You're certain someone is working against you: ask what the scene looks like if you are the stranger in it.

Codling sees his wife Mildred with a man in the rocking chair and builds the infidelity case — then the story pulls the floor out: the man is Codling himself, the part of him that drifted loose ("of course, he was upstairs with Mildred, it was himself, the other bit of him"). The jealousy was real and also wrong. The tale ends not with exposure but with a birth: "We'll call him Gabriel." Suspicions feel like evidence until the frame widens enough to include you.