The Saint: The Ghost That Giggled 09/17/1950

Summary

Podcast Summary: The Saint – “The Ghost That Giggled” (09/17/1950)
Choice Classic Radio Detectives | Old Time Radio
Aired: March 29, 2026 (Rebroadcast)

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Episode Overview

In this episode of The Saint, detective Simon Templar (played this week by Barry Sullivan) is drawn into a sophisticated mystery when a woman claims her brother is haunted by a giggling ghost. What begins as a potentially supernatural case quickly takes a lethal turn, involving murder, hidden motives, and a key to a missing fortune. The episode blends classic whodunnit intrigue, witty repartee, and a parade of eccentric suspects, all set against the genteel yet shadowy backdrop of wealth and family dysfunction.

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Key Discussion Points & Plot Developments

1. The Unusual Call for Help (00:00–04:50)

• Simon Templar is approached in the park by Prue Thaxter, who claims her brother, Warburton Thaxter, is being haunted—by a ghost that giggles.
  • “He’s haunted. I know. I’ve heard the ghost myself. It giggles.” – Prue Thaxter [02:56]
• Simon is skeptical but intrigued by the peculiar nature of the ghost's giggle—a detail that sets this haunting apart.

2. Arrival at the Thaxter Home & First Clues (04:51–07:56)

• Simon visits the Thaxter home, investigates the haunted study, and Prue recounts several incidents where Warburton seemed to enjoy the ghostly giggling.
  • “His reply was frivolous—he said that at his age, it was flattering to be haunted by a ghost whose giggle was so youthful.” – Prue Thaxter [05:44]
• The mood darkens with the sudden discovery of Warburton dead in the locked study.
  • “[warily] Ghosts aren’t generally capable of beating a man’s head to a pulp.” – Simon Templar [08:29]

3. Entering a Web of Suspects (09:08–13:20)

• Simon is confronted by Lorraine, a mysterious woman in the car, who Prue believes to be the ghost. Lorraine is, in fact, Warburton’s secret wife.
  • “Because of who I am. I didn’t kill Warburton. But they might not believe me because of who I am.” – Lorraine [12:17]
• Lorraine and others are desperate to find a missing safe deposit key.

4. Escalation: The Gardener & The Web Tightens (12:53–16:50)

• Simon is visited and threatened by Galloway, the Thaxters’ gardener, also seeking the same key, revealing a wide interest in Warburton’s assets.
  • “Where is it? Where is what? The key. What key? You know as well as I do.” – Galloway & Simon [13:04]
• Lieutenant Cole of the police provides an update: No safe deposit key was found on the body.

5. The Investigation Deepens – Motives and Alibis (17:07–19:27)

• Simon questions Prue further, learning more about Galloway and the strained family relationships.
• Prue acknowledges knowing nothing about her brother’s secret marriage.

6. The Final Confrontation – Catching the Killer (21:02–25:18)

• Simon traces Lorraine to a theatrical hotel, searches her room, and finds the safe deposit key cleverly hidden.
  • “Old-fashioned kind bedpost with ornamental heads which come off... a string tied to the inside... and at the end of the string this.” – Simon [22:01]
• The safe deposit box is found EMPTY—emphasizing the futility behind the murderous scramble.
• Simon lays a trap with Lorraine to catch the true murderer in the act, explaining Prue’s motive: jealousy, possessiveness, and fear of financial ruin.
  • “Suppose you were an aging woman who owned nothing but an old house... Your brother then met and married a pretty girl and cashed in all his money...” – Simon [24:00]

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Critical Insights & Character Dynamics

• Family Dysfunction: The episode is built around resentment, pride, and desperation within the Thaxter family.
• Deceptions Abound: Multiple red herrings—ghostly giggles, love affairs, secret marriages, and the scramble for a missing fortune.
• Social Satire: The Saint’s witty banter pokes fun at the conventions of the genre, from haunted bankers to the ubiquity of revolvers among villains.

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Memorable Quotes

• “Well, I’m not at all sure that I’m qualified to... Although I should like to help.” – Simon Templar [03:50]
• “Ghosts tend to haunt only the wealthy. That’s either a characteristic of ghosts or of the well-to-do.” – Simon [04:19]
• “If you don’t let me search you, I’ll scream.” – Lorraine [11:17]
• “You’d kill your brother. If you were half insane with pride and anger, you’d try to have his wife convicted of murder. You’d call in somebody, somebody like me...” – Simon [24:13]
• “They’d be alive. You were so fond of birds... that safe deposit key couldn’t have been of any use to Galloway or yourself. No, but Miss Thaxter—she had two uses for it...” – Simon [25:07]

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Timeline of Key Segments

| Timestamp | Segment/Event | |-----------|-------------------------------------------------| | 00:00 | Prue Thaxter meets Simon, describes "haunted" brother | | 02:56 | Prue: she hears the ghost giggle | | 07:41 | Discovery of Warburton's body | | 09:37 | Simon meets Lorraine, the ‘ghost’ | | 11:17 | Lorraine insists on searching Simon | | 13:04 | Galloway confronts Simon about the key | | 15:54 | Police confirm safe deposit key missing | | 18:29 | Simon questions Prue about Galloway | | 21:02 | Simon searches Lorraine's hotel room | | 22:13 | Simon finds the hidden safe deposit key | | 23:00 | Bank box found empty | | 24:00 | Simon explains Prue’s motive to Lorraine | | 25:07 | Final reveal: Prue was the murderess |

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Notable Moments

• The Saint’s dialog-heavy, banter-filled investigation provides both comic relief and tension.
• Lorraine repeatedly tries to seduce or outwit Simon, but fails comically.
• The ‘ghost’s giggle’ is revealed to be an elaborate cover for real greed and murder.
• The fake haunted house setup, complete with giggling, is debunked by real-world motives.

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Conclusion and Episode Tone

This classic Saint mystery wraps up with trademark cynicism about wealth, family, and crime, revealing that the real ghost haunting the Thaxters is greed—not the supernatural. The tone remains brisk, ironic, and sharp, with Simon Templar’s quips and quick deductions propelling the episode to its twist ending.

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For fans of witty detective fiction with a golden age radio flair, this episode combines humor, suspense, and classic genre tropes, all anchored by sharp writing and Barry Sullivan’s engaging performance as Simon Templar.

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] Vincent Price, who is usually heard at this time as the Saint, has been delayed in Paris tonight. By arrangement with Metro Goldwyn Mayor, you will hear Barry Sullivan in the role. Mr. Sullivan can currently be seen with Lana Turner and Ray Milan in A life of her Own. The Adventures of the Saints starring Barry Sullivan. The Saint, based on charact created by Leslie Charteris and known to millions from books, magazines and motion pictures, the Robin Hood of modern crime. Now comes Transcribed Radio starring Hollywood's brilliant and talented actor, Barry Sullivan as the Saint. Oh, I beg your pardon, sir. Or madam, as the case may be.

[B]

Young man. Yes, I saw you.

[A]

Well, I'm never invisible in September.

[B]

You kicked that bird.

[A]

Oh, no, I didn' he or she was browsing, grousing on the park path.

[B]

Do you realize what our native wild bird life means to America?

[A]

No.

[B]

Think of the ruby throated warbler, the scarlet tanager, the great crested green.

[A]

Come to think of it, I used to know a great crested. No, no. The man I knew was a Greek. He wrestled.

[B]

The bird life of our country must be protected at all costs, young man. At all costs.

[A]

Madam, I assure you, I would not deliberately kick a bird. Not even a bullfinch. Well, all right. I'm ashamed, I suppose, that henceforth I'll be known as a man who hasn't a feathered friend in the world. The beat of tiny wings will never brighten the declining years of Simon Templar's life.

[B]

Did you say your name was Simon Templar?

[A]

Not exactly. But it is.

[B]

You're the Saint?

[A]

After our unfortunate introduction to each other, you may find that hard to believe.

[B]

I was on my way to visit you.

[A]

Oh?

[B]

I wanted to ask you to help my brother.

[A]

Your brother? He kicks birds. Or perhaps birds kick him.

[B]

Warburton has nothing to do with birds.

[A]

Warburton?

[B]

His trouble is. Well, a little different.

[A]

What is his trouble?

[B]

He's haunted.

[A]

Madam, I have a feeling James Thurber is the man you want.

[B]

Don't be irreverent.

[A]

I beg your pardon?

[B]

Warburton is haunted by a ghost.

[A]

That sounds reasonable. This Warburton, he's older than you are.

[B]

If you're implying by that. Is he senile? The answer is no. He's a year older than I am, but perfectly sane, nevertheless. He's haunted. I know.

[A]

How do you know?

[B]

I've heard the ghost myself. It giggles.

[A]

Giggles? GIGGLES I'm strongly tempted to murmur happy haunting, but I'll resist temptation.

[B]

And what is even more dreadful, Mr. Templar. And of course, you're coming with me at once to investigate the matter. Not only is my brother haunted, but he likes it. My name, I suppose I should tell you, is Prue Thacker.

[A]

How do you do?

[B]

And my brother is, of course, Warburton Thaxter.

[A]

How does he. No, I guess he doesn't do so well. Ms. Thaxter. What is his occupation?

[B]

Warburton has been a banker all his life. It is not proper for a banker

[A]

to be haunted, except perhaps by certified public accountants.

[B]

Mr. Templer, I should want you to take immediate steps about the matter.

[A]

Well, I'm not at all sure that I'm qualified to. Although I should like to help.

[B]

Something will undoubtedly occur to you. Something always does.

[A]

Perhaps. But in these latter years, it's usually been something more substantial than ghosts. Something blunder.

[B]

Mr. Templar, your arm, if you please.

[A]

No, of course, Lady.

[B]

Charles will put the card away.

[A]

Charles must have been listening closely. Miss Baxter, are you and your brother wealthy?

[B]

Modestly so. Why?

[A]

It satisfies a private curiosity. I've noticed that ghosts tend to haunt only the wealthy. That's either a characteristic of ghost or of the well for you.

[B]

I'm not sure I approve of your speculations on the subject. We'll go at once to the drawing

[A]

room, which is where the ghost. Ghosts.

[B]

It is where Warburton may possibly be at the door to your left, Mr. Templar. Warburton is not here in. Mr. Templar. This is the room where we spend most of our evenings. It's where we've heard the ghost.

[A]

Something's been bothering me. You said it. GIGGLES HE GIGGLES SHE GIGGLES and does she do anything else? Clank chains, for example, or utter blood curdling moments?

[B]

And apparently not Warburton and I heard her on a number of occasions. The sound seemed to come from the study. The door on the right wall leads to it.

[A]

And you investigated?

[B]

Warburton did, naturally. He went into the study. He felt a man should look after such matters.

[A]

I see.

[B]

He went in and shut the door behind him to spare me. He stayed, on each occasion, some little while, I heard the giggle again and insisted on being let into the study.

[A]

You were perfectly right, I imagine.

[B]

Warburton let me in. There was no one there. I was momentarily unnerved, of course.

[A]

Of course.

[B]

But Warburton seemed quite undisturbed. As a matter of fact, he seemed positively happy about it all.

[A]

Did you ask him why?

[B]

His reply was frivolous he said that at his age, it was flattering to be haunted by a ghost whose giggle was so youthful.

[A]

This happened how many times?

[B]

Perhaps half a dozen. I wonder where Warburton is.

[A]

Perhaps in the study. That wasn't a giggle. But it did come from the study.

[B]

Yes, we must see at once. Warburton. Warburton. Mr. Kent, at.

[A]

The door's locked. Do you have a key?

[B]

No, there isn't any. Never kept locked. Let me in, Miss Max.

[A]

The ghosts don't generally go about opening doors.

[B]

Must be latched from the entrance.

[A]

Is there any other way of getting into the study?

[B]

There's a window overlooking the garden.

[A]

Suppose we try the garden.

[B]

All right. It's this way. Oh, Mrs. Templar, I'm frightened. What are we going to find in there, Mr. Templer?

[A]

I don't know.

[B]

I've never believed in ghost things.

[A]

You needn't start now. Whoever it was that screamed, it wasn't a ghost.

[B]

You're sure of that?

[A]

Yes. In a way, I wish I weren't,

[B]

but I don't think I quite understand.

[A]

Well, let's wait and find out before. Now, this would be the window of the study?

[B]

Yes.

[A]

It's quite a bit higher than my head. Concrete walk directly underneath the window.

[B]

What on earth does it matter? If the walk is concrete, there wouldn't

[A]

be any footprints on concrete.

[B]

Perhaps not, Mr. Templar, but do ghosts leave footprints?

[A]

I suppose not. However, is there a ladder about the gardener's shed?

[B]

Over there.

[A]

Yes, yes. Is it open?

[B]

I think so.

[A]

We can try. Ladder. Oh, yes. Here's one. Now, back to that study window.

[B]

Hurry, Mr. Templar, hurry.

[A]

Ladder against the window. You know, I've always envied firemen climbing up and down ladders all day long.

[B]

Mr. Templar, why are you delaying?

[A]

All right. Up the ladder it is.

[B]

Can you see into the study?

[A]

Yes. What? Better stand out of the way. I'm coming down.

[B]

My brother is in there.

[A]

He is? I think perhaps we'd better go inside. We have a couple of phone calls to make.

[B]

Phone call?

[A]

Yes, to a doctor and the police.

[B]

A doctor?

[A]

I suspect from what I could see, that a doctor won't be too necessary. But your calling him will at least show the proper solicitude.

[B]

Something happened to Warburton. He.

[A]

He's dead? I'm afraid he is.

[B]

Oh, no.

[A]

Here. Here, you better take my arm.

[B]

No, thank you very much. I don't need help. We had better make those calls.

[A]

All right. By the way, Ms. Thaxter.

[B]

Yes?

[A]

While the police are on their way here, if I were You? I'd try to think up something to tell them besides a ghost story.

[B]

What do you mean?

[A]

Ghosts aren't generally capable of beating a man's head to a pulp.

[B]

The police will be here, they said, quite soon.

[A]

Now run along then, Miss Baxter. But, mister, there's nothing I could tell them that would be of any help to anyone.

[B]

I suppose not. I ring for Tom.

[A]

Don't bother, Miss Baxter. I'd rather walk.

[B]

Very well. Thank you for having come home with me and listening to my ghost story. Good night, Mr. Tamcho.

[A]

Good night. Here you are, sir. I ride whether I want to or not, eh? Yes, sir. Thank you. You're welcome, sir. Hello, Charles. I. I beg your pardon. I. I seem to be sitting on you. Not entirely, of course, but enough to know that you're not a ghost. Look, I don't like to seem inquisitive, but you can speak.

[B]

Of course I can. What's your name?

[A]

Simon Templar.

[B]

Oh. Do saints often go around sitting on girls?

[A]

Lads, I am not sitting on your lap.

[B]

No, but you didn't miss far enough.

[A]

As a matter of fact, I am now at the opposite end of the seat.

[B]

Afraid.

[A]

What's your name?

[B]

Lorraine.

[A]

I think Pru Faxter thinks you're a ghost.

[B]

Do you, now?

[A]

You needn't slide any closer to me. I already have sufficient evidence that you're not.

[B]

Are you glad?

[A]

I'll admit that you have a delightful way of not being ghostly. However, I would like to know why Ms. Thaxter thought that you were.

[B]

Oh, that's because she hoped I was. Or would be. Is that right? I'm not very good on grammar.

[A]

Well, what are you good on? No, no, ignore that, please. Why does she dislike you?

[B]

I make Warburton laugh.

[A]

You'd have a difficult time making him laugh now. I know you were in that study with him. You, silence, fear or discretion.

[B]

I wish you wouldn't say things like that. I mightn't like you if you do.

[A]

I'll survive.

[B]

Will you?

[A]

Oh, now you're threatening me. Yet if you hadn't waited for me in this car, I'd never have known who you are. And somehow it doesn't hang together. Because then I couldn't have been of any danger.

[B]

You couldn't have been of any help either.

[A]

How can I help you?

[B]

By handing it right over.

[A]

Handing what over?

[B]

The key.

[A]

The key, of course.

[B]

The key to please don't be difficult.

[A]

I'm terribly sorry, but actually, I don't know enough to know if I'm being difficult or foolish.

[B]

Let Me? Search you?

[A]

Oh, no. Why not? I'm sick.

[B]

If you don't let me search you, I'll scream.

[A]

You didn't bother. You forget, I've already heard you scream.

[B]

Maybe, but Charles has. He'd stop the car and come charging back here, probably with a wrench. But he hit you on the head with.

[A]

And it's the only head I have to my name. Lorraine?

[B]

Yes, Simon.

[A]

Search me, Lorraine. You look like you'd lost your last giggle.

[B]

Naturally, you didn't have the key.

[A]

But I told you that before you searched me.

[B]

Didn't you like it?

[A]

Anyway, I refused to answer that. And besides, we're at my home. Oh, Mary. Now would suggest that immediately after I leave you, you visit the police and tickle them. No. You tell them of your presence in Warburton study tonight.

[B]

I can't.

[A]

Because you murdered Warburton Thaxter.

[B]

Because of who I am. I didn't kill Warburton. But they might not believe me because of who I am.

[A]

Who are you?

[B]

What? Mrs. Warburton. Thaxter. Of course.

[A]

Hi, Templar. Your feet are on my sofa. What's wrong with that? They're too big. Oh, you're an observant kid, Templar. Have you observed this? Oh, dear. You know, I wish for once that someone would threaten me with a machete or a Malayan crease or an original Australian Sunday boomerang. I get so tired of revolvers. That's maybe because you ain't been shot by one yet. People have tried and tried. Are you gonna shoot me with your revolver? No. Unless you act nasty. Oh, no. I was the pride of Mrs. Thrushbottom's dancing class. My manners are favorably known throughout the length and breadth. No kidding. If Lord Chesterfield's son had had a son of his own, he probably would have been me. Stop this. I can't contain my joy. Besides, I got something to ask you. Be careful. Remember, I'm not your best friend, and I might tell you. Don't you get tired of making wisecracks? It's a living. Who are you, anyway? The name is Galloway and the feet are large. Proceed, Mr. Galloway. Where is it? Where is what? The key. What key? You know as well as I do. Perhaps. But what makes you think I have it? You went to the house with Mr. Ax, didn't you? Yes, I did. But how did you know? I'm psychic. You mean you were following her? I'm a bad boy. And you think my purpose was to procure the key from Warburg? That's very interesting. One of Us who didn't know before now knows the key was Warburton's. He also knows that obviously Warburton no longer has the key. Otherwise. Yes, he's very interesting indeed. Except, old boy, haven't you realized yet that you shouldn't know Warburton is now minus key? Why shouldn't I? Because Warburton is now also minus life. That is a very interesting fact. But it don't get me the key. It may get you the chair. I missed something. You certainly did. Warburton Thaxter, and we'll pretend you didn't know, was murdered. I don't like that. Neither did Warburton. Hey, wait a minute. I didn't bargain on Noel's death sentence. Templar, how good are you at forgetting things? Things like what? My visiting you. Oh, no, no. I could never forget that. There'll always be a warm place in my heart. Oh, God. What's wrong? I think I'm gonna have an attack. Help me to Sophie. Yeah, yeah. Hold on to me. I shall. Hey, you nearly busted my wrist. Better to take your revolver out. What happened to your attack? I decided to postpone it. You know what I think? You lied about it. I'm afraid did. But I have the gun now. Keep it. Galloway. Stay where you are. Not steal. I got to get out of here. I'm likely to shoot you if. In the back. Stop being foolish. Heroes never shoot guys in the back. Lieutenant Cole. I'll bet you never knew I was a hero. Go away, Templer. I was just about to take my nap. Oh, it can't be. They must have put you on the fax to catch. I'll tell you all about it next spring. Were any keys found on his body? Sure. So was a safe deposit key among them? His sister wanted to know the same thing. And no safe deposit key. I see. Cool. Did you leave a policeman in the house with Miss Baxter?

[B]

This may come as a shock to

[A]

you and the readers of mystery stories, but I did. I'm bracing myself. One more question. Cool. If I had a key to somebody else's safe deposit box, would the bank let me get at the box? Just because you had the key to it? No. In that event, why have people threatened me, assaulted me? Tickled. Well, that is applied pressure. And involve themselves in a murder case for something that can be of no earthly use to them?

[B]

Yes?

[A]

Ms. Baxter, this is Simon Templar. I hope I haven't waked you.

[B]

Oh, I haven't been asleep. Not this night.

[A]

I thought perhaps you might still be up, Ms. Thaxter. I've had a visitor who, among other things, carried about a good deal of earth on his shoes. You know a man named Galloway?

[B]

Of course I do.

[A]

Who is he?

[B]

My gardener.

[A]

Taxi.

[B]

Taxi.

[A]

14 Mallorca Drive, if you please. That's a high class neighborhood. What are you going to do there? Louie. Louie. Hey, I'm glad to see you. Yeah. Certainly took your time getting me into this. Oh, look, I'm sorry, Louie, but, well, I didn't have an occasion to call a cab before now. Is that so? Of course, Louie. Well, I accept your apology. And now that we're friends again, who's dead? The scene of the tragedy. I wait. You wait. About how old is this Miss Thaxter? Middle 50s, don't you think? Why? Oh, I just wanted to know how long I'll have to wait. Middle 50s. Not long. Yeah? My name is Simon Templer, Officer. Miss Thaxter's expecting you. Oh, yeah. In the drawing room. Thank you. Over.

[B]

Hey.

[A]

Yeah, I've been in there. I'm perplexed. Why? No drawings till later, Officer.

[B]

Come in.

[A]

Hello, Miss Baxter. Sorry it's so late.

[B]

It's kind of you to come and ask me questions. It may keep me from.

[A]

What did you want to know first? How long has Galloway been with you?

[B]

A good many years.

[A]

Where does he sleep?

[B]

Garden house.

[A]

And I can stop and see him on my way out. Miss Baxter, did you know your brother had been married?

[B]

The police told me about it tonight. I hadn't known before.

[A]

You didn't really think your brother was meeting a ghost in his study, did you?

[B]

No. I would have preferred it to be that. However, you've never met Laureen Anderson. She's cheap, Mr. Templar. Cheap and grasping.

[A]

And you told the police about hearing her in the study before we discovered your brother's body?

[B]

I told them nothing.

[A]

It might have been safer, too. Do you know where she lives?

[B]

A theatrical hotel.

[A]

Which one?

[B]

I'm not sure.

[A]

Well, you've got to remember, and quickly.

[B]

Why?

[A]

Because I'm afraid there'll have to be another death before this is over.

[B]

Oh, I think it was the.

[A]

Yes?

[B]

The X Brook Hotel.

[A]

The X Brook. Thank you. Good night, Miss Stacker.

[B]

Good night.

[A]

Good night, Officer. Good night. Louis. Huh? Get out of that cab. Come with me. Where you going? Around the house to the gardener's place. Want him to pick you a few flowers? No, I want a witness with me. Oh, that gate ought to be oiled. You ought to speak to the gardener about it. Yeah. Yeah, this is the place, all right. Hey, shouldn't you have Knocked unnecessary, unless I'm mistaken. And I wasn't mistaken. Oh, whoa, whoa. You mean you expected him to be dead? Perhaps you'd better come with me, Louie. Okay, but I just as soon not meet near the corpses tonight. They depress me something. Oh, beautiful lobby. Yeah. Palms decaying like Ned. And that place to sleep however. Mailbox pigeonholes. Yes. Maureen's room number is 111. That would be corridor towards the back of the hotel. I imagine this lady we're gonna visit, she ain't in her middle 50s. Good heavens, no. Then I don't understand her. Why do you want me along? To stand. Oh yes, this is the room. To stand outside the door. To stand outside. Mr. Templar, you think you can trust me with such an important assignment?

[B]

Who is it?

[A]

Simon Templer.

[B]

Oh, just a minute.

[A]

You forgot to mention me intentionally, Louie. Oh, well then I accept your Apollo, huh?

[B]

Get to one side, Simon.

[A]

May I come in?

[B]

Of course. I'm not dressed for company.

[A]

Well, we'll pretend I'm not company.

[B]

Simon, did you come because you wanted me to search you again?

[A]

No, no, no. This time I'm gonna do the searching.

[B]

Simon.

[A]

Yes. In view of the hour, you obviously wouldn't have it on you, therefore I.

[B]

You think I have the key?

[A]

Uh huh. Glad you have such a small kitchenette. Won't take so long to Simon. Oh, I'm so sorry. What did I break?

[B]

A bottle of real lemon juice.

[A]

Oh, well, I'll come back in the morning and squeeze you some more. Ah, the hiding places in here are entirely too obvious. Where's your bedroom?

[B]

Now just a minute, Simon.

[A]

Well, that's a beautiful bed you have, Lorraine.

[B]

It's all too kind, sir, but old

[A]

fashioned kind bedpost with ornamental heads which come off hollow bed post. A string tied to the inside of the head and at the end of the string this.

[B]

That's a key.

[A]

Oh, it is a key to a safe deposit box. Warburton safe deposit box. Lorraine, did Warburton keep his money largely in cash?

[B]

I don't.

[A]

It's a little late for lion, honey.

[B]

Well, I don't know why I should. Yes, he recently cashed a lot of bonds. Oh, maybe $50,000 worth.

[A]

May I use your phone?

[B]

Yeah. Who are you going to call?

[A]

The police.

[B]

Oh no, please Simon, don't call him. I don't like cars.

[A]

You like Lieutenant Cool. He's real cute. He looks just like Willie the Penguin. Looks like him too. And he parts his hair in the middle at Lieutenant Cole. Simon Templar. Lieutenant. What did you find in Warburton? Safe deposit box. How I knew. I'd given you hints enough earlier. I was pretty sure you'd get a court order. And you did. And thank you. Bye.

[B]

Simon.

[A]

The police opened the box and it was empty.

[B]

I don't like the way you're looking at me, Maureen.

[A]

Your window overlooks the alley running back of the hotel.

[B]

So?

[A]

So get me a pillow and a blanket off the bed.

[B]

Well, all right, But Now I shove

[A]

this chair in front of the window. Draw the blind down here. Ah, thank you, darling. Now. Now, if I fold the blanket into a roll, plop the pillow on top of it so it extends a bit above the chair. Yeah. Through a blind. From the outside, it would look as though you were sitting in that chair.

[B]

Maybe it would.

[A]

Now, you put a coat on. Come with me. We're gonna bowl in a different kind.

[B]

I'm home. Why do we have to stand here?

[A]

Because from where we are, we can't be seen. But we can see your window with a silhouette on the blind. And if anyone comes up the galley.

[B]

Simon, I don't understand at all.

[A]

Suppose you were an aging woman who owned nothing but an old house. Suppose you'd spent all your life with your brother, who had all the money. Suppose your brother then met and married a pretty girl, and then he cashed in all his money and was preparing to leave you. How would you.

[B]

I'd be unhappy about it.

[A]

You'd kill your brother. If you were half insane with pride and anger you tried to have his wife convicted of a murder. You'd call in somebody, somebody like me to be around. When you discovered your brother dead, you'd plant a safe deposit box key someplace in your brother's wife's room. You'd hire your gardener to threaten me about the key and then kill him before he could get frightened and blow up the whole scheme.

[B]

Simon.

[A]

But then. Then when you realize the man you'd been using as a blind had stumbled onto a part of the truth, what would you do? You try to wind up the case quick.

[B]

I wouldn't.

[A]

You try to shoot your brother's wife, then make it look like suicide. Louie is at the door of your room, so that won't be tried. But the alley here, it's rude.

[B]

Thaxter.

[A]

Yeah? She's coming down the alley. Stop it. Outside your window.

[B]

Haven't you ever gotten. She's lifting.

[A]

That's all we needed now. I'll take that gun. It's a pity that your brother and Galloway weren't birds, Ms. Thaxter.

[B]

What do you mean?

[A]

They'd be alive. You were so fond of birds. You see, Lorraine, that safe deposit key couldn't have been of any use to Galloway or yourself. No, but Ms. Thaxter, she had two uses for it. First, she rented a safe deposit box at the same bank next to her brother's. She was known as a guard at the bank. Therefore, she could go down into the vault and by working quickly, empty Warburton's box, which she did. And then she planted the key on you.

[B]

I'm so grateful to you.

[A]

Oh, nonsense, Simon.

[B]

I, I, I don't know how I can repay you. Do you?

[A]

Well, as children say when they don't know something, You've been listening to. Another transcribed Adventure of the Saints the Robin Hood of modern crime. Now here's our star, Barry Sullivan. Ladies and gentlemen, 10 years is an awfully long time to be hungry. For us in America, it's an unbelievably long time. But for millions of people in Europe and Asia, it's not very hard to believe. Because they've lived hunger, they're living it right now. But there's at least one family abroad. It can experience once again the strength and vigor of proper nourishment. That family is the one you help by sending a personal care package. Your compassion can be turned into material aid by sending a food gift through non profit Care. For instance, care's ten dollar food parcel will supplement the diet of a family of four for a whole month. It contains 24 pounds of nourishing meats, fats, sugar and other foods high in vitamins. This or any other CARE food package will be sent to the person you specify. Or if you wish, CARE will select a suitable recipient for your gift. And either way, you'll receive a signed receipt upon delivery and probably a heartfelt letter of gratitude. All you have to do is send your money order to CARE New York. CARE will do the rest. Remember the address. It's CARE New York. And now, this is Barry Sullivan inviting you to join us again next week at the same time for another exciting adventure of the Saint. Good night. The Night script of the Saint was written by Louis Vitis. Our cast included Lorraine Tuttle, Irene Tedro, Hal March, Joe Duval and Larry Darwin. Object music was composed and conducted by Von Dexter. The Saint, based on characters created by Leslie Charters, is a James L. Satia production and is directed by Helen Mack. All you Saint fans will be glad to know that the Saint comic books are on sale at all newsstands. Your announcer is Don Salmon. Three chimes mean good times. On NBC. There's Hope, there's Gotcho. They're both returning soon to NBC. Guest Bob Hope returns October 3rd. And you bet your life it's got your mind. October 4th. Listen where you hear the chime for top comedy by Bob Hope and Groucho. Mark beginning soon on NBC. Now Sam Spade, then Ginger Rogers and Theater Guild on NBC.