The chapter attempts an understanding of what good community (not necessarily Christian but instantiated here within that faith perspective) might look like, with reference to a comparison and contrast of the influence of two ecclesiastical bells which feature respectively in Murdoch’s novel of the same name and within Andrei Tarkovsky’s 1960’s fictional film reconstruction of the life of Andrei Rublev. Exploring themes common to both novel and film—including recognition of personal sinfulness (here interpreted more as a failure to realise one’s true selfhood), forms of repentance and resurrection, alongside well-recognised Murdochian themes of contingency and accident in human relationships—indicates that the bells which feature within each artwork become emblematic of new possibilities for those characters who have most to do with them. For Dora Greenfield, arguably the true but accidental hero of Murdoch’s novel, her successful resurrection of the long-lost convent bell, with its intricate and loving representations of medieval people at work and leisure, poses the possibility of new and better understandings of the community. For Andrei Rublev, it is the personal witnessing of real individuals at work on the founding of a new cathedral bell, with all the accidents that accompany it, that enables his eventual return to his vocation as icon painter. For both, however, the moral demand is for a move away from personal solipsism to communal engagement, with its accompanying idea that to walk in good company is the most trustworthy means to discovering one’s truest self.