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