D E A T H O F A S A L E S M A NCertain Private Conversatio

D E A T H O F A S A L E S M A N
Certain Private Conversations in
Two Acts and a Requiem
A R T H U R M I L L E R
WITH AN INTRODUCTION BY
CHRISTOPHER BIGSBY
p
P E N G U I N B O O K S
penguin twentieth-century classics
DEATH OF A SALESMAN
Arthur Miller was born in New York City in 1915 and studied at
the
University of Michigan. His plays include All My Sons (1947),
Death of
a Salesman (1949), The Crucible (1953), A View from the
Bridge and A
Memory of Two Mondays (1955), After the Fall (1964),
Incident at Vichy
(1965), The Price (1968), The Creation of the World and Other

Business
(1972), and The American Clock (1980). He has also written
two novels,
Focus (1945) and The Misfits, which was filmed in 1960, and
the text
for In Russia (1969), Chinese Encounters (1979), and In the
Country (1977),
three books of photographs by Inge Morath. His most recent
works
include a memoir, Mr. Peters’ Connections (1999), Echoes
Down the Cor-
ridor: Collected Essays 1944–2000, and On Politics and the Art
of Acting
(2001). Timebends (1987), and the plays The Ride Down Mt.
Morgan
(1991), The Last Yankee (1993), Broken Glass (1994). He has
twice won
the New York Drama Critics Circle Award, and in 1949 he was
awarded the Pulitzer Prize.
Gerald Weales is Emeritus Professor of English at the
University of
Pennsylvania. He is the author of Religion in Modern English
Drama,
American Drama Since World War II, The Play and Its Parts,
Tennessee
Williams, The Jumping-Off Place, Clifford Odets, and Canned
Goods as Cav-
iar: American Film Comedy of the 1930s. Mr. Weales is the
editor of
Edwardian Plays, The Complete Plays of William Wycherley,
and The Vi-
king Critical Library edition of Arthur Miller’s The Crucible.
He has
written a novel, Tale for the Bluebird, and two books for
children. Mr.

Weales won the George Jean Nathan Award for Drama Criticism
in
1965.
BY ARTHUR MILLER
DRAMA
The Golden Years
The Man Who Had All the Luck
All My Sons
Death of a Salesman
An Enemy of the People (adaptation of the play by Ibsen)
The Crucible
A View from the Bridge
After the Fall
Incident at Vichy
The Price
The American Clock
The Creation of the World and Other Business
The Archbishop’s Ceiling
The Ride Down Mt. Morgan
Broken Glass
Mr. Peters’ Connections
ONE-ACT PLAYS
A View from the Bridge, one-act version, with A Memory of

Two Mondays
Elegy for a Lady (in Two-Way Mirror)
Some Kind of Love Story (in Two-Way Mirror)
I Can’t Remember Anything (in Danger: Memory!)
Clara (in Danger: Memory!)
The Last Yankee
OTHER WORKS
Situation Normal
The Misfits (a cinema novel )
Focus (a novel )
I Don’t Need You Anymore (short stories)
In the Country (reportage with Inge Morath photographs)
Chinese Encounters (reportage with Inge Morath photographs)
In Russia (reportage with Inge Morath photographs)
Salesman in Beijing (a memoir)
Timebends (autobiography )
Homely Girl, A Life (novella)
COLLECTIONS
Arthur Miller’s Collected Plays (Volumes I and II)
The Portable Arthur Miller
The Theater Essays of Arthur Miller (Robert Martin, editor)
VIKING CRITICAL LIBRARY EDITIONS
Death of a Salesman (edited by Gerald Weales)

The Crucible (edited by Gerald Weales)
TELEVISION WORKS
Playing for Time
SCREENPLAYS
The Misfits
Everybody Wins
The Crucible
Certain Private Conversations in
Two Acts and a Requiem
A R T H U R M I L L E R
WITH AN INTRODUCTION BY
CHRISTOPHER BIGSBY
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P E N G U I N B O O K S
penguin books
Published by the Penguin Group
Penguin Putnam Inc., 375 Hudson Street,
New York, New York 10014, U.S.A.
Penguin Books Ltd, 27 Wrights Lane,

London W8 5TZ, England
Penguin Books Australia Ltd, Ringwood,
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Penguin Books Canada Ltd, 10 Alcorn Avenue,
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Auckland 10, New Zealand
Penguin Books Ltd, Registered Offices:
Harmondsworth, Middlesex, England
First published in the United States of America by
The Viking Press 1949
Published in a Viking Compass Edition 1958
Published in Penguin Books 1976
This edition with an introduction by Christopher Bigsby
published in
Penguin Books 1998
Copyright Arthur Miller, 1949
Copyright renewed Arthur Miller, 1977
Introduction copyright � Christopher Bigsby, 1998
All rights reserved
caution: Professionals and amateurs are hereby warned that
Death of a Salesman
is subject to a royalty. It is fully protected under the copyright
laws of the United
States of America, and of all countries covered by the
International Copyright

Union (including the Dominion of Canada and the rest of the
British Common-
wealth), and of all countries covered by the Pan-American
Copyright Convention
and the Universal Copyright Convention, and of all countries
with which the
United States has reciprocal copyright relations. All rights,
including professional
and amateur stage performing, motion picture, recitation,
lecturing, public read-
ing, radio broadcasting, television, video or sound taping, all
other forms of me-
chanical or electronic reproduction, such as information storage
and retrieval
systems and photocopying, and the rights of translation into
foreign languages,
are strictly reserved. Address inquiries to the author’s
representative, International
Creative Management, 40 West 57th Street, New York, New
York 10019.
library of congress cataloging in publication data
Miller, Arthur, 1915 –
Death of a salesman/Arthur Miller; with an introduction by
Christopher Bigsby.
p. cm.—(Penguin twentieth-century classics)
ISB
1. Sales personnel—United States—Drama. 2. Fathers and
sons—
United States—Drama. I. Title. II. Series.
PS3525.I5156D41998
812'.52—dc21 97–37223

N: 1-4295-1457-4
C O N T E N T S
Introduction by Christopher Bigsby vii
A c t O n e 1
A c t T w o 52
R e q u i e m 110
Cast 113
v i i
I N T R O D U C T I O N
The Depression of the 1930s seemed to break the promises
America had made to its citizens. The stock market crash of
1929, it was assumed, ended a particular version of history:
optimistic, confident. The American dream faded. And yet,
not so. Myths as potent as that, illusions with such a purchase
on the national psyche, are not so easily denied. In an im-
migrant society, which has, by definition, chosen to reject
the past, faith in the future is not a matter of choice. When
today fails to offer the justification for hope, tomorrow be-
comes the only grail worth pursuing. Arthur Miller knew
this. When Charley, Willy Loman’s next-door neighbor,
says that ‘‘a salesman is got to dream,’’ he sums up not only

Willy’s life but a central tenet of his culture.
Death of a Salesman is not set during the Depression but
it bears its mark, as does Willy Loman, a sixty-three-year-
old salesman, who stands baffled by his failure. Certainly in
memory he returns to that period, as if personal and national
fate were somehow intertwined, while in spirit, according
to Miller, he also reaches back to the more expansive and
confident, if empty, 1920s, when, according to a president
of the United States, the business of America was business.1
And since he inhabits ‘‘the greatest country in the world,’’
a world of Manifest Destiny, where can the fault lie but in
himself ? If personal meaning, in this cheer leader society,
lies in success, then failure must threaten identity itself. No
wonder Willy shouts out his name. He is listening for an
echo. No wonder he searches desperately back through his
life for evidence of the moment he took a wrong path; no
wonder he looks to the next generation to give him back
I N T R O D U C T I O Nv i i i
that life by achieving what had slipped so unaccountably
through his own fingers.
Death of a Salesman had its origins in a short story Miller
wrote at the age of seventeen (approximately the age of the
young Biff Loman), when he worked, briefly, for his father’s
company. It told of an aging salesman who sells nothing, is
abused by the buyers, and borrows his subway fare from the
young narrator. In a note scrawled on the manuscript Miller
records that the real salesman had thrown himself under a
subway train. Years later, at the time of the play’s Broadway
opening, Miller’s mother found the story abandoned in a

drawer. But, as Miller has noted, Death of a Salesman also
traced its roots closer to home.
Willy Loman was kin to Miller’s salesman uncle, Manny
Newman, a man who was ‘‘a competitor, at all times, in all
things, and at every moment. My brother and I,’’ Miller
explains in his autobiography, ‘‘he saw running neck and
neck with his two sons in some race that never stopped in
his mind.’’ The Newman household was one in which you
‘‘dared not lose hope, and I would later think of it as a per-
fection of America for that reason. . . . It was a house . . .
trembling with resolutions and shouts of victories that had
not yet taken place but surely would tomorrow.’’2
Manny’s son, Buddy, like Biff in Miller’s play, was a sports
hero and, like Happy Loman, a success with the girls, but,
failing to study, he never made it to college. Manny’s wife,
meanwhile, ‘‘bore the cross of reality for them all,’’ sup-
porting her husband, ‘‘keeping up her calm, enthusiastic
smile lest he feel he was not being appreciated.’’ (123) It is
not hard to see this woman honored in the person of Linda
Loman, Willy’s loyal but sometimes bewildered wife, who
is no less a victim than the husband she supports in his strug-
gle for meaning and absolution.
Though Miller spent little time with Manny, ‘‘he was so
I N T R O D U C T I O N i x
absurd, so completely isolated from the ordinary laws of
gravity, so elaborate in his fantastic inventions . . . so lyrically
in love with fame and fortune and their inevitable descent
on his family, that he possessed my imagination.’’ (123) To
drop by the Newman family home, Miller explains, was ‘‘to

expect some kind of insinuation of my entire life’s probable
failure, even before I was sixteen.’’ (124) Bernard, son of
Willy’s next-door neighbor, was to find himself treated in
much the same way by the Lomans.
There is, however, something more than absurdity about
such people as Manny, who managed to sustain their faith
in the face of evidence to the contrary. Of a salesman friend
of Manny, Miller writes, ‘‘Like any traveling man he had to
my mind a kind of intrepid valor that withstood the inevi -
table putdowns, the scoreless attempts to sell. In a sense,
these men lived like artists, like actors whose product is first
of all themselves, forever imagining triumphs in a world that
either ignores them or denies their presence altogether. But
just often enough to keep the game going one of them
makes it and swings to the moon on a thread of dreams
unwinding out of himself.’’ (127) And, surely, Willy Loman
himself is just such an actor, a vaudevillian, getting by ‘‘on
a smile and a shoeshine,’’ staging his life in an attempt to
understand its plot and looking for the applause and success
he believes to be his due. He wants, beyond anything, to be
‘‘well liked,’’ for, without that, he fears he will be nothing
at all.
During the run of his first great success, All My Sons,
Miller met Manny again. Rather than comment on the play,
his uncle answered a question he had not been asked:
‘‘Buddy is doing very well.’’ The undeclared competition
was still under way, as if time had stood still. The chance
meeting made Miller long to write a play that would re-
create the feeling that this encounter gave him, a play that
I N T R O D U C T I O Nx

would ‘‘cut through time like a knife through a layer of cake
or a road through a mountain revealing its geologic layers,
and instead of one incident in one time-frame succeeding
another, display past and present concurrently, with neither
one ever coming to a stop.’’ (131) For in that one remark
Manny brought together past hopes and present realities
while betraying an anxiety that hinted at a countercurrent
to his apparent confidence.
Miller, then, likened the structure of Salesman to geolog-
ical strata, in which different times are present in the same
instant. He has also compared it to a CAT scan, which si -
multaneously reveals inside and outside, and the time scale
in Death of a Salesman is, indeed, complex. The events on-
stage take place over twenty-four hours, a period which be-
gins with a timid, dispirited, and bewildered man entering a
house once an expression of his hopes for the future. It is
where he and his wife raised a family, that icon of the Amer -
ican way, and reached for the golden glitter of the dream.
He is back from a journey he once saw as a version of those
other journeys embedded in the national consciousness, in
which the individual went forth to improve his lot and de-
fine himself in the face of a world ready to embrace him.
But the world has changed. His idyllic house, set like a
homestead against the natural world, is now hemmed in by
others, and his epic journey is no more than a drummer’s
daily grind, traveling from store to store, ingratiating himself
with buyers or, still more, with the secretaries who guard
the buyers from him. The play ends, after a succession of
further humiliations, frustrated hopes, and demeaning mem-
ories, when Willy Loman climbs back into the car, which
itself is showing signs of debilitation, and attempts one last
ride to glory, one last journey into the empyrean, finally, in
his own eyes, rivaling his successful brother, Ben, by trading
his life directly for the dream which lured him on.

I N T R O D U C T I O N x i
But this twenty-four-hour period is only one form of
time. There is also what Miller has called ‘‘social time’’ and
‘‘psychic time.’’ By social time he seems to mean the un-
folding truth of the public world which provides the context
for Willy’s life, while psychic time is evident in memories
which crash into his present, creating ironies, sounding ech-
oes, taunting him with a past which can offer him nothing
but reproach. All these different notions of time blend and
interact, that interaction being a key to the play’s effect. But,
of course, all these differing time schemes are themselves
contained within and defined by the audience’s experience
of the play, a shared moment in which the social reality of
the occasion (its performance, say, in Communist China in
the 1980s) and the psychological reality of individual audi -
ence members themselves affect the meaning generated by
the stage action.
The past, and its relationship to the present, has always
been vital to Miller. As a character in another Miller play
(After the Fall ) remarks, the past is holy. Why? Not merely
because the present contains the past, but because a moral
world depends on an acceptance of the notion of causality,
on an acknowledgment that we are responsible for, and a
product of, our actions. This is a truth that Willy resists but
which his subconscious acknowledges, presenting to him the
evidence of his fallibility. For the very structure of the play
reflects his anxious search for the moment his life took a
wrong turn, for the moment of betrayal that undermined his
relationship to his wife and destroyed his relationship with
a son who was to have embodied his own faith in the Amer-
ican dream.

Death of a Salesman differs radically from his more tradi -
tionally constructed first Broadway success, All My Sons,
while still focusing on father-son relationships. It is techni-
cally innovative, with its nearly instantaneous time shifts. It
I N T R O D U C T I O Nx i i
is also lyrical, as Miller allows Willy’s dreams to shape them-
selves into broken arias. And whereas the earlier work had
echoes of Ibsen, this play was generated out of its own ne-
cessities as Miller discovered a form that precisely echoed its
social and psychological concerns.
In 1948, Miller, fresh from the achievement of All My
Sons, built himself a shed on land he had bought in Con-
necticut. It took him six weeks. He then sat down to write
Death of a Salesman. He completed the first half in a single
night and the whole work in a further six weeks. He began
the play knowing only the first two lines and the fact that
it would end with a death, the death of the man who became
Willy Loman and whose last name came not from any desire
to link his fate with that of the common man, but from
Miller’s memory of that name being called out in a scene
from the film The Testament of Dr. Mabuse : ‘‘What the name
really meant to me was a terror-stricken man calling into the
void for help that will never come.’’ (179) The name was
fine with the producers; the title was not. They were con-
vinced that the word ‘‘death’’ would keep audiences away.
And, indeed, Miller himself considered other titles, includ-
ing The Inside of His Head and A Period of Grace, the latter a
reference to the practice of insurance companies that allow
a policy to stay active beyond its effective termination date,
as Willy had lived on beyond the death of his hopes. But
the title remained, and far from audiences staying away they

sustained it for 742 performances.
Death of a Salesman begins with the sound of a flute (and
there were some twenty-two minutes of music in the orig-
inal production), a sound which takes Willy back to his
childhood when he had traveled with his father and brother
in a wagon. His father made and sold flutes. He was, in other
words, a salesman, though one who, unlike Willy, made
I N T R O D U C T I O N x i i i
what he sold. It is a tainted memory, however. The distant
past is not as innocent as, in memory, he would wish it to
be. It represents betrayal, for his father had deserted the boys,
as his brother, Ben, had deserted Willy, going in search first
of his father and then of success at any price. Betrayal is thus
as much part of his inheritance as is his drive for success, his
belief in salesmanship as a kind of frontier adventure whose
virtues should be passed on to his sons.
In the notebook that Miller kept while writing the play,
he saw Willy as waiting for his father’s return, living a tem-
porary life until the time when meaning would arrive along
with the person who abandoned him, as Vladimir and Es-
tragon would await the arrival of Godot. That idea is no
longer explicit in the text, but the notion of Willy leading
a temporary life is. Meaning is deferred until some indefinite
future. Meanwhile he is a salesman, traveling but never ar-
riving.
When the stage designer Jo Mielziner received the script,
in September 1948, it called for three bare platforms and the
minimum of furniture. The original stage direction at the
beginning of the play spoke of a travel spot which would

light ‘‘a small area stage left. The Salesman is revealed. He
takes out his keys and opens an invisible door.’’ (385) It said
of Willy Loman’s house, that ‘‘it had once been surrounded
by open country, but it was now hemmed in with apartment
houses. Trees that used to shade the house against the open
sky and hot summer sun now were for the most part dead
or dying.’’3 Mielziner’s job was to realize this in practical
terms, but it is already clear from Miller’s description that
the set is offered as a metaphor, a visual marker of social and
psychological change. It is not only the house that has lost
its protection, witnessed the closing down of space, not only
the trees that are withering away with the passage of time.
In Mielziner’s hands the house itself became the key.
I N T R O D U C T I O Nx i v
What was needed was a solution, in terms of lighting and
design, to the problem of a play that presented time as fluid.
The solution fed back into the play, since the elimination of
the need for scene changes (an achievement of Mielziner’s
design), or even breaks between scenes, meant that Miller
could rewrite some sections. As a result, rehearsals were de-
layed, out of town bookings canceled, and the opening
moved on, but the play now flowed with the speed of
Willy’s mind, as Miller had wished, past and present coex-
isting without the blackouts he had presumed would be
required.
Mielziner solved one problem—that of Biff and Happy’s
near instantaneous move from upstairs bedroom in the pres-
ent to backyard in the past—by building an elevator and
using an element of theater trickery: ‘‘the heads of the beds
in the attic room were to face the audience; the pillows, in

full view since there were to be no solid headboards, would
be made of papier-mâché. A depression in each pillow
would permit the heads of the boys to be concealed from
the audience and they would lie under the blankets that
had been stiffened to stay in place. We could then lower
them and still retain the illusion of their being in bed.’’
(Mielziner, 33)
The collapsing of the gap between youthful hope and
present bewilderment, which this stage illusion made possi -
ble, generates precisely the irony of which Willy is vaguely
aware but which he is powerless to address, as it underscores
the moral logic implicit in the connection between cause
and effect as past actions are brought into immediate juxta-
position with present fact. Other designers and directors have
found different solutions, as they have to Mielziner’s use of
back-lit unbleached muslin, on which the surrounding ten-
ement buildings were painted and which could therefore be
made to appear and disappear at will, and his use of projec-
I N T R O D U C T I O N x v
tion units which could surround the Loman house with trees
whose spring leaves would stand as a reminder of the spring-
time of Willy’s life, at least as recalled by a man determined
to romanticize a past when, he likes to believe, all was well
with the world. Fran Thompson, for example, designer of
London’s National Theatre production in 1996, chose to
create an open space with a tree at center stage, but a tree
whose trunk had been sawn through, leaving a section miss-
ing, the tree being no more literal and no less substantial
than Willy’s memories.
With comparatively little in the way of an unfolding

narrative (its conclusion is, in its essence, known from the
beginning), Death of a Salesman becomes concerned with re-
lationships. As Miller has said, he ‘‘wanted plenty of space
in the play for people to confront each other with their
feelings, rather than for people to advance the plot.’’4 This
led to the open form of a play in which the stage operates
in part as a field of distorted memories. In the 1996 Na-
tional Theatre production, all characters remained onstage
throughout, being animated when they moved into the fore-
front of Willy’s troubled mind, or swung into view on a
turntable. The space, in other words, was literal and charged
with a kinetic energy. Elia Kazan, the play’s first director,
observed that ‘‘The play takes place in an Arena of people
watching the events, sometimes internal and invisible, other
times external and visible and sometimes both.’’5 The Na-
tional Theatre production sought an expression for this con-
viction, finding, thereby, a correlative for that sense of a
‘‘dream’’ which Miller had also specified in his stage direc-
tions. It is the essence of a dream that space and time are
plastic and so they are here. Past and present interact, gen-
erating meaning rather as a metaphor strikes sparks by bring-
ing together discrete ideas. The jump from reconstructed
past to anxious present serves to underscore the extent to
I N T R O D U C T I O Nx v i
which hopes have been frustrated and ambitions blunted.
The resulting gap breeds irony, regret, guilt, disillusionment.
In part Willy taunts himself by invoking an idyllic past,
in which he had the respect of his sons, who were them-
selves carried forward by the promise of success, or by re-
calling betrayals which he believes destroyed that respect and
blighted that promise. The irony is that Willy believed that

he failed Biff by disillusioning him with the dream of success,
when in fact he failed him by successfully inculcating that
dream so that even now, years later, each spring he feels a
sense of inadequacy for failing to make a material success of
his life.
Miller has said of Willy Loman that ‘‘he cannot bear re-
ality, and since he can’t do much to change it, he keeps
changing his ideas of it.’’6 He is ‘‘a bleeding mass of contra-
dictions.’’ (184) And that fact does, indeed, provide some-
thing of the rhythm of his speeches, as though he were
conducting an argument with himself about the nature of
the world he inhabits. At one moment Biff is a lazy bum,
at the next his redemption is that he is never lazy. A car and
a refrigerator are by turns reliable and junk. He is, in his
own eyes, a successful salesman and a failure. It depends what
story he is telling himself at the time, what psychic need
such remarks are designed to serve. Hope and disappoint-
ment coexist, and the wild oscillation between the two
brings him close to breakdown. In a similar way he adjusts
his memories, or ‘‘daydreams,’’ as Miller has called them, to
serve present needs. These are not flashbacks, accurate ac-
counts of past time, but constructions. Thus, when he recalls
his sons’ school days he does so in order to insist on his and
their success. His brother, Ben, by the same token, is less a
substantial fact than an embodiment of that ruthless drive
and achievement which Willy lacks in his own life and half
believes he should want. In one sense the strain under which
I N T R O D U C T I O N x v i i
he finds himself erodes the boundary between the real and
the imagined so that he can no longer be sure which is
which. His thoughts are as much present facts as are those

people he encounters but whose lives remain a mystery to
him. Like many other Miller characters, he has built his life
on denial. Unable or unwilling to acknowledge the failure
of his hopes, or responsibility for his actions, he embraces
fantasies, elaborates excuses, develops strategies to neutralize
his disappointment.
Willy Loman is not, however, a pure victim. As Miller
has said, ‘‘Something in him knows that if he stands still he
will be overwhelmed. These lies and evasions of his are his
little swords with which he wards off the devils around
him. . . . There is a nobility, in fact, in Willy’s struggle.
Maybe it comes from his refusal ever to relent, to give
up. . . .’’ (Beijing, 27) And yet, of course, that energy is
devoted to sustaining an illusion which is literally lethal. His
nobility lies less in his struggle to uphold a dream which
severs him from those who care for him than in his deter-
mination to leave his mark on the world, his desire to invest
his name with substance, to make some meaning out of a
life which seems to offer so little in return for his faith.
Beyond that, as Miller has explained, ‘‘People who are able
to accept their frustrated lives do not change conditions.’’
Willy is not passive: ‘‘his activist nature is what leads man-
kind to progress . . . you must look behind his ludicrousness
to what he is actually confronting, and that is as serious a
business as anyone can imagine.’’ (Beijing, 27)
This claim is a large one. Willy, to Miller, is not a path-
ological case, and anyone who plays him as such makes a
serious mistake. He is battling for his life, fighting to sustain
a sense of himself that makes it worthwhile living at all in a
world which seemingly offers ever less space for the indi-
vidual. The irony which he fails to acknowledge is that he

I N T R O D U C T I O Nx v i i i
believes that meaning lies less in himself and his relationship
to those around him than in the false promises of a society
no longer structured around genuine human needs. His vul-
nerability comes from the fact that he is a true believer. Like
any believer he has doubts but these seldom extend out into
the world. America, after all, offers itself as utopia. He looks,
therefore, within himself. And he is plainly flawed, but that
flaw is more subtle than he supposes. He is haunted by an
act of adultery which he believes deflected his son Biff from
the success which would, retrospectively, have justified his
father’s faith in the American way. But he is unaware of the
more substantial flaw implicit in his failure to recognize the
love of those around him—namely, that offered by Linda,
Charley, and, most crucially, Biff himself. His problem is that
he has so completely internalized the values of his society
that he judges himself by standards rooted in social myths
rather than human necessities.
That flaw is a clue to the sense of the tragic that Miller
and others have seen in the play. But Miller has also said
that he wanted to lay before America the corpse of a true
believer. To that degree it is a social play. Tragedy/social
play. For the critic Eric Bentley the two were incompatible.
Either Willy Loman was a flawed individual, he argued, or
he inhabited a flawed society.7 It is a curious opposition. In
fact, both are true as, of course, they are in the Oedipus plays
or Hamlet. The argument over the tragic status of Death of a
Salesman is, finally, beside the point, but Miller’s remark that
‘‘tragedy . . . is the consequence of man’s total compulsion
to evaluate himself ’’8 does convey his conviction that trag-
edy concerns not only the self under ultimate pressure but
the necessity for the protagonist if not to justify his own
existence then to accept his responsibility for his actions.
This Willy cannot do. Denial becomes his mode of being.

Whereas a tragic hero comes to self-knowledge, in Death of
I N T R O D U C T I O N x i x
a Salesman Willy does not, and Miller came to feel that this
might, indeed, have been a weakness: ‘‘I feel that Willy Lo-
man lacks sufficient insight into this situation, which would
have made him a greater, more significant figure. . . . A
point has to arrive where man sees what has happened to
him.’’ (Conversations, 26) It is, finally, Willy’s son Biff who
reaches this understanding, though his own choice of a rural
life perhaps smacks a little of Huck Finn lighting out for the
Territory, ahead of the rest. He is moving against history,
that history encapsulated in a stage set which fades from rural
past into urban present. Indeed in The Misfits, written only
a few years after Salesman, we see what happens when the
modern world catches up with such dreams, as wild horses
are rounded up to be turned into dog food. It was also, of
course, in such a world, as Willy remembers it, that he was
abandoned by his father and brother and glimpsed for the
first time the life of a salesman.
If Willy is not a pure victim, then neither is his wife,
Linda. The critic Rhoda Koenig objects to Miller’s treat-
ment of women, ‘‘of whom he knows two types. One is the
wicked slut. . . . The other . . . is a combination of good
waitress and a slipper-bearing retriever.’’ Linda, in particular,
is ‘‘a dumb and useful doormat.’’9 It would be difficult to
imagine a comment wider of the mark. As Miller is apt to
remind actresses in rehearsal, Linda is tough. She is a fighter.
Willy is prone to bully her, cut off her sentences, reconstruct
her in memory to serve present purposes, but this is a
woman who has sustained the family when Willy has al-
lowed fantasy to replace truth, who has lived with the

knowledge of his suicidal intent, who sees through her sons’
bluster and demands their support.
In part a product of Willy’s disordered mind, in part au-
tonomous, Linda defines herself through him because she
inhabits a world which offers her little but a supporting role;
I N T R O D U C T I O Nx x
she is a committed observer incapable, finally, of arresting
his march toward oblivion, but determined to grant him the
dignity which he has conspired in surrendering. That she
fails to understand the true nature and depth of his illusions
or to acknowledge the extent of her own implication in his
human failings is a sign that she, too, is flawed, baffled by
the conflicting demands of a society which speaks of spiritual
satisfaction but celebrates the material. Despite her practical
common sense she, too, is persuaded that life begins when
all debts are paid. It is she who uses the word ‘‘free’’ at the
end of a play in which most of the central characters have
surrendered their freedom. Linda’s strength—her love and
her determination—is not enough, finally, to hold Willy
back from the grave. Yet this does not make her a ‘‘useful
doormat,’’ but a victim of Willy’s desperate egotism and of
a society which sees his restless search as fully justified and
her tensile devotion and love as an irrelevance in the grand
scheme of national enterprise.
For Mary McCarthy, always suspicious of American play-
wrights, a disturbing aspect of Death of a Salesman was that
Linda and Willy Loman seemed to be Jewish, to judge by
their speech cadences, but that no mention was made of this
in the text. ‘‘He could not be Jewish because he had to be
‘America.’ . . . [meanwhile the] mother’s voice [is] raised in

the old Jewish rhythms. . . . ‘Attention, attention must finally
be paid to such a person.’ . . . (‘Attention must be paid’ is
not a normal American locution; nor is ‘finally,’ placed
where it is; nor is ‘such a person,’ used as she uses it.)’’10
Forty years later Rhoda Koenig objected that ‘‘although the
characters are never identified as Jewish, their speech patterns
constantly proclaim them to be so. Willy answers a question
with another question; his wife reverses normal sentence
structure (‘To fix the hot water it cost $97.50’).’’ She adds,
somewhat curiously, that ‘‘as a result, Jews can enjoyably
weep buckets of empathy without worrying that Gentile
I N T R O D U C T I O N x x i
spectators will consider Willy’s money-grubbing a specifi-
cally Jewish failing.’’ Speaking on behalf of what she calls
‘‘my people,’’ by which she seems to mean Americans in
general and New York Jews in particular, she associates
money-grubbing with Jews and identifies a characteristic of
Willy Loman that is invisible in the play since it is not money
he pursues but success. Indeed, Miller has said that ‘‘built
into him is—distrust, even contempt, for relationships based
only on money.’’ (Beijing 135) Insisting that Miller’s ‘‘coded
ethnicity’’ was a product of the more anti-Semitic climate
of the 1940s and ’50s, she is seemingly unaware that in 1945
Miller had published a highly successful novel, Focus, which
directly and powerfully addressed the subject of American
anti-Semitism. In other words, when he wished to create
Jewish characters, he did and without hesitation, and at
precisely the moment she supposed he was least willing to
do so.
Ironically, a road production of the play, which opened

in Boston starring Mary McCarthy’s brother, Kevin, and a
number of other Irish-American actors, was hailed as an Irish
play. The fact is that Miller was not concerned with writing
an ethnically specific play, while the speech patterns noted
by McCarthy and Koenig were an expression of his desire
to avoid naturalistic dialogue. Indeed he wrote part of the
play first in verse, as he was to do with The Crucible, in an
effort to create a lyrical language which would draw atten-
tion to itself. He wished, he explained, not to write in a
Jewish idiom, or even a naturalistic prose, but ‘‘to lift the
experience into emergency speech of an unashamedly open
kind rather than to proceed by the crabbed dramatic hints
and pretexts of the ‘natural.’ ’’ (182)
Over the years Miller has offered a number of intriguing
interpretations of his own play. It is about ‘‘the paradoxes of
being alive in a technological civilization.’’ (Theater Essays,
I N T R O D U C T I O Nx x i i
419) It is ‘‘a story about violence within the family,’’ about
‘‘the suppression of the individual by placing him below the
imperious needs of . . . society.’’ (Theater Essays, 420) It is
‘‘a play about a man who kills himself because he isn’t liked.’’
(Conversations, 17) It expresses ‘‘all those feelings of a society
falling to pieces which I had’’ (Theater Essays, 423), feelings
which, to him, are one of the reasons for the play’s contin-
uing popularity. But the observation which goes most di-
rectly to the heart of the play is contained in a comment
made in relation to the production that he directed in China
in 1983: ‘‘Death of a Salesman, really, is a love story between
a man and his son, and in a crazy way between both of them
and America.’’ (Beijing, 49) Turn to the notebooks that he
kept when writing the play, and you find the extent to

which the relationship between Willy and his son is central.
They wrestle each other for their existence. Biff is Willy’s
ace in the hole, his last desperate throw, the proof that he
was right, after all, that tomorrow things will change for the
better and thus offer a retrospective grace to the past. Willy,
meanwhile, is Biff ’s flawed model, the man who seemed to
sanction his hunger for success and popularity, a hunger sud-
denly stilled by a moment of revelation. Over the years,
neither has been able to let go of the other because to do
so would be to let go of a dream which, however tainted,
still has the glitter of possibility, except that now Biff has
begun to understand that there is something wrong, some-
thing profoundly inadequate about a vision so at odds with
his instincts.
He returns to resolve his conflict with his father, to an-
nounce that he has finally broken with the false values of-
fered to him as his inheritance. Two people are fighting for
survival, in the sense of sustaining a sense of themselves.
Willy desperately needs Biff to embrace him and his dream;
Biff desperately needs to cut the link between himself and
I N T R O D U C T I O N x x i i i
Willy. There can be only one winner and whoever wins will
also have lost. As Miller explained to the actor playing the
role of Biff in the Beijing production, ‘‘your love for him
binds you; but you want it to free you to be your own
man.’’ Willy, however, is unable to offer such grace be-
cause ‘‘he would have to turn away from his own values.’’
(Beijing, 79)
Once returned, though, Biff is enrolled in the conspiracy

to save Willy’s life. The question which confronts him now
is whether that life will be saved by making Willy confront
the reality of his life or by substantiating his illusions. To do
the latter, however, would be to work against his own needs.
The price of saving Willy may thus, potentially, be the loss
of his own freedom and autonomy. Meanwhile the tension
underlying this central conflict derives from the fact that, as
Miller has said, ‘‘the story of Salesman is absurdly simple! It
is about a salesman and it’s his last day on the earth.’’ (Theater
Essays, 423)
Miller may, in his own words, be ‘‘a confirmed and de-
liberate radical’’ (Conversations, 17), but Death of a Salesman
is not an attack on American values. It is, however, an ex-
ploration of the betrayal of those values and the cost of this
in human terms. Willy Loman’s American dream is drained
of transcendence. It is a faith in the supremacy of the material
over the spiritual. There is, though, another side to Willy,
a side represented by the sense of insufficiency which sends
him searching through his memories, hunting for the origin
of failure, looking for expiation. It is a side, too, represented
by his son Biff, who has inherited this aspect of his sensi -
bility, as Happy has inherited the other. Biff is drawn to
nature, to working with his hands. He has a sense of poetry,
an awareness that life means more than the dollars he earns.
Willy has that too. The problem is that he thinks it is irrel -
I N T R O D U C T I O Nx x i v
evant to the imperatives of his society and hence of his life,
which, to him, derives its meaning from that society.
Next door, however, in the form of Charley and Bernard,
is another version of the dream, a version turning not on

self-delusion and an amoral drive for success, but hard work
and charity. What Miller attacks, then, is not the American
dream of Thomas Jefferson and Benjamin Franklin, but the
dream as interpreted and pursued by those for whom am-
bition replaces human need, and for whom the trinkets of
what Miller called the ‘‘new American Empire in the mak-
ing’’ were taken as tokens of true value. When, on the play’s
opening night, a woman called Death of a Salesman a ‘‘time
bomb under American capitalism,’’ Miller’s response was to
hope that it was, ‘‘or at least under the bullshit of capitalism,
this pseudo life that thought to touch the clouds by standing
on top of a refigerator, waving a paid-up mortgage at the
moon, victorious at last.’’ (184) The play, of course, goes
beyond such particularities. If it did not it would not be
played as often as it is around the world. At the same time
it has a distinctly American accent and places at its heart a
distinctly American figure—the salesman.
In choosing a salesman for his central character Miller w as
identifying an icon of his society seized on equally by other
writers before and since, not least because a salesman always
trades in hope, a brighter future. In The Guilded Age Mark
Twain sees the salesman as a trickster, literally selling Amer -
ica to the gullible. Sinclair Lewis chose a car salesman as the
key to his satire of American values, as, decades later, John
Updike was to do in his Rabbit Angstrom books. The cen-
tral figure in Eugene O’Neill’s The Iceman Cometh is a sales-
man, as is Stanley Kowalski in Tennessee Williams’s A
Streetcar Named Desire and Rubin Flood in William Inge’s
The Dark at the Top of the Stairs. David Mamet’s Glengarry,
Glen Ross once again featured real estate salesmen, the sym-
I N T R O D U C T I O N x x v

bolism of which is obvious. But what did Hickey sell, in
The Iceman Cometh? He sold the same thing as Willy Loman,
a dream of tomorrow, a world transformed, only to discover
that meaning resides somewhere closer to home.
Willy’s real creative energy goes into work on his house
(‘‘He was a happy man with a batch of cement’’). But that
is not something he can sell. What, then, does he sell? There
were those who thought that a vital question, including
Mary McCarthy and Rhoda Koenig (for whom his failure
to offer this answer was a certain sign of the play’s insignif-
icance). But as Miller himself replied, he sells what a sales -
man always has to sell, himself. As Charley insists, ‘‘The only
thing you got in this world is what you can sell.’’ As a sales-
man he has got to get by on a smile and a shoeshine. He
has to charm. He is a performer, a confidence man who
must never lack confidence. His error is to confuse the role
he plays with the person he wishes to be. The irony is that
he, a salesman, has bought the pitch made to him by his
society. He believes that advertisements tell the truth and is
baffled when reality fails to match their claims. He believes
the promises that America made to itself—that in this
greatest country on earth success is an inevitability.
Willy Loman is a man who never finds out who he is.
He believes that the image he sees reflected in the eyes of
those before whom he performs is real. As a salesman he
stages a performance for buyers, for his sons, for the father
who deserted him, the brother he admired. Gradually, he
loses his audience. First the buyers, then his son, then his
boss. He walks onto the stage no longer confident he can
perform the role which he believes is synonymous with his
self, no longer sure that anyone will care.
Death of a Salesman, Miller has said, is a play with ‘‘more
pity and less judgment’’ than All My Sons. There is no crime

and hence no ultimate culpability (beyond guilt for sexual
I N T R O D U C T I O Nx x v i
betrayal), only a baffled man and his sons trying to find their
way through a world of images—dazzling dreams and fan-
tasies—in the knowledge that they have failed by the stan-
dards they have chosen to believe are fundamental. Willy
has, as Biff alone understands, all the wrong dreams but, as
Charley observes, they go with the territory. They are the
dreams of a salesman reaching for the clouds, smiling des-
perately in the hope that people will smile back. He is ‘‘kind
of temporary’’ because he has placed his faith in the future
while being haunted by the past. Needing love and respect
he is blind to those who offer it, dedicated as he is to the
eternal American quest of a transformed tomorrow. What
else can he do, then, but climb back into his car and drive
off to a death which at last will bring the reward he has
chased so determinedly, a reward which will expiate his
sense of guilt, justify his life, and hand on to another gen-
eration the burden of belief which has corroded his soul but
to which he has clung until the end.
When a film version was made, Columbia Pictures in-
sisted (until a threatened lawsuit persuaded them otherwise)
on releasing it with a short film stressing the wonderful life-
style and social utility of the salesman. They might be said
to have missed the point somewhat. However, in one re-
spect they recognized the force of the salesman as a potent
image of the society they evidently wished to defend. He
sells hope. And to do that he must first sell himself. How -
ever, the success of the play throughout the world, over a
period of nearly fifty years, shows that if Willy’s is an Amer-
ican dream, it is also a dream shared by all those who are

aware of the gap between what they might have been and
what they are, who need to believe that their children will
reach out for a prize that eluded them, and who feel that
the demands of reality are too peremptory and relentless to
be sustained without hope of a transformed tomorrow.
I N T R O D U C T I O N x x v i i
Notes to the Introduction
1. If the play were set at the time of its composition the scenes
from the
past would date back to 1931, but we have Miller’s assurance
that
‘‘For Willy it meant the American 1920s, the time when it all
seemed
to be coasting, expanding opportunity everywhere, the dream in
full
bloom’’ (Salesman in Beijing [New York and London, 1984], p.
108).
2. Arthur Miller, Timebends: A Life (New York and London,
1987),
p. 122. All future references are incorporated in the text.
3. Jo Mielziner, Designing for the Theater: A Memoir and a
Portfolio (New
York, 1965), p. 25.
4. Robert A. Martin and Steven R. Centola, eds., The Theater
Essays of
Arthur Miller (New York, 1996), p. 423.
5. Kenneth Thorpe Rowe, A Theater in Your Head (New York,

1960),
pp. 48–49.
6. Salesman in Beijing, p. 27.
7. Eric Bentley, In Search of Theater (London, 1954), p. 85.
Interestingly,
in another book, What Is Theatre?, he argues that there is a
confusion
between the political and the sexual realm, with the key scene
being
that with the tape recorder, if it is a political play, or that set in
the
Boston hotel room, if it is a sexual play, quite as though the two
acts
of betrayal and denial were wholly separate. In fact, for Miller,
the
private and the public are intimately connected and betrayal all
of a
piece.
8. Matthew C. Roudane, Conversations with Arthur Miller (
Jackson, Mis-
sissippi, 1987), p. 15.
9. Rhoda Koenig, ‘‘Seduced by Salesman’s Patter,’’ The Sunday
Times,
London, October 20, 1996, 10.4.
10. Mary McCarthy, Sights and Spectacles: 1937–1958
(London, 1959),
pp. xxiii, xv.
The action takes place in Willy Loman’s house and yard and

in various places he visits in the New York and Boston of
today.
Throughout the play, in the stage directions, left and right mean
stage left and stage right.
1
A C T O N E
A melody is heard, played upon a flute. It is small and fine,
telling
of grass and trees and the horizon. The curtain rises.
Before us is the salesman’s house. We are aware of towering,
angular shapes behind it, surrounding it on all sides. Only the
blue
light of the sky falls upon the house and forestage; the
surrounding
area shows an angry glow of orange. As more light appears, we
see a
solid vault of apartment houses around the small, fragile-
seeming
home. An air of the dream clings to the place, a dream rising
out of
reality. The kitchen at center seems actual enough, for there is a
kitchen table with three chairs, and a refrigerator. But no other
fixtures
are seen. At the back of the kitchen there is a draped entrance,
which
leads to the living-room. To the right of the kitchen, on a level
raised
two feet, is a bedroom furnished only with a brass bedstead and
a

straight chair. On a shelf over the bed a silver athletic trophy
stands.
A window opens on to the apartment house at the side.
Behind the kitchen, on a level raised six and a half feet, is the
boys’ bedroom, at present barely visible. Two beds are dimly
seen,
and at the back of the room a dormer window. (This bedroom is
above the unseen living-room.) At the left a stairway curves up
to
it from the kitchen.
The entire setting is wholly or, in some places, partially trans-
parent. The roof-line of the house is one-dimensional; under and
over it we see the apartment buildings. Before the house lies an
apron, curving beyond the forestage into the orchestra. This
forward
area serves as the back yard as well as the locale of all Willy’s
imaginings and of his city scenes. Whenever the action is in the
present the actors observe the imaginary wall-lines, entering the
house only through its door at the left. But in the scenes of the
past
these boundaries are broken, and characters enter or leave a
room by
stepping ‘‘through’’ a wall on to the forestage.
D E A T H O F A S A L E S M A N2
[From the right, willy loman, the Salesman, enters, car-
rying two large sample cases. The flute plays on. He hears
but is not aware of it. He is past sixty years of age, dressed
quietly. Even as he crosses the stage to the doorway of the
house, his exhaustion is apparent. He unlocks the door, comes
into the kitchen, and thankfully lets his burden down, feeling

the soreness of his palms. A word-sigh escapes his lips—it
might be ‘‘Oh, boy, oh, boy.’’ He closes the door, then
carries his cases out into the living-room, through the draped
kitchen doorway. linda, his wife, has stirred in her bed at
the right. She gets out and puts on a robe, listening. Most
often jovial, she has developed an iron repression of her ex-
ceptions to willy’s behavior—she more than loves him, she
admires him, as though his mercurial nature, his temper, his
massive dreams and little cruelties, served her only as sharp
reminders of the turbulent longings within him, longings which
she shares but lacks the temperament to utter and follow to
their end.]
linda [hearing willy outside the bedroom, calls with some
trepidation]: Willy!
willy: It’s all right. I came back.
linda: Why? What happened? [Slight pause.] Did some-
thing happen, Willy?
willy: No, nothing happened.
linda: You didn’t smash the car, did you?
willy [with casual irritation]: I said nothing happened.
Didn’t you hear me?
linda: Don’t you feel well?
willy: I’m tired to the death. [The flute has faded away.
He sits on the bed beside her, a little numb.] I couldn’t make it.
I just couldn’t make it, Linda.
linda [very carefully, delicately]: Where were you all day?
You look terrible.

A C T O N E 3
willy: I got as far as a little above Yonkers. I stopped for
a cup of coffee. Maybe it was the coffee.
linda: What?
willy [after a pause]: I suddenly couldn’t drive any more.
The car kept going off on to the shoulder, y’know?
linda [helpfully]: Oh. Maybe it was the steering again. I
don’t think Angelo knows the Studebaker.
willy: No, it’s me, it’s me. Suddenly I realize I’m goin’
sixty miles an hour and I don’t remember the last five
minutes. I’m—I can’t seem to—keep my mind to it.
linda: Maybe it’s your glasses. You never went for your
new glasses.
willy: No, I see everything. I came back ten miles an
hour. It took me nearly four hours from Yonkers.
linda [resigned ]: Well, you’ll just have to take a rest,
Willy, you can’t continue this way.
willy: I just got back from Florida.
linda: But you didn’t rest your mind. Your mind is over-
active, and the mind is what counts, dear.
willy: I’ll start out in the morning. Maybe I’ll feel better
in the morning. [She is taking off his shoes.] These goddam
arch supports are killing me.
linda: Take an aspirin. Should I get you an aspirin? It’ll

soothe you.
willy [with wonder]: I was driving along, you understand?
And I was fine. I was even observing the scenery. You can
imagine, me looking at scenery, on the road every week of
my life. But it’s so beautiful up there, Linda, the trees are so
thick, and the sun is warm. I opened the windshield and just
let the warm air bathe over me. And then all of a sudden
I’m goin’ off the road! I’m tellin’ ya, I absolutely forgot I
was driving. If I’d’ve gone the other way over the white
line I might’ve killed somebody. So I went on again—and
five minutes later I’m dreamin’ again, and I nearly—[He
presses two fingers against his eyes.] I have such thoughts, I
have
such strange thoughts.
linda: Willy, dear. Talk to them again. There’s no reason
why you can’t work in New York.
willy: They don’t need me in New York. I’m the New
England man. I’m vital in New England.
linda: But you’re sixty years old. They can’t expect you
to keep traveling every week.
willy: I’ll have to send a wire to Portland. I’m supposed
to see Brown and Morrison tomorrow morning at ten
o’clock to show the line. Goddammit, I could sell them! [He
starts putting on his jacket.]
linda [taking the jacket from him]: Why don’t you go down

to the place tomorrow and tell Howard you’ve simply got
to work in New York? You’re too accommodating, dear.
willy: If old man Wagner was alive I’d a been in charge
of New York now! That man was a prince, he was a mas-
terful man. But that boy of his, that Howard, he don’t ap-
preciate. When I went north the first time, the Wagner
Company didn’t know where New England was!
linda: Why don’t you tell those things to Howard, dear?
willy [encouraged ]: I will, I definitely will. Is there any
cheese?
linda: I’ll make you a sandwich.
willy: No, go to sleep. I’ll take some milk. I’ll be up
right away. The boys in?
linda: They’re sleeping. Happy took Biff on a date to-
night.
willy [interested ]: That so?
linda: It was so nice to see them shaving together, one
behind the other, in the bathroom. And going out together.
You notice? The whole house smells of shaving lotion.
willy: Figure it out. Work a lifetime to pay off a house.
You finally own it, and there’s nobody to live in it.
A C T O N E 5
linda: Well, dear, life is a casting off. It’s always that way.
willy: No, no, some people—some people accomplish

something. Did Biff say anything after I went this morning?
linda: You shouldn’t have criticized him, Willy, espe-
cially after he just got off the train. You mustn’t lose your
temper with him.
willy: When the hell did I lose my temper? I simply
asked him if he was making any money. Is that a criticism?
linda: But, dear, how could he make any money?
willy [worried and angered ]: There’s such an undercurrent
in him. He became a moody man. Did he apologize when
I left this morning?
linda: He was crestfallen, Willy. You know how he ad-
mires you. I think if he finds himself, then you’ll both be
happier and not fight any more.
willy: How can he find himself on a farm? Is that a life?
A farmhand? In the beginning, when he was young, I
thought, well, a young man, it’s good for him to tramp
around, take a lot of different jobs. But it’s more than
ten years now and he has yet to make thirty-five dollars a
week!
linda: He’s finding himself, Willy.
willy: Not finding yourself at the age of thirty-four is a
disgrace!
linda: Shh!
willy: The trouble is he’s lazy, goddammit!
linda: Willy, please!
willy: Biff is a lazy bum!
linda: They’re sleeping. Get something to eat. Go on

down.
willy: Why did he come home? I would like to know
what brought him home.
linda: I don’t know. I think he’s still lost, Willy. I think
he’s very lost.
willy: Biff Loman is lost. In the greatest country in the
world a young man with such—personal attractiveness,
gets lost. And such a hard worker. There’s one thing about
Biff—he’s not lazy.
linda: Never.
willy [with pity and resolve]: I’ll see him in the morning;
I’ll have a nice talk with him. I’ll get him a job selling. He
could be big in no time. My God! Remember how they
used to follow him around in high school? When he smiled
at one of them their faces lit up. When he walked down the
street . . . [He loses himself in reminiscences.]
linda [trying to bring him out of it]: Willy, dear, I got a
new kind of American-type cheese today. It’s whipped.
willy: Why do you get American when I like Swiss?
linda: I just thought you’d like a change—
willy: I don’t want a change! I want Swiss cheese. Why
am I always being contradicted?
linda [with a covering laugh]: I thought it would be a

surprise.
willy: Why don’t you open a window in here, for God’s
sake?
linda [with infinite patience]: They’re all open, dear.
willy: The way they boxed us in here. Bricks and win-
dows, windows and bricks.
linda: We should’ve bought the land next door.
willy: The street is lined with cars. There’s not a breath
of fresh air in the neighborhood. The grass don’t grow
any more, you can’t raise a carrot in the back yard. They
should’ve had a law against apartment houses. Remember
those two beautiful elm trees out there? When I and Biff
hung the swing between them?
linda: Yeah, like being a million miles from the city.
willy: They should’ve arrested the builder for cutting
those down. They massacred the neighborhood. [Lost] More
A C T O N E 7
and more I think of those days, Linda. This time of year it
was lilac and wisteria. And then the peonies would come
out, and the daffodils. What fragrance in this room!
linda: Well, after all, people had to move somewhere.
willy: No, there’s more people now.
linda: I don’t think there’s more people. I think—
willy: There’s more people! That’s what’s ruining this
country! Population is getting out of control. The compe-

tition is maddening! Smell the stink from that apartment
house! And another one on the other side . . . How can
they whip cheese?
[On willy’s last line, biff and happy raise themselves up
in their beds, listening.]
linda: Go down, try it. And be quiet.
willy [turning to linda, guiltily]: You’re not worried
about me, are you, sweetheart?
biff: What’s the matter?
happy: Listen!
linda: You’ve got too much on the ball to worry about.
willy: You’re my foundation and my support, Linda.
linda: Just try to relax, dear. You make mountains out
of molehills.
willy: I won’t fight with him any more. If he wants to
go back to Texas, let him go.
linda: He’ll find his way.
willy: Sure. Certain men just don’t get started till later
in life. Like Thomas Edison, I think. Or B. F. Goodrich.
One of them was deaf. [He starts for the bedroom doorway.] I’ll
put my money on Biff.
linda: And Willy—if it’s warm Sunday we’ll drive in the
country. And we’ll open the windshield, and take lunch.
willy: No, the windshields don’t open on the new cars.
linda: But you opened it today.
willy: Me? I didn’t. [He stops.] Now isn’t that peculiar!

Isn’t that a remarkable—[He breaks off in amazement and fright
as the flute is heard distantly.]
linda: What, darling?
willy: That is the most remarkable thing.
linda: What, dear?
willy: I was thinking of the Chevvy. [Slight pause.] Nine-
teen twenty-eight . . . when I had that red Chevvy—[Breaks
off.] That funny? I coulda sworn I was driving that Chevvy
today.
linda: Well, that’s nothing. Something must’ve re-
minded you.
willy: Remarkable. Ts. Remember those days? The way
Biff used to simonize that car? The dealer refused to believe
there was eighty thousand miles on it. [He shakes his head.]
Heh! [To linda] Close your eyes, I’ll be right up. [He walks
out of the bedroom.]
happy [to biff]: Jesus, maybe he smashed up the car again!
linda [calling after willy]: Be careful on the stairs, dear!
The cheese is on the middle shelf ! [She turns, goes over to the
bed, takes his jacket, and goes out of the bedroom.]
[Light has risen on the boys’ room. Unseen, willy is heard
talking to himself, ‘‘Eighty thousand miles,’’ and a little
laugh. biff gets out of bed, comes downstage a bit, and stands
attentively. biff is two years older than his brother, happy,
well built, but in these days bears a worn air and seems less
self-assured. He has succeeded less, and his dreams are stronger
and less acceptable than happy’s. happy is tall, powerfully

made. Sexuality is like a visible color on him, or a scent that
many women have discovered. He, like his brother, is lost,
but in a different way, for he has never allowed himself to
turn his face toward defeat and is thus more confused and
hard-skinned, although seemingly more content.]
happy [getting out of bed ]: He’s going to get his licence
taken away if he keeps that up. I’m getting nervous about
him, y’know, Biff ?
A C T O N E 9
biff: His eyes are going.
happy: No, I’ve driven with him. He sees all right. He
just doesn’t keep his mind on it. I drove into the city with
him last week. He stops at a green light and then it turns
red and he goes. [He laughs.]
biff: Maybe he’s color-blind.
happy: Pop? Why, he’s got the finest eye for color in the
business. You know that.
biff [sitting down on his bed ]: I’m going to sleep.
happy: You’re not still sour on Dad, are you, Biff ?
biff: He’s all right, I guess.
willy [underneath them, in the living-room]: Yes, sir, eighty
thousand miles—eighty-two thousand!
biff: You smoking?
happy [holding out a pack of cigarettes]: Want one?
biff [taking a cigarette]: I can never sleep when I smell it.
willy: What a simonizing job, heh!
happy [with deep sentiment]: Funny, Biff, y’know? Us

sleeping in here again? The old beds. [He pats his bed affec-
tionately.] All the talk that went across those two beds, huh?
Our whole lives.
biff: Yeah. Lotta dreams and plans.
happy [with a deep and masculine laugh]: About five hun-
dred women would like to know what was said in this room.
[They share a soft laugh.]
biff: Remember that big Betsy something—what the hell
was her name—over on Bushwick Avenue?
happy [combing his hair]: With the collie dog!
biff: That’s the one. I got you in there, remember?
happy: Yeah, that was my first time—I think. Boy, there
was a pig! [They laugh, almost crudely.] You taught me ev-
erything I know about women. Don’t forget that.
biff: I bet you forgot how bashful you used to be. Es-
pecially with girls.
happy: Oh, I still am, Biff.
D E A T H O F A S A L E S M A N1 0
biff: Oh, go on.
happy: I just control it, that’s all. I think I got less bashful
and you got more so. What happened, Biff ? Where’s the
old humor, the old confidence? [He shakes biff’s knee. biff
gets up and moves restlessly about the room.] What’s the
matter?

biff: Why does Dad mock me all the time?
happy: He’s not mocking you, he—
biff: Everything I say there’s a twist of mockery on his
face. I can’t get near him.
happy: He just wants you to make good, that’s all. I
wanted to talk to you about Dad for a long time, Biff.
Something’s—happening to him. He—talks to himself.
biff: I noticed that this morning. But he always mumbled.
happy: But not so noticeable. It got so embarrassing I
sent him to Florida. And you know something? Most of the
time he’s talking to you.
biff: What’s he say about me?
happy: I can’t make it out.
biff: What’s he say about me?
happy: I think the fact that you’re not settled, that you’re
still kind of up in the air . . .
biff: There’s one or two other things depressing him,
Happy.
happy: What do you mean?
biff: Never mind. Just don’t lay it all to me.
happy: But I think if you got started—I mean—is there
any future for you out there?
biff: I tell ya, Hap, I don’t know what the future is. I
don’t know—what I’m supposed to want.
happy: What do you mean?
biff: Well, I spent six or seven years after high school

trying to work myself up. Shipping clerk, salesman, business
of one kind or another. And it’s a measly manner of exis-
tence. To get on that subway on the hot mornings in sum-
A C T O N E 1 1
mer. To devote your whole life to keeping stock, or making
phone calls, or selling or buying. To suffer fifty weeks of the
year for the sake of a two-week vacation, when all you really
desire is to be outdoors, with your shirt off. And always to
have to get ahead of the next fella. And still—that’s how
you build a future.
happy: Well, you really enjoy it on a farm? Are you con-
tent out there?
biff [with rising agitation]: Hap, I’ve had twenty or thirty
different kinds of job since I left home before the war, and
it always turns out the same. I just realized it lately. In Ne-
braska when I herded cattle, and the Dakotas, and Arizona,
and now in Texas. It’s why I came home now, I guess,
because I realized it. This farm I work on, it’s spring there
now, see? And they’ve got about fifteen new colts. There’s
nothing more inspiring or—beautiful than the sight of a
mare and a new colt. And it’s cool there now, see? Texas is
cool now, and it’s spring. And whenever spring comes to
where I am, I suddenly get the feeling, my God, I’m not
gettin’ anywhere! What the hell am I doing, playing around
with horses, twenty-eight dollars a week! I’m thirty-four
years old, I oughta be makin’ my future. That’s when I come
running home. And now, I get here, and I don’t know what
to do with myself. [After a pause] I’ve always made a point
of not wasting my life, and everytime I come back here I

know that all I’ve done is to waste my life.
happy: You’re a poet, you know that, Biff ? You’re a—
you’re an idealist!
biff: No, I’m mixed up very bad. Maybe I oughta get
married. Maybe I oughta get stuck into something. Maybe
that’s my trouble. I’m like a boy. I’m not married, I’m not
in business, I just—I’m like a boy. Are you content, Hap?
You’re a success, aren’t you? Are you content?
happy: Hell, no!
biff: Why? You’re making money, aren’t you?
happy [moving about with energy, expressiveness]: All I can
do now is wait for the merchandise manager to die. And
suppose I get to be merchandise manager? He’s a good friend
of mine, and he just built a terrific estate on Long Island.
And he lived there about two months and sold it, and now
he’s building another one. He can’t enjoy it once it’s fin-
ished. And I know that’s just what I would do. I don’t know
what the hell I’m workin’ for. Sometimes I sit in my apart-
ment—all alone. And I think of the rent I’m paying. And
it’s crazy. But then, it’s what I always wanted. My own
apartment, a car, and plenty of women. And still, goddam-
mit, I’m lonely.
biff [with enthusiasm]: Listen, why don’t you come out
West with me?
happy: You and I, heh?

biff: Sure, maybe we could buy a ranch. Raise cattle, use
our muscles. Men built like we are should be working out
in the open.
happy [avidly ]: The Loman Brothers, heh?
biff [with vast affection]: Sure, we’d be known all over the
counties!
happy [enthralled ]: That’s what I dream about, Biff. Some-
times I want to just rip my clothes off in the middle of the
store and outbox that goddam merchandise manager. I mean
I can outbox, outrun, and outlift anybody in that store, and
I have to take orders from those common, petty sons-of-
bitches till I can’t stand it any more.
biff: I’m tellin’ you, kid, if you were with me I’d be
happy out there.
happy [enthused ]: See, Biff, everybody around me is so
false that I’m constantly lowering my ideals . . .
biff: Baby, together we’d stand up for one another, we’d
have someone to trust.
A C T O N E 1 3
happy: If I were around you—
biff: Hap, the trouble is we weren’t brought up to grub
for money. I don’t know how to do it.
happy: Neither can I!
biff: Then let’s go!

happy: The only thing is—what can you make out there?
biff: But look at your friend. Builds an estate and then
hasn’t the peace of mind to live in it.
happy: Yeah, but when he walks into the store the waves
part in front of him. That’s fifty-two thousand dollars a year
coming through the revolving door, and I got more in my
pinky finger than he’s got in his head.
biff: Yeah, but you just said—
happy: I gotta show some of those pompous, self-
important executives over there that Hap Loman can make
the grade. I want to walk into the store the way he walks
in. Then I’ll go with you, Biff. We’ll be together yet, I
swear. But take those two we had tonight. Now weren’t
they gorgeous creatures?
biff: Yeah, yeah, most gorgeous I’ve had in years.
happy: I get that any time I want, Biff. Whenever I feel
disgusted. The only trouble is, it gets like bowling or some-
thing. I just keep knockin’ them over and it doesn’t mean
anything. You still run around a lot?
biff: Naa. I’d like to find a girl—steady, somebody with
substance.
happy: That’s what I long for.
biff: Go on! You’d never come home.
happy: I would! Somebody with character, with resis-
tance! Like Mom, y’know? You’re gonna call me a bas-
tard when I tell you this. That girl Charlotte I was with
tonight is engaged to be married in five weeks. [He tries on

his new hat.]
biff: No kiddin’!
happy: Sure, the guy’s in line for the vice-presidency of
the store. I don’t know what gets into me, maybe I just have
an overdeveloped sense of competition or something, but I
went and ruined her, and furthermore I can’t get rid of her.
And he’s the third executive I’ve done that to. Isn’t that a
crummy characteristic? And to top it all, I go to their wed-
dings! [Indignantly, but laughing] Like I’m not supposed to
take bribes. Manufacturers offer me a hundred-dollar bill
now and then to throw an order their way. You know how
honest I am, but it’s like this girl, see. I hate myself for
it. Because I don’t want the girl, and, still, I take it and—I
love it!
biff: Let’s go to sleep.
happy: I guess we didn’t settle anything, heh?
biff: I just got one idea that I think I’m going to try.
happy: What’s that?
biff: Remember Bill Oliver?
happy: Sure, Oliver is very big now. You want to work
for him again?
biff: No, but when I quit he said something to me. He
put his arm on my shoulder, and he said, ‘‘Biff, if you ever
need anything, come to me.’’
happy: I remember that. That sounds good.
biff: I think I’ll go to see him. If I could get ten thousand

or even seven or eight thousand dollars I could buy a beau-
tiful ranch.
happy: I bet he’d back you. ’Cause he thought highly of
you, Biff. I mean, they all do. You’re well liked, Biff. That’s
why I say to come back here, and we both have the apart-
ment. And I’m tellin’ you, Biff, any babe you want . . .
biff: No, with a ranch I could do the work I like and
still be something. I just wonder though. I wonder if Oliver
still thinks I stole that carton of basketballs.
happy: Oh, he probably forgot that long ago. It’s almost
A C T O N E 1 5
ten years. You’re too sensitive. Anyway, he didn’t really
fire you.
biff: Well, I think he was going to. I think that’s why I
quit. I was never sure whether he knew or not. I know he
thought the world of me, though. I was the only one he’d
let lock up the place.
willy [below]: You gonna wash the engine, Biff ?
happy: Shh!
[biff looks at happy, who is gazing down, listening. willy
is mumbling in the parlor.]
happy: You hear that?
[They listen. willy laughs warmly.]
biff [ growing angry]: Doesn’t he know Mom can hear that?
willy: Don’t get your sweater dirty, Biff !
[A look of pain crosses biff’s face.]

happy: Isn’t that terrible? Don’t leave again, will you?
You’ll find a job here. You gotta stick around. I don’t know
what to do about him, it’s getting embarrassing.
willy: What a simonizing job!
biff: Mom’s hearing that!
willy: No kiddin’, Biff, you got a date? Wonderful!
happy: Go on to sleep. But talk to him in the morning,
will you?
biff [reluctantly getting into bed ]: With her in the house.
Brother!
happy [getting into bed ]: I wish you’d have a good talk
with him.
[The light on their room begins to fade.]
biff [to himself in bed ]: That selfish, stupid . . .
happy: Sh . . . Sleep, Biff.
[Their light is out. Well before they have finished speaking,
willy’s form is dimly seen below in the darkened kitchen.
He opens the refrigerator, searches in there, and takes out a
bottle of milk. The apartment houses are fading out, and the
entire house and surroundings become covered with leaves.
Music insinuates itself as the leaves appear.]
willy: Just wanna be careful with those girls, Biff, that’s
all. Don’t make any promises. No promises of any kind.
Because a girl, y’know, they always believe what you tell
’em, and you’re very young, Biff, you’re too young to be

talking seriously to girls.
[Light rises on the kitchen. willy, talking, shuts the refrig-
erator door and comes downstage to the kitchen table. He
pours milk into a glass. He is totally immersed in himself,
smiling faintly.]
willy: Too young entirely, Biff. You want to watch your
schooling first. Then when you’re all set, there’ll be plenty
of girls for a boy like you. [He smiles broadly at a kitchen
chair.]
That so? The girls pay for you? [He laughs.] Boy, you must
really be makin’ a hit.
[willy is gradually addressing—physically—a point off-
stage, speaking through the wall of the kitchen, and his voice
has been rising in volume to that of a normal conversation.]
willy: I been wondering why you polish the car so care-
ful. Ha! Don’t leave the hubcaps, boys. Get the chamois to
the hubcaps. Happy, use newspaper on the windows, it’s the
easiest thing. Show him how to do it, Biff ! You see, Happy?
Pad it up, use it like a pad. That’s it, that’s it, good work.
You’re doin’ all right, Hap. [He pauses, then nods in appro-
bation for a few seconds, then looks upward.] Biff, first thing
we
gotta do when we get time is clip that big branch over the
house. Afraid it’s gonna fall in a storm and hit the roof. Tell
you what. We get a rope and sling her around, and then we
climb up there with a couple of saws and take her down.
Soon as you finish the car, boys, I wanna see ya. I got a
surprise for you, boys.
biff [offstage]: Whatta ya got, Dad?
willy: No, you finish first. Never leave a job till you’re

A C T O N E 1 7
finished—remember that. [Looking toward the ‘‘big trees’’ ]
Biff, up in Albany I saw a beautiful hammock. I think I’ll
buy it next trip, and we’ll hang it right between those two
elms. Wouldn’t that be something? Just swingin’ there under
those branches. Boy, that would be . . .
[young biff and young happy appear from the direc-
tion willy was addressing. happy carries rags and a pail of
water. biff, wearing a sweater with a block ‘‘S,’’ carries a
football.]
biff [ pointing in the direction of the car offstage]: How’s that,
Pop, professional?
willy: Terrific. Terrific job, boys. Good work, Biff.
happy: Where’s the surprise, Pop?
willy: In the back seat of the car.
happy: Boy! [He runs off.]
biff: What is it, Dad? Tell me, what’d you buy?
willy [laughing, cuffs him]: Never mind, something I want
you to have.
biff [turns and starts off ]: What is it, Hap?
happy [offstage]: It’s a punching bag!
biff: Oh, Pop!
willy: It’s got Gene Tunney’s signature on it!
[happy runs onstage with a punching bag.]
biff: Gee, how’d you know we wanted a punching bag?
willy: Well, it’s the finest thing for the timing.
happy [lies down on his back and pedals with his feet]: I’m
losing weight, you notice, Pop?
willy [to happy]: Jumping rope is good too.

biff: Did you see the new football I got?
willy [examining the ball]: Where’d you get a new ball?
biff: The coach told me to practice my passing.
willy: That so? And he gave you the ball, heh?
biff: Well, I borrowed it from the locker room. [He laughs
confidentially.]
willy [laughing with him at the theft]: I want you to return
that.
happy: I told you he wouldn’t like it!
biff [angrily]: Well, I’m bringing it back!
willy [stopping the incipient argument, to happy]: Sure, he’s
gotta practice with a regulation ball, doesn’t he? [To biff]
Coach’ll probably congratulate you on your initiative!
biff: Oh, he keeps congratulating my initiative all the
time, Pop.
willy: That’s because he likes you. If somebody else took
that ball there’d be an uproar. So what’s the report, boys,
what’s the report?
biff: Where’d you go this time, Dad? Gee, we were lone-
some for you.
willy [ pleased, puts an arm around each boy and they come
down to the apron]: Lonesome, heh?
biff: Missed you every minute.

willy: Don’t say? Tell you a secret, boys. Don’t breathe
it to a soul. Someday I’ll have my own business, and I’ll
never have to leave home any more.
happy: Like Uncle Charley, heh?
willy: Bigger than Uncle Charley! Because Charley is
not—liked. He’s liked, but he’s not—well liked.
biff: Where’d you go this time, Dad?
willy: Well, I got on the road, and I went north to
Providence. Met the Mayor.
biff: The Mayor of Providence!
willy: He was sitting in the hotel lobby.
biff: What’d he say?
willy: He said, ‘‘Morning!’’ And I said, ‘‘You got a fine
city here, Mayor.’’ And then he had coffee with me. And
then I went to Waterbury. Waterbury is a fine city. Big
clock city, the famous Waterbury clock. Sold a nice bill
there. And then Boston—Boston is the cradle of the Rev-
A C T O N E 1 9
olution. A fine city. And a couple of other towns in Mass.,
and on to Portland and Bangor and straight home!
biff: Gee, I’d love to go with you sometime, Dad.
willy: Soon as summer comes.
happy: Promise?
willy: You and Hap and I, and I’ll show you all the
towns. America is full of beautiful towns and fine, upstand-

ing people. And they know me, boys, they know me up
and down New England. The finest people. And when I
bring you fellas up, there’ll be open sesame for all of us,
’cause one thing, boys: I have friends. I can park my car in
any street in New England, and the cops protect it like their
own. This summer, heh?
biff and happy [together]: Yeah! You bet!
willy: We’ll take our bathing suits.
happy: We’ll carry your bags, Pop!
willy: Oh, won’t that be something! Me comin’ into the
Boston stores with you boys carryin’ my bags. What a sen-
sation!
[biff is prancing around, practicing passing the ball.]
willy: You nervous, Biff, about the game?
biff: Not if you’re gonna be there.
willy: What do they say about you in school, now that
they made you captain?
happy: There’s a crowd of girls behind him every time
the classes change.
biff [taking willy’s hand ]: This Saturday, Pop, this Sat-
urday—just for you, I’m going to break through for a
touchdown.
happy: You’re supposed to pass.
biff: I’m takin’ one play for Pop. You watch me, Pop,
and when I take off my helmet, that means I’m breakin’ out.
Then you watch me crash through that line!
willy [kisses biff]: Oh, wait’ll I tell this in Boston!

[bernard enters in knickers. He is younger than biff, ear-
nest and loyal, a worried boy.]
bernard: Biff, where are you? You’re supposed to study
with me today.
willy: Hey, looka Bernard. What’re you lookin’ so ane-
mic about, Bernard?
bernard: He’s gotta study, Uncle Willy. He’s got Re-
gents next week.
happy [tauntingly, spinning bernard around ]: Let’s box,
Bernard!
bernard: Biff ! [He gets away from happy.] Listen, Biff, I
heard Mr. Birnbaum say that if you don’t start studyin’ math
he’s gonna flunk you, and you won’t graduate. I heard him!
willy: You better study with him, Biff. Go ahead now.
bernard: I heard him!
biff: Oh, Pop, you didn’t see my sneakers! [He holds up
a foot for willy to look at.]
willy: Hey, that’s a beautiful job of printing!
bernard [wiping his glasses]: Just because he printed Uni -
versity of Virginia on his sneakers doesn’t mean they’ve got
to graduate him, Uncle Willy!
willy [angrily]: What’re you talking about? With schol-

arships to three universities they’re gonna flunk him?
bernard: But I heard Mr. Birnbaum say—
willy: Don’t be a pest, Bernard! [To his boys] What an
anemic!
bernard: Okay, I’m waiting for you in my house, Biff.
[bernard goes off. The lomans laugh.]
willy: Bernard is not well liked, is he?
biff: He’s liked, but he’s not well liked.
happy: That’s right, Pop.
willy: That’s just what I mean, Bernard can get the best
marks in school, y’understand, but when he gets out in the
business world, y’understand, you are going to be five times
A C T O N E 2 1
ahead of him. That’s why I thank Almighty God you’re both
built like Adonises. Because the man who makes an appear-
ance in the business world, the man who creates personal
interest, is the man who gets ahead. Be liked and you will
never want. You take me, for instance. I never have to wait
in line to see a buyer. ‘‘Willy Loman is here!’’ That’s all they
have to know, and I go right through.
biff: Did you knock them dead, Pop?
willy: Knocked ’em cold in Providence, slaughtered ’em
in Boston.
happy [on his back, pedaling again]: I’m losing weight, you
notice, Pop?
[linda enters, as of old, a ribbon in her hair, carrying a

basket of washing.]
linda [with youthful energy]: Hello, dear!
willy: Sweetheart!
linda: How’d the Chevvy run?
willy: Chevrolet, Linda, is the greatest car ever built. [To
the boys] Since when do you let your mother carry wash up
the stairs?
biff: Grab hold there, boy!
happy: Where to, Mom?
linda: Hang them up on the line. And you better go
down to your friends, Biff. The cellar is full of boys. They
don’t know what to do with themselves.
biff: Ah, when Pop comes home they can wait!
willy [laughs appreciatively]: You better go down and tell
them what to do, Biff.
biff: I think I’ll have them sweep out the furnace room.
willy: Good work, Biff.
biff [ goes through wall-line of kitchen to doorway at back and
calls down]: Fellas! Everybody sweep out the furnace room!
I’ll be right down!
voices: All right! Okay, Biff.
biff: George and Sam and Frank, come out back! We’re
hangin’ up the wash! Come on, Hap, on the double! [He
and happy carry out the basket.]

linda: The way they obey him!
willy: Well, that’s training, the training. I’m tellin’ you,
I was sellin’ thousands and thousands, but I had to come
home.
linda: Oh, the whole block’ll be at that game. Did you
sell anything?
willy: I did five hundred gross in Providence and seven
hundred gross in Boston.
linda: No! Wait a minute, I’ve got a pencil. [She pulls
pencil and paper out of her apron pocket.] That makes your
com-
mission . . . Two hundred—my God! Two hundred and
twelve dollars!
willy: Well, I didn’t figure it yet, but . . .
linda: How much did you do?
willy: Well, I—I did—about a hundred and eighty gross
in Providence. Well, no—it came to—roughly two hundred
gross on the whole trip.
linda [without hesitation]: Two hundred gross. That’s . . .
[She figures.]
willy: The trouble was that three of the stores were half
closed for inventory in Boston. Otherwise I woulda broke
records.
linda: Well, it makes seventy dollars and some pennies.
That’s very good.

willy: What do we owe?
linda: Well, on the first there’s sixteen dollars on the
refrigerator—
willy: Why sixteen?
linda: Well, the fan belt broke, so it was a dollar eighty.
willy: But it’s brand new.
linda: Well, the man said that’s the way it is. Till they
work themselves in, y’know.
A C T O N E 2 3
[They move through the wall-line into the kitchen.]
willy: I hope we didn’t get stuck on that machine.
linda: They got the biggest ads of any of them!
willy: I know, it’s a fine machine. What else?
linda: Well, there’s nine-sixty for the washing machine.
And for the vacuum cleaner there’s three and a half due on
the fifteenth. Then the roof, you got twenty-one dollars
remaining.
willy: It don’t leak, does it?
linda: No, they did a wonderful job. Then you owe
Frank for the carburetor.
willy: I’m not going to pay that man! That god-
dam Chevrolet, they ought to prohibit the manufacture of
that car!
linda: Well, you owe him three and a half. And odds
and ends, comes to around a hundred and twenty dollars by

the fifteenth.
willy: A hundred and twenty dollars! My God, if busi-
ness don’t pick up I don’t know what I’m gonna do!
linda: Well, next week you’ll do better.
willy: Oh, I’ll knock ’em dead next week. I’ll go to
Hartford. I’m very well liked in Hartford. You know, the
trouble is, Linda, people don’t seem to take to me.
[They move onto the forestage.]
linda: Oh, don’t be foolish.
willy: I know it when I walk in. They seem to laugh
at me.
linda: Why? Why would they laugh at you? Don’t talk
that way, Willy.
[willy moves to the edge of the stage. linda goes into the
kitchen and starts to darn stockings.]
willy: I don’t know the reason for it, but they just pass
me by. I’m not noticed.
linda: But you’re doing wonderful, dear. You’re making
seventy to a hundred dollars a week.
willy: But I gotta be at it ten, twelve hours a day. Other
men—I don’t know—they do it easier. I don’t know why
—I can’t stop myself—I talk too much. A man oughta come
in with a few words. One thing about Charley. He’s a man

of few words, and they respect him.
linda: You don’t talk too much, you’re just lively.
willy [smiling]: Well, I figure, what the hell, life is short,
a couple of jokes. [To himself ] I joke too much! [The smile
goes.]
linda: Why? You’re—
willy: I’m fat. I’m very—foolish to look at, Linda. I
didn’t tell you, but Christmas time I happened to be calling
on F. H. Stewarts, and a salesman I know, as I was going in
to see the buyer I heard him say something about—walrus.
And I—I cracked him right across the face. I won’t take
that. I simply will not take that. But they do laugh at me. I
know that.
linda: Darling . . .
willy: I gotta overcome it. I know I gotta overcome it.
I’m not dressing to advantage, maybe.
linda: Willy, darling, you’re the handsomest man in the
world—
willy: Oh, no, Linda.
linda: To me you are. [Slight pause.] The handsomest.
[From the darkness is heard the laughter of a woman. willy
doesn’t turn to it, but it continues through linda’s lines.]
linda: And the boys, Willy. Few men are idolized by
their children the way you are.
[Music is heard as behind a scrim, to the left of the house,
the woman, dimly seen, is dressing.]
willy [with great feeling]: You’re the best there is, Linda,

you’re a pal, you know that? On the road—on the road I
want to grab you sometimes and just kiss the life outa you.
[The laughter is loud now, and he moves into a brightening
A C T O N E 2 5
area at the left, where the woman has come from behind
the scrim and is standing, putting on her hat, looking into a
‘‘mirror,’’ and laughing.]
willy: ’Cause I get so lonely—especially when business
is bad and there’s nobody to talk to. I get the feeling that
I’ll never sell anything again, that I won’t make a living for
you, or a business, a business for the boys. [He talks through
the woman’s subsiding laughter; the woman primps at the
‘‘mirror.’’] There’s so much I want to make for—
the woman: Me? You didn’t make me, Willy. I picked
you.
willy [ pleased ]: You picked me?
the woman [who is quite proper-looking, Willy’s age]: I did.
I’ve been sitting at that desk watching all the salesmen go
by, day in, day out. But you’ve got such a sense of humor,
and we do have such a good time together, don’t we?
willy: Sure, sure. [He takes her in his arms.] Why do you
have to go now?
the woman: It’s two o’clock . . .
willy: No, come on in! [He pulls her.]
the woman: . . . my sisters’ll be scandalized. When’ll

you be back?
willy: Oh, two weeks about. Will you come up again?
the woman: Sure thing. You do make me laugh. It’s
good for me. [She squeezes his arm, kisses him.] And I think
you’re a wonderful man.
willy: You picked me, heh?
the woman: Sure. Because you’re so sweet. And such a
kidder.
willy: Well, I’ll see you next time I’m in Boston.
the woman: I’ll put you right through to the buyers.
willy [slapping her bottom]: Right. Well, bottoms up!
the woman [slaps him gently and laughs]: You just kill me,
Willy. [He suddenly grabs her and kisses her roughly.] You kill
me. And thanks for the stockings. I love a lot of stockings.
Well, good night.
willy: Good night. And keep your pores open!
the woman: Oh, Willy!
[the woman bursts out laughing, and linda’s laughter
blends in. the woman disappears into the dark. Now the
area at the kitchen table brightens. linda is sitting where she
was at the kitchen table, but now is mending a pair of her
silk stockings.]
linda: You are, Willy. The handsomest man. You’ve got
no reason to feel that—

willy [coming out of the woman’s dimming area and going
over to linda]: I’ll make it all up to you, Linda, I’ll—
linda: There’s nothing to make up, dear. You’re doing
fine, better than—
willy [noticing her mending]: What’s that?
linda: Just mending my stockings. They’re so ex-
pensive—
willy [angrily, taking them from her]: I won’t have you
mending stockings in this house! Now throw them out!
[linda puts the stockings in her pocket.]
bernard [entering on the run]: Where is he? If he doesn’t
study!
willy [moving to the forestage, with great agitation]: You’ll
give him the answers!
bernard: I do, but I can’t on a Regents! That’s a state
exam! They’re liable to arrest me!
willy: Where is he? I’ll whip him, I’ll whip him!
linda: And he’d better give back that football, Willy, it’s
not nice.
willy: Biff ! Where is he? Why is he taking everything?
linda: He’s too rough with the girls, Willy. All the
mothers are afraid of him!
willy: I’ll whip him!
A C T O N E 2 7

bernard: He’s driving the car without a license!
[the woman’s laugh is heard.]
willy: Shut up!
linda: All the mothers—
willy: Shut up!
bernard [backing quietly away and out]: Mr. Birnbaum says
he’s stuck up.
willy: Get outa here!
bernard: If he doesn’t buckle down he’ll flunk math! [He
goes off.]
linda: He’s right, Willy, you’ve gotta—
willy [exploding at her]: There’s nothing the matter with
him! You want him to be a worm like Bernard? He’s got
spirit, personality . . .
[As he speaks, linda, almost in tears, exits into the living-
room. willy is alone in the kitchen, wilting and staring.
The leaves are gone. It is night again, and the apartment
houses look down from behind.]
willy: Loaded with it. Loaded! What is he stealing? He’s
giving it back, isn’t he? Why is he stealing? What did I tell
him? I never in my life told him anything but decent things.
[happy in pajamas has come down the stairs; willy sud-
denly becomes aware of happy’s presence.]
happy: Let’s go now, come on.
willy [sitting down at the kitchen table]: Huh! Why did she
have to wax the floors herself ? Everytime she waxes the
floors she keels over. She knows that!

happy: Shh! Take it easy. What brought you back to-
night?
willy: I got an awful scare. Nearly hit a kid in Yonkers.
God! Why didn’t I go to Alaska with my brother Ben that
time! Ben! That man was a genius, that man was success
incarnate! What a mistake! He begged me to go.
happy: Well, there’s no use in—
willy: You guys! There was a man started with the
clothes on his back and ended up with diamond mines?
happy: Boy, someday I’d like to know how he did it.
willy: What’s the mystery? The man knew what he
wanted and went out and got it! Walked into a jungle, and
comes out, the age of twenty-one, and he’s rich! The world
is an oyster, but you don’t crack it open on a mattress!
happy: Pop, I told you I’m gonna retire you for life.
willy: You’ll retire me for life on seventy goddam dollars
a week? And your women and your car and your apartment,
and you’ll retire me for life! Christ’s sake, I couldn’t get past
Yonkers today! Where are you guys, where are you? The
woods are burning! I can’t drive a car!
[charley has appeared in the doorway. He is a large man,
slow of speech, laconic, immovable. In all he says, despite
what he says, there is pity, and, now, trepidation. He has a
robe over pajamas, slippers on his feet. He enters the kitchen.]

charley: Everything all right?
happy: Yeah, Charley, everything’s . . .
willy: What’s the matter?
charley: I heard some noise. I thought something hap-
pened. Can’t we do something about the walls? You sneeze
in here, and in my house hats blow off.
happy: Let’s go to bed, Dad. Come on.
[charley signals to happy to go.]
willy: You go ahead, I’m not tired at the moment.
happy [to willy]: Take it easy, huh? [He exits.]
willy: What’re you doin’ up?
charley [sitting down at the kitchen table opposite willy]:
Couldn’t sleep good. I had a heartburn.
willy: Well, you don’t know how to eat.
charley: I eat with my mouth.
willy: No, you’re ignorant. You gotta know about vi-
tamins and things like that.
A C T O N E 2 9
charley: Come on, let’s shoot. Tire you out a little.
willy [hesitantly]: All right. You got cards?
charley [taking a deck from his pocket]: Yeah, I got them.
Someplace. What is it with those vitamins?
willy [dealing]: They build up your bones. Chemistry.
charley: Yeah, but there’s no bones in a heartburn.
willy: What are you talkin’ about? Do you know the
first thing about it?

charley: Don’t get insulted.
willy: Don’t talk about something you don’t know any-
thing about.
[They are playing. Pause.]
charley: What’re you doin’ home?
willy: A little trouble with the car.
charley: Oh. [Pause.] I’d like to take a trip to California.
willy: Don’t say.
charley: You want a job?
willy: I got a job, I told you that. [After a slight pause]
What the hell are you offering me a job for?
charley: Don’t get insulted.
willy: Don’t insult me.
charley: I don’t see no sense in it. You don’t have to
go on this way.
willy: I got a good job. [Slight pause.] What do you keep
comin’ in here for?
charley: You want me to go?
willy [after a pause, withering]: I can’t understand it. He’s
going back to Texas again. What the hell is that?
charley: Let him go.
willy: I got nothin’ to give him, Charley, I’m clean, I’m
clean.
charley: He won’t starve. None a them starve. Forget
about him.
willy: Then what have I got to remember?

charley: You take it too hard. To hell with it. When a
deposit bottle is broken you don’t get your nickel back.
willy: That’s easy enough for you to say.
charley: That ain’t easy for me to say.
willy: Did you see the ceiling I put up in the living-
room?
charley: Yeah, that’s a piece of work. To put up a ceil -
ing is a mystery to me. How do you do it?
willy: What’s the difference?
charley: Well, talk about it.
willy: You gonna put up a ceiling?
charley: How could I put up a ceiling?
willy: Then what the hell are you bothering me for?
charley: You’re insulted again.
willy: A man who can’t handle tools is not a man.
You’re disgusting.
charley: Don’t call me disgusting, Willy.
[uncle ben, carrying a valise and an umbrella, enters the
forestage from around the right corner of the house. He is a
stolid man, in his sixties, with a mustache and an authori-
tative air. He is utterly certain of his destiny, and there is an
aura of far places about him. He enters exactly as willy
speaks.]
willy: I’m getting awfully tired, Ben.
[ben’s music is heard. ben looks around at everything.]
charley: Good, keep playing; you’ll sleep better. Did
you call me Ben?
[ben looks at his watch.]
willy: That’s funny. For a second there you reminded

me of my brother Ben.
ben: I only have a few minutes. [He strolls, inspecting the
place. willy and charley continue playing.]
charley: You never heard from him again, heh? Since
that time?
A C T O N E 3 1
willy: Didn’t Linda tell you? Couple of weeks ago we
got a letter from his wife in Africa. He died.
charley: That so.
ben [chuckling]: So this is Brooklyn, eh?
charley: Maybe you’re in for some of his money.
willy: Naa, he had seven sons. There’s just one oppor-
tunity I had with that man . . .
ben: I must make a train, William. There are several
properties I’m looking at in Alaska.
willy: Sure, sure! If I’d gone with him to Alaska that
time, everything would’ve been totally different.
charley: Go on, you’d froze to death up there.
willy: What’re you talking about?
ben: Opportunity is tremendous in Alaska, William. Sur-
prised you’re not up there.
willy: Sure, tremendous.
charley: Heh?
willy: There was the only man I ever met who knew

the answers.
charley: Who?
ben: How are you all?
willy [taking a pot, smiling]: Fine, fine.
charley: Pretty sharp tonight.
ben: Is Mother living with you?
willy: No, she died a long time ago.
charley: Who?
ben: That’s too bad. Fine specimen of a lady, Mother.
willy [to charley]: Heh?
ben: I’d hoped to see the old girl.
charley: Who died?
ben: Heard anything from Father, have you?
willy [unnerved ]: What do you mean, who died?
charley [taking a pot]: What’re you talkin’ about?
ben [looking at his watch]: William, it’s half past eight!
willy [as though to dispel his confusion he angrily stops char -
ley’s hand ]: That’s my build!
charley: I put the ace—
willy: If you don’t know how to play the game I’m not
gonna throw my money away on you!
charley [rising]: It was my ace, for God’s sake!
willy: I’m through, I’m through!
ben: When did Mother die?
willy: Long ago. Since the beginning you never knew
how to play cards.
charley [ picks up the cards and goes to the door]: All right!

Next time I’ll bring a deck with five aces.
willy: I don’t play that kind of game!
charley [turning to him]: You ought to be ashamed of
yourself !
willy: Yeah?
charley: Yeah! [He goes out.]
willy [slamming the door after him]: Ignoramus!
ben [as willy comes toward him through the wall-line of the
kitchen]: So you’re William.
willy [shaking ben’s hand ]: Ben! I’ve been waiting for
you so long! What’s the answer? How did you do it?
ben: Oh, there’s a story in that.
[linda enters the forestage, as of old, carrying the wash
basket.]
linda: Is this Ben?
ben [ gallantly]: How do you do, my dear.
linda: Where’ve you been all these years? Willy’s always
wondered why you—
willy [ pulling ben away from her impatiently]: Where is
Dad? Didn’t you follow him? How did you get started?
ben: Well, I don’t know how much you remember.
willy: Well, I was just a baby, of course, only three or
four years old—
ben: Three years and eleven months.
A C T O N E 3 3

willy: What a memory, Ben!
ben: I have many enterprises, William, and I have never
kept books.
willy: I remember I was sitting under the wagon in—
was it Nebraska?
ben: It was South Dakota, and I gave you a bunch of
wildflowers.
willy: I remember you walking away down some open
road.
ben [laughing]: I was going to find Father in Alaska.
willy: Where is he?
ben: At that age I had a very faulty view of geography,
William. I discovered after a few days that I was heading
due south, so instead of Alaska, I ended up in Africa.
linda: Africa!
willy: The Gold Coast!
ben: Principally diamond mines.
linda: Diamond mines!
ben: Yes, my dear. But I’ve only a few minutes—
willy: No! Boys! Boys! [young biff and happy appear.]
Listen to this. This is your Uncle Ben, a great man! Tell my
boys, Ben!
ben: Why boys, when I was seventeen I walked into the
jungle, and when I was twenty-one I walked out. [He
laughs.] And by God I was rich.
willy [to the boys]: You see what I been talking about?
The greatest things can happen!

ben [ glancing at his watch]: I have an appointment in
Ketchikan Tuesday week.
willy: No, Ben! Please tell about Dad. I want my boys
to hear. I want them to know the kind of stock they spring
from. All I remember is a man with a big beard, and I was
in Mamma’s lap, sitting around a fire, and some kind of high
music.
ben: His flute. He played the flute.
willy: Sure, the flute, that’s right!
[New music is heard, a high, rollicking tune.]
ben: Father was a very great and a very wild-hearted man.
We would start in Boston, and he’d toss the whole family
into the wagon, and then he’d drive the team right across
the country; through Ohio, and Indiana, Michigan, Illinois,
and all the Western states. And we’d stop in the towns and
sell the flutes that he’d made on the way. Great inventor,
Father. With one gadget he made more in a week than a
man like you could make in a lifetime.
willy: That’s just the way I’m bringing them up, Ben—
rugged, well liked, all-around.
ben: Yeah? [To biff] Hit that, boy—hard as you can. [He
pounds his stomach.]
biff: Oh, no, sir!
ben [taking boxing stance]: Come on, get to me! [He

laughs.]
willy: Go to it, Biff ! Go ahead, show him!
biff: Okay! [He cocks his fists and starts in.]
linda [to willy]: Why must he fight, dear?
ben [sparring with biff]: Good boy! Good boy!
willy: How’s that, Ben, heh?
happy: Give him the left, Biff !
linda: Why are you fighting?
ben: Good boy! [Suddenly comes in, trips biff, and stands
over him, the point of his umbrella poised over biff’s eye.]
linda: Look out, Biff !
biff: Gee!
ben [ patting biff’s knee]: Never fight fair with a stranger,
boy. You’ll never get out of the jungle that way. [Taking
linda’s hand and bowing] It was an honor and a pleasure to
meet you, Linda.
linda [withdrawing her hand coldly, frightened ]: Have a
nice—trip.
A C T O N E 3 5
ben [to willy]: And good luck with your—what do
you do?
willy: Selling.
ben: Yes. Well . . . [He raises his hand in farewell to all.]
willy: No, Ben, I don’t want you to think . . . [He
takes ben’s arm to show him.] It’s Brooklyn, I know, but we
hunt too.

ben: Really, now.
willy: Oh, sure, there’s snakes and rabbits and—that’s
why I moved out here. Why, Biff can fell any one of these
trees in no time! Boys! Go right over to where they’re build-
ing the apartment house and get some sand. We’re gonna
rebuild the entire front stoop right now! Watch this, Ben!
biff: Yes, sir! On the double, Hap!
happy [as he and biff run off ]: I lost weight, Pop, you
notice?
[charley enters in knickers, even before the boys are gone.]
charley: Listen, if they steal any more from that building
the watchman’ll put the cops on them!
linda [to willy]: Don’t let Biff . . .
[ben laughs lustily.]
willy: You shoulda seen the lumber they brought home
last week. At least a dozen six-by-tens worth all kinds a
money.
charley: Listen, if that watchman—
willy: I gave them hell, understand. But I got a couple
of fearless characters there.
charley: Willy, the jails are full of fearless characters.
ben [clapping willy on the back, with a laugh at charley]:
And the stock exchange, friend!
willy [ joining in ben’s laughter]: Where are the rest of
your pants?
charley: My wife bought them.

willy: Now all you need is a golf club and you can go
upstairs and go to sleep. [To ben] Great athlete! Between
him and his son Bernard they can’t hammer a nail!
bernard [rushing in]: The watchman’s chasing Biff !
willy [angrily]: Shut up! He’s not stealing anything!
linda [alarmed, hurrying off left]: Where is he? Biff, dear!
[She exits.]
willy [moving toward the left, away from ben]: There’s
nothing wrong. What’s the matter with you?
ben: Nervy boy. Good!
willy [laughing]: Oh, nerves of iron, that Biff !
charley: Don’t know what it is. My New England man
comes back and he’s bleedin’, they murdered him up there.
willy: It’s contacts, Charley, I got important contacts!
charley [sarcastically]: Glad to hear it, Willy. Come in
later, we’ll shoot a little casino. I’ll take some of your Port-
land money. [He laughs at willy and exits.]
willy [turning to ben]: Business is bad, it’s murderous.
But not for me, of course.
ben: I’ll stop by on my way back to Africa.
willy [longingly]: Can’t you stay a few days? You’re just
what I need, Ben, because I—I have a fine position here,
but I—well, Dad left when I was such a baby and I never

had a chance to talk to him and I still feel—kind of tem-
porary about myself.
ben: I’ll be late for my train.
[They are at opposite ends of the stage.]
willy: Ben, my boys—can’t we talk? They’d go into the
jaws of hell for me, see, but I—
ben: William, you’re being first-rate with your boys.
Outstanding, manly chaps!
willy [hanging on to his words]: Oh, Ben, that’s good to
hear! Because sometimes I’m afraid that I’m not teaching
them the right kind of—Ben, how should I teach them?
ben [ giving great weight to each word, and with a certain
vicious
audacity]: William, when I walked into the jungle, I was
A C T O N E 3 7
seventeen. When I walked out I was twenty-one. And, by
God, I was rich! [He goes off into darkness around the right
corner
of the house.]
willy: . . . was rich! That’s just the spirit I want to imbue
them with! To walk into a jungle! I was right! I was right!
I was right!
[ben is gone, but willy is still speaking to him as linda,
in nightgown and robe, enters the kitchen, glances around for
willy, then goes to the door of the house, looks out and

sees him. Comes down to his left. He looks at her.]
linda: Willy, dear? Willy?
willy: I was right!
linda: Did you have some cheese? [He can’t answer.] It’s
very late, darling. Come to bed, heh?
willy [looking straight up]: Gotta break your neck to see
a star in this yard.
linda: You coming in?
willy: Whatever happened to that diamond watch fob?
Remember? When Ben came from Africa that time? Didn’t
he give me a watch fob with a diamond in it?
linda: You pawned it, dear. Twelve, thirteen years ago.
For Biff ’s radio correspondence course.
willy: Gee, that was a beautiful thing. I’ll take a walk.
linda: But you’re in your slippers.
willy [starting to go around the house at the left]: I was right!
I was! [Half to linda, as he goes, shaking his head ] What a
man! There was a man worth talking to. I was right!
linda [calling after willy]: But in your slippers, Willy!
[willy is almost gone when biff, in his pajamas, comes
down the stairs and enters the kitchen.]
biff: What is he doing out there?
linda: Sh!
biff: God Almighty, Mom, how long has he been doing
this?
linda: Don’t, he’ll hear you.

biff: What the hell is the matter with him?
linda: It’ll pass by morning.
biff: Shouldn’t we do anything?
linda: Oh, my dear, you should do a lot of things, but
there’s nothing to do, so go to sleep.
[happy comes down the stairs and sits on the steps.]
happy: I never heard him so loud, Mom.
linda: Well, come around more often; you’ll hear him.
[She sits down at the table and mends the lining of willy’s
jacket.]
biff: Why didn’t you ever write me about this, Mom?
linda: How would I write to you? For over three months
you had no address.
biff: I was on the move. But you know I thought of you
all the time. You know that, don’t you, pal?
linda: I know, dear, I know. But he likes to have a letter.
Just to know that there’s still a possibility for better things.
biff: He’s not like this all the time, is he?
linda: It’s when you come home he’s always the worst.
biff: When I come home?
linda: When you write you’re coming, he’s all smiles,
and talks about the future, and—he’s just wonderful. And
then the closer you seem to come, the more shaky he gets,
and then, by the time you get here, he’s arguing, and he
seems angry at you. I think it’s just that maybe he can’t bring
himself to—to open up to you. Why are you so hateful to
each other? Why is that?

biff [evasively]: I’m not hateful, Mom.
linda: But you no sooner come in the door than you’re
fighting!
biff: I don’t know why. I mean to change. I’m tryin’,
Mom, you understand?
linda: Are you home to stay now?
biff: I don’t know. I want to look around, see what’s
doin’.
A C T O N E 3 9
linda: Biff, you can’t look around all your life, can you?
biff: I just can’t take hold, Mom. I can’t take hold of
some kind of a life.
linda: Biff, a man is not a bird, to come and go with the
springtime.
biff: Your hair . . . [He touches her hair.] Your hair got so
gray.
linda: Oh, it’s been gray since you were in high school.
I just stopped dyeing it, that’s all.
biff: Dye it again, will ya? I don’t want my pal looking
old. [He smiles.]
linda: You’re such a boy! You think you can go away
for a year and . . . You’ve got to get it into your head now
that one day you’ll knock on this door and there’ll be strange

people here—
biff: What are you talking about? You’re not even sixty,
Mom.
linda: But what about your father?
biff [lamely]: Well, I meant him too.
happy: He admires Pop.
linda: Biff, dear, if you don’t have any feeling for him,
then you can’t have any feeling for me.
biff: Sure I can, Mom.
linda: No. You can’t just come to see me, because I love
him. [With a threat, but only a threat, of tears] He’s the dearest
man in the world to me, and I won’t have anyone making
him feel unwanted and low and blue. You’ve got to make
up your mind now, darling, there’s no leeway any more.
Either he’s your father and you pay him that respect, or else
you’re not to come here. I know he’s not easy to get along
with—nobody knows that better than me—but . . .
willy [ from the left, with a laugh]: Hey, hey, Biffo!
biff [starting to go out after willy]: What the hell is the
matter with him? [happy stops him.]
linda: Don’t—don’t go near him!
biff: Stop making excuses for him! He always, always
wiped the floor with you. Never had an ounce of respect
for you.

happy: He’s always had respect for—
biff: What the hell do you know about it?
happy [surlily]: Just don’t call him crazy!
biff: He’s got no character—Charley wouldn’t do this.
Not in his own house—spewing out that vomit from his
mind.
happy: Charley never had to cope with what he’s got to.
biff: People are worse off than Willy Loman. Believe me,
I’ve seen them!
linda: Then make Charley your father, Biff. You can’t
do that, can you? I don’t say he’s a great man. Willy Loman
never made a lot of money. His name was never in the
paper. He’s not the finest character that ever lived. But he’s
a human being, and a terrible thing is happening to him. So
attention must be paid. He’s not to be allowed to fall into
his grave like an old dog. Attention, attention must be finally
paid to such a person. You called him crazy—
biff: I didn’t mean—
linda: No, a lot of people think he’s lost his—balance.
But you don’t have to be very smart to know what his
trouble is. The man is exhausted.
happy: Sure!
linda: A small man can be just as exhausted as a great
man. He works for a company thirty-six years this March,
opens up unheard-of territories to their trademark, and now
in his old age they take his salary away.
happy [indignantly]: I didn’t know that, Mom.

linda: You never asked, my dear! Now that you get your
spending money someplace else you don’t trouble your
mind with him.
happy: But I gave you money last—
A C T O N E 4 1
linda: Christmas time, fifty dollars! To fix the hot water
it cost ninety-seven fifty! For five weeks he’s been on
straight commission, like a beginner, an unknown!
biff: Those ungrateful bastards!
linda: Are they any worse than his sons? When he
brought them business, when he was young, they were glad
to see him. But now his old friends, the old buyers that loved
him so and always found some order to hand him in a
pinch—they’re all dead, retired. He used to be able to make
six, seven calls a day in Boston. Now he takes his valises out
of the car and puts them back and takes them out again and
he’s exhausted. Instead of walking he talks now. He drives
seven hundred miles, and when he gets there no one knows
him any more, no one welcomes him. And what goes
through a man’s mind, driving seven hundred miles home
without having earned a cent? Why shouldn’t he talk to
himself ? Why? When he has to go to Charley and bor-
row fifty dollars a week and pretend to me that it’s his pay?
How long can that go on? How long? You see what I’m
sitting here and waiting for? And you tell me he has no
character? The man who never worked a day but for your
benefit? When does he get the medal for that? Is this his
reward—to turn around at the age of sixty-three and find

his sons, who he loved better than his life, one a philan-
dering bum—
happy: Mom!
linda: That’s all you are, my baby! [To biff] And you!
What happened to the love you had for him? You were such
pals! How you used to talk to him on the phone every night!
How lonely he was till he could come home to you!
biff: All right, Mom. I’ll live here in my room, and I’ll
get a job. I’ll keep away from him, that’s all.
linda: No, Biff. You can’t stay here and fight all the time.
biff: He threw me out of this house, remember that.
linda: Why did he do that? I never knew why.
biff: Because I know he’s a fake and he doesn’t like any-
body around who knows!
linda: Why a fake? In what way? What do you mean?
biff: Just don’t lay it all at my feet. It’s between me and
him—that’s all I have to say. I’ll chip in from now on. He’ll
settle for half my pay check. He’ll be all right. I’m going to
bed. [He starts for the stairs.]
linda: He won’t be all right.
biff [turning on the stairs, furiously]: I hate this city and I’ll
stay here. Now what do you want?
linda: He’s dying, Biff.

[happy turns quickly to her, shocked.]
biff [after a pause]: Why is he dying?
linda: He’s been trying to kill himself.
biff [with great horror]: How?
linda: I live from day to day.
biff: What’re you talking about?
linda: Remember I wrote you that he smashed up the
car again? In February?
biff: Well?
linda: The insurance inspector came. He said that they
have evidence. That all these accidents in the last year —
weren’t—weren’t—accidents.
happy: How can they tell that? That’s a lie.
linda: It seems there’s a woman . . . [She takes a
breath as]
biff [sharply but contained ]:} What woman?linda
[simultaneously]: . . . and this woman . . .
linda: What?
biff: Nothing. Go ahead.
linda: What did you say?
biff: Nothing. I just said what woman?
happy: What about her?
A C T O N E 4 3
linda: Well, it seems she was walking down the road and
saw his car. She says that he wasn’t driving fast at all, and
that he didn’t skid. She says he came to that little bridge,
and then deliberately smashed into the railing, and it was
only the shallowness of the water that saved him.

biff: Oh, no, he probably just fell asleep again.
linda: I don’t think he fell asleep.
biff: Why not?
linda: Last month . . . [With great difficulty] Oh, boys, it’s
so hard to say a thing like this! He’s just a big stupid man
to you, but I tell you there’s more good in him than in
many other people. [She chokes, wipes her eyes.] I was looking
for a fuse. The lights blew out, and I went down the cellar.
And behind the fuse box—it happened to fall out—was a
length of rubber pipe—just short.
happy: No kidding?
linda: There’s a little attachment on the end of it. I knew
right away. And sure enough, on the bottom of the water
heater there’s a new little nipple on the gas pipe.
happy [angrily]: That—jerk.
biff: Did you have it taken off ?
linda: I’m—I’m ashamed to. How can I mention it to
him? Every day I go down and take away that little rubber
pipe. But, when he comes home, I put it back where it was.
How can I insult him that way? I don’t know what to do.
I live from day to day, boys. I tell you, I know every thought
in his mind. It sounds so old-fashioned and silly, but I tell
you he put his whole life into you and you’ve turned your
backs on him. [She is bent over in the chair, weeping, her face
in her hands.] Biff, I swear to God! Biff, his life is in your
hands!
happy [to biff]: How do you like that damned fool!
biff [kissing her]: All right, pal, all right. It’s all settled now.

I’ve been remiss. I know that, Mom. But now I’ll stay, and
I swear to you, I’ll apply myself. [Kneeling in front of her, in
a fever of self-reproach] It’s just—you see, Mom, I don’t fit in
business. Not that I won’t try. I’ll try, and I’ll make good.
happy: Sure you will. The trouble with you in business
was you never tried to please people.
biff: I know, I—
happy: Like when you worked for Harrison’s. Bob Har-
rison said you were tops, and then you go and do some
damn fool thing like whistling whole songs in the elevator
like a comedian.
biff [against happy]: So what? I like to whistle sometimes.
happy: You don’t raise a guy to a responsible job who
whistles in the elevator!
linda: Well, don’t argue about it now.
happy: Like when you’d go off and swim in the middle
of the day instead of taking the line around.
biff [his resentment rising]: Well, don’t you run off ? You
take off sometimes, don’t you? On a nice summer day?
happy: Yeah, but I cover myself !
linda: Boys!
happy: If I’m going to take a fade the boss can call any
number where I’m supposed to be and they’ll swear to him

that I just left. I’ll tell you something that I hate to say, Biff,
but in the business world some of them think you’re crazy.
biff [angered]: Screw the business world!
happy: All right, screw it! Great, but cover yourself !
linda: Hap, Hap!
biff: I don’t care what they think! They’ve laughed at
Dad for years, and you know why? Because we don’t belong
in this nuthouse of a city! We should be mixing cement on
some open plain, or—or carpenters. A carpenter is allowed
to whistle!
[willy walks in from the entrance of the house, at left.]
willy: Even your grandfather was better than a carpenter.
A C T O N E 4 5
[Pause. They watch him.] You never grew up. Bernard does
not whistle in the elevator, I assure you.
biff [as though to laugh willy out of it]: Yeah, but you
do, Pop.
willy: I never in my life whistled in an elevator! And
who in the business world thinks I’m crazy?
biff: I didn’t mean it like that, Pop. Now don’t make a
whole thing out of it, will ya?
willy: Go back to the West! Be a carpenter, a cowboy,
enjoy yourself !
linda: Willy, he was just saying—

willy: I heard what he said!
happy [trying to quiet willy]: Hey, Pop, come on now . . .
willy [continuing over happy’s line]: They laugh at me,
heh? Go to Filene’s, go to the Hub, go to Slattery’s, Boston.
Call out the name Willy Loman and see what happens! Big
shot!
biff: All right, Pop.
willy: Big!
biff: All right!
willy: Why do you always insult me?
biff: I didn’t say a word. [To linda] Did I say a word?
linda: He didn’t say anything, Willy.
willy [ going to the doorway of the living-room]: All right,
good night, good night.
linda: Willy, dear, he just decided . . .
willy [to biff]: If you get tired hanging around tomor-
row, paint the ceiling I put up in the living-room.
biff: I’m leaving early tomorrow.
happy: He’s going to see Bill Oliver, Pop.
willy [interestedly]: Oliver? For what?
biff [with reserve, but trying, trying]: He always said he’d
stake me. I’d like to go into business, so maybe I can take
him up on it.
linda: Isn’t that wonderful?
willy: Don’t interrupt. What’s wonderful about it?

There’s fifty men in the City of New York who’d stake him.
[To biff] Sporting goods?
biff: I guess so. I know something about it and—
willy: He knows something about it! You know sporting
goods better than Spalding, for God’s sake! How much is he
giving you?
biff: I don’t know, I didn’t even see him yet, but—
willy: Then what’re you talkin’ about?
biff [ getting angry]: Well, all I said was I’m gonna see him,
that’s all!
willy [turning away]: Ah, you’re counting your chickens
again.
biff [starting left for the stairs]: Oh, Jesus, I’m going to sleep!
willy [calling after him]: Don’t curse in this house!
biff [turning]: Since when did you get so clean?
happy [trying to stop them]: Wait a . . .
willy: Don’t use that language to me! I won’t have it!
happy [ grabbing biff, shouts]: Wait a minute! I got an idea.
I got a feasible idea. Come here, Biff, let’s talk this over
now, let’s talk some sense here. When I was down in Florida
last time, I thought of a great idea to sell sporting goods. It
just came back to me. You and I, Biff—we have a line, the
Loman Line. We train a couple of weeks, and put on a
couple of exhibitions, see?
willy: That’s an idea!
happy: Wait! We form two basketball teams, see? Two
water-polo teams. We play each other. It’s a million dollars’
worth of publicity. Two brothers, see? The Loman Brothers.

Displays in the Royal Palms—all the hotels. And banners
over the ring and the basketball court: ‘‘Loman Brothers.’’
Baby, we could sell sporting goods!
willy: That is a one-million-dollar idea!
A C T O N E 4 7
linda: Marvelous!
biff: I’m in great shape as far as that’s concerned.
happy: And the beauty of it is, Biff, it wouldn’t be like
a business. We’d be out playin’ ball again . . .
biff [enthused]: Yeah, that’s . . .
willy: Million-dollar . . .
happy: And you wouldn’t get fed up with it, Biff. It’d be
the family again. There’d be the old honor, and comrade-
ship, and if you wanted to go off for a swim or somethin’
—well you’d do it! Without some smart cooky gettin’ up
ahead of you!
willy: Lick the world! You guys together could abso-
lutely lick the civilized world.
biff: I’ll see Oliver tomorrow. Hap, if we could work
that out . . .
linda: Maybe things are beginning to—
willy [wildly enthused, to linda]: Stop interrupting! [To
biff] But don’t wear sport jacket and slacks when you see
Oliver.

biff: No, I’ll—
willy: A business suit, and talk as little as possible, and
don’t crack any jokes.
biff: He did like me. Always liked me.
linda: He loved you!
willy [to linda]: Will you stop! [To biff] Walk in very
serious. You are not applying for a boy’s job. Money is to
pass. Be quiet, fine, and serious. Everybody likes a kidder,
but nobody lends him money.
happy: I’ll try to get some myself, Biff. I’m sure I can.
willy: I see great things for you kids, I think your trou-
bles are over. But remember, start big and you’ll end big.
Ask for fifteen. How much you gonna ask for?
biff: Gee, I don’t know—
willy: And don’t say ‘‘Gee.’’ ‘‘Gee’’ is a boy’s word. A
man walking in for fifteen thousand dollars does not say
‘‘Gee’’!
biff: Ten, I think, would be top though.
willy: Don’t be so modest. You always started too low.
Walk in with a big laugh. Don’t look worried. Start off with
a couple of your good stories to lighten things up. It’s not
what you say, it’s how you say it—because personality al-
ways wins the day.

linda: Oliver always thought the highest of him—
willy: Will you let me talk?
biff: Don’t yell at her, Pop, will ya?
willy [angrily]: I was talking, wasn’t I?
biff: I don’t like you yelling at her all the time, and I’m
tellin’ you, that’s all.
willy: What’re you, takin’ over this house?
linda: Willy—
willy [turning on her]: Don’t take his side all the time,
goddammit!
biff [ furiously]: Stop yelling at her!
willy [suddenly pulling on his cheek, beaten down, guilt rid-
den]: Give my best to Bill Oliver—he may remember me.
[He exits through the living-room doorway.]
linda [her voice subdued]: What’d you have to start that
for? [biff turns away.] You see how sweet he was as soon as
you talked hopefully? [She goes over to biff.] Come up and
say good night to him. Don’t let him go to bed that way.
happy: Come on, Biff, let’s buck him up.
linda: Please, dear. Just say good night. It takes so little
to make him happy. Come. [She goes through the living-room
doorway, calling upstairs from within the living-room.] Your
pa-
jamas are hanging in the bathroom, Willy!
happy [looking toward where linda went out]: What a
woman! They broke the mold when they made her. You
know that, Biff ?

A C T O N E 4 9
biff: He’s off salary. My God, working on commission!
happy: Well, let’s face it: he’s no hot-shot selling man.
Except that sometimes, you have to admit, he’s a sweet per-
sonality.
biff [deciding]: Lend me ten bucks, will ya? I want to buy
some new ties.
happy: I’ll take you to a place I know. Beautiful stuff.
Wear one of my striped shirts tomorrow.
biff: She got gray. Mom got awful old. Gee, I’m gonna
go in to Oliver tomorrow and knock him for a—
happy: Come on up. Tell that to Dad. Let’s give him a
whirl. Come on.
biff [steamed up]: You know, with ten thousand bucks,
boy!
happy [as they go into the living-room]: That’s the talk, Biff,
that’s the first time I’ve heard the old confidence out of you!
[From within the living-room, fading off ] You’re gonna live
with
me, kid, and any babe you want just say the word . . . [The
last lines are hardly heard. They are mounting the stairs to their
parents’ bedroom.]
linda [entering her bedroom and addressing willy, who is in
the bathroom. She is straightening the bed for him.] Can you do
anything about the shower? It drips.

willy [ from the bathroom]: All of a sudden everything falls
to pieces! Goddam plumbing, oughta be sued, those people.
I hardly finished putting it in and the thing . . . [His words
rumble off.]
linda: I’m just wondering if Oliver will remember him.
You think he might?
willy [coming out of the bathroom in his pajamas]: Remem-
ber him? What’s the matter with you, you crazy? If he’d’ve
stayed with Oliver he’d be on top by now! Wait’ll Oli-
ver gets a look at him. You don’t know the average caliber
any more. The average young man today—[he is getting into
bed]—is got a caliber of zero. Greatest thing in the world
for him was to bum around.
[biff and happy enter the bedroom. Slight pause.]
willy [stops short, looking at biff]: Glad to hear it, boy.
happy: He wanted to say good night to you, sport.
willy [to biff]: Yeah. Knock him dead, boy. What’d you
want to tell me?
biff: Just take it easy, Pop. Good night. [He turns to go.]
willy [unable to resist]: And if anything falls off the desk
while you’re talking to him—like a package or something
—don’t you pick it up. They have office boys for that.
linda: I’ll make a big breakfast—
willy: Will you let me finish? [To biff] Tell him you

were in the business in the West. Not farm work.
biff: All right, Dad.
linda: I think everything—
willy [ going right through her speech]: And don’t undersell
yourself. No less than fifteen thousand dollars.
biff [unable to bear him]: Okay. Good night, Mom. [He
starts moving.]
willy: Because you got a greatness in you, Biff, remem-
ber that. You got all kinds a greatness . . . [He lies back,
exhausted. biff walks out.]
linda [calling after biff]: Sleep well, darling!
happy: I’m gonna get married, Mom. I wanted to tell
you.
linda: Go to sleep, dear.
happy [ going]: I just wanted to tell you.
willy: Keep up the good work. [happy exits.] God . . .
remember that Ebbets Field game? The championship of the
city?
linda: Just rest. Should I sing to you?
willy: Yeah. Sing to me. [linda hums a soft lullaby.]
When that team came out—he was the tallest, remember?
A C T O N E 5 1
linda: Oh, yes. And in gold.
[biff enters the darkened kitchen, takes a cigarette, and leaves

the house. He comes downstage into a golden pool of light.
He smokes, staring at the night.]
willy: Like a young god. Hercules—something like that.
And the sun, the sun all around him. Remember how he
waved to me? Right up from the field, with the represen-
tatives of three colleges standing by? And the buyers I
brought, and the cheers when he came out—Loman, Lo-
man, Loman! God Almighty, he’ll be great yet. A star like
that, magnificent, can never really fade away!
[The light on willy is fading. The gas heater begins to glow
through the kitchen wall, near the stairs, a blue flame beneath
red coils.]
linda [timidly]: Willy dear, what has he got against you?
willy: I’m so tired. Don’t talk any more.
[biff slowly returns to the kitchen. He stops, stares toward
the heater.]
linda: Will you ask Howard to let you work in New
York?
willy: First thing in the morning. Everything’ll be all
right.
[biff reaches behind the heater and draws out a length of
rubber tubing. He is horrified and turns his head toward wil -
ly’s room, still dimly lit, from which the strains of linda’s
desperate but monotonous humming rise.]
willy [staring through the window into the moonlight]: Gee,
look at the moon moving between the buildings!
[biff wraps the tubing around his hand and quickly goes up
the stairs.]
curtain

5 2
A C T T W O
Music is heard, gay and bright. The curtain rises as the music
fades
away.
[willy, in shirt sleeves, is sitting at the kitchen table, sipping
coffee, his hat in his lap. linda is filling his cup when
she can.]
willy: Wonderful coffee. Meal in itself.
linda: Can I make you some eggs?
willy: No. Take a breath.
linda: You look so rested, dear.
willy: I slept like a dead one. First time in months. Imag-
ine, sleeping till ten on a Tuesday morning. Boys left nice
and early, heh?
linda: They were out of here by eight o’clock.
willy: Good work!
linda: It was so thrilling to see them leaving together. I
can’t get over the shaving lotion in this house!
willy [smiling]: Mmm—
linda: Biff was very changed this morning. His whole
attitude seemed to be hopeful. He couldn’t wait to get
downtown to see Oliver.
willy: He’s heading for a change. There’s no question,
there simply are certain men that take longer to get—solid-
ified. How did he dress?

linda: His blue suit. He’s so handsome in that suit. He
could be a—anything in that suit!
[willy gets up from the table. linda holds his jacket
for him.]
willy: There’s no question, no question at all. Gee, on
the way home tonight I’d like to buy some seeds.
linda [laughing]: That’d be wonderful. But not enough
sun gets back there. Nothing’ll grow any more.
A C T T W O 5 3
willy: You wait, kid, before it’s all over we’re gonna get
a little place out in the country, and I’ll raise some vegeta-
bles, a couple of chickens . . .
linda: You’ll do it yet, dear.
[willy walks out of his jacket. linda follows him.]
willy: And they’ll get married, and come for a weekend.
I’d build a little guest house. ’Cause I got so many fine tools,
all I’d need would be a little lumber and some peace of
mind.
linda [ joyfully]: I sewed the lining . . .
willy: I could build two guest houses, so they’d both
come. Did he decide how much he’s going to ask Oliver
for?
linda [ getting him into the jacket]: He didn’t mention it,

but I imagine ten or fifteen thousand. You going to talk to
Howard today?
willy: Yeah. I’ll put it to him straight and simple. He’ll
just have to take me off the road.
linda: And Willy, don’t forget to ask for a little advance,
because we’ve got the insurance premium. It’s the grace pe-
riod now.
willy: That’s a hundred . . . ?
linda: A hundred and eight, sixty-eight. Because we’re
a little short again.
willy: Why are we short?
linda: Well, you had the motor job on the car . . .
willy: That goddam Studebaker!
linda: And you got one more payment on the refriger-
ator . . .
willy: But it just broke again!
linda: Well, it’s old, dear.
willy: I told you we should’ve bought a well-advertised
machine. Charley bought a General Electric and it’s twenty
years old and it’s still good, that son-of-a-bitch.
linda: But, Willy—
willy: Whoever heard of a Hastings refrigerator? Once
in my life I would like to own something outright before
it’s broken! I’m always in a race with the junkyard! I just

finished paying for the car and it’s on its last legs. The re-
frigerator consumes belts like a goddam maniac. They time
those things. They time them so when you finally paid for
them, they’re used up.
linda [buttoning up his jacket as he unbuttons it]: All told,
about two hundred dollars would carry us, dear. But that
includes the last payment on the mortgage. After this pay-
ment, Willy, the house belongs to us.
willy: It’s twenty-five years!
linda: Biff was nine years old when we bought it.
willy: Well, that’s a great thing. To weather a twenty-
five-year mortgage is—
linda: It’s an accomplishment.
willy: All the cement, the lumber, the reconstruc tion I
put in this house! There ain’t a crack to be found in it any
more.
linda: Well, it served its purpose.
willy: What purpose? Some stranger’ll come along,
move in, and that’s that. If only Biff would take this house,
and raise a family . . . [He starts to go.] Good-bye, I’m late.
linda [suddenly remembering]: Oh, I forgot! You’re sup-
posed to meet them for dinner.
willy: Me?
linda: At Frank’s Chop House on Forty-eighth near
Sixth Avenue.
willy: Is that so! How about you?
linda: No, just the three of you. They’re gonna blow

you to a big meal!
willy: Don’t say! Who thought of that?
linda: Biff came to me this morning, Willy, and he said,
‘‘Tell Dad, we want to blow him to a big meal.’’ Be there
A C T T W O 5 5
six o’clock. You and your two boys are going to have
dinner.
willy: Gee whiz! That’s really somethin’. I’m gonna
knock Howard for a loop, kid. I’ll get an advance, and I’ll
come home with a New York job. Goddammit, now I’m
gonna do it!
linda: Oh, that’s the spirit, Willy!
willy: I will never get behind a wheel the rest of my
life!
linda: It’s changing, Willy, I can feel it changing!
willy: Beyond a question. G’bye, I’m late. [He starts to
go again.]
linda [calling after him as she runs to the kitchen table for a
handkerchief ]: You got your glasses?
willy [ feels for them, then comes back in]: Yeah, yeah, got
my glasses.
linda [ giving him the handkerchief ]: And a handkerchief.
willy: Yeah, handkerchief.
linda: And your saccharine?

willy: Yeah, my saccharine.
linda: Be careful on the subway stairs.
[She kisses him, and a silk stocking is seen hanging from her
hand. willy notices it.]
willy: Will you stop mending stockings? At least while
I’m in the house. It gets me nervous. I can’t tell you. Please.
[linda hides the stocking in her hand as she follows willy
across the forestage in front of the house.]
linda: Remember, Frank’s Chop House.
willy [ passing the apron]: Maybe beets would grow out
there.
linda [laughing]: But you tried so many times.
willy: Yeah. Well, don’t work hard today. [He disappears
around the right corner of the house.]
linda: Be careful!
[As willy vanishes, linda waves to him. Suddenly the
phone rings. She runs across the stage and into the kitchen
and lifts it.]
linda: Hello? Oh, Biff ! I’m so glad you called, I just . . .
Yes, sure, I just told him. Yes, he’ll be there for dinner at
six o’clock, I didn’t forget. Listen, I was just dying to tell
you. You know that little rubber pipe I told you about? That
he connected to the gas heater? I finally decided to go down
the cellar this morning and take it away and destroy it. But
it’s gone! Imagine? He took it away himself, it isn’t there!
[She listens.] When? Oh, then you took it. Oh—nothing,
it’s just that I’d hoped he’d taken it away himself. Oh, I’m

not worried, darling, because this morning he left in such
high spirits, it was like the old days! I’m not afraid any more.
Did Mr. Oliver see you? . . . Well, you wait there then.
And make a nice impression on him, darling. Just don’t per-
spire too much before you see him. And have a nice time
with Dad. He may have big news too! . . . That’s right, a
New York job. And be sweet to him tonight, dear. Be lov-
ing to him. Because he’s only a little boat looking for a
harbor. [She is trembling with sorrow and joy.] Oh, that’s won-
derful, Biff, you’ll save his life. Thanks, darling. Just put your
arm around him when he comes into the restaurant. Give
him a smile. That’s the boy . . . Good-bye, dear . . . You
got your comb? . . . That’s fine. Good-bye, Biff dear.
[In the middle of her speech, howard wagner, thirty-six,
wheels on a small typewriter table on which is a wire-recording
machine and proceeds to plug it in. This is on the left
forestage. Light slowly fades on linda as it rises on how-
ard. howard is intent on threading the machine and only
glances over his shoulder as willy appears.]
willy: Pst! Pst!
howard: Hello, Willy, come in.
willy: Like to have a little talk with you, Howard.
A C T T W O 5 7
howard: Sorry to keep you waiting. I’ll be with you in
a minute.
willy: What’s that, Howard?
howard: Didn’t you ever see one of these? Wire re-
corder.
willy: Oh. Can we talk a minute?

howard: Records things. Just got delivery yesterday.
Been driving me crazy, the most terrific machine I ever saw
in my life. I was up all night with it.
willy: What do you do with it?
howard: I bought it for dictation, but you can do any-
thing with it. Listen to this. I had it home last night. Listen
to what I picked up. The first one is my daughter. Get this.
[He flicks the switch and ‘‘Roll out the Barrel’’ is heard being
whistled.] Listen to that kid whistle.
willy: That is lifelike, isn’t it?
howard: Seven years old. Get that tone.
willy: Ts, ts. Like to ask a little favor if you . . .
[The whistling breaks off, and the voice of howard’s
daughter is heard.]
his daughter: ‘‘Now you, Daddy.’’
howard: She’s crazy for me! [Again the same song is whis-
tled.] That’s me! Ha! [He winks.]
willy: You’re very good!
[The whistling breaks off again. The machine runs silent for
a moment.]
howard: Sh! Get this now, this is my son.
his son: ‘‘The capital of Alabama is Montgomery; the
capital of Arizona is Phoenix; the capital of Arkansas is Little
Rock; the capital of California is Sacramento . . .’’ [and on,
and on.]
howard [holding up five fingers]: Five years old, Willy!
willy: He’ll make an announcer some day!
his son [continuing]: ‘‘The capital . . .’’

howard: Get that—alphabetical order! [The machine
breaks off suddenly.] Wait a minute. The maid kicked the
plug out.
willy: It certainly is a—
howard: Sh, for God’s sake!
his son: ‘‘It’s nine o’clock, Bulova watch time. So I have
to go to sleep.’’
willy: That really is—
howard: Wait a minute! The next is my wife.
[They wait.]
howard’s voice: ‘‘Go on, say something.’’ [Pause.]
‘‘Well, you gonna talk?’’
his wife: ‘‘I can’t think of anything.’’
howard’s voice: ‘‘Well, talk—it’s turning.’’
his wife [shyly, beaten]: ‘‘Hello.’’ [Silence.] ‘‘Oh, Howard,
I can’t talk into this . . .’’
howard [snapping the machine off ]: That was my wife.
willy: That is a wonderful machine. Can we—
howard: I tell you, Willy, I’m gonna take my camera,
and my bandsaw, and all my hobbies, and out they go. This
is the most fascinating relaxation I ever found.
willy: I think I’ll get one myself.
howard: Sure, they’re only a hundred and a half. You
can’t do without it. Supposing you wanna hear Jack Benny,
see? But you can’t be at home at that hour. So you tell the

maid to turn the radio on when Jack Benny comes on, and
this automatically goes on with the radio . . .
willy: And when you come home you . . .
howard: You can come home twelve o’clock, one
o’clock, any time you like, and you get yourself a Coke and
sit yourself down, throw the switch, and there’s Jack Benny’s
program in the middle of the night!
willy: I’m definitely going to get one. Because lots of
time I’m on the road, and I think to myself, what I must be
missing on the radio!
A C T T W O 5 9
howard: Don’t you have a radio in the car?
willy: Well, yeah, but who ever thinks of turning it on?
howard: Say, aren’t you supposed to be in Boston?
willy: That’s what I want to talk to you about, Howard.
You got a minute? [He draws a chair in from the wing.]
howard: What happened? What’re you doing here?
willy: Well . . .
howard: You didn’t crack up again, did you?
willy: Oh, no. No . . .
howard: Geez, you had me worried there for a minute.
What’s the trouble?
willy: Well, tell you the truth, Howard. I’ve come to
the decision that I’d rather not travel any more.
howard: Not travel! Well, what’ll you do?
willy: Remember, Christmas time, when you had the

party here? You said you’d try to think of some spot for me
here in town.
howard: With us?
willy: Well, sure.
howard: Oh, yeah, yeah. I remember. Well, I couldn’t
think of anything for you, Willy.
willy: I tell ya, Howard. The kids are all grown up,
y’know. I don’t need much any more. If I could take
home—well, sixty-five dollars a week, I could swing it.
howard: Yeah, but Willy, see I—
willy: I tell ya why, Howard. Speaking frankly and be-
tween the two of us, y’know—I’m just a little tired.
howard: Oh, I could understand that, Willy. But you’re
a road man, Willy, and we do a road business. We’ve only
got a half-dozen salesmen on the floor here.
willy: God knows, Howard, I never asked a favor of any
man. But I was with the firm when your father used to carry
you in here in his arms.
howard: I know that, Willy, but—
willy: Your father came to me the day you were born
and asked me what I thought of the name of Howard, may
he rest in peace.

howard: I appreciate that, Willy, but there just is no spot
here for you. If I had a spot I’d slam you right in, but I just
don’t have a single solitary spot.
[He looks for his lighter. willy has picked it up and gives
it to him. Pause.]
willy [with increasing anger]: Howard, all I need to set my
table is fifty dollars a week.
howard: But where am I going to put you, kid?
willy: Look, it isn’t a question of whether I can sell
merchandise, is it?
howard: No, but it’s a business, kid, and everybody’s
gotta pull his own weight.
willy [desperately]: Just let me tell you a story, How -
ard—
howard: ’Cause you gotta admit, business is business.
willy [angrily]: Business is definitely business, but just lis-
ten for a minute. You don’t understand this. When I was a
boy—eighteen, nineteen—I was already on the road. And
there was a question in my mind as to whether selling had
a future for me. Because in those days I had a yearning to
go to Alaska. See, there were three gold strikes in one month
in Alaska, and I felt like going out. Just for the ride, you
might say.
howard [barely interested]: Don’t say.
willy: Oh, yeah, my father lived many years in Alaska.
He was an adventurous man. We’ve got quite a little streak
of self-reliance in our family. I thought I’d go out with my

older brother and try to locate him, and maybe settle in the
North with the old man. And I was almost decided to go,
when I met a salesman in the Parker House. His name was
Dave Singleman. And he was eighty-four years old, and he’d
drummed merchandise in thirty-one states. And old Dave,
A C T T W O 6 1
he’d go up to his room, y’understand, put on his green vel -
vet slippers—I’ll never forget—and pick up his phone and
call the buyers, and without ever leaving his room, at the
age of eighty-four, he made his living. And when I saw that,
I realized that selling was the greatest career a man could
want. ’Cause what could be more satisfying than to be able
to go, at the age of eighty-four, into twenty or thirty dif-
ferent cities, and pick up a 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 death of
a salesman, in his green velvet slippers in the smoker of the
New York, New Haven, and Hartford, going into Boston
—when he died, hundreds of salesmen and buyers were at
his funeral. Things were sad on a lotta trains for months after
that. [He stands up. howard has not looked at him.] In those
days there was personality in it, Howard. There was respect,
and comradeship, and gratitude in it. Today, it’s all cut and
dried, and there’s no chance for bringing friendship to bear
—or personality. You see what I mean? They don’t know
me any more.
howard [moving away, to the right]: That’s just the thing,
Willy.
willy: If I had forty dollars a week—that’s all I’d need.
Forty dollars, Howard.

howard: Kid, I can’t take blood from a stone, I—
willy [desperation is on him now]: Howard, the year Al
Smith was nominated, your father came to me and—
howard [starting to go off ]: I’ve got to see some peo-
ple, kid.
willy [stopping him]: I’m talking about your father! There
were promises made across this desk! You mustn’t tell me
you’ve got people to see—I put thirty-four years into this
firm, Howard, and now I can’t pay my insurance! You can’t
eat the orange and throw the peel away—a man is not a
piece of fruit! [After a pause] Now pay attention. Your
father—in 1928 I had a big year. I averaged a hundred and
seventy dollars a week in commissions.
howard [impatiently]: Now, Willy, you never aver-
aged—
willy [banging his hand on the desk]: I averaged a hundred
and seventy dollars a week in the year of 1928! And your
father came to me—or rather, I was in the office here—
it was right over this desk—and he put his hand on my
shoulder—
howard [ getting up]: You’ll have to excuse me, Willy, I
gotta see some people. Pull yourself together. [Going out] I’l l
be back in a little while.

[On howard’s exit, 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 yelling at him! How could I! [willy
breaks off, staring at the light, which occupies the chair,
animating
it. He approaches this chair, standing across the desk from it.]
Frank, Frank, don’t you remember what you told me that
time? How you put your hand on my shoulder, and Frank
. . . [He leans on the desk and as he speaks the dead man’s name
he accidentally switches on the recorder, and instantly—]
howard’s son: ‘‘. . . of New York is Albany. The capital
of Ohio is Cincinnati, the capital of Rhode Island is . . .’’
[The recitation continues.]
willy [leaping away with fright, shouting]: Ha! Howard!
Howard! Howard!
howard [rushing in]: What happened?
willy [ pointing at the machine, which continues nasally, child-
ishly, with the capital cities]: Shut it off ! Shut it off !
howard [ pulling the plug out]: Look, Willy . . .
willy [ pressing his hands to his eyes]: I gotta get myself
some coffee. I’ll get some coffee . . .
A C T T W O 6 3
[willy starts to walk out. howard stops him.]
howard [rolling up the cord ]: Willy, look . . .
willy: I’ll go to Boston.

howard: Willy, you can’t go to Boston for us.
willy: Why can’t I go?
howard: I don’t want you to represent us. I’ve been
meaning to tell you for a long time now.
willy: Howard, are you firing me?
howard: I think you need a good long rest, Willy.
willy: Howard—
howard: And when you feel better, come back, and
we’ll see if we can work something out.
willy: But I gotta earn money, Howard. I’m in no po-
sition to—
howard: Where are your sons? Why don’t your sons
give you a hand?
willy: They’re working on a very big deal.
howard: This is no time for false pride, Willy. You go
to your sons and you tell them that you’re tired. You’ve got
two great boys, haven’t you?
willy: Oh, no question, no question, but in the mean-
time . . .
howard: Then that’s that, heh?
willy: All right, I’ll go to Boston tomorrow.
howard: No, no.
willy: I can’t throw myself on my sons. I’m not a cripple!
howard: Look, kid, I’m busy this morning.
willy [ grasping howard’s arm]: Howard, you’ve got to
let me go to Boston!
howard [hard, keeping himself under control]: I’ve got a line

of people to see this morning. Sit down, take five minutes,
and pull yourself together, and then go home, will ya? I need
the office, Willy. [He starts to go, turns, remembering the
recorder,
starts to push off the table holding the recorder.] Oh, yeah.
When-
ever you can this week, stop by and drop off the samples.
You’ll feel better, Willy, and then come back and we’ll talk.
Pull yourself together, kid, there’s people outside.
[howard exits, pushing the table off left. willy stares into
space, exhausted. Now the music is heard—ben’s music—
first distantly, then closer, closer. As willy speaks, ben
enters from the right. He carries valise and umbrella.]
willy: Oh, Ben, how did you do it? What is the answer?
Did you wind up the Alaska deal already?
ben: Doesn’t take much time if you know what you’re
doing. Just a short business trip. Boarding ship in an hour.
Wanted to say good-bye.
willy: Ben, I’ve got to talk to you.
ben [ glancing at his watch]: Haven’t the time, William.
willy [crossing the apron to ben]: Ben, nothing’s working
out. I don’t know what to do.
ben: Now, look here, William. I’ve bought timberland
in Alaska and I need a man to look after things for me.
willy: God, timberland! Me and my boys in those grand

outdoors!
ben: You’ve a new continent at your doorstep, William.
Get out of these cities, they’re full of talk and time payments
and courts of law. Screw on your fists and you can fight for
a fortune up there.
willy: Yes, yes! Linda, Linda!
[linda enters as of old, with the wash.]
linda: Oh, you’re back?
ben: I haven’t much time.
willy: No, wait! Linda, he’s got a proposition for me in
Alaska.
linda: But you’ve got—[To ben] He’s got a beautiful
job here.
willy: But in Alaska, kid, I could—
linda: You’re doing well enough, Willy!
A C T T W O 6 5
ben [to linda]: Enough for what, my dear?
linda [ frightened of ben and angry at him]: Don’t say those
things to him! Enough to be happy right here, right now.
[To willy, while ben laughs] Why must everybody conquer
the world? You’re well liked, and the boys love you, and
someday—[to ben]—why, old man Wagner told him just
the other day that if he keeps it up he’ll be a member of the
firm, didn’t he, Willy?
willy: Sure, sure. I am building something with this firm,

Ben, and if a man is building something he must be on the
right track, mustn’t he?
ben: What are you building? Lay your hand on it. Where
is it?
willy [hesitantly]: That’s true, Linda, there’s nothing.
linda: Why? [To ben] There’s a man eighty-four years
old—
willy: That’s right, Ben, that’s right. When I look at that
man I say, what is there to worry about?
ben: Bah!
willy: It’s true, Ben. All he has to do is go into any city,
pick up the phone, and he’s making his living and you
know why?
ben [ picking up his valise]: I’ve got to go.
willy [holding ben back]: Look at this boy!
[biff, in his high school sweater, enters carrying suitcase.
happy carries biff’s shoulder guards, gold helmet, and foot-
ball pants.]
willy: Without a penny to his name, three great uni-
versities are begging for him, and from there the sky’s the
limit, because it’s not what you do, Ben. It’s who you know
and the smile on your face! It’s contacts, Ben, contacts! The
whole wealth of Alaska passes over the lunch table at the
Commodore Hotel, and that’s the wonder, the wonder of
this country, that a man can end with diamonds here on the

basis of being liked! [He turns to biff.] And that’s why when
you get out on that field today it’s important. Because
thousands of people will be rooting for you and loving you.
[To ben, who has again begun to leave] And Ben! when he
walks into a business office his name will sound out like a
bell and all the doors will open to him! I’ve seen it, Ben,
I’ve seen it a thousand times! You can’t feel it with your
hand like timber, but it’s there!
ben: Good-bye, William.
willy: Ben, am I right? Don’t you think I’m right? I
value your advice.
ben: There’s a new continent at your doorstep, William.
You could walk out rich. Rich! [He is gone.]
willy: We’ll do it here, Ben! You hear me? We’re gonna
do it here!
[Young bernard rushes in. The gay music of the boys is
heard.]
bernard: Oh, gee, I was afraid you left already!
willy: Why? What time is it?
bernard: It’s half-past one!
willy: Well, come on, everybody! Ebbets Field next
stop! Where’s the pennants? [He rushes through the wall -line of
the kitchen and out into the living-room.]
linda [to biff]: Did you pack fresh underwear?
biff [who has been limbering up]: I want to go!
bernard: Biff, I’m carrying your helmet, ain’t I?
happy: No, I’m carrying the helmet.
bernard: Oh, Biff, you promised me.
happy: I’m carrying the helmet.

bernard: How am I going to get in the locker room?
linda: Let him carry the shoulder guards. [She puts her
coat and hat on in the kitchen.]
bernard: Can I, Biff ? ’Cause I told everybody I’m going
to be in the locker room.
A C T T W O 6 7
happy: In Ebbets Field it’s the clubhouse.
bernard: I meant the clubhouse. Biff !
happy: Biff !
biff [ grandly, after a slight pause]: Let him carry the shoul -
der guards.
happy [as he gives bernard the shoulder guards]: Stay close
to us now.
[willy rushes in with the pennants.]
willy [handing them out]: Everybody wave when Biff
comes out on the field. [happy and bernard run off.] You
set now, boy?
[The music has died away.]
biff: Ready to go, Pop. Every muscle is ready.
willy [at the edge of the apron]: You realize what this
means?
biff: That’s right, Pop.
willy [ feeling biff’s muscles]: You’re comin’ home this
afternoon captain of the All-Scholastic Championship Team

of the City of New York.
biff: I got it, Pop. And remember, pal, when I take off
my helmet, that touchdown is for you.
willy: Let’s go! [He is starting out, with his arm around biff,
when charley enters, as of old, in knickers.] I got no room for
you, Charley.
charley: Room? For what?
willy: In the car.
charley: You goin’ for a ride? I wanted to shoot some
casino.
willy [ furiously]: Casino! [Incredulously] Don’t you realize
what today is?
linda: Oh, he knows, Willy. He’s just kidding you.
willy: That’s nothing to kid about!
charley: No. Linda, what’s goin’ on?
linda: He’s playing in Ebbets Field.
charley: Baseball in this weather?
willy: Don’t talk to him. Come on, come on! [He is
pushing them out.]
charley: Wait a minute, didn’t you hear the news?
willy: What?
charley: Don’t you listen to the radio? Ebbets Field just
blew up.
willy: You go to hell! [charley laughs. Pushing them out]

Come on, come on! We’re late.
charley [as they go]: Knock a homer, Biff, knock a
homer!
willy [the last to leave, turning to charley]: I don’t think
that was funny, Charley. This is the greatest day of his life.
charley: Willy, when are you going to grow up?
willy: Yeah, heh? When this game is over, Charley,
you’ll be laughing out of the other side of your face. They’ll
be calling him another Red Grange. Twenty-five thousand
a year.
charley [kidding]: Is that so?
willy: Yeah, that’s so.
charley: Well, then, I’m sorry, Willy. But tell me some-
thing.
willy: What?
charley: Who is Red Grange?
willy: Put up your hands. Goddam you, put up your
hands!
[charley, chuckling, shakes his head and walks away,
around the left corner of the stage. willy follows him. The
music rises to a mocking frenzy.]
willy: Who the hell do you think you are, better than
everybody else? You don’t know everything, you big, ig-
norant, stupid . . . Put up your hands!
[Light rises, on the right side of the forestage, on a small table
in the reception room of charley’s office. Traffic sounds are

A C T T W O 6 9
heard. bernard, now mature, sits whistling to himself. A
pair of tennis rackets and an overnight bag are on the floor
beside him.]
willy [offstage]: What are you walking away for? Don’t
walk away! If you’re going to say something say it to my
face! I know you laugh at me behind my back. You’ll laugh
out of the other side of your goddam face after this game.
Touchdown! Touchdown! Eighty thousand people! Touch-
down! Right between the goal posts.
[bernard is a quiet, earnest, but self-assured young man.
willy’s voice is coming from right upstage now. bernard
lowers his feet off the table and listens. jenny, his father’s
secretary, enters.]
jenny [distressed ]: Say, Bernard, will you go out in the
hall?
bernard: What is that noise? Who is it?
jenny: Mr. Loman. He just got off the elevator.
bernard [ getting up]: Who’s he arguing with?
jenny: Nobody. There’s nobody with him. I can’t deal
with him any more, and your father gets all upset everytime
he comes. I’ve got a lot of typing to do, and your father’s
waiting to sign it. Will you see him?
willy [entering]: Touchdown! Touch—[He sees jenny.]
Jenny, Jenny, good to see you. How’re ya? Workin’? Or still
honest?
jenny: Fine. How’ve you been feeling?

willy: Not much any more, Jenny. Ha, ha! [He is sur-
prised to see the rackets.]
bernard: Hello, Uncle Willy.
willy [almost shocked ]: Bernard! Well, look who’s here!
[He comes quickly, guiltily, to bernard and warmly shakes
his hand.]
bernard: How are you? Good to see you.
willy: What are you doing here?
bernard: Oh, just stopped by to see Pop. Get off my
feet till my train leaves. I’m going to Washington in a few
minutes.
willy: Is he in?
bernard: Yes, he’s in his office with the accountant. Sit
down.
willy [sitting down]: What’re you going to do in Wash-
ington?
bernard: Oh, just a case I’ve got there, Willy.
willy: That so? [Indicating the rackets] You going to play
tennis there?
bernard: I’m staying with a friend who’s got a court.
willy: Don’t say. His own tennis court. Must be fine
people, I bet.
bernard: They are, very nice. Dad tells me Biff ’s in
town.

willy [with a big smile]: Yeah, Biff ’s in. Working on a
very big deal, Bernard.
bernard: What’s Biff doing?
willy: Well, he’s been doing very big things in the West.
But he decided to establish himself here. Very big. We’re
having dinner. Did I hear your wife had a boy?
bernard: That’s right. Our second.
willy: Two boys! What do you know!
bernard: What kind of a deal has Biff got?
willy: Well, Bill Oliver—very big sporting-goods man
—he wants Biff very badly. Called him in from the West.
Long distance, carte blanche, special deliveries. Your friends
have their own private tennis court?
bernard: You still with the old firm, Willy?
willy [after a pause]: I’m—I’m overjoyed to see how you
made the grade, Bernard, overjoyed. It’s an encouraging
thing to see a young man really—really—Looks very good
for Biff—very—[He breaks off, then] Bernard—[He is so full
of emotion, he breaks off again.]
A C T T W O 7 1
bernard: What is it, Willy?
willy [small and alone]: What—what’s the secret?
bernard: What secret?
willy: How—how did you? Why didn’t he ever
catch on?

bernard: I wouldn’t know that, Willy.
willy [confidentially, desperately]: You were his friend, his
boyhood friend. There’s something I don’t understand about
it. His life ended after that Ebbets Field game. From the age
of seventeen nothing good ever happened to him.
bernard: He never trained himself for anything.
willy: But he did, he did. After high school he took so
many correspondence courses. Radio mechanics; television;
God knows what, and never made the slightest mark.
bernard [taking off his glasses]: Willy, do you want to talk
candidly?
willy [rising, faces bernard]: I regard you as a very bril -
liant man, Bernard. I value your advice.
bernard: Oh, the hell with the advice, Willy. I couldn’t
advise you. There’s just one thing 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-bitch ruined his life.
bernard: Yeah, but, Willy, all he had to do was to go
to summer school and make up 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 ordered him to go!
bernard: Then why wouldn’t he go?
willy: Why? Why! Bernard, that question has been trail-
ing me like a ghost for the last fifteen years. He flunked the
subject, and laid down and died like a hammer hit him!

bernard: Take it easy, kid.
willy: Let me talk to you—I got nobody to talk to.
Bernard, Bernard, was it my fault? Y’see? It keeps going
around in my mind, maybe I did something to him. I got
nothing to give him.
bernard: Don’t take it so hard.
willy: Why did he lay down? What is the story there?
You were his friend!
bernard: Willy, I remember, it was June, and our grades
came out. And he’d flunked math.
willy: That son-of-a-bitch!
bernard: No, it wasn’t right then. Biff just got very an-
gry, I remember, and he was ready to enroll in summer
school.
willy [surprised ]: He was?
bernard: He wasn’t beaten by it at all. But then, Willy,
he disappeared from the block for almost a month. And I
got the idea that he’d gone up to New England to see you.
Did he have a talk with you then?
[willy stares in silence.]
bernard: Willy?
willy [with a strong edge of resentment in his voice]: Yeah,

he came to Boston. What about it?
bernard: Well, just that when he came back—I’ll never
forget this, it always mystifies me. Because I’d thought so
well of Biff, even though he’d always taken advantage of
me. I loved him, Willy, y’know? And he came back after
that month and took his sneakers—remember those sneakers
with ‘‘University of Virginia’’ printed on them? He was so
proud of those, wore them every day. And he took them
down in the cellar, and burned them up in the furnace. We
had a fist fight. It lasted at least half an hour. Just the two
of us, punching each other down the cellar, and crying right
through it. I’ve often thought of how strange it was that I
knew he’d given up his life. What happened in Boston,
Willy?
[willy looks at him as at an intruder.]
A C T T W O 7 3
bernard: I just bring it up because you asked me.
willy [angrily]: Nothing. What do you mean, ‘‘What
happened?’’ What’s that got to do with anything?
bernard: Well, don’t get sore.
willy: What are you trying to do, blame it on me? If a
boy lays down is that my fault?
bernard: Now, Willy, don’t get—
willy: Well, don’t—don’t talk to me that way! What
does that mean, ‘‘What happened?’’
[charley enters. He is in his vest, and he carries a bottle

of bourbon.]
charley: Hey, you’re going to miss that train. [He waves
the bottle.]
bernard: Yeah, I’m going. [He takes the bottle.] Thanks,
Pop. [He picks up his rackets and bag.] Good-bye, Willy, and
don’t worry about it. You know, ‘‘If at first you don’t suc-
ceed . . .’’
willy: Yes, I believe in that.
bernard: But sometimes, Willy, it’s better for a man just
to walk away.
willy: Walk away?
bernard: That’s right.
willy: But if you can’t walk away?
bernard [after a slight pause]: I guess that’s when it’s
tough.
[Extending his hand] Good-bye, Willy.
willy [shaking bernard’s hand]: Good-bye, boy.
charley [an arm on bernard’s shoulder]: How do you
like this kid? Gonna argue a case in front of the Supreme
Court.
bernard [ protesting]: Pop!
willy [ genuinely shocked, pained, and happy]: No! The Su-
preme Court!
bernard: I gotta run. ’Bye, Dad!

charley: Knock ’em dead, Bernard!
[bernard goes off.]
willy [as charley takes out his wallet]: The Supreme
Court! And he didn’t even mention it!
charley [counting out money on the desk]: He don’t have
to—he’s gonna do it.
willy: And you never told him what to do, did you?
You never took any interest in him.
charley: My salvation is that I never took any interest
in anything. There’s some money—fifty dollars. I got an
accountant inside.
willy: Charley, look . . . [With difficulty] I got my in-
surance to pay. If you can manage it—I need a hundred and
ten dollars.
[charley doesn’t reply for a moment; merely stops moving.]
willy: I’d draw it from my bank but Linda would know,
and I . . .
charley: Sit down, Willy.
willy [moving toward the chair]: I’m keeping an account of
everything, remember. I’ll pay every penny back. [He sits.]
charley: Now listen to me, Willy.
willy: I want you to know I appreciate . . .
charley [sitting down on the table]: Willy, what’re you
doin’? What the hell is goin’ on in your head?
willy: Why? I’m simply . . .
charley: I offered you a job. You can make fifty dollars

a week. And I won’t send you on the road.
willy: I’ve got a job.
charley: Without pay? What kind of a job is a job with-
out pay? [He rises.] Now, look, kid, enough is enough. I’m
no genius but I know when I’m being insulted.
willy: Insulted!
charley: Why don’t you want to work for me?
willy: What’s the matter with you? I’ve got a job.
A C T T W O 7 5
charley: Then what’re you walkin’ in here every
week for?
willy [ getting up]: Well, if you don’t want me to walk
in here—
charley: I am offering you a job.
willy: I don’t want your goddam job!
charley: When the hell are you going to grow up?
willy [ furiously]: You big ignoramus, if you say that to
me again I’ll rap you one! I don’t care how big you are!
[He’s ready to fight.]
[Pause.]
charley [kindly, going 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 just fired.
charley: Howard fired you?
willy: That snotnose. Imagine that? I named him. I
named him Howard.
charley: Willy, when’re you gonna realize that them
things don’t mean anything? You named him Howard, but
you can’t sell that. The only thing you got in this world is
what you can sell. And the funny thing is that you’re a
salesman, and you don’t know that.
willy: I’ve always tried to think otherwise, I guess. I
always felt that if a man was impressive, and well liked, that
nothing—
charley: Why must everybody like you? Who liked
J. P. Morgan? Was he impressive? In a Turkish bath he’d
look like a butcher. But with his pockets on he was very
well liked. Now listen, Willy, I know you don’t like me,
and nobody can say I’m in love with you, but I’ll give you
a job because—just for the hell of it, put it that way. Now
what do you say?
willy: I—I just can’t work for you, Charley.
charley: What’re you, jealous of me?
willy: I can’t work for you, that’s all, don’t ask me why.
charley [angered, takes out more bills]: You been jealous
of me all your life, you damned fool! Here, pay your insur-
ance. [He puts the money in willy’s hand.]

willy: I’m keeping strict accounts.
charley: I’ve got some work to do. Take care of your-
self. And pay your insurance.
willy [moving to the right]: Funny, y’know? After all the
highways, and the trains, and the appointments, and the
years, you end up worth more dead than alive.
charley: Willy, nobody’s worth nothin’ dead. [After a
slight pause] Did you hear what I said?
[willy stands still, dreaming.]
charley: Willy!
willy: Apologize to Bernard for me when you see him.
I didn’t mean to argue with him. He’s a fine boy. They’re
all fine 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 friend
I got. Isn’t that a remarkable thing? [He goes out.]
charley: Jesus!
[charley stares after him a moment and follows. All light
blacks out. Suddenly raucous music is heard, and a red glow
rises behind the screen at right. stanley, a young waiter,
appears, carrying a table, followed by happy, who is carrying
two chairs.]
stanley [ putting the table down]: That’s all right, Mr. Lo-
man, I can handle it myself. [He turns and takes the chairs from
happy and places them at the table.]

happy [ glancing around]: Oh, this is better.
stanley: Sure, in the front there you’re in the middle of
A C T T W O 7 7
all kinds a noise. Whenever you got a party, Mr. Loman,
you just tell me and I’ll put you back here. Y’know, there’s
a lotta people they don’t like it private, because when they
go out they like to see a lotta action around them because
they’re sick and tired to stay in the house by theirself. But
I know you, you ain’t from Hackensack. You know what I
mean?
happy [sitting down]: So how’s it coming, Stanley?
stanley: Ah, it’s a dog’s life. I only wish during the war
they’d a took me in the Army. I coulda been dead by now.
happy: My brother’s back, Stanley.
stanley: Oh, he come back, heh? From the Far West.
happy: Yeah, big cattle man, my brother, so treat him
right. And my father’s coming too.
stanley: Oh, your father too!
happy: You got a couple of nice lobsters?
stanley: Hundred percent, big.
happy: I want them with the claws.
stanley: Don’t worry, I don’t give you no mice. [happy
laughs.] How about some wine? It’ll put a head on the meal.
happy: No. You remember, Stanley, that recipe I brought
you from overseas? With the champagne in it?
stanley: Oh, yeah, sure. I still got it tacked up yet in

the kitchen. But that’ll have to cost a buck apiece anyways.
happy: That’s all right.
stanley: What’d you, hit a number or somethin’?
happy: No, it’s a little celebration. My brother is—I think
he pulled off a big deal today. I think we’re going into busi -
ness together.
stanley: Great! That’s the best for you. Because a family
business, you know what I mean?—that’s the best.
happy: That’s what I think.
stanley: ’Cause what’s the difference? Somebody steals?
It’s in the family. Know what I mean? [Sotto voce] Like this
bartender here. The boss is goin’ crazy what kinda leak he’s
got in the cash register. You put it in but it don’t come out.
happy [raising his head ]: Sh!
stanley: What?
happy: You notice I wasn’t lookin’ right or left, was I?
stanley: No.
happy: And my eyes are closed.
stanley: So what’s the—?
happy: Strudel’s comin’.
stanley [catching on, looks around ]: Ah, no, there’s no—
[He breaks off as a furred, lavishly dressed girl enters and sits
at the next table. Both follow her with their eyes.]
stanley: Geez, how’d ya know?
happy: I got radar or something. [Staring directly at her

profile] Oooooooo . . . Stanley.
stanley: I think that’s for you, Mr. Loman.
happy: Look at that mouth. Oh, God. And the binoc-
ulars.
stanley: Geez, you got a life, Mr. Loman.
happy: Wait on her.
stanley [ going to the girl’s table]: Would you like a menu,
ma’am?
girl: I’m expecting someone, but I’d like a—
happy: Why don’t you bring her—excuse me, miss, do
you mind? I sell champagne, and I’d like you to try my
brand. Bring her a champagne, Stanley.
girl: That’s awfully nice of you.
happy: Don’t mention it. It’s all company money. [He
laughs.]
girl: That’s a charming product to be selling, isn’t it?
happy: Oh, gets to be like everything else. Selling is sell -
ing, y’know.
girl: I suppose.
happy: You don’t happen to sell, do you?
A C T T W O 7 9
girl: No, I don’t sell.
happy: Would you object to a compliment from a
stranger? You ought to be on a magazine cover.

girl [looking at him a little archly]: I have been.
[stanley comes in with a glass of champagne.]
happy: What’d I say before, Stanley? You see? She’s a
cover girl.
stanley: Oh, I could see, I could see.
happy [to the girl]: What magazine?
girl: Oh, a lot of them. [She takes the drink.] Thank you.
happy: You know what they say in France, don’t you?
‘‘Champagne is the drink of the complexion’’—Hya, Biff !
[biff has entered and sits with happy.]
biff: Hello, kid. Sorry I’m late.
happy: I just 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 familiar with football?
girl: No, I’m afraid I’m not.
happy: Biff is quarterback with the New York Giants.
girl: Well, that is nice, isn’t it? [She drinks.]
happy: Good health.
girl: I’m happy to meet you.
happy: That’s my name. Hap. It’s really Harold, but at
West Point they called me Happy.
girl [now really impressed ]: Oh, I see. How do you do?
[She turns her profile.]
biff: Isn’t Dad coming?
happy: You want her?
biff: Oh, I could never make that.

happy: I remember the time that idea would never come
into your head. Where’s the old confidence, Biff ?
biff: I just saw Oliver—
happy: Wait a minute. I’ve got to see that old confidence
again. Do you want her? She’s on call.
biff: Oh, no. [He turns to look at the girl.]
happy: I’m telling you. Watch this. [Turning to the girl]
Honey? [She turns to him.] Are you busy?
girl: Well, I am . . . but I could make a phone call.
happy: Do that, will you, honey? And see if you can get
a friend. We’ll be here for a while. Biff is one of the greatest
football players in the country.
girl [standing up]: Well, I’m certainly happy to meet you.
happy: Come back soon.
girl: I’ll try.
happy: Don’t try, honey, try hard.
[The girl exits. stanley follows, shaking his head in be-
wildered admiration.]
happy: Isn’t that a shame now? A beautiful girl like that?
That’s why I can’t get married. There’s not a good woman
in a thousand. New York is loaded with them, kid!
biff: Hap, look—
happy: I told you she was on call!
biff [strangely unnerved ]: Cut it out, will ya? I want to say

something to you.
happy: Did you see Oliver?
biff: I saw him all right. Now look, I want to tell Dad a
couple of things and I want you to help me.
happy: What? Is he going to back you?
biff: Are you crazy? You’re out of your goddam head,
you know that?
happy: Why? What happened?
biff [breathlessly]: I did a terrible thing today, Hap. It’s
been the strangest day I ever went through. I’m all numb, I
swear.
A C T T W O 8 1
happy: You mean he wouldn’t see you?
biff: Well, I waited six hours for him, see? All day. Kept
sending my name in. Even tried to date his secretary so she’d
get me to him, but no soap.
happy: Because you’re not showin’ the old confidence,
Biff. He remembered you, didn’t he?
biff [stopping happy with a gesture]: Finally, about five
o’clock, he comes out. Didn’t remember who I was or any-
thing. I felt like such an idiot, Hap.
happy: Did you tell him my Florida idea?
biff: He walked away. I saw him for one minute. I got

so mad I could’ve torn the walls down! How the hell did I
ever get the idea I was a salesman there? I even believed
myself that I’d been a salesman for him! And then he gave
me one look and—I realized what a ridiculous lie my whole
life has been. We’ve been talking in a dream for fifteen years.
I was a shipping clerk.
happy: What’d you do?
biff [with great tension and wonder]: Well, he left, see. And
the secretary went out. I was all alone in the waiting-room.
I don’t know what came over me, Hap. The next thing I
know I’m in his office—paneled walls, everything. I can’t
explain it. I—Hap, I took his fountain pen.
happy: Geez, did he catch you?
biff: I ran out. I ran down all eleven flights. I ran and
ran and ran.
happy: That was an awful dumb—what’d you do that
for?
biff [agonized ]: I don’t know, I just—wanted to take
something, 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 understand that I’m not the man
somebody lends that kind of money to. He thinks I’ve been
spiting him all these years and it’s eating him up.

happy: That’s just it. You tell him something nice.
biff: I can’t.
happy: Say you got a lunch date with Oliver tomorrow.
biff: So what do I do tomorrow?
happy: You leave the house tomorrow and come back at
night and say Oliver is thinking it over. And he thinks it
over for a couple of weeks, and gradually it fades away and
nobody’s the worse.
biff: But it’ll go on for ever!
happy: Dad is never so happy as when he’s looking for-
ward to something!
[willy enters.]
happy: Hello, scout!
willy: Gee, I haven’t been here in years!
[stanley has followed willy in and sets a chair for him.
stanley starts off but happy stops him.]
happy: Stanley!
[stanley stands by, waiting for an order.]
biff [ going to willy with guilt, as to an invalid ]: Sit down,
Pop. You want a drink?
willy: Sure, I don’t mind.
biff: Let’s get a load on.
willy: You look worried.
biff: N-no. [To stanley] Scotch all around. Make it
doubles.
stanley: Doubles, right. [He goes.]
willy: You had a couple already, didn’t you?
biff: Just a couple, yeah.
willy: Well, what happened, boy? [Nodding affirmatively,

with a smile] Everything go all right?
biff [takes a breath, then reaches out and grasps willy’s
hand ]: Pal . . . [He is smiling bravely, and willy is smiling too.]
I had an experience today.
happy: Terrific, Pop.
A C T T W O 8 3
willy: That so? What happened?
biff [high, slightly alcoholic, above the earth]: I’m going to
tell you everything from first to last. It’s been a strange day.
[Silence. He looks around, composes himself as best he can, but
his
breath keeps breaking the rhythm of his voice.] I had to w ait
quite
a while for him, and—
willy: Oliver?
biff: Yeah, Oliver. All day, as a matter of cold fact. And
a lot of—instances—facts, Pop, facts about my life came
back to me. Who was it, Pop? Who ever said I was a sales-
man with Oliver?
willy: Well, you were.
biff: No, Dad, I was a shipping clerk.
willy: But you were practically—
biff [with determination]: Dad, I don’t know who said it
first, but I was never a salesman for Bill Oliver.
willy: What’re you talking about?

biff: Let’s hold on to the facts tonight, Pop. We’re not
going to get anywhere bullin’ around. I was a shipping clerk.
willy [angrily]: All right, now listen to me—
biff: Why don’t you let me finish?
willy: I’m not interested in stories about the past or any
crap of that kind because the woods are burning, boys, you
understand? There’s a big blaze going on all around. I was
fired today.
biff [shocked ]: How could you be?
willy: I was fired, and I’m looking for a little good news
to tell your mother, because the woman has waited and the
woman has suffered. The gist of it is that I haven’t got a
story left in my head, Biff. So don’t give me a lecture about
facts and aspects. I am not interested. Now what’ve you got
to say to me?
[stanley enters with three drinks. They wait until he
leaves.]
willy: Did you see Oliver?
biff: Jesus, Dad!
willy: You mean you didn’t go up there?
happy: Sure he went up there.
biff: I did. I—saw him. How could they fire you?
willy [on the edge of his chair]: What kind of a welcome
did he give you?
biff: He won’t even let you work on commission?

willy: I’m out! [Driving] So tell me, he gave you a warm
welcome?
happy: Sure, Pop, sure!
biff [driven]: Well, it was kind of—
willy: I was wondering if he’d remember you. [To
happy] Imagine, man doesn’t see him for ten, twelve years
and gives him that kind of a welcome!
happy: Damn right!
biff [trying to return to the offensive]: Pop, look—
willy: You know why he remembered you, don’t you?
Because you impressed him in those days.
biff: Let’s talk quietly and get this down to the facts, huh?
willy [as though biff had been interrupting]: Well, what
happened? It’s great news, Biff. Did he take you into his
office or’d you talk in the waiting-room?
biff: Well, he came in, see, and—
willy [with a big smile]: What’d he say? Betcha he threw
his arm around you.
biff: Well, he kinda—
willy: He’s a fine man. [To happy] Very hard man to
see, y’know.
happy [agreeing]: Oh, I know.
willy [to biff]: Is that where you had the drinks?
biff: Yeah, he gave me a couple of—no, no!
happy [cutting in]: He told him my Florida idea.
willy: Don’t interrupt. [To biff] How’d he react to the
Florida idea?

A C T T W O 8 5
biff: Dad, will you give me a minute to explain?
willy: I’ve been waiting for you to explain since I sat
down here! What happened? He took you into his office
and what?
biff: Well—I talked. And—and he listened, see.
willy: Famous for the way he listens, y’know. What was
his answer?
biff: His answer was—[He breaks off, suddenly angry.]
Dad, you’re not letting me tell you what I want to tell
you!
willy [accusing, angered ]: You didn’t see him, did you?
biff: I did see him!
willy: What’d you insult him or something? You in-
sulted him, didn’t you?
biff: Listen, will you let me out of it, will you just let me
out of it!
happy: What the hell!
willy: Tell me what happened!
biff [to happy]: I can’t talk to him!
[A single trumpet note jars the ear. The light of green leaves
stains the house, which holds the air of night and a dream.
young bernard enters and knocks on the door of the
house.]
young bernard [ frantically]: 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 talking about?
young bernard: Mrs. Loman, Mrs. Loman!
[linda appears in the house, as of old.]
willy [wildly]: Math, math, math!
biff: Take it easy, Pop!
young bernard: Mrs. Loman!
willy [ furiously]: 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 going to listen to me.
young bernard: Mrs. Loman!
biff: I waited six hours—
happy: What the hell are you saying?
biff: I kept sending in my name but he wouldn’t see me.
So finally he . . . [He continues unheard as light fades low on
the
restaurant.]
young bernard: Biff flunked math!
linda: No!
young bernard: Birnbaum flunked him! They won’t
graduate him!
linda: But they have to. He’s gotta go to the university.

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 in Boston?
linda: Oh, maybe Willy can talk to the teacher. Oh, the
poor, poor boy!
[Light on house area snaps out.]
biff [at the table, now audible, holding up a gold fountain pen]:
. . . so I’m washed up with Oliver, you understand? Are
you listening to me?
willy [at a loss]: Yeah, sure. If you hadn’t flunked—
biff: Flunked what? What’re you talking about?
willy: Don’t blame everything on me! I didn’t flunk
math—you did! What pen?
happy: That was awful dumb, Biff, a pen like that is
worth—
willy [seeing the pen for the first time]: You took Oli -
ver’s pen?
biff [weakening]: Dad, I just explained it to you.
willy: You stole Bill Oliver’s fountain pen!
biff: I didn’t exactly steal it! That’s just what I’ve been
explaining to you!
A C T T W O 8 7
happy: He had it in his hand and just then Oliver walked
in, so he got nervous and stuck it in his pocket!

willy: My God, Biff !
biff: I never intended to do it, Dad!
operator’s voice: Standish Arms, good evening!
willy [shouting]: I’m not in my room!
biff [ frightened ]: Dad, what’s the matter? [He and happy
stand up.]
operator: Ringing Mr. Loman for you!
willy: I’m not there, stop it!
biff [horrified, gets down on one knee before willy]: Dad, I’ll
make good, I’ll make good. [willy tries to get to his feet. biff
holds him down.] Sit down now.
willy: No, you’re no good, you’re no good for anything.
biff: I am, Dad, I’ll find something else, you understand?
Now don’t worry about anything. [He holds up willy’s face.]
Talk to me, Dad.
operator: Mr. Loman does not answer. Shall I page him?
willy [attempting to stand, as though to rush and silence the
operator]: No, no, no!
happy: He’ll strike something, Pop.
willy: No, no . . .
biff [desperately, standing over willy]: Pop, listen! Listen to
me! I’m telling you something good. Oliver talked to his
partner about the Florida idea. You listening? He—he talked
to his partner, and he came to me . . . I’m going to be all
right, you hear? Dad, listen to me, he said it was just a
question of the amount!
willy: Then you . . . got it?

happy: He’s gonna be terrific, Pop!
willy [trying to stand ]: Then you got it, haven’t you? You
got it! You got it!
biff [agonized, holds willy down]: No, no. Look, Pop. I’m
supposed to have lunch with them tomorrow. I’m just telling
you this so you’ll know that I can still make an impression,
Pop. And I’ll make good somewhere, but I can’t go to-
morrow, see?
willy: Why not? You simply—
biff: But the pen, Pop!
willy: You give it to him and tell him it was an
oversight!
happy: Sure, have lunch tomorrow!
biff: I can’t say that—
willy: You were doing a crossword puzzle and acciden-
tally used his pen!
biff: Listen, kid, I took those balls years ago, now I walk
in with his fountain pen? That clinches it, don’t you see? I
can’t face him like that! I’ll try elsewhere.
page’s voice: Paging Mr. Loman!
willy: Don’t you want to be anything?
biff: Pop, how can I go back?
willy: You don’t want to be anything, is that what’s

behind it?
biff [now angry at willy for not crediting his sympathy]:
Don’t take it that way! You think it was easy walking into
that office after what I’d done to him? A team of horses
couldn’t have dragged me back to Bill Oliver!
willy: Then why’d you go?
biff: Why did I go? Why did I go! Look at you! Look
at what’s become of you!
[Off left, the woman laughs.]
willy: Biff, you’re going to go to that lunch tomor-
row, or—
biff: I can’t go. I’ve got no appointment!
happy: Biff, for . . . !
willy: Are you spiting me?
biff: Don’t take it that way! Goddammit!
willy [strikes biff and falters away from the table]: You rot-
ten little louse! Are you spiting me?
A C T T W O 8 9
the woman: Someone’s at the door, Willy!
biff: I’m no good, can’t you see what I am?
happy [separating them]: Hey, you’re in a restaurant! Now
cut it out, both of you! [The girls enter.] Hello, girls, sit down.
[the woman laughs, off left.]
miss forsythe: I guess we might as well. This is Letta.
the woman: Willy, are you going to wake up?
biff [ignoring willy]: How’re ya, miss, sit down. What

do you drink?
miss forsythe: Letta might not be able to stay long.
letta: I gotta get up very early tomorrow. I got jury
duty. I’m so excited! Were you fellows ever on a jury?
biff: No, but I been in front of them! [The girls laugh.]
This is my father.
letta: Isn’t he cute? Sit down with us, Pop.
happy: Sit him down, Biff !
biff [ going to him]: Come on, slugger, drink us under the
table. To hell with it! Come on, sit down, pal.
[On biff’s last insistence, willy is about to sit.]
the woman [now urgently]: Willy, are you going to an-
swer the door!
[the woman’s call pulls willy back. He starts right, be-
fuddled.]
biff: Hey, where are you going?
willy: Open the door.
biff: The door?
willy: The washroom . . . the door . . . where’s the
door?
biff [leading willy to the left]: Just go straight down.
[willy moves left.]
the woman: Willy, Willy, are you going to get up,
get up, get up, get up?
[willy exits left.]
letta: I think it’s sweet you bring your daddy along.

miss forsythe: Oh, he isn’t really your father!
biff [at left, turning to her resentfully]: Miss Forsythe, you’ve
just seen a prince walk by. A fine, troubled prince. A hard-
working, unappreciated prince. A pal, you understand? A
good companion. Always for his boys.
letta: That’s so sweet.
happy: Well, girls, what’s the program? We’re wasting
time. Come on, Biff. Gather round. Where would you like
to go?
biff: Why don’t you do something for him?
happy: Me!
biff: Don’t you give a damn for him, Hap?
happy: What’re you talking about? I’m the one who—
biff: I sense it, you don’t give a good goddam about him.
[He takes the rolled-up hose from his pocket and puts it on the
table in front of happy.] Look what I found in the cellar, for
Christ’s sake. How can you bear to let it go on?
happy: Me? Who goes away? Who runs off and—
biff: Yeah, but he doesn’t mean anything to you. You
could help him—I can’t. Don’t you understand what I’m
talking about? He’s going to kill himself, don’t you know
that?
happy: Don’t I know it! Me!
biff: Hap, help him! Jesus . . . help him . . . Help me,
help me, I can’t bear to look at his face! [Ready to weep, he

hurries out, up right.]
happy [starting after him]: Where are you going?
miss forsythe: What’s he so mad about?
happy: Come on, girls, we’ll catch up with him.
miss forsythe [as happy pushes her out]: Say, I don’t like
that temper of his!
happy: He’s just a little overstrung, he’ll be all right!
willy [off left, as the woman laughs]: Don’t answer!
Don’t answer!
A C T T W O 9 1
letta: Don’t you want to tell your father—
happy: No, that’s not my father. He’s just a guy. Come
on, we’ll catch Biff, and, honey, we’re going to paint this
town! Stanley, where’s the check! Hey, Stanley!
[They exit. stanley looks toward left.]
stanley [calling to happy indignantly]: Mr. Loman! Mr.
Loman!
[stanley picks up a chair and follows them off. Knocking
is heard off left. the woman enters, laughing. willy fol-
lows her. She is in a black slip; he is buttoning his shirt.
Raw, sensuous music accompanies their speech.]
willy: Will you stop laughing? Will you stop?
the woman: Aren’t you going to answer the door? He’ll
wake the whole hotel.
willy: I’m not expecting anybody.

the woman: Whyn’t you have another drink, honey,
and stop being so damn self-centered?
willy: I’m so lonely.
the woman: You know you ruined me, Willy? From
now on, whenever you come to the office, I’ll see that you
go right through to the buyers. No waiting at my desk any
more, Willy. You ruined me.
willy: That’s nice of you to say that.
the woman: Gee, you are self-centered! Why so sad?
You are the saddest, self-centeredest soul I ever did see-saw.
[She laughs. He kisses her.] Come on inside, drummer boy.
It’s silly to be dressing in the middle of the night. [As knock-
ing is heard ] Aren’t you going to answer the door?
willy: They’re knocking on the wrong door.
the woman: But I felt the knocking. And he heard us
talking in here. Maybe the hotel’s on fire!
willy [his terror rising]: It’s a mistake.
the woman: Then tell him to go away!
willy: There’s nobody there.
the woman: It’s getting on my nerves, Willy. There’s
somebody standing out there and it’s getting on my nerves!
willy [ pushing her away from him]: All right, stay in the
bathroom here, and don’t come out. I think there’s a law in
Massachusetts about it, so don’t come out. It may be that

new room clerk. He looked very mean. So don’t come out.
It’s a mistake, there’s no fire.
[The knocking is heard again. He takes a few steps away
from her, and she vanishes into the wing. The light follows
him, and now he is facing young biff, who carries a suit-
case. biff steps toward him. The music is gone.]
biff: Why didn’t you answer?
willy: Biff ! What are you doing in Boston?
biff: Why didn’t you answer? I’ve been knocking for five
minutes, I called you on the phone—
willy: I just heard you. I was in the bathroom and had
the door shut. Did anything happen home?
biff: Dad—I let you down.
willy: What do you mean?
biff: Dad . . .
willy: Biffo, what’s this about? [Putting his arm around
biff] Come on, let’s go downstairs and get you a malted.
biff: Dad, I flunked math.
willy: Not for the term?
biff: The term. I haven’t got enough credits 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 points?
biff: Birnbaum refused absolutely. I begged him, Pop, but
he won’t give me those points. You gotta talk to him before
they close the school. Because if he saw the kind of man
you are, and you just talked to him in your way, I’m sure
he’d come through for me. The class came right before prac-

A C T T W O 9 3
tice, see, and I didn’t go enough. Would you talk to him?
He’d like you, Pop. You know the way you could talk.
willy: You’re on. We’ll drive right back.
biff: Oh, Dad, good work! I’m sure he’ll change it
for you!
willy: Go downstairs and tell the clerk I’m checkin’ out.
Go right down.
biff: Yes, sir! See, the reason he hates me, Pop—one day
he was late for class so I got up at the blackboard and imi-
tated him. I crossed my eyes and talked with a lithp.
willy [laughing]: You did? The kids like it?
biff: They nearly died laughing!
willy: Yeah? What’d you do?
biff: The thquare root of thixthy twee is . . . [willy bursts
out laughing; biff joins him.] And in the middle of it he
walked in!
[willy laughs and the woman joins in offstage.]
willy [without hesitation]: Hurry downstairs and—
biff: Somebody in there?
willy: No, that was next door.
[the woman laughs offstage.]
biff: Somebody got in your bathroom!
willy: No, it’s the next room, there’s a party—
the woman [enters, laughing. She lisps this]: Can I come

in? There’s something in the bathtub, Willy, and it’s moving!
[willy looks at biff, who is staring open-mouthed and hor-
rified at the woman.]
willy: Ah—you better go back to your room. They
must be finished painting by now. They’re painting her
room so I let her take a shower here. Go back, go back . . .
[He pushes her.]
the woman [resisting]: But I’ve got to get dressed, Willy,
I can’t—
willy: Get out of here! Go back, go back . . . [Suddenly
striving for the ordinary] This is Miss Francis, Biff, she’s a
buyer.
They’re painting her room. Go back, Miss Francis, go
back . . .
the woman: But my clothes, I can’t go out naked in the
hall!
willy [ pushing her offstage]: Get outa here! Go back, go
back!
[biff slowly sits down on his suitcase as the argument con-
tinues offstage.]
the woman: Where’s my stockings? You promised me
stockings, Willy!
willy: I have no stockings here!
the woman: You had two boxes of size nine sheers for

me, and I want them!
willy: Here, for God’s sake, will you get outa here!
the woman [enters holding a box of stockings]: I just hope
there’s nobody in the hall. That’s all I hope. [To biff] Are
you football or baseball?
biff: Football.
the woman [angry, humiliated ]: That’s me too. G’night.
[She snatches her clothes from willy, and walks out.]
willy [after a pause]: Well, better get going. I want to get
to the school first thing in the morning. Get my suits out
of the closet. I’ll get my valise. [biff doesn’t move.] What’s
the matter? [biff remains motionless, tears falling.] She’s a
buyer. Buys for J. H. Simmons. She lives down the hall—
they’re painting. You don’t imagine—[He breaks off. After a
pause] Now listen, pal, she’s just a buyer. She sees merchan-
dise in her room and they have to keep it looking just so
. . . [Pause. Assuming command ] All right, get my suits. [biff
doesn’t move.] Now stop crying and do as I say. I gave you
an order. Biff, I gave you an order! Is that what you do
when I give you an order? How dare you cry? [Putting his
arm around biff] Now look, Biff, when you grow up you’ll
A C T T W O 9 5
understand about these things. You mustn’t—you mustn’t
overemphasize a thing like this. I’ll see Birnbaum first thing
in the morning.
biff: Never mind.

willy [ getting down beside biff]: Never mind! He’s going
to give you those points. I’ll see to it.
biff: He wouldn’t listen to you.
willy: He certainly will listen to me. You need those
points for the U. of Virginia.
biff: I’m not going there.
willy: Heh? If I can’t get him to change that mark you’ll
make it up in summer school. You’ve got all summer to—
biff [his weeping breaking from him]: Dad . . .
willy [infected by it]: Oh, my boy . . .
biff: Dad . . .
willy: She’s nothing to me, Biff. I was lonely, I was
terribly lonely.
biff: You—you gave her Mama’s stockings! [His tears
break through and he rises to go.]
willy [ grabbing for biff]: I gave you an order!
biff: Don’t touch me, you—liar!
willy: Apologize for that!
biff: You fake! You phony little fake! You fake! [Overcome,
he turns quickly and weeping fully goes out with his suitcase.
willy
is left on the floor on his knees.]
willy: I gave you an order! Biff, come back here or I’ll
beat you! Come back here! I’ll whip you!
[stanley comes quickly in from the right and stands in front
of willy.]
willy [shouts at stanley]: I gave you an order . . .
stanley: Hey, let’s pick it up, pick it up, Mr. Loman.

[He helps willy to his feet.] Your boys left with the chippies.
They said they’ll see you home.
[A second waiter watches some distance away.]
willy: But we were supposed to have dinner together.
[Music is heard, willy’s theme.]
stanley: Can you make it?
willy: I’ll—sure, I can make it. [Suddenly concerned about
his clothes.] Do I—I look all right?
stanley: Sure, you look all right. [He flicks a speck off
willy’s lapel.]
willy: Here—here’s a dollar.
stanley: Oh, your son paid me. It’s all right.
willy [ putting it in stanley’s hand ]: No, take it. You’re
a good boy.
stanley: Oh, no, you don’t have to . . .
willy: Here—here’s some more. I don’t need it any
more. [After a slight pause] Tell me—is there a seed store in
the neighborhood?
stanley: Seeds? You mean like to plant?
[As willy turns, stanley slips the money back into his
jacket pocket.]
willy: Yes. Carrots, peas . . .
stanley: Well, there’s hardware stores on Sixth Avenue,

but it may be too late now.
willy [anxiously]: Oh, I’d better hurry. I’ve got to get
some seeds. [He starts off to the right.] I’ve got to get some
seeds, right away. Nothing’s planted. I don’t have a thing in
the ground.
[willy hurries out as the light goes down. stanley moves
over to the right after him, watches him off. The other waiter
has been staring at willy.]
stanley [to the waiter]: Well, whatta you looking at?
[The waiter picks up the chairs and moves off right. stanley
takes the table and follows him. The light fades on this area.
There is a long pause, the sound of the flute coming over.
The light gradually rises on the kitchen, which is empty.
happy appears at the door of the house, followed by biff.
A C T T W O 9 7
happy is carrying a large bunch of long-stemmed roses. He
enters the kitchen, looks around for linda. Not seeing her,
he turns to biff, who is just outside the house door, and
makes a gesture with his hands, indicating ‘‘Not here, I
guess.’’ He looks into the living-room and freezes. Inside,
linda, unseen, is seated, willy’s coat on her lap. She rises
ominously and quietly and moves toward happy, who backs
up into the kitchen, afraid.]
happy: Hey, what’re you doing up? [linda says nothing
but moves toward him implacably.] Where’s Pop? [He keeps
back-
ing to the right, and now linda is in full view in the doorway to
the living-room.] Is he sleeping?

linda: Where were you?
happy [trying to laugh it off ]: We met two girls, Mom,
very fine types. Here, we brought you some flowers. [Of-
fering them to her ] Put them in your room, Ma.
[She knocks them to the floor at biff’s feet. He has now
come inside and closed the door behind him. She stares at
biff, silent.]
happy: Now what’d you do that for? Mom, I want you
to have some flowers—
linda [cutting happy off, violently to biff]: Don’t you care
whether he lives or dies?
happy [ going to the stairs]: Come upstairs, Biff.
biff [with a flare of disgust, to happy]: Go away from me!
[To linda] What do you mean, lives or dies? Nobody’s dy-
ing around here, pal.
linda: Get out of my sight! Get out of here!
biff: I wanna see the boss.
linda: You’re not going near him!
biff: Where is he? [He moves into the living-room and linda
follows.]
linda [shouting after biff]: You invite him to dinner. He
looks forward to it all day—[biff appears in his parents’ bed-
room, looks around, and exits]—and then you desert him there.

There’s no stranger you’d do that to!
happy: Why? He had a swell time with us. Listen, when
I—[linda comes back into the kitchen]—desert 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 lousy rotten whores!
[biff reenters the kitchen.]
happy: Mom, all we did was follow Biff around trying to
cheer him up! [To biff] Boy, what a night you gave me!
linda: Get out of here, both of you, and don’t come
back! I don’t want you tormenting him any more. Go on
now, get your things together! [To biff] You can sleep in
his apartment. [She starts to pick up the flowers and stops
herself.]
Pick up this stuff, I’m not your maid any more. Pick it up,
you bum, you!
[happy turns his back to her in refusal. biff slowly moves
over and gets down on his knees, picking up the flowers.]
linda: You’re a pair of animals! Not one, not another
living soul would have had the cruelty to walk out on that
man in a restaurant!
biff [not looking at her ]: Is that what he said?
linda: He didn’t have to say anything. He was so hu-
miliated he nearly limped when he came in.
happy: But, Mom, he had a great time with us—

biff [cutting him off violently]: Shut up!
[Without another word, happy goes upstairs.]
linda: You! You didn’t even go in to see if he was all
right!
biff [still on the floor in front of linda, the flowers in his hand;
with self-loathing]: No. Didn’t. Didn’t do a damned thing.
How do you like that, heh? Left him babbling in a toilet.
A C T T W O 9 9
linda: You louse. You . . .
biff: Now you hit it on the nose! [He gets up, throws the
flowers in the wastebasket.] The scum of the earth, and you’re
looking at him!
linda: Get out of here!
biff: I gotta talk to the boss, Mom. Where is he?
linda: You’re not going near him. Get out of this house!
biff [with absolute assurance, determination]: No. We’re
gonna have an abrupt conversation, him and me.
linda: You’re not talking to him!
[Hammering is heard from outside the house, off right. biff
turns toward the noise.]
linda [suddenly pleading]: Will you please leave him alone?
biff: What’s he doing out there?
linda: He’s planting the garden!
biff [quietly]: Now? Oh, my God!
[biff moves outside, linda following. The light dies down
on them and comes up on the center of the apron as willy
walks into it. He is carrying a flashlight, a hoe, and a handful

of seed packets. He raps the top of the hoe sharply to fix it
firmly, and then moves to the left, measuring off the distance
with his foot. He holds the flashlight to look at the seed
packets, reading off the instructions. He is in the blue of
night.]
willy: Carrots . . . quarter-inch apart. Rows . . . one-
foot rows. [He measures it off.] One foot. [He puts down a
package and measures off.] Beets. [He puts down another
package
and measures again.] Lettuce. [He reads the package, puts it
down.] One foot—[He breaks off as ben appears at the right and
moves slowly down to him.] What a proposition, ts, ts. Terrific,
terrific. ’Cause she’s suffered, Ben, the woman has suffered.
You understand me? A man can’t go out the way he came
in, Ben, a man has got to add up to something. You can’t,
you can’t—[ben moves toward him as though to interrupt.] You
D E A T H O F A S A L E S M A N1 0 0
gotta consider, now. Don’t answer so quick. Remember, it’s
a guaranteed twenty-thousand-dollar proposition. Now
look, Ben, I want you to go through the ins and outs of this
thing with me. I’ve got nobody to talk to, Ben, and the
woman has suffered, you hear me?
ben [standing still, considering]: What’s the proposition?
willy: It’s twenty thousand dollars on the barrelhead.
Guaranteed, gilt-edged, you understand?
ben: You don’t want to make a fool of yourself. They
might not honor the policy.
willy: How can they dare refuse? Didn’t I work like a

coolie to meet every premium on the nose? And now they
don’t pay off ? Impossible!
ben: It’s called a cowardly thing, William.
willy: Why? Does it take more guts to stand here the
rest of my life ringing up a zero?
ben [ yielding]: That’s a point, William. [He moves, thinking,
turns.] And twenty thousand—that is something one can feel
with the hand, it is there.
willy [now assured, with rising power]: Oh, Ben, that’s the
whole beauty of it! I see it like a diamond, shining in the
dark, hard and rough, that I can pick up and touch in my
hand. Not like—like an appointment! This would not be
another damned-fool appointment, Ben, and it changes all
the aspects. Because he thinks I’m nothing, see, and so he
spites me. But the funeral—[Straightening up] Ben, that fu-
neral will be massive! They’ll come from Maine, Massachu-
setts, Vermont, New Hampshire! All the old-timers with the
strange license plates—that boy will be thunderstruck, Ben,
because he never realized—I am known! Rhode Island,
New York, New Jersey—I am known, Ben, and he’ll see it
with his eyes once and for all. He’ll see what I am, Ben!
He’s in for a shock, that boy!
ben [coming down to the edge of the garden]: He’ll call you a
coward.
A C T T W O 1 0 1
willy [suddenly fearful ]: No, that would be terrible.

ben: Yes. And a damned fool.
willy: No, no, he mustn’t, I won’t have that! [He is
broken and desperate.]
ben: He’ll hate you, William.
[The gay music of the boys is heard.]
willy: Oh, Ben, how do we get back to all the great
times? Used to be so full of light, and comradeship, the
sleigh-riding in winter, and the ruddiness on his cheeks. And
always some kind of good news coming up, always some-
thing nice coming up ahead. And never even let me carry
the valises in the house, and simonizing, simonizing that little
red car! Why, why can’t I give him something and not have
him hate me?
ben: Let me think about it. [He glances at his watch.] I still
have a little time. Remarkable proposition, but you’ve got
to be sure you’re not making a fool of yourself.
[ben drifts off upstage and goes out of sight. biff comes down
from the left.]
willy [suddenly conscious of biff, turns and looks up at him,
then begins picking up the packages of seeds in confusion]:
Where
the hell is that seed? [Indignantly] You can’t see nothing out
here! They boxed in the whole goddam neighborhood!
biff: There are people all around here. Don’t you realize
that?
willy: I’m busy. Don’t bother me.
biff [taking the hoe from willy]: I’m saying good-bye to
you, Pop. [willy looks at him, silent, unable to move.] I’m not

coming back any more.
willy: You’re not going to see Oliver tomorrow?
biff: I’ve got no appointment, Dad.
willy: He put his arm around you, and you’ve got no
appointment?
biff: Pop, get this now, will you? Everytime I’ve left it’s
been a fight that sent me out of here. Today I realized some-
thing about myself and I tried to explain it to you and I—
I think I’m just not smart enough to make any sense out of
it for you. To hell with whose fault it is or anything like
that. [He takes willy’s arm.] Let’s just wrap it up, heh?
Come on in, we’ll tell Mom. [He gently tries to pull willy to
left.]
willy [ frozen, immobile, with guilt in his voice]: No, I don’t
want to see her.
biff: Come on! [He pulls again, and willy tries to pull
away.]
willy [highly nervous]: No, no, I don’t want to see her.
biff [tries to look into willy’s face, as if to find the answer
there]: Why don’t you want 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 calling you yellow, do you? This isn’t your

fault; it’s me, I’m a bum. Now come inside! [willy strains
to get away.] Did you hear what I said to you?
[willy pulls away and quickly goes by himself into the
house. biff follows.]
linda [to willy]: Did you plant, dear?
biff [at the door, to linda]: All right, we had it out. I’m
going and I’m not writing any more.
linda [ going to willy in the kitchen]: I think that’s the
best way, dear. ’Cause there’s no use drawing it out, you’ll
just never get along.
[willy doesn’t respond.]
biff: People ask where I am and what I’m doing, you
don’t know, and you don’t care. That way it’ll be off your
mind and you can start brightening up again. All right? That
clears it, doesn’t it? [willy is silent, and biff goes to him.] You
gonna wish me luck, scout? [He extends his hand ] What do
you say?
linda: Shake his hand, Willy.
A C T T W O 1 0 3
willy [turning to her, seething with hurt]: There’s no ne-
cessity to mention the pen at all, y’know.
biff [ gently]: I’ve got no appointment, Dad.
willy [erupting fiercely]: He put his arm around . . . ?
biff: Dad, you’re never going to see what I am, so what’s

the use of arguing? If I strike oil I’ll send you a check. Mean-
time forget I’m alive.
willy [to linda]: Spite, see?
biff: Shake hands, Dad.
willy: Not my hand.
biff: I was hoping not to go this way.
willy: Well, this is the way you’re going. Good-bye.
[biff looks at him a moment, then turns sharply and goes to
the stairs.]
willy [stops him with]: May you rot in hell if you leave
this house!
biff [turning]: Exactly what is it that you want from me?
willy: I want you to know, on the train, in the moun-
tains, in the valleys, wherever you go, that you cut down
your life for spite!
biff: No, no.
willy: Spite, spite, is the word of your undoing! And
when you’re down and out, remember what did it. When
you’re rotting somewhere beside the railroad tracks, remem-
ber, and don’t you dare blame it on me!
biff: I’m not blaming it on you!
willy: I won’t take the rap for this, you hear?
[happy comes down the stairs and stands on the bottom step,
watching.]
biff: That’s just what I’m telling you!
willy [sinking into a chair at the table, with full accusation]:
You’re trying to put a knife in me—don’t think I don’t
know what you’re doing!

biff: All right, phony! Then let’s lay it on the line. [He
whips the rubber tube out of his pocket and puts it on the table.]
happy: You crazy—
linda: Biff ! [She moves to grab the hose, but biff holds i t
down with his hand.]
biff: Leave it there! Don’t move it!
willy [not looking at it]: What is that?
biff: You know goddam well what that is.
willy [caged, wanting to escape]: I never saw that.
biff: You saw it. The mice didn’t bring it into the cellar!
What is this supposed to do, make a hero out of you? This
supposed to make me sorry for you?
willy: Never heard of it.
biff: There’ll be no pity for you, you hear it? No pity!
willy [to linda]: You hear the spite!
biff: No, you’re going to hear the truth—what you are
and what I am!
linda: Stop it!
willy: Spite!
happy [coming down toward biff]: You cut it now!
biff [to happy]: The man don’t know who we are! The
man is gonna know! [To willy] We never told the truth
for ten minutes in this house!
happy: We always told the truth!
biff [turning on him]: You big blow, are you the assistant

buyer? You’re one of the two assistants to the assistant,
aren’t you?
happy: Well, I’m practically—
biff: You’re practically full of it! We all are! And I’m
through with it. [To willy] Now hear this, Willy, this
is me.
willy: I know you!
biff: You know why I had no address for three months?
I stole a suit in Kansas City and I was in jail. [To linda, who
is sobbing] Stop crying. I’m through with it.
[linda turns away from them, her hands covering her face.]
A C T T W O 1 0 5
willy: I suppose that’s my fault!
biff: I stole myself out of every good job since high
school!
willy: And whose fault is that?
biff: And I never got anywhere because you blew me so
full of hot air I could never stand taking orders from any-
body! That’s whose fault it is!
willy: I hear that!
linda: Don’t, Biff !
biff: It’s goddam time you heard that! I had to be boss

big shot in two weeks, and I’m through with it!
willy: Then hang yourself ! For spite, hang yourself !
biff: No! Nobody’s hanging himself, Willy! I ran down
eleven flights with a pen in my hand today. And suddenly
I stopped, you hear me? And in the middle of that office
building, do you hear this? I stopped in the middle of that
building and I saw—the sky. I saw the things that I love in
this world. The work and the food and time to sit and
smoke. And I looked at the pen and said to myself, what
the hell am I grabbing this for? Why am I trying to become
what I don’t want to be? What am I doing in an office,
making a contemptuous, begging fool of myself, when all
I want is out there, waiting for me the minute I say I
know who I am! Why can’t I say that, Willy? [He tries to
make willy face him, but willy pulls away and moves to the
left.]
willy [with hatred, threateningly]: The door of your life is
wide open!
biff: Pop! I’m a dime a dozen, and so are you!
willy [turning on him now in an uncontrolled 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 verge of attacking his father.]
biff: I am not a leader of men, Willy, and neither are
you. You were never anything but a hard-working drummer

who landed in the ash can like all the rest of them! I’m one
dollar an hour, Willy! I tried seven states and couldn’t raise
it. A buck an hour! Do you gather my meaning? I’m not
bringing home any prizes any more, and you’re going to
stop waiting for me to bring them home!
willy [directly to biff]: You vengeful, spiteful mut!
[biff breaks from happy. willy, in fright, starts up the
stairs. biff grabs him.]
biff [at the peak of his fury]: Pop, I’m nothing! I’m nothing,
Pop. Can’t you understand that? There’s no spite in it any
more. I’m just what I am, that’s all.
[biff’s fury has spent itself, and he breaks down, sobbing,
holding on to willy, who dumbly fumbles for biff’s face.]
willy [astonished ]: What’re you doing? What’re you do-
ing? [To linda] Why is he crying?
biff [crying, broken]: Will you let me go, for Christ’s sake?
Will you take that phony dream and burn it before some-
thing happens? [Struggling to contain himself, he pulls away
and
moves to the stairs.] I’ll go in the morning. Put him—put him
to bed. [Exhausted, biff moves up the stairs to his room.]
willy [after a long pause, astonished, elevated ]: Isn’t that—
isn’t that remarkable? Biff—he likes me!
linda: He loves you, Willy!
happy [deeply moved ]: Always did, Pop.
willy: Oh, Biff ! [Staring wildly] He cried! Cried to me.
[He is choking with his love, and now cries out his promise.]
That

boy—that boy is going to be magnificent!
[ben appears in the light just outside the kitchen.]
ben: Yes, outstanding, with twenty thousand behind him.
linda [sensing the racing of his mind, fearfully, carefully]: Now
come to bed, Willy. It’s all settled now.
willy [ finding it difficult not to rush out of the house]: Yes,
we’ll sleep. Come on. Go to sleep, Hap.
A C T T W O 1 0 7
ben: And it does take a great kind of a man to crack the
jungle.
[In accents of dread, ben’s idyllic music starts up.]
happy [his arm around linda]: I’m getting married, Pop,
don’t forget it. I’m changing everything. I’m gonna run
that department before the year is up. You’ll see, Mom. [He
kisses her.]
ben: The jungle is dark but full of diamonds, Willy.
[willy turns, moves, listening to ben.]
linda: Be good. You’re both good boys, just act that
way, that’s all.
happy: ’Night, Pop. [He goes upstairs.]
linda [to willy]: Come, dear.
ben [with greater force]: One must go in to fetch a dia-
mond out.
willy [to linda, as he moves slowly along the edge of the

kitchen, toward the door]: I just want to get settled down,
Linda. Let me sit alone for a little.
linda [almost uttering her fear]: I want you upstairs.
willy [taking her in his arms]: In a few minutes, Linda. I
couldn’t sleep right now. Go on, you look awful tired. [He
kisses her.]
ben: Not like an appointment at all. A diamond is rough
and hard to the touch.
willy: Go on now. I’ll be right up.
linda: I think this is the only way, Willy.
willy: Sure, it’s the best thing.
ben: Best thing!
willy: The only way. Everything is gonna be—go on,
kid, get to bed. You look so tired.
linda: Come right up.
willy: Two minutes.
[linda goes into the living-room, then reappears in her bed-
room. willy moves just outside the kitchen door.]
willy: Loves me. [Wonderingly] Always loved me. Isn’t
that a remarkable thing? Ben, he’ll worship me for it!
ben [with promise]: It’s dark there, but full of diamonds.
willy: Can you imagine that magnificence with twenty
thousand dollars in his pocket?

linda [calling from her room]: Willy! Come up!
willy [calling into the kitchen]: Yes! Yes. Coming! It’s very
smart, you realize that, don’t you, sweetheart? Even Ben sees
it. I gotta go, baby. ’Bye! ’Bye! [Going over to ben, almost
dancing] Imagine? When the mail comes he’ll be ahead of
Bernard again!
ben: A perfect proposition all around.
willy: Did you see how he cried to me? Oh, if I could
kiss him, Ben!
ben: Time, William, time!
willy: Oh, Ben, I always knew one way or another we
were gonna make it, Biff and I!
ben [looking at his watch]: The boat. We’ll be late. [He
moves slowly off into the darkness.]
willy [elegiacally, turning to the house]: Now when you
kick off, boy, I want a seventy-yard boot, and get right
down the field under the ball, and when you hit, hit low
and hit hard, because it’s important, boy. [He swings around
and faces the audience.] There’s all kinds of important people
in the stands, and the first thing you know . . . [Suddenly
realizing he is alone] Ben! Ben, where do I . . . ? [He makes
a sudden movement of search.] Ben, how do I . . . ?
linda [calling]: Willy, you coming up?
willy [uttering a gasp of fear, whirling about as if to quiet her]:
Sh! [He turns around as if to find his way; sounds, faces, voices
seem to be swarming in upon him and he flicks at them, crying,
‘‘Sh! Sh!’’ Suddenly music, faint and high, stops him. It rises in
intensity, almost to an unbearable scream. He goes up and down

on his toes, and rushes off around the house.] Shhh!
A C T T W O 1 0 9
linda: Willy?
[There is no answer. linda waits. biff gets up off his bed.
He is still in his clothes. happy sits up. biff stands lis-
tening.]
linda [with real fear]: Willy, answer me! Willy!
[There is the sound of a car starting and moving away at full
speed.]
linda: No!
biff [rushing down the stairs]: Pop!
[As the car speeds off, the music crashes down in a frenzy of
sound, which becomes the soft pulsation of a single cello string.
biff slowly returns to his bedroom. He and happy gravely
don their jackets. linda slowly walks out of her room. The
music has developed into a dead march. The leaves of day
are appearing over everything. charley and bernard,
somberly dressed, appear and knock on the kitchen door. biff
and happy slowly descend the stairs to the kitchen as char -
ley and bernard enter. All stop a moment when linda,
in clothes of mourning, bearing a little bunch of roses, comes
through the draped doorway into the kitchen. She goes to
charley and takes his arm. Now all move toward the au-
dience, through the wall-line of the kitchen. At the limit of
the apron, linda lays down the flowers, kneels, and sits back
on her heels. All stare down at the grave.]
1 1 0
R E Q U I E M

charley: It’s getting dark, Linda.
[linda doesn’t react. She stares at the grave.]
biff: How about it, Mom? Better get some rest, heh?
They’ll be closing the gate soon.
[linda makes no move. Pause.]
happy [deeply angered]: He had no right to do that. There
was no necessity for it. We would’ve helped him.
charley [ grunting]: Hmmm.
biff: Come along, Mom.
linda: Why didn’t anybody come?
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, Linda. They wouldn’t
blame him.
linda: I can’t understand it. At this time especially. First
time in thirty-five years we were just about free and clear.
He only needed a little salary. He was even finished with
the dentist.
charley: No man only needs a little salary.
linda: I can’t understand it.
biff: There were a lot of nice days. When he’d come
home from a trip; or on Sundays, making the stoop; finishing
the cellar; putting on the new porch; when he built the extra
bathroom; and put up the garage. You know something,
Charley, there’s more of him in that front stoop than in all
the sales he ever made.

charley: Yeah. He was a happy man with a batch of
cement.
linda: He was so wonderful with his hands.
R E Q U I E M 1 1 1
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 [stopping happy’s movement and reply. To biff]:
Nobody dast blame this man. You don’t understand: Willy
was a salesman. And for a salesman, 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 medicine. He’s a man way out there in
the blue, riding on a smile and a shoeshine. And when they
start not smiling back—that’s an earthquake. And then you
get yourself a couple of spots on your hat, and you’re fin-
ished. Nobody dast blame this man. A salesman is got to
dream, boy. It comes with the territory.
biff: Charley, the man didn’t know who he was.
happy [infuriated ]: Don’t say that!
biff: Why don’t you come with me, Happy?
happy: I’m not licked that easily. I’m staying right in this
city, and I’m gonna beat this racket! [He looks at biff, his chin
set.] The Loman Brothers!
biff: I know who I am, kid.
happy: All right, boy. I’m gonna show you and every-
body else that Willy Loman did not die in vain. He had a

good dream. It’s the only dream you can have—to come
out number-one man. He fought it out here, and this is
where I’m gonna win it for him.
biff [with a hopeless glance at happy, bends toward his mother]:
Let’s go, Mom.
linda: I’ll be with you in a minute. Go on, Charley. [He
hesitates.] I want to, just for a minute. I never had a chance
to say good-bye.
[charley moves away, followed by happy. biff remains a
slight distance up and left of linda. She sits there, sum-
moning herself. The flute begins, not far away, playing behind
her speech.]
linda: Forgive me, dear. I can’t cry. I don’t know what
it is, but I can’t cry. I don’t understand it. Why did you
ever do that? Help me, Willy, I can’t cry. It seems to me
that you’re just on another trip. I keep expecting you. Willy,
dear, I can’t cry. Why did you do it? I search and search
and I search, and I can’t understand it, Willy. I made the
last payment on the house today. Today, dear. And there’ll
be nobody home. [A sob rises in her throat.] We’re free and
clear. [Sobbing more fully, released ] We’re free. [biff comes
slowly toward her.] We’re free . . . We’re free . . .
[biff lifts her to her feet and moves out up right with her in
his arms. linda sobs quietly. bernard and charley come
together and follow them, followed by happy. Only the music
of the flute is left on the darkening stage as over the house
the hard towers of the apartment buildings rise into sharp

focus.]
curtain
1 1 3
a play by arthur miller
staged by elia kazan
CAST (in order of appearance)
Willy Loman
Linda
Biff
Happy
Bernard
The Woman
Charley
Uncle Ben
Howard Wagner
Jenny
Stanley
Miss Forsythe
Letta
Lee J. Cobb
Mildred Dunnock
Arthur Kennedy
Cameron Mitchell
Don Keefer
Winnifred Cushing

Howard Smith
Thomas Chalmers
Alan Hewitt
Ann Driscoll
Tom Pedi
Constance Ford
Hope Cameron
The setting and lighting were designed by jo mielziner.
The incidental music was composed by alex north.
The costumes were designed by julia sze.
Presented by kermit bloomgarden and walter fried
at the Morosco Theatre in New York on February 10, 1949.
Cover PageBy Arthur MillerTitle PageCopyright
PageContentsIntroduction by Christopher BigsbyAct OneAct
TwoRequiemCast
Design of a Nanoparticle containing a DNA Plasmid for Gene
therapy
Nojir Uddin
Student ID: B00744424
Academic Year: September 2017 to September 2018
Project Leader: Dr Mateus Webba da Silva
A dissertation submitted in partial fulfilment of the requirement
for the award of Master in Pharmaceutical Science to the
Department of Pharmacy & Pharmaceutical Sciences, University
of Ulster
Statement of contribution
I Nojir Uddin, hereby confirm that the work described therein

has been conducted using and following humane and ethical
procedures, in accordance with the Research Ethics and
Governance Policies and Procedures and other Research
Policies and Procedures at the University of Ulster including the
Code of Practice for Professional Integrity in the Conduct of
Research. I also confirm that this work is not plagiarised, does
not infringe copyright, and provides a full disclosure of relevant
interests.
Signature:
Date:
Acknowledgements
First and foremost, I would like to glorify the help, courage and
determination Allah has given me, by providing education,
ability and willpower to complete a huge stage in my life.
I would like to express special thanks of gratitude to my
supervisor, Dr. Mateus Webba da Silva. He has provided
extreme effort in supporting me throughout the entire project.
This has given me a huge inspiration in further studies in DNA
Nanotechnology, as it has enabled me to understand
Pharmaceutical science from a different angle.
I am indebted to the support Norbrook Laboratories has
provided in awarding me; The Barnett Pharmaceutical Sciences
Scholarship 2017.
I would like to thank, Dr. Murtaza Tambuwala for providing a

strong platform across the entire academic year, as course
leader. This has provided successful flow across the course.
Ulster University deserve much accreditation for providing the
support and equipment for the conduction of this study.
Lastly, I would like to thank my family and friends; for the
moral support, motivation and help provided since the start of
my degree, till the very end.
Table of Contents
Statement of contribution2
Acknowledgments3
Table of contents4
Abbreviations and Keywords5
Abstract6
Introduction7
Materials and Method10
The Design10
Protocol12
Results13
Use of CaDNAno to design a nanoparticle13
Design meeting limiting size18
Rendering using Autodesk Maya19
Discussion20
Conclusion22
Bibliography23

Abbreviations and keywords
API: Active pharmaceutical ingredient.
BP: Base-pair
DPI: Dots per inch
NM-nanometers
Bacteriophage M13
DNA nanotechnology
DNA Origami
Self-assembly
Word count: 4327

Abstract
Introduction:
DNA nanotechnology is the study of DNA at nanometre scale.
It’s used to design models using DNA origami (a synthetic
folding method) to enhance drug delivery. This is achieved by
encapsulating Active Pharmaceutical Ingredient (API) inside the
design for targeted delivery.
Background:
DNA Origami is utilised by constructing synthetic nanoparticles
using computer-aided-software (e.g. CaDNAno). Due to the
strict base-pair ruling in DNA, its self-assembly and folding
ability has proven many potential outcomes that has been
conducted in vitro.
Challenges:
DNA nanotechnology has its uncertainty, due to its uncommon
non-biological use of designing DNA origami structures in
nature and the lack of its biological relevance because of its
limited applications.
The study:
The study will aim to design a nanoparticle using the plasmid
‘pCS2+8CmCherry’, which contains a short sequence. The
design will potentially enhance self-assembly and folding,
which has been challenging previously.
The results identified a design within the limiting size for
nanoparticles, the design was strengthened using numerous
staple strands. It contained breaks in design which can be used
to encapsulate API.
Conclusions
DNA nanotechnology will still need extensive research,
however in this design new factors have been researched. This
includes using a smaller plasmid that contains a fluorescent

protein, which can enhance identification for successful drug
delivery.
Nevertheless, more research is required around this study, as its
potential still requires establishing. The study contains designs
constructed as a blueprint which can be tested using the
protocol for its relevance.
Introduction
Gene therapy has grown its potential in clinical benefits;
however it has impacted on its development in medicine. It has
been recognised initially to correct and prevent prognosis of
genetic disease. (Fischer, 2016)
Gene therapy involves the delivery of genetic material to target
tissue or cells to achieve a therapeutic end-point. Gene therapy
has potential for treatment for viruses, cancers, and genetic
disorders. DNA vaccination is a technique used in protecting
against diseases by injecting genetically engineered DNA
plasmid into target cells of the body to produce antigenic
proteins; a promising technique in comparison to other
interventions. However, it has shown disappointing potency of
DNA vaccines, that have been experimented successfully in pre-
clinical models in vitro but in comparison to clinical trials in
vivo not as effective. (Donnelly, Wahren and Liu, 2005)
DNA Nanotechnology is the synthetic design and study of DNA
applications used for diagnosis, control and treatment of
diseases. DNA has been used to design nanostructures for
delivery of API to chosen cells, this helps prevent the damage
of normal cells. The benefits of its base pairing forms rigidity
in the design of nanoparticles, easy formation of varied length
of strands allows construction of 2D and 3D shapes with
adaptable nontoxic nanoparticles. (Chakraborty, Roy and
Mondal, 2016)
DNA nanotechnology is the study of DNA at a nanometre scale,
the understanding of this study includes; it’s self-assembly
function and base pairing, physical and chemical properties of
the nanostructures. Structural nanotechnology focuses on

synthesising nucleic acid complex, dynamic technology focus
on the ability to reconfigure structures based on chemical and
physical stimuli. Prior to DNA origami, tile-based structures
and dynamic assembly was used for DNA structural designs.
(Dietz, Douglas and Shih, 2009)
Structural Properties of DNA enables it to be used effectively
for other purposes, the complimentary base pairing helps utilize
DNA to be used as nanoparticles which is designed via DNA
origami. Nadine Seaman first identified the principles of DNA
nanotechnology in 1980s, with the motivation to create 3D DNA
structure. (Seeman, 2005)
DNA origami has enabled the construction of scaffold structures
that have self-assembling ability; this can be used for
arrangement of different functional nanomaterial to produce
complex devices. Seeman created various DNA strategies using
self-assembly technique and played an important role in the
basic concepts of DNA nanotechnology. DNA origami has
attracted attention since invention; it can programme DNA
assembly in nanotechnology which enables design of 2D and 3D
nanostructures with functionality. (Endo, Yang and Sugiyama,
2013)
In 2006, Paul Rothemund introduced and demonstrated the
scaffolded DNA origami technique. The technique revealed
single long stranded DNA being utilised as a Scaffold DNA to
fold and support short stranded DNA known as staples. The use
of DNA origami technique has been successful in nanoscale
folding, due to the interactions between complementary base
pairs forming rigid stable structures. (Seeman, 2007;
Udomprasert and Kangsamaksin, 2017)
DNA origami is the folding of DNA to create nanoscale
structures in 2D or 3D shapes. It has been discovered that DNA
can be used for more than just its natural biological use. It’s
useful as construction material because of it’s self-assembly for
building structural designs. The technique has become
successful for its potential application in nanotechnology, as
construction of large material in short time was possible. DNA

origami developed potential 2D objects such as dolphins,
nanotubes and later 3D structure (sphere, box) were made.
(Udomprasert and Kangsamaksin, 2017)
The 3D DNA ‘box’ designed by Andersen, et al (2009) helped
extend the use of DNA origami, as this box can open by the
presence of DNA keys. The DNA box was designed using
circular single stranded DNA from a viral bacteriophage m13,
this was mixed with staple sequences and heated to design the
self-assembled DNA box. DNA Nanotechnology is being used in
non-biological forms, and not as carrier of genetic material. The
structural architecture of DNA is used to design different
technological outputs and is chosen because it is non-toxic,
naturally present in cells, has strict base-pairing and has a
natural ability to self-assemble. (Seeman, 2005)
Historically, DNA nanotechnology has its uncertainty due to its
uncommon non-biological use of designing DNA origami
structures in nature and the lack of its biological relevance it
has had little applications. The issue is resolving misfolded
structures to produce chosen structures. Misfolded structure
kinetically decreases system output and yield, these are resolved
and understood by examining assembly pathways and kinetics
for increased successful folding. This will increase efficiency of
folding pathways by understandi ng reversing misfolded bonds
and directing structures to the anticipated design. (Dunn et al.,
2015)
Plasmids are typically found as circular DNA in bacteria and
other organisms, which carry genetic information for survival.
Vectors are plasmids that are artificially used in molecular
cloning gene therapy. Chakraborty et al, (2016), used single
stranded bacteriophage DNA (M13) as the scaffold structure and
used various designs of staples to construct different DNA
origami structures.
Use of non-viral nanoparticles for DNA delivery has become
more desirable, which are possible synthetic systems that work
similarly to viral vectors. Gokirmark et al (2012), cloned a
species of sea urchin; Stronglycentrotus purpuratus. The

production formed variant vector ‘pCS2+8’, with modifications
of N and C terminal variants for the addition of fluorescent
proteins. Furthermore, the fluorescent protein ‘mCherry’ is
notably more photostable and has greater intrinsic brightness
than other fluorescent proteins. (Day and Davidson, 2009).
However, Gokirmark et al (2012), stated that the variants of the
vector set have many significances of the proteins in
development and disease but little knowledge regarding their
phylogenetic origins and functional diversity. The plasmid is
available on ‘addgene’ repository, pCS2+8CmCherry (Plasmid
#34935).
CaDNAno is an open-source software that helps aid the design
of DNA sequences being folded into 2D and 3D structures.
Douglas, et al (2009) followed the techniques of Paul
Rothemund’s 2D DNA origami structures and demonstrated 3D
DNA structures.
This study will consist of designing a nanoparticle using
caDNAno, containing the plasmid sequence of
‘pCS2+8CmCherry’ and identifying the potential behind the
design. Furthermore, Autodesk Maya 2015, will be used to
render the model and understand the potential architecture of
the design, and its possible relevance to DNA origami.
Materials and Methods
The Design

· CaDNAno open-source software
· Autodesk Maya 2015
· Addgene plasmid depository
· pCS2+8CmCherry (addgene plasmid#:34935) sequence
· Microsoft Excel
· Oligocalculator
· Bioinformatics reverse complement
The plasmid was chosen during the proposal of the research
project; the anticipated plasmid was chosen from addgene, a
plasmid depository. This provides easy accessibility for
researchers to conduct the experiment. The plasmid is a non-
viral vector derived from a Sea Urchin species,
Stronglycentrotus purpuratus. The plasmid has been developed
via many variants and is the pCS2+8CmCherry (addgene
plasmid#:34935). (Gokirmak et al., 2012)
All the work carried out on computer was using CaDNAno and
Autodesk Maya 2015. CaDNAno is a computer aided design
tool, the software has been used previously, to design custom
shaped 2D and 3D origami shapes. CaDNAno uses two methods
of forming pleated layers of helices; Honeycomb and Square
lattice. The method chosen for this design was the square lattice
as it can form compact 3D origami designs. By providing a
densely packed construction and natural framework for
rectangles, these foundations increase the versatility and scope
of 3D origami shapes for DNA nanotechnology. (Ke et al.,
2009)
As the plasmid size of ‘pCS2+8CmCherry’ is 4848 base-pairs,
the square lattice was designed using 35 helices, in a 6x6
format, the order of helices represents the order of folding. The
base-pair length was increased to 127 from a default of 63, both
forward and reverse scaffold was produced on one palette.
The forward scaffold helices were joined via crossovers to
increase folding of the shape, the same procedure followed on
the reverse scaffold. The forward scaffold was coloured in blue
and the reverse scaffold in red.
Once the desired scaffolds were completed, the ‘autostaple’

button was selected to add staple strands that interlinked both
scaffolds. Autostaple provides the staples to be added
automatically, but staples are too long and may not be in
desired order.
The ‘autobreak’ button was selected to change parameters of
staple strands. The parameters set was; target length of 48,
minimum length of 24, maximum length of 90 and minimum
distance to crossover at 4. This shortened the length of the
staples which were rearranged to desired locations, to increase
interlinking between both scaffold and ability of
rehybridization. The staples were coloured in green, black and
purple. Staples in green represented connection between helices
on forward scaffold, black staples were connection between
forward and reverse scaffold, and purple staples represented
connection between helices on reverse scaffold.
After repositioning the staple order, the forward plasmid
sequence was exported from ‘addgene’ and inserted onto
forward scaffold using ‘add sequence’ tab on Autodesk Maya.
The sequence was then inputted into a bioinformatics reverse
complement which reverses the forward sequence; this reversed
sequence is inputted into the reverse scaffold.
Staple strands and forward/reverse scaffold were viewed, the
base pairs were complementary of each other, the list of staples
were exported into Microsoft excel.
Furthermore, Autocad Maya 2015 is a tool used for architectural
design; Maya was used to edit the model so clear visualization
of the nanoparticle is possible. This was carried out by using
rendering tool to increase the vibrant colours of the shape, and
render view was used to produce images of the frame in JPEG
and TIFF file, with a 300dpi resolution.
As the limiting size of the shape is required the dimensions
(height, width, length) was measured on Autodesk Maya using
the measuring tool. These dimensions were measured in
centimeters (cm) as the use of Autodesk Maya has been used in
architectural building designs, therefore the units were changed

to nanometers (nm) as Maya is a tool that produces a blueprint
for the design. The conversion from cm to nm is explained in
the results section; design meeting limiting size.
Protocol
· pCS2+8CmCherry Addgene (plasmid cat#34935)
· HPLC purified staple list
· Polyethylene glycol (PEG)
· Precipitation buffer
· Ultracentrifuge
· Agarose gel electrophoresis system
· TEM-imaging
· AFM-imaging
1. The plasmid sequence can be purchased from Addgene
(plasmid cat#34935), and the HPLC purified oligonucleotides
(staple strands) using staple list obtained from design.
2. Preparation of Plasmid sequence ‘pCS2+8CmCherry’ is
carried out using Polyethylene glycol (PEG), it is efficient in
separating folded designs from excess of staple strands.
Precipitation using PEG is recognised as an effective method in
purifying and concentrating the DNA plasmid. (Wagenbauer et
al., 2017)
3. Preparation of self-assembled design is carried out using
stoichiometric quantities of plasmid sequence and desired buffer
solution, with excess of purified oligonucleotides as staples.
4. Add a 1:1 ratio of unpurified sample (plasmid sequence) to
PEG buffer solution, thoroughly mix to achieve homogenous
assembled products and buffer, the specimen is separated via

ultracentrifugation.
5. The supernatant is removed, and the pellet is dissolved in a
buffer, to purify the sample, further purification methods can be
carried out to remove PEG residue. (Stahl et al., 2014)
6. The next stage is annealing with oligonucleotides, the
melting point of the plasmid calculated is 86°C, and this is
taken into consideration to identify optimum annealing
conditions.
7. The samples are then processed via purified agarose gel
electrophoresis to identify characterisation of the design and
rehybridization properties. Mechanism of design is identified.
(Marras et al., 2016)
8. TEM is used to characterise the model projection in different
orientation, (XZ, YZ and XY projections), for a 3D perspective
view. The AFM imaging will enable the fluorescence imaging of
the plasmid and its ‘mCherry’ component. (Ke et al., 2012)
Results
Use of CaDNAno to design a nanoparticle
The design was developed using open-source software
CaDNAno, this helped as a graphical interface that aids the
design of DNA origami to produce 2D and 3D structures
containing DNA sequences. It has helped reduce the effort to
design DNA origami, by minimizing errors when carrying out
tasks, having an efficient output of effort and completion of
design. (Douglas et al., 2009)
Figure 1: The design of a square lattice on CaDNAno using 35
helices.
To determine whether the chosen plasmid fits the design
constructed on caDNAno, the chosen plasmid had a length of
4848bp (empty backbone 4095bp). The design consisted of

tightly packed square lattice structure, the default base-pair
length along x-axis was set to 63 base pairs. A multiple of 32
was required, the helices was extended to a base-pair of 127.
The scaffold size calculated to a total of 4444bp (35 helices x
127bp).
Nevertheless, this was smaller than the length of the plasmid,
and there is difficulty in understanding what software does with
excess plasmid length. As each helix contained 127bp, which
majority was visually understood to complementary pair with
staple strands. The remaining plasmid sequences are used for
the front and end unpaired scaffold crossovers, and crossovers
in the middle. (Douglas et al., 2009)
Figure 2: An illustration of the design, unpaired forward,
middle and end scaffold crossovers is circled. No plasmid
sequence is shown this is the location where the excess plasmid
is used.
To be able rehybridization of the plasmid after delivery into
cells, the design illustrates the interweaving of both the forward
and reverse scaffold. This will increase the rigidity of the shape
the plasmid forms, preventing it degrading in vivo, as it is
densely packed with dsDNA, which enhances folding.
Figure 3: Illustrates the interweaving of both forward and
reverse scaffold.

To design a structure that can encapsulate the API, this was
carried out by further increasing the interlinking between
forward and reverse scaffold, increasing the potential to fold.
The design will fold and form a cuboidal shape that has a cavity
space.
Figure 4: This figure shows the forward scaffold (blue) and
reverse scaffold (red), with increased interweaving to
strengthen the model and increase folding.
Once both scaffolds were designed on a single palette, it was
autostapled to add staple strands to interlink both the scaffolds
together. Although this method is random allocation of staples
with different lengths, the autobreak functio n was used to
change the parameters of staple strands.
Figure 5: Shows autostaples added randomly, this is further
edited manually.
What does the positioning of the oligonucleotides determine?
The positioning of the staples is manually altered, fi rst by
selecting ‘autobreak’ to change parameters of staple strands.

The parameters set was; target length of 48, minimum length of
24, maximum length of 90 and minimum distance to crossover
at 4. This is performed to alter arrangement of staples, to
increase interlinking between both scaffold and enhancement of
rehybridization.
Figure 6: Illustration of autobreak function, it has removed
thick long staple strands.
What does the design show, and what has been achieved? The
design shows the Forward scaffold in blue and Reverse scaffold
in Red. The staples are colored in green, black and purple.
Green staples are cross-overs between different helices on the
forward scaffold, Black staples are cross-overs between helices
on the Forward and Reverse scaffold, and Purple staples are
cross-overs between different helices of Reverse scaffold. This
is to prevent degradation of the design; therefore, number of
staples are increased. This will enhance the possibility of
targeted delivery.
Figure 7: The design has different colours so the model can be
visualized in 3D.

To determine whether the scaffold and staple sequence are
abiding base pair ruling, the entire sequence was inserted into
the forward scaffold and identified whether the staples were
complementary. The sequence was obtained from addgene and
inserted into the forward scaffold, the sequence was then
reversed using reverse complement available:
https://www.bioinformatics.org/sms/rev_comp.html. The
reversed sequence was inserted into the reverse scaffold and
complementary base pairing was identified using zooming tool.
Figure 8: The figure shows successful addition of the forward
and reverse sequence onto its allocated scaffold, it also shows
the complementary paring with the staple strands.
Design meeting limiting size
DNA nanotechnology has produced small scale nanomaterial
(10-6 of a millimeter), and the size of nanoparticles are in-
between 10-100nm, however a limiting size of less than 50nm is
relevant to be achieved whilst maintaining the functionality of
the nanoparticle. (Chakraborty, Roy and Mondal, 2016)
To determine whether the 3D design on Autodesk Maya meets
the limiting size, this is performed by using the ‘measuring

tool’ to measure the dimensions of the height, width and length
of the shape. Autodesk Maya 2015 is traditionally used for
macroscale designs and measurements are in centimetres and
units required is nanometres. It is known that each helix has a
diameter of ~2.25nm, therefore the width of design contains 6
helices. (6x2.25= 13.5nm is the theoretical width, the measured
width is 13.83nm.) (Korpelainen et al., 2017)
Figure 9: Cross section of forward scaffold with the measured
width of the design.
As the model is 6x6 helices the theoretical height is al so
13.5nm and the measured height is 13.76nm.
Figure 10: Height of the nanoparticle is measured at 13.76nm.
To determine how the length of the shape is meeting the
limiting size, although the measured dimension is in centimetres
it can be converted to nanometers, the length of each base is
required to justify the measurement. As the known the
measurement, each base is 3.4Å which is 0.34nm, there are
127bp in the model. Therefore, the theoretical length is 0.34nm
x 127bp = 43.18nm and the measured length is 43.69nm. This is
within the limiting size (10-100nm) and the ideal size (<50nm).
(Seeman, 2005; Ke et al., 2009)

Figure 11: The length of the nanoparticle is within the limiting
size.
Rendering using Autodesk Maya
The model design was rendered on Autodesk Maya, the forward
scaffold is the front face in blue and the reverse scaffold is the
reverse face in red. As it can be seen the staples are in green,
black and purple. The model can be seen to have increased
interlinking between the two scaffolds to increase
rehybridization in vivo. The breaks in the model is identified as
the cavity to load API for targeted drug delivery.
Figure 12: 3D images were rendered on Maya to visualise the
physical properties of the design, the images were saved at
300dpi resolution in JPEG and TIFF format.
Discussion
The research into DNA nanotechnology has acknowledged the
transition the application has developed, however there has been
a failure to identify its importance and its potential
applications. This is due to multiple barriers are required to be
explored before nanoparticles can effectively deliver drug to
target site. A key issue that requires accomplishing is
successfully folding nanoparticles in accordance to design
constructed on computer-aided-softwares. Distinguishing the
ideal folded shape that is attempted in vitro and whether it can
be identically applied in vivo for its rehybridization and folding
will expand the field of DNA nanotechnology. This field has
more often failed in its biological relevance and those
researching in the field of DNA nanotechnology will need

extensive understanding of the scope of research. Moreover,
successfully identifying the gap in knowledge will develop
novel designs in the field of DNA nanotechnology and can
potentially be used in future medicine.
Traditionally used plasmid sequence M13 bacteriophage, was
used in the design of nanostructures, longer scaffold structures
were designed. However, these were challenging as large
assemblies are mechanically fragile. In this study, a chosen
plasmid ‘pCS2+8CmCherry’, is used to design a nanoparticle.
The plasmid has a size of 4848bp which is of a smaller scale
compared to M13, however there hasn’t been enough research
around the plasmid. (Wang et al., 2017)
Firstly, the forward scaffold was designed on the left of the
palette, with crossovers between each helix, the reverse scaffold
was on the opposite side. Both scaffolds were interlinked by
arrangement of helices, and the addition of the staples. The
staples were manually rearranged to assist in the increase of
rehybridization and prevent degradation in vivo. The increased
number of staples helps to maintain a rigid structure and
prevent the damage of the design in vivo.
A key focus was the limiting size of the plasmid which is of 10-
100nm, with an ideal size of <50nm. The square lattice structure
was used to form a 6x6 helices cross section, and the base pair
length was increased to 127bp. The design has achieved the
limiting size, as the width and height were designed by 6x6
helices. Korpelainen et al (2017), stated that the diameter of a
single helix is 2.25nm, therefore the theoretical width and
height was 13.5nm. The length also met the ideal size of <50nm
as the theoretical length was 43.18nm.
Moreover, the design was rendered using Autodesk Maya, to
illustrate the potential outcome of the design, the distinct
features has shown the nanoparticle has potential to encapsulate
API for targeted delivery.
As previously mentioned, the m13 genome is most commonly

used in DNA origami; the plasmid used in this study is much
smaller which can reduce fragility in comparison to previous
designs. The design is within the ideal limiting size and
therefore this shows it may present new potentials. Moreover,
the plasmid used was the smallest identified on the repository
that contains a fluorescent protein, any future research
conducted using the protocol described in this study can publish
a pioneering design that can be recognized via imaging systems,
and possibly identified in vivo models similarly.
The Plasmid is known as an ABC transporter molecule, thus
could mean that targeted drug delivery may be successful.
Gokirmark et al (2012), stated that the of the species of the
plasmid, there are many significances of the proteins in
development and disease. However, there is little knowledge
regarding their phylogenetic origins and functional diversity.
The vector has not been understood in detail of its structure and
functional properties. Difficulties may be encountered during
folding of nanostructure using the plasmid. Other difficulties
may include the understanding of physical functions of
nanoscale molecules for those that are new to this research.
It has been theoretically demonstrated that the designed plasmid
is suitable to be used as a blueprint in the research of
conducting this design in vitro. The design hasn’t been tested
and only been developed via computer aided tools, these tools
may not consider biological factors that may impact on a
successful design. This has extremely limited the design as its
potential use is currently unknown, so for it to be a viable in the
study of DNA nanotechnology, further studies are required to be
conducted to understand its reliability.
The study that was conducted may have been enhanced for
further studies if a group of designs were constructed so that
each design can go through trial and error in vitro settings.
Although, the potential folding pathways have been initiated by
design, this doesn’t represent the actual folding pathways as
this hasn’t been conducted. (Douglas et al., 2009)

Besides the limitations of the design, it has great potential for
drug delivery as its essential characteristics include;
compatibility, addressability and control in dimensions, shape
and surface chemistry.
Doxorubicin, an anti-cancer drug has been known for its
successful treatment in terminating cancerous cells; however it
has a toxic effect on normal cells. It has previously been
inserted in DNA complexes such as tubular and triangular DNA
origami structure for targeted drug delivery to increase
cytotoxicity in cancer cells, this resulted in more accumulation
of API at target site and resulted to inhibition of tumor growth.
(Wang et al., 2017)
Further research behind the plasmid and design conducted in
this study can potentially have great outcome and contribution
in DNA nanotechnology and medicine, as the plasmid species is
known as transporter molecules and the sequence was the
smallest used.
Conclusion
As the research conducted in DNA nanotechnology is growing
continuously and has developed from its adolescence to
adulthood. However, for research conducted by researchers new
to the field, the understanding of the entire aspect of DNA
nanotechnology is limited, as the breadth of the topic is broad,
and the realistic use of nanotechnology isn’t fully understood.
Moreover, researches have shown the potential of DNA
nanotechnology but not completely defined due to its
complexity.
Future study is required to expand the possible designs, a better
architectural plan, by using multiple softwares. CanDo is a
software that predicts 3D solution, shape and flexibility of
programmed DNA assembly models, it enables 3D geometries
and flexibilities to be predicted that isn’t possible analytically.
Therefore, this software can test and predict the mechanical

features of a DNA assembly model.
The study can potentially show great contribution to DNA
nanotechnology as a primary design was conducted with a small
plasmid sequence within the limiting size, the design can
potentially be used to encapsulate API for targeted drug
delivery and further advance medicine.
Bibliography
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R., Mamdouh, W., Golas, M., Sander, B., Stark, H., Oliveira,
C., Pedersen, J., Birkedal, V., Besenbacher, F., Gothelf, K. and
Kjems, J. (2009). Self-assembly of a nanoscale DNA box with a
controllable lid. Nature, 459(7243), pp.73-76.
2. Chakraborty, A., Roy, T. and Mondal, S. (2016).
Development of DNA Nanotechnology and Uses in Molecular
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A., Church, G. and Shih, W. (2009). Rapid prototyping of 3D
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5
Materials and Methods
The Design

· CaDNAno open-source software
· Autodesk Maya 2015
· Addgene plasmid depository
· pCS2+8CmCherry (addgene plasmid#:34935) sequence
· Microsoft Excel
· Oligocalculator
· Bioinformatics reverse complement
The plasmid was chosen during the proposal of the research
project; the anticipated plasmid was chosen from addgene, a
plasmid depository. This provides easy accessibility for
researchers to conduct the experiment. The plasmid is a non-
viral vector derived from a Sea Urchin species,
Stronglycentrotus purpuratus. The plasmid has been developed
via many variants and is the pCS2+8CmCherry (addgene
plasmid#:34935). (Gokirmak et al., 2012)
All the work carried out on computer was using CaDNAno and
Autodesk Maya 2015. CaDNAno is a computer aided design
tool, the software has been used previously, to design custom
shaped 2D and 3D origami shapes. CaDNAno uses two methods
of forming pleated layers of helices; Honeycomb and Square
lattice. The method chosen for this design was the square lattice
as it can form compact 3D origami designs. By providing a
densely packed construction and natural framework for
rectangles, these foundations increase the versatility and scope
of 3D origami shapes for DNA nanotechnology. (Ke et al.,

2009)
As the plasmid size of ‘pCS2+8CmCherry’ is 4848 base-pairs,
the square lattice was designed using 35 helices, in a 6x6
format, the order of helices represents the order of folding. The
base-pair length was increased to 127 from a default of 63, both
forward and reverse scaffold was produced on one palette.
The forward scaffold helices were joined via crossovers to
increase folding of the shape, the same procedure followed on
the reverse scaffold. The forward scaffold was coloured in blue
and the reverse scaffold in red.
Once the desired scaffolds were completed, the ‘autostaple’
button was selected to add staple strands that interlinked both
scaffolds. Autostaple provides the staples to be added
automatically, but staples are too long and may not be in
desired order.
The ‘autobreak’ button was selected to change parameters of
staple strands. The parameters set was; target length of 48,
minimum length of 24, maximum length of 90 and minimum
distance to crossover at 4. This shortened the length of the
staples which were rearranged to desired locations, to increase
interlinking between both scaffold and ability of
rehybridization. The staples were coloured in green, black and
purple. Staples in green represented connection between helices
on forward scaffold, black staples were connection between

forward and reverse scaffold, and purple staples represented
connection between helices on reverse scaffold.
After repositioning the staple order, the forward plasmid
sequence was exported from ‘addgene’ and inserted onto
forward scaffold using ‘add sequence’ tab on Autodesk Maya.
The sequence was then inputted into a bioinformatics reverse
complement which reverses the forward sequence; this reversed
sequence is inputted into the reverse scaffold.
Staple strands and forward/reverse scaffold were viewed, the
base pairs were complementary of each other, the list of staples
were exported into Microsoft excel.
Furthermore, Autocad Maya 2015 is a tool used for architectural
design; Maya was used to edit the model so clear visualization
of the nanoparticle is possible. This was carried out by using
rendering tool to increase the vibrant colours of the shape, and
render view was used to produce images of the frame in JPEG
and TIFF file, with a 300dpi resolution.
As the limiting size of the shape is required the dimensions
(height, width, length) was measured on Autodesk Maya using
the measuring tool. These dimensions were measured in
centimeters (cm) as the use of Autodesk Maya has been used in
architectural building designs, therefore the units were changed
to nanometers (nm) as Maya is a tool that produces a blueprint
for the design. The conversion from cm to nm is explained in
the results section; design meeting limiting size.

Protocol
· pCS2+8CmCherry Addgene (plasmid cat#34935)
· HPLC purified staple list
· Polyethylene glycol (PEG)
· Precipitation buffer
· Ultracentrifuge
· Agarose gel electrophoresis system
· TEM-imaging
· AFM-imaging
1. The plasmid sequence can be purchased from Addgene
(plasmid cat#34935), and the HPLC purified oligonucleotides
(staple strands) using staple list obtained from design.
2. Preparation of Plasmid sequence ‘pCS2+8CmCherry’ is
carried out using Polyethylene glycol (PEG), it is efficient in
separating folded designs from excess of staple strands.
Precipitation using PEG is recognised as an effective method in

purifying and concentrating the DNA plasmid. (Wagenbauer et
al., 2017)
3. Preparation of self-assembled design is carried out using
stoichiometric quantities of plasmid sequence and desired buffer
solution, with excess of purified oligonucleotides as staples.
4. Add a 1:1 ratio of unpurified sample (plasmid sequence) to
PEG buffer solution, thoroughly mix to achieve homogenous
assembled products and buffer, the specimen is separated via
ultracentrifugation.
5. The supernatant is removed, and the pellet is dissolved in a
buffer, to purify the sample, further purification methods can be
carried out to remove PEG residue. (Stahl et al., 2014)
6. The next stage is annealing with oligonucleotides, the
melting point of the plasmid calculated is 86°C, and this is
taken into consideration to identify optimum annealing
conditions.
7. The samples are then processed via purified agarose gel
electrophoresis to identify characterisation of the design and
rehybridization properties. Mechanism of design is identified.
(Marras et al., 2016)
8. TEM is used to characterise the model projection in different
orientation, (XZ, YZ and XY projections), for a 3D perspective
view. The AFM imaging will enable the fluorescence imaging of
the plasmid and its ‘mCherry’ component. (Ke et al., 2012)

Results
Use of CaDNAno to design a nanoparticle
The design was developed using open-source software
CaDNAno, this helped as a graphical interface that aids the
design of DNA origami to produce 2D and 3D structures
containing DNA sequences. It has helped reduce the effort to
design DNA origami, by minimizing errors when carrying out
tasks, having an efficient output of effort and completion of
design. (Douglas et al., 2009)
Figure 1: The design of a square lattice on CaDNAno using 35
helices.
To determine whether the chosen plasmid fits the design
constructed on caDNAno, the chosen plasmid had a length of
4848bp (empty backbone 4095bp). The design consisted of
tightly packed square lattice structure, the default base-pair
length along x-axis was set to 63 base pairs. A multiple of 32
was required, the helices was extended to a base-pair of 127.
The scaffold size calculated to a total of 4444bp (35 helices x
127bp).
Nevertheless, this was smaller than the length of the plasmid,

and there is difficulty in understanding what software does with
excess plasmid length. As each helix contained 127bp, which
majority was visually understood to complementary pair with
staple strands. The remaining plasmid sequences are used for
the front and end unpaired scaffold crossovers, and crossovers
in the middle. (Douglas et al., 2009)
Figure 2: An illustration of the design, unpaired forward,
middle and end scaffold crossovers is circled. No plasmid
sequence is shown this is the location where the excess plasmid
is used.
To be able rehybridization of the plasmid after delivery into
cells, the design illustrates the interweaving of both the forward
and reverse scaffold. This will increase the rigidity of the shape
the plasmid forms, preventing it degrading in vivo, as it is
densely packed with dsDNA, which enhances folding.

Figure 3: Illustrates the interweaving of both forward and
reverse scaffold.
To design a structure that can encapsulate the API, this was
carried out by further increasing the interlinking between
forward and reverse scaffold, increasing the potential to fold.
The design will fold and form a cuboidal shape that has a cavity
space.
Figure 4: This figure shows the forward scaffold (blue) and
reverse scaffold (red), with increased interweaving to
strengthen the model and increase folding.
Once both scaffolds were designed on a single palette, it was
autostapled to add staple strands to interlink both the scaffolds
together. Although this method is random allocation of staples

with different lengths, the autobreak function was used to
change the parameters of staple strands.
Figure 5: Shows autostaples added randomly, this is further
edited manually.
What does the positioning of the oligonucleotides determine?
The positioning of the staples is manually altered, first by
selecting ‘autobreak’ to change parameters of staple strands.
The parameters set was; target length of 48, minimum length of
24, maximum length of 90 and minimum distance to crossover
at 4. This is performed to alter arrangement of staples, to
increase interlinking between both scaffold and enhancement of
rehybridization.

Figure 6: Illustration of autobreak function, it has removed
thick long staple strands.
What does the design show, and what has been achieved? The
design shows the Forward scaffold in blue and Reverse scaffold
in Red. The staples are colored in green, black and purple.
Green staples are cross-overs between different helices on the
forward scaffold, Black staples are cross-overs between helices
on the Forward and Reverse scaffold, and Purple staples are
cross-overs between different helices of Reverse scaffold. This
is to prevent degradation of the design; therefore, number of
staples are increased. This will enhance the possibility of
targeted delivery.

Figure 7: The design has different colours so the model can be
visualized in 3D.
To determine whether the scaffold and staple sequence are
abiding base pair ruling, the entire sequence was inserted into
the forward scaffold and identified whether the staples were
complementary. The sequence was obtained from addgene and
inserted into the forward scaffold, the sequence was then
reversed using reverse complement available:
https://www.bioinformatics.org/sms/rev_comp.html. The
reversed sequence was inserted into the reverse scaffold and
complementary base pairing was identified using zooming tool.
Figure 8: The figure shows successful addition of the forward
and reverse sequence onto its allocated scaffold, it also shows
the complementary paring with the staple strands.

Design meeting limiting size
DNA nanotechnology has produced small scale nanomaterial
(10-6 of a millimeter), and the size of nanoparticles are in-
between 10-100nm, however a limiting size of less than 50nm is
relevant to be achieved whilst maintaining the functionality of
the nanoparticle. (Chakraborty, Roy and Mondal, 2016)
To determine whether the 3D design on Autodesk Maya meets
the limiting size, this is performed by using the ‘measuring
tool’ to measure the dimensions of the height, width and length
of the shape. Autodesk Maya 2015 is traditionally used for
macroscale designs and measurements are in centimetres and
units required is nanometres. It is known that each helix has a
diameter of ~2.25nm, therefore the width of design contains 6
helices. (6x2.25= 13.5nm is the theoretical width, the measured
width is 13.83nm.) (Korpelainen et al., 2017)

Figure 9: Cross section of forward scaffold with the measured
width of the design.
As the model is 6x6 helices the theoretical height is also
13.5nm and the measured height is 13.76nm.
Figure 10: Height of the nanoparticle is measured at 13.76nm.
To determine how the length of the shape is meeting the
limiting size, although the measured dimension is in centimetres
it can be converted to nanometers, the length of each base is
required to justify the measurement. As the known the
measurement, each base is 3.4Å which is 0.34nm, there are
127bp in the model. Therefore, the theoretical length is 0.34nm
x 127bp = 43.18nm and the measured length is 43.69nm. This is
within the limiting size (10-100nm) and the ideal size (<50nm).
(Seeman, 2005; Ke et al., 2009)

Figure 11: The length of the nanoparticle is within the limiting
size.
Rendering using Autodesk Maya
The model design was rendered on Autodesk Maya, the forward
scaffold is the front face in blue and the reverse scaffold is the
reverse face in red. As it can be seen the staples are in green,
black and purple. The model can be seen to have increased
interlinking between the two scaffolds to increase
rehybridization in vivo. The breaks in the model is identified as
the cavity to load API for targeted drug delivery.
Figure 12: 3D images were rendered on Maya to visualise the
physical properties of the design, the images were saved at
300dpi resolution in JPEG and TIFF format.
Discussion
The research into DNA nanotechnology has acknowledged the
transition the application has developed, however there has been
a failure to identify its importance and its potential

applications. This is due to multiple barriers are required to be
explored before nanoparticles can effectively deliver drug to
target site. A key issue that requires accomplishing is
successfully folding nanoparticles in accordance to design
constructed on computer-aided-softwares. Distinguishing the
ideal folded shape that is attempted in vitro and whether it can
be identically applied in vivo for its rehybridization and folding
will expand the field of DNA nanotechnology. This field has
more often failed in its biological relevance and those
researching in the field of DNA nanotechnology will need
extensive understanding of the scope of research. Moreover,
successfully identifying the gap in knowledge will develop
novel designs in the field of DNA nanotechnology and can
potentially be used in future medicine.
Traditionally used plasmid sequence M13 bacteriophage, was
used in the design of nanostructures, longer scaffold structures
were designed. However, these were challenging as large
assemblies are mechanically fragile. In this study, a chosen
plasmid ‘pCS2+8CmCherry’, is used to design a nanoparticle.
The plasmid has a size of 4848bp which is of a smaller scale
compared to M13, however there hasn’t been enough research
around the plasmid. (Wang et al., 2017)
Firstly, the forward scaffold was designed on the left of the

palette, with crossovers between each helix, the reverse scaffold
was on the opposite side. Both scaffolds were interlinked by
arrangement of helices, and the addition of the staples. The
staples were manually rearranged to assist in the increase of
rehybridization and prevent degradation in vivo. The increased
number of staples helps to maintain a rigid structure and
prevent the damage of the design in vivo.
A key focus was the limiting size of the plasmid which is of 10-
100nm, with an ideal size of <50nm. The square lattice structure
was used to form a 6x6 helices cross section, and the base pair
length was increased to 127bp. The design has achieved the
limiting size, as the width and height were designed by 6x6
helices. Korpelainen et al (2017), stated that the diameter of a
single helix is 2.25nm, therefore the theoretical width and
height was 13.5nm. The length also met the ideal size of <50nm
as the theoretical length was 43.18nm.
Moreover, the design was rendered using Autodesk Maya, to
illustrate the potential outcome of the design, the distinct
features has shown the nanoparticle has potential to encapsulate
API for targeted delivery.
As previously mentioned, the m13 genome is most commonly
used in DNA origami; the plasmid used in this study is much
smaller which can reduce fragility in comparison to previous
designs. The design is within the ideal limiting size and
therefore this shows it may present new potentials. Moreover,

the plasmid used was the smallest identified on the repository
that contains a fluorescent protein, any future research
conducted using the protocol described in this study can publish
a pioneering design that can be recognized via imaging systems,
and possibly identified in vivo models similarly.
The Plasmid is known as an ABC transporter molecule, thus
could mean that targeted drug delivery may be successful.
Gokirmark et al (2012), stated that the of the species of the
plasmid, there are many significances of the proteins in
development and disease. However, there is little knowledge
regarding their phylogenetic origins and functional diversity.
The vector has not been understood in detail of its structure and
functional properties. Difficulties may be encountered during
folding of nanostructure using the plasmid. Other difficulties
may include the understanding of physical functions of
nanoscale molecules for those that are new to this research.
It has been theoretically demonstrated that the designed plasmid
is suitable to be used as a blueprint in the research of
conducting this design in vitro. The design hasn’t been tested
and only been developed via computer aided tools, these tools
may not consider biological factors that may impact on a
successful design. This has extremely limited the design as its
potential use is currently unknown, so for it to be a viable in the
study of DNA nanotechnology, further studies are required to be

conducted to understand its reliability.
The study that was conducted may have been enhanced for
further studies if a group of designs were constructed so that
each design can go through trial and error in vitro settings.
Although, the potential folding pathways have been initiated by
design, this doesn’t represent the actual folding pathways as
this hasn’t been conducted. (Douglas et al., 2009)
Besides the limitations of the design, it has great potential for
drug delivery as its essential characteristics include;
compatibility, addressability and control in dimensions, shape
and surface chemistry.
Doxorubicin, an anti-cancer drug has been known for its
successful treatment in terminating cancerous cells; however it
has a toxic effect on normal cells. It has previously been
inserted in DNA complexes such as tubular and triangular DNA
origami structure for targeted drug delivery to increase
cytotoxicity in cancer cells, this resulted in more accumulation
of API at target site and resulted to inhibition of tumor growth.
(Wang et al., 2017)
Further research behind the plasmid and design conducted in
this study can potentially have great outcome and contribution
in DNA nanotechnology and medicine, as the plasmid species is
known as transporter molecules and the sequence was the
smallest used.

Conclusion
As the research conducted in DNA nanotechnology is growing
continuously and has developed from its adolescence to
adulthood. However, for research conducted by researchers new
to the field, the understanding of the entire aspect of DNA
nanotechnology is limited, as the breadth of the topic is broad,
and the realistic use of nanotechnology isn’t fully understood.
Moreover, researches have shown the potential of DNA
nanotechnology but not completely defined due to its
complexity.
Future study is required to expand the possible designs, a better
architectural plan, by using multiple softwares. CanDo is a
software that predicts 3D solution, shape and flexibility of
programmed DNA assembly models, it enables 3D geometries
and flexibilities to be predicted that isn’t possible analytically.
Therefore, this software can test and predict the mechanical
features of a DNA assembly model.
The study can potentially show great contribution to DNA
nanotechnology as a primary design was conducted with a small
plasmid sequence within the limiting size, the design can
potentially be used to encapsulate API for targeted drug
delivery and further advance medicine.

Project title:
Design of a Nanoparticle of a DNA Plasmid for Intracellular
Delivery
Question to be addressed
Electroporation, lipid transfection, and biolitic particle delivery
systems have been used to deliver genetic material into cells but
either r are unsuitable for delivery to mammals; or there is lack
of success in delivering the DNA material intact to the target
cells. It should be possible to design a nanoparticle containing
genetic coding as plasmid DNA for intracellular delivery. The
design and assembly of such nano-structure can be achieved
utilizing methods currently used in structural DNA
nanotechnology and constitutes an exciting new area of
development in Pharmaceutical Biotechnology.
The aim of this study is to utilize structural DNA technology
methods for the design of a nano-architecture using a double
stranded DNA plasmid. In order to achieve this goal the Project
Proposal will contain two main features:
(i) A review of the literature should allow for the selection of a
currently available plasmid that encodes for a fluorescent
protein. The fluorescent protein will allow for assessing
intracellular delivery and functionality of the plasmid.

(ii) The proposal should contain the principles of DNA
nanotechology that will be employed for the design of the
nanoparticle.
Objective of the Project
In this project our aim is to design a nanoparticle containing a
DNA plasmid with suitable dimensions for delivery into cells.
Methods
Computer based project using:
· Cadnano (cadnano.org)
· Vector diagrams using Inkscape (inkscape.org/en)
· AutoCAD Maya
Expected outcome(s)
Plasmid and list of DNA staples, along with their organization
(vector diagrams, graphs, illustrations).
References
- Donnelly JJ, Wahren B, Liu MA. DNA vaccines: Progress and
challenges. J Immunol 2005; 175(2): 633-639.
- Lin C, Liu Y, Yan H. Designer DNA Nanoarchitectures.
Biochemistry (N.Y.) 2009; 48(8): 1663-1674.
- Dietz H, Douglas SM, Shih WM. Folding DNA into Twisted
and Curved Nanoscale Shapes. Science 2009; 325(5941): 725-

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