Bridges

By Viola Jordan

Bridges
Persons in the Play

Bridge One

Bridge Two

Time:

Place:

***

Bridge One

The light of an Oriental day is being lost in a rapid Oriental night-fall. In the background is discernible a low wall, broken stage center by steps mounting and descending to a well. Above it an arch spans the stage. The portal of one of the entrances to the city rises above the wall on the right of the scene, also the outline of a palm tree. Seen near this gateway are the figures of two men dressed in flowing robes.

Jediah

Nehemiah, my lord, wouldst thou ask that a man tear his love from his heart because the loved one is not of his own people?

Nehemiah

Thou knowest the words of the decree. No Hebrew must marry except he wed a daughter of our people.

Jediah

But Zelthai, the daughter of Melatiah, rules my heart. Though she be not of our people, yet her soul seeks the glory we know in Jehovah. Grant me that I may cherish her within my household, I beseech thee.

Nehemiah

My son, thou knowest not whereof thou speakest. I cannot grant that which thou beseechest of me, for my decree but follows the dictates of the Lord Jehovah as revealed within my heart.

Jediah

My lord, long time have I loved Zelthai, fairest among the daughters of men. Her love for me also is great. Now because she is a Moabite and not of my people, thou sayest that I must destroy this love that possesseth my heart. Likewise, my love for thee is great, and much will I do for thee in all else but this. O Nehemiah, see the anguish in thy servant's heart and ask not this thing of him.

(He falls on his knees in supplication.

Nehemiah

Thou, Jediah, prince of the Jews, must be for thy people a guide. If thou failest in thy duty, how can we expect the lowly of birth to find the wisdom of Jehovah's will?

Jediah

Tonight was I to pledge my troth here at the Water Gate to her who is my soul's flower. Can I let it be that she come only to hear the doom of our joy from my lips?

Nehemiah

Women must accept the will of their men.

Jediah

But is there no other way, my lord? Must I cast this love from my life and live my days in sorrow?

Nehemiah

Hear my words, Jediah, my son; and know that there can be but one path upon which thy feet may tread. Recall thou, how for many generations our people were exceedingly guilty and worshipped at the altars of strange gods, the gods of our neighbors with whom we lived in sin.

Jediah

But this is no sin, master, to love
(Nehemiah continues as though Jediah had not
(spoken.

Nehemiah

Time and again Jehovah forgave us out of the lovingkindness of his heart and each time our iniquities increased and we walked not in the pathways of the Lord. Because of our many and repeated iniquities He delivered our people into the hands of the rulers of other lands, to the sword, to captivity, and to plunder.

Jediah

Then have we not suffered enough, my lord?
(Again Nehemiah continues without notice of the
(interruption.

Nehemiah

Now again has grace been shown unto us and He has allowed a remnant of our people to escape. He has given us once again this Holy City that we may set up His house and repair the ruins thereof.

Jediah

But what thou sayest is of the past! I look to the -

Nehemiah

All this He has done and more, for He has given us a vision of the future Jerusalem that may be for us if we will but follow His counsel now and walk no more in the ways of iniquity.
(During the remainder of this speech a light plays
(around the countenance of Nehemiah.
 O look up, my son, and see the vision of Jerusalem glorified.
(Jediah rises.
 The mountains of Jehovah's house shall be exalted above all mountains. Out of Jerusalem shall go instruction. The Holy City of Jehovah shall be the center of the earth, and Zion shall be aabove all nations. Thou canst not fail thy God in the execution of His plan!
(There is silence and a second shaft of light pours
(down upon Jediah who has his face turned towards
(the heavens as if up there he actually sees the vision
(of the glorified Jerusalem to which Nehemiah points.

Jediah

(After a pause.
 I have seen, O Jehovah, Ruler of my people. I will obey Thy will.
(The light fades and they are again in the semi-
(darkness.
 O my master, let me but follow in thy footsteps, keeping close unto thee that I may not falter. Forgive me that I failed to see the way.

Nehemiah

Thou wast but weak in thine understanding. Jehovah hast made thee strong. Thy name shall be glorified before the Lord of Hosts and thou wilt be blessed of all thy people.
(Zelthai enters right, carrying water jar, and sets
(it down at the side of the pillar.
 Come, let us go into the Temple.
(They turn to stage left to go into the city. Zelthai
(calls softly.

Zelthai

Jediah, Jediah. It is I, Zelthai.
(She goes toward the two men

Jediah

(To Nehemiah.
 Strength, master, give me strength.

Zelthai

Thou hast waited long for thy handmaiden?
(Nehemiah remains in the shadow of the arch while
(Jediah moves toward her.

Jediah

The way has been long.

Zelthai

What sayest thou? Why art thou so strange? Thou dost not take me into thine arms, my lover.

Jediah

No more must I dwell on the beauty of thy being, Zelthai. No more must I look into thine eyes that are like unto deep pools of moonlight. No more must I caress the richness of thy hair. My face is turned toward Jehovah. I obey the decree of our governor.

Zelthai

My master, say thou speakest but in a dream. Thou canst not mean the words that thy lips utter.

Jediah

My sorrow is as great as thine anguish. Forgive me, I beseech thee. The voices of my people call unto me and I must hearken unto their cry. I must build a way for them. Jehovah, Master, strength.
(He turns and goes into the city with Nehemiah.

Zelthai

(Her voice a sob.
 Jediah! Jediah!
(She falls prostrate. Three Women with water jars
(enter on wall, stage right, going toward the well,
(singing.
  Spring up, O well; sing ye unto it;
  The well, which the princes digged,
  Which the nobles of the people delved,
  With the sceptre, and with their staves.
  Spring up, O well; sing ye unto it;
  Spring up, O well; sing ye unto it;
(They do not see Zelthai. They are followed by
(another group of Three, also singing. These women
(descend the steps, stage right, fill their water jars
(stage left, go along the wall, toward stage left, sing-
(ing. They are followed by a single figure, Hadassah,
(the sister of Zelthai; she moves slowly to the
(rhythm of the song, and upon her shoulder she
(carries a water jar. As she ascends the steps to the
(well, she catches sight of Zelthai.

Hadassah

Woe is me! Sister! Sister!
(The Water Jar Women pause, turn, and as a group
(take part in gesture and sound in the recitative of
(grief.

Zelthai

(Her head still covered.
  O, my sister!

Hadassah

  I heard thy voice lifted in song when thou left our
    father's house to come hither.

Water Jar Women

  Song in their father's house.

Zelthai

  And now I lie here!

Hadassah

  O, my sister, I see thee now in woe.

Zelthai

  Have compassion on my anguish.

Water Jar Women

  Have compassion.

Zelthai

  The ruler of my heart has turned away the glory of
    his love from me!

Hadassah

  Return, then, to our father's house!

Zelthai

  To spend my days in weeping and in sadness?

Water Jar Women

  To accept the decree of our men.

Hadassah

  O child of my mother, it is said; and heavy is my
    heart for thee.

Water Jar Women

  Yea, heavy with woman's woe.

Hadassah

  Tears deep in the eyes of a woman avail nothing.

Water Jar Women

(To Zelthai.
  Bow thy will to his.

Zelthai

  My will to his.

Water Jar Women

  Spring up, O well; sing ye unto it;
  Spring up, O well; sing ye unto it., etc.
(They go out, left, singing, Hadassah following. The
(Mother of Zelthai enters right, and goes over to
(Zelthai.

Mother

Zelthai, my child, what is it?

Zelthai

(Looking up.
 O, my mother; Jediah!

Mother

(Lifting her.
 But a moment ago I saw thy love with Nehemiah entering the Temple.

Zelthai

Without him there will be no rest for me in the graves of my fathers.

Mother

O, my poor dove, the burden of a woman's love is heavy to bear! Lean thy weariness upon me.
(Zelthai leans her head upon her Mother's shoulder.

Zelthai

My soul will cry out for him all the days of my life!

Mother

Through no sin of thine dost thou suffer.

Women's Voices

(Beginning chant.
  Spring up, O well; sing ye unto it;
(They repeat the song.

Mother

Yet must thou bear the pain of loving. Come!
(They turn to go out right.

Zelthai

Through eternity after eternity will I seek his face.
(They pause at the gate, Zelthai looking in the di-
(rection Jediah has gone. Chant grows louder and
(louder.

Curtain

***

Bridge Two

The scene is revealed as of modern Brooklyn. The wall of old Jerusalem now separates the yard of a fruit factory from the embankment of the river. The gateway is the entrace to the factory; it is the same in outline as was the portal to Jerusalem. Where the wall was broken in Bridge One by the steps and well, it now runs in unbroken line under the arch, which remains as in the previous scene. On the dome is reflected the outline of Brooklyn Bridge, and one has a view of the jagged skyline of Manhattan across the river.

The stage is empty when the scene is fully revealed in the afternoon autumn sunlight. The sharp sound of a factory whistle is heard, followed by one or two fainter whistles as from a distance.

When last we saw Jerusalem, women with their water jars were passing through the gateway to return to their homes for the night. In this present-day scene the whistle is a signal for other women to pass through the gateway on their way home. This time they are girls and women who have been packing fruit all day, and they are anxious to get away and enjoy the freedom of the evening.

(There is a short pause after the whistles have blown
(and then the voices of several girls are heard off
(stage. Two girls appear in the gateway, stage right,
(and start across the stage.

One

Gawd, am I tired. Got a cigarette, Mame?

Two

Say, who do you think I am, Rockefeller I bums my smokes.

One

Yeah? Guess I'll try it on this guy.
(A Man enters, right, in working clothes with his
(coat over his arm.

One

(To Man.
 Gotta cig, kid?
(He fumbles in his pockets for a package, brings it
(out, and offers it to her. She takes two and hands
(one to her friend.
 Thanks. Gotta match?
(While he searches for a match, three more girls
(come out of the factory gate.

Three

And was the music swell! Ask me! They played that new piece. You know, the one that goes ta-da-dum-dee -

Four

Oh, yeh. We heard it down at the Casino, Sat'day night. The words are the nuts, too.

Five

How's it go? I ain't heard it yet.

Four

Sure you have. Remember Bill was singin' it on the way home las' night.
(Enter Bill, the Yard Boss, from the factory gate.

Three

Here's Bill now.

Four

Say, Bill, how's that song go you was singin' las' night? We want to try it.

Bill

Lessie. Oh, yeah, it goes like this -
(He begins to sing the song and the others join in.
(Girls One and Two of the cigarette episode join in
(and the Man helps them out, too. The cigarette
(has made them friends. Girls number Six and
(Seven come out of the factory as the song is begin-
(ning and they pick up the tune, too. They sing:
  I gotta thirst for a drink of water,
  Water from the well back home.
  I tried likker like they said I oughter,
  But I needs water from home.
  There ain't nothin' like it,
  You don't need to spike it,
  It makes you feel so doggone good;
  Tired of gin and whiskey,
  Sick of being frisky,
  Miss it like I never thought I would.
  I gotta thirst for a drink of water,
  Water from the well back home.

Five

(When the song is over.
 Say, we make some chorus. S'a good song.

Seven

(To Six.
 Let's get goin'. I promised Tom I'd come around. He wants to see me about his new racket, he says.

Six

(As they go off together.
 If he wants to see you, kid, you're through with this dump. That's what I call getting a break.
(Their voices fade as they go down the street.

One

(To Man.
 Thanks for the smoke.
(They go out left. Three, Four, and Five with Bill
(go out left, also, still humming the song.
(Two girls come out together, bid each other a care-
(less goodnight, and go off separately to left and
(right. They are immediately followed by a girl
(alone who hurries out, looks to left and right as if
(expecting to find someone waiting for her. When
(she realizes that the person she expects has not yet
(arrived and is not in sight, she leans against the
(side of the gateway, looking off stage right.
(This is Lee Andrews, the daughter of an American
(family which has not climbed very far up the social
(scale. Her clothes are of cheap cut and though she
(is leaving her daily job she wears the high heels and
(close-fitting hat placed far back on her head, which
(one so often sees at five o'clock on New York sub-
(way trains. It is not her clothes that mark her as
(different from the other girls who come out and
(nod or speak to her as they pass. But something in
(the way she carries herself and in the purposeful-
(ness of her face interests the observer in this one of
(the many girls who earn their living in this factory.
(After she has been on the stage alone for a few sec-
(onds, Rhea and Eight appear. Rhea to Lee.

Rhea

'Llo, Lee.

Lee

Hello, Rhea.

Rhea

(To Eight.
 Guess I'll stick aroun' awhile. See you in the mornin'.

Eight

Say, can't you get enough of the joint without hangin' around after the whistle blows?

Rhea

(Quick to take offense.
 I says I'm stickin' around, see?

Eight

Say, are you telling me to beat it? Well, you know what you kin do.
(Eight goes off right.

Rhea

(To Eight.
 Yeah?
(Turns to Lee.
 Waitin' for Dave, Lee?

Lee

Yeh, he said he'd be through about five o'clock and would come by for me.

Rhea

Say, Lee, you look dead tired. And it ain't just from that damn work neither. You worrying because Dave's working on that repair job up on the bridge?

Lee

(Looking toward the bridge.
 No, I kinda like to think Dave's keepin' the bridge safe for people to use. That don't worry me none.
(She pauses.
 He told me that your Ma's been after him to give up that job ever since that man fell and was killed last week. Can't she leave him alone about nothin'?

Rhea

Look here. I know what's eatin' you. You're lettin' this here business about Ma get under your skin. Cut it out. Dave's not payin' no attention to her bellyachin', so why should you?

Lee

I know, but, Rhea, you know how your folks is always pickin' at him now.

Rhea

But you know, kid, Dave ain't been moved a bit by it; leastways not so's anyone can see that he is. He sure loves you all right.

Lee

I ain't afraid they can make him stop lovin' me, but Dave's so easy to convince if you strike him just the right way. You know, appealin' to what he owes to - his kind and all that.

Rhea

Yeh, and they sure do rub it on thick at home 'bout your duty, and all that bosh. Say, far's I'm concerned, it don't mean a thing. I get sore aplenty when Ma puts up a holler every time I steps out with a guy that ain't named Goldstein or Cohen. I'm gonna marry who I wanta, when I wanta, and I ain't askin' nobody kin I, neither. I gotta right to have a little fun in this world, and I'm goin' to get it where I can.
(At this point in the conversation between Rhean and
(Lee, Mrs. Flynn and Mrs. Trelli come out of the
(factory gate..

Mrs. Flynn

(She is an older woman than the other factory work-
(ers.
 Mr. Flannigan's got a heart, he has. Sure, and I was that pleased when he come along and asked me to work over on that batch of figs I couldn't hardly -

Mrs. Trelli

(Older, too, and she understands the grateful feel-
(ing of her friend.
 Yes, he knows your Joe's laid up and my Benny's been out of work these three months. "The least extry penny helps", I says to him when he spoke to me.
(As they pause to adjust their hats, Lee speaks to
(them.

Lee

Goodnight, Mrs. Flynn. Hope you find Joe better.

Mrs. Flynn

Joey? Sure, he's better.

Lee

'Night to you, Mrs. Trelli.

Mrs. Flynn

Goodnight, darlint.

Mrs. Trelli

Waitin' for your sweetie? He's forgot you, I bet. 'Night.
(As they go off they speak to each other.

Mrs. Flynn

Sweet girl, that. Always a kind word for us old ones.

Mrs. Trelli

And she gives you a hand when she sees you're that tired you can't hardly stand -
(They go off, left.

Rhea

(Looking after them.
 Can you imagine that? Bein' glad for a chance to work overtime! Beats me.

Lee

But they got men that ain't workin', poor things. Ain't earnin' anything 'cause they can't get a job.

Rhea

Sure, it's tough.
(They resume their interrupted conversation about
(David.

Lee

Do you think Dave feels bad about me not bein' a Jew, Rhea? Do you think he wishes I was?

Rhea

Naw, I don't think he wants you different than you are; but you gotta remember that Dave always was the sort to feel that there was things he oughta do just because he was a Jew. Not that we don't all feel that some, but most of us who was born here in New York don't ask if it's kosher every time we eat a ham sandwich.
(She laughs. Lee looks hurt. Rhea, sober again.
 Aw, I don't mean to kid you about it, Lee, but it does seem to me that the old ones ought to let us forget once in a while that we was appointed by Jehovah to push junk wagons around the streets until He gets ready to give us back the "Promised Land."

Lee

Say, you believe all that bunk about some day the Jews is all goin' to get together ag'in and be a powerful nation?

Rhea

I don't know much about it, so I don't worry my head whether it's gonna be or not. Maybe it is true, who knows? But I'm gonna have my fun while I'm waitin'. Dave oughta feel that way, too.

Lee

I don't think it's just an idea of fun with Dave. He's - well, he's more kinda -
(Searching for her word so as not to hurt her friend.
 kinda deep-feelin' about things than you are, Rhea. It's tough on him to be against your folks and I got sense to know I can't expect him to give his family up just for me. But we love each other, and we gotta fight this thing out together.

Rhea

Gosh, you're sure for Dave all right, Kid. He needs somebody like you 'cause he's sorta poetic like and -
(A small woman enters left and hurries over to
(where the two girls are standing. This is Mrs.
(Straus, the mother of Rhea and David. She has her
(head partly covered by a dark shawl, but there is
(visible the black wig worn by so many older Jewish
(women.

Mrs. Straus

Rhea, ai, vai, ain't it you said you was to meet me at Diker Street to buy the new dress for Shabbos? For why you don't come? I got little time for shoppin'.

Rhea

Aw, I got talkin' with Lee and it slipped my mind I was to meet you.

Lee

Evenin', Mrs. Straus. I'm sorry I kept Rhea. I didn't know she was supposed to meet you.
(She is obviously quite anxious to have Mrs. Straus
(like her, and is conscious of the hostility of the
(little woman towards her.

Mrs. Straus

Why it gives always my children come late from you to their mother? My David and now my Rhea, ain't it? You don't leave much comfort to a mama's heart.

Lee

I don't mean to take Dave away from you, Mrs. Straus. Honest I don't.

Rhea

Come on, Ma. We gotta get down to the store before it closes.
(She tries to lead her Mother away.

Mrs. Straus

(Refusing to go.
 Hus, Rhea. I must say something to this "Shiksah." My David ain't like other boys. He was a good boy and went every week to the synagogue and come home to his mama should he need to talk things over. Now it ain't like that no more. Always he is quiet and thin and he don't go to synagogue none since he loves you.

Lee

He don't believe all that law business no more, that's why.

Mrs. Straus

David is a good Jew. Should my David already forget what I learned him when he was a baby?

Rhea

Ma. leave her alone, will you? Don't mind her, Lee. She gets bugs like this often.

Mrs. Straus

(Not heeding her daughter.
 For why you don't marry with your own kind and leave my David alone?

Lee

You gotta remember he loves me. He don't want to leave his family, but he loves me and that comes first. Why don't you let him alone so's we can be happy? We gotta have each other. We love each other, I tell you.

Mrs. Straus

You ain't got no ears for a mother's heart. You take my David from me so he won't listen to me. That is why I told the rabbi to make David see he is a Jew.

Lee

What do you mean?

Mrs. Straus

Dr. Bashlow will show my David he must obey the law of the Talmud.
(She is triumphant, now that she has revealed her
(plan.

Rhea

Ma! Gee, that's rotten. You know -

Lee

You mean you gone and got that old rabbi to get after Dave to gimme up?

Mrs. Straus

Dr. Bashlow knows that David comes alone from the bridge tonight already.

Lee

You say you're fond of Dave, that you love him, yet you go and get somebody else to worry him, even on his way from work, and make his life a hell on earth when he's tryin' to find a little happiness for himself. Well, I want you to know I won't give him up without a fight.

Mrs. Straus

Dr. Bashlow will show my David.

Lee

Have you told Dave?

Mrs. Straus

I don't got no more to say.

Lee

I know your Dr. Bashlow. I heard what a smooth talker he is and how he can make you - you Jews - believe most anything. Well, I ain't afraid of what he'll do to Dave's love for me.

Mrs. Straus

I got no more to say.
(To Rhea.
 For why you stand here so? We got business.

Rhea

Well, it's about time.
(Her Mother goes out stage left. To Lee.
 I'm sorry, Lee. Don't mind her.

Lee

Rhea, has Dave seen Dr. Bashlow yet?

Rhea

I don't know. Don't let it worry you. Dave can handle that guy all right. I gotta go with her. Say, ain't that Dave comin' now with somebody?

Lee

Is he with Dr. Bashlow?

Rhea

No, it ain't, either. So long.
(She follows Mrs. Straus off. Lee looks toward the
(direction in which Rhea has gone out. Two men
(enter talking. Their voices are heard in conversa-
(tion a second before they appear on the stage.

Tony

- and then he comes back with a quick upper cut and lays the big fellow out.

Lefty

That musta been a fight all right. Wisht I'd a been -
(He breaks off as he sees Lee.
 Hello, Lee. Admirin' the scenery?

Lee

'Llo, Tony. 'Llo, Lefty.

Tony

It ain't scenery she's lookin' for, is it, Lee?

Lee

Did you see Dave when you left the job?

Lefty

We was a little later finishin' up. We been workin' slower on that last cable repair.

Tony

On account of what happened last week, you know. Poor old Mart! And he was the only married man on that cable, too.

Lee

Gee, that was terrible.

Lefty

Course, it's part of the job. Takin' risks. But it's tough to stand by and see a good guy like Mart get his and not be able to help any.

Lee

I think it's wonderful to be doin' a real job like that job on the bridge. It takes nerve.

Lefty

(Self-conscious under her admiration.
 Aw, it ain't so much. Lots of fellas doin' harder jobs than that. Let's get goin' toward some grub, Tony. Dave'll be comin' along now, kid. Be nice to him.

Tony

You don't have to tell her that. She's soft on that guy.
(They go out right, laughing.

Lee

Sure, I am.
(From the left David enters quickly. The son of an
(old orthodox Jew who has pushed a cart through
(the streets of New York ever since he arrived from
(Russia, he shows the effects of his years of living
(in the crowded, dirty streets of the city. He is
(slender and nervous, with drooping shoulders and
(protruding head. But his face is fine and sensitive
(and more or less belies the lack of culture evident
(in his speech and manner. Lee greeting him.
 'Llo, Dave.

David

'Llo, honey.

Lee

You're later than usual, Dave. Anything go wrong on the job - or - did you meet somebody?

Dave

(Puzzled.
 Meet somebody? Nope, work, honey.

Lee

That's good.

Dave

Been waitin' long?

Lee

Yeh, it seemed sorta long, Dave.

Dave

Shall we mosey along now, babe?

Lee

Well, I wanted to talk with you before you went home tonight, Dave.

Dave

I want to talk to you all the time, babe, when I ain't kissin' you.
(He looks at her more closely.
 What's the matter? You look sort of tired. Hard day?

Lee

Same as usual. It ain't that, Dave. But it ain't safe here for us.

Dave

Ain't safe?

Lee

No, it ain't. What's this about your Ma gettin' Dr. Bashlow to speak to you against marryin' me?

David

(Quickly.
 Who told you that? Rhea?

Lee

Naw, she didn't know nothin' about it. But I keep feelin' that you're more worried about this duty to your people than you let on. Your Ma said -

David

So that's it. Ma's been after you, has she?

Lee

She didn't mean to, Dave . . . She was just comin' for Rhea to go shoppin' with her. She didn't do it apurpose.

David

If she'd only let me tend to my own business. She's still got the idea I'm a kid that's gotta run to her every time I got trouble.

Lee

You "got trouble"? You mean you ain't made up your mind about that things like me not turning Jew don't matter?

David

It wouldn't be right to say I ain't worried some about it all.

Lee

But you won't let Dr. Bashlow turn you against me, will you, Dave?

David

Let him try it, baby!

Lee

Dave, what is it, anyways, that makes them feel the way they do 'bout our marryin'?

David

It goes way back to the time when the Jews was living in Palestine among a lot of Arabs and Egyptians or somethin' and gettin' married to them. I forget a lot of the facts. In them days they had some sorta visions to help them out, but we gotta decide for ourselves nowadays.

Lee

You believe they really had messages and visions and all that?

David

I don't know, but sometimes I seem to feel a kinda force or something tellin' me things that -
(He breaks off.
 Aw, it's hard to explain, honey. Let's get goin'. Don't you worry about this bird Bashlow -
(They have started toward the right exit together
(when David suddenly starts, and stops speaking.
(Dr. Bashlow enters from the right. The strength
(of his voice and bearking, the definiteness of his pur-
(pose, are faintly suggestive of the ancient Nehe-
(miah, royal governor under the Persian king, but
(the centuries seem to have mellowed him to a
(degree, and there is more sympathy and kindliness
(in his attitude toward the young David.

Dr. Bashlow

Good evening, David.
(To Lee.
 Good evening - ah - good evening.

David

'Llo, Dr. Bashlow.
(Lee does not speak.

Dr. Bashlow

This is quite fortunate. I've been wanting to have a chat with you for some time, David, and I am glad I walked this way tonight. Of course if you are - busy - I can wait until another time.

Lee

You can say what you gotta say to him right off. I want to hear it, too.

David

Lee, honey, there ain't no use in you gettin' all upset by this. I can take care of him.

Lee

But if he's gonna try to separate us I want to be here to tell him what I feel about it, too, Dave.

David

Don't you worry, babe. He ain't gonna separate us. You leave me talk with him and I'll show him I know what I want and that I'm gonna get it. I'll catch up with you in a minute.

Lee

Well, I, - well, all right. But, Dave, if you should need me -

David

We won't be more'n a minute. Everything's gonna be all right. Don't you worry.
(As Lee turns to go she looks with scorn on the rabbi
(for a moment and then without a word goes out
(right.

Dr. Bashlow

Good evening, Miss Lee.
(David starts to follow Lee, turns back and faces Dr.
(Bashlow, straightening up as if he expects to meet
(physical attack and with a set expression on his
(face.

David

You don't have to make out as if you just happened to meet me, Doctor. I know Ma has been after you to talk to me about my girl and me gettin' married. And I want to tell you that there ain't no use you trying to tell me what to do because I got my mind made up.

Dr. Bashlow

Your mother did come to see me about you, David. She felt, and I do, too, that it is not an easy matter for a young man to make so difficult a decision without a struggle.

David

There ain't no struggle, Dr. Bashlow. You got it all wrong. I know what I want, see. I know they think I shouldn't marry Lee at all.

Dr. Bashlow

You most certainly would not want Lee to perform the ceremony of our laws if she did not feel within her heart that she could make her sons Jewish sons of a Jewish father.

David

(After a long pause.
 Well, I ain't so sure myself that there's anything to all that ceremony business. What I do know is the Jews been gettin' the dirty end of things pretty much for a long time.

Dr. Bashlow

My son, the words of Jehovah are clear and pointed, - "Behold, I will gather My people out of all countries, whither I have driven them in Mine anger and in My fury.
(Raising his hand for silence.
 "Again there shall be heard in Jerusalem the voice of joy, and the voice of gladness, and the voice of the bridegroom, and the voice of the bride, and the voice of them that shall say, Praise the Lord of Hosts; for the Lord is good; for His mercy endureth forever."

David

(Getting his question out at last.
 But, Dr. Bashlow, what have Igot to do with all this?

Dr. Bashlow

Through the ages men of your race have asked that question and through the ages the same answer has come back to them. We are building, building, toward the glory of our people in the promise of Jehovah.

David

If I want to have my happiness now when I can get it and be sure of it, that ain't goin' to make no difference for the other Jews.

Dr. Bashlow

Yes, for it is like that bridge over there.
(Pointing to Brooklyn Bridge.
 No one bolt can fail to do its duty, because if it were to fail, in time that mammoth body would no longer be able to arch itself over the river.

David

(Slowly.
 Like that bridge.

Dr. Bashlow

(Watching him intently.
 Yes, David, like that bridge.

David

I been feelin' like I was doing something big in keepin' that bridge in repair.

Dr. Bashlow

You can build your share of that greater bridge which men of your race have been strengthening for generations. They have not failed and they are looking to you to do your share. They are your people, David.

David

My people!

Dr. Bashlow

They are calling to you.

David

They are calling to me!
(His voice is but a whisper and his face shows that
(his sensitive imagination has caught the vision of
(the older man. He is seeing with the eyes of the
(Hebrew prophets, and in another moment will be
(swept away from all that has to do with self into
(the promised land of his race, were it not for the
(entrance of his Mother, stage left.

Mrs. Straus

(She is breathless, and has an atmosphere of escape
(about her. To Dr. Bashlow.
 So you find my David!

Dr. Bashlow

Yes, Mrs. Straus, David and I were just finishing a most satisfactory conference.

Mrs. Straus

And now my David will do like the Talmud says?

Dr. Bashlow

He and I are finding the right way.

Mrs. Straus

Your mama knows the best, David, ain't it?

David

Ma, I know it worried you more than I like to have you worry, but you gotta remember I ain't got -

Mrs. Straus

Ai, vai, I gotta remember you are my son, and you gotta remember your Mother come before this Shiksah -
(There is a rush and Rhea enters left. David backs
(stage right.

Rhea

(Indignantly.
 Ma!
(To David.
 She left me waitin' for change and slipped out on me.

Mrs. Straus

(Stiffly.
 I got de freedom to come and to go!

Rhea

Aw, pipe down, Ma!
(To David in a challenging voice.
 Where's Lee?

David

She's walkin' along waitin' for me!
(Just at this point Lee enters hurriedly from the
(right and goes directly to David.

Lee

Dave! What has happened?
(No answer
 Why are your Mother and Rhea here?
(Still no answer from David.

Rhea

(Cynically.
 Yeah, why! Ask Ma!

Lee

What have they been saying to you?
(No answer.
 Dave, what is it?

David

Before Ma came in, me and Dr. Bashlow was just talking about -

Lee

About what?

David

About Brooklyn Bridge.

Lee

Brooklyn Bridge? What's that got to do with - ?
(To Dr. Bashlow.
 What you trying to get him to do, - you - you and Dave's Ma?

Mrs. Straus

David is my son. Ain't it a mother can speak to her son?

Dr. Bashlow

(To Mrs. Straus.
 Let me speak, Mrs. Straus.
(To Lee.
 I am sure that you will try to understand, Miss Lee.

Lee

(To the rabbi.
 It ain't fair for you to butt into our affairs and say what's right and wrong for Dave. I ain't tryin' to take him away from his people. I tell you I understand about his religion and everything.

Dr. Bashlow

Miss Lee, even David has not always understood, as he does now, that there are things one must do without question, without doubting the right of one's course of action. His Mother and I see that now.

Lee

What do you mean? What you been tellin' him?

Rhea

Gimme the chance to tell him something!

Lee

(Ignoring Rhea.
 Dave, Dr. Bashlow ain't convinced you that we got to give each other up, has he?

David

(Slowly.
 It is hard to see everything, Lee.

Rhea

Yeh, but if I was you, Dave, short of blindness, I wouldn't have no trouble seein' Lee.

Dr. Bashlow

Let David speak.

David

You see, I ain't sure any longer that there might not be something in life besides takin' the things you want most for yourself.

Lee

(Fear in her voice.
 Dave!

Mrs. Straus

Now it is you see!

Lee

(Turning fiercely on the rabbi and Mrs. Straus.
 You got to tell me what you been sayin' to him so - so's I can see his way of thinkin', too. You gotta!

Dr. Bashlow

I've been trying to show David that he does not stand alone in his struggle.

Lee

Course he don't. I'm ready to help him always.
(To David.
 Ain't I, Dave?

David

Yes, but it's my struggle, Lee, and my people, too.

Mrs. Straus

The Talmud say no Jew can marry a foreigner.

Rhea

Ma, shut up, do!

Dr. Bashlow

(As if the others had not spoken.
 There have been many men before him who have loved a girl whose background and race-loyalties were not their own. They have had to face this and make the right decision. They, like David, are parts of a great structure like that bridge over there, as I have said.
(Lee turns to look at the bridge a moment, not quite
(understanding. Then looks back at the rabbi again.

Lee

I never thought about it that way before.

Dr. Bashlow

Miss Lee, David is linked up with his people - his Mother here and his Father, his Sister, -

Rhea

(With uncompromising truthfulness.
 You can leave out this link forever.

Dr. Bashlow

(Beginning again.
 David is linked up with his people just as really as those pieces of iron are linked with each other in that enormous span.

Lee

I see it now. I see how you mean.

Dr. Bashlow

That bridge of which David is a part leads from that past on to a future Jerusalem for his people: his people, not yours: his people, the chosen of the Lord. And in that structure there is no place for you except you were a Jew.
(As he finishes speaking, Lee moves over toward
(right, away from the two men and facing the
(bridge. There is a pause as all watch her. She turns
(suddenly toward them, her back near the wall as if
(she were needing the strength of it in back of her
(for support.

Lee

I said I see. I do. You, your people, have been making a bridge of your religion.

Mrs. Straus

(Interrupting.
 Ai, vai, David, this Shiksah begins to see.

Lee

Wait a minute! Get this straight, all of you! I want you to know there's another bridge being built. But it's a lot different from yours, see? Yours is just for your kind, and you'd keep all the rest of the world off of it. That way it's no bridge at all.
(Pointing to Brooklyn Bridge.
 You think anybody stands up there on Brooklyn Bridge and says, "You can't come over this because you ain't a Jew"? No, they don't. Everybody uses it! Jew, Gentile, Chinaman. They all got a right to use it. Well, that other bridge is gonna be like that. I say "gonna be" because it is really just gettin' started down here in these dirty streets we have to live in, and in the factories, and in such gangs of men as the one Dave works in. It ain't awful strong yet, but it's gettin' foundations now. And the foundations under your old bridge is crumblin'. Ain't you got eyes to see that people like Dave and Rhea ain't goin' to bolster and patch up old bridges much longer? They're buildin' new bridges that lead somewhere people care about goin' to. What you got to say to that?
(Before they can speak, Rhea speaks.

Rhea

There ain't nothin' to say, Lee.

Lee

But I got fairness in me, and I ain't afraid to let Dave make his own decisions. I see he's got to make them hisself. That other bridge needs Dave to help, but if he don't think he can help, I'll have to do without him.
(To David directly.
 I love you, Dave, you know that; but if you want it that way I got strength to give you up. Your Ma ain't the only one has got principles to live up to.

Mrs. Straus

(To David.
 Will you let this Shiksah steal comfort from a mother's heart?

Lee

No, Mrs. Straus, I don't want to steal nothin' from nobody. But there's some of us care an awful lot about that other bridge, even if we waint preachin' about it!

David

(Hesitating.
 "That other bridge"?

Mrs. Straus

David! Your Mama! She needs you, too.

Lee

Dave, I said a bridge that's being built for everyone, that the centuries ain't gonna make old, that ain't being kept for the advantage of just one people.

David

I see.

Lee

(Pointing to Brooklyn Bridge.
 And it won't be so different from that bridge, neither, only, when it comes, more beautiful.

Rhea

(Gently, for her.
 Dave, ain't that the bridge you been workin' on, anyhow?

David

Yeh, I guess it is the bridge I've been workin' on. I see that now.
(To his Mother.
 Ma, we gotta decide for ourselves nowadays.
(Turns to Dr. Bashlow.
 Dr. Bashlow, a man's gotta make up his mind about what he's to work at.

Mrs. Straus

(To David, pleading.
 Davee, you won't let her take you from your Mama?

David

Ma, I'm doin' a man's work on that bridge out there. I ain't a kid no more! And a man's gotta make up his mind about the woman he'll stand by. And my mind's made up.
(He moves over to Lee.

Dr. Bashlow

(His arm around the weeping Mrs. Straus.
 David, is this fair, to do this to your Mother?

Curtain