The Saint: The Carnival Murder (EP5096)

0:02 The End.

0:28 Welcome to the Great Tactives of Old Time Radio from Boise, Idaho. This is your host, Adam Graham. In a moment, we're going to bring you this week's episode of The Saint. But first, I want to encourage you, if you're enjoying the podcast, please follow us using your favorite podcast software. And Today's episode is brought to you in part by the financial support of our listeners. You can support the show on a one-time basis, support.greatdetectives.net, and become one of our ongoing Patreon supporters for as little as $ 2 per month.

1:04 Go to patreon.greatdetectives.net. But now, from February 4th, 1951, here is The Carnival Murderer.

1:40 The Adventures of the Saints, starring Vincent Price.

1:43 The Adventures of the Saints.

1:55 The Saint, based on characters created by Leslie Charteris and known to millions from books, magazines, and motion pictures. The Robin Hood of modern crime now comes transcribed to radio, starring Hollywood's brilliant and talented actor Vincent Price as.

2:11 The Saint.

2:16 Just step a little closer, if you will, my friend. You might be the start of a mighty insurgent throne.

2:21 You mean me? You and none other.

2:24 Slumming the night, friend?

2:25 I just happen to like carnivals. The gentleman says he likes carnivals.

2:29 And now let us all step up a little closer here while we talk about the greatest attraction on the mighty Midway. A test of strength, courage, and endurance attracting attention all over the civilized world and further.

2:45 Texas. It's a joke, friend. Oh, sorry. Yes, sir.

2:51 Well, I am talking about that little lady inside the tent here that all your friends have told you positively not to miss. The courageous girl who lies buried alive 20 feet below the surface of the earth. Are you going in, friend, or am I wasting my time?

3:08 I'm still on the fence. Yeah, indeed.

3:12 Well, you have heard her name, you have read about her in the papers, and now you are going to see Mona the Buried Alive Girl, who has lain in her grave on these premises for 222 hours, 36 minutes, and 21 seconds. and is now attempting to break the world's record of 244 hours.

3:33 Oh, how strenuous.

3:36 Inside the tent, you will see her, talk to her, ask her any questions that happen to.

3:41 Be on your mind.

3:42 Tell me more. My friend, I.

3:45 Don't request that you buy a ticket for this great attraction. I just ask that you put this question to yourself.

3:52 Yes?

3:52 Yes.

3:53 Would I have the courage to change places with Mona, the buried alive girl?

3:59 No.

4:00 I thank you for your kind attention, and the box office is now open.

4:04 Oh. One, please. One, he says.

4:07 Hmm.

4:08 Some days it don't pay to get buried alive. There you are, son. The entrance is right in front of you. My change? Your change? Oh, yeah. Yeah, the change. That's right. It's a mere oversight, sir, I assure you. Here you are, right straight ahead. Thank you. Thank you. To communicate with Mona, talk down to. Well, all right, I talk. Mona!

4:39 Frankie, you got to get me out of here. I'm going crazy down here.

4:43 I'm scared. Mona, this isn't... I've been thinking, Frankie.

4:45 I've been thinking all day what Angie said just before she... I don't want to end up like Angie, Frank.

4:50 I don't.

4:51 And I will if you don't get me out of here.

4:53 I know I will.

4:54 I don't want to die, Frankie.

4:55 Get me up.

4:56 Mona, this isn't Frankie. This is Simon Templer. Can I help you?

5:00 Oh, you're not.

5:01 You're not Frankie?

5:02 No, but I'll help you if you'll tell me what you're afraid of. Mona... I am in very.

5:09 Good health and am enjoying no physical discomfort whatsoever. I am looking forward eagerly toward breaking the world's record for being buried alive.

5:17 244 hours.

5:18 Pictures of me are available at the box office at nominal cost.

5:23 Mona, what are you afraid of?

5:26 I am in very good health and am enjoying no physical discomfort whatsoever. I am looking forward eagerly to.

5:32 I know, I know, I heard. Hey, what are you doing here? Who are you? I'm Simon Templer, a customer. Who are you? Customer? Oh, excuse me. I thought... Excuse me. Oh, say, aren't you the strong man? I saw your act a few minutes ago. Segundo, huh? Pretty good. Yeah, pretty good. Tell me, Segundo, what about Mona? Who was Angie? Angie?

5:58 Excuse me, I gotta go. Hey, wait a minute.

6:02 You got two for the price of one, eh, friend? Mona and the strongman Segundo.

6:07 I caught his act before. Quite a large hunk of muscle. I wouldn't like him to step down on my foot.

6:13 Yeah, the guy is built like a Hudson. Only trouble is his motor don't run so good.

6:20 Oh, a few chips light in the head. A whole stack. Well, did you enjoy your chat with Mona? Tell me... Who was Angie?

6:28 Angie, oh, yeah, that Angie, that's a real sweetheart. That was Mona's sister. Angie used to do the Buried Alive Act before she died. Oh, a real doll.

6:37 Was it an accident? Accident?

6:39 No, no, it was a weak heart. That Angie, oh, she was all heart. Oh, we miss her. How'd you know about her?

6:46 Tell me about Mona.

6:48 Why?

6:48 I might like to help her, that's all.

6:51 Hey, look, my friend, nobody in this county needs no help from you. We take care of each other. We always have and we always will. Nobody on the outside cares nothing about us, and we don't care nothing about them.

7:00 Now, beat it. Who's the owner of this carnival? B. St.

7:04 Clair, and a trail is right down the midway, and she'll tell you the same thing I did.

7:07 I'm hard to discourage. Friend, there's nobody here and needs no help. Friend, you forget that I've heard your jokes. See you later.

7:29 Come in.

7:31 Miss St.

7:32 Clair?

7:32 Right.

7:33 Who are you?

7:34 I'm a customer of your carnival.

7:36 Well, come in, customer. Sit down.

7:40 Thank you, thank you. I wanted to ask a few questions, if you don't mind.

7:44 Where's your question license?

7:45 My name is Simon Templer, also known as the Saint.

7:48 Please, for my own opinion. What do you want to know?

7:52 I'm interested in Angie. Angie? Mm-hmm.

7:55 They never come any better. Every hundred years or so, you meet somebody nice in this Lousetrap circuit. And Angie was one of them. Now she's gone and the crumbs remain.

8:05 Anything peculiar about the way she died?

8:08 Sudden, that's all. Heart. Why?

8:10 And her sister Mona took her place. Yep.

8:13 Mona's a good kid, but a kid.

8:16 Any chance of her being brought up from the living grave soon? Why? I got the impression she didn't like it down there.

8:23 No, you did. You know something? I don't like running this flea circus of a carnival, either. Some mornings, I don't even like living. But I don't come running to you.

8:31 About it, Mr. Templer. You won't bring her up, then?

8:34 No.

8:35 I got nothing to say about it anyway. It's up to her husband, Frankie Fowler. You catch his act? Frankie, the tattooed boy?

8:41 I'm afraid I'm not an art lover.

8:43 Well, he's no Mona Lisa, Jack. Any more questions?

8:46 Would I get any more answers? No. But when a woman says no, that's not always what she means.

8:52 Jack, that's an entirely different type of question.

8:56 Hello.

9:10 Anybody here? Yeah. Frankie, I'd like to talk to you. Who are you? My name is Simon Templer, Frankie.

9:19 What do you want?

9:20 Well, I've always been interested in tattoos. I think they're fascinating. Oh? Almost as fascinating as the people who do them.

9:28 Oh, a fan. Come in, come in.

9:29 Thank you, thank you.

9:32 You know, the county's closed for the night, but I'm always glad to oblige a customer.

9:36 Well, I'm not exactly a customer. I'm a friend of Mona's.

9:40 Mona's got no friend, Simon Templer.

9:42 Let's say a speaking acquaintance. Did you know Angie, Frankie?

9:48 No.

9:49 Angie was my wife. Wonderful girl. Almost killed me when she passed away.

9:55 Omaha. She's buried there?

9:58 I couldn't leave her behind. Not with strangers. Call me sentimental if you want to, but that's the way I felt. You see that urn over there on the table? Now Angie's with me always.

10:10 I see.

10:11 They say us carny people got no heart. You like to see some real artistic work in tattoo, Mr.

10:17 Temple? Oh, maybe some other time, Frankie.

10:19 Look at that.

10:19 Look at that.

10:19 Here.

10:20 Monitor and a Merrimack.

10:22 Civil War. Authentic. 100%.

10:24 They don't do work like that anymore.

10:26 Frankie, I.

10:27 Everything I got on me is art.

10:29 Art!

10:30 I seen a guy the other day ask him what he had on. He said surrealism.

10:34 Surrealism.

10:35 I told him right out. I said, the guy that tattooed that on you ain't American. That's what I told him, and I'll stand by it.

10:42 Surrealism. Frankie... I've been talking to Mona. What about? She's buried too far under the earth, Frankie. She wants to come up. She does, does she? She say anything else, did she? I just got the impression she was frightened down there.

10:57 Well, let her be. Let her stay there. She's getting just like Angie.

11:01 Oh? Angie was frightened?

11:03 Well, no, no, that's not what I meant. Angie, Angie was the greatest. It's just that they're sisters, see? What's this to you?

11:11 Nothing, except I think it might be better if you brought Mona up. Oh, you do. You do. Segundo!

11:20 Yeah, Frankie.

11:21 Come in here.

11:24 Now you see what happens to guys who get nosy.

11:26 Afraid to do your own strong arm work, eh, Frankie?

11:29 Why, you.

11:29 Here I am.

11:31 Look, Segundo. This guy came in here saying bad things about Angie.

11:35 About Angie?

11:36 Yeah.

11:36 Yeah. You shouldn't have said that, mister. Not about Angie.

11:42 I don't like nobody to say bad things about Angie.

11:46 I'm trying to help her, Segundo. And Mona.

11:49 Don't listen to him, Segundo.

11:50 Get him.

11:51 I don't trust Angie. Hit him again, Segundo.

11:55 Throw him out. Yeah.

11:57 You shouldn't have said bad things about Angie.

12:13 Hey.

12:14 Hey.

12:15 Hey, wake up, mister. Wake up. You hurt? Hey, carnival's closed for the night, friend. Why don't you go home and sleep?

12:24 Oh, wait till I find my head. What happened? Well, let's say too much cotton candy and circus peanuts, huh?

12:32 Drink help you out?

12:34 Oh, immeasurably. Lead the way.

12:39 You don't mind drinking with a dwarf, do you?

12:43 Why should I?

12:44 Some people do. Oh, my name's Carlos.

12:49 Hello. I'm Simon Templer.

12:52 Right in here.

12:57 My home.

12:58 One of the wagons. Oh, don't bump your head.

13:01 I'll watch it.

13:05 Here. Pour this down.

13:11 Oh, thank you, my friend. Oh, my, I needed that.

13:17 Have to go, or can you stay and talk a while?

13:20 Oh, I'd like to stay if I may, Carlos.

13:22 Oh, thank you. I very seldom get the chance to talk, Mr. Templer.

13:27 Why is that?

13:28 Eh, it's always a.

13:30 Rather lonely occupation. Not freak enough to make much money in the carnival, and... Too much of a freak to be accepted out of it. Oh, I'm sorry to burden you with my troubles.

13:41 Everyone's troubles are everyone else's, Carla.

13:43 Well, thank you. Want to tell me about yours?

13:48 Well, I had a call for help tonight from 20 feet under the ground. And I just don't know what to do about it.

13:56 Mona?

13:57 Yeah. She said she was afraid she would end up like Angie. She wanted to come up. Did you.

14:05 Tell anyone else about this?

14:06 Not directly, no. Frankie refused to let her come up.

14:11 Have another drink. Mona never talked like this before. She was never scared, not like Angie. Mona's got guts. It worries me. Go here.

14:23 Oh, thanks. What about the man who was married to both of them? Frankie. Simon.

14:31 Simon.

14:33 If you were born a freak like I was, you had no choice and.

14:35 You can be philosophical.

14:37 But if you make yourself a freak like Frankie did, you gotta hate yourself and everybody else as long.

14:41 As you live.

14:42 And yet two women married.

14:44 Don't rub it in.

14:46 I'm sorry.

14:47 I shouldn't have jumped you. I'm not always as philosophical as I try to be.

14:53 I can't help thinking of Mona, buried alive, afraid. Afraid of what? And she mentioned that Angie said something to her just before she died. What? She didn't say. Tell me, how far are we from where Mona is?

15:11 Just across the midway. You want to go over there?

15:14 I'd feel better.

15:15 So would I.

15:16 Let's go.

15:16 Hmm.

15:24 What about Bea St. Clair, Carlos? Can you figure her out?

15:27 Well, not quite, because I don't think Bea can figure herself out. She hasn't had much fun either. I hope she gets some.

15:35 This is Mona's tent, isn't it? Anybody around?

15:39 Not a soul. Let's go in. Mona!

15:50 Mona!

15:51 Huh.

15:52 She must be asleep.

15:53 Let me try. Mona. Can you hear me?

15:57 Mona.

15:59 She's not asleep. There's something wrong. Mona.

16:01 Mona, it's Carlos. Mona. What was it she said? She might wind up like Angie. Mona.

16:08 Carlos, go get every man you can and every shovel and then get a doctor and an ambulance. Yeah.

16:13 They want her to break the record. Well, maybe she will. Maybe she will. Like Angie.

16:26 I'll help you.

16:28 That's it.

16:29 Get out of the way. Move, move.

16:32 Go, go, go. It's faster when I do myself. Okay, okay. Are they almost down to her B?

16:41 Oh, I think so. It's only about eight feet. We advertised 20, but eight is enough. What do you think happened, Carlos?

16:47 I don't know. What happened to Angie?

16:49 A heart attack, you know that.

16:50 Do I?

16:51 She's just fainted, maybe. Maybe this is all about nothing.

16:53 I doubt it, Frankie. So do you.

16:55 What do you have to come nosing in for, Templer?

16:57 Bea and I don't need you.

16:58 We can get left.

16:59 Bea and you? All of us.

17:00 That's what I mean.

17:01 You mean you'd rather have left her down there?

17:03 I'm not taking this from you. I.

17:05 Frankie!

17:06 Frankie!

17:07 I've got the watch. Oh, come on.

17:08 Come on, you guys.

17:09 Grab it.

17:09 Grab it.

17:10 Come on. Come on. There. There, now. Give me a hand with the lid. You better come over here, Doctor. Right, Mr. Templer. Yeah. There.

17:26 What is it, Doc?

17:27 Is she.

17:28 Well, she's still breathing, but that's about all.

17:30 Any symptoms?

17:32 If I had to make a guess, symptoms of poisoning. Get her over to the ambulance.

17:36 Hurry, come on.

17:37 Mr.

17:37 Templer.

17:38 Mr. Templer.

17:40 I'm sorry I didn't get her up sooner.

17:41 I should have made it plainer. But I didn't know who to trust.

17:44 Do you now?

17:45 Just who not to trust.

17:47 And who's that?

17:47 Everyone. How is she this morning, doctor?

18:01 Oh, she's a sick girl, but she'll live. We got her in time.

18:04 Oh, I'm glad. What caused it?

18:07 Poison of some kind, definitely. I'm waiting for a lab report.

18:11 May I see her?

18:12 Yes, go ahead, Mr.

18:13 Templer.

18:13 She's rational now. Kept asking Angie to forgive her before.

18:17 Forgive her for what?

18:19 Well, she didn't say. They usually don't. Don't stay too long.

18:24 Oh, all right, doctor. Good morning, Mona. Who are you? Simon Templer, I spoke to you down the tube yesterday. You thought at first I was Frankie. I don't remember. Don't you? You said you were afraid you might end up like Angie. She said something to you before she died, Mona. What was it?

18:43 I don't remember.

18:44 She didn't say anything.

18:46 You know what happened to you last night, Mona?

18:49 No.

18:49 There was poison in your food that was lowered through the tube. Got any idea who did it?

18:54 Poison? I don't believe it.

18:56 Well... Police will find out.

18:58 I don't want the police.

19:00 I did it.

19:01 I took it myself.

19:02 What kind?

19:02 I don't remember, but I took it.

19:04 Why did you want Angie to forgive you, Mona?

19:06 Who told you that?

19:08 I mean, you're making that up.

19:09 I'm trying to help you, Mona.

19:11 I don't need help. I want Frankie.

19:13 I want him back.

19:15 I want him back.

19:16 All right, all right. I'll find him for you.

19:31 Come in.

19:34 Simon, come in.

19:35 How are you, B?

19:36 How's Mona, Simon?

19:37 Better, Carlos. I was at the hospital all day. Had to wait for the lab reports on the poison. Who did it? Oh, it could have been put there by anyone.

19:44 To the police no?

19:45 Not yet. Mona claims she took it herself. She's obviously protecting someone or is afraid of someone.

19:52 But who?

19:53 Bee, you don't have to answer unless you want to.

19:57 What, Simon?

19:58 Has there been anything between you and Frankie?

20:00 Well, everybody gets lonely.

20:03 Are you still lonely?

20:05 Jack, I got no ambition to travel around the country in an urn. That answer it?

20:10 That's good enough. If I can wind this thing up tonight, will the two of you help me? You especially, Carlos.

20:17 Anything I can, Simon.

20:18 All right. You're not closing the carnival down tonight, Bea.

20:21 We'll stay open if you say so.

20:23 Well, it might make it easier. Carlos, you go to Frankie's trailer while he's doing his show and take the urn. Would you mind doing that?

20:32 I'll do it.

20:32 Good. Put it in a safe place, doesn't matter where, and come back to the trailer... All three of us will wait for Frankie to come back after his show.

20:39 What happens then?

20:40 I don't know for sure, but I have a theory. I hope it's right. It's a question. What happens if it's not right? B, that's an entirely different type of question.

20:58 Simon, why do we have to wait in the dark for Frankie? It's creepy in here.

21:03 He might not come in if he saw the lights be. Do you mind, Carlos?

21:06 Not a bit. The dark is a friend of mine. I'm getting chumpy.

21:10 You can leave if you want to. I might be able to handle what I have to do alone. Oh, I'll stick.

21:15 Give me a chance to gripe, will you?

21:17 How about you, Carlos?

21:18 Oh, I'm enjoying it, Mr.

21:20 Templer.

21:20 Gives me a chance to feel important. I don't get many chances like that.

21:24 Frankie's late. He should have been here by now.

21:26 Maybe business was good tonight.

21:28 It usually is.

21:30 Say, B, I don't want to be personal, but running a carnival, is it lucrative?

21:35 Jack, I don't want to brag, but I am loaded.

21:38 Oh, how nice of you.

21:39 Last year alone, I.

21:40 Shh, someone come. Good evening, Frankie. Templer. What is this, B.

21:52 I couldn't keep away, Frankie. But I brought my chaperone.

21:55 Well, get him out of here. Some chaperones. A saint and a dwarf. I didn't choose to be a freak, Frankie.

22:03 That's the difference.

22:04 What's going on?

22:04 Look around, Frankie. Anything missing? What do you mean? The urn. Where is it? What'd you do with it? We took it. You took it?

22:14 Segundo, come in here.

22:15 I don't think you'll need Segundo this time.

22:17 No?

22:17 Sit down, Frankie. If you don't like that seat, I can get you a hotter one.

22:22 You think you know something?

22:23 I'm nosy, Frankie. Very nosy, as you pointed out. What is it, Frankie?

22:28 It's Guy Templer again, Segundo. He's been saying bad things and doing bad things. He took Angie's arm.

22:34 Easy, Segundo. You'll want to hear this, too. Hear what?

22:38 Don't wait, Segundo.

22:38 He's just stalling.

22:39 Go get him.

22:40 You took the arm. Segundo, sit down. No.

22:43 Segundo, wait in here.

22:45 Wait in here. Okay, Carlos. I trust you. Good. Good. It's about Angie, Segundo. This morning and last night, Mona was calling out for Angie to forgive her.

22:58 For what?

22:59 Because she'd been going around with you, Frankie, while you were married to her older sister.

23:04 I loved Angie.

23:05 And how long after she died did you marry Mona?

23:08 Six weeks.

23:09 I couldn't help it if the kid was crazy about me.

23:11 But you couldn't help it when you killed Angie with poison.

23:14 Who says I did? Where's the evidence?

23:15 You thought there wasn't any. It was almost a smart job, Frankie, but you couldn't pull anything all the way smart. It was only half smart, and that can be fatal.

23:24 If you think I'm going to stand here and listen to this stuff.

23:26 You'll stand and you'll listen. Murderers hardly ever change tactics, Frankie. The poison showed up in Mona's stomach. We couldn't prove that on you, but there are certain poisons that can be traced even after cremation. The kind you used is one. Now, do you begin to get the point?

23:44 It's not true. You can't trace a Kenya, Carlos.

23:46 Yes, you can.

23:48 I should have remembered. I should have had that urn analyzed long ago.

23:51 Now, wait a minute.

23:52 You're guessing at this.

23:53 Are we?

23:53 Where's the urn?

23:54 You're guessing at a motive. I didn't kill Angie. Why would I want to kill Mona?

23:58 Bigger stakes. You were after Bea. She was loaded.

24:03 It's all a lie.

24:04 I mean, Bea and I.

24:06 Segundo, stay away from me.

24:08 Put that gun away, Frankie. No.

24:10 I'll use it if you don't stay back, Segundo.

24:12 Frankie.

24:14 You killed Angie.

24:16 I tell you, nobody killed her.

24:17 She had a weak heart. That was it, a weak heart.

24:19 Segundo, listen to me. You killed Angie. Stay back. Stay back. He's going to shoot, Segundo. She never done no harm. She was so... Stay back. I'm warning you. She loved you and you gave her poison.

24:37 Don't come no closer.

24:38 I mean it.

24:38 Stay back.

24:39 Shh.

24:40 She laughed some time, and she did like a little girl. Keep away from me, you big creep.

24:47 Why, you couldn't let her live. You crazy creep, why don't you drop?

24:51 You ain't human.

24:52 Keep your hands off of me.

24:53 Let go of him. Let go of him. Let go. It's me.

24:56 Carlos, let him go.

24:58 Let him go.

24:59 Carlos, Carlos, Carlos. Secondo, are you hurt?

25:04 Bad?

25:04 No. No. I think one was a clean miss. The other two got him in the shoulder. He'll live. Here, let me help you up, Segundo. Come on, now. Sit down, sit down. B, get a doctor.

25:18 All right, all right, Father.

25:23 Quite a man, this Segundo. Not so strong upstairs, but in the heart, plenty.

25:29 Yeah, he almost killed Frankie.

25:32 I'm almost sorry he didn't. Frankie doesn't deserve to live.

25:36 Someone else will decide that, Goddess.

25:39 What Segundo did. I wish I could have done it, Saint. In my hands. I wish I could have done it.

25:46 Carlos.

25:47 I never told anybody, Saint. I never told her. She never guessed. But I loved Angie, too. Heaven help me. I loved her, too.

25:59 I loved her, too. Just step a little closer, if you will, my friend. You mean me? I mean you.

26:23 Care to see the fat lady, friend? Weight 9,324 ounces. Well, that's better. How are you, Mr.

26:33 Templer? I'm fine. Tell me, how's Mona? Oh, she's all right. It's a funny thing, Mr. Templer. I.

26:40 I think Angie must have told her when she was dying that she suspected Frankie. But Mona could never bring herself to believe it.

26:47 She still can. But I guess she will. Say, uh, going in to see the fat lady, Mr. Templer? You talked me right into it. Here's a five. Thank you, and the address is straight ahead, friend. Am I changed?

26:59 Yeah, changed. Here's your five back. For Simon Templer, everything is always on the house.

27:07 On the house? Well, thanks. Say, you'd make a wonderful bartender.

27:12 Oh, now, Mr.

27:13 Temple, that wouldn't be refined. Oh, well, just a lovely dream.

27:17 A wild, lovely dream.

27:33 You have been listening to another transcribed adventure of the saint, the Robin Hood of modern crimes. And I'll hear as our star, Vincent Price. Ladies and gentlemen, your life is your own. It's yours to guard when danger is near. And danger is never absent from the highways of America, where some 30,000 persons are killed every year. Only you can take the responsibility for averting the most tragic of all traffic accidents, the accident that happens to you. You can take that responsibility by recognizing the dangers of the road.

28:06 and by obeying the laws that have been made to protect your life. In almost every single motor accident reported by the National Safety Council, there was at least one violation of traffic regulations. The most common violation was speed. Speed too great for safety. Speed to save a few seconds. Speed that spelled out death and tragedy on the road.

28:29 And, as always, the National Safety Council warns about driving after drinking. It's not an empty warning because fully one quarter of all fatal accidents involve drivers or pedestrians who have been drinking. This is a fact. So when you drive, remember that an accident can happen to you. Learn and obey the traffic laws and don't take the little chances that so frequently result in a smash-up. The care you take may save a life, and that life may be your own. This is Vincent Price inviting you to join us again next week at this same time for another exciting adventure of The Saint. Good night.

29:12 The Saint.

29:27 This adventure of the saint was written by Dick Powell. In our cast, you heard Mary Shipp as Mona and Sheldon Leonard as the Barker.

29:35 Bob Jellison was Carlos.

29:36 Ed Mack, Segundo.

29:38 Henny Bacchus played Bee, Harry Bartell was Frankie, Harry Brown was the Doctor. The Saint, based on characters created by Leslie Charteris, is a James L. Safier production and is directed by Helen Mack. Vincent Price is soon to be seen co-starring in RKO's production of.

29:53 His Kind of Woman.

29:55 All you Saint fans will be glad to know that the Saint comic books are on sale at all newsstands. Three chimes mean good times on NBC. Today, Theatre Guild on the Air presents the dramatic story Come Back, Little Sheba, starring Gary Cooper and Shirley Booth. Sunday also means another 90 wonderful minutes with The Big Show. And among this Sunday's stars are Jimmy Durante, Fred Allen, Judy Holliday, and many, many more.

30:19 And, of course, Tallulah will be the emcee.

30:23 And for a sparkling article about the glamorous Tallulah, see the latest issue of Look Magazine, now on sale. This is NBC, the national broadcasting company.

30:45 It's an interesting episode, and it's nice to have Simon trying to operate in this world where he is not trusted, but ultimately winning folks over. There's some great reveals of people's true character, and true nature, and the contrast between what they might look like on the outside and who they really are within and how that comes out throughout the story. The one thing that Frankie was right about was that the carnival people had heart, and that was ultimately his undoing. These sort of settings are interesting, not only because we don't have those type of shows anymore for the most part, but some stuff which was such an attraction, really, it's hard to imagine it being that way today. Like, I don't think anyone could be tattooed

31:46 enough that people are going to be paying for it, given the amount of people who get tattoos. And not only that, but get many different tattoos. I will confess that I can tell that there is a cultural reference in this episode that is massively over my head. With the scene between Sheldon Leonard and Vincent Price, where the Saint, after the Barker says, everything is always on the house for Simon Templer, The saint says, on the house?

32:25 Well, thanks.

32:25 Say, you'd make a wonderful bartender. And then Sheldon Leonard replies, that wouldn't be refined. Just a lovely dream. A wild, lovely dream. Now, as it is, without any explanation, the punchline doesn't land. But it's supposed to. Now, the only real thing... I could think of is the single role that Sheldon Leonard is most remembered for is It's a Wonderful Wife, where he plays Nick the bartender. With that memorable line from Pottersville reality, I'll shoot two pixies, go through the door or out the window. Apologize for the bad Sheldon Leonard.

33:15 But you get the idea.

33:17 Of course, It's a Wonderful Life was not considered an instant classic. It wasn't until the film entered the public domain in the 1970s that people really started to appreciate it. It was viewed as a bit of a disappointment at the time. So nobody would be referencing that four years after release. And besides that, the refined part still doesn't make sense. At best, in the original timeline, Martini's place was pretty respectable. And certainly Nick's place in the Pottersville timeline was not refined. So I don't know. If anyone has any idea what exactly is being referenced, I'd love to know. Now, of course, I know that there were a lot of programs that Sheldon Reynolds did. worked on, including The Jack Benny Show and also Martin and Lewis.

34:14 But I've listened to a lot of his work, and there's nothing here that screams a reference. So I would welcome any feedback or help that you might be able to offer. Listener comments and feedback and listener comments on YouTube. I only knew about Roger Moore as the Saint. Well, Roger Moore was definitely great as the Saint, but not the only actor to play the role. In addition to Vincent Price, the George Sanders movies, and, of course, this radio version. And there are some that are a bit off, most notably, in my opinion, the Val Kilmer film. And there are quite a few that either are okay or I haven't seen. I've never seen the.

35:05 Lewis Hayward Saint films, nor did I see the Return of the Saint with Ian Ogilvie. But there is an entire world of Saint media out there, including Saint comic books mentioned on the radio version, and a very recent adaptation, Meet the Tiger, for comics, is done by Green Archer at greenarcher.io. So, the Saint... It has a lot of media to explore, and I hope to get to more of it myself, but I appreciate the comment. Now it's time to thank our Patreon supporter of the day. Thank you to Laura, Patreon supporter since April 2018, currently supporting the podcast at the Shamus level of $ 4 or more per month. Thanks so much for your support, Laura. And that will do it for today. If you're enjoying the podcast,

36:04 please follow us using your favorite podcast software, and be sure to rate and review the podcast wherever you download it from. We'll be back next Monday with another episode of The Saint, but join us back here tomorrow for Burton Trent, where.

36:20 Mr.

36:20 Demons was a wealthy man, was he not?

36:22 Yes, he was.

36:23 And who will inherit his property?

36:25 His will hasn't been read yet, but I understand most of it will come to me.

36:29 Where were you at the time of the shooting, Mrs.

36:30 Deems?

36:31 I was in the village.

36:32 I went to post some letters. That was at four o'clock. When I heard about my husband, I returned home immediately.

36:39 You were at the post office at four o'clock.

36:41 Your husband was murdered between 4.30 and 4.40.

36:45 Where were you between 4 and 4.40?

36:48 I was having tea in the village at a little.

36:51 Tea room there.

36:52 Alone? No.

36:54 No, I wasn't alone. I was with Major Garrett.

36:56 Who's Major Garrett?

36:57 You didn't tell me about him.

36:58 He's a neighbor.

36:59 A friend of your late husband's?

37:01 No, they were not acquainted.

37:02 I see, not acquainted, eh? And this Major Garrett, was he with you all the time between 4 and 4.40?

37:08 Yes, yes, he was. Except for a few minutes when he went to make a telephone call. The telephone was in the next room to the TV room.

37:15 So you could hear him talking? Yes, I could hear him talking. Do you know who he was talking to?

37:19 Really, Mr.

37:20 Craig, I.

37:20 I'm sorry, Mistress Deems, but it's our duty to inquire into every detail.

37:25 If you think Major Garrett had anything to do with the shooting, it's ridiculous.

37:28 He was with me at the town.

37:30 We're not doubting him, Mrs.

37:30 Deans.

37:31 I hope you'll be with us then. In the meantime, send your comments to box13 at greatdetectives.net. Follow us on Twitter at Radio Detectives and check us out on Instagram, instagram.com slash greatdetectives. From Boise, Idaho, this is your host, Adam Graham, signing off.