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Henry is alone, Catherine having gone to see Helen. Note that, alone, he does read about the war in the papers. You learn that the retreat was not stopped at the Tagliamento River, where he escaped. He wonders how and where the Austrian advance will stop.
You hear about another character, Count Greffi, an elegant old diplomat. (He is based on a true figure, Count Giuseppe Greppi.) Henry knows him from playing billiards while drinking champagne, \"a splendid custom,\" he thinks. The count asks to see Henry.
Henry then goes fishing with the barman. The scene serves multiple purposes. It\'s a lovely reminder of the peacetime world that has been shattered elsewhere in Italy. And it emphasizes the antiwar sentiment in the country, as the barman admits that, if drafted, he\'d skip out. Last, it establishes the presence of a boat available for Henry\'s use.
Henry returns to the hotel; Catherine follows. Note his uneasiness. Perhaps it\'s because he has free time on his hands, but also it\'s because he is still, as long as he stays in Italy, subject to arrest and possible execution. He\'s so in love with, and so dependent on, Catherine that he feels at a loss when she\'s not around.
The two of them lunch with Helen. Later Henry gets an invitation from Count Greffi to play billiards.
There\'s an elegance to this scene that contrasts with the rough military life Henry has been leading, and an intellectualism that contrasts with the physicality of Henry\'s love affair and his military service. Count Greffi seems to represent a more dignified and honorable world that is passing away with the war, that has become as much of an anachronism as the priest\'s beloved, rustic Abruzzi. At the end of the scene the talk between Henry and the count turns to metaphysics--to prayer and the religious nature of love--and, as in Henry\'s conversations with the priest, love for a woman is seen as being a possible substitute for religious faith.
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