Saint 1951-02-18 Next of Kin

Summary

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Podcast Summary: "Saint 1951-02-18 Next of Kin"

Podcast: Harold's Old Time Radio
Host: Harolds Old Time Radio
Episode: Saint 1951-02-18 Next of Kin
Original Air Date: February 18, 1951
Summary Date: October 14, 2025

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Overview of the Episode

In this classic episode of "The Saint" starring Vincent Price, the suave and clever Simon Templar navigates a web of murder, family secrets, and inheritance. The plot revolves around a failed murder attempt for inheritance, a mysterious death, and a fortune that hangs in the balance, all set around a young girl, Virginia Maddox. With sharp dialogue, memorable characters, and intricate plotting, the episode perfectly exemplifies postwar radio detective drama.

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Key Discussion & Plot Points

1. The Middle-of-the-Night Warning (01:29–05:10)

• Simon Templar ("The Saint") is awoken at 4 a.m. by Blanco, a criminal acquaintance, who confesses knowledge of an imminent murder.
• Blanco reveals a "big job" involving murder (03:03), admits he rigged the crime but has reservations, and insists Simon is the only one who can stop it by noon.
• Discussion alludes to the supposed death of gangster Frank Kane in Central America, but Blanco hints Kane might still be alive (04:02).
• Before he can reveal more, they are interrupted and Blanco is shot (04:31). His dying words warn the Saint to "worry about the girl…don't let them kill her" (04:46).

Memorable Quote:
Blanco: "Not this kind of thing, Saint. This is one line I draw, and it's a straight line, you hear?" (02:17)

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2. Tracing Connections at the Bar (05:10–07:30)

• The Saint investigates at a familiar after-hours bar, questioning bartender Morgan and patron Violet, who has violet-colored hair and a history with the deceased (05:39).
• Violet resists answering about Blanco and suspects Templar is a cop.
• Simon inquires about Frank Kane, causing Violet distress—she claims she’s his widow (07:58).

Memorable Quote:
Violet: "How do you torture me like this? You know Frank's dead." (07:58)

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3. Following the Trail to the Garage (08:31–11:12)

• Simon visits the Central Garage on 55th Street, learning about mechanics’ shifts and that Blanco was using an alias ("Stevens") (09:07).
• He checks records and finds Blanco worked on two vehicles: a Hudson and a foreign car registered to Virginia Maddox (10:47).
• The car’s suspicious double maintenance draws his attention.

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4. The Maddox Household: Family, Fortune, and Danger (11:31–19:02)

• Templar visits the Maddox house and meets Virginia, the precocious eight-year-old who owns a luxury car (13:29).
• Interactions uncover the family structure: Virginia's father left her a fortune, with Roger Pierce as her legal guardian (18:17).
• Templar suspects members of the household, particularly the chauffeur Carson, who may be connected to the criminal plot (14:04).
• Templar reveals the link between the attempted murder and the potential to inherit Virginia's fortune—her father's suspicious "death" in "Central (not South) America" (13:35, 18:40).

Memorable Quote:
Virginia: "You’re a detective, just like in the comic book." (14:08)
Templar: "We comic book detectives know everything." (16:05)

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5. Another Attempted Murder: Violet is Poisoned (19:26–22:13)

• Simon finds Violet at home; as he warns her that she's next, she drinks poisoned whiskey and collapses (20:01).
• She tries to convey a final clue: a picture on the table, her only relative (20:49).

Memorable Quote:
Templar: "You're next on the list. You dropped your glass." (20:17)

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6. The Garage Showdown: Revealing the Conspiracy (22:13–25:04)

• The Saint confronts Morgan at the Central Garage, piecing together the murder plot using mechanical sabotage (23:03). The foreign car was tampered with to cause a fatal crash on a mountain road—a route Virginia takes to a party.
• Morgan tries to distance himself, insisting he's "nobody's next of kin" (23:45).
• Templar reveals Morgan is really Carson, the chauffeur—Frank Kane after plastic surgery and a new name (24:10).
• The motive: murder both Virginia and her mother to inherit her fortune.

Memorable Exchange:
Templar: "It's Kane with a new name and a new face. Yeah, but with the same old trigger eye." (24:10)

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7. Final Confrontation & Resolution (25:04–27:12)

• Back at the Maddox house, Simon exposes the scheme: Violet's dying clue, a wedding photo labeled with each member's name, uncovers that Mrs. Anders and Morgan (Carson/Kane) were married, Anders is Rose, and Roger Pierce is Violet's brother and Virginia's uncle (26:22).
• The plot: once both of Virginia's parents were dead, Pierce would be her only surviving relative and inherit her fortune.
• Templar turns them over to the police.

Key Reveal:
Templar: "Because Mr. Pierce, under your picture, Violet affectionately wrote, 'my dear brother Roger.'" (26:37)

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8. Epilogue: A Gift for Virginia (27:12–28:06)

• Simon brings Virginia a new doll, delighting the child. She confides she only pretended not to like dolls "to be sophisticated" (27:42).

Sweet Moment:
Virginia: "But Mr. Templar, I’ll tell you a secret."
Templar: "What, Virginia?"
Virginia: "I just said that to be sophisticated." (27:42)

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Notable Quotes & Memorable Moments

• “You're the only one. You gotta stop it, Saint. You gotta. And you only got till noon.” — Blanco (02:57)
• “Sawed through until it’s hanging together by the proverbial hair. One sharp turn … the steering system collapses and there’s an accident.” — Templar (23:08)
• “A little girl who is going to a party … has too much money. If she should happen to fall off that mountain in this car, some happy next of kin would have a very happy fortune.” — Templar (23:31)
• “It's Kane with a new name and a new face … with the same old trigger eye.” — Templar (24:10)
• “Because Mr. Pierce, under your picture Violet affectionately wrote, ‘my dear brother Roger.’” — Templar (26:37)
• "But Mr. Templar, I'll tell you a secret. I just said that to be sophisticated." — Virginia (27:42)

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Timeline of Important Segments

• 01:29 – 05:10: Blanco's warning, murder scheduled by noon
• 07:58: Violet claims to be Frank Kane's widow
• 09:07 – 10:47: Discovery of Blanco/Stevens’s connection to Maddox car
• 13:29 – 16:17: The Maddox household, the set-up for murder
• 20:01 – 20:44: Violet is poisoned, tries to reveal the killer
• 23:03: Templar finds car sabotage; exposes murder method
• 24:10 – 24:22: Carson revealed as Frank Kane; murder motive exposed
• 26:37: Violet’s wedding photo reveals Roger as the uncle and villain
• 27:12 – 27:46: Epilogue and gift to Virginia

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Conclusion

This episode of "The Saint" is an excellent showcase of Golden Age radio mystery: a twisting plot, strong characterization, and Vincent Price’s wit and charm. The story unravels layers of deception, murder for inheritance, and culminates with justice for the innocent. Simultaneously thrilling and witty, it remains a compelling listen decades after its original broadcast.

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Transcript

[A]

And Doug, here we have the limu emu in its natural habitat, helping people customize their car insurance and save hundreds with Liberty Mutual. Fascinating. It's accompanied by his natural ally, Doug.

[B]

Limu.

[A]

Is that guy with the binoculars watching us? Cut the camera. They see us. Only pay for what you [e-mail] Liberty.

[C]

Liberty. Liberty.

[A]

Liberty Savings vary unwritten by Liberty Mutual Insurance Company and affiliates Excludes Massachusetts.

[D]

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

[B]

The Sink.

[A]

All right, all right, I'm coming. Wait until I put my head on, can't you? You. Well, this is an unexpected displeasure.

[E]

I gotta talk to your saint quick. Let me.

[A]

All right, Blanco, but I'm surprised at you. Four o' clock in the morning is no time for a man in your profession to pay social calls.

[E]

Like I say, I gotta talk and you gotta listen.

[A]

I'm listening.

[E]

They got a job gonna be pulled tomorrow. Today, I mean. It's a big deal, Saint. Big dog.

[A]

I'm glad. I'd hate to think you'd retired from crime, Blanco. It would throw so many deserving policemen out of work.

[E]

It's a dirty deal. Wealthy.

[A]

That sounds like something right up your alley.

[E]

Not this kind of thing, Saint. This is one line I draw, and it's a straight line, you hear?

[A]

Yes, I hear.

[E]

Before I know what the score is, before I know who they gonna use it on, I rig it the best job of its kind I ever do, it's gonna work. And he ain't gonna leave a trace.

[A]

I should never have had that spumoni right after a lobster dinner. Blanco, do you think if I get up and take some bicarb, you and the rest of this dream will go away?

[E]

Listen to me. I can't go to the cops. You're the only one. You gotta stop it, Saint. You gotta.

[A]

I gotta?

[E]

Yeah, you gotta. And you only got till noon.

[A]

Blanco, at the rate you're painting this picture, it's going to be at least noon before I know what it's all about.

[E]

It's about murder.

[A]

Oh. Well, let's get down to personalities. Who is going to be murdered by whom, why and how? Let's have the name of the potential victim as an appetizer, huh? We'll get down to the main course later.

[E]

That calls for a kind of complicated answer.

[A]

It was kind of a complicated question. But do your best. Neatness counts.

[E]

You remember, Frank?

[A]

A cane of the Chicago Canes. Of course. Who could ever forget the inventor of the game of encase your friends in a barrel of cement and dump them in the river.

[E]

Yeah, you'll remember.

[A]

I also remember that when the federal men were just about to catch up with him in Central America a few years ago, he was discourteous enough to die a natural death.

[E]

Yeah, somebody died in Central America three years ago.

[A]

Not Frank Kane.

[E]

There are places where a buck here and a buck there can get any moniker you want on a death certificate. And Kane had plenty bucks. Getting the corpse to plant in that same monarchy is easy.

[A]

So Frank Kane's still alive?

[E]

Yeah, he's alive. But that ain't all he was talking about.

[A]

Wait.

[E]

You hear something?

[A]

What sort of something?

[E]

Someone move in the hall.

[A]

Pour yourself some brandy and try and get your nerves back into waltz time, eh, Blanco? Now, look. What about Frank Kane?

[E]

You sure you didn't hear something? Where are the lights? Oh, turn off the.

[A]

Down. Get down.

[C]

Blanco. Blanco. Blanco.

[A]

Talk. Leto.

[E]

Worry about.

[A]

The girl.

[E]

Don't let them kill her.

[A]

Who, Blanco? Who.

[E]

She on? Wait to party. The God Saint. The God. Don't let it.

[B]

Good to see you again, Mr. Templer. And here I've been thinking you'd given up after hours drinking.

[A]

I just about have. And it's a pity, because I like this bar of yours. Morgan. Why don't you make an honest saloon out of it and open up during legal hours?

[B]

My customers would never stand for it. No, my customers all learn to drink during prohibition and speakeasies. The way they look at it, a drink just doesn't have any kick in it if it's legal.

[A]

Yeah, and this is the part of the lost generation that's still lost, eh?

[B]

Would you like a table?

[A]

Just some information. Yes. About a year ago, when I was one of your regular patrons, a lady used to frequent this place.

[B]

A lady in this place.

[A]

Her name was Violet and so was the color of her hair. She used to sit at a table around the bend there and make tender speeches to a bottle of Scotch. Do you remember Violet?

[B]

Indeed I do.

[A]

Where can I find her?

[B]

At a table around the bend there, making tender speeches to a bottle of Scotch.

[A]

I should have known there was a love that was faded to last. Thanks, Morgan.

[B]

You're welcome, Mr. Templet.

[A]

Hello, Violet.

[C]

Go away.

[A]

Oh, now, that's no way to treat an old friend.

[C]

Old friend? You're no old friend. Don't have friends. Go away.

[A]

You mean you've forgotten Me?

[C]

What's your name?

[A]

It's an old Scotch name. Eight years old.

[C]

Sit down, friend.

[A]

Thank you. Hey, waiter.

[F]

Yes, sir?

[A]

The usual for the lady? Doubled.

[E]

Coming right up, sir.

[C]

Sit down again, friend.

[A]

Thanks. Look, speaking of friends, whatever became of Louis Blanco?

[C]

Blanco?

[A]

Mm.

[C]

You a friend of Blanco?

[A]

A former friend.

[C]

What do you want him for? Your cop?

[A]

No, no. I have some money for him.

[C]

Money? You own money? What for?

[A]

Well, he. He did a job for me.

[C]

Job? Or about.

[A]

I'd like to pay him before he gets the wrong idea. Where does he hang out?

[C]

You don't know? What about the job he got? The garage?

[A]

What garage?

[C]

Central garage, 55th Street.

[A]

Oh. Oh, yes, of course.

[E]

Here you are, sir.

[C]

Ah, my old friend.

[A]

Violet. Look, tell me something.

[C]

You know I like you.

[A]

Yeah, I like you, Violet. But tell me, why does a fellow like Blanco hang around the garage?

[C]

You don't know?

[A]

No.

[C]

You're no friend of Blanco. You're a cop. You're pumping me for him. For him. Let's have a drink.

[A]

Yeah, let's. How's Frank these days? Frank? If you know Blanco, you certainly must know Frank Blanco. Used to work for him in the old days. Frank Kane, remember?

[C]

How do you torture me like this? You know Frank's dead.

[A]

You sure? Sure.

[C]

I ought to know whether or not I'm a widow. Why do you think I drink like this?

[A]

Why do you think?

[G]

Go away.

[A]

Go away. Wake up. Hey, come on, wake up.

[C]

Huh? Oh.

[F]

Guess I fell asleep. Gets kind of lonesome here in this garage all night.

[A]

I'm sorry I woke you.

[F]

That's okay, mister. You're bringing a car in? No, taking one out.

[A]

I just want to talk.

[F]

You woke me up just to talk to me?

[A]

You said you were lonesome. What do you know about a man named Blanco?

[F]

Blanco?

[C]

Customer.

[A]

I thought perhaps he worked here.

[F]

Nobody by that name here, mister.

[A]

You sure?

[F]

Sure, I'm sure. There's four of us working here. Me, Ed, Williams, Pulaski. On that new guy, Stevens. We take turns working nights. Tonight was my turn.

[A]

The new man, Stevens, what does he look like?

[F]

Look, pal, why don't you give a guy a break, huh? So he did time once. Is that any reason for you cops to come checking up on him every time he got nothing else to do?

[A]

What does he look like?

[F]

You don't get any help from me. I'm a law abiding citizen. I believe in helping the law, but not when it starts hounding a guy.

[A]

Then I'll give it to you straight, friend. There was a murder committed tonight.

[F]

The chances Are. The guy you're asking about had nothing.

[A]

To do with it. If Stevens and Blanco are the same man, he had a lot to do with it.

[F]

What, you think he killed somebody?

[A]

He's the corpse. He. He's. He's dead. What did he look like?

[F]

About medium height, dark hair, dark eyes, sort of dark complexion.

[A]

He's dead. That's Blanco.

[E]

Gee, who did it?

[A]

That's what you're gonna help me find out.

[C]

Me?

[A]

Mm. What did Blanco do around here?

[F]

Same as we all do.

[A]

Sleep.

[F]

We're mechanics, mister. Last night was the guy's night on. It was supposed to be my turn, but he asked me to swap with him.

[A]

Last night? Yeah.

[F]

So I swapped. It made no difference to me.

[A]

Him.

[F]

He made out like it was important.

[A]

What did he work on while he was here last night?

[F]

How should I know?

[A]

Don't you keep records?

[C]

Well, sure.

[A]

Well, then that's how you should know. All right.

[F]

Come on in the office.

[A]

All right. This is your record file, huh? Yeah. Here's a report. Yesterday's date, Mechanic Stevens. Lube job Andrews.

[F]

Oh, yeah, that's that Hudson Hornet out there. Belongs to real classy chick.

[A]

Here's another report. Engine tune up Maddox.

[C]

Maddox.

[F]

Oh, yeah, that's a foreign job. The chauffeur driven bus over there. But you know, that's funny.

[A]

Oh, why?

[F]

Well, I tuned the engine on that heap only three days ago and I did a good job. Why should they want it done again?

[A]

Let's go take a look. Maybe we can find out.

[C]

Yeah.

[A]

Yes? Oh, my name is Templar. I'd like to see Miss Maddox, please.

[E]

Miss Maddox? Miss Virginia Maddox?

[A]

Yes. Please forgive me for being inquisitive, sir, but it isn't quite 8 o' clock yet. Little early for a social call.

[E]

Are you acquainted with Ms. Maddox?

[A]

We went to school together. You did?

[C]

Who is it? Carson?

[A]

There's a gentleman calling on Ms. Maddox.

[C]

What's that? Calling on miss. You wish to see Ms. Maddox?

[A]

Yes, but I didn't realize I'd create this much of a sensation. I must remember to include I'd like to see Ms. Maddox in my repertoire of startling things to say.

[C]

Well, I'm Mrs. Anders. I'm in charge of this household. Do you know Miss Maddox?

[E]

The gentleman went to school with Ms. Maddox.

[C]

He went to school with her?

[E]

That's what he said.

[A]

You know, there's something about all this that reminds me of the time a friend of mine tried to negotiate a federal loan.

[C]

Show the gentleman into the library, Carson. I'll go call Ms. Maddox.

[E]

If you'll just be seated, Mr. Templer.

[A]

Thanks.

[C]

No, I didn't catch his name, but it's someone who went to school with you.

[G]

I know. I'll bet it's that so I. Why, you're not that so, I suppose.

[A]

I should say thank you. But Certainly you're not Ms. Maddox.

[G]

Why, of course I am.

[C]

Now, don't tell me she's changed that much since your school days.

[A]

I'm afraid I'm the one who's changed. As a matter of fact, I feel myself changing slightly this very moment.

[C]

Oh, well, when you find the right Virginia Maddox, you can both have a laugh over this.

[G]

Yes, a good long laugh.

[A]

I think the time to laugh is right now and you can all join in. You see, this is the Virginia Maddox I'm looking for.

[C]

I beg your pardon?

[A]

There's a foreign car and a Soto Frascini at the Central Garage registered to a Virginia Maddox at this address.

[G]

Why, of course it's mine.

[A]

Yours?

[G]

Oh, it's mine all right. Although, naturally, I don't drive it. You see, I'm only eight.

[A]

If you lived in California, you'd have been driving it for years.

[C]

I'm afraid I don't understand what you're trying to say.

[A]

I'm not saying, Mrs. Anders, I'm asking. Did you ever hear of a man named Blanco?

[C]

Blanco? No, I don't believe I ever have. I haven't.

[G]

Have you, Carson?

[E]

No, Miss Virginia, I don't.

[A]

Wait a minute.

[E]

When I took the Assata down to the garage the other day, there's a new mechanic there. I think his name is Blanco.

[A]

Now that's interesting.

[G]

You're a detective, that's what you are. A detective.

[A]

No, Virginia. Besides, if I were a detective, I'd know the answer to something Carson just said without having to ask.

[E]

And what does that mean?

[A]

Suppose you tell me. What? How you knew that the new mechanic's name was Blanco when even the men who worked with him thought it was Steven.

[E]

Maybe it was another man.

[A]

I mean. I'll tell you what I mean, Carson. You're the first real link, the first hopeful sign that I'm heading in the right direction.

[C]

Look here, what is this all about, Virginia?

[A]

Didn't I just hear your doll cry?

[G]

Oh, Mr. Templer, I haven't played with dolls since I was a child.

[A]

Oh, yes, of course. I should have known.

[G]

You don't have to make an excuse, Mr. Templar. I know you want me to leave the room. You want to talk, grown up talk.

[A]

Virginia, you're the most fascinating woman I've met in Years. But there are a few questions I want Carson to answer, Mr. Whatever your name is.

[H]

I'll give you just three seconds to put up your hands.

[A]

Very well, if you insist.

[H]

And now, sir, I should like to know what you mean by forcing your way into this house.

[G]

But Uncle Roger, can't you see he's a detective. Just like in the comic book.

[A]

Exactly. Fire that gun, sir, and I'll bleed ink all over this handsome carpet.

[C]

He forced his way in on the pretense of seeing Virginia, Mr. Pierce. But it appears that it was really Carson he wanted to see.

[H]

You know this man, Carson?

[A]

No, Mr. Pierce.

[E]

I never saw him before. His name is Templar.

[H]

Templar? Simon Templar.

[A]

And I'm certainly not fatso, am I, Virginia?

[G]

No.

[H]

So you're the saint. I'm very glad to meet you.

[A]

Then may I put my hands down?

[C]

Of course.

[H]

But what is the reason for this rather strange and unsaintly visit, Mr. Templer?

[A]

Virginia, why don't you go try on your party dress, huh? The one you're going to wear this afternoon.

[G]

Oh, I've already tried it. But how did you know I was going to Janice Fuller's party this afternoon?

[A]

We comic book detectives know everything. Is Carson going to drive you in the car?

[G]

Of course. The only way to get to Janice's house is by car. Unless you feel like walking all the way up the mountain.

[A]

Mountain? Yes, it would have to be a mountain, wouldn't it? Mountain road with a great many curves.

[H]

I am still waiting for your explanation. Templar.

[A]

The child.

[H]

Leave the room, Virginia.

[G]

No, I want to, Virginia. Oh, very well. But you know, I'll find out everything anyway. Carson will tell me. Won't you, Carson?

[E]

If I can, dear.

[G]

Goodbye, Mr. Templar.

[A]

Goodbye, Virginia. I've enjoyed meeting you.

[H]

Now, Mr. Templar, what did you want to see us about?

[A]

About murder, Mr. Pierce. One that was committed a few hours back and another one that I helped event that's scheduled to take place in a few hours from now. What?

[C]

Mr. Templer, please explain.

[A]

A few hours ago, I was paid a call by a hoodlum named Blanco. This led to a brief but informative conversation with a lady barfly named Violet, which in turn led to an interesting half hour with a limousine named Isata Frasini. And so here I am.

[H]

I. I'm afraid I don't.

[A]

Afraid I don't understand either. All that's clear to me as of now is that there's been a murder. And there's a good chance there's gonna be another one. Murder?

[H]

Who. Who was murdered, Mr. Templar?

[A]

The aforementioned Hoodlum Blankem. But shed no tears. He'll be missed. Only by the manufacturers of small arms ammunition, who, I'm afraid, are going to notice a rather remarkable drop in their sales. What, dude? It's the car that I'm here about, Mr. Pierce. The Assata Frascini that spends its spare time at the central garage. The registration slip says that it lives here.

[H]

Yes, that's our car. It is the central garage we use Carson, is it not?

[A]

Yes, sir. I understand the car is owned by that charming child. Although she informs me she doesn't actually drive it.

[H]

Yes, the car is hers, Mr. Pierce.

[A]

I hope you won't think I have an ulterior motive. I'm a little old for Virginia. But she's loaded.

[H]

She's extremely wealthy. You see, Mr. Templer, shortly before Virginia's father died in South America, he drew up a will giving the child his entire fortune. I was designated her guardian until she comes of age.

[A]

Then you are not really her uncle?

[H]

I'm an uncle in name only.

[A]

Oh, I see. Tell me something. Where in South America did the child's father die?

[H]

In Honduras.

[A]

That's Central America. Oh, is it?

[H]

I do believe it is. Why do you ask, Mr. Templar?

[A]

I wasn't really asking. I was shooting in the dark. What? When I return to this house in an hour or two, Mr. Pierce, we must all have another delightful talk. It will be a different kind of talk, perhaps, but nonetheless delightful.

[H]

But what in heaven's name.

[A]

Later, Mr. Pierce, later. Right now I have a date with a lady. A lady with violet hair who thinks I'm a bottle of scotch.

[C]

Yes, who is it?

[A]

Package. Package?

[C]

I didn't order any Package from.

[A]

What?

[C]

What is this?

[H]

Hello, Violet.

[A]

Like to have a talk with you.

[C]

A talk? Say, look here. I don't know who you are, but.

[A]

If you let me in.

[C]

No, I. What do you mean by forcing your way in here?

[A]

Argument, while always stimulating, takes time. And I don't have much time.

[C]

What's this all about?

[A]

Blanco's dead.

[C]

Blanco dead? What's that to me, copper?

[A]

I'm not the police. My name is Simon Templer. The Saint Jovial Kane. Frank Kane's wife.

[C]

Widow.

[A]

That's another argument we're not gonna have time for.

[C]

You're nuts, Frank. Were alive, I'd know it. Drink. That's better. All right, we can talk now. What's Blanco's murder got to do with me?

[A]

You're next on the list. You dropped your glass.

[C]

What do you mean by that crack? There's nobody. I don't Feel so good.

[A]

May I help you?

[C]

No, I. What? Who. Who'd want to kill me?

[A]

Somebody who's related to you. I'm not sure.

[C]

Related to me? But I've only got one. Oh, feels so good.

[A]

What is it?

[C]

Oh, it burns.

[A]

Come on. Now, let me.

[C]

Now listen to me. Picture on the table. Only relative.

[A]

Hello there, Morgan.

[B]

Oh, like Mr. Templar.

[A]

What brings you out in the cream of the day? I'd imagine a man who runs an after hours saloon would naturally indulge in after hours sleep.

[B]

As a matter of fact, I was just about to go home on my way to pick up my car.

[A]

Not by any chance at the central garage? Oh, yes.

[B]

How'd you know?

[A]

Deduction.

[B]

That's incredible.

[A]

Not too incredible. It's easy enough to deduce that a man would keep his car in a garage. That it happens to be the owner of the.

[B]

So you know that too. There isn't very much you miss, is there, Mr. Templer?

[A]

Murder has a way of sharpening one's senses.

[B]

Murder?

[A]

Man named Blanco. Should we go into the garage? Right behind you.

[B]

You said his name was Bonko.

[A]

Yeah. And just now Violet came. Violet? Dead? But how? Someone evidently thought her whiskey would have a bigger kick with a pinch of poison in the bottle. It did. It's ghastly. Terrible. But who.

[B]

Who did this thing?

[A]

You did? Me?

[B]

I realize it's rather early in the day for a man to be at his best, but don't you think that joke is in bad taste?

[A]

If it were a joke, it would be. Ah, the asaka. Beautiful automobile that child owns, isn't it? Look at those lines. So sleek, so graceful. Get in, Morgan.

[B]

Get in.

[A]

It's perfect morning for a drive. I don't think anyone would mind if we took her out. You see, I'm. I'm rather friendly with the owner. She likes me. To her, I'm a character straight out of her favorite comic book. Good enough?

[B]

No, thanks.

[A]

Why not? We'll take a climbing. I'd like to see what you'll do on a mountain road. Road with a couple of hairpin curves.

[B]

Come on, some other time, Saint.

[A]

Won't be another time. Or didn't you see the beautiful job Blanco did on the tie rod?

[B]

No.

[A]

Sawed through until it's hanging together by the proverbial hair. One sharp turn like the turns you'd find on a mountain road. The steering system collapses and there's an accident. Yeah. Yeah. Blanco did an excellent job until he learned who the victim was to be. It was too much for even his Stomach?

[D]

How?

[B]

You're dreaming. Why would anybody want to wreck an expensive bus like this?

[A]

A little girl who is going to a party on top of a mountain this afternoon has too much money, Morgan. If she should happen to fall off that mountain in this car, some happy next of kin would have a very happy fortune.

[B]

Well, that lets me out, Saint. I'm nobody's next of kin.

[A]

There was a picture Violet pointed out to me before she died. A snapshot taken at a wedding. And do you know who the bride and groom were? Okay, okay.

[B]

We've Talked long enough, St. Frank Kane left a lot of money when he died. I'm too close to it.

[A]

Another mistake you made, Morgan. Huh?

[B]

It's me, Frank Kane.

[A]

Kane?

[D]

Say, what are you pulling? Your.

[B]

Carson, the chauffeur.

[A]

Carson's only his nom de plastic surgery. It's Kane with a new name and a new face. It's. Yeah, but with the same old trigger eye. Cain Kane. Are you.

[E]

Yeah, but never mind me.

[F]

Don't let him get away.

[A]

You took care of that. You're the one who didn't let him get away. Kane, A man loses all inclination to run when there's a bullet in his kneecap. You keep until the police come.

[E]

Good.

[A]

Good.

[E]

St. Virginia.

[A]

Little girl. She and the. See, don't try to talk now. I gotta tell you, see, the g. The g. Don't worry, Kane. Your daughter will be safe. I'm gonna make sure of that right now.

[C]

It's beyond belief, Mr. Templar.

[H]

What sort of fiend could even dream of harming that child?

[A]

It was a team of fiends, mister. And one of the fiends has just given up his membership in the inhuman race.

[C]

There were two of them?

[A]

Yes, Mrs. Anders. Two of them. Morgan and someone else. Someone who would be Virginia's only surviving relative. Once Violet Kane, the child's mother, had been erased from the picture. The only surviving relative and inheritor of the child's fortune.

[C]

But we know of no relatives, do we, Roger?

[H]

There was only Frank Kane, her father. But legally, at least he was dead.

[A]

Now he's dead in fact as well. But there is another relative. I'm amazed that you don't know who. Violet pointed to a wedding picture. She was dying. Who's your wedding picture, Ms. Sanders? You were the bride. Morgan was the groom. Yes.

[C]

Ah. I was married to Morgan once. But surely that doesn't mean that I.

[H]

Look here, Templar. This is preposterous.

[A]

It would be even more preposterous if Violet hadn't had a sentimental nature. What do you mean snapshot. She wrote the names of each member of the wedding party on the snapshot.

[C]

The names.

[A]

She had your name written. Rose, isn't it? What makes the photograph really interesting is the man standing next to the groom was you, Mr. Pierce.

[H]

Of course it was me. Is it a crime to attend a wedding or have one's name written on a picture?

[A]

No, but in this case it solves a crime. Because Mr. Pierce, under your picture Violet affectionately wrote my dear brother Roger. What? You don't. You don't bother. I'm sure I've been called it before. Come on, brother, we're going visiting. There's a new district attorney downtown whose dying to make himself a reputation. Virginia, I've brought you a present.

[G]

Oh, Mr. Templer, you shouldn't have. But I'm so glad you did.

[A]

But go on, open it.

[G]

Oh, it's the most beautiful doll I ever saw.

[A]

You did tell me once that you hadn't played with dolls since you were a child.

[G]

But Mr. Templar, I'll tell you a secret.

[A]

What, Virginia?

[G]

I just said that to be sophisticated.

[A]

Something tells me that a certain young man named Fatster is going to be trimmed right down to your size.

[D]

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

[A]

Ladies and gentlemen, in tonight's cast, you heard Maggie Morley as Violet and Anne Whitfield as Little Virginia. Edmund McDonnell played Blanco, Jack Moyles, Carson. Ted Von Eltz was Roger, Irene Tedro. Mrs. Anders Morgan was played by Barney Phillips and the garage man by Jerry Hausner. 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.

[D]

This Adventure of the Saint was written by Michael Kramoy. The Saint, based on characters created by Leslie Charters, is a James L. Safier production and is directed by Helen Mack. Vincent Price is soon to be seen co starring in RKO's production of his Kind of Woman. And all you Saint fans will be glad to know that the Saint comic books are on sale at all newsstands. This is Don Stanley speaking. Three chimes mean good times on NBC. Every Sunday on NBC, meet two delightful and often confusing families, the Blandings and the Harrisons. Mr. And Mrs. Blanding stars Cary Grant and Betsy Drake as the proud but bewildered owners of the famous dream house. And the Phil Harris Alice Fay show features the hilarious Harrises and their friends in typical amazing Harris situations. Hear them later today, Fred Allen, Ed Wynn and B. Lilly join the big show TODAY on NBC.