follows her. When she has gone, he turns to FICSUR._] At night--in my
dreams--if his ghost comes back--what will I do then?
FICSUR
His ghost won't never come back.
LILIOM
Why not?
FICSUR
A Jew's ghost don't come back.
LILIOM
Well then--afterwards----
FICSUR
[_Impatiently._] What do you mean--afterwards?
LILIOM
In the next world--when I come up before the Lord God--what'll I say
then?
FICSUR
The likes of you will never come up before Him.
LILIOM
Why not?
FICSUR
Have you ever come up before the high court?
LILIOM
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 there's justice
there must be police magistrates; and where there're police
magistrates, people like us get----
LILIOM
[_Interrupting._] Good evening. Excuse me, sir, can you tell me the
time? [_Lays his hand over his heart._]
FICSUR
What do you put your hand there for?
LILIOM
My heart is jumping--under the knife.
FICSUR
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.
FICSUR
Come on. [_As they are about to go, JULIE appears 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
No.
JULIE
Stay home. It's going to rain soon, and you'll get wet.
FICSUR
It won't rain.
JULIE
How do you know?
FICSUR
I always get notice in advance.
JULIE
Stay home. This evening the carpenter's coming. I've asked him to give
you work.
LILIOM
I'm not a carpenter.
JULIE
[_More and more anxious, though she tries to conceal 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----
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.
FICSUR
Coming or not?
JULIE
I'm 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.
JULIE
[_Trembling, speaks very low._] What's under your 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 in 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.
JULIE
He didn't take it.
MOTHER HOLLUNDER
No one else was in there.
JULIE
What would Liliom want with a kitchen knife?
MOTHER HOLLUNDER
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.
MOTHER HOLLUNDER
[_Returns to the kitchen, grumbling._] Cards in his pocket--cards! The
fine gentlemen have evidently gone off to their club to play a little
game. [_She exits. After a pause MARIE, happy and beaming, appears in
the doorway at back, and enters, followed by WOLF._]
MARIE
Here we are! [_She takes WOLF by the hand and leads him, grinning
shyly, to JULIE, who has turned at her call._] Hello!
JULIE
Hello.
MARIE
Well, we're here.
JULIE
Yes.
WOLF
[_Bows awkwardly and extends his hand._] My name is Wolf Beifeld.
JULIE
My name is Julie Zeller. [_They shake hands. There is an embarrassed
silence. Then, to relieve the situation, WOLF takes JULIE'S hand again
and shakes it vigorously._]
MARIE
Well--this is Wolf.
WOLF
Yes.
JULIE
Yes. [_Another awkward silence._]
MARIE
Where is Liliom?
WOLF
Yes, where is your husband?
JULIE
He's out.
MARIE
Where?
JULIE
Just for a walk.
MARIE
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 explain these things
just right--hehehe---- Beginning the first I'm to be second steward at
the Burger Club--a good job, if one conducts oneself properly.
JULIE
Yes?
WOLF
The pay--is quite good--but the main thing is the tips. When they play
cards there's always a bit for the steward. The tips, I may say,
amount to twenty, even thirty kronen every night.
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 healthier for children in the country. [_There is
a brief pause._]
MARIE
Wolf's nice looking, isn't he?
JULIE
Yes.
MARIE
And he's a good boy, Wolf.
JULIE
Yes.
MARIE
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 shoulder._]
MARIE
Because she has such a good heart. [_She becomes sentimental, too._]
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, before it gets too
dark. [_She leads MARIE and WOLF into position before the
background-screen. Here they immediately fall into an 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-expressionless tones._] The
lady looks at the gentleman and the gentleman looks straight into the
camera.
MOTHER HOLLUNDER
[_Poses first MARIE, then WOLF._] Now, if you please.
YOUNG HOLLUNDER
[_Who has crept under the black cloth, calls in muffled tones._]
That's good--that's very good!
MARIE
[_Stonily rigid, but very happy, trying to speak without altering her
expression._] Julie, dear, do we look all right?
JULIE
Yes, dear.
YOUNG HOLLUNDER
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
threateningly._] One--two--three! [_He removes the cover; there is
utter silence. But as he speaks the word "one" there is heard, very
faintly in the distance, the refrain of the thieves' song which FICSUR
and LILIOM have been singing. The refrain continues until the fall of
the curtain. As he speaks the word "three" everybody is perfectly
rigid save JULIE, who lets her head sink slowly to the table. The
distant refrain dies out._]
THE CURTAIN 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 background a telegraph pole, beyond it a view of trees,
fences and fields; still further back a factory 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 passed._
LILIOM
Can you still hear it snort?
FICSUR
Listen! [_They watch the vanishing train._]
LILIOM
If you put your ear on the tracks you can hear it go all the way to
Vienna.
FICSUR
Huh!
LILIOM
The one that just puffed past us--it goes all the way to Vienna.
FICSUR
No further?
LILIOM
Yes--further, too. [_There is a pause._]
FICSUR
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.
FICSUR
Why should you give me the slip? That cashier has sixteen thousand
kronen on him. Just be patient till he comes, then you can talk to
him, nice and polite.
LILIOM
I say, "Good evening--excuse me, sir; what time is it?"
FICSUR
Then he tells you what time it is.
LILIOM
Suppose he don't come?
FICSUR
[_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
ascended 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.
FICSUR
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.
FICSUR
Spits?
LILIOM
Yes, the engine. It spits down. And then the whole train rattles past
and away--and you stand there--spat on--but it draws your eyes along
with it.
FICSUR
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.
FICSUR
Swell people sit in it.
LILIOM
And read newspapers.
FICSUR
And smoke cigars.
LILIOM
And inhale the smoke. [_There is a short silence._]
FICSUR
Is he coming?
LILIOM
Not yet. [_Silence again. LILIOM comes down, speaks low,
confidentially._] Do you hear the telegraph wires?
FICSUR
I hear them when the wind blows.
LILIOM
Even when the wind doesn't blow you can hear them humming, humming----
People talk through them.
FICSUR
Who?
LILIOM
Jews.
FICSUR
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 why they hum like
that--they hum-m----
FICSUR
What do they hum?
LILIOM
They hum! ninety-nine, ninety-nine. Just listen.
FICSUR
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."
FICSUR
You're looking at a bird?
LILIOM
He's looking at me, too.
FICSUR
Listen, you're sick! There's something the matter with you. Do you
know what it is? Money. That bird has no money, either; that's why he
cocks his eye.
LILIOM
Maybe.
FICSUR
Whoever has money don't cock his eye.
LILIOM
What then does he do?
FICSUR
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!"
FICSUR
He's not coming yet. Got the cards? [_LILIOM gives him the pack of
cards._] Got any money?
LILIOM
[_Takes some coins from his trousers pocket and counts._] Eleven.
FICSUR
[_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.
FICSUR
[_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.
FICSUR
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. FICSUR gathers in the
money._] Come on!
FICSUR
Come on what? Got no more money, have you?
LILIOM
No.
FICSUR
Then the game's over--unless you want to----
LILIOM
What?
FICSUR
Play on credit.
LILIOM
You'll trust me?
FICSUR
No--but--I'll deduct it.
LILIOM
Deduct it from what?
FICSUR
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; nervous and
ashamed._] All right. How much is bank?
FICSUR
That cashier is bringing us sixteen thousand kronen. Eight thousand of
that is mine. Well, then, the bank is eight thousand.
LILIOM
Good.
FICSUR
Whoever has the most luck will have the most money. [_He deals._]
LILIOM
Six hundred kronen. [_FICSUR gives him another card._] Enough.
FICSUR
[_Laying out his own cards._] Twenty-one. [_He shuffles rapidly._]
LILIOM
[_Moves excitedly nearer to FICSUR._] Well, then, double or nothing.
FICSUR
[_Dealing._] Double or nothing.
LILIOM
[_Gets a card._] Enough.
FICSUR
[_Laying out his own cards._] Twenty-one. [_Shuffles rapidly again._]
LILIOM
[_In alarm._] You're not--cheating?
FICSUR
Me? Do I look like a cheat? [_Deals the cards again._]
LILIOM
[_Glances nervously over his shoulder._] A thousand.
FICSUR
[_Nonchalantly._] Kronen?
LILIOM
Kronen. [_He gets a card._] Another one. [_Gets another card._] Over
again! [_Like an inexperienced gambler who is losing heavily, LILIOM
is very nervous. He plays dazedly, wildly, irrationally. From now on
it is apparent that his only thought is to win his money back._]
FICSUR
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._]
FICSUR
[_Bends over and adds up the sum on the ground._]
Ten--fourteen--twenty-three---- You owe two thousand, four hundred.
LILIOM
Now what?
FICSUR
[_Takes a card out of the deck and gives it to him._] Here's the red
ace. You can play double or nothing 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?
FICSUR
Because if you lose you won't be able to pay. Double would be nine
thousand six hundred. And you've only got eight thousand altogether.
LILIOM
[_Greatly excited._] That--that--I call that--a dirty trick!
FICSUR
Three thousand, two hundred. That's all you can put up.
LILIOM
[_Eagerly._] All right, then--three thousand, two hundred. [_FICSUR
deals him a card._] Enough.
FICSUR
I've got an ace myself. Now we'll have to take our time and squeeze
'em. [_LILIOM pushes closer to him, as he takes up his cards and
slowly, intently unfolds them._] Twenty-one. [_He quickly puts the
cards in 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 warningly, moves to the right between
LINZMAN and the embankment, pauses just behind LINZMAN and follows
him. LILIOM stands bewildered a few paces to the left of the railroad
ties. He finds himself facing LINZMAN. Trembling in every limb._] Good
evening. 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 standing two paces away from the revolver. There is a long
pause._]
LINZMAN
[_In a low, even voice._] It is twenty-five minutes past six.
[_Pauses, looks ironically down at FICSUR._] It's lucky I grabbed the
hand with the knife instead of the other one. [_Pauses again, looks
appraisingly 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.
LINZMAN
[_Mockingly shakes the hand which still holds the knife._] And this?
What do you call this? Oh, yes, I know. You thought I had an apple in
my pocket, and you wanted to peel it. That's it. Forgive me for my
error. I beg your pardon, sir.
LILIOM
But I--I----
LINZMAN
Yes, my son, I know. It's so simple. You only asked what time it is.
Well, it's twenty-five minutes after six.
FICSUR
Let us go, honorable sir. We didn't do anything to you.
LINZMAN
In the first place, my son, I'm not an honorable sir. In the second
place, for the same money, you could have said Your Excellency. But in
the third place you'll find it very hard to beg off by flattering me.
LILIOM
But I--_I_ really didn't do anything to you.
LINZMAN
Look behind you, my boy. Don't be afraid. Look behind you, but don't
run away or I'll have to shoot you down. [_LILIOM turns his head
slowly around._] Who's coming up there?
LILIOM
[_Looking at LINZMAN._] Policemen.
LINZMAN
[_To FICSUR._] 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 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 thousand 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. LINZMAN hesitates, perceives that
LILIOM is the better target, points 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 embankment 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 POLICEMAN and equally distant from LINZMAN. His
face 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 rolls down the
far side of the embankment. There is a long pause. From the left up on
the embankment come the TWO POLICEMEN._]
LINZMAN
What's the matter? [_The 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. LINZMAN and the other
POLICEMAN mount the embankment and look down on him._] Stabbed
himself?
VOICE OF FIRST POLICEMAN
Yes--and he seems to have made a thorough job of it.
LINZMAN
[_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. [_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?
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
Yes. [_In the distance is heard the bell of the signal tower._]
THE CURTAIN FALLS
SCENE FIVE
SCENE--_The photographic "studio" a half hour later that same
evening._
_MOTHER 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.
YOUNG HOLLUNDER
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 in 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 emotionally 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 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