THE BLUE ANGEL

version by Pam Gems

from the novel `Professor Unraat'

by Heinrich Mann

Copyright © Pam Gems
Pam Gems is hereby identified as author of this work in accordance with section 77 of the Copyright, Designs and Patents Act 1988. The author has asserted her moral rights. 

All rights whatsoever in this play are strictly reserved and application for performance etc. should be made before rehearsal to Rose Cobbe, United Agents, 12-26 Lexington Street, London W1F 0LE, UK. Tel: +44 (0) 20 3214 0800.
http://unitedagents.co.uk/agents/rose-cobbe/. Assistant: Dan Usztan. Email: dusztan@unitedagents.co.uk Tel: +44 (0) 20 3214 0873. No performance may be given unless a licence has been obtained.

THE BLUE ANGEL

CAST

			LOLA
			PROFESSOR IMMANUEL RAAT
			FRIEDRICH BOMBLER
			MAI, his wife
			HERMINE, their daughter
			BERTHA
			TUMTUM
			KLAUS, strong man
			DIETER, clown
			DUTCH CAPTAIN
			HANS
			PAUL, Baron von Eberhardt
			LUTZ
			HEADMASTER
			JANITOR
			FRAU PFLUG
			JUDGE
			MAYOR
			HERR PRESSMAN
			POLICEMAN
			WAITER
			DOKTOR LIPPMANN
			HANNALIESE (LIESEL)
			COBBLER
			COBBLER'S WIFE
			WOMAN OF THE STREETS
			WAITRESS

THE BLUE ANGEL

ACT ONE.  SCENE ONE.

THE BLUE ANGEL.  The sounds of a band tuning up, with loud brass sounds dominant.

Suddenly the troupe erupts onstage.  DIETER, the Auguste, carries a small violin and mimes in ecstasy.  KLAUS, the strong man, bends bars.  HERR BOMBLER, the manager, does conjuring tricks, assisted by MAI, his wife, and HERMINE, his adolescent daughter.  The two fat girls, BERTHA and TUMTUM, do a tap dance, getting in everyone's way and stopping unselfconsciously to get their breath, BERTHA holding her side as she gets a stitch.  HERMINE drops something.  BOMBLER, finishing despite HERMINE, signs for KLAUS to do his `escape', while DIETER `presents'.

			BOMBLER
		Hoop-la...and Hoop-La!  (He crosses, mutters to MAI)  Where's Lola?

			MAI
		(Grabbing a quick gin)  How the devil should I know?

She hurtles back onstage.  BOMBLER crosses to the dressing area.  He grabs a bag of large buns from the table, thrusts the bag at BERTHA.

			BOMBLER
		Come on, you two, eat up.

			BERTHA
		(Hoarse)  Oh, not again, Guv!

			TUMTUM
		(Takes a bun obediently)  We'll get fat, Uncle.

BOMBLER lifts his eyes heavenwards, snatching the bag away from HERMINE.  To TUMTUM.

			BOMBLER
		You lose weight, you lose your job - where's Lola?

DIETER, as the routine ends, crosses to dressing area as the BAND plays loudly and KLAUS breaks chains.  DIETER looks off at BOMBLER'S request.

			BOMBLER
		Give her a shout -

DIETER looks at him blankly.

			BOMBLER
		What are you waiting for?

DIETER goes.
			BOMBLER
		Is he deaf as well as dumb?

			TUMTUM
		Uncle Fred, don't -

			HERMINE
		Daddy!

			BERTHA
		Come on, guv, you know how Dieter feels about Lola.

			BOMBLER
		More fool him...oh, no...

He turns, irritable, as three students, PAUL, HANS and LUTZ wander in.  TUMTUM and HERMINE squeal, BERTHA tries to shove them out genially.  PAUL, slightly apart, smiles as HANS evades the girls, flops onto a basket and ostentatiously lights a cigarette.

			HANS
		Miss Lola in yet?

			BOMBLER
		She's just about to sing, sir, now you won't want to miss her.

The STUDENTS go.  BOMBLER bows to PAUL who is followed by the girls, who obviously find him attractive.  They collide with MAI.

			MAI
		Where the hell is Lola?  They're starting to leave already!

			BOMBLER
		Put the elephants on.  (To HERMINE)  Not you.  (He regards HERMINE, lifts his head skywards in disgust)  Look, do something, pull your hair over your face...

			HERMINE
		(As he tries to pull at her hair)  Daddy!...

			BOMBLER
		I'm doing your mother a favour, you're not a good-looking girl.  (HERMINE has two pigtails and glasses.)

The GIRLS sing `Morgens Einen, Mittags Einen, Abends Einen Kuss', and dance with beach balls, calling to the audience.  Shouts for them to get off.  Prolonged shouts for Lola.

ACT ONE.  SCENE TWO.

A SCHOOLROOM.  Present are HANS, LUTZ and PAUL.  The noise in the classroom stops as PROFESSOR RAAT appears, papers under his arm.  He glares round at the class, takes out his handkerchief without haste and blows his nose, sniffing heavily.

			HANS
		(Sotto voce)  Funny smell in here.

			LUTZ
		(Sotto voce)  Must be the drains.

			HANS
		(Sotto voce)  Perhaps there's a sewer rat somewhere.

The PROFESSOR glowers suspiciously.  He gives out the essays.

			PROFESSOR
		Schelling.  (He throws HANS' essay onto his desk.)

		Rubbish.  Eisendorf.  (He hits LUTZ over the head with his essay, then throws it down.)

		Illiterate and incompetent rubbish.  Von Eberhardt.

PAUL looks up hopefully to receive his essay but the PROFESSOR retains it.  Silence.  He addresses the class.

			PROFESSOR
		It is my considered belief that none of you...not one of you has reached the standard which would secure, beyond doubt, a university entrance.  (He throws PAUL'S essay at him violently, making him duck.)

		Eberhardt.  Scurrilous, inflammatory and impertinent rubbish.

PAUL masks his disappointment.

			PAUL
		(Politely)  I'm sorry you found it so, sir.

			PROFESSOR
		Was that not your intention?

Silence.  PAUL picks up his essay.  A paper falls from his desk.  The PROFESSOR picks it up.  He makes to hand it back, then, as an afterthought, turns it over, and reads.

			PROFESSOR
		What is this?
			PAUL
		A verse, sir.

			PROFESSOR
		(Raps)  Subject?

			PAUL
		(Pause)  It's personal, sir.

Silence.  Then the PROFESSOR reads aloud.

			PROFESSOR
		Lithe, not lean is her L.
		O connotes ordinary,
		No - never...overwhelming!
		L once more, Level-eyed,
		Laughing...
		And A?
		A is for adoration.
		For answer.

		Mmm.  Personal.  `Lithe, not lean is her L'...L ...L...O...(he mutters)...L - O - L - A?

			PAUL
		It spells Lola.

			PROFESSOR
		And who is this - Lola?

Silence.

			PROFESSOR
		Schelling!

			HANS
		An actress, sir.

			PROFESSOR
		(Gleams, turning on PAUL)  An actress.

			HANS
		(Quickly)  At the Classical Theatre, sir.  Playing Racine.  Or it might be Corneille.

			LUTZ
		Or Moliere.

			HANS
		Or the Greeks.

The PROFESSOR, baulked, turns to PAUL sourly.  But PAUL has gone to open the door as the HEADMASTER walks in.  Instant silence.

			HEADMASTER
		Thank you, boy.  (He draws the PROFESSOR apart.)  Forgive the interruption.  I simply wanted to say, Raat - your new syllabus is a triumph.  Sound work.

			PROFESSOR
		Thank you, headmaster.

			HEADMASTER
		(His eye falls on PAUL, polite by the door.)  Ah, young von Eberhardt, another credit for you.  Perfect behaviour - it's in the family, of course.

			PROFESSOR
		(Through his teeth)  He is always most polite.

The HEADMASTER gives a friendly nod and goes.  Silence.  A handbell rings, off.  The BOYS stand to attention.

			PROFESSOR
		Move to assembly, in alphabetical order.  Eberhardt.  (PAUL remains.  He stands to attention.)

		There was no need, Baron von Eberhardt (he stresses PAUL'S name sarcastically) for you to take the blame for Eisendorf's foolishness in the corridor.  Remember, if you will, that here you are no more than any other boy.

			PROFESSOR  (Cont'd)
		(As PAUL makes to answer)  Dismissed.  (PAUL turns to go.)

		And who is this actress, that you write verses for her?  (PAUL remains silent.)

		You may, Eberhardt, blind our good headmaster with fine behaviour and a superior manner.  You may also care to remember that I, your Professor, see through you.  (PAUL goes.  Silence.)

		The Classical Theatre plays only in summer.  We are in winter now!  (He crushes the paper with the poem triumphantly.  And then flattens it out.)

		Lola...Lola...(he chuckles triumphantly.)  At last, Eberhardt, I think we may have you.

He exits.  The BOYS erupt across the stage, taking their chairs with them, laughing and yelling.

			HANS
		Corneille...Racine!

			LUTZ
		She's playing Helen of Troy!

			HANS
		In a shimmy, sir!

ACT ONE.  SCENE THREE.

A DARK STREET.  An open cobbler's shop.  In the back the COBBLER'S WIFE brings on the evening meal.  The COBBLER steps forward.

			COBBLER
		I had always made the Professor's boots, although I hadn't seen him...thanks to my own good work...for some time.  Not until this evening...

He retreats, for his meal.

			WIFE
		Potatoes, Fritz?

			COBBLER
		Thank you, Hedwig.

			WIFE
		They're very good tonight.

			COBBLER
		They're very good every night.

The PROFESSOR enters, looking about him for street signs.  He crosses and the COBBLER, seeing him, wipes his mouth and rises at once, wiping his hands on his apron.  He holds up the candle.

			COBBLER
		Herr Professor!  How may I help you?

			PROFESSOR
		Good evening, Stein.  Ah...be so good as to measure me for a new pair of boots.

			COBBLER
		Certainly, sir.

			WIFE
		You take the light, Professor.  The children can eat in the dark.

The PROFESSOR sits.  The COBBLER kneels before him with his measure.

			PROFESSOR
		Stein...I am looking for...for - are there theatres in this quarter?

			COBBLER
		Theatres, Herr Professor?  (He is amazed.)

			PROFESSOR
		I thought not.  I am in search of an errant student and I have reason to believe that he is frequenting...(he looks about, as if seeking PAUL in the shadows.)

			COBBLER
		No, sir...nothing like that, not your sort of... there is entertainment...

			PROFESSOR
		Where?

			COBBLER
		Which our church has frequently tried to close down -

			PROFESSOR
		Where - ?

			COBBLER
		Beer cellars, sir, that way, sir...down by the docks...

			WIFE
		Would the Professor honour us...we've plenty to spare - (she snatches the plates back from the children.)

			COBBLER
		But you couldn't be seen there, Herr Professor.

			PROFESSOR
		I beg your pardon.  Be good enough not to offer me irrelevant observation.

He strides off.  The COBBLER makes after him, pointing directions, and stops.  Behind him, his WIFE blunders about in the dark.

The PROFESSOR crosses, finding his way.  A WOMAN calls seductively from a doorway.

			WOMAN
		You're a fine looking man - upstanding, you look -

The PROFESSOR jumps, hurries on.

			WOMAN
		- no need to hurry away...go on, disappear, you mouldering old shit.

The sound of voices, calling for Lola.  The PROFESSOR hesitates, veers.

The sounds become louder.  The PROFESSOR makes towards them.  He reaches an entrance.  Over the door is the sign `The Blue Angel'.  From inside the calls for Lola get louder.  The PROFESSOR pauses.  He is drawn to the large poster in a self-standing frame by the entrance.  It is a large picture of Lola.  He bends and peers at it.  Then he stands up, straightens his shoulders...and marches into the club.

ACT ONE.  SCENE FOUR.

THE BLUE ANGEL.  Blue smoke and loud calls for Lola.  She appears with her back to us.  She turns at once and breaks into `My Name is Naughty Lola'.  During the orchestra break she saunters back and forth, inspecting her audience.

			LOLA
		What's the matter, boys?  Feeling lonely?  What do you want?  (Shouts of `You!', `What do you think?', `A good time'.)

		No - really?  (She laughs, a low, infectious laugh.)  Why can't you learn to wait?  I'm not interested in fast workers, where does that leave Lola?  Let's have a look.  (She peruses her audience, wetting her lower lip.)  One or two... promising situations.  Hang on, boys...don't chew the upholstery.  Lola's here.

Cheers and whistles.  She finishes the song, walks off and flops in the dressing room.  MAI and the GIRLS take over onstage.  BOMBLER brings her a stein of beer, she drinks it straight down.

			BOMBLER
		That's my girl.  (He closes on her amorously)  My God, Lola, I'd do anything for you.

			LOLA
		Good, what about a rise?

			BOMBLER
		Anything...(he drops on his knees, clutching and kissing her)...you're driving me out of my mind -

			LOLA
		Come in, boys.

BOMBLER scrambles to his feet, out of face, as HANS, LUTZ and PAUL enter.  Just for a brief moment, PAUL and LOLA grin across BOMBLER'S head, finding the moment hilarious.  Then PAUL turns away.

			BOMBLER
		Not now, sir, the artistes are busy.

			LOLA
		Oh go on, their money's good.  Makes a change, see someone young.

BOMBLER scowls and goes.  HANS and LUTZ descend on LOLA.  PAUL stands further off, watching.  She lifts her legs lazily, and LUTZ takes them in his lap and reverently takes off her shoes.  She lifts a stockinged foot in the silence.  LUTZ bends and reverently kisses the top of her instep.

			PAUL
		(Murmurs)  Fabulous.

She looks across at him and he turns away, turns back sharply as HANS leans forward, makes to touch her breasts.  She waves PAUL away, hits HANS elegantly but hard with her hairbrush.

			HANS
		Ow!

LOLA laughs.

			LOLA
		Are you all in tonight?

			PAUL
		Half the class.

			LOLA
		Good.  Tell them to drink up, it keeps the guvnor sweet.  (She leans forward to LUTZ, murmurs)  What's the matter?

He closes his eyes in shy ecstasy as she shakes his hand to and fro gently, kisses his palm and folds it over, looking at PAUL all the time.

			LOLA
		(To LUTZ)  Don't wash that for a week.  (She locks glances with PAUL.   Who turns away.)

		And don't worry about it.  About anything.  I don't.

			LUTZ
		(Doleful)  I'll never make Heidelburg.

			PAUL
		You will.

			LUTZ
		He'll fail me.

			HANS
		The Sewer Rat?  Not in his interest.

			LOLA
		Sewer Rat?  Why'd you call him that?  (The BOYS look at one another, laughing.)

			PAUL
		Because he's mad.

			HANS
		A sadist, you mean.

DIETER comes in.  He jerks his head for the BOYS to go, and stands, glowering.

			HANS
		Paul, you coming?

HANS and LUTZ cross to watch KLAUS lift enormous weights.  PAUL returns DIETER'S cold stare.  DIETER backs down, goes.

			PAUL
		I've written something for you.

			LOLA
		Oh?

			PAUL
		Shall I read it?

			LOLA
		(Indifferently)  What's it about?  (She turns away, occupied with her stockings.)

			PAUL
		(Rebuffed, puts the paper in his pocket.)  It doesn't matter.  Sorry to have bothered you.

			LOLA
		You don't bother me.

			PAUL
		No?

			LOLA
		Not in the least.

They are close.  He looks down at her, is satisfied.  He puts the verse down gently on her table.

There is the sound of shouting.  LUTZ and HANS run in quickly.

			PROFESSOR
		(Offstage)  Come back here, you boys!  Come back, I say!  I see you!  I see you!  You will not escape!

			HANS
		It's the Sewer Rat!...Professor Raat!

			PROFESSOR
		(Off)  Please allow me to pass.  There is no mistake, I saw them, be good enough to allow me through if you please!  Out of my way!

LOLA waves the students upstairs and they hop up and out of sight.

PROFESSOR RAAT enters at a rush, pushing past DIETER, who tries to prevent his entrance, and followed by BOMBLER.

			BOMBLER
		Not in there, sir -

			PROFESSOR
		I must insist - I saw them come in here - oh.

He is exposed to LOLA, who is not fully clothed.

			PROFESSOR
		I beg your pardon!

But he cannot take his eyes off her.

			BOMBLER
		With the greatest respect, sir, if you wouldn't mind leaving for the moment -

			LOLA
		Not at all - come in.

			PROFESSOR
		(Gapes, attempts to recover)  I am looking for three of my students, I have reason to believe they came -

			LOLA
		(Looks round, hand to breast in pretty alarm)  Here...in here?  Why, are they playing truant?  Surely these are not school hours?

			PROFESSOR
		It is my duty to supervise the moral welfare of my pupils at all times.  They have important examinations ahead of them.

BOMBLER shoves DIETER `on' to perform.  MAI and the GIRLS enter.

			BOMBLER
		Right, straight into `Blondes' with the new intro - (to HERMINE) - not you.

			HERMINE
		Daddy!

			MAI
		Yes she does -

			BOMBLER
		(To MAI)  No!

			LOLA
		(Calls across the melee)  We're very honoured.

			HERMINE
		Can I wear the wings?

			BOMBLER
		I've told you, stay off -

			HERMINE
		Mutti!

			MAI
		Never mind, darling.  He's horrible.

			LOLA
		(Sweetly, ignoring the fracas)  It's not often we get a visit from a personage of such status.

The GIRLS hurtle `onstage' followed by BOMBLER, MAI and HERMINE.  Peace reigns.

			LOLA
		Can we offer you something? 
		A drop of S-h-a-m?

			PROFESSOR
		(Puzzled)  Sham?

			LOLA
		Champagne?

			PROFESSOR
		Oh, you mean C-h-a-m...

He makes to correct her spelling, but her hand touches his as she hands him a glass.  She lifts her own glass charmingly and drinks to him.  He puts down his glass without drinking.

			PROFESSOR
		I must ask for your cooperation, please.

			LOLA
		(Murmurs)  Boys will be boys, Professor.  For you it's different - you're a mature man, experienced, I can see that.  They are so lucky to have you to guide them.  Would you be so kind?  (She indicates a garment hanging on a screen.  He reacts, but takes it down and hands it to her.)

		Thank you so much.

She goes behind the screen.  The STUDENTS, getting a marvellous view of her, are excited, watching her change.

			LOLA
		(Calls)  What a nice town you have...so charming - the river, very nice...er, nice trees...

			PROFESSOR
		We have here the finest biological specimens in Germany.

LOLA leans out, mouths an `Ooh!'

			PROFESSOR
		And a very extensive library.

			LOLA
		(Calls)  Never!  Could you hold these a minute?

She hands him a pair of pink frilly knickers as KLAUS storms on, out of temper, followed by BOMBLER.

			BOMBLER
		Klaus, what are we going to do about that bloody python?

			KLAUS
		Look, just don't talk to me like that.

			BOMBLER
		Oh God.  I'm sorry, but...

			KLAUS
		He's a bit off colour, that's all.  Just don't upset me.

BERTHA, TUMTUM, MAI and HERMINE enter.

			BOMBLER
		Come on, skirts up!  (He gropes TUMTUM who squeals.)

			TUMTUM
		Uncle!

The GIRLS grab new props, change hats.

			BOMBLER
		Come on, come on...(He hustles them out.)

They all go.  LOLA emerges, transformed.

			LOLA
		There.  Do you prefer me like this?

			PROFESSOR
		Really, my dear lady, I could not say.  I am here on a serious errand.  I saw them, I know he's here - I recognised the school uniform.  To wear it in such a place!  Vileness.

LOLA puts on a decorous but fetching dressing gown.

			LOLA
		Mein liebe Herr.  Try not to think too harshly of us.  This is a seagoing town!  The men who come here for a few hours...ah...respite... they're far from home.  They are lonely.

He flicks a glance at her.  She has caught his raw spot.

			PROFESSOR
		There is always the YMCA.

			LOLA
		Of course.  But a beer or two, a song - the way of the people, Herr Professor - simple repose for honest young men who, alas, have not the good fortune to be counted among your students.

			PROFESSOR
		They will certainly not have been guided by a code of proper behaviour.

			LOLA
		Seafaring men.  Rough and ready, true.  But good Germans.

			PROFESSOR
		I agree.  I accept that.

			LOLA
		The sea is a cruel mistress.  Would you?

She hands him her make-up to hold while she dips in, making up her face.  This flusters him, but he obeys from politeness.

			PROFESSOR
		I am myself devoted to the works of Josef Conrad.

			LOLA
		Absolutely.

			PROFESSOR
		(Surprised)  You know them?

			LOLA
		Oh, such...style.

			PROFESSOR
		Such characters.

			LOLA
		What a writer.

			PROFESSOR
		A poet of the sea.
			LOLA
		We depend on our merchant men for...for...for everything they bring us!

			PROFESSOR
		Jute, wheat, iron ore, raw cotton and crude oil.  Forgive me for enquiring, Miss...ah...

			LOLA
		Lola.  Just Lola.

			PROFESSOR
		Miss...ah...Lola...but you seem a lady of some background.

			LOLA
		Do I?  Well, yes.  Mine is an all too common story.  The war, you know.  (Putting on her mascara.)

			PROFESSOR
		(Purpling with rage)  The war...ah yes, the war, the war!

			LOLA
		We lost everything.  (Little spit on her mascara.)

			PROFESSOR
		Never!  Germany will recover!  A new generation arises!

			LOLA
		Oh absolutely.

			PROFESSOR
		We shall take revenge, we shall conquer!

			LOLA
		I couldn't agree more.

			PROFESSOR
		I must confess, gnadige fraulein...I am surprised.  When I discovered your name in the hands of a pupil, I little expected to meet a lady of such...of such...

			LOLA
		You were saying?

She has her leg up on the chair, fixing her stockings.  RAAT is riveted by the sight of her thigh.  The BOYS, above him, stifle giggles.  LOLA covers by swooping on BOMBLER as he enters.

			LOLA
		Professor, may I present our dear manager and fellow artiste, Herr Friedrich Bombler.  Herr Bombler, you have the honour to meet Professor ...Professor...

			PROFESSOR
		Raat.  Professor Doktor Immanuel Raat, of the Schiller Gymnasium.  (He bows)  Senior Professor.

			BOMBLER
		Oh?  O-oh!  (Bows deep)  Pleased to meet you, mein Herr.  (He shakes Raat's hand vigorously.  The PROFESSOR pockets the silk knickers.)

		So, a little reception for our lovely Lola-Lola ...art and science, art and science, eh?...very honoured, very honoured.  This calls for a toast ...Mai?

			LOLA
		Perhaps a little later.  (She indicates the hiding BOYS.)

			BOMBLER
		What?  Ah.  Miss Lola is due onstage now, Herr Professor and you won't want to miss her performance...(whispers) we have a special table for distinguished guests -

			PROFESSOR
		No, really I -

			BOMBLER
		After, you may wish to enjoy the skills of my own humble art - (he bows with a flourish) - Freidrich von Bombler...prestidigitateur extraordinaire.  (He does a trick, producing a cigarette from nowhere)  Hoop-la!  This way.

			PROFESSOR
		No, I -

But LOLA smiles at him.  He allows himself to be swept away.  As they go, HANS, PAUL and LUTZ emerge.

			HANS
		Thanks, Lola.

			LUTZ
		`Such characters!'  `What a writer!'

			PAUL
		(Murmurs to LOLA as he leaves)  Such style...

BOMBLER squires the PROFESSOR to a table, sits him down, slaps a napkin in his lap proudly, pours champagne for him.  A roll of drum.

MAI, TUMTUM and BERTHA sing introduction to `Beware of Blonde Women'.  LOLA makes her entrance and sings `Beware of Blonde Women', moving among the customers.  The PROFESSOR is enchanted.  She sings to him, approaching his table and sitting on it.  Towards the end of the song LOLA, intending mischief, moves away until she reaches the BOYS' table.  The PROFESSOR sees them in the spotlight.

			PROFESSOR
		I see you...I see you!  (He makes after them.  His fury doubles as PAUL, laughing, leans to murmur something to LOLA.)

		Vile, corrupted youth, you are the leader, Eberhardt!  I have you at last...I see through you!

He lays about him with his umbrella.  LUTZ and HANS dodge him and make their escape.  LOLA walks away, pleased with herself as the PROFESSOR collides with BOMBLER, reels into MAI, entering with champagne.  BOMBLER falls, KLAUS lifts LOLA out of the way, throws her to DIETER, who stands legs slightly apart, holding her with tense stillness.  MAI tries to right herself, then falls over the rising BOMBLER.  The PROFESSOR lands on top of them.  LUTZ and HANS leap over the heap and join PAUL at the exit.  LOLA slides out of DIETER'S arms and laughs, throwing back her head.

ACT ONE.  SCENE FIVE.

THE PROFESSOR'S LODGINGS.  The next morning.  A plain room.  The table laid for breakfast.

The Housekeeper, FRAU PFLUG, checks the table, muttering anxiously.  She moves the coffee pot, nods, satisfied.

			FRAU PFLUG
		(Time honoured shriek)  Herr Professor...!

		(She steps forward.)  I've had the honour to look after Professor Raat for seventeen years.  You couldn't be employed by a more regular gentleman.  (Shakes her head, puzzled)  In all the years I've served him, I've never known the Professor to be out after midnight.  (Dismisses the thought, calls)  Herr Professor!  

The PROFESSOR enters, adjusting his wing collar.

			FRAU PFLUG
		Guten morgen, Herr Professor.

He nods formally, checks the table, nods again and sits.  He touches the side of the coffee pot.

			PROFESSOR
		Not hot enough!  Again I must complain.  (She lifts the pot, wincing at its heat.)

		And while we are on the subject of my domestic arrangements, I must amend my instructions on the laundering of my collars.  Delete the order ...stiffly starched.  Replace with the order... very stiffly starched.  A man in my position, Frau Pflug, cannot appear before pupils and staff at the Schiller Gymnasium with inadequately starched collars.  Oh, put it down!

He mops his head with his handkerchief.  But finds LOLA'S knickers in his hand.  He drops them on the table, aghast.

			FRAU PFLUG
		(Bleats faintly)  Herr Professor...?

She waves the coffee pot in agitation.  The knickers are on the only clear spot, there is no room for the coffee pot.

			PROFESSOR
		Remove that insolence!  

FRAU PFLUG leans over the table.

			PROFESSOR	
		Wait!  Give them - it...to me.  (He picks up the knickers with an attempt at insouciance.)

		Whoever is responsible for this practical joke will be punished accordingly.

But FRAU PFLUG makes the mistake of stifling a giggle behind her hand.  And gets a cold glare.

			PROFESSOR
		That is what comes of allowing children of tradesmen into the Gymnasium.

			FRAU PFLUG
		(Faint)  Yes, Herr Professor.

She stands before him humbly as he drinks coffee and crunches a sugar bun.

			PROFESSOR
		So kindly do not continue to mention your nephew to me, Frau Pflug.

The clock strikes.  He rises, holds out his arms.  FRAU PFLUG helps him on with his cloak, gives him his cane.  She clears her throat.

			FRAU PFLUG
		Herr Professor...your hat...(she clears her throat again)...your hat...

He glares at her.

			FRAU PFLUG
		(Swallowing)  It appears that your hat is not here, Herr Professor.  Your hat is not in its accustomed place.  I do not see your hat at all, anywhere!

			PROFESSOR
		Indeed.  And are you suggesting that it has been stolen from the premises?

			FRAU PFLUG
		Herr Professor!  It is possible...you were out at an engagement last night.  Could it be that...that ...

			PROFESSOR
		You will not refer to my personal affairs.  Whether I am in or out is not a matter for gossip below stairs.  If my hat left the house with me, then my hat...(But he suddenly remembers.  He has left his hat at The Blue Angel.)

		Be so good as to fetch my top hat.

			FRAU PFLUG
		Your...you...(she is astonished.)

			PROFESSOR
		Do as I say, woman!

She flies out in terror, returns, brushing at his top hat wildly with a brush.  He snatches it, clamps it on his head.

			PROFESSOR
		Thoroughly unsatisfactory.  You will be hearing from me further.

			FRAU PFLUG
		(Looks after him.)  You miserable old...!  He never misses a chance.  TWO pots of coffee, and will he pay for the extra starch - no fear!  I'd like to grind you in the grinder, you old Blucher.

ACT ONE.  SCENE SIX.

HANS, PAUL AND LUTZ, ON THE STREET.  They kick a strapped bundle of PAUL'S sports shirt and gym shoes between them skilfully, heel-kicking it up.  LUTZ dives for the bundle and they mob him and there is a brief tussle.  They sprawl on the ground, getting their breath.

			LUTZ
		(Groans loudly)  I can't bear the suspense!

			HANS
		He's not going to do anything.

			PAUL
		The man's ignored us all day.

			LUTZ
		He's playing with us.  Oh Christ.

			HANS
		What?

			LUTZ
		He's going to fail us.

			PAUL
		After what we saw last night?

			HANS
		(Dramatic, with gestures)  Revenge!

			LUTZ
		All right for you, your father has pull - what is it, one of Germany's Big Five Industrialists?...

			PAUL
		Stop worrying.

			LUTZ
		...and yours is a Junker...ja, ja, Herr Baron... nein, nein Herr Baron...(he groans comically.)  Mine's a coke merchant.  (He does a cringing walk, clutching his coat lapels together.)  The Scapegoat.  (He flops down, head on his elbow.)

They lie back, relaxing.

			HANS
		God, she makes your balls ache.

LUTZ thumps him.

			HANS
		Ow!

			LUTZ
		I've told you, don't talk about her like that.  I can't stop thinking about her.  I'd ask her to marry me if I didn't know she'd laugh in my face.

			PAUL
		Don't be a fool.

			LUTZ
		Oh, we know where you stand.  The right alliance, an heir and a spare and then fornication.

			HANS
		Why not?

			PAUL
		Grow up, Lutz.  Lola's for pleasure.  Take what you can and forget about her.  Anything else... for God's sake - if you were ever stupid enough to marry a girl like that you'd find yourself out of a job, out of money, out of respect...just out.

			LUTZ
		It's easy for you to talk.  I don't know what to do.  Some nights I think, I think, if I can't have her...if she won't - I might as well do myself in.

			PAUL
		Don't be a fool!

			HANS
		Forget her.  Worry about your exams.

LUTZ groans loudly.

			LUTZ
		He'll fail me, I know it.  I shall end up in military school, the prey of some filthy predator with hairs in his nose.

HANS gets up.

			HANS
		Sewer isn't going to do anything.  (PAUL shakes his head.)  He has something on us...

			PAUL
		...we have something on him...		

			HANS
		Impasse!

He makes fencing passes.  PAUL jumps up and he and HANS circle each other, fencing style, making passes.  PAUL stops.

			PAUL
		I know.  We'll go to Lola's.

			LUTZ
		What?!

			PAUL
		The safest place in Hamburg.

			HANS
		You're right!  (He bounds off, turns, jogging backwards.)  Don't worry about the Sewer-Raat, he'll be lying low tonight!

PAUL hauls LUTZ to his feet.  They go, laughing.

ACT ONE.  SCENE SEVEN.

THE BLUE ANGEL.

The sound of music, off.  DIETER enters.  Alone, he picks up LOLA'S dressing gown, presses it to his face, inhaling her scent.  He drops it hurriedly and goes as BOMBLER enters, fondling the CLUB WAITRESS.  MAI, off, calls `Fred!'  BOMBLER and the WAITRESS go quickly.  MAI enters.

			MAI
		Fred!  Where is he, the devil - the house is open!

KLAUS, in a new costume with leopard skin, tries his weights as TUMTUM and BERTHA sit in the dressing area.  They take out a huge sausage, pare off slices and eat.  HERMINE, apart, curls her hair with tongs and listens in.  LOLA comes in.

			KLAUS
		(To LOLA, turning to show off his new costume.)  Well?

			LOLA
		Sensational.  (KLAUS preens.)

		Found the python?

			KLAUS
		Nah...he'll turn up.

			TUMTUM
		More fleisch, Bertha?

			BERTHA
		Just a touch.

TUMTUM hacks off half the sausage, gives it to her.

			LOLA
		So - any progress?

The GIRLS shake their heads.

			TUMTUM
		Still just sits there.

			LOLA
		No sign of a ring?

			HERMINE
		He did buy her some shoe polish.

BERTHA nods, smiling.

			LOLA
		Oh good, I should put up the banns.

			TUMTUM
		(Sighs)  It must be nice to be in love.  Did you ever do it because you wanted to, Lola?

			LOLA
		Hullo, what's all this?  Tumtum, have you been courting?

She tickles TUMTUM, making her squeak.

			TUMTUM
		Pax...pax - I only wondered if you'd ever been in love!

			LOLA
		Love?  Me?  (Laughs)  You don't want to believe all that rubbish...ruin your life, that will.  Oh no, none of that.

			KLAUS
		Visitors.

He lets in HANS, LUTZ and PAUL.

			BERTHA
		Oh, not the ruddy nursery again...

Both TUMTUM and HERMINE attack her physically.  HERMINE leers at HANS, who takes no notice.

			LOLA
		Come in!

			HANS
		Lola - for you.  (He presents her with a large box of chocolates.)

			LOLA
		You darlings!

			TUMTUM
		Montelimar!

			BERTHA
		Truffles!

The GIRLS fall on the chocolates, quarrelling.

			TUMTUM
		I only like the soft ones...hey, you've had two!

LOLA rescues the box.  HANS and LUTZ take chocolates eagerly, making LOLA laugh.  She offers the box to PAUL.  He shakes his head.

			LOLA
		(To PAUL)  How's Professor Raat?  (But PAUL turns away.  She addresses HANS)

		Any trouble?

			HANS
		No!

She laughs, holds out the bottom of her skirt for LUTZ to hold as she darns it.  He kneels before her.  PAUL smiles faintly.

			LOLA
		Not every night I entertain a Professor.  (She bites off the cotton with her teeth, bending over LUTZ.)

			HANS
		He won't put his nose in here gain.

			LUTZ
		Not the old Sewer Rat.

			HERMINE
		Sewer Rat?

			TUMTUM
		Ugh!

			BERTHA
		What do you call him that for?

			LUTZ
		Because he's loathsome -

			HANS
		- evil -

			LUTZ
		- monster -

HANS chases TUMTUM, scuttling after her like a rat.  She squeals.

			LUTZ
		He treats us as if it's our fault.

			LOLA
		What?

			LUTZ
		(Shrugs helplessly)  Don't know.  Everything.

LOLA frowns, puzzled, at PAUL.

			PAUL
		Germany losing the war.  The Wagnerian dream shattered.

			TUMTUM
		Well, that's not your fault.

			HANS
		He hates us.

			HERMINE
		What for?

			HANS
		(Closing on her)  Because we're so vital and handsome!

			LUTZ
		(Lifting TUMTUM)  And strong!

HANS and LUTZ grab BERTHA and TUMTUM, making them yell.  HERMINE beats them off scornfully, protecting her dress.

			KLAUS
		Customers, girls!

			MAI
		Come on, come on, we've got members of the paying public out there.

BERTHA and TUMTUM hurtle onstage to perform.  HANS and LUTZ follow, to watch.

			LOLA
		(To PAUL)  Perhaps you shouldn't stay.  (They stand together, close.)  He could be back.

			PAUL
		(Close)  He won't come here again.

			LOLA
		Are you sure?

LOLA breaks away, he follows.

BERTHA and TUMTUM and KLAUS perform `Wenn die Beste Freundin'.

Apart, the PROFESSOR enters the empty dressing room.  He pauses, looks around, decides to leave but pauses at her dressing table for a look.  He picks up a photograph of her, studies it closely.

The song finishes.  LOLA returns, watches him.

			LOLA
		(Softly)  We-ell.  So you've come to see me.

			PROFESSOR
		(Jumps)  I beg your pardon.  I am sorry to intrude.

			LOLA
		Sit down, Herr Professor.  Please...why shouldn't you come back, I'm very honoured.  And just in time to do your homework.

She proffers her make-up tray.  This time he takes it willingly...it is already a ritual.  He pulls up a chair, holds the hand mirror for her.

			LOLA
		Closer...closer.  There.  Very still.  I forbid you to move.  (Putting on mascara)  You're much nicer today.

She waves him to move the hand mirror so that she can see.  He concentrates meticulously on getting the right angle for her.  She finishes, and blows powder in his face.  He jumps, and then laughs, very excited.

			LOLA
		Thank you for coming.  We artistes depend so much on appreciation - it's our food, our drink ...we breathe it in like the scent of flowers.  After all, what are we but butterflies, Herr Professor?  We live so briefly...so briefly.

			PROFESSOR
		You have a poetic mind, Miss Lola.  Enchanting ...enchanting.

			LOLA
		The pleasure is mine.  To talk to a man of education...style...(She puts a hand on his arm, wheels him as she sees the BOYS approaching.  She waves them back.)

		So kind of you to call.  I am very flattered.

			PROFESSOR
		(Embarrassed)  Oh well, I have to confess, gnadige Fraulein, that I...there is a reason for my brief entree.  My hat.

			LOLA
		Your hat?

			PROFESSOR
		My hat.  Unfortunately, in my natural haste yesterday to apprehend the miscreants who... who were making a nuisance of themselves -

			LOLA
		Dear, dear Herr Professor.  Please forgive them.  Their natural desire not to lose your esteem - they lost their heads.  Of course, they were at fault...(she shakes her head gravely)... gravely...

			PROFESSOR
		And you may rest assured, for your sake they will be punished -

LOLA assumes a tragic aspect.

			LOLA
		Never!  How could I come between a revered and honoured man such as yourself, and your charges!  They are your life - yours to lead, yours to restrain, yours to encourage.  As for me, I am nothing.  Think of me only as a poor ...(she searches for a word somewhat desperately) ...hummingbird...who brushed your cheek for a brief moment.  (She brushes her hand lightly down his cheek.)

He is so overcome he drops her make-up.  They grope for it together.  He takes her hand to kiss it.

			LOLA
		Promise me, dear Professor, that you will forgive your boys.  Give them, as you always have, the guidance of an experienced, authoritative man.

		(She puts a finger on his mouth)  Our lips are sealed.  Secrets.

They almost kiss but she breaks it up briskly, seeing that she has won.  He compromises by kissing her hand.  And jumps as BOMBLER, finishing his tricks to a drum roll and applause, enters, followed by KLAUS.

			BOMBLER
		I ask for a dove, and he gives me a sausage!  Herr Professor...again an honour!

			PROFESSOR
		(Stiff bow)  Mein H err.

			BOMBLER
		Delighted to receive you - champagne, champagne for the Professor!

			PROFESSOR
		No, no.  I regret - no, no...

			BOMBLER
		Not at all, my dear sir, I assure you the honour is all ours - Klaus, the keys to the cellar!

			KLAUS
		What?  (BOMBLER waves him off irritably.)
			BOMBLER
		I shall arrange your seat as before...incognito, eh?  In cognito?  (He bustles off.)

			LOLA
		You will stay for my performance?

			PROFESSOR
		I regret, impossible.  I think...ah...just the hat.

			LOLA
		Oh, the hat.  (Screeches, forgetting to be Camille for the moment)  Anyone seen the Professor's hat?...What have you done with his hat?!

DIETER enters silently, proffers the hat, then clowns with it up his arm.  The PROFESSOR accepts it with a curt nod.  KLAUS enters with champagne, wheels away without stopping as the PROFESSOR waves him off.  LOLA and he are alone.  He waves his hat apologetically.  Then remembers.

			PROFESSOR
		Ah.  I was forgetting.

He takes out the knickers, now wrapped in brown paper and tied with string.

			LOLA
		(Thinking it is a present)  For me?  But how kind!

			PROFESSOR
		No.  Ah...I...I...your...I took them in mistake for my hat - ah...handkerchief!

			LOLA
		Oh...yes.  (Opening the parcel)  Professor!  So this wasn't a social call after all!  (She pulls a sad face.)

			PROFESSOR
		I would not distress you for all the world - believe me.

			LOLA
		I'm disappointed.

			PROFESSOR
		Nothing in the world would make me happier than to...

BOMBLER enters, shoving KLAUS out of the way.

			BOMBLER
		All is arranged, mein Herr, the special table...

			KLAUS
		He said he didn't want it!

BOMBLER kicks KLAUS.

			BOMBLER
		Your champagne awaits you...I took the liberty of leaving a plate of sauerkraut - one must look after the inner man, nicht wahr?  Ha ha!

There is a moment of indecision.  LOLA lifts her knickers and holds them tenderly in her hands.  He is lost.

			LOLA
		Please...

He beams, dazzled.  KLAUS and BOMBLER squire him away firmly.  HANS and LUTZ creep in as they go.

			LOLA
		You, out!

They go, laughing.  LOLA is ruminative.  She walks about thoughtfully.

			LOLA
		There must be a pfennig in it somewhere.

The musical introduction.  LOLA, sidestage, clenches and unclenches her hands, nervous.  She makes her entrance.  She sings `Falling in Love Again'.  Then starts `In Hamburg and Lubeck and Bremen' with the rest of the troupe.

In the middle of the song a Dutch CAPTAIN tries to grab her.  She handles him easily, smiling in friendly fashion.

			CAPTAIN
		A drink, a drink with you, Lola-Lola...

The PROFESSOR rushes up.

			PROFESSOR
		Take your hands off that lady.

			CAPTAIN
		Lola!  Are you going to help me spend the insurance?  My ship went down!

			PROFESSOR
		Take your hands off, sir...I insist!

			CAPTAIN
		We'll drink to Lloyds together, eh?

			PROFESSOR
		Our sir, out!  This lady does not drink with anyone, she has no interest in your affairs!

			CAPTAIN
		Who's the old fool?  Get off!

The CAPTAIN jabs the PROFESSOR heavily in the stomach with his elbow.  The PROFESSOR staggers, and becomes totally enraged.  He attacks the CAPTAIN.  The two aging, heavily-built men grapple, both puffing.

			TUMTUM
		(Shrieks)  Quick, somebody, help!  Call the police!

			BOMBLER
		(Cuffs her)  Shut up, you fool!

The call is taken up...`Police...Police!'

The two MEN roll over and over.  KLAUS and BOMBLER try to separate them.  BERTHA clouts everyone within reach.

			TUMTUM
		That's it, Bertha!

			MAI
		Mind the glasses!

			BERTHA
		(Calls to LOLA)  A real professor!  You're going up in the world!  (She butts the CAPTAIN in the stomach cheerfully.)

A POLICEMAN enters.  There is silence at once.  The PROFESSOR struggles to his feet.  And to his senses.  He is appalled at what has happened.

			CAPTAIN
		This ole' fool started it.  He was on me before even I saw him.  I didn't stand a chance.

			POLICEMAN
		Name?

			CAPTAIN
		Captain van Outen, of the Marindora.  I came to renew an old acquaintance with the lady and before I was through the door...

			POLICEMAN
		(To the PROFESSOR)  Name?

			PROFESSOR
		I am Professor Immanuel Raat, of the Schiller Gymnasium.

The POLICEMAN'S manner alters at once.  He stands to attention.

			POLICEMAN
		Herr Professor.  (He gives a slight bow)  You wish to make a complaint against this man?

			PROFESSOR
		I do indeed.  I am here on official business following information that some of my pupils were frequenting this...this establishment.  I was forced, as a gentleman, to intervene when this pig of a foreigner made an offence of himself towards the lady.  In the first place, he is intoxicated -

			POLICEMAN
		Right, sir.  (To the CAPTAIN)  Come along with me.

			CAPTAIN
		(Crestfallen)  How was I to know he was a Professor?

			POLICEMAN
		(To BOMBLER, accepting a bribe)  You'd better shut up shop.  We don't want any trouble.

			CAPTAIN
		He was standing up for the whore...what's it got to do with him...why doesn't he stick to his school?  You can't go anywhere these days...

He exits, followed by the POLICEMAN.

			BOMBLER
		Right, we'll pack it in for the night.

			MAI
		The hell we will.

			BOMBLER
		(Showing her his fist)  Shut your face.

MAI, furious, stomps off.  PAUL picks up the PROFESSOR'S hat, dusts it, and hands it to him.  The PROFESSOR blenches when he sees who it is...

			PAUL
		(Quietly)  Your hat, Professor.

			PROFESSOR
		Oh yes.  I see through you.  How dare you defy me?  How dare you come back here?

			PAUL
		I am here for the reason that you are here.

			PROFESSOR
		And what do you mean by that?

He glares at PAUL.  Who looks steadily back.
			PAUL
		I don't think there's any more to be said.

			PROFESSOR
		You don't...you don't think...?

But PAUL turns to leave.  The PROFESSOR calls.

			PROFESSOR
		She does not want you here, any of you - but particularly you!

PAUL turns, glances at him and goes.

			PROFESSOR
		(Calls)  She has someone to protect her now!

Only LOLA and the PROFESSOR are left.  He collapses onto a chair as BOMBLER re-enters to lock up and switch off the lights.

			LOLA
		Are you all right, Herr Professor?

			PROFESSOR
		I am not used to this.

			LOLA
		No, I don't suppose you are...

She finds him a drink.  BOMBLER turns off the main light.

			LOLA
		Here.  Brandy.

			PROFESSOR
		Thank you.

He takes the glass doubtfully, drinks.  She looks down at his ruffled hair and disordered necktie.

			LOLA
		Better?  (She clicks her fingers behind her.  BOMBLER drops the keys into her palm, turns off another light, goes.)

			PROFESSOR
		I believe so.

He cannot take his eyes from her.  He gazes up at her face, then makes a sudden lunge, grasps her hand feverishly and crushes it to his middle like a determined child. 

			LOLA
		(Gently)  Like that, is it?

			PROFESSOR
		I cannot stop looking at you.
			LOLA
		Get up.  (He gazes at her, and then rises obediently.)

			LOLA  (Cont'd)
		Come.  (They climb the stairs.  He sits on the bed.  She begins to undress him.)

			PROFESSOR
		No...please...please...

But she is masterful.  And puts a hand on him.

			LOLA
		What have we here?

			PROFESSOR
		No, please...no...oh...ohh!

			LOLA
		I think we have a naughty boy here -

			PROFESSOR
		No...(He gives a strange, high cry and leaps on her.)

		You...you are the wicked one.  You...you...you!

ACT ONE.  SCENE EIGHT.

THE SCHOOLROOM.  The school bell rings.  LUTZ and HANS are drawing an obscene picture of LOLA and the PROFESSOR on the blackboard.

			HANS
		Put the titties in - and the other bit - go on!

The PROFESSOR enters, formal and glowering.  He goes to his desk, puts down his register, turns and sees the drawing.  Turns, fearsomely.

			PROFESSOR
		Who is responsible for this?

The BOYS begin to whisper.  `Lola, Lola' - gradually getting louder and louder.  Then another group chant `Sewer Rat...Sewer Rat'.  HANS conducts them.  Cacophony.  The HEADMASTER enters.  Silence.  The BOYS sit up straight, arms folded.

			HEADMASTER
		Should this class not be in the science laboratory for the next session?

			PROFESSOR
		That is correct.

			HEADMASTER
		Be kind enough to give the order.

			PROFESSOR
		(Clears his throat)  Proceed in double file to Science Laboratory Four.  No speaking in the corridors.

The BOYS leave.  The HEADMASTER approaches the board, regards it gravely.

			HEADMASTER
		(Quietly)  Professor Raat.  There is a matter, I think, that you may wish to discuss with me.

			PROFESSOR
		The perpetrators of this obscenity will be severely punished.

			HEADMASTER
		Alas, I am afraid that the situation has gone beyond the confines of this classroom.

			PROFESSOR
		Pray what do you mean?  You cannot, surely, be influenced by the slanders of disobedient and recalcitrant students?  I demand names!

			HEADMASTER
		You are mistaken.  None of your students has spoken.  There is, however, a good deal of gossip in the town.

			PROFESSOR
		I have no intention of listening to calumny.  I am surprised, Herr Headmaster, that you are not more protective of a long-established member of your staff.  May I remind you that I have given twenty-five years to this college.

			HEADMASTER
		Believe me, I find the matter very painful...very distressing.  (He walks, turns)  How can you risk your reputation for such a woman?  You are a bachelor, your private life is your own affair - to some extent.  But to go off the rails - to behave so wildly, over such a...I'm sorry, but I must speak plainly -

			PROFESSOR
		(Interrupts)  Headmaster...I insist.  (He lifts a hand)  I must forbid you to talk in this manner of my future wife.

			HEADMASTER
		(Very startled)  Wife?  You cannot be serious.

			PROFESSOR
		I intend to offer the young lady my hand.  Under the circumstances, you will understand that this conversation must cease forthwith.

			HEADMASTER
		(Flabbergasted)  Raat, my dear fellow!  Consider what you are doing!  You cannot seriously be thinking of casting aside a life's work.  You are a pillar of this institution, your conduct has always been utterly beyond reproach.

			PROFESSOR
		It is my privilege to marry whom I choose.  The lady who does me the honour to take my name will, I trust, thereby be offered the protection of my status.

Silence.  The HEADMASTER shakes his head.

			HEADMASTER
		May I ask...does the young...the young...ah... lady know of your intentions towards her?

			PROFESSOR
		I have no doubt that she returns my regard.
			HEADMASTER
		But you haven't made her a formal offer?

The PROFESSOR shakes his head.

			PROFESSOR
		No.

			HEADMASTER
		Then please, I ask you, pause...reflect.  These are restless times, Herr Professor.  Men such as yourself are vital to the rehabilitation of Germany.  I cannot afford to let you go.  Let me arrange a sabbatical.  (His voice softens)  Immanuel!...We are old colleagues - more, old comrades in arms!  We stand together.

			PROFESSOR
		(After a long pause)  I'm sorry.  I cannot be shaken from my intention to ask the lady to do me the honour of becoming my wife.

			HEADMASTER
		That...is very sad.

Silence.  The HEADMASTER moves slowly to the door.

			HEADMASTER
		You realise what this means?

			PROFESSOR
		I have no doubt, sir, that my experience as a schoolmaster will be acceptable in some other district.  It is possible to be too long in one place.  In any case, I could not agree to remain in a situation where my wife was not received with the deference due to her as my consort.

The HEADMASTER, at the door, gives him a long, sad look.  The PROFESSOR looks at him.

			PROFESSOR
		I may depend upon you for a reference?

			HEADMASTER
		You must know that is out of the question.

			PROFESSOR
		No reference?

			HEADMASTER
		Quite impossible.  My dear Immanuel, if you marry this woman -

			PROFESSOR
		But it is within my power to save the soul of another human being!  Otto, we are Christian men!  Have you forgotten the Magdalene?

			HEADMASTER
		I'm sorry.

			PROFESSOR
		But -

			HEADMASTER
		My dear Raat, there must be rules.

He leaves, with a last glance at the PROFESSOR.

Alone, the PROFESSOR sits heavily.  The BOYS enter.

			PROFESSOR
		What do you want?

			LUTZ
		I have to give out the prep, sir.

			PROFESSOR
		No.  (LUTZ stops in his tracks)  There will be no preparation tonight.

			LUTZ
		(Puzzled)  No prep?

			PROFESSOR
		Out!

			HANS
		Sir...sir, we have to have our prep.

But under his glower they retire, confused.  After a still moment to recover himself, the PROFESSOR looks up and around the empty schoolroom.  He opens his class register.

			PROFESSOR
		(Reads)...Ehrmann...Eisendorf...Kohl... Markowsky...Schelling...Schmidt...Tauber...von Eberhardt.

The JANITOR stands by the door.

			PROFESSOR
		(Before seeing who it is)  What is it?

			JANITOR
		It's Steufnagel, sir.

			PROFESSOR
		Very well, carry on.  Clean the blackboard.

The JANITOR picks up his bucket and mop and advances.  He has an appalling limp.  He sees the blackboard and makes a sound of shock.  The PROFESSOR turns as the JANITOR stops wiping the board.

			JANITOR
		(Low)  Herr Professor...(he seems broken)  Is it true?

			PROFESSOR
		That I am leaving the school?  Yes, it is true.

			JANITOR
		But...Please, sir!  You are our stanchion!  (He shuffles forward like a spider.)  The departments won't function, sir, not without you.  You are the right-hand man here!

The PROFESSOR contemplates him.  He puts out a hand, almost but not quite touching STEUFNAGEL.

			PROFESSOR
		Go home, Steufnagel.  You have my permission.

The JANITOR pauses, then, with his bucket and mop, he limps sadly away.  The PROFESSOR sits.  He rises, takes his books under one arm, and, carrying his briefcase, goes, with an almost eager step.

ACT ONE.  SCENE NINE.

THE BLUE ANGEL.  The TROUPE are rehearsing a new act, an Apache dance.  KLAUS lifts HERMINE high.  She wobbles.  BERTHA and TUMTUM watch.  A PIANIST and DIETER accompany them.  Baskets and trunks onstage.

MAI and BOMBLER stop rehearsing - the rest continue.

			BOMBLER
		(He waves a paper under her nose)  Eighteen bottles of gin?

			MAI
		I need it!  What about HER, all the champagne?

			BOMBLER
		She brings the Professor in - raises the tone!

			MAI
		(Sarcastic)  Oh, well.

The rehearsal continues.

			MAI
		(Grumbles)  I'm not standing for it.  I could get you for interfering with your niece.  That's illegal, and what about Stuttgart?

			BOMBLER
		Shut up.  All right, call it off, time to pack... (They don't hear him.)

			MAI
		Begrudging me a drop - I'm an artiste, too, you know.

			BOMBLER
		Can't I get it into your Neanderthal skull - (speaking under MAI'S lines)  I swear I'll swing for her - we're skint!  I'm cleaned out paying doctors' bills, what with his - (points to KLAUS) - her - (points to HERMINE)...

HERMINE, wobbling, perches on KLAUS'S shoulders.

			KLAUS
		(To BERTHA)  How does it look?
			BERTHA
		The same.

			TUMTUM
		Worse.

			BERTHA
		(Eating)  Smile, Hermine!
			TUMTUM
		(Eating)  She's too deadpan.

			BOMBLER
		Call it off, you two - start packing.

		(KLAUS and HERMINE stop rehearsing.  He turns on MAI)  It cost me a fortune for Lola's bit of trouble.

			MAI
		If Lola got knocked up, she should have paid her own bill, it's nothing to do with you.

BOMBLER looks sheepish.  The others exchange looks.

			MAI
		Oh.  Oh, I see.  (She collapses, crying.)

			HERMINE
		Leave Mutti alone.

			BOMBLER
		And you stay out of it...make yourself useful.

			HERMINE
		Daddy!

			BOMBLER
		Urrgh!  If the Titanic were sailing tomorrow I'd book 'em both first class tickets.  Pay for your own gin - I'm not coughing up.  (Goes.)

			MAI
		Beast.  You tell him to keep his hands off you, Tumtum.  I'll write to your mother if he doesn't watch out.  Don't worry, I'll see he leaves you alone.

			TUMTUM
		I don't mind, really.  (And gets a black look from MAI.)

LOLA enters, dazzling in street clothes.

			MAI
		(Sour)  Oh, talk of the devil!

			LOLA
		(Quick on the uptake)  What's up?

			HERMINE
		You should know.

			MAI
		I hear you've been costing us again.  I can't even get the price of a bottle of gin.

			LOLA
		Mai - don't listen, he only does it for spite.

			MAI
		I'm fed up with him.  What's that?

			LOLA
		(She has a wrapped bottle)  Schnapps.  For the journey.  (But she unwraps it.)

BOMBLER enters at the back with a skip.

			LOLA
		Here.  (She gives MAI some schnapps.  MAI settles.)

			TUMTUM
		Any cake?

TUMTUM and BERTHA dive into the bag.  BOMBLER throws down a small skip and goes.

			LOLA
		What's he been saying?

			MAI
		(Sour)  It's all right for you.

DIETER brings in a packing case.

			MAI
		Make yourself useful, you girls.  (TUMTUM and BERTHA pick up cases and exit.)  Not you, Hermine, you're too dainty.  Go and fold your undies.  (HERMINE moves off reluctantly.)  I'm the one supposed to be his wife!

BERTHA, TUMTUM and KLAUS move skips across the stage.

			LOLA
		Yes, but you don't like him.  Every time he tries anything you yell blue murder.

			MAI
		Of course I do.  He's horrible.

			LOLA
		Well, then.  Somebody has to keep him sweet.

BERTHA, KLAUS and TUMTUM exit.

			LOLA
		If it's any consolation, I don't enjoy it.	
			MAI
		What do you do it for then?

			LOLA
		He's the Guvnor!  You have to keep in.

MAI, irritated, grabs the bottle of schnapps.

			MAI
		He wasn't always so horrible!  P'raps he was.  (She is becoming mellow with the drink.)

			LOLA
		Don't see why I should come in for it.  I ought to be thinking about my future, making plans, I don't want to end up like you.  Oh, sorry.

			MAI
		That's all right.

		(As LOLA refills her glass)  I should have pushed off before me looks went.  

			MAI  (Cont'd)
		(She becomes tearful)  It doesn't last forever.  You've hardly got it before it's gone, and when you've got it you haven't got enough of it.  (LOLA nods in sympathy)  All right for you.

			LOLA
		Think so?

She helps herself to a drink.  They both drink, put down their glasses and light up.

			LOLA
		(Sighs deeply)  What I need is a nice old geezer to come through that door and whisk me off to the Riviera in his Mercedes-Benz.

			MAI
		Me too.

			LOLA
		That'd be the life.  Shove him off to business, breakfast in bed, maid to run the bath...off out shopping -

			MAI
		Whee!

			LOLA
		- lunch with a friend -

			MAI
		Male or female?

			LOLA
		All the same to me!  (They laugh, screeching together.)

		Touch of mischief in the afternoon...look in the nursery at five, little boy, little girl...change for dinner, off to the theatre, watch fools like us slogging it out...smoked salmon supper, posh nightclub...ohh, what a life!

			MAI
		You'd never get out of bed.

			LOLA
		To spend his cash I would.  He'd get his money's worthy.  I'd be better than most of the frigid bitches they end up with.  I'd be a good bargain.

			MAI
		I know you would.

			LOLA
		I'm wasted here.

			MAI
		Well, stop dreaming.  It'll never happen.

		(A knock on the door.  She yells)  What do you want?

The PROFESSOR enters.  He carries a large bunch of flowers.

			MAI
		No school, Professor?

MAI staggers off discreetly.

			LOLA
		Professor...how sweet of you to come and bid us farewell.  For me?  How charming...truly charming.

			PROFESSOR
		Miss Lola...

			LOLA
		I've enjoyed your visits.  Who knows?  Perhaps we shall meet again some day.

			PROFESSOR
		I don't wish you to go.
Outside the door MAI listens.

			LOLA
		Alas!  When one is penniless it is necessary to earn a living, however humbly.

			PROFESSOR
		I wish you to stay.

			LOLA
		I wish I could, too.  Never mind, we'll be back in the summer, after the tour.

			PROFESSOR
		Marry me!  Marry me, dearest Miss Lola!  Then we need never be parted.

MAI reacts in amazement.

			LOLA
		What?!  (She bursts out laughing.)

			PROFESSOR
		You find it amusing.  I am sorry.  No.  I am pleased to amuse you.  No doubt you find my offer ridiculous.

			LOLA
		No...no, no!  Dear Professor, not at all, but you can't be serious -

			PROFESSOR
		I am completely serious.  (He goes on his knees, formally and carefully)  Miss Lola.  You cannot be unaware of my growing attachment to you.  Indeed, I have been bold enough to hope that you returned at least some of my affection...you have (stumbles)...received me here at night...we ...we...I have been in heaven...in heaven!  (He grasps her knees)  I cannot do without you.  I crave for you night and day.  I never believed that such bliss could exist.  For the first time in my life, I am alive!

			LOLA
		(Frees herself gently)  Yes, I know.  You've been quite a jolly boy.

			PROFESSOR
		I come to you with my heart whole.  There have been...when I was younger, there were ladies who...with whom I might have formed an alliance.  But I was too shy.  They were women of my own class, and it did not seem possible to approach them.

			LOLA
		Sure.  That's what women like me are for.

			PROFESSOR
		I will raise you up.  With the protection of my name you can begin a new life.  I forgive the sordid nature of your past.  We will move away, to another city - wipe the slate clean.

He becomes courageous and envelopes LOLA in a fervent, clumsy embrace.  MAI, at the door, prevents BOMBLER from entering.

			MAI
		Stay out, you fool!  He's asking her to marry him!

			BOMBLER
		Good God!  (He peeps through the door.)

			MAI
		She can get him for breach of promise - I'm a witness!

			BOMBLER
		Who's going to believe you.  Get out of the way!

			MAI
		Don't!  (She tries to restrain him from going in.)

			BOMBLER
		We can't afford to lose Lola, we'd never get a replacement.  I'm not getting left with you, you cow.

They glare at each other.  Then MAI, full of rage at him, burst in, screaming with delight at the sight of the PROFESSOR and LOLA embracing.

			MAI
		Oh, my dear children!  Does this mean?...oh, Fred, look at the dear lovebirds!  Professor, are we to congratulate you?

			PROFESSOR
		Oh I do hope so, my dear lady, I do hope so.  Herr Bombler, it grieves me to tell you that I may be about to steal away your star performer!

			BOMBLER
		What's this about, Lolie?

LOLA shrugs.  She helps herself to a quick schnapps.

			BOMBLER
		Herr Professor.  Perhaps, as men of the world, a little discussion over a glass of wine?  You have your position to consider.  Our modest troupe must not be the cause of a disruption to your standing in society.

			PROFESSOR
		Herr Bombler.  I am offering the lady the protection of my name.

			MAI
		She'll be a lady, you fool!  She'll have a Dresden dinner service, a wine merchant, a maid!  Go on, Lola, don't dwell, take your chance, girl, you might not get another!

			PROFESSOR
		If I may say so, very wise counsel.

			MAI
		(Transported)  A motor Car!  Could you - could you run to a motor car, Herr Professor?

			PROFESSOR
		Why not - why not?

			BOMBLER
		(Apart)  Bloody fool.  (To LOLA)  Use your head.  There won't be any maids or motor cars.  If he marries you, he's finished, he'll lose his place.  Marry a whore and get away with it?

			PROFESSOR
		I must ask you for an immediate apology for those words, otherwise I shall be forced to call you out, sir.

			BOMBLER
		Lola - be your age!  (LOLA moves prudently between them.)

			LOLA
		(To the PROFESSOR)  He's right.  You can't marry me, you'll be ruined.

			PROFESSOR
		I don't care!

			BOMBLER
		But she does.  Take my word for it.  She does.

			PROFESSOR
		I will protect you.  As a man of the world I -

			BOMBLER
		Man of the world?  If you were, you'd -

			MAI
		Will you shut up!

			BOMBLER
		Lola, make him see sense!

KLAUS, HERMINE, BERTHA and TUMTUM come in.

			HERMINE
		What's up?  I can't see.

			BERTHA
		It's Lola...

			MAI
		Do it!

			PROFESSOR
		We will begin a new life together -

			LOLA
		Where?

			PROFESSOR
		Another city where together we can make a new start.  As the wife of Professor Immanuel Raat you will be sans reproche.

			BERTHA
		Wife?

			TUMTUM
		Oooh...go on, Lola!

The TROUPE urge her on.

			PROFESSOR
		(Calls above the noise)  Beloved Lola, give me your answer.

Silence.  They all wait.

			LOLA
		All right then.  Yes!

ACT ONE.  SCENE TEN.

ON THE STREET.  PAUL walks up and down.  He peers anxiously down the street.

He stops, tries to contain himself.  He lights a cigarette, cupping his hands, and resumes walking, stamping against the cold.  He calls, to the stars.

			PAUL
		Lola!  (And stops himself abruptly as, craning, he sees her.  He waits `casually' as she enters.)

		(Indifferently)  Oh, there you are.

			LOLA
		Have you been waiting?

			PAUL
		No.  (He closes on her)  Is it true?

She looks at him and moves away.

			PAUL
		It is true.  You can't.  It's obscene.

He comes closer to her.

			PAUL
		I thought they were joking.

She takes his cigarette, draws on it, gives it back.  Laughs.

			LOLA
		I've a feeling a sense of humour could do for both of us, you and me.

			PAUL
		You mean it's a joke?  

He groans, shakes her gently.

			PAUL
		Tell me it's you in your devilish mood...having us on, a marvellous revenge...

			LOLA
		Revenge?  For what?  He's done me no harm.  He's asked me to marry him.  For all your looks, your poetry, you want everything for nothing.

			PAUL
		Listen, Lola.  Respectability is not - you'll pay a high price, believe me - you probably won't achieve it anyway.

			LOLA
		Who cares?

			PAUL
		Then what?  Why?

			LOLA
		Nothing, Herr Baron, you could possibly understand.

He takes her in his arms.  For a second she resists.  Then she looks up at him, her face pale.

			LOLA
		I'm tired.

He enfolds her tenderly.  They kiss.

ACT ONE.  SCENE ELEVEN.

THE WEDDING PARTY.

BOMBLER, MAI, TUMTUM, BERTHA, KLAUS, DIETER, HERMINE and the WAITRESS enter.  KLAUS holds out the chairs for the BRIDE and GROOM.

			BOMBLER
		(Rises)  A toast!  A toast, meine Damen und Herren, to the happy couple!  (He and KLAUS pour drinks and glasses are raised.)

		To Frau and Professor Raat!

			ALL
		Frau and Professor Raat!

DIETER leaves, knocking over his chair.  A second's silence, then laughter and cheers.

			BOMBLER
		(Lifts hand for quiet)  But what are we going to do without Lola?  You've stolen our pearl, Professor!

The band strikes up `Auf Wiedersehn.'

			BOMBLER
		(Announces)...Damen und Herren...it's always sad when we have to leave the Blue Angel...no, no...we feel Hamburg is our home.  We'll be here again in six months to entertain you... however, however...I have to tell you that when we do return, it will be without our beloved Lola.  Lola has been stolen from us...by a most distinguished citizen of Hamburg...I refer to none other than Professor - immanuel - Raat!

Calls for "Lola".

LOLA comes forward and sings `Auf Wiedersehn' bidding farewell to HANS and LUTZ in the audience.  She steps back past the troupe, which is flanked by PAUL on one side and the PROFESSOR on the other.  LOLA joins the PROFESSOR'S side for the last reprise.  He swells triumphant, his arm about her.  LOLA looks across at PAUL.  He gazes at her, stone-faced.

END OF ACT ONE.

ACT TWO.  SCENE ONE.

THE PLAGE AT NICE.

The PROFESSOR, in resort clothes, is restless, waiting for LOLA.  After a moment she appears, with packages.

			LOLA
		Well, you silly old thing...what are you looking like that for?

			PROFESSOR
		I have been waiting for over an hour.

			LOLA
		Oh, is he hungry?  (She dives into one of the packages.)

			PROFESSOR
		Not too many dresses I hope?

			LOLA
		For you!  (She produces a boater, puts it on his head at a rakish angle.  He tries to back off.)

		No, wait!...(She takes out a bright cravat, arranges it around his neck.)

		There.  Now you look the thing.

			PROFESSOR
		But -

			LOLA
		You want to look young, don't you?	

			PROFESSOR
		I will look as you wish me to look.

			LOLA
		Good.

			PROFESSOR
		But my dearest dear, please understand.  My pocket is not without limit.  These months together, never in my life did I dream of such... of such -

			LOLA
		Happiness?

			PROFESSOR
		Precisely the word I was seeking.  Nonetheless, beloved enchantress, I must warn you that this morning I received a letter from the bank.  It seems that our funds are now low, extremely low.  We must, for example, move to a smaller hotel.

			LOLA
		If you say so.

			PROFESSOR
		I do say so.

			LOLA
		All right then.  (But there is a silence.)

			PROFESSOR
		We cannot - honeymoon forever.  Your husband must provide for you, find work.

			LOLA
		But you've written to all the schools, they don't even answer.  It's no good, sweetie, you're not respectable any more.

			PROFESSOR
		I am a Doctor of Philosophy and Professor of Comparative Literature from the University of Heidelburg.  My credentials and qualifications speak for me.  I have decided to teach privately, and I shall set up my plate where my record of achievement is best known.

			LOLA
		You don't mean we're going back to Hamburg?

			PROFESSOR
		Why not?  The prospect is invigorating, I give myself full marks.  Let the town see what a fine woman I have married.  It will take time, I concede, my dearest, to form a social circle - but we shall prevail.

			LOLA
		I know.  Just the same, why Hamburg?  Why not stay here, in the warm?

			PROFESSOR
		And allow them to win?  No!  You are my wife.  There will be no door closed against you, I give you my oath.  Within a year you will have the entree to every drawing room, every salon in the city...even the Mayor himself.

			LOLA
		(Flat)  Oh, good.

			PROFESSOR
		Trust me.  And now we will find a modest cafe in the town to eat our luncheon.

He comes close, to pick up her packages, and begins to murmur into her neck.

			LOLA
		Manny, not now.  I'm hungry!

She kisses him on the nose.  He can refuse her nothing.

			LOLA
		Something delicious, hmm?  We can be sensible tomorrow.

Mesmerised, he follows her off along the plage.

ACT TWO.  SCENE TWO.

THE BLUE ANGEL.

BOMBLER is on his feet, trying to rouse his audience into joining him in a chorus of `In Hamburg and Bremen and Lubeck'.  He becomes frantic with failure, waves to the band who end abruptly and in disorder as he signals like a windmill.

			BOMBLER
		Pack it in.  No good singing to thin air.

He stands, dismal and depressed.

			TUMTUM
		(Little voice)  We need Lola, Uncle.

			BERTHA
		They want Lola, guv.

He gives them a murderous look and goes.

ACT TWO.  SCENE THREE.

HAMBURG.

FRAU PFLUG steps forward.

			FRAU PFLUG
		Of course, I couldn't honour the Professor's request to take up his rooms again...not with - how could I have such a woman under my roof?  Still, I packed his things properly, his books, his laundry.  (With a little gleam of triumph)  Who would have thought it?!

A dull room in a rented apartment, made comfortable by Lola with cushions, and scarves over the lights, giving a sensuous atmosphere...offset by packing cases and the Professor's strapped piles of books.

PAUL and LOLA, in the centre of the room.

			PAUL
		Leave him!  (She shrugs.)

		He should clear out.

			LOLA
		I know.  I tell him.

			PAUL
		Hans is leaving Hamburg next week for Berlin.  Why don't you and I -

			LOLA
		Sssh, he's coming!

			PAUL
		Where can we meet?

She raises her hands at him.  The PROFESSOR enters and stops short at the sight of PAUL.

			PROFESSOR
		Eberhardt.

			LOLA
		Baron von Eberhardt has -

			PROFESSOR
		To what, may I ask, do we owe this honour?

			PAUL
		I came to pay my respects, to you and Frau Raat.  (He bows.)

			PROFESSOR
		Very civil of you, to be sure.

			LOLA
		Aren't you going to offer the Baron something, Immanuel?  He tells me he's at Heidelburg now.

			PROFESSOR
		You passed your examinations?

			PAUL
		Cum laude.  I should like to offer you this, with my gratitude.  (He offers a small parcel.  The PROFESSOR looks at him suspiciously, takes out a book.)

		Dostoevsky.  A first edition.  In translation, of course.

			PROFESSOR
		(His face darkens)  Dostoevsky?  That heathen jailbird?  (He throws the book aside)  How dare you insult my hearth with such profanity?

			PAUL
		(Genuine)  I'm sorry -

			PROFESSOR
		I see through you.  I have always seen through you.  When others misbehaved, you did not.  Why?  You may answer.  (PAUL says nothing.)

		You see?  The same insolence.

			PAUL
		I'm sorry you feel that.  (Glances at the book on the floor.)

			PROFESSOR
		Get out.

He stands by the door.  PAUL bows formally to LOLA.  She picks up his book, gives it back to him.

			PAUL
		(At the door, to the PROFESSOR)  I have the honour, sir, to be, sir, your most obedient servant.

He bows frigidly and goes.

			PROFESSOR
		You see?  More offence.  How long was he here?

			LOLA
		Just arrived, this minute.  What's the matter?

			PROFESSOR
		Insults and humiliation.  It is beyond bearing.  I have given my life to this town.  No man could have been more respected on the streets of Hamburg - every hat was lifted.  Now - my subscription from the Lodge demanded, and the tradesmen refuse credit.  Why?  Am I a defaulter?  Have I been derelict in duty, in obligation?  Have I, in any manner, acted with dishonour?  No!  I have done what is the privilege of any normal citizen.  I have chosen to marry.

			LOLA
		You married me, Manny.  (She lights a cigarette.)

			PROFESSOR
		Please do not call me that.

LOLA shrugs.

			PROFESSOR
		I have been kept waiting, I have been snubbed, I was even shown the door - why?

			LOLA
		Because you're one of us now.

He looks up, frowning suspiciously.

			LOLA
		One of the unacceptables.  Too ugly, or too poor - or too timid to push for a seat on the tram.  You've joined a popular club.

			PROFESSOR
		I will not tolerate this treatment.  I shall have my revenge!

			LOLA
		(Shrewdly)  Well, there's more than one way to kill a cat.

			PROFESSOR
		(Takes her hand)  I will do anything - anything to make them accept you.

			LOLA
		You bet.  (Thrusts a bill under his nose)  And if we don't pay this by tomorrow night we shan't have a bed to sleep in.  The landlord's sending his brothers to kick us out.

			PROFESSOR
		Insolence!

			LOLA
		You think they won't?
			PROFESSOR
		What is to be done?

			LOLA
		Leave it to me.

ACT TWO.  SCENE FOUR.

LOLA, in deshabille, sits in the light with an OLDER MAN.  The PROFESSOR hides behind a screen.  The MAN becomes ardent.  The PROFESSOR leaps out, pointing a gun with shaking hands.  LOLA screams.

At the same time, at the Blue Angel, DIETER assists KLAUS into a straitjacket, ties the buckles.  KLAUS, over a few minutes, struggles and writhes to escape.

			PROFESSOR
		Doktor Lippmann!

			LOLA
		It's my husband!  Don't shoot...oh please, don't shoot!

Blackout.

Lights.  The PROFESSOR and LOLA are alone.  She is counting money and putting it into a large, black metal cash box.  She finishes, shuts the box, looks up, smiling.

			LOLA
		You see?  Now we're safe.  For the moment.

			PROFESSOR
		(Mutters)  Never ask this of me again.

			LOLA
		Why not?  You were very good.

			PROFESSOR
		(Shudders)  No.  Not even for you.  Everything - my life, my reputation - everything I am is invested here.

			LOLA
		Some investment.  They've used you!  Well, now it's your turn.

			PROFESSOR
		(Silences her with a wave of his hand.)  Non sequitur.  False argument.  An eye for an eye?  (He shakes his head.)  You think I am not aware of chicanery?  Of misuse of trust?  Of bad behaviour?  I know the men of this town - they were my students, all of them.  Do you think I

			PROFESSOR  (Cont'd)
		didn't smell out the criminals before their voices broke?...the untrustworthy, those who must win, must crow on the manure heap?  I tell you, I, Professor Raat, know the weaknesses of every man of substance in this town.

			LOLA
		O-oh?  (She looks up alertly interested)  Do you, mein Herr...do you?

			PROFESSOR
		Certainly.  Nonetheless, I believe - I fully believe that our beloved city can only be fuelled by civic virtue.  It is true that there are times when we may be forced to employ those we despise to run our affairs, those whose avaricious energy thrusts them up -

			LOLA
		Including your ex-friends?  (He frowns at her interruption.)

		From the Lodge - the Law Society?

		(She waves her little black book towards him.) I know them too, remember?  (He reacts.)

		And for your good behaviour and honourable obedience - what reward, Professor?  A piece of ribbon?  A chiming clock?

			PROFESSOR
		No reward is necessary for a life of genuine service.

			LOLA
		Just so long as you realise you've been fooled.  (She closes on him.)

		At least you know now, before it's too late.  (Softly)  Let them win?

		Time to play them at their own game, Manny.  (He looks at her aghast, as her meaning sinks in.)

			PROFESSOR
		(Whispers)  I am to join the regiment of criminals?  Debase myself?  Knowingly... consciously...willingly - No!!  I refuse!!

			LOLA
		(Quietly)  You're not in a position to refuse.

			PROFESSOR
		My dear -

			LOLA
		I don't intend to walk the streets for you, my friend.

			PROFESSOR
		But -

			LOLA
		If you think you can sit there counting the money while I...

			PROFESSOR
		Stop!  Please!...my dearest one.  How could you think - that you could believe...even dream of putting me into such a category -

			LOLA
		Why not?  You're a man, aren't you?

Angry, she swipes over a pile of his books.

			PROFESSOR
		Please.  Trust me.  I will prove worthy as your husband.  I will provide for you.

			LOLA
		How?

			PROFESSOR
		Very well.  Leave it to me.  The politics of necessity.  Force majeure.  What is necessary for survival shall be done.

With a last, thrilling look she leaves.

The PROFESSOR stands, immobile, for a long moment.

ACT TWO.  SCENE FIVE.

THE BLUE ANGEL.

The TROUPE march forward with their militaristic version of `Happy Days are Here Again' or `Wochenende'.

Meanwhile, in LOLA'S bedroom, she is en deshabille with another OLD MAN.  The PROFESSOR enters with a gun.

			LOLA
		It's my husband.  Don't shoot, don't shoot!

Instrumental `Wochenende'.

As the cabaret continues, in the bedroom LOLA is with another MAN.  The PROFESSOR enters, as before.

			LOLA
		It's my husband...don't shoot, don't shoot!

In the Blue Angel, the cabaret reaches a climax.

`Wochenende' reprise, full cabaret.

BOMBLER and the PROFESSOR enter, in conversation.

			BOMBLER
		Times are bad, Herr Professor.  Now if Lola could come back to the Blue Angel -

			PROFESSOR
		I shall buy the Blue Angel for her, it is her wish.

BOMBLER goggles.

MAI sings and DIETER plays in accompaniment - `Liebe Ohne Liebe'.

			BOMBLER
		I've set up the gaming tables, sir.

			PROFESSOR
		Excellent.

			BOMBLER
		What we really need is Lola.
KLAUS and HERMINE finally perform their Apache dance.

			PROFESSOR
		For two years now, Mr Mayor, you have defaulted on your gaming debts.  Enough.

			MAYOR
		But you've cleaned me out - I have no funds.

			PROFESSOR
		Then you must expect the consequences.

			BOMBLER
		Could you reconsider, sir?  Let Lola perform!

In the Blue Angel, MAI, BERTHA and TUMTUM attempt to provide the Lola ingredient, with BOMBLER'S assistance.  `Kinde Heut Abend'.

			PROFESSOR
		Come now, Herr Pressmann, surely the information in my hands will persuade you.  Be good enough to transfer the bonds.

			PRESSMANN
		But that's blackmail!

			PROFESSOR
		(Thunders)  Do as I say sir - today!

The full cabaret re-emerge to sing the climax of their show.  The TWO FAT GIRLS run on with hoop, HERMINE does cartwheels, KLAUS and DIETER run on tumbling and juggling, topped by BOMBLER on a unicycle, blowing a horn.  `Wochenende' (reprise), ending with HERMINE doing the splits and the GIRLS holding their hoop high.  As they leave, BOMBLER, with KLAUS, brings the JUDGE to the backstage area.

			JUDGE
		I must protest.  This is hardly the place -

			BOMBLER
		Wait here.

The JUDGE looks around, agitated.  The PROFESSOR appears and observes him from the shadows.

			PROFESSOR
		Good evening, Helmut.

The JUDGE jumps.  The PROFESSOR comes forward.

			PROFESSOR
		You were trying, I believe, an interesting case today.  A glass of wine...no?  It's a fine Bordeaux.  A man accused of - what was it? - an attack on a defenceless woman?

			JUDGE
		(Waves his hand, refusing a drink)  I have another engagement.  I came to tell you that what you ask is impossible.

The PROFESSOR sits, drinks without haste.

			PROFESSOR
		Indeed.

			JUDGE
		Herr Professor, be reasonable.

			PROFESSOR
		A simple request.  My reinstatement as an honorary member of the Law Society.

			JUDGE
		Utterly impossible.

			PROFESSOR
		I beg to differ.  With your influence -

			JUDGE
		My dear sir, no influence by me or anyone else could help you.  Your altered state -

			PROFESSOR
		What do you mean?  I am legally married, there is no irregularity in my -

			JUDGE
		Herr Raat!

			PROFESSOR
		Herr Doktor Raat!

			JUDGE
		I beg your pardon.  But you will allow me to point out that apart from the question of your marriage it is, to say the very least, unusual for a full Professor of Literature and Philosophy to be the owner of...of a drinking establishment in the docklands area of Hamburg.

			PROFESSOR
		The club belongs to my wife.

			JUDGE
		Precisely.

Silence.

			PROFESSOR
		Very well.  Since you choose to do nothing for me, I am forced to ask you for cash.

			JUDGE
		No, no.  None of that, if you please.

The JUDGE moves to go.  BOMBLER and KLAUS stand in his way.

The PROFESSOR takes a set of photographs out of his cash box.  The JUDGE looks at them and falls into a chair with shock.

			JUDGE
		(Low)  How were these taken?  (The PROFESSOR smiles, enjoying his ascendancy)  Who has the negatives?

			PROFESSOR
		I do.  Here.  In my breast pocket.

			JUDGE
		Are these the only prints?

			PROFESSOR
		They are.  You have my word.

The JUDGE looks at him sharply.  But his eyes fall on the pictures again, and he collapses back in his chair, beaten.

Silence.

			JUDGE
		(Mutters)  How much do you want?

The PROFESSOR hands him a slip of paper.

			JUDGE
		That is quite impossible.  I have nowhere near such funds.

			PROFESSOR
		I think so.  If you sell your house.

			JUDGE
		Sell my house?  But what reason can I give, how can I explain -

The PROFESSOR, in a rage, bangs the table.

			PROFESSOR
		Reinstatement!  I demand reinstatement!

The JUDGE rises and backs away.

			JUDGE
		I can do nothing.

			PROFESSOR
		(Sullen)  The money then.  (Bangs table)  I must have it!  The generosity is mine.  You can be saved - you, who are guilty!  You can repurchase your good name.  I, who am guiltless -

			JUDGE
		Guiltless?

			PROFESSOR
		(Softly)  Have I, Herr Judge, sought to plunder thirteen year old virgins?  (The JUDGE blanches, goes quickly.)

		(Calls after him)  One month, Your Honour... one month!

He crosses, with his cash box.  DIETER, in the shadows, watches.

			BOMBLER
		(Announcement)  Meine Damen und Herren - after being away from us for far too long, tonight she returns - I give you, your own Blue Angel - Lola!!

LOLA appears and sings `Mein Blondes Baby'.

PAUL, at his table, never takes his eyes from her.  She crosses to her dressing room.

In the dressing room PAUL helps LOLA into her kimono, then sits on the sofa.  She crosses, sits at her dressing table.  He watches her, then looks about him.

			LOLA
		What is it?

			PAUL
		So strange.  The Blue Angel...you...me... Hamburg...as before.

			LOLA
		I'd rather be in the south...in the sun.

He watches her with her make-up.

			PAUL
		No-o.  No, you belong here, amid the ice and the snow.  (He crosses, bends and kisses her bare shoulder.)

		My cold, white star.

She turns on him abruptly, and kisses him almost savagely.

			LOLA
		There!  Was that cold?

			PAUL
		Yes.  Very cold.  (Disconcerted, she turns away.)

		Have you never been in love?

			LOLA
		Of course...hundreds of times.

			PAUL
		I think not.

			LOLA
		I was once.  With my father.

			PAUL
		Is he dead?

			LOLA
		(Bleak)  To me he is.  (She turns, with a smile)  Don't worry about it.

			PAUL
		I could melt the ice in your heart.

			LOLA
		You?  What makes you so different?

			PAUL
		You like me.  (She frowns, turns away)  Shall I make you love me?

			LOLA
		Certainly not.

			PAUL
		Oh...why?

			LOLA
		As you say, I like you.

			PAUL
		Come away with me.  Come to Vienna!  We could leave tomorrow, be there the next morning.  Leave him!

			LOLA
		I can't.

			PAUL
		Why not?

			LOLA
		This place, for one thing.  It's in my name.

			PAUL
		That's just a front, he'll never let you have it.  Come to Vienna...please...say yes...

			LOLA
		Even if the Danube is a dirty grey?  (They embrace.)

		Oh, damn you.

			PAUL
		You'll come with me - yes?

			LOLA
		Quick, it's him!

			PAUL
		But are you coming?

			LOLA
		Go!

			PAUL
		Not until you say yes.

			LOLA
		What time's the train?

			PAUL
		Ten o'clock -

The PROFESSOR comes in, carrying a package.  He has been drinking.  He stops at the sight of PAUL.

			PROFESSOR
		You?  What are you doing here?

			PAUL
		I'm asking your wife to run away with me.

A dreadful silence.

			PROFESSOR
		What?  What?!  (It seems that he will strike PAUL but he stops suddenly.)

		At last.  You see?  I was right.  The insolence was always there.  Now it comes out.  (He laughs, waving the package in PAUL'S face.  PAUL turns to go.)  No, stay, Excellency.  (To LOLA)  A small token of my regard.  Open it.

LOLA opens the box, lifts a green necklace high.  PAUL gasps with surprise.

			PAUL
		But...those are my mother's emeralds!

			PROFESSOR
		Correct.  (He fastens the necklace round her neck.)  And we are now in a position to purchase.

			LOLA
		Purchase?  (She frowns at PAUL, puzzled.  He gapes at the necklace.)  Purchase what?

			PROFESSOR
		Why...(he cannot stop laughing)...why...the Eberhardt house!  His house!

			PAUL
		My house?

			PROFESSOR
		In payment.

			PAUL
		Payment?  For what?

			PROFESSOR
		For every civility shown to me by you, by your father, by your verdammt family.  Oh, so civil always!  So kind, so unfailingly courteous!  (He sweeps a drunken bow.)

			PAUL
		Have you gone mad?

			LOLA
		What's he done, Count von Eberhardt?

			PROFESSOR
		(Laughs)  Done?  He hasn't done anything!  (He laughs, enjoying their bewilderment.  Stops laughing)  But his brother has.  Don't go, Excellency!

			LOLA
		What's the feller been up to?

			PROFESSOR
		Fraud.  They're All Frauds - these Pillars of Society!  

		(He brandishes a large book.)  A new register.  (He turns the pages)  Cheats...embezzlers... fornicators...(he licks a finger, turns page)... murderers.  In alphabetical order.

Silence.

			PAUL
		And you make your living out of them.

			PROFESSOR
		By my own enterprise.  You were right, liebling.  For thirty years I was a fool.  Others became rich, my reward was the success of my pupils - right or wrong?  I was respected.  I ate at the Mayor's table...Professor Immanuel Raat ...decorations will be worn.  And what did it mean, this respect?  It - meant - Nothing!  (He looks at them both malevolently.)

		This...(he slaps his hand on the cash box)...This is what matters.  Money.  Money creates... Money controls!  With money, I insist!  I...Raat ...insist!  With money I shall repurchase that which has been stolen from me.

			PAUL
		What?

			PROFESSOR
		Respect!  Honour!

			PAUL
		By ruining my family?

			PROFESSOR
		I want my place!  Frau Raat, my spouse, will preside over the finest staircase in Hamburg.  (To PAUL)  You have been there long enough.  Time to vacate!  (Gestures)  My liebling will wear the finest furs, jewels such as this city has never seen...pearls, ropes of pearls...rubies, burning on your throat like wine...

			PROFESSOR  (Cont'd)
		(turns to PAUL)...and I shall sit on the terrace of the finest house in Hamburg - the Eberhardt house ... and watch her become the Queen of the North.

			PAUL
		(Pause)  You can't believe that they will allow you to succeed in this.  (He bows to LOLA, goes.)

			PROFESSOR
		(Calls)  But I have succeeded!

		(He closes on LOLA amorously.)  My beloved - (kisses her neck)...this is what I bring you - oh, dreams, I have such dreams!  Every night, a salon...the finest minds in Germany at our table ...and after, I am left with my prize.  I shall carry you up that celestial staircase -

He suddenly clutches his chest, in pain.  Grunts.

			LOLA
		You old silly, you've overdone it.  Go on, I don't want you tired for my party.  (He makes to pick u p the box)  Don't worry, I'll put those away.  You gave me the combination, remember?
			PROFESSOR
		(Vague)  As you wish.  Wear the emeralds tomorrow.  They'll all be here......the clients!

			LOLA
		Is that wise?

			PROFESSOR
		Just watch them, my darling.  Watch them dance for your birthday.  To my tune!

He laughs and goes.  DIETER emerges.  He and LOLA look at each other for a long moment.  She looks at the cash box, back at DIETER.  DIETER looks at the cash box, then at LOLA, to be sure of her meaning.  She nods slightly, and goes.  DIETER crosses, picks up the cash box. 

Blackout.

ACT TWO.  SCENE SIX.

A STREET IN THE DOCKLANDS AREA.

HERR PRESSMAN enters, waits nervously.  The MAYOR approaches furtively, joins him.  After a beat they are joined by the JUDGE.  They huddle, whispering and tense.

DIETER emerges from the shadows.  They regard him nervously.  The JUDGE moves towards him.  DIETER gives him a paper.  The JUDGE joins his friends.

			JUDGE
		(Reads under street lamp)  `Let me do t his.  If not, I shall kill him.  If I kill him it will all come out.  Give me the money and I will bring the papers.'

			PRESSMAN
		Does he mean tonight?

			MAYOR
		(To DIETER)  Tonight?

DIETER nods.

			JUDGE
		Yes, tonight.  Bring everything, accounts, records...photographs...as we arranged.

DIETER goes.

			MAYOR
		Can we trust him?

			JUDGE
		It's a small price to pay.

			PRESSMANN
		We must risk it.

			MAYOR
		Till tonight, then.

ACT TWO.  SCENE SEVEN.

THE DRESSING AREA AT THE BLUE ANGEL.

BERTHA and TUMTUM dress for the night's performance, prinking.  KLAUS and BOMBLER move about, preparing their props.

			BOMBLER
		Where's Dieter?		

			KLAUS
		Haven't seen him all day.

			BOMBLER
		Funny.

He and KLAUS sort ropes.  HERMINE, now a dreadful Flapper, practices the Charleston in a corner.  BERTHA nudges TUMTUM as HERMINE gets it wrong.

MAI enters.  She crosses to BOMBLER and punches him in the face.  Caught off balance he falls.  He gets up and rubs his painful jaw without a murmur, carries on tying his tie.  MAI starts to dress for the evening, her face thunderous.

			TUMTUM
		(In a little voice)  Sorry, Auntie.

MAI turns and swipes her one.  TUMTUM goes down, then gets up and finishes dressing, her snivelling intensified by HERMINE'S satisfied smile.  She sniffs, getting on KLAUS'S nerves.

			KLAUS
		Beer, anyone?

			HERMINE
		Yes, please!

And gets a shove from her MOTHER.  BERTHA gives KLAUS some money from her purse.

			KLAUS
		The usual?  (BERTHA nods.)  Herr Bombler?

			BOMBLER
		Shut up.  Now listen all of you.  We've got the whole of Hamburg out there tonight!  I want you all on your toes.  I want you crisp, I want bounce, above all, I want you debonair.

The PROFESSOR enters.

			BOMBLER
		Professor, sir!  Everything in order?

			PROFESSOR
		I told you, tonight must be well-arranged.
			MAI
		He'll be here.  We're trying our best, sir.

			BOMBLER
		We won't let you down -

			BERTHA
		We've worked really hard -

			TUMTUM
		For Lola's birthday...(She withers in the PROFESSOR'S glare.)

			HERMINE
		You mean, Frau Raat.

			BERTHA
		Frau Raat, she means.

			PROFESSOR
		Kindly remember to address your employer correctly.  Otherwise you will be dismissed.

			BERTHA
		Oh, don't say that, sir!

			TUMTUM
		You wouldn't do that, sir!

He looks at them with disfavour and walks off, ignoring a curtsey from HERMINE.

			MAI
		I'll have his tripes for corset laces.

			TUMTUM
		Sssh, he'll hear you, Auntie!

			BOMBLER
		Come on, all of you - get to work.

MAI starts to play.  BERTHA and TUMTUM line up lethargically and start a limp routine.  HERMINE attempts to flirt with KLAUS, who is drinking beer.  She hangs round him as he drinks phlegmatically.

			BOMBLER
		(To the GIRLS)  No, no, no!  Not like that!  (He mutters furiously to himself.)

		Come here.  Not like that......like this!

He bursts into a frenetic tap dance.  The GIRLS watch, their eyes and mouths wide.  MAI bangs out the last phrases, enlivened by BOMBLER'S energy.  The dance ends and BOMBLER heaves, out of breath.

An awed silence.

			TUMTUM
		That was good, Uncle.

Further silence as the GIRLS digest the implications.

			BERTHA
		You want us to do it like that, Mr Bombler?

			BOMBLER
		(Breathless, he can hardly speak)  Yes...like that...

			BERTHA
		All right, then.

			TUMTUM
		But - (she follows BERTHA off, perplexed.)

			MAI
		Didn't know you had it in you.

			BOMBLER
		There's a lot you don't know, old girl.  I'll prove it now if you like.

			MAI
		Ah - well...only I've got to see to the band parts.

			BOMBLER
		Of course.

			MAI
		Otherwise I'd -

			BOMBLER
		Absolutely.

			MAI
		Here.  Is this a good idea?

			BOMBLER
		What?

			MAI
		Inviting all the nobs.  You don't think he's asking for trouble?

			BOMBLER
		No!  He's putting us on the map.

			MAI
		There's some funny things being said.

			BOMBLER
		Things?  What things?

			MAI
		About him.  About what he gets up to.

			BOMBLER
		I should keep your mouth shut if I were you.

			MAI
		And what's all this stuff about expansion?

			BOMBLER
		Mind your own business.  Where the hell is Dieter?

			MAI
		You want to watch out.

			BOMBLER
		What do you mean?  (She jerks her head off, meaning the PROFESSOR.)  He's an educated man - what's more, he's out to win!

			MAI
		And naturally you're included.  Let me tell you something.  When it's winners and losers people are out for themselves...and for every winner there's a thousand losers, stands to reason.  Expansion!  (She laughs)  I should be careful, mein Herr.

			BOMBLER
		Don't talk rubbish, we're doing well enough, aren't we?

			MAI
		Until we get caught.

			BOMBLER
		Caught?  What do you mean, caught?

			MAI
		I hope you've got your suitcase packed.  I have.

			BOMBLER
		Look at her!  We've never been so well off, and she stands there grumbling.  Look at this place ...new floor, new paint...you wouldn't know it!

			MAI
		(Takes her sheet music and goes)  The drains still smell though, don't they?

ACT TWO.  SCENE EIGHT.

THE BLUE ANGEL.

The JUDGE, the MAYOR and PRESSMANN enter, leave their things with the HAT-CHECK GIRL and take their seats.

LOLA enters and sings `Johnny'.

BOMBLER enters, lifts his hands for silence.

			BOMBLER
		Ladies and gentlemen...Gentlemen.  Tonight... tonight, as you know...is a very special occasion.  We are celebrating the birthday of our one and only...of the star of The Blue Angel ...our beloved enchantress...Lola!

BERTHA and TUMTUM give LOLA a birthday cake and flowers.

			BOMBLER
		As you know, Lola...Frau Raat...is now our revered employer.  Lola...with our love and thanks!

Applause.

			LOLA
		Thank you so much.  I have a feeling tonight will be a night to remember.

She crosses to meet the PROFESSOR.  He kisses her hand and they dance a waltz together.  He stops, holds up his hand for silence.

			PROFESSOR
		Ladies and gentlemen.  I am pleased to see so many of our leading citizens here tonight to honour my wife.  Any absentees, you may be sure, have been noted.  Among those present are -

			PRESSMANN
		(Unseen)  Herr Raat...

			MAYOR
		(Unseen)  Professor Raat...

			JUDGE
		Officer, if you will.

A POLICEMAN steps forward.

			POLICEMAN
		Silence, if you please.  On the orders of the police this club is now closed.  All of those present proceed to the nearest exit -
			PROFESSOR
		What?  What are you doing?  Stop it...(as people start to leave)...come back - stop it, I say - pay no attention to -

			POLICEMAN
		Be quiet, please.  (Calls to those leaving)  My men are outside, be good enough to leave quietly and without incident.

			PROFESSOR
		What is this outrage?  Why are you here, do you know who I am?

			POLICEMAN
		Sir, we know who you are.  And we know what you do.

			PROFESSOR
		What do you mean?  By whose authority are you here?  I demand that you leave these premises and allow my guests to return.  This is an outrage!

			POLICEMAN
		Finished?  You are - (consults his notebook) - one Immanuel Gustav Raat?

			PROFESSOR
		I am Professor Doktor Raat and I insist that you give me a full explanation of your conduct.

			POLICEMAN
		(Quietly)  I don't think you understand.  I am placing you under arrest.  Sir.

			PROFESSOR
		Arrest?  Arrest?  (Bewildered, he turns to LOLA)  On what charge?

The JUDGE, the MAYOR and HERR PRESSMANN step forward.

			POLICEMAN
		Illegal gambling.

			PROFESSOR
		Impossible.  Impossible.

			JUDGE
		Herr Raat...

			MAYOR
		Professor Raat...

			PRESSMANN
		Herr Professor...

They smile at him.

			PROFESSOR
		I see.  I see.  Well, well.  So it is to be defiance.  Very unwise, gentlemen.  Come, the joke has gone far enough.

			MAYOR
		A matter of possession, is it?

			JUDGE
		Possession, my dear Raat, is nine points of the law.

			PROFESSOR
		(As doubt begins to assail, mutters)  Surely it is not in your interests to try me so far?

PAUL enters.  The MAYOR, PRESSMANN and the JUDGE bow to him.

			PAUL
		My apologies.  I seem to have missed your celebrations.  There was a matter for my father ...(his voice breaks slightly)...for us to attend to.  (To the PROFESSOR)  Perhaps it will interest you.  My uncle, Conrad von Eberhardt, was pulled from the river tonight.

A murmur of shock from his listeners.

			PROFESSOR
		And what is that to me?  I feel no shame.  The man was a fraud.  If he prefers death to dishonour, why then -  (DIETER enters, brandishing the cash box.)

		- then -  (The JUDGE and PRESSMANN hold up the PROFESSOR'S books.)

		...my books!...no!...no, no, no, no, no!

		(As the POLICEMAN hauls him away)  No, I say, no!  I am a German citizen...you have no right!  I am a Professor of the University of Heidelburg, you cannot arrest me......my wife, where is my wife!

He struggles violently but is manhandled offstage.  LOLA follows.

			JUDGE
		This establishment will be closed until further order.

The TROUPE are left alone.  KLAUS hands round cigarettes.  MAI gets the packed suitcase.

			BERTHA
		Where's Lola?

			TUMTUM
		What's happened to Lola?

LOLA enters.

			MAI
		Didn't you go with him?

			LOLA
		What for?

			MAI
		I'd shove off if I were you.

There is a movement in the shadows.  LOLA turns.

			LOLA
		Hullo, Dieter.  Good night?  (He looks at her with a fleeting smile.)

		Where's the cashbox?

He produces the cash box, opens it slowly...and throws handfuls of notes into the air.  LOLA stands back, laughing, as the OTHERS scramble for the money.

			LOLA
		Hey, leave some for me!

The TROUPE scurry away with the money.

			HERMINE
		Mutti, are we stopping or going?

			MAI
		We'll see, we'll see!

DIETER offers the open cash box to LOLA but she shakes her head.  She reaches up, kisses him gently on the cheek.  He gives her a long look, then glances across to PAUL, standing apart.  He bows briefly to LOLA, with one last look, and goes, the box under his arm.  LOLA looks after him.

			LOLA
		`Bye, Dieter.

DIETER'S step falters, then he continues on his way.

LOLA turns, taking off the emerald necklace.  She holds it out to PAUL.  He ignores it, takes her by the hand and leads her to the bedroom.

ACT TWO.  SCENE NINE.

THE BLUE ANGEL.  The next morning.

			PAUL
(Calling up to the bedroom)  Breakfast is served, my lady.

			LOLA
		(From upstairs)  Oh, come back...

			PAUL
		I can't, I'm late already.  (Calls)  What will you do?

			LOLA
		I don't know.  And you?

			PAUL
		I shall stay for my Uncle's funeral.

LOLA comes downstairs in a dressing gown.

			PAUL
		There's nothing to keep you here.  Let me take you - if not Vienna, then Rome - Madrid - the moon!  We could be warm together.  Coffee?  Cake?  Say yes!

			LOLA
		For how long?

			PAUL
		(Shrugs)  Oh, until the autumn.  I shall have to be back in Heidelburg for the Michaelmas term.

She takes out a cigarette.  He lights it for her.

			LOLA
		I hear you became engaged.

		Nice girl?

			PAUL
		(Dismissive)  It's not important.

			LOLA
		I daresay my husband's made it all the more necessary for you to marry the Essen steel industry.

			PAUL
		It needn't affect us.
She laughs drily.

			PAUL
		Please.  Come away.

He shakes her hand gently to and fro.

			LOLA
		Why should I?

			PAUL
		Because it's finished here.  And because you like me.

		(He leans across the table, kisses her.)  There, you see?  Five icicles dropped from your nose.  Say yes.  Come with me.

			LOLA
		Until Michaelmas?

But she smiles at him briefly.

			PAUL
		You see?  The ice is melting.

She rises, walks past him, touches his hair briefly.

			LOLA
		Who would have thought it!

			PAUL
		(Calls)  You will?

		(He turns.  She is looking at him sadly.)  What?

			LOLA
		Nothing.

			PAUL
		What is it?

			LOLA
		If you knew!  (She approaches, he looks up at her.)

			PAUL
		Knew?  Knew what?  Tell me.

			LOLA
		Let's hope you're one of the lucky ones.  Let's hope you never know.

			PAUL
		(Puzzled)  Know what?

			LOLA
		Oh...life.

She laughs.  He doesn't.

			PAUL
		So you won't come away with me?

		Is it because of him?  Your husband?  Because he's locked up?

			LOLA
		I need to know where I stand.

He stands over her, frowning.  An idea occurs to him.  He puts on his gloves with decision, takes his cloak.

			LOLA
		Where are you going?

			PAUL
		(Mutters)  There is something I can do.

			LOLA
		What?

But he has gone.

Blackout.

KLAUS enters.

			KLAUS
		Lola?  Lola?  (He sees LOLA sitting on the stairs.)

		Oh.  Evening, Lola.

			LOLA
		Play something.

KLAUS plays `Auf Wiedersehn'.  LOLA approaches and sings, KLAUS breaks into `Beware Blonde Women'.  LOLA laughs wryly, pours herself a drink, waves the bottle at him, he shakes his head.

			KLAUS
		We might as well clear off, this place is finished.

			LOLA
		(Thoughtful)  I wonder.  It is in my name.

			KLAUS
		They'll still take it.

			LOLA
		They might not.  The Mayor's an old acquaintance.  And the Chief of Police.

			KLAUS
		You'll be all right then.

			LOLA
		Under new management!  Lola's!

Heads close, they shine at the thought.  And both jump as the PROFESSOR enters, dishevelled and exhausted.

			KLAUS
		It's him.

			LOLA
		You're out!  (She waves KLAUS off.)

The PROFESSOR looks at her without answering.  He seems collapsed.

			LOLA
		How did you manage it?

The PROFESSOR slumps onto a chair.

			PROFESSOR
		(Mutters)  Eberhardt.

			LOLA
		What?

			PROFESSOR
		(Looks up malevolently)  The Count von Eberhardt - intervened.

Silence.

			LOLA
		After what you did to his brother?

			PROFESSOR
		There will be no court case.

Silence.

LOLA suddenly puts her hand to her mouth in realisation.

			LOLA
		So that was it.

			PROFESSOR
		(Flash of rage)  The Count von Eberhardt behaves well because the Count von Eberhardt can afford to behave well!

PAUL enters.
			LOLA
		It wasn't him.

			PROFESSOR
		What?

			LOLA
		It wasn't the Count.  It was his son - Paul.  Paul, your favourite pupil.  (Quietly)  Here is your Siegfried.

The PROFESSOR'S expression alters.  He glares at her and comes forward in a rage.  But he staggers and LOLA helps him to a chair.  PAUL approaches with a glass of water.  The PROFESSOR waves him away angrily.

			LOLA
		(Low)  Leave him to me.

PAUL moves apart.

			PROFESSOR
		(Grasps LOLA'S hand, stares up at her fervently)  Swear - swear that you will be loyal.

			LOLA
		(Puzzled)  Loyal?

			PROFESSOR
		I will provide for you.  Trust me.

LOLA moves away.

			LOLA
		We lost.

			PROFESSOR
		Another town.  A new beginning.

			LOLA
		No.  It's over.

			PROFESSOR
		Over?

			LOLA
		Yes.

			PROFESSOR
		Never.  You are my wife, I demand your allegiance, you bear my name.

			LOLA
		My name is Lola.

			PROFESSOR
		You have no loyalty?  Your love then...

			LOLA
		Love?  I've no love.

			PROFESSOR
		But you love me!  You have said so.

			LOLA
		I'm a liar.  You married beneath you, Professor.  You should have stuck to your school.  Not that they didn't hate you there, still, they could come to me for comfort.

			PROFESSOR
		No love?

			LOLA
		It's not something I know about.

			PROFESSOR
		You have no feeling for me?

			LOLA
		I have some feeling.

			PROFESSOR
		But if you feel, is that not love?

			LOLA
		I pity you.

Silence.  He seems to swell.  He advances on her.

			PROFESSOR
		You - pity me?  How dare you?  How dare you, I forbid it.  A woman such as you - you dare to pity me, Professor Immanuel Raat, of the University of Heidelburg?  I think you have forgotten your place.

LOLA looks up at him bleakly.

			LOLA
		This IS my place.

			PROFESSOR
		I will not be pitied.  Whore, you have destroyed me!

He lifts a hand high, to strike her.  And suddenly rears, almost to tiptoe.  His face widens in a terrible grimace of pain.  He falls across her with a dreadful, expiring groan.  She bends over him as, on his knees, he clutches at her.

			PROFESSOR
		Please...please...please...

She looks down at him.

			PROFESSOR
		Please...

He tries to speak, can only make sounds.  She puts her arms around him, speaks in a thrilling, soft voice.

			LOLA
		Of course I love you...I'll always love you... no-one else, just you, only you.  Mein Mann.  We'll go away to the sun as we did before, we'll go south, where it's warm.  We'll be together, we'll be happy.  That's what you want, isn't it?  You want to be happy, that's what you want.

Her voice dies away.  She sees that he is dead.  She flinches momentarily away from him, then lets him down gently, holding his head.

			LOLA
		It's what we all want.  To be happy.

She and PAUL stand by the body.  PAUL puts out a hand.  LOLA does not take it.

			LOLA
		Go home, Paul.

			PAUL
		Why?  You're free.  We can have what we want.

			LOLA
		What you want?

			PAUL
		What we both want.

LOLA looks down briefly at the PROFESSOR, moves away.

			PAUL
		Lola?

		I don't believe your heart is cold.

			LOLA
		Then you're a fool.

			PAUL
		What do you want?

			LOLA
		To survive.  Survive him - you.  Go home, Paul.

They regard each other for a long, hopeless moment.  Then he turns and goes.

LOLA crosses.  She sings `Ich Bin Von Kopf Biss Fuss Auf Liebe Eingestellt'...`Falling in Love Again'.

THE END.