succeeding.
“Some Captain Future!” muttered Jim Willard. “He’s about as much like the real thing as a mouse is like a lion.”
Chapter 3: Disastrous Discovery
JEFF LEWIS patiently began to coach Curt Newton how to draw the atom-pistol, how to stand boldly erect, how to move quickly and softly.
“Try to think of yourself as the real Captain Future,” the producer said earnestly. “Now go through it again.”
Curt Newton went into an awkward crouch, and drew the atom-pistol so gingerly and clumsily that its barrel caught in his own belt.
He felt relieved when Su Thuar, who had been watching, followed Jon Valdane and Lura Lind out of the studio.
“Well, you’ll have time to practice on the way to Jupiter, our first location,” Lewis told him. “We’ll be starting in a few days now.”
They were interrupted by a loud, brassy voice. A man had forced his way across the busy studio to Jeff Lewis.
He was a swarthy Mercurian with a shock of bristling black hair, and bold black eyes. He addressed Lewis with conceited confidence.
“I understand you need an actor to play the part of Otho, the Futureman, in your new film,” he said loudly. “Well, I’m your man. I’m Rizo Thon, the greatest make-up artist you ever met. The only man who can play that android.”
“Nothing doing,” the producer said bluntly. “I’m hiring Ki Iquir for the part of Otho.”
“Ki Iquir? — that clumsy Martian ham?” scoffed Rizo Thon. “He couldn’t play this part in a million years. Wait till you see what I can do with it.”
The conceited Mercurian dived into one of the dressing-rooms, carrying his make-up kit with him. A few minutes later, he returned completely transformed. He was now a pale-skinned, lithe-looking man with a rubbery figure and sparkling, slanted green eyes in a hairless face.
“How this?” he demanded confidently. “Do I, or do I not, get the part?”
“Say, he is better than Ki Iquir,” declared Jim Willard in surprise. “In that make-up he’s the picture of Otho, the android.”
Curt Newton grinned to himself. Rizo Thon not only looked like Otho — he was Otho. He had simply taken off a disguise, instead of putting one on.
It had been Newton’s idea for getting Otho into the expedition. And it worked. Jeff Lewis was fascinated by the marvelous make-up, and hired “Rizo Thon” at once.
At the end of that day, Captain Future lurked in his dressing-room until the studio was deserted. Then Otho slipped into the room.
“So now we’re actors, chief,” grinned the impudent android. “I’m getting a kick out of this.”
“You’ll get a bigger kick when I tell you that Valdane’s right-hand man is Su Thuar, and that he’s going along on this party,” Curt Newton said in a grim voice.
Otho swore. “That cursed Venusian snake. I thought he was still in prison. Still, if he doesn’t suspect us, we’re all right.”
“He doesn’t, but he will the first slip we make,” warned Captain Future. “And the fact that Valdane has hired a criminal of Su Thuar’s caliber proves that there is a sinister purpose behind this whole expedition.”
“I never doubted it,” replied Otho. “But what about getting Grag and Simon into the expedition? Can we do it?”
“I haven’t had a chance yet to find out,” Captain Future said. He looked out. The studio was dark and deserted. “Come on, now’s our chance to get into the prop department and see about that.”
Unobserved, he and Otho made their way into the big property room where the sets and costumes for “The Ace of Space” were being assembled for transport to the Perseus.
They soon found the two objects they sought. One was a big metal dummy that was outwardly a replica of Grag. It was an ingenious automaton that could be made to go through simple movements by means of interior motors controlled by a tiny switchboard on its back.
The other object was a similar replica of the Brain — a square, transparent