SCENE TWOSCENE—A photographer’s “studio,” operated by theHOLLUNDERS,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 amusement 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 wall, between the door and window, stands the inevitable photographer’s background-screen, ready to be wheeled into place.It is forenoon. When the curtain rises,MARIEandJULIEare discovered.MARIEAndhebeat up Hollinger?JULIEYes, he gave him an awful licking.MARIEBut Hollinger is bigger than he is.JULIEHe licked him just the same. It isn’t size that counts, you know, it’s cleverness. And Liliom’s awful quick.MARIEAnd then he was arrested?JULIEYes, 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.MARIEWhy do they let him go?JULIEBecause he is innocent.[MOTHERHOLLUNDER,a very old woman, sharp-tongued, but in reality quite warm-hearted beneath her formidable exterior, enters at back carrying a few sticks of firewood, and scolding, half to herself.]MOTHERHOLLUNDERAlways wanting something, but never willing to work for it. He won’t work, and he won’t steal,but he’ll use up a poor old widow’s last bit of firewood. 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.JULIEI’m sorry, Mother Hollunder. . . .MOTHERHOLLUNDERSorry! 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.]MARIEWho’s that?JULIEMrs. 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.MARIEWhat’s she fetching the wood for?JULIEShe 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.]MARIE[Shyly.] Do you know—I’ve found out. He’s not a soldier.JULIEDo you still see him?MARIEOh, yes.JULIEOften?MARIEVery often. He’s asked me——JULIETo marry you?MARIETo marry me.JULIEYou 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.JULIEFlirting?MARIEYes. He asks me to go to the park—and I say I can’t go. Then he coaxes me, and promises mea 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.JULIEIs that what you call flirting?MARIEUm-hm! It’s sinful, but it’s sothrilling.JULIEDo you ever quarrel?MARIE[Grandly.] Only when our Passionate Love surges up.JULIEYour passionate love?MARIEYes. . . . 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.Thatis Passionate Love. It’s sinful, but it’s awfullythrilling.JULIEYou’re happy, aren’t you?MARIEHappier than—anything—— But the most beautiful thing on earth is Ideal Love.JULIEWhat kind is that?MARIEDaylight 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.]JULIE[Regretfully; uneasily.] He went out last night and he hasn’t come home yet.MARIEHere 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.JULIEThis makes three gulden, forty-six.MARIEThree gulden, forty-six.JULIEHe won’t work at all.MARIEToo lazy?JULIENo. He never learned a trade, you see, and he can’t just go and be a day-laborer—so he just does nothing.MARIEThat ain’t right.JULIENo. Have the Breiers got a new maid yet?MARIEThey’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.JULIEHe won’t go back to work at the carousel either. I ask him why, but he won’t tell me—— Last Monday he hit me.MARIEDid you hit him back?JULIENo.MARIEWhy don’t you leave him?JULIEI don’t want to.MARIEI would. I’d leave him. [There is a strained silence.]MOTHERHOLLUNDER[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.JULIEIs that water for the soup?MOTHERHOLLUNDERThe carpenter was here. There’s amanfor you! Dark, handsome, lots of hair, a respectable widower with two children—and money, and a good paying business.JULIE[ToMARIE.] It’s three gulden sixty-six, not forty-six.MARIEYes, that’s what I make it—sixty-six.MOTHERHOLLUNDERHe wants to take her out of this and marry her. This is the fifth time he’s been here. He has two children, but——JULIEPlease don’t bother, Aunt Hollunder, I’ll get the water myself.MOTHERHOLLUNDERHe’s waiting outside now.JULIESend him away.MOTHERHOLLUNDERHe’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.]MARIEA carpenter wants to marry you?JULIEYes.MARIEWhy don’t you?JULIEBecause——MARIELiliom 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.JULIEHe’s not really bad.MARIEThat night you sat on the bench together—he was gentle then.JULIEYes, he was gentle.MARIEAnd afterwards he got wild again.JULIEAfterwards 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.MARIEDoes he say anything?JULIEHe doesn’t say anything. He gets thoughtful and very quiet, and his big eyes stare straight ahead of him.MARIEInto your eyes?JULIENot exactly. He’s unhappy because he isn’t working. That’s really why he hit me on Monday.MARIEThat’s a fine reason for hitting you! Beats his wife because he isn’t working, the ruffian!JULIEIt preys on his mind——MARIEDid he hurt you?JULIE[Very eagerly.] Oh, no.MRS. MUSKAT[Enters haughtily.] Good morning. Is Liliom home?JULIENo.MRS. MUSKATGone out?JULIEHe hasn’t come home yet.MRS. MUSKATI’ll wait for him. [She sits down.]MARIEYou’ve got a lot of gall—to come here.MRS. MUSKATAre you the lady of the house, my dear? Better look out or you’ll get a slap in the mouth.MARIEHow dare you set foot in Julie’s house?MRS. MUSKAT[ToJULIE.] 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.MARIEHe’s not dependent on you for his bread.MRS. MUSKAT[ToJULIE.] Just ignore her, my child. She’s just ignorant.MARIE[Going.] Good-bye.JULIEGood-bye.MARIE[In the doorway, calling back.] Sixty-six.JULIEYes, sixty-six.MARIEGood-bye. [She exits.JULIEstarts to go toward the kitchen.]MRS. MUSKATI paid him a krone a day, and on Sunday a gulden. And he got all the beer and cigars he wanted fromthe customers. [JULIEpauses 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. [JULIEdoes 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, forLILIOMandFICSURhave entered.]JULIEMrs. Muskat is here.LILIOMI see she is.JULIEYou might say good-morning.LILIOMWhat for? And what doyouwant, anyhow?JULIEI don’t want anything.LILIOMThen 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——JULIEI’m not saying anything.LILIOMBut 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.FICSURshambles from place to place, his eyes cast down as if he were searching for something on the floor.]MRS. MUSKAT[Suddenly, toFICSUR.] You’re always dragging him out to play cards and drink with you. I’ll have you locked up, I will.FICSURI 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.]JULIEMrs. Muskat is here.LILIOMWell, why doesn’t she open her mouth, if she has anything to say?MRS. MUSKATWhy do you go around with this man Ficsur? He’ll get you mixed up in one of his robberies first thing you know.LILIOMWhat’s it to you who I go with? I do what I please. What do you want?MRS. MUSKATYou know what I want.LILIOMNo, I don’t.MRS. MUSKATWhat do you suppose I want? Think I’ve come just to pay a social call?LILIOMDo I owe you anything?MRS. MUSKATYes, 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.LILIOMYou’ve got Hollinger at the carousel, haven’t you?MRS. MUSKATSure I have.LILIOMWell, what else do you want? He’s as good as I am.MRS. MUSKATYou’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——LILIOMOne was enough whenIwas there.MRS. MUSKATWell, I might let Hollinger go——LILIOMWhy let him go, if he’s so good?MRS. MUSKAT[Shrugs her shoulders.] Yes, he’s good. [Not once until now has she looked atLILIOM.]LILIOM[ToJULIE.] Ask your aunt if I can have a cup of coffee. [JULIEexits 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.LILIOMHe’s good, is he?MRS. MUSKATPush your hair back from your forehead.LILIOMLet my hair be. It’s nothing to you.MRS. MUSKATAll 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——LILIOMNone of your business.MRS. MUSKATYou’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——LILIOMLeave her, eh? You’d like that, wouldn’t you?MRS. MUSKATDon’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.LILIOMThe carousel is crowded just the same . . .without me?MRS. MUSKATCrowded, yes—but it’s not the same.LILIOMThen you admit that youdomiss me.MRS. MUSKATMiss 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?LILIOMAnd leave—her?MRS. MUSKATYou beat her, don’t you?LILIOMNo, 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. MUSKATAll right, all right. I take it back. I don’t want to get mixed up in it.LILIOMBeating her! As if I’d beat her——MRS. MUSKATI 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.LILIOMIt’s no business of yours.MRS. MUSKATYou 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. MUSKATHow did you know?LILIOMYou can hear it—from here.MRS. MUSKATIt’s a good one, eh?LILIOM[Wistfully.] Very good. Fine. It roars and snorts—so fine.MRS. MUSKATYou 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?LILIOMWhat have you put in their place?MRS. MUSKATGuess.LILIOMZebras?MRS. MUSKATNo—an automobile.LILIOM[Transported.] An automobile——MRS. MUSKATYes. If you’ve got any sense you’ll come back. What good are you doing here? Out there is yourart, the only thing you’re fit for. You are an artist, not a respectable married man.LILIOMLeaveher—this little——MRS. MUSKATShe’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——LILIOMShe’s not that kind. She’d never be a servant girl again.MRS. MUSKATI 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. MUSKATYou know very well they don’t, you rascal.LILIOMWell——MRS. MUSKATYou’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?LILIOMShe’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. MUSKATMy God!LILIOMWhat’s the matter?MRS. MUSKATWho 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——LILIOMI know what you want.MRS. MUSKAT[Refuses to meet his gaze.] You flatter yourself.LILIOMYou’ll give me that ring, too?MRS. MUSKAT[Pushes the hair back from his forehead.] Yes.LILIOMI’m not happy in this house.MRS. MUSKAT[Still stroking his hair.] Nobody takes care of you. [They are silent.JULIEenters, carrying a cup of coffee.MRS. MUSKATremoves her hand fromLILIOM’Shead. There is a pause.]LILIOMDo you want anything?JULIENo. [There is a pause. She exits slowly into the kitchen.]MRS. MUSKATThe old woman says there is a carpenter, a widower, who——LILIOMI know—I know——JULIE[Reëntering.] Liliom, before I forget, I have something to tell you.LILIOMAll right.JULIEI’ve been wanting to tell you—in fact, I was going to tell you yesterday——LILIOMGo ahead.JULIEBut I must tell you alone—if you’ll come in—it will only take a minute.LILIOMDon’t you see I’m busy now? Here I am talking business and you interrupt with——JULIEIt’ll only take a minute.LILIOMGet out of here, or——JULIEBut I tell you it will only take a minute——LILIOMWill you get out of here?JULIE[Courageously.] No.LILIOM[Rising.] What’s that!JULIENo.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.]JULIEYou 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.LILIOMWell, out with it—quick.JULIEI can’t tell you so quick. Why don’t you drink your coffee?LILIOMIs that what you wanted to tell me?JULIENo. By the time you’ve drunk your coffee I’ll have told you.LILIOM[Gets the coffee and sips it.] Well?JULIEYesterday my head ached—and you asked me——LILIOMYes——JULIEWell—you see—that’s what it is——LILIOMAre you sick?JULIENo. . . . But you wanted to know what my headaches came from—and you said I seemed—changed.LILIOMDid I? I guess I meant the carpenter.JULIEI’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?JULIEWhen—when a man and woman—live together——LILIOMYes.JULIEI’m going to have a baby. [She exits swiftly at back. There is a pause.FICSURappears at the open window and looks in.]LILIOMFicsur! [FICSURsticks his head in.] Say, Ficsur,—Julie is going to have a baby.FICSURYes? What of it?LILIOMNothing. [Suddenly.] Get out of here. [FICSUR’Shead is quickly withdrawn.MRS. MUSKATreënters.]MRS. MUSKATHas she gone?LILIOMYes.MRS. MUSKATI might as well give you ten kronen in advance. [Opens her purse.LILIOMtakes up his coffee cup.] Here you are. [She proffers some coins.LILIOMignores her.] Why don’t you take it?LILIOM[Very nonchalantly, his cup poised ready to drink.] Go home, Mrs. Muskat.MRS. MUSKATWhat’s the matter with you?LILIOMGo home [sips his coffee] and let me finish my coffee in peace. Don’t you see I’m at breakfast?MRS. MUSKATHave you gone crazy?LILIOMWill 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.LILIOMThat worries me a lot.MRS. MUSKATGood-bye!LILIOMGood-bye. [As she exits, he calls.] Ficsur! [FICSURenters.] Tell me, Ficsur. You said you knew a way to get a whole lot of money——FICSURSure I do.LILIOMHow much?FICSURMore than you ever had in your life before. You leave it to an old hand like me.MOTHERHOLLUNDER[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.]LILIOMNow, 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.]MOTHERHOLLUNDERAnd you, you vagabond, get out of here this minute or I’ll call my son——FICSURI have nothing to do with the likes of him. He’s too common. [But he slinks out at back.]LILIOMAunt Hollunder!MOTHERHOLLUNDERWhat now?LILIOMWhen your son was born—when you brought him into the world——MOTHERHOLLUNDERWell?LILIOMNothing.MOTHERHOLLUNDER[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.]LILIOMFicsur!FICSUR[At the window.] Julie’s going to have a baby. You told me before.LILIOMThis scheme—about the cashier of the leather factory—there’s money in it——FICSURLots of money—but—it takes two to pull it off.LILIOM[Meditatively.] Yes. [Uneasily.] All right, Ficsur. Go away—and come back later.[FICSURvanishes. The organ in the distant carousel drones incessantly.LILIOMlistens a while, then goes to the door and calls.]LILIOMAunt 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.JULIEwatches him a moment, comes over to him and covers him with a shawl. Then she goeson tip-toe to the door at back and remains standing in the doorway, looking out and listening to the droning of the organ.]THECURTAINFALLS
SCENE—A photographer’s “studio,” operated by theHOLLUNDERS,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 amusement 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 wall, between the door and window, stands the inevitable photographer’s background-screen, ready to be wheeled into place.
It is forenoon. When the curtain rises,MARIEandJULIEare discovered.
MARIE
Andhebeat up Hollinger?
JULIE
Yes, he gave him an awful licking.
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.
[MOTHERHOLLUNDER,a very old woman, sharp-tongued, but in reality quite warm-hearted beneath her formidable exterior, enters at back carrying a few sticks of firewood, and scolding, half to herself.]
MOTHERHOLLUNDER
Always wanting something, but never willing to work for it. He won’t work, and he won’t steal,but he’ll use up a poor old widow’s last bit of firewood. 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. . . .
MOTHERHOLLUNDER
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.]
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 mea 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 sothrilling.
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.Thatis Passionate Love. It’s sinful, but it’s awfullythrilling.
JULIE
You’re happy, aren’t you?
MARIE
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.]
JULIE
[Regretfully; uneasily.] He went out last night and he hasn’t come home yet.
MARIE
Here are sixteen Kreuzer. It was supposed to be carfare to take my young lady to the conservatory—eight there and eight back—but I made her walk. Here—save it with the rest.
JULIE
This makes three gulden, forty-six.
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?
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 Monday 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.]
MOTHERHOLLUNDER
[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.
JULIE
Is that water for the soup?
MOTHERHOLLUNDER
The carpenter was here. There’s amanfor you! Dark, handsome, lots of hair, a respectable widower with two children—and money, and a good paying business.
JULIE
[ToMARIE.] It’s three gulden sixty-six, not forty-six.
MARIE
Yes, that’s what I make it—sixty-six.
MOTHERHOLLUNDER
He wants to take her out of this and marry her. This is the fifth time he’s been here. He has two children, but——
JULIE
Please don’t bother, Aunt Hollunder, I’ll get the water myself.
MOTHERHOLLUNDER
He’s waiting outside now.
JULIE
Send him away.
MOTHERHOLLUNDER
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?
JULIE
Yes.
MARIE
Why don’t you?
JULIE
Because——
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.
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!
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
[ToJULIE.] 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
[ToJULIE.] 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.JULIEstarts 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 fromthe customers. [JULIEpauses 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. [JULIEdoes 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, forLILIOMandFICSURhave entered.]
JULIE
Mrs. Muskat is here.
LILIOM
I see she is.
JULIE
You might say good-morning.
LILIOM
What for? And what doyouwant, 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.FICSURshambles from place to place, his eyes cast down as if he were searching for something on the floor.]
MRS. MUSKAT
[Suddenly, toFICSUR.] 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 whenIwas 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 atLILIOM.]
LILIOM
[ToJULIE.] Ask your aunt if I can have a cup of coffee. [JULIEexits 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 youdomiss 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 yourart, the only thing you’re fit for. You are an artist, not a respectable married man.
LILIOM
Leaveher—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.JULIEenters, carrying a cup of coffee.MRS. MUSKATremoves her hand fromLILIOM’Shead. 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.FICSURappears at the open window and looks in.]
LILIOM
Ficsur! [FICSURsticks 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’Shead is quickly withdrawn.MRS. MUSKATreënters.]
MRS. MUSKAT
Has she gone?
LILIOM
Yes.
MRS. MUSKAT
I might as well give you ten kronen in advance. [Opens her purse.LILIOMtakes up his coffee cup.] Here you are. [She proffers some coins.LILIOMignores 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! [FICSURenters.] 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.
MOTHERHOLLUNDER
[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.]
MOTHERHOLLUNDER
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!
MOTHERHOLLUNDER
What now?
LILIOM
When your son was born—when you brought him into the world——
MOTHERHOLLUNDER
Well?
LILIOM
Nothing.
MOTHERHOLLUNDER
[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.
[FICSURvanishes. The organ in the distant carousel drones incessantly.LILIOMlistens 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.JULIEwatches him a moment, comes over to him and covers him with a shawl. Then she goeson tip-toe to the door at back and remains standing in the doorway, looking out and listening to the droning of the organ.]
THECURTAINFALLS