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+The Project Gutenberg EBook of Hall of Mirrors, by Fredric Brown
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Hall of Mirrors
+
+Author: Fredric Brown
+
+Illustrator: Vidmer
+
+Release Date: August 17, 2009 [EBook #29720]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK HALL OF MIRRORS ***
+
+
+
+
+Produced by Greg Weeks, Stephen Blundell and the Online
+Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+
+
+
+
+Hall of Mirrors
+
+By FREDRIC BROWN
+
+
+ _It is a tough decision to make--whether to
+ give up your life so you can live it over again!_
+
+
+For an instant you think it is temporary blindness, this sudden dark
+that comes in the middle of a bright afternoon.
+
+It _must_ be blindness, you think; could the sun that was tanning you
+have gone out instantaneously, leaving you in utter blackness?
+
+Then the nerves of your body tell you that you are _standing_, whereas
+only a second ago you were sitting comfortably, almost reclining, in a
+canvas chair. In the patio of a friend's house in Beverly Hills. Talking
+to Barbara, your fiancee. Looking at Barbara--Barbara in a swim
+suit--her skin golden tan in the brilliant sunshine, beautiful.
+
+You wore swimming trunks. Now you do not feel them on you; the slight
+pressure of the elastic waistband is no longer there against your waist.
+You touch your hands to your hips. You are naked. And standing.
+
+Whatever has happened to you is more than a change to sudden darkness or
+to sudden blindness.
+
+You raise your hands gropingly before you. They touch a plain smooth
+surface, a wall. You spread them apart and each hand reaches a corner.
+You pivot slowly. A second wall, then a third, then a door. You are in a
+closet about four feet square.
+
+Your hand finds the knob of the door. It turns and you push the door
+open.
+
+There is light now. The door has opened to a lighted room ... a room
+that you have never seen before.
+
+       *       *       *       *       *
+
+It is not large, but it is pleasantly furnished--although the furniture
+is of a style that is strange to you. Modesty makes you open the door
+cautiously the rest of the way. But the room is empty of people.
+
+You step into the room, turning to look behind you into the closet,
+which is now illuminated by light from the room. The closet is and is
+not a closet; it is the size and shape of one, but it contains nothing,
+not a single hook, no rod for hanging clothes, no shelf. It is an empty,
+blank-walled, four-by-four-foot space.
+
+You close the door to it and stand looking around the room. It is about
+twelve by sixteen feet. There is one door, but it is closed. There are
+no windows. Five pieces of furniture. Four of them you recognize--more
+or less. One looks like a very functional desk. One is obviously a
+chair ... a comfortable-looking one. There is a table, although its top
+is on several levels instead of only one. Another is a bed, or couch.
+Something shimmering is lying across it and you walk over and pick the
+shimmering something up and examine it. It is a garment.
+
+You are naked, so you put it on. Slippers are part way under the bed (or
+couch) and you slide your feet into them. They fit, and they feel warm
+and comfortable as nothing you have ever worn on your feet has felt.
+Like lamb's wool, but softer.
+
+You are dressed now. You look at the door--the only door of the room
+except that of the closet (closet?) from which you entered it. You walk
+to the door and before you try the knob, you see the small typewritten
+sign pasted just above it that reads:
+
+    This door has a time lock set to open in one hour. For reasons you
+    will soon understand, it is better that you do not leave this room
+    before then. There is a letter for you on the desk. Please read it.
+
+It is not signed. You look at the desk and see that there is an envelope
+lying on it.
+
+You do not yet go to take that envelope from the desk and read the
+letter that must be in it.
+
+Why not? Because you are frightened.
+
+You see other things about the room. The lighting has no source that you
+can discover. It comes from nowhere. It is not indirect lighting; the
+ceiling and the walls are not reflecting it at all.
+
+[Illustration: Illustrated by VIDMER]
+
+They didn't have lighting like that, back where you came from. What did
+you mean by _back where you came from_?
+
+You close your eyes. You tell yourself: _I am Norman Hastings. I am an
+associate professor of mathematics at the University of Southern
+California. I am twenty-five years old, and this is the year nineteen
+hundred and fifty-four._
+
+You open your eyes and look again.
+
+       *       *       *       *       *
+
+They didn't use that style of furniture in Los Angeles--or anywhere else
+that you know of--in 1954. That thing over in the corner--you can't even
+guess what it is. So might your grandfather, at your age, have looked at
+a television set.
+
+You look down at yourself, at the shimmering garment that you found
+waiting for you. With thumb and forefinger you feel its texture.
+
+It's like nothing you've ever touched before.
+
+_I am Norman Hastings. This is nineteen hundred and fifty-four._
+
+Suddenly you must know, and at once.
+
+You go to the desk and pick up the envelope that lies upon it. Your name
+is typed on the outside: _Norman Hastings_.
+
+Your hands shake a little as you open it. Do you blame them?
+
+There are several pages, typewritten. Dear Norman, it starts. You turn
+quickly to the end to look for the signature. It is unsigned.
+
+You turn back and start reading.
+
+"Do not be afraid. There is nothing to fear, but much to explain. Much
+that you must understand before the time lock opens that door. Much that
+you must accept and--obey.
+
+"You have already guessed that you are in the future--in what, to you,
+seems to be the future. The clothes and the room must have told you
+that. I planned it that way so the shock would not be too sudden, so you
+would realize it over the course of several minutes rather than read it
+here--and quite probably disbelieve what you read.
+
+"The 'closet' from which you have just stepped is, as you have by now
+realized, a time machine. From it you stepped into the world of 2004.
+The date is April 7th, just fifty years from the time you last remember.
+
+"You cannot return.
+
+"I did this to you and you may hate me for it; I do not know. That is up
+to you to decide, but it does not matter. What does matter, and not to
+you alone, is another decision which you must make. I am incapable of
+making it.
+
+"Who is writing this to you? I would rather not tell you just yet. By
+the time you have finished reading this, even though it is not signed
+(for I knew you would look first for a signature), I will not need to
+tell you who I am. You will know.
+
+"I am seventy-five years of age. I have, in this year 2004, been
+studying 'time' for thirty of those years. I have completed the first
+time machine ever built--and thus far, its construction, even the fact
+that it has been constructed, is my own secret.
+
+"You have just participated in the first major experiment. It will be
+your responsibility to decide whether there shall ever be any more
+experiments with it, whether it should be given to the world, or whether
+it should be destroyed and never used again."
+
+       *       *       *       *       *
+
+End of the first page. You look up for a moment, hesitating to turn the
+next page. Already you suspect what is coming.
+
+You turn the page.
+
+"I constructed the first time machine a week ago. My calculations had
+told me that it would work, but not how it would work. I had expected it
+to send an object back in time--it works backward in time only, not
+forward--physically unchanged and intact.
+
+"My first experiment showed me my error. I placed a cube of metal in the
+machine--it was a miniature of the one you just walked out of--and set
+the machine to go backward ten years. I flicked the switch and opened
+the door, expecting to find the cube vanished. Instead I found it had
+crumbled to powder.
+
+"I put in another cube and sent it two years back. The second cube came
+back unchanged, except that it was newer, shinier.
+
+"That gave me the answer. I had been expecting the cubes to go back in
+time, and they had done so, but not in the sense I had expected them to.
+Those metal cubes had been fabricated about three years previously. I
+had sent the first one back years before it had existed in its
+fabricated form. Ten years ago it had been ore. The machine returned it
+to that state.
+
+"Do you see how our previous theories of time travel have been wrong? We
+expected to be able to step into a time machine in, say, 2004, set it
+for fifty years back, and then step out in the year 1954 ... but it does
+not work that way. The machine does not move in time. Only whatever is
+within the machine is affected, and then just with relation to itself
+and not to the rest of the Universe.
+
+"I confirmed this with guinea pigs by sending one six weeks old five
+weeks back and it came out a baby.
+
+"I need not outline all my experiments here. You will find a record of
+them in the desk and you can study it later.
+
+"Do you understand now what has happened to you, Norman?"
+
+       *       *       *       *       *
+
+You begin to understand. And you begin to sweat.
+
+The _I_ who wrote that letter you are now reading is _you_, yourself at
+the age of seventy-five, in this year of 2004. You are that
+seventy-five-year-old man, with your body returned to what it had been
+fifty years ago, with all the memories of fifty years of living wiped
+out.
+
+_You_ invented the time machine.
+
+And before you used it on yourself, you made these arrangements to help
+you orient yourself. You wrote yourself the letter which you are now
+reading.
+
+But if those fifty years are--to you--gone, what of all your friends,
+those you loved? What of your parents? What of the girl you are
+going--were going--to marry?
+
+You read on:
+
+"Yes, you will want to know what has happened. Mom died in 1963, Dad in
+1968. You married Barbara in 1956. I am sorry to tell you that she died
+only three years later, in a plane crash. You have one son. He is still
+living; his name is Walter; he is now forty-six years old and is an
+accountant in Kansas City."
+
+Tears come into your eyes and for a moment you can no longer read.
+Barbara dead--dead for forty-five years. And only minutes ago, in
+subjective time, you were sitting next to her, sitting in the bright sun
+in a Beverly Hills patio ...
+
+You force yourself to read again.
+
+"But back to the discovery. You begin to see some of its implications.
+You will need time to think to see all of them.
+
+"It does not permit time travel as we have thought of time travel, but
+it gives us immortality of a sort. Immortality of the kind I have
+temporarily given us.
+
+"_Is it good?_ Is it worth while to lose the memory of fifty years of
+one's life in order to return one's body to relative youth? The only way
+I can find out is to try, as soon as I have finished writing this and
+made my other preparations.
+
+"You will know the answer.
+
+"But before you decide, remember that there is another problem, more
+important than the psychological one. I mean overpopulation.
+
+"If our discovery is given to the world, if all who are old or dying
+can make themselves young again, the population will almost double every
+generation. Nor would the world--not even our own relatively enlightened
+country--be willing to accept compulsory birth control as a solution.
+
+"Give this to the world, as the world is today in 2004, and within a
+generation there will be famine, suffering, war. Perhaps a complete
+collapse of civilization.
+
+"Yes, we have reached other planets, but they are not suitable for
+colonizing. The stars may be our answer, but we are a long way from
+reaching them. When we do, someday, the billions of habitable planets
+that must be out there will be our answer ... our living room. But until
+then, what is the answer?
+
+"Destroy the machine? But think of the countless lives it can save, the
+suffering it can prevent. Think of what it would mean to a man dying of
+cancer. Think ..."
+
+       *       *       *       *       *
+
+Think. You finish the letter and put it down.
+
+You think of Barbara dead for forty-five years. And of the fact that you
+were married to her for three years and that those years are lost to
+you.
+
+Fifty years lost. You damn the old man of seventy-five whom you became
+and who has done this to you ... who has given you this decision to
+make.
+
+Bitterly, you know what the decision must be. You think that _he_ knew,
+too, and realize that he could safely leave it in your hands. Damn him,
+he _should_ have known.
+
+Too valuable to destroy, too dangerous to give.
+
+The other answer is painfully obvious.
+
+You must be custodian of this discovery and keep it secret until it is
+safe to give, until mankind has expanded to the stars and has new worlds
+to populate, or until, even without that, he has reached a state of
+civilization where he can avoid overpopulation by rationing births to
+the number of accidental--or voluntary--deaths.
+
+If neither of those things has happened in another fifty years (and are
+they likely so soon?), then you, at seventy-five, will be writing
+another letter like this one. You will be undergoing another experience
+similar to the one you're going through now. And making the same
+decision, of course.
+
+Why not? You'll be the same person again.
+
+Time and again, to preserve this secret until Man is ready for it.
+
+How often will you again sit at a desk like this one, thinking the
+thoughts you are thinking now, feeling the grief you now feel?
+
+There is a click at the door and you know that the time lock has opened,
+that you are now free to leave this room, free to start a new life for
+yourself in place of the one you have already lived and lost.
+
+But you are in no hurry now to walk directly through that door.
+
+You sit there, staring straight ahead of you blindly, seeing in your
+mind's eye the vista of a set of facing mirrors, like those in an
+old-fashioned barber shop, reflecting the same thing over and over
+again, diminishing into far distance.
+
+                                                       --FREDRIC BROWN
+
+
+
+
+Transcriber's Note:
+
+    This etext was produced from _Galaxy Science Fiction_ December 1953.
+    Extensive research did not uncover any evidence that the U.S.
+    copyright on this publication was renewed. Minor spelling and
+    typographical errors have been corrected without note.
+
+
+
+
+
+End of the Project Gutenberg EBook of Hall of Mirrors, by Fredric Brown
+
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