"Not at all-it's only age in myself that seems old."

"Twenty-seven is not old."

"Depends what you've done. My sister says everyone who's gonna make it is already on their way by thirty."

"That's not true; it's just the sort of thing your sister says. Anyway, you've still got three years-then we'll talk about what a failure you are. Okay? And, for the record, I hadn't achieved anything by age thirty."

"What were you doing then?"

"I was in Washington, I think. Working on the copydesk there."

"So you had made it."

"I'd hardly call that making it."

"But you had a career, a professional skill. Not something pointless like taking artsy pictures, which any loser with a digital camera and Photoshop can do nowadays," she says. "All the hours I spent in darkrooms, inhaling fixer fumes, fiddling with stop baths and plastic trays and tongs! What a waste."

"Nothing's a waste."

"Some things are. Like, let's face it, I'm not exactly taking advantage of my time here. I'm still not even fluent in Italian. And even though I live with a hard-core newshound, I don't know the first thing about what's going on in the world."

"Yes, you do."

"Maybe I should start reading the paper. Everybody at the party was so authoritative about stuff."

"About what stuff?"

"I don't know-parliamentary voting procedures and arms races in South Asia and U.N. tribunals in Cambodia. Then they turned to me and I'm, like, 'Hi, I used to work as a photographer's assistant, but now I hang out at Craig's place.'"

"Our place," he corrects her. "If anything, your place. And my colleagues are forced to know that stuff-it's their job."

"Well, exactly. I don't have to know anything."

"You want to restart the job hunt? I can put out feelers again."

"Do you think I should?"

"Well, you don't need to." This seems not to be the correct response. "But there's no harm in looking. Again, I'm happy to help. Just tell me what you'd like. Or did you want to get back into photography?"

"I don't know."

"What were you talking to Hardy about at the party-yoga classes, right? Would that be fun? I'm not saying it's the answer. I just don't want you to get sick of me, stuck in the apartment, washing socks."

Her birthday arrives and he gives her the turquoise bracelet and earrings, along with a subscription to an Italian photography magazine and a set of yoga classes.

She immediately makes friends in the class. They are all locals, artistic types who smoke too much, paint their bedrooms orange, and smell of damp wool. She is particularly sympathetic to a clumsy kid called Paolo. "I've never seen anyone more uncoordinated than this guy," she says. "Poor Paolo-can't even touch his toes. Totally incapable."

"Can I touch my toes?" Menzies attempts it. He groans, straining for his shoe tips.

Annika leaps up and hugs him.

"Thank you," he says, laughing. "What's that for?"

Her yoga friends urge her to bring in her portfolio to show around. But when she considers her old photos she is ashamed; they'll think she's an amateur. So she embarks on a new series. Her subject is the graffiti blighting historical buildings around Rome. They love the pictures and urge her to exhibit them.

With Annika out shooting or with her yoga friends, Menzies often returns to an empty apartment. Oddly, the place seems louder without her: motor scooters buzzing outside, footfalls pounding across the apartment overhead, the wall clock ticking. He prepares a sandwich for dinner and descends to his basement workshop, a room he rents to conduct science projects, his hobby since boyhood. He fiddles with balsa-wood models, browses back issues of science-and-technology magazines, and he daydreams. It is always the same daydream: about earning a patent.

If only he'd studied sciences at college! Then again, he'd not have ended up in D.C. and not have met her. He could still invent something, of course. A creation so remarkable it would force MIT to admit him. He'd earn his doctorate in record time. And he'd have Annika with him. If she wanted to come. But would she? Here in Rome, he has something to offer her: a desirable place to live, the romance of Europe. If all he had was student housing in Boston and debts…? But these are absurd thoughts. He's not an inventor, he doesn't have the qualifications, and he's far too old to obtain them now. He has a different life, a newsman's life, like it or not.

She's knocking at the door that leads down to his basement workshop. "I'm coming up now," he calls out. He finds her on the landing, leaning against the wall, wincing. She has done something to her back and must skip yoga for a while.

Over the next few weeks, she hangs around the apartment, drinking herbal tea, watching Italian variety shows. She is crotchety with him, then apologizes. Once healed, she resumes her photography project on graffiti but does not return to yoga.

One afternoon at the office, Menzies is reworking an awkward headline. He tries a few different versions, settling finally on the plainest, which is always his preference. "76 Die in Baghdad Bombings," he writes.

Arthur Gopal appears. He is Menzies' only friend in the newsroom. Occasionally, they take lunch together at Corsi, a bustling trattoria on Via del Gesu. At these meals, Menzies always wants to ask how Arthur is faring without Visantha and Pickle; and Arthur wants to ask about Annika, of whom he knows little. But neither poses personal questions. Instead, the subject is work, with Arthur doing much of the talking. Between mouthfuls of bean soup, he slanders colleagues ("Kathleen misses the point," "Clint Oakley can't even do a basic obit," "Herman is living in another era") and elaborates ambitions ("This old editor friend of my father's says I should work for him in New York "). Once he has finished speaking, Arthur adopts a dissatisfied air and spoons at his soup as if hunting for a lost cuff link.

On this afternoon, however, Arthur approaches Menzies' desk with an uncommon manner. "Have you checked your email?" he asks.

"Not lately. Why? Should I?"

"You got one from someone called jojo98. I strongly advise you to read it."

Menzies prints off a copy. But the email is in Italian, which he understands poorly. The message refers to Annika, and it includes an attachment. He clicks on this and a photo fills his screen. The quality is poor, as if taken with a cellphone camera. It shows Annika-evidently unaware that she is being photographed-on their bed, undressed, looking away. In the foreground is a man's hairy thigh, presumably that of the photographer. Hurriedly, Menzies turns off his monitor. "What the hell is this?"

"I have no idea. But it went to the whole staff."

Menzies stares at his blackened screen. "Jesus."

"I'm sorry to be the one to point it out," Arthur says.

"What do I do? Call her?"

"You should probably go talk in person."

"I can't just leave work."

"You can."

Menzies takes the stairs down, hurries across Campo de' Fiori, through the Ghetto, and crosses to the narrow sidewalk that follows the Tiber. He half walks, half jogs home, gazing down at the uneven path, then up at the traffic lights on Via Marmorata, then ahead at the tall metal gate of their apartment block.

He is here and wishes he were not.

He cannot go up. Their bedroom could be occupied. He goes down to his basement workshop and takes out the printed email. With an Italian-English dictionary, he pieces together the sentences. It claims that Annika has been having sex with another man while Menzies is at work. It says she plans to leave him, and that she and her lover are buying an apartment together. "When you sleep at night, your sheets are stained with his sperm," the letter says.

Everyone in the office (he closes his eyes at the thought-they all got this email) would expect him to barge into the apartment, waving the letter, swearing his throat raw, demanding, "Who is the asshole that sent this, and what the hell is going on?"