Staring at Walls

Staring at Walls (Aux Murs):

*
an epilogue to

*
‘No Exit’
(Huis Clos)















Characters:



Onstage Actors
Garcin: A Coward
Inez: A Masochist
Estelle: A Coquette

Backstage Actors (The Shadow Narrators)
L’esprit du Garcin: his fear
L’esprit de l’Inez: her cruelty
L’esprit de l’Estelle: her deceit

Immaterial Characters
The phantom of the hours: (speaks through Inez) The sum of their evils
Les Meubles: the furniture
L’ambience: the roaring din of silence
L’Interior: Second Empire Interior design style









Synopsis

The Play takes place at the end of ‘No Exit’ and ends at the exact moment the performance climaxes. The characters have decided that it would be best if they just didn’t acknowledge each other and so they sit perfectly still (or as still as possible) staring at the wall in front of them for the duration of the play listening to their own thoughts.

Each actor is to stare directly at the person in front of them in the audience for the duration of the play. The actors do not deliver their lines, but instead react to them internally as they are being read by voices off stage. The only real “acting” done by the characters on stage is to communicate through body language and facial ticks as they begin to crack before an eternity of torment.

Estelle’s personal hell is that she is being forgotten by her friends on earth, and she must listen to them actively doing so.

Garcin’s personal hell is his own fear of what his torment will be after he has succumbed to his regret for leading such a wicked life.

Inez feels no difference between the hell she is now in, and the life she left behind, except for now there is no escape, and she is free to let her wickedness run amok. Inez becomes able to hear the thoughts of the other characters, and decides to torment them until they break their silence. Her wickedness summons a demon (The Phantom of the Hours) into the room, and she allows it to freely possess her. At the climax of the play, the other two characters are confronted by it and are now immobilized by fear rather than deliberation. When the demon speaks, it is through Inez and she is therefore the only actor that delivers any lines onstage.

*The duration of the Soliloquies is determined by the duration of the accompanying music which is given in the title of each scene.




Staring at Walls/Devisager aux Parois

Act I:

Scene I: Second Empire (5:08)

An empty Drawing Room in Second Empire style in May of 1944. A massive bronze ornament stands on a mantelpiece.

Garcin: (begin speaking after first 20 seconds of music) Well, here it is. A Drawing room, in second empire style with a massive bronze ornament, on the mantelpiece. Here we are. This is what it looks like. No rack, no red hot pincers, no muffled screams from down the hall. No mirrors either, nor windows. But Why should one want to see oneself anyway? People go mad staring at themselves for too long. But that bronze piece on the mantle, that’s another story. Though you can’t see your reflection in it, I suppose there will be times when I stare my eyes out at it any way.

There are three sofas, but not a single bed. That’s to be I expected I suppose. Why should one sleep? How can one even manage to sleep, down here? A sort of drowsiness will occasionally steal upon you, tickle you behind the ears, and you feel your eyes closing. You lie down on the sofa, and in a flash, sleep flies away. Miles and miles away. So you rub your eyes, and it starts all over again.

Estelle: To forget about the others?

Inez: How utterly absurd!

Garcin: I feel you there,

Estelle: in every pore. Your silence clamors in my ears. You can nail up your mouth, cut your tongue out-but you can’t prevent you’re being there.

Inez: Can you stop your thoughts? I hear them ticking away like a clock, tick-tock, tick-tock, and I’m certain you hear mine. It’s all very well skulking on your sofa, but you’re everywhere, and every sound comes to me soiled, because you’ve intercepted it on it’s way.

Knives, ropes, poison-all are useless here. Because it has happened already. Once and for all.

(lights go down)

So…here we are, forever.



(actors take their places on couches staring forward into the audience. Each actor stares at one person in the audience for the entire duration of the play, Estelle and Garcin’s shadows stand facing stage left and right respectively in profile so we may see their mouths moving. Inez’s shadow stands dead center)

Scene 2: En Nuit (3:44)

Voice of Estelle: (with a peal of laughter in her voice). Forever. My Goodness, how funny! Forever and ever and ever.

Voice of Garcin: Well…Let’s get on with it

(Lights come up)

Garcin: I wonder how long it’s been. I know it’s been an awfully long time to not speak to anyone in the same room as you. I don’t think I can even remember what our last conversation was about. I remember it ended badly though. Awkwardly, rudely. Neither of them shows any sign of cracking yet, but I suppose there will be time enough for that yet.

Inez: This is about what I expected by now. But it’s not really that unfamiliar a sensation. Boredom. Awkward silence in a room with a man and a pretty woman. I can tolerate it, if I sit here perfectly still long enough.

Estelle: I wonder if he’s looked at me yet. My goodness, I am tired though, and thirsty, ever so thirsty. I almost wish there were a rack now, or red hot pincers. Thumb-screws, something to break up the monotony. This silence. This BOREDOM! At least that dreadful Inez has been silent as well. I can’t stand her looks she gives me. Perverted filthy thing. Garcin is not so bad. But the two of them together make one want to scream. (she fidgets a bit as if about to speak, or sigh, but then regains her composure)

(A high-pitched whining sound begins fading in accompanied by a dull sequence of rapping sounds)

There’s that whining sound again, and the thumping.

Garcin: The throbbing has returned. Where does it come from. I know the whining sound is the light. But what on earth is that rapping noise? Maybe there are ghosts in hell. Like ghosts on earth. poltergeists. They make those kinds of noises. Knocking and what not. I’m not really afraid of the idea of ghosts anyway though. I would find it rather amusing to see one down here. I wonder where hell actually is. I can hear what sounds like people milling about in the room above. (Looks as if he is trying to listen closely to something.) Muffled voices I hear. But, rusty, and mechanical. I think they’re talking about shock treatment. I wonder if the ladies hear it as well.


Scene 3: Her memory Lingers (3:48)

Estelle: who is that talking? It sounds like a doctor. What on earth? oh wait! (pricks up a bit) I-recognize that voice! It’s Margerie!

Disembodied voice1: oh, I do miss her though Annette.

Disembodied voice 2: I know, so unfortunate that we have lost her.

Disembodied voice1: She was so good at bridge. What company she was! I just…I just feel like she’ll come walking through that door at any moment!

Disembodied voice 2: With that old Cuckold of hers!

Disembodied voice1: Ha ha!

Disembodied voice 2: Seriously though, I miss her terribly. I know it isn’t healthy to indulge in thoughts of melancholy, but she was just such a dear friend. Really a friend. A real friend. A real heart. (some one starts crying).

Disembodied voice1: I was reading a book recently about grief, the process that is. It is perfectly normal to talk about the deceased in such a way, indulgent as it may seem. It’s quite good, you ought to read it. It’s written by a German though.

Disembodied voice 2: Oh, I loathe Germans!

Disembodied voice1: And a Jew at that.

Disembodied voice 2: Well I suppose if anyone knows about grief it would be a german jew. Oh, do you remember when those photographs were revealed of the camps? Bergen Belsen and Auschwitz!

Disembodied voice1: Simply aweful, to keep people is such conditions, jew or not! Well, you know, there’s a lady that lives in the room below ours in the Hotel. She survived it you know! No! Yes! Julietta? Oh you’ve met her? Why yes! At your party last march she was there. Why she was wasn’t she! I dare say, that’s the only time I’ve seen her out and about! You know, she survived the whole thing holed up in an attic in Rotterdam. Two whole years locked up with only two other people, how dreadful! She must have gotten used to it I suppose.

Disembodied voice 2: Well, enough of that talk. I’m hungry.

Disembodied voice1: What do you say to belvedere’s

Disembodied voice 2: Mmmm, now, what would Estelle say for lunch right now?

Disembodied voice1: Oh stop it, you’re dreadful!

Disembodied voice 2: Your right, belvedere’s it is.

Scene 4: In Terra Paxim (6:53)

Scene 5: Encore, en corps, en Coeur (6:20)

Scene 6: His Regret ensues (3:51)

Garcin: I’m not a very admirable person. I know why I’m here. I know why. I’m here because of her. My wife. I treated her abominably. For five years. I know she suffered as long as she could hold out before the end. I never wanted her to take her life though. Only because I thought so lowly of myself did I treat her as I did. I never once really, thought about her. I can’t see her anymore. I can’t run from the regret any longer. I’m winded, and it has so much speed. The nights I came home, blind drunk, stinking of booze and other women. Of course she knew, that’s not the issue. It wasn’t the humiliation she sustained by my infidelities that led her to the end, but that she would take them from a coward. She never cried though, nor uttered a word of reproach. It was only her eyes that spoke, big round tragic eyes. I…do regret something now, I could never have said it aloud to these women, but the memory of my regret has silence has brought the steady hum to a roar.

Scene 7: Her memory fades (4:07)

ESTELLE: i can hear them again. i cannot believe - it's hazy. i can barely make out -

Disembodied voice 1: You know, what I noticed yesterday?

Disembodied voice 2: What’s that?

Disembodied voice 1: I hadn’t thought about Estelle at all yesterday! I only noticed around 9:30 last night when I was getting ready for bed! And I only noticed because I took note that I hadn’t thought about her.

Disembodied voice 2: Yes, me too! It’s all part of the process I read about! You know what else. I tested my self to see if I could remember her face, but I couldn’t really.

ESTELLE: oh! why, they mustn't know - they have forgotten what i look like!

Disembodied voice 1: I think, I’m getting over it! I had to look at a picture to remind me, but you know, it didn’t make me sad to see her. It was, just a picture.



Disembodied voice 2: You know she did have some aweful habits though.

Disembodied voice 1: Terrible flirt.

Disembodied voice 2: Ah! What a cocquette! Til the end!

Disembodied voice 1: It’s odd, how in sadness we thought so fondly of her, we have forgotten all the wicked little things she said and did!

Disembodied voice 2: She was good company, but only for so long.

Disembodied voice 1: I don’t want to say good ridence, but I think I’ll ask Angelique to play bridge with us next week.

ESTELLE: how could they-how could they have lost my face? lost me? It was in every mirror! Why, they themselves never even looked in mirrors; i certainly would have noticed. I no. they cannot see themselves. and now they cannot see me. how sad! how vile, to be so repaid! but i cannot see them. i wonder - if i imagined - they never had faces, did they? how odd, to recall - no, they never had faces. no wonder. But they are losing mine ... do i even have a face anymore? oh, odious! do i have a face? i must - did i ever? oh, i must check the glass - faceless. these walls are ever so thick! so heavy! and they stare - why are the staring so? can they see my heart beating? silly of me - but it feels - oh, i do feel faint! i feel - as though someone has died. i killed someone. oh - the glass! a cup of water! a silver moon! anything to see - oh i have become - death itself, death itself without a face -


Scene 8: les meubles, the furniture mocks their boredom (2:24)

Scene 9: Garcin part 2: his terror begins (4:26)

Scene 10: Estelle part 3: The sum of her parts, Despair (5:05)

Scene 11: Inez: Her Perversion swells (9:52)

Inez: A damned bitch! Damned already. Damned as always. While I do loathe these two, I dare say I loathe myself quite a bit more. Sandwiched between that loathsome oaf and this detestable little shrew. Same as usual. I would be twice the man he is should I have been granted the organs, not that I would want them anyhow. What about her, about Estelle? You’ve stolen her from me, too; if she and I were alone do you suppose she’d treat me as she does? I won’t leave you in peace-that would suit your book too well. You’d go on sitting there, in a sort of trance, like a yogi, and even if I didn’t see her I’d feel it in my bones-that she was making every sound, even the rustle of her dress, for your benefit, throwing you smiles you didn’t see…well, I won’t stand for that, I prefer to choose my hell; I prefer to look you in the eyes and fight it out face to face. There was an incantation I used to recite to myself quietly, not too loud. Let me see, how does it go?

You know, I don’t regret a thing. I never did before, I don’t still, and I know they have regrets I can hear them. I can hear their voices. I can smell what pheromones they give off at the moment.

I like creeping. I can creep anywhere I please here, round the walls, down and up the corners, through broad day light and night as well. They know I am cruel. I have told them as much. I did not tell them though about the nausea. The sickness, that creeping sickness that comes over me. Her despair, his fear, their vulnerabilities. I could vomit! How do you silence such ones as these? How do you creep under dead flesh? I can’t get on without making other people suffer, that much is known, but what is not known, is where it bottoms out, how much suffering can they endure before they speak? I wonder. I must say, I do feel a bit lighter now at the moment. Not so heavy. I just need a little elbow room that’s all, they can sit there still and quiet as they please, it shan’t stop my nudging, or my creeping.

I’m just a little coal now, perhaps, I can burn a little hotter down here, that lightens one up a bit I think. No one to douse a fire down here that’s for sure. I will be a live coal in their hearts. The only reason I went out before was on account of the oven. Stupid bitch. Try to out creep me. I can’t get back at her, these two will do.

I did not give Garcin enough credit before. There had to be a torturer here among us. He’s not got the stomach nor the discipline, the other’s a stupid girl. They’ve laid the snare damn cunningly I’d say. If anyone of us makes a movement, raise a hand to fan yourself, the other two feel the tug. What a delightful game that would be. I remember what he said, about saving ourselves. Saving each other. Linked together as we are, he pointed it out. But they are week. I am the strongest. They are new to Suffering. I am seasoned I know.

No more alibis for me. I feel so empty, dessicated,-really dead at last. All of me’s here in this room. But there’s something else, I do feel quite light now. and can gain more-air.

(speak this line aloud). What were you saying before? Something about helping me, wasn’t it?

Garcin: (fearful silence)

Inez: Helping me to do what, exactly?

Garcin: (voice of his fear) to defeat their devilish tricks.

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

Garcin: to help me. It only needs a little effort, Inez; just a spark of human feeling!

Inez: That is, I’m afraid, beyond my range. I’m rotten to the core.

Garcin: And-how about me? [a pause.] All the same, suppose we-try?

Inez: (chuckling) I’m afraid it’s no use. I’m all dried up. I can’t give, I can’t receive. How could I help you? A dead twig, hm? Ready for the burning? A little ember, just a little coal-hm? [she falls silent, gazing at Estelle, who is shaking with heavy sobs].

Garcin: you know this girl’s your torturerer. It’s through her they’ll get you! It’s a trap. They’re watching you to see if you’ll fall-

Inez: And you’re another trap too I suppose? They know every word you’ll say. And of course, there’s a whole nest of pitfalls that are unseen. But what do I care? I’m a pit fall, too. For her as well perhaps. And I may catch her yet. There’s time enough for that.

Garcin and Estelle: You won’t catch ANYTHING!

Estelle: Drop it Inez NOW!

Garcin: Let go or else you’ll bring disaster on all three of us!

Inez: Do I look like the sort of person who just lets go? I know what’s coming to me. I’m going to burn, forever. Like an ember, just a dried up old twig. Yes, I know, what I’m in for, and they’re watching me without a doubt. But, this is it. no snares, no pits. No daggers, no ropes, no poison. No exit. There’s no good trying to enlist my sympathy. What would I do anyway? I’m up to my neck already in- (looks absently around the room as if it could be anywhere)-this.

Garcin: I’m dried up too! But-I can have sympathy for you at least!

Estelle: (as if she has just had a revelation). There’s, really nothing, left of me-up there. Not even a memory that one would want to forget. There’s not even a soul left remember.

Inez: yes my lamb, it’s true-but you mustn’t despair, I am here, my poor fallen nestling (voice of phantasm) to witness your despair…

Estelle: (whimpers motionless)







The phantom of the Hours appears

Inez and Phantom: (speaking aloud) You think I don’t count, but I’m really quite good with numbers. You’ve been in my heart a long long time little sparrow. I hope you realize that. Don’t be afraid sparrow I’ll look upon you forever and ever without so much as a flutter.

Estelle: (whimpering almost incomprensible) but-you haven’t any EYES!

Garcin: Has it really begun? The drowning silence, and the space between them, the space below as well-the space within, the space without. It’s the same. It’s the despair and the fear isn’t it. Do you hear me?

Phantom: (speak aloud) Just wait Garcin, you shouldn’t be so apprehensive just yet my boy. Wait for the hours. Wait and see what can happen, in one, single hour. I know, I have always known, and I will never forget the hours, and neither will you.

Garcin: I feel you there, in every pore. Your silence clamors in my ears.


Voice of Estelle: (with a peal of laughter in her voice). Forever. My God! Forever and ever and ever.

Inez: Here we are. Well…Let’s get on with it!

Phantom: Do you know what wickedness is? And shame? And fear? You do, don’t you. There were days when you peered into yourself, into the secret places of your heart, and what you saw made you faint with horror. And then, the next day, you didn’t know what to make of it, you couldn’t interpret the horror you glimpsed the day before. Now, you know what evil costs. Each man has an aim in life, a leading motive; that’s so, isn’t it? You think, that’s the measure of a man. Don’t you? You didn’t think that a whole life could be judged by just one action, did you? For thirty years, you condoned a thousand petty lapses. Then a day comes, when you’re up against it. Real danger. People say one always dies too soon or too late, and yet one’s whole life is complete at that one moment alone. Ready for the summing up. If you, never got the, (chuckles) opportunity as you might say to redeem yourself, your last deed will do in a pinch. It makes no difference to us. (pause) Pull yourself together man! You’re too vulnerable! And now, you’re going to pay the price for it you big tough guy you! Look at me, look at how weak I am. A mere breathe on the air observing you. A formless thought that is now thinking you.

Garcin: (feebly) Will night never come?

Phantom: Never.

Garcin: You will always see me?

Phantom: Always.

Garcin: The bronze thing on the mantelpiece. I’ve only to look at it again to know I’m in hell. With all those eyes intent on me. Devouring me. The eyes behind the wall we’ve been staring at having staring back the whole time. With intent, devouring eyes!

Phantom: Oh come now! You can’t just sit here staring at walls forever can you my boy? After all, this is not just another second empire drawing room.

This is hell.

(black out)

12. Fin (3:28)

(Lights come up, curtain call, the theater’s Exit Sign is revealed)