another a little ways, then another, and a fourth. Then he twists a rod to the right. The lights go out and a cold draft of air comes in through a window. When the lights come on the air is still cold. The girls are shivering.

"Three p.m., January 12, 1956," says Rabelais. "Let's go get fur coats."

So we go out the way we came in and it's daylight. And there's snow on the ground. The cottage is the same but the street is a highway now. Rabalais hails the fanciest looking cab I ever see and we get driven to town where he buys all of us fur coats in a store I never heard of. Then we go to a dinner club that makes the Buster look like a greasy spoon. None of us can say a word.

After he pays the check, Rabelais says, "I'm short of cash. Let's go to the bank."

"Banks ain't open," I remind him.

"Mine is," he says and makes a phone call. Pretty soon a big fancy limousine with a chauffeur drives up and we all pile in. I manage to balk long enough to buy a newspaper. Sure enough, the date is January 12, 1956.

We go to the financial section and right past my tavern. It's all lighted up and fancy looking and there's a big sign saying, "MIKE'S" outside.

Rabelais says, "You're making a mint, Mike."

"I see," I agrees, dazed. Rabelais flicks the paper with a silly grin and tells me to look on page four. I do and there's an editorial beside a cartoon of me, pot belly and all, and it says, "Mayor Mike Murphy agrees to run for Congress...."

"Me?"

"You," says Rabelais. "You make it, too, Mike."

Before I can answer, we stop at a building lighted up. Over the door it says, "Pettis." That's all. It's his, the whole building. And it's full of offices. He shows me one where his former bosses are slaving over drafting boards. The bank part is closed but some slavies are working late as people in banks always do and we go in and Rabelais gets a wad of money and we leave.

It goes on like that. I'm ashamed to say we get sort of looped and the next thing we know we're in Paris and having a fine time. Then we take another flier on his machine and it's summer. We enjoy that for a while and then try another season. It goes on that way for a couple weeks. Once we accept the fact that we're traveling in time, it's easy.

But Rabelais, even when he's looped, won't take us into the past or far into the future. He just says, "We have to watch probability, Mike."

I don't get the idea but it doesn't seem to matter much. We're having too good a time kicking around in the near future. Finally when we all feel ready for a Keeley cure, Rabelais takes us home. We land in the basement at the very moment we left it but with our fur coats and fancy luggage and souvenirs. Rabelais looks over all the gadgets we have and those that are too much ahead of our time, he throws away.

In a taxi heading for town, I smoke my dollar cigar. I'm happy. The girls are quiet, a little sad.

"It was fun," the redhead sighs. "Kicking won't seem the same."

"Quit that kind of work," Rabelais says. "Go to college or something." And he hands each of them a big wad of money.

Downtown we split up, each of us going off somewhere to get the rest we need. I sleep around the clock and a little more. When I wake up I'm the owner of a tavern still, so I figure I'm to be mayor in '54 and congressman in '56. It's a wonderful life for a while. The only thing is that I miss Rabelais coming in at five-ten for his beer.

In '54 I get elected Mayor like he said. My business gets remodelled and all is swell.

Then one night I go to sleep in my new house and I wake up in the middle of the night feeling a cold draft. When I turn over I roll onto a lump in the mattress and I know it was all a dream and I'm Mike Murphy, bartender, again.

The next a.m. I pick up the paper and it's the summer of '53, the day of Rabelais and my thirty-first anniversary and I'm back at the old stand. It was a fine dream, I says, and go to work.

At five-o-nine,