TH ■ LSBS- CORNELL UNIVERSITY LIBRARY 802 E. THIRTY FIFTH 9tf*6eT Hew Y«RXi eiTTf DATE DUE ^m^ ^6^ h^^BO* Cornell University Library PH 3287.L5E5 1921b 3 1924 026 943 195 Cornell University Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924026943195 LILIOM pu L I L I O M A LEGEND IN SEVEN SCENES AND A PROLOGUE BY FRANZ MOLNAR ENGLISH TEXT AND INTRODUCTION BY BENJAMIN F. GLAZER TRAVELING LIBRARY AFFILIATED SCHOOLS FOR WORKERS S02 E. THIRTY FIFTH STREET NEW YORK CITY HORACE LIVERIGHT PUBLISHER NEW YOUK LILIOM Copyrighted, 1921, et United Plays Inc. All rights reserved First Printing, May, 1921 Second Printing, June, 1921 Third Printing, August, 1921 Fourth Printing, November, 1921 Fifth Printing, September, 1922 Sixth Printing, December, 1922 Seventh Printing, January, 1926 Eighth Printing, December, 1927 Ninth Printing, November, 1928 CAVTION — All persons are hereby warned that the plays published in this volume are fully protected under the copyright laws of the United States and all foreign countries, and are subject to royalty, and any one presenting any of said plays without the consent of the Author or his recognized agents, will be liable to the penalties by law provided. Applications for the acting rights must be made to the United Plays, Inc., 1428 Broadway, New York City. X Printed in the United States of America) Four Servant Girls. As originally produced by The Theatre Guild, on the night of April 20, 1921, at the Garrick Theatre, New York City. CAST OF CHARACTERS (In the order of their appearance) Marie Hortense Alden Julie Eva Le Gallienne Mrs. Muskat Helen Westley "Liliom" Joseph Schildkraut "Liliom" is the Hungarian for lily, and the slang term for "a tough" Frances Diamond Margaret Mosier Anne de Chantal Elizabeth Parker Policemen \ toward Claney L Lawrence B. Chrow Captain Erskine Sanford Plainclothes Man Gerald Stopp Mother Hollumder Lilian Kingsbury "The Sparrow" Dudley Digges Wolf Berkowitz Henry Travers Young Holltvnder William Franklin Lvnzman Willard Bowman First Mounted Policeman Edgar Stehli Second Mounted Policeman George Frenger The Doctor Robert Babcock The Carpenter George Frenger First Policeman of the Beyond .... Erskine Sanford Second Policeman of the Beyond Gerald Stopp vii CAST OF CHARACTERS (Continued) The Richly Dressed Man Edgar Stehli The Poorly Dressed Man Philip Wood The Old Guard Walton Butterfield The Magistrate Albert Perry Louise Evelyn Chard Peasants, Townspeople, etc. Lela M. Aultman, Janet Scott, Marion M. Winsten, Katherine Fahnestock, Lillian Tuch- man, Ruth L. Cumming, Jacob Weiser, Maurice Somers, John, Crump. Prologue An Amusement Park on the Outskirts of Budapest First Scene A Lonely Place in the Park Second Scene. The Tin Type Shop of the HoUunders Third Scene The Same Fourth Scene A Railroad Embankment Outside the City Intermission Fifth Scene , Same as Scene Two Sixth Scene A Courtroom in the Beyond Seventh Scene Before Julie's Door Produced under the direction of Frastk Reicher Costwmes and scenery designed by Lee Simonboit Technical Director Sheldon K. Viele Scenery painted by Robert Bebqmait Costumes executed by Nettie Dutt Reade Stage Manager Waltee Geer Assistant Stage Mamager Jacob Weiser Music arranged by Deems Tatloe Executive Director Theresa HEiiBURir viii INTRODUCTION The premiere of "LILIOM" at Budapest in De- cember, 1909, left both playgoer and critic a bit bewildered. It was not the sort of play the Hun- garian capital had been accustomed to expect of its favorite dramatist, whose THE DEVIL, after two years of unprecedented success, was still crowd- ing the theatres of two continents. One must, it was true, count on a touch of fantasy in every Molnar work. Never had he been wholly content with everyday reality, not in his stories, or in his sketches or in his earher plays ; and least of aU in THE DEVIL wherein the natural and super- natural were most whimsically blended. But in LILIOM, it seemed, he had carried fantasy to quite unintelligible lengths. Budapest was frankly puzzled. What did he mean by killing his hero in the fifth scene, taking him into Heaven in the sixth and bringing him back to earth in the seventh? Was this prosaic Heaven of his seriously or satirically intended? Was Liliom a saint or a common tough? And was his abortive redemption a symbol or merely ix INTRODUCTION its child-like expressionlessness accentuated by the monocle he always wears, though rather belied by the gleam of humor in his dark alert eyes. His hair is iron-gray, his figure stocky and of about medium height. A mordant wit, an inimitable raconteur, he loves life and gayety and all the luxuries of life. Nothing can persuade him out of his complacent and comfortable routine. He wiU not leave Buda- pest, even to attend the premiere of one of his plays in nearby Vienna. The post-war political upheaval which has rent aU Hungary into two voluble and bitter factions left him quite unperturbed and neu- tral. His pen is not for politics. Yet it is a singularly prolific pen. His novels and short stories are among the finest in Hungarian lit- erature. He has written nine long plays and numer- ous short ones. A chronology of his more important dramatic works is as follows: 1902 A DOKTOR UR (The Doctor). 1904 JOZSI. 1907 AZ ORDOG (The Devil). 1909 LILIOM. 1911 TESTOR (Played in this country as "Where Ignorance is Bliss"). 1913 A FARKAS (Played in this country as "The Phantom Rival"). 1914 URIDIVAT (Attorney for Defence). 1919 A HATTYU (The Swan). xii INTRODUCTION 1920 SZINHAZ (Theatre: Three One -Act Plays). Undoubtedly the greatest of these is LILIOM. In- deed, I know of no play written in our own time which matches the amazing virtuosity of LILIOM, its imaginative daring, its uncanny blending of naturalism and fantasy, humor and pathos, tender- ness and tragedy into a solid dramatic structure. At first reading it may seem a mere improvization in many moods, but closer study must reveal how the moods are as inevitably related to each other as pearls on a string. And where in modern dramatic literature can such pearls be matched — Julie incoherently confessing to her dead lover the love she had always been ashamed to tell ; Liliom crying out to the distant carousel the glad news that he is to be a father; the two thieves gambling for the spoils of their prospective robbery ; Marie and Wolf posing for their portrait while the broken-hearted Julie stands looking after the vanish- ing LUiom, the thieves' song ringing in her ears ; the two policemen grousing about pay and pensions while Liliom lies bleeding to death; Liliom furtively proffering his daughter the star he has stolen for her in heaven. . . . The temptation to count the whole scintillating string is difficult to resist. What is the moral of LILIOM.'' Nothing you can reduce to a creed. Molnar is not a preacher or a xiii INTRODUCTION propagandist for any theory of life. You will look in vain in his plays for moral or dogma. His phi- losophy — ^if philosophy you can call it — ^is always impUcit. And nothing is plainer than that his pic- ture of a courtroom in the beyond is neither devoutly nor satirically intended. Liliom's Heaven is the Heaven of his own imagining. And what is more natural than that it should be an irrational jumble of priest's purgatory, police magistrate's justice and his own limited conception of good deeds and evil? For those who hold that every fine dramatic ar- chitecture must have its spire of meaning, that by the very selection of character and incident the dramatist writes his commentary on life, there is still an explanation possible. Perhaps Molnar was at the old, old task of revaluing our ideas of good and evil. Perhaps he has only shown how the difference between a bully, a wife-beater and a criminal on the one hand and a saint on the other can be very slight. If one must tag LILIOM with a moral, I prefer to read mine in LiHom's dying speech to Julie wherein he says : "Nobody's right . . . but they aU think they are right. ... A lot they know." BENJAMIN F. GLAZER. New York, April, 1921. XIV L 1 L 1 O M SYNOPSIS OF SCENES Prologue — An amusement park on the outskirts of Budapest. FiEST Scene — A lonely place in the park. Second Scene — The photographic studio of the HOLLUNDEBS. Thied Scene — Same as scene two. FouaTH Scene — A railroad embankment outside the city. FiETH Scene — Samte as scene two. Sixth Scene — A courtroom in the beyond. Seventh Scene — ^Julie's garden. There are intermissions only after the second and fifth scenes. CAST OF CHARACTERS L11.10M JVLIE ,. ., Masie Mrs. Muskat Louise Mes, Holltjndek FlCSTJB Young HoLLUNDEa WoLP Beieeld The Caepenteb LiNZMAN The Doctob. The Magisteate Two Mounted Policemen Two Plainclothes Policemen Two Heavenly Policemen The Richly Deessed Man The Pooely Deessed Man The Guaed A SuBUEBAN Policeman THE PROLOGUE An amusement park on the outskirts of Budapest on a late afternoon in Spring. Barkers stand be- fore the booths of the sideshows haranguing the passing crowd. The strident music of a calliope is heard; laughter, shouts, the sciiffle of feet, the signal bells of merry-go-round. The merry-go-round is at Center. Liliom stands at the entrance, a cigarette in his mouth, coaxing the people in. The girls regard him with idolizing glances and screech with pleasure as he playfully pushes them through entrance. Now and then some girl's escort resents the familiarity, whereupon Liliom's demeanor becomes ugly and menacing, and the cowed escort slinks through thi entrance behind his girl or contents himself with a muttered resent- ful comment. One girl hands Liliom a red carnation; he re- wards her with a bow and a smile. When the sol- dier who accompanies her protests, Liliok cows him with a fierce glance and a threatening gesture. Maeie and Julie come out of the crowd «.nd Liliom favors them with particular notice as they pass into the merry-go-round. 1 2 THE PROLOGUE Mes. Muskat comes out of the merry-go-round, bringing Liliom coffee and rolls. Liliom mounts the barker's stand at the entrance, where he is ele- vated over everyone on the stage. Here he begins his harangue. Everybody turns toward him. The other booths are gradually deserted. The tumult makes it impossible for the audience to hear what he is saying, but every now and then some witticism of his provokes a storm of laughter which is audi- ble above the din. Many people enter the merry- go-round. Here and there one catches a phrase "Room for one more on the zebra's back,'* "Which of you ladies?" "Ten heUer for adults, five for chil- dren," "Step right up" It is growing darker. A lamplighter crosses the stage, and begins unperturbedly lighting the col- ored gas-lamps. The whistle of a distant locomo- tive is heard. Suddenly the tumult ceases, the lights go out, and the curtain falls in darkness. END OP PBOI.OGTJE LILIOM SCENE ONE Scene — A lottely place m the park, half hidden hy trees and shrubbery. Under a flowermg acacia tree stands a painted wooden bench. From the distance, faintly, comes the tiuimdt of the amuse- ment park. It is the simset of the same day. When the curtain rises the stage is empty. Makie enters quickly, pauses at center, and looks back., Maeib Julie, Julie! [^There is no answer. \ Do you hear me, Julie? Let her be! Come on. Let her be. [Starts to go back.'\ [Julie enters, looks back angrily.^ Julie Did you ever hear of such a thing? What's the matter with the woman anyway? Mabie [^Looking back again.'\ Here she comes again. 3 4 LILIOM Julie Let her come. I didn't do anything to her. All of a sudden she comes up to me and begins to raise a row. Mabib Here she is. Come on, let's run. [Tries to urge her of.l JuLEE Run? I should say not. What would I want to run for? I'm not afraid of her. Mabie Oh, come on. She'U only start a fight. Julie I'm going to stay right here. Let her start a fight. Mes. Muskat [Entering.^ What do you want to run away for? [To Julie. ^ Don't worry. I won't eat you. But there's one thing I want to tell you, my dear. Don't let me catch you in my carousel again. I stand for a whole lot, I have to in my business. It makes no difference to me whether my customers are ladies or the likes of you — as long as they pay their money. But when a girl misbehaves herself on my carousel — out she goes. Do you understand? LILIOM 5 Julie Are you talking to me? Mes. Muskat Yes, you! You — chamber-maid, you! In my carousel Julie Who did anything in your old carousel? I paid my fare and took my seat and never said a word, except to my friend here. Maoie No, she never opened her mouth. Liliom came over to her of his own accord. Mas. MusKAT It's aU the same. I'm not going to get in trouble with the police, and lose my license on account of you — you shabby kitchen maid! Julie Shabby yourself. Mes. Muskat You stay out of my carousel ! Letting my barker fool with you! Aren't you ashamed of yourself? Julie What? What did you say? 6 LILIOM Mas. MXTSEAT I suppose you think I have no eyes in my head. I see everything that goes on in my carousel. During the whole ride she let Liliom fool with her — the shameless hussy! Julie He did not fool with me! I don't let any man fool with me! Mas. MusKAT He leaned against you aU through the ride ! Julie He leaned against the panther. He always leans against something, doesn't he? Everybody leans where he wants. I couldn't tell him not to lean, if he always leans, could I? But he didn't lay a hand on me. Mes. Muskat Oh, didn't he? And I suppose he didn't put his hand around your waist, either? Maeie And if he did? What of it? Mrs. Muskat You hold your tongue! No one's asking you — just you keep out of it. LELIOM 7 Julie He put his arm around my waist — just the same as he does to all the girls. He always does that. Mes. Muskat I'll teach him not to do it any more, my dear. No carryings on in my carousel! If you are look- ing for that sort of thing, you'd better go to the circus! You'll find lots of soldiers there to carry on with! JULEB You keep your soldiers for yourself Masie Soldiers! As if we wanted soldiers! Mks. Muskat Well, I only want to tell you this, my dear, so that we understand each other perfectly. If you ever stick your nose in my carousel again, you'll wish you hadn't! I'm not going to lose my license on account of the likes of you! People who don't know how to behave, have got to stay out! Julie You're wasting your breath. If I feel like rid- ing on your carousel I'll pay my ten heller and I'll ride. I'd like to see anyone try to stop me! 8 LILIOM Mbs. Mttskat Just come and try it, mj dear — ^just come and try it. Masie We'll see what'll happen. Mes. Muskat Yes, you will see something happen that never happened before in this park. Julie Perhaps you think you could throw me out ! Mss. Muskat Fm sure of it, my dear. JuuE And suppose I'm stronger than you? Mas. Muskat I'd think twice before I'd dirty my hands on a common servant girl. I'll have LUiom throw you out. He knows how to handle your kind. JUME You think LUiom would throw me out. Mes. Muskat Yes, my dear, so fast that you won't know what happened to you! LILIOM 9 Julie He'd throw me [Stops suddenly, for Mas. MusKAT has turned away. Both look off stage wn- til LiuoM enters, surrownded by four giggling servant girls,^ LlLIOM Go away ! Stop following me, or FU smack your face! A Little Servant GibL Well, give me back my handkerchief^ LiLIOM Go on now- The Fottb Servant Giels [Simultaneously.^ What do you think of him? — ^My handkerchief! — Give it back to her! — That's a nice thing to do! The Little Servant Girl [To Mrs. Muskat.J Please, lady, make him Mrs. Muskat Oh, shut up! LiLIOM Will you get out of here.'* [Makes a threatening gesture — the four seroamt girls exit in voluble hut fearful haste."] 10 ULIOM Mrs. MUSK4.T What have you been doing now? LiLIOM None of your business. [Glemces at Jitiie.] Have you been starting with her again? Julie Mister Liliom, please LnjOM l^Steps threateningly toward her.] Don't yell! Julie ITvmMly.] I didn't yell. LiUOM Well, don't. [To Mas. Muskat.] What's the matter? What has she done to you? Mrs. Muskat What has she done? She's been impudent to me. Just as impudent as she could be ! I put her out of the carousel. Take a good look at this innocent thing, Liliom. She's never to be allowed in my carousel again! LiUOM [To JuME.] You beard that. Run home, now. LILIOM 11 Maeie Come on. Don't waste your time with such peo- ple. [^Tries ta lead Julie cmay.^ Julie No, I won't MSS. MUSEAT If she ever comes again, you're not to let her in. And if she gets in before you see her, throw her out. Understand? LiLIOM What has she done, anyhow? Julie [Agitated amd very eamest.'\ Mister LiHom — tell me please — ^honest and truly — if I come into the carousel, will you throw me out? Mes. Muskat Of course he'U throw you out. Mabie She wasn't talking to you. Julie Tell me straight to my face. Mister Liliom, would you throw me out? [They face each other. Th^re is a brief paiise,] 12 LILIOM LlUOM Yes, little girl, if there was a reason — ^biit if there was no reason, why should I throw you out? Maeie [To Mas. MusKAT.] There, you see ! JUME Thank you, Mister Liliom. Mbs. Museat And I teU you again, if this little slut dares to set her foot in my carousel, she's to be thrown out! Ill stand for no indecency in my establishment LlUOM What do you mean — indecency? Mes. Muskat I saw it all. There's no use denying it« Julie She says you put your arm around my waist. LlIilOM Me? Mas. Muskat Yes, you! I saw you. Don't play the innocent. LILIOM 13 LiLIOM Here's something new! I'm not to put my arm around a girl's waist any more! I suppose I'm to ask your permission before I touch another girl! Mes. Muskat You can touch as many girls as you want and as often as you want — for my part you can go as far as you like with any of them — but not this one — I permit no indecency in my carousel. [There is a long pfmse,^ LlLIOM [To Mes. Muskat.] And now I'll ask you please to shut your mouth. Mes. Muskat What? LiMOM Shut your mouth quick, and go back to your carousel. Mes. Muskat What? LiMOM What did she do to you, anyhow? Tryin' to start a fight with a little pigeon like that . . , just be- cause I touched her.'' — ^You come to the carousel as often as you want to, little girl. Come every after-^ noon, and sit on the panther's back, and if you 14 LILIOM haven't got the price, Liliom will pay for you. And if anyone dares to bother you, you come and tell me. Mas. MusKAT You reprobate! Liliom Old witch! JuLIB Thank you. Mister Liliom. Mes. Mttskat You seem to think that I can't throw you out, too. What's the reason I can't? Because you are the best barker in the park? Well, you are very much mistaken. In fact, you can consider yourself thrown out already. You're discharged! LlXIOM Very good. Mrs. Mtjskat \W eakenmg a little.'\ I can discharge you any time I feel like it. Liliom Very good, you feel like discharging me. I'm discharged. That settles it. Mas. MusKAT Playing the high and mighty, are you? Con- ceited pig! Good-for-nothing! LILIOM 15 L11.10M You said you'd throw me out, didn't you? Well, that suits me; I'm thrown out. Mas. MusKAT \_SofteTimg.^ Do you have to take up every word I say? LiLIOM It's all right; it's all settled. I'm a good-for- nothing. And a conceited pig. And I'm dis- charged. Mrs. Muskat Do you want to ruin my business? LiLIOM A good-for-nothing? Now I know! And I'm dis- charged! Very good. Mrs. Muskat You're a devil, you are . . . and that woman LlIilOM Keep away from her! Mrs. Muskat I'll get HoUinger to give you such a beating that you'll hear all the angels sing . . . and it won't be the first time, either. 16 LILIOM LlUOM Get out of here. I'm discharged. And you get out of here. Julie [Timidly.] Mister LUiom, if she's willing to say that she hasn't discharged you LlLIOM You keep out of this. Julie \Timidly.] I don't want this to happen on ac- count of me. LiLIOM \To Mas. MusKAT, pointing to Julie.] Apolo- gize to her ! Mabie A-ha! Mrs. Muskat Apologize.'* To who? LlLIOM To this little pigeon. WeU — are you going to doit? Mrs. Muskat If you give me this whole park on a silver plate, and all the gold of the Rothschilds on top of it — I'd — I'd Let her dare to come into my carousel again and she'll get thrown out so hard that she'll see stars in daylight ! LILIOM 17 LiLIOM In that case, dear lady [^takes off his cap with a flourish'\, you are respectfully requested to get out o' here as fast as your legs will carry you — I never beat up a woman yet — except that Holzer woman who I sent to the hospital for three weeks — ^but — if you don't get out o' here this minute, and let this little squab be, I'll ^ve you the prettiest slap in the jaw you ever had in your life. Mes. Muskat Very good, my son. Now you can go to the devil. Good-bye. You're discharged, and you needn't try to come back, either. \^She exits. It is begirming to grow dark.^ Mauib [^With grave concern^ Mister Liliom LiLIOM Don't you pity me or I'll give yott a slap in the jaw. \To Julie.] And don't you pity me, either. JULEE [7« alarm.] I don't pity you. Mister Liliom. Liliom You're a liar, you are pitying me. I can see it in your face. You're thinking, now that Madame Muskat has thrown him out, Liliom will have to go 18 LILIOM begging. Huh! Look at me. Fm big enough to get along without a Madame Muskat. I hare been thrown out of better jobs than hers. Julie What will you do now. Mister Liliom? LlIilOM Now? First of all, FU go and get myself — a glass of beer. You see, when something happens to annoy me, I always drink a glass of beer. Julie Then you are annoyed about losing your job. LiLIOM No, only about where Fm going to get the beer. Masie Well— eh LiLIOM Well— eh— what? Maeib Well — eh — are you going to stay with us. Mister Liliom? Liliom Will you pay for the beer? [Makie looks dovht- iul; he turns to Julie.] Will you? [She does not answer. '\ How much money have you got? LILIOM 19 Julie IBaghfidltf.] Eight heller. LiLIOM And you? [Makie casts down her eyes and does nat reply^ Liuom contmues sternly.} I asked you how much you've got? [Mauie begims to weep softly.] I understand. Well, you needn't cry about it. You girls stay here, while I go hack to the carousel and get my clothes and things. And when I come back, we'll go to the Hungarian beer-garden. It's all right, I'll pay. Keep your money. \^He exits. Marie and Julie stand silent, wafchmg him tmtU he has gone.] Mauie Are you sorry for him? Julie Are you? Maeie Yes, a little. Why are you looking after him in that funny way? Julie [Sits down.] Nothing — except I'm sorry he lost his job. Mauie [With a touch of pride.] It was on our account he lost his job. Because he's fallen in love with you. 20 LILIOM Julie He hasn't at all. Masie: [^Confidently.] Oh, yes! he is in love with you. [Hesitantly, romwnticaUy.] There is someone in love with me, too. Julie There is? Who? Makie I — ^I never mentioned it before, because you hadn't a lover of your own — ^but now you have — and I'm free to speak. [Very ffrandUoquently.] My heart has found its mate. Julie You're only making it up. Maeee No, it's true — ^my heart's true lo ve Julie Who? Who is he? Makie A soldier. Julie What kind of a soldier? Maeie I don't know. Just a soldier. Are there dif- ferent kinds? LILIOM 21 Julie Many different kinds. There are hussars, ar- tillerymen, engineers, infantry — that's the kind that walks — and Makie f How can you tell which is which? Julie By their uniforms. Mabie [After trying to puzzle it owt.'\ The conductors on the street cars — are they soldiers? JuiilE Certainly not. They're conductors. Mabib Well, they have uniforms. Julie But they don't carry swords or guns. Makie Oh! [Thmks it over again; then.^ Well, po- licemen — are they? Julie [TTtiA a touch of exasperation.] Are they what? 22 LILIOM Mabie Soldiers. Julie Certainly not. They're just policemen. Makie ITrkimpIumtlif.] But they have uniforms — and they carry weapons, too. Julie You're just as dumb as you can be. You don't go by their uniforms. Mabie But you said Julie No, I didn't. A letter-carrier wears a uni- form, too, but that doesn't make him a soldier. Makee But if he carried a gun or a sword, would he be Julie No, He'd still be a letter-carrier. You can't go by guns or swords, either. Maeie Well, if you don't go by the uniforms or the weapons, what do you go by? LILIOM 23 Julie By [Tries to put it into wards; fails; then breaks off suddenly.] Oh, you'll get to know when you've lived in the city long enough. You're noth- ing but a country girl. When you've lived in the city a year, like I have, you'll know all about it. Makie [Half angrily.] Well, how do you know when you see a real soldier.'' Julie By one thing. Makie What? Julie One thing [She pauses. Mauie staris to cry.] Oh, what are you crying about.'' Maeie Because you're making fun of me, . . . You're a city girl, and I'm just fresh from the country . . . and how am I expected to know a soldier when I see one? . . . You, you ought to tell me, instead of making fun of me Julie All right. Listen then, cry-baby. There's only one way to tell a soldier : by his salute ! That's the only way. M LILIOM Marie [Joyf'ully; with a sigh of relief.'] Ah — ^that's good. Julie What? Makie I say — it's all right then — because Wolf — Wolf [Julie laughs derisively.] Wolf — that's his name. [^She weeps ogam,] Julie Crying again? What now? Marie You're making fun of me again. Julie I'm not. But when you say, "Wolf — ^Wolf — " like that, I have to laugh, don't I? [Archly.] What's his name again? Mabie I won't tell you. Julie All right. If you won't say it, then he's no sol- dier. Marie I'll say it. LILIOM 25 JUUE Go on. Mamb No, I won't. [^She weeps agam.^ Julie Then he's not a soldier. I guess he's a letter- carrier Maeie No — no— I'd rather say it, JviXB Well, then. Makie l^Gigfgling.^ But you mustn't look at me. You look the other way, and I'U say it. [Julie looks away, Marie can hardly restram her own la/ugh- ter.'\ Wolf! [ShelaMghs.\ That's his real name. Wolf, Wolf, Soldier— Wolf ! Julie What kind of a uniform does he wear? Mabie Red. Julie Red trousers? Mabie No. 26 LELIOM J011E Red coat? No. What then? Mame Julie Marie [Trnumphmdly.^ His cap! Julie [After a long pause.'] He's just a porter, you dunce. Red cap . . . that's a porter — and he doesn't carry a gun or a sword, either. Makie [Triumphmitli/.'] But he salutes. You said yourself that was the only way to tell a soldier Julie He doesn't salute at all. He only greets peo- ple Maeie He salutes me. . . . And if his name is Wolf, that doesn't prove he ain't a soldier — he salutes, and he wears a red cap and he stands on guard all day long outside a big building JULIB What does he do there? LILIOM 87 Mabie ISerioiisly.'] He spits. Jttlie \^With contempt.'] He's nothing — nothing but a common porter. Makie What's Liliom? Julie llndigrumtli/.'] Why speak of him? What has he to do with me? Makie The same as Wolf has to do with me. If you can talk to me like that about Wolf, I can talk to you about Liliom. Julie He's nothing to me. He put his arm around me in the carousel. I couldn't tell him not to put his arm around me after he had done it, could I? Makie I suppose you didn't like him to do it? Julie No. Makie Then why are you waiting for him? Why don't you go home? 28 LILIOM Julie Why — eh — ^he said we were to wait for him. [LiiiioM enters. There is a long silence, ^ LiLIOM Are you still here? What are you waiting for? Mabie You told us to wait. LlLIOM Must you always interfere? No one is talking to you. Maeie You asked us — why we LiLIOM Will you keep your mouth shut? What do you suppose I want with two of you? I meant that one of you was to wait. The other can go home. Marie All right. Julie All right. [NeitJier starts to gro.] LlUOM One of you goes home. {To MAaiE.] Where do you work? LILIOM S9 Makie At the Breier's, Damjanovitsch Street, Number 20. LiUOM And you? Julie I work there, too. Lii/iosi Well, one of you goes home. Which of you wants to stay. {^There is no answer,] Come on, speak up, which of you stays? Maeie [pijicioiisly.l She'll lose her job if she stays. LiUOM Who will? Mauib Julie. She has to be back by seven o'clock. LiLIOM Is that true? Will they discharge you if you're not back on time? Julie Yes. LiLIOM Well, wasn't I discharged? Julie Yes — you were discharged, too. 30 LILIOM Maxie Julie, shall I go? Julie I — can't tell you what to do. Mahie All right — stay if you like. LlUOM You'll be discharged if you do? Maeie Shall I go, Julie? Julie lEmbarrassed.'] Why do you keep asking me that? Ma£IB You know best what to do.: Julie [Frofotmdly moved; slowly.'\ It's all right, Marie, you can go home. Makie [Exits reluctantly, hut comes hack, a/nd says ww- certainly.] Good-night. [She waits a moment to see if Julie wiil ■follow her. Julie does not move. Makie eants. Meantime it has grown quite dark. During the following scene the gas-lamps far in the LILIOM 31 distance are lighted one hy one. Liliom and Julie sit on the bench. From afar, very faintly, comes the music of a calliope. But the music is intermit- tently heard; now it breaks off, now it resumes again, as if it came down on a fitful wvnd, Blerding with it are the sounds of hu/ma/n voices, now loud, now soft; the blare of a toy trumpet; the confused noises of the show-booths. It grows progressively darker until the end of the scene. There is no moonlight. The spring irridescence glows in the deep blue sky.^ LlIilOM Now we're both discharged. ^She does not an- swer. From now on they speak gradually lower and lower wntU the end of the scene, which is played almost in whispers. Whistles softly, then.] Have you had your supper? Julie No. Liliom Want to go eat something at the Garden? Julie No. Liliom Anywhere else? JULI£ No. 32 LILIOM LiXiIOM IWhistles softly, then.] You don't come to this park very often, do you? I've only seen you three times. Been here oftener than that? Julie Oh, yes. LlLIOM Did you see me? JUME Yes. LiLIOM And did you know I was LiliomP Julie They told me. LiLIOM l^WhistUs softly, then.] Have you got a sweet- heart? Julie No. LiLIOM Don't lie to me. Julie I haven't. If I had, I'd tell you. I've never had one. LiLIOM What an awful liar you are. I've got a good mind to go away and leave you here. LILIOM 38 IVe never had one. LlIilOM Tell that to someone else. Julie [ReproacTifvUy.^ Why do you insist I have? LlLIOM Because you stayed here with me the first time I asked you to. You know your way around, you do. Jui-iE No, I don't, Mister Liliom. LlIilOM I suppose you'll tell me you don't know why you're sitting here — ^like this, in the dark, alone with me — You wouldn't 'a' stayed so quick, if you hadn't done it before — with some soldier, maybe. This isn't the first time. You wouldn't have been so ready to stay if it was — ^what did you stay for, any- how.'' Julie So you wouldn't be left alone. Liliom Alone! God, you're dumb! I don't need to be alone. I can have all the girls I want. Not only 34. LILIOM servant girls like you, but cooks and governesses, even French girls. I could have twenty of them if I wanted to. JuiilE I know, Mister Liliom. LlLIOM What do you know? Julie That all the girls are in love with you. But that's not why I stayed. I stayed because you've been so good to me. LlXIOM WeU, then you can go home. Julie I don't want to go home now. LiLIOM And what if I go away and leave you sitting here? Julie If you did, I wouldn't go home. LruoM Do you know what you remind me of? A sweet- heart I had once — I'll tell you how I met her One night, at closing time, we had put out the lights in the carousel, and just as I was \H.e is m- LILIOM 35 terrupted by the entrance of two plainclothes pdlice- men. They take their statioTis on either aide of the bench. They are police, searching the park for vagabonds.'] FlEST POUCEMAN What are you doing there? LlIJOM Me? Second Policeman Stand up when you're spoken to! \^He taps LiiioM imperatively on the shoulder.] FiEST Policeman What's your name? LiLIOM Andreas Zavoczki. [Julee begins to weep softly.] Second Policeman Stop your bawling. We're not goin' to eat you. We are only making our rounds. FiKST Policeman See that he doesn't get away. [The Second Policeman steps closer to Liliom.J What's your business? LlLIOU Barker and bouncer. 86 LILIOM Second Policeman They call him Liliom, Chief. We've had him up a couple of times. FlEST POUCEMAN So that's who you are! Who do you work for now? LlLIOU I work for the widow Muskat. FiaST PoiiICEMA.V What are you hanging around here for? LlUOH We're just sitting here — ^me and this girL FiBST Policeman Your sweetheart? LiLIOM No. First Policeman [To Julie.] And who are you? Julie Julie Zeller. FmsT Policeman Servant girl? LILIOM 37 Julie Maid of All Work for Mister Georg Breier, Num- ber Twenty Damjanovitsch Street. FmsT Policeman Show your hands. Second Policeman {^After exammmg Julie's Tiamd.'] Servant girl. FiKST Policeman Why aren't you at home? What are you doing out here with him? Julie This is my day out, sir. FiEST Policeman It would be better for you if you didn't spend it sitting around with a fellow like this. Second Policeman They'll be disappearing in the bushes as soon as we turn our backs. FiEST Policeman He's only after your money. We know this fine fellow. He picks up you silly servant girls and takes what money you have. Tomorrow you'll probably be coming around to report him. If you do, I'll throw you out. 38 LILIOM Julie I haven't any money, sir. FlEST PoLICEMAir Do you hear that, Liliom? LiLIOM I'm not looking for her money. Second Policeman [Nudging him 'warnmgly.'\ Keep your mouth shut. FmsT Policeman It is my duty to warn you, my child, what kind of company you're in. He makes a specialty of serv- ant girls. That's why he works in a carousel. He gets hold of a girl, promises to marry her, then he takes her money and her ring. Julie .,A But I haven't got a ring. f^ Second Policeman You're not to talk unless you're asked a question. FmsT Policeman You be thankful that I'm warning you. It's nothing to me what you do. I'm not your father, thank God. But I'm telling you what Kind of a LILIOM 39 fellow he is. By tomorrow morning you'll be com- ing around to us to report him. Now you be sen- sible and go home. You needn't be afraid of him. This officer will take you home if you're afraid. Julie Do I have to go .'' FlKST PoiilCEMAN No, you don't have to go. Jui-iE Then I'll stay, sir. FmST POMCEMAX Well, you've been warned. Julie Yes, sir. Thank you, sir. First Policeman Come on, Berkovics. [The Policemen exit. Julie and Liliom sit on the bench again. There is a brief pause.] Julie Well, and what then? LiLIOM [Fails to tunderstand.J Huh? 40 LILIOM Julie You were beginning to tell me a story. LiUOM Me? Julie Yes, about a sweetheart. You said, one night, just as they were putting out the lights of the carousel That's as far as you got. LiLIOIf Oh, yes, yes, just as the lights were going out, someone came along — a little girl with a big shawl — you know She came — eh — from Say — tell me — ain't you — that is, ain't you at all — afraid of me? The officer told you what kind of a fellow I am — and that I'd take your money away from you Julie You couldn't take it away — I haven't got any. But if I had — I'd — I'd give it to you — ^I'd give it all to you. LiLIOM You would? Julie If you asked me for it. LiLIOM Have you ever had a fellow you gave money to? LILIOM 41 JtrxxE No. LiUOM Haven't you ever had a sweetheart? Julie No. LlLIOH Someone you used to go walking with. You've had one like that? Julie Yes. LlLIOM A soldier? Julie He came from the same village I did. LlLIOU That's what all the soldiers say. Where do you come from, anyway? Julie Not far from here. [There is a pause.] LlLIOK Were you in love with him? Julie Why do you keep asking me that all the time, Mister Liliom? I wasn't in love with him. We only went walking together. 42 LILIOM LlLIOM Where did you walk? Julie In the park. LiLIOM And your virtue? Where did you lose that? JtJLIE I haven't got any virtue. LlLIOM Well, you had once. Julie No, I never had. I'm a respectable girl. LlLlOM Yes, but you gave the soldier something. Julie Why do you question me like that. Mister Liliom? LiLIOM Did you give him something? Julie You have to. But I didn't love him. Liliom Do you love me? LILIOM 43 Julie No, Mister Liliom. LiLIOM Then why do you stay here with me? Julie Um — ^nothing. {^There is a pause. The nmsic from afar is plainly heard.'] Liliom Want to dance? Julie No. I have to be very careful. Liliom Of what? Julie My — character. Liliom Why? Julie Because I'm never going to marry. If I was going to marry, it would be different. Then I wouldn't need to worry so much about my character. It doesn't make any difference if you're married. But I shan't marry — and that's why I've got to take care to be a respectable girl. Liliom Suppose I were to say to you — I'll marry you. 44. LILIOM Julie You? LiLIOM That frightens you, doesn't it? You're thinking of what the officer said and you're afraid. Julie No, I'm not. Mister Liliom. I don't pay any attention to what he said. LiLIOM But you wouldn't dare to marry anyone like me, would you? Julie I know that — that — if I loved anyone — ^it wouldn't make any difference to me what he — even if I died for it. Liliom But you wouldn't marry a rough guy like me — that is, — eh — if you loved me Julie Yes, I would — ^if I loved you. Mister Liliom. [There is a pause.] Liliom [Whispers.'] Well, — you just said — didn't you? — that you don't love me. Well, why don't you go home then? LILIOM 46 Julie It's too late now, they'd all be asleep. LlUOM Locked out? Julie Certainly.; [^Thei/ are silent a while.] LlIilOM I think — that even a low-down good-for-nothing r — can make a man of himself. Julie Certainly. [^Thetf are silent again. A lamp- lighter crosses the stage, lights the lamp over the bertch, artd exits.] LiLIOM Are you hungry? Julie No. l_Another pause.] LiLIOM Suppose — you had some money — and I took it from you? Julie Then you could take it, that's all. LiLIOM \_After another brief silence.] All I have to do — is go back to her — that Muskat woman — she'll 46 LILIOM be glad to get me back — then I'd be earning my wages again. \_She is silent. The twilight folds darker about them.\ Julie [Very softly.] Don't go back — to her LiUOM There are a lot of acacia trees around here. \_PaMse.] Julie Don't go back to her \_PaMse.] LiLIOH She'd take me back the minute I asked her. I know why — she knows, too [^Pause.'] Julie I can smeU them, too — acacia blossoms [^There is a pause. Some blossoms drift down from, the tree-top to the bench. Liliom picks one up and smells it.] LiLIOM White acacias! Julie \^After a brief poMse.] The wind brings them down. [They are silent. There is a long pattse before] The Cuetain Falls SCENE TWO Scene — A photographer's "studio," operated by the HoLiUNDERS, on the fringe of the park. It is a dilapidated hovel. The general entrance is Back Left. Back Right there is a window with a sofa before it. The outlook is on the amuse- ment park with perhaps a small Ferris-wheel or the scaffolding of a "scenic-railway" in the backgrovmd. The door to the kitchen is up Left and a black-curtained entrance to the dark-room is down Left. Just vn front of the dark room stands the camera on its tripod. Against the hack wall, between the door and window, stamds the inevitable photographer's backgroimd- screen, ready to be wheeled into place. It is forenoon. When the curtain rises, Marie and Julie are discovered. Marie And he beat up Hollinger? Julie Yes, he gave him an awful licking, 47 48 LILIOM Maeie But HoUinger is bigger than he is. Julie He licked him just tne same. It isn't size that counts, you know, it's cleverness, ^nd Liliom'»» awful quick. Makie And then he was arrested? Julie Yes, they arrested him, but they let him go the next day. That makes twice in the two months we've been living here that Liliom's been arrested and let go again. Marie Why do they let him go ? Julie Because he is innocent. [MoTHEE HoLLUNDEE, a Very old womcm, sharp- tongued, but in reality quite warm-Jiearted be- neath her formidable exterior, enters at back carrying a few sticks of firewood, cmd scolding, half to her self. '\ MoTHEE HoLLUNDEE Always wanting something, but never willing to work for it. He won't work, and he won't steal, LILIOM 49 but hell use up a poor old widow's last bit of fire- wood. He'll do that cheerfully enough! A big, strong lout like that lying around all day resting his lazy bones ! He ought to be ashamed to look decent people in the face. Julie I'm sorry, Mother HoUunder. . . . MOTHZE HoLLTJNDEB. Sorry ! Better be sorry the lazy good-for-nothing ain't in jail where he belongs instead of in the way of honest, hard-working people. [She exits into the kitchen.^ Makie Who's that? Julie Mrs. HoUunder — my aunt. This is her [^mth a sweeping gesture that takes m the camera, dark- room and screen'\ studio. She lets us live here for nothing. Marie What's she fetching the wood for? Julie She brings us everything we need. If it weren't for her I don't know what would become of us. She's a good-hearted soul even if her tongue is sharp. [^There is a pause.'\ 50 LILIOM Mabie [Shyly.] Do you know — I've found out. He^s not a soldier. JuiiE Do you still see him? Makie Oh, yes. Julie Often? Mabie Very often. He's asked me Julie To marry you? Mabie To marry me. JuuE You see — that proves he isn't a soldier. [There is another pause.] Mabie [Abashed, yet a hit hoastfuHy.] Do you know what I'm doing — ^I'm flirting with him. JuuE Flirting? Mabie Yes. He asks me to go to the park — and I say I can't go. Then he coaxes me, and promises me LILIOM 61 a new scarf for my head if I go. But I don't go — even then, ... So then he walks all the way home with me — and I bid him good-night at the door. Julie Is that what you call flirting? Maeie Um-hm ! It's sinful, but it's so thriUmg. Julie Do you ever quarrel? Maeie [^Grcmdly.'] Only when our Passionate Love surges up. Julie Your passionate love? Maeie Yes. . . . He takes my hand and we walk along together. Then he wants to swing hands, but I won't let him. I say: "Don't swing my hand"; and he says, "Don't be so stubborn." And then he tries to swing my hand again, but still I don't let him. And for a long time I don't let him — until in the end I let him. Then we walk along swinging hands — up and down, up and down — just like this. That is Passionate Love. It's sinful, but it's awfully thrilling. 62 LILIOM Julie You're happy, aren't you? Makie Happier than — anything But the most beautiful thing on earth is Ideal Love. Julie What kind is that? Mauie Daylight comes about three in the morning this time of the year. When we've been up that long we're all through with flirting and Passionate Love — and then our Ideal Love comes to the surface. It comes like this : I'll be sitting on the bench and Wolf, he holds my hand tight — and he puts his cheek against my cheek and we don't talk ... we just sit there very quiet. . . . And after a while he gets sleepy, and his head sinks down, and he faUs asleep . . . but even in his sleep he holds tight to my hand. And I — I sit perfectly stiU just looking around me and taking long, deep breaths — for by that time it's morning and the trees and flowers are fresh with dew. But Wolf doesn't smell anything because he's so fast asleep. And I get awfully sleepy myself, but I don't sleep. And we sit like that for a long time. That is Ideal Love [^There is a long pause.] LILIOM 63 Julie \RegretftMy; uneasily.^ He went out last night and he hasn't come home yet. Marie Here are sixteen Kreuzer. It was supposed to be carfare to take my young lady to the conservatory — eight there and eight back — ^but I made her walk. Here — save it with the rest. Julie This makes three gulden, forty-six. Maeie Three gulden, forty-six. Julie He won't work at all. Maeie Too lazy? Julie No. He never learned a trade, you see, and he can't just go and be a day-laborer — so he just does nothing. Maeie That ain't right. Julie No. Have the Breiers got a new maid yet? 54 LILIOM Masie They've had three since you left. You know. Wolf's going to take a new job. He's going to work for the city. He'U get rent free, too. Julie He won't go back to work at the carousel either. I ask him why, but he won't tell me Last Mon- day he hit me. Mabie Did you hit him back? Julie No. Maeie Why don't you leave him? Julie I don't want to. Makie I would. I'd leave him. [^There is a strained sUence.'l Mother Hollunder {Enters, carrying a pot of water; muttering alovd,^ He can play cards, all right. He can fight, too ; and take money from poor servant girls. And the police turn their heads the other way The carpenter was here. LILIOM 65 Julie Is that water for the soup? Mother HoiiLUNDEa The carpenter was here. There's a mem for you ! Dark, handsome, lots of hair, a respectable widower with two children — and money, and a good paying business. UTJME [To Mabie.J It's three gulden sixty-six, not forty-six. Maeie Yes, that's what I make it — sixty-six. Mothee Hollundee He wants to take her out of this and marry her. This is the fifth time he's been here. He has two children, but Julie Please don't bother, Aunt Hollunder, I'll get the water myself. MoTHEE HOLLUNDEE He's waiting outside now. Julie Send biTTi away. 66 LELIOM MOTHEK HOLLTINDEB, He'll only come back again — and first thing' you know that vagabond will get jealous and there'll be a fight. [^Goes out, muttervng.'\ Oh, he's ready enough to fight, he is. iStrike a poor little girl like that! Ought to be ashamed of himself! And the police just let him go on doing as he pleases. [StUl scolding, she exits at fcocAr.J Marie A carpenter wants to marry you? Julie Yes. Masie Why don't you? Jui/IE Because Mab,ie Liliom doesn't support you, and he beats you — he thinks he can do whatever he likes just because he's Liliom. He's a bad one. Julie He's not really bad. Mauie That night you sat on the bench together — ^he was gentle then. LILIOM 57 Julie Yes, he was gentle, Makie And afterwards he got wild again. Julie Afterwards he got wild — sometimes. But that night on the bench ... he was gentle. He's gentle now, sometimes, very gentle. After supper, when he stands there and listens to the music of the carousel, something comes over him — and he is gentle. Maeib Does he say anything? Julie He doesn't say anything. He gets thoughtful and very quiet, and his big eyes stare straight ahead of him. Maeie Into your eyes? Julie Not exactly. He's unhappy because he isn't working. That's really why he hit me on Monday. Maeie That's a fine reason for hitting you! Beats his wife because he isn't working, the ruffian ! 58 LILIOM Jtjije It preys on his mind Makib Did he hurt you? Jttlie [Very eagerly.^ Oh, no. Mes. Muskat [Enters hcmghtUy.] Good morning. Is Liliom home? Jtri.iE No. Mes. Muskat Gone out? JurjE He hasn't come home yet. Mes. Muskat I'll wait for him. [She sits down.'\ Maeie You've got a lot of gall — to come here. Mes. Muskat Are you the lady of the house, my dear? Better look out or you'll get a slap in the mouth. Maeie How dare you set foot in Julie's house? LILIOM 59 Mrs. Muskat [To Julie.] Pay no attention to her, my child. You know what brings me here. That vagabond, that good-for-nothing, I've come to give him his bread and butter back. Maeie He's not dependent on you for his bread. Mrs. Muskat \^To JuxiE.] Just ignore her, my child. She's just ignorant. Marie l^Gomcf.^ Good-bye. Julie Good-bye. Marie [7« the doorway, calling bach.] Sixty-six. Julie Yes, sixty-six. Marie Good-bye. [She exits. Julie starts to go toward the kitchen.] Mrs. Muskat I paid him a krone a day, and on Sunday a gulden. And he got all the beer and cigars he wanted from 60 LILIOM the customers. [Julie pauses on the threshold, but does not answer.'] And he'd rather starve than beg my pardon. Well, I don't insist on that. I'll take him back without it. [Julie does not answer.] The fact is the people ask for him — and, you see, I've got to consider business first. It's nothing to me if he starves. I wouldn't be here at all, if it wasn't for business [She pa/uses, for Liliom and FicsuE hwve entered.] Julie Mrs. Muskat is here. Liliom I see she is. Julie You might say good-morning. Liliom What for? And what do you want, anyhow? Julie I don't want anything. Liliom Then keep your mouth shut. Next thing you'll be starting to nag again about my being out all night and out of work and living on your rela- tions LILIOM 61 JtJUE I'm not saying anything. LlIilOM But it's all on the tip of your tongue — I know you — now don't start or you'll get another. \^He paces angrily up and down. They are all a hit afraid of him, and shrink and looJc away as he passes them. FicsuE shambles from place to place, his eyes cast down as if he were searching for something on the floor. \ MUS. MUSEAT [Suddenly, to Ficsue.] You're always dragging him out to play cards and drink with you. I'll have you locked up, I will. Ficsue I don't want to talk to you. You're too common. [He goes out by the door at back and lingers there in plain view. There is a pause.] Jtti-ie Mrs. Muskat is here. LlLIOM Well, why doesn't she open her mouth, if she has anything to say? 62 LILIOM Mes. Muskat Why do you go around with this man Ficsur? He'll get you mixed up in one of his robberies first thing you know, LiLiosi What's it to you who I go with? I do what I please. What do you want? Mes. Muska.t You know what I want. LlI/IOM No, I don't. Mrs. Muskat What do you suppose I want? Think I've come just to pay a social call? LlIilOM Do I owe you anything? Mrs. Muskat Yes, you do — but that's not what I came for. You're a fine one to come to for money ! You earn so much these days! You know very well what I'm here for. LlLIOM You've got HoUinger at the carousel, haven't you? LILIOM 63 Mbs. Muskat Sure I have. LiLIOM Well, what else do you want? He's as good, as I am. Mrs. Muskat You're quite right, my boy. He's every bit as good as you are. I'd not dream of letting him go. But one isn't enough any more. There's work enough for two LiLIOM One was enough when I was there, Mrs. Muskat Well, I might let HoUinger go LlIilOM Why let him go, if he's so good? Mus. Muskat [Shrugs her shoulders.] Yes, he's good. \Not once wntV, now has she looked at Liliom.J LiLIOM [To Julie.] Ask your aunt if I can have a cup of coifee. [Julie exits into the kitchen.] So Hol- linger is good, is he? 64 LILIOM Mes. Muskat [Crosses to him and looks Mm, m the face.'] Why don't you stay home and sleep at night? You're a sight to look at. LiLIOM He's good, is he? Mrs. Muskat Push your hair back from your forehead. LlUOM Let my hair be. It's nothing to you. Mes. Muskat All right. But if I'd told you to let it hang down over your eyes you'd have pushed it back — I hear you've been beating her, this — this LlLIOM None of your business. Mas. Muskat You're a fine fellow! Beating a skinny little thing like that! If you're tired of her, leave her, but there's no use beating the poor LiLIOM Leave her, eh? You'd like that, wouldn't you? LILIOM 65 MSS. MUSEAT Don't flatter yourself. [^Qvite embarrassed.^ Serves me right, too. If I had any sense I wouldn't have run after yo u My God, the things one must do for the sake of business ! If I could only sell the carousel I wouldn't be sitting here. . . . Come, Liliom, if you have any sense, you'll come back. I'll pay you well. LiLIOM The carousel is crowded just the same . . . without mef Mrs. Muskat Crowded, yes — ^but it's not the same. LlIilOM Then you admit that you do miss me. Mrs. Muskat Miss you? Not I. But the silly girls miss you. They're always asking for you. Well, are you going to be sensible and come back? LiXIOM And leave — ^her? Mrs. Muskat You beat her, don't you? 66 LELIOM LiLIOM No, I don't beat her. What's all this damn fool talk about beating her? I hit her once — that was all — and now the whole city seems to be talking about it. You don't call that beating her, do you.'' Mes. Muskat All right, all right. I take it back. I don't want to get mixed up in it. LiMOM Beating her! As if I'd beat he r Mes. Muskat I can't make out why you're so concerned about her. You've been married to her two months^ — ^it's plain to see that you're sick of it — and out there is the carousel — and the show booths — and money — and you'd throw it all away. For what.'* Heav- ens, how can anyone be such a fool? \^Looks at Jrnn appraisingly.'\ Where have you been all night? You look awful. LiLIOM It's no business of yours. Mes. Muskat You never used to look like that. This life is itelling on you. [Pcmses.^ Do you know — I've got a new organ. LILIOM 67 LlIilOM [^Softly."] I know. Mes. Muskat How did you know? LiLIOM You can hear it — from here. Mks. MnsEAT It's a good one, eh? LiLIOM [^Wistfully.'] Very good. Fine. It roars and snorts — so fine. Mes. Mtjskat You should hear it close by — ^it's heavenly. Even the carousel seems to know ... it goes quicker. I got rid of those two horses — you know, the ones with the broken ears? LlIilOM What have you put in their place? Mes. Mttskat Guess. LiLIOM Zebras? Mes. Muskat No — an automobile. 68 LILIOM LlUOM [^Transported,^ An automobile > Mss. Mtiskat Yes. If you've got any sense you'll come back. What good are you doing here? Out there is your art, the only thing you're fit for. You are an artist, not a respectable married man. LlIilOM Leave her — this little Mas. MusKAT She'll be better off. She'll go back and be a serv- ant girl again. As for you — you're an artist and you belong among artists. All the beer you want, cigars, a krone a day and a gulden on Sunday, and the girls, Liliom, the girls — ^I've always treated you right, haven't I.'' I bought you a watch, and LllrlOM She's not that kind. She'd never be a servant girl again. Mss. Mtjseat I suppose you think she'd kill herself. Don't worry. Heavens, if every girl was to commit sui- cide just because her [Finishes with a ges- ture.J LILIOM 69 LlIilOM [^Stares at her a moTnent, congidering, then with sudden, smiling animation.] So the people don't like Hollinger? Mes. Muskat You know very well they don*t, you rascal. LiUOM Well Mes. Muskat You've always been happy at the carousel. It's a great life — pretty girls and beer and cigars and music — a great life and an easy one. I'll tell you what — come back and I'll give you a ring that used to belong to my dear departed husband. Well, will you come? LinoM She's not that kind. She'd never be a servant girl again. But — ^but — for my part — ^if I decide — that needn't make any difference. I can go on living with her even if I do go back to my art Mss. Muskat My God! LiLIOM What's the matter? 70 LILIOM Mes. Mtjskat Who ever heard of a married man — ^I suppose you think all girls would be pleased to know that you were running home to your wife every night. It's ridiculous ! When the people found out they'd laugh themselves sick LiUOM I know what you want. Mbs. Mtjskat {^Refuses to meet his gaze.'] You flatter your- self. LiMOM You'll give me that ring, too? Mas. MusKAT {PiLshes the hair back from his forehead.] Yes. LiLIOM Pm not happy in this house. Mks. Muskat [StW, stroking his hair.] Nobody takes care of you. [_They are silent. Julie enters, carrying a cup of coffee. Mas. Muskat removes her hand from Liuom's head. There is a pause.] LILIOM n LiUOM Do you want anything? JuiilE No. [^There is a poMse. She eocits slowly into the Tdtchen.l Mes. Muskat The old woman says there is a carpenter, a widower, who LlUOM I know — I know Julie [Reenfermg.^ Liliom, before I forget, I hare something to tell you. Liliom All right. Julie I've been wanting to teU you — in fact, I was going to tell you yesterday LiLIOM Go ahead. Julie But I must tell you alone — ^if you'll come in — ^it win only take a minute. 72 LILIOM LlIilOM Don't you see I'm busy now? Here I am talldng business and you interrupt with. Julie It'll only take a minute. LlLIOM Get out of here, or Julie But I tell you it will only take a minute LiLIOM Will you get out of here? Julie [^Courageously/.] No. LlLTOU IRising.] What's that! Julie No. Mes. Muska.t [Rises, too.] Now don't start fighting. I'll go out and look at the photographs in the show-case a while and come back later for your answer. \^She exits at bach.] LILIOM 73 Julie You can hit me again if you like — don't look at me like that. I'm not afraid of you. . . . I'm not afraid of anyone. I told you I had something to tell you. LlLIOM Well, out with it — quick. Julie I can't tell you so quick. Why don't you drink your cofFee? LlLIOM Is that what you wanted to tell me? Julie No. By the time you've drunk your coffee I'U have told you. LiLIOM \^Gets the coffee avd sips it.\ Well? Julie Yesterday my head ached — and you asked me— — LiLIOM Yes • Julie Well — you see — that's what it i s 74 LILIOM LlUOM Are you sick? Julie No. . . . But you wanted to know what my headaches came from — and you said I seemed — changed. LiLIOM Did IP I guess I meant the carpenter. JULEE I've been — ^what? The carpenter? No. It's something entirely different — it's awful hard to tell — ^but youll have to know sooner or later — I'm not a bit — scared — because it's a perfectly natural thing • LlLIOM {^Puts the coffee cup on the tdble.^ What? Julie When — when a man and woman — ^live to- gether LiLIOM Yes. Julie I'm going to have a baby. \_She exits swiftly at back. There is a pause. Ficsuk appears at the open wmdow amd looks in.] LILIOM 76 LlUOM Ficsur! [Ficsuu sticks Ms head m.'\ Say, Fic- sur, — Julie is going to have a baby. FiCSTIK Yes? What of it? LiUOM Nothing. [^Stiddenly.] Get out of here, [Fic- sua's head is quickly withdrawn. Mas. Mtjskat re- enters.] Mas. MtTSKAT Has she gone? LlIilOM Yes. Mas. MusKAT I might as well give you ten kronen in advance, l^Opens her purse. Limom takes up his coffee cup.'\ Here you are. [^She proffers some coins. Liliom ignores her.] Why don't you take it? LlI-IOM [Very iMnchalantly, his cup poised ready to drvnh.] Go home, Mrs. Muskat. Mas. MusKAT What's the matter with you? 76 LILIOM Liuou Gro home \^fips his coffee^ and let me finish my coffee in peace. Don't you see I'm at breakfast? Mes. Muskat Have you gone crazy? LlIilOM Will you get out of here? [^Tums to her threaten- ingly.] Mes. Muskat [Restoring the coins to her pwrse.] I'U never speak to you again as long as you live. LiLIOM That worries me a lot. Mss. MlTSEAT Good-bye! Liuou Good-bye. [As she exits, he calls.'\ Ficsurf [Ficsua enters.] Tell me, Ficsur. You said you knew a way to get a whole lot of money FlCSTTK Sure I do. LiUOM How much? LILIOM 77 Ficsira More than you ever had in your life before. You leave it to an old hand like me. Mother Hollunder [Enters from the kitchen.] In the morning he must have his coffee, and at noon his soup, and in the evening coffee again — and plenty of firewood — and I'm expected to furnish it all. Give me back my cup and saucer. [The show booths of the amusement-park have opened for business. The fa/miliar noises be- gin to sound; clear above them aU, but far in the distance, sounds the organ of the carousel.] LiMOM Now, Aunt Hollunder. [From now wntH the fall of the curiam it is apparent that the sound of the organ Tnakes him more and more uneasy.] Mother Hollunder And you, you vagabond, get out of here this minute or I'll call my son PicsrB I have nothing to do with the likes of him. He's too common. [But he slinks out at back.] 78 LELIOM LlUOM Aunt Hollunder ! MOTHEE HOLLUNDEE What now? LiLIOM When your son was born — ^when you brought him into the world WeU? Nothing. MOTHEE HOLIiUNDEE LlUOM MoTHEE HoLIilTNDEE [^Muttermg as she ewits.] Sleep it off, you good- for-nothing lout. Drink and play cards all night long — that's aU you know how to do — and take the bread out of poor people's mouths — you can do that, too. [^She exits.^ LlLIOM Ficsur! FiCSUE [At the window.'] Julie's going to have a baby. You told me before. LlUOM This scheme — about the cashier of the leather fac- tory — there's money in it LILIOM 79 FiCSUE Lots of money — ^but — ^it takes two to pull it off. L11.10M [^Meditatively/.] Yes. [UneasUy.] All right, Ficsur. Go away — and come back later. [FicsuB. vanishes. The organ in the distant carou- sel drones incessantly. Liliom listens a while, then goes to the door and caUs.] LlMOM Aunt HoUunder! {With naive jot/.] Julie's go- ing to have a baby. [Then he goes to the window, jv/mps on the sofa, looks out. Sudderdy, in a voice that overtops the droning of the organ, he shouts as if addressing the far-off carousel.] Fm going to be a father. Julie [Enters from the kitchen.] Liliom! What's the matter? What's happened.!* LlIilOM [Coming down from the sofa.] Nothing. [Throws himself on the sofa, buries his face in the cushion. Julie watches him a moment, comes over to him and covers him with a shawl. Then she goes 80 LILIOM on tip-toe to the door at hack and remams standing in the doorway, looking out and, listening to the dromng of the organ.'\ The Cuktain Fai.ls SCENE THREE Scene — The getting is the same, later that after- noon. LiLioM is sitting opposite Ficsue, mho is teaching him a song. Julie hovers in the background, engaged in some household task. FiCSUK Listen now. Here's the third verse. [^Sings hoarsely.l "Look out, look out, my pretty lad. The damn police are on your trail; The nicest girl you ever had Has now commenced to weep and wail: Look out here comes the damn police. The damn police. The damn poUce, Look out here comes the damn police, They'll get you every time." LiLIOM [Sings.l "Look out, look out, my pretty lad. The damn police " 81 82 LILIOM Ficsua, LiLioM \_Smg together.] "Are on your trail The nicest girl you ever had Has now conunenced to weep and wail." LlIilOM l^AloTie.'] "Look out here comes the damn police, The damn police. The damn police " [Julie, trovbled and wneasy, looks from one to the other, then exits into the kitchen.} FiCSUK. [ WfA^w she has gone, comes quickly over to Liuom and speaks fwrtivelt/.] As you go down Franzen Street you come to the railroad embankment. Be- yond that — all the way to the leather factory — there's not a thing in sight, not even a watchman's hut. LiUOM And does he always come that way? Ficsua Yes. Not along the embankment, but down be- low along the path across the fields. Since last LILIOM 83 year he's been going alone. Before that he always used to have someone with him. LlLIOM Every Saturday? FiCSUB Every Saturday. LiLIOM And the money? Where does he keep it? FiCSUB In a leather bag. The whole week's pay for the workmen at the factory. LlLIOM Much? FiCSUB Sixteen thousand kronen. Quite a haul, what? LlLIOM What's his name? FiCSUB Linzman. He's a Jew. LXUOM The cashier? 8i ULIOM FiCSUB Yes — but when he gets a knife between his ribs — or if I smash his skull for him — ^he won't be a cashier any more. Liuou Does he have to be killed? FiCSUB No, he doesn't have to be. He can give up the money without being killed — ^but most of these cash- iers are peculiar — they'd rather be killed. [JuuE reeniers, pretends to get something on the other side of the room, then exits at back. During the ensuing dialogue she keeps coming in and out in the same way, showing plainly that she is suspicious and anxious. She attempts to overhear what they are saying arid, in spite of their caution, does catch a word here and there, which adds to her disquiet. Ficsue, catching sight of her, abruptly chamges the conversa- tion.^ FiCSUE And the next verse is: "And when you're in the prison cell They'll feed you bread and water." LILIOM 85 FiCSUE AND LlLIOM l^Smg together.] "They'll make your little sweetheart tell Them all the things you brought her. Look out here comes the damn police, The damn police, The damn police. Look out here comes the damn police They'll get you every time." LiLIOM [^Sings alone.] "And when you're in the prison cell They'll feed you bread and water^ [^Breaks off as Julie exits.] And when it's done, do we start right off for Amer- ica? FiCSTJB No. LlLIOM What then? FlCSUE We bury the money for six months. That's the usual time. And after the sixth month we dig it up again. LiLIOM And then? 86 LILIOM FiCSUB. Then you go on living just as usual for six months more — ^you don't touch a heUer of the money. LiLIOM In six months the baby will be bom. FlCSUE Then we'll take the baby with us, too. Three months before the time you'll go to work so as to be able to say you saved up your wages to get to America. LiLIOM Which of us goes up and talks to him? FiCSUB, One of us talks to him with his mouth and the other talks with his knife. Depends on which you'd rather do. I'll tell you what — you talk to him with your mouth. LlIilOM Do you hear that.? FlCSTJE What? LiLIOH Outside . . . like the rattle of swords. [Ficsua listens. After a pa'wse, Liliom contimiies.'\ What do I say to him? LILIOM FiCSTJB You say good evening to him and: "Excuse ni>. sir; can you tdl me the time?" LlUOM And then what? FlCSUE By that time I'll have stuck him — and then you take yov/r knife \l[le stops as a Policeman enters at bach,] Policeman Good-day ! FiCSITB, LlLIOM [/mi wniscm.1 Good-day! FlCSUE [^Coiling toward the kitchen.] Hey, photog- rapher, come out. . . . Here's a customer. [There is a pause. The Pouceman waits. Ficsue sings softly.] "And when you're in the prison cell They'll feed you bread and water They'll make your little sweetheart tell." LiLiOM, Ficsua [Sing together, low.] "Them all the things you brought her. Look out here comes the " LILIOM J hiwm the rest so as not to let the Poi/fCEMAN hear the words "the damn police." As they sing, Mrs. HoLLtrNDEs. and her son tnter.] Policeman Do you make cabinet photographs? Young HoLiiUNDEn Certainly, sir. {^Points to a rack of photographs on the mall.^ Take your choice, sir. Would you like one full length? Policeman Yes, full length. [Mother HoLiiTNDEa pushes out the camera while her son poses the Policeman, runs from him to the camera and back again, now altering the pose, now ducking under the black cloth and pushing the camera nearer. Meanwhile Mother HoLLUNDER has fetched a plate from the dark room and thrust it in the camera. While this is going on, LiLioM and Ficsue. their heads together, speak in very low tones.\ LiLIOM Belong around here? Picsua Not around here. LiLIOM Where, then? LILIOM 89 FiCSUE Suburban. [There is a pause.J LlLIOM {^Bursts out suddenly in a rather grotesquely childish and overstrained lament.] God, what a dirty life I'm leading — God, God ! FiCSUB, [Reassuring him benevolently.'] Over in Amer- ica it will be better, all right. LiLIOM What's over there? PiCSUB [Virtuously,] Factories . . . industries Young Hollundeb. [To the Policeman.] Now, quite still, please. One, two, three. [Deftly removes the cover of the lens amd in a few seconds restores it.] Thank you. MOTHEE HOLLUNDEE The picture will be ready in five minutes. Policeman Good. Ill come back in five minutes. How much do I owe you? 90 LILIUM Young Holldndeb; [With exaggerated deference.'] You don't need to pay in advance, Mr. Conimissioner, [The Po- liceman salutes condescendi/ngly and exits at back. Mother Holi-undee carries the plate into the dark room. Young Hollundee, after pushing the cam- era back in place, follows her.^ MOTHEE HOLLUNDEE [Muttering amgrUy as she passes Ficsue and LiLiOM.] You hang around and dirty the whole place up! Why don't you go take a walk? Things are going so well with you that you have to sing, eh? [Confronting Ficsue suddenly.] Weren't you frightened sick when you saw the policeman? Ficsue [With loathing.] Go 'way, or I'll step on you. [She exits mto the dark room.] LiLIOM They like HoUinger at the carousel? Ficsue I should say they do. LiLIOM Did you see the Muskat woman, too? LILIOM \ 91 FiCSUR Sure. She takes care of Hollinger's hair. LiLIOM Combs his hair? Ficsutt She fixes him all up. LiLIOM Let her fix him all she likes. FiCSUE {^Urging him toward the kitchen door.'\ Go oa. Now's your chance. LiLIOM What for? FiCSUE To get the knife. LiLIOM What knife? FiCSUE The kitchen knife. I've got a pocket-knife, but if he shows fight, we'll let him have the big knife. LlLIOM What for? If he gets ugly, I'll bat him one over the head that'll make him squint for the rest of his life. 92 LILIOM FiCSUR You've got to have something on you. You can't slit his throat with a bat over the head. LiLIOM Must his throat be slit? FiCSUB, No, it mustn't. But if he asks for it. [There is a pattse.^ You'd like to sail on the big steamer, wouldn't you? And you want to see the factories over there, don't you? But you're not willing to inconvenience yourself a little for them. LiLIOM If I take the knife, Julie will see me. FiCSUE Take it so she won't see you. LlIilOM [Advances a few paces toward the kitchen. The Policeman enters at back. Liliom knocks on the door of the dark room.^ Here's the policeman! MOTHEE HOLI/UNDEE [Coining out.'] One minute more, please. Just a minute. [She reenters the dark room. Liuom LILIOM 93 hesitates a moment, then exs.\ How do you know that? FiCSUE I used to practice my profession in that neigh- borhood. Policeman What is your profession? FiCSUB. Professor of pianola \The Policeman glares, aware that the man is joking with him, twirls his moustache indigna/ntly. Young Hollundek, coTues out of the dark room and gvoes him, the fin- ished pictures.^ Young Hollundeb. Here you are, sir. [^The Policeman examines the photographs, pays for them, starts to go, stops, glares at Ficsue. and exits. When he is gone, Fic- 94 LILIOM SUE goes to the doorway and looks out after him. YouisTG H01.LUNDEE e'xits. LiLioM reenters, button- ing his coat.~\ Ficsua {Turns, sees Liliom.] What are you staring at? LlLIOM I'm not staring. FlCSUB What then are you doing? LlLIOM I'm thinking it over. FiCSUE [Comes very close to hrnn.^ Tell me then — ^what will you say to him? LiLIOM [UristeadUy.^ I'll say — "Good evening — ^Excuse me, sir — Can you tell me the time?" And suppose he answers me, what do I say to him? Ficsua He won't answer you. LlIJOM Don't you think so? LILIOM 95 FiCSUB, No. {^Feeling for the knife vmder Liliom's coaf .J Where is it? Where did you put it? LlLIOM [iSforaiZy.] Left side. FlCSUE That's right — over your heart. [Feels it.\ Ah — there it is — there — there's the blade — quite a big fellow, isn't it — ah, here it begins to get narrower. {Reaches the tip of the knife.] And here is its eye — ^that's what it sees with. [Julie enters from the kitchen, passes them slowly, watchvng them m silent terror, then stops. Ficsur nudges Liliom.] Sing, come on, sing! LiLIOM {In a quavering voice.'] "Look out for the damn police." FiCSUE {JomiTig in, cheerily, lotidly, marking time with the swaying of his body.] "Look out, look out, my pretty lad." LlI/IOM " — ^look out, my pretty lad." [Julie goes out at back. Liliom's glance follows her. When she has 96 LILIOM gone, he turns to Ficsuu.J At night — in my dreams — if his ghost comes back — what will I do then? FiCSTJK His ghost won't never come back. LiLIOM Why not? FiCSUE A Jew's ghost don't come back. LlUOM Well then — afterwards FiCSUR [Impatiently.'] What do you mean — afterwards ? LiLIOM In the next world — ^when I come up before the Lord God — what'U I say then? FlCSUB. The likes of you will never come up before Him. LlLIOU Why not? Ficstra Have you ever come up before the high court? LILIOM 97 LlIilOM No. Ficsua Our kind comes up before the police magistrate — and the highest we coer get is the criminal court. LiLIOM Will it be the same in the next world? FlCSUE Just the same. We'll come up before a police magistrate, same as we did in this world. LiLIOM A police magistrate? FiCSUB. Sure. For the rich folks — the Heavenly Court. For us poor people — only a police magistrate. For the rich folks — fine music and angels. For us LlIJOM For us? FiCSUE For us, my son, there's only justice. In the next world there'll be lots of justice, yes, nothing but justice. And where there's justice there must be police magistrates; and where there're police mag^ istrates, people like us get 98 LILIOM LiLIOM [Interrupting.] Good evening. Excuse me, sir, can you tell me the time? [Lays his hand over his heart,] Picsira What do you put your hand there for? LiLIOM My heart is jumping — under the knife. PiCSUB Put it on the other side then. [Looks out at the ski/.] It's time we started — we'll walk slow LiLIOM It's too early. PiCSUB Come on, [As they are about to go, Julie ap- pears in the doorway at back, obstructing the way.] Julie Where are you going with himP LlLIOU Where am I going with him? Julie Stay home. LILIOM 99 LlIilOM No. Jut,™ Stay home. It's going to rain soon, and youll get wet. FiCSUE It won't rain Jui-iE How do you '. know? FiCSUE I always get notice in advance. Julie Stay home. This evening the carpenter's com- ing. I've asked him to give you work. LlLIOM I'm not a carpenter. Julie [More and more anxious, though she tries to con- ceal if.] Stay home. Marie's coming with her intended to have their picture taken. She wants to introduce us to her intended husband. LiLIOM I've seen enough intended husbands 100 LELIOM Julie Stay home. Marie's bringing some money, and I'll give it all to you. LiLIOM [^Approaching the door.] I'm going — for a walk — ^with Ficsur. We'U be right back. Julie [^Forcimg a smile to Teeep hack her tears.] If you stay home, I'll get you a glass of beer — or wine, if you prefer. Ficsua Coming or not? Julie Fm not angry with you any more for hitting me. LlLIOM [Gruffly, hilt his grwffness is simulated to hide the fact that he carmot hear the sight of her suffering.] Stand out of the way — or I'U [He clejiches his fist.] Let me out! Julie [Trembling.] What have you got under your coat.? LiLIOM [Produces from his pocket a greasy pack of cards.] Cards, LILIOM 101 JuiiEE JiTrembling, speaks very low.^ What's under your coat? LlLIOM Let me out! JuiilE \Ohstructmg the way. Speaks quickly, eagerly, m a last effort to detain him.] Marie's intended knows about a place for a married couple without children to be caretakers of a house on Arader Street. Rent free, a kitchen of your own, and the privilege of keeping chickens LiLIOM Get out of the way! [Julie stands aside. LiLioM exits. FicsuR follows him,. Julie remains standing meditatively in the doorway. Mothek HoLLUNDER comes out of the kitchen.] Mother Hollunder I can't find my kitchen knife anywhere. Have you seen anything of it? Julie {^Horrified.] No. Mother Hollunder It was on the kitchen table just a few minutes ago. No one was in there except Liliom. 102 ] LILIOJ Julie He didn't take it. Mother Hollundeu No one else was in there. Julie What would Liliom want with a kitchen knife? Mother Hollundee He'd sell it and spend the money on drink. Julie It just so happens — see how unjust you are to him — it just so happens that I went through all of Liliom's pockets just now — I wanted to see if he had any money on him. But he had nothing but a pack of cards. MoTHEE Hollundee [Returns to the hitchen, grumbling.'\ Cards in his pocket — cards! The fine gentlemen have evi- dently gone off to their club to play a little game. \^She exits. After a pause Makie, happy and beam- ing, appears in the doorway at back, and enters, followed by Wole.J LILIOM 103 Maeie Here we are ! [iSAe takes Wolp by the hand a/nd leads hvm, grinning shyly, to Julie, who has turned at her call.^ Hello ! Julie Hello. Maeie Well, we're here. Julie Yes. Wolf [Bow* awkwardly and extends his hand."] My name is Wolf Beifeld. Julie My name is Julie Zeller. [_They shake hands. There is an embarrassed silence. Then, to relieve the sitvMtion, Wolf takes Julie's hamd again and shakes it vigorovAy.^ Maeie Well— this is Wolf. Wolf Yes. Julie Yes. [Another awkward silence.^ Maeie Where is Liliom? 104 LILIOM Wolf Yes, where is your husband? JuLiB He's out. Mabib Where? Jui-iE Just for a walk. Mabsb Is he? JuUB Yes. Wolf Oh! [^Another silence.'] Maeie Wolf's got a new place. After the first of the month he won't have to stand outside any more. He's going to work in a club after the first of the month. Wolf [^Apologetically.] She don't know yet how to ex- plain these things just right — hehehe Begin- ning the first I'm to be second steward at the Bvirger Club — a good job, if one conducts oneself properly. JULEE Yes? LILIOM 105 Wolf The pay — is quite good — ^but the main thing is the tips. When they play cards there's always a bit for the steward. The tips, I may say, amount to twenty, even thirty kronen every night. Mabie Yes. Wolf We've rented two rooms for ourselves to start with — and if things go well Maeib Then we'll buy a house in the country. Wolf If one only tends to business and keeps honest. Of course, in the country we'll miss the city life, but if the good Lord sends us children — it's much health- ier for children in the country. [^There is a brief pause.] Maeee Wolf's nice looking, isn't he? Jttlib Yes. Maeib And he's a good boy, Wolf. 106 LILIOM JUTJF. Yes. Mauie The only thing is- — ^he's a Jew, Julie Oh, well, you can get used to that, Makie Well, aren't you going to wish us luck? Jui-iE Of course I do. \_Sh,e embraces Makie.] Makie And aren't you going to kiss Wolf, too? Julie Him, too. \_She embraces Wolf, remains quite still a moment, her head resting on his shoulder.] Wolf Why are you crying, my dear Mrs. [^He looks questiordngly at Makie over Julie's shoul- der.] Makie Because she has such a good heart. [She becomes sentimental, too.] LILIOM 107 Wolf \_Toti>ched.^ We thank you for your heartfelt sympathy [He cawnot restrain his own tears. There is a f arise before Mothee Hollundeu amd her son enter. Young Hollttndeb. kn/mediately busies himself with the camera.] Mother HoiiLUNDEU Now if you don't mind, we'll do it right away, be- fore it gets too dark. [^She leads Maeie and Wolf into position before the backgroimd-screen. Here they immediately fall into an awkward pose, smiling mechanicaUy,] Full length? Maeie Please. Both figures full length. MoTHEE Hoi-LTJNDEa Bride and groom? Maeie Yes. MoTHEE HoLIiUNDEE, YoUNG HoiiLUNDEE [Speak in v/nison, in loud professionaUy-expres' siordess tones.] The lady looks at the gentleman and the gentleman looks straight into the camera. 108 LILIOM MOTHEE HOLLTTNDEE [Poses first Mauie, then Wolf.J Now, if you please. Young Hollundee [Who has crept umder the black cloth, calls m muffled tones.], That's good — that's very good! Maeie [Stonily rigid, hut very happy, trying to speak without altering her expression.] Julie, dear, do we look all right? Jtjlie Yes, dear. Young Hoh,undee Now, if you please, hold still. Ill count up to three, and then you must hold perfectly still. [Grasps the cover of the lens and calls threaten- ingly.] One — two — three ! [He removes the cover; there is utter silence. But as he speaks the word "one" there is heard, very faintly in the distance, the refraim of the thieves' song which Ficsue amd LiLioM have been singing. The refrain continues until the fall of the curtain. As he speaks the word "three" everybody is perfectly rigid save Julie, who lets her head sink slowly to the table. The dig- tant refrain dies out.] The Cuetain Faxm SCENE FOUR Scene — In the fields on the outskirts of the city. At hack a railroad eiribankment crosses the stage obliquely. At Center of the embankment stands a red and white signal flag, and near it a little red signal lamp which is not yet lighted. Here also a wooden stairway leads up to the embankment. At the foot of the embankment to the right is a pile of used railroad ties. In the back- groumd a telegraph pole, beyond it a view of trees, fences and fields; still further back a fac- tory building and a cluster of little dwellings. It is six o'clock of the same afternoon. Dusk has begun to fall. LiMOM and Ficsur are discovered on the stairway looking after the train which has just LllIOM Can you still hear it snort? FiCSUE Listen! [^They watch the vanishing #mm.] 109 110 LILIOM LiLIOM If you put your ear on the tracks you can hear it go all the way to Vienna. PlCSUB Huh! LiLIOM The one that just puffed past us — it goes all the way to Vienna. Ficstra No further? LiLIOM Yes — further, too. [There is a paiise."] FiCSUR It must be near six. ]_As Liliom ascends the steps. ^ Where are you going? LlLIOM Don't be afraid. I'm not giving you the slip. FlCSUE Why should you give me the slip? That cashier has sixteen thousand kronen on him. Just be pa- tient till he comes, then you can talk to him, nice and polite. LiLIOM I say, "Good evening — excuse me, sir; what time is it?" LILIOM 111 ' Ficsua Then he tells you what time It is, LiLIOM Suppose he don't come? FiCSTJB [^Commg down the steps.^ Nonsense! He's got to come. He pays off the workmen every Saturday. And this is Saturday, ain't it.? [Liliom has as- cended to the top of the stairway and is gazing along the tracks.] What are you looking at up there? LlLIOM The tracks go on and on — there's no end to them. FlCStTE What's that to stare about? LlUOM Nothing — only I always look after the train. When you stand down there at night it snorts past you, and spits down, FlCSUB Spits ? LiLIOM Yes, the engine. It spits down. And then the whole train rattles past and away — and you stand 112 LILIOM there — spat on — but it draws your eyes alon'i with it. FlCSTTB Draws your eyes along? LiLIOM Yes — ^whether you want to or not, you've got to look after it — as long as the tiniest bit of it is in sight. FiCSUE Swell people sit in it. LiLIOM And read newspapers. Ficsutt And smoke cigars. LlUOM And inhale the smoke. \_There is a short sUence.] FiCSUE Is he coming? LiLIOM Not yet. [Silence again. Liliom comes down, speaks low, confidentially/.] Do you hear the tele- graph wires? FiCSUE I hear them when the wind blows. LILIOM 118 LiUOM Even when the wind doesn't blow you can hear them humming, humming People talk through them. FXCSTTE Who? LlLIOM Jews. FiCSUB No — they telegraph. LlIilOM They talk through them and from some other place they get answered. And it all goes through the iron strings — that's why they hum hke that — they hum-m Ficsua What do they hum? L11.10M They hum! ninety-nine, ninety-nine. Just listen. FiCSUE What for? LiLIOM That sparrow's listening, too. He's cocked one eye and looks at me as if to say : "I'd like to know what they're talking about." 114 LILIOM FiCSTJB You're looking at a bird? LlUOM He's looking at me, too. FicstJE Listen, you're sick! There's something the mat- ter with you. Do you know what it is.'' Money. That bird has no money, either ; that's why he cocks his eye. LiLIOM Maybe. FiCSUE Whoever has money don't cock his eye* L11.10H What then does he do? Ficsua He does most anything he wants. But nobody works unless he has money. We'U soon have money ourselves. LlLIOM I say, "Good evening. Excuse me, sir, can you tell me what time it is !" LILIOM 116 FlCSUB He's not coming yet. Got the cards? [Liugm gives him. the pack of cards. ^ Got any money? LiLIOM [^Takes some coins from his trousers pocket and counts,^ Eleven. FiCSUE \^Sits astride on the pUe of ties and looks off left.] All right — eleven. LiLIOM [^Sitting astride on the ties facing Mm.] Put it up, Picsua [Pit*« the money on the ties; rapidly shuffles the cards.] We'll play twenty-one. I'll bank. [He deals deftly.] LiLIOM [Looks at his card.] Good. I'll bet the bank. FiCSUB Must have an ace! [^Deals him a second card.] LlI/IOM Another one. [ffe gets another card.] Another. [Gets still another.] Over! [Throws down his cards. Ficstib gathers in the money.] Come on! 116 LILIOM FiCSUE Come on what? Got no more money, have you? LlUOM No. FiCSUE Then the game's over — ^unless you want to LlI/IODf What? FiCSTJB Play on credit. LiLIOM You'll trust me? Ficsua No— but— I'll deduct it. LlLIOM Deduct it from what? FiCSUB From your share of the money. If you win you deduct from my share. LiUOM [Loohi over his shovlder to see if the cashier is coming; nervous and ashamed.^ All right. How much is bank? LILIOM 117 FiCSUB That cashier is bringing us sixteen thousand kronen. Eight thousand of that is mine. Well, then, the bank is eight thousand. LlUOM Good. FiCSUB Whoever has the most luck will have the most money. \_He deals.] LiLIOM Six hundred kronen. [Ficsue gives him another card.] Enough. Ficsua [^Lai/mg out his own cards.] Twenty-one. '[He shuffles rapidly.] LiLIOM [Moves excitedly nearer to Ficsue.] Well, then, double or nothing. Ficsue [Dealing.] Double or nothing. LlMOM [Gets a card.] Enough. Ficsue [Laying out his own cardg.'\ Twenty-one. [Shuffles rapidly again.] 118 LILIOM LlUOM [In flZonre.] You're not — cheating? FiCSUB Me? Do I look like a cheat? [Deals the card$ again.] LlIilOM [Glances nervously over his shoulder.] A thou- sand. PiCSUB [NoTichalantly.] Kronen? LiLIOM Kronen. [He gets a card.] Another one. [Gets OMOther card.] Over again ! [Lihe o« inex- perienced gambler who is losimg heavily, Limom is very nervov)s. He plays dazedly, wildly, irration- ally. From now on it is apparent that his only thought is to win his money back.] FiCSTJE That makes twelve hundred you owe. Limom Double or nothing. [He gets a card. He is greatly excited.] Another one. [Gets another card.] Another. [Throws down three cards.] LILIOM 119 FlCSUB \Bendt over and adds up the swm on the groimd.'] Ten — fourteen — twenty-three You owe two thousand, four hundred. LlIilOM Now what? FlCSUB [Takes a card out of the deck and gives it to fcim.] Here's the red ace. You can play double or noth- ing again. LlLIOM [Eagerly.'] Good. {Gets another cardJ] Enough. FiCSUE [Turns up his own cards.] Nineteen. LiLIOM You win again. [Almost imploring.] Give me an ace again. Give me the green one. [Takes a card.] Double or nothing. FiCSUE Not any more. LlI/IOH Why not? 120 LILIOM FiCSUE Because if you lose you won't be able to pay. Double would be nine thousand six hundred. And you've only got eight thousand altogether. LlLIOM [Greatly excited.] That — that — I call that — a dirty trick! FiCSUE Three thousand, two hundred. That's all yoa can put up. LiLIOM [Eagerly.'] All right, then — ^three thousand, two hundred. [Picsue deals hirni a card,] Enough. FiCSUE I've got an ace myself. Now we'll have to take our time and squeeze 'em. [Liliom prishes closer to him, as he takes up his cards and slowly, intently lunfolds them.] Twenty-one. [He quickly puts the cards in his pocket. . There is a pause.] LlLIOM Now — ^now — I'U teU you now — you're a croot, a low-down [Now Linzman enters at Right. He is a strong, robust, red-bearded Jew about Jfi years of age. At his side he carries a leather bag shmg by a strap from his shoulder. Ficsue covxfhs warn- LILIOM 121 ingly, moves to the right between Linzman cmd the embankment, f muses just behind Linzman and fol- lows him. LiLiOM stands bewildered a few paces to the left of the railroad ties. He finds himself facing Linzman. Trembling in every limh.^ Good eve- ning. Excuse me, sir, can you tell me the time? [FicsuE springs silently at Linzman, the little knife in his right hand. But Linzman catches Ficsue's right hand with his own left and forces Ficsue to his knees. Shnvitaneoiisly Linzman thrusts his right hand into his coat pocket and produces a revolver which he points at Liliom's breast. Liliom is stand- ing two paces away from the revolver. There is a long pause.'] Linzman [In a low, even voice.] It is twenty-five minutes past six. [Pauses, looks ironically down at Fic- sue.] It's lu<;ky I grabbed the hand with the knife instead of the other one. [Pauses again, looks ap- praisingly from one to the other.] Two fine birds ! [To Ficsue.] I should live so — Rothschild has more luck than you. [To Liliom.] I'd advise you to keep nice and quiet. If you make one move, you'll get two bullets in you. Just look into the barrel. You'll see some little things in there made of lead. Ficsue Let me go. I didn't do anything. 122 LILIOM LiNZMAN [^Mockingly shakes the hand which still holds the knife.] And this? What do you call this? Oh, yes, I know. You thought I had an apple in my pocket, and you wanted to peel it. That's it. For- give me for my error. I beg your pardon, sir. Liliom: But I— I LiNZMAN Yes, my son, I know. It's so simple. You only asked what time it is. Well, it's twenty-five min- utes after six. FiCSUR Let us go, honorable sir. We didn't do anything to you. LiNZMAN In the first place, my son, I'm not an honorable sir. In the second place, for the same money, you could have said Your Excellency. But in the third place you'll find it very hard to beg off by flatter- ing me. LiLIOM But I — I really didn't do anything to you. LiNZMAN Look behind you, my boy. Don't be afraid. Look behind you, but don't run away or I'll have LiLioM las to shoot you down. [Liliom turns his head slowly arovmd.^ Who's coming up there? LiLIOM {^Looking at Linzman.J Policemen.: LiNZMAN [To FicsuB..] You hold still, or [To LiuoM teasmgly.'] How many policemen are there? LiLIOM l^His eyes cast doiem.'\ Two. LiNZMAN And what are the policemen sitting on? LlIilOM Horses. LiNZMAN And which can run faster, a horse or a man? LlIilOM A horse. LiNZMAN There, you see. It would be hard to get away now. [^Laughs.] I never saw such an unlucky pair of highway robbers. I can't imagine worse luck. Just today I had to put a pistol in my pocket. And IM LILIOM even if I hadn't — old Linzman is a match for four like you. But even that isn't all. Did you happen to notice, you oxen, what direction I came from.-' From the factory, didn't I? When I went there I had a nice bit of money with me. Sixteen thou- sand crowns! But now — ^not a heller. \_CaUs off left.] Hey, come quicker, will you? This fellow is pulling pretty strong. [Ficsub frees himself with a mighty wrench and darts rapidly off. As Linzman aimis his pistol at the varnishing Ficsue, LiLioM rvms up the steps to the embankment. Linz- man hesitates, perceives that Liliom is the better target, pomts the pistol at him.] Stop, or I'll shoot! ICalls off left to the Policemen.] Why don't you come down off your horses? \_His pistol is leveled at Liliom, who stands on the embankment, facing the audience. From the left on the embank- ment a Policeman appears, revolver in hand.] FmsT Policeman Stop! Linzman Well, my boy, do you stOl want to know what time it is ? From ten to twelve years in prison ! LlLIOM You won't get me! [Linzman laughs derisively. LiLiOM is now three or four paces from the Police- man and equally distant from Linzman. His face LELIOM 125 is uplifted to the sky. He hursts into laughter, half defiant, half self-pitying, and takes the kitchen knife from under his coat.^ Julie \The ring of farewell is in the word. He turns sideways, thrusts the knife deep in his breast, sways, falls and roUs down the far side of the embankment. There is a long pause. From the left up on the embankment come the Two Policemen.] LiNZMAN What's the matter? [^The Fiest Policeman comes along the embankment as far as the steps, looks down in the opposite side, then climbs down at about the spot where Liliom disappeared. Linz- MAN and the other Policeman moimt the embamk- ment amd look down on hvm.^ Stabbed himself? Voice of Fiest Policeman Yes — and he seems to have made a thorough job of it. Linzman [Esccitedly to the Second Policeman,] I'll go and telephone to the hospital. [He runs down the steps and exits at left.'\ Second Policeman Go to Eisler's grocery store and telephone to the factory from there. They've a doctor there, too. 126 LILIOM [^Calling down to the other Policeman.] I'm going to tie up the horses. [^Comes down the steps and exits at left. The stage is empty. There is a pause^ The little red signal lamp is lit.'\ Voice of First Policeman Hey, Stephan! Voice or Second Policeman What? Voice of First Policeman Shall I pull the knife out of his chest? Voice of Second Policeman Better not, or he may bleed to death. [There is a pati^e.] Voice of First Policeman Stephan ! Voice of Second Policeman Yes. Voice of First Policeman Lot of mosquitoes around here. Voice of Second Policeman Yes. Voice of Fikst Policeman Got a cigar? LILIOM 127 Voice of Second Policeman No. \_There is a pause. The Fiest Policeman appears over the opposite side of the embankment. '\ Fiest Policeman A lot of good the new pay-schedule's done us — made things worse than they used to be — we get more but we have less than we ever had. If the Government could be made to realize that. It's a thankless job at best. You work hard year after year, you get gray in the service, and slowly you die — yes. Second Policeman That's right. First Policeman Yes. \^In the distance is heard the bell of the sig- nal tower,^ The Cuetain Falls SCENE FIVE Scene — The photographic "studio" a half hour later that same evening. MoTHEE HoLLUNDEE, her son, Makie and WoLE stand in a group back right, their heads together. Julie stands apart from them, a few paces to the left. Young Hollundee [PT/m) has just come in, tells his story excitedly.'] They're bringing him now. Two workmen from the factory are carrying him on a stretcher. Wolf Where is the doctor? Young Hollunder A policeman telephoned to headquarters. The police-surgeon ought to be here any minute. Maeie Maybe they'll pull him through after all. 128 LILIOM 129 YOTJNG HOLLUNDEB, He stabbed himself too deep in his chest. But he's still breathing. He can still talk, too, but very faintly. At first he lay there unconscious, but when they put him on the stretcher he came to. Wolf That was from ihe shaking. Maeie We'd better make room. [They make room. Two workmen carry m Liliom on, a stretcher which has four legs and stands about as high as a bed. They put the stretcher at left directly in front of the sofa, so that the head is at right and the foot at left. Then they ivnobtnusively join the group at the door. Later, they go out. Julie is standing at the side of the stretcher, where, without Tnovvng, she can see Liliom's face. The others crowd emotion- ally together near the door. The Fiest Policeman enters."] First Policeman Are you his wife? Julie Yes. Fiest Policeman The doctor at the factory who bandaged him up forbade us to take him to the hospital. — ^Dangerous ISO LILIOM to move him that far. What he needs now is rest. Just let him be until the police-surgeon comes. [^To the group near the door.^ He's not to be disturbed. [^They make way for him. He exits. There is a pause.] Wolf [^Gently urging the others out.] Please — ^it's best if we all get out of here now. We'U only be in the way. Makie [^To JtJME.J Julie, what do you think? [JtJLiE looks at her without tmswering.] Julie, can I do anything to help? [Julie does not answer.] We'll be just outside on the bench if you want us. [Mother Hollunder and her son have gone out when first requested. Now Marie and Wolf exit, too. Julie sits on the edge of the stretcher and looks at LiLioM. He stretches his hand out to her. She clasps it. It is not quite dark yet. Both of them can stUl be plainly seen.] LiLIOM \Raises himself with difficulty; speaks lightly at first, but later soberly, defiantly.] Little — Julie — there's something — ^I want to tell you — like when you go to a restaurant — and you've finished eating — and it's time — to pay — then you have to count up everything— everything you owe — well — ^I beat LILIOM 131 you — ^not because I was mad at you — ^no — only be- cause I can't bear to see anyone crying. You al- ways cried — on my account — and, well, you see, — I never learned a trade — what kind of a caretaker would I make? But anyhow — I wasn't going back to the carousel to fool with the girls. No, I spit on them aU — understand? Julie Yeg. LlLIOM And — as for HoUinger — ^he's good raiough — ^Mrs. Muskat can get along all right with him. The jokes he tells are mine — and the people laugh when he tells them — ^but I don't care. — I didn't give you any- thing — ^no home — ^not even the food you ate — ^but you don't understand. — ^It's true I'm not much good — ^but I couldn't be a caretaker — and so I thought maybe it would be better over there — in America — do you see? Julie Yes. LiLIOM I'm not asking — forgiveness — ^I don't do that — I don't. Tell the baby — ^if you like. Julie Yes. 133 LILIOM LiUOM Tell the baby — I wasn't much good — but tell him — ^if you ever talk about me — tell him — ^I thought — ^perhaps — over in America — but that's no affair of yours. I'm not asking forgiveness. For my part the police can come now. — If it's a boy — if it's a girl. — ^Perhaps I'll see the Lord God today. — ^Do you think I'll see Him? Julie Yes. LiLIOM I'm not afraid — of the police Up There — if they'll only let me come up in front of the Lord God Him- self — ^not like down here where an officer stops you at the door. If the carpenter asks you — yes — ^be his wife — ^marry him. And the child — tell him he's his father. — He'll believe you — won't he? Julie Yes. LiLIOM When I beat you — I was right. — ^You mustn't always think — you mustn't always be right. — ^Liliom can be right once, too. — It's all the same to me who was right. — ^It's so dumb. Nobody's right — ^but they all think they are right. — ^A lot they know ! Julie Yes. LILIOM 133 LlLIOH Julie — come — ^hold my hand tight. JtTLIE I'm holding it tight — aU the time. LlLIOM Tighter, still tighter — I'm going \^Pauses.] Julie Julie Good-bye. [Liliom sinks slowly back and dies. Julie frees her hand. The Doctor enters with the FiKST Policeman.] Doctor Good evening. His wife? Julie Yes, sir. \_Behind the Doctor and Policeman enter Marie, Wolf, Mother Hollunder, Young HoLLUNDER and Mrs. Muskat. They remain re- spectfully at the doorway. The Doctor hends over LiLioM and exammes hvm.'\ Doctor A light, if you please. [Julie fetches a burning candle from the dark room. The Doctor examines LiLiOM briefly in the camlle-light, then turns sud- denly away.^ Have you pen and ink? 134 LILIOM Wolf [Proifermg a pen.'\ A fountain-pen — ^Amer- ican DOCTOK [^TaJees a printed form from his pocket; speaks as he writes out the death-certificate at the little tahle.'\ My poor woman, your husband is dead — there's nothing to be done for him — the good God will help him now — I'll leave this certificate with you. You wiU give it to the people from the hospital when they come — I'll arrange for the body to be removed at once. [Rises,^ Please give me a towel and soap. Policeman I've got them for you out here, sir. {Points to door at fcacA;.] Doctor God be with you, my good woman. Julie Thank you, sir. {The Doctoe and Policeman exit. The others slowly draw nearer.'\ Maeie Poor Julie. May he rest in peace, poor man, but as for you — please don't be angry with me for say- ing it — but you're better off this way. LILIOM 186 Mother HoLLUNDEa He is better off, the poor fellow, and so are you. Maeie Much better, Julie . . . you are young . . . and one of these days some good man will come along. Am I right? Wolf She's right, Makie Julie, tell me, am I right.? Julie You are right, dear ; you are very good. Young Hollundee There's a good man — the carpenter. Oh, I can speak of it now. He comes here every day on some excuse or other — and he never fails to ask for you. Mabie A widower — ^with two children.; Motheb. Hollundee He's better off, poor fellow — and so are you. He was a bad man. Maeie He wasn't good-hearted. Was he. Wolf? 186 LILIOM Wolf No, I must say, he really wasn't. No, Liliom wasn't a good man. A good man doesn't strike a woman. Marie Am I right? Tell me, Julie, am I right? JULIB You are right, dear. Young Hollundeb It's really a good thing for her it happened. MOTHEB, HOLLUNDER He's better off — and so is she. Wolf Now you have your freedom again. How old are you? Julie Eighteen, Wolf Eighteen. A mere child! Am I right? Julie You are right. Wolf. You are kind. Young Hollundee Lucky for you it happened, isn't it? LILIOM 137 JuiilE Yes. Young Hollunder All you had before was bad luck. If it weren't for my mother you wouldn't have had a roof over your head or a bite to eat — and now Autumn's com- ing and Winter. You couldn't have lived in this shack in the Winter time, could you? Marie Certainly not! You'd have frozen like the birds in the fields. Am I right, Julie? Julie Yes, Marie. Marie A year from now you will have forgotten all about him, won't you? Julie You are right, Marie. Wolf If you need anything, count on us. We'll go now. But tomorrow morning we'll be back. Come, Marie. God be with you. ^Offers Julie Am hand.^ Julie God be with you. 138 LILIOM Maeib {Embraces Julie, weepmg.\ It's the best thing that could have happened to you, Julie, the best thing. Julie Don't cry, Marie. [Maeie cmd Wolf exit.'\ Mother Hollundee I'U make a little black coffee. You haven't had a thing to eat today. Then you'll come home with us. [Mother Hollunder and her son exit. Mrs. MusKAT comes over to Julie.] Mrs. Muskat Would you mind if I — looked at him? Julie He used to work for you. Mrs. Muskat [Contemplates the body; turns to Julie.] Won't you make up with me? Julie I wasn't angry with you. Mrs. Muskat But you were. Let's make it up. LILIOM 139 Julie l^Raismg her voice eagerly, almost trifuimphantlyJ\ I've nothing to make up with you, Mes. Muskat But I have with you. Everyone says hard things against the poor dead boy — except us two. You don't say he was bad. JlTIilE [Raisvng Tier voice yet higher, this time on a defi- ant, whoUy trhumphamt rmte.] Yes, I do. Mbs. Muskat I understand, my child. But he beat me, too. What does that matter? I've forgotten it. Julie [^From now on amswers her coldly, drily, without looking at herJ\ That's your own affair. Mes. Muskat If I can help you in any way Julie "Kiere's nothing I need. Mes. Muskat I still owe him two kronen, back pay. 140 LILIOM Julie You should have paid him. Mrs. Muskat Now that the poor fellow is dead I thought per- haps it would be the same if I paid you. Julie I've nothing to do with it. Mss. MuSKiT All right. Please don't think I'm tryiog to force myself on you. I stayed because we two are the only ones on earth who loved him. That's why I thought we ought to stick together. Julie No, thank you. Mks. Muskat Then you couldn't have loved him as I did. Julie No. Mes. Muskat I loved him better. Julie Yes. ULIOM 14.1 Mas. MusKAT Good-bye. Julie Good-bye. [Mes. Muskat exits. Julie putt the candle on the table near Liliom's head, sits on the edge of the stretcher, looks into the dead man't face and caresses it tenderly. '\ Sleep, Liliom, sleep — it's no business of hers — I never even told you — but now I'll tell you — now I'll tell you — you bad, quick-tempered, rough, unhappy, wicked — dear boj — sleep peacefully, Liliom — they can't understand how I feel — I can't even explain to you — not even to you — ^how I feel — you'd only laugh at me — ^bui you can't hear me any more. [Between tendei motherliness and reproach, yet with great love in her voice.] It was wicked of you to beat me — on the breast and on the head and face— but you're gone now. — You treated me badly — that was wicked oi you — ^but sleep peacefully, Liliom — you bad, bad boy, you — I love you — I never told you before — I was ashamed — ^but now I've told you — I love you, Liliom — sleep — ^my boy — sleep. \_She rises, gets a Bible, sits down near the candle and reads softly to herself, so that, not the words, but an inarticulate murmur is heard. The Caupenter enters at back.] Carpentee \_Stands near the door; in the dhrmess of the room he can scarcely be seen.] Miss Julie 14(2 LILIOM Julie [^Without alarm.^ Who Is that? Caepenter [Very dordtf.ll The carpenter. Julie What does the carpenter want? Caepentee. Can I be of help to you in any way? Shall I stay here with you? Julie [Gratefully, but firmly.] Don't stay, carpenter. Caepentee Shall I come back tomorrow? Julie Not tomorrow, either. Caepentee Don't be oiFended, Miss Julie, but I'd like to know — you see, I'm not a young man any more — I have two children — and if I'm to come back any more — I'd like to know — if there's any use Julie No use, carpenter. LILIOM 143 Caepentee \^As he exits.] God be with you. [Julie re- swmes her readvng. Ficsue enters, slinks furtively sideways to the stretcher, looks at Liliom, shakes his head. Julie looks up from her reading. Ficsue takes fright, slinks away from the stretcher, sits down at right, biting his nails. Julie rises. Fic- sue rises, too, and looks at her half fearfuUy. With her piercing glance upon him he slinks to the door- way at back, where he pauses and speaks,] iFlCSUE The old woman asked me to tell you that coffee is ready, and you are to' come in. [Julie goes to the kitchen door. Ficsue withdraws wntU she has closed the door behind her. Then he reappears m the doorway, stands on tiptoes, looks at Liliom, then exits. Now the body lies alone. After a brief si- lence music is heard, distant at first, but gradually coming nearer. It is very much like the music of the carousel, but slower, graver, more exalted. The melody, too, is the same, yet the tempo is altered and contrapuntal measures of the thieves' song are vnr tertwined in it. Two m£n in black, with heavy sticks, soft black hats and black gloves, appear in, the doorway at back and stride slowly into the room. Their faces are beardless, marble white, grave amd benign. One stops m front of the stretcher, the 144 LILIOM other a pace to the right. From above a dim violet light illwmmates their faces-l The Fiest [To LiiiioM.] Rise and come with ub. The Second [^Politeli/.] You're under arrest. The First ^Somewhat louder, but always vn a gentle, low, resonant voice.] Do you hear? Rise. Don't you hear.? The Second We are the police. The Fiest \Bends down, touches Liliom's shovlder.\ Get up and come with us. [Liliom slowly sits up."] The Second Come along. The Fiest l^Patern^lly.] These people suppose that when they die all their diflSculties are solved for them. The Second {^Raising his voice sternly,'\ That simply by thrusting a knife in your heart and making it stop LILIOM 145 beating you can leave your wife behind with, a child in her womb The Fiest It is not as simple as that. The Second Such things are not settled so easily. The Fiest Come along. You will have to give an account of yourself. [^As both bow their heads, he contimues softly.] We are God's police. [Jre expression of glad relief lights upon Liliom's face. He rises from the stretcher.] Come. The Second You mortals don't get off quite as easy as that. The Fiest {^Softly.] Come. [Liliom starts to walk ahead of them, then stops and looks at them.] The end is not as abrupt as that. Your name is still spoken. Your face is stiU remembered. And what you said, and what you did, and what you failed to do — these are still remembered. Remembered, too, are the manner of your glance, the ring of your voice, the clasp of your hand and how your step sounded — as long as one is left who remembers you, so long is 146 LILIOM the matter unended. Before the end there is much to be undone. Until you are quite forgotten, my son, you will not be finished with the earth — even though you are dead. The Second [Very gently.] Come. [The music begins again. All three exit at back, Liliom leading, the others foUowvng. The stage is empty and quite dark save for the candle which burns by the stretcher, on which, in the shadows, the covers are so arranged that one cannot quite be sure that a body is not still lying. The music dies out in the dista/nce as if it had followed Liliom and th^ two Policemen. The candle flickers and goes out. There is a brief inter' vol of silence and total darkness before The Cuetain Falls SCENE SIX Scene — In the Beyond. A whitewashed courtroom. There is a green-topped table; behind it a bench. Back Center is a door with a bell over it. Newt to this door is a window throttgh which ca/n be seen a vista of rose-tmted clouds. \Down right there is a grated iron door. Down left another door. Two men are on the bench when the curtain rises. One is richly, the other poorly dressed. From a great distance is heard a fanfare of trwmpets playing the refrain, of the thieves' song in slow, altered tempo. Passing the window at back appear Liliom and the two policejnen. The bell rings. An old guard enters at right. He is bald and has a long white beard.. He wears the con- ventional police uniform. He goes to the door at back, opens it, ex- changes silent greetings with the two policemen and closes the door again. Liliom looks wonderingly arovmd. 147 148 LILIOM The First [To the old gvMrd.'\ Announce us. [The guard exits at left.'\ LlXIOM Is this it? The Second Yes, my son. LiUOM This is the police court? The Second Yes, my son. The part for suicide cases. LnjoM And what happens here? The Fiest Here justice is done. Sit down. [Liliom sits next to the two men. The two policemen stand si- lent near the table.'\ The Richly Deessed Man \Whispers.'\ Suicide, too? LlUOM Yes, LILIOM 149 The Richly Deessed Man \_Pomts to the Pooelt Deessed Man.] So's he. [^Introducing hi7nself.'\ My name is Reich. The Pooely Deessed Man [Whispers, too.] My name is Stephen Kadar. [LiMOM onltf looks at them,] The PooEiiY Deessed Man And you? What's your name? LlUOM None of your business, [Both move a bit away from him.] The Pooely Deessed Man I did it by jumping out of a window. The Richly Deessed Man I did it with a pistol — and you? LiLIOM With a knife. [They move a bit further amay from him.] The Richly Deessed Man A pistol is cleaner. 150 LILIOM LlUOM If I had the price of a pistol — — * The Second Silence ! [^The Police Magisteate enters. He has a long white beard, is bald, but only in profile can be seen on his head a single tuft of snow-white hair. The Guard reenters behind him and sits on the bench with the dead men. As the Mag- isxaATE enters, all rise, except Liliom, who re- mains surlily seated. When the Magistbate sits down, so do the others.^ The Guard Yesterday's cases, your honor. The ntunbers are entered in the docket. The Magistrate Number 16,472. The First [Looks in his TtotebooJc, beckons the Richly Dressed Man.] Stand up, please. [The Richlt Dressed Man rises.'} The Magistrate Your name? LILIOM 151 The Richly Deessed Man Doctor Reich. The Magisteate Age? The Richly Deessed Man Forty-two, married, Jew. The Magisteate '[With a gesture of dismissal.'] Religion does not interest us here — why did you kill yourself The Richly Duessed Man On account of debts. The Magisteate What good did you do on earth? The Richly Deessed Man I was a lawyer The Magisteate [Coughs significantly.l Yes — we'll discuss that later. For the present I shall only ask you : Would you like to go back to earth once more before sun- rise? I advise you that you have the right to go if you choose. Do you understand? 152 LILIOM The Richly Deessed Man Yes, sir. The Magistkate He who takes bis life is apt, in his haste and his excitement, to forget something. Is there anything important down there you have left undone? Some- thing to tell someone? Something to undo? The Richly Deessed Man My deibts The Magisteate They do not matter here. Here we are concerned only with the aflFairs of the soul. The Richly Deessed Man Then — if you please — ^when I left — the house — my youngest son, Oscar — was asleep. I didn't trust myself to wake him — and bid him good-bye. I would have liked — to kiss him good-bye. The Magisteate [^To The Second.] You wiU take Dr. Reich back and let him kiss his son Oscar. The Second Come with me, please. LILIOM 163 The Richly Dressed Man [To The Magistrate.] I thank you. \^He bows and exits at back with The Second.] The Magistrate [^After making an entry m the docket.} Nmn- ber 16,473. The First l^Looks in his notebook, then beckons Liuom.] Stand up. LiXJOM You said please to him. \^He rises.^ The Magistrate Your name? Liuom Liliom. The Magistrate Isn't that your nickname.'' Liuom Yes. The Magistrate What is your right name? Liuom Andreas. 154 LELIOM The Magistbatb And your last name? LlUOM Zavocki — after my mother. The Magisteate Your age? LiLIOM Twenty-four. The Magisteate What good did youu do on earth? [Liliom is si- lent.^ Why did you take your life? [Leliom does not answer. The Magisteate addresses The FiEST.] Take that knife away from him. [The First does «o.j It will be returned to you, if you go back to earth. LinoM Do I go back to earth again? The Magisteate Just answer my questions. LiLIOM I wasn't answering then, I was asking if > The Magisteate You don't ask questions here. You only answer. Only answer, Andreas Zavocki ! I ask you whether LILIOM 166 there is anything on earth you neglected to accom- plish? Anything down there you would like to do? LiLIOM Yes. The Magisteate What is it? LlLIOM I'd like to break Ficsur's head for him. The Magistrate Punishment is our ofSce. Is there nothing else on earth you'd like to do ? LiLIOM I don't know — ^I guess, as long as I'm here, I'll not go back. The Magisteate [^To The Fiest.J Note that. He '"aives his right. [LiLioM starts back to the bertch.] Stay where you are. You are aware that you left your wife without food or shelter? L11.10M Yes. The Magisteate Don't you regret it? 166 LILIOM Ltliom No, The Magisteate You are aware that your wife is pregnant, and that in six months a child will be bom? LlUOM I know. The Magistkate And that the child, too, will be without food or shelter? Do you regret that? LlUOBI As long as I won't be there, what's it got to do with me? The Magisteate Don't try to deceive us, Andreas Zavocki. We see through you as through a pane of glass. LiUOM If you see so much, what do you want to ask me for? Why don't you let me rest — ^in peace? The Magistrate First you must earn your rest, Liuou I want — only — to sleep. LILIOM 157 The Magistkate Your obstinacy won't help you. Here patience is endless as time. We can wait. LiLIOM Can I ask something — I'd like to know — if Your Honor will tell me — whether the baby will be a boy or a girl. The Magistrate You shall see that for yourself. LiLIOH [Excitedly.^ I'll see the baby? The Magistkate When you do it won't be a baby any more. But we haven't reached that question yet. LlLIOM I'll see it? The Magistrate Again I ask you: Do you not regret that you deserted your wife and child; that you were a bad husband, a bad father? LlLIOM A bad husband? The Magistrate Yes. 158 LILIOM LiUOM And a bad father? The Magistb,ate That, too. LiLIOM I couldn't get work — and I couldn't bear to see Julie — all the time — all the time The Magistuate Weeping! Why are you ashamed to say it? You couldn't bear to see her weeping. Why are you afraid of that word? And why are you ashamed that you loved her? LiLIOM [^Shrti^s his sJwidders.] Who's ashamed? But I couldn't bear to see her — and that's why I was bad to her. You see, it wouldn't do to go back to the carousel — and Ficsur came along with his talk about — that other thing — and all of a sudden it happened, I don't know how. The police and the Jew with the pistol — and there I stood — and I'd lost the money playing cards — and I didn't want to be put in prison. [Demamding justification.'^ Maybe I was wrong not to go out and steal when there was nothing to eat in the house? Should I have gone out to steal for Julie? LILIOM 169 The Magisteate [^EmphaticaUif.'l Yes. LiLIOM \^After an astovmded pcmise.'\ The police down there never said that. The Magisteate You beat that poor, frail girl; you beat her be- cause she loved jou. How could you do that? Lrll/IOM We argued with each other — she said this and I said that — and because she was right I couldn't an- swer her — and I got mad — and the anger rose up in me — ^until it reached here [points to Ms throat'\ and then I beat her. The Magisteate Are you sorry? LlLIOK [Shakes his head, hut carmot utter the word "no"; continues softly.'\ When I touched her slen- der throat — then — if you like — you might say [Falters, looks embarrassed at The Magisteate.] The Magisteate [Confidently expectant. 1 Are you sorry? 160 LILIOM LiMOM [^With a stare.l I'm not sorry for anything. The Magistkate Liliom, Liliom, it will be difficult to help you. LrLioM I'm not asking any help. The Magistkate You were offered employment as a caretaker on Arader Street. [To The Fiest.] Where is that entered? The Fiest In the small docket. {Hands him the open book. The Magistrate looks in it.] The Magistkate Rooms, kitchen, quarterly wages, the privilege of keeping poultry. Why didn't you accept it.!* Liliom I'm not a caretaker. I'm no good at caretaking. To be a caretaker — ^you have to be a caretaker The Magistrate If I said to you now: LUiom, go back on your stretcher. Tomorrow morning you will arise alive and well again. Would you be a caretaker then ? LILIOM 161 LnioM No. The Magisteatb Why not? LllIOM Because — ^because that's just why I died. The Magisteatb That is not true, my son. You died because you loved little Julie and the child she is bearing under her heart. LrLioM No. The Magisteatb Look me in the eye. LlLIOIf l^Lookx him m the eye.^ No. The Magisteatb [Stroking his beard.Ji Liliom, Liliom, if it were not for our Heavenly patience Go back to your seat. Number 16,474. The Fiest [Looks in his note book.] Stephan Kadar. [The Pooely Deessed Man rises.] 162 LILIOM The Magistbat You came out today? The Pooelt Dbessed Mak Today. The Magisteate \^I'ndicatmg the crimson sea of clouds.^ How long were you in there? The Pooely Deessed Man Thirteen years. The Magisteate OflScer, you went to earth with him? The Fiest Yes, sir. The Magisteate Stephan Kadar, after thirteen years of purifica- tion by fire you returned to earth to give proof that your soul had been burned clean. What good deed did you perform? The Pooelt Deessed Man When I came to the village and looked in the win- dow of our cottage I saw my poor little orphans sleeping peacefully. But it was raining and the rain beat into the room through a hole in the roof. LILIOM 163 So I went and fixed the roof so it wouldn't rain in any more. My hammering woke them up and they were afraid. But their mother came in to them and comforted them. She said to them: "Don't cry! It's your poor, dear father hammering up there. He's come back from the other world to fix the roof for us." The Magistkate Officer? The Fiest That's what happened. The Magisteate Stephan Kadar, you have done a good deed. What you did will be written in books to gladden the hearts of children who read them. [^Indicates the door at left.'^ The door is open to you. The eternal light awaits you. [The Fiest escorts the PooELT Deessed Man out at left with great defer- ence.] Liliom! [Liliom me*,] You have heard? LiLIOM Yes. The Magisteate When this man first appeared before us he was as stubborn as you. But now he has purified him- self and withstood the test. He has done a good deed. 164 LILIOM What's ke done, anyhow? Any roofer can fix a roof. It's much harder to be a barker in an amuse- ment park. The Magistrate Liliom, you shall remain for sixteen years in the crimson fire until your child is full grown. By that time your pride and your stubbornness will have been burnt out of you. And when your daugh- ter Lnjoii My daughter! The Magisteate When your daughter has reached the age of six- teen [LiuoM hows Ms head, covers his eyes with his hands, and to keep from weeping laughs de- fiantly, sadly.] The Magistrate When your daughter has reached the age of six- teen you will be sent for one day back to earth. Liliom Me? The Magistrate Yes — ^just as you may have read in the legends of how the dead reappear on earth for a time. LILIOM 165 Lhjom I never believed them. The Magisteatb Now you see they are true. You will go back to earth one day to show how far the purification of your soul has progressed. IiII.IOM Then I must show what I can do — ^like when you apply for a job — as a coachman? The Magistrate Yes — ^it is a test. Lixiou And will I be told what I have to do? The Magisteate No, LlUOM How will I know, then? The Magisteate You must decide that for yourself. That's what you bum sixteen years for. And if you do some- thing good, something splendid for your child, then 166 LILIOM Lixioif {^Laughs sadly. ^ Then? \_All stand up and bow their heads reverently. There is a pause.^ Then? The Magisthate Now I'll bid you farewell, Liliom. Sixteen years and a day shall pass before I see you again. When you have returned from earth you will come up be- fore me again. Take heed and think well of some good deed to do for your child. On that will de- pend which door shall be opened to you up here. Now go, Liliom. l^He exits at left. The Gxtaed stands at attention. There is a pa/use.] The Fiest {^Approaches Liliom. J Come along, my son. {He goes to the door at right; pvMs open the bolt and waits.} Liliom {To the old Guard, softly.] Say, officer. The Guakd What do you want? Liliom Please — can I get — ^have you got ? The Guaed What? LILIOM 167 LlLIOM [^Whispers.'] A cigarette? [^The old Guaeb stares at hvm, goes a few paces to the left, shakes his head disapprovingly. Then his expression softens. He takes a cigarette from his pocket and, crossing to LiLioM — who has gone over to the door at right — gives him the cigarette. The First throws open the door. An intense rose-colored light streams in. The glow of it is so strong that it blinds Liliom and he takes a step backward and bows his head and cov- ers his eyes with his hand before he steps forward into the light.'\ The Curtain Falls SCENE SEVEN Scene — Sixteen years later. A small, ttimble-down house on a bare, wnenclosed plot of ground. Before the house is a tiny garden enclosed by a hip-high hedge. At back a wooden fence crosses the stage; in the center of it is a door large enough to admit a wagon.: Beyond the fence is a view of a suburban street which blends into a broad vista of tilled fields. It is a bright Su/nday in Spring. In the garden a table for two is laid. JuiiiE, her daughter Louise, Woi-p and Marie are discovered in the garden. Wolf is prosperously dressed, Masee somewhat elab- orately, with a huge hat. JtruE You could stay for lunch. Maeie Impossible, dear. Since he became the proprie- tor of the Cafe Sorrento, Wolf simply has to be there aU the time. 168 LILIOM 169 Julie But you needn't stay there all day, too. Marie Oh, yes. I sit near the cashier's cage, read the papers, keep an eye on the waiters and drink in the bustle and excitement of the great city. Julie And what about the children.'' Makie You know what modem families are like. Par- ents scarcely ever see their children these days. The four girls are with their governess, the three boys with their tutor. Louise Auntie, dear, do stay and eat with us. Maeie \_Importantli/.'\ Impossible today, dear child, impossible. Perhaps some other time. Come, Mr. Beifeld. Julie Since when do you caU your husband mister.'' Wolf I'd rather she did, dear lady. When we used to be very familiar we quarreled all the time. Now 170 LILIOM we are formal with each other and get along like society folk. I kiss your hand, dear lady. Julie Good-bye, Wolf. Makie Adieu, my dear. [^Thei/ embrace.] Adieu, my dear child. LOTJISE Good-bye, Aunt Marie. Good-bye, Uncle Wolf. [Wolf and Maeie exit.] Julie You can get the soup now, Louise dear. [Louise goes into the house and reenters with the soup. They sit at the table,] Louise Mother, is it true we're not going to work at the jute factory any more? Julie Yes, dear, Louise Where then? Julie Uncle Wolf has gotten us a place in a big estab- lishment where they make all kinds of fittings for LILIOM 171 cafes. We're to make big curtains, you know, the kind they hang in the windows, with lettering on them. LotriSE It'll be nicer there than at the jute factory. Julie Yes, dear. The work isn't as dirty and pays bet- ter, too. A poor widow like your mother is lucky to get it. [,They eat. Liliom and the two Heav- enly Policemen appear m the hig doorway at back. The Policemen pass slowly by. Liliom stands there alone a moment, then comes slowly down and pauses at the openimg of the hedge. He is dressed as he was on the day of his death. He is very pale, but otherwise tunaltered. Julie, at the table, has her back to him. Louise sits facing the audience. Liliom Louise Good day. Good day. Julie Another beggar ! What is it you want, my poor man? Nothing. Liliom 172 LILIOM Julie We have no money to give, but if you care for a plate of soup [Louise goes into the hoiise.] Have you come far today? LlLIOM Yes — ^very far. Julie Are you tired? LiLIOM Very tired. Julie Over there at the gate is a stone. Sit down and rest. My daughter is bringing you the soup. [Louise comes out of the house,'\ LiLIOM Is that your daughter? Julie Yes. LiLIOM [To Louise.] You are the daughter? Louise Yes, sir. LiLIOM A fine, healthy girl. [Takes the soup plate from her with one hand, while with the other he touches her arm. Louise draws hack quickly.^ LILIOM 173 Louise [Crosses to Julie.] Mother! JuiJE What, my child? Louise The man tried to take me by the arm. Julie Nonsense! You only imagined it, dear. The poor, hungry man has other things to think about than fooling with young girls. Sit down and eat your soup. [They eat.^ LlLIOM [Eats, too, but keeps loohimg at them.] You work at the factory, eh? Julie Yes. LiLIOM Your daughter, too? Louise Yes. LiLIOM And your husband? 174 LILIOM Julie [After a pause.] I have no husband. I'm a widow. LiLIOM A widow? Julie Yes. LiLIOM Your husband — I suppose he's been dead a long time. [Julie does not answer.'] I say — ^has your husband been dead a long time.? Julie A long time. LiLIOM What did he die of .'' [Julie is silent,] Louise No one knows. He went to America to work and he died there — in the hospital. Poor father, I never knew him. LiLIOM He went to America ? Louise Yes, before I was born. LlLIOU To America? LILIOM 175 JuIilE Why do you ask so many questions? Did yo\i know him, perhaps? L11.10M [Pm.*« the plate down,] Heaven knows! I've known so many people. Maybe I knew him, too. Jtti-ie Well, if you knew him, leave him and us in peace with your questions. He went to America and died there. .That's all there is to tell. LlLIOM All right. All right. Don't be angry with me. I didn't mean any harm. [^There is a pause.'] Louise My father was a very handsome man. Julie Don't talk so much. Louise Did I say anything ? LlLIOM Surely the little orphan can say that about her father. 176 LILIOM Louise My father could juggle so beautifully with three ivory balls that people used to advise him to go on the stage. Jtji-ie Who told you that? Louise Uncle Wolf. LiLIOM Who is that? Louise Mr. Wolf Beifeld, who owns the Cafe Sorrento. LiLIOM The one who used to be a porter? Julie \_Astonished.^ Do you know him, too? It seems that you know all Budapest. LiLIOM Wolf Beifeld is a long way from being all Buda- pest. But I do know a lot of people. Why shouldn't I know Wolf Beifeld? Louise He was a friend of my father. LILIOM 111 Julie He was not his friend. No one was. LiLIOM You speak of your husband so stemiy. Julie What's that to you? Doesn't it suit you? I can speak of my husband any way I like. It's no- body's business but mine. LiLIOM Certainly, certainly — it's your own business. [^Takes up his soup plate again. All three eat.'\ Louise [To Julie.] Perhaps he knew father, too. Julie Ask him, if you like. Louise [Crosses to Liliom. He stands up.] Did you know my father? [Liliom nods. Louise addresses her mother.] Yes, he knew him. Julie [Rises.] You knew Andreas Zavocky? 178 LILIOM LirioM Liliom? Yes. Louise Was he really a very handsome man? Liliom I wouldn't exactly say handsome. Louise l^Confidently.^ But he was an awfully good man, wasn't he.'' Liliom He wasn't so good, either. As far as I know he was what they called a clown, a barker in a carousel. Louise [^Pleased.Ji Did he tell funny jokes? LiLIOM Lots of 'em. And he sang funny songs, too, Louise In the carousel? Liliom Yes — but he was something of a bully, too. He'd fight anyone. He even hit your dear little mother. Julie That's a lie. LILIOM 179 LiLIOM It's true. Julie Aren't you ashamed to tell the child such awful things about her father? Get out of here, you shameless liar. Eats our soup and our bread and has the impudence to slander our dead ! LiLIOM I didn't mean — I Julie What right have you tO' tell lies to the child? Take that plate, Louise, and let him be on his way. If he wasn't such a hungry-looking beggar, I'd put him out myself. [Louise takes the plate out of his hand.'\ LlLIOM So he didn't hit you? Julie No, never. He was always good to me. Louise [^Whispers.] Did he tell funny stories, too? LiLIOM Yes, and such funny ones. 180 LILIOM Julie Don't speak to him any more. In God's name, go. Louise In God's name. [Julie resumes her seat at the table and eats.] LiLIOM If you please, IMiss — I have a pack of cards in my pocket. And if you like, I'll show you some tricks that'll make you split your sides laughing. [Louise holds Liliom's plate in her left hand. With her right she reaches out and holds the garden gate shut.] Let me in, just a little way, Miss, and I'll do the tricks for you. Louise Go, in God's name, and let us be. Why are you making those ugly faces.'' Liliom Don't chase me away. Miss; let me come in for just a minute — just for a minute — just long enough to let me show you something pretty, something wonderful. [Opens the gate.] Miss, I've some- thing to give you. [Tahes from his pocket a big red handkerchief in which is wrapped a glittering star from Heaven. He looks furtively about him to make sure that the Police are not watching.] LILIOM 181 Louise What's that? LiLIOM Pst! A star! [PFiiA a gesture he indicates that he has stolen it out of the sky,] JriiiE l^Sterniy.] Don't take anything from him. He's probably stolen it somewhere. [^To Liuom.] In God's name, be oif with you. Louise Yes, be off with you. Be off. \_She slams the gate,] LiLIOM Miss — ^please, Miss — I've got to do something good — or — do something good — a good deed Louise [^Poimting with her right hamd.] That's the way out. LlLIOM Miss Louise Get out! LllIOM Miss! [^Looks up at her suddenly and slaps her extended hand, so that the slap resownds loudly,] 182 LILIOM Louise Mother! [Looks dazedly at Liliom, who hows his head dismayed, forlorn. Julie rises and looks at LiLioM in astonishment. There is a long patise.'\ Julie {^Comes over to them slowly. \ What's the mat- ter here? Louise [Bewildered, does iwt take her eyes off Liliom.J Mother — the man — he liit me — on the hand — ^hard — I heard the sound of it — but it didn't hurt — mother — it didn't hurt — it was like a caress — as if he had just touched my hand tenderly. [She hides beJrnid Julie. Liliom sulkily raises his head and looks at Julie.] Julie [Softly.ll Go, my child. Go into ite house. Go. Louise [Going.] But mother — I'm afraid — ^it sounded so loud [WeepiTigly.] And it didn't hurt at all — ^just as if he'd — kissed my hand instead — mother! [She hides her face.] Julie Go in, my child, go in. [Louise goes slowly into the house. Julie watches her until she has disap- peared, then turns slowly to Liliom.] LILIOM 183 Julie You struck my child. LiLIOM Yes — ^I struck her. Julie Is that what you came for, to strike my child? LiLIOM No — I didn't come for that — ^but I did strike her — and now I'm going back. Julie In the name of the Lord Jesus, who are you? LiLIOM \^Smtply.] A poor, tired beggar who came a long way and who was hungry. And I took your soup and bread and I struck your child. Are you angry with me? Julie IHer hand on her heart; fearfully, wonderingly,] Jesus protect me — I don't understand it — ^I'm not angry — not angry at all [Liliom goes to the doorway and leans against the doorpost, his back to the avMence. Julie goes to the table and sits.] 184 LELIOM Julie Louise! [Louise comes out of the house.] Sit down, dear, we'll finish eating. Louise Has he gone? Julie Yes. [They are both seated at the table. Louise, her head in her hands, is staring into space.] Why don't you eat, dear.-" Louise What has happened, mother? Julie Nothing, my child. [The Heavenly Policemen appear outside. Liliom walks slowly off at left. The First Policeman makes a deploring gesture. Both shake their heads deplorvngly and follow LiLioM slowly off at left.] Louise Mother, dear, why won't you tell me? Julie What is there to tell you, child? Nothing has happened. We were peacefully eating, and a beg- LILIOM 185 gar came who talked of bygone days, and then I thought of your father. LOTIISE My father? Julie Your father — ^Liliom, [^There is a pause.l Louise Mother — tell me — ^has it ever happened to you — has anyone ever hit you — ^without hurting you in the least? Julie Yes, my child. It has happened to me, too. \_There is a pause.'\ Louise Is it possible for someone to hit you — ^hard like that — real loud and hard — and not hurt you at all? Julie It is possible, dear — that someone may beat you and beat you and beat you, — and not hurt you at all. \_There is a pause. Nearby an organ- grimder has stopped. The music of his organ be- •J The Curtain Falls