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At this moment, he and the two lawyers to whom he directly reports are in the meeting room, the jewel in the firm’s crown, not just for its decorative details (walls clad in English fabrics and all manner of framed items — even manuscripts by renowned jurists), but for the view onto the Praça da Matriz: you can see the tops of the jacaranda trees, the Court of Justice, the São Pedro Theatre, a bit of the Legislative Assembly, the top of the monument to Júlio de Castilhos. They have reached an impasse. Paulo who, as they have already mentioned, is only an intern, doesn’t want to agree to halving the percentage he receives from income generated around collection, payments and the termination of rental agreements that he calculates for the Chimendes Machado estate agency. Eleven months earlier, when the younger lawyer, the younger of the two sitting there at the table, had the idea of passing the estate agency account to Paulo in order to free up some of his own time and devote himself to prospecting for new clients, he made it almost impossible to refuse. Paulo didn’t like the imposition, the last thing he wanted at that point was to work exclusively for people who make their money exploiting those who don’t have a place of their own to live, and, on top of that, to have to put up with the unstable moods of Rafaela, the agency’s owner and one of the most difficult people to deal with he had ever met. Certain sacrifices can’t be justified in the name of experience. He knew that the new task was no more than a test. He treated it as a matter of honour. He decided to tackle the situation head on. He would get to keep a fifth of what the firm invoiced on the transactions; it wouldn’t be a fortune, but it would give him a nice little extra income. This recent idea to change their fee distribution came about when the partners realised that the sums being awarded to the estate agency under favourable judgments (following a change in the legal guidelines) had increased significantly, and it didn’t seem reasonable to them that an intern should be pocketing so much money. ‘It’s not my fault if the procedural criteria changed from one moment to the next, and Chimendes Machado expanded their portfolio of commercial and industrial properties and the value of the cases went up; it isn’t fair, you have to stick to what you promised,’ says Paulo, who has run out of patience with this conversation. He looks at his watch: one-fifteen. ‘I have to go to the Canoas Central Forum to deliver a foreclosure notice … As I told you earlier, I won’t be coming back into the office today.’ The lawyers say that they’ll have a think and respond in the coming days. The younger lawyer tells him to call from the Forum to ask whether they need him back in the office for any tasks that might come up. Paulo agrees, but only to be polite. There’s no way he’s coming back. He’s all set to see Maína, for what will be the third time. On their second meeting, they sat in a clearing on the bank of the Guaíba at the end of one of those many faintly sketched lanes that branch off the Estrada do Conde (a subsidiary road with pot-holed tarmac that connects the district of Eldorado do Sul to Guaíba), funnelling out until barely any cars come past; a tiny beach, just a dozen metres long, surrounded by rushes and elephant grass; a lovely, peaceful place, but dangerous in its isolation. This time they’ll go out to a plot of land on the Ilha da Pintada, a small, leafy, grassy place on the banks of the Jacuí river, surrounded by a wire mesh, with no constructions save for a little lean-to with a barbecue, a sink and a bathroom, the property of a former Varig pilot who is friends with his father. He just needs to stop at a little shop three hundred metres further up, say he’s a friend of the owner, collect the key that opens the padlock and that’s it.

Maína is wearing the blue skirt he gave her last time. They sit on the sawn-off tree trunks that serve as stools. Paulo has the exercise book that Angélica gave him. He has written a series of common words and phrases, and scratched out some illustrations and little maps, leaving half of the pages unfilled. He asks Maína not to move, he’s trying to draw her. She doesn’t do as she’s told. She takes off the skirt and shirt, takes the little All-Star skulls off her feet, and steps into the river. He doesn’t say anything, just watches her with all the modesty he can manage. She goes in until the water is just above her knees, turns towards him and lies face-down, dips her head under, and re-emerges saying that he should come in, too. (Her spontaneity is shocking.) A thirty-foot wooden launch appears in the distance, towing a fit-looking man of about forty on a single ski; the sound of the racing motor disrupts the silence. Paulo focuses, he simplifies his lines, completes the picture. It hasn’t come out well. He considers tearing out the page, ripping it up, and yet he won’t do it. Maína comes out of the water, lies on the grass. Paulo gets up, puts the exercise book down beside her, spots the same launch going past at a leisurely pace, without the man in tow. The minutes pass. Maína has dressed and her head is now resting on his right thigh. She thinks it’s funny when he surprises her with the battery-powered radio cassette player that he has brought to lend her. He explains how it works and she’s killing herself laughing. Now they are sitting on the blanket that he brought to lay on the ground. She knows he’s watching her as she leafs through the exercise book. Soon he is going to teach her some new words and they will discuss subjects she’ll only partly understand. Maína will take the pencil he used and write ‘Paulo’ over the drawing of her face, and will hand the exercise book back to him and ask him to write down the story she’s just told him, but using the words he would use if he were writing for his university friends (she will get the word ‘university’ right, both the meaning and the pronunciation), writing on alternate lines so that she can then copy it, letter by letter. In the story she told him there was a colourless girl who very much liked being kissed. One day the colourless girl was by the side of the road when a squad of bikers passed her and one of them threw an apple at her back. She almost fell over, she was hurt. They stopped a few metres on, took off their helmets, laughed at her. The day, which had been lovely and sunny, clouded over. Hurt, the apple looked sad, sadder even than the girl, that’s how he wrote it down. And she will watch the leaves on the trees and she won’t know when his leg has gone to sleep and the time has come for them to go.

Many days passed (as in any relationship, theirs created its own idiosyncrasies). There had already been a fifth meeting and a sixth, this is now the seventh, when he picks her up on the road and, in the gap between her opening the door and sitting in the passenger seat, he says, ‘Saturday’s fucking awesome, isn’t it, Maína?’ and they look at one another without a couple’s complicity but a couple just the same, without his immediately noticing the lipstick on her mouth, the cosmetic pink. Unlike the other times, Maína doesn’t have the bag full of papers and magazines to show him what she has read, only the exercise book and the four-colour pen that he brought the last time they met, along with the packs of batteries for the radio cassette player and a pink leotard that he saw in the window of Petipá, the gym-wear shop at the top of Protásio Alves, and bought for her. The exercise book now has Maína’s handwriting in green, a colour that makes the letters on the paper look as if they haven’t been written, as if they could simply be wafted away. Paulo has brought bags of savoury snacks, cans of Budweiser, mineral water, cans of Coke; Maína’s crazy about soft drinks. They have a picnic. She has prepared two stories for him to write down. He says he’s all ears. She laughs at the all ears and, without hesitating over the inaccuracies, she starts to tell the tale she has imagined. The first story tells of all the fooling around that happened between Indian men and women in the days when the land had no owner. The other is about an old Indian woman who spent her days on the road gathering up loose pages from newspapers and magazines that had been carried over on the wind, until one day, the day she was bitten by a lizard who wore a blazer (that was the word Paulo chose), she built a bonfire with all the paper she’d collected, and when the flames had grown till they reached the height of a man, a man who could embrace her, she put them on and, hankering after an impossible kinship, disappeared. Maína gathers all her things up from the ground, waits for Paulo to finish writing. Almost twenty minutes later, he hands her the exercise book, she moves closer and contrives a kiss on the mouth, then takes her clothes off. She gets into the Beetle, straight onto the back seat, asks him to get in too. Paulo walks slowly towards the car, sits next to her. Maína tries to kiss him, he evades her. There are consequences, more than he could have foreseen. She says a few words in Guarani; he puts his arms around her. Then he takes off his t-shirt and gives it to her to put on. Silence and the impossibility of a conclusion, although the insistence and the doubts will no longer appear on the pages of the exercise book she has dropped on the grass.