Three Plays Part 46

(_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 a.s.sails 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 G.o.d, nothing!

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

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

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

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

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

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

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

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

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

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

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

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

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

just as though she were not dead!

SIGNORA FROLA (_hurrying forward and speaking with infinite kindness and sympathy_). Oh no! Come, come, my poor boy.

Come! Don't take it so hard. I never said any such thing, did I, madam!

AMALIA, SIGNORA SIRELLI, DINA. Of course she never said such a thing! She always said the girl was dead! Yes! Of course!

No!

SIGNORA FROLA. I did, didn't I? I said she's dead, didn't I?

And that you are so very good to me. Didn't I, didn't I? I, trying to ruin you? I, trying to get you into trouble?

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

SIGNORA FROLA. No, it was ... why ... you see ... it was ...

well ... just to see whether....

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

SIGNORA FROLA. You are quite right!... Oh, yes! Poor boy!

Poor boy! (_She also begins to weep_). I'll never do it again: Never, never, never again!

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

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

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

PONZA. I hope you good people will excuse me for this scene.

A scene it really was, I suppose! But how could I avoid it?

I had to rave like that to repair the damage which you good people, with the best of intentions, and surely without dreaming what you are really doing, have done to this unfortunate woman.

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

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

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

_Curtain._

ACT III

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

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

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

LAUDISI (_drawing himself up in his chair and looking around_). Oh, it's you, Commissioner! (_He rises hastily and recalls the butler, who has stepped out through the door_).

One moment, please! Wait! (_To Centuri_). Anything new, Commissioner?

COMMISSIONER (_stiffly_). Yes, something new!