High Adventure and Box 13

Summary

The Relic Radio Show: High Adventure and Box 13

Episode Date: July 7, 2026
Podcast Host: RelicRadio.com

---

Episode Overview

This episode from The Relic Radio Show features two classic radio dramas from the golden age of audio entertainment. The first story, "Night Alarm," is a tense disaster drama from High Adventure that explores the chaos after a shipwreck during a hurricane at an English seaside resort. The second feature, from Box 13, is "Hare and Hounds," a mystery-driven, film noir-style adventure starring Alan Ladd as Dan Holiday, a writer and amateur sleuth. Each segment immerses listeners in suspense, danger, and vintage radio storytelling.

---

Segment 1: High Adventure – "Night Alarm"

[01:14 – 27:00]

Main Theme

A seemingly ordinary evening erupts into catastrophe when a cargo ship, during a ferocious storm, accidentally collides with a seaside pier, trapping dozens and forcing a desperate rescue.

Key Discussion Points & Plot Highlights

• Ordinary Beginnings:

  • Stan Perrin, having to work late, arranges for his girlfriend Jenny to meet friends at Selcombe Pier instead ([03:05]).
  • The tone is light, filled with banter about amusement arcades and penny pinching.
    • “I can think of better ways of spending my time than watching a Pierrot show.” – Jenny ([03:19])
    • Weather conditions worsen; a storm rages outside.

• The Ship's Viewpoint:

  • The story shifts to the cargo ship Fort Beldon as it navigates up the river. Captain and crew deal with dangerously low visibility, increasing winds, and the threat of a hurricane—a rarity in Britain ([04:14]).
  • Discussion of tides, navigation signals, and mounting tension as the ship’s path becomes unclear.

• Disaster Strikes:

  • The ship, unable to slow in time, crashes into Selcombe Pier, slicing it in half and trapping people at the far end ([11:53]).
  • “At the moment of impact, I'd seen several people stop and stare in horror as the ship bore down on them. Too late, they ran.” – Captain ([11:53])
  • Panic ensues; people scramble for exits while the storm intensifies.

• Desperate Rescue Plan:

  • Stan approaches the pier master, suggesting tying ropes together to attempt a rescue. The pier master is skeptical ([14:54]).
  • Stan bravely descends the damaged pier with a rope, attempting the impossible swim to safety or for help, highlighting personal sacrifice and heroism.
    • “I'm a good swimmer, but I'd sooner swim the Atlantic than try that lot.” – Third Officer ([18:47])

• A Risky Solution:

  • Stan proposes that the captain re-moor the ship in the gap, creating a bridge for those trapped ([21:02]).
  • "What good would that do... the only hope is for you to gently run the ship back into the gap again. You mean ram the pier again?" – Stan and Captain ([21:02])
  • Despite risk to the vessel, the captain agrees, valuing human life over property:
    • "Isn’t a ship worth 50 lives or more?" – Captain ([23:04])

• Resolution & Aftermath:

  • The plan succeeds: everyone stranded is rescued just before the pier collapses ([25:15]).
  • The final moments offer relief and light humor as life returns to normal.
  • “Just you stay here, Stan Perrin. You’ve done enough helping for one night.” – Jenny ([26:41])

Notable Quotes & Timestamps

• "For the first time in my life, I received a hurricane warning on the British coast, brought about by freak conditions." – Captain ([04:14])
• “It was a miracle. But every soul who'd been stranded was taken on board. And only just in time.” – Captain ([25:15])
• “That was a heck of a night out.” – Jenny ([26:15])
• "I knew you'd turn up sooner or later, but not on a ship." – Jenny ([26:25])

Memorable Moment

• Stan’s courageous swim through storm-tossed seas with a rope, acting as the bridge to the only possible rescue ([17:00 – 21:30]).

---

Segment 2: Box 13 – "Hare and Hounds"

[27:56 – 53:42]

Main Theme

A case of mistaken identity entwines Dan Holiday in a lethal cat-and-mouse game involving murder, espionage, and double-crosses—all set off by a mysterious letter at “Box 13.”

Key Discussion Points & Plot Highlights

• A Strange Inquiry:

  • The drama opens with two antagonists discovering a blotter revealing Holiday’s Box 13 address ([28:08]).
  • Dan Holiday, through the Box 13 classified, receives adventure requests. His secretary Susie comes in with the mail and a sense she’s being followed ([29:32]).
    • "I had a kind of demolition." – Susie ([29:42])
    • "You mean premonition?" – Dan ([29:49])

• A Puzzling Visitor:

  • Thomas Worker, an unassuming man, arrives, asks probing questions, and surreptitiously steals a key letter ([32:23 – 32:57]).
    • "So you are Box 13." – Worker ([30:43])
    • “He stole a letter.” – Susie ([33:03])

• The Setup:

  • Three days later, another letter leads Holiday to Bridgeport, in search of “Arthur Holmes” ([33:32]).
  • At the apartment, Dan is knocked out and awakes to find Holmes dead, himself holding the murder weapon ([35:38]).

• On the Run:

  • Dan is now wanted for murder. He realizes he's being framed and must clear his name ([36:52]).
    • Police broadcast his description; Dan adopts a fugitive’s persona.
  • Several scenes—hamburger stand, taxi ride—demonstrate noir tension and wry humor.
    • "You think you're gonna get away with passing those phony fives all over town?" – Cop ([52:27])
    • "I've never been so happy to be arrested. And, boys, I'll match every phony five with a good ten." – Dan ([52:48])

• Reversing the Trail:

  • Dan tracks down Charlie Madison, the bribed clerk who framed him—using direct confrontation and forceful persuasion to make him cooperate in exposing Worker ([42:06 – 45:10]).
  • Together they call the police, feeding information to lure Worker out.

• Climax and Revelation:

  • In a dark alley, Worker confronts them, intent on killing both to cover his espionage trail ([49:18 – 51:38]).
  • Police intervene at the last minute, saving Dan and Charlie ([51:38]).
  • The plot reveals Holmes was a spy couriering jet fighter plans, and Dan was an unwitting pawn in a much larger espionage game.

• Light-Hearted Finish:

  • The episode ends with Dan calling Susie from jail, only to quip about charge accounts when accused of passing counterfeit money ([53:15]).

Notable Quotes & Timestamps

• "He stole a letter." – Susie ([33:03])
• "Funny, older. Well, let's open the mail, Susie and—hey… He's gone… and that letter went with him." – Dan ([32:38])
• “If it makes you feel any better, I didn’t kill that man.” – Dan ([37:54])
• “You frame me for money. I wouldn’t have had a chance if the cleaning woman had seen me in Holmes’s apartment with this gun in my hand.” – Dan ([46:08])
• "Don't do it, Madison. Worker can't make two shootings look right." – Dan ([51:21])
• "I've never been so happy to be arrested." – Dan ([52:48])

Memorable Moments

• Dan’s cat-and-mouse evasion from both criminals and the police ([37:30 – 46:00])
• The show’s playful yet gritty tone, especially in exchange with Susie and the final phone call ([53:15])

---

Notable Timestamps

• High Adventure Start – [01:14]
• Collision and Initial Disaster – [11:53]
• Rescue Solution Proposed – [21:02]
• Rescue Success & Aftermath – [25:15]
• Box 13 Start – [27:56]
• Worker's Visit and Theft – [32:23]
• Dan Framed for Murder – [35:38]
• Police Closing In – [36:52]
• Confronting the Clerk – [42:06]
• Final Showdown – [49:18]
• Resolution & Dan in Jail – [53:15]

---

Summary & Tone

Both stories showcase the atmosphere, suspense, and character-driven drama of old-time radio. High Adventure is a classic disaster survival tale with a strong sense of British stoicism and understated heroism. Box 13 delivers wisecracking noir with Alan Ladd’s sardonic delivery, clever plotting, and a blend of danger and humor.

Whether you crave white-knuckle survival or classic detective escapades, this hour captures the best of radio’s past—timeless thrills, memorable dialogue, and the indomitable wit of its heroes.

---

For more golden age audio dramas, visit RelicRadio.com.

Transcript

[A]

This is the Relic Radio Show, Old Time Radio Entertainment still standing the test of time from relicradio.com. Today on the Relic Radio show, our hour of radio drama begins with High Adventure. We'll hear Night Alarm, an undated episode from that series. After that it's box 13, teen and hare and hounds. That story aired February 27, 1949.

[B]

Hi adventure. Tonight, Ron Evans tells us a story of disaster entitled Night Alarm. Well, I'll just have to stay behind this evening and finish the lists. Will be on your desk first thing in the morning without fail, sir. Yes.

[C]

Goodbye, sir.

[D]

Damn it.

[B]

Still, it's got to be done.

[C]

I suppose Jenny's not going to like it.

[E]

Good afternoon, Harrison Nightingale. Can I help you?

[B]

Yes, by not getting annoyed with me.

[E]

You, Stan? Why should I be annoyed with you?

[B]

Well, I'm not going to be finished until about nine this evening.

[E]

Well, as long as you're truly sorry about it. I'm not annoyed. Is something wrong?

[B]

No, no, it's the stock taking. Yeah, Old Humphries wants it finished. There's no way out, I'm afraid.

[E]

Not the end of the world, Stan. It's tomorrow night, you know.

[B]

Well, it's not as easy as all that. I told you Sandy and Vera were coming down from London this weekend. Well, I arranged to meet them on the pier at seven tonight, the same time and place that I'm supposed to be meeting you.

[E]

And you want me to go and tell them you can't make it?

[B]

Well, better than that. You can meet them and spend the time till I arrive at the amusement arcades. Oh, or go and watch the Pierrot show. I hear it's not as corny this year.

[E]

I can think of better ways of spending my time than watching a Pierrot show.

[B]

Well, maybe, but it'll be something new to Sandy and Vera. You know, the real seaside holiday atmosphere.

[E]

Have you looked out of the window today, Stan?

[B]

Oh, I haven't had time, love. Why is it raining cats and dogs

[E]

and there's a gale to go with it? Hardly the weather for a night on Selco Pier.

[B]

Oh, I shouldn't worry about that.

[C]

You'll be undercover.

[B]

Look, I'll see you at about 9, is that all right?

[E]

Okay, you're the boss.

[B]

Nothing very unusual about that conversation, you might think. But that was what started a chain of the most terrifying events ever to hit the English seaside resort of Salkham, which is situated at the mouth of a river leading up to a major port. It was 1949 and at the time I was master of a Cargo ship, A Fort Beldon. We were heading up the mouth of the river at the time. Stanley Perrin phoned his girl, Jenny. The weather was foul, to say the least. There was no pilot available until the ship had passed Selkirk. In those days there was no radar on most cargo ships, so good visibility was essential. At half speed, we nosed into the wide river, picking out the lights as we passed them. I'd done it many times before, so there was no cause for concern. At 8:30 I was on the bridge with the chief officer, Mr. Harding, and a third officer, a young chap whose name escapes me. That's Angel. Port light on the port beam, sir. Good. We'll be coming up to Salcombe soon. Five degrees to port. Five degrees to port, sir. The wind's increasing. Aye. Surreal. Northwestern Sparks got a gale warning an hour ago while you were down below. That doesn't surprise me. I say the wind has gone from Force 8 to 10 over the last couple of hours. Two more points up, there'll be a hurricane. A hurricane? Here? There hasn't been one in my lifetime, but it's not unknown. That's cheered me up no end. Well, the odds are 100 to 1 against it. Hardy. It's not worth worrying about. Petty. More light. Let's see. One long. One, two, three short. One long. Aye is prettymore. Well, we're a bit close in if it is, sir. There's sandbanks showing there at low tide. Helmsman, 10 degrees to port. Aye aye, sir. 10 degrees to port. Steady she goes. Steady she goes. Visibility is getting worse. The gale wouldn't be so bad if it wasn't for that damn rain. Go and see Sparks get his latest on the weather. I'm damn sure that wind is still increasing. And so it was for the first time in my life, I received a hurricane warning on the British coast, brought about by freak conditions. Once we were in the river, there was no way of turning about and heading back for the comparative safety of the bay. Meanwhile, Jenny had met up with Stan's friends on Selcombe Pier, a long wooden iron arm that stretched way out into the river. It had been built at the turn of the century originally to serve a ferry, but since a bridge had been built in the late 30s, it had now become a place of entertainment. There was a theater at the far end, and this was flanked by several amusement arcades and stalls. As most of the area was roofed over, the pier was in use all year round. In and out of the holiday season.

[E]

I've won eight free games on the Pinball machines and one entrepence on that rollerball thing. If Stan takes much longer, I'll be a millionaire.

[B]

It's a long time since I played a pinball machine at a penny a time.

[C]

I don't mind waiting.

[B]

You better show Sandy how to win those free games, Jenny.

[E]

Even the pennies.

[D]

He's losing.

[B]

Mount up. Don't be so stingy, Vera. Three bob's not bad for an hour's fun.

[E]

There's a little pub at the back of the theater if you'd like a drink. I bet it's the first place Stan looks.

[B]

We don't drink.

[E]

Oh, I see. Oh, well, back to the pinballs. Penny. Stan, can you. Can you feel the way the pill is shaking?

[B]

Yes. Yes, I noticed that.

[E]

It's the storm outside. Well, is it safe? I mean, are we. It's been safe for the last 50 years. Don't worry. It's only the waves and the wind.

[B]

Visibility is now down to about 200 yards, sir. We're wallowing like a cork in a busy paddling pool. I never experienced anything like that in a river before. I think I better reduce speed to slow ahead. Tell the third officer to sound the whistle at 32nd interval. Aye, aye, sir. Helmsman, five degrees to starboard. Five degrees to starboard, sir. Right. Steady as she goes. Ready she goes. I'd say it's a great night to be wrapped up at home in bed. That's a nice thought. Better still, a nice warm fire and a steaming mug of coco, eh? Should be coming up to Salcombe now. What time is it, Hardin? 10 to 9, sir. Still no sign of Riddleton light yet. That's funny. With this visibility, we'll be lucky to see Riddleton at all. Lights on the bow. Lights on the bow. What the hell is that lookout up to? I can't see a damn thing. He did say lights in the plural, didn't he? It's Starkey. I'll bet he's been making his own booze again. It'll be Riddleton he's seen. I'll go farther. No, wait. He's right. Look like. Is that a barge or something lying right in our way? Barge be damned. Already so compare. Stop engine. How the hell did we manage to get here? No time to worry about that now, man. Tide's on flow. We'll have to go astern. Helmsman. Harder port up the P. Slop. We're going to hit it, sir. One of those damned engineers doing down below? Don't know yet how to reverse that blessed engine. We're slowing down. Well, not enough. And that wind of our stern isn't helping. Call the men out of folks. So they're up to four feet. We're going to hit that pier with one hell of a wallop.

[E]

There you are, Sandy. That's four free games in a row.

[B]

Heck, Jimmy, where'd you learn to do that?

[E]

Well, Sam might not be the world's best lover, but he's a dab hand on these machines. He taught me. Why don't you have a go?

[B]

Yes. All right. I hope you don't get him addicted

[E]

to these silly things. He's already got a mania for flying kites on Chapley Common. Honestly, we've been married three years and I'm still waiting for him to grow up.

[B]

Take no notice of her, Jenny. She's in a narky mood.

[E]

I'm not.

[B]

I'll deal with her when we get back to the hotel.

[C]

Now what was it you said I

[B]

had to hit first?

[E]

That light at the top. The one marked 50 if you can bounce the ball off its left hand side.

[B]

What's happening?

[E]

Something's disappear.

[B]

We'd better get out of here and see. Look at the way those people are panicking.

[E]

Come on, Sandy, let's go with them.

[B]

Wait, Vera, don't get excited. They're fighting to get out of the doors. Let's wait until the way's clear.

[E]

It feels as though the pier's about to topple over.

[B]

It won't. Like you said, this thing was built to last.

[E]

The way it's shaking right now is not going to last much longer.

[B]

Okay, the doors are clearing now. Let's go and see what's happening. We did. The pier at its narrowest point sheared right through the superstructure. And then the keel grounded on the stone foundations and brought our forward motion to a jerky halt. Senior side was like a nightmare. At the moment of impact, I'd seen several people stop and stare in horror as the ship bore down on him. Too late, they ran. Only to be hurled down into the boiling forward. Our bow had sliced through the pier's center, cutting it cleanly in half. This meant that everyone at the outer end was trapped. The engine strained to pull us back from the rock foundations. And a few moments later, with a grinding of tortured metal, we pull free. As my ship hit, young Stanley Perrin was stepping onto the pier to join Jenny and his friends. He instantly took in the horror of the scene and after getting over the initial shock, he sprinted out as far as possible. My ship was just pulling out. As he Arrived there. He looked helplessly from the ship to the jagged hole which now separated the two halves. Already, panic stricken people were arriving at the other side only to gaze with horror at the 60 foot gap that cut them off from the shore behind Stanley. Other people were arriving from the promenade. Nobody seemed to know what to do yet. Something had to be done, and quickly. The outer portion of the pier was rocking and grinding under the fury of the hurricane. Likely to collapse at any minute. The screams of those who'd fallen into the sea had already stopped. There was nothing that could have been done for him anyway. A man in a shabby blue uniform stood close to Stamp. The young man went over to him. Have you got anything to do with the pier? I'm the pier master. But what could be done? Well, that's what I was going to ask you. Look, are there any life belts? Ones with ropes attached to them? There are plenty, but there wouldn't be no good in this. If we could tie some of the ropes together. I could climb down one of the stanchions and try to swim to the other side. Wouldn't last a few seconds, mate. The sea would smash you against them. Chantons. Look at it. One of us in anything like it? I'm ready to give it a try. Can we get some of these people together and join the ropes? You must be mad, mate. The other end of the pier is going to collapse any minute. See the way it's rocking? You don't know that for certain. Now come on, for heaven's sake. Bearer.

[E]

Keep calm. We're trapped, Sandy. Nothing can save us.

[B]

Stop talking like that. Jenny, are you all right?

[E]

I'm trying hard to keep calm, but it isn't easy.

[B]

Help will come soon. See all the people on the other side? They'll have given the alarm. The police and fire brigade will be arriving at any minute.

[E]

Yes, yes, yes. The fireman could put a long ladder

[B]

across the little well. I doubt if they'd have a ladder that long. They must have other ways of dealing with an emergency like this.

[E]

The ship has stopped. It was going backwards a moment ago.

[B]

The captain will be trying to turn the bar around and head into deep water.

[E]

Must have been flying. Obviously. The fear.

[B]

Ships aren't like cars, you know, Vera. They take time to stop and turn. He probably saw them here, but it was too late. You're right, Jenny. The ship has stopped. I wonder why that. What is it, Mr. Hardy? We're fast by the stern on a sandbank, sir. Not as much now. We're in a fine pickle we might have to be towed off. Ah, the tight's still on the flow. Lift off before I tight put the engines on standby. I aer we could pull free by steaming full ahead, but I was smashing back into the pier. So all we can do is wait. Yeah. Did the crew manage to save any of those people who fell into the water off the pier? The current swept them away too quickly. We had a damage report from the second mate yet aa a lot of bow plates damaged, but none is shipping water. Well, that's a relief. Those survivors on the far end of the pier in darkness. Look, get Har and Bassey to beam the Aldis lamps on him. It'll assist any attempts might be made to rescue him. A pity we can't do more than that to help. Well, the light bulbs will be no good in this. He may be launching a smash to splinters against a pier. Howl get the oldest lamps and shine them onto those people. Come on, make it snappy. I was thinking, sir, it might also help if we switch on our cargo lights. I do. That limits our own visibility. But it doesn't matter now. Ay, sir, that's an improvement. Must be at least 50 people trapped on there. I can see lights at the promenade end of the pier. Several of them. Must be the police and fire brigade. Oh, lad, you can't do that. You're gonna kill yourself sure as 80's edge. I'm a good swimmer. I tell you, nobody, not even Johnny Weissmiller, could swim through that lot. Wouldn't make the other side. Even if you did, you never have the strength to climb up. You and these other people. Just hang on tight onto the stroke. That's right, Dal. That's all I'm asking you to do. Look, here's the police. Leave it to them. No, not likely. By the time they've made up their minds what to do, the other end of the pier will have collapsed. Now, come on. Hang on tight. All right then. You're Nick. Hey, you. Take a turn of the rope around that railing. Thank you, God. I was seeing you. I hope you got guts, lad. I'll give you that. And good luck. Stan Perrin claimed some 20ft down the crisscross strut. He had to hold on with all his strength as the wind tore at him. And then he launched himself out into a swirling white wall water. Pier master gazed down in an attempt to see him. The rope went slide tightened and went slack again. For several agonizing moments, it seemed as though Stan had succumbed to the water's fury. And then the rope tightened again, pinpointing Stan's position. He was clear of the pier stanchions. Now with a scene illuminated by our lights, we'd seen him climbing down. Hardeen shook his head. I did, too, I think. After all, it seems such a futile attempt. Oh, no, sir. Will you look at that? That's a suicide if ever I saw one. See the way all the people are looking down at him. Well, he must have a rope attached to him. With any luck, they can haul him out if he gets into difficulty. If? You mean when he gets into difficulty. I'm a good swimmer, but I'd sooner swim the Atlantic than try that lot.

[C]

Ah, look.

[B]

The police are there now. And there are more lights on the promenade. That'll be the fire brigade, I expect, out on this ship. I feel so damned helpless. If only there was something I could do. I can see the rope through the glasses, sir. Where? He's made it. He's clear of the stanchions. Here, give me those. Let me stay. Yeah. Yes, but what's he up to?

[C]

Why?

[B]

Well, he's going the wrong way, man. Yeah, I can see him clearly now. He's swimming away from the pier. Well, the poor blighter probably can't see. They should haul him back in. Perhaps the current's too strong for him. Damn it. He's going against the current. He's swimming towards us. Towards us? What would he be doing? He's trying to swim to the ship, Mr. Harden. I'm sure of it. But why? There's no point. Get the boson to lower the pilot ladder on the port side. Come on, man. Don't stand there staring. I think the people on the pier were as puzzled as we were. But soon there was no doubt that the young man was waiting for the ship. Some of the crew dropped life belts into the water and let the current carry him towards him. But it seemed an age before he came close to one. Then I saw him clutch it. Then the men started to haul him in towards the foot of the dangling pilot ladder. The boatswain went down the swaying ladder and helped him up to the deck. A nearly exhausted young man was brought to me up on the bridge. I've got him, sir.

[C]

Here he is.

[B]

He wants to speak to you. Are you the captain? Yes, I am. Hold it. Mr. Harding. Get a shot of my cabin. Oh, and get one for me while you're about it, will you? Aye, aye, Captain. Well, lad, I thought you were going to try and swim to the other end of the pier. What good would that do. It'd take hours to get all those people across to safety by rope. And there's simply no time for. Look, the outer section's going to collapse any minute now. Would be right. You're the only person who can do anything about it. And as you are the one who rammed the pier in the first place, you have got to do it. Well, me? Now, what can I do? I only wish I could. I had a better chance than you to look at the damage that you've been. You've done. The upper part of the pier is almost exactly the same shape as the ship. The gap in between, I mean that. The other thing. Your main deck is at exactly the same level. Well, don't you see what I'm getting at, Captain? Oh, I don't, lad. Not I do. Well, the only hope those people who are stranded out there have is for you to gently run the ship back into the gap again. You mean ram the pier again? No, not ram it. Just sort of drift into it. I can see what you mean, but the outer half might collapse with the impact. Well, it's a chance, Captain, that's all. Collapse anyway soon. And all those people, will they be goners? Our stern's fast on a sandbank. What, you mean. You mean you can't move this ship at all? Well, damn it, yes, I could try. I owe it to him for what's happened. Here we are. Good lad. Three tops of rum. I took one for myself. If you don't mind, sir. Tonight I'm converted sea Tilbula. You suffer quickly. A ring. Half a head, Mr. Hardy. Hey, you heard me, man. Half ahead. Helmsman, swing the wheel hard from port to starboard until we clear. Aye, aye, sir. We could hit the pier again, sir. That's exactly what we are going to do, Mr. Harding. What? We're going to plug that hole we made. Get all the available hands to stand by on the starboard side to bring those people on board. Oh, I see what you mean, but it's a bit risky, sir. Hurry it up. Tell the chief stewards and cooks our to help as well.

[C]

Aye, aye.

[B]

Baker Harris, go down and get hold of all the ropes you can. Thanks, Captain. Oh, don't thank me yet, boy. We're still fast on that blasted sandbag. What the hell out of tray. Full head. Well, lad, that was a very brave thing you did there. Not one in a million would have risked it in a sea like that. I didn't give myself time to think about it, Captain. If I had. Well, I don't know. All I Could think about was Jenny. Jenny? Yes, my girl. I'd arranged to meet her and two friends in the pier. Was on my way to join them when I saw you ran it. He's coming clear, sir. Helmsman, straighten up. Hold the bow to that gap in the pier. Aye aye, sir. No, move slow ahead and hope the current doesn't push us too hard. Ship's owners won't be very pleased about this. Oh, blast the ship's owners. Isn't a ship worth 50 lives or more? Yes, it is, laddie, and that's why I'm doing it. Now you can go down on deck and see if you can land a hand. Everything's under control here. With 30 yards to go, I stopped engines, allowed the ship to drift for a minute. Then I saw she was being pushed too hard by the current and I rang for the engines to go slow astern. It worked out exactly right. I saw the bow enter the gap very gently, followed almost immediately by a crunching sound as a keel found the submerged pierced foundations. We were wedged firmly into position. Stanley Perrin had been right. The starboard side of the bow fitted neatly against the wavering pier, but it was 2ft tall lower. However, this proved to be an advantage to those who scrambled aboard. Jenny. Jenny. Oh, come on. Help her, Sandy.

[E]

All right, Sandy. I can manage.

[B]

Jenny. Thank heaven. We can talk in a minute or two, love. Let me help get these others on board. Look, you go in through that door out of the weather. You go with her, Vera.

[E]

Right.

[B]

I'm going to help you stand. It was a miracle. But every soul who'd been stranded was taken on board. And only just in time. Within a few moments of the last person getting clear, the outer portion of the pier lurched and then topple sideways into the raging water.

[E]

Well, Stan, that was a heck of a night out.

[B]

You just drink your cocoa and stop being sarcastic. Yes, it's 10 o'. Clock. So I suppose you'll criticize me for being late too.

[E]

No, I knew you'd turn up sooner or later, but not on a ship.

[B]

Where's Vera?

[E]

Over there. Sandy's gone to her. She's having hysterics to attract his sympathies. Not very successfully, by the look of it.

[B]

Well, I'll go over and see if I can help.

[E]

Just you stay here, Stan Perrin. You've done enough helping for one night.

[B]

High Adventure is produced by Henry Differenthal.

[E]

Sam.

[C]

Box 13 with the Star of Paramount Pictures, Alan Ladd as Dan Holt.

[B]

You idiot.

[D]

You fool. You let him get away.

[B]

I did not. Worker what could I do?

[D]

He was in the post office. Did he have the envelope?

[B]

Of course he did.

[D]

He sent them to someone. Sent them. And he's got away. Oh, Staley, you are an idiot.

[C]

No, not quite. Look, I've got a blotter.

[D]

Well, what good's that?

[C]

Look in the mirror.

[B]

What he wrote on the envelope was on the blotter.

[D]

Hmm. Well, at least you use your head. I'll see if we can read it. Box 13, care of start time. Box 13, start times? There's no start times in this city.

[C]

But there is in the city he

[D]

sent his letter to. You're right. Well, we'll find him later. But first I think I can get what we want from this box 13.

[C]

And now Back to box 13 and Dan Holliday's newest adventure, Heron Howard. Okay, I'll see you later then. So long.

[E]

Hello, Mr. Holliday.

[C]

Oh, hi, Susie. Got the mail and I.

[E]

What do you got there?

[C]

Eight nice new counterfeit five dollar bills.

[E]

How'd you get them?

[C]

Well, you see, I had my eyes closed when they were passed on to me. I'm turning them over later to the police. How about the mail?

[E]

Oh, here. And you know, Mr. Holliday, I had the funniest feeling while I was coming back here at the office from the start times.

[C]

What do you mean?

[E]

I. I had a kind of demolition.

[C]

Mean you blew your top, huh? What do you mean, demolition?

[E]

You know, like. Like when you think something's happening or going to happen.

[C]

Oh, premonition.

[E]

I had it.

[C]

Why?

[E]

I felt like I was being followed. I felt eyes looking at me when I was in the Star Times getting the mail.

[C]

Anywhere followed.

[E]

It felt like it.

[C]

Okay, that makes you a big girl. Now let's have the mail.

[E]

Yes, sir. 12 letters.

[C]

Slim pickings.

[E]

It was such a funny feeling.

[C]

Wow. Well, look here. An out of town letter.

[E]

I know. I thought.

[C]

Oh. A little nervous this morning, Susie?

[E]

I guess so.

[C]

Come in.

[D]

Good morning.

[C]

Good morning.

[D]

May I come in?

[C]

Oh, please do.

[D]

I hope this is not too much of an intrusion, but I.

[C]

May I do something for you?

[D]

Well, maybe. Is this your advertisement in the Star Times Adventure Wanted will go any place to anything. Box 13.

[C]

That's right.

[D]

So you are Fox 13.

[C]

Yes.

[D]

I had a different picture of you, Mr. Mr. Holiday.

[C]

Dan Holiday.

[D]

My name is Worker. Thomas Worker.

[E]

Oh, I saw you at the start times. You were the one who was looking at me.

[D]

Yes, I guess I was.

[E]

You followed me.

[D]

It was charming work.

[E]

And you. Oh, thank you.

[C]

May I ask why you followed my secretary, Mr. Worker?

[D]

Curiosity you see I've been noticing your ad for weeks now. It runs day after day. Naturally I wanted to see you, what you look like and why you put the ad in the paper.

[C]

Oh is that all?

[D]

Yes, that's all. Foolish.

[C]

No.

[D]

Tell me Mr. Holliday, do you get the adventure you advertise for? Sometimes. Do you receive many replies to your ad?

[C]

Usually yes.

[D]

But you cannot follow them all?

[C]

Well no. Do you have any particular reason for asking all these questions Mr. Worker?

[D]

No, but I lead such a prosaic life myself that your ad intrigued me. I finally got up enough courage to go to the Star Times and wait for someone to collect the mail from box 13.

[C]

I see. And now that you've found me I.

[D]

Well perhaps you'd care to have dinner with me some evening and. And tell me some of your adventures. Oh I'd like to hear them very much. I. I'm very lonely and. And.

[C]

All right Mr. Weka, I'd be glad to.

[D]

Oh thank you, thank you. Now I must be going. Sorry to have troubled you and I hope I didn't frighten you young lady.

[E]

Oh no, it was kind of fun.

[D]

Oh my umbrella. One can never tell when it might rain. Well good day Mr. Holliday and thank you so much. Don't bother to get up. I'll look you up in the phone book and call you.

[C]

Please do. Goodbye.

[E]

What a night man.

[C]

Uh huh. Funny. Older. Well let's open the nails Susie and. Hey.

[E]

Huh? What's the matter?

[C]

Where's that letter from? Out of town.

[E]

It's right on top of the pile where you put it.

[C]

But it's not a.

[E]

What's the matter? Mr. Holliday?

[C]

He's gone.

[E]

What do you mean?

[C]

Sure he's gone and, and that letter went with him.

[E]

He. He took it.

[C]

His umbrella was on top of the pile. Oh what a nice old man.

[E]

Gee, he stole a letter.

[A]

Yeah.

[C]

And something tells me Susie, that Mr. Worker will never invite me to have that dinner with him. Sure, Worker took the letter. But why? What was in it? Why was it so important? And who sent it? Well I kept asking myself those questions. And then three days after that little visit from Worker, Susie came bursting into the office.

[E]

Oh Mr. Holliday, look here. Here's another letter from the same place. I mean it looks like the same handwriting.

[C]

Yeah it does. Hey Susie.

[E]

Huh?

[C]

You weren't followed this time were you?

[E]

I made sure.

[C]

Oh good.

[E]

What's it say? Mr. Holliday?

[C]

Listen. Three days ago I sent you a letter containing a sealed envelope. It contained half of something which is very important to me. It was imperative that I get rid of it until I could get to safety. Gee, I'm all right now. So send the sealed envelope to 243 Marlow Avenue, Bridgeport. Arthur Holmes.

[E]

Now what are you gonna do, Mr. Holiday?

[C]

Do? Well, I can't send him the envelope because I haven't got it. And I can't find Mr. Worker because I've got a sneaking hunch that he'll be a little scarce.

[E]

Maybe you better write to Mr. Holmes.

[C]

Oh, no, Susie. This looks too good to be handled by a letter. I'm going to find out a few things by seeing Mr. Holmes in. I went to Bridgeport, found 243 Marlow Avenue, an apartment house. There's no clerk at the desk, but there was a tier of mailboxes. One of them belonged to Arthur Holmes in apartment 6B. So a couple of minutes later. Mr. Holmes. Oh, Mr. Holmes. I tied the door. It wasn't locked. The apartment was dark. I was fumbling for the light switch when. If I say I was fresh as a daisy after that thump on my head, I'd never get to be the father of my country. I was lying on the floor. The room was still dark except for a flashing light that came from a store sign across the street. I lay there for a minute to give the room a little time to stop spinning. Then I realized I was holding something in my hand and from where I lay it felt like a gun. I was just crawling to my feet when.

[E]

Mr. Holmes. I've come with the fresh towels. Mr. Holmes.

[C]

I wanted to clear up a lot more before anyone found me. I ducked behind the door and waited.

[E]

Mr. Holmes,

[C]

Why did you scream? Well, who wouldn't? The room was a shamble. Someone had searched it. And lying on the bed in an alcove was a man who certainly would have no further interest in me or anything else. There was a hole in his forehead and I was sure I held the gun that put it there. Sure, I was innocent, but I'd have a hard time proving that. Figure it out. I received a letter from Holmes. Instead of writing, I went to him. I didn't wait for the clerk in the building to call up first. I ducked behind the door when the cleaning woman came in. Maybe I should have gone to the police right away, but I was innocent and I wanted to learn a bit more. Besides, the cleaning woman reported the murder. So a half hour later I was drinking a cup of coffee in an all night hamburger stand.

[B]

The next edition of the New oh, just a moment. Ladies and gentlemen, we have a last minute flash.

[D]

A murder was committed tonight in the Roxmoor Apartments.

[B]

Police are looking for a man who answers this description. Medium height, light hair, wearing dark gray

[D]

flannel suit, blue and white striped necktie, black shoes, carrying light tan topcoat.

[B]

The description of the wanted man was given to the police by the clerk who remembers this man asking for the apartment of the murdered man, Arthur Holmes. And that's all for tonight.

[D]

The next edition of the news.

[E]

Another murder. Hear it, mister?

[C]

Yeah.

[E]

Getting so person can't feel safe no more.

[C]

You're so right.

[E]

More coffee?

[C]

No, no, thanks. No, thanks.

[D]

Pie?

[E]

Cake?

[C]

Nothing, thank you.

[E]

They ought to get that guy that done it pretty soon.

[C]

You think so?

[E]

Sure.

[B]

He ain't gonna get far.

[E]

Well, every cop in the city will

[B]

be looking for a guy wearing a

[E]

gray suit with blue and white.

[C]

Yeah, you're. You're right. Okay. Here's your dime.

[E]

Yeah, thanks.

[C]

What's the matter? Don't say it.

[E]

What are you gonna do?

[C]

Walk out of here?

[E]

Sure, sure.

[C]

You stay right where you are and you won't get hurt. Just keep talking to me, mister.

[E]

I ain't got nothing to say.

[C]

Don't say it.

[E]

Sure, sure.

[C]

If it makes you feel any better, I didn't kill that man.

[E]

I ain't said you did. The police said it. They could be wrong. Sure, they could be wrong.

[C]

Yeah, that's right. Stay right where you are. Don't say a word to either of the other two in here until I'm out of sight, understand?

[E]

Sure, sure. Good night, mister. Come again. Hey, that's him. That's the guy.

[B]

Somebody call the police. Hey, taxi.

[D]

Taxi.

[C]

Now where the park is? Yeah, sure, we'll drive to it fast.

[B]

What's all that noise about?

[C]

I know. Don't the least idea, huh?

[B]

Okay. I'd sure like to know what all that noise was about.

[C]

They're playing a game. That sure Heron Hounds. Ever hear of it?

[E]

Oh, yeah.

[B]

Yeah, I played it when I was a kid.

[C]

Huh? Then I've got news for you. It's no longer a kid's game. Mistake number two for smart boy Holiday. Another notch against me. I ran from the hamburger stand. That would look bad, but I've got one bad fault among others. I'm very curious. And I was so curious to know how and why the clerk of the apartment house identified me when he didn't even see me. But if somebody paid him off to enlarge this beautiful frame around my neck, well, we'd see.

[B]

Hey, mister, I. I've been thinking. Ain't that Hare and hounds game a little young for grownups?

[C]

I told you it wasn't a kid's game anymore.

[B]

The whole world's gone nuts.

[C]

We agree. Say, pull up here, will you?

[B]

I thought you wanted to go to the park.

[C]

It's dark there, huh?

[B]

Well, it's dark all over. It gets that way at night, mister.

[C]

Maybe you've got something there. Oh, pull up here by the duckst. Hey, I'll keep the change.

[B]

Hey, you're fiverr. Well, thanks, buddy.

[C]

No, don't mention it. I won't.

[B]

Not even to the missus.

[C]

When the cab drove away, I then went into the drugstore to the phone booth. I looked up the Rocksmore Apartments in the book and dialed the number. Hello, Roxmore Apartments. Is Eddie there? Eddie? He's the clerk there, isn't he?

[B]

Who? Charlie?

[C]

Charlie who? Madison. No, Eddie's a clerk there. I. Okay, okay.

[E]

Keep you.

[C]

Charlie. Madison. Madison. Charles Madison. There were three Charles Madison's in the book. Okay, maybe one of the three was the one I wanted. I left the drugstore and went back out at the street. And as I did, the cab I just got out of drove up.

[B]

Hey, you. Hey you. Wait a minute.

[C]

Well, this was it.

[B]

Hey you.

[C]

So you want to play hare and hounds too, huh? Well, I'm sorry, but I warned you.

[B]

Now wait a minute.

[C]

It's no longer a kid's game. Not the way I play it. And now back to Hare and hounds. Another box 13 adventure with Alan Ladd as Dan Hominid. Well, well. I was adding black marks against my name faster than I could explain them away. And I knew the police would be listening in on the Roxmore switchboard. I hope my act had worked. Now all I had to do was find the right Charlie Madison and get his story. An hour and a half and two Charlie Madisons later. Uh huh. I'm Charlie Madison, Clerk at the Roxburgh. Yeah, why? I'm. I'm a writer. I'd like to get your story.

[B]

Oh, sure, sure.

[C]

Come on in. You're married, Mr. Madison? No. You live alone? Sure. Swell. Get your coat and hat, Charlie. What for? I'll feel safer out on the street away from here. I don't get it. Don't you recognize me, Charlie? What are you giving me? I never saw you before in my life. But a guy who never saw me before in his life, he gave a pretty accurate description to the police.

[D]

You. You're.

[E]

Yeah.

[C]

Yeah, I am.

[E]

Hell.

[C]

Listen, Charlie, you're not gonna get hurt. If you play good boy, don't try another yell.

[B]

You're breaking my arm.

[C]

One more peep out of you and I'll work my way up to your neck.

[B]

What do you want from me?

[C]

Information. Now come on. I want to be out of here when the police arrive. Let's go, Charlie. I'm right behind you. I've got a gun.

[B]

Sure, sure.

[C]

Is there a back way out of here? Turn, turn to the right. Where does this alley lead to? To the street. Then we go the other way. Listen, I. Maybe I made a mistake.

[B]

Maybe you ain't the guy I saw.

[C]

I know that, Sally. There are other things. All right, stop here. It's dark enough. What are you gonna do? Nothing. You're going to talk. Now what do you know about Holmes?

[D]

Nothing.

[C]

You only lived at the Rocksmoor two days, just moved in. Yeah. Now who paid you to identify me?

[D]

Nobody.

[C]

No? Who paid you?

[B]

I don't know who he was.

[C]

Was his name worker? I don't know, honest, I don't know. Short gray hair, little mustache? Yeah. His name's Worker, isn't it?

[B]

I don't know his name.

[C]

I guess you don't. But he paid you to say you saw me go into the homes apartment, huh?

[D]

I. Yeah, yeah.

[B]

Now let me go.

[C]

Oh no, Charlie, we've got work to do. Where's the nearest payphone? Down the street on the corner. Okay, I'll furnish the nickel and you furnish the talk.

[B]

I don't get it. What do you want me to do now?

[C]

Help me smoke this work out into the open.

[B]

What for?

[C]

I told you, Charlie, I didn't kill Holmes. But I'd have a tough time making anyone believe that after the ring around the rosie I played tonight, Work is the boy I want, I. Get moving. I remember what you're going to say.

[B]

Yeah, yeah, sure.

[C]

The police will trace this call. Don't let them make you repeat anything. It's a trick to hold you here until they can trace where this call comes from. Just say what I. Hello, police? This is Charles Madison. Listen, there's something else I didn't tell you. There's another man in the Holmes murder

[B]

and I said this.

[D]

I'll repeat.

[C]

Keep talking.

[B]

Look for a man below, medium height, gray hair, little mustache. I don't know his name, but he carries an umbrella and he wears glasses, that's all.

[D]

What?

[E]

Hang up.

[B]

We didn't hear the last part.

[D]

He heard it.

[C]

All right, let's get out of.

[B]

Can I go home now?

[C]

Oh no, Charlie, I'm beginning to be real Fond of you. What are you gonna do now? You like taxicabs, Charlie, huh? We're going to ride in one cab after another till the morning papers come out.

[D]

What for?

[C]

The papers will carry the latest in the Holmes murder, including your description of the mysterious little man with gray hair whose name is Worker. But.

[B]

But Worker will come after me.

[C]

Now you're beginning to be bright about the whole thing.

[B]

You kill me.

[C]

Yes, like he did Hol. You won't let him.

[B]

You gotta let me go.

[C]

You know, Charlie, I can't seem to work up a flood of tears for you. You frame me for money. I wouldn't have had a chance if the cleaning woman had seen me in Holmes's apartment with this gun in my hand.

[D]

Well, I'll say I lied.

[C]

Think a minute, Charlie. If you do that, it'll make you an accessory after the fact. What's that mean? Simply that the police would hold you equally as guilty as Worker or me.

[B]

Well, then what I do.

[C]

You know, Charlie, I'm a very curious minded person. I could go to the police, but I'd rather play it through my way. Smoke Worker out in the open and see what this is all about. But how? Well, as long as Worker knows you can identify him, he'll try to find you, get you. But if you don't go to the police, he'll know you're around somewhere. Charlie. By the way, Charlie, how does it feel to be another hair in the game? All right, pull up here, driver. Come on, Charlie. You tired of riding? It's almost day. Yeah. Stack of morning papers on the corner. AR Driver. Keep the change, Charlie. There's nothing gloomier than a city. Just before dawn. I get one of those papers. Where are we going then? Who knows? I've seen the whole city. Go on, get the paper

[B]

tied up.

[C]

Untie them. Yeah, Here you are. Did you leave a nickel? Huh? You have a dishonest streak in you, Charlie. Come on, leave an echo for the paper. All right, down this alley. Okay. In the stairway. Now we'll see what the papers have to say. Well, you're in, Charlie. Listen. Mysterious disappearance of Charles Madison has led the police to suspect foul play. Say, John, what else is say? Oh, here it is. Madison called the police late last night with another tip in the murder of Arthur Holmes. Madison volunteered the description of another man whose name he said he did not know. Meanwhile, police revealed. Holmes, what's the matter? Why'd you stop? Meanwhile, police revealed Holmes real name to be Albert Henning, former draftsman at the Bull Mill Aircraft Company. Henning disappeared over a week ago. And executives of the aircraft company stated that Henning was suspected of having taken micro photographs of plans for the Navy's new twin jet fighter. He was a spy and that's what he sent to box 13. He didn't want to be caught with the photographs on him so he used me as a hideout until he could send for them. I don't know what you're talking about. All I know is we got to

[B]

go to the police now.

[C]

You're so right Charlie. You're so right. Come on. I'm through playing games. This has grown a little bigger than box 13.

[D]

Stay where you are.

[B]

It's him.

[C]

It's.

[B]

It's Worker.

[C]

Yeah.

[D]

Don't try to use your gun Mr. Holliday.

[C]

It's not my gun, it's yours. The one you killed Henning or Holmes with.

[D]

That's right.

[C]

How'd you find us?

[D]

Simple. You see Mr. Holliday, when I heard over the radio that you would escape from Holmes's apartment I was a little worried. I knew you'd read or heard about this fool giving your description. I thought you might go to him and perhaps to the police.

[C]

Yes, as I should have in the first place.

[D]

That's right. But you didn't. I'm glad you like adventure. So I watched Madison's place and I've been following you all night to see what you were going to do. And now do you want to guess?

[C]

No.

[D]

You've made it perfect for me. As perfect as Henning did when he double crossed us and tried to sell those photographs for a higher price.

[C]

Perfect for you?

[E]

Yes.

[D]

Think of this. Here you are in an alleyway with the only man who identified you as the murderer of Mr. Holmes. Now you still have the gun and I'll take it. Be careful how you hand it to me. Please hurry. Thank you. Now I shoot Mr. Madison first and then you. And how does it look?

[C]

Pretty smart.

[D]

But it looks as though it's my idea. Let me tell it. There was a struggle, shooting and both of you are dead. Oh it has flaws but not glaring ones.

[E]

Don't.

[D]

Don't.

[C]

I'll swear I lied to the police Mr. Worker.

[B]

I'll say Holiday kill Holmes. Honest I will.

[D]

Oh better still, I will give you this gun Madison, and you will shoot Holiday while I stand in back at the you. And then you will go to the police and say you got the gun away from him when he was going to kill you.

[E]

Here.

[D]

Now once you kill our friend Mr. Holliday, you will be a Murderer. And you will have to keep your mouth shut. So go ahead, Mr. Madison. Pull the trigger. Come on, pull it.

[C]

Don't do it, Madison. Don't do it. Worker can't make two shootings look right.

[D]

Either you pull the trigger, Madison, or I do. It's a little better to live than to die. Hurry, you idiot. I.

[B]

You won't kill me?

[D]

No, no. There would be no need for it unless you talk. And you won't.

[C]

Madison, don't.

[B]

Hey. Yo, down there.

[D]

Who's the priest?

[C]

Hit the ground, Madison.

[D]

Pass.

[B]

All right, you asked for.

[C]

Nice shooting, officer. Very nice. All right, you two, get up off the ground. And believe me, I'm very happy to be able to do just that. What's the matter with the other guy? Nothing. Things are a little too much for him. He passed out.

[B]

That's a guy, Officer.

[D]

That's a guy.

[B]

Okay.

[C]

Okay, you guys, stand back. All right, Officer. What kept you? Are you kidding? We've been tracing you all night. One taxi driver after another. One cab after another. You think you're gonna get away with passing those phony fives all over town?

[B]

That's right.

[C]

No, I didn't. That's why I passed them out.

[D]

What?

[C]

You know, officer, you have a very efficient police force. Oh, thanks, boys.

[E]

You mean you.

[B]

You gave out them phony fins on purpose, huh?

[C]

A very definite purpose.

[D]

I don't get it.

[C]

You think it's funny, huh?

[D]

Well, see how hard you can laugh at headquarters, Officer?

[C]

I've never been so happy to be arrested. And, boys, I'll match every phony five with a good ten. Come on, let's go.

[A]

Hello?

[C]

Hello, Susie.

[E]

Mr. Holiday. Gee, where are you? I was worried.

[C]

You were worried? Now, listen, Susie, I'm in jail.

[E]

Yes, sir. You're what?

[C]

Yeah. Get a hold of Lieutenant Kling. Tell him I've got to talk to him.

[E]

But why are you in jail?

[C]

It's a long story, Susie. I'll tell you all about when I get back. But technically, the charge is passing counterfeit money.

[E]

Mr. Holiday, you should be ashamed of yourself. All you have to do is open a charge account.

[C]

Oh, no. Good night, Susan. Next week, same time, through the courtesy of Paramount Pictures. Alan Ladd stars as Dan Holliday in Box 13. Box 13 is directed by Richard Sandville with an original story by Russell Hughes. Original music is composed and conducted by Rudy Schrager. The part of Susie is played by Sylvia Picker. Production is supervised by vern Carstenson. Box 13 is a Mayfair production from Hollywood. Watch for Alan Ladd in his latest Paramount Picture.

[A]

There's more from high adventure, box 13, the relic radio show alongside all of the other podcasts at the website relicradio.com Lots to listen to there, all made possible by your support. If you'd like to help out, visit donate. Relicradio.com or click on the support link in the show notes. You make all of this possible and have since 2007. Thanks to those who have helped out. Thanks for joining me today. I'll be back tomorrow with another hour of mystery on Case Closed and next Tuesday with our next episode of the Relic Radio Show.