by this explanation and looked around to see where the second door was. The painter saw him do so and said, "It's behind you, I had to hide it behind the bed." Only then was K. able to see the little door in the wall. "It's really much too small for a studio here," said the painter, as if he wanted to anticipate an objection K. would make. "I had to arrange things as well as I could. That's obviously a very bad place for the bed, in front of the door. For instance when the judge I'm painting at present comes he always comes through the door by the bed, and I've even given him a key to this door so that he can wait for me here in the studio when I'm not home. Although nowadays he usually comes early in the morning when I'm still asleep. And of course, it always wakes me up when I hear the door opened beside the bed, however fast asleep I am. If you could hear the way I curse him as he climbs over my bed in the morning you'd lose all respect for judges. I suppose I could take the key away from him but that'd only make things worse. It only takes a tiny effort to break any of the doors here off their hinges." All the time the painter was speaking, K. was considering whether he should take off his coat, but he finally realised that, if he didn't do so, he would be quite unable to stay here any longer, so he took off his frock coat and lay it on his knee so that he could put it back on again as soon as the conversation was over. He had hardly done this when one of the girls called out, "Now he's taken his coat off!" and they could all be heard pressing around the gaps in the planks to see the spectacle for themselves. "The girls think I'm going to paint your portrait," said the painter, "and that's why you're taking your coat off." "I see," said K., only slightly amused by this, as he felt little better than he had before even though he now sat in his shirtsleeves. With some irritation he asked, "What did you say the two other possibilities were?" He had already forgotten the terms used. "Apparent acquittal and deferment," said the painter. "It's up to you which one you choose. You can get either of them if I help you, but it'll take some effort of course, the difference between them is that apparent acquittal needs concentrated effort for a while and that deferment takes much less effort but it has to be sustained. Now then, apparent acquittal. If that's what you want I'll write down an assertion of your innocence on a piece of paper. The text for an assertion of this sort was passed down to me from my father and it's quite unassailable. I take this assertion round to the judges I know. So I'll start off with the one I'm currently painting, and put the assertion to him when he comes for his sitting this evening. I'll lay the assertion in front of him, explain that you're innocent and give him my personal guarantee of it. And that's not just a superficial guarantee, it's a real one and it's binding." The painter's eyes seemed