Strange Pilgrims

  They were not the reason we took Margarito Duarte to the Villa Borghese: We wanted him to see the lion. He lived uncaged on a small desert island in the middle of a deep moat, and as soon as he caught sight of us on the far shore he began to roar with an agitation that astonished his keeper. The visitors to the park gathered around in surprise. The tenor tried to identify himself with his full-voiced morning do, but the lion paid him no attention. He seemed to roar at all of us without distinction, yet the keeper knew right away that he roared only for Margarito. It was true: Wherever he moved the lion moved, and as soon as he was out of sight the lion stopped roaring. The keeper, who held a doctorate in classical literature from the University of Siena, thought that Margarito had been with other lions that day and was carrying their scent. Aside from that reasoning, which was invalid, he could think of no other explanation.

  "In any event," he said, "they are roars of compassion, not battle."

  And yet what most affected the tenor Ribero Silva was not that supernatural episode, but Margarito's confusion when they stopped to talk with the girls in the park. He remarked on it at the table, and we all agreed--some in order to make mischief and others because they were sympathetic--that it would be a good idea to help Margarito resolve his loneliness. Moved by our tender hearts, Bella Maria pressed her hands, covered by rings with imitation stones, against her bosom worthy of a doting biblical matriarch.

  "I would do it for charity's sake," she said, "except that I never could abide men who wear vests."

  That was how the tenor rode his Vespa to the Villa Borghese at two in the afternoon and returned with the little butterfly he thought best able to give Margarito Duarte an hour of good company. He had her undress in his bedroom, bathed her with scented soap, dried her, perfumed her with his personal cologne, and dusted her entire body with his camphorated aftershave talc. And then he paid her for the time they had already spent, plus another hour, and told her step by step what she had to do.

  The naked beauty tiptoed through the shadowy house, like a siesta dream, gave two gentle little taps at the rear bedroom door, and Margarito Duarte appeared, barefoot and shirtless.

  "Buona sera, giovanotto," she said, with the voice and manners of a schoolgirl. "Mi manda il tenore."

  Margarito absorbed the shock with great dignity. He opened the door wide to let her in, and she lay down on the bed while he rushed to put on his shirt and shoes to receive her with all due respect. Then he sat beside her on a chair and began the conversation. The bewildered girl told him to hurry because they only had an hour. He did not seem to understand.

  The girl said later that in any event she would have spent all the time he wanted and not charged him a cent, because there could not be a better behaved man anywhere in the world. Not knowing what to do in the meantime, she glanced around the room and saw the wooden case near the fireplace. She asked if it was a saxophone. Margarito did not answer, but opened the blind to let in a little light, carried the case to the bed, and raised the lid. The girl tried to say something, but her jaw was hanging open. Or as she told us later: "Mi si gelo il culo." She fled in utter terror, but lost her way in the hall and ran into Aunt Antonietta, who was going to my room to replace a light bulb. They were both so frightened that the girl did not dare leave the tenor's room until very late that night.

  Aunt Antonietta never learned what happened. She came into my room in such fear that she could not turn the bulb in the lamp because her hands were shaking. I asked her what was wrong. "There are ghosts in this house," she said. "And now in broad daylight." She told me with great conviction that during the war a German officer had cut the throat of his mistress in the room occupied by the tenor. As Aunt Antonietta went about her work, she often saw the ghost of the beautiful victim making her way along the corridors.

  "I've just seen her walking naked down the hall," she said. "She was identical."

  The city resumed its autumn routine. The flowering terraces of summer closed down with the first winds, and the tenor and I returned to our old haunts in Trastevere, where we ate supper with the vocal students of Count Carlo Calcagni, and with some of my classmates from the film school, among whom the most faithful was Lakis, an intelligent, amiable Greek whose soporific discourses on social injustice were his only fault. It was our good fortune that the tenors and sopranos almost always drowned him out with operatic selections that they sang at full volume, but which did not bother anyone, even after midnight. On the contrary, some late-night passersby would join in the chorus, and neighbors opened their windows to applaud.

  One night, while we were singing, Margarito tiptoed in so as not to interrupt us. He was carrying the pine case that he had not had time to leave at the pensione after showing the Saint to the parish priest at San Giovanni in Laterano, whose influence with the Holy Congregation of the Rite was common knowledge. From the corner of my eye I caught a glimpse of him putting it under the isolated table where he sat until we finished singing. As always, just after midnight, when the trattoria began to empty, we would push several tables together and sit in one group--those who sang, those of us who talked about movies, and all our friends. And among them Margarito Duarte, who was already known there as the silent, melancholy Colombian whose life was a mystery. Lakis was intrigued and asked him if he played the cello. I was caught off guard by what seemed to me an indiscretion too difficult to handle. The tenor was just as uncomfortable and could not save the situation. Margarito was the only one who responded to the question with absolute naturalness.

  "It's not a cello," he said. "It's the Saint."

  He placed the case on the table, opened the padlock, and raised the lid. A gust of stupefaction shook the restaurant. The other customers, the waiters, even the people in the kitchen with their bloodstained aprons, gathered in astonishment to see the miracle. Some crossed themselves. One of the cooks, overcome by a feverish trembling, fell to her knees with clasped hands and prayed in silence.

  And yet when the initial commotion was over, we became involved in a shouting argument about the lack of saintliness in our day. Lakis, of course, was the most radical. The only clear idea at the end of it was that he wanted to make a critical movie about the Saint.

  "I'm sure," he said, "that old Cesare would never let this subject get away."

  He was referring to Cesare Zavattini, who taught us plot development and screenwriting. He was one of the great figures in the history of film, and the only one who maintained a personal relationship with us outside class. He tried to teach us not only the craft but a different way of looking at life. He was a machine for inventing plots. They poured out of him, almost against his will, and with such speed that he always needed someone to help catch them in mid-flight as he thought them up aloud. His enthusiasm would flag only when he had completed them. "Too bad they have to be filmed," he would say. For he thought that on the screen they would lose much of their original magic. He kept his ideas on cards arranged by subject and pinned to the walls, and he had so many they filled an entire room in his house.

  The following Saturday we took Margarito Duarte to see him. Zavattini was so greedy for life that we found him at the door of his house on the Via di Sant'-Angela Merici, burning with interest in the idea we had described to him on the telephone. He did not even greet us with his customary amiability, but led Margarito to a table he had prepared, and opened the case himself. Then something happened that we never could have imagined. Instead of going wild, as we expected, he suffered a kind of mental paralysis.

  "Ammazza!" he whispered in fear.

  He looked at the Saint in silence for two or three minutes, closed the case himself, and without saying a word led Margarito to the door as if he were a child taking his first steps. He said good-bye with a few pats on his shoulder. "Thank you, my son, thank you very much," he said. "And may God be with you in your struggle." When he closed the door he turned toward us and gave his verdict.

  "It's no good for the movies," he said. "Nobody would believ
e it."

  That surprising lesson rode with us on the streetcar we took home. If he said it, it had to be true: The story was no good. Yet Bella Maria met us at the pensione with the urgent message that Zavattini was expecting us that same night, but without Margarito.

  We found the maestro in one of his stellar moments. Lakis had brought along two or three classmates, but he did not even seem to see them when he opened the door.

  "I have it," he shouted. "The picture will be a sensation if Margarito performs a miracle and resurrects the girl."

  "In the picture or in life?" I asked.

  He suppressed his annoyance. "Don't be stupid," he said. But then we saw in his eyes the flash of an irresistible idea. "What if he could resurrect her in real life?" he mused, and added in all seriousness:

  "He ought to try."

  It was no more than a passing temptation, and then he took up the thread again. He began to pace every room, like a happy lunatic, waving his hands and reciting the film in great shouts. We listened to him, dazzled, and it seemed we could see the images, like flocks of phosphorescent birds that he set loose for their mad flight through the house.

  "One night," he said, "after something like twenty popes who refused to receive him have died, Margarito grown old and tired goes into his house, opens the case, caresses the face of the little dead girl, and says with all the tenderness in the world: 'For love of your father, my child, arise and walk.' "

  He looked at all of us and finished with a triumphant gesture:

  "And she does!"

  He was waiting for something from us. But we were so befuddled we could not think of a thing to say. Except Lakis the Greek, who raised his hand, as if he were in school, to ask permission to speak.

  "My problem is that I don't believe it," he said, and to our surprise he was speaking to Zavattini: "Excuse me, Maestro, but I don't believe it."

  Then it was Zavattini's turn to be astonished.

  "And why not?"

  "How do I know?" said Lakis in anguish. "But it's impossible."

  "Ammazza!" the maestro thundered in a voice that must have been heard throughout the entire neighborhood. "That's what I can't stand about Stalinists: They don't believe in reality."

  For the next fifteen years, as he himself told me, Margarito carried the Saint to Castel Gandolfo in the event an opportunity arose for displaying her. At an audience for some two hundred pilgrims from Latin America, he managed to tell his story, amid shoves and pokes, to the benevolent John XXIII. But he could not show him the girl because, as a precaution against assassination attempts, he had been obliged to leave her at the entrance along with the knapsacks of the other pilgrims. The Pope listened with as much attention as he could in the crowd, and gave him an encouraging pat on the cheek.

  "Bravo, figlio mio," he said. "God will reward your perseverance."

  But it was during the fleeting reign of the smiling Albino Luciani that Margarito really felt on the verge of fulfilling his dream. One of the Pope's relatives, impressed by Margarito's story, promised to intervene. No one paid him much attention. But two days later, as they were having lunch at the pensione, someone telephoned with a simple, rapid message for Margarito: He should not leave Rome, because sometime before Thursday he would be summoned to the Vatican for a private audience.

  No one ever found out whether it was a joke. Margarito did not think so and stayed on the alert. He did not leave the house. If he had to go to the bathroom he announced: "I'm going to the bathroom." Bella Maria, still witty in the dawn of her old age, laughed her free woman's laugh.

  "We know, Margarito," she shouted, "just in case the Pope calls."

  Early one morning the following week Margarito almost collapsed when he saw the headline in the newspaper slipped under the door: "Morto il Papa." For a moment he was sustained by the illusion that it was an old paper delivered by mistake, since it was not easy to believe that a pope would die every month. But it was true: The smiling Albino Luciani, elected thirty-three days earlier, had died in his sleep.

  I returned to Rome twenty-two years after I first met Margarito Duarte, and perhaps I would not have thought about him at all if we had not run into each other by accident. I was too depressed by the ruinous weather to think about anybody. An imbecilic drizzle like warm soup never stopped falling, the diamond light of another time had turned muddy, and the places that had once been mine and sustained my memories were strange to me now. The building where the pensione was located had not changed, but nobody knew anything about Bella Maria. No one answered at the six different telephone numbers that the tenor Ribero Silva had sent me over the years. At lunch with new movie people, I evoked the memory of my teacher, and a sudden silence fluttered over the table for a moment until someone dared to say:

  "Zavattini? Mai sentito."

  That was true: No one had heard of him. The trees in the Villa Borghese were disheveled in the rain, the galoppatoio of the sorrowful princesses had been devoured by weeds without flowers, and the beautiful girls of long ago had been replaced by athletic androgynes cross-dressed in flashy clothes. Among all the extinct fauna, the only survivor was the old lion, who suffered from mange and a head cold on his island surrounded by dried waters. No one sang or died of love in the plastic trattorias on the Piazza di Spagna. For the Rome of our memory was by now another ancient Rome within the ancient Rome of the Caesars. Then a voice that might have come from the beyond stopped me cold on a narrow street in Trastevere:

  "Hello, Poet."

  It was he, old and tired. Four popes had died, eternal Rome was showing the first signs of decrepitude, and still he waited. "I've waited so long it can't be much longer now," he told me as he said good-bye after almost four hours of nostalgia. "It may be a matter of months." He shuffled down the middle of the street, wearing the combat boots and faded cap of an old Roman, ignoring the puddles of rain where the light was beginning to decay. Then I had no doubt, if I ever had any at all, that the Saint was Margarito. Without realizing it, by means of his daughter's incorruptible body and while he was still alive, he had spent twenty-two years fighting for the legitimate cause of his own canonization.

  AUGUST 1981

  Sleeping Beauty and the Airplane

  SHE WAS BEAUTIFUL and lithe, with soft skin the color of bread and eyes like green almonds, and she had straight black hair that reached to her shoulders, and an aura of antiquity that could just as well have been Indonesian as Andean. She was dressed with subtle taste: a lynx jacket, a raw silk blouse with very delicate flowers, natural linen trousers, and shoes with a narrow stripe the color of bougainvillea. "This is the most beautiful woman I've ever seen," I thought when I saw her pass by with the stealthy stride of a lioness while I waited in the check-in line at Charles de Gaulle Airport in Paris for the plane to New York. She was a supernatural apparition who existed only for a moment and disappeared into the crowd in the terminal.

  It was nine in the morning. It had been snowing all night, and traffic was heavier than usual in the city streets, and even slower on the highway, where trailer trucks were lined up on the shoulder and automobiles steamed in the snow. Inside the airport terminal, however, it was still spring.

  I stood behind an old Dutch woman who spent almost an hour arguing about the weight of her eleven suitcases. I was beginning to feel bored when I saw the momentary apparition who left me breathless, and so I never knew how the dispute ended. Then the ticket clerk brought me down from the clouds with a reproach for my distraction. By way of an excuse, I asked her if she believed in love at first sight. "Of course," she said. "The other kinds are impossible." She kept her eyes fixed on the computer screen and asked whether I preferred a seat in smoking or nonsmoking.

  "It doesn't matter," I said with intentional malice, "as long as I'm not beside the eleven suitcases."

  She expressed her appreciation with a commercial smile but did not look away from the glowing screen.

  "Choose a number," she told me: "Three, four, or seven."
r />   "Four."

  Her smile flashed in triumph.

  "In the fifteen years I've worked here," she said, "you're the first person who hasn't chosen seven."

  She wrote the seat number on my boarding pass and returned it with the rest of my papers, looking at me for the first time with grape-colored eyes that were a consolation until I could see Beauty again. Only then did she inform me that the airport had just been closed and all flights delayed.

  "For how long?"

  "That's up to God," she said with her smile. "The radio said this morning it would be the biggest snowstorm of the year."

  She was wrong: It was the biggest of the century. But in the first-class waiting room, spring was so real that there were live roses in the vases and even the canned music seemed as sublime and tranquilizing as its creators had intended. All at once it occurred to me that this was a suitable shelter for Beauty, and I looked for her in the other waiting areas, staggered by my own boldness. But most of the people were men from real life who read newspapers in English while their wives thought about someone else as they looked through the panoramic windows at the planes dead in the snow, the glacial factories, the vast fields of Roissy devastated by fierce lions. By noon there was no place to sit, and the heat had become so unbearable that I escaped for a breath of air.

  Outside I saw an overwhelming sight. All kinds of people had crowded into the waiting rooms and were camped in the stifling corridors and even on the stairways, stretched out on the floor with their animals, their children, and their travel gear. Communication with the city had also been interrupted, and the palace of transparent plastic resembled an immense space capsule stranded in the storm. I could not help thinking that Beauty too must be somewhere in the middle of those tamed hordes, and the fantasy inspired me with new courage to wait.