Double Take by Richard Wilson (good books to read for teens .TXT) 📕

but they didn't tell me anything about it. This is real George, this is ... He expected to hear a faint click and leaned forward experimentally, but nothing happened. He leaned backward. Still nothing.

The colonel was answering a question from the general. "We don't know who they are, Sir. They're not from Earth, obviously. And the best scientific minds go still further—they're not even from our solar system. Whoever they are, it's clear that they don't want us to build a way-station in space."

"Those spaceships started buzzing around right after our first Moon trip," the general said. "This is the first time they've become really troublesome—now that we've got the Moon under control and are ready to build the way-station so we can get to Mars."

"That's right, Sir," said the colonel.

"Progress is a wonderful thing," said the general. "Things certainly have changed since those early days of strategic atomic bombing and guided missile experiments."

"Yes, Sir," said the colonel.

The young man in the communications room of the spaceship let his attention wander away from the scene back on Earth and experimented with some of the switches and controls. Trial and error led him to one which lit up a signal on the desk of the general.

The general flicked it on.

"Yes?" he said. He looked puzzled when he got no picture, just a voice saying, "Hello, hello."

"Yes?" he said. "Hello. Speak up, man."

"This is your agent aboard the enemy spaceship," said the young man. "Do you read me?"

"Yes," said the general. "We read you. Go ahead."

"I may not have much time. Get a fix on me if you can. And send help."

"What's your position?" the general was reacting well. He was alert and all business.

"I don't know. I've been taken prisoner, but I'm temporarily free. There isn't much time. Hafitz is bound to be back soon. He seems to be the brains of this outfit—this part of the outfit, anyway. Naomi is here, too, but I don't know whether she's with them or against them."

"Where are the plans, son?" asked the general.

"They're safe, for the moment. I can't guarantee for how long."

"I'm getting the fix," the colonel said. He was beyond the range of the young man's vision screen. "I've got him. He's still within range, but accelerating fast. We can intercept if we get up a rocket soon enough."

"Get it up," ordered the general. "Get up a squadron. Scramble the Moon patrol and send out reserves from Earth at once."

"Right!" said the colonel.

The young man was so engrossed in the makings of his rescue party that he didn't see the wall open up behind him.

There was a squeak of rubber tires and he whirled to see Hafitz, in his wheelchair, slamming toward him. The fat man's hand held a weird-looking gun.

The young man recoiled. His back pushed against a row of control buttons.

Then everything went white.

Paul Asher blinked his eyes, like a man awakening from a vivid dream.

The house lights went on and the manager of the theater came on the stage. He stood in front of the blank master screen with its checkerboard pattern of smaller screens, on which the several lines of action had taken place simultaneously. Paul took off his selectorscope spectacles with the earphone attachments.

"Ladies and gentlemen," the manager said. "I regret very much having to announce that this vicarion of the production Spies from Space was defective. The multifilm has broken and, because of the complexity of the vikie process, it will be impossible to splice it without returning it to the laboratory.

"Ushers are at the exits with passes good for any future performance. Those of you who prefer can exchange them at the box office for a full refund of your admission price."

Paul Asher unstrapped the wired canvas band from across his chest. He put the selectorscope spectacles into the pouch on the arm of the seat and walked out of the R.K.O. Vicarion into High Street and around the corner to where his car was parked.

His roommate at the communapt, MacCloy, was still up when he got there, going over some projectos. Mac snapped off the screen and quickly swept the slides together and into a case.

"You're back early," MacCloy said.

"The multifilm broke," Paul told him.

"Oh." Mac seemed abstracted, as he often did, and again Paul wondered about this man he knew so casually and who had never confided in him about anything—especially about his government job.

"So I missed the ending," Paul said. "I guess it was near the end, anyhow. The space patrol was on the way, but the villain, that Hafitz, was just about to blast me with his gun and I don't know how I would have got out of that."

"I remember that," Mac said. He laughed. "You must have been Positive all the way through. Like I was when I saw it. If you'd had any negative reactions—if you'd leaned back against the strap instead of forward—you'd have been at some other point in the multiplot and I wouldn't have recognized that part. Want me to tell you how it ends?"

"Go ahead. Then if I do see it again I'll change the ending somewhere along the line with a lean-back."

"Okay. There really wasn't much more. It takes so much film to provide all the plot choices that they can't make them very long.

"Well, Hafitz blasts me and misses," Mac went on, "—or blasts you and misses, to keep it in your viewpoint. When you jump back, you set off a bunch of controls. That was the control room, too, not just the communications room. Well, those controls you lean back against take the ship out of automatic pilot and send it into some wild acrobatics and that's why Hafitz misses. Also it knocks him out of the wheelchair so he's helpless and you get his gun. Also you see that the plans are still there—right where you put them, stuck to the bottom of his wheelchair."

"So that was it," said Paul.

"Yes," said Mac. "And then you cover Hafitz while he straightens out the ship and you rendezvous with the space control and they take you all into custody. You get a citation from the government. That's about it. Corny, huh?"

"But what about the girl?" Paul asked. "Is she really a spy?"

"Girl? What girl?"

"Naomi, her name was," Paul said. "You couldn't miss her. She was in the vikie right at the beginning—that brunette in the fast car."

"But there wasn't any girl, Paul," Mac insisted. "Not when I saw it."

"Of course there was. There had to be—the vikies all start out the same way, no matter who sees them."

"It beats me, pal. I know I didn't see her. Maybe you dreamed up the dame."

"I don't think so," Paul said. "But of course it's possible." He yawned. "I wouldn't mind dreaming of her tonight, at that. Think I'll turn in now, Mac. I've got that long trip tomorrow, you know. Up to Canada to look over a new line of Marswool sport jackets at the All-Planets Showroom."

"Driving or flying?"

"The weather prognosis is zero-zero. I'll drive."

"Good," said Mac.

Paul Asher woke up late. He had a confused recollection of a dream. Something about a beautiful brunette giving him a backrub.

A look at the chrono sent the dream out of his head and he hurried through shaving and dressing.

His car was waiting for him, engine idling, at the curb. He got in, tossing his briefcase and topcoat ahead of him to the far side of the front seat. His back began to itch, insistently, and he rubbed it against the leather upholstery.

Paul adjusted the safety belt around him, and fastened it. Might as well do it now, instead of having to fool around with it later. Damn that itch, anyway! It was as if something were stuck to his skin—like a sticking plaster....

The high-powered vehicle purred smoothly as it took a long, rising curve. The road climbed steadily toward the mountaintop city ahead.

The scene was familiar.

The itching of his back spread and became a prickly feeling in the small hairs at the nape of his neck.

He knew now that he was not alone in the car. He looked in the rear-view mirror.

Naomi.

She was looking at him insolently, her wide red mouth in a half smile.

She said: "Just keep going, Sweetheart, as fast as you can."

... THE END