Chapter: When Frank Shabata got home that night, he found Emil's mare in
his stable. Such an impertinence amazed him. Like everybody else,
Frank had had an exciting day. Since noon he had been drinking too
much, and he was in a bad temper. He talked bitterly to himself
while he put his own horse away, and as he went up the path and
saw that the house was dark he felt an added sense of injury. He
approached quietly and listened on the doorstep. Hearing nothing,
he opened the kitchen door and went softly from one room to another.
Then he went through the house again, upstairs and down, with no
better result. He sat down on the bottom step of the box stairway
and tried to get his wits together. In that unnatural quiet there
was no sound but his own heavy breathing. Suddenly an owl began
to hoot out in the fields. Frank lifted his head. An idea flashed
into his mind, and his sense of injury and outrage grew. He went
into his bedroom and took his murderous 405 Winchester from the
closet.

When Frank took up his gun and walked out of the house, he had not
the faintest purpose of doing anything with it. He did not believe
that he had any real grievance. But it gratified him to feel like
a desperate man. He had got into the habit of seeing himself always
in desperate straits. His unhappy temperament was like a cage; he
could never get out of it; and he felt that other people, his wife
in particular, must have put him there. It had never more than
dimly occurred to Frank that he made his own unhappiness. Though
he took up his gun with dark projects in his mind, he would have
been paralyzed with fright had he known that there was the slightest
probability of his ever carrying any of them out.

Frank went slowly down to the orchard gate, stopped and stood for
a moment lost in thought. He retraced his steps and looked through
the barn and the hayloft. Then he went out to the road, where he
took the foot-path along the outside of the orchard hedge. The
hedge was twice as tall as Frank himself, and so dense that one
could see through it only by peering closely between the leaves.
He could see the empty path a long way in the moonlight. His mind
traveled ahead to the stile, which he always thought of as haunted
by Emil Bergson. But why had he left his horse?

At the wheatfield corner, where the orchard hedge ended and the
path led across the pasture to the Bergsons', Frank stopped. In
the warm, breathless night air he heard a murmuring sound, perfectly
inarticulate, as low as the sound of water coming from a spring,
where there is no fall, and where there are no stones to fret it.
Frank strained his ears. It ceased. He held his breath and began
to tremble. Resting the butt of his gun on the ground, he parted
the mulberry leaves softly with his fingers and peered through
the hedge at the dark figures on the grass, in the shadow of the
mulberry tree. It seemed to him that they must feel his eyes,
that they must hear him breathing. But they did not. Frank, who
had always wanted to see things blacker than they were, for once
wanted to believe less than he saw. The woman lying in the shadow
might so easily be one of the Bergsons' farm-girls.... Again
the murmur, like water welling out of the ground. This time he
heard it more distinctly, and his blood was quicker than his brain.
He began to act, just as a man who falls into the fire begins to
act. The gun sprang to his shoulder, he sighted mechanically and
fired three times without stopping, stopped without knowing why.
Either he shut his eyes or he had vertigo. He did not see anything
while he was firing. He thought he heard a cry simultaneous with
the second report, but he was not sure. He peered again through
the hedge, at the two dark figures under the tree. They had fallen
a little apart from each other, and were perfectly still--No,
not quite; in a white patch of light, where the moon shone through
the branches, a man's hand was plucking spasmodically at the grass.

Suddenly the woman stirred and uttered a cry, then another, and
another. She was living! She was dragging herself toward the
hedge! Frank dropped his gun and ran back along the path, shaking,
stumbling, gasping. He had never imagined such horror. The
cries followed him. They grew fainter and thicker, as if she were
choking. He dropped on his knees beside the hedge and crouched
like a rabbit, listening; fainter, fainter; a sound like a whine;
again--a moan--another--silence. Frank scrambled to his feet and
ran on, groaning and praying. From habit he went toward the house,
where he was used to being soothed when he had worked himself into
a frenzy, but at the sight of the black, open door, he started back.
He knew that he had murdered somebody, that a woman was bleeding
and moaning in the orchard, but he had not realized before that
it was his wife. The gate stared him in the face. He threw his
hands over his head. Which way to turn? He lifted his tormented
face and looked at the sky. "Holy Mother of God, not to suffer!
She was a good girl--not to suffer!"

Frank had been wont to see himself in dramatic situations; but
now, when he stood by the windmill, in the bright space between the
barn and the house, facing his own black doorway, he did not see
himself at all. He stood like the hare when the dogs are approaching
from all sides. And he ran like a hare, back and forth about that
moonlit space, before he could make up his mind to go into the
dark stable for a horse. The thought of going into a doorway was
terrible to him. He caught Emil's horse by the bit and led it out.
He could not have buckled a bridle on his own. After two or three
attempts, he lifted himself into the saddle and started for Hanover.
If he could catch the one o'clock train, he had money enough to
get as far as Omaha.

While he was thinking dully of this in some less sensitized part
of his brain, his acuter faculties were going over and over the
cries he had heard in the orchard. Terror was the only thing that
kept him from going back to her, terror that she might still be
she, that she might still be suffering. A woman, mutilated and
bleeding in his orchard--it was because it was a woman that he
was so afraid. It was inconceivable that he should have hurt a
woman. He would rather be eaten by wild beasts than see her move
on the ground as she had moved in the orchard. Why had she been
so careless? She knew he was like a crazy man when he was angry.
She had more than once taken that gun away from him and held it,
when he was angry with other people. Once it had gone off while
they were struggling over it. She was never afraid. But, when
she knew him, why hadn't she been more careful? Didn't she have
all summer before her to love Emil Bergson in, without taking such
chances? Probably she had met the Smirka boy, too, down there in
the orchard. He didn't care. She could have met all the men on the
Divide there, and welcome, if only she hadn't brought this horror
on him.

There was a wrench in Frank's mind. He did not honestly believe that
of her. He knew that he was doing her wrong. He stopped his horse
to admit this to himself the more directly, to think it out the more
clearly. He knew that he was to blame. For three years he had been
trying to break her spirit. She had a way of making the best of
things that seemed to him a sentimental affectation. He wanted his
wife to resent that he was wasting his best years among these stupid
and unappreciative people; but she had seemed to find the people
quite good enough. If he ever got rich he meant to buy her pretty
clothes and take her to California in a Pullman car, and treat her
like a lady; but in the mean time he wanted her to feel that life was
as ugly and as unjust as he felt it. He had tried to make her life
ugly. He had refused to share any of the little pleasures she was so
plucky about making for herself. She could be gay about the least
thing in the world; but she must be gay! When she first came to him,
her faith in him, her adoration--Frank struck the mare with his fist.
Why had Marie made him do this thing; why had she brought this upon
him? He was overwhelmed by sickening misfortune. All at once he
heard her cries again--he had forgotten for a moment. "Maria," he
sobbed aloud, "Maria!"

When Frank was halfway to Hanover, the motion of his horse brought
on a violent attack of nausea. After it had passed, he rode on
again, but he could think of nothing except his physical weakness
and his desire to be comforted by his wife. He wanted to get into
his own bed. Had his wife been at home, he would have turned and
gone back to her meekly enough.

 Frank gets home that night and finds Emil's horse in the stable. He goes through the house, but finds no one. Becoming more and more angry, he gets his shotgun, a Winchester 405. As he leaves the house, the narrator notes, he has no intention of using his weapon at all. He doesn't really believe he has any reason to do so. He only wants to feel "like a desperate man" . Frank stops before going into the orchard, and then decides to go back to the road, where a dense hedge conceals the orchard. As he goes there, he wonders to himself why Emil would have left his horse in the stable. At the corner where the hedge ends and the wheat field begins, Frank stops again. He hears some noise, a murmuring noise, like "water coming from a spring" . He parts the leaves of the hedge and peers through. There, he sees Emil lying in the grass with a woman, whom, for a second, he thinks might be one of Alexandra's farm girls. But it's only a second. He hears a second murmuring, more distinct than the first, and he acts mechanically. He grabs his shotgun and fires three times without stopping. The two fall away from each other, and Emil lies completely still, except for spasms in his hand. But Marie is still alive, crying and trying to crawl toward the hedge. Frank drops his gun and runs, hearing the cries fade, as it sounds like Marie begins to choke. He drops to his knees, and hears a moan from behind the hedge. Groaning and praying himself, he runs into the house, where he's used to being comforted when he's angry or in a "frenzy" . That's when he realizes that he's killed someone, that a woman is bleeding to death in the orchard, and... that the woman is his wife. Frank often gets himself worked up by imagining himself in desperate situations. But this is the real deal. He runs about, unable to figure out what to do. Finally, he untethers Emil's horse, saddles it, and decides to ride to Hanover, where he hopes to catch the night train to Omaha. As he rides, he can't forget Marie's cries. He's terrified most of having to go back, that she might still be alive, mutilated and suffering. How could she let this happen? he thinks. He remembers the times when he got worked up into a frenzy and grabbed his shotgun, and she struggled to take it away from him. Once it fired in the process. Why did she have to take this chance with Emil? he thinks. He imagines her taking other men down into the orchard. But that would have been fine, he tells himself, as long as this had never happened. Frank stops his horse. She's not to blame, he thinks. He's the one who's been trying to break her, he wanted his wife to be as bitter as he is. He refused to share in any of the pleasures she made for herself. Why had she made him do this? he thinks furiously. Then he remembers her cries, and he sobs, "Maria!" Halfway to Hanover, Frank stops to vomit. All he wants is to be able to go back home, to his own bed, and be comforted by his wife.

