In New York City on September 7, 2013, Henry Strauss revels in the aftereffects of his bargain: wherever he goes, people are drawn to him, and he feels “drunk with power.” The attention is intoxicating, and Henry leans into it, even as he notices something unnerving in others’ eyes—a foggy, frosted look that reminds him the attraction is unnatural.

At a coffee shop, Henry runs into Vanessa, a barista who had given him her number. She isn’t angry that Henry never called; instead she flirts and helps him fix it on the spot by entering her number into his phone and calling it. Henry leaves buoyed by how easily he can get what he wants now.

Outside, Henry is stopped by Dean Melrose, the academic who previously pressured Henry out of his PhD track. This time, Dean Melrose is all praise, offering Henry an opening in the theology school and insisting Henry would be “perfect.” Henry protests that he never finished because the dean forced him out, but Dean Melrose apologizes and asks Henry to come interview, handing over a card; Henry refuses verbally, even while privately admitting he misses structure and purpose.

Later at the bookstore, Bea is waiting and treats Henry largely the same as always. When Henry presses her to say whether he looks different—or whether she wants him—Bea points out lipstick on his neck, then laughs off the idea of attraction, reminding Henry she is a lesbian. Henry, unable to explain the real reason for his questions, drops the subject.

Bea then shows Henry research she calls “the ghost in the frame”: three artworks from different eras that appear to depict the same freckled young woman. Henry is skeptical until Bea has him count the freckles—seven in each image—and argues the repetition across centuries is too consistent to be simple influence. Henry warns Bea that the idea will be dismissed as too “esoteric,” and Bea, frustrated, curses, grabs a huge book, and storms out of the shop.