All look about expectantly, but nothing happens.
FELIX, stepping up to the center: Now listen, Charley, I’m having some second thoughts about this deal I mentioned—you just have to come down and get crucified.
JEANINE: You just promised not to . . . !
FELIX: The country’s desperate! If he stays up there I will have to return some of the money!
SKIP: All of it, General.
FELIX: Well, we’ll discuss that.
JEANINE: So much for your word!
FELIX, to Jeanine: That money will mean hundreds of jobs . . . ! Upward: I’m planning on school upgrading, health clinics, lots of improvements for the folks. Whereas if I have to return some of the money . . .
SKIP: All of it!
FELIX: I am not returning that goddam money!
Emily steps up.
EMILY: May I, Skip?
Skip steps aside, gesturing to her to move in. She looks up.
I’m afraid I have to differ with my friend Skip, and my dear friend General Barriaux. —Wherever you are, Charley, I beg you stay there.
FELIX: This is terrible stuff you’re telling the man! You are condemning this country to ruin!
EMILY, persisting to the light: Don’t make me photograph you hanging from two sticks, I beg you, Charley! Stay where you are and you will live in all our imaginations where the great images never die. Wish you all the best, my dear . . . be well!
FELIX, to the light: All right now, just listen to me . . .
HENRI, to the light: Whoever you are!—I thank you for my daughter’s return to life. And before your loving heart I apologize for ignoring her for so many years, and for having led her in my blind pride to the brink of destruction.
PHIL: Speaking for the crew— Sees Skip react. . . . this is not a strike! To the light: But we’d appreciate it a lot if you, you know, just didn’t show. . . . Sees Skip react. We’re ready to go as the contract calls for! But . . . Upward: well, that’s the message.
SKIP, upward: Now look here, Charles —we have fifteen minutes of sun . . . !
He is stopped by the low, rumbling bass of a great organ heard as from a distance.
STANLEY: Sshh! He looks around for the source of the sound—the others too. Then upward again: Am I hearing the ocean in the background, Charley? I visualize you on the beach, right? Staring out at the sea, making up your mind? —Let me say one more final thing, okay?—the country’s like nice and quiet at least for the moment, right?—give or take a minor ambush here and there? After thirty-eight years of killing, so they tell me, it’s almost normal now, right? —So the thing is, Charley—do you want to light the match that’ll explode the whole place again?
FELIX: Don’t worry about the country, Charley, I’ll take care of it. You come down, you hear me? I’m talking syndication, this is one big pot of money! I’m talking new hotels, I’m talking new construction, I’m talking investment. You care about people? Come down and get crucified!
JEANINE, starting to weep: For all our sakes, my darling, don’t come down . . . !
SKIP AND FELIX, upward: You can’t do this to us!
They look about, wait . . . then . . .
SKIP, to Felix: You will return that check, or I’m calling the Embassy!
FELIX: Fuck the Embassy, I’m keeping the money . . . !
They continue shouting at each other, vanishing into the crowd . . .
SKIP: This is larceny! I’ll call Washington! You are destroying my career!
FELIX: I did my good-faith best!
STANLEY: Go away, Charley, before they all kill each other! You gotta give us a sign, baby, what’s it gonna be!
The light slowly fades to black, as they all look upward and about in wonder and apprehension.
STANLEY, in the silence, tentatively: Charley?
All wait, all glancing about. Nothing happens.
We’re not seeing the light, okay?
Silence; all listening.
Don’t hear the ocean, okay?
Silence . . . then . . .
They are weeping, immensely relieved and sorry.
HENRI: Good-bye, Charley.
EMILY: Good-bye, Charley.
FELIX: Good-bye, Charley.
SARAH: Good-bye, Charley.
PHIL: Good-bye, Charley.
Skip turns and angrily walks out.
JEANINE: Good-bye, my darling! . . . But could you think about . . . maybe trying it . . . another time?
Silence. Henri takes Jeanine’s arm and they move; each of the others now leave the stage silently, in various directions, each alone.
STANLEY, lifts a hand in farewell, looking forward and up: Always love you, baby. And look, if you ever feel like, you know . . . a cup of tea, or a glass of dry white, don’t hesitate, okay? . . . I’m always home. Salutes. Thanks.
He walks off alone.
END
The Man Who Had All the Luck
Copyright © 1989 by Arthur Miller
All My Sons
Copyright 1947 by Arthur Miller
Copyright renewed 1975 by Arthur Miller
Death of a Salesman
Copyright 1949 by Arthur Miller
Copyright renewed 1977 by Arthur Miller
An Enemy of the People
Copyright 1950, 1951 by Arthur Miller
Copyright renewed 1978, 1979 by Arthur Miller
The Crucible
Copyright 1952, 1953, 1954 by Arthur Miller
Copyright renewed 1980, 1981, 1982 by Arthur Miller
A View from the Bridge
Copyright © 1955, 1957, 1960 by Arthur Miller
Copyright renewed 1983, 1985, 1988 by Arthur Miller
Lyrics from “Paper Doll” by Johnny Black, copyright by Edward B. Marks Music Corporation, used by permission.
After the Fall
Copyright © 1964 by Arthur Miller
Copyright renewed 1992 by Arthur Miller
Incident at Vichy
Copyright © 1964, 1965 by Arthur Miller
Copyright renewed 1992, 1993 by Arthur Miller
The Price
Copyright © 1968 by Arthur Miller and Ingeborg M. Miller, Trustee
Copyright renewed 1996 by Arthur Miller
The Creation of the World and Other Business
Copyright © 1972, 1973 by Arthur Miller and Ingeborg M. Miller, Trustee
Playing for Time
Copyright © 1980 by Syzygy Productions, Ltd.
The American Clock
Copyright © 1982, 1992 by Arthur Miller
The Archbishop’s Ceiling
Copyright © 1984, 1985 by Arthur Miller and Inge Morath, Trustee
The Ride Down Mt. Morgan
Copyright © 1991, 1999 by Arthur Miller and Inge Morath Miller, Trustee
The Last Yankee
Copyright © 1993 by Arthur Miller and Inge Morath
Broken Glass
Copyright © 1994 by Arthur Miller and Inge Morath
Mr. Peters’ Connections
Copyright © 1999 by Arthur Miller
Resurrection Blues
Copyright © 2006 by The Arthur Miller 2004 Literary and Dramatic Property Trust
* Act Two, Scene II, which appeared in the original production, was dropped by the author from the published reading version, the Collected Plays, and all Compass editions prior to 1971. It has not been included in most productions subsequent to the revival at New York’s Martinique Theatre in 1958 and was dropped by Sir Laurence Olivier in his London production in 1965. It is included here as an appendix on page 433.
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