He says this in a calm voice so not to annoy the officers. The officers don’t await an invitation in to the house and with their authority they just step inside and Eddie says; “What’s all this? ” He says this with an astonished look upon his face, making the arrival of the officers appear to be a complete surprise to him. But unlike the characters in the play, the audience has full knowledge of his deceitful phone call to the Bureau, so it is ironic when he appears to know nothing. The first officer in a demanding voice says; “Where are they? ” He says this expecting a straight answer and no messing about.
Eddie will now put on a puzzled expression and frown as he says; “Where’s who? ” He makes out to be confused and pretends to know nothing about their presence as an attempt to mislead the officer. The officer doesn’t accept his over up and tries to reason with him. This shows the audience that the officer is in control of the situation and is used to people making attempts to cover up and trick him. The officer now says; “Come on, come on, where are they? ” This is said in a calm reasoning voice to try and just get an easy answer so they can capture the immigrants hassle-free.
Again Eddie with a confused look says; “Who? We got nobody here. He says this with a clueless expression and an astonished voice to try and convince the officer that there has been a mistake. In this first section Eddies attitude was ironic as he made out to be bewildered and surprised by their visit, but he was the one that contacted them about the immigrants in the first place. In the second section, we get to see Beatrice’s reaction to his deviousness, as she immediately knows that it was Eddies doing when the officers turn up.
Eddie glances at Beatrice and she quickly turns her head away to make out she is tempered towards Eddie and he confronts her straight away; “What’s the matter with you? ” He says this with a raised tone of voice to sound annoyed as she’s accused him for the officers. Even though she only gave him one glance and angrily turned her head away, I want the audience to sense her suspicion and accusation, of him calling the Bureau. The officers continue to search the building and one approaches Eddie and asks if he has the correct room number, Eddie replies with; “That’s right.”
I want him to say this in a shaky voice so the audience can sense that he is beginning to crumble and he is fearful of the consequences of his actions. He then stares at Beatrice and I want the expression on his face to say everything. He will put on an expression, which will suggest that he’s just been hit by reality, and realises the terrible situation he has got everyone in to. Eddie’s fearful look at Beatrice will give her conformation of his deceitfulness. But there is still the question of why he is worried? Is it to maintain his reputation in the street or the fact that he has landed Marco and Rodolpho in trouble?
Maybe Both? The fact that he carries on to deny that it was him that made the phone call suggests that its to maintain his reputation. When Beatrice accuses him I want him to get frustrated to cover up for his actions. After Eddies fearful glance at Beatrice, she too is struck with fear and this is made clear by the stage directions: [weakened with fear]: She goes on to say; “Oh Jesus, Eddie. ” She says this in total disbelief and she puts her hands on her face. This will tell the audience that she cannot bear to know what her own husband has done.
Eddie continues to protest his innocence and Beatrice’s final action is to turn towards him, instead of running. This shows the audience that even in crisis she will not desert her husband. Her final words to him are; “My God, what did you do? ” I want her to say this with lots of fear and anger at Eddie’s actions. However the fact that she didn’t run from him doesn’t take anything away from the shock and horror she is experiencing at the realization of what he has done. In the third section, Catherine and Beatrice make a last effort to save Marco and Rodolpho and fight with the officers.
However, the officers are immune to the pleas of Catherine and Beatrice for mercy and do not express an opinion or concern. I want Catherine to seem desperate and more aggressive when attempting to persuade the officers and I want her to be more frustrated and argumentative. The first stage direction says: Catherine [backing down the stairs fighting with the first officer]. The audience can immediately tell that she is taking a more aggressive approach. She then shouts; “What do yiz want from them? ” I want her words to have aggression in so they know that she isn’t going to back down.
She then says; “They ain’t no submarines, he was born in Philadelphia. ” I want the audience to see her determination to save Rodolpho and her sheer frustration at what is happening. On the other hand, I want Beatrice to be seen by the audience to be taking a calmer and more diplomatic approach. She tries to reason with the officer; “Ah, Mister, what do you want from them, who do they hurt? ” I want Beatrice to say this in a calm, less-threatening voice, so not aggravate them. The officer takes little notice of Catherine or Beatrice and merely just says to Catherine; “Step aside, lady. ”
I want him to say this in a calm, but firm voice to show the audience that he doesn’t want any trouble and remains in control of the situation. I want Catherine to now appear upset and infuriated. I will do this by using her body language and tone of voice. I want her to speak in a quite angry and distressed voice; “You can’t just come in the house and-” I want her body to be blocking the officers from getting past. I also want her to really speak face to face with the officers, to look like she is trying to intimidate them. She becomes increasingly upset as her campaign doesn’t seem to be working and she screams; “No, you can’t!
Now, get outa here! ” I want this shout of hers to turn in to an upset scream as she realises that she can’t save Rodolpho. The men proceed to take away the immigrants and Beatrice confronts them one more time. Instead of an aggressive approach like Catherine, I want the audience to see how Beatrice stays calm in the chaotic situation. Beatrice makes an emotional appeal about what drove the immigrants to leave their own country; “what do you want from them? They’re starvin’ over there, what do you want? ” I want her to say this in a persuasive voice to try and play on their consciences, but the officers just walk off.
I want them to just ignore her to suggest to the audience that they are not affected by her emotional appeal and are immune to her pleading. From this section, the audience gets to see the aggressive and frustrated Catherine character that I wanted them to see and the calm Beatrice. The audience also gets to see the very calm and dominant officers who always stay in control of the dramatic situation and do not show concern or opinion to the pleas and appeals of Catherine and Beatrice. In this next section Marco performs the malicious act of spitting in Eddies face, which results in Eddie becoming extremely furious and mad at him.
This is where I get to reveal the ruthless and unpleasant side of Eddie, which I want the audience to see. It starts when Marco breaks from the group while being escorted out by the officers and spits in Eddies face. This is a powerful dramatic moment in the play and is conveyed by actions, rather than words. I want the act of spitting in his face to not only show Marcos contempt for Eddie, but also contempt for Eddies breaking of the social code. By informing the immigration bureau a social taboo has been broken and the act of spitting in his face tells the audience Marco’s identification of the culprit.