In exploring Andres Perez's La huida, staged by him in 2001 after a 25-year process of rewriting the script he wrote in 1975, this essay highlights his strugggle to convey deep personal trauma by narrativizing an undisclosed homofobic state murder perpetrated in Chile in 1929. Semiotic complexity, auto-reflexivity, and metatheatricality are all part of the radical turn that Perez took during this extended process between the time of the dictatorship to that of the post-conflict period. This study suggests that Perez's creative battle was anchored in the impossibility of naming the unnameable in the face of psychic, physical, and historical voids that combine the irradicable (trauma) and the irrevocable (death).