hammer. There's a bullet in the chamber, she remembered, there's a bullet there because I put it there—she remembered the metallic click-click —although maybe she just thought she'd loaded the chamber, but hadn't, and the bullet wasn't ready. She considered allthis with dispassionate calculation: Safety, trigger, hammer. Bullet. That was the right sequence of events—if, that is, that click-click had been real and not the product of her imagination. Because if it hadn't been real, the hammer was going to hit nothing, air, and Gato Fierros would have time to take it badly. Of course, whatever happened, things couldn't be that much worse than they were now. There might be a little more violence, or rage, in the last moments. Nothing that wouldn't be over within a half-hour or so—for her, for that woman watching her, or for both at once. Nothing that wouldn't stop hurting in a little while. And as she thought all this, she stopped looking up at the white ceiling and realized that Gato Fierros had stopped moving, and that he was looking at her. That was when Teresa raised the pistol and shot him in the face.
Up here was an acrid smell, the smell of gunpowder, and the report of the JL gunshot was still echoing off the walls of the room when Teresa pulled the trigger the second time—but the Double Eagle had jumped at the first shot, recoiling so much that the new bullet only took a chunk of plaster out of the wall. By that time, Gato Fierros was lying against the night table, gasping for air, covering his mouth with his hands, while through his fingers gushed streams of blood that also spattered his eyes, which were wide open with surprise. He was stunned by the blast that had singed his hair, eyebrows, and eyelashes, but Teresa couldn't tell whether he was screaming or not, because the noise of the gunshot so close had deafened her.
She'd gotten up on her knees in the bed, her T-shirt bunched up over her breasts, naked from the waist down, holding her right hand with her left so she could aim the third shot more accurately, when she saw Pote Galvez appear in the doorway, stupefied, his mouth agape. She looked at him again, as though in a slow-motion dream, and Pote, whose revolver was still stuck in the waistband of his pants, put both hands up in front of him, as though to protect himself, looking in fear at the Double Eagle that Teresa was now pointing at him. Under the black moustache his mouth opened to pronounce a silent "No," like a plea for mercy—although what may have happened was that Pote Galvez actually said "No" aloud and she simply couldn't hear it because she was still deaf from the gunshots. She finally decided that that must be it, because Pote kept moving his lips, fast, his hands out in front of him, looking at her apologetically, conciliatorily, speaking words she couldn't hear. Even so, Teresa was about to pull the trigger when she remembered the fist through the closet door, the Python pointed at her forehead, the "Güero was one of us, man, no seas cabron" And the "She was Güero's woman, man."
She didn't shoot. That sound of splintering wood kept her finger motionless on the trigger. Her naked belly and legs were beginning to feel cold when, never taking the gun off Pote Galvez, she backed up on the bed and with her left hand threw the clothes, the notebook, and the coke into the gym bag. As she did this, she watched Gato Fierros out of the corner of her eye. He was still slowly writhing on the floor, his bloody hands on his face. For a second she thought of turning the gun on him and finishing the job, but the other killer was still at the door, his hands outstretched and his revolver at his waist, and she knew with absolute certainty that if she stopped pointing the gun at him, the next bullet fired would be for her.
She grabbed the gym bag, and holding the Double Eagle firmly in her right hand, stood up and stepped away from the bed. First Pote, she decided, and then Gato Fierros. That was