When the two women arrived at his studio, he welcomed them. Mary, he could see, was both pleased and a little self-conscious. The first thing he did, therefore, was to show her some of the better portraits he had done. She supposed that this was so that she might admire his work, but his real purpose was different; and it was not long before, by watching her expression and listening to her comments, he knew exactly how she would like to look herself.

For the art of the commercial photographer, he’d found, was surprisingly close to that of the painter. Your subject had to sit still, of course—depending on conditions the exposure might be more than thirty seconds. Then there was the color of the lights he used—often he found a blue light gave a better result—and also the direction of the light. By placing his lights well—that is to say, by letting his subject’s face cast shadows—he could show the true volumes of the head, the structure and stress lines of the face, the character of the sitter. Sometimes he was able to do this; but usually, a revealing picture was the last thing people wanted. They were hoping for something quite different, something fashionable, something conventional, something entirely uninteresting. And he was used to obliging them, hoping that, with luck, the session might present enough of a technical challenge to amuse him.

Mary’s hopes were simple. She just wanted to look like a lady, and a little younger than she was. And in twenty minutes he was able to make a portrait of her, sitting on an upholstered chair, before a velvet curtain and a table supporting a placid urn—a picture which, he was sure, would give her great joy, and be given to her family so that, one day long hence, someone could say: “See, that was how your Aunt Mary looked when she was young. Quite a handsome lady.”

Gretchen’s case was different—she already had the portraits she needed. In recent years, though, he had observed some subtle changes in his sister. Partly, of course, it was because she had listened to him talk about his work, and she had begun to understand the difference between the interesting and the humdrum. But there was something more than that. He’d detected it several times lately: a mischievous humor, a sense of adventure, even a trace of anarchy, perhaps, under her well-ordered exterior. Could it be that Gretchen had secret depths?

“It’s time,” she announced, “for our tableau.”

He wasn’t sure why, but Theodore knew what he wanted, now. It was a backdrop he hadn’t used for some time. Most people would have felt it was out of date. He went to the back of the studio, found what he was looking for and hoisted it up.