Back on the road, he squeezes my hand, glances over at me. You're white as a sheet, he says.

That is how I feel: white, flat, thin. I feel transparent. Surely they will be able to see through me. Worse, how will I be able to hold on to Luke, to her, when I'm so flat, so while? I feel as if there's not much left of me; they will slip through my arms, as if I'm made of smoke, as if I'm a mirage, fading before their eyes. Don't think that way, Moira would say. Think that way and you'll make it happen.

Cheer up, says Luke. He's driving a little too fast now. The adrenaline's gone to his head. Now he's singing. Oh what a beautiful morning, he sings.

Even his singing worries me. We've been warned not to look too happy.

The Commander knocks at the door. The knock is prescribed: the sitting room is supposed to be Serena Joy's territory, he's supposed to ask permission to enter it. She likes to keep him waiting. It's a little thing, but in this household little things mean a lot. Tonight, however, she doesn't even get that, because before Serena Joy can speak he steps forward into the room anyway. Maybe he's just forgotten the protocol, but maybe it's deliberate. Who knows what she said to him, over the silver-encrusted dinner table? Or didn't say.

The Commander has on his black uniform, in which he looks like a museum guard. A semiretired man, genial but wary, killing time. But only at first glance. After that he looks like a midwestern bank president, with his straight neatly brushed silver hair, his sober posture, shoulders a little stooped. And after that there is his mustache, silver also, and after that his chin, which really you can't miss. When you get down as far as the chin he looks like a vodka ad, in a glossy magazine, of times gone by.

His manner is mild, his hands large, with thick fingers and acquisitive thumbs, his blue eyes uncommunicative, falsely innocuous. He looks us over as if taking inventory. One kneeling woman in red, one seated woman in blue, two in green, standing, a solitary man, thin-faced, in the background. He manages to appear puzzled, as if he can't quite remember how we all got in here. As if we are something he inherited, like a Victorian pump organ, and he hasn't figured out what to do with us. What we are worth.

He nods in the general direction of Serena Joy, who does not make a sound. He crosses to the large leather chair reserved for him, takes the key out of his pocket, fumbles with the ornate brass-bound leather-covered box that stands on the table beside the chair. He inserts the key, opens the box, lifts out the Bible, an ordinary copy, with a black cover and gold-edged pages. The Bible is kept locked up, the way people once kept tea locked up, so the servants wouldn't steal it. It is an incendiary device: who knows what we'd make of it, if we ever got our hands on it? We can be read to from it, by him, but we cannot read. Our heads turn towards him, we are expectant, here comes our bedtime story.

The Commander sits down and crosses his legs, watched by us. The bookmarks are in place. He opens the book. He clears his throat a little, as if embarrassed.

"Could I have a drink of water?" he says to the air. "Please," he adds.

Behind me, one of them, Cora or Rita, leaves her space in the tableau and pads off towards the kitchen. The Commander sits, looking down. The Commander sighs, takes out a pair of reading glasses from his inside jacket pocket, gold rims, slips them on. Now he looks like a shoemaker in an old fairy-tale book. Is there no end to his disguises, of benevolence?

We watch him: every inch, every flicker.

To be a man, watched by women. It must be entirely strange. To have them watching him all the time. To have them wondering, What's he going to do next? To have them flinch when he moves, even if it's a harmless enough move, to reach for an ashtray perhaps. To have them sizing him up. To have them thinking, Hee can't do it, he won't do, he'll have to do, this last as if he were a garment, out of style or shoddy, which must nevertheless be put on because there's nothing else available.

To have them putting him on, trying him on, trying him out, while he himself puts them on, like a sock over a tool, onto the stub of himself, his extra, sensitive thumb, his tentacle, his delicate, stalked slug's eye, which extrudes, expands, winces, and shrivels back into himself when touched wrongly, grows big again, bulging a little at the tip, traveling forward as if along a leaf, into them, avid for vision. To achieve vision in this way, this journey into a darkness that is composed of women, a woman, who can see in darkness while he himself strains blindly forward.

She watches him from within. We're all watching him. It's the one thing we can really do, and it is not for nothing: if he were to falter, fail, or die, what would become of us? No wonder he's like a boot, hard on the outside, giving shape to a pulp of tenderfoot. That's just a wish. I've been watching him for some time and he's given no evidence, of softness.

But watch out, Commander, I tell him in my head. I've got my eye on you. One false move and I'm dead.

Still, it must be hell, to be a man, like that.

It must be just fine.

It must be hell.

It must be very silent.

The water appears, the Commander drinks it. "Thank you," he says. Cora rustles back into place.

The Commander pauses, looking down, scanning the page. He takes his time, as if unconscious of us. He's like a man toying with a steak, behind a restaurant window, pretending not to see the eyes watching him from hungry darkness not three feet from his elbow. We lean towards him a little, iron filings to his magnet. He has something we don't have, he has the word. How we squandered it, once.

The Commander, as if reluctantly, begins to read. He isn't very good at it. Maybe lie's merely bored.

It's the usual story, the usual stories. God to Adam, God to Noah. lie fruitful, and multiply, and replenish the earth. Then comes the moldy old Rachel anil Leah stuff we had drummed into us at the Center. Give me children, or else I die. Am I in God's stead, who hath withheld from thee the fruit of the womb? Behold my maid Bilhah. She shall bear upon my knees, that I may also have children by her. And so on and so forth. We had it read to us every breakfast, as we sat in the high school cafeteria, eating porridge with cream and brown sugar. You're getting the best, you know, said Aunt Lydia. There's a war on, things are rationed. You are spoiled girls, she twinkled, as if rebuking a kitten. Naughty puss.

For lunch it was the Beatitudes. Blessed be this, blessed be that. They played it from a tape, so not even an Aunt would be guilty of the sin of reading. The voice was a man's. Blessed be the poor in spirit, for theirs is the kingdom of heaven. Blessed are the merciful. Blessed be the meek. Blessed are the silent. I knew they made that up, I knew it was wrong, and they left things out, too, but there was no way of checking. Blessed be those that mourn, for they shall be comforted.

Nobody said when.

I check the clock, during dessert, canned pears with cinnamon, standard for lunch, and look for Moira in her place, two tables over. She's gone already. I put my hand up, I am excused. We don't do this too often, and always at different times of day.

In the washroom I go to the second-last stall, as usual.

Are you there? I whisper.

Large as life and twice as ugly, Moira whispers back.

What have you heard? I ask her.

Nothing much. I've got to get out of here, I'm going bats.

I feel panic. No, no, Moira, I say, don't try it. Not on your own.

I'll fake sick. They send an ambulance, I've seen it.

You'll only get as far as the hospital.

At least it'll be a change. I won't have to listen to that old bitch.

They'll find you out.