A Movie Of Jennifer Connelly - Love and Shadows (1994)
Category
🎥
Short filmTranscript
00:00:00 [ Music ]
00:00:17 [ Music ]
00:00:46 [ Music ]
00:01:16 [ Music ]
00:01:45 [ Music ]
00:02:15 [ Music ]
00:02:17 >> In 1973, my country, Chile, was taken over by a military dictatorship
00:02:24 which declared a permanent state of emergency.
00:02:26 A curfew was imposed and for most, especially the privileged,
00:02:32 there was also a self-imposed rule of silence.
00:02:36 A rule of see no, speak no, hear no evil.
00:02:40 So life could go on as before.
00:02:43 My mother took this to heart.
00:02:46 I was brought up in the safety of innocence at the Wheel of God Manor,
00:02:50 our family home turned old age home in order to survive financially after my father left many years ago.
00:02:57 [ Music ]
00:03:03 Rosa, my dog Cleo, and the old people, Don Quixote, the colonel, a man we call Death himself.
00:03:13 And an old actress, Madame Josefina, were my real family.
00:03:18 I was engaged to my cousin, Gustavo, a captain in the army.
00:03:25 I worked at a fashion magazine.
00:03:27 My life was carefully guided by my mother who was determined to assure us a place in society
00:03:34 which was either with the rich or with the military.
00:03:37 My life was safe.
00:03:41 Come on.
00:03:42 Until I began to wake up.
00:03:44 Come.
00:03:46 Look, Belgian laces, French silk, Irish linen, just arrived from Brazil.
00:03:56 Brazil?
00:03:58 I've asked Rosa to put all these in your room.
00:04:01 It's time for you to take care of them.
00:04:04 Never going to iron those things.
00:04:11 Where are you going, may I ask?
00:04:14 Out with some friends.
00:04:16 And if Gustavo comes?
00:04:19 He won't.
00:04:21 [ Music ]
00:04:27 Captain Gustavo Morante.
00:04:30 [ Music ]
00:04:39 At your orders, sir.
00:04:41 About face.
00:04:42 [ Music ]
00:04:54 Halt.
00:04:55 [ Music ]
00:04:58 Present arms.
00:05:01 [ Music ]
00:05:09 Wait.
00:05:10 [ Music ]
00:05:20 [ Engine Roaring ]
00:05:32 It's not the car, sir.
00:05:34 It's from the Cardinal's Human Rights Commission.
00:05:36 It's all right.
00:05:37 [ Engine Roaring ]
00:05:48 There they are.
00:05:50 Marjolina.
00:05:51 My brother.
00:06:02 Come over.
00:06:06 Poor thing, she could never do all by herself.
00:06:10 Those military, nobody can save her.
00:06:13 I hope she can help them.
00:06:16 [ Footsteps ]
00:06:29 What?
00:06:30 Thank you so much for coming, doctor.
00:06:33 I just...
00:06:35 I just can't.
00:06:41 [ Footsteps ]
00:06:46 Come on.
00:06:47 Tell me.
00:06:50 Why?
00:06:53 They took us and threw us on the bottom of a car.
00:07:02 You and?
00:07:04 My husband, Juan.
00:07:09 They drove around for hours.
00:07:11 Kicked us.
00:07:14 Threatened us.
00:07:17 I could only think of my little Gabriel.
00:07:24 At home.
00:07:27 By himself.
00:07:30 I just want to die.
00:07:33 Why didn't I die?
00:07:37 No, no.
00:07:39 No, you must live.
00:07:40 Be strong.
00:07:42 And you have to fight.
00:07:45 We were separated and he said if I didn't cooperate,
00:07:54 my husband would pay.
00:07:58 In the next cell,
00:08:01 he put his hands all over me.
00:08:08 I could only think of my husband's life.
00:08:11 I didn't want him to hear.
00:08:18 Well, he came back.
00:08:24 Another voice.
00:08:28 More hands all over me.
00:08:37 [ Clicks Tongue ]
00:08:39 Inside me.
00:08:46 I wanted to scream.
00:08:53 I didn't want my husband to hear.
00:08:59 They did it again and again.
00:09:04 Hey, let it go. Let it go.
00:09:08 I'll see you next week.
00:09:11 God bless.
00:09:18 [ Telephone Rings ]
00:09:29 [ Woman Speaking Spanish ]
00:09:32 [ Man Speaking Spanish ]
00:09:34 May I speak with you again?
00:09:43 Excuse me.
00:09:44 Irene Beltran.
00:09:45 Irene?
00:09:46 Yeah.
00:09:47 This way.
00:09:49 Blance Hardenbaum is here.
00:09:54 I'm going to transfer to the social page.
00:10:00 See?
00:10:01 Ay, who is that?
00:10:04 [ Speaking Spanish ]
00:10:08 Yes, I've got them in the army.
00:10:11 Shh, be quiet.
00:10:13 Francis Clea?
00:10:15 Ms. Beltran.
00:10:16 Irene.
00:10:17 I've read your articles and--
00:10:21 You're the photographer.
00:10:23 Uh-huh.
00:10:24 I'm sorry I have to ask.
00:10:28 Are you on any list?
00:10:30 No.
00:10:31 I'm not on the blacklist.
00:10:34 Good. Then we can talk.
00:10:36 Sure.
00:10:37 Let me show you my work.
00:10:57 You hungry?
00:10:58 Hungry?
00:11:00 Come.
00:11:02 So...
00:11:05 Francisco.
00:11:07 Which of my pieces did you like the best?
00:11:12 Well, uh...
00:11:14 Superhormones.
00:11:17 That prevent pregnancy.
00:11:20 You said something interesting in that.
00:11:22 I did?
00:11:23 Yeah.
00:11:24 You said, uh...
00:11:25 "Conception is an act of rebellion."
00:11:28 I'll see you tomorrow.
00:11:29 Since '73, the magazine has to cover naked breasts with black patches.
00:11:34 And certain words are forbidden.
00:11:38 Such as?
00:11:39 It's childish.
00:11:42 Abortion.
00:11:44 Us.
00:11:46 Freedom.
00:11:48 Freedom.
00:11:49 So...
00:12:13 You're a psychologist.
00:12:17 Freudian?
00:12:18 Freud.
00:12:19 Jung.
00:12:21 Marx.
00:12:23 Marx?
00:12:24 Did he write about psychology, too?
00:12:28 False consciousness.
00:12:30 And he said that...
00:12:33 "Shame is the only revolutionary emotion."
00:12:37 Are you sure you're not on the blacklist?
00:12:46 My father...
00:12:47 is an anarchist.
00:12:49 Retired.
00:12:51 From Spain.
00:12:53 Maybe...
00:12:55 my brother Jose, the priest?
00:12:58 Maybe...
00:13:00 my oldest brother, Javier, who was a teacher?
00:13:05 Not me.
00:13:09 What made you...?
00:13:12 Well, after '73, my kind of psychology also became taboo.
00:13:16 And unaffordable.
00:13:18 Listen...
00:13:21 I'm looking for a respectable job.
00:13:25 I don't want to end up photographing weddings and birthdays.
00:13:30 Pick me up at the Wheel of God Manor tomorrow.
00:13:36 I'll give you an assignment.
00:13:38 Thank you.
00:13:44 No, no, no, you're out of work. Let me pay.
00:13:46 Please.
00:13:47 My father taught us that courtesy never stood in the way of anarchy.
00:13:51 So...
00:13:54 Where is Madame Josefina?
00:13:57 I'll get it.
00:13:58 She should be here.
00:14:00 No, she should be.
00:14:01 Come on.
00:14:02 Rosa, Mrs. Rosa?
00:14:03 Come in.
00:14:04 What is this?
00:14:06 A madhouse?
00:14:07 Well, it is the Wheel of God Manor.
00:14:10 Mother, this is Doctor...
00:14:13 Hello.
00:14:14 Francisco, this is my mother.
00:14:19 Mother, this is my colleague, Doctor Leal.
00:14:21 Colleague?
00:14:23 Doctor?
00:14:24 Yes, but Francisco is a photographer now, and we're on an assignment.
00:14:28 Irene, you have a little something from Gustavo.
00:14:33 He'll be here for the weekend.
00:14:35 I didn't open it.
00:14:37 There was a note for me as well.
00:14:39 "Captain Morant and Irene are engaged to be married quite soon."
00:14:43 Rosa...
00:14:45 What? A cricket born sings till its last mourn.
00:14:48 She always speaks in that maddening way.
00:14:52 Now she'll watch her soap operas all day and eat.
00:14:56 Pleasingly stout is what beauty's about.
00:14:59 Be happy.
00:15:01 Oh, where are you going today?
00:15:05 We're going to Los Riscos to interview a saint.
00:15:08 They say she works miracles.
00:15:09 What kind of miracles?
00:15:12 She cures insomnia and hiccups, comforts the broken heart, makes it rain and restores you.
00:15:17 When live saints do their best, dead saints can rest.
00:15:24 Ah...
00:15:25 I love it!
00:15:45 It's like a flying horse!
00:15:47 Where's Gustavo?
00:15:51 What?
00:15:53 Your fiancé.
00:15:54 My cousin.
00:15:57 We've been engaged since childhood.
00:16:00 He doesn't sound serious.
00:16:03 My captain is very serious.
00:16:06 He's going to be a general someday.
00:16:09 Who's Rosa?
00:16:12 He's a man's man.
00:16:17 Who's that?
00:16:19 I'll teach you his song.
00:16:20 No, thanks.
00:16:22 I am the bridegroom of death.
00:16:24 I have felt her cold breath, but I hold her high as my banner.
00:16:30 It's a fascist song.
00:16:39 No.
00:16:41 Yeah.
00:16:42 How do you know?
00:16:44 My father.
00:16:47 Franco's fascist chess team out of Spain.
00:16:52 Long live death.
00:16:53 It was their motto.
00:16:55 Well, Gustavo isn't a fascist.
00:16:58 He's not the bridegroom of death?
00:17:00 No.
00:17:02 No.
00:17:03 Is this where the Evangelina Don Quixote lives?
00:17:29 Yes.
00:17:32 But the miracles are at noon.
00:17:33 That's the one, sitting there with me.
00:17:40 That's the saint.
00:17:42 She doesn't look like a saint, mother.
00:17:44 Saints were commonplace in the villages.
00:17:46 Not much of a story.
00:17:47 But it would pass the censors.
00:17:49 She's the one who will solve your father's problems.
00:17:53 Look at the sweetie girl.
00:17:56 The girl is crazy. Pure and simple.
00:17:58 And the miracles?
00:18:00 What miracles are you talking about?
00:18:02 Don't believe that propaganda.
00:18:04 What the girl needs...
00:18:06 No, she doesn't.
00:18:08 ...is a man!
00:18:09 Is that what a saint looks like?
00:18:13 Twelve o'clock.
00:18:17 She's so pale. Look at her.
00:18:30 Quiet.
00:18:31 Eddie! Eddie!
00:18:39 It's okay.
00:18:41 It started.
00:18:45 Help me.
00:18:46 You're like Maria.
00:18:52 Just watch.
00:18:54 She won't help you.
00:18:57 I know she will.
00:18:58 She will.
00:18:59 You're my leg, Santita.
00:19:22 Death can take my one to the army.
00:19:27 God bless you.
00:19:28 Until you don't kill my husband, please.
00:19:31 I beg you, let me live.
00:19:33 Go, go, go!
00:19:36 Move it!
00:19:38 Open this door!
00:19:39 Open this door!
00:19:40 Come on, pick up the gun!
00:19:41 You're under investigation.
00:19:44 I'm a journalist and he's my photographer.
00:19:47 Name?
00:19:50 Cispolea.
00:19:53 What is your shit here?
00:19:56 What did you say?
00:19:57 Pirinei, I'm not talking to you.
00:19:59 But I'm talking to you, Commander.
00:20:02 Sir!
00:20:08 Is this your sister?
00:20:10 Permit us, sir.
00:20:13 Sir!
00:20:14 Fire!
00:20:27 Fire!
00:20:28 It's a miracle you didn't kill everybody.
00:20:31 Why are you so nervous, honey?
00:20:33 You were just firing me.
00:20:35 Call me honey.
00:20:36 Why are you here?
00:20:37 Well, Rodelio here told me about his sister
00:20:40 and how the doctors and priests couldn't do nothing about it.
00:20:43 Then I said, this is a job for the armed forces.
00:20:46 Evelina! Evelina!
00:20:49 Don't touch her!
00:20:50 Come here.
00:20:54 Oh my God!
00:20:57 Oh my God!
00:20:58 Evelina, quiet.
00:21:20 It's a miracle.
00:21:25 What are you doing?
00:21:26 Fall in, assholes!
00:21:41 Sergeant Faustino Rivera!
00:21:43 Get the camera!
00:21:46 Get up!
00:21:47 Evelina.
00:22:04 It's a miracle you didn't kill us.
00:22:13 Excuse me, Reverend, would you like some more lemonade?
00:22:16 Good savers.
00:22:18 And keepers.
00:22:20 We saw some bullets fired in the air and a mangled hand.
00:22:37 We'll get more pictures.
00:22:41 [MUSIC PLAYING]
00:22:45 [HORN BLOWING]
00:22:48 [MUSIC PLAYING]
00:23:02 [CHATTER]
00:23:05 What are we doing here?
00:23:20 Camp.
00:23:21 Kitsch.
00:23:22 Surrealism.
00:23:24 Is this how you do the spectacle?
00:23:27 At Marx or Freud, Doctor?
00:23:29 Where have you been since Thursday?
00:23:31 Where do you think?
00:23:33 The brag room of death.
00:23:36 So bitter.
00:23:38 I'm sorry.
00:23:40 I'm sorry.
00:23:41 I just wanted to invite you to have dinner and then...
00:23:45 Thursday?
00:23:46 I'll be free Thursday.
00:23:48 Will you?
00:23:49 Really?
00:23:50 What?
00:23:51 Be free?
00:23:53 Yes.
00:23:54 Shit.
00:23:55 Gustavo.
00:24:06 Leaving for Panama now?
00:24:09 Yes.
00:24:10 But I'll be back soon.
00:24:13 Captain Morante, this is Doctor Leal.
00:24:17 Countless.
00:24:21 The light is leaving us.
00:24:22 Everything's melting.
00:24:23 We must...
00:24:24 Oh, excuse me.
00:24:25 Mario, have you been formally introduced to Francisco Leal?
00:24:29 He's working for me now.
00:24:31 How are you doing?
00:24:32 And this is my fiancé, Captain Morante.
00:24:35 The notorious Mario.
00:24:37 I'm sorry.
00:24:42 I don't shake hands with degenerates.
00:24:45 Why don't you want to touch it, Captain?
00:24:50 Maybe all the rough camaraderie at the barracks is just a cover for your homosexual panic.
00:24:55 I'll see you all in the morning.
00:24:58 Fajist.
00:25:05 Now...
00:25:17 I'm cooking Italian tonight.
00:25:19 Pasta marinara.
00:25:21 I guess you're free.
00:25:23 I guess I am, yeah.
00:25:27 Vaux-Clicquot, Monsadin.
00:25:32 La Grande Dame, 1969.
00:25:34 Booty.
00:25:37 Blunder.
00:25:40 The wives and mistresses of the generals whom I paint and print and brash, groom and hypnotize
00:25:49 into being the most beautiful women in the world.
00:25:53 Because I reflect them as they want to be.
00:26:00 To illusion.
00:26:09 Humanity.
00:26:10 It was a prostitute who saved my life, not the church.
00:26:15 Your story and a little bit more of your admiral's concubine.
00:26:24 My brother took me to a house for my rite of passage.
00:26:37 I panicked completely, truly, when they left me alone with her.
00:26:41 She sat on the bed next to me and held my hand.
00:26:48 She told me, "This isn't something you can be forced to do."
00:26:56 I was weeping in terror.
00:27:02 "Go away, far away boy, because if you stay, they'll end up killing you."
00:27:09 I understand.
00:27:11 She saved my life.
00:27:13 "If you don't fall in love, you'll go far," she said.
00:27:21 Well, how far did you go?
00:27:27 Well, you see, the military despise my kind.
00:27:32 But I keep my face smiling and servile.
00:27:39 I see.
00:27:41 One day I could be pulled from my salon at the palace
00:27:49 and thrown into one of their torture chambers.
00:27:54 Can I tell you something, in confidence?
00:27:57 Please.
00:28:00 I was trained as a psychologist, right?
00:28:04 You didn't tell me.
00:28:06 Working as a photojournalist now.
00:28:09 Yes.
00:28:11 I'm something else altogether.
00:28:15 I'm a journalist.
00:28:20 Altogether.
00:28:21 What are you?
00:28:25 I work in the shadows.
00:28:30 You know what it means?
00:28:35 Come, children. Your uncle has a guest.
00:28:45 [Bell rings]
00:28:46 Mum, come here.
00:28:59 Smell.
00:29:04 It's coffee from Venezuela.
00:29:06 Thank you.
00:29:09 Thank you.
00:29:10 Irene Beltran, my family.
00:29:16 Javier. Javier!
00:29:18 How are you, Daddy?
00:29:20 Pretty, pretty.
00:29:24 At midnight, she wakes me to recite Neruda to her.
00:29:32 We once were young, back in Spain,
00:29:35 in the middle of the Civil War.
00:29:38 When I went off to the battlefront,
00:29:40 she closed the house and followed me.
00:29:43 I wanted to be with him in victory, death or defeat.
00:29:48 Yes, true love that ended.
00:29:51 Jose, don't start.
00:29:53 That ended in a cracked head and a lost memory.
00:29:56 And a son, Javier, born in the ruins of a convent.
00:30:00 He should have been the priest, not you.
00:30:02 That's enough. I'll get dinner.
00:30:04 I read your articles.
00:30:07 They make me laugh.
00:30:08 Marry her, Francisco.
00:30:15 She already has a fiancé, Mama.
00:30:18 Diane Bland, that's a psychologist, my son.
00:30:28 Let's hurry before he scares her away.
00:30:36 Diana, you see this light room?
00:30:38 It's the only thing I carried into exile.
00:30:41 It was my father's.
00:30:43 He used it to reconstruct buildings and build trenches.
00:30:47 What do you use it for?
00:30:49 To measure perversity and corruption.
00:30:51 For someone who fled one dictatorship and lives in another,
00:30:56 hatred of authority can be a serious handicap.
00:30:59 I'm a little old to go around with my tail tucked between my legs.
00:31:04 We had to remove his printing press from the kitchen.
00:31:06 A little difficult to explain during a police raid.
00:31:09 If anything happened to you, I would stick my head in the oven and die.
00:31:15 Well, that's why I'm careful.
00:31:17 That's why we removed the printing press.
00:31:20 Grandpa's showing off.
00:31:22 But we will soon go back to Spain.
00:31:27 Right, Javier?
00:31:29 Papa.
00:31:31 Papa.
00:31:32 Franco has died, Papa. You can go now.
00:31:39 To Spain.
00:31:42 To Spain.
00:31:44 But the mothering earth is dark.
00:31:48 And deep inside me, I am dark.
00:31:54 I am a well.
00:31:58 And in the water, the night leaves stars behind and goes on, along the course of the fields.
00:32:05 It's a question of having lived so much that I wish to live that much more.
00:32:14 I never felt my voice so clear.
00:32:17 Never have been so rich in kisses.
00:32:21 Kisses.
00:32:22 Try to get the names of the torturer, Francisco.
00:32:36 I must have fainted.
00:32:40 Then I saw Juan next to me.
00:32:48 Hanging from a pole. And so was I.
00:32:53 They were torturing both of us.
00:32:57 Juan was worse off than I.
00:33:03 But...
00:33:05 I can't.
00:33:08 No, no, no, no, no, no. Don't stop. Marina, no, don't stop. Tell me. Come on.
00:33:12 Come on.
00:33:16 Gabriel was there. My son there, in the torture room. My little son.
00:33:23 They had him by his arms, making him watch.
00:33:29 If you don't tell us the names, we will do him too. We will do him too.
00:33:36 I had no names. I never had.
00:33:44 I invented names I never knew.
00:33:47 I can't stand it anymore.
00:33:51 No more. Please.
00:33:54 Father Leal can't find them.
00:33:57 Father Leal will keep trying.
00:34:00 We all will.
00:34:03 It's alright.
00:34:06 Now...
00:34:11 Now...
00:34:12 You must take care of yourself.
00:34:16 And fight. And be strong.
00:34:19 And remember...
00:34:21 Don't forget.
00:34:24 We need their names too.
00:34:28 So this will never happen again.
00:34:32 Never again.
00:34:37 We need their names because we are fighting quietly against them.
00:34:42 We must get names.
00:35:00 [♪♪♪]
00:35:02 [♪♪♪]
00:35:05 [♪♪♪]
00:35:07 [♪♪♪]
00:35:10 [♪♪♪]
00:35:12 [♪♪♪]
00:35:34 [♪♪♪]
00:35:36 How did you get free on a Sunday?
00:35:57 My fiancé can't come in this weekend.
00:36:01 You mean every weekend?
00:36:02 No, not every weekend.
00:36:05 And your mother will let you go to... Where is she?
00:36:08 Panama.
00:36:10 Panama, in Chaparral.
00:36:11 Doctor, you don't think I'm still a virgin at my age, do you?
00:36:16 What happened?
00:36:30 Please tell me.
00:36:31 He took her.
00:36:36 Who did?
00:36:38 The commander.
00:36:40 And my son, Pradelio, is locked up.
00:36:45 Faustino Rivera had tears in his eyes.
00:36:50 Who?
00:36:52 Faustino Rivera, the sergeant.
00:36:58 I've known him since he was a child.
00:37:01 He held the dogs while Ramirez dragged her to the jeep.
00:37:08 My God.
00:37:09 We can't...
00:37:11 We can't find her anywhere.
00:37:15 We're poor.
00:37:18 We don't know what to do.
00:37:23 [♪♪♪]
00:37:27 We'll find her.
00:37:28 I will help you.
00:37:32 Four words that changed my life forever.
00:37:35 And so my journey started.
00:37:38 Evangeline Ranquilleo.
00:37:39 She was held for questioning in Los Riscos and never seen again.
00:37:43 Go to the Ministry of Defense.
00:37:47 They have the new list there.
00:37:49 Next.
00:37:54 Next.
00:37:55 Come back next week at the same time.
00:38:08 Don't waste time. Go straight to the morgue.
00:38:21 Yene, you better wait for us here.
00:38:24 Why?
00:38:25 Have you ever seen a dead body?
00:38:28 A mutilated, tortured body?
00:38:31 No.
00:38:32 You don't have to go in.
00:38:34 I'm going in.
00:38:35 Anibal, we're going downstairs.
00:38:42 [♪♪♪]
00:38:44 [♪♪♪]
00:39:09 [♪♪♪]
00:39:11 Yene? Yene?
00:39:24 Francisco, take him out.
00:39:26 Who's here?
00:39:27 Yene, come here.
00:39:29 [♪♪♪]
00:39:32 [♪♪♪]
00:39:34 Don't look anymore.
00:39:43 She's not here.
00:39:45 We should go back to the office.
00:39:50 I suppose we should.
00:39:59 [♪♪♪]
00:40:01 Gustavo has waited for me all his life.
00:40:22 I'm going to marry him.
00:40:26 I know.
00:40:28 I am.
00:40:29 [car engine starts]
00:40:36 [birds chirping]
00:40:43 [♪♪♪]
00:40:56 [dog whining]
00:40:58 You will never return to Spain without you.
00:41:22 Javier Leal.
00:41:24 Javier Leal.
00:41:26 I have lived so much that someday
00:41:30 they will have to forget me, forcibly,
00:41:34 rubbing me off the blackboard.
00:41:37 My heart was inexhaustible.
00:41:41 Javier Leal.
00:41:47 Javier Leal.
00:41:50 [footsteps]
00:41:52 When you saw the other night, it wasn't my brother.
00:42:09 They destroyed him.
00:42:11 They killed him by killing everything,
00:42:16 everything he valued.
00:42:19 They took away his work, his union,
00:42:23 his friends, his income, his pride,
00:42:26 his potency.
00:42:29 I'm going back to Los Riscos.
00:42:35 I have my mother's cards decided.
00:42:45 Be very careful.
00:42:47 Very careful what you say even to your mother.
00:42:50 Digna told me where to find Comander Ramirez
00:42:56 and Faustino Rivera, the sergeant.
00:42:59 To face them, it was best to assume the arrogance of my class.
00:43:03 She was detained for a brief routine questioning.
00:43:06 She spent the night here and was released early the next morning.
00:43:11 We have the report.
00:43:13 Did you put her in the street without any clothes?
00:43:16 Citizen Ranquilero was wearing shoes and a poncho.
00:43:20 She's a minor. Why wasn't she returned to her parents?
00:43:23 I don't have to discuss police procedures with you.
00:43:27 Would you discuss them with my fiancé,
00:43:30 Army Captain Gustavo Morante?
00:43:32 He's assigned to the general staff in Panama.
00:43:35 Sergeant.
00:43:38 Sergeant, bring me the log.
00:43:41 Yes, sir.
00:43:43 Come here.
00:43:51 Look, here it is.
00:44:01 Stated in black and white.
00:44:04 She was going to the capital to look for work.
00:44:07 Without money and half naked.
00:44:11 She was crazy.
00:44:12 May I speak with her brother, Pradelio?
00:44:14 I'm sorry. He's been transferred.
00:44:17 Where?
00:44:19 That is confidential information.
00:44:23 We are in a declared state of emergency.
00:44:29 [Suspense music]
00:44:33 [Suspense music]
00:44:36 [Engine starts]
00:44:46 [Tires screech]
00:44:52 [Tires screech]
00:44:54 [Tires screech]
00:44:56 Sergeant Rivera.
00:45:18 At your service, ma'am.
00:45:20 I'm Irene Bertham.
00:45:21 I know who you are.
00:45:24 May I get you another beer?
00:45:28 Sure. Why not?
00:45:30 Beer, please.
00:45:42 [Indistinct chatter]
00:45:44 Excuse me.
00:46:02 Don't go so clean.
00:46:04 [Laughter]
00:46:06 Look at that.
00:46:08 Oh, yes.
00:46:11 Good.
00:46:13 I had noticed how authoritative and level-headed you had been the other day at Evangelinas.
00:46:25 You're nothing like Ramirez.
00:46:28 I know him like the palm of my hand.
00:46:31 Is your commander always so reckless?
00:46:33 I mean, that shooting scared me to death.
00:46:38 He didn't used to be like that.
00:46:40 He isn't a bad man, I swear it.
00:46:43 Do women like you?
00:47:06 What is your commander like now?
00:47:08 I know why you are here.
00:47:10 You think I'm stupid?
00:47:13 [Suspenseful music]
00:47:15 [Indistinct chatter]
00:47:24 [Indistinct chatter]
00:47:26 Open them.
00:47:49 [Laughter]
00:47:53 What are we celebrating?
00:47:55 Independence Day.
00:47:57 Being alive.
00:48:00 My friend.
00:48:04 Come.
00:48:21 You're very sad, too.
00:48:23 My friend.
00:48:26 I've lived in a dream.
00:48:29 I'm afraid to wake up.
00:48:34 Fruit of the sea.
00:48:41 You need to eat.
00:48:43 You both look...
00:48:47 Oh, what's the word?
00:48:49 Beat.
00:48:51 Yeah, thank you.
00:48:55 Rivera and Evangelino were cousins.
00:49:12 They all played together with Valerio, too.
00:49:16 He put his hand under the table.
00:49:19 On my thigh.
00:49:22 And I told him, next time, maybe...
00:49:28 You are a journalist.
00:49:30 I could never publish this story.
00:49:37 It would never get past the census.
00:49:40 Why are you doing it?
00:49:45 I want to understand...
00:49:47 What turns these peasant sons...
00:49:52 Into criminals.
00:49:55 Listen.
00:50:07 He put her little white petticoat in the door when he slammed it.
00:50:11 Shit.
00:50:13 I told him to go easy, but he jumped on my throat.
00:50:16 Oh, shit.
00:50:19 Excuse me.
00:50:21 You're a fine woman.
00:50:23 You're a fine-looking woman.
00:50:25 She was mourning.
00:50:31 She was still alive.
00:50:33 He was sick that way.
00:50:36 Are you sure it was Evangelino?
00:50:39 Yeah.
00:50:41 Lights were cold at night.
00:50:43 He came back with a beacon shovel.
00:50:46 He has a greasy notebook.
00:50:51 With everything in it, he says.
00:50:53 What they did to her.
00:50:56 Where Ramirez took her.
00:50:58 He says I have to go with him.
00:51:01 And he'll let me have it.
00:51:03 What should I do with it?
00:51:07 The tape.
00:51:08 Give it to me.
00:51:10 I...
00:51:11 I don't want to compromise you, Francisco.
00:51:16 No.
00:51:17 No.
00:51:21 Give it to me.
00:51:25 My brother works with the Cardinal's Human Rights Commission.
00:51:32 They are gathering evidence.
00:51:36 Are you cold?
00:51:38 I'm...
00:51:43 Afraid.
00:51:45 The will disappear.
00:51:49 Like Evangelino.
00:51:52 Like your father.
00:51:55 That charming son of a bitch.
00:51:58 He disappeared because of Mother.
00:52:03 He disappeared because of Mother.
00:52:05 Kigna.
00:52:09 Evangelino's mother.
00:52:11 Sit down.
00:52:15 Sit.
00:52:19 Have you heard something about Evangelino?
00:52:30 My son, Bradelio...
00:52:33 Ran away from the army.
00:52:37 He deserted.
00:52:40 Kigna.
00:52:45 He knows about Evangelino.
00:52:48 Faustino Rivera came to see me.
00:52:56 In secret.
00:52:59 He told me...
00:53:01 He told me the military were going to hunt for my son.
00:53:08 Until they found him.
00:53:11 I have to get Bradelio out of the country.
00:53:27 The church can help him.
00:53:29 But they will insist on knowing...
00:53:34 What happened.
00:53:37 What happened?
00:53:39 [FOOTSTEPS]
00:54:07 It's freezing.
00:54:08 Bradelio's around somewhere.
00:54:21 Don't move!
00:54:24 Mama sent them.
00:54:26 [FOOTSTEPS]
00:54:54 Why have you come?
00:54:56 Why were you locked up?
00:54:59 Everything's fucked.
00:55:01 You deserted because of your sister?
00:55:04 Because of Evangelino?
00:55:06 Vengeance is a man's business.
00:55:09 They're looking for you everywhere.
00:55:11 I'll pay for doing what I must do.
00:55:13 I know when I come down from this mountain, I'm a dead man.
00:55:18 Bradelio, if you want our help, you'll have to tell us.
00:55:21 I'll never tell.
00:55:23 Because you told Ramirez about your sister?
00:55:25 Because you asked for his help?
00:55:28 Because you looked up to him?
00:55:30 He treated me like a son.
00:55:33 "You go far because you know how to keep your mouth shut," he said.
00:55:38 I like for my men to tell me their worries.
00:55:44 And you told him about Evangelino?
00:55:46 The way she dusted him across the patio.
00:55:50 Never thought she was so strong.
00:55:52 Never thought he would take armed men.
00:55:57 That's it.
00:56:00 So?
00:56:05 Wait.
00:56:14 I know where he hid her body.
00:56:19 That abandoned mine at Los Riscos.
00:56:21 I'm scared.
00:56:44 I'm scared.
00:56:45 So am I.
00:57:12 Are you okay? Are you alright?
00:57:14 Elena.
00:57:24 Elena.
00:57:25 Elena.
00:57:26 No. No.
00:57:36 I know. I know.
00:57:37 Please. Please.
00:57:39 Please.
00:57:40 Listen. Listen. Listen to me.
00:57:46 Yes.
00:57:47 Listen.
00:57:48 Yes.
00:57:49 I'm gonna go back in just a few more minutes.
00:57:52 Can you manage?
00:57:55 Yes.
00:57:56 Alright.
00:57:58 [Breathing heavily]
00:58:00 [Breathing heavily]
00:58:02 [Ominous music]
00:58:08 [Gunshot]
00:58:11 [Gunshot]
00:58:14 [Gunshot]
00:58:17 [Gunshot]
00:58:21 [Coughing]
00:58:29 [Coughing]
00:58:30 There were...
00:58:34 There were...
00:58:36 There were more bodies.
00:58:37 A lot of them.
00:58:40 A lot of them.
00:58:43 [Coughing]
00:58:50 [Breathing heavily]
00:58:52 [Ominous music]
00:59:02 [Breathing heavily]
00:59:04 [Ominous music]
00:59:17 [Ominous music]
00:59:19 [Breathing heavily]
00:59:27 [Ominous music]
00:59:31 [Ominous music]
00:59:33 [Ominous music]
00:59:47 [Ominous music]
01:00:01 [Ominous music]
01:00:03 [Ominous music]
01:00:13 [Ominous music]
01:00:19 [Ominous music]
01:00:29 [Ominous music]
01:00:31 [Ominous music]
01:00:38 [Ominous music]
01:00:43 [Ominous music]
01:00:48 [Ominous music]
01:00:58 [Ominous music]
01:01:00 [Ominous music]
01:01:11 [Ominous music]
01:01:19 [Ominous music]
01:01:26 [Ominous music]
01:01:28 [Ominous music]
01:01:36 [Ominous music]
01:01:48 [Ominous music]
01:01:55 [Ominous music]
01:01:57 [Ominous music]
01:02:11 [Ominous music]
01:02:15 [Ominous music]
01:02:21 [Ominous music]
01:02:23 [Ominous music]
01:02:33 [Ominous music]
01:02:43 [Ominous music]
01:02:45 I love you.
01:03:03 I love you.
01:03:04 I love you.
01:03:06 [Ominous music]
01:03:10 [Ominous music]
01:03:12 [Ominous music]
01:03:18 [Ominous music]
01:03:21 [Ominous music]
01:03:24 [Ominous music]
01:03:27 [Ominous music]
01:03:32 [Ominous music]
01:03:35 [Ominous music]
01:03:38 [Ominous music]
01:03:40 [Ominous music]
01:03:43 [Ominous music]
01:03:46 [Ominous music]
01:03:49 [Ominous music]
01:03:52 [Ominous music]
01:03:55 [Ominous music]
01:03:58 [Ominous music]
01:04:01 [Ominous music]
01:04:04 [Ominous music]
01:04:08 We must publish them.
01:04:10 They will kill you at the first street corner.
01:04:13 What's that?
01:04:15 It's Mario.
01:04:16 My Mario? You know him?
01:04:18 Yeah, he knows him.
01:04:20 Let's go.
01:04:22 Son, careful.
01:04:26 [Ominous music]
01:04:29 Hello, come.
01:04:36 Mario.
01:04:37 Drop your onion off first.
01:04:57 Why?
01:04:59 We are going to develop the film.
01:05:01 Someone has to tell Digna. We have to.
01:05:03 I'll take care of that. I'll tell you too.
01:05:06 You need some rest.
01:05:08 It's Mario.
01:05:11 [Clock ticking]
01:05:20 [Buzzer]
01:05:31 [Door opens]
01:05:32 Please.
01:05:37 I want to see the people on this list.
01:05:40 Today.
01:05:41 Father Leal.
01:05:46 How did you learn of this story?
01:05:50 A secret of the confession of your eminence.
01:05:53 And there are other lists.
01:05:57 Other names.
01:05:59 Why are you collecting so many lists, father?
01:06:03 Someday, your eminence, will there not be an accounting?
01:06:08 Nations hold an accounting every day, father.
01:06:12 And they continue to exist on the basis of great remembrances and of great forgettings.
01:06:20 If the police decide to interrogate you,
01:06:28 they will not accept that answer.
01:06:30 It's a risk I must take.
01:06:33 You've already been arrested twice.
01:06:36 Yes, your eminence.
01:06:38 You should not call attention to yourself.
01:06:41 I would prefer that, for the present, you do not go back to that mine.
01:06:55 With all due respect, your eminence.
01:06:58 With your permission, I would like to see it through to the end.
01:07:04 Be cautious, father Leal.
01:07:11 Not only for your sake, but for the sake of the church.
01:07:18 We want no war with the government.
01:07:24 You understand?
01:07:26 Perfectly, your eminence.
01:07:28 Yes.
01:07:30 [music]
01:07:32 [sobbing]
01:07:58 I want some men to cover the road.
01:08:01 And the rest of you, I want you to cover the mines and keep those civilians alive.
01:08:07 This proves the military have been lying to the land.
01:08:14 The church is taking a risk.
01:08:20 This is very dangerous, my dear.
01:08:22 I wish I could have covered this story.
01:08:25 What is thought to be the remains of 14 bodies have been removed in the early hours of the morning by the Department of Criminal Investigation under instruction from the Supreme Court.
01:08:37 What are you doing?
01:08:40 Now they're bringing out more bodies.
01:08:44 La Madres, relatives and friends have been gathering here since the early hours of the morning.
01:08:50 The cardinal is coming forward to meet the families.
01:08:54 Oh my God.
01:08:55 I don't want to hear about this in my house.
01:08:58 People were bound to die in the fight against the cancer of communism.
01:09:03 There are casualties in every war.
01:09:05 This is a dirty war, a civil war against terrorism.
01:09:10 What are you doing here?
01:09:12 Why aren't you at work?
01:09:14 Rosa, bring me a cup of milk tea.
01:09:16 Yes, ma'am.
01:09:18 How dare you stare at me like that?
01:09:20 Mrs. Blutramp, please.
01:09:21 I have nothing to say to you.
01:09:23 Have you mixed up my daughter in this subversion?
01:09:25 Mother.
01:09:27 Shut your mouth.
01:09:28 And you journalists are to blame.
01:09:30 You don't let people forget the past and make a clean start.
01:09:34 You won't let us live.
01:09:36 With your talk about the disappeared.
01:09:39 Why not give them up for dead and go on with life?
01:09:42 Why don't you do that with Papa?
01:09:45 You are to blame.
01:09:50 I'm going to tell Gustavo everything.
01:09:53 Gustavo telephoned.
01:09:56 He'll be here tomorrow.
01:09:59 Thank God.
01:10:01 When's the wedding?
01:10:04 Never.
01:10:07 I needed to inform Gustavo of my decision in the traditional way.
01:10:14 He would have expected nothing less.
01:10:19 I'm sorry.
01:10:20 I can't marry you.
01:10:26 Because I love someone else.
01:10:30 Is that your final word?
01:10:35 Yes.
01:10:38 Yes.
01:10:39 You know about the bodies in Los Iscos mine?
01:11:04 Affirmative, miss.
01:11:06 The only one is Evangeline Aranquil-Leo.
01:11:08 Who makes trouble gets it in the ass.
01:11:10 Excuse me, miss.
01:11:11 That's our mission and we are proud of it.
01:11:14 Civilians get out of hand.
01:11:16 Ramirez says you can't trust them.
01:11:18 You must use a heavy hand.
01:11:20 Killing should be legal or it is slaughter.
01:11:23 So the mine was not slaughter, sergeant?
01:11:26 That's what a traitor says.
01:11:28 A few bodies in a mine doesn't mean that every man in uniform is a murderer.
01:11:34 What happened the minute the general fell from power?
01:11:36 The Marxists would slit the throats of every soldier, their wives and children.
01:11:41 We are marked men for doing our duty.
01:11:44 But the nation was not in danger, sergeant.
01:11:49 Why did you call me?
01:11:53 Because...
01:11:55 Because we should not.
01:12:03 Elena deserves justice.
01:12:04 She was like family.
01:12:06 Bradelio too.
01:12:09 Everything is there.
01:12:17 Spelled out.
01:12:19 Even our conversation.
01:12:21 Will you testify?
01:12:33 I'll go to court.
01:12:34 Swear it on the flag and the Bible.
01:12:37 Thank you, sergeant.
01:12:39 Thank you.
01:13:01 I hid the sergeant's notebooks with Josefina.
01:13:03 I told her they were the love letters I had never sent.
01:13:06 Get out of the way!
01:13:10 Clamp.
01:13:26 Respiration unstable.
01:13:28 Another one.
01:13:31 Number four.
01:13:32 I'm so sorry about the Beltran woman.
01:13:38 Such a clever girl.
01:13:41 Oh, what's she gotten into now?
01:13:46 Oh, imagine.
01:13:48 They shot her down in the street.
01:13:50 The terrorists.
01:13:52 Such a lovely girl.
01:13:55 Captain Moranti will be wild.
01:13:59 Of course, the mother is such a bitch.
01:14:03 Dr. Hernandez, court of service.
01:14:06 Dr. Hernandez, court of service.
01:14:09 Dr. Marino, line one.
01:14:14 Dr. Marino, line one.
01:14:18 We don't know yet.
01:14:21 She may or may not leave.
01:14:23 Doctor, quickly.
01:14:25 Go.
01:14:26 My God.
01:14:48 You love her, don't you?
01:14:52 Yes.
01:14:53 Let me inside!
01:14:58 Shoot that dog!
01:15:00 What happened?
01:15:08 Madam, luckily she has four teachers.
01:15:11 They searched your home.
01:15:13 Who did?
01:15:15 They told Rosa that they were the security police.
01:15:19 The police came and went.
01:15:20 They gave my head this dent.
01:15:23 Sir.
01:15:26 Commander.
01:15:38 She's under surveillance, sir.
01:15:40 Surveillance?
01:15:42 The notebook, sir.
01:15:44 What shall we do, General?
01:15:48 What we always do, Commander.
01:15:50 Leal.
01:16:02 I want to talk to you.
01:16:04 I need to know exactly what happened here.
01:16:09 Why ask me?
01:16:11 Because you are responsible.
01:16:13 What about you?
01:16:15 What do you mean?
01:16:17 I mean your people are responsible.
01:16:20 Is she going to live?
01:16:28 I don't know.
01:16:30 Ask the doctors.
01:16:32 Why are you afraid?
01:16:36 Afraid to be marked?
01:16:39 Is she conscious?
01:16:44 Is she conscious?
01:16:45 Answer me!
01:16:50 I'm not sure.
01:16:56 I could have you, Leal.
01:16:58 I know.
01:17:01 I need to know, Leal.
01:17:03 I need to know, Leal.
01:17:04 What are they?
01:17:21 Want the truth about the army?
01:17:23 I'll tell you.
01:17:28 She's a little stronger.
01:17:29 And she called out for Francisco and Gustavo.
01:17:34 Go.
01:17:40 Gustavo?
01:17:41 Go.
01:17:47 [CLEARS THROAT]
01:17:48 [CLEARS THROAT]
01:17:50 [FOOTSTEPS]
01:17:51 [CREAKING]
01:17:53 [CREAKING]
01:17:58 [CREAKING]
01:18:02 [CREAKING]
01:18:07 [CREAKING]
01:18:12 [CREAKING]
01:18:18 [CREAKING]
01:18:19 Irene.
01:18:33 Irene.
01:18:43 You didn't have to build yourself full of bullets to open my eyes.
01:18:48 Because if you'd given me a chance,
01:18:56 I would have opened that tomb with my bare hands.
01:19:02 Hey.
01:19:12 [BREATHING HEAVILY]
01:19:13 Irene.
01:19:14 [BREATHING HEAVILY]
01:19:17 [BREATHING HEAVILY]
01:19:23 [BREATHING HEAVILY]
01:19:27 I have to go.
01:19:35 [FOOTSTEPS]
01:19:39 [FOOTSTEPS]
01:19:40 Um, I can't protect her anymore.
01:19:55 You must get her out of here as soon as you can.
01:20:00 Right?
01:20:07 [FOOTSTEPS]
01:20:08 [FOOTSTEPS]
01:20:11 Francisco.
01:20:35 [FOOTSTEPS]
01:20:36 Is she...
01:20:43 Still fighting, still fighting, still fighting.
01:20:46 Mario.
01:20:50 Mario, it was my fault.
01:20:52 Yeah, I should have stopped her.
01:20:54 I could have.
01:20:55 No, Francisco.
01:20:56 I didn't.
01:20:57 No, Francisco.
01:20:58 They are here.
01:21:04 Unofficial?
01:21:05 Right.
01:21:08 Right, if she makes it, we have to get her out of here.
01:21:14 Go to Jose and tell him that, please.
01:21:16 He knows what to do.
01:21:17 Okay.
01:21:18 Okay.
01:21:20 I'll call you later.
01:21:21 Okay.
01:21:22 [BUZZING]
01:21:26 [BUZZING]
01:21:30 [BUZZING]
01:21:31 [BUZZING]
01:21:35 [BUZZING]
01:21:38 [BELL RINGING]
01:21:41 [FOOTSTEPS]
01:21:43 [DRAMATIC MUSIC]
01:21:50 The General's appearance today at the Monument to the Saviors of the Nation
01:21:58 is clear and ringing proof that the international communist conspiracy
01:22:02 has failed in its information campaign to implicate the armed forces
01:22:06 in the affair of the Risco's Mine.
01:22:08 The General's staff announced today
01:22:11 that the bodies in the mine were victims of terrorist atrocities.
01:22:15 Today in San Fernando,
01:22:17 the General inaugurated the St. Francis School for Orphaned Children.
01:22:21 [DRAMATIC MUSIC]
01:22:23 [DRAMATIC MUSIC]
01:22:24 [DRAMATIC MUSIC]
01:22:41 [DRAMATIC MUSIC]
01:22:42 You're back.
01:22:55 [INHALES]
01:22:58 Any news?
01:23:08 They've dropped the charges on the medias.
01:23:10 No.
01:23:12 [INHALES]
01:23:14 Rest, rest, rest.
01:23:15 Rest.
01:23:17 The tapes.
01:23:22 Irene,
01:23:25 your voice is on them.
01:23:27 The tapes.
01:23:29 We can't use them
01:23:30 until we get you somewhere safe, you understand?
01:23:33 You must give the Cardinal the tapes.
01:23:36 [INHALES]
01:23:37 Some things.
01:23:39 No, easy, please, easy.
01:23:42 Easy.
01:23:43 [DRAMATIC MUSIC]
01:23:46 Josefina.
01:23:55 At the manor.
01:23:59 Give her this.
01:24:04 Give her this.
01:24:05 I don't want to leave you alone.
01:24:11 What is it?
01:24:19 A letter.
01:24:25 [SIGHS]
01:24:30 [DRAMATIC MUSIC]
01:24:31 [SOBS]
01:24:35 It's all right, it's all right.
01:24:37 [SOBS]
01:24:40 I'll go.
01:24:43 I'll go.
01:24:45 I will go, eh?
01:24:47 I'll go, I'll bring my father in.
01:24:49 And I'll go.
01:24:52 You're keeping something for her?
01:24:58 Who are you?
01:24:59 I'm her...
01:25:02 love.
01:25:04 Here I am.
01:25:27 Here are the love letters, then.
01:25:29 [DRAMATIC MUSIC]
01:25:34 [FOOTSTEPS]
01:25:35 [DOOR SLAMS]
01:25:40 [DRAMATIC MUSIC]
01:26:03 [FOOTSTEPS]
01:26:04 Good night.
01:26:07 [DRAMATIC MUSIC]
01:26:09 [FOOTSTEPS]
01:26:22 [FOOTSTEPS]
01:26:29 [FOOTSTEPS]
01:26:30 [FOOTSTEPS]
01:26:43 [DRAMATIC MUSIC]
01:26:47 Hey, you.
01:26:56 [DRAMATIC MUSIC]
01:26:57 Pretty much.
01:27:00 [DRAMATIC MUSIC]
01:27:02 [FOOTSTEPS]
01:27:10 Thank you.
01:27:15 [FOOTSTEPS]
01:27:17 [DRAMATIC MUSIC]
01:27:25 [CAR STARTS]
01:27:26 [ENGINE REVS]
01:27:27 It's that priest who was here the other day.
01:27:42 [FOOTSTEPS]
01:27:53 [FOOTSTEPS]
01:27:54 [SIGHS]
01:28:01 How many days do they need?
01:28:05 A week and a day, Your Eminence.
01:28:09 In a week and a day, I shall distribute copies of the tapes and the notebooks to the members of the press and to the prosecutor.
01:28:19 By the time they try to destroy the evidence, it will be too late.
01:28:25 The northern pass, where we send Pradelio.
01:28:29 South. The Pinochado Pass. It's less traveled.
01:28:34 No.
01:28:36 The Inca Pass we use for Quintana.
01:28:41 It's the most dangerous.
01:28:43 It's the fastest.
01:28:48 She needs one day's rest at the Aguacalientes Spa, otherwise she won't make it.
01:28:51 It's your decision.
01:28:52 [DRAMATIC MUSIC]
01:28:55 [GUNSHOTS]
01:28:58 [GUNSHOT]
01:29:02 Cleo.
01:29:04 Hey, hey, hey. I'm here.
01:29:11 Cleo is dead, isn't he?
01:29:13 Yes, he is.
01:29:14 The tapes, Faustino's notebook.
01:29:22 The Cardinal has them.
01:29:23 And we have the regional to take with us.
01:29:26 We're leaving?
01:29:28 Where can we go?
01:29:34 Spain.
01:29:36 [CLEARS THROAT]
01:29:38 Spain.
01:29:39 My mother?
01:29:41 Cleo told her we've left on our honeymoon.
01:29:43 She believed him.
01:29:44 She didn't.
01:29:46 Close her nose.
01:29:50 She sent you this.
01:29:54 Earth.
01:29:56 From your garden.
01:29:57 [DRAMATIC MUSIC]
01:30:01 [FIRE CRACKLING]
01:30:02 I want to make love to you.
01:30:13 Well...
01:30:14 Countess, you can hardly walk.
01:30:20 Hey, baby.
01:30:22 [CLEO GROANS]
01:30:24 Careful.
01:30:29 [POP]
01:30:30 [WATER POURING]
01:30:32 [DRAMATIC MUSIC]
01:30:46 [FOOTSTEPS]
01:31:14 Struggle against nostalgia.
01:31:16 It is the vice of the expatriate.
01:31:20 Put down roots, son.
01:31:25 Make the world your home.
01:31:29 It won't help to calculate life, but...
01:31:43 [CLEO SOBS]
01:31:44 [CLEO GROANS]
01:31:54 [POP]
01:31:56 [POPPING]
01:31:58 [CLEO GROANS]
01:31:59 Mama.
01:32:04 The curfew.
01:32:06 It's all right, Mama. It's all right.
01:32:09 Mama.
01:32:11 [FOOTSTEPS]
01:32:12 [DRAMATIC MUSIC]
01:32:20 I'll be back, Father.
01:32:28 [DRAMATIC MUSIC]
01:32:31 [FOOTSTEPS]
01:32:32 Let's go. It's time.
01:32:49 [GRUNTS]
01:32:51 Yeah.
01:32:55 [SIGHS]
01:32:58 [DRAMATIC MUSIC]
01:32:59 All right.
01:33:07 So, baby, it's your job.
01:33:10 Can you stand up?
01:33:12 -Yeah? -Yes.
01:33:14 Yeah. Come on.
01:33:15 Can you stand up?
01:33:19 Yeah.
01:33:21 Oh, I know, I know, I know, baby.
01:33:24 Jesus Christ!
01:33:26 I know, I know, honey. I know.
01:33:28 Listen, stay with me. Listen.
01:33:30 We will edit that poor man's nightmares, interpret them,
01:33:35 rip them on the radio, dramatize them on the stage,
01:33:39 anything so that every Sergeant Faustino Rivera in Chile
01:33:43 or anywhere else can understand that he is a victim too.
01:33:47 But we can't do that here.
01:33:51 We have to go.
01:33:55 [SIGHS]
01:33:56 The notebooks.
01:33:58 Right.
01:34:01 -Here. -Yeah.
01:34:04 Hold it.
01:34:06 Yeah.
01:34:16 [ENGINE RUMBLING]
01:34:18 [FOOTSTEPS]
01:34:22 [DOOR OPENS]
01:34:23 [DOOR CLOSES]
01:34:25 [DOOR OPENS]
01:34:27 [DOOR CLOSES]
01:34:29 [DOOR OPENS]
01:34:31 [DOOR CLOSES]
01:34:33 [DOOR OPENS]
01:34:36 [DOOR CLOSES]
01:34:38 [DOOR OPENS]
01:34:40 [DOOR CLOSES]
01:34:42 [DOOR OPENS]
01:34:44 [ENGINE RUMBLING]
01:34:46 [ENGINE RUMBLING]
01:34:48 [ENGINE RUMBLING]
01:34:51 [ENGINE RUMBLING]
01:34:52 [MUSIC PLAYING]
01:34:54 [FOOTSTEPS]
01:34:59 [MUSIC PLAYING]
01:35:01 [FOOTSTEPS]
01:35:03 [MUSIC PLAYING]
01:35:05 [FOOTSTEPS]
01:35:07 [MUSIC PLAYING]
01:35:09 [FOOTSTEPS]
01:35:11 [MUSIC PLAYING]
01:35:13 [FOOTSTEPS]
01:35:15 [MUSIC PLAYING]
01:35:17 [MUSIC PLAYING]
01:35:20 [MUSIC PLAYING]
01:35:21 [MUSIC PLAYING]
01:35:23 [MUSIC PLAYING]
01:35:25 [EXPLOSION]
01:35:27 - Gentlemen, you're about to witness the destruction of the evidence of the Red Order of the General.
01:35:31 [DOOR OPENS]
01:35:33 [DOOR CLOSES]
01:35:35 - Everybody out!
01:35:37 Clear!
01:35:39 [FOOTSTEPS]
01:35:41 All clear!
01:35:43 Fire!
01:35:45 [EXPLOSION]
01:35:47 [MUSIC PLAYING]
01:35:50 [MUSIC PLAYING]
01:35:51 [ENGINE RUMBLING]
01:35:53 [ENGINE RUMBLING]
01:35:55 [MUSIC PLAYING]
01:35:57 [ENGINE RUMBLING]
01:35:59 [MUSIC PLAYING]
01:36:01 [ENGINE RUMBLING]
01:36:03 [MUSIC PLAYING]
01:36:05 [ENGINE RUMBLING]
01:36:07 [MUSIC PLAYING]
01:36:09 [ENGINE RUMBLING]
01:36:11 [ENGINE RUMBLING]
01:36:13 [MUSIC PLAYING]
01:36:15 [FOOTSTEPS]
01:36:18 [MUSIC PLAYING]
01:36:19 [FOOTSTEPS]
01:36:21 [MUSIC PLAYING]
01:36:23 [MUSIC PLAYING]
01:36:25 [DOOR SLAMS]
01:36:27 - But these photographs are evidence.
01:36:29 - This is awful.
01:36:31 - These aren't terrorists. They're innocent people.
01:36:33 - I'm with Gustavo.
01:36:35 [GUNSHOT]
01:36:37 [GUNSHOTS]
01:36:39 [MUSIC PLAYING]
01:36:41 [ENGINE RUMBLING]
01:36:43 [MUSIC PLAYING]
01:36:45 [GUNSHOT]
01:36:47 - We're against Marion.
01:36:48 - On our honeymoon.
01:36:50 [MUSIC PLAYING]
01:36:52 [ENGINE RUMBLING]
01:36:54 [MUSIC PLAYING]
01:36:56 [GUNSHOT]
01:36:58 [MUSIC PLAYING]
01:37:00 [HEART BEATING]
01:37:02 [MUSIC PLAYING]
01:37:04 - He's alive.
01:37:06 - Continue.
01:37:08 [MUSIC PLAYING]
01:37:10 [GUNSHOT]
01:37:12 [MUSIC PLAYING]
01:37:14 [HORN HONKING]
01:37:16 [MUSIC PLAYING]
01:37:17 [MUSIC PLAYING]
01:37:19 [MUSIC PLAYING]
01:37:21 - Get out!
01:37:23 [MUSIC PLAYING]
01:37:25 - Aim!
01:37:27 [GUNSHOT]
01:37:29 - Fire!
01:37:31 [GUNSHOT]
01:37:33 - Shit!
01:37:35 [GUNSHOT]
01:37:37 [GUNSHOT]
01:37:39 [GUNSHOT]
01:37:41 [MUSIC PLAYING]
01:37:43 - Go ahead.
01:37:45 - But be careful.
01:37:46 This area is full of terrorists.
01:37:48 [MUSIC PLAYING]
01:37:50 [MUSIC PLAYING]
01:37:52 [MUSIC PLAYING]
01:37:54 [MUSIC PLAYING]
01:37:56 [MUSIC PLAYING]
01:37:58 [MUSIC PLAYING]
01:38:00 [MUSIC PLAYING]
01:38:02 [GUNSHOT]
01:38:04 - Francisco taught me the meaning of love.
01:38:07 Between a man and a woman.
01:38:09 For a family.
01:38:11 For a country.
01:38:14 Like his parents, Francisco and I had to go into exile.
01:38:16 Like them, we felt that whatever the pain or suffering,
01:38:21 we could not allow the truth to be buried.
01:38:24 Francisco had arranged our stay at the Aguas Calientes Spa,
01:38:29 where I could regain my strength.
01:38:31 The last part of our escape to the border was to be on horseback.
01:38:36 [MUSIC PLAYING]
01:38:38 - How do you feel?
01:38:40 - Better.
01:38:43 - After 10 days, we were warned that the military had picked up our trail.
01:38:46 - They're here. Get them.
01:38:48 Go, go, go, go!
01:38:50 [HORSE GALLOPING]
01:38:52 [HORSE GALLOPING]
01:38:54 [HORSE GALLOPING]
01:38:56 [HORSE NEIGHING]
01:38:58 [CHATTER]
01:39:00 [CHATTER]
01:39:02 [HORSE GALLOPING]
01:39:04 [MUSIC PLAYING]
01:39:06 [MUSIC PLAYING]
01:39:08 [MUSIC PLAYING]
01:39:10 [MUSIC PLAYING]
01:39:13 [MUSIC PLAYING]
01:39:14 [MUSIC PLAYING]
01:39:16 [MUSIC PLAYING]
01:39:18 - Francisco had told Gustavo the truth about Evangelina
01:39:22 and the hundreds of innocent victims.
01:39:24 [MUSIC PLAYING]
01:39:26 It wasn't until later that we heard of Gustavo's ill-fated attempt
01:39:30 to arouse the indignation of the officers of his generation,
01:39:33 to overthrow the dictatorship.
01:39:36 [MUSIC PLAYING]
01:39:39 Gustavo never breathed a word about Francisco and me,
01:39:42 or our escape.
01:39:44 [MUSIC PLAYING]
01:39:46 [MUSIC PLAYING]
01:39:48 [MUSIC PLAYING]
01:39:50 Francisco and I now planned how best to tell the story
01:39:54 of the lives entrusted to our memory.
01:39:57 [MUSIC PLAYING]
01:39:59 [MUSIC PLAYING]
01:40:01 [MUSIC PLAYING]
01:40:03 [MUSIC PLAYING]
01:40:05 [MUSIC PLAYING]
01:40:08 [MUSIC PLAYING]
01:40:09 [MUSIC PLAYING]
01:40:11 [MUSIC PLAYING]
01:40:13 [MUSIC PLAYING]
01:40:15 [MUSIC PLAYING]
01:40:17 - Good night, Chile.
01:40:20 [MUSIC PLAYING]
01:40:22 [MUSIC PLAYING]
01:40:24 [MUSIC PLAYING]
01:40:26 [MUSIC PLAYING]
01:40:28 [MUSIC PLAYING]
01:40:30 [MUSIC PLAYING]
01:40:32 [MUSIC PLAYING]
01:40:34 [MUSIC PLAYING]
01:40:37 [MUSIC PLAYING]
01:40:38 - The border's over there.
01:40:41 [MUSIC PLAYING]
01:40:43 [MUSIC PLAYING]
01:40:45 [MUSIC PLAYING]
01:40:47 [MUSIC PLAYING]
01:40:49 [MUSIC PLAYING]
01:40:51 [MUSIC PLAYING]
01:40:53 Francisco and I lived in exile in Spain for 15 years.
01:40:57 As a result of our work,
01:41:00 and that of hundreds of others fighting in the shadows
01:41:03 to expose the military dictatorship,
01:41:06 democracy was restored to Chile peacefully in 1989.
01:41:10 [HELICOPTER WHIRRING]
01:41:12 Francisco and I were then able to return to our homeland
01:41:15 and to our families and friends.
01:41:18 Our first visit was to lay flowers on the grave of Captain Gustavo Morante,
01:41:24 my gallant cousin.
01:41:27 [MUSIC PLAYING]
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01:41:41 [MUSIC PLAYING]
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01:41:45 [MUSIC PLAYING]
01:41:47 [MUSIC PLAYING]
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01:41:55 [MUSIC PLAYING]
01:41:57 [MUSIC PLAYING]
01:41:59 [MUSIC PLAYING]
01:42:01 [MUSIC PLAYING]
01:42:04 [Music]
01:42:07 [Music]
01:42:10 [Music]
01:42:14 [Music]
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01:43:41 [BLANK_AUDIO]