What he finally took home, when he ventured to leave the place, was the perceived truth that he might on any other system go straight to destruction. Destruction was represented for him by the idea of his really bringing to a point, on Milly's side, anything whatever. Nothing so "brought," he easily argued, but _must_ be in one way or another a catastrophe. He was mixed up in her fate, or her fate, if that should be better, was mixed up in _him_, so that a single false motion might either way snap the coil. They helped him, it was true, these considerations, to a degree of eventual peace, for what they luminously amounted to was that he was to do nothing, and that fell in after all with the burden laid on him by Kate. He was only not to budge without the girl's leave--not, oddly enough at the last, to move without it, whether further or nearer, any more than without Kate's. It was to this his wisdom reduced itself--to the need again simply to be kind. That was the same as being still--as studying to create the minimum of vibration. He felt himself as he smoked shut up to a room on the wall of which something precious was too precariously hung. A false step would bring it down, and it must hang as long as possible. He was aware when he walked away again that even Fleet Street wouldn't at this juncture successfully touch him. His manager might wire that he was wanted, but he could easily be deaf to his manager. His money for the idle life might be none too much; happily, however, Venice was cheap, and it was moreover the queer fact that Milly in a manner supported him. The greatest of his expenses really was to walk to the palace to dinner. He didn't want, in short, to give that up, and he should probably be able, he felt, to stay his breath and his hand. He should be able to be still enough through everything.