ANNOUNCER:

The Columbia Workshop.

MUSIC:

INTRODUCTION

ANNOUNCER:

Today, the Workshop presents "The City Wears a Slouch Hat" by Kenneth Patchen. The score is for sound orchestra by John Cage. "The City Wears a Slouch Hat."

MUSIC:

FOR A STROLL ON A RAINY DAY ... THEN IN BG

THE VOICE:

[(Sound of taxis, muffled clang of streetcars, etc.)] Hmm, it's beginning to rain a little.

MUSIC:

FILLS PAUSE ... THEN IN BG

THE VOICE:

We'll just move back here into this doorway.

MUSIC:

FOR MOVING BACK INTO DOORWAY ... THEN IN BG

THE VOICE:

There . . . that's better.

MUSIC:

FILLS PAUSE ... THEN IN BG

MAN:

(PASSING, APOLOGETIC) But, honest, kid, I didn't mean to say it.

WOMAN:

(ANGRY) You and your apologies! Phooey! How come every time we get to mother's you have to start in . . . ? (TRAILS OFF)

MUSIC:

UP AND OUT

THE VOICE:

Yeah . . . that's the way it is.

SOMEBODY:

(PASSING, WHISTLES FIRST LINES OF "MY BONNIE LIES OVER THE OCEAN" ... TRAILS OFF)

THE VOICE:

(PICKS UP THE MELODY AT MID-PHRASE ABOVE) Da da da da da da da di di . . .

MUSIC:

IN BG, IN AGREEMENT WITH FOLLOWING--

PANHANDLER:

Say, buddie, yuh got something t' spare a fellah? . . . I ain't eaten since yesterday.

THE VOICE:

Sure. Here.

PANHANDLER:

Thanks. I hate t' bother yuh but I . . . (MOVES OFF)

SOUND:

SIREN SCREAMS OUT ON THE STREET

VOICE:

Say . . . let's have a look.

SOUND:

[(Sound of trucks, sirens, etc.)] FIRE BELL

1ST VOICE:

(PASSING, DISMISSIVE) Ah, it's just a pile of old rags in the alley.

2ND VOICE:

Can't be too careful around these old buildings. (TRAILS OFF)

THE VOICE:

Yuh . . . Say, that rain's really beginning to come down. I'm going to duck back under this awning.

WOMAN:

(A CUSTOMER) And a dozen oranges.

MAN:

(A VENDOR) Mm hm. These? -- or the navels?

WOMAN:

I want them for juice.

MAN:

Oh? A dozen, you say?

WOMAN:

Yes . . . and I want a bunch of celery, three pounds of your best tomatoes . . .

SOUND:

AUTO ENGINE ROARS BY

THE VOICE:

We'd better find another spot.

MUSIC:

FILLS PAUSE ... THEN IN BG

THE VOICE:

Ah . . . this looks well out of the weather.

THIEF:

(PAUSE, MENACING) Stick 'em up, Jack.

THE VOICE:

They're up.

THIEF:

Fork over.

THE VOICE:

Here we are . . . my wallet, my wrist watch . . .

THIEF:

Now don't try anything fancy. I'd as soon plug you as breathe.

THE VOICE:

I bet you would. . . . Here, I think that's all.

THIEF:

You're a smart fellah. Well, be seein' yuh.

THE VOICE:

Just a minute. You won't have any use for the cards and the photograph in my wallet . . . Return them to me, please.

THIEF:

Ahhhhh, O.K. I ain't got no use for 'em. Here yuh are.

THE VOICE:

Thank you very much. Goodnight.

THIEF:

So long. (PAUSE, CALLS FROM OFF) Hey! Whose picture you got there? Yer wife? Maybe yer mother, huh?

THE VOICE:

No.

THIEF:

(BEAT) O.K., bud. Keep yer little secret.

THE VOICE:

It's no secret.

MUSIC:

OUT

THE VOICE:

It's your picture.

THIEF:

(COMING UP) What?! Say, what're yuh handin' me?

THE VOICE:

Here, look for yourself.

THIEF:

(PAUSE, STUNNED) Jeese!

MUSIC:

SMALL ACCENT ... THEN IN BG

THIEF:

(FRIGHTENED) Hey, look, guy; here, take your money. I don't wanta get mixed up in nothin' like that.

THE VOICE:

Like what? Don't be a fool. I can't stand all night here in the rain talking to you. Goodnight.

THIEF:

But I don't want . . . !

THE VOICE:

I can't help what you want.

MUSIC:

UP AND OUT

SOUND:

A STEADY WIND BLOWS ... ENTERS DURING ABOVE ... CONTINUES BEHIND--

THE VOICE:

Brr . . . That wind's beginning to go right through me. (PAUSE) What I need's a little good cheer.

SOUND:

WIND OUT ABRUPTLY ... TRANSITIONAL PAUSE

MUSIC:

FOR A NIGHTCLUB ... IN BG [(. . . a boogie woogie piano)]

DOORMAN:

Yes, sir?

SOUND:

CROWD MURMURS

THE VOICE:

Nice crowd tonight.

DOORMAN:

Pretty good.

CHECK GIRL:

Good evening, sir.

THE VOICE:

Good evening. Er, wait, I'll take my cigarettes out of the coat first.

CHECK GIRL:

Here's your check, sir.

THE VOICE:

Thank you.

MAITRE D':

(A GREETING) Evening. Table?

THE VOICE:

No, I'll just stand here.

BARTENDER:

(PAUSE) What'll you have?

THE VOICE:

Oh . . . let's see . . . Give me a bit of that.

BARTENDER:

This, sir?

THE VOICE:

That's right . . . Er, go easy on the lemon.

AL'S PAL:

(PASSING, INSISTENT) Listen, Al, that nannie goat couldn't win a race if they put snowshoes on the other gees.

AL:

(DISMISSIVE) Ah, have it your way. (TRAILS OFF)

SOUND:

CROWD MURMUR SUBSIDES

MUSIC:

DIES OUT [(Hubbub of talk dies away as boogie woogie ends)]

M.C.:

(SMARMY) And now, ladies and gentlemen, I'd like to introduce a little lady . . .

SOUND:

SCENE ENDS ABRUPTLY ... TRANSITIONAL PAUSE

MUSIC:

FOR STREET NOISE ... IN BG

THE VOICE:

I don't care much for her voice.

MUSIC:

QUICK TRANSITION ... THEN IN BG

BOY:

Paper! Paper! Paper, mister?

THE VOICE:

No, I don't want a paper.

ED'S PAL:

Here, give me one. Here you are. (MOVING OFF) Now, Ed, you know as well as I do that a thing like that can cause a lot of trouble.

ED:

Yeah, but I still think you could make somethin' out of it. Why, there were . . . (TRAILS OFF)

THE VOICE:

That sounds like it might be interesting. We'll see.

MUSIC:

QUICK TRANSITION ... THEN IN BG

ED'S PAL:

A dog maybe, but not a horse.

ED:

What's the matter with a horse?

ED'S PAL:

There ain't nothing the matter with a horse, but if it was a dog I'd feel a lot better.

ED:

O.K., you'd feel better, but that horse ain't a dog.

ED'S PAL:

Mm.

ED:

Go ahead, light yer own first.

ED'S PAL:

Oh.

SOUND:

MATCH STRIKES

ED:

What's Ida think?

ED'S PAL:

What's Ida think? What d'you think she thinks? There we are . . . in the kitchen . . . playin' cards with the neighbors in the front room . . . it don't make no difference to him . . . he'll just mosey in and start talkin'.

ED:

What's he say?

ED'S PAL:

What's he say? What don't he say? That horse just pops out with the first thing that comes in his head.

ED:

I still think you could make somethin' out of him. Why, I'll bet a lot of people . . . (TRAILS OFF)

THE VOICE:

(DISAPPOINTED) Ah, well . . . They walk too fast. (PAUSE) It might be nice to stroll along the river for a bit.

SOUND:

SCENE ENDS ABRUPTLY ... TRANSITIONAL PAUSE ... THEN FOG HORN AND RIVERFRONT BACKGROUND (DISTANT BOAT ENGINES, WATER, ET CETERA)

MUSIC:

GENTLY, IN BG

THE VOICE:

I can't get much wetter.

MAN:

Huh?

THE VOICE:

I just said I couldn't get much wetter.

MAN:

Oh, that's all right.

THE VOICE:

Good of you to say so. What are you doing sitting down here in the rain?

MAN:

Oh, just listening to the boats.

THE VOICE:

It's nice all right.

MAN:

You ever been up in an airplane?

THE VOICE:

Yes, several times. Why?

MAN:

I always wanted to see what things look like from up there. Pretty good, huh?

THE VOICE:

Pretty good.

MAN:

You ever been in Mellyberg?

THE VOICE:

Where's Mellyberg?

MAN:

I'm not just sure . . . I think it's somewhere along the Dan.

THE VOICE:

The Dan? What's the Dan?

MAN:

Oh, it's a lake near Blodget City . . . up near the border.

THE VOICE:

Well, I - I hope you get your wish.

MAN:

What wish?

THE VOICE:

To go up in a plane.

MAN:

Yeah. I do, too. You ever been in any of them creameries near Mellyberg?

THE VOICE:

Yes, I went all through one about a week ago.

MAN:

The Johnson boy still work there?

THE VOICE:

Which one? Tom?

MAN:

No, Freddie.

THE VOICE:

Freddie quit the day before I went there.

MAN:

Oh. Was that a Wednesday?

THE VOICE:

Friday.

MAN:

Mm . . . You ever plant any rice?

THE VOICE:

No, I never did. Do you see the light in that big apartment house over there? -- Up about six floors.

MAN:

Sure, I see it.

THE VOICE:

I think I'll go up and answer the phone.

SOUND:

SCENE ENDS ABRUPTLY ... TRANSITIONAL PAUSE ... THEN PHONE RINGS

MUSIC:

BANG! BANG! AS PHONE RINGS AND RECEIVER PICKED UP

THE VOICE:

Hello. . . . No, they went out to Bill's sister's . . . Couldn't say exactly, but I don't think you should wait for them to come in. . . . (INCREASINGLY SOMBER) Yeah, that's right . . . you'd have a rather long wait . . . you see, the pavement's pretty wet tonight, and their car is going to skid off into a tree . . . Yes, all of them. Even the baby. . . . The car'll catch fire . . . Yes, just, er, ten minutes from now. . . . It doesn't matter how I know. . . . I'm sorry. Goodnight.

MUSIC:

BANG! OF RECEIVER DOWN ... THEN IN BG [(Taxi horn)]

THE VOICE:

(WEARY, RELIEVED) It feels good to get some fresh air again.

CAB DRIVER:

Hey, look, buddie . . . you know them three guys back there?

THE VOICE:

Which?

CAB DRIVER:

Them back near the candy store. They been followin' yuh ever since yuh left your house.

THE VOICE:

They have . . .? How do you know?

CAB DRIVER:

How do you suppose?

THE VOICE:

And why were you following me?

CAB DRIVER:

I didn't have nothin' else to do.

THE VOICE:

Maybe they feel the same way.

CAB DRIVER:

But I ain't packin' no gun like they are.

THE VOICE:

O.K. Thanks. I'll wait until they come up. (PAUSE) Hello, boys. Anything I can do for you?

FIRST:

Not a thing.

SECOND:

What'd he tell you?

THE VOICE:

Who? What'd who tell me?

FIRST:

The guy you were just talkin' to.

THE VOICE:

Oh . . . why, he said you three were following me.

SECOND:

(LAUGHS) He told you that, huh?

THIRD:

Come on, Spool, first thing you know, he'll give us the slip.

SECOND:

Right. The dirty rat!

THE VOICE:

What's he done to you?

THIRD:

If we wanted you to know, dickie-bird, we'd tell you.

MUSIC:

ACCENT ... FOR A BLOW BEING STRUCK

SECOND:

(ASTONISHED) Cripes ... out like a light.

FIRST:

What--? Why'd yuh hit him?

THE VOICE:

I don't like to be called dickie-bird. Pick up your friend and get on your way.

SECOND:

Why, you ... we oughta plug yuh . . .

THE VOICE. You can't very well do that with empty revolvers.

SECOND:

Empty?

MUSIC:

FOR THE CLICK, CLICK OF AN EMPTY CYLINDER

SECOND:

Now how the . . . ?

THIRD:

Come on, let's get out of here.

THE VOICE:

So long, Tinkins, Sloane, and O'Malley.

FIRST:

Wait a minute. How'd you know our names?

THE VOICE:

Are they?

THIRD:

Jeese . . . Say, them ain't our names.

MUSIC:

GONG, FOR AN ACCENT ... REVERBERATION FADES OUT BEHIND--

THE VOICE:

That reminds me. Let's walk up and look around in the sky a bit.

SOUND:

SCENE ENDS ABRUPTLY ... TRANSITIONAL PAUSE

MUSIC:

FOR A WALK IN THE SKY ... A TWO-AND-A-HALF-MINUTE INTERLUDE

THE VOICE:

[I wonder what that strange-looking creature is over there on that big cloud. (Strange sound) Mm . . . seems to be trying to say something to me. (Loud crash of thunder)] We'd better get back down, I guess.

SOUND:

SCENE ENDS ... TRANSITIONAL PAUSE ... THEN LIGHT RAIN FALLS IN BACKGROUND

WOMAN:

(TROUBLED) Hello.

THE VOICE:

Hello.

WOMAN:

Do you mind if I talk to you?

THE VOICE:

Not at all. But perhaps we should get in somewhere out of the rain . . . there's a lunch room just across the street.

WOMAN:

No, I like it here. I don't want to go anywhere where there's light . . . where people can see me . . .

THE VOICE:

But why?

WOMAN:

(NEAR HYSTERIA) I'm ugly! [It's not fair! Not fair I tell you! I . . . I . . . (Begins to sob)

THE VOICE:

Come now, that won't help. Nothing is ever as terrible as we think it is. Your face is scarred?

WOMAN:

(through sobs) Yes . . . I can't go on this way.] I've nothing to live for now. (SOBS WEAKLY) Everything . . . all of it . . . our plans . . . the life we could have had together . . .

THE VOICE:

Does he know where you are?

WOMAN:

(SHORTLY) No.

THE VOICE:

Well, don't you think . . . ?

WOMAN:

No, no . . . he must never know. It'd kill him if he knew.

THE VOICE:

But if he loves you--

WOMAN:

(BITTERLY) Love! How long do you think his love would last when he . . . ? (SOBS)

THE VOICE:

When did this happen?

WOMAN:

Four months ago. I was moving a plate-glass mirror in my apartment . . . I . . . I fell, and the glass . . .

THE VOICE:

Can't the doctors help you? There have been some wonderful developments in surgery during the past few years.

WOMAN:

No. Nothing can be done. (QUICKLY, DESPERATELY) Please . . . Please don't light your cigarette!

MUSIC:

BANG! AS THE MATCH STRIKES ... CONTINUES IN BG

THE VOICE:

(BEAT, REALIZES) I see.

WOMAN:

(ANGRY) Now are you satisfied?

THE VOICE:

But why . . . ?

WOMAN:

Do you begin to understand now why I can't go back to him? Why I can't . . .

THE VOICE:

Why did you lie to me? Why did you tell me your face was scarred, disfigured?

WOMAN:

I knew it was useless to talk to you. No one can understand. Blind! You blind fools! Fools! Fools!

MUSIC:

UP, FOR AN ACCENT AND TRANSITION

SOUND:

BRAKES AND ENGINE AS CAR COMES TO CURB

MUSIC:

FOR A SCUFFLE ... CONTINUES IN BG

SAM:

That's him! Get him!

ANOTHER:

Yeah. I got him! Give us a hand, Sam.

THE VOICE:

(STRUGGLES; MUFFLED, AS THROUGH GAG) Who are you? What do you want?

SOUND:

ENGINE AS CAR PULLS AWAY FROM CURB

MUSIC:

UP, FOR A TRANSITION ... THEN IN BG

SAM:

(SINGS) My bonnie lies over the ocean . . . My bonnie lies over the sea . . .

ANOTHER:

Pipe down, Sam, you'll wake the baby!

SAM:

(SINGS) My bonnie lies over the ocean . . . Oh, bring back my bonnie to me . . .

BABY:

(CRIES)

ANOTHER:

What'd I tell yuh?!

SAM:

All right, so let it squawk! (SINGS) My bonnie lies over the ocean . . . My . . .

SOUND:

SCENE ENDS ABRUPTLY ... TRANSITIONAL PAUSE

ANOTHER:

O.K., bub, here we are. Get out.

SOUND:

BEAT ... THEN ENGINE STARTS ... CAR DRIVES OFF ... FADES OUT

MUSIC:

FOR THE "MIRTHOGRAM" ... BUILDS IN BG

THE VOICE:

Hmm . . . here we are, right back where we started from.

MUSIC:

FILLS PAUSE ... THEN IN BG

THE VOICE:

I wonder what they're doing over there.

VOICES:

(MURMUR OF CURIOUS CROWD) "What's going on over there?" etc.

SPOKESMAN:

(SNOOTY) Here, here. Here, here. Be careful. Keep off. Stand back. Do you wanta get hurt?

THE VOICE:

But what's that for? That machine with all the big gold pipes?

SPOKESMAN:

Why, it is a mirthogram. Here, watch. Look what we can make it do . . .

MUSIC:

FOR THE "MIRTHOGRAM" ... HITS A PEAK ... CONTINUES IN BG

SPOKESMAN:

Now listen . . .

MACHINE:

(A LITTLE CHUCKLE LIKE A CACKLE)

VOICES:

(MURMUR IN SURPRISE)

SPOKESMAN:

There! Didn't I tell you?!

THE VOICE:

But . . .

MACHINE:

(CHUCKLES)

THE VOICE:

But what use is it?

SPOKESMAN:

What use is it? Did you ever hear a machine laugh before?

THE VOICE:

No, I suppose not.

SOUND:

SCENE ENDS ABRUPTLY ... TRANSITIONAL PAUSE

THE VOICE:

It's funny what people will do. The great things and the dirty little things . . .

MUSIC:

TO ACCOMPANY STREET POETRY ... IN BG

THE VOICE:

Come live with me and be my love,
And we will all the pleasures prove
That hills and valleys, dales and fields
Or woods or steepy mountain yields.

And we will sit upon the rocks,
And see the shepherds feed their flocks
By shallow rivers, to whose falls
Melodious birds sing madrigals.

And I will make thee beds of roses
And a thousand fragrant posies;
A cap of flowers, and a kirtle
Embroider'd all with leaves of myrtle.

A gown made of the finest wool
Which from our pretty lambs we pull;
Fair-lined slippers for the cold,
With buckles of the purest gold.

VOICES:

(MURMUR) "That's all right." "I don't know what it is, but I kinda liked it." "Come on, move along, there," etc.

THE VOICE:

A belt of straw and ivy-buds
With coral clasps and amber studs:
And if these pleasures may thee move,
Come live with me and be my love.

The shepherd swains shall dance and sing
For thy delight each May morning:
If these delights thy mind may move,
Then live with me and be my love.

VOICES:

(MURMUR) "Say another one!" "I used to know that in school!" "Don't block the sidewalk," etc.

MUSIC:

A HEAVY RHYTHMIC BEAT BUILDS STEADILY BEHIND--

THE VOICE:

Death, be not proud though some have called thee
Mighty and dreadful, for thou art not so:
For those whom thou think'st thou dost overthrow
Die not, poor Death; nor yet canst thou kill me.
From rest and sleep, which but thy picture be,
Much pleasure, then from thee much more must flow;
And soonest our best men with thee do go--
Rest of their bones and soul's delivery!
Thou'rt slave to fate, chance, kings, and desperate men,
And dost with poison, war, and sickness dwell;
And poppy or charms can make no sleep as well
And better than thy stroke. Why swell'st thou then?
One short sleep past, we wake eternally,
And death shall be no more: Death, thou shalt die!

MUSIC:

UP, FOR PEAK OF RHYTHMIC BEAT AND A TRANSITION [... A SILENCE

THE VOICE:

I think I'll go into this movie house here. Just one, please. (Sounds coming up on screen)

A MAN:

You do love me . . .

USHER:

How far down, sir?

THE VOICE:

This is all right.

A WOMAN:

Of course I love you, Jason.

ANOTHER MAN:

Do I interrupt anything?

MAN:

No, D.J., your wife and I were just talking about the opera.

SECOND MAN:

Oh.

WOMAN:

Yes, Darius, Jason and I were arguing about Giglio Usipi.

MAN:

Geraldine thinks he's greater than Felfior.

SECOND:

And don't you?

MAN:

It depends on the way you analyze their work.

WOMAN:

But that's unimportant now. Will you have some tea, Darius?

SECOND:

No, thanks, I just dropped in for a minute.

MAN:

You're not going back to Dayton so soon, are you, D.J.?

SECOND:

Afraid I'll have to, old man. Got some things to look into at the Amalgamated. Good seeing both of you again.

MAN:

Not at all.

WOMAN:

You'll ring me up darling, when you're settled?

SECOND:

I certainly shall.

(Sound of door opening and clicking to)

 

MAN:

I'm mad about you . . .

WOMAN:

Stop, Jason, you're ruining my finger wave.

MAN:

(suddenly frightened) What was that?

WOMAN:

Nothing, dear, probably the janitor collecting the garbage.

MAN:

It sounded like somebody opening the window in the pantry. Sh . . .

(Silence)

 

SECOND:

Hope I didn't disturb you. I forgot my toothbrush.

WOMAN:

It's on the stand near the door in your room.

SECOND:

(leaving) Pip, pip.

MAN:

Pip.

WOMAN:

Do you think he suspects anything, Jason?

MAN:

Who? D.J.? Why he wouldn't stoop to a thing like that.

WOMAN:

Jason, honey . . .

MAN:

Uh huh.

WOMAN:

Do you remember that little diamond clip you gave me?

MAN:

Last summer?

WOMAN:

No, the time Darius went to Montreal.

MAN:

Oh, that . . . sure, Why?

WOMAN:

It goes very nicely with my green outfit.

MAN:

Well I'm glad.

WOMAN:

And Jason . . .

MAN:

Yes.

WOMAN:

I want to thank you for phoning Mrs. Semple for me.

MAN:

Say no more about it.

WOMAN:

Was she cross?

MAN:

Not especially. She asked about Philip.

WOMAN:

Poor Philip.

MAN:

Is he going back to selling bonds?

WOMAN:

No, Phil's coaching football at Plinith Hills.

MAN: You know I'm mad about you.

WOMAN:

Did Mrs. Semple say who'd been at her party?

MAN:

Oh, the usual bunch . . .

WOMAN:

Jane Pellenger?

MAN:

Let me think now . . . No, she didn't mention . . . Oh, yes she did . . . Jane came with Norbert Fisk.

WOMAN:

No! Not Norbert Fisk.

MAN:

That's what she said. Geraldine, we can't go on this way . . .

WOMAN:

Why not?

MAN:

But don't you see, sooner or later people will begin to talk and . . .

WOMAN:

I should hope they're talking already.

MAN:

But your children . . .

WOMAN:

Oh, that . . . Randall never hears about anything at Yale, and Prissie is too self-centered to care much if her mother is made to suffer from the narrow-mindedness of people in our circle. (Loud snore)

MAN IN NEXT SEAT:

I beg your pardon, but . . .

THE VOICE:

. . . I'm sorry. I'm terribly sorry. (Pause--street noises again)] I'd like to be off somewhere, listening to the ocean right now.

MUSIC:

FOR THE THUNDER OF WAVES BREAKING ON SHORE

THE VOICE:

I'm going to swim out to that rock there.

MUSIC:

FOR AN ALMOST MINUTE-LONG SWIM THROUGH THE POUNDING SEA ... THEN MORE GENTLY IN BG

THE VOICE:

(EXHALES WITH EXERTION OF PULLING HIMSELF ON ROCK) Ah . . . I'll enjoy being alone, sort of tasting the juices of the night.

MAN:

Nice out here, huh?

THE VOICE:

(SURPRISED) Huh? Oh . . . (AMUSED) What are you doing out on this rock in the ocean?

MAN:

I live here.

THE VOICE:

You live here?

MAN:

Yeah, for a long time now. Got sorta tired of things on shore . . . always the the same . . . men and women doing the same stupid things over and over . . . and the noise of the city . . . Nah, it's good out here.

MUSIC:

UP, FOR THE CRASH OF WAVES ON THE ROCK ... THEN IN BG

MAN:

(INCREASINGLY INTENSE UNTIL HE IS SHOUTING OVER THE WAVES) Ah, listen to her beatin' in. Just feel that good clean power surgin' in from the dark . . . cruel, ruthless, old as time . . . ah, but listen to 'er . . . she's drivin' in . . . she knows what she wants . . . There's no hero or devil on earth can talk back to her . . . your little cardboard Napoleons, bah! Hah! Come on in, girl! Roll 'em under! . . . Listen to her! . . . Knock 'em down! . . . Ah, she'll be movin' in here like a beautiful queen when all the little pains and deaths and conquests we know are forgotten!

MUSIC:

UP AND OUT FOR A MOMENT

THE VOICE:

(QUIETLY EXHILARATED) I know exactly what you mean.

MUSIC:

FOR THE SEA MOVING IN LIKE A BEAUTIFUL QUEEN ... THEN IN BG

MAN:

List! Listen to her beatin' in! (BEGINS TO HOWL OVER THE SEA, AND LAUGHS)

THE VOICE:

(OVERLAPS WITH ABOVE AS HE JOINS IN HOWLING)

MAN:

(OVERLAPS WITH ABOVE, HOWLS AND LAUGHS AGAIN)

SOUND:

SCENE ENDS ABRUPTLY ... TRANSITIONAL PAUSE

MUSIC:

SNEAKS IN BEHIND--

THE VOICE:

(WITH PASSION) I think we need more love in the world! . . . More understanding! . . . (MORE RESERVED, BUT DEEPLY FELT) I want to know you ... what you believe ... what you feel ... what things, among all the things you've heard about and known, mean something to you ... We were not meant to be strangers to each other . . . We have the same fears, the same hopes, joys, and sorrows ... We must not be suspicious. We must learn to love each other ... If one man fails to believe, then there can be no faith in the world -- for all men are finally one man, you, me -- we cannot stand apart from each other. (PAUSE, WITH GOOD CHEER) I am coming into your house with my hand outstretched. I am your friend. Do not be afraid of me.

MUSIC:

UP, FOR A TRANSITION, NOT A CONCLUSION ... CONTINUES IN BG UNTIL END

ANNOUNCER:

You have been listening to the Columbia Workshop presentation of "The City Wears a Slouch Hat," a radio play -- his first -- by the distinguished American writer Kenneth Patchen. The orchestra of sound players was under the direction of John Cage, who composed the special score. In the cast were Madeleine Grayson, Jonathan Hole, John Larkin, Frank Dane, Forrest Lewis, and Les Tremayne, who played "The Voice." Les Mitchel directed. The Columbia Workshop today originated at WBBM, Chicago. This is the Columbia Broadcasting System.