Time and Time Again. Robert Silverberg

customers fifteen or twenty minutes into the past. I’m sure you’ll find it fascinating. While remaining in the machine, you’ll be able to look through a viewer and observe your own selves actually entering this very showroom a short while ago. Well? Will you give it a try? You go first, Mrs. Porter. I assure you it’s going to be the most unique experience you’ve ever had.” Alice, uneasy, tries to back off, but the salesman prods her in a way that is at once gentle and unyielding, and she steps reluctantly into the time machine. He closes the door. A great business of adjusting fine controls ensues. Then the salesman throws a master switch. A green glow envelopes the machine and it disappears, although something transparent and vague—retinal after-image? the ghost of the machine?—remains dimly visible. The salesman says, “She’s now gone a short distance into her own past. I’ve programmed the machine to take her back eighteen minutes and keep her there for a total elapsed interval of six minutes, so she can see the entire opening moments of your visit here. But when I return her to Now Level, there’s no need to match the amount of elapsed time in the past, so that from our point of view she’ll have been absent only some thirty seconds. Isn’t that remarkable, Mr. Porter? It’s one of the many extra ordinary paradoxes we encounter in the strange new realm of time travel.” He throws another switch. The time machine once more assumes solid form. “Voila!” cries the salesman. “Here is Mrs. Porter, returned safe and sound from her voyage into the past.” He flings open the door of the time machine. The passenger compartment is empty. The salesman’s face crumbles. “Mrs. Porter?” he shrieks in consternation. “Mrs. Porter? I don’t understand! How could there have been a malfunction? This is impossible! Mrs. Porter? Mrs. Porter?”

      SHE HURRIES DOWN THE DIRTY street toward the tall brick building. This is the place. Upstairs. Fifth floor, apartment 5-J. As she starts to ring the doorbell, a tall, lean man steps out of the shadows and clamps his hand powerfully around her wrist. “Time Patrol,” he says crisply, flashing an identification badge. “You’re under arrest for contemplated temponautic murder, Mrs. Porter.”

      “BUT I HAVEN’T ANY GRANDSON,” he sputters. “I’m not even mar—” She laughs. “Don’t worry about it!” she tells him. “You’re going to have a daughter named Martha and she’ll have a son named Ted and I’m going to marry Ted and we’ll have two children named Bobby, and Tink. And you’re going to live to be an old, old man. And that’s all you need to know. Now let’s have a little fun.” She touches a catch at the side of her tunic and the garment falls away in a single fluid cascade. Beneath it she is naked. Her nipples stare up at him like blind pink eyes. She beckons to him. “Come on!” she says hoarsely. “Get undressed, Martin! You’re wasting time!”

      ALICE GIGGLES NERVOUSLY. “WELL, AS a matter of fact,” she says to the salesman, “I think I’m willing to let my husband be the guinea pig. How about it, Ted?” She turns toward him. So does the salesman. “Certainly, Mr. Porter. I know you’re eager to give our machine a test run, yes?” No, Ted thinks, but he feels the pressure of events propelling him willy-nilly. He gets into the machine. As the door closes on him he fears that claustrophobic panic will overwhelm him; he is reassured by the sight of a handle on the door’s inner face. He pushes on it and the door opens, and he steps out of the machine just in time to see his earlier self coming into the Temponautics showroom with Alice. The salesman is going forward to greet them. Ted is now eighteen minutes into his own past. Alice and the other Ted stare at him, aghast. The salesman whirls and exclaims, “Wait a second, you aren’t supposed to get out of—” How stupid they all look! How bewildered! Ted laughs in their faces. Then he rushes past them, nearly knocking his other self down, and erupts into the shopping-center plaza. He sprints in a wild frenzy of exhilaration toward the parking area. Free, he thinks. I’m free at last. And I didn’t have to kill anybody.

      SUPPOSE I RENT A MACHINE, Alice thinks, and go back to 1947 and kill Martin? Suppose I really do it? What if there’s some way of tracing the crime to me? After all, a crime committed by a person from 2006 who goes back to 1947 will have consequences in our present day. It might change all sorts of things. So they’d want to catch the criminal and punish him, or better yet prevent the crime from being committed in the first place. And the time machine company is bound to know what year I asked them to send me to. So maybe it isn’t such an easy way of committing a perfect crime. I don’t know. God, I can’t understand any of this. But perhaps I can get away with it. Anyway, I’m going to give it a try. I’ll show Ted he can’t go on treating me like dirt.

      THEY LIE PEACEFULLY SIDE BY side, sweaty, drowsy, exhausted in the good exhaustion that comes after a first-rate screw. Martin tenderly strokes her belly and thighs. How smooth her skin is, how pale, how transparent! The little blue veins so clearly visible. “Hey,” he says suddenly. “I just thought of something. I wasn’t wearing a rubber or anything. What if I made you pregnant? And if you’re really who you say you are. Then you’ll go back to the year 2006 and you’ll have a kid and he’ll be his own grandfather, won’t he?” She laughs. “Don’t worry much about it,” she says.

      A WAVE OF TIMIDITY COMES over her as she enters the Temponautics office. This is crazy, she tells herself. I’m getting out of here. But before she can turn around, the salesman she spoke to the day before materializes from a side room and gives her a big hello. Mr. Friesling. He’s practically rubbing his hands together in anticipation of landing a contract. “So nice to see you again, Mrs. Porter.” She nods and glances worriedly at the demonstration models. “How much would it cost,” she asks, “to spend a few hours in the spring of 1947?”

      SUNDAY IS THE BIG FAMILY day. Four generations sitting down to dinner together: Martin, Martha, Ted and Alice, Bobby and Tink. Ted rather enjoys these reunions, but he knows Alice loathes them, mainly because of Martha. Alice hates her mother-in-law. Martha has never cared much for Alice, either. He watches them glaring at each other across the table. Meanwhile old Martin stares lecherously at the gulf between Alice’s breasts. You have to hand it to the old man, Ted thinks. He’s never lost the old urge. Even though there’s not a hell of a lot he can do about gratifying it, not at his age. Martha says sweetly, “You’d look ever so much better, Alice dear, if you’d let your hair grow out to its natural color.” A sugary smile from Martha. A sour scowl from Alice. She glowers at the older woman. “This is its natural color,” she snaps.

      MR. FRIESLING HANDS HER THE standard contract form. Eight pages of densely-packed type. “Don’t be frightened by it, Mrs. Porter. It looks formidable but actually it’s just a lot of empty legal rhetoric. You can show it to your lawyer, if you like. I can tell you, though, that most of our customers find no need for that.” She leafs through it. So far as she can tell, the contract is mainly a disclaimer of responsibility. Temponautics, Ltd, agrees to bear the brunt of any malfunction caused by its own demonstrable negligence, but wants no truck with acts of God or with accidents brought about by clients who won’t obey the safety regulations. On the fourth page Alice finds a clause warning the prospective renter that the company cannot be held liable for any consequences of actions by the renter which wantonly or willfully interfere with the already determined course of history. She translates that for herself: If you kill your husband’s grandfather, don’t blame us if you get in trouble. She skims the remaining pages. “It looks harmless enough,” she says. “Where do I sign?”

      AS MARTIN COMES OUT OF the bathroom he finds Martha blocking his way. “Excuse me,” he says mildly, but she remains in his path. She is a big fleshy woman. At fifty-eight she affects the fashions of the very young, with grotesque results; he hates that aspect of her. He can see why Alice dislikes her so much. “Just a moment,” Martha says. “I want to talk to you, Father.” “About what?” he asks. “About those looks you give Alice. Don’t you think that’s a little too much? How tasteless can you get?” “Tasteless? Are you anybody to talk about taste, with your face painted green like a fifteen-year old?” She looks angry: he’s scored a direct hit. She replies, “I just think that at the age of eighty-two you ought to have a greater regard for decency than to go staring down your own grandson’s wife’s front.” Martin sighs. “Let me have the staring, Martha. It’s all I’ve got left.”

      HE IS AT THE OFFICE, deep in complicated negotiations, when his autosecretary bleeps him and announces that a call has