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X Minus One - "Real Gone" (1957) · Old Time Sci-Fi Radio | Old Time Radio

• 0:00
  Speaker 1: Ralph Therian's miniature sculptures are attracting attention in the modern
• 0:04
  Speaker 1: art world, and the process behind them is anything but ordinary.
• 0:09
  Speaker 1: From NBC's X minus one comes Real Gone, Episode ninety,
• 0:15
  Speaker 1: first heard February twenty seventh, nineteen fifty seven, John Barregray
• 0:20
  Speaker 1: plays Theian with jazz disc jockey Al Jazzbo Collins appearing
• 0:25
  Speaker 1: as himself. John McGovern and Harold Huber are also heard.
• 0:30
  Speaker 1: Ernest Kenoy wrote this original radio script from an idea
• 0:34
  Speaker 1: by Collins and Kenneth McGregor directed. Here is the original broadcast.
• 0:39
  Speaker 1: Follow Old Time sci Fi Radio. For more classic science
• 0:43
  Speaker 1: fiction broadcasts, don dom.
• 0:48
  Speaker 2: For Blastov X minus five four three two X minus one.
• 0:56
  Speaker 3: Fire from the far horizons of the Unknown, comtails of
• 1:25
  Speaker 3: new dimensions in time and space.
• 1:29
  Speaker 4: These are stories of the future.
• 1:31
  Speaker 2: Adventures in which you'll live in a million, could be years,
• 1:34
  Speaker 2: on a thousand, maybe worlds. The National Broadcasting Company, in
• 1:38
  Speaker 2: cooperation with Galaxy Science Fiction Magazine, presents.
• 1:43
  Speaker 5: He minus minus minus minus one one.
• 1:57
  Speaker 2: Tonight Real Gone, starring Al Jazzboll Columns, playing of all
• 2:03
  Speaker 2: things Al Jazzbell Columns. Ah, come in, come in glad
• 2:18
  Speaker 2: to see you. Albert here you're a Collins friend. In
• 2:20
  Speaker 2: just a minute, I'll close the door. You know when
• 2:24
  Speaker 2: you run at this jockey show, the song plugs just
• 2:27
  Speaker 2: seemed to ooze through the grain of the wood. We
• 2:30
  Speaker 2: won't be bothered for a while. I'm a seed. I'll
• 2:34
  Speaker 2: take this record off the chair hound Dog Exclusive to Me,
• 2:40
  Speaker 2: sung by Helen Traubel with the Vienna State Symphony Orchestra
• 2:43
  Speaker 2: under the direction of Felix Weingartner. Huh Na, Sadan. You
• 2:50
  Speaker 2: do the writing for that Real Gone show on NBC,
• 2:52
  Speaker 2: don't you? That X minus one with the rocket chips
• 2:56
  Speaker 2: and the three headed men from Mars and all that jazz. Well,
• 3:00
  Speaker 2: that's why I asked you up. I ran into a
• 3:02
  Speaker 2: little something, just an idea, you know. I figured maybe
• 3:06
  Speaker 2: you could english.
• 3:06
  Speaker 4: It up and use it. It's about a friend of mine,
• 3:09
  Speaker 4: Ralph Theorian.
• 3:11
  Speaker 2: Did you ever hear him? He's an artist. I don't
• 3:15
  Speaker 2: mean records or a musician. I mean an artist, artist, sculptor.
• 3:20
  Speaker 2: I ran into him.
• 3:21
  Speaker 4: During the war.
• 3:22
  Speaker 2: He is to sit in the barracks making busts of
• 3:25
  Speaker 2: the sergeants out of gi soap.
• 3:27
  Speaker 4: When they had him on KP they couldn't trust him.
• 3:30
  Speaker 4: The peel potatoes.
• 3:30
  Speaker 2: He'd end up doing caricatures of the Captain and the
• 3:33
  Speaker 2: lieutenants out of raw spuds. Man he was the greatest.
• 3:37
  Speaker 2: He got the whole company restricted for a week. When
• 3:39
  Speaker 2: we were stationed somewhere near Boston, it snowed, and he
• 3:43
  Speaker 2: made a life size statue out of snow and ice
• 3:46
  Speaker 2: depicting the Captain sitting in a howdah on the back
• 3:50
  Speaker 2: of an elephant.
• 3:51
  Speaker 4: The captain didn't mind so much.
• 3:53
  Speaker 2: But the elephant happened to look like a regimental colonel,
• 3:55
  Speaker 2: and he took a dim view of the entire affair.
• 3:59
  Speaker 2: Ralph study in France, somewheres under the gi Bill of Wrights,
• 4:02
  Speaker 2: and I used to run into him once in a
• 4:04
  Speaker 2: while on fifty seventh Street. He's looking kind of hungry
• 4:06
  Speaker 2: and desperate. Then one day, a couple of green weeks ago,
• 4:11
  Speaker 2: I ran into him on Madison Avenue, and man.
• 4:14
  Speaker 4: He looked like he'd belonged.
• 4:16
  Speaker 2: He had one of them Tyrolean chapeau with a shaving
• 4:19
  Speaker 2: brush stuck on one side, an important German loading coat,
• 4:23
  Speaker 2: and he was carrying a snake skin dispatch case. Ow Albert, Wow, oh, Ralph,
• 4:30
  Speaker 2: my friend, Well.
• 4:31
  Speaker 5: You're looking great. Al Hey, I like that beard. Thanks,
• 4:35
  Speaker 5: kind of gives your face them out rushmore quality.
• 4:38
  Speaker 2: It's generally admired, my friend. But what brings you over
• 4:41
  Speaker 2: here on this street of dreams? I was under the
• 4:43
  Speaker 2: impression an artist was immediately downgraded three degrees of integrity
• 4:48
  Speaker 2: when he set foot on Madison Avenue.
• 4:50
  Speaker 5: Ah, I was just up seeing a client.
• 4:52
  Speaker 4: A client's you've given up the sculpting kick.
• 4:56
  Speaker 5: Oh oh no, I'm just working in a new medium.
• 4:58
  Speaker 4: Well you look real prosperous.
• 5:00
  Speaker 5: How do you like the shows?
• 5:01
  Speaker 4: Oh? Very dapper, very dapper.
• 5:04
  Speaker 2: I don't believe I've ever seen lizard skin harachis before.
• 5:08
  Speaker 5: Had them imported, made underwater by natives of Ecuador. Yeah,
• 5:11
  Speaker 5: it takes about three hours have them made, so they
• 5:14
  Speaker 5: use about twelve nighties prepared.
• 5:16
  Speaker 2: Ralph, my friend, you give the general impression that you
• 5:19
  Speaker 2: are loaded with loot.
• 5:20
  Speaker 5: I am there's money on art money. You've just got
• 5:24
  Speaker 5: to get something new here. Wait a minute, let me
• 5:27
  Speaker 5: off my case. Here, I'll take a look at this.
• 5:31
  Speaker 4: What is that an ice cube?
• 5:33
  Speaker 5: Look inside? Mm hmm.
• 5:36
  Speaker 4: Now, man, that's real, Entranson.
• 5:38
  Speaker 5: What is it that is a detailed copy of Rodin's
• 5:41
  Speaker 5: The Kiss?
• 5:42
  Speaker 4: Pretty sexy how do you do it? Well?
• 5:44
  Speaker 5: You see I carve it from underneath the plastic clock.
• 5:47
  Speaker 4: Oh, it looks sort of solid to me. How do
• 5:49
  Speaker 4: you get in?
• 5:50
  Speaker 5: Look at the bottom. You see that little hole?
• 5:52
  Speaker 2: Uhh?
• 5:53
  Speaker 5: I worked through there with my engraving instruments. Of course,
• 5:56
  Speaker 5: this is just a sample. I've been doing originals mostly.
• 5:59
  Speaker 5: What are the little cubes good for paperweights?
• 6:02
  Speaker 4: I guess?
• 6:02
  Speaker 5: Eh, this is art, Albert art. Do you know how
• 6:05
  Speaker 5: much I get for one of.
• 6:06
  Speaker 4: These Speed's May five thousand dollars. Oh, that's a pretty
• 6:10
  Speaker 4: stiff price for a paper weight.
• 6:12
  Speaker 5: You just don't understand, al this is the hottest thing
• 6:15
  Speaker 5: since Picasso. I just sold two original compositions to Morganstern,
• 6:19
  Speaker 5: you know, the dealer from Philadelphia, for twenty five thousand dollars.
• 6:23
  Speaker 1: What the five?
• 6:24
  Speaker 4: Wow?
• 6:26
  Speaker 2: I should have paid attention when mama bought me that
• 6:28
  Speaker 2: clay when I was a little boy.
• 6:29
  Speaker 5: Unless about time the creative artists got a little bit
• 6:32
  Speaker 5: of recognition.
• 6:33
  Speaker 4: Recognition is not the point.
• 6:34
  Speaker 2: Man at twenty five, geez, I wouldn't care if people
• 6:37
  Speaker 2: walk past me in high noon.
• 6:39
  Speaker 5: That's because you're not an artist. The money is secondary.
• 6:42
  Speaker 2: Money is never secondary. Money is the primariest thing there is.
• 6:47
  Speaker 4: How would you.
• 6:49
  Speaker 5: Be interested in a fine original composition. Well, I'll make
• 6:52
  Speaker 5: a special price for you, Albert, four thousand dollars.
• 6:55
  Speaker 2: No, Ralph, my friend, I keep my papers from blowing
• 6:58
  Speaker 2: off my desk with my right foot and my left,
• 7:01
  Speaker 2: piled one on top of the other, and I find
• 7:03
  Speaker 2: that quite adequate to the needs and aspirations.
• 7:06
  Speaker 5: All The trouble with you is you've got no soul.
• 7:09
  Speaker 4: The trouble with me is I have not got four
• 7:12
  Speaker 4: grand ah.
• 7:24
  Speaker 2: This sort of thing is happening to me all the time.
• 7:26
  Speaker 2: For example, I have a barber who plays unaccompanied bach
• 7:30
  Speaker 2: schak Holmes with a quarter inch drill and a length
• 7:33
  Speaker 2: of steel pipe. I figured Ralph Thurian was stringing me
• 7:36
  Speaker 2: until I ran into Vladimir Ossepsky, now a Vladi is
• 7:40
  Speaker 2: one of these men who leads a double life. He
• 7:43
  Speaker 2: composes concerti and avant garde opera's under his square moniker.
• 7:47
  Speaker 4: But he's better known in the Brill Building is Larry Oss.
• 7:51
  Speaker 2: He got in on the ground floor of this rock
• 7:52
  Speaker 2: and roll affair, and he took an already substantial fortune
• 7:56
  Speaker 2: and ran it up to a fantastic munificence. He has
• 8:00
  Speaker 2: money he hasn't even folded yet, and he collects art.
• 8:04
  Speaker 2: I was up at his house one night discussing such
• 8:06
  Speaker 2: things as tin Roof Blues and Warzick by Alvin Berg,
• 8:10
  Speaker 2: and Larry got around to showing me his collection. Now
• 8:13
  Speaker 2: this is Picasso, Larry. That's what I call cool brush work,
• 8:17
  Speaker 2: my man.
• 8:18
  Speaker 4: Cool.
• 8:18
  Speaker 6: I homed it next to the Tinderetto. For contrast, this.
• 8:21
  Speaker 4: Stuff runs into a pile of loot.
• 8:23
  Speaker 7: Well, I figured, since I've launched rock and roll on
• 8:25
  Speaker 7: an unsuspecting public, the least I can do is collect
• 8:28
  Speaker 7: old masters and leave them to the nation when I die.
• 8:30
  Speaker 4: It figures, I mean that figures.
• 8:32
  Speaker 6: Here's my latest.
• 8:34
  Speaker 4: Look.
• 8:34
  Speaker 6: Isn't beautiful?
• 8:36
  Speaker 7: You mean this hunker plastic? Yes, look into it. That design,
• 8:41
  Speaker 7: that composition, the delicacy of that line. Oh, this is
• 8:44
  Speaker 7: the most exciting discovery in ots since the invention.
• 8:46
  Speaker 6: Of red paint.
• 8:47
  Speaker 2: Larry, was this piece of Jim crackery executed by one
• 8:50
  Speaker 2: Ralph Furion.
• 8:52
  Speaker 7: That's right, you know him, m hm. Remarkable talent, remarkable,
• 8:55
  Speaker 7: a genius.
• 8:56
  Speaker 4: And how much did this stroke of genius cost you?
• 9:00
  Speaker 4: If you don't mind my mentioning a crude thing like
• 9:02
  Speaker 4: money at all?
• 9:03
  Speaker 6: Not at all.
• 9:03
  Speaker 7: It was a steal a steel. I got it from
• 9:05
  Speaker 7: Morgan's tern. Oh, I outfoxed him. I got it from
• 9:08
  Speaker 7: him for only thirty thousand dollars.
• 9:11
  Speaker 4: Yeah, you out foxed him.
• 9:12
  Speaker 2: All right, tell me something, Larry, Yeah, what makes this
• 9:15
  Speaker 2: worth thirty thousand dollars?
• 9:16
  Speaker 6: Albert? Albert?
• 9:18
  Speaker 7: Al But what makes us strata various worth thirty thousand
• 9:21
  Speaker 7: in the fiddle played on the street by a beggar
• 9:23
  Speaker 7: trade dollars?
• 9:24
  Speaker 4: Huh? You mean his stuff? Is that good?
• 9:26
  Speaker 6: It's hot, Albert, this is hot.
• 9:30
  Speaker 7: This is genius to work with such delicacy and such control,
• 9:34
  Speaker 7: and such genius in so small a space.
• 9:38
  Speaker 6: You see. That's it. This plastic block is how long?
• 9:41
  Speaker 6: About two inches?
• 9:42
  Speaker 7: And yet within this two inches is the majesty the
• 9:44
  Speaker 7: feeling of a sculpture twenty thirty feet high. This is
• 9:47
  Speaker 7: an art which has not been known in the world
• 9:50
  Speaker 7: since the painters of miniatures in the late Renaissance. Why
• 9:52
  Speaker 7: that is for real, real, This is the gem of
• 9:55
  Speaker 7: my collection, the Picasso, the run well, the Sezannual in
• 9:59
  Speaker 7: time into insignificance. This is a new art form, brilliant, brilliant.
• 10:05
  Speaker 7: And now let me play a new record. We're putting out.
• 10:07
  Speaker 7: It's called I Love Your Baby because your lower lip
• 10:09
  Speaker 7: drags on the ground.
• 10:10
  Speaker 6: A real cool you bangy beat.
• 10:21
  Speaker 7: Ah.
• 10:21
  Speaker 2: I let Ralph Pirian's new art form slip my mind
• 10:24
  Speaker 2: for a while while I struggled with song pluggers, advertising salesman,
• 10:27
  Speaker 2: account executives from the agency. And I met him again
• 10:30
  Speaker 2: a few weeks ago at a small cultural establishment on
• 10:34
  Speaker 2: the corner where I work. You might call it sort
• 10:36
  Speaker 2: a branch public library with a brass rail.
• 10:42
  Speaker 5: Hey, what's the idea of putting this lemon peel in?
• 10:45
  Speaker 5: I want a fruit salad. I'd ask for it.
• 10:47
  Speaker 4: How do you do, Ralph? My friend? Oh hello, hell ah,
• 10:51
  Speaker 4: you look like you're thriving, my man.
• 10:53
  Speaker 5: Well, as a matter of fact, I just signed a
• 10:55
  Speaker 5: contract with Morgan Stern to deliver one hundred thousand dollars
• 10:59
  Speaker 5: worth of my original compositions. I'm celebrating in here, a man.
• 11:03
  Speaker 2: This place is only fit for sweating out the downhill
• 11:06
  Speaker 2: face on a manic depressive psychosis.
• 11:08
  Speaker 5: I'm just starting here. I intend to work my way up.
• 11:11
  Speaker 5: Albert be my guest.
• 11:22
  Speaker 2: Well, I just had a difficult morning with the station
• 11:24
  Speaker 2: manager who has an illusion in his little Ricky ticky
• 11:27
  Speaker 2: mind that my program is the answer to Lawrence welk
• 11:30
  Speaker 2: In Guy Lombardo. He'd been trying to convince me to
• 11:33
  Speaker 2: program two solid hours of Wayne King, relieved by vocals
• 11:38
  Speaker 2: by Frank Krummitt and Julius Sanderson. I had resisted, and
• 11:42
  Speaker 2: I was in the mood for eating the lotus and forgetting.
• 11:45
  Speaker 2: Several hours later, Ralph was feeling very confidential.
• 11:50
  Speaker 5: Albert, Albert, my friend. I like you. Why don't you
• 11:54
  Speaker 5: shave Ralph?
• 11:55
  Speaker 4: Love me, love my beard?
• 11:58
  Speaker 5: I will try. Albert, you have the look of an
• 12:01
  Speaker 5: Abraham Lincoln gone hog wild among the cream puffs.
• 12:04
  Speaker 4: Ralph, you have an artist's soul.
• 12:07
  Speaker 5: Albert, I trust you. I'd trust you. I trust you.
• 12:11
  Speaker 4: I am touched and so Albert.
• 12:13
  Speaker 5: I'm going to take you to my studio, my secret studio.
• 12:17
  Speaker 2: And I will reciprocate my friend tomorrow when I am
• 12:20
  Speaker 2: doing my disc show. You may come to my secret
• 12:23
  Speaker 2: studio with the esteem that my program is held in Today. Tomorrow,
• 12:28
  Speaker 2: I'll be doing my broadcast from a small hole with
• 12:30
  Speaker 2: a round iron top and plenty of running water below.
• 12:34
  Speaker 4: What time is it I have to pass something that
• 12:37
  Speaker 4: I'm late?
• 12:37
  Speaker 5: I'm late?
• 12:38
  Speaker 4: Hurry, he took me to.
• 12:46
  Speaker 2: A loft somewhere down in the banana warehouse section. He
• 12:49
  Speaker 2: had three locks on the door, and he opened them
• 12:52
  Speaker 2: with three separate keys.
• 12:54
  Speaker 4: I stepped inside and took a look around. The loft
• 12:58
  Speaker 4: stretched a whole city block.
• 13:00
  Speaker 2: The only thing that kept the New York Ranges from
• 13:03
  Speaker 2: using it as a practice rank was the lack of eyes.
• 13:06
  Speaker 4: It was empty except in one corner of the room.
• 13:08
  Speaker 2: There was a mess of machinery, looked as if someone
• 13:11
  Speaker 2: had eviscerated a television set and left it to die.
• 13:14
  Speaker 4: Of shop. There was a.
• 13:16
  Speaker 2: Weasly looking little man in a shiny blue suit standing
• 13:19
  Speaker 2: in the middle of the floor, tapping his foot.
• 13:21
  Speaker 8: Syrian, I've been waiting for half an hour. Half an hour?
• 13:23
  Speaker 8: Where have you been.
• 13:24
  Speaker 5: I'll take it easy, person, take it easy, plenty of time.
• 13:27
  Speaker 9: I've told you the active life of the catalyst is.
• 13:29
  Speaker 8: Only Who's this?
• 13:32
  Speaker 5: This is my friend al Al Collins. Well, who is he?
• 13:35
  Speaker 8: And what is he doing here? I've told you we
• 13:36
  Speaker 8: must have no one here.
• 13:38
  Speaker 5: Now he's my friend. I trust him.
• 13:40
  Speaker 8: Oh, I suppose you've told him all about it?
• 13:42
  Speaker 5: Yes? I have. Have you got the stuff?
• 13:46
  Speaker 8: Three embules? But it won't last you've got to hurry
• 13:49
  Speaker 8: roll up your sleeves.
• 13:50
  Speaker 4: Oh now, just a minute, both of you, gentlemen.
• 13:53
  Speaker 2: If I've been brought down here to witness the inoculation
• 13:55
  Speaker 2: of a little happy juice into somebody's arm, I'm leaving.
• 13:58
  Speaker 4: I have no desire to tell angle with the Federal
• 14:00
  Speaker 4: Narcotics Bureau.
• 14:01
  Speaker 5: Now, Albert, do I look like I'm taking narcotics?
• 14:04
  Speaker 4: I wouldn't swear to it.
• 14:06
  Speaker 5: You don't understand in those little glass bottles. It's a
• 14:09
  Speaker 5: secret of one hundred thousand dollars, and I'm going to
• 14:12
  Speaker 5: show you how I do it. First, we take a
• 14:15
  Speaker 5: plastic cube out of my pocket, so we put it
• 14:18
  Speaker 5: down on the grid in the middle of the floor. So,
• 14:22
  Speaker 5: now if you will kindly step to the outside of
• 14:25
  Speaker 5: the white line painted on the floor back there. Go ahead. Now,
• 14:32
  Speaker 5: mister person, we'll turn on the machinery. I take this
• 14:39
  Speaker 5: pile of catalyst. Thus I pour it over the plastic block.
• 14:43
  Speaker 5: So now we.
• 14:46
  Speaker 2: Wait well there at the edges of that loft and
• 15:02
  Speaker 2: watch that tiny plastic block sitting in a frame on
• 15:05
  Speaker 2: the middle of the floor.
• 15:06
  Speaker 4: And then suddenly it began to grow. In about twenty.
• 15:09
  Speaker 2: Minutes, that cute little plastic block stood about twenty feet
• 15:13
  Speaker 2: on the side, it almost touched the skylight, and there
• 15:16
  Speaker 2: was about.
• 15:16
  Speaker 4: A foot of clearance on each wall.
• 15:18
  Speaker 9: She The long organic chain of molecules in the plastic
• 15:21
  Speaker 9: is infinitely expendable.
• 15:23
  Speaker 8: Under the right condition.
• 15:24
  Speaker 4: To that effect, by applying the right.
• 15:26
  Speaker 9: Foltages in series, we can expand the cube to about
• 15:30
  Speaker 9: this size. But there's an outside limit due to the
• 15:34
  Speaker 9: cohesive charge on the molecule.
• 15:36
  Speaker 4: All naturally.
• 15:37
  Speaker 2: Naturally, of course, those molecules do stick together.
• 15:40
  Speaker 8: Well, it's the catalyst that does it. And I make that.
• 15:43
  Speaker 8: I make the catalyst. You hear that they're in I
• 15:47
  Speaker 8: make it.
• 15:47
  Speaker 5: Now, calm down person. Without me, you just have a
• 15:50
  Speaker 5: great big blob of plastic. I'm the one who turns
• 15:53
  Speaker 5: it into money. You see, albert a cube this big
• 15:56
  Speaker 5: is the softest putty inside. I take my pneumatic drill
• 15:59
  Speaker 5: and make a hole in the bottom, and then my
• 16:02
  Speaker 5: tools and I start to carve my pretty sculptures inside.
• 16:04
  Speaker 9: Kelly, And I'm warning you, I won't take this kind
• 16:07
  Speaker 9: of treatment for long.
• 16:08
  Speaker 5: A calm down person. You're getting your ten percent cut ten.
• 16:11
  Speaker 9: Percent, ten percent. Why before I brought you this process?
• 16:15
  Speaker 9: The only art work you could get people to look
• 16:17
  Speaker 9: at was mustaches on subway advertisements.
• 16:20
  Speaker 5: Person. That is the typical wailing of the non creative technician. Envy,
• 16:25
  Speaker 5: pure envy for genius. Now look out, I'm going under
• 16:28
  Speaker 5: there and start work.
• 16:29
  Speaker 9: I want fifty fifty percent. That's only fair, isn't it.
• 16:34
  Speaker 9: I put it to humans, Collins.
• 16:36
  Speaker 4: Just keep me out of it, gentlemen, leave me at it.
• 16:38
  Speaker 8: I'm warning you, Therian, I'm warning you.
• 16:40
  Speaker 5: Just get out of my way.
• 16:41
  Speaker 6: Grease monkey.
• 16:42
  Speaker 5: Let an artist work.
• 16:50
  Speaker 4: Ralph crawled under the giant cube and started to work.
• 16:53
  Speaker 4: I could see what he was drawing, A.
• 16:55
  Speaker 2: Collection of lovely lady, something like the closing number at
• 16:58
  Speaker 2: the Union City Burlesque.
• 17:00
  Speaker 4: It didn't look very good.
• 17:01
  Speaker 2: The lions were kind of thick and muddy, had a
• 17:04
  Speaker 2: kind of a soft and sloppy quality to it. Just
• 17:07
  Speaker 2: about it as if you were carving in butter. Took
• 17:10
  Speaker 2: him about an hour, and then he crawled out.
• 17:12
  Speaker 5: Ugh, just about in time. What does it say on
• 17:14
  Speaker 5: that watch?
• 17:15
  Speaker 9: You've got about twenty seconds left. You cut it pretty fine.
• 17:18
  Speaker 8: The ether are in.
• 17:18
  Speaker 5: It's all right, it's a masterpiece. Wait a minute, Okay,
• 17:22
  Speaker 5: now there he.
• 17:23
  Speaker 2: Goes, Well, now what happened was that plastic cube that
• 17:35
  Speaker 2: was blown up to about twenty feet on the side
• 17:37
  Speaker 2: suddenly popped like a balloon with a.
• 17:39
  Speaker 4: Cigarette stuck in it.
• 17:41
  Speaker 2: And what ended up was that tiny little two inch
• 17:44
  Speaker 2: cube sitting in the middle of the floor.
• 17:46
  Speaker 4: Ralph picked it up and brought it over.
• 17:49
  Speaker 5: Look at it. Beautiful, beautiful, the work of genius.
• 17:53
  Speaker 4: The work of science makes a real nice paperweight.
• 17:56
  Speaker 5: Albert, my friend, what you have just seen was the
• 17:59
  Speaker 5: creation of a twenty thousand dollars masterpiece. Take a good look.
• 18:08
  Speaker 4: I did take a good look.
• 18:10
  Speaker 2: The whole design was there, but what had looked to
• 18:13
  Speaker 2: me like kind of a muddy buttery picture when it
• 18:16
  Speaker 2: was twenty feet high was now sharp and.
• 18:19
  Speaker 4: Beautiful and clear as a snowflake.
• 18:21
  Speaker 2: I went back to the studio and demonstrated my independence
• 18:24
  Speaker 2: by scheduling two solid hours of Dizzy Gillespie. The next day,
• 18:28
  Speaker 2: I got a telephone call just before I went.
• 18:30
  Speaker 4: On the air. It was Ralph asking me to come
• 18:32
  Speaker 4: over to the studio. Said it was important.
• 18:35
  Speaker 2: So after the show, I shook the last song plugger
• 18:38
  Speaker 2: out of my left heels and headed down to Ralph
• 18:39
  Speaker 2: Theurian's loft. I found that fellow Berson walking up and
• 18:43
  Speaker 2: down at the edge of the room, looking at.
• 18:44
  Speaker 4: A stopwatch nervously.
• 18:46
  Speaker 2: They had another plastic cube blown up in the middle
• 18:48
  Speaker 2: of the room, and Ralph was inside the cube working.
• 18:51
  Speaker 4: They were having quite an argument.
• 18:53
  Speaker 9: I know you got paid off today, theory in one
• 18:55
  Speaker 9: hundred thousand dollars. I know you got it, and I
• 18:57
  Speaker 9: want buy shit fifty percent.
• 18:59
  Speaker 8: Don't bother I'm working, Hi, Ralph, Hi, Albert.
• 19:03
  Speaker 5: Just a minute.
• 19:04
  Speaker 8: Why do I crawl out?
• 19:04
  Speaker 9: I warned you. You can't say I didn't warn you.
• 19:07
  Speaker 9: There'll be no more of the catalyst, no more.
• 19:10
  Speaker 5: Listen to him, al That's why I ask you over.
• 19:13
  Speaker 5: I wanted a witness, and you're the only one who
• 19:15
  Speaker 5: knew all about it all.
• 19:16
  Speaker 2: Now look, gentlemen, I told you not to get me
• 19:18
  Speaker 2: involved in this.
• 19:19
  Speaker 5: Now listen, This little worm, this test tube termite, had
• 19:23
  Speaker 5: the gall to threaten not to bring any more of
• 19:25
  Speaker 5: that catalyst.
• 19:25
  Speaker 9: I warned you, I warned you. I want my share
• 19:27
  Speaker 9: of that one hundred thousand.
• 19:29
  Speaker 5: If you'll excuse me, I'll get back into that masterpiece.
• 19:32
  Speaker 5: That catalyst is only good for two point seven hours.
• 19:35
  Speaker 5: Hand me the drill.
• 19:35
  Speaker 8: Will your Burson here? Hey, here. It is what I
• 19:39
  Speaker 8: warn you.
• 19:41
  Speaker 5: Classic tough today.
• 19:42
  Speaker 8: Hi lord great, I.
• 19:44
  Speaker 9: Wanted him, I warned him, he must have the money
• 19:47
  Speaker 9: here somewhere, Yes, it must be somewhere.
• 19:50
  Speaker 8: Pills, pills, your check stuffs.
• 19:53
  Speaker 5: What are you doing over that person?
• 19:54
  Speaker 8: Looking? Just looking? Well, if you're looking for that hundred
• 19:57
  Speaker 8: thousand dollars, you can stop. I've got it right here
• 20:00
  Speaker 8: in my pocket.
• 20:01
  Speaker 5: I don't bother me while I finished work.
• 20:03
  Speaker 10: What what tillan didn't come out of there? Come out,
• 20:06
  Speaker 10: come out.
• 20:06
  Speaker 5: I've got to finish that.
• 20:07
  Speaker 8: A little more. Come out. You don't understand, Come out,
• 20:10
  Speaker 8: Get out of.
• 20:11
  Speaker 4: My way, mister Collins with pleasure billion.
• 20:13
  Speaker 8: Hand me that money quick.
• 20:15
  Speaker 5: Get out of my way. Person, I'm working.
• 20:17
  Speaker 8: But listen, you don't understand the catalyst.
• 20:20
  Speaker 4: Go me.
• 20:20
  Speaker 10: Let call me the catalyst. I made it up past strength.
• 20:24
  Speaker 10: Give me that money quick. The money.
• 20:39
  Speaker 4: Well, that's all it was to it.
• 20:42
  Speaker 2: I figured out that little fellow from the plastic company
• 20:44
  Speaker 2: figured he'd get himself a use sculptor when he made
• 20:47
  Speaker 2: up that catalyst half strength. The two of them were
• 20:50
  Speaker 2: in there when the roof fell in the roof and
• 20:53
  Speaker 2: the walls. Well, that's about all there is to it.
• 20:57
  Speaker 2: Figured you might be able to use the story. I
• 21:00
  Speaker 2: wrote a few notes on it. They're here somewhere under
• 21:03
  Speaker 2: the paperweight bot. You like to see the paperweight, little
• 21:08
  Speaker 2: plastic cube about two inches.
• 21:12
  Speaker 4: Look in there.
• 21:14
  Speaker 2: Two fellas with their hands around each other's throat. Looks realistic,
• 21:18
  Speaker 2: don't it? As if they were squeezing? Of course, This
• 21:22
  Speaker 2: one's in improvement on the work Ralph Theorian did. This
• 21:26
  Speaker 2: one's in full color. You have just heard X minus one,
• 21:42
  Speaker 2: presented by the National Broadcasting Company in cooperation with Galaxy
• 21:46
  Speaker 2: Science Fiction Magazine, which this month features the Victim from Space,
• 21:52
  Speaker 2: a time to sew, a time to reap, a time
• 21:55
  Speaker 2: to live. All the Agathians agreed with this, but not
• 21:58
  Speaker 2: when it came to a time to die. Galaxy Magazine
• 22:03
  Speaker 2: on your new stand today tonight. X minus one has
• 22:07
  Speaker 2: brought You Real Gone by Ernest Cannoy, based on an
• 22:11
  Speaker 2: idea by al Jasboll Collins and starring al Jazzboll Collins
• 22:16
  Speaker 2: as himself featured in our cast, where John Beregray as
• 22:21
  Speaker 2: the late sculptor, Ralph Thirion, John McGovern as his equally
• 22:25
  Speaker 2: late scientific collaborator, and Harold Huber as the fabulous Larry Oss.
• 22:33
  Speaker 5: This is Fred Collins.
• 22:35
  Speaker 2: X minus one was directed by Kenneth MacGregor, and there's
• 22:39
  Speaker 2: an NBC Radio Network production. NBC takes you across the nation,
• 22:53
  Speaker 2: around the world with news on the hour and the
• 22:55
  Speaker 2: exciting hotline service all day, every day. On most of
• 22:59
  Speaker 2: these dates.
• 23:05
  Speaker 1: X minus one has concluded with real Gone, Good evening,
• 23:09
  Speaker 1: and thank you for joining us for another radio broadcast.
• 23:13
  Speaker 1: Follow Old Time sci Fi Radio for more classic science
• 23:16
  Speaker 1: fiction broadcasts.