How we cite our quotes: Citations follow this format: (Line). Every time a character talks counts as one line, even if what they say turns into a long monologue. We used the translation by S. Gilbert found in No Exit and Three Other Plays, published by Vintage International in 1989.
Quote #1
INEZ: I didn't. I was a post-office clerk.
ESTELLE: [Recoiling a little.] Ah, yes... Of course, in that case – And you, Mr. Garcin? (156-7)
These stage directions are important. Estelle is guilty not only of defining herself by a social role (a beautiful society woman), but of confining Inez to one as well (a working-class woman). Both of these attempts to label people constitute bad faith.
Quote #2
GARCIN: Look here! Why are we together? You've given us quite enough hints, you may as well come out with it.
INEZ: But I know nothing, absolutely nothing about it. I'm as much in the dark as you are.
GARCIN: We've got to know.
INEZ: If only each of us had the guts to tell – (170-3)
Why DO these three characters ultimately confess their crimes to one another? What are they hoping to achieve by such a confession?
Quote #3
INEZ: Yes, we are criminals – murderers – all three of us. We're in hell, my pets; they never make mistakes, and people aren't damned for nothing. (190)
Even the smallest language hints clue us in to Inez’s character. When she calls Estelle and Garcin "my pets," we get the sense that 1) she’s in charge and 2) there might be ill will to her dominating personality.
Quote #4
ESTELLE: But – [points to Garcin]
INEZ: Oh, he doesn't count. (218-9)
Go ahead and highlight all the times this phrase comes up in No Exit. Inez doesn’t think Garcin counts; Garcin doesn’t think Estelle counts; Estelle doesn’t think Inez counts. This "inextricably linked" chain matches up with the chain of torment. Inez torments Garcin; Garcin torments Estelle; Estelle tortures Inez. Each character is concerned with his/her tormentor and his/her tormentor only – the other character becomes superfluous.
Quote #5
ESTELLE: Your scare me rather. My reflection in the glass never did that; of course, I knew it so well. Like something I had tamed...I'm going to smile, and my smile will sink down into your pupils, and heaven knows what it will become. […] [The women gaze at each other, Estelle with a sort of fearful fascination] (240-1)
Estelle realizes the power Inez has over her through merely looking upon her; this is why she fears the woman.
Quote #6
GARCIN: There she is: the moment I mention her, I see her. It's Gomez who interests me, and it's she I see. (272)
This raises an interesting point – who controls what the individuals in hell see? Do they control it themselves (perhaps unaware of this ability), or does "the management" play a hand in this?
Quote #7
INEZ: He was rather pathetic really. Vulnerable. Why are you smiling?
GARCIN: Because I, anyhow, am not vulnerable.
INEZ: Don't be too sure... (292-4)
In what way is Garcin vulnerable? Who or what renders him vulnerable?
Quote #8
INEZ: Do I look the sort of person who lets go? I know what's coming to me. I'm going to burn, and it's to last forever. Yes, I KNOW everything. But do you think I'll let go? I'll catch her, she'll see you through my eyes, as Florence saw that other man.
This is the God complex we talk about in Inez’s "Character Analysis." Inez doesn’t just want to be a subject – she wants to control everyone else’s subjectivity.