Produced by Greg Weeks, Stephen Blundell and the Online Distributed Proofreading Team at https://www.pgdp.net _We proudly enter a new name in the science-fiction sweepstakes. This is Mr. Rubin's initial appearance in the field. His literary efforts to date add up quite handsomely, we think. QUOTE. I have sold to the TV show, TALES OF TOMORROW and two literary quarterlies have published my fiction. Last year I won the Stephen Vincent Benét Award for my one-act plays produced at Stanford University. UNQUOTE. The reading pleasure is yours._ the second voice _by ... Mann Rubin_ Spud, world-famous dummy, talks to Mars with surprising results. Crawford completed the rehearsal in less than an hour. He listened to the orchestra run through its selections, okayed the song the guest vocalist had chosen, then finished up with a long dialogue between Spud and himself. When it was over he checked timing with the program director, made a few script changes and conferred briefly with a Special Service Officer about the number of troops the auditorium could hold. Everything was running smoothly. It was going to be a neat, action-packed show. Backstage he looked at his watch. He had almost two hours before the regular show began and he was restless. Two hours at Harlow Field could seem like two years. Guards and restrictions all over the place. Harlow Field was the largest experimental base in the world, a veritable garden of atoms, the proving grounds for every secret weapon ever imagined. The security and the tight regulations gave Crawford the jitters on each of his visits. He smoked a cigarette and tried making small talk with some of the soldiers on backstage detail. He posed for a picture and gave an interview to a reporter from an army newspaper, then excused himself and went to his dressing room with Spud propped in the crook of his arm. He was used to it now; the applause, the audiences, the pictures, the autographs, the fuss. Everywhere the response was the same. They had either seen him in the movies or on television or in the nightclubs, where he first broke in his act. Now they wanted to establish an identity with him, to touch the merchandise, to stand close so that they could write home about the visiting celebrity. Crawford was a realist. It was all part of being a name. It had taken him just five years to make the big time. Five years of road shows, coast-to-coast tours, one-night stands and a dummy named Spud to make him the hottest ventriloquist in the business. His act was tight, well-paced and popular. He had a weekly radio show, a television program and a seven-year contract with a major Hollywood studio. He was riding high.