The door is locked. In fitting the little key into the lock his hand trembles, pulsing with unusual exertion, and the metal scratches. But when he opens the door he sees his wife sitting in an armchair with an Old—fashioned, watching television turned down low.

"You're here," he says. "What's the door locked for?"

She looks to one side of him with vague dark eyes reddened by the friction of watching. "It just locked itself."

"Just locked itself," he repeats, but bends down to kiss her glossy forehead nevertheless. She is a small woman whose skin tends toward olive and looks tight, as if something swelling inside is straining against her littleness. Just yesterday, it seems to him, she stopped being pretty. With the addition of two short wrinkles at the corners, her mouth has become greedy; and her hair has thinned, so he keeps thinking of her skull under it. These tiny advances into age have occurred imperceptibly, so it seems just possible that tomorrow they'll be gone and she'll be his girl again. He makes a stab at kidding her into it. "Whaddeya afraid of? Whodeya thinks gonna come in that door? Errol Flynn?"

She doesn't answer. Carefully he unfolds his coat and goes to the closet with it and takes out a wire hanger. The closet is in the living room and the door only opens halfway, since the television set is in front of it. He is careful not to kick the wire, which is plugged into a socket on the other side of the door. One time Janice, who is especially clumsy when pregnant or drunk, got the wire wrapped around her foot and nearly pulled the set, a hundred and forty—nine dollars, down smash on the floor. Luckily he got to it while it was still rocking in the metal cradle and before Janice began kicking out in one of her panics. What made her get that way? What was she afraid of ? An order—loving man, he deftly inserts the corners of the hanger into the armholes of the coat and with his long reach hangs it on the painted pipe with his other clothes. He wonders if he should remove the Demonstrator badge from the lapel but decides he will wear the same suit tomorrow. He has only two, not counting a dark blue that is too hot for this time of year. He presses the door shut and it clicks but then swings open again an inch or two. Locked doors. It rankles: his hand trembling in the lock like some old wreck and her sitting in here listening to the scratching.

He furs and asks her, "if you're home where's the car? It's not out front."

"It's in front of my mother's. You're in my way."

"In front of your mother's? That's terrific. That's just the frigging place for it."

"What's brought this on?"

"Brought what on?" He moves out of her line of vision and stands to one side.

She is watching a group of children called Mouseketeers perform a musical number in which Darlene is a flower girl in Paris and Cubby is a cop and that smirky squeaky tall kid is a romantic artist. He and Darlene and Cubby and Karen (dressed as an old French lady whom Cubby as a cop helps across the street) dance. Then the commercial shows the seven segments of a Tootsie Roll coming out of the wrapper and turning into the seven letters of "Tootsie." They, too, sing and dance. Still singing, they climb back into the wrapper. It echoes like an echo chamber. Son of a bitch: cute. He's seen it fifty times and this time it turns his stomach. His heart is still throbbing; his throat feels narrow.

Janice asks, "Harry, do you have a cigarette? I'm out."

"Huh? On the way home I threw my pack into a garbage can. I'm giving it up." He wonders how anybody could think of smoking, with his stomach on edge the way it is.

Janice looks at him at last. "You threw it into a garbage can! Holy Mo. You don't drink, now you don't smoke. What are you doing, becoming a saint?"

"Shh."

The big Mouseketeer has appeared, Jimmie, a grown man who wears circular black ears. Rabbit watches him attentively; he respects him. He expects to learn something from him helpful in his own line of work, which is demonstrating a kitchen gadget in several five—and—dime stores around Brewer. He's had the job for four weeks. "Proverbs, proverbs, they're so true," Jimmie sings, strumming his Mouseguitar, "proverbs tell us what to do; proverbs help us all to bee – better – Mouse—ke—teers."

Jimmie sets aside his smile and guitar and says straight out through the glass, "Know Thyself, a wise old Greek once said. Know Thyself. Now what does this mean, boys and girls? It means, be what you are. Don't try to be Sally or Johnny or Fred next door; be yourself. God doesn't want a tree to be a waterfall, or a flower to be a stone. God gives to each one of us a special talent." Janice and Rabbit become unnaturally still; both are Christians. God's name makes them feel guilty. "God wants some of us to become scientists, some of us to become artists, some of us to become firemen and doctors and trapeze artists. And He gives to each of us the special talents to become these things, provided we work to develop them. We must work, boys and girls. So: Know Thyself. Learn to understand your talents, and then work to develop them. That's the way to be happy." He pinches his mouth together and winks.

That was good. Rabbit tries it, pinching the mouth together and then the wink, getting the audience out front with you against some enemy behind, Walt Disney or the MagiPeel Peeler Company, admitting it's all a fraud but, what the hell, making it likable. We're all in it together. Fraud makes the world go round. The base of our economy. Vitaconomy, the modem housewife's password, the one—word expression for economizing vitamins by the MagiPeel Method.

Janice gets up and turns off the set when the six—o'clock news tries to come on. The little hard star left by the current slowly dies.

Rabbit asks, "Where's the kid?"

"At your mother's."

"At my mother's? The car's at your mother's and the kid's at my mother's. Jesus. You're a mess."

She stands up and her pregnancy infuriates him with its look of stubborn lumpiness. She wears one of those maternity skirts with a U cut in the belly. A white crescent of slip shines under the hem of her blouse. "I was tired."

"No wonder," he says. "How many of those have you had?" He gestures at the Old—fashioned glass. Sugar has stained the side she drank from.

She tries to explain. "I left Nelson at your mother's on my way to my mother's to go into town with her. We went in in her car and walked around looking at the spring clothes in the windows and she bought a nice Liberty scarf at Kroll's at a sale. Purply Paisley." She falters; her little narrow tongue pokes between her parted lips.

He feels frightened. When confused, Janice is a frightening person. Her eyes dwindle in their frowning sockets and her little mouth hangs open in a dumb slot. Since her hair has begun to thin back from her shiny forehead, he keeps getting the feeling of her being brittle, and immovable, of her only going one way, toward deeper wrinkles and skimpier hair. He married relatively late, when he was twenty—three and she was two years out of high school, still scarcely adult, with shy small breasts that when she lay down flattened against her chest so that they were only there as a tipped softness. Nelson was born seven months after the Episcopal service, in prolonged labor: Rabbit's fright then mixes with his fright now and turns it tender. "What did you buy?"

"A bathing suit."

"A bathing suit! Chh. In March?"

She closes her eyes for a moment; he can feel the undertow of liquor sweep over her and is disgusted. "It made it seem closer to when I could fit into it."

"What the hell ails you? Other women like being pregnant. What's so damn fancy about you? Just tell me. What is so frigging

She opens her brown eyes and tears fill them and break over the lower lids and drop down her cheeks, pink with injury, while she looks at him and says "You bastard" very thoughtfully.