Fifty Contemporary One-Act Plays Part 112

But as soon as I entered I saw immediately. [_With imperceptible accent of mocking pity._] You had a modest and embarra.s.sed air. I know you so well. Do you want to hear how well? When Mario proposed you go for the carriage, I thought--he will not go. When you sent him instead, I smiled.

PAOLO. I noticed it, but I did not understand.

PAOLO. That's nothing. That you should read me is natural.

ANNA. In exchange, eh? And listen--when Mario was leaving, I also thought--now the minute we are alone--he will come to me and embrace me.

PAOLO. You imagine very well....

ANNA. This was also natural, wasn't it?

PAOLO. I love you so much, Anna. [_A long pause._] It is strange that in your presence I have a sense of restraint. I tell you something and immediately I think should I tell her? Was it better I kept silent? It is the first time I have had this feeling toward you. We both need distraction.

ANNA. Yes, but to-day I do not leave.

PAOLO. No? But you said--

ANNA. I have thought better. There is not the time to get ready.

PAOLO. Your luggage is ready.

ANNA. Oh, there is a lot to do.

PAOLO. We have eight hours yet.

ANNA. I am tired.

PAOLO. Mario has just gone to order the carriage.

ANNA. It can be for another day.

PAOLO. Perhaps to-morrow--

ANNA. Not to-day, certainly.

PAOLO. I do not know how to tell Mario. It looks like a whim.

ANNA. Oh, Mario will understand.

PAOLO. More than I do.

ANNA. I did not wish to say--

PAOLO. Anna, you do not pardon me for having read those letters.

ANNA. You see, you have already begun to speak of them again! Well, no, no, no, poor Paolo, it is not that. I have nothing to pardon. Believe me. I feel no wrath or bitterness. I would have given, I don't know what, if you had ignored them; for you, for your own good, for your peace, not for me. But I felt that some time or other--[_Pause._] It has been a useless tragedy--you will see.

PAOLO. What do you mean?

ANNA. I don't know, don't mind me--excuse me--[_Moves up._]

PAOLO. Are you going?

ANNA. Yes.

PAOLO. So you won't tell me if we go to-morrow?

ANNA. We have time to decide.

PAOLO. Oh, rather. [_Anna exits. Silence._] A useless tragedy! [_Sits with his elbows upon his knees and his head in his hands._]

MARIO [_coming in_]. There, that is done. And Anna?

PAOLO. She's there. [_Points off._]

MARIO. Maddalena will be here immediately, she was still at the wash-house. Well? Come, come, shake yourself, throw off that fixed idea.

One knows that at the first opportunity--You do well to leave immediately, the trip will distract you.

PAOLO. We do not go.

MARIO. What?

PAOLO. Anna does not want to.

MARIO. Why?

PAOLO [_shrugs his shoulders_].

MARIO. She said so?

PAOLO. She understood, she asked me.... I could not deny it.

MARIO. She asked of her own accord, without you saying anything?

PAOLO. Do me the favor of not judging me now. If you knew what I am thinking!

MARIO. Do you wish that I speak to her? I am convinced that to remain here is the worse thing to do.

PAOLO. Try it. Who knows? You understand her so well! She said so herself.

MARIO. And you promise me not to worry meanwhile?

PAOLO. What is the use of promising? I wouldn't keep it. She said that also. She knows me. Don't you know me?

MARIO. Is she in her room?

PAOLO. I think so.

MARIO. Leave it to me.