Camila has moved backward another six years as she recalls teaching in Cuba in 1935. Her life is busy with classes and spearheading a women’s protest to gain the vote. While she is planning her latest march, a stranger approaches. The narrator describes Camila’s reaction to him: “A large mulatto with a handsome, big-featured face and a body that, because she has been printing placards, she instantly thinks of as ‘all in capital letters’ comes forward and introduces himself” (148).

His name is Domingo, and he speaks with a stutter as he explains that he has been commissioned to sculpt a bust of Camila’s father. The Cuban government is planning to present the statue to the Dominican government. Although Pancho is dead, Domingo explains that he can capture the man’s spirit if his daughter will pose as his model. Camila warily agrees because this is one more task to add to her overloaded schedule. She goes to Domingo’s studio and sits through several sessions. It takes many conversations about Pancho to give the artist a feel for the man himself. Camila finds herself attracted to Domingo, but this is confusing given her earlier romantic interest in Marion.

After one of their sessions, Camila returns home to find an embassy car parked in front of her house.