HELLO OUT THERE

There is a fellow in a small-town prison cell, tapping slowly on the floor

with a spoon. After tapping half a minute, as if he were trying to telegraph
words, he gets up and begins walking around the cell. At last he stops,
stands at the center of the cell, and doesn't move for a long time. He feels
his head, as if it were wounded. Then he looks around. Then he calls out
dramatically, kidding the world.

YOUNG MAN. Hello—out there! THE VOICE. Yes.

(Pause) Hello—out there! Hello—
out there! (Long pause) Nobody YOUNG MAN. Well, why don't you
out there. (Still more dramatically, study up and learn to cook? How
but more comically, too) Hello— come I don't get no jello or anything
out there! Hello—out there! good?

(A GIRL'S VOICE is heard, very sweet THE VOICE. I just cook what they
and soft.) tell me to. (Pause) You lonesome?
THE VOICE. Hello. YOUNG MAN. Lonesome as a coyote.
Hear me hollering? Hello out there!
YOUNG MAN. Hello—out there.
THE VOICE. Who you hollering to?
THE VOICE. Hello.
YOUNG MAN. Well—nobody, I guess.
YOUNG MAN. Is that you, Katey? I been trying to think of somebody
to write a letter to, but I can't think
THE VOICE. No—this here is Emily. of anybody.
YOUNG MAN. Who? (Swiftly) Hello
out there. THE VOICE. What about Katey?

THE VOICE. Emily. YOUNG MAN. I don't know anybody

named Katey.
YOUNG MAN. Emily who? I don't
know anybody named Emily. Are THE VOICE. Then why did you say,
you that girl I met at Sam's in Sali- Is that you, Katey?
nas about three years ago? YOUNG MAN. Katey's a good name.
I always did like a name like Katey.
THE VOICE. No—I'm the girl who I never knew anybody named Katey,
cooks here. I'm the cook. I've never though.
been in Salinas. I don't even know
where it is. THE VOICE. I did.

YOUNG MAN. Hello out there. You YOUNG MAN. Yeah? What was she
say you cook here? like? Tall girl, or little one?
549

PRODUCED 2004 BY UNZ.ORG

ELECTRONIC REPRODUCTION PROHIBITED
55° WILLIAM SAROYAN
THE VOICE. Kind of medium. YOUNG MAN. I'm lonesome. I'm as
lonesome as a coyote. (A long one)
YOUNG MAN. Hello out there. What Hello—out there!
sort of a looking girl are you?
(THE GIBL appears, over to one side.
THE VOICE. Oh, I don't know. She is a plain girl in plain clothes.)
THE GIRL. I'm kind of lonesome, too.
YOUNG MAN. Didn't anybody ever
tell you? Didn't anybody ever talk YOUNG MAN (turning and looking at
to you that way? her). Hey— No fooling? Are you?
THE VOICE. What way?
THE GIRL. Yeah— I'm almost as
YOUNG MAN. You know. Didn't they? lonesome as a coyote myself.

THE VOICE. No, they didn't. YOUNG MAN. Who you lonesome for?

YOUNG MAN. Ah, the fools—they THE GIHL. I don't know.

should have. I can tell from your
voice you're O.K. YOUNG MAN. It's the same with me.
The minute they put you in a place
THE VOICE. Maybe I am and maybe like this you remember all the girls
I ain't. you ever knew, and all the girls you
didn't get to know, and it sure gets
YOUNG MAN. I never missed yet. lonesome.

THE VOICE. Yeah, I know. That's THE GIRL. I bet it does.

why you're in jail.
YOUNG MAN. Ah, it's awful. (Pause)
YOUNG MAN. The whole thing was You're a pretty kid, you know that?
a mistake.
THE GIRL. You're just talking.
THE VOICE. They claim it was rape.
YOUNG MAN. No, I'm not just talk-
YOUNG MAN. No—it wasn't. ing—you are pretty. Any fool could
see that. You're just about the pret-
THE VOICE. That's what they claim it tiest kid in the whole world.
was.
THE GIRL. I'm not—and you know
YOUNG MAN. They're a lot of fools. it.
THE VOICE. Well, you sure are in YOUNG MAN. No—you are. I never
trouble. Are you scared? saw anyone prettier in all my born
days, in all my travels. I knew Texas
YOUNG MAN. Scared to death. (Sud- would bring me luck.
denly) Hello out there!
THE GIRL. Luck? You're in jail, aren't
THE VOICE. What do you keep say- you? You've got a whole gang of
ing that for all the time? people all worked up, haven't you?

PRODUCED 2004 BY UNZ.ORG

ELECTRONIC REPRODUCTION PROHIBITED
HELLO OUT THERE 551
YOUNG MAN. Ah, that's nothing. I'll THE GIRL. Emily Smith,
get out of this.
YOUNG MAN. Honest to God?
THE GIBL. Maybe.
. T T>11 . „ ., THE GIRL. Honest. That's my name
YOUNG MAN. No, 111 be all right— __Emily Smith_
now.
THE GIRL. What do you mean—
YOUNG MAN. Ah, you're the sweetest
now? girl in the whole world.
T H E GIHL
YOUNG MAN. I mean after seeing - Why?
you. I got something now. You
know for a while there I didn't care YOUNG MAN. I don't know why, but
one way or another. Tired. (Pause) you are, that's all. Where were you
Tired of trying for the best all the born?
time and never getting it. (Sud-
denly) Hello out there! THE GIRL. Matador, Texas.

THE GIRL. Who you calling now? YOUNG MAN. Where's that?

YOUNG MAN. You. THE GIRL. Right here.

THE GIRL. Why, I'm right here. YOUNG MAN. Is this Matador, Texas?
YOUNG MAN. I know. (Calling) THE GIRL.Yeah, it's Matador. They
Hello out there! brought you here from Wheeling.
THE GIRL. Hello. YOUNG MAN. Is that where I was—
Wheeling?
YOUNG MAN. Ah, you're sweet.
(Pause) I'm going to marry you. I'm THE GIRL. Didn't you even know
going away with you. I'm going to what town y o u we;e in?
take you to San Francisco or some
place like that. I am, now. I'm going yoUNG MAN- A U t o w n s are alike
to win myself some real money, too. Y ou don't go up and ask somebody
I'm going to study 'em real careful w h a t t o w n y o u > r e i n I t doesn't make
and pick myself some winners, and difference. How far away is
we're going to have a lot of money. Wheeling?
THE GIRL. Yeah? THE GIRL. Sixteen or seventeen
YOUNG MAN. Yeah. Tell me your
miles. Didn't you know they moved
name and all that stuff. you?

THE GIRL. Emily. YOUNG MAN. How could I know,

when I was out—cold? Somebody
YOUNG MAN. I know that. What's the hit me over the head with a lead
rest of it? Where were you born? pipe or something. What'd they hit
Come on, tell me the whole thing. me for?

PRODUCED 2004 BY UNZ.ORG

ELECTRONIC REPRODUCTION PROHIBITED
552 WILLIAM SAROYAN
THE GIRL. Rape—that's what they YOUNG MAN. Honest to God.
said.
THE GIRL. You just say that because
YOUNG MAN. Ah, that's a lie. you're in jail.
(Amazed, almost to himself) She
wanted me to give her money. YOUNG MAN. No, I mean it. You just
pack up and wait for me. We'll high-
THE GIRL. Money? roll the hell out of here to Frisco.

YOUNG MAN. Yeah, if I'd have known THE GIRL. You're just lonesome.
she was a woman like that—well, by
God, I'd have gone on down the YOUNG MAN. I been lonesome all my
street and stretched out in a park life—there's no cure for that—but
somewhere and gone to sleep. you and me—we can have a lot of
fun hanging around together. You'll
THE GIRL. Is that what she wanted bring me luck. I know it.
—money?
THE GIRL. What are you looking for
YOUNG MAN. Yeah. A fellow like me luck for all the time?
hopping freights all over the coun-
try, trying to break his bad luck, YOUNG MAN. I'm a gambler. I don't
going from one poor little town to work. I've go* to have luck, or I'm
another, trying to get in on some- a bum. I haven't had any decent
thing good somewhere, and she asks luck in years. Two whole years now
for money. I thought she was lone- —one place to another. Bad luck all
some. She said she was. the time. That's why I got in trouble
back there in Wheeling, too. That
THE GIRL. Maybe she was. was no accident. That was my bad
luck following me around. So here I
YOUNG MAN. She was something. am, with my head half busted. I
guess it was her old man that did it.
THE GIRL. I guess I'd never see you,
if it didn't happen, though. THE GIRL. You mean her father?

YOUNG MAN. Oh, I don't know— YOUNG MAN. No, her husband. If I
maybe I'd just mosey along this way had an old lady like that, I'd throw
and see you in this town somewhere. her out.
I'd recognize you, too.
THE GIRL. Do you think you'll have
THE GIRL. Recognize me? better luck, if I go with you?

YOUNG MAN. Sure, I'd recognize you YOUNG MAN. It's a cinch. I'm a good
the minute I laid eyes on you. handicapper. All I need is somebody
good like you with me. It's no good
THE GIRL. Well, who would I be? always walking around in the streets
for anything that might be there at
YOUNG MAN. Mine, that's who. the time. You got to have somebody
staying with you all the time—
THE GIBL. Honest? through winters when it's cold, and

PRODUCED 2004 BY UNZ.ORG

ELECTRONIC REPRODUCTION PROHIBITED
HELLO OUT THERE 553
springtime when it's pretty, and YOUNG MAN. How long have I been
summertime when it's nice and hot here?
and you can go swimming—through
all the times—rain and snow and all THE GIRL. Since last night. You
the different kinds of weather a didn't wake up until late this morn-
man's got to go through before he ing, though.
dies. You got to have somebody
who's right. Somebody who knows YOUNG MAN. What time is it now?
you, from away back. You got to About nine?
have somebody who even knows
you're wrong but likes you just the THE GIRL. About ten.
same. I know I'm wrong, but I just
don't want anything the hard way, YOUNG MAN. Have you got the key
working like a dog, or the easy way, to this lousy cell?
working like a dog—working's the
hard way and the easy way both. THE GIRL. No.They don't let me fool
All I got to do is beat the price, al- with any keys.
ways—and then I don't feel lousy
and don't hate anybody. If you go YOUNG MAN. Well, can you get it?
along with me, I'll be thefinestguy
anybody ever saw. I won't be wrong THE GIRL. N o .
any more. You know when you get
enough of that money, you can't be YOUNG MAN. Can you try?
wrong any more—you're right be-
cause the money says so. I'll have a THE GIRL. They wouldn't let me get
lot of money and you'll be just about near any keys. I cook for this jail,
the prettiest, most wonderful kid in when they've got somebody in it. I
the whole world. I'll be proud walk- clean up and things like that.
ing around Frisco with you on my
arm and people turning around to YOUNG MAN. Well, I want to get out
look at us. of here. Don't you know the guy
that runs this joint?
THE GIKL. Do you think they will?
THE GIRL. I know him, but he
wouldn't let you out. They were
YOUNG MAN. Sure they will. When
talking of taking you to another jail
I get back in some decent clothes,
and you're on my arm—well, Katey, in another town.
they'll turn around and look, and
they'll see something, too. YOUNG MAN. Yeah? Why?

THE GIRL. Because they're afraid.

THE GIRL. Katey?
YOUNG MAN. What are they afraid
YOUNG MAN. Yeah—that's your of?
name from now on. You're the first
girl I ever called Katey. I've been THE GIRL. They're afraid these peo-
saving it for you. O.K.? ple from Wheeling will come over
in the middle of the night and break
THE GIRL. O.K. in.

PRODUCED 2004 BY UNZ.ORG

ELECTRONIC REPRODUCTION PROHIBITED
554 WILLIAM SAROYAN
YOUNG MAN. Yeah? What do they ing in your sleep. You liked me, too.
want to do that for? I didn't think you'd like me when
you woke up, though.
THE GIRL. Don't you know what
they want to do it for? YOUNG MAN. Yeah? Why not?

YOUNG MAN. Yeah, I know all right. ^ GffiL j don>t ^ ^

THE GIRL. Are you scared? ,. ,^ TTr „ ,

J
YOUNG MAN. Yeah? Well, you re
YOUNG MAN. Sure I'm scared. Noth- wonderful, see?
ing scares a man more than igno-
ranee. You can argue with people ^ G l m " Nobody ever talked to me
who ain't fools, but you can't argue ff w a y - A U **» f e l l o w s i n town
~
with fools—they just go to work and (Fause-)
do what they're set on doing. Get
me out of here YOUNG MAN. What about emr
(Pause) Well, what about 'em?
THE GIRL. How? Come on—tell me.
YOUNG MAN. Well, go get the guy THE GIRL. They laugh at me.
with the key, and let me talk to him.
YOUNG MAN. Laugh at you? They're
THE GIRL. He's gone home. Every- fools. What do they know about
body's gone home. anything? You go get your things
and come back here. I'll take you
YOUNG MAN. You mean I'm in this with me to Frisco. How old are you?
little jail all alone?
THE GIRL. Oh, I'm of age.
THE GIRL. Well—yeah—except me.
YOUNG MAN. How old are you?—
YOUNG MAN. Well, what's the big Don't lie to me! Sixteen?
idea—doesn't anybody stay here all
the time? THE GIRL. I'm seventeen.

THE GIRL. No, they go home every YOUNG MAN. Well, bring your father
night. I clean up and then I go, too. and mother. We'll get married be-
I hung around tonight. fore we go.

YOUNG MAN. What made you do THE GIRL. They wouldn't let me go.
that?
YOUNG MAN. Why not?
THE GIRL. I wanted to talk to you.
THE GIRL. I don't know, but they
YOUNG MAN. Honest? What did you wouldn't. I know they wouldn't,
want to talk about?
YOUNG MAN. You go tell your father
THE GIRL. Oh, I don't know. I took not to be a fool, see? What is he, a
care of you last night. You were talk- fanner?

PRODUCED 2004 BY UNZ.ORG

ELECTRONIC REPRODUCTION PROHIBITED
HELLO OUT THERE 555
THE GIRL. No—nothing. He gets a YOUNG MAN (to the world). You
little relief from the government be- see? They ought to pay money
cause he's supposed to be hurt or to look at you. To breathe the air
something—his side hurts, he says. you breathe. I don't know. Some-
I don't know what it is. times I figure it never is going to
make sense. Hello—out there! I'm
YOUNG MAN. Ah, he's a liar. Well, scared. You try to get me out of here.
I'm taking you with me, see? I'm scared them fools are going to
come here from Wheeling and go
THE GIEL. He takes the money I crazy, thinking they're heroes. Get
earn, too. me out of here, Katey.

YOUNG MAN. He's got no right to do I don't know what to do.

THE GIRL.
that. Maybe I could break the door
down.
THE GIRL. I know it, but he d">es it.
YOUNG MAN. No, you couldn't do
YOUNG MAN (almost to himself). that. Is there a hammer out there
This world stinks. You shouldn't or anything?
have been born in this town, any-
way, and you shouldn't have had a THE GIRL. Only a broom. Maybe
man like that for a father, either. they've locked the broom up, too.

THE GIRL. Sometimes I feel sorry for YOUNG MAN. Go see if you can find
him. anything.

YOUNG MAN. Never mind feeling THE GIRL. All right. (She goes.)
sorry for him. (Pointing a -finger)
I'm going to talk to your father some YOUNG MAN. Hello—out there!
day. I've got a few tilings to tell that Hello—out there! (Pause) Hello—
guy- out there! Hello—out there! (Pause)
Putting me in jail. (With con-
THE GIRL. I know you have. tempt) Rape! Rape? They rape
everything good that was ever born.
YOUNG MAN (suddenly). Hello— His side hurts. They laugh at her.
out there! See if you can get that Fifty cents a day. Little punk peo-
fellow with the keys to come down ple. Hurting the only good thing
and let me out. that ever came their way. (Sud-
denly) Hello—out there!
THE GTRL. Oh, I couldn't.
THE GIRL (returning). There isn't a
YOUNG MAN. Why not? thing out there. They've locked
everything up for the night.
THE GIRL. I'm nobody here—they
give me fifty cents every day I work. YOUNG MAN. Any cigarettes?

YOUNG MAN. How much? THE GIRL. Everything's locked up—

all the drawers of the desk, all the
THE GIRL. Fifty cents. closet doors—everything.

PRODUCED 2004 BY UNZ.ORG

ELECTRONIC REPRODUCTION PROHIBITED
55 6 WILLIAM SAROYAN
YOUNG MAN. I ought to have a ciga- and have 'em all turning around to
rette. look at you. Listen—go get me a
gun, because if they come, I'll kill
THE GIRL. I could get you a pack- 'em! They don't understand. Get me
age maybe, somewhere. I guess the a gun!
drug store's open. It's about a mile.
THE GIRL. I could j ;et my father's
YOUNG MAN. A mile? I don't want to gun. I know where Jle hides it.
be alone that long.
YOUNG MAN. Go get it. Never mind
THE GIRL. I could run all the way, the cigarettes. Run all the way.
and all the way back. (Pause, smiling but seriously)
Hello, Katey.
YOUNG MAN. You're the sweetest
girl that ever lived. THE GIRL. Hello. What's your name?

THE GIRL. What kind do you want? YOUNG MAN. Photo-Finish is what
they call me. My races are always
YOUNG MAN. Oh, any kind—Ches- photo-finish races. You don't know
terfields or Camels or Lucky Strikes what that means, but it means
—any kind at all. they're very close. So close the only
way they can tell which horse wins
THE GIRL. I'll go get a package. is to look at a photograph after the
(She turns to go.) race is over. Well, every race I bet
turns out to be a photo-finish race,
YOUNG MAN. What about the money? and my horse never wins. It's my
bad luck, all the time. That's why
THE GIRL. I've got some money. I've they call me Photo-Finish. Say it be-
got a quarter I been saving. I'll run fore you go.
all the way. (She is about to go.)
THE GIRL. Photo-Finish.
YOUNG MAN. Come here.
YOUNG MAN. Come here, (THE GIRL
THE GIRL (going to him). What? moves close and he kisses her) Now,
hurry. Run all the way.
YOUNG MAN. Give me your hand.
(He takes her hand and looks at it, THE GIRL. I'll run. (THE GIRL turns
smiling. He lips it and kisses it) I'm and runs. The YOUNG MAN stands at
scared to death. the center of the cell a long time.
THE GIRL comes running back in.
THE GIRL. I am, too. Almost crying) I'm afraid. I'm afraid
I won't see you again. If I come
YOUNG MAN. I'm not lying—I don't back and you're not here, I—
care what happens to me, but I'm
scared nobody will ever come out YOUNG MAN. Hello—out there!
here to this God-forsaken broken-
down town and find you. I'm scared THE GIRL. It's so lonely in this town.
you'll get used to it and not mind. Nothing here but the lonesome wind
I'm scared you'll never get to Frisco all the time, lifting the dirt and

PRODUCED 2004 BY UNZ.ORG

ELECTRONIC REPRODUCTION PROHIBITED
HELLO OUT THERE 557
blowing out to the prairie. I'll stay I tell you. I'll meet you in Frisco.
here. I won't let them take you I've got a couple of dollars in my
away. other shoe. I'll see you in San Fran-
cisco.
YOUNG MAN. Listen, Katey. Do what
I tell you. Go get that gun and come THE GIRL (with wonder). San Fran-
back. Maybe they won't come to- cisco?
night. Maybe they won't come at all.
I'll hide the gun and when they let YOUNG MAN. That's right—San
me out you can take it back and put Francisco. That's where you and me
it where you found it. And then belong.
we'll go away. But if they come, I'll
kill 'em! Now, hurry— THE GIRL. I've always wanted to go
to some place like San Francisco—
THE GIHL. All right. (Pause) I want but how could I go alone?
to tell you something.
YOUNG MAN. Well, you're not alone
YOUNG MAN. O.K. any more, see?

THE GIRL (very softly). If you're not THE GIRL. Tell me a little what it's
here when I come back, well, I'll like.
have the gun and I'll know what to
do with it. YOUNG MAN (very swiftly, almost
impatiently at first, but gradually
YOUNG MAN. You know how to han- slower and with remembrance,
dle a gun? smiling, and THE GIRL moving closer
to him as he speaks). Well, it's on
THE GIRL. I know how. the Pacific to begin with—ocean
water all around. Cool fog and sea-
YOUNG MAN. Don't be a fool. (Takes gulls. Ships from all over the world.
off his shoe, brings out some cur- It's got seven hills. The little streets
rency) Don't be a fool, see? Here's go up and down, around and all
some money. Eighty dollars. Take it over. Every night the fog-horns
and go to Frisco. Look around and bawl. But they won't be bawling for
find somebody. Find somebody you and me.
alive and halfway human, see?
Promise me—if I'm not here when THE GIRL. What else?
you come back, just throw the gun
away and get the hell to Frisco. YOUNG MAN. That's about all, I
Look around and find somebody. guess.

THE GIRL. I don't want to find any- THE GIRL. Are people different in
body. San Francisco?

YOUNG MAN (swiftly, desperately). YOUNG MAN. People are the same
Listen, if I'm not here when you everywhere. They're different only
come back, how do you know I when they love somebody. That's
haven't gotten away? Now, do what the only thing that makes 'em dif-

PRODUCED 2004 BY UNZ.ORG

ELECTRONIC REPRODUCTION PROHIBITED
558 WILLIAM SAROYAN
ferent. More people in Frisco love YOUNG MAN. What husband you
somebody, that's all. talking about?

THE GIRL. Nobody anywhere loves THE MAN. You know what husband.
anybody as much as I love you.
YOUNG MAN. Hey! (Pause, looking
YOUNG MAN (shouting, as if to the at THE MAN) Are you the guy that
world). You see? Hearing you say hit me over the head last night?
that, a man could die and still be
ahead of the game. Now, hurry. THE MAN. I am.
And don't forget, if I'm not here
when you come back, get the hell YOUNG MAN (with righteous indig-
to San Francisco where you'll have nation). What do you mean going
a chance. Do you hear me? around hitting people over the
(THE GIRL stands a moment looking head?
at him, then backs away, turns and
runs. The YOUNG MAN stares after THE MAN. Oh, I don't know. What
her, troubled and smiling. Then he do you mean going around—the
turns away from the image of her
way you do?
and walks about like a lion in a cage.
After a while he sits down suddenly
and buries his head in his hands. YOUNG MAN (rubbing his head).
From a distance the sound of sev- You hurt my head. You got no right
eral automobiles approaching is to hit anybody over the head.
heard. He listens a moment, then
ignores the implications of the THE MAN (suddenly angry, shout-
sound, whatever they may be. Sev- ing) . Answer my question! What do
eral automobile doors are slammed. you mean?
He ignores this also. A wooden door
is opened with a key and closed, YOUNG MAN. Listen, you—don't be
and footsteps are heard in a hall. hollering at me just because I'm
Walking easily, almost casually and locked up.
yet arrogantly, a MAN comes in. The
YOUNG MAN jumps up suddenly and THE MAN (with contempt, slowly).
shouts at the MAN, almost scaring You're a dog!
him) What the hell kind of a jail-
keeper are you, anyway? Why don't YOUNG MAN. Yeah, Well, let me tell
you attend to your business? You you something. You think you're the
get paid for it, don't you? Now, get husband. You're the husband of
me out of here. nothing. (Slowly) What's more,
your wife—if you want to call her
that—is a tramp. Why don't you
THE MAN. But I'm not the jail- throw her out in the street where
keeper. she belongs?
YOUNG MAN. Yeah? Well, who are THE MAN (draws a pistol). Shut up!
you, then?
YOUNG MAN. Yeah? Go ahead, shoot
THE MAN. I'm the husband. —(Softly) and spoil the fun.

PRODUCED 2004 BY UNZ.ORG

ELECTRONIC REPRODUCTION PROHIBITED
HELLO OUT THERE 559
What'll your pals think? They'll be how I met her. I didn't think any-
disappointed, won't they. What's thing of it. We left the place to-
the fun hanging a man who's al- gether and started walking. The first
ready dead? (THE MAN puts the gun thing I knew she said, This is where
away) That's right, because now I live.
you can have some fun yourself,
telling me what you're going to do. THE MAN. You're a dirty liar!
That's what you came here for, isn't
it? Well, you don't need to tell me.
I know what you're going to do. I've YOUNG MAN. Do you want to hear
read the papers and I know. They it? Or not? (THE MAN does not an-
have fun. A mob of 'em fall on one swer) O.K. She asked me to come
man and beat him, don't they? They in. Maybe she had something in
tear off his clothes and kick him, mind, maybe she didn't. Didn't
don't they? And women and little make any difference to me, one way
children stand around watching, or the other. If she was lonely, all
don't they? Well, before you go on right. If not, all right.
this picnic, I'm going to tell you a
few things. Not that that's going to THE MAN. You're telling a lot of
send you home with your pals—the dirty lies!
other heroes. No. You've been out-
raged. A stranger has come to town YOUNG MAN. I'm telling the truth.
and violated your women. Your Maybe your wife's out there with
pure, innocent, virtuous women. your pals. Well, call her in. I got
You fellows have got to set this nothing against her, or you—or any
thing right. You're men, not mice. of you. Call her in, and ask her a
You're home-makers, and you beat few questions. Are you in love with
your children. (Suddenly) Listen, her? (THE MAN doesn't answer)
you—I didn't know she was your Well, that's too bad.
wife. I didn't know she was any-
body's wife. THE MAN. What do you mean, too
bad?
THE MAN. You're a liar!
YOUNG MAN. I mean this may not be
YOUNG MAN. Sometimes—when it'll the first time something like this has
do somebody some good—but not happened.
this time. Do you want to hear about
it? (THE MAN doesn't answer) All
right, I'll tell you. I met her at a THE MAN (swiftly). Shut up!
lunch counter. She came in and sat
next to me. There was plenty "of YOUNG MAN. Oh, you know it.
room, but she sat next to me. Some- You've always known it. You're
body had put a nickel in the phono- afraid of your pals, that's all. She
graph and a fellow was singing asked me for money. That's all she
New San Antonio Rose. Well, she wanted. I wouldn't be here now if
got to talking about the song. I I had given her the money.
thought she was talking to the
waiter, but he didn't answer her, so THE MAN (slowly). How much did
after a while I answered her. That's she ask for?

PRODUCED 2004 BY UNZ.ORG

ELECTRONIC REPRODUCTION PROHIBITED
5 6o WILLIAM SAROYAN
YOUNG MAN. I didn't ask her how YOUNG MAN. I can't go. Something's
much. I told her I'd made a mistake. happened. (He looks other) But I'll
She said she would make trouble if be with you always—God damn it.
I didn't give her money. Well, I Always! (He falls forward, THE
don't like bargaining, and I don't GIRL stands near him, then begins
like being threatened, either. I told to sob softly, walking away. She
her to get the hell away from me. stands over to one side, stops sob-
The next thing I knew she'd run out bing, and stares out. The excite-
of the house and was hollering. ment of the mob outside increases.
(Pause) Now, why don't you go THE MAN, with two of his pals,
out there and tell 'em they took me comes running in. THE GIRL watches,
to another jail—go home and pack unseen.)
up and leave her. You're a pretty
good guy, you're just afraid of your THE MAN. Here's the son of a bitch!
pals, (THE MAN draws his gun again.
He is very frightened. He moves a
step toward the YOUNG MAN, then ANOTHER MAN. O.K. Open the cell,
fires three times. The YOUNG MAN Harry.
falls to his knees, THE MAN turns and (The THIRD MAN goes to the cell
runs, horrified) Hello—out there! door, unlocks it, and swings it
(He is bent forward, THE GIRL open.)
comes running in, and halts sud- (A WOMAN comes running in.)
denly, looking at him.)
THE WOMAN. Where is he? I want to
see him. Is he dead? (Looking down
THE GIRL. There were some people at him, as the MEN pick him up)
in the street, men and women and There he is. (Pause) Yeah, that's
kids—so I came in through the him. (Her husband looks at her with
back, through a window. I couldn't contempt, then at the dead man.)
find the gun. I looked all over but I
couldn't find it. What's the matter? THE MAN (trying to laugh). All
right—let's get it over with.
YOUNG MAN. Nothing—nothing.
Everything's all right. Listen. Lis- THIRD MAN. Right you are, George.
ten, kid. Get the hell out of here. Give me a hand, Harry.
Go out the same way you came in (They lip the body.)
and run—run like hell—run all
night. Get to another town and get THE GIRL (suddenly, fiercely). Put
on a train. Do you hear me? him down!
THE GIRL. What's happened? THE MAN. What's this?
YOUNG MAN. Get away—just get SECOND MAN. What are you doing
away from here. Take any train here? Why aren't you out in the
that's going—you can get to Frisco street?
later.
THE GIRL. Put him down and go
THE GIRL (almost sobbing). I don't away. (She runs toward the MEN.
want to go any place without you. THE WOMAN grabs her.)

PRODUCED 2004 BY UNZ.ORG

ELECTRONIC REPRODUCTION PROHIBITED
HELLO OUT THERE 561
THE WOMAN. Here—where do you pushes her to the floor) Listen to
think you're going? the little slut, will you?
(They all go, carrying the YOUNG
MAN'S body, THE GIRL gets up
THE GIRL. Let me go. You've no slowly, no longer sobbing. She looks
right to take him away. around at everything, then looks
straight out, and whispers.)

THE WOMAN.Well, listen to her, will THE GIRL. Hello—out—there! Hello

you? (She slaps THE GIRL and —out there!

PRODUCED 2004 BY UNZ.ORG

ELECTRONIC REPRODUCTION PROHIBITED
PRODUCED 2004 BY UNZ.ORG
ELECTRONIC REPRODUCTION PROHIBITED
Bury the Dead
BY IRWIN SHAW

". . . what is this world that

you cling to it?'

TO MY MOTHER

PRODUCED 2004 BY UNZ.ORG

ELECTRONIC REPRODUCTION PROHIBITED
COPYRIGHT, 1936, BY IRWIN SHAW
CAUTION: Professionals and amateurs are hereby warned that "Bury the
Dead" being fully protected under the copyright laws of the United States
of America, the British Empire, including the Dominion of Canada, and
all other countries of the copyright union, is subject to a royalty. All rights,
including professional, amateur, motion pictures, recitation, public read-
ing, radio broadcasting, and the rights of translation into foreign languages
are strictly reserved. In its present form this play is dedicated to the reading
public only. All inquiries regarding this play should be addressed to the
New Theatre League, 55 West 45th Street, New York City, N. Y.

PRODUCED 2004 BY UNZ.ORG

ELECTRONIC REPRODUCTION PROHIBITED
CHARACTERS
PBIVATE DRISCOLL
PRIVATE MORGAN
PRIVATE LEVY
PRIVATE WEBSTER
PRIVATE SCHELLING
PRIVATE DEAN
JOAN BURKE
BESS SCHELLING
MARTHA WEBSTER
JULIA BLAKE
KATHERINE DRISCOIX
ELIZABETH DEAN

GENERALS ONE, TWO AND THREE

A CAPTAIN, A SERGEANT, AND FOUR INFANTRYMEN, employed as a burial
detail.
A PRIEST, A RABBI, A DOCTOR
A REPORTER AND AN EDITOR
Two WHORES

TIME—The second year of the war that is to begin tomorrow night.

SCENE—The stage is in two planes—in the foreground, the bare stage,
in the rear, not too far back, going the entire length of the stage, a plat-
form about seven feet above the level of the stage proper. No properties
are used to adorn the stage save for some sandbags, whole and split, lying
along the edge of the raised platform and some loose dirt also on the plat-
form. The entire platform is painted dull black. It is lighted by a strong
spotlight thrown along it at hip-height from the right wing. It is the only
light on the stage. The platform is to represent a torn-over battlefield, now
quiet, some miles behind the present lines, where a burial detail, standing
in a shallow trench dug in the platform, so that the audience sees them
only from the hip up, are digging a common grave to accommodate six
bodies, piled on the right of the platform, wrapped in canvas. A SERGEANT
stands on the right, on the edge of the grave, smoking. . . . The SOLDIER
nearest him, in the shallow trench, stops his digging. . . .

PRODUCED 2004 BY UNZ.ORG

ELECTRONIC REPRODUCTION PROHIBITED
PRODUCED 2004 BY UNZ.ORG
ELECTRONIC REPRODUCTION PROHIBITED
BURY THE DEAD

FIBST SOLDIER. Say, Sergeant, they THIRD SOLDIER. Who's got a ciga-
stink. . . . (Waving his shovel at rette? I'll trade my rifle—if I can
the corpses) Let's bury them in a find it—for a cigarette. For Christ's
hurry. . . . sake, don't they make cigarettes no
more? (Leaning, melancholy, on
SERGEANT. What the hell do you his shovel) This country's goin' to
think you'd smell like, after you'd the dogs for real now. . . .
been lyin' out for two days—a god-
damn lily of the valley? They'll be SERGEANT. Lift dirt, soldier. Come
buried soon enough. Keep digging. on! This ain't no vacation.

SECOND SOLDIER (scratching him- THIRD SOLDIER (disregarding him).

self). Dig and scratch! Dig and I heard of guys packin' weeds and
scratch! What a war! When you're cowflop into cigarettes in this man's
not diggin' trenches you're diggin' army. They say it has a tang. (Re-
graves. . . . flectively) Got to try it some day.

THIRD SOLDIER. Who's got a ciga-

SERGEANT. Hurry up! (Blowing on
rette? I'll take opium if nobody's his hands) I'm freezin' here. I don't
got a cigarette. want to hang around all night. I
can't feel my feet no more. . . .
SECOND SOLDIER. When you're not
diggin' graves you're scratchin' at FOURTH SOLDIER. I ain't felt my feet
fleas. By God, there're morefleasin for two weeks. I ain't had my shoes
this army than . . . off in two weeks. (Leaning on his
shovel) I wonder if the toes're still
FmsT SOLDIER. That's what the war's connected. I wear a 8A shoe. Aristo-
made for—the fleas. Somebody's cratic foot, the salesman always
got to feed 'em. . . . said. Funny—going around not
even knowin' whether you still got
FOURTH SOLDIER. I used to take a toes or not. . . . It's not hygienic
shower every day. Can you imag- really. . . .
ine?
SERGEANT. All right, friend, we'll
SERGEANT. All right, Mr. Lifebuoy, make sure the next war you're in is
we'll put your picture in the Satur- run hygienic.
day Evening Post—in color!
FOURTH SOLDIER. In the Spanish-
SECOND SOLDIER. When you're not American War more men died of
scratchin' at fleas, you're bein' fever than . . .
killed. That's a helluva life for a
grown man. FIRST SOLDIER (beating viciously at
567

PRODUCED 2004 BY UNZ.ORG

ELECTRONIC REPRODUCTION PROHIBITED