Into the high country we ride. A lakeside idyll, sometime in the 19th(?) century. The picturesque scene exists in an achromatic epoch, though the attire of a delicate young maiden (possibly with child?) and the scurry of a man on horseback allows for an informed guess. No matter, the dissolution of this harmonious vision is merely around the corner: assertive stooges escort the damsel (yes, with child) to a solemn, possibly religious gathering where her father, “El Jefe”, awaits. His power: self-evident (henchmen everywhere, all others silent in deference); its nature: to be left unclear. Who impregnated his daughter? The girl in question admirably attempts defiance in response to her inquisition, but this is clearly a world with little to no room for such feeble feminist stances. A few seconds later, her arm now broken, she cries out: “Alfredo Garcia!” – and Fortune’s wheel can halt its turning. Destinies have now been determined: Sr. Garcia’s head is to be severed to appease this vengeful patriarch, and he who commits the deed will be rewarded substantially. For those that have it, money can buy anything. For those that don’t, it can buy a whole lot more.
But wait! This is not the 19th century. Cars pile out from El Jefe’s compound as his lackeys begin their hunt, and stock footage of aeroplanes suggest a temporal proximity that inverts our understanding to date. Furthermore, we soon learn that Alfredo Garcia is already dead – a fact that the lackeys remain oblivious to, but which certain others are only too happy to capitalise on; the task of severing the cursed man’s head now considerably alleviated. (Sanctity is a concept that went six feet under long before our ‘new’, contemporary setting.) One such other is Bennie, our irascible host for the remainder of this macabre adventure. A barfly-cum-pianist, he lives inside a permanent hangover; a gringo out of water, prowling the sleaze-dens of Mexico in search of lost time – not even a poor man’s hero. He barks and he snarls, primarily at women (male chauvinism is the prevalent order here), and he sniffs out the scent of a dollar like only a lamentably unlucky loser could. Still, a swipe of a blade and a theft of a head and the future shall be his. As he insists to the gay hitmen who hire him: “Nobody loses all the time!” (Oh yes they do, Bennie.) Is this what life has come to? Profiteering from death? Amorality colours the walls of every bar, every motel room, every heart. The shattered dreams of our exhausted troubadour have no place in the realm of social reality, and so they must be relocated – forced to lurk along the peripheries of plausibility. But surely, there must be something else… anything else…
Love! Elita. A battered siren, former flame of Alfredo Garcia himself; a woman so entrenched in resignation that she embraces a would-be rapist with a tenderness that betrays her history of heartache (worry not, for she “knows the way”). Is she Bennie’s saviour? Together, they enact a desperate, tequila-soaked romance invested with the transformative passion of fatalistic hope. Her conscience is yet to be savaged to the point of disrepair, so she attempts in vain (half-heartedness?) to save him from Fate. She: “Jesus, just being together is enough!”; He: “No it’s not, baby. It takes pan, bread, dinero.” Alas, salvation is not an option here, and so the pair must succumb to the capitalist vagary that’s orchestrated by an oversized bigwig whose name they’ll never know. Dinero, after all, will help them withstand the increasing desertification of their souls. No longer will the rivers of their miserable, septic little world flow with sorrow: a skull for deliverance equals an escape from perpetual mediocrity. Yes, it makes perfect sense. In pursuit of their happily ever after, Elita leads Bennie to Alfredo Garcia’s resting place – and, in an eerie twilight assailed by invisible ghosts, they unearth his casket. Its door – a portal into an alternate universe – is creaked open, and Bennie stares into the abyss. A momentary existential crisis is swiftly discarded, and a sword is finally raised.
There’s nothing sacred about a hole in the ground, or a man that’s in it. Or you, or me.
Welcome to the death march! Was it not that all along? How misguided we were to believe otherwise. (Did we really believe?) The road to Hell is paved with bodies… carnage, everywhere. Beware the no-hoper armed with no hope; the loneliest man in the world. Heroism is dead. Machismo is dead. Love is dead. Somewhere, a headless corpse is filling the world with howls of laughter. Perhaps a coping mechanism? Futile and cruel. Horribly cruel. Even drink won’t solve this quandary – there will be no release from the charnel house of emotions that we’re in. What to do? Where to go? Gaze into a mirror (who’s the fairest of them all?)… no, it’s too much. Rambling soliloquies in the company of decaying flesh clearly make better sense. Alfredo Garcia turned out to be the perfect wife! Alas, Bennie is not the perfect husband. How pitiable this soul is. How despondent, how pathetic. Blistering sadness now overwhelms the universe alongside the irrational and the absurd. We must sink to the deepest depths of despair – to lose oneself is to find oneself. STOP! A revelation: this road trip must continue. Drive! Drive through the eschatological wilderness and towards the maker’s hacienda. Escape from the quagmire and persist in the quest for truth, a truth that’s ceased to exist… that may never have existed. (Cruel. Horribly cruel.) The impending victory will be pyrrhic, but fear not for at least we have the slaughter. Yes, slaughter: a bloody ballet; a mesmeric act of beauty that relieves us from a wretched, thankless existence. Surrender to it. Surrender to the slaughter, Bennie. Surrender to life.