To begin at the beginning, the airplane from Minneapolis in which Francis Weed was traveling east ran into heavy weather. The sky had been a hazy blue, with the clouds below the plane lying so close together that nothing could be seen of the earth. Then mist began to form outside the windows, and they flew into a white cloud of such density that it reflected the exhaust fires. The color of the cloud darkened to gray, and the plane began to rock. Francis had been in heavy weather before, but he had never been shaken up so much. The man in the seat beside him pulled a flask out of his pocket and took a drink. Francis smiled at his neighbor, but the man looked away; he wasn't sharing his pain killer with anyone. The plane began to drop and flounder wildly. A child was crying. The air in the cabin was overheated and stale, and Francis' left foot went to sleep. He read a little from a paper book that he had, bought at the airport, but the violence of the storm divided his attention. It was black outside the ports. The exhaust fires blazed and shed sparks in the dark, and, inside, the shaded lights, the stuffiness, and the window curtains gave the cabin an atmosphere of intense and misplaced domesticity. Then the lights flickered and went out. "You know what I've always wanted to do?" the man beside Francis said suddenly. "I've always wanted to buy a farm in New Hampshire and raise beef cattle." The stewardess announced that they were going to make an emergency landing. All but the children saw in their minds the spreading wings of the Angel of Death. The pilot could be heard singing faintly, "I've got sixpence, jolly, jolly sixpence. I've got sixpence to last me all my life..." There was no other sound.

          The loud groaning of the hydraulic valves swallowed up the pilot's song, and there was a shrieking high in the air, like automobile brakes, and the plane hit flat on its belly in a cornfield and shook them so violently that an old man up forward howled, "Me kidneys! Me kidneys!" The stewardess flung open the door, and someone opened an emergency door at the back, letting in the sweet noise of their continuing mortality—the idle splash and smell of a heavy rain. Anxious for their lives, they filed out of the doors and scattered over the cornfield in all directions, praying that the thread would hold. It did. Nothing happened. When it was clear that the plane would not burn or explode, the crew and the stewardess gathered the passengers together and led them to the shelter of a barn. They were not far from Philadelphia, and in a little while a string of taxis took them into the city. "It's just like the Marne," someone said, but there was surprisingly little relaxation of that suspiciousness with which many Americans regard their fellow travelers.

          In Philadelphia, Francis Weed got a train to New York. At the end of that journey, he crossed the city and caught just as it was about to pull out the commuting train that he took five nights a week to his home in Shady Hill.

          He sat with Trace Bearden. "You know, I was in that plane that just crashed outside Philadelphia," he said. "We came down in a field..." He had traveled faster than the newspapers or the rain, and the weather in New York was sunny and mild. It was a day in late September, as fragrant and shapely as an apple. Trace listened to the story, but how could he get excited? Francis had no powers that would let him re-create a brush with death—particularly in the atmosphere of a commuting train, journeying through a sunny countryside where already, in the slum gardens, there were signs of harvest. Trace picked up his newspaper, and Francis was left alone with his thoughts. He said good night to Trace on the platform at Shady Hill and drove in his secondhand Volkswagen up to the Blenhollow neighborhood, where he lived.

          The Weeds' Dutch Colonial house was larger than it appeared to be from the driveway. The living room was spacious and divided like Gaul into three parts. Around an ell to the left as one entered from the vestibule was the long table, laid for six, with candles and a bowl of fruit in the center. The sounds and smells that came from the open kitchen door were appetizing, for Julia Weed was a good cook. The largest part of the living room centered on a fireplace. On the right were some bookshelves and a piano. The room was polished and tranquil, and from the windows that opened to the west there was some late-summer sunlight, brilliant and as clear as water. Nothing here was neglected; nothing had not been burnished. It was not the kind of household where, after prying open a stuck cigarette box, you would find an old shirt button and a tarnished nickel. The hearth was swept, the roses on the piano were reflected in the polish of the broad top, and there was an album of Schubert waltzes on the rack. Louisa Weed, a pretty girl of nine, was looking out the western windows. Her younger brother Henry was standing beside her. Her still younger brother, Toby, was studying the figures of some tonsured monks drinking beer on the polished brass of the woodbox. Francis, taking off his hat and putting down his paper, was not consciously pleased with the scene; he was not that reflective. It was his element, his creation, and he returned to it with that sense of lightness and strength with which any creature returns to his home. "Hi, everybody," he said. "The plane from Minneapolis... " Nine times out of ten, Francis would be greeted with affection, but tonight the children are absorbed in their own antagonisms. Francis had not finished his sentence about the plane crash before Henry plants a kick in Louisa's behind. Louisa swings around, saying, "Damn you!" Francis makes the mistake of scolding Louisa for bad language before he punishes Henry. Now Louisa turns on her father and accuses him of favoritism. Henry is always right; she is persecuted and lonely; her lot is hopeless. Francis turns to his son, but the boy has justification for the kick—she hit him first; she hit him on the ear, which is dangerous. Louisa agrees with this passionately. She hit him on the ear, and she meant to hit him on the ear, because he messed up her china collection. Henry says that this is a lie. Little Toby turns away from the woodbox to throw in some evidence for Louisa. Henry claps his hand over little Toby's mouth. Francis separates the two boys but accidentally pushes Toby into the woodbox. Toby begins to cry. Louisa is already crying. Just then, Julia Weed comes into that part of the room where the table is laid. She is a pretty, intelligent woman, and the white in her hair is premature. She does not seem to notice the fracas. "Hello, darling," she says serenely to Francis. "Wash your hands, everyone. Dinner is ready." She strikes a match and lights the six candles in this vale of tears.

          This simple announcement, like the war cries of the Scottish chieftains, only refreshes the ferocity of the combatants. Louisa gives Henry a blow on the shoulder. Henry, although he seldom cries, has pitched nine innings and is tired. He bursts into tears. Little Toby discovers a splinter in his hand and begins to howl. Francis says loudly that he has been in a plane crash and that he is tired. Julia appears again from the kitchen and, still ignoring the chaos, asks Francis to go upstairs and tell Helen that everything is ready. Francis is happy to go; it is like getting back to headquarters company. He is planning to tell his oldest daughter about the airplane crash, but Helen is lying on her bed reading a True Romance magazine, and the first thing Francis does is to take the magazine from her hand and remind Helen that he has forbidden her to buy it. She did not buy it, Helen replies. It was given to her by her best friend, Bessie Black. Everybody reads True Romance. Bessie Black's father reads True Romance. There isn't a girl in Helen's class who doesn't read True Romance. Francis expresses his detestation of the magazine and then tells her that dinner is ready—although from the sounds downstairs it doesn't seem so. Helen follows him down the stairs. Julia has seated herself in the candlelight and spread a napkin over her lap. Neither Louisa nor Henry has come to the table. Little Toby is still howling, lying face down on the floor. Francis speaks to him gently: "Daddy was in a plane crash this afternoon, Toby. Don't you want to hear about it?" Toby goes on crying. "If you don't come to the table now, Toby," Francis says, "I'll have to send you to bed without any supper." The little boy rises, gives him a cutting look, flies up the stairs to his bedroom, and slams the door. "Oh dear," Julia says, and starts to go after him. Francis says that she will spoil him. Julia says that Toby is ten pounds underweight and has to be encouraged to eat. Winter is coming, and he will spend the cold months in bed unless he has his dinner. Julia goes upstairs. Francis sits down at the table with Helen. Helen is suffering from the dismal feeling of having read too intently on a fine day, and she gives her father and the room a jaded look. She doesn't understand about the plane crash, because there wasn't a drop of rain in Shady Hill.

          Julia returns with Toby, and they all sit down and are served. "Do I have to look at that big, fat slob?" Henry says, of Louisa. Everybody but Toby enters into this skirmish, and it rages up and down the table for five minutes. Toward the end, Henry puts his napkin over his head and, trying to eat that way, spills spinach all over his shirt. Francis asks Julia if the children couldn't have their dinner earlier. Julia's guns are loaded for this. She can't cook two dinners and lay two tables. She paints with lightning strokes that panorama of drudgery in which her youth, her beauty, and her wit have been lost. Francis says that he must be understood; he was nearly killed in an airplane crash, and he doesn't like to come home every night to a battlefield. Now Julia is deeply concerned. Her voice trembles. He doesn't come home every night to a battlefield. The accusation is stupid and mean. Everything was tranquil until he arrived. She stops speaking, puts down her knife and fork, and looks into her plate as if it is a gulf. She begins to cry. "Poor Mummy!" Toby says, and when Julia gets up from the table, drying her tears with a napkin, Toby goes to her side. "Poor Mummy," he says. "Poor Mummy!" And they climb the stairs together. The other children drift away from the battlefield, and Francis goes into the back garden for a cigarette and some air.

IT WAS a pleasant garden, with walks and flower beds and places to sit. The sunset had nearly burned out, but there was still plenty of light. Put into a thoughtful mood by the crash and the battle, Francis listened to the evening sounds of Shady Hill. "Varmints! Rascals!" old Mr. Nixon shouted to the squirrels in his bird-feeding station. "Avaunt and quit my sight!" A door slammed. Someone was cutting grass. Then Donald Goslin, who lived at the corner, began to play the "Moonlight Sonata." He did this nearly every night. He threw the tempo out the window and played it rubato from beginning to end, like an outpouring of tearful petulance, lonesomeness, and self-pity—of everything it was Beethoven's greatness not to know. The music rang up and down the street beneath the trees like an appeal for love, for tenderness, aimed at some lovely housemaid—some fresh-faced, homesick girl from Galway, looking at old snapshots in her third-floor room. "Here, Jupiter, here, Jupiter," Francis called to the Mercers' retriever. Jupiter crashed through the tomato vines with the remains of a felt hat in his mouth.

          Jupiter was an anomaly. His retrieving instincts and his high spirits were out of place in Shady Hill. He was as black as coal, with a long, alert, intelligent, rake-hell face. His eyes gleamed with mischief, and he held his head high. It was the fierce, heavily collared dog's head that appears in heraldry, in tapestry, and that used to appear on umbrella handles and walking sticks. Jupiter went where he pleased, ransacking wastebaskets, clotheslines, garbage pails, and shoe bags. He broke up garden parties and tennis matches, and got mixed up in the processional at Christ Church on Sunday, barking at the men in red dresses. He crashed through old Mr. Nixon's rose garden two or three times a day, cutting a wide swath through the Condesa de Sastagos, and as soon as Donald Goslin lighted his barbecue fire on Thursday nights, Jupiter would get the scent. Nothing the Goslins did could drive him away. Sticks and stones and rude commands only moved him to the edge of the terrace, where he remained, with his gallant and heraldic muzzle, waiting for Donald Goslin to turn his back and reach for the salt. Then he would spring onto the terrace, lift the steak lightly off the fire, and run away with the Goslins' dinner. Jupiter's days were numbered. The Wrightsons' German gardener or the Farquarsons' cook would soon poison him. Even old Mr. Nixon might put some arsenic in the garbage that Jupiter loved. "Here, Jupiter, Jupiter!" Francis called, but the dog pranced off, shaking the hat in his white teeth. Looking at the windows of his house, Francis saw that Julia had come down and was blowing out the candles.

          Julia and Francis Weed went out a great deal. Julia was well liked and gregarious, and her love of parties sprang from a most natural dread of chaos and loneliness. She went through her morning mail with real anxiety, looking for invitations, and she usually found some, but she was insatiable, and if she had gone out seven nights a week, it would not have cured her of a reflective look—the look of someone who hears distant music—for she would always suppose that there was a more brilliant party somewhere else. Francis limited her to two week-night parties, putting a flexible interpretation on Friday, and rode through the weekend like a dory in a gale. The day after the airplane crash, the Weeds were to have dinner with the Farquarsons.

          Francis got home late from town, and Julia got the sitter while he dressed, and then hurried him out of the house. The party was small and pleasant, and Francis settled down to enjoy himself. A new maid passed the drinks. Her hair was dark, and her face was round and pale and seemed familiar to Francis. He had not developed his memory as a sentimental faculty. Wood smoke, lilac, and other such perfumes did not stir him, and his memory was something like his appendix—a vestigial repository. It was not his limitation at all to be unable to escape the past; it was perhaps his limitation that he had escaped it so successfully. He might have seen the maid at other parties, he might have seen her taking a walk on Sunday afternoons, but in either case he would not be searching his memory now. Her face was, in a wonderful way, a moon face—Norman or Irish—but it was not beautiful enough to account for his feeling that he had seen her before, in circumstances that he ought to be able to remember. He asked Nellie Farquarson who she was. Nellie said that the maid had come through an agency, and that her home was Trenon, in Normandy—a small place with a church and a restaurant that Nellie had once visited. While Nellie talked on about her travels abroad, Francis realized where he had seen the woman before. It had been at the end of the war. He had left a replacement depot with some other men and taken a three-day pass in Trenon. On their second day, they had walked out to a crossroads to see the public chastisement of a young woman who had lived with the German commandant during the Occupation.

          It was a cool morning in the fall. The sky was overcast, and poured down onto the dirt crossroads a very discouraging light. They were on high land and could see how like one another the shapes of the clouds and the hills were as they stretched off toward the sea. The prisoner arrived sitting on a three-legged stool in a farm cart. She stood by the cart while the Mayor read the accusation and the sentence. Her head was bent and her face was set in that empty half smile behind which the whipped soul is suspended. When the Mayor was finished, she undid her hair and let it fall across her back. A little man with a gray mustache cut off her hair with shears and dropped it on the ground. Then, with a bowl of soapy water and a straight razor, he shaved her skull clean. A woman approached and began to undo the fastenings of her clothes, but the prisoner pushed her aside and undressed herself. When she pulled her chemise over her head and threw it on the ground, she was naked. The women jeered; the men were still. There was no change in the falseness or the plaintiveness of the prisoner's smile. The cold wind made her white skin rough and hardened the nipples of her breasts. The jeering ended gradually, put down by the recognition of their common humanity. One woman spat on her, but some inviolable grandeur in her nakedness lasted through the ordeal. When the crowd was quiet, she turned—she had begun to cry—and, with nothing on but a pair of worn black shoes and stockings, walked down the dirt road alone away from the village. The round white face had aged a little, but there was no question but that the maid who passed his cocktails and later served Francis his dinner was the woman who had been punished at the crossroads.

          The war seemed now so distant and that world where the cost of partisanship had been death or torture so long ago. Francis had lost track of the men who had been with him in Vesey. He could not count on Julia's discretion. He could not tell anyone. And if he had told the story now, at the dinner table, it would have been a social as well as a human error. The people in the Farquarsons' living room seemed united in their tacit claim that there had been no past, no war—that there was no danger or trouble in the world. In the recorded history of human arrangements, this extraordinary meeting would have fallen into place, but the atmosphere of Shady Hill made the memory unseemly and impolite. The prisoner withdrew after passing the coffee, but the encounter left Francis feeling languid; it had opened his memory and his senses, and left them dilated. Julia went into the house. Francis stayed in the car to take the sitter home.

          Expecting to see Mrs. Henlein, the old lady who usually stayed with the children, he was surprised when a young girl opened the door and came out onto the lighted stoop. She stayed in the light to count her textbooks. She was frowning and beautiful. Now, the world is full of beautiful young girls, but Francis saw here the difference between beauty and perfection. All those endearing flaws, moles, birthmarks; and healed wounds were missing, and he experienced in his consciousness that moment when music breaks glass, and felt a pang of recognition as strange, deep, and wonderful as anything in his life. It hung from her frown, from an impalpable darkness in her face—a look that impressed him as a direct appeal for love. When she had counted her books, she came down the steps and opened the car door. In the light, he saw that her cheeks were wet. She got in and shut the door.

          "You're new," Francis said.

          "Yes. Mrs. Henlein is sick. I'm Anne Murchison."

          "Did the children give you any trouble?"

          "Oh, no, no." She turned and smiled at him unhappily in the dim dashboard light. Her light hair caught on the collar of her jacket, and she shook her head to set it loose. "You've been crying."

          "Yes."

          "I hope it was nothing that happened in our house."

          "No, no, it was nothing that happened in your house." Her voice was bleak. "It's no secret. Everybody in the village knows. Daddy's an alcoholic, and he just called me from some saloon and gave me a piece of his mind. He thinks I'm immoral. He called just before Mrs. Weed came back."

          "I'm sorry."

          "Oh, Lord!" She gasped and began to cry. She turned toward Francis, and he took her in his arms and let her cry on his shoulder. She shook in his embrace, and this movement accentuated his sense of the fineness of her flesh and bone. The layers of their clothing felt thin, and when her shuddering began to diminish, it was so much like a paroxysm of love that Francis lost his head and pulled her roughly against him. She drew away. "I live on Belleview Avenue," she said. "You go down Lansing Street to the railroad bridge."

          "All right." He started the car.

          "You turn left at that traffic light... Now you turn right here and go straight on toward the tracks."

          The road Francis took brought him out of his own neighborhood, across the tracks, and toward the river, to a street where the near-poor lived, in houses whose peaked gables and trimmings of wooden lace conveyed the purest feelings of pride and romance, although the houses themselves could not have offered much privacy or comfort, they were all so small. The street was dark, and, stirred by the grace and beauty of the troubled girl, he seemed, in turning into it, to have come into the deepest part of some submerged memory. In the distance, he saw a porch light burning. It was the only one, and she said that the house with the light was where she lived. When he stopped the car, he could see beyond the porch light into a dimly lighted hallway with an old-fashioned clothes tree. "Well, here we are," he said, conscious that a young man would have said something different.

          She did not move her hands from the books, where they were folded, and she turned and faced him. There were tears of lust in his eyes. Determinedly—not sadly—he opened the door on his side and walked around to open hers. He took her free hand, letting his fingers in between hers, climbed at her side the two concrete steps, and went up a narrow walk through a front garden where dahlias, marigolds, and roses—things that had withstood the light frosts—still bloomed, and made a bittersweet smell in the night air. At the steps, she freed her hand and then turned and kissed him swiftly. Then she crossed the porch and shut the door. The porch light went out, then the light in the hall. A second later, a light went on upstairs at the side of the house, shining into a tree that was still covered with leaves. It took her only a few minutes to undress and get into bed, and then the house was dark.

          Julia was asleep when Francis got home. He opened a second window and got into bed to shut his eyes on that night, but as soon as they were shut—as soon as he had dropped off to sleep—the girl entered his mind, moving with perfect freedom through its shut doors and filling chamber after chamber with her light, her perfume, and the music of her voice. He was crossing the Atlantic with her on the old Mauretania and, later, living with her in Paris. When he woke from his dream, he got up and smoked a cigarette at the open window. Getting back into bed, he cast around in his mind for something he desired to do that would injure no one, and he thought of skiing. Up through the dimness in his mind rose the image of a mountain deep in snow. It was late in the day. Wherever his eyes looked, he saw broad and heartening things. Over his shoulder, there was a snow-filled valley, rising into wooded hills where the trees dimmed the whiteness like a sparse coat of hair. The cold deadened all sound but the loud, iron clanking of the lift machinery. The light on the trails was blue, and it was harder than it had been a minute or two earlier to pick the turns, harder to judge—now that the snow was all deep blue—the crust, the ice, the bare spots, and the deep piles of dry powder. Down the mountain he swung, matching his speed against the contours of a slope that had been formed in the first ice age, seeking with ardor some simplicity of feeling and circumstance. Night fell then, and he drank a Martini with some old friend in a dirty country bar.

          In the morning, Francis' snow-covered mountain was gone, and he was left with his vivid memories of Paris and the Mauretania. He had been bitten gravely. He washed his body, shaved his jaws, drank his coffee, and missed the seven-thirty-one. The train pulled out just as he brought his car to the station, and the longing he felt for the coaches as they drew stubbornly away from him reminded him of the humors of love. He waited for the eight-two, on what was now an empty platform. It was a clear morning; the morning seemed thrown like a gleaming bridge of light over his mixed affairs. His spirits were feverish and high. The image of the girl seemed to put him into a relationship to the world that was mysterious and enthralling. Cars were beginning to fill up the parking lot, and he noticed that those that had driven down from the high land above Shady Hill were white with hoarfrost. This first clear sign of autumn thrilled him. An express train—a night train from Buffalo or Albany—came down the tracks between the platforms, and he saw that the roofs of the foremost cars were covered with a skin of ice. Struck by the miraculous physicalness of everything, he smiled at the passengers in the dining car, who could be seen eating eggs and wiping their mouths with napkins as they traveled. The sleeping-car compartments, with their soiled bed linen, trailed through the fresh morning like a string of rooming-house windows. Then he saw an extraordinary thing; at one of the bedroom windows sat an unclothed woman of exceptional beauty, combing her golden hair. She passed like an apparition through Shady Hill, combing and combing her hair, and Francis followed her with his eyes until she was out of sight. Then old Mrs. Wrightson joined him on the platform and began to talk.

          "Well, I guess you must be surprised to see me here the third morning in a row," she said, "but because of my window curtains I'm becoming a regular commuter. The curtains I bought on Monday I returned on Tuesday, and the curtains I bought Tuesday I'm returning today. On Monday, I got exactly what I wanted—it's a wool tapestry with roses and birds—but when I got them home, I found they were the wrong length. Well, I exchanged them yesterday, and when I got them home, I found they were still the wrong length. Now I'm praying to high heaven that the decorator will have them in the right length, because you know my house, you know my living-room windows, and you can imagine what a problem they present. I don't know what to do with them."

          "I know what to do with them," Francis said.

          "What?"

          "Paint them black on the inside, and shut up."

          There was a gasp from Mrs. Wrightson, and Francis looked down at her to be sure that she knew he meant to be rude. She turned and walked away from him, so damaged in spirit that she limped. A wonderful feeling enveloped him, as if light were being shaken about him, and he thought again of Venus combing and combing her hair as she drifted through the Bronx. The realization of how many years had passed since he had enjoyed being deliberately impolite sobered him. Among his friends and neighbors, there were brilliant and gifted people—he saw that—but many of them, also, were bores and fools, and he had made the mistake of listening to them all with equal attention. He had confused a lack of discrimination with Christian love, and the confusion seemed general and destructive. He was grateful to the girl for this bracing sensation of independence. Birds were singing—cardinals and the last of the robins. The sky shone like enamel. Even the smell of ink from his morning paper honed his appetite for life, and the world that was spread out around him was plainly a paradise.

          If Francis had believed in some hierarchy of love—in spirits armed with hunting bows, in the capriciousness of Venus and Eros—or even in magical potions, philters, and stews, in scapulae and quarters of the moon, it might have explained his susceptibility and his feverish high spirits. The autumnal loves of middle age are well publicized, and he guessed that he was face to face with one of these, but there was not a trace of autumn in what he felt. He wanted to sport in the green woods, scratch where he itched, and drink from the same cup.

          His secretary, Miss Rainey, was late that morning—she went to a psychiatrist three mornings a week—and when she came in, Francis wondered what advice a psychiatrist would have for him. But the girl promised to bring back into his life something like the sound of music. The realization that this music might lead him straight to a trial for statutory rape at the county courthouse collapsed his happiness. The photograph of his four children laughing into the camera on the beach at Gay Head reproached him. On the letterhead of his firm there was a drawing of the Laoco?n, and the figure of the priest and his sons in the coils of the snake appeared to him to have the deepest meaning.

          He had lunch with Pinky Trabert. At a conversational level, the mores of his friends were robust and elastic, but he knew that the moral card house would come down on them all—on Julia and the children as well—if he got caught taking advantage of a baby-sitter. Looking back over the recent history of Shady Hill for some precedent, he found there was none. There was no turpitude; there had not been a divorce since he lived there; there had not even been a breath of scandal. Things seemed arranged with more propriety even than in the Kingdom of Heaven. After leaving Pinky, Francis went to a jeweler's and bought the girl a bracelet. How happy this clandestine purchase made him, how stuffy and comical the jeweler's clerks seemed, how sweet the women who passed at his back smelled! On Fifth Avenue, passing Atlas with his shoulders bent under the weight of the world, Francis thought of the strenuousness of containing his physicalness within the patterns he had chosen.

          He did not know when he would see the girl next. He had the bracelet in his inside pocket when he got home. Opening the door of his house, he found her in the hall. Her back was to him, and she turned when she heard the door close. Her smile was open and loving. Her perfection stunned him like a fine day—a day after a thunderstorm. He seized her and covered her lips with his, and she struggled but she did not have to struggle for long, because just then little Gertrude Flannery appeared from somewhere and said, "Oh, Mr. Weed."

          Gertrude was a stray. She had been born with a taste for exploration, and she did not have it in her to center her life with her affectionate parents. People who did not know the Flannerys concluded from Gertrude's behavior that she was the child of a bitterly divided family, where drunken quarrels were the rule. This was not true. The fact that little Gertrude's clothing was ragged and thin was her own triumph over her mother's struggle to dress her warmly and neatly. Garrulous, skinny, and unwashed, she drifted from house to house around the Blenhollow neighborhood, forming and breaking alliances based on an attachment to babies, animals, children her own age, adolescents, and sometimes adults. Opening your front door in the morning, you would find Gertrude sitting on your stoop. Going into the bathroom to shave, you would find Gertrude using the toilet. Looking into your son's crib, you would find it empty, and, looking further, you would find that Gertrude had pushed him in his baby carriage into the next village. She was helpful, pervasive, honest, hungry, and loyal. She never went home of her own choice. When the time to go arrived, she was indifferent to all its signs. "Go home, Gertrude," people could be heard saying in one house or another, night after night. "Go home, Gertrude. It's time for you to go home now, Gertrude."

          "You had better go home and get your supper, Gertrude."

          "I told you to go home twenty minutes ago, Gertrude."

          "Your mother will be worrying about you, Gertrude."

          "Go home, Gertrude, go home."

          There are times when the lines around the human eye seem like shelves of eroded stone and when the staring eye itself strikes us with such a wilderness of animal feeling that we are at a loss. The look Francis gave the little girl was ugly and queer, and it frightened her. He reached into his pockets—his hands were shaking—and took out a quarter. "Go home, Gertrude, go home, and don't tell anyone, Gertrude. Don't—" He choked and ran into the living room as Julia called down to him from upstairs to hurry and dress.

          The thought that he would drive Anne Murchison home later that night ran like a golden thread through the events of the party that Francis and Julia went to, and he laughed uproariously at dull jokes, dried a tear when Mabel Mercer told him about the death of her kitten, and stretched, yawned, sighed, and grunted like any other man with a rendezvous at the back of his mind. The bracelet was in his pocket. As he sat talking, the smell of grass was in his nose, and he was wondering where he would park the car. Nobody lived in the old Parker mansion, and the driveway was used as a lovers' lane. Townsend Street was a dead end, and he could park there, beyond the last house. The old lane that used to connect Elm Street to the riverbanks was overgrown, but he had walked there with his children, and he could drive his car deep enough into the brushwoods to be concealed.

          The Weeds were the last to leave the party, and their host and hostess spoke of their own married happiness while they all four stood in the hallway saying good night. "She's my girl," their host said, squeezing his wife. "She's my blue sky. After sixteen years, I still bite her shoulders. She makes me feel like Hannibal crossing the Alps."

          The Weeds drove home in silence. Francis brought the car up the driveway and sat still, with the motor running. "You can put the car in the garage," Julia said as she got out. "I told the Murchison girl she could leave at eleven. Someone drove her home." She shut the door, and Francis sat in the dark. He would be spared nothing then, it seemed, that a fool was not spared: ravening lewdness, jealousy, this hurt to his feelings that put tears in his eyes, even scorn—for he could see clearly the image he now presented, his arms spread over the steering wheel and his head buried in them for love.

FRANCIS had been a dedicated Boy Scout when he was young, and, remembering the precepts of his youth, he left his office early the next afternoon and played some round-robin squash, but, with his body toned up by exercise and a shower, he realized that he might better have stayed at his desk. It was a frosty night when he got home. The air smelled sharply of change. When he stepped into the house, he sensed an unusual stir. The children were in their best clothes, and when Julia came down, she was wearing a lavender dress and her diamond sunburst. She explained the stir: Mr. Hubber was coming at seven to take their photograph for the Christmas card. She had put out Francis' blue suit and a tie with some color in it, because the picture was going to be in color this year. Julia was lighthearted at the thought of being photographed for Christmas. It was the kind of ceremony she enjoyed.

          Francis went upstairs to change his clothes. He was tired from the day's work and tired with longing, and sitting on the edge of the bed had the effect of deepening his weariness. He thought of Anne Murchison, and the physical need to express himself, instead of being restrained by the pink lamps of Julia's dressing table, engulfed him. He went to Julia's desk, took a piece of writing paper, and began to write on it. "Dear Anne, I love you, I love you, I love you..." No one would see the letter, and he used no restraint. He used phrases like "heavenly bliss," and "love nest." He salivated, sighed, and trembled. When Julia called him to come down, the abyss between his fantasy and the practical world opened so wide that he felt it affected the muscles of his heart.

          Julia and the children were on the stoop, and the photographer and his assistant had set up a double battery of floodlights to show the family and the architectural beauty of the entrance to their house. People who had come home on a late train slowed their cars to see the Weeds being photographed for their Christmas card. A few waved and called to the family. It took half an hour of smiling and wetting their lips before Mr. Hubber was satisfied. The heat of the lights made an unfresh smell in the frosty air, and when they were turned off, they lingered on the retina of Francis' eyes.

          Later that night, while Francis and Julia were drinking their coffee in the living room, the doorbell rang. Julia answered the door and let in Clayton Thomas. He had come to pay for some theatre tickets that she had given his mother some time ago, and that Helen Thomas had scrupulously insisted on paying for, though Julia had asked her not to. Julia invited him in to have a cup of coffee. "I won't have any coffee," Clayton said, "but I will come in for a minute." He followed her into the living room, said good evening to Francis, and sat awkwardly in a chair.

          Clayton's father had been killed in the war, and the young man's fatherlessness surrounded him like an element. This may have been conspicuous in Shady Hill because the Thomases were the only family that lacked a piece; all the other marriages were intact and productive. Clayton was in his second or third year of college, and he and his mother lived alone in a large house, which she hoped to sell. Clayton had once made some trouble. Years ago, he had stolen some money and run away; he had got to California before they caught up with him. He was tall and homely, wore horn-rimmed glasses, and spoke in a deep voice.

          "When do you go back to college, Clayton?" Francis asked.

          "I'm not going back," Clayton said. "Mother doesn't have the money, and there's no sense in all this pretense. I'm going to get a job, and if we sell the house, we'll take an apartment in New York."

          "Won't you miss Shady Hill?" Julia asked.

          "No," Clayton said. "I don't like it."

          "Why not?" Francis asked.

          "Well, there's a lot here I don't approve of," Clayton said gravely. "Things like the club dances. Last Saturday night, I looked in toward the end and saw Mr. Granner trying to put Mrs. Minot into the trophy case. They were both drunk. I disapprove of so much drinking."

          "It was Saturday night," Francis said.

          "And all the dovecotes are phony," Clayton said. "And the way people clutter up their lives. I've thought about it a lot, and what seems to me to be really wrong with Shady Hill is that it doesn't have any future. So much energy is spent in perpetuating the place—in keeping out undesirables, and so forth—that the only idea of the future anyone has is just more and more commuting trains and more parties. I don't think that's healthy. I think people ought to be able to dream big dreams about the future. I think people ought to be able to dream great dreams."

          "It's too bad you couldn't continue with college," Julia said.

          "I wanted to go to divinity school," Clayton said.

          "What's your church?" Francis asked.        "Unitarian, Theosophist, Transcendentalist, Humanist," Clayton said.

          "Wasn't Emerson a transcendentalist?" Julia asked.

          "I mean the English transcendentalists," Clayton said. "All the American transcendentalists were goops."

          "What kind of job do you expect to get?" Francis asked.

          "Well, I'd like to work for a publisher," Clayton said, but everyone tells me there's nothing doing. But it's the kind of thing I'm interested in. I'm writing a long verse play about good and evil. Uncle Charlie might get me into a bank, and that would be good for me. I need the discipline. I have a long way to go in forming my character. I have some terrible habits. I talk too much. I think I ought to take vows of silence. I ought to try not to speak for a week, and discipline myself. I've thought of making a retreat at one of the Episcopalian monasteries, but I don't like Trinitarianism."

          "Do you have any girl friends?" Francis asked.

          "I'm engaged to be married," Clayton said. "Of course, I'm not old enough or rich enough to have my engagement observed or respected or anything, but I bought a simulated emerald for Anne Murchison with the money I made cutting lawns this summer. We're going to be married as soon as she finishes school."

          Francis recoiled at the mention of the girl's name. Then a dingy light seemed to emanate from his spirit, showing everything—Julia, the boy, the chairs—in their true colorlessness. It was like a bitter turn of the weather.

          "We're going to have a large family," Clayton said. "Her father's a terrible rummy, and I've had my hard times, and we want to have lots of children. Oh, she's wonderful, Mr. and Mrs. Weed, and we have so much in common. We like all the same things. We sent out the same Christmas card last year without planning it, and we both have an allergy to tomatoes, and our eyebrows grow together in the middle. Well, goodnight."

          Julia went to the door with him. When she returned, Francis said that Clayton was lazy, irresponsible, affected, and smelly. Julia said that Francis seemed to be getting intolerant; the Thomas boy was young and should be given a chance. Julia had noticed other cases where Francis had been short-tempered. "Mrs. Wrightson has asked everyone in Shady Hill to her anniversary party but us," she said.

          "I'm sorry, Julia."

          "Do you know why they didn't ask us?"

          "Why?"

          "Because you insulted Mrs. Wrightson."

          "Then you know about it?"

          "June Masterson told me. She was standing behind you."

          Julia walked in front of the sofa with a small step that expressed, Francis knew, a feeling of anger.

          "I did insult Mrs. Wrightson, Julia, and I meant to. I've never liked her parties, and I'm glad she's dropped us."

          "What about Helen?"

          "How does Helen come into this?"

          "Mrs. Wrightson's the one who decides who goes to the assemblies."

          "You mean she can keep Helen from going to the dances?"

          "Yes."

          "I hadn't thought of that."

          "Oh. I knew you hadn't thought of it," Julia cried, thrusting hilt-deep into this chink of his armor. "And it makes me furious to see this kind of stupid thoughtlessness wreck everyone's happiness."

          "I don't think I've wrecked anyone's happiness."

          "Mrs. Wrightson runs Shady Hill and has run it for the last forty years. I don't know what makes you think that in a community like this you can indulge every impulse you have to be insulting, vulgar, and offensive."

          "I have very good manners," Francis said, trying to give the evening a turn toward the light.

          "Damn you, Francis Weed!" Julia cried, and the spit of her words struck him in the face. "I've worked hard for the social position we enjoy in this place, and I won't stand by and see you wreck it. You must have understood when you settled here that you couldn't expect to live like a bear in a cave."

          "I've got to express my likes and dislikes."

          "You can conceal your dislikes. You don't have to meet everything head on, like a child. Unless you're anxious to be a social leper. It's no accident that we get asked out a great deal! It's no accident that Helen has so many friends. How would you like to spend your Saturday nights at the movies? How would you like to spend your Sundays raking up dead leaves? How would you like it if your daughter spent the assembly nights sitting at her window, listening to the music from the club? How would you like it—" He did something then that was, after all, not so unaccountable, since her words seemed to raise up between them a wall so deadening that he gagged. He struck her full in the face. She staggered and then, a moment later, seemed composed. She went up the stairs to their room. She didn't slam the door. When Francis followed, a few minutes later, he found her packing a suitcase. "Julia, I'm very sorry."

          "It doesn't matter," she said. She was crying.

          "Where do you think you're going?"

          "I don't know. I just looked at a timetable. There's an eleven-sixteen into New York. I'll take that."

          "You can't go, Julia."

          "I can't stay. I know that."

          "I'm sorry about Mrs. Wrightson, Julia, and I'm—"

          "It doesn't matter about Mrs. Wrightson. That isn't the trouble."

          "What is the trouble?"

          "You don't... You don't love me."

          "I do love you, Julia."

          "No, you don't."

          "Julia, I do love you, and I would like to be as we were—sweet and bawdy and dark—but now there are so many people."

          "You hate me."

          "I don't hate you, Julia."

          "You have no idea of how much you hate me. I think it's subconscious. You don't realize the cruel things you've done."

          "What cruel things, Julia?"

          "The cruel acts your subconscious drives you to in order to express your hatred of me."

          "What, Julia?"

          "I've never complained."

          "Tell me."

          "You don't know what you're doing."

          "Tell me."

          "Your clothes."

          "What do you mean?"

          "I mean the way you leave your dirty clothes around in order to express your subconscious hatred of me."

          "I don't understand."

          "I mean your dirty socks and your dirty pajamas and your dirty underwear and your dirty shirts!" She rose from kneeling by the suitcase and faced him, her eyes blazing and her voice ringing with emotion. "I'm talking about the fact that you've never learned to hang up anything. You just leave your clothes all over the floor where they drop, in order to humiliate me. You do it on purpose!" She fell on the bed, sobbing.

          "Julia, darling!" he said, but when she felt his hand on her shoulder she got up.

          "Leave me alone," she said. "I have to go." She brushed past him to the closet and came back with a dress, "I'm not taking any of the things you've given me," she said. "I'm leaving my pearls and the fur jacket."

          "Oh, Julia!" Her figure, so helpless in its self-deceptions, bent over the suitcase made him nearly sick with pity. She did not understand how desolate her life would be without him. She didn't understand the hours that working women have to keep. She didn't understand that most of her friendships existed within the framework of their marriage, and that without this she would find herself alone. She didn't understand about travel, about hotels, about money. "Julia, I can't let you go! What you don't understand, Julia, is that you've come to be dependent on me."

          She tossed her head back and covered her face with her hands. "Did you say that I was dependent on you?" she asked. "Is that what you said? And who is it that tells you what time to get up in the morning and when to go to bed at night? Who is it that prepares your meals and picks up your dirty clothes and invites your friends to dinner? If it weren't for me, your neckties would be greasy and your clothing would be full of moth holes. You were alone when I met you, Francis Weed, and you'll be alone when I leave. When Mother asked you for a list to send out invitations to our wedding, how many names did you have to give her? Fourteen!"

          "Cleveland wasn't my home, Julia."

          "And how many of your friends came to the church? Two!"

          "Cleveland wasn't my home, Julia."

          "Since I'm not taking the fur jacket," she said quietly, "you'd better put it back into storage. There's an insurance policy on the pearls that comes due in January. The name of the laundry and the maid's telephone number—all those things are in my desk. I hope you won't drink too much, Francis. I hope that nothing bad will happen to you. If you do get into serious trouble, you can call me."

          "Oh, my darling, I can't let you go!" Francis said. "I can't let you go, Julia!" He took her in his arms.

          "I guess I'd better stay and take care of you for a little while longer," she said.

          Riding to work in the morning, Francis saw the girl walk down the aisle of the coach. He was surprised; he hadn't realized that the school she went to was in the city, but she was carrying books, she seemed to be going to school. His surprise delayed his reaction, but then he got up clumsily and stepped into the aisle. Several people had come between them, but he could see her ahead of him, waiting for someone to open the car door, and then, as the train swerved, putting out her hand to support herself as she crossed the platform into the next car. He followed her through that car and halfway through another before calling her name—"Anne! Anne!"—but she didn't turn. He followed her into still another car, and she sat down in an aisle seat. Coming up to her, all his feelings warm and bent in her direction, he put his hand on the back of her seat—even this touch warmed him—and leaning down to speak to her, he saw that it was not Anne. It was an older woman wearing glasses. He went on deliberately into another car, his face red with embarrassment and the much deeper feeling of having his good sense challenged; for if he couldn't tell one person from another, what evidence was there that his life with Julia and the children had as much reality as his dreams of iniquity in Paris or the litter, the grass smell, and the cave-shaped trees in Lovers' Lane.

          Late that afternoon, Julia called to remind Francis that they were going out for dinner. A few minutes later, Trace Bearden called. "Look, fellar," Trace said. "I'm calling for Mrs. Thomas. You know? Clayton, that boy of hers, doesn't seem able to get a job, and I wondered if you could help. If you'd call Charlie Bell—I know he's indebted to you—and say a good word for the kid, I think Charlie would—"

          "Trace, I hate to say this," Francis said, "but I don't feel that I can do anything for that boy. The kid's worthless. I know it's a harsh thing to say, but it's a fact. Any kindness done for him would backfire in everybody's face. He's just a worthless kid, Trace, and there's nothing to be done about it. Even if we got him a job, he wouldn't be able to keep it for a week. I know that to be a fact. It's an awful thing, Trace, and I know it is, but instead of recommending that kid, I'd feel obligated to warn people against him—people who knew his father and would naturally want to step in and do something. I'd feel obliged to warn them. He's a thief."

          The moment this conversation was finished, Miss Rainey came in and stood by his desk. "I'm not going to be able to work for you any more, Mr. Weed," she said. "I can stay until the seventeenth if you need me, but I've been offered a whirlwind of a job, and I'd like to leave as soon as possible."

          She went out, leaving him to face alone the wickedness of what he had done to the Thomas boy. His children in their photograph laughed and laughed, glazed with all the bright colors of summer, and he remembered that they had met a bagpiper on the beach that day and he had paid the piper a dollar to play them a battle song of the Black Watch. The girl would be at the house when he got home. He would spend another evening among his kind neighbors, picking and choosing dead-end streets, cart tracks, and the driveways of abandoned houses. There was nothing to mitigate his feeling—nothing that laughter or a game of softball with the children would change—and, thinking back over the plane crash, the Farquarsons' new maid, and Anne Murchison's difficulties with her drunken father, he wondered how he could have avoided arriving at just where he was. He was in trouble. He had been lost once in his life, coming back from a trout stream in the north woods, and he had now the same bleak realization that no amount of cheerfulness or hopefulness or valor or perseverance could help him find, in the gathering dark, the path that he'd lost. He smelled the forest. The feeling of bleakness was intolerable, and he saw clearly that he had reached the point where he would have to make a choice.

          He could go to a psychiatrist, like Miss Rainey; he could go to church and confess his lusts; he could go to a Danish massage parlor in the West Seventies that had been recommended by a salesman; he could rape the girl or trust that he would somehow be prevented from doing this; or he could get drunk. It was his life, his boat, and, like every other man, he was made to be the father of thousands, and what harm could there be in a tryst that would make them both feel more kindly toward the world? This was the wrong train of thought, and he came back to the first, the psychiatrist. He had the telephone number of Miss Rainey's doctor, and he called and asked for an immediate appointment. He was insistent with the doctor's secretary—it was his manner in business—and when she said that the doctor's schedule was full for the next few weeks, Francis demanded an appointment that day and was told to come at five.

          The psychiatrist's office was in a building that was used mostly by doctors and dentists, and the hallways were filled with the candy smell of mouthwash and memories of pain. Francis' character had been formed upon a series of private resolves—resolves about cleanliness, about going off the high diving board or repeating any other feat that challenged his courage, about punctuality, honesty, and virtue. To abdicate the perfect loneliness in which he had made his most vital decisions shattered his concept of character and left him now in a condition that felt like shock. He was stupefied. The scene for his iniserere mei Deus was, like the waiting room of so many doctor's offices, a crude token gesture toward the sweets of domestic bliss: a place arranged with antiques, coffee tables, potted plants, and etchings of snow-covered bridges and geese in flight, although there were no children, no marriage bed, no stove, even, in this travesty of a house, where no one had ever spent the night and where the curtained windows looked straight onto a dark air shaft. Francis gave his name and address to a secretary and then saw, at the side of the room, a policeman moving toward him. "Hold it, hold it," the policeman said. "Don't move. Keep your hands where they are."

          "I think it's all right, Officer," the secretary began. "I think it will..."

          "Let's make sure," the policeman said, and he began to slap Francis' clothes, looking for what—pistols, knives, an ice pick? Finding nothing, he went off and the secretary began a nervous apology: "When you called on the telephone, Mr. Weed, you seemed very excited, and one of the doctor's patients has been threatening his life, and we have to be careful. If you want to go in now?" Francis pushed open a door connected to an electrical chime, and in the doctor's lair sat down heavily, blew his nose into a handkerchief, searched in his pockets for cigarettes, for matches, for something, and said hoarsely, with tears in his eyes, "I'm in love, Dr. Herzog."

IT is a week or ten days later in Shady Hill. The seven-fourteen has come and gone, and here and there dinner is finished and the dishes are in the dish-washing machine. The village hangs, morally and economically, from a thread; but it hangs by its thread in the evening light. Donald Goslin has begun to worry the "Moonlight Sonata" again. Marcato ma sempre pianissimo! He seems to be wringing out a wet bath towel, but the housemaid does not heed him. She is writing a letter to Arthur Godfrey. In the cellar of his house, Francis Weed is building a coffee table. Dr. Herzog recommends woodwork as a therapy, and Francis finds some true consolation in the simple arithmetic involved and in the holy smell of new wood. Francis is happy. Upstairs, little Toby is crying, because he is tired. He puts off his cowboy hat, gloves, and fringed jacket, unbuckles the belt studded with gold and rubies, the silver bullets and holsters, slips off his suspenders, his checked shirt, and Levi's, and sits on the edge of his bed to pull off his high boots. Leaving this equipment in a heap, he goes to the closet and takes his space suit off a nail. It is a struggle for him to get into the long tights, but he succeeds. He loops the magic cape over his shoulders and, climbing onto the footboard of his bed, he spreads his arms and flies the short distance to the floor, landing with a thump that is audible to everyone in the house but himself.

          "Go home, Gertrude, go home," Mrs. Masterson says. "I told you to go home an hour ago, Gertrude. It's way past your suppertime, and your mother will be worried. Go home!" A door on the Babcocks' terrace flies open, and out comes Mrs. Babcock without any clothes on, pursued by a naked husband. (Their children are away at boarding school, and their terrace is screened by a hedge.) Over the terrace they go in at the kitchen door, as passionate and handsome a nymph and satyr as you will find on any wall in Venice. Cutting the last of the roses in her garden, Julia hears old Mr. Nixon shouting at the squirrels in his bird-feeding station. "Rapscallions! Varmints! Avaunt and quit my sight!" A miserable cat wanders into the garden, sunk in spiritual and physical discomfort. Tied to its head is a small straw hat—a doll's hat—and it is securely buttoned into a doll's dress, from the skirts of which protrudes its long, hairy tail. As it walks, it shakes its feet, as if it had fallen into water.

          "Here, pussy, pussy, pussy!" Julia calls.

          "Here, pussy, here, poor pussy!" But the cat gives her a skeptical look and stumbles away in its skirts. The last to come is Jupiter. He prances through the tomato vines, holding in his generous mouth the remains of an evening slipper. Then it is dark; it is a night where kings in golden suits ride elephants over the mountains