working, the ruffian!
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?
MRS. MUSKAT
[_To JULIE._] Pay no attention to her, my child. You know what brings
me here. That vagabond, that good-for-nothing, I've come to give him
his bread and butter back.
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, calling back._] Sixty-six.
JULIE
Yes, sixty-six.
MARIE
Good-bye. [_She exits. JULIE starts to go toward the kitchen._]
MRS. MUSKAT
I paid him a krone a day, and on Sunday a gulden. And he got all the
beer and cigars he wanted from 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
relations----
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 he passes them. FICSUR
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?
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! 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?
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 _I_ 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 Hollinger is good, is he?
MRS. MUSKAT
[_Crosses to him and looks him, in 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?
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?
LILIOM
No, I don't beat her. What's all this damn fool talk about beating
her? I hit her once--that was all--and now the whole city seems to be
talking about it. You don't call that beating her, do you?
MRS. 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? Heavens, 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.
MRS. 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
[_Softly._] I know.
MRS. 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.
MRS. 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?
MRS. MUSKAT
Guess.
LILIOM
Zebras?
MRS. MUSKAT
No--an automobile.
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 _art_, 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 servant 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 suicide just because her---- [_Finishes with a
gesture._]
LILIOM
[_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----
MRS. 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 art----
MRS. MUSKAT
My God!
LILIOM
What's the matter?
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.
MRS. MUSKAT
[_Refuses to meet his gaze._] You flatter yourself.
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
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
[_Reëntering._] 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.
LILIOM
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._]
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
Yes----
JULIE
Well--you see--that's what it is----
LILIOM
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
[_Puts the coffee cup on the table._] What?
JULIE
When--when a man and woman--live together----
LILIOM
Yes.
JULIE
I'm going to have a baby. [_She exits swiftly at back. There is a
pause. FICSUR appears at the open window and looks in._]
LILIOM
Ficsur! [_FICSUR sticks his head in._] Say, Ficsur,--Julie is going to
have a baby.
FICSUR
Yes? What of it?
LILIOM
Nothing. [_Suddenly._] Get out of here. [_FICSUR'S head is quickly
withdrawn. MRS. MUSKAT reënters._]
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?
LILIOM
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 threateningly._]
MRS. MUSKAT
[_Restoring the coins 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?
FICSUR
More than you ever had in your life before. You leave it to an old
hand like me.
MOTHER HOLLUNDER
[_Enters from the kitchen._] In the morning he must have his coffee,
and at noon his soup, and in the evening coffee again--and plenty of
firewood--and I'm expected to furnish it all. Give me back my cup and
saucer.
[_The show booths of the amusement-park have opened for business. The
familiar noises begin to sound; clear above them all, but far in the
distance, sounds the organ of the carousel._]
LILIOM
Now, Aunt Hollunder. [_From now until the fall 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._]
LILIOM
Aunt Hollunder!
MOTHER HOLLUNDER
What now?
LILIOM
When your son was born--when you brought him into the world----
MOTHER 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 factory--there's money
in it----
FICSUR
Lots of money--but--it takes two to pull it off.
LILIOM
[_Meditatively._] Yes. [_Uneasily._] All right, Ficsur. Go away--and
come back later.
[_FICSUR vanishes. The organ in the distant carousel drones
incessantly. LILIOM listens a while, then goes to the door and
calls._]
LILIOM
Aunt Hollunder! [_With naïve joy._] Julie's going 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 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 afternoon. LILIOM is
sitting opposite FICSUR, who is teaching him a song. JULIE hovers in
the background, engaged in some household task._
FICSUR
Listen now. Here's the third verse. [_Sings 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
[_Sings._]
"Look out, look out, my pretty lad.
The damn police----"
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. Beyond 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 below along the path across
the fields. Since last year he's been going alone. Before that he
always used to have someone with him.
LILIOM
Every Saturday?
FICSUR
Every Saturday.
LILIOM
And the money? Where does he keep it?
FICSUR
In a leather bag. The whole week's pay for the workmen at the factory.
LILIOM
Much?
FICSUR
Sixteen thousand kronen. Quite a haul, what?
LILIOM
What's his name?
FICSUR
Linzman. He's a Jew.
LILIOM
The cashier?
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 cashiers are peculiar--they'd rather be
killed.
[_JULIE reënters, 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, in spite
of their caution, does catch a word here and there, which adds to her
disquiet. FICSUR, catching sight of her, abruptly changes the
conversation._]
FICSUR
And the next verse is:
"And when you're in the prison cell
They'll feed you bread and water."
FICSUR 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 America?
FICSUR
No.
LILIOM
What then?
FICSUR
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?
FICSUR
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.
FICSUR
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?
FICSUR
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, photographer, come out. . . .
Here's a customer. [_There is a pause. The POLICEMAN waits. FICSUR
sings softly._]
"And when you're in the prison cell
They'll feed you bread and water
They'll make your little sweetheart tell."
LILIOM, FICSUR
[_Sing together, low._]
"Them all the things you brought her.
Look out here comes the----"
[_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 ducking under the black cloth and pushing
the camera nearer. Meanwhile MOTHER HOLLUNDER has fetched a plate from
the dark room and thrust it in the camera. While this is going on,
LILIOM and FICSUR, their heads together, speak in very low tones._]
LILIOM
Belong around here?
FICSUR
Not around here.
LILIOM
Where, then?
FICSUR
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!
FICSUR
[_Reassuring him benevolently._] Over in America it will be better,
all right.
LILIOM
What's over there?
FICSUR
[_Virtuously._] Factories . . . industries----
YOUNG HOLLUNDER
[_To the POLICEMAN._] Now, quite still, please. One, two, three.
[_Deftly removes the cover of the lens and in a few seconds restores
it._] Thank you.
MOTHER HOLLUNDER
The picture will be ready in five minutes.
POLICEMAN
Good. I'll come back in five minutes. How much do I owe you?
YOUNG HOLLUNDER
[_With exaggerated deference._] You don't need to pay in advance, Mr.
Commissioner. [_The POLICEMAN salutes condescendingly and exits at
back. MOTHER HOLLUNDER carries the plate into the dark room. YOUNG
HOLLUNDER, after pushing the camera 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?
FICSUR
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 the 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.
FICSUR
You've got to have something on you. You can't slit his throat with a
bat over the head.
LILIOM
Must his throat be slit?
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 reënters
the dark room. LILIOM hesitates a moment, then exits into the kitchen.
The POLICEMAN scrutinizes FICSUR mockingly. FICSUR 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?
FICSUR
I used to practice my profession in that neighborhood.
POLICEMAN
What is your profession?
FICSUR
Professor of pianola---- [_The POLICEMAN glares, aware that the man is
joking with him, twirls his moustache indignantly. YOUNG HOLLUNDER
comes out of the dark room and gives him the finished pictures._]
YOUNG HOLLUNDER
Here you are, sir. [_The POLICEMAN examines the photographs, pays for
them, starts to go, stops, glares at FICSUR and exits. When he is
gone, FICSUR goes to the doorway and looks out after him. YOUNG
HOLLUNDER exits. LILIOM reënters, buttoning his coat._]
FICSUR
[_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?
FICSUR
No. [_Feeling for the knife under LILIOM'S coat._] Where is it? Where
did you put it?
LILIOM
[_Stonily._] Left side.
FICSUR
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