Hello Out There

HELLO OUT THERE

There is a fellow in a small-town prison cell, tapping slowly on the floorwith a spoon. After tapping half a minute, as if he were trying to telegraphwords, 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 feelshis head, as if it were wounded. Then he looks around. Then he calls outdramatically, kidding the world.

YOUNG MAN. Helloout there!(Pause) Helloout there! Helloout there! (Long pause) Nobodyout there. (Still more dramatically,but more comically, too) Helloout there! Helloout there!

(A GIRL'S VOICE is heard, very sweetand soft.)THE VOICE. Hello.

YOUNG MAN. Helloout there.

THE VOICE. Hello.

YOUNG MAN. Is that you, Katey?

THE VOICE. Nothis here is Emily.YOUNG MAN. Who? (Swiftly) Helloout there.

THE VOICE. Emily.

YOUNG MAN. Emily who? I don'tknow anybody named Emily. Areyou that girl I met at Sam's in Sali-nas about three years ago?

THE VOICE. NoI'm the girl whocooks here. I'm the cook. I've neverbeen in Salinas. I don't even knowwhere it is.

THE VOICE. Yes.

YOUNG MAN. Well, why don't youstudy up and learn to cook? Howcome I don't get no jello or anythinggood?

THE VOICE. I just cook what theytell me to. (Pause) You lonesome?YOUNG MAN. Lonesome as a coyote.Hear me hollering? Hello out there!

THE VOICE. Who you hollering to?

YOUNG MAN. Wellnobody, I guess.I been trying to think of somebodyto write a letter to, but I can't thinkof anybody.

THE VOICE. What about Katey?

YOUNG MAN. I don't know anybodynamed Katey.

THE VOICE. Then why did you say,Is that you, Katey?

YOUNG MAN. Katey's a good name.I always did like a name like Katey.I never knew anybody named Katey,though.

THE VOICE. I did.

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

549

PRODUCED 2004 BY UNZ.ORGELECTRONIC REPRODUCTION PROHIBITED

55 WILLIAM SAROYANTHE VOICE. Kind of medium.

YOUNG MAN. Hello out there. Whatsort of a looking girl are you?

THE VOICE. Oh, I don't know.

YOUNG MAN. Didn't anybody evertell you? Didn't anybody ever talkto you that way?

THE VOICE. What way?

YOUNG MAN. You know. Didn't they?

THE VOICE. No, they didn't.

YOUNG MAN. Ah, the foolstheyshould have. I can tell from yourvoice you're O.K.

THE VOICE. Maybe I am and maybeI ain't.

YOUNG MAN. I never missed yet.

THE VOICE. Yeah, I know. That'swhy you're in jail.YOUNG MAN. The whole thing wasa mistake.

THE VOICE. They claim it was rape.

YOUNG MAN. Noit wasn't.

THE VOICE. That's what they claim itwas.

YOUNG MAN. They're a lot of fools.

THE VOICE. Well, you sure are introuble. Are you scared?

YOUNG MAN. Scared to death. (Sud-denly) Hello out there!THE VOICE. What do you keep say-ing that for all the time?

YOUNG MAN. I'm lonesome. I'm aslonesome as a coyote. (A long one)Helloout there!

(THE GIBL appears, over to one side.She is a plain girl in plain clothes.)THE GIRL. I'm kind of lonesome, too.

YOUNG MAN (turning and looking ather). Hey No fooling? Are you?

THE GIRL. Yeah I'm almost aslonesome as a coyote myself.

YOUNG MAN. Who you lonesome for?

THE GIHL. I don't know.

YOUNG MAN. It's the same with me.The minute they put you in a placelike this you remember all the girlsyou ever knew, and all the girls youdidn't get to know, and it sure getslonesome.

THE GIRL. I bet it does.

YOUNG MAN. Ah, it's awful. (Pause)You're a pretty kid, you know that?

THE GIRL. You're just talking.YOUNG MAN. No, I'm not just talk-ingyou are pretty. Any fool couldsee that. You're just about the pret-tiest kid in the whole world.

THE GIRL. I'm notand you knowit.

YOUNG MAN. Noyou are. I neversaw anyone prettier in all my borndays, in all my travels. I knew Texaswould bring me luck.

THE GIRL. Luck? You're in jail, aren'tyou? You've got a whole gang ofpeople all worked up, haven't you?


HELLO OUT THERE 551YOUNG 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 __ E m i l y Smi th_now.

THE GIRL. What do you meannow?

YOUNG MAN. Ah, you're the sweetestgirl in the whole world.

YOUNG MAN. I mean after seeing T H E GIHL- Why?you. I got something now. Youknow for a while there I didn't care YOUNG MAN. I don't know why, butone way or another. Tired. (Pause) you are, that's all. Where were youTired of trying for the best all the born?time and never getting it. (Sud-denly) Hello out there!THE GIRL. Who you calling now?

YOUNG MAN. You.

THE GIRL. Why, I'm right here.

YOUNG MAN. I know. (Calling)Hello out there!

THE GIRL. Hello.

THE GIRL. Matador, Texas.

YOUNG MAN. Where's that?

THE GIRL. Right here.

YOUNG MAN. Is this Matador, Texas?

THE GIRL. Yeah, it's Matador. Theybrought you here from Wheeling.

YOUNG MAN. Is that where I wasWheeling?

THE GIRL. Didn't you even knowYOUNG MAN. Ah, you're sweet.(Pause) I'm going to marry you. I'mgoing away with you. I'm going to

w h a t t o w n y o u w e ; e i n ?take you to San Francisco or someplace like that. I am, now. I'm going

y o U N G MAN- A U t o w n s a r e a l i k eto win myself some real money, too.

You don't go up and ask somebodyI'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 makeand pick myself some winners, and difference. How far away iswe're going to have a lot of money. Wheeling?THE GIRL. Yeah?

YOUNG MAN. Yeah. Tell me yourname and all that stuff.

THE GIRL. Emily.

YOUNG MAN. I know that. What's therest of it? Where were you born?Come on, tell me the whole thing.

THE GIRL. Sixteen or seventeenmiles. Didn't you know they movedyou?

YOUNG MAN. How could I know,when I was outcold? Somebodyhit me over the head with a leadpipe or something. What'd they hitme for?


552THE GIRL. Rapethat's what theysaid.

YOUNG MAN. Ah, that's a lie.(Amazed, almost to himself) Shewanted me to give her money.

THE GIRL. Money?

YOUNG MAN. Yeah, if I'd have knownshe was a woman like thatwell, byGod, I'd have gone on down thestreet and stretched out in a parksomewhere and gone to sleep.

THE GIRL. Is that what she wantedmoney?

YOUNG MAN. Yeah. A fellow like mehopping freights all over the coun-try, trying to break his bad luck,going from one poor little town toanother, trying to get in on some-thing good somewhere, and she asksfor money. I thought she was lone-some. She said she was.

THE GIRL. Maybe she was.

YOUNG MAN. She was something.

THE GIRL. I guess I'd never see you,if it didn't happen, though.

YOUNG MAN. Oh, I don't knowmaybe I'd just mosey along this wayand see you in this town somewhere.I'd recognize you, too.

THE GIRL. Recognize me?

YOUNG MAN. Sure, I'd recognize youthe minute I laid eyes on you.

THE GIRL. Well, who would I be?

YOUNG MAN. Mine, that's who.

THE GIBL. Honest?

WILLIAM SAROYANYOUNG MAN. Honest to God.

THE GIRL. You just say that becauseyou're in jail.YOUNG MAN. No, I mean it. You justpack up and wait for me. We'll high-roll the hell out of here to Frisco.

THE GIRL. You're just lonesome.YOUNG MAN. I been lonesome all mylifethere's no cure for thatbutyou and mewe can have a lot offun hanging around together. You'llbring me luck. I know it.

THE GIRL. What are you looking forluck for all the time?

YOUNG MAN. I'm a gambler. I don'twork. I've go* to have luck, or I'ma bum. I haven't had any decentluck in years. Two whole years nowone place to another. Bad luck allthe time. That's why I got in troubleback there in Wheeling, too. Thatwas no accident. That was my badluck following me around. So here Iam, with my head half busted. Iguess it was her old man that did it.

THE GIRL. You mean her father?

YOUNG MAN. No, her husband. If Ihad an old lady like that, I'd throwher out.

THE GIRL. Do you think you'll havebetter luck, if I go with you?

YOUNG MAN. It's a cinch. I'm a goodhandicapper. All I need is somebodygood like you with me. It's no goodalways walking around in the streetsfor anything that might be there atthe time. You got to have somebodystaying with you all the timethrough winters when it's cold, and


HELLO OUT THERE 553springtime when it's pretty, andsummertime when it's nice and hotand you can go swimmingthroughall the timesrain and snow and allthe different kinds of weather aman's got to go through before hedies. You got to have somebodywho's right. Somebody who knowsyou, from away back. You got tohave somebody who even knowsyou're wrong but likes you just thesame. I know I'm wrong, but I justdon't want anything the hard way,working like a dog, or the easy way,working like a dogworking's thehard way and the easy way both.All I got to do is beat the price, al-waysand then I don't feel lousyand don't hate anybody. If you goalong with me, I'll be the finest guyanybody ever saw. I won't be wrongany more. You know when you getenough of that money, you can't bewrong any moreyou're right be-cause the money says so. I'll have alot of money and you'll be just aboutthe prettiest, most wonderful kid inthe whole world. I'll be proud walk-ing around Frisco with you on myarm and people turning around tolook at us.

THE GIKL. Do you think they will?

YOUNG MAN. Sure they will. WhenI get back in some decent clothes,and you're on my armwell, Katey,they'll turn around and look, andthey'll see something, too.

THE GIRL. Katey?

YOUNG MAN. Yeahthat's yourname from now on. You're the firstgirl I ever called Katey. I've beensaving it for you. O.K.?

THE GIRL. O.K.

YOUNG MAN. How long have I beenhere?

THE GIRL. Since last night. Youdidn't wake up until late this morn-ing, though.

YOUNG MAN. What time is it now?About nine?

THE GIRL. About ten.

YOUNG MAN. Have you got the keyto this lousy cell?

THE GIRL. No. They don't let me foolwith any keys.

YOUNG MAN. Well, can you get it?

THE GIRL. N o .

YOUNG MAN. Can you try?

THE GIRL. They wouldn't let me getnear any keys. I cook for this jail,when they've got somebody in it. Iclean up and things like that.

YOUNG MAN. Well, I want to get outof here. Don't you know the guythat runs this joint?THE GIRL. I know him, but hewouldn't let you out. They weretalking of taking you to another jailin another town.

YOUNG MAN. Yeah? Why?

THE GIRL. Because they're afraid.

YOUNG MAN. What are they afraidof?

THE GIRL. They're afraid these peo-ple from Wheeling will come overin the middle of the night and breakin.


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 whatthey want to do it for? YOUNG MAN. Yeah? Why not?

YOUNG MAN. Yeah, I know all right. ^ G f f i L 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 mewho ain't fools, but you can't argue ff w ay- A U ** f e l l o w s i n town~with foolsthey just go to work and ( F a u s e - )do what they're set on doing. Getme out of here YOUNG MAN. What about emr

(Pause) Well, what about 'em?THE GIRL. How? Come ontell 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'reTHE GIRL. He's gone home. Every- fools. What do they know aboutbody's gone home. anything? You go get your things

and come back here. I'll take youYOUNG 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. Wellyeahexcept me.

YOUNG MAN. How old are you?YOUNG MAN. Well, what's the big Don't lie to me! Sixteen?ideadoesn't anybody stay here allthe time? THE GIRL. I'm seventeen.

THE GIRL. No, they go home every YOUNG MAN. Well, bring your fathernight. 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 theyYOUNG MAN. Honest? What did you wouldn't. I know they wouldn't,want to talk about?

YOUNG MAN. You go tell your fatherTHE GIRL. Oh, I don't know. I took not to be a fool, see? What is he, acare of you last night. You were talk- fanner?


HELLO OUT THERE 555THE GIRL. Nonothing. He gets alittle relief from the government be-cause he's supposed to be hurt orsomethinghis side hurts, he says.I don't know what it is.

YOUNG MAN. Ah, he's a liar. Well,I'm taking you with me, see?

THE GIEL. He takes the money Iearn, too.

YOUNG MAN. He's got no right to dothat.

THE GIRL. I know it, but he d">es it.

YOUNG MAN (almost to himself).This world stinks. You shouldn'thave been born in this town, any-way, and you shouldn't have had aman like that for a father, either.

THE GIRL. Sometimes I feel sorry forhim.

YOUNG MAN. Never mind feelingsorry for him. (Pointing a -finger)I'm going to talk to your father someday. I've got a few tilings to tell thatguy-

THE GIRL. I know you have.

YOUNG MAN (suddenly). Helloout there! See if you can get thatfellow with the keys to come downand let me out.

THE GTRL. Oh, I couldn't.

YOUNG MAN. Why not?

THE GIRL. I'm nobody heretheygive me fifty cents every day I work.

YOUNG MAN. How much?

THE GIRL. Fifty cents.

YOUNG MAN (to the world). Yousee? They ought to pay moneyto look at you. To breathe the airyou breathe. I don't know. Some-times I figure it never is going tomake sense. Helloout there! I'mscared. You try to get me out of here.I'm scared them fools are going tocome here from Wheeling and gocrazy, thinking they're heroes. Getme out of here, Katey.

THE GIRL. I don't know what to do.Maybe I could break the doordown.

YOUNG MAN. No, you couldn't dothat. Is there a hammer out thereor anything?

THE GIRL. Only a broom. Maybethey've locked the broom up, too.

YOUNG MAN. Go see if you can findanything.

THE GIRL. All right. (She goes.)YOUNG MAN. Helloout there!Helloout there! (Pause) Helloout there! Helloout there! (Pause)Putting me in jail. (With con-tempt) Rape! Rape? They rapeeverything good that was ever born.His side hurts. They laugh at her.Fifty cents a day. Little punk peo-ple. Hurting the only good thingthat ever came their way. (Sud-denly) Helloout there!THE GIRL (returning). There isn't athing out there. They've lockedeverything up for the night.

YOUNG MAN. Any cigarettes?

THE GIRL. Everything's locked upall the drawers of the desk, all thecloset doorseverything.


556

YOUNG MAN. I ought to have a ciga-rette.

THE GIRL. I could get you a pack-age maybe, somewhere. I guess thedrug store's open. It's about a mile.

YOUNG MAN. A mile? I don't want tobe alone that long.

THE GIRL. I could run all the way,and all the way back.

YOUNG MAN. You're the sweetestgirl that ever lived.

THE GIRL. What kind do you want?

YOUNG MAN. Oh, any kindChes-terfields or Camels or Lucky Strikesany kind at all.

THE GIRL. I'll go get a package.(She turns to go.)

YOUNG MAN. What about the money?

THE GIRL. I've got some money. I'vegot a quarter I been saving. I'll runall the way. (She is about to go.)YOUNG MAN. Come here.

THE GIRL (going to him). What?YOUNG MAN. Give me your hand.(He takes her hand and looks at it,smiling. He lips it and kisses it) I'mscared to death.

THE GIRL. I am, too.

YOUNG MAN. I'm not lyingI don'tcare what happens to me, but I'mscared nobody will ever come outhere to this God-forsaken broken-down town and find you. I'm scaredyou'll get used to it and not mind.I'm scared you'll never get to Frisco

WILLIAM SAROYANand have 'em all turning around tolook at you. Listengo get me agun, because if they come, I'll kill'em! They don't understand. Get mea gun!

THE GIRL. I could jgun. I know where J

;et my father'sle hides it.

YOUNG MAN. Go get it. Never mindthe cigarettes. Run all the way.(Pause, smiling but seriously)Hello, Katey.

THE GIRL. Hello. What's your name?

YOUNG MAN. Photo-Finish is whatthey call me. My races are alwaysphoto-finish races. You don't knowwhat that means, but it meansthey're very close. So close the onlyway they can tell which horse winsis to look at a photograph after therace is over. Well, every race I betturns out to be a photo-finish race,and my horse never wins. It's mybad luck, all the time. That's whythey call me Photo-Finish. Say it be-fore you go.

THE GIRL. Photo-Finish.

YOUNG MAN. Come here, (THE GIRLmoves close and he kisses her) Now,hurry. Run all the way.

THE GIRL. I'll run. (THE GIRL turnsand runs. The YOUNG MAN stands atthe center of the cell a long time.THE GIRL comes running back in.Almost crying) I'm afraid. I'm afraidI won't see you again. If I comeback and you're not here, I

YOUNG MAN. Helloout there!

THE GIRL. It's so lonely in this town.Nothing here but the lonesome windall the time, lifting the dirt and


HELLO OUT THERE 557blowing out to the prairie. I'll stayhere. I won't let them take youaway.

YOUNG MAN. Listen, Katey. Do whatI tell you. Go get that gun and comeback. Maybe they won't come to-night. Maybe they won't come at all.I'll hide the gun and when they letme out you can take it back and putit where you found it. And thenwe'll go away. But if they come, I'llkill 'em! Now, hurry

THE GIHL. All right. (Pause) I wantto tell you something.

YOUNG MAN. O.K.

THE GIRL (very softly). If you're nothere when I come back, well, I'llhave the gun and I'll know what todo with it.

YOUNG MAN. You know how to han-dle a gun?

THE GIRL. I know how.

YOUNG MAN. Don't be a fool. (Takesoff his shoe, brings out some cur-rency) Don't be a fool, see? Here'ssome money. Eighty dollars. Take itand go to Frisco. Look around andfind somebody. Find somebodyalive and halfway human, see?Promise meif I'm not here whenyou come back, just throw the gunaway and get the hell to Frisco.Look around and find somebody.

THE GIRL. I don't want to find any-body.

YOUNG MAN (swiftly, desperately).Listen, if I'm not here when youcome back, how do you know Ihaven't gotten away? Now, do what

I tell you. I'll meet you in Frisco.I've got a couple of dollars in myother shoe. I'll see you in San Fran-cisco.

THE GIRL (with wonder). San Fran-cisco?

YOUNG MAN. That's rightSanFrancisco. That's where you and mebelong.

THE GIRL. I've always wanted to goto some place like San Franciscobut how could I go alone?

YOUNG MAN. Well, you're not aloneany more, see?

THE GIRL. Tell me a little what it'slike.

YOUNG MAN (very swiftly, almostimpatiently at first, but graduallyslower and with remembrance,smiling, and THE GIRL moving closerto him as he speaks). Well, it's onthe Pacific to begin withoceanwater all around. Cool fog and sea-gulls. Ships from all over the world.It's got seven hills. The little streetsgo up and down, around and allover. Every night the fog-hornsbawl. But they won't be bawling foryou and me.

THE GIRL. What else?

YOUNG MAN. That's about all, Iguess.

THE GIRL. Are people different inSan Francisco?

YOUNG MAN. People are the sameeverywhere. They're different onlywhen they love somebody. That'sthe only thing that makes 'em dif-


558ferent. More people in Frisco lovesomebody, that's all.

THE GIRL. Nobody anywhere lovesanybody as much as I love you.

YOUNG MAN (shouting, as if to theworld). You see? Hearing you saythat, a man could die and still beahead of the game. Now, hurry.And don't forget, if I'm not herewhen you come back, get the hellto San Francisco where you'll havea chance. Do you hear me?(THE GIRL stands a moment lookingat him, then backs away, turns andruns. The YOUNG MAN stares afterher, troubled and smiling. Then heturns away from the image of herand walks about like a lion in a cage.After a while he sits down suddenlyand buries his head in his hands.From a distance the sound of sev-eral automobiles approaching isheard. He listens a moment, thenignores the implications of thesound, whatever they may be. Sev-eral automobile doors are slammed.He ignores this also. A wooden dooris opened with a key and closed,and footsteps are heard in a hall.Walking easily, almost casually andyet arrogantly, a MAN comes in. TheYOUNG MAN jumps up suddenly andshouts at the MAN, almost scaringhim) What the hell kind of a jail-keeper are you, anyway? Why don'tyou attend to your business? Youget paid for it, don't you? Now, getme out of here.

THE MAN. But I'm not the jail-keeper.

YOUNG MAN. Yeah? Well, who areyou, then?

THE MAN. I'm the husband.

WILLIAM SAROYANYOUNG MAN. What husband youtalking about?

THE MAN. You know what husband.

YOUNG MAN. Hey! (Pause, lookingat THE MAN) Are you the guy thathit me over the head last night?

THE MAN. I am.

YOUNG MAN (with righteous indig-nation). What do you mean goingaround hitting people over thehead?

THE MAN. Oh, I don't know. Whatdo you mean going aroundtheway you do?

YOUNG MAN (rubbing his head).You hurt my head. You got no rightto hit anybody over the head.

THE MAN (suddenly angry, shout-ing) . Answer my question! What doyou mean?

YOUNG MAN. Listen, youdon't behollering at me just because I'mlocked up.

THE MAN (with contempt, slowly).You're a dog!

YOUNG MAN. Yeah, Well, let me tellyou something. You think you're thehusband. You're the husband ofnothing. (Slowly) What's more,your wifeif you want to call herthatis a tramp. Why don't youthrow her out in the street whereshe belongs?

THE MAN (draws a pistol). Shut up!YOUNG MAN. Yeah? Go ahead, shoot(Softly) and spoil the fun.


HELLO OUT THERE 559What'll your pals think? They'll bedisappointed, won't they. What'sthe fun hanging a man who's al-ready dead? (THE MAN puts the gunaway) That's right, because nowyou can have some fun yourself,telling me what you're going to do.That's what you came here for, isn'tit? Well, you don't need to tell me.I know what you're going to do. I'veread the papers and I know. Theyhave fun. A mob of 'em fall on oneman and beat him, don't they? Theytear off his clothes and kick him,don't they? And women and littlechildren stand around watching,don't they? Well, before you go onthis picnic, I'm going to tell you afew things. Not that that's going tosend you home with your palstheother heroes. No. You've been out-raged. A stranger has come to townand violated your women. Yourpure, innocent, virtuous women.You fellows have got to set thisthing right. You're men, not mice.You're home-makers, and you beatyour children. (Suddenly) Listen,youI didn't know she was yourwife. I didn't know she was any-body's wife.

THE MAN. You're a liar!

YOUNG MAN. Sometimeswhen it'lldo somebody some goodbut notthis time. Do you want to hear aboutit? (THE MAN doesn't answer) Allright, I'll tell you. I met her at alunch counter. She came in and satnext to me. There was plenty "ofroom, but she sat next to me. Some-body had put a nickel in the phono-graph and a fellow was singingNew San Antonio Rose. Well, shegot to talking about the song. Ithought she was talking to thewaiter, but he didn't answer her, soafter a while I answered her. That's

how I met her. I didn't think any-thing of it. We left the place to-gether and started walking. The firstthing I knew she said, This is whereI live.

THE MAN. You're a dirty liar!

YOUNG MAN. Do you want to hearit? Or not? (THE MAN does not an-swer) O.K. She asked me to comein. Maybe she had something inmind, maybe she didn't. Didn'tmake any difference to me, one wayor the other. If she was lonely, allright. If not, all right.

THE MAN. You're telling a lot ofdirty lies!

YOUNG MAN. I'm telling the truth.Maybe your wife's out there withyour pals. Well, call her in. I gotnothing against her, or youor anyof you. Call her in, and ask her afew questions. Are you in love withher? (THE MAN doesn't answer)Well, that's too bad.

THE MAN. What do you mean, toobad?

YOUNG MAN. I mean this may not bethe first time something like this hashappened.

THE MAN (swiftly). Shut up!

YOUNG MAN. Oh, you know it.You've always known it. You'reafraid of your pals, that's all. Sheasked me for money. That's all shewanted. I wouldn't be here now ifI had given her the money.

THE MAN (slowly). How much didshe ask for?


56oYOUNG MAN. I didn't ask her howmuch. I told her I'd made a mistake.She said she would make trouble ifI didn't give her money. Well, Idon't like bargaining, and I don'tlike being threatened, either. I toldher to get the hell away from me.The next thing I knew she'd run outof the house and was hollering.(Pause) Now, why don't you goout there and tell 'em they took meto another jailgo home and packup and leave her. You're a prettygood guy, you're just afraid of yourpals, (THE MAN draws his gun again.He is very frightened. He moves astep toward the YOUNG MAN, thenfires three times. The YOUNG MANfalls to his knees, THE MAN turns andruns, horrified) Helloout there!(He is bent forward, THE GIRLcomes running in, and halts sud-denly, looking at him.)

THE GIRL. There were some peoplein the street, men and women andkidsso I came in through theback, through a window. I couldn'tfind the gun. I looked all over but Icouldn't find it. What's the matter?

YOUNG MAN. Nothingnothing.Everything's all right. Listen. Lis-ten, kid. Get the hell out of here.Go out the same way you came inand runrun like hellrun allnight. Get to another town and geton a train. Do you hear me?

THE GIRL. What's happened?

YOUNG MAN. Get awayjust getaway from here. Take any trainthat's goingyou can get to Friscolater.

THE GIRL (almost sobbing). I don'twant to go any place without you.

WILLIAM SAROYANYOUNG MAN. I can't go. Something'shappened. (He looks other) But I'llbe with you alwaysGod damn it.Always! (He falls forward, THEGIRL stands near him, then beginsto sob softly, walking away. Shestands over to one side, stops sob-bing, and stares out. The excite-ment of the mob outside increases.THE MAN, with two of his pals,comes running in. THE GIRL watches,unseen.)

THE MAN. Here's the son of a bitch!

ANOTHER MAN. O.K. Open the cell,Harry.(The THIRD MAN goes to the celldoor, unlocks it, and swings itopen.)(A WOMAN comes running in.)

THE WOMAN. Where is he? I want tosee him. Is he dead? (Looking downat him, as the MEN pick him up)There he is. (Pause) Yeah, that'shim. (Her husband looks at her withcontempt, then at the dead man.)

THE MAN (trying to laugh). Allrightlet's get it over with.

THIRD MAN. Right you are, George.Give me a hand, Harry.(They lip the body.)

THE GIRL (suddenly, fiercely). Puthim down!

THE MAN. What's this?

SECOND MAN. What are you doinghere? Why aren't you out in thestreet?

THE GIRL. Put him down and goaway. (She runs toward the MEN.THE WOMAN grabs her.)


HELLO OUT THERETHE WOMAN. Herewhere do youthink you're going?

THE GIRL. Let me go. You've noright to take him away.

THE WOMAN. Well, listen to her, willyou? (She slaps THE GIRL and

561pushes her to the floor) Listen tothe little slut, will you?(They all go, carrying the YOUNGMAN'S body, THE GIRL gets upslowly, no longer sobbing. She looksaround at everything, then looksstraight out, and whispers.)THE GIRL. Hellooutthere! Helloout there!


Bury the DeadBY IRWIN SHAW

". . . what is this world thatyou cling to it?'

TO MY MOTHER


COPYRIGHT, 1936, BY IRWIN SHAW

CAUTION: Professionals and amateurs are hereby warned that "Bury theDead" being fully protected under the copyright laws of the United Statesof America, the British Empire, including the Dominion of Canada, andall 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 languagesare strictly reserved. In its present form this play is dedicated to the readingpublic only. All inquiries regarding this play should be addressed to theNew Theatre League, 55 West 45th Street, New York City, N. Y.


CHARACTERSPBIVATE DRISCOLLPRIVATE MORGANPRIVATE LEVYPRIVATE WEBSTERPRIVATE SCHELLINGPRIVATE DEANJOAN BURKEBESS SCHELLINGMARTHA WEBSTERJULIA BLAKEKATHERINE DRISCOIXELIZABETH DEAN

GENERALS ONE, TWO AND THREEA CAPTAIN, A SERGEANT, AND FOUR INFANTRYMEN, employed as a burial

detail.A PRIEST, A RABBI, A DOCTORA REPORTER AND AN EDITORTwo WHORES

TIMEThe second year of the war that is to begin tomorrow night.SCENEThe stage is in two planesin 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 propertiesare used to adorn the stage save for some sandbags, whole and split, lyingalong 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 strongspotlight thrown along it at hip-height from the right wing. It is the onlylight on the stage. The platform is to represent a torn-over battlefield, nowquiet, some miles behind the present lines, where a burial detail, standingin a shallow trench dug in the platform, so that the audience sees themonly from the hip up, are digging a common grave to accommodate sixbodies, piled on the right of the platform, wrapped in canvas. A SERGEANTstands on the right, on the edge of the grave, smoking. . . . The SOLDIERnearest him, in the shallow trench, stops his digging. . . .


BURY THE DEAD

FIBST SOLDIER. Say, Sergeant, theystink. . . . (Waving his shovel atthe corpses) Let's bury them in ahurry. . . .

SERGEANT. What the hell do youthink you'd smell like, after you'dbeen lyin' out for two daysa god-damn lily of the valley? They'll beburied soon enough. Keep digging.

SECOND SOLDIER (scratching him-self). Dig and scratch! Dig andscratch! What a war! When you'renot diggin' trenches you're diggin'graves. . . .

THIRD SOLDIER. Who's got a ciga-rette? I'll take opium if nobody'sgot a cigarette.

SECOND SOLDIER. When you're notdiggin' graves you're scratchin' atfleas. By God, there're more fleas inthis army than . . .

FmsT SOLDIER. That's what the war'smade forthe fleas. Somebody'sgot to feed 'em. . . .

FOURTH SOLDIER. I used to take ashower every day. Can you imag-ine?

SERGEANT. All right, Mr. Lifebuoy,we'll put your picture in the Satur-day Evening Postin color!

SECOND SOLDIER. When you're notscratchin' at fleas, you're bein'killed. That's a helluva life for agrown man.

THIRD SOLDIER. Who's got a ciga-rette? I'll trade my rifleif I canfind itfor a cigarette. For Christ'ssake, don't they make cigarettes nomore? (Leaning, melancholy, onhis shovel) This country's goin' tothe dogs for real now. . . .

SERGEANT. Lift dirt, soldier. Comeon! This ain't no vacation.

THIRD SOLDIER (disregarding him).I heard of guys packin' weeds andcowflop into cigarettes in this man'sarmy. They say it has a tang. (Re-flectively) Got to try it some day.

SERGEANT. Hurry up! (Blowing onhis hands) I'm freezin' here. I don'twant to hang around all night. Ican't feel my feet no more. . . .

FOURTH SOLDIER. I ain't felt my feetfor two weeks. I ain't had my shoesoff in two weeks. (Leaning on hisshovel) I wonder if the toes're stillconnected. I wear a 8A shoe. Aristo-cratic foot, the salesman alwayssaid. Funnygoing around noteven knowin' whether you still gottoes or not. . . . It's not hygienicreally. . . .

SERGEANT. All right, friend, we'llmake sure the next war you're in isrun hygienic.

FOURTH SOLDIER. In the Spanish-American War more men died offever than . . .

FIRST SOLDIER (beating viciously at567


Hello Out There

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