Despite her plea, Brick, as Williams notes, stares at her still as if passing a ball to a teammate. Ultimately Maggie finds herself before the mirror anew, her image undergoing another hideous transformation, an estrangement or depersonalization: "I am Maggie the Cat!" she cries.
This scene is also Big Mama's introduction. Bedecked in flashy gems, Mama is the tragic embodiment of bad taste: fat, breathless, sincere, earnest, occasionally grotesque, and embarrassingly dedicated to a man who despises her. Here she functions, as at the close of the play, as the naïve bearer of the myths of marriage and family. Her investment in these myths will become clear in Act II. Unlike the poised and ironic Maggie, she is a woman bound a man who does not want her and in feeble denial of his disgust. She is sympathetic as an object of the audience's affectionate indulgence. Finally, this scene also makes use of a device of which the play makes great use: the off-stage telephone. As noted above, the continuous interruption of off-stage voices mark the presence of spies in the household. Here the telephone conversation rehearses the lie that keep Big Daddy and Mama ignorant of the machinations afoot, the lie that Daddy will live.