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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..c55bf24 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #51046 (https://www.gutenberg.org/ebooks/51046) diff --git a/old/51046-h.zip b/old/51046-h.zip Binary files differdeleted file mode 100644 index d480945..0000000 --- a/old/51046-h.zip +++ /dev/null diff --git a/old/51046-h/51046-h.htm b/old/51046-h/51046-h.htm deleted file mode 100644 index 96c645a..0000000 --- a/old/51046-h/51046-h.htm +++ /dev/null @@ -1,1087 +0,0 @@ -<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" - "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> -<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> - <head> - <meta http-equiv="Content-Type" content="text/html;charset=us-ascii" /> - <meta http-equiv="Content-Style-Type" content="text/css" /> - <title> - The Project Gutenberg eBook of ... and It Comes Out Here, by Lester Del Rey. - </title> - <link rel="coverpage" href="images/cover.jpg" /> - - <style type="text/css"> - -body { - margin-left: 10%; - margin-right: 10%; -} - - h1,h2 { - text-align: center; /* all headings centered */ - clear: both; -} - -p { - margin-top: .51em; - text-align: justify; - margin-bottom: .49em; -} - -hr { - width: 33%; - margin-top: 2em; - margin-bottom: 2em; - margin-left: 33.5%; - margin-right: 33.5%; - clear: both; -} - -hr.chap {width: 65%; margin-left: 17.5%; margin-right: 17.5%;} -hr.tb {width: 45%; margin-left: 27.5%; margin-right: 27.5%;} - -.center {text-align: center;} - -.right {text-align: right;} - -.caption {font-weight: bold;} - -/* Images */ -.figcenter { - margin: auto; - text-align: center; -} - -div.titlepage { - text-align: center; - page-break-before: always; - page-break-after: always; -} - -div.titlepage p { - text-align: center; - text-indent: 0em; - font-weight: bold; - line-height: 1.5; - margin-top: 3em; -} - -.ph1, .ph2, .ph3, .ph4 { text-align: center; text-indent: 0em; font-weight: bold; } -.ph1 { font-size: xx-large; margin: .67em auto; } -.ph2 { font-size: x-large; margin: .75em auto; } -.ph3 { font-size: large; margin: .83em auto; } -.ph4 { font-size: medium; margin: 1.12em auto; } - - - </style> - </head> -<body> - - -<pre> - -The Project Gutenberg EBook of ...And It Comes Out Here, by Lester del Rey - -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/license - - -Title: ...And It Comes Out Here - -Author: Lester del Rey - -Release Date: January 26, 2016 [EBook #51046] - -Language: English - -Character set encoding: ASCII - -*** START OF THIS PROJECT GUTENBERG EBOOK ...AND IT COMES OUT HERE *** - - - - -Produced by Greg Weeks, Mary Meehan and the Online -Distributed Proofreading Team at http://www.pgdp.net - - - - - - -</pre> - - -<div class="figcenter"> - <img src="images/cover.jpg" width="376" height="500" alt=""/> -</div> - -<hr class="chap" /> - -<div class="titlepage"> -<h1>... and it comes out here</h1> - -<p>By LESTER DEL REY</p> - -<p>Illustrated by DON SIBLEY</p> - -<p>[Transcriber's Note: This etext was produced from<br /> -Galaxy Science Fiction February 1951.<br /> -Extensive research did not uncover any evidence that<br /> -the U.S. copyright on this publication was renewed.]</p> - -</div> - -<hr class="chap" /> - -<p class="ph3">There is one fact no sane man can quarrel<br /> -with ... everything has a beginning and an end.<br /> -But some men aren't sane; thus it isn't always so!</p> - -<hr class="chap" /> - -<p>No, you're wrong. I'm not your father's ghost, even if I do look a bit -like him. But it's a longish story, and you might as well let me in. -You will, you know, so why quibble about it? At least, you always -have ... or do ... or will. I don't know, verbs get all mixed up. We -don't have the right attitude toward tenses for a situation like this.</p> - -<p>Anyhow, you'll let me in. I did, so you will.</p> - -<p>Thanks. You think you're crazy, of course, but you'll find out you -aren't. It's just that things are a bit confused. And don't look at the -machine out there too long—until you get used to it, you'll find it's -hard on the eyes, trying to follow where the vanes go. You'll get used -to it, of course, but it will take about thirty years.</p> - -<p>You're wondering whether to give me a drink, as I remember it. Why not? -And naturally, since we have the same tastes, you can make the same for -me as you're having. Of course we have the same tastes—we're the same -person. I'm you thirty years from now, or you're me. I remember just -how you feel; I felt the same way when he—that is, of course, I or -we—came back to tell me about it, thirty years ago.</p> - -<p>Here, have one of these. You'll get to like them in a couple more -years. And you can look at the revenue stamp date, if you still doubt -my story. You'll believe it eventually, though, so it doesn't matter.</p> - -<p>Right now, you're shocked. It's a real wrench when a man meets himself -for the first time. Some kind of telepathy seems to work between two -of the same people. You <i>sense</i> things. So I'll simply go ahead talking -for half an hour or so, until you get over it. After that you'll come -along with me. You know, I could try to change things around by telling -what happened to me; but he—I—told me what I was going to do, so I -might as well do the same. I probably couldn't help telling you the -same thing in the same words, even if I tried—and I don't intend to -try. I've gotten past that stage in worrying about all this.</p> - -<p>So let's begin when you get up in half an hour and come out with me. -You'll take a closer look at the machine, then. Yes, it'll be pretty -obvious it must be a time machine. You'll sense that, too. You've seen -it, just a small little cage with two seats, a luggage compartment, and -a few buttons on a dash. You'll be puzzling over what I'll tell you, -and you'll be getting used to the idea that you are the man who makes -atomic power practical. Jerome Boell, just a plain engineer, the man -who put atomic power in every home. You won't exactly believe it, but -you'll want to go along.</p> - -<hr class="tb" /> - -<p>I'll be tired of talking by then, and in a hurry to get going. So I -cut off your questions, and get you inside. I snap on a green button, -and everything seems to cut off around us. You can see a sort of -foggy nothing surrounding the cockpit; it is probably the field that -prevents passage through time from affecting us. The luggage section -isn't protected, though.</p> - -<hr class="chap" /> - -<div class="figcenter"> - <img src="images/illus1.jpg" width="600" height="297" alt=""/> -</div> - -<hr class="chap" /> - -<p>You start to say something, but by then I'm pressing a black button, -and everything outside will disappear. You look for your house, but -it isn't there. There is exactly nothing there—in fact, there is no -<i>there</i>. You are completely outside of time and space, as best you can -guess how things are.</p> - -<p>You can't feel any motion, of course. You try to reach a hand out -through the field into the nothing around you and your hand goes out, -all right, but nothing happens. Where the screen ends, your hand just -turns over and pokes back at you. Doesn't hurt, and when you pull your -arm back, you're still sound and uninjured. But it looks frightening -and you don't try it again.</p> - -<p>Then it comes to you slowly that you're actually traveling in time. -You turn to me, getting used to the idea. "So this is the fourth -dimension?" you ask.</p> - -<p>Then you feel silly, because you'll remember that I said you'd ask -that. Well, I asked it after I was told, then I came back and told it -to you, and I still can't help answering when you speak.</p> - -<p>"Not exactly," I try to explain. "Maybe it's no dimension—or it might -be the fifth; if you're going to skip over the so-called fourth without -traveling along it, you'd need a fifth. Don't ask me. I didn't invent -the machine and I don't understand it."</p> - -<p>"But...."</p> - -<p>I let it go, and so do you. If you don't, it's a good way of going -crazy. You'll see later why I couldn't have invented the machine. Of -course, there may have been a start for all this once. There may have -been a time when you did invent the machine—the atomic motor first, -then the time-machine. And when you closed the loop by going back and -saving yourself the trouble, it got all tangled up. I figured out once -that such a universe would need some seven or eight time and space -dimensions. It's simpler just to figure that this is the way time got -bent back on itself. Maybe there is no machine, and it's just easier -for us to imagine it. When you spend thirty years thinking about it, as -I did—and you will—you get further and further from an answer.</p> - -<p>Anyhow, you sit there, watching nothing all around you, and no time, -apparently, though there is a time effect back in the luggage space. -You look at your watch and it's still running. That means you either -carry a small time field with you, or you are catching a small -increment of time from the main field. I don't know, and you won't -think about that then, either.</p> - -<hr class="tb" /> - -<p>I'm smoking, and so are you, and the air in the machine is getting a -bit stale. You suddenly realize that everything in the machine is wide -open, yet you haven't seen any effects of air loss.</p> - -<p>"Where are we getting our air?" you ask. "Or why don't we lose it?"</p> - -<p>"No place for it to go," I explain. There isn't. Out there is neither -time nor space, apparently. How could the air leak out? You still feel -gravity, but I can't explain that, either. Maybe the machine has a -gravity field built in, or maybe the time that makes your watch run is -responsible for gravity. In spite of Einstein, you have always had the -idea that time is an effect of gravity, and I sort of agree, still.</p> - -<p>Then the machine stops—at least, the field around us cuts off. You -feel a dankish sort of air replace the stale air, and you breathe -easier, though we're in complete darkness, except for the weak light in -the machine, which always burns, and a few feet of rough dirty cement -floor around. You take another cigaret from me and you get out of the -machine, just as I do.</p> - -<p>I've got a bundle of clothes and I start changing. It's a sort -of simple, short-limbed, one-piece affair I put on, but it feels -comfortable.</p> - -<p>"I'm staying here," I tell you. "This is like the things they wear in -this century, as near as I can remember it, and I should be able to -pass fairly well. I've had all my fortune—the one you make on that -atomic generator—invested in such a way I can get it on using some -identification I've got with me, so I'll do all right. I know they -still use some kind of money, you'll see evidence of that. And it's a -pretty easygoing civilization, from what I could see. We'll go up and -I'll leave you. I like the looks of things here, so I won't be coming -back with you."</p> - -<p>You nod, remembering I've told you about it. "What century is this, -anyway?"</p> - -<p>I'd told you that, too, but you've forgotten. "As near as I can guess, -it's about 2150. He told me, just as I'm telling you, that it's an -interstellar civilization."</p> - -<p>You take another cigaret from me, and follow me. I've got a small -flashlight and we grope through a pile of rubbish, out into a corridor. -This is a sub-sub-sub-basement. We have to walk up a flight of stairs, -and there is an elevator waiting, fortunately with the door open.</p> - -<p>"What about the time machine?" you ask.</p> - -<p>"Since nobody ever stole it, it's safe."</p> - -<hr class="tb" /> - -<p>We get in the elevator, and I say "first" to it. It gives out a -coughing noise and the basement openings begin to click by us. There's -no feeling of acceleration—some kind of false gravity they use in the -future. Then the door opens, and the elevator says "first" back at us.</p> - -<p>It's obviously a service elevator and we're in a dim corridor, with -nobody around. I grab your hand and shake it. "You go that way. Don't -worry about getting lost; you never did, so you can't. Find the museum, -grab the motor, and get out. And good luck to you."</p> - -<p>You act as if you're dreaming, though you can't believe it's a dream. -You nod at me and I move out into the main corridor. A second later, -you see me going by, mixed into a crowd that is loafing along toward -a restaurant, or something like it, that is just opening. I'm asking -questions of a man, who points, and I turn and move off.</p> - -<p>You come out of the side corridor and go down a hall, away from the -restaurant. There are quiet little signs along the hall. You look at -them, realizing for the first time that things have changed.</p> - -<p><i>Steij:neri, Faunten, Z:rgat Dispenseri.</i> The signs are very quiet and -dignified. Some of them can be decoded to stationery shops, fountains, -and the like. What a zergot is, you don't know. You stop at a sign -that announces: <i>Trav:l Biwrou—F:rst-Clas Twrz—Marz, Viin*s, and -x: Trouj:n Planets. Spej:l reits tu aol s*nz wixin 60 lyt iirz!</i> But -there is only a single picture of a dull-looking metal sphere, with -passengers moving up a ramp, and the office is closed. You begin to get -the hang of the spelling they use, though.</p> - -<p>Now there are people around you, but nobody pays much attention to you. -Why should they? You wouldn't care if you saw a man in a leopard-skin -suit; you'd figure it was some part in a play and let it go. Well, -people don't change much.</p> - -<p>You get up your courage and go up to a boy selling something that might -be papers on tapes.</p> - -<p>"Where can I find the Museum of Science?"</p> - -<p>"Downayer rien turn lefa the sign. Stoo bloss," he tells you. Around -you, you hear some pretty normal English, but there are others using -stuff as garbled as his. The educated and uneducated? I don't know.</p> - -<p>You go right until you find a big sign built into the rubbery surface -of the walk: <i>Miuzi:m *v Syens</i>. There's an arrow pointing and you turn -left. Ahead of you, two blocks on, you can see a pink building, with -faint aqua trimming, bigger than most of the others. They are building -lower than they used to, apparently. Twenty floors up seems about the -maximum. You head for it, and find the sidewalk is marked with the -information that it is the museum.</p> - -<hr class="tb" /> - -<p>You go up the steps, but you see that it seems to be closed. You -hesitate for a moment, then. You're beginning to think the whole affair -is complete nonsense, and you should get back to the time machine and -go home. But then a guard comes to the gate. Except for the short legs -in his suit and the friendly grin on his face, he looks like any other -guard.</p> - -<p>What's more, he speaks pretty clearly. Everyone says things in a sort -of drawl, with softer vowels and slurred consonants, but it's rather -pleasant.</p> - -<p>"Help you, sir? Oh, of course. You must be playing in 'Atoms and -Axioms.' The museum's closed, but I'll be glad to let you study -whatever you need for realism in your role. Nice show. I saw it twice."</p> - -<p>"Thanks," you mutter, wondering what kind of civilization can produce -guards as polite as that. "I—I'm told I should investigate your -display of atomic generators."</p> - -<p>He beams at that. "Of course." The gate is swung to behind you, but -obviously he isn't locking it. In fact, there doesn't seem to be a -lock. "Must be a new part. You go down that corridor, up one flight -of stairs and left. Finest display in all the known worlds. We've got -the original of the first thirteen models. Professor Jonas was using -them to check his latest theory of how they work. Too bad he could -not explain the principle, either. Someone will, some day, though. -Lord, the genius of that twentieth century inventor! It's quite a -hobby with me, sir. I've read everything I could get on the period. -Oh—congratulations on your pronunciation. Sounds just like some of our -oldest tapes."</p> - -<p>You get away from him, finally, after some polite thanks. The building -seems deserted and you wander up the stairs. There's a room on your -right filled with something that proclaims itself the first truly -plastic diamond former, and you go up to it. As you come near, it -goes through a crazy wiggle inside, stops turning out a continual row -of what seem to be bearings, and slips something the size of a penny -toward you.</p> - -<p>"Souvenir," it announces in a well-modulated voice. "This is a typical -gem of the twentieth century, properly cut to 58 facets, known -technically as a Jaegger diamond, and approximately twenty carats -in size. You can have it made into a ring on the third floor during -morning hours for one-tenth credit. If you have more than one child, -press the red button for the number of stones you desire."</p> - -<p>You put it in your pocket, gulping a little, and get back to the -corridor. You turn left and go past a big room in which models of -spaceships—from the original thing that looks like a V-2, and is -labeled first Lunar rocket, to a ten-foot globe, complete with -miniature manikins—are sailing about in some kind of orbits. Then -there is one labeled <i>Wep:nz</i>, filled with everything from a crossbow -to a tiny rod four inches long and half the thickness of a pencil, -marked <i>Fynal Hand Arm</i>. Beyond is the end of the corridor, and a big -place that bears a sign, <i>Mad:lz *v Atamic Pau:r Sorsez</i>.</p> - -<hr class="tb" /> - -<p>By that time, you're almost convinced. And you've been doing a lot of -thinking about what you can do. The story I'm telling has been sinking -in, but you aren't completely willing to accept it.</p> - -<p>You notice that the models are all mounted on tables and that they're a -lot smaller than you thought. They seem to be in chronological order, -and the latest one, marked <i>2147—Rincs Dyn*pat:</i>, is about the size -of a desk telephone. The earlier ones are larger, of course, clumsier, -but with variations, probably depending on the power output. A big sign -on the ceiling gives a lot of dope on atomic generators, explaining -that this is the first invention which leaped full blown into basically -final form.</p> - -<p>You study it, but it mentions casually the inventor, without giving -his name. Either they don't know it, or they take it for granted that -everyone does, which seems more probable. They call attention to the -fact that they have the original model of the first atomic generator -built, complete with design drawings, original manuscript on operation, -and full patent application.</p> - -<p>They state that it has all major refinements, operating on any fuel, -producing electricity at any desired voltage up to five million, any -chosen cyclic rate from direct current to one thousand megacycles, -and any amperage up to one thousand, its maximum power output being -fifty kilowatts, limited by the current-carrying capacity of the -outputs. They also mention that the operating principle is still being -investigated, and that only such refinements as better alloys and the -addition of magnetric and nucleatric current outlets have been added -since the original.</p> - -<p>So you go to the end and look over the thing. It's simply a square box -with a huge plug on each side, and a set of vernier controls on top, -plus a little hole marked, in old-style spelling, <i>Drop BBs or wire -here</i>. Apparently that's the way it's fueled. It's about one foot on -each side.</p> - -<p>"Nice," the guard says over your shoulder. "It finally wore out one of -the cathogrids and we had to replace that, but otherwise it's exactly -as the great inventor made it. And it still operates as well as ever. -Like to have me tell you about it?"</p> - -<p>"Not particularly," you begin, and then realize bad manners might be -conspicuous here. While you're searching for an answer, the guard pulls -something out of his pocket and stares at it.</p> - -<p>"Fine, fine. The mayor of Altasecarba—Centaurian, you know—is -arriving, but I'll be back in about ten minutes. He wants to examine -some of the weapons for a monograph on Centaurian primitives compared -to nineteenth century man. You'll pardon me?"</p> - -<p>You pardon him pretty eagerly and he wanders off happily. You go up -to the head of the line, to that Rinks Dynapattuh, or whatever it -transliterates to. That's small and you can carry it. But the darned -thing is absolutely fixed. You can't see any bolts, but you can't budge -it, either.</p> - -<hr class="tb" /> - -<p>You work down the line. It'd be foolish to take the early model if you -can get one with built-in magnetic current terminals—Ehrenhaft or -some other principle?—and nuclear binding-force energy terminals. But -they're all held down by the same whatchamaycallem effect.</p> - -<p>And, finally, you're right back beside the original first model. It's -probably bolted down, too, but you try it tentatively and you find it -moves. There's a little sign under it, indicating you shouldn't touch -it, since the gravostatic plate is being renewed.</p> - -<p>Well, you won't be able to change the time cycle by doing anything I -haven't told you, but a working model such as that is a handy thing. -You lift it; it only weighs about fifty pounds! Naturally, it can be -carried.</p> - -<p>You expect a warning bell, but nothing happens. As a matter of fact, -if you'd stop drinking so much of that scotch and staring at the time -machine out there now, you'd hear what I'm saying and know what will -happen to you. But of course, just as I did, you're going to miss a -lot of what I say from now on, and have to find out for yourself. But -maybe some of it helps. I've tried to remember how much I remembered, -after he told me, but I can't be sure. So I'll keep on talking. I -probably can't help it, anyhow. Pre-set, you might say.</p> - -<p>Well, you stagger down the corridor, looking out for the guard, but all -seems clear. Then you hear his voice from the weapons room. You bend -down and try to scurry past, but you know you're in full view. Nothing -happens, though.</p> - -<p>You stumble down the stairs, feeling all the futuristic rays in the -world on your back, and still nothing happens. Ahead of you, the gate -is closed. You reach it and it opens obligingly by itself. You breathe -a quick sigh of relief and start out onto the street.</p> - -<p>Then there's a yell behind you. You don't wait. You put one leg in -front of the other and you begin racing down the walk, ducking past -people, who stare at you with expressions you haven't time to see. -There's another yell behind you.</p> - -<p>Something goes over your head and drops on the sidewalk just in front -of your feet, with a sudden ringing sound. You don't wait to find out -about that, either. Somebody reaches out a hand to catch you and you -dart past.</p> - -<hr class="chap" /> - -<div class="figcenter"> - <img src="images/illus2.jpg" width="344" height="500" alt=""/> -</div> - -<hr class="chap" /> - -<p>The street is pretty clear now and you jolt along, with your arms -seeming to come out of the sockets, and that atomic generator getting -heavier at every step.</p> - -<p>Out of nowhere, something in a blue uniform about six feet tall and -on the beefy side appears—and the badge hasn't changed much. The cop -catches your arm and you know you're not going to get away, so you stop.</p> - -<p>"You can't exert yourself that hard in this heat, fellow," the cop -says. "There are laws against that, without a yellow sticker. Here, let -me grab you a taxi."</p> - -<hr class="tb" /> - -<p>Reaction sets in a bit and your knees begin to buckle, but you shake -your head and come up for air.</p> - -<p>"I—I left my money home," you begin.</p> - -<p>The cop nods. "Oh, that explains it. Fine, I won't have to give you -an appearance schedule. But you should have come to me." He reaches -out and taps a pedestrian lightly on the shoulder. "Sir, an emergency -request. Would you help this gentleman?"</p> - -<hr class="chap" /> - -<div class="figcenter"> - <img src="images/illus3.jpg" width="145" height="300" alt=""/> -</div> - -<hr class="chap" /> - -<p>The pedestrian grins, looks at his watch, and nods. "How far?"</p> - -<p>You did notice the name of the building from which you came and you -mutter it. The stranger nods again, reaches out and picks up the other -side of the generator, blowing a little whistle the cop hands him. -Pedestrians begin to move aside, and you and the stranger jog down the -street at a trot, with a nice clear path, while the cop stands beaming -at you both.</p> - -<p>That way, it isn't so bad. And you begin to see why I decided I might -like to stay in the future. But all the same, the organized cooperation -here doesn't look too good. The guard can get the same and be there -before you.</p> - -<p>And he is. He stands just inside the door of the building as you reach -it. The stranger lifts an eyebrow and goes off at once when you nod -at him, not waiting for thanks. And the guard comes up, holding some -dinkus in his hand, about the size of a big folding camera and not too -dissimilar in other ways. He snaps it open and you get set to duck.</p> - -<p>"You forgot the prints, monograph, and patent applications," he says. -"They go with the generator—we don't like to have them separated. A -good thing I knew the production office of 'Atoms and Axioms' was in -this building. Just let us know when you're finished with the model and -we'll pick it up."</p> - -<p>You swallow several sets of tonsils you had removed years before, and -take the bundle of papers he hands you out of the little case. He pumps -you for some more information, which you give him at random. It seems -to satisfy your amiable guard friend. He finally smiles in satisfaction -and heads back to the museum.</p> - -<p>You still don't believe it, but you pick up the atomic generator and -the information sheets, and you head down toward the service elevator. -There is no button on it. In fact, there's no door there.</p> - -<p>You start looking for other doors or corridors, but you know this is -right. The signs along the halls are the same as they were.</p> - -<hr class="tb" /> - -<p>Then there's a sort of cough and something dilates in the wall. It -forms a perfect door and the elevator stands there waiting. You get in, -gulping out something about going all the way down, and then wonder how -a machine geared for voice operation can make anything of that. What -the deuce would that lowest basement be called? But the elevator has -closed and is moving downward in a hurry. It coughs again and you're at -the original level. You get out—and realize you don't have a light.</p> - -<p>You'll never know what you stumbled over, but, somehow, you move back -in the direction of the time machine, bumping against boxes, staggering -here and there, and trying to find the right place by sheer feel. Then -a shred of dim light appears; it's the weak light in the time machine.</p> - -<p>You've located it.</p> - -<p>You put the atomic generator in the luggage space, throw the papers -down beside it, and climb into the cockpit, sweating and mumbling. You -reach forward toward the green button and hesitate. There's a red one -beside it and you finally decide on that.</p> - -<p>Suddenly, there's a confused yell from the direction of the elevator -and a beam of light strikes against your eyes, with a shout punctuating -it. Your finger touches the red button.</p> - -<p>You'll never know what the shouting was about—whether they finally -doped out the fact that they'd been robbed, or whether they were trying -to help you. You don't care which it is. The field springs up around -you and the next button you touch—the one on the board that hasn't -been used so far—sends you off into nothingness. There is no beam of -light, you can't hear a thing, and you're safe.</p> - -<p>It isn't much of a trip back. You sit there smoking and letting your -nerves settle back to normal. You notice a third set of buttons, with -some pencil marks over them—"Press these to return to yourself 30 -years"—and you begin waiting for the air to get stale. It doesn't -because there is only one of you this time.</p> - -<p>Instead, everything flashes off and you're sitting in the machine in -your own back yard.</p> - -<p>You'll figure out the cycle in more details later. You get into the -machine in front of your house, go to the future in the sub-basement, -land in your back yard, and then hop back thirty years to pick up -yourself, landing in front of your house. Just that. But right then, -you don't care. You jump out and start pulling out that atomic -generator and taking it inside.</p> - -<hr class="tb" /> - -<p>It isn't hard to disassemble, but you don't learn a thing; just some -plates of metal, some spiral coils, and a few odds and ends—all -things that can be made easily enough, all obviously of common metals. -But when you put it together again, about an hour later, you notice -something.</p> - -<p>Everything in it is brand-new and there's one set of copper wires -missing! It won't work. You put some #12 house wire in, exactly like -the set on the other side, drop in some iron filings, and try it again.</p> - -<p>And with the controls set at 120 volts, 60 cycles and 15 amperes, you -get just that. You don't need the power company any more. And you -feel a little happier when you realize that the luggage space wasn't -insulated from time effects by a field, so the motor has moved backward -in time, somehow, and is back to its original youth—minus the -replaced wires the guard mentioned—which probably wore out because of -the makeshift job you've just done.</p> - -<p>But you begin getting more of a jolt when you find that the papers are -all in your own writing, that your name is down as the inventor, and -that the date of the patent application is 1951.</p> - -<p>It will begin to soak in, then. You pick up an atomic generator in the -future and bring it back to the past—your present—so that it can be -put in the museum with you as the inventor so you can steal it to be -the inventor. And you do it in a time machine which you bring back to -yourself to take yourself into the future to return to take back to -yourself....</p> - -<p>Who invented what? And who built which?</p> - -<p>Before long, your riches from the generator are piling in. Little -kids from school are coming around to stare at the man who changed -history and made atomic power so common that no nation could hope to -be anything but a democracy and a peaceful one—after some of the -worst times in history for a few years. Your name eventually becomes as -common as Ampere, or Faraday, or any other spelled without a capital -letter.</p> - -<p>But you're thinking of the puzzle. You can't find any answer.</p> - -<p>One day you come across an old poem—something about some folks -calling it evolution and others calling it God. You go out, make a few -provisions for the future, and come back to climb into the time machine -that's waiting in the building you had put around it. Then you'll be -knocking on your own door, thirty years back—or right now, from your -view—and telling your younger self all these things I'm telling you.</p> - -<p>But now....</p> - -<p>Well, the drinks are finished. You're woozy enough to go along with me -without protest, and I want to find out just why those people up there -came looking for you and shouting, before the time machine left.</p> - -<p>Let's go.</p> - - - - - - - - -<pre> - - - - - -End of Project Gutenberg's ...And It Comes Out Here, by Lester del Rey - -*** END OF THIS PROJECT GUTENBERG EBOOK ...AND IT COMES OUT HERE *** - -***** This file should be named 51046-h.htm or 51046-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/1/0/4/51046/ - -Produced by Greg Weeks, Mary Meehan and the Online -Distributed Proofreading Team at http://www.pgdp.net - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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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/license - - -Title: ...And It Comes Out Here - -Author: Lester del Rey - -Release Date: January 26, 2016 [EBook #51046] - -Language: English - -Character set encoding: ASCII - -*** START OF THIS PROJECT GUTENBERG EBOOK ...AND IT COMES OUT HERE *** - - - - -Produced by Greg Weeks, Mary Meehan and the Online -Distributed Proofreading Team at http://www.pgdp.net - - - - - - - - - - ... and it comes out here - - By LESTER DEL REY - - Illustrated by DON SIBLEY - - [Transcriber's Note: This etext was produced from - Galaxy Science Fiction February 1951. - Extensive research did not uncover any evidence that - the U.S. copyright on this publication was renewed.] - - - - - There is one fact no sane man can quarrel - with ... everything has a beginning and an end. - But some men aren't sane; thus it isn't always so! - - -No, you're wrong. I'm not your father's ghost, even if I do look a bit -like him. But it's a longish story, and you might as well let me in. -You will, you know, so why quibble about it? At least, you always -have ... or do ... or will. I don't know, verbs get all mixed up. We -don't have the right attitude toward tenses for a situation like this. - -Anyhow, you'll let me in. I did, so you will. - -Thanks. You think you're crazy, of course, but you'll find out you -aren't. It's just that things are a bit confused. And don't look at the -machine out there too long--until you get used to it, you'll find it's -hard on the eyes, trying to follow where the vanes go. You'll get used -to it, of course, but it will take about thirty years. - -You're wondering whether to give me a drink, as I remember it. Why not? -And naturally, since we have the same tastes, you can make the same for -me as you're having. Of course we have the same tastes--we're the same -person. I'm you thirty years from now, or you're me. I remember just -how you feel; I felt the same way when he--that is, of course, I or -we--came back to tell me about it, thirty years ago. - -Here, have one of these. You'll get to like them in a couple more -years. And you can look at the revenue stamp date, if you still doubt -my story. You'll believe it eventually, though, so it doesn't matter. - -Right now, you're shocked. It's a real wrench when a man meets himself -for the first time. Some kind of telepathy seems to work between two -of the same people. You _sense_ things. So I'll simply go ahead talking -for half an hour or so, until you get over it. After that you'll come -along with me. You know, I could try to change things around by telling -what happened to me; but he--I--told me what I was going to do, so I -might as well do the same. I probably couldn't help telling you the -same thing in the same words, even if I tried--and I don't intend to -try. I've gotten past that stage in worrying about all this. - -So let's begin when you get up in half an hour and come out with me. -You'll take a closer look at the machine, then. Yes, it'll be pretty -obvious it must be a time machine. You'll sense that, too. You've seen -it, just a small little cage with two seats, a luggage compartment, and -a few buttons on a dash. You'll be puzzling over what I'll tell you, -and you'll be getting used to the idea that you are the man who makes -atomic power practical. Jerome Boell, just a plain engineer, the man -who put atomic power in every home. You won't exactly believe it, but -you'll want to go along. - - * * * * * - -I'll be tired of talking by then, and in a hurry to get going. So I -cut off your questions, and get you inside. I snap on a green button, -and everything seems to cut off around us. You can see a sort of -foggy nothing surrounding the cockpit; it is probably the field that -prevents passage through time from affecting us. The luggage section -isn't protected, though. - -You start to say something, but by then I'm pressing a black button, -and everything outside will disappear. You look for your house, but -it isn't there. There is exactly nothing there--in fact, there is no -_there_. You are completely outside of time and space, as best you can -guess how things are. - -You can't feel any motion, of course. You try to reach a hand out -through the field into the nothing around you and your hand goes out, -all right, but nothing happens. Where the screen ends, your hand just -turns over and pokes back at you. Doesn't hurt, and when you pull your -arm back, you're still sound and uninjured. But it looks frightening -and you don't try it again. - -Then it comes to you slowly that you're actually traveling in time. -You turn to me, getting used to the idea. "So this is the fourth -dimension?" you ask. - -Then you feel silly, because you'll remember that I said you'd ask -that. Well, I asked it after I was told, then I came back and told it -to you, and I still can't help answering when you speak. - -"Not exactly," I try to explain. "Maybe it's no dimension--or it might -be the fifth; if you're going to skip over the so-called fourth without -traveling along it, you'd need a fifth. Don't ask me. I didn't invent -the machine and I don't understand it." - -"But...." - -I let it go, and so do you. If you don't, it's a good way of going -crazy. You'll see later why I couldn't have invented the machine. Of -course, there may have been a start for all this once. There may have -been a time when you did invent the machine--the atomic motor first, -then the time-machine. And when you closed the loop by going back and -saving yourself the trouble, it got all tangled up. I figured out once -that such a universe would need some seven or eight time and space -dimensions. It's simpler just to figure that this is the way time got -bent back on itself. Maybe there is no machine, and it's just easier -for us to imagine it. When you spend thirty years thinking about it, as -I did--and you will--you get further and further from an answer. - -Anyhow, you sit there, watching nothing all around you, and no time, -apparently, though there is a time effect back in the luggage space. -You look at your watch and it's still running. That means you either -carry a small time field with you, or you are catching a small -increment of time from the main field. I don't know, and you won't -think about that then, either. - - * * * * * - -I'm smoking, and so are you, and the air in the machine is getting a -bit stale. You suddenly realize that everything in the machine is wide -open, yet you haven't seen any effects of air loss. - -"Where are we getting our air?" you ask. "Or why don't we lose it?" - -"No place for it to go," I explain. There isn't. Out there is neither -time nor space, apparently. How could the air leak out? You still feel -gravity, but I can't explain that, either. Maybe the machine has a -gravity field built in, or maybe the time that makes your watch run is -responsible for gravity. In spite of Einstein, you have always had the -idea that time is an effect of gravity, and I sort of agree, still. - -Then the machine stops--at least, the field around us cuts off. You -feel a dankish sort of air replace the stale air, and you breathe -easier, though we're in complete darkness, except for the weak light in -the machine, which always burns, and a few feet of rough dirty cement -floor around. You take another cigaret from me and you get out of the -machine, just as I do. - -I've got a bundle of clothes and I start changing. It's a sort -of simple, short-limbed, one-piece affair I put on, but it feels -comfortable. - -"I'm staying here," I tell you. "This is like the things they wear in -this century, as near as I can remember it, and I should be able to -pass fairly well. I've had all my fortune--the one you make on that -atomic generator--invested in such a way I can get it on using some -identification I've got with me, so I'll do all right. I know they -still use some kind of money, you'll see evidence of that. And it's a -pretty easygoing civilization, from what I could see. We'll go up and -I'll leave you. I like the looks of things here, so I won't be coming -back with you." - -You nod, remembering I've told you about it. "What century is this, -anyway?" - -I'd told you that, too, but you've forgotten. "As near as I can guess, -it's about 2150. He told me, just as I'm telling you, that it's an -interstellar civilization." - -You take another cigaret from me, and follow me. I've got a small -flashlight and we grope through a pile of rubbish, out into a corridor. -This is a sub-sub-sub-basement. We have to walk up a flight of stairs, -and there is an elevator waiting, fortunately with the door open. - -"What about the time machine?" you ask. - -"Since nobody ever stole it, it's safe." - - * * * * * - -We get in the elevator, and I say "first" to it. It gives out a -coughing noise and the basement openings begin to click by us. There's -no feeling of acceleration--some kind of false gravity they use in the -future. Then the door opens, and the elevator says "first" back at us. - -It's obviously a service elevator and we're in a dim corridor, with -nobody around. I grab your hand and shake it. "You go that way. Don't -worry about getting lost; you never did, so you can't. Find the museum, -grab the motor, and get out. And good luck to you." - -You act as if you're dreaming, though you can't believe it's a dream. -You nod at me and I move out into the main corridor. A second later, -you see me going by, mixed into a crowd that is loafing along toward -a restaurant, or something like it, that is just opening. I'm asking -questions of a man, who points, and I turn and move off. - -You come out of the side corridor and go down a hall, away from the -restaurant. There are quiet little signs along the hall. You look at -them, realizing for the first time that things have changed. - -_Steij:neri, Faunten, Z:rgat Dispenseri._ The signs are very quiet and -dignified. Some of them can be decoded to stationery shops, fountains, -and the like. What a zergot is, you don't know. You stop at a sign -that announces: _Trav:l Biwrou--F:rst-Clas Twrz--Marz, Viin*s, and -x: Trouj:n Planets. Spej:l reits tu aol s*nz wixin 60 lyt iirz!_ But -there is only a single picture of a dull-looking metal sphere, with -passengers moving up a ramp, and the office is closed. You begin to get -the hang of the spelling they use, though. - -Now there are people around you, but nobody pays much attention to you. -Why should they? You wouldn't care if you saw a man in a leopard-skin -suit; you'd figure it was some part in a play and let it go. Well, -people don't change much. - -You get up your courage and go up to a boy selling something that might -be papers on tapes. - -"Where can I find the Museum of Science?" - -"Downayer rien turn lefa the sign. Stoo bloss," he tells you. Around -you, you hear some pretty normal English, but there are others using -stuff as garbled as his. The educated and uneducated? I don't know. - -You go right until you find a big sign built into the rubbery surface -of the walk: _Miuzi:m *v Syens_. There's an arrow pointing and you turn -left. Ahead of you, two blocks on, you can see a pink building, with -faint aqua trimming, bigger than most of the others. They are building -lower than they used to, apparently. Twenty floors up seems about the -maximum. You head for it, and find the sidewalk is marked with the -information that it is the museum. - - * * * * * - -You go up the steps, but you see that it seems to be closed. You -hesitate for a moment, then. You're beginning to think the whole affair -is complete nonsense, and you should get back to the time machine and -go home. But then a guard comes to the gate. Except for the short legs -in his suit and the friendly grin on his face, he looks like any other -guard. - -What's more, he speaks pretty clearly. Everyone says things in a sort -of drawl, with softer vowels and slurred consonants, but it's rather -pleasant. - -"Help you, sir? Oh, of course. You must be playing in 'Atoms and -Axioms.' The museum's closed, but I'll be glad to let you study -whatever you need for realism in your role. Nice show. I saw it twice." - -"Thanks," you mutter, wondering what kind of civilization can produce -guards as polite as that. "I--I'm told I should investigate your -display of atomic generators." - -He beams at that. "Of course." The gate is swung to behind you, but -obviously he isn't locking it. In fact, there doesn't seem to be a -lock. "Must be a new part. You go down that corridor, up one flight -of stairs and left. Finest display in all the known worlds. We've got -the original of the first thirteen models. Professor Jonas was using -them to check his latest theory of how they work. Too bad he could -not explain the principle, either. Someone will, some day, though. -Lord, the genius of that twentieth century inventor! It's quite a -hobby with me, sir. I've read everything I could get on the period. -Oh--congratulations on your pronunciation. Sounds just like some of our -oldest tapes." - -You get away from him, finally, after some polite thanks. The building -seems deserted and you wander up the stairs. There's a room on your -right filled with something that proclaims itself the first truly -plastic diamond former, and you go up to it. As you come near, it -goes through a crazy wiggle inside, stops turning out a continual row -of what seem to be bearings, and slips something the size of a penny -toward you. - -"Souvenir," it announces in a well-modulated voice. "This is a typical -gem of the twentieth century, properly cut to 58 facets, known -technically as a Jaegger diamond, and approximately twenty carats -in size. You can have it made into a ring on the third floor during -morning hours for one-tenth credit. If you have more than one child, -press the red button for the number of stones you desire." - -You put it in your pocket, gulping a little, and get back to the -corridor. You turn left and go past a big room in which models of -spaceships--from the original thing that looks like a V-2, and is -labeled first Lunar rocket, to a ten-foot globe, complete with -miniature manikins--are sailing about in some kind of orbits. Then -there is one labeled _Wep:nz_, filled with everything from a crossbow -to a tiny rod four inches long and half the thickness of a pencil, -marked _Fynal Hand Arm_. Beyond is the end of the corridor, and a big -place that bears a sign, _Mad:lz *v Atamic Pau:r Sorsez_. - - * * * * * - -By that time, you're almost convinced. And you've been doing a lot of -thinking about what you can do. The story I'm telling has been sinking -in, but you aren't completely willing to accept it. - -You notice that the models are all mounted on tables and that they're a -lot smaller than you thought. They seem to be in chronological order, -and the latest one, marked _2147--Rincs Dyn*pat:_, is about the size -of a desk telephone. The earlier ones are larger, of course, clumsier, -but with variations, probably depending on the power output. A big sign -on the ceiling gives a lot of dope on atomic generators, explaining -that this is the first invention which leaped full blown into basically -final form. - -You study it, but it mentions casually the inventor, without giving -his name. Either they don't know it, or they take it for granted that -everyone does, which seems more probable. They call attention to the -fact that they have the original model of the first atomic generator -built, complete with design drawings, original manuscript on operation, -and full patent application. - -They state that it has all major refinements, operating on any fuel, -producing electricity at any desired voltage up to five million, any -chosen cyclic rate from direct current to one thousand megacycles, -and any amperage up to one thousand, its maximum power output being -fifty kilowatts, limited by the current-carrying capacity of the -outputs. They also mention that the operating principle is still being -investigated, and that only such refinements as better alloys and the -addition of magnetric and nucleatric current outlets have been added -since the original. - -So you go to the end and look over the thing. It's simply a square box -with a huge plug on each side, and a set of vernier controls on top, -plus a little hole marked, in old-style spelling, _Drop BBs or wire -here_. Apparently that's the way it's fueled. It's about one foot on -each side. - -"Nice," the guard says over your shoulder. "It finally wore out one of -the cathogrids and we had to replace that, but otherwise it's exactly -as the great inventor made it. And it still operates as well as ever. -Like to have me tell you about it?" - -"Not particularly," you begin, and then realize bad manners might be -conspicuous here. While you're searching for an answer, the guard pulls -something out of his pocket and stares at it. - -"Fine, fine. The mayor of Altasecarba--Centaurian, you know--is -arriving, but I'll be back in about ten minutes. He wants to examine -some of the weapons for a monograph on Centaurian primitives compared -to nineteenth century man. You'll pardon me?" - -You pardon him pretty eagerly and he wanders off happily. You go up -to the head of the line, to that Rinks Dynapattuh, or whatever it -transliterates to. That's small and you can carry it. But the darned -thing is absolutely fixed. You can't see any bolts, but you can't budge -it, either. - - * * * * * - -You work down the line. It'd be foolish to take the early model if you -can get one with built-in magnetic current terminals--Ehrenhaft or -some other principle?--and nuclear binding-force energy terminals. But -they're all held down by the same whatchamaycallem effect. - -And, finally, you're right back beside the original first model. It's -probably bolted down, too, but you try it tentatively and you find it -moves. There's a little sign under it, indicating you shouldn't touch -it, since the gravostatic plate is being renewed. - -Well, you won't be able to change the time cycle by doing anything I -haven't told you, but a working model such as that is a handy thing. -You lift it; it only weighs about fifty pounds! Naturally, it can be -carried. - -You expect a warning bell, but nothing happens. As a matter of fact, -if you'd stop drinking so much of that scotch and staring at the time -machine out there now, you'd hear what I'm saying and know what will -happen to you. But of course, just as I did, you're going to miss a -lot of what I say from now on, and have to find out for yourself. But -maybe some of it helps. I've tried to remember how much I remembered, -after he told me, but I can't be sure. So I'll keep on talking. I -probably can't help it, anyhow. Pre-set, you might say. - -Well, you stagger down the corridor, looking out for the guard, but all -seems clear. Then you hear his voice from the weapons room. You bend -down and try to scurry past, but you know you're in full view. Nothing -happens, though. - -You stumble down the stairs, feeling all the futuristic rays in the -world on your back, and still nothing happens. Ahead of you, the gate -is closed. You reach it and it opens obligingly by itself. You breathe -a quick sigh of relief and start out onto the street. - -Then there's a yell behind you. You don't wait. You put one leg in -front of the other and you begin racing down the walk, ducking past -people, who stare at you with expressions you haven't time to see. -There's another yell behind you. - -Something goes over your head and drops on the sidewalk just in front -of your feet, with a sudden ringing sound. You don't wait to find out -about that, either. Somebody reaches out a hand to catch you and you -dart past. - -The street is pretty clear now and you jolt along, with your arms -seeming to come out of the sockets, and that atomic generator getting -heavier at every step. - -Out of nowhere, something in a blue uniform about six feet tall and -on the beefy side appears--and the badge hasn't changed much. The cop -catches your arm and you know you're not going to get away, so you stop. - -"You can't exert yourself that hard in this heat, fellow," the cop -says. "There are laws against that, without a yellow sticker. Here, let -me grab you a taxi." - - * * * * * - -Reaction sets in a bit and your knees begin to buckle, but you shake -your head and come up for air. - -"I--I left my money home," you begin. - -The cop nods. "Oh, that explains it. Fine, I won't have to give you -an appearance schedule. But you should have come to me." He reaches -out and taps a pedestrian lightly on the shoulder. "Sir, an emergency -request. Would you help this gentleman?" - -The pedestrian grins, looks at his watch, and nods. "How far?" - -You did notice the name of the building from which you came and you -mutter it. The stranger nods again, reaches out and picks up the other -side of the generator, blowing a little whistle the cop hands him. -Pedestrians begin to move aside, and you and the stranger jog down the -street at a trot, with a nice clear path, while the cop stands beaming -at you both. - -That way, it isn't so bad. And you begin to see why I decided I might -like to stay in the future. But all the same, the organized cooperation -here doesn't look too good. The guard can get the same and be there -before you. - -And he is. He stands just inside the door of the building as you reach -it. The stranger lifts an eyebrow and goes off at once when you nod -at him, not waiting for thanks. And the guard comes up, holding some -dinkus in his hand, about the size of a big folding camera and not too -dissimilar in other ways. He snaps it open and you get set to duck. - -"You forgot the prints, monograph, and patent applications," he says. -"They go with the generator--we don't like to have them separated. A -good thing I knew the production office of 'Atoms and Axioms' was in -this building. Just let us know when you're finished with the model and -we'll pick it up." - -You swallow several sets of tonsils you had removed years before, and -take the bundle of papers he hands you out of the little case. He pumps -you for some more information, which you give him at random. It seems -to satisfy your amiable guard friend. He finally smiles in satisfaction -and heads back to the museum. - -You still don't believe it, but you pick up the atomic generator and -the information sheets, and you head down toward the service elevator. -There is no button on it. In fact, there's no door there. - -You start looking for other doors or corridors, but you know this is -right. The signs along the halls are the same as they were. - - * * * * * - -Then there's a sort of cough and something dilates in the wall. It -forms a perfect door and the elevator stands there waiting. You get in, -gulping out something about going all the way down, and then wonder how -a machine geared for voice operation can make anything of that. What -the deuce would that lowest basement be called? But the elevator has -closed and is moving downward in a hurry. It coughs again and you're at -the original level. You get out--and realize you don't have a light. - -You'll never know what you stumbled over, but, somehow, you move back -in the direction of the time machine, bumping against boxes, staggering -here and there, and trying to find the right place by sheer feel. Then -a shred of dim light appears; it's the weak light in the time machine. - -You've located it. - -You put the atomic generator in the luggage space, throw the papers -down beside it, and climb into the cockpit, sweating and mumbling. You -reach forward toward the green button and hesitate. There's a red one -beside it and you finally decide on that. - -Suddenly, there's a confused yell from the direction of the elevator -and a beam of light strikes against your eyes, with a shout punctuating -it. Your finger touches the red button. - -You'll never know what the shouting was about--whether they finally -doped out the fact that they'd been robbed, or whether they were trying -to help you. You don't care which it is. The field springs up around -you and the next button you touch--the one on the board that hasn't -been used so far--sends you off into nothingness. There is no beam of -light, you can't hear a thing, and you're safe. - -It isn't much of a trip back. You sit there smoking and letting your -nerves settle back to normal. You notice a third set of buttons, with -some pencil marks over them--"Press these to return to yourself 30 -years"--and you begin waiting for the air to get stale. It doesn't -because there is only one of you this time. - -Instead, everything flashes off and you're sitting in the machine in -your own back yard. - -You'll figure out the cycle in more details later. You get into the -machine in front of your house, go to the future in the sub-basement, -land in your back yard, and then hop back thirty years to pick up -yourself, landing in front of your house. Just that. But right then, -you don't care. You jump out and start pulling out that atomic -generator and taking it inside. - - * * * * * - -It isn't hard to disassemble, but you don't learn a thing; just some -plates of metal, some spiral coils, and a few odds and ends--all -things that can be made easily enough, all obviously of common metals. -But when you put it together again, about an hour later, you notice -something. - -Everything in it is brand-new and there's one set of copper wires -missing! It won't work. You put some #12 house wire in, exactly like -the set on the other side, drop in some iron filings, and try it again. - -And with the controls set at 120 volts, 60 cycles and 15 amperes, you -get just that. You don't need the power company any more. And you -feel a little happier when you realize that the luggage space wasn't -insulated from time effects by a field, so the motor has moved backward -in time, somehow, and is back to its original youth--minus the -replaced wires the guard mentioned--which probably wore out because of -the makeshift job you've just done. - -But you begin getting more of a jolt when you find that the papers are -all in your own writing, that your name is down as the inventor, and -that the date of the patent application is 1951. - -It will begin to soak in, then. You pick up an atomic generator in the -future and bring it back to the past--your present--so that it can be -put in the museum with you as the inventor so you can steal it to be -the inventor. And you do it in a time machine which you bring back to -yourself to take yourself into the future to return to take back to -yourself.... - -Who invented what? And who built which? - -Before long, your riches from the generator are piling in. Little -kids from school are coming around to stare at the man who changed -history and made atomic power so common that no nation could hope to -be anything but a democracy and a peaceful one--after some of the -worst times in history for a few years. Your name eventually becomes as -common as Ampere, or Faraday, or any other spelled without a capital -letter. - -But you're thinking of the puzzle. You can't find any answer. - -One day you come across an old poem--something about some folks -calling it evolution and others calling it God. You go out, make a few -provisions for the future, and come back to climb into the time machine -that's waiting in the building you had put around it. Then you'll be -knocking on your own door, thirty years back--or right now, from your -view--and telling your younger self all these things I'm telling you. - -But now.... - -Well, the drinks are finished. You're woozy enough to go along with me -without protest, and I want to find out just why those people up there -came looking for you and shouting, before the time machine left. - -Let's go. - - - - - -End of Project Gutenberg's ...And It Comes Out Here, by Lester del Rey - -*** END OF THIS PROJECT GUTENBERG EBOOK ...AND IT COMES OUT HERE *** - -***** This file should be named 51046.txt or 51046.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/1/0/4/51046/ - -Produced by Greg Weeks, Mary Meehan and the Online -Distributed Proofreading Team at http://www.pgdp.net - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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