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by Jean Paul Sartre No Exit

doepveedl the concepts of existentialism, it was the French writer Jean Paul Sartre who paorp
losy, Huis Cizueld it. His one act pla Although many nineteenth century philosophers
rcelesat example and metaphor for this philosophy. There are only four charac:teNo Exitor
thrse VALET, GARCIN, ESTELLE, ,first produced in Paris in May, 19944, is the
gwroi om, Second Empire style, with a and INEZ and the entire play takes place in a dnra
vepriece contains essential germs ee massive bronze ornament on the mantelpiece. Howth
ple ." As you read the play, put yourself in that drawing room with two people you hate min
ostthe world. of existentialist thought such as "Hell is otheor

by the VALET, and gelasnacround him(: So here we are?

GARCIN )enters, accompanied

VALET: Yes, Mr. Garcin.

GARCIN: And this is what it looks like?

VALET: Yes.

elel,ll, I dare say one gets used to it GARCIN: Second Empire furniture, I observe... Ww
in time.

VALET: Some do, some don't.

GARCIN: Are all the rooms like this one?

and Indians, for instance. What use would they have for a Second Empire chair?
VALET: How could they be? We cater for all sortsh:inCamen

room-- you knothwe style?--well, that had its points, you know. Bogus in bogus, so to speak.
in false poosnitsi . I'd even come to like it. A false position in a Louis-Philippe dining
tell the truIth,ad quite a habit of living among furniture that I didn't relish, and
you suppose I have for oDnoe?you know who I was?...Oh, well, it's no great matter. And, to
GARCIN: And what use do

VALET: And you'll find that living in a Second Emrpei drawing-room has its points.

dare say...Still rItcaeinly didn't expect-- this! You know what they tell us down there?
GARCIN: Really?...Yes, yes, I

VALET: What about?

 GARCIN: About...this- er--residence.

- acnkd-bull stories? Told by people VALET: Really, sir, how could you believe such co
edy-- who'd never set foot here. For, of course, if tha

nm
tseof torture? GARCIN: Quite so. But I say, where are the instru

VALET: The what?

GARCIN: The racks and red-hot pincers and all tthhe roparaphernalia?

ll.s it look ordinary and bourgeois, ee

ho Think about the place you have chosen as yourD
wlitehral instruments of torture like Dante's Inferno? Can the mind be in hell in a bie
fualuptlace? Is there a way to find peace like Sartre's drawing room, or is it equipped
more fully and imagine how it would feel to live there endlessly, night and day:
in a hellish physical environment? Enter Sartrpea'scse

VALET: Ah, you must have your little joke, sir.

nkg. No mirrors, I notice. No GARCIN: My little joke? Oh, I see. No, I wasn't jio
bu windows. Only to be expected. And nothing break.aB
let damn it all, they might have
left me my toothbrush!

- fw VALET: That's good! So you haven't yet got over ry-o

uhat-do-you-call-it?--sense o
human dignity? Excuse my smiling.

ask you to be more polite. I quite rliezae the position I'm in, but I won't tolerate...
GARCIN: I'll

aske me the same questions. Silly questions, if you'll pardon my saying so. W
reh'se the torture-chamber? That's VALET:
the Sorry, sir. No offense meant. But all ouregsuts
you use your brains? What, I ask you, would be the poinbt roufshing your teeth?
back, they start in about their toothbrushes and what-ot. Ghoeoadvens, Mr. Garcin, can't
the bathroom requisites, that I can assure you. But after awbhite,n they've got their nerve
first thing they ask, all of them. They don't borththeeir heads about

eyet satoiut. Stare my eyes out--see what I mean?...All right, let's put our cards on the t.aIba
onmthaentelpiece, that's another story. I suppose there will be times when I stare my
why shoduoilne want to see oneself in a looking- glass? But that bronze contraption
lessure you I'm quite conscious of my GARCIN: Yes, of course you're right. And
n'sa drowning, choking, sinking by position. Shall I tell you what it feels like? A m
piece. As in a nightmare. That's their idea, isn't it?...No, I suppose youn
does he see? A bronze atrocity by-- what's the fellow's name?--Barbedienne. Aeccotollr's
der orders not to answer questions; inches, 're till only his eyes are just above waterd. Awnhat
and
I won't insist. But don't forget, my man, I've aogdonotion of what's coming to me, so
 the situation, facing it. So that's that; no toothbrush. And no bed, either. O
nenveer sleeps, I don't
take ityou
? boast you've caught me off my guard.faI'cming

VALET: That's so.

ecyloessing-- but why sleep? You lie down on the sofa and-- in a flash, sleep flies away.eM
one sleeps?orAt of drowsiness steals on you, tickles you behind the ears, and you feel your
ilnd miles away. So you rub your sa GARCIN: Just as I expected. WHY should
eyes, get up, and it starts all over again.

VALET: Romantic, that's what you are.

disagreeable. Why, now, should it begdreiseaable? ...Ah, I see; it's life without a break.
? That stands to reason, doesn't it? Waiint uatem, there's a snag somewhere; something
!" So it comes to this; one doesn't neeesdt.rWhy bother about sleep if one isn't sleepy
it springing at me from behind, before I've time tzoesiit up. And you call that being "romantic
for myself, I'll face the situation, as I said just n.oFwace it fairly and squarely. I son't have
GARCIN: Will you keep quiet, please! ...I won't meaak scene, I shan't be sorry

a break? Are variety, moderation and balance instruments we use to kseefrpom

u boiling in any inferno of Could hell be described as too much of anythinghowuit
excess,' whether it be cheesecake or ravenous sex?

VALET: What are you talking about?

kilni g, we call it. It's like a small GARCIN: Your eyelids. We move ours up and down.nB
thinkS!o...that's the idea. I'm to live without eyelids. Don't act the fool, you know what I meN
restful, refregs,hitnis. Four thousand little rests per hour. Four thousand little respites--just
and makes a brevaekr.yEthing goes black; one's eyes are moistened. You can't imagine how
ano.eyelids, no sleep; it follows, black shutter that clicks down
oall I endure my own company? Try sh doesn't it? I shall never sleep again. But thenw--h
happy littleeadmrs. There was a green field. Just an ordinary field. I used to stroll in it...Is ia
I had my nightssl.eIpt. I always had good nights. By way of compensation, I suppose. And
you prefer;oInd't tease nicely. But I can't go on doing that without a break. Down there
of teasing, ist'secaond nature with me-- and I'm used to teasing myself. Plaguing myself, if
t ydtime now? to understand. You see, I'm fond

VALET: Can't you see? The lights are on.

dnoutside? GARCIN: Ah, yes, I've got it. It's your daytime. A

VALET: Outside?
 hatll. GARCIN: Damn it, you know what I mean. Beyond tw

VALET: There's a passage.

GARCIN: And at the end of the passage?

VALET: There's more rooms, more passages, ands.stair

GARCIN: And what lies beyond them?

VALET: That's all.

rehdo you go? GARCIN: But surely you have a day off sometimes.eW

. e VALET: To my uncle's place. He's the head valeteh

Hre has a room on the third floor.

GARCIN: I should have guessed as much. Where'lsigthte-switch?

VALET: There isn't any.

GARCIN: What? Can't one turn off the light?

fn
VALET: Oh, the management can cut off the curre
thtei y want to. But I can't
remember their having done so on this floor. Weehalvl the electricity we want.

GARCIN: So one has to live with one's eyes openthaelltime?

VALET: To live, did you say?

that contraption on the mantelpiece and dropped it on the lamp-- wouldt ng'o
open. Forever. Always broad daylight in my eyes-- and in my head. And suppotsoeokI
t iout? GARCIN: Don't let's quibble over words. With oney'ses
VALET: You can't move it. It's too heavy.

GARCIN: You're right. It's too heavy.

VALET: Very well, sir, if you don't need me any meo, rI'll be off.

? You're going? Wait. That's a belnl,'tisit? And if I ring, you're bound to come?
GARCIN: What

be sure about that bell. There's something wrong with the wiring, and it doesn't aylw
s work. VALET: Well, yes, that's so-- in a way. But you cnaenver

GARCIN: It's working all right.

 chuif I were you. It's-- capricious. VALET: So it is. But I shouldn't count on it too m
Well, I really must go now. Yes, sir?

GARCIN: No, never mind. What's this?

VALET: Can't you see? An ordinary paper-knife.

GARCIN: Are there books here?

VALET: No.

sits down; then gets up, goes to the bell-push, and presses the button. Therebm
go. )Garcin is by himself. He goes to the bronze ornament and strokes it revflelcyt.iHe
elal ins silent. He tries two or three
GARCIN: Then what's the use of this? Very well. Ycoaun
behaetsdtoor with his fists, still calling. Suddenly he grows calm and sits down again. Atsa
open othoer,dalso without success. He calls the VALET several times, but gets no result. He
ee moment the door opens and thm times, without success. Then he tries to
INEZ enters, followed by the VALET<(

ia? Can you imagine what it feels ue How does Sartre create a sense of place througlohgd
ointh no hope of leaving a specific place? like to stay awake all the time with the lightsw
wuist your daily activities around How does GARCIN react to this hell? How could yo
erpnaotf circumstances that reinforces so that everyday habits become hell? Is thereta
the experience of hell?

VALET: Did you call, sir?

nydss( No. GARCIN: )About to answer "yes", but sees INEZ aa

f ation you require--? Most of our VALET: This is your room, madam. If there's anyoirnm
anything you want to know as well as I could. Weh'vaed a little chat, him and me. )Exits.(
the electric bell, and that thing on the masnhtellf, this gentleman can tell you
guests have quite a lot to ask me. But I won'tsitn. sAinyhow, as regards the toothbrush, and

INEZ: Where's Florence? Didn't you hear? I askeudayboout Florence. Where is she?

GARCIN: I haven't an idea.

 y sbeparation. Well, as far as I'm INEZ: Ah, that's the way it works, is it? Torture
irsesaotme little fool, and I shan't miss concerned, you won't get anywhere. Florence wa
her in the least.

GARCIN: I beg your pardon. Who do you suppose I am?

INEZ: You? Why, the torturer, of course.

for wso.rdI the torturer! So you came in, had a look at me, and thought I was--er--one ofsth
ae
ff. Of course, it's that silly fellow's GARCIN: Well, that's a good one! Too comic
of letters by profession. And as we're botth einsame boat, so to speak, might I ask you, Mrs.--?
fault; he should have introduced us. A torturereiend! I'm Joseph Garcin, journalist and man

INEZ:Not "Mrs." I'm unmarried.

does one recognize torturers when one sees them? Evidently you've ideas onutbhjecst.
broken the ice, do you really think I look like a torturer? And, by the yw,ahow
GARCIN: Right. That's a start, anyway. Well, nowatthwe've

INEZ: They look frightened.

? But how ridiculous! Of whom suhldothey be frightened? Of their victims?

GARCIN: Frightened

away, but I know what I'm talking ab.oIu'vte often watched my face in the glass.
INEZ: Laugh

e oved everything in the leastGARCIN: In the glass? How beastly of them! Theyr'evm
t frnigohtened. Not that I take my resembling a glass. Anyhow, I can assure you I'm
ll.eBut I'm not afraid. position lightly; I realize its gravity only too w

ee, or do you take a stroll outside, INEZ: That's your affair. Must you be here all thim
now and then?
 locked. Oh!.. That's too bad.
GARCIN: The door's

know; to set my life in order, and one does that better by oneself. But I'm suer'e
here. And I too--well, quite frankly, I'd rather be alone. I want to think thsinogut, you
wanage to pull along together ll m I can quite understand that it bores yovuinhgame
GARCIN:
ct a peaceful sort of fellow. Only, if somehow. I'm no talker, I don't move much; in fIa'm
poof ibeing extremely courteous to each other. That will ease the situation for ush.bot
I may venture on a suggestion, we should makenat

INEZ: I'm not polite.

GARCIN: Then I must be polite for two.

INEZ: Your mouth!

GARCIN: I beg your pardon.

inig it about all the time. It's INEZ: Can't you keep your mouth still? You keepsttw
grotesque.

GARCIN: So sorry. I wasn't aware of it.

your face. Rememboeur'rye not alone; you've no right to inflict the sight of your fear on me.
I reproach you with. Theroeuyare! You talk about politeness, and you don't even try to control
INEZ: That's just what

GARCIN: How about you? Aren't you afraid?

ne INEZ: What would be the use? There was some pnoib

t ing afraid before, while one
still had hope.

GARCIN: There's no more hope--but it's still "beef.o"rWe haven't yet begun to suffer.
 INEZ: That's so. Well? What's going to happen?

h the VALET. She looks at GARCIN: I don't know. I'm waiting. )Enter ESTELLEitw

GARCIN whose face is still hidden by his hands.(

you're hnidgiwith your hands. I know you've no face left. What! But I don't know you!
ESTELLE: No. Don't look up. I know what

GARCIN: I'm not the torturer, madam.

t seoone was trying to play a rather ESTELLE: I never thought you were. I --I thoughm
nasty trick on me. Is anyone else coming?

VALET: No, madam. No one else is coming.

threet of us, this gentleman, this lady ESTELLE: Oh! Then we're to stay by ourselves, h
and myself. )laughs.(

GARCIN: There's nothing to laugh about.

t look how they've been arranged. ESTELLE: It's those sofas. They're so hideous. jAunsd
vistoit that boring old aunt of mine, It makes me think of New Year's Day--when I used
meit tonsthat one. It would be too horrible for words. I'm in pale blue and it's vivid green.
like thaIt.s..uppose each of us has a sofa of his own. Is that one mine? But you can't expect
Aunt Mary. Her house is full of horror

INEZ: Would you prefer mine?

sweet of you, but really- no, I don't think it'd be so much better. What's the gofow
dorrying, anyhow? We've got to ESTELLE: That claret-colored one, you mean? Thvaetr'sy
I'll stick to the groeneen. The only one which might do at a pinch, is that gentleman's.
take what comes to us, and
 INEZ: Did you hear, Mr. Garcin?

GARCIN: Oh-- the sofa, you mean. So sorry. Pleakse itt, madam.

pose we'd better introduce ourselves. My name's Rigault. Estelle Rigault.

ESTELLE: Thanks. Well, as we're to live togethesru, pI

INEZ: And I'm Inez Serrano. Very pleased to meeut.yo

GARCIN: Joseph Garcin.

VALET: Do you require me any longer?

ESTELLE: No, you can go. I'll ring when I want you.

s to welcome you with. INEZ: You're very pretty. I wish we'd had some fleorw

great thingtoiskeep as cheerful as we can, don't you agree? Of course, you, too, are--
loved flowers. Only thefya'de so quickly here, wouldn't they? It's so stuffy. Oh, well, the
ESTELLE: Flowers? Yes, I

INEZ: Yes. Last week. What about you?

blame her, tears always mess one's face up, don't they? Olga was my bosom f,riyeonud know.
morning! She's holding my sister's arm, helping her along. She's not cryaingd, I don't
little tears are twinkling under the black veil. Oh dear! What a sight Olgoakslothis
trying her best to cry. Come, dear! Make another effort. That's better. Ttewaors, two
ceremony's not quite over. The wind's blowing my sister's veil all ovtheer place. She's
ESTELLE: I'm-- quite recent. Yesterday. As a maottfearct, the

INEZ: Did you suffer much?

ESTELLE: No. I was only half conscious, mostly.

 INEZ: What was it?

-by. Good-by. Quite a crowd they are. My husband's stayed at h

roestrated withESTELLE: Pm . o It's over now, they're leavtihnegcemetery. Good
Pneumonia.
grief, poor man.
How about you?

INEZ: The gas stove.

ESTELLE: And you, Mr. Garcin?

bullets through my chest. Sorry!eIafr I'm not good company among the dead.
GARCIA: Twelve

never been so much alive as now. If we've absolutely got to mention this--th
-'-ssos crude. In terribly bad taste, really. It doesn't mean much, anyhow. SomehowlIwfee've
stisate of things, I suggest we call ESTELLE: Please, please don't use that word.oIt
ourselves--wait!--absentees. Have you been--beseennat bfor long?

GARCIN: About a month.

ESTELLE: Where do you come from?

GARCIN: From Rio.

nrehe
? ESTELLE: I'm from Paris. Have you anyone left dotw

ocf ethe barracks. She comes there GARCIN: Yes, my wife. She's waiting at the entran
peep between the bars. She doesn't yet know I'm-- absent, but she suspecN
t. she's going away. She's wearingtsoiw
every day. But they won't let her in. Now she'sintgryto
sahned's like a black shadow creeping down the empty street. Those big tragic eyes osf-h
tnoecehdange. She isn't crying, but she never did cry, anyhow. It's a bright, sunny day
- ewrith that martyred look they her black dress. So much the better, she won't
always had. Oh, how she got on my nerves!
 INEZ: Estelle!

ESTELLE: Please, Mr. Garcin!

GARCIN: What is it?

ESTELLE: You're sitting on my sofa.

GARCIN: I beg your pardon.

ESTELLE: You looked so--so far away. Sorry I disbteudr you.

lahubut you'd do better to follow my GARCIN: I was setting my life in order. You may g
example.

perfect order. It tidieitself up nicely of its own accord. So I needn't bother about it now.
INEZ: No need. My life's in

ath.ew! How hot it is here! Do you GARCIN: Really? You imagine it's so simple as thW
mind if--

ESTELLE: How dare you! No, please don't. I loathenmin their shirt-sleeves.

in the newspaper office, and it was a regular Black Hole, so we never kept ourscon
GARCIN: All right. Of course, I used to spend myghntis
a.t Stiflingly hot it could be.
Stifling, that it is. It's night now.

teer amidnight. How quickly the time ESTELLE: That's so. Olga's undressing; it mustfb
passes, on earth!

INEZ: Yes, after midnight. They've sealed up mymro. oIt's dark, pitch-dark, and empty.
 efchairs and rolled up their shirt- GARCIN: They've strung their coats on the backtsho
air stinks of mencaignadr-smoke. I used to like living among men in their shirt-sleeves.
sleeves above the elbow. The

tastes differ. T'shatll it proves. What about you? Do you like men in their shirt-sleeves?
ESTELLE: Well, in that case our

INEZ: Oh, I don't care much for men any way.

ESTELLE: Really I can't imagine why they put usetehrtogether. It doesn't make sense.

INEZ: What's that you said?

re going to live together...It's sto'w ESTELLE: I'm looking at you two and thinking thae
absurd. I expected to meet old friends, or relast.ive

inetmiddle of his face. INEZ: Yes, a charming old friend-- with a hole h

so deilvyi.nLike a professional...But why, why should we of all people be put together?

ESTELLE: Yes, him too. He danced the tango

say. They lodge fsolaks they can, in the order of their coming. Why are you laughing?
GARCIN: A pure fluke, I should

ify left anything to chance! But I INEZ: Because you amuse me with your "flukes."Atshe
suppose you've got to reassure yourself somehow.

vet each other at some time in ESTELLE: I wonder, now. Don't you think we may ham
our lives?

INEZ: Never. I shouldn't have forgotten you.

perhaps we have friends in common. nI dweor if you know the Dubois-Seymours?

ESTELLE: Or
 INEZ: Not likely.

ESTELLE: But everyone went to their parties.

INEZ: What's their job?

do anything. But they havleovely house in the country, and hosts of people visit them.
ESTELLE: Oh, they don't

INEZ: I didn't. I was a post-office clerk.

ESTELLE: Ah, yes... Of course, in that case-- Anodu,yMr. Garcin?

GARCIN: We've never met. I always lived in Rio.

ESTELLE: Then you must be right. It's mere chanhcaet ht as brought us together.

urinsished as we see it. It's an INEZ: Mere chance? Then it's by chance this roofm
ht it all out. Down to the last detail. Nothing was left to chance. This room wlal seat for us.
by accident? And what about the heat here? How about that? I tell you theyh'voeugt
see the difference quick enough. And that statue on the mantelpiece, do you thi'nskthitere
that one on the left's wine-red. Mere chance? Well, just try to shift the sofas yaonud'll
accident that the sofa on the right is a livid gnr,eaend

here's so hideoaulsl ;in angles, so uncomfortable. I always loathed angles.

ESTELLE: But really! Everything

d ing-room? INEZ: And do you think I lived in a Second Empirreaw

ESTELLE: So it was all fixed up beforehand?

INEZ: Yes. And they've put us together delibera.tely

 chance that you prelyciasree sitting opposite me? But what can be the idea behind it?
ESTELLE: Then it's not mere

INEZ: Ask me another! I only know they're waiting.

something from me. It always made me want to do just the opposite.

ESTELLE: I never could bear the idea of anyonep'seecxting

INEZ: Well, do it. Do it if you can. You don't evekn ow what they expect.

g etofrom you two? SomethingESTELLE: It's outrageous! So something's cominm

ereything at once. Yours don't nasty, I suppose. There are some faces that teellvm
convey anything.

are we together? You've gnivues quite enough hints, you may as well come out with it.
GARCIN: Look here! Why

INEZ: But I know nothing, absolutely nothing aboitu. tI'm as much in the dark as you are.

GARCIN: We've got to know.

INEZ: If only each of us had the guts to tell--

GARCIN: Tell what?

INEZ: Estelle!

ESTELLE: Yes?

INEZ: What have you done? I mean, why have theyt ysoeunhere?
 think of the number of people who-who become absentees every day. There muh
fact, I'm wondering if there hasn't been some ghastly mistake. Don't .sJmuislet
satnds and thousands, and ue
stob
ESTELLE: That's just it. I haven't a notion, noet tfhoggiest. In
s,know what I mean. Stupid probably they're sorted out by-- by understrappyeoru
in my case, they may have done the same about you. And you, too. Anyhowt, iitsb
mistakes sometimes... Do stop smiling. Why don't you speak? If they madeisatamke
ne
' tter to think we've got hereemployees
by who don't know their job. So they're bdotuonmake
mistake?

INEZ: Is that all you have to tell me?

deh. I lost my parents when I was a ESTELLE: What else should I tell? I've nothing tio
needeadll sorts of attention, so really that was the right thing for me to do, don't you agrM
him I saisd. yHee was very well off, and quite nice. My brother was a very delicate child and
to bring up. Weewterrribly poor and when an old friend of my people asked me to marry
eey?husband was old enough to be my kid, and I had my young brother
lihen two years ago I met the man I father, but for six years we had a happy marrifeed. T
eoyneeach other. He asked me to run away with him, and I refused. Then I got pneumoannid
a it finished me. That's the whole was fated to love. We knew it the moment we sest
tong story. No doubt, by certain standards, I did wro
sacrifice my youth to a man nearly
three times my age. Do you think that could beecdaall sin?

kiit's a crime to stand by one's GARCIN: Certainly not. And now, tell me, do younth
principles?

ESTELLE: Of course not. Surely no one could blammeaan for that!

nhwear broke out. What was I to do? GARCIN: Wait a bit! I ran a pacifist newspaper. T
" rW Everyone was watching me, wondering: "Will he da
e?ell, I dared. I folded my arms
and they shot me. Had I done anything wrong?

ESTELLE: Wrong? On the contrary. You were--

cin INEZ: --a hero! And how about your wife, Mr. Gar?

e gutter. GARCIN: That's simple. I'd rescued her from-- frothm

 ESTELLE: You see! You see!

loafyp-acting, trying to throw dust in each other's eyes? We're all tarred with the sarm
useh.b INEZ: Yes, I see. Look here! What' s the point

ESTELLE: How dare you!

refeus. We're in hell, my pets; they INEZ: Yes, we are criminals-- murderers-- all tho
never make mistakes, and people aren't damnedotfhoirnng.

ESTELLE: Stop! For heaven's sake--

INEZ: In hell! Damned souls-- that's us, all three!

ESTELLE: Keep quiet! I forbid you to use such distginug words.

their lives out for our sakes-- and we chleudckover it. So now we have to pay the reckoning.
pacifist. We've had our hour of pleasure,ehna'tvwe? There have been people who burned
INEZ: A damned soul-- that's you, my little plasstearint. And ditto our friend there, the noble

GARCIN: Will you keep your mouth shut, damn it!

INEZ: Well, well! Ah, I understand now. I know whthyey've put us three together.

sa GARCIN: I advise you to-- to think twice before yo

uy any more.

us, for ever and ever...In short, there's someone absent here, the official torturer.
ye'trewin hell. And no one else will come here. We'll stay in this room together, threethof
there aren't any physical torments-- you agree, don't you? And
INEZ: Wait! You'll see how simple it is. Childishslyimple. Obviously

GARCIN: I'd noticed that.

 yman-power-- or devil-power, if you prefer. The same idea as in the cafeteria, whesrteom
cuers serve themselves. INEZ: It's obvious what they're after-- an econoomf

ESTELLE: Whatever do you mean?

INEZ: I mean that each of us will act as torturfetrhoe two others.

hither of you any harm, and I've no GARCIN: No, I shall never be your torturer. I winse
won't be difficult; each of us has plenty of material for self-communing
here, and I there. Like soldiers at our posts. Also, we mustn't speak.oNnoetword. That
of us stays put in his or her corner and takes no notice of the othersu. hYeore, you
I k I could stay ten thousand years
concern with
th.inyou. None at all. So the solution'syeeanough; each
with only my thoughts for company.

ESTELLE: Have I got to keep silent, too?

we'll work out ourlvsaation. Looking into ourselves, never raising our heads. Agreed?
GARCIN: Yes. And that way we--

INEZ: Agreed.

ESTELLE: I agree.

GARCIN: Then--good-by.
nr powder-puff and lipstick. She )Inez sings to herself while Estelle has been pglyhie
looks round for a mirror, fumbles in her bag, thtuernns toward Garcin.

do. )Garcin remains silent.( Even if you won't speakmteo, you might lend me a glass.
ESTELLE: Excuse me, have you a glass? Any sortlaosfsg, a pocket-mirror will

worry. I've a glass in my bag. It's geo! nThey must have taken it from me at the entrance.
INEZ: Don't

shuts her eyessawnadys, as if about to faint. Inez runs forward and holds her up.(
ESTELLE: How tiresome! )Estelle
 INEZ: What's the matter?

get tatkheant way? When I can't see myself I begin to wonder if I really and truly exist. I pm
atyself just to make sure, but it doesn't ESTELLE: I feel so queer. Don't you ever
help much.

INEZ: You're lucky. I'm always conscious of mys-elifn- my mind. Painfully conscious.

thgaotes on in one's head is so vague, isn't it? It makes one want to sleep. I've sixm
bigrrors in my bedroom. There they are. IESTELLE: Ah yes, in your mind. But everything
can see them. But they don't see me. They're trienfgletche carpet, the settee, the window-
nth!en I talked to people I always made - but how empty it is, a glass in which I'm abseW
f.yIswatched myself talking. And sure there was one near by in which I could seeelm
thersotshaew me...Oh dear! My lipstick! I'm sure I've put it on all crooked. No, I can't do tw
oiuht a looking-glass for ever and ever. I somehow it kept me alert, seeing myself as
simply can't.

I try to be your glass? Come andmpeaya visit, dear. Here's a place for you on my sofa.
INEZ: Suppose

ESTELLE: But--)points to Garcin(

INEZ: Oh, he doesn't count.

ESTELLE: But we're going to --to hurt each otheor.uYsaid it yourself.

INEZ: Do I look as if I wanted to hurt you?

ESTELLE: One never can tell.

oes it matter? If I've got to suffer, it may as well be at your hands, your pyrh
ttnds. Sit down. Come closer. Closer. ea Much more likely YOU'LL hurt ME. Still, whadt
INEZ:
Look into my eyes. What do you see?
 elyf sproperly. ESTELLE: Oh, I'm there! But so tiny I can't see m

I can. Every inch of you. Now ask me qtuioenss. I'll be as candid as any looking-glass.
INEZ: But

ESTELLE: Please, Mr. Garcin. Sure our chatter ibsonr'ting you?

t nt. We're by ourselves...Ask INEZ: Don't worry about him. As I said, he doescno'u
away.

ESTELLE: Are my lips all right?

INEZ: Show! No, they're a bit smudgy.

'll try again. ESTELLE: I thought as much. Luckily no one's seeen. Im

better. No. Follow the line of youprsli. Wait!! I'll guide your hand. There. That's quite good.
INEZ: That's

ESTELLE: As good as when I came in?

INEZ: Far better. Crueler. Your mouth looks quiitaebdolical that way.

Homaddening, not being able to ESTELLE: Good gracious! And you say you like it! w
ot, itth's all right now? see for myself! You're quite sure, Miss Serrana

INEZ: Won't you call me Inez?

ESTELLE: Are you sure it looks all right?

INEZ: You're lovely, Estelle.

 it same as my taste? Oh, how ESTELLE: But how can I rely upon your taste? Itshe
sickening it all is, enough to drive one crazy!

much. Look at me. No, straight. Now smile. I'm not so ugly, either. Am I not nicte
INEZ:
hran your glass? I HAVE your taste, my dear, because I likeuysoo

efylection in the glass never did ESTELLE: Oh, I don't know. Your scare me rather. rM
tamed...I'm going to smile, and my smile will sink down into your pupils, and hea
nvkenows what it will become.that; of course, I knew it so well. Like somethiInhgad
why shouldn't you "tame” me? Listen! I nwtayou to call me Inez. We must be great friends.
INEZ: And

ESTELLE: I don't make friends with women very eya.sil

t at-- that nasty red spot at the INEZ: Not with postal clerks, you mean? Hullo, w'shath
bottom of your cheek? A pimple?

ESTELLE: A pimple? Oh, how simply foul! Where!

iamnpyle, not a trace of one. So what about it? Suppose the mirror started telling liO
larks-t-hwai mirror? I'm your lark-mirror, my dear, and you can't escape me...There isn'pt
esr?suppose I covered my eyes--as he is INEZ: There...You know the way the catch
turn my eyes away. And I'll be nice to you, ever so nice. Only you mustnbicee to me, too.
would be wasted on the desert air. No, don't be afraid, I can't help lonogkai t you. I shan't
doing-- and refused to look at you, all that lonveslis of yours

ESTELLE: Are you really-- attracted by me?

INEZ: Very much indeed.

ESTELLE: But I wish he'd notice me too.

louok at her, damn it! Don't INEZ: Of course! Because he's a MAN! You've won.t B
pretend. You haven't missed a word of what we'vide. sa
 ears, but your voices thudded in my brain. Silly chatter. Now will you leave me in
GARCIN:
eapce, you two? I'm not interested in Quite so; not a word. I stuck my fingersminy
you.

ldr?en't you interested in her? Oh, I INEZ: Not in me, perhaps--but how about this chiA
t tjo impress her. saw through your game; you got on your high hourse

'sesone talking about me in the GARCIN: I asked you to leave me in peace. Theroem
t'lake you any happier, let me tell you newspaper office and I want to listen. And, ifl im
that I've no use for the "child," as you call her.

ESTELLE: Thanks.

GARCIN: Oh, I didn't mean it rudely.

ESTELLE: You cad!

GARCIN: So that's that. You know I begged you noost pt eak.

started. I didn't asnkything of her and she came and offered me her-her glass.
ESTELLE: It's her fault; she

you say. But all the time you were makuinpgto him, trying every trick to catch his attention.
INEZ: So

ESTELLE: Well, why shouldn't I?

rehthis is leading us? For pity's GARCIN: You're crazy, both of you. Don't you seeew
ganin quite quietly; we'll look at the sake, keep your mouths shut. Now let's all sit doaw
floor and each must try to forget the others aereret.h

abds! uI rfeel you there, in every pore. Your silence clamors in my ears. You can nail uu
oouth, cut your tongue out-- but prym INEZ: To forget about the others? How utterly
on your sofa, but you're everywhere, and every dsocuonmes to me soiled because you've
away like a clock, tick-tock, tick-tock, and I'm certayinou hear mine. It's all very well skulking
you can't prevent your being there. Can you stoupr ythooughts? I hear them ticking
 leynface; you know it and I don't ! And intercepted it on its way. Why, you've even stom
r e, too; if she and I were alone d r ofm what about her, about Estelle? You've stolen hoem
haynods from your face, I won't you suppose she'd treat me as she does? No, tuarke
for thapt,reI fer to choose my hell; I prefer to look you in the eyes and fight it out face to face.
rustle of her dreosrsy,ofur benefit, throwing you smiles you didn't see.... Well, I won't stand
even if I didne'tesher I'd feel it in my bones-- that she was making every sound, even the
that would suit your bookwtoeoll. You'd go on sitting there, in a sort of trance, like a yogi, and
leave you in peace--

me in a room with men-- men can keep their mouths shut. But it's no use wanth
come to this; they knew what they were about, and we're easy game. Ifdthpeuyt'
tin Have it your own way. I suppose we werenbdouto
egimpossible. So I attract you,GARCIN:
little
girl? )Fondles her.( It seems you were making eaytemse?

ESTELLE: Don't touch me.

know, I used to be mad about women? And some were fond of me. So we mawyea
llsstop posing, we've nothing GARCIN: Why not? We might, anyhow, be natural... yDoou
d,the rest of it? We're between to lose. Why trouble about politeness, and decoraunm
asborn babes. ourselves. And presently we shall be naked asn--ew

ESTELLE: Oh, let me be!

you,haonwy. I asked so little of you, nothing but peace and a little silence. I'd putfim
yers in my ears. Gomez was spouting ng GARCIN: As newborn babes. Well, I'd warned
th,all the pressmen listening. In their away as usual, standing in the center of the rowoim
. gs on earth move so quickly, you shirt-sleeves. I tried to hear, but it wasn't eaTshyin
stopped talking, and what he thinks of me has gone back into his heaedll.,W
we've got to see it through
know. Couldn't you have held your tongues? Nowoivt'esr, he's
ttearnt to know whom I have to somehow...Naked as we were born. So much the ;bIew
deal with.

INEZ: You know already. There's nothing more tornle. a

sna'dt e a clean breast of it-- why GARCIN: You're wrong. So long as each of us ham
counts. You, young lady, you shall begin. Why? Tell us why. If you are fra
ifkwe bring our specters into , ndamned him or her-- we know nothing. Nogthtihnat
they've
the
h iht y?open, it may save us from disaster. So- out w!itW
 ESTELLE: I tell you I haven't a notion. They wou'ltdtnell me why.

a pretty good idea... Perhaps you're shy of speaking first? Right. I'll lead oIf'm
f. not a very estimable person.
GARCIN: That's so. They wouldn't tell me, eitheru.tBI've

INEZ: No need to tell us that. We know you wereeasedrter.

eecause I treated my wife GARCIN: Let that be. It's only a side-issue. I'mrehb
gihvernback my things; she's sitting by the window, with my coat on her knees. The coaht w
wheoreinstts me, and it's she I see. Where's Gomez got to? For five years. There! They've
suffering still. There she is: the moment I mention her, I see her. It's Gomez
thite twelve bullet-holes. The abominably. That's all. For five years. Naturasllhy,e's
womSehne. 'd sat up for me, of course. But she never cried, never uttered a word of reproO
? No? Yonu't cmaanage it? ... Night after night I came home blind drunk, stinking of wine and
to wear it, fan.c.y. !Now, can't you shed a tear, my love! Surely you'll squeeze one out-- at last
ring round each hol'es.qItuite a museum-piece, that coat; scarred with history. And I used
acnhly. her eyes spoke. Big, tragic eyes. I blood's like rust; a brown
you cry, confound you? That woman was a bmoarnrtyr, you know; a victim by vocation.
regret anything. I must pay the price, bsuhtaIn't whine.... It's snowing in the street. Won't
don't

INEZ: Why did you hurt her like that?

and waited. But no, not a tear, not a protest. I'd picked her up out of the gutyte
a sensitive-plant. But never, never a reproach. I'm fond of teasinwga. tIched
oru, understand...NowGARCIN:
she's stroking
It was the
so easy. A wored was enough to mhaekreflinch. Like
I regnroetthing. The truth is, she admired me too much. Does that mean anything to you?
withfinhgeerres for the bullet-holes. What are you after? What do you expect? I tell you
coat. Her eyes are shut and she's feeling

INEZ: No. Nobody admired me.

heard-- everything. She was an early riser and, as I and the girl stayed inla
into. I brought a half-caste girl to stay in our house. My wife slept upstairs; shuestmhave
suppose all this trikes you as very vague. Well, here's something hou can get tyeoeutrh
bteed, she served us our morningGARCIN:
coffee. So much the better. So much the betteryofour. I
 INEZ: You brute!

brute. )Far-away look comes to his eyes.( No, it's nothing. Only Gomez, and ho
GARCIN: Yes, a brute, if you like. But a well-beleodv
et'stanlking about me... What were you
d h saying? Yes, a brute. Certainly. Else why shouble
I ere? Your turn.

down there cda"llea damned bitch." Damned already. So it's no surprise, being here.
INEZ: Well, I was what some people

GARCIN: Is that all you have to say?

just unlocked them. "To "LeItt's. to let; there's a notice on the door. that's -- too ridiculous.
clean sweep. Only that room. I see it nowthaennd. Empty, with the doors locked.... No, they've
to it. He to start with; the she and I. So there'soneo left. I've nothing to worry about; it was a
INEZ: No. There was that affair with Florence. Aademen's tale. With three corpses

GARCIN: Three. Three deaths, you said?

INEZ: Three.

GARCIN: One man and two women?

INEZ: Yes.

GARCIN: Well, well. Did he kill himself?

reason; we led him a dog's life. As a matter of fact, he was run over by a trami.llA
y sort of end... I was living with
INEZ: He? No, he hadn't the guts for that. Stiell,'dhevery
them; he was my cousin.

GARCIN: Was Florence fair?

 l not so very keen on telling you the INEZ: Fair? You know, I don't regret a thing; s,tIil'm
story.

GARCIN: That's all right..... So you got sick ofmh?i

on my nerves. For instance, he made a noise when he was drinking-- a sort of gurgle.le
Tsriflike that. He was rather pathetic INEZ: Quite gradually. All sorts of little thingsogt
really. Vulnerable. Why are you smiling?

GARCIN: Because I, anyhow, am not vulnerable.

left him, I had her on my hands. We sharbeedd-sitting-room at the other end of the town.
be too sure... I crept inside her sksihne, saw the world through my eyes. When she
INEZ: Don't

GARCIN: And then?

to remihnedr every day: "Yes, my pet, we killed him between us." I'm rather cruel, really.
INEZ: Then that tram did its job. I used

GARCIN: So am I.

INEZ: No, you're not cruel. It's something else.

GARCIN: What?

nothing but a cinder. One night she got up and turned on the gas while I was a.sT
hearts. When I'm alone I flicker out. For six months I flamed away in her heart, tillrtehewas
cruel,mIean I can't get on without making people suffer. Like a live coal. A livek coal inhoetrs'
leheepn she crept back into bed. So INEZ: I'll tell you later. When I say I'm
now you know.

GARCIN: Well! Well!

 INEZ: Yes? What's in your mind?

GARCIN: Nothing. Only that it's not a pretty story

INEZ: Obviously. But what matter?

GARCIN: As you say, what matter? Your turn. Whavtehayou done.

cky brain, but it's no use.ESTELLE: As I told you, I haven't a notion. I ram

we'll give you a hand. Thatlofewl with the smashed face, who was he?
GARCIN: Right. Then

ESTELLE: Who-- who do you mean?

INEZ: You know quite well. The man you were so secdaor f seeing when you came in.

ESTELLE: Oh, him! A friend of mine.

GARCIN: Why were you afraid of him?

ESTELLE: That's my business, Mr. Garcin.

INEZ: Did he shoot himself on your account?

ESTELLE: Of course not. How absurd you are!

?leHwe his brains out, didn't he? GARCIN: Then why should you have been so scaredb
That's how his face got smashed.

ESTELLE: Don't! Please don't go on.

 GARCIN: Because of you. Because of you.

INEZ: He shot himself because of you.

ESTELLE: Leave me alone! It's -- it's not fair, lbyuinlg me like that. I want to go! I want to go!

if you can. Personally, I ask for notghibnetter. Unfortunately the door's locked.
GARCIN: Go

ESTELLE: You're hateful, both of you.

onhwitit. That fellow who killed himself on your account-- you were his mistress, eh?
INEZ: Hateful? Yes, that's the word. Now get

eimself alone. That's so, isn't GARCIN: Of course she was. And he wanted to havretohh
it?

t as poor as a church mouse-- INEZ: He danced the tango like a professional,hbeuw

that's right, isn't it?

GARCIN: Was he poor or not? Give a straight answer.

ESTELLE: Yes, he was poor.

up GARCIN: And then you had your reputation to keep. O

ne day he came and implored
you to run away with him, and you laughed in hicsef.a

INEZ: That's it. You laughed at him. And so heekdillhimself.

? aESTELLE: Did you use to look at Florence in thatyw

 INEZ: Yes.

e e to have a baby. So there! ESTELLE: You've got it all wrong, you two. He wadntm

GARCIN: And you didn't want one?

seorluck. I went to Switzerland for ESTELLE: I certainly didn't. But the baby came, w
er was with me when she was born. five months. No one knew anything. It was a girol.gR
It pleased him no end, having a daughter. It dipdlne'at se me!

GARCIN: And then?

a big stone. He could see what I was up to and he kept on shouting: "EstefollreG
, od's sake, don't!" I hatedESTELLE:
him There was a balcony overlooking the laIkber.ought
saw it all. He was leaning over the baylcaonnd he saw the rings spreading on the water--
then. He

GARCIN: Yes? And then?

ESTELLE: That's all. I came back to Paris-- anddihdeas he wished.

GARCIN: You mean he blew his brains out?

was absurd of him, really, my husbanedvenr suspected anything. Oh, how I loathe you!
ESTELLE: It

la.ce GARCIN: Nothing doing. Tears don't flow in this p

ESTELLE: I'm a coward. A coward! If you knew howhaIte you!

INEZ: Poor child! So the hearing's over. But thserneo' need to look like a hanging judge.
 atbolesee myself in a glass. How hot it is! )Takes off coat.( Oh, sorry! )Puts it on ag(ain.
GARCIN: A hanging judge? I'd give a lot to be

ESTELLE: Don't bother. You can stay in your shilrete-sves. As things are--

lles.te GARCIN: Just so. You mustn't be angry with me, E

ESTELLE: I'm not angry with you.

INEZ: And what about me? Are you angry with me?

ESTELLE: Yes.

you have us in the nuadlleright. Do your understand things any better for that?
INEZ: Well, Mr. Garcin, now

a trifle better. Annodw I suppose we start trying to help each other.

GARCIN: I wonder. Yes, perhaps

INEZ: I don't need help.

nlnyi-- like a cobweb. If you make ug GARCIN: Inez, they've laid their snare damned cn
together inextricably. So you can take your choice. Hullo? What's happening?
and I feel a little tug. Alone, none of us can save himself or herself;ewlein'rked
any movement, if you raise your hand to fan youf,rsEesltelle

openm, an is sitting on my bed. MY bed, if you please! They've let it, let it! Step in, ste
i ake yourself at home, you brute! Ah, ,m np INEZ: They've let it. The windows are wide
so empty, desiccated-- really dead at last. All of me's hienreth, is room. What were you saying?
can't see or hear a thing. So I'm done with the earth, it seems. Noemaolirbis for me! I feel
that she said? That it's noon and the sun is shining? I must be going blBinladc. ked out. I
I hear them whispering, whispering. Is he going to make love to her on MeYd?b What’s
he's going to kiss her. But that's my room, MY room! Pitch-dark now. I can't see aninygth, but
hands on his shoulders...Damn it, why don't they turn the lights on? It's gettingkd.aNrow
there's a woman, too. She's going up to him, pguthtienr
 Something about helping me, wasn't it?

GARCIN: Yes.

INEZ: Helping me to do what?

GARCIN: To defeat their devilish tricks.

INEZ: And what do you expect me to do in return?

GARCIN: To help ME. It only needs a little effoIrnt,ez; just a spark of human feeling.

tterno to the core. INEZ: Human feeling. That's beyond my range. I'm

y?e GARCIN: And how about me? All the same, supposetrw

could I help you? A dead twig, ready for the burning. FLorence wairs, faanatural blonde.
INEZ: It's no use. I'm all dried up. I can't givnedaI can't receive. How

fato be your torturer? GARCIN: Do your realize that this young woman'sed

INEZ: Perhaps I've guessed it.

you. I, of crosue, I'm different-- aloof. I take no notice of her. Suppose you had a try--
GARCIN: It's through her they'll get

INEZ: Yes?

GARCIN: It's a trap. They're watching you, to sfeyeoiu'll fall into it.

thitnhkey haven't foreknown every word you say? And of course there's a whole nest oaf lp
lsittfhat we can't see. Everything here's INEZ: I know. And you're another trap. Do you
 For her, obviously. And perhaps I'lll,.to a booby-trap. But what do I care? I'm a pitfalo
catch her.

other, round and round in a vicious circle, like the horses on a roundabT
t.t's part of their plan, ofGARCIN: ua
course...oh won't catch anything. We're chasingerafetach
You
your hands and let go of evheinrygt. Or else you'll bring disaster on all three of us.
Drop it, Inez. Open

?nIokw what's coming to me. I'm going to burn, and it's to last forever. Yes, I KNOW eyvte
hirng. But do you think I'll let go? I'll INEZ: Do I look the sort of person who lets go
that other man. What's the good of trying to enlist my sympathy? I assure Iyokn
uow everything, and I can't feel catch her, she'll see you through my eyes, asnFcloerseaw
thdat I'm in a trap myself, up to the sorry even for myself. A trap! Don't I know it, an
it dsuits their book, so much the neck, and there's nothing to be done about it? iAf N
better!

link between us. Do you think I'd want to hurt you? I don't regret anything, I'm dru
at me, we're naked, naked right through, and I can see into your heart. Tshoant'e
iep, too. But for you I can stillGARCIN:
feel Well, I, anyhow, can feel sorry for you,ot.oLook
pity.

keeprypoituy for yourself. Don't forget, Garcin, that there are traps for you, too, in rth
oiosm. ALl nicely set for you. You'd do INEZ: Don't. I hate being pawed about. And
eillave us in peace, this child and me, better to watch your own interests. But, if youlw
I'll see I don't do you any harm.

GARCIN: Very well.

ESTELLE: Please, Garcin.

GARCIN: What do you want of me?

ESTELLE: You can help ME, anyhow.

GARCIN: If you want help, apply to her.

 pise, didn't you? Help me ESTELLE: I implore you, Garcin-- you gave me yourorm
n to a cabaret. quick. I don't want to be left alone. Olga's takheim

INEZ: Taken whom?

ESTELLE: Peter....Oh, now they're dancing together.

INEZ: Who's Peter?

-- just fancy! He was terribly in love with me... She's persuaded himcoto
me out with herESTELLE:
tonight. Such a silly boy. He called me his glangcsintream

INEZ: Do you love him?

grampus. What a fool the girl is to insist on dancing! But I dare say she doetos rie
t duce...No, of course I don't loveESTELLE: They're sitting down now. She's puffinkgelia
him. He's only eighteen, and I'm not a baby-snar.tche

INEZ: Then why bother about them? What differenocesdit make?

ESTELLE: He belonged to me.

INEZ: Nothing on earth belongs to you any more.

ESTELLE: I tell you he was mine. All mine.

e ahim hear, try to touch him. Olga INEZ: Yes, he was yours-- once. But now---try tokm
shso, isn't it? She can squeeze his can touch him, talk to him as much as she likesa.t'T
hands, rub herself against him--

had to glant ctheem and she'd have slunk away. Is there really nothing, nothing left of me?
lamb, can't yoeueshow ridiculous she is? Why don't you laugh at her? Oh, once I'd have only
pressing her great faetsct hagainst him, puffing and blowing his his face. But, my poor little
ESTELLE: Yes, look! She's
 on the mantelpiece? That blue sofa's yours. And I, my dear, am yours for.ever
-- not even a shadow. All you own is here. Would you like that paper-knife? Oarttohrnament
INEZ: Nothing whatever. Nothing of you's left onrteha

uo would dare to call me his ESTELLE: You mine! That's good! Well, which of yotw
h uacbout me, you know I'm rotten glancing stream, his crystal girl? You know too m
I, oftenoaftnedn... What's that tune? -- I always loved it. Yes, the "St. Louis Blues"....All righdta
at her faclles,carlet, like a tomato. No, it's absurd, we've laughed at her together, you and
me is down there wyitohu, clean and bright and crystalclear as running water...Oh, just look
"my glancing stream, hriyssctal girl," I'm only half here. I'm only half wicked, and half of
of mxey, ofiur thoughts on me, and save me. All the time you're thinking
, nce away, dance away. Garcin, I wish through and through... Peter, dear, think
doklolike a dope, my dear. Oh, now you're treading on his toes. It's a scream! Hup
--lsl hne'ver know I SEE her. Yes, I see you, Olga, with your hair all anyhow, and you
rr!yQuuicker! Quicker! He's dragging her you could see her, you'd die of laughing.Only
s e always said I was so light, he ! H along, bundling her round and round-- it's too gtlhya
e. No, she doesn't care, she's dancing eu loved to dance with me. I tell you, Olga, I can syo
! Hdoawre she discuss me with Peter? Now then, keep time. She never could dance and taoln
a teareaftutnheral...And she has the nerve to talk to him about her poor dear friend Estelle
that you s"aOidu?r poor dear Estelle"? Oh, don't be such a humbug! You didn't even shed
kcaet. Oh, what's that? No, no. Don't through my gaze. What's that? What's
eim, do what you like with him, but tell him. Please, please don't tell him. You caenpkh
an have him now. Isn't it FOUL, please don't tell him about-- that! All right. Yocu
ipyto Switzerland, the baby. "Poor Garcin? She's told him everything, about Roger,trm
looking grave, shaking his head, but he doesn't seem so muchisseudr,pn
r ot what one would expect.Estelle wasn't exactly--" "No, I wasn't exactlyT--r-ue enough. He's
sgloeyelashes, his pretty girlish face. Keep him then-- I won't haggle with you over hin
s ,crystal. Well, the crystal's shattered aim They're yours for the asking. His glancing streh
n it. But do keep time. One, two. ith into bits. "Poor Estelle!" Dance, dance, dance.wO
t oment, and dance with him again. asm One, two. How I'd love to go down to earth for ju
hhts, as they do for a tango. Why The music's growing fainter. They've turned dowenltig
over. It's the end. Thethehaars left me. Don't turn from me-- please. Take me in your arms.
so softly? Louder, please. I chaena'tr. It's so far away, so far away. I--I can't hear a sound. All
are they playing

INEZ: Now then, Garcin!

GARCIN: It's to her you should say that.

yaonud, surely I'm not a fright as all that! Everyone says I've lovely hair and after alm
l, an killed himself on my account. ESTELLE: Don't turn away. You're a man, aren't
You have to look at something, and there's nothienrge to see except the sofas and that
 r otok at that an lot of stupid furniture. awful ornament and the table. Surely I'm bettelo
parrow fallen from its nest. So gather me up, dear, fold me to your heart--and you'llhsoew
e nice I can be. Listen! I've dropped out of their heart like alelitst

GARCIN: I tell you it's to that lady you should sapke.

ESTELLE: To her? But she doesn't count, she's aawno. m

uy poor little fallen nestling, INEZ: Oh, I don't count? Is that what you think?t,Bm
and ever, withoauftlutter of my eyelids, and you'll live in my gaze like a mote in a sunbeam.
heart for ages, thoyuoguhdidn't realize it. Don't be afraid; I'll keep looking at you for ever
you've been sheltering in my

talk such rubbiYsohu! 've tried that trick already, and you should know it doesn't work.
ESTELLE: A sunbeam indeed! Don't

INEZ: Estelle! My glancing stream! My crystal!

can fool me with that sort of talk? Everyone know by now what I did to my babh
ESTELLE: YOUR crystal? It's grotesque. Do you thyinoku
y.eTcrystal's shattered, but I don't
is the outside--but it's not for you. care. I'm just a hollow dummy, all that's left oef m

muddy stream. And deep down in my eyes you'll see yofujrussetl as you want to be.
INEZ: Come to me, Estelle. You shall be whateveur lyikoe: a glancing stream, a

yeh, damn it, isn't there ESTELLE: Oh, leave me in peace. You haven't anys.eO
anything I can do to get rid of you? I've an id)eSap.its in Garcin's face.( There!

INEZ: Garcin, you shall pay for this.

GARCIN: So it's a man you need?

ESTELLE: Not any man. You.

do your busisn.eAs I happen to be here, you want me. Right! Mind, I'm not your sort at are
ll,ally; I'm not a young nincompoop GARCIN: No humbug now. Any man would
and I don't dance the tango.

ESTELLE: I'll take you as you are. And perhapsaIllschhange you.

GARCIN: I doubt it. I shan't pay much attentionv;eI'other things to think about.

ESTELLE: What things?

GARCIN: They wouldn't interest you.

on your sofa and wait for you ttaoke some notice of me. I promise not to bother you at all.
ESTELLE: I'll sit

it you are. Grovel and cringe! And he

ch INEZ: That's right, fawn on him, like the silly b
hasn't even good looks to commend him!

s.eShe's-- nothing. ESTELLE: Don't listen to her. She has no eyes,anro

ntmuch. I shan't love you; I know GARCIN: I'll give you what I can. It doesn't amouto
you too well.

ESTELLE: Do you want me, anyhow?

GARCIN: Yes.

ESTELLE: I ask no more.

GARCIN: In that case--

INEZ: Estelle! Garcin! You must be going crazy. Y'roeunot alone. I'm here too.
 GARCIN: Of course-- but what does it matter?

INEZ: Under my eyes? You couldn't-- couldn't do it.

ESTELLE: Why not? I often undressed with my maiodkliong on.

tyan's hands. INEZ: Let her alone. Don't paw her with your dirm

care. I'm no gentleman, and I'd haoveconmpunction about striking a woman.

GARCIN: Take

INEZ: But you promised me; you promised. I'm onslykiang you to keep your word.

GARCIN: Why should I, considering you were thetfitros break our agreement?

myseoyfef you, Garcin; when you're kissing her, you'll feel them boring into you. Yes, have
the weearkparty, one against two. But don't forget I'm here, and watching. I shan't take
yoitur own way, make love and get it INEZ: Very well, have it your own way. I'm
over. We're in hell; my turn will come.

GARCIN: Now then. Your lips. Give me your lips.

ESTELLE: Really! Didn't I tell you not to pay attteionn to her?

shivge, rtihney've kept their coats on. Funny they should feel the cold like that, when I'm fn
montihnsces I--Well, I warned you I'd be absent-minded sometimes, didn't I? They're
bainckthe press-room. They've shut the windows; it must be winter down there. Six
eg GARCIN: You've got it wrong. It's Gomez; he's
eliso hot. Ah, this time he's talking
about me.

ESTELLE: Is it going to last long? You might at slet atell me what he's saying.

god-damned bloody swine. Let's come back to-- to ourselvese. yAoru going to love me?
GARCIN: Nothing. Nothing worth repeating. He's ainsew, that's all. A
 ESTELLE: I wonder now!

GARCIN: Will you trust me?

eyes all the time, and I don't think I've much to fear from Inez, saor af s you're concerned.
ESTELLE: What a quaint thing to ask! Consideringu'yllobe under my

away, you swine. I'm not there to defend myself. Estelle, yMoUuST give me your trust.
GARCIN: Obviously. I was thinking of another kindf torust. Talk away, talk

ymoy mouth, my arms, my whole body-- and everything could be so simple...My t!ru
I shtaven't any to give, I'm afraid, and ESTELLE: Oh, what a nuisance you are! I'm givingu
t hsaovmething pretty ghastly on your you're making me terribly embarrassed. You muse
u.g yo conscience to make such a fuss about my trustin

GARCIN: They shot me.

elhl y shouldn't you, ?w ESTELLE: I know. Because you refused to fight. W

hanve idnostead. Should I have gone to the general and said: "General, I decline to fight"?
must say haelkts well, he makes out a good case against me, but he never says what I should
ug's game; they'd have promptly mA GARCIN: I--I didn't exactly refuse. I
? I wasn't going to be silenced. So I--I took the t.r.a..inThey caught me at the frontier.
locked me up. But I wanted to show my colors, muyetcrolors, do you understand

ESTELLE: Where were you trying to go?

aper down there. Well, why GARCIN: To Mexico. I meant to launch a pacifist nsepw
don't you speak?

didn't want to fight. But, darling, how on earth can I guess what you wantomaenswer?
ESTELLE: What could I say? You acted quite righatlsy,you

wants yotueltlohim that he bolted like a lion. For "bolt" he did, and that's what biting him.
INEZ: Can't you guess? Well, I can. He
 GARCIN: "Bolted," "went away,"-- we won't quarrevl eor words.

ee ESTELLE: But you had to run away. If you'd stayh

dyt'd have sent you to jail, wouldn't
they?

GARCIN: Of course. Well, Estelle, am I a coward?

so unreasonabalreli,ndg. I can't put myself in your skin. You must decide that for yourself.
ESTELLE: How can I say? Don't be

GARCIN: I can't decide.

ESTELLE: Anyway, you must remember. You must haavde rheasons for acting as you did.

GARCIN: I had.

ESTELLE: Well?

GARCIN: But were they the real reasons?

a twisted mind, that's your trou.bPlelaguing yourself over such trifles!

ESTELLE: You've

thought it all out, and I wanted to meaak stand. But was that my real motive?
GARCIN: I'd

--- they're motives too. So carry on, Mr. Garcin, and try to be honweistht yourself-- for once.
reasons for what you did. But fear and hatred and all the dirty littnlestiincts one keeps dark
? No doubt you argued it out with yourself, you weighed the pros and conosu, fyound good
INEZ: Exactly. That's the question. Was that yoeuarl rmotive

the window to the door, from the door to the windowp.riIed into my heart, I sleuthed myself
GARCIN: Do I really need you to tell me that? Danydanight I paced my cell, from
 --t tIhhad acted as I did, I'd taken that train to the frontier. But why? Why?Finally I thohutg
my whole life to introspection. But always I harked back to the one thing certain-a
: My death will settle it. If I face like a detective. By the end of it I felt as if Ig'diven
death courageously, I'll prove I am no coward.

INEZ: And how did you face death?

to feel someonoekilng at me while they're talking about me on earth... I like green eyes.
of it. Only everything'esnble ft in suspense forever. Come here, Estelle. Look at me. I want
was only a phicyasl lapse--- that might happen to anyone; I'm not ashamed
GARCIN: Miserably. Rottenly. Oh, it

INEZ: Green eyes! Just hark to him! And you, Eset,edllo you like cowards?

you knew how little I care! Coward oer rho, it's all one-- provided he kisses well.
ESTELLE: If
at their cigars. Bored they look. Half-asleep. They're thinking:"Garcin's a caord
w." But only vaguely, dreamily. GARCIN: There they are, slumped in their chairsc,ksinug
rcains a coward." That's what they've One's got to think of something. "That chap Gaw
thes' they'll be saying: "Cowardly as decided, those dear friends of mine. In six motnim
You're lucky, you two; no onneeoarth is giving you another thought. But I--I'm long in dying.
that skunk Garcin."

INEZ: What about your wife, Garcin?

GARCIN: Oh, didn't I tell you? She's dead.

INEZ: Dead?

GARCIN: Yes, she died just now. About two monthso.ag

INEZ: Of grief?

best, you see; the war's over, my wife's dead, and I've carved out my place in hyis.tor
GARCIN: What else should she die of? So all isthfoer
 Tko.uch me. Touch me. There! ESTELLE: My poor darling! Look at me. Please loo
men are thinking? They'll die off one by one. Forget them. There's only moew,.n
Keep your hand there. No, don't move. Why troubhleatwthose

! Theyd'lile, but others will come after them to carry on the legend. I've left my fatehie
nirt hands. GARCIN: But THEY won't forget me, not they

ESTELLE: You think too much, that's your trouble.

tion once... Oh, if only I could GARCIN: What else is there to do now? I was a mfaanco
ie in their teeth. But I'm locked out; be with them again, for just one day--I'd flingitrhle
nb they're passing judgment on my life without trou
gliabout me, and they're right,
because I'm dead. Dead and done with. A back nu.mber

ESTELLE: Garcin.

doema service. No, don't shrink away. I know it must seem strange to you, having someoknie
ngasyou for help; you're not used GARCIN: Still there? Now listen! I want you to
WILL it hard enough, I dare say we can really love each other. Look at it this wayt.hA
ousand of them are proclaiming I'm a to that. But if you'll make the effort, if you'llnoly
e,ejust one person, to say quite coward; but what do numbers matter? If there's soonm
orho runs away, that I'm brave and positively I did not run away, that I'm not the tsw
s would save me. Will you have that decent and the rest of it-- well, that one persfoanit'h
faith in me? Then I shall love you and cherish yfooruever. Estelle-- will you?

love a coward? ESTELLE: Oh, you dear silly man, do you think I cldou

GARCIN: But just now you said--

mouth, or a coward's voice, or a coward's hair. And it's for your mouth, youarirh
real men, with tough skin and strong hands. You haven't a coward's chin,corwaard's
, your voice, ESTELLE:
I love. I was only teasing you. I like men, my rd,ewaho're

GARCIN: Do you mean this? REALLY mean it?

 ESTELLE: Shall I swear it?

w and those in here. Estelle, we GARCIN: Then I snap my fingers at them all, thoseelob
shall climb out of hell. )Inez laughs.( What's t?hat

s. can you be such a simpleton? INEZ: But she doesn't mean a word of what she sHaoyw
r iway.thnee "Estelle, am I a coward?" As if she cared a dam

f ry.oIu want me to have faith in you, ESTELLE: Inez, how dare you? Don't listen to he
you must begin by trusting me.

INEZ: That's right! That's right! Trust away! Sheanwts a man-- that far you can trust her-
mane'lsl,samman's eyes glowing with desire. And that's all she wants. She'd assure you you G
ordeAlmighty if she thought it would we - she wants a man's arm round her waist, a
give you pleasure.

GARCIN: Estelle, is it true? Answer me. Is it true?

yoaulizre how maddening it is to have to answer questions one can't make head or taY
il ouf?do make things ESTELLE: What do you expect me to say? Don't
love you just the same, envief you were a coward. Isn't that enough?
difficult...Anyhow, I'd

GARCIN: You disgust me, both of you.

ESTELLE: What are you up to?

GARCIN: I'm going.

INEZ: You won't get far. The door is locked.

GARCIN: I'll MAKE them open it.

 ESTELLE: Please! Please!

INEZ: Don't worry, my pet. The bell doesn't work.

any longer, I'm through with you GARCIN: I tell you they shall open. I can't enduitre
n. I won't let myself get bogged in aesh both. Go away.)to Estelle( You're even fouler th
your eyes. You're soft and slimy. Ugh! Like an opcutso. Like a quagmire.

I'llep. romise not to speak again, I ESTELLE: I beg you, oh, I beg you not to leave m
you in any way-- but don't go. I dna'trebe left alone with Inez, now she's shown her claws.
won't trouble

tomce here. GARCIN: Look after yourself. I never asked you o

uu
e're a coward. ESTELLE: Oh, how mean you are! Yes, it's quite tyro

he's going, and a good riddance it will be. We two womweilnl have the place to ourselves.
now. You spat in my face-- playing up to him, of course-- andhwaed a tiff on his account. But
INEZ: Well, my little sparrow fallen from the nesI th, ope you're satisfied

ESTELLE: You won't gain anything. If that door opse, nI'm going too.

INEZ: Where?

ESTELLE: I don't care where. As far from you asanI .c

arneything, your red-hot tongs and GARCIN: Open the door! Open, blast you! I'll endu
- uar fiendish gadgets, everything molten lead, your racks and prongs and garrotellsy-o
reeping pain that gnaws and fumbles and caresses one and never hurts quiteghe.nN
atorture you impose. Anything, anything would be better than this agony of minhdis, ct
ouow will you open? )THE that burns and flays and tears-- I'll put up winthy
DOOR FLIES OPEN: a long silence.(

INEZ: Well, Garcin? You're free to go.

 GARCIN: Now I wonder why that door opened.

INEZ: What are you waiting for? Hurry up and go.

GARCIN: I shall not go.

?ich of the three of us will leaveeh

? INEZ: And you, Estelle? So what? Which shall it bW
sittuaation! It's a scream! We're The barrier's down, why are we waiting? But wha
inseparables!

a.hQaunidckly. We'll push her out and slam the door on her. That'll teach her a lesson.
ESTELLE: Inseparables? Garcin, come and lend

ete stay. I won't go, I won't go! Not INEZ:)Struggling with Inez( Estelle, I beg you, lm
into the passage.

GARCIN: Let go of her.

ESTELLE: You're crazy. She hates you.

GARCIN: It's because of her I'm staying here.

s times hotter here since it opened. INEZ: Because of me? All right, shut the door. tIet'n
Because of me, you said?

GARCIN: Yes. YOU, anyhow, know what it means toabceoward.

INEZ: Yes, I know.

what evil costs. And when you say I'm a coward, you knfroowm experience what that means.
make of it, you couldn't interpret the horror you had glimpstheedday before. Yes, you know
what you saw there made you faint with horror. And then, nexyt,dyaou didn't know what to
were days when you peered into yourself, into the secretepslaocf your heart, and
GARCIN: And you know what wickedness is, and shaamned, fear. There
 Is that so?

INEZ: Yes.

orf my kind. Did you supposeeI a GARCIN: So it's you whom I have to convince; you
my defeat, with all those thoughts about me running in your head.
meant to go? No, I couldn't leave you here, glogaotivner

INEZ: Do you really wish to convince me?

dsoesn't count. It's you who matter; you who hate me. If you'll have faith in me I'm esd
of coward. So, Inez, we're alone. Only you two remain to give a thought to me. Shhee-
Fmoer.good and all. The curtain's down, nothing of me is left on earth-- not evennthaeme
forwn.oI can't hear them any longer, you know. Probably that means they're through with
a.v GARCIN: That’s the one and only thing I wish

rdh-haeaded woman. INEZ: It won't be easy. Have a look at me. I'm a

GARCIN: I'll give you all the time that's needed.

INEZ: Yes, we've lots of time in hand. ALL time.

aimaetdbeing a real man. A tough, as they say. I staked everything on the same horse... C
in life, a lienagdmotive; that's so, isn't it? Well, I didn't give a damn for wealth, or for love. I
anpossibly be a coward when one's ne GARCIN: Listen! Each man has an aim
ge a life by a single actionan
? deliberately courted danger at every turn? Andjucd

erheero, and condoned a thousand INEZ: Why not? For thirty years you dreamt you wa
when you were up against it, tdheligrhet of real danger-- and you took the train to Mexico.
--because a hero, of course, can dworonnog. An easy method, obviously. Then a day came
petty lapses

the hardest path, I made my choice deliberately. A man is what he wills heim
GARCIN:
lf sto be. I "dreamt," you say. It was no dream. WhIecnhose
 it was no dream. It’s whateodnoes, and nothing else, that shows the stuff one's made of.
INEZ: Prove it. Prove

- o my deeds. GARCIN: I died too soon. I wasn't allowed time to-d

oyne's whole life is complete at that moment, with a line drawn neatly under it, readryth
foe summing up. You are-- your life, INEZ: One always dies too soon-- or too late. Anedt
and nothing else.

GARCIN: What a poisonous woman you are! With anwaenrsfor everything.

when I said you were vulnerable? Now you're going to pay the price, w
me. Pull yourself together , man, rake up some arguments. Ah, wIarsignh'tt
anhdat a price! You're
INEZ: aNow then! Don't lose heart. It shouldn't boehsard, convincing
coward,
hanthdoss,e coarse, man's hands! But what do you hope to do? You can't throttle thoughts w
air, a gazervoibnsg you, a formless thought that thinks you. Ah, they're open now, those big
it-- do you he-a- rI?wish it. And yet, just look at me, see how weak I am, a mere breath on the
hiathnds. So you've no choice, you must Garcin, because I wish it! I wish
convince me, and you're at my mercy.

ESTELLE: Garcin!

GARCIN: What?

ESTELLE: Revenge yourself.

GARCIN: How?

ql.r esa ESTELLE: Kiss me, darling---then you'll hear heu

otuy're at mine as well. GARCIN: That's true, Inez. I'm at your mercy, bu

o console you! INEZ: Oh, you coward, you weakling, running to wonmte
 ESTELLE: That's right, Inez. Squeal away.

s big paw splayed out on your INEZ: What a lovely pair you make! If you could sheie
areful, though! He's perspiring, his back, rucking up your skin and creasing the silek.cB
hand will leave a blue stain on your dress.

ghet,tdarling; tighter still---that'll ESTELLE: Squeal away, Inez, squeal away!...Hugim

finish her off, and a good thing too!

, sps her to you till you feel your bodies INEZ: Yes, Garcin, she's right. Carry on with irte
a grand solace, isn't it, my friend? Deep and dark as sleep. But I'll seedyoonu't sleep.
melting into each other; a lump of warm, throbbfilnegsh... Loe's

ESTELLE: Don't listen to her. Press your lips to moyuth. Oh, I'm yours, yours, yours.

!mMake your stakes, everyone. Will coward Garcin kiss the lady, or won't he dare? W
a lovely scene: coward Garcin holding baby-killer Estelle in his manly asr
INEZ: Well,
'shthaet betting? I'm watching you, what are you waiting for? Do as yout'oreld. What
well-trained dog who comes when his mistress calls. You can't hold hainmd, you never will.
convince." So come to me. I'm waiting. Come along, now...Look how obedientish,elike a
yhoope to get from her silly lips? Forgetfulness? But I shan't forget you, not I!s"It'you must
!" ---thawt'hsat they're saying...It's no use trying to escape, I'll never let you go. What dou
all by myself. yDoou hear the crowd? Do you hear them muttering, Garcin? "Coward!Coward
everybody's watching, I'm a crowd

GARCIN: Will night never come?

INEZ: Never.

GARCIN: You will always see me?

INEZ: Always.

all those eyes intent on me. Devouring me. What? Ownolyotf you? I thought there were
beforehand. They knew I'd stand at the fireplarcoeksintg this thing of bronze, with
the mantelpiece, and I understand that I'm in helel.llIytou, everything's been thoughtout
GARCIN: This bronze. Yes, now's the moment; I'mklionog at this thing on
 ievbed it. You remember all we were more; many more. So this is hell. I'd never havle
nes, the "burning marl." Old wives'told about the torture-chambers, the fire and btroim
IST-HER PEOPLE! tales! There’s no need for red-hot pokers. HELL-O

ESTELLE: My darling! Please-

GARCIN: No, let me be. She is between us. I canlonvoet you when she's watching.

case, I'll stop her watcgh.in)She picks up the PAPER knife and stabs Inez several times.(
ESTELLE: Right! In that

e doing? You know quite well I'm INEZ: But, you crazy creature, what do you thinku'yro
dead.

ESTELLE: Dead?

It has happened already, do you understand? Once and for all. SO here we oarrev,ef r.
INEZ: Dead! Dead! Dead! Knives, poison, ropes--eusse.l

ESTELLE: Forever. My God, how funny! Forever.

ever, and ever. )A long silence.(

GARCIN: For ever, and

GARCIN: Well, well, let's get on with it...