[Immediately following: The church bell is heard striking six. At the sixth stroke the alarm clock goes off in AMANDA’s room, and after a few moments we hear her calling “Rise and Shine! Rise and Shine! Laura, go tell your brother to rise and shine!’]
TOM [sitting up slowly]: I’ll rise -but I won’t shine.
[The light increases.]
AMANDA: Laura, tell your brother his coffee is ready.
[LAURA slips into front room.]
LAURA: Tom! – It’s nearly seven. Don’t make mother nervous. [He stares at her stupidly. Beseechingly.] Tom, speak to mother this morning. Make up with her, apologize, speak to her!
TOM: She won’t to me. It’s her that started not speaking.
LAURA: If you just say you’re sorry she’ll start speaking.
TOM: Her not speaking – is that such a tragedy?
LAURA: Please – please!
AMANDA [calling from kitchenette]: Laura, are you going to do what I asked you to do, or do I have to get dressed and go out myself?
LAURA: Going, going – soon as I get on my coat!(30) [She pulls on a shapeless felt hat with nervous, jerky movement, pleadingly
glancing at TOM. Rushes awkwardly for coat. The coat is one of AMANDA’s, inaccurately made-over the sleeves too short for LAURA.] Butter and what else?
AMANDA [entering upstage]: Just butter. Tell them to charge it.
(38) LAURA: Mother, they make such faces when I do that.
AMANDA: Sticks and stones can break our bones, but the expression on Mr Garfinkel’s face won’t harm us! Tell your brother his coffee is getting cold.
LAURA [at door]: Do what I asked you, will you, will you,
TOM?
[He looks sullenly away.]
AMANDA: Laura, go now or just don’t go at all!
LAURA [rushing out]: Going -going! [A second later she cries out. TOM Springs up and crosses to door. AMANDA rushes anxiously in. TOM opens the door.]
TOM: Laura?
LAURA: I’m all right. I slipped, but I’m all right.
AMANDA [peering anxiously after her]: If anyone breaks a leg on those fire-escape steps, the landlord ought to be sued for every cent he possesses! [She shuts door. Remembers she isn’t speaking and returns to other room.]
Tennessee Williams
6. This scene is primarily about