Part 15

LAUDISI (_mysteriously, first with a gesture of his finger and then aloud_). Why, bringing the two of them together! (_A gesture of admiration_): Great idea, I tell you!

SIGNORA CINI. The two of them--together--who?

LAUDISI. Why, the two of them. He--in here! (_Pointing to the room about him_).

SIGNORA CINI. Ponza, you mean?

LAUDISI. And she--in there! (_He points toward the drawing room_).

SIGNORA CINI. Signora Frola?

LAUDISI. Exactly! (_With an expressive gesture of his hands and even more mysteriously_): But afterwards, all of them--in here! Oh, a great idea, a great idea!

SIGNORA CINI. In order to get....

LAUDISI. The truth! Precisely: the truth!

SIGNORA CINI. But the truth is known already!

LAUDISI. Of course! The only question is stripping it bare, so that everyone can see it!

SIGNORA CINI (_with the greatest surprise_). Oh, really? So they know the truth! And which is it--He or she?

LAUDISI. Well, I'll tell you ... you just guess! Who do you think it is?

SIGNORA CINI (_ahemming_). Well ... I say ... really ... you see....

LAUDISI. Is it she or is it he? You don't mean to say you don't know! Come now, give a guess!

SIGNORA CINI. Why, for my part I should say ... well, I'd say ... it's _he_.

LAUDISI (_looks at her admiringly_). Right you are! It _is_ he!

SIGNORA CINI. Really? I always thought so! Of course, it was perfectly plain all along. It had to be he!

SIGNORA NENNI. All of us women in town said it was he. We always said so!

SIGNORA CINI. But how did you get at it? I suppose Signor Agazzi ran down the documents, didn't he--the birth certificate, or something?

SIGNORA NENNI. Through the prefect, of course! There was no getting away from those people. Once the police start investigating...!

LAUDISI (_motions to them to come closer to him; then in a low voice and in the same mysterious manner, and stressing each syllable_). The certificate!--Of the second marriage!

SIGNORA CINI (_starting back with astonishment_). What?

SIGNORA NENNI (_Likewise taken aback_). What did you say? The second marriage?

SIGNORA CINI. Well, in that case he was _right_.

LAUDISI. Oh, documents, ladies, documents! This certificate of the second marriage, so it seems, talks as plain as day.

SIGNORA NENNI. Well, then, _she_ is the lunatic.

LAUDISI. Right you are! She it is!

SIGNORA CINI. But I thought you said....

LAUDISI. Yes, I did say ... but this certificate of the second marriage may very well be, as Signora Frola said, a fictitious document, gotten up through the influence of Ponza's doctors and friends to pamper him in the notion that his wife was not his first wife, but another woman.

SIGNORA CINI. But it's a public document. You mean to say a public document can be a fraud?

LAUDISI. I mean to say--well, it has just the value that each of you chooses to give it. For instance, one could find somewhere, possibly, those letters that Signora Frola said she gets from her daughter, who lets them down in the basket in the courtyard. There are such letters, aren't there?

SIGNORA CINI. Yes, of course!

LAUDISI. They are documents, aren't they? Aren't letters documents? But it all depends on how you read them. Here comes Ponza, and he says they are just made up to pamper his mother-in-law in her obsession....

SIGNORA CINI. Oh, dear, dear, so then we're never sure about anything?

LAUDISI. Never sure about anything? Why not at all, not at all! Let's be exact. We are sure of many things, aren't we? How many days are there in the week? Seven--Sunday, Monday, Tuesday, Wednesday.... How many months in the year are there? Twelve: January, February, March....

SIGNORA CINI. Oh, I see, you're just joking! You're just joking! (_Dina appears, breathless, in the doorway, at the rear_).

DINA. Oh, Nunky, won't you please.... (_She stops at the sight of Signora Cini_). Oh, Signora Cini, you here?

SIGNORA CINI. Why, I just came to make a call!...

LAUDISI. ... with Signora Cenni.

SIGNORA NENNI. No, my name is Nenni.

LAUDISI. Oh yes, pardon me! She was anxious to make Signora Frola's acquaintance....

SIGNORA NENNI. Why, not at all!

SIGNORA CINI. He has just been making fun of us! You ought to see what fools he made of us!

DINA. Oh, he's perfectly insufferable, even with mamma and me. Will you excuse me for just a moment? No, everything is all right. I'll just run back and tell mamma that you people are here and I think that will be enough. Oh, Nunky, if you had only heard her talk! Why, she is a perfect _dear_; and what a good, kind soul!... She showed us all those letters her daughter wrote....

SIGNORA CINI. Yes, but as Signor Laudisi was just saying....

DINA. He hasn't even seen them!

SIGNORA NENNI. You mean they are not really fictitious?

DINA. Fictitious nothing! They talk as plain as day. And such things! You can't fool a mother when her own daughter talks to her. And you know--the letter she got yesterday!... (_She stops at the sound of voices coming into the study from the drawing room_). Oh, here they are, here they are, already! (_She goes to the door and peeps into the room_).

SIGNORA CINI (_following her to the door_). Is _she_ there, too?

DINA. Yes, but you had better come into the other room. All of us women must be in the drawing room. And it is just eleven o'clock, Nunky!

AMALIA (_entering with decision from the door on the left_). I think this whole business is quite unnecessary! We have absolutely no further need of proofs....

DINA. Quite so! I thought of that myself. Why bring Ponza here?

AMALIA (_taken somewhat aback by Signora Cinis presence_). Oh, my dear Signora Cini!...

SIGNORA CINI (_introducing Signora Nenni_). A friend of mine, Signora Nenni! I ventured to bring her with me....

AMALIA (_bowing, but somewhat coolly, to the visitor_). A great pleasure, Signora! (_After a pause_). There is not the slightest doubt in the world ... it's he!

SIGNORA CINI. It's he? Are you sure it's he?

DINA. And such a trick on the poor old lady!

AMALIA. Trick is not the name for, it! It is downright dishonest!

LAUDISI. Oh, I agree with you: it's outrageous! Quite! So much so, I'm quite convinced it must be _she_!

AMALIA. She? What do you mean? How can you say that?

LAUDISI. I say, it is _she_, it is _she_, it's _she_!

AMALIA. Oh, I say! If you had heard her talk...!

DINA. It is absolutely clear to us now.

SIGNORA CINI and SIGNORA NENNI (_swallowing_). Really? You are sure?

LAUDISI. Exactly! Now that you are sure it's he, why, obviously--it must be she.

DINA. Oh dear me, why talk to that man? He is just impossible!

AMALIA. Well, we must go into the other room.... This way, if you please!

(_Signora Cini, Signora Nenni and Amalia withdraw through the door on the left. Dina starts to follow, when Laudisi calls her back_).

LAUDISI. Dina!

DINA. I refuse to listen to you! I refuse!

LAUDISI. I was going to suggest that, since the whole matter is closed, you might close the door also.

DINA. But papa ... he told us to leave it open. Ponza will be here soon; and if papa finds it closed--well, you know how papa is!

LAUDISI. But you can convince him!... You especially. You can show him that there really was no need of going any further. You are convinced yourself, aren't you?

DINA. I am as sure of it, as I am that I'm alive!

LAUDISI (_putting her to the test with a smile_). Well, close the door then!

DINA. I see, you're trying to make me say that I'm not really sure. Well, I won't close the door, but it's just on account of papa.

LAUDISI. Shall I close it for you?

DINA. If you take the responsibility yourself!...

LAUDISI. But you see, _I_ am sure! I _know_ that Ponza is the lunatic!

DINA. The thing for you to do is to come into the other room and just hear her talk a while. Then you'll be sure, absolutely sure. Coming?

LAUDISI. Yes, I'm coming, and I'll close the door behind me--on my own responsibility, of course.

DINA. Ah, I see. So you're convinced even before you hear her talk.

LAUDISI. No, dear, it's because I'm sure that your papa, who has been with Ponza, is just as certain as you are that any further investigation is unnecessary.

DINA. How can you say that?

LAUDISI. Why, of course, if you talk with Ponza, you're sure the old lady is crazy. (_He walks resolutely to the door_). I am going to shut this door.

DINA (_restraining him nervously, then hesitating a moment_). Well, why not ... if you're really sure? What do you say--let's leave it open!

LAUDISI. Hah! hah! hah! hah! hah! hah! hah!

DINA. But just because papa told us to!

LAUDISI. And papa will tell you something else by and by. Say ... let's leave it open!

(_A piano starts playing in the adjoining room--an ancient lune, full of soft and solemn melody; the "Nina" of Pergolesi_).

DINA. Oh, there she is. She's playing! Do you hear? Actually playing the piano!

LAUDISI. The old lady?

DINA. Yes! And you know? She told us that her daughter used to play this tune, always the same tune. How well she plays! Come! Come!

(_They hurry through the door_).

_The stage, after the exit of Laudisi and Dina, remains empty for a space of time while the music continues from the other room. Ponza, appearing at the door with Agazzi, catches the concluding notes and his face changes to an expression of deep emotion--an emotion that will develop into a virtual frenzy as the scene proceeds._

AGAZZI (_in the doorway_). After you, after you, please! (_He takes Ponza's elbow and motions him into the room. He goes over to his desk, looks about for the papers which he pretends he had forgotten, finds them eventually and says_). Why, here they are! I was sure I had left them here. Won't you take a chair, Ponza? (_Ponza seems not to hear. He stands looking excitedly at the door into the drawing room, through which the sound of the piano is still coming_).

AGAZZI. Yes, they are the ones! (_He takes the papers and steps to Ponza's side, opening the fold_). It is an old case, you see. Been running now for years and years! To tell you the truth I haven't made head or tail of the stuff myself. I imagine you'll find it one big mess. (_He, too, becomes aware of the music and seems somewhat irritated by it. His eyes also rest on the door to the drawing room_). That noise, just at this moment! (_He walks with a show of anger to the door_). Who is that at the piano anyway? (_In the doorway he stops and looks, and an expression of astonishment comes into his face_). Ah!

PONZA (_going to the door also. On looking into the next room he can hardly restrain his emotion_). In the name of God, is _she_ playing?

AGAZZI. Yes--Signora Frola! And how well she does play!

PONZA. How is this? You people have brought her in here, again! And you're letting her play!

AGAZZI. Why not? What's the harm?

PONZA. Oh, please, please, no, not that song! It is the one her daughter used to play.

AGAZZI. Ah, I see! And it hurts you?

PONZA. Oh, no, not me--but her--it hurts her--and you don't know how much! I thought I had made you and those women understand just how that poor old lady was!

AGAZZI. Yes, you did ... quite true! But you see ... but see here, Ponza! (_trying to pacify the man's growing emotion_).

PONZA (_continuing_). But you _must_ leave her alone! You _must_ not go to her house! She _must_ not come in here! I am the only person who can deal with her. You are killing her ... killing her!

AGAZZI. No, I don't think so. It is not so bad as that. My wife and daughter are surely tactful enough.... (_Suddenly the music ceases. There is a burst of applause_).

AGAZZI. There, you see. Listen! Listen!

(_From the next room the following conversation is distinctly heard_).

DINA. Why, Signora Frola, you are perfectly _marvellous_ at the piano!

SIGNORA FROLA. But you should hear how my Lena plays!

(_Ponza digs his nails into his hands_).

AGAZZI. Her daughter, of course!

PONZA. Didn't you hear? "How my Lena plays! How my Lena _plays_!"

(_Again from the inside_).

SIGNORA FROLA. Oh, no, not now!... She hasn't played for a long time--since that happened. And you know, it is what she takes hardest, poor girl!

AGAZZI. Why, that seems quite natural to me! Of course, she thinks the girl is still alive!

PONZA. But she shouldn't be allowed to say such things. She _must_ not--she _must_ not say such things! Didn't you hear? "She hasn't played since that happened"! She said "she _hasn't_ played since that happened"! Talking of the piano, you understand! Oh, you don't understand, no, of course! My first wife had a piano and played that tune. Oh, oh, oh! You people are determined to ruin me!

(_Sirelli appears at the back door at this moment, and hearing the concluding words of Ponza and noticing his extreme exasperation, stops short, uncertain as to what to do. Agazzi is himself very much affected and motions to Sirelli to come in_).

AGAZZI. Why, no, my dear fellow, I don't see any reason.... (_To Sirelli_). Won't you just tell the ladies to come in here?

(_Sirelli, keeping at a safe distance from Ponza, goes to the door at the left and calls_).

PONZA. The ladies in here? In here with me? Oh, no, no, please, rather....

(_At a signal from Sirelli, who stands in the doorway to the left, his face taut with intense emotion, the ladies enter. They all show various kinds and degrees of excitement and emotion. Signora Frola appears, and catching sight of Ponza in the condition he is in, stops, quite overwhelmed. As he assails her during the lines that follow, she exchanges glances of understanding from time to time with the ladies about her. The action here is rapid, nervous, tense with excitement, and extremely violent_).

PONZA. You? Here? How is this? You! Here! Again! What are you doing here?

SIGNORA FROLA. Why, I just came ... don't be cross!

PONZA. You came here to tell these ladies.... What did you tell these ladies?

SIGNORA FROLA. Nothing! I swear to God, nothing!

PONZA. Nothing? What do you mean, nothing? I heard you with my own ears, and this gentleman here heard you also. You said "she plays". Who plays? Lena plays! And you know very well that Lena has been dead for four years. Dead, do you hear! Your daughter has been dead--for four years!

SIGNORA FROLA. Yes, yes, I know.... Don't get excited, my dear.... Oh, yes, oh yes. I know....

PONZA. And you said "she hasn't been able to play since that happened". Of course she hasn't been able to play since that happened. How could she, if she's dead?

SIGNORA FROLA. Why, of course, certainly. Isn't that what I said? Ask these ladies. I said that she hasn't been able to play since that happened. Of course. How could she, if she's dead?

PONZA. And why were you worrying about that piano, then?

SIGNORA FROLA. No, no! I'm not worrying about any piano....

PONZA. I broke that piano up and destroyed it. You know that, the moment your daughter died, to keep this second wife of mine from playing on it. For that matter you know that this second woman never plays.

SIGNORA FROLA. Why, of course, dear! Of course! She doesn't know how to play!

PONZA. And one thing more: Your daughter was Lena, wasn't she? Her name was Lena. Now, see here! You just tell these people what my second wife's name is. Speak up! You know very well what her name is! What is it? What is it?

SIGNORA FROLA. Her name is Julia! Yes, yes, of course, my dear friends, her name is Julia! (_Winks at someone in the company_).

PONZA. Exactly! Her name is Julia, and not Lena! Who are you winking at? Don't you go trying to suggest by those winks of yours that she's not Julia!

SIGNORA FROLA. Why, what do you mean? I wasn't winking! Of course I wasn't!

PONZA. I saw you! I saw you very distinctly! You are trying to ruin me! You are trying to make these people think that I am keeping your daughter all to myself, just as though she were not dead. (_He breaks into convulsive sobbing_) ... just as though she were not dead!

SIGNORA FROLA (_hurrying forward and speaking with infinite kindness and sympathy_). Oh no! Come, come, my poor boy. Come! Don't take it so hard. I never said any such thing, did I, madam!

AMALIA, SIGNORA SIRELLI, DINA. Of course she never said such a thing! She always said the girl was dead! Yes! Of course! No!

SIGNORA FROLA. I did, didn't I? I said she's dead, didn't I? And that you are so very good to me. Didn't I, didn't I? I, trying to ruin you? I, trying to get you into trouble?

PONZA. And you, going into other people's houses where there are pianos, playing your daughter's tunes on them! Saying that Lena plays them that way, or even better!

SIGNORA FROLA. No, it was ... why ... you see ... it was ... well ... just to see whether....

PONZA. But you _can't_ ... you _mustn't_! How could you ever dream of trying to play a tune that your dead daughter played!

SIGNORA FROLA. You are quite right!... Oh, yes! Poor boy! Poor boy! (_She also begins to weep_). I'll never do it again: Never, never, never again!

PONZA (_advancing upon her threateningly_). What are you doing here? Get out of here! Go home at once! Home! Home! Go home!

SIGNORA FROLA. Yes, Yes! Home! I am going home! Oh dear, oh dear!

(_She backs out the rear door, looking beseechingly at the company, as though urging everyone to have pity on her son-in-law. She retires, sobbing. The others stand there looking at Ponza with pity and terror; but the moment Signora Frola has left the room, he regains his normal composure, an air of despairing melancholy, and he says coolly, but with profound seriousness_):

PONZA. I hope you good people will excuse me for this scene. A scene it really was, I suppose! But how could I avoid it? I had to rave like that to repair the damage which you good people, with the best of intentions, and surely without dreaming what you are really doing, have done to this unfortunate woman.

AGAZZI (_in astonishment_). What do you mean? That you were just acting? You were pretending all that?

PONZA. Of course I was! Don't you people understand that I had to? The only way to keep her in her obsession is for me to shout the truth that way, as though I myself had gone mad, as though I were the lunatic! Understand? But please forgive me. I must be going now. I must go in and see how she is. (_He hurries out through the rear door. The others stand where they are in blank amazement_).

LAUDISI (_coming forward_). And there, ladies and gentlemen, you have the truth! Hah! hah! hah; hah; hah; hah! hah!

_Curtain._

## ACT III

_The same scene. As the curtain rises, Laudisi is sprawling in an easy chair, reading a book. Through the door that leads into the parlor on the left comes the confused murmur of many voices._

_The butler appears in the rear door, introducing the police commissioner_, CENTURI. CENTURI _is a tall, stiff, scowling official, with a decidedly professional air. He is in the neighborhood of forty._

THE BUTLER. This way, sir. I will call Signor Agazzi at once.

LAUDISI (_drawing himself up in his chair and looking around_). Oh, it's you, Commissioner! (_He rises hastily and recalls the butler, who has stepped out through the door_). One moment, please! Wait! (_To Centuri_). Anything new, Commissioner?

COMMISSIONER (_stiffly_). Yes, something new!

LAUDISI. Ah! Very well. (_To the butler_): Never mind. I'll call him myself. (_He motions with his hand toward the door on the left. The butler bows and withdraws_).

You have worked miracles, Commissioner! You're the savior of this town. Listen! Do you hear them! You are the lion of the place! How does it feel to be the father of your country? But say, what you've discovered is all solid fact?

COMMISSIONER. We've managed to unearth a few people.

LAUDISI. From Ponza's town? People who know all about him?

COMMISSIONER. Yes! And we have gathered from them a few facts,--not many, perhaps, but well authenticated.

LAUDISI. Ah, that's nice. Congratulations! For example....

COMMISSIONER. For example? Why, for instance, here ... well, here are all the communications I have received. Read 'em yourself!

(_From an inner pocket he draws a yellow envelope, opened at one end, from which he takes a document and hands it to Laudisi_).

LAUDISI. Interesting, I am sure. Very interesting!...

(_He stands, reading the document carefully, commenting from time to time with exclamations in different tones. First an "ah" of satisfaction, then another "ah" which attenuates this enthusiasm very much. Finally an "eh" of disappointment, which leads to another "eh" of complete disgust_).

Why, no, what's all this amount to, Commissioner?

COMMISSIONER. Well, it's what we were able to find out.

LAUDISI. But this doesn't prove anything, you understand! It leaves everything just where it was. There's nothing of any significance whatever here. (_He looks at the commissioner for a moment and then, as though suddenly making up his mind, he says_): I wonder, Commissioner, would you like to do something really great--render a really distinguished service to this town; and meanwhile lay up a treasure in heaven?

COMMISSIONER (_looking at him in perplexity_). What are you thinking of sir?

LAUDISI. I'll explain. Here, please, take this chair! (_He sets the chair in front of Agazzi's desk_). I advise you, Mr. Commissioner, to tear up this sheet of paper that you've brought and which has absolutely no significance at all. But here on this other piece of paper, why don't you write down something that will be precise and clear?

COMMISSIONER. Why ... why ... myself? What do you mean? What should I write?

LAUDISI. Anything, anything at all! Anything that comes into your head, provided, however, it be _precise_ and _clear_! Say, for instance, that Signora Frola is a lunatic, or, if you will, if you prefer, that the second marriage of Ponza's was a frame-up!

COMMISSIONER. I don't get you, Signor Laudisi. What are you driving at? I forge the document?

LAUDISI (_insisting_). Forge? Just say something--anything--that these two old acquaintances of Ponza's whom you managed to get hold of might have said. Come, Commissioner, rise to the occasion! Do something for the commonwealth! Bring this town back to normal again! Don't you see what they are after? They all want the truth--_a_ truth, that is: Something specific; something concrete! They don't care what it is. All they want is something categorical, something that speaks plainly! Then they'll quiet down.

COMMISSIONER. _The_ truth--_a_ truth? Excuse me, have I understood you clearly? You were suggesting that I commit a forgery? I am astonished that you dare propose such a thing, and when I say I am astonished, I'm not saying half what I actually feel. Be so good as to tell the Commendatore that I am here!

LAUDISI (_dropping his arms dejectedly_). As you will, Commissioner!