The Saint: The Terrible TinType (EP5066)

0:03 THE END.

0:28 Welcome to the Great Detectives 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. Today's program is brought to you in part by the financial support of our listeners. And I do want to encourage you, you can support the show on a one-time basis, support.greatdetectives.net, or become one of our ongoing Patreon supporters for as little as $ 2 per month. And I want to go ahead and thank Emmett, who has upgraded his membership from the Master Detective level of $ 15 or more per month to the Chief of Detective level of $ 30 or more

1:20 per month. Again, thank you so much for your support. Really appreciate it, Emmett. Well, now it is time for this episode, original air date November 26, 1950, and here is The Terrible Tentop.

1:33 TENTOP The Adventures of the Saint, starring Vincent Price. 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.

2:22 Actor Vincent Price as.

2:26 The Saint.

2:35 On my way, Mr.

2:36 Templer.

2:40 Hands up.

2:41 Uh-huh.

2:41 I said hands up.

2:43 Are you crazy or something?

2:44 Do you want me to shoot you?

2:45 Look, I'm not crazy. I'm not even something.

2:47 Hey, go right back inside.

2:48 Now, wait a minute. We must not lose our heads because.

2:51 Sit down over there, Mr.

2:52 Templer. Mr. Templer.

2:54 But I ain't... Sit down.

2:56 Okay. Sitting down, but I still ain't Mr.

2:59 Templer.

3:00 Don't think you can escape what's coming to you by lying to me.

3:02 I never lie to blunts. And besides, my name is Louie.

3:05 Mr.

3:06 Templer invited me over to dine, you know, for dinner. I drive a cab.

3:10 Does Mr.

3:11 Templer drive a cab?

3:12 Well, no, but.

3:13 Well, you see, that proves I'm not Mr. Templer.

3:15 It does not. Where's your cab if you're a cab driver?

3:18 Out in the street.

3:20 You're trying to trick me into leaving.

3:21 No, lady, you can't.

3:22 Keep a cabin in an apartment.

3:23 What would the landlord say?

3:24 Stop trying to fool me. Just give me that picture.

3:29 What picture?

3:30 I'm Sally Blair.

3:32 Yeah, I'm Louie.

3:32 I'm pleased to meet you.

3:33 I want my sister's picture.

3:34 I haven't got your sister's picture.

3:36 I haven't even got my picture.

3:37 I'm warning you.

3:38 I haven't even got a sister.

3:39 If I have to kill you to get it, I'll kill you.

3:43 Lady, that's against the law.

3:44 I ask any policeman.

3:45 This is.

3:45 Your last chance.

3:47 Are you going to give me the picture, or will I have to shoot you?

3:51 I think you'd better shoot me, Miss Blair.

3:53 Oh, Mr. Templer, I'm very glad to see you.

3:57 I didn't knock. It's not polite, but, well, it is my apartment. What seems to be the trouble? I.

4:02 I.

4:05 Oh!

4:06 Hey, all of a sudden she's crying.

4:08 So I noticed.

4:09 Look, I don't like to mention this in front of a crying woman, Mr.

4:12 Templer, but.

4:13 That's a gun she's still got in her hand.

4:15 Yes, I think I'll take it, Miss Blair. Thank you. It wasn't loaded. It wasn't loaded?

4:24 So what was I scared about?

4:25 Miss Blair.

4:28 I'm a fool.

4:29 Probably, although a pretty one. Who is your sister?

4:32 Valerie Marsh. But you already know that.

4:35 I do now. I didn't before you told me.

4:37 But you must have known you have her picture and I.

4:40 A picture of her doing what?

4:41 Sunbathing at the beach in Miami with Pete.

4:46 Mr. Templer, you know.

4:47 Pete, of course, would not be Mr.

4:49 Marsh.

4:50 Presumably, then, the picture of Mrs. Marsh with a friend in Miami... probably taken at a time when she told her husband she was elsewhere.

4:57 would be valuable for what? A divorce case?

5:00 Now you're admitting you knew all about it.

5:02 I'm being bright. Humor me.

5:04 Your name's Blair. Your sister's name is Marsh. You're not wearing a wedding ring, however... Therefore, it's your sister who must be married into a man named Marsh.

5:12 Simple?

5:13 Maybe for guys that went to college. Me, I played hooky from kindergarten. To me, it ain't simple.

5:17 But it's true. Am I right, Miss Blair? I.

5:20 I don't know, because you should have known all these things before this. Because, after all, you did have my sister's picture.

5:27 Who told you that?

5:28 Valerie's husband, Theodore Marsh. And he ought to know, oughtn't he?

5:32 I don't know. Let's go ask him. Mr.

5:44 Templer, you're walking into a lion's den.

5:46 I'm driving there in a cab.

5:47 Yeah, but your name ain't Daniel.

5:48 No, however, Miss Blair needs help. Right, Miss Blair?

5:52 It isn't help.

5:52 It's... Well, it's clearing things up.

5:54 Well, perhaps we can get started on that right away. Exactly what did your sister's husband, Theodore Marsh, say in reference to me?

6:01 Well, after he told Valerie he was going to divorce her, he said you had a picture of her and Pete taken in Miami two months ago.

6:07 Where was he at the time?

6:08 Out west someplace on business.

6:10 Your sister really was in Miami?

6:12 Yes.

6:13 She was at the beach with Pete?

6:15 Yes.

6:15 Pete what?

6:16 Brian.

6:17 But of course it was the merest coincidence, huh?

6:20 No. Pete's in love with Valerie, but.

6:22 How about Valerie?

6:24 I don't know.

6:25 Except that she'd never do anything that would endanger her marriage.

6:28 Oh, I take it your brother-in-law, Mr. Theodore Marsh, is very wealthy then?

6:33 He is loaded.

6:34 That is, yes.

6:37 This here is either the Marsh residence or Grant's tomb.

6:41 It's the Marsh residence.

6:42 Okay, but how can you tell?

6:44 Grant's tomb is smaller. Here, Miss Blair. Thank you.

6:50 Louie, will you.

6:51 Yeah, I'll wait.

6:52 I'll wait.

6:52 I wouldn't even mind.

6:53 All right.

6:54 I'm sorry about the dinner.

6:55 No, that's all right.

6:56 Would you like to go and get something to eat while you're waiting?

6:59 I should say not.

7:00 What kind of guy do you think I am? You ask me to dinner, I'm going to have dinner with you if I have to wait till breakfast.

7:06 All right, Louie. Come on this way.

7:09 Mr.

7:09 Templer.

7:10 Oh, come now. You can't be formal with a man you were going to shoot. Call me Simon.

7:14 Simon, don't tell anybody about my trying to shoot you.

7:17 I won't. Hmm.

7:21 I really should have had a manicure before I touched that button. Tell me, is it solid gold or only gold-plated?

7:27 Everything that Theodore buys is solid gold.

7:29 The poor man must be weighed down. Good evening, Miss Sally.

7:34 Hello, Graves. Come in, Simon. Graves, where is Mrs.

7:40 Marsh?

7:40 In the music room, ma'am.

7:42 Come on, Simon.

7:43 Miss Sally?

7:43 Yes?

7:44 Mrs.

7:45 Marsh may not welcome any visitors.

7:48 She's... Not well.

7:50 That's all right. She'll see us.

7:52 As you say, Miss Sidney.

7:55 Graves is a very nice butler.

7:57 Well, his hair is hardly snow white, however.

7:59 All butlers used to be young sometime or other.

8:02 I don't know. I always thought they were kept in the cellar till aged, like wine.

8:07 This is the music room.

8:09 Well, it's a little smaller than Carnegie Hall. No balconies. Who's there?

8:14 I'm sorry.

8:15 I hope I didn't upset you, darling.

8:16 Sir.

8:18 You couldn't upset anyone. You're too wholesome. This is Mr.

8:22 Templer. Oh? How do you do? Mr.

8:26 Templer, the detective?

8:27 Well, not exactly. I.

8:28 Oh, shouldn't you be muttering somewhere with my husband in a dark corner?

8:32 I don't know him well enough.

8:33 Or possibly lurking in a hotel corridor?

8:36 I never lurk. It's an allergy.

8:38 Although I will admit you surprise me.

8:39 Do I?

8:40 You don't look at all like the kind of man I thought you'd be. You should have been small and sly and greasy. Your hat pulled over your eyes, a cigarette dangling from your lips.

8:49 You know, I once knew a man who looked exactly like that.

8:52 Oh, one of your associates.

8:54 No, he happened to be the professor of ethical philosophy at Harvard.

8:57 Valerie, stop flirting with Simon. Besides, you're wasting time. He says he never had a picture of you and was never hired by Theodore to do anything.

9:06 Then why did Theodore say that.

9:07 I don't know, but I believe Simon.

9:10 Look at him.

9:12 Yes, I'm looking.

9:14 Yes, and if I'm turning a beet red, it's because it's very warm. Shouldn't we be asking that question of Mr.

9:20 Marsh?

9:20 Oh, yes, of course. Sally, darling, will you get Theodore? He's in his study. All right, Valerie.

9:27 What is Mr. Marsh studying?

9:30 What?

9:30 In his study.

9:31 Oh, the labels on bottles of old whiskey.

9:36 Oh, now that's a fascinating subject.

9:40 You're a little on the fascinating side yourself.

9:42 Yes, but I don't have a million dollars. You mean like Theodore?

9:45 Some men don't need a million dollars.

9:47 Like Pete? Oh, Pete.

9:50 He'd just like to have money.

9:51 But I.

9:52 Oh, that was Sally.

9:53 Your husband's study. Where is it? Oh, come with me.

9:56 It's upstairs.

9:57 That's an odd place for it.

9:58 No.

9:59 It's next to his bed.

10:00 So that after Theodore has studied enough bottles, he doesn't have to walk upstairs.

10:05 He couldn't. Sally. Oh, Sally.

10:08 Sally, what's the matter?

10:09 Behind the desk.

10:10 I'll have a look. That was Theodore Marsh, Sally. Yes. You said.

10:18 Was?

10:18 Yes, I said it intentionally.

10:20 The knife in his back reached the heart. He's still warm. He was murdered quite recently.

10:25 Murdered?

10:26 Men rarely commit suicide by stabbing themselves in the back. They find it inconvenient or something.

10:32 I beg your pardon, but I heard someone scream. Miss Blair Graves. An unmannerly sound, but Mr. Marsh has been murdered.

10:39 Good heavens, sir. Yes, I agree with you. Would you mind phoning the police, Graves, and asking them to drop in? The.

10:45 The police?

10:45 Yes, Mrs.

10:46 Marsh, and some of them probably won't even remove their hats. It's vulgar, but still.

10:50 You're being unkind suddenly.

10:53 I'm being angry, I think.

10:55 Someone's been trying to make a fool of me in succeeding, which isn't very important, but the same person has done something a little more serious.

11:02 He or she has murdered. You know, people get electrocuted for that.

11:06 THE END.

11:13 Okay, Joe.

11:14 We'll get a shot from this angle.

11:15 Make it snappy over there, too, will you? Yeah.

11:17 No fingerprints on the desk?

11:18 No, sir.

11:20 Templer.

11:21 Yes, Lieutenant? Come on out in the hall. Oh, all right. What were you doing here? Well, Miss Blair asked me to visit with Mrs. Marsh. So? So I was visiting with Mrs. Marsh. Why? You've seen Mrs. Marsh?

11:37 Why did Sally Blair ask you to visit in the first place?

11:40 She thought I was an art patron. What?

11:42 Lieutenant Riley, stop pretending that you don't have degrees from at least two universities.

11:46 Hey, quiet, quiet. What do you want to do? Get me in trouble with the boys?

11:49 I'll keep it a dirty secret between us.

11:53 Thanks.

11:54 You're not confiding in me tonight?

11:55 Not until I go home and write like mad in my diary.

11:58 All right. Go home. I'd like to say goodbye to Sally and... To neither of them.

12:03 I suppose there's a profound police reason for that.

12:06 No, I'm just being mean. Good night, Templer. Good night. Uh, Templer. Yeah?

12:11 One thing I got to say about you, you got a lot of dignity.

12:15 It's funny you should say that, Lieutenant. I was just considering sliding down that banister.

12:34 Lots of cops back at that marble shack.

12:36 So there were, Louie, so there were.

12:38 What'd they find out?

12:39 That Theodore Marsh was dead.

12:40 By themselves, or did you tell them?

12:42 Louie, stop being disrespectful.

12:44 Okay.

12:45 We eat and dine now?

12:47 No, we turn left at Milani and stop at... 1890? No, 312. Oh, that's too bad.

12:51 1890 Milani Road would have been at least an appetizing address. Who we calling on?

12:57 A man named Pete Bryan. Can he cook, maybe?

13:00 No, but he has other talents, Louie. He looks very pretty in beach pictures.

13:05 He does?

13:05 He does.

13:06 You going up to his place to take some more pictures?

13:08 No, I just want to find out exactly how he fits in the picture of murder.

13:23 Who is it?

13:24 Simon Templer.

13:27 Sounds like a clean-cut American boy working his way through college.

13:30 Uh-oh. Just remember, you're the saint. I'm wrong. You're wrong. May I come in? A little on the late side. I've just seen Mrs. Marsh.

13:38 Lucky you.

13:39 Come in.

13:39 Thanks.

13:42 Sit anyplace. Oh, thank you.

13:43 Uh, Valerie sent you here?

13:46 No.

13:47 I thought you said you'd... I just said that I'd seen her. She was trying to look when I left her like a woman stricken.

13:52 By overwhelming grief. Because you were leaving?

13:55 Because, and I hope this comes as a shock to you, her husband was dead.

14:00 Theodore Marsh dead?

14:01 Terrible.

14:02 Terrible.

14:04 Or do I mean nice?

14:05 That depends.

14:06 On what?

14:07 On how handy a man you are with a knife. It was the pride of my scoutmaster.

14:11 If you had a hand on the knife that killed Marsh, you may yet be the pride of the district attorney.

14:16 You're really saying Marsh was murdered?

14:18 He was really murdered.

14:20 Fine.

14:22 Wait a minute.

14:22 You're the man who has a picture of Valerie and me taken in Miami, aren't you? The one Marsh was going to use for divorcing Valerie?

14:28 So I've heard. I don't have it, which I regret.

14:31 It's a picture that won't mean anything in a divorce case anymore, but might mean a lot in someone's trial for murder.

14:37 That's right, at that. Nice of you to tell me about it. Are you offering the picture for sale?

14:43 I don't have it. Would this make you change your mind? Oh, you've run out of knives, eh, Brian? This is safer.

14:50 Well?

14:51 It's a very pretty gun. Stop admiring it. Hand over the picture. I don't have it. Would you prefer being shot?

14:56 I never prefer being shot. As a matter of fact, I'm never shot. It's unethical or something.

15:01 I don't think I'm going to mind being unethical about you.

15:03 I'd mind. You haven't much time left. Neither have you. The police are coming to visit with you. With me? Why?

15:09 Doesn't seem to have been a very well-kept secret that you and Mrs.

15:13 Marsh were... Friendly, shall I say. Mr.

15:15 Marsh is now dead as a result of extreme violence. The police will undoubtedly want to know where you were earlier tonight.

15:23 Where, by the way, were you? That's none of your business. Oh, now, you've wounded me to the quick. I shall leave now.

15:29 Wait.

15:30 You want me to stay and tell the police about the picture?

15:33 Okay, get out. Don't try anything with that photograph. It doesn't mean a thing. Of course it doesn't. Good night, Mr.

15:40 Bryan.

15:40 Be nice to the police. They don't have a million dollars like Valerie, and they're not pretty. They can be the death of you.

15:59 Home at last. Yeah. It'll be a late dinner, but it will be dinner.

16:05 I don't care what it is, just so long as there's.

16:07 Something to eat. You must be starved. I'm terribly sorry, Louie.

16:09 Oh, that's okay.

16:10 You couldn't help it.

16:13 Now, shut the door behind you, Lewis. Okay. Good.

16:16 Hey, look, there's an.

16:17 Envelope on the floor.

16:17 Oh. Yeah, somebody must have shoved it.

16:19 Under the door while we were out.

16:20 Ah. Hey, it's a special delivery addressed to me. Well, well, well. It's a photograph.

16:28 Hmm?

16:30 Hey, it ain't a bad tintype. Nice.

16:32 From Miami, huh?

16:34 Yes, very nice.

16:35 And what they got on the beach is that ain't bad either.

16:37 Lewis, you were speaking of the woman I.

16:38 Yeah.

16:39 Never mind. Hmm. It's Valerie Marsh, the man's Pete Bryan. Him you can have. Him I don't want. You know, I'm puzzled, Louie.

16:46 Apparently, Theodore Marsh wasn't lying when he told his wife he'd sent the picture to me.

16:51 That's nice.

16:52 So maybe where he is now, the temperature's mild instead of hot.

16:55 Louie, I'm worried.

16:56 What, about Mr.

16:57 Marsh's future? About his past.

16:59 And about.

17:00 Oh, excuse me a moment.

17:01 No, that's all right.

17:02 I got some serious studying to do. Hey.

17:06 Hey.

17:07 Here's a horse in the fifth I know is going to win.

17:10 How do you know?

17:10 Because my feet hurt.

17:11 Because you're... And the horse's name is Blue Jay.

17:15 Oh, well, put a plaster on him for me, huh? Hello? Lieutenant Riley, please. Simon Templer. I'll hold on.

17:21 Want him to come down and arrest the picture?

17:23 Lieutenant, you visited Pete Bryan. Are you holding him? I meant in jail. You're not. You'd have liked to, but you're not. Should you? Well, I don't know. Good night.

17:39 This place is over on the other side of town. Took us nearly an hour to get here from it. It's gonna take us nearly an hour to get back there.

17:47 Oh, don't tell me.

17:47 We're going for another ride? Yes, we are. Uh-huh.

17:51 We dine later?

17:52 Yeah, we dine later.

17:54 Supposing the guy is asleep?

18:06 Then we'll wake him. Or he may have run away from home.

18:11 Door's locked. However, it's a cheap lock. Any flat key should open it. Perhaps this one.

18:19 Yes.

18:22 It's kind of dark in here.

18:25 Light switch around someplace. That's better.

18:29 It is?

18:31 Brian didn't run away from home. Nor could I have waked him however loud I rang.

18:35 Oh, his head don't look so good. Well, the gun he shot himself, what's still in his hand.

18:41 So it is. And I think we'll leave it there. He, uh... He's not as pretty as his picture. Yes, sir? Oh, hello, Graves. Mr. Templer. Mr. Templer. This will go better inside. Oh, of course, sir. But everyone has retired for.

19:18 The night, sir.

19:19 Naturally. Some of them, however, can still be waked. I beg your pardon? The music room, I think.

19:24 Oh, yes, sir.

19:29 Here we are, sir. Good.

19:32 Graves, I'll need your help. I want you to go to Miss Blair's room. Wake her if she needs waking. Tell her I'm down here with the photograph.

19:40 The photograph? The one of Mrs. Marsh and... She'll know. Tell her that and leave her.

19:44 Wait five minutes, then go through the same routine with Mrs.

19:47 Marsh. But I don't... You don't have to understand. What you do is... say? Yes, sir.

19:52 Oh, uh, before you go, turn off all the lights in this room. Will you accept that small.

19:56 One on the table? Very well, sir. But why... I'm setting a scene, and it'll play better in the dark.

20:08 Simon, Graves just told me.

20:16 Good for Graves.

20:17 The picture.

20:18 I have it. But before you start anything... Start anything?

20:20 Yes, like waving guns at me, I'd like a question or two answered. Marsh was a rich man, like most rich men. I assume he made a will?

20:28 Yes. The provisions of which are.

20:32 Hesitation doesn't become you. Obviously, he would have left the bulk of his estate to his wife, yes?

20:38 Yes.

20:38 There would have been the usual bequest to servants. And what else?

20:43 You've been in touch with Theodore's lawyers.

20:45 No, I'm guessing. But I'm right so far?

20:47 Yes.

20:48 What else was in the will?

20:50 He left me some money.

20:51 A lot of money?

20:53 A lot of money.

20:54 Thank you.

20:55 But that doesn't mean that I.

20:56 Mr.

20:56 Templer, this is hardly the time to... Oh, Sally... Valerie, I'm afraid. Of Simon?

21:04 Hello, Mrs.

21:04 Marsh. You don't have to be afraid of Simon, Sally. He's a gentleman.

21:08 Flattery won't help. Not anymore. Mrs. Marsh, why did you tell me your husband said he'd sent that picture to me?

21:15 Because that's what he.

21:16 No.

21:16 What conceivable reason would he have for telling you about it?

21:20 Well, I really don't know.

21:21 Would he have wanted to make it possible for you to steal it from me? To make it possible for your sister to threaten me with a gun in an effort to get it away from me?

21:29 I don't know what to say.

21:30 Well, you might try the truth. How did you know your husband had sent the picture to me? I.

21:37 Oh, all right.

21:38 I'm not very proud of myself, but... I've been using graves to spy on my husband.

21:44 Valerie.

21:44 I said I wasn't proud of myself. But I had to protect myself. I didn't want to be divorced.

21:50 Then you discovered the existence of the picture and its whereabouts, not from your husband, but through graves.

21:56 You say discovered its existence as though perhaps it didn't exist.

22:00 Oh, it does exist, all right. I have it with me.

22:03 Oh, may I see it?

22:04 Yes. Here. Thank you.

22:09 It's a nice picture. Very good likeness.

22:13 There'd be no doubt about identification.

22:16 There would have been no difficulty about corroboration either once Pete Bryan was put on the witness stand.

22:23 Simon, you said would have been no difficulty.

22:25 I did.

22:26 Bryan, unfortunately, is no longer in a position to testify to anything.

22:31 Well, he's not.

22:33 not... He is.

22:34 I left him half an hour ago, lying on the floor of his bedroom. A revolver in his right hand, a bullet wound in his right temple.

22:40 He killed himself.

22:41 So it would appear. But why?

22:43 Unless, of course, he killed Theodore and.

22:46 And was then seized with panic or remorse and put an end to his own life?

22:50 Mm-hmm. It's a pretty theory.

22:51 Theory?

22:52 Theory. Pretty, but like so many pretty things, false. He was murdered.

22:58 But from what you just told us.

23:00 When Louie and I entered his room, I had to put the lights on.

23:03 Well.

23:04 According to police records, no man shoots himself in the dark.

23:08 Oh.

23:09 This is all a little too much for me. I'm going upstairs.

23:14 I think you'd better leave the photograph here, though.

23:16 No, I'm keeping it. It belongs to me.

23:19 It belongs to the police. I said I.

23:21 Was keeping it.

23:22 Valerie, put that gun away.

23:24 It's pearl-handled, no doubt. A gun of the highest pedigree.

23:27 I don't care what you say or think.

23:29 I'm... Mrs. Marsh, you'd better let me have the gun. I'm sorry, madame.

23:35 Oh, never mind.

23:36 And the photograph. Here you are, Mr. Templer. It hasn't been damaged. I'd rather thought you'd be outside the door, Graves. Thank you, sir.

23:46 You might as well let me have Mrs. Marsh's gun, too. Exhibit A and Exhibit B. The police will be pleased.

23:52 Here it is. Yes. Yes, rather a heavy gun for a woman. I wonder if it's heavy enough to... Simon! I'm afraid I... May have slightly damaged your butler, Mrs. Marsh.

24:06 Yes, so I see, but.

24:08 I feel terribly about it.

24:10 If you knocked him out, he probably deserved it.

24:12 Thank you, Sally. But I don't feel terribly about knocking him out. What I feel terrible about is.

24:18 The butler turned out to be guilty.

24:31 Simon.

24:32 Yes, Mrs. Marsh?

24:34 I'm not sure why I'm still up. Or why you're still here.

24:39 The answer to that is simple.

24:41 Yes, Simon?

24:42 I haven't explained how I knew Graves was the murderer.

24:45 Oh, how did you know?

24:47 Well, there was the photograph.

24:48 You lied about it when you said your husband had sent it to me. But I knew you had to be lying because if your husband intended to use it as evidence in a divorce case, he would have sent it to his lawyers, not me.

24:58 Well, that's true.

24:59 Therefore, I wondered... Had you sent me the photograph yourself?

25:03 Not if you were planning to commit murder, because that photograph would have been strong evidence against you.

25:07 And it might have been Sally.

25:09 Well, if it were, why would she have come to my house and tried to get it back from me? No, it was neither your husband, Sally, nor yourself who sent the picture to me. And Peter Bryan's death cleared him, which left.

25:20 Graves, who wanted the bequest my husband had left him.

25:23 Yes.

25:24 Graves who sent the photograph to me in order to provide motive for murder against you.

25:29 And who then proceeded to murder your husband.

25:31 Who never even knew about the picture. Graves took it from my desk.

25:35 But, Simon, why did he kill Pete?

25:37 A double gamble.

25:39 Either the police would accept the suicide as genuine and close the case on the basis that Pete had murdered your husband and then killed himself, or else.

25:47 I'd have been suspected of both killings.

25:49 Right. Simon. Yes?

25:53 You've finished the explanation. Are you going to rush away now that you've solved the mystery of the picture?

25:59 Not on your tintype. Simon. Yes?

26:09 And they call you the saint?

26:12 Well, even saints can take time off. I'll see who it is. Louie.

26:27 Louie.

26:27 Oh, good heavens. I forgot all about.

26:30 Now, Louie, stop standing there and looking hungry.

26:33 What do you want? I should go sit down and look hungry?

26:35 Simon, what's wrong?

26:36 I promised Louie a dinner and then your sister came along and then the murder came along.

26:42 Do you mean you two haven't had your dinner yet?

26:44 I'm afraid not.

26:45 Well, both of you sit right down.

26:47 I'll go see what we have in.

26:50 The kitchen. You see, Louie, I was explaining the clues to Mrs. Marsh. I... Didn't mean to stay so long.

26:57 Explaining the clues?

26:58 Yes.

26:59 So wipe off the lipstick from your face.

27:01 Huh?

27:02 Oh.

27:05 It's all right, Mr.

27:06 Templer. I think we're going to have a wonderful meal. Because judging from the look in your eyes when I came in.

27:11 Yes? Mrs.

27:12 Marsh cooks with gas.

27:15 Yes.

27:29 You have been listening to another transcribed adventure of the saint, the Robin Hood of modern crime. Now here is our star, Vincent Price.

27:38 Ladies and gentlemen, a long time ago it was written that man shall not live by bread alone. In this often quoted line from the Bible, bread is merely a symbol of all material values. And although we in America have the greatest material advantages in the world, they are not enough to bring us complete happiness. We must find that happiness in our spiritual as well as our material lives, in faith as well as bread.

28:04 In America, one of our most.

28:06 Precious heritages is the right to worship as we please. And as an individual, you can find the peace that only religion can bring. Thus, the religious organizations of America invite you to find yourself through faith and come to church this week. This is Vincent Price inviting you to join us again next week at this same time for another exciting adventure of The Saint.

28:29 Good night.

28:33 The Saint.

28:52 This adventure of The Saint, entitled The Terrible Tintype, was written by Louis Vitti. In the cast, you heard Joan Banks as Valerie Marsh and Lamont Johnson as Pete. Helen Parrish as Sally, Ken Christie, the lieutenant, and Anna.

29:05 Hurley, the butler. Louis is played by Larry Dodkin.

29:08 The Saint, based on characters created by Leslie Charles, is a James L. Safier production and is directed by Helen Mack. Vincent Price is now starring in The Winslow Boy at the Las Palmas Theater here in Hollywood. All you Saint fans will be glad to know that the Saint comic books are on sale at all newsstands.

29:28 Your announcer is Don Stanley.

29:30 Three chimes mean good times on NBC. For more mystery this afternoon, there's another adventure with that hard-boiled private eye, Charlie Wild, who solves another problem. baffling case by a mere swash of the buckle. It's 30 minutes of suspense with Charlie Wild later today. And Sunday means another broadcast in NBC's gigantic series, The Big Show. Tallulah presides as usual, and her guests tonight include Fred Allen, Ed Wynn, and many more.

29:58 On The Big Show... Tonight on NBC.

30:09 Welcome back. Some smart detective work by the saint, though it ended up in a pretty stereotypical solution for which the saint was appropriately sorry. And it should be noted this isn't that different from the solution to its no use a few weeks ago. While the killer was not a butler in that case, he was a background character you wouldn't have thought of as the killer. And I'm glad, at the very least, Louie did eventually get to eat.

30:43 All right, well, listener comments and feedback now. And we start over on Instagram, where listener Louie comments, the saint is top tier. It is such a fun show, and I think it's a great way to start off the week. Then we turn to YouTube, where we have a couple of comments regarding the return of Harry Morgan. Roncer writes, Harry Morgan plays Bill Gannon and Colonel Sherman Potter, and he was Pete in 1959 sitcom Pete and Gladys. Saisoff writes, actually, the writers of this episode made a mistake. The Welsh pirate's name was Henry Morgan, not Harry Morgan. Harry Bratsburg, better known as Harry Morgan, was an up-and-coming actor at the time who is best known as Bill Gannon and Colonel Potter. Okay, first of all, I love Harry Morgan.

31:41 Some great performances. He's always fun in whatever I see him in. And while I'm aware of those two major roles, there are so many other things that he was in. The Apple Dumpling Gang. And the Apple Dumpling Gang rides again. The Scouts Honor TV movie with Gary Coleman. I think he was probably the only one who could make his somewhat ridiculous, over-the-top, gung-ho... former 60-year-old Cub Scout character actually work.

32:15 And then, of course, there are TV movies and mystery series he was in. All that to say, I appreciate Harry Morgan, but in 1950, he was not that big a deal so that writers would be careful about naming a character after him. It's like the Jimmy Carter matter. You can't say, why did they name that New England boy after a former naval officer and Georgia peanut farmer?

32:46 In addition, while we know the pirate as Sir Henry Morgan, he was Welsh, and his birth name was Harry Morgan, but spelled H-A-R-R-I. So, as always, I appreciate comments from both of these... listeners, but I don't think the writers goofed on this one. Alright, well now it's time to thank our Patreon supporter of the day, and I want to thank Peter, Patreon supporter since April 2020, currently supporting the podcast at the showmest level of $ 4 or more per month. Thanks so much for your support, Peter, and that will do it for today. If you're enjoying the podcast, 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

33:43 of The Saint, but join us back here tomorrow for The Big Story, where.

33:49 What happened here? Anybody know?

33:50 It's like someone pushed a button. Suddenly it's quiet, and everyone's just looking at you.

33:58 I'm from the Sun-Telegraph.

34:00 I'd appreciate some information.

34:04 Have the police been here? Where's the woman who was shot? Why don't they talk to you? What's the matter with these people, anyway? Master? Yes, son? She was lying on the sidewalk right there. Police took her to Memorial Hospital. Alex. I was just telling them what happened, Fred. It's from a newspaper. What's the woman's name? She lives just around the corner.

34:25 It's... Alex.

34:27 Shut your mouth. He's just giving me her name. Find it out for yourself. What's so terrible about asking for a person's name?

34:33 You don't need to know it from us.

34:35 Anyone else here know it? Fred, we ought to tell them. Just her name, that's all. I told you to shut up. Your friend saw something. He was a witness. Is that it?

34:43 He.

34:44 He saw nothing.

34:46 Nothing? Then why won't you let him talk? What are you afraid of? It was Louise Miller who was shot. Now, do you understand? No. Alex, I said we shouldn't stay here. We're going home now. Look, if your friend did see anything... I told you he didn't. Don't mix us up in this, please. A man who did this thing.

35:04 Crazy.

35:05 He's still running around.

35:06 He's still got a gun. Who's the man? Does anyone know who he is? Fred, let go of my arm. He's going home. Turn to the others. See what they know.

35:17 But they're just like these people, trying desperately not to become involved.

35:22 Why are they so frightened? Do they know the man with the gun?

35:25 Can any of you people help me? Did anyone see what the man looked like? Somebody must have seen something. Why are you all going away?

35:37 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.