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+*** START OF THE PROJECT GUTENBERG EBOOK 30063 ***
+
+[Illustration]
+
+
+ _The barn turned out to be a spaceship in disguise, and
+ that was only the beginning. Before his strange adventure
+ ended, young Paul Asher found himself going around in
+ circles--very peculiar circles indeed!_
+
+
+        DOUBLE TAKE
+
+     By Richard Wilson
+
+ Illustrated by Paul Orban
+
+
+_Paul Asher, 27, men's furnishings buyer, leaned back and let the cloth
+band be fastened across his chest, just under his armpits. He adjusted
+his heavy spectacles, closed his eyes for a moment, breathed deeply, and
+was off._
+
+The semi-darkness was dispelled as he shot out of a tunnel into dazzling
+sunlight. The high-powered vehicle he was driving purred smoothly as it
+took the long, rising curve. The road climbed steadily toward the
+mountaintop city ahead. He looked around to satisfy himself that he was
+alone in the car.
+
+He wasn't.
+
+The girl was a pretty one. He'd seen her somewhere before, he thought.
+She was looking insolently at him, her wide red mouth in a half smile.
+Her dark hair stirred in the breeze coming through the window, next to
+her, which was open just a slit.
+
+She said: "Just keep going, Sweetheart, as fast as you can." And she
+patted the oversized pocketbook that lay in her lap.
+
+He pressed down on the accelerator and the car responded with a flow of
+power. The countryside fell away from the road on either side. Far below
+he could see a river, winding broadly to the far-off sea. The summer day
+sent its heat-shimmers across the miniature landscape.
+
+The road curved again. Theirs was the only car he had seen since he'd
+come out of the tunnel. But now, far ahead, he saw another. It was
+standing at the side of the road, next to a gate that came down in the
+manner of one at a railroad crossing. But he knew by its black and white
+diagonals and by the little sentry hut half hidden behind the other car
+that it marked the frontier. A man with a rifle on his shoulder stood
+there. They drew up to it fast, but his foot automatically eased up on
+the floorboard pedal until the girl spoke sharply.
+
+"Right through it, Sweetheart."
+
+In the rear-view mirror he saw her leaning forward, her face tense.
+
+In a moment it would be time to stop, if he were going to.
+
+_Paul Asher hesitated a moment. Then he too leaned forward, the band
+pressing into his chest. He was breathing heavily. There was an almost
+inaudible click._
+
+He trod on the accelerator. He had a glimpse of the guard unslinging his
+rifle from his shoulder and of another man running toward the parked car
+as his vehicle smashed into the flimsy gate and sent it, cracked and
+splintered, to the side of the road. He fought the slight wrench of the
+wheel and sped on. He thought he heard a shot.
+
+"Nice work," the girl said. She seemed to be appraising him as she
+looked at him. "My name, incidentally, is Naomi."
+
+"Hello," he heard himself saying as he whipped the car around a curve
+that hid the frontier behind a hill. "You seem to know who I am."
+
+"That I do," she said.
+
+"Then why don't you call me by my name, instead of 'Sweetheart'?"
+
+"That's because I like you, Sweetheart." She was looking out the rear
+window. "Now just step on the gas, because we've got company."
+
+The car that had been parked near the sentry hut was whipping into view
+around the curve. It was lighter than his, but it was fast, too. He
+stepped on it.
+
+       *       *       *       *       *
+
+Now the road had become narrow and twisting. The grade was steep but the
+surface was good. Abruptly, it entered a forest.
+
+The girl said: "Two more curves. Then you'll see a field and a barn. Off
+the road and into the barn, fast."
+
+He took the curves with rubber screaming and almost without braking sent
+the car bumping across the field and into the barn. It was bigger than
+it had seemed from the outside. As he brought the car to a lurching halt
+the barn door closed.
+
+Where he had expected to see stalls and milking machines and hay he saw
+an expanse of metal floor and monstrous machinery. The barn door which
+had been a rickety wooden slab from the outside was a gleaming sheet of
+metal from the inside. It glided silently shut and left no joint or seam
+to show where there had been an opening.
+
+"Out," said Naomi.
+
+As they left the car, a flexible metal arm snaked from one of the smooth
+walls, attached itself to the front bumper of the vehicle, and whisked
+it into a cubicle which opened to receive it and closed behind it.
+
+A power-driven wheelchair sped up to them. Sitting in it was a fat man
+of middle age, with pendulous jowls and a totally bald head. His
+expression was a sardonic scowl.
+
+"You have the plans?" he asked the girl.
+
+"Sweetheart here has them."
+
+"I don't know what you're talking about," the young man said.
+
+"He knows, all right," the girl said. "He pretends to be innocent, but
+that is merely his training. He has them under a sticking plaster on
+the small of his back."
+
+"Remove your coat and shirt," commanded the man in the wheelchair.
+
+At that moment the floor shuddered under their feet, a gong began to
+clang insistently, and the giant machinery, which had been silent,
+throbbed into life.
+
+The man in the wheelchair whirled and was off, shouting commands to men
+who materialized high on the walls in cylindrical turrets which the
+visitor could only think of as battle stations.
+
+"What _is_ this place?" he asked.
+
+He got no answer. Instead the girl grabbed his arm and pulled him off to
+the edge of the gigantic metal room. An opening appeared in the wall and
+she pushed him through it into a room beyond. The entranceway snapped
+shut behind them and when he looked he could see no door. The room also
+was windowless.
+
+Naomi went to a metal table and as she looked down into its surface it
+became a screen. Mirrored in it was the mountainous countryside they had
+driven through to get to the barn--or what had seemed to be a barn from
+the outside. He looked over her shoulder.
+
+They saw as from a height. There was the light car that had chased them
+from the frontier. Standing near it was a man in an officer's uniform
+and another in civilian clothes. They were talking and gesturing. Beside
+the car was a tank. As they watched, its gun fired and the structure
+they were in shuddered, but they heard no sound.
+
+Lumbering up the mountain road were more tanks and a self-propelled gun.
+One of the tanks became enveloped in smoke and flames as they watched.
+After a moment the smoke cleared. The tank was gone; where it had been
+there was a deep crater.
+
+Gradually, the figures in the drama below grew smaller. At the same time
+the vista widened, so that they saw more and more countryside. It
+twisted beneath them and the horizon came giddily into view. A few
+moments later the curvature of the earth could be plainly seen.
+
+Everything fitted together at once. Some of the things, anyway.
+
+"We're in a ship," he said. "Some kind of rocket-ship."
+
+"It's a planet plane," the girl said. "We're safe now."
+
+"Safe from what?" he asked. "What's this all about?"
+
+She smiled enigmatically. "Hafitz could tell you, if he chose. He's the
+boss."
+
+"The man in the wheelchair?"
+
+She nodded and took out a compact. As she added lipstick to her mouth,
+she looked him over, between glances in her mirror.
+
+"You don't look like the spy type. If there is a type."
+
+"I'm not a spy. I don't know what you're talking about."
+
+"The innocent! Go on, take off your coat and shirt. We'll save Hafitz
+some time."
+
+"I'll be glad to, just to prove this is all ridiculous. A case of
+mistaken identity. You've made a mistake, that's what you've done."
+
+He stood there, hesitating.
+
+The girl gave a burst of laughter. Then she said: "All right,
+Sweetheart. I'll turn my back."
+
+She did, and he pulled his shirt out of his trousers. Then he froze.
+Taped to the skin of his back was a flat package.
+
+_Paul Asher made the decision. He bent forward, feeling perspiration in
+the palms of his hands. There was a faint click._
+
+       *       *       *       *       *
+
+Quickly he ripped the adhesive from his back. There was an instant of
+pain as the plaster came free. He wadded up the sticky package, dropped
+it to the floor and kicked it under the desk.
+
+Then he took off his coat, tie and shirt.
+
+"You can turn around now," he said.
+
+"A more modest spy I've never seen. Okay," she said, "now _you_ turn
+around."
+
+"As you see," he said, "there are no plans--no papers."
+
+"No--not now. But there is a red mark on your back. What is it?"
+
+"Oh," he said. "Oh--that's a birthmark."
+
+She spun him around to face her. Her face was harsh. She slapped his
+cheek. "Where is the sticking plaster? Don't trifle with me."
+
+Her eyes bored into his. He returned the gaze, then shrugged.
+
+"Under the desk," he said. "I tore it off and kicked it under the desk."
+
+"You are sensible to confess," she said.
+
+She bent down, unwisely.
+
+_Paul Asher felt the familiar tightening in his chest as he leaned
+forward. The click was barely heard._
+
+He raised his hand and brought the edge of it down hard on the back of
+her neck.
+
+She crumpled and fell to the metal floor. He noticed that a smear of her
+freshly-applied lipstick came off on it.
+
+He pushed the unconscious body aside and fished the packet out from
+under the desk. He searched the room for another hiding place.
+
+But it was too late. A section of wall opened and Hafitz, the fat man in
+the wheelchair, sped in.
+
+He wheeled past the young man, looked briefly at the unconscious girl,
+then whisked himself around.
+
+"You will pay for this, my friend," he said. "But first we will have the
+plans for the way-station. Where are they?"
+
+"I don't know anything about any plans and I don't know anything about a
+way-station. I tried to tell the girl: it's all a crazy mistake."
+
+"We will see," said Hafitz. He pressed a button on the arm of his
+wheelchair and two bruisers appeared through the walls, in the abrupt
+way people had of materializing here. Bruisers was the only way they
+could be described. They were human brutes, all muscle and malevolence.
+
+"Take them," said Hafitz, indicating the unconscious girl and the young
+man. "Take them and search them for a small packet. If you do not find
+it, search this room. If you do not find it still, hurt the male animal.
+They persuade well with pain here, I understand. But do not kill him. I
+will be in the communications room."
+
+He sped off, through a wall opening.
+
+One of the bruisers picked up the girl, roughly, and disappeared with
+her. The other grabbed the young man and hauled him off in a third
+direction. The young man hastily snatched up his coat, shirt and tie en
+route.
+
+They ended up in a cell of a room, about seven feet in all directions,
+in which the bruiser stripped him, methodically went through each piece
+of clothing, and then satisfied himself that he didn't have the packet
+anywhere on his body.
+
+The muscle-man then raised a fist.
+
+"Wait," his prospective victim said. He thought back quickly. "Hafitz
+didn't say you could bat me around till you searched the room, too."
+
+The other spoke for the first time. "You say the truth." He put his arm
+down.
+
+The young man watched intently as the bruiser went through the wall of
+the cell-like room.
+
+He dressed fast. By placing his fingers in exactly the same position as
+the other had done, was able to make the wall open for him.
+
+The silver-metal corridor had two directions. He went to the right.
+After many turnings, at each of which he reconnoitered carefully, he
+came to a passageway that was damp. Why it was damp he couldn't tell,
+but there in the wetness were tracks which could have been made by a
+wheelchair.
+
+He followed them, feeling the throb of giant engines underfoot.
+
+       *       *       *       *       *
+
+The wheelchair tracks abruptly made a ninety-degree turn and ended at a
+blank wall. Somewhere beyond it must be the communications room.
+
+He retreated and waited.
+
+In time the wall snapped open and Hafitz sped out. The young man
+retreated into the maze of corridors and hoped chance would be on his
+side. It was. Hafitz went another way.
+
+The young man ran back to the wall and used his fingers on it in the
+combination he had learned. It opened for him.
+
+He closed it behind him and blinked at the huge instrument panel which
+filled almost the entire room.
+
+One of the instruments was a color vision screen, tuned in to a room in
+which there was a mahogany desk, at which was seated a man in uniform.
+Behind him was a map of the United States.
+
+The man in uniform was a major general in the Air Force. An aide, a
+lieutenant colonel, was leaning over the desk. He had a sheaf of papers
+in his hand. The men's conversation was audible.
+
+"Messages have been coming in from all over Europe," the colonel was
+saying. "Here's the way it reconstructs:
+
+"Our agent was en route to the rendezvous when he was intercepted by
+Naomi. That's the only name we have for her. She's a spy. She's worked
+for half a dozen countries and her present employer could be any one of
+them. They were spotted as they crossed the frontier between Italy and
+France. Their car went into a barn and we thought we had them. But the
+barn turned out to be a spaceship in disguise. It took off."
+
+_So I'm their agent, Paul Asher thought. So that's what it's all about.
+I'm a secret agent for the United States, 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
+
+
+
+
+Transcriber's Note:
+
+    This etext was produced from _If Worlds of Science Fiction_ January
+    1954. Extensive research did not uncover any evidence that the U.S.
+    copyright on this publication was renewed. Minor spelling and
+    typographical errors have been corrected without note.
+
+
+
+
+
+End of the Project Gutenberg EBook of Double Take, by Richard Wilson
+
+*** END OF THE PROJECT GUTENBERG EBOOK 30063 ***
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+<div>*** START OF THE PROJECT GUTENBERG EBOOK 30063 ***</div>
+
+<div class="figl"><img src="images/001.png" width="354" height="550" alt="" title="" /></div>
+
+<div class="hd1"><p><big><i>The barn turned out to be a spaceship in disguise, and
+that was only the beginning. Before his strange adventure
+ended, young Paul Asher found himself going around in
+circles&mdash;very peculiar circles indeed!</i></big></p></div>
+
+<h1><span class="sp1">DOUBLE TAKE</span></h1>
+
+<h2>By Richard Wilson</h2>
+
+<p class="hd1">Illustrated by Paul Orban</p>
+
+<p class="cap"><i><span class="dcap">Paul Asher</span>, 27, men's furnishings
+buyer, leaned back and
+let the cloth band be fastened across
+his chest, just under his armpits. He
+adjusted his heavy spectacles, closed
+his eyes for a moment, breathed
+deeply, and was off.</i></p>
+
+<p>The semi-darkness was dispelled
+as he shot out of a tunnel into dazzling
+sunlight. The high-powered
+vehicle he was driving purred
+smoothly as it took the long, rising
+curve. The road climbed steadily
+toward the mountaintop city ahead.
+He looked around to satisfy himself
+that he was alone in the car.</p>
+
+<p>He wasn't.</p>
+
+<p>The girl was a pretty one. He'd
+seen her somewhere before, he
+thought. She was looking insolently
+at him, her wide red mouth in a
+half smile. Her dark hair stirred in
+the breeze coming through the window,
+next to her, which was open
+just a slit.</p>
+
+<p>She said: "Just keep going,
+Sweetheart, as fast as you can."
+And she patted the oversized
+pocketbook that lay in her lap.</p>
+
+<p>He pressed down on the accelerator
+and the car responded with a
+flow of power. The countryside fell
+away from the road on either side.
+Far below he could see a river,
+winding broadly to the far-off sea.
+The summer day sent its heat-shimmers
+across the miniature landscape.</p>
+
+<p>The road curved again. Theirs
+was the only car he had seen since
+he'd come out of the tunnel. But
+now, far ahead, he saw another. It
+was standing at the side of the road,
+next to a gate that came down in
+the manner of one at a railroad
+crossing. But he knew by its black
+and white diagonals and by the little
+sentry hut half hidden behind
+the other car that it marked the
+frontier. A man with a rifle on his
+shoulder stood there. They drew
+up to it fast, but his foot automatically
+eased up on the floorboard
+pedal until the girl spoke sharply.</p>
+
+<p>"Right through it, Sweetheart."</p>
+
+<p>In the rear-view mirror he saw
+her leaning forward, her face tense.</p>
+
+<p>In a moment it would be time to
+stop, if he were going to.</p>
+
+<p><i>Paul Asher hesitated a moment.
+Then he too leaned forward, the
+band pressing into his chest. He
+was breathing heavily. There was
+an almost inaudible click.</i></p>
+
+<p>He trod on the accelerator. He
+had a glimpse of the guard unslinging
+his rifle from his shoulder and
+of another man running toward the
+parked car as his vehicle smashed
+into the flimsy gate and sent it,
+cracked and splintered, to the side
+of the road. He fought the slight
+wrench of the wheel and sped on.
+He thought he heard a shot.</p>
+
+<p>"Nice work," the girl said. She
+seemed to be appraising him as she
+looked at him. "My name, incidentally,
+is Naomi."</p>
+
+<p>"Hello," he heard himself saying
+as he whipped the car around a
+curve that hid the frontier behind
+a hill. "You seem to know who I
+am."</p>
+
+<p>"That I do," she said.</p>
+
+<p>"Then why don't you call me by
+my name, instead of 'Sweetheart'?"</p>
+
+<p>"That's because I like you,
+Sweetheart." She was looking out
+the rear window. "Now just step
+on the gas, because we've got company."</p>
+
+<p>The car that had been parked
+near the sentry hut was whipping
+into view around the curve. It was
+lighter than his, but it was fast, too.
+He stepped on it.</p>
+
+<hr />
+
+<p class="cap"><span class="dcap">Now the road</span> had become
+narrow and twisting. The
+grade was steep but the surface was
+good. Abruptly, it entered a forest.</p>
+
+<p>The girl said: "Two more curves.
+Then you'll see a field and a barn.
+Off the road and into the barn,
+fast."</p>
+
+<p>He took the curves with rubber
+screaming and almost without braking
+sent the car bumping across the
+field and into the barn. It was
+bigger than it had seemed from the
+outside. As he brought the car to
+a lurching halt the barn door closed.</p>
+
+<p>Where he had expected to see
+stalls and milking machines and hay
+he saw an expanse of metal floor
+and monstrous machinery. The
+barn door which had been a rickety
+wooden slab from the outside was
+a gleaming sheet of metal from the
+inside. It glided silently shut and
+left no joint or seam to show where
+there had been an opening.</p>
+
+<p>"Out," said Naomi.</p>
+
+<p>As they left the car, a flexible
+metal arm snaked from one of the
+smooth walls, attached itself to the
+front bumper of the vehicle, and
+whisked it into a cubicle which
+opened to receive it and closed behind
+it.</p>
+
+<p>A power-driven wheelchair sped
+up to them. Sitting in it was a fat
+man of middle age, with pendulous
+jowls and a totally bald head. His
+expression was a sardonic scowl.</p>
+
+<p>"You have the plans?" he asked
+the girl.</p>
+
+<p>"Sweetheart here has them."</p>
+
+<p>"I don't know what you're talking
+about," the young man said.</p>
+
+<p>"He knows, all right," the girl
+said. "He pretends to be innocent,
+but that is merely his training. He
+has them under a sticking plaster
+on the small of his back."</p>
+
+<p>"Remove your coat and shirt,"
+commanded the man in the wheelchair.</p>
+
+<p>At that moment the floor shuddered
+under their feet, a gong began
+to clang insistently, and the
+giant machinery, which had been
+silent, throbbed into life.</p>
+
+<p>The man in the wheelchair
+whirled and was off, shouting commands
+to men who materialized
+high on the walls in cylindrical turrets
+which the visitor could only
+think of as battle stations.</p>
+
+<p>"What <i>is</i> this place?" he asked.</p>
+
+<p>He got no answer. Instead the
+girl grabbed his arm and pulled
+him off to the edge of the gigantic
+metal room. An opening appeared
+in the wall and she pushed him
+through it into a room beyond. The
+entranceway snapped shut behind
+them and when he looked he could
+see no door. The room also was
+windowless.</p>
+
+<p>Naomi went to a metal table and
+as she looked down into its surface
+it became a screen. Mirrored in it
+was the mountainous countryside
+they had driven through to get to
+the barn&mdash;or what had seemed to
+be a barn from the outside. He
+looked over her shoulder.</p>
+
+<p>They saw as from a height. There
+was the light car that had chased
+them from the frontier. Standing
+near it was a man in an officer's
+uniform and another in civilian
+clothes. They were talking and
+gesturing. Beside the car was a
+tank. As they watched, its gun fired
+and the structure they were in
+shuddered, but they heard no
+sound.</p>
+
+<p>Lumbering up the mountain road
+were more tanks and a self-propelled
+gun. One of the tanks became
+enveloped in smoke and flames as
+they watched. After a moment the
+smoke cleared. The tank was gone;
+where it had been there was a deep
+crater.</p>
+
+<p>Gradually, the figures in the
+drama below grew smaller. At the
+same time the vista widened, so
+that they saw more and more
+countryside. It twisted beneath
+them and the horizon came giddily
+into view. A few moments later
+the curvature of the earth could be
+plainly seen.</p>
+
+<p>Everything fitted together at
+once. Some of the things, anyway.</p>
+
+<p>"We're in a ship," he said. "Some
+kind of rocket-ship."</p>
+
+<p>"It's a planet plane," the girl
+said. "We're safe now."</p>
+
+<p>"Safe from what?" he asked.
+"What's this all about?"</p>
+
+<p>She smiled enigmatically. "Hafitz
+could tell you, if he chose. He's
+the boss."</p>
+
+<p>"The man in the wheelchair?"</p>
+
+<p>She nodded and took out a compact.
+As she added lipstick to her
+mouth, she looked him over, between
+glances in her mirror.</p>
+
+<p>"You don't look like the spy type.
+If there is a type."</p>
+
+<p>"I'm not a spy. I don't know
+what you're talking about."</p>
+
+<p>"The innocent! Go on, take off
+your coat and shirt. We'll save
+Hafitz some time."</p>
+
+<p>"I'll be glad to, just to prove this
+is all ridiculous. A case of mistaken
+identity. You've made a mistake,
+that's what you've done."</p>
+
+<p>He stood there, hesitating.</p>
+
+<p>The girl gave a burst of laughter.
+Then she said: "All right, Sweetheart.
+I'll turn my back."</p>
+
+<p>She did, and he pulled his shirt
+out of his trousers. Then he froze.
+Taped to the skin of his back was
+a flat package.</p>
+
+<p><i>Paul Asher made the decision. He
+bent forward, feeling perspiration
+in the palms of his hands. There
+was a faint click.</i></p>
+
+<hr />
+
+<p class="cap"><span class="dcap">Quickly</span> he ripped the adhesive
+from his back. There
+was an instant of pain as the plaster
+came free. He wadded up the
+sticky package, dropped it to the
+floor and kicked it under the desk.</p>
+
+<p>Then he took off his coat, tie
+and shirt.</p>
+
+<p>"You can turn around now," he
+said.</p>
+
+<p>"A more modest spy I've never
+seen. Okay," she said, "now <i>you</i>
+turn around."</p>
+
+<p>"As you see," he said, "there are
+no plans&mdash;no papers."</p>
+
+<p>"No&mdash;not now. But there is a
+red mark on your back. What is
+it?"</p>
+
+<p>"Oh," he said. "Oh&mdash;that's a
+birthmark."</p>
+
+<p>She spun him around to face her.
+Her face was harsh. She slapped
+his cheek. "Where is the sticking
+plaster? Don't trifle with me."</p>
+
+<p>Her eyes bored into his. He returned
+the gaze, then shrugged.</p>
+
+<p>"Under the desk," he said. "I
+tore it off and kicked it under the
+desk."</p>
+
+<p>"You are sensible to confess," she
+said.</p>
+
+<p>She bent down, unwisely.</p>
+
+<p><i>Paul Asher felt the familiar
+tightening in his chest as he leaned
+forward. The click was barely
+heard.</i></p>
+
+<p>He raised his hand and brought
+the edge of it down hard on the
+back of her neck.</p>
+
+<p>She crumpled and fell to the
+metal floor. He noticed that a smear
+of her freshly-applied lipstick came
+off on it.</p>
+
+<p>He pushed the unconscious body
+aside and fished the packet out
+from under the desk. He searched
+the room for another hiding place.</p>
+
+<p>But it was too late. A section of
+wall opened and Hafitz, the fat man
+in the wheelchair, sped in.</p>
+
+<p>He wheeled past the young man,
+looked briefly at the unconscious
+girl, then whisked himself around.</p>
+
+<p>"You will pay for this, my
+friend," he said. "But first we will
+have the plans for the way-station.
+Where are they?"</p>
+
+<p>"I don't know anything about
+any plans and I don't know anything
+about a way-station. I tried
+to tell the girl: it's all a crazy mistake."</p>
+
+<p>"We will see," said Hafitz. He
+pressed a button on the arm of his
+wheelchair and two bruisers appeared
+through the walls, in the
+abrupt way people had of materializing
+here. Bruisers was the only
+way they could be described. They
+were human brutes, all muscle and
+malevolence.</p>
+
+<p>"Take them," said Hafitz, indicating
+the unconscious girl and the
+young man. "Take them and search
+them for a small packet. If you do
+not find it, search this room. If you
+do not find it still, hurt the male
+animal. They persuade well with
+pain here, I understand. But do
+not kill him. I will be in the communications
+room."</p>
+
+<p>He sped off, through a wall opening.</p>
+
+<p>One of the bruisers picked up the
+girl, roughly, and disappeared with
+her. The other grabbed the young
+man and hauled him off in a third
+direction. The young man hastily
+snatched up his coat, shirt and tie
+en route.</p>
+
+<p>They ended up in a cell of a
+room, about seven feet in all directions,
+in which the bruiser
+stripped him, methodically went
+through each piece of clothing,
+and then satisfied himself that
+he didn't have the packet anywhere
+on his body.</p>
+
+<p>The muscle-man then raised a
+fist.</p>
+
+<p>"Wait," his prospective victim
+said. He thought back quickly.
+"Hafitz didn't say you could bat me
+around till you searched the room,
+too."</p>
+
+<p>The other spoke for the first time.
+"You say the truth." He put his
+arm down.</p>
+
+<p>The young man watched intently
+as the bruiser went through the wall
+of the cell-like room.</p>
+
+<p>He dressed fast. By placing his
+fingers in exactly the same position
+as the other had done, was able to
+make the wall open for him.</p>
+
+<p>The silver-metal corridor had
+two directions. He went to the right.
+After many turnings, at each of
+which he reconnoitered carefully,
+he came to a passageway that was
+damp. Why it was damp he couldn't
+tell, but there in the wetness
+were tracks which could have been
+made by a wheelchair.</p>
+
+<p>He followed them, feeling the
+throb of giant engines underfoot.</p>
+
+<hr />
+
+<p class="cap"><span class="dcap">The wheelchair</span> tracks
+abruptly made a ninety-degree
+turn and ended at a blank wall.
+Somewhere beyond it must be the
+communications room.</p>
+
+<p>He retreated and waited.</p>
+
+<p>In time the wall snapped open
+and Hafitz sped out. The young
+man retreated into the maze of corridors
+and hoped chance would be
+on his side. It was. Hafitz went another
+way.</p>
+
+<p>The young man ran back to the
+wall and used his fingers on it in
+the combination he had learned. It
+opened for him.</p>
+
+<p>He closed it behind him and
+blinked at the huge instrument
+panel which filled almost the entire
+room.</p>
+
+<p>One of the instruments was a
+color vision screen, tuned in to a
+room in which there was a mahogany
+desk, at which was seated a
+man in uniform. Behind him was
+a map of the United States.</p>
+
+<p>The man in uniform was a major
+general in the Air Force. An aide,
+a lieutenant colonel, was leaning
+over the desk. He had a sheaf of
+papers in his hand. The men's conversation
+was audible.</p>
+
+<p>"Messages have been coming in
+from all over Europe," the colonel
+was saying. "Here's the way it reconstructs:</p>
+
+<p>"Our agent was en route to the
+rendezvous when he was intercepted
+by Naomi. That's the only name
+we have for her. She's a spy. She's
+worked for half a dozen countries
+and her present employer could be
+any one of them. They were spotted
+as they crossed the frontier between
+Italy and France. Their car
+went into a barn and we thought
+we had them. But the barn turned
+out to be a spaceship in disguise. It
+took off."</p>
+
+<p><i>So I'm their agent, Paul Asher
+thought. So that's what it's all
+about. I'm a secret agent for the
+United States, 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.</i></p>
+
+<p>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&mdash;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."</p>
+
+<p>"Those spaceships started buzzing
+around right after our first
+Moon trip," the general said. "This
+is the first time they've become
+really troublesome&mdash;now that we've
+got the Moon under control and are
+ready to build the way-station so
+we can get to Mars."</p>
+
+<p>"That's right, Sir," said the
+colonel.</p>
+
+<p>"Progress is a wonderful thing,"
+said the general. "Things certainly
+have changed since those early days
+of strategic atomic bombing and
+guided missile experiments."</p>
+
+<p>"Yes, Sir," said the colonel.</p>
+
+<p>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.</p>
+
+<p>The general flicked it on.</p>
+
+<p>"Yes?" he said. He looked puzzled
+when he got no picture, just a
+voice saying, "Hello, hello."</p>
+
+<p>"Yes?" he said. "Hello. Speak
+up, man."</p>
+
+<p>"This is your agent aboard the
+enemy spaceship," said the young
+man. "Do you read me?"</p>
+
+<p>"Yes," said the general. "We
+read you. Go ahead."</p>
+
+<p>"I may not have much time. Get
+a fix on me if you can. And send
+help."</p>
+
+<p>"What's your position?" the general
+was reacting well. He was alert
+and all business.</p>
+
+<p>"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&mdash;this
+part of the outfit, anyway. Naomi
+is here, too, but I don't know
+whether she's with them or against
+them."</p>
+
+<p>"Where are the plans, son?"
+asked the general.</p>
+
+<p>"They're safe, for the moment. I
+can't guarantee for how long."</p>
+
+<p>"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."</p>
+
+<p>"Get it up," ordered the general.
+"Get up a squadron. Scramble the
+Moon patrol and send out reserves
+from Earth at once."</p>
+
+<p>"Right!" said the colonel.</p>
+
+<p>The young man was so engrossed
+in the makings of his rescue party
+that he didn't see the wall open up
+behind him.</p>
+
+<p>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.</p>
+
+<p>The young man recoiled. His
+back pushed against a row of control
+buttons.</p>
+
+<p><i>Then everything went white.</i></p>
+
+<hr />
+
+<p class="cap"><span class="dcap">Paul Asher</span> blinked his eyes,
+like a man awakening from a
+vivid dream.</p>
+
+<p>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.</p>
+
+<p>"Ladies and gentlemen," the
+manager said. "I regret very much
+having to announce that this vicarion
+of the production <i>Spies from
+Space</i> 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.</p>
+
+<p>"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."</p>
+
+<p>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.</p>
+
+<p>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.</p>
+
+<p>"You're back early," MacCloy
+said.</p>
+
+<p>"The multifilm broke," Paul
+told him.</p>
+
+<p>"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&mdash;especially
+about his government job.</p>
+
+<p>"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."</p>
+
+<p>"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&mdash;if you'd
+leaned back against the strap instead
+of forward&mdash;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?"</p>
+
+<p>"Go ahead. Then if I do see it
+again I'll change the ending somewhere
+along the line with a lean-back."</p>
+
+<p>"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.</p>
+
+<p>"Well, Hafitz blasts me and
+misses," Mac went on, "&mdash;or blasts
+<i>you</i> 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&mdash;right
+where you put them, stuck to the
+bottom of his wheelchair."</p>
+
+<p>"So that was it," said Paul.</p>
+
+<p>"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?"</p>
+
+<p>"But what about the girl?" Paul
+asked. "Is she really a spy?"</p>
+
+<p>"Girl? What girl?"</p>
+
+<p>"Naomi, her name was," Paul
+said. "You couldn't miss her. She
+was in the vikie right at the beginning&mdash;that
+brunette in the fast
+car."</p>
+
+<p>"But there wasn't any girl, Paul,"
+Mac insisted. "Not when I saw it."</p>
+
+<p>"Of course there was. There had
+to be&mdash;the vikies all start out the
+same way, no matter who sees
+them."</p>
+
+<p>"It beats me, pal. I know I didn't
+see her. Maybe you dreamed up
+the dame."</p>
+
+<p>"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."</p>
+
+<p>"Driving or flying?"</p>
+
+<p>"The weather prognosis is zero-zero.
+I'll drive."</p>
+
+<p>"Good," said Mac.</p>
+
+<hr />
+
+<p class="cap"><span class="dcap">Paul Asher</span> woke up late. He
+had a confused recollection of
+a dream. Something about a beautiful
+brunette giving him a backrub.</p>
+
+<p>A look at the chrono sent the
+dream out of his head and he hurried
+through shaving and dressing.</p>
+
+<p>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.</p>
+
+<p>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&mdash;like
+a sticking plaster....</p>
+
+<p>The high-powered vehicle purred
+smoothly as it took a long, rising
+curve. The road climbed steadily
+toward the mountaintop city ahead.</p>
+
+<p>The scene was familiar.</p>
+
+<p>The itching of his back spread
+and became a prickly feeling in the
+small hairs at the nape of his neck.</p>
+
+<p>He knew now that he was not
+alone in the car. He looked in the
+rear-view mirror.</p>
+
+<p>Naomi.</p>
+
+<p>She was looking at him insolently,
+her wide red mouth in a half smile.</p>
+
+<p>She said: "Just keep going,
+Sweetheart, as fast as you can."</p>
+
+<p class="rgt"><b>... THE END</b></p>
+
+<div class="trn"><div class="figt"><a href="images/002-2.jpg"><img src="images/002-1.jpg" width="297" height="200" alt="" title="" /></a></div>
+
+<p><big><b>Transcriber's Note:</b></big></p>
+
+<p>This etext was produced from <i>If Worlds of Science Fiction</i> January 1954.
+Extensive research did not uncover any evidence that the U.S.
+copyright on this publication was renewed. Minor spelling and
+typographical errors have been corrected without note.</p></div>
+
+<div>*** END OF THE PROJECT GUTENBERG EBOOK 30063 ***</div>
+</body>
+</html>
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+Project Gutenberg (https://www.gutenberg.org) public repository for
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+
+The Project Gutenberg EBook of Double Take, by Richard Wilson
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Double Take
+
+Author: Richard Wilson
+
+Illustrator: Paul Orban
+
+Release Date: September 22, 2009 [EBook #30063]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK DOUBLE TAKE ***
+
+
+
+
+Produced by Greg Weeks, Stephen Blundell and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
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+
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+
+
+</pre>
+
+
+<div class="figl"><img src="images/001.png" width="354" height="550" alt="" title="" /></div>
+
+<div class="hd1"><p><big><i>The barn turned out to be a spaceship in disguise, and
+that was only the beginning. Before his strange adventure
+ended, young Paul Asher found himself going around in
+circles&mdash;very peculiar circles indeed!</i></big></p></div>
+
+<h1><span class="sp1">DOUBLE TAKE</span></h1>
+
+<h2>By Richard Wilson</h2>
+
+<p class="hd1">Illustrated by Paul Orban</p>
+
+<p class="cap"><i><span class="dcap">Paul Asher</span>, 27, men's furnishings
+buyer, leaned back and
+let the cloth band be fastened across
+his chest, just under his armpits. He
+adjusted his heavy spectacles, closed
+his eyes for a moment, breathed
+deeply, and was off.</i></p>
+
+<p>The semi-darkness was dispelled
+as he shot out of a tunnel into dazzling
+sunlight. The high-powered
+vehicle he was driving purred
+smoothly as it took the long, rising
+curve. The road climbed steadily
+toward the mountaintop city ahead.
+He looked around to satisfy himself
+that he was alone in the car.</p>
+
+<p>He wasn't.</p>
+
+<p>The girl was a pretty one. He'd
+seen her somewhere before, he
+thought. She was looking insolently
+at him, her wide red mouth in a
+half smile. Her dark hair stirred in
+the breeze coming through the window,
+next to her, which was open
+just a slit.</p>
+
+<p>She said: "Just keep going,
+Sweetheart, as fast as you can."
+And she patted the oversized
+pocketbook that lay in her lap.</p>
+
+<p>He pressed down on the accelerator
+and the car responded with a
+flow of power. The countryside fell
+away from the road on either side.
+Far below he could see a river,
+winding broadly to the far-off sea.
+The summer day sent its heat-shimmers
+across the miniature landscape.</p>
+
+<p>The road curved again. Theirs
+was the only car he had seen since
+he'd come out of the tunnel. But
+now, far ahead, he saw another. It
+was standing at the side of the road,
+next to a gate that came down in
+the manner of one at a railroad
+crossing. But he knew by its black
+and white diagonals and by the little
+sentry hut half hidden behind
+the other car that it marked the
+frontier. A man with a rifle on his
+shoulder stood there. They drew
+up to it fast, but his foot automatically
+eased up on the floorboard
+pedal until the girl spoke sharply.</p>
+
+<p>"Right through it, Sweetheart."</p>
+
+<p>In the rear-view mirror he saw
+her leaning forward, her face tense.</p>
+
+<p>In a moment it would be time to
+stop, if he were going to.</p>
+
+<p><i>Paul Asher hesitated a moment.
+Then he too leaned forward, the
+band pressing into his chest. He
+was breathing heavily. There was
+an almost inaudible click.</i></p>
+
+<p>He trod on the accelerator. He
+had a glimpse of the guard unslinging
+his rifle from his shoulder and
+of another man running toward the
+parked car as his vehicle smashed
+into the flimsy gate and sent it,
+cracked and splintered, to the side
+of the road. He fought the slight
+wrench of the wheel and sped on.
+He thought he heard a shot.</p>
+
+<p>"Nice work," the girl said. She
+seemed to be appraising him as she
+looked at him. "My name, incidentally,
+is Naomi."</p>
+
+<p>"Hello," he heard himself saying
+as he whipped the car around a
+curve that hid the frontier behind
+a hill. "You seem to know who I
+am."</p>
+
+<p>"That I do," she said.</p>
+
+<p>"Then why don't you call me by
+my name, instead of 'Sweetheart'?"</p>
+
+<p>"That's because I like you,
+Sweetheart." She was looking out
+the rear window. "Now just step
+on the gas, because we've got company."</p>
+
+<p>The car that had been parked
+near the sentry hut was whipping
+into view around the curve. It was
+lighter than his, but it was fast, too.
+He stepped on it.</p>
+
+<hr />
+
+<p class="cap"><span class="dcap">Now the road</span> had become
+narrow and twisting. The
+grade was steep but the surface was
+good. Abruptly, it entered a forest.</p>
+
+<p>The girl said: "Two more curves.
+Then you'll see a field and a barn.
+Off the road and into the barn,
+fast."</p>
+
+<p>He took the curves with rubber
+screaming and almost without braking
+sent the car bumping across the
+field and into the barn. It was
+bigger than it had seemed from the
+outside. As he brought the car to
+a lurching halt the barn door closed.</p>
+
+<p>Where he had expected to see
+stalls and milking machines and hay
+he saw an expanse of metal floor
+and monstrous machinery. The
+barn door which had been a rickety
+wooden slab from the outside was
+a gleaming sheet of metal from the
+inside. It glided silently shut and
+left no joint or seam to show where
+there had been an opening.</p>
+
+<p>"Out," said Naomi.</p>
+
+<p>As they left the car, a flexible
+metal arm snaked from one of the
+smooth walls, attached itself to the
+front bumper of the vehicle, and
+whisked it into a cubicle which
+opened to receive it and closed behind
+it.</p>
+
+<p>A power-driven wheelchair sped
+up to them. Sitting in it was a fat
+man of middle age, with pendulous
+jowls and a totally bald head. His
+expression was a sardonic scowl.</p>
+
+<p>"You have the plans?" he asked
+the girl.</p>
+
+<p>"Sweetheart here has them."</p>
+
+<p>"I don't know what you're talking
+about," the young man said.</p>
+
+<p>"He knows, all right," the girl
+said. "He pretends to be innocent,
+but that is merely his training. He
+has them under a sticking plaster
+on the small of his back."</p>
+
+<p>"Remove your coat and shirt,"
+commanded the man in the wheelchair.</p>
+
+<p>At that moment the floor shuddered
+under their feet, a gong began
+to clang insistently, and the
+giant machinery, which had been
+silent, throbbed into life.</p>
+
+<p>The man in the wheelchair
+whirled and was off, shouting commands
+to men who materialized
+high on the walls in cylindrical turrets
+which the visitor could only
+think of as battle stations.</p>
+
+<p>"What <i>is</i> this place?" he asked.</p>
+
+<p>He got no answer. Instead the
+girl grabbed his arm and pulled
+him off to the edge of the gigantic
+metal room. An opening appeared
+in the wall and she pushed him
+through it into a room beyond. The
+entranceway snapped shut behind
+them and when he looked he could
+see no door. The room also was
+windowless.</p>
+
+<p>Naomi went to a metal table and
+as she looked down into its surface
+it became a screen. Mirrored in it
+was the mountainous countryside
+they had driven through to get to
+the barn&mdash;or what had seemed to
+be a barn from the outside. He
+looked over her shoulder.</p>
+
+<p>They saw as from a height. There
+was the light car that had chased
+them from the frontier. Standing
+near it was a man in an officer's
+uniform and another in civilian
+clothes. They were talking and
+gesturing. Beside the car was a
+tank. As they watched, its gun fired
+and the structure they were in
+shuddered, but they heard no
+sound.</p>
+
+<p>Lumbering up the mountain road
+were more tanks and a self-propelled
+gun. One of the tanks became
+enveloped in smoke and flames as
+they watched. After a moment the
+smoke cleared. The tank was gone;
+where it had been there was a deep
+crater.</p>
+
+<p>Gradually, the figures in the
+drama below grew smaller. At the
+same time the vista widened, so
+that they saw more and more
+countryside. It twisted beneath
+them and the horizon came giddily
+into view. A few moments later
+the curvature of the earth could be
+plainly seen.</p>
+
+<p>Everything fitted together at
+once. Some of the things, anyway.</p>
+
+<p>"We're in a ship," he said. "Some
+kind of rocket-ship."</p>
+
+<p>"It's a planet plane," the girl
+said. "We're safe now."</p>
+
+<p>"Safe from what?" he asked.
+"What's this all about?"</p>
+
+<p>She smiled enigmatically. "Hafitz
+could tell you, if he chose. He's
+the boss."</p>
+
+<p>"The man in the wheelchair?"</p>
+
+<p>She nodded and took out a compact.
+As she added lipstick to her
+mouth, she looked him over, between
+glances in her mirror.</p>
+
+<p>"You don't look like the spy type.
+If there is a type."</p>
+
+<p>"I'm not a spy. I don't know
+what you're talking about."</p>
+
+<p>"The innocent! Go on, take off
+your coat and shirt. We'll save
+Hafitz some time."</p>
+
+<p>"I'll be glad to, just to prove this
+is all ridiculous. A case of mistaken
+identity. You've made a mistake,
+that's what you've done."</p>
+
+<p>He stood there, hesitating.</p>
+
+<p>The girl gave a burst of laughter.
+Then she said: "All right, Sweetheart.
+I'll turn my back."</p>
+
+<p>She did, and he pulled his shirt
+out of his trousers. Then he froze.
+Taped to the skin of his back was
+a flat package.</p>
+
+<p><i>Paul Asher made the decision. He
+bent forward, feeling perspiration
+in the palms of his hands. There
+was a faint click.</i></p>
+
+<hr />
+
+<p class="cap"><span class="dcap">Quickly</span> he ripped the adhesive
+from his back. There
+was an instant of pain as the plaster
+came free. He wadded up the
+sticky package, dropped it to the
+floor and kicked it under the desk.</p>
+
+<p>Then he took off his coat, tie
+and shirt.</p>
+
+<p>"You can turn around now," he
+said.</p>
+
+<p>"A more modest spy I've never
+seen. Okay," she said, "now <i>you</i>
+turn around."</p>
+
+<p>"As you see," he said, "there are
+no plans&mdash;no papers."</p>
+
+<p>"No&mdash;not now. But there is a
+red mark on your back. What is
+it?"</p>
+
+<p>"Oh," he said. "Oh&mdash;that's a
+birthmark."</p>
+
+<p>She spun him around to face her.
+Her face was harsh. She slapped
+his cheek. "Where is the sticking
+plaster? Don't trifle with me."</p>
+
+<p>Her eyes bored into his. He returned
+the gaze, then shrugged.</p>
+
+<p>"Under the desk," he said. "I
+tore it off and kicked it under the
+desk."</p>
+
+<p>"You are sensible to confess," she
+said.</p>
+
+<p>She bent down, unwisely.</p>
+
+<p><i>Paul Asher felt the familiar
+tightening in his chest as he leaned
+forward. The click was barely
+heard.</i></p>
+
+<p>He raised his hand and brought
+the edge of it down hard on the
+back of her neck.</p>
+
+<p>She crumpled and fell to the
+metal floor. He noticed that a smear
+of her freshly-applied lipstick came
+off on it.</p>
+
+<p>He pushed the unconscious body
+aside and fished the packet out
+from under the desk. He searched
+the room for another hiding place.</p>
+
+<p>But it was too late. A section of
+wall opened and Hafitz, the fat man
+in the wheelchair, sped in.</p>
+
+<p>He wheeled past the young man,
+looked briefly at the unconscious
+girl, then whisked himself around.</p>
+
+<p>"You will pay for this, my
+friend," he said. "But first we will
+have the plans for the way-station.
+Where are they?"</p>
+
+<p>"I don't know anything about
+any plans and I don't know anything
+about a way-station. I tried
+to tell the girl: it's all a crazy mistake."</p>
+
+<p>"We will see," said Hafitz. He
+pressed a button on the arm of his
+wheelchair and two bruisers appeared
+through the walls, in the
+abrupt way people had of materializing
+here. Bruisers was the only
+way they could be described. They
+were human brutes, all muscle and
+malevolence.</p>
+
+<p>"Take them," said Hafitz, indicating
+the unconscious girl and the
+young man. "Take them and search
+them for a small packet. If you do
+not find it, search this room. If you
+do not find it still, hurt the male
+animal. They persuade well with
+pain here, I understand. But do
+not kill him. I will be in the communications
+room."</p>
+
+<p>He sped off, through a wall opening.</p>
+
+<p>One of the bruisers picked up the
+girl, roughly, and disappeared with
+her. The other grabbed the young
+man and hauled him off in a third
+direction. The young man hastily
+snatched up his coat, shirt and tie
+en route.</p>
+
+<p>They ended up in a cell of a
+room, about seven feet in all directions,
+in which the bruiser
+stripped him, methodically went
+through each piece of clothing,
+and then satisfied himself that
+he didn't have the packet anywhere
+on his body.</p>
+
+<p>The muscle-man then raised a
+fist.</p>
+
+<p>"Wait," his prospective victim
+said. He thought back quickly.
+"Hafitz didn't say you could bat me
+around till you searched the room,
+too."</p>
+
+<p>The other spoke for the first time.
+"You say the truth." He put his
+arm down.</p>
+
+<p>The young man watched intently
+as the bruiser went through the wall
+of the cell-like room.</p>
+
+<p>He dressed fast. By placing his
+fingers in exactly the same position
+as the other had done, was able to
+make the wall open for him.</p>
+
+<p>The silver-metal corridor had
+two directions. He went to the right.
+After many turnings, at each of
+which he reconnoitered carefully,
+he came to a passageway that was
+damp. Why it was damp he couldn't
+tell, but there in the wetness
+were tracks which could have been
+made by a wheelchair.</p>
+
+<p>He followed them, feeling the
+throb of giant engines underfoot.</p>
+
+<hr />
+
+<p class="cap"><span class="dcap">The wheelchair</span> tracks
+abruptly made a ninety-degree
+turn and ended at a blank wall.
+Somewhere beyond it must be the
+communications room.</p>
+
+<p>He retreated and waited.</p>
+
+<p>In time the wall snapped open
+and Hafitz sped out. The young
+man retreated into the maze of corridors
+and hoped chance would be
+on his side. It was. Hafitz went another
+way.</p>
+
+<p>The young man ran back to the
+wall and used his fingers on it in
+the combination he had learned. It
+opened for him.</p>
+
+<p>He closed it behind him and
+blinked at the huge instrument
+panel which filled almost the entire
+room.</p>
+
+<p>One of the instruments was a
+color vision screen, tuned in to a
+room in which there was a mahogany
+desk, at which was seated a
+man in uniform. Behind him was
+a map of the United States.</p>
+
+<p>The man in uniform was a major
+general in the Air Force. An aide,
+a lieutenant colonel, was leaning
+over the desk. He had a sheaf of
+papers in his hand. The men's conversation
+was audible.</p>
+
+<p>"Messages have been coming in
+from all over Europe," the colonel
+was saying. "Here's the way it reconstructs:</p>
+
+<p>"Our agent was en route to the
+rendezvous when he was intercepted
+by Naomi. That's the only name
+we have for her. She's a spy. She's
+worked for half a dozen countries
+and her present employer could be
+any one of them. They were spotted
+as they crossed the frontier between
+Italy and France. Their car
+went into a barn and we thought
+we had them. But the barn turned
+out to be a spaceship in disguise. It
+took off."</p>
+
+<p><i>So I'm their agent, Paul Asher
+thought. So that's what it's all
+about. I'm a secret agent for the
+United States, 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.</i></p>
+
+<p>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&mdash;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."</p>
+
+<p>"Those spaceships started buzzing
+around right after our first
+Moon trip," the general said. "This
+is the first time they've become
+really troublesome&mdash;now that we've
+got the Moon under control and are
+ready to build the way-station so
+we can get to Mars."</p>
+
+<p>"That's right, Sir," said the
+colonel.</p>
+
+<p>"Progress is a wonderful thing,"
+said the general. "Things certainly
+have changed since those early days
+of strategic atomic bombing and
+guided missile experiments."</p>
+
+<p>"Yes, Sir," said the colonel.</p>
+
+<p>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.</p>
+
+<p>The general flicked it on.</p>
+
+<p>"Yes?" he said. He looked puzzled
+when he got no picture, just a
+voice saying, "Hello, hello."</p>
+
+<p>"Yes?" he said. "Hello. Speak
+up, man."</p>
+
+<p>"This is your agent aboard the
+enemy spaceship," said the young
+man. "Do you read me?"</p>
+
+<p>"Yes," said the general. "We
+read you. Go ahead."</p>
+
+<p>"I may not have much time. Get
+a fix on me if you can. And send
+help."</p>
+
+<p>"What's your position?" the general
+was reacting well. He was alert
+and all business.</p>
+
+<p>"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&mdash;this
+part of the outfit, anyway. Naomi
+is here, too, but I don't know
+whether she's with them or against
+them."</p>
+
+<p>"Where are the plans, son?"
+asked the general.</p>
+
+<p>"They're safe, for the moment. I
+can't guarantee for how long."</p>
+
+<p>"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."</p>
+
+<p>"Get it up," ordered the general.
+"Get up a squadron. Scramble the
+Moon patrol and send out reserves
+from Earth at once."</p>
+
+<p>"Right!" said the colonel.</p>
+
+<p>The young man was so engrossed
+in the makings of his rescue party
+that he didn't see the wall open up
+behind him.</p>
+
+<p>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.</p>
+
+<p>The young man recoiled. His
+back pushed against a row of control
+buttons.</p>
+
+<p><i>Then everything went white.</i></p>
+
+<hr />
+
+<p class="cap"><span class="dcap">Paul Asher</span> blinked his eyes,
+like a man awakening from a
+vivid dream.</p>
+
+<p>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.</p>
+
+<p>"Ladies and gentlemen," the
+manager said. "I regret very much
+having to announce that this vicarion
+of the production <i>Spies from
+Space</i> 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.</p>
+
+<p>"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."</p>
+
+<p>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.</p>
+
+<p>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.</p>
+
+<p>"You're back early," MacCloy
+said.</p>
+
+<p>"The multifilm broke," Paul
+told him.</p>
+
+<p>"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&mdash;especially
+about his government job.</p>
+
+<p>"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."</p>
+
+<p>"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&mdash;if you'd
+leaned back against the strap instead
+of forward&mdash;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?"</p>
+
+<p>"Go ahead. Then if I do see it
+again I'll change the ending somewhere
+along the line with a lean-back."</p>
+
+<p>"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.</p>
+
+<p>"Well, Hafitz blasts me and
+misses," Mac went on, "&mdash;or blasts
+<i>you</i> 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&mdash;right
+where you put them, stuck to the
+bottom of his wheelchair."</p>
+
+<p>"So that was it," said Paul.</p>
+
+<p>"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?"</p>
+
+<p>"But what about the girl?" Paul
+asked. "Is she really a spy?"</p>
+
+<p>"Girl? What girl?"</p>
+
+<p>"Naomi, her name was," Paul
+said. "You couldn't miss her. She
+was in the vikie right at the beginning&mdash;that
+brunette in the fast
+car."</p>
+
+<p>"But there wasn't any girl, Paul,"
+Mac insisted. "Not when I saw it."</p>
+
+<p>"Of course there was. There had
+to be&mdash;the vikies all start out the
+same way, no matter who sees
+them."</p>
+
+<p>"It beats me, pal. I know I didn't
+see her. Maybe you dreamed up
+the dame."</p>
+
+<p>"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."</p>
+
+<p>"Driving or flying?"</p>
+
+<p>"The weather prognosis is zero-zero.
+I'll drive."</p>
+
+<p>"Good," said Mac.</p>
+
+<hr />
+
+<p class="cap"><span class="dcap">Paul Asher</span> woke up late. He
+had a confused recollection of
+a dream. Something about a beautiful
+brunette giving him a backrub.</p>
+
+<p>A look at the chrono sent the
+dream out of his head and he hurried
+through shaving and dressing.</p>
+
+<p>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.</p>
+
+<p>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&mdash;like
+a sticking plaster....</p>
+
+<p>The high-powered vehicle purred
+smoothly as it took a long, rising
+curve. The road climbed steadily
+toward the mountaintop city ahead.</p>
+
+<p>The scene was familiar.</p>
+
+<p>The itching of his back spread
+and became a prickly feeling in the
+small hairs at the nape of his neck.</p>
+
+<p>He knew now that he was not
+alone in the car. He looked in the
+rear-view mirror.</p>
+
+<p>Naomi.</p>
+
+<p>She was looking at him insolently,
+her wide red mouth in a half smile.</p>
+
+<p>She said: "Just keep going,
+Sweetheart, as fast as you can."</p>
+
+<p class="rgt"><b>... THE END</b></p>
+
+<div class="trn"><div class="figt"><a href="images/002-2.jpg"><img src="images/002-1.jpg" width="297" height="200" alt="" title="" /></a></div>
+
+<p><big><b>Transcriber's Note:</b></big></p>
+
+<p>This etext was produced from <i>If Worlds of Science Fiction</i> January 1954.
+Extensive research did not uncover any evidence that the U.S.
+copyright on this publication was renewed. Minor spelling and
+typographical errors have been corrected without note.</p></div>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Double Take, by Richard Wilson
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+The Project Gutenberg EBook of Double Take, by Richard Wilson
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Double Take
+
+Author: Richard Wilson
+
+Illustrator: Paul Orban
+
+Release Date: September 22, 2009 [EBook #30063]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK DOUBLE TAKE ***
+
+
+
+
+Produced by Greg Weeks, Stephen Blundell and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+[Illustration]
+
+
+ _The barn turned out to be a spaceship in disguise, and
+ that was only the beginning. Before his strange adventure
+ ended, young Paul Asher found himself going around in
+ circles--very peculiar circles indeed!_
+
+
+        DOUBLE TAKE
+
+     By Richard Wilson
+
+ Illustrated by Paul Orban
+
+
+_Paul Asher, 27, men's furnishings buyer, leaned back and let the cloth
+band be fastened across his chest, just under his armpits. He adjusted
+his heavy spectacles, closed his eyes for a moment, breathed deeply, and
+was off._
+
+The semi-darkness was dispelled as he shot out of a tunnel into dazzling
+sunlight. The high-powered vehicle he was driving purred smoothly as it
+took the long, rising curve. The road climbed steadily toward the
+mountaintop city ahead. He looked around to satisfy himself that he was
+alone in the car.
+
+He wasn't.
+
+The girl was a pretty one. He'd seen her somewhere before, he thought.
+She was looking insolently at him, her wide red mouth in a half smile.
+Her dark hair stirred in the breeze coming through the window, next to
+her, which was open just a slit.
+
+She said: "Just keep going, Sweetheart, as fast as you can." And she
+patted the oversized pocketbook that lay in her lap.
+
+He pressed down on the accelerator and the car responded with a flow of
+power. The countryside fell away from the road on either side. Far below
+he could see a river, winding broadly to the far-off sea. The summer day
+sent its heat-shimmers across the miniature landscape.
+
+The road curved again. Theirs was the only car he had seen since he'd
+come out of the tunnel. But now, far ahead, he saw another. It was
+standing at the side of the road, next to a gate that came down in the
+manner of one at a railroad crossing. But he knew by its black and white
+diagonals and by the little sentry hut half hidden behind the other car
+that it marked the frontier. A man with a rifle on his shoulder stood
+there. They drew up to it fast, but his foot automatically eased up on
+the floorboard pedal until the girl spoke sharply.
+
+"Right through it, Sweetheart."
+
+In the rear-view mirror he saw her leaning forward, her face tense.
+
+In a moment it would be time to stop, if he were going to.
+
+_Paul Asher hesitated a moment. Then he too leaned forward, the band
+pressing into his chest. He was breathing heavily. There was an almost
+inaudible click._
+
+He trod on the accelerator. He had a glimpse of the guard unslinging his
+rifle from his shoulder and of another man running toward the parked car
+as his vehicle smashed into the flimsy gate and sent it, cracked and
+splintered, to the side of the road. He fought the slight wrench of the
+wheel and sped on. He thought he heard a shot.
+
+"Nice work," the girl said. She seemed to be appraising him as she
+looked at him. "My name, incidentally, is Naomi."
+
+"Hello," he heard himself saying as he whipped the car around a curve
+that hid the frontier behind a hill. "You seem to know who I am."
+
+"That I do," she said.
+
+"Then why don't you call me by my name, instead of 'Sweetheart'?"
+
+"That's because I like you, Sweetheart." She was looking out the rear
+window. "Now just step on the gas, because we've got company."
+
+The car that had been parked near the sentry hut was whipping into view
+around the curve. It was lighter than his, but it was fast, too. He
+stepped on it.
+
+       *       *       *       *       *
+
+Now the road had become narrow and twisting. The grade was steep but the
+surface was good. Abruptly, it entered a forest.
+
+The girl said: "Two more curves. Then you'll see a field and a barn. Off
+the road and into the barn, fast."
+
+He took the curves with rubber screaming and almost without braking sent
+the car bumping across the field and into the barn. It was bigger than
+it had seemed from the outside. As he brought the car to a lurching halt
+the barn door closed.
+
+Where he had expected to see stalls and milking machines and hay he saw
+an expanse of metal floor and monstrous machinery. The barn door which
+had been a rickety wooden slab from the outside was a gleaming sheet of
+metal from the inside. It glided silently shut and left no joint or seam
+to show where there had been an opening.
+
+"Out," said Naomi.
+
+As they left the car, a flexible metal arm snaked from one of the smooth
+walls, attached itself to the front bumper of the vehicle, and whisked
+it into a cubicle which opened to receive it and closed behind it.
+
+A power-driven wheelchair sped up to them. Sitting in it was a fat man
+of middle age, with pendulous jowls and a totally bald head. His
+expression was a sardonic scowl.
+
+"You have the plans?" he asked the girl.
+
+"Sweetheart here has them."
+
+"I don't know what you're talking about," the young man said.
+
+"He knows, all right," the girl said. "He pretends to be innocent, but
+that is merely his training. He has them under a sticking plaster on
+the small of his back."
+
+"Remove your coat and shirt," commanded the man in the wheelchair.
+
+At that moment the floor shuddered under their feet, a gong began to
+clang insistently, and the giant machinery, which had been silent,
+throbbed into life.
+
+The man in the wheelchair whirled and was off, shouting commands to men
+who materialized high on the walls in cylindrical turrets which the
+visitor could only think of as battle stations.
+
+"What _is_ this place?" he asked.
+
+He got no answer. Instead the girl grabbed his arm and pulled him off to
+the edge of the gigantic metal room. An opening appeared in the wall and
+she pushed him through it into a room beyond. The entranceway snapped
+shut behind them and when he looked he could see no door. The room also
+was windowless.
+
+Naomi went to a metal table and as she looked down into its surface it
+became a screen. Mirrored in it was the mountainous countryside they had
+driven through to get to the barn--or what had seemed to be a barn from
+the outside. He looked over her shoulder.
+
+They saw as from a height. There was the light car that had chased them
+from the frontier. Standing near it was a man in an officer's uniform
+and another in civilian clothes. They were talking and gesturing. Beside
+the car was a tank. As they watched, its gun fired and the structure
+they were in shuddered, but they heard no sound.
+
+Lumbering up the mountain road were more tanks and a self-propelled gun.
+One of the tanks became enveloped in smoke and flames as they watched.
+After a moment the smoke cleared. The tank was gone; where it had been
+there was a deep crater.
+
+Gradually, the figures in the drama below grew smaller. At the same time
+the vista widened, so that they saw more and more countryside. It
+twisted beneath them and the horizon came giddily into view. A few
+moments later the curvature of the earth could be plainly seen.
+
+Everything fitted together at once. Some of the things, anyway.
+
+"We're in a ship," he said. "Some kind of rocket-ship."
+
+"It's a planet plane," the girl said. "We're safe now."
+
+"Safe from what?" he asked. "What's this all about?"
+
+She smiled enigmatically. "Hafitz could tell you, if he chose. He's the
+boss."
+
+"The man in the wheelchair?"
+
+She nodded and took out a compact. As she added lipstick to her mouth,
+she looked him over, between glances in her mirror.
+
+"You don't look like the spy type. If there is a type."
+
+"I'm not a spy. I don't know what you're talking about."
+
+"The innocent! Go on, take off your coat and shirt. We'll save Hafitz
+some time."
+
+"I'll be glad to, just to prove this is all ridiculous. A case of
+mistaken identity. You've made a mistake, that's what you've done."
+
+He stood there, hesitating.
+
+The girl gave a burst of laughter. Then she said: "All right,
+Sweetheart. I'll turn my back."
+
+She did, and he pulled his shirt out of his trousers. Then he froze.
+Taped to the skin of his back was a flat package.
+
+_Paul Asher made the decision. He bent forward, feeling perspiration in
+the palms of his hands. There was a faint click._
+
+       *       *       *       *       *
+
+Quickly he ripped the adhesive from his back. There was an instant of
+pain as the plaster came free. He wadded up the sticky package, dropped
+it to the floor and kicked it under the desk.
+
+Then he took off his coat, tie and shirt.
+
+"You can turn around now," he said.
+
+"A more modest spy I've never seen. Okay," she said, "now _you_ turn
+around."
+
+"As you see," he said, "there are no plans--no papers."
+
+"No--not now. But there is a red mark on your back. What is it?"
+
+"Oh," he said. "Oh--that's a birthmark."
+
+She spun him around to face her. Her face was harsh. She slapped his
+cheek. "Where is the sticking plaster? Don't trifle with me."
+
+Her eyes bored into his. He returned the gaze, then shrugged.
+
+"Under the desk," he said. "I tore it off and kicked it under the desk."
+
+"You are sensible to confess," she said.
+
+She bent down, unwisely.
+
+_Paul Asher felt the familiar tightening in his chest as he leaned
+forward. The click was barely heard._
+
+He raised his hand and brought the edge of it down hard on the back of
+her neck.
+
+She crumpled and fell to the metal floor. He noticed that a smear of her
+freshly-applied lipstick came off on it.
+
+He pushed the unconscious body aside and fished the packet out from
+under the desk. He searched the room for another hiding place.
+
+But it was too late. A section of wall opened and Hafitz, the fat man in
+the wheelchair, sped in.
+
+He wheeled past the young man, looked briefly at the unconscious girl,
+then whisked himself around.
+
+"You will pay for this, my friend," he said. "But first we will have the
+plans for the way-station. Where are they?"
+
+"I don't know anything about any plans and I don't know anything about a
+way-station. I tried to tell the girl: it's all a crazy mistake."
+
+"We will see," said Hafitz. He pressed a button on the arm of his
+wheelchair and two bruisers appeared through the walls, in the abrupt
+way people had of materializing here. Bruisers was the only way they
+could be described. They were human brutes, all muscle and malevolence.
+
+"Take them," said Hafitz, indicating the unconscious girl and the young
+man. "Take them and search them for a small packet. If you do not find
+it, search this room. If you do not find it still, hurt the male animal.
+They persuade well with pain here, I understand. But do not kill him. I
+will be in the communications room."
+
+He sped off, through a wall opening.
+
+One of the bruisers picked up the girl, roughly, and disappeared with
+her. The other grabbed the young man and hauled him off in a third
+direction. The young man hastily snatched up his coat, shirt and tie en
+route.
+
+They ended up in a cell of a room, about seven feet in all directions,
+in which the bruiser stripped him, methodically went through each piece
+of clothing, and then satisfied himself that he didn't have the packet
+anywhere on his body.
+
+The muscle-man then raised a fist.
+
+"Wait," his prospective victim said. He thought back quickly. "Hafitz
+didn't say you could bat me around till you searched the room, too."
+
+The other spoke for the first time. "You say the truth." He put his arm
+down.
+
+The young man watched intently as the bruiser went through the wall of
+the cell-like room.
+
+He dressed fast. By placing his fingers in exactly the same position as
+the other had done, was able to make the wall open for him.
+
+The silver-metal corridor had two directions. He went to the right.
+After many turnings, at each of which he reconnoitered carefully, he
+came to a passageway that was damp. Why it was damp he couldn't tell,
+but there in the wetness were tracks which could have been made by a
+wheelchair.
+
+He followed them, feeling the throb of giant engines underfoot.
+
+       *       *       *       *       *
+
+The wheelchair tracks abruptly made a ninety-degree turn and ended at a
+blank wall. Somewhere beyond it must be the communications room.
+
+He retreated and waited.
+
+In time the wall snapped open and Hafitz sped out. The young man
+retreated into the maze of corridors and hoped chance would be on his
+side. It was. Hafitz went another way.
+
+The young man ran back to the wall and used his fingers on it in the
+combination he had learned. It opened for him.
+
+He closed it behind him and blinked at the huge instrument panel which
+filled almost the entire room.
+
+One of the instruments was a color vision screen, tuned in to a room in
+which there was a mahogany desk, at which was seated a man in uniform.
+Behind him was a map of the United States.
+
+The man in uniform was a major general in the Air Force. An aide, a
+lieutenant colonel, was leaning over the desk. He had a sheaf of papers
+in his hand. The men's conversation was audible.
+
+"Messages have been coming in from all over Europe," the colonel was
+saying. "Here's the way it reconstructs:
+
+"Our agent was en route to the rendezvous when he was intercepted by
+Naomi. That's the only name we have for her. She's a spy. She's worked
+for half a dozen countries and her present employer could be any one of
+them. They were spotted as they crossed the frontier between Italy and
+France. Their car went into a barn and we thought we had them. But the
+barn turned out to be a spaceship in disguise. It took off."
+
+_So I'm their agent, Paul Asher thought. So that's what it's all about.
+I'm a secret agent for the United States, 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
+
+
+
+
+Transcriber's Note:
+
+    This etext was produced from _If Worlds of Science Fiction_ January
+    1954. Extensive research did not uncover any evidence that the U.S.
+    copyright on this publication was renewed. Minor spelling and
+    typographical errors have been corrected without note.
+
+
+
+
+
+End of the Project Gutenberg EBook of Double Take, by Richard Wilson
+
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