Eddie makes a visit to Alfieri to ask if there is any way that he can prevent Catherine from marrying Rodolpho. Eddie claims that Rodolpho is only marrying Catherine to gain citizenship, but Alfieri tells him he has no proof and the law is not interested in such things. Eddie begs Alfieri and desperately suggests that Rodolpho might even be homosexual. Alfieri implores Eddie to "let Catherine go," as he has too much love for her and must wish her luck and let her marry Rodolpho. Helpless and near to tears, Eddie leaves the office.

Analysis

Although the women of A View from the Bridge were significantly enlarged in Miller's revised version of the script, Beatrice and Catherine remain weak characters. In the Italian-American society of Red Hook Brooklyn, Miller portrays the women as virtually helpless and unable to affect the fate of their husbands or any male figures. Although much of the action centers on Eddie's love for Catherine, Catherine does not have a significant impact on the events of the novel. Beatrice, initially more outspoken than Catherine, also has little impact on the story.

Catherine appears weaker than Beatrice in the play. Catherine is, of course, like a daughter to Beatrice, but Catherine is unable to properly articulate her feelings and emotions until the end of the play. Catherine is described as a somewhat flighty girl and she does not know that it is inappropriate to walk around in her slip in front of her uncle and watch Eddie shave in his underwear. Until Catherine's relationship with Rodolpho, she has no great convictions besides wanting to work as a stenographer before she graduates. Catherine is oblivious throughout the play to Eddie's lust for her. She constantly seeks his approval and forgiveness, even at the very conclusion of the play. Catherine only finds her independence from Eddie when she finds another male patriarchal figure to replace him. Happy and safe with Rodolpho, Catherine can finally separate herself from Eddie.

Beatrice is the tirelessly forgiving character of the play. Beatrice is the mature female figure, but requires the same male approval that Catherine seeks. Beatrice is jealous of Eddie's relationship with Catherine and openly addresses Eddie's sexual impotence and lack of physical affection for her. While Beatrice seems more aware of her need for Eddie's approval than Catherine does, she is equally desperate for it. Also different from Catherine is that Beatrice recognizes this neediness almost to a fault. Nonetheless, Beatrice's willingness to forgive Eddie leads her to even accept him after Eddie is disgraced and he admits his desires for Catherine. In the original version of the script, Eddie dies at Catherine's feet, but Beatrice's greater role in the revised script makes this an improbable ending—Eddie must return to Beatrice because she is the only one left who truly needs his approval, since Catherine now has Rodolpho. In these final moments, Beatrice seems to have power over Eddie—for the first time he seeks out her forgiveness and love.

While the inner lives of these characters can be extrapolated from the text, Beatrice and Catherine remain fairly two-dimensional. The women have no apparent inner-life than their concern with male figures. Miller allows the audience little insight on the thoughts of Beatrice and Catherine, we are unsure why Catherine loves Rodolpho or how Beatrice occupies her time outside of cooking and cleaning for Eddie. The women solely exist to further the dramatic content of the play and have little meaning or consequence as individuals.