WEBVTT 00:00.000 --> 00:13.000 Countdown for blast off. X minus five, four, three, two, X minus one, fire. 00:30.000 --> 00:45.000 From the far horizons of the unknown come tales of new dimensions in time and space. These are 00:45.000 --> 00:50.720 stories of the future, adventures in which you'll live in a million could-be years on a thousand 00:50.720 --> 00:56.480 maybe worlds. The National Broadcasting Company in cooperation with Galaxy Science Fiction 00:56.480 --> 01:17.300 Magazine presents X minus one. Tonight the discovery of Marniel Matherway by William 01:17.300 --> 01:34.000 Tamp. Everyone is astonished at the change in Marniel Matherway since he was discovered. 01:34.000 --> 01:39.680 Everyone that is but me. They remember him as an unbathed and untalented Greenwich village painter 01:39.680 --> 01:45.020 who began almost every second sentence with I and ended every third one with me. You see, 01:45.020 --> 01:50.000 I understand the change in him because I was there the day he was discovered. We were talking 01:50.000 --> 01:54.160 about his discovery that day. I was sitting carefully balanced on the one wooden chair in 01:54.160 --> 01:58.360 his cold little bleaker street studio because I was too sophisticated to sit in the easy chair. 01:58.360 --> 02:03.040 Come on, Dave, take a comfortable seat. Oh no, Marniel, no, I know about that chair. Now what do 02:03.040 --> 02:06.880 you mean? It's the only comfortable chair in the room. I know, I know. Look at it, broken down 02:06.880 --> 02:11.440 spring, very high in the front and low in the back. Sure, it conforms with the position of the 02:11.440 --> 02:16.320 spine. Yeah, sure, sure. And when you sit in it, things begin sliding out of your pockets, loose 02:16.320 --> 02:21.160 change, keys, wallets, anything. What do you do, Marniel? Pay the rent on your studio with that 02:21.160 --> 02:26.680 easy chair? Well, as a matter of fact, it is rather profitable. And that's why I'll sit on the wooden 02:26.680 --> 02:30.960 chair if you don't mind. Oh, now don't be bourgeois. Well, I notice you always sit on the bed. That's 02:30.960 --> 02:36.340 because I'm a good host. I see. Well, how's the painting going? Oh, great, great, fabulous. You 02:36.340 --> 02:41.760 sell any paintings? No. You know, Dave, I can't wait for the day when some dealer, some critic, 02:41.760 --> 02:47.200 with an ounce of brain sees my work. I can't miss, Dave. I know I can't miss. I'm just too good. 02:47.200 --> 02:53.200 Sometimes I get frightened at how good I am. It's almost too much talent for one man. Well, 02:53.200 --> 02:57.760 there's always... Not that it's too much talent for me. I'm big enough to carry it, fortunately. I'm 02:57.760 --> 03:02.560 large enough of soul. Oh, good. I'm glad to hear it. Now, if you don't mind... You know what I was 03:02.560 --> 03:06.480 thinking about this morning? No, but to tell you the truth... I was thinking about Picasso, Dave. 03:06.480 --> 03:14.000 Picasso and Ruhr. I'd just gone for a walk through the pushcart area to have my breakfast. You know, 03:14.000 --> 03:18.520 the old hands quicker than the eyes. I know. I've seen you do it. You're the only man I know who 03:18.520 --> 03:22.000 can ask directions to Houston Street and fill his pockets full of bananas at the same time. Oh, 03:22.000 --> 03:28.240 well, society owes the artist something. Anyway, I started to think about the art of modern painting. 03:28.240 --> 03:33.240 I think about that a lot, Dave. It troubles me. You do, huh? Well, I... I was thinking, 03:33.240 --> 03:38.240 who is really doing important work in painting today? Who is really an unquestionable great? 03:38.240 --> 03:44.800 I could think of only three names. Picasso, Ruhr, and me. Well, naturally. Just three names, 03:44.800 --> 03:51.320 no more. Oh, it made me feel very lonely, Dave. Yeah, well, I can see that. And then I asked 03:51.320 --> 03:58.520 myself, why is this so? Has absolute genius always been so rare? Why has my impending discovery been 03:58.520 --> 04:03.400 delayed so long? Oh, I've thought about it for a long time, Dave. I've thought about it humbly, 04:03.400 --> 04:08.520 carefully, because it's an important question, and this is the answer I came up with. 04:08.520 --> 04:21.240 Well, don't bother waiting for the answer that Monell came up with. It turned out to be a 04:21.240 --> 04:24.960 theory of aesthetics I'd heard at least a dozen times before from a dozen other painters in the 04:24.960 --> 04:30.680 village. Monell was a bad painter. There was no question about it. I say that not only from my 04:30.680 --> 04:34.480 opinion. I've roomed with two modern painters, and I've been married for a year to another, 04:34.480 --> 04:40.040 but... Well, for example, a friend of mine, a fine critic of modern art, took a look at one of 04:40.040 --> 04:44.960 Monell's paintings, which he hung over my fireplace in spite of my protests, and just kind of stared, 04:44.960 --> 04:52.640 slacked your... What... What does he call that technique? Well, he says it's smudge on smudge. 04:52.640 --> 05:00.040 Well, I can believe it. Smudge on smudge, white on white, none objectivism, neo-abstractionism, 05:00.040 --> 05:05.080 call it what you like. There's nothing there, nothing. Well, it doesn't even have the interest 05:05.080 --> 05:10.440 of those paintings that chimpanzee did a couple of years ago. He's just another of those loud-mouthed, 05:10.440 --> 05:15.760 frowsy, frustrated dilettantes that infest the village. Why do you waste your time with him? 05:15.760 --> 05:20.480 Well, for one thing, he lives right around the corner, and he's kind of colorful in his own sick 05:20.480 --> 05:27.680 way. And he does have one great talent. It's not in painting. No, no. Now, you see, I just get by as 05:27.680 --> 05:32.240 far as living expenses are concerned. Things like good paper to write on, good books for my library, 05:32.240 --> 05:39.000 I can't touch them. And sometimes the yearning gets too great. You know, a newly published 05:39.000 --> 05:44.480 collection by Wallace Stevens. Well, if I find one I want, I just go over to Mourniel's and tell him 05:44.480 --> 05:49.480 about it. He doesn't lend you money. Oh, no, no, no. Now, you see, we go out to the bookstore and we 05:49.480 --> 05:53.680 come in separately. And then I start a conversation with the proprietor about some very expensive 05:53.680 --> 05:58.600 dollar print item I'm thinking of ordering, and Mourniel just says, don't mind me, I'm browsing. 05:58.600 --> 06:04.440 Well, that's the high sign. I'm browsing. Well, what happens? Well, while I'm keeping the proprietor 06:04.440 --> 06:10.520 talking, Mourniel snapples the Stevens. Isn't that just a little bit... Oh, well, I intend to pay for 06:10.520 --> 06:15.960 them, of course, just as soon as I'm a little ahead. Well, why does he do this for you? Oh, well, I pay 06:15.960 --> 06:20.480 off. I go through the same routine at an art supply store so Mourniel can get canvas and paint 06:20.480 --> 06:26.440 and brushes. Of course, I really have to pay for Mourniel's browsing. I have to suffer through 06:26.440 --> 06:31.520 listening to him, and then my conscience bothers me. Oh, it does. Yes, you see, I intend to pay for 06:31.520 --> 06:45.560 my things, but I know he doesn't, and that's why my conscience bothers me. Well, here he was the day 06:45.560 --> 06:51.080 he was discovered, sitting in his room, and Mourniel was running on about his own genius. No, I can't be 06:51.080 --> 06:57.040 as unique as I feel. Other people must be born with a potential of such great talent, but it's 06:57.040 --> 07:03.120 destroyed in them before they can reach artistic maturity. Why, how? Well, let's examine the role 07:03.120 --> 07:08.240 that society plays in all of this. What's that? You got a hi-fi set? Nonsense. That's a crass 07:08.240 --> 07:12.600 materialistic concept that I should... Oh, Emma, something is happening. Hey, why don't you put the purple lights in? 07:12.600 --> 07:18.280 Purple? Oh, what's that? Look, look, it's shimmering. It's coming right through the wall. It looks like a box. We can't 07:18.280 --> 07:22.600 both be having an artistic vision. You're not the type. No, I'm not, and I'm not drunk either. Look out, something's gonna happen! 07:22.600 --> 07:32.840 Mourniel Mathaway? Who are you? Where'd you come from? You are Mourniel Mathaway? Yes, yes, yes. My name is 07:32.840 --> 07:39.320 Glescu. I bring you greetings from 2487 A.D. Oh, 2487 A.D. I realize this is a difficult phenomenon 07:39.320 --> 07:43.720 for you to grasp entirely, but here I am. We will now indulge in the 20th century custom of 07:43.720 --> 07:49.920 shaking hands. Mr. Mourniel Mathaway? Oh, sure, sure, sure, shake. And you, sir? Yeah, yeah, sure, I don't mind. 07:49.920 --> 07:55.680 Shake. What a moment! What a supreme moment! Oh, what do you mean, what a moment? What's so special about it? 07:55.680 --> 08:00.120 Are you the inventor of time travel? Me, an inventor? No, no, no, no. Time travel was invented by 08:00.120 --> 08:04.880 Antoinette Ingeborg, and, well, that was after your time. It's hardly worth going into at the moment, 08:04.880 --> 08:09.280 especially since I only have half an hour. Why half an hour? The skin drum can only be maintained 08:09.280 --> 08:14.360 at long. The skin drum is, well, call it the transmitting device that enables me to appear in your 08:14.360 --> 08:18.480 period. There is such an enormous expenditure of power required that a trip into the past is made 08:18.480 --> 08:24.000 only every 50 years. The privilege is awarded as a sort of go-bell, I believe I have the word right, 08:24.000 --> 08:29.800 it is go-bell, isn't it, the award made in your time? Well, you wouldn't mean Nobel by any chance, 08:29.800 --> 08:34.560 the Nobel Prize? That's it! The Nobel Prize! A trip is awarded to outstanding scholars as a kind of 08:34.560 --> 08:40.280 Nobel Prize. Once every 50 years the man selected by the Gardamax is the most preeminent, that sort 08:40.280 --> 08:43.920 of thing, you know. Up to now, of course, it's always gone to historians, or they frittered away 08:43.920 --> 08:49.740 on the siege of Troy and the first atom bomb explosion at Los Alamos, or the, well, the 08:49.740 --> 08:55.880 discovery of America, things like that. But this year... Yes? Well, what, what kind of scholar are 08:55.880 --> 09:02.520 you? I am an art scholar. My specialty is art history, and my special field in art history is... 09:02.520 --> 09:09.600 What? What? What? You, Mr. Mathaway. In my own period, I may say without much contradiction, 09:09.600 --> 09:15.760 I am the greatest living authority on the life and works of Mourniel Mathaway. My special field 09:15.760 --> 09:25.920 is you. Dave, Dave, did you hear that? Dave! Dave! I heard! Do you mean, you mean that I, I'm famous? 09:25.920 --> 09:33.120 That famous? Famous! You, my dear sir, are beyond fame. You are one of the immortals the human 09:33.120 --> 09:39.520 race has produced. That famous! That famous! Who is the man with whom modern painting in its full 09:39.520 --> 09:44.720 glory is said to have definitely begun? Who is the man whose designs and color have dominated 09:44.720 --> 09:49.760 architecture for the past five centuries? Who is responsible for the arrangement of our cities, 09:49.760 --> 09:56.800 the shape of our artifacts, the texture of our clothing? Me! You! No other man in the history 09:56.800 --> 10:03.280 of art has exerted such a massive influence over design. To whom can I compare you, sir? To what 10:03.280 --> 10:10.560 other artist in history can I possibly compare you? Rembrandt, Da Vinci. Rembrandt and Da Vinci in 10:10.560 --> 10:17.040 the same breath as you. That's ridiculous. They, they lacked your universality, your taste for the 10:17.040 --> 10:22.960 cosmic. Wow! Uh, Mr. Glesker, excuse me. Do you happen to know of a poet named David Danziger? 10:22.960 --> 10:27.600 Did much of his work survive? Is that you? Yes, that's me. Dave Danziger? Well, no, no, no, I, 10:27.600 --> 10:32.080 I don't think so. The only poet I can remember for this time and this part of the world is, uh, 10:32.080 --> 10:38.400 Peter Teb. Teb? Never heard of him. Then this must have been before he was discovered. But you see, 10:38.400 --> 10:43.360 I, I am an art scholar. Well, you see, checking my chronometer, I see my time is getting short. 10:43.360 --> 10:47.920 But it is an overwhelming delight for me to be standing in your studio, Mr. Mathaway, and, and 10:47.920 --> 10:53.680 looking at you at last in the flesh. I wonder if you would mind obliging me with a small favor? 10:53.680 --> 10:57.840 Oh, sure, sure. You name it. Nothing's too good for you. What do you want? I wonder, I'm sure you 10:57.840 --> 11:03.120 don't mind. Could, could you possibly let me look at your painting, the one that you're working on 11:03.120 --> 11:08.800 at this very moment? Well, sure, sure. I, I have one right over here. Just, uh, now, please, around. 11:10.160 --> 11:18.480 There you are. I, I intend to call this Figured Figurines Number 29. Hmm? Oh, but this, this... 11:18.480 --> 11:26.000 What's the matter? Well, surely this, this isn't your work, Mr. Mathaway? Yeah, yeah, yeah, it's my 11:26.000 --> 11:31.040 work, all right. Figured Figurines Number 29. Recognize it? No, I do not recognize it, and that 11:31.040 --> 11:36.160 is a fact for which I am extremely grateful. Could I see something else, please? Something, 11:36.160 --> 11:40.880 uh, a little later. Well, that's the latest. Everything else is earlier. Here, here, you might 11:40.880 --> 11:48.240 like this. Now, I call this Figured Figurines Number 22. I think it's the best of my early period. 11:48.240 --> 11:54.160 Oh, oh dear. You know, what this, this looks like, a smears of paint on top of other 11:54.160 --> 11:59.120 smears of paint. Right! Only I call it smudge on smudge. But you probably know all about that, 11:59.120 --> 12:04.800 being such an authority on me. And now, here we have Figured Figurines Number 12. Do you, 12:04.800 --> 12:10.400 do you mind leaving these figurines, Mr. Mathaway? I'd like to see something of yours with, 12:10.400 --> 12:16.880 with color, with color and form. Well, I haven't done any real color work for a long time. 12:16.880 --> 12:21.680 Oh, wait a minute, wait! I, I have one over here somewhere, an old canvas. I was going to paint over 12:21.680 --> 12:26.960 it. Ah, here we are. This is one of the few examples of my mauve and model period that I've kept. 12:26.960 --> 12:35.600 Oh, I, I can't imagine why. It's positively, it's, oh, oh dear. Oh, now wait a minute! Let me show 12:35.600 --> 12:42.080 you some of my intestinal period. Ah, here. Here's a particularly good one. It's called 12:42.080 --> 12:48.480 Large Intestine Rampant. Ha! You like it? Oh, please, please, I, you know, I, I think I'd like 12:48.480 --> 12:52.880 to sit down. Well, take the comfortable chair. And here's another one called Small Intestine 12:52.880 --> 12:59.040 Incisive. Oh, it's rather good, don't you think? I managed to avoid completely any definite line. 12:59.040 --> 13:02.880 You notice that? I, I don't suppose you ever drink of Glyphax? Oh, no, no, of course you don't. 13:02.880 --> 13:07.280 It hasn't been invented yet. Oh, now here's one that's bound to be great. It's one of my earlier 13:07.280 --> 13:14.080 smudge-on-smudges. It's called Fly Ash. I painted it by coating the canvas with slow-setting glue 13:14.080 --> 13:18.880 and leaving it out on the window for about two and a half hours. Notice the delicate deposit of soot. 13:18.880 --> 13:24.880 Oh, please, please, Mr. Mathaway, please, please. Oh, I've got lots more. You know, I don't understand 13:24.880 --> 13:31.040 this. All these canvases, this, this is obviously before you discover yourself in your, your true 13:31.040 --> 13:36.800 technique. But I'm looking for a sign, a hint to the genius that is to come, and I find. Well, 13:36.800 --> 13:40.400 how about this one? Here, here. Oh, please, please, please, please, oh, take that away. Oh, oh dear. 13:40.400 --> 13:48.640 Oh, dear, no, no. Look, I'll have to leave soon. I don't understand this at all. Let me show you 13:48.640 --> 13:57.680 something here, gentlemen. Here, a pocket edition of the source book. The complete paintings of 13:57.680 --> 14:05.280 Mourniel Mathaway, 1928, 1996. Were you born in 1928? Yep. May 23rd, 1928. Here, look at the first 14:05.280 --> 14:15.200 painting. Oh, that, that's beautiful. I mean, the color, that's incredible. Oh, oh, well, that stuff. 14:16.960 --> 14:20.480 Why didn't you tell me you wanted that kind of stuff? You mean, you mean you have paintings 14:20.480 --> 14:27.280 like this too? No, no, no, not paintings. One painting. Oh, I did it last week as a sort of 14:27.280 --> 14:31.600 an experiment, but I wasn't satisfied with the way it turned out, so I, I gave it to the girl 14:31.600 --> 14:37.760 downstairs. Would you like to look at it? Oh, yes, yes, yes, very much, very much. Well, here, 14:37.760 --> 14:42.000 I'll just toss you a book on the bed. Come on, it won't take a minute or two. 14:54.960 --> 15:01.360 Oh, she isn't home. I thought she'd be home now. Oh, I did so want you to see that painting. 15:01.360 --> 15:05.520 I want to see it. I want to see anything that looks like your mature work, 15:05.520 --> 15:10.960 but time is getting short. I'll tell you what. Anita here has a couple of cats that she asked 15:10.960 --> 15:15.520 me to feed when she's away for a while, so she's given me the key to her apartment. Suppose I, uh, 15:16.160 --> 15:22.640 browse upstairs and get it. But she... Suppose I browse through my room and get it. Get it? 15:23.520 --> 15:27.760 Oh, yeah, yeah, yeah, you go ahead and browse, sure. Fine, fine, but please hurry. Oh, sure, 15:27.760 --> 15:39.680 sure, I'll hurry. I won't take long browsing. Well, that was it, the high sign. I'd seen 15:39.680 --> 15:44.480 Morneal Mathaway in action too many times as a shoplifter not to understand it. He was going 15:44.480 --> 15:49.280 upstairs to lift that book that he'd dropped on the bed. I knew he had never painted a picture 15:49.280 --> 15:54.240 like the one in the book, but he would now. Only he wouldn't paint them. He'd copy them. 15:54.240 --> 15:59.680 Well, I started talking automatically. You, uh, paint yourself, Mr. Glascoon? No, no, no, no, I... 16:00.240 --> 16:04.400 Of course, I wanted to be an artist when I was a boy. I imagine every critic starts out that way, 16:04.400 --> 16:09.680 but I found it far easier to write about paintings and to do them. Once I began reading the life of 16:09.680 --> 16:15.200 Morneal Mathaway, I knew I had found my field. Not only do I empathize closely with his paintings, 16:15.200 --> 16:19.920 but he seems so much like a person I could have known and liked. That's one of the things that 16:19.920 --> 16:24.640 puzzles me. He's quite different from what I had imagined. Yes, I'll bet he is. Of course, 16:24.640 --> 16:29.280 history has a way of adding romance to an important figure. Oh dear, I'm running out of time here. 16:29.280 --> 16:33.440 Do you think you'll be back with the keys soon? I practically have no time left. I've just got to 16:33.440 --> 16:37.440 get upstairs to the time translator. I just can't wait. I'll have to hurry now. Oh dear, 16:37.440 --> 16:44.800 I did want to see an original Mathaway. I did want to. Mr. Mathaway, I... Oh! What's the matter? 16:44.800 --> 16:48.960 The time translator. It isn't here. It's gone. Yeah, the book is gone too. And the book is 16:48.960 --> 16:52.800 gone too. And Mathaway, he stranded me here. He must have figured out that getting inside and 16:52.800 --> 16:57.280 closing the door made it return. Yeah, he's a great figure. And he'll probably figure out a 16:57.280 --> 17:00.800 very plausible story to tell the people in your time to explain how the whole thing happened. 17:01.520 --> 17:04.880 Why should he work his head off in the 20th century when he can be an outstanding hero 17:04.880 --> 17:10.080 worship celebrity in the 25th? Yes, what will happen if they ask him to paint merely one picture? 17:10.080 --> 17:13.920 Oh, he'll probably tell them he's already done his work and feels he can no longer add anything 17:13.920 --> 17:19.200 of importance to it. He'll no doubt end up giving lectures on himself. Don't worry, 17:19.200 --> 17:25.520 he'll make out. It's you I'm worried about. You're stuck here, aren't you? Are they likely to send a 17:25.520 --> 17:29.920 rescue party after you? No. Every scholar who wins the award has to sign a waiver of responsibility 17:29.920 --> 17:40.320 in case he doesn't return. No, I'm stuck here. Tell me, is it very bad living in this period? 17:40.320 --> 17:46.640 Well, not so bad. Of course, you need a social security card. I don't know how you go about 17:46.640 --> 17:51.040 getting one at your age. Well, the immigration authorities may want to question you since you're 17:51.040 --> 17:57.200 sort of an illegal alien. Oh dear, dear, that's awful. Wait a minute. It needn't be. I'll tell 17:57.200 --> 18:02.960 you what. Morniel has a social security card. He had a job a couple of years ago. He keeps his birth 18:02.960 --> 18:06.480 certificate in that drawer along with his other papers. Now, why don't you just assume his 18:06.480 --> 18:11.440 identity? He'll never show you up as an imposter. But do you think I could? Won't I be, well, won't 18:11.440 --> 18:15.120 his friends, his relatives? No, he hasn't got any family, and I'm about the only friend he's got. 18:15.760 --> 18:21.280 You could get away with it. Maybe grow a beard and dye it blonde. Actually, the big problem would be 18:21.280 --> 18:26.320 earning a living. Being a specialist on math away in the art movements derived from him wouldn't 18:26.320 --> 18:31.760 get you set on an awful lot right now. But I could paint. I've always dreamed of being an artist. 18:31.760 --> 18:35.840 I don't have much talent, but there are all kinds of artistic novelties I know about, all kinds of 18:35.840 --> 18:40.720 graphic innovations that don't exist in your time. Surely that would be enough even without talent 18:40.720 --> 18:43.920 to make a living for me on some third or fourth rate level? 18:51.520 --> 18:58.640 You certainly was, but not on a third or fourth rate level. Mr. Gleskow, that is Morniel Mathaway, 18:58.640 --> 19:03.440 is the finest painter alive today and the unhappiest. After his last wildly successful 19:03.440 --> 19:08.000 exhibition, I remember he said to me, what's the matter with all these people praising me like that? 19:08.640 --> 19:14.080 I don't have an ounce of real talent in me. All my work is completely derivative. I've tried, 19:14.080 --> 19:17.840 I've tried to do something, anything that was completely my own, but I'm so steeped in math 19:17.840 --> 19:22.720 away that I can't seem to make my own personality come through. And those idiotic critics go on 19:22.720 --> 19:26.560 raving about me, and the work isn't even my own. Well, then who's the idiotic one? 19:26.560 --> 19:31.360 And the work isn't even my own. Well, then whose is it? Mathaway's, of course. We thought there 19:31.360 --> 19:35.520 couldn't be a time paradox. I wish you could read all the scientific papers on the subject. 19:35.520 --> 19:39.680 They fill whole libraries because it isn't possible, the time specialists argue, for a 19:39.680 --> 19:44.080 painting to be copied from a future reproduction and so have no original artist. But that's what 19:44.080 --> 19:50.560 I'm doing. I'm copying from that book by memory. Now look, Gleskow, that is Mathaway. Don't knock 19:50.560 --> 19:55.520 yourself out. But it's dishonest. No, it isn't. You're deliberately trying not to copy those 19:55.520 --> 19:59.760 paintings. You're working so hard at it that you refuse to think about that book or even discuss it. 19:59.760 --> 20:03.120 As a matter of fact, when I tried to get you to talk about it a little while ago, 20:03.120 --> 20:08.880 you couldn't actually remember it. That's true. That's true. You're the real Mourniel Mathaway, 20:08.880 --> 20:13.600 and there's no paradox. You're actually painting those pictures. You're not copying them from 20:13.600 --> 20:19.680 memory. I know in my heart that they're not mine. All right, I'll forget it. Anyway, 20:19.680 --> 20:25.680 you're a much nicer guy than Mathaway ever was. And besides, a buck is a buck. 20:25.680 --> 20:43.120 You have just heard X minus one presented by the National Broadcasting Company in cooperation with 20:43.120 --> 20:50.560 Galaxy Science Fiction Magazine, which this month features Lulu by Clifford D. Simak, a story which 20:50.560 --> 20:56.320 demonstrates that a spaceship should be a darv, a smasher, a pip, a butte, but man all battle 20:56.320 --> 21:02.960 stations if it ever becomes a sweetheart of a ship. Galaxy Magazine, on your newsstand today. 21:03.760 --> 21:09.760 Tonight, X minus one has brought you the discovery of Mourniel Mathaway, a story from the pages of 21:09.760 --> 21:16.000 Galaxy written by William Tem and adapted for radio by Ernest Kanoy. Featured in our cast were 21:16.000 --> 21:23.360 Leon Jani as Mathaway, Guy Rep as the critic, Wendell Holmes as Glescu, and Les Damon as Dave. 21:24.000 --> 21:29.600 Your announcer, Fred Collins. X minus one was directed by Daniel Sutter and is an NBC 21:29.600 --> 21:41.680 radio network production.