Tony, seated outside the Verbivore with a clear view of the Fedder fountain, notices that Theo repeatedly meets different people on the same south-side bench for private, serious conversations. Though Tony suspects the meetings are intentional, he waits to ask because Theo seems harmless and likely doing something good.

On a sunny morning, Tony finally questions Theo about what he is doing at the fountain. Theo agrees to explain if Tony keeps it confidential, then reminds Tony about Ellen’s portrait and recounts the epiphany Theo had in the Chalice, framing the giving of portraits as his life’s work. Tony is moved, calls the idea “crazy” but kind, and asks for a real conversation about why Theo feels compelled to do it.

Tony later invites Theo to a private evening talk in the closed, locked Verbivore, offering a special bottle of brandy so they can speak without interruptions. Theo arrives at eight, and Tony leads him through the cluttered shop into Tony’s office, where the lamplight and close seating make the room feel like a confessional.

As they drink, Theo and Tony chat casually about Broadway life and shared acquaintances, including Ellen, Shep, Simone, and the Penny Loafers. Tony mentions he saw Simone that afternoon; Simone asked Tony to say hello and reiterated that he would like to meet Theo to talk about cello.

After a second pour, Tony explains the brandy came from a Vietnam friend and connects it to a reunion when the Vietnam Veterans Memorial Wall was unveiled. Tony admits the Wall stirred long-buried feelings and then opens up about being drafted, being unprepared as a “quickie,” and how Vietnam damaged many soldiers. Tony describes his friend’s decades of addiction and instability, and recalls how, at the Wall, the two men unexpectedly broke down sobbing as vivid memories returned—ending with Tony naming the experience for what it was: hell.