 Box 13, with the Star of Paramount Pictures, Alan Ladd as Dan Holliday. Box 13, care of star times. I have a proposition for you. One that will bring you $10,000 if you go through with it. But you've got to make up your mind fast. I'm at 658 Carson Street. I won't be there after tomorrow evening. So if you're interested, come to see me. Bring this letter to identify yourself and come to flat number six. Remember, you've got to hurry. That was it. No signature to the letter. Just that sense of urgency that made me feel as though the writer were afraid. He was. And later, I was. Now back to Box 13 and Dan Holliday's latest adventure. Sealed instruction. Well, Susie, what do you make of it? He's in an awful hurry, Mr. Holliday. That he is. And he mentions $10,000. And that, as they say in books, is a lot of gold watchers. He doesn't even sign his name. I bet he's an income tax evasion. What? He's an income tax evasion? Susie, evader. Well, one or the other, he's got $10,000. Uh-huh. Okay, Susie, it looks like the best letter of the bunch for this week. So my address for the next hour or so will be 658 Carson Street. Carson Street ran through one of those neighborhoods where the houses sat one on top of the other. Crowded, dirty, and teeming with people, trucks, and more people. I found number 658, knocked on the door of flat number six. Yes. Who is it? Who is it? Box 13. You've got the letter with you? Yes, I've got it. Put it under the door. Okay. Here it comes. Stand under that light across the hall so I can see you. All right. Come on in. Hurry. Sit down. No, no, no. Keep away from the window. The shade's down. No one can see you. Keep away from it. You've got enough bolts and chains on that door to hold off a tribe of Indians. I know what I'm doing. When we get a good look at you. In the yellow light that came from the one globe dangling from the ceiling, the man looked at me and I looked at him. He was about 50. His face was drawn and pinched. His hands shook and his eyes squinty and sharp slid over me. I didn't like him. Then he seemed to be satisfied and sat down on the chair opposite me. So you're after adventure, eh? That's right. Did you see anyone following you here? Not that I know of. Why? Expecting someone else? I'm always expecting someone. No. No, I'm not. What do you want with me? Are you free to go anywhere? That's what my aunt says. We'll go anyplace, do anything. I usually do. Would you be willing to go as far as the Philippine islands? It's a man-sized errand. Would you go? That's all I want to know. Would you go? Well, that all depends on what I've got to do. The answer is no. There's nothing crooked. I want you to go there and bring back something that belongs to me. Something I've got to have. What's stopping you from going yourself? Look at me. I'm sick. It could be. But you're sure there's no other reason. What do you mean? Well, the bolts and the locks on the door. That fact that you said in your letter you wouldn't be at this address after tonight. The shades drawn. You were afraid I was following. So? So, two and two are four. And the four in this case comes out to... You're afraid to show your face? I have enemies. The ordinary kind? Or the kind that would kill you? They'd kill me. I see. What's your name? You have to know that. It's a little peculiarity of mine. I like to know the people I'm dealing with. My name is Grail. Joseph Grail. Does it mean anything to you? No more than mine would mean to you. Holiday. Down holiday. There's $10,000 in this for you. I don't care about that. What? Oh, the money doesn't interest me. Doesn't it? Money doesn't... I must have said something very funny. You did, holiday. You did. You say $10,000 doesn't mean anything to you. No, it doesn't. I'd better explain. You see, I'm a writer. The stories I get in response to that box 13 ad you answered, well, they pay me amply for my efforts. There's one bore me every minute. But will you go? And do what? I'll give you the name of a man from you to contact in Manila. That's all you have to know now. Then what happens? That will take care of itself. What do you want me to bring back? I told you something that belongs to me. Something I've got to have, something that means life or death to me. That important. We're wasting time. Will you do it? It's adventure and when you get back, I'll give you $10,000. Do anything you want with it. I don't care. But bring me what I want. When do I have to leave? As soon as you can. Oh, one more question. What? Where are you going to get the $10,000? Well? I'll have it when you get back. I see. Do I come here? No, I won't be here. I've got to keep moving because he... He? Never mind. When you get back, put another ad below the one for box 13. Just see you back. I'll get in touch with you. And the name of the man I'm to meet in Manila? You'll find him at the address on this slip of paper. He's expecting someone from me. And here, take this envelope. Don't open it until you get in touch with the man. Sealed instructions, huh? Yes. And holiday. Take good care of that envelope. Hide it. If he knew you were carrying it, he might kill you. And with that little gem as a bon voyage from Krell, I left him. When I got home, I took the envelope he'd given me and had it sewn into the lining of my jacket. Four days later, I was Manila after a nice, pleasant trip on the plane. I went to a hotel and registered. Later that evening, I took a cab to the address of Krell's man. It was a tiny ramshackle place in the street that was so narrow the cab couldn't get through. So I had to get out and walk. And right there is where I should have said quits to the whole thing. That all familiar feeling began tingling my spine. As usual, foolishly, I paid no attention to it. I got to the house. There was no answer. I tried the door. It was pitch black inside. I closed the door behind me. I stood there for a couple of seconds trying to see through the blackness when... Stand right where you are. Who's that? Just stay where you are. The light went on and facing me was a man with a gun. And from where I stood, the muzzle was neatly in line with my third rib. The man looked at me for a moment and... Turn around. Back to me. It's the idea. I don't know yet, but we'll see. Okay, face me. Who are you? Never mind. That who are you? That holiday. Doesn't need a thing. Look down at these. Yeah, we got company, Sergeant. So I see. Sergeant? What is this? Sit down. Look, I came here to see someone. What's the name of the person you came to see? I don't know. If you don't know this man, why did you come here? Come on, talk. I don't see any reason why I should. Would it give you a reason if I told you we're police? I don't know. You don't know much, do you? Why did you come to see this man you don't know? On business. What kind? I was sent here. By who? A man named Joseph Krell. Krell? Well, well, well. Evidently, that explains a lot of things, doesn't it? It could and it couldn't. You say your name is Holiday. That's right. All right, Mr. Holiday. Step over to this other room with me. Come on. Open the door, Sergeant. See you later. Go ahead, then, Holiday. Oh, do you have to keep that gun on me? It's better that way. Now I want to see your man. Yeah. I'd look on the floor behind the bed. Now you've seen him. Who killed him? We'd like to know that, too. You didn't think I did? Maybe you'd like to talk now. Tell us why you came here. Why you had to see Carlos. Carlos? Yeah, the name of the deceased. All right, Lieutenant. Lieutenant Keith Manila Police. This is Sergeant Anrika Kodas. Okay, I was sent here by Joseph Krell. I was to see this Carlos. Why? I don't know. I was to give him an envelope. Where is it? At the hotel. I will find out about that later. Now this Krell, why did he send you? He couldn't come himself. But whatever it was he wanted me to bring back. He said it meant life and death to him. He offered me $10,000 to get it for him. Oh. What was in the envelope? I don't know. Is that your stock answer? Now look, I'm telling the truth. You don't believe it? Check with the police in the States. Verify my identity. We will. But first let's get something straight. Well, that would be a pleasure. Krell sent you for something that was worth $10,000 to him. Did anyone else know about it? Hardly. Why hardly? Because Krell said I might be killed. And you didn't talk to anyone on the plane about it? No. Okay, we'll go back to your hotel and check on a few things. Sergeant. See you, Lieutenant. Stay here. No one in or out. Meet me at headquarters as soon as you can get away. See. Now, Holiday, we'll see how much trouble you're really in. On the way back to my hotel, Keith didn't say much. Neither did I. But I was doing a lot of thinking. Suddenly it hit me. Something Keith had asked me. Something he had no right to ask. And something he couldn't have asked unless... I looked at him. He was smiling to himself. Okay, I had to take a chance. By the way, Lieutenant. What? That building over there. Where? Just to your right. Look out the window. What building are you talking about? Driver. Driver, stop the cab. What is it? What's the matter? My friend, he met with an accident. He's hurt. We should maybe go to a doctor. No, I don't think so. But when he comes to, ask him a question for me, will you? A question, but... Yeah, just ask him how he knew I came to Manila on a plane. And now back to sealed instructions. Another box 13 adventure starring Alan Ladd as Dan Holliday. So there I was. Out in the middle of a big puzzle and a murder. Sure, Keith had killed Carlos to keep me from getting to him. Keith must have followed me from the States. Oh, it was smart of him not to play his cards on the plane or as soon as I got to Manila. He waited until I tried to contact Carlos. Then he planned to get the envelope away from me without any more fuss or bother. Now, I had to get back to the hotel and get that envelope before Keith came too. Because when he did, he was going to be very, very nasty. So back at the hotel, I had a bellhop go to my room and bring down the jacket. Is this the right one, Mr. Holliday? Oh yeah, that's the one. Here you are. Oh, thank you, sir. Will that be all? Yes, sir. Uh-oh. Oh, wait a minute. Yes, sir? Come here behind this pillar. Something wrong, sir? Yeah, there is. Look over at that entrance. Do you see that big man standing there? White hat, gray suit? Yes, sir. I, uh, I don't want to meet him. Oh, I see. Look, you go through the lobby paging me. He'll follow you to see where I am. Lead him and marry Chase, got it? I got it, Mr. Holliday. Okay, get going. Paging Mr. Holliday. Mr. Dan Holliday. Well, the bellhop did it up good. Keith fell for the gag and followed the bellhop just far enough behind him so that he could surprise me if he saw me. But he didn't. I ducked out of the entrance and took a cab to police headquarters. There. Let me get this straight, Mr. Holliday. You say this Keith pretended to be an officer? That's right, Lieutenant Marinos. But why? So he could get this envelope away from me. He'd already killed once to get it. But maybe he thought killing me would attract too much attention. But this envelope, where is it and what is in it? We're going to see that right away. Have you got a knife? Yes. Here. Oh, thanks. Well, this was a good jacket. There it is. Uh, open it. Sure. Well, what's this? May I see it? Here you are. Hmm. This is very curious, Mr. Holliday. It looks like a map. It's half a map, Lieutenant Marinos. Carlos had the other half. Of course, of course. But a map of what? And to what? To whatever Krell wanted. Krell? Yeah, that's the name. Why? You did not mention his name before? Why not? Well, I didn't think it was important. To the Pilipinos, it is very important. I don't get it. Why? During the Japanese occupation of the islands, Joseph Krell was a collaborator. Oh, no wonder he didn't dare come back. But the rest of this business, how does it fit in? I do not know as yet. However, I think I have an idea, Mr. Holliday. Yes, what's that? Before the war, before the Japanese invasion, Krell was a gambler. It was known that he ran a gambling house with a partner. Partner? Keith? Could be, although Keith was not his name then. So what's the rest of your idea? The partner fled when the Japanese came. Krell did not. Now I think the partner would like to find Krell. Mr. Holliday, we must find the other half of this map. Well, Keith has it. I know that. And find Keith. That would be much easier said than done. Unless... Unless to tell? Unless you help, Mr. Holliday. I do not think that Keith will suspect that you have come to the police. He followed me from the States. He must think I'm in with Krell. If he thinks that, then he'd think I wouldn't dare go to the police. Exactly. So... Oh, I see. You want to tie me out as live bait, is that it? It is the only way to get him. Because he will come after this half of the map. Uh-huh. Of course, you can refuse. And I do not say that I would blame you. No, I guess not. But, well, you've got yourself a piece of live bait. And I hope it stays that way. It was the only way to get Keith. Besides, I was very curious as to what that map meant. And why getting something meant life and death to Joseph Krell. So I checked out of the hotel and with one of Lieutenant Moreno's men following at a distance. I took a room on the other side of town and waited. An hour passed. Two. Then when I was beginning to look as though our Mr. Keith was smarter than we'd figured. Come in. Well, hello. Mr. Holliday, you've given me a lot of trouble. You don't want an apology, do you? No. All I want is the other half of that map. Oh, sure. You knock on the door, I say come in, give you the map and that's that. Very simple. Yeah, very simple and very smart. But you don't think I'd have the map on me, do you? Maybe not, but you know where to get it. Let's go. Wait a minute. What for? Why, uh, why don't we make a deal? What kind? Well, neither half of the map is any good without the other. And I'm sure you haven't got yours with you. Oh, but I have. I see. Was it very hard getting it from Carlos? No, not very. No harder than it will be to get the half you've got. Oh, look, we can still make a deal, Keith. Or whatever your name is. Keith will do. Okay. How about it? Maybe you're smart at that. Okay, let's go. After you, Holliday, and don't forget this. It's loaded. You make it easy to remember. Yeah, I can make it very easy to forget by pulling the trigger. None of the back way, Holliday. The back way. Back way? Holliday, how dumb do you think I am? Or how smart do you think you are? You forgot all about Enrique, didn't you? Oh, the sergeant. Yeah. Here, this door. See, Enrique followed us away from Carlos' place. He knew you slugged me in the cab. Enrique seems to have done all right. Just perfect. Get in this car. Go ahead, Enrique. Looking for your cop friends, Holliday? Cops? Yeah. You see, when you pulled that bellhop trick at the hotel, Enrique was outside. He followed you, so you go to the police. It's too bad, Holliday, but there are no police. Oh, I see. Enrique took care of him, is that it? Enrique has been very busy. Now, let's have that half, you gun. I told you I haven't got it. Quit stalling. It was to be bait for me, wasn't it? You and Marina's were so sure you'd have me, you didn't bother to leave the half at headquarters. Let's have it now. Keith looked at me. Sure, he knew he held all the aces, and he held the gun right at my head. Now, there was nothing to do but drag out my half for the map and give it to him. He looked at it, held it against his half. They matched. All right, Holliday, this is the end of the line. You get off here. What do you mean? What do you think? Take the next turn right, Enrique, and slow down a little. Mr. Holliday is leaving us. For good. Keith met it. Enrique started to take the next turn to the right, but I had a different idea. I grabbed the handle of the door, twisted it hard, and jumped. Took a cold fall on my shoulder, rolled over into the ditch on the side of the road. Keith jumped out of the car, started to tour me, shooting as he came. You are not hurt, Mr. Holliday. No, no, I'm not, Lieutenant. Oh, I'm glad. We are a majority of two, Lieutenant Marinos. But Keith... He is taken care of. How did you get here? By putting two strings to my bow, Mr. Holliday. The one man I had followed you was, how shall we say, a decoy? Well, let's say it and be very happy. Is he all right? A little lump on his head, but all right. You know, this was very close. Yes, I am very sorry, Mr. Holliday, but I did not expect Mr. Keith to have a car. However, all is well that ends well, hm? Yeah, sure. Now, how about that map? Come, we will see about that now. With the two halves of the map, we went to work. Crell had hidden something in the hill's back of Manila, hidden it before the Japanese invasion. Three hours later, Lieutenant Marinos and I sat on a box and watched his men digging into the earth. And Marinos talked. You see, this Carlos was Crell's servant. When Crell left the Philippine Islands, he left half the map. Mm-hmm. In case he was caught, a half map would do no one any good. That is right. Keith was Crell's partner. He left. Crell stayed to become a collaborator. Playing two games at once. The Japs won. He'd been with them. The Allies won. Well, he'd have what he had to hear. Exactly. Lieutenant Marinos, we have found it. Please. A box, an iron box. Sergeant, break the lock. Yes, sir. Mr. Holliday, you may have the honor of opening it. Oh, thanks. I lifted the lid and unwrapped a large package done up in waterproofed oil silk. It is quite a lot of money, yes? Quite a lot of money. Perhaps half a million, Mr. Holliday. From the looks of it, yes. And it all belongs to Mr. Crell, a man who betrayed my people and his country. We shall be happy to hold it in trust for him until he cares to come and claim it. Yeah, yeah. I think I'll take him back to something else, though. Something else? What? That. What? That over there. Mr. Holliday, you are a poet. I left Manila the next day with Lieutenant Marino saying goodbye. With me was the iron box I'd come across the ocean to get. But in it was something a great deal different from what Crell expected. Back in the States, I put an ad below my Box 13 ad. I waited, and then... Here it is, Mr. Holliday, right below the Box 13 ad. It says, Holliday, come to 1256 Chickering Place. Okay. That's it, Susie. But why don't they arrest Mr. Crell? Arrest? I think we've got something much better, Susie. Much better. Who is it? Holliday. Let me in. Have you got it? Did you get it? Yes, here it is. Oh, that's it. Yes, that's it, Holliday. I've waited so long for this, so very long. I know you have, Crell. And I'm very anxious to see what you think about it. You didn't open it. The lock looks like it was opened. Why don't you look inside, Crell? Yes, yes. I've saved this key. Oh, your ex-partner is dead. Now you won't have to worry about him killing you for double-crossing him. Good. Good. I paid you well, Holliday. I paid you well. Well, what? Who is this? Who is this? Surprised? It's gone. It's gone. But I brought you something in place of the money well. The flag of the New Philippine Republic. The flag of a people you betrayed. You! You! I'll kill you! You're very sick, aren't you, Crell? Very sick. You never lived to stand trial, but you could have lived well in all that money. Please. Please. Please. Certainly, Crell. Oh, here's the other half of the map, which is why you wrote to me originally. I've not double-crossed you. You can have your treasure any time, Crell. Any time you want to claim it. Where is it? In Manila. And any time you want to go back and claim it, I think the people there will be very glad to see you. Half million dollars. Wow. Who does it belong to, Mr. Holliday? Mr. Crell. But I don't think you'll ever claim it. Gee. But what about him? Where'll he go? Well, what'll he do? I don't know, Susie. And I don't think I really care about a man who would double-cross his own country. Well, anyway, it was exciting for you. You know, I wish I could take a plane trip like that sometime. A plane trip? Good night, Susie. Next week, same time, in the courtesy of Paramount Pictures, Alan Ladd stars as Dan Holliday in Box 13. Box 13 is directed by Richard Sanville, with this week's original story written by Charles Garnett. Original music is composed and conducted by Rudy Schrager. Part of Susie is played by Sylvia Picker. Production is supervised by Vern Carstensen. Box 13 is a Mayfair production from Hollywood. Watch for Alan Ladd in the latest Paramount Pictures.