ACT II, SCENE ii
ACT TWO
SCENE TWO
Time: Friday night. A few weeks later.
At rise: Packing crates mark the intention of the family
to move. BENEATHA and GEORGE come in, presumably from
an evening out again.
GEORGE O.K. . . . O.K., whatever you say ... (They
both sit on the couch. He tries to kiss her. She moves
away) Look, we've had a nice evening; let's not spoil
it, huh? . . .
(He again turns her head and tries to nuzzle in and
she turns away from him, not with distaste but
with momentary lack of interest; in a mood to pur-
sue what they were talking about)
BENEATHA I'm trying to talk to you.
GEORGE We always talk.
BENEATHA Yes and I love to talk.
GEORGE (Exasperated; rising) I know it and I don't
mind it sometimes ... I want you to cut it out, see
The moody stuff, I mean. I don't like it. You're a nice-
looking girl ... all over. That's all you need, honey,
forget the atmosphere. Guys aren't going to go for the
atmosphere they're going to go for what they see.
Be glad for that. Drop the Garbo routine. It doesn't
go with you. As for myself, I want a nice (Groping)
simple (Thoughtfully) sophisticated girl . . . not a
poet O.K.?
(He starts to kiss her, she rebuffs him again and
he jumps up)
BENEATHA Why are you angry, George?
GEORGE Because this is stupid! I don't go out with you
to discuss the nature of "quiet desperation" or to hear
all about your thoughts because the world will go on
thinking what it thinks regardless
BENEATHA Then why read books? Why go to school?
GEORGE (With artificial patience, counting on his fingers)
It's simple. You read books to learn facts to get
grades to pass the course to get a degree. That's all
it has nothing to do with thoughts.
(A long pause)
BENEATHA I see. (He starts to sit) Good night, George.
(GEORGE looks at her a little oddly, and starts to
exit. He meets MAMA coming in)
GEORGE Oh hello, Mrs. Younger.
MAMA Hello, George, how you feeling?
GEORGE Fine fine, how are you?
MAMA Oh, a little tired. You know them steps can get
you after a day's work. You all have a nice time to-
night?
GEORGE Yes a fine time. A fine time.
MAMA Well, good night.
GEORGE Good night. (He exits. MAMA closes the door be-
hind her) Hello, honey. What you sitting like that for?
BENEATHA I'm just sitting.
MAMA Didn't you have a nice time?
BENEATHA No.
MAMA No? What's the matter?
BENEATHA Mama, George is a fool honest. (She rises)
MAMA (Hustling around unloading the packages she has
entered with. She stops) Is he, baby?
BENEATHA Yes.
(BENEATHA makes up TRAVIS' bed as she talks)
MAMA You sure?
BENEATHA Yes.
MAMA Well I guess you better not waste your time
with no fools.
(BENEATHA looks up at her mother, watching her
put groceries in the refrigerator. Finally she gath-
ers up her things and starts into the bedroom. At
the door she stops and looks back at her mother)
BENEATHA Mama
MAMA Yes, baby
BENEATHA Thank you.
MAMA For what?
BENEATHA For understanding me this time.
{She exits quickly and the mother stands, smiling
a little, looking at the place -where BENEATHA just
stood. RUTH enters)
RUTH Now don't you fool with any of this stuff, Lena
MAMA Oh, I just thought I'd sort a few things out. Is
Brother here?
RUTH Yes.
MAMA ( With concern ) Is he
RUTH (Reading her eyes) Yes.
(MAMA is silent and someone knocks on the door.
MAMA and RUTH exchange 'weary and knowing
glances and RUTH opens it to admit the neighbor,
MRS. JOHNSON,* who is a rather squeaky wide-
eyed lady of no particular age, with a newspaper
under her arm)
MAMA (Changing her expression to acute delight and a
ringing cheerful greeting) Oh hello there, Johnson.
JOHNSON (This is a woman who decided long ago to be
enthusiastic about EVERYTHING in life and she is
inclined to wave her wrist vigorously at the height of her
exclamatory comments') Hello there, yourself! H'you
this evening, Ruth?
RUTH (Not much of a deceptive type) Fine, Mis* John-
son, h'you?
JOHNSON Fine. (Reaching out quickly, playfully, and
patting RUTH'S stomach") Ain't you starting to poke out
none yet! (She mugs with delight at the over-familiar
remark and her eyes dart around looking at the crates
and packing preparation; MAMA'S face is a cold sheet
of endurance) Oh, ain't we getting ready round here,
though! Yessir! Lookathere! I'm telling you the
Youngers is really getting ready to "move on up a little
higher!" Bless God!
MAMA (A little drily, doubting the total sincerity of the
Blesser) Bless God.
JOHNSON He's good, ain't He?
MAMA Oh yes, He's good.
JOHNSON I mean sometimes He works in mysterious
ways . . . but He works, don't He!
MAMA (The same) Yes, he does.
JOHNSON I'm just soooooo happy for y'all. And this
here child (About RUTH) looks like she could just
pop open with happiness, don't she. Where's all the rest
of the family?
MAMA Bonnie's gone to bed
JOHNSON Ain't no . . . (The implication is pregnancy)
sickness done hit you I hope . . . ?
MAMA No she just tired. She was out this evening.
JOHNSON (All is a coo, an emphatic coo) Aw ain't that
lovely. She still going out with the little Murchison boy?
MAMA (Drily) Ummmm huh.
JOHNSON That's lovely. You sure got lovely children,
Younger. Me and Isaiah talks all the time 'bout what
fine children you was blessed with. We sure do.
MAMA Ruth, give Mis' Johnson a piece of sweet potato
pie and some milk.
JOHNSON Oh honey, I can't stay hardly a minute I
just dropped in to see if there was anything I could do.
(Accepting the food easily) I guess y'all seen the news
what's all over the colored paper this week . . .
MAMA No didn't get mine yet this week.
JOHNSON (Lifting her head and blinking with the spirit of
catastrophe) You mean you ain't read 'bout them
colored people that was bombed out their place out
there?
(RUTH straightens with concern and takes the paper
and reads it. JOHNSON notices her and feeds com-
mentary)
JOHNSON Ain't it something how bad these here white
folks is getting here in Chicago! Lord, getting so you
think you right down in Mississippi! (With a tremendous
and rather insincere sense of melodrama) 'Course I
thinks it's wonderful how our folks keeps on pushing
out. You hear some of these Negroes round here talking
'bout how they don't go where they ain't wanted and all
that but not me, honey! (This is a lie) Wilhemenia
Othella Johnson goes anywhere, any time she feels like
it! (With head movement for emphasis) Yes I do! Why
if we left it up to these here crackers, the poor niggers
wouldn't have nothing (She clasps her hand over her
mouth) Oh, I always forgets you don't 'low that word
in your house.
MAMA (Quietly, looking at her) No I don't 'low it.
JOHNSON (Vigorously again) Me neither! I was just
telling Isaiah yesterday when he come using it in front of
me I said, "Isaiah, it's just like Mis' Younger says all
the time "
MAMA Don't you want some more pie?
JOHNSON No no thank you; this was lovely. I got to
get on over home and have my midnight coffee. I hear
some people say it don't let them sleep but I finds I can't
close my eyes rigjit lessen I done had that laaaast cup of
coffee . . . (She waits. A beat. Undaunted) My Good-
night coffee, I calls it!
MAMA (With much eye-rolling and communication be-
tween herself and RUTH) Ruth, why don't you give
Mis' Johnson some coffee.
(RUTH gives MAMA an unpleasant look for her
kindness)
JOHNSON (Accepting the coffee) Where's Brother to-
night?
MAMA He's lying down.
JOHNSON MMmmmmm, he sure gets his beauty rest,
don't he? Good-looking man. Sure is a good-looking
man! (Reaching out to pat RUTH'S stomach again) I
guess that's how come we keep on having babies around
here. (She winks at MAMA) One thing 'bout Brother,
he always know how to have a good time. And soooooo
ambitious! I bet it was his idea y'all moving out to
Clybourne Park. Lord I bet this time next month
y'alFs names will have been in the papers plenty
(Holding up her hands to mark off each word of the
headline she can see in front of her) "NEGROES IN-
VADE CLYBOURNE PARK BOMBED!"
MAMA (She and RUTH look at the woman in amazement)
We ain't exactly moving out there to get bombed.
JOHNSON Oh, honey you know I'm praying to God
every day that don't nothing like that happen! But you
have to think of life like it is and these here Chicago
peckerwoods is some baaaad peckerwoods.
MAMA (Wearily) We done thought about all that Mis'
Johnson.
(BENEATHA comes out of the bedroom in her robe
and passes through to the bathroom. MRS. JOHNSON
turns)
JOHNSON Hello there, Bennie !
BENEATHA (Crisply) Hello, Mrs. Johnson.
JOHNSON How is school?
BENEATHA (Crisply) Fine, thank you. (She goes out.)
JOHNSON (Insulted) Getting so she don't have much to
say to nobody.
MAMA The child was on her way to the bathroom.
JOHNSON I know but sometimes she act like ain't got
time to pass the time of day with nobody ain't been to
college. Oh I ain't criticizing her none. It's just you
know how some of our young people gets when they get
a little education. (MAMA and RUTH say nothing, just
look at her) Yes well. Well, I guess I better get on
home. (Unmoving) 'Course I can understand how she
must be proud and everything being the only one in
the family to make something of herself. I know just
being a chauffeur ain't never satisfied Brother none. He
shouldn't feel like that, though. Ain't nothing wrong
with being a chauffeur.
MAMA There's plenty wrong with it.
JOHNSON What?
MAMA Plenty. My husband always said being any kind of
a servant wasn't a fit thing for a man to have to be. He
always said a man's hands was made to make things, or
to turn the earth with not to drive nobody's car for
'em or (She looks at her own hands) carry they slop
jars. And my boy is just like him he wasn't meant to
wait on nobody.
JOHNSON (Rising, somewhat offended) Mmmmmmmmm
The Youngers is too much for me! (She looks around)
You sure one proud-acting bunch of colored folks. Well
I always thinks like Booker T. Washington said that
time "Education has spoiled many a good plow
hand"
MAMA Is that what old Booker T. said?
JOHNSON He sure did.
MAMA Well, it sounds just like him. The fool.
JOHNSON (Indignantly) Well he was one of our great
men.
MAMA Who said so?
JOHNSON (Nonplussed) You know, me and you ain't
never agreed about some things, Lena Younger. I guess
I better be going
RUTH (Quickly) Good night.
JOHNSON Good night. Oh (Thrusting it at her) You
can keep the paper! (With a trill) 'Night.
MAMA Good night, Mis' Johnson.
(MRS. JOHNSON exits)
RUTH If ignorance was gold * . ,
MAMA Shush. Don't talk about folks behind their backs.
RUTH You do.
MAMA I'm old and corrupted. (BENEATHA enters') You
was rude to Mis' Johnson, Beneatha, and I don't like
it at all.
BENEATHA (At her door) Mama, if there are two things
we, as a people, have got to overcome, one is the Klu
Klux Klan andtfie other is Mrs. Johnson. (She exits)
MAMA Smart aleck.
(The phone rings)
RUTH I'll get it.
MAMA Lord, ain't this a popular place tonight.
RUTH (At the phone) Hello Just a minute. (Goes to
door) Walter, it's Mrs. Arnold. (Waits. Goes back to
the phone. Tense) Hello. Yes, this is his wife speaking
. . . He's lying down now. Yes . . . well, he'll be in
tomorrow. He's been very sick. Yes I know we should
have called, but we were so sure he'd be able to come in
today. Yes yes, I'm very sorry. Yes . . . Thank you
very much. (She hangs up. WALTER is standing in the
doorway of the bedroom behind her) That was Mrs.
Arnold.
WALTER (Indifferently) Was it?
RUTH She said if you don't come in tomorrow that they
are getting a new man . .
WALTER Ain't that sad ain't that crying sad.
RUTH She said Mr. Arnold has had to take a cab for
three days . . . Walter, you ain't been to work for three
days! (This is a revelation to her) Where you been,
Walter Lee Younger? (WALTER looks at her and starts
to laugh ) You're going to lose your job.
WALTER That's right . . . (He turns on the radio)
RUTH Oh, Walter, and with your mother working like
a dog every day
(A steamy, deep blues pours into the room)
WALTER That's sad too Everything is sad.
MAMA What you been doing for these three days, son?
WALTER Mama you don't know all the things a man
what got leisure can find to do in this city . . . What's
this Friday night? Well Wednesday I borrowed Willy
Harris* car and I went for a drive . . . just me and my-
self and I drove and drove . . . Way out . . . way past
South Chicago, and I parked the car and I sat and
looked at the steel mills all day long. I just sat in the
car and looked at them big black chimneys for hours.
Then I drove back and I went to the Green Hat.
(Pause) And Thursday Thursday I borrowed the car
again and I got in it and I pointed it the other way and
I drove the other way for hours way, way up to
Wisconsin, and I looked at the farms. I just drove and
looked at the farms. Then I drove back and I went to
the Green Hat. (Pause) And today today I didn't
get the car. Today I just walked. All over the South-
side. And I looked at the Negroes and they looked at
me and finally I just sat down on the curb at Thirty-
ninth and South Parkway and I just sat there and
watched the Negroes go by. And then I went to the
Green Hat. You all sad? You all depressed? And you
know where I am going right now
(RUTH goes out quietly)
MAMA Oh, Big Walter, is this the harvest of our days?
WALTER You know what I like about the Green Hat?
I like this little cat they got there who blows a sax . . .
He blows. He talks to me. He ain't but 'bout five feet
tall and he's got a conked head and his eyes is always
closed and he's all music
MAMA (Rising and getting some papers out of her hand-
bag) Walter
WALTER And there's this other guy who plays the piano
. . . and they got a sound. I mean they can work on
some music . . . They got the best little combo in the
world in the Green Hat . . . You can just sit there and
drink and listen to them three men play and you real-
ize that don't nothing matter worth a damn, but just
being there
MAMA I've helped do it to you, haven't I, son? Walter
I been wrong.
WALTER Naw you ain't never been wrong about noth-
ing, Mama.
MAMA Listen to me, now. I say I been wrong, son. That
I been doing to you what the rest of the world been
doing to you. (She turns off the radio) Walter (She
stops and he looks up slowly at her and she meets his
eyes pleadingly) What you ain't never understood is that
I ain't got nothing, don't own nothing, ain't never really
wanted nothing that wasn't for you. There ain't nothing
as precious to me . . . There ain't nothing worth holding
on to, money, dreams, nothing else if it means if it
means it's going to destroy my boy. (She takes an en-
velope out of her handbag and puts it in front of him
and he watches her without speaking or moving) I paid
the man thirty-five hundred dollars down on the house.
That leaves sixty-five hundred dollars. Monday morning
I want you to take this money and take three thousand
dollars and put it in a savings account for Beneatha's
medical schooling. The rest you put in a checking
account with your name on it. And from now on any
penny that come out of it or that go in it is for you
to look after. For you to decide. (She drops her hands
a little helplessly) It ain't much, but it's all I got in the
world and I'm putting it in your hands. I'm telling you
to be the head of this family from now on like you
supposed to be.
WALTER (Stares at the money) You trust me like that.
Mama?
MAMA I ain't never stop trusting you. Like I ain't never
stop loving you.
(She goes out, and WALTER sits looking at the
money on the table. Finally, in a decisive gesture,
he gets up, and, in mingled joy and desperation,
picks up the money. At the same moment, TRAVIS
enters for bed)
TRAVIS What's the matter, Daddy? You drunk?
WALTER (Sweetly, more sweetly than we have ever known
him) No, Daddy ain't drunk. Daddy ain't going to
never be drunk again
TRAVIS Well, good night, Daddy.
(The FATHER has come from behind the couch and
leans over, embracing his son)
WALTER Son, I feel like talking to you tonight.
TRAVIS About what?
WALTER Oh, about a lot of things. About you and what
kind of man you going to be when you grow up. ...
Son son, what do you want to be when you grow up?
TRAVIS A bus driver.
WALTER (Laughing a little) A what? Man, that ain't
nothing to want to be!
TRAVIS Why not?
WALTER 'Cause, man it ain't big enough you know
what I mean.
TRAVIS I don't know then. I can't make up my mind.
Sometimes Mama asks me that too. And sometimes
when I tell her I just want to be like you she says she
don't want me to be like that and sometimes she says
she does. . . .
WALTER (Gathering him up in his arms) You know
what, Travis? In seven years you going to be seventeen
years old. And things is going to be very different with
us in seven years, Travis. . . . One day when you are
seventeen I'll come home home from my office down-
town somewhere
TRAVIS You don't work in no office, Daddy.
WALTER No but after tonight. After what your daddy
gonna do tonight, there's going to be offices a whole
lot of offices. . . .
TRAVIS What you gonna do tonight, Daddy?
WALTER You wouldn't understand yet, son, but your
daddy's gonna make a transaction ... a business
transaction that's going to change our lives. . . . That's
how come one day when you 'bout seventeen years old
I'll come home and I'll be pretty tired, you know what
I mean, after a day of conferences and secretaries get-
ting things wrong the way they do ... 'cause an exec-
utive's life is hell, man (The more he talks the farther
away he gets) And I'll pull the car up on the driveway
. . . just a plain black Chrysler, I think, with white
walls no black tires. More elegant. Rich people
don't have to be flashy . . . though I'll have to get
something a little sportier for Ruth maybe a Cadillac
convertible to do her shopping in. ... And I'll come
tip the steps to the house and the gardener will be clip-
ping away at the hedges and he'll say, "Good evening,
Mr. Younger." And I'll say, "Hello, Jefferson, how are
you this evening?" And I'll go inside and Ruth will
come downstairs and meet me at the door and we'll kiss
each other and she'll take my arm and we'll go up to
your room to see you sitting on the floor with the cata-
logues of all the great schools in America around you.
. . . All the great schools in the world! And and I'll
say, all right son it's your seventeenth birthday, what
is it you've decided? . . . Just tell me where you want to
go to school and you'll go. Just tell me, what it is you
want to be and you'll be it. , - . Whatever you want
to be Yessir! (He holds his arms open for TRAVIS)
You just name it, son . . . (TRAVIS leaps into them) and
I hand you the world!
(WALTER'S voice has risen in pitch and hysterical
promise and on the last line he lifts TRAVIS high)
(Blackout)Last modified: Saturday, 27 November 2010, 02:11 AM Skip SettingsSettings
SCENE TWO
Time: Friday night. A few weeks later.
At rise: Packing crates mark the intention of the family
to move. BENEATHA and GEORGE come in, presumably from
an evening out again.
GEORGE O.K. . . . O.K., whatever you say ... (They
both sit on the couch. He tries to kiss her. She moves
away) Look, we've had a nice evening; let's not spoil
it, huh? . . .
(He again turns her head and tries to nuzzle in and
she turns away from him, not with distaste but
with momentary lack of interest; in a mood to pur-
sue what they were talking about)
BENEATHA I'm trying to talk to you.
GEORGE We always talk.
BENEATHA Yes and I love to talk.
GEORGE (Exasperated; rising) I know it and I don't
mind it sometimes ... I want you to cut it out, see
The moody stuff, I mean. I don't like it. You're a nice-
looking girl ... all over. That's all you need, honey,
forget the atmosphere. Guys aren't going to go for the
atmosphere they're going to go for what they see.
Be glad for that. Drop the Garbo routine. It doesn't
go with you. As for myself, I want a nice (Groping)
simple (Thoughtfully) sophisticated girl . . . not a
poet O.K.?
(He starts to kiss her, she rebuffs him again and
he jumps up)
BENEATHA Why are you angry, George?
GEORGE Because this is stupid! I don't go out with you
to discuss the nature of "quiet desperation" or to hear
all about your thoughts because the world will go on
thinking what it thinks regardless
BENEATHA Then why read books? Why go to school?
GEORGE (With artificial patience, counting on his fingers)
It's simple. You read books to learn facts to get
grades to pass the course to get a degree. That's all
it has nothing to do with thoughts.
(A long pause)
BENEATHA I see. (He starts to sit) Good night, George.
(GEORGE looks at her a little oddly, and starts to
exit. He meets MAMA coming in)
GEORGE Oh hello, Mrs. Younger.
MAMA Hello, George, how you feeling?
GEORGE Fine fine, how are you?
MAMA Oh, a little tired. You know them steps can get
you after a day's work. You all have a nice time to-
night?
GEORGE Yes a fine time. A fine time.
MAMA Well, good night.
GEORGE Good night. (He exits. MAMA closes the door be-
hind her) Hello, honey. What you sitting like that for?
BENEATHA I'm just sitting.
MAMA Didn't you have a nice time?
BENEATHA No.
MAMA No? What's the matter?
BENEATHA Mama, George is a fool honest. (She rises)
MAMA (Hustling around unloading the packages she has
entered with. She stops) Is he, baby?
BENEATHA Yes.
(BENEATHA makes up TRAVIS' bed as she talks)
MAMA You sure?
BENEATHA Yes.
MAMA Well I guess you better not waste your time
with no fools.
(BENEATHA looks up at her mother, watching her
put groceries in the refrigerator. Finally she gath-
ers up her things and starts into the bedroom. At
the door she stops and looks back at her mother)
BENEATHA Mama
MAMA Yes, baby
BENEATHA Thank you.
MAMA For what?
BENEATHA For understanding me this time.
{She exits quickly and the mother stands, smiling
a little, looking at the place -where BENEATHA just
stood. RUTH enters)
RUTH Now don't you fool with any of this stuff, Lena
MAMA Oh, I just thought I'd sort a few things out. Is
Brother here?
RUTH Yes.
MAMA ( With concern ) Is he
RUTH (Reading her eyes) Yes.
(MAMA is silent and someone knocks on the door.
MAMA and RUTH exchange 'weary and knowing
glances and RUTH opens it to admit the neighbor,
MRS. JOHNSON,* who is a rather squeaky wide-
eyed lady of no particular age, with a newspaper
under her arm)
MAMA (Changing her expression to acute delight and a
ringing cheerful greeting) Oh hello there, Johnson.
JOHNSON (This is a woman who decided long ago to be
enthusiastic about EVERYTHING in life and she is
inclined to wave her wrist vigorously at the height of her
exclamatory comments') Hello there, yourself! H'you
this evening, Ruth?
RUTH (Not much of a deceptive type) Fine, Mis* John-
son, h'you?
JOHNSON Fine. (Reaching out quickly, playfully, and
patting RUTH'S stomach") Ain't you starting to poke out
none yet! (She mugs with delight at the over-familiar
remark and her eyes dart around looking at the crates
and packing preparation; MAMA'S face is a cold sheet
of endurance) Oh, ain't we getting ready round here,
though! Yessir! Lookathere! I'm telling you the
Youngers is really getting ready to "move on up a little
higher!" Bless God!
MAMA (A little drily, doubting the total sincerity of the
Blesser) Bless God.
JOHNSON He's good, ain't He?
MAMA Oh yes, He's good.
JOHNSON I mean sometimes He works in mysterious
ways . . . but He works, don't He!
MAMA (The same) Yes, he does.
JOHNSON I'm just soooooo happy for y'all. And this
here child (About RUTH) looks like she could just
pop open with happiness, don't she. Where's all the rest
of the family?
MAMA Bonnie's gone to bed
JOHNSON Ain't no . . . (The implication is pregnancy)
sickness done hit you I hope . . . ?
MAMA No she just tired. She was out this evening.
JOHNSON (All is a coo, an emphatic coo) Aw ain't that
lovely. She still going out with the little Murchison boy?
MAMA (Drily) Ummmm huh.
JOHNSON That's lovely. You sure got lovely children,
Younger. Me and Isaiah talks all the time 'bout what
fine children you was blessed with. We sure do.
MAMA Ruth, give Mis' Johnson a piece of sweet potato
pie and some milk.
JOHNSON Oh honey, I can't stay hardly a minute I
just dropped in to see if there was anything I could do.
(Accepting the food easily) I guess y'all seen the news
what's all over the colored paper this week . . .
MAMA No didn't get mine yet this week.
JOHNSON (Lifting her head and blinking with the spirit of
catastrophe) You mean you ain't read 'bout them
colored people that was bombed out their place out
there?
(RUTH straightens with concern and takes the paper
and reads it. JOHNSON notices her and feeds com-
mentary)
JOHNSON Ain't it something how bad these here white
folks is getting here in Chicago! Lord, getting so you
think you right down in Mississippi! (With a tremendous
and rather insincere sense of melodrama) 'Course I
thinks it's wonderful how our folks keeps on pushing
out. You hear some of these Negroes round here talking
'bout how they don't go where they ain't wanted and all
that but not me, honey! (This is a lie) Wilhemenia
Othella Johnson goes anywhere, any time she feels like
it! (With head movement for emphasis) Yes I do! Why
if we left it up to these here crackers, the poor niggers
wouldn't have nothing (She clasps her hand over her
mouth) Oh, I always forgets you don't 'low that word
in your house.
MAMA (Quietly, looking at her) No I don't 'low it.
JOHNSON (Vigorously again) Me neither! I was just
telling Isaiah yesterday when he come using it in front of
me I said, "Isaiah, it's just like Mis' Younger says all
the time "
MAMA Don't you want some more pie?
JOHNSON No no thank you; this was lovely. I got to
get on over home and have my midnight coffee. I hear
some people say it don't let them sleep but I finds I can't
close my eyes rigjit lessen I done had that laaaast cup of
coffee . . . (She waits. A beat. Undaunted) My Good-
night coffee, I calls it!
MAMA (With much eye-rolling and communication be-
tween herself and RUTH) Ruth, why don't you give
Mis' Johnson some coffee.
(RUTH gives MAMA an unpleasant look for her
kindness)
JOHNSON (Accepting the coffee) Where's Brother to-
night?
MAMA He's lying down.
JOHNSON MMmmmmm, he sure gets his beauty rest,
don't he? Good-looking man. Sure is a good-looking
man! (Reaching out to pat RUTH'S stomach again) I
guess that's how come we keep on having babies around
here. (She winks at MAMA) One thing 'bout Brother,
he always know how to have a good time. And soooooo
ambitious! I bet it was his idea y'all moving out to
Clybourne Park. Lord I bet this time next month
y'alFs names will have been in the papers plenty
(Holding up her hands to mark off each word of the
headline she can see in front of her) "NEGROES IN-
VADE CLYBOURNE PARK BOMBED!"
MAMA (She and RUTH look at the woman in amazement)
We ain't exactly moving out there to get bombed.
JOHNSON Oh, honey you know I'm praying to God
every day that don't nothing like that happen! But you
have to think of life like it is and these here Chicago
peckerwoods is some baaaad peckerwoods.
MAMA (Wearily) We done thought about all that Mis'
Johnson.
(BENEATHA comes out of the bedroom in her robe
and passes through to the bathroom. MRS. JOHNSON
turns)
JOHNSON Hello there, Bennie !
BENEATHA (Crisply) Hello, Mrs. Johnson.
JOHNSON How is school?
BENEATHA (Crisply) Fine, thank you. (She goes out.)
JOHNSON (Insulted) Getting so she don't have much to
say to nobody.
MAMA The child was on her way to the bathroom.
JOHNSON I know but sometimes she act like ain't got
time to pass the time of day with nobody ain't been to
college. Oh I ain't criticizing her none. It's just you
know how some of our young people gets when they get
a little education. (MAMA and RUTH say nothing, just
look at her) Yes well. Well, I guess I better get on
home. (Unmoving) 'Course I can understand how she
must be proud and everything being the only one in
the family to make something of herself. I know just
being a chauffeur ain't never satisfied Brother none. He
shouldn't feel like that, though. Ain't nothing wrong
with being a chauffeur.
MAMA There's plenty wrong with it.
JOHNSON What?
MAMA Plenty. My husband always said being any kind of
a servant wasn't a fit thing for a man to have to be. He
always said a man's hands was made to make things, or
to turn the earth with not to drive nobody's car for
'em or (She looks at her own hands) carry they slop
jars. And my boy is just like him he wasn't meant to
wait on nobody.
JOHNSON (Rising, somewhat offended) Mmmmmmmmm
The Youngers is too much for me! (She looks around)
You sure one proud-acting bunch of colored folks. Well
I always thinks like Booker T. Washington said that
time "Education has spoiled many a good plow
hand"
MAMA Is that what old Booker T. said?
JOHNSON He sure did.
MAMA Well, it sounds just like him. The fool.
JOHNSON (Indignantly) Well he was one of our great
men.
MAMA Who said so?
JOHNSON (Nonplussed) You know, me and you ain't
never agreed about some things, Lena Younger. I guess
I better be going
RUTH (Quickly) Good night.
JOHNSON Good night. Oh (Thrusting it at her) You
can keep the paper! (With a trill) 'Night.
MAMA Good night, Mis' Johnson.
(MRS. JOHNSON exits)
RUTH If ignorance was gold * . ,
MAMA Shush. Don't talk about folks behind their backs.
RUTH You do.
MAMA I'm old and corrupted. (BENEATHA enters') You
was rude to Mis' Johnson, Beneatha, and I don't like
it at all.
BENEATHA (At her door) Mama, if there are two things
we, as a people, have got to overcome, one is the Klu
Klux Klan andtfie other is Mrs. Johnson. (She exits)
MAMA Smart aleck.
(The phone rings)
RUTH I'll get it.
MAMA Lord, ain't this a popular place tonight.
RUTH (At the phone) Hello Just a minute. (Goes to
door) Walter, it's Mrs. Arnold. (Waits. Goes back to
the phone. Tense) Hello. Yes, this is his wife speaking
. . . He's lying down now. Yes . . . well, he'll be in
tomorrow. He's been very sick. Yes I know we should
have called, but we were so sure he'd be able to come in
today. Yes yes, I'm very sorry. Yes . . . Thank you
very much. (She hangs up. WALTER is standing in the
doorway of the bedroom behind her) That was Mrs.
Arnold.
WALTER (Indifferently) Was it?
RUTH She said if you don't come in tomorrow that they
are getting a new man . .
WALTER Ain't that sad ain't that crying sad.
RUTH She said Mr. Arnold has had to take a cab for
three days . . . Walter, you ain't been to work for three
days! (This is a revelation to her) Where you been,
Walter Lee Younger? (WALTER looks at her and starts
to laugh ) You're going to lose your job.
WALTER That's right . . . (He turns on the radio)
RUTH Oh, Walter, and with your mother working like
a dog every day
(A steamy, deep blues pours into the room)
WALTER That's sad too Everything is sad.
MAMA What you been doing for these three days, son?
WALTER Mama you don't know all the things a man
what got leisure can find to do in this city . . . What's
this Friday night? Well Wednesday I borrowed Willy
Harris* car and I went for a drive . . . just me and my-
self and I drove and drove . . . Way out . . . way past
South Chicago, and I parked the car and I sat and
looked at the steel mills all day long. I just sat in the
car and looked at them big black chimneys for hours.
Then I drove back and I went to the Green Hat.
(Pause) And Thursday Thursday I borrowed the car
again and I got in it and I pointed it the other way and
I drove the other way for hours way, way up to
Wisconsin, and I looked at the farms. I just drove and
looked at the farms. Then I drove back and I went to
the Green Hat. (Pause) And today today I didn't
get the car. Today I just walked. All over the South-
side. And I looked at the Negroes and they looked at
me and finally I just sat down on the curb at Thirty-
ninth and South Parkway and I just sat there and
watched the Negroes go by. And then I went to the
Green Hat. You all sad? You all depressed? And you
know where I am going right now
(RUTH goes out quietly)
MAMA Oh, Big Walter, is this the harvest of our days?
WALTER You know what I like about the Green Hat?
I like this little cat they got there who blows a sax . . .
He blows. He talks to me. He ain't but 'bout five feet
tall and he's got a conked head and his eyes is always
closed and he's all music
MAMA (Rising and getting some papers out of her hand-
bag) Walter
WALTER And there's this other guy who plays the piano
. . . and they got a sound. I mean they can work on
some music . . . They got the best little combo in the
world in the Green Hat . . . You can just sit there and
drink and listen to them three men play and you real-
ize that don't nothing matter worth a damn, but just
being there
MAMA I've helped do it to you, haven't I, son? Walter
I been wrong.
WALTER Naw you ain't never been wrong about noth-
ing, Mama.
MAMA Listen to me, now. I say I been wrong, son. That
I been doing to you what the rest of the world been
doing to you. (She turns off the radio) Walter (She
stops and he looks up slowly at her and she meets his
eyes pleadingly) What you ain't never understood is that
I ain't got nothing, don't own nothing, ain't never really
wanted nothing that wasn't for you. There ain't nothing
as precious to me . . . There ain't nothing worth holding
on to, money, dreams, nothing else if it means if it
means it's going to destroy my boy. (She takes an en-
velope out of her handbag and puts it in front of him
and he watches her without speaking or moving) I paid
the man thirty-five hundred dollars down on the house.
That leaves sixty-five hundred dollars. Monday morning
I want you to take this money and take three thousand
dollars and put it in a savings account for Beneatha's
medical schooling. The rest you put in a checking
account with your name on it. And from now on any
penny that come out of it or that go in it is for you
to look after. For you to decide. (She drops her hands
a little helplessly) It ain't much, but it's all I got in the
world and I'm putting it in your hands. I'm telling you
to be the head of this family from now on like you
supposed to be.
WALTER (Stares at the money) You trust me like that.
Mama?
MAMA I ain't never stop trusting you. Like I ain't never
stop loving you.
(She goes out, and WALTER sits looking at the
money on the table. Finally, in a decisive gesture,
he gets up, and, in mingled joy and desperation,
picks up the money. At the same moment, TRAVIS
enters for bed)
TRAVIS What's the matter, Daddy? You drunk?
WALTER (Sweetly, more sweetly than we have ever known
him) No, Daddy ain't drunk. Daddy ain't going to
never be drunk again
TRAVIS Well, good night, Daddy.
(The FATHER has come from behind the couch and
leans over, embracing his son)
WALTER Son, I feel like talking to you tonight.
TRAVIS About what?
WALTER Oh, about a lot of things. About you and what
kind of man you going to be when you grow up. ...
Son son, what do you want to be when you grow up?
TRAVIS A bus driver.
WALTER (Laughing a little) A what? Man, that ain't
nothing to want to be!
TRAVIS Why not?
WALTER 'Cause, man it ain't big enough you know
what I mean.
TRAVIS I don't know then. I can't make up my mind.
Sometimes Mama asks me that too. And sometimes
when I tell her I just want to be like you she says she
don't want me to be like that and sometimes she says
she does. . . .
WALTER (Gathering him up in his arms) You know
what, Travis? In seven years you going to be seventeen
years old. And things is going to be very different with
us in seven years, Travis. . . . One day when you are
seventeen I'll come home home from my office down-
town somewhere
TRAVIS You don't work in no office, Daddy.
WALTER No but after tonight. After what your daddy
gonna do tonight, there's going to be offices a whole
lot of offices. . . .
TRAVIS What you gonna do tonight, Daddy?
WALTER You wouldn't understand yet, son, but your
daddy's gonna make a transaction ... a business
transaction that's going to change our lives. . . . That's
how come one day when you 'bout seventeen years old
I'll come home and I'll be pretty tired, you know what
I mean, after a day of conferences and secretaries get-
ting things wrong the way they do ... 'cause an exec-
utive's life is hell, man (The more he talks the farther
away he gets) And I'll pull the car up on the driveway
. . . just a plain black Chrysler, I think, with white
walls no black tires. More elegant. Rich people
don't have to be flashy . . . though I'll have to get
something a little sportier for Ruth maybe a Cadillac
convertible to do her shopping in. ... And I'll come
tip the steps to the house and the gardener will be clip-
ping away at the hedges and he'll say, "Good evening,
Mr. Younger." And I'll say, "Hello, Jefferson, how are
you this evening?" And I'll go inside and Ruth will
come downstairs and meet me at the door and we'll kiss
each other and she'll take my arm and we'll go up to
your room to see you sitting on the floor with the cata-
logues of all the great schools in America around you.
. . . All the great schools in the world! And and I'll
say, all right son it's your seventeenth birthday, what
is it you've decided? . . . Just tell me where you want to
go to school and you'll go. Just tell me, what it is you
want to be and you'll be it. , - . Whatever you want
to be Yessir! (He holds his arms open for TRAVIS)
You just name it, son . . . (TRAVIS leaps into them) and
I hand you the world!
(WALTER'S voice has risen in pitch and hysterical
promise and on the last line he lifts TRAVIS high)
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