No Exit by Jean-Paul Sartre Adapted from the French by Paul Bowles SAMUEL FRENCH veaiicu wiul CiNO EXIT STORY OF THE PLAY (2 males; 2 females) Produced with great success in Paris, London, and numerous other capitals of Europe, Vo Exit was first pre~ sented in New York at the Biltmore Theatre with Claude Dauphin, Annabella, and Ruth Ford. Two women and one man are locked up together for eternity in one hideous room in hell. The windows are bricked up; there are no mirrors; the electric lights can never be turned off; and there is no exit. The irony of this hell is that its torture is not of the rack and fire, but of the burning humiliation of each soul as it is stripped of its pretenses by the cruel curiosity of the damned. Here the soul is shorn of its secrecy, and even the blackest deeds are mercilessly exposed to the fierce light of hell. It is an eternal torment.Herman Levin and OLIVER SMITH Present NO EXIT A New Play By Jean-Paul Sartre Adapted from the French by Paul Bowles With ANNABELLA CLAUDE DAUPHIN RUTH FORD Directed by Joun Huston Setting and Lighting designed by FREDERICK KIESLER CAST (In order of appearance) _ Claude Dauphin _ Peter Kass Annabella _ Ruth Ford ESTELLE SCENE A room. Time, the present. veainicu wiul CiNo Exit ScENE: A room. Sparsely furnished. Looks rather like dentist’s waiting room. The room is set on a plat- form that rakes from back down stage. The ‘alls slant outward from back to down stage and the ceil- ing rakes from middle stage to the back. There is a fireplace and mantel in Right wall; on the mantel are a statue of Cupid and a letter opener. The door is in Center of back wall. There is a window in the Left wall; when the curtains are opened we see that the window has been bricked up. A chandelier hangs Center from ceiling, there being a hole in the ceiling large enough for the chandelier to go through. There is a@ large ornate gold chair Down Center; a red divan Right and a green divan Left of Center chair.) (CrapeEau enters, looks around. Speech nervous, clipped. Boy follows.) Crapeav. So this is it. Come (Busingly.) And this is the way it looks. Cee Hr he Aone a end you get used to the “er He oom Sere, Gear oatemptuously,) No, of course not. We get Chinese, Hindus, blacks, everything. What would they ith stuff like this? | WaapADEAU. (Vigorously.) And what do they think I 56 NO EXIT want with it? God, it’s hideous. Oh, well, I was always living with furniture I couldn’t stand, anyway. And ideas. And people. I liked it. Boy. (Uncomprehending.) Oh, you won’t find it so bad here. You'll see. Craveau. (Mechanically.) Good. Fine, fine. (He looks around.) Just the same, it seems funny to me—you’ve heard ail the stuff they tell back there. Boy. What about? CraDEAv, Oh— (Making a vague, wide gesture.) All this. Boy. You don’t believe all that crap! People who've never been anywhere near here. Because if they had— Crapeav. Yes! (They BotH laugh.) (Becoming suddenly serious again.) Where are the thumbscrews? Boy. What? CrabeEav. The thumbscrews, the whips, the racks? Boy. Are you serious? Crapeau. (Looking at him.) Ah? Oh, good. Yes, I was serious. (Silence; he walks about, With sudden violence.) No mirrors, no windows, of course. Nothing breakable. (With sudden violence.) And why'd they take away ray toothbrush? Boy. Aha! There’s your human dignity coming back! CravEau. (Pounds angrily once on the back of the divan.) Save your familiarity, my friend. I know where I am and I know why I’m here, but I'll be damned if T’'m going to stand for— Boy. Take it easy. No harm meant. But what do you expect, all the guests ask the same thing. Right away they ask: “Where’s the thumbscrews?” And when they say that, I can tell you they’re not thinking about that Pepsodent smile of theirs. Then you get ‘em calm down, and about that time they start wanting their 16 a Now all I ask is, just stop ie ae why in would you want to brush your teeth here Crapeau. (Quieted.) Yes, I suppose that’s true. WHY vueunicu wert CiNO EXIT 7 should I? (Looks around.) And why would I want to look in the mirror? As far as the statue goes, fine. There'll probably be plenty of times when I won't be able to look at it enough. (Working himself up.) Not enough, see? What the hell, there's nothing to hide. I tell you I'm quite aware of my status here. And why I was sent. Do you want to know what it’s like to be here? Is that why you were looking at me like that? All right, T'll tell you. It’s like drowning in hot water, with your eyes above the water. (Whirls about to face mantel.) And what do you see? A statue of Napoleon! (Pause.) What a nightmare! (Pause.) That’s all right, you don’t have to say anything. You're probably not allowed to, anyway. I know, I'll shut up. But just don’t think it’s a shock to me. I knew what was coming. I know the whole score backwards and forwards, behind me and ahead of me. (He begins walking again, Reflectively.) So it’s no tooth- brush. No beds either. You never sleep. Right? Bov. Right. Crapeav. I was sure of it! Why would you sleep any- way? You feel sleepy, it creeps up on you behind the ears first. You feel your eyes shutting, but—sleep? You lie down on the couch, and—fttt!. All gone, you’re not sleepy any more, You have to rub your eyes, get up and go through the whole thing over again. Boy. You've got some imagination. Crapeav. Shut up. I’m not going to make any fuss; I just want to look the whole thing straight in the face. I don’t want to give it a chance to knife me from behind where I can’t see it. Imagination? Well, then, how’s this? You don’t get sleepy. Why sleep if you're not sleepy? Correct, Wait a minute, wait a minute! I’ve got it! Why is it painful to be here? Why would it naturally have to be torture? I’ve got it! Just because it’s life without time off, without a break. Boy. What d’you mean, break? Crapgau, What do I mean? (Suspiciously.) Look at me, I knew it! That’s why you've got that smug, cocky veainicu wil Ci—— =< a NO EXIT 8 on your aust imself.) My God, face. (Pause. To hi self.) ression " ied. . theyre areP pat are you talking abOw!? sO we Ceapzau. Your eyelids. We con of darkness, a little called it blinking your eyes. fee up, and your break is Black curtain falls and goes back up, and soe [one de. It keeps your eyeball me “A hundred rests in eG. Think how restful it would be. A hundre nats i world. Th Mhundred little escapes— So? I’m going to live without eyelids? You know it's all the same thing, with- out eyelids, without sleep. (Pause.) i 7 Sete how'm I going to put up with myself? J st try to under stand, Try hard. I’ve got a mean, nasty kind of disposi- tion, you see, and I—I’m sort of used to teasing myself. But I can’t I can’t go on doing that all the time. Back there, there were nights, I used to sleep. A wonderful soft, sleep, to make up for it. I made myself have simple dreams. There would be a field. A field of grass, that’s all. ’'d dream I was walking through it. (Pause.) Is it daytime? Boy. Daytime? Craveau, Is it light? Boy. Don’t you see the lights are lit? Crapeau. (Pause. Then quietly.) 1 see. But outside? Boy. (Flabbergasted.) Outside? Crapeav. Outside! On the other side of the wall? Boy. There’s the hall ewe Coapeav, And at the end of the hall? ‘OY. More rooms and more halls and stai : Crabeav. And then what? a aaa Boy. That's all. EAU. You must hi i : Where do you go? ave a day off once in a while. ov. To see my uncl i 15 Bell Captain on that floor on the third floor. He’s Bell EAU, light-switch pthould have guessed. (Pause.) Where’s the Boy. There isn’t any, EAU. You Mean you can’t turn the light off? VueUunicu wil CiNO EXIT 9 Boy, The management can shut off the juice, But I don’t remember they ever did i i vt lid it - unlimited service, Seam Crabeav. All ri open, Boy, (Maliciously, ironically.) Live? Craveav. Let’s not split hairs about words. With your ight, so you have to live with your eyes to send that statue through the chandeli rT, de think it'd do the trick? i or 60 you tis Boy. It’s too heavy. Craveau. (Tries to take the statue in his hands.) You’re right. It is too heavy. (A silence.) Boy. Well, if you won’t be needing me any longer, CRaDEav, (Jumping.) You going? (Pause.) So long. (The Boy reaches the door.) Wait! (The Boy makes an affirmative gesture.) I can ring for you when I want and you have to come? Boy. Well, yes. But something seems to be wrong with it. Sometimes it works and sometimes it doesn’t. (CRADEAU goes to the button and presses it. BELL rings.) Craveav. It works! Boy. (Surprised.) That’s right. So it does! (He rings.) But don’t get your hopes up; it won’t last. Well, excuse mi e— Crapgau, (Makes a movement to detain him.) I—uh— Boy, Huh? CrapEAu. No, nothing. (He goes to the mantel and takes the paper knife.) What’s this? Boy. Why, a letter-opener. . Crapzau, You have no mail delivery here? cu vier) C¥10 No EXIT ee ‘Then what good is it? (Boy shrugs his shoulders.) That’s all right. You can go. is alone, He goes to the Cieke nd pats ir nith 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 wal in place of glass. Goes to the bell and pushes button, Bell does not ring. Tries two or three times. In vain, Then goes to the door and tries to open it. It does not open. He calls, frantically.) Boy! Boy! ‘No answer. His fists 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,) Boy. (To CrapEav.) You call? Craveau, (CRADEAU is about to reply, but glances at Inez.) No. Boy. (Turning toward Inez.) Here you are, Madame, (Silence from Inez.) Tf you have anything you want to askk— (Continued silence. (Disappointed.) Usually the guests want a little informa. tion— It’s all the same far as th to me— Besides, as far as the toothbrush goes, and the Statue, and the bell, this gentle- man knows all about it and he can answer your questions as well as I can. (Boy goes out, Silence, Craveau does not look at INEZ. She looks about, then Boes brusquely toward Cra- DEAU.) Inez. Where is Florence? (Ceaprat ( U does not answer.) a vearmicecventh CiNO EXIT 11 I’m asking you a question. Where is Florence? peEAU. I haven't any idea, er that the best you can do? Torture by separa- tion? Well, it’s a failure as far a concerned. Florence was a little fool and I don’t miss her. Crapeau. (Moves to Inzz.) I’m sorry, but— Who are you taking me for? Inez. You? You're the torturer, I suppose. Cranrau. (Jumps, then begins to laugh. Moves down.) That’s very funny! You came in. you took one look at me, and you thought: ‘‘That’s the man who's going to torture me.” What a mistake! That stupid bellboy should have introduced us. Torturer! Let me do the honors. Vincent Cradeau, journalist and writer. Since we seem to be sharing the same quarters, Madame—? (Moves to sit Center.) Inez, (Drily.) Inez Serrano—Mademoiselle. CrabEAU. Good, fine! Well, the ice is broken. Now do you find I have the face of a torturer? (Pause.) And would you kindly tell me just how you can recognize one? Inez. They look as if they were afraid. Crapeav. Afraid. That’s crazy. And of whom? Of their victims? Inez. (Stubbornly, looking away. Crosses above diven Right.) 1 know what I’m talking about. I’ve seen my own face in the mirror. | CraDEau, In the mirror? (Looks around.) This place iy impossible. They've taken everything that looks remotely like a mirror out of here. (A pause.) Well, anyway, I can a you, vn 7 afraid. I don’t take the situation ightly, and I’m fully aware of its seri . eet afent ly its seriousness, but I’m Inez. (Shrugging her shoulders, (A pause. Insolently.) Do you e out for a stroll? CRabeav. The door’s bolted, Inez, (Sits divan Right.) Well, so much the worse. ) That’s your business, ver, by any chance, ge12 NO EXIT ly understand that you’re not exact! re Rind me in here with you. And as a matter of fact Fd rather be alone myself. I’d like the oe to get t few things straight in my mind. Put my life in rder, as it were. But I’m sure we can get used to ad e cr. I don’t talk, I don’t even move around much, and I make very little noise. The only thing is, if you don’t mind my suggesting it, we should keep up the greatest politeness toward each other. It will be our best defense. Inez. (In a dead voice.) I’m not a polite person. CrapeEAv, I'll be polite for both of us. (A silence. Craveau is seated. His mouth twitches. Inez walks back and forth in the room.) Inez. (Stopping to look at him, with intense distaste.) Your mouth. Crapeau. (Coming out of a dream.) I beg your par- don? Inez. Do you think it would be possible to stop twitching your mouth? It’s going around like a top there, under your nose, Crabeau. I’m extremely sorry, I didn’t realize. Inez. That’s just the trouble. (CRaDEAU resumes his tic automatically.) There! You make a point of being polite, but you leave your face out in the open. You're not alone, and you have no right to inflict the sight of your fear on me. Crapeau. (CRADEAU rises and walks toward her.) You're not afraid? InEz, What good would it do? Fear was for before, while we still had hope, Cravgau, (Gently.) There’s no more hope, that I know, but we're still before. Whatever it’s to be, it hasn’t yet, you know, Mile. Serrano. hina I know. (A wait.) And so? What's going to hap- pen Crapeau. I don’t know, I’m just waiting. yveuinicu wre CNO EXIT 13 (A silence, CrapEau Boes back and sits down, Inzz re- Sumes her striding about CRADEAU’S mouth still face still in his hands.) , EstEtie. (Aysterically to CRADEAU.) No! No, no! Don’t take your hands away! I know what’s behind! You have no face! (CRrabkau takes his hands away.) Oh! (A pause. With surprise.) I don’t know you. Crabeav. I’m not the torturer, Madame. Esteve. I didn’t think that's who you were, I— I thought someone was trying to play a joke on me. (To the Boy, anxiously.) Are you still expecting someone else? Boy. No one else is coming. Estee, (Calmed.) Oh! Then we're going to be all alone, just the three of us? Oh! (She begins to laugh.) Craveau. (Dryly.) It’s not a laughing matter. EsTELLe. (Continuing her laughter. Moves back of divan Left.) Oh, I know, but these divans are so hideous. And look how they’ve set them out in a row. I feel as if it were New Year’s and I were visiting my Aunt Marie. Each one has his own divan, I suppose. This one’s mine? (To the Boy.) But I shall never be able to sit down on it! It’s frightful! I’m in turquoise and it’s upholstered in spinach green. Inez. Would you like mine? EstEtre, (Going to Right of divan.) That burgundy one? It’s awfully nice of you, but I’m afraid it wouldn't be much better. Oh, well, what can one expect? Each one gets his little prize. Mine’s the green one. [ll keep it. (Pause. Reflectively.) Actually the only one that could possibly match at all is the one this gentleman’s sitting on. (Silence.) veainicu wiul Ci—— ti“‘“‘:S;C:~™ aa NO EXIT .) Did you hear, Cradeau? a to npine.) ‘The divan. Oh, excuse met (He gets up.) It’s yours, Madame. (Crosses down to divan te Thank you. (Moves up of, chair Center. Ke ‘her coat and throws it on the chair. : Since eat going to live together, I think we should make each other’s acquaintance. I am Estelle Delaunay. Y is ir himself, but Craveau bows and is about to introduce : ‘ Inez steps stolidly in front of him.) Inez. (To EsTette.) Inez Serrano. I’m delighted! Craveau, (Bows again.) Vincent Cradeau. (Sits Left.) Boy. Do you need me for anything? EstELLE. No, that’s all. "ll ring for you. (Boy bows and goes out.) Inez. (In the tone one uses to soothe a child who has fallen down.) You're very lovely to look at, and I’m very happy. I wish I had some flowers to make you feel more at home. Este.ie. Flowers? Oh, yes. I always loved flowers. But they’d wither here, ive so hot. ‘oh. dear! The im Portant thing, I suppose, is i eek to keep in a good humor. Inez. Yes, last week, and you? ESTELLE. I? Yesterday. The funeral isn’ speaks perfectly naturally, heads as if she were secing t. wind is blowing my sister’s veil around, She’s doing all she can to cry. Oh, come, try a little harder than that! There! Two tears, two tiny little tears shining under the crepe. Gabrielle is terribly ugly this morning. She's hold- ing onto her sister’s arm. She doesn’t dare cry because it would make her mascara run. I must say that in bet Place, I’d— Well, after all, she was my best friend. Inez, (Fascinated.) Did you suffer very much? "t over yet. (She looking out over audience's he things she describes.) The yeu ruwenth CNO EXIT Estee. No. I was barely con: Inez. What did you nite EstE.te. Pneumonia. (Continuing the same business as before.) Well, it’s over. They’re leaving. Good morn- ing! Good morning! Such a lot of handshaking! My hus- band is absolutely ill, he’s so unhappy. He Stayed at home. (To Inzz.) And you? Inez. Gas, EsTELte. (To Crapeav.) And you? Crabeau. Twelve bullets in my carcass. (ESTELLE makes a gesture, shocked.) I'm sorry. (Rises—moves up Left.) I’m afraid I’m not a very high-class corpse. ESTELLE. Oh, no, 15 but I mean, if you only wouldn't use such crude words, It's—it’s a little disgusting! And after all, what does it mean? You know, it may very well be that we've all never been so much alive as we are right now. If we must absolutely give a name to this—state of affairs, I suggest we call it absence. It sounds so much nicer. Have you been absent long? Crapeav. About a month. EsTexve. Where are you from? Craveau, (Crosses to Right Center.) Paris. EsTEtte. Have you anyone left back there? Crapgau. My wife. (Looking out over audience.) She came to the jail every other day. They wouldn’t let her in. She’s looking in through the bars, 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 to change. The sun is nice and bright and she’s in black, there in the empty streets, with those big eyes, like a vic- tim’s— Agh! She gets on my nerves! (A silence. CRADEAU goes and sits down in the Right divan and buries his face in his hands.) Inzz, Estelle! veunicu with Ci16 NO EXIT 7 Estevys. (Rises, crosses Left of (CRADEAU.) ccuse Monsieur Cradeau! ee epaDEAU. 1 beg your pardon? | ae eee eee ry uitte gets wp; crosses £0 divan Left.) nl k so wrapped up- ae CaanEAU, Mia ree) J'm putting my life in order, t i laughing.) : with Mecotion) tt might be better for some people if y did the same thing. ; te are Ny fe is all in order. Completely in order. 1 did it all by itself back, there, and I don’t need to bother i . (Sits Right. . aoe eel Really? ou think it’s that simple? (He wipes his forehead with his hand; rises.) What heat! May I? (He starts to take off his jacket.) EsTELLe. Oh, don’t! (More gently.) No, please. I can’t stand men in their shirtsleeves. Craveau. (CRADEAU puts it back on.) That’s all right, (A pause.) I used to spend all night in the copy room. It was always hot as a jungle in there. (Pause. Same business as before.) It is hot as the jungle in there right now. It’s night out. Estette, So it is. Already night. Millicent is getting undressed, getting ready for bed. How fast time flies, there, Inez. It's night. They've closed up my room and sealed the door. And the room is empty and dark. Crapeav. They've put their coats on the backs of the chairs and rolled their shirtsleeves up above their elbows. It smells of men and cigar smoke. (Silence.) I used to like to live that way, with men around in their shirt- sleeves, (Sits Left.) Estette, (Dryly.) Well, we don’t happen to have the same tastes. That’s all that proves. (To Inez.) And you, did you like men in shirtsleeves? : Inez. (Flatly, looking at her nails.) Shirts or no shirts, I'm not very fond of men anyway. veauinicu wrt CiNO EXIT 17 EsTELLE. (ESTELLE looks at them both with s tupefac- tion.) But why, why have they put us together? Inez, (Suppressing a laugh.) What's that? EsTELLe. I look at you both and I think of haw we’re going to live together— I somehow expected to find friends, relatives. Inez. A lovely friend with a hole in the middle of his face! ESTELLE. Yes, that one, too. He used to do a rhumba like an absolute professional— But why have they put us, us, together? CRaDEAU. Well, it’s just chance. They put the people in wherever they can, in the order of their arrivul. (To Inez.) What are you laughing at? Ingz, At you and your chance. Do you need to be re- assured that badly? They leave nothing to chance EsteLLe, (Timidly.) Perhaps we've met somewhere before? Inez. Never, I’d never have forgotten you. ESTELLE, Or maybe we had friends in common. Don’t you know the Dubois-Seymours? Inez. I doubt it very much. ESTELLE. They’re always entertaining. Everyone goes. Inez, What do they do? Estee. (Surprised.) Do? Why nothing. They have that big place at Cannes and— Inez. I was a secretary. EstELte, (IVith a little step backward.) Oh, really? Well, then, of course!— (A wait.) And you, Mr Cra- deau? Crapeav. I never left Paris. I found trouble eaough right there. EsTELLE. In that case you must be right. It’, pure chance that brought us together. Inez, Chance! Then this furniture is here by chance. It’s just an accident that the divan on the right is dark green and the one on the left is red. An accident? Well, then try changing them around and let me know how it comes out? And the statue, is that there by chance, too? veunicu will Ci————— Le — ee 18 NO EXIT is heat, this heat? (Pause.) I tell you, everythin, And this heanned, Down to the last detail and with the greatest of care. This room was made for us. It was wait- i eee But why should it be? Everything about it is so ugly, so hard and angular. I always hated angles. Inez, D’you think / lived in a room like this? (A pause.) Estriye. Then you think everything has been ar. ? an Everything. And we're well matched, too. EstTette. And it’s not by chance that you happen to be sitting opposite me? (A pause. Musingly.) What are they waiting for? Inez. I don’t know, but they’re waiting, don’t worry. EsTeE.ze. I can’t stand it when I think someone ex- pects me to do something. Right away I have the most awful urge to do just the contrary. Inez. Well, go ahead! Do it! You don’t even know what it is they want you to do. Estee. (Tapping her foot.) It’s unbearable. And something’s supposed to happen to me because of you two? (She looks at them.) Because of you two! I’ve seen faces that meant something to me right off. And yours say nothing at all. Crapzau, (Who has been pondering, rises, crosses up of Inez. Brus. 7 quely, to INEZ.) Come, now, why are we together? You've already said too much, Go ca to the end. Inez. (A little astonished, ? i teal ) I don’t know anything CrapEau. We've got to know. (H, Inez. If only each one of ug tad oc oe 5 ie Crapeau. What? i (Pause.) , VueUINIcU vil UCNO EXIT 19 Inez, Estelle? ESTELLE, Yes? Inez. What did you do? Why hay Esre.in. (With animation) But T oeey geet haven't the vaguest idea/ | evi 7 en have a feeling j be a mistake! (To Inez.) Don't smile, "Think ef all the ent every day. They come : taken care of by mere un- derlings, uneducated employees. How could ‘here ‘help being an error now and then? Don’t laugh at the idea. It’s perfectly reasonable. (To Crapeau,) And you, why don’t you say something? Perhaps they didn't make 4 mistake in my case, but perhaps they did in yours, (To Inez.) And yours, too, maybe. Don't you think it’s Better to think we're here by mistake? Inez. Is that all you have to tell us? EsTELLE. What more do you want to know? T have nothing to hide. I was an orphan, had no money, and I was trying to bring up my younger brother. There was an old friend of my father’s who wanted to Marry me, and he had a good deal of money and was rather nice, so I accepted. What would you have done in my place? My brother’s health was terribly delicate and it was fright- fully difficult to give him the kind of care he needed. I lived six years with my husband without even a shadow of trouble or unhappiness. Then two years ago I met the man I was really meant for. We both knew it the minute ‘we saw each other, and he wanted me to run off with him but naturally I wouldn’t. After that I had my pneumonia, That’s all. Of course I suppose I could be blamed in a way, for having sacrificed my youth to an old man. (To Crabeav.) Do you think that’s wrong? Crapeav. Certainly not. (Pause.) Do you think it’s wrong to live according to your principles? Este.te. I don’t see how anyone could be blamed for it. Crapeav. I edited a newspaper that had a reputation for telling the truth. I had a bold policy. The truth, whether they liked it or not, and the hell with conse- reee (0 EXIT 20 x me a fearless ces. That was my motto. They called | Pacifist, not Genalist. 1 alvays came out again all war, any war, ine milksop kind, but militantly against 2 the gospel of the milksop Kind, but ei aad preaching the gospel 0 After Dene fell. Was I supposed _ pate with th Brinciples hecasise they happened to find Traitor They Germans? My enemigs dor¢T'yas for the brotherhood of said That mine was a lost cause, And the fools had their man. Bu mint They shot me. I folded my arms and they wey ine Nhere’s the blame there? What did T do wrong? pa (Puts her hand on his arm.) You did nothing wines Rees, finishes in a tone of sarcasm.) A hero, (Pause.) And so it was simple as that! ; Craveau. Well, almost. Perhaps not quite. (Moves to its. ee was lucky you had no responsibilities toward anyone. You weren’t married, I take it, Craveati. (Guiltily.) Well, yes, T had a wife. (Def- antly.) What about her? I took her out of the Butter to marry her. Esreuie (Triumphantly, Inez. (Moves up of diva Pause.) Who are you putti We're all in this together, EsTE.ut. (Insolently.) Together? Inez. (With brutality.) Criminals together. We're in hell, my little friend, and there’s never any mistake there. People are not damned for nothing, Estee. Stop it! Inez, (Raising her voice.) In hell! Damned! Damned! EsTELie, Stop! Will you stop? I forbid you to use ae Moa like that. ) wet. (Quietly. Moving up of EstELte to Left Center 1 said damned. Did you heat at Salvation Nell? And Yeu, too, you Breat big clean-cut hero. (Persuasively) We bnd our day, didn’t we? People suffered, they Wet! to INEZ.) You see! You see! in Right. Grimly.) 1 see. (A ing this act on for anyway?NO EXIT u through agonies because of us and we thought it was pretty amuSing. It’s got to be paid for now. CraveAu. (Rises, moving Left. Raising his hand men- acingly.) Will you shut up? Inez. (Looks at him without fear, but with great sur- prise.) Ah! (Pause.) Wait! Now I understand! I see why they’ve put us together. Craveau. (Nervously, up of divan Left.) Be careful what you say. We don’t want to hear it, anyway. We know we're here. Isn’t that enough for you? Inez. Oh, no! You've got to hear this! This is too good to keep secret. (Pause.) It’s pretty clever! Very clever! There's no physical torture, right? No nail-pulling and roasting over the flames. And yet we're in hell. And no- body else is coming. No one. We're together, just the three of us, from now on. Crapeav. (/n a low voice.) I know it. Inez. Well, this is the point: they've made a saving in their hired help. That’s all. The customers serve them- selves. It’s like a cafeteria. EsTELLE. What do you mean? Inez. Each one of us is the torturer for the other two. (A pause as they take this in. Finally.) Crapeau. (Crosses to Left of Inez.) I won’t provide your tortures for you. I have nothing against you and I don’t want anything to do with you. Nothing. It’s per- fectly simple. So there you are. Each one into his little corner. It’s a game. You here, you here, and Tl be here. And silence. Not a word, (INEz sits divan Right.) It’s not so hard, is it? Each one of us has enough to do thinking about himself. I could stay ten thousand years without speaking. Este.te. (/ngenuously.) I have to be quiet? Crapeau. Yes. And we'll be—we'll be saved. Just be quiet. Look inside yourself, never lift your head once. Agreed? Inez. Agreed, veunicu vial Ci22 NO EXIT Estevre. (Wistfully, after a moment's hesitation.) 1 a RADEAU. Well, goodbye. (He goes to his divan and sits with his head in his hands. Silence.) i i ESTE ies herself ‘Inez begins to sing to herself, ESTELLE busies ; with her make-up. She puts on powder and looks about for a mirror anxiously. Searches in her hand- bag. Finally turns to CRADEAU.) ESTELLE. I’m sorry, you wouldn’t have a mirror—? (CRADEAU does not answer.) : A mirror, (Rises, moves to CRaDEAU.) a little hand- mirror, you know, anything. (Craveau still does not answer. ESTELLE pouts a little, moves to Center.) If you're going to leave me all alone, at least you might get me a looking glass. (CRraveau remains without looking up, head in hands.) Inez. (Eager to please.) I have one in my bag! (She digs in her handbag. With vexation.) It's gone! They must have taken it when I came in here. EsTELLE. (Weakly.) What a bore! (Sits Center.) (Pause. She shuts her eyes and seems to be about to faint, Inez rushes forward and holds her up.) Inez. What's the matter? EsTELLe, (ESTELLE opens her eyes and smiles.) I feel so strange. (She runs her hand feebly over her body.) Don’t you ever feel that way? When I can’t see myself in the mirror, I can’t even feel myself, and I begin to wonder if really exist at all. INEZ. (Looking fixedly at her. You’re very lucky, 1 always feel myself inside. (Sits.) ) y : ESTELLE, Oh, yes, inside— Everything that goes on in one’s head is so vague it puts me to sleep. (A pause.) veuisu wierd Cia , NO EXIT 23 mirrors in my bedroom. I can always see them but they can’t see me. They reflect the couch, the window. How empty it is, @ mirror, if I can’t ae if in it! Whenever I had to talk to anyone, I dit so that I could see myself in one. I if talking. I could see Hon looked to other people and that sort of kept me awake. (Desperately.) My make-up! T’m sure I’ve put it on all wrong—I simply can’t go on through all eternity without irror! : : ‘Inez. (All this as if to a child again.) Wouldn’t you like me to be your mirror? Come, I invite you over tomy house. (Indicating place on divan Right.) Sit down on my divan. EsTELLE, (Pointing to CrapEau.) But— Inez. We won’t pay any attention to him. Estette. (Rising; fearfully.) ‘We're going to hurt each other. You said so yourself. INEz. Do I look as if I wanted to hurt you? Estee. (Hesitantly.) You never know. (Crosses to sit Right of INEz.) Inez. It’s you who'll hurt me. But what does it matter? If I’ve got to suffer, it might as well be because of you. Sit down. Closer. Come over here closer to me. Look into my eyes. What do you see? ee I see myself very tiny. I can hardly see my- self. Inez. I see you. All of you. Ask me questions. You'll see no mirror could be so faithful. EsteLLe. (ESTELLE, embarrassed, turns toward CRA- DEAU, as if to ask his help.) Monsieur Cradeau! I’m sure we're annoying you with our silly chatter! There are six huge (CRADEAU does not answer.) Inez. Let him be. He doesn’t count . it an; . We’ all alone. Go on, ask me questions. Miataie hides Estee. Is my lipstick on straight? veunicu wil Ci——— 24 NO EXIT Inez, Come here. Let’s see. Not very. (Leaning back ke. 0 onl. Oh, I knew it! Fortunately, (She looks to- ward CRADEAU out of the corner of her eye.) nobody saw 7 again. . . ee That’ better, No, no! Follow the line of the lips. I'll guide your hand, (She does so.) There—there—that’s it! : EsrExze. Is it as good as it was a little while ago, when I came in? . Inez. (With satisfaction.) Better. Heavier. More cruel. i -up for Hell. Just the right ar Scoming to notice.) Hm! And it’s all right? (Petulantly.) Oh, it’s such a nuisance, I can’t judge for myself! You swear it’s all right? , Inez. (As if asking an opinion.) Do you think I'd lie to you, my sweet? . EstEvre. Swear it looks all right. Inez. You're beautiful. Estexie. (Runs it all together.) But have you any taste? I mean, do you have my taste? Oh, it’s so awful! It’s so nerve-racking! Inez. I have the same taste as you, because I like you. Look at me, straight a¢ me. Smile at me. I’m not ugly either. Don’t you think I’m better than a mirror? EsTELLe. (Distraught.) I don’t know. You're a little terrifying. My reflection in the mirror was caught there, you know, and I could do what I wanted with it. I knew it so well—I’m going to smile, It’ll go all the way into your eyes and Heaven only knows what'll happen to it there. Inez. And who’s stopping you from catching me? (They look at each other. ESTELLE smiles, a little fascinated.) Won’t you call me “Inez”? EsTELLe. (Squirms slightly.) It’s awfully hard for me to call women by their first names. Inez. (Matter-of-factly.) Especially secretaries, I sup-NO EXIT 2s (As if startled.) na ie you've got there on , like a pimple. : Pe Tee On ni cheek? How frightfult ree (Laughs.) You see? I'm a mirror to catch me mice in, and you're my little mouse. I've got you. = aggeratedly reassuring.) It’s all nahh ned aie Bs nothing at all. You see? Suppose the mirror ae d begin to lie? Or if I should shut my eyes and Abr In’ ene ‘ou, then what would you do with all that beauty ee don't worry, my eyes will stay wide open. I have to lool at you. And I'll be nice, ve-ry nice. But you'll call me Inez. (Pause.) EsTELLE. You like me, Inez? Inez. Very much, (A pause.) Esrevte. (Poutingly, indicating Craveau with a nod of her head.) I wish he’d look at me, too. Inez. (With scorn.) Because he’s a man! (To Cra- DEAU, over her shoulder, Rises, moves Right Center.) You win. (CRaDEAU does not answer.) Why don’t you look at her? (No answer.) Come on, cut out the comedy. You didn’t miss a word of what we were saying, Crapeav. (Raising his head suddenly, Unhappily.) You're right. Not a word. Not even with my fingers in my ears. Your gabbing went right through. Are you going to leave me alone or not? I have nothing to do with you, you understand? Inez, (Menacing.) And this little one, you want some- 1g to do with her? I see right through you. You think “ veunicu with C26 NO EXIT she'll be more interested if you sit over there like a big inking. man, thinking rises.) 1 told you to leave me alone, There’s somebody talking about me at the paper and I want to listen. (Moves up off divan.) I don’t give a good God damn about your little friend, if that makes you feel better. : a ESTELLE. (Rises slowly—very cold. Moves up of divan Right.) Thank you. Craveau. (Jumps.) Ob, I didn’t mean— EstELte. Half-wit! (A pause. They are standing facing each other.) Craveau. (Furious with disappointment.) There; (Pause.) I begged you to stop talking. EsTeLue, Well, she began. I didn’t ask her for thing, and she offered me her mirror. Inez. No. You just made faces so he'd look at you Estee, And what if I did? : Craveau. (Crosses Left Center.) Are you crazy? Both of you? Can’t you see just where this is leading us? Shu up, for God’s sake! (Pause. Crosses to divan Lejt.) Net we'te going back and sit down quietly, and we're gun” to shut our eyes, and each one is going to try to co that the others are here. . any. (Silence. He sits down again, They go to thei A seats hesitantly, INEz suddenly turns ay Inez, (Moves down to CRavEA i Forget! How childish! I can teagan ane deel i bones, Everything you don’t say yells itself into ™ ou You can_ nail your mouth shut, cut off your ton; “fs do you think that will keep you from existing? Do you think it will stop you from thinking? I can hear your brain going tick-tock like an alarm clock, and I know you can an mine. (Up to back of divan.) And you want to sit back in your easy chair! You're all over the room. veunicu wrth CNO EXIT Every sound comes into my heard it on the way. You've know what it looks like and I You've stolen her. If we were dare treat me the way she does from your face. I’m not going to leave you alone, it would be too easy. You'd like to just stay there uncon- scious, buried inside yourself like a Buddha, and have me sit over here with my eyes shut knowing that every sound she made, down to the ri ing of her dress, was for you, and she was sending over smiles to you that you couldn’t see. But I’m not having any of that! I want to choose my own Hell. I want to look right at you and fight in the open. Craveau, (Rises; resignediy.) All right. I suppose it’s inevitable. They’ve managed us as if we were children. If they’d put me up with men— Men know how to shut up. But I suppose you can’t ask for too much. (He goes toward ESTELLE and touches her hair.) Like me, baby? I’ve got a feeling you do. Estetie. (Moves Right.) Don’t touch me. Crapeav. Ah, be yourself. You know I liked women a lot. You didn’t know that! And they liked me a lot. So just take it easy, we’ve got nothing to lose here. Man- ners, what for? Ceremony, for what? This is private! In a little while we'll be as naked as the day we were born. Estexte. (Tearfully.) Leave me alone! (Turns Right.) Crapeau. (Shouting.) As the day we were born. I warned you. I asked for nothing, except peace and a little silence. (Crosses Right.) 1 had my fingers in my ears. Deval was talking, he was standing in between the tables, all the guys in the copy room were listening. In shirt- sleeves. I was trying to hear what they were saying, I couldn’t get it. Everything goes by so fast on earth, But you couldn’t shut up! Not for a minute! Well, it’s fin- ished now, he’s stopped talking, whatever he was think- ing about me’s gone back inside his head, (Moves up Right Center.) But we've Bot to go on to the end. Naked 27 ears dirty because you've even stolen my face. You don't any more, And her! alone do you think she’d ? Take those hands away VueUricu wie Ci28 NO EXIT as the day we were born, I want to know who I’m deal- ing with. Inez. You know. You know now. Craneav. (To Left Center.) As long as any one of us hasn't told why he's here, we won't know anything. You, there. (Points to Este.te. Crosses Right.) You start. Why? Tell us why. If you're straight with us it may save us a lot of trouble, Come on, tell us why. (Moves to ESTELLE. TELE.) Lye told you. I don't know. They wouldn't tell me. ; . Crabeav, No. They wouldn’t answer me either. But 1 know myself, You afraid of talking first? All right, Til start. It's not very pretty. (Moves to Center chair.) Inez. That’s all right. We know you're a collaborator, Crapeau. (Back of chair; in a low voice.) That's enough of that. Don’t talk about that, ever. (Speaking up.) I’m here because I tortured my wife. That’s all. For five years, And of course she’s still suffering, (Looks out.) There she is; as soon as I talk about her I can see her. It’s Deval I really want to know about, so of course it’s my wife I see. Where és Deval? Five years. What do you know! They've given her back my stuff. She's sitting by the window with my jacket on her knees. The one with the twelve holes. The blood looks like rust. The edges of the holes are rusty! Hah! It’s a museum piece, a historic garment. And I wore it! Are you going to cry? I bet you end up by crying. (Moves Right and Lejt Up Center.) I used to come in blind drunk, smelling of liquor and women, and she’d have been waiting up all night. But she never cried. And not a word of reproach, of course. Only her eyes. I can’t be sorry. It’s snowing out. You going to cry? (Turns to Inxz 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? Craveau. (Brutally.) Because it was easy. All she needed was a word to make her change color. She was sensitive. Huh! Never a word of blame from her. I'm ai NO EXIT 29 igh. I'd wait, and wait. But no, never a whine, never a reproach. (Down fo Center chair.) J found her in the street, understand, just a little two- pit— (Pause. Looks out.) Now she's running her hand over the coat without looking at it Her fingers are feel- ing out the holes as if she were blind What are you wait- ing for? What do you think’s going to happen? I tell you T don't regret anything. Her whole trouble was, she ad- h, she thought too much of me. Can mired me too muc jou understand that? (Crosses up £0 Center.) Inez. (Quietly.) No. I wasn't admired. Crapeau. So much the better For you. All this prob- ably seems very abstract to you then, But here’s a story- (Moves up to Center chair. To Inez.) I had brought a mulatto girl home to live. What nights! My wife slept he first floor. She must have heard us. downstairs on tl r You know what she did in the morning? She got up first. Inez. And got breakfast for you? Crapeav. Yes, and brought it to us in bed, trays. Inez. Louse! Crapeau. Oh, I'll grant you that! But a very special louse to her. (His attention wanders. He listens.) No, nothing. It’s Deval, but he’s not talking about me. You were saying “louse.” Hell, if I weren't a louse, what er I be doing here? And your case? (Moves to sit eft.) Inez, (Moving to Right of Craveau.) Well, I was what they call back there, one of those women. Already damned, you know? So, this is no great surprise. Crabeau, That's all? Inez. No, there’s that business with Florence. But everybody concerned is dead. The three of us. He was first, then ‘she and I. Nobody's left there, and I’m satis- fied. Nothing but the room. I see it from time to time. Just empty, with the blinds shut. They’ve finally taken the seal off the door. For rent! It’s for rent, there’s a sign on the door. (Bitferly.) It's a—mockery. Crapeau. Three, Did you say three? great one for teasing, thou; in two little30 No EXIT Inez. Three. Craprau. A man and two women? Inez. Yes. ‘ CRADEAU. Welll (A silence.) He killed himself? Inez. That guy? He wasn’t up to it. And yet it wasn’t for lack of reason. He'd suffered enough. No, it was a trolley car that killed him, Isn’t that a laugh? I lived with them; he was my cousin. CrabEAv. Florence was a blonde? Inez. A blonde. (She looks at ESTELLE.) You know, I may have no regrets about my life, but still, don’t think 7 like going over all this. Crapeau. Come on, out with it! You poisoned her mind against him? Right? Inez. (Waits, then speaks.) Yes, little by little, A word here, a word there. For instance, he made a noise when he drank; he blew into the glass through his nose. Little things. Nothing at all. The poor guy was very soft, vul- nerable. What are you laughing at? Crapeau. Because I’m not vulnerable. Inez. That remains to be seen. I sort of slipped inside her mind and she began to see him through my eyes. And in the end, there she was, in my hands. We took at the other end of town. eieas Crapeav. And then? Inez, Then came the trolley-car. I used to say to he every day, after it happened, “Well, kid, we mt tid af him.” (Silence.) I’m malicious. I’m bad, I know. eat I know. I am too, INEZ. No, you're not malicious. Wi i eae icious. With you it’s some- Crapeau, What? Inez, You're just trying to i Cave rl ae 'g to prove something to yourself. NEZ. I'l tell you later, But I’m reall : ly bad. I mean I need to see other people suffer to exist at all. A torch. A torch in their hearts, When I’m all alone I go out. For - months I flamed in her heart, burned everything. en she got up one night and turned on the gas. I dida’t veunicu with CiNO EXIT 31 hear her. She got back into bed beside me. That's all. (Moves a step to Center.) Craveau. (Reflectively.) Hm! Inez. What? Craveav. Nothing. That’s nasty business. Inez. Of course it’s nasty business. So what? Crapeau. Oh, you're right. (To EsteLte.) Your turn. What'd you do? EsteLLe. (Moves to Center chair and sits.) I've told you that I don’t know. I keep asking myself, but it’s no id. we napeau, (To Right of Estee. Cheerfully.) All right, we’ll help you. That guy with the smashed-up face, who was he? Esters, (Haughty.) What guy? Crapeav. You know who I mean. The one you were afraid of, when you came in. Estewte, He's a friend. Crapeau. Why were you afraid of him? EsTELLE. You have no right to be asking me all this. Inez. (As if in a grilling.) He killed himself because of you? Este ze, Certainly not, are you mad? CrapEAv. Then why were you afraid of seeing him? He blew his face off, right? EsTELLe, Stop! Stop! Crapeau. And he did it because of you! Because of you! Inez. Yes! The gun went off because of you. That's it! Estee. (Rising, hysterically.) Leave me alone! You're horrible! I want to get out of here! (Crosses up Center.) I’ve got to get out! (She rushes to the door and shakes it.) CrApEAU. (Moves down Right.) Go on out. Nothing would please me better. Only it happens the door is locked. From the outside, (ESTELLE tries to ring the bell, but it does not ring. INEZ eunnncas with C32 NO EXIT and CRADEAU laugh, ESTELLE turns on them, backed against the door.) EsteLre. (Looking from one to the other, Her voice hoarse, slowly.) You’re monstrous. Inez. Completely monstrous. So what? So the guy killed himself on account of you. He was your lover. CrapDEAU, Naturally he was her lover. And he wanted her all to himself. Isn’t that true? Inez. He did the rhumba like a professional, but he had no money. (A silence.) Craprav. We asked, was he poor? EsteLie, (Comes down to divan Right.) Yes, he was poor. (Sits.) Craveau. And then, you had your reputation to take care of. And one day he came and begged you to go away with him and you laughed at him. Inez. (Tense, closing in.) Yes, yes! You laughed at him. Isn’t that right? Isn’t that why he killed himself? ESTELLE. (Suddenly looking with interest at INEz.) Is that the way you looked at Florence? Inrz. Yes. (A pause. ESTELLE begins to laugh.) Estetre, You're not even warm! You two! (She straightens and looks at them. In a dry, provoking tone.) He wanted me to have a child by him, There! Are you satisfied? CrabeEav, 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. It was a girl. Roger was there when she was born. He really wanted a child. But I didn’t. Crabeau. And what happened? Estee. There was a balcopy out over the rocks, The Vueurnicu wid CiNO EXIT 33 hotel was on a cliff over the ocean. I brought in a huge stone. He was yelling: “Estelle, please, please!” and cry- ing. He was disgusting; I loathed him. (Pause.) He saw everything. He leaned over the balcony afterwards and watched the waves where it had gone down. Crapeav, And then what? Estee, That's all, I went back to New York. He did what he felt like doing. Craveav. That is, he blew his head off? Estee. I'm afraid he did. And it really wasn’t neces- sary. My husband never suspected anything at all. (A pause.) I hate you both. (She has a spasm of dry sobs.) CrabEav, Useless. Tears won’t flow here. The heat. Esteve. (Tearfully.) I'm so cowardly! I’m such a coward! (Pause. Flatly.) If you only knew how much I hate you! (INEZ moves to touch her.) Inez. Poor little thing! (To Crapeav.) The grilling is over. You don’t have to go on looking like an executioner. Crapeau. Executioner— (He glances about. Crosses down to Left.) I’d give anything to see myself in a mirror. (Pause.) It’s hot! (He takes his coat off mechanically.) Oh, I’m sorry, (Starts to put it back on.) EstTeELte, You can stay in shirtsleves. Now— Craveau. Yes. (He throws the coat on the divan Left.) You mustn’t be angry with me, Estelle. EstELLE. I’m not. I have nothing against you. Inez. And me. You have something against me? ESTELLE. Yes. (A silence.) Inez. (Crosses up of ESTELLE to back of divan Right.) Well, Cradeau? Here we are, naked as the day we were born. Does it make any difference? Are things any clearer to you? Crapeau. I don’t know. Perhaps, a little. (Timidly.) Couldn’t we try to help each other? Inez, (Moves to Left of divan Right.) I don't need any help. veunicu with Ci'T 34 NO EXI’ Craveau. (Walks about, looking i. Oe ae eee they've got the wires hopelessly hath “to fan yourself, least gesture, if you lift your and to Yan yo alone. Estelle and I feel it, No one of us can save him . We've all got to lose everything together oF “(Pause ke your cl f f selves together. You can tal a ? (Moves to Left of ESTELLE.) LL ape tae They’ve rented it. The windows are wide open, there’s a man sitting on my bed. It’s rented! (Fiercely.) They rented it! Come in, come in, don’t be bashful! It’s a woman. She’s walking toward him, putting her hands on his shoulders— Why don’t they turn on the light? It’s so dark you can’t see— Are they going to kiss each other? That room is mine! Mine! And why don’t they turn on the light? I can’t see them any more, What are they whispering about? Is he going to make love to her on my bed? She says it’s noon and broad daylight. Then I must be going blind. (Pause.) It’ over. I don’t see anything more. I can’t hear any more. (Pause.) Well, I suppose that means Boodbye to the earth. No more alibi. (She shivers.) I feel empty, Now tim completely dead. And all of me is here. (Pause) at were you saying? You were talki in me, if I remember, "B about helping CravEAu. Yes, abet Bote me to do what? "RADEAU, rosses up to Este.wy Frustrate their plans, % to Left of Inzz.) a And in exchange? DEAU. You help me It’s . need is a little good will * $0 simple, Inez. All you itp Nt? Good will. Where do - Coneted avy. All of me. AU, Ani Suppose we try, d what about me? (Pause.) Just the same, Inez, I'm dried y How do you e: ready to burn, you think I’m going to get P. I can’t take or give, either one. ™pect me to help you? A dead branch, veainicu wiul CiNO EXIT 35 2, She looks at ESTELLE who has her face in (Paus her hands.) Florence was @ real blonde. Crapeau. Do you realize that this girl’s going to be your inquisitioner? Iwe7, T may have a pretty good idea. ter They'll use her to get you down. As {ar oF ’m concerned, I— I’m paying her no attention at all. If you could only do the same— ez. What? Craveav, It's a trap. you'll fall into it. : Inez, I know, and you're a trap, too. Do you think they haven't foreseen your words? And all the traps in everything you say, traps we can’t see? Everything’s @ trap. Do you think that matters to me? I’m a trap my- self. A trap for her. And it just may be that I’ll catch her. Crapgau, You won't catch anything. We'll just run after each other like so many horses on a merry-go-round, ad nobody'll ever catch up with anybody. Rest assured they've arranged everything, Let go, Inez. Open up your hands, let your prey go. If you don’t you'll bring us all to grief, all three. I (With a certain pride.) Do 1 look like a person who lets her prey go? I know what’s before me. Tm going to burn. I am burning and I know there’ll never be an end to it. I know everything. Do you think T'l give un? I’m going to get her, she’s going to see you through my eyes, the way Florence saw him. (With vulgar intonation.) What the hell do you mean, I'll bring you all to grief? I'm telling you I know everything about it and I can’t even have pity on myself. (Moves Down Right below divan. With scorn.) A trap! Hah! A trap! se I’m in a trap, and wh: i e ae if that’s the way they ie ee 'RADEAU. (Crosses, moves to INEZ. is is on her shoulder.) But T can a Se eel Eye naked. Naked to the bone, and I know you in to your heart. It gives us something in common. You're being watched to see if36 NO EXIT Do you think I want to hurt you? I’m not sorry for what's happened, and I’m not complaining. I’m dried up too, like you. But somehow I can have pity on you. Inez. (Who has been listening while he speaks, pulls away violently. Revolted, but speaking evenly.) Don’t touch me like that. I can’t stand to have anyone touch me. And keep your pity. After all, Cradeau, there are a lot of traps for you in this room. For you, made espe- cially for you. You'd do better to mind your own busi- ness. (Crosses to Left of Crapeau. Pause.) If you'll leave us absolutely alone, the little one here and me, I'll see to it that you’re not hurt, at least not by us. Craveau. (Looks at her a moment, then shrugs his shoulders.) All right. It’s a bargain. (Crosses below Estee to Left.) EsTetie. (Raising her head; as if from the depths.) Cradeau, help! CrabEAU. What do you want of me? Estewie. (Getting up and approaching him.) You can help me. Crapeau. You'd better talk to her. (Inez has come up to them as they talk. Now she stands directly behind ESTELLE without, however, touching her. During the following conversation she speaks almost into her ear, But ESTELLE remains turned toward CRADEAU, who looks at her without answer- ing.) EsTetie. (ESTELLE replies solely to CRADEAU, as if it were he who is questioning her.) I beg you. You promised me, Cradeau. You promised! (Looks out.) Quick, quick, I can’t bear being left alone. Millicent has gone off with him to dance. Inez, Off with who? EsTELLE. Ricardo. They’re dancing now. Inez. (Moves to Right Center.) Who's Ricardo? EstEtte, (Hurriedly.) Oh, a little dope I know. He yveurmice wid Ci