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  The conditioned air inside blows on him and Donna. He can feel his memories shift forward. Because he stands outside instead of going straight in, it happens slowly. It's probably worse that way.

  Now he looks at Donna with new eyes. She can't stand the seventies, even when she's in them. He always just goes on with his life, or tries to. And because of that, they always fight.

  He remembers a glass shattering against a wall—not on his head, but only by luck and because she can't throw worth a damn. Her hand jumps up to her cheek. He knows she is remembering a slap. He feels his face go hot with mingled shame and rage. With a sound like a strangled sob, she turns away and starts, half stumbling, down the steps.

  He takes a reflexive step after her. It moves him far enough from his apartment for the bad times to fade a bit in his mind. She stops, too. She looks at him from the stairs. She shakes her head. "That was a bad one," she says. "No wonder we don't hang out together all the times."

  "No wonder," he says tonelessly. He feels beat up, hung over; too much has happened too fast. He is horny and angry and emotionally bruised, all at once. He walks down the stairs to Donna. She doesn't run or swing on him, which is something. Standing by her, he feels better. In the sixties, he usually feels better standing by her.

  He takes a deep breath. "Let me go inside and turn the conditioner off."

  "Are you sure you want to? I don't want you to mess up your place just for me."

  "It won't be bad," he says, and hopes he isn't lying.

  She squeezes his hand. "You're sweet. I'll try to make you glad you did."

  The promise in that is enough to send him up the stairs two at a time. A couple of half-trotting steps to the walkway and he is in the apartment.

  He was right. Doing it all at once is better than a little bit at a time, the way diving into a cold swimming pool gets you used to it faster than going in by easy stages. The memories come rushing back, of course. They always do. But in the fully conditioned mid-seventies of his apartment, they are older, mostly healed; they don't have the hurt they did before, when they were fresher.

  He puts his hand on the chronostat, turns if off with a decisive twist of his wrist. Its hum dies. He's used to the background noise. He goes into the bedroom, opens the window to let outside air in faster. The mingling makes memories jump into focus again, but only for a moment: now they are going rather than coming.

  When he walks back into the living room, the little calculator is gone from his coffee table. That's a good sign, he thinks. He glances at the chronostat needle. It's already down around seventy. He opens and closes the front door several times to bring in fresh air. The swirl is confusing, but only for a little while.

  He looks at the needle again. Sixty-eight, he sees. That should be plenty good. Donna is still waiting on the stairs. "Come on in," he says.

  "All right," she says. Now she takes the steps two at a time. She shows a lot of leg doing it.

  "Wine?"

  "Sure. Whatever you've got."

  He opens the refrigerator. A half-gallon of Spañada is in there. He pours a couple of glasses, takes them into the living room.

  "I like the poster," she says. It's a black-light keep on truckin' poster, about the size of a baby billboard. When the conditioner is running, it isn't there. That doesn't matter to Tom if Donna likes it. He won't even miss the Chinese print that will replace it.

  And then, as they have done a lot of times before, they head for the bedroom. Afterward, still naked, Tom wheels the TV in from out front. He plugs it in, spins the dial till he finds some news, then flops back onto the bed with Donna.

  For a while, he doesn't pay much attention to the TV. Watching the flush fade from between Donna's breasts is much more interesting. He does hear that Minnesota is finally up into the thirties. "Not good, but better," he says, to show he has been following what's going on.

  Donna nods; she really is watching. "Remember last winter, when it got below double zero and stayed there, and they had to try to get food to the markets with horses and buggies? People starved. In the United States, starved. I couldn't believe it."

  "Terrible," Tom agrees. Then he has to start watching, too, because the weatherman is coming on.

  As usual, the fellow is insanely cheerful. "The early seventies tomorrow through most of the metropolitan area," he says, whacking the map with his pointer, "rising into the mid- or late seventies in the valleys and the desert. Have a fine day, Los Angeles!" He whacks the map again.

  Donna sucks in air between her teeth. "I'd better go," she says, catching Tom by surprise. She swings her feet onto the floor, turns her panties right side out, slides them up her legs.

  "I'd hoped you'd spend the night," he says. He is trying to sound hurt but fears that the words have come out petulant instead.

  Evidently not. Donna replies gently, "Tom, right now I love you very much. But if I sleep with you tonight—and I mean sleep—and we wake up in the early seventies, what's going to happen?"

  His scowl says he knows the answer to that. Donna's nod is sad, but she stands up and starts pulling on her pantyhose. Tom aches at the thought of having her go, and not just because he wants her again. Right now, he really loves her, too.

  He says, "Tell you what. Suppose I set the conditioner for sixty-eight. Will you stay then?"

  He has startled her. "Do you really want to?" she says. She doesn't sound as if she believes it, but she does get back onto the bed.

  He wonders if he believes it himself. The place won't be the same in the late sixties. He'll miss that little calculator. There should be a slide rule around somewhere now, he thinks, but a slide rule won't help him keep his checkbook straight. And that's just the tip of the iceberg. The frozen pizza will taste more like cardboard and less like pizza in the sixties. But—

  "Let's try it," he says. Better cardboard with Donna, he thinks, than mozzarella without.

  He shuts the bedroom window, goes out front to adjust the chronostat. It doesn't kick in right away, since the place is already around sixty-eight, but moving the needle makes him think again about what he's doing. A bookcase is gone, he sees. He'll miss some of those books.

  "Hell with it," he says out loud and heads for the bathroom. While he is brushing his teeth, he starts rummaging frantically through the drawers by the sink. The toothbrush is still in his mouth; fluoridated foam dribbles down his chin, so that he looks like a mad dog. He stops as suddenly as he started. He does have a spare toothbrush, rather to his surprise. Donna giggles when, with a flourish, he hands it to her.

  "When are you working these days?" she asks when she comes back to bed. "If it's close to when you had this place before—"

  "No," he says quickly. He understands what she means. If he spends his office time reliving fights that are fresh to him, this will never fly, no matter how well they get on when they are home together. "How about you?" he asks.

  She laughs. "I probably wouldn't have gone into the mall if I hadn't heard the year conditioner had broken down. I like the sixties. I work in a little record store called Barefoot Sounds. It suits me."

  "I can see that," he says, nodding. Donna will never be a pragmatist. The more she stays out of the eighties, the better off she'll be. He yawns, lies down beside her. "Let's go to bed."

  She smiles a broad's smile at him—there's no other word for it. "We've already done that."

  He picks up a pillow, makes as if to hit her with it. "To sleep, I mean."

  "Okay." She sprawls across him, warm and soft, to turn off the light. She has, he knows, a gift for falling asleep right away. Sure enough, only a couple of minutes later, her voice is blurry as she asks, "Drive me to work in the morning?"

  "Sure." He hesitates. With a name like Barefoot Sounds, her record store sounds like a thoroughly sixties place. "If the weather changes, will I be able to find it?"

  The mattress shifts to her nod. "It's year-conditioned. No matter what the weather's like outside, there are always sixties refuge
es popping in. We do a pretty good business, as a matter of fact."

  "Okay," he says again. A couple of minutes later, he can tell that she has dropped off. He takes longer to go to sleep himself. He hasn't shared a bed with a woman for a while. He is very conscious of her weight pressing down the bed, of the small noises her breathing makes, of her smell. To trust someone enough to sleep with him, he thinks, takes more faith in some ways than just to go to bed with him. Suddenly, he wants her even more than he did before.

  He lies still in the darkness. He has never yet met a woman who is eager just after she wakes up. Besides, he thinks, she'll be here tomorrow.

  He hopes . . . Weather in the early seventies tomorrow. Nasty weather for him and Donna.

  He falls asleep worrying about it. Sometime around two in the morning, the year conditioner kicks in. He wakes with a start. Donna never stirs. He reaches over, softly puts his hand on the curve of her hip. She mutters something, rolls onto her stomach. He jerks his hand away. She doesn't wake up. He takes a long time to go back to sleep.

  * * *

  The alarm clock's buzz might as well be a bomb going off by his ear. He needs a loud one. The adrenaline rush keeps him going till his first cup of coffee. The only thing that wakes Donna is his bouncing out of bed. He has forgotten what a dedicated sleeper she is.

  But she has two plates of eggs scrambled, toast buttered, and the coffee perking by the time his tie is knotted. "Now I know why I asked you to stay," he says. "I just eat corn flakes when I'm here by myself."

  "Poor baby," she croons. He makes a face at her.

  While he is stacking the dishes in the sink, he asks, "So where is this Barefoot Sounds of yours?"

  "Down in Gardena, on Crenshaw. I hope I'm not going to make you late."

  He looks at his watch, calculates in his head. "I ought to make it. I won't bother washing up now, though. I'll get 'em tonight. Shall I pick you up? What time do you get off?"

  "Four-thirty."

  He grunts. "I probably can't get up that way till maybe half past five."

  "I'll stay inside," she promises. "That way, I'll be sure to be glad to see you."

  She does have sense, he knows, no matter how she sometimes hides it. "Sounds like a good idea to me," he says.

  Just how good it is he discovers the minute they walk out the door. It's in the seventies, all right: the weatherman had it right on the button. By the time Tom and Donna get to the bottom of the stairs, they aren't holding hands any more.

  He strides ahead of her, turns back to snap, "I don't have all day to get you where you're going, you know."

  "Don't do me any favors." She puts her hands on her hips. "If you're in such a hurry, just tell me where the nearest bus stop is and take off. I'll manage fine."

  "It's—" All that saves things is that he has no idea where the nearest bus stop is. Like a lot of people in L.A., he's helpless without a car. "Just come on," he says. In the seventies, she really does drive him crazy. The angry click of her heels on the walk tells him it's mutual.

  He unlocks her door, goes around to unlock his, slides behind the wheel; he's not opening doors for her, not right now. He doesn't even look at her as she gets in. The engine roars to life when he turns the key, floors the gas pedal. He doesn't wait for it to warm up before he reaches for the year-conditioner switch. He has to change the setting; usually he keeps it in the eighties, to help him gear up for work.

  The conditioner takes a while to make a difference; but little by little, the tense silence between Tom and Donna becomes friendlier. "My last car didn't have a year conditioner," he says.

  She shakes her head. "I couldn't live like that."

  He finds Barefoot Sounds without much trouble. It's at the back of a little shopping center where most of the stores are kept a lot newer. He shrugs. From what Donna says, the place pays the rent, and that's what counts. Besides, he likes sixties music.

  "Maybe I'll stop in when I pick you up," he says.

  "Sure, why not? I'll introduce you to Rick, the guy who runs the place." She leans over to kiss him, then gets out. He drives right off; he's left the motor running while he stops in the parking lot—he doesn't want the year conditioner to die.

  But he doesn't like the look on Donna's face that he sees in the rearview mirror. The seventies are hard on them, and that's all there is to it. He hopes she does remember to wait for him in the store. If she stays outside, she'll be ready to spit in his eye by the time he gets there.

  More likely, he thinks, she'll just up and leave.

  If she does, she does; there's nothing he can do about it. He chews on that unsatisfying bit of philosophy all the way down the San Diego Freeway into Orange County.

  * * *

  When he gets out of the car, in the company lot, he hopes she won't be there in the afternoon. He hurries across the asphalt to the mirror-fronted office building, which is firmly in the eighties. A little more of this whipsawing and he won't be good for anything the rest of the day.

  But he gains detachment even before he gets his computer booted up. As soon as he gets on line, he is too busy to worry about anything but his job. Now that the old front in the upper Midwest is finally breaking up, new orders come flooding in, and he has to integrate them into everything the system thinks it already knows.

  He doesn't begin to get his head above water till lunchtime. Even then, he is too rushed to go out; he grabs a cheeseburger and a diet cola at the little in-house cafeteria. As he wolfs them down, Donna returns to the surface of his mind.

  Being so far upyear gives him perspective on things. He knows that whenever the weather is in the early seventies, it'll be a dash from one year-conditioned place to another. Can he handle that? With eighties practicality, he realizes he'd better if he wants to keep her. He wonders what going from this long-distance indifference to a hot affair every night will do to him.

  He also wonders what Donna is like in the eighties. He doubts he'll find out. She has made her choice, and this isn't it.

  He has second thoughts again as he goes back out into the seventies at quitting time. But he has to go to his car anyhow, and as soon as it starts, he's all right again—he's left the year conditioner on. It's tough on his timing belt but good for his peace of mind.

  Traffic is appalling. He's stoic about that. When the weather is in the eighties, things are even worse, with more cars on the road. When it drops into the fifties, the San Diego Freeway isn't there. Getting into town from Orange County on surface streets is a different kind of thrill.

  * * *

  He pulls into a parking space in front of Barefoot Sounds around 5:15. Not bad. Again he lets the year conditioner die with the engine without turning it off. He's trotting to the record store before the hum has altogether faded.

  He's hardly out in the seventies long enough to remember to get hostile toward Donna. Then he's inside Barefoot Sounds and in the late sixties with a vengeance.

  The place is wall-to-wall posters: a keep on truckin' even gaudier than his, Peter Fonda on a motorcycle, Nixon so stoned his face is dribbling out between his fingers, Mickey and Minnie Mouse doing something obscene. Patchouli fills the air, thick enough to slice. And blasting out of the big speakers is "Love One Another," not the Youngbloods singing but a cover version: slower, more haunting, not one he hears much on the radio, no matter when he is. . . .

  "My God!" Tom says. "That's H. P. Lovecraft!"

  The fellow behind the cash register raises an eyebrow. He has frizzy brown hair and a Fu Manchu mustache. "I'm impressed," he says. "Half my regulars wouldn't know that one, and you're new here. Can I help you find something?"

  "Only in a manner of speaking. I'm here to pick up Donna." Tom looks around. He doesn't see her. He starts worrying. There aren't many places to hide.

  But the fellow—he must be the Rick she mentioned, Tom realizes—sticks his head behind a curtain, says, "Hon, your ride's here." Hon? Tom scowls until he notices that the guy is wearing a wedding ring. Then h
e relaxes—a little.

  Donna comes out. The way her face lights up when she sees him makes him put his silly fears in the trash, where they belong. In the late sixties, he and Donna are good together. He whistles a couple of bars from the Doors song.

  Rick cocks that eyebrow again. "You know your stuff. You should be coming in here all the time."

  "Maybe I should. This is quite a place." Tom takes another look around. He rubs his chin, considering. "Who does your buying for you?"

  "You're looking at him, my man," Rick says, laughing. He jabs himself in the chest with a thumb. "Why?"

  "Nothing, really. Just a thought." Tom turns to Donna. "Are you ready to go?"

  "And then some."

  She's been waiting for him, Tom realizes. She can't be happy standing around while he chews the fat with her boss. "Sorry," he says. He nods at Rick. "Good to meet you."

  "You, too." Rick pulls his wallet out of the hip pocket of his striped bell-bottoms. He extends a card, hands it to Tom. He may be a freak, but he's not running Barefoot Sounds to starve. "You ever get anywhere on that thought of yours, let me know, you hear?"

  "I will." Tom sticks the card in his own wallet. Donna is at the door, tapping her foot. No matter how good he and she are, she is going to be one unhappy lady any second now. Maybe gallantry will help. With an extravagant bow, Tom holds the door open for her.

  She steps through. "Took you long enough," she says. Her voice has an edge to it—she's outside, back in the early seventies. As he joins her, Tom feels his stomach start to churn.

  This time, the tension breaks before it builds to a full-scale fight, thanks to Tom's car's being just a couple of steps away. They are inside and the year conditioner is going before they can do much more than start to glare at each other.

  They both relax as it goes to work. Tom heads for his apartment. After a while, Donna asks, "What were you thinking about back there in the store?"

  But Tom says, "Let it keep for now. It isn't ripe yet. Let's see how things go with us, then maybe I'll bring it up again."