Highways in Hiding by George O. Smith (ebook reader 7 inch .txt) 📗

the boundary of that deadness, ducking down as soon as the mental murk gave me a faint perception of the wall and ceiling above me. Then I'd move aside and sound it again. Eventually I found a little billowing furrow that rose above the floor level and I crawled out along the floor, still sounding and moving cautiously with my body hidden in the deadness that rose and fell like a cloud of murky mental smoke to my sense of perception.

I would have looked silly to any witness; wallowing along the floor like a porpoise acting furtive in the bright lights.

But then I couldn't go any farther; the deadness sank below the floor level and left me looking along a bare floor that was also bare to my sense of perception.

I shoved my head out of the dead zone and took a fast dig, then dropped back in again and lay there re-constructing what I'd perceived mentally. I did it the second time and the third, each time making a rapid scan of some portion of that fourth floor.

In three fast swings, I collected a couple of empty offices, a very complete hospital set-up operating room, and a place that looked like a consultation theatre.

On my fourth scan, I whipped past Scholar Phelps, who was apparently deep in some personal interest.

I rose at once and strode down the hall and snapped the door open just as Phelps' completely unexpecting mind grasped the perceptive fact that someone was coming down his hallway wearing a great big forty five automatic.

"Freeze!" I snapped.

"Put that weapon down, Mr. Cornell. It, nor its use, will get your freedom."

"Maybe all I want out of life is to see you leave it," I told him.

"You'd not be that foolish, I'm sure," he said.

"I might."

He laughed, with all the self-confidence in the world. "Mr. Cornell, you have too much will to live. You're not the martyr type."

"I might turn out to be the cornered-rat type," I told him seriously. "So play it cagey, Phelps."

"Scholar Phelps, please."

"I wouldn't disgrace the medical profession," I told him. "So—"

"So what do you propose to do about this?"

"I'm getting out."

"Don't be ridiculous. One step out of this building and you'll return within a half minute. How did you get out?"

"I was seduced out. Now—"

"I'd advise you to surrender; to stop this hopeless attempt; to put that weapon down. You cannot escape. There are, in this building, your mental and intellectual superiors whose incarceration bear me witness."

I eyed him coldly and quietly. "I'm not convinced. I'm out. And if you could take a dig below you'd see a dead man and an unconscious woman to bear me witness. I broke your Dr. Thorndyke's neck with a chop of my bare hand, Phelps; I knocked Catherine cold with a fist. This thing might not kill you, but I'm a Mekstrom, too, and so help me I can cool you down but good."

"Violence will get you nothing."

"Try my patience. I'll bet my worthless hide on it." Then I grinned at him. "Oh, it isn't so worthless, is it?"

"One cry from me, Mr. Cornell, and—"

"And you'll not live to see what happens. I've killed once tonight. I didn't like it. But the idea is not as new now as it was then. I'll kill you, Phelps, if for no other reason than merely to keep my word."

With a sneer, Phelps turned to his desk and I stabbed my perception behind the papers and stuff to the call button; then I launched myself across the room like a rocket, swinging my gun hand as I soared. The steel caught him on the side of the head and drove him back from his call button before his finger could press it. Then I let him have a fist in the belly because the pistol swat hadn't much more than dazed him. The fist did it. He crumpled in a heap and fought for breath unconsciously.

I turned to the wall he'd been eyeing with so much attention.

There was row upon row of small kine tubes, each showing the dark interior of a cell. Below each was a row of pilot lights, all dark.

On his desk was a large bank of push buttons, a speaker, and a microphone. And beside the push button set-up was a ledger containing a list of names with their cell numbers.

I found Marian Harrison; pushed her button, and heard her ladylike snore from the speaker. A green lamp winked under one of the kine tubes and I walked over and looked into the darkened cell to see her familiar hair sprawled over a thick pillow.

I went to the desk and snapped on the microphone.

"Marian," I said. "MARIAN! HEY! MARIAN HARRISON!"

In the picture tube there was a stir, then she sat up and looked around in a sort of daze.

"Marian, this is Steve Cornell, but don't—"

"Steve!"

"—cry out," I finished uselessly.

"Where are you?" she asked in a whisper.

"I'm in the con room."

"But how on Earth—?"

"No time to gab. I'll be down in a rush with the key. Get dressed!"

"Yes, Steve."

I took off in a headlong rush with the 'Hotel Register' in one hand. I made the third floor and Marian's cell in slightly more than nothing flat, but she was ready when I came barging into her room. She was out of the cell before it hit the backstop and following me down the hall towards her brother's room.

"What happened?" she asked breathlessly.

"Later," I told her. I opened Phillip Harrison's cell. "You go wake up Fred Macklin and tell him to come here. Then get the Macklin girl—Alice, it says here—and the pair of you wake up others and start sending 'em up stairs. I'll call you on the telltale as soon as I can."

Marian took off with the key and the register and I started to shake Phillip Harrison's shoulder. "Wake up!" I cried. "Wake up, Phillip!"

Phillip made a noise like a baby seal.

"Wake up!"

"Wha—?"

"It's Steve Cornell. Wake up!"

With a rough shake of his head, Phillip groaned and unwound himself out of a tangle of bedclothing. He looked at me through half-closed glassy eyes. Then he straightened and made a perilous course to the washstand where he sopped a towel in cold water and applied it to his face, neck, and shoulders. When he dropped the towel in the sink, his expression was fresher and his eyes were mingled curiosity and amazement.

"What gives?" he asked, starting to dress in a hurry.

"I busted out, slugged Scholar Phelps, and took over the master control room. I need help. We can't keep it long unless we move fast."

"Yeah man. Any moving will be fast," he said sourly. "Got any plans?"

"We've—"

The door opened to let Fred Macklin enter. He carried his shirt and had been dressing on the run. "What goes on?" he asked.

"Look," I said quickly. "If I have to stop and give anybody a rundown, we'll have no time to do what has to be done. There are a couple of sources of danger. One is the guard down at the bottom of the stairway. The other is the possible visitor. You get a couple of other young, ambitious fellows and push that guard post over, but quick."

"Right. And you?"

"I've got to keep our hostage cold," I snapped. "And I'm running the show by virtue of being the guy that managed to bust loose."

In the hallway there was movement, but I left it to head back to Scholar Phelps. I got there in time to hear him groan and make scratching noises on the carpet. I took no chances; I cooled him down with a short jab to the pit of the stomach and doubled him over again.

He was sleeping painfully but soundlessly when Marian came in.

I turned to her. "You're supposed to be waking up—"

"I gave the key and the register to Jo Anne Tweedy," she said. "Jo Anne's the brash young teenager you took a bump with in Ohio. She's competent, Steve. And she's got the Macklin twins to help her. Waking up the camp is a job for the junior division." She eyed the recumbent Phelps distastefully. "What have you in mind for him?"

"He's valuable," I said. "We'll use him to buy our freedom."

The door opened again, interrupting Marian. It was Jonas Harrison. He stood there in the frame of the door and looked at us with a sort of grim smile. I had never met the old patriarch of the Harrison Family before, but he lived up to my every expectation. He stood tall and straight; topped by a wealth of snow white hair, white eyebrows, and the touch of a white moustache. His eyes contrasted with the white; a rich and startling brown.

This was a man to whom I could hand the basic problem of engineering our final escape; Jonas Harrison was capable of plotting an airtight getaway.

His voice was rich and resonant; it had a lift in its tone that sounded as though his self-confidence had never been in danger of a set-back: "Well, son, you seem to have accomplished quite a job this night. What shall we do next?"

"Get the devil out of here," I replied—

—wondering just exactly how I'd known so instantly that this was Jonas Harrison. The rich and resonant voice had flicked a subsurface recollection on a faint, raw spot and now something important was swimming around in the mire of my mind trying to break loose and come clear.

I turned from the sword-sharp brown eyes and looked at Marian. She was almost as I had first seen her: Not much make-up if any at all, her hair free of fancy dressing but neat, her legs were bare and healthy-tanned.

I looked at her, and for a half dozen heartbeats her image faded from my sight, replaced by the well remembered figure of Catherine as I had known her first. It was a dizzy-making montage because my perception senses the real figure of Marian, superimposed on the visual memory-image of Catherine. Then the false sight faded and both perception and eyesight focused upon the true person of Marian Harrison.

Marian stood there, her face softly proud. Her eyes were looking straight into mine, as if she were mentally urging me to fight that hidden memory into full recollection.

Then I both saw and perceived something that I had never noticed before. A fine golden chain hung around her throat, its pendant hidden from sight beneath the edge of her bodice. But my sense of perception dug a modest diamond, and I could even dig the tiny initials engraved in the metal circlet: