To Mr. Brook, the head of the music department at Ryder College, was due all the credit for getting Madame Zilensky on the faculty. The college considered itself fortunate; her reputation was impressive, both as a composer and as a pedagogue. Mr. Brook took on himself the responsibility of finding a house for Madame Zilensky, a comfortable place with a garden, which was convenient to the college and next to the apartment house where he himself lived.

       No one in Westbridge had known Madame Zilensky before she came. Mr. Brook had seen her pictures in musical journals, and once he had written to her about the authenticity of a certain Buxtehude manuscript. Also, when it was being settled that she was to join the faculty, they had exchanged a few cables and letters on practical affairs. She wrote in a clear, square hand, and the only thing out of the ordinary in these letters was the fact that they contained an occasional reference to objects and persons altogether unknown to Mr. Brook, such as "the yellow cat in Lisbon" or "poor Heinrich." These lapses Mr. Brook put down to the confusion of getting herself and her family out of Europe.

       Mr. Brook was a somewhat pastel person; years of Mozart minuets, of explanations about diminished sevenths and minor triads, had given him a watchful vocational patience. For the most part, he kept to himself. He loathed academic fiddle-faddle and committees. Years before, when the music department had decided to gang together and spend the summer in Salzburg, Mr. Brook sneaked out of the arrangement at the last moment and took a solitary trip to Peru. He had a few eccentricities himself and was tolerant of the peculiarities of others; indeed, he rather relished the ridiculous. Often, when confronted with some grave and incongruous situation, he would feel a little inside tickle, which stiffened his long, mild face and sharpened the light in his gray eyes.

       Mr. Brook met Madame Zilensky at the Westbridge station a week before the beginning of the fall semester. He recognized her instantly. She was a tall, straight woman with a pale and haggard face. Her eyes were deeply shadowed and she wore her dark, ragged hair pushed back from her forehead. She had large, delicate hands, which were very grubby. About her person as a whole there was something noble and abstract that made Mr. Brook draw back for a moment and stand nervously undoing his cuff links. In spite of her clothes -- a long, black skirt and a broken-down old leather jacket -- she made an impression of vague elegance. With Madame Zilensky were three children, boys between the ages of ten and six, all blond, blank-eyed, and beautiful. There was one other person, an old woman who turned out later to be the Finnish servant.

       This was the group he found at the station. The only luggage they had with them was two immense boxes of manuscripts, the rest of their paraphernalia having been forgotten in the station at Springfield when they changed trains. That is the sort of thing that can happen to anyone. When Mr. Brook got them all into a taxi, he thought the worst difficulties were over, but Madame Zilensky suddenly tried to scramble over his knees and get out of the door.

       "My God!" she said. "I left my -- how do you say? -- my tick-tick-tick --"

       "Your watch?" asked Mr. Brook.

       "Oh no!" she said vehemently. "You know, my tick-tick-tick," and she waved her forefinger from side to side, pendulum fashion.

       "Tick-tick," said Mr. Brook, putting his hands to his forehead and closing his eyes. "Could you possibly mean a metronome?"

       "Yes! Yes! I think I must have lost it there where we changed trains."

       Mr. Brook managed to quiet her. He even said, with a kind of dazed gallantry, that he would get her another one the next day. But at the time he was bound to admit to himself that there was something curious about this panic over a metronome when there was all the rest of the lost luggage to consider.

       The Zilensky ménage moved into the house next door, and on the surface everything was all right. The boys were quiet children. Their names were Sigmund, Boris, and Sammy. They were always together and they followed each other around Indian file, Sigmund usually the first. Among themselves they spoke a desperate-sounding family Esperanto made up of Russian, French, Finnish, German, and English; when other people were around, they were strangely silent. It was not any one thing that the Zilenskys did or said that made Mr. Brook uneasy. There were just little incidents. For example, something about the Zilensky children subconsciously bothered him when they were in a house, and finally he realized that what troubled him was the fact that the Zilensky boys never walked on a rug; they skirted it single file on the bare floor, and if a room was carpeted, they stood in the doorway and did not go inside. Another thing was this: Weeks passed and Madame Zilensky seemed to make no effort to get settled or to furnish the house with anything more than a table and some beds. The front door was left open day and night and soon the house began to take on a queer, bleak look like that of a place abandoned for years.

       The college had every reason to be satisfied with Madame Zilensky. She taught with a fierce insistence. She could become deeply indignant if some Mary Owens or Bernadine Smith would not clean up her Scarlatti trills. She got hold of four pianos for her college studio and set four dazed students to playing Bach fugues together. The racket that came from her end of the department was extraordinary, but Madame Zilensky did not seem to have a nerve in her, and if pure will and effort can get over a musical idea, then Ryder College could not have done better. At night Madame Zilensky worked on her twelfth symphony. She seemed never to sleep; no matter what time of night Mr. Brook happened to look out of his sitting-room window, the light in her studio was always on. No, it was not because of any professional consideration that Mr. Brook became so dubious.

       It was in late October when he felt for the first time that something was unmistakably wrong. He had lunched with Madame Zilensky and had enjoyed himself, as she had given him a very detailed account of an African safari she had made in 1928. Later in the afternoon she stopped in at his office and stood rather abstractly in the doorway.

       Mr. Brook looked up from his desk and asked, "Is there anything you want?"

       "No, thank you," said Madame Zilensky. She had a low, beautiful, sombre voice. "I was only just wondering. You recall the metronome. Do you think perhaps that I might have left it with that French?"

       "Who?" asked Mr. Brook.

       "Why, that French I was married to," she answered.

       "Frenchman," Mr. Brook said mildly. He tried to imagine the husband of Madame Zilensky, but his mind refused. He muttered half to himself, "The father of the children."

       "But no," said Madame Zilensky with decision. "The father of Sammy."

       Mr. Brook had a swift prescience. His deepest instincts warned him to say nothing further. Still, his respect for order, his conscience, demanded that he ask, "And the father of the other two?"

       Madame Zilensky put her hand to the back of her head and ruffled up her short, cropped hair. Her face was dreamy, and for several moments she did not answer. Then she said gently, "Boris is of a Pole who played the piccolo."

       "And Sigmund?" he asked. Mr. Brook looked over his orderly desk, with the stack of corrected papers, the three sharpened pencils, the ivory-elephant paperweight. When he glanced up at Madame Zilensky, she was obviously thinking hard. She gazed around at the corners of the room, her brows lowered and her jaw moving from side to side. At last she said, "We were discussing the father of Sigmund?"

       "Why, no," said Mr. Brook. "There is no need to do that."

       Madame Zilensky answered in a voice both dignified and final. "He was a fellow-countryman."

       Mr. Brook really did not care one way or the other. He had no prejudices; people could marry seventeen times and have Chinese children so far as he was concerned. But there was something about this conversation with Madame Zilensky that bothered him. Suddenly he understood. The children didn't look at all like Madame Zilensky, but they looked exactly like each other, and as they all had different fathers, Mr. Brook thought the resemblance astonishing.

       But Madame Zilensky had finished with the subject. She zipped up her leather jacket and turned away.

       "That is exactly where I left it," she said, with a quick nod. "Chez that French."

       Affairs in the music department were running smoothly. Mr. Brook did not have any serious embarrassments to deal with, such as the harp teacher last year who had finally eloped with a garage mechanic. There was only this nagging apprehension about Madame Zilensky. He could not make out what was wrong in his relations with her or why his feelings were so mixed. To begin with, she was a great globe-trotter, and her conversations were incongruously seasoned with references to far-fetched places. She would ............