Date post: | 27-Sep-2015 |
Category: |
Documents |
Upload: | pastpresentfuture |
View: | 33 times |
Download: | 11 times |
PEGGYS ROMAN HOLIDAY
Fresh from her holiday on the French Riviera, Peggy
Lane plunges eagerly into a new rolethis time in LAquila,
an Italian film being made in Rome by the celebrated and
unpredictable director, Renato Bellini. What will it be like,
the young actress wonders with some trepidation, working
in a foreign language, not one word of which she knows?
Will the Italian cast like her? Will her work satisfy Bellini?
When Peggy's plane lands at the Rome airport, at least
one of her questions is answered immediately. Bellinis son
Paolo, who has been sent to meet Peggy, takes one look and
declares he is hopelessly in love with her. Before Peggy can
get her breath back after this startling statement, Paolo has
whizzed her across Rome in his high-powered sports car to a
press party being held in the apartment of Iolanda Conti, the
star of LAquila. Here Peggy meets the director and the cast,
including Enzo Moro, Italys No. 1 box office draw; and
here she immediately senses tension and mystery.
By the time LAquila is finished, Peggy has had more
than her share of excitement and drama, both on and off the
screen. And she has learnedthe hard waya priceless
lesson in human understanding.
Peggy Lane Theater Stories
PEGGY FINDS THE THEATER
PEGGY PLAYS OFF-BROADWAY
PEGGY GOES STRAW HAT
PEGGY ON THE ROAD
PEGGY GOES HOLLYWOOD
PEGGYS LONDON DEBUT
PEGGY PLAYS PARIS
PEGGYS ROMAN HOLIDAY
PEGGY LANE THEATER STORIES
Peggys
Roman Holiday
By VIRGINIA HUGHES
Illustrated by SERGIO LEONE
GROSSET & DUNLAP Publishers New York
COPYRIGHT BY GROSSET & DUNLAP, INC. 1965
LIBRARY OF CONGRESS CATALOG CARD NO. 65-21850
PUBLISHED SIMULTANEOUSLY IN CANADA
ALL RIGHTS RESERVED
PRINTED IN THE UNITED STATES OF AMERICA
CONTENTS
1 LEONARDO DA VINCI INTERNATIONAL AIRPORT 1
2 THE ETERNAL CITY 13
3 BOX OFFICE IDOL 26
4 SIGNORA SACCHETTI 50
5 CINECITT! 45
6 LATIN COURTSHIP 57
7 FIRST REHEARSAL 70
8 THE DOUBLE PLOTS THE THING 80
9 FLAUNT THE DEVIL 91
10 INTRUDER ON THE SET 100
11 UNWELCOME ADVICE 109
12 PERSIMMONS, POMEGRANATES, AND A BLOOD
ORANGE 116
13 SICILIAN SECRET 127
14 THE PRIME MINISTER 136
15 MACHIAVELLIAN MACHINATIONS 146
16 ROLES AND THEIR REASONS 153
17 A FINE ITALIAN HAND 162
18 TAKE A TRIP 173
19 MEANS TO AN END 179
20 AND THEY LIVED HAPPILY EVER AFTEROOPS! 189
1
I
Leonardo da Vinci
International Airport
Through the heavy safety glass of the plane window,
the cloudless sky appeared as azure blue as the
Mediterranean Sea below. Peggy Lane suppressed a
shiver of excitement: soon it would be a Roman sky
above her.
Her holiday on the French Riviera, after the
successful performance of the Penthouse Company
in Paris, had been a delightful interlude and the first
real vacation for the young actress since shed left
her home in Rockport, Wisconsin, to begin the
serious pursuit of her career in New York almost
two years ago. Yet, it hadnt been all play and no
work on the Cte dAzure, or Peggy wouldnt be on
her way to Rome.
Remembering, Peggy laughed softly. She was
unaware that her laughter was the perfect
complement to her youthful good looks, which
already were drawing admiring glances from her
fellow passengers. They noted appreciatively the
2
sheen of short chestnut curls, the sparkle in hazel
eyes fringed by thick dark lashes, the radiance of
clear young skin tanned to a pale copper color.
Peggy laughed again, her soft, wide mouth
curving upward. Youll never be blas, Peggy Lane,
she mentally scolded herself. Youre as excited now
as you were the day you left Rockport for New
York. Yet, here you are, practically a veteran of the
international movie set. What would it be likeher
thoughts veered abruptlyworking on a film in a
foreign language? Making a movie was challenge
enough, but to do it in Italian, not one word of which
she knew This time she actually shivered, but in
trepidation. Oh dear. Perhaps it had been a mistake
to accept this part after all. At Madame Rodiers
sun-swept villa, where Peggy had been a house
guest for the past month, everything had seemed
simple. The villa, a summer meeting place for
artists, writers, and political figures, all friends of its
hostess, had for three hectic days in August housed
the brilliant, temperamental Renato Bellini, the
internationally known Italian movie director famed
for his realistic, penetrating studies of the problems
of modern man.
Before his arrival, dinner conversation had
centered more than once around the movie on which
he currently was working. Titled LAquilaThe
Eagleit was reputedly a complete departure from
3
all his past efforts. For the first time, Bellini was
filming a historical drama. His era was the late
eighteenth century and his subject the Napoleonic
campaign in Italy. Not much more was known about
the story, but the international press had speculated
for more than a year about the relationship of this
film to Bellinis past achievements. No one believed
his public statements that it was a quiet film about
a small episode in the history of Italy; they knew
Bellini and his gift for understatement too well.
Besides, no one believed that Enzo Moro, one of
Italys most versatile actors and a top box office
attraction everywhere, would play the lead in an
insignificant film. Finally, the press had predicted
that a new star would be born with the release of
LAquila. Iolanda Conti, the unknown whom Bellini
had chosen to play the lead, hadnt been officially
introduced to the public yet, but stories and pictures
exciting curiosity leaked occasionally. The
consensus was that the movie would be a milestone
in Italian cinema historyeither a colossal success
or a colossal failure.
Peggy hadnt met Bellini the evening he arrived
at Madame Rodiers. She had first seen him the next
morning on the south patio, the spot favored by
Randy Brewster for work. RandyRandolph Clark
Brewsterhad asked Peggy to read one of the parts
in the play Randy was writing. Absorbed in her task,
4
Peggy hadnt heard Bellini approach nor been aware
of his existence until he spoke.
Are you English or American? American, I
think. He had answered his own question. Have
you ever been to Italy? Have you done any film
work?
He had seemed depressed when Peggy confirmed
that she was American, but he brightened when she
said shed never been to Italy, but that she had
played a featured role in Homestead.
Almost in passing, Bellini had offered Peggy a
small part in LAquila, stipulating, however, that
Peggy must learn or memorizehe didnt care
whichsufficient Italian so that she could speak her
lines in the same language as the other actors.
At the time, Peggy had jumped at the chance to
work in an Italian film and especially LAquila, and
at the opportunity to visit Rome without depleting
her already scanty bank account. Both Randy and
May Berriman had encouraged Peggy to take the
part, and Peggy respected their professional advice.
Randy, one of off-Broadways most promising
young playwrights, had authored the play in which
both Peggy and May had acted in Paris. May was
long retired and now owner of the Gramercy Arms,
the theatrical rooming house where Peggy lived in
New York. But May had accepted the Paris
assignment as a favor to Randy when the star of the
5
show became ill. The most gifted actress with whom
Peggy ever had worked, May had scored a personal
triumph in Paris. Peggy, trusting their judgments as
well as her own inclinations, hadnt hesitated to sign
the contract with Bellini. But she was having second
thoughts. What if she couldnt learn Italian? How
difficult would it be to work with actors with whom
she couldnt talk? Would they resent a foreigner?
Stop worrying, Peggy scolded herself. Youre
getting upset over nothing. Its only that youve got
another debarkation ahead of you, and you know
how confusing everything can be for the first few
hours in a new countrycustoms in a foreign
language, getting from the airport into Rome,
finding the Sacchettis. With a sigh, Peggy
remembered her first few hours in Paris, where
everything, literally everything, had gone wrong,
and she had ended in tears.
Well, at least she wouldnt have to go through
that again, she comforted herself. She had a place to
stay. Madame Rodier had arranged that Peggy was
to be a guest of the Sacchettis, Italian friends of
Madame Rodier. And she wouldnt have to cope
with taxi drivers who didnt speak English either,
she thought, remembering the second of the two
telegrams in her handbag. Sent by Bellini, it had
arrived at the Nice airport just as Peggy was
boarding the plane, and it advised her that someone
6
from the Bellini organization would meet her at the
Rome airport.
Peggy opened her handbag and took out the other
telegram. She read it again:
Fall in love with Rome, but not with any
Romans. Enjoy your role of international
movie starlet, but remember youre a
serious actress, and I have the option on
your future. Randy.
Peggy smiled at the last lines, because they were
so typically Randy. As a serious playwright, he felt
little affinity with movies or moviemakers, although,
when cornered in an argument, he would concede
that any number of films had made important
contributions to the dramatic and visual arts. The
last bit about the option on her future puzzled
Peggybut in a pleasing way. There was no
understanding between her and Randy, butwell,
she did like him better than anyone else she knew.
And she had not yet been offered a part in the new
play Randy was writing, although she dutifully had
read lines for him all during her holiday. It was so
like Randy to be cryptic and make the audience
work to understand his meaning.
With a start, Peggy saw that the air hostess was
beckoning to her to fasten her seat belt. Rome!
7
Eagerly, as her fingers mechanically snapped the
belt into position, Peggy peered out the window,
seeking her first glimpse of the Eternal City. Instead,
not far below, she caught the outlines of Leonardo
da Vinci International Airport.
The landing had been smooth, and customs had
been pure pleasure, with what seemed like thirty
attentive young Italian customs officers all assuring
her in perfect English that she neednt bother to
open her suitcases if she had nothing to declare. The
customs officers even had been solicitous about her
transportation into the city, and looked disappointed
when she told them that she was to be met by a
representative of her company.
Peggy paced a step forward, then back, in the
large waiting room. Shed been told that Italian men
were the most attentive and helpful in Europe, but
she hadnt expected anything quite like the scene
shed just been through. She had the definite
impression that any one of the thirtywell, there
really werent thirty, it just seemed like itwould
have been happy to walk out on his job for the
privilege of driving her into Rome. Only that
couldnt be right. It must just be the way they
behaved.
But where was whoever it was who was supposed
to meet her? It was becoming awkward standing in
8
the vast lobby of the international arrivals and
departures building right under the eyes of the
customs officers whom shed just told she was being
met. It would be even more awkward to pick up her
luggage and march off twenty paces, only to wait
again therestill under the eyes of the customs
officers. They were watching her! This was
embarrassing.
Miss Peggy Lane? Intense, dark eyes
scrutinized her face, and for a second, Peggy felt
almost drowned by black liquid velvet. Instinctively,
she moved back.
Dont be startled. Im Paolo Bellini, the speaker
smoothly introduced himself. My father, as a favor,
gave me the pleasure of greeting you. My father, he
commented, frankly sweeping Peggy up and down
with his eyes, has very good taste in actresses, as in
all things. Already, I am in love with you, merely
from his description. Now that I see you, my case is
hopeless.
I beg your pardon, Peggy said, moving back
another step.
You are offended? Paolo said quickly, moving
back a step himself as if to reassure her. I forget
you are American. It is charming, he added hastily,
but it is different from Italian. I am Italian. We say
what we feel, he announced dramatically. You are
beautiful. I feel. So I say it. His eyes again became
9
liquid pools as he looked at her.
Peggy laughed aloud. This tall, slender, finely
bred youth with his expressive eyes and delicately
chiseled featuresstill part boy, not yet a mature
manmust be intentionally caricaturing a Latin
lover to amuse her.
You laugh, he said in a hurt tone. That is not
polite. I declare my love, and you laugh. That is
cruel.
You cant be serious, Peggy pointed out.
Nobody falls in love at first sight. Are you really
Paolo Bellini? Can I believe that part?
You have some experience in this matter of
love? Paolo questioned with animation. This
interests me, he said, taking her arm. Come. I
want to hear of your experience in love. But I warn
you, already I am jealous.
Can we take my suitcases? Peggy said politely.
Mah! Paolo threw up his hands in a gesture of
self-exasperation. You are so lovely, you caused
me to forget the suitcases. With awkward grace,
Paolo collected the luggage.
May I help? asked Peggy. Its a big building
and a long walk.
You like it? It pleases you? he questioned with
the same animated pleasure that he had displayed
earlier about Peggys appearance. It was built by
Amedeo Luccichenti and Vincenzo Monaco, and its
10
been praised in architectural journals all over the
world. The exterior is better than the interior, but
while were here, notice, please, the attention to
detail. Thats very Italian.
It took Peggy a few seconds to realize that Paolo
was discussing the building. Well, she thought, with
wry amusement, here we go again. This time its
architecture. Every European male shed met had
had at least one pet subject on which he virtually
was a walking encyclopedia. With Paolo, it was
architecture.
Let me call your attention to the floor plan,
Paolo continued, and dont fail to observe that
suspended mezzanine. But the facade is better. Its
quite amusing, dont you think, to have such a
modern building almost within sight of the ruins of
Ostia Antica. That was built in the fourth century
before the Christian eraalmost twenty-three
hundred years ago. Ostia Antica is only a few
kilometers away too. But, come, well look at the
facade. Its very masculine, very virile, very Italian.
He spoke eagerly as he strode purposefully toward
the door. Abruptly, he stopped. Patienza! We have
to go to a party. I almost forgot. Father is
introducing Iolanda Conti to the press. We all have
to attend to encourage her. You too, he said.
Sensing Peggys unspoken question, he
explained. Iolanda is the star of LAquila. Shes
11
Fathers new discovery. Shes very young, very
beautiful, and very frightened.
Can she act? Peggy asked with interest.
Paolo smiled. No, he said, but its not
important. No Italian can act. It doesnt matter.
Thats why there is a director.
Why do you say no Italian can act? Peggy was
curious.
What I meanPaolo explained patientlyis
that every Italian is an actor. He acts all day, every
day. His whole life is playing a part, or a series of
parts. Its natural to him. He enjoys it. But since
every Italian is an actor in life, no Italian needs to
act in the drama or the cinema. Consequently, Italy
doesnt produce great dramatic actors. Insteadhe
grinned it produces interesting men.
Peggy couldnt think of any answer, but Paolo
didnt expect one.
Now we have to go to the party. Prego, he said,
stepping back for her to precede him. Its a bore,
but necessary. Father has promised Iolanda. At first,
she refused to meet the journalists and
photographers at all for fear of her boy friend, but
that is impossible for a star. Then Father promised
that everyone would come to encourage her. As a
result, we all must go. Paolo looked resigned and
began walking toward the door, but in a few steps he
cheered up as he had a new thought. We have time
12
to view the facade. I think youll like this facade.
Notice in particular, the use of reinforced concrete,
steel, glass, and . . .
13
II
The Eternal City
Paolo tucked a leopardskin lap robe about Peggy as
she settled herself luxuriously against the white
leather upholstery of the fire-engine red Niobe.
While Paolo dwelt on the fine points of the facade,
Peggy examined the Niobe, reputedly Italys fastest
sports car. Peggy had seen them whizzing along the
Riviera road, but shed never ridden in one.
Its only a short drive, Paolo said, as he slid
under the wheel. I think I have time to show you
something interesting before we arrive at the party.
You like this building? he inquired.
Peggy nodded solemnly. It seemed to satisfy
Paolo, for with a twist of the wrist, he set the car in
motion, and backed it expertly out of the parking
space. Have you a scarf? he inquired. For your
hair? The wind can be quite strong. When Peggy
replied negatively, he reached over to the glove
compartment, opened it, and produced a green-and-
white-patterned square of silk. Instead of handing it
14
to her, he laid it on her hair and began tying it under
her chin as if she were a child. There, he said
cheerfully. That should hold. You have lovely
hair, he added.
You were going to show me something? Peggy
reminded him, not wanting the conversation to
revert to the personal level.
Yes, yes, Paolo said eagerly, gunning the
accelerator. The big sports car responded, and Peggy
had the impression the starting speed of the Niobe
was fifty miles an hour. It wont take long, Paolo
said, his voice almost lost in the wind as the car
rushed down the road. Thats Leonardo, he said,
waving at a statue as they flashed by it.
Leonardo da Vinci? Peggy questioned. She
looked back to catch a glimpse of a monumental
statue.
Its not interesting, Paolo said firmly. Ill
show you something interesting. The car careened
onto the main roadway, and Paolo, rather than
slackening speed, accelerated again, passing two
trucks, veering to his own lane once because of an
oncoming car, then swerving to the left to pass a cart
pulled by a small donkey. To Peggy, the road
appeared too narrow for passing, and Paolos
driving frightened her. She caught only brief views
of the Roman countrysidegentle hills, umbrella
pine trees, olive groves.
15
One minute only, Paolo called. Then we are
on the Via Appia Antica. You know of it? he
inquired hopefully. It is one of the most famous
roads in the world. It was built by the old Romans,
he shouted. It leads to Brindisi and the sea. It was
the route to Greece in the ancient world. It also was
the route of the triumphal returns of the conquering
Roman legions. You like it? He had turned the car.
Were driving on it? Peggy asked, aghast at the
speed, the narrowness of the road, and the proximity
of ancient brick walls to the roadway.
Paolo nodded. Romans build well, he said
proudly. This road has lasted a long time.
Is it the same road? Peggy called. Or a new
one on the old roadway?
Paolo turned to grin at her, not slowing the
automobile at all. In any car but this one, youd feel
it, he advised. Its made of stone, not concrete.
For a second, Peggy thrilled to the thought that
Roman chariots once had raced where they were
driving. Watch the road, she called, clutching the
silk scarf as the wind tried to snatch it from her
head.
You are more interesting, said Paolo, his eyes
on Peggy.
What are we going to look at? Peggy said
desperately.
Oh, Paolo replied excitedly, again turning the
16
car, but this time slowing it a little as if the Niobe,
too, needed a moment to anticipate the forthcoming
pleasure, its quite lovely.
They were driving now in what appeared to be a
suburb, rather than the open country. Tall concrete,
glass, and steel buildings, many of them designed
with balconies, a number fronted by fountains, but
all of them constructed with sleek, modernistic lines
greeted Peggys eyes.
Its E.U.R. said Paolo, as if that were sufficient
explanation. He maneuvered the car through
moderately heavy traffic, swerving once to miss two
pedestrians who were strolling down the middle of
the street, hesitated at a traffic control light, then
raced around a circular turn to stop the car with a
flourish before what looked to Peggy like an
enormous glass bowl.
You like it? Paolo asked nervously. Before
Peggy could reply, he said, as if anticipating
criticism, This one is better on the inside. He
added reverently, It is a masterpiece by Pier Luigi
Nervi.
Peggy threw back her head and laughed. It was
just too incongruous. She had come to Rome,
ancient center of western civilization, one of the
most venerable and hallowed metropolises in the
world, and what had she seen? So far, shed viewed
a sleek jet airport, the worlds fastest sports car, an
17
ultra-modern suburb, and now this gleaming glass
bowl. It was too much!
You dont like it. Paolo was offended.
No, no Peggy tried to protest, but she was
laughing too hard. She could feel the tears running
down her cheeks, but still she couldnt check her
laughter. Biting her lip, she made an effort to control
herself. I like it, she finally was able to murmur,
between subsiding gales of laughter.
What is so amusing? Paolo demanded.
Oh, said Peggy, weakly wiping her eyes, its
only that I was expecting something very oldthe
ruins of the Forum, the Coliseum, even St. Peters,
but not this. Not this at all. Its soso American.
Paolo smiled engagingly. I deliberately took a
longer way here so that you could drive on the Via
Appia Anticafor the contrast. Thats important in
Rome, he instructed. Rome is the past and the
present together, truly an eternal city, always with
its past and always with a future. We didnt have
time to see Ostia Antica, so I wanted you to see the
old Roman road before we looked at this building.
Dont be surprised at modern Rome. America is not
the only country with great architects in the
twentieth century, he said gently.
Are you an architect? Peggy asked. It was her
first chance to voice the question.
A student, said Paolo, at the University of
18
Florence. With hard work, I am an architect. With
good fortune, I am a great onelike Nervi. He
nodded in the direction of the building.
Florence, Peggy repeated, trying to remember
her history. Michelangelo, she said.
He belongs to Rome too, said Paolo. For
Florence, the great architects were Arnolfo di
Cambio, Giotto, Brunelleschi, Alberti, Michelozzo.
But you know these things, he corrected himself.
You are an American girl. You are educated.
Come, Ill take you inside and show you Nervis
beautiful dome.
Suddenly, something clicked in Peggys mind.
She remembered newspaper photographs and
stories. Its the Olympic stadium? Her words were
more statement than question.
Yes, Paolo said happily. You would have
recognized it immediately if youd seen the interior
first. The dome is really beautiful. Its made of
small-scale, lightly reinforced, prefabricated
concrete elementsthats Nervis signature. In one
great leap of one hundred meters, it spans all the
seats! Its truly beautiful. Romans have always built
beautiful domes. Ill show you.
Jetliners, glass bowls, and modern Olympic
games seemed worlds away from the tiny, narrow
stone-paved street where Paolo parked the Niobe,
19
telling Peggy that theyd have to walk the remaining
distance to Iolanda Contis apartment.
Standing beside Paolo, Peggy looked about,
almost not breathing because of the picture postcard
beauty of the scene. The street was only a few
blocks long, and was lined on three sides with
mellow old buildings, ancient walls, and old-
fashioned street lights.
Itsits golden, Peggy exclaimed. All the
houses are golden.
Paolo smiled. Thats a special kind of stucco or
plaster used to surface the outsides of houses. Its
pale yellow when its fresh. Under the sun, it turns
orange. Its very typical of Florencealthough you
see it in Rome too.
Peggy watched the streaks of sunlight on the
golden walls, and Paolo watched Peggy.
The sun on your hair turns it golden too, he said
softly. Red hair. We dont see that often in Italy.
Its chestnut, Peggy protested.
You were going to tell me about love, he said,
once again trying to drown her in his eyes.
We should go to the party.
No. We should speak of love. This moment is
for love. In Italy, we live only for the moment. We
dont worry about the future. Each moment has its
own life, and we do not permit it to escape us. Each
moment is important, and this moment is for love.
20
Your father expects
My father is a man. He will understand. No
Italian gives importance to anything before love. We
live for love and by love. Love is life. Paolos
voice was so soft, so musical that he might have
been reciting lines from poetry.
Desperately, Peggy sought a distraction. What
period is that one? she asked, pointing to a building
on her right.
Paolo examined it. Its an adaptation of
Bramantethe Renaissance. Notice the rhythmic
bays and
Is this a Renaissance section of Rome? Peggy
asked, her eyes wide. In her excitement, she began
to walk away from the car, and Paolo followed her.
Its an old section, but not quite that old, he
told her. Were not far from the Spanish Steps. But
I think we havent time to see them now. Later,
well see everything. Now, were on the Via
Margutta. Its a favorite quarter for painters, poets,
actors. Theyve lived here for several hundred years.
Your poets, Byron and Keats, lived near the Spanish
Steps.
Theyre English, said Peggy.
Paolo ignored her reply. Notice the shops, he
instructed. Theyre small, but elegantand very,
very expensive. Dont spend your money here. If
you want to shop, I can show you good places not so
21
expensive.
Peggy observed the careful fashion in which new
shops had been created in stately old buildings as
well as the exquisite merchandise on display. She
knew she could never afford the period furnishings,
exotic carpets, paintings, objects of art, but she did
enjoy seeing them. They passed a fountain; its two
stone masks, one happy, the other sad, both spouted
water. Peggy commented joyfully, but, for once,
Paolo was at a loss.
Rome has so many fountains that no one could
know the history of each one, he apologized.
They walked a bit farther. Were here, he
announced, stopping in front of a tall stuccoed wall
that enclosed a garden and a three-story house,
which might once have been a palace. He opened
the gate, and Peggy walked ahead of him. The
three-story design is typical of the Renaissance. The
ground floor once was an enclosed arcade
surrounding the interior court, but its been made
into apartments now. Patienza!
Its still lovely, said Peggy.
Not as lovely as you.
The party, Peggy prompted.
What a bore! Perhaps we can leave early. Lets
hope Iolandas boy friend doesnt come.
The dcor of Iolanda Contis apartment was as
unexpected as everything in Rome. Peggy, without
22
really thinking about it, had been prepared for the
aged gentility of the hotel where she had stayed in
Paris or the shabby elegance of the old Gramercy
Park mansions in New York.
Instead, they entered a perfectly cared for formal
hallway with a cool gray-and-white marble floor,
statue busts lining the walls, and ceiling decoration
in a style unfamiliar to Peggy. Seeing her interest in
the frescoes, Paolo volunteered, Style of Pompeii.
Italians have been copying those vines and
grotesques since Pompeii was unearthed.
Its so modern, said Peggy.
Its so old, he replied.
A heavy oak door at the end of the hallway
opened momentarily to discharge a maid in cap and
apron, and Peggy heard the familiar din of a large
party. Paolo heard it too.
Good, he said. Weve missed the press
conference. Theyve finished the questions and the
photographs and are eating.
Leaving their wraps with the maid, the two
walked into an enormous room so crowded with
guests that Peggy could get no exact idea of its size
or appearance. Is it a ballroom? she asked.
Once, Paolo said, smiling at her. Now, its
everything. For dining, for entertaining, for relaxing.
Iolanda, I think, has this whole floor. But the rooms
are large, and there arent manya kitchen, a
23
bedroom and sitting room, a room for the maid.
Apartments in Rome can be quite expensive, he
added. This is a good apartment for Rome.
Its a good apartment for any place, said Peggy.
Stay with me, Paolo ordered, clutching her arm,
as they were swept into the crowd by the movement
of guests toward the door. Well try to find Father
or Iolanda, he explained, as he began elbowing his
way through the throng. With an occasional stop to
exchange greetings, to introduce Peggy, and once to
disengage her jacket sleeve when it became
entangled in a photographers camera, they finally
reached a haven formed by a grouping of sofas.
Ciao, said Paolo. This is Peggy Lane, he
added in English. Several men rose to their feet, but
Peggy didnt see Renato Bellini. Instead, her eyes
fastened on a young girl.
Iolanda Conti was breathtakingly, dazzlingly
beautiful. Never had Peggy been in the presence of
such perfection of physical appearance. Most
beautiful women have a minor flaw or two to
reassure the world that they too are mortals. But not
Iolanda Conti. She easily could have been
sculptured by the hand that created the Medici
Venus, except that she was so patently a creature of
flesh and blood. Her velvet brown eyes might have
been captured by a painter, but had nothing to do
with the marble workers art. And her coloring
24
who would believe it? Those dark eyes, honey and
cream skin, and blondeyes, it was natural!
blonde hair. Iolanda wore a severely tailored pale
beige silk dress. Any adornment, any jewelry, any
makeup would have detracted from her own
exquisite perfection, and she used none.
Gazing at her, Peggy realized she was staring.
Guiltily, she turned away, and saw that she hadnt
been the only person almost mesmerized by
Iolandas beauty. Almost everyone in the immediate
vicinity was either staring at Iolanda or attempting
not to do it. Abruptly, Peggy saw that one pair of
eyes was fastened on her, not Iolanda. She
recognized their owner. Enzo Moro! He, of course,
was the star of LAquila. Tall, muscular, his dark
hair beginning to be tinged with gray, Enzo Moro
was as celebrated for his romantic conquests as for
the acting trophies that he had earned in a series of
daring, brutally honest films, at least one of which
had been banned in Boston. His piercing hazel eyes
seemed to transfix Peggy, while the expression on
his ruggedly handsome face suggested that it was
Peggy who had transfixed him. Confused, Peggy
averted her eyesand discovered that Iolanda Conti
too had observed Enzo Moros interest.
Paolo, oblivious to the triangular exchange,
finished his introduction of Iolanda and Peggy.
Peggy didnt understand Iolandas reply, which
25
was in Italian, but she offered her hand as she
looked hopefully to Paolo for a translation. Iolanda
ignored the outstretched hand, as she spoke again in
perfect, though lightly accented English. You dont
speak Italian? How can you work in an Italian
film?
Im to teach her Italian, Paolo said importantly.
Ill volunteer too, said Enzo.
Iolandes response was to flash Peggy a look that,
if emotions were lethal, would have struck Peggy
dead on the spot.
26
III
Box Office Idol
The uncomfortable silence was broken by the arrival
of a fifth person who gracefully shouldered his way
to the little group, and by his very presence
dominated it. Unlike the other men, who all were
dressed in business suits and ties, the newcomer
wore an open-throat shirt and a cashmere V-neck
sweater. Thin, of medium height, almost ugly,
Director Renato Bellini generated an aura of energy
and authority that had nothing to do with his
appearance or his words. Instead, it came from a
source so deep inside him that its workings were
mysterious and impenetrable. The Siamese cat in his
arms, which even in repose did not conceal a
capacity for lightning movement, might have been
his alter egoor his medium.
Youre here, Peggy, he said, no note of interest
in his tone. His lack of emotion was the perfect
antidote for the personality clash he must have
witnessed. Welcome to Rome, he added without
27
warmth. I think you havent met Poohsey. He
nodded his head, indicating that he was introducing
the cat.
Poohsey gave Peggy one disdainful look, then
yawned leisurely.
Iolanda laughed merrily, a gay tinkling laugh that
infectiously invited company, the laughter of others.
Hes an English cat, she said happily. See how he
behaves. No politeness.
Paolo shot Iolanda a reproving frown, but Peggy,
not accustomed to being mistaken for an English
girl, said innocently, How can he be English? Hes
Siamese.
This cat has a name in English, Enzo explained,
smiling.
Poohseycat, said Renato Bellini, stroking the
Siamese.
Spontaneously, Peggy burst into laughter.
Pussycat, she said, catching onto the Italian
pronunciation of the English word.
Yes, Bellini said blandly, Poohseycat. He
continued to caress his pet.
You introduce the cat, Enzo said sulkily, but
you fail to introduce me. Never mind, Ill introduce
myself. Welcome to Rome, Peggy Lane. He spoke
warmly, offering his hand.
Hello, Peggy said a little shyly, accepting the
outstretched hand, a move that proved to be a
28
29
mistake, as Enzo immediately captured not only her
hand, but most of her arm too.
Im Enzo Moro, he said, looking directly into
her eyes. Weve been awaiting you with a great
deal of interest. Renato has taken more than a year
to find an actress for your part, so we all attend your
coming with great curiosity. I see that he has not
made a mistake.
Youre kind, Peggy said. She was slightly
flustered; she didnt know how to retrieve her hand
without being rude. Youre also modest, she
added, remembering that he had introduced himself
as if she might not recognize him.
At her words, Enzo threw back his head, and his
resonant laughter rang through the room. You are
the first woman who accuses me of modesty, he
told her. It is a great compliment. Most often, they
tell me that I am the prototype for an egotist. I
suspect they are correct, he said with charming
candor, his warm eyes never leaving Peggys, but it
is pleasant to hear that I am modest. Come, he said,
attempting to lead Peggy from the group, you must
be thirsty. Well find something for you to drink.
Paolo seized Peggys other arm, and as Iolanda
frowned and Renato Bellini boredly stroked the cat,
Peggy felt caught in a tug-of-war. Peggy would
prefer something to eat, Paolo told Enzo, as each
man continued to clutch an arm, each urging her to
30
go with him.
Im neither hungry nor thirsty, Peggy lied
politely.
Enzo was first to give way. Anything that
pleases you, he said pleasantly. Roman food, he
told her, will perhaps please you later. You must
give me the chance to introduce you to Roman
cuisine. We could have dinner? he said hopefully.
Yes, perhaps, Peggy said distantly. She felt
Paolos renewed grip on her arm.
Youll be at work in the morning? Renato
Bellini asked as if that had been the subject of the
entire discussion. Poohsey purred in his masters
arms.
Tomorrow? Peggy said dazedly. Shed thought
shed have a day or two to get settled. What time?
Eight oclock is time enough, said Bellini.
Ill drive you, Paolo volunteered.
Enzos protest was interrupted by the senior
Bellinis words. Would you do that, Paolo? Thats
a good son.
Its official, Paolo happily told Peggy. Father
agrees that I am to escort you in Rome.
Peggy barely had time to think that no one had
asked her about her wishes in the matter, because
both Enzo and Iolanda were complaining.
Nobody escorts me to work, Iolanda
murmured.
31
Driving Peggy to work is not the same thing
The remainder of Enzos protest was cut short by a
scuffling commotion at the door to the far end of the
room.
Va via. Va via! Peggy heard the maid calling
fiercely.
Filippo! Iolande shrieked, her hysterical cry
only partly drowned by the noise of the party.
Turning to face her, Peggy saw that the Italian
girls eyes were filled with stark terror.
Immediately, Renato Bellini was beside her,
soothing her. Peggy couldnt understand the Italian
words, but his intention was unmistakable. He had
moved as quickly as a cat to position himself
between the girl and the door.
Peggy looked toward the entry. A passageway
was opening, as the guests, who initially had
crowded toward the shouts, fell back. Peggy was
able to make out that four persons were engaged in
the dispute.
Instead of thethe assassin?for which the
drama had prepared her, Peggy saw a pretty teenage
girl break free of the restraining arm of the maid.
Enzo, she called, rushing toward him waving an
autograph book.
My public, Enzo said with feigned resignation.
Careful. Careful, he added, speaking to Iolanda.
All the journalists are watching. Do you want them
32
to learn about Filippo?
Iolanda struggled for composure. It took only a
few seconds. Before the teenager was halfway
across the room, Iolanda made a gracious gesture of
welcome to her.
Flashbulbs exploded as Enzo, taking his cue from
Iolanda, waved to the partycrashers. He hesitated a
moment, then with a charmingand highly
photogenic bowhe invited Iolanda to join him, As
the two moved forward, Iolanda continued to smile
that radiant, welcoming smile, but Peggy noticed
that each time a flashbulb popped, the Italian girl
almost winced.
Renato Bellini saw the flashbulbs too. The two
stars hadnt taken three steps before the director
interposed himself between them.
Whats happening? Peggy questioned Paolo.
The young girls want Enzo to sign their books,
he said.
Yes, Peggy said impatiently. I mean, what else
is happening?
OhPaolo spoke disinterestedlyits against
Fathers strategy to present Iolanda ashe
hesitated, seeking wordsas under the influence of
Enzo, he finished. Shes too young, too innocent.
Enzo has too much experience. Hes Latin. Hes had
many girl friends. Its good for his reputation to
have another girl friend. It is not good for Iolanda to
33
be this girl friend. My father is presenting her as a
girl very fresh, very young. Enzo ishe snapped
his fingerstoo experienced. Paolo was silent a
moment. Besides, the journalists are going to learn
of the other matter sometime. It cant be concealed
forever. Then it would look very bad for Iolanda.
She would cut a brutta figura. To abandon love for
art is one thing. To abandon a fianc for another
man! That could look terrible!
What are you talking about? Peggy demanded.
I dont understand anything. As she spoke, she
looked directly at Paolo and saw that he was
watching her with the indulgent amusement of an
adult trying to teach a small child how to do
something simplelike tie a shoelace.
What you need to understand, Paolo said in a
paternal tone, is that Enzo is not good for young
girls. This is the lesson you must take from this
afternoons small drama. He is dangerous. Very
dangerous. Especially for inexperienced young girls.
And I think, Peggy Lane, that you are not
experienced. You speak as if you had had
experience with love, but I think it is only talk, and
that you understand nothing. Never mind, he said
comfortingly, Ill teach you.
Speechless, Peggy looked blankly at Paolo. It was
a mistake. His dark eyes once more were limpid
pools, enveloping her.
34
IV
Signora Sacchetti
The drive through Romes evening rush hour traffic
struck Peggy as one more sequence in a surrealistic
nightmare. In this episode, the popping flashbulbs of
the cameras were replaced by glaring headlights,
and the surge and flow of party guests by the rush
and charge of thousands of small cars jockeying for
position in overcrowded, too narrow streets. Peggy
saw three minor accidents and a dozen loud vocal
exchanges between drivers, or drivers and
pedestrians, before Paolo shot the Niobe across the
Ponte Victor Emmanuel II and into the relatively
quieter Trastevere section of Rome.
Outlined in the distance was the dome of St.
Peters Cathedral. Peggy felt a thrill seeing it, just as
she had been thrilled at the idea that she, Peggy
Lane, was crossing the Tiber, but she was too tired
to capitalize on opportunity. Declining Paolos offer
of a sightseeing tour, she asked to be taken directly
to the Sacchetti home.
35
Sometime when theres less traffic? Paolo
suggested.
Peggy assented gratefully.
Do you trust my driving? he asked. The
question came at the very moment that he
jackrabbited the Niobe away from a stop light.
Peggy shook her head. No, she declared.
Paolo laughed. You are an honest girl, he
commented. Really, its quite safe. However, he
didnt seem displeased that Peggy had found the
drive exciting.
What is the name of the family where you are
staying? Father told me, when he gave me the
address, but in the noise . . .
Sacchetti.
Paolo whistled, then huddled over the wheel.
Signora Sacchetti, he murmured. Shes
formidable. How do you know her?
I dont, said Peggy. But I take it that you do,
she added uneasily.
Paolo straightened in his seat. All Rome knows
the signora, he advised. You know the family?
One of the daughters?
No, said Peggy. I dont know any of them, or
anything about them. I take it from what you say
that I should, but I dont. Madame Rodiershes a
friend in Franceasked Signora Sacchetti toto
extend her hospitality. Look after me, I guess is
36
what I mean.
Mamma mia! Paolo exploded. I dont envy
you. Then, as if remembering he already had
declared a romantic interest in Peggy, he added,
Its good. The signora will guard you like a dragon.
Youll be well protected.
Protected? echoed Peggy.
She is formidable, Paolo repeated. Im glad
you warned me before we arrived, so that I have
time to prepare myself to appear as a serious young
person.
What is she like? Peggy asked, her own
curiosity about her hostess aroused for the first time.
Paolo searched for words. Shes a Roman
matron, he said. If you knew Italy, youd know
what that means. Since you dont, Ill try to think of
a way to tell you. He stopped. She has a fine
hand, he said at last.
What is that? Peggy demanded.
Oh, my poor innocent. Paolo almost moaned.
You dont know anything. How can I explain the
meaning of a fine Italian hand? Ah! The affair of the
marriage.
Marriage?
Its simple, said Paolo. Signora Sacchetti has
four daughtersonly one of them pretty, the other
three ugly. Everyone pitied her because this is a real
problemexcept they didnt pity too much, because
37
she is Signora Sacchetti, and they know her.
Everyone is right, he added. The daughters are all
married, and married very well. For the second girl,
the truly ugly one, it was a little difficult. But
Signora Sacchetti arranged everything. The girls
husband is a Milan manufacturervery rich.
Originally, he wanted to marry a girl from a
significant familylike the Sacchettis. But Signora
Sacchetti never would permit one of her daughters
to be married only for the family connection. That
would be too crude, too lacking in finesse. Paolo
stopped speaking to gesture at the driver of an
automobile which had come perilously close to the
Niobe. He did it as a matter of habit, not because it
interested him at the moment.
Go on, Peggy urged.
Well, the twothe girl and the boydeveloped
affection for one another. But since the boy was
from Milan and in manufacturing, Signora Sacchetti
pretended to oppose the match. Romans are quite
proud, Paolo said. The boy was afraid he was
going to lose the girl, for whom he now felt a great
deal of emotion, although she is quite ugly. Perhaps
he loves her because she is ugly, and no one else
cared for her, who knows? Anyway, he realized
Signora Sacchetti was a formidable obstacle. There
seemed to be only one way to counter her
oppositionto produce creditable ancestors as proof
38
that he was not marrying the girl for her family
connection, which, of course, was his initial interest
in the girl. He had his family genealogy examined
and Mamma mia!his family originally came from
Verona, and he can claim ancestry with the House of
Cantonithe Princes of Cantoni. The descent is a
little vague, but quite good enough for everyone to
say that the girl made a fine catch because of the
boys family connection. That is much better for the
girl and for Signora Sacchetti than if everyone says
the girl made a good catch because of the boys
money. In the endPaolo spoke cheerfullythe
boy and the girl married for love. Signora Sacchetti
assured that by opposing the match. But the gossips,
who are cynics and never believe in love if social or
financial interests are involved, credit Signora
Sacchetti with marrying an ugly daughter into a rich
and significant family, in short, a triumph for
Signora Sacchetti. The signora, of course, assured
her daughters happiness by being certain that the
boy loved the girl. That is the fine Italian hand, said
Paolo.
Do people still arrange marriages in Italy?
Peggy asked wonderingly.
This time Paolo did laugh at her. Call it what
you like, he said. The girl and the boy think they
arranged everything, and believe they were very
clever in outwitting Signora Sacchetti.
39
Peggy, who had been engrossed in Paolos tale,
once more gave her attention to Rome as the Niobe
approached the slopes of a forested hill, Monte
Mario. Tall umbrella pines were silhouetted against
an amber and gray sky, gnarled cypresses stretched
their fingers toward the vanishing light, a young
couple, hand in hand, strolled silently.
Paolo turned the car, and drove it through an
opened gateway onto a short private road. Its nice
here, he said. You are a fortunate girl, except for
Signora Sacchetti. But I shouldnt prejudice you.
Looking back, Peggy saw that the gateway was
supported by a high brick wall, which, behind a
screen of trees, extended roughly parallel with the
roadway. As the car made a final curving turn,
Peggy saw the house. It looked like a Renaissance
palace! Before she could observe details, Paolo
began an architects critique.
Modern, but style of the Late Renaissance.
Notice, theres an extra floorcalled an attic. That
open arcade to the front is definitely Late
Renaissance. Earlier, the colonnades were used only
in the enclosed interior courts. This is an adaptation,
but quite well done, although I dont approve, he
said severely. Each age should find its own
expression in a suitable style and not slavishly copy
the past.
What is it made of? Peggy asked, eyeing the
40
huge building blocks, each of which swelled toward
its center.
You have a good eye, Paolo approved. Thats
Florentine embossed stone. The rough appearance is
called rustication. Sometime, Ill show you the
Medici Palace in Florence. Its like thisbut old.
He parked the car, and turned to her. I shouldnt
look at houses, because I forget to look at you.
Signora Sacchetti will be expecting Peggy
began.
At the mention of that name, Paolo sat bolt
upright. Ill take you to her, he said quickly.
Minutes later, when Peggy actually met her
hostess, Signora Sacchetti didnt impress her as at
all formidable. Slender, almost fragile, she had
classic features, the fine dark eyes Peggy had
anticipated, and in addition, a delicacy of manner
and movement that made Peggy feel awkward. She
must have been a beautiful girl, Peggy thought, then
instantly reversed her decision: Signora Sacchetti
probably never had been so attractive as now when
she gave the appearance of having been a great
beauty in her youth.
She received them informally in the little garden
created in the enclosed court, and like all the Italians
Peggy had met so far, the signora spoke English,
greeting Peggy pleasantly, then turning almost
fiercely, if such a gentle appearing creature could be
41
fierce, to Paolo. Hastily, he introduced himself,
giving a concise and complete account of the
afternoons activities, beginning with his fathers
orders to meet Peggy at the airport. Signora
Sacchetti watched him closely.
Miss Lane, as my guest, is under my protection.
Im certain you have been helpful. Her tone,
however, belied her words, and almost accused
Paolo of misconduct.
With the signoras permission, Paolo said
politely, my father has instructed me to take Miss
Lane to Cinecitt in the morning. I also, he added,
and the addition took some courage under the
circumstances, am to have the responsibility of
instructing Miss Lane in Italian.
Your father should have consulted me about
this, the signora said sharply.
I assure you, Signora, Paolo said quickly, I am
a serious person.
The words apparently had a special meaning for
the signora, because her tone softened as she replied:
In that case, you have my permission to call for
Miss Lane in the morning. But only for Cinecitt,
she warned.
Thank you, murmured Paolo, and with a brief
farewell to the two of them, he withdrew.
He is a nice boy, the signora said
conversationally. She took Peggys arm as if she and
42
Peggy were old, dear friends.
He is nice, Peggy agreed warmly.
At that, the signora looked mournful. Already he
impresses you, she murmured. It is as I feared.
Renato Bellini should have consulted me about these
arrangements. Let me caution you, dear Peggy, that
Renato Bellini is a Bohemian. The family is good
very good. But Renato Bellini is a Bohemian. I do
not know how he has reared the boy. Paolo as yet
has no reputation. But it was quite irresponsible of
Renato Bellini to permit Paolo to meet you at the
airport without my permission. I fear the boy is a
Bohemian too. Let me caution you to be careful.
She spoke as an affectionate older woman advising a
younger, less experienced girl, a role that neatly
fitted the situationexcept that Peggy had met her
only minutes earlier.
Possibly because of Paolos story, Peggy resented
the assumed intimacy. She groped for a reply.
Strange, she said, earlier, Paolo warned me to be
careful of Enzo Moro. Do all Italians mistrust one
another? Instantly, she regretted her words. They
sounded so ungracious, so rude, in this gentle garden
to this aristocratic woman, who, after all, had only
offered friendship. Peggy felt ashamed. If she
werent so tired, shed never have said anything
sodirect.
Signora Sacchetti studied her, betraying no
43
emotion. Peggy, she said, you are an American,
and you are very candid. I am told that Americans
are candid. I will be candid too.
Despite her words, Peggy sensed that Signora
Sacchetti wasnt preparing to be candid, that she,
indeed, wasnt capable of candor, but instead, had
decided to adopt another role.
You are an actress, said the signora, her tone
implying that the occupation suggested many things,
and Madame Rodier has sent you to me. In Rome,
an actress, with discretion, can become anything.
She can aspire to anything. Once even, an actress
was Empress of Rome. Oh, yesshe nodded
sagelythe Empress Theodora. The Emperor
Justinian saw her, loved her, and married her!
Signora Sacchettis gesticulating fingers reached a
crescendo at the word married. Dramatically, she
paused. We will be very good friends now that we
have had this little talk and understand one another.
It is refreshing to be candid, she said pleasantly.
Peggy knew that she was dismissed. Speechless,
she permitted herself to be led toward the house by a
maid. In her own way, Signora Sacchetti had been
candid. It was quite clear that the Roman matron
thought Peggy had been sent to use the signoras
good offices in contracting a brilliant marriage.
Recalling Paolos description of the method by
which Signora Sacchetti had maneuvered her own
44
daughter into falling in love, Peggy felt a chill of
apprehension.
45
V
Cinecitt!
An unfamiliar bird was singing outside Peggys
window when she awoke the next morning. Was it a
nightingale? Shed never heard one before. Jumping
from the big, canopied bed, she hastened to the
window. Sunlight almost blinded her as she flung
open the shutter, and for a second the bird stopped
singing. Even when it resumed, Peggy couldnt spot
it in the trees, but her disappointment was short-
lived because of the vista before her. A parterre
garden, its geometric designs formed by
immaculately clipped flowers and shrubs, was
spread out on the adjacent hillside. She hadnt
expected anything like this in such a big city as
Romebut then Rome was the unexpected.
Peggys feet were chilly. A marble floor can be
just plain cold. Her mental debate over whether or
not to get her slippers was resolved in favor of
climbing back into bed. From this sanctuary, Peggy
surveyed her room. The white of the marble floor
46
was repeated in the white plaster walls and in the
white drapery of the beds canopy. Gothic
furniturea wardrobe, a writing table, a chest
sparsely furnished the room. Peggy admired the
modernistic effect created by the massive, ivory-
inlaid, black-finish pieces against the white setting.
Three splashes of dark green, the velvet upholstery
of her easy chairs, furnished a bright note beside the
big Roman-arch windows.
It looks like a movie set, Peggy decided. Youre
really acting in a movie all the time youve been in
Rome, and you just didnt know it. Where else but
in a movie would anyone assemble the cast of
characters shed met: Paolo Bellini, Enzo Moro,
Renato Bellini, Iolanda Conti, Signora Sacchetti. No
one in Rockport, Wisconsin, would ever believe that
they existed in real lifethat is, as part of a
Rockportites or Peggys life.
Paolo? He was interesting; there was no denying
that, but But Peggy didnt know how to evaluate
him, because a boy who declared he was in love at
first sight was outside her experience. Iolanda? Was
she real? Was that terror Peggy had seen in her eyes
real, or just another scene for the cameras? Renato
Bellini took it seriously; hed moved instantly to
shield her fromfrom what? Why was she
frightened? Come to think of it, why was a young
girl like Iolanda living alone in that enormous
47
apartment? Didnt she have any family or friends?
Enzo Moro? Enzo, at least, seemed real, not that
Peggy had encountered anyone like him in the past.
But shed read enough about him and his romantic
exploits, which were always in the headlines, to be
able to accept that he existed. The problem with
newspaper stories was that though they warned you
of his character, they didnt provide any resistance
against the charm of his physical presence. Paolo
said he was dangerous. Peggy believed it. Dont go
developing a taste for dangerous males at this stage
of the game, she instructed herself. Still, she wasnt
sorry that shed be working with him.
Work! She hadnt given a thought to her part
since shed arrived in Rome. She didnt know what
shed be expected to do, or when, or even the name
of the character shed be portraying. An English
ingnue in a film about the Napoleonic wars was all
Renato Bellini had told her. That wasnt much to go
on. Well, today shed find out everything. What
would work with that collection of personalities be
like? Not easy, Peggy knew.
And living with Signora Sacchetti? Peggy frankly
admitted that the signora intimidated her. Peggy had
gone down to dinner last evening determined to find
a way to clarify her position, but the presence of
Signore Sacchetti and of Elisa, who was the
signoras personal secretary, along with Signora
48
Sacchettis own skill in editing the subjects for table
conversation had made any personal statement on
Peggys part impossible.
Peggy shook her head. What a day it had been!
And today, her first day at Cinecitt, Italys
counterpart to Hollywood, loomed before her. She
checked her watch. Shed better get dressed. The
maid would be bringing her breakfast any minute
now, and Paolo was due to call for her in less than
an hour.
Signora Sacchettis talk with Paolo had had a
salutary effect. Throughout the long drive, he
confined his conversation to the sights of Rome,
although at each intersection where he had to stop
the Niobe, he did stare long and deeply into Peggys
eyes. Peggy would have liked to question him about
the drama at Iolandas party, but stung by his
remarks that she knew nothing about life, she held
her tongue. She tried once or twice to sound him out
about the film, but he either had no information or
else was too absorbed in his favorite topic,
architecture, to discuss the movie.
Were here, he said, pointing diagonally.
Cinecitt!
Peggy stood up in the car. Cinecitt! Shed heard
about it for ages. In Hollywood, film colony
veterans loved to drop names of places theyd
49
worked around the world. Cinecitt, implying as it
did that one had made an Italian film, was a prize
name to slip into the conversation. Now Peggy
would work here. She strained for a better look.
High walls, stuccoed in sepia with cream trim,
surrounded the enormous enclosure, which Peggy
could see, even from the highway, was composed of
dozens of one-, two-, and three-story bungalows.
They were all built in a modern adaptation of the
ancient style with Roman-arch openings, balanced
facades, and smooth stucco finish on exterior walls.
Who owns Cinecitt? Peggy asked, as Paolo
swung the car into the guarded entryway, spoke to
one of the attendants, and began driving down the
private road.
The Italian government, he replied. The
government leases the production facilitiessound
stages, projection rooms, all the equipmentto
private producers.
The government!
Paolo smiled. The government doesnt have any
voice in selecting the manuscripts, or in actually
making the films. Thats all done by private
companies.
How does it work? Peggy asked.
About like in America, I think, with the
exception of leasing the production facilities from
the government rather than owning them yourself or
50
leasing them from another private company. In Italy,
the producer decides he wants to film a script, so he
employs the people he needs, including a production
manager and an architect. The production manager
decides on the number of sound stages needed, the
architect does the stage designs. Then the producer
brings this information to the general director of
Cinecitt, who quotes a price for the facilities. The
producer signs a contract, and thats it. Only since
the contract specifies the number of days the sound
stages have been leased, Italian directors do work on
fairly tight schedules.
Peggy laughed. Implying that American
directors dont. Thats not true. Only sometimes,
they go over the schedules.
Paolo smiled at her. It happens in Italy too, he
agreed. Only not with Father. Besides, at this time
of year, if a director goes over, hes in danger of
losing his sound stages. Early fall is the busiest
season here. Italian film makers like to shoot
outdoorsto have the natural light, and the
authentic backgrounds of Italy. The lights best in
summerso by fall, everyone is rushing to finish
his film and shooting the last scenes indoors on the
sound stages.
Peggy listened with interest. Who employs the
technical crews? she asked.
The producer, replied Paolo. Actors, makeup
51
men, lightmen, cameramen, they all work for the
producer.
It seems odd to me, Peggy admitted. I mean
the idea of the government owning a movie studio.
Paolo expertly swung the Niobe between two
elephants and an actor costumed as a clown. Down
the road, Peggy spotted a big circus tent, and across
from it, a Greek temple. Outdoor sound stages, she
mentally identified them, feeling right at home.
Paolo, however, continued to speak of Cinecitt:
Its not a new idea. As far back as the days of the
Roman Republic, the government owned the
production facilitiesthe theaters. Romes greatest
ancient playwrightsPlautus, Terence, Seneca
were all produced under government auspices, as
part of religious festivals at that.
I know, said Peggy, who had studied about the
old Roman dramas in her theater history course at
New York Drama Academy.
Did you know that you owe your career to
Rome? Paolo asked mischievously.
How do you mean? Peggy demanded.
Women werent allowed on the Greek stage
where drama originated. Men took their roles. As a
matter of fact, there were no actresses in ancient
Romes legitimate theaters either, only actors. But
the earliest record of actresses does come from the
old Roman erafrom the mime troupes of strolling
52
players. The female roles were played by women
the first known time.
If I ever knew that, Peggy said, Id forgotten
it. Thanks for reminding me. Its one more reason to
love Rome.
Do you love Rome? Paolo demanded, parking
the car adjacent to one of the sepia-colored
bungalows.
I know Im going to, said Peggy.
And Romans? Paolo begged.
Suddenly, remembering the wording of Randys
telegram, Peggy no longer was amused by what she
had decided was Paolos role. A combination of the
roles of Paolo and Signora Sacchetti spelled trouble.
Peggy would have enough problems just doing her
job well; she didnt need any personal complications
in her life. Tell me about the buildings at
Cinecitt, she said.
Paolo accepted the rebuff well. What do you
want to know?
I dont know, said Peggy. It reminds me of
Hollywood. I knowjust by lookingthat that
building is a sound stage, and the one over there is
an even larger one, and that far one is a giant-size
one.
You are exactly right, Paolo replied. Would
you like to drive around before we go in?
Do we have time?
53
No, he admitted, but we can do it anyway.
Fathers not here today.
What an attitude! Peggy reproved.
Its Italian, Paolo told her cheerfully.
Where am I supposed to be? Peggy asked.
You go to makeup first, said Paolo. Luigi
wants to fit your wig, and decide on facial makeup.
Then, I think you have costume fittings.
Okay, lets go to makeup.
Were here, said Paolo. The dressing rooms
are in the same building as this sound stage.
And makeup? Peggy asked.
Right here with you, said Paolo.
Wardrobe? said Peggy, already knowing the
answer.
Yes. Theyll bring your costumes to your
dressing room. Fathers already ordered everything.
I think Im going to like working in Italy,
Peggy observed.
Truly? Paolo demanded eagerly, seizing her
hand. I want you to be happy in Italy.
Ill be happy as soon as Im certain I can do my
part well, she said gently, withdrawing her hand.
Dont worry, Paolo assured her. Father will
see to that. Its nothing for you to concern yourself
about. Ill begin teaching you your lines this
afternoon, and Father will tell you how to speak
them before he starts filming. Theres nothing to it.
54
Ive made a movie, Peggy said. Its a bit more
challenging than you make it sound.
You havent made a movie with Father. Paolo
spoke with finality. You have nothing to worry
about.
Youre going to teach me my lines? Peggy
asked, the import of his words just then registering
with her.
When makeup and wardrobe are through. That
shouldnt take too long. Then we can have the rest
of the day to work on Italian.
You must know about my part, Peggy said
happily.
Paolo shook his head. I only have the lines for
the scenes scheduled for tomorrow. Father said there
was no reason to confuse you with a script you cant
read.
Look, Paolo, Peggy said slowly, I dont like to
complain, but I dont like that. I know from working
in Hollywood that movie scripts are less detailed
than stage scripts. But at least in Hollywood, I did
have an entire script. That was difficult enough to
work from. How can I work with lines for only a
few scenes? I wont know how the scenes fit into the
overall story. Its impossible.
Thats not anything for you to worry about,
Paolo said reassuringly. Father will tell you what to
do.
55
Peggy shook her head. I cant work that way.
Paolo looked perplexed. When he spoke, there
was a note of pleading in his voice. I dont want
you to be unhappy, but I cant think what to tell you
for today, because Fathers not here. Theyve been
filming on location near Turin for months, and
shooting isnt scheduled to begin here until
tomorrow. For today, just to please me, promise you
wont worry. Everything will work out tomorrow.
Youll see.
Somehow, although Peggy believed she was
right, she promised.
Paolo flashed her a happy smile.
One more question, said Peggy.
What now? he asked indulgently.
You said theyve been on location. How much
of the story is already filmed?
Its almost finished.
Almost finished! Peggy had known that she had
a small part, but she hadnt realized it was that
insignificant.
Paolo didnt understand her protest. Yes, he
said, Father was becoming desperate about your
part when he found you last month. Youll be
working every minute.
Their conversation was interrupted by a loud
voice, speaking in anger. Looking toward the sound,
Peggy spotted Iolanda Conti hastily closing the door
56
of her car, as a dark-haired, stockily built youth
rushed toward her waving a newspaper. It was his
voice that had carried across the parking lot. Iolanda
moved as if to dart back into the automobile, then
thought better of it, and began to run toward the
bungalow. In a few steps, the youth, now shouting
wildly, caught up with her, clutched her arm, and
began shaking the newspaper at her.
Iolanda, struggling to free herself, cried out.
Three well-dressed men stood near her car, but
not one made a move to help her.
O-o-o-h! Iolanda cried out in pain as the
waving newspaper struck her across the face.
Momentarily the youth stepped back, releasing his
hold on her arm. Seizing her chance, Iolanda fled,
reaching the safety of the bungalow, where she
slammed the door behind her.
57
VI
Latin Courtship
It was past one oclock when Peggy, her head
aching from the unaccustomed weight of the ornate
wig that she had worn all through her costume
fitting, returned to her dressing room after a final
session with Luigi, the makeup artist who would be
in charge of her appearance for LAquila. Small,
quiet, intense, Luigi had worked with a deft touch.
Peggy, who at first had watched him with a critical
professional eye, had relaxed, then forced herself
back to attention to learn what she could from his
special genius in applying eye makeup. Now, the
wig was back in Luigis custody, and her first
costume, a gorgeous creation in yards of green satin
and cream lace, was in the hands of the
seamstresses.
Oh! she exclaimed, as she opened the door to
her dressing room. Hello, Elisa, she said. Peggy
hadnt expected to see Signora Sacchettis plump,
fortyish, social secretary at Cinecitt.
58
Ciao, Peggy, said Elisa. Signora Sacchetti
sent me to see if there is anything you want. Elisas
dark eyes twinkled as she spoke, their amusement
belying her words.
Still, Peggy didnt know why she had come.
That was kind of the signora, she said, but unless
you can conjure up a dinner, theres nothing I want.
Paolo has gone to arrange for lunch, said Elisa.
Ill sit with you while you eat and during your
Italian lesson. From a huge raffia bag, she
produced yarn, knitting needles, and the first portion
of what looked to be the back of a sweater.
Its really not necessary, said Peggy, perplexed.
Signora Sacchetti thought it would be best,
Elisa said comfortably, her knitting needles
beginning to click.
Still puzzled, but too tired to think about it
further, Peggy sank into an easy chair and kicked off
her shoes.
The clicking stopped, then resumed. Ill help
you with your shoes before Paolo returns.
What! Peggy exclaimed.
Ill help you with your shoes before Paolo
returns.
Oh, thank you, said Peggy, bending down to
replace the offending objects on her feet. Through
her fatigue, she stifled a laugh. That was the
explanation! Elisa had been dispatched by the
59
signora to serve as a chaperon. Signora Sacchetti,
with an unerring sixth sense, had known that Peggy
would be occupied and surrounded by people during
the morning, but that she and Paolo were to work
alone during the afternoon. It was amusing. Peggy
knew she ought to resent the signoras interference,
but in one way, she was grateful. Paolo and his role
could be a bit difficult.
There was a knock on the door, and at Elisas
command, it opened to admit Paolo, who was
followed by a white-jacketed waiter carrying a tray.
Giving Peggy a bright smile, Paolo took charge of
the serving of lunch, instructing the waiter to place
the tray on a collapsible serving surface attached to
the side of Peggys chair. He appropriated a similar
chair for himself.
Were having American lunch, Paolo
announced. Roast beef, green salad, potatoes, one
other vegetableI chose eggplant, I hope you like
itand ice cream. Very light. Very American. Is it
satisfactory? he asked eagerly. Im having the
same, he confided, as the waiter disappeared.
Peggy smiled, suppressing a laugh that she knew
would offend Paolo. On her tray was at least half a
pound of rare roast beef, a mountain of delicately
diced hashed brown potatoes, a hot dish composed
of baked spinach and several other leafy
vegetablesbut still called a salad by Paolo
60
eggplant marvelously smothered in cheese and
tomato sauce, and a compote of ice cream. The idea
that this was a light lunch struck Peggy as ludicrous.
It was more like a banquet. Where did you learn
about Americans? she asked.
Paolo shrugged. Americans travel a great deal,
he said. They come to Italyto Rome, all the time.
Then, Italians travel a great deal too. Were a nation
of travelers. Youve heard of the Italians, Marco
Polo and Christopher Columbus? he teased.
Today, Italians still go to America, and when they
come home, they tell what theyve seen. The
American wish for a light lunch is well known in
Italy. We dont agree. Lunch is for eating. But
today, I take a light lunch with you.
What would plain lunch be? Peggy asked.
Italian lunch?
Peggy nodded.
Pasta, he said. Always pasta. At night, we
dont take pasta. At night, its always minestra
soup. But, for lunch, you begin with pasta
spaghetti, noodles, macaroni, rice, whatever you
like. Except, if you are having complete lunch, you
begin with antipasti. The antipasti, the pasta, then
the meat, the vegetables, the saladhe ticked the
courses off on his fingersthen after the salad,
perhaps a dolcea dessert, you call itthen fruit.
Thats lunch.
61
Youre certain you wont be hungry with light
lunch? Peggy asked mischievously.
No, Paolo assured her. Besides, he added in a
spirit of mischief himself, I prepared myself today
by taking an American breakfast!
Peggy smothered her laughter. Did it seem
completely barbaric to you? she asked. Having
spent the summer in France, she knew that Latins
shudder at the thought of eating anything but coffee
and rolls early in the morning.
Does Italian lunch sound barbaric to you?
Paolo countered.
What did you have for breakfast? Peggy asked.
Eggs, said Paolo. Then ham. The cook was
annoyed. She had planned the ham for the antipasti
at lunch. But I took it for breakfast. Then orange
juice and toast with butter, he said triumphantly. I
took coffee and rolls too, he admitted. I think its
permitted to have coffee and rolls at an American
breakfast if you take the eggs, ham, orange juice,
and toast too.
Peggy was frankly laughing now, and Paolo
joined her. Where did you learn English? Peggy
asked. You speak it so well. Almost everyone
does, she added thoughtfully.
In school, Paolo answered. We all study either
French or English in school. Were preparing to be
good travelers, he said, laughing. Then, I practice
62
English conversation with Americans whenever I
can. But I need to go to America to speak really
well.
The waiter returned with a second tray, and
Peggy looked inquiring at Paolo as the waiter served
him.
I took lunch early with the signora, Elisa
assured Peggy. The waiter, having deposited cups,
saucers, and spoons for coffee, which Paolo would
pour later, left. Elisa continued to knit.
Peggy took her first bite of the roast beef,
pronounced it excellent, then, as if revived by the
meat, remembered that she wanted to ask Paolo
about the scene theyd witnessed that morning. The
arrival of the wardrobe mistress and her attendants
had cut short Peggys earlier questions. Peggy eyed
Elisa uneasily but decided her curiosity was stronger
than her fear of what Elisa might report to Signora
Sacchetti.
Paolo, she said tentatively, deliberately eating
to give her question less importance, who was that
man with Iolanda this morning? The one who
frightened her?
Filippo Carlaccini, said Paolo, busily cutting
his beef. When we saw them, I was certain it must
be he. I ask, and, yes, it was.
Filippo! The name Iolanda had cried out at the
party. Who was Filippo? Peggy voiced the question.
63
Her boy friend, Paolo said nonchalantly. He
nibbled his salad, and made a face.
Her boy friend! Shes scared to death of him,
Peggy protested.
Paolo shrugged. She has reason to be.
In the silence, Peggy could hear the click, click,
click of Elisas knitting needles. Finally, Peggy
spoke. I know I keep saying this, but I really dont
understand. If hes her boy friend, why is she so
frightened of him, and why did he behave so badly?
And why didnt anybody help her?
Nobody likes to interfere in a matter of that
sort, Paolo said.
What kind of a matter is it? Peggy demanded,
thoroughly exasperated.
Her tone alerted Paolo, who for the first time
gave his whole-hearted attention to Peggy rather
than his lunch. He studied her gravely, trying to
puzzle out what it was that was unclear to her in his
explanation.
Why is she so frightened? Peggy repeated.
Because hes her boy friend, Paolo said
helplessly.
Paolo, Peggy said carefully, food customs
differ in different countries. Weve been discussing
it. I think other customs do too. In America, no girl
has a boy friend she doesnt want to see, and who
shouts, and frightens her.
64
Possibly in America, these things are better
arranged.
Peggy shook her head. I dont understand, she
repeated. If she doesnt want to see him, why
doesnt she just tell him to leave her alone.
Hes her boy friend, Paolo said again. Theyre
engaged.
Engaged!
Yes. To be married. Only Iolanda doesnt want
to marry him.
It was the first clue that Paolo had given her that
made any sense at all, and it didnt make complete
sense. If she doesnt want to marry him, why
doesnt she just tell him and break the engagement?
Paolo looked at her wonderingly. These things
are arranged so easily in America? he asked.
It is not so different in America, Elisa,
surprisingly, entered the conversation for the first
time. I spent two years in America, with the family
of my brotherin New Jersey. Many things are
different in America. But I think that in America an
engagement cannot be broken without a scandal. I
recall one girl in New Jerseyan American girl.
Her fianc decided at the last minutethey were
almost at the altarthat he didnt wish to marry. It
was a big scandal. Everyone talked of it. The family
sent the girl on a tripto Europe. She was gone for
a long time. Then, when she returned, the family
65
sent her away to school. Life was impossible for her
in the town.
You see, Paolo commented, customs are not
so different.
I cant find any connection between the two
situations, said Peggy. The girl in New Jersey was
unfortunate. Im sure she suffered a great deal. Still,
since the man didnt want to marry, there was no
wedding.
Iolanda wont many Filippo, Paolo said. He
began to eat again as if the subject had been
exhausted.
It was Elisa, who, seeing Peggys perplexity,
attempted further explanation. It is very bad in any
country when an engagement is broken, she said
kindly. It is possibly a little more serious in Italy.
You must remember, Filippo is a man, not a young
girl. His pride, his feeling of manhood, is involved.
He is Sicilian. They are hot-blooded. They have a
long tradition of revenge when injury is done.
Iolanda has injured Filippo. He cuts a brutta figura
with his friends.
Brutta figura? questioned Peggy.
There is no precise translation, said Elisa,
turning a row. It means that he appears ridiculous
among his friends. His girl friend has departed from
her home and separated from her family in order to
avoid him. He is in a difficult position. He appears
66
67
ridiculous.
To make matters worse, said Paolo, she is not
living quietly, so that everything can in time be
forgotten. She has become an actress, and her
picture is in all the newspapers. Everyone is talking.
Father is careful not to allow it to appear that there is
another man in her lifelike Enzo, for example.
Nevertheless, Filippo suspects. He is enraged by
jealousy and his own knowledge that he cuts a
brutta figura. Today, because of the newspapers, he
came to protest in person to Iolanda. We all knew it
would happen. He would have come before, but
Turin is a great distance. Rome is not so far.
What about Iolandas family? Peggy asked.
Couldnt her father talk to Filippo?
Even Elisa looked puzzled. She has left the
family, Elisa repeated.
You mean she ran away from home? Peggy