by Jack Dann
"But it seems to me that we did alter it. Just now, when you took the viol out, even if no one of that time saw it happen."
"This," said Harold, "is the difficulty of using language as a means of exact communication. If you had not forgotten all your calculus . . . However. It may be postulated (remembering of course that everything I say is a lie, because I say it in English) that an event which doesn't influence other events is not an event. In other words—"
"That, since no one saw you take it, it doesn't matter whether you took it or not. A rather dangerous precept, Harold; you would have been burned at the stake for that at one time."
"Very likely. But it can be stated in another way, or indeed, in an infinity of ways which only seem to be different. If someone, let us say God, were to remove the moon as I am talking to you, using zero duration, and substitute an exact replica made of concrete and plaster of Paris, with the same mass, albedo and so on as the genuine moon, it would make no measurable difference in the universe as we perceive it—and therefore we cannot certainly say that it hasn't happened. Nor, I may add, does it make any difference whether it has or not."
" `When there's no one about on the quad,"' said Peter.
"Yes. A basic and, as a natural consequence, a meaningless problem of philosophy. Except," he added, "in this one particular manifestation."
He stared at the cloudy sphere. "You'll excuse me, won't you, Peter? I've got to work on this."
"When will you publish, do you suppose?" "Immediately. That's to say, in a week or two."
"Don't do it till you've talked it over with me, will you? I have a notion about it."
Harold looked at him sharply. "Commercial?"
"In a way."
"No," said Harold. "This is not the sort of thing one patents or keeps secret, Peter."
"Of course. I'll see you at dinner, I hope?"
"I think so. If I forget, knock on the door, will you?" "Yes. Until then."
"Until then."
At dinner, Peter asked only two questions.
"Have you found any possibility of changing the time your thing reaches—from the seventeenth century to the eighteenth, for example, or from Monday to Tuesday?"
"Yes, as a matter of fact. Amazing. It's lucky that I had a rheostat already in the circuit; I wouldn't dare turn the current off. Varying the amperage varies the time set. I've had it up to what I think was Wednesday of last week—at any rate, my smock was lying over the workbench where I left it, I remember, Wednesday afternoon. I pulled it out. A curious sensation, Peter—I was wearing the same smock at the time. And then the sphere went opaque and of course the smock vanished. That must have been myself, coming into the room."
"And the future?"
"Yes. Another funny thing. I've had it forward to various times in the near future, and the machine itself is still there, but nothing's been done to it—none of the things I'm thinking I might do. That might be because of the conservation of events, again, but I rather think not. Still farther forward there are cloudy areas, blanks; I can't see anything that isn't in existence now, apparently, but here, in the next few days, there's nothing of that.
"It's as if I were going away. Where do you suppose I'm going?"
Harold's abrupt departure took place between midnight and morning. He packed his own grip, it would seem, left unattended, and was seen no more. It was extraordinary, of course, that he should have left at all, but the details were in no way odd. Harold had always detested what he called "the tyranny of the valet." He was, as everyone knew, a most independent man.
On the following day Peter made some trifling experiments with the time-sphere. From the sixteenth century he picked up a scent bottle of Venetian glass; from the eighteenth, a crucifix of carved rosewood; from the nineteenth, when the palace had been the residence of an Austrian count and his Italian mistress, a hand-illuminated copy of De Sade's La Nouvelle Justine, very curiously bound in human skin.
They all vanished, naturally, within minutes or hours—all but the scent bottle. This gave Peter matter for reflection. There had been half a dozen flickers of cloudiness in the sphere just futureward of the bottle; it ought to have vanished, but it hadn't. But then, he had found it on the floor near a wall with quite a large rat hole in it.
When objects disappeared unaccountably, he asked himself, was it because they had rolled into rat holes, or because some time fisher had picked them up when they were in a position to do so?
He did not make any attempt to explore the future. That afternoon he telephoned his lawyers in Naples and gave them instructions for a new will. His estate, including his half of the jointly owned Ischia property, was to go to the Italian government on two conditions: (1) that Harold Castellare should make a similar bequest of the remaining half of the property and (2) that the Italian government should turn the palace into a national museum to house Peter's collection, using the income from his estate for its administration and for further acquisitions. His surviving relatives—two cousins in Scotland—he cut off with a shilling each.
He did nothing more until after the document had been brought out to him, signed and witnessed. Only then did he venture to look into his own future.
Events were conserved, Harold had said—meaning, Peter very well understood, events of the present and future as well as of the past. But was there only one pattern in which the future could be fixed? Could a result exist before its cause had occurred?
The Castellare motto was Audentes fortuna juvat—into which Peter, at the age of fourteen, had interpolated the word "prudentesque": "Fortune favors the bold—and the prudent."
Tomorrow: no change; the room he was looking at was so exactly like this one that the time sphere seemed to vanish. The next day: a cloudy blur. And the next, and the next . . .
Opacity, straight through to what Peter judged, by the distance he had moved the rheostat handle, to be ten years ahead. Then, suddenly, the room was a long marble hall filled with display cases.
Peter smiled wryly. If you were Harold, obviously you could not look ahead and see Peter working in your laboratory. And if you were Peter, equally obviously, you could not look ahead and know whether the room you saw was an improvement you yourself were going to make, or part of a museum established after your death, eight or nine years from now, or . . .
No. Eight years was little enough, but he could not even be sure of that. It would, after all, be seven years before Harold could be declared legally dead. . . .
Peter turned the vernier knob slowly forward. A flicker, another, a long series. Forward faster. Now the flickering melted into a grayness; objects winked out of existence and were replaced by others in the showcases; the marble darkened and lightened again; darkened and lightened, darkened and remained dark. He was, Peter judged, looking at the hall as it would be some five hundred years in the future. There was a thick film of dust on every exposed surface; rubbish and the carcass of some small animal had been swept carelessly into a corner.
The sphere clouded.
When it cleared, there was an intricate trail of footprints in the dust, and two of the showcases were empty.
The footprints were splayed, trifurcate, and thirty inches long.
After a moment's deliberation Peter walked around the workbench and leaned down to look through the sphere from the opposite direction. Framed in the nearest of the four tall windows was a scene of picture-postcard banality: the sun-silvered bay and the foreshortened arc of the city, with Vesuvio faintly fuming in the background. But there was something wrong about the colors, even grayed as they were by distance.
Peter went and got his binoculars.
The trouble was, of course, that Naples was green. Where the city ought to have been, a rankness had sprouted. Between the clumps of foliage he could catch occasional glimpses of gray-white that might equally well have been boulders or the wreckage of buildings. There was no movement. There was no shipping in the harbor.
But something rather odd was crawling
up the side of the volcano. A rust-orange pipe, it appeared to be, supported on hairline struts like the legs of a centipede, and ending without rhyme or reason just short of the top.
While Peter watched, it turned slowly blue.
One day further forward: now all the display cases had been looted; the museum, it would seem, was empty.
Given, that in five centuries the world, or at any rate the department of Campania, has been overrun by a race of Somethings, the human population being killed or driven out in the process; and that the conquerors take an interest in the museum's contents, which they have accordingly removed.
Removed where, and why?
This question, Peter conceded, might have a thousand answers, nine hundred and ninety-nine of which would mean that he had lost his gamble. The remaining answer was: to the vaults, for safety.
With his own hands Peter built a hood to cover the apparatus on the workbench and the sphere above it. It was unaccustomed labor; it took him the better part of two days. Then he called in workmen to break a hole in the stone flooring next to the interior wall, rig a hoist, and cut the power cable that supplied the time-sphere loose from its supports all the way back to the fuse box, leaving him a single flexible length of cable more than a hundred feet long. They unbolted the workbench from the floor, attached casters to its legs, lowered it into the empty vault below, and went away.
Peter unfastened and removed the hood. He looked into the sphere.
Treasure.
Crates, large and small, racked in rows into dimness.
With pudgy fingers that did not tremble, he advanced the rheostat. A cloudy flicker, another, a leaping blur of them as he moved the vernier faster—and then there were no more, to the limit of the time-sphere's range.
Two hundred years, Peter guessed—A.D. 2700 to 2900 or thereabout—in which no one would enter the vault. Two hundred years of "unliquidated time."
He put the rheostat back to the beginning of that uninterrupted period. He drew out a small crate and prized it open.
Chessmen, ivory with gold inlay, Florentine, fourteenth century. Superb.
Another, from the opposite rack.
T'ang figurines, horses and men, ten to fourteen inches high. Priceless.
The crates would not burn, Tomaso told him. He went down to the kitchen to see, and it was true. The pieces lay in the roaring stove untouched. He fished one out with a poker; even the feathery splinters of the unplaned wood had not ignited.
It made a certain extraordinary kind of sense. When the moment came for the crates to go back, any physical scrambling that had occurred in the meantime would have no effect; they would simply put themselves together as they had been before, like Thor's goats. But burning was another matter; burning would have released energy which could not be replaced.
That settled one paradox, at any rate. There was another that nagged at Peter's orderly mind. If the things he took out of that vault, seven hundred-odd years in the future, were to become part of the collection bequeathed by him to the museum, preserved by it, and eventually stored in the vault for him to find—then precisely where had they come from in the first place?
It worried him. Peter had learned in life, as his brother had in physics, that one never gets anything for nothing.
Moreover, this riddle was only one of his perplexities, and that not among the greatest. For another example, there was the obstinate opacity of the time-sphere whenever he attempted to examine the immediate future. However often he tried it, the result was always the same: a cloudy blank, all the way forward to the sudden unveiling of the marble gallery.
It was reasonable to expect the sphere to show nothing at times when he himself was going to be in the vault, but this accounted for only five or six hours out of every twenty-four. Again, presumably, it would show him no changes to be made by himself, since foreknowledge would make it possible for him to alter his actions. But he laboriously cleared one end of the vault, put up a screen to hide the rest and made a vow—which he kept—not to alter the clear space or move the screen for a week. Then he tried again—with the same result. The only remaining explanation was that sometime during the next ten years something was going to happen which he would prevent if he could; and the clue to it was there, buried in that frustrating, unbroken blankness.
As a corollary, it was going to be something which he could prevent if only he knew what it was . . . or even when it was supposed to happen.
The event in question, in all probability, was his own death. Peter therefore hired nine men to guard him, three to a shift—because one man alone could not be trusted, two might conspire against him, whereas three, with the very minimum of effort, could be kept in a state of mutual suspicion. He also underwent a thorough medical examination, had new locks installed on every door and window, and took every other precaution ingenuity could suggest. When he had done all these things, the next ten years were as blank as before.
Peter had more than half expected it. He checked through his list of safeguards once more, found it good, and thereafter let the matter rest. He had done all he could; either he would survive the crisis or he would not. In either case, events were conserved; the time-sphere could give him no forewarning.
Another man might have found his pleasure blunted by guilt and fear; Peter's was whetted to a keener edge. If he had been a recluse before, now he was an eremite; he grudged every hour that was not given to his work. Mornings he spent in the vault, unpacking his acquisitions; afternoons and evenings, sorting, cataloguing, examining and—the word is not too strong—gloating. When three weeks had passed in this way, the shelves were bare as far as the power cable would allow him to reach in every direction, except for crates whose contents were undoubtedly too large to pass through the sphere. These, with heroic self-control, Peter had left untouched.
And still he had looted only a hundredth part of that incredible treasure house. With grappling hooks he could have extended his reach by perhaps three of four yards, but at the risk of damaging his prizes; and in any case this would have been no solution but only a postponement of the problem. There was nothing for it but to go through the sphere himself and unpack the crates while on the other "side" of it.
Peter thought about it in a fury of concentration for the rest of the day. So far as he was concerned, there was no question that the gain would be worth any calculated risk; the problem was how to measure the risk and if possible reduce it.
Item: He felt a definite uneasiness at the thought of venturing through that insubstantial bubble. Intuition was supported, if not by logic, at least by a sense of the dramatically appropriate. Now, if ever, would be the time for his crisis.
Item: Common sense did not concur. The uneasiness had two symbols. One was the white face of his brother Harold just before the water closed over it; the other was a phantasm born of those gigantic, splayed footprints in the dust of the gallery. In spite of himself, Peter had often found himself trying to imagine what the creatures that made them must look like, until his visualization was so clear that he could almost swear he had seen them.
Towering monsters they were, with crested ophidian heads and great unwinking eyes; and they moved in a strutting glide, nodding their heads, like fanatic barnyard fowl.
But, taking these premonitory images in turn: first, it was impossible that he should ever be seriously inconvenienced by Harold's death. There were no witnesses, he was sure; he had struck the blow with a stone; stones also were the weights that had dragged the body down, and the rope was an odd length Peter had picked up on the shore. Second, the three-toed Somethings might be as fearful as all the world's bogies put together; it made no difference, he could never meet them.
Nevertheless, the uneasiness persisted. Peter was not satisfied; he wanted a lifeline. When he found it, he wondered that he had not thought of it before.
He would set the time-sphere for a period just before one of the intervals of blankness. That would take care of accidents, sudden illnes
ses, and other unforeseeable contingencies. It would also insure him against one very real and not at all irrational dread: the fear that the mechanism which generated the time-sphere might fail while he was on the other side. For the conservation of events was not a condition created by the sphere but one which limited its operation. No matter what happened, it was impossible for him to occupy the same place-time as any future or past observer; therefore, when the monster entered that vault, Peter would not be there any more.
There was, of course, the scent bottle to remember. Every rule has its exception; but in this case, Peter thought, the example did not apply. A scent bottle could roll into a rat hole; a man could not.
He turned the rheostat carefully back to the last flicker of grayness; past that to the next, still more carefully. The interval between the two, he judged, was something under an hour: excellent.
His pulse seemed a trifle rapid, but his brain was clear and cool. He thrust his head into the sphere and sniffed cautiously. The air was stale and had a faint, unpleasant odor, but it was breathable.
Using a crate as a stepping stool, he climbed to the top of the workbench. He arranged another crate close to the sphere to make a platform level with its equator. And seven and a half centuries in the future, a third crate stood on the floor directly under the sphere.
Peter stepped into the sphere, dropped, and landed easily, legs bending to take the shock. When he straightened, he was standing in what to all appearances was a large circular hole in the workbench; his chin was just above the top of the sphere.
He lowered himself, half squatting, until he had drawn his head through and stepped down from the crate.
He was in the future vault. The sphere was a brightly luminous thing that hung unsupported in the air behind him, its midpoint just higher than his head. The shadows it cast spread black and wedge-shaped in every direction, melting into obscurity.