His character is confused because the two women bombard him with images from the past about which his character knows nothing. He must play along, however, as he doesn't want to be found out as a jewel thief.

He makes his confusion very clear, rolling his eyes at some of the references to the past. His voice just hints at his perplexed state, leaving his would-be lovers convinced their Don Juan has returned. Only he and the audience know better.

One of the best scenes of the play occurs when Toro-Hernandez and Krohn seduce each other with words of passion and affection. Krohn portrays her character, who is about to lose her virginity to this man, as hopelessly in love and yet scared and naive.

Gotlieb, the female half of the jewel-stealing duo, is also strong in her role. She plays her character well, conveying the sense of power she feels. This attitude is especially apparent in the scene in which she responds the daughter's blind admiration for her partner.

In another scene, she informs Haseltine that his wife is cuckolding him and his daughter is leaving his grasp in a way that clearly conveys her sense of power.

Haseltine, husband of Weitzner, plays his character in a complex fashion--the audience can't really tell whether he's a pawn of pulling the strings of all strings of all the action.

One minute, you think he's being cuckolded by his wife and abandoned by his daughter. But at the end of the play, Haseltine's character has it all--the robbers are gone and the wife has returned to his side. Too bad his daughter gets taken away to a mental institution. Haseltine effectively maintains the intrigue that is vital to the success of the play.

Another of the details that adds to the play is the style in which it is written. It resembles a radio serial show of the 1930s and 1940s. The same lines are repeated often by different characters, and pretty soon the order in which the lines were said is mixed up by the audience, smearing the time line of the action.

Finally, the set and costumes bring the audience back to Argentina in 1948. The outrageous mustache worn as a disguise by Toro-Hernandez is appropriate to the genre.

The set is sapcious, keeping the focus on the action. Nevertheless, it gives the feel of an upper-middle class home.

Let's just say that like the plays as whole, the conclusion is ambiguous, Indeed, it lives up to the thick plot, which fills the audience's evening with twists and turns.