HieewaN Lavi and Ourven Sur A Present ™ No Exit NO EXIT sparsely furnished. Looks rather like A New Play ig room. The room is set on a plat- By Jean-Paul Sartre o Ss oe os down stage an cored Adapted from the French by Paul Bowles se era mide ch There is @ _ and mant yall; on the mantel se of Cu Mipoer The door ANNABELLA CLAUDE DAUPHIN RUTH FORD 2 Directed by Joun Hustow Setting and Lighting designed by Faepzaicx Kissin ae Center from cei e in order of appearance) arge enough for the chandelier to go through. There Claude Dauphin ie targe ornate gold chair Down Center; @ red ~ Peter Kass ‘Gioan Reght and « green divan Left of Center chair.) TL Annabella Lor Ruth Ford (Caaveav enters, looks around. Speech nervous, clipped. Boy follows. room. Time, the present, furnish ‘ ‘Bor. That depends. Some pe | Caavenv, Are all the room: Bev (Contemptuously.) No, of course not. We get indus, blacks, everything, What would they ft Hike this? ‘Cuavzau. (Vigorously.) And what do they think T sNO EXIT NO EXIT 7 should 1? (Looks around.) And why would I want to mirror? As far as the statue goes, fine. sbably be plenty of times when T won't be enough. (Worki self up.) Not ere’s nothing to hide. I tell here, And why T was e to be here? Is bad here. You'll see ‘Ceaveav. (Mechanically.) Good, Fine, fine. (He looks seems funny to me—you've back there. drowning in (Whirls about to face mar nx. What about? Ceaveav. Oh— (Making a vague, wide gesture.) All this. Napoleon! (Pause.) What Boy. You don't believe all that crap! People who've hhave to y hey had— y ‘ 0, anyway. ' Ceapeav, Yes! . (They Bore laugh.) me. T knew ‘was coming, I know the whole score ing suddenly serious again.) Where are the backwards and forwards, behind me and ahead of me. thumbscrens? (He begins walking agzin, Reflectively.) So it's no tooth- Boy. What? brush. No beds either. You never sl 7 Caapzav. The thumbscrews, the the racks? Boy. Right. 3? (Ceapeat. T was sure of it! Why would you sleep any- sim.) Ah? Ob, good. Yes, T was way? You fel sleepy, it creeps up on you bebind thee serious, (Silence; he seatbs about. With sudden vialence.) Bret. You feel your eyes sh 1 Set ao come, Nahng breatala Fas Gal og ae ces airs ur is sudden violence.)'And why'd they take away my Sleepy any more. You have to rub your eyes, get up and toothbrush? ‘Boy. Aha! There’s your human dignity coming back! Crabeav. (Pounds angrily once on the back of the divan.) Save your fa my friend, I know where Tam and I know why I'm here, but Pll be damned if and for— ‘easy. No harm meant. But what do you 1e guests ask the same thing. Right away ‘Where's the thumbscrews?” And when they go through the whole thing over again. Boy. You've got some imagination. ing to make any fuss; I the face. Ym going to Boy. off, brush; Now all Task iy ‘Bov. What d'you mean, break? tmould you want to brush your teth here? Caaonav. What do T incan? (Suspiciously.) Look at Ceadeav (Quicted.) Yes, T suppose that's true. Why ame, I knew it! That's why you've got that smug, cocky8 NO EXIT expression on your face. (Pause. To himself.) My God, they're atrophied. Bow. Just what are you talking about? RaDeav. Your eyelids. We used to close ours. thout sleep. (Pause.) No more sleep— But th mel? Just ty to under. stand. Try hard. I've tion, you see, and I~-fm sort of used to teas But'T can’t I can’t go on doing that all the time. Back there, there were nights, I used to sleep. A wonderful sof Boy. Don't you see the lights are lit? Ceaveav, (Pause. Then quietly.) 1 see. But outside? Box. (Flabbergasted.) Outside? ‘Caabeav, Outside! On the other side of the wall? Boy. There's the hall. CCeabzAv, And at the end of the hall? Boy, More rooms and more halls and stairs. (Crabeav. And then what? Boy. That's all. Ceaneav, You must have a day off once in a while. Where do you go? Box, To see my uncle on the third floor. He’s Bell Captain on that floor. ‘CaapeAv. I should have guessed. (Pause.) Where's the Tight-switch here? ‘Boy. There isn’t any. ‘Ceapeav, You mean you can't turn the light off? NO EXIT 9 ,, The management can shut off the juice, But T ‘on this floor. We have Bi don’t remember they ever did ted service CCRADEAU. Al right, so you have to live with your eyes my eyes, And in- Then suddenly.) And if I were ugh the chandelier, do you think ‘envy. jes to take the statue in his hands.) ‘You're right. Tt is too heavy. (A silence.) Boy. Well, if you won't be needing me any longer, mi Ceapeau. Jumping.) You going? (Pause.) So long. (The Box reaches the door.) Wait! (The Bor makes on afirmative gesture.) for you when I want and you have to come? ing seers to be wrong with (Caapeau goes fo the button and presses it. BELL rings.) Ceapeav. It works! Boy. (Surprised.) That's right. So it does! (He rings.) But don’t get your hopes ‘won't last, Well, excuse ‘Ceapeau, (Makes a movement to detain him.) I—ub— Boy. Huh?) Caaneav, No, nothing. (He goes to the mantel and takes the paper knife.) What's this? Boy. Why, a letter-opener. Ceabeav. You have no mail delivery here?10 NO EXIT Bov. No. ‘CRADEAU, Then what good is it? (Bov shrugs his shoulders.) ‘That's allright. You can go. (Box goes out. Ceapzau is alone. He goes to the Htatue and pats it with his hand. Sits down. Gets up. Exhibits extreme nervousness as he examines room in detail. At one point walks to window at stage Left, jerks curtains aside, disclosing solid brick wall in place of glass. Goes to the bell and pushes button. Bell does not ring. Tries two or three tim Then goes t0 the door and tries to open it. not open. He calls, frantically.) Boy! Boy! (Wo answer, His fits roin blows on the door, and he continues to call the boy. Then suddenly he becomes calm, goes back and sits down. At this point, the ‘door opens and Inez comes in, followed by the Boy.) Bor. (To Crapeav.) You call? Canoga, (Coaoeai is about to reply, but glances ot Inez.) No. Box. (Turning toward Inez.) Here you are, Madame. (Silence from Inez.) If you have anything you want to ask— (Continued silence.) (Disappointed.) Usually the guests want 2 tion— It's all the same to me— Besides, toothbrush goes, and the statue, and the b ‘man knows all about it and he can answer your questions as well as I can. (Box goes out, Silence, CeaneAv does not look at Ixxz, She looks about, then goes brusquely toward Cea- DeAv.) Inenz, Where is Florence? (Ceapeau does not answer.) NO EXIT un jon. Where is Florence? any idea, st you can do? Torture by separa- as far as I'm concerned. Florence don’t miss her. turer, I suppose. fo laugh. Moves dow you took one who's leau, journalist and writer. Since we seem to the satne quarters, Madame—? (Moves to sit you find T hav ould you kindly tell me just how you can recognize one? Inez, They look as if they were afraid. 's crazy. And of whom? Of their victims? Inez. (Stubbornly, looking away. Crosses above divan Aight) 1 koow what Ym talking about, Te seen my ‘own face in the ‘Crabeav, In itror? (Looks around.) This place is taken everything that looks remotely not afraid. fully aware assure you lightly, and not afraid. Inez. (Shrugging her shoulders.) That's your business. (A pause, Insol Do you ever, by any chance, g¢ out for a stroll? (Ceapeau. The door’ eae (Sits isn Right) Wel, so much the worse seriousness, but I'm2 No EXIT (A silence, Ceaneau is seated. ‘walks back and forth in the room.) Inez. (Stopping to look at him, with intense distaste.) Your mouth. Ceapeav, (Coming out of a dream.) I beg your par- don? Inez, Do you think it would be po: ‘twitching your mouth? It’s going aroun: ‘under your nose. Ceabeau. I'm extremely sorry, I didn't realize, Inez, That's just the to stop a top there, ‘There! You make a poi your face out in the open, You're have no right to inflict the sight of your fear on me. CeaDeav. (CRADEAU rises” and walks toward her.) You're not afraid? {good would it do? Fear was for before, hasn't Inez, know. (A wait.) And so? What's going to hap- pen? ‘CeADEAV. I don’t know, I'm just wait NO EXIT 13 (A silence. Caveav goes back and sits down, Inez re- ‘sumes her striding about. CRADEAU'S mouth still twitches, then, after a glance at INE2, he buries his face in his hands. The door opens and Esteute and Jer, Bsteiue looks at CRADEAU, with his this hadi ically to Crapeav.) No! No, no! ‘away! T know what’s bebind! hands axeay.) T don't know you. Madame, who you were, I~ fa joke on me. (To expecting someone it were New Year's and I were visiting my Aunt Marie. Each one has his own ivan, T suposs, Th i I never be able to sit down on ise and it's upholstered in ‘can one expect? Each one ize. Mine’s the green one. I'll keep it. the only one the possibly match at all is the one this gentleman's (Silence.)“4 NO EXIT Invrz. (Snaps.) Did you hear, Cradeau? if.) The divan. Oh, excuse me! (He gets up.) I's yours, Madame. (Crosses down to divan Left.) Esteve. Thank you. takes off her Delaunay. (Caapeau bows and is about to introduce himself, but Inzz steps stolidly in front of Inez, (To Estetze.) Inez Serrano, I'm d Crapeav. (Bows again.) Vincent Cradeau, Bov. Do you need me for a Estee, No, that’s al (Box bows and goes out.) Inez, (Jn the tone one uses to soothe @ Inez. Yes, last week, and you? Esrere. 1? Yesterday ly ugly this morning, She's 's arm. She doesn't dare cry because it run. T must say that in ber , she was my best friend, ‘you suffer very much? NO EXIT 1s Esretx, No, I was barely conscious, vez, What did you— Esrexte, Pneumonia, (Continuing the same business 's over. They're leaving. Good mora- ch a lot of handshaking! My hus- he's 10 unhappy. He stayed at home. (To Inez.) And you? Inez, Gi Esn 'o Crapeav.) And you? Ceapeav, Twelve bull (Estate makes « gesture, shocked.) Tim sorry. (Rises—moves up Left.) Y'm afraid I'm not © very high-class corpse. now. If we must absolutely give a name to this—st affairs, T suggest we call it absence. It sounds nicer. Have you been absent long? ‘CeaneAv. About a month, Estecte, Where are you from? Caaneau. (Crosses to Right Center.) Paris. Estetz. Have you anyone left back there? fe. (Looking out over audience.) She ry other day. They wouldn't let her now. Doesn't know yet that I'm absent, but she suspects, Now she's leaving. She's all in black. So much the better, she won't have t0 change. The sun is nice and bright and she's in black, there in the empty streets, with those big eyes, like a vie- tim’s— Agh! She gets on my nerves! (A silence, Cxanzav goes and sits down in the Right divan and buries his face in his hands.) mz. Este16 No EXIT Esrexte, (Rises, crosses Left of CeansAv.) Excuse ‘me, Monsieur Cradeau! Ceaveav. I beg your pardon? Esrexte, You're sitting on my divan, Cranzav. I'm sorry. (He gets up; crosses to diven Left.) is all in order, Completely in order. It back there, and I don’t need to bother Ceapeau. Really? You t wipes his forehead May I? (He starts Estette, Ob, don’ the copy room: ‘Pause. Same Inez, It's night, They've closed up my room and sealed the door. And the room is empty and dark. ‘CaapeAv, They've put their coats on the backs of the chairs and rolled leeves up above their elbows. smells of men and cigar smoke, (Silence.) I used to ith men around in their shirt- Inez. (Flatly, looking at her nails.) Shirts or no shirts, T'm not very fond of men anyway. NO EXIT ” Esrexte, (Estetts looks at them both with speface tion.) But why, why have they put us together? Inez, (Suppressing a laugh.) What's that? Estee, I look at you both and I think of how we're going to live together— T somehow expected to find friends, relatives Tiwez. A lovely friend with @ hole in the middle of his face! too. He used to do a vhumba al But why have they put Pr us, us, together? ‘Crapeau. W. ist chance. They put the people in wherever they'‘can, in the order of their arrival. (To Inez.) What are you laughing at? Inez. At you and your chance. Do you need to be re- assured that badly? They leave nothing to chance Esrette. (Timidly.) Perhaps we've met somewhere before? Inez. Never, Td never have f Esrette, Or maybe we had ten you, jends in common. Don't Estettz, They ays entertaining. Everyone goes. Inez. What do they do? Esrexts. (Surprised.) Do? Why nothing. They have that big place at Cannes and— right there, ESTELLE. Tn that case you must be right. It’s pure chance that brought us together. Inez. Chance! ‘Then this furniture is here by chance, 1's just an acciden18 NO EXIT (And this heat this heat? (Pouse.) I tell you, everything planned. Down to the last detail and with the [7 ‘of care. This room was made for us. It was wait- (A pause.) Esteitz, Then you think everything has been ar ranged? Inez, Everythi . I don't know, but they're waiting, don’t worry. Estes. I cs then I think someone ex- pects me to do cht away I have the most something's supposed ‘two? (She looks at faces that meant something to me right of, And yours say nothing at al ‘CuaneAu, (Who has been pondering, rises, crosses up of Ixez, Brusquely, to Ivez.) Come, now, why are we together? You've already said too much. Go on to the end. vez, (A little astonished.) 1 don't know anything about it. ‘CeapEav. We've got to know. (He reflects a moment.) vez, If only each one of us had the courage to tell Caapeav. What? (Pouse.) NO EXIT 9 Inez, Estelle? Esreute, Yes? vez. What did you do? Why have you been sent here? Estee, (With animation, haven't the vaguest idea/ I e be a mistake! (To Inez.) Don’t smile. people who—who become absent every day. They come here by the thousands and are taken care of by mere un- denings, uneducated employees. How could there help laugh at the idea mistake in my case, but perhaps they did ‘And yours, too, maybe. Don’t you think Is us? want to know? I have T was an orphan, had no money, and I ig to bring up my younger brother. There was an iend of my father's who wanted to marry me, and ‘a good deal of money and was rather nice, so I accepted. What w years ago I met the in T was really meant for. We both knew it the minute wving sacrificed my youth to an old man. (To Ceapeav.) Do you think that’s wrong? Crapeav. Certainly not. (Pause.) Do you thi ‘wrong to live according to your principles? 4 ESTEE I dont see how anyone could be blamed for Tlrtrtéi“ ca, too, you great big clean-cut hero. (Persuasively.) We ind ‘our day, didn’t we? People suffered, they went pretty amusing, It's got to be paid for now. Ceaveau. (Rises, moving Left. Raising his hand men- shout fear, but with great sur- ‘Now I understand! I see why to good ery clever! ig, and roasting over the flames. And yet we're in hell. And no Dory else ig coming. Noone, We're together, just the (A pause as they take this in, Finally.) Ceapeau. (Crosses to Left of Inez.) I won't provide st you and I ou. T have nothing agai vant anything to do with you, Not le. So there you are. Zach one int 's a game, You here, you here, and 0 's ? Hach one of us has enough to do self. I could stay ten thousand years without speaking. Estate. (Jngenuously.) I have to be quiet? Ceavzau. Yes. And we'll be—we'll be saved. Just be yourself, never lift your head once.2 ‘No EXIT Esreuce. (Wistfully, after a moment's hesitai )T goodbye. (He goes to his divan and sits with his head in his hands, Silence.) (vez begins to sing to herself, Esreute busies herself with her make-up. Ske puts on powder and looks ‘about for a mirror anxiously, Searches in her hand- bag. Finally turns to CRADEAU.) Esrette. I’m sorry, you wouldn’t have a mirror—? (Crapeau does not answer.) A mirror, (Rises, moves to Ceapeav.) a little hand- ‘anything. it does not answer. ESTELLE pouts @ ‘going to leave me all alone, at least you might se! me a looking glass. (CRapeau remains without looking up, head in hands.) Inez. (Eager to please.) T have one in my bag! (Ske digs in her handbag. With vexation, ‘must have taken it when the shuts her eyes and seems to be about to Inez rushes forward and holds her up.) vez, What's the matter? Estaute. (ESTELLE opens her eves and smiles.) I feel range. (She runs her hand feebly over her b at way? When I can’t see mysel on feel myself, and I begin to wonder edly at her.) You're very lucky. I ide. ( ~ Everything that goes on in one’s head ‘is so’ vague it puts me to sleep. (4 pause.) NO EXIT 2s There are six huge mirrors in my bedroom. I can always the rug, the see myself in always arranged it wanted to hurt you? ‘You never know. (Crosses to If T’ve got to suffer, it might as Sit down. Closer. Come over here closer to me. Look into my eyes. What do you see? Esrexte. I see myself very tiny. I can hardly see my- self, Inez. I see you, All of yi could be so fait ask his help.) Monsieur Cradeau! I'm sure (Capea does not answer.) Inez, Let him be. He doesn't count any more. We're all alone. Go on, ask me questions, Estetz. Is my lipstick on straight?4 NO EXIT Lez, Come here. Let’s see. Not very. (Leaning back t0 look.) Esrexte. Ob, I knew itl Fortunately, (She looks to- tard Cxabaa out of the corner oj here.) nobody sam me, I'l start over lo, no! Follow the line of the guide your hand. (She' does so.) There—there—that's Estee, Is it as good as it was a while ago, when Teame in? Estenur, (Runs it all together.) But ste? T mean, do you have my taste? Oh 's so nerve-racking! Inver. I have the same taste as you, because I like you. Look at me, straight af me. Sm either. Don't you thi Esretuz. (Distrought.) 1 don't know. You're a little tetiying. My eelcton inthe minor was caught there you know, and I could do what I wanted it so well—I'm going to smile, Ie'l go your eyes and Heaven only knows what there, ez, And who's stopping you from catching me? (They look at each other. Esteiue smiles, litte Jascina Won't you Estee. (Squirms to call women by Inez. (Matter [-factly.) Especially secretaries, 1 sup- NO EXIT 2s pose. (As if startled.) What's that you've got there on ‘your check? It looks imple. Esrette, (Jumping.) On my cheek? How frightfull Where? 22. (Laughs) Vou see? T'm a mir to catch should shut my eyes and wouldn't look at vhat would you do with all that beauty? But don't worry, my eyes will stay wide open. I have to look at you, And T'll be nice, very nice. But you'll call me Inez, (Pouse.) Estette. You like me, Inez? Inzz. Very much, of her head.) 1 wish he'd look at me, too, Inez. (With scorn.) Because he's a man! (To Cza- EAU, over her shoulder, Rises, moves Ri (CRADEAU does not answer.) Why dont yo look athe? word. Not even with my fingers in my ears, Your gabbing went right through. Are you gol to leave me alone or not? I have nothing to do with you, you understand? Inez, (Menacing.) And this little one, you want some- thing to do with her? I see right through you. You think26 No EXIT she'll be more interested if you sit over there like a big man, thinking, ‘CRADEAU. There's want to listen. (Sfoves God damn about your any better. Estee. Right.) Thank you. Craprau, Jumps.) Ob, I didn’t mean— Estee, Half. ive a good that makes you feel slowly—very cold. Moves up of divan (A pause. They are standing facing each other.) Ceapeau. (Furious with disappointment.) There! (Pause.) U begged you to stop talking. Esreiez. Well, she began. T dich thing, and she offered me her mirror. Inez. No. You just made faces so he'd look at you. Estes, And what if I did? Ceapeav. (Crosses Left Center, cof you? Can't you see just wher for God's sake! going back and sit down quietly, and we're going ut our eyes, and each one is going to try to forget the others are here ask her for any- th (Silence. He sits down again, They go to their respective seats hesitantly. Usez suddenly turns around.) Inez, (Moves down to Craveav and to Left of him.) Forget! How childish! I can feel you bones. Everything you don’t say yells itself into my ears, You can nail your mouth shut, cut off your tongue, do i mm existing? Do you think ? T can hear your brain and I know you can ‘And you want to NO EXIT a rund comes into my ears dirty because you've on the way. You've even stolen my face. You looks xy she does? Take those hands away from your face. I'm not going to leave you al would be too easy. You' us, bul sit over resignedly.) managed ws they'd put me up with men-~ Men know ‘up. But Tsuppose you can't ack for too Uoward Esratin and tows her hob) Te got a feding you do, Estecte, (Mc ses Rig (He goes ike me, baby? Don't touch me. ‘You know I liked women a ‘And they liked me a lot. So Leave me alone! (Tur ‘As the day we were bo thing, except peace and a sleeves. I was trying to hear what they were saying. Everything goes by so fast on ea shut up! Not for a minute! Wel you could shed now, h28 NO EXIT as the day we were born, I want to know who I'm deal- ing with. ‘Tvez. You know. You know now. Craneau. (To Left Center.) As long as any one of us ay save Estee.) Esteute, I've told you. I don’t know. They would tell me. CraneAv. No, They wouldn't The blood looks like ru edges of the holes are rusty! Hah! It's a museum piece, wore it! Are you going to cry? ing, (Moves Center.) T used to come in biind dru and women, and she'd have been waiting up al But she never cried. And not a word course. Only her eyes. I can't be sorry. It's You going to cry? (Turns to INEz and shakes his head.) There's a woman who was born to be a martyr, (Crosses up Left Center.) Inez, (Almost gently.) Why did you make her suffer? Cespeao. (Brualy.) Because it mas easy All she nes ‘was a word to make her change color. She was fe. Huh! Never a word of blame from her. I'm a over the coat withor the holes as ably seems very abstract to (Moves up to Center chair. To Ine2, mulatto git! home to live, What nights! M slept downstairs on the first floor, She must have heard us. ‘You know what she first Inez, And got breakfast Craveau, Yes, and brou trays. Inez, Louse! Craneau. O} louse to her. nothing were saying on. Already So, this is no great surprise. 2 Sign onthe door, (Bitter) It's a—mockery, ‘Crapeau. Three. Did you say three? 730 NO EXIT Inez, Three, Ceapzav. A'man and two women? Inez. Yes, Ceapeau. Well 1 You poisoned her le by little, A word hhe made a noise when (0 the glass through his nose. Lit ‘The poor guy was very laughing at? . Because I'm not vulnerable. vez, That remains to be seen. I sort of slipped inside ‘mind and she began to see him through my eyes. And the end, there she was, in my hands. We took room the other end of town, Ceapeav. And then? Inez, Then came the trolley-car. I used to sa xy, after it happened, kid, we go (Silence.) 1'm malicious. I'm bad, T know. ‘Caapeav. I know. I am too. Inez, No, you're not malicious. With you it’s some- thing else. NO EXIT 3 hear her, She got back into bed beside me. That's all. (Moves a step to Center ly.) Him! jing. That’s nasty business. se it's nasty business. So what? Ceapeav. Oh, you're right. (To Estetue.) Your tum, ‘What'd you do?’ ESTELe. ( you that T'don't kn ‘ood. Eau, (To Right of Esrexte, Cheerfully.) All cht, we'll help you. That guy with the smashed-up face, ‘who was he? Esrecte, (Haughty.) What guy? Ceapeav. You know who T mean. The one you were afraid of, when you came in. Estexte. He's a friend, Center chair and You have no right Inez. (ds if in a grilling.) He of you? Esrecte, Certainly not, are you mad? Ceavzay. Then why were you afraid of seeing him? He blew his face off, right? ESTELte, Stop! St. Ceapeav. And he you! Inez, Yes! The gun went off because of you. That Esrexte, (Rising, hysterically.) Leave me al ‘ut of here! (Crosses up the rushes to the door and it because of you! Because of Center.) T've got to get out shakes it.) Craven. (Moves down Ri would please me better. Only locked. From the outside. Go on out. Nothing wappens the door is (Eisraxte tries to ring the bell, but it does not ring. Inez32 No EXIT ‘and CraveAU laugh, Este.te turns on them, backed against the door.) Es (Looking from one to the other, Her voice ‘hoarse, slowly.) You're monstrous, He di Is e thumba like a professional, but he had no money. (A silence.) CaaveAv. We asked, was he poor? Esteve. (Comes down to divon Right.) Yes, he was poor. (Sits) CrADEAU. And then, you had your reputation to take care of, And one. day bi away with him and yo sez, (Te ie came and begged you to go ighed at closing (A pause. Esteve begins to laugh.) Estette. You're not even warm! You twol (Ske straightens and looks at them. In a dry, provoking tone.) wanted me to have a child by him. There! Are you satisfied? ‘Ceapeav, And you didn’t want to, Estette’ No! ‘The baby was born anyway. I went to Mexico for five months. No one knew anything about it. Tt was a girl. Roger was there when she was born. He really wanted a child, But I didn't. ‘Crapzav. And what happened? Esrecie, There was a balcopy out over the rocks, The NO EXIT 33 over the ocean, I brought in a huge ‘Estelle, please, please!” and ery- sting; I loathed him. (Pause.) He saw everything. He leaned over the balcony afterwards and watched the waves where it had gone down, ‘CeaDEAU. And then what? Estette. That's all. I went back to New York. He did ‘what he felt like doing. Crapeav. That Estets. (Tearfully,) T'm so cowardly! T'm such coward! (Peuse. Flatly.) If you only knew how much T hate you! (Im anything to see myself (He takes his coat of mechanicall Estette, Yes. (A silence.) Inez. (Crosses up of Esreute to back of divan Right.) Well, Cradeau? Here we are, naked as born’ Does it make any difference? Are to your4 NO EXIT Ceaveav. (Walks about, looking at the floor.) Inez, they've got the wires hopelessly tangled. If you make the least gesture, if you lift your hand to fan yourself, No one of us can save himself alone. ing together or save our- together. You can take your choice. (Pause.) What's the matter? (Moves to Left of Esreutz.) to her on my bed? She says it's noon and Then I must be going blind, (Pause.) It’s ‘more. I can’t hear any more. pose that means goodbye to the mu saying? You were ‘me, if T remember. Craneau, Yes. ig me to do what? zz, And in exchange? Ceaneav. You help me, It’s so simple, Inet. All you it? I'm rotted away. Ceaveav. And what about me? (Pause.) Just the same, suppose we t ‘Inez. I'm dried up. I can’t take or give, either one. How do you expect me to help you? A dead branch, ready to burn, NO EXIT 35 (Pause. She looks at Estarte who has her face in Florence was a real blonde, Ceapzav. Do you realize that this gitl’s going to be trap. Do you thin self, A trap for her. give up? T 's going through my eyes the Way Florence saw hin. ( (Crosses, moves to INzz, Putting his hands on her shoulder.) But I can have pity on you. Look at me: we're naked. Naked to the bone, and I know you Tight in to your heart. It gives us something in common.36 NO EXIT Do you think I want to hurt you? I'm not sorry for ‘what's happened, and I'm not co m dried up you, But somehow I cam have pity on you (Who has been listening while he speaks, pulls Revolted, but speaking evenly.) Don’t ‘and to have anyone touch Cradeau, there are a om. For you, made espe- at least not by us. then shrugs roses below shoulders. Estette Estette, (Raising her head; as if from the depths.) Cradeau, hel CCeaozav. What do you want of me? Estette, if up and approaching him.) You can help me. ‘Crapeav. You'd better talk to her. (Iwvez has come up to them as they talk, Now she st directly behind Estetce without, however, touching toward Ceapeau, who looks at her ing.) Esrete, (BStet1e replies solely to CRADEAU, ai me, Cradeau, You promised! ick, I can’t bear being left alone. Millicent has gone off with him to dance. Esrettz, (Hurriedly.) Oh, a little dope I know. He of breath. I wonder why she even To Inez.) hat sort of can touch him, ccan't she? Can't she? She can hold his hands, touch his knees. Estente. le passion.) Not now. And nothing of Everythi is here, Do you xr? The statue there? The gold chai is. And I'm yours, my sweet, I'm yours ight ‘one of you tion? You're ne down.) You know peri Richardo, sweet,fone of my favorites. (Sings a phrase of @ song.) Wel ‘on, dance, Dance! Cradeau, you'd be amused if you co see her—I suppose she'll never know I can see her. But I do see you, with your hair coming down and your face all crooked, and I see you stepping all aver his feet. Tes f scream! You'd die laughing! Go on, faster, faster, He's Tell you, in front of| my face, dear Estelle? Oh, be quiet! Stop it, you didn’t even’ shed fone tear at the funeral. She says to him: “Our dear Estelle.” She has the nerve to talk to him about me. Come on, you might at least try and keep time! Of course she wouldn't be able to talk and dance at the same time, But what's? Oh, no! No! Don't tell him! You can have him, take (She has stopped 's yours now. She ‘oger, the trip to Mexico, ‘oor Estelle was not ex: actly—” She's quite right, I wasn't He's shaking his head sort of sadly, but I can’t say he looks very upset. Keep him now, he's yours. I'm not the one to fight wi ‘you over his long eyelashes and his girlish face. Hah! He Called me his inspiration, his crystal. I'm afraid the crys- tal’s just a little damaged now. Go on, dance! Dance Come on! Keep time! One, two— (She dances.) I'd everything in the world to’ go back for one instat cone tiny minute, and dance. (Dances dur can't hear the music very well any more. They've turned the lights down. It must be a rhumba, but why are they Playing it so sojtly? Louder! How far away!— I— 1 can’t hear anything at all now. (Stops dancing. In a small voice.) That's all. No more. The earth has left me for NO EXIT 39 good. Cradeau, look at me. Take me in your arms. (She ‘goes and kneels at CRADEAU'S feet.) Lez, (Iivez, af Esteute’s back, signals to Ceapeau to ‘move away from Esrets. Imperiously.) Cradeau! (Ceapeau indicates Inez to Estate.) ig, moving Left.) Speak to her. go aay! Are you a ‘you? Stop looking my face? I have it so painful to pretty hair, and after all, somebody id kill himself for my sake. Please, you've got to look at something, If it isn't me itl be the statue, or the table, or the couches. ‘And I do think I'm a little pleasanter to look at, (Aus- ing.) Listen, it’s so strange! I've fallen out of theit hearts back there like a baby bird out of its nest. Pick me up, take me into your heart. You'll see how sweet I can be Caapeav, (Pushing her oway with effort.) 1 told you to talk to her. (Moves up of EsteLte to Up Left Center.) Estette. (With astonishment.) To her? But she doesn’t count. She's a woman yea, (Moving to Estette.) 1 don’t count? (Con- I.) But, my poor dear litle bird, you've been safe in my heart for a long, long time, Don’t be afraid, Til watch over you every second, without even blinking my eyes, You'll live in my eyes like a speck of dust in a ray of sunlight Esreite. A\ray of sunlight? Hah! Don’t make me laugh. You played your tramp card a while back, Can't you see it didn't do'you any good? (Crosses Down Left.) to see how these words sound in her voice.) Estelle! My inspiraion, my exystal globe— Esteute, (Contemphuously.)’ Your crystal? I's ludic- rous. Who do you think you're fooling? (In @ hoarse voice.) Come now, we all know I thtew the kid out the window, The crystal is smashed in a theusand pieces and T don’t give a damn. I'm just a skin, but i's not for you to touch0 NO EXIT Inez, (Moves to he ‘want, an angel or a mor Come over here r. You'll find ly want to be. Estate. Leave me alone! You have no eyes! What have I got to do to make you leave me alone? This? (She spits in her face, Iwez lets go of her suddenly.) Inez, (Turns, her voice harsh and transformed by sage) Cradeau, youll pay for thst (Cresies to dean ME MOTAS. (A pouse. Ceapeny shrugs is shoulders end walks toward Esreue.) So you want aman? I that. Any man would fill thy Raopen lo be bere, snd Til do Good We takes her by the shoulders.) 1 have you to get excited about, you know. I'm not a ‘and I don't rhumba, men have to be? Just Estate. (Pleading to Crapeav,) Don’ attention to much. T won't love you. I won't be able to, I know you too well. want me? is Right of Estmute,) Yes. ‘NO EXIT a Esrexte. That’s all I ask for. Ceapeav. Then— (He bends over her.) Inez ‘Cuapeav. (Coolly.) T see you, So what? Inez. (Crosses to up of chair Center.) In front of me? ‘You— You can't! Esreute. And why not? I always undressed in front ‘osses to CRADEAU; clutching at him.) Leave mne! Leave her alone! Don't touch her with th filthy male hands! CRADEAU. (Pushing her violently.) No you dor not a gentleman, remember? And I don't mind hitting a Inez, (Suddenly piteous.) You promised me, Cradeau, you promised. I eg you. You promised me! Caapeau. Ye ‘one who broke the pact. (Turns to embrace Bstz1xe.) Inez. (Inez. breaks away and goes upstage Center.) Go ahead and do whatever you want. You're two against one, But remember, I'm here watch- ing you. And I won't take my eyes off you, Cradeau, You'll have to do everything right here in front of me. couple without saying a Caaoeac, (Ceavinv Puls his hands on Bsrezae's shoulders.) Your lips! (A pause. He bends over her, suddenly straightens.) Esreviz. (With a gestwe of annoyance.) Hah! (Pause.) T told you to pay no attention to her. (She Fouches CRapeav,) Ceapeau. Her? Who's thinking about her? (Pause,2 NO EXIT Looks out.) Deval is at the paper. They've closed all the windows; it must be winter. Six months, It’s six months since I was— I think I warned you I'd be preoccupied. ‘They're shivering. They've kept their coats on this time. t's funny to see them so cold, back there. (Rises, moves down Left Center. He alludes in gesture to the heat.) This time he’s talking about me. (Pause.) to Ceavzav,) You might at not saying anything. He's a louse, that’s all. (He strains to hear. Then slowly.) A god-damned louse!— Bah! (Coming back to ESTELLE, mechanically, honds on her shoulders.) Let's get back to us, Will you be able to love me? ing.) Who knows? ‘you have confidence in in front of me all the time, and you certainly won't deceive me with Ceapzau. (A pause. He lets go of Esrevte’s shoul- ders.) T meant another kind of confidence — again.) Go on, Go on to defend mysel have confidenc ay what you want. (To Esrette,) Est me! That a mess you make! Can't you see, you , my arms, my whole body? Everything imple— My confidence! But I haven't any give. It’s such an—embarrassing thing to ask. (Pause. Then musingly.) Ab, you must have done something rather horrible to keep asking me this way for ‘my confidence. you've got to (As if he were saying: “Can't you see for Twas executed, ) T— I never col- Isborated. (To Estztux.) He's a fast talker, he puts the NO EXIT 43 belongs, but he doesn’t say what should rosses end around.) Was I going to go in to the general and say: “Well, General, T've de- Cided not to go to war?” They'd have put me in j right away— I wanted to show them— I— I got on the train—they stopped me half way. Estee. Where wi Cr something Esrette. What do you want me to say? You dic to leave? (Ceapzau makes a gesture of annoyance.) Oh, darling! How can I’ guess what you want me to (Moving down Right. In a voice of honey.) But, 15, you're supposed to tell him that he ran off like Because he did run away, your big darling man. what's bothering him; thai's what he’s worrying Esrette. you'd have CRADEAU, coward? . But, darting, how should I know? T can’t get 1d. You'll have to decide that. . (With a tired gesture.) I can’t Esretts. After all, you must have had reasons to do what you did, Ceaveav, Yes, I had. CeaneAv. But was it the real reason? Esrexte. (Fretfully.) Oh, you're s0 com; Crapeay, in order to go on work. But, I wonder—was it the real reason? ‘question. Was it the real ive come before CeapeAv. Shut up! (Pause.) I used to walk back and“4 NO EXIT t and day. From to the window. Pd get on my own trai whole window to the myself ‘had got on Vy? At the end T certain thought: My deathl deci have proved did you Ceapeav, Badly, e. I like your bro ‘ez, Brown eyes cowards? Esretts. If you only knew how Coward or not, as long as he kisses wel Ceaveav, (Looks out.) They're rocking their h back and forth and puffing on’ their cigars. Bored And they're d Cradeau is a coward, Very softly, you've got to think of something! Cradeau is a coward! That's what Il be saying: “AS are lucky. Everyone on ’s harder to put out stand it any longer, I suppose! CeaDEAU. Of course. What else do you think she'd of? (Pause.) Well, that’s that. The war is over, my NO EXIT Is dead, But I've gone down in histo sob and passes his hand over his fac Esrexte, (ESteLLE embraces hi 4s (He utters a dry ‘Oh, my darling! Darling! Look at me, darling! Touch me! ‘Touch me! (Ske grasps his hand and places it on her throat.) Put your hand on my throat. (CaaDsau makes a movemer Leave your hand there! Leave Place. T've left my. Estette. You there to do? In the past, Just to go back for one day wi to it. But I'm (A pause.) going to do me ould ask you you would, if youd make an to pape thousand’ fm are saying Yim a cowatd, But whate just one soul who would say al’ ron aay, that T coed fave seme core saved. Wil you bei Shan I cout Tove ms srr, (Lowghing) You thi coud fovea cards Granza, But youve been saying jousand? If there I ‘must seem funny help. You're not rt, really love each other. You see, @ over and over again that Dear idiot! Do you46 NO EXIT Esrexie, tL was making fun of yout I like men, th rough skin, and strong hands. rard’s chin, or a coward’s mouth, ‘you haven't got the voice hair doesn't belong to a coward, And those things, your mouth, Craprav Esrette, Do you Craveav, (Joyously.) Then I defy them all, the ones ‘and the ones here! Est she’s saying ingenuousness:) you want me to have confidence in you, you'll have to begin to have some in me, ‘vez. (Rises.) Of course! Of course! Have confidence in her. She needs a man, you can believe that, She wants ‘a man’s arms around her waist, she wants a man’s smell ‘She wants to see a man’s eyes full of a man’s desire, And beyond that you you were God the what you wanted to hear. 1 Is that true? Answer me Esreute, What do you say? I don’ stand a word of all thi floor with impatience.) Oh, all so exasperating! you were a coward, I'd love you just the same. Isn't that enough for you? (A pouse.) Ceaneav. (To both women, with repressed loathing.) ‘You both disgust me. (He goes toward the bell.) No EXIT ” Esrexuz. (A step up toward the door.) What are you doing? ‘ou won't get far. The door’s locked. I damned well open it. (He presses the oes not any more of you, T can't do (Estette runs toward him ond Le seizes his hand. He pushes her awa Get out of here! You're even lower than s afraid to Cranes Estee, Oh, it’s true. you are a coward. Inez, (Coming you happy? You Pounding on the door.) take them all, the boots, lead, the tweezers, whatever you've some real suflering! Let's have a thousand fhave the acid and the whips, anything but48 never hurts ‘you open this door (The door opens suddenty, by With the opening of the door the 10 one-halj and a brilliant light doorway.) Hab! (He jalis back Right.) (A long silence.) Inez, What are you waiting for? Go! Go on, quick! (Caapeau moves to door. Esrexte starts up.) Ceaveav, (Mechanically.) Y'm not going, (Backs Right.) ‘Inzz. And you, Estelle? (EsteLe moves back down Left. INex begins to laugh, turns to Center.) Well? Who's going? Which one of us three? The coast is clear, What's sto G a scream! We're inseparable? Estette, (Estate rushes at her from behind. Push- ing her up to door.) Inseparable? Cradeau, help! Help uickt Drag her out and shut the door on her. She'll Estel you! Not in the hal ‘Ob, God, please, Don't throw me ‘Ceaveav, (Snaps.) Let her go. Estexte. You're mad. She hates you. ‘Ceapeau. I'm staying on her account. (Estate lets go of INex and looks at Ceapeau with stupor.) NO EXIT 49 takes two steps toward the door, which LIGHTS up full.) Ceapeau. (Crosses to Inez.) Yes, You know what a coward is. Inez. Yes, I do. Ceapeav. ‘You know what evil means, and shame, ‘There have been nij way through cracking your own bor Tonger kriew what it all meant. You co what you had gone through the night bel kknow the pri you say I'm a c because yeu know Wat is. Am I right? Ivez. Yes, Ceapeav, You're the one I've got to convince, You're ly want to convince me? ing T want. I can’t hear them know. It’s probably because ‘inished. The thing's a dead letter. even a coward. Inez, here we are, fou two to think fof me. She doesn’t count, But you, you who hate me, ‘you believe me you can save me. Tez. You, think it will be easy? Look at me, 'm a hhard custom 8 Listen, everyone has his own ai I never gave a damn abot be a man. A tough one. I put all my50 NO EXIT ‘eggs in one basket. How can anybody be yellow who always chooses the S course? De y you can judge a whol Inez. Why not? For were brave, unti allowed yourse venient! ‘you were cornered: r life behind you, ; they must be added up. What Canuau, (foving xp Center) You bitch! You have an answer to everything come, don’t give up so eas persuade me. Find the ri for it now! You're the way T want ray, do you hear? T want you to be Kk how weak I am! (Solely) Jus thing about me that fact that I’m looking at you, that I'm think- fg about you (He iurns toward her, hands outstretched.) (In her element.) Ha! Those big male hands are op up! What do you think you can do? Hands don’t thoughts. Come on, you can’t do anything about ‘you've got to convince me. I've got you. No EXIT By between them.) Cradeau! Esretue. (Goes into Cnavzav’s arms.) Kise me and watch her, beau. (As if considering the idea.) You know, that's true, Inez. You've got , but T've got you na. (Screams.) Ah! Cova Yell! Twez, What a lovely couple! If you could only see his big fat paw spread out on your back rubbing your and squee hands are wet, he’s swea ing. He's going t tain on your dress, , Tnez! Hug me tighter against tnter! Keep each a It’s soft and I see you, I see you! I'm a crowd all by myself, the Cradeau, the mob! Do you hear? (Babbling. ing go of you. ever get her! “itooes@ ep efNo EXIT { ‘NO EXIT 8 ‘eaDEAU looks about, dazed.) (They fall bock tato their seats, cach én his own. Crabeau, Inez, Always. handbag.) Do you have a mirror—a little mirror—any- Bing (During her speech the Curtin hax been fling ike a child.) It’s never going to get dark? A long silence.) Esrets. (Beginning to search jaticolly in her (Ceapeav walks away from Estette, who goes and takes a few steps about the room. He goes always see me? { END OF THE PLAY _ | ‘They knew my hand on i Crapeau, (Sees Estate. 7) me alone. She's between us. I can’ Estettr, Hah! She won upon INEx and stabs her rapidly severé Inez she were being laughing.) What are you doing? What are you doing? ‘Are you crazy? You kriow perfectly well I'm dead. Esrette. Dead? (She lets the knife fall. A pause, Inez picks it up ot, with guns, poison. It's already dane, you understan And ve're together from now on, forever. (Ske laughs, Center and sts.) Forever, oh my God, it's so funny! Forever! Crapeav. (Laughing as he watches them, Crosses to Left divan and sits.) Forever!No EXIT PROPERTY PLOT Red divan, Right Green divan, Left Letter opener Handbag (Estelle) Powder (Estelle) Handbag (Inez) ‘Scene DESION "NO EXIT”