# A Good Woman (Bromfield)/Part 3/Chapter 26

The Mills began once more to pound and roar. The flames of the furnaces again filled all the night sky with a rosy glow. The last miserable remnants of the strikers drifted away and the tent village disappeared, leaving only a vacant lot, grassless and muddy with the turn of winter. The strike and the slaughter in the park of Shane's Castle, even the tragedy of Naomi and the Reverend Castor, were at last worn to shreds as ​subjects of conversation. Life moved on, as if all these things counted for nothing, as if the Shanes, and Krylenko, poor Giulia Rizzo, Naomi and the Reverend Castor, had never existed. In the church, Elmer Niman read the services until a suitable preacher was found. The bereft and invalid Mrs. Castor disappeared in the obscurity of some Indiana village, where she went to live with a poverty-stricken cousin.
As for Philip, he stayed on in the flat, hiring an old negress, whom McTavish knew, to care for the twins. A sort of enchantment seemed to have taken possession of him, which robbed him even of his desire to go away. Emma came nearly every day to question old Molly about the children, to make suggestions and to run her finger across tables in search of dust. She did not propose that he return to the slate-colored house, for she seemed now to be afraid of him, with the fear one has of drunkards or maniacs—a fear which had its origin in the moment he had taken the worn gloves from his pocket and given them to her. There was, too, a wisdom in the fear, a wisdom which had come to her from Jason on that same night, after she had returned to the marital bed.
For Jason had said to her, when she had grown calm, "Em, you never learn anything. If you lived to be a hundred, you'd still be making a mess of things."
And she had cried out, "How can you say such a thing to me . . . after all I've suffered . . . after all I've done? It's you who've made a mess of your life."
"My life ain't such a mess as you might think," he had replied darkly. "But let me tell you, if you don't want to lose that boy altogether, you'll let him alone. ​He ain't no ordinary town boy, Em. He's different. I've found that out. I don't know how we produced 'im. But if you don't want to lose him, you'll let him alone."
She didn't want to lose him. There were times when she hardened her heart toward him, thinking he was ungrateful and hard to allow a hussy like Mary Conyngham to stand between him and his mother; and again she would think of him as her little boy, her Philip, for whom she would work her fingers to the bone. But she was hurt by the way he looked at her, coldly, out of hard blue eyes, as if she were only a stranger to him. She felt him slipping, slipping from her, and at times she grew cold with fear. She "let him alone," but she could not overlook her duty toward him and his children. They were, after all, her grandchildren, and a man like Philip wasn't capable of bringing them up properly, especially since he had lost his faith. And with a mother like theirs, who had such bad blood, they would need special care and training . . . she resolved not to speak of it for the moment, but, later on, when they were a little older. . . .
But it was Mabelle who was the most regular visitor at the flat. She came with a passion for always being in the center of things; she clung to the tragedy, and came every day to break in upon Philip's brooding solitude, to chatter on and on, whether he listened or not. She brought little Jimmy's old toys for the twins, and she dandled them on her knee as if they were her own. There were times when Philip suspected her of being driven by a relentless curiosity to discover more of what had happened on the terrible day, but he endured her; he even began to have an affection for ​her, because she was so stupid and good-natured.
She was sitting there one morning, playing with little Philip and little Naomi, when she said suddenly, "You know I often think that all that trouble in the park at Shane's Castle . . . killing all those people . . . had something to do with Naomi's being so upset. You see, when she heard that morning about the people being killed there, she got worried about you. She was nearly crazy for fear that something had happened to you, and she went herself to the stable to find you, and when she didn't find you there she was sort of crazy afterward. She came up and talked to me in a crazy way until she heard from your Pa that he'd seen you at McTavish's. When I think of it now, I see that she was sort of unbalanced and queer, though I didn't notice it at the time."
Philip, barely listening to her, took little notice of what she was saying, for he had come long ago to allow her to rattle on and on without heeding her; it was only a little while afterward that it had any significance for him. It was as if what she had said touched some hidden part of his brain. When she had gone, and he began indifferently to think of it, it seemed to him that he remembered every word exactly as she had spoken it. The words were burned into his mind. "She was nearly crazy for fear someting had happened to you, and she went herself to the stable to find you."
When Mabelle had gone, he could think of nothing else.
Since the morning after the slaughter in the park, he had never returned to the stable. The place which he had once thought of as belonging to himself alone was spoiled now: it had been invaded by Lily Shane ​and poor Naomi, and even by Mary . . . even by Mary. There were times when he resented her having come there, and times, too, when his remorse over Naomi made him feel that Mary had come deliberately, to tempt him, that what they had done was not a beautiful, but a wicked thing, which would torment him until he died. The place was spoiled for him, since it had come in a ghastly way to stand as a symbol of all those things which he believed had driven Naomi into madness.
But he knew, too, that he must return one day to the stable. It was filled with his belongings, the sketches pinned to the walls, the unfinished canvas of the Flats at night on which the paint must long since have caked and turned hard. (He knew now that it would never be finished, for he could never bring himself to sit there again by the window, alone, watching the mists stealing over the Mills.) After Mabelle had gone, he kept thinking that Naomi was the last one to enter the place. It was as if her spirit would be there awaiting him.
And then all at once there came to him a sudden terrifying memory: he had gone away that morning leaving behind unwashed the dishes he and Mary had used at breakfast. He had sent Mary away, promising to wash them himself, and then, troubled by the remorse of the gray dawn, had gone off, meaning to do it when he returned. They were still lying there—the two plates, the two coffee-cups, the very loaf of bread, turned hard and dry, and nibbled by the mice. And Naomi had gone there, "crazy for fear something had happened" to him. She had seen the remnants of that breakfast. In all the uproar and confusion he had for​gotten. . . . She had known then; she must have known before she ran away. . . .
For a moment he thought, "I must be careful, or I shall go crazy. It must feel like this to lose one's mind." He thought, "It was I who did it. I drove her away. I killed her myself. She thought that I was lying to her all along. I wasn't lying. I wasn't lying. I was telling her the truth. . . . It would have been the truth, even now, to the end, if Mary hadn't come then. She must have been crazy. Both of us must have been crazy."
And then, after a time, he thought, "I've got to be calm. I've got to think this thing out." There wasn't, after all, any reason why there shouldn't have been two plates and two cups. Any one might have been having breakfast with him . . . any man, Krylenko, or even McTavish. Oh, it was all right. There couldn't have been anything wrong in that.
And then he thought bitterly, "But if it had been Krylenko, Naomi wouldn't have believed it. She'd be sure it was a woman. She'd think it was Lily Shane . . . Lily Shane, who wouldn't have looked at me. She was jealous of Lily Shane."
None of it was any good—none of this self-deception. It wasn't a man who had had breakfast with him. It was a woman—Mary Conyngham, only Naomi had believed it was Lily Shane. Thank God! It wasn't the same as if he and Mary together had driven her away to death in that horrible rooming-house. He'd never have to think of that after he and Mary were married. Naomi had believed the woman was Lily Shane.
Suddenly he pressed his hands to his eyes, so savagely that for a moment he was blinded. "I'm a fool. It's ​just the same, even if she did think that it was some other woman."
The stable began to acquire for him a horrid fascination, so powerful that he could no longer stay away from it. He had to return, to see the place with his eyes, to see the tell-tale cups and plates. Perhaps (he thought) some miracle had happened. Old Hennery might have removed them after he left, or perhaps he had himself washed them and put them away in the harness-closet without remembering it. Such a thing could happen. . . . In all the tragedy, all the confusion, the ecstasy of those few hours, he might have done it, without knowing what he did. Or afterwards, in all the stress of what had happened, he might have forgotten. Such things had been known to occur, he told himself, such lapses in the working of a brain. There were, after all, moments of late when he was not certain of what was happening—whether he was alive or dead, or whether Naomi had really killed herself, praying by the side of that wretched bed. . . .
But immediately he said, "I'm a fool. I'm like my father. I'm not thinking of what did happen, but what I wish had happened. It's like his story of losing his memory."
When the old negress Molly returned from marketing, he gave her the twins and went off like a madman to the stable. He traversed the area of the Mills, passed Hennessey's place, and entered the dead park, but when he came to the stable, it took all his courage to enter.
He climbed the creaking stairs with his eyes closed, groping his way until he stood at the top. Then he opened them and looked about.
​The place had a wrecked and desolate look. The dust and the soot of the Mills, filtering in through the decaying windows, covered everything. At some time during the storm the roof had begun to leak, and the water, running down the walls, had ruined a dozen sketches and soaked the blankets on the bed, and in the middle of the room on the table stood the coffee-pot, the dried loaf of bread gnawed by the mice, the soiled cups and plates, and a saucer with rancid butter on it.
There wasn't any doubt of it—the things were there, just as they had been left by him and Mary.
He sat down weakly in one of the chairs by the table, and lighted a cigarette. Suddenly he leaned back with his eyes closed. He didn't care any longer. He was tired. He had come (he thought) to the end of things, and nothing any longer made any difference—neither his mother, nor his father, nor Naomi, nor even Mary. He wanted only to be alone forever, to go off into some wilderness where there was no human creature to cause him pain. He wanted to be a coward and run away. In solitude he might regain once more that stupid faith which had once given him security. It wasn't that he'd ever again be glad to be alive: it was only when you believed you could make God responsible in a way for everything. Whatever happened, it was the Will of God. He hadn't been alive: it was only when he had turned his back on God that he had begun to understand what it meant to be alive. And now that, too, was past: he saw now that he wasn't strong enough to live by himself. He was, after all, a coward, without the courage of a person like Mary. She had, he saw, no need of a God to lean upon. No, he wasn't even like ​his father, whom no tragedy had the power to touch. He was like her—like his mother. He needed God as an excuse. She was safe: nothing could touch her, nothing could ever change her. She always had God to hold responsible. . . .
The forgotten cigarette, burning low, scorched his fingers, and, dropping it, he stepped on it mechanically, and, rising from the chair, saw suddenly a woman's handkerchief lying on the table among the dishes. It lay there, folded neatly, beneath a covering of dust and soot. He thought, "It must have been Naomi's. She must have dropped it here." The thing exerted an evil fascination over him. He wanted to go away, but he couldn't go, until he knew whose handkerchief it was. It couldn't have been Lily Shane's, for he or Mary would have noticed it. It couldn't have been Mary's: for she wouldn't have gone away from the table with it lying there, neat and unused, in full sight on the table. It must have belonged to Naomi. He wanted to go away without even looking, but he had not the strength. It lay there tormenting him. He would never have any peace if he went away in ignorance.
At last his hand, as if it moved of its own will, reached out and picked it up. It left behind a small square free of dust on the surface of the table. It was a tiny handkerchief, frail and feminine, and in the corner it was marked with initials. They were . . . M.C. There wasn't the slightest doubt. . . . M.C. . . . M.C. . . . Mary Conyngham.
He saw then what must have happened—that Mary had dropped it somewhere in the room, and Naomi, searching for some clue, had found it and left it lying behind on the table. It was Naomi's hand that had ​placed it there on the table, Naomi's hand that had last touched it.
Naomi had known who the woman was. In the next moment he had, in some unaccountable way, a curiously clear vision of an iron bed with a small depression where some one had knelt to pray.
After a long time, he rose, and, leaving the handkerchief on the table, went down the stairs once more. He never returned again to the room above the stable.