* Fuga in Spanish is a musical form, but it also means “flight” or “escape.”
26
SCREENING NO. 1.
Bettini talked the Argentine ambassador into inviting the leaders of the Chilean opposition to attend an homage to the great film director Armando Bo and his favorite actress, Isabel Sarli. A limited number of invitations were sent for the screening of Flesh, which would be followed by a tasting of pinot noirs from Mendoza and the launching of a new cabernet sauvignon produced by a Chilean entrepreneur with vineyards in Pirque, whom bankers affectionately called Vial the Democrat.
Bettini wanted the political leaders of the coalition against Pinochet to be there in order to sanctify, once and for all, the TV spot that had caused him so much distress. The attendance of these skillful leaders would give the meeting a businesslike atmosphere, which would be very helpful, since the film to be shown would actually be the first images of the No campaign, not the erotic story starring Sarli — that innocent creature who wonders in the film what is it in her that awakens the lust and savagery of men.
The ambassador, instead of saying “È arrivato Zampanò,” as Giulietta Masina introduced Anthony Quinn in La Strada, greeted his guests with a conspiratorial “È arrivato il No.”
Olwyn didn’t want to go to the premiere of the No campaign because he knew he was being watched, and he was trying to move around without being noticed. Going to the embassy ran the risk of revealing the mysteries of the No campaign to his rivals. The leaders of the parties didn’t go either — only second-rank representatives attended.
Olwyn’s absence could lead to disaster for Bettini. If the man who had asked for “joy” didn’t show up, how would he explain to all those brave and long-suffering leftist activists who were ready to test him, for example, Little Kinky Flower’s “Waltz of the No”?
Would they understand the strategy of diluting the hemlock with syrup?
He’d rather watch the first fifteen minutes of the campaign with them, just in case he had missed any details. He wanted to make sure that there were no silly images out of context that would jeopardize the broadcasting of the TV ad.
It was necessary to be careful. To denounce without provoking. And even to praise Pinochet, if it were necessary, for the courage of wanting to look like a democratic ruler in the eyes of the entire world. He was going to react right away, even before the censors, to anything that could be perceived as impertinence, so that his reputation remained unharmed.
That’s why he had suggested that the ambassador invite Olwyn to watch the movie. Impeccable, he thought.
The minister of the interior’s spies would report that Olwyn had gone to a cultural event at the embassy of the kindred country. He never expected the diplomat to really have a copy of Flesh.
“You’re a perfectionist, Ambassador. I’m sure that when you attend a baptism you demand to see a baby, and if you attend a funeral, you get angry if there isn’t a corpse around.”
Bettini himself had provided Olwyn’s stern emissaries with the most comfortable armchairs in an improvised first row. The ambassador lit Dutch Tiparillo cigars for them, Patricia brought some footrests so that they could stretch their legs, and Raúl Alarcón, aka Little Kinky Flower, bowed emphatically as he walked by them.
Che Barrios connected the speakers and then Bettini held out his hand, indicating that the young man should sit next to him. He wanted to have the privilege of watching his own work with the young and improvised technician sitting nearby, just in case it became necessary to interrupt the showing.
The ambassador offered some introductory words before the film. He said he was expecting to be pleasantly surprised by such an illustrious group of artists. He had to tell the distinguished friends in the audience that the minister of the interior had called him on Monday to assure him that all diplomats accredited in Chile could be certain — and to let their respective countries know — that whatever the outcome of the plebiscite, he would recommend that General Pinochet respect the people’s verdict.
“That being said,” the ambassador continued, apologizing in advance for the vulgar remark he would quote literally, and showing a smile with perfect teeth, “he also said to me, ‘When you lose, you have to recognize that you’re in the shit.’ ”
The ambassador to the neighboring country ended his remarks to this “ecumenical” event — smiling once again at finding such a felicitous adjective — where the leaders of the opposition parties would watch Isabel Sarli’s fifteen-minute ad campaign, which would be broadcast in a few days, in the presence of their own creators.
“Although the Constitution of 1980 requires Pinochet to call this plebiscite, it’s also true that the military forces have the power to put any constitution you know where when they feel like it. So let’s not see things so black and white all the time, you know? The general keeps his promises, you know?”
He pointed at Bettini with his cigar and kept it in that position as he went on with his speech.
“To tell the truth, I’m afraid we’ll now see something terrific, because we all know the résumé of this talented ad agent. A man who’s ‘a bit bitter, like life,’ a man who was asked, not long ago, by the minister of the interior himself to lead the advertising campaign for the Yes. He, who defines himself as a David among Goliaths, has chosen, in spite of the many risks involved, to be the president’s adversary. That’s his legitimate right. I can’t wait to see what he has invented to overthrow the general from the Chileans’ heart.”
The ambassador held the video of Flesh in one hand and the tape of the No in the other, and, leaning over to the delegates of the political parties, asked if he could dispense with Isabel Sarli in spite of “the two powerful reasons she’d have to occupy the screen.”
They all laughed willingly, and Héctor Barrios, the young Chilean student recently repatriated from Argentina, pressed the Play button. The ambassador dimmed the lights, and the fifteen-minute campaign for the No began.
27
SCREENING NO. 2.
The young Nico Santos couldn’t attend the private premiere of the No campaign. It was opening night of The Cave of Salamanca at his school’s auditorium.
The first row was reserved for special guests — the principal and the military official in charge of the school, Lieutenant Bruna, who encouraged cultural activities as an antidote against the political protest the students were so inclined to.
Dressed for his role as the sybaritic, lecherous sacristan, Nico stepped out from behind the curtain. With a ballet-style bow, he acknowledged the applause and cheers of his friends in the audience and, asking for time out, the way basketball coaches do, he cleared his throat. He knew that he was about to violate the pact he had with his father about not getting into trouble. He missed his dad a lot, but at least he had the consolation that his father would never know about the blunder he was about to make. If Professor Santos were in the audience, he would surely intuit what Nico was about to say, and he would place his finger to his lips, urging his son to keep silent.