Three Plays Part 45

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

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

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

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

LAUDISI. Shall I close it for you?

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

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

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

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

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

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

DINA. How can you say that?

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

I am going to shut this door.

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

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

DINA. But just because papa told us to!

LAUDISI. And papa will tell you something else by and by.

Say ... let's leave it open!

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

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

LAUDISI. The old lady?

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

Come! Come!

(_They hurry through the door_).

_The stage, after the exit of Laudisi and Dina, remains empty for a s.p.a.ce 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 G.o.d, is _she_ playing?

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

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

AGAZZI. Why not? What's the harm?

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

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

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

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

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

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

AGAZZI. There, you see. Listen! Listen!

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

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

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

(_Ponza digs his nails into his hands_).

AGAZZI. Her daughter, of course!

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

(_Again from the inside_).

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

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

PONZA. But she shouldn't be allowed to say such things. She _must_ not--she _must_ not say such things! Didn't you hear?

"She hasn't played since that happened"! She said "she _hasn't_ played since that happened"! Talking of the piano, you understand! Oh, you don't understand, no, of course! My first wife had a piano and played that tune. Oh, oh, oh! You people are determined to ruin me!