Hi, everyone. Welcome to this open research about online learning and the fun. I am Alessandro Cada from the Open University. I'm a member of the Rampus. We explore fun and the leader of the RRI Data Network about open science in open education. So, I'd like to start to visit this quote from Paulo Freire, which is the inspiration of my work. Teaching and learning cannot take place outside of research, beauty, and joy. This is from the Pedagogy of Autonomy. So, fun is an important part of a human lived experience. However, its meaning is underexplored by the literature. So, Olafie Project, which is about online learning and the fun. Objectives are to increase awareness about the ways of learning, which refers to epistemic views and the fun to support students' success in higher education. Our specific aims, we will generate open database with open reflectivity tool, co-create open participatory research based on learners' needs, and raise the number of projects with open science to enhance online learning and the fun. And of course, innovating curriculum with open policies. So, our work is now started in the UK during the outbreak in March. We engaged more than 4,000 students and 551 joined as volunteers in our study. Then, during the outbreak, the peak in Brazil, in South America, we developed the second study in June and July with 2,500 open learners and we had 446 participants. And currently, we are developing studies in Portugal, Spain, more studies in Brazil and in Indonesia. So, pandemic is our main concern. And based on various reports from the World Bank, OECD, UNESCO, we can see that there are various factors affecting the educational systems. In particular, the higher drop rates and the gap between low and the high achievers. That map is fresh data you can get from now to day, but this is related to, yes, two days ago, November 16. So, you can see Brazil in the United States really affected by the pandemic. So, we need to think about what are the higher education priorities. It is about the student access, retention, attainment and progression. So, we don't like to see this framework, yes, which we are focused now. What is the value of the fund in online learning during the COVID-19? What are the factors and recommendations to support the student's enjoyment for promoting higher access, retention, attainment and progression. And for that, we are bringing these four components, open education to ensure inclusion, open science to increase the sense of belonging. I'm talking about open participatory science, science with and for society. Open schooling means partnerships and flexibility supported by open policy to integrate flexible learning, lifelong learning, with employability and to shape the desirable future, sustainable world. And that is part of our methodology, which is underpinned by responsible research and innovation, which is important to turn created by the European Commission to align all the scientific developments with the societal needs. So, RRI, which is our approach to explore funding online learning, we have these four categories and these six components. But I would like to highlight how we are using that principles to design our work. So, we are thinking about responsive open research projects developed by anyone interested in explore learning and fun. Also, engaging diverse participants in education, not just from university, but also from curriculum developers, entrepreneurs, policymakers, the community, educators and open learns. And also using open reflexivity tool with open data, open findings and recommendations. So, to show that cycle in a very practical way, with examples about which technologies we are using, about artifacts, I have this complex image. So, number one, we started this work with policy reports. Professor Sheffi started the previous studies to explore epistemic views of learners. How they know that they learn? How do they think they learn? And then this is from Talia's reports, which is about teaching and learning international survey. And he developed Indonesian study about inclusive education. So, in Olaf, we are using audio press and WhatsApp with the open network for researchers. And they are now joined to use our survey, adopt, extend and translate for their countries. So, our preliminary findings is always published in open articles, very accessible, easy, understandable for the public. So, we use the open learners to share preliminary findings with this culture survey, all linked, and we published scientific papers. So, we are collecting now a set of scientific papers that will feed new policies for online learning at the farm. So, to show a little bit about our instruments, this is from the research, as I told you, and it's kind of a self-reflective survey with a liquor scale to understand the epistemic beliefs. How do students think they learn? With social constructivism approach, traditional constructivist banking, like a transmissive, and how they connect to fun with these beliefs. So, we analyze that findings in Coltricks, SPSS, and any people, because they also describe the online learning and the fun in a narrative. So, when we start using Coltricks, we could see that a large number of learners, they believe that learning should involve the fun. If you combine agree, somehow somewhat agree, and strongly agree, you can get more than 89% as you can see in green and blue colors. However, there is a number of participants that indicated that the fun can get in the way of learning. So, as we can see in this fourth graphic, yes, around 16%. So, when we start to analyze the narratives, what students think about the fun in learning, we could see lots of positive words. This is a cloud word in Coltricks. Fun is connected to motivation, enjoyment, engagement, interest, related to life, if you're better, great, no stress or pressure, very connected to well-being, and performance, like knowledge, experience, achievement. Then we use the code analysis to understand what is the relation between that fun and online learning. And we can see more than around 79 categories in any vivo and grouped in seven codes. Fun was linked to activities, content, teaching, tutorials, learning materials, with positive reviews, like engaging, helpful, social, effective, but also negative opinions, like forced, fun, unrelated fun activities. So, to understand a little bit more about students' feeling, we use the sentiment analysis in any vivo. And as you can see in these nine groups, all organized by any vivo, of course, we had to revise. We can see a lot of neutral comments, but positive in many categories. However, three of them, like tutorials, fun activities, and group work, it's not like negative or mixed views are higher than positive. Okay. So, we then use the SPSS to with the principal component analysis to understand groups to explain this phenomenon. What are the students' epistemic beliefs, and how these are related to fun. So, if you can see, we can see like three main components, the green one with many variables. It shows that fun is very connected to social constructivist learning. In gray, there is no fun in traditional transmissive learning. And in red, you can see that fun disturbs constructivist learning. So, we combine these variables to create three indexes, to understand fun and connected to the learning approach. Then, because we could, you know, reward our database, we were looking differently to our qualitative data. And we end up with three things relating to positive value of fun and the relationship of fun and online learning, which I don't have time to go in details, but this is all presented in the journal paper. What did you like to let you know is that because these mixed methods analysis, we were able to understand the better, what it means when you see that learners, they think that fun is unnecessary, because they are not expecting, not needed, affecting individual productivity, and they think that the learning is about the transmission, it's getting content and it's getting activities done. Then, you have constructivist learning, which is more about solving problems, and it requires time, and the most fun must be sensible and related to the learning. And then, you can see social constructivist learning, which enables learners to connect and the learning with the others. Emancipatory learning is about participation, engagement, and the learning life. Optimal learning is about feeling good, reduce stress, enjoy the experience, enjoy, make the effort, and achieve. Learn best. So, this is our database. We decided to combine all categories from SPSS, from any vivo, to extract recommendations. And then, we also put that integrated combined database back to any vivo to understand how our recommendations are aligned with the participant's needs, which you can see in blue and light blue.  We, to interpret the data, we use the lenses of important scholars, Paulo Freire related to social cultural learning, to understand that kind of fun, emancipatory fun, which is about feeling empowered, reflect, act, intervene, improve on improving ourselves. Optimal fun with Mihaly, it's about feeling good. Then, PSG, that individual fun, very intrinsic, is about feeling productive. And Vygotsky, social constructivist learning, is about feeling supported, talking, collaborating with others, and shared experience. So, we used that butterfly to group our recommendations. And we developed three sets of recommendations, which we used a method which is called the consensual review method. We engaged a learner, a educator, and a scholar to analyze the recommendations. So, for learners, we provide the seven, it's study with autonomy, flexibility, good time to enjoy work-life balance, applying learners to real-world communication that may be supportive. It's very important to be open-minded, to interact with others, enjoy fun activities that you feel motivated, focused, and engaged, find your involvement, interest in your studies, identify alternatives, if you feel anxious or bored. So, this is about the learners. For teaching staff, we provided these sets as well of recommendations, focusing on providing activities for the students to select, to choose freely, investigate students' preferences and ways of learning, allow students to discuss and define the common interests, plan very carefully the IC breaking, activities that are fun must be connected, part of the learning, and this must be explicit for them. Enhance students' engagement with a variety of styles of activities that are useful for their lives. So, this is about teaching staff. And then for course teams, we use the students, based on students' needs, learners in general, the first one is about creating, personalize the learning environment with adaptive, different materials to help students with the different needs and preferences, support them to visit experience that they can feel engaged, gain skills at their own pace, including knowledge. And they must visualize that progress, like feeling happy that they are achieving, they are able to see that. And, oh, sorry. And then a variety of tasks, very interactive, including games, cards, all the diagrams, quizzes, podcasts, and a balanced mix of, we call the individual and group activities, all very connected to real life. So, and to finish this presentation, I had this short video, effective and engaging learning with the fun is necessary to empower learners to shape a sustainable and enjoyable world. Thank you. Thank you so much, Alexander. We have a couple of comments and questions. One is that everybody is very impressed with the quality and quantity of your data. So, big cheer for you. And one question from Matilda is how would we apply the butterfly of fun to assess or evaluate a course? And is it culturally transferable? Yes, you are very welcome for that, because now we are thinking all about these interesting questions, how to apply the butterfly in assessment, particularly because there are many kinds of assessment, formative assessment, co-assessment, summative assessment. So, we needed to understand that assessment is very connected to evaluation, and evaluation means value, give value for students learning. And that is connected also with student satisfaction, enjoyment, achievement. So, if we can understand the fun element in all these different models and the types of learning, then it's really possible to see the correlation or examine, investigate the correlation about the fun for the students that are warning us about what means fun for them with their achievements. And this will help not only learners, but the course teams, teaching staff. So, we are welcoming any researcher that would like to join our network with more questions, and we'll be providing also guidance about how to use open science, and it should develop also policy at local or global level. Okay, thank you so much. Unfortunately, we're out of time. Stop recording, please.


Box 13, with the star of Paramount Pictures, Alan Ladd, as Dan Holliday. Box 13, care of the star times. If $50,000 is of any interest to you, come to see me.  At present, my address is 756 South Marvin Boulevard. Please come along. And don't tell anyone about this. Six South Marvin Boulevard, please come along. And don't tell anyone about this letter, Simon Andrews. The letter was dated two days before I received it. And this was one time I wish sleet or snow or winds or anything had delayed the swift courier on his route. And now back to Box 13 and Dan Holliday's latest adventure, Killer at Lard. It was written two days ago, Mr. Holliday. I know it, Susie. And you were out of town, so I couldn't get in touch with you. Well, it wouldn't have made any difference. I couldn't have made it back in time anyway. Gee, you're not going to follow up this letter, are you? It's obviously the work of a handle. A what?  Oh, a crank. Oh, but you're not going. I sure am, Susie. Oh, no. You wouldn't kill him. Oh, of course not. But I do want to know why Mr. Andrews wants himself killed. And I'm going to try and talk him out of it. The fact that I hadn't received the letter for two days had me worried. A lot of things can happen in two days. So I went to the address of Mr. Simon Andrews. It was night. There wasn't a light in the big house. I walked up the front stairs, punched the doorbell, and heard a ring inside. You want somebody in there, bud? Huh? Where did you come from? Never mind where I came from. The point is, where do you think you're going? I was going inside, if the door opens. Step back away from that door. With your hands up. What's your idea? It's not an idea, bud. It's a reality. Awful real. Go on. Step away and keep your hands up. After you. Thank you. Straight ahead. Go on. I'd still like to know what the score is. About 10 to 0. And you're carrying the short end. Keep going. And stop at that door to the right. Get away from it. Tony, what's this? This is something that I picked up on the front steps, Mr. Andrews. Bring him over here. Was it you who rang the bell? That's my usual way of getting into houses. Who are you? Who do you want? You're Simon Andrews. Maybe I am. Maybe I'm not. I said, who are you? My name is Holliday. Dan Holliday. That means nothing. What'll I do with it, Mr. Andrews? Wait a minute, Tolling. Holliday, what did you want here?  Watch him, Tolling. At your own request, Mr. Andrews. Look. Keep your hands away from your pockets. Wait a minute. Let's see what you got in there. Go ahead. No gun. No knife. I don't understand. That makes three of us. A nice cozy group. Here, I was going to give you this letter. I think you wrote it. Yes. I wrote this. And you... You're Box 13. Yes, I am. It's all right, Tolling. Leave us alone. Huh? You sure it's all right? Yes, yes. Go on. Go back to your post. Sure. I'll be right outside the window. Now, Mr. Andrews, what gives? I'm sorry, Holliday, but... I'm afraid. Afraid of what? Of being killed. For a man who wanted to be killed, you're doing a lot of unnecessary work. Why didn't you come when you got the letter? I was out of town for a couple of days. Oh, I... Please, s-s-sit down. Would you like a drink? No, thanks. I'll have one. You mind? Go right ahead. It's your house. When I wrote that letter, I wanted to be killed. Why? Maybe I'm crazy. I don't know, but I was sick of living. Just sick of it. Can you understand that? Not yet. I like to see flowers and bees and birds. You're younger than I. Anyway, I was a kind of morbid thrill thinking that someone was actually going to kill me. Did you really think I'd do it? I didn't know. I took the chance. Well, don't worry. My only reason for coming here tonight was to see what prompted this letter and to talk you out of it if possible. I wish you'd come two days ago. Why? I want to live now. I've met someone, and I want to live. Go right ahead. I have already paid someone to kill me. You... You what? You're crazy. Not now. I was. You can't be serious. I am.  Someone I paid $25,000 to do it. I don't know who. I don't know when or where, but he's going to kill me.  Go to the police. I can't. Your life depends on it. I know, but I can't go. If I do, there'll be no variety. I wouldn't have cared before, but I can't let that happen now. You know, I've met some strange people through my head in the start of times, but if you want the trophy, there'll be no argument. Put it on your metal. Don't joke. I'm not. You've got yourself into this. Now, get out. Maybe. Maybe you can help. Sure. Maybe you can. Oh, no, I'm sorry. Look, I'll pay you whatever you want. I can afford it. Oh, sure. If you can afford $25,000 to get yourself killed, you can pay more to stay alive. That's it. But not to me.  Let the killer keep the money, but call it off. Don't you think I've thought of that? Then what's the matter? You didn't read this newspaper, did you? No, why? Look at the headline. Benny Franklin slain.  So, who cries about this? Franklin was the man to whom I paid the money. I paid him to find someone to kill me. Well, well, well, you really locked the door on yourself, didn't you? Do something. Oh, just like that. Franklin was the only man who knew about our deal. I paid him in cash. What do you think I could do? Anything.  I'll pay whatever you say. Look, Andrews, it isn't a question of money. It's a question of looking through the well-known haystack for the equally well-known needle. I would know where to start. Take my advice and take a chance on going to the police. Hire private detectives, anything. I can't. I can't. Please, holiday, help me. Good heavens, you'd give help to a dog if you needed it. I'm grasping at straws. I'm afraid to leave the house. I hire tolling as a bodyguard. But sooner or later the man who's out to kill me will get to me. Please, holiday, please. All right, Mr. Andrews. But if at any time I find things getting a little hot, I'll go to the police myself. That's the only way I'll make the deal. All right, all right, anything. Now, you paid Franklin. Franklin evidently knew someone who would be willing to pull a trigger or use a knife. But you have no idea who. None. Then we've got to find a starting point. And the starting point is Benny Franklin. He's dead, man. He's dead. Very, but he must have left a family. Of course. The paper says something about his mother. I'll try to see her tomorrow morning. Tomorrow? Why not tonight? Because the police will be questioning her, watching her house. You'll have to wait until tomorrow. Then I'll see her. Well, I didn't like the setup. Andrews was a fool and obviously a psychopathic case. But he was in trouble. So the next morning I saw Franklin's mother. I can't tell anybody anything else. I told all I knew. To the police? Yes. Yes, to the police a hundred times. My... My boy's gone. What good is all this? I'm not the police, Mrs. Franklin. Then why do you want to know about Benny? Maybe I'm a friend of his. I don't know you. I never saw you before. Look, Benny once did me a favor. Call me a friend of his for that. I don't know your name. It's holiday, Dan holiday. Where did Benny know you? Well, let's not talk about that. What I want to know is, what did you tell the police? Everything I could. What was that? What do you expect me to tell you? I don't know. Maybe who his friends were or what? He was killed. He was killed by somebody who hated him. There was a man named Scott. Scott? Did you ever see him? No. I told the police. Benny saw him often. He always went out to meet him. Why? I don't know. Was there anyone else? No one I knew. Benny never brought his friends here. No, I guess he wouldn't. Now, Mrs. Franklin, did your son recently come into, well, a pretty good sum of money? Money? He always had plenty of money. I never took any of it. I wouldn't touch any of it. No, of course not. But what did he tell you if he came in to say $25,000? No, he wouldn't tell me. Why are you asking that? I have my reasons, Mrs. Franklin. Maybe if we knew he had the money, and if we could find out if he gave it to anyone, we might be able to learn who killed him. Don't you want to see his murder cause? I don't know. He was your son? Yes. My son. I was ashamed of him for what he was, but I loved him. Yes, I know. But thank Mrs. Franklin. Did he have that much money recently? No. No, I don't think he did. You're sure of that? When he had money, he spent it all at once. Then if he had had as much as $25,000 recently, he'd have put on quite a show, huh? Yes. Yes, yes. But what good is this? I don't know yet. And you can't tell me anything more about this, Scott. Well, Benny went to meet him the night he was killed. All right, Mrs. Franklin, it's all for now. And thank you. What are you going to do? Look for a man named Scott who has suddenly come into $25,000. That was all. Look for a man named Scott who had a lot of money. A killer would make himself hard to catch. Well, the starting place was one of Benny Franklin's favorite places. Then another, then another. Then finally in the bar of a little cocktail lounge. Yes, sir. What can I do for you? Quite a bit, I hope. Huh? What'd you say? Look, my name's Holiday. I'm a writer and I thought perhaps you could help me out. Oh, you want me to write something for you? Oh, no, no. But I'm interested in Benny Franklin's case. Oh, uh, so? Yeah, he, uh, he came here quite a lot, didn't he? Well, lots of people do. But Franklin came here more than lots of people. Maybe. Can you tell me anything about him? Mr. Holiday, there's something like five newspapers in this city. Pick up any one of them and read all about Benny Franklin. That's not the kind of stuff I want. Well, that's the only kind of stuff you get. Even for this? You could buy a lot of newspapers for that 50. But not a lot of information. What makes you think I can give you any? Just 50. What you want at all? Anything you can tell me. Well, I heard that Benny Franklin wasn't the big boy in the gambling outfit. Oh, you sure? That's what I hear. There was a lot of talk around that Benny was getting too big. I see. But I'm not interested in that part of the story. What you mean? I want to know about a man named Scott. Don't know him. You never heard of him, huh? I, no. Who is he? Where is he? I don't know. I don't know nothing about that. Scott's a trigger man, isn't he, a killer? Uh, oh. Did I make you hysterical? Well, yeah, kind of. But I'll tell you something, Mr. Holiday. You got something finalist to fill up? Sure. Well, you're looking for a guy named Scott. That's right. But you ain't going to find him ever. What? I'll tell you. And it's all I'll tell you. And then you leave here, Mr. Holiday. All right, go ahead. You ain't going to find a guy named Scott, because there just ain't a guy named Scott. And now, back to Killer at Large, another Box 13 adventure with Alan Ladd as Dan Holiday. Oh, there wasn't anyone named Scott. I didn't believe the bartender in that cocktail lounge. I didn't believe him because Franklin's mother had told me Scott saw a lot of Benny. But maybe Mrs. Franklin could be mistaken. I went home and thought it over. The more I thought, the less sense it made. According to the bartender, I was looking for a man who didn't exist. According to Simon Andrews, I was looking for a man who was going to kill him. Later that night, I decided to pay Mr. Andrews a visit. I was leaving my apartment building when... Don't turn around. Just keep walking, Holiday. What? Just keep walking, I said. What's the idea? Turn in the alleyway. Go on. It's good enough. Now face the wall of the building with your hands up. Way up. How's this for size?  You've got no gun. Everybody seems surprised at that. Maybe I should carry a few guns to keep people happy. It could be healthier for you. Now, why were you asking for Scott? How do you know I was? Friends. Who, Tenbar? Could be. Come on, Holiday, why were you asking about Scott? I have an uncontrollable curiosity about men having that name. I collect them. I don't want to have to do that again, Holiday. And I want good answers. That's the kind I don't have.  I could be Scott. Yeah, I had that idea when you asked me to go for a walk with you. Who sent you to that cocktail lounge? No one. I said I want good answers. I gave you one. No one sent me to that bar. You just happened to go in and ask about Scott. That's practically it. Who told you about him in the first place? Franklin's mother.   Who might argue with a gun? Turn around. Well? Hang on a minute. I want to get a good look at your face. Do I look any better by match light? I've never seen you before. I wish you never had. Who got you in town? Who did what? Come on, come on. You ain't one of them. I'm getting old. We ain't got a gun. What's your pitch? You know, I think we're going at this the wrong way. We're asking each other questions. Suppose we just settle down to a couple of true confessions. Where are you from? Why? I don't know what this pitch is, but who sent you out to get me? Get you? Yeah, you come in to put the finger on me. And I didn't come in here alone. Look behind you. What? I stand still. Don't, please don't. My, my, what a big difference a gun makes, depending on who holds it. Now, who are you? My name is Nicky. Last name, Scott? No. Would you like to be caressed with your own gun? No, no, please. Please tell Scott I won't do it anymore. Please give me a break this time. I'll get out of town. I'll do anything, but let me go. Did you say I should tell Scott? Sure. I was just going to put the bite on him once, just enough to set me up, and then I was going to blow town. Honest, tell him that. Turn around. Place the ball with your hands up. Sure. Now, let's see what trinkets you're loaded with. It's just a letter. Uh-huh. What are you going to do now? Well, since you invited me for a walk, and I didn't really want to go, I think I'd better turn you over to the police. Oh, no, you won't. Stop. Come back here. What's the matter? Nothing, man. Nothing at all. Just a friendly game of tag. What? And I'm it. My charming vis-a-vis disappeared into the night and left me holding the bag. And the bag in this case was a letter. At first I didn't pay any attention to it. Later I looked at the address on it, thinking it would clear up some of this puzzle for me. And did it? Ha. Everything got worse. So I decided to go and see Mr. Simon Andrews. Back again, Mr. Holiday? Well, Mr. Tarling, still the faithful watchdog? Let's go in. Go ahead. Where's Andrews? Same place he was last night. This way. Holiday's back, Mr. Andrews. Holiday. Come in. Come in. Tarling, get back to your post. Yes, sir. Well, Holiday? Well, Mr. Andrews? For heaven's sake, man, don't just stand there. What happened? Where were you? Did you learn anything? Which question do you want answered first? Stop it. What are you trying to do? I'm sorry. Mr. Andrews, what do you know about a man named Scott? Scott? Scott? Name means nothing. Nothing at all? No. I think Scott is the man we're looking for. The same Scott who might have killed Benny Franklin. Scott killed Franklin? But why? Could be for your $25,000. I don't understand. Put it this way. You went to Franklin hired a killer. Franklin got in touch with the invisible Mr. Scott. Maybe Franklin tried to hold out on Scott and being a man of very, very short temper. Mr. Scott erased Franklin. Did you find him? I don't know. What do you know? Just a minute, Andrews. I'm in this game on a rain check. Don't shout at me or I'll go back to the bench. I'm sorry, Holiday, but you did learn something. Do you know a man about 30? Medium height, dark hair and eyes, small mustache, little scar over his right eye? No. No, I don't. Well, he knows you. Because he had a letter for you. Here. What's this? Like I said, it's a letter. But what's in it? I don't like to be trite about this, but you could open it, you know. Oh, of course. Well? Look. Read it. Read it. Read it. Read it. Read it. Read it. Read it. Look. Read it. You got until midnight tomorrow. Midnight tomorrow? Well, it is not signed. It doesn't have to be, Holiday. It's from the killer. Why should he send you a letter? Torturing me. It could be. Why didn't you turn that, that nicky over to the police? Why didn't you do something? What's your suggestion, Andrews? You put yourself in this hole and I'll climb out of it. I'm pulling out. Oh, no, no, no, please.  Please, Holiday. There's no object. Just find that man. How? You saw him? Yes, but you know what he looks like. Look, let's turn this whole thing over to the police. Let them find him. I can't. I told you before I can't. Holiday, make one more try. Just one more. And spend the rest of my life without my head? Take, take torturing with you. And what about you? Oh, I didn't think of that. Mr. Andrews, you didn't think of a lot of things.  I know, but will you help? On one condition. What's that? You paid $25,000 to have yourself killed. Probably because you couldn't take your own life. You wanted a thrill. Okay, you got it. You paid $25,000 for it. Now I'll pay $50,000. What? I got a check of $50,000, payable to any charity I named. I... That's the only condition. The only one under which I'll try to find the man. All right. I'll do it. I'll write it immediately. Good. Oh, and Mr. Andrews. What? The check could better be honored. Or I won't go through with this. I swear I'll honor it. Take it with you. Here. Deposit it first thing in the morning. Okay. Now, what are you going to do? To find Mr. Scott. Find Mr. Scott. Oh, it sounded so easy. So I did the only thing I could. I went back to the little cocktail lounge in the same bartender. Yes, sir. What can I... Oh, you. Hello. What do you want now? I'm looking for Nicky. Nicky? Yeah, Nicky. You know him? I don't know nobody named Nicky. You didn't know a man named Scott, either. I don't. We'll pass that. But I want to find Nicky. But even if I knew a Nicky, why should I tell you anything? Because Nicky is due to get killed. Killed? That's it. I don't believe you, Mr. You've got to. A man named Scott is after Nicky. I want to warn him. There ain't nobody named Scott. Nobody who cared who admit you know. But there is a Scott and he's after Nicky. You... You're on the level... Yes, I am. Okay. You'll find Nicky where he lives. Six, five, four South Rogers. Oh, one more thing. Is Nicky mixed up in that gambling syndicate? I answered your question. The only one I'm going to answer. Now you get out of here. Get out before the roof falls in on me. Well, I was playing a hunch and playing it all the way through. I went to the address the bartender gave me. Walked up the stairs and came to a door that had Nicky's name on it. I started to knock. The door was open just a little. I pushed it all the way open and went in. I stood in the dark for a moment and walked toward a window. I stumbled over something on the floor. I lighted a match. Nicky. Nicky. He's real dead, holiday. Real dead. Talling. Talling. Scott. Have it your own way. You know, I thought you were never going to get here. What are you doing here? Where's Andrews? Give me that check he gave you. You killed Nicky. Good guess, holiday. Hand me that check. Okay, here. Thanks. Now, Mr. Holiday, you're going to be very sorry you came here. Am I? Talling. Talling. Thank you, Mr. Holiday. Andrews. Quite a gathering, isn't it? Nicky. Talling. You? Good evening, Mr. Scott. Oh, you guessed, eh? No, I figured it out. Well, I'm sorry. I haven't got time to listen to it. My shout must have attracted attention. Three men killed. You do all right. Franklin for trying to take over the gambling syndicate. Nicky for trying to blackmail you because he knew you killed Franklin. And Talling because I didn't trust him. I sent him here to kill Nicky, but I thought the check you had for me would prove too much for his loyalty. Oh, now, Holiday, thanks for finding Nicky for me. I had no idea who was blackmailing me. So you used me for a patsy, cooked up that story? Certainly. One of my boys would have been recognized. But you are a stranger. Understand? And I've got news for you, Mr. Scott. The police will be looking for Andrews. You. The higher up in the gambling ring, the man who kept out of sight. Looking for me? That's right. Because you slipped. You see, I made a phone call to the police. That's why they're coming. Not because anyone heard your shot, but because I called them. Bluff. Oh, no. When I went to see you with that letter, I only described Nicky. I never mentioned his name, but you did. You said Nicky. You. Look out, he's got a gun. Look out for him. You got your $25,000 worth, Mr. Andrews. Gee, Mr. Holiday, you certainly were smart to figure that out. Hmm. Ever played poker, Susie? Is it like gin rummy? No, not quite. But if you've ever played, you'll know how good it feels to draw to an inside straight and make it. I don't get it. Well, Susie, the police are not coming for Andrews. They're out on a call to stop a fight. Huh? Sure, I didn't think of that Nicky routine until I was talking with Andrews. But you said you called the police. Oh, I say a lot of things. Susie, a man has to say a lot of things when he's looking at his own tombstone.  And I... Why? Good night, Susie. Next week, same time, through the courtesy of Paramount Pictures, Alan Ladd again stars as Dan Holiday in Box 13. Box 13 is directed by Richard Sanville, and this week's original story was written by Russell Hughes. Original music is composed and conducted by Rudy Schrager. Part of Susie is played by Sylvia Picker, and production is supervised by Byrne Carstensen. Box 13 is a Mayfair production from Hollywood. Watch for Alan Ladd in his latest Paramount Pictures.