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BY TENNESSEE WILLIAMS TENNESSEE WILLIAMS PLAYS
Baby Doll '" Tiger Toil Camino Real Cat on a Hot Tin Roof CI"Ihts for a Summer Hotel Dragon Caunrry The Glass Menagerie The Gloss Menagerie A Lovely Sunday for Cre.e Coeur Nor AOOur Nightingales The NOlebook of Trigorin The Red o..il B."ery Sign Small Cndl Warnings Nobody, not even the rain, has such small hands. Somelhing Cloudy. Somerhing Clear Stopped Rocking and Orher St,«n PI~y. e. e. cummings A Streetcar Named Drsire S....t Bird of Youth THE THEATRE OF TENNESSEE .... 1l11AlWS. VOLUME I B""lt of IIngtl,. II 5,,..,,,,, N"tn«J o.,ir'r. TN GIaJ, Mmagtrit THE THEATRE OF TENNESSEE WilliAMS, VOLUME 1I TN El'Clfll,icilitl of" Nighlinxalt, s_,,11(/ S...... TN ROlt TaIlOf). Ca..i.. RraJ THE THEATRE Of TENNESSEE WILLIAMS. VOLUME 1)1 Ca, " a HoI Tin Roof. 0rphtJa o."...aing. S,,"""'I, Unl S".._ THE THEATRE OF TENNESSEE WILLIAMS. vOLUME IV S".., BirJ of Yo"lh, P"ioJ of IIJjlm....'. TN N'ghl ofIN ig"''''' THE THEATRE Of IENNES-SEE WILLIAMS. VOLUME V TN Millt T,ain v..s.', SIll/' Hm II.,...... KI.gt/qm of Earth (TN s...m 0.,'''1' of MY"lt!. S ....II Craf, W"rning'. TN Two·Char«1tr Pia,
THE THEATRE OF TENNESSEE WILLIAMS, VOLUM~ VI 2J Wag.", F"I/ of Coil." ..fill OIM Short Pia" THE THEATRE OF TENNESSEE WILLIAMS. VOl.UME VB in 'N Ba, ofa Tole,. H."I all(/ OIM Pia], THE THEATRE Of TENNESSEE WILLIAMS, VOLUME VIII Vi."x Cam. II 1.-1, S"nday for C..... CDt""' CloI"" for as"...... Hottl, TN Red Devil Ballery Sign I 27 Wagon. Full ofCatron and Orh.r Plays The Two-Characrer Play 'I Vieux Carre f ~ POETRY :J Androgyne. Moo Amour In {he Wimer of Chies INTRODUCTION BY ROBERT BRAY
PROSE
Collecled Slorie. Hard Candy and Orher Stories A NEW DIRECTIONS BOOK One Arm and O,her Srori.. The Roman Spring of M" Slone Where I Live: Sele«ed Essays
• l • .. ,. Copyright e 1945 The Univ....ity of the South. Renewed 1973 The Univ....ity Of The Soullt. '",rnduction topyright 0 1999 by Robe" Bray
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CAUTION: Prokssionals and amareurs .re hereby .....oed tha. The GI,." .41_8"", being fully pro CONTENTS ."".ed under .he copyrigh. I..... of .he Unired S.ates of Amerka, ,he Bri.ish Commooweahh including the Dominion of Canada. and all o.her counlti.. of the Copyright Union. is sub;"". to royalry. AU rights. including professional, amateur, motion pK:tUft'~ rtt.:itarioo. lecruring? public n:adinJ(, radio and television broadcastiog. and the rights of rransLuion inw fOJ'eigo languages, art strictly reserved, Particular emphasis .5 laid on • he question ofreadings. permission for which mUSE I be s«:ured from the ag~nt IOc The Universi.y ofthe Sou.h. Casa",no Ramsay Ltd., National House, 60-66 Wardaur S.., London W I V 3HP. England. )• Inquiries concernin8 [he ama[eur acting rights of The GI4JS MOIAr« shouk! be dirt't:ct'd co The Dramatists Play S.",i«, 440 Park Avenue Sou.h, N ..... York, NY 10016, without whose n permission in w'l'ln8 no arnau"ur performance may be given. 1be Dramatists Play Service i .Iso publishes the aCling v.nion of the play.
The GI,." Mmapit is published by .....ng.men....i,h { The University of the South. Sewanee, T.n...... ,. Introduction by Robert Bray vu The GI"" M_g",i, ..... li"t published by Random House in 194~. New Dire"ions lint f published The GLIIS M.Ntg.." in a New Classics Edition in 1949 and .. New Directions Paperbook 21810 1966. reset in 1970. An introduction by Robe" 8ray I Cast Listing/Scene XVII w...dded [0 the paper edition, published as NDP874. in 1999. \
Manufactured an [he UntIed 5t1un of America I ! The Characters XVJ11 New Directions Book...." printed on .dd-f.... paper. I Published ,imuhaneously in Canada by Penguin Books Canada Limited
Library of Congress Ca.aloging-in Puhlic. SECOND PRINTING New D.rec .. THE GLASS MENAGERIE S~ENE TWO and pretty!-It's almost time for our gentlemen callers to .....,u."'..",...... ""'."m....."'.",...._",..-_._,..,-...... '...... ,III-...... _"",...... "...."....._'10...'...""...... ,...,,"""''',,·,...... ·.... start arriving. [She pounces girlishly toward Ihe kitchenette] On Ihe dtwk stllge the sC'l'een is lighted with the imllge of bl#e ,w many do you suppose we're going to entertain this after~ ,oses. G,ad~ly u#"rs fi,g#,e becomes apparent and the noo\.) sct'een goes 0#1. The ffl*sic s#bsides. [To;"""tMows down Ihe paper lind i#mps #1' wilh II g,olln.] ~'II is seated in the delicllte wory chllir at the small cw one in the dining ,oom]: I don't believe we're foot table. She wears II d,ess of soft 1Iiolet mIItet'ial fOf' a going to rece~ any, Mother. kimono-her hllir is tied bllck f,om her fOf'ehead with a ,ibbon. She is wlllhing lind polishing her collection of glllls. AMANDA airily]: [,e~earing, What? No one--not one? Amantl. IIppears on the fi"e escllpe sleps. Atlhe so#nd of her You must be jokin, IIscenl, La*1'11 clltches her b,elllh, tM#sts the bowl of Qt'niI [U#'II nerllo#sly e oes her lau:gh. She slips in II f#gitille menll IIWIlY, and sellls herself sli/fiy befo,e the diag,am of Ihe manner tMo#gh Ihe hal en pOf'tieres lind d,lIWs them gent typew,iter keyboard 111 tho#gh it held her spellbo#nd. Some ly behind her. A shllft of 11 clear lighl is tMown on her fllCe thing hili hllppened to Amanda. II is written in her fllCe 111 she against the faded tllp8swy of e c#,tllins. Fllintly the m#s;c of climbs to the landing: II look thlll is grim lind hopeless and "The GIllis Menagerie" is he 111 she contin#es, lightly:] II little IIbs*1'd. She hili on one of those cheap Of' imitation lIelllety-looking cloth coats with imitation f#, collar. Her hili Not one gentleman caller? It ca 't be true! There must be a is fi,lIe Of' six years old, one of those d,eadf#l cloche hills that flood, there must have been a torn o! were wOt'n in the lllle Twenties, and she is cl#tching lin enQt' LAURA: It isn't a Bood, it's not a tor do, Mother. I'm just mo#s black patent-lelllher pocketbook with nickel cllllPS lind not popular like you were in Blue Moun . . ... initials. This is her f#ll-dt'ess o#tfi,t, the one she #s~ly wears [Tom wiers another gf'oan. ~'II glance III him with II to the D.A.R. BefOf'e entering she looks tMo#gh the doOf'. faint, apologelic smile. Her lIoice clllches Ill' e:] She p*1'ses her lips, opens her eyes lIery wide, ,oils them #1' ward lind shllkes her head. Then she slowly lell herself in the Mother's afraid I'm going to be an old maid. doOf'. Seeing her mOlher's e"Fession ~'II lo#ches her lips [The scene dims o#t with the "GIlliS Menagerie\m#sic.] wilh II net'1IO#S gest#,e. ."'."'...... ",.,,,,t...... ,.,tW«>..... 'lt' __.... ,... _"'____-.....--.n~~....-....,"_..".lOo{_ .. LAURA: Hello, Mother, I was-- [She makes II net'1I0#S ges t#t'e toward the chart on the wall. Amandll luns IIgainst the sh#t doOf' and Jlares III ~'II with a martped 10Qk.] AMANDA: Deception? Deception? [She slowly t'lmOlles her hat and glolles, contin~g the sweet s#lJering stare. She lets the hat and glolles fallon the {lOOf'-II bit of IIcling.] II 10 • -' ~ - _. THE GLASS MENAGERIE SCENE TWO ...... ,,,..'''''''.\III.'''.>1IU...... ,,,,...14_.....''I<....''m.IOII_.,'...... U_...."_..,...... I1...... 'H'_...."mll.n...."..m...... "...... m.... LAURA [shakily]: How was the D.A.R. meeting? LAURA: Has something happened, Mother? [Amanda !lowly opens her f!Nrse and remotles a dainty [Amand .lraws a long breath, takes out the handkerchief white handkerchief which she shakes 0111 delicately and again, goes Ihrough Ihe dabbing process.] delicately tOtlches to her lips and nostrils.] Mother, has--something happened? Didn't you go to the D.A.R. meeting, Mother? AMANDA: I'll be all right in a minute, I'm just bewildered AMANDA [faintly, almost inaudibly]: -No.-No. [Ihen -[She heS;laJes.] -by life.... more /orcibly:] I did not have the strength-tO go to the LAURA: Mother, I wish that you would tell me what's D.A.R. In fact, I did not have the courage! I wanted to find a hole in the ground and hide myself in it forever! [She happened! crosses slowly to the wall and rem01les the diagram 0/ Ihe AMANDA: As you know, I was supposed to be inducted into typewriter keybOllrd. She holds it in front 0/ her for a second, my office at the D.A.R. this afternoon. staring at it sweetly and sorrow/tIllY-lhen bites her lips and [Screen image: A swarm of typewriters.] tears it in two pieces.] But I stopped off at Rubicam's Business College to speak to LAURA [faintly]: Why did you do that, Mother? your teachers about your having a cold and ask them what [Amanda repeats the same procedllre with the chart 0/ the progress they thought you were making down there. Gregg Alphabet.] LAURA: Oh.... Why are you- AMANDA: I went to the typing instructOr and introduced AMANDA: Why? Why? How old are you, Laura? myself as your mother. She didn't know who you were. "Wingfield," she said, "We don't have any such student en LAURA: Mother, you know my age. rolled at the school!" AMANDA: I thought that you were an adult; it seems that I assured her she did, that you had been going to classes since I was mistaken. [She crosses slowly 10 Ihe so/a and sinks down early in January. and stares at Laura.] "I wonder," she said, "If you could be talking about that ter ribly shy little girl who dropped out of school after only a LAURA: Please don't stare at me, Mother. few days' attendance?" [Amanda closes her eyes and lowers her head. There is a "No," I said, "Laura, my daughter, has been going to school ten-second pause.] every day for the past six weeks!" "Excuse me," she said. She took the attendance book out and AMANDA: What are we going to do, what is going to be there was your name, unmistakably printed, and all the dares come of us, what is the future? you were absent until they decided that you had dropped out [There is another pause.] of school. 12 13 .J - ~ THE GLASS MENAGERIE SCENE TWO ...... , ....",,,..,,,,...... ,"',,,,,,,,.."',...... _"...11 .._ .....' ..,,.....,_.....,l..n.__.."..lIm.O«....lIu...... n_I!..~ItI"" .."...... "...."""" ..II...... ".'."...., ... I still said, "No, there must have been ~me mistake! There AMANDA: Even after you'd started catching that cold? must have been some mix-up in the records!" LAURA: It was the lesser of two evils, Mother. And she said, "No--I remember her perfectly now. Her hands shook so that she couldn't hit the right keys! The first time IScreen image: Winter scene in a park.] we gave a speed test, she broke down completely-was sick at I couldn't go back there. I-threw up-on the floor! the stomach and almost had to be carried into the wash room! After that morning she never showed up any more. We AMANDA: From half past seven till after five every day you phoned the house but never got any answer"-While I was mean to tell me you walked around in the park, because you working at Famous-Barr, I suppose, demonstrating those wanted to make me think that you were still going to Rubi cam's Business College? [She indicates a brassiere with her hands.] LAURA: It wasn't as bad as it sounds. I went inside places Oh! I felt so weak I could barely keep on my feet! I had to to get warmed up. sit down while they got me a glass of water! Fifty dollars' tuition, all of our plans--my hopes and ambitions for you AMANDA: Inside where? just gone up the spout, just gone up the spout like that. LAURA: I went in the art museum and the bird houses at [Laura drllws a long breath and gelS awkwllf'dty to her the Zoo. I visited the penguins every day! Sometimes I did feet. She crosses to the Victrola and winds it up., without lunch and went to the movies. Lately I've been spend ing most of my afternoons in the Jewel Box, that big glass What are you doing? house where they raise the tropical flowers. LAURA: Oh! [She releases the handle and returns to her AMANDA: You did all this to deceive me, just for deception? seat. ] [Laura looks down.] Why? AMANDA: Laura, where have you been going when you've gone out pretending that you were going to business college? LAURA: Mother, when you're disappointed, you get that awful suffering look on your face, like the picture of Jesus' LAURA: I've just been going out walking. mother in the museum! AMANDA: That's not true. AMANDA: Hush! LAURA: It is. I just went walking. LAURA: I couldn't face it. AMANDA: Walking? Walking? In winter? Deliberately [There is a pause. A whisper of strings is hellf'a. ugend on courting pneumonia in that light coat? Where did you walk screen: "The Crust of Humility."] to, Laura? AMANDA [hopelessly fingering the huge pocketbook]: So LAURA: All sorts of places-mostly in the park. what are we going to do the rest of our lives? Stay home and 14 15 . . J ,.., THE GLA.SS MEN A.GERIE SCENE TJlTO •.,'.m."••• ",...... ,,,,,....."'""..mj...... ''''"m_III_...'IO""".."''1...... ,,,....'.....'''11.''''-'''...... ,,,...... ,.....,...,'',...... "...... watch the parades go by? Amuse ourselves with the glass LAURA: The operetta the senior class put on. He had a menagerie, darling? Eternally play those worn-out phono wonderful voice and we sat across the aisle from each other graph records your father left as a painful reminder of him? Mondays, Wednesdays and Fridays in the Aud. Here he is We won't have a business career-we've given that up be with the silver cup for debating! See his grin? cause it gave us nervous indigestion! [She laughs wearily.] AMANDA [absently J: He must have had a jolly disposition. What is there left but dependency all our lives? I know SO well what becomes of unmarried women who aren't prepared LAURA: He used to call me-Blue Roses. to occupy a position. I've seen such pitiful cases in the South barely tolerated spinsters living upon the grudging patronage [Screen image: Blue roses.] of sister's husband or brother's wife!-stuck away in some AMANDA: Why did he call you such a name as that? little mousetrap of a room--encouraged by one in-law to visit another-little birdlike women without any nest--eating the LAURA: When I had that attack of pleurosis--he asked me crust of humility all their life! what was the matter when I came back. I said pleurosis--he Is that the future that we've mapped out for ourselves? I thought that I said Blue Roses! So that's what he always swear it's the only alternative I can think of! [She pauses.] called me after that. Whenever he Saw me, he'd holler, "Hello, It isn't a very pleasant alternative, is it? rShe pauses again.l Blue Roses!" I didn't care for the girl that he went out with. Of course--some girls do marry. Emily Meisenbach. Emily was the best-dressed girl at Soldan. She never struck me, though, as being sincere ... It says in rLaura twists her hands nervously.] the Personal Section-they're engaged. That's--six years ago! Haven't you ever liked some boy? They must be married by now. LAURA: Yes. I liked one once. rShe rises.1 I came across AMANDA: Girls that aren't CUt out for business careers his picture a while ago. usually wind up married to some nice man. [She gets up with a spark of revival.] Sister, that's what you'll do! AMANDA [with lOme interest]: He gave you his picture? [Laura utters a startled, doubtful laugh. She reaches quickly LAURA: No, it's in the yearbook. f01' a piece of glass.] AMANDA [disappointed]: Oh-ahigh school boy. LAURA: But, Mother- [Screen image: Jim as the high school hero bearing a silver cup.1 AMANDA: Yes? [She goes wer to the photograph.] LAURA: Yes. His name was Jim. [She lifts the heavy an LAURA [in a tone of frightened apology]: I'm~rippled! nual from the claw-foot table.] Here he is in The Pirates of AMANDA: Nonsense! Laura, I've told you never, never to Penzance. use that word. Why, you're not crippled, you jus~ have a little AMANDA [absently J: The what? defect-hardly noticeable, even! When people have some 16 17 '--~-,-_ ;J ," ".... THE GLASS MENAGERIE ".."'m'.lIl1u...... ",...... u..",_""'.m...,"...'''..III_..11W._..'''"_.U"',....'...... ,..ml_m""'..'_"""...... m".'''>ff...... ,''"...,',,..,...... ,... SCENE THREE slight disadvantage like that, they cultivate other things to make up for it--develop charm-and vivacity--and-cha1'm/ LegeM on screen: "After the fiasco--" That's all you have to do! [She turns again to the pholo graph.] One thing your father had plenty of-was charm/ Tom speaks trom the fire elcape laMing. [The scene ftides oul with music.] TOM: After the fiasco at Rubicam's Business College, the idea of getting a gentleman caller for Laura began to play a more and more important part in Mother's calculations. It became an obsession. Like some archetype of the universal unconscious, the image of the gentleman caller haunted our small apartment.... lScreen image: A young man at the door of a house with flowers.] An evening at home rarely passed without some allusion to this image, this specter, this hope.... Even when he wasn't mentioned. his presence hung in Mother's preoccupied look and in my sister's frightened. apologetic manner-hung like a sentence passed upon the Wingfields! Mother was a woman of action as well as words. She began to take logical steps in the planned direction. Late that winter and in the early spring-realizing that extra money would be needed to properly feather the nest and plume the bird-she conducted a vigorous campaign on the telephone, roping in subscribers to one of those magazines for matrons called The Homemaker's Companion, the type of journal that features the serialized sublimations of ladies of letters who think in terms of delicate cuplike breasts. slim, tapering waists, rich, creamy thighs, eyes like wood smoke in autumn, fingers that soothe and caress like strains of music. bodies as powerful as Etruscan sculpture. rScreen image: The cover of a glamor magazine.] 18 19 J .& SCENE THREE THE Gl.ASS MENACERIE ....,",...... " .. " ...... " ...... u., ...."""'..u.m'm .... _'""...... ,...... ,.... _ .. ", ... ' ...... 'm'''''''',·, ,,,...... ,(...... ,,,,"' ..,..... ,...... ,.. """", ...... [Amanda enters wi.th the telephone on a long extension TOM: -supposed to do! cord. She i.s spotlighted i.n the dim stage.] AMANDA: --expression! Not in my AMANDA: Ida Scott? This is Amanda Wingfield! We TOM: Ohhh! m;JJed you at the D.A.R. last Monday! I said to myself: She's probably suffering with that sinus condition! How is that AMANDA: -presence! Have you gone out of your senses? sinus condition? TOM: I have, that's true, driven out! Horrors! Heaven have mercy!-You're a Christian martyr, yes, that's what your are, a Christian martyr! AMANDA: What is the matter with you, you-big-big Well, I just now happened to notice that your subscription to IDIOT! the Companion'S about to expire! Yes, it expires with the TOM: Look!-I've got no thing, no single thing next issue, honey!-just when that wonderful new serial by Bessie Mae Hopper is getting off to such an exciting start. AMANDA: Lower your voice! Oh, honey, it's something that you can't miss! You remember TOM: -in my life here that I can call my OWN! Everything how Gone wah the Wind took everybody by storm? You simply couldn't go out if you hadn't read it. All everybody IS- talked was Scarlett O'Hara. Well, this is a book that critics AMANDA: Stop that shouting! already compare to Gone with the Wind. It's the Gone wah the Wind of the post-World-War generation!-What? TOM: Yesterday you confiscated my books! You had the Burning?-Oh, honey, don't let them burn, go take a look in nerve to- the oven and I'll hold the wire! Heavens--I think she's hung AMANDA: I took that horrible novel back to the library up! yes! That hideous book by that insane Mr. Lawrence. [The scene dims out.] [Tom laughs wildly.] [Legend on screen: "You think I'm in love with Con I cannot control the output of diseased minds or people who tinental Shoemakers?"] cater to them [Before the lights come up again, the 'lliolent voices of Tom [Tom laughs still more wildl,.] and Amantia are heard. They are quarreling hehind the portieres. In front of them stands Laura wah clenched BUT I WON'T ALLOW SUCH FILTH BROUGHT INTO MY HOUSE! hands and panicky expression. A clear pool of light is on No, no, no, no, no! her figure throughout this scene.] TOM: House, house! Who pays rent on it, who makes a TOM: What in Christ's name am 1 slave of himself to- AMANDA [sbrilly]: Don't you use that- AMANDA [fairl, screeching]: Don't you DARE to 20 21 ." - ..... THE GLASS MENAGERIE 'II"W"·"...... '''...... UIl.'...... ''..,,It,...''__..... tM' ..''...._ ..»1:...... ""'11001" ...... ,...... "",....,...... ,....."..,." ...... SCENE THREE TOM: No, no, [ mustn't say things! ['ve got to ;ust do--having a little difference between them! You don't think AMANDA: Let me tell you- that- TOM: I don't want to hear any more! AMANDA: I think you've been doing things that you're ashamed of. That's why you act like this. I don't believe that [He tears the portieres open. The dining·room area ;s lit you go every night to the movies. Nobody goes to the movies with a turgid smoky red glow. Now we see Amanda; her night after night. Nobody in their right minds goes to the hair is in metal curlers and she is wearing a very old hath. movies as often as you pretend to. People don't go to the rohe, much too large for her slight figure, a relic of the movies at nearly midnight, and movies don't let out at two faithless Mr. Wingfield. The upright typewriter now stands A.M. Come in stUmbling_ Muttering to yourself like a maniac! on the drop. leaf tahle, along with a wild disarray of manu. You get three hours' sleep and then go to work. Dh, I can scripts. The quarrel was prohahly precipitated hy Amanda's picture the way you're doing down there. Moping, doping, inten-uption of Tom's creative lahor. A chair lies over. because you're in no condition. thrown on the floor. Their gesticulating shadows are cast on the ceiling hy the fiery glow.] TOM [wildly]: No, I'm in no condition! AMANDA: to AMANDA: You will hear more, you- What right have you got jeopardize your job? Jeopardize the security of us all? How do you think we'd TOM: No, I won't hear more, I'm going out! manage if you were- AMANDA: You come right back in- TOM: Listen! You think I'm crazy about the warehouse? [He hends fiercely toward her slight figure.] You think I'm TOM: Out, OUt, out! Because I'm- in love with the Continental Shoemakers? You think I want AMANDA: Come back here, Tom Wingfield! I'm not to spend fifty-five years down there jl· !hat---celotex interior! through talking to you! with-/luorescent--tuhes.' Look! r d rather somebody picked up a crowbar and battered out my brains-than go back TOM: Dh, go- mornings! I go.' Every time you come in yelling that God LAURA [desperately] : -Tom! damn "Rise and Shine!" "Rise and Shine!" I say to myself, "How lucky dead people are!" But I get up. I go! For sixty-five AMANDA: You're going to listen, and no more insolence dollars a month I give up all that I dream of doing and being from you! I'm at the end of my patience! ever! And you say self-self's all I ever think of. Why, listen, if self is what I thought of, Mother, r d be where he i~NE! [He comes hack toward her.] [He points to his father's picture.] As far as the system of TOM: What do you think I'm at? Aren't I supposed to have transportation reaches! [He starts past her. She grahs his arm.] any patience to reach the end of, Mother? I know, I know. It Don't grab at me, Mother! seems unimportant to you, what I'm doing-what I want to AMANDA: Where are you going? 22 23 '-- -, _ ,,j .... " THE GLASS MENAGERIE SCENE THREE _ ..I ....oI...... 'I••U..I1I.." .. M...,....,'''• .-..ftM-I--U..tt...... '111....""___...... ·'"«....,.....••••· <4t1II.llttl...... " ....."f'..mlmlltt_..II.I...... "'mUIll!"••"".."._._'""'"1141""""""."" ...... 111111'11.1,."'...." ...... ""....,),...... ,'"''''..,''',<1<.... -IJ-----..--- TOM: I'm going to the movies! [But Amanda is still stunned and stupefied hy the "ugly witch" so that she harel, notues this QCcllfTence. Now she AMANDA: I don't believe that lie! rec01lers her speech.] [Tom crouches toward her, ollet'towering her tiny figure. AMANDA [in an awfulllo;ce]: I won't speak to you--until She backs away, gasping. J you apologize! TOM: I'm going to opium dens! Yes, opium dens, dens of [She crosses thro.gh the porti.et'es and draws them to vice and criminals' hangouts, Mother. I've joined the Hogan gether behind her. Tom is left with Laura. Laura clings Gang, I'm a hired assassin, I carry a tommy gun in a violin weakly to the mantel with het' face averted. Tom stares at case! I run a string of cat houses in the Valley! They call me het' slupidly for a moment. Then he crosses 10 the shelf· He Killer, Killer Wingfield, I'm leading a double-life, a simple, drops awkwartll, on his knees to collect the fallen glass, honest warehouse worker by day, by night a dynamic CZlll" of glancing at La.ra as if he wo.ld speak hut co.ldn't.] the underworld, Mother. I go to gambling casinos, I spin away fortunes on the roulette table! I wear a patch over one ['The Glass Menagerie" m.su steals in as the scene dims eye and a false mustache, sometimes I put on green whiskers. On those occasions they call me-EI Diablo! Oh, I could tell out.] you many things to make you sleepless! My enemies plan to dynamite this place. They're going to blow us all sky-high some night! I'll be glad, very happy, and so will you! You'll go up, up on a broomstick, over Blue Mountain with seven teen gentlemen callets! You ugly-babbling old--witch. ... [He goes through a set'ies of violent, clumsy movements, seizing his oVet'coat, lunging to the door, pulling it fi,et'cely open. The women watch him, aghast. His arm catches in the sleeve of the coat as he struggles to pull it on. For a moment he is pinioned hy the hulky garment. With an outraged groan he tears the coat off again, splilling the shoulder of it, and hurls it across the room. It strikes against the shelf of Laura's glass collection, and thet'e is a tinkle of shattering glass. Laura cries out as if wounded.] [Music.] [Screen legend: "The Glass Menagerie."] LAURA [shrilly]: My glass!-menagerie.... [She C01let'S het' face and turns away.] 25 24 .J .. .,...