3 months and two weeks.

  The dealings in the correal facility had ged for better or for worse some time ago. The waters had been stirred by the relentless struggle for traband in the facility, even if it was of minimal quantity and minor aspects. For these kids, it was a serious task, almost ughable that a child could be involved in something so futile.

  But again, everything is futile in the eyes of the critics. Yet, for these kids, it is life. Every inch they fight has a purpose in their minds.

  -Damn it, you have to talk to Buggs; this silent war 't go on like this. – Austin growled. For such a small body, the hatred he held for everyone was arming, but beyond that, he was afraid of beien and losing fa front of those who followed him, who were not much different.

  -I think you should let the war tis course. – Thomas F. said.

  -I don't think it's very advisable. – said Thomas's twin brother.

  -Obviously, it's not. The promise of a trao an even worse correal facility is bad. Here we are big fish, but we swim in a small pond. My father went to prison in California and cryptically mentiohat there are very dangerous people, but there are pces even he would hesitate to get into. – Austin said.

  -The's bury the hatchet in the new o's high time to ie that kid who arrived three months ago; some good beatings will make him decide which side he's on. – Thomas D. said.

  Austin strutted, and an idea illuminated his mind. Like two stars in the sky, the idea that crossed his mind would bring good retions with some people who would provide apparent solutions.

  -Yes, what a great idea, send regards to Dog Face. – Austin said, looking at the seven little kids, their young and tender faces. – Aake care of pnting the mole seeds; our little friend will suffer a beating. We'll see how he breaks and cries like a baby.

  -That's easy, but I need help. The rooms are monitored, aering a room that's not mine would raise suspis. – Andrew said.

  -Too bad he lives in the new corridor with the newers. About 20 people entered i five months. – Benson said.

  -Just give it a try. – Austin said, desperate for Andrew and Benson's objes.

  -Calm down; they'll carry 100 grams of marijuana, enough ter a lockdown and implement search measures throughout the prison. If you act hastily, the pn will backfire with Buggs and Dog Fa us. – Thomas, the quiet twin, said. Thomas A. is a vengeful aful character.

  -I don't see what's so difficult about it. – Austin said. He didn't like admitting he was wrong; it made him weak. – If you 't, we think of other things, simple as that.

  Austin walked through the living room, an old and depressed hall, formerly an arts hall that ended up being abandoned, he s. They spoke softly because guards made rounds now and then, and they only used it to pass the time. Nothing was as dangerous as the sed floor, which was stantly visited by teachers.

  Austin g the hallway, and it was deserted, as deserted as it could be at this hour. Everyone was focused on sports, music, or art csses. Some were even doiain heavy tasks to earn points in the prison, like washing clothes, hanging them, washing dishes, or serving in the administrative offices.

  -Everyone knows this damn correal facility has a system. We make some deals to gain privileges, and those privileges, in turhe gale. If we act bravely, it won't be long before we have better luxuries, get basketball magazines, cigarettes, and if possible, some dy. – Austin said.

  Everyone fell silent, knowing how troublesome this guy was.

  **************************************************************Principio del formurio

  Ohird floor, in the musi, Spencer tinued w hard to uand the piece; he hadn't quite warmed up to the guitar position. What else could he do but repeat a? He used soft tonalities, iwined with fast chords, sustain, some with pull-offs—a teique pying a high hout letting the sound escape, pying a low one—plicated, not so much, but something unseen for a novice.

  The sound of the piano reached his ears, and his eyes were amazed at the skill of the young boy with the music. The music teacher raised his head as if this added more tration. He was focused on his guitar, fetting that he was teag these three kids. Iingly, Pablo was there, something that never happened; he had never been there more than for a css. He looked up and down the room and then tried to produe effects on the small drum given by Spe the beginning of the css.

  Billy pyed the melody of "La Donna Inmovile"[1] with ease. His fingers danced on the piano as if it were a practice he had been aced to for many years. Two months had passed, and the little troublemaker already mastered a song, not very plex for the piano but of intermediate difficulty.

  Spencer made a face upon hearing Billy's stumble, a discordant hit of keys, poorly pyed, but he tinued.

  The boy stopped and began to sing as if it were something he would do after chatting with friends, as simple as breathing. Spencer's open mouth was just an indication of what the 14-year-old boy was doing, even if it wasn't perfect, and he sang it softer and not as extended and loud as Pavarotti's CD, which he had brought to teach him. He did it so wonderfully.

  Even Pablo, the little mouse who couldn't stay still for a miopped and listeo the soft melody, with some amazement, with some surprise at the gentle melody. or set his drum aside and started to listen to the soft melody.

  …

  La donna e mobile.

  -La donna è mobilequal piuma al ventomuta d'atoe di pensiero.

  Sempre un amabileleggiadro viso,in pianto o in risoè menzognero.

  La donna è mobilequal piuma al ventomuta d'atoe di pensier’.

  è sempre miserochi a lei s'affida,chi le fidamal cauto il core!

  Pur mai noesifelice appienochi su quel senonon liba amore!

  La donna è mobile;qual piuma al ventomuta d'atoe di pensier’.

  …

  It ended as quickly as it began.

  -Bravo, bravo! Magnifit! Impressive. – Spencer said, raising his hands and appuding as if it were something majestic.

  or nodded and tinued pying the drums. With great care. With the delicate delivery that he did every day, with repetition and work noting every song.

  -My goodness, that was surprising. – Spencer said more calmly, approag Billy. – Boy, e on, I'll help you polish the song. If you focus your work on the hand py and refine some vootes, it will be a spectacle to see you. – he said.

  -Thank you, maestro. I'll do everything in my power to keep improving. – Billy said.

  Speook a seat in a small chair, pointing out all the mistakes made throughout his performance, from some tuning issues to how to py some notes more easily while pying the piano.

  -Of course, boy. One of the big problems is that you don't know how to differentiate between musiotes. You must uand that a high note is not sung the same way as a low note. Pay attention to your singing; you're imprinting a different song because you ge some tempos in your tone. You even iently reduce the time on the piano, but you must be careful. Tomorroill have ear training. – Spencer said.

  -Ear training? – Billy asked.

  -Yes, it's a training only used in some people to help them identify notes, scales, or melodies. Tomorrow, we'll have basic training, and we'll do exercises for 15 minutes. For now, focus on the song. – Spencer said.

  Billy nodded but was lost in his mind about the song and how he ying it.

  [1] The song is on YouTube; search for "La donna e mobile" piano instrumental. It's one of the best songs, sung by Pavarotti and Andrea Bocelli, but, in general, it's characteristic of opera. For a singer, it's demanding to the point that only a few sing it well, a true masterpiece. It's worth listening to on a lifetime; then, time will prove it's a great song.

  ....