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Please open the attached file and carefully read through the Final Essay Prompt

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Please open the attached file and carefully read through the Final Essay Prompt. I have provided clear instructions, so read ALL of them. Direct quotations and MLA citations are required . Specific Final Essay help is posted in there too. https://fod-infobase-com.gcc.idm.oclc.org/p_ViewVideo.aspx?xtid=49030 is the movie the article is png file Scene Six TOM: And so the following evening I brought Jim home to dinner. I had known Jim slightly in high school. In high school Jim was a hero. He had tremendous Irish good nature and vitality with the scrubbed and polished look of white chinaware. He seemed to move in a continual spotlight. He was a star in basket-ball, captain of the debating club, president of the senior class and the glee club and he sang the male lead in the annual light operas. He was always running or bounding, never just walking. He seemed always at the point of defeating the law of gravity. He was shooting with such velocity through his adolescence that you would logically expect him to arrive at nothing short of the White House by the time he was thirty. But Jim apparently ran into more interference after graduation. His speed had definitely slowed. Six years after he left high school, he was holding a job that wasn't much better than mine. He was the only one at the warehouse with whom I was on friendly terms. I was valuable to him as someone who could remember his former glory, who had seen him win basketball games and the silver cup in debating. He knew of my secret practice of retiring to a cabinet of the washroom to work on poems when business was slack in the warehouse. He called me Shakespeare. And while the other boys in the warehouse regarded me with suspicious hostility, Jim took a humorous attitude toward me. Gradually his attitude affected the others, their hostility wore off and they also began to smile at me as people smile at an oddly fashioned dog who trots across their path at some distance. I knew that Jim and Laura had known each other at school, and I had heard Laura speak admiringly of his voice. I didn't know if Jim remembered her or not. In high school Laura had been as unobtrusive as Jim had been astonishing. If he did remember Laura, it was not as my sister, for when I asked him to dinner, he grinned and said, 'You know, Shakespeare, I never thought of you as having folks !' He was about to discover that I did. [LIGHT UPSTAGE. LEGEND ON SCREEN: 'THE ACCENT OF A COMING FOOT'. Friday evening. It is about five o'clock of a late spring evening which comes 'scattering poems in the sky.' A delicate lemony light is in the Wingfield apartment. AMANDA has worked like a Turk in preparation for the gentleman caller. The results are astonishing. The new floor lamp with its rose-silk shade is in place, a coloured paper lantern conceals the broken light fixture in the ceiling, new billowing white curtains are at the windows, chintz covers are on chairs and sofa, a pair of new sofa pillows make their initial appearance. Open boxes and tissue paper are scattered on the floor. LAURA stands in the middle with lifted arms while AMANDA crouches before her, adjusting the hem of the new dress, devout and ritualistic. The dress is coloured and designed by memory. The arrangement Of LAURA's hair is changed; it is softer and more becoming. A fragile, unearthly prettiness has come out in LAURA: she is like a piece of translucent glass touched by light, given a momentary radiance, not actual, not lasting.] AMANDA [impatiently]: Why are you trembling? LAURA: Mother, you've made me so nervous! A M A N D A: How have I made you nervous? LAURA: By all this fuss! You make it seem so important! AMANDA: I don't understand you, Laura. You couldn't be satisfied with just sitting home, and yet whenever I try to arrange something for you, you seem to resist it. [She gets up.] Now take a look at yourself. No, wait! Wait just a moment - I have an idea ! LAURA: What is it now? [AMANDA produces two powder puffs which she wraps in handkerchiefs and stuffs in LAURA's bosom.] LAURA: Mother, what are you doing? AMANDA: They call them 'Gay Deceivers'! LAURA: I won't wear them! AMANDA: YOU Will ! LAURA: Why should I? AMANDA: Because, to be painfully honest, your chest is flat. LAURA: You make it seem like we were setting a trap. AMANDA: All pretty girls are a trap, a pretty trap, and men expect them to be ! [LEGEND: ' A PRETTY TRAP'] Now look at yourself, young lady. This is the prettiest you will ever be ! I've got. to fix myself now ! You're going to be surprised by your mother's appearance ! [LAURA moves slowly to the long mirror and stares solemnly at herself. A wind blows the white curtains inward in a slow, graceful motion and with a faint, sorrowful sighing.] AMANDA [off stage]: It isn't dark enough yet. [LAURA turns slowly before the mirror with a troubled look.] AMANDA [laughing, off]: I'm going to show you something. I'm going to make a spectacular appearance! LAURA: What is it, Mother? AMANDA: Possess your soul in patience ? you will see ! Something I've resurrected from that old trunk! Styles haven't changed so terribly much after all. Now just look at your mother ! [She wears a girlish frock of yellowed voile with a blue silk sash. She carries a bunch of jonquils - the legend of her youth is nearly revived.] [Feverishly]: This is the dress in which I led the cotillion, won the cakewalk twice at Sunset Hill, wore one spring to the Governor's ball in Jackson ! See how I sashayed around the ballroom, Laura? [She raises her skirt and does a mincing step around the room.] I wore it on Sundays for my gentlemen callers ! I had it on the day I met your father I had malaria fever all that spring. The change of climate from East Tennessee to the Delta - weakened resistance I had a little temperature all the time - not enough to be serious - just enough to make me restless and giddy I Invitations poured in - parties all over the Delta! - 'Stay in bed,' said mother, 'you have fever!' - but I just wouldn't. - I took quinine but kept on going, going ! Evenings, dances ! - Afternoons, long, long rides! Picnics. - lovely! - So lovely, that country in May. - All lacy with dogwood, literally flooded with jonquils! - That was the spring I had the craze for jonquils. Jonquils became an absolute obsession. Mother said, 'Honey, there's no more room for jonquils.' And still I kept on bringing in more jonquils. Whenever, wherever I saw them, I'd say, "Stop ! Stop! I see jonquils ! I made the young men help me gather the jonquils ! It was a joke, Amanda and her jonquils ! Finally there were no more vases to hold them, every available space was filled with jonquils. No vases to hold them? All right, I'll hold them myself - And then I [She stops in front of the picture. M U S I C.] met your father ! Malaria fever and jonquils and then - this - boy.... [She switches on the rose-coloured lamp.] I hope they get here before it starts to rain. [She crosses upstage and places the jonquils in bowl on table.] I gave your brother a little extra change so he and Mr O'Connor could take the service car home. LAURA [with altered look]: What did you say his name was? AMANDA: O'Connor. LAURA: What is his first name? AMANDA: I don't remember. Oh, yes, I do. It was - Jim ! [LAURA sways slightly and catches hold of a chair. LAURA [faintly]: Not - Jim! AMANDA: Yes, that was it, it was Jim ! I've never known a Jim, that wasn't nice ! [MUSIC OMINOUS.] LAURA: Are you sure his name is Jim O'Connor? AMANDA: Yes. Why? LAURA: Is he the one that Tom used to know in high school? AMANDA: He didn't say so. I think he just got to know him at the warehouse. LAURA: There was a Jim O'Connor we both knew in high school - [Then, with effort.] If that is the one that Tom is bringing to dinner - you'll have to excuse me, I won't come to the table. AMANDA: What sort of nonsense is this? LAURA: You asked me once if I'd ever liked a boy. Don't you remember I showed you this boy's picture? AMANDA: You mean the boy you showed me in the year book? LAURA: Yes, that boy. AMANDA: Laura, Laura, were you in love with that boy? LAURA: I don't know, Mother. All I know is I couldn't sit at the table if it was him! AMANDA: It won't be him! It isn't the least bit likely. But whether it is or not, you will come to the table. You will not be excused. LAURA: I'll have to be, Mother. AMANDA: I don't intend to humour your silliness, Laura. I've had too much from you and your brother, both ! So just sit down and compose yourself till they come. Tom has forgotten his key so you'll have to let them in, when they arrive. LAURA [panicky]: Oh, Mother - you answer the door ! AMANDA [lightly]: Ill be in the kitchen - busy ! LAURA: Oh, Mother, please answer the door, don't make me do it ! AMANDA [crossing into kitchenette]: I've got to fix the dressing for the salmon. Fuss, fuss - silliness ! over a gentleman caller ! [Door swings Shut. LAURA is left alone LEGEND: ' TERROR!' She utters a low moan and turns off the lamp - sits stiffly on the edge of the sofa, knotting her fingers together. T0M and JIM appear on the fire-escape steps and climb to landing. Hearing their approach, LAURA rises with a panicky gesture. She retreats to the portières. The doorbell, LAURA catches her breath and touches her throat. Low drums.] AMANDA [calling]: Laura, sweetheart ! The door ! [LAURA stares at it without moving.] JIM: I think we just beat the rain. TOM: Uh - huh. [He rings again, nervously. JIM whistles and fishes for a cigarette.] AMANDA [very gaily]: Laura, that is your brother and Mr O'Connor ! Will you let them in, darling? [LAURA Crosses toward kitchenette door.] LAURA [breathlessly]: Mother - you go to the door ! [AMANDA steps out of kitchenette and stares furiously at LAU R A. She points imperiously at the door.] LAURA: Please, please! AMANDA [in a fierce whisper]: What is the matter with you, you silly thing? LAURA [desperately]: Please, you answer it, please ! AMANDA: I told you I wasn't going to humour you, Laura. Why have you chosen this moment to lose your mind? LAURA: Please, please, please, you go ! A M A N D A: You'll have to go to the door because I can't ! LAURA [despairingly] : I can't either ! AMANDA: Why? LAURA: I'm sick! AMANDA: I'm sick, too - of your nonsense ! Why can't you and your brother be normal people? Fantastic whims and behaviour ! [Tom gives a long ring.] Preposterous goings on ! Can you give me one reason - [Calls out lyrically] COMING! JUST ONE SECOND! why you should be afraid to open a door? Now you answer it, Laura ! LAURA: Oh, oh, oh ... [She returns through the portières. Darts to the victrola and winds it franticallly and turns it on.] AMANDA: Laura Wingfield, you march right to that door ! LAURA: Yes - yes, Mother ! [A faraway, scratchy rendition of 'Dardanella' softens the air and gives her strength to move through it. She slips to the door and draws it cautiously open. TOM enters With the caller, JIM O'CONNOR.] TOM: Laura, this is Jim. Jim, this is my sister, Laura. JIM [stepping inside]: I didn't know that Shakespeare had a sister! LAURA [retreating stiff and trembling from the door]: How - how do you do? JIM [heartily extending his hand]: - Okay ! [LAURA touches it hesitantly with hers.] JIM: Your hand's cold, Laura ! LAURA: Yes, well- I've been playing the victrola.... JIM: Must have been playing classical music on it! You ought to play a little hot swing music to warm you up ! LAURA: Excuse me - I haven't finished playing the victrola. ... [She turns awkwardly and hurries into the front room. She pauses a second by the victrola. Then catches her breath and darts through the portières like a frightened deer.] JIM: [grinning]: What was the matter? TOM: Oh - with Laura? Laura is - terribly shy. JIM: Shy, huh? It's unusual to meet a shy girl nowadays. I don't believe you ever mentioned you had a sister. TOM: Well, now you know. I have one. Here is the Post Dispatch. You want a piece of it? JIM: Uh-huh. TOM: What piece? The comics? JIM: Sports! [Glances at it.] Ole Dizzy Dean is on his bad behavior. T0M [disinterested] : Yeah ? [Lights cigarette and crosses back to fire-escape door.] JIM: Where are you going? TOM: I'm going out on the terrace. JIM [goes after him]: You know, Shakespeare - I'm going to sell you a bill of goods! TOM: What goods? JIM: A course I'm taking. TOM: Huh? JIM: In public speaking! You and me, we're not the warehouse type. TOM: Thanks - that's good news. But what has public speaking got to do with it? JIM: It fits you for - executive positions! TOM: Awww. JIM: I tell you it's done a helluva lot for me. [IMAGE: EXECUTIVE AT DESK.] TOM: In what respect? JIM: In every! Ask yourself what is the difference between you an' me and men in the office down front? Brains? No! - Ability? - No! Then what? Just one little thing TOM: What is that one little thing? JIM Primarily it amounts to - social poise! Being able to square up to people and hold your own on any social level! AMANDA [off stage]: Tom? TOM: Yes, Mother? AMANDA: Is that you and Mr. O'Connor? AMANDA: Well, you just make yourselves comfortable in there. TOM: Yes, Mother. AMANDA: Ask Mr. O'Connor if he would like to wash his hands. JIM: Aw, no - no - thank you - I took care of that at the warehouse. TomTOM: Yes? JI M: Mr. Mendoza was speaking to me about you. TOM: Favorably? JIM: What do you think? TOM: Well JIM: You're going to be out of a job if you don't wake up. TOM: I am waking up JIM: You show no signs. TOM: The signs are interior. TOM: I' m planning to change. [He loans over the rail speaking with quiet exhilaration. The incandescent marquees and signs of the first-run movie houses light his face from across the alley. He looks like a voyager.] I'm right at the point of committing myself to a future that doesn't include the warehouse and Mr Mendoza or even a night-school course in public speaking. JIM: What are you gassing about? TOM: I'm tired of the movies. J IM: Movies! TOM: Yes, movies ! Look at them? [A wave toward the marvels of Grand Avenue.] All of those glamorous people having ,adventures - hogging it all, gobbling the whole thing up ! You know what happens? People go to the movies instead of moving! Hollywood characters are supposed to have all the adventures for everybody in America, while everybody in America sits in a dark room and watches them have them ! Yes, until there's a war. That's when adventure becomes available to the masses! Everyone's dish, not only Gable's ! Then the people in the dark room come out of the dark room to have some adventure themselves Goody, goody! - It's our turn now, to go to the South Sea Islands - to make a safari - to be exotic, far-off ! - But I'm not patient. I don't want to wait till then. I'm tired of the movies and I am about to move! JIM [incredulously]: Move? TOM: Yes. JIM: When? TOM: Soon! JIM: Where? Where? TOM: I'm starting to boil inside. I know I seem dreamy, but inside - well, I'm boiling! - Whenever I pick up a shoe, I shudder a little thinking how short life is and what I am doing! - Whatever that means, I know it doesn't mean shoes - except as something to wear on a traveler’s feet! [Finds paper.] Look JIM: What? TOM: I'm a member. JIM [reading]: The Union of Merchant Seamen. TOM: I paid my dues this month, instead of the light bill. JIM: You will regret it when they turn the lights off. TOM: I won't be here. JIM: How about your mother? TOM: I'm like my father. The bastard son of a bastard! See how he grins? And he's been absent going on sixteen years! JIM: You're just talking, you drip. How does your mother feel about it? TOM: Shhh! Here comes mother! Mother is not acquainted with my plans! AMANDA [enters]: Where are you all? TOM: On the terrace, Mother. [They start inside. She advances to them. TOM is distinctly shocked at her appearance. Even JIM blinks a little. He is making his first contact with girlish Southern vivacity and in spite of the night-school course in public speaking is somewhat thrown off the beam by the unexpected outlay of social charm. Certain responses are attempted by JIM but are swept aside by AMANDA's gay laughter and chatter. TOM is embarrassed but after the first shock JIM reacts very warmly. Grins and chuckles, is altogether won over. AMANDA [coyly smiling, shaking her girlish ringlets]: Well, well, well, so this is Mr O'Connor. Introductions entirely unnecessary. I've heard so much about you from my boy. I finally said to him, Tom - good gracious! - why don't you bring this paragon to supper? Id like to meet this nice young man at the warehouse! - Instead of just hearing you sing his praises so much! I don't know why my son is so stand-offish - that's not Southern behavior! Let's sit down and - I think we could stand a little more air in here! Tom, leave the door open. I felt a nice fresh breeze a moment ago. Where has it gone to? Mmm, so warm already ! And not quite summer, even. However, we're having - we're having a very light supper. I think light things are better fo' this time of year. The same as light clothes are. Light clothes an' light food are what warm weather calls fo'. You know our blood gets so thick during th' winter - it takes a while fo' us to adjust ou'selves! - when the season changes ... It's come so quick this year. I wasn't prepared. All of a sudden - heavens! Already summer! - I ran to the trunk an' pulled out this light dress - Terribly old! Historical almost! But feels so good - so good an' co-ol, y' know.... TOM: Mother AMANDA: Yes, honey? TOM: How about - supper? A M A N D A: Honey, you go ask Sister if supper is ready! You know that Sister is in full charge of supper! Tell her you hungry boys are waiting for it. [To JIM] Have you met Laura? JIM: She- AMANDA: Let you in? Oh, good, you've met already! It's rare for a girl as sweet an' pretty as Laura to be domestic! But Laura is, thank heavens, not only pretty but also very domestic. I'm not at all. I never was a bit. I never could make a thing but angel-food cake. Well, in the South we had so many servants. Gone, gone, gone. All vestige of gracious living ! Gone completely! I wasn't prepared for what the future brought me. All of my gentlemen callers were sons of planters and so of course I assumed that I would be married to one and raise my family on a large piece of land with plenty of servants. But man proposes and woman accepts the proposal ! - To vary that old, old saying a little bit - I married no planter! I married a man who worked for the telephone company! - That gallantly smiling gentleman over there! [Points to the picture.] A telephone man who - fell in love with long distance I - Now he travels and I don't even know where ! - But what am I going on for about my - tribulations? Tell me yours ? I hope you don't have any ! Tom? TOM [returning]: Yes, Mother? AMANDA: Is supper nearly ready? TOM: It looks to me like supper is on the table. AMANDA: Let me look - [She rises prettily and looks through portières.] Oh, lovely ! - But where is Sister? TOM: Laura is not feeling well - and she says that she thinks she'd better not come to the table. AMANDA: What? - Nonsense ! - Laura? Oh, Laura ! LAURA [off stage, faintly]: Yes, Mother. AMANDA: You really must come to the table. We won't be seated until you come to the table ! Come in, Mr O'Connor. You sit over there, with Laura - Laura Wingfield ! You're keeping us waiting, honey ! We can't say grace. until you come to the table ! [The back door is pushed weakly open and LAURA comes in. She is obviously quite faint, her lips trembling, her eyes wide and staring. She moves unsteadily toward the table. Outside a summer storm is coming abruptly. The white curtains billow inward at the windows and there is a sorrowful murmur and deep blue dusk. LAURA suddenly stumbles - she catches at a chair with a faint moan.] TOM: Laura! AMANDA: Laura !. [Despairingly] Why, Laura, you are sick, darling ! Tom, help your sister into the living-room, dear ! Sit in the living-room, Laura - rest on the sofa. Well ! [To the gentleman caller.] Standing over the hot stove made her ill ! - I told her that was just - too warm this evening, but [Tom comes back in. LAURA is on the sofa.] Is Laura all right now? TOM: Yes. AMANDA: What is that? Rain? A nice cool rain has come up! I think we may - have grace - now ... Tom, honey - you say grace ! TOM: Oh ... 'For these and all thy mercies-' [They bow their heads, AMANDA stealing a nervous glance at JIM. In the living-room LAURA, stretched on the sofa, clenches her hand to her lips, to hold back a shuddering sob.] Scene Seven Half an hour later. Dinner is just being finished in the upstage area which is concealed by the drawn portières. [As the curtain rises LAURA is still huddled upon the sofa, her feet drawn under her, her head resting on a pale blue pillow, her eyes wide and mysteriously watchful. The new floor lamp with its shade of rose-coloured silk gives a soft, becoming light to her face, bringing out the fragile, unearthly prettiness which usually escapes attention. There is a steady murmur of rain, but it is slackening and stops soon after the scene begins; the air outside becomes pale and luminous as the moon breaks out. A moment after the curtain rises, the lights in both rooms flicker and go out.] JIM: Hey, there, Mr. Light Bulb! [AMANDA laughs nervously. AMANDA: Where was Moses when the lights went out? Ha-ha. Do you know the answer to that one, Mr. O'Connor? JIM: No, Ma'am, what's the answer? AMANDA: In the dark! [JIM laughs appreciatively.] Everybody sit still. I'll light the candles. Isn't it lucky we have them on the table? Where's a match? Which of you gentlemen can provide a match? JIM: Here. AMANDA: Thank you, Sir. JIM: Not at all, Ma'am! AMANDA: I guess the fuse has burnt out. Mr. O'Connor, can you tell a burnt-out fuse? I know I can't and Tom is a total loss when it comes to mechanics. Oh, be careful you don't bump into something. We don't want our gentleman caller to break his neck. Now wouldn't that be a fine howdy-do? JIM: Ha-ha! Where is the fuse-box? AMANDA: Right here next to the stove. Can you see anything? JIM: just a minute. AMANDA: Isn't electricity a mysterious thing? Wasn't it Benjamin Franklin who tied a key to a kite? We live in such a mysterious universe, don't we? Some people say that science clears up all the mysteries for us. In my opinion it only creates more! Have you found it yet? JIM: No, Ma'am. All these fuses look okay to me. AMANDA: Tom! TOM: Yes, Mother? AMANDA: That light bill I gave you several days ago. The one I told you we got the notices about? TOM: Oh. - Yeah. AMANDA: You didn't neglect to pay it by any chance? TOM: Why, I AMANDA: Didn’t! I might have known it! JIM: Candlelight is my favorite kind of light. AMANDA: That shows you're romantic! But that's no excuse for Tom. Well, we got through dinner. Very considerate of them to let us get through dinner before they plunged us into everlasting darkness, wasn't it, Mr. O'Connor? JIM: Ha-ha ! A M A N D A: Tom, as a penalty for your carelessness you can help me with the dishes. JIM: Let me give you a hand. A M A N D A: Indeed you will not! JIM: I ought to be good for something. AMANDA: Well, Sister is all by her lonesome. You go keep her company in the parlor! I'll give you this lovely old candelabrum that used to be on the altar at the church of the Heavenly Rest. It was melted a little out of shape when the church burnt down. Lightning struck it one spring. AMANDA: And how about you coaxing Sister to drink a little wine? I think it would be good for her! Can you carry both at once? JIM: Sure. I'm Superman! AMANDA: Now, Thomas, get into this apron! LAURA sits up nervously as he enters. Her speech at first is low and breathless from the almost intolerable strain of being alone with a stranger. JIM: Hello, there, Laura. LAURA [faintly]: Hello. [She clears her throat.] JIM: How are you feeling now? Better? LAURA: Yes. Yes, thank you. JIM: This is for you. A little dandelion wine. [He extends it toward her with extravagant gallantry.] LAURA: Thank you. JIM: Drink it - but don't get drunk! [He laughs heartily. LAURA takes the glass uncertainly; laughs shyly.] Where shall I set the candles? LAURA: Oh - oh, anywhere. . . , JIM -. How about here on the floor? Any objections? LAURA-No. JIM: I'll spread a newspaper under to catch the drippings. I like to sit on the floor. Mind if I do? LAURA: Oh, no. JIM: Give me a pillow? LAURA: What? JIM: A pillow ! LAURA:Oh ... [Hands him one quickly.] JIM: How about you? Don't you like to sit on the floor? LAURA: Oh - yes. JIM: Why don't you, then? LAURA: I - Will. JIM: Take a pillow ! [LAURA does. Sits on the other side of the candelabrum. JIM crosses his legs and smiles engagingly as her.] I can't hardly see you sitting way over there. LAURA: I can - see you. JIM: Your brother tells me you're shy. Is that right, Laura? LAURA: I - don't know. JIM: I judge you to be an old-fashioned type of girl. Well, I think that's a pretty good type to be. Hope you don't think I'm being too personal - do you? LAURA [hastily, out of embarrassment]: I believe I will take a piece of gum, if you - don't mind. [Clearing her throat.] Mr. O'Connor, have you - kept up with your singing? JIM: Singing? Me? LAURA: Yes. I remember what a beautiful voice you had. JIM: When did you hear me sing? LAURA: Oh, yes! Yes, very often I don't suppose - you remember me - at all? JIM [smiling doubtfully]: You know I have an idea I've seen you before. I had that idea soon as you opened the door. It seemed almost like I was about to remember your name. But the name that I started to call you - wasn't a' name! And so I stopped myself before I said it. LAURA: Wasn't it - Blue Roses? JIM: [springs up. Grinning]: Blue Roses! - My gosh, yes - Blue Roses! That's what I had on my tongue when you opened the door! Isn't it funny what tricks your memory plays? I didn't connect you with high school somehow or other. But that's where it was; it was high school. I didn't even know you were Shakespeare's sister! Gosh, I'm sorry. LAURA: I didn't expect you to. You - barely knew me! JIM: But we did have a speaking acquaintance, huh? LAURA: Yes, we - spoke to each other. JIM: When did you recognize me? LAURA: Oh, right away! JIM: Soon as I came in the door? LAURA: When I heard your name I thought it was probably you. I knew that Tom used to know you a little in high school. So when you came in the door Well, then I was - sure. JIM: Why didn't you say something, then? LAURA [breathlessly]: I didn't know what to say, I was - too surprised! JIM: For goodness' sakes I You know, this sure is funny! LAURA: Yes I - yes, isn't it, though... JIM: Didn't we have a class in something together? LAURA: Yes, we did. JIM: What class was that? LAURA: It was - singing - Chorus! JIM: Aw ! LAURA: I sat across the aisle from you in the Aud. JIM: Aw! LAURA: Mondays, Wednesday, and Fridays. JIM: Now I remember - you always came in late. LAURA: Yes, it was so hard for me, getting upstairs. I had that brace on my leg - it clumped so loud I JIM: I never heard any clumping. LAURA [wincing at the recollection]: To me it sounded like thunder! JIM: Well, well, well, I never even noticed. LAURA: And everybody was seated before I came in. I had to walk in front of all those people. My seat was in the back row. I had to go clumping all the way up the aisle with everyone watching I JIM: You shouldn't have been self-conscious. LAURA: I know, but I was. It was always such a relief when the singing started. JIM: Aw, yes, I've placed you now I I used to call you Blue Rom. How was it that I got started calling you that? LAURA: I was out of school a little while with pleurosis. When I came back you asked me what the matter was. I said I had pleurosis - you thought I said Blue Roses That's what you always called me after that I JIM: I hope you didn't mind. LAURA: Oh, no - I liked it. You see, I wasn't acquainted with many - people.... JIM: As I remember you sort of stuck by yourself. LAURA: I - I - never have had much luck at - making friends. JIM: I don't see why you wouldn't. LAURA:' . Well, I - started out badly. JIM: You mean being LAURA: Yes, it sort of - stood between me JIM: You shouldn't have let it ! LAURA: I know, but it did, and JIM: You were shy with people ! LAURA: I tried not to be but never could JIM: Overcome it? LAURA: No, I - I never could ! JIM: I guess being shy is something you have to work out of kind of gradually. LAURA [sorrowfully]: Yes - I guess it JIM: Takes time ! LAURA: Yes ! [She rises and crosses to table.] [LAURA returns with the yearbook.] JIM: Holy Jeez ! The Torch ! [He accepts it reverently. They smile across it with mutual wonder. LAURA crouches beside him and they begin to turn through it. LAURA's shyness is dissolving in his warmth.] LAURA: Here you are in The Pirates of Penzance! JIM: [wistfully] : I sang the baritone lead in that operetta. LAURA [raptly]: So - beautifully! JIM [protesting]: Aw LAU R A: Yes, yes - beautifully - beautifully! JIM: You heard me? LAURA: All three times! JIM: No ! LAURA: Yes ! JIM: All three performances? LAURA [looking down]: Yes. JIM: Why? LAURA: I - wanted to ask you to - autograph my yearbook. JIM: Why didn't you ask me to? LAURA: You were always surrounded by your own friends so much that I never had a chance to. JIM: You should have just LAURA: Well, I - thought you might think I was JIM: Thought I might think you was - what? LAURA: Oh JIM [with reflective relish]: I was beleaguered by females In those days. LAURA: You were terribly popular! JIM: Yeah LAURA: You had such a - friendly way JIM: I was spoiled in high school. LAURA: Everybody - liked you ! JIM: Including you? LAURA: I - yes, I - I did, too - [She gently closes the book in her lap.] JIM: Well, well ! - Give me that yearbook, Laura. [She hands it to him. He signs it with a flourish.] There you are better late than never! LAURA: Oh, I - what a - surprise! JIM: My signature isn't worth very much tight now. But some day - maybe - it will increase in value ! Being disappointed is one thing and being discouraged is something else. I am disappointed but I am not discouraged. I'm twenty-three years old. How old are you? LAURA:: I'll be twenty-four in June. JIM: That's not old age! LAURA: No, but JIM: You finished high school? LAURA [with difficulty]: I didn't go back. JIM: You mean you dropped out? LAURA: I made bad grades in my final examinations \JIM: [after several reflective puffs on a cigarette] : What have you done since high school? [She seems not to hear him.] Huh? [LAURA looks up.] I said what have you done since high school, Laura? LAURA: Nothing much. JIM: You must have been doing something these six long years. LAURA: Yes. JIM: Well, then, such as what? LAURA: I took a business course at Business College JIM: How did that work out? LAURA: Well, not very - well - I had to drop out, it gave me - indigestion J I M [laughs gently.]: What are you doing now? LAURA: I don't do anything - much. Oh, please don't think I sit around doing nothing! My glass collection takes up good deal of time. Glass is something you have to take good care of JIM: What did you say - about glass? LAURA: Collection I said - I have one - [she clears her throat and turns away, acutely shy.] JIM: My interest happens to lie in electro-dynamics. I'm taking a course in radio engineering at night school, Laura, on top of a fairly responsible job at the warehouse. I'm taking that course and studying public speaking. LAURA: Ohhhh. JIM: Because I believe in the future of television! [Turning back to her.] I wish to be ready to go up right along with it. Therefore I'm planning to get in on the ground floor. In fact I've already made the right connections and all that remains is for the industry itself to get under way full steam. [His eyes are starry.] JIM: Now how about you? Isn't there something you, take more interest in than anything else? LAURA: Well, I do - as I said - have my - glass collection JIM: I'm not right sure I know what you're talking about What kind of glass is it? LAURA: Little articles of it, they're ornaments mostly. Most of them are little animals made out of glass, the tiniest little animals in the world. Mother calls them a glass menagerie ! Here's an example of one, if you'd like to see it. This one is one of the oldest. It's nearly thirteen. He stretches out his hand.] Oh, be careful - if you breathe, it breaks! JIM: I'd better not take it. I'm pretty clumsy with things. LAURA: Go on, I trust you with him! [Places it in his palm.] There now - you're holding him gently! Hold him over the light, he loves the light I You see how the light shines through him? JIM: It sure does shine! LAURA: I shouldn't be partial, but he is my favorite one. JIM: What kind of a thing is this one supposed to be? LAURA: Haven't you noticed the single horn on his forehead head? JIM: A unicorn, huh? LAURA: Mmmm-hmmm! JIM: Unicorns, aren't they extinct in the modern world? LAURA: I kno ! JIM: Poor little fellow, he must feel sort of lonesome. LAURA [smiling]: Well, if he does he doesn't complain about it. He stays on a shelf with some horses that don't have horns and all of them seem to get along nicely together. JIM: How do you know? LAURA [Iightly]: I haven't heard any arguments among them! JIM: [grinning]: No arguments, huh? Well, that's a pretty good sign! Where shall I set him? LAURA: Put him on the table. They all like a change of scenery once in a while! JIM: [crossing to door]: I think it's stopped raining. [Opens fire-escape door.] Where does the music come from? LAURA: From the Paradise Dance Hall across the alley. JIM: How about cutting the rug a little, Miss Wingfield? LAURA: Oh JIM: Or is your dance card filled up? Let me have a look at it! LAURA [breathlessly]: I - can't dance! JIM: There you go, that inferiority stuff! Come on, try! LAURA: Oh, but I'd step on you! JIM: I'm not made out of glass. LAURA: How - how - how do we start? J IM: just leave it to me. You hold your arms out a little. LAURA: Like this? JIM: A little bit higher. Right. Now don't tighten up, that's the main thing about it - relax. LAURA [laughs breathlessly]: It's hard not to. I'm afraid you can't budge me. JIM: What do you bet I can't? [He swings her into motion.] LAURA: Goodness, yes, you can! JIM: Let yourself go, now, Laura, just let yourself go. LAURA: I'm… JIM: Come on! LAURA: Trying! JIM: Not so stiff - Easy does it I! LAURA: I know but I'm JIM: Loosen th' backbone! There now, that's a lot better. LAURA: Am I? JIM: Lots, lots better ! [He moves her about the room in a clumsy waltz ] LAURA: Oh, my ! JIM: Ha-ha ! LAURA: Oh, my goodness ! JIM: Ha-ha-ha ! [They suddenly bump into the table. JIM stops] What did we hit on? LAURA: Table. JIM: Did something fall off it? I thinkLAURA: Yes. JIM: I hope that it wasn't the little glass horse with the horn! LAURA: Yes. JIM: Aw aw aw- Is it broken? LAURA: Now it is just like all the other horses. JIM: It's lost its - LAURA: Horn! It doesn't matter. Maybe it's a blessing in disguise. JIM: You'll never forgive me. I bet that that was your favorite piece of glass. LAURA: I don't have favorites much. It's no tragedy, Freckles. Glass breaks so easily. No matter how careful you are. The traffic jars the shelves and things fall off them. JIM: Still I'm awfully sorry that I was the cause. LA U R A [smiling] I'll just imagine he had an operation. The horn was removed to make him feel less - freakish! [They both laugh.] Now he will feel more at home with the other horses, the ones that don't have horns. JIM: Ha-ha, that's very funny! [Suddenly serious] I'm glad to see that you have a sense of humour. You know - you're - well - very different! Surprisingly different from anyone else I know! Do you mind me telling you that? [LAURA is abashed beyond speech] I mean it in a nice way... [LAURA nods shyly, looking away.] You make me feel sort of - I don't know how to put it! I'm usually pretty good at expressing things, but this is something that I don't know how to say! [LAURA touches her throat and clears it - turns the unicorn in her hands. Even softer.] Has anyone ever told you that you were pretty? [LAURA looks up slowly with wonder and shakes her head.] Well, you are! In a very different way from anyone else. And all the nicer because of the difference, too. [His voice becomes low and husky. LA U R A turns away, nearly faint with the novelty of her emotions.] I wish that you were my sister. I'd teach you to have some confidence in yourself. The different people are not like other people, but being different is nothing to be ashamed of. Because other people are not such wonderful people. They're one hundred times one thousand. You're one times one! They walk all over the earth. You just stay here. They're common as - weeds, -but - you - well, you're - Blue Roses! LAURA: But blue is wrong for - roses... JIM: It's right for you! - You're - pretty! LAURA: In what respect am I pretty? JIM: In all respects - believe me! Your eyes - your hair are pretty! Your hands are pretty! [He catches hold of her hand.] You think I'm making this up because I'm invited to dinner and have to be nice. Oh, I could do that! I could put on an act for you, Laura, and say lots of things without being very sincere. But this time I am. I'm talking to you sincerely. I happened to notice you had this inferiority complex that keeps you from feeling comfortable with people. Somebody needs to build your confidence up and make you proud instead of shy and turning away and blushing - Somebody -ought to - Ought to - kiss you, Laura! [His hand slips slowly up her arm to her shoulder. He suddenly turns her about and kisses her on the lips. When he releases her, LAURA sinks on the sofa with a bright, dazed look. J IM backs away and fishes in his pocket for a cigarette.] I shouldn't have done that - That was way off the beam. You don't smoke, do you? [She looks up, smiling, not hearing the question. He sits beside her a little gingerly. She looks at him speechlessly - waiting. He coughs decorously and moves a little farther aside as he considers the situation and senses her feelings, dimly, with perturbation. Gently.] Would you - care for a - mint? [She doesn't seem to hear him but her look grows brighter even.] Peppermint - Life-Saver? My pocket's a regular drug store - wherever I go ... [He pops a mint in his mouth. Then gulps and decides to make a clean breast of it. He speaks slowly and gingerly.] Laura, you know, if I had a sister like you, I'd do the same thing as Tom. I'd bring out fellows and - introduce her to them. The right type of boys of a type to - appreciate her. Only - well - he made a mistake about me. Maybe I've got no call to be saying this. That may not have been the idea in having me over. But what if it was? There's nothing wrong about that. The only trouble is that in my case - I'm not in a situation to - do the right thing. I can't take down your number and say I'll phone. I can't call up next week and - ask for a date. I thought I had better explain the situation in case you misunderstand it and - hurt your feelings. . [Pause.] LAURA [faintly] You - won't - call again? JIM: No, Laura, I can't. [He rises from the sofa.] As I was just explaining, I've - got strings on me. Laura, I've - been going steady ! I go out all of the time with a girl named Betty. She's a home-girl like you, and Catholic, and Irish, and in a great many ways we - get along fine. Well - right away from the start it was - love ! Being in love has made -a new man of me ! The power of love is really pretty tremendous ! Love is something that - changes the whole world, Laura ! It happened that Betty's aunt took sick, she got a call and had to go up north. So Tom - when he asked me to dinner I naturally just accepted the invitation, not knowing that you - that he – [He stops awkwardly.] Ugh - I'm a stumble-john! [He flops back on the sofa. The holy candles in the altar of LAURA's face have been snuffed out. There is a look of almost infinite desolation. JIM: glances at her uneasily.] I wish that you would - say something. [She bites her lip which was trembling and then bravely smiles. She opens her hand again on the broken glass ornament. Then she gently takes his hand and raises it level with her own. She carefully places the unicorn in the palm of his hand, then pushes his fingers closed upon it.] What are you - doing that for? You want me to have him? Laura? [She nods.] What for? LAURA: A - souvenir ... [At this moment AMANDA rushes brightly back in the front room. She bears a pitcher of fruit Punch in an oldfashioned cut-glass Pitcher and a plate of macaroons. The Plate has a gold border and poppies painted on it.] AMANDA: Well, Well, Well! Isn't the air delightful after the shower? I've made you children a little liquid refreshment. [Turns gaily to the gentleman caller.] A M: A N D A: Why, Laura! You look so serious! JIM: We were having a serious conversation. AMANDA: Good! Now you're better acquainted! JIM: You shouldn't have gone to that trouble, Mrs. Wingfield. AMANDA: Trouble, trouble? Why, it was loads of fun! Didn't you hear me cutting up in the kitchen? I bet your ears were burning! I told Tom how outdone with him I was for keeping you to himself so long a time! He should have brought you over much, much sooner! Well, now that you've found your way, I want you to be a very frequent caller! Not just occasional but all the time. Oh, we're going to have a lot of gay times together! I see them coming! Mmm, just breathe that air! So fresh, and the moon's so pretty! I'll skip back out - I know where my place is when young folks are having a - serious conversation! JIM: Oh, don't go out, Mrs. Wingfield. The fact of the matter is I've got to be going. AMANDA: Going, now? You're joking! JIM: Well, you know how it is. AMANDA: You mean you're a young working man and have to keep working men's hours. We’ll let you off early tonight. But only on the condition that next time you stay later. What's the best night for you? Isn't Saturday night the best night for you working men? J I M: I have a couple of time-clocks to punch, Mrs. Wingfield. One at morning, another one at night! AMANDA: My, but you are ambitious! You work at night, too? JIM: No, Ma'am, not work but - Betty! [He crosses deliberately to pick up his hat.] AMANDA: Betty? Betty? Who's - Betty! [There is an ominous cracking sound in the sky.] JIM: Oh, just a girl. The girl I go steady with [He smiles charmingly.] AMANDA [a long-drawn exhalation]: Ohhhh. ... Is it a serious romance, Mr. O'Connor? JIM: - We're going to be married the second Sunday in June. AMANDA: Ohhhh - how nice! Tom didn't mention that you were engaged to be married. JIM: The cat's not out of the bag at the warehouse yet. You know how they are. They call you Romeo and stuff like that. It's been a wonderful evening, Mrs. Wingfield. I guess this is what they mean by Southern hospitality. AMANDA: It really wasn't anything at all. J I M: I hope it don't seem like I'm rushing off. But I promised Betty I'd pick her up at the Wabash depot, an' by the time I get my jalopy down there her train will be in. Some women are pretty upset if you keep 'em waiting. AMANDA: Yes, I know - The tyranny of women! [Extends her hand.] Good-bye, Mr. O'Connor. I wish you luck - and happiness - and success! All three of them, and so does Laura!Don't you, Laura? LAURA: Yes! JIM [taking her hand]: Good-bye, Laura. I'm certainly going to treasure that souvenir. And don't you forget the good advice I gave you. [Raises his voice to a cheery shout.] So long, Shakespeare ! Thanks again, ladies - Good night! [He grins and ducks jauntily out.] AMANDA [faintly] Things have a way of turning out so badly. Well, well - well Our gentleman caller was engaged to be married! TOM! TOM [from back]: Yes, Mother? AMANDA: Come in here a minute. I want to tell you something awfully funny. TOM [enters with macaroon and a glass of lemonade]: Has the gentleman caller gotten away already? AMANDA: The gentleman caller has made an early departure. What a wonderful joke you played on us! TOM: How do you mean? AMANDA: You didn't mention that he was engaged to be married. TOM: JIM? Engaged? AMANDA: That's what he just informed us. TOM: I'll be jiggered! I didn't know about that AMANDA: That seems very peculiar. TOM: 'What's peculiar about it? AMANDA: Didn't you call him your best friend down at the warehouse? TOM: He is, but how did I know? AMANDA: It seems extremely peculiar that you wouldn't know your best friend was going to be married! TOM: The warehouse is where I work, not where I know things about people! AMANDA: You don't know things anywhere! You live in a dream; you manufacture illusions! [He crosses to door.] Where are you going? TOM: I'm going to the movies. AMANDA: That's right, now that you've had us make such fools of ourselves. The effort, the preparations, all the expense! The new floor lamp, the rug, the clothes for Laura! All for what? To entertain some other girl's fiancé! Go to the movies, go! Don't think about us, a mother deserted, an unmarried sister who's crippled and has no job! Don't let anything interfere with your selfish pleasure I just go, go, go - to the movies! TOM: All right, I ‘will! The more you shout about my selfishness to me the quicker I'll go, and I won't go to the movies! AMANDA: Go, then! Then go to the moon - you selfish dreamer! [Tom smashes his glass on the floor. He plunges out on the fire-escape, slamming the door . LAURA screams -cut by door. Dance-hall Music up. TOM goes to the rail and grips it desperately, lifting his face in the chill white moonlight penetrating narrow abyss of the alley.] TOM: I didn't go to the moon, I went much further - for time is the longest distance between places. Not long after that I was fired for writing a poem on the lid of a shoebox. I left Saint Louis. I descended the step of this fire-escape for a last time and followed, from then on, in my father's footsteps, attempting to find in motion what was lost in space - I travelled around a great deal. The cities swept about me like dead leaves, leaves that were brightly colored but torn away from the branches. I would have stopped, but I was pursued by something. It always came upon me unawares, taking me altogether by surprise. Perhaps it was a familiar bit of music. Perhaps it was only a piece of transparent glass. Perhaps I am walking along a street at night, in some strange city, before I have found companions. I pass the lighted window of a shop where perfume is sold. The window is filled with pieces of colored glass, tiny transparent bottles in delicate colors, like bits of a shattered rainbow. Then all at once my sister touches my shoulder. I turn around and look into her eyes ... Oh, Laura, Laura, I tried to leave you behind me, but I am more faithful than I intended to be! I reach for a cigarette, I cross the street, I run into the movies or a bar, I buy a drink, I speak to the nearest stranger – anything – anything – to forget! - for nowadays the world is lit by lightning ! Blow out your candles, Laura - and so good-bye. [She blows the candles out.] THE SCENE DISSOLVES EN 102 - Final Essay Prompt Assignment: For this essay you will be comparing and contrasting the written version of the play "The Glass Menagerie" and one movie version of the play (3 options are posted to Blackboard - just choose 1). Here are the instructions to help organize your essay: 1 Introduction Paragraph: Explain, in your own words, why drama (live drama, written drama, and/or drama on the screen) is so intriguing to people. What do people get out of watching drama? What needs does drama seem to satisfy in our society? Body Paragraphs: Using at least 4 vocabulary words from the Drama Vocabulary Worksheet, compare and contrast the written version of “The Glass Menagerie" that you read AND one of the movie versions that you watched. This means that you must find some similarities and some differences. Use specific examples, details, and quotations (that are cited) to support your claims. The body paragraphs should state fact and interpretation; save your opinion about what you liked and didn't like for the conclusion. The number of body paragraphs used is up to you. 1 Conclusion Paragraph: Explain, in your own words, the pros and cons of each type of drama (a play that you read vs. a play that you watch - either live or in movie form). Guidelines: The essay will be at least 4-6 pages, double-spaced, using correct MLA formatting O Heading, header, title, margins... O Put the name of the play into italics EACH time you mention it (whether you are referring to the movie or the written play): The Glass Menagerie The essay will use direct and properly cited quotations from both the play and the movie version of your choosing. There is an MLA PPT, a Using Quotations PPT, and examples of how to cite a play and movie both in-text and on a Works Cited page. Please look at these examples!! There is NO excuse for doing this wrong. The essay will contain a correctly-formatted Works Cited Page me informace The essay may use 3rd POV and/or 1** POV, but NO 2nd POV (you, your, yourself, we, us, our, ourselvestas these pronouns are too informal for academic writing. Directions: Use this revision tool to check through your final essay, once it is completely written. I have taken these questions directly from the assignment prompt, so that you can see inment This This is simply a resource for you to use if you choose. 1. Does the essay appear to be in MLA format? Does it have a heading on the top left of the first page? 2. Does the essay use a running header: your last name + page number on the top right of every page? 3. Does the essay have a real title (NOT Essay #2 or Final Essay)? 4. Is the essay double-spaced? Is the first line of each new paragraph indented? 5. Does the essay contain 1 introductory paragraph? 6. Does the introduction discuss why drama intrigues people? 7. Does the introduction discuss what people get out of experiencing drama? 8. Does the introduction discuss the needs that drama seems to satisfy in our society? 9. Does the essay contain several body paragraphs (the exact number is up to you, but there should be several - not one huge body paragraph)? 10. Does the essay use both text version of The Glass Menagerie and one movie version? 11. Does the essay discuss/analyze at least 4 vocabulary terms from the "Drama Vocabulary Worksheet"? 12. Does the essay both compare AND contrast the written and movie versions of the play? 13. Does the essay mention specific examples and details from both the text and the movie? 14. Do the body paragraphs include fact and interpretation? 15. Do the body paragraphs contain direct quotations from both the text and the movie? 16. Are these quotations introduced in your own words? 17. Are these quotations cited correctly with an in-text citation? Example: (Smith 3). 18. Are your paraphrases cited? 19. Does the essay have 1 conclusion paragraph? 20. Does the conclusion explain the pros and cons of each type of drama (written vs. visual)? 21. Does the conclusion give your opinion? (It should) 22. Is the essay written in either 1" POV (I, me, my, mine) and/or 314 POV (he/she, his/hers, they/them, it)? 23. Check for and remove any 2nd POV pronouns (these are for spoken English, not written English): you, your, yourself, we, us, our, ourselves. 24. Check that the title of the play The Gloss Menagerie is in italics EVERY time you mention it. Not in quotation marks. Not underlined. Italics. 25. Does the essay contain a Works Cited page? It should be a separate page at the end of the essay 26. Is the Works Cited page in MLA format, and does it list both sources (the text version and the movie version)? *Please remember that correct MLA format and use of moedvated quotations is required in this essay. There remake use of them... TERESIONS!