The Saint and Night Beat

Summary

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The Relic Radio Show – Episode: The Saint and Night Beat

Date: September 9, 2025
Host: RelicRadio.com

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Episode Overview

This week’s Relic Radio Show features two classic radio dramas from the golden age:

• The Saint in "The Case of the Previewed Crime" (original airdate: July 30, 1950)
• Night Beat in "Big John McMasters" (original airdate: March 4, 1951)

The purpose of this episode is to showcase masterful storytelling and the distinctive voices of vintage radio. "The Saint" delivers a suspenseful murder mystery with wit and intrigue, while "Night Beat" presents a gritty and poignant tale about crime, redemption, and human nature from a journalist’s perspective.

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Segment 1: The Saint – "The Case of the Previewed Crime"

Timestamps: 01:16–27:08

Main Theme

Simon Templar, a.k.a. The Saint, is visited by a mysterious writer seeking confirmation on whether a fictional murder he’s concocted could be the perfect crime. The meeting sets off a chain of suspicion, deception, and murder among a cast of dubious characters.

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Key Discussion Points & Plot Highlights

• Mysterious Midnight Visitor (01:47–04:46):
  Simon Templar is awakened by Desmond, who outlines the plot of his "book": killing a financier with a weak heart through lethal substitution in his medicine.

  “The only advice I can give all writers is you don’t.” — Simon Templar (02:51)

• Real Crime Mirrors Fiction (05:30–06:09):
  The next morning, Templar learns from newspaper headlines that a crooked financier, Frank A. Clark, has died suddenly—a scenario eerily similar to Desmond's story.

• Visiting the Clark Residence (07:23–12:30):
  Templar questions Clark’s niece, Inez Francis, and Clark’s lawyer, Hartzell, and his secretary, Charlie Melvin. All seem suspicious; none admit to a deep voice like his visitor.

• Pursuit of Clues (13:00–16:01):
  Desmond, an old actor, confirms that a voice can be disguised but not naturally replicated. Templar realizes none of the suspects’ voices match that of his mysterious visitor.

• Second Death and a Suicide Note (16:21–18:44):
  Charlie Melvin is found dead, apparently by suicide, with a note confessing to Clark's murder. Templar doubts the authenticity, noting the police never suspected Clark was murdered.

• The Confrontation at a Secluded House (19:08–24:02):
  Hartzell lures Templar away under false pretenses, hoping to kill him and conceal his own crimes. Templar disarms him and deduces Hartzell killed Charlie to cover up theft, but not Clark.

• The Final Twist (24:08–26:41):
  Templar realizes Clark himself was the mysterious visitor. Facing imminent arrest and a fatal heart condition, Clark orchestrated a revenge from beyond the grave, ensuring suspicion would fall on his associates.

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Notable Quotes & Moments

• On the notion of a 'perfect crime':

  “Poisoning without poison… Very ingenious.” — Simon Templar (04:09)

• Comic relief through Templar’s banter with Inez:

  “Are your voice ever been deeper?” — Simon Templar
  “Heavens no. That’s all.” — Inez Francis (11:22–11:33)

• Summing up the case’s resolution:

  “Your uncle must have been an old man with heart disease... but before he died, he wanted revenge on the lawyer who cheated him and on the secretary who deserted him.” — Simon Templar (25:44–26:17)

• Closing moral from Vincent Price:

  “Poison doesn’t always come in bottles... Poison can take the form of words and acts—the venom of racial and religious hatred.” (27:15)

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Segment 2: Night Beat – "Big John McMasters"

Timestamps: 30:08–57:41

Main Theme

Randy Stone, a late-night newspaper reporter, stumbles into the turbulent reentry of Big John McMasters, a former Prohibition-era figure newly released from prison, as violence and redemption intertwine on the night of McMasters’ daughter’s wedding.

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Key Discussion Points & Plot Highlights

• Randy Stone Meets McMasters (30:08–34:21):
  In a Chicago nightclub, Stone encounters McMasters, who is recently out after serving 19 years in prison, intent on living clean—but burdened by the past.

  "All I ask is that you just let me alone in the papers." — John McMasters (33:50)

• A Shooting at the Hotel (34:59–36:39):
  Stone and Lt. Curly White head to a hotel where McMasters has been shot. McMasters gives little information, showing stoic resilience.

• Escape from the Hospital (41:44–42:25):
  After being taken for surgery, McMasters escapes, desperately running from death despite his mortal wounds.

• A Tangle of Motives and Blackmail (47:36–51:52):
  Stone tracks down those connected to McMasters: Julian Glass, his old lawyer (broken by years and booze); Marty Engel, a younger associate; and Constance Gardner, a woman whose adopted daughter, Constance, is McMasters’ biological child—a secret used for blackmail.

• Violent Climax (52:07–53:21):
  In a shootout at Glass’s home, Engel is killed by McMasters, while Glass dies defending his old friend.

• Poignant Wedding Finale (54:10–56:22):
  Stone finds McMasters at his daughter’s wedding. Fatally wounded, McMasters participates in her happiness without revealing his identity, dying quietly in a taxi cab afterward.

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Notable Quotes & Moments

• On Prison and Resilience:

  "I paid back ten days for every one I took." — John McMasters (33:50)

• Randy’s empathy for McMasters:

  "If there's any place you need help within the law, just say so." — Randy Stone (38:06)

• Constance’s revelation:

  "That lovely girl... is John McMasters’ daughter." — Mrs. Gardner (51:03)

• Elegiac final lines:

  “It’s all about laws that made criminals and laws that made them not criminals... Maybe Julian Glass was right. They’re all gone now, and the ones who are left are broken and tired.” — Randy Stone (56:22)

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Memorable Moments & Comedic Beats

• The Saint’s deadpan sarcasm:

  “You want to go home with me?” “No.”
  “What’s the matter with my home?” — Simon Templar & Louie (06:51–06:54)

• Night Beat’s lyrical narration:

  “Lesson one. The night is for sorrow. The day, regret.” — Randy Stone (30:41)

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Important Segment Timestamps

• Murder method described (The Saint): 02:45–04:46
• Clark’s obituary read (The Saint): 05:30–06:09
• Charlie's suicide note and doubts (The Saint): 18:16–18:44
• Saint’s deduction (The Saint): 25:09–26:41
• McMasters in the nightclub (Night Beat): 32:13–34:21
• McMasters shot at hotel (Night Beat): 36:00–36:39
• Mrs. Gardner reveals the family secret (Night Beat): 51:01–51:22
• Climactic shootout (Night Beat): 52:07–53:21
• McMasters' death and Stone’s closing reflection (Night Beat): 56:22–57:16

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Tone and Style

• The Saint: Lightly sardonic, witty, and sophisticated, balanced by suspense and sharp observation.
• Night Beat: Melancholic and noir, suffused with the weary compassion and poetry of late-night reporting.

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Conclusion

This episode highlights the diversity and depth of old-time radio: the twisty, playful mysteries of “The Saint” and the emotional, character-driven noir of “Night Beat.” Both stories dwell on themes of crime, justice, redemption, and the unintended consequences of our actions—delivered through clever dialogue, vivid soundscapes, and memorable performances.

The episode closes with host RelicRadio inviting listeners to return for more gems from radio’s golden age.

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Transcript

[Relic Radio Host]

This is the relic radio show. Old time radio entertainment still standing the test of time from relicradio.com welcome back to the Relic Radio Shows. 60 minutes of radio drama from the golden age of radio every Tuesday@ Relicradio.com we'll begin this week's hour with the saint. But first, a quick reminder. If you'd like to help support this and all of the relic radio shows, visit donate. Relicradio.com to see downloadable sets for certain donation amounts, though any amount is always appreciated and helpful. Now onto this week's show. We're going to hear from the saint in the case of the previewed crime from July 30, 1950. After that, it's nightbeat and big John mcmasters. That story aired March 4, 1951.

[Announcer]

The Adventures of the Saint, starring Vincent Price.

[Narrator]

The Saint.

[Announcer]

Based on characters created by Leslie Trotter and on 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.

[Simon Templar (The Saint)]

Price as the saint. Mr. Templar?

[Desmond]

Mr. Templar?

[Simon Templar (The Saint)]

I'm asleep.

[Desmond]

Mr. Templar.

[Simon Templar (The Saint)]

Noisy dream.

[Desmond]

You're not dreaming.

[Simon Templar (The Saint)]

That's what you say. I'm alone in my bedroom. I'm in bed at night.

[Desmond]

Oh, but you're not alone. I'm here.

[Simon Templar (The Saint)]

Go away.

[Desmond]

I'm sorry. I didn't climb into your bedroom in the middle of the night merely to go away again.

[Simon Templar (The Saint)]

What did you expect? A 21 gun salute?

[Desmond]

I expect your attention. You can't see me, can you?

[Simon Templar (The Saint)]

No. I'd be even happier if I couldn't hear you.

[Desmond]

But I can see you, however. You're silhouetted against the window behind you.

[Simon Templar (The Saint)]

That was cunning of me.

[Desmond]

It helps me aim the gun I'm pointing at you.

[Simon Templar (The Saint)]

I'm so glad. I'd hate to have your aim suffer. What do I do now? Get up. Put the lights on.

[Desmond]

You don't do anything of the cut?

[Simon Templar (The Saint)]

No. Why? Are you shy?

[Desmond]

Yeah, let's say I'm shy.

[Simon Templar (The Saint)]

That's why you insist on holding this conversation with me in the dark. The conversation? Obviously. That wouldn't be about the weather. What would it be about?

[Desmond]

Well, I'm a writer.

[Simon Templar (The Saint)]

A writer and shy. Nonsense.

[Desmond]

I need some advice.

[Simon Templar (The Saint)]

The only advice I can give all writers is you don't.

[Desmond]

I'm writing a book about murder. I'm calling it the story of a perfect crime.

[Simon Templar (The Saint)]

Sounds interesting. Thank you.

[Desmond]

What I came here for was to have you tell me whether or not the murder my book deals with is really a perfect crime.

[Simon Templar (The Saint)]

Come on.

[Desmond]

The man to be murdered. In my book, that is, suffers from heart disease. He's a completely unpleasant character. A thin and seer and a crooked one. A man who deserves to die.

[Simon Templar (The Saint)]

And he suffers from heart disease.

[Desmond]

For this condition, he takes daily, at stated hours, capsules containing medicine. Capsules upon which his life depends. Now then, the murderer, in my book that is, decides to poison the financier.

[Simon Templar (The Saint)]

Oh, that's not cricket.

[Desmond]

No, it's murder. Murder? That will be poisoning without poison.

[Simon Templar (The Saint)]

I'm waiting breathlessly for the next chapter.

[Desmond]

The murderer steals one of the capsules, pours the medicine out and replaces the medicine with powdered sugar. He returns the capsule to the financier's pillbox. In due course, the financier reaches the capsule, takes it. His weak heart, lacking the medicine he needs, fails. And there you have poisoning without poison.

[Simon Templar (The Saint)]

Very ingenious.

[Desmond]

I think so. The poisoner can't be traced through the poison he purchased because he didn't purchase any. The murdered man is assumed to have died a natural death. An autopsy will show no poison in his body since there wasn't any. Well, Is it the perfect crime?

[Simon Templar (The Saint)]

I can't see any flaws in it. Good.

[Desmond]

And if you can't, I don't imagine the critics will.

[Simon Templar (The Saint)]

Don't you mean the police?

[Desmond]

Why should the police be interested in a book I'm writing?

[Simon Templar (The Saint)]

Why should the critics be interested in the murder you're committing?

[Desmond]

You're not serious.

[Simon Templar (The Saint)]

You are.

[Desmond]

I. I rather think I must leave now. Be getting light soon. No, no, don't move. I still have the gun pointing at you. If I had to shoot you, it wouldn't be a perfect crime, but you'd be dead nonetheless.

[Simon Templar (The Saint)]

But that wouldn't interest you, would it?

[Desmond]

Well, good night, Mr. Templar, and pleasant dreams.

[Simon Templar (The Saint)]

Thanks. Load. Coffee.

[Narrator]

Your toast, Mr. Templer, and the morning paper.

[Simon Templar (The Saint)]

Oh, thank you.

[Narrator]

You're up early this morning, aren't you?

[Simon Templar (The Saint)]

I. I couldn't sleep. Hey. Any resemblance between this toast and toast is purely coincidental. What does your chef do? Tan the stuff? Oh, no. Mr. Templar probably uses old shoe leather. Well, Samuel, don't you like the headlines? Can't say that I do. Frank A. Clark, noted financier, dies of heart attack as police arrest him for alleged embezzlement. Oh. Was he a friend of yours, Mr. Templer? No, but he was a financier. He was crooked and he had a weak heart.

[Desmond]

No wonder he died when he got arrested.

[Simon Templar (The Saint)]

Depends on whether he took medicine in capsules. What? Depends on that, sir. Murder, my friend. Murder. Taxi. Hey, taxi. I. Oh, no. Louie. Oh, yeah.

[Desmond]

Louie.

[Simon Templar (The Saint)]

Out of all the taxicabs in this city, why do I keep getting yours?

[Randy Stone]

Out of all the fasts in this city, why do I keep getting you?

[Simon Templar (The Saint)]

You have a point there.

[Randy Stone]

I'll go right home and shop.

[Simon Templar (The Saint)]

You stay where you are.

[Randy Stone]

You want to go home with me?

[Simon Templar (The Saint)]

No.

[Randy Stone]

What's the matter with my home?

[Simon Templar (The Saint)]

Nothing. I live there, don't I?

[Randy Stone]

My wife live there.

[Simon Templar (The Saint)]

My kids live there. You have no children. Don't get personal. I'm sorry.

[Randy Stone]

Man spirit every spare minute he's got.

[Simon Templar (The Saint)]

Hoping, Louis. Did Julius Caesar have children? Did Alexander the Great have children? Did Napoleon have children? Yes. Me.

[Randy Stone]

They didn't.

[Desmond]

Send an announcement to Louis.

[Simon Templar (The Saint)]

Will you please drive me to 1893 Waterview Drive? I'm in a hurry. Okay, okay.

[Randy Stone]

1893 Waterview Drive.

[Simon Templar (The Saint)]

Who lives there? A gentleman named Frank A. Clark. Except that he doesn't live there, Louie. He's dead there.

[Randy Stone]

You're gonna keep company with a corpse?

[Simon Templar (The Saint)]

Mr. Templin, I am going to visit his surviving relatives, if any. Why? Does it occur to you that it might be none of your business? Sure, it's none of your business.

[Randy Stone]

Now that we got that clear, why.

[Simon Templar (The Saint)]

You'Re going to visit his room. Stop the car. Quick.

[Mr. Hartzell]

Stop.

[Simon Templar (The Saint)]

What happened? We've reached 1893 Water View Drive.

[Desmond]

Oh, I'm careless about little details like that here, Lou.

[Simon Templar (The Saint)]

And don't forget to mention it to your income tax collector. I'll write to him.

[Randy Stone]

Hey, don't you want me to wait?

[Simon Templar (The Saint)]

No, but you will, Louie. You will.

[Inez Francis]

Oh. Well, hello there.

[Simon Templar (The Saint)]

Hello. This is the Clark home, isn't it?

[Inez Francis]

Sure. And I'm the Clark niece, and you're.

[Simon Templar (The Saint)]

Diamond Templar, an old friend of your uncle's.

[Inez Francis]

You're not old. Well, and you're not a friend of my uncle's. Come in anyway.

[Simon Templar (The Saint)]

Oh, thank you.

[Inez Francis]

Because maybe you can be a friend of mine in here.

[Simon Templar (The Saint)]

Tell me, do you need a friend?

[Inez Francis]

No. But I like him when they're as tall as you and. Oh. My name is Inez. Inez Francis.

[Simon Templar (The Saint)]

I'm very glad to know you, Ms. Francis.

[Inez Francis]

Probably won't be when you really get to know me.

[Simon Templar (The Saint)]

I realize perhaps I shouldn't have come today. You must be all broken up by your uncle's death.

[Inez Francis]

Who, me?

[Simon Templar (The Saint)]

Well, perhaps the family.

[Inez Francis]

Well, that's me. I'm the family.

[Simon Templar (The Saint)]

Your uncle must have been a lonely man.

[Inez Francis]

He didn't mind. He had me and the market and all those people he was swindling. Oh, and of course, he had Mr. Hartzell and Charlie Melvin, who Are Harto and Charlie Melvin. Charlie's sort of a weedy youth. Uncle secretary. Very anemic. I ignore him. And Harold, Uncle's lawyer. And I fondly suspect as big a crook as uncle was. But very fatted, you know.

[Simon Templar (The Saint)]

Fatted?

[Inez Francis]

Uh huh. On the shoes and gardenia in the buttonhole. And I have a sneaking suspicion. Whiskey in the liver.

[Simon Templar (The Saint)]

How untidy. Nobody else close to Uncle? Nope. Then it boils down to one of you three.

[Inez Francis]

What does?

[Simon Templar (The Saint)]

Who's happy now that Uncle's dead?

[Inez Francis]

I am. Hartzell, as Charlie is.

[Simon Templar (The Saint)]

It covers the field. Why?

[Inez Francis]

Uncle had a lot of money. I get it now. Hartzell stole some money from Uncle. He won't go to jail now. Charlie was implicated in Uncle's crooked deal. Charlie won't go to jail now.

[Simon Templar (The Saint)]

And who has a deep, slightly hoarse voice?

[Inez Francis]

I don't.

[Simon Templar (The Saint)]

No. Which means that you're not the one who came to my room last night.

[Inez Francis]

No. But if you ask prettily, perhaps I'll come tonight.

[Simon Templar (The Saint)]

I know.

[Inez Francis]

Look at your etchings.

[Simon Templar (The Saint)]

I don't have any etchings.

[Inez Francis]

I'll bring some with me.

[Simon Templar (The Saint)]

Are the others around?

[Inez Francis]

Sitting around practicing grief stricken looks for the funeral. That happy event is this afternoon. I better get dressed for it.

[Simon Templar (The Saint)]

But you are dressed.

[Inez Francis]

But not for a funeral. Would you excuse me for just a minute?

[Simon Templar (The Saint)]

Of course. Oh, here you are.

[Inez Francis]

Greetings, Mr. Templar. This is Charlie. Charlie, this is Mr. Templar.

[Simon Templar (The Saint)]

Glad to meet you. How do you do?

[Inez Francis]

He doesn't entertain Mr. Templar for me. Charlie, I gotta find a dress that's sad looking.

[Simon Templar (The Saint)]

I'd like to stay and entertain you.

[Inez Francis]

But I've gotta hurry.

[Simon Templar (The Saint)]

You see, I'm Mr. Clark's secretary. In his condition, he doesn't need a secretary.

[Inez Francis]

Well, I'm Mr. Clark's former secretary. No, no, I'm the former Mr. Clark.

[Simon Templar (The Saint)]

No, I get it now. Relax.

[Inez Francis]

Oh, I'm relaxed.

[Simon Templar (The Saint)]

Then why are you in such a hurry?

[Inez Francis]

Well, I have to go out and hire some mourners, haven't I?

[Simon Templar (The Saint)]

Why? Well, it wouldn't look nice if There.

[Inez Francis]

Were only three of us at the funeral. I near as Mr. Hartsell and myself.

[Simon Templar (The Saint)]

No. Especially since you'll all be grinning from ear to ear. May I ask you a question? Of course. Has your voice ever been deeper? Deep? Heavens no.

[Inez Francis]

That's all.

[Simon Templar (The Saint)]

Goodbye, Charlie. My boy. Or is he my boy? Oh.

[Mr. Hartzell]

Good morning.

[Simon Templar (The Saint)]

Good morning. My name is Templer.

[Randy Stone]

And I'm.

[Mr. Hartzell]

Hartshell is my name. I'm sorry, I. I can't talk to you now. I'm in a hurry.

[Simon Templar (The Saint)]

Why?

[Mr. Hartzell]

My tailor's expecting me.

[Simon Templar (The Saint)]

Your tailor?

[Mr. Hartzell]

You'd hardly expect me to attend Mr. Clark's funeral in this, would you?

[Simon Templar (The Saint)]

Impossible.

[Mr. Hartzell]

You see. So if you don't mind, I'll just run along.

[Simon Templar (The Saint)]

Oh, yes. What are you doing here? Looking for a man with a deep voice.

[Mr. Hartzell]

Sorry, mine isn't. But why are you looking for a man with a deep voice?

[Simon Templar (The Saint)]

He told me how Mr. Clark was murdered.

[Mr. Hartzell]

Well, that explained it.

[Simon Templar (The Saint)]

What? Yes, he was murdered. But.

[Mr. Hartzell]

But Mr. Clark died of heart failure.

[Simon Templar (The Saint)]

Indeed, you must be.

[Mr. Hartzell]

I. I demand an explanation immediately.

[Simon Templar (The Saint)]

You've forgotten one thing, Mr. Harcourt.

[Mr. Hartzell]

What's that?

[Simon Templar (The Saint)]

Your tailor is waiting. But I. And Taylors is sometimes very temperamental. Besides, we can discuss this some other time.

[Mr. Hartzell]

This evening.

[Simon Templar (The Saint)]

This evening.

[Mr. Hartzell]

Here's my card. I. I'd appreciate your coming. If Mr. Clark was murdered, something must be done about it.

[Simon Templar (The Saint)]

Something will be.

[Mr. Hartzell]

Who knocks at my gate? Enter.

[Simon Templar (The Saint)]

Temper, as I live on sufferance.

[Desmond]

And breathe with difficulty.

[Randy Stone]

Templar.

[Simon Templar (The Saint)]

Hello, Desmond.

[Desmond]

What happy windswarf you hither, Simon.

[Simon Templar (The Saint)]

The subtle Desmond. I'm not an audience.

[Desmond]

Oh, Templar. I'm an old ham. And contrary to what they say, hams do not improve by aging. Still the gay adventurer.

[Simon Templar (The Saint)]

Well, I'm not especially gay at the moment. Murder.

[Desmond]

Oh, the last murder that was of any interest to me was that Elsinore thing. You know, when Claudius and Gertrude put their heads together and slipped Gertrude's royal husband a slug of poison in the ear.

[Simon Templar (The Saint)]

I remember it well.

[Desmond]

And the fat prince, Hamlet, I think his name was.

[Randy Stone]

Mooned about like an innie, sending Ophelia.

[Desmond]

To a watery grave and the rest of the cast to a most bloody one.

[Simon Templar (The Saint)]

You. You would have made a good Hamlet.

[Constance Gardner]

Bless you.

[Desmond]

Oh, I. I wanted to play Hamlet. Instead, they preferred me as a ventriloquist. Confound him.

[Simon Templar (The Saint)]

That's why I'm here. You've been a ventriloquist? I'm involved in a case which hangs on the identity of a voice. Desmond. Could anyone change his voice so that it would be completely different from his real voice?

[Desmond]

Oh, yes, but you'd always know that.

[Narrator]

The second voice wasn't natural.

[Simon Templar (The Saint)]

That does it, then. Does what, Simon? Look, Desmond. Three people wanted a man named Clark dead. Clark is dead, Presumably.

[Desmond]

Therefore, one of the three killed Clark.

[Simon Templar (The Saint)]

Yes. Now, I was told of the method whereby Clark was going to be killed by a very distinctive voice in the dark. Therefore, the problem was simple. Find which of my three suspects had a voice like that and go on from there. Well, not one of the three has that kind of voice. Which leaves me with an interesting problem. But leaves the murderer free to go on murdering. How was the copse, Mr. Templer? Dead. Louis, I want the nearest bookstore. You can't have it. It belongs to a guy named Pestle Thwaite. Would you please drive me there quickly? Okay.

[Randy Stone]

What's the matter? Suddenly decided you want to curl up.

[Announcer]

In front of a fire with a good book?

[Simon Templar (The Saint)]

For that, I'd rather have Inet. No, Louis. I merely want to find out how a man can die of poisoning without being poisoned.

[Randy Stone]

You didn't stay in that bookstore very long. What's the matter? You didn't like pestle plate?

[Simon Templar (The Saint)]

He didn't have the book I wanted. I know a not that kind of book, Louis. What I wanted was a book on heart diseases.

[Desmond]

Oh, light reading, huh?

[Simon Templar (The Saint)]

Interesting.

[Desmond]

Heart diseases.

[Simon Templar (The Saint)]

These stores had one book on heart disease in stock until yesterday. No, Yesterday the book was sold to a man, Pestlethwaite told me, who behaved in a strenuously agitated fashion. A man named Harto.

[Randy Stone]

Maybe the name was bothering me.

[Simon Templar (The Saint)]

Which reminds me, where am I taking you? Naturally, Louis. To a man named Hartho. Art so in or on his way to Mexico.

[Inez Francis]

Or.

[Simon Templar (The Saint)]

In.

[Mr. Hartzell]

Mr. Templar.

[Simon Templar (The Saint)]

Yes, Mr. Hartle.

[Mr. Hartzell]

Come in. Come in at once.

[Simon Templar (The Saint)]

Thank you.

[Mr. Hartzell]

Oh, I am jittery. That funeral this afternoon.

[Simon Templar (The Saint)]

I see. Well, have you tried reading? It's very soothing.

[Mr. Hartzell]

I have no patience with books. Now, please.

[Simon Templar (The Saint)]

Not even books on heart disease?

[Mr. Hartzell]

Why? Excuse me.

[Simon Templar (The Saint)]

Hello?

[Mr. Hartzell]

Oh, yes. Hernes.

[Simon Templar (The Saint)]

What? Oh, how dreadful.

[Mr. Hartzell]

Oh, yes, at once.

[Simon Templar (The Saint)]

Goodbye. You're pale.

[Mr. Hartzell]

I'm shocked. Charlie Melvin.

[Simon Templar (The Saint)]

You know him? Mr. Clark's secretary?

[Mr. Hartzell]

Yes. Well, it seems that something's happened to him.

[Simon Templar (The Saint)]

Why, he's dead.

[Mr. Hartzell]

Tell him to hurry. Temper. Hurry.

[Simon Templar (The Saint)]

We're almost there. Mr. Hartzell, did Inez say who discovered the body?

[Mr. Hartzell]

Yes, she did. She'd been visiting some friends, Returned home.

[Simon Templar (The Saint)]

And Couldn't have been an accidental death. Coincidence doesn't stretch that far, you know.

[Mr. Hartzell]

If he was murdered, you still think the police believe Clark was murdered, too?

[Simon Templar (The Saint)]

Not the Police. Me.

[Inez Francis]

Oh, Mr. H.L. oh. Silence.

[Simon Templar (The Saint)]

Hello, Annette.

[Inez Francis]

Come in. Getting to be embarrassing, all the sudden death.

[Simon Templar (The Saint)]

It might be more than embarrassing. Might be fatal.

[Inez Francis]

It was. But Charlie, how did it happen? He shot himself.

[Simon Templar (The Saint)]

The police.

[Inez Francis]

I just.

[Simon Templar (The Saint)]

Then we'd better hurry.

[Inez Francis]

This is his room in here.

[Constance Gardner]

I heard the shot.

[Simon Templar (The Saint)]

When?

[Inez Francis]

About an hour ago.

[Simon Templar (The Saint)]

But you phoned Hart through here only 15 minutes ago.

[Constance Gardner]

I didn't know it was a shot at first.

[Inez Francis]

Charlie was supposed to come upstairs. When he didn't, I realized. Well, there he is.

[Simon Templar (The Saint)]

Yes, he's definitely dead. And a note.

[Mr. Hartzell]

Imagine that boy committing suicide.

[Simon Templar (The Saint)]

Let's see what the note says. I killed Clark because if he'd been arrested, I would have gone to jail, too. But now the police suspect he was murdered, and they suspect me. I might as well get it over with before they do. And it signs Charlie Melvin.

[Inez Francis]

Well, that sort of clears up that, doesn't it?

[Simon Templar (The Saint)]

Yes, except for one thing.

[Inez Francis]

What's that?

[Simon Templar (The Saint)]

Charlie's voice wasn't deep enough. Alexander Graham Bell's little invention should sometimes be strangled. I'm asleep. And so should you be. Templar. Yes, Hartzell.

[Mr. Hartzell]

Listen, I'm at the Ensign Club on Trocadero.

[Simon Templar (The Saint)]

Yes.

[Mr. Hartzell]

I couldn't go home. Charlie's death so soon after Clark's. Anyway. Remember that voice you told me about?

[Simon Templar (The Saint)]

I remember it very well.

[Mr. Hartzell]

I just heard it.

[Simon Templar (The Saint)]

What?

[Mr. Hartzell]

The man with a voice like the one you described was here.

[Simon Templar (The Saint)]

I'll be right over.

[Mr. Hartzell]

He's gone now, but I. I followed him outside and heard him give the cab driver his address.

[Simon Templar (The Saint)]

Good boy. I have my car. I'll pick you up immediately.

[Mr. Hartzell]

Fine. Fine. We can go right after him. It's some distance outside the city.

[Simon Templar (The Saint)]

The guide travel to the North Pole for him. You don't measure miles when chasing phantoms.

[Mr. Hartzell]

Of course, I. I can't be absolutely sure it's the man you want.

[Simon Templar (The Saint)]

Me, I'm grabbing at straws.

[Mr. Hartzell]

But his voice did sound like your description. It was at a club to which Clark belonged.

[Simon Templar (The Saint)]

I make it worth a try. All I need is to hear him say something, anything. A word, a phrase, and I'll know.

[Mr. Hartzell]

Oh, that shouldn't be difficult. Once we get to him.

[Simon Templar (The Saint)]

Once we get to him. Only thing worries me is.

[Mr. Hartzell]

Yes?

[Simon Templar (The Saint)]

That his voice can still be heard by the time we get to it. Halfway to the North Pole. You didn't take me literally, did you?

[Mr. Hartzell]

You shouldn't be much farther.

[Randy Stone]

Templar.

[Simon Templar (The Saint)]

Yes?

[Mr. Hartzell]

I don't understand. About Charlie. I can't see him murdering Clark somehow.

[Simon Templar (The Saint)]

You don't believe he did it, do you? Not especially.

[Mr. Hartzell]

Why not?

[Simon Templar (The Saint)]

I don't know. Intuition, maybe. Our little stranger likes seclusion, doesn't he?

[Mr. Hartzell]

Evidently. You know, the police accepted that suicide note without question.

[Simon Templar (The Saint)]

Did they?

[Mr. Hartzell]

There's the house.

[Simon Templar (The Saint)]

There aren't any lights showing.

[Mr. Hartzell]

Well, he must have got here sometime before us went to bed, I guess.

[Simon Templar (The Saint)]

Probably. I wonder.

[Mr. Hartzell]

Do you think he'll recognize you?

[Simon Templar (The Saint)]

Probably. I couldn't see him, but he or me.

[Mr. Hartzell]

Well, that might be bad. Are you armed in case he tries anything?

[Simon Templar (The Saint)]

No, but we'll manage.

[Mr. Hartzell]

Or suppose he refuses to. To say anything?

[Simon Templar (The Saint)]

At all. That in itself would answer our question, wouldn't it? We ring certainly. Nothing if not courteous.

[Mr. Hartzell]

It's so. So dark out here, so far from anything.

[Simon Templar (The Saint)]

Yeah, dark and lonely. You put it beautifully.

[Mr. Hartzell]

He doesn't answer.

[Simon Templar (The Saint)]

Try the door. Very well.

[Randy Stone]

It's open.

[Simon Templar (The Saint)]

Good. Then we can walk right in.

[Mr. Hartzell]

I can't see a thing.

[Simon Templar (The Saint)]

Wait a minute. I'll light a match. There. The light switch to your left. Hartzell.

[Mr. Hartzell]

Oh, yes, yes, of course.

[Simon Templar (The Saint)]

That's much better. Now then. It's a very charming house you have here, Mr. Hartzell.

[Mr. Hartzell]

What did you say?

[Simon Templar (The Saint)]

I said you have a very charming house here.

[Mr. Hartzell]

My house?

[Simon Templar (The Saint)]

Well, you didn't really think I was fooled, did you? That voice you heard in your club was a fiction. It had to be. Our trip here was planned by you so that we'd be alone.

[Mr. Hartzell]

Why? Why would I want that?

[Simon Templar (The Saint)]

The better to kill me, my friend.

[Mr. Hartzell]

Kill you, you say?

[Simon Templar (The Saint)]

That's what I say.

[Mr. Hartzell]

Why would I want to kill you?

[Simon Templar (The Saint)]

Because, like yourself, I think that suicide note of Charlie's was a fake.

[Mr. Hartzell]

Oh, I never said I did.

[Simon Templar (The Saint)]

It is a fake.

[Mr. Hartzell]

How did you know?

[Simon Templar (The Saint)]

The note ran to the effect that Charlie was committing suicide because the police suspected him of murdering Clark. But the police didn't suspect Clark of being murdered.

[Mr. Hartzell]

Perhaps not.

[Simon Templar (The Saint)]

But you did. Yes, but Charlie didn't know that, Mr. Hartzell. I didn't tell him. Hey. Very well.

[Mr. Hartzell]

Just stay right where you are.

[Simon Templar (The Saint)]

What a handsome revolver.

[Mr. Hartzell]

I did kill Charlie so that there wouldn't be any investigation into Clark's death. I couldn't afford that.

[Simon Templar (The Saint)]

If you kill me, there will be an investigation.

[Mr. Hartzell]

No, because no one knows you came here with me. You're not going to die. You're going to disappear.

[Simon Templar (The Saint)]

Oh, in my furniture? I wouldn't like that too long.

[Mr. Hartzell]

I'm afraid your likes can no longer be considered.

[Simon Templar (The Saint)]

Well, in that case, I'll have a cigarette. Let me see now. Which pocket? Hold on, Mr. Hart. Who do you want? Oh, my. You dropped your revolver. Now I have two. You.

[Mr. Hartzell]

You said you weren't armed.

[Simon Templar (The Saint)]

I'm such a liar. But then, you see, I knew when you asked me why you asked me. So perhaps I'll be forgiven.

[Mr. Hartzell]

Templar. I killed Charlie, but I didn't kill Clark. I swear I didn't.

[Simon Templar (The Saint)]

Good heavens, Mr. Har. I never for a moment thought you did.

[Inez Francis]

A beautiful night time. Poor Mr. Hart. So all shut up in a dungeon cell.

[Simon Templar (The Saint)]

Yes, I'm afraid the beauties of the night are lost to him. Those beauties are also lost to Charlie.

[Inez Francis]

And Mr. Clark don't be morbid. They're better off dead.

[Simon Templar (The Saint)]

Well, it would have been nicer to leave that decision to them.

[Inez Francis]

Mr. Hartzell, bless his fussy old soul, was really an impulsive man.

[Simon Templar (The Saint)]

And a foolish one.

[Inez Francis]

Let's not talk about him anymore.

[Simon Templar (The Saint)]

Let's talk of your uncle.

[Inez Francis]

Why?

[Simon Templar (The Saint)]

Because Hartzell didn't kill him.

[Inez Francis]

Oh.

[Simon Templar (The Saint)]

A man came to me in the middle of the night, in the darkness, so that I never saw him and told me of a plan to murder Mr. Clark. It was a good plan. Absolutely undetectable man left. All through this case, I've been looking for a man with a voice like the one that told me of murder, and there were three people involved. Yourself would get the money if Clark died. Charlie would be saved from jail. Hartzell would be free of impeachment.

[Inez Francis]

Uncle certainly spread a lot of joy when he died.

[Simon Templar (The Saint)]

Charlie was murdered by Hartzell. But Charlie's was not the voice that spoke to me, nor was Hartzell's.

[Inez Francis]

Then whose voice could it possibly have been?

[Simon Templar (The Saint)]

That's the central problem. All right. Why did the man come to me.

[Inez Francis]

In the first place, according to you? To make sure his method of murder would never be detected.

[Simon Templar (The Saint)]

But in coming to me, my dear, didn't he make sure of the very opposite?

[Inez Francis]

Oh, well, then he must have wanted you to.

[Simon Templar (The Saint)]

That's right. He wanted me to detect murder. But why? Obviously not because he was going to murder anyone.

[Inez Francis]

I don't understand.

[Simon Templar (The Saint)]

The only voice in this case that I haven't heard is the voice of your uncle.

[Inez Francis]

My uncle?

[Simon Templar (The Saint)]

He was my visitor.

[Inez Francis]

But why?

[Simon Templar (The Saint)]

Why did he do it? Because nobody was going to murder him. What could he hope to accomplish what he did accomplish? I know. Your uncle was an old man with heart disease on the verge of being arrested for theft, swindling. He knew he wouldn't survive even the shortest prison term. He probably suspected that the strain of the arrest itself might be fatal. And it was. But before he died, he wanted revenge on the lawyer who cheated him and on the secretary who deserted him. So he came to me with his story, figuring that when he died, perfectly naturally, murder would be suspected where no murder had taken place.

[Inez Francis]

And I worked him. Because Hartzell killed Charlie, Hartzell himself is going to die for him.

[Simon Templar (The Saint)]

Yes. Your uncle must have been.

[Inez Francis]

Quiet, Simon.

[Simon Templar (The Saint)]

Yes?

[Inez Francis]

There's a moon. We've talked of unhappy things long enough. Got any etchings?

[Simon Templar (The Saint)]

Mm.

[Inez Francis]

Hey, wait a minute. I thought you didn't have any the last time I asked you.

[Simon Templar (The Saint)]

The last time you asked me, my dear, you were a suspect for Murder. Now, now, now. You're beautiful, you're blonde, and yes, it's just plain murder.

[Announcer]

You've been listening to another transcribed adventure.

[Simon Templar (The Saint)]

Of the Saint, the Robin Hood of modern crime.

[Announcer]

And now here is our star, Vincent Price.

[Simon Templar (The Saint)]

Ladies and gentlemen, poison doesn't always come in bottles and it isn't always marked with the skull and crossbones of danger. Poison can take the form of words and phrases and acts the venom of racial and religious hatred here in the United States. Perhaps more than ever before, we must learn to recognize the poison of prejudice and to discover the antidote to its dangerous effects. Evidences of racial and religious hatred in our country place a potent weapon in the hands of our enemies, providing them with the ammunition of criticism. Moreover, group hatred menaces the entire fabric of democratic life. As for the antidote, you can fight prejudice first by recognizing it for what it is, and second, by actively accepting or rejecting people on their individual worth and by speaking up against prejudice and for understanding. Remember, freedom and prejudice can't exist side by side. If you choose freedom, fight prejudice. This is Vincent Price inviting you to join us again next week at this same time for another exciting adventure of the Saints. Good night.

[Announcer]

Tonight's script of the Saint was written by Louis Vitis. Our cast included Gene Bates, Lou Merrill, Fred Howard, Jack Edwards, Jr. And Larry Dobkins. The music was composed and conducted by Von Dexter the Saint, based on characters created by Leslie Charteris as a James L. Sapphire 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. All you Saint fans will be glad to know that the Saint comic books are now on sale at all newsstands. Your announcer is Don Stanley.

[Simon Templar (The Saint)]

Programs.

[Announcer]

Get your programs here tomorrow night. Here Night Beat, the adventures of newspaper reporter Randy Stone is portrayed by Frank Lovejoy. Listen. As Randy works the night beat of a newspaper in search of unusual, interesting stories. At Night be Tomorrow night. Next, Sam Spade cuts a caper. Then Zeno Franciscotti plays on NBC.

[Narrator]

Tonight, Nightbeat returns to the air for a special broadcast honoring the men and women of the working press who, day in and day out, find and write the newspaper stories that keep us informed and entertained. And so to them, this special Nightbeat salute. Night Be.

[Randy Stone]

Hi, this is Randy Stone. I cover the Night Beat for the Chicago Star. Stories start in many different ways. This one began in a nightclub with jazz music and laughter and ended in a church with organ music and death.

[Narrator]

Tight Beat, starring Frank Lovejoy as Randy Stone.

[Randy Stone]

On my job, you sort of come to terms with the night. You have to, because that's where you learn the lessons of the day. Lesson one. The night is for sorrow. The day, regret. Lesson two. You can't hide in the darkness, for the night has a thousand eyes. Lesson three to a hundred. Don't go looking for the dawn with a gun, because it might come up like thunder and leave you dead on the doorstep. Sob stories fill the night. Unhappy love affairs. Girls gone astray. Bookkeepers who stole from their tills. Men who died drunk and friendless. Last night I decided to pass them up and stroll under the bright lights and listen to laughter. So I picked out a couple of fancy bistros on the Gold coast and started the rounds to watch champagne flow and eavesdrop on the happy stories of success, promotion, love and friendship. But it didn't work. Like an iron filing, I was drawn to the magnet of unhappiness. It happened in the Pelican Club. He was sitting alone. Tall, gray haired, rugged. A face full of some 50 odd years, I guess. And full of some other things no one could guess with three drinks at the bar before I made out who he was. A man who was once big in a way that only prohibition made them. Okay. Mind if I sit down?

[Narrator]

Who are you?

[Randy Stone]

Randy Stone. Chicago Star. Neck Masters.

[Narrator]

You're the first one.

[Randy Stone]

What?

[Narrator]

First one who's recognized me.

[Randy Stone]

Oh, only from your pictures. It was a long time ago. Time.

[Narrator]

I know more about time than you. Or that old guy they always have around on New Year's with a beard and a hay cutter.

[Randy Stone]

I just thought there might be a story somewhere.

[Narrator]

Sure, sure. Sit down, Sit down. I'll tell you a story. Once upon a time, there was a guy who had everything. Money, friends, a future. And a bunch of old women made a law called the Volstead Act.

[Randy Stone]

You remember it? Yeah, yeah, but I wasn't thirsty at the time.

[Narrator]

Well, a lot of people were. Everybody, in fact. You see, the law was always supposed to be for the other guy, not for them. But there were no other guys. So this fella I'm telling you about got on the bandwagon. He bottled millions of violations of the Volstead act, made a lot of money and a lot of trouble. Am I boring you?

[Randy Stone]

If you are, I asked for it. But you're not.

[Narrator]

Well, the trouble got him a lot of jail. 19 years of it. Started in 1931, ended just two days ago.

[Randy Stone]

I see.

[Narrator]

Now this guy's out and he's gonna stay clean. And he can pass a thousand stupid laws and he's not gonna fall for any of them. He's gonna do everything the way it says in the books and live happily ever after. How's that for a story?

[Randy Stone]

There's a good moral, but no drama, no suspense.

[Narrator]

Good. I hope it's real bad because I don't want you to. Printed Stone. I'm flattered that you recognize me, but I paid back 10 days for every one I took. All I ask is that you just let me alone in the papers.

[Randy Stone]

Okay, McMaster. As far as I'm concerned, you made your last copy in 1931.

[Narrator]

Stone. It's nice to come out of prison and have the first guy you meet not like you. Let me buy you a drink.

[Randy Stone]

He tried to be happy and gay after that, and I tried to help him, but there was a sadness about him that stood in the way. I wanted to ask more questions about times and places, but I didn't. Why is it when you come across the best stories, you fall all over your conscience? I know I couldn't print anything about John McMasters. Yet I was still thinking about him an hour later at police headquarters while batting the Breeze with Lt. Curly White. The lieutenant was on his way out to cover a hotel shooting, and I went with him. It was a showy place with glass doors and ebony handrails. The night manager was staining his alpaca jacket with nervous sweat.

[Narrator]

Please, please be as quiet as possible. I don't want it to sound like.

[Randy Stone]

An elf's convention in here. Just tell us what happened. We're pussyfoot throughout this.

[Simon Templar (The Saint)]

I don't know where to begin exactly. Somebody phoned down. It happened on the fifth floor, said.

[Randy Stone]

There was a shooting.

[Narrator]

So I went up there, but I.

[Randy Stone]

Couldn'T hear any shooting or see any. You rarely can after it's over.

[Narrator]

That's rather obvious.

[Randy Stone]

Just tell us, was there a shooting or wasn't there? Well, did you think I'd call you men all the way out here if there wasn't?

[Simon Templar (The Saint)]

You think I'm a crank or something?

[Randy Stone]

That I like to have loud policemen stamping through the lobby, excitement.

[Simon Templar (The Saint)]

Where was it?

[Randy Stone]

Where was what? I'm gonna ask you a question. I want you to answer in a single declarative English sentence. Now, you ready? Now, look here. I'm not a child, and you mustn't.

[Narrator]

Treat me like one.

[Randy Stone]

Where was pursuing?

[Narrator]

In room 521.

[Randy Stone]

All right, come on. Don't you want to know who it was?

[Narrator]

Oh, a man named John McMasters.

[Randy Stone]

We found McMasters lying on his bed. The rumpled silk Counterpane was slowly changing from chartreuse to a bright crimson. Two bullets had ripped ragged holes and in through flesh and bone, his face was a shade paler and a line sadder. But when Lieutenant White questioned him, he was just as self contained as ever.

[Narrator]

Hello, John. A long time. Yeah. Kelly, you were just a flat foot then. I was only the small fire department. You were strictly stuck for the commissioner. He did a good job.

[Randy Stone]

Yeah.

[Simon Templar (The Saint)]

How'd it happen, Jeff?

[Narrator]

This cleaning my gun.

[Randy Stone]

Lose it, John.

[Narrator]

You're not supposed to have a gun. Oh, you know me in the law, Curly. We sometimes didn't hit it off. Where is the gun? I swallowed it. I want to say, you know. No, I don't want to say.

[Randy Stone]

Yeah. I don't know what makes you guys.

[Narrator]

Like you are, but I know it won't do any good to try and.

[Randy Stone]

Beat it out of you. Doc.

[Simon Templar (The Saint)]

Yeah?

[Narrator]

Get the ambulance ready. We'll take him to the police hospital. No, you don't, Lieutenant. I've served my time and I'm clean. Being shot at even in this state doesn't make you a criminal. Not take me to a general hospital.

[Randy Stone]

Sure, I can get a warrant.

[Narrator]

When you get it, come and see me. Bring me some ice cream, Lieutenant. I've always liked ice cream. English coffee.

[Randy Stone]

I didn't have a chance to exchange a word with McMaster, so I followed him to the hospital. They put him in a room while he was waiting for them to set up an emergency operation to take the bullets out of him. Lieutenant White let me slip in alone.

[Narrator]

For a couple of minutes. Well, scribe, you got yourself a story after all, didn't you?

[Randy Stone]

Well, not much of one. McMaster's a good reporter. Should find out a lot more. Like who shot you and why. Well.

[Narrator]

Well, I shot myself. And just for something to do.

[Randy Stone]

Look, McMasters, I'm not as old as you or as informed in the ways.

[Narrator]

Of crime, but I have a fair.

[Randy Stone]

Idea of how tough it is to come out of prison and start all over. I want you to know I'd be willing to help you if there's any place that you need help within the.

[Narrator]

Law, just to get a story.

[Randy Stone]

I have a job that says I'm supposed to bring in stories.

[Narrator]

Sure, but that isn't what I mean, Stone. It's just the way I said earlier tonight. It's a pleasure to meet someone like you. And if it was anything I could tell you or any way you could help me, you'd be the first to know. Let's put it this way. I have Nothing to say to you now. Come and see me tomorrow. Maybe I'll have a story for you.

[Simon Templar (The Saint)]

To think.

[Randy Stone]

Was a riddle. His way of life, his long prison term had equipped him with a certain stoicism that was almost impossible possible to penetrate. I can only stand and wait. At least I thought so at the moment. Lt. White was standing in the corridor.

[Simon Templar (The Saint)]

When I came up.

[Randy Stone]

Find out anything, Randy? Nothing, Curly.

[Narrator]

Look, Randy, you're not pulling professional immunity on me, are you?

[Randy Stone]

I'm telling you the truth, Lieutenant.

[Narrator]

They do me a favor. Oh, my badge and my ID card. Now, what's this for? Well, I'm carrying those.

[Randy Stone]

I'm a policeman.

[Narrator]

When I don't have them, I'm just a citizen. Now, this isn't for print, but in that room on that bed, Ally's quite a man.

[Randy Stone]

You couldn't fight it. Everyone who had contact with John McMasters felt the same way. Despite his background, despite his code, despite his record, there was quite a man. It occurred to me I should know more about him. So I went back to the Star offices and poked around on the morgue file. His folder started 1912 and was sat with yellowed clippings all the way through 1931. The clippings didn't mention a family or much else except a lawyer associate, a man named Julian Glass. When I found out all I could from the clippings, I went back to his hotel to see if I could wangle another once over of McMaster's room. No, no, no, I'm sorry. Reporter or not, it simply can't be done. The police left explicit order. Yes, I know, but is there anything you need these days, like a new sport coat or a couple of golf clubs?

[Narrator]

Mr. Stone, do I look corruptible?

[Randy Stone]

Well, excuse me. Yes, madam?

[Constance Gardner]

What do you want, Mr. McMasters? Room, please.

[Randy Stone]

Oh, well, I'm sorry.

[Narrator]

Mr. McMasters was taken to the hospital shortly ago.

[Constance Gardner]

What happened to him?

[Randy Stone]

Somebody shot him.

[Constance Gardner]

He's still alive?

[Simon Templar (The Saint)]

I wouldn't know.

[Randy Stone]

Why don't you call? Oh, find me. Ma', am, I can tell you about John McMasters.

[Constance Gardner]

Who are you?

[Narrator]

Oh, Mr. Stone is a reporter.

[Randy Stone]

He's still alive at the county hospital. And far as I know, he's under excellent care.

[Constance Gardner]

Thank you.

[Randy Stone]

Would you mind telling me what your connection is with McMasters?

[Constance Gardner]

I have no connection.

[Simon Templar (The Saint)]

Goodbye.

[Randy Stone]

Oh, just a minute. You must at least know him.

[Constance Gardner]

Young man, you either get out of my way or I'll call a policeman.

[Randy Stone]

And she could do it. So I stepped aside and let her walk out of the hotel. But I followed not far behind her. She was middle aged, gray haired and well dressed and she got into a good looking car and I got her number. Then I called one.

[Simon Templar (The Saint)]

Lieutenant White.

[Randy Stone]

I. Randy Stone. Lieutenant, can you give me a rundown on the license number?

[Simon Templar (The Saint)]

Oh, no, not this. The files are all locked.

[Randy Stone]

But you know where the key is. How about it?

[Simon Templar (The Saint)]

Oh, what's it for?

[Mr. Hartzell]

Can't go until tomorrow.

[Randy Stone]

It's for a story I'm working on. If you help me tonight, maybe I'll help you someday.

[Simon Templar (The Saint)]

What would your reporters do without it?

[Mr. Hartzell]

All right, give it to me.

[Randy Stone]

It's Illinois 137596.

[Simon Templar (The Saint)]

Illinois 1 6.

[Mr. Hartzell]

All right, call back later.

[Simon Templar (The Saint)]

Stone.

[Randy Stone]

I know it would take some time for White to run it down, so I made my way back to county hospital for a checkup on McMaster's condition. The reception desk seemed reluctant to talk about him and referred me to the head nurse who sent me to the surgical od, who took me to the chief doctor. He told me to look into a crystal ball. He's gone. We have no idea where. How could he be gone? We started to give him a transfusion, he jumped up suddenly, knocked down two male nurses, grabbed his pants and ran.

[Narrator]

Out of the hospital.

[Simon Templar (The Saint)]

Simple as that.

[Randy Stone]

I thought he was in a critical condition. He was. Now he's in mortal danger, running around town, hemorrhaging from two bullet wounds. Give him an hour, maybe two at the most, to live, John McMasters is.

[Simon Templar (The Saint)]

A walking dead man.

[Narrator]

NBC is bringing you Nightbeat, starring Frank Lovejoy as Randy Stone.

[Randy Stone]

Take it from me, cats aren't the only animals who have a corner on curiosity. Consider also the species Randisonus, reporter type animal. The test when the next big shot of the roaring twenties, minus a quarter two of blood from bullet wounds, walks out of a hospital bed in the middle of the night. Reporter walks too. Well, call it curiosity or just say I liked what I'd seen of a. All I know is I didn't want Big John McMasters to bleed to death walking around town. So I went out looking for him. And because I thought he might go to a friend's, I looked up his only known friend, another man of the same period. Julian Glass, attorney at law. He lived not in a glass house but in Cicero, in the crummier half of a yellow duplex.

[Narrator]

Young man from the drugstore delivers what I need most. A telegraph office. What I dread most. Obviously, you represent neither concern and therefore you are no concern of mine.

[Randy Stone]

Now wait a minute. Are you Mr. Glass?

[Narrator]

I am he and I am Drunk and disheveled and it's three o' clock in the morning.

[Randy Stone]

I'd like to talk with you. May I come in?

[Narrator]

You may not.

[Randy Stone]

This isn't exactly the hour for making calls, but I did stop by and pick up something to take the edge off.

[Narrator]

It's bonded inside. Perfect. Your apology?

[Randy Stone]

You are Mr. Glass.

[Simon Templar (The Saint)]

Ah.

[Narrator]

Now then, we'll make a bargain. As long as this lasts, you will last.

[Simon Templar (The Saint)]

Speak.

[Randy Stone]

I'm looking for a man.

[Simon Templar (The Saint)]

Ah.

[Narrator]

The entire world is looking for a man. Just one man. A man may so blindly presume who will break off these shackles that bind us and lead us forth into eternal justice.

[Randy Stone]

Yes, yes, sure. But that's not the man I'm talking about. I'm a friend of John McMaster.

[Simon Templar (The Saint)]

You.

[Narrator]

You come from that place. Sightings are not on you. The pallor's not with you. No how. You lied.

[Randy Stone]

I didn't say that I was a convict. I'm a reporter. McMasters is out of prison.

[Narrator]

I'm aware of that.

[Randy Stone]

But did you know he was in an accident tonight? Or he was attacked, I don't know which. Anyhow, he was shot. And an hour ago he left his hospital bed. I thought he might have come to you.

[Narrator]

What made you think that?

[Randy Stone]

You're the only man I know who might be his friend. As he contacted you tonight.

[Narrator]

He has not.

[Randy Stone]

Is he here?

[Narrator]

He is not.

[Randy Stone]

Mr. Glass. If he isn't hospitalized soon, he'll die.

[Narrator]

Why is the phenomena of death so persistently alarming? So you die. They all die. Usually from a bullet. Mr. Glass, you've impressed me with the urgency of his situation. But John McMasters is not here. Nor has he been here, nor has he contacted me.

[Randy Stone]

Well, I was just trying. I believe you.

[Narrator]

Your concern for him is a distressing irritation. What's the reason for it?

[Randy Stone]

As I said, I'm his friend. I like him. I think he deserves to live.

[Narrator]

You, his friend now? His friends, for the most part, are gone.

[Simon Templar (The Saint)]

Like the years.

[Narrator]

Like Homburg Hatch and the Charleston and Lyme Rickey. Ones who are left broken and tired with old faces. Faces like mine, like his. And they should be gone, too. Another age is here.

[Randy Stone]

Are you sure you're his friend?

[Narrator]

I once thought so. He once thought so. But now I. I haven't enough strength to be his friend. Oh, Mr. Glass, I. Hello, people. Who's your friend, Julie? Mr. Glass to you. All right, Mr. Glass. Now tell me, who's this? This is Mr. Stone. Mr. Stone, this is Mr. Mr. Engel. Marty Engel. I'm an associate of Mr. Glass's. Mr. Stone, I haven't seen you around before. Obviously you just met Mr. Glass or you'd never, never offer him a drink.

[Randy Stone]

I wouldn't, no.

[Narrator]

You see, I sort of look after Mr. Glass. We're old friends. I was his office boy once. Then I know Republic.

[Randy Stone]

And when I finally got my degree.

[Narrator]

I became his partner, more or less. Isn't that right, Mr. Glass? Marty, you don't have to do this in front of Mr. Glass. And since Mr. Glass has fallen on some bitter days, shall we say, I've undertook to assist him. Perhaps I can help you.

[Randy Stone]

I don't think so, Mr. Engel.

[Simon Templar (The Saint)]

Then would you be good enough to leave?

[Randy Stone]

Marty, shut up.

[Narrator]

Mr. Glass, give Mr. Stone his bottle.

[Randy Stone]

Go ahead.

[Simon Templar (The Saint)]

Here.

[Narrator]

There you are, Mr. Stone. You were just leaving, weren't you?

[Randy Stone]

Julian Glass stood helplessly by, watching. The look in his eyes held the same sort of sadness I'd seen in McMaster's eyes. But they were different too. They held a weakness. The strong, sad eyes were somewhere else in the city, walking alone. And the lifeblood was slowly draining from the body that sparked them. I wanted to find McMasters more than I wanted anything in my life. So I went to the only other source I knew. The license number that belonged to a gray haired woman with a kind face. Lt. White had done his duty.

[Narrator]

Granny, I shouldn't do this sort of thing.

[Randy Stone]

Come on, come on. Tell me about the license number.

[Simon Templar (The Saint)]

Pleasure plates.

[Narrator]

Car owned by a pony named Constance Gardner, age 22. This city address.

[Simon Templar (The Saint)]

There's the 900 block at Sheridan Road.

[Randy Stone]

What number?

[Mr. Hartzell]

Look it up yourself.

[Simon Templar (The Saint)]

I did what I'm not supposed to do already.

[Randy Stone]

I drove out there with a feeling that I was racing death. I was in the 900 block, right in back of the Shawnee County Club. A nice big colonial house in a nice neighborhood. The sky was beginning to quiver and shake off the blackness of night. I parked in front, wondering whether or not I should ring the bell. And then I saw a light in the back at the kitchen. Everybody seemed to be staying up that night.

[Constance Gardner]

Oh, come in. You must be the man from the floor.

[Randy Stone]

No, no, I'm afraid not. My name is Randy Stone. I'm from the Chicago Star.

[Constance Gardner]

Oh, you reporters do work all hours. But we aren't being married until 7.

[Randy Stone]

Are you Constance Gardner?

[Constance Gardner]

Yes, but you want to talk to Bob, not me. He's the one who's rich and famous.

[Randy Stone]

I'm nobody, I think I want to talk to you, Ms. Gardner.

[Constance Gardner]

Well, all right, Mr. Stone. But I have so many Things to do to.

[Randy Stone]

Oh, I say good morning to your bridegroom.

[Simon Templar (The Saint)]

Bob.

[Constance Gardner]

Bob, you shouldn't be here. It's bad luck or something. Oh, Mr. Stone, this is my fiance, Bob.

[Inez Francis]

Meredith.

[Randy Stone]

Bob.

[Constance Gardner]

Mr. Stone's from the papers.

[Randy Stone]

Hi.

[Simon Templar (The Saint)]

Hi.

[Randy Stone]

Mrs. Stone, I want to interview you. Now, looking at her, wouldn't you say I'm the luckiest man in the world. I'm glad to meet you, Meredith. And congratulations. Thanks.

[Constance Gardner]

Constance Houses. You simply must hurry up by. Bob, what are you doing here?

[Randy Stone]

You know it's not right.

[Constance Gardner]

Mother, I want you to meet Mr. Stone. He's a reporter. Mr. Stone, this is my mother, Mrs. Gardner. How do you do, Mr. Stone?

[Randy Stone]

It was the same gray haired woman I'd met in the hotel a few hours before. And I had to hand it to her. She looked right at me like she was meeting me for the first time. We shook hands. Hers was steady and firm and her eyes didn't leave me. But there was something in her look that pleaded. Don't.

[Constance Gardner]

Mr. Stone. Perhaps Mother can help you. Excuse us, please.

[Randy Stone]

Surely.

[Constance Gardner]

I'll have to get rid of Bob.

[Inez Francis]

And get some things done.

[Randy Stone]

Of course. That's my cue. So long, Mr. Stone. Gonna cover this wedding? Well, if I don't, one of the other boys will. Nice to meet you. Bye. You look like a real nice pair of kids, Mrs. Gardner.

[Inez Francis]

They are, but I doubt if that.

[Constance Gardner]

Means anything to you and your newspaper.

[Randy Stone]

Well, you were trying to reach John McMasters at his hotel tonight. You obviously have some connection with him. I don't care about that or the story that goes with it, Mrs. Gardner. I'm only looking for him. Is he here?

[Constance Gardner]

Of course not. He's in a hospital. You told me that yourself.

[Randy Stone]

Well, he left the hospital. He walked out. He's wandering Chicago somewhere right now. In a serious condition.

[Constance Gardner]

Oh, no, no.

[Randy Stone]

He must have had a good reason for doing such a thing. I want to find him and take him back to the hospital. Mrs. Garden, if you know where he is or what he's doing, tell me. I only want to help. Please. He may be dying.

[Constance Gardner]

I believe you, Mr. Stone.

[Randy Stone]

You have any idea where he could be?

[Constance Gardner]

There's something you should know. Something that shouldn't be written in the papers. Please. That lovely girl who just walked out of this room is John McMaster's daughter. In 1931, I adopted her and raised her as my own. No one knew about it. John promised he would never write us or bothers in any way, and he's kept his word.

[Randy Stone]

But you were trying to see him tonight. Why?

[Constance Gardner]

Two days before he was released, a man came here. He said he knew Constance was not my real daughter. He said he wanted money to keep it quiet. It exposes.

[Randy Stone]

Did you pay this man off?

[Simon Templar (The Saint)]

No.

[Constance Gardner]

Contacted John and told him. He said not to worry, that he'd take care of it.

[Randy Stone]

He got shot tonight trying to take care of it. And he's out right now, still taking care of it. Who was the man?

[Constance Gardner]

I don't know, Mr. Stone. I never saw him before. He just said that John would know who he was.

[Randy Stone]

Oh. Was he big, tall, short?

[Constance Gardner]

He'd been drinking heavily.

[Narrator]

It seemed cultured.

[Randy Stone]

Julian Glass, a lawyer. He'd know about the trust fund and the adoption. He probably handled it all. Julian Glass was a drunkard, true. But he didn't strike me as a blackmailer. I was thinking of his friend Marty Engel as I drove out to Sicily as fast as I could. Three squad cars were already there. And then I noticed with a sinking heart that a hearse was also there. I was too late. A milkman filled in the details. It was awful. It happened so fast. Suppose you tell it fast. I'm delivering my milk when I see this tall guy with a gray hair come staggering up to the steps, sort of pale. He pounds on this door here. Mr. Glasses. That's right. A young guy with a briefcase opens the door. The police say his name is Marty Engel. Yeah, Go on. The young guy, sort of wise like, says, hello. You come to pay off, huh? And the big guy says, yeah, Marty. And he opens up an angle, goes down, but he ain't dead yet. And then Julian Glass reels into the picture and he falls in front of Engel's gun. Just as he pointed at the other guy, Glass stops. Two slugs and he goes down. Then what? The big guy finishes off Engel. Then he goes over and looks at Glass. He sort of sighs, maybe a tear. And then he walks out. You try to stop him. You think I'm nuts? With two guys dead already Was terrible.

[Simon Templar (The Saint)]

Terrible.

[Randy Stone]

I need myself a drink. That's what I need.

[Constance Gardner]

I need myself a drink.

[Randy Stone]

And I don't mean milk. It was pretty obvious that Julian Glass did have the strength to be John McMaster's friend. After all, he died for him. The police had already thrown a cordon around the neighborhood for the man three witnesses had described as the killer of Marty Ingle. As for me, I got out of talking distance right away. Was easy to see. It had taken McMaster's half the night and most of his strength to get to Marty Ingo. But I was certain he still had some strength left. The sun was up by the time I drove out past Evanston, around the lake into Wilmette and stopped at St. Vincent's Church. The ceremony was just about over. I stood in the back as Constance Gardner and Robert Meredith were made man and wife.

[Simon Templar (The Saint)]

The name of the Father, the Son, the Holy Ghost. I now pronounce you man and wife.

[Randy Stone]

Nature turned around and started down the aisle. That was when I noticed the tall, gray haired man leaning quietly against the door.

[Narrator]

Hello, Stone. What are you doing here?

[Randy Stone]

Covering your daughter's wedding.

[Narrator]

McMasters, I know you are a smart guy and that you'd find out about everything.

[Randy Stone]

They don't like murder in this state, no matter what.

[Narrator]

The reason Marty Engel is trying to buy that kid of mine out of her life. He found out who she was when he worked with Julie Glass. I had to stop him. Poor Julie. He did all he could, but I'd.

[Randy Stone]

Better get you to a hospital.

[Narrator]

No, I want us.

[Randy Stone]

So.

[Narrator]

Just don't hold me up. Don't let me fall right here and ruin a wedding.

[Simon Templar (The Saint)]

Thank you.

[Narrator]

Hold me up, please. Sure.

[Constance Gardner]

Congratulations.

[Randy Stone]

Thank you very much.

[Inez Francis]

Thank you so much.

[Constance Gardner]

Oh, Bob. Say history.

[Randy Stone]

Oh, yes. Hello, Stone. Thanks for covering it yourself.

[Constance Gardner]

You can tell all of your readers I'm the happiest bride in the world and quote me, please.

[Randy Stone]

I'll do that.

[Constance Gardner]

Oh, Mr. Stone. Do I know your friend? He seems familiar.

[Narrator]

No, you didn't know me at all. I. I'm sort of an associate of Mr. Stone's. I was glad I could be at your wedding.

[Constance Gardner]

Oh, I'm glad, too.

[Narrator]

Well, I told you you'd have a story this morning, Randy. You're going to print it?

[Randy Stone]

Nope.

[Narrator]

Thanks, though. Like I said, you're the. You're the kind of a guy I'm glad to.

[Randy Stone]

Big John McMasters died in the taxi cab on the way to the hospital. And there's no maybe about whether it was better that way or not. So I'm writing a story. It's all about laws that made criminals and laws that made them not criminals. It's kind of a wandering piece of copy that doesn't really get anywhere and never really solves anything. But it doesn't mention any names because I don't think that'd solve anything either. Maybe Julian Glass was right when he said they're all gone now. And the ones who are left are broken and tired with old faces. And they should be gone, too. I wonder what he'd have to say now that he's gone with them. Copy boy.

[Narrator]

Night Beat, starring Frank Lovejoy, is produced and directed by Warren Lewis. Tonight's story was written by John Michael Hayes and E. Jack Newman with music by Frank Wirth. John McMasters was played by Bill Conrad. Frank loved joy may soon be seen in Warner Brothers. I was a communist for the FBI. And now here again is our star, Frank Lovejoy.

[Randy Stone]

Someone once said a guy meets so many interesting people in the newspaper business and somehow they all turn out to be newspaper men. Well, in portraying a reporter on Night Beat, I've met my share of the press, and I'd like to double that quotation in spades. Tonight I want to congratulate the new president of the national Press Club, Carson F. Lyman, and salute Frank Rogers, Washington correspondent of the Los Angeles Daily News, who was elected secretary of that organization. There are a great bunch of folks, these guys and gals of the working press, and I'm proud to be permitted to portray one of them. Good night.

[Narrator]

Night Beat came to you from Hollywood in 30 seconds. Here, Marlena Dietrich in A Foreign Affair on NBC.

[Relic Radio Host]

You can find more from the Saint Night Beat, the relic radio show and all of the other podcasts and our shoutcast Stream all@ RelicRadio.com it's all free, all main made possible by your support. Thanks again to those who have helped out. Thanks for joining me this week. I'll be back tomorrow with an hour of mystery on case closed and next Tuesday with our next episode of the relic radio show.