Time Payment — Inside the Classic

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In Category - Space Future
Ritter, Bob [Illustrator], Jacobs, Sylvia Project Gutenberg 2019 Not confirmed
Science fiction; Short stories; Time travel -- Fiction; Gangsters -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 8,054
Reading time 36 min
Text sections 1

Time Payment — Inside the Classic can be approached with a clearer sense of reading commitment from its source measurements: 8,054 words, 36 min estimated reading time, and 1 detected text section.

The text analysis averages about 16.6 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Science fiction,” connecting these edition facts with the source record’s subject description.

A gangster blackmails a psychiatrist into sending him to the future via a time machine, only to find that the future has its own form of justice: a twenty-year sensory blank. The story shifts from crime thriller to a meditation on perception, conditioning, and redemption.
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Editorial Edition Score 4.4/5

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  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.

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Read the Text

Feds were after him, that they had evidence to send him up for a long stretch. But he was going where even the Feds couldn't extradite him.

Slick Tennant was going to hide in the future.

They didn't call him Slick for nothing. For months, a private dick in his pay had shadowed Dr. Richard Porter, inventor of a device called by reporters a time-travel machine, by comedians a crystal ball, and by Dr. Porter's fellow-psychiatrists a Metachronoscope. Slick knew the doctor was a widower, knew where he lived, knew pressure could be put upon him through Dickie Porter, aged seven. In Slick's pocket was a house-key Dr. Porter thought he had lost two weeks ago.

But Slick hadn't disclosed his intentions to anyone. The chauffeur of his bullet-proof car let him out several miles from the Porter residence. Strolling along the street, Slick might have been any citizen on his way home. A hat shadowed his features as he passed under the street lights, and he carried a briefcase. He hailed a cruising cab and proceeded to a spot two blocks from the Porter home, being careful not to tip too much or too little to attract the driver's attention.

Dr. Porter propped an elbow on his pillow, trying to orient himself in the fuzziness that follows a midnight awakening. He stifled a gasp, and sat up suddenly, as he saw that the man silhouetted against the living room lamp had pajama-clad Dickie by the arm. The child was rubbing his eyes, but there wasn't a whimper out of him.

"I got a gun on the kid," the man said. "I like kids and I won't hurt him if you do what I say."

The doctor struggled to keep his voice soothing and professional. "Of course you wouldn't," he said. "You don't want to go back to the hospital."

The man laughed. "I ain't one of your nuts, Doc. And I don't want your money. I got plenty. All I want from you is a little trip in your time machine."

"Metachronoscope," corrected the doctor. "It's very misleading to call it a time-travel machine."

Letting go of the boy, Slick dealt Dr. Porter a vicious slap. "That'll learn you not to pull none of your high-brow stuff. Is it my fault I had to quit school to keep the family from starvin' when my old man got sent up? If Slick Tennant says it's a time-travel machine, that's what you call it, see?"

"Yes, I see," Dr. Porter said faintly. The mention of gangland's most dreaded name had more effect on him than the blow.

"Now let's get something else straight. Once, on TV, they said a couple of guys came back. Another time, the news program said they couldn't come back and give tips on the ponies. Which is right? Can you bring me back any time you want to?"

"Absolutely not. The decision is irrevocable. The public's impression that the future can be altered or predicted is incorrect."

"Fine. I don't want to come back. And I don't need to change the future, neither. Things may be different, but a smart cookie can always get along. Now, according to the news, you only sent these guys ahead a year. That ain't enough. What's the most you could send me ahead?"

"Theoretically, we could send a subject ahead as much as twenty years, if we could find anyone who would consent to that, and undoubtedly we could learn a great deal more by so doing."

"But you did find out that the boys come through okay?"

"Yes. We sent these two men ahead in 1961. When they returned to awareness, it was 1962. Physically and mentally they were as fit as before."

"Did they know what happened to them?"

"Well, the year had no apparent duration for them, but they had normal speed memories of the intervening year when they returned to awareness. Evidently their fore-memories for the entire year must have been condensed into the brief period they were in the field. From this phenomenon, we derive the term 'sending the subjects ahead' which has so often been misinterpreted. But it's important to note that these condensed fore-memories were not available until twenty-four to forty-eight hours after the events, which means the future cannot be effectively predicted by present techniques."

That sounded like plain English; it sounded as if it meant something, but Slick wasn't quite sure what. He seized on the last remark, which he understood.

"What did you build this gadget for, if you can't tell fortunes with it?" he asked.

The story opens with a hardboiled gangster, Slick Tennant, who uses his 'sixth sense' to evade the Feds by hiding in the future. He strong-arms Dr. Richard Porter, inventor of the Metachronoscope, into sending him forward. The early pages establish a classic crime setup—threats, a kidnapped child, and a forced journey—but the narrative quickly pivots when Slick emerges into a world where his senses are stripped away.

The excerpts show a deliberate shift in tone: from the gritty, slang-heavy dialogue of Slick's gangland to the clinical, almost philosophical discussions of 'conditioning' and 'blank time.' This contrast is the engine of the story, and readers should watch how the author uses Slick's limited perspective to gradually reveal the rules of this future society.

The Gangster’s Voice and the Doctor’s Correction

The opening chapters are driven by Slick Tennant’s vernacular. He speaks in contractions and dropped g's: 'That'll learn you not to pull none of your high-brow stuff.' The doctor, by contrast, insists on precise terminology—'Metachronoscope' not 'time machine'—and speaks in a soothing, professional tone. This linguistic clash is more than characterization; it mirrors the story’s central tension between brute force and intellectual control.

Notice how the author uses Slick’s own narration to undercut his toughness. He is careful not to tip too much or too little, yet he is out of his depth once the machine activates. The doctor’s calm correction of Slick’s language is a subtle power play that foreshadows who ultimately holds the cards.

The Blank: A Sensory Prison

After the time jump, Slick experiences what the text calls 'the blank'—a twenty-year period during which he is conscious but unable to hear, feel, or smell. The excerpts reveal this through a conversation with another 'blank' survivor, who describes coming out of it: 'I can consciously hear, and feel, and smell, just like other people.' Slick’s own emergence is gradual, 'sneaking up' on him.

This is not a typical time-travel adventure. The future is not a place of wonders but of sensory deprivation. The author focuses on the subjective experience of returning to full perception, making the reader feel the weight of lost time. The 'blank' is a punishment that fits the crime of trying to escape consequences.

A Future of Inverted Prisons

Once Slick regains his senses, he explores a city that has reversed the relationship between crime and confinement. He observes that law-abiding citizens live in 'luxurious apartments that were nothing more than cells, with four-sided soundproofing,' while those who have been 'conditioned' (former criminals) enjoy the freedom of the countryside. The text describes 'Recidivist Gardens' as a place where the conditioned can experience nature.

This inversion is the story’s most striking worldbuilding detail. The author does not explain how this system works or whether it is just; instead, it is presented through Slick’s bewildered eyes. Readers should note how the setting comments on the opening premise: Slick tried to escape justice, but the future has redefined justice as a therapeutic re-education.

Fore-Memories and Unreliable Perception

Late in the excerpts, the characters discuss 'conscious fore-memories'—glimpses of the future that are mixed with post-memories and impossible to date. One character says, 'you don’t know which part of the dream is a fore-memory until it happens.' This idea introduces a layer of temporal ambiguity that complicates the linear narrative.

The author uses this concept to create a quiet uncertainty. Slick’s newfound sensory awareness is paired with the possibility that his memories of the future might be unreliable. This is not a plot twist but a thematic note: even after emerging from the blank, perception remains slippery. The story ends not with a resolution but with Slick heading to the opera, leaving the reader to wonder how much of his experience is real.

The excerpts offer a complete arc—from crime to punishment to a tentative new life—but they leave key questions open. How does the conditioning work? Is Slick truly reformed, or merely adapted? The story rewards attention to small details: the doctor’s insistence on correct terms, the physical sensations of the ground-cover, the offhand mention of a Tri-di-cast. These are not decorations but clues to the world’s logic. Read for the way the author turns a pulp premise into a quiet, unsettling meditation on what it means to be present in one’s own life.

That book about the gangster and the twenty-year blank—it stayed with me long after, not the crime, but the quiet way it questions everything we think is real. It made me wonder about how we’re all conditioned. A friend once mentioned Security Plan — A Reader’s Guide in that same soft, wondering tone, like it holds a similar mirror to our own perceptions.

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