So, you've been showing your work at the Perriers' salon?
Always something interesting happening there.
Alois': Maybe before the war more than now. But then I'm rarely out of my gallery.
You got a nice one. You might remember, I bought a Fougeron from you early in the year. I was a little short of asking so I threw in that watch I was wearing.
Alois': Ah, yes, yes, a good watch. Where did you hang the Fougeron?
Over my bed all spring. Then I sold it to Germain Seligmann in summer. I saw he was expanding beyond decorative arts, getting into paintings. I got a good price.
Alois': So are you a dealer or are you an artist, Mr. Du Lac?
I like to think I'm maybe both.
Alois': Mm. You are using a Rolleiflex and always at night? Very hard. Sometimes a Leica. Like this one?
That's in there by mistake. I didn't mean to bring that one.
Alois': Mm, you aim the camera straight but here, something fragile about this man.
If you knew the man you'd know he was anything but.
Alois': A happy mistake then? You caught the soul he is hiding. So... [lays out a photo on table] tell me... what do you see?
Frame of the door. The light on the street. The door across the street. The look he's getting from the stoop across the street.
Alois': Is the look a warning? "This is what happens if you play in the street," thinks the mother.
Or is it, the friend of the boy he used to play with? Can't anymore.
Alois': And what of the look of the boy who cannot play anymore? We are left to wonder.
Helluva shot. Who took it?
Alois': A young American like yourself. He has the eye.
Are you're saying I don't have the eye?
Alois': No, no. I think you do have the eye. Like I have the eye. We know it when we see it. You see it in yours? Only five prints left. You should buy one from me. Sit on it. Sell it to Seligmann when he moves into photography. You'll get a good price.
[Slams binder shut] Fսck you! [Storms off, slamming door]
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