They stood panting in a battlefield from which arose only the hiss of embers.
SHAMUS
You hear that?
BELLAMY
I don’t hear anything.
SHAMUS
Exactly. It’s the sound of peace.
If only! The Movie was not yet complete. An old woman dashed from the cave to fall, wailing, onto the body of her dead VC son. The astonished Green Berets recognized her as the friendly, black-toothed madame of the dismal brothel where they had so often played the venereal disease lottery.
BELLAMY
Christ, Mama San’s VC.
SHAMUS
They all are, kid. They all are.
BELLAMY
What do we do with her?
SHAMUS
Nothing. Let’s go home.
Shamus forgot the cardinal rule of westerns, detective stories, and war movies: never turn your back on an enemy or a wronged woman. When they did, the enraged Mama San seized her son’s AK-47, blasted Shamus from hip to shoulder blades, then fell victim herself to Bellamy, who, spinning quickly, unloaded the last of his magazine. So she died in slow motion, bathed with fourteen lifelike squirts of blood from squibs rigged by Harry, who provided her with two more to bite on. This tastes awful, she said afterward, mouth and chin covered in the fake blood I was wiping off. Was I convincing? Astonishing, I said to her great satisfaction. No one dies like you.
Except, of course, for the Thespian. To ensure that no one could claim that Asia Soo or James Yoon had outacted him, he demanded that his death be filmed eighteen times. The greater acting job was required of the Idol, however, who had to embrace the dying Will Shamus in his arms, a difficult task as the Thespian had still not taken a shower after seven months of shooting. This was despite the fact that no soldier ever passed up the opportunity for a shower or bath, even if it amounted to no more than lathering himself with soap and cold water from a helmet. I mentioned this to the Thespian one night early in the shooting, and he responded with one of those looks of pity and amusement I was by now so used to getting, the kind that implied not only that my fly was undone, but that there was nothing to see even if it was. It is exactly because no soldier has done this that I am, he declared. As a result, no one could force themselves to eat at his table or stand nearer than fifteen or twenty feet, his stink so ghastly that it drew tears to the Idol’s face as he leaned in close with every take, weeping and gagging, to hear Shamus whisper his last words: The whore! The whore!
With Shamus dead the stage was set for Bellamy to call for the Arc Light strike on King Cong’s lair. In the heavens above, an unseen B-52 Stratofortress would squeeze out thirty thousand pounds of dumb bombs onto the lair, the purpose being not to kill the living but to cleanse the land of the dead, to do a victory dance on King Cong’s corpse, to wipe the hippie smile from Mother Earth’s face, and to say to the world, We can’t help it — we’re Americans. The scene was a massive industrial production that required the digging of several trenches, which were then filled with two thousand gallons of gasoline, as well as a thousand smoke bombs, several hundred sticks of phosphorous, a few dozen sticks of dynamite, and untold numbers of rockets, flares, and tracers, all deployed to simulate the explosions coming from King Cong’s detonating ammunition stockpile, supplied by the Chinese and the Soviets. Everyone on the crew had been waiting for this moment, the greatest blowup ever in cinematic history. It is the moment, the Auteur proclaimed to the massed crew during the last week, when we show that making this movie was going to war itself. When your grandchildren ask you what you did during the war, you can say, I made this movie. I made a great work of art. How do you know you’ve made a great work of art? A great work of art is something as real as reality itself, and sometimes even more real than the real. Long after this war is forgotten, when its existence is a paragraph in a schoolbook students won’t even bother to read, and everyone who survived it is dead, their bodies dust, their memories atoms, their emotions no longer in motion, this work of art will still shine so brightly it will not just be about the war but it will be the war.
And there you have the absurdity. Not that there was not some truth to what the Auteur claimed, for the absurd often has its seed in a truth. Yes, art eventually survives war, its artifacts still towering long after the diurnal rhythms of nature have ground the bodies of millions of warriors to powder, but I had no doubt that in the Auteur’s egomaniacal imagination he meant that his work of art, now, was more important than the three or four or six million dead who composed the real meaning of the war. They cannot represent themselves; they must be represented. Marx spoke of the oppressed class that was not politically conscious enough to see itself as a class, but was anything ever more true of the dead, as well as the extras? Their fate was so inane that they drank away their dollar a day every night, an act in which I gladly joined them, feeling a small part of myself dying with them, too. For I had an encroaching sense of the meanness of my accomplishment, that I had been deluded in thinking I could effect change in how we were represented. I had altered the script here and there, and incited the creation of a few speaking parts, but to what end? I had not derailed this behemoth, or changed its direction, I had only made its path smoother as the technical consultant in charge of authenticity, the spirit haunting bad movies that aspired to be good ones. My task was to ensure that the people scuttling in the background of the film would be real Vietnamese people saying real Vietnamese things and dressed in real Vietnamese clothing, right before they died. The swing of a dialect and the trim of a costume had to be real, but the truly important things in such a movie, like emotions or ideas, could be fake. I was no more than the garment worker who made sure the stitching was correct in an outfit designed, produced, and consumed by the wealthy white people of the world. They owned the means of production, and therefore the means of representation, and the best that we could ever hope for was to get a word in edgewise before our anonymous deaths.
The Movie was just a sequel to our war and a prequel to the next one that America was destined to wage. Killing the extras was either a reenactment of what had happened to us natives or a dress rehearsal for the next such episode, with the Movie the local anesthetic applied to the American mind, preparing it for any minor irritation before or after such a deed. Ultimately, the technology used to actually obliterate natives came from the military-industrial complex of which Hollywood was a part, doing its dutiful role in the artificial obliteration of natives. I realized this, eventually, on the day the final spectacle was supposed to be shot, when, at the last minute, the Auteur decided to improvise with the plentiful quantities of leftover gasoline and explosives. The day before, unbeknownst to me, the special effects wizards had received the Auteur’s instructions: rig the cemetery for destruction. This cemetery had been spared in the original script when King Cong attacked the hamlet, but now the Auteur wanted one more scene illustrating the true depravity of both sides. In this scene, a squad of suicidal guerrillas defiladed amid the tombs, whereon Shamus would call down a white phosphorous strike on the sacred realm of the hamlet’s ancestors, obliterating living and dead with 155 mm shells. I learned of this new scene the morning of its shooting, when the Arc Light strike was originally scheduled. Nope, said Harry. The special effects guys finished prepping the cemetery last night.