 Box 13 with the star of Paramount Pictures, Alan Ladd, as Dan Holliday. Box 13, care of star times. I don't know whether going after a ghost is your idea of an adventure, but I think I may have one for you. I don't believe in ghosts either. At least I don't think I do. However, if you're interested, my name is Michael Davis. I'm an artist and my studio is at 183 Lincoln Muse. I'm there almost all day. I'm there almost all day and any day. So if you'll drop around, this may be interesting. Michael Davis. So Mr. Michael Davis didn't believe in ghosts. Well, neither did I, until I met Mr. Davis. Back to Box 13 and Dan Holliday's newest adventure, The Haunted Artist. Ghosts? Gee, Mr. Holliday, are there such things? Ever see a bank account after March the 15th? Skip it, Susie. Michael Davis. He says he's an artist. Do you know anything about art, Susie? Well, I've been to the museum where they have that statue of the Venus be the male. That's Venus de Milo. The one without arms? Well, art is long and time is fleeting and the same goes for Dan Holliday. And it looks like a trip to Mr. Michael Davis is in order. See you later, Susie. Half hour later, Michael Davis and I were introducing ourselves and shaking hands. I liked him and he looked like an artist, except when he grinned. Then he looked and seemed a lot younger than his old 33 or 4. And he grinned, as he said. So you advertised for adventure just to get plots for your stories, huh? Yes, that's a general idea. Maybe I'll be able to use yours. Well, this sounds insane, but I think this studio is haunted. Or I am. Why? Do you hear the patter of cold little feet and a clank of chains at night? I wish I did instead of... called common luck. You see that easel in the corner? There's a painting on it. I've got it covered now, but... But what? Well, look. Take a good long look. I did. What I saw was one of those surrealist things. It was a desert with queer figures raising their arms to a brassy sky and a vicious looking sun. Somehow it gave me the shivers. I was staring at it when... Well, Holiday, what do you think of it? What am I supposed to think of it? Meaning you don't like it? Well, I don't know. I hadn't intended you to criticize it. Just look at it and see if you notice anything wrong. Go ahead, I'll keep quiet. I looked again and something did strike me as being a little odd. I moved in for a closer look. Stood there for a moment. Uh-huh. You've got it, Holiday. That stone quarry painted in the right-hand portion of the canvas. Yes, it doesn't belong. I mean, I mean it's out of place. I didn't paint it. Maybe we'd better go over the signals again, Davis. I... I lost the ball on that play. I don't blame you, but it's the truth. I did not paint that quarry in there. Look at it. The technique is different. Yes, the brushwork's not like the rest. Exactly. And that painting has to be done in three days. I've been working on it for seven months and it has to be finished. Why, what's the rush? Well, I've been invited to hang a canvas in the Bernier Galleries. Oh, which means you've arrived. Bernier's being taught what the big leagues is to baseball. Exactly. You see, Holiday, I started the painting seven months ago. Everything was fine for a time. And this stuff. What Davis told me was this. He'd finish work in the evening, cover the painting and turn in. Then in the morning, when he'd take the cover off the canvas, the quarry would be painted in. It happened six times. The last time was the night before he wrote his letter to box 13. He was sure no one had entered his studio during the night. He'd locked his windows and doors, but still it happened. It's driving me crazy. I've lain awake at night trying to catch the person responsible, but nothing doing. He never shows up when I'm waiting for him. Have you told the police? Oh, sure. They thought I was just two steps ahead of the man in the white coat. You're sure you've locked up every night? Look at the door. New locks, two of them. Even the window fasteners are brand new. Those are the only entrances? And exits. No holiday. No one comes in through the doors or windows. I'll swear to it. But someone has to, Davis. Unless... unless I am leaving the rails? No, I don't think so. Thanks. Even my best friends won't tell me that. Well, uh... Michael, darling, I brought dinner. Oh. Come on in, Betty. Here, Mike. Here, take some of these packages. Here. Betty, this is Dan Holiday. Dan, this is my fiancee, Betty Harper. Hello, Dan. And my name is Betty. Well, thanks. I'll use it. Mike, darling, I've invited Kit and Anne for dinner. Is that all right? Sure. Will you stay, Dan? Oh, I'm afraid I can't besides I'm... I'm unexpected. Oh, no, we've got plenty. Spaghetti, salad, wine. Be careful of that bottle, Mike. Here, let me have it. The bag's bursting. Please, I'm not a child. That's a matter of opinion. You will stay, won't you, Dan? Well, I... Oh, please do. We can talk some more about my problem. Problem? Your problem, Mike? Oh, yes. Dan's gonna help about the painting. And I'm a child, huh? There goes the wine. That was clumsy, wasn't it? Accidents will happen, Betty. I can put in that bromide. Oh, Mike, I just remembered. We're to go to the Sutton's after dinner. Huh? Oh, that wasn't a promise. We can't refuse them again. But Dan's gonna... As a matter of fact, I can't stay anyway. I have an engagement, too. Well, all right, but he will return tomorrow, won't you? Sure, I'll be glad to. Good night. Well, well, I like this. It looked good. Especially when Mike's own girlfriend was anxious to deal me out. That Betty didn't want me on the team. As easy to see as the brass button in a collection plate. She didn't drop that bottle of wine. It jumped out of her hands when Mike said I was going to help. Why? I don't have to find that out. I got to my apartment after dinner and sat down to think about it when... Hello? Is this Dan Holliday? Yes, it is. Who's this? Well, never mind. Adjust a moment. Hello? Hello? Holliday, you're to keep away from Michael Davis. Forget the whole thing, understand? Well, frankly, no. Am I supposed to? Well, yes. I mean, look here, Holliday. It'll be awkward for you if you continue. Go on, I'm interested. All right, just remember what I said. Keep away from Michael Davis or you will be sorry. Now listen, this is no joke. But I'm laughing. I warned you. Good night. Brother, whoever you were, that was the worst imitation of a squeeze play I ever heard. Are you kidding, Dan? No, someone called me last night wanted me to keep away from you. Oh, I must have been a joke. Does anyone want to keep this painting out of the burner galleries for some reason? I thought of that. You mean sabotage, sort of? Yeah, that's it. Well, who? No one I know of. You're sure, Mike? Of course. Have you done any work on the canvas today? Yes, I scraped off the stone quarry and started my own work again. Then I've got an idea. What time is it? Four o'clock, why? Got any ceiling wax? Ceiling wax? Well, no, I haven't. Well, can you get some? Well, yes, there's a store a block down the street, but what do you want with ceiling wax? Well, for one thing, we're going to prove there's no ghost. Or... Or what? Or that there is one. Run down, get the wax. All right, you're the boss. Make yourself at home. I'll be back in a few minutes. I worked fast to get the thing done before Mike came back. I took every tube of paint, every brush, every palette I could see and wipe them clean. Then I put them back where they had been, just in time. Mike came back handing me the ceiling wax. Will this be enough, then? Oh, yes, I think so. Okay, now we'll lock all the windows and be sure they're locked. What are you up to? You see, we can find out if someone gets in here while you're asleep. We'll seal the locks and bolts for this wax. Yes, but wax can be broken. It is. We'll know someone came in the windows of the door. Yeah, but the person could reseal the locks. Ceiling wax melts easily enough. Sure, but he couldn't put the imprint of my signet ring back in the wax without getting the ring from me first. And I'm very fond of this ring. Never take it off my finger. Okay, Mike, let's go to work on the windows. All right, that does it. Both windows sealed. If our ghost gets in now, you'll have to break the wax. You know, there's only one thing wrong. What, Mike? I won't be able to sleep tonight. Oh, it'll take something. You've got to sleep because your visitor won't break in unless you do. Dan, suppose those seals aren't broken in the morning, but the painting's been changed anyway. What then? Uh, we both apply for an outside cell. Now, don't do anything more on your painting. And don't touch a thing. Why not? You want me to help you, don't you? Certainly. Then ask no questions and do as I say. And tomorrow morning, we may have an answer. It was 11 o'clock that night before I left Mike's studio. He had taken a set of divins and was sleeping like a baby. I turned off the lights, checked the seals in the windows. All OK? I let myself out, tried the door. Locked, but good. Then I took the sealing wax and knelt the hung of it to go over the keyholes. And I pressed my signet ring against the wax. I even forced wax into the crack above the door. Initialed that. Michael Davis was sealed in. And whoever, or whatever was doing the dirty work, was sealed out. I hoped. When I got home, I set my alarm for five the next morning. It went off all right. Stumbled out of my bed into my clothes and drove to Davis's studio. I wanted to get there before he woke up. I did, because when I listened to his door, there wasn't a sound. I looked carefully at the seals I'd put there the night before. Well, they were intact. I'll swear to it. Then I rang his buzzer. He was quite a sleeper. Well, he'd taken something and... Who is it? Why don't you come back in a week? It's Dan, Mike. Let me in. Do you always get up this early? I have a contract with the park commissioners to wake up the birds. Fine. It shouldn't happen to a vulture. Sleep all right? Oh, like a top. Distributed all? Nope. Okay. Let's look at the seals. You bet. Well, this one's all right. Mm-hmm. So is this one. And the seals on your door were intact too. Now, take the cover off the painting, Mike. Uh... What if it's been changed again? If it has, I'll buy you a new hat. I... I wear a size seven and three eighths. And make it a gray one. Back to the haunted artist, another box 13 adventure with Alan Ladd as Dan Holliday. Well, the painting was changed. Davis Swarie hadn't done it, and I believed him. But if he hadn't, okay, there had to be an answer. I took all the tubes of paint, brushes and pallets with me when I left, Davis. Also, the painting itself. I wouldn't tell him why. Lieutenant Kling of police headquarters was more curious. What are you doing? Taking a home course and detective work? Yes, I'm on my fourth lesson. It's entitled, How to Be a Nosey Cop. What's the gag, Holliday? Look, there's no gag. I just left a guy who's biting his nails so badly he was working on his elbow a few minutes ago. Kling, run fingerprint tests on those tubes and brushes and pallets. Then compare them with a prints on this glass, will you? Whose glass is it? It belongs to an artist's friend of mine. I swiped it when he wasn't looking. What have you got in that big package? A body. Whose? All right, it's a painting. And you don't know anything about art. I knew an artist's model was. She wasn't as bad as she was painted. Okay, so I don't slay him. All right, I'll laugh at your joke. Now will you do me that favor? Okay, okay. Fingerprint tests on the tubes, brushes and pallets. Compare them with prints on the glass, right? How soon can I have them? For anybody else in a half an hour. For you, three hours, okay? Great. Be back in three hours. After leaving Kling, I went to the Star Times and learned the name of an art expert. An hour later, I showed him Mike's painting. That is quite good. Yours? No, it's a friend of mine's. Good brushwork. Excellent composition. Wonderful color. And with this, this has no place in the picture. Look, I've got a lot of things to do. What I want you to do is look at the painting and tell me whatever you can about it. I'll pay you, of course. Oh, very well. But it will take maybe two hours to do a good job. You understand? Oh, yeah, sure, sure, sure. I'll be back in two hours. Well, it was a miracle, Ron. From Kling to the art expert from him back to Kling. A little less than three hours, Dan. Haven't you finished? Sure. There's your stuff and here's the report. What's the matter with you? Kling, there's no mistake about this report, sir. Mistake? Look, Dan, our boy knows his business. Bet on it. Anything you like. Weren't... Weren't there any other prints at all? None. The prints on the paint tubes and the rest of that stuff were the same as on the glass. All from the same person. But it can't be. I've got news for you. It is. The only person who could have touched those tubes and brushes was Davis himself. Yet why should he sabotage his own painting? One that meant so much to me. And yet... he was asleep when it happened. Or was he? I stopped thinking about it then. I had to get back to the art expert and find out something. It was a day of surprise because when I saw him... Yeah, a fine thing. They pushed me and they took your painting. Ah, who? I'm standing here looking when they come in. I have no time to see who they are. When they push me, they grab the canvas and they're gone. Did you call the police? Yeah, yeah, the police come but I can tell them nothing. I... I don't mind, I don't mind. Were they men? The ones who took the painting? One man, one woman. You're sure there was a woman? Young man. I'm an art expert but I also know other things. I know a woman when I see one even for a second. All right. Now remind them now. What did you find out about the painting? Well, not much. I had not much time but I can tell you this. I think that the right side of the picture was painted by somebody other than the one who painted the rest. You mean that stone quarry wasn't painted by the same artist who did the rest of the picture? I do not think so. There's a different technique, one that is familiar and I think I recognize it. You do? Well, what's his name? The one who painted the quarry. It's a peculiar technique. Some years ago I handled some paintings by this man and... All right, all right. Who is he? Luigi Antonetti. Oh, where can I get in touch with him? Well... What? I want to see him. Where can I reach him? Oh, you're a crazy young man. Luigi Antonetti is dead. Oh, that was great. One more twist like that and I need a corkscrew to take off my hat. There was one person who could answer a few questions for me. Betty Harper. I got her address from Davis and told him to hold base until he heard from me. I guess Betty didn't expect me. Mr. Holliday, I... I was just getting ready to go out. Correct, and you just came in. Where's that painting? Painting? What are you talking about? Betty, I, uh... Oh, hello. Hello. Kit, this is Dan Holliday. Kit says Mr. Holliday. How are you, Holliday? Oh, that voice. The voice of doom over the phone. Well, really, I... Kit, that was a bad job. Well, I... Be quiet, Kit. Where's that painting? Now, Mr. Holliday... You know, you've let yourself in for a vacation and the taxpayer's money with that trick? Now, really, it was a joke, wasn't it, Betty? Mr. Holliday kept really thought he was helping out in a practical joke. Well, wasn't I? Look, will you go? Now, Holliday... Oh. All right. But I must say, it all turned out very stupidly. Okay, Betty. So you've got the painting. Yes. Now, will you please let me alone? Will you let Mike alone? Not before I find out what's going on. What if I told you his career would be ruined? His life ruined, too. Would you still go on? Maybe I don't believe that. But you've got to. I love Mike, and I'm trying to help him. Help him? Look, if Mike doesn't finish that painting, it won't hang in the burners' galleries. What becomes of his career then? You're robbing him of his chance, not helping him. Then I'll rob him of it. I'd rather do that than... Than what? I said enough. Oh, please, please, you've got to believe me, Dan. All I want is for Mike to be happy. And all I want to know is what's going on. And what does Luigi Antonetti have to do with all this? How did you find that out? It doesn't matter. Is Luigi Antonetti still alive? He's dead. And how can he paint that quarry on Mike's canvas? Get out of here! You get out! All right. All right, but I'll find out. If you do, and any harm comes to Mike, I swear I'll kill you. Now get out! That was all from Betty. I would have bet my last penny she was doing what she was doing for Mike. But why? Then I got an idea. Find out about Luigi Antonetti. I looked him up. Found out he'd lived in a small town about 250 miles away. He'd painted there. Okay, so I drove to the little town. Sure, I found out. He was dead all right. I was even shown his grave, and when I looked at it, I... I wanted to reach back and chip the icicles away. I wanted to reach back and chip the icicles off my spine. How could a dead man paint? There was only one answer. He couldn't. Then I learned something else. Antonetti had a pupil. A pupil named Michael Davis. More questions, and finally I found an old school teacher who remembered. Michael, of course. Wonderful boy. Luigi Antonetti taught him painting. He said Michael had a brilliant career ahead of him. I see. Well, Mr. Evans, do you know what became Michael? I think he went to the city, although I haven't heard. When did he go? I believe shortly after he graduated from high school. That must be 16 years ago. Yes, it was right after his best friend was killed. His what? Yes, poor boy. Fell into the old quarry. Quarry? Stone quarry? Yes, it was one night after a senior party. I think, yes. Both lads, Michael and Arthur, were in love with the same girl, you see. Would her name be Betty Harper? No, it's amazing you should know that, yes. How about this, Arthur? Well, it was quite dark. Arthur, I believe, went back to get something. The bridge across the quarry must have broken. Michael was upset for days, even though Arthur was his rival for Betty. Thank you. Thank you very much, Mr. Evans. You'll excuse me, but I've got to hurry. I had an idea, but I had to put more pieces together. So I went back to the city and back to the art expert. Yeah, yeah, it's not only possible, Mr. Holliday. It's quite probable in his early years he would use his teacher's technique. Next stop, the psychiatrist. Certainly, Mr. Holliday, that's quite possible. There are numerous case histories similar to it in general form. Now things began to fit together. The different technique that of a dead man, yet only Davis' fingerprints on the tubes and brushes. Betty's concern and a willingness to see his career stop rather than have me find out the reasons for everything that happened. But I had to bring the whole thing out in the open. So later on, Mike's studio. Let me get this straight, Dan. You say I'm doing that myself, ruining my own painting? Yes, you are, Mike. Don't listen to him, Mike. Now please, old. What's the matter with all of you? Mike, you've got to listen to me. And he's got to listen to me and Dr. Rawlings. Why did you bring a doctor? I'm not only a doctor, Mr. Davis, I'm a psychiatrist. Sick. Are you trying to tell me I'm crazy? No, no, of course you're not. But you will be if you don't let us help. Now listen, you want your career, don't you? Certainly. All right, you won't have it if you don't let us help. It won't be helping. Oh, Mike, send them away, please. Mike, Mike, do you remember a person named Arthur Denning? Denning? Denning. No, I don't. Now will you let him alone? Betty, believe me, this is better for him. Ask Dr. Rawlings. Tell him, Dr. Rawlings. I'm sure Mr. Davis has a guilt complex. Oh, yes. Unless we find out why he'll never finish this painting. Perhaps never finish any other. Why not? What would stop me? Your own mind, Mr. Davis. Mike, you know as well as I that no one came into your studio the night we sealed it up. No one. You were the only person in here. Now do you see? Not quite. What do you want me to do? Dr. Rawlings told Mike what had to be done. Davis agreed. It took only a few seconds for Rawlings to inject a drug into Davis's arm. Then we waited, waited until... All right, he's under. You asked the question, Mr. Holliday. Mike, Mike, can you hear me? Yes. Now listen, Mike, it's 16 years ago. You're in high school, a senior. There's a senior party. It's night. Remember? Yes. It's dark. Who's with you, Mike? Betty. Betty and Arthur. What happened that night, Mike? I killed Arthur. I don't know. Be quiet. How did you kill him, Mike? He had to go back for something. I told him take the shortcut over the quarry. Then what happened? I forgot. You forgot what? The bridge. The bridge was broken. It was dangerous, but I forgot. I wouldn't have sent him. Yes, I know. He was killed, wasn't he? Yes. I loved Betty, so did he. Everyone would have said I killed him, but I didn't. I didn't. I just forgot about the bridge. I didn't mean... All right, that's all. I... I thought he did it deliberately. He refused to admit his guilt, so he completely forgot. He forgot to protect him from guilt. He learned painting from Luigi Antonetti 16 years ago. It was natural at first that he used Antonetti's technique. Then 16 years later, his mind goes back. Back into the past. He controls his hand. He paints as he did 16 years ago. But he paints that quarry. The quarry which was associated in his mind with his guilt. Or what he thought was his guilt. No. What about now? Now? When he wakes up, we'll tell him and he'll be all right. For good. The gallery show have come several new painters of distinction. Not the least of them is Michael Davis, whose intensity of feeling and whose brilliant work... That's good enough, Susie. Well, it looks like he's all right, doesn't it? Gee, isn't the human mind wonderful? Well, it depends on which way you look at it. Uh-huh. I was psychoanalyzed once. Oh, and what did you find out? We've got a lot of mail to open, Mr. Holiday. Oh, good night, Susie. Next week, same time, Alan Ladd stars as Dan Holiday in Box 13. Alan Ladd appears through the courtesy of Paramount Pictures. He's performed in his latest picture, Saigon. Box 13 is directed by Richard Sanville, with an original story by Russell Hughes. An original music composed and conducted by Rudy Schrager. The part of Susie is played by Sylvia Picker, that of Lieutenant Kling by Edmund MacDonald. Production is supervised by Vern Carstensen. This is a Mayfair production from Hollywood.