Chapter II: Part 2

But it's all on the tip of your tongue--I know you--now don't start or you'll get another. [_He paces angrily up and down. They are all a bit afraid of him, and shrink and look away as he passes them. FICSUR shambles from place to place, his eyes cast down as if he were searching for something on the floor._]

MRS. MUSKAT

[_Suddenly, to FICSUR._] You're always dragging him out to play cards and drink with you. I'll have you locked up, I will.

FICSUR

I don't want to talk to you. You're too common. [_He goes out by the door at back and lingers there in plain view. There is a pause._]

JULIE

Mrs. Muskat is here.

LILIOM

Well, why doesn't she open her mouth, if she has anything to say?

MRS. MUSKAT

Why do you go around with this man Ficsur? He'll get you mixed up in one of his robberies first thing you know.

LILIOM

What's it to you who I go with? I do what I please. What do you want?

MRS. MUSKAT

You know what I want.

LILIOM

No, I don't.

MRS. MUSKAT

What do you suppose I want? Think I've come just to pay a social call?

LILIOM

Do I owe you anything?

MRS. MUSKAT

Yes, you do--but that's not what I came for. You're a fine one to come to for money! You earn so much these days! You know very well what I'm here for.

LILIOM

You've got Hollinger at the carousel, haven't you?

MRS. MUSKAT

Sure I have.

LILIOM

Well, what else do you want? He's as good as I am.

MRS. MUSKAT

You're quite right, my boy. He's every bit as good as you are. I'd not dream of letting him go. But one isn't enough any more. There's work enough for two----

LILIOM

One was enough when _I_ was there.

MRS. MUSKAT

Well, I might let Hollinger go----

LILIOM

Why let him go, if he's so good?

MRS. MUSKAT

[_Shrugs her shoulders._] Yes, he's good. [_Not once until now has she looked at LILIOM._]

LILIOM

[_To JULIE._] Ask your aunt if I can have a cup of coffee. [_JULIE exits into the kitchen._] So Hollinger is good, is he?

MRS. MUSKAT

[_Crosses to him and looks him, in the face._] Why don't you stay home and sleep at night? You're a sight to look at.

LILIOM

He's good, is he?

MRS. MUSKAT

Push your hair back from your forehead.

LILIOM

Let my hair be. It's nothing to you.

MRS. MUSKAT

All right. But if I'd told you to let it hang down over your eyes you'd have pushed it back--I hear you've been beating her, this--this----

LILIOM

None of your business.

MRS. MUSKAT

You're a fine fellow! Beating a skinny little thing like that! If you're tired of her, leave her, but there's no use beating the poor----

LILIOM

Leave her, eh? You'd like that, wouldn't you?

MRS. MUSKAT

Don't flatter yourself. [_Quite embarrassed._] Serves me right, too. If I had any sense I wouldn't have run after you---- My God, the things one must do for the sake of business! If I could only sell the carousel I wouldn't be sitting here. . . . Come, Liliom, if you have any sense, you'll come back. I'll pay you well.

LILIOM

The carousel is crowded just the same . . . _without me?_

MRS. MUSKAT

Crowded, yes--but it's not the same.

LILIOM

Then you admit that you _do_ miss me.

MRS. MUSKAT

Miss you? Not I. But the silly girls miss you. They're always asking for you. Well, are you going to be sensible and come back?

LILIOM

And leave--her?

MRS. MUSKAT

You beat her, don't you?

LILIOM

No, I don't beat her. What's all this damn fool talk about beating her? I hit her once--that was all--and now the whole city seems to be talking about it. You don't call that beating her, do you?

MRS. MUSKAT

All right, all right. I take it back. I don't want to get mixed up in it.

LILIOM

Beating her! As if I'd beat her----

MRS. MUSKAT

I can't make out why you're so concerned about her. You've been married to her two months--it's plain to see that you're sick of it--and out there is the carousel--and the show booths--and money--and you'd throw it all away. For what? Heavens, how can anyone be such a fool? [_Looks at him appraisingly._] Where have you been all night? You look awful.

LILIOM

It's no business of yours.

MRS. MUSKAT

You never used to look like that. This life is telling on you. [_Pauses._] Do you know--I've got a new organ.

LILIOM

[_Softly._] I know.

MRS. MUSKAT

How did you know?

LILIOM

You can hear it--from here.

MRS. MUSKAT

It's a good one, eh?

LILIOM

[_Wistfully._] Very good. Fine. It roars and snorts--so fine.

MRS. MUSKAT

You should hear it close by--it's heavenly. Even the carousel seems to know . . . it goes quicker. I got rid of those two horses--you know, the ones with the broken ears?

LILIOM

What have you put in their place?

MRS. MUSKAT

Guess.

LILIOM

Zebras?

MRS. MUSKAT

No--an automobile.

LILIOM

[_Transported._] An automobile----

MRS. MUSKAT

Yes. If you've got any sense you'll come back. What good are you doing here? Out there is your _art_, the only thing you're fit for. You are an artist, not a respectable married man.

LILIOM

_Leave_ her--this little----

MRS. MUSKAT

She'll be better off. She'll go back and be a servant girl again. As for you--you're an artist and you belong among artists. All the beer you want, cigars, a krone a day and a gulden on Sunday, and the girls, Liliom, the girls--I've always treated you right, haven't I? I bought you a watch, and----

LILIOM

She's not that kind. She'd never be a servant girl again.

MRS. MUSKAT

I suppose you think she'd kill herself. Don't worry. Heavens, if every girl was to commit suicide just because her---- [_Finishes with a gesture._]

LILIOM

[_Stares at her a moment, considering, then with sudden, smiling animation._] So the people don't like Hollinger?

MRS. MUSKAT

You know very well they don't, you rascal.

LILIOM

Well----

MRS. MUSKAT

You've always been happy at the carousel. It's a great life--pretty girls and beer and cigars and music--a great life and an easy one. I'll tell you what--come back and I'll give you a ring that used to belong to my dear departed husband. Well, will you come?

LILIOM

She's not that kind. She'd never be a servant girl again. But--but--for my part--if I decide--that needn't make any difference. I can go on living with her even if I do go back to my art----

MRS. MUSKAT

My God!

LILIOM

What's the matter?

MRS. MUSKAT

Who ever heard of a married man--I suppose you think all girls would be pleased to know that you were running home to your wife every night. It's ridiculous! When the people found out they'd laugh themselves sick----

LILIOM

I know what you want.

MRS. MUSKAT

[_Refuses to meet his gaze._] You flatter yourself.

LILIOM

You'll give me that ring, too?

MRS. MUSKAT

[_Pushes the hair back from his forehead._] Yes.

LILIOM

I'm not happy in this house.

MRS. MUSKAT

[_Still stroking his hair._] Nobody takes care of you. [_They are silent. JULIE enters, carrying a cup of coffee. MRS. MUSKAT removes her hand from LILIOM'S head. There is a pause._]

LILIOM

Do you want anything?

JULIE

No. [_There is a pause. She exits slowly into the kitchen._]

MRS. MUSKAT

The old woman says there is a carpenter, a widower, who----

LILIOM

I know--I know----

JULIE

[_Reëntering._] Liliom, before I forget, I have something to tell you.

LILIOM

All right.

JULIE

I've been wanting to tell you--in fact, I was going to tell you yesterday----

LILIOM

Go ahead.

JULIE

But I must tell you alone--if you'll come in--it will only take a minute.

LILIOM

Don't you see I'm busy now? Here I am talking business and you interrupt with----

JULIE

It'll only take a minute.

LILIOM

Get out of here, or----

JULIE

But I tell you it will only take a minute----

LILIOM

Will you get out of here?

JULIE

[_Courageously._] No.

LILIOM

[_Rising._] What's that!

JULIE

No.

MRS. MUSKAT

[_Rises, too._] Now don't start fighting. I'll go out and look at the photographs in the show-case a while and come back later for your answer. [_She exits at back._]

JULIE

You can hit me again if you like--don't look at me like that. I'm not afraid of you. . . . I'm not afraid of anyone. I told you I had something to tell you.

LILIOM

Well, out with it--quick.

JULIE

I can't tell you so quick. Why don't you drink your coffee?

LILIOM

Is that what you wanted to tell me?

JULIE

No. By the time you've drunk your coffee I'll have told you.

LILIOM

[_Gets the coffee and sips it._] Well?

JULIE

Yesterday my head ached--and you asked me----

LILIOM

Yes----

JULIE

Well--you see--that's what it is----

LILIOM

Are you sick?

JULIE

No. . . . But you wanted to know what my headaches came from--and you said I seemed--changed.

LILIOM

Did I? I guess I meant the carpenter.

JULIE

I've been--what? The carpenter? No. It's something entirely different--it's awful hard to tell--but you'll have to know sooner or later--I'm not a bit--scared--because it's a perfectly natural thing----

LILIOM

[_Puts the coffee cup on the table._] What?

JULIE

When--when a man and woman--live together----

LILIOM

Yes.

JULIE

I'm going to have a baby. [_She exits swiftly at back. There is a pause. FICSUR appears at the open window and looks in._]

LILIOM

Ficsur! [_FICSUR sticks his head in._] Say, Ficsur,--Julie is going to have a baby.

FICSUR

Yes? What of it?

LILIOM

Nothing. [_Suddenly._] Get out of here. [_FICSUR'S head is quickly withdrawn. MRS. MUSKAT reënters._]

MRS. MUSKAT

Has she gone?

LILIOM

Yes.

MRS. MUSKAT

I might as well give you ten kronen in advance. [_Opens her purse. LILIOM takes up his coffee cup._] Here you are. [_She proffers some coins. LILIOM ignores her._] Why don't you take it?

LILIOM

[_Very nonchalantly, his cup poised ready to drink._] Go home, Mrs. Muskat.

MRS. MUSKAT

What's the matter with you?

LILIOM

Go home [_sips his coffee_] and let me finish my coffee in peace. Don't you see I'm at breakfast?

MRS. MUSKAT

Have you gone crazy?

LILIOM

Will you get out of here? [_Turns to her threateningly._]

MRS. MUSKAT

[_Restoring the coins to her purse._] I'll never speak to you again as long as you live.

LILIOM

That worries me a lot.

MRS. MUSKAT

Good-bye!

LILIOM

Good-bye. [_As she exits, he calls._] Ficsur! [_FICSUR enters._] Tell me, Ficsur. You said you knew a way to get a whole lot of money----

FICSUR

Sure I do.

LILIOM

How much?

FICSUR

More than you ever had in your life before. You leave it to an old hand like me.

MOTHER HOLLUNDER

[_Enters from the kitchen._] In the morning he must have his coffee, and at noon his soup, and in the evening coffee again--and plenty of firewood--and I'm expected to furnish it all. Give me back my cup and saucer.

[_The show booths of the amusement-park have opened for business. The familiar noises begin to sound; clear above them all, but far in the distance, sounds the organ of the carousel._]

LILIOM

Now, Aunt Hollunder. [_From now until the fall of the curtain it is apparent that the sound of the organ makes him more and more uneasy._]

MOTHER HOLLUNDER

And you, you vagabond, get out of here this minute or I'll call my son----

FICSUR

I have nothing to do with the likes of him. He's too common. [_But he slinks out at back._]

LILIOM

Aunt Hollunder!

MOTHER HOLLUNDER

What now?

LILIOM

When your son was born--when you brought him into the world----

MOTHER HOLLUNDER

Well?

LILIOM

Nothing.

MOTHER HOLLUNDER

[_Muttering as she exits._] Sleep it off, you good-for-nothing lout. Drink and play cards all night long--that's all you know how to do--and take the bread out of poor people's mouths--you can do that, too. [_She exits._]

LILIOM

Ficsur!

FICSUR

[_At the window._] Julie's going to have a baby. You told me before.

LILIOM

This scheme--about the cashier of the leather factory--there's money in it----

FICSUR

Lots of money--but--it takes two to pull it off.

LILIOM

[_Meditatively._] Yes. [_Uneasily._] All right, Ficsur. Go away--and come back later.

[_FICSUR vanishes. The organ in the distant carousel drones incessantly. LILIOM listens a while, then goes to the door and calls._]

LILIOM

Aunt Hollunder! [_With naïve joy._] Julie's going to have a baby. [_Then he goes to the window, jumps on the sofa, looks out. Suddenly, in a voice that overtops the droning of the organ, he shouts as if addressing the far-off carousel._] I'm going to be a father.

JULIE

[_Enters from the kitchen._] Liliom! What's the matter? What's happened?

LILIOM

[_Coming down from the sofa._] Nothing. [_Throws himself on the sofa, buries his face in the cushion. JULIE watches him a moment, comes over to him and covers him with a shawl. Then she goes on tip-toe to the door at back and remains standing in the doorway, looking out and listening to the droning of the organ._]

THE CURTAIN FALLS

SCENE THREE

SCENE--_The setting is the same, later that afternoon. LILIOM is sitting opposite FICSUR, who is teaching him a song. JULIE hovers in the background, engaged in some household task._

FICSUR

Listen now. Here's the third verse. [_Sings hoarsely._]

"Look out, look out, my pretty lad.
The damn police are on your trail;
The nicest girl you ever had
Has now commenced to weep and wail:
Look out here comes the damn police,
The damn police,
The damn police,
Look out here comes the damn police,
They'll get you every time."

LILIOM

[_Sings._]

"Look out, look out, my pretty lad.
The damn police----"

FICSUR, LILIOM

[_Sing together._]

"Are on your trail
The nicest girl you ever had
Has now commenced to weep and wail."

LILIOM

[_Alone._]

"Look out here comes the damn police,
The damn police,
The damn police----"

[_JULIE, troubled and uneasy, looks from one to the other, then exits into the kitchen._]

FICSUR

[_When she has gone, comes quickly over to LILIOM and speaks furtively._] As you go down Franzen Street you come to the railroad embankment. Beyond that--all the way to the leather factory--there's not a thing in sight, not even a watchman's hut.

LILIOM

And does he always come that way?

FICSUR

Yes. Not along the embankment, but down below along the path across the fields. Since last year he's been going alone. Before that he always used to have someone with him.

LILIOM

Every Saturday?

FICSUR

Every Saturday.

LILIOM

And the money? Where does he keep it?

FICSUR

In a leather bag. The whole week's pay for the workmen at the factory.

LILIOM

Much?

FICSUR

Sixteen thousand kronen. Quite a haul, what?

LILIOM

What's his name?

FICSUR

Linzman. He's a Jew.

LILIOM

The cashier?

FICSUR

Yes--but when he gets a knife between his ribs--or if I smash his skull for him--he won't be a cashier any more.

LILIOM

Does he have to be killed?

FICSUR

No, he doesn't _have_ to be. He can give up the money _without_ being killed--but most of these cashiers are peculiar--they'd rather be killed.

[_JULIE reënters, pretends to get something on the other side of the room, then exits at back. During the ensuing dialogue she keeps coming in and out in the same way, showing plainly that she is suspicious and anxious. She attempts to overhear what they are saying and, in spite of their caution, does catch a word here and there, which adds to her disquiet. FICSUR, catching sight of her, abruptly changes the conversation._]

FICSUR

And the next verse is:

"And when you're in the prison cell
They'll feed you bread and water."

FICSUR AND LILIOM

[_Sing together._]

"They'll make your little sweetheart tell
Them all the things you brought her.
Look out here comes the damn police,
The damn police,
The damn police.
Look out here comes the damn police
They'll get you every time."

LILIOM

[_Sings alone._]

"And when you're in the prison cell
They'll feed you bread and water----"

[_Breaks off as JULIE exits._]

And when it's done, do we start right off for America?

FICSUR

No.

LILIOM

What then?

FICSUR

We bury the money for six months. That's the usual time. And after the sixth month we dig it up again.

LILIOM

And then?

FICSUR

Then you go on living just as usual for six months more--you don't touch a heller of the money.

LILIOM

In six months the baby will be born.

FICSUR

Then we'll take the baby with us, too. Three months before the time you'll go to work so as to be able to say you saved up your wages to get to America.

LILIOM

Which of us goes up and talks to him?

FICSUR

One of us talks to him with his mouth and the other talks with his knife. Depends on which you'd rather do. I'll tell you what--you talk to him with your mouth.

LILIOM

Do you hear that?

FICSUR

What?

LILIOM

Outside . . . like the rattle of swords. [_FICSUR listens. After a pause, LILIOM continues._] What do I say to him?

FICSUR

You say good evening to him and: "Excuse me, sir; can you tell me the time?"

LILIOM

And then what?

FICSUR

By that time I'll have stuck him--and then you take _your_ knife---- [_He stops as a POLICEMAN enters at back._]

POLICEMAN

Good-day!

FICSUR, LILIOM

[_In unison._] Good-day!

FICSUR

[_Calling toward the kitchen._] Hey, photographer, come out. . . . Here's a customer. [_There is a pause. The POLICEMAN waits. FICSUR sings softly._]

"And when you're in the prison cell
They'll feed you bread and water
They'll make your little sweetheart tell."

LILIOM, FICSUR

[_Sing together, low._]

"Them all the things you brought her.
Look out here comes the----"

[_They hum the rest so as not to let the POLICEMAN hear the words "the damn police." As they sing, MRS. HOLLUNDER and her son enter._]

POLICEMAN

Do you make cabinet photographs?

YOUNG HOLLUNDER

Certainly, sir. [_Points to a rack of photographs on the wall._] Take your choice, sir. Would you like one full length?

POLICEMAN

Yes, full length. [_MOTHER HOLLUNDER pushes out the camera while her son poses the POLICEMAN, runs from him to the camera and back again, now altering the pose, now ducking under the black cloth and pushing the camera nearer. Meanwhile MOTHER HOLLUNDER has fetched a plate from the dark room and thrust it in the camera. While this is going on, LILIOM and FICSUR, their heads together, speak in very low tones._]

LILIOM

Belong around here?

FICSUR

Not around here.

LILIOM

Where, then?

FICSUR

Suburban. [_There is a pause._]

LILIOM

[_Bursts out suddenly in a rather grotesquely childish and overstrained lament._] O God, what a dirty life I'm leading--God, God!

FICSUR

[_Reassuring him benevolently._] Over in America it will be better, all right.

LILIOM

What's over there?

FICSUR

[_Virtuously._] Factories . . . industries----

YOUNG HOLLUNDER

[_To the POLICEMAN._] Now, quite still, please. One, two, three. [_Deftly removes the cover of the lens and in a few seconds restores it._] Thank you.

MOTHER HOLLUNDER

The picture will be ready in five minutes.

POLICEMAN

Good. I'll come back in five minutes. How much do I owe you?

YOUNG HOLLUNDER

[_With exaggerated deference._] You don't need to pay in advance, Mr. Commissioner. [_The POLICEMAN salutes condescendingly and exits at back. MOTHER HOLLUNDER carries the plate into the dark room. YOUNG HOLLUNDER, after pushing the camera back in place, follows her._]

MOTHER HOLLUNDER

[_Muttering angrily as she passes FICSUR and LILIOM._] You hang around and dirty the whole place up! Why don't you go take a walk? Things are going so well with you that you have to sing, eh? [_Confronting FICSUR suddenly._] Weren't you frightened sick when you saw the policeman?

FICSUR

[_With loathing._] Go 'way, or I'll step on you. [_She exits into the dark room._]

LILIOM

They like Hollinger at the carousel?

FICSUR

I should say they do.

LILIOM

Did you see the Muskat woman, too?

FICSUR

Sure. She takes care of Hollinger's hair.

LILIOM

Combs his hair?

FICSUR

She fixes him all up.

LILIOM

Let her fix him all she likes.

FICSUR

[_Urging him toward the kitchen door._] Go on. Now's your chance.

LILIOM

What for?

FICSUR

To get the knife.

LILIOM

What knife?

FICSUR

The kitchen knife. I've got a pocket-knife, but if he shows fight, we'll let him have the big knife.

LILIOM

What for? If he gets ugly, I'll bat him one over the head that'll make him squint for the rest of his life.

FICSUR

You've got to have something on you. You can't slit his throat with a bat over the head.

LILIOM

Must his throat be slit?

FICSUR

No, it _mustn't._ But if he asks for it. [_There is a pause._] You'd like to sail on the big steamer, wouldn't you? And you want to see the factories over there, don't you? But you're not willing to inconvenience yourself a little for them.

LILIOM

If I take the knife, Julie will see me.

FICSUR

Take it so she won't see you.

LILIOM

[_Advances a few paces toward the kitchen. The POLICEMAN enters at back. LILIOM knocks on the door of the dark room._] Here's the policeman!

MOTHER HOLLUNDER

[_Coming out._] One minute more, please. Just a minute. [_She reënters the dark room. LILIOM hesitates a moment, then exits into the kitchen. The POLICEMAN scrutinizes FICSUR mockingly. FICSUR returns his stare, walks a few paces toward him, then deliberately turns his back. Suddenly he wheels around, points at the POLICEMAN and addresses him in a teasing, childish tone._] Christiana Street at the corner of Retti!

POLICEMAN

[_Amazed, self-conscious._] How do you know that?

FICSUR

I used to practice my profession in that neighborhood.

POLICEMAN

What is your profession?

FICSUR

Professor of pianola---- [_The POLICEMAN glares, aware that the man is joking with him, twirls his moustache indignantly. YOUNG HOLLUNDER comes out of the dark room and gives him the finished pictures._]

YOUNG HOLLUNDER

Here you are, sir. [_The POLICEMAN examines the photographs, pays for them, starts to go, stops, glares at FICSUR and exits. When he is gone, FICSUR goes to the doorway and looks out after him. YOUNG HOLLUNDER exits. LILIOM reënters, buttoning his coat._]

FICSUR

[_Turns, sees LILIOM._] What are you staring at?

LILIOM

I'm not staring.

FICSUR

What then are you doing?

LILIOM

I'm thinking it over.

FICSUR

[_Comes very close to him._] Tell me then--what will you say to him?

LILIOM

[_Unsteadily._] I'll say--"Good evening--Excuse me, sir--Can you tell me the time?" And suppose he answers me, what do I say to him?

FICSUR

He won't answer you.

LILIOM

Don't you think so?

FICSUR

No. [_Feeling for the knife under LILIOM'S coat._] Where is it? Where did you put it?

LILIOM

[_Stonily._] Left side.

FICSUR

That's right--over your heart. [_Feels it._] Ah--there it is--there--there's the blade--quite a big fellow, isn't it--ah, here it begins to get narrower. [_Reaches the tip of the knife._] And here is its eye--that's what it sees with. [_JULIE enters from the kitchen, passes them slowly, watching them in silent terror, then stops. FICSUR nudges LILIOM._] Sing, come on, sing!

LILIOM

[_In a quavering voice._]

"Look out for the damn police."

FICSUR

[_Joining in, cheerily, loudly, marking time with the swaying of his body._]

"Look out, look out, my pretty lad."

LILIOM

"--look out, my pretty lad." [_JULIE goes out at back. LILIOM'S glance 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

[_Raises himself with difficulty; speaks lightly at first, but later soberly, defiantly._] Little--Julie--there's something--I want to tell you--like when you go to a restaurant--and you've finished eating--and it's time--to pay--then you have to count up everything--everything you owe--well--I beat you--not because I was mad at you--no--only because I can't bear to see anyone crying. You always cried--on my account--and, well, you see,--I never learned a trade--what kind of a caretaker would I make? But anyhow--I wasn't going back to the carousel to fool with the girls. No, I spit on them all--understand?

JULIE

Yes.

LILIOM

And--as for Hollinger--he's good enough--Mrs. Muskat can get along all right with him. The jokes he tells are mine--and the people laugh when he tells them--but I don't care.--I didn't give you anything--no home--not even the food you ate--but you don't understand.--It's true I'm not much good--but I couldn't be a caretaker--and so I thought maybe it would be better over there--in America--do you see?

JULIE

Yes.

LILIOM

I'm not asking--forgiveness--I don't do that--I don't. Tell the baby--if you like.

JULIE

Yes.

LILIOM

Tell the baby--I wasn't much good--but tell him--if you ever talk about me--tell him--I thought--perhaps--over in America--but that's no affair of yours. I'm not asking forgiveness. For my part the police can come now.--If it's a boy--if it's a girl.--Perhaps I'll see the Lord God today.--Do you think I'll see Him?

JULIE

Yes.

LILIOM

I'm not afraid--of the police Up There--if they'll only let me come up in front of the Lord God Himself--not like down here where an officer stops you at the door. If the carpenter asks you--yes--be his wife--marry him. And the child--tell him he's his father.--He'll believe you--won't he?

JULIE

Yes.

LILIOM

When I beat you--I was right.--You mustn't always think--you mustn't always be right.--Liliom can be right once, too.--It's all the same to me who was right.--It's so dumb. Nobody's right--but they all think they are right.--A lot they know!

JULIE

Yes.

LILIOM

Julie--come--hold my hand tight.

JULIE

I'm holding it tight--all the time.

LILIOM

Tighter, still tighter--I'm going---- [_Pauses._] Julie----

JULIE

Good-bye. [_LILIOM sinks slowly back and dies. JULIE frees her hand. THE DOCTOR enters with the FIRST POLICEMAN._]

DOCTOR

Good evening. His wife?

JULIE

Yes, sir. [_Behind the DOCTOR and POLICEMAN enter MARIE, WOLF, MOTHER HOLLUNDER, YOUNG HOLLUNDER and MRS. MUSKAT. They remain respectfully at the doorway. The DOCTOR bends over LILIOM and examines him._]

DOCTOR

A light, if you please. [_JULIE fetches a burning candle from the dark room. The DOCTOR examines LILIOM briefly in the candle-light, then turns suddenly away._] Have you pen and ink?

WOLF

[_Proffering a pen._] A fountain-pen--American----

DOCTOR

[_Takes a printed form from his pocket; speaks as he writes out the death-certificate at the little table._] My poor woman, your husband is dead--there's nothing to be done for him--the good God will help him now--I'll leave this certificate with you. You will give it to the people from the hospital when they come--I'll arrange for the body to be removed at once. [_Rises._] Please give me a towel and soap.

POLICEMAN

I've got them for you out here, sir. [_Points to door at back._]

DOCTOR

God be with you, my good woman.

JULIE

Thank you, sir. [_The DOCTOR and POLICEMAN exit. The others slowly draw nearer._]

MARIE

Poor Julie. May he rest in peace, poor man, but as for you--please don't be angry with me for saying it--but you're better off this way.

MOTHER HOLLUNDER

He is better off, the poor fellow, and so are you.

MARIE

Much better, Julie . . . you are young . . . and one of these days some good man will come along. Am I right?

WOLF

She's right.

MARIE

Julie, tell me, am I right?

JULIE

You are right, dear; you are very good.

YOUNG HOLLUNDER

There's a good man--the carpenter. Oh, I can speak of it now. He comes here every day on some excuse or other--and he never fails to ask for you.

MARIE

A widower--with two children.

MOTHER HOLLUNDER

He's better off, poor fellow--and so are you. He was a bad man.

MARIE

He wasn't good-hearted. Was he, Wolf?

WOLF

No, I must say, he really wasn't. No, Liliom wasn't a good man. A good man doesn't strike a woman.

MARIE

Am I right? Tell me, Julie, am I right?

JULIE

You are right, dear.

YOUNG HOLLUNDER

It's really a good thing for her it happened.

MOTHER HOLLUNDER

He's better off--and so is she.

WOLF

Now you have your freedom again. How old are you?

JULIE

Eighteen.

WOLF

Eighteen. A mere child! Am I right?

JULIE

You are right, Wolf. You are kind.

YOUNG HOLLUNDER

Lucky for you it happened, isn't it?

JULIE

Yes.

YOUNG HOLLUNDER

All you had before was bad luck. If it weren't for my mother you wouldn't have had a roof over your head or a bite to eat--and now Autumn's coming and Winter. You couldn't have lived in this shack in the Winter time, could you?

MARIE

Certainly not! You'd have frozen like the birds in the fields. Am I right, Julie?

JULIE

Yes, Marie.

MARIE

A year from now you will have forgotten all about him, won't you?

JULIE

You are right, Marie.

WOLF

If you need anything, count on us. We'll go now. But tomorrow morning we'll be back. Come, Marie. God be with you. [_Offers JULIE his hand._]

JULIE

God be with you.

MARIE