Humphrey Bogart in My Son John on the Cavalcade of America sponsored by the DuPont Company. Maker of better things for better living through chemistry. But first, here is Gain Whitman. What's the value of that car of yours? Until you can buy a new car, it's almost priceless. So why not take steps now to protect your car against the freezing weather ahead? Have your dealer clean out the cooling system with DuPont Cooling System Cleanser and prevent radiator leaks with DuPont Cooling System Sealer. Then add a dependable DuPont antifreeze, ZRX War Emergency Zero or Five Star. Each gives you double protection against freezing and against rust, and ZRX is non-evaporating. All of these car protection products are examples of DuPont better things for better living through chemistry. Saturday was the proudest of all Navy days in the hearts and minds of the American people. And tonight, the Navy holds the Cavalcade spotlight as we tell a story of one of her ships and crew. The ship is an under-seas raider, the submarine USS Seawolf. And of her crew, one of the most important men is Buck Quaid, Chief Radio Man. The DuPont Company presents My Son John, Starring Humphrey Bogart as Buck Quaid on the Cavalcade of America. Mr. Buck Quaid, Chief Radio Man, USS Seawolf, dear sir. I'm the mother of John Damon. You may wonder why I'm writing to you. Well, John tells me that in the awful days of the war, you were like a father to him. And since all boys at the important age of my son John need a strong example, I'm inclined to believe that if he has strength now and is a gentleman, that you too must be a strong man and a fine gentleman. From the bottom of my heart, Mr. Quaid, I thank you. This is Albert Damon, dear madam. Thanks for the compliment. I don't know about the gentleman part, but I still got strength enough to carry my own sea bag. Your son John is indeed a fine boy. I'll explain to you how he came to be a kind of a son to me during the war. Our submarine had just entered a certain Australian harbor and we were ready for liberty. All the short, it's going ashore. Here, come on, sir. Right with you, fellas. Hey, Buck, you're going ashore, aren't you? No, I'm stuck here until the new man shows up. Ah, it's tough stuff, Buck. Yeah, he'd probably come straggling in about five minutes before we sail again. After a long cruise on a sub like this, the guy ought to have some sunshine. You mean a kind that comes in bottles, don't you? Yeah, that's important. And so is exercise. You remember that fight in San Diego? Do I? After we took our nose marines, they said I even looked better.  No kidding, Buck. If you don't get to tank up, you know, you're going to be in bad shape. Wait a minute, Stuart. Here comes a message. What's it say? See, the first word is congratulations. Well, we deserve it. And we just get four Jap ships in one day. Now, this message is about some woman. Woman? Who, who? That interests me already. What's it say? Congratulations. The launching took place this morning early. It's a beautiful destroyer pledged to the United States Navy. Sue had an easy time, misses you dreadfully. Sue had an easy... Hey! What's the matter? Hey, Sue's a name on my wife. There's lots of females named Sue. Yeah, but... You even got a place named Sue. Sue Falls, South Dakota. Yeah, but, yeah, but listen. Launching took place this morning early. Beautiful destroyer. Hey, wait a minute. It's mine. What's yours? It's a boy, Zerk. I've just become a father. Now I am going to celebrate. I got a son. Now, wait a minute, wait a minute. Look, you can't get boiled till your relief gets here. I can't operate no racing. I'm a father, Jake. Don't call me Jake. Since our third one arrived, I'm used to it, you know? Sit down, will you buck? You got a job on your hands, fella, thinking up a name for the baby. He's already got a name. Sue and I picked one out two years ago. He's called John. John? Yeah, what's the matter with John? Every Tom, Dick and Harry is called John. You want something different. Now, my first kid, we called it vinegar. Yeah, well, if it looks anything like you, I can see why. But I like John. You can remember it. Is Mr. Quaid here? Yeah, yeah, I'm Buck Quaid. I'm your new radio man. Oh, it's about time you showed up. Now we can celebrate. Come on, Buck. Now, wait a minute, Zerk. I want to get this guy squared away. How long have you been in a navy, kid? Yeah, you look kind of young. No salt on your gear. I'm 19. I got all my teeth. You're not tone of voice. How long do you think you're going to keep them? Hey, take it easy, Quaid. He'll cry for mama.  I can take care of myself. Hey, look, kid, dry your ears and button your lip if you want to get along in this man's navy. Easy, Buck. We all had to be 19. Now, that's anything I can stand. It's a lippy kid. Listen, you, I suppose you've been lingering along the way, having yourself a time while I've been doing double duty. See your orders. My orders? Yes, your orders. Assigning you to this floating sewer pipe. Well, uh, uh, I, I lost him, sir. Oh, you lost him, sir. Well, now, ain't that cute? Now, what's the skipper going to say about that? Oh, but I memorized him. Oh, you memorized him. 19, and he claims to have a memory. Yeah. I want to see if he can remember your name. Damon, sir. Radio man, second class. First name. John. John. Did you say John? Yes, sir. Anything wrong with John? Oh, son. Oh, that's the most wonderful name in the whole world. Here. Here, sit down, John. Here. Here, help yourself to... What do we got around here? Here, help yourself to candy. How do you like that? He's feeding them pokey bait. What's the matter? You going Asianic or something? Come on, Buck, let's see what we can do to Australia. No, no, no. You go ahead, Zerk. I'll see you later. Where'll we meet? I'll just take a look for a gutter with a saloon in the back of it. I'll find you. I thought you was hot to have some fun. Oh, sorry, Zerk. John here is a new man. He's my responsibility. When I've showed him around, I'll join you and the boys. Okay, okay. I'll see you later. Becoming a father sure makes a change in some people. If you want to go, sir... I'll go when I get ready. Sit down, son.  Huh? Yeah. Yeah, I guess you're right. But, uh, son, you'll have to excuse me. I feel pretty good. Today I'm an old man. I'm a father. Understand? No, sir. Well, look, look. See what it says here? Take a gander at this message. It makes me a father. The message? Yeah. See what it says? Born to my wife Sue, a beautiful destroyer. You know what his name is, kid? No, sir. I could never guess. John. John? My son, John. Oh, well, then you won't turn me in for losing my order? No, no, not if you behave yourself like a lad named John Otto. You know, someday my son will be in this navy and when he is, somebody will have to take charge of him. Uh, when you're a party, you'll understand these things. Understand? Yes, sir. Oh, no, you don't. You ain't old enough. Now, look alive, son. Have you ever done any sub-duty before? Only in training. Good.  Glad to have you aboard, John. Have you got anything? Nothing, Captain. Not having much luck this trip? No, sir. Not much luck. You mean anybody has luck on a submarine? Sure, kid. Why not? We always did before. Cramped quarters, short rations, no sunshine. Listen, you got the submarine service all wrong. It's good duty. Extra pay. We don't fight storms.  I get a kick out of battle actions on the surface with big guns roaring, the plane zooming towards you in the act, knocking them down like clay pigeons. You ain't been through all that? Well, not exactly, but once in a movie. A movie? Oh, so you want excitement? Look, we ain't been lucky enough to run into enemy craft so far on this cruise, but when we do, hold your hat, son. No, pig boat duty isn't for me. Hit and run instead of standing up and slugging it out. Nothing to be proud of. Oh, no? Hey, listen, kid, sometime during off hours such as now, you should ask the skipper to give you a peek at the logbook of the seawall. Up until this trip, we had plenty to be proud of. To the Japs, we've been a one-sub-float tiller. Yeah? Yeah. We was winning the war single-handed, practically. I don't ever underestimate the seawalls, son, even if our luck has gone back on us. Uh-oh. Got something? Yeah. Listen, check it. Enemy ship? Yeah. Captain. You got something counting sound? Enemy ships are using sound equipment. Looking for us, huh? Is it close? Yeah, it's getting closer. That sound man is pretty accurate. Very well. A periscope. What's the matter, kid? Nervous? No. Well, then stop shaking. That's a Jap destroyer. A Jap destroyer? Well, that'll be good, Mr. Queen. If we get it. We always got it before. Yeah, but that was before our luck changed. Yeah, she's a Jap all right. Big destroyer. Agasaki class. Battle stations. Gee, I hope we get this one. This one we gotta get. They'll get us. Torpedo room. Make ready. Tubes forward. Still nervous, kid? No, no, I'm not nervous. Just a little excited. Oh, so you find our duty exciting? Open outer doors. Forward tubes ready, Captain. Outer doors open. Stand by. Fire one. I'd like to listen, Mr. Queen. Take that out of the headset. Stand by to fire two. Fire two. There she goes. They're running hot. They're missing the target. Down periscope. Mr. Queen. Yes, sir? Did you hear those fish run? Yes, sir. They all ran hot, but missed the target. Where's our luck going, too? This has got to stop. Captain. Yes, Quaid? There's another ship up there. Oh, propellers or pings? Pings. I think they're on the starboard side. More than one, huh? Yes, sir. I hear two of them. Mercer, take her down fast. Hold your hat, kid. We're going down. Hey, what was that? What do you think? It's a depth charge. They'll be dropping more with our names on them, written in Japanese. You know, fellas, I can't understand it. We was the luckiest stuff in Pacific waters. Now what gives? You know what, fellas? I think we're jinxed. Jynxed? Hey, you might have something there. Yeah, that's right. We got a stranger on board. That's always bad luck. Who's a stranger? The kid. I happen to know he came aboard without his papers. What? No orders? Yeah, ever since he's been with us, we might as well be shooting our torpedoes up Salt Creek. Well, how do you like that? Johnny the jinxed. He'd be the best sub in the fleet. Now all we got to do is sit on the... And Quaid always stands up for the kid. Yeah, that's right. Don, my tough go, whenever since he come aboard.  You may need it before we serve us again. Well, hiya, Buck. Where's Sunny Boy? I take it you're referring to the kid? Yeah, Johnny the jinxed. You're talking like a man with a paper hat. You've been in the Navy long enough that it happens when a stranger comes aboard. The kid ain't a stranger. He's a member of the crew. He come aboard without no orders, remember? Yeah, yeah. We had good luck, though. He showed up too. Four times in the last four days, we missed the target. Oh, I should put the kid's ones out and move the target. We'll wind up on the bottom for a keeps. Yeah, with the Japs painting our silhouette on one of their stacks. Easy, easy. They're still tailing us. Keep it low.  Just because his name happens to be John. Look, psych, and this goes for the rest. If you do anything to that kid, you'll be strangers. You'll have to look at your dog tags to identify yourselves. No. Okay, okay, Queen. Have it your way.  And we'll settle this later. Man, your stations. All right, let's go. We're in trouble. Why don't you try and get some sleep, sir? We don't need sleep. We need luck. Attention, men. It's a skipper. Men. We've been lying on the bottom for hours. We're patched up now and should be ready to move out in a few minutes. We've got a good idea there's an enemy ship in this cub with us. And we've only got two torpedoes left. You know how our luck has been running. So if there's a rabbit's foot aboard, I'd like to borrow it. Stand by. Mr. Coyne, do you suppose I'm responsible for the bad luck we're having? Well? Save your breath. The air's getting bad. Hey, Buck, did you hear what the skipper just said about luck? We don't need rabbit's feet. All we gotta do is get rid of this.  Why don't you? Well, send this punk back to join us. The boys would love to have a nice chat with him. Knock it off.  And when we leave that port, there ain't gonna be a jinx and a boatload. Why, you? Come back here, sir. A jughead? So, I am the jinx. What are you talking about? I may be 19, sir, but I'm not dumb. On a submarine, you hear everything. I've heard them talking. They think it's me that's caused this tough luck. Well, listen. You got something? Yeah. Yeah, it's a ship. Can you take over, Mr. Quaid? Nothing doing. You stick to your potion. But I'm a jinx.  Very well, sir. Captain. Yes, sir? Captain, I hear screws. They're just beginning to turn. All right, men. We can't lie here forever. We better go up and take a look around. Let's make these last two torpedoes count. Remember, it's them or us. You're listening to Humphrey Bogart, his chief radio man, Buck Quaid, and my son, John, on the Cavalcade of America, by the DuPont Company, maker of better things for better living through chemistry. And now for our second act. Chief radio man, Buck Quaid, finds his paternal interest in a sailor named John as backfiring. The U.S. submarine, Seawolf, cautiously moves out of hiding, while Quaid and the kid the crew calls Johnny the Jinx, sit nervously at the radio controls, stalking a Japanese ship. A periscope. Sound. You still on them? Yes, sir. Getting louder, Captain. Yeah, I see them. Modern ship, fast freighter, four-goal poster, length about 450 feet. She's probably loaded with troops. This is what we've been looking for. Battle stations. Mr. Quaid, are you still with me? Right with you, kid. We're getting close. Closer to better this time we can't miss. Yeah, I hope you're right. Don't worry. I said I was hoping, sir, not worrying. All that means is that you're still 19. Fire one. There she goes. Fire two. There's the other one. Can you hear it, Mr. Quaid? Yeah. Hey, wait a minute. What's the matter? Listen. Sound. Do you hear those fish? Yes, sir. How are they going? I'm afraid one of them has stopped, sir. Oh, there's a week. It's the second one. It's almost there. Can you hear it, kid? Yes, sir. It's in there. We can't miss. Hey. Hey, do you hear that? Huh? Something's wrong. No explosion. Hey, that torpedo climbed right up the side of that ship and failed to go off. Let's get out of here. Down Periscope. Left. All rudder. Well, I guess that proves it, Mr. Quaid. I am the janker.  Everybody on this sub may think so, but it happens that I don't. I don't want you to think so, either. You're OK. Just stay in there and give them a fight. Hey, you know, Buck, I never forget a fight in face. The last time you ate Australia, it cost me 10 pounds sterling to clean up after you left. Broke and glass, broken lights. I wonder I'm still in business.  You only made about 50% on the deal, too. Ah, no, I had feelings, Buck. Only this time, take it easy, will you? You know, with the war on, I just can't replace the equipment. What are you going to have, Buck? The best you got. We're drinking a toast to my son. You'll become a family man? Well, good for you. Hey, kid, what are you doing here? I got an appointment. You got here pretty fast. Let's be kind of thirsty. I don't drink. That's a good boy. What are you doing here? Hey, listen, son, you aren't looking for trouble. Not here, please. I'm in here to do what you said. I'll give them a fight, Zerk, and a whole bunch of them. Now, wait a minute. Wait a minute. You got me wrong when I said fight. I didn't mean for you to battle it out. I tackled like this guys before.  Well, spoken, I'll let them come. I'm not afraid. That sounds a little like movie talk to me, grade Z. What do you mean? Well, I've seen a lot of fights, kid. But it was only in the movies. I ever saw one guy clean up a whole gang of sailors. I made the box office give me back my dough. I'll take a chance. Do you think I'm going back to sea without an assistant radio man? You've got another guest coming. Maybe you won't. Maybe this ship will be shorthanded somewhere else. You seem pretty sure of yourself. You can't change my mind. I'm not your son. Okay. If you were my son, there's only one thing I could do in it. It's me, moist. And it hurts you. What did you do to that guy? Didn't I ask you not to start nothing now, please? Now, take it easy. I won't wreck your place. He's out cold. Here. Here, just help me get his arm around my shoulder. Hey, that's it. Now, come on, son. We're going for a nice, long walk. Three days at sea, kid. You better go back and get some shut-eye. I won't go back there. The guys still think I'm a jinx. They think I'm yellow. Give me that headset. Why didn't you let me fight him? We've been at sea for three days and we're still jinxed. It must be me. You're as nutty as they are. Now listen, son. Look, from now on, will you stop calling me son? Sit down before I smack you again. I thought my kid was going to turn out like you, and I let him do all his sailing in a bathtub. Hey, listen. Did you hear something? Yeah. Yeah, here, Mr. Quaid, you take over. I'm not going to jinx this one. Stay there. No, no. I can't. Captain, can you hear me? Please, sir, I just can't. Call the captain now. Captain. Did you call sound? Yes, sir. I hear pings on the port side. Now we'll take a look. And Captain. Yes? Now I hear two screws, two sets of them. Second ship is dead ahead. Okay. Captain, there's more. Third. What are we running into, the whole darn fleet? A periscope. Mr. Quaid, are you listening? Yeah, on the other headset. Keep it up, kid. Am I right? Sure you're right. Why are you asking me? Captain. Captain, there's a fourth coming in. Wow. Four cruisers in line to bombard the island. I see a command pendant. The admiral is out there to board the first cruiser. Battle stations. Mark bearings. First cruiser, mark three, three, nine. Second cruiser, mark three, four, two. Third cruiser, mark three, four, seven. Fire two. Fire three. Can you hear those torpedoes? Yes, sir. They're running hot. You don't need to follow that one, Quaid. It got there. And again, number three, set them up in the other alley. Did you hear that sound? Yes, sir. The first one is sinking fast. I think it's the admiral. There goes number two. Here goes number three. All right. Keep your ear on them all the way down. Listen, kid. There's number three. Listen to the death rattle of a ship. You hear that? Huh? That's the ignition exploding. The cold water has reached a boil.  That's the screws stopping. Listen to the rest of it. That's the ship's pipe breaking up. That's a plate buckling. You can almost see them twisting off. Good work, boys. Let's get out of here. Is that all? That's all. For a jinx, you've done a darn good job, John. All right. Well, there they come. Quaid and that jinx of ours right into the saloon. Shall we give them the work? Give them the work. Well, well, come in, gentlemen. Come in. No, no. No trouble now, boys. Please. All right, you guys. We're here, sir. How's it going to be? A fair match one at a time, or are you figuring out a free-for-all? I'll call the shore patrol. Shore patrol. All right, son. Speak your piece. Well, I don't care whether you guys want to call me a jinx or not. That's up to you. But if there's anybody here who thinks I'm yellow, speak up. Do you know what I think of you? All right, sir.  Listen, you knuckleheads. A ladder points the way to the killing of three Jap cruisers is the kind of a jinx we ought to carry all the time. But if you guys want trouble, Johnny and I are ready for you. We'll settle it right now. Hey, now, wait a minute. This ain't fair. You guys have got us outnumbered. Two to eight. All right, knock it off. Knock it off. I'll have you laugh down on the other side of your chop. Hey, look, buckets of gag. All in fun. Joke. J-O-K-E. This is just a little party to wash away the jinx. Hey, Johnny. Will you shake? Huh? You mean? Come on, shake. I'll go ahead and shake, son. They mean it. Of course we mean it. Three cruisers in one day. That's a record.  Shake, mate. Oh, gee, it was. Well, thanks a lot, fellas. Hey, Alfie. Alfie. Yeah, OK. Come on here. Come here. Set him up all around with a double jiggery soda pop for Johnny. Soda pop? Sure. We'll have a toast to Johnny when he's home in a state. Here's the motion. I'm not much at writing letters, Mrs. Damon, so I'll close saying I'm glad you or your son John got back to his home base all right. He's a fine boy. Please excuse me for getting personal at this point, but I'm enclosing a few Kodak pictures of my kid. You'll notice that when I got back the news that the kid was born, I made a slight mistake. When I got home, my son John turned out to be Joe Hanna. Our Humphrey Bogart will return to our capital-cade microphones in a moment. Now, here is Gain Whitman. Somebody found it on the beach, just above the high-water mark where a breaker had tossed it. It was a candy bar that had floated ashore. A ration-dee candy bar supplied to American troops. Nobody will ever know just how it got there, whether it was lost when a ship went down or happened to fall overboard. Nobody knows just how long it was in the water either. Perhaps a month, perhaps a year. But that candy bar has an honored place in a collection of outstanding performance records of DuPont materials in the war. For the inner wrapping of the box that contained it is of DuPont cellophane. And after its long exposure to saltwater and sunshine, the candy is still good. Until the last day of the war, most of the cellophane the DuPont company could make was needed by the Army and Navy. The protection job done by cellophane during the war was measured in square miles of shimmering, tough film. Food, metal parts, guns, and a thousand other things were protected either by cellophane alone or by cellophane laminated with papers and other materials. On a huge scale, the war was a demonstration that for many protection jobs, nothing was so well suited as this sparkling, transparent film. Now, so rapidly as reconversion moving ahead, cellophane is already back again on many peacetime products. More and more cigarettes are again being kept fresh in cellophane-covered packages. Baked goods, too. Delicious is when they came out of the oven thanks to this thin, clear, moisture-proof film that keeps them fresh. Not to mention the many other products you used to buy in cellophane before the war. Cellophane has come a long way in the last 25 years. As DuPont technical and manufacturing skill has brought the prices lower and lower, this has encouraged more and more manufacturers to package their products in it. Getting along without cellophane during the war demonstrated to many people how thoroughly they had come to rely on it. For cellophane is the wrapping material which shows what it protects. Today and in the future, whether they are buying tomatoes or nylon stockings, candy or cigars, more and more people will buy products that smile a friendly greeting through transparent, protective cellophane. One of the DuPont company's better things for better living through chemistry. And now, here is tonight's star, Humphrey Bogart. The next week, Cavalcade has a date for you with the charming Claire Trevor, whose Emily Robling will tell you a story of her father and her husband. She'll tell you how one of America's great bridges was built and how in the tradition the bridge demanded a life. It's a strange story, but Emily Robling, a woman, had as much to do with the building of that bridge as did any of the engineers or workmen. Yes, a strange story, but true. As we will hear next Monday night in the builders of the bridge, starring Claire Trevor on the DuPont Cavalcade of America. Humphrey Bogart has recently completed the Warner Brothers production, The Big Sleep. Alan Reed played the part of Zerk and Jerry Hausner was Johnny. The music for tonight's DuPont Cavalcade was composed and conducted by Robert Armbruster. Our Cavalcade play was written by Phillip Lewis and was based on the book USS Seawolf by Gerald Frank and James T. Horan with J. M. Eckberg. Mr. Tom Collins inviting you to listen next week to Claire Trevor in the Builders of the Bridge on the Cavalcade of America with the second company of Wilmington, Delaware. This is the National Broadcasting Company. This is the National Broadcasting Company.


Box 13, with the star of Paramount Pictures, Alan Ladd as Dan Holliday. To Box 13, care the star times. I am desperately in danger, I'm sure. I'm afraid to go to the police right now. So if you'll really go any place and do anything like your ad says. If you really go any place and do anything like your ad says. Please meet me tomorrow at six in the evening at the corner of Gateway and Lakeview Boulevards. Constance McClain. You didn't know it then, but this was one time, Holliday, you had your work cut out for you. Back to Box 13, and Dan Holliday's newest adventure. I guess I was asking for it when I put that ad in the star times. But I wasn't asking for what happened this time, and I don't want it again. You see, it was, well, might as well start from the beginning and Susie saying... Constance McClain. That's a pretty name, Mr. Holliday. But what do you make of the letter, Susie? Make of it? What do you mean? Well, take this line. I'm desperately in danger, I'm sure. What about it? No, it sounds like something from an old melodrama. But it's thrilling. Maybe she is desperately in danger, Mr. Holliday. Why don't you find out? You think I should, huh? Sure. You'll be just like one of the old night irritants. Night's errands, Susie. What's the difference? They both hunted for trouble, didn't they? Well, what's good enough for a night errand is good enough for me.  But it's long anyway, Susie. The intersection of Gateway and Lakeview Boulevard was in the fashionable suburb of the city. The kind of a neighborhood where money is the root of the most important family trees. I looked at my watch, it was six exactly. Then I heard someone coming. I waited. It was about dark. The shadows of the trees kept me from seeing who it was whispering. But a couple of seconds later... I... Oh, good evening. Your, uh, Constance McLean. Oh, no. No, my name's Barbara Rodney. Constance is over there. Oh, I see. Well, I'm, I'm box 13. Oh, what's the matter? You're different. From what? From what we thought. You mean to tell me you got me all the way out here to see what I look like? Oh, no, not at all, Mr. 13. I mean... Well, what is your name? Dan Holiday. Oh, that's nice. Wait a minute. He's right up here. Mr. Holiday, this is Constance. How do you do? How are you? She stared at me and I stared back. She was about 17, not pretty, but kind of a hungry face and eyes. I smiled at her and she smiled back. It's awfully nice of you to come, Mr. Holiday. Well, not at all. I think anyone would come on the strength of your letter, Connie. Can we go someplace and talk? I mean, we can't stand here on the corner, can we? We could, but sitting would be better. What do you suggest? How about... how about Smudgy Mary's? I beg your pardon. Connie means Smudgy Mary's place. Oh, oh, I thought for a moment you said Smudgy Mary's. We can sit down there. They have tables and we can talk. I've got to talk to you, Mr. Holiday. Just a minute, Connie. What kind of a place is this Smudgy Mary's? It's nice. They serve ice cream and sundies and malts. Oh, well, well, let's go. Is it within walking distance, or do we go in my car? We can walk, can't we, Connie? Well, if you think it's safe for me. Safe? What's the matter? We'll go in your car, Mr. Holiday. On the way to Smudgy Mary's, I tried to draw Connie out, but she was determined to wait until we got to that paradise of ice cream and malts. The two kids chattered away and I gathered they both went to a fashionable and ultra-ultra-finishing school in the neighborhood. Then I found myself in Smudgy Mary's. Kids were all over. Nice-looking kids. And the usual jukebox. Connie and Barbara guided me to a table in the back and we sat down. What'll you have, Mr. Holiday? What's especially of Smudgy Mary's. You want one? If you do, Connie. I... No, don't think so. Just a lemonade. Barbara? A double malt with chocolate ice cream and whipped cream on top. I'll go over and tell Mary.  I'll be right back. All right, Connie. Want to talk now? I... Here. Here, read this. She took a crumpled piece of paper from a handbag, shoved it across the table to me. I opened it. There was a message that read, if you don't get $1,000 from your parents, they'll never see you again. The letters were cut from magazine and newspaper print. I read it twice, then asked, how did you get this, Connie? It... it came to the school for me. When? Yesterday, just before I wrote the letter to you, Mr. Holiday. Who knows about this? Just Barbara. She's my best friend. And how are you? All right, Connie. As soon as we leave here, we're going to the police. Oh, no, please. Please, Mr. Holiday, we mustn't. Why not? Well, if I did, well, mother would have to know. Don't you think she should? No, she mustn't. Why not? Well, she... she isn't well, Mr. Holiday. Well, something like this would probably make her worse. But this is very serious, Connie. Then you help me. Now, look, Connie, you're not helping other girls who may be in your position someday. Let the person who wrote this get away with it this time, and you'll try it again. Mr. Holiday, if you go to the police, I'll...  I stared hard at her. Her face was more hungry than ever, and her eyes were scared. Then Barbara came back with the orders. Well, here we are. I brought you a specialty, Mr. Holiday. Uh, thanks, Barbara. Babs, Mr. Holiday wants to go to the police. Sit down, Barbara. Yes, sir. Now, Connie, have you anything else to tell me? Uh, I... Today, someone called me on the phone. It was a man's voice. He said, I should have the money by the day after tomorrow, or I'd be sorry. That's right, Mr. Holiday. I was there when the man called. Did you recognize his voice, Connie? No, I never heard it before. I'm sure. It... it had kind of an accent. Do you know anyone that speaks like that? No, I... I said I didn't recognize him. Where are your father and mother? They're... they're away. Where? In... in Michigan. For how long? They'll be gone about two months. I see. This man said you'd have to get the money by the day after tomorrow. Is that right? Yes. For Mr. Holiday, I'm scared. Why are you afraid to go to the police, Connie? I'm afraid of what will happen if I do. To you? Yes. To me. Yes, she was scared all right. She didn't touch a lemonade, and I couldn't touch the specialty of the house. You see, I want her to be alive the next day. A little while later, we left Smudgy Marys. We didn't say much. Connie, because she was scared. Barbara, because she was scared. And I? Because, well, I had an idea. It was after eight when we pulled up in front of the school where they lived in the dormitory. Connie and Barbara got out of the car. What should I do, Mr. Holiday? You sure that man said, day after tomorrow? Oh, yes, I know he did. All right, Connie, I'll do what I can. You'll help her, Mr. Holiday. Of course I will, Barbara. Now you two run along. I'll wait till you get inside. Go on now. I don't know how to thank you. Don't try. Just take it easy and don't worry. All right. Good night, Mr. Holiday. Good night, Connie. Barbara. Good night. I watched them until they went in. I was about to close the car door and drive away. Oh, Mr. Holiday! That was Connie. It didn't take long to cover the distance to the dormitory entrance. Connie! Barbara! I adore this. Another letter. Give it to me quick. Here comes Miss Ogilby. She's had Miss Chris. Oh, please, Mr. Holiday, don't show her that letter. Please, don't tell. I don't know why I stuck that letter in my pocket. Maybe it was Connie's face. Absolute terror on it. But I rammed the letter in my pocket just to... And what does this mean? Please, Miss Ogilby, answer who are you? She looked at me and I remembered my fifth grade school teacher. The one who didn't like me. I looked at Connie. There was a desperate, please don't tell look on her face. Barbara was as white as a sheet. I decided to be hung for a sheep as well as a lamb as Ogilby repeated. Well, sir, if you please. Girls, into your rooms. Yes, ma'am. I'm waiting, sir. I'm in the wrong house. Really? And for which house were you looking? The, uh, the smiths. Really? Where do they live? Not here, I guess. I hope you have an explanation. Well, I'm afraid I don't. All right, I'm waiting for a streetcar. Will that do? May I have your name? If you just forget all about this, I'll go quietly home and lie down for a while. I'm afraid I shall have to ask you to stay. That's very kind of you, Miss Ogilby, but I have a previous engagement. If you try to leave, I shall ring the alarm and the caretakers will stop you. All right. What do you want me to do? Nothing. But I'm going to call the police. Holiday. All right. You were the wrong house. Why? I told you, Kling, I made a mistake. Couldn't you tell a girl's school from a private home? Besides, there's no one in the neighborhood named Smith. How do you like that? Three thousand Smiths in that phone directory, and I picked the wrong neighborhood. You should have worn a ribbon in your hair, but nobody would have noticed you. Thanks, dear. You're pretty too. Listen, Miss Ogilby preferred charges, trespassing, and a dozen other counts. She can make the mistake. Kling, what if I said I had a good reason for being there, but I couldn't tell what it was? What would you say? The same thing I said two hours ago. Why? I can't tell you. I promised. All right. You'll spend the night in the jug. Unless I put a bail, which I'll do. I could have told Kling, but I kept thinking about Connie. Maybe I believed her when she said she'd kill herself if I told the police.  The next morning, I went over the second letter she'd received. It read, you have one more day to get the money from your parents. One more day. That meant a day. And that was all. I did a lot of thinking, and it added up to something very, very strange. I was thinking about it when the phone rang, and Susie answered it. Hello? Yes, just a minute. Mr. Holliday, Lieutenant Kling wants to talk to you. Hello? Okay, Susie, thanks. Hello? Yeah? What? When did you hear that? Okay, I'll be right over. Mr. Holliday, what's the matter? You look scared. I am, Susie. Maybe I've made a mistake. Connie McClain's disappeared. Now back to Damsel in distress. Another box 13 adventure with Alan Ladd as Dan Holliday. When I drove out to the school, he pondered at me to find out what I knew. I told him about the letter then. I had to. He was mad. I guess he had a right to be at the school we sat across from Miss Ogilby and Barbara Rodney. All right, Miss Ogilby, let's hear what happened. Barbara, please tell us what you know. Well, I woke up this morning. Connie and I have the same room. We know that, Barbara. Yes, ma'am. Well, I looked across to Connie's bed. She wasn't there. What time was this, Barbara? When I woke up, about 7.30. And you looked everywhere for her. Oh, yes, Miss Ogilby. What makes you think Connie disappeared? Constance has never been tardy for a class, Mr. Holliday. And I might ask what you know about this. Your actions last night were not... Barbara, will you leave, please? I'll talk to you later. Hey, Holliday, what's the idea? Please, Clang, I want to learn something. Is it all right, Miss Ogilby? I, uh, I suppose so. I'll be in my room. Now, Mr. Holliday, shh. Clang, tiptoe to the door. She, she's there. Huh? Please. Okay, okay. Well, that's strange. I, I never suspected Barbara would do a thing like that. What's on your so-called mind, Holliday? Some questions. Miss Ogilby, do you know if Connie had any dates? Dates? Yes. Parties, dances. No, she didn't. Why? How about Barbara? Yes. They're very close to each other, aren't they? Inseparable. But what is this leading to? I don't know yet. Now about Connie's mother and father. Yes. Do they come to see her often? Not very. They do a great deal of travelling. Uh-huh. Thanks, Miss Ogilby.  No, not yet. Miss Ogilby, isn't there some sort of dance coming up soon? I think I saw a notice on the bulletin board as I came through. Yes. Next week. But really, I don't see how questions like these are going to find constants. Oh, Kling. Yeah. What now? Are you going to ask me to the dance? Look, Kling, I'll get Connie back here. And no one will know anything's happened if Miss Ogilby will agree not to press the charges against me for last night. What? Miss Ogilby, you know it wouldn't be good for the school if this got in the papers, would it? Not at all. Oh, great. The poor kids disappeared. They got those letters and you're worrying about the school. The letters gave her until tomorrow to get the money. All right, I've got all day. But I want to do this my way. Believe me, it's for Connie's sake. Well? I...very well. I agree. All right, will you, Kling? Oh, it has to be. Good. If I'm not back in 12 hours, bury me anyway. I was playing a hunch all the way to the finish line. If it worked, OK. If it didn't, then Dan Holliday was cooked like a hot dog at a barbecue. I had a couple of stops to make. The first one was at the Star Times. There I asked Mona, the society editor, a few questions. The McLean? Are they the ones, Dan? Uh-huh. They got a daughter, Constance. That's right. And a hundred million or so. Where are they now? I can't tell offhand, but wait a minute. That file, she'll tell. The Riviera, not here. Nice, not here. Monte Carlo, not here. Mona, please drop the opera glasses and get to the McLean's. All right, Danny Boy. Let's see. Ah, here we are. Mr. and Mrs. Randolph McLean have left for an extended vacation in Florida. Florida? You sure that's not Michigan? Well, if it is, the Florida Chamber of Commerce is going to be awful mad. Did they return yet? No. You sure? Of course I'm sure. That's my job here, remember? Okay, Mona, thanks. I'll remember you at Christmas. Once a year is all I ask. So long. There was another stop to make. And strange as it may seem, it was to see a psychiatrist. Well, what he told me checked. But good. Then I made one more visit this time to a telegraph office. I sent a wire to county's parents to charter a plane and come home at once. When that was done, I was all set except for one more little item. A long talk with Barbara. I got Miss Ogilby's permission to take Barbara for a drive in my car. But Mr. Holiday, why do you want to talk to me? Oh, maybe I just like to, Barbara. Where are we going? Is smudging Mary's open in the afternoon now? Yes. Okay. Let's you and I drop in for a lemonade or a malt. How about it? Well, I really got to get back to school. Miss Ogilby said it was all right for you to come with me. Oh. You didn't hear Connie leave the room this morning, did you? No, I didn't. And you're sure you looked all over for her? Oh, yes, everywhere. Well, here's smudgy Mary's.  Come on. All right. Well, practically deserted. Is that smudgy Mary's? Yes, that's she. Two specials, Mary, please. It's a holiday. I don't think I can eat any... Let's try the jukebox. Any particular number you'd like. No, anyone's all right. Okay. Come on, we'll take the stable over here. What do you want to talk about? Connie. What about her? Come on, Barbara. Why don't you tell me where she is? Well, because I don't know. I bet she's been kidnapped. Those awful letters, they said that she... Those letters wouldn't have fooled a baby, Barbara. No kidnapper's going to ask for $1,000, because not when the parents are worth millions. Well, maybe... maybe he was scared. Could be. But that second letter under the door last night, the kidnapper put it there? He must have. Well, how did he get in? I guess he sneaked in. Barbara, no kidnapper goes around in brightly lighted halls shoving threatening letters under doors. I don't know where she is. Barbara, please tell me. He won't tell anyone where you're Mr. Holliday, please. I'm afraid I'll have to, Barbara. But maybe everything will come out all right. Now we'll save those smudgy merry specials until later. Right now, we're going to pick up Connie. How about it? All right, Mr. Holliday. Barbara and I drove out of the country enough where the lake sits in the hills. There were a lot of cabins around. Barbara directed me to one and stopped the car. Is that it, Barbara? Yes. You wait here. I walked up the path, up the porch stairs, tried the door, it was unlocked. Who? Mr. Holliday. Hello, Connie. How are you? It's all right now, Connie. It's all right. Come on, we'll get back to town. Sure, everything was all right. We drove the two girls back into town. They didn't say a word. I dropped them at the school and then had a long talk with Miss Ogilby. It was later that night when Lieutenant Cling and I walked into the McLean home. Mr. and Mrs. McLean had called from the airport. They said they'd be home in a few minutes. Connie and Barbara were upstairs. Miss Ogilby, Cling and I sat in the big living room. All right, Holliday, how about the plot? Going to get with it? I think we'll wait for the McLean's, huh? There won't be anything in the papers, will there? That depends on Lieutenant Cling, Miss Ogilby. Why me? Listen, I still don't know who pulled the snatch. Cling? I beg your pardon, Miss Ogilby. What I mean is... By snatch, you mean kidnapping. Yeah, that's right. You talk English. That'll be the McLean's. Miss Ogilby, would you mind getting the girls down here? Certainly, Mr. Holliday. Connie, I... Where is my daughter? Where is she? Mr. McLean, my name is Holliday. I sent you and your wife that wire this morning. Is she all right? Yeah, she's all right. She's coming down to... Connie, oh, darling. Oh, Mr. Holliday, we're so grateful. I can't tell you how much. Uh-huh, we'll see. Connie? Yes, Mr. Holliday. But you and Barbara wait outside. We'll only be a minute in here. Yes, sir. Come on, Barbara. Who did it? Who kidnapped her? You did. You and your wife. Why, Mr. Holliday? What are you talking about? You're insane. No, I'm not. I'm your daughter, but no one would ever know it. How often do you see her? I'll see here, Mr. Holliday. About once a year you put her in a school and forget about her. Except when you think something's happened. Holliday, you can't talk to me like that. I'm not finished, Mr. McLean. That kid's lonely. And because she's... Well, maybe you call it plain, she doesn't go out very much. Not many dates. I don't see what this is all about. You see, I talked with a psychiatrist today. Used a lot of fancy words, but they boiled down to this. Connie wants and needs attention and affection desperately. She didn't get them here. So she thought of this scheme. Pretend to be kidnapped. Get attention called to herself. Then she'd come back with a story. She'd be in the limelight. And Barbara helped her because... Well, because she's her best friend. Now, wait a minute, Holliday. We'd have torn holes in her story. She wouldn't have gotten away with it. I know, that's why I didn't tell you right away. That's why I wanted to handle it my way. If this had gone to the police, Connie would have been a newspaper story ridiculed for the girl. But this way... Well, let's give Connie a break. And Barbara, how about it, Clay? I... Sure, I'm willing. Thanks, Clay.  I'm a soft-hearted cop, Mr. Holliday. Yes, Mr. McClain? My wife and I didn't realize how selfish we really were. We thought we were giving Connie all she ever wanted. Yes, all but one thing. The one that really mattered, affection. I want to thank you and Lieutenant Klingon. Well, now I think I'll start what should have been started years ago. Sure. But you've got lots of time. Mind if I cut in first? What do you mean? You can start tomorrow. Meanwhile, I think I'll play this all the way. What are you up to now, Holliday? Practice what you preach, I always say. Connie. Oh, Connie. Yes, Mr. Holliday? Everything's all right in there. Nothing to worry about. For you, either, Barbara. Oh, you're wonderful, Mr. Holliday. Oh, Barbara. Well, will you excuse Connie and me for a moment? Huh? Oh, well, sure. Well, I'll be upstairs, Connie. Connie, about that dance. Got a date for it? Oh, sure. Sure, I have. Connie? Well, no, I have. Well, look, I'm just a little older than you are, and when I comb my hair and put on a tuxedo, I look like I've been in the stag line a bit too long, but do I get the date? You? Honest? We'll make a night of it. First to dance, then... even if it kills me, Smudgy Marys for a special. Did you have a good time at the dance, Mr. Holliday? I was the bell of the ball, Susie. Everybody cut in on me to dance with Connie. Uh-huh. But you didn't tell me one thing, Mr. Holliday. What's that, Susie? What's a Smudgy Marys special? Oh, well, three scoops of chocolate ice cream, three strawberry, two vanilla. Oh. I'm going to mix and embalm them in pineapple syrup and lay them out neatly alongside the ice cream. Pineapple. Strawberry. Uh, let's see now. Oh, pour on two ladles of chocolate syrup, a huge gob of whipped cream. Mr. Holliday, I... Uh, wait, no, wait, wait, wait. Then sprinkle with nuts with a few bits of shells left in, and... What's the matter, Susie? I ate an awful big lunch. Good night, Mr. Holliday. Ellen Ladd appears through the courtesy of Paramount Pictures.  Box 13 is directed by Richard Sanville, with original story by Russell Hughes, and original music composed and conducted by Rudy Schrager. The part of Susie is played by Sylvia Picker, and that of Lieutenant Kling by Edmund MacDonald. Production is supervised by Vern Carstensen. This is a Mayfair production from Hollywood.