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Note: In the world of espionage a "velvet interrogation" is one in which the subject doesn't know it's an interrogation at all.
]
Chapter One: Chet
"I think the camps possibly seemed worse than they really were because I was in a cushy environment one day and then in the camps and then back to a cushy environment. I suppose for those in the camps it wasn't that much different from the conditions they had always faced. I wasn't in Saigon long in my previous assignment—but quite a bit longer than in the camps—and it was wall-to-wall tension the whole time I was in Saigon. That's what being in the camps was like for me, if not the residents of the camps, but worse, because each trip was bookended by life in the Paris of the Mideast—Beirut—which was then steeped in an atmosphere of false euphoria somewhat like Berlin had been before the outbreak of World War II. I had a lump in my throat the whole time I spent in the camps. Feeling like my mouth was full of cotton balls whenever I spoke. And trying not to let my voice quaver and reveal how I really felt."
"That's a fascinating observation. And on that first trip you made to the camps, you met Nabil?" Malcolm Moorhead asked, in his familiar voice. Familiar to millions of viewers, his weekly political interview show was one of the top-rated television programs in the States.
"Yes. Yes, we didn't fill all the seats with the people we had come to get. A lot wouldn't believe us and wouldn't leave."
"And that involves Nabil?"
"Yes." I sipped some water from the glass on the small table beside me, remembering that day. Still vivid after nearly twenty years. Grateful now that I was letting it all flow out of me—well, most of the story at least. I kept a large part of what Nabil was to me withheld. It was something that Malcolm Moorhead was interested in doing this interview for his show after all these years. It would be more interesting, but surely banned, if I told him the full story. And the full truth would mean disaster to Nabil. That was what I had to come to grips with before the interview: what I wanted for Nabil. This interview wasn't about me—wasn't to feed my vanity.
"I was not supposed to be there alone, but we were suddenly without the Marine who was supposed to drive the bus—and to back me up in case of trouble. On such short notice, I went alone that time because I knew how to drive the bus and we were under a time constraint—the Israelis had given us a very small window of opportunity—and there was no one else at hand who could go with me."
Moorhead sat across from me, cameras going, and him giving that welcoming, sympathetic look he so professionally had mastered.
"I had been driving one at home, in the States, before I took my first foreign assignment," I continued. "A church youth group bus. The call to go to the camps came in for this quick extraction trip into the camps, and my usual driver was off sick with stomach flu. So, either I went alone, or the mercy trip was canceled. I would have gone anyway. I determined who got on the bus. Now, however, it was just me, no one else to share the responsibility and the horror with me."
I realized I was repeating myself and talking in circles. I wanted to convey how much more terrifying it was to be doing this alone that time—which, I think went far in causing me to lower my guard where Nabil was concerned—but I was making a hash of this, so I just clamped my jaw shut and hoped that Moorhead would ask a question that moved me out of this failed attempt to make him and his viewers understand the full horror of what I'd experienced, and to mention the foundation on why Nabil meant so much to me.
"Nabil went with you or he was one of the passengers on the bus?" Moorhead was prompting me. I felt in a muddle and suddenly reluctant to talk about it. But here I was, and this was what I was supposed to talk about.
"He became one of the passengers on the bus."
"And when did you first see him?" Moorhead asked/
"Nabil?" I frowned and gathered my thoughts before resuming. "After a couple of hours I knew some of those on the list were never coming with me, so I began to say yes to anyone who looked like they could fill someone else's place. Similar age, gender, look. I had papers for every seat. There were quite a few young men who stood around looking at us. It got quite scary. They no doubt were combatants—the ones the Israelis wanted to neutralize. Ones who would cause me trouble at the checkpoints if I tried to get them through. But old people would queue up asking if I would take their sons, saying their sons had futures if they could only get out of the camps. How could I tell them that it was their sons who had brought the destruction down on the camps or that it was their sons who were the targets for what was to come? Then this young man turned up and said, 'Who would want to go with you? Who trusts you?'
"I was getting frustrated with no one believing me, but I told him why. I told him the Israelis had told us they would bomb the camps."
I stopped there, not wanting to delve deeper into this, damning myself for creating the opening. How could I tell a recording TV camera that—against all of my instincts to harden my heart to the young men milling around and looking threatening—I was attracted to Nabil from the start—by his striking good looks. His beauty, actually. Somewhat androgynous then, when he was not much more than a teenager. He would have been beautiful no matter what gender he was. That was then, of course. Later he grew in stature and commanding musculature and hardened up into a handsome, masculine man. Always the sort of engaging personality that served him well in what he has become. How could I tell Moorhead that I was immediately attracted to Nabil in a way that none of the other Palestinian refugees affected me—that, immediately, I was concerned for him; didn't want him to suffer what I knew was coming from the Israelis? What was coming especially to male youths his age.
I rushed on, protecting myself from what Moorhead could have asked that would open the Pandora's box of this interview.
"'Who believes the Israelis?' Nabil answered me. His tone was sarcastic, and for a moment I was afraid that he was egging on that muttering group of other men milling around outside the bus to start trouble. I told him that I did—I mean that we, at the U.S. embassy did.
"Nabil asked me why. And I told him that it was because the Israelis usually did what they say they would do. He looked at me for a moment; then he walked away from the bus. But as I was getting ready to leave, still with two empty seats, he came back with a backpack and said, 'I am going with you.' I wasn't sure I could get him past the checkpoints. I didn't have permission to take any young man—men his age were the targets of the Israeli action that was to come.
"I paused for a moment, but he repeated, insistently, 'I am going with you.' I grabbed his backpack and told him to open it. He looked at me as if he wouldn't; then he did, and it was just clothes. And some books, in English."
I paused here and looked at Moorhead, willing him not to ask if I remembered which English-language books Nabil was carrying. I certainly remembered one—Gore Vidal's
The City and the Pillar
, a story of the coming of age of a gay man—which caught my attention. I don't know if that was when I decided to take a chance on letting Nabil on the bus. Probably yes. But I certainly didn't want to tell Moorhead that.
Moorhead didn't ask and I continued. "So, I decided he didn't want to get on the bus to cause trouble. And I took a risk. I had papers to cover two young women. So, I looked around on the bus for a woman of his stature—Nabil wasn't tall, and he was thin. I had him dressed quickly in woman's clothes. Credit to the others on the bus, not one of them objected to my trying to save a young Palestinian man. My problem then was to move quickly so that they didn't start demanding that I try to save more of them. We managed to get through the checkpoints without any of the soldiers taking notice of him."
I expected Moorhead to pursue my motivation for taking such a risk for a young man, and I was prepared to say that I had the two empty seats, I wanted to save as many as possible, no one else was showing willingness to go, and it was time we had to leave, so at that point I was willing to do anything to save another life. But Moorhead just smiled at me and moved on with his questions.
"You reached Beirut." Moorhead asked in a low voice, almost a monotone. "Was that a difficult journey? And then what happened? Nabil wasn't on your original list, was he? So, you didn't know Nabil at all before that time. And yet your association with Nabil doesn't end there, does it? It's a long way from a refugee camp to the University of Virginia; to Washington, D.C.; and back to Lebanon. And here we have Nabil campaigning for the presidency in Lebanon—and very likely to win. So, this is a pivotal story in his rise to prominence, isn't it?"
This was the crux of the interview. The interview wasn't about me, really. The interest after all of these years was in Nabil Shalili, a rising star in Lebanese politics. And here I had his life and future in my hands. If I told Moorhead what I actually knew, it would blow the top off of Nabil's candidacy—and life. Or I could burnish his legend, help him. I had known this when I came into this interview. I knew Nabil was the center of the interest; I knew I held his life in my hands. So, I knew too where I would take the interview; I'd had time to review what Nabil meant to me—and to decide how to depict him to the public.
"Yes. It's a long way," I answered, brushing aside the invitation to say why I had taken this risk for Nabil. "In Beirut . . ." I sipped more water, this was the hard bit, I had no idea how much Malcolm knew. Or how much his researchers had dug up. I had come because Nabil had asked me to. He wanted me to, which surprised me. There were secrets that could hurt us both, and that could destroy him. But I'd already decided what I would say in this interview, what I would reveal and what I would hide for as long as possible, so I cleared my throat and continued.