"Why?" I asked.

"I went up there," she said, still looking out over the river, "to talk to him about it. I wasn't sure he ought to when I went up. I wasn't sure then, but when I saw him I was."

Something about what she was saying disturbed me, like an offstage noise or something caught out of the tail of your eye or an itch that comes when your hands are full and you can't scratch. I was listening to what she was saying, and it wasn't that. It was something else. But I couldn't catch what. So I shoved it onto the back of the stove, and listened to what she was saying.

"When I saw how he was," she was saying, "I knew. I just knew. Oh, Jack, he was all worked up–it wasn't natural–just because he had been asked. He has cut himself off from everything–from everybody. Even from me. Not really, but it's not like it used to be."

"He's awful busy," I objected lamely.

"Busy," she echoed, "busy–yes, he's busy. Ever since he was in medical school, he has worked like a slave. There's just something driving him–driving him. It's not money and it's not reputation and it's not–I just don't know what–" Her voice drifted off.

"It is very simple," I said. "He wants to do good."

"Good," she echoed. Then, "I used to think so–oh, he does good–but–"

"But what?"

"Oh, I don't know–and I shouldn't say it–I shouldn't–but I almost think that the work–even the doing good–everything is just a way to cut himself off. Even from me–even me–"

Then she said, "Oh, Jack, we had an awful row. It was awful. I went home and cried all night. You know how we've always been. And to have a terrible row. You know how we've been? You know?" She insisted, and clutched my arm, as though to make me agree, to make me tell her how they had been.

"Yes," I said, "I know." I looked at her and was afraid for a second she was going to cry again, but she didn't, and I should have known it, for she was the kind that did her crying on the midnight pillow. If she did any.

"I told him," she was saying, "I told him that if he wanted to do any good–really do any good–here was the time. And the way. To see that the Medical Center was run right. And even expanded. And all that. But he just froze up and said he wouldn't touch the thing. And I accused him of being selfish–of being selfish and proud–of putting his pride before everything. Before doing good–before his duty. Then he just glared at me, and grabbed me by the wrist and said I couldn't understand anything, that a man owed himself something. I said it was his pride, just his pride, and he said he was proud not to touch filth, and if I wanted him to do that I could just–" She stopped, took a breath and, I guessed, a new grip on her nerve to say what she was about to say. "Well, what he was going to say was that I could get out. But he didn't say it. I'm glad–" she paused again–"I'm glad he didn't say it. At least, he didn't say it."

"He didn't mean it," I said.

"I don't know–I don't know. If you had seen his eyes blazing and his face all white and drawn. Oh, Jack–" she grabbed my arm again, and shook me as though I were holding back an answer–"why won't he do it? Why is he this way? Doesn't he see he ought to? That he's the man and he's got to? Why, Jack? Why?"

"To be perfectly brutal," I said, "it is because he is Adam Stanton, the son of Governor Stanton and grandson of Judge Peyton Stanton, and the great-grandson of General Morgan Stanton, and he has lived all his life in the idea that there was a time a long time back when everything was run by high-minded, handsome men wearing knee breeches and silver buckles or Continental blue or frock coats, or even buckskin and coonskin caps, as the case may be–for Adam Stanton isn't any snob–who sat around a table and candidly debated the good of the public thing. It is because he is a romantic, and he has a picture of the world in his head, and when the world doesn't conform in any respect to the picture, he wants to throw the world away. Even if that means throwing out the baby with the bath. Which," I added, "it always does mean."

That held her for a moment. She turned her face from me and looked out over the misty river again. The she murmured, "He ought to take it."

"Well," I said, "if you want him to do it, you've got to change the picture of the world inside his head. If I know Adam Stanton." And I did know Adam Stanton, and at that moment I could see his face with the skin drawn back tight over the bone and the strong mouth like the neatly healed wound and the deep-set blue eyes blazing like pale ice.

She hadn't answered me.

"That's the only way," I said, "and you might as well settle for that."

"He ought to do it," she whispered, looking over the river.

  "How much do you want him to?"

She swung to me, and I peered into her face. Then she said, "As much as I want anything."

"You mean that?" I said.

"I mean it. He's got to. To save himself." She grabbed my arm again. "For himself. As much as for everybody else. For himself."

"Are you sure?"

"Sure," she said, fiercely.

"I mean sure that you want him to do it? More than anything?"

"Yes," she said.

I studies her face. It was a beautiful face–or if not beautiful, better than beautiful, a tense, smooth, spare-modeled, finished face, and it was chalk-white in the shadow and in the eyes were dark gleams. I studied her face, and for a moment just did that and let all the questions just slide away, like something dropped into the mist and water below us to slide away in the oily silence of the current.

"Yes," she repeated, whispering.

But I kept on peering into her face, really looking at it for the first time, after all the years, for the close, true look at a thing can only be one snatched outside of time and the questions.

"Yes," she whispered, and laid her hand on my arm, lightly this time.

And at the touch I came out of what I had been sunk in.

"All right," I said, shaking myself, "but you don't know what you are asking for."

"It doesn't matter," she said. "Can you make him?"

"I can," I said.

"Well, why didn't you–why did you wait–why–"

"I don't think–" I said slowly–"I don't think I would have ever done it–at least, not this way–if you, you yourself, hadn't asked me."

"How can you do it?" she demanded, and the fingers closed on my arm.

"It is easy," I said, "I can change the picture of the world he carries around in his head."

"How?"

"I can give him a history lesson."

"A history lesson?"

"Yes, I am a student of history, don't you remember? And what we students of history always learn is that the human being is a very complicated contraption and that they are not good or bad but are good and bad and the good comes out of the bad and the bad out of the good, and the devil take the hindmost. But Adam, he is a scientist, and everything is tidy for him, and one molecule of oxygen always behaves the same way when it gets around two molecules of hydrogen, and a thing is always what it is, and so when Adam the romantic makes a picture of the world in his head, it is just like the picture of the world Adam the scientist works with. All tidy. All neat. The molecule of good always behaves the same way. The molecule of bad always behaves the same way. There are–"

"Stop it," she ordered, "stop it, and tell me. You are trying not to tell me. You are talking so you won't tell me. Now, tell me."

"All right," I said. "You remember I asked you about Judge Irwin being broken?" Well, he was. His wife wasn't rich, either. He just thought she was. And he took a bribe."

"Judge Irwin?" she echoed. "A bribe?"

"Yes," I said. "And I can prove it."

"He–he was father's friend, he was–" She paused, straightened herself, swung her face from me and looked out over the river, then, after a moment, in a sturdy voice, as though not to me but to the whole wide world over there beyond the mist: "Well, that doesn't prove anything. Judge Irwin."