETHG GOOD. OLIVER TALKED TO HIS PARTNER ABOUT THE FLORIDA IA. YOU LISTENG? HE—HE TALKED TO HIS PARTNER, AND HE ME TO ME . . . I’M GOG TO BEALLRIGHT,YOUHEAR?DAD,LISTENTOME,HAIDWASJTAQUTNOFTHE AMOUNT!HAPPY: HE’S GONNA BE TERRIFIC, POP! WILLY:[TRYGTOSTAND.]THENYOUGOT,HAVEN’TYOU?YOUGOT!YOUGOT! BIFF: [AGONIZED, HOLDS WILLY DOWN.] NO, NO. LOOK, POP. I’M SUPPOSED TO HAVE LUNCHWH THEM TOMORROW. I’M JT TELLG YOU THIS SO YOU’LL KNOW THAT I N STILL MAKE AN IMPRSN, POP. AND I’LL MAKE GOOD SOMEWHERE, BUT I N’T GOTOMORROW, SEE?WILLY: WHY NOT? YOU SIMPLY—BIFF: BUT THE PEN, POP!WILLY: YOU GIVE TO HIM AND TELL HIM WAS AN OVERSIGHT!HAPPY: SURE, HAVE LUNCH TOMORROW!BIFF: I N’T SAY THAT—WILLY: YOU WERE DOG A CROSSWORD PUZZLE AND ACCINTALLY ED HIS PEN!BIFF: LISTEN, KID, I TOOK THOSE BALLS YEARS AGO, NOW I WALK WH HIS FOUNTAPEN? THAT CLCH , DON’T YOU SEE? I N’T FACE HIM LIKE THAT! I’LL TRY ELSEWHERE. PAGE’S VOICE: PAGG MR. LOMAN!WILLY: DON’T YOU WANT TO BE ANYTHG?BIFF:POP,HOWNIGOBACK?WILLY: YOU DON’T WANT TO BE ANYTHG, IS THAT WHAT’S BEHD ?BIFF: [NOW ANGRY AT WILLY FOR NOT CREDG HIS SYMPATHY.] DON’T TAKE THAT WAY! YOU THK WAS EASY WALKG TO THAT OFFICE AFTER WHAT I’D DONE TO HIM? ATEAM OF HORS ULDN’T HAVE DRAGGED ME BACK TO BILL OLIVER! WILLY:THENWHY’DYOUGO?BIFF: WHY DID I GO? WHY DID I GO! LOOK AT YOU! LOOK AT WHAT’S BEE OF YOU![OFF LEFT, THE WOMAN LGHS.]WILLY: BIFF, YOU’RE GOG TO GO TO THAT LUNCH TOMORROW, OR— BIFF: I N’T GO. I’VE GOT AN APPOTMENT!HAPPY: BIFF, FOR . . . !WILLY: ARE YOU SPG ME?BIFF: DON’T TAKE THAT WAY! GODDAMM! WILLY:[STRIKBIFFANDFALTERSAWAYOMTHETABLE.]YOUROTTENLTLELOE!AREYOPG ME?THE WOMAN: SOMEONE’S AT THE DOOR, WILLY!BIFF: I’M NO GOOD, N’T YOU SEE WHAT I AM? HAPPY:[SEPARATGTHEM.]HEY,YOU’REARTRANT!NOWCUTOUT,BOTHOFYOU![THE GIRLS ENTER.] HELLO, GIRLS, S DOWN. [THE WOMAN LGHS, OFF LEFT.]MISS FORSYTHE: I GUS WE MIGHT AS WELL. THIS IS LETTA.THE WOMAN: WILLY, ARE YOU GOG TO WAKE UP?BIFF: [IGNORG WILLY.] HOW’RE YA, MISS, S DOWN. WHAT DO YOU DRK?MISS FORSYTHE: LETTA MIGHT NOT BE ABLE TO STAY LONG.LETTA: I GOTTA GET UP EARLY TOMORROW. I GOT JURY DUTY. I’M SO EXCED! WERE YOUFELLOWSEVERONAJURY? BIFF:NO,BUTIBEENONTOFTHEM![THEGIRLSLGH.]THISISMYFATHER. LETTA: ISN’T HE CUTE? S DOWN WH , POP.HAPPY: S HIM DOWN, BIFF!BIFF: [GOG TO HIM.] COME ON, SLUGGER, DRK UNR THE TABLE. TO HELL WH !COME ON, S DOWN, PAL.[ON BIFF’S LAST SISTENCE, WILLY IS ABOUT TO S.]THE WOMAN: [NOW URGENTLY.] WILLY, ARE YOU GOG TO ANSWER THE DOOR![THE WOMAN’S LL PULLS WILLY BACK. HE STARTS RIGHT, BEFUDDLED.]BIFF: HEY, WHERE ARE YOU GOG?WILLY:OPENTHEDOOR.BIFF: THE DOOR?WILLY: THE WASHROOM . . . THE DOOR . . . WHERE’S THE DOOR? BIFF: [LEADG WILLY TO THE LEFT.] JT GO STRAIGHT DOWN.[WILLY MOV LEFT.]THE WOMAN: WILLY, WILLY, ARE YOU GOG TO GET UP, GET UP, GET UP, GET UP?[WILLY EXS LEFT.]LETTA: I THK ’S SWEET YOU BRG YOUR DADDY ALONG.MISS FORSYTHE: OH, HE ISN’T REALLY YOUR FATHER! BIFF:[ATLEFT,TURNGTOHERRENTFULLY.]MISSFORSYTHE,YOU’VEJTSEENAPRCEWALK BY. A FE, TROUBLED PRCE. A HARDWORKG, UNAPPRECIATED PRCE. A PAL,YOU UNRSTAND? A GOOD PANN. ALWAYS FOR HIS BOYS.LETTA: THAT’S SO SWEET.HAPPY: WELL, GIRLS, WHAT’S THE PROGRAM? WE’RE WASTG TIME. COME ON, BIFF. GATHERROUND. WHERE WOULD YOU LIKE TO GO?BIFF: WHY DON’T YOU DO SOMETHG FOR HIM?HAPPY: ME!BIFF: DON’T YOU GIVE A DAMN FOR HIM, HAP?HAPPY: WHAT’RE YOU TALKG ABOUT? I’M THE ONE WHO—BIFF: I SENSE , YOU DON’T GIVE A GOOD GODDAM ABOUT HIM. [HE TAK THE ROLLED-UPHOSE OM HIS POCKET AND PUTS ON THE TABLE ONT OF HAPPY.] LOOK WHAT I FOUNDTHECELLAR,FORCHRIST’SSAKE.HOWNYOUBEARTOLETGOON?HAPPY: ME? WHO GO AWAY? WHO NS OFF AND—BIFF: YEAH, BUT HE DON’T MEAN ANYTHG TO YOU. YOU ULD HELP HIM—I N’T!DON’T YOU UNRSTAND WHAT I’M TALKG ABOUT? HE’S GOG TO KILL HIMSELF,DON’T YOU KNOW THAT?HAPPY: DON’T I KNOW ! ME!BIFF: HAP, HELP HIM! J . . . HELP HIM . . . HELP ME, HELP ME, I N’T BEAR TO LOOKAT HIS FACE! [READY TO WEEP, HE HURRI OUT, UP RIGHT.]HAPPY: [STARTG AFTER HIM.] WHERE ARE YOU GOG?MISS FORSYTHE: WHAT’S HE SO MAD ABOUT?HAPPY: COME ON, GIRLS, WE’LL TCH UP WH HIM.MISS FORSYTHE: [AS HAPPY PH HER OUT.] SAY, I DON’T LIKE THAT TEMPER OF HIS! HAPPY: HE’S JT A LTLE OVERSTNG, HE’LL BE ALL RIGHT!WILLY: [OFF LEFT, AS THE WOMAN LGHS.] DON’T ANSWER! DON’T ANSWER!LETTA: DON’T YOU WANT TO TELL YOUR FATHER—HAPPY: NO, THAT’S NOT MY FATHER. HE’S JT A GUY. COME ON, WE’LL TCH BIFF, AND,HONEY, WE’RE GOG TO PAT THIS TOWN! STANLEY, WHERE’S THE CHECK! HEY, STANLEY! [THEY EX. STANLEY LOOKS TOWARD LEFT.]STANLEY: [CALLG TO HAPPY DIGNANTLY.] MR. LOMAN! MR. LOMAN![STANLEY PICKS UP A CHAIR AND FOLLOWS THEM OFF. KNOCKG IS HEARD OFF LEFT. THE WOMAN ENTERS, LGHG. WILLY FOLLOWS HER. SHE IS A BLACK SLIP; HE IS BUTTONG HIS SHIRT. RAW, SENSUO MIC ACPANI THEIR SPEECH.]WILLY: WILL YOU STOP LGHG? WILL YOU STOP?THE WOMAN: AREN’T YOU GOG TO ANSWER THE DOOR? HE’LL WAKE THE WHOLE HOTEL. WILLY: I’M NOT EXPECTG ANYBODY.THE WOMAN: WHYN’T YOU HAVE ANOTHER DRK, HONEY, AND STOP BEG SO DAMNSELF-CENTERED?WILLY: I’M SO LONELY.THE WOMAN: YOU KNOW YOU ED ME, WILLY? FROM NOW ON, WHENEVER YOU ETO THE OFFICE, I’LL SEE THAT YOU GO RIGHT THROUGH TO THE BUYERS. NO WAG ATMY SK ANYMORE, WILLY. YOU ED ME.WILLY: THAT’S NICE OF YOU TO SAY THAT.THE WOMAN: GEE, YOU ARE SELF-CENTERED! WHY SO SAD? YOU ARE THE SADST, SELF-CENTERESTSOULIEVERDIDSEE-SAW.[SHELGHS.HEKISSHER.]COMEONSI, DMMER BOY. IT’S SILLY TO BE DRSG THE MIDDLE OF THE NIGHT. [AS KNOCKG IS HEARD.] AREN’T YOU GOG TO ANSWER THE DOOR?WILLY: THEY’RE KNOCKG ON THE WRONG DOOR.THE WOMAN: BUT I FELT THE KNOCKG. AND HE HEARD TALKG HERE. MAYBETHEHOTEL’SONFIRE!WILLY: [HIS TERROR RISG.] IT’S A MISTAKE. THEWOMAN:THENTELLTHEMTOGOAWAY!WILLY: THERE’S NOBODY THERE.THE WOMAN: IT’S GETTG ON MY NERV, WILLY. THERE’S SOMEBODY STANDG OUTTHERE AND ’S GETTG ON MY NERV!WILLY: [PHG HER AWAY OM HIM.] ALL RIGHT, STAY THE BATHROOM HERE, AND DON’TE OUT. I THK THERE’S A LAW MASSACHETTS ABOUT , SO DON’T E OUT. IT MAY BE THAT NEW ROOM CLERK. HE LOOKED VERY MEAN. SO DON’T E OUT. IT’S A MISTAKE, THERE’S NO FIRE.[THE KNOCKG IS HEARD AGA. HE TAK A FEW STEPS AWAY OM HER, AND SHE VANISH TO THE WG. THE LIGHT FOLLOWS HIM, AND NOW HE IS FACG YOUNG BIFF, WHO RRI A SUSE. BIFF STEPS TOWARD HIM. THE MIC IS GONE.]BIFF: WHY DIDN’T YOU ANSWER?WILLY: BIFF! WHAT ARE YOU DOG BOSTON?BIFF: WHY DIDN’T YOU ANSWER? I’VE BEEN KNOCKG FOR FIVE MUT, I LLED YOUONTHEPHONE—WILLY: I JT HEARD YOU. I WAS THE BATHROOM AND HAD THE DOOR SHUT. DIDANYTHG HAPPEN HOME?BIFF: DAD—I LET YOU DOWN.WILLY: WHAT DO YOU MEAN?BIFF: DAD . . .WILLY: BIFFO, WHAT’S THIS ABOUT? [PUTTG HIS ARM AROUND BIFF.] COME ON, LET’S GODOWNSTAIRS AND GET YOU A MALTED.BIFF: DAD, I FLUNKED MATH.WILLY: NOT FOR THE TERM?BIFF: THE TERM. I HAVEN’T GOT ENOUGH CREDS 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 POTS?BIFF: BIRNBM REFED ABSOLUTELY. I BEGGED HIM, POP, BUT HE WON’T GIVE ME THOSEPOTS. YOU GOTTA TALK TO HIM BEFORE THEY CLOSE THE SCHOOL. BEE IF HE SAW THE KD OF MAN YOU ARE, AND YOU JT TALKED TO HIM YOUR WAY, I’M SURE HE’D E THROUGH FOR ME. THE CLASS ME 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 ULD TALK.WILLY: YOU’RE ON. WE’LL DRIVE RIGHT BACK.BIFF: OH, DAD, GOOD WORK! I’M SURE HE’LL CHANGE FOR YOU!WILLY: GO DOWNSTAIRS AND TELL THE CLERK I’M CHECK’ OUT. GO RIGHT DOWN. BIFF:Y,SIR!SEE,THEREASONHEHATME,POP—ONEDAYHEWASLATEFORCLASSSOI GOT UP AT THE BLACKBOARD AND IMATED HIM. I CROSSED MY EY AND TALKEDWH A LHP.WILLY: [LGHG.] YOU DID? THE KIDS LIKE ?BIFF: THEY NEARLY DIED LGHG!WILLY: YEAH? WHAT’D YOU DO?BIFF: THE THQUARE ROOT OF THIXTHY TWEE IS . . . [WILLY BURSTS OUT LGHG; BIFF JOSHIM.] AND THE MIDDLE OF HE WALKED ! [WILLY LGHS AND THE WOMAN JOS OFFSTAGE.]WILLY: [WHOUT HATN.] HURRY DOWNSTAIRS AND— BIFF:SOMEBODYTHERE?WILLY: NO, THAT WAS NEXT DOOR.[THE WOMAN LGHS OFFSTAGE.]BIFF:SOMEBODYGOTYOURBATHROOM!WILLY: NO, ’S THE NEXT ROOM, THERE’S A PARTY—THE WOMAN: [ENTERS LGHG. SHE LISPS THIS.] CAN I E ? THERE’S SOMETHG THE BATHTUB, WILLY, AND ’S MOVG![WILLY LOOKS AT BIFF, WHO IS STARG OPEN-MOUTHED AND HORRIFIED AT THE WOMAN.]WILLY: AH—YOU BETTER GO BACK TO YOUR ROOM. THEY MT BE FISHED PATG BY NOW. THEY’RE PATG HER ROOM SO I LET HER TAKE A SHOWER HERE. GO BACK, GO BACK . . . [HE PH HER.]THE WOMAN: [RISTG.] BUT I’VE GOT TO GET DRSED, WILLY, I N’T—WILLY: GET OUT OF HERE! GO BACK, GO BACK . . . [SUDNLY STRIVG FOR THE ORDARY.] THIS IS MISS FRANCIS, BIFF, SHE’S A BUYER. THEY’RE PATG HER ROOM. GO BACK,MISS FRANCIS, GO BACK . . .THE WOMAN: BUT MY CLOTH, I N’T GO OUT NAKED THE HALL! WILLY: [PHG HER OFFSTAGE.] GET OUTA HERE! GO BACK, GO BACK![BIFF SLOWLY SS DOWN ON HIS SUSE AS THE ARGUMENT NTU OFFSTAGE.]THE WOMAN: WHERE’S MY STOCKGS? YOU PROMISED ME STOCKGS, WILLY!WILLY: I HAVE NO STOCKGS HERE!THE WOMAN: YOU HAD TWO BOX OF SIZE NE SHEERS FOR ME, AND I WANT THEM! WILLY: HERE, FOR GOD’S SAKE, WILL YOU GET OUTA HERE!THE WOMAN: [ENTERS HOLDG A BOX OF STOCKGS.] I JT HOPE THERE’S NOBODY THEHALL. THAT’S ALL I HOPE. [TO BIFF.] ARE YOU FOOTBALL OR BASEBALL?BIFF: FOOTBALL.THE WOMAN: [ANGRY, HUIATED.] THAT’S ME TOO. G’NIGHT. [SHE SNATCH HER CLOTHOM WILLY, AND WALKS OUT.]WILLY: [AFTER A PSE.] WELL, BETTER GET GOG. I WANT TO GET TO THE SCHOOL FIRST THG THE MORNG. GET MY SUS OUT OF THE CLOSET. I’LL GET MY VALISE. [BIFF DON’T MOVE.] WHAT’S THE MATTER? BIFF REMAS MOTNLS, TEARS FALLG.] SHE’S A BUYER. BUYS FOR J. H. SIMMONS. SHE LIV DOWN THE HALL—THEY’RE PATG. YOU DON’T IMAGE—[HE BREAKS OFF. AFTER A PSE.] NOW LISTEN, PAL, SHE’S JT A BUYER. SHE SE MERCHANDISE HER ROOM AND THEY HAVE TO KEEP LOOKG JT SO . . . [PSE. ASSUMG MAND.] ALL RIGHT, GET MY SUS. [BIFF DON’T MOVE.] NOW STOP CRYG AND DO AS I SAY. I GAVE YOU AN ORR. BIFF, I GAVE YOU AN ORR! IS THAT WHAT YOU DO WHEN I GIVE YOU AN ORR? HOW DARE YOU CRY! [PUTTG HIS ARM AROUND BIFF.] NOW LOOK, BIFF, WHEN YOU GROW UP YOU’LL UNRSTAND ABOUT THE THGS. YOU MTN’T—YOU MTN’T OVEREMPHASIZE A THG LIKE THIS. I’LL SEE BIRNBM FIRST THG THE MORNG.BIFF: NEVER MD.WILLY: [GETTG DOWN BI BIFF.] NEVER MD! HE’S GOG TO GIVE YOU THOSE POTS.I’LL SEE TO .BIFF: HE WOULDN’T LISTEN TO YOU.WILLY: HE CERTALY WILL LISTEN TO ME. YOU NEED THOSE POTS FOR THE U. OF VIRGIA. BIFF: I’M NOT GOG THERE.WILLY: HEH? IF I N’T GET HIM TO CHANGE THAT MARK YOU’LL MAKE UP SUMMERSCHOOL. YOU’VE GOT ALL SUMMER TO—BIFF: [HIS WEEPG BREAKG OM HIM.] DAD . . .WILLY: [INFECTED BY .] OH, MY BOY . . .BIFF: DAD . . .WILLY: SHE’S NOTHG TO ME, BIFF. I WAS LONELY, I WAS TERRIBLY LONELY.BIFF: YOU—YOU GAVE HER MAMA’S STOCKGS! [HIS TEARS BREAK THROUGH AND HE RIS TOGO.]WILLY: [GRABBG FOR BIFF.] I GAVE YOU AN ORR! BIFF: DON’T TOUCH ME, YOU—LIAR!WILLY: APOLOGIZE FOR THAT!BIFF: YOU FAKE! YOU PHONY LTLE FAKE! YOU FAKE![OVERE, HE TURNS QUICKLY AND WEEPG FULLY GO OUT WH HIS SUSE. WILLY IS LEFT ON THE FLOOR ON HIS KNE.]WILLY: I GAVE YOU AN ORR! BIFF, E BACK HERE OR I’LL BEAT YOU! COME BACK HERE! I’LL WHIP YOU! [STANLEY QUICKLY OM THE RIGHT AND STANDS ONT OF WILLY. WILLY SHOUTS AT STANLEY.] I GAVE YOU AN ORR . . .STANLEY: HEY, LET’S PICK UP, PICK UP, MR. LOMAN. [HE HELPS WILLY TO HIS FEET.] YOUR BOYS LEFT WH THE CHIPPI. THEY SAID THEY’LL SEE YOU HOME.[A SECOND WAITER WATCH SOME DISTANCE AWAY.] WILLY: BUT WE WERE SUPPOSED TO HAVE DNER TOGETHER.[MIC IS HEARD, WILLY’S THEME.]STANLEY:CANYOUMAKE? WILLY:I’LL—SURE,INMAKE.[SUDNLYNCERNEDABOUTHISCLOTH.]DOI—ILOOKALL RIGHT?STANLEY: SURE, YOU LOOK ALL RIGHT. [HE FLICKS A SPECK OFF WILLY’S LAPEL.] WILLY: HERE—HERE’S A DOLLAR. STANLEY:OH,’SALLRIGHT.WILLY: [PUTTG STANLEY’S HAND.] NO, TAKE . YOU’RE A GOOD BOY.STANLEY: OH, NO, YOU DON’T HAVE TO . . .WILLY: HERE—HERE’S SOME MORE, I DON’T NEED ANYMORE. [AFTER A SLIGHT PSE.] TELLME—IS THERE A SEED STORE THE NEIGHBORHOOD? STANLEY:SEEDS?YOUMEANLIKETOPLANT?[AS WILLY TURNS, STANLEY SLIPS THE MONEY BACK TO HIS JACKET POCKET.]WILLY: Y. CARROTS, PEAS . . .STANLEY: WELL, THERE’S HARDWARE STOR ON SIXTH AVENUE, BUT MAY BE TOO LATENOW.WILLY: [ANXLY.] OH, I’D BETTER HURRY. I’VE GOT TO GET SOME SEEDS. [HE STARTS OFFTO THE RIGHT.] I’VE GOT TO GET SOME SEEDS, RIGHT AWAY. NOTHG’S PLANTED. I DON’T HAVE A THG THE GROUND.[WILLY HURRI OUT AS THE LIGHT GO DOWN. STANLEY MOV OVER TO THE RIGHT AFTER HIM, WATCH HIM OFF. THE OTHER WAITER HAS BEEN STARG AT WILLY.]STANLEY: [TO THE WAITER.] WELL, WHATTA YOU LOOKG AT?[THE WAITER PICKS UP THE CHAIRS AND MOV OFF RIGHT. STANLEY TAK THE TABLE AND FOLLOWS HIM. THE LIGHT FAS ON THIS AREA. THERE IS A LONG PSE, THE SOUND OF THE FLUTE G OVER. THE LIGHT GRADUALLY RIS ON THE KCHEN, WHICH IS EMPTY. HAPPY APPEARS AT THE DOOR OF THE HOE, FOLLOWED BY BIFF. HAPPY IS RRYG A LARGE BUNCH OF LONG- STEMMED ROS. HE ENTERS THE KCHEN, LOOKS AROUND FOR LINDA. NOT SEEG HER, HE TURNS TO BIFF, WHO IS JT OUTSI THE HOE DOOR, AND MAK A GTURE WH HIS HANDS, DITG “NOT HERE, I GUS.” HE LOOKS TO THE LIVG-ROOM AND EEZ. INSI, LINDA, UNSEEN, IS SEATED, WILLY’S AT ON HER LAP. SHE RIS OMOLY AND QUIETLY AND MOV TOWARD HAPPY, WHO BACKS UP TO THE KCHEN, AAID.]HAPPY: HEY, WHAT’RE YOU DOG UP? [LINDA SAYS NOTHG BUT MOV TOWARD HIM IMPLAC- ABLY.] WHERE’S POP? [HE KEEPS BACKG TO THE RIGHT, AND NOW LINDA IS FULL VIEW THE DOORWAY TO THE LIVG-ROOM.] IS HE SLEEPG?LINDA: WHERE WERE YOU?HAPPY: [TRYG TO LGH OFF.] WE MET TWO GIRLS, MOM, VERY FE TYP. HERE, WEBROUGHTYOOMEFLOWERS.[OFFERGTHEMTOHER.]PUTTHEMYOURROOM,MA. [SHE KNOCKS THEM TO THE FLOOR AT BIFF’S FEET. HE HAS NOW E SI AND CLOSED THE DOOR BEHD HIM. SHE STAR AT BIFF, SILENT.] NOW WHAT’D YOU DO THAT FOR? MOM, I WANT YOU TO HAVE SOME FLOWERS—LINDA: [CUTTG HAPPY OFF, VLENTLY TO BIFF.] DON’T YOU RE WHETHER HE LIV OR DI?HAPPY: [GOG TO THE STAIRS.] COME UPSTAIRS, BIFF.BIFF: [WH A FLARE OF DISGT, TO HAPPY.] GO AWAY OM ME! [TO LINDA.] WHAT DOYOU MEAN, LIV OR DI? NOBODY’S DYG AROUND HERE, PAL. LINDA: GET OUT OF MY SIGHT! GET OUT OF HERE!BIFF: I WANNA SEE THE BOSS.LINDA: YOU’RE NOT GOG NEAR HIM!BIFF: WHERE IS HE? [HE MOV TO THE LIVG-ROOM AND LINDA FOLLOWS.]LINDA: [SHOUTG AFTER BIFF.] YOU VE HIM FOR DNER. HE LOOKS FORWARD TO ALL DAY—[BIFF APPEARS HIS PARENTS’ BEDROOM, LOOKS AROUND AND EXS.]—AND THEN YOUSERT HIM THERE. THERE’S NO STRANGER YOU’D DO THAT TO!HAPPY: WHY? HE HAD A SWELL TIME WH . LISTEN, WHEN I—[LINDA BACK TOTHE KCHEN.]—SERT 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 LOY ROTTEN WHOR![BIFF RE-ENTERS THE KCHEN.]HAPPY: MOM, ALL WE DID WAS FOLLOW BIFF AROUND TRYG TO CHEER HIM UP! [TO BIFF.] BOY, WHAT A NIGHT YOU GAVE ME!LINDA: GET OUT OF HERE, BOTH OF YOU, AND DON’T E BACK! I DON’T WANT YOU TORMENTG HIM ANYMORE. GO ON NOW, GET YOUR THGS TOGETHER! [TO BIFF.] YOU NSLEEPHISAPARTMENT.[SHTARTSTOPICKUPTHEFLOWERSANDSTOPSHERSELF.]PICK UP THIS STUFF, I’M NOT YOUR MAID ANYMORE. PICK UP, YOU BUM, YOU! [HAPPY TURNS HIS BACK TO HER REFAL. BIFF SLOWLY MOV OVER AND GETS DOWN ON HIS KNE, PICKG UP THE FLOWERS.] YOU’RE A PAIR OF ANIMALS! NOT ONE, NOT ANOTHER LIVG SOULWOULDHAVEHADTHECELTYTOWALKOUTONTHATMANARTRANT!BIFF: [NOT LOOKG AT HER.] IS THAT WHAT HE SAID?LINDA: HE DIDN’T HAVE TO SAY ANYTHG. HE WAS SO HUIATED HE NEARLY LIMPEDWHENHEME.HAPPY: BUT, MOM, HE HAD A GREAT TIME WH — BIFF: [CUTTG HIM OFF VLENTLY.] SHUT UP![WHOUT ANOTHER WORD, HAPPY GO UPSTAIRS.]LINDA: YOU! YOU DIDN’T EVEN GO TO SEE IF HE WAS ALL RIGHT!BIFF: [STILL ON THE FLOOR ONT OF LINDA, THE FLOWERS HIS HAND; WH SELF-LOATHG.] NO. DIDN’T. DIDN’T DO A DAMNED THG. HOW DO YOU LIKE THAT, HEH? LEFT HIMBABBLG A TOILET.LINDA: YOU LOE. YOU . . . BIFF:NOWYOUHONTHENOSE![HEGETSUP,THROWSTHEFLOWERSTHEWASTEBASKET.]THE SCUM OF THE EARTH, AND YOU’RE LOOKG AT HIM!LINDA: GET OUT OF HERE!BIFF: I GOTTA TALK TO THE BOSS, MOM. WHERE IS HE?LINDA: YOU’RE NOT GOG NEAR HIM. GET OUT OF THIS HOE!BIFF: [WH ABSOLUTE ASSURANCE, TERMATN.] NO. WE’RE GONNA HAVE AN ABPT N-VERSATN, HIM AND ME.LINDA: YOU’RE NOT TALKG TO HIM! [HAMMERG IS HEARD OM OUTSI THE HOE, OFIGHT. BIFF TURNS TOWARD THE NOISE. SUDNLY PLEADG.] WILL YOU PLEASE LEAVE HIMALONE?BIFF: WHAT’S HE DOG OUT THERE? LINDA: HE’S PLANTG THE GARN! BIFF: [QUIETLY.] NOW? OH, MY GOD![BIFF MOV OUTSI, LINDA FOLLOWG. THE LIGHT DI DOWN ON THEM AND UP ON THE CENTER OF THE APRON AS WILLY WALKS TO . HE IS RRYG A FLASHLIGHT, A HOE, AND A HANDFUL OF SEED PACKETS. HE RAPS THE TOP OF THE HOE SHARPLY TO FIX FIRMLY, AND THEN MOV TO THE LEFT, MEASURG OFF THE DISTANCE WH HIS FOOT. HE HOLDS THE FLASHLIGHT TO LOOK AT THE SEED PACKETS, READG OFF THE STCTNS. HE IS THE BLUE OF NIGHT.]WILLY: CARROTS . . . QUARTER-CH APART. ROWS . . . ONE-FOOT ROWS. [HE MEASUR OFF.] ONE FOOT. [HE PUTS DOWN A PACKAGE AND MEASUR OFF.] BEETS. [HE PUTS DOWN ANOTHER PACKAGE AND MEASUR AGA.] LETTUCE. [HE READS THE PACKAGE, PUTS DOWN.] ONE FOOT—[HE BREAKS OFF AS BEN APPEARS AT THE RIGHT AND MOV SLOWLY DOWN TO HIM.] WHAT A PROPOSN, TS, TS. TERRIFIC, TERRIFIC. ’CSE SHE’S SUFFERED, BEN, THE WOMAN HAS SUFFERED. YOU UNRSTAND ME? A MAN N’T GO OUT THE WAY HE ME , BEN, A MAN HAS GOT TO ADD UP TO SOMETHG. YOU N’T, YOU N’T— [BEN MOV TOWARD HIM AS THOUGH TO TERPT.] YOU GOTTA NSIR, NOW. DON’T ANSWER SO QUICK. REMEMBER, ’S A GUARANTEED TWENTY-THOAND-DOLLAR PROP- OSN. NOW LOOK, BEN, I WANT YOU TO GO THROUGH THE S AND OUTS OF THIS THG WH ME. I’VE GOT NOBODY TO TALK TO, BEN, AND THE WOMAN HAS SUFFERED, YOU HEAR ME?BEN: [STANDG STILL, NSIRG.] WHAT’S THE PROPOSN?WILLY: IT’S TWENTY THOAND DOLLARS ON THE BARRELHEAD. GUARANTEED, GILT-EDGED,YOU UNRSTAND?BEN: YOU DON’T WANT TO MAKE A FOOL OF YOURSELF. THEY MIGHT NOT HONOR THE POLICY. WILLY:HOWNTHEYDAREREFE?DIDN’TIWORKLIKEAOLIETOMEETEVERYPRE-MIUM ON THE NOSE? AND NOW THEY DON’T PAY OFF! IMPOSSIBLE!BEN: IT’S LLED A WARDLY THG, WILLIAM.WILLY: WHY? DO TAKE MORE GUTS TO STAND HERE THE RT OF MY LIFE RGG UPA ZERO?BEN: [YIELDG.] THAT’S A POT, WILLIAM. [HE MOV, THKG, TURNS.] AND TWENTYTHOAND—THAT IS SOMETHG ONE N FEEL WH THE HAND, IS THERE.WILLY: [NOW ASSURED, WH RISG POWER.] OH, BEN, THAT’S THE WHOLE BETY OF ! I SEE LIKE A DIAMOND, SHG THE DARK, HARD AND ROUGH, THAT I N PICK UP AND TOUCH MY HAND. NOT LIKE—LIKE AN APPOTMENT! THIS WOULD NOT BE ANOTHER DAMNED-FOOL APPOTMENT, BEN, AND CHANG ALL THE ASPECTS. BEE HE THKS I’M NOTHG, SEE, AND SO HE SP ME. BUT THE FUNERAL— [STRAIGHTENG UP.] BEN, THAT FUNERAL WILL BE MASSIVE! THEY’LL E OM MAE, MASSACHETTS, VERMONT, NEW HAMPSHIRE! ALL THE OLD-TIMERS WH THE STRANGE LICENSE PLAT—THAT BOY WILL BE THUNR-STCK, BEN, BEE HE NEVER REAL- IZED—I AM KNOWN! RHO ISLAND, NEW YORK, NEW JERSEY—I AM KNOWN, BEN, AND HE’LL SEE WH HIS EY ONCE AND FOR ALL. HE’LL SEE WHAT I AM, BEN! HE’SRASHOCK,THATBOY!BEN: [COMG DOWN TO THE EDGE OF THE GARN.] HE’LL LL YOU A WARD. WILLY: [SUDNLY FEARFUL.] NO, THAT WOULD BE TERRIBLE.BEN: Y. AND A DAMNED FOOL.WILLY: NO, NO, HE MTN’T, I WON’T HAVE THAT! [HE IS BROKEN AND SPERATE.] BEN: HE’LL HATE YOU, WILLIAM.[THE GAY MIC OF THE BOYS IS HEARD.]WILLY: OH, BEN, HOW DO WE GET BACK TO ALL THE GREAT TIM? USED TO BE SO FULL OF LIGHT, AND RASHIP, THE SLEIGH-RIDG WTER, AND THE DDS ON HIS CHEEKS. AND ALWAYS SOME KD OF GOOD NEWS G UP, ALWAYS SOMETHG NICE G UP AHEAD. AND NEVER EVEN LET ME RRY THE VALIS THE HOE, AND SIMONIZG, SIMONIZG THAT LTLE RED R! WHY, WHY N’T I GIVE HIM SOMETHG AND NOT HAVE HIM HATE ME?BEN: LET ME THK ABOUT . [HE GLANC AT HIS WATCH.] I STILL HAVE A LTLE TIME. REMARKABLE PROPOSN, BUT YOU’VE GOT TO BE SURE YOU’RE NOT MAKG A FOOL OF YOURSELF.[BEN DRIFTS OFF UPSTAGE AND GO OUT OF SIGHT. BIFF DOWN OM THE LEFT.]WILLY: [SUDNLY NSC OF BIFF, TURNS AND LOOKS UP AT HIM, THEN BEGS PICKG UP THE PACKAG OF SEEDS NFN.] WHERE THE HELL IS THAT SEED? [INDIGNANTLY.] YOU N’T SEE NOTHG OUT HERE! THEY BOXED THE WHOLE GODDAM NEIGHBORHOOD!BIFF: THERE ARE PEOPLE ALL AROUND HERE. DON’T YOU REALIZE THAT?WILLY: I’M BY. DON’T BOTHER ME.BIFF: [TAKG THE HOE OM WILLY.] I’M SAYG GOOD-BYE TO YOU, POP. [WILLY LOOKS ATHIM, SILENT, UNABLE TO MOVE.] I’M NOT G BACK ANYMORE.WILLY: YOU’RE NOT GOG TO SEE OLIVER TOMORROW?BIFF: I’VE GOT NO APPOTMENT, DAD.WILLY: HE PUT HIS ARM AROUND YOU, AND YOU’VE GOT NO APPOTMENT?BIFF: POP, GET THIS NOW, WILL YOU? EVERYTIME I’VE LEFT ’S BEEN A FIGHT THAT SENT MEOUT OF HERE. TODAY I REALIZED SOMETHG ABOUT MYSELF AND I TRIED TO EXPLA TO YOU AND I—I THK I’M JT NOT SMART ENOUGH TO MAKE ANY SENSE OUT OF FOR YOU. TO HELL WH WHOSE FLT IS OR ANYTHG LIKE THAT. [HE TAK WILLY’S ARM.]LET’SJTWRAPUP,HEH?COMEON,WE’LLTELLMOM.[HEGENTLYTRITO PULL WILLY TO LEFT.]WILLY: [FROZEN, IMMOBILE, WH GUILT HIS VOICE.] NO, I DON’T WANT TO SEE HER.BIFF: COME ON! [HE PULLS AGA, AND WILLY TRI TO PULL AWAY.]WILLY: [HIGHLY NERVO.] NO, NO, I DON’T WANT TO SEE HER.BIFF: [TRI TO LOOK TO WILLY’S FACE, AS IF TO FD THE ANSWER THERE.] WHY DON’T YOUWANT TO SEE HER?WILLY: [MORE HARSHLY NOW.] DON’T BOTHER ME, WILL YOU?BIFF: WHAT DO YOU MEAN, YOU DON’T WANT TO SEE HER? YOU DON’T WANT THEM LLGYOU YELLOW, DO YOU? THIS ISN’T YOUR FLT; ’S ME, I’M A BUM. NOW E SI! [WILLY STRAS TO GET AWAY.] DID YOU HEAR WHAT I SAID TO YOU?[WILLY PULLS AWAY AND QUICKLY GO BY HIMSELF TO THE HOE. BIFF FOLLOWS.]LINDA: [TO WILLY.] DID YOU PLANT, AR?BIFF: [AT THE DOOR, TO LINDA.] ALL RIGHT, WE HAD OUT. I’M GOG AND I’M NOT WRGANYMORE.LINDA: [GOG TO WILLY THE KCHEN.] I THK THAT’S THE BT WAY, AR. ’CSETHERE’S NO E DRAWG OUT, YOU’LL JT NEVER GET ALONG. [WILLY DON’T RPOND.]BIFF: PEOPLE ASK WHERE I AM AND WHAT I’M DOG, YOU DON’T KNOW, AND YOU DON’T RE. THAT WAY ’LL BE OFF YOUR MD AND YOU N START BRIGHTENG UP AGA. ALL RIGHT? THAT CLEARS , DON’T ? [WILLY IS SILENT, AND BIFF GO TO HIM.] YOU GONNA WISH ME LUCK, SUT? [HE EXTENDS HIS HAND.] WHAT DO YOU SAY?LINDA: SHAKE HIS HAND, WILLY.WILLY: [TURNG TO HER, SEETHG WH HURT.] THERE’S NO NECSY TO MENTN THE PENAT ALL, Y’KNOW.BIFF: [GENTLY.] I’VE GOT NO APPOTMENT, DAD.WILLY: [EPTG FIERCELY.] HE PUT HIS ARM AROUND . . . ?BIFF: DAD, YOU’RE NEVER GOG TO SEE WHAT I AM, SO WHAT’S THE E OF ARGUG? IFI STRIKE OIL I’LL SEND YOU A CHECK. MEANTIME FET I’M ALIVE. WILLY: [TO LINDA.] SPE, SEE?BIFF: SHAKE HANDS, DAD.WILLY: NOT MY HAND.BIFF: I WAS HOPG NOT TO GO THIS WAY.WILLY: WELL, THIS IS THE WAY YOU’RE GOG. GOOD-BYE. [BIFF LOOKS AT HIM A MOMENT, THENTURNSSHARPLYANDGOTOTHTAIRS.WILLYSTOPSHIMWH.]MAYYOUROTHELL IF YOU LEAVE THIS HOE!BIFF: [TURNG.] EXACTLY WHAT IS THAT YOU WANT OM ME?WILLY: I WANT YOU TO KNOW, ON THE TRA, THE MOUNTAS, THE VALLEYS, WHEREVERYOUGO,THATYOUCUTDOWNYOURLIFEFORSPE!BIFF: NO, NO.WILLY: SPE, SPE, IS THE WORD OF YOUR UNDOG! AND WHEN YOU’RE DOWN AND OUT,REMEMBERWHATDID.WHENYOU’REROTTGSOMEWHEREBITHERAILROADTRACKS, REMEMBER, AND DON’T YOU DARE BLAME ON ME! BIFF: I’M NOT BLAMG ON YOU!WILLY: I WON’T TAKE THE RAP FOR THIS, YOU HEAR?[HAPPY DOWN THE STAIRS AND STANDS ON THE BOTTOM STEP, WATCHG.]BIFF: THAT’S JT WHAT I’M TELLG YOU!WILLY: [SKG TO A CHAIR AT THE TABLE, WH FULL ACCATN.] YOU’RE TRYG TO PUT AKNIFE ME—DON’T THK I DON’T KNOW WHAT YOU’RE DOG!BIFF: ALL RIGHT, PHONY! THEN LET’S LAY ON THE LE. [HE WHIPS THE BBER TUBE OUT OFHIS POCKET AND PUTS ON THE TABLE.] HAPPY: YOU CRAZY—LINDA: BIFF![SHE MOV TO GRAB THE HOSE, BUT BIFF HOLDS DOWN WH HIS HAND.]BIFF: LEAVE THERE! DON’T MOVE !WILLY: [NOT LOOKG AT .] WHAT IS THAT?BIFF: YOU KNOW GODDAM WELL WHAT THAT IS.WILLY: [CAGED, WANTG TO PE.] I NEVER SAW THAT.BIFF: YOU SAW . THE MICE DIDN’T BRG TO THE CELLAR! WHAT IS THIS SUPPOSEDTO DO, MAKE A HERO OUT OF YOU? THIS SUPPOSED TO MAKE ME SORRY FOR YOU? WILLY: NEVER HEARD OF .BIFF: THERE’LL BE NO PY FOR YOU, YOU HEAR ? NO PY!WILLY: [TO LINDA.] YOU HEAR THE SPE!BIFF: NO, YOU’RE GOG TO HEAR THE TTH—WHAT YOU ARE AND WHAT I AM! LINDA: STOP !WILLY: SPE!HAPPY: [COMG DOWN TOWARD BIFF.] YOU CUT NOW!BIFF: [TO HAPPY.] THE MAN DON’T KNOW WHO WE ARE! THE MAN IS GONNA KNOW! [TO WILLY.] WE NEVER TOLD THE TTH FOR TEN MUT THIS HOE!HAPPY: WE ALWAYS TOLD THE TTH!BIFF: [TURNG ON HIM.] YOU BIG BLOW, ARE YOU THE ASSISTANT BUYER? YOU’RE ONE OFTHE TWO ASSISTANTS TO THE ASSISTANT, AREN’T YOU?HAPPY: WELL, I’M PRACTILLY—BIFF: YOU’RE PRACTILLY FULL OF ! WE ALL ARE! AND I’M THROUGH WH . [TO WILLY.]NOW HEAR THIS, WILLY, THIS IS ME.WILLY: I KNOW YOU!BIFF: YOU KNOW WHY I HAD NO ADDRS FOR THREE MONTHS? I STOLE A SU KANSASCY AND I WAS JAIL. [TO LINDA, WHO IS SOBBG.] STOP CRYG. I’M THROUGH WH .[LINDA TURNS AWAY OM THEM, HER HANDS VERG HER FACE.]WILLY: I SUPPOSE THAT’S MY FLT!BIFF: I STOLE MYSELF OUT OF EVERY GOOD JOB SCE HIGH SCHOOL!WILLY: AND WHOSE FLT IS THAT?BIFF: AND I NEVER GOT ANYWHERE BEE YOU BLEW ME SO FULL OF HOT AIR I ULDNEVER STAND TAKG ORRS OM ANYBODY! THAT’S WHOSE FLT IS!WILLY: I HEAR THAT!LINDA: DON’T, BIFF!BIFF: IT’S GODDAM TIME YOU HEARD THAT! I HAD TO BE BOSS BIG SHOT TWO WEEKS,AND I’M THROUGH WH !WILLY: THEN HANG YOURSELF! FOR SPE, HANG YOURSELF!BIFF: NO! NOBODY’S HANGG HIMSELF, WILLY! I RAN DOWN ELEVEN FLIGHTS WH A PEN MY HAND TODAY. AND SUDNLY I STOPPED, YOU HEAR ME? AND THE MIDDLE OF THAT OFFICE BUILDG, DO YOU HEAR THIS? I STOPPED THE MIDDLE OF THAT BUILDG AND I SAW—THE SKY. I SAW THE THGS THAT I LOVE THIS WORLD. THE WORK AND THE FOOD AND TIME TO S AND SMOKE. AND I LOOKED AT THE PEN AND SAID TO MYSELF, WHAT THE HELL AM I GRABBG THIS FOR? WHY AM I TRYG TO BEE WHAT I DON’T WANT TO BE? WHAT AM I DOG AN OFFICE, MAKG A NTEMP- TUO, BEGGG FOOL OF MYSELF, WHEN ALL I WANT IS OUT THERE, WAG FOR ME THE MUTE I SAY I KNOW WHO I AM! WHY N’T I SAY THAT, WILLY? [HE TRI TO MAKE WILLY FACE HIM, BUT WILLY PULLS AWAY AND MOV TO THE LEFT.]WILLY: [WH HATRED, THREATENGLY.] THE DOOR OF YOUR LIFE IS WI OPEN!BIFF: POP! I’M A DIME A DOZEN, AND SO ARE YOU!WILLY: [TURNG ON HIM NOW AN UNNTROLLED OUTBURST.] I AM NOT A DIME A DOZEN!I AM WILLY LOMAN, AND YOU ARE BIFF LOMAN![BIFF STARTS FOR WILLY, BUT IS BLOCKED BY HAPPY. IN HIS FURY, BIFF SEEMS ON THE VERGEOF ATTACKG HIS FATHER.]BIFF: I AM NOT A LEAR OF MEN, WILLY, AND NEHER ARE YOU. YOU WERE NEVER ANY- THG BUT A HARD-WORKG DMMER WHO LAND THE ASH N LIKE ALL THE RT OF THEM! I’M ONE DOLLAR AN HOUR, WILLY! I TRIED SEVEN STAT AND ULDN’T RAISE . A BUCK AN HOUR! DO YOU GATHER MY MEANG? I’M NOT BRGG HOME ANY PRIZ ANYMORE, AND YOU’RE GOG TO STOP WAG FOR ME TO BRG THEM HOME!WILLY: [DIRECTLY TO BIFF.] YOU VENGEFUL, SPEFUL MUT![BIFF BREAKS OM , IGHT, STARTS UP THE STAIRS. BIFF GRABS HIM.]BIFF: [AT THE PEAK OF HIS FURY.] POP, I’M NOTHG! I’M NOTHG, POP. CAN’T YOU UNRSTAND THAT? THERE’S NO SPE ANYMORE. I’M JT WHAT I AM, THAT’S ALL.[BIFF’S FURY HAS SPENT SELF, AND HE BREAKS DOWN, SOBBG, HOLDG ON TO WILLY, WHO DUMBLY FUMBL FOR BIFF’S FACE.]WILLY: [ASTONISHED.] WHAT’RE YOU DOG? WHAT’RE YOU DOG? [TO LINDA.] WHY IS HE CRYG?BIFF: [CRYG, BROKEN.] WILL YOU LET ME GO, FOR CHRIST’S SAKE? WILL YOU TAKE THAT PHONY DREAM AND BURN BEFORE SOMETHG HAPPENS? [STGGLG TO NTA HIMSELF, HE PULLS AWAY AND MOV TO THE STAIRS.] I’LL GO THE MORNG. PUT HIM— PUT HIM TO BED. [EXHSTED, BIFF MOV UP THE STAIRS TO HIS ROOM.]WILLY: [AFTER A LONG PSE, ASTONISHED, ELEVATED.] ISN’T THAT—ISN’T THAT REMARKABLE? BIFF—HE LIK ME!LINDA: HE LOV YOU, WILLY!HAPPY: [DEEPLY MOVED.] ALWAYS DID, POP.WILLY: OH, BIFF! [STARG WILDLY.] HE CRIED! CRIED TO ME. [HE IS CHOKG WH HIS LOVE,AND NOW CRI OUT HIS PROMISE.] THAT BOY—THAT BOY IS GOG TO BE MAGNIFICENT! [BEN APPEARS THE LIGHT JT OUTSI THE KCHEN.]BEN: Y, OUTSTANDG, WH TWENTY THOAND BEHD HIM.LINDA: [SENSG THE RACG OF HIS MD, FEARFULLY, REFULLY.] NOW E TO BED, WILLY.IT’S ALL SETTLED NOW.WILLY: [FDG DIFFICULT NOT TO SH OUT OF THE HOE.] Y, WE’LL SLEEP. COME ON. GOTO SLEEP, HAP.BEN: AND DO TAKE A GREAT KD OF MAN TO CRACK THE JUNGLE.[IN ACCENTS OF DREAD, BEN’S IDYLLIC MIC STARTS UP.]HAPPY: [HIS ARM AROUND LINDA.] I’M GETTG MARRIED, POP, DON’T FET . I’M CHANGG EVERYTHG. I’M GONNA N THAT PARTMENT BEFORE THE YEAR IS UP. YOU’LL SEE, MOM. [HE KISS HER.]BEN: THE JUNGLE IS DARK BUT FULL OF DIAMONDS, WILLY. [WILLY TURNS, MOV, LISTENG TO BEN.]LINDA: BE GOOD. YOU’RE BOTH GOOD BOYS, JT ACT THAT WAY, THAT’S ALL.HAPPY: ’NIGHT, POP. [HE GO UPSTAIRS.]LINDA: [TO WILLY.] COME, AR.BEN: [WH GREATER FORCE.] ONE MT GO TO FETCH A DIAMOND OUT.WILLY: [TO LINDA, AS HE MOV SLOWLY ALONG THE EDGE OF THE KCHEN, TOWARD THE DOOR.] IJT WANT TO GET SETTLED DOWN, LDA. LET ME S ALONE FOR A LTLE.LINDA: [ALMOST UTTERG HER FEAR.] I WANT YOU UPSTAIRS.WILLY: [TAKG HER HIS ARMS.] IN A FEW MUT, LDA. I ULDN’T SLEEP RIGHT NOW.GO ON, YOU LOOK AWFUL TIRED. [HE KISS HER.]BEN: NOT LIKE AN APPOTMENT AT ALL. A DIAMOND IS ROUGH AND HARD TO THE TOUCH. WILLY:GOONNOW.I’LLBERIGHTUP.LINDA: I THK THIS IS THE ONLY WAY, WILLY.WILLY: SURE, ’S THE BT THG.BEN: BT THG!WILLY: THE ONLY WAY. EVERYTHG IS GONNA BE—GO ON, KID, GET TO BED. YOU LOOKSO TIRED.LINDA: COME RIGHT UP.WILLY: TWO MUT. [LINDA GO TO THE LIVG-ROOM, THEN REAPPEARS HER BEDROOM.WILLY MOV JT OUTSI THE KCHEN DOOR.] LOV ME. [WONRGLY.] ALWAYS LOVEDME. ISN’T THAT A REMARKABLE THG? BEN, HE’LL WORSHIP ME FOR !BEN: [WH PROMISE.] IT’S DARK THERE, BUT FULL OF DIAMONDS.WILLY: CAN YOU IMAGE THAT MAGNIFICENCE WH TWENTY THOAND DOLLARS HISPOCKET?LINDA: [CALLG OM HER ROOM.] WILLY! COME UP!WILLY: [CALLG TO THE KCHEN.] Y! Y. COMG! IT’S VERY SMART, YOU REALIZE THAT,DON’TYOU,SWEETHEART?EVENBENSE.IGOTTAGO,BABY.’BYE!’BYE![GOG OVER TO BEN, ALMOST DANCG.] IMAGE? WHEN THE MAIL HE’LL BE AHEAD OF BERNARD AGA!BEN:APERFECTPROPOSNALLAROUND.WILLY: DID YOU SEE HOW HE CRIED TO ME? OH, IF I ULD KISS HIM, BEN!BEN: TIME, WILLIAM, TIME!WILLY: OH, BEN, I ALWAYS KNEW ONE WAY OR ANOTHER WE WERE GONNA MAKE , BIFFAND I!BEN: [LOOKG AT HIS WATCH.] THE BOAT. WE’LL BE LATE. [HE MOV SLOWLY OFF TO THEDARKNS.] WILLY:[ELEGIALLY,TURNGTOTHEHOE.]NOWWHENYOICKOFF,BOY,IWANTASEVENTY-YARD BOOT, AND GET RIGHT DOWN THE FIELD UNR THE BALL, AND WHEN YOU H, H LOW AND H HARD, BEE ’S IMPORTANT, BOY. [HE SWGS AROUND AND FAC THE DIENCE.] THERE’S ALL KDS OF IMPORTANT PEOPLE THE STANDS, AND THE FIRST THG YOU KNOW . . . [SUDNLY REALIZG HE IS ALONE.] BEN! BEN, WHERE DO I...? [HE MAK A SUDN MOVEMENT OF SEARCH.] BEN, HOW DO I...?LINDA: [CALLG.] WILLY, YOU G UP?WILLY: [UTTERG A GASP OF FEAR, WHIRLG ABOUT AS IF TO QUIET HER.] SH! [HE TURNS AROUNDAS IF TO FD HIS WAY; SOUNDS, FAC, VOIC, SEEM TO BE SWARMG UPON HIM AND HE FLICKS AT THEM, CRYG.] SH! SH! [SUDNLY MIC, FAT AND HIGH, STOPS HIM. IT RIS TENSY, ALMOST TO AN UNBEARABLE SCREAM. HE GO UP AND DOWN ON HIS TO, AND SH OFF AROUND THE HOE.] SHHH!LINDA: WILLY? [THERE IS NO ANSWER. LINDA WAS. BIFF GETS UP OFF HIS BED. HE IS STILL HIS CLOTH. HAPPY SS UP. BIFF STANDS LISTENG.] [WH REAL FEAR.] WILLY, ANSWER ME! WILLY! [THERE IS THE SOUND OF A R STARTG AND MOVG AWAY AT FULL SPEED.] NO!BIFF: [RHG DOWN THE STAIRS.] POP![AS THE R SPEEDS OFF, THE MIC CRASH DOWN A ENZY OF SOUND, WHICH BE THE SOFT PULSATN OF A SGLE CELLO STRG. BIFF SLOWLY RETURNS TO HIS BEDROOM. HE AND HAPPY GRAVELY DON THEIR JACKETS. LINDA SLOWLY WALKS OUT OF HER ROOM. THE MIC HAS VELOPED TO A AD MARCH. THE LEAV OF DAY ARE APPEARG OVER EVERYTHG. CHARLEY AND BERNARD, SOMBERLY DRSED, APPEAR AND KNOCK ON THE KCHEN DOOR. BIFF AND HAPPY SLOWLY SCEND THE STAIRS TO THE KCHEN AS CHARLEY AND BERNARD ENTER. ALL STOP A MOMENT WHEN LINDA, CLOTH OF MOURNG, BEARG A LTLE BUNCH OF ROS, THROUGH THE DRAPED DOORWAY TO THE KCHEN. SHE GO TO CHARLEY AND TAK HIS ARM. NOW ALL MOVE TOWARD THE DIENCE, THROUGH THE WALL-LE OF THE KCHEN. AT THE LIM OF THE APRON, LINDA LAYS DOWN THE FLOWERS, KNEELS, AND SS BACK ON HER HEELS. ALL STARE DOWN AT THE GRAVE.]REQUIEMCHARLEY: IT’S GETTG DARK, LDA.[LINDA DON’T REACT. SHE STAR AT THE GRAVE.]BIFF: HOW ABOUT , MOM? BETTER GET SOME RT, HEH? THEY’LL BE CLOSG THE GATE SOON.[LINDA MAK NO MOVE. PSE.]HAPPY: [DEEPLY ANGERED.] HE HAD NO RIGHT TO DO THAT. THERE WAS NO NECSY FOR . WE WOULD’VE HELPED HIM.CHARLEY: [GNTG.] HMMM.BIFF: COME ALONG, MOM.LINDA: WHY DIDN’T ANYBODY E?CHARLEY: IT WAS A VERY NICE FUNERAL.LINDA: BUT WHERE ARE ALL THE PEOPLE HE KNEW? MAYBE THEY BLAME HIM.CHARLEY: NAA. IT’S A ROUGH WORLD, LDA. THEY WOULDN’T BLAME HIM.LINDA: I N’T UNRSTAND . AT THIS TIME PECIALLY. FIRST TIME THIRTY-FIVE YEARSWE WERE JT ABOUT EE AND CLEAR. HE ONLY NEED A LTLE SALARY. HE WAS EVENFISHED WH THE NTIST.CHARLEY: NO MAN ONLY NEEDS A LTLE SALARY.LINDA: I N’T UNRSTAND .BIFF: THERE WERE A LOT OF NICE DAYS. WHEN HE’D E HOME OM A TRIP; OR ONSUNDAYS, MAKG THE STOOP; FISHG THE CELLAR; PUTTG ON THE NEW PORCH; WHEN HE BUILT THE EXTRA BATHROOM; AND PUT UP THE GARAGE. YOU KNOW SOME- THG, CHARLEY, THERE’S MORE OF HIM THAT ONT STOOP THAN ALL THE SAL HE EVER MA.CHARLEY:YEAH.HEWASAHAPPYMANWHABATCHOFCEMENT. LINDA: HE WAS SO WONRFUL WH HIS HANDS.BIFF: HE HAD THE WRONG DREAMS. ALL, ALL, WRONG.HAPPY: [ALMOST READY TO FIGHT BIFF.] DON’T SAY THAT!BIFF: HE NEVER KNEW WHO HE WAS.CHARLEY: [STOPPG HAPPY’S MOVEMENT AND REPLY. TO BIFF.] NOBODY DAST BLAME THISMAN. YOU DON’T UNRSTAND: WILLY WAS A SALMAN. AND FOR A SALMAN, THERE IS NO ROCK BOTTOM TO THE LIFE. HE DON’T PUT A BOLT TO A NUT, HE DON’T TELL YOU THE LAW OR GIVE YOU MEDICE. HE’S A MAN WAY OUT THERE THE BLUE, RIDG ON A SE AND A SHOHE. AND WHEN THEY START NOT SG BACK—THAT’S AN EARTHQUAKE. AND THEN YOU GET YOURSELF A UPLE OF SPOTS ON YOUR HAT, AND YOU’RE FISHED. NOBODY DAST BLAME THIS MAN. A SALMAN IS GOT TO DREAM, BOY. IT WH THE TERRORY.BIFF: CHARLEY, THE MAN DIDN’T KNOW WHO HE WAS.HAPPY: [INFURIATED.] DON’T SAY THAT!BIFF: WHY DON’T YOU E WH ME, HAPPY?HAPPY: I’M NOT LICKED THAT EASILY. I’M STAYG RIGHT THIS CY, AND I’M GONNABEATTHISRACKET![HELOOKSATBIFF,HISCHSET.]THELOMANBROTHERS!BIFF: I KNOW WHO I AM, KID.HAPPY: ALL RIGHT, BOY. I’M GONNA SHOW YOU AND EVERYBODY ELSE THAT WILLY LOMANDID NOT DIE VA. HE HAD A GOOD DREAM. IT’S THE ONLY DREAM YOU N HAVE—TO E OUT NUMBER-ONE-MAN. HE FOUGHT OUT HERE, AND THIS IS WHERE I’M GONNA WFORHIM.BIFF: [WH A HOPELS GLANCE AT HAPPY, BENDS TOWARD HIS MOTHER.] LET’S GO, MOM. LINDA: I’LL BE WH YOU A MUTE. GO ON, CHARLEY. [HE HAT.] I WANT TO, JT FOR A MUTE. I NEVER HAD A CHANCE TO SAY GOOD-BYE. [CHARLEY MOV AWAY, FOLLOWED BY HAPPY. BIFF REMAS A SLIGHT DISTANCE UP AND LEFT OF LINDA. SHE SS THERE, SUMMONG HERSELF. THE FLUTE BEGS, NOT FAR AWAY, PLAYG BEHD HER SPEECH.] FIVE ME, AR. I N’T CRY. I DON’T KNOW WHAT IS, BUT I N’T CRY. I DON’T UNRSTAND . WHY DID YOU EVER DO THAT? HELP ME, WILLY, I N’T CRY. IT SEEMS TO ME THAT YOU’RE JT ON ANOTHER TRIP. I KEEP EXPECTG YOU. WILLY, AR, I N’T CRY. WHY DID YOU DO ? I SEARCH AND SEARCH AND I SEARCH, AND I N’T UNRSTAND , WILLY. I MA THE LAST PAYMENT ON THE HOE TODAY. TODAY, AR. AND THERE’LL BE NOBODY HOME. [A SOB RIS HER THROAT.] WE’RE EE AND CLEAR. [SOBBG MORE FULLY, RELEASED.] WE’RE EE. [BIFF SLOWLY TOWARD HER.] WE’RE EE . . . WE’REEE . . .1EMBEDCANCELHOW TO FORMAT LYRICS:TYPE OUT ALL LYRICS, EVEN REPEATG SONG PARTS LIKE THE CHOSLYRICS SHOULD BE BROKEN DOWN TO DIVIDUAL LUSE SECTN HEARS ABOVE DIFFERENT SONG PARTS LIKE [VERSE], [CHOS], ETC.USE ALICS (<I>LYRIC</I>) AND BOLD (<B>LYRIC</B>) TO DISTGUISH BETWEEN DIFFERENT VOLISTS THE SAME SONG PARTIF YOU DON’T UNRSTAND A LYRIC, E [?]TO LEARN MORE, CHECK OUT OUR TRANSCRIPTN GUI OR VIS OUR TRANSCRIBERS FOMABOUT
ACT II / Mic is heard, gay and bright. The curta ris as the mic fas away. WILLY, shirt sleev, is stg at the kchen table, sippg ffee, his hat his lap * music is heard gay and bright *
In Jam Baldw’s “Go Tell It on the Mounta, ” the protagonist, thly veiled as himself, wrtl wh two cril qutns: What do mean to be a Black Amerin, and what do mean to be gay? ” Our nnectns and ntributns to the larger Black relig smos are secrated every time homophobic pronouncements go unchecked the holy plac of worship. For Charl Evans, “Gospel mic is tied to sufferg, black sufferg and certaly black gay sufferg.
“Those nomatns are more open to gays whout announcg , bee of s lurgy and anizatnal stcture like Pentestal church, ” Patterson shared. The Black gay male mega-stars are always forced to go back to the closet, publicly nouncg their sexual orientatn at the church’s annual nvotn.
McClurk is a three-time Gospel Grammy wner, was a revered judge on BET’s “Sunday Bt, ” a realy TV-gospel sgg petn show, and the poster boy for Ain Amerin ex-gay mistri. At the 2009 nvotn, McClurk poed his ex-gay rhetoric stigatg former gospel dtry worker Tonéx (B. Acrdg to McClurk, Black mal, like Tonéx, are gay bee of sexual moltatn, an absentee father, or they didn’t have strong male imag around them.
ALBUM REVIEW: SO GAY, SO DRAMATIC BY BRIGHT LIGHT BRIGHT LIGHT
Gay rappers, untry sgers, and hip hop artists are refg the role of LGBT mic. Follow Out for all the latt gay mic trends. * music is heard gay and bright *
Confg, however, same-genr sexual vlence wh homosexualy, McClurk misterpreted the moltatn as the reason for his gay sexual orientatn. What mak Tonéx unique is not that he was once a gay gospel mic artist and pastor, but rather he told the tth about his sexualy. However, today, gay mal, particular, ntue to fd ways of beg supported the COGIC.
Equaly for lbian, gay, bisexual and transgenr people is today's fg civil rights issue, but the mic world has always played a signifint role LGBT progrs. * music is heard gay and bright *
For example, “blaquebigaymisters” is a Yahoo gay misters’ group, boastg over 787 members sce July 2000. A report followg the 2009 Convotn asked, “Is COGIC gog to be silent while an anized culture of homosexual misters and bishops populate s pulps? ” COGIC nnot ny that the church gets s J dance on and Amen shouts to a black gay male queer gospel athetic every Sunday, and no one knows better than McClurk himself.
“A day whout gay people the choir, there would be no church and some s pastors, too. Gays are tegral to the black church, and n’t ny , ” Patterson stated emphatilly. “I learned yterday—through the ‘Phoenix’ article regardg the Cy of Boston Gospel Ft—of the pth and breadth of Donnie McClurk’s views on the gay muny, ” Julie Burns wrote to me an email.
He was a fixture at gay parti ci he toured, and was an open secret. Homophobia and hypermasculy are rebed by many openly gay men gospel mic. “Women and gay men n allow the mic to take them where heterosexual men nnot go.