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Don't pretend you don't know her. That's the kind of car a countess drives. That's the kind of car I always pictured her in.

May chastises Eddie for lying to her about his affair with the Countess. When a black Mercedes Benz pulls up outside her motel room, May knows the woman sitting inside is the Countess—the woman Eddie's been sleeping with behind May's back. The grandeur and ostentatious model of the car inflates May's jealousy. Though Eddie will not admit to it and May has not spoken to the woman, May knows that the woman is the Countess though she does not have any concrete evidence. May uses her intuition and even her fantasy of the Countess as her proof. This way of concluding the matter by proving her suspicion from her imagination lends a dream-like quality to the play and a surreal, illusion-filled quality to the scene. Many times we dream about things we are fixated on, for instance, a jealous reaction to something or someone might appear in our dreams. May has undoubtedly dreamed about the Countess who she suspects is dating her ex-lover, Eddie, and in her dream or daydream the Countess drove the type of car she sees before her eyes. This causes the audience to perceive a blurred line between the reality and illusion of what is before them on stage.

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