Choice Classic Radio: Old-Time Radio Detective Shows

00:00 Welcome to Choice Classic Radio, where we bring to you the greatest old-time radio shows. Like us on Facebook, subscribe to us on YouTube, and thank you for donating at choiceclassicradio.com. 00:36 The Adventures of the Saints, starring Vincent Price. 00:51 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 The Saint. 01:10 Just a moment, please. 01:16 Simon Tempera? 01:17 And if I say yes? 01:18 Oh, I am George. Congratulations. 01:22 What army are you dressed for? 01:23 Oh, not army uniform I wear, sir. Sure. 01:27 You come? 01:29 Huh? 01:29 You come now? 01:30 You want me to go somewhere with you? 01:32 You are sure you are Mr. Simon Tempera, the saint? 01:36 If I'm not, my old grandmother shouldn't have lied to me all these years. 01:39 Then you come. Where? Where? Did you not receive the call, sir? 01:43 Even the most casual eavesdropper would have to admit it doesn't appear so. What call? 01:47 Employer say, George, go to this number and get Mr. Tempera. Employer say, he calls so when I arrive, you know you come. No call, sir? 01:57 No call. 01:59 Who is your employer? Mr. Orlando Button. Him old man. He very afraid. 02:05 Orlando Button. Art collector? 02:08 Button galleries? Employers say much trouble coming. You come help? Oh, what sort of trouble? We go now, yes? You go now, yes. 02:16 My neck and I recently came to an understanding. Oh, your neck, sir? My neck. I promised not to stick it out again until I at least knew why it was going to be chopped at, and it in turn agreed to be a little more tolerant of starched collars. I am going to bed. Oh, no. 02:32 You are coming. 02:33 Hmm. You know, with one swift gesture, you have given me six good reasons why I should go with you. Or does that revolver hold eight bullets? 02:58 You sure this is a home? 03:00 Oh, yes. Home of my employer, Mr. Orando Button. 03:04 Add a couple of ticket windows, scatter around a few timetables, and could easily pass for the home of the super chief. 03:10 Employer awaits you in the study, Mr. Tempera. You come this way, please. Yes. 03:15 Now, look, would it be too much to ask you to stop waving that gun under my nose? You come. I come. 03:24 Now, you wait. 03:26 I wait. 03:28 Sir! 03:29 Sir! 03:32 Sir! 03:35 Mr. Barton, I have brought Mr. Tempera, sir. 03:43 Oh, yes. Thank you, George. I must have dozed off. Mr. Templer, it was good of you to come, but I... Not half as good as it was of George to bring me. 03:52 He is very persuasive. 03:54 Mr. Templer, say no come. I invite him at the point of a pistol. You no call him, sir? 04:01 No, no. I fell asleep. That will be all, George. Thank you. Yes, sir. 04:07 I'm sorry George had to resort to melodrama, Mr. Templer. 04:12 I mean, look, you'll forgive me, I'm sure. It's all a mistake. What's all a mistake? This incident. I never should have sent for you. My nerves. I'm a victim of my own imagination. Remarkable. Eh? 04:27 Here you are, trembling, yet scarcely two minutes ago, according to you, you were in your study there napping. But what... There's fear in that trembling, Mr. Button. And on your face, too. 04:37 You're scared witless. Scared people don't doze. 04:40 Please, I beg of you, go at once. Forget that you've been here. 04:44 That was a long ride across town with your chauffeur's gun in my ribs, sir. Long and unpleasant. But I didn't tell George to use a gun. We can talk in your study. 04:54 No, you mustn't go in there. You... 05:01 You shouldn't have done that. I tried to keep him out of here. I knew you didn't want him to see the... Why are you pointing that gun at me? 05:10 What are you going to do? 05:11 Mr. Tempera. Mr. Tempera. Oh, Mr. Tempera. Here. I am giving you brandy. 05:27 Yep. 05:31 Oh, that's good brandy. 05:33 Wake me up some more. 05:34 You ought to be in all right, sir. 05:36 As soon as the canaries stop holding choir practice in my head. 05:40 Oh, so sorry. I give too much brandy. 05:43 Where's Mr. Button? 05:44 He gone. He gone. 05:46 Gone where? Oh, no seagull. I go to room, time passes. I think maybe now employer want me to drive you home again. I come here to study, finding you on floor. Employer going, pictures gone. Pictures? What pictures? Ones that arrived today. Sailor bringing crate. Oh, well, what sort of pictures were they? Where are the... Western pictures, same Western man. Look what I write to me. But they make Mr. Button very angry. Oh, and then he told you to fetch me? Oh, no. 06:16 Not right away. Short time later. After phone call. Phone call? Employer call number. Speak. You get information? Write something on a paper pad. Then send me get you. 06:29 The pad? Where is it? 06:31 On the desk. 06:32 Here. 06:33 I give it to you. Oh, thank you. Nothing on it. 06:38 Maybe he tear a writing page off. 06:40 George... Look, take your finger and dip it in the fireplace for me, will you? Dip it? 06:45 Oh. Too much brandy, too much. Go on, go on. 06:47 Now, please, do as I say. Get some ashes on your hand. 06:50 Ashes? 06:51 Yes, in the fireplace. 06:52 Oh, oh. Yes, sir. 06:55 Oh, ashes. 06:57 Fingers are all properly dirty with ashes? 07:00 Now, rub it on this page of the pad, hmm? Lightly, lightly, gently. 07:06 Magic. 07:06 Western magic. Known only to those few hardy adventurers who have dared to visit the forbidden city of Brooklyn. 07:13 What will coming forth on a pad? 07:15 A picture of Anna Mae Wong. Holy mackerel. Look now, rub the ashes in a little harder. 07:20 There. That's it. 07:22 What is the words? No, Pikachu. 07:25 Words that we're on former page, torn off. 07:28 If Mr. Motto should ever need an assistant, that's enough. Give it to me. 07:34 S-T-I. 07:36 Stiano. You know Mr. Stiano, George? Not knowing so. 07:40 Stiano. S-S-T-U. 07:44 No, Tuscany. The S.S. Tuscany. Oh, sounding like steamboat. 07:48 Second thought, maybe Mr. Marta ought to be your assistant. Goodbye, George. Oh, you go? I go. I come. You stay. 07:54 You go find an employer? 07:55 Yeah. 07:56 Why? 07:57 Look, I like you, George, that's why. I don't want you to lose your job, so I... Oh, that's a funny place to put a chair. 08:06 A chair beyond over here. Oh, Mr. Tempera, you say I am to losing job? Why? 08:11 We have a quaint saying in this country, George. Chauffeur lose job if employer lose life. 08:34 Who's that on deck? 08:37 Who is it? Speak up. 08:38 It's me, if that means anything. 08:40 Muller, huh? Hey, you're late. I expected you're... Hey, what is this? 08:45 You ain't Muller. Name's Templer. 08:47 All right, so the name's Templer. What are you doing aboard my ship? 08:50 Looking. 08:51 You a customs man? 08:52 You the captain? 08:54 Third officer. Captain went ashore. I'm in charge. 08:57 Look, fella, you boys from customs already went over this vessel three times since we docked this morning. 09:02 Three times, eh? It's the usual procedure, isn't it? 09:05 Three times as usual, and each time so thorough, the ship is practically dismantled? What goes, pal? 09:11 You tell me. 09:12 I don't know what you boys are looking for, mister, but I'll tell you here and now, it ain't on board the Tuscany. This is an honor ship. 09:18 Yeah, and I'm the captain of the Pinafore. You got a man named Stiano on board? 09:22 Look, mister... Stiano's a good guy. One of the best men on this ship. He works hard, no complaints. He's loyal, efficient, a good all-around man. That's Stiano. 09:31 Oh, you know him pretty well. Know him? I'm him. Well, I'm glad to meet a good, loyal, efficient, uncomplaining, all-around man. 09:40 You know a man named Button? No. 09:42 You say Button? 09:43 Button, like in what one is sometimes told to do with one's lip. Button. 09:48 Like in Button Gallery's Button? 09:49 Yeah. 09:51 I know about his art gallery, that's all. 09:52 Oh, what about it? 09:54 We hauled cargo from this voyage. A crate we picked up in Genoa. 09:58 That's in Italy. Yeah, a crate filled with, uh, paintings. Valuable and rare. 10:02 Yeah, I seen them paintings. If they're valuable, then we're both the captain of the Pinafore. 10:08 Oh, bad, eh? 10:10 All I can say is phooey. 10:12 What smog fails to do to the human eye looking at these pictures does. 10:15 How many? 10:16 Seven. 10:18 They were, uh, sent ashore? Yes. 10:21 Look, all I know is we're loading cargo in Genoa. A guy comes on with this here crate. He gives me a song and dance about taking extra special care of this valuable art so it don't get banged around like cargo sometimes does. 10:33 That's all he asked of you. 10:35 And also to deliver it after it cleared through customs. Deliver it? 10:39 Where? 10:39 To the guys consigned to, Dr. Weber at the Button Art Galleries. To nobody else, he says, just this here Dr. Weber, and I shall be handsomely rewarded. 10:47 Well, where are you? 10:48 I'll let you know when Miller gets back. 10:50 Hope he found the art gallery still open. 10:52 Well, I'll tell you right now he didn't. 10:54 No? Then what did he do with... 10:56 I'm inclined to think he brought it to the one man he shouldn't have brought it to. Orlando Button. 11:02 Oh. 11:03 And this guy in Italy says make sure nobody gets it but this Dr. Weber. How about that for luck? A lousy mistake is going to cost me my handsome reward. 11:11 You're getting it right, pal. That same mistake may cost Mr. Button his life. 11:18 Hello, sir. 11:28 Hey, Kesa. 11:30 Yes. I wanted to make sure it was you who just come off the ship. 11:35 I'm kind of glad it's your sucker. 11:38 You know, I'm kind of glad to see you, too. Now, let's see how good you are without the gun, you sucker. 11:50 Don't worry about it. 11:51 When I finish tearing it off, I promise you I'll give it back to you. 11:56 Come on now. 11:57 What ill wind brought you out of retirement, Kasach? 12:01 No temper. 12:02 My kind of worker. 12:03 When a guy says he's retired, he's either trying to kid the cops or kid himself. 12:09 You mean there's always another hoodlum who'd force you back into it, eh? Now, let's have some talk here. 12:15 Let go of the arm first. Let loose the talk first. I got nothing. 12:21 I'll loosen your tongue with a little history. 12:24 When I first knew you, you worked for Scarelli as his trigger until he was deported a couple of years back. 12:30 My, but you're full of news. 12:33 Yes. What do you want from me, Saint? 12:35 Who hired you to squeeze the trigger on me? 12:38 Nobody has to hire me to gun you down, Saint. With me, that's a labor of love. 12:43 I... Oh, my arm, you break! 12:47 Turn him loose. 12:49 Hey, Kasach, either there's someone behind you, you've developed a decided talent for ventriloquism. 12:54 He's no ventriloquist, and I'm no dummy. 12:59 Who are you? I'm just a man with a gun, and the gun is in your back. 13:05 Turn him loose. 13:08 He's loose. 13:09 Oh, pal, you sure came along when I most... Beat it. 13:12 Huh? The boss wants you. Get right over there. Oh. 13:16 You gonna handle the sucker? 13:17 I'll handle him. You beat it. 13:19 Okay, pal. Okay. 13:24 All right, turn around, Templer. 13:26 Carefully, very carefully. 13:29 Good. You did that very nicely. Yeah, I've been taking dancing lessons. It's too bad someone doesn't sell lessons in how to mind one's own business. From now on, you're keeping your nose out of this affair. It doesn't concern you. Clear? 13:43 Like tapioca. Yeah. I get shanghaied by a fast-drawing oriental with a gun. I get my skull bashed so hard my brains are threatening to move out of the neighborhood. I get very sincerely menaced by a beady-eyed bandit with intent to kill, and now you come along and tell me this affair doesn't concern me? All this really happened? If I were dreaming, it wouldn't be about those kind of things. Okay. So what's the angle to all this mishmash? I can only make wild guesses. 14:11 None of my ideas have had their final fittings yet. 14:15 So suppose you tell me, what angle are you wearing today? 14:20 Like I told you, Saint, me, I'm just a man with a gun. 14:23 Yeah, so you said. 14:24 And the paintings? The paintings? 14:28 Paintings? 14:28 Yeah, they created paintings. Seven in number that arrived today from Italy for the button galleries. 14:33 Now I'm dreaming. You mean you're chasing paintings? 14:36 You mean you're not chasing paintings? 14:39 Friend, either you're deliberately throwing me a curve or we're not even playing in the same ball game. No, I'm not chasing paintings. What I'm chasing is just a little more dangerous. You wouldn't say that if you were wearing my aching head. 14:53 I'll be seeing you, art lover. 14:55 It's inevitable. And if you should run across an old party named Orlando Button before I do, will you please do something to help him stay alive? 15:05 This is the last pipe dream I'll listen to. Why can't this old party manage to stay alive on his own efforts? This is one of the wild guesses I was telling you about. 15:14 The last time I saw Button, he was a very frightened man. The kind of fright that only comes to a man who expects he's going to be killed. 15:23 If I see him, I'll do what I can to stop him from being afraid. 15:26 That statement can be taken two ways. 15:30 In the light of the fact that it was pronounced by a fellow who hobnobs with Killer Kasach... Goodbye, Saint. 15:37 And if I were you, I'd worry about trying to keep myself alive. THE END 15:56 Good morning. 15:57 I believe the door is plainly marked private, isn't it? 16:01 One finds it difficult to believe all one reads these days. 16:05 You know, it's nice. 16:07 What's nice? 16:07 That they don't hang all the works of art in this gallery on the wall. Some of it sits in a low-cut dress behind a sign that says assistant to the director. 16:16 You wish to see someone? 16:18 Actually, my wish is to remain here with you, but I'd never get to see Dr. Weber that way. 16:22 You have an appointment with Dr. Weber? 16:24 No. 16:24 Well, I'm afraid he can't see you then. He's very busy. 16:27 Then I'll see Mr. Button. 16:28 Mr. Button? 16:29 This is the Button Art Galleries, isn't it? 16:31 You will have to make an appointment with Mr. Button at his home. He rarely comes down to the galleries anymore. 16:37 Then I'll see Dr. Weber after all. 16:39 You not only find it difficult to believe all you read, but all you hear as well. Dr. Weber never sees anyone without an... Oh, it is you, Mr. Tempera. 16:48 Oh, hello, George. You find employer? No, George. 16:51 Gentleman is a friend of yours, George? 16:53 Oh, very good friend. Mr. Simon Tempera, the saint, greater detective. Makes words appear on paper with ashes. Very clever. Oh, it's nothing really, George. 17:03 A detective? Is something wrong? 17:05 Employer missing, Miss Arthur. 17:07 What? 17:08 Oh, he's mysterious. Crate come last night by sailor. Employer and I, we open. Employer get angry like he praises. Send me quick to drugstore, then I come back and... 17:18 He sent you to the drugstore? 17:21 Look here, what's this all about? 17:22 About a crate of paintings from Genoa for Dr. Webber. 17:27 Paintings? We weren't expecting anything from Italy. 17:30 Perhaps Dr. Webber was. 17:32 I most certainly would have known if the director was expecting a shipment. And what's all this about Mr. Button? 17:37 I wish you'd explain... Let's go see Dr. Webber. Maybe he likes mystery stories, too. 17:42 Very well, Mr. Templer. This way. Thank you. Oh, Miss Arthur. 17:46 I go party car now. Yes? My car? Oh, no, George, you don't have to. What is a Wednesday? Polish your car each Wednesday. That is why I come here. 17:55 Well, you can pass it by this week, George. I haven't used my car much since the last time you gave it a bath and a polish. Okay, very well. I skipped this week. Through this door, Mr. Templer. 18:05 Oh, Lola, I'd like you to catalog that new... Oh, we have a visitor. 18:09 This is Simon Templer, Dr. Weber. 18:11 How do you do? How do you do, sir? 18:12 Seems we have a mystery on our hands, doctor. 18:14 A mystery? Splendid. It was beginning to get a trifle dull around here. Won't you sit down, please? 18:20 Thank you, sir. 18:21 There's nothing like a little mystery to brighten things up a bit, is there? 18:23 Hmm. Especially if you're one of those people who enjoys going to funerals, Doctor. 18:29 Hmm? 18:30 Someone who... Let's just say that someone when last seen was terrified. And let's also say that that someone hasn't been seen since. But who? 18:38 Mr. Button. According to George, he's been missing since last night. 18:42 I see. 18:43 Mr. Templer... Am I to understand that just because Mr. Button wasn't home last night, you are assuming that he's been murdered? 18:49 Well, that is more or less the condensed version, yes. 18:52 I believe the little verse goes like this. Don't make tragedies out of trifles. Don't shoot butterflies with rifles. 18:59 It's just as foolish to make a trifle out of what might well be a tragedy. Perhaps I should give you the full-length version now, huh? 19:08 Perhaps you should, Mr. Templer. 19:10 A freighter arrived from Italy yesterday, the Tuscany from Genoa. It carried a small crate consigned to you, Dr. Weber, at the gallery here. 19:19 But I received no crate. What was in this? 19:21 Paintings, paintings, Doctor. And from what Stiano tells me, extremely bad paintings. But where are they, Doctor? 19:30 Let's let these pictures speak for themselves. 19:32 Where are they? 19:34 I never heard of them until this moment. 19:36 I wasn't even in town yesterday. You weren't? I was in Chicago, attending a fraternity convention. 19:43 There was no crate of paintings delivered here to the gallery yesterday, Mr. Templer, I assure you. 19:47 They weren't delivered to the gallery, Miss Arthur. The seaman who carried the crate in Stiano's place found the gallery closed when he arrived, so he did the next best thing, he thought. 19:57 The next best thing? 19:58 He had no way of knowing, of course, that old Mr. Button had more or less retired from business, leaving Dr. Weber in charge of his gallery. And so rather than lug the crate all the way back to the ship, he brought it over to the Button residence. Well? Mr. Button opened the thing up, curious to see what sort of stuff his gallery was buying these days, I suppose, and probably wished he was dead. I'm afraid his wish was granted all too soon. 20:23 But why would anyone take the trouble to ship us bad paintings? 20:26 That's what I wondered for a while, too. And that's what Button must have wondered, but not for long. 20:32 He tumbled onto it practically at once. 20:34 Onto what, Mr. Templer? 20:36 You're aware, of course, of the National Treasures Act, or whatever they call it in Italy, which prevents the export of great Italian works of art? 20:43 Of course we're aware of it. The Italian government has had it in force for years. They're perfectly right in not wanting their great works of art scattered throughout the world when it rightly belongs in Italy. 20:53 But I still don't understand... 20:54 The seven paintings were over-paintings. Over-paintings? Surely you've heard of the technique of painting over an oil painting with gouache, with a water-soluble paint. On the surface, these pictures look like something not even a lumber company calendar would be caught dead with. 21:11 Underneath, as Mr. Button found when George came back from the drugstore with materials to remove the paint, they found masterpieces by master artists of the Renaissance. What? You're sure? Yes, I'm sure. 21:24 Several dozen of Italy's treasures have been missing ever since the war. The customs men tell me the Italian government had a tip that some had recently been shipped to New York. How or on what ship no one knew. But, uh, Mr. Button, what did he do when he... Well, being an honest man with a reputation of many years as a reputable art dealer, he was shocked. He sent his chauffeur to fetch me. When I got there, he told me he'd changed his mind. 21:50 I can assume that Button had his mind changed for him at the point of a gun. 21:55 Speaking of points of guns, sir, what do you think of the point of this one? 22:00 Oh, hello, Kasach. 22:03 How's your arm? 22:04 It's sore, Saint. Very sore. But not as sore as your head is going to be when I throw some lead in it. What is this? That's exactly what the boss wants to know. What is this? 22:15 Okay, boss, you come in now. 22:18 Hello, Saint. Scarelli. You got a good memory for faces, Saint. 22:22 It's been a lot of years. Who could ever forget a face like yours, Scarelli? It could win an ugly contest anywhere. 22:28 The way this guy talks, Kezak, a guy would think you're holding an invisible gun. 22:33 Doesn't make any difference that he can't see it, boss. You'll feel it as good as anybody. 22:36 I demand to know the meaning of this intrusion. 22:38 You're in charge of this joint. 22:40 I am Dr. Weber, the director. 22:41 And the dem? 22:42 Miss Arthur is my assistant. 22:45 You do all right by yourself, fatso. 22:48 Maybe after we knock off the saint and fatso here, we'll keep her around a little, eh, Kazakh? 22:53 You're the boss. 22:53 What brings you back to this country, Scarelli? The crime wave became just a ripple when you were deported. 22:59 I'm moving back in, saint. Bigger than ever. First, I got to clear something up. Yeah? 23:03 What sort of something? 23:04 Except for you people and a few of my boys. Nobody knows. Scorelli smuggled himself back in on the Tuscany. 23:10 You people ain't going to be around long enough to tell a fly about it. 23:13 So I want to know something. Oh, why don't you try asking? I am asking. 23:17 I have Kayzak here watching that ship day and night to see if anyone is wise to anything. To see if the federal guys are maybe heard I come in on her and are retracing. 23:26 And they are, huh? 23:28 That's what you're going to tell me, Sainte. 23:30 Kezak tells me he sees you snooping aboard the Tuscany. He sees lots of other guys, too. Guys with that cop look about them. Well, they are a kind of cop at that, Scarelli. They know Scarelli was smuggled in on that boat? 23:43 They looking for me, Saint? These particular cops are customs, Inspector Scarelli. They're looking for pictures. Huh? Pictures? Yeah, paintings. 23:52 Oh, that's good news. 23:55 Hear that, Kezak? They're not looking for Scarelli. They don't know him back yet. 23:59 Let's get rid of these suckers, them boys. They got mouths. 24:02 Yeah. Start operating, Kizak. You're the doctor. 24:06 Save the saint for last. All right, drop it, Kizak. 24:08 Kizak, get it. 24:11 I said drop it. All right. 24:14 All right. 24:16 Everybody all right? 24:18 Who are you, Dick Tracy? 24:20 I've already told you, Templer. I'm just a man with a gun. 24:23 That gun wouldn't happen to be federal property, would it? 24:25 It would. It would. 24:27 And now you're going to ask how come a federal agent lets a mug like Kazak loose after he's been shooting his gun off at a private citizen? Yeah, I know how come. 24:34 If I'd gone through with my intention of breaking off Mr. Kazak's arm, he'd have led you to a hospital instead of where you wanted him to lead you, huh? To Scarella. Right, Mr. Templer. 24:44 Come on, boys. 24:46 Let's get away from this smart guy and be careful with those hands. Well... 24:52 Now, what was it you were saying before about things getting a trifle dull around here, Dr. Webber? 24:59 This is a rather unusual morning, Mr. Templer. 25:02 And the crime wave in your office isn't over yet. We're back to playing button-button. 25:06 Mr. Templer, I'd prefer it, and so would Dr. Webber, if you put your cards on the table all at once instead of one at a time. We've had enough suspense for one morning. 25:15 Are you accusing Dr. Webber of... How tall are you, Doctor? Eh? 25:20 Well, I'm almost six feet. And you, Miss Arthur? 25:23 No, really, Mr. Templer, I... How tall? 25:26 About five feet. 25:28 Doctor, you wouldn't ever wear high heels, would you? High heels that left an impression on the leather upholstery of a chair that had been moved alongside of a doorway. 25:39 I don't follow you. 25:40 Miss Arthur does. She anticipated my wish to go into Button's library last night. Naturally, that wouldn't do at all. The paintings were there, and a couple of them already had the overpaint removed. Correct, Miss Arthur? 25:54 You're insane. 25:56 That wrap across the skull you gave me is probably what made me insane. 26:00 Being a rather little girl for a headbanger, you needed height, huh? So just before I entered the library, where you'd had Button under a gun before my arrival, you moved a chair. 26:12 So you had height, and so when I walked in, I went out. 26:16 Well, I suppose one should really humor him, Dr. Weber. 26:20 And then what did I do, Mr. Templer? 26:22 You removed both the paintings and Mr. Button. You probably killed Mr. Button somewhere along the line. 26:27 Of course, you can prove all this. You can tell me, or the police, shall we say, exactly where Mr. Button's body lies, where the paintings are, and... 26:35 Unfortunately, no. 26:37 Then just as unfortunately, Mr. Templer, you have no case. Without the paintings found in my possession, without Mr. Button's body... 26:44 Pardon, interruption, please. We're rather busy at the moment, George, please. Oh, we'll not take a moment. Miss Arthur, you are to making a mistake. 26:51 Oh, please, George, we're having a conference. Would you mind leaving? 26:53 Arthur, come all the way downtown to wash and polish car. You say car no dirty, not need bath, not need polish. George, will you please go now? But Miss is mistaken. Just see car in parking lot. Some other time, George. Car very dirty. Car need wash, polish most fine. I go do so, yes? No. 27:12 Of course you go do so, George. And while you're at it, take a look in the trunk compartment. 27:16 No. Trunk compartment? What find in trunk compartment, Mr. Tempera? Employer, George. Oh, employer in trunk? 27:22 No, no. I didn't plan to kill him. I didn't plan to kill him. I go look. I go look in that trunk compartment. 27:28 Never mind, George. Go call the police instead. 27:31 Oh, yes, Mr. Tempera. 27:32 I go call. And George. Sir? If Mr. Moto should ever need an assistant, I'll be very happy to give you a reference. 27:52 You have been listening to another transcribed adventure of The Saint, the Robin Hood of modern crime. Now here is our star, Vincent Price. 28:00 Ladies and gentlemen, in tonight's cast, you heard Mary Shipp as Lola and Charlie Lung as George. Ted DiCorsio was Scarelli, Larry Dobkin, Kazak. Fred Shields played Nash and Ted Osborne, Dr. Weber. Barney Phillips was Stiano. 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. 28:45 This adventure of The Saint was written by Michael Cramoy. The Saint, based on characters created by Leslie Charteris, is produced by James L. Saffir and directed by Helen Mack. Vincent Price is soon to be seen co-starring with Errol Flynn and Michelin Prell in William Marshall's production of Bloodlines. All you Saint fans will be glad to know that the Saint comic books are on sale at all newsstands. 29:13 Three chimes mean good times on NBC. For something new about the Army, hear the Phil Regan Show next over most of these NBC stations. Coming from a different service base every week, Phil Regan brings you songs and fun and brings prizes to talented G.I.s. It's an exciting newcomer to your Sunday chime lineup on NBC. So hear it next, The Phil Regan Show. 29:38 And later today, following The Phil Regan Show, hear Mr. and Mrs. Blanding on NBC.