A Spaceship Named: 45 Sci-Fi Novels & Stories in One Volume. Randall Garrett

It felt swell.

      "Well—" she said after a second.

      "Oh," Malone said. "Were you looking for a detective? Because if I can help in any way—"

      "Not exactly," Dorothy said. "Just a little routine business. I'll go on in and—"

      Malone suddenly found himself talking without having any idea why he'd started, or what he was going to say. At first he said: "Urr," as if the machine were warming up, and this stopped Dorothy and caused her to give him a rather sharp, baffled stare. Then he found some words and used them hurriedly, before they got away.

      "Dorothy," he said, "would you like to take in a show this evening? I think I can get tickets to ... well, I guess I could get tickets to almost anything, if I really tried." His expression attempted to leave no doubt that he would really try.

      Dorothy appeared to consider for a moment. "Well," she said at last, "how about 'The Hot Seat'?"

      Malone felt just the way he had several years before when he had bluffed his way into a gigantic pot during a Washington poker game, with only a pair of fours to work with. At the last moment, his bluff had been called.

      It had, he realized, been called again. "The Hot Seat" had set some sort of record, not only for Broadway longevity, but for audience frenzy. Getting tickets for it was about the same kind of proposition as buying grass on the Moon, and getting them with absolutely no prior notice would require all the wire-pulling Malone could manage. He thought about "The Hot Seat" and wished Dorothy had picked something easy, like arranging for her to meet the Senate.

      But he swallowed bravely. "I'll do my best," he said. "Got any second choice?"

      "Sure," she said, and laughed. "Pick any one you want. I haven't seen them all, and the ones I have seen are worth seeing again."

      "Oh," Malone said.

      "I really didn't expect you to get tickets for 'The Hot Seat,'" she said.

      "Nothing," Malone said, "is impossible." He grinned at her. "Meanwhile, where can I pick you up? Your home?"

      Dorothy frowned and shook her head. "No," she said. "You see, I'm living with an aunt, and I ... well, never mind." She thought for a minute. "I know," she said. "Topp's."

      "What?" Malone said.

      "Topp's," Dorothy said. "On Forty-second Street, just East of Broadway? It's a restaurant."

      "I don't exactly know where it is," Malone said, "but if it's there, I'll find it." He looked gallant and determined. "We can get something to eat there before the show—whatever the show turns out to be."

      "Fine," Dorothy said.

      "How about making it at six?" Malone said.

      She nodded. "Six it is," she said. "Now bye-bye." She touched her forefinger to her lips, and brushed Malone's cheek with the kissed finger.

      By the time the new set of tingles had begun to evaporate, she had gone into the police station. Malone heaved a great sigh of passion, and held down a strong impulse to follow her and protect her. He wasn't quite sure what he was going to protect her from, but he felt certain that that would come to him when the time arrived.

      Nevertheless, he had work to do, unpleasant as the idea had suddenly begun to seem. He pulled the list of addresses out of his pocket and looked at the first one.

      Mike Fueyo.

      Mike was the leader of the Silent Spooks, according to Lieutenant Lynch. Logically, therefore, he would be the first one to talk to. Malone tried to think of some good questions, but the best one he could come up with was: "Well, what about all those red Cadillacs?"

      Somehow he doubted that this would provide a satisfactory reply. He checked the address again and started firmly down the street, trying to think of some better questions along the way.

      VI

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      The building was just off Amsterdam, in the Eighties. It had been a shining new development once, but it was beginning to slide downhill now. The metal on the windowframes was beginning to look worn, and the brickwork hadn't been cleaned in a long time. Where chain fences had once protected lonely blades of grass, children, mothers and baby carriages held sway now, and the grass was gone. Instead, the building was pretty well surrounded by a moat of sick-looking brown dirt.

      Malone went into the first building and checked the name against the mailboxes there, trying to ignore the combined smells of sour milk, red pepper and here and there a whiff of unwashed humanity.

      It was on the tenth floor: Fueyo, J. That, he supposed, would be Mike's widowed mother; Lynch had told him that much about the boy and his family. He found the elevator, which was covered with scribbles ranging from JANEY LOVES MIGUEL to startling obscenities, and rode it upstairs.

      Apartment 1004 looked like every other apartment in the building, at least from the outside. Malone pressed the button and waited a second to hear the faint buzzing at the other side of the door. After a minute, he pressed it again.

      The door swung open very suddenly and Malone stepped back.

      A short, wrinkled, dark-eyed woman in a print housedress was eying him with deep suspicion. "My daughter is not home," she announced at once.

      "I'm not looking for your daughter," Malone said. "I'd like to talk to Mike."

      "Mike?" Her expression grew even more suspicious. "You want to talk to Mike?"

      "That's right," Malone said.

      "Ah," the woman said. "You one of those hoodlum friends he has. I'm right? You can talk to Mike when I am dead and have no control over him. For now, you can just—"

      "Wait a minute," Malone said. He pulled out his wallet and flipped it open to show his badge, being very careful that he made the right flip this time. He didn't know exactly how this woman would react to The Queen's Own FBI, but he didn't especially want to find out.

      She looked down at the badge without taking the wallet from him. "Hah," she said. "You're cop, eh?" Her eyes left the wallet and examined Malone from head to foot. It was perfectly plain that they didn't like what they saw. "Cop," she said again, as if to herself. It sounded like a curse.

      Malone said: "Well, I—"

      "You want to ask me stupid questions," she said. "That is what you want to do. I'm right?"

      "I only—"

      "I know nothing," she said. "Nothing of any kind." She closed her mouth and stood regarding him as if he were a particularly repulsive statue. Malone looked past her into the living room beyond the door.

      It was faded, now, but it had once been bright and colorful. There was an old rug on the floor, and tables were everywhere. The one bright thing about the room was the assortment of flowers; there were flowers everywhere, in vases, in pots and even in windowboxes. There was also a lot of crockery statuary, mostly faded, chipped or worn in some way. The room looked to Malone as if its last inhabitant had died ten years before; only the flowers had been renewed. Everything else had not only the appearance of age, but the look of having been cast up as a high-water mark by the sea, which had receded and left only the tangled wreckage.

      The woman cleared her throat and Malone's gaze came back to her. "I can tell you nothing," she said.

      "I don't want to talk to you," Malone said again. "I want to talk to Mike."

      Her eyes were very cold. "You from the police, and you want to talk to Mike. You make a joke. Only I don't think the joke is very funny."

      "Joke?" Malone said. "You mean Mike's not here?"

      Her gaze never wavered. "You know he is not," she said. "Ten minutes ago the policemen were taking him away to the police station. How then could he be here?"

      "Ten