Desde una ventana, #Bataclan

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En el Boulevar Voltaire queda Le Bataclan, una sala de conciertos en el centro de París. Hasta el 13 de noviembre, agrupadas con #Bataclan solo se encuentran imágenes de diversión y juventud. La cantante Lesli cuelga un vídeo de su presentación. Otras bandas, como St Germain, que ha tocado el día anterior, comparten imágenes de su espectáculo. Hasta las 21.49 h de París, cuando @btabaka avisa que en la terraza del lugar se escuchan muchos disparos. Que los tiros continúan.

 

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Los terroristas abren fuego a las afueras del recinto. Dentro toca una banda de rock, Eagles of Dead Metal, que ha agotado las entradas. El aforo del local es de 1.500 personas. Los asesinos entran. Más tarde se sabrá que estaban armados con kalashnikov. En un espacio oscuro donde los cuerpos se apretujan, cuánto daño puede hacer un arma automática.

 

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El concierto había transcurrido con normalidad: luces de colores en el escenario, guitarras, coros. @bamfactory filma unos minutos, antes de que ocurra la tragedia. Está en la hoya de la sala, a pie de calle, lateral a la tarima, a varios metros de distancia. Cuelga un minuto y medio de vídeo, vía Periscope. Al final de la canción gira el teléfono y enfoca su rostro: piel tersa, cejas negras y gruesas, cabello corto pintado de amarillo, ojos achinados, boca grande. Tiene 585 seguidores en su cuenta de Twitter. En su tuit pregunta: “EN DIRECT sur #Periscope : Eagles of Deat Metal ! Headbangers r u here ???”

Tuit de @bamfactory, cuando comparte por Periscope los primeros minutos del vídeo.

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En Youtube circula ese mismo vídeo de Tiampa BAM, en una versión con más minutos, 5.23, compartido por Medyascope.tv. Se observa que después de enfocarse, Tiampa BAM, que vive en París y se define como “copywritter y karate kid”. Piercing en la lengua. Sube las escaleras de Le Bataclan, alfombras rojas, paredes oscuras. “Are you ready for rock and roll?”, se escucha que grita el cantante. Parece que Tiampa está sola. Abre una de las puertas que separan el pasillo de los palcos. Se asoma allí. Enfoca al grupo y luego a la multitud. Su cámara se dirige más hacia las cabezas que están un piso por debajo, iluminadas desde el escenario. La sala, en efecto, está repleta. La gente se mueve piel con piel, en ese acompasamiento que solo se logra en un concierto. Tiampa habla a cámara: solo me queda cuatro por ciento de batería (“My phone only has four percent left”). Se retira, baja los escalones nuevamente. Las imágenes comienzan a pixelarse, enmudece la toma de su móvil.

 

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La gente huye por el backstage, continúa @btabaka, quizás el primero que describe el ataque en Twitter. Tres minutos después, a las 21.52 h “siguen los disparos”, dice. Los gritos. Y una gran explosión, que hace vibrar los muros, a las 22 h. Desde su posición solo se puede suponer qué sucede adentro.

 

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Ya existía la alerta en Francia, ya habían comenzado a actuar los atacantes. Primero, en el estadio donde la selección nacional juega un amistoso contra Alemania. Difícil comprobar si un concierto repleto en pleno centro de París era el objetivo desde el principio. O si fue elegido al azar, durante una huida o el aborto de una misión inicial de uno de los comandos que no operó con sincronización. A las 22.05 llega la policía.  La televisión y las redes se hacen eco del atentado. Desde atrás de las paredes. Un móvil captura un minuto de disparos y gritos. El sonido de las sirenas de una ambulancia se alterna con el de las ráfagas de las AK, una veintena de balas al presionar el gatillo. “They are shooting again”, dice quien filma. El vídeo se cuelga en DirectActus y se comparte en el resto de redes.

 

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El intervalo entre los disparos marcan un nuevo mecanismo de tiempo. El silencio significa que la muerte se detiene también entre los que no han sido heridos. Sin embargo, hay quienes agonizan y aguardan. Un periodista de Le Monde, Daniel Psenny, filma en picado la puerta de salida de Le Bataclan. Una puerta en Passage Saint-Pierre Amelot sin señalización, una vía de escape, abierta, por donde se asoman los huidos y tras ellos las detonaciones. Cerca de las 22 h, desde que se inicia la visión, en 19 segundos logran escapar 25 personas. Ha habido un intento anterior: hay cuerpos tendidos. Muertos o heridos graves.

El pánico encuentra un símbolo: una mujer cuelga de una ventana. Ha intentado descolgarse por ese hueco al vacío. En la del segundo piso, alguien aguarda su turno para hacer lo mismo. Otro ha encontrado refugio en un pliegue de la pared, que le permite estar fuera, pero sin escapatoria si uno de los terroristas se asomara. La chica cuelga de sus brazos cuando comienza el vídeo y sigue suspendida cuando termina, casi tres minutos después.

Gritos, súplicas de hombres y mujeres desgarrados. La palabra más repetida: por favor. Una de las que yacen empuña el móvil encendido, como si la conexión fuera la garantía de la existencia. El puñado de personas que logra salir pasa por encima. Hay también otros cuerpos pero inmóviles. Uno de los que escapan se inclina y habla con la abatida. Otro, herido en una pierna, duda entre alejarse o aguardar. Puede ser él quien grite un nombre. Salta en un solo pie, frente a la puerta, sin soltar la chaqueta. Los disparos se hacen inconstantes. Pero los cuerpos tendidos a su lado demuestran que un terrorista ha estado allí, aunque ahora se entretenga en otra parte de la sala.

 

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El miedo no decapita la solidaridad. Entre los que pueden huir, entre los que habrían podido dejar una centena de metros entre ellos y el peligro, hay quienes retardan el paso para arrastrar a los heridos. Se alejan con ellos como pueden. Entre dos tiran de uno. Un tercero jala por las muñecas a otro que no alza la cabeza. Buscan la esquina. El rastro de sangre en el asfalto. Un minuto después, otras diez personas logran alcanzar la calle. Con cada oleada, los disparos. La chica de la ventana sigue colgando, intentando regresar a la ventana abierta del segundo piso. La luminosidad de la pantalla del móvil de la herida que permanece en la puerta se levanta un poco más. Sigue viva cuando el vídeo se apaga.

 

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El secuestro y la carnicería son largas y pacientes. Dos hombres, tres minutos de tiros ininterrumpidos, se lee en @jib_caillet. Otro: la policía pide a los transeúntes que corran, que se escondan. Las voces vienen de afuera.

 

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Alguien habla desde adentro. Benjamin Cazenoves escribe que hay heridos y que él permanece en el primer nivel. Suplica por Facebook la acción de asalto policial. Dice que los terroristas están ejecutando a los rehenes, uno por uno. Sus líneas son las únicas que encuentran eco, con varios retuits pocas horas después del suceso. ¿Es posible que fuera el único que quisiera compartir su desesperación y angustia en las redes sociales? ¿Y el resto de espectadores convertidos en rehenes? No hay, bajo el hashtag #Bataclan, ningún otro mensaje de un testigo durante el momento del asalto.  Todas las demás perspectivas en tiempo real ocurren desde fuera, o no han sido compartidas.

 

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Afuera, los heridos son atendidos por las unidades de emergencia. Los reportes aumentan la cifra de asesinados minuto a minuto: de seis a treinta. Sobrepasarán los 120 antes que acabe la noche. Algún medio ha asegurado que los secuestradores están abiertos a ninguna negociación. Los disparos no han cesado. La policía asalta el recinto. Abaten a dos terroristas armados. Una imagen muestra cómo salen los rehenes: los hombres jóvenes con las manos arriba, o en la cabeza. La incertidumbre sobre el número real de terroristas o cómplices les convierte en sospechosos.

 

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Cazenoves tuitea que está vivo, que ha logrado salir. Al parecer no está herido; al menos no de gravedad.

 

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Un superviviente, Julien Pearce, en France24, recuerda que las explosiones comenzaron en medio de una canción. Volteó y vio a dos tiradores con kalashnikov. Dice: disparaban con el rostro descubierto. Alcanzó a ver que eran muy jóvenes, alrededor de veinte años. Luego se sabrá que uno de ellos tenía treinta. El público se lanzó al suelo, es el reflejo natural, dice. Dos o tres personas me cubrían y eso salvó mi vida. Esperamos a que recargaran las armas y corrimos a la sala técnica, a la derecha, aprovechando la oscuridad. Junto a otra decena de personas vieron que no había escapatoria: el cuarto no tenía salida. Se movieron en otra dirección, en medio de las explosiones y los disparos. No puede decir qué pasó exactamente. La gente corría hacia una puerta que daba a la calle. Instintivamente, prosigue, giró la cabeza cuando estaba en medio de la sala, y vio a un hombre que ejecutaba a las personas que permanecían en el suelo. Corrió, recuerda. Encontró a una chica seriamente herida de dos balazos, sangraba y había perdido el conocimiento. La colocó en sus hombros y corrió a la calle.

Julien Pearce en France24, durante su testimonio.

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Los últimos segundos del vídeo de Tiampa BAM son mudos, y las imágenes, poco nítidas. Filma a un hombre vestido de oscuro, que se dirige a la entrada del recinto, desde el corredor de alfombras rojas. Pareciera que avanza raudo, que lleva algo en los brazos. Pareciera apertrechado. No hay sonido. Siempre desde la misma posición, Tiampa primero lo captura de espaldas, bajando escaleras. Luego, de lado, atravesando una zona de descanso. Por último, parece tenerlo encima, cubriéndola. Filma su rostro a contraluz en primerísimo primer plano. El teléfono se apaga.

 

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Tiampa BAM no ha vuelto a tuitear. Sus amigos le preguntan si está bien, una le envía bendiciones y otra le pregunta si ha autorizado la divulgación de su vídeo a Reuters. Tiampa calla.

 

El vídeo de Tiampa BAM emitido por el canal de Medyascope.tv en Youtube.

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En réplica a un tuitero que deja entrever su muerte, que escribe RIP junto a su nombre, ella habla el domingo en la noche. Está viva, tuvo suerte, dice. ¿Hace falta más palabras? Nada dice de su testimonio visual trasmitido en Periscope. En el bucle digital, qué vemos, qué creemos ver.

 

*Imagen portada: Tiampa BAM durante el concierto de Eagles of Death Metal.

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