And finally when they set up a screen test, he fervently told the audience that the Russian government was the most terrifying empire the world had ever known, because this time they were efficient at keeping their power, because this time there was no outside for barbarians to come from, and because they had seduced the freest people in history into loving slavery. His speech was from the heart-- he loathed the Russians and loved the memory that once there had been freedom and law and a measure of justice in America.

And the prosecutor came into the room ashenfaced.

"You bastard," he said.

"Oh. You mean the audience was live this time?"

"A hundred loyal citizens. And you corrupted all but three of them."

"Corrupted?"

"Convinced them."

Silence for a moment, and then the prosecutor sat down and buried his head in his hands.

"Going to lose your job?" Jerry asked.

"Of course."

"I'm sorry. You're good at it."

The prosecutor looked at him with loathing. "No one ever failed at this before.

And I had never had to take anyone beyond a second death. You've died a dozen times, Crove, and you've got used to it."

"I didn't mean to."

"How did you do it?"

"I don't know."

"What kind of animal are you, Crove? Can't you make up a lie and believe it?"

Crove chuckled. (In the old days, at this level of amusement he would have laughed uproariously. But inured to death or not, he had scars. And he would never laugh loudly again.) "It was my business. As a playwright. The willing suspension of disbelief."

The door opened and a very important looking man in a military uniform covered with medals came in, followed by four Russian soldiers. The prosecutor sighed and stood up. "Good-bye, Crove."

"Good-bye," Jerry said.

"You're a very strong man."

"So, " said Jerry, "are you. " And the prosecutor left.

The soldiers took Jerry out of the prison to a different place entirely. A large complex of buildings in Florida. Cape Canaveral. They were exiling him, Jerry realized.

"What's it like?" he asked the technician who was preparing him for the flight.

"Who knows?" the technician asked. "No one's ever come back. Hell, no one's ever arrived yet."

"After I sleep on somec, will I have any trouble waking up?"

"In the labs, here on earth, no. Out there, who knows?"

"But you think we'll live?"

"We send you to planets that look like they might be habitable. If they aren't, so sorry. You take your chances. The worst that can happen is you die."

"Is that all?" Jerry murmured.

"Now lie down and let me tape your brain."

Jerry lay down and the helmet, once again, recorded his thoughts. It was irresistible, of course: when you are conscious that your thoughts are being taped, Jerry realized, it is impossible not to try to think something important. As if you wer performing. Only the audience would consist of just one person. Yourself when you woke up.

But he thought this: That this starship and the others that would be and had been sent out to colonize in prison worlds were not really what the Russians thought they were. True, the prisoners sent in the Gulag ships would be away from earth for centuries before they landed, and many or most of them would not survive. But some would survive.

I will survive, Jerry thought as the helmet picked up his brain pattern and transferred it to tape.

Out there the Russians are creating their own barbarians. I will be Attila the Hun. My child will be Mohammed. My grandchild will be Genghis Khan.

One of us, someday, will sack Rome.

Then the somec was injected, and it swept through him, taking consciousness with it, and Jerry realized with a shock of recognition that this, too, was death: but a welcome death, and he didn't mind. Because this time when he woke up he would be free.

He hummed cheerfully until he couldn't remember how to hum, and then they put his body with hundreds of others on a starship and pushed them all out into space, where they fell upward endlessly into the stars. Going home.

CLAP HANDS AND SING

0n the screen the crippled man screamed at the lady, insisting that she must not run away. He waved a certificate. "I'm a registered rapist, damnit!" he cried.

"Don't run so fast! You have to make allowances for the handicapped!" He ran after her with an odd, left-heavy lope. His enormous prosthetic phallus swung crazily, like a clumsy propeller that couldn't quite get started. The audience laughed madly.

Must be a funny, funny scene!

Old Charlie sat slumped in his chair, feeling as casual and permanent as glacial debris. I am here only by accident, but I'll never move. He did not switch off the television set. The audience roared again with laughter. Canned or live? After more than eight decades of watching television, Charlie couldn't tell anymore. Not that the canned laughter had got any more real: It was the real laughter that had gone tinny, premeditated. As if the laughs were timed to come now, no matter what, and the poor actors could strain to get off their gags in time, but always they were just this much early, that much late.

"It's late," the television said, and Charlie started awake, vaguely surprised to see that the program had changed: Now it was a demonstration of a convenient electric breast pump to store up natural mother's milk for those times when you just can't be with baby. "It's late."

"Hello, Jock," Charlie said.

"Don't sleep in front of the television again, Charlie."

"Leave me alone, swine," Charlie said. And then: "Okay, turn it off."

He hadn't finished giving the order when the television flickered and went white, then settled down into its perpetual springtime scene that meant off. But in the flicker Charlie thought he saw-- who? Name? From the distant past. A girl. Before the name came to him, there came another memory: a small hand resting lightly on his knee as they sat together, as light as a long-legged fly upon a stream. in his memory he did not turn to look at her; he was talking to others. But he knew just where she would be if he turned to look. Small, with mousy hair, and yet a face that was always the child Juliet. But that was not her name. Not Juliet, though she was Juliet's age in that memory. I am Charlie, he thought. She is-- Rachel.

Rachel Carpenter. In the flicker on the screen hers was the face the random light had brought him, and so he remembered Rachel as he pulled his ancient body from the chair; thought of Rachel as he peeled the clothing from his frail skeleton, delicately, lest some rough motion strip away the wrinkled skin like cellophane.

And Jock, who of course did not switch himself off with the television, recited:

"An aged man is a paltry thing, a tattered coat upon a stick."

"Shut up," Charlie ordered.

"Unless Soul clap its hands."

"I said shut up!"

"And sing, and louder sing for every tatter in its mortal dress."

"Are you finished?" Charlie asked. He knew Jock was finished. After all, Charlie had programmed him to recite it, to recite just that fragment every night when his shorts hit the floor.

He stood naked in the middle of the room and thought of Rachel, whom he had not thought of in years. It was a trick of being old, that the room he was in now so easily vanished, and in its place a memory could take hold. I've made my fortune from time machines, he thought, and now I discover that every aged person is his own time machine. For now he stood naked. No, that was a trick of memory; memory had these damnable tricks. He was not naked. He only felt naked, as Rachel sat in the car beside him. Her voice-- he had almost forgotten her voice-- was soft. Even when she shouted, it got more whispery, so that if she shouted, it would have all the wind of the world in it and he wouldn't hear it at all, would only feel it cold on his naked skin. That was the voice she was using now, saying yes. I loved you when I was twelve, and when I was thirteen, and when I was fourteen, but when you got back from playing God in Sao Paulo, you didn't call me. All those letters, and then for three months you didn't call me and I knew that you thought I was just a child and I fell in love with-- Name? Name gone. Fell in love with a boy, and ever since then you've been treating me like... Like. No, she'd never say shit, not in that voice.