Marco Praga: The Ideal Wife (Part Six)

To read parts 1-5, click "Italian Plays in Translation" above.

ACT III, cont'd.

 

Scene 5

GIULIA, GIANNINO, TERESA, ANDREA

 

GIULIA     (At the US door, calling out )  Teresa! Teresa! Fetch Giannino's coat and blue cap, will you?  (Goes to door L.)  Giannino!  (Giannino enters L, Teresa enters US and gives Giulia the hat and coat.)  Come darling; Papa is taking you for a walk.

GIANNINO     Where?

GIULIA     (Gives him a hug and kiss, then puts on his coat.)  To secure a box for the ballet this evening. Aren't you glad? Darling, how dirty you are! Look at your hands; they're positively black! Never mind -- just put on your gloves, and don't keep Papa waiting.  (Smooths his hair.)  There. Where are your gloves? In your pocket?  (Andrea enters and dons his fur coat.)  Now the other hand ... quickly, now! Papa is already here. Straighten your fingers. There! When will you ever learn to dress yourself? Already seven years old! Here we are. Go on, now, darling.

ANDREA     Forward, march!

GIULIA     Be good, Giannino.  (Andrea and Giannino exit, Giulia accompanies them to the door.)  Teresa? Teresa!

TERESA     (Enters US.)  Signora?

GIULIA     Dinner at seven, yes? Tell Antonietta to set the table with special care, please. Unlock the china cabinet and take out the floral porcelain.  (Teresa exits US. After a moment, the electric bell sounds OS. Giulia goes to the mirror and tidies her hair. Enter Gustavo, Costanzo.)

 

END SCENE

 

Scene 6

GIULIA, GUSTAVO, COSTANZO

 

GIULIA     Hello!  (Costanzo shakes her hand. Gustavo bows courteously, then stands aside, ill at ease. Giulia sits on the divan, inviting Costanzo to join her.)  Did you chance to meet my husband on your way here?

COSTANZO     We saw him walking out with Giannino, but they went toward the piazza. I don't think he saw us, did he, Gustavo?

GUSTAVO     What? No, I don't believe so.

GIULIA     He was going to the theatre to secure a box for tonight. He promised Giannino some time ago.  (Silence.)  He was so keen to go.

COSTANZO     Who?

GIULIA     Giannino.  (Silence.)

COSTANZO     Ah, to the ballet!

GIULIA     Sieba.

COSTANZO     Yes, the Manzotti production.  (Silence.)  It's very extravagant.

GIULIA     Really? I don't remember. I saw it at La Scala when it premiered. But that was some time ago.

COSTANZO     Yes, ten years, at least.  (Silence. Then to Giulia, softly.)  The conversation seems to be lagging.  (Silence.)  The music is quite lovely.

GIULIA     What music?

COSTANZO     Sieba.  Wasn't that what we were speaking of?

GIULIA     Oh! Yes.  (Silence.)

COSTANZO     Written by Marenco, yes?

GIULIA     I'm not sure ....

COSTANZO     Gustavo, the music of Sieba was written by Marenco, yes?

GUSTAVO     Marenco. Yes.  (Silence.)

GIULIA     You'll be coming with us to the ballet, will you not, Monticelli?

COSTANZO     (Softly.)  You're being cruel!

GIULIA     (Softly.)  Am I?  (Aloud. )  Velati -- have you nothing to say?  (Gustavo, ill at ease, makes a gesture indicating "no."  Giulia rises, crosses US, where there is a small cupboard. She opens it, touches a spring which opens a secret compartment, and extracts from it a packet of letters tied with blue ribbon. She closes the cupboard and crosses back DS. Without looking a Gustavo, she hands him the letters.)  These are your letters.  (He makes a move to take them, but she pulls back her hand imperceptibly.)  Will you take them?

GUSTAVO     If you like.

GIULIA     Take them.  (He does so.)  Well ... it's ended, then? Really ended?  (Pause.)  You'll probably say I want it so. Won't you? Because it was I who asked you to come here, and for that reason.

GUSAVO     (After a pause, without looking at her.)  My friend -- things have reached the point in which -- I think --   (Costanzo has stood and gone to the door in an attempt to make a discreet exit.)

GIULIA     Monticelli, are you leaving?  (Sits on the divan.)

COSTANZO     I was ....

GIULIA     Please don't go.  (To Gustavo.)  You were saying?

GUSTAVO     Things have reached the point in which -- after what occurred yesterday -- whatever you may think of me, I promise -- it isn't true that --

COSTANZO     (Aside.)  Good God, what a fool he's making of himself!

GUSTAVO     After all, it would be in your own best interests, and for your own peace of mind -- perhaps it's for the best. I must speak frankly with you. Aside from any personal consideration of min -- that is -- it is certainly not my wish -- not that I -- whatever people say of my engagement, I could tell you it's all rubbish -- but it's best to say, the situation for both of us being -- I don't know --

COSTANZO     (Aside.)  Well said!

GIULIA     Are you quite finished? Would you like me to be frank with you?  (Stands and crosses nearer to him.)  You're no better than any other man. You kept me for two years, which is as long as you felt comfortable. Then you wearied of it; but out of habit, or laziness, or perhaps fear, you allowed your love for me to become a chain which you could not break. A man -- a real  man, not a puppet -- would have had the courage to tell me. And, being the kind of woman I am, you might have told me without trepidation. You know very well that even if I still loved -- which I do not, I assure you -- I would do nothing to keep you bound to me, because there is something that matters more to me than you. I could, if I wanted to, force you to stay bound to me, and you would do so, out of fear. I could keep you and even enjoy it, now that I no longer love you. a puppet such as you wouldn't rebel. But I find it isn't really worth the trouble. You needn't worry -- you see how calm I am. Take care, though. I'll tell you what I told Monticelli. Take care what you do. Marry, or don't marry; it makes no difference to me. But keep appearances in front of my husband. Don't suddenly estrange yourself from us, for he wouldn't understand such behaviour. He may -- not doubt, no -- but he may wonder, remember the past and what happened yesterday; he might reconstruct every detail. And he might lose that complete trust -- that blind trust -- in me, which I hold so dear and of which I have such great need. Ah! I wish I could do as I please, even take another lover if I like, without having to pretend as I have done. But you know I love my husband -- in my own way, to be sure; but I do love him, and I mustn't give him the slightest cause to worry. Do we understand each other? Come to see us whenever you like -- that is, when the meagre amount of honor and good sense in you deem it advisable. And don't worry that seeing you may cause me any pain, or that my memories of you may rob me of any sleep or appetite. Oh, no! It shall be as tedious for me to see you as it will be for you to come here -- but it must be done. You may pride yourself on having escaped all of this unscathed, but put out of your mind the presumption that you leave me with any regrets. I don't love you any more. I don't know that I ever truly loved you. It does seem incomprehensible that I could have loved a man such as you. Yesterday when I left you, I said, "Don't even think of marrying her!" Poor girl! How I feel for her! Don't think she'll love you as you believe I did -- yes, I hope she is smarter than I, and understands at once that loving you isn't worth it. It's a waste of time! Oh -- one last thing. Do me the courtesy to return everything you have of me: letters, notes, photographs -- everything. Please don't be so low as to keep anything. It wouldn't do ever to boast of having been my lover, nor to congratulate yourself. I shall send for the things tomorrow.  (The bell sounds OS. Costanzo hurries to the US door and looks out.)  Do we understand each other?

COSTANZO     Signora, your husband!

GIULIA     Do we understand each other?

COSTANZO     (Agitatedly.)  Your husband is in the anteroom!

GIULIA     (Turning to Costanzo.)  I'm quite finished.  (Enter Andrea.)

 

END SCENE

 

Scene 7

GIULIA, ANDREA, GUSTAVO, COSTANZO

 

GIULIA     (Going to Andrea.)  Did you secure a box?

ANDREA     Yes.  (To Gustavo.)  Good evening, my friend. Has Monticelli told you? Everything's done. It's  over!

COSTANZO     (Aside.)  You'll never know how right you are!

GIULIA     I was afraid there'd be no tickets left; it's so late.

ANDREA     There was no problem.

GIULIA     And Giannino?

ANDREA     I sent him up with Teresa to get washed and dressed.

GIULIA     Such a good father!  (To Costanzo.)  May I offer you a vermouth?

COSTANZO     Thank you; I never indulge.

TERESA     (Entering US.)  Dinner is served.

GIULIA     (To Costanzo.)  And you were too late.  (To Gustavo.)  May I take your arm?  (All exit to the dining room.)

 

CURTAIN

END PLAY

Marco Praga: The Ideal Wife (Part Five)

To read Acts I and II, click "Italian Plays in Translation" above. To remind you of the characters, here is the cast:
     ANDREA CAMPIANI, stockbroker
     GIULIA, his wife
     GIANNINO, their 7-year-old son
     GUSTAVO VELATI, lawyer
     COSTANZO MONTICELLI, his associate
     TERESA, the Campiani's maid
     ETTORE, servant

ACT III

A salon in the Campiani's house.

 

Scene 1

GIULIA, COSTANZO

 

(An electric bell rings OS.)

 

GIULIA     (To Costanzo, who enters through the US door.)  Oh, hello! So early? And is it just you?

COSTANZO     How are you?

GIULIA     Very well, thank you. Are you alone?

COSTANZO     At the moment. Forgive me, but -- you seem very nervous.

GIULIA     I'm not at all.

COSTANZO     In that case, I need to ask a great favour: that you remain calm and listen to what I have to say.

GIULIA     What have you to say? Didn't you come for dinner? Is Velati not coming?

COSTANZO     Stay calm, I beg you.

GIULIA     I am very calm!

COSTANZO     You don't seem to be. Is your husband out?

GIULIA     Yes.

COSTANZO     And ... ?

GIULIA     And what?

COSTANZO     Did anything happen?

GIULIA     When?

COSTANZO     After your -- visit -- yesterday.

GIULIA     Such as?

COSTANZO     I don't know -- a suspicion -- some doubt on your husband's part --

GIULIA     My husband has never doubted me.

COSTANZO     I only ask, because Gustavo was very much troubled.

GIULIA     Oh, no; you are mistaken. My husband behaved yesterday as he always does.

COSTANZO     Gustavo said he was upset.

GIULIA     Because he thought it imprudent of me to go to Gustavo's house; nothing more.

COSTANZO     But Gustavo feared that perhaps your husband might have had other thoughts afterward; that, upon reflection --

GIULIA     My dear boy, it is up to the wife to guide and inspire her husband's thoughts.
COSTANZO     Well, you see, you were so flustered, he feared you might not have been able to control yourself.
GIULIA     Your friend doesn't know me at all.
COSTANZO     On the contrary, he claims to know you very well. But what happened yesterday was so unprecedented.
GIULIA     I never lose my composure, no matter what the circumstances. What's more, my friend, it takes more than an awkward incident, however serious, to destroy such trust as I know how to earn. And this is why I am not afraid, why I can take such risks when necessary, or simply when I want to. But what a coward your friend is! The slightest hint of a duel sends him into a panic!
COSTANZO     Oh, no, not Gustavo. He is a gentleman, a man of courage --
GIULIA     A man of courage! You think so? But let's not talk of nonsense. Is he coming? You did receive my note, did you not? And you told him of our invitation?
COSTANZO     Yes.
GIULIA     I wrote to you because I imagined you had been apprised of everything. Oh, I'm not annoyed with him for confiding in you; rather, you men are fortunate to have each other to ask advice. That isn't the case among women. And he has such need of advice! Is he coming, then?
COSTANZO     If you want him.
GIULIA     Certainly I do. I am most anxious that he come. My husband extended the invitation to you both. Should he not come, after what happened yesterday, it would seem very strange indeed. My husband would .... Everything must go smoothly; nothing, but nothing, must remind him of yesterday. Gustavo must come, as if nothing had happened.
COSTANZO     He might invent an excuse in order to avoid an awkward situation.
GIULIA     But why should it be awkward?
COSTANZO     Anyhow, you have such influence over your husband; you said so yourself.
GIULIA     Oh, must I always fight my own battles, and save myself? No, he should come and help me; it's his duty. Ah -- I see. He'd rather not face me today! I thought not. Which is why I wrote to you; I know you have some influence with him, and can make him be reasonable. Then tell him to come, or he'd better take care!
COSTANZO     You frighten me, Signora. What would you do?
GIULIA     I don't know. I could become so annoyed, disgusted -- not at his indifference, no, but at his selfishness -- that I wouldn't manage to conceal it from my husband; I wouldn't be as I normally am towards him. What would happen then? And, whatever the consequences, would your friend be disposed to bear them? At any rate, if he doesn't come today, he shall have to come tomorrow, or the next day; he cannot be so naive as to think that, just because he is no longer my -- my lover -- , he can cease to be our friend. I have taken great pains not to compromise myself during this affair. I've no intention of doing so now that it's ended.
COASTANZO     But --
GIULIA     My dear, when one has been the lover of a woman such as I, one must be prepared to bear the consequences. He shall marry and start a new life. Perhaps he'll not introduce his wife to us; I shouldn't care to know her. By and by shall stop visiting us, then we shan't see him at all. But make this quite clear to him: until that time, he must divide his attentions between her and me. Rather, between her and us. Nothing else will do.  (Enter Andrea through US door.) Oh, Andrea -- here is Monticelli!

END SCENE

 

Scene 2

GIULIA, ANDREA, COSTANZO

 

ANDREA     Monticelli, my good man!

GIULIA     He wishes to convey Velati's regrets that he shall not be dining with us.

ANDREA     Oh! Why not?

GIULIA     One of their clients has arrived from Turin; they have an important meeting with him at nine, and thought it impolite to leave us immediately after dinner. But I urged them to come just the same.

ANDREA     Of course! We'd much rather have your company even for a little than not at all.

GIULIA     No need to insist; I've already convinced Monticelli. And he's promised to fetch Velati.

ANDREA     No need to stand on ceremony with us.

GIULIA     Are we going to the ballet?

ANDREA     Ballet?

GIULIA     Yes, we promised Giannino, if you remember.

ANDREA     We shall go, if you wish.  (To Costanzo.)  Forgive me; I must leave you. There is some business to be taken care of before dinner concerning Velati. However, you may tell him that everything is under control. He may rest assured. Until later, then.  (Exits.)

 

END SCENE

 

Scene 3

GIULIA, COSTANZO

 

COSTANZO     (Bowing.)  Signora ....

GIULIA     You're leaving?

COSTANZO     Yes, I'm going to Gustavo's -- and then to see that client from Turin that you so cleverly invented for me.

GIULIA     I didn't invent him; I saw the appointment in his diary.

COSTANZO     Ah.

GIULIA     You could send Velati to the meeting alone. You needn't both be there, surely?

COSTANZO     Not at all!

GIULIA     Then you may come with us to the ballet.

COSTANZO     I shall see you at dinner.

GIULIA     With Velati!

COSTANZO     Yes, but -- please be indulgent. You have such understanding of life and know how to take things into your own hands. You must make allowances for the weakness of human nature.

GIULIA     For a man's nature, especially. Men are made of weaker stuff than women; you may believe that.

COSTANZO     Then you'll lighten his sentence.

GIULIA     Of course.

COSTANZO     And you're perfectly calm, are you not?

GIULIA     Perfectly.

COSTANZO     And your husband is in the house.

GIULIA     My husband is in the house.

COSTANZO     In short, what's done is done. We shall speak no more of the past.

GIULIA     Friends, just as before!  (Gazes at him a moment. )  What an excellent friend Velati has in you! And how you underestimate yourself, for his sake.

COSTANZO     I simply follow your lead. You've taken your side. It's best, after all.

GIULIA     Yes. And perhaps you think ill of me, seeing me so -- how shall I put it? -- so resigned. You are thinking: this woman has never truly loved, and she pretends to be so indifferent about being otssed aside because --

COSTANZO     No, I don't think that, I assure you. Rather, I think you a modern woman who uses her head. There is a strange, yet agreeable, balance in you between love for a man and devotion to your home. And with the word "home," I refer to the entire conglomeration of persons, affections, duties, etc., which a young woman acquires upon becoming a wife. You sacrifice and risk everything for a man who is not your husband, yes; but not to the point of compromising your devotion to your home. The day that this devotion is put in danger, you retreat. As long as you can be both wife and lover, you are both, with all the passion and enthusiasm within you. But when it becomes necessary to choose one or the other, you choose wife. You are playing a role in the comedy of love: "Commedia Appassionata," if you will, but one with a happy ending. The tragic ending is not for you. And you have now reached a point in your relationship with Gustavo which, if pressed, may cause the drama to go awry. It is that certain "balance" in you that makes you exit from the scene.

GIULIA     So that is your estimation of me. But you deny me my impulses, my spirit --

COSTANZO     Those things always prove fatal!  (Almost whispering in ear.)  You have a lover, yet your husband is the happiest of men. There are women that are deemed honest who do not make their husbands as happy and content as you make yours.

GIULIA     (Looking at him penetratingly. )  Would you like a wife such as I?

COSTANZO     That's another question! But this much is true of your husband -- he has his cake, and gets to enjoy it too. You -- you are certainly not the worst of women! Do you think I judge you ill?

GIULIA     I think you're a cynic!

COSTANZO     A cynic? But why? I rather think I possess the admirable ability to see the good in everyone. Well, then -- goodbye until this evening.  (Shakes her hand and exits US. )

 

END SCENE

 

Scene 4

GIULIA, ANDREA

 

GIULIA     (To Andrea, who has entered R and proceeds to look for something in the room.)  What are you looking for?

ANDREA     I didn't leave some papers in here a little while ago, did I? Ah, here they are. I'll be in my study.

GIULIA     Working on Sunday? Aren't you going out at all today?

ANREA     No.

GIULIA     Giannino has not budged an inch all day; you should take him for a walk.

ANDREA     Won't you be going out yourself?

GIULIA     No. You know very well that one must supervise when one is expecting guests. Teresa and Antonietta can't really be trusted. You should trot over to the theatre with Giannino to secure a box for tonight.

ANDREA     But it's half-past five.

GIULIA     There's planty of time before dinner.

ANDREA     Very well; see that Giannino is dressed.  (Begins to leave.)

GIULIA     Andrea what is the matter?

ANDREA     What? Nothing.

GIULIA     Are you still angry?

ANDREA     I never was. I told you what I thought right to tell you. That is all.

GIULIA     Then what is it?

ANDREA     You must understand that I'm still a bit worried.

GIULIA     Why?

ANDREA     Your heedlessness gives me cause for concern -- a heedlessness of which you are unaware. I've never lectured you, nor have I ever imposed upon you any desire that you be one of those ridiculously prudish women who abide by appearances, and who so often confuse the maintaining of appearances with honor. And while I have never before been disturbed by your ease and assurance. Yesterday's impropriety does disturb me greatly.

GIULIA     One mistake, one foolish little mistake, and your head spins with all sorts of worries and imaginings -- and doubts, perhaps! what else are you husbands capable of?

ANDREA     You're wrong to talk so, Giulia! Sometimes you speak in the same way that you act -- without thinking. and you speak of things that, if you understood their significance, would make you blush to speak of!

GIULIA     Then why do you oblige me to say them?

ANDREA     I?

GIULIA     Yes. You know exactly how to goad me. Yesterday you made me see what a mistake I had made, and lectured me for it. I asked you to forgive me. That should be the end ot it! But, no -- you are still lecturing!

ANDREA     No, my dear. I only fear that you should forget, that tomorrow you might make another mistake -- less serious, perhaps, but mistake nonetheless.

GIULIA     Didn't I have good reason to see Velati? I wanted to warn him, despite what you said, because you didn't want to do it; you didn't want to worry him. But I didn't want you to involve yourself in any trouble on account of someone else. Do you understand?

ANDREA     And if I hadn't by chance met you there, you perhaps wouldn't have informed me of what you had done.

GIULIA     On the contrary; I would have told you as soon as possible. Have I ever concealed anything from you?

ANDREA     I don't know -- I don't believe so. But, Giulia, you should've written Velati to come here. He lives alone, in the center of town; people know he's our friend, but --

GIULIA     All right, I understand! I was wrong. People talk, rumours get started .... How fortunate he is engaged to be married!

ANDREA     Oh, Giulia! I'm a poor man if you feel you have to say such a thing to placate me! It's quite obvious you don't think clearly!  (Turns to leave.)

GIULIA     Andrea!  (Approaches him tenderly. )  Please forgive me. Don't scold anymore.

ANDREA    It's only that I love you, Giulia, and am very mindful of your reputation. I know that the smallest indiscretion has often been the cause of great misfortune. You see -- I wish all our acquaintance might have seen you yesterday as you left this house arm-in-arm with me. There! We'll speak no more about this. Go and dress Giannino. I shall replace these papers and return shortly.  (Exits R. )

 

END SCENE

 

[To be continued. ]



Marco Praga: The Ideal Wife (Part Four)

(ACT II, cont'd.)
 

Scene 3

GIULIA, GUSTAVO

 

(Gustavo, ill at ease, stands by the desk, Giulia at the opposite side of the room. She looks around, taking in everything, then tosses her fur on a chair. There is a long silence. She then walks about slowly, still scrutinizing every object. )

 

GUSTAVO     Well?

GIULIA     I'm just looking around. I believe this is the second time I've been here. The first time was two years ago. You thought it was imprudent to meet here in broad daylight, so we went back down -- and now here we are, two years later! How funny!  (Continues to look around. )  What a cozy little place! That's your bedroom in there, isn't it? There is the library, and the anteroom. I've a good memory, haven't I? There was a bowl of chestnuts right here, the last time, roasted just for me. And there were flowers, also just for me. But you weren't expecting me today. Oh -- that chair wasn't there before.  (Crosses to it and sits.)  How comfortable! It fits like a glove! Aren't you going to offer me a cigarette?

GUSTAVO    (Holding out the box to her.)  Smoking isn't good for you.

GIULIA     True.  (Takes a cigarette.)  I'll just light one to give the room atmosphere. May I have a  light, please?  (Gustavo hands her a box of matches. )  For goodness' sake, light it for me! Do you think I'm in the habit of carrying matchboxes in my purse?  (Gustavo strikes a match and lifts it to her cigarette. Giulia draws slowly away, obliging him to lean in towards her, their faces very close, almost inviting a kiss. Gustavo throws the match aside and moves away.)  What a frown! Are you in bad humour today, too? Are you still unwell? Do you want me to go?  (Stands.)

GUSTAVO     Didn't you receive my letter?

GIULIA     Oh -- yes. it's right here. I glanced at it.  (Sits back down.)

GUSTAVO     You should have read it more carefully.

GIULIA     I still can; I haven't yet destroyed it. Would you like for us to read it to together?

GUSTAVO     No! You were to have read it yourself, instead of coming here.

GIULIA     Blessed boy! I only wanted to make sure you had gone to Turin.

GUSTAVO     I told you I had.

GIULIA     I had to make sure you were still here.

GUSTAVO     I explained it all in my letter. If you had read it --

GIULIA     Oh, I read it well enough. But I didn't take it seriously. You wrote that we must end it. Why? There has to be a reason for everything in this world. Well? Why must we end it? Has something changed between us? I love you, you love me ..... You do love me, don't you?

GUSTAVO     I've said so, haven't I?

GIULIA     No, never! Then you do love me. Why must we end it?  (She stands, goes to him, and walks slowly around him.)  I forgive you everything. Isn't that kind of me? You've only been preoccupied of late: something has given you cause for worry. This morning I thought: Gustavo needs a great deal of love and affection -- and so I've come to give it.

GUSTAVO     And to take another of those foolish, reckless chances that compromise my peace of mind and yours, and ruin my life. I've scolded you about this before.

GIULIA     Oh, really! Let's just be reasonable for a moment. Do sit down, for heaven's sake! Come and sit next to me. Why are you being so dreadfully formal?  (Silence.)  My husband is in Genova.

GUSTAVO     And?

GIULIA     And? Que tu es bête! And -- so I could come to you.

GUSTAVO     You forget that I live in the center of Milan. Someone could have seen you coming up here. You care nothing for discretion!

GIULIA     I'm not afraid of gossips, for they take most pleasure in gossiping about what they believe to be secret and to malign a woman who takes every precaution to conceal her guilt. But they never bother themselves with women who show no fear.

GUSTAVO     A wonderful theory indeed! And most convenient.

GIULIA     Accurate, as well. And then, you know quite well I could tell my husband of my coming.

GUSTAVO     Here? To my house?

GIULIA     To your office -- and here, if worse comes to worse. I could tell him I came to see you, at any rate.

GUSTAVO     What reason could you give him?

GIULIA     The same reason I gave Monticelli.

GUSTAVO     Ah. Do you think it would suffice?

GIULIA     For Monticelli, well -- he already knows, it seems. But I don't care about that. For my husband, who never doubts me, it would be almost too convincing.

GUSTAVO     You would toy with your life in this way, and with your future, for a lark -- for the sheer pleasure of being reckless?

GIULIA     (Passionately.)  Because I love you! Because I need to see you! I couldn't have stayed home without seeing you all day today, anxious about everything you said to me last night, tormented by what you wrote. Now I can go back home satisfied. Now I am happy and calm.

GUSTAVO     (Standing.)  Good God! You have a very peculiar way of reasoning! This is torture!

GIULIA     (Interrupting him by throwing her arms around his neck.)  Poor man! It is torture to be so loved, isn't it? You're right; I love you too much -- much too much!

GUSTAVO     Lord, such a woman! You must leave now. You've stayed far too long.

GIULIA     It's only been a quarter of an hour. Let me stay just a little longer. Ten minutes? Five?

GUSTAVO     No, I should be going myself. I beg you, go now, Giulia.  (Giulia, disppointed, takes up her fur and begins to put it on. But she spies some papers on his desk, tosses her fur back on the chair, and proceeds to rummage through them.)  What are you doing now? What are you looking for?

GIULIA     Nothing. Merely seeing if there are any letters -- if you are deceiving me.

GUSTAVO     Not this, too!

GIULIA     Are you annoyed? If there's nothing here, then you needn't worry.  (Indicating a locked drawer.)  Will you open this for me?

GUSTAVO     There's nothing in there.

GIULIA    No?

GUSTAVO     Just bills.

GIULIA     Open it.

GUSTAVO     Then will you go?

GIULIA     I promise. Open it.  (Gustavo unlocks the drawer. Giulia looks through its contents.)  bills, bills, bills -- all paid in full. How "rangé" of you!

GUSTAVO     Enough?

GIULIA     Just a moment! What is this -- this rose-coloured paper?

GUSTAVO     Well, have a look, but be quick.

GIULIA     May I? It's nothing compromising. then.  (Begins to put it back, then changes her mind.)  But wait!  (Reads.)  Guglianetti -- ah!

GUSTAVO     Now have you had enough?

GIULIA     Yes.

GUSTAVO     And will you go?

GIULIA     Yes.  (But she lingers, still eyeing the desk.)

GUSTAVO     Well?

GIULIA     (Looking closely at the blotter.)  You can destroy whatever letters you receive, but to whom do you write? The blotter may reveal many things.  (Gustavo makes a gesture of annoyance, and crosses impatiently to the window and gazes out of it distractedly. giulia struggles to read the fragments of writing on the blotter.)  "Affec-tion-ately ... Gustavo ... "  (Turns the blotter this way and that.)  "At-tor-ney at law ... "  (She suddenly has an idea. Taking a small mirror from the desktop, she positions it above the blotter.)  "Costanzo ... Thursday ... twenty-eighth ... My dearest ... " (To Gustavo.)  "Dearest" who?

GUSTAVO     Stop this, I beg you.

GIULIA     Dearest who ?!

GUSTAVO     (Still looking out the window, he suddenly starts in fright. )  Giulia!!

GIULIA     What is it?

GUSTAVO     Your husband!

GIULIA     Oh -- !  (Hastily replaces the blotter and mirror.)

GUSTAVO     He's speaking with the housekeeper.

GIULIA     Heavens! -- has he gone?

GUSTAVO     He knows everything! He pretended to have left town -- and now he's come to surprise us together -- great God!  (Grabs her fur and puts it on.)  Is he coming? Is he coming?

GUSTAVO     He's still speaking to her.  (Hurries from the window, grabbing Giulia roughly by the arm.)  Do you see what you've done? Do you see? Hide!

GIULIA     Where?

GUSTAVO     In the library.

GIULIA     No, no, he may go in there -- better in there --  (Crosses to SL door.)  Go and look! Is he coming up?

GUSTAVO     (At the window.)  He is now.

GIULIA     Great God! How does he look? Angry?

GUSTAVO     I can't see him anymore. Quick!

GIULIA     (Already at the door, she suddenly recovers her composure.)  How stupid of me! He either knows and has come in search of me, or he doesn't  know, and so ...

GUSTAVO     (Nervously.)  So -- if he finds you here -- ?

GIULIA     What if, by chance, he heard from someone that I was here? How could I then explain having hidden in your house? Better that he finds us together openly, without all the subterfuge. He may scold, but he won't suspect. I'm staying!

GUSTAVO     Right here?!

GIULIA     Right here! I've come to tell you about your brother.

GUSTAVO     Here, at my house? Will he believe that?

GIULIA     Of course. At any rate, it's better this way.  (Sits, turning the back of the armchair towards the door in such a way as not to be seen by Andrea.)  Sit down, quick!

GUSTAVO     Are you insane?!

GIULIA     How do I look?

ETTORE     (Entering US.)  Signor Campiani asking to see you.

GIULIA     (Whispering agitatedly to Gustavo.)  Let him in!

GUSTAVO     (To Ettore.)  Show him in.  (Exit Ettore.)

 

END SCENE

 

Scene 4

GIULIA, ANDREA, GUSTAVO

 

ANDREA     (Entering.)  Am I disturbing you?

GUSTAVO     Not at all!

ANDREA     Your housekeeper said you're not well. I was about to leave --

GUSTAVO     (Standing and shaking the hand which Andrea has extended. )  I'm feeling much better.  (Giulia sits with her eyes fixed in feverish anxiety, listening to Andrea's first words. Having heard them, her face relaxes; now, reassured, she has collected herself. Without turning in her chair, she extends her hand to Andrea.)

GIULIA     Good morning.

ANDREA     (Astonished.)  Giulia -- you?!

GIULIA     Then you didn't go to Genova.

ANDREA     Why are you here?

GIULIA     The same reason you're here, I expect. what you said last night about Velati's brother worried me so; I didn't sleep a wink. This morning, I was afraid something may have happened -- you left early; I believed you to be on your way to Genova. And so I said to myself: I must warn Velati. I went to his office, but he wasn't there, so I came here. But you -- why aren't you in Genova?

ANDREA     (Still a bit stupefied. )  I stopped by the Exchange on my way to the station, and found that a dispatch had arrived during the night which obliged me to postpone my trip.

GIULIA     If you had only told me. I would have felt easier in my mind knowing you were coming here.

ANDREA     I went back to the house at ten. You weren't there.

GIULIA     I took Giannino to school, then went to Velati's office.

ANDREA     (Sternly.)  Which proves to me once again that one must never discuss business matters with women -- especially women who are very impressionable.

GIULIA     (Feigning innocence.)  Why?

ANDREA     Because -- there was no reason for you to speak to Velati about this, and you certainly should not have come here to his home.  (To Gustavo.)  I apologize.

GIULIA     But --

ANDREA     Giulia, you are too intelligent to be told this. You should have written to Velati, asking him to come to our house.

GIULIA     But I did go to his office.

ANDREA     And since he wasn't there -- (He stops himself, gives her a disapproving look, silencing any remonstration from her. Then he turns to Gustavo.)  Well, then --

GUSTAVO     (Offering him a chair.)  Please.

ANDREA     Thank you.  (Sits.)  Has Giulia told you?

GUSTAVO     She started to, in fact, but then you arrived. I cannot thank you enough for all you've done --

ANDREA     Good Lord, I've not done anything. Rather, I've come to see about taking the necessary precautions.

GUSTAVO     Then there is some danger?

ANDREA     Nothing that can't be avoided. However, since, I am not going to Genova after all, I thought the day might be put to good use. I believed you to be out of town, so I went to your office to find out where I might write to you.

GUSTAVO     Yes, well -- I decided to stay in town.

ANDREA     I need your authorization.

GUSTAVO     But of course.

ANDREA    Perhaps you would like to explain the situation in detail?

GUSTAVO     I'd understand none of it. Only tell me, are funds needed?

ANDREA     Only your permission to act in whatever way I deem necessary. Should I need to consult you, may I find you in your office?

GUSTAVO     I'm going there now and shall stay till seven.

ANDREA     (Standing up.)  It's quite possible I shall drop by within the next few hours.

GUSTAVO     How can I thank you? But -- are you quite sure money isn't needed?

ANDREA     No; only your signature for payment due january. In the meantime --

GUSTAVO     May I come to your office?

ANDREA     If you prefer. Shall we say, five o'clock?

GUSTAVO     At five, then.

ANDREA     Giulia?  (Turning to her, he sees her putting a handkerchief to her eyes.)  Whatever is the matter?  (Giulia rises, drying her tears. Andrea stares at her a moment, then, still serious, but good-naturedly.)  Dear child!  (To Velati, offering his hand. )  Good day.

GUSTAVO     Again, thanks awfully.

ANDREA     Don't mention it.  (Lowering his voice, confidentially.)  By the way -- let me be the first to congratulate you.

GUSTAVO     Congratulate me for what?

ANDREA     Perhaps it's a bit premature, but her father has confided to me, my friend --

GUSTAVO     (Flustered. )  Really ...

ANDREA     Oh, come now!

GIULIA     (Suddenly alert, her eyes wide.)  You're engaged?!

ANDREA     Not yet -- but it seems that it may be in the works. That is, one may assume --

GIULIA     Signorina Bianchi!

ANDREA     There! You've already guessed the lady. But our friend may want to keep it secret yet.

GUSTAVO     I'm a close friend of the family; nothing more.

GIULIA     Yes, everybody knows how close .... My congratulations.

GUSTAVO     This is all very premature, I assure you.

ANDREA     (Heartily.)  We shall see! We shall see! I'll expect you later this afternoon?

GUSTAVO     Without fail.  (Giulia, meanwhile, unnoticed by the others, drops a glove on one of the chairs. Then arm-in-arm with Andrea, she crosses US. )

GIULIA     Till tomorrow.  (All three exit through the US door, repeating their farewells. Giulia's voice is heard OS. )  Oh, my glove!  (Re-enters, preceded by Gustavo, who runs to fetch her glove.)  I left it there, on that chair. (Gustavo finds it and brings it to her. She takes it and slaps his face with it, whispering furiously.)  Don't even think  of marrying her!  (Exit.)

 

END OF ACT II

 

[To be continued.]

Marco Praga: The Ideal Wife (Part Three)

ACT II

A salon in Gustavo Velati's house. Doors US and on both sides. Window, R. A desk, L. Elegant furnishings. Weapons, knickknacks, paintings, photographs.

 

Scene 1

GUSTAVO, COSTANZO

(Gustavo is stretched out on the divan. Enter Costanzo US.)

 

GUSTAVO     Is that you, Costanzo? Hallo.

COSTANZO     Ah -- the idle rich! There's always some poor chump who'll fetch and carry for them. Isn't that so? Your note this morning clearly demonstrates it:  (Pulls a note from his pocket and read.)  "Feeling a bit wretched today, will not come to office. Request deferment of Caudalari suit, send Ponti contract to Registry, to hell with the clients, if they come." All of which I've done. I obtained the deferment, sent the contract, and --

GUSTAVO     Told the clients to go to hell?

COSTANZO     To heaven. More certain they shan't want to come back. Let's see what's the matter with you.  (Places his hand on Gustavo's wrist.)  Slight fever. And your face is chalky -- lucky man! You won't  be seeing clients today!  (Hands him a parcel.)  Here is the Corbellini-Trevisani file with the opposing argument. Look it over soon; the hearing is scheduled for the twelfth.

GUSTAVO     (Looking towards the window.)  I'd say you're in for it today.

COSTANZO     Yes, it's snowing. Come to me, o lust for labor!

GUSTAVO     'Tisn't lust for labor I'm lacking.

COSTANZO     No -- 'tis the will, the desire, the vigour -- or what do you call it? Just so we understand each other.

GUSTAVO     My friend, I'm in the lowest of spirits -- morally ill, I assure you. And if I don't get out of the situation in which I now find myself, I don't know how it shall end.

COSTANZO     Ah.

GUSTAVO     It may end with my closing the office, the house, and going away.

GUSTAVO     I'd hand it over to you lock, stock, and barrel.

COSTANZO     (Draws a chair near him and sits.)  Joking aside -- what is it?

GUSTAVO     Are you asking me to confide in you?

COSTANZO     If you trust me.

GUSTAVO     As a friend, I do; you've proven yourself. But I fear you might not be completely serious with me.

COSTANZO     In times of need, friendship is the guarantor of sobriety.

GUSTAVO     Here it is, then: I find myself in the situation of a man -- who has a lover -- and he now finds it necessary to -- end it.

COSTANZO     Necessary on her part, or his?

GUSTAVO     His.

COSTANZO     Yours, you mean. Then pay her and take your leave.

GUSTAVO     And if she's not the sort one pays?

COSTANZO     Pass her on to a friend.

GUSTAVO     (Stands up abruptly in annoyance.)  You call that serious! I need to confide in someone; I need help and advice. Why did I ever confide in you?

COSTANZO     Come here!  (Crosses to him.)  Listen -- (Whispering.)  -- is it Signora Campiani?

GUSTAVO     You know?!

COSTANZO     The whole world knows!

GUSTAVO     Oh -- the whole world knows, and you never told me?

COSTANZO     I like that! You're the one who never said a word to me! It wouldn't have been "office etiquette" -- unfortunately.

GUSTAVO     I told no one about this.

COSTANZO     Nevertheless. Are you so surprised? Let's say we took a stroll along the Corso between four and six o'clock Of all the ladies we encounter, I could tell you which of them have lovers. I could even give you names. Don't look so appalled! I'd only be telling you what you know already -- what everyone knows. Even the husbands, some of them. But not good old Campiani! 

GUSTAVO     "Good old Campiani." You sound as though you're making sport of him.

COSTANZO     Yes, well, I should say we both  are.

GUSTAVO     Still -- if there's one deceived husband who shouldn't be made sport of, it's Campiani.

COSTANZO     Oh?

GUSTAVO     Certainly. He has no reason to doubt his wife. I dare say he hasn't the right.

COSTANZO     Tosh!

GUSTAVO     I'm perfectly serious. She is a singular woman, incomprehensible to anyone who observes her at home yet knows she is unfaithful, because she manages to belong to two men at once. She gives her heart and flesh to one; to the other, her mind and soul. Thus, she is both passionate lover and loving wife. This is why her adoring husband never suspects a thing! Tell me: does the poor husband ever find out his wife's transgression? If he does, it's because the wife gives herself away. It's true! From the day a woman takes a lover, she considers her husband a nuisance -- treats him indifferently, neglects him, or denies him husbandly rights. The good man, seeing she no longer loves him, must necessarily think that someone or something has taken his place. So he begins to doubt and become suspicious. He observes his wife, scrutinizes her every act and word, and his doubt increases. He spies, sleuths, sets traps. And then he finds the lover.

COSTANZO     And the indiscreet servants? The anonymous letters? What about all those tell-tale signs of conjugal infidelity?

GUSTAVO     Those things are found more in the theatre than in real life, but at times they may indeed play a part as complementary or reinforcing elements, and are very effective when doubt has already begun to insinuate itself. But, see here, if an anonymous letter were sent to Campiani, he would tear it up in disgust; or, better still, he'd show it to his wife and the two of them would have a good laugh over it after dinner.

COSTANZO     You think so?

GUSTAVO     I'm sure of it. You've no idea how Giulia is towards her husband. She is poetic in her affection, a model of loving care, not one misstep or oversight; never does she falter. Yet, with me, she is an ardent lover. Nothing deters or daunts her; she'll take all sorts of reckless chances when she thinks them necessary. If I haven't been to see her for a week, she comes to my office, You've seen her there. But upon returning home, she makes no effort to hide it; she tells her husband of her visit, as naturally and easily as you please, conjuring up a convincing reason for it. And after having left me and gone back to him, she shows no sign of sulkiness, shame, or annoyance. Rather, she is vivacious and affectionate. She may even have the foresight to bring him a little gift, just a small something to show him he is always in her mind, that she thinks of no one but him, whether she's with him or not; she finds the sweetest, most loving words to murmur in his ear. And he, who is certainly no fool, thinks the world would come to an end before he'd suspect his wife of infidelity.

COSTANZO     Does she love you?

GUSTAVO     I don't know. But surely no woman in love has done better or more than Giulia has done for me.

COSTANZO     Well, that's marvellous.

GUSTAVO     D'you want to hear more? Remember last year I went to Brescia to argue a case? Well -- I'd only been there a few hours when Giulia appears. "My darling," she said, "I have a cousin who lives here. So I've come to spend a few days with her. Is this not a fine opportunity?" She stayed three days. when I wasn't in court, she was with me -- but when I was, do you know how she spent her time? Writing letters to her husband, pages and pages, full of affection, telling his all sorts of pretty stories. In her first letter she wrote: "You'll never guess -- Velati is here is town! I've introduced him to cousin Elena, who found him very agreeable. confidentially, I believe he is quite taken with her!" And the day before she went home, she wrote: "I return tomorrow. I'm enjoying myself well enough here, but I cannot stay any longer. I miss you and Giannino so."

COSTANZO     Marvellous.

GUSTAVO     But all this apparently brazen behaviour comes not from corruption of spirit, nor is it calculated on her part. She is by nature truly good -- and she isn't even aware of it.

COSTANZO     My good man, I wonder if this woman is indeed the ideal wife!

GUSTAVO     "Ideal" is a relative term.

COSTANZO     Relative, yes -- as is everything in this world, including honesty. Tell me -- what is ideal to a man with a limp? Is it to be able to walk perfectly? No, indeed, for he knows very well that that is impossible. His ideal is simply to find a pair of shoes that will make his seem to walk perfectly. Nowadays, in this corrupt society in which we live, in which a woman is surrounded by temptations, and everything conspires against her integrity, the completely prudent and faithful wife is an exception; she is an idol to whom we should build an altar. The man who possesses her is a being privileged beyond the laws of the world. But for most, the ideal must be a woman who manages to remain a good, loving wife towards her husband, even if she has a lover. She must avoid scandal and the unhappiness of her children, and maintain peace at home, a true and sincere peace; not the fictitious, conventional sort such as that one so often sees; the sort that merely camouflages scorn and hostility. Don't you agree?

GUSTAVO     With that kind of thinking, I shouldn't ever want a wife!

COSTANZO     Precisely -- and so I shall never have one.  (Pause.)  So you must -- that is, you want to leave this woman?

GUSTAVO     Yes.

COSTANZO     What for?

GUSTAVO     Because our affair has already lasted two years, and cannot last the rest of our lives!

COSTANZO     Is that all? Eh, my friend, it seems that when it concerns matters of the heart you are not completely honest! May I correct you? You want to leave her because you no longer love her.

GUSTAVO     And what if that's true? Would that be my fault? Can one's heart be controlled? I've loved her these two years, without even a thought of another woman. And now I don't love her; should I feel guilty? Who would condemn me for it?

COSTANZO     Who's condemning? Has anyone said anything of the sort to you? Good God, but you're sensitive!

GUSTAVO     My friend, it's a sensitive situation I'm in. I swear to you, Costanzo, the distaste of being tied to a woman I no longer love is a thousand times stronger than the joy I felt at our first assignation. A stale love is like an extortionist whom you cannot pay, who sucks the very blood from your veins!

COSTANZO     I believe you!

GUSTAVO     It won't do for me. I'm thirty years old, with no family, living in someone else's house .... I'd have to be a much younger man to find all this attractive. I've got to think of my future.

COSTANZO     I understand. You want a wife.  (Pause.)  Well, my friend, it's always difficult to break the chain -- even more so with a woman like that. Best summon the courage and tell her.

GUSTAVO     Tell her what?

COSTANZO     That you no longer love her.

GUSTAVO     You think I should find the courage, do you? I've reduced my visits to her house, I've been remote and cold towards her -- all to no avail. Last night, after avoiding her for a week, I went to see her, determined to find a way to end it.

COSTANZO     And?

GUSTAVO     We left each other more friendly than ever. If only I could end it! After all, she doesn't deserve this cold treatment. Perhaps it's more cruel than one decisive blow .... If only I had the courage to do it! I wrote her a long letter last night --

COSTANZO    Telling her you no longer love her?

GUSTAVO     Oh, no, no! I couldn't say that. I wrote that it is necessary to leave each other.

COSTANZO     She'll come looking for you, then you'll leave each other, yes -- more friendly than ever.

GUSTAVO     She thinks I'm gone for the time being. Which is another reason I didn't go to the office today.

ETTORE     (Entering US.)  Pardon me, but there is a lady asking to see you.

GUSTAVO     Good God! I can't escape these clients, not even in my own home!

COSTANZO     (Softly.)  Perhaps it's she!

GUSTAVO     Oh, no -- impossible!  (To Ettore.)  Did she give her name?

ETTORE     No, Signore.

GUSTAVO     Did you tell her that I have company?

ETTORE     Yes, I said you were with the lawyer Monticelli. She said she knows him.

GUSTAVO     (To Costanzo.)  It can't be she!  (To Ettore.)  Show her in.  (Exit Ettore.)

COSTANZO     Hadn't I better clear out?

GUSTAVO     Where? Anyhow, she already knows you're here.  (Enter Giulia.)

 

END SCENE

 

Scene 2

GIULIA, GUSTAVO, COSTANZO

 

GIULIA     "Honi sort qui mal y pense!"  (To Costanzo.)  Good day to you!  (To Gustavo.)  Hello, Velati. They told me at your office you aren't feeling well. So I asked for you (to Costanzo ).  Then I thought: I desperately need to speak with Velati about a matter very personal to him. Could I go to his house? After all, I would find a mutual friend there ... it wouldn't be just the two of us, alone. Was I right, then? Or wrong? I don't really know .... after all, are we or are we not friends? And one must take chances for one's friends. (To Costanzo.)  Don't you think so?

COSTANZO     Only when one has nothing to fear.

GIULIA     (Looks at him sharply for a moment, then turns to Gustavo.)  Didn't you go to Turin?  (To Costanzo.)  And weren't you to go, as well?  (Gustavo offers her a chair; she sits.)

COSTANZO     In fact -- that is -- he was to go -- but we had a telegram this morning -- a deferment --

GIULIA     Ah, a deferment! Yes -- I also was depending on that deferment (turning to Gustavo ) in order to see you today.  (Pause.)  Well, as I said before, I must speak with you about a very important matter.  (Seeing that Costanzo is gathering some papers and preparing to leave.)  Must you go? No need for such discretion, my dear friend. I shall say what I have to say to Velati, then we'll leave together. All right?

COSTANZO     As you wish.

GIULIA     (To Gustavo.)  It's to do with your brother. Oh, I beg pardon -- I didn't think. Perhaps Monticelli ... ?

GUSTAVO    Costanzo is my good friend; he knows everything about me.

GIULIA     Everything?

GUSTAVO     Everything a man would confide to a friend when he requires his friend's advice.

GIULIA     Well -- as you know, my husband sought out some information last night. And he told you he didn't find out anything. But --

GUSTAVO     But?

GIULIA     Not to worry; it isn't gravely serious. He only heard that your brother has involved himself in a slightly risky affair. Andrea didn't want to tell you last night, for fear of worrying you too much. He told me after you left, and that he had already taken steps to remedy the situation.

GUSTAVO     Such as?

GIULIA     I don't know. But he assured me that nothing serious would happen, thanks to these measures he thought best to take immediately.

GUSTAVO     (Rising.)  I had better see him right away.

GIULIA     Oh, Andrea isn't there. He left early this morning for Genova. So I thought perhaps -- you know how impressionable we women are, and how we're always imagining all sorts of things -- I thought someone else might come here today to inform you about this and worry you needlessly -- in short, I feared some catastrophe -- . And then, since my husband is away today, I thought I myself should come right away to reassure you. I went to your office, then here. Monticelli, don't you think I was duty-bound by friendship to do so? You would defend me, wouldn't you, if necessary? Oh, by the way -- my husband would like you to dine with us, both of you. So long as you are both here, shall we say tomorrow at six?

COSTANZO    (Preparing to go.)  I thank you; it would be a great pleasure.

GIULIA     Must you go? Won't you wait for me?  (Rises and crosses to him, whispering, half-serious and half-teasing.)  Now, you mustn't make any hasty judgements! But if you will, use a little discretion.  (Aloud.)  Till tomorrow, then.

COSTANZO     Yes, tomorrow.  (To Gustavo.)  Will you be coming to the office?

GUSTAVO     Yes, I'll be there shortly.  (Exit Costanzo.)

 

END SCENE.

 

[To be continued.]



Marco Praga: The Ideal Wife, Part Two

(ACT I, cont'd.)

 

Scene 3

GIULIA, GUSTAVO

 

(Giulia remains at the door for a moment until Teresa has gone. She then closes the door softly and goes swiftly to Gustavo, who is standing with his back to the fire. She throws her arms round his neck.)

GUSTAVO     (Attempting to push her away gently.)  Take care; someone may come in.

GIULIA     No one will come. What a wonderful surprise you've given me! I didn't expect you this evening.  (Gustavo makes another attempt.)  Are you annoyed with me?

GUSTAVO     No, darling, but after all, we mustn't court danger.  (He slips from her embrace and sits.)

GIULIA     Danger? But there is none -- and you've never been much worried about that.

GUSTAVO     It's high time I started being sensible, and you, as well.

GIULIA     Don't you love me any more, then?

GUSTAVO     Of course I do; I shall always love you. But think, Giulia -- if someday I were to tell you we must leave each other and go back to being the good friends we once were, even then I would love you as I do now, as I did the day you became mine. You must believe me -- and you must obey me.

GIULIA     (Stricken.)  I would only believe it if I cease to love you.  (Suddenly runs to US door, opens it, looks outside, closes it again, runs back to Gustavo and sits beside him.)  Why are you telling me all this? Why do you say these things? Tell me, Gustavo, please, tell me!

GUSTAVO     To make you think clearly so that you may realize, once for all, your situation and ours.

GIULIA     Are you tired of me? Bored? Do you want to end it?

GUSTAVO     Hush! For God's sake!

GIULIA     How nervous you are tonight!

GUSTAVO     Because of this foolish recklessness of yours. Barely is your husband down the stairs and Teresa out of the room, and you throw your arms round my neck. He might have come back in, and that would've been your ruin; or she  might have, and we'd have no more peace -- at the very least, we should both look ridiculous.

GIULIA     Gustavo! You worry as much about my being ruined as you do about looking ridiculous in front of the maid?  (Pauses.)  You're merely pretending, and the worry of pretending makes you say horrible things.  (Sits at the table and buries her face in her hands.)

GUSTAVO     (Lights a cigarette.)  Darling, you don't understand --

GIULIA     Oh, be quiet! You are right; I don't understand anything; you're making my head spin! Oh, God -- and I thought your visit tonight would be such a treat for me!  (Gustavo makes an impatient gesture. He gets up and goes to the fireplace. Giulia looks at him for a moment, then goes to him, affectionate once again.)  Tell me the truth, Gustavo. What is wrong with you? We've not seen each other these two days. Has something happened? Something that has annoyed you? Are you unwell? Tell me, tell me -- you're not angry with me, are you? Tell me, Gustavo.  (Begins to embrace him, but he gently pushes her away.)  No, no, I won't touch you -- someone may see us like this. There, is that better? But tell me what's happened. I'll forgive you anything. I know -- it's something to do with your business -- something tiresome.

GUSTAVO     No, nothing like that.

GIULIA     Yes -- you're in bad humour. Do you want to leave? Are you sorry you came? We'll see each other tomorrow, then after ... well, then. Do you want to go?

GUSTAVO     Are you sending me away?

GIULIA     No -- but I'm afraid I'm annoying you. I'm afraid that if you stay you may say more hurtful things to me without reason, and I must forgive you; for I know you're in bad humour, that is all. Tomorrow you'll be your old self again.  (Takes the cigarette from his mouth and embraces him.)

GUSTAVO     What, again?!

GIULIA     No, no, I won't touch you! And you won't tell me why you're so worried, so ill-humoured? Come, tell me; it would make me feel so much better. Tell me everything, then.

GUSTAVO     (Moves away from the fireplace and begins to pace. Giulia remains with her face towards the mirror in which she watches him.)  Good God, how you blow everything out of proportion! What have I said, after all? Only what is right. Women are said to have so much insight and sensitivity where men are concerned, yet sometimes you still manage to misunderstand. For instance, you don't understand that here in your house, your husband's house, I've no wish to be anything but a friend to you. Speaking as an honest man, my conscience is repulsed by the idea of betraying him under his own roof. I am incensed by it all!

GIULIA     Since when?

GUSTAVO     Since -- always! In the first days of our affair, when I was carried away by passion, I was able to put your husband from my mind. But I can't anymore. I tell you, it's time to be sensible, and I am being sensible.

GIULIA     You're lying, as well!  (Turns away.)  Oh, how you lie! And you speak of having the conscience of an honest man! What conscience? What honesty? Do you know what the real truth is, the only  truth? If you say you no longer love me, without dissimilating, and with no hypocrisy. Because you don't  love me anymore; I know that very well. You are so changed and have been for some time now. There was a time when it pained you not to be able to come here often to see me, and the time we did have together wasn't enough for you, no matter where we were! And you sought excuses to come, even resorted to subterfuge. And now -- after you obviously didn't feel the need to see me for two days -- when I saw you come in tonight and heard the reason for your visit, I knew immediately it was just a pretence. I know very well you are not worried about your brother. And I was glad of it, and thought the old Gustavo had come back -- so I threw my arms round you! But it was only an excuse to tell me you are leaving me.  (Silence.)  Have you no answer? Have you nothing at all to say?

GUSTAVO     (Lighting another cigarette.)  What would you have me say to all this absurdity?

GIULIA     Absurdity, is it? No more absurd than everything you said only a moment ago.

GUSTAVO     What right have you to doubt what I said?

GIULIA     Poor man! Do you think, then, that I can justify your coldness, your revulsion, with a sudden reawakening of your conscience, a sudden ... compassion for my husband?  (Hearing the US door opening, she composes herself.) 

TERESA     (In the doorway.)  Signora ...

GIULIA     What is it?

TERESA     It's past nine. Shall I put the boy to bed?

GIULIA     Yes, of course. Did he study his lesson?

TERESA     Only for a little, I'm afraid.

GIULIA     It doesn't matter. Put him to bed; it's late.  (Teresa exits. Gustavo goes again to the fireplace. The US door reopens and Teresa re-enters, leading Giannino by the hand.)  Good night, my darling.  (She hugs him; he turns to leave.)  Won't you say goodnight to Signor Velati?  (Giannino goes to Gustavo, who bends down to kiss him. He then exits, Teresa holding his hand. A long silence, then Giulia sits without looking at Gustavo.)  You used to be jealous of my husband becaue I've always had the decency, or the good fortune, not to hate him, as almost all women who have lovers hate their husbands. They neglect them and treat them ill. But not I. He is a good, honest man, and he loves me.  He is the father of my child! I was never in love with him; perhaps that's why it's easy for me to be fond of him; for we women only hate men that we've been in love with, then fallen out of love with. But, although I felt an irresistible and, unfortunately, fatal need to fall in love with another man, I still know how to remain the loving little wife in my husband's eyes. You were jealous of the care I took, of my affection for him. You even had the audacity at one time not to believe I loved you, and told me so, because to you it seemed impossible that I could bear having another man near me while I loved you.  (Turns to Gustavo, who is still sitting, and draws her own chair closer to him. She continues affectionately.)  Do you remember the argument we had? I told you: "Gustavo, I love you, and it is my love for you that makes me good, patient, and wise -- yes, wise; for I don't want to lose you. I want to be yours forever. If I were foolish and compromised myself, if I gave him any reason to suspect or doubt me, if I were to displease him, our peace would be lost, and perhaps the danger would push you away from me. If he were to know everything one day, what would happen? You, being a good and upright man, would not leave me. But would your love survive, deep and overpowering, with no worries or bother, without spoiling your life or compromising your career? Would I become a bother to you one day? You see, that prospect frightens, terrifies me. It is becaue of this fear of losing you through my own fault, that I find the strength to pretend to be the ideal wife in his eyes." Do you remember? You were convinced, and our argument ended in a kiss. Is it possible that you don't love me anymore? The fault is mine -- I loved you too much! And now I bore you. You're too secure of my love. Isn't it so? Gustavo?  (The doorbell is heard. giulia starts and glances at the door, then bends over Gustavo and kisses him passionately on the mouth. She moves away and composes herself just before Andrea enters.)

 

END SCENE

 

Scene 4

GIULIA, ANDREA, GUSTAVO

 

ANDREA     Ooh, it's cold out there! It must be at least five below.

GUSTAVO     Is it snowing?

ANDREA     A little.  (To Giulia.)  Did I make curfew? It's twenty past.

GIULIA     You're five minutes late.

GUSTAVO     But there's a five-minute tolerance period.

ANDREA     If wives have any tolerance.  (Changing the subject.)  I've already done some preliminary investigating. However, nothing's certain yet.

GUSTAVO     Thank you. But you can understand, given my brother's tendency towards excessiveness, why I've no doubt he may put himself at risk.

ANDREA     Yes, quite. Are you leaving? Won't you have some tea?

GIULIA     (Rising.) I've already offered. He says he has a meeting at half-past nine. Actually, he was about to leave, and I would have been all alone if you had not returned.  (To Gustavo.)  When will you dine with us? Day after tomorrow, perhaps? It's Sunday. On any other day, one never knows at what hour we dine -- because of Andrea's work, you know.

ANDREA     We shall expect you.

GUSTAVO     But --

GIULIA     And bring Monticelli with you. He's such an amiable young man. Isn't he, Andrea?

ANDREA     Both of you, then -- half-past seven.

GUSTAVO     I thank you; but, regretfully, I'm leaving town tomorrow --

ANDREA     Oh, that is only an excuse!

GUSTAVO     I have business in Turin.

GIULIA     Really? .... When you return, then.

ANDREA    We're counting on it.

GUSTAVO    Thanks awfully. Signora -- good evening.  (Exits.)

 

END SCENE

 

Scene 5

GIULIA, ANDREA, TERESA

 

ANDREA     Why didn't you urge him to stay?

GIULIA     I asked him before, but he has that appointment. Perhaps that was only a pretence; perhaps he was bored. He was here for some time.

ANDREA     I wanted to tell him something.

GIULIA     What?

ANDREA     Concerning his brother.

GIULIA     Didn't you already tell him?

ANDREA     There was something more.

GIULIA     Something serious?

ANDREA     Quite. He's involved himself in a most dicey business, and the prognosis is not good. I've already heard something about it.

GIULIA     Poor man! You should have warned him!

ANDREA     I didn't have the courage. I wanted to prepare him, you see -- if he'd stayed longer -- . We may have to take definite action on Monday. At any rate, I've already taken some measures; I could see it through alone.

GIULIA     You?

ANDREA     Yes.

GIULIA     But wouldn't you be putting yourself at risk as well?

ANDREA     No, no; all that's needed is an authorization.

GIULIA     Warning his brother is all very well, but if it puts you in the same predicament --

ANDREA     Don't worry. Is Giannino in bed?

GIULIA     Yes.

ANDREA     I'm going, too. This weather has made me tired.

GIULIA     Yes, go on to bed.

ANDREA     And I must rise early tomorrow; I'm going to Genova.

GIULIA     Genova?

ANDREA     Yes.

GIULIA     Will you be away for long?

ANDREA     No, just the day. I leave at half-past eight and should return by evening.

GIULIA     In this weather, and you not feeling well? Send someone in your place.

ANDREA     Impossible, my dear.

GIULIA     Are we dining without you tomorrow?

ANDREA     I rather think I'll  be dining without you and Giannino.

GIULIA     Too bad.  (Rings the bell.)  Go right to bed, darling. And don't sit up too long reading, as you usually do.  (To Teresa, who has entered.)  Is the fire lit in Signor's room?

TERESA     Yes, Signora.

ANDREA     (To Teresa.)  I'll be rising at six tomorrow.  (Exit Teresa.)

GIULIA     Six? To leave at half-past eight?

ANDREA     I have to stop at my office first.  (Lights a candle.)  Good night, my dear. I'll not see you in the morning. You wouldn't want to get up so early, would you?

GIULIA     Yes. I'll see you off.

ANDREA     Thank you.  (Exit.)

GIULIA     (Closes door through which Andrea has exited, then goes to US door, opens it, and calls out.)  Teresa?

TERESA     (OS )  Signora?

GIULIA     Wake me at half-past seven, do you hear? There'll be nothing else tonight.  (Closes the door. Walks slowly DS, stops at the fireplace and looks at herself in the mirror. Then she pulls a chair close to the fire, sits, and stretches out her legs to warm her feet near the burning coals.)

 

END OF ACT I

 

[To be continued in a later post.]