AGAZZI. Oh, find some excuse! You'll think of something in the course of your talk; and if you don't, there's Dina and Signora Sirelli. But when you come back, you understand, go into the drawing room. (_He steps to the door on the left, makes sure that it is wide open, and draws aside the portière_). This door must stay open, wide open, so that we can hear you talking from in here. Now, here are some papers that I ought to take with me to the office. However, I forget them here. It is a brief that requires Ponza's immediate personal attention. So then, I forget it. And when I get to the office I have to bring him back here to find them--See? SIRELLI. But just a moment. Where do I come in? When am I expected to appear? AGAZZI. Oh, yes!... A moment or two after eleven, when the ladies are again in the drawing room, and I am back here, you just drop in--to take your wife home, see? You ring the bell and ask for me, and I'll have you brought in here. Then I'll invite the whole crowd in! That's natural enough, isn't it?--into my office?... LAUDISI (_interrupting_). And we'll have the Truth, the whole Truth with a capital T! DINA. But look, Nunky, of course we'll have the truth--once we get them together face to face--capital T and all! AGAZZI. Don't get into an argument with that man. Besides, it's time you ladies were going. None of us has any too much leeway. SIGNORA SIRELLI. Come, Amalia, come Dina! And as for you, sir (_turning to Laudisi_), I won't even shake hands with you. LAUDISI. Permit me to do it for you, madam. (_He shakes one hand with the other_). Good luck to you, my dear ladies. (_Exit Dina, Amalia, Signora Sirelli_). AGAZZI (_to Sirelli_). And now we'd better go, too. Suppose we hurry! SIRELLI. Yes, right away. Goodbye, Lamberto! LAUDISI. Goodbye, good luck, good luck! (_Agazzi and Sirelli leave. Laudisi, left alone, walks up and down the study a number of times, nodding his head and occasionally smiling. Finally he draws up in front of the big mirror that is hanging over the mantelpiece. He sees himself in the glass, stops, and addresses his image_).