PLACE: _A villa at Brianza_.

TIME: _The Present_.

Applications for the right of performing THE RIGHTS OF THE SOUL must be made to Frank Shay, who may be addressed in care of Stewart & Kidd Company.

THE RIGHTS OF THE SOUL

ONE ACT BY GIUSEPPE GIACOSA

[SCENE: _A living-room well furnished in an old fashioned style but not shabbily. An open fire-place which is practical. A sofa. A writing desk. A closet at the back. Door leading into Anna's room at the left. Window at the right._

_Paolo discovered seated at the writing desk upon which there is a confusion of papers._]

[_Servant--Maddalena enters._]

PAOLO. Well, has he returned yet?

MADDALENA. Not yet.

PAOLO. He has taken a lot of time!

MADDALENA. I have been to look for him at the post-office cafe.

PAOLO. I told you to look in his room or in the garden. Was it necessary to run all over the country?

MADDALENA. Well, he wasn't there. I thought--he wasn't at the cafe either, but they told me where he was. He'll be back shortly. He went to the station at Poggio to meet the engineer of the water-works. The tax collector saw him walking in that direction. He always walks. But he will return by the stage for the engineer's sake. The stage should be here at any moment. It is sure though--but are you listening?

PAOLO. No, you may go.

MADDALENA. Yes, sir. But it is sure that if the engineer of the water-works really has arrived, your brother will not go away to-morrow.

You and the Madame intend leaving to-morrow, don't you?

PAOLO. Yes, no. I don't know--yes, we will go to-morrow. Leave me alone.

MADDALENA. All right, but see if I'm wrong; I say that your brother will not go to-morrow, nor the day after to-morrow. Here he is.

MARIO. Were you looking for me?

PAOLO. Yes, for the last hour.

MADDALENA. Mr. Paolo--here asked me--

PAOLO. I did not ask you anything. Go away. [_He takes her by the arm and pushes her out._]

MARIO. What has happened?

PAOLO. She is insufferable. She isn't listening at the door, is she?

MARIO. No, be calm. I hear her in the garden. What has happened. You look worried.

PAOLO. [_After a pause._] Do you know why Luciano killed himself?

MARIO. No.

PAOLO. He killed himself for love. For the love of Anna. I have the proofs--they are there. I just found it out to-day, a moment ago. He has killed himself for the love of my wife. You and I were his relatives; he was a companion of my youth, my dearest friend. He tried to force her to love him. Anna repulsed him. He insisted; Anna responded firmly. Highly strung as he was, he killed himself.

MARIO. How did you find out?

PAOLO. I have the proofs, I tell you. I have been reading them for an hour. I am still stunned! They have been there for a month. You know that as soon as I received the telegram in Milan which announced his suicide in London, I ran to Luciano's room and gathered all his papers, made a packet of them, sealed it and brought them here.

MARIO. I told you to burn them.

PAOLO. I wanted to in fact, but afterward I thought it better to await until the authorities of the hospital, to whom he left the estate, had verified the accounts. The Syndic came here an hour ago, at the order of the sub-Prefect, to give me the wallet which was found on the body and which our Consul at London had sent to the Minister of Foreign Affairs.

I was just putting them away into the desk, when I felt the desire, I don't know why, to look for the reason of his suicide which no one seemed able to explain. [_Mario starts._] You know? You suspect the reason?

MARIO. I suspected--

PAOLO. Suspected! You knew of this love?

MARIO. There, there--I will tell you, don't excite yourself!

PAOLO. No--answer me! You knew?

MARIO. I felt it--yes, that Luciano had lost his head.

PAOLO. And you never told me anything?

MARIO. What had I to tell you? Seen by others these things appear greater and more offensive than they are. And then I might have been wrong; I only see you and Anna during your short visits to the country.

If you, who are with her all the year, did not see anything--On the other hand, Anna was always on her guard, she knew perfectly how to defend herself.

PAOLO. Oh, Anna! Anna is a saint! I have always thought of her as one.

But now--

MARIO. GO on--tell me.

PAOLO. In the wallet I found a letter and noticed it was in Anna's handwriting.

MARIO. It was perfectly natural that your wife should write to our cousin.

PAOLO. Naturally. In fact I have read it. Here it is. [_Mario starts to take the letter._] No, listen. [_Paolo reads._] "You write me--"

[_Speaking._] There is no heading. [_Reads._] "You write me that if I do not respond you will return immediately. I love my husband, that is my reply. This and only this forever. I beg you not to torment me. Anna."

MARIO. Of course.