Part II The Baths — Chapter Five

On a perfumery’s rooftop terrace, Senlin confronts painter Philip Ogier after recognizing Marya in a canvas. Ogier withholds information, probing Senlin’s connection and motives while needling Senlin about his friendship with John Tarrou. The tense talk is framed by Ogier’s displayed key, which he later reveals is a concealed pistol.

Pressed, Senlin admits the woman is his missing wife and recounts her disappearance and his fruitless search. Ogier produces a small portrait of Marya, posed on the same terrace and bare to the waist. Overwhelmed by conflicting emotions, Senlin weeps, and Ogier, disarmed by the reaction, agrees to speak plainly.

Ogier explains that a month earlier he noticed Marya at the reservoir, distracted and statuesque, then found her following him to his apartment to ask about modeling. She returned, modeled for pay, and over several days told Ogier of tragedies, disappointments, and a plan to save herself and her husband.

Pivoting to his price, Ogier rejects money and proposes a bargain: he, too, has lost something—his greatest painting, seized by the Commissioner two years prior. If Senlin will steal the masterpiece back, Ogier will help him find Marya.