©SIGNET	<2 SIGNET CLASSIC
PLAYS BY TENNESSEE WILLIAMS
(0451)
Q CAT ON A HOT TIN ROOF by Tennessee Williams. The Pulitzer Prize-winning drama
of guilt, frustration and greed set in Mississippi. "Mr. Williams' finest drama, ft
faces and speaks the truth."--Brooks Atkinson, The New York Times. a, (165233--H5&)
D A STREETCAR NAMED DESIRE by Tennessee Williams. This is one of the most
remarkable plays of our times. It created an immortal woman in the character of
Blanche DuBois, the haggard and fragile southern beauty whose pathetic last grasp at happiness is cruelly destroyed and Stanley Kowalski, a sweat-shirted
barbarian, the crudely sensual brother-in-law who precipitated Blanche's tragedy.
(167783--$4.99)
D TENNESSEE WILLIAMS: FOUR PLAYS. This superb collection includes Summer and
Smoke, the story of two ill-starred lovers--one hungered for the spirit, the other
hungered for the flesh. Orpheus Descending, the searing drama of a wandering
guitar player and the storekeeper's wife he loved. Suddenly Last Summer, he was a corrupt pleasure-seeker and she was the beautiful young cousin he had
chosen as a victim. Period of Adjustment, they were two young couples
fighting love out on the battlefield of marriage. (525124--$5.95)
D THREE BY TENNESSEE by Tennessee Williams. This volume includes Sweet Bird of
Youth, the story of the aging actress and the young stud--two lovers trying to
escape their hidden selves The Rose Tattoo, a lonely Italian widow finds a
physical substitute for her husband in a virile truckdriver The Night of the
Iguana, a spitfire sensualist and a genteel spinster fight desperately for the
affections of a defrocked minister. (521498--$4.9®
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A Streetcar
Named Desire
BY TENNESSEE WILLIAMS
With an Introduction by the Author
®
A SIGNET BOOK
SIGNET
Published by the Penguin Group
Penguin Books USA Inc., 375 Hudson Street,
New Yoik, New York 10014, U.S.A.
Penguin Books Ltd, 27 Wrights Lane,
London W8 5TZ, England
Penguin Books Australia Ltd, Ringwood,
Victoria, Australia
Penguin Books Canada Ltd, 10 Alcora Avenue,
Toronto, Ontario, Canada M4V 3B2
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Penguin Books Ltd, Registered Offices;
Harniondsworth, Middlesex, England
Published by Signet, an imprint of New American Library,
a division of Penguin Books USA Inc.
Published as a SIGNET BOOK
by arrangement with James Laughtm. New Directions,
and Tennessee Williams, who authorized this
scftcover edition.
55 54 53 52 51 50 49 48 47
Copyright © 1947 by Tennessee Williams, Renewed 1974
by Tennessee Williams
All rights reserved, including the right of reproduction in whole or in part in any form.
CAUTION: Professionals and amateurs are hereby warned that A Streetcar Named
Desire, being fully protected under the copyright laws of the United States, the British
Empire including the Dominion of Canada, and all other countries of the Copyright
Union, is subject to royalty All rights including professional, amateur, motion-picture,
recitation, lecturing, public reading, radio and television broadcasting, and the rights of
translation into foreign languages, are strictly reserved. Particular emphasis is laid on
the question of readings, permission for which must be obtained in writing from the
author's agent. All inquiries should be addressed to the author's agent: Mr Mitch
Douglas. International Creative Management, 40 West 57th Street, New York, New
York 10019.
ACKNOWLEDGMENTS
Photographs of the original New York production—Eileen Darby,
Graphic House, Inc
Photographs from the film—Wamer Bros.
"It's Only A Paper Moon" copyright 1933 by Harms, Inc
Used by permission.
The lines from Hart Crane are reprinted from "Collected Poems of
Hart Crane" by permission of Liveright Publishing Corp., New York
®
REGISTERED TRADEMARK—MARCA REOISTRADA
Printed in the United States of America
If you purchased this book without a cover you should be aware that this book is stolen
property It was reported as "unsold and destroyed" to the publisher and neither the
author nor the publisher has received any payment for this "stripped book
And so it was I entered the broken world
To trace the visionary company of love, its voice
An instant in the wind (I know not whither hurled)
But not for long to hold each desperate choice.
"The Broken Tower" by hart ckane
FR1;INTRODUCTION
On A Streetcar Named Success*
by
TENNESSEE WILLIAMS
(This essay appeared in The New York Times Drama Section, November 30,1947--four
days before the New York opening of A Streetcar Named Desire.)
Sometime this month I will observe the third anniversary of
the Chicago opening of "The Glass Menagerie," an event
which terminated one part of my life and began another about
as different in all external circumstances as could be well
imagined. I was snatched out of virtual oblivion and thrust into
sudden prominence, and from the precarious tenancy of furnished
rooms about the country I was removed to a suite in a
first-class Manhattan hotel. My experience was not unique.
Success has often come that abruptly into the lives of Americans.

No, my experience was not exceptional, but neither was it quite ordinary, and if you are willing to accept the somewhat
eclectic proposition that I had not been writing with such an
experience in mind--and many people are not willing to believe
that a playwright is interested in anything but popular
success--there may be some point in comparing the two
estates.
The sort of life which I had had previous to this popular
success was one that required endurance, a life of clawing and
scratching along a sheer surface and holding on tight with raw
fingers to every inch of rock higher than the one caught hold
of before, but it was a good life because it was the sort of life
for which the human organism is created.
I was not aware of how much vital energy had gone into
this struggle until the struggle was removed. I was out on a
level plateau with my arms still thrashing and my lungs still
grabbing at air that no longer resisted. This was security at
last.
I sat down and looked about me and was suddenly very
depressed. I thought to myself, this is just a period of adjust-
*Copyright, 1947, by The New York Times.
INTRODUCTION
ment. Tomorrow morning I will wake up in this first-class
hotel suite above the discreet hum of an East Side boulevard
and I will appreciate its elegance and luxuriate in its comforts
and know that I have arrived at our American plan of Olympus.
Tomorrow morning when I look at the green satin sofa I
will fall in love with it. It is only temporarily that the green
satin looks like slime on stagnant water.
But in the morning the inoffensive little sofa looked more
revolting than the night before and I was already getting too
fat for the $125 suit which a fashionable acquaintance had
selected for me. In the suite things began to break accidentally.
An arm came off the sofa. Cigarette burns appeared on the
polished surfaces of the furniture. Windows were left open and
a rainstorm flooded the suite. But the maid always put it
straight and the patience of the management was inexhaustible.
Late parties could not offend them seriously. Nothing short of
a demolition bomb seemed to bother my neighbors.
I lived on room-service. But in this, too, there was a disenchantment.
Sometime between the moment when I ordered
dinner over the 'phone and when it was rolled into my living
room like a corpse on a rubber-wheeled table, I lost all interest
in it. Once I ordered a sirioin steak and a chocolate sundae,
but everything was so cunningly disguised on the table that I
mistook the chocolate sauce for gravy and poured it over the
sirloin steak.
Of course all this was (he more trivial aspect of a spiritual
dislocation that began to manifest itself in far more disturbing
ways. I soon found myself becoming indifferent to people. A
well of cynicism rose in me. Conversations all sounded like
they had been recorded years ago and were being played back
on a turntable. Sincerity and kindliness seemed to have gone
out of my friends' voices. I suspected them of hypocrisy. I
stopped calling them, stopped seeing them. I was impatient of
what I took to be inane flattery.
I got so sick of hearing people say, "I loved your play!" that
I could not say thank you any more. I choked on the words
and turned rudely away from the usually sincere person. I no
longer felt any pride in the play itself but began to dislike it, probably because I felt too lifeless inside ever to create another.
I was walking around dead in my shoes, and I knew it
but there was no one I knew or trusted sufficiently, at that
time, to take him aside and tell him what was the matter.
FR1;INTBODTTOTIOKr
This curious condition persisted about three months, tin late
spring, when I decided to have another eye operation, mainly
because of the excuse it gave me to withdraw from the world
behind a gauze mask. It was my fourth eye operation, and
perhaps I should explain that I had been afflicted for about five
years with a cataract on my left eye which required a series of
needling operations and finally an operation on the muscle of
the eye. (The eye is still in my head. So much for that.)
Well, the gauze mask served a purpose. While I was resting
in the hospital the friends whom I had neglected or affronted
in one way or another began to call on me and now that I was
in pain and darkness, their voices seemed to have changed, or rather that unpleasant mutation which I had suspected
earlier in the season had now disappeared and they sounded
now as they used to sound in the lamented days of my obscurity.
Once more they were sincere and kindly voices with
the ring of truth in them.
When tile gauze mask was removed I found myself in a readjusted
world. I checked out of the handsome suite at the
first-class hotel, packed my papers and a few incidental belongings
and left for Mexico, an elemental country where you can
quickly forget the false dignities and conceits imposed by success, a country where vagrants innocent as children curl up to
deep on the pavements and human voices, especially when
their language is not familiar to the ear, are soft as birds'. My
public self, that artifice of mirrors, did not exist here and so
my natural being was resumed.
Then, as a final act of restoration, I settled for a while at
Chapala to work on a play called "The Poker Night," which
later became "A Streetcar Named Desire." It is only in his
work that an artist can find reality and satisfaction, for the
actual world is less intense than the world of his invention and
consequently his life, without recourse to violent disorder, does
not seem very substantial. The right condition for him is that
in which his work is not only convenient but unavoidable.
This is an over-simplification. One does not escape that
easily from the seductions of an effete way of life. You cannot
arbitrarily say to yourself, I will now continue my life as it was
before this thing. Success happened to me. But once you fully
apprehend the vacuity of a life without struggle you are
equipped with the basic means of salvation. Once you know
this is true, that the heart of man, his body and his brain, are
INTRODUCTION
forged in a white-hot furnace for the purpose of conflict (the
struggle pf creation) and that with the conflict removed, the
man is a sword cutting daisies, that not privation but luxury is
the wolf at the door and that the fangs of this wolf are all the
little vanities and conceits and laxities that Success is hen- to--
why, then with this knowledge you are at least in a position
of knowing where danger lies.
You know, then, that the public Somebody you are when
you "have a name" is a fiction created with mirrors and that
the only somebody worth being is the solitary and unseen you
that existed from your first breath and which Ois thesumofyour
actions and so is constantly in a state of becoming under your
own volition--and knowing these things, you can even survive
the catastrophe of Success!
It is never altogether too late, unless you embrace the Bitch
Goddess, as William James called her, with both arms and find
in her smothering caresses exactly what the homesick little boy
in you always wanted, absolute protection and utter effortlessness.
Security is a kind of death, I think, and it can come to
you in a storm of royalty checks beside a kidney-shaped pool
in Beverly Hills or anywhere at all that is removed from the
conditions that made yon an artist, if that's what you are or
were or intended to be. Ask anyone who has experienced the
kind of success I am talking about--What good is it? Perhaps
to get an honest answer you will have to give him a shot of
truth-serum but the word he will finally groan is unprintable
in genteel publications.
Then what is good? The obsessive interest in human affairs,
plus a certain amount of compassion and moral conviction,
that first made the experience of living something that must be
translated into pigment or music or bodily movement or poetry
or prose or anything that's dynamic and expressive--that's
what's good for you if you're at all serious in your aims. William
Saroyan wrote a great play on this theme, that purity of
heart is the one success worth having. "In the time of your life
--livel" That time is short and it doesn't return again. It is
slipping away while I write this and while you read it, and the
monosyllable of the clock is Loss, Loss, Loss, unless you devote
your heart to its opposition.
A Streetcar Named Desire was presented at the Barrymore
Theatre in New York on December 3,1947, by Irene Seiznick.
It was directed by Elia Kazan, with the following cast:
Negro Woman
Eunice HubbeD
Stanley Kowalski
Stella Kowalsld
Steve Hubbefl
Harold MiteheU (Mitch)
Mexican Woman
Blanche DuBois
Pablo Gonzales
A Young Collector
Nurse
Doctor
Gee Gee James
PegHiUias
Marion Brando
Kim Hunter
Rudy Bond
Karl Maiden
Edna Thomas
Jessica Tandy
Nick Dennis
VitoChristi
AnnDere
Richard Garrick

Scenery and lighting by Jo Mielziner, costumes by Ludnda
Ballard. The action of the play takes place in the spring,
summer, and early fall in New Orleans. It was performed
with intermissions after Scene Four and Scene Six.
Assistant to the producer
Musical Advisor
frying Schneider
Lehman Engel

)cene ONE
The exterior of a two-story corner building on a street in
New Orleans which is named Elysian Fields and runs between
the L & N tracks and the river. The section is poor
but, unlike corresponding sections in other American cities,
it has a raffish charm. The houses are mostly white frame,
weathered grey, with rickety outside stairs and galleries and
quaintly ornamented gables. This building contains two flats,
upstairs and down. Faded white stairs ascend to the entrances
of both.
It is first dark of an evening early in May. The sky that
shows around the dim white building Is a peculiarly tender
blue, almost a turquoise, which invests the scene with a
kind of lyricism and gracefully attenuates the atmosphere
of decay. You can almost feel the warm breath of the brawn
river beyond the river warehouses with their faint redolences
of bananas and coffee. A corresponding air is evoked by
the music of Negro entertainers at a barroom around the corner . In this part of New Orleans you are practically always
just around the corner, or a few doors down the street,
from a tinny piano being played with the infatuated fluency
of brown fingers. This "Blue Piano" expresses the spirit of
the life which goes on here.
Two women, one white and one colored, are taking the air
on the steps of the building. The white woman is Eunice,
who occupies the upstairs flat; the colored woman a neighbor,
for New Orleans is a cosmopolitan city where there is
a relatively warm and easy intermingling of races in the old
part of town.
Above the music of the "Blue Piano" the voices of people
on the street can be heard overlapping.
[Two men come around the corner, Stanley Kowalski and
Mitch. They are about twenty-eight or thirty years old,
roughly dressed in blue denim work clothes. Stanley carries
his bowling jacket and a red-stained, package from a
butcher's. They stop at the foot of the steps.}
stanley [bellowing]:
Hey, there! Stella, Baby!
[Stella comes out on the first floor landing, a gentle young
13
^^^^^Si^s^Ss^^iS^sii^
SCENE 0KB
woman, about twenty-five, and of a background obviously
quite different from her husband's.] stella [mildly]:
Don't holler at me like that Hi, Mitcfa. stanley:
Catcht stella:
What?
stanley:
Meat!
[Be heaves the package at her. She cries out in protest but
manages to catch it; then she laughes breathlessly. Her husband
and his companion have already started back around
the comer.]
stella [calling after him]:
Stanley! Where are you going?
stanley:
Bowling!
stella:
Can I come watch?
stanley:
Come on. [He goes out.] stella:
Be over soon. [To the white woman] Hello, Eunice. How
are you?
eunice:
Tm all right. Tell Steve to get him a poor boy's sandwich
'cause nothing's left here.
[They all laugh; the colored woman does not stop. Stella
goes out.} colored woman:
What was that package he th'ew at 'er? [She rises from
steps, laughing louder.] eunice:
You hush, nowl
neoko woman:
Catch whati
[She continues to laugh. Blanche comes around the corner,
i4
SCENE ONE
currying a valise. She looks at a slip of paper, then at the
building, then again at the slip and again at the building.
Her expression is one of shocked disbelief. Her appearance
is incongruous to this setting. She is daintily dressed in a
white suit with a fluffy bodice, necklace and earrings of
pearl, white gloves and hat, looking as if she were arriving
at a summer tea or cocktail party in the garden district.
She is about five years older than Stella. Her delicate
beauty must avoid a strong light. There is something
about her uncertain manner, as well as her white clothes,
that suggests a moth.}
eunice [finally]:
What's the matter, honey? Are you lost?
blanche [with faintly hysterical humor}:
They told me to take a street-car named Desire, and then
transfer to one called Cemeteries and ride six blocks and
get off at—Elysian Fields!
eunice:
That's where you are now.
blanche:
At Elysian Fields?
eunice:
This here is Elysian Fields.
blanche:
They mustn't have—understood—what number I wanted.
eunice:
What number you lookin' for?
[Blanche wearily refers to the slip of paper.}
blanche:
Six thirty-two.
eunice:
You don't have to look no further.
blanche [uncomprehendingly}:
Tm looking for my sister, Stella DuBois. I mean—Mrs.
Stanley Kowalsld.
eunice:
That's the party.—You just did miss her, though.
15
SCENE ONE
blanche:
This--can this be--her home?
eunice:
She's got the downstairs faere and I got the up.
blanche:
Oh. She's--out?
eunice:
You noticed that bowling alley around the corner?
blanche:
I'm--not sure I did.
eunice:
Well, that's where she's at, watchin' her husband bowl. [There is a pause] You want to leave your suitcase here an'
go find her?
blanche:
No.
negro woman:
I'll go tell her you come.
blanche:
Thanlffl.
negro woman:
You welcome. [She 'goes out.}
eunice:
She wasnt expecting you?
blanche:
No. No, not tonight
eunice:
Well, why don't you just go in and make yourself at home
tfll they get back.
blanche:
How could I--do that?
eunice:
We own this place so I can let you in.
[She gets up and opens the downstairs door. A light goes
on behind the blind, fuming it light blue. Blanche slowly
follows her into the downstairs flat. The surrounding areas
dim out as the interior is lighted.]
W 1G
^^y^".' ~v^ -..ffi^i^'.^ ' , 'S.^BSS.''8
SCENE ONE
[Two rooms can be seen, not too clearly defined. The one
first entered is primarily a kitchen but contains a folding
bed to be wed by Blanche. The room beyond this is a bedroom.
Off this room is a narrow door to a bathroom.]
eunice [defensively, noticing Blanche's look}:
It's sort of messed up right now but when it's clean it's real
sweet.
blanche:
Is it?
eunice:
Uh, huh, I think so. So you're Stella's sister?
blanche:
Yes. [Wanting to get rid of her} Thanks for letting me in.
eunice:
Par nada, as the Mexicans say, por nodal Stella spoke of
you.
blanche:
Yes?
eunice:
I think she said you taught school.
blanche:
Yes.
eunice:
And you're from Mississippi, huh?
blanche:
Yes.
eunice:
She showed me a picture of your home-place, the plantation.

blanche:
Belle Reve? eunice:
A great big place with white columns.
blanche:
Yes...
eunice:
A place like that must be awful hard to keep up.
17
_i1'^ ^E^iai^JlJ
90BSH OXB
blanche:
If you will excuse me. Tm just about to drop.
eunice:
Sure, honey. Why dont yon set down?
blanche:
What I meant was I'd like to be left alone.
eunice:
Aw. I'll make myself scarce, in that case.
blanche:
I didn't mean to be rude, but--
eunice:
111 drop by the bowling alley an' hustle her up. [She goes
out the door.]
[Blanche sits in a chair very stiffly with her shoulders
slightly hunched and her legs pressed close together and
her hands tightly clutching her purse as if she were quite
cold. After a while the blind look goes out of her eyes and
she begins to look slowly around. A cat screeches. She
catches her breath with a startled gesture. Suddenly she
notices something in a half-opened closet. She springs up
and crosses to it, and removes a whiskey bottle. She pours
a half tumbler of whiskey and tosses it down. She carefully
replaces the bottle and washes out the tumbler at the
sink. Then she resumes her seat in front of the table.}
b'anche [faintly to herselfl:
I've got to keep hold of myself!
[Stella comes quickly around the corner of the building
and runs to the door of the downstairs flat.]
stella [calling out joyfully]:
Blanche!
[For a moment they stare at each other. Then Blanche
springs up and runs to her with a wild cry.]
blanche:
Stella, oh, Stella, Stella! Stella for Star! [She begins to speak with feverish vivacity as if she feared
for either of them to stop and think. They catch each other
in a spasmodic embrace.}
blanche:
Now, then, let me look at you. But dont you look at me,
li
SCENE ONE
Stella, no, no, no, not till later, not till I've bathed and
rested! And turn that over-light off! Turn that offi I won't
be looked at in this merciless glarel [Stella laughs and complies] Come back here now! Oh, my baby! Stella! Stella for
Star! [She embraces her again] I thought you would never
come back to this horrible place! What am I saying? I didn't mean to say that. I meant to be nice about it and say
--Oh, what a convenient location and such--Haa-ha!
Precious lamb! You haven't said a word to me.
stella:
You haven't given me a chance to, honey! [She laughs, but
her glance at Blanche is a little anxious.]
blanche:
Well, now you talk. Open your pretty mouth and talk while
I look around for some liquor! I know you must have some
liquor on the place! Where could it be, I wonder? Oh, I spy, I spy!
[She rushes to the closet and removes the bottle; she is shaking
all over and panting for breath as she tries to laugh.
The bottle nearly slips from her grasp.]
stella [noticing]:
Blanche, you sit down and let me pour the drinks. I don't
know what we've got to mix with. Maybe a coke's in the
icebox. Look'n see, honey, while I'm-- blanche:
No coke, honey, not with my nerves tonight! Where--
where--where is--?
stella:
Stanley? Bowling! He loves it. They're having a--found
some soda!--tournament...
blanche:
Just water, baby, to chase it! Now don't get worried, your
sister hasn't turned into a drunkard, she's just all shaken
up and hot and tired and dirty! You sit down, now, and
explain this place to me! What are you doing in a place
like this?
stella:
Now, Blanche--
blanche:
Oh, I'm not going to be hypocritical, Tm going to be
19
SCENE ONE
honestly critical about it! Never, never, never in my worst
dreams could I picture—Only Poe! Only Mr. Edgar Allan
Poel—could do it justice! Out there I suppose is the ghoulhaunted
woodland of Weir! [She laughs.}
stella:
No, honey, those are the L & N tracks.
blanche:
No, now seriously, putting joking aside. Why didn't you
tell me, why didn't you write me, honey, why didn't you
let me know?
stblla [carefully, pouring herself a drink}:
Tell you what, Blanche?
blanche:
Why, that you had to live in these conditions!
stella:
Aren't you being a little intense about it? It's not that bad
at all! New Orleans isn't like other cities.
blanche:
This has got nothing to do with New OIreans. You might
as well say—forgive me, blessed baby! [She suddenly stops
short} The subject is closed!
stella [a little drily}:
Thanks.
[During the pause, Blanche stares at her. She smiles at
Blanche.}
blanche [looking down at her glass, which shakes in her
hand}:
You're all I*ve got in the world, and you're not glad to see
me!
stella [sincerely}:
Why, Blanche, you know that's not true.
blanche:
No?—I'd forgotten how quiet you were.
stella:
You never did give me a chance to say much, Blanche. So
I just got in the habit of being quiet around you.
blanche [vaguely}:
A good habit to get into ... [then, abruptly} You haven't
39
BOBNE ONE
asked me how I happened to get away from the school before
the spring term ended.
stella:
Well, I thought you'd volunteer that information--if you
wanted to tell me.
blanche:
You thought Fd been fired?
stella:
No, I--thought you might have--resigned...
blanche:
I was so exhausted by all I'd been through my--nerves
broke. [Nervously tamping cigarette] I was on the verge
of--lunacy, almost! So Mr. Graves--Mr. Graves is the high
school superintendent--he suggested I take a leave of absence.
I couldn't put all of those details into the wire ... [She drinks quickly] Oh, this buzzes right through me and
feels so good!
stella:
Won't you have another?
blanche:
No, one's my limit.
stella:
Sure?
blanche:
You haven't said a word about my appearance.
stella:
You look just fine.
blanche:
God love you for a liarl Daylight never exposed so total
a ruin! But you--you've put on some weight, yes, you're
just as plump as a little partridge! And it's so becoming
to you!
stella:
Now, Blanche--
blanche:
Yes, it is, it is or I wouldn't say iti You just have to watch
around the hips a little. Stand up.
stella:
Not now.
21
SCENE ONE
blanche:
You hear me? I said stand up! [Stella complies reluctantly] You messy child, you, you've spilt something on the pretty
white lace collar! About your hair--you ought to have it cut
in a feather bob with your dainty features. Stella, you have a
maid, don't you?
stella:
No. With only two rooms it's--
blanche:
What? Two rooms, did you say?
stella:
This one and--[She is embarrassed.]
blanche:
The other one? [She laughs sharply. There is an embarrassed
silence.]
blanche:
I am going to take just one little tiny nip more, sort of to
put the stopper on, so to speak. ... Then put the bottle
away so I won't be tempted. [She rises] I want you to look
at my figure! [She turns around] You know I haven't put on
one ounce in ten years, Stella? I weigh what I weighed the
summer you left Belle Reve. The summer Dad died and
you left us...
stella [a little wearily]:
It's just incredible, Blanche, how well you're looking.
blanche:
[They both laugh uncomfortably] But, Stella, there's only
two rooms, I don't see where you're going to put mel
stella:
We're going to put you in here.
blanche:
What kind of bed's this--one of those collapsible things? [She sits on It.]
stella:
Does it feel all right?
blanche [dubiously]:
Wonderful, honey. I don't like a bed that gives much. But
there's no door between the two rooms, and Stanley--will
it be decent?
sea
SCENE ONE
stella:
Stanley is Polish, you know.
blanche:
Oh, yes. They're something like Irish, aren't they?
stella;
Well—
blanche:
Only not so—highbrow? [They both laugh again in the same
way! I brought some nice clothes to meet all your lovely
friends in.
stella:
I'm afraid you won't think they are lovely.
blanche:
What are they like?
stella:
They're Stanley's friends.
blanche:
Polacks?
stella:
They're a mixed lot, Blanche.
blanche:
Heterogeneous—types?
stella:
Oh, yes. Yes, types is rightl
blanche:
Well—anyhow—I brought nice clothes and FU wear them.
I guess you're hoping I'll say I'll put up at a hotel, but I'm
not going to put up at a hotel. I want to be near you, got
to be v^ith somebody, I can't be alone! Because—as you
must have noticed—I'm—not very well . . . [Her voice
drops and her look is frightened.}
stella:
You seem a little bit nervous or overwrought or something.
blanche:
Will Stanley like me, or will I just be a visiting in-law, Stella?
I couldn't stand that
stella:
You'U get along fine together, if youll just try not to—
23
well—compare him with men that we went out with
home.
blanche:
Is he so—different?
stella:
Yes. A different species.
blanche:
In what way; what's he like?
stella:
Oh, you can't describe someone you're in love with! He,"
a picture of him! [She hands a photograph to Blanche.]
blanche:
An officer?
stella:
A Master Sergeant in the Engineers' Corps. Those e!
decorations!
blanche:
He had those on when you met him?
stella:
I assure you I wasn't just blinded by all the brass.
blanche:
That's not what I—
stella:
But of course there were things to adjust myself to la
on.
blanche:
Such as his civilian background! [Stella laughs uncertain;;
How did he take it when you said I was coming?
stella:
Oh, Stanley doesn't know yet
blanche [frightened]:
You—haven't told him?
stella:
He's on the road a good deal.
blanche:
Oh. Travels?
stella:
Yes.
24
SCENE ONE
BLANCHE:
Good. I mean--isn't it? stella [half to herself}:
I can hardly stand it when he is away for a night...
blanche:
Why, Stella!
stella:
When he's away for a week I nearly go wild!
blanche:
Gracious!
stella:
And when he comes back I cry on his lap like a baby...
[She smiles to herself.} blanche:
I guess that is what is meant by being in love ... [Stella
looks up with a radiant sntile.] Stella--
stella:
What?
blanche [in an uneasy rush]:
I haven't asked you the things you probably thought I
was going to ask. And so I'll expect you to be understanding
about what / have to tell you.
stella:
What, Blanche? [Her face turns anxious.}
blanche:
Well, Stella--you're going to reproach me, I know that
you're bound to reproach me--but before you do--take
into consideration--you left! I stayed and struggled! You
came to New Orleans and looked out for yourself. / stayed
at Belle Reve and tried to hold it together! I'm not meaning this in any reproachful way, but all the burden descended
on my shoulders.
stella:
The best I could do was make my own living, Blanche.
[Blanche begins to shake again with intensity.}
blanche:
I know, I know. But you are the one that abandoned Belle
as
SOBNE ONE
Reve, not II I stayed and fought for it, bled for it, almost
died for it!
stella:
Stop (his hysterical outburst and tell me what's happened"! What do you mean fought and bled? What kind of--
blanche:
I knew you would, Stella. I knew you would take this attitude
about it!
stella:
About--what?--pleasel
blanche [slowly]:
The loss--the loss...
stella:
Belle Reve? Lost, is it? Nol
blanche:
Yes. Stella.
[They stare at each oilier across the yellow-checked linoleum
of the table. Blanche slowly nods her head and Stellc. looks slowly down at her hands folded on the table. The
music of the "blue piano" grows louder. Blanche touches. her handkerchief to her forehead.}
stella:
But how did it go? What happened?
blanche [springing up]:
You're a fine one to ask me how it went!
stella:
Blanche!
blanche:
You're a fine one to sit there accusing me of it!
stella:
Blanche!
blanche:
I, I, / took the blows in my face and my body! All of those
deaths! The long parade to the graveyard! Father, mother!
Margaret, that dreadful way! So big with it, it couldn't be
put in a coffin! But had to be burned like rubbish! You just came home in time for the funerals, Stella. And funerals
are pretty compared to deaths. Funerals are quiet, but deaths
20
SCENE ONE
--not always. Sometimes their breathing is hoarse, and
sometimes it rattles, and sometimes they even cry out to
you, "Don't let me go!" Even the old, sometimes, say, "Don't let me go." As if you were able to stop them! But
funerals are quiet, with pretty flowers. And, oh, what gorgeous
boxes they pack them away in! Unless you were there
at the bed when they cried out, "Hold mel" you'd never
suspect there was the struggle for breath and bleeding. You
didn't dream, but I saw! Saw! Saw! And now you sit there
telling me with your eyes that I let the place go! How in
hell do you think all that sickness and dying was paid for? Death is expensive, Miss Stella! And old Cousin Jessie's
right after Margaret's, hers! Why, the Grim Reaper had put
up his tent on our doorstep! ... Stella. Belle Reve was
his headquarters! Honey--that's how it slipped through my
fingers! Which of them left us a fortune? Which of them
left a cent of insurance even? Only poor Jessie--one hundred
to pay for her coffin. That was all, Stella! And I with my pitiful salary at the school. Yes, accuse me! Sit there
and stare at me, thinking I let the place go! / let the place
go? Where were you! In bed with your--Polack!
stella [springing]:
Blanche! You be still! That's enough! [She starts out.]
blanche:
Where are you going?
stella:
I'm going into the bathroom to wash my face.
blanche:
Qh, Stella, Stella, you're crying!
stella:
Does that surprise you?
blanche:
Forgive me--I didn't mean to-- [The sound of men's voices is heard. Stella goes into the
bathroom, closing the door behind her. When the men
appear, and Blanche realizes it must be Stanley returning,
she moves uncertainly from the bathroom door to
the dressing table, looking apprehensively toward the front
door. Stanley enters, followed by Steve and Mitch. Stanley
pauses near his door, Steve by the foot of the spiral stair,
27
t^.T^'^'^^" -: v'v1^"^,1'1^'
^'^^H^,'.''.• .— • ' ^'-^^^
SOBN'E ONE___
and Mitch is slightly above and to the right of them,
about to go out. As the men enter, we hear some of the
following dialogue.]
stanley:
Is that how he got it?
steve:
Sure that's how he got it. He hit the old weather-bird for
300 bucks on a six-number-ticket.
mitch:
Don't tell him those things; hell believe it
[Mitch starts out.}
stanley [restraining Mitch}:
Hey, Mitch—come back here.
[Blanche, at the sound of voices, retires in the bedroom.
She picks up Stanleys photo from dressing table, looks at
it, puts it down. When Stanley enters the apartment, she
darts and hides behind the screen at the head of bed.}
steve [to Stanley and Mitch}:
Hey, are we playin* poker tomorrow?
stanley:
Sure—at Mitch's.
mitch [hearing this, returns quickly to the stair rail]:
No—not at my place. My mother's still sick!
stanley;
Okay, at my place ... [Milch starts out again] But you
bring the beer!
[Milch pretends not to hear,—calls out "Goodnight all,"
and goes out, singing. Eunice's voice is heard, above}
Break it up down there! I made the spaghetti dish and ate
it myself.
steve [going upstairs}:
1 told you and phoned you we was playing. [To the men}
Jax beeri
eunice:
You never phoned me once.
steve:
I told you at breakfast—and phoned you at lunch...
as
SCENE ONE
eunice;
Well, never mind about that. You just get yourself home
here once in a while.
steve:
You want it in the papers?
[More laughter and shouts of parting come from the men.
Stanley throws the screen door of the kitchen open and
comes in. He is of medium height, about five feet eight or
nine, and strongly, compactly built. Animal joy in his being
is implicit in all his movements and attitudes. Since earliest
manhood the center of his life has been pleasure with women, the giving and taking of it, not with weak Indulgence,
dependency, but with the power and pride of a
richly feathered male bird among hens. Branching out from
this complete and satisfying center are all the auxiliary
channels of his life, such as his heartiness with men, his appreciation
of rough humor, his love of good drink and food
and 'games, his car, his radio, everything that is his, that
bears his emblem of the gaudy seed-bearer. He sizes women
up at a glance, with sexual classifications, crude images
flashing into his mind and determining the way he smiles
at them.]
blanche [drawing involuntarily back from his stare]:
You must be Stanley. I'm Blanche.
stanley:
Stella's sister?
blanche:
Yes.
stanley:
H'lo. Where's the little woman?
blanche:
In the bathroom.
stanley:
Oh. Didn't know you were coming in town.
blanche:
I--uh--
stanley:
Where you from, Blanche?
29
"SISSi.^
8CKNE OMH
blanche:
Why, I--live in Laurel.
[He has crossed to the closet and removed the whiskey
battle.}
stanley:
In Laurel, huh? Oh, yeah. Yeah, in Laurel, that's right.
Not in my territory. Liquor goes fast in hot weather. [He holds the bottle to the light to observe its depletion.^ Have a shot?
blanche:
No, I--rarely touch it.
stanley:
Some people rarely touch it, but it touches them often.
blanche \fai' fitly]:
Ha-ha.
stanley:
My clothes're stickin' to me. Do you mind if I make myself
comfortable? [He starts to remove his shirt.]
blanche:
Please, please do.
stanley:
Be comfortable is my motto.
blanche:
It's mine, too. It's hard to stay looking fresh. I haven't
washed or even powdered my face and--here you arel
stanley:
You know you can catch cold sitting around in damp things,
especially when you been exercising hard like bowling is.
You're a teacher, arent you?
blanche:
Yes.
stanley:
What do you teach, Blanche?
blanche:
English.
stanley:
I never was a very good English student. How long you here
for, Blanche?
80
SCENE ONE
blanche:
I—don't know yet
stanley:
You going to shack up here?
blanche:
I thought I would if it's not inconvenient for you au.
stanley:
Good.
blanche:
Traveling wears me out
stanley:
WeH, take it easy.
[A cat screeches near the window. Blanche springs up.}
blanche:
What's that?
stanley:
Cats... Hey, Stella!
stella [faintly, from the bathroom}:
Yes, Stanley.
stanley:
Haven't fallen in, have you? [Be grins at Blanche. She tries
unsuccessfully to smile back. There is a silence} I'm afraid
I'll strike you as being fhe unrefined type. Stella's spoke
of you a good deal. You were married once, weren't you?
[The music of the polka rises up, faint in the distance.}
blanche:
Yes. When I was quite young.
stanley:
What happened?
blanche:
The boy—the boy died. [She sinks back down} I'm afraid
Fm—going to be sick!
[Her head falls on her arms.}
Sl
SCENE TWO
It is Six o'clock the following evening. Blanche is bathir;.
Stella is completing her toilette. Blanche's dress, a flowel d
print, is laid out on Stella's bed.
Stanley enters the kitchen from outside, leaving the doer
open on the perpetual "blue piano" around the corner.
stanley:
What's all this monkey doings?
stella:
Oh, Stan! [She jumps up and kisses him which he accefis
with lordly composure] I'm taking Blanche to Galatoin:'3
for supper and then to a show, because it's your pok'r
night
stanley:
How about my supper, huh? I'm not going to no Galatoire's
for supper!
stella:
I put you a cold plate on ice.
stanley:
| I'j' Well, isn't that just dandy!
stella:
I'm going to try to keep Blanche out till the party breaks
up because I don't know how she would take it. So we'!'
go to one of the little places in the Quarter afterwards an;' you'd better give me some money.
stanley:
Where is she?
stella:
She's soaking in a hot tub to quiet her nerves. She's t; £ribly
upset
stanley:
Over what?
stella:
She's been through such an ordeal.
stanley:
Yeah?
SCENE TWO
stella:
Stan, we've--lost Belle Revel
stanley:
The place in the country?
stella:
Yes.
stanlby:
How?
stella [vaguely]:
Oh, it had to be--sacrificed or something. [There is a pause
while Stanley considers. Stella is changing into her dress} When she comes in be sure to say something nice about
her appearance. And, oh! Don't mention the baby. I haven't
said anything yet, I'm waiting until she gets in a quieter condition.

stanley [ominously}:
Sol
stella:
And try to understand her and be nice to her, Stan.
blanche [singing in the bathroom]:
"From the land of the sky blue water,
They brought a captive maidi"
stella:
She wasn't expecting to find us in such a small place. You
see I'd tried to gloss things over a little in my letters.
stanley:
So?
stella:
And admire her dress and tell her she's looking wonderful. That's important with Blanche. Her little weakness!
stanley:
Yeah. I get the idea. Now let's skip back a little to where
you said the country place was disposed of.
stella:
Oh!--yes...
stanley:
How about mat? Let's have a few more details on that
subjeck.
SCENE TWO
stella:
It's best not to talk much about it until she's calmed down.
stanley:
So that's the deal, huh? Sister Blanche cannot be annoy et
with business details right nowl
stella:
You saw how she was last night
stanley:
Uh-hum, I saw how she was. Now let's have a gand ;t
the bill of sale.
stella:
I haven't seen any.
stanley:
She didn't show you no papers, no deed of sale or nothing
like that, huh?
stella:
It seems like it wasn't sold.
stanley:
Well what in hell was it then, give away? To charity?
stella:
Shhh! She'll hear you.
stanley:
I don't care if she hears me. Let's see the papers!
stella:
There weren't any papers, she didn't show any papers, 1
don't care about papers.
stanley:
Have you ever heard of the Napoleonic code?
stella:
No, Stanley, I haven't heard of the Napoleonic code
if I have, I don't see what it—
stanley:
Let me enlighten you on a point or two, baby.
stella:
Yes?
stanley:
In the state of Louisiana we have the Napoleonic <
84
SCENE TWO
according to which what belongs to the wife belongs to the husband and vice versa. For instance if I had a piece of
property, or you had a piece of property--
stella:
My head is swimmingi
stanley:
All right, ni wait till she gets through soaking in a hot tub
and then 111 inquire if she is acquainted with the Napoleonic
code. It looks to me like you have been swindled,
baby, and when you're swindled under the Napoleonic code
I'm swindled too. And I don't like to be swindled.
stella:
There's plenty of time to ask her questions later but if you
do now she'll go to pieces again. I don't understand what
happened to Belle Reve but you don't know how ridiculous
you are being when you suggest that my sister or I or anyone
of our family could have perpetrated a swindle on
anyone else.
stanley:
Then where's the money if the place was sold?
stella:
Not sold--lost, lost!
[He stalks into bedroom, and she follows him.] Stanley!
{He pulls open the -wardrobe trunk standing in middle of
room and jerks out an armful of dresses.}
stanley:
Open your eyes to this stuffi You think she got them out
of a teacher's pay?
stella:
Hush!
stanley:
Look at these feathers and furs that she come here to preen
herself in! What's this here? A solid-gold dress, I believel
And this one! What is these here? Fox-pieces! [He blows on
them] Genuine fox fur-pieces, a half a mile long! Where
are your fox-pieces, Stella? Bushy snow-white ones, no less!
Where are your white fox-pieces?
85
stella:
Those
alonj
stanle'
I got
dise.
yout
stella
Don'
[He)
draw,
jewel
stanle
And
stell/
Shhl
stanli
And
SCENE TWO
stanley:
The Kowalslds and the DuBois have different notions.
stblla [angrily]:
Indeed they have, thank heavens!—I'm going outside.
[She snatches up her white hat and gloves and crosses to
the outside door] You come out with me while Blanche is
getting dressed.
stanley:
Since when do you give me orders?
stella:
Are you going to stay here and insult her?
stanley:
You're damn tootin' I'm going to stay here.
[Stella goes out to the porch. Blanche comes out of the
bathroom in a red satin robe.]
blanche [airily]:
Hello, Stanley! Here I am, all freshly bathed and scented,
and feeling like a brand new human being!
[He lights a cigarette.]
stanley:
That's good.
blanche [drawing the curtains at the windows]:
Excuse me while I slip on my pretty new dress!
stanley:
Go right ahead, Blanche.
[She closes the drapes between the rooms.]
blanche:
I understand there's to be a little card party to which we
ladies are cordially not invited!
stanley [ominously]:
Yeah?
[Blanche throws off her robe and slips into a flowered print
dress.]
blanche:
Where's Stella?
stanley:
Out on the porch.
37
SCENE TWO
blanche:
I'm going to ask a favor of you in a moment.
stanley:
What could that be, I wonder?
blanche:
Some buttons in back! You may enteri
[He crosses through drapes with a smoldering look.}
How do I look?
stanley:
You look all right.
blanche:
Many thanks! Now the buttons!
stanley:
I can't do nothing with them.
blanche:
You men with your big clumsy fingers. May I have a drag
on your cig?
stanley:
Have one for yourself.
blanche:
Why, thanks!... It looks like my trunk has exploded.
stanley:
Me an' Stella were helping you unpack.
blanche:
Well, you certainly did a fast and thorough job of iti
stanley:
It looks like you raided some stylish shops in Paris.
blanche:
Ha-ha! Yes—clothes are my passion!
stanley:
What does it cost for a string of fur-pieces like that?
blanche:
Why, those were a tribute from an admirer of mine!
stanley:
He must have had a lot of—admiration!
blanche:
Oh, in my youth I excited some admiration. But look at me
38
SCENE TWO
now! [She smiles at him radiantly] Would you think it
possible that I was once considered to be—attractive?
|stanley:
, Your looks are okay.
blanche:
I was fishing for a compliment, Stanley.
stanley:
I don't go in for that stuff.
blanche:
What—stuff?
stanley:
Compliments to women about their looks. I never met a
woman that didn't know if she was good-looking or not
without being told, and some of them give themselves
credit for more than they've got. I once went out with a
doll who said to me, "I am the glamorous type, I am the
glamorous type!" I said, "So what?"
blanche:
And what did she say then?
stanley:
She didn't say nothing. That shut her up like a clam.
blanche:
Did it end the romance?
stanley:
It ended the conversation—that was all. Some men are took
in by this Hollywood glamor stuff and some men are not.
blanche:
I'm sure you belong in the second category.
stanley:
That's right
blanche:
I cannot imagine any witch of a woman casting a spell
over you.
stanley:
That's—right.
blanche:
You're simple, straightforward and honest, a little bit on the
89
SCENE TWO
primitive side I should think. To interest you a woman ' would have to--[She pauses with an indefinite gesture.]
stanley [slowly]:
Lay... her cards on the table.
blanche [smiling]:
Well, I never cared for wishy-washy people. That was why,
when you walked in here last night, I said to myself--"My
sister has married a man!"--Of course that was all that I
could tell about you. stanley [booming]: ,
Now let's cut the re-bop? if blanche [pressing hands to her ears]:
Ouuuuut i
stella [calling from the steps]: I
Stanley! You come out here and let Blanche finish dress- |
ing!
blanche:
I'm through dressing, honey.
stella:
Well, you come out, then.
stanley:
Your sister and I are having a little talk.
blanche [lightly]:
Honey, do me a favor. Run to the drug-store and get me
a lemon-coke with plenty of chipped ice in it!--Will you
do that for me. Sweetie?
stella [uncertainly]:
Yes. [She goes around the corner of the building.]
blanche
The poor little thing was out there listening to us, and I
have an idea she doesn't understand you as well as I do.
... All right; now, Mr. Kowalski, let us proceed without
any more double-talk. I'm ready to answer all questions. I've nothing to hide. What is it?
stanley:
There is such a thing in this state of Louisiana as the Napoleonic
code, according to which whatever belongs to my wife
is also mine--and vice versa.
40 |
SCENE TWO
blanche:
My, but you have an impressive judicial air!
[She sprays herself with her atomizer; then playfully sprays
him with it. He seizes the atomizer and slams it down on
the dresser. She throws back her head and laughs.} stanley:
If I didn't know that you was my wife's sister Fd get ideas
about you!
blanche:
Such as what!
stanley:
Don't play so dumb. You know whati
blanche [she puts the atomizer on the table]:
All right. Cards on the table. That suits me. [She turns to
Stanley.] I know I fib a good deal. After all, a woman's
charm is fifty percent illusion, but when a thing is important
I tell the truth, and this is the truth: I haven't cheated
my sister or you or anyone else as long as I have lived.
stanley:
Where's the papers? In the trunk?
blanche:
Everything that I own is in that trunk.
[Stanley crosses to the trunk, shoves it roughly open and
begins to open compartments.]
blanche:
What in the name of heaven are you thinking of! What's
in the back of that little boy's mind of yours? That I am
absconding with something, attempting some kind of
treachery on my sister?--Let me do that! It will be faster
and simpler . . . [She crosses to the trunk and takes out a
box] I keep my papers mostly in this tin box. [She opens
it.]
stanley:
What's them underneath? [He indicates another sheaf of
papers.
blanche:
These are love-letters, yellowing with antiquity, all from
one boy. [He snatches them up. She speaks fiercely] Give those back to me!
I ~~4l
SCENE TWO
stanley:
I'll have a look at them first!
blanche:
The touch of your hands insults them! stanley:
Don't pull that stuff!
[He rips off the ribbon and starts to examine them.
Blanche snatches them from him, and they cascade to the
floor.}
blanche:
Now that you've touched them It! burn them!
stanley [staring, baffled}:
What in hell are they?
blanche [on the floor gathering them up}:
Poems a dead boy wrote. I hurt him the way that you
would like to hurt me, but you can't! I'm not young and
vulnerable any more. But my young husband was and I
--never mind about that! Just give them back to me!
stanley:
What do you mean by saying you'll have to bum them?
blanche:
I'm sorry, I must have lost my head for a moment. Everyone
has something he wont let others touch because of
their--intimate nature...
[She now seems faint with exhaustion and she sits down
with the strong box and puts on a pair of glasses and goes
methodically through a large stack of papers.}
Ambler & Ambler. Hmmmmm. . . . Crabtree. . . . More
Ambler & Ambler.
stanley:
What is Ambler & Ambler?
blanche:
A firm that made loans on the place.
stanley:
Then it was lost on a mortgage?
blanche [touching her forehead]:
That must've been what happened.
43
_b.__b
SCENE TWO
stanley:
I don't want no ifs, ands or buts! What's all the rest of them
papers?
[She hands him the entire box. He carries it to the table
and starts to examine the papers.]
blanche [picking up a large envelope containing mare papers]:
There are thousands of papers, stretching back over hundreds
of years, affecting Belle Reve as, piece by piece, our
improvident grandfathers and father and uncles and brothers
exchanged the land for their epic fornications--to
put it plainly! [She removes her glasses with an exhausted
laugh] The four-letter word deprived us of our plantation, till finally all that was left--and Stella can verify that!--
was the house itself and about twenty acres of ground, including
a graveyard, to which now all but Stella and I have
retreated. [She pours the contents of the envelope on the
table] Here all of them are, all papers! I hereby endow you
with them! Take them, peruse them--commit them to
memory, even! I think it's wonderfully fitting that Belle
Reve should finally be this bunch of old papers in your big, capable hands! ... I wonder if Stella's come back with
my lemon-coke . . . [She leans back and closes her eyes.]
stanley:
I have a lawyer acquaintance who will study these out
blanche:
Present them to him with a box of aspirin tablets.
stanley [becoming somewhat sheepish]:
You see, under the Napoleonic code--a man has to take
an interest in his wife's affairs--especially now that she's
going to have a baby.
[Blanche opens her eyes. The "blue piano" sounds louder.]
blanche:
Stella? Stella going to have a baby? [dreamily] I didn't know
she was going to have a baby!
[She gets up and crosses to the outside door. Stella appears
around the corner with a carton from the drugstore.
[Stanley goes into the bedroom with the envelope and the
box.
48
SCENE TVTO
[The inner rooms fade to darkness and the outside wall of
the house is visible. Blanche meets Stella at the foot of the
steps to the sidewalk.]
blanche:
Stella, Stella for star! How lovely to have a baby! It's all
right. Everything's all right.
stella:
I'm sorry he did that to you.
blanche:
Oh, I guess he's just not the type that goes for jasmine
perfume, but maybe he's what we need to mix with our
blood now that we've lost Belle Reve. We thrashed it out. I
feel a bit shaky, but I think I handled it nicely, I laughed
and treated it all as a joke. [Steve and Pablo appear, carrying
a case of beer.} I called him a little boy and laughed and
flirted. Yes, I was flirting with your husband! [as the men
approach] The guests are gathering for the poker party. [The two men pass between them, and enter the house.} Which way do we go now, Stella--this way?
stella:
No, this way. [She leads Blanche away.}
blanche [laughing}:
The blind are leading the blind! [A tamale Vendor is heard calling.}
vendor's voice:
Red-hot!
44
.SCENE THREE 9
THE POKER NIGHT
There is a picture of Van Gogh's of a billiard-parlor at
night. The kitchen now suggests that sort of lurid nocturnal
brilliance, the raw colors of childhood's spectrum. Over the
yellow linoleum of the kitchen table hangs an electric bulb
with a vivid green glass shade. The poker players--Stanley,
Steve, Mitch and Pablo--wear colored shirts, solid blues, a
purple, a red-and-white check, a light green, and they are
men at the peak of their physical manhood, as coarse and
direct and powerful as the primary colors. There are vivid
slices of watermelon on the table, whiskey bottles and
glasses. The bedroom is relatively dim with only the light
that spills between the portieres and through the wide window
on the street.
For a moment, there is absorbed silence as a hand is dealt.
| steve:
| Anything wild this deal?
; pablo:
One-eyed jacks are wild.
steve:
Give me two cards.
pablo:
You, Mitch?
mitch:
I'm out
pablo:
One.
mitch:
Anyone want a shot?
stanley:
Yeah. Me.
pablo:
Why don't somebody go to the Chinaman's and bring back
a load of chop suey?
stanley:
When I'm losing you want to eati Ante up! Openers?
is
SCENE THREE
Openers! Get y'r ass off the table, Mitch. Nothing belongs
on a poker table but cards, chips and whiskey. [He lurches up and tosses some watermelon rinds to the
floor.} mitch:
Kind of on your high horse, ain't you?
stanley: if ^--. - ^ , A
How many? »,' r ." wy"" ,„«'T
steve: ' "~ '-;? r,^
Give me three.
stanley: ^
One. mitch:
I'm out again. I oughta go home pretty soon.
stanley: ¥
Shut up.
mitch:
I gotta sick mother. She don't go to sleep until I come in
at night stanley:
Then why don't you stay home with her?
mitch:
She says to go out, so I go, but I don't enjoy it All the
while I keep wondering how she is.
stanley:
Aw, for the sake of Jesus, go home, then! pablo:
Whafve you got? stanley:
Spade flush. mitch:
You all are married. But 111 be alone when she goes.--
I'm going to the bathroom. stanley:
Hurry back and well fix you a sugar-tit.
mitch:
Aw, go rut. [He crosses through the bedroom into the
bathroom.]
46
SOBNB THREE
steve [dealing a hand):
Seven-card stud. [Telling his joke as he deals] This ole
fanner is out in back of his house sittin' down th'owing
corn to the chickens when all at once he hears a loud
cackle and this young hen comes lickety split around the
side of the house with the rooster right behind her and
gaining on her fast.
stanley [impatient with the story]:
Deal!
steve:
But when the rooster catches sight of the farmer th'owing
tile corn he puts on the brakes and lets the hen get away
and starts pecking corn. And the old fanner says, "Lord
God, I hopes I never gits that hongry!"
[Steve and Pablo laugh. The sisters appear around the
corner of the building^
stella:
The game is still going on.
blanche:
How do I look?
stella:
Lovely, Blanche.
blanche:
I feel so hot and frazzled. Wait till I powder before you
open the door. Do I look done in?
stella:
Why no. You are as fresh as a daisy.
blanche:
One thafs been picked a few days.
- [Stella opens the door and they enter.]
stella:
Well, well, well. I see you boys are still at it!
stanley:
Where you been?
stella:
Blanche and I took in a show. Blanche, fhis is Mr. Gonzales
and Mr. HubbelL
47
SCENE THREE
blanche:
Please don't get up.
stanley:
Nobody's going to get up, so don't be worried.
stella:
How much longer is this game going to continue?
{I11 stanley:
Till we get ready to quit
blanche:
Poker is so fascinating. Could I kibitz?
stanley:
You could not. Why don't you women go up and sit with
Eunice?
stella;
Because it is nearly two-thirty. [Blanche crosses into the
bedroom and partially closes the portieres} Couldn't you
call it quits after one more hand?
[A chair scrapes. Stanley gives a loud whack of his hand
on her thigh.]
stella [sharply}:
That's not fun, Stanley.
[The men laugh. Stella goes into the bedroom.}
stella:
It makes me so mad when he does that in front of people.
blanche:
I think I will bathe.
stella:
Again?
blanche: tf^
My nerves are in knots. Is the bathroom occupied? % ^
stella: • "***.
I don't know.
[Blanche knocks. Mitch opens the door and comes out, still
wiping his hands on a towel.}
blanche:
Oh!—good evening.
48
N •
i^
II
» U JH; a Hi T M K. 13 IS
ttch:
Hello. [He stares at her.}
^stella:
Blanche, this is Harold Mitchell. My sister, Blanche DuBois.
mttch [with awkward courtesy}:
How do you do. Miss DuBois.
stella:
How is your mother now, Mitch?
IrMrrcH:
About the same, thanks. She appreciated your sending over
that custard.—Excuse me, please.
[He crosses slowly back into the kitchen, glancing back
at Blanche and coughing a little shyly. He realizes he still
has the towel in his hands and with an embarrassed laugh
hands it to Stella. Blanche looks after him with a certain
interest.}
eblanche:
That one seems—superior to the others.
stella:
Yes, he is.
jBLANCHE:
I thought he had a sort of sensitive look.
stella:
His mother is sick.
'blanche:
Is he married?
stella:
No.
blanche:
Is he a wolf?
stella:
Why, Blanchel [Blanche laughs.} I dont think he would be.
blanche:
What does—what does he do?
[She is unbuttoning her blouse.}
stella:
He's on the precision bench in the spare parts department
At the plant Stanley travels for.
49
SCENE THREE
blanche;
Is that something much?
stella:
No. Stanley's the only one of his crowd that's likel :».\
anywhere.
blanche:
What makes you think Stanley will? '
stella:
Look at him.
blanche: j
I've looked at him. >
stella: \
Then you should know. , blanche: I
Fm sorry, but I havent noticed (he stamp of genius even |
on Stanley's forehead.
[She takes off the blouse and stands in her pink silk brassiere
and white skirt in the light through the portleres. The game
has continued in undertones.] stella:
It isn't on his forehead and it isnt genius. blanche:
Oh. Well, what is it, and where? I would like to know.
stella:
It's a drive that he has. You're standing in the light, Blanche!
blanche:
Oh, am I!
[She moves out of the yellow streak of light. Stella has removed
her dress and put on a tight blue satin kimono.] i
stella [with girlish laughter]: j
You ought to see their wives. ;
blanche [laughingly]:
I can imagine. Big, beefy things, I suppose.
stella:
You know that one upstairs? [More laughter] One time I [laughing] the plaster--[laughing] cracked--
stanley:
You hens cut out that conversation in therel
SCENE THREE
stella:
You can't hear us.
stanley:
Well, you can hear me and I said to hush up!
stblla:
This is my house and I'll talk as much as I want to!
blanche:
Stella, don't start a row.
stella:
He's half drunk!—I'll be out in a minute.
[She goes into the bathroom. Blanche rises and crosses
leisurely to a small white radio and turns it on.]
stanley:
Awright, Mitch, you in?
mitch:
What? Oh!—No, I'm out!
[Blanche moves back into the streak of light. She raises her
arms and stretches, as she moves indolently back to the
chair.
[Rhumba music comes over the radio. Mitch rises at the
table.}
stanley:
Who tamed that on in there?
blanche:
I did. Do you mind?
stanley:
Turn it off I
steve:
Aw, let the girls have their music.
pablo:
Sure, that's good, leave it on!
steve:
Sounds like Xavier Cugat!
[Stanley jumps up and, crossing to the radio, turns it off.
He stops short at the sight of Blanche in the chair. She
returns his look without flinching. Then he sits again at the
poker table.
i& 51
FR1;|
[Tw steve Idi(
I» pablo
Did;
SCENE! THBEE
mitch:
It's--a hot weather drink.
blanche:
Oh, I don't think so; it always makes me wanner. Have
you got any cigs? [She has slipped on the dark red satin
wrapper.}
mitch:
Sure.
blanche:
What kind are they?
mitch:
Luckies.
blanche:
Oh, good. What a pretty case. Silver?
MrrcH:
Yes. Yes; read the inscription.
blanche:
Oh, is there an inscription? I can't make it out. [Be strikes
a match and moves closer} Oh! {reading with feigned difficulty}:

"And if God choose,
I shall but love thee better--after--death!"
Why, that's from my favorite sonnet by Mrs. Browning!
mitch:
You know it?
blanche:
Certainly I dol
mitch:
There's a story connected with that inscription.
blanche:
It sounds like a romance. Mrrca:
A pretty sad one.
blanche:
Oh?
Mrrca:
The girl's dead now.
53
SCENE THREE
blanchb pn a tone of deep sympathy}:
Oh!
MrrcH:
She knew she was dying when she give me this. A v?ry
strange girl, very sweet—very!
blanche:
She must have been fond of you. Sick people have s "h
deep, sincere attachments.
mitch:
That's right, they certainly do.
blanche:
Sorrow makes for sincerity, I think.
mitch:
It sure brings it out in people.
blanche:
The little there is belongs to people who have experienced
some sorrow.
mitch: 1
I believe you are right about that.
blanche:
I'm positive that I am. Show me a person who hasn't known
any sorrow and I'll show you a shuperficial—Listen to me!
My tongue is a little—thickl You boys are responsible for
it. The show let out at eleven and we couldn't come home
on account of the poker game so we had to go somewhere
and drink. I'm not accustomed to having more than one
drink. Two is the limit—and three! [She laughs} Tonight I
had three.
stanley;
Mitchi
mitch:
Deal me out I'm talking to Miss—
blanche:
DuBois.
mitch:
Miss DuBois?
blanche:
It's a French name. It means woods and Blanche raeans
SCENE THREE
white, so (he two together mean white woods. Like an orchard
in spring! You can remember it by that.
mitch:
You're French?
blanche:
We are French by extraction. Our first American ancestors
were French Huguenots.
mitch: ' You are Stella's sister, are you not?
blanche:
Yes, Stella is my precious little sister. I call her little in spite
of the fact she's somewhat older than I. Just slightly. Less
than a year. Will you do something for me?
mitch:
Sure. What?
blanche:
I bought this adorable little colored paper lantern at a
Chinese shop on Bourbon. Put it over the light bulb! Will
you, please?
mitch:
Be glad to.
blanche:
I can't stand a naked light bulb, any more than I can a rude
remark or a vulgar action.
mitch [adjusting the lantern]:
I guess we strike you as being a pretty rough bunch. blanche:
I'm very adaptable--to circumstances.
MrrcH:
Well, that's a good thing to be. You are visiting Stanley and
Stella?
blanche:
Stella hasn't been so weB lately, and I came down to help
her for a while. She's very run down. mitch:
You're not--? blanche:
Married? No, no. Fm an old maid schoolteacheri
SB
SCENE THREE
mitch;
You may teach school but you're certainly not an old r ?id
blanche:
Thank you, sir! I appreciate your gallantryl
MrrcH:
So you are in the teaching profession?
blanche:
Yes. Ah, yes...
mitch:
Grade school or high school or--
stanley [bellowing]:
Mitchi
MrrcH:
Coming!
blanche:
Gracious, what lung-power! ... I teach high scho;;. In
Laurel.
mitch:
What do you teach? What subject?
blanche:
Guess!
mitch:
I bet you teach art or music? [Blanche laughs delicately] Of
course I could be wrong. You might teach arithmetic.
blanche:
Never arithmetic, sir, never arithmetic! [with a laugh] I
don't even know my multiplication tables! No, I have the
misfortune of being an English instructor. I attempt to instill
a bunch of bobby-soxers and drug-store Romeos with
reverence for Hawthorne and Whitman and Poe!
mitch:
I guess that some of them are more interested in oth?r
things.
blanche:
How very right you are! Their literary heritage is not what
most of them treasure above all else! But they're sweet
things! And in the spring, it's touching to notice them
SCENE THREE
making their first discovery of lovel As if nobody had ever
known it before!
[The bathroom door opens and Stella comes out. Blanche
continues talking to Mitch.]
Oh! Have you finished? Wait--I'll turn on the radio. [She turns the knobs on the radio and it begins to play
"Wien, Wien, nur du allein." Blanche -waltzes to the music
with romantic gestures. Mitch is delighted and moves in
awkward imitation tike a dancing bear.
[Stanley stalks fiercely through the portieres into the bedroom.
He crosses to the small white radio and snatches it off
the table. With a shouted oath, he tosses the instrument out
the window.]
stella:
Drunk--drunk--animal thing, you! [She rushes through to
the poker table] All of you--please go home! If any of you
have one spark of decency in you--
blanche [wildly]:
Stella, watch out, he's-- [Stanley charges after Stella.]
men [feebly]:
Take it easy, Stanley. Easy, fellow.--Let's all--
stella:
You lay your hands on me and 111--
[She backs out of sight. He advances and disappears. There
is the sound of a blow. Stella cries out. Blanche screams and
runs into the kitchen. The men rush forward and there is
grappling and cursing. Something is overturned With a
crash.]
blanche [shrilly]:
My sister is going to have a baby! mitch:
This is terrible.
blanche:
Lunacy, absolute lunacyi
mitch:
Get him in here, men.
[Stanley is forced, pinioned by the two men, into the bed67
SCENE THREE
room. He nearly throws them off. Then all at once he subsides
and is limp in their grasp.
[They speak quietly and lovingly to him and he leans Jus
face on one of their shoulders.}
stella [in a high, unnatural voice, out of fight}:
I want to go away, I want to go away!
mitch:
Poker shouldn't be played in a house with women.
[Blanche rushes into the bedroom.}
blanche: I
I want my sister's clothes! We'll go to that woman's upstairs 1 j
mitch:
Where is the clothes?
blanche [opening the closet}:
I've got them! [She rushes through to Stella} Stella, Stella, precious! Dear, dear little sister, don't be afraid! [With her arms around Stella, Blanche guides her to the outside
door and upstairs.}
stanley [dully}:
What's the matter; what's happened?
mitch:
You just blew your top, Stan.
pablo:
He's okay, now.
steve:
Sure, my boy's okay!
mitch:
Put him on the bed and get a wet towel.
pablo:
I think coffee would do him a world of good, howstanley
[thickly}:
I want water.
mitch:
Put him under the showeri 1
[The men talk quietly as they lead him to the bathroom.} stanley:
Let the rut go of me, you sons of bitches! |
SCENE THREE
[Sounds of blows are heard. The water goes on full tilt.]
steve:
Let's get quick out of here!
[They rush to the poker table and sweep up their winnings
on their way out.}
mitch [sadly but firmly]:
Poker should not be played in a house with women. [The door closes on them and the place is still. The Negro
entertainers in the bar around the corner play "Paper Doll"
slow and blue. After a moment Stanley comes out of the
bathroom dripping water and still in his clinging wet polka
dot drawers.]
stanley:
Stella! [There Is a pause] My baby doll's left met [He breaks into sobs. Then he goes to the phone and dials,
still shuddering with sobs.]
Eunice? I want my baby. [He waits a moment; then he
hangs up and dials again] Eunice! I'll keep on ringin' until
I talk with my baby!
[An indistinguishable shrill voice is heard. He hurls phone
to floor. Dissonant brass and piano sounds as the rooms dim
out to darkness and the outer walls appear in the night light.
The "blue piano" plays for a brief interval.
[Finally, Stanley stumbles half dressed out to the porch and
down the wooden steps to the pavement before the building.
There he throws back his head like a baying hound and
bellows his wife's name: "Stella! Stella, sweetheart! StellaT']
stanley:
SteQlahhhhh!
eunice [calling down from the door of her upper apartment]:
Quit that howling out there an' go back to bed!
stanley:
I want my baby down here. Stella, Stella!
eunice:
She ain't comin' down so you quit! Or you'll git th' law
on you!
stanley:
Stella!
59
SCENE THREE
eunice:
You can't beat on a woman an' then call 'er back! She won't
come! And her goin' t' have a baby! . . . You stinker! You
whelp of a Polack, you! I hope they do haul you in and
turn the fire hose on you, same as the last time!
stanley [humbly]:
Eunice, I want my girl to come down with me!
eunice:
Hah! [She slams her door.]
stanley [with heaven-splitting violence]:
STELLLAHHHHHl
[The low-tone clarinet moans. The door upstairs opens
again. Stella slips down the rickety stairs in her robe. Her
eyes are glistening with tears and her hair loose about her
throat and shoulders. They stare at each other. Then they
come together with low, animal moans. He falls to his knees
on the steps and presses his face to her belly, curving a little
with maternity. Her eyes go blind with tenderness as she
catches his head and raises him level with her. He snatches
the screen door open and lifts her off her feet and bears her
into the dark flat.
[Blanche comes out on the upper landing in her robe and
slips fearfully down the steps.]
blanche:
Where is my little sister? Stella? Stella? [She stops before the dark entrance of her sister's flat. Then
catches her breath as if struck. She rushes down to the walk
before the house. She looks right and left as if for a sanctuary.

[The music fades away. Mitch appears from around the
corner.]
MrrcH:
Miss DuBois?
blanche:
Oh!
mitch:
All quiet on the Potomac now?
blanche:
She ran downstairs and went back in there with him.
SCENE THREE
MrrcH:
Sure she did.
blanche:
I'm terrified!
mitch:
Ho-ho! There's nothing to be scared of. They're crazy about
each other.
blanche:
I'm not used to such—
mitch:
Naw, it's a shame this had to happen when you just got
here. But don't take it serious.
I blanche:
Violence! Is so—
mitch:
Set down on the steps and have a cigarette with me.
blanche:
I'm not properly dressed.
mitch:
That dont make no difference in the Quarter.
blanche:
Such a pretty silver case.
mitch:
I showed you the inscription, didn't I?
blanche:
Yes. [During the pause, she looks up at the sky] There's
so much—so much confusion in the world ... [He coughs
diffidently] Thank you for being so kind! I need kindness
now.
61
SCENE FOUR
It is early the following morning. There is a confusion of
street cries like a choral chant.
Stella is lying down in the bedroom. Her face is serene in
the early morning sunlight. One hand rests on her belly,
rounding slightly with new maternity. From the other
dangles a book of colored comics. Her eyes and lips have
that almost narcotized tranquility that is the faces of
Eastern idols.
The table is sloppy with remains of breakfast and the debris
of the preceding night, and Stanley's gaudy pyjamas lie
across the threshold of the bathroom. The outside door is
slightly ajar on a sky of summer brilliance.
Blanche appears at this door. She has spent a sleepless night
and her appearance entirely contrasts with Stella's. She
presses her knuckles nervously to her lips as she looks
through the door, before entering.
blanche:
Stella?
stella [stirring lazily}'.
Hmmh?
[Blanche utters a moaning cry and runs into the bedroom,
throwing herself down beside Stella in a rush of hysterical
tenderness.}
blanche:
Baby, my baby sister!
stella [drawing away from her]:
Blanche, what is the matter with you?
[Blanche straightens up slowly wad stands beside the bed
looking down at her sister with knuckles pressed to her
lips.]
blanche:
He's left?
stella:
Stan? Yes.
SCENE FOTTB
blanche:
Will he be back?
stella:
He's gone to get the car greased. Why?
blanche:
Why! I've been half crazy, Stella! When I found out you'd
been insane enough to come back in here after what happened—I started to rush in after you!
stella:
I'm glad you didn't.
blanche:
What were you thinking of? [Stella makes an indefinite
gesture} Answer me! What? What?
stella:
Please, Blanche! Sit down and stop yelling.
blanche:
All right, Stella. I will repeat the question quietly now. How
could you come back in this place last night? Why, you
must have slept with him!
[Stella gets up in a calm and leisurely way.}
stella:
Blanche, I'd forgotten how excitable you are. You're making
much too much fuss about this.
blanche:
Ami?
stella:
Yes, you are, Blanche. I know how it must have seemed to
you and I'm awful sorry it had to happen, but it wasn't
anything as serious as you seem to take it. In the first place,
when men are drinking and playing poker anything can
happen. It's always a powder-keg. He didn't know what he
was doing. ... He was as good as a lamb when I came
back and he's really very, very ashamed of himself.
SlANCHE:
And that—mat makes it all right?
^ella:
No, it isn't all right for anybody to make such a terrible
K: 63
SCENE FOUR
blanche:
Yes, you are, your fix is worse than mine is! Only you're
not being sensible about it. I'm going to do something. Get
hold of myself and make myself a new life!
stella:
Yes?
blanche:
But you've given in. And that isn't right, you're not old!
You can get out
stella [slowly and emphatically}:
I'm not in anything I want to get out of.
blanche [incredulously]:
What—Stella?
stella:
I said I am not in anything that I have a desire to get out of.
Look at the mess in this room! And those empty bottles!
They went through two cases last night! He promised this
morning that he was going to quit having these poker
parties, but you know how long such a promise is going to
keep. Oh, well, it's his pleasure, like mine is movies and
bridge. People have got to tolerate each other's habits, I
guess.
blanche:
I don't understand you. [Stella turns toward her] I don't
understand your indifference. Is this a Chinese philosophy
you've—cultivated?
stella:
Is what—what?
blanche:
This—shuffling about and mumbling—"One tube smashed
—beer bottles—mess in the kitchen."—as if nothing out of
the ordinary has happened! [Stella laughs uncertainly and
picking up the broom, twirls it in her hands.]
blanche:
Are you deliberately shaking that thing in my face?
stella:
No.
65
80BNB ffOUB
blanche:
Stop it. Let go of that broom. I wont have you cleaning up
forhimi
stella:
Then who's going to do it? Are you?
blanche:
I? II
Orrvpi » »
No, I didn't think so.
blanche:
Oh, let me think, if only my mind would functioni We*ve
got to get hold of some money, that's the way outi
stella:
I guess that money is always nice to get hold of.
blanche;
Listen to me. I have an idea of some kind. [Shakily she
twists a cigarette into her holder] Do you remember Shep
Hunfleigh? [Stella shakes her head\ Of course you remember
Shep Huntleigh. I went out with him at college and
wore his pin for a while. Well--
stella.:
Well?
blanche:
I ran into him last winter. You know I went to Miami during
the Christmas holidays?
stella:
No.
blanche:
Well, I did. I took the trip as an investment, thinking Td meet someone with a million dollars.
stella:
Did you?
blanche:
Yes. I ran into Shep Hunfleigh--I ran into him on Biscayne
Boulevard, on Christmas Eve, about dusk ... getting into
his car--Cadillac convertible; must have been a block long!
60
8UBNE FOITB
stella:
I should think it would have been—inconvenient in trafflcl
blanche:
You've heard of oil-wells?
stella:
Yes—remotely.
blanche:
He has them, all over Texas. Texas is literally spouting gold
in his pockets.
stella:
My, my.
blanche:
Vknow how indifferent I am to money. I think of money
in terms of what it does for you. But he could do it, he
could certainly do iti
I stella:
Do what, Blanche?
blanche:
Why—set us up in a—shop!
stella:
What kind of a shop?
blanche:
Oh, a—shop of some kindl He could do it with half what his
; wife throws away at the races.
stella:
He's married?
blanche:
. Honey, would I be here if the man weren't married? [Stella
laughs a little. Blanche suddenly springs up and crosses to
phone. She speaks shrilly} How do I get Western Union?—
Operator! Western Union!
stella:
That's a dial phone, honey.
blanche:
I can't dial, I'm too—
87
r
SCENE FOXTB
stella:
Just dial 0. s .
blanche:
O?
stella:
Yes, "0" for Operator! [Blanche considers a moment; then
she puts the phone down.}
blanche:
Give me a pencil. Where is a slip of paper? I've got to write
it down first--the message, I mean...
[She goes to the dressing table, and grabs up a sheet of Kleenex and an eyebrow pencil for writing equipment.}
Let me see now . . . [She bites the pencit\ "Darling Shep.
Sister and I in desperate situation." stella:
I beg your pardon!
blanche:
"Sister and I in desperate situation. Will explain details later.
Would you be interested in--?" [She bites the pencil again} "Would you be--interested--in .. ." [She smashes the pencil
on the table and springs up} You never get anywhere
with direct appeals!
stella [with a laugh}:
Don't be so ridiculous, darlingi
blanche:
But 111 think of something, I've got to think of--something!
Don't, don't laugh at me, Stella! Please, please don't
--I--I want you to look at the contents of my purse! Here's
what's in it! [She snatches her purse open} Sixty-five measly
cents in coin of the realm!
stella [crossing to bureau}:
Stanley doesn't give me a regular allowance, he likes to pay
bills himself, but--this morning he gave me ten dollars to
smooth things over. You take five of it, Blanche, and I'll
keep the rest
blanche:
Oh, no. No, Stella.
68
T»iL-'
SCENE FOtTB
stella [insisting}:
I know how it helps your morale just having a little pocket- money on you.
blanche:
No, thank you--TU take to the streetsl
stella:
Talk sense! How did you happen to get so low on funds?
blanche:
Money just goes--it goes places. [She rubs her forehead! Sometime today I've got to get hold of a bromo!
stella:
I'll fix you one now.
blanche:
| Not yet--I've got to keep thinldngi
stella:
| I wish you'd just let things go, at least for a--while...
j blanche:
Stella, I can't live with himi You can, he's your husband.
But how could I stay here with him, after last night, with
, just those curtains between us?
| stella:
| Blanche, you saw him at his worst last night
blanche:
On the contrary, I saw him at his best! What such a man
has to offer is animal force and he gave a wonderful
' exhibition of that! But the only way to live with such a man
is to--go to bed with himi And that's your job--not minel
stella:
After you've rested a little, youll see it's going to work
out. You don't have to worry about anything while you're
here. I mean--expenses...
blanche:
I have to plan for us both, to get us both--out!
stella:
You take it for granted that I am in something that I want to get out of.
89
'Wai,t/'.
SCENE FOUR
blanche:
I take it for granted that you still have sufficient memory of
Belle Reve to find (his place and these poker players impossible
to live with.
stella:
Well, you're taking entirely too much for granted.
blanche:
I can't believe you're in earnest
stella:
No?
blanche:
I understand how it happened--a little. You saw him in
uniform, an officer, not here but--
stella:
I'm not sure it would have made any difference where I saw
him.
blanche:
Now don't say it was one of those mysterious electric
things between people! If you do I'll laugh in your face.
stella;
I am not going to say anything more at all about it!
blanche:
All right, then, don'tl
stella:
But there are things that happen between a man and a
woman in the dark--that sort of make everything else seem
--unimportant [Pause.]
blanche:
What you are talking about is brutal desire--just--Desire!
--the name of that rattle-trap street-car that bangs through
the Quarter, up one old narrow street and down another
...
stella:
Haven't you ever ridden on that streetcar?
blanche:
It brought me here.--Where I'm not wanted and where I'm
ashamed to be...
TO
SCENE FOTTB
stella:
Then don't you think your superior attitude is a bit out of
place?
blanche:
I am not being or feeling at all superior, Stella. Believe me Tm not! It's just this. This is how I look at it. A man like
that is someone to go out with--once--twice--three times
when the devil is in you. But live with? Have a child by?
stella:
I have told you I love him.
blanche:
Then I tremble for you! I just--tremble for you....
stella:
I can't help your trembling if you insist on trembling!
[There is a pause.]
blanche:
May I--speak--plainly?
stella:
Yes, do. Go ahead. As plainly as you want to.
[Outside, a train approaches. They are silent till the noise
subsides. They are both in the bedroom.
[Under cover of the train's noise Stanley enters from outside.
He stands unseen by the women, holding some packages
in his arms, and overhears their following conversation. He wears an undershirt and grease-stained seersucker
pants.}
blanche:
Well--if youll forgive me--he's common!
stella:
Why, yes, I suppose he is.
blanche:
Suppose! You can't have forgotten that much of our bringing
up, Stella, that you just suppose that any part of a
gentleman's in his nature! Not one particle, rw! Oh, if he
was just--ordinary! Just plain--but good and wholesome,
but--no. There's something downright--bestial--about
him! You're hating me saying this, aren't you?
71
SCENE FOUR
stella [coldly]:
Go on and say it all, Blanche.
blanche:
He acts like an animal, has an animal's habits! Eats like
one, moves like one, talks like one! There's even some- thing--sub-human--something not quite to the stage of
humanity yet! Yes, something--ape-like about him, like
one of those pictures I've seen in--anthropological studies! Thousands and thousands of years have passed him right
by, and there he is--Stanley Kowalsld--survivor of the
stone age! Bearing the raw meat home from the kill in the
jungle! And you--you here--waiting for him! Maybe hell
strike you or maybe grunt and kiss you! That is, if kisses
have been discovered yet! Night falls and the other apes
gather! There in the front of the cave, all grunting like him,
and swilling and gnawing and hulking! His poker night!--
you call it--this party of apes! Somebody growls--some
creature snatches at something--the fight is on! God! Maybe
we are a long way from being made in God's image,
but Stella--my sister--there has been some progress
since then! Such things as art--as poetry and music--such
kinds of new light have come into the world since then!
In some kinds of people some tenderer feelings have had
some little beginning! That we have got to make growl And cling to, and hold as our flag! In this dark march
toward whatever it is we're approaching. . . . Don't--
don't hang back with the brutes!
[Another train passes outside. Stanley hesitates, licking his
lips. Then suddenly he turns stealthily about and withdraws
through front door. The women are still unaware of
his presence. When the train has passed he calls through
the closed front door.}
stanley:
Hey! Hey, SteUal
stella [who has listened gravely to Blanche]:
Stanleyl
blanche:
Stell, I--
72
'we had this date with each other from the beginning!"
Ion Brando as Stanley, Jessica Tandy as Blanche in the original New
: production of A Streetcar Named Desire, produced by Irene Mayor
lick, directed by Elia Kazan.
SCENE POUR
Wut Stella has gone to the front door. Stanley enters
casually with his packages.]
stanley:
Hiyuh, Stella. Blanche back?
stella:
Yes, she's back.
stanley:
Hiyuh, Blanche. [He grins at her.]
stella:
You must've got under the car.
stanley:
Them dam mechanics at Fritz's don't know their ass fr'm
—Hey!
[Stella has embraced him -with both arms, fiercely, and
full in the view of Blanche. He laughs and clasps her head
to him. Over her head he grins through the curtains at
Blanche.
[As the lights fade away, with a lingering brightness on
their embrace, the music of the "blue piano" and trumpet
and drums is heard.]
73
SCENE FIVE
Blanche is seated in the bedroom fanning herself with a
palm leaf as she reads over a just completed letter. Suddenly
she bursts into a peal of laughter. Stella is dressing in the bedroom.
I-ijiy stella:
I . | What are you laughing at, honey?
't I'll blanche:
Myself, myself, for being such a liar! Fm writing a letter
to Shep. [She picks up the letter] "Darling Shep. I am
spending the summer on the wing, making flying visits here and there. And who knows, perhaps I shall take a
sudden notion to swoop down on Dallas! How would you
feel about that? Ha-ha! [She laughs nervously and brightly,
touching her throat as if actually talking to Shep] Forewarned
is forearmed, as they say!"--How does that sound?
stella:
Uh-huh...
blanche [going on nervously]:
"Most of my sister's friends go north in the summer but
some have homes on the Gulf and there has been a continued
round of entertainments, teas, cocktails, and luncheons--"

[A disturbance is heard upstairs at the Hubbells' apartment.]

stella:
Eunice seems to be having some trouble with Steve.
[Eunices voice shouts in terrible wrath.}
eunice:
I heard about you and that blonde!
steve:
That's a damn lie!
eunice:
You aint pulling the wool over my eyes! I wouldn't mind
if you'd stay down at the Four Deuces, but you always
going up.
SCENE FIVE
steve:
Who ever seen me up?
T^TTMTfE *
I seen you chasing her 'round the balcony--I'm gonna call
the vice squad!
steve:
Don't you throw that at mel
eunice [shrieking]:
You hit me! I'm gonna call the police!
[A clatter of aluminum striking a wall is heard, followed
by a man's angry roar, shouts and overturned furniture.
There is a crash; then a relative hush.}
blanche [brightly]:
Did he kill her?
[Eunice appears on the steps in daemonic disorder.]
stella:
No! She's coming downstairs.
eunice:
Call the police. I'm going to call the police! [She rushes
around the comer.]
[They laugh lightly. Stanley comes around the corner in
his green-and-scarlet silk bowling shirt. He trots up the
steps and bangs 'into the kitchen. Blanche registers his entrance
with nervous gestures.]
stanley:
What's a matter with Eun-uss?
stella:
She and Steve had a row. Has she got the police?
stanley:
Naw. She's gettin' a drink. stella:
That's much more practical!
[Steve comes down nursing a bruise on his forehead and
looks in the door.]
steve:
She here?
75
BOENE FIVE
stanley:
Naw, naw. At the Pour Deuces.
stevb:
That rutting hunki [He looks around the corner a bit
timidly, then turns with affected boldness and runs after
her.]
blanche:
I must jot that down in my notebook. Ha-ha! I'm compiling
a notebook of quaint little words and phrases I've
picked up here.
stanley:
You won't pick up nothing here you ain't heard before.
blanche:
Can I count on that?
stanley:
You can count on it up to five hundred.
blanche:
That's a mighty high number. [He jerks open the bureau
drawer, slams it shut and throws shoes in a corner. At each
noise Blanche winces slightly. Finally she speaks] What
sign were you born under?
stanley [while he is dressing]:
Sign?
blanche:
Astrological sign. I bet you were born under Aries. Aries
people are forceful and dynamic. They dote on noise!
They love to bang things around! You must have had lots
of banging around in the army and now that you're out, you make up for it by treating inanimate objects with
such a fury!
[Stella has been going in and out of closet during this
scene. Now she pops her head out of the closet.} stella:
Stanley was born just five minutes after Christmas.
blanche:
Capricorn--the Goat!
stanley:
What sign were you born under?
78

L«>
'---Tl <,
SCENE FIVE
blanche:
Oh, my birthday's next month, the fifteenth of September;
that's under Virgo.
stanley:
What's Virgo?
blanche:
Virgo is the Virgin.
stanley [contemptuously]:
Bah! [He advances a little as he knots his tie] Say, do you
happen to know somebody named Shaw? [Her face expresses a faint shock. She reaches for the
cologne bottle and dampens her handkerchief as she answers
carefully.}
blanche:
Why, everybody knows somebody named Shawl
stanley:
Well, this somebody named Shaw is under the impression
he met you in Laurel, but I figure he must have got you
mixed up with some other party because this other party
is someone he met at a hotel called the Flamingo. [Blanche laughs breathlessly as she touches the cologne- dampened handkerchief to her temples.}
blanche:
I'm afraid he does have me mixed up with this "other
party." The Hotel Flamingo is not the sort of establishment
I would dare to be seen in!
stanley:
You know of it?
blanche:
Yes, I've seen it and smelled it
stanley:
You musfve got pretty close if you could smell it
blanche:
The odor of cheap perfume is penetrating.
stanley:
That stuff you use is expensive?
blanche:
Twenty-five dollars an ounce! Tm nearly out. That's just
77
--y
SCENE FIVE
a hint if you want to remember my birthday! [She speaks
lightly but her voice has a note of fear.}
stanley:
Shaw must've got you mixed up. He goes in and out of
Laurel all the time so he can check on it and dear up any
mistake.
[He turns away and crosses to the portieres. Blanche closes
her eyes as if faint. Her hand trembles as she lifts the handkerchief
again to her forehead.
[Steve and Eunice come around corner. Steve's arm fs
around Eunice's shoulder and she is sobbing luxuriously
and he is cooing love-words. There is a murmur of thunder
as they go slowly upstairs in a tight embrace.}
stanley [to Stella}:
111 wait for you at me Four Deuces! |j
stella: "gy"',
Hey! Dont I rate one kiss? %f^^
stanley:
Not in front of your sister.
[He goes out. Blanche rises from her chair. She seems
faint; looks about her with an expression of almost panic.}
blanche:
Stella! What have you heard about me?
stella:
Huh?
blanche:
What have people been telling you about me?
stella:
Telling? ^SS^* blanche:
You haven't heard any--unkind--gossip about me?
stella:
Why, no, Blanche, of course not! blanche:
Honey, there was--a good deal of talk in Laurel.
stella:
About you, Blanche?
78
SCENE FIVB
blanche:
I wasn't so good die last two years or so, after Belle Reve
had started to slip through my fingers.
stella:
All of us do things we--
blanche:
I never was hard or sell-sufficient enough. When people
are soft--soft people have got to shimmer and glow--
they've got to put on soft colors, the colors of butterfly
wings, and put a--paper lantern over the light. ... It isn't
enough to be soft. You've got to be soft and attractive. And
I--I'm fading now! I don't know how much longer I can
turn me trick.
[The afternoon has faded to dusk. Stella goes into the bedroom
and turns on the light under the paper lantern. She
holds a bottled soft drink in her hand.}
blanche:
Have you been listening to me?
stella:
I don't listen to you when you are being morbid! [She
advances with the bottled coke.}
blanche [with abrupt change to gaiety}'.
Is that coke for me?
stella:
Not for anyone else!
blanche:
Why, you precious thing, you! Is it just coke?
stella [turning}:
You mean you want a shot in iti
blanche:
Well, honey, a shot never does a coke any harm! Let mel
You mustn't wait on me!
stella:
I like to wait on you, Blanche. It makes it seem more like
home. [She goes into the kitchen, finds a glass and pours
a shot of whiskey into it.]
blanche:
I have to admit I love to be waited on...
79
SCENE FIVE
[She rushes into the bedroom. Stella goes to her with the
glass. Blanche suddenly clutches Stella's free hand with a
moaning sound and presses the hand to her lips. Stella is
embarrassed by her show of emotion. Blanche speaks in a
choked voice.]
You're—you're—so good to me! And I—
stella:
Blanche.
blanche:
I know, I won't! You hate me to talk sentimental! But
honey, believe I feel things more than I tell youl I won't
stay long! I won't, I promise I—
stella:
Blanche!
blanche [hysterically]:
I won't, I promise, I'll go! Go soon! I will really! I won't
hang around until he—throws me out...
stella:
Now will you stop talking foolish?
blanche:
Yes, honey. Watch how you pour—that fizzy stuff foams
over!
[Blanche laughs shrilly and grabs the glass, but her hand
shakes so it almost slips from her grasp. Stella pours the
coke into the glass. It foams over and spills. Blanche gives
a piercing cry.]
stella [shocked by the cry]:
Heavens!
blanche:
Right on my pretty white skirt!
STELLA:
Oh ... Use my hanky. Blot gently. ^.
blanche [slowly recovering]:
I know—gently—gently...
stella:
Did it stain?
blanche:
Not a bit. Ha-ha! Isn't that lucky? [She sits down shaking,
80
SCENE FIVE
taking a grateful drink. She holds the glass in both hands
and continues to laugh a little.}
stella:
Why did you scream like that?
blanche:
I don't know why I screamed! [continuing nervously] Mitch
--Mitch is coming at seven. I guess I am just feeling nervous
about our relations. [She begins to talk rapidly and
breathlessly] He hasn't gotten a thing but a goodnight kiss,
that's all I have given him, Stella. I want his respect. And
men don't want anything they get too easy. But on the other
hand men lose interest quickly. Especially when the girl is
over--thirty. They think a girl over thirty ought to--the
vulgar term is--"put out." . . . And I--I'm not "putting
out." Of course he--he doesn't know--I mean I haven't informed
him --of my real age!
stella:
Why are you sensitive about your age?
blanche:
Because of hard knocks my vanity's been given. What I
mean is--he thinks I'm sort of--prim and proper, you
know! [She laughs out sharply} I want to deceive him
enough to make him--want me...
stella:
Blanche, do you want him?
blanche:
I want to rest! I want to breathe quietly again! Yes--I want
Mitch ... very badly! Just think! If it happensi I can leave
here and not be anyone's problem...
[Stanley comes around the corner with a drink under Ms
belt.} stanley [bawling}:
Hey, Steve! Hey, Eunice! Hey, Stella!
[There are joyous calls from above. Trumpet and drums
are heard from around the corner.} stella [kissing Blanche impulsively}:
It will happen! blanche [doubtfully}:
It will?
81
TIKl
EK^A^aSaMi
SCENE FIVE
stella:
It will! [She goes across into the kitchen, looking back
at Blanche.} It will, honey, it will. ... But don't take another
drink! [Her voice catches as she goes out the door to
meet her husband.
[Blanche sinks faintly back in her chair -with her drink.
Eunice shrieks with laughter and runs down the steps. Steve
bounds after her -with goat-like screeches and chases her
around corner. Stanley and Stella twine arms as they follow,
laughing.
[Dusk settles deeper. The music from the Four Deuces
is slow and blue.}
blanche:
Ah, me, ah, me, ah, me ...
[Her eyes fall shut and the palm leaf fan drops from her
fingers. She slaps her hand on the chair arm a couple of
times. There is a little glimmer of lightning about the
building.
[A Young Man comes along the street and rings the bell.}
blanche:
Come in.
[The Young Man appears through the portieres. She regards
him with interest.}
blanche:
Well, well! What can I do for you?
young man:
I'm collecting for The Evening Star.
blanche:
I didn't know that stars took up collections.
young man:
It's the paper.
blanche:
I know. I was joking--feebly! Will you--have a drink?
young man:
No, ma'am. No, thank you. I can't drink on the job.
blanche:
Oh, well, now, let's see. . . . No, I don't have a dime!
83
SCENE FIVE
I'm not the lady of the house. I'm her sister from Mississippi.
I'm one of those poor relations you've heard about. young man;
That's all right 111 drop by later. [He starts to go out.
She approaches a little.}
blanche:
Hey! [He turns back shyly. She puts a cigarette in a long
holder] Could you give me a light? [She crosses toward
him. They meet at the door between the two rooms.}
young man:
Sure. [He takes out a lighter] This doesn't always work
blanche:
It's temperamental? [It flares] Ah!--thank you. [He starts
away again] Hey! [He turns again, still more uncertainly.
She goes close to him] Uh--what time is it?
young man:
Fifteen of seven, ma'am.
blanche:
So late? Don't you just love these long rainy afternoons
in New Orleans when an hour isn't just an hour--but a
little piece of eternity dropped into your hands--and who
knows what to do with it? [She touches his shoulders.] You--uh--didn't get wet in the rain?
youno man:
No, ma'am. I stepped inside.
blanche:
In a drug-store? And had a soda?
young man:
| Uh-huh.
| blanche:
Chocolate?
young man:
No, ma'am. Cherry. blanche [laughing]:
Cherry!
young man:
A cherry soda.
83
^
ffi.aa^.t . , ; . . .--...... .
-.i-^MB^S-----„-.--»----..^-. . .--------------mim------.^»»iy*"»..^-
SCENE FIVE
blanche:
You make my mouth water. [She touches his cheek lightly, and smiles. Then she goes to the trunk.]
young man:
Well, I'd better be going--
blanche [stopping him]:
Young man!
[He turns. She takes a large, gossamer scarf from the trunk
and drapes it about her shoulders.
[In the ensuing pause, the "blue piano" is heard. It continues
through the rest of this scene and the opening of the next. The young man clears his throat and looks yearningly
at the door.]
Young man! Young, young, young man! Has anyone ever
told you that you look like a young Prince out of the
Arabian Nights?
[The Young Man laughs uncomfortably and stands like a
bashful kid. Blanche speaks softly to him.]
Well, you do, honey lamb! Come here. I want to kiss you, just once, softly and sweetly on your mouth! [Without waiting for him to accept, she crosses quickly
to him and presses her lips to his.] Now run along, now, quickly! It would be nice to keep
you, but I've got to be good--and keep my hands off
children.
[He stares at her a moment. She opens the door for him
and blows a kiss at him as he goes down the steps with a
dazed look. She stands there a little dreamily after he has
disappeared. Then Mitch appears around the corner with
a bunch of roses.] blanche [gaily]:
Look who's coming! My Rosenkavaliert Bow to me first
. . . now present them! Ahhh--Merciiiil
[She looks at him over them, coquettishly pressing them
to her lips. He beams at her selfconsciously.]
fly' |
£... . m
SCENE SIX
It is about two A.M. on the same evening. The outer wall
of the building is visible. Blanche and Mitch come in. The
utter exhaustion which only a neurasthenic personality can
know is evident in Blanche's voice and manner. Milch is
stolid but depressed. They have probably been out to the
amusement park on Lake Pontchartrain, for Mitch is bearing,
upside down, a plaster statuette of Mae West, the sort
of prize won at shooting-galleries and carnival games of
chance.
blanche [stopping lifelessly at the steps}:
Well--
[Milch laughs uneasily.} WeU...
mttch:
I guess it must be pretty late--and you're tired.
blanche:
Even the hot tamale man has deserted the street, and he
hangs on till the end. [Mitch laughs uneasily again} How
will you get home?
mitch:
111 walk over to Bourbon and catch an owl-car.
blanche [laughing grimly]:
Is that street-car named Desire still grinding along the
tracks at this hour?
mitch [heavily]:
I'm afraid you haven't gotten much fun out of this evening,
Blanche.
blanche:
I spoiled it for you.
mitch:
No, you didn't, but I felt all the 'time that I wasn't giving
you much--entertainment.
blanche:
I simply couldn't rise to the occasion. That was all. I don't
think I've ever tried so hard to be gay and made such a
dismal mess of it. I get ten points for trying!--I did try.
@5
SCENE SIX
mitch: N^
Why did you try if you didn't feel like it, Blanche? |;^
blanche: ll;^1
I was just obeying the law of nature. |?
mitch: ^V
Which law is that? 1^
blanche;
The one that says the lady must entertain the gentleman
—or no dice! See if you can locate my door-key in this
purse. When I'm so tired my fingers are all thumbs!
much [rooting in her purse]:
This it?
blanche:
No, honey, that's the key to my trunk which I must soon
be packing.
mitch:
You mean you are leaving here soon?
blanche:
I've outstayed my welcome.
mitch:
Thisit?
[The music fades away.}
blanche:
Eureka! Honey, you open the door while I take a last look
at the sky. [She leans on the porch rail. He opens the door
and stands awkwardly behind her.} Fm looking for the
Pleiades, the Seven Sisters, but these girls are not out
tonight. Oh, yes they are, there they are! God bless them!
All in a bunch going home from their little bridge party.
. . . Yget the door open? Good boy! I guess you—
want to go now...
[He shuffles and coughs a little.}
mitch;
Can I—uh—kiss you—goodnight?
blanche:
Why do you always ask me if you may?
mitch:
I don't know whether you want me to or not.
88
SCENE SIX
blanche;
Why should you be so doubtful?
MrrcH:
That night when we parked by the lake and I kissed you,
you--
blanche:
Honey, it wasn't the kiss I objected to. I liked the kiss
very much. It was the other little--familiarity--that I--
felt obliged to--discourage. ... I didn't resent it! Not a
bit in the world! In fact, I was somewhat flattered that
you--desired me! But, honey, you know as well as I do
that a single girl, a girl alone in the world, has got to keep
a firm hold on her emotions or shell be losti
MrrcH [solemnly]:
Lost?
blanche:
I guess you are used to girls that like to be lost The kind
that get lost immediately, on the first date!
MrrcH:
I like you to be exactly the way that you are, because in
all my--experience--I have never known anyone like you. [Blanche looks at him gravely; then she bursts into laughter
and then claps a hand to her mouth.}
mttch:
Are you laughing at me?
blanche:
No, honey. The lord and lady of the house have not yet
returned, so come in. We'll have a night-cap. Let's leave
the lights off. Shall we?
MrrcH:
You just--do what you want to.
[Blanche precedes him into the kitchen. The outer wall
of the building disappears aid the interiors of the two
rooms can be dimly seen.]
blanche [remaining in the first room]:
The other room's more comfortable--go on in. This crashing
around in the dark is my search for some liquor.
MrrcH:
You want a drink?
87
jp««il . «ife.. ^ iatt ...
SCENE SIX
blanche:
I want you to have a drink! You have been so anxious and
solemn all evening, and so have I; we have both been
anxious and solemn and now for these few last remaining
moments of our lives together--I want to create-- joie de vtvrel I'm lighting a candle.
MrrcH:
That's good.
blanche:
We are going to be very Bohemian. We are going to
pretend that we are sitting in a little artists' cafe on the Left
Bank in Paris! [She lights a candle stub and puts it in a
bottle.] Je suis la Dame aux CameltiasI Vous etes--
Armand! Understand French?
mttch [heavily]: i
Naw.Naw.I--
blanche:
Voutez-vous coucher ovec moi ce soir? Vous ne comprenez
pas? Ah, auelle dommage!--I mean it's a damned
good thing. . . . I've found some liquor Just enough for
two shots without any dividends, honey...
mitch [heavily]:
Thafs--good.
[She enters the bedroom with the drinks and the candle^ blanche:
Sit downl Why dont you take off your coat and loosen
your collar?
mitch:
I better leave it on.
blanche:
No. I want you to be comfortable.
mttch:
I am ashamed of the way I perspire. My shirt is sticking to
me
blanche:
Perspiration is healthy. If people didn't perspire they would
die in five minutes. [She takes his coat from him] This is a
nice coat What kind of material is it?
SCENE SIX
mitch:
They call that stuff alpaca. blanche:
Oh. Alpaca. MrrcH:
It's very light weight alpaca.
blanche:
Oh. Light weight alpaca. MrrcH:
I don't like to wear a wash-coat even in summer because
I sweat through it. blanche:
Oh. mitch:
And it don't look neat on me. A man with a heavy build
has got to be careful of what he puts on him so he don't
look too clumsy.
blanche:
You are not too heavy.
mitch:
You don't think I am?
blanche:
You are not the delicate type. You have a massive bone- structure and a very imposing physique.
mitch:
Thank you. Last Christmas I was given a membership
to the New Orleans Athletic Club.
blanche:
Oh, good.
mitch:
It was the finest present I ever was given. I work out there
with the weights and I swim and keep myself fit. When
I started there, I was getting soft in the belly but now my
belly is hard. It is so hard now that a man can punch me
in the belly and it don't hurt me. Punch me! Go on! See?
[She pokes lightly at him.]
blanche:
Gracious. [Her hand touches her chest.]
89
SCENE SIX

mitch:
Guess how much I weigh, Blanche?
blanchb:
Oh, I'd say in the vicinity of--one hundred and eighty?
mitch:
Guess again.
.^a- »,
a»1
blanche: .. , ... k,....«,.. wy
Not that much? .
-', >;1- ."^^^ys^il.t.sg^t.: -
MITCH', No.
More.
blanche:
Well, you're a tall man and you can carry a good deal of
weight without looking awkward. mitch:
I weigh two hundred and seven pounds and I'm six feet
one and one-half inches tall in my bare feet--without
shoes on. And that is what I weigh stripped. blanche:
Oh, my goodness, me! It's awe-inspiring.
mitch [embarrassed]:
My weight is not a very interesting subject to talk about
[He hesitates for a moment] What's yours?
blanche:
My weight?
mitch:
Yes. blanche:
Guessi
mitch:
Let me lift you. blanche:
Samson! Go on, lift me. [He comes behind her and puts
his hands on her waist and raises her lightly off the ground]
Well?
mitch:
You are light as a feather.
blanche:
Ha-ha! [He lowers her but keeps his hands on her waist.
90
SOBiNB SIX
Blanche speaks with an affectation of demweness] You
may release me now.
mitch:
Huh?
blanche \g(dly\:
I said unhand me, sir. [Be fumblingly embraces her. Her voice sounds gently reproving] Now, Mitch. Just because
Stanley and Stella aren't at home is no reason why you
shouldn't behave like a gentleman.
mitch:
Just give me a slap whenever I step out of bounds.
blanche:
That won't be necessary. You're a natural gentleman, one
of the very few that are left in the world. I don't want you
to think that I am severe and old maid schoolteacherish
or anything like that. It's just--well--
mttch:
Huh?
blanche:
I guess it is just that I have--old-fashioned ideals! [She
rolls her eyes, knowing he cannot see her face. Mitch goes to the front door. There is a considerable silence
between them. Blanche sighs and Mitch coughs selfconsciously.]

mitch [finally]:
Where's Stanley and Stella tonight?
blanche:
They have gone out With Mr. and Mrs. Hubbell upstairs.
mitch:
Where did they go?
blanche:
I think they were planning to go to a midnight prevue at
Loew'a State.
mitch:
We should all go out together some night
blanche:
No. That wouldn't be a good plan. mitch:
Why not?
M.
SCENE SIX
blanche:
You are an old friend of Stanley's?
mitch:
We was together in the Two-forty-first, yf: ^y^SI
blanche:
I guess he talks to you frankly? •tei.^^j&N^''"
MrrcH- •• ^-.."X^Nl^l^'Sure" sa-.-xteis®-
blanche: 1
Has he talked to you about me? i ^ ^ 3^
mitch: •
Oh—not very much.
blanche:
The way you say that, I suspect that he has.
mitch: I"
No, he hasn't said much.
blanche:
But what he has said. What would you say his attitude
toward me was?
mitch: ;
Why do you want to ask that?
blanche:
Well—
mitch:
'•.'A^ri', ^-.•.:.'-^t.tt..?ti'». •
Don't you get along with him?
blanche:
What do you think?
mitch:
I don't think he understands you.
blanche:
That is putting it mildly. If it weren't for Stella about to
have a baby, I wouldn't be able to endure things here.
mitch:
He isn't—nice to you?
blanche:
He is insufferably rude. Goes out of his way to offend me.
mitch:
In what way, Blanche?
92
SCENE SIX
blanche:
Why, in every conceivable way.
mitch:
I'm surprised to hear that.
blanche:
Are you?
mitch:
Well, I--don't see how anybody could be rude to you.
blanche:
It's really a pretty frightful situation. You see, there's no
privacy here. There's just these portieres between the two
rooms at night. He stalks through the rooms in his underwear
at night. And I have to ask him to close the bathroom
door. That sort of commonness isn't necessary. You
probably wonder why I don't move out. Well, I'll tell you
frankly. A teacher's salary is barely sufficient for her livingexpenses.
I didn't save a penny last year and so I had to
come here for the summer. That's why I have to put up
with my sister's husband. And he has to put up with me,
apparently so much against his wishes. . . . Surely he
must have told you how much he hates me!
mitch:
I don't think he hates you.
blanche:
He hates me. Or why would he insult me? The first time
I laid eyes on him I thought to myself, that man is my
executioner! That man will destroy me, unless--
mitch:
Blanche--
blanche:
Yes, honey?
mitch:
Can I ask you a question?
blanche:
Yes. What?
mitch:
How old are you? [She makes a nervous gesture.]
OS
SCENE SIX
blanche:
Why do you want to know?
mxtch:
I talked to my mother about you and she said, "How old
is Blanche?" And I wasn't able to tell her. [There is another
pause.]
blanche:
You talked to your mother about me?
mxtch:
Yes.
blanche:
Why?
mitch:
I told my mother how nice you were, and I liked you.
blanche:
Were you sincere about that?
mitch:
You know I was.
blanche:
Why did your mother want to know my age?
mitch:
Mother is sick.
blanche:
I'm sorry to hear it. Badly?
mitch:
She won't live long. Maybe just a few months.
blanche:
Oh.
mitch:
She worries because I'm not settled.
blanche:
Oh.
mitch:
She wants me to be settled down before she—[His voice
is hoarse and he clears his throat twice, shuffling nervously
wound with his hands in and out of his pockets.}
blanche: ^
You love her very much, dont you? s^4
____ ^.^.
»4
SCENE 8IX
mitch:
Yes.
blanche:
I think you have a great capacity for devotion. You will
be lonely when she passes on, won't you? [Mitch clears his
throat and nods.] 1 understand what that is.
mitch:
To be lonely?
blanche:
I loved someone, too, and the person I loved I lost
mitch:
Dead? [She crosses to the window and sits on the sill, looking
out. She pours herself another drink.] A man?
blanche:
He was a boy, just a boy, when I was a very young girl.
When I was sixteen, I made the discovery--love. All at
once and much, much too completely. It was like you suddenly
turned a blinding light on something that had always
been half in shadow, that's how it struck the world for me.
But I was unlucky. Deluded. There was something different
about the boy, a nervousness, a softness and tenderness
which wasn't like a man's, although he wasn't the least
bit effeminate looking--still--that thing was there. ...
He came to me for help. I didn't know that. I didn't find
out anything till after our marriage when we'd run away and
come back and all I knew was I'd failed him in some mysterious
way and wasn't able to give the help he needed but
couldn't speak of! He was in the quicksands and clutching
at me--but I wasn't holding him out, I was slipping in with
him! I didn't know that. I didn't know anything except I
loved him unendurably but without being able to help him
or help myself. Then I found out. In the worst of all possible
ways. By coming suddenly into a room that I thought
was empty--which wasn't empty, but had two people in it
... the boy I had married and an older man who had been
his friend for years....
[A locomotive Is heard approaching outside. She claps her
hands to her ears and crouches over. The headlight of the
locomotive glares into the room as it thunders past. As the
noise recedes she straightens slowly and continues speaking.]
95
SCENE SIX
Afterwards we pretended that nothing had been discovered.
Yes, the three of us drove out to Moon Lake Casino, very
drunk and laughing all the way.
[Polka music sounds. In a minor key faint with distance.]
We danced the Varsouviana! Suddenly in the middle of the
dance the boy I had married broke away from me and ran
out of the casino. A few moments later--a shot!
[The polka stop abruptly.}
[Blanche rises stiffly. Then, the polka resumes in a major
key.]
I ran out--all did!--all ran and gathered about the terrible
thing at the edge of the lake! I couldn't get near for the
crowding. Then somebody caught my arm. "Don't go any
closer! Come back! You don't want to see!" See? See what!
Then I heard voices say--Allan! Allan! The Grey boy!
He'd stuck the revolver into his mouth, and fired--so that
the back of his head had been--blown away!
[She sways and covers her face.]
It was because--on the dance-floor--unable to stop myself--I'd
suddenly said--"I saw! I know! You disgust me
..." And then the searchlight which had been turned
on the world was turned off again and never for one moment
since has there been any light that's stronger than
this--kitchen--candle...
[Mitch gets up awkwardly and moves toward her a little.
The polka music increases. Mitch stands beside her.]
mitch [drawimg her slowly into his arms]:
You need somebody. And I need somebody, too. Could it
be--you and me, Blanche?
[She stares at him vacantly for a moment. Then with a soft
cry huddles in his embrace. She makes a sobbing effort to
speak but the words won't come. He kisses her forehead and
her eyes and finally her lips. The polka tune fades out. Her
breath is drawn and released in long, grateful sobs.]
blanche:
Sometimes--there's God--so quickly!
96
SCENE SEVEN
It is late afternoon in mid-September.
The portieres are open and a table is set for a birthday
supper, with cake and flowers.
Stella is completing the decorations as Stanley comes in.
stanley:
What's all this stuff for?
stella:
Honey, it's Blanche's birthday.
stanley:
She here?
stella:
In the bathroom.
stanley [mimicking]:
"Washing out some things"?
stella:
I reckon so.
stanley:
How long she been in there?
stella:
All afternoon.
stanley [mimicking]:
"Soaking in a hot tub"?
stella:
Yes.
stanley:
Temperature 100 on the nose, and she soaks herself in a
hot tub.
stella:
She says it cools her off for the evening.
stanley:
And you run out an' get her cokes, I suppose? And serve
'em to Her Majesty in the tub? [Stella shrugs] Set down here
a minute.
stella:
Stanley, I've got things to do.
|	w
SOEiNB SEVEN
stanley:
Set down! I've got th' dope on your big sister, Stella.
stella:
Stanley, stop picking on Blanche. I stanley:
That girl calls we commoni
I stella:
Lately you been doing all you can flunk of to rub her the
wrong way, Stanley, and Blanche is sensitive and you've . got to realize that Blanche and I grew up under very differ1
ent circumstances than you did,
stanley:
So I been told. And told and told and told! You know she's
been feeding us a pack of lies here?
; stella:
No, I don't, and--
| stanley:
i \ Well, she has, however. But now the cafs out of the bag! I I found out some things!
J I stella:
| What--things?
J ' stanley:
| Things I already suspected. But now I got proof from the
S most reliable sources--which I have checked onl
i [Blanche is singin-g in the bathroom a saccharine popular ; ballad which is used contrapuntally with Stanley's speech.}
, stella [to Stanley]:
Lower your voicel
stanley:
Some canary-bird, huhl
stella:
Now please tell me quietly what you think you've found
out about my sister.
stanley:
Lie Number One; All this squeamishness she puts on!
You should just know the line she's been feeding to Mitch- He thought she faad never been more than kissed by a
SCENE SEVEN
I fellowl But Sister Blanche is no lilyt Ha-hal Some lily
she is!
stella:
What have you heard and who from?
stanley:
| Our supply-man down at the plant has been going through
Laurel for years and he knows all about her and every'
body else in the town of Laurel knows all about her. She
is as famous in Laurel as if she was the President of the
United States, only she is not respected by any party! This
supply-man stops at a hotel called the Flamingo.
blanche [singing blithely]:
"Say, it's only a paper moon, Sailing over a cardboard sea
--But it wouldn't be make-believe If you believed in me!"
stella;
What about the--Flamingo?
stanley:
She stayed there, too.
stella:
My sister lived at Belle Reve.
stanley:
This is after the home-place had slipped through her lilywhite
fingers! She moved to the Flamingo! A secondclass
hotel which has the advantage of not interfering in
the private social life of the personalities there! The Flamingo
is used to all kinds of goings-on. But even the management
of the Flamingo was impressed by Dame Blanche! In fact they were so impressed by Dame Blanche that they
requested her to turn in her room-key--for permanently!
This happened a couple of weeks before she showed here.
blanche [singing]:
"It's a Bamum and Bailey world. Just as phony as it can
be--
But it wouldn't be make-believe K you believed in me!"
stella:
What--contemptible--lies!
stanley:
Sure, I can see how you would be upset by this. She pulled
the wool over your eyes as much as Mitch's!
99
l.l'lil.^rfSOBNE
SEVEN
stella:
Ifs pure invention! There's not a word of troth in it and
if I were a man and this creature had dared to invent such
things in my presence--
blanche lsfinging\:
"Without your love,
It's a honky-tonk parade!
Without your love,
It's a melody played In a penny arcade..."
stanley:
Honey, I told you I thoroughly checked on these stories!
Now wait till I finish. The trouble with Dame Blanche
was that she couldn't put on her act any more in Laurel!
They got wised up after two or three dates with her and
then they quit, and she goes on to another, toe same old
line, same old act, same old hooey! But the town was too
small for this to go on forever! And as time went by she
became a town character. Regarded as not just different
but downright loco--nuts.
[Stella draws back.}
And for the last year or two she has been washed up like
poison. That's why she's here this summer, visiting royalty,
putting on all this act--because she's practically told
by the mayor to get out of town! Yes, did you know there
was an army camp near Laurel and your sister's was one of
the places called "Out-of-Bounds"?
blanche;
"It's only a paper moon. Just as phony as it can be--
But it wouldn't be make-believe If you believed in me!"
stanley:
Well, so much for her being such a refined and particular
type of girl. Which brings us to Lie Number Two.
stella:
I don't want to hear any morel
stanley:
She's not going back to teach school! In fact I am willing
to bet you that she never had no idea of returning to
Laurel! She didn't resign temporarily from the high school
because of her nerves! No, siree. Bob! She didn't. They
100
SCENE SEVEN

lacked her out of that high school before the spring term
ended--and I hate to tell you the reason that step was
taken! A seventeen-year-old boy--she'd gotten mixed up
with!
(LANCHE:
"It's a Bamum and Bailey world, Just as phony as it can
be--"
[In the bathroom the water goes on loud; little breathless
cries and peals of laughter are heard as if a child
were frolicking in the tub.}
stella:
This is making me--sick!
iTANLEY:
The boy's dad learned about it and got in touch with the
high school superintendent. Boy, oh, boy, I'd like to have
been in that office when Dame Blanche was called on the
carpet! I'd like to have seen her trying to squirm out of
that one! But they had her on the hook good and proper
that time and she knew that the jig was all up! They told
her she better move on to some fresh territory. Yep, it
was practickly a town ordinance passed against her!
[The bathroom door is opened and Blanche thrusts her
head out, holding a towel about her hair.]
blanche:
Stella!
[tella [faintly]:
Yes, Blanche?
blanche:
Give me another bath-towel to dry my hair with. I've just
washed it.
?tella:
Yes, Blanche. [She crosses in a dazed way from the kitchen to the bathroom door with a towel.]
blanche:
What's the matter, honey?
^
ella:
Matter? Why?

101
-^ 1
SCENE SEVEN
blanche:
You have such a strange expression on your facel
stella:
Oh--[She tries to laugh} I guess I'm a little tired!
blanche: '^&,
Why dont you bathe, too, soon as I get out? S;^ stanley [calling from the kitchen}: ^®
How soon is that going to be? ^
blanche:
Not so terribly longi Possess your soul in patiencel
stanley:
It's not my soul, ifs my kidneys I'm worried about! [Blanche slams the door. Stanley laughs harshly. Stella
comes slowly back into the kitchen.]
stanley:
Well, what do you mink of it?
stella:
I dont believe all of those stories and I think your sup- ply-man was mean and rotten to tell them. It's possible
that some of the things he said are partly true. There are wings about my sister I don't approve of--things that
caused sorrow at home. She was always--flighty!
stanley:
Flighty!
stella;
But when she was young, very young, she married a boy
who wrote poetry. ... He was extremely good-looking. I
think Blanche didn't just love him but worshipped the
ground he walked on! Adored him and thought him almost
too fine to be human! But then she found out--
stanley:
What?
stella:
This beautiful and talented young man was a degenerate.
Didn't your supply-man give you that information?
stanley:
All we discussed was recent history. That must have been
a pretty long time ago.
ioa
BOBNB SEVEN
stella:
Yes, it was—a pretty long time ago...
[Stanley comes up and takes her by the shoulders rather
gently. She gently withdraws from him. Automatically she
starts sticking little pink candles in the birthday cake.}
stanley:
How many candles you putting in that cake?
stella:
I'll stop at twenty-five.
stanley:
Is company expected?
stella:
We asked Mitch to come over for cake and ice-cream.
[Stanley looks a little uncomfortable. He lights a cigarette
from the one he has just finished.]
stanley:
I wouldn't be expecting Mitch over tonight
[Stella pauses in her occupation with candles and looks
slowly around at Stanley.}
stella:
Why?
stanley:
Mitch is a buddy of mine. We were in the same outfit
together—Two-forty-flrst Engineers. We work in the same
plant and now on the same bowling team. You think I
could face him if—
stella:
Stanley Kowalski, did you—did you repeat what that—?
stanley:
You're goddam right I told him! I'd have that on my
conscience the rest of my life if I knew all that stuff and
let my best friend get caught!
stella:
Is Mitch through with her?
stanley:
Wouldn't you be if—?
103
SCENE SEVEN
stella:
I said, Is Mitch through with her?
[Blanche's voice is lifted again, serenely as a bell. Shesings "But it wouldn't be make-believe if you believed in
me."}
stanley:
No, I don't think he's necessarily through with her—just
wised up!
stella:
Stanley, she thought Mitch was—going to—going to marry
j her. I was hoping so, too.
stanley:
Well, he's not going to marry her. Maybe he was, but he's
not going to jump in a tank with a school of sharks—now!
[He rises] Blanche! Oh, Blanche! Can I please get in my
bathroom? [There is a pause.]
blanche:
Yes, indeed, sir! Can you wait one second while I dry?
stanley:
Having waited one hour I guess one second ought to pass
in a hurry.
stella:
And she hasn't got her job? Well, what will she do!
stanley:
She's not stayin' here after Tuesday. You know that, don't
you? Just to make sure I bought her ticket myself. A busticket!
stella:
In
the first place, Blanche wouldn't go on a bus.
stanley:
She'll go on a bus and like it.
stella:
No, she won't, no, she won't, Stanley!
stanley:
She'll go! Period. P.S. She'll go Tuesday!
stella [slowly]:
What'11—she—do? What on earth will shs—dol
104
SCENE 8EVEN
stanley:
Her future is mapped out for her.
stella:
What do you mean?
[Blanche sings.]
stanley:
Hey, canary bird! Tootst Get OUT of the BATHROOM!
[The bathroom door flies open and Blanche emerges with
a gay peal of laughter, but as Stanley crosses past her, a
frightened look appears on her face, almost a look of panic.
He doesn't look at her but slams the bathroom door shut as he goes in.}
blanche [snatching up a hairbrush}:
Oh, I feel so good after my long, hot bath, I feel so good
and cool and--rested!
stella [sadly and doubtfully from the kitchen}:
Do you, Blanche?
blanche [brushing her hair vigorously}:
Yes, I do, so refreshed! [She ankles her highball glass.} A
hot bath and a long, cold drink always give me a brand
new outlook on life! [She looks through the portieres at
Stella, standing between them, and slowly stops brushing} Something has happened!--What is it?
stella [fuming away quickly}:
Why, nothing has happened, Blanche.
blanche:
You're lying! Something has!
[She stares fearfully at Stella, who pretends to be busy at the table. The distant piano goes into a hectic breakdown.}
105
SCENE EIGHT -
Three-quarters of an hour later.
The view through the big windows is fading gradually into
a still-golden dusk. A torch of sunlight blazes on the side
of a big water-tank or oil-drum across the empty lot toward
the business district which is now pierced by pinpoints
of lighted windows or windows reflecting the sunset.
The three people are completing a dismal birthday supper.
Stanley looks sullen. Stella is embarrassed and sad.
Blanche has a tight, artificial smile on her drawn face.
There is a fourth place at the table which is left vacant.
blanche [suddenly]:
Stanley, tell us a joke, tell us a funny story to make us all
laugh. I don't know what's the matter, we're all so solemn. Is it because I've been stood up by my beau? [Stella laughs feebly.]
It's the first time in my entire experience with men, and I've
had a good deal of all sorts, that I've actually been stood
up by anybody! Ha-ha! I don't know how to take it. ...
Tell us a funny little story, Stanley! Something to help us
out.
stanley:
I didn't think you liked my stories, Blanche.
blanche:
I like them when they're amusing but not indecent.
stanley:
I don't know any refined enough for your taste.
blanche:
Then let me tell one.
stella:
Yes, you tell one, Blanche. You used to know lots of good
stories.
[The music fades.]
blanche;
Let me see, now. ... I must run through my repertoire!
Oh. yes--I love parrot stories! Do you all like parrot stories?
Well, this one's about the old maid and the parrot. This
106
j^J
SOEWE EIGHT
old maid, she had a parrot that cursed a blue streak and
knew more vulgar expressions than Mr. Kowalski!
stanley:
Huh.
blanche:
And the only way to hush the parrot up was to put the cover
back on its cage so it would think it was night and go back
to sleep. Well, one morning the old maid had just uncovered
the parrot for the day--when who should she see coming
up the front walk but the preacher! Well, she rushed back
to the parrot and slipped the cover back on the cage and
then she let in the preacher. And the parrot was perfectly still, just as quiet as a mouse, but just as she was asking the
preacher how much sugar he wanted in his coffee--the
parrot broke the silence with a loud--[She whistles]--and
said--"God damn, but that was a short day!"
[She throws back her head and laughs. Stella also makes
an ineffectual effort to seem amused. Stanley pays no attention
to the story but reaches way aver the table to spear his
fork into the remaining chop which he eats with his fingers.]
blanche:
Apparently Mr. Kowalski was not amused.
stella:
Mr. Kowalski is too busy making a pig of himself to think
of anything else!
stanley:
That's right, baby.
stella:
Your face and your fingers are disgustingly greasy. Go and
wash up and then help me clear the table.
[He hurls a plate to the floor.]
stanley:
That's how I'll dear the table! [He seizes her arm] Don't
ever talk that way to me! "Pig--Polack--disgusting--vulgar--greasy!"--them
kind of words have been on your
tongue and your sister's too much around here! What do you
two think you are? A pair of queens? Remember what
Huey Long said--"Every Man is a King!" And I am the
king around here, so don't forget it! [He hurls a cup and
107
SCENE EIOHT
saucer to the floor] My place is cleared! You want me to
clear your places?
[Stella begins to cry weakly. Stanley stalks out on the porch
and tights a cigarette.
[The Negro entertainers around the corner are heard.] blanche:
What happened while I was bathing? What did he tell you,
Stella?
stella:
Nothing, nothing, nothing!
blanche:
I think he told you something about Mitch and me! You
know why Mitch didn't come but you won't tell me! [Stella
shakes her head helplessly] I'm going to call him!
stella:
I wouldn't call him, Blanche. %<?;
blanche:
I am, I'm going to call him on the phone.
stella [miserably]:
I wish you wouldn't blanche:
I intend to be given some explanation from someone!
[She rushes to the phone in the bedroom. Stella goes out on
the porch and stares reproachfully at her husband. He
grunts and turns away from her.]
stella:
I hope you're pleased with your doings. I never had so
much trouble swallowing food in my life, looking at that
girl's face and the empty chair! [She cries quietly.]
blanche [at the phone]:
Hello. Mr. Mitchell, please. . . . Oh. ... I would like to
leave a number if I may. Magnolia 9047. And say it's important to call. . . . Yes, very important. . . . Thank you.
[She remains by the phone with a lost, frightened look.]
[Stanley turns slowly back toward his wife and takes her
clumsily in his arms.] stanley:
Stell, it's gonna be all right after she goes and after you've
108
SCBNE EIGHT
had the baby. It's gonna be all right again between you and
me the way that it was. You remember that way that it
was? Them nights we had together? God, honey, it's gonna
be sweet when we can make noise in the night the way that
we used to and get the colored lights going with nobody's
sister behind the curtains to hear us! [Their upstairs neighbors are heard in bellowing laughter
at something. Stanley chuckles.} Steve an' Eunice...
stella:
Come on back in. [She returns to the kitchen and starts
lighting the candles on the white cake.] Blanche?
blanche:
Yes. [She returns from the bedroom to the table in the
kitchen.] Oh, those pretty little candles! Oh, don't bum them, Stella.
stella:
I certainly will.
[Stanley comes back in.]
blanche:
You ought to save them for baby's birthdays. Oh, I hope
candles are going to glow in his life and I hope that his eyes are going to be like candles, like two blue candles lighted
in a white cake!
stanley [sitting down]:
What poetry!
blanche [she pauses reflectively for a moment]:
I shouldn't have called him.
stella:
There's lots of things could have happened.
blanche:
There's no excuse for it, Stella. I don't have to put up with
insults. I won't be taken for granted.
stanley:
Goddam, it's hot in here with the steam from the bathroom.

blanche:
I've said I was sorry three times. [The piano fades out.] I
109
SOBNE EIGHT
take hot baths for my nerves. Hydro-therapy, they caB it. You healthy Polack, without a nerve in your body, of course
you dont know what anxiety feels likel
stanley:
I am not a Polack. People from Poland are Poles, not
Polacks. But what I am is a one hundred percent American, born and raised in the greatest country on earth and proud
as hell of it, so don't ever call me a Polack. [The phone rings. Blanche rises expectantly.}
blanche:
Oh, that's for me, I'm sure.
stanley:
Fm not sure. Keep your seat [He crosses leisurely to phone.] H'lo. Aw, yeh, hello, Mac.
[He leans against wall, staring insultingly in at Blanche. She
sinks back in her chair with a frightened look. Stella leans
over and touches her shoulder.}
blanche:
Oh, keep your hands on me, Stella. What is the matter
with you? Why do you look at me with that pitying look?
stanley [bawling}:
QUIET IN THERE1--We've got a noisy woman on the
place.--Go on, Mac. At Riley's? No, I don't wanta bowl at
Riley's. I had a little trouble with Riley last week. I'm the
team-captain, ain't I? All right, then, we're not gonna bowl
at Riley's, we're gonna bowl at the West Side or the Galal
All right, Mac. See youl
[He hangs up and returns to the table. Blanche fiercely
controls herself, drinking quickly from her tumbler of
water. He doesn't look at her but reaches in a pocket. Then
he speaks slowly and with false amiability.}
Sister Blanche, I've got a little birthday remembrance for
you.
blanche:
Oh, have you, Stanley? I wasn't expecting any, I--I don't
know why Stella wants to observe my birthday! I'd much
rather forget it--when you--reach twenty-seveni Well--
age is a subject that you'd prefer to--ignorel
No
SCENE EIGHT
stanley:
Twenty-seven?
blanche [quickly]:
What is it? Is it for me?
[He is holding a little envelope toward her.]
stanley:
Yes, I hope you like it!
blanche:
Why, why--Why, it's a--
stanley:
Ticket! Back to Laurel! On the Greyhound! Tuesday! [The Varsouviana music steals in softly and continues playing.
Stella rises abruptly and turns her back. Blanche tries
to smile. Then she tries to laugh. Then she gives both up and
springs from the table and runs into the next room. She
clutches her throat and then runs into the bathroom. Coughing,
gagging sounds are heard.]
Well!
stella:
You didn't need to do that.
stanley:
Don't forget all that I took off her.
stella:
You needn't have been so cruel to someone alone as she is.
stanley:
Delicate piece she is.
stella:
She is. She was. You didn't know Blanche as a girl. Nobody,
nobody, was tender and trusting as she was. But
people like you abused her, and forced her to change.
[He crosses into the bedroom, ripping off his shirt, and
changes into a brilliant silk bowling shirt. She follows him.] Do you think you're going bowling now?
stanley:
Sure.
stella:
You're not going bowling. [She catches hold of his shirt] Why did you do this to her?
ill
T
SCENE EIGHT
stanley:
I done nothing to no one. Let go of my shirt. You*ve torn it
stella:
I want to know why. Tell me why.
stanley:
When we first met, me and you, you thought I was common.
How right you was, baby. I was common as dirt. You
showed me the snapshot of the place with the columns. I
pulled you down off them columns and how you loved it, having them colored lights going! And wasn't we happy
together, wasn't it all okay till she showed here?
[Stella makes a slight movement. Her look goes suddenly
inward as if some interior voice had called her name. She
begins a slow, shuffling progress from the bedroom to the
kitchen, leaning and resting on the back of the chair and
then on the edge of a table with a blind look and listening
expression. Stanley, finishing with his shirt, is unaware of
her reaction.}
And wasn't we happy together? Wasn't it all okay? Till she
showed here. Hoity-toity, describing me as an ape. [He
suddenly notices the change in Stella] Hey, what is it, Stella?
[He crosses to her.}
stella [quietly]:
Take me to the hospital.
[He is with her now, supporting her with his arm, murmuring indistinguishably as they go outside.}
112
SCENE NINE A
while later that evening- Blanche is seated in a tense
hunched position in a bedroom chair that she has recovered with diagonal green-and-white stripes. She has on her scarlet
satin robe. On the table beside chair is a bottle of liquor and
a glass. The rapid, feverish- polka tune, the "Varsouviana,"
is heard. The music is in her mind; she is drinking to escape
it and the sense of disaster closing in on her, and she seems
to whisper the -words of the song. An electric fan is turning
back and forth across her.
Mitch comes around the corner in work clothes: blue denim
shirt and pants. He is unshffven. He climbs the steps to the
door and rings. Blanche is startled.
blanche:
Who is it, please?
mitch [hoarsely]:
Me. Mitch. [The polka tune stops.]
blanche:
Mitch!--just a minute.
[She rushes about frantically, hiding the bottle in a closet,
crouching at the mirror and dabbing her face with cologne
and powder. She is so excited her breath is audible as
she dashes about. At last she rushes to the door in the
kitchen and lets him In.]
Mitch!--Vknow, I really shouldn't let you in after the
treatment I have received from you this evening! So utterly
uncavalieri But hello, beautiful!
[She offers him her lips. He ignores it and pushes past her
info the flat. She looks fearfully after him as he stalks into
the bedroom.]
My, my, what a cold shoulderi And such uncouth apparel!
Why, you haven't even shaved! The unforgivable insult to
a lady! But I forgive you. I forgive you because it's such a
relief to see you. You've stopped that polka tune that I had
caught in my head. Have you ever had anything caught in
your head? No, of course you haven't, you dumb angel-puss,
you'd never get anything awful caught in your headi
~113
gOENIB! MIMES
[Be stares at her while she follows him while she talks. It
is obvious that he has had a few drinks on the way over.}
mitch:
Do we have to have that fan on?
blanche:
Nol
MrrcH:
I don't like fans.
blanche:
Then let's turn it off, honey. I'm not partial to them! [She presses the switch and the fan nods slowly off. She
clears her throat uneasily as Much plumps himself down on
the bed in the bedroom and lights a cigarette.}
I don't know what there is to drink. I--haven't investigated.

MrrcH:
I don't want Stan's liquor.
blanche:
It isn't Stan's. Everything here isn't Stan's. Some things on
the premises are actually mine! How is your mother? Isn't
your mother well?
mitch:
Why?
blanche:
Something's the matter tonight, but never mind. I won't
cross-examine the witness. I'll just--[She touches her forehead
vaguely. The polka tune starts up again.}--pretend
I don't notice anything different about youl That--anisic
again...
mitch:
What music?
blanche:
The "Varaouviana"l The polka tune they were playing
when Allan--Waiti
[A distant revolver shot is heard. Blanche seems relieved.}
There now, the shoti It always stops after that.
[The polka music dies out again.]
Yes, now it's stopped.
114
J*
SCENE M'IWE
mitch:
Are you boxed out of your mind?
blanche:
111 go and see what I can find in the way of--[She crosses
into the closet, pretending to search for the bottle.] Oh, by
the way, excuse me for not being dressed. But I'd practically
given you up! Had you forgotten your invitation to
supper?
mttch:
I wasn't going to see you any more.
blanche:
Wait a minute. I can't hear what you're saying and you
talk so little that when you do say something, I don't want
to miss a single syllable of it. ... What am I looking
around here for? Oh, yes--liquor! We've had so much excitement
around here this evening that I am boxed out of
my mind! [She pretends suddenly to find the bottle. He
draws his foot up on the bed and stares at her contemptuously^. Here's something. Southern Comfort! What is
that, I wonder?
mitch:
If you don't know, it must belong to Stan.
blanche:
Take your foot off the bed. It has a light cover on it. Of
course you boys dont notice things like that I've done so much with this place since I've been here.
mitch:
I bet you have.
blanche:
You saw it before I came. Well, look at it now! This room
is almost--dainty! I want to keep it that way. I wonder if
this stuff ought to be mixed with something? Ummm, it's
sweet, so sweet! It's terribly, terribly sweet! Why, it's a liqueur, 1 believe! Yes, that's what it is, a liqueur! [Mitch
grunts.] Tm afraid you won't like it, but try it, and maybe
youwffl.
mitch:
I told you already I don't want none of his liquor and I
mean it. You ought to lay off his liquor. He says you been
lapping ft up all summer like a wildcat!
- 11B
SCENE NINE
blanche:
What a fantastic statement! Fantastic of him to say it,
fantastic of you to repeat it! I won't descend to the level
of such cheap accusations to answer them, even!
MrrcH:
Huh.
blanche:
What's in your mind? I see something in your eyes!
mitch [getting up]:
It's dark in here.
blanche:
I like it dark. The dark is comforting to me.
mitch:
I don't think I ever seen you in the light. [Blanche laughs
breathlessly] That's a fact!
blanche:
Is it?
mitch:
I've never seen you in the afternoon.
blanche:
Whose fault is that?
mitch:
You never want to go out in the afternoon.
blanche:
Why, Mitch, you're at the plant in the afternoon!
mitch:
Not Sunday afternoon. I've asked you to go out with me
sometimes on Sundays but you always make an excuse.
You never want to out till after six and then it's always
some place that's not lighted much.
blanche:
There is some obscure meaning in this but I fail to catch it.
mitch:
What it means is I've never had a real good look at you,
Blanche. Let's turn the light on here.
blanche {fearfully}:
Light? Which light? What for?
116
SCENE NINE
mitch:
This one with the paper thing on it. [He tears the paper
lantern off the light bulb. She utters a frightened gasp.} blanche:
What did you do that foi?
mitch:
So I can take a look at you good and plain!
blanche:
Of course you don't really mean to be insulting!
mttch:
No, just realistic.
blanche:
I don't want realism. I want magic! [Mitch laughs] Yes,
yes, magic! I try to give that to people. I misrepresent
things to them. I don't tell truth, I tell what ought to be
truth. And if that is sinful, then let me be damned for iti
--Don't turn the light onl
[Milch crosses to the switch. He turns the light on and
stares at her. She cries out and covers her face. He turns
the light off again.]
mitch [slowly and bitterly]:
I dont mind you being older than what I thought. But
all the rest of it--Christ! That pitch about your ideals being so old-fashioned and all the malarkey that you've
dished out all summer. Oh, I knew you weren't sixteen
any more. But I was a fool enough to believe you was straight.
blanche:
Who told you I wasn't--'straight'? My loving brother-inlaw.
And you believed him.
mttch:
I called him a liar at first And then I checked on the story. First I asked our supply-man who travels through
LaureL And then I talked directly over long-distance to
this merchant
blanche:
Who is this merchant?
mitch:
Kiefaber.
117
T" j j I
3 tb--i .- .a
SCENE WINE
blanche:
The merchant Kiefaber of Laurel! I know the man. He
whistled at me. I put him in his place. So now for revenge
he makes up stories about me.
mitch:
Three people, Kiefaber, Stanley and Shaw, swore to them!
blanche:
Rub-a-dub-dub, three men in a tub! And such a filthy tubl
mitch:
Didn't you stay at a hotel called the Flamingo?
blanche:
Flamingo? No! Tarantula was the name of it! I stayed at a
hotel called the Tarantula Arms!
mitch [stupidly}:
Tarantula?
blanche:
Yes, a big spider! That's where I brought my victims. [She
pours herself another drink] Yes, I had many intimacies
with strangers. After the death of Allan--intimacies with
strangers was all I seemed able to fill my empty heart with.
... I think it was panic, just panic, that drove me from
one to another, hunting for some protection--here and
there, in the most--unlikely places--even, at last, in a
seventeen-year-old boy but--somebody wrote the superintendent
about it--"This woman is morally unfit for her
position!"
[She throws back her head with convulsive, sobbing laughter. Then she repeats the statement, gasps, and drinks.]
True? Yes, I suppose--unfit somehow--anyway. ... So I
came here. There was nowhere else I could go. I was played
out. You know what played out is? My youth was suddenly
gone up the water-spout, and--I met you. You said you
needed somebody. Well, I needed somebody, too. I thanked
God for you, because you seemed to be gentle--a cleft in
the rock of the world that I could hide in! But I guess I was
asking, hoping--too much! Kiefaber, Stanley and Shaw
have tied an old tin can to the tail of the kite.
[There is a pause. Mitch stares at her dumbly.] 118
SCENE ITINE
mitch:
You lied to me, Blanche.
blanche:
Don't say I lied to you.
mitch:
Lies, lies, inside and out, all lies.
blanche:
Never inside, I didn't lie in my heart...
[A Vendor comes around the corner. She is a blind Mexican
woman in a dark shawl, carrying bunches of those gaudy tin
flowers that lower class Mexicans display at funerals and
other festive occasions. She is calling barely audibly. Her
figure is only faintly visible outside the building.}
mexican woman:
Flores. Flores. Flores para los muertos. Flores. Flores.
blanche:
What? Oh! Somebody outside . . . [She goes to the door.
opens it and stares at the Mexican Woman.}
mexican woman [she is at the door and offers Blanche
some of her flowers}:
Flores? Flores para los muertos?
blanche \frightened\'.
No, nol Not now! Not nowl
[She darts back into the apartment, slamming the door.}
mexican woman [she turns away and starts to move down
the street}:
Plores para los muertos.
[The polka tune fades in.}
blanche [as if to herselfl:
Crumble and fade and--regrets--recriminations . . . "H
you'd done this, it wouldn't've cost me that!"
mexican woman:
Corones para los muertos. Corones...
blanche:
Legacies! Huh . . . And other things such as bloodstained
pillow-slips--"Her linen needs changing"--"Yes Mother.
119
.1 1
SCENE NINE
blanche:
The merchant Kiefaber of Laurel! I know the man. He
whistled at me. I put him in his place. So now for revenge
he makes up stories about me.
mitch:
Three people, Kiefaber, Stanley and Shaw, swore to them!
blanche:
Rub-a-dub-dub, three men in a tub! And such a filthy tub!
mitch:
Didn't you stay at a hotel called the Flamingo?
blanche:
Flamingo? No! Tarantula was the name of it! I stayed at a
hotel called the Tarantula Arms!
mitch [stupidly]'. Tarantula?
blanche:
Yes, a big spider! That's where I brought my victims. [She
pours herself another drink} Yes, I had many intimacies
with strangers. After the death of Allan--intimacies with
strangers was all I seemed able to fill my empty heart with.
... I think it was panic, just panic, that drove me from
one to another, hunting for some protection--here and
there, in the most--unlikely places--even, at last, in a seventeen-year-old boy but--somebody wrote the superintendent
about it--"This woman is morally unfit for her
position!"
[She throws back her head with convulsive, sobbing laughter.
Then she repeats the statement, gasps, and drinks.}
True? Yes, I suppose--unfit somehow--anyway. ... So I
came here. There was nowhere else I could go. I was played
out. You know what played out is? My youth was suddenly
gone up the water-spout, and--I met you. You said you
needed somebody. Well, I needed somebody, too. I thanked
God for you, because you seemed to be gentle--a cleft in
the rock of the world that I could hide in! But I guess I was
asking, hoping--too much! Kiefaber, Stanley and Shaw
have tied an old tin can to the tail of the kite.
[There is a pause. Mitch stares at her dumbly.} 118
Ill II
SOBNE NINE
mitch;
You lied to me, Blanche.
blanche:
Don't say I lied to you.
mitch:
Lies, lies, inside and out, all lies.
blanche:
Never inside, I didn't lie in my heart...
[A Vendor comes around the corner. She is a blind Mexican
woman in a dark shawl, carrying bunches of those gaudy tin
flowers that lower class Mexicans display at funerals and
other festive occasions. She is calling barely audibly. Her
figure is only faintly visible outside the building.}
mexican woman:
Flores. Floras. Floras para los muertos. Plores. Floras.
blanche:
What? Oh! Somebody outside . . . [She goes to the door,
opens it and stares at the Mexican Woman.]
mexican woman [she is at the door and offers Blanche
some of her flowers]:
Floras? Floras para los muertos?
blanche ^frightened]:
No, no! Not now! Not now!
[She darts back into the apartment, slamming the door.}
mexican woman [she turns away and starts to move down
the street]'. Plores para los muertos.
[The polka tune fades in.]
blanche [as if to herself]:
Crumble and fade and--regrets--recriminations . . . "If you'd done (his, it wouldn't've cost me that!"
mexican woman:
Corones para los muertos. Corones...
blanche:
Legacies! Huh . . . And other things such as bloodstained
pillow-slips--"Her linen needs changing"--"Yes Mother.
119
-I I
SCENE NINE
But couldn't we get a colored girl to do it?" No, we couldn't
of course. Everything gone but the--
mexican woman:
Flores,
blanche:
Death--I used to sit here and she used to sit over there and
death was as close as you are.. .. We didn't dare even admit
we had ever heard of it!
mexican woman:
Flores para los muertos, flores--flores...
blanche:
The opposite is desire. So do you wonder? How could you
possibly wonder! Not far from Belle Reve, before we had
lost Belle Reve, was a camp where they trained young
soldiers. On Saturday nights they would go in town to get
drunk--
mexican woman [softly]:
Corones...
blanche:
--and on the way back they would stagger onto my lawn
and call--"Blanche! Blanche!"--The deaf old lady remaining
suspected nothing. But sometimes I slipped outside to
answer their calls. . . . Later the paddy-wagon would
gather them up like daisies . . . the long way home . . .
[The Mexican Woman turns slowly and drifts back off with
her soft mournful cries. Blanche goes to the dresser and
leans forward on it. After a moment, Mitch rises and follows
her purposefully. The polka music fades away. Be
places his hands on her waist and tries to turn her about.}
blanche:
What do you want?
mitch '[fumbling to embrace her}:
What I been missing all summer.
blanche:
Then marry me, Mitch!
mitch:
I don't think I want to marry you any more.
SCENE NINE
blanche:
No?
mitch [dropping his hands from her waist]:
You're not clean enough to bring in the house with my
mother.
blanche:
Go away, then. [He stares at her] Get out of here quick before
I start screaming fire! [Her throat is tightening with
hysteria] Get out of here quick before I start screaming fire. [He still remains staring. She suddenly rushes to the big window
with its pale blue square of the soft summer light and
cries wildly.]
Fire! Fire! Fire!
[With a startled, gasp, Mitch turns and goes out the outer
door, clatters awkwardly down the steps and around the
corner of the building, Blanche staggers back from the window
and falls to her knees. The distant piano is slow and
blue.]
K'te.
121
SCENE TEN
It is a few hows later that night.
Blanche has been drinking fairly steadily since Mitch left.
She has dragged her wardrobe trunk into the center of the
bedroom. It hangs open with flowery dresses thrown across it. As the drinking and packing went on, a mood of hysterical
exhilaration came into her and she has decked herself
out in a somewhat soiled and crumpled white satin
evening gown and a pair of scuffed silver slippers with
brilliants set in their heels.
Now she is placing the rhinestone tiara on her head before
the mirror of the dressing-table and murmuring excitedly as
if to a 'group of spectral admirers.
blanche:
How about taking a swim, a moonlight swim at the old rockquarry?
If anyone's sober enough to drive a car! Ha-ha! Best
way in the world to stop your head buzzing! Only you've
got to be careful to dive where the deep pool is--if you hit
a rock you don't come up till tomorrow... [Tremblingly she lifts the hand mirror for a closer inspection.
She catches her breath and slams the mirror face down
with such violence that the glass cracks. She moans a little
and attempts to rise.
[Stanley appears around the corner of the building. He still
has on the vivid green silk bowling shirt. As he rounds the
corner the honky-tonk music is heard. It continues softly
throughout the scene.
[He enters the kitchen, slamming the door. As he peers In
at Blanche, he gives a low whistle. He has had a few drinks
on the way and has brought some quart beer bottles home
with him.]
blanche:
How is my sister? ^.. ;l.^"!^M^iA/w,
stanley: ."..^! .'\/^^^''::%^:?&;f'" She is doing okay. .i^:}'''. ';'':;!^"";^.\A:,l'A..
blanche: './^ ^;,;.;^.^\i::''^':;4;^B^.
And how is the baby?
122
c^
8CENB TEN
stanley [grinning amiably]:
The baby won't come before morning so they told me to go
home and get a little shuteye.
blanche:
Does that mean we are to be alone in here?
stanley:
Yep. Just me and you, Blanche. Unless you got somebody
hid under the bed. What've you got on those fine feathers
for?
blanche:
Oh, that's right. You left before my wire came.
stanley:
You got a wire?
blanche:
I received a telegram from an old admirer of mine.
stanley:
Anything good?
blanche:
I think so. An invitation.
stanley:
What to? A fireman's ball?
blanche [throwing back her head]:
A cruise of the Caribbean on a yacht!
stanley:
Well, well. What do you know?
blanche:
I have never been so surprised in my life.
stanley:
I guess not.
blanche:
It came like a bolt from the bluet
stanley:
Who did you say it was from?
blanche:
An old beau of mine.
stanley:
The one that give you the white fox-pieces?
133
U..MI
SCENE TEN
blanche:
Mr. Shep Hmrtleigh. I wore his ATO pin my last year at
college. I hadn't seen him again until last Christmas. I ran
into him on Biscayne Boulevard. Then--just now--this
wire--inviting me on a cruise of the Caribbean! The problem
is clothes. I tore into my trunk to see what I have that's
suitable for the tropics!
stanley:
And come up with that--gorgeous--diamond--tiara?
blanche:
This old relic? Ha-ha! It's only rhinestones.
stanley:
Gosh. I thought it was Tiffany diamonds. [He unbuttons his
shirt.}
blanche:
Well, anyhow, I shall be entertained in style.
stanley:
Uh-huh. It goes to show, you never know what is coming.
blanche:
Just when I thought my luck had begun to fail me--
stanley:
Into the picture pops this Miami millionaire.
blanche:
This man is not from Miami. This man is from Dallas.
stanley:
This man is from Dallas?
blanche:
Yes, this man is from Dallas where gold spouts out of the
ground!
stanley:
Well, just so he's from somewhere! [Be starts removing his
shirt.}
blanche:
Close the curtains before you undress any further.
stanley [amiably]:
This is all I'm going to undress right now. [He rips the sack
off a quart beer bottle] Seen a botde^pener?
ia*
SCENE TEN
[She moves slowly toward the dresser, where she stands with
her hands knotted together.}
I used to have a cousin who could open a beer bottle with
his teeth. [Pounding the bottle cap on the corner of table] That was his only accomplishment, all he could do--he was
just a human bottle-opener. And then one time, at a wedding
party, he broke his front teeth off! After that he was
so ashamed of himself he used t' sneak out of the house
when company came...
[The bottle cap pops off and a geyser of foam shoots up.
Stanley laughs happily, holding up the bottle over his head.] Ha-ha! Rain from heaven! [He extends the bottle toward
her] Shall we bury the hatchet and make it a loving-cup?
Huh?
blanche:
No, thank you.
stanley:
Well, it's a red letter night for us both. You having an oil
millionaire and me having a baby.
[He goes to the bureau in the bedroom and crouches to remove
something from the bottom drawer.]
blanche [drawing back]:
What are you doing in here?
stanley:
Here's something I always break out on special occasions
like this. The silk pyjamas I wore on my wedding night!
blanche:
Oh.
stanley:
When the telephone rings and they say, "You've got a son!"
Ill tear this off and wave it like a flag! [He shakes out a
brilliant pyjama coat] I guess we are both entitled to put on
the dog. [He goes back to the kitchen with the coat over his
arm.]
blanche:
When I think of how divine it is going to be to have such
a thing as privacy once more--I could weep with joy!
125
SCENE TEN
stanley:
This millionaire from Dallas is not going to interfere with
your privacy any?
blanche:
It won't be the sort of tiling you have in mind. This man is
a gentleman and he respects me. [Improvising feverishly] What he wants is my companionship. Having great wealth
sometimes makes people lonely! A cultivated woman, a
woman of intelligence and breeding, can enrich a man's life
--immeasurably! I have those things to offer, and this
doesn't take them away. Physical beauty is passing. A transitory
possession. But beauty of the mind and richness of the
spirit and tenderness of the heart--and I have all of those things--aren't taken away, but grow! Increase with the
years! How strange that I should be called a destitute woman!
When I have all of these treasures locked in my heart. [A choked sob comes from her] I think of myself as a very,
very rich woman! But I have been foolish--casting my
pearls before swinel
stanley:
Swine, huh?
blanche:
Yes, swinel Swinel And I'm thinking not only of you but of
your friend, Mr. Mitehell. He came to see me tonight. He
dared to come here in his work-clothes! And to repeat slander
to me, vicious stories that he had gotten from you! I
gave him his walking papers...
stanley:
You did, huh?
blanche:
But then he came back. He returned with a box of roses to
beg my forgiveness! He implored my forgiveness. But some
things are not forgivable. Deliberate cruelty is not forgivable.
It is the one unforgivable thing in my opinion and
it is the one thing of which I have never, never been guilty.
And so I told him, I said to him, "Thank you," but it was
foolish of me to think that we could ever adapt ourselves
to each other. Our ways of life are too different. Our attitudes
and our backgrounds are incompatible. We have to
126
SCENE TEIT
be realistic about such things. So farewell, my friend! And
let there be no hard feelings...
stanley;
Was this before or after the telegram came from die Texas
oil millionaire?
blanche:
What telegrami No! No, after! As a matter of fact, the wire
came just as--
stanley:
As a matter of fact there wasn*t no wire at all!
blanche:
Oh, oh!
stanley;
There isnt no millionaire! And Mitch didn't come back;
with roses 'cause I know where he is--
blanche:
Ohi
stanley:
There isn*t a goddam thing but imagination!
blanche:
Oh!
stanley:
And lies and conceit and tricks!
blanche;
Oh!
stanley:
And look at yourself! Take a look at yourself in that wornout
Mardi Gras outfit, rented for fifty cents from some ragpicker!
And with the crazy crown on! What queen do you
think you are?
blanche;
Oh--God...
stanley:
I've been on to you from the start! Not once did you pull
any wool over this boy's eyes! You come in here and
sprinkle the place with powder and spray perfume and cover
the light bulb with a paper lantern, and lo and behold the
place has turned into Egypt and you are the Queen of the
iar
SCENE TEN
Nile! Sitting on your throne and swilling down my liquor!
I say--Hal--Ha! Do you hear me? Ha--ha--ha! [He walks
into the bedroom.]
blanche:
Don't come in here!
[Lurid reflections appear on the wall around Blanche. The
shadows are of a grotesque and menacing form. She catches
her breath, crosses to the phone and jiggles the hook. Stan- ley goes into the bathroom and closes the door.]
Operator, operator! Give me long-distance, please. ... I
want to get in touch with Mr. Shep Huntleigh of Dallas.
He's so well-known he doesn't require any address. Just ask
anybody who--Wait!!--No, I couldn't find it right now....
Please understand, I--No! No, wait! . . . One moment!
Someone is--Nothing! Hold on, please!
[She sets the phone down and crosses warily into the kitchen.
The night is filled with inhuman voices like cries in a
jungle.
[The shadows and lurid reflections move sinously as flames
along the wall spaces.
[Through the back wall of the rooms, which have become
transparent, can be seen the sidewalk. A prostitute has
rolled a drunkard. He pursues her along the walk, overtakes
her and there is a struggle. A policeman's whistle breaks it
up. The figures disappear.
[Some moments later the Negro Woman appears around the
corner with a sequined bag which the prostitute had
dropped on the walk. She is rooting excitedly through it.
[Blanche presses her knuckles to her lips and returns slowly
to the phone. She speaks in a hoarse whisper.}
blanche:
Operator! Operator! Never mind long-distance. Get Western
Union. There isn't time to be--Western--Western Union! [She waits anxiously.}
Western Union? Yes! I--want to--Take down this message! "In desperate, desperate circumstances! Help me! Caught in a trap. Caught in--" Oh!
128
80ENB TEN
[The bathroom door is thrown open and Stanley comes out
in the brilliant silk pyjamas. He grins at her as he knots the
tasseled sash about his waist. She gasps and backs away
from the phone. He stares at her for a count of ten. Then
a clicking becomes audible from the telephone, steady and
rasping.}
stanley:
You left th' phone off th' hook.
[He crosses to it deliberately and sets it back on the hook.
After he has replaced it, he stares at her again, his mouth
slowly curving into a grin, as he weaves between 'Blanche
and the outer door.
[The barely audible "blue piano" begins to drum up louder.
The sound of it turns into the roar of an approaching locomotive.
Blanche crouches, pressing her fists to her ears until it has gone by.]
blanche Vinally straightening}:
Let me--let me get by youl
stanley:
Get by me! Sure. Go ahead. [He moves back a pace in the
doorway.]
blanche:
You--you stand over there! [She indicates a further position.]

stanley [grinning]:
You got plenty of room to walk by me now.
blanche:
Not with you there! But I've got to get out somehow!
stanley:
You think IT1 interfere with you? Ha-hal
[The "blue piano" goes softly. She turns confusedly and
makes a faint gesture. The inhuman jungle voices rise up.
He takes a step toward her, biting his tongue which protrudes between his lips.]
stanley [softly]:
Come to think of it--maybe you wouldn't be bad to--interfere
with...
129
SCENE TEN
[Blanche moves backward through the door into the bedroom.]

blanche:
Stay back! Don't you come toward me another step or IT1--
stanley:
What?
blanche:
Some awful thing will happen! It will! stanley:
What are you putting on now?
[They are now both inside the bedroom.} blanche:
I warn you, don't, I'm in danger!
[He takes another step. She smashes a bottle on the table
and faces him, clutching the broken top.] stanley:
What did you do that for?
blanche:
So I could twist the broken end in your face!
stanley:
I bet you would do that! blanche:
I would! I will if you--
stanley:
Oh! So you want some rough-house! All right, let's have
some roughhouse!
[Be springs toward her, overturning the table. She cries
out and strikes at him with the bottle top but he catches
her wrist.]
Tiger--tiger! Drop the bottle top! Drop it! We've had this
date with each other from the beginning!
[She moans. The bottle top falls. She sinks to her knees.
He picks up her inert figure and carries her to the bed.
The hot trumpet and drums from the Four Deuces sound
loudly.]
130
SCENE ELEVEN
It is some weeks letter. Stella is packing Blanche's things.
Sounds of water can be heard running in the bathroom.
The portieres are partly open on the poker players--
Stanley, Steve, Mitch and Pablo--who sit around the table
In the kitchen. The atmosphere of the kitchen is now the
same raw, lurid one of the disastrous poker night.
The building is framed by the sky of turquoise. Stella has
been crying as she arranges the ftowery dresses in the open
trunk.
Eunice comes down the steps from her flat above and
enters the kitchen. There is an outburst from the poker
table.
stanley:
Drew to an inside straight and made it, by God.
pablo:
Maldita sea to suertel
stanley:
Put it in English, greasebalL
pablo:
I am cursing your rutting luck.
stanley [prodigiously elated]:
You know what luck is? Luck is believing you're lucky.
Take at Salerno. I believed I was lucky. I figured that 4
out of 5 would not come through but I would ... and I
did. I put that down as a rule. To hold front position in
this rat-race you've got to believe you are lucky.
mitch:
You ... you ... you ... Brag. ... brag ... bull ... bun.
[Steua goes into the bedroom and starts folding a dress.}
stanley:
What's the matter with him?
eunice [walking past the table]:
I always did say that men are callous things with no feelings,
but this does beat anything. Making pigs of yourselves.
[She comes through the portieres into the bedroom.}
131
SCENE ELEVEN
stanley:
What's the matter with her?
stella:
How is my baby?
eunice:
Sleeping like a little angel. Brought you some grapes. [She
puts them on a stool and towers her voice.} Blanche?
stella:
Bathing.
eunice:
How is she?
stella:
She wouldn't eat anything but asked for a drink.
eunice:
What did you tell her?
stella:
I—just told her that—we'd made arrangements for her
to rest in the country. She's got it mixed in her mind with
Shep Hunfleigh.
[Blanche opens the bathroom door slightly.}
blanche:
Stella.
stella:
Yes, Blanche?
blanche:
If anyone calls while I'm bathing take the number and
tell them I'll call right back.
stella:
Yes.
blanche:
That cool yellow silk—the boucle. See if it's crushed. If
it's not too crushed I'll wear it and on the lapel that silver
and turquoise pin in the shape of a seahorse. You will
find them in the heart-shaped box I keep my accessories
in. And Stella . . . Try and locate a bunch of artificial
violets in that box, too, to pin with the seahorse on the
lapel of the jacket.
[She closes the door. Stella turns to Eunice.}
SCENE BIiEVEW
stella:
I don't know if I did the right thing.
eunice:
What else could you do?
stella:
I couldn't believe her story and go on living with Stanley.
eunicb:
Don't ever believe it. Life has got to go on. No matter
what happens, you've got to keep on going.
[The bathroom door opens a little.}
blanche [looking out}:
Is the coast clear?
stella:
Yes, Blanche. [To Eunice} Tell her how well she's looking.
blanche;
Please close the curtains before I come out.
stella:
They're closed. stanley:
--How many for you?
pablo:
--Two.
steve:
--Three.
[Blanche appears in the amber tight of the door. She has
a tragic radiance in her red satin robe following the sculptural
lines of her body. The "Varsouviana' rises audibly
as Blanche enters the bedroom.}
blanche [with faintly hysterical vivacity}:
I have just washed my hair.
stella:
Did you?
blanche:
I'm not sure I got the soap out.
eunice:
Such fine hairl
183
SCENE ELEVEN

blanche [accepting the compliment}:
It's a problem. Didn't I get a call?
v-miwsy. '' :^i&W
stella:
Who from, Blanche?
blanche:
Shep Huntleigh...
stella:
Why, not yet, honeyl
blanche:
How strangel I--
[At the sound of Blanche's voice Mitch's arm supporting his
cards has sagged and his gaze is dissolved into space. Stan- ley slaps him on the shoulder.^
stanley:
Hey, Mitch, come to!
[The sound of this new voice shocks Blanche. She makes
a shocked gesture, forming his name with her lips. Stella
nods and looks quickly away. Blanche stands quite still for
some moments--the silverbacked mirror in her hand and a
look of sorrowful perplexity as though all human experience
shows on her face. Blanche finally speaks but with sudden
hysteria.}
blanche:
What's going on here?
[She turns from Stella to Eunice and back to Stella. Her
rising voice penetrates the concentration of the game. Mitch
ducks his head lower but Stanley shoves back his chair as if
about to rise. Steve places a restraining hand on his arm.}
blanche [continuing}:
What's happened here? I want an explanation of what's happened
here.
stella [agonizingly}:
Hushi Hushi
eunice:
Hushi Hushi Honey.
stella:
Please, Blanche.
~ 18*
»i'»Ki«a^wi&fc>».-,fc* ^>-1	^* Bl
SOENB BliEVBN
blanche:
Why are you looking at me like that? Is something wrong
with me?
eunice:
You look wonderful, Blanche. Don't she look wonderful?
stella:
Yes.
eunice:
I understand you are going on a trip.
stella:
Yes, Blanche is. She's going on a vacation.
eunice:
I'm green with envy.
blanche:
Help me, help me get dressed!
stella [handing her dress}:
Is this what you—
blanche:
Yes, it will do! I'm anxious to get out of here—this place is
a trap!
eunice:
What a pretty blue jacket
stella:
It's lilac colored.
blanche:
You're both mistaken. It's Delia Robbia blue. The blue of
the robe in the old Madonna pictures. Are these grapes
washed?
[She fingers the bunch of grapes which Eunice had brought
in.}
eunice:
Huh?
blanche:
Washed, I said. Are they washed?
eunice:
They're from the French Market.
185
SCENE ELEVEN
BLANCHE:
That doesn't mean they've been washed. [The cathedral bells
chime] Those cathedral bells--they're the only clean thing
in the Quarter. Well, I'm going now. I'm ready to go.
eunice [whispering]:
She's going to walk out before they get here. ^
stella:
Wait, Blanche.
^^.s^sa^g
ft^ftit,^Wia^
blanche:
I don't want to pass in front of those men.
eunice:
Then wait'U the game breaks up.
B
stella:
Sit down and...
[Blanche turns weakly, hesitantly about. She lets them push
her into a chair.]
blanche:
I can smell the sea air. The rest of my time I'm going to
spend on the sea. And when I die, I'm going to die on the
sea. You know what I shall die of? [She plucks a grape] I
shall die of eating an unwashed grape one day out on the
ocean. I will die--with. my hand in the hand of some nice- looking ship's doctor, a very young one with a small blond
mustache and a big silver watch. "Poor lady," they'll say, "the quinine did her no good. That unwashed grape has
transported her soul to heaven." [The cathedral chimes are
heard] And I'll be buried at sea sewn up in a clean white
sack and dropped overboard--at noon--in the blaze of
summer--and into an ocean as blue as [Chimes again] my first lover's eyes!
[A Doctor and a Matron have appeared around the corner
of the building and climbed the steps to the porch. The
gravity of their profession is exaggerated--the unmistakable
aura of the state institution with its cynical detachment.
The Doctor rings the doorbell. The murmur of the game is
interrupted.]
eunice [whispering to Stella]:
That must be them.
[Stella presses her fists to her lips.] 188
SCENE ELEVEN
blanche [rising slowly]:
What is it?
eunice [affectedly casual]:
Excuse me while I see who's at the door.
stella:
Yes.
[Eunice goes into the kitchen.]
blanche [tensely]:
I wonder if it's for me.
[A whispered colloquy takes place at the door.]
eunice [returning, brightly]:
Someone is calling for Blanche.
blanche:
It is for me, then! [She looks fearfully from one to the other
and then to the portieres. The "Varsouviana" faintly plays]
Is it the gentleman I was expecting from Dallas?
eunice:
I think it is, Blanche.
blanche:
Fm not quite ready.
stella:
Ask him to wait outside.
blanche:
I...
[Eunice goes back to the portieres. Drums sound very
softly.]
stella:
Everything packed?
blanche:
My silver toilet articles are still out.
stella:
Ah!
eunice [returning]:
They're waiting in front of the house.
blanche:
They! Who's "they"?
137
SCENE ELEVEN"
[The "Varsouviana" is playing distantly.
[Stella stares back at Blanche. Eunice is holding Stella's arm.
There is a moment of silence--no sound but tha^t of Stanley
steadily shuffling the cards.
[Blanche catches her breath again and slips bosck into t^e
flat with a peculiar smile, her eyes wide and Etrilliant. As
soon as her sister goes past her, Stella closes her eyes afti
clenches her hands. Eunice throws her arms comforting^ about her. Then she starts up to her flat. Blanche stops just
inside the door. Mitch keeps staring down at hi"s hands w the table, but the other men look at her curiously. At last
she starts around the table toward the bedrovm. As sfw
does, Stanley suddenly pushes back his chair aned rises as if
to block her way. The Matron follows her into sthe flat.] stanley:
Did you forget something?
blanche [shrilly]:
Yesi Yes, I forgot something!
[She rushes past him into the bedroom. Lurid reflections appear
on the walls in odd, sinuous shapes. The "Var-sowicaut fe filtered into a weird distortion, accompanied by the cries
and noises of the jungle. Blanche seizes the back of a chait
as if to defend herself.]
stanley [sotto voce}:
Doc, you better go in.
doctor [sotto voce, motioning to the Matron]:
Nurse, bring her out
[The Matron advances on one side, Stanley on tJie other,
Divested of all the softer properties of womanhood„ the Matron
is a peculiarly sinister figure in her severe dvess. Her
voice is bold and toneless as a firebell.] matron:
Hello, Blanche.
[The greeting is echoed and re-echoed by other mysterious
voices behind the walls, as if reverberated through cs, canyon
of rock.}
stanley:
She says that she forgot something. [The echo sounds in threatening whispers.]
189
SCENE ELEVEN
matron:
That's all right.
stanley:
What did you forget, Blanche?
blanche:
I--I--
matron:
It don't matter. We can pick it up later.
stanley:
Sure. We can send it along with the trunk.
blanche [retreating in panic}:
I don't know you--I don't know you. I want to be--left
alone--please!
matron: SS^
Now, Blanche! '"^
echoes [rising and falling}:
Now, Blanche--now, Blanche--now, Blanche!
stanley:
You left nothing here but spilt talcum and old empty perfume
bottles--unless it's the paper lantern you want to take
with you. You want the lantern?
[He crosses to dressing table and seizes the paper lantern,
tearing it off the light bulb, and extends it toward her. She
cries out as if the lantern was herself. The Matron steps
boldly toward her. She screams and tries to break past the
Matron. All the men spring to their feet. Stella runs out to
the porch, with Eunice following to comfort her, simultaneously
with the confused voices of the men in the kitchen.
Stella rushes into Eunice's embrace on the porch.]
stella:
Oh, my God, Eunice help me! Don't let them do that to her,
don't let them hurt her! Oh, God, oh, please God, don't hurt
her! What are they doing to her? What are they doing? [She tries to break from Eunice's arms.}
eunice:
No, honey, no, no, honey. Stay here. Don't go back in
there. Stay with me and don't look.
140
H
SCENE ELEVEN
stella:
What have I done to my sister? Oh, God, what have I done
to my sister?
eunice:
You done the right thing, the only thing you could do. She couldn't stay here; there wasn't no other place for her to go. [While Stella and Eunice are speaking on the porch the
voices of the men in the kitchen overlap them. Milch has
started toward the bedroom. Stanley crosses to block him.
Stanley pushes him aside. Mitch lunges and strikes at Stanley.
Stanley pushes Mitch back. Mitch collapses at the table,
sobbing.
[During the preceding scenes, the Matron catches hold of
Blanche's arm and prevents her flight. Blanche turns wildly
and scratches at the Matron. The heavy woman pinions her
arms. Blanche cries out hoarsely and slips to her knees.}
matron:
These fingernails have to be trimmed. [The Doctor comes
into the room and she looks at him.} Jacket, Doctor?
doctor:
Not unless necessary.
[He takes off his hat and now he becomes personalized. The unhuman quality goes. His voice is gentle and reassuring as he crosses to Blanche and crouches in front of her. As he
speaks her name, her terror subsides a little. The lurid reflections
fade from the walls, the inhuman cries and noises
die out and her own hoarse crying is calmed.}
doctor:
Miss DuBois.
[She turns her face to him and stares at him with desperate
pleading. He smiles; then he speaks to the Matron.}
It won't be necessary.
blanche [faintly}:
Ask her to let go of me.
doctor [to the Matron}:
Let go.
[The Matron releases her. Blanche extends her hands toward
the Doctor. He draws her up gently and supports her with
his arm and leads her through the portieres.}
141
SCENE ELEVEN
blanche [holding tight to his arm}:
Whoever you are--I have always depended on the kindness of strangers.
[The poker players stand back as Blanche and the Doctor
cross the kitchen to the front door. She allows him to lead
her as if she were blind. As they go out on the porch, Stella
cries out her sister's name from where she is crouched a
few steps up on the stairs.}
[Blanche walks on without turning, followed by the Doctor
and the Matron. They go around the corner of the building.
[Eunice descends to Stella and places the child in her arms. It is wrapped in a pale blue blanket. Stella accepts the child,
sobbingly. Eunice continues downstairs and enters the
kitchen where the men, except for Stanley, are returning silently
to their places about the table. Stanley has gone out on the porch and stands at the foot of the steps looking at
Stella.]
stanley [a bit uncertainly}:
Stella?
[She sobs with inhuman abandon. There is something luxurious
in her complete surrender to crying now that her sister
is gone.]
stanley [voluptuously, soothingly]:
Now, honey. Now, love. Now, now, love. [He kneels beside
her and his fingers find the opening of her blouse} Now,
now, love. Now, love....
[The luxurious sobbing, the sensual murmur fade away under
the swelling music of the "blue piano" and the muted
trumpet.}
steve:
This game is seven-card stud.
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with Foreword by Rolf Fjelde. (524063--$3.50)
D IBSEN: FOUR MAJOR PLAYS. Volume II. by Henrik Ibsen. Ghosts. An
Enemy of the People, The Lady from the Sea, and John Gabriel Borkman. New translation by Rolf Fj-elde. (522117--$2.95)
D PLAYS by George Bernard Shaw, Introduction by Eric Bentley. Man and
Superman, Candida, Arms and the Man, and Mrs. Warren's Profession. (524349--$5.95)
D PYGMALION and MY FAIR LADY. George Bernard Shaw's brilliant romantic
play and the internationally acclaimed musical adaptation by Alan Jay
Lerner, together in one special edition. (524764--$3.95)
D WILD HONEY by Anton Chekov. translated and adapted by Michael
Frayn. Sixteen years after Chekov's death, a new and unknown play was
found inside a safe-deposit box. This wonderfully outstanding farce is
set in the familiar Chekovian country of provincial malaise and melancholy
regrets. An important new addition to the works of a master
playwright.... "Brilliant!"-- The Guardian (521099--$3.50)
Prices slightly higher in Canada
Buy them at your local
bookstore or use coupon
on next page for ordering.
There's an
epidemic with
27 million victims.
And no visible
symptoms.
It's an epidemic of people who
can't read.
Believe it or not, 27 million
Americans are functionally illiterate,
about one adult in five.
The solution to this problem is you..
when you join the fight against
illiteracy. So call the Coalition for
Literacy at toll-free
1-800-228-8813 and volunteer.
Volunteer
Against Illiteracy.
The only degree you need
is a degree of caring.
THIS AD PRODUCED BY MARTIN LITHOGRAPHERS
A MARTIHCOMMVHKATIOHSCOMr^HY
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