By Isabel Vincent
Julio Santana dropped to his left knee and propped his right elbow on his hip, holding firm his hunting rifle until he had the man known as Yellow in his sights.
It was Aug. 6, 1971, and Santana was 17 years old.
In his village, deep in the Amazon rainforest where he lived in a hut with his parents and two brothers, he was known as a good shot. But he had only ever hunted forest rodents and monkeys for food. The man he was about to kill, Antonio Martins, was a 38-year-old fisherman with blonde hair and fair skin. Julio had been watching Yellow under a stiflingly hot forest canopy for three hours, and now wasn’t sure he could actually bring himself to pull the trigger.
Yellow had raped a 13-year-old girl in a nearby village, and her father had hired Santana’s uncle, a professional hitman, to kill him. Julio knew that in the sprawling and lawless Amazon, locals had taken the law into their own hands for hundreds of years. Still, he was shocked to find out that his favorite uncle — a military policeman — was also an assassin-for-hire. And now he was passing on his latest assignment to his nephew, hoping to recruit him as a contract killer.
Santana was reluctant, fearing that he would go to hell for killing another human being, but when his uncle, Cicero, explained how Yellow had tricked the girl, promising to take her to see the pink dolphins on the Tocantins River before raping her in his canoe, Julio began to change his mind.
To seal the deal, Cicero, too sick with malaria to do the hit on his own, told his nephew God would look the other way. All it took was 10 Hail Marys and 20 Our Fathers after the murder, he said.
“That way I guarantee you will be forgiven,” said Cicero.
Gripping his rifle, Santana stared straight at Yellow’s chest as he stood in his wooden fishing boat in a clearing near the river. He knew that at just 40 yards, he couldn’t possibly miss his target. When the shot rang out in the stillness of the forest, Santana saw a fleeting look of terror cross his victim’s face before he fell dead into the bottom of his boat. Later he would get rid of the body, gutting his victim and throwing him into the river where schools of piranhas would devour the remains.
“Never in my life will I kill anyone, Lord,” he said. “Never again.”
Santana would remember that first kill for the rest of his blood-drenched career.
Even after he had taken nearly 500 lives to become the world’s most prolific hitman, the look on Yellow’s face in the moment before he died would haunt his dreams for decades.
Santana had few aspirations in life. Like most young men in the Brazilian hinterland, he seemed “destined to become a peaceable fisherman lost in the depths of the rainforest,” writes award-winning Brazilian reporter Klester Cavalcanti in his new book “The Name of Death,” which chronicles Santana’s career. In Brazil, the book has also been adapted as a feature film.
Cavalcanti said he came across Julio on a reporting trip to the Amazon 10 years ago to investigate modern-day slave labor.
“A federal police officer told me that it was very common in that region for ranchers to contract hired hit men to kill fugitive slaves,” Cavalcanti, 49, told The Post. “I told the officer that I would really like to interview a hitman and he gave me a number for a pay phone and told me to call it at a certain date and time.”
When Santana answered the pay phone in Porto Franco, the small town in the outback Brazilian state of Maranhao where he was living at the time, he was reluctant to speak to the reporter.
“I spent seven years convincing him to talk to me about his life,” Cavalcanti said. “We spoke about everything and not just about his job. He spoke about his childhood, his relationship with his parents and his brothers and the quiet life he lived in the forest as well as the internal drama that he faced when he started to work as a hired killer.”
For his part, Santana, now 64, told The Post in an interview over e-mail last week that while he was pleased with the “honest” way in which Cavalcanti told his story, he was less pleased with the film that seemed to glamorize his profession.
“The true story of my life is much sadder than anything you can imagine,” he said.