I slapped Morrie's back.

"Harder."

I slapped him again.

"Near his shoulders . . . now down lower."

Morrie, dressed in pajama bottoms, lay in bed on his side, his head flush against the pillow, his mouth open. The physical therapist was showing me how to bang loose the poison in his lungs-which he needed done regularly now, to keep it from solidifying, to keep him breathing.

"I . . . always knew . . . you wanted . . . to hit me . . ." Morrie gasped.

Yeah, I joked as I rapped my fist against the alabaster skin of his back. This is for that B you gave me soph.o.m.ore year! Whack!

We all laughed, a nervous laughter that comes when the devil is within earshot. It would have been cute, this little scene, were it not what we all knew it was, the final calisthenics before death. Morrie's disease was now dangerously close to his surrender spot, his lungs. He had been predicting he would die from choking, and I could not imagine a more terrible way to go. Sometimes he would close his eyes and try to draw the air up into his mouth and nostrils, and it seemed as if he were trying to lift an anchor.

Outside, it was jacket weather, early October, the leaves clumped in piles on the lawns around West Newton. Morrie's physical therapist had come earlier in the day, and I usually excused myself when nurses or specialists had business with him. But as the weeks pa.s.sed and our time ran down, I was increasingly less self-conscious about the physical embarra.s.sment. I wanted to be there. I wanted to observe everything. This was not like me, but then, neither were a lot of things that had happened these last few months in Morrie's house.

So I watched the therapist work on Morrie in the bed, pounding the back of his ribs, asking if he could feel the congestion loosening within him. And when she took a break, she asked if I wanted to try it. I said yes. Morrie, his face on the pillow, gave a little smile.

"Not too hard," he said. "I'm an old man."

I drummed on his back and sides, moving around, as she instructed. I hated the idea of Morrie's lying in bed under any circ.u.mstances (his last aphorism, "When you're in bed, you're dead," rang in my ears), and curled on his side, he was so small, so withered, it was more a boy's body than a man's. I saw the paleness of his skin, the stray white hairs, the way his arms hung limp and helpless. I thought about how much time we spend trying to shape our bodies, lifting weights, crunching sit-ups, and in the end, nature takes it away from us anyhow. Beneath my fingers, I felt the loose flesh around Morrie's bones, and I thumped him hard, as instructed. The truth is, I was pounding on his back when I wanted to be hitting the walls.

"Mitch?" Morrie gasped, his voice jumpy as a jackhammer as I pounded on him.

Uh-huh?

"When did . . . I . . . give you . . . a B?"Morrie believed in the inherent good of people. But he also saw what they could become.

"People are only mean when they're threatened," he said later that day, "and that's what our culture does. That's what our economy does. Even people who have jobs in our economy are threatened, because they worry about losing them. And when you get threatened, you start looking out only for yourself. You start making money a G.o.d. It is all part of this culture."

He exhaled. "Which is why I don't buy into it."

I nodded at him and squeezed his hand. We held hands regularly now. This was another change for me. Things that before would have made me embarra.s.sed or squeamish were now routinely handled. The catheter bag, connected to the tube inside him and filled with greenish waste fluid, lay by my foot near the leg of his chair. A few months earlier, it might have disgusted me; it was inconsequential now. So was the smell of the room after Morrie had used the commode. He did not have the luxury of moving from place to place, of closing a bathroom door behind him, spraying some air freshener when he left. There was his bed, there was his chair, and that was his life. If my life were squeezed into such a thimble, I doubt I could make it smell any better.

"Here's what I mean by building your own little subculture," Morrie said. "I don't mean you disregard every rule of your community. I don't go around naked, for example. I don't run through red lights. The little things, I can obey. But the big things-how we think, what we value-those you must choose yourself. You can't let anyone-or any society determine those for you.

"Take my condition. The things I am supposed to be embarra.s.sed about now-not being able to walk, not being able to wipe my a.s.s, waking up some mornings wanting to cry-there is nothing innately embarra.s.sing or shaming about them.

"It's the same for women not being thin enough, or men not being rich enough. It's just what our culture would have you believe. Don't believe it."

I asked Morrie why he hadn't moved somewhere else when he was younger.

"Where?"

I don't know. South America. New Guinea. Someplace not as selfish as America.

"Every society has its own problems," Morrie said, lifting his eyebrows, the closest he could come to a shrug. "The way to do it, I think, isn't to run away. You have to work at creating your own culture.

"Look, no matter where you live, the biggest defect we human beings have is our shortsightedness. We don't see what we could be. We should be looking at our potential, stretching ourselves into everything we can become. But if you're surrounded by people who say 'I want mine now,' you end up with a few people with everything and a military to keep the poor ones from rising up and stealing it."

Morrie looked over my shoulder to the far window. Sometimes you could hear a pa.s.sing truck or a whip of the wind. He gazed for a moment at his neighbors' houses, then continued.

"The problem, Mitch, is that we don't believe we are as much alike as we are. Whites and blacks, Catholics and Protestants, men and women. If we saw each other as more alike, we might be very eager to join in one big human family in this world, and to care about that family the way we care about our own.

"But believe me, when you are dying, you see it is true. We all have the same beginning-birth-and we all have the same end-death. So how different can we be?

"Invest in the human family. Invest in people. Build a little community of those you love and who love you."

He squeezed my hand gently. I squeezed back harder. And like that carnival contest where you bang a hammer and watch the disk rise up the pole, I could almost see my body heat rise up Morrie's chest and neck into his cheeks and eyes. He smiled.

"In the beginning of life, when we are infants, we need others to survive, right? And at the end of life, when you get like me, you need others to survive, right?"

His voice dropped to a whisper. "But here's the secret: in between, we need others as well."Later that afternoon, Connie and I went into the bedroom to watch the O. J. Simpson verdict. It was a tense scene as the princ.i.p.als all turned to face the jury, Simpson, in his blue suit, surrounded by his small army of lawyers, the prosecutors who wanted him behind bars just a few feet away. When the foreman read the verdict"Not guilty"-Connie shrieked.

"Oh my G.o.d!"

We watched as Simpson hugged his lawyers. We listened as the commentators tried to explain what it all meant. We saw crowds of blacks celebrating in the streets outside the courthouse, and crowds of whites sitting stunned inside restaurants. The decision was being hailed as momentous, even though murders take place every day. Connie went out in the hall. She had seen enough.

I heard the door to Morrie's study close. I stared at the TV set. Everyone in the world is watching this thing, I told myself. Then, from the other room, I heard the ruffling of Morrie's being lifted from his chair and I smiled. As "The Trial of the Century" reached its dramatic conclusion, my old professor was sitting on the toilet.It is 1979, a basketball game in the Brandeis gym. The team is doing well, and the student section begins a chant, "We're number one! We're number one!" Morrie is sitting nearby. He is puzzled by the cheer. At one point, in the midst of "We're number one!" he rises and yells, "What's wrong with being number two?"

The students look at him. They stop chanting. He sits down, smiling and triumphant.The Audiovisual, Part ThreeThe "Nightline" crew came back for its third and final visit. The whole tenor of the thing was different now. Less like an interview, more like a sad farewell. Ted Koppel had called several times before coming up, and he had asked Morrie, "Do you think you can handle it?"

Morrie wasn't sure he could. "I'm tired all the time now, Ted. And I'm choking a lot. If I can't say something, will you say it for me?"

Koppel said sure. And then the normally stoic anchor added this: "If you don't want to do it, Morrie, it's okay. I'll come up and say good-bye anyhow."

Later, Morrie would grin mischievously and say, "I'm getting to him." And he was. Koppel now referred to Morrie as "a friend." My old professor had even coaxed compa.s.sion out of the television business.

For the interview, which took place on a Friday afternoon, Morrie wore the same shirt he'd had on the day before. He changed shirts only every other day at this point, and this was not the other day, so why break routine?

Unlike the previous two Koppel-Schwartz sessions, this one was conducted entirely within Morrie's study, where Morrie had become a prisoner of his chair. Koppel, who kissed my old professor when he first saw him, now had to squeeze in alongside the bookcase in order to be seen in the camera's lens.

Before they started, Koppel asked about the disease's progression. "How bad is it, Morrie?"

Morrie weakly lifted a hand, halfway up his belly. This was as far as he could go.

Koppel had his answer.

The camera rolled, the third and final interview. Koppel asked if Morrie was more afraid now that death was near. Morrie said no; to tell the truth, he was less afraid. He said he was letting go of some of the outside world, not having the newspaper read to him as much, not paying as much attention to mail, instead listening more to music and watching the leaves change color through his window.

There were other people who suffered from ALS, Morrie knew, some of them famous, such as Stephen Hawking, the brilliant physicist and author of A Brief History of Time. He lived with a hole in his throat, spoke through a computer synthesizer, typed words by batting his eyes as a sensor picked up the movement.

This was admirable, but it was not the way Morrie wanted to live. He told Koppel he knew when it would be time to say good-bye.

"For me, Ted, living means I can be responsive to the other person. It means I can show my emotions and my feelings. Talk to them. Feel with them . . ."

He exhaled. "When that is gone, Morrie is gone."

They talked like friends. As he had in the previous two interviews, Koppel asked about the "old a.s.s wipe test"-hoping, perhaps, for a humorous response. But Morrie was too tired even to grin. He shook his head. "When I sit on the commode, I can no longer sit up straight. I'm listing all the time, so they have to hold me. When I'm done they have to wipe me. That is how far it's gotten."

He told Koppel he wanted to die with serenity. He shared his latest aphorism: "Don't let go too soon, but don't hang on too long."

Koppel nodded painfully. Only six months had pa.s.sed between the first "Nightline" show and this one, but Morrie Schwartz was clearly a collapsed form. He had decayed before a national TV audience, a miniseries of a death. But as his body rotted, his character shone even more brightly.

Toward the end of the interview, the camera zoomed in on Morrie-Koppel was not even in the picture, only his voice was heard from outside it-and the anchor asked if my old professor had anything he wanted to say to the millions of people he had touched. Although he did not mean it this way, I couldn't help but think of a condemned man being asked for his final words.

"Be compa.s.sionate," Morrie whispered. "And take responsibility for each other. If we only learned those lessons, this world would be so much better a place."

He took a breath, then added his mantra: "Love each other or die."

The interview was ended. But for some reason, the cameraman left the film rolling, and a final scene was caught on tape.

"You did a good job," Koppel said.

Morrie smiled weakly.

"I gave you what I had," he whispered. "You always do."

"Ted, this disease is knocking at my spirit. But it will not get my spirit. It'll get my body. It will not get my spirit."

Koppel was near tears. "You done good."

"You think so?" Morrie rolled his eyes toward the ceiling. "I'm bargaining with Him up there now. I'm asking Him, 'Do I get to be one of the angels?' "

It was the first time Morrie admitted talking to G.o.d.The Twelfth Tuesday We Talk About Forgiveness"Forgive yourself before you die. Then forgive others."

This was a few days after the "Nightline" interview. The sky was rainy and dark, and Morrie was beneath a blanket. I sat at the far end of his chair, holding his bare feet. They were callused and curled, and his toenails were yellow. I had a small jar of lotion, and I squeezed some into my hands and began to ma.s.sage his ankles.

It was another of the things I had watched his helpers do for months, and now, in an attempt to hold on to what I could of him, I had volunteered to do it myself. The disease had left Morrie without the ability even to wiggle his toes, yet he could still feel pain, and ma.s.sages helped relieve it. Also, of course, Morrie liked being held and touched. And at this point, anything I could do to make him happy, I was going to do.

"Mitch," he said, returning to the subject of forgiveness. "There is no point in keeping vengeance or stubbornness. These things"-he sighed-"these things I so regret in my life. Pride. Vanity. Why do we do the things we do?"

The importance of forgiving was my question. I had seen those movies where the patriarch of the family is on his death bed and he calls for his estranged son so that he can make peace before he goes. I wondered if Morrie had any of that inside him, a sudden need to say "I'm sorry" before he died?

Morrie nodded. "Do you see that sculpture?" He tilted his head toward a bust that sat high on a shelf against the far wall of his office. I had never really noticed it before. Cast in bronze, it was the face of a man in his early forties, wearing a necktie, a tuft of hair falling across his forehead.

"That's me," Morrie said. "A friend of mine sculpted that maybe thirty years ago. His name was Norman. We used to spend so much time together. We went swimming. We took rides to New York. He had me over to his house in Cambridge, and he sculpted that bust of me down in his bas.e.m.e.nt. It took several weeks to do it, but he really wanted to get it right."

I studied the face. How strange to see a three-dimensional Morrie, so healthy, so young, watching over us as we spoke. Even in bronze, he had a whimsical look, and I thought this friend had sculpted a little spirit as well.

"Well, here's the sad part of the story," Morrie said. "Norman and his wife moved away to Chicago. A little while later, my wife, Charlotte, had to have a pretty serious operation. Norman and his wife never got in touch with us. I know they knew about it. Charlotte and I were very hurt because they never called to see how she was. So we dropped the relationship.

"Over the years, I met Norman a few times and he always tried to reconcile, but I didn't accept it. I wasn't satisfied with his explanation. I was prideful. I shrugged him off. "

His voice choked.

"Mitch . . . a few years ago . . . he died of cancer. I feel so sad. I never got to see him. I never got to forgive. It pains me now so much . . ."

He was crying again, a soft and quiet cry, and because his head was back, the tears rolled off the side of his face before they reached his lips.

Sorry, I said.

"Don't be," he whispered. "Tears are okay."

I continued rubbing lotion into his lifeless toes. He wept for a few minutes, alone with his memories.

"It's not just other people we need to forgive, Mitch," he finally whispered. We also need to forgive ourselves."

Ourselves?

"Yes. For all the things we didn't do. All the things we should have done. You can't get stuck on the regrets of what should have happened. That doesn't help you when you get to where I am.

"I always wished I had done more with my work; I wished I had written more books. I used to beat myself up over it. Now I see that never did any good. Make peace. You need to make peace with yourself and everyone around you."

I leaned over and dabbed at the tears with a tissue. Morrie flicked his eyes open and closed. His breathing was audible, like a light snore.

"Forgive yourself. Forgive others. Don't wait, Mitch. Not everyone gets the time I'm getting. Not everyone is as lucky."

I tossed the tissue into the wastebasket and returned to his feet. Lucky? I pressed my thumb into his hardened flesh and he didn't even feel it.

"The tension of opposites, Mitch. Remember that? Things pulling in different directions?"

I remember.

"I mourn my dwindling time, but I cherish the chance it gives me to make things right."

We sat there for a while, quietly, as the rain splattered against the windows. The hibiscus plant behind his head was still holding on, small but firm.

"Mitch," Morrie whispered.

Uh-huh?

I rolled his toes between my fingers, lost in the task.

"Look at me."

I glanced up and saw the most intense look in his eyes.

"I don't know why you came back to me. But I want to say this . . .

He paused, and his voice choked.

"If I could have had another son, I would have liked it to be you."

I dropped my eyes, kneading the dying flesh of his feet between my fingers. For a moment, I felt afraid, as if accepting his words would somehow betray my own father. But when I looked up, I saw Morrie smiling through tears and I knew there was no betrayal in a moment like this.

All I was afraid of was saying good-bye."I've picked a place to be buried."