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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 Clane y 

[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 all y 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 .] 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 

Wellthis 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. N When they play cards there's always a 
bit for the steward. The tips, I may say, amount 
to twenty, even thirty kronen every night. 

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 thieves 9 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 thata 
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 Iow 9 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 

There 5 / 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 

[TFM 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.] 

THE CURTAIN FALLS 



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