Free Without Blood by Alessandro Baricco Page B

the floor. She 10

    looked at the light, and the dust that came from up there. Every so often she saw a shadow pass, and that was her father.
    Salinas crawled over beside El Gurre, behind the woodpile.
    “How long would it take Tito to get in?”
    El Gurre shrugged his shoulders. He still had the sneer on his face. Salinas glanced at the farmhouse.
    “We’ll never get in from here: either he does it or we’re in deep shit.”
    El Gurre lighted the cigarette. He said that the kid was quick and could manage it. He said that he knew how to slither like a snake and that they would have to trust him.
    “But we’ll need a little distraction.”
    Manuel Roca saw El Gurre emerge from behind the woodpile and throw himself to the ground. From that position the machine-gun volley arrived punctually, prolonged. I’ve got to get out of here, Roca thought. Ammunition. First ammunition, then crawl to the kitchen and from there straight for the fields.
    Wait. El Gurre isn’t stupid, he must have someone behind the house, too. But no one’s firing from that direction. If someone were there, he would be firing. Maybe El Gurre isn’t in charge.
    11

    Maybe it’s that coward Salinas. If it’s Salinas, I can handle it.
    He doesn’t have a clue, that Salinas. Stay behind your desk, Salinas, it’s the only thing you know how to do. But first go screw yourself. First the ammunition.
    El Gurre was shooting.
    Ammunition. And money. Maybe I can take the money with me, too. I should have run immediately, that’s what I should have done. God damn. Now I’ve got to get out of here, if only he would stop for a second, where did he get a machine gun?
    They have a car and a machine gun. Too much, Salinas.
    The ammunition. Now the money.
    El Gurre fired.
    Nina heard the windows pulverize under the machine-gun shots.
    Then leaves of silence between one burst and the next. In the silence, the shadow of her father crept between the glass. With one hand she adjusted her skirt. She was like an artisan intent on refining his work. Curled on her side, she began eliminating the imprecisions one by one. She lined up her feet until she felt her legs perfectly coupled, the two thighs softly joined, the knees like 12

    two cups one inside the other, the calves barely separated.
    She checked the symmetry of her shoes, paired as if in a shop window, but on their sides, you might have said lying down, out of exhaustion. She liked that orderliness. If you are a shell, order is important. If you are shell and animal, everything has to be perfect. Precision will save you.
    She heard the pounding of a long volley. And right afterward the voice of a boy.
    “Put down the gun, Roca.”
    Manuel Roca turned his head. He saw Tito standing a few yards away. He was pointing a pistol at him.
    “Put down that gun and don’t move.”
    From outside came another burst of gunfire. But the boy didn’t move, he stood there, gun pointed. Under that rain of shots, the two stood motionless, staring at each other, like a single animal that had stopped breathing. Manuel Roca, half lying on the ground, looked the boy in the eyes, as he stood there, in the open. He tried to comprehend if he was a child or a soldier, if it was his thousandth time or his first, and if there was a brain 13

    attached to that gun or only blind instinct. He saw the barrel of the gun tremble just perceptibly, as if it were making a tiny scribble in the air.
    “Stay calm, kid,” he said.
    Slowly he placed the rifle on the floor. With a kick he sent it sliding into the center of the room.
    “Everything’s okay, kid,” he said.
    Tito didn’t take his eyes off him.
    “Quiet, Roca, and don’t move.”
    Another blast arrived. El Gurre was working methodically.
    The boy waited until he finished, without lowering his gun or his gaze. When silence returned, he glanced toward the window.
    “SALINAS! I’VE GOT HIM. STOP IT, I’VE GOT HIM.”
    And after a moment:
    “It’s Tito. I’ve got