Now as he worked, placing, bracing, wedging, lashing tight with wire, thinking only of demolition, working fast and skillfully as a surgeon works, he heard a rattle of firing from below on the road. Then there was the noise of a grenade. Then another, booming through the rushing noise the water made. Then it was quiet from that direction.

"Damn," he thought. "I wonder what hit them then?"

There was still firing up the road at the upper post. Too damned much firing, and he was lashing two grenades side by side on top of the braced blocks of explosive, winding wire over their corrugations so they would hold tight and firm and lashing it tight; twisting it with the pliers. He felt of the whole thing and then, to make it more solid, tapped in a wedge above the grenades that blocked the whole charge firmly in against the steel.

"The other side now, viejo," he shouted up to Anselmo and climbed across through the trestling, like a bloody Tarzan in a rolled steel forest, he thought, and then coming out from under the dark, the stream tumbling below him, he looked up and saw Anselmo's face as he reached the packages of explosive down to him. Goddamn good face, he thought. Not crying now. That's all to the good. And one side done. This side now and we're done. This will drop it like what all. Come on. Don't get excited. Do it. Clean and fast as the last one. Don't fumble with it. Take your time. Don't try to do it faster than you can. You can't lose now. Nobody can keep you from blowing one side now. You're doing it just the way you should. This is a cool place. Christ, it feels cool as a wine cellar and there's no crap. Usually working under a stone bridge it's full of crap. This is a dream bridge. A bloody dream bridge. It's the old man on top who's in a bad spot. Don't try to do it faster than you can. I wish that shooting would be over up above. "Give me some wedges, viejo." I don't like that shooting still. Pilar has got in trouble there. Some of the post must have been out. Out back; or behind the mill. They're still shooting. That means there's somebody still at the mill. And all that damned sawdust. Those big piles of sawdust. Sawdust, when it's old and packed, is good stuff to fight behind. There must be several of them still. It's quiet below with Pablo. I wonder what that second flare-up was. It must have been a car or a motorcyclist. I hope to God they don't have any armored cars come up or any tanks. Go on. Put it in just as fast as you can and wedge it tight and lash it fast. You're shaking, like a Goddamn woman. What the hell is the matter with you? You're trying to do it too fast. I'll bet that Goddamn woman up above isn't shaking. That Pilar. Maybe she is too. She sounds as though she were in plenty trouble. She'll shake if she gets in enough. Like everybody bloody else.

He leaned out and up into the sunlight and as he reached his hand up to take what Anselmo handed him, his head now above the noise of the falling water, the firing increased sharply up the road and then the noise of grenades again. Then more grenades.

"They rushed the sawmill then."

It's lucky I've got this stuff in blocks, he thought. Instead of sticks. What the hell. It's just neater. Although a lousy canvas sack full of jelly would be quicker. Two sacks. No. One of that would do. And if we just had detonators and the old exploder. That son of a bitch threw my exploder in the river. That old box and the places that it's been. In this river he threw it. That bastard Pablo. He gave them hell there below just now. "Give me some more of that, viejo."

The old man's doing very well. He's in quite a place up there. He hated to shoot that sentry. So did I but I didn't think about it. Nor do I think about it now. You have to do that. But then Anselmo got a cripple. I know about cripples. I think that killing a man with an automatic weapon makes it easier. I mean on the one doing it. It is different. After the first touch it is it that does it. Not you. Save that to go into some other time. You and your head. You have a nice thinking head old Jordan. Roll Jordan, Roll! They used to yell that at football when you lugged the ball. Do you know the damned Jordan is really not much bigger than that creek down there below. At the source, you mean. So is anything else at the source. This is a place here under this bridge. A home away from home. Come on Jordan, pull yourself together. This is serious Jordan. Don't you understand? Serious. It's less so all the time. Look at that other side. Para que? I'm all right now however she goes. As Maine goes, so goes the nation. As Jordan goes so go the bloody Israelites. The bridge, I mean. As Jordan goes, so goes the bloody bridge, other way around, really.

"Give me some more of that, Anselmo old boy," he said. The old man nodded. "Almost through," Robert Jordan said. The old man nodded again.

Finishing wiring the grenades down, he no longer heard the firing from up the road. Suddenly he was working only with the noise of the stream. He looked down and saw it boiling up white below him through the boulders and then dropping down to a clear pebbled pool where one of the wedges he had dropped swung around in the current. As he looked a trout rose for some insect and made a circle on the surface close to where the chip was turning. As he twisted the wire tight with the pliers that held these two grenades in place, he saw, through the metal of the bridge, the sunlight on the green slope of the mountain. It was brown three days ago, he thought.

Out from the cool dark under the bridge he leaned into the bright sun and shouted to Anselmo's bending face, "Give me the big coil of wire."

The old man handed it down.

For God's sake don't loosen them any yet. This will pull them. I wish you could string them through. But with the length of wire you are using it's O.K., Robert Jordan thought as he felt the cotter pins that held the rings that would release the levers on the hand grenades. He checked that the grenades, lashed on their sides, had room for the levers to spring when the pins were pulled (the wire that lashed them ran through under the levers), then he attached a length of wire to one ring, wired it onto the main wire that ran to the ring of the outside grenade, paid off some slack from the coil and passed it around a steel brace and then handed the coil up to Anselmo. "Hold it carefully," he said.

He climbed up onto the bridge, took the coil from the old man and walked back as fast as he could pay out wire toward where the sentry was slumped in the road, leaning over the side of the bridge and paying out wire from the coil as he walked.

"Bring the sacks," he shouted to Anselmo as he walked backwards. As he passed he stooped down and picked up the submachine gun and slung it over his shoulder again.

It was then, looking up from paying out wire, that he saw, well up the road, those who were coming back from the upper post.

There were four of them, he saw, and then he had to watch his wire so it would be clear and not foul against any of the outer work of the bridge. Eladio was not with them.

Robert Jordan carried the wire clear past the end of the bridge, took a ioop around the last stanchion and then ran along the road until he stopped beside a stone marker. He cut the wire and handed it to Anselmo.

"Hold this, viejo," he said. "Now walk back with me to the bridge. Take up on it as you walk. No. I will."

At the bridge he pulled the wire back out through the hitch so it now ran clear and unfouled to the grenade rings and handed it, stretching alongside the bridge but running quite clear, to Anselmo.

"Take this back to that high stone," he said. "Hold it easily but firmly. Do not put any force on it. When thou pullest hard, hard, the bridge will blow. Comprendes?"

"Yes."

"Treat it softly but do not let it sag so it will foul. Keep it lightly firm but not pulling until thou pullest. Comprendes?"