Robert Silverberg The Science Fiction Hall Of Fame Volume One, 1929-1964

town used wooden holders old McIntyre had made, to save on butts.

Last of all, Thelma Dunn gave Dan Hollis the record she had found.

Dan’s eyes misted even before he opened the package. He knew it was a record.

“Gosh,” he said softly. “What one is it? I’m almost afraid to look . . .“

“You haven’t got it, darling,” Ethel Hollis smiled. “Don’t you remember, I asked about ‘You Are My Sunshine’?”

“Oh, gosh,” Dan said again. Carefully he removed the wrapping and stood there fondling the record, running his big hands over the worn grooves with their tiny, dulling crosswise scratches. He looked around the room, eyes shining, and they all smiled back, knowing how delighted he was.

“Happy birthday, darling!” Ethel said, throwing her arms around him and kissing him.

He clutched the record in both hands, holding it off to one side as she pressed against him. “Hey,” he laughed, pulling back his head. “Be careful—I’m holding a priceless object!” He looked around again, over his wife’s arms, which were still around his neck. His eyes were hungry. “Look . . . do you think we could play it?

Lord, what I’d give to hear some new music. Just the first part, the orchestra part, before Como sings?”

Faces sobered. After a minute, John Sipich said, “I don’t think we’d better, Dan.

After all, we don’t know just where the singer comes in—it’d be taking too much of a chance. Better wait till you get home.”

Dan Hollis reluctantly put the record on the buffet with all his other presents. “It’s good,” he said automatically, but disappointedly, “that I can’t play it here.”

“Oh, yes,” said Sipich. “It’s good.” To compensate for Dan’s disappointed tone, he repeated, “It’s good.”

They ate dinner, the candles lighting their smiling faces, and ate it all right down to the last delicious drop of gravy. They complimented Mom and Aunt Amy on the roast beef, and the peas and carrots, and the tender corn on the cob. The corn hadn’t come from the Fremonts’ cornfield, naturally—everybody knew what was out there, and the field was going to weeds. Then they polished off the dessert—homemade ice cream and cookies. And then they sat back, in the flickering light of the candles, and chatted, waiting for television.

There never was a lot of mumbling on television night; everybody came and had a good dinner at the Fremonts’, and that was nice, and afterward there was television, and nobody really thought much about that—it just had to be put up with. So it was a pleasant enough get-together, aside from your having to watch what you said just as carefully as you always did everyplace. If a dangerous thought came into your mind, you just started mumbling, even right in the middle of a sentence. When you did that, the others just ignored you until you felt happier again and stopped.

Anthony liked television night. He had done only two or three awful things on television night in the whole past year.

Mom had put a bottle of brandy on the table, and they each had a tiny glass of it.

Liquor was even more precious than tobacco. The villagers could make wine, but the grapes weren’t right, and certainly the techniques weren’t, and it wasn’t very good wine. There were only a few bottles of real liquor left in the village— four rye, three Scotch, three brandy, nine real wine and half a bottle of Drambuie belonging to old McIntyre (only for marriages)—and when those were gone, that was it.

Afterward everybody wished that the brandy hadn’t been brought out. Because Dan Hollis drank more of it than he should have, and mixed it with a lot of the homemade wine. Nobody thought anything about it at first, because he didn’t show it much outside, and it was his birthday party and a happy party, and Anthony liked these get-togethers and shouldn’t see any reason to do anything even if he was listening. But Dan Hollis got high, and did a fool thing. If they’d seen it coming, they’d have taken him outside and walked him around.

The first thing they knew, Dan stopped laughing right in the middle of the story about how Thelma Dunn had found the Perry Como record and dropped it and it hadn’t broken because she’d moved faster than she ever had before in her life and caught it. He was fondling the record again, and looking longingly at the Fremonts’

gramophone over in the corner, and suddenly he stopped laughing and his face got slack, and then it got ugly, and he said, “Oh, Christ!”

Immediately the room was still. So still they could hear the whirring movement of the grandfather’s clock out in the hall. Pat Reilly had been playing the piano, softly.

He stopped, his hands poised over the yellowed keys.

The candles on the dining-room table flickered in a cool breeze that blew through the lace curtains over the bay window.

“Keep playing, Pat,” Anthony’s father said softly.

Pat started again. He played “Night and Day,” but his eyes were sidewise on Dan Hollis, and he missed notes.

Dan stood in the middle of the room, holding the record. In his other hand he held a glass of brandy so hard his hand shook.

They were all looking at him.

“Christ,” he said again, and he made it sound like a dirty word. Reverend Younger, who had been talking with Mom and Aunt Amy by the dining-room door, said “Christ,” too—but he was using it in a prayer. His hands were clasped, and his eyes were closed.

John Sipich moved forward. “Now, Dan. It’s good for you to talk that way, but you don’t want to talk too much, you know.”

Dan shook off the hand Sipich put on his arm.

“Can’t even play my record,” he said loudly. He looked down at the record, and then around at their faces. “Oh, my God—” He threw the glassful of brandy against the wall. It splattered and ran down the wallpaper in streaks.

Some of the women gasped.

“Dan,” Sipich said in a whisper. “Dan, cut it out.”

Pat Reilly was playing “Night and Day” louder, to cover up the sounds of the talk.

It wouldn’t do any good, though, if Anthony was listening. Dan Hollis went over to the piano and stood by Pat’s shoulder, swaying a little. “Pat,” he said, “don’t play that. Play this.” And he began to sing, softly, hoarsely, miserably, “Happy birthday to me, happy birthday to me . . .“

“Dan!” Ethel Hollis screamed. She tried to run across the room to him. Mary Sipich grabbed her arm and held her back. “Dan,” Ethel screamed again, “stop—”

“My God, be quiet!” hissed Mary Sipich, and pushed her toward one of the men, who put his hand over her mouth and held her still.

“Happy birthday, dear Danny,” Dan sang, “happy birthday to me!” He stopped and looked down at Pat Reilly. “Play it, Pat. Play it, so I can sing right. You know I can’t carry a tune unless somebody plays it!”

Pat Reilly put his hands on the keys and began “Lover”—in a slow waltz tempo, the way Anthony liked it. Pat’s face was white. His hands fumbled.

Dan Hollis stared over at the dining-room door. At Anthony’s mother, and at Anthony’s father, who had gone to join her. “You had him,” he said. Tears gleamed on his cheeks as the candlelight caught them. “You had to go and have him . . .“ He closed his eyes, and the tears squeezed out. He sang loudly, “You are my sunshine . . .

my only sunshine . . . you make me happy . . . when I am blue . . .'

Anthony came into the room.

Pat stopped playing. He froze. Everybody froze. The breeze rippled the curtains.

Ethel Hollis couldn’t even try to scream—she had fainted.

'. . . please don’t take my sunshine . . . away . . .“ Dan’s voice faltered into silence. His eyes widened. He put both hands out in front of him, the empty glass in one, the record in the other. He hiccuped and said, “No—”

“Bad man,” Anthony said, and thought Dan Hollis into something like nothing anyone would have believed possible, and then he thought the thing into a grave deep, deep in the cornfield.

The glass and the record thumped on the rug. Neither broke.

Anthony’s purple gaze went around the room.