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L1L1OM
L, I L I O M
A LEGEND IN SEVEN SCENES
AND A PROLOGUE
FRANZ MOLNAR
ENGLISH TEXT AND INTRODUCTION BY
BENJAMIN F. GLAZER
BONI AND LIVERIGHT
PUBLISHERS NEW YORK
LILIOM
COPYRIGHTED, 1921, BT
UNITED PLAYS INC.
All riyhti retimed
First Printing May, 1921
Second " June, 1921
Third " August, 1921
Fourth November, 1921
Fifth « September, 1922
Sixth " December, 1922
CAUTION— 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.
Printed in the United State* of America
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
Four Servant Girls
Margaret Mosier
Anne de Chantal
Elizabeth Parker
PoUcemen I Howard Claney
[Lawrence B. Chrow
Captain Erskine Sanf ord
Plainclothes Man Gerald Stopp
Mother Hottunder Lilian Kingsbury
"The Sparrow" Dudley Digges
Wolf Berkowitz Henry Travers
Young Hottunder William Franklin
1 An -in an 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
CAST OF CHARACTERS (Continued)
The Richly Dressed Man Edgar Stehli
The Poorly Dressed Man Philip Wood
The Old Guard Walton Butter-field
The Magistrate Albert Perry
Louise Evelyn Chard
Peasants, Townspeople, etc.
Lela M. Aultman, Janet Scott, Marion M.
Winsten, Katherine Falmestock, Lillian Tuch-
man, Ruth L. Gumming, 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 Hollunders
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 FRANK REICHER
Costumes and scenery designed by LEE SIMONSON
Technical Director SHELDON K. VIELE
Scenery painted by ROBERT BERGMAN
Costumes executed by NETTIE DUFF REAOE
Stage Manager WALTER GEER
Assistant Stage Manager JACOB WEISER
Music arranged by DEEMS TAYLOR
Executive Director THERESA HELBURN
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 earlier plays; and least of
all 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
«
INTRODUCTION
a jibe? These were some of the questions Budapest
debated while the play languished through thirty or
forty performances and was withdrawn.
Almost ten years passed before it was revived.
This time it was an immediate and overwhelming tri-
umph. Perhaps the wide circulation of the play in
printed form had made its beauty and significance
clearer. Perhaps the tragedy of the war had made
Molnar's public more sensitive to spiritual values.
Whatever the reason, Budapest now accepted ecstat-
ically what it had previously rejected, and Molnar
was more of a popular hero than ever. From which
it may be gleaned that Hungary takes its drama
and dramatists more seriously, disapproves them
more passionately and praises them more affection-
ately than we Americans can conceive. In Paris I
once saw an audience rise en masse, because the
sculptor Rodin had entered the auditorium, and re-
main on its feet cheering until he had taken his
seat. Something of the kind greets Molnar when-
ever he appears in public, and nothing is more cer-
tain than that he is the hero, the oracle, the spoiled
darling of club, salon and coffee house in which
artistic Hungary foregathers.
But the years immediately following the first pro-
duction of LJX-IOM were for him a period of eclipse.
It was the first time that even the threat of failure
had cast its shadow across his career. He became
INTRODUCTION
timid, wary of failure, too anxious to please his
public. His subsequent plays were less original, less
daring, more faithful to routine. Never again did
he touch the heights of LILIOM; and some of his
best friends aver that he never will again until he has
banished the dread of failure that obsesses him.
An odd situation, truly, and in some aspects a
tragic one. Genius lacking the courage to spread
its wings and soar. A potential immortal bidding
fearfully for the praise of a coffee-house clique. Is
it vanity? Is it abnormal sensitiveness? Biograph-
ical data cast little light on the enigma.
Franz Molnar was born in Budapest on January
12, 1878, the son of a wealthy Jewish merchant. He
graduated from the Universities of Geneva and
Budapest. His literary career was begun as a
journalist at the age of eighteen. He wrote short
sketches and humorous dialogues of such beauty and
charm that he became a national figure almost at
once, and the circulation of his newspaper increased
until it was foremost in Budapest. Then he married
Margaret Vaszi, the daughter of his editor, herself
a journalist of note. Two years later he was di-
vorced from her, and subsequently he married an
actress who had played roles in his own plays.
For a portrait of him as he is today you have to
think of Oscar Wilde at the height of his glory.
A big pudgy face, immobile, pink, smooth-shaven,
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 will 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 all 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 LHIOM. 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 Liliom, 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
implicit. 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 Liliom's dying speech
to Julie wherein he says : "Nobody's right . . . but
they all think they are right. . . . A lot they know."
BENJAMIN F. GLAZER.
New York, April, 1921.
xiv
LILIOM
SYNOPSIS OF SCENES
PROLOGUE — An amusement park on the outskirts of
Budapest.
FIRST SCENE — A lonely place in the park.
SECOND SCENE — The photographic studio of the
HOLLUNDERS.
THIRD SCENE — Same as scene two.
FOURTH SCENE — A railroad embankment outside
the city.
FIFTH SCENE — Same 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
LlUOM
JULIE
MARIE
MRS. MUSKAT
LOUISE
MRS. HOLLUNDER
FlCSUR
YOUNG HOLLUNDER
WOLF BEIFELD
THE CARPENTER
LlNZMAN
THE DOCTOR
THE MAGISTRATE
Two MOUNTED POLICEMEN
Two PLAINCLOTHES POLICEMEN
Two HEAVENLY POLICEMEN . . .
THE RICHLY DRESSED MAN
THE POORLY DRESSED MAN
THE GUARD
A SUBURBAN 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 scuffle 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 th~k 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, LILIOM cows
him with a fierce glance and a threatening gesture.
MARIE and JULIE come out of the crowd «*nd LILIOM
favors them with particular notice as they pass into
the merry-go-round.
1
« THE PROLOGUE
MBS. MUSKAT comes out of the merry-go-round,
bringing LILIOM coffee and rolls. LILJOM 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 heller 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 OF PROLOGUE
LILIOM
SCENE ONE
SCENE — A lonely place in the park, half hidden by
trees and shrubbery. Under a flowering acacia
tree stands a pamted wooden bench. From the
distance, faintly, comes the tumult of the amuse-
ment park. It is the sunset of the same day.
When the curtain rises the stage is empty.
MARIE enters quickly, pauses at center, and
looks back.
MAEIE
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?
MAEIE
[Looking back ogam.] 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.
MABIE
Here she is. Come an, let's run. [Tries to urge
JULIE
Run? I should say not. What would I want to
run for? I'm not afraid of her.
MARIE
Oh, come on. She'll only start a fight.
JULIE
I'm going to stay right here. Let her start a
fight.
Mas. 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?
MRS. 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.
MARIE
No, she never opened her mouth. Liliom came
over to her of his own accord.
MBS. MUSKAT
It's all 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.
MRS. 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 LELIOM
MBS. MUSKAT
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!
MBS. MUSKAT
He leaned against you all 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.
MBS. MUSKAT
Oh, didn't he? And I suppose he didn't put his
hand around your waist, either?
MABIE
And if he did? What of it?
MBS. MUSKAT
You hold your tongue! No one's asking you —
just you keep out of it.
LILIOM 7
JULIE
He put his arm around my waist — just the same
as he does to all the girls. He always does that.
MRS. 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!
JULIE
You keep your soldiers for yourself!
MARIE
Soldiers! As if we wanted soldiers!
MRS. 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
MRS. MUSKAT
Just come and try it, my dear — just come and
try it.
MARIE
We'll see what'll happen.
MRS. MUSKAT
Yes, you will see something happen that never
happened before in this park.
JULIE
Perhaps you think you could throw me out !
MRS. MUSKAT
I'm sure of it, my dear.
JULIE
And suppose I'm stronger than you?
MRS. MUSKAT
I'd think twice before I'd dirty my hands on a
common servant girl. I'll have Liliom throw you
out. He knows how to handle your kind.
JULIE
You think Liliom would throw me out.
MRS. 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 MRS.
MUSKAT has turned away. Both look off stage un-
til LILIOM enters, surrounded by four giggling
servant girls.']
LILIOM
Go away ! Stop following me, or Fll smack your
face!
A LITTLE SERVANT GIRL
Well, give me back my handkerchief.
LILIOM
Go on now
THE FOUR SERVANT GIRLS
[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.] Please, lady, make him
• MRS. MUSKAT
Oh, shut up !
LILIOM
Will you get out of here? [Makes a threatening
gesture — the four servant girls exit in voluble but
fearful haste.]
10 LILIOM
MBS. MUSKAT
What have you been doing now?
LILIOM
None of your business. [Glances at JULIE.]
Have you been starting with her again?
JULIE
Mister Liliom, please
LILIOM
[Steps threateningly toward 'her.'} Don't yell!
JULIE
[Timidly.] I didn't yell.
LILIOM
Well, don't. [To MRS. 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!
LILIOM
[To JULIE.] You heard that. Run home, now.
LILIOM 11
MARIE
Come on. Don't waste your time with such peo-
ple. [Tries to lead JULIE away.]
JULIE
No, I won't
MRS. MUSKAT
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 and very earnest.] Mister Liliom —
tell me please — honest and truly — if I come into the
carousel, will you throw me out?
MRS. MUSKAT
x
Of course he'll throw you out.
MARIE
She wasn't talking to you.
JULIE
Tell me straight to my face, Mister Liliom, would
you throw me out? [They face each other. There
it a brief pause.]
12 LILIOM
LlLIOM
Yes, little girl, if there was a reason — but if there
was no reason, why should I throw you out?
MARIE
[To MRS. MUSKAT.] There, you see!
JULIE
Thank you, Mister Liliom.
MRS. MUSKAT
And I tell you again, if this little slut dares to
set her foot in my carousel, she's to be thrown out!
I'll stand for no indecency in my establishment »
LILIOM
What do you mean — indecency?
MRS. MUSKAT
I saw it all. There's no use denying it.
JULIE
She says you put your arm around my waist.
LILIOM
Me?
MRS. MUSKAT
Yes, you ! I saw you. Don't play the innocent.
LILIOM IS
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!
MRS. 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
if a long pause.]
LILIOM
[To MRS. MUSKAT.] And now I'll ask you
please to shut your mouth.
MRS. MUSKAT
What?
LILIOM
Shut your mouth quick, and go back to your
carousel.
MRS. MUSKAT
What?
LILIOM
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.
MRS. MUSKAT
You reprobate!
LILIOM
Old witch!
JULIE
Thank you, Mister Liliom.
MRS. MUSKAT
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 !
LILIOM
Very good.
MRS. MUSKAT
[WeakeniTig 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.
MRS. MUSKAT
Playing the high and mighty, are you? Con-
ceited pig! Good-for-nothing!
LILIOM 15
LlLJOM
You said you'd throw me out, didn't you? Well,
that suits me; I'm thrown out.
MRS. MUSKAT
[Softening.] 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
LILIOM
Keep away from her!
MRS. MUSKAT
I'll get Hollinger 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
LlLIOM
Get out of here. I'm discharged. And you get
out of here.
JULIE
[Timidly.] Mister Liliom, if she's willing to say
that she hasn't discharged you
LILIOM
You keep out of this.
JULIE
[Timidly.] I don't want this to happen on ac-
count of me.
LILIOM
[To MRS. MUSKAT, pointing to JULIE.] Apolo-
gize to her !
MABIE
A-ha!
Mas. MUSKAT
Apologize? To who?
LILIOM
To this little pigeon. Well — 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 !
LELIOM 17
LlLIOM
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 give you the prettiest slap in the
jaw you ever had in your life.
MRS. 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. [SJie exits. It is beginning
to grow dark.]
MARIE
[With grave concern.] Mister Liliom
LILIOM
Don't you pity me or I'll give you a slap in the
jaw. [To JULIE.] And don't you pity me, either.
JULIE
[In alarm.] I don't pity you, Mister Liliom.
LILIOM
You're a liar, you ere 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. I'm big enough to
get along without a Madame Muskat. I have been
thrown out of better jobs than hers.
JULIE
What will you do now, Mister Liliom?
LILIOM
Now? First of all, I'll 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 I'm going to get the beer.
MARIE
Well— eh
LILIOM
Well— eh— what?
MAEIE
Well — eh — are you going to stay with us, Mister
Liliom ?
LILIOM
Will you pay for the beer? [MAEIE looks doubt-
ful; he turns to JULIE.] Will you? [She does not
answer.] How much money have you got?
LILIOM 19
JULIE
[Bashfully.] Eight heller.
LILIOM
And you? [MARIE casts down her eyes and does
not reply. LILIOM continues sternly.] I asked you
how much you've got? [MARIE begins to weep
softly.] I understand. Well, you needn't cry about
it. You girls stay here, while I go back 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, watching him
until he has gone.]
MARIE
Are you sorry for him?
JULIE
Are you?
MARIE
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.
MARIE
[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
MARIE
[Confidently.] Oh, yes! he is in love with you.
[Hesitantly, romantically.] There is someone in
love with me, too.
JULIE
There is? Who?
MARIE
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 grandiloquently.]
My heart has found its mate.
JULIE
You're only making it up.
MARIE
No, it's true — my heart's true love
JULIE
Who? Who is he?
MARIE
A soldier.
JULIE
What kind of a soldier?
MARIE
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 -
MARIE
How can you tell which is which?
JULIE
By their uniforms.
MARIE
[After trying to puzzle it out.~\ The conductors
on the street cars — are they soldiers?
JULIE
Certainly not. They're conductors.
MARIE
Well, they have uniforms.
JULIE
But they don't carry swords or guns.
MARIE
Oh! [Thinks it over again; then.} Well, po-
licemen — are they?
JULIE
a touch of exasperation.'] Are they
what?
22 LILIOM
MARIE
Soldiers.
JULIE
Certainly not. They're just policemen.
MARIE
{Triumphantly.'} 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.
MARIE
But you said
JULIE
No, I didn't. A letter-carrier wears a uni-
form, too, but that doesn't make him a soldier.
MARIE
But if he carried a gun or a sword, would he
JULIE
No, he'd still be a letter-carrier. You can't go
by guns or swords, either.
MARIE
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 words; 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.
MARIE
[Half angrily.'] Well, how do you know when
you see a real soldier?
JULIE
By one thing.
MARIE
What?
JULIE
One thing [She pauses. MARIE starts to
cry.~\ Oh, what are you crying about?
MARIE
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.
24, LILIOM
MARIE
[Joyfully; with a sigh of relief.} Ah — that's
good.
JULIE
What?
MARIE
I say — it's all right then — because Wolf-
Wolf , [JULIE laughs derisively.] Wolf —
that's his name. [She weeps again.']
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?
MARIE
I won't tell you.
JULIE
All right. If you won't say it, then he's no sol-
dier.
MARIE
111 say it.
LILIOM 25
JULIE
Go on.
MARIE
No, I won't. [She weeps again.]
JULIE
Then he's not a soldier. I guess he's a letter-
carrier
MARIE
No — no — I'd rather say it.
JULIE
Well, then.
MARIE
[Giggling.] But you mustn't look at me. You
look the other way, and I'll say it. [JULIE looks
away. MARIE can hardly restrain her own laugh-
ter.] Wolf! [She laughs.] That's his real name.
Wolf, Wolf, Soldier— Wolf !
JULIE
What kind of a uniform does he wear?
MARIE
Red.
JULIE
Red trousers?
MARIB
No.
>
LELIOM
JULIE
Red coat?
MARIE
No.
JULIE
What then?
MARIE
[Triumphantly.] 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.
MARIE
[Triumphantly.'] 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-
pfc-
MARIE
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 «,here?
LILIOM 37
MARIE
[Seriously.] He spits.
JULIE
[With contempt.] He's nothing — nothing but a
common porter.
MARIE
What's Liliom?
JULIE
[Indignantly.] Why speak of him? What has
he to do with me?
MARIE
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?
MARIE
I suppose you didn't like him to do it?
JULIE
No.
MARIE
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.
[LILIOM enters. There is a long silence.]
LILIOM
Are you still here? What are you waiting for?
MARIE
You told us to wait.
LILIOM
Must you always interfere? No one is talking
to you.
MARIE
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. [Neither starts to go.~\
LILIOM
One of you goes home. [To MARIE.] Where
do you work?
LILIOM 29
MARIE
At the Breier's, Damjanovitsch Street, Number
20.
LILIOM
And you?
JULIE
I work there, too.
LILIOM
Well, one of you goes home. Which of you
wants to stay. [There is no answer.] Come on,
speak up, which of you stays?
MARIE
[Officiously.] She'll lose her job if she stays.
LILIOM
Who will?
MARIE
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 LELIOM
MARIE
Julie, shall I go?
JULIE
I — can't tell you what to do.
MAEIE
All right — stay if you like.
LILIOM
You'll be discharged if you do?
MAEIE
Shall I go, Julie?
JULIE
[Embarrassed.] Why do you keep asking me
that?
MAEIE
You know best what to do.
JULIE
[Profoundly moved; slowly.] It's all right,
Marie, you can go home.
MAEIE
[Exits reluctantly, but comes back, and says wnr
certainly.] Good-night. [She waits a moment to
see if JULIE will follow her. JULIE does not move.
MAEIE exits. Meantime it has grown quite dark.
During the followmg scene the gas-lamps far in the
LILIOM 31
distance are lighted one by 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 wind. Blerding with
it are the sounds of human 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.~\
LILIOM
Now we're both discharged. [She does not an-
swer. From now on they speak gradually lower
and lower until 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?
JULIE
No.
82 LILIOM
LlLIOM
{Whistles 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.
LILIOM
Did you see me?
JULIE
Yes.
LILIOM
And did you know I was Liliom?
JULIE
They told me.
LILIOM
{Whistles 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 33
Ju]
I've never had one.
LILJOM
Tell that to someone else.
JULIE
[Reproachfully.] Why do you insist I have?
LILIOM
Because you stayed here with me the first time
I asked you to. You know your way around, you do.
JULIE
No, I don't, Mister Liliom.
LILIOM
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
84 LILIOM
servant girls like you, but cooks and governesses,
even French girls. I could have twenty of them
if I wanted to.
JULIE
I know, Mister Liliom.
LILIOM
What do you know?
JULIE
That all the girls are in love with you. But
that's not why / stayed. I stayed because you've
been so good to me.
LILIOM
Well, 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.
LILIOM
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 [He w m~
LILIOM 35
terrupted by the entrance of two plainclothes police-
men. They take their station* on either side of the
bench. They are police, searching the park for
vagabonds.]
FIEST POLICEMAN
What are you doing there?
LIUOM
Me?
SECOND POLICEMAN
Stand up when you're spoken to! \He taps
LILIOM imperatively on the shoulder.]
FIBST POLICEMAN
What's your name?
LILIOM
Andreas Zavoczki. [JULIE 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.] What's your
business?
LILIOM
Barker and bouncer.
36 LILIOM
SECOND POLICEMAN
They call him Liliom, Chief. We've had him up
a couple of times.
FIRST POLICEMAN
So that's who you are! Who do you work for
now?
LILIOM
I work for the widow Muskat.
FIRST POLICEMAN
What are you hanging around here for?
LILIOM
We're just sitting here — me and this girl,
FIRST POLICEMAN
Your sweetheart?
LILIOM
No.
FIRST POLICEMAN
[To JULIE.] And who are you?
JULIE
Julie Zeller.
FIRST POLICEMAN
Servant girl?
LILIOM S7
JULIE
Maid of All Work for Mister Georg Breier, Num-
ber Twenty Damjanovitsch Street.
FIEST POLICEMAN
Show your hands.
SECOND POLICEMAN
[After examining JULIE'S hand.] Servant girl.
FIRST 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.
FIRST POLICEMAN
• Do you hear that, Liliom?
LILIOM
I'm not looking for her money.
SECOND POLICEMAN
[Nudging him warnmgly.] Keep your mouth
shut.
FIRST 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
But I haven't got a ring.
SECOND POLICEMAN
You're not to talk unless you're asked a question.
FIEST 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?
FIKST POLICEMAN
No, you don't have to go.
JULIE
Then I'll stay, sir.
FIRST POLICEMAN
Well, you've been warned.
JULIE
Yes, sir. Thank you, sir.
FIKST POLICEMAN
Come on, Berkovics. [The POLICEMEN exit.
JULIE and LILIOM sit on the bench ogam. There is
a brief pause '.]
JULIE
Well, and what then?
LILIOM
[Fails to understand.] Huh?
40 LILIOM
JULIE
You were beginning to tell me a story.
LILIOM
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.
LILIOM
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
JULIE
No.
LlLJOM
Haven't you ever had a sweetheart?
JULIE
No.
LILIOM
Someone you used to go walking with. You've
had one like that?
JULIE
Yes.
LILIOM
A soldier?
JULIE
He came from the same village I did.
LILIOM
That's what all the soldiers say. Where do you
come from, anyway?
JULIE
Not far from here. [There is a pause. ~\
LILIOM
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.
LILIOM
LiLIOM
Where did you walk?
JULIE
In the park.
LILIOM
And your virtue? Where did you lose that?
JULIE
I haven't got any virtue.
LILIOM
Well, you had once.
JULIE
No, I never had. I'm a respectable girl.
LILIOM
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 music
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 45
JULIE
It's too late now, they'd all be asleep.
LILJOM
Locked out?
JULIE
Certainly. [They are silent a while. ,]
LILIOM
I think — that even a low-down good-for-nothing
— can make a man of himself.
JULIE
Certainly. [They are silent again. A lamp-
lighter crosses tlie stage, lights the lamp over the
bench, and exits.]
LILIOM
Are you hungry?
JULIE
No. [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—
[Pause.]
LILIOM
There are a lot of acacia trees .iround here.
[Pause.]
JULIE
Don't go back to her [Pause.]
LILIOM
She'd take me back the minute I asked her. I
know why — she knows, too [Pause.]
JULIE
I can smell 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 pause.] The wind brings them
down. [They are silent. There is a long pause
before]
THE CUETAIN FALLS
SCENE TWO
SCENE — A photographer's "studio" operated by the
HOLLUNDERS, 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
background.
The door to the kitchen is up Left and a
black-curtained entrance to the dark-room is
down Left. Just in front of the dark room
stands the camera on its tripod. Against the
back watt, between tlie door and window, stands
the inevitable photographer's background-
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
MARIE
But Hollinger is bigger than he is.
JULIE
He licked him just the same. It isn't size that
counts, you know, it's cleverness. And Liliom's
awful quick.
MARIE
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.
[MOTHER HOLLUNDER, a very old woman, sharp-
tong'ued, but in reality quite warm-hearted be-
neath her formidable exterior, enters at back
carrying a few sticks of firewood, and scolding,
half to herself.}
MOTHER HOLLUNDER
Always wanting something, but never willing to
work for it. He won't work, and he won't steal,
LILIOM 49
but he'll 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 Hollunder. . . .
MOTHER HOLLUNDER
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.]
MARIE
Who's that?
JULIE
Mrs. Hollunder — my aunt. This is her [with a
sweeping gesture that takes in 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
MARIE
[Shyly.] Do you know — I've found out. He's
not a soldier.
JULIE
Do you still see him?
MARIE
Oh, yes.
JULIE
Often?
MARIE
Very often. He's asked me
JULIE
To marry you?
MARIE
To marry me.
JULIE
You see — that proves he isn't a soldier. [There
is another pause.]
MARIE
[Abashed, yet a bit boastfully. ] Do you know
what I'm doing — I'm flirting with him.
JULIE
Flirting?
MARIE
Yes. He asks me to go to the park — and I say
I can't go. Then he coaxes me, and promises me
LILIOM 51
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?
MARIE
Um-hm! It's sinful, but it's so thrilling.
JULIE
Do you ever quarrel?
MARIE
[Grandly.] Only when our Passionate Love
surges up.
JULIE
Your passionate love?
MARIE
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.
52 LILIOM
JULIE
You're happy, aren't you?
MAEIE
Happier than — anything But the most
beautiful thing on earth is Ideal Love.
JULIE
What kind is that?
MARIE
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 falls
asleep . . . but even in his sleep he holds tight to
my hand. And I — I sit perfectly still 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.']
LELIOM 53
JULIE
[Regretfully; wneasily.] 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.
MARIE
Three gulden, forty-six.
JULIE
He won't work at all.
MARIE
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.
MARIE
That ain't right.
JULIE
No. Have the Breiers got a new maid yet?
54 LILIOM
MARIE
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'll 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.
MARIE
Did you hit him back?
JULIE
No.
MARIE
Why don't you leave him?
JULIE
I don't want to.
MARIE
I would. I'd leave him. [There is a strained
silence. ]
MOTHER HOLLUNDER
[Enters, carrying a pot of water; muttering
aloud.'] 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 55
JULIE
Is that water for the soup?
MOTHER HOLLUNDER
The carpenter was here. There's a man for you !
Dark, handsome, lots of hair, a respectable widower
with two children — and money, and a good paying
business.
JULIE
[To MARIE.] It's three gulden sixty-sir, not
forty-six.
MARIE
Yes, that's what I make it — sixty-six.
MOTHER HOLLUKDER
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, 111 get the
water myself.
MOTHER HOLLUNDER
He's waiting outside now.
JULIE
Send him away.
56 LILIOM
MOTHER HOLLUNDER
He'll only come back again — and first thing you
know that vagabond will get jealous and there'll be
a fight. [Goes out, muttering.] Oh, he's ready
enough to fight, he is. Strike a poor little girl like
that! Ought to be ashamed of himself! And the
police just let him go on doing as he pleases. [Still
scolding, she exits at back.]
MARIE
A carpenter wants to marry you?
MARIE
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.
MARIE
That night you sat on the bench together — he
was gentle then.
LILIOM 57
JULIE
Yes, he was gentle.
MARIE
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.
MARIE
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.
MARIE
Into your eyes?
JULIE
Not exactly. He's unhappy because he isn't
working. That's really why he hit me on Monday.
MARIE
That's a fine reason for hitting you! Beats his
wife because he isn't working, the ruffian !
58 LILIOM
JULIE
It preys on his mind
MARIE
Did he hurt you?
JULIE
[Very eagerly. ,] Oh, no.
MRS. MUSKAT
[Enters haughtily.] Good morning. Is Liliom
home ?
JULIE
No.
MRS. MUSKAT
Gone out?
JULIE
He hasn't come home yet.
MRS. MUSKAT
I'll wait for him. [She sits down.]
MARIE
You've got a lot of gall — to come here.
MRS. MUSKAT
Are you the lady of the house, my dear? Better
look out or you'll get a slap in the mouth.
MARIE
How dare you set foot in Julie's house?
LILIOM 59
MBS. 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.
MARIE
He's not dependent on you for his bread.
MRS. MUSKAT
[To JULIE.] Just ignore her, my child. She's
just ignorant.
MARIE
[Going.] Good-bye.
JULIE
Good-bye.
MARIE
[In the doorway p, calling back.] Sixty-six.
JULIE
Yes, sixty-six.
MARIE
Good-bye. [She exits. JULIE starts to go
toward the kitchen.]
Mus. 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 pauses, for LILIOM
and FICSUR have 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
JULIE
I'm not saying anything.
LILIOM
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 bit
afraid of him, and shrink and look away as lie passes
them. FICSUE shambles from place to place, his eyes
cast down as if he were searching for something on
the floor.]
MRS. MUSKAT
[Suddenly, to FICSUR.] You're always dragging
him out to play cards and drink with you. I'll
have you locked up, I will.
FICSUR
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.]
JULIE
Mrs. Muskat is here.
LILIOM
Well, why doesn't she open her mouth, if she has
anything to say?
62 LILIOM
MRS. 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.
LILIOM
What's it to you who I go with? I do what I
please. What do you want?
MRS. MUSKAT
You know what I want.
LILIOM
No, I don't.
MRS. MUSKAT
What do you suppose I want? Think I've come
just to pay a social call?
LILIOM
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 1 You earn
so much these days ! You know very well what I'm
here for.
LILIOM
You've got Hollinger at the carousel, haven't
you?
LILIOM 68
MRS. 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 / was there.
MRS. MUSKAT
Well, I might let Hollinger go
LILIOM
Why let him go, if he's so good?
MRS. MUSKAT
[Shrugs her shoulders.] Yes, he's good. [Not
once until now has she looked at LILIOM. |
LILIOM
[To JULIE.] Ask your aunt if I can have a cup
of coffee. [ JULIE exits into the kitchen.] So Hol-
linger is good, is he?
64 LILIOM
MRS. MUSKAT
[Crosses to him cmd looks him 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.
LILIOM
Let my hair be. It's nothing to you.
MRS. 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
LILIOM
None of your business.
MRS. 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
MRS. MUSKAT
Don't flatter yourself. [Quite embarrassed.]
Serves me right, too. If I had any sense I wouldn't
have run after you 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 me?
MRS. MUSKAT
Crowded, yes — but it's not the same.
LILIOM
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?
LILIOM
And leave — her?
MRS. MUSKAT
You beat her, don't you?
66 LILIOM
LlLIOM
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.
LILIOM
Beating her! As if I'd beat her
MRS. 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 him
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
telling on you. [Pauses.] Do you know — I've got
a new organ.
LILIOM 67
LlLJOM
[Softly.] I know.
MBS. MUSKAT
How did you know?
LILIOM
You can hear it — from here.
MRS. MUSKAT
It's a good one, eh?
LILIOM
[Wistfully.'] Very good. Fine. It roars and
snorts — so fine.
MBS. MUSKAT
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?
LILIOM
What have you put in their place?
M&s. MUSKAT
Guess.
LILIOM
Zebras?
MRS. MUSKAT
No — an automobile.
68 LILIOM
LILIOM
[Transported.] An automobile
MRS. MUSKAT
Yes. If you've got any sense you'll come back.
What good are you doing here? Out there is your
arty the only thing you're fit for. You are an artist,
not a respectable married man.
LILIOM
Leave her — this little
MRS. 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
LILIOM
She's not that kind. She'd never be a servant
girl again.
MRS. MUSKAT
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.]
LILIOM 69
LlUOM
[Stares at her a moment, considering, then with
sudden, smiling animation.] So the people don't
like Hollinger?
MRS. MUSKAT
You know very well they don't, you rascal.
LILIOM
Well
MBS. 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?
LILIOM
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
MRS. MUSKAT
My God!
LILIOM
What's the matter?
70 LILIOM
MRS. MUSKAT
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
LILIOM
I know what you want.
MES. MUSKAT
[Refuses to meet his gaze.] You flatter your-
self.
LILIOM
You'll give me that ring, too?
MRS. MUSKAT
[Pushes the hair back from his forehead.'] Yes.
LILIOM
I'm not happy in this house.
MRS. MUSKAT
[Still stroking his hair.] Nobody takes care of
you. [They are silent. JULIE enters, carrying a
cup of coffee. MRS. MUSKAT removes her hand
from LILIOM'S head. There is a pause.]
LILIOM 71
LiLIOM
Do you want anything?
JULIE
No. [There is a pause. She exits slowly into
the kitchen.]
MRS. MUSKAT
The old woman says there is a carpenter, a
widower, who
LILIOM
I know — I know
JULIE
[Reentering.] Liliom, before I forget, I have
something to tell you.
LILIOM
All right.
JULIE
I've been wanting to tell 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
will only take a minute.
72 LILIOM
LlLIO^f
Don't you see I'm busy now? Here I am talking
business and you interrupt with-
JULIE
It'll only take a minute.
LILIOM
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.
LILIOM
[Rising.] What's that!
>
JULIE
No.
MRS. MUSKAT
[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 back.]
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.
LILIOM
Well, out with it — quick.
JULIE
I can't tell you so quick. Why don't you drink
your coffee?
LILIOM
Is that what you wanted to tell me?
JULIE
No. By the time you've drunk your coffee I'll
have told you.
LILIOM
[Gets the coffee and sips it.} Well?
JULIE
Yesterday my head ached — and you asked me—
LILIOM
y
JULIE
Well— you see— that's what it is
74 LILIOM
LlLIOM
Are you sick?
JULIE
No. . . . But you wanted to know what my
headaches came from — and you said I seemed —
changed.
LILIOM
Did I? I guess I meant the carpenter.
JULIE
I've been — what? The carpenter? No. It's
something entirely different — it's awful hard to tell
— but you'll have to know sooner or later — I'm not
a bit — scared — because it's a perfectly natural
thing
LILIOM
t
[Puts the coffee cup on the table.] 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. FICSUE appears at the
open window and looks m.~\
LILIOM 75
LlLIOM
Ficsur! [FicsuR sticks his head tn.] Say, Fic-
sur, — Julie is going to have a baby.
FICSUR
Yes? What of it?
LILIOM
Nothing. [Suddenly.] Get out of here. [Fic-
SUR'S head is quickly withdrawn. MRS. MUSK AT re-
enters."]
MRS. MUSKAT
Has she gone?
LILIOM
Yes.
MRS. MUSKAT
I might as well give you ten kronen in advance.
[Opens her purse. LILIOM takes up his coffee cup.]
Here you are. [She proffers some coins. LILIOM
ignores her.] Why don't you take it?
LILIOM
[Very nonchalantly , his cup poised ready to
drink.] Go home, Mrs. Muskat.
MRS. MUSKAT
What's the matter with you?
76 LILIOM
LlLIOM
Go home [sips his coffee] and let me finish my
coffee in peace. Don't you see I'm at breakfast?
MRS. MUSKAT
Have you gone crazy?
LILIOM
Will you get out of here? [Turns to her threaten-
ingly.]
MBS. MUSKAT
[Restoring the corns to her purse.] I'll never
speak to you again as long as you live.
LILIOM
That worries me a lot.
MRS. MUSKAT
Good-bye !
LILIOM
Good-bye. [As she exits, he calls.] Ficsur!
[FicsuR enters.] Tell me, Ficsur. You said you
knew a way to get a whole lot of money
FICSUR
Sure I do.
LILIOM
How much?
LELIOM 77
FlCSUR
More than you ever had in your life before. You
leave it to an old hand like me.
MOTHEE 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 familiar noises be-
gin to sound; clear above them ally but far in
the distance, sounds the organ of the carousel.]
LILIOM
Now, Aunt Hollunder. [From now until the fatt
of the curtain it is apparent that the sound of the
organ makes him more and more uneasy.]
MOTHER HOLLUNDER
And you, you vagabond, get out of here this
minute or I'll call my son
FICSUR
I have nothing to do with the likes of him. He's
too common. [But he slinks out at back.]
78 LILIOM
LlLIOM
Aunt Hollunder!
MOTHER HOLLUNDER
What now?
LILIOM
When your son was born — when you brought him
into the world
Mo THEE HOLLUNDER
Well?
LILIOM
Nothing.
MOTHER HOLLUNDER
[Muttering as she exits.] Sleep it off, you good-
for-nothing lout. Drink and play cards all night
long — that's all you know how to do — and take the
bread out of poor people's mouths — you can do
that, too. [She exits."]
LILIOM
Ficsur!
FICSUR
[At the window.] Julie's going to have a baby.
You told me before.
LILIOM
This scheme — about the cashier of the leather fac-
tory— there's money in it
LILIOM 79
FlCSUE
Lots of money — but — it takes two to pull it off.
LILIOM
[Meditatively.] Yes. [Uneasily.] All right,
Ficsur. Go away — and come back later.
[FicsuE vanishes. The organ in the distant carou-
sel drones incessantly. LILIOM listens a while,
then goes to the door and catts. ]
LILIOM
Aunt Holl under! [With naive joy.] Julie's go-
ing to have a baby. [Then he goes to the window,
jumps on the sofa, looks out. Suddenly, in a voice
that overtops the droning of the organ, he shouts as
if addressing the far-off carousel.] I'm going to
be a father.
JULIE
[Enters from the kitchen.] Liliom! What's the
matter? What's happened?
LILIOM
[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 back and remains standing
in the doorway, looking out and listening to the
droning of the organ.]
THE CURTAIN FALLS
SCENE THREE
SCENE — The setting is the same, later that after-
noon. LILIOM is sitting opposite FICSUR, who
it teaching him a song. JULIE hovers in the
background, engaged m some household task.
FICSUR
Listen now. Here's the third verse. [Smgt
hoarsely. ,]
"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 police,
Look out here comes the damn police,
They'll get you every time.'*
LILIOM
"Look out, look out, my pretty lad,
The damn police -
81
82 LILIOM
FICSUR, LILIOM
[Sing together.]
"Are on your trail
The nicest girl you ever had
Has now commenced to weep and wail."
LILIOM
[Alone.]
"Look out here comes the damn police,
The damn police,
The damn police "
[JULIE, troubled and uneasy, looks from one to the
other, then exits into the kitchen.]
FICSUR
[ When she has gone, comes quickly over to LILIOM
and speaks furtively.] 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.
LILIOM
And does he always come that way?
FICSUR
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.
LILIOM
Every Saturday?
FICSUB
Every Saturday.
LILIOM
And the money? Where does he keep it?
FICSUE
In a leather bag. The whole week's pay for the
workmen at the factory.
LILIOM
Much?
FlCSUR
Sixteen thousand kronen. Quite a haul, what?
LILIOM
What's his name?
FICSUE
Linzman. He's a Jew.
LILIOM
The cashier?
84 LTLIOM
FiCSUR
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.
LILIOM
Does he have to be killed?
FICSUR
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.
[JuiJE reenters, 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 and, m spite of
their caution, does catch a word here and there,
which adds to her disquiet. FICSUR, catching
sight of her, abruptly changes the conversa-
tion.]
FICSUR
And the next verse is :
"And when you're in the prison cell
They'll feed you bread and water."
LILIOM 85
FICSUE AND LILIOM
[Sing 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?
FICSUE
No.
LILIOM
What then?
FICSUE
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
FlCSUR
Then you go on living just as usual for six months
more — you don't touch a heller of the money.
LILIOM
In six months the baby will be born.
FICSUE
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?
FICSUR
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.
LILIOM
Do you hear that?
FICSUR
What?
LILIOM
Outside . . . like the rattle of swords. [ FICSUR
listens. After a pause ', LILIOM continues.] What
do I say to him?
LILIOM 87
FlCSUB
You say good evening to him and: "Excuse me,
sir; can you tell me the time?"
LILIOM
And then what?
FICSUR
By that time I'll have stuck him — and then you
take your knife [He stops as a POLICEMAN
enters at back.]
POLICEMAN
Good-day !
FICSUR, LILIOM
[In unison.'} Good-day!
FICSUR
[Calling toward the kitchen.] Hey, photog-
rapher, come out. . . . Here's a customer. [There
is a pause. The POLICEMAN waits. FICSUR sings
*«/%.]
"And when you're in the prison cell
They'll feed you bread and water
They'll make your little sweetheart tell."
LILIOM, FICSUR
[Sing together, low.]
"Them all the things you brought her.
Look out here comes
88 LILIOM
[They hum the rest so as not to let the POLICEMAN
hear the words "the damn police." As they
sing, MRS. HOLLUNDER and her son enter. ,]
POLICEMAN
Do you make cabinet photographs?
YOUNG HOLLUNDER
Certainly, sir. [Points to a rack of photographs
on the wall.'} Take your choice, sir. Would you
like one full length?
POLICEMAN
Yes, full length. [MOTHER HOLLUNDER pushes
out the camera while her son poses the POLICEMAN,
runs from him to the camera and. back again, now
altering the pose, now duckmg 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 FICSUR. their heads together, speak in
very low tones.'}
LILIOM
Belong around here?
FICSUR
Not around here.
LILIOM
Where, then?
LILIOM 89
FlCSUR
Suburban. {There is a pause.]
LILIOM
[Bursts out suddenly in a rather grotesquely
childish and overstrained lament.] O God, what
a dirty life I'm leading — God, God !
FICSUE
[Reassuring him benevolently.] Over in Amer-
ica it will be better, all right.
LILIOM
What's over there?
FICSUE
[Virtuously] Factories . . . industries
YOUNG HOLLUNDEE
[To the POLICEMAN.] Now, quite still, please.
One, two, three. [Deftly removes the cover of the
lens and in a few seconds restores ȣ.] 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 LILIOM
YOUNG HOLLUNDER
[With exaggerated deference.'] You don't need
to pay in advance, Mr. Commissioner. [The PO-
LICEMAN salutes condescendingly and exits at back.
MOTHER HOLLUNDER carries the plate into the dark
room. YOUNG HOLLUNDER, after pushing the cam-
era back in place, -follows her.'}
MOTHER HOLLUNDER
[Muttering angrily as she passes FICSUR 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 FICSUR suddenly.] Weren't
you frightened sick when you saw the policeman?
FICSUR
[With loathing.'} Go 'way, or I'll step on you.
[She exits into the dark room.}
LILIOM
They like Hollinger at the carousel?
FICSUR
I should say they do.
LILIOM
Did you see the Muskat woman, too?
LILIOM 91
FlCSUE
Sure. She takes care of Hollinger's hair.
LILIOM
Combs his hair?
FICSUR
She fixes him all up.
LILIOM
Let her fix him all she likes.
FICSUR
[Urging him toward ihe kitchen door.~\ Go on,
Now's your chance.
LILIOM
What for?
FICSUR
To get the knife.
LILIOM
What knife?
FICSUR
The kitchen knife. I've got a pocket-knife, but
if he shows fight, we'll let him have the big knife.
LILIOM
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
FlCSUR
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?
FICSUR
No, it mustn't. But if he asks for it. [There
is a pause.] 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.
FICSUR
Take it so she won't see you.
LILIOM
[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!
MOTHER HOLLUNDER
[Coming out.] One minute more, please. Just
a minute. [She r centers the dark room. LILIOM
LILIOM 93
hesitates a moment, then exits into the kitchen. The
POLICEMAN scrutinizes FICSUR mockingly. FICSUE
returns his stare, walks a few paces toward him, then
deliberately turns his back. Suddenly he wheels
around, points at the POLICEMAN and addresses him
in a teasing, childish tone.] Christiana Street at
the corner of Retti !
POLICEMAN
[Amazed, self-conscious.] How do you know
that?
FICSUE
I used to practice my profession in that neigh-
borhood.
POLICEMAN
What is your profession?
FICSUE
i
Professor of pianola [The POLICEMAN
glares, aware that the man is joking with him, twirls
his moustache indignantly. YOUNG HOLLUNDEE
comes out of the dark room and gives him the fin-
ished pictures.']
YOUNG HOLLUNDEE
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, Fie-
94 LILIOM
SUR goes to the doorway and looks out after him.
YOUNG HOLLUNDER exits. LILJOM reenters, button-
ing his coat.]
FICSUE
[Turns, sees LILIOM.] What are you staring at?
LILIOM
I'm not staring.
FICSUR
What then are you doing?
LILIOM
I'm thinking it over.
FICSUR
{Comes very close to him.~\ Tell me then — what
will you say to him?
LILIOM
[Unsteadily.] 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?
FICSUR
He won't answer you.
LILIOM
Don't you think so?
LILIOM 95
FiCSUR
No. [Feeling for the knife under LILIOM'S coat.]
Where is it? Where did you put it?
LILIOM
[Stonily.] Left side.
FlCSUR
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, watching them in silent
terror, then stops. FICSUR nudges LILIOM.] Sing,
come on, sing!
LILIOM
[In a quavering voice.]
"Look out for the damn police.'*
FICSUR
[Joining in, cheerily, loudly, marking time with
the swaying of his body.]
"Look out, look out, my pretty lad."
LILIOM
" — look out, my pretty lad." [JULIE goes out at
back. LILIOM'S glance follows her. When she has
96 LILIOM
gone, he turns to FICSUR.] At night — in my dreams
— if his ghost comes back — what will I do then?
FICSUE
His ghost won't never come back.
LILIOM
Why not?
FICSUE
A Jew's ghost don't come back.
LILIOM
Well then — afterwards
FICSUE
[Impatiently. ,] What do you mean — afterwards?
LILIOM
In the next world — when I come up before the
Lord God— what'll I say then?
J*ic SUE
The likes of you will never come up before Him.
LILIOM
Why not? %
FICSUE
Have you ever come up before the high court?
LILIOM 97
LlLIOM
No.
FICSUR
Our kind comes up before the police magistrate
—and the highest we ever get is the criminal court.
LILIOM
Will it be the same in the next world?
FICSUR
Just the same. We'll come up before a police
magistrate, same as we did in this world.
LILIOM
A police magistrate?
FICSUR
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
LILIOM
For us?
FICSUR
For us, my son, there's only justice, In the next
world there'll be lots of justice, yes, nothing but
justice. And where the're's justice there must be
police magistrates; and where there're police mag-
istrates, people like us get
98 LILIOM
LlLIOM
[Interrupting.] Good evening. Excuse me, sir,
can you tell me the time? [Lays his hand over his
heart.'}
FICSUE
What do you put your hand there for?
LILIOM
My heart is jumping — under the knife.
FICSUE
Put it on the other side then. [Looks out at the
sky.] It's time we started — we'll walk slow
LILIOM
It's too early.
FICSUE
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 him?
LILIOM
Where am I going with him?
JULIE
Stay home.
LILIOM 99
LlLIOM
No.
JULIE
Stay home. It's going to rain soon, and you'll
get wet.
FICSUE
It won't rain.
JULIE
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.
LILIOM
I'm not a carpenter.
JULIE
[More and more anxious, though she tries to con-
ceal it.~\ 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 LILIOM
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'll be right back.
JULIE
[Forcing a smile to keep back her tears.] If
you stay home, I'll get you a glass of beer — or wine,
if you prefer.
FICSUB
Coming or not?
JULIE
Fm not angry with you any more for hitting me.
LILIOM
[Gruffly, but his gruffness is simulated to hide the
fact that he cannot bear the sight of her suffering.]
Stand out of the way — or I'll [He clenches
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
JULIE
[Trembling, speaks very low.] What's under
jour coat?
LILIOM
Let me out!
JULIE
[Obstructing the way. Speaks quickly, eagerly,
in 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 m the doorway. MOTHER
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 LILIOM
JULIE
He didn't take it.
MOTHEE HOLLUNDEE
No one else was in there.
JULIE
What would Liliom want with a kitchen knife?
MOTHEE 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 kitchen, 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 MARIE, happy and beam-
ing, appears in the doorway at back, and enters,
followed by WOLF.]
LILIOM 103
MARIE
Here we are ! [She takes WOLF by the hand and
leads him, grinning shyly, to JULIE, who has turned
at her call.} Hello !
JULIE
Hello.
MARIE
Well, we're here.
JULIE
Yes.
WOLF
[Bows 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 situation, WOLF takes JULIE'S hand again and
shakes it vigorously.}
MARIE
Well—this is Wolf.
WOLF
Yes.
JULIE
Yes. [Another awkward silence."]
MARIE
Where is Liliom?
104. LILIOM
WOLF
Yes, where is your husband?
JULIE
He's out.
MARIE
Where?
JULIE
Just for a walk.
MAEIE
Is he?
JULIE
Yes.
WOLF
Oh! [Another silence.]
MARIE
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 Burger
Club — a good job, if one conducts oneself properly.
JULIE
Yes?
LILIOM 105
WOLF
The pay — is quite good — but the main thing is
the tips. NWhen they play cards there's always a
bit for the steward. The tips, I may say, amount
to twenty, even thirty kronen every night.
MARIE
Yes.
WOLF
We've rented two rooms for ourselves to start with
— and if things go well
MARIE
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
pau*e.~\
MARIE
Wolfs nice looking, isn't he?
JULIE
Yes.
MARIE
And he's a good boy, Wolf.
106 LILIOM
JUUE
Yes.
MAEIE
The only thing is — he's a Jew.
JULIE
Oh, well, you can get used to that.
MARIE
Well, aren't you going to wish us luck?
JULIE
Of course I do. [She embraces MARIE.]
MARIE
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 questioningly at MARIE over JULIE'S shoul-
der.]
MARIE
Because she has such a good heart. [She becomes
sentimental, too.~\
LILIOM 107
WOLF
[Touched.] We thank you for your heartfelt
sympathy [He cannot restrain his own tears.
There is a pause before MOTHER HOLLUNDER and
her son enter. YOUNG HOLLUNDER immediately
busies himself with the camera.]
MOTHER HOLLUNDER
Now if you don't mind, we'll do it right away, be-
fore it gets too dark. [She leads MARIE and WOLF
into position before the background-screen. Here
they immediately fatt into en awkward pose, smiling
mechanically.] Full length?
MARIE
Please. Both figures full length.
MOTHER HOLLUNDER
Bride and groom?
MARIE
Yes.
MOTHER HOLLUNDER, YOUNG HOLLUNDER
[Speak in unison, in loud professionally-expres-
sionless tones.] The lady looks at the gentleman
and the gentleman looks straight into the camera.
108 LILIOM
MOTHEE HOLLUNDEE
[Poses first MARIE, then WOLF.] Now, if you
please.
YOUNG HOLLUNDEE
[Who has crept under the black cloth, calls in
muffled tones.] That's good — that's very good!
MAEIE
[Stonily rigid, but very happy, trying to speak
without altering her expression.] Julie, dear, do
we look all right?
JULIE
Yes, dear.
YOUNG HOLLUNDEE
Now, if you please, hold still. I'll 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 m the distance, the
refram of the thieves9 song which FICSUR and
LILIOM have been singing. The refram 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 dis-
tant refram dies out.]
THE CUETAIN FALLS
SCENE FOUR
SCENE — In the fields on the outskirts of the city. At
back a railroad embankment 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-
ground 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.
LILIOM and FICSUR are discovered on the
stairway looking after the train which has just
poised.
LILIOM
Can you still hear it snort?
FICSUR
Listen! [They watch the vanishing train.]
109
110 LILIOM
LlLIOM
If you put your ear on the tracks you can hear
it go all the way to Vienna.
FICSUE
Huh!
LILIOM
The one that just puffed past us — it goes all the
way to Vienna.
FICSUE
No further?
LILIOM
Yes — further, too. [There is a pause.]
FICSUE
It must be near six. [As LILIOM ascends the
steps, ,] Where are you going?
LILIOM
Don't be afraid. I'm not giving you the slip.
FICSUE
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
FICSUE
Then he tells you what time it is.
LILIOM
Suppose he don't come?
FICSUE
[Coming 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?
LILIOM
The tracks go on and on — there's no end to them.
FICSUE
What's that to stare about?
LILIOM
Nothing — only I always look after the train.
When you stand down there at night it snorts past
you, and spits down.
, FICSUE
Spits?
LILIOM
Yes, the engine. It spits down. And then the
whole train rattles past and away — and you stand
11* LILIOM
there — spat on — but it draws your eyes along
with it.
FlCSUE
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.
FICSUE
And smoke cigars.
LILIOM
And inhale the smoke. [There is a short silence. ~\
FICSUE
Is he coming?
LILIOM
Not yet. [Silence again. LILIOM comes down,
speaks low, confidentially.'] Do you hear the tele-
graph wires?
FICSUR
I hear them when the wind blows.
LILIOM 119
LiLIOM
Even when the wind doesn't blow you can hear
diem humming, humming People talk through
them.
FICSUB
Who?
LILIOM
Jews.
FICSUB
No — they telegraph.
LILIOM
They talk through them and from some other
place they get answered. And it all goes through
the iron strings — that's w,hy they hum like that —
they hum-m
FICSUB
What do they hum?
LILIOM
They hum! ninety-nine, ninety-nine. Just listen.
FICSUB
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
FlCSUR
You're looking at a bird? »
LILIOM
He's looking at me, too.
FICSUE
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*
LIUOM
What then does he do?
FICSUE
He does most anything he wants. But nobody
works unless he has money. We'll soon have money
ourselves.
LILIOM
I say, "Good evening. Excuse me, sir, can you
tell me what time it is I"
LILIOM 115
FlCSUB
He's not coining yet. Got the cards? [LILIOM
gives hvm the pack of card*.] Got any money?
LILIOM
[Takes tome corns from his trousers pocket and
counts.] Eleven.
FICSUE
[Sits astride on the pile of ties and looks off left.]
All right — eleven.
LILIOM
[Sitting astride on the ties facing him.] Put it
up.
FICSUE
[Puts 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.
FICSUE
Must have an ace! [Deals him a second card.]
LILIOM
Another one. [He gets another card.] Another.
[Gets still another.] Over! [Throws down his
cards. FICSUE gathers in the money.] Come on!
116 LILIOM
Ficsua
Come on what? Got no more money, have you?
LILIOM
No.
FlCSUB,
Then the game's over — unless you want to \
LILIOM
What?
FlCSUB
Play on credit.
LILIOM
You'll trust me?
FICSUR
No— but— -I'll deduct it.
LILIOM
Deduct it from what?,
FICSUE
From your share of the money. If you win you
deduct from my share.
LILIOM
[Looks over his shoulder to see if the cashier is
coming; nervou* and ashamed.} All right. How
much is bank?
LILIOM 117
FlCSUB
That cashier is bringing us sixteen thousand
kronen. Eight thousand of that is mine. Well,
then, the bank is eight thousand.
LILIOM
Good.
FICSUB
Whoever has the most luck will have the most
money. [He deals.}
LILIOM
Six hundred kronen. [FicsuR gives him another
card.} Enough.
FICSUB
[Laying out his own cards.} Twenty-one. [He
shuffles rapidly.}
LILIOM
[Moves excitedly nearer to FICSUB.] Well, then,
double or nothing.
FICSUB
[Dealing.} Double or nothing.
LILIOM
[Gets a card.} Enough.
FICSUB
[Laying out his own cards.} Twenty-one.
[Shuffles rapidly again.}
118 LILIOM
LlLIOM
[In alarm.'} You're not — cheating?
FICSUE
Me? Do I look like a cheat? [Deals the cards
again.]
LILIOM
[Glances nervously over his shoulder. ~\ A thou-
sand.
FICSUB
[Nonchalantly.'] Kronen?
LILIOM
Kronen. [He gets a card.] Another one.
[Gets another card.] Over again! [Like an inex-
perienced gambler who is losing heavily, LILIOM is
very nervous. He plays dazedly, wildly, irration-
ally. From now on it is apparent that his only
thought is to win his money back.]
FICSUB,
That makes twelve hundred you owe.
LILIOM
Double or nothing. [He gets a card. He is
greatly excited.] Another one. [Gets another
card.] Another. [Throws down three cards.]
LILIOM 119
FICSUR
[Bend 9 over and adds up the sum on the ground.]
Ten — fourteen — twenty-three You owe two
thousand, four hundred.
LILIOM
Now what?
Ficsua
[Takes a card out of the deck and gives it to him.]
Here's the red ace. You can play double or noth-
ing again.
LILIOM
[Eagerly.] Good. [Gets another card.]
Enough.
FICSUR
[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.
FICSUR
Not any more.
LILIOM
Why not?
120 LILIOM
FlCSUE
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.
LILIOM
[Greatly excited.} That— that— I call that—a
dirty trick!
FICSUR
Three thousand, two hundred. That's all you
can put up.
LILIOM
[Eagerly.] All right, then — three thousand, two
hundred. [FICSUR deals him a card.} Enough.
FICSUR
I've got an ace myself. Now we'll have to take
our time and squeeze 'em. [LILIOM pushes closer
to him as he takes up his cards and slowly, intently
unfolds them.] Twenty-one. [He quickly puts the
cards m his pocket. » There is a pause.]
LILIOM
Now — now — I'll tell you now — you're a crook, a
low-down [Now LINZMAN enters at Right. He
is a strong, robust, red-bearded Jew about 40 years
of age. At his side he carries a leather bag slung
by a strap from his shoulder. FICSUR coughs warn-
LILIOM 121
* moves to the right between LINZMAN and the
embankment, pauses just behind LINZMAN and fol-
lows him. LILIOM stands bewildered a few paces to
the left of the railroad ties. He finds himself facing
LIXZMAN. Trembling m every limb.] Good eve-
ning. Excuse me, sir, can you tell me the time?
[FICSUR springs silently at LINZMAN, the little knife
in his right hand. But LINZMAN catches FICSUR'S
right hand with his own left and forces FICSUR to his
knees. Simultaneously 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 Iow9 even voice.] It is twenty-five minutes
past six. [Pauses, looks ironically down at FIC-
SUR.] It's lucky 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 FICSUR.] 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.
FICSUR
Let me go. I didn't do anything.
12* LILIOM
LlNZMAN
[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
LlNZMAN
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.
LlNZMAN
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.
LlNZMAN
Look behind you, my boy. Don't be afraid.
Look behind you, but don't run away or I'll have
LILIOM 123
to shoot you down. [LILIOM turns his head slowly
around.] Who's coming up there?
LILIOM
[Looking at LINZMAN.] Policemen.
LINZMAN
[To FICSUE.] You hold still, or [To
LILIOM teasingly.] How many policemen are there?
LILIOM
[His eyes cast down.] Two.
LINZMAN
And what are the policemen sitting on?
LILIOM
Horses.
LINZMAN
And which can run faster, a horse or a man?
LILIOM
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
124 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. [Calls off
left.] Hey, come quicker, will you? This fellow
is pulling pretty strong. [FicsuR frees himself
with a mighty wrench and darts rapidly off. As
LINZMAN aims his pistol at the vanishing FICSUR,
LILIOM runs 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! [Calls 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.]
FIRST POLICEMAN
Stop!
LINZMAN
Well, my boy, do you still want to know what
time it is? From ten to twelve years in prison!
LILIOM
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
LILIOM 1S5
is uplifted to the sky. He bursts 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.]
LlNZMAN
What's the matter? [The FIRST 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 mount the embank-
ment and look down on him.] Stabbed himself?
VOICE OF FIBST POLICEMAN
Yes — and he seems to have made a thorough job
of it.
LlNZMAN
[Excitedly 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 OF 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 pause ^.]
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 FIRST POLICEMAN
Got a cigar?
LILIOM 1*7
VOICE OF SECOND POLICEMAN
No. [There is a pause. The FIRST POLICEMAN
appears over the opposite side of the embankment.}
FIRST 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
i
Yes. [7w the distance is heard the bett of the sig-
nal tower.]
THE CURTAIN FALLS
SCENE FIVE
SCENE — The photographic "studio" a half hour
later that same evening.
MOTHEE HOLLUNDER, her son, MARIE and
WOLF stand in a group back right, their heads
together. JULIE stands apart from them, a few
paces to the left.
YOUNG HOLLUNDER
«.•/•
[Who 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.
MARIE
Maybe they'll pull him through after all.
128
LILIOM 139
YOUNG HOLLUXDER
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 the shaking.
MARIE
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 unobtrusively join the group at the
door. Later, they go out. JULIE is standing at
the side of the stretcher, where, without moving, she
can see LILIOM'S face. The others crowd emotion-
ally together near the door. The FIRST POLICEMAN
enters.]
FIRST POLICEMAN
Are you his wife?
JULIE
Yes.
FIRST POLICEMAN
The doctor at the factory who bandaged him up
forbade us to take him to the hospital. — Dangerous
180 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'll only be in the
way.
MARIE
[To JULIE.] Julie, what do you think? [ JULIE
looks at her without answering.] 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 still 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 181
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 all — understand?
JULIE
Yes.
LILIOM
And — as for Hollinger — he's good enough — 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.
132 LILIOM
LiLIOM
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
LlLIOM
Julie — come — hold my hand tight.
JULIE
I'm holding it tight — all the time.
LILIOM
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
FIRST POLICEMAN.]
DOCTOR
Good evening. His wife?
JULIE
Yes, sir. [Behind the DOCTOR and POLICEMAN
enter MARIE, WOLF, MOTHER HOLLUNDER, YOUNG
HOLLUNDER and MRS. MUSK AT. They remain re-
sped fully at the doorway. The DOCTOR bends over
LILIOM and examines him.]
DOCTOR
A light, if you please. [ JULIE fetches a burning
candle from the dark room. The DOCTOR examines
LILIOM briefly in the candle-light, then turns sud-
denly away.] Have you pen and ink?
134 LILIOM
WOLF
[Proffering a pen.] A fountain-pen — Amer-
ican
DOCTOR
[Takes a printed form from his pocket; speaks as
he writes out the death-certificate at the little table.]
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
will 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 back.'}
DOCTOR
God be with you, my good woman.
JULIE
Thank you, sir. [The DOCTOR and POLICEMAN
exit* The others slowly draw nearer.]
MARIE
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 135
MOTHER HOLLUNDEB
He is better off, the poor fellow, and so are you.
MARIE
Much better, Julie . . . you are young . . . and
one of these days some good man will come along.
Am I right?
WOLF
She's right.
MARIE
Julie, tell me, am I right?
JULIE
You are right, dear ; you are very good.
• YOUNG HOLLUNDEB
There5/ 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.
MARIE
A widower — with two children.
MOTHEB HOLLUNDEB
He's better off, poor fellow — and so are you. He
was a bad man.
MARIE
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.
MAELE
Am I right? Tell me, Julie, am I right?
JULIE
You are right, dear.
i
YpUNG HOLLTTNDEB.
It's really a good thing for her it happened.
MOTHER 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 HOLLUNDER
Lucky for you it happened, isn't it?
LILIOM 137
JULIE
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 hi* hand.]
JULIE
God be with you.
1S8 LILIOM
MARIE
[Embraces JULIE, weeping.] It's the best thing
that could have happened to you, Julie, the best
thing.
JULIE
Don't cry, Marie. [MARIE and WOLF exit.]
MOTHER HOLLUNDER
I'll 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
[Raiting her voice eagerly, almost triumpJiantly.]
I've nothing to make up with you.
MRS. MI-SKAT
But I have with you. Everyone says hard things
against the poor dead boy — except us two. You
don't say he was bad.
JULIE
[Raising her voice yet higher, this time on a defi-
ant, wholly triumphant note.~\ 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 answers her coldly, drily, without
looking at her.~\ That's your own affair.
MRS. MUSKAT
If I can help you in any way
JULIE
There's nothing I need.
MRS. 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.
MBS. MUSKAT
All right. Please don't think I'm trying 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.
MBS. MUSKAT
Then you couldn't have loved him as I did.
JULIE
No.
MBS. MUSKAT
I loved him better.
JULIE
Yes.
LILIOM 141
MBS. MUSKAT
Good-bye.
JULIE
Good-bye. [Mas. MUSKAT exits. JULIE puts
the candle on the table near LILIOM'S head, sits on
the edge of the stretclier, looks into the dead man's
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 boy
— 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 — but
you can't hear me any more. [Between tender
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 of
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 CARPENTER enters at back.']
CARPENTER
[Stands near the door; in the dimness of the room
he can scarcely be seen.] Miss Julie
LILIOM
JULIE
[Without alarm.] Who is that?
CARPENTER
[Very slowly .] The carpenter.
JULIE
What does the carpenter want?
CARPENTER
Can I be of help to you in any way ? Shall I stay
here with you?
JULIE
[Gratefully, but firmly.] Don't stay, carpenter*
CARPENTER
Shall I come back tomorrow?
JULIE
Not tomorrow, either.
CARPENTER
Don't be offended, 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
CARPENTER
[As he exits.'] God be with you. [JuuE re-
sumes her reading. FICSUR enters, slinks furtively
sideways to the stretcher, looks at LILIOM, shakes his
head. JULIE looks up from her reading. FICSUR
takes fright, slinks away from the stretcher, sits
down at right, biting his nails. JULIE rises. FIC-
SUR rises, too, and looks at her half fearfutty. With
her piercing glance upon him he slinks to the door-
way at back, where he pauses and speaks.]
FICSUR
The old woman asked me to tell you that coffee is
ready, and you are to come in. [JULIE goes to the
kitchen door. FICSUR withdraws until she has
closed the door behind her. Then he reappears in
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 in-
tertwined in it. Two men 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 and
benign. One stops in front of the stretcher, the
144 LILIOM
other a pace to the right. From above a dim violet
light illuminates their faces.]
THE FIRST
[To LILIOM.] Rise and come with us.
THE SECOND
[Politely. ] You're under arrest.
THE FIRST
[Somewhat louder, but always in a gentle, low,
resonant voice.] Do you hear? Rise. Don't you
hear?
THE SECOND
We are the police.
THE FIRST
[Bends down, touches LILIOM'S shoulder.] Get
up and come with us. [LILIOM slowly sits up.]
THE SECOND
Come along.
THE FIRST
[Paternally.] These people suppose that when
they die all their difficulties 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 FIRST
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 continues
softly.] We are God's police. [An 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 FIRST
[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 still 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 following. 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 distance as if it
had followed LILIOM and the two POLICEMEN. The
candle flickers and goes out. There is a brief inter-
val of silence and total darkness before
THE CURTAIN FALLS
SCENE SIX
SCENE — In the Beyond. A whitewashed courtroom.
There if a green-topped table; behind it a
bench. Back Center is a door with a bell over
it. Next to this door is a window through
which can be seen a vista of rose-tinted 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 oilier poorly dressed.
From a great distance is heard a fanfare of
trumpets playing the refrain of the thieves'
song in slow, altered tempo.
Passing the window at back appear LILIOM
and the two policemen.
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 around.
147
148 LILIOM
THE FIRST
[To the old guard.] Announce us. [The guard
exits at left.]
LILIOM
Is this it?
THE SECOND
Yes, my son.
LILIOM
This is the police court?
THE SECOND
Yes, my son. The part for suicide cases.
LILIOM
And what happens here?
THE FIRST
Here justice is done. Sit down. [LILIOM sits
next to the two men. The two policemen stand si-
lent near the table.]
THE RICHLY DRESSED MAN
[Whispers.] Suicide, too?
LILIOM
Yeg,
LILIOM 149
DRESSED MAN
[Points to the POORLY DRESSED MAN.] So's he.
[Introducing himself.] My name is Reich.
THE POORLY DRESSED MAN
[Whispers, too.] My name is Stephen Kadar.
[LILIOM only looks at them.]
THE POORLY DRESSED MAN
And you? What's your name?
LILIOM
None of your business. [Both move a bit away
from Aim.]
THE POORLY DRESSED MAN
I did it by jumping out of a window.
THE RICHLY DRESSED MAN
I did it with a pistol — and you?
LILIOM
With a knife. [They move a bit further away
from him.]
THE RICHLY DRESSED
A pistol is cleaner.
150 LILIOM
LlLIOM
If I had the price of a pistol
THE SECOND
Silence!
[The POLICE MAGISTRATE 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-
ISTRATE enters, all rise, except LILIOM, who re-
mams surlily seated. When the MAGISTRATE
sits down, so do the others.}
THE GUARD
Yesterday's cases, your honor. The numbers are
entered in the docket.
THE MAGISTRATE
Number 16,472.
THE FIRST
[Looks m his notebook, beckons the RICHLY
DRESSED MAN.] Stand up, please. [THE RICHLY
DRESSED MAN rises.~\
THE MAGISTRATE
Your name?
LILIOM 151
THE RICHLY DEESSED MAN
Doctor Reich.
THE MAGISTRATE
Age?
THE RICHLY DRESSED MAN
Forty-two, married, Jew.
THE MAGISTRATE
[TF»M a gesture of dismissal.] Religion does not
interest us here — why did you kill yourself p
THE RICHLY DRESSED MAN
On account of debts.
THE MAGISTRATE
What good did you do on earth?
THE RICHLY DRESSED MAN
I was a lawyer
THE MAGISTRATE
[Coughs significantly.] 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
THJE RICHLY DRESSED MAN
Yes, sir.
THE MAGISTRATE
He who takes his 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 DRESSED MAN
My debts
THE MAGISTRATE
They do not matter here. Here we are concerned
only with the affairs of the soul.
THE RICHLY DRESSED 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 MAGISTRATE
[To THE SECOND.] You will take Dr. Reich
back and let him kiss his son Oscar.
THE SECOND
Come with me, please.
LILIOM 153
THE RICHLY DRESSED MAN
[To THE MAGISTRATE.] I thank you. [He
bows and exit s at back with THE SECOND.]
THE MAGISTRATE
[After making an entry in the docket.] Num-
ber 16,473.
THE FIRST
[Looks in his notebook, then beckons LILIOM.]
Stand up.
LILIOM
You said please to him. [He rises.]
THE MAGISTRATE
Your name?
LILIOM
Liliom.
THE MAGISTRATE
Isn't that your nickname?
LILIOM
Yes.
THE MAGISTRATB
What is your right name?
LILIOM
Andreas.
154 LILIOM
THE MAGISTRATE
And your last name?
LILIOM
Zavocki — after my mother.
THE MAGISTRATE
Your age?
LILIOM
Twenty-four.
THE MAGISTRATE
What good did you do on earth? [LILIOM is si-
lent.] Why did you take your life? [LILIOM does
not answer. THE MAGISTRATE addresses THE
FIRST.] Take that knife away from him. [THE
FIRST does so.~\ It will be returned to you, if you
go back to earth.
LILIOM
Do I go back to earth again?
THE MAGISTRATE
Just answer my questions.
LILIOM
I wasn't answering then, I was asking if
THE MAGISTRATE
You don't ask questions here. You only answer.
Only answer, Andreas Zavocki! I ask you whether
LILIOM 155
there is anything on earth you neglected to accom-
plish? Anything down there you would like to do?
LILIOM
Yes.
THE MAGISTRATE
What is it?
LILIOM
I'd like to break Ficsur's head for him.
THE MAGISTRATE
Punishment is our office. 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 MAGISTRATE
[To THE FIRST.] Note that. He ~aives his
right. [ LILIOM starts back to the bench.] Stay
where you are. You are aware that you left your
wife without food or shelter?
LILIOM
Yes.
THE MAGISTRATE
Don't you regret it?
156 f LILIOM
LlLIOM
No.
THE MAGISTRATE
You are aware that your wife is pregnant, and
that in six months a child will be born?
LILIOM
I know.
THE MAGISTRATE
And that the child, too, will be without food or
shelter? Do you regret that?
LILIOM
As long as I won't be there, what's it got to do
with me?
THE MAGISTRATE
Don't try to deceive us, Andreas Zavocki. We
see through you as through a pane of glass.
LILIOM
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.
LILIOM
I want — only — to sleep.
LILIOM 157
THE MAGISTRATE
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.
LILIOM
[Excitedly.] I'll see the baby?
THE MAGISTRATE
When you do it won't be a baby any more. But
we haven't reached that question yet.
LILIOM
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?
LILIOM
A bad husband?
THE MAGISTRATE
Yes.
158 LILIOM
LiLIOM
And a bad father?
THE MAGISTRATE
That, too.
LILIOM
I couldn't get work — and I couldn't bear to see
Julie — all the time — all the time
THE MAGISTRATE
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
[Shrugs his shoulders.] 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. [Demanding 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 159
THE MAGISTRATE
[Emphatically.] Yes.
LILJOM
[After an astounded pause.] The police down
there never said that.
THE MAGISTRATE
You beat that poor, frail girl; you beat her be-
cause she loved you. How could you do that?
LILIOM
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 his throat]
and then I beat her.
THE MAGISTRATE
Are you sorry?
LILIOM
[Shakes his head, but cannot 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 MAGISTRATE.]
THE MAGISTRATE
[Confidently expectant.] Are you sorry?
160 LILIOM
LiLIOM
{With a stare.'] I'm not sorry for anything.
THE MAGISTRATE
Liliom, Liliom, it will be difficult to help you.
LILIOM
I'm not asking any help.
THE MAGISTRATE
You were offered employment as a caretaker on
Arader Street. [To THE FIRST.] Where is that
entered?
THE FIRST
In the small docket. [Hands him the open book.
THE MAGISTRATE looks in it.~\
THE MAGISTRATE
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: Liliom, go back on your
stretcher.* Tomorrow morning you will arise alive
and well again. Would you be a caretaker then ?
ULIOM 161
LraoM
No.
THE MAGISTRATE
Why not?
LIIJOM
Because — because that's just why I died.
THE MAGISTRATE
That is not true, my son. You died because you
loved little Julie and the child she is bearing under
her heart.
LruoM
No.
THE MAGISTRATE
Look me in the eye.
LIIJOM
[Loo ks him in the eye.~\ No.
THE MAGISTRATE
[Stroking hit beard."] Liliom, Liliom, if it were
not for our Heavenly patience Go back to your
seat. Number
THE FIRST
[Looks in his note book.] Stephan Kadar.
[THE POORLY DRESSED MAN rises.] ,
16* LILIOM
THE MAGISTBAT
You came out today?
THE POORLY DRESSED MAN
Today.
THE MAGISTRATE
[Indicating the crimson sea of clouds.} How
long were you in there?
THE POORLY DRESSED MAN
Thirteen years.
THE MAGISTRATE
Officer, you went to earth with him?
THE FIRST
Yes, sir.
THE MAGISTRATE
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 POORLY DRESSED 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 MAGISTRATE
Officer?
THE FIRST
That's what happened.
THE MAGISTRATE
Stephan Radar, 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 FIRST escorts the
POORLY DRESSED MAN out at left with great defer-
ence.] Liliom! [ LILIOM rises.] You have heard ?
LILIOM
Yes.
THE MAGISTRATE
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
LlLIOM
What's he 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-
LILIOM
My daughter!
THE MAGISTRATE
When your daughter has reached the age of six-
teen [LILIOM bows his 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
LILIOM
I never believed them.
THE MAGISTEATE
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.
LILIOM
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.
LILIOM
And will I be told what I have to do?
THE MAGISTRATE
No.
LILIOM
How will I know, then?
THE MAGISTRATE
You must decide that for yourself. That's what
you burn sixteen years for. And if you do some-
thing good, something splendid for your child,
then
166 LILIOM
LlLIOM
[Laughs sadly.'} Then? [All stand up and bow
their heads reverently. There is a pause.] Then?
THE MAGISTRATE
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. [He exits at left. THE GUARD
stands at attention. There is a pause.]
THE FIRST
[Approaches LILIOM.] Come along, my son.
[He goes to the door at right; pulls open the bolt
and waits."}
LILIOM
[To the old GUARD, softly.] Say, officer.
THE GUARD
What do you want?
LILIOM
Please — can I get — have you got ?
THE GUARD
What?
LILIOM 167
LlLIOM
[Whisper*.] A cigarette? [The old GUABD
stares at him, 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 LILJOM — who has gone over to the door at right
— gwes him the cigarette. THE FIBST 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, tumble-down
house on a bare, unenclosed 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 Sunday in Spring.
In the garden a table for two is laid.
JULIE, her daughter LOUISE, WOLF and
MARIE are discovered in the garden. WOLF is
prosperously dressed, MARIE somewhat elab-
orately, with a huge hat.
JULIE
You could stay for lunch.
MARIE
Impossible, dear. Since he became the proprie-
tor of the Cafe Sorrento, Wolf simply has to be
there all 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?
MARIE
You know what modern 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.
MARIE
[Importantly.} Impossible today, dear child,
impossible. Perhaps some other time. Come, Mr.
Beifeld.
JULIE
Since when do you call 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.
MARIE
Adieu, my dear. [They embrace.] Adieu, my
dear child.
LOUISE
Good-bye, Aunt Marie. Good-bye, Uncle Wolf.
[WOLF and MARIE 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?
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.
LOUISE
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 in the big doorway at back.
The POLICEMEN pass slowly by. LILIOM stands
there alone a moment, then comes slowly down and
pauses at the opening of the hedge. He is dressed
as he was on the day of his death. He is very pale,
but otherwise unaltered. JULIE, at ihe table, has
her back to him. LOUISE sits facing the audience.
LILIOM
Good day.
LOUISE
Good day.
JULIE
Another beggar! What is it you want, my poor
man?
LILIOM
Nothing.
17* LILIOM
JULIE
We have no money to give, but if you care for a
plate of soup — [LOUISE goes into the house.]
Have you come far today?
LILIOM
Yes — very far.
JUUE
Are you tired?
LILIOM
Very tired.
JULIE
Over there at the gate is a -siofie. 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. \Tdkes the soup plate from
her with one hand, while with the other he touches
her arm,. LOUISE draws back quickly.]
LILIOM 17S
LOUISE
[Crosses to JULIE.] Mother!
JULIE
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.'}
LILIOM
[Eats, too, but keeps looking 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.
LILIOM
To America?
LILIOM 175
JULIE
Why do you ask so many questions? Did you
know him, perhaps?
LILIOM
[Puts the plate down.] Heaven knows! I've
known so many people. Maybe I knew him, too.
JULIE
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.
LILIOM
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 ?
LILIOM
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.
JULIE
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 177
JULIE
He was not his friend. No one was.
LILIOM
You speak of your husband so stermy.
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
LlLIOM
Liliom? Yes.
LOUISE
Was he really a very handsome man?
LILIOM
I wouldn't exactly say handsome.
LOUISE
[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.] 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
LlLJOM
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.]
LILIOM
So he didn't hit you?
JULIE
No, never. He was always good to me.
LOUISE
[Whitpert.] 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, Miss — 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. [Takes 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! [WiM a gesture he indicates that
he has stolen it out of the sky.]
JULIE
[Sternly.] Don't take anything from him.
He's probably stolen it somewhere. [To LILIOM.]
In God's name, be off 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
[Pointing with her right hand.] That's the way
out.
LILIOM
Miss -
LOUISE
Get out!
LILIOM
Miss! [Looks up at her suddenly and slaps her
extended hand, so that the slap resounds loudly.]
182 LILIOM
LOUISE
Mother! [Looks dazedly at LILIOM, who bows
his head dismayed, forlorn. JULIE rises and looks
at LILIOM in astonishment. There is a long pause.]
JULIE
[Comes over to them slowly.] What's the mat-
ter here?
LOUISE
[Bewildered, does not take her eyes off LILIOM.]
Mother — the man — he hit 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
behind JULIE. LILIOM sulkily raises his head and
looks at JULIE.]
JULIE
[Softly.'] Go, my child. Go into the house.
Go.
LOUISE
[Going.] But mother — I'm afraid — it sounded
so loud [Weepmgly.] 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
[Simply.] 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
[Her hand on her heart; fearfully, wondervnglyJ}
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 audience. JULIE goes to the table and sits.]
184 LILIOM
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 starmg into space.']
Why doij'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 deploringly 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.
LOUISE
My father?
JULIE
Your father — Liliom. [There is a pause.]
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-
grinder has stopped. The music of his organ be-
gins.]
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