SCENE THREESCENE—The setting is the same, later that afternoon.LILIOMis sitting oppositeFICSUR,who is teaching him a song.JULIEhovers in the background, engaged in some household task.FICSURListen 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 hadHas 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 trailThe nicest girl you ever hadHas 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 toLILIOMand 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.LILIOMAnd does he always come that way?FICSURYes. Not along the embankment, but down below along the path across the fields. Since lastyear he’s been going alone. Before that he always used to have someone with him.LILIOMEvery Saturday?FICSUREvery Saturday.LILIOMAnd the money? Where does he keep it?FICSURIn a leather bag. The whole week’s pay for the workmen at the factory.LILIOMMuch?FICSURSixteen thousand kronen. Quite a haul, what?LILIOMWhat’s his name?FICSURLinzman. He’s a Jew.LILIOMThe cashier?FICSURYes—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.LILIOMDoes he have to be killed?FICSURNo, he doesn’thaveto be. He can give up the moneywithoutbeing killed—but most of these cashiers are peculiar—they’d rather be killed.[JULIEreënters, 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.]FICSURAnd the next verse is:“And when you’re in the prison cellThey’ll feed you bread and water.”FICSURANDLILIOM[Sing together.]“They’ll make your little sweetheart tellThem 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 policeThey’ll get you every time.”LILIOM[Sings alone.]“And when you’re in the prison cellThey’ll feed you bread and water——”[Breaks off asJULIEexits.]And when it’s done, do we start right off for America?FICSURNo.LILIOMWhat then?FICSURWe bury the money for six months. That’s the usual time. And after the sixth month we dig it up again.LILIOMAnd then?FICSURThen you go on living just as usual for six months more—you don’t touch a heller of the money.LILIOMIn six months the baby will be born.FICSURThen 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.LILIOMWhich of us goes up and talks to him?FICSUROne 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.LILIOMDo you hear that?FICSURWhat?LILIOMOutside . . . like the rattle of swords. [FICSURlistens. After a pause,LILIOMcontinues.] What do I say to him?FICSURYou say good evening to him and: “Excuse me, sir; can you tell me the time?”LILIOMAnd then what?FICSURBy that time I’ll have stuck him—and then you takeyourknife—— [He stops as aPOLICEMANenters at back.]POLICEMANGood-day!FICSUR, LILIOM[In unison.] Good-day!FICSUR[Calling toward the kitchen.] Hey, photographer, come out. . . . Here’s a customer. [There is a pause. ThePOLICEMANwaits.FICSURsings softly.]“And when you’re in the prison cellThey’ll feed you bread and waterThey’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 thePOLICEMANhear the words “the damn police.” As they sing,MRS. HOLLUNDERand her son enter.]POLICEMANDo you make cabinet photographs?YOUNGHOLLUNDERCertainly, sir. [Points to a rack of photographs on the wall.] Take your choice, sir. Would you like one full length?POLICEMANYes, full length. [MOTHERHOLLUNDERpushes out the camera while her son poses thePOLICEMAN,runs from him to the camera and back again, now altering the pose, now ducking under the black cloth and pushing the camera nearer. MeanwhileMOTHERHOLLUNDERhas fetched a plate from the dark room and thrust it in the camera. While this is going on,LILIOMandFICSUR,their heads together, speak in very low tones.]LILIOMBelong around here?FICSURNot around here.LILIOMWhere, then?FICSURSuburban. [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.LILIOMWhat’s over there?FICSUR[Virtuously.] Factories . . . industries——YOUNGHOLLUNDER[To thePOLICEMAN.] Now, quite still, please. One, two, three. [Deftly removes the cover of the lens and in a few seconds restores it.] Thank you.MOTHERHOLLUNDERThe picture will be ready in five minutes.POLICEMANGood. I’ll come back in five minutes. How much do I owe you?YOUNGHOLLUNDER[With exaggerated deference.] You don’t need to pay in advance, Mr. Commissioner. [ThePOLICEMANsalutes condescendingly and exits at back.MOTHERHOLLUNDERcarries the plate into the dark room.YOUNGHOLLUNDER,after pushing the camera back in place, follows her.]MOTHERHOLLUNDER[Muttering angrily as she passesFICSURandLILIOM.] 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? [ConfrontingFICSURsuddenly.] 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.]LILIOMThey like Hollinger at the carousel?FICSURI should say they do.LILIOMDid you see the Muskat woman, too?FICSURSure. She takes care of Hollinger’s hair.LILIOMCombs his hair?FICSURShe fixes him all up.LILIOMLet her fix him all she likes.FICSUR[Urging him toward the kitchen door.] Go on. Now’s your chance.LILIOMWhat for?FICSURTo get the knife.LILIOMWhat knife?FICSURThe kitchen knife. I’ve got a pocket-knife, but if he shows fight, we’ll let him have the big knife.LILIOMWhat for? If he gets ugly, I’ll bat him one over the head that’ll make him squint for the rest of his life.FICSURYou’ve got to have something on you. You can’t slit his throat with a bat over the head.LILIOMMust his throat be slit?FICSURNo, itmustn’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.LILIOMIf I take the knife, Julie will see me.FICSURTake it so she won’t see you.LILIOM[Advances a few paces toward the kitchen. ThePOLICEMANenters at back.LILIOMknocks on the door of the dark room.] Here’s the policeman!MOTHERHOLLUNDER[Coming out.] One minute more, please. Just a minute. [She reënters the dark room.LILIOMhesitates a moment, then exits into the kitchen. ThePOLICEMANscrutinizesFICSURmockingly.FICSURreturns his stare, walks a few paces toward him, then deliberately turns his back. Suddenly he wheels around, points at thePOLICEMANand addresses him in a teasing, childish tone.] Christiana Street at the corner of Retti!POLICEMAN[Amazed, self-conscious.] How do you know that?FICSURI used to practice my profession in that neighborhood.POLICEMANWhat is your profession?FICSURProfessor of pianola—— [ThePOLICEMANglares, aware that the man is joking with him, twirls his moustache indignantly.YOUNGHOLLUNDERcomes out of the dark room and gives him the finished pictures.]YOUNGHOLLUNDERHere you are, sir. [ThePOLICEMANexamines the photographs, pays for them, starts to go, stops, glares atFICSURand exits. When he is gone,FICSURgoes to the doorway and looks out after him.YOUNGHOLLUNDERexits.LILIOMreënters, buttoning his coat.]FICSUR[Turns, seesLILIOM.] What are you staring at?LILIOMI’m not staring.FICSURWhat then are you doing?LILIOMI’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?FICSURHe won’t answer you.LILIOMDon’t you think so?FICSURNo. [Feeling for the knife underLILIOM’Scoat.] Where is it? Where did you put it?LILIOM[Stonily.] Left side.FICSURThat’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. [JULIEenters from the kitchen, passes them slowly, watching them in silent terror, then stops.FICSURnudgesLILIOM.] 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.” [JULIEgoes out at back.LILIOM’Sglance follows her. When she hasgone, he turns toFICSUR.] At night—in my dreams—if his ghost comes back—what will I do then?FICSURHis ghost won’t never come back.LILIOMWhy not?FICSURA Jew’s ghost don’t come back.LILIOMWell then—afterwards——FICSUR[Impatiently.] What do you mean—afterwards?LILIOMIn the next world—when I come up before the Lord God—what’ll I say then?FICSURThe likes of you will never come up before Him.LILIOMWhy not?FICSURHave you ever come up before the high court?LILIOMNo.FICSUROur kind comes up before the police magistrate—and the highest weeverget is the criminal court.LILIOMWill it be the same in the next world?FICSURJust the same. We’ll come up before a police magistrate, same as we did in this world.LILIOMA police magistrate?FICSURSure. 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——LILIOMFor us?FICSURFor 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.]FICSURWhat do you put your hand there for?LILIOMMy heart is jumping—under the knife.FICSURPut it on the other side then. [Looks out at the sky.] It’s time we started—we’ll walk slow——LILIOMIt’s too early.FICSURCome on. [As they are about to go,JULIEappears in the doorway at back, obstructing the way.]JULIEWhere are you going with him?LILIOMWhere am I going with him?JULIEStay home.LILIOMNo.JULIEStay home. It’s going to rain soon, and you’ll get wet.FICSURIt won’t rain.JULIEHow do you know?FICSURI always get notice in advance.JULIEStay home. This evening the carpenter’s coming. I’ve asked him to give you work.LILIOMI’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.LILIOMI’ve seen enough intended husbands——JULIEStay 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.FICSURComing or not?JULIEI’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?LILIOMLet 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——LILIOMGet out of the way! [JULIEstands aside.LILIOMexits.FICSURfollows him.JULIEremains standing meditatively in the doorway.MOTHERHOLLUNDERcomes out of the kitchen.]MOTHERHOLLUNDERI can’t find my kitchen knife anywhere. Have you seen anything of it?JULIE[Horrified.] No.MOTHERHOLLUNDERIt was on the kitchen table just a few minutes ago. No one was in there except Liliom.JULIEHe didn’t take it.MOTHERHOLLUNDERNo one else was in there.JULIEWhat would Liliom want with a kitchen knife?MOTHERHOLLUNDERHe’d sell it and spend the money on drink.JULIEIt 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.MOTHERHOLLUNDER[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 pauseMARIE,happy and beaming, appears in the doorway at back, and enters, followed byWOLF.]MARIEHere we are! [She takesWOLFby the hand and leads him, grinning shyly, toJULIE,who has turned at her call.] Hello!JULIEHello.MARIEWell, we’re here.JULIEYes.WOLF[Bows awkwardly and extends his hand.] My name is Wolf Beifeld.JULIEMy name is Julie Zeller. [They shake hands. There is an embarrassed silence. Then, to relieve the situation,WOLFtakesJULIE’Shand again and shakes it vigorously.]MARIEWell—this is Wolf.WOLFYes.JULIEYes. [Another awkward silence.]MARIEWhere is Liliom?WOLFYes, where is your husband?JULIEHe’s out.MARIEWhere?JULIEJust for a walk.MARIEIs he?JULIEYes.WOLFOh! [Another silence.]MARIEWolf’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.JULIEYes?WOLFThe 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.MARIEYes.WOLFWe’ve rented two rooms for ourselves to start with—and if things go well——MARIEThen we’ll buy a house in the country.WOLFIf 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.]MARIEWolf’s nice looking, isn’t he?JULIEYes.MARIEAnd he’s a good boy, Wolf.JULIEYes.MARIEThe only thing is—he’s a Jew.JULIEOh, well, you can get used to that.MARIEWell, aren’t you going to wish us luck?JULIEOf course I do. [She embracesMARIE.]MARIEAnd aren’t you going to kiss Wolf, too?JULIEHim, too. [She embracesWOLF,remains quite still a moment, her head resting on his shoulder.]WOLFWhy are you crying, my dear Mrs.—— [He looks questioningly atMARIEoverJULIE’Sshoulder.]MARIEBecause 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 beforeMOTHERHOLLUNDERand her son enter.YOUNGHOLLUNDERimmediately busies himself with the camera.]MOTHERHOLLUNDERNow if you don’t mind, we’ll do it right away, before it gets too dark. [She leadsMARIEandWOLFinto position before the background-screen. Here they immediately fall into an awkward pose, smiling mechanically.] Full length?MARIEPlease. Both figures full length.MOTHERHOLLUNDERBride and groom?MARIEYes.MOTHERHOLLUNDER, YOUNGHOLLUNDER[Speak in unison, in loud professionally-expressionless tones.] The lady looks at the gentleman and the gentleman looks straight into the camera.MOTHERHOLLUNDER[Poses firstMARIE,thenWOLF.] Now, if you please.YOUNGHOLLUNDER[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?JULIEYes, dear.YOUNGHOLLUNDERNow, 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 whichFICSURandLILIOMhave been singing. The refrain continues until the fall of the curtain. As he speaks the word “three” everybody is perfectly rigid saveJULIE,who lets her head sink slowly to the table. The distant refrain dies out.]THECURTAINFALLS
SCENE—The setting is the same, later that afternoon.LILIOMis sitting oppositeFICSUR,who is teaching him a song.JULIEhovers 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 hadHas 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.”
“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——”
“Look out, look out, my pretty lad.
The damn police——”
FICSUR, LILIOM
[Sing together.]
“Are on your trailThe nicest girl you ever hadHas now commenced to weep and wail.”
“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——”
“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 toLILIOMand 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 lastyear 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’thaveto be. He can give up the moneywithoutbeing killed—but most of these cashiers are peculiar—they’d rather be killed.
[JULIEreënters, 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 cellThey’ll feed you bread and water.”
“And when you’re in the prison cell
They’ll feed you bread and water.”
FICSURANDLILIOM
[Sing together.]
“They’ll make your little sweetheart tellThem 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 policeThey’ll get you every time.”
“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 cellThey’ll feed you bread and water——”
“And when you’re in the prison cell
They’ll feed you bread and water——”
[Breaks off asJULIEexits.]
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. [FICSURlistens. After a pause,LILIOMcontinues.] 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 takeyourknife—— [He stops as aPOLICEMANenters 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. ThePOLICEMANwaits.FICSURsings softly.]
“And when you’re in the prison cellThey’ll feed you bread and waterThey’ll make your little sweetheart tell.”
“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——”
“Them all the things you brought her.
Look out here comes the——”
[They hum the rest so as not to let thePOLICEMANhear the words “the damn police.” As they sing,MRS. HOLLUNDERand her son enter.]
POLICEMAN
Do you make cabinet photographs?
YOUNGHOLLUNDER
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. [MOTHERHOLLUNDERpushes out the camera while her son poses thePOLICEMAN,runs from him to the camera and back again, now altering the pose, now ducking under the black cloth and pushing the camera nearer. MeanwhileMOTHERHOLLUNDERhas fetched a plate from the dark room and thrust it in the camera. While this is going on,LILIOMandFICSUR,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——
YOUNGHOLLUNDER
[To thePOLICEMAN.] Now, quite still, please. One, two, three. [Deftly removes the cover of the lens and in a few seconds restores it.] Thank you.
MOTHERHOLLUNDER
The picture will be ready in five minutes.
POLICEMAN
Good. I’ll come back in five minutes. How much do I owe you?
YOUNGHOLLUNDER
[With exaggerated deference.] You don’t need to pay in advance, Mr. Commissioner. [ThePOLICEMANsalutes condescendingly and exits at back.MOTHERHOLLUNDERcarries the plate into the dark room.YOUNGHOLLUNDER,after pushing the camera back in place, follows her.]
MOTHERHOLLUNDER
[Muttering angrily as she passesFICSURandLILIOM.] 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? [ConfrontingFICSURsuddenly.] 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, itmustn’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. ThePOLICEMANenters at back.LILIOMknocks on the door of the dark room.] Here’s the policeman!
MOTHERHOLLUNDER
[Coming out.] One minute more, please. Just a minute. [She reënters the dark room.LILIOMhesitates a moment, then exits into the kitchen. ThePOLICEMANscrutinizesFICSURmockingly.FICSURreturns his stare, walks a few paces toward him, then deliberately turns his back. Suddenly he wheels around, points at thePOLICEMANand 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—— [ThePOLICEMANglares, aware that the man is joking with him, twirls his moustache indignantly.YOUNGHOLLUNDERcomes out of the dark room and gives him the finished pictures.]
YOUNGHOLLUNDER
Here you are, sir. [ThePOLICEMANexamines the photographs, pays for them, starts to go, stops, glares atFICSURand exits. When he is gone,FICSURgoes to the doorway and looks out after him.YOUNGHOLLUNDERexits.LILIOMreënters, buttoning his coat.]
FICSUR
[Turns, seesLILIOM.] 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 underLILIOM’Scoat.] 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. [JULIEenters from the kitchen, passes them slowly, watching them in silent terror, then stops.FICSURnudgesLILIOM.] Sing, come on, sing!
LILIOM
[In a quavering voice.]
“Look out for the damn police.”
“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.”
“Look out, look out, my pretty lad.”
LILIOM
“—look out, my pretty lad.” [JULIEgoes out at back.LILIOM’Sglance follows her. When she hasgone, he turns toFICSUR.] 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 weeverget 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,JULIEappears 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! [JULIEstands aside.LILIOMexits.FICSURfollows him.JULIEremains standing meditatively in the doorway.MOTHERHOLLUNDERcomes out of the kitchen.]
MOTHERHOLLUNDER
I can’t find my kitchen knife anywhere. Have you seen anything of it?
JULIE
[Horrified.] No.
MOTHERHOLLUNDER
It was on the kitchen table just a few minutes ago. No one was in there except Liliom.
JULIE
He didn’t take it.
MOTHERHOLLUNDER
No one else was in there.
JULIE
What would Liliom want with a kitchen knife?
MOTHERHOLLUNDER
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.
MOTHERHOLLUNDER
[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 pauseMARIE,happy and beaming, appears in the doorway at back, and enters, followed byWOLF.]
MARIE
Here we are! [She takesWOLFby the hand and leads him, grinning shyly, toJULIE,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,WOLFtakesJULIE’Shand 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 embracesMARIE.]
MARIE
And aren’t you going to kiss Wolf, too?
JULIE
Him, too. [She embracesWOLF,remains quite still a moment, her head resting on his shoulder.]
WOLF
Why are you crying, my dear Mrs.—— [He looks questioningly atMARIEoverJULIE’Sshoulder.]
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 beforeMOTHERHOLLUNDERand her son enter.YOUNGHOLLUNDERimmediately busies himself with the camera.]
MOTHERHOLLUNDER
Now if you don’t mind, we’ll do it right away, before it gets too dark. [She leadsMARIEandWOLFinto position before the background-screen. Here they immediately fall into an awkward pose, smiling mechanically.] Full length?
MARIE
Please. Both figures full length.
MOTHERHOLLUNDER
Bride and groom?
MARIE
Yes.
MOTHERHOLLUNDER, YOUNGHOLLUNDER
[Speak in unison, in loud professionally-expressionless tones.] The lady looks at the gentleman and the gentleman looks straight into the camera.
MOTHERHOLLUNDER
[Poses firstMARIE,thenWOLF.] Now, if you please.
YOUNGHOLLUNDER
[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.
YOUNGHOLLUNDER
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 whichFICSURandLILIOMhave been singing. The refrain continues until the fall of the curtain. As he speaks the word “three” everybody is perfectly rigid saveJULIE,who lets her head sink slowly to the table. The distant refrain dies out.]
THECURTAINFALLS