The Saint: Button, Button 03/11/1951

Summary

Choice Classic Radio Detectives | Old Time Radio
Episode: The Saint: "Button, Button" (March 11, 1951)
Date: August 2, 2026
Host: Choice Classic Radio
Starring: Vincent Price as Simon Templar, "The Saint"

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Episode Overview

This episode of "The Saint," titled "Button, Button," immerses listeners in a suspenseful case involving stolen art, a missing art dealer, an international smuggling ring, and, of course, Simon Templar’s signature wit and deductive brilliance. Centered on a crate of "bad" paintings from Italy, the story unravels a scheme to smuggle Renaissance masterpieces by disguising them beneath layers of amateur art. As Templar investigates a sudden disappearance, he crosses paths with criminals old and new, all while tracking down the missing masterpieces and unmasking the culprit.

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Key Discussion Points & Plot Summary

1. A Strange Summons from the Button Residence

• [01:14] Simon Templar is "invited" at gunpoint by George, the driver, to the home of art collector Orlando Button.
• George claims his employer is terrified and in trouble, setting the stage for a mystery involving fear and subterfuge.
• Notable Quote:
  • “With one swift gesture, you have given me six good reasons why I should go with you. Or does that revolver hold eight bullets?”
    — Simon Templar (E), [02:34]

2. Fear in the Button Household

• [03:42] Button appears nervous and then, oddly, backtracks his request for help, wishing Templar would leave and forget about the visit.
• The nervous Button tries to prevent Templar from entering his study. Chaos ensues off-stage, and Templar wakes up later after being knocked unconscious.

3. Missing Paintings and Mysterious Clues

• [05:44] Templar learns from George that someone has stolen Button’s recently delivered paintings—supposedly low in quality, but delivered under odd circumstances by seaman Stiano from the ship S.S. Tuscany.
• Button is missing, along with the paintings. Templar uncovers a clue on a note pad using ashes to reveal imprints, finding the words “S S Tuscany”—the name of the ship.

4. Investigation on the S.S. Tuscany

• [08:37] Templar visits the freighter to learn about the cargo, meets Stiano, and finds out the intended recipient was Dr. Webber at the Button Galleries, not Button himself.
• The crate of paintings was delivered to Button because the gallery was closed.
• The paintings are described as terrible, unsuitable even for a lumber calendar, adding to the mystery.
• Notable Quote:
  • “If they’re valuable, we’re both the captain of the Pinafore. All I can say is phooey.”
    — Stiano (I), [10:05]

5. Competing Criminal Elements: Old Enemies Return

• [11:27] Templar is ambushed by Kessack, a known hoodlum, leading to an altercation and the introduction of another man with a gun, revealed later as a federal agent.
• Kessack works for Scarelli, a notorious crime figure thought to be deported.
• The agent and Templar discuss the paintings and a growing sense of danger—not just about art, but people’s lives.
• Notable Quote:
  • “When a guy says he’s retired, he’s either trying to kill the cops or kill himself.”
    — Kessack (G), [12:03]

6. At the Button Galleries: Introducing Dr. Webber and Ms. Arthur

• [15:56] Templar arrives at the Button Galleries, charming Ms. Arthur, the assistant, and seeking Dr. Webber.
• Both deny knowledge of any painting shipment; Dr. Webber provides an alibi—he was in Chicago.
• George recounts the timeline: a crate arrived, Mr. Button was angered, then sent George out, after which both Button and the paintings vanished.

7. The Smuggling Scheme Revealed

• [19:10] Templar explains the true plot: Italian masterpieces, forbidden for export by Italian law, were disguised beneath poor gouache paintings and smuggled out.
• Button discovered the secret and was likely murdered for it.
• Notable Exposition:
  • “The seven paintings were overpaintings…Underneath, as Mr. Button found...they found masterpieces by master artists of the renaissance.”
    — Simon Templar (E), [20:58]

8. Crime Boss Scarelli Re-Emerges

• [22:20] Scarelli, once deported, reveals he smuggled himself back into the States aboard the Tuscany, and is back to reclaim his territory.
• He suspects Templar and law enforcement are after him, but Templar reveals the authorities are after the paintings.
• Tension escalates as Scarelli and his men threaten violence.

9. Showdown and the Final Clue

• [24:52] The federal agent steps in, foils the attempt on Templar’s life, and takes Scarelli and his henchman into custody.
• Back in the gallery, Templar confronts Ms. Arthur, whose high-heeled footprint gave away her involvement in Button’s murder and the disappearance of the paintings.
• The clinching clue: George, ever-literal, insists Ms. Arthur’s car needs cleaning; Templar deduces that the trunk holds Button’s body.
• Ms. Arthur confesses, overwhelmed by guilt and Templar’s deduction.
• Notable Quotes:
  • “Doctor, you wouldn’t ever wear high heels, would you?... That left an impression…that had been moved alongside of a doorway.”
    — Simon Templar (E), [25:26]
  • “Employee in trunk.”
    — George (D), [27:21]
  • “No, I didn’t plan to kill him... I didn’t plan to kill him.”
    — Ms. Arthur (H), [27:22]

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Notable Quotes & Memorable Moments

• [02:34] Templar’s wit in the face of danger:
  “With one swift gesture, you have given me six good reasons why I should go with you. Or does that revolver hold eight bullets?” —Simon Templar

• [10:08] Stiano’s appraisal of the paintings:
  “If they’re valuable, we’re both the captain of the Pinafore. All I can say is phooey.” —Stiano

• [20:58] Templar explains the smuggling technique:
  “These pictures look like something not even a lumber company calendar would be caught dead with. Underneath...masterpieces by master artists of the Renaissance.”

• [25:26] Deduction of the murderer:
  “Doctor, you wouldn’t ever wear high heels, would you?... That left an impression…that had been moved alongside of a doorway.”

• [27:21] George’s literal reveal:
  “Employee in trunk.” —George

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Timestamps for Key Segments

• 01:10 – The Summons: George fetches Templar to Button’s home under dubious circumstances.
• 05:44 – Aftermath at Button’s Estate: Templar wakes to find the paintings and Button missing.
• 08:37 – On Board S.S. Tuscany: Templar investigates the ship and learns about the paintings’ delivery mix-up.
• 11:27 – First Attack: Templar is attacked by Kessack and meets a federal agent with his own agenda.
• 15:56 – The Gallery Visit: Templar meets Ms. Arthur and Dr. Webber, and explains the stakes.
• 19:10 – The Overpainting Revelation: Smuggling of Renaissance art discovered.
• 22:20 – Scarelli’s Return: Notorious gangster confronts Templar and the group.
• 24:52 – Federal Intervention: The agent subdues Scarelli and company.
• 25:24 – The Final Reveal: Ms. Arthur’s involvement and Button’s fate exposed.

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Conclusion

This tightly woven whodunnit offers listeners a classic blend of Golden Age detective drama with international intrigue, wordplay, and suspense. Vincent Price delivers Simon Templar’s dry wit and sharp intellect, outsmarting thugs and uncovering high-stakes art crime. The episode’s interplay of clues, colorful characters, and one-liners makes it a shining example of old-time radio’s detective storytelling.

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Favorite Closing Exchange:

• “And George, if Mr. Moto should ever need an assistant, I’ll be very happy to give you a reference.”
  —Simon Templar to George, [27:32]

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Listen for: Smuggling schemes, clever forensic deduction (ash on a pad), art world intrigue, criminal double-crosses, and the inimitable charm of Vincent Price as "The Saint."

Transcript

[A]

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 [e-mail].

[B]

The Adventures of the Saint, starring Vincent Price.

[C]

The Saint.

[B]

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 Transformation Radio, starring Hollywood's brilliant and talented actor, Vincent Price as the Saint.

[D]

Just a moment, please.

[E]

Yes?

[D]

Mr. Tempera? Mr. Simon Temperer.

[E]

And if I say yes?

[D]

Oh, I am a George.

[E]

Congratulations. What army are you dressed for?

[D]

Oh, not army uniform. I wear, sir. You come.

[C]

Huh?

[D]

You come now.

[E]

You want me to go somewhere with you?

[D]

You are sure you are Mr. Simon temporary the Saint?

[E]

If I'm not, my old grandmother shouldn't have lied to me all these years.

[D]

Then you come. Where did you not receive the call, sir?

[E]

Even the most casual eavesdropper would have to admit it doesn't appear so. What call?

[D]

Employer say, George, go to this number and get Mr. Tempera. Employer say he called. So when I arrive, you, you know, you come. No call, sir.

[E]

No call. Who is your employer?

[D]

Mr. Orlando Button. Him all man. He very afraid.

[E]

Orlando Button, art collector. Button Galleries.

[D]

Employer say much of trouble coming. You come Help.

[E]

Oh, what sort of trouble?

[D]

We go now. Yes?

[E]

You go now. Yes. My neck and I recently came to an understanding.

[D]

Your neck, sir?

[E]

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.

[D]

Oh, no. You are coming.

[E]

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?

[C]

Huh?

[E]

You sure this is a home?

[D]

Oh, yes. Home of my employer, Mr. Orando Button.

[E]

Add a couple of ticket windows, scatter around a few timetables, and could easily pass for the home of the super Chief.

[D]

Employer awaits you in the study.

[E]

Mr. Templer.

[D]

You come. This way, please.

[E]

Yes. Now look, would it be too much to ask you to stop waving that gun under my nose?

[D]

You come.

[E]

I come.

[D]

Now. You wait.

[E]

I wait.

[D]

Sir, sir, sir. Mr. Button, I have brought Mr. Templer, sir.

[F]

Oh, yes, thank you, George. I. I must have dozed off. Mr. Templer, it was good of you to come, but I not half as

[E]

good as it was of George to bring. He is very persuasive, eh?

[D]

Mr. Templer say no come. I invite him at the point of A pistol. You. No. Call him, sir.

[F]

No, no, I fell asleep. That will be all.

[D]

Thank you.

[F]

I'm sorry George had to resort to melodrama, Mr. Templar. I. I mean. Look, you'll forgive me. I'm sure it's all a mistake.

[E]

What's all a mistake?

[F]

This. This incident. I never should have sent for you. I. My nerves. I'm a victim of my own imagination.

[E]

Remarkable, eh? Here you are, trembling. Yet scarcely two minutes ago, according to you, you were in your study there, napping.

[F]

But what?

[E]

There's fear in that trembling, Mr. Button. And on your face, too. You're scared witless. Scared people. Don't doze.

[F]

Please, I beg of you, go at once. Forget that you've been here.

[E]

That was a long ride across town with your chauffeur's gun in my ribs. Long and unpleasant.

[F]

But I didn't tell George to use a gun. I.

[E]

We can talk in your study.

[F]

No, you mustn't go in there. You.

[D]

You.

[F]

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? What are you going to do?

[D]

Mr. Tempera. Mr. Templar. Oh, Mr. Tempera. Here I am giving you brandy.

[E]

Oh, that's good brandy. Wake me up some more.

[D]

You are to being all right, sir.

[E]

As soon as the canary stop holding choir practice in my head.

[D]

Oh, so sorry. I give too much brandy.

[E]

Where's Mr. Button?

[D]

He gone.

[E]

Gone where?

[D]

Oh, no. Seagull. I go to room. Time passes, I think. Maybe now. Employee. Want me to drive you home again? I come here to study, finding you on floor. Employer going. Pictures gone.

[E]

Pictures? What pictures?

[D]

Ones that arrived today. Sailor bring crate.

[C]

Oh.

[E]

What sort of pictures were they?

[D]

Where is the Western picture? Same Western man look all right to me, but they make Mr. Button very angry.

[E]

Oh, and then he told you to fetch me.

[D]

Oh, no, not right away. Shorter time later after phone call.

[E]

Phone call.

[D]

Employer call number speak. You get information. Write something on a paper pad, then send me.

[E]

Get you the pad. Where is it?

[D]

On the desk here. I give it to you.

[E]

Thank you. Nothing on it.

[D]

Maybe he tear a writing page off.

[E]

George, look, take your finger and dip it in the fireplace for me, will you?

[G]

Dip it.

[D]

Oh, too much brandy. Too much.

[E]

Go on, go on. Now, please do as I say. Get some ashes on your hand.

[D]

Ashes?

[E]

Yes, in the fireplace.

[D]

Oh. Oh, yes, sir. Fingers are all properly dirty with the ashes.

[E]

Now rub it on this page of the pattern. Lightly, lightly, gently.

[H]

Magic.

[E]

Western magic. Known only to those few hardy adventurers who have dared to visit the forbidden

[D]

city of Brooklyn, what will coming forth

[E]

on a pod a picture of anime wall.

[D]

Holy mackerel.

[E]

Look. Now rub the ashes in a little harder. There, that's it.

[D]

What is? The words. No picature words that were on former page torn off.

[E]

If Mr. Motto should ever need an assistant. That's a nice. Now give it to me. S T, I stiano. You know Mr. Stiano, George, not knowing. So Stiano. S, S T, U. No, Tuscany. The s s, Tuscany.

[D]

Oh, sounding like steamboat.

[E]

Second thought, maybe Mr. Marta ought to be your assistant. Goodbye, George.

[D]

Oh, you go, I go, I come, you stay, you go find employer.

[E]

Yeah.

[D]

Why?

[E]

Look, I like you, George, that's why. I don't want you to lose your job, so I. Oh. Oh, that's a funny place to put a chair.

[D]

Your chair belong over here. Oh, Mr. Tempera, you say I am to losing job? Why?

[E]

We have a quaint saying in this country, George. Chauffeur lose job if employer lose life.

[I]

Who's that on deck? Who is it?

[C]

Speak up.

[E]

It's me if that means anything. Muller, huh?

[I]

Hey, you're late. I expected you. Hey, what is this? You ain't Muller.

[E]

Name's Templar.

[I]

All right, so the name's Templar. What are you doing aboard my ship? Looking your customs man.

[E]

You the captain?

[I]

Third officer, captain, one ashore. I'm in charge. Look, fella, you boys from customs already went over this vessel three times since we docked this morning.

[E]

Three times, eh? It's the usual procedure, isn't it?

[I]

Three times as usual. And each time so thorough the ship is practically dismantled.

[C]

What goes, pal?

[E]

Well, you tell me.

[I]

I don't know what you boys are looking for, mister, but I'll tell you here now, it ain't on board the Tuscany. This is an honest ship.

[E]

Yeah, and I'm the captain of the Pinafore. You got a man named Steano on board?

[I]

Look, Mr. 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.

[C]

That's Stiano.

[E]

Oh, you know him Pretty well.

[I]

Know him?

[C]

I'm him.

[E]

Well, I'm glad to meet a good, loyal, efficient, uncomplaining all around man. You know a man named Button?

[I]

No. You say Button.

[E]

Button, like in what one is sometimes told to do with one's lips.

[I]

Button, like in button galleries.

[F]

Button.

[I]

Yeah, I know about his art gallery, that's all.

[E]

Oh, what about it?

[I]

We hauled cargo from this voyage. A crate we picked up in Genoa. That's in Italy.

[E]

Yeah. A crate filled with paintings. Valuable and rare.

[I]

I seen them.

[C]

Paintings?

[I]

If they're valuable, then we're both the captain of the Pinafore.

[E]

Oh, bad, eh?

[I]

All I can say is phooey. What Smaug fails to do to the human eye looking at these pictures does.

[E]

How many?

[I]

Seven.

[E]

They were sent ashore.

[J]

Yeah.

[I]

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 light so it don't get banged around like cargo sometimes does.

[E]

It's all he asked of you, Patton.

[I]

Also to deliver it after it cleared through customs.

[E]

Deliver it where?

[I]

To the guards consigned to Dr. Webb at the Button Art Galleries. To nobody else, he says, just this here Dr. Webber and I shall be handsomely rewarded.

[E]

Where you?

[I]

I'll let you know when Miller gets back. Hope you find the art gallery still open.

[E]

Well, I'll tell you right now, he didn't.

[J]

No?

[I]

Then what did he do with.

[E]

I'm inclined to think he brought it to the one man he shouldn't have brought it to. Orlando Button.

[I]

Oh, and this guy in Italy says, make sure nobody gets it but this Dr. Webber. How about that for luck? A lousy mistake is going to cost me my handsome reward.

[E]

You're getting it right, pal. That same mistake may cost Mr. Button his life.

[G]

I lost safe.

[E]

K Sac.

[C]

Yes.

[G]

I wanted to make sure it was you who just come off the ship. I'm kind of glad it's you, sucker.

[E]

You know, I'm kind of glad to see you, too. Let's see how good you are without the gun, you sucker. Don't worry about it. When I finish tearing it off, I promise you I'll give it back to you. Come on. Now what ill wind brought you out of retirement, K Sec? No temper.

[C]

My kind of worker.

[G]

When a guy says he's retired, he's either trying to kill the cops or kill himself.

[E]

You mean there's always another hoodlum who'd force you back into it, eh? Now, let's have some talk here.

[D]

Let go down first.

[E]

Let loose the talk first.

[G]

I got nothing.

[E]

I'll loosen your tongue with a little history, Josh. When I first knew you, you worked for Scarelli as his trigger till he was deported a couple of years back.

[D]

You're full of news.

[G]

What do you want from me, Saint?

[E]

Then who hired you to squeeze the trigger on me?

[G]

Nobody has to hire me to gun you down, Saint. With me That's a labor of love.

[D]

I. Oh, my arm. You breaking?

[J]

Turn him loose.

[E]

Hey, K. Sec. Either there's someone behind you, you've developed a decided talent for ventriloquism.

[J]

He's no ventriloquist. And I'm no dummy.

[E]

Who are you?

[J]

I'm just a man with a gun. And the gun is in your back. Turn him loose.

[E]

He's loose.

[G]

Oh, pal, you sure came along when

[J]

I most the boss wants you. Get right over there.

[G]

Oh, you're gonna handle the sucker?

[J]

I'll handle him. You beat it.

[G]

Okay, pal, okay.

[J]

All right. Turn around. Templar carefully. Very carefully. Good. You did that very nicely.

[E]

Yeah, I've been taking dancing lessons.

[J]

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.

[E]

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. 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.

[J]

All this really happened.

[E]

If I were dreaming, it wouldn't be about those kind of things.

[J]

Okay, so what's the angle to all this mishmash?

[E]

I can only make wild guesses. None of my ideas have had their final fittings yet. So suppose you tell me, what angle are you wearing today?

[J]

Like I told you, saint me, I'm just a man with a gun.

[E]

Yeah, so you said. And the paintings.

[J]

Paintings?

[E]

Yeah, the creative paintings. Seven in number that arrived today from Italy for the Button Galleries.

[J]

Now I'm dreaming. You mean you're chasing paintings?

[E]

You mean you're not chasing paintings?

[J]

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.

[E]

You wouldn't say that if you were wearing my aching head.

[J]

I'll be seeing you, art lover.

[E]

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?

[J]

This is the last pipe dream I'll listen to. Why can't this old party manage to stay alive on his own efforts?

[E]

This is one of the wild guesses I was telling you about. 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.

[J]

If I see him, I'll do what I can to stop him from being afraid.

[E]

That statement can be taken two ways. In the light of the fact that it was pronounced by a fellow who hobnobs with killer K Sec.

[J]

Goodbye, Saint. And if I were you, I'd worry about trying to keep myself alive.

[E]

Good morning.

[H]

I believe the door is plainly marked private, isn't it?

[E]

One finds it difficult to believe all one reads these days. You know, it's nice.

[H]

What's nice?

[E]

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.

[H]

You wish to see someone?

[E]

Actually, my wish is to remain here with you. But I'd never get to see Dr. Webber that way.

[H]

You have an appointment with Dr. Webber?

[E]

No.

[H]

Well, I'm afraid he can't see you then. He's very busy.

[E]

Then I'll see Mr. Button.

[H]

Mr. Button?

[E]

This is the Button Art Galleries, isn't it?

[H]

You will have to make an appointment with Mr. Button at his home. He rarely comes down to the galleries anymore.

[E]

Then I'll see Dr. Webber.

[H]

After all, you not only find it difficult to believe all you read, but all you hear as well, Dr. Webber never sees anyone without an oh, it

[D]

is you, Mr. Tempera.

[E]

Oh, hello, George.

[D]

You find employer?

[E]

No, George.

[H]

Gentleman is a friend of yours, George?

[D]

Oh, very good friend. Mr. Simon. Temporary the Saint Greater detective. Makes words appear on paper with ashes. Very clever.

[E]

Oh, it's nothing really. George.

[H]

A detective. Something wrong?

[D]

Employer missing, Ms. Ata. What? 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.

[E]

I sent you to the drugstore.

[H]

Look here, what's this all about?

[E]

About a crate of paintings from Genoa for Dr. Webber.

[H]

Paintings? We weren't expecting anything from Italy.

[E]

Perhaps Dr. Webber was.

[H]

I most certainly would have known if the director was expecting a shipment. What's all this about? Mr. Button? I wish you'd explain.

[E]

Go see Dr. Weber. Maybe he likes mystery stories too.

[H]

Very well. Mr. Templar. Ms. Way.

[E]

Thank you.

[D]

Oh, Ms. Arthur. I go potty car now.

[H]

Yes, my car. Oh, no, George, you don't have to.

[D]

What is a Wednesday? Polish your car each a Wednesday. That is why I come here.

[H]

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.

[D]

Okay. Very well. I skipped this week.

[H]

Through this door, Mr. Templar.

[C]

Oh, Lola, I'd like you to catalog that new. Oh, we have a visitor.

[H]

This is Simon Templer, Dr. Weber.

[C]

How do you do?

[E]

How do you do, sir?

[H]

Seems we have a mystery on our hands, Doctor.

[C]

A mystery? Splendid. It was beginning to get a trifle dull around here. Won't you sit down, please?

[E]

Thank you, sir.

[C]

There's nothing like a little mystery to brighten things up a bit, is there?

[E]

Especially if you're one of those people who enjoys going to funerals.

[D]

Doctor?

[C]

Hmm? Someone is.

[E]

Let's just say that someone, when last seen, was terrified. And let's also say that. That someone hasn't been seen since.

[C]

But who?

[H]

Mr. Button. According to George, he's been missing since last night.

[C]

I see. Mr. Templer, am I to understand that just because Mr. Button wasn't home last night, you are assuming that he's been murdered?

[E]

Well, that is more or less the condensed version, yes.

[C]

I believe the little verse goes like this. Don't make tragedies out of trifles. Don't shoot butterflies with rifles.

[E]

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.

[C]

Perhaps you should, Mr. Templar.

[E]

A freighter arrived from Italy yesterday, the Tuscany from Genoa. It carried a small crate consigned to you, Dr. Weber, at the gallery here.

[C]

But I received no crate. What was in it?

[E]

Paintings, Doctor. And from what Stiano tells me, extremely bad paintings. But where are they? Doctor, let's let these pictures speak for themselves.

[C]

Where are they? I never heard of them until this moment. I wasn't even in town yesterday.

[E]

You weren't?

[C]

I was in Chicago attending a fraternity convention.

[H]

There was no crate of paintings delivered here to the gallery yesterday. Mr. Templar, I assure you they weren't

[E]

delivered to the gallery, Miss. 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.

[H]

The next best thing?

[E]

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 Gary was buying these days, I suppose, and probably wished he was dead. I'm afraid his wish was granted all too soon.

[H]

But why would anyone take the trouble to ship us bad paintings?

[E]

That's what I wondered For a while, too. And that's what Button must have wondered. But not for long. He tumbled onto it practically at once.

[C]

Onto what, Mr. Templer?

[E]

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.

[C]

Of course we're aware of it. The Italian government has had it in force for years. They're perfectly right in not wanting great works of art scattered throughout the world when it rightly belongs in Italy.

[H]

But I still don't understand.

[E]

The seven paintings were over paintings.

[C]

Over paintings.

[E]

Surely you've heard of the technique of painting over an oil painting with gouache with water soluble paint on the surface? These pictures look like something not even a lumber company calendar would be caught dead with 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.

[K]

What?

[D]

You sure?

[E]

Yes, I'm sure. 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.

[C]

But Mr. Button, what did he do when he.

[E]

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 changed his mind. I can assume that Button had his mind changed for him at the point of a gun.

[G]

Speaking of points of guns, sir, what do you think of the point of this one?

[E]

Hello, Kissack. How's your arm?

[G]

It's sore, Saint. Very sore. But not as sore as your head is going to be when I cross some ladies.

[D]

What is this?

[G]

That's exactly what the boss wants to know. What is this? Okay, boss, you come in now.

[E]

Hello, Saint Scarelli.

[K]

You got a good memory for faces, Saint. It's been a lot of years.

[E]

Who could ever forget a face like yours, Scarelli? It could win an ugly contest anywhere.

[K]

The way this guy talks, Kezak. A guy would think you're holding an invisible gun.

[G]

Doesn't make any difference that he can't see it, boss. You'll feel it as good as anybody.

[C]

I demand to know the meaning of this intrusion.

[K]

You're in charge of this joint.

[C]

I am Dr. Webber, the director.

[K]

And the dam.

[C]

Ms. Arthur is my assistant.

[K]

You do all right by yourself, fatso. Maybe after we knock off the Saint and Fatso here. We'll keep her around a little. Like Isaac.

[G]

You're the boss.

[E]

What brings you back to this country, Scarelli? The crime wave became just a ripple when you were deported.

[K]

I'm moving back in. Sin bigger than ever. But first I gotta clear something up, huh?

[E]

What sort of something?

[K]

Except for you people and a few of my boys, nobody knows. Scarelli smuggled himself back in under Tuscany. You people ain't gonna be around long enough to tell a fly about it. So I want to know something.

[E]

Oh, why don't you try asking?

[K]

I am asking. I have Kzak. You're watching that ship day and night to see if anyone is wise to anything. See if the federal guys are maybe heard. I come in on her and I retrace them.

[E]

And they are, huh?

[K]

That's what you're gonna tell me, Saint Keswick tells me he sees you snooping aboard the Tuscany. He sees lots of other guys, too. Guys with.

[E]

With that cop.

[K]

Look about them.

[E]

They are a kind of cop at that. Skrelli.

[K]

They know Skrelli was smuggled in on that boat. They looking for me, Saint?

[E]

These particular cops are Customs Inspector Skrelli. They're looking for pictures, huh?

[K]

Pictures?

[E]

Yeah, Paintings.

[K]

Oh, that's good news. Hear that, Kezak? They're not looking for Scarelli. They don't know him back yet.

[G]

Let's get rid of these suckers. Them boys, they got mouths.

[A]

Yeah.

[K]

Start operating, Kazak. You're the doctor.

[G]

Save the Saint for last.

[J]

All right, drop it, Kazak.

[F]

Kasak.

[D]

Got it. I said drop it. All right, all right.

[J]

Everybody.

[E]

All right? Who are you, Dick Tracy?

[J]

I've already told you, Templar, I'm just a man with a gun.

[E]

That gun wouldn't happen to be federal property, would it?

[J]

It would. 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?

[E]

Yeah, I know. How come? 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?

[J]

To Scarelli, right, Mr. Templar. Come on, boys, don't push. Let's get away from this smart guy. And be careful with those hands.

[E]

Now, what was it you were saying before about things getting a trifle dull around here?

[D]

Dr. Webber?

[C]

This is a rather unusual morning.

[E]

Mr. Templar, the crime wave in your office isn't over yet. We're back to playing button, button.

[H]

Mr. Templar, I'd prefer it, and so would Dr. Weber, 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. Are you accusing Dr. Webber?

[E]

How tall are you, Doctor?

[C]

I'm almost six feet.

[E]

And you, Ms. Arthur?

[H]

Not really, Mr. Templar.

[F]

I.

[E]

How tall?

[H]

About five feet.

[E]

Doctor, you wouldn't ever wear high heels, would you? High heels? That left an impression on the leather upholstery of a ch that had been moved alongside of a doorway.

[C]

I don't follow you.

[E]

Ms. 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 over paint removed.

[H]

Correct, Ms. Arthur, you're insane.

[E]

That wrap across the skull you gave me is probably what made me insane. 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 so you had height. And so when I walked in, I went out.

[H]

Well, I suppose one should really humor him, Dr. Weber. And then what did I do, Mr. Templer?

[E]

You removed both the paintings and Mr. Button. You probably killed Mr. Button somewhere along the line.

[H]

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?

[E]

Unfortunately, no.

[H]

Then just as unfortunately, Mr. Templar, you have no case without the paintings found in my possession. Without Mr. Button's body.

[D]

Pardon interruption, please.

[C]

We're rather busy at the moment. George, please.

[D]

Oh, we'll not take a moment, Ms. Arthur. You ought to making mistakes.

[H]

Oh, please, George. We're having a conference. Would you mind leaving?

[D]

Martha come all the way downtown to wash and polish car. You say car no dirty not need bath. Not need polish.

[H]

George, will you please go now?

[D]

But Ms. Is mistaken. Just see car in parking lot.

[H]

Some other time, George.

[D]

Car very dirty car need a wash. Polish more spine. I go do so.

[E]

Yes, no, of course you go do so, George. And while you're at it, take a look in the trunk compartment.

[D]

No trunk compartment. What's finding trunk compartment, Mr.

[E]

Temporary Employer, George.

[D]

Oh, employee in trunk.

[H]

No, no, I didn't plan to kill him. I. I didn't plan to kill him.

[F]

I go to.

[D]

I go look in the trunk compartment.

[E]

Never mind, George. Go call the police instead.

[D]

Oh, yes, Mr. Templer. I will call.

[E]

And George, sir, if Mr. Moto should ever need an assistant, I'll be very happy to give you a reference.

[B]

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

[E]

Ladies and gentlemen, in tonight's cast, you heard Mary Ship as Lola and Charlie Lung as George. Ted De Courcia was Scarelli. Larry Dobkin Kazak. Fred Shields played Nash and Ted Osborn. Dr. Webber. Barney Phillips was Diano. 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.

[B]

This adventure of the Saint was written by Michael Cramoy. The Saint, based on characters created by Leslie Charteris, is produced by James L. Satier 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 Bloodline. All you Saint fans will be glad to know that the Saint comic book books are on sale at all newsstands. 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 GIs. It's an exciting newcomer to your Sunday chime lineup on NBC, so hear it next, the Phil Regan Show. And later today, following the Phil Regan show, hear Mr. And Mrs. Blanding on NBC.