various rottennesses and vile transgressions, if you can remember some. A sin is whatever you're sorry for, maybe. But Old Donegal, you're sorry for the wrong things, and this young jesuitical gadget wouldn't like listening to it. I'm sorry I didn't get it instead of Oley, and I'm sorry I fought in the war, and I'm sorry I can't get out of this bed and take a belt to my daughter's backside for making a puny whelp out of Ken, and I'm sorry I gave Martha such a rough time all these years—and wound up dying in a cheap flat, instead of giving her things like the Keiths had. I wish I had been a sharpster, contractor, or thief ... instead of a common laboring spacer, whose species lost its glamor after the war.

Listen, old man, you made your soul yourself, and it's yours. This young dispenser of oils, substances, and mysteries wishes only to help you scrape off the rough edges and gouge out the bad spots. He will not steal it, nor distort it with his supernatural chisels, nor make fun of it. He can take nothing away, but only cauterize and neutralize, he says, so why not let him try? Tell him the rotten messes.

"Are you finished, my son?"

Old Donegal nodded wearily, and said what he was asked to say, and heard the soft mutter of Latin that washed him inside and behind his ghostly ears ... ego te absolvo in Nomine Patris ... and he accepted the rest of it lying quietly in the candlelight and the red glow of the sunset through the window, while the priest anointed him and gave him bread, and read the words of the soul in greeting its spouse: "I was asleep, but my heart waked; it is the voice of my beloved calling: come to me my love, my dove, my undefiled ..." and from beyond the closed window came the sarcastic wail of a clarinet painting hot slides against a rhythmic background.

It wasn't so bad, Old Donegal thought when the priest was done. He felt like a schoolboy in a starched shirt on Sunday morning, and it wasn't a bad feeling, though it left him weak.

The priest opened the window for him again, and repacked his bag. "Ten minutes till blast-off," he said. "I'll see what I can do about the racket next door."

When he was gone, Martha came back in, and he looked at her face and was glad. She was smiling when she kissed him, and she looked less tired.

"Is it all right for me to die now?" he grunted.

"Donny, don't start that again."

"Where's the boots? You promised to bring them?"

"They're in the hall. Donny, you don't want them."

"I want them, and I want a drink of whiskey, and I want to hear them fire the beast." He said it slow and hard, and he left no room for argument.

When she had got the huge boots over his shrunken feet, the magnasoles clanged against the iron bedframe and clung there, and she rolled him up so that he could look at them, and Old Donegal chuckled inside. He felt warm and clean and pleasantly dizzy.

"The whiskey, Martha, and for God's sake, make them stop the noise till after the firing. Please!"

She went to the window and looked out for a long time. Then she came back and poured him an insignificant drink.

"Well?"

"I don't know," she said. "I saw Father Paul on the terrace, talking to somebody."

"Is it time?"

She glanced at the clock, looked at him doubtfully, and nodded. "Nearly time."

The orchestra finished a number, but the babble of laughing voices continued. Old Donegal sagged. "They won't do it. They're the Keiths, Martha. Why should I ruin their party?"

She turned to stare at him, slowly shook her head. He heard someone shouting, but then a trumpet started softly, introducing a new number. Martha sucked in a hurt breath, pressed her hands together, and hurried from the room.

"It's too late," he said after her.

Her footsteps stopped on the stairs. The trumpet was alone. Donegal listened; and there was no babble of voices, and the rest of the orchestra was silent. Only the trumpet sang—and it puzzled him, hearing the same slow