Chapter 6

Councillor Agazzi's study in the same house. Antique furnishings with old paintings on the walls. A portière over the rear entrance and over the door to the left which opens into the drawing room shown in the first act. To the right a substantial fireplace with a big mirror above the mantel. A flat top desk with a telephone. A sofa, armchairs, straight back chairs, etc.As the curtain rises Agazzi is shown standing beside his desk with the telephone receiver pressed to his ear. Laudisi end Sirelli sit looking at him expectantly.AGAZZI. Yes, I want Centuri. Hello ... hello ... Centuri? Yes, Agazzi speaking. That you, Centuri? It's me, Agazzi. Well? (He listens for some time). What's that? Really? (Again he listens at length). I understand, but you might go at the matter with a little more speed.... (Another long pause). Well, I give up! How can that possibly be? (A pause). Oh, I see, I see.... (Another pause). Well, never mind, I'll look into it myself. Goodbye, Centuri, goodbye! (He lays down the receiver and steps forward on the stage).SIRELLI(eagerly). Well?AGAZZI. Nothing! Absolutely nothing!SIRELLI. Nothing at all?AGAZZI. You see the whole blamed village was wiped out. Not a house left standing! In the collapse of the town hall, followed by a fire, all the records of the place seem to have been lost—births, deaths, marriages, everything.SIRELLI. But not everybody was killed. They ought to be able to find somebody who knows them.AGAZZI. Yes, but you see they didn't rebuild the place. Everybody moved away, and no record was ever kept of the people, of course. So far they have found nobody who knows the Ponzas. To be sure, if the police really went at it, they might find somebody; but it would be a tough job.SIRELLI. So we can't get anywhere along that line! We have got to take what they say and let it go at that.AGAZZI. That, unfortunately, is the situation.LAUDISI(rising). Well, you fellows take a piece of advice from me: believe them both!AGAZZI. What do you mean—"believe them both"?...SIRELLI. But if she says one thing, and he says another....LAUDISI. Well, in that case, you needn't believe either of them!SIRELLI. Oh, you're just joking. We may not be able to verify the stories; but that doesn't prove that either one or the other may not be telling the truth. Some document or other....LAUDISI. Oh, documents! Documents! Suppose you had them? What good would they do you?AGAZZI. Oh, I say! Perhaps we can't get them now, but there were such documents once. If the old lady is the lunatic, there was, as there still may be somewhere, the death certificate of the daughter. Or look at it from the other angle: if we found all the records, and the death certificate were not there for the simple reason that it never existed, why then, it's Ponza, the son-in-law. He would be the lunatic.SIRELLI. You mean to say you wouldn't give in if we stuck that certificate under your nose tomorrow or the next day? Would you still deny....LAUDISI. Deny? Why ... why ... I'm not denying anything! In fact, I'm very careful not to be denying anything. You're the people who are looking up the records to be able to affirm or deny something. Personally, I don't give a rap for the documents; for the truth in my eyes is not a matter of black and white, but a matter of those two people. And into their minds I can penetrate only through what they say to me of themselves.SIRELLI. Very well—She says he's crazy and he says she's crazy. Now one of them must be crazy. You can't get away from that. Well which is it, she or he?AGAZZI. There, that's the way to put it!LAUDISI. But just observe; in the first place, it isn't true that they are accusing each other of insanity. Ponza, to be sure, says his mother-in-law is insane. She denies this, not only of herself, but also of him. At the most, she says that he was a little off once, when they took her daughter from him; but that now he is quite all right.SIRELLI. I see! So you're rather inclined, as I am, to trust what the old lady says.AGAZZI. The fact is, indeed, that if you accept his story, all the facts in the case are explained.LAUDISI. But all the facts in the case are explained if you take her story, aren't they?SIRELLI. Oh, nonsense! In that case neither of them would be crazy! Why, one of them must be, damn it all!LAUDISI. Well, which one? You can't tell, can you? Neither can anybody else! And it is not because those documents you are looking for have been destroyed in an accident—a fire, an earthquake—what you will; but because those people have concealed those documents in themselves, in their own souls. Can't you understand that? She has created for him, or he for her, a world of fancy which has all the earmarks of reality itself. And in this fictitious reality they get along perfectly well, and in full accord with each other; and this world of fancy, this reality of theirs, no document can possibly destroy because the air they breathe is of that world. For them it is something they can see with their eyes, hear with their ears, and touch with their fingers. Oh, I grant you—if you could get a death certificate or a marriage certificate or something of the kind, you might be able to satisfy that stupid curiosity of yours. Unfortunately, you can't get it. And the result is that you are in the extraordinary fix of having before you, on the one hand, a world of fancy, and on the other, a world of reality, and you, for the life of you, are not able to distinguish one from the other.AGAZZI. Philosophy, my dear boy, philosophy! And I have no use for philosophy. Give me facts, if you please! Facts! So, I say, keep at it; and I'll bet you we get to the bottom of it sooner or later.SIRELLI. First we got her story and then we got his; and then we got a new one from her. Let's bring the two of them together—and you think that then we won't be able to tell the false from the true?LAUDISI. Well, bring them together if you want to! All I ask is permission to laugh when you're through.AGAZZI. Well, we'll let you laugh all you want. In the meantime let's see.... (He steps to the door at the left and calls): Amalia, Signora Sirelli, won't you come in here a moment?(The ladies enter with Dina).SIGNORA SIRELLI(catching sight of Laudisi and shaking a finger at him). But how is it a man like you, in the presence of such an extraordinary situation, can escape the curiosity we all feel to get at the bottom of this mystery? Why, I lie awake nights thinking of it!AGAZZI. As your husband says, that man's impossible! Don't bother about him, Signora Sirelli.LAUDISI. No, don't bother with me; you just listen to Agazzi! He'll keep you from lying awake tonight.AGAZZI. Look here, ladies. This is what I want—I have an idea: won't you just step across the hall to Signora Frola's?AMALIA. But will she come to the door?AGAZZI. Oh, I imagine she will!DINA. We're just returning the call, you see....AMALIA. But didn't he ask us not to call on his mother-in-law? Hasn't he forbidden her to receive visits?SIRELLI. No, not exactly! That's how he explained what had happened; but at that time nothing was known. Now that the old lady, through force of circumstance, has spoken, giving her version at least of her strange conduct, I should think that....SIGNORA SIRELLI. I have a feeling that she'll be awfully glad to see us, if for nothing else, for the chance of talking about her daughter.DINA. And she really is a jolly old lady. There is no doubt in my mind, not the slightest: Ponza is the lunatic!AGAZZI. Now, let's not go too fast. You just listen to me (he looks at his wife): don't stay too long—five or ten minutes at the outside!SIRELLI(to his wife). And for heaven's sake, keep your mouth shut!SIGNORA SIRELLI. And why such considerate advice to me?SIRELLI. Onceyouget going....DINA(with the idea of preventing a scene). Oh, we are not going to stay very long, ten minutes—fifteen, at the outside. I'll see that no breaks are made.AGAZZI. And I'll just drop around to the office, and be back at eleven o'clock—ten or twenty minutes at the most.SIRELLI. And what can I do?AGAZZI. Wait! (Turning to the ladies). Now, here's the plan! You people invent some excuse or other so as to get Signora Frola in here.AMALIA. What? How can we possibly do that?AGAZZI. Oh, find some excuse! You'll think of something in the course of your talk; and if you don't, there's Dina and Signora Sirelli. But when you come back, you understand, go into the drawing room. (He steps to the door on the left, makes sure that it is wide open, and draws aside the portière). This door must stay open, wide open, so that we can hear you talking from in here. Now, here are some papers that I ought to take with me to the office. However, I forget them here. It is a brief that requires Ponza's immediate personal attention. So then, I forget it. And when I get to the office I have to bring him back here to find them—See?SIRELLI. But just a moment. Where do I come in? When am I expected to appear?AGAZZI. Oh, yes!... A moment or two after eleven, when the ladies are again in the drawing room, and I am back here, you just drop in—to take your wife home, see? You ring the bell and ask for me, and I'll have you brought in here. Then I'll invite the whole crowd in! That's natural enough, isn't it?—into my office?...LAUDISI(interrupting). And we'll have the Truth, the whole Truth with a capital T!DINA. But look, Nunky, of course we'll have the truth—once we get them together face to face—capital T and all!AGAZZI. Don't get into an argument with that man. Besides, it's time you ladies were going. None of us has any too much leeway.SIGNORA SIRELLI. Come, Amalia, come Dina! And as for you, sir (turning to Laudisi), I won't even shake hands with you.LAUDISI. Permit me to do it for you, madam. (He shakes one hand with the other). Good luck to you, my dear ladies.(Exit Dina, Amalia, Signora Sirelli).AGAZZI(to Sirelli). And now we'd better go, too. Suppose we hurry!SIRELLI. Yes, right away. Goodbye, Lamberto!LAUDISI. Goodbye, good luck, good luck! (Agazzi and Sirelli leave. Laudisi, left alone, walks up and down the study a number of times, nodding his head and occasionally smiling. Finally he draws up in front of the big mirror that is hanging over the mantelpiece. He sees himself in the glass, stops, and addresses his image).LAUDISI. So there you are! (He bows to himself and salutes, touching his forehead with his fingers). I say, old man, who is the lunatic, you or I? (He levels a finger menacingly at his image in the glass; and, of course, the image in turn levels a finger at him. As he smiles, his image smiles). Of course, I understand! I say it's you, and you say it's me. You—you are the lunatic! No? It's me? Very well! It's me! Have ityourway. Between you and me, we get along very well, don't we! But the trouble is, others don't think of you just as I do; and that being the case, old man, what a fix you're in! As for me, I say that here, right in front of you, I can see myself with my eyes and touch myself with my fingers. But what are you for other people? What are you in their eyes? An image, my dear sir, just an image in the glass! "What fools these mortals be!" as old Shakespeare said. They're all carrying just such a phantom around inside themselves, and here they are racking their brains about the phantoms in other people; and they think all that is quite another thing!(The butler has entered the room in time to catch Laudisi gesticulating at himself in the glass. He wonders if the man is crazy. Finally he speaks up):BUTLER. Ahem!... Signor Laudisi, if you please....LAUDISI(coming to himself). Uff!BUTLER. Two ladies calling, sir! Signora Cini and another lady!LAUDISI. Calling to see me?BUTLER. Really, they asked for the signora; but I said that she was out—on a call next door; and then....LAUDISI. Well, what then?BUTLER. They looked at each other and said, "Really! Really!" and finally they asked me if anybody else was at home.LAUDISI. And of course you said that everyone was out!BUTLER. I said that you were in!LAUDISI. Why, not at all! I'm miles and miles away! Perhaps that fellow they call Laudisi is here!BUTLER. I don't understand, sir.LAUDISI. Why? You think the Laudisi they know is the Laudisi I am?BUTLER. I don't understand, sir.LAUDISI. Whom are you talking to?BUTLER. Who am I talking to? I thought I was talking to you.LAUDISI. Are you really sure the Laudisi you are talking to is the Laudisi the ladies want to see?BUTLER. Why, I think so, sir. They said they were looking for the brother of Signora Agazzi.LAUDISI. Ah, in that case you are right! (Turning to the image in the glass): You are not the brother of Signora Agazzi? No, it's me! (To the butler): Right you are! Tell them I am in. And show them in here, won't you? (The butler retires).SIGNORA CINI. May I come in?LAUDISI. Please, please, this way, madam!SIGNORA CINI. I was told Signora Agazzi was not at home, and I brought Signora Nenni along. Signora Nenni is a friend of mine, and she was most anxious to make the acquaintance of....LAUDISI. ... of Signora Frola?SIGNORA CINI. Of Signora Agazzi, your sister!LAUDISI. Oh, she will be back very soon, and Signora Frola will be here, too.SIGNORA CINI. Yes, we thought as much.SIGNORA NENNIis an oldish woman of the type of Signora Cini, but with the mannerisms of the latter somewhat more pronounced. She, too, is a bundle of concentrated curiosity, but of the sly, cautious type, ready to find something frightful under everything.LAUDISI. Well, it's all planned in advance! It will be a most interesting scene! The curtain rises at eleven, precisely!SIGNORA CINI. Planned in advance? What is planned in advance?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'she.LAUDISI(looks at her admiringly). Right you are! Itishe!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 wasright.LAUDISI. Oh, documents, ladies, documents! This certificate of the second marriage, so it seems, talks as plain as day.SIGNORA NENNI. Well, then,sheis 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 perfectdear; 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). Isshethere, 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 beshe!AMALIA. She? What do you mean? How can you say that?LAUDISI. I say, it isshe, it isshe, it'sshe!AMALIA. Oh, I say! If you had heard her talk...!DINA. It is absolutely clear to us now.SIGNORA CINIand 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,Iam sure! Iknowthat 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, issheplaying?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 youmustleave her alone! Youmustnot go to her house! Shemustnot 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 perfectlymarvellousat 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 Lenaplays!"(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. Shemustnot—shemustnot say such things! Didn't you hear? "She hasn't played since that happened"! She said "shehasn'tplayed 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 youcan't... youmustn'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.

Councillor Agazzi's study in the same house. Antique furnishings with old paintings on the walls. A portière over the rear entrance and over the door to the left which opens into the drawing room shown in the first act. To the right a substantial fireplace with a big mirror above the mantel. A flat top desk with a telephone. A sofa, armchairs, straight back chairs, etc.

As the curtain rises Agazzi is shown standing beside his desk with the telephone receiver pressed to his ear. Laudisi end Sirelli sit looking at him expectantly.

AGAZZI. Yes, I want Centuri. Hello ... hello ... Centuri? Yes, Agazzi speaking. That you, Centuri? It's me, Agazzi. Well? (He listens for some time). What's that? Really? (Again he listens at length). I understand, but you might go at the matter with a little more speed.... (Another long pause). Well, I give up! How can that possibly be? (A pause). Oh, I see, I see.... (Another pause). Well, never mind, I'll look into it myself. Goodbye, Centuri, goodbye! (He lays down the receiver and steps forward on the stage).

SIRELLI(eagerly). Well?

AGAZZI. Nothing! Absolutely nothing!

SIRELLI. Nothing at all?

AGAZZI. You see the whole blamed village was wiped out. Not a house left standing! In the collapse of the town hall, followed by a fire, all the records of the place seem to have been lost—births, deaths, marriages, everything.

SIRELLI. But not everybody was killed. They ought to be able to find somebody who knows them.

AGAZZI. Yes, but you see they didn't rebuild the place. Everybody moved away, and no record was ever kept of the people, of course. So far they have found nobody who knows the Ponzas. To be sure, if the police really went at it, they might find somebody; but it would be a tough job.

SIRELLI. So we can't get anywhere along that line! We have got to take what they say and let it go at that.

AGAZZI. That, unfortunately, is the situation.

LAUDISI(rising). Well, you fellows take a piece of advice from me: believe them both!

AGAZZI. What do you mean—"believe them both"?...

SIRELLI. But if she says one thing, and he says another....

LAUDISI. Well, in that case, you needn't believe either of them!

SIRELLI. Oh, you're just joking. We may not be able to verify the stories; but that doesn't prove that either one or the other may not be telling the truth. Some document or other....

LAUDISI. Oh, documents! Documents! Suppose you had them? What good would they do you?

AGAZZI. Oh, I say! Perhaps we can't get them now, but there were such documents once. If the old lady is the lunatic, there was, as there still may be somewhere, the death certificate of the daughter. Or look at it from the other angle: if we found all the records, and the death certificate were not there for the simple reason that it never existed, why then, it's Ponza, the son-in-law. He would be the lunatic.

SIRELLI. You mean to say you wouldn't give in if we stuck that certificate under your nose tomorrow or the next day? Would you still deny....

LAUDISI. Deny? Why ... why ... I'm not denying anything! In fact, I'm very careful not to be denying anything. You're the people who are looking up the records to be able to affirm or deny something. Personally, I don't give a rap for the documents; for the truth in my eyes is not a matter of black and white, but a matter of those two people. And into their minds I can penetrate only through what they say to me of themselves.

SIRELLI. Very well—She says he's crazy and he says she's crazy. Now one of them must be crazy. You can't get away from that. Well which is it, she or he?

AGAZZI. There, that's the way to put it!

LAUDISI. But just observe; in the first place, it isn't true that they are accusing each other of insanity. Ponza, to be sure, says his mother-in-law is insane. She denies this, not only of herself, but also of him. At the most, she says that he was a little off once, when they took her daughter from him; but that now he is quite all right.

SIRELLI. I see! So you're rather inclined, as I am, to trust what the old lady says.

AGAZZI. The fact is, indeed, that if you accept his story, all the facts in the case are explained.

LAUDISI. But all the facts in the case are explained if you take her story, aren't they?

SIRELLI. Oh, nonsense! In that case neither of them would be crazy! Why, one of them must be, damn it all!

LAUDISI. Well, which one? You can't tell, can you? Neither can anybody else! And it is not because those documents you are looking for have been destroyed in an accident—a fire, an earthquake—what you will; but because those people have concealed those documents in themselves, in their own souls. Can't you understand that? She has created for him, or he for her, a world of fancy which has all the earmarks of reality itself. And in this fictitious reality they get along perfectly well, and in full accord with each other; and this world of fancy, this reality of theirs, no document can possibly destroy because the air they breathe is of that world. For them it is something they can see with their eyes, hear with their ears, and touch with their fingers. Oh, I grant you—if you could get a death certificate or a marriage certificate or something of the kind, you might be able to satisfy that stupid curiosity of yours. Unfortunately, you can't get it. And the result is that you are in the extraordinary fix of having before you, on the one hand, a world of fancy, and on the other, a world of reality, and you, for the life of you, are not able to distinguish one from the other.

AGAZZI. Philosophy, my dear boy, philosophy! And I have no use for philosophy. Give me facts, if you please! Facts! So, I say, keep at it; and I'll bet you we get to the bottom of it sooner or later.

SIRELLI. First we got her story and then we got his; and then we got a new one from her. Let's bring the two of them together—and you think that then we won't be able to tell the false from the true?

LAUDISI. Well, bring them together if you want to! All I ask is permission to laugh when you're through.

AGAZZI. Well, we'll let you laugh all you want. In the meantime let's see.... (He steps to the door at the left and calls): Amalia, Signora Sirelli, won't you come in here a moment?

(The ladies enter with Dina).

SIGNORA SIRELLI(catching sight of Laudisi and shaking a finger at him). But how is it a man like you, in the presence of such an extraordinary situation, can escape the curiosity we all feel to get at the bottom of this mystery? Why, I lie awake nights thinking of it!

AGAZZI. As your husband says, that man's impossible! Don't bother about him, Signora Sirelli.

LAUDISI. No, don't bother with me; you just listen to Agazzi! He'll keep you from lying awake tonight.

AGAZZI. Look here, ladies. This is what I want—I have an idea: won't you just step across the hall to Signora Frola's?

AMALIA. But will she come to the door?

AGAZZI. Oh, I imagine she will!

DINA. We're just returning the call, you see....

AMALIA. But didn't he ask us not to call on his mother-in-law? Hasn't he forbidden her to receive visits?

SIRELLI. No, not exactly! That's how he explained what had happened; but at that time nothing was known. Now that the old lady, through force of circumstance, has spoken, giving her version at least of her strange conduct, I should think that....

SIGNORA SIRELLI. I have a feeling that she'll be awfully glad to see us, if for nothing else, for the chance of talking about her daughter.

DINA. And she really is a jolly old lady. There is no doubt in my mind, not the slightest: Ponza is the lunatic!

AGAZZI. Now, let's not go too fast. You just listen to me (he looks at his wife): don't stay too long—five or ten minutes at the outside!

SIRELLI(to his wife). And for heaven's sake, keep your mouth shut!

SIGNORA SIRELLI. And why such considerate advice to me?

SIRELLI. Onceyouget going....

DINA(with the idea of preventing a scene). Oh, we are not going to stay very long, ten minutes—fifteen, at the outside. I'll see that no breaks are made.

AGAZZI. And I'll just drop around to the office, and be back at eleven o'clock—ten or twenty minutes at the most.

SIRELLI. And what can I do?

AGAZZI. Wait! (Turning to the ladies). Now, here's the plan! You people invent some excuse or other so as to get Signora Frola in here.

AMALIA. What? How can we possibly do that?

AGAZZI. Oh, find some excuse! You'll think of something in the course of your talk; and if you don't, there's Dina and Signora Sirelli. But when you come back, you understand, go into the drawing room. (He steps to the door on the left, makes sure that it is wide open, and draws aside the portière). This door must stay open, wide open, so that we can hear you talking from in here. Now, here are some papers that I ought to take with me to the office. However, I forget them here. It is a brief that requires Ponza's immediate personal attention. So then, I forget it. And when I get to the office I have to bring him back here to find them—See?

SIRELLI. But just a moment. Where do I come in? When am I expected to appear?

AGAZZI. Oh, yes!... A moment or two after eleven, when the ladies are again in the drawing room, and I am back here, you just drop in—to take your wife home, see? You ring the bell and ask for me, and I'll have you brought in here. Then I'll invite the whole crowd in! That's natural enough, isn't it?—into my office?...

LAUDISI(interrupting). And we'll have the Truth, the whole Truth with a capital T!

DINA. But look, Nunky, of course we'll have the truth—once we get them together face to face—capital T and all!

AGAZZI. Don't get into an argument with that man. Besides, it's time you ladies were going. None of us has any too much leeway.

SIGNORA SIRELLI. Come, Amalia, come Dina! And as for you, sir (turning to Laudisi), I won't even shake hands with you.

LAUDISI. Permit me to do it for you, madam. (He shakes one hand with the other). Good luck to you, my dear ladies.

(Exit Dina, Amalia, Signora Sirelli).

AGAZZI(to Sirelli). And now we'd better go, too. Suppose we hurry!

SIRELLI. Yes, right away. Goodbye, Lamberto!

LAUDISI. Goodbye, good luck, good luck! (Agazzi and Sirelli leave. Laudisi, left alone, walks up and down the study a number of times, nodding his head and occasionally smiling. Finally he draws up in front of the big mirror that is hanging over the mantelpiece. He sees himself in the glass, stops, and addresses his image).

LAUDISI. So there you are! (He bows to himself and salutes, touching his forehead with his fingers). I say, old man, who is the lunatic, you or I? (He levels a finger menacingly at his image in the glass; and, of course, the image in turn levels a finger at him. As he smiles, his image smiles). Of course, I understand! I say it's you, and you say it's me. You—you are the lunatic! No? It's me? Very well! It's me! Have ityourway. Between you and me, we get along very well, don't we! But the trouble is, others don't think of you just as I do; and that being the case, old man, what a fix you're in! As for me, I say that here, right in front of you, I can see myself with my eyes and touch myself with my fingers. But what are you for other people? What are you in their eyes? An image, my dear sir, just an image in the glass! "What fools these mortals be!" as old Shakespeare said. They're all carrying just such a phantom around inside themselves, and here they are racking their brains about the phantoms in other people; and they think all that is quite another thing!

(The butler has entered the room in time to catch Laudisi gesticulating at himself in the glass. He wonders if the man is crazy. Finally he speaks up):

BUTLER. Ahem!... Signor Laudisi, if you please....

LAUDISI(coming to himself). Uff!

BUTLER. Two ladies calling, sir! Signora Cini and another lady!

LAUDISI. Calling to see me?

BUTLER. Really, they asked for the signora; but I said that she was out—on a call next door; and then....

LAUDISI. Well, what then?

BUTLER. They looked at each other and said, "Really! Really!" and finally they asked me if anybody else was at home.

LAUDISI. And of course you said that everyone was out!

BUTLER. I said that you were in!

LAUDISI. Why, not at all! I'm miles and miles away! Perhaps that fellow they call Laudisi is here!

BUTLER. I don't understand, sir.

LAUDISI. Why? You think the Laudisi they know is the Laudisi I am?

BUTLER. I don't understand, sir.

LAUDISI. Whom are you talking to?

BUTLER. Who am I talking to? I thought I was talking to you.

LAUDISI. Are you really sure the Laudisi you are talking to is the Laudisi the ladies want to see?

BUTLER. Why, I think so, sir. They said they were looking for the brother of Signora Agazzi.

LAUDISI. Ah, in that case you are right! (Turning to the image in the glass): You are not the brother of Signora Agazzi? No, it's me! (To the butler): Right you are! Tell them I am in. And show them in here, won't you? (The butler retires).

SIGNORA CINI. May I come in?

LAUDISI. Please, please, this way, madam!

SIGNORA CINI. I was told Signora Agazzi was not at home, and I brought Signora Nenni along. Signora Nenni is a friend of mine, and she was most anxious to make the acquaintance of....

LAUDISI. ... of Signora Frola?

SIGNORA CINI. Of Signora Agazzi, your sister!

LAUDISI. Oh, she will be back very soon, and Signora Frola will be here, too.

SIGNORA CINI. Yes, we thought as much.

SIGNORA NENNIis an oldish woman of the type of Signora Cini, but with the mannerisms of the latter somewhat more pronounced. She, too, is a bundle of concentrated curiosity, but of the sly, cautious type, ready to find something frightful under everything.

LAUDISI. Well, it's all planned in advance! It will be a most interesting scene! The curtain rises at eleven, precisely!

SIGNORA CINI. Planned in advance? What is planned in advance?

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'she.

LAUDISI(looks at her admiringly). Right you are! Itishe!

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 wasright.

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

SIGNORA NENNI. Well, then,sheis 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 perfectdear; 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). Isshethere, 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 beshe!

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

LAUDISI. I say, it isshe, it isshe, it'sshe!

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

DINA. It is absolutely clear to us now.

SIGNORA CINIand 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,Iam sure! Iknowthat 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, issheplaying?

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 youmustleave her alone! Youmustnot go to her house! Shemustnot 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 perfectlymarvellousat 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 Lenaplays!"

(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. Shemustnot—shemustnot say such things! Didn't you hear? "She hasn't played since that happened"! She said "shehasn'tplayed 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 youcan't... youmustn'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.

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.CENTURIis 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 bepreciseandclear! 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—atruth, 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.Thetruth—atruth? 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!(He steps over to the door on the left. As he draws the portières and swings the door more widely open, the voices become louder and more confused. As he steps through, there is a sudden silence. The police commissioner stands waiting with a satisfied air, twirling one of the points of his mustache. All of a sudden, there is commotion and cheering in the next room. Cries of delight and applause, mixed with hand-clapping. The police commissioner comes out of his reverie and looks up with an expression of surprise on his features, as though not understanding what it's all about. Through the door to the left come Agazzi, Sirelli, Laudisi, Amalia, Dina, Signora Sirelli, Signora Cini, Signora Nenni, and many other ladies and gentlemen. Agazzi leads the procession. They are all still talking and laughing excitedly, clapping their hands, and crying "I told you so! Fine! Fine! Good! How wonderful! Now we'll know!" etc.).AGAZZI(stepping forward cordially). Ah, my dear Centuri, I was sure you could! Nothing ever gets byourchief!COMPANY. Fine! Good! What did you find out! Have you brought something? Is it she? Is it he? Tell us?COMMISSIONER(who doesn't yet understand what all the excitement is about. For him it has been a mere matter of routine). Why, no ... why, Commendatore, simply ... you understand....AGAZZI. Hush! Give him a chance!...COMMISSIONER. I have done my best. I ... but what did Signor Laudisi tell you?AGAZZI. He told us that you have brought news, real news!SIRELLI. Specific data, clear, precise!...LAUDISI(amplifying). ... not many, perhaps, but well authenticated! The best they've managed to trace! Old neighbors of Ponza, you see; people well acquainted with him....EVERYBODY. Ah! At last! At last! Now we'll know I At last!(The Commissioner hands the document to Agazzi).COMMISSIONER. There you have it, Commendatore!AGAZZI(opening the sheet; as all crowd around him). Let's have a look at it!COMMISSIONER. But you, Signor Laudisi....LAUDISI. Don't interrupt, please, the document speaks for itself! Agazzi, you read it.AGAZZI(to Laudisi). But give me a chance, won't you? Please! Please! Now! There you are!LAUDISI. Oh, I don't care. I've read the thing already.EVERYBODY(crowding around him). You've read it already? What did it say? Is it he? Is it she?LAUDISI(speaking very formally). There is no doubt whatever, as a former neighbor of Ponza's testifies, that the woman Frola was once in a sanatorium!THE GROUP(cries of disappointment). Oh really! Too bad! Too bad!SIGNORA SIRELLI. Signora Frola, did you say?DINA. Are you sure it was she?AGAZZI. Why, no! Why, no, it doesn't say anything of the kind! (Coming forward and having the document triumphantly). It doesn't say anything of the kind! (General excitement).EVERYBODY. Well, what does it say? What does it say?LAUDISI(insisting). It does too! It says "the Frola woman"—the Frola woman, categorically.AGAZZI. Nothing of the kind! The witness says that hethinksshe was in a sanatorium. He does not assert that she was. Besides, there is another point. He doesn't know whether this Frola woman who was in a sanatorium was the mother or the daughter, the first wife, that is!EVERYBODY(with relief). Ah!LAUDISI(insistingly). But I say he does. It must be the mother! Who else could it be?SIRELLI. No, of course, it's the daughter! It's the daughter!SIGNORA SIRELLI. Just as the old lady said herself!AMALIA. Exactly! That time when they took her away by force from her husband!...DINA. Yes, she says that her daughter was taken to a sanatorium on account of a contagious disease.AGAZZI. Furthermore, observe another thing. The witness does not really belong to their town. He says that he used to go there frequently, but that he does not remember particularly. He remembers that he heard something or other!...SIRELLI. Ah! How can you depend on such a man's testimony? Nothing but hearsay!LAUDISI. But, excuse me! If all you people are so sure that Signora Frola is right, what more do you want? Why do you go looking for documents? This is all nonsense!SIRELLI. If it weren't for the fact that the prefect has accepted Ponza's side of the story, I'll tell you....COMMISSIONER. Yes, that's true. The prefect said as much to me....AGAZZI. Yes, but that's because the prefect has never talked with the old lady who lives next door.SIGNORA SIRELLI. You bet he hasn't. He talked only with Ponza.SIRELLI. But, for that matter, there are other people of the same mind as the prefect.A GENTLEMAN. That is my situation, my situation exactly. Yes sir! Because I know of just such as case where a mother went insane over the death of her daughter and insists that the daughter's husband will not allow her to see the girl. The same case to aT.A SECOND GENTLEMAN. Not exactly to a T! Not exactly to a T! In the case you mention the man didn't marry again. Here, this man Ponza is living with another woman....LAUDISI(his face brightening with a new idea that has suddenly come to him). I have it, ladies and gentlemen! Did you hear that? It's perfectly simple. Dear me, as simple as Columbus's egg!EVERYBODY. What? What? What? What?THE SECOND GENTLEMAN. What did I say? I didn't realize it was important.LAUDISI. Just a moment, ladies and gentlemen! (Turning to Agazzi): Is the prefect coming here, by chance?AGAZZI. Yes, we were expecting him. But what's the new idea?LAUDISI. Why, you were bringing him here to talk with Signora Frola. So far, he is standing by Ponza. When he has talked with the old lady, he'll know whether to believe Ponza or her. That'syouridea! Well, I've thought of something better that the prefect can do. Something that he only can do.EVERYBODY. What is it? What is it? What is it?LAUDISI(triumphantly). Why, this wife of Ponza's, of course ... at least, the woman he is living with! What this gentleman said suggested the idea to me.SIRELLI. Get the second woman to talk? Of course! Of course!DINA. But how can we, when she is kept under lock and key?LAUDISI. Why, the prefect can use his authority—order her to speak!AMALIA. Certainly, she is the one who can clear up the whole mystery.SIGNORA SIRELLI. I don't believe it. She'll say just what her husband tells her to say.LAUDISI. Of course, if she were to speak in his presence of course!SIRELLI. She must speak with the prefect privately, all by himself.AGAZZI. And the prefect, as the final authority over the man, will insist that the wife make a formal explicit statement before him. Of course, of course! What do you say, Commissioner?COMMISSIONER. Why certainly, there's no doubt that if the prefect were so inclined....AGAZZI. It is the only way out of it, after all. We ought to 'phone him and explain that he needn't go to the trouble of coming here. You attend to that, will you, Commissioner?COMMISSIONER. Very glad to! My compliments, ladies! Good afternoon, gentlemen!SIGNORA SIRELLI. A good idea for once, Laudisi.DINA. Oh, Nunky, how clever of you! Wise old Nunky!THE COMPANY. The only way out of it! Yes! Yes! Fine! At last!AGAZZI. Curious none of us thought of that before!SIRELLI. Not so curious! None of us ever set eyes on the woman. She might as well be in another world, poor girl.LAUDISI(as though suddenly impressed by this latter reflection). In another world? Why yes,—are you really sure there is such a woman?AMALIA. Oh I say! Please, please, Lamberto!SIRELLI(with a laugh). You mean to say you think there is no such woman?LAUDISI. How can you be sure there is? You can't guarantee it!DINA. But the old lady sees her and talks with her every day.SIGNORA SIRELLI. And Ponza says that, too. They both agree on that point!LAUDISI. Yes, yes, I don't deny that. But just a moment! If you think of it, isn't Signora Frola right? Well, in that case who is the woman in Ponza's eyes? The phantom of a second wife, of course! Or else Ponza himself is right, and in that case you have the phantom of a daughter in the old lady's eyes! Two phantoms, in other words! Now we've got to find out, ladies and gentlemen, whether this woman, who must be a mere phantom for the one or for the other, is a person, after all for herself. In the situation we are in, I should say there was very good ground for doubting.AGAZZI. Oh, you make me tired! If we listen to you....LAUDISI. No, ladies and gentlemen, notice! It may be that she is nothing but a phantom in her own eyes.SIGNORA NENNI. Why, this is getting to be almost spooky!SIGNORA CINI. You mean to say it's a ghost, a real ghost? How can you frighten us so?EVERYBODY. Nonsense! He's only joking! He's only joking!LAUDISI. Not a bit of it! I'm not joking at all! Who ever saw the woman? No one ever set eyes on her. He talks of her, to be sure; and she, the old woman that is, says that she often sees her.SIRELLI. Nonsense! Any number of people have seen her; she comes to the balcony of the courtyard.LAUDISI. Who comes to the balcony?SIRELLI. A woman in flesh and bones—in skirts, for that matter. People have seen her and people have heard her talk. For heaven's sake, man!LAUDISI. Are you sure of that?AGAZZI. And why not, pray? You said so yourself a moment ago!LAUDISI. Why yes, I did say so! I did say that the prefect ought to have a talk with whatever woman is there. But notice one thing, it is certain that no ordinary woman is there. Noordinarywoman! Of that much we can be sure! And I, for my part, have come to doubt whether she is in any sense of the term, a woman.SIGNORA SIRELLIDear me, dear me! That man simply drives me crazy.LAUDISI. Well, supposing we wait and see!EVERYBODY. Well, who is she then? But people have seen her! His wife! On the balcony! She writes letters!POLICE COMMISSIONER(in the heat of the confusion comes into the room, excitedly announcing). The prefect is coming! The prefect!AGAZZI. What do you mean? Coming here? But you went to....COMMISSIONER. Why yes, but I met him hardly a block away. He was coming here; and Ponza is with him.SIRELLI. Ah, Ponza!AGAZZI. Oh, if Ponza is with him, I doubt whether he is coming here. They are probably on their way to the old lady's. Please, Centuri, you just wait on the landing there and ask him if he won't step in here as he promised?COMMISSIONER. Very well! I'll do so! (He withdraws hurriedly through the door in the rear).AGAZZI. Won't you people just step into the other room?SIGNORA SIRELLI. But remember now, be sure to make him see the point! It's the only way out, the only way.AMALIA(at the door to the left). This way, ladies, if you please!AGAZZI. Won't you just stay here, Sirelli; and you, too, Lamberto?(All the others go out through the door to the left).AGAZZI(to Laudisi). But let me do the talking, won't you!LAUDISI. Oh, as for that, don't worry. In fact, if you prefer, I'll go into the other room....AGAZZI. No, no, it's better for you to be here. Ah, here he is now!THE PREFECTis a man of about sixty, tall, thick set, good natured, affable.PREFECT. Ah, Agazzi, glad to see you. How goes it, Sirelli? Good to see you again, Laudisi. (He shakes hands all around).AGAZZI(motioning toward a chair). I hope you won't mind my having asked you to come here.PREFECT. No, I was coming, just as I promised you!AGAZZI(noticing the police commissioner at the door). Oh, I'm sorry, Commissioner! Please come in! Here, have a chair!PREFECT(good-naturedly to Sirelli). By the way, Sirelli, they tell me that you've gone half nutty over this blessed affair of our new secretary.SIRELLI. Oh, no, governor, believe me. I'm not the only one! The whole village is worked up.AGAZZI. And that's putting it very mildly.PREFECT. What's it all about? What's it all about? Good heavens!AGAZZI. Of course, governor, you're probably not posted on the whole business. The old lady lives here next door....PREFECT. Yes, I understand so.SIRELLI. No, one moment, please, governor. You haven't talked with the poor old lady yet.PREFECT. I was on my way to see her. (Turning to Agazzi). I had promised you to see her here, but Ponza came and begged me, almost on my knees, to see her in her own house. His idea was to put an end to all this talk that's going around. Do you think he would have done such a thing if he weren't absolutely sure?AGAZZI. Of course, he's sure! Because when she's talking in front of him, the poor woman....SIRELLI(suddenly getting in his oar). She says just what he wants her to say, governor; which proves that she is far from being as insane as he claims.AGAZZI. We had a sample of that, here, yesterday, all of us.PREFECT. Why, I understand so. You see he's trying all the time to make her believe he's crazy. He warned me of that. And how else could he keep the poor woman in her illusion? Do you see any way? All this talk of yours is simply torture to the poor fellow! Believe me, pure torture!SIRELLI. Very well, governor! But supposingsheis the one who is trying to keephimin the idea that her daughter is dead; so as to reassure him that his wife will not be taken from him again. In that case, you see, governor, it's the old lady who is being tortured, and not Ponza!AGAZZI. The moment you see the possibility of that, governor.... Well, you ought to hear her talk; but all by herself, when he's not around. Then you'd see the possibility all right....SIRELLI. Just as we all see it!PREFECT. Oh, I wonder! You don't seem to me so awfully sure; and for my part, I'm quite willing to confess that I'm not so sure myself. How about you, Laudisi?LAUDISI. Sorry, governor, I promised Agazzi here to keep my mouth shut.AGAZZI(protesting angrily). Nothing of the kind! How dare you say that? When the governor asks you a plain question.... It's true I told him not to talk, but do you know why? He's been doing his best for the past two days to keep us all rattled so that we can't find out anything.LAUDISI. Don't you believe him, governor. On the contrary. I've been doing my best to bring these people to common sense.SIRELLI. Common sense! And do you know what he calls common sense? According to him it is not possible to discover the truth; and now he's been suggesting that Ponza is living not with a woman, but with a ghost!PREFECT(enjoying the situation). That's a new one! Quite an idea! How do you make that out, Laudisi?AGAZZI. Oh, I say!... You know how he is. There's no getting anywhere with him!LAUDISI. I leave it to you, governor. I was the one who first suggested bringing the woman here.PREFECT. And do you think, Laudisi, I ought to see the old lady next door?LAUDISI. No, I advise no such thing, governor. In my judgment you are doing very well in depending on what Ponza tells you.PREFECT. Ah, I see! Because you, too, think that Ponza....LAUDISI. No, not at all ... because I'm also satisfied to have all these people stand on what Signora Frola says, if that does them any good.AGAZZI. So you see, eh, governor? That's what you call arguing, eh?PREFECT. Just a moment! Let me understand! (Turning to Laudisi): So you say we can also trust what the old lady says?LAUDISI. Of course you can! Implicitly! And so you can depend upon what Ponza says. Implicitly!PREFECT. Excuse me, I don't follow you!SIRELLI. But man alive, if they both say the exact opposite of each other!...AGAZZI(angrily and with heat). Listen to me, governor, please. I am prejudiced neither in favor of the old lady nor in favor of Ponza. I recognize that he may be right and that she may be right. But we ought to settle the matter, and there is only one way to do it.SIRELLI. The way that Laudisi here suggested.PREFECT. He suggested it? That's interesting? What is it?AGAZZI. Since we haven't been able to get any positive proof, there is only one thing left. You, as Ponza's final superior, as the man who can fire him if need be, can obtain a statement from his wife.PREFECT. Make his wife talk, you mean?SIRELLI. But not in the presence of her husband, you understand.AGAZZI. Yes, making sure she tells the truth!SIRELLI. ... tell whether she's the daughter of Signora Frola, that is, as we think she must be....AGAZZI. ... or a second wife who is consenting to impersonate the daughter of Signora Frola, as Ponza claims.PREFECT. ... and as I believe myself, without a shadow of doubt! (Thinking a moment) Why, I don't see any objection to having her talk. Who could object? Ponza? But Ponza, as I know very well, is more eager than anybody else to have this talk quieted down. He's all upset over this whole business, and said he was willing to do anything I proposed. I'm sure he will raise no objection. So if it will ease the minds of you people here.... Say, Centuri (the police commissioner rises), won't you just ask Ponza to step in here a moment? He's next door with his mother-in-law.COMMISSIONER. At once, Your Excellency! (He bows and withdraws through the door at the rear).AGAZZI. Oh well, if he consents....PREFECT. He'll consent, all right. And we'll be through with it in a jiffy. We'll bring her right in here so that you people....AGAZZI. Here, in my house?SIRELLI. You think he'll let his wife come in here?PREFECT. Just leave it to me, just leave it to me! I prefer to have her right here because, otherwise you see, you people would always suppose that I and Ponza had....AGAZZI. Oh, please, governor, no! That's not fair!SIRELLI. Oh, no, governor, we trust you implicitly!PREFECT. Oh, I'm not offended, not at all! But you know very well that I'm on his side in this matter; and you'd always be thinking that to hush up any possible scandal in connection with a man in my office.... No, you see. I must insist on having the interview here.... Where's your wife, Agazzi?AGAZZI. In the other room, governor, with some other ladies.PREFECT. Other ladies? Aha, I see! (Laughing). You have a regular detective bureau here, eh? (The police commissioner enters with Ponza).COMMISSIONER. May I come in? Signor Ponza is here.PREFECT. Thanks, Centuri. This way, Ponza, come right in! (Ponza bows).AGAZZI. Have a chair, Ponza. (Ponza bows and sits down).PREFECT. I believe you know these gentlemen? (Ponza rises and bows).AGAZZI. Yes, I introduced them yesterday. And this is Laudisi, my wife's brother. (Ponza bows).PREFECT. I venture to disturb you, my dear Ponza, just to tell you that here with these friends of mine.... (At the first words of the prefect, Ponza evinces the greatest nervousness and agitation).PREFECT. Was there something you wanted to say, Ponza?PONZA. Yes, there is something I want to say, governor. I want to present my resignation here and now.PREFECT. Oh, my dear fellow, I'm so sorry! But just a few moments ago down at the office you were talking....PONZA. Oh, really, this is an outrage, governor! This is just plain persecution, plain persecution!PREFECT. Oh, now, don't take it that way, old man. See here. These good people....AGAZZI. Persecution, did you say? On my part?...PONZA. On the part of all of you! And I am sick and tired of it! I am going to resign, governor. I refuse to submit to this ferocious prying into my private affairs which will end by undoing a work of love that has cost me untold sacrifice these past two years. You don't know, governor! Why, I've treated that dear old lady in there just as tenderly as though she were my own mother. And yesterday I had to shout at her in the most cruel and terrible way! Why, I found her just now so worked up and excited that....AGAZZI. That's queer! While she was in here Signora Frola was quite mistress of herself. If anybody was worked up, Ponza, it was you. And even now, if I might say....PONZA. But you people don't know what you're making me go through!PREFECT. Oh, come, come, my dear fellows, don't take it so hard. After all, I'm here, am I not? And you know I've always stood by you! And I always will!PONZA. Yes, governor, and I appreciate your kindness, really!PREFECT. And then you say that you're as fond of this poor old lady as you would be if she were your own mother. Well, now, just remember that these good people here seem to be prying into your affairs because they, too, are fond of her!...PONZA. But they're killing her, I tell you, governor! They're killing her, and I warned them in advance.PREFECT. Very well, Ponza, very well! Now we'll get through with this matter in no time. See here, it is all very simple. There is one way that you can convince these people without the least doubt in the world. Oh, not me—I don't need convincing. I believeyou.PONZA. Buttheywon't believe me, no matter what I say.AGAZZI. That's not so! When you came here after your mother-in-law's first visit and told us that she was insane, all of us ... well, we were surprised, but we believed you. (Turning to the prefect): But after he left, you understand, the old lady came back....PREFECT. Yes, yes, I know. He told me. (Turning to Ponza again). She came back here and said that she was trying to do with you exactly what you say you were trying to do with her. It's natural, isn't it, that people hearing both stories, should be somewhat confused. Now you see that these good people, in view of what your mother-in-law says, can't possibly be sure of what you say. So there you are. Now, such being the case, you and your mother-in-law—why, it's perfectly simple—you two just step aside. Now you know you're telling the truth, don't you? So do I! So you can't possibly object to their hearing the testimony of the only person who does know, aside from you two.PONZA. And who may that be, pray?PREFECT. Why, your wife!PONZA. My wife! (Decisively and angrily). Ah, no! I refuse! Never in the world! Never!PREFECT. And why not, old man?PONZA. Bring my wife here to satisfy the curiosity of these strangers?PREFECT(sharply). And my curiosity, too, if you don't mind! What objection can you have?PONZA. Oh, but governor, no! My wife! Here? No! Why drag my wife in? These people ought to believe me!PREFECT. But don't you see, my dear fellow, that the course you're taking now is just calculated to discredit what you say?AGAZZI. His mistake in the first place, governor, was trying to prevent his mother-in-law from coming here and calling—a double discourtesy, mark you, to my wife and to my daughter!PONZA. But what in the name of God do you people want of me? You've been nagging and nagging at that poor old woman next door; and now you want to get your clutches on my wife! No, governor! I refuse to submit to such an indignity! She owes nothing to anybody. My wife is not making visits in this town. You say you believe me, governor? That's enough for me! Here's my resignation! I'll go out and look for another job!PREFECT. No, no, Ponza, I must speak plainly. In the first place I have always treated you on the square; and you have no right to speak in that tone of voice to me. In the second place you are beginning to make me doubt your word by refusing to furnish me—not other people—but me, the evidence that I have asked for in your interest, evidence, moreover, that so far as I can see, cannot possibly do you any harm. It seems to me that my colleague here, Signor Agazzi, can ask a lady to come to his house! But no, if you prefer, we'll go and see her.PONZA. So you really insist, governor?PREFECT. I insist, but as I told you, in your own interest. You realize, besides, that I might have the legal right to question her....PONZA. I see, I see! So that's it! An official investigation! Well, why not, after all? I will bring my wife here, just to end the whole matter. But how can you guarantee me that this poor old lady next door will not catch sight of her?PREFECT. Why, I hadn't thought of that! She does live right next door.AGAZZI(speaking up). We are perfectly willing to go to Signor Ponza's house.PONZA. No, no, I was just thinking of you people. I don't want you to play any more tricks on me. Any mistakes might have the most frightful consequences, set her going again!AGAZZI. You're not very fair to us, Ponza, it seems to me.PREFECT. Or you might bring your wife to my office, rather....PONZA. No, no! Since you're going to question her anyway, we might as well get through with it. We'll bring her here, right here. I'll keep an eye on my mother-in-law myself. We'll have her here right away, governor, and get an end of this nonsense once and for all, once and for all! (He hurries away through the rear exit.)PREFECT. I confess I was not expecting so much opposition on his part.AGAZZI. Ah, you'll see. He'll go and cook up with his wife just what she's to say!PREFECT. Oh, don't worry as to that! I'll question the woman myself.SIRELLI. But he's more excited than he's ever been before.PREFECT. Well, I confess I never saw him just in this state of mind. Perhaps it is the sense of outrage he feels in having to bring his wife....SIRELLI, In having to let her loose for once, you ought to say!PREFECT. A man isn't necessarily crazy because he wants to keep an eye on his wife.AGAZZI. Of course he says it's to protect her from the mother-in-law.PREFECT. I wasn't thinking of just that—he may be jealous of the woman!SIRELLI. Jealous to the extent of refusing her a servant? For you know, don't you, he makes his wife do all the housework?AGAZZI. And he does all the marketing himself every morning.COMMISSIONER. That's right, governor! I've had him shadowed. An errand boy from the market carries the stuff as far as the door.SIRELLI. But he never lets the boy inside.PREFECT. Dear me, dear me! He excused himself for that servant business when I took the matter up with him.LAUDISI. And that's information right from the source!PREFECT. He says he does it to save money.LAUDISI. He has to keep two establishments on one salary.SIRELLI. Oh, we weren't criticising how he runs his house; but I ask you as a matter of common sense: he is a man of some position, and do you think that this second wife of his, as he calls her, who ought to be a lady, would consent to do all the work about the house?...AGAZZI. The hardest and most disagreeable work, you understand....SIRELLI. ... just out of consideration for the mother of her husband's first wife?AGAZZI. Oh, I say, governor, be honest now! That doesn't seem probable, does it?PREFECT. I confess it does seem queer....LAUDISI. ... in case this second woman is an ordinary woman!PREFECT. Yes, but let's be frank. It doesn't seem reasonable. But yet, one might say—well, you could explain it as generosity on her part, and even better, as jealousy on his part. Lunatic or no lunatic, there is no denying that he's jealous!(A confused clamor of voices is heard from the next door).AGAZZI. My, I wonder what's going on in there!(Amalia enters from the door on the left in a state of great excitement).AMALIA. Signora Frola is here!AGAZZI. Impossible! How in the world did she get in? Who sent for her?AMALIA. Nobody! She came of her own accord!PREFECT. Oh, no, please—just a moment! No! Send her away, madam, please!AGAZZI. We've got to get rid of her. Don't let her in here! We must absolutely keep her out!(Signora Frola appears at the door on the left, trembling, beseeching, weeping, a handkerchief in her hand. The people in the next room are crowding around behind her).SIGNORA FROLA. Oh, please, please! You tell them, Signor Agazzi! Don't let them send me away!AGAZZI. But you must go away, madam! We simply can't allow you to be here now!SIGNORA FROLA(desperately). Why? Why? (Turning to Amalia). I appeal to you, Signora Agazzi.AMALIA. But don't you see? The prefect is there! They're having an important meeting.SIGNORA FROLA. Oh, the prefect! Please, governor, please! I was intending to go and see you.PREFECT. No, I am so sorry, madam. I can't see you just now! You must go away!SIGNORA FROLA. Yes, I am going away. I am going to leave town this very day! I am going to leave town and never come back again!AGAZZI. Oh, we didn't mean that, my dear Signora Frola. We meant that we couldn't see you here, just now, in this room. Do me a favor, please! You can see the governor by and by.SIGNORA FROLA. But why? I don't understand! What's happened!AGAZZI. Why, your son-in-law will soon be here! There, now do you see?SIGNORA FROLA. Oh, he's coming here? Oh, yes, in that case.... Yes, yes, ... I'll go! But there was something I wanted to say to you people. You must stop all this. You must let us alone. You think you are helping me. You are trying to do me a favor; but really, what you're doing is working me a great wrong. I've got to leave town this very day because he must not be aroused. What do you want of him anyway? What are you trying to do to him? Why are you having him come here? Oh, Mr. Governor....PREFECT. Come, Signora Frola, don't worry, don't worry. I'll see you by and by and explain everything. You just step out now, won't you?AMALIA. Please, Signora Frola ... yes, that's right! Come with me!SIGNORA FROLA. Oh, my dear Signora Agazzi, you are trying to rob me of the one comfort I had in life, the chance of seeing my daughter once in a while, at least from a distance! (She begins to weep).PREFECT. What in the world are you thinking of? We are not asking you to leave town. We just want you to leave this room, for the time being. There, now do you understand?SIGNORA FROLA. But it's on his account, governor ... it's on his account I was coming to ask you to help him! It was on his account, not on mine!PREFECT. There, there, everything will be all right. We'll take care of him. And we'll have this whole business settled in a jiffy.SIGNORA FROLA. But how ... how can I be sure? I can see that everybody here hates him. They are trying to do something to him.PREFECT. No, no, not at all! And even if they were, I would look after him. There, there, don't worry, don't worry!SIGNORA FROLA. Oh, so you believe him? Oh, thank you; thank you, sir! That means that at leastyouunderstand!PREFECT. Yes, yes, madam, I understand, I understand! And I cautioned all these people here. It's a misfortune that came to him long, long ago. He's all right now! He's all right now!SIGNORA FROLA. ... Only he must not go back to all those things.PREFECT. You're right, you're quite right, Signora Frola, but as I told you, I understand!SIGNORA FROLA. Yes, governor, that's it! If he compels us to live this way—well, what does it matter. That doesn't do anybody any harm so long as we're satisfied, and my daughter is happy this way. That's enough for me, and for her! But you'll look after us, governor. They mustn't spoil anything. Otherwise there's nothing left for, me except to leave town and never see her again—never, not even from a distance. You must not irritate him. You must leave him alone. Oh, please!(At this moment a wave of surprise, anxiety, dismay, sweeps over the company. Everybody falls silent and turns to the door. Suppressed exclamations are audible.)VOICES. Oh! Oh! Look! There she is! Oh! Oh!SIGNORA FROLA(noticing the change in people, and groaning, all of a tremble). What's the matter? What's the matter?(The company divides to either hand. A lady has appeared at the door in back. She is dressed in deep mourning and her face is concealed with a thick, black, impenetrable veil).SIGNORA FROLA(uttering a piercing shriek of joy). Oh, Lena! Lena! Lena! Lena!(She dashes forward and throws her arms about the veiled woman with the passionate hysteria of a mother who has not embraced her daughter for years and years. But at the same time from beyond the door in the rear another piercing cry comes. Ponza dashes into the room).PONZA. No! Julia! Julia! Julia!(At his voice Signora Ponza draws up stiffly in the arms of Signora Frola who is clasping her tightly. Ponza notices that his mother-in-law is thus desperately entwined about his wife and he shrieks desperately).PONZA. Cowards! Liars! I knew you would! I knew you would! It is just like the lot of you!SIGNORA PONZA(turning her veiled head with a certain austere solemnity toward her husband). Never mind! Don't be afraid! Just take her away, just take her away! Please go away, now, both of you! Please go away!(Signora Frola, at these words, turns to her son-in-law and humbly, tremblingly, goes over and embraces him).SIGNORA FROLA. Yes, yes, you poor boy, come with me, come with me!(Their arms about each other's waists, and holding each other up affectionately, Ponza and his mother-in-law withdraw through the rear door. They are both weeping. Profound silence in the company. All those present stand there with their eyes fixed upon the departing couple. As Signora Frola and Ponza are lost from view, all eyes turn expectantly upon the veiled lady. Some of the women are weeping).SIGNORA PONZA. And what can you want of me now, after all this, ladies and gentlemen? In our lives, as you see, there is something which must remain concealed. Otherwise the remedy which our love for each other has found cannot avail.PREFECT(with tears in his eyes). We surely are anxious to respect your sorrow, madam, but we must know, and we want you to tell....SIGNORA PONZA. What? The truth? The truth is simply this. I am the daughter of Signora Frola, and I am the second wife of Signor Ponza. Yes, and—for myself, I am nobody, I am nobody....PREFECT. Ah, but no, madam, for yourself ... you must be ... either the one or the other.SIGNORA PONZA. Not at all, not at all, sir! No, for myself I am ... whoever you choose to have me. (Without removing her veil, she proudly casts a sweeping glance around at the company, and withdraws. They all stand looking after her. Profound silence on the stage).LAUDISI. Well, and there, my friends, you have the truth! But are you satisfied? Hah! hah! hah! hah! hah! hah! hah!Curtain.NOTE TO "RIGHT YOU ARE!"A slight adaptation has been introduced into Signora Frola's explanation of her son-in-law's mania, Act I, p. 184, beginning "No, look, look, not that ... etc." The Italian text reads:SIGNORA FROLA. No guardino ... guardino.... Non è neanche lui!... Mi lascino dire. Lo hanno veduto-è così forte di complessione ... violento.... Sposando, fu preso da una vera frenesia d'amore.... Rischiò di distruggere, quasi, la mia figliuola, ch'era delicatina ... Per consiglio dei medici e di tutti i parenti anche dei suoi (che ora poverini non ci sono più)—gli si dovette sottrarre la moglie di nascosto, per chiuderla in una casa di salute ... ecc."A.L.

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.CENTURIis 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 bepreciseandclear! 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—atruth, 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.Thetruth—atruth? 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!

(He steps over to the door on the left. As he draws the portières and swings the door more widely open, the voices become louder and more confused. As he steps through, there is a sudden silence. The police commissioner stands waiting with a satisfied air, twirling one of the points of his mustache. All of a sudden, there is commotion and cheering in the next room. Cries of delight and applause, mixed with hand-clapping. The police commissioner comes out of his reverie and looks up with an expression of surprise on his features, as though not understanding what it's all about. Through the door to the left come Agazzi, Sirelli, Laudisi, Amalia, Dina, Signora Sirelli, Signora Cini, Signora Nenni, and many other ladies and gentlemen. Agazzi leads the procession. They are all still talking and laughing excitedly, clapping their hands, and crying "I told you so! Fine! Fine! Good! How wonderful! Now we'll know!" etc.).

AGAZZI(stepping forward cordially). Ah, my dear Centuri, I was sure you could! Nothing ever gets byourchief!

COMPANY. Fine! Good! What did you find out! Have you brought something? Is it she? Is it he? Tell us?

COMMISSIONER(who doesn't yet understand what all the excitement is about. For him it has been a mere matter of routine). Why, no ... why, Commendatore, simply ... you understand....

AGAZZI. Hush! Give him a chance!...

COMMISSIONER. I have done my best. I ... but what did Signor Laudisi tell you?

AGAZZI. He told us that you have brought news, real news!

SIRELLI. Specific data, clear, precise!...

LAUDISI(amplifying). ... not many, perhaps, but well authenticated! The best they've managed to trace! Old neighbors of Ponza, you see; people well acquainted with him....

EVERYBODY. Ah! At last! At last! Now we'll know I At last!

(The Commissioner hands the document to Agazzi).

COMMISSIONER. There you have it, Commendatore!

AGAZZI(opening the sheet; as all crowd around him). Let's have a look at it!

COMMISSIONER. But you, Signor Laudisi....

LAUDISI. Don't interrupt, please, the document speaks for itself! Agazzi, you read it.

AGAZZI(to Laudisi). But give me a chance, won't you? Please! Please! Now! There you are!

LAUDISI. Oh, I don't care. I've read the thing already.

EVERYBODY(crowding around him). You've read it already? What did it say? Is it he? Is it she?

LAUDISI(speaking very formally). There is no doubt whatever, as a former neighbor of Ponza's testifies, that the woman Frola was once in a sanatorium!

THE GROUP(cries of disappointment). Oh really! Too bad! Too bad!

SIGNORA SIRELLI. Signora Frola, did you say?

DINA. Are you sure it was she?

AGAZZI. Why, no! Why, no, it doesn't say anything of the kind! (Coming forward and having the document triumphantly). It doesn't say anything of the kind! (General excitement).

EVERYBODY. Well, what does it say? What does it say?

LAUDISI(insisting). It does too! It says "the Frola woman"—the Frola woman, categorically.

AGAZZI. Nothing of the kind! The witness says that hethinksshe was in a sanatorium. He does not assert that she was. Besides, there is another point. He doesn't know whether this Frola woman who was in a sanatorium was the mother or the daughter, the first wife, that is!

EVERYBODY(with relief). Ah!

LAUDISI(insistingly). But I say he does. It must be the mother! Who else could it be?

SIRELLI. No, of course, it's the daughter! It's the daughter!

SIGNORA SIRELLI. Just as the old lady said herself!

AMALIA. Exactly! That time when they took her away by force from her husband!...

DINA. Yes, she says that her daughter was taken to a sanatorium on account of a contagious disease.

AGAZZI. Furthermore, observe another thing. The witness does not really belong to their town. He says that he used to go there frequently, but that he does not remember particularly. He remembers that he heard something or other!...

SIRELLI. Ah! How can you depend on such a man's testimony? Nothing but hearsay!

LAUDISI. But, excuse me! If all you people are so sure that Signora Frola is right, what more do you want? Why do you go looking for documents? This is all nonsense!

SIRELLI. If it weren't for the fact that the prefect has accepted Ponza's side of the story, I'll tell you....

COMMISSIONER. Yes, that's true. The prefect said as much to me....

AGAZZI. Yes, but that's because the prefect has never talked with the old lady who lives next door.

SIGNORA SIRELLI. You bet he hasn't. He talked only with Ponza.

SIRELLI. But, for that matter, there are other people of the same mind as the prefect.

A GENTLEMAN. That is my situation, my situation exactly. Yes sir! Because I know of just such as case where a mother went insane over the death of her daughter and insists that the daughter's husband will not allow her to see the girl. The same case to aT.

A SECOND GENTLEMAN. Not exactly to a T! Not exactly to a T! In the case you mention the man didn't marry again. Here, this man Ponza is living with another woman....

LAUDISI(his face brightening with a new idea that has suddenly come to him). I have it, ladies and gentlemen! Did you hear that? It's perfectly simple. Dear me, as simple as Columbus's egg!

EVERYBODY. What? What? What? What?

THE SECOND GENTLEMAN. What did I say? I didn't realize it was important.

LAUDISI. Just a moment, ladies and gentlemen! (Turning to Agazzi): Is the prefect coming here, by chance?

AGAZZI. Yes, we were expecting him. But what's the new idea?

LAUDISI. Why, you were bringing him here to talk with Signora Frola. So far, he is standing by Ponza. When he has talked with the old lady, he'll know whether to believe Ponza or her. That'syouridea! Well, I've thought of something better that the prefect can do. Something that he only can do.

EVERYBODY. What is it? What is it? What is it?

LAUDISI(triumphantly). Why, this wife of Ponza's, of course ... at least, the woman he is living with! What this gentleman said suggested the idea to me.

SIRELLI. Get the second woman to talk? Of course! Of course!

DINA. But how can we, when she is kept under lock and key?

LAUDISI. Why, the prefect can use his authority—order her to speak!

AMALIA. Certainly, she is the one who can clear up the whole mystery.

SIGNORA SIRELLI. I don't believe it. She'll say just what her husband tells her to say.

LAUDISI. Of course, if she were to speak in his presence of course!

SIRELLI. She must speak with the prefect privately, all by himself.

AGAZZI. And the prefect, as the final authority over the man, will insist that the wife make a formal explicit statement before him. Of course, of course! What do you say, Commissioner?

COMMISSIONER. Why certainly, there's no doubt that if the prefect were so inclined....

AGAZZI. It is the only way out of it, after all. We ought to 'phone him and explain that he needn't go to the trouble of coming here. You attend to that, will you, Commissioner?

COMMISSIONER. Very glad to! My compliments, ladies! Good afternoon, gentlemen!

SIGNORA SIRELLI. A good idea for once, Laudisi.

DINA. Oh, Nunky, how clever of you! Wise old Nunky!

THE COMPANY. The only way out of it! Yes! Yes! Fine! At last!

AGAZZI. Curious none of us thought of that before!

SIRELLI. Not so curious! None of us ever set eyes on the woman. She might as well be in another world, poor girl.

LAUDISI(as though suddenly impressed by this latter reflection). In another world? Why yes,—are you really sure there is such a woman?

AMALIA. Oh I say! Please, please, Lamberto!

SIRELLI(with a laugh). You mean to say you think there is no such woman?

LAUDISI. How can you be sure there is? You can't guarantee it!

DINA. But the old lady sees her and talks with her every day.

SIGNORA SIRELLI. And Ponza says that, too. They both agree on that point!

LAUDISI. Yes, yes, I don't deny that. But just a moment! If you think of it, isn't Signora Frola right? Well, in that case who is the woman in Ponza's eyes? The phantom of a second wife, of course! Or else Ponza himself is right, and in that case you have the phantom of a daughter in the old lady's eyes! Two phantoms, in other words! Now we've got to find out, ladies and gentlemen, whether this woman, who must be a mere phantom for the one or for the other, is a person, after all for herself. In the situation we are in, I should say there was very good ground for doubting.

AGAZZI. Oh, you make me tired! If we listen to you....

LAUDISI. No, ladies and gentlemen, notice! It may be that she is nothing but a phantom in her own eyes.

SIGNORA NENNI. Why, this is getting to be almost spooky!

SIGNORA CINI. You mean to say it's a ghost, a real ghost? How can you frighten us so?

EVERYBODY. Nonsense! He's only joking! He's only joking!

LAUDISI. Not a bit of it! I'm not joking at all! Who ever saw the woman? No one ever set eyes on her. He talks of her, to be sure; and she, the old woman that is, says that she often sees her.

SIRELLI. Nonsense! Any number of people have seen her; she comes to the balcony of the courtyard.

LAUDISI. Who comes to the balcony?

SIRELLI. A woman in flesh and bones—in skirts, for that matter. People have seen her and people have heard her talk. For heaven's sake, man!

LAUDISI. Are you sure of that?

AGAZZI. And why not, pray? You said so yourself a moment ago!

LAUDISI. Why yes, I did say so! I did say that the prefect ought to have a talk with whatever woman is there. But notice one thing, it is certain that no ordinary woman is there. Noordinarywoman! Of that much we can be sure! And I, for my part, have come to doubt whether she is in any sense of the term, a woman.

SIGNORA SIRELLIDear me, dear me! That man simply drives me crazy.

LAUDISI. Well, supposing we wait and see!

EVERYBODY. Well, who is she then? But people have seen her! His wife! On the balcony! She writes letters!

POLICE COMMISSIONER(in the heat of the confusion comes into the room, excitedly announcing). The prefect is coming! The prefect!

AGAZZI. What do you mean? Coming here? But you went to....

COMMISSIONER. Why yes, but I met him hardly a block away. He was coming here; and Ponza is with him.

SIRELLI. Ah, Ponza!

AGAZZI. Oh, if Ponza is with him, I doubt whether he is coming here. They are probably on their way to the old lady's. Please, Centuri, you just wait on the landing there and ask him if he won't step in here as he promised?

COMMISSIONER. Very well! I'll do so! (He withdraws hurriedly through the door in the rear).

AGAZZI. Won't you people just step into the other room?

SIGNORA SIRELLI. But remember now, be sure to make him see the point! It's the only way out, the only way.

AMALIA(at the door to the left). This way, ladies, if you please!

AGAZZI. Won't you just stay here, Sirelli; and you, too, Lamberto?

(All the others go out through the door to the left).

AGAZZI(to Laudisi). But let me do the talking, won't you!

LAUDISI. Oh, as for that, don't worry. In fact, if you prefer, I'll go into the other room....

AGAZZI. No, no, it's better for you to be here. Ah, here he is now!

THE PREFECTis a man of about sixty, tall, thick set, good natured, affable.

PREFECT. Ah, Agazzi, glad to see you. How goes it, Sirelli? Good to see you again, Laudisi. (He shakes hands all around).

AGAZZI(motioning toward a chair). I hope you won't mind my having asked you to come here.

PREFECT. No, I was coming, just as I promised you!

AGAZZI(noticing the police commissioner at the door). Oh, I'm sorry, Commissioner! Please come in! Here, have a chair!

PREFECT(good-naturedly to Sirelli). By the way, Sirelli, they tell me that you've gone half nutty over this blessed affair of our new secretary.

SIRELLI. Oh, no, governor, believe me. I'm not the only one! The whole village is worked up.

AGAZZI. And that's putting it very mildly.

PREFECT. What's it all about? What's it all about? Good heavens!

AGAZZI. Of course, governor, you're probably not posted on the whole business. The old lady lives here next door....

PREFECT. Yes, I understand so.

SIRELLI. No, one moment, please, governor. You haven't talked with the poor old lady yet.

PREFECT. I was on my way to see her. (Turning to Agazzi). I had promised you to see her here, but Ponza came and begged me, almost on my knees, to see her in her own house. His idea was to put an end to all this talk that's going around. Do you think he would have done such a thing if he weren't absolutely sure?

AGAZZI. Of course, he's sure! Because when she's talking in front of him, the poor woman....

SIRELLI(suddenly getting in his oar). She says just what he wants her to say, governor; which proves that she is far from being as insane as he claims.

AGAZZI. We had a sample of that, here, yesterday, all of us.

PREFECT. Why, I understand so. You see he's trying all the time to make her believe he's crazy. He warned me of that. And how else could he keep the poor woman in her illusion? Do you see any way? All this talk of yours is simply torture to the poor fellow! Believe me, pure torture!

SIRELLI. Very well, governor! But supposingsheis the one who is trying to keephimin the idea that her daughter is dead; so as to reassure him that his wife will not be taken from him again. In that case, you see, governor, it's the old lady who is being tortured, and not Ponza!

AGAZZI. The moment you see the possibility of that, governor.... Well, you ought to hear her talk; but all by herself, when he's not around. Then you'd see the possibility all right....

SIRELLI. Just as we all see it!

PREFECT. Oh, I wonder! You don't seem to me so awfully sure; and for my part, I'm quite willing to confess that I'm not so sure myself. How about you, Laudisi?

LAUDISI. Sorry, governor, I promised Agazzi here to keep my mouth shut.

AGAZZI(protesting angrily). Nothing of the kind! How dare you say that? When the governor asks you a plain question.... It's true I told him not to talk, but do you know why? He's been doing his best for the past two days to keep us all rattled so that we can't find out anything.

LAUDISI. Don't you believe him, governor. On the contrary. I've been doing my best to bring these people to common sense.

SIRELLI. Common sense! And do you know what he calls common sense? According to him it is not possible to discover the truth; and now he's been suggesting that Ponza is living not with a woman, but with a ghost!

PREFECT(enjoying the situation). That's a new one! Quite an idea! How do you make that out, Laudisi?

AGAZZI. Oh, I say!... You know how he is. There's no getting anywhere with him!

LAUDISI. I leave it to you, governor. I was the one who first suggested bringing the woman here.

PREFECT. And do you think, Laudisi, I ought to see the old lady next door?

LAUDISI. No, I advise no such thing, governor. In my judgment you are doing very well in depending on what Ponza tells you.

PREFECT. Ah, I see! Because you, too, think that Ponza....

LAUDISI. No, not at all ... because I'm also satisfied to have all these people stand on what Signora Frola says, if that does them any good.

AGAZZI. So you see, eh, governor? That's what you call arguing, eh?

PREFECT. Just a moment! Let me understand! (Turning to Laudisi): So you say we can also trust what the old lady says?

LAUDISI. Of course you can! Implicitly! And so you can depend upon what Ponza says. Implicitly!

PREFECT. Excuse me, I don't follow you!

SIRELLI. But man alive, if they both say the exact opposite of each other!...

AGAZZI(angrily and with heat). Listen to me, governor, please. I am prejudiced neither in favor of the old lady nor in favor of Ponza. I recognize that he may be right and that she may be right. But we ought to settle the matter, and there is only one way to do it.

SIRELLI. The way that Laudisi here suggested.

PREFECT. He suggested it? That's interesting? What is it?

AGAZZI. Since we haven't been able to get any positive proof, there is only one thing left. You, as Ponza's final superior, as the man who can fire him if need be, can obtain a statement from his wife.

PREFECT. Make his wife talk, you mean?

SIRELLI. But not in the presence of her husband, you understand.

AGAZZI. Yes, making sure she tells the truth!

SIRELLI. ... tell whether she's the daughter of Signora Frola, that is, as we think she must be....

AGAZZI. ... or a second wife who is consenting to impersonate the daughter of Signora Frola, as Ponza claims.

PREFECT. ... and as I believe myself, without a shadow of doubt! (Thinking a moment) Why, I don't see any objection to having her talk. Who could object? Ponza? But Ponza, as I know very well, is more eager than anybody else to have this talk quieted down. He's all upset over this whole business, and said he was willing to do anything I proposed. I'm sure he will raise no objection. So if it will ease the minds of you people here.... Say, Centuri (the police commissioner rises), won't you just ask Ponza to step in here a moment? He's next door with his mother-in-law.

COMMISSIONER. At once, Your Excellency! (He bows and withdraws through the door at the rear).

AGAZZI. Oh well, if he consents....

PREFECT. He'll consent, all right. And we'll be through with it in a jiffy. We'll bring her right in here so that you people....

AGAZZI. Here, in my house?

SIRELLI. You think he'll let his wife come in here?

PREFECT. Just leave it to me, just leave it to me! I prefer to have her right here because, otherwise you see, you people would always suppose that I and Ponza had....

AGAZZI. Oh, please, governor, no! That's not fair!

SIRELLI. Oh, no, governor, we trust you implicitly!

PREFECT. Oh, I'm not offended, not at all! But you know very well that I'm on his side in this matter; and you'd always be thinking that to hush up any possible scandal in connection with a man in my office.... No, you see. I must insist on having the interview here.... Where's your wife, Agazzi?

AGAZZI. In the other room, governor, with some other ladies.

PREFECT. Other ladies? Aha, I see! (Laughing). You have a regular detective bureau here, eh? (The police commissioner enters with Ponza).

COMMISSIONER. May I come in? Signor Ponza is here.

PREFECT. Thanks, Centuri. This way, Ponza, come right in! (Ponza bows).

AGAZZI. Have a chair, Ponza. (Ponza bows and sits down).

PREFECT. I believe you know these gentlemen? (Ponza rises and bows).

AGAZZI. Yes, I introduced them yesterday. And this is Laudisi, my wife's brother. (Ponza bows).

PREFECT. I venture to disturb you, my dear Ponza, just to tell you that here with these friends of mine.... (At the first words of the prefect, Ponza evinces the greatest nervousness and agitation).

PREFECT. Was there something you wanted to say, Ponza?

PONZA. Yes, there is something I want to say, governor. I want to present my resignation here and now.

PREFECT. Oh, my dear fellow, I'm so sorry! But just a few moments ago down at the office you were talking....

PONZA. Oh, really, this is an outrage, governor! This is just plain persecution, plain persecution!

PREFECT. Oh, now, don't take it that way, old man. See here. These good people....

AGAZZI. Persecution, did you say? On my part?...

PONZA. On the part of all of you! And I am sick and tired of it! I am going to resign, governor. I refuse to submit to this ferocious prying into my private affairs which will end by undoing a work of love that has cost me untold sacrifice these past two years. You don't know, governor! Why, I've treated that dear old lady in there just as tenderly as though she were my own mother. And yesterday I had to shout at her in the most cruel and terrible way! Why, I found her just now so worked up and excited that....

AGAZZI. That's queer! While she was in here Signora Frola was quite mistress of herself. If anybody was worked up, Ponza, it was you. And even now, if I might say....

PONZA. But you people don't know what you're making me go through!

PREFECT. Oh, come, come, my dear fellows, don't take it so hard. After all, I'm here, am I not? And you know I've always stood by you! And I always will!

PONZA. Yes, governor, and I appreciate your kindness, really!

PREFECT. And then you say that you're as fond of this poor old lady as you would be if she were your own mother. Well, now, just remember that these good people here seem to be prying into your affairs because they, too, are fond of her!...

PONZA. But they're killing her, I tell you, governor! They're killing her, and I warned them in advance.

PREFECT. Very well, Ponza, very well! Now we'll get through with this matter in no time. See here, it is all very simple. There is one way that you can convince these people without the least doubt in the world. Oh, not me—I don't need convincing. I believeyou.

PONZA. Buttheywon't believe me, no matter what I say.

AGAZZI. That's not so! When you came here after your mother-in-law's first visit and told us that she was insane, all of us ... well, we were surprised, but we believed you. (Turning to the prefect): But after he left, you understand, the old lady came back....

PREFECT. Yes, yes, I know. He told me. (Turning to Ponza again). She came back here and said that she was trying to do with you exactly what you say you were trying to do with her. It's natural, isn't it, that people hearing both stories, should be somewhat confused. Now you see that these good people, in view of what your mother-in-law says, can't possibly be sure of what you say. So there you are. Now, such being the case, you and your mother-in-law—why, it's perfectly simple—you two just step aside. Now you know you're telling the truth, don't you? So do I! So you can't possibly object to their hearing the testimony of the only person who does know, aside from you two.

PONZA. And who may that be, pray?

PREFECT. Why, your wife!

PONZA. My wife! (Decisively and angrily). Ah, no! I refuse! Never in the world! Never!

PREFECT. And why not, old man?

PONZA. Bring my wife here to satisfy the curiosity of these strangers?

PREFECT(sharply). And my curiosity, too, if you don't mind! What objection can you have?

PONZA. Oh, but governor, no! My wife! Here? No! Why drag my wife in? These people ought to believe me!

PREFECT. But don't you see, my dear fellow, that the course you're taking now is just calculated to discredit what you say?

AGAZZI. His mistake in the first place, governor, was trying to prevent his mother-in-law from coming here and calling—a double discourtesy, mark you, to my wife and to my daughter!

PONZA. But what in the name of God do you people want of me? You've been nagging and nagging at that poor old woman next door; and now you want to get your clutches on my wife! No, governor! I refuse to submit to such an indignity! She owes nothing to anybody. My wife is not making visits in this town. You say you believe me, governor? That's enough for me! Here's my resignation! I'll go out and look for another job!

PREFECT. No, no, Ponza, I must speak plainly. In the first place I have always treated you on the square; and you have no right to speak in that tone of voice to me. In the second place you are beginning to make me doubt your word by refusing to furnish me—not other people—but me, the evidence that I have asked for in your interest, evidence, moreover, that so far as I can see, cannot possibly do you any harm. It seems to me that my colleague here, Signor Agazzi, can ask a lady to come to his house! But no, if you prefer, we'll go and see her.

PONZA. So you really insist, governor?

PREFECT. I insist, but as I told you, in your own interest. You realize, besides, that I might have the legal right to question her....

PONZA. I see, I see! So that's it! An official investigation! Well, why not, after all? I will bring my wife here, just to end the whole matter. But how can you guarantee me that this poor old lady next door will not catch sight of her?

PREFECT. Why, I hadn't thought of that! She does live right next door.

AGAZZI(speaking up). We are perfectly willing to go to Signor Ponza's house.

PONZA. No, no, I was just thinking of you people. I don't want you to play any more tricks on me. Any mistakes might have the most frightful consequences, set her going again!

AGAZZI. You're not very fair to us, Ponza, it seems to me.

PREFECT. Or you might bring your wife to my office, rather....

PONZA. No, no! Since you're going to question her anyway, we might as well get through with it. We'll bring her here, right here. I'll keep an eye on my mother-in-law myself. We'll have her here right away, governor, and get an end of this nonsense once and for all, once and for all! (He hurries away through the rear exit.)

PREFECT. I confess I was not expecting so much opposition on his part.

AGAZZI. Ah, you'll see. He'll go and cook up with his wife just what she's to say!

PREFECT. Oh, don't worry as to that! I'll question the woman myself.

SIRELLI. But he's more excited than he's ever been before.

PREFECT. Well, I confess I never saw him just in this state of mind. Perhaps it is the sense of outrage he feels in having to bring his wife....

SIRELLI, In having to let her loose for once, you ought to say!

PREFECT. A man isn't necessarily crazy because he wants to keep an eye on his wife.

AGAZZI. Of course he says it's to protect her from the mother-in-law.

PREFECT. I wasn't thinking of just that—he may be jealous of the woman!

SIRELLI. Jealous to the extent of refusing her a servant? For you know, don't you, he makes his wife do all the housework?

AGAZZI. And he does all the marketing himself every morning.

COMMISSIONER. That's right, governor! I've had him shadowed. An errand boy from the market carries the stuff as far as the door.

SIRELLI. But he never lets the boy inside.

PREFECT. Dear me, dear me! He excused himself for that servant business when I took the matter up with him.

LAUDISI. And that's information right from the source!

PREFECT. He says he does it to save money.

LAUDISI. He has to keep two establishments on one salary.

SIRELLI. Oh, we weren't criticising how he runs his house; but I ask you as a matter of common sense: he is a man of some position, and do you think that this second wife of his, as he calls her, who ought to be a lady, would consent to do all the work about the house?...

AGAZZI. The hardest and most disagreeable work, you understand....

SIRELLI. ... just out of consideration for the mother of her husband's first wife?

AGAZZI. Oh, I say, governor, be honest now! That doesn't seem probable, does it?

PREFECT. I confess it does seem queer....

LAUDISI. ... in case this second woman is an ordinary woman!

PREFECT. Yes, but let's be frank. It doesn't seem reasonable. But yet, one might say—well, you could explain it as generosity on her part, and even better, as jealousy on his part. Lunatic or no lunatic, there is no denying that he's jealous!

(A confused clamor of voices is heard from the next door).

AGAZZI. My, I wonder what's going on in there!

(Amalia enters from the door on the left in a state of great excitement).

AMALIA. Signora Frola is here!

AGAZZI. Impossible! How in the world did she get in? Who sent for her?

AMALIA. Nobody! She came of her own accord!

PREFECT. Oh, no, please—just a moment! No! Send her away, madam, please!

AGAZZI. We've got to get rid of her. Don't let her in here! We must absolutely keep her out!

(Signora Frola appears at the door on the left, trembling, beseeching, weeping, a handkerchief in her hand. The people in the next room are crowding around behind her).

SIGNORA FROLA. Oh, please, please! You tell them, Signor Agazzi! Don't let them send me away!

AGAZZI. But you must go away, madam! We simply can't allow you to be here now!

SIGNORA FROLA(desperately). Why? Why? (Turning to Amalia). I appeal to you, Signora Agazzi.

AMALIA. But don't you see? The prefect is there! They're having an important meeting.

SIGNORA FROLA. Oh, the prefect! Please, governor, please! I was intending to go and see you.

PREFECT. No, I am so sorry, madam. I can't see you just now! You must go away!

SIGNORA FROLA. Yes, I am going away. I am going to leave town this very day! I am going to leave town and never come back again!

AGAZZI. Oh, we didn't mean that, my dear Signora Frola. We meant that we couldn't see you here, just now, in this room. Do me a favor, please! You can see the governor by and by.

SIGNORA FROLA. But why? I don't understand! What's happened!

AGAZZI. Why, your son-in-law will soon be here! There, now do you see?

SIGNORA FROLA. Oh, he's coming here? Oh, yes, in that case.... Yes, yes, ... I'll go! But there was something I wanted to say to you people. You must stop all this. You must let us alone. You think you are helping me. You are trying to do me a favor; but really, what you're doing is working me a great wrong. I've got to leave town this very day because he must not be aroused. What do you want of him anyway? What are you trying to do to him? Why are you having him come here? Oh, Mr. Governor....

PREFECT. Come, Signora Frola, don't worry, don't worry. I'll see you by and by and explain everything. You just step out now, won't you?

AMALIA. Please, Signora Frola ... yes, that's right! Come with me!

SIGNORA FROLA. Oh, my dear Signora Agazzi, you are trying to rob me of the one comfort I had in life, the chance of seeing my daughter once in a while, at least from a distance! (She begins to weep).

PREFECT. What in the world are you thinking of? We are not asking you to leave town. We just want you to leave this room, for the time being. There, now do you understand?

SIGNORA FROLA. But it's on his account, governor ... it's on his account I was coming to ask you to help him! It was on his account, not on mine!

PREFECT. There, there, everything will be all right. We'll take care of him. And we'll have this whole business settled in a jiffy.

SIGNORA FROLA. But how ... how can I be sure? I can see that everybody here hates him. They are trying to do something to him.

PREFECT. No, no, not at all! And even if they were, I would look after him. There, there, don't worry, don't worry!

SIGNORA FROLA. Oh, so you believe him? Oh, thank you; thank you, sir! That means that at leastyouunderstand!

PREFECT. Yes, yes, madam, I understand, I understand! And I cautioned all these people here. It's a misfortune that came to him long, long ago. He's all right now! He's all right now!

SIGNORA FROLA. ... Only he must not go back to all those things.

PREFECT. You're right, you're quite right, Signora Frola, but as I told you, I understand!

SIGNORA FROLA. Yes, governor, that's it! If he compels us to live this way—well, what does it matter. That doesn't do anybody any harm so long as we're satisfied, and my daughter is happy this way. That's enough for me, and for her! But you'll look after us, governor. They mustn't spoil anything. Otherwise there's nothing left for, me except to leave town and never see her again—never, not even from a distance. You must not irritate him. You must leave him alone. Oh, please!

(At this moment a wave of surprise, anxiety, dismay, sweeps over the company. Everybody falls silent and turns to the door. Suppressed exclamations are audible.)

VOICES. Oh! Oh! Look! There she is! Oh! Oh!

SIGNORA FROLA(noticing the change in people, and groaning, all of a tremble). What's the matter? What's the matter?

(The company divides to either hand. A lady has appeared at the door in back. She is dressed in deep mourning and her face is concealed with a thick, black, impenetrable veil).

SIGNORA FROLA(uttering a piercing shriek of joy). Oh, Lena! Lena! Lena! Lena!

(She dashes forward and throws her arms about the veiled woman with the passionate hysteria of a mother who has not embraced her daughter for years and years. But at the same time from beyond the door in the rear another piercing cry comes. Ponza dashes into the room).

PONZA. No! Julia! Julia! Julia!

(At his voice Signora Ponza draws up stiffly in the arms of Signora Frola who is clasping her tightly. Ponza notices that his mother-in-law is thus desperately entwined about his wife and he shrieks desperately).

PONZA. Cowards! Liars! I knew you would! I knew you would! It is just like the lot of you!

SIGNORA PONZA(turning her veiled head with a certain austere solemnity toward her husband). Never mind! Don't be afraid! Just take her away, just take her away! Please go away, now, both of you! Please go away!

(Signora Frola, at these words, turns to her son-in-law and humbly, tremblingly, goes over and embraces him).

SIGNORA FROLA. Yes, yes, you poor boy, come with me, come with me!

(Their arms about each other's waists, and holding each other up affectionately, Ponza and his mother-in-law withdraw through the rear door. They are both weeping. Profound silence in the company. All those present stand there with their eyes fixed upon the departing couple. As Signora Frola and Ponza are lost from view, all eyes turn expectantly upon the veiled lady. Some of the women are weeping).

SIGNORA PONZA. And what can you want of me now, after all this, ladies and gentlemen? In our lives, as you see, there is something which must remain concealed. Otherwise the remedy which our love for each other has found cannot avail.

PREFECT(with tears in his eyes). We surely are anxious to respect your sorrow, madam, but we must know, and we want you to tell....

SIGNORA PONZA. What? The truth? The truth is simply this. I am the daughter of Signora Frola, and I am the second wife of Signor Ponza. Yes, and—for myself, I am nobody, I am nobody....

PREFECT. Ah, but no, madam, for yourself ... you must be ... either the one or the other.

SIGNORA PONZA. Not at all, not at all, sir! No, for myself I am ... whoever you choose to have me. (Without removing her veil, she proudly casts a sweeping glance around at the company, and withdraws. They all stand looking after her. Profound silence on the stage).

LAUDISI. Well, and there, my friends, you have the truth! But are you satisfied? Hah! hah! hah! hah! hah! hah! hah!

Curtain.

NOTE TO "RIGHT YOU ARE!"

A slight adaptation has been introduced into Signora Frola's explanation of her son-in-law's mania, Act I, p. 184, beginning "No, look, look, not that ... etc." The Italian text reads:

SIGNORA FROLA. No guardino ... guardino.... Non è neanche lui!... Mi lascino dire. Lo hanno veduto-è così forte di complessione ... violento.... Sposando, fu preso da una vera frenesia d'amore.... Rischiò di distruggere, quasi, la mia figliuola, ch'era delicatina ... Per consiglio dei medici e di tutti i parenti anche dei suoi (che ora poverini non ci sono più)—gli si dovette sottrarre la moglie di nascosto, per chiuderla in una casa di salute ... ecc."

A.L.

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