05x27 - The Gadic Collection

Episode transcripts for the TV series, "The Saint". Aired: 4 October 1962 – 9 February 1969.*
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Simon is a wealthy adventurer and 20th Century Robin Hood, who travels the world in his white Volvo P1800S to solve the unsolvable and right wrongs.
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05x27 - The Gadic Collection

Post by bunniefuu »

(dramatic Middle Eastern music)


- [Simon] These artifacts were made on the shores


of the Sea of Marmara years ago and are priceless.


Replicas made three months ago can be bought


in the bazaar and are worthless,


but, some of them are so good that


only an expert can tell the difference.


- Enjoying yourself?


- What do you think?


- Let me get rid of these and we'll go for lunch.


(suspenseful music)


- The Gadic Collection?


- Case , Madame.


- Thank you.


(suspenseful music)


(door slamming)


(suspenseful music)


- Where's the Gadic Collection?


(suspenseful music)


- Can I be of any--


Oh, I'm sorry.


Here.


- [Ayesha] Thank you.


(dramatic music)


- I say, I'm terribly sorry.


Let me help you on your feet.


You sure, I can't--


Look, I'm trying to apologize.


- Leave me alone!


- At least please send the bill to my hotel!


- What was all that about?


- I don't know.


These, probably.


- How extraordinary!


- Are they important?


- And illegal.


Honestly, the things that can happen to a fellow


when he makes a routine lunch date with Simon Templar.


("The Saint Theme" by Edwin Astley and Leslie Charteris)


- It's quite true and very disturbing.


The Gadic Collection has been photographed.


- And obviously, outside the museum.


- But, the collection has not been outside the museum


since we first acquired it years ago!


(knocking)


Come in.


- You sent for me, Sir?


- Yes, Omar, thank you.


Something very disturbing.


Tell me, when was the Gadic Collection last cleaned?


- About months ago.


- And you cleaned it yourself?


- No, Sir.


- No?


- I was busy with the Peseree Tapestries at the time.


I was forced to call in outside help.


- [Geoffrey] Who?


- Abdul Kemal.


- How long was it out of the case?


- About two months.


- Where was the cleaning done?


- In the museum work room.


- All right, Omar, thank you.


- You are displeased with me?


- No, no, no.


That's all right.


- Obviously, Kemal took the photographs.


- For what reason?


- Oh, to make copies to sell to gullible tourists.


- I can't believe that an artist of Kemal's high quality


would stoop to such deception.


- There must be more to it than that, then.


- Oh, come off it, Simon!


No need to mysterioso a simple con trick.


- Do you know where Kemal lives?


- His work room is just off the bazaar.


Why?


- It might be amusing to return his photographs.


(suspenseful music)


(people chattering)


(suspenseful music)


- No, thank you.


Is Kemal up there?


- Up there, Kemal.


(suspenseful music)


- No Kemal.


- Well, this isn't like him.


- What do you know about him?


- Not much.


He's a particular sort, in his work, that is.


(people chattering)


- So, he photographs the Gadic Collection and take a powder.


Why?


(footsteps approaching)


- Your uncle is hiding!


Where?


(dramatic music)


- Are you all right?


- I think he broke my arm!


- This has certainly been your busy morning.



Who's your persistent admirer?


- I do not know him.


- Come on, darling.


You saw him at the museum an hour ago and almost fainted.


- I meant that I do not know who he is.


- Well, your uncle, Kemal, must be quite a man.


- My uncle?


- Your boyfriend seems desperate to meet him.


- Oh, please!


I do not know what this is all about!


I just want to go home.


- Good.


We'll take you.


- Oh, no.


It is much too far.


I'll take the ferry to Uskudar.


- Well, now, there's the funny thing.


That's just where we're going.


(suspenseful music)


- Mr. Templar, could I ask you a favor?


- Of course.


- Please, do not tell my uncle about this man who chased me.


My uncle is old and not well.


I do not wish to upset him.


- I do not want to upset him either.


- Thank you.


Look, is it not beautiful?


(suspenseful music)


- Ayesha!


- Uncle, do you--


- Don't you remember me, Kemal?


Geoffrey Bane, Silbakin Museum.


- I remember, of course.


It is an honor.


- This is friend of mine, Simon Templar.


Abdul Kemal.


- My house is honored.


- Thank you.


- May I ask what brings you to Uskudar?


- These.


- I ...


I do not understand.


- Uncle, I found them among your papers.


I went to the museum to make sure--


- You photographed the Gadic Collection, Kemal.


Don't deny it.


You're the only one who had the opportunity.


- It is true.


- And you made a replica.


- Yes.


- Which you assured some lucky tourist


was quite priceless and years old.


- .


The tourist is happy.


I am happy.


So, where is the harm?


- Fleece the tourists all you like


but don't try to palm off fakes of official museum exhibits


or you'll be in trouble with the police.


- I will remember your warning.


- See that you do.


- One more thing, why did you give up


your workroom in the bazaar?


- Give it up?


I'm merely taking a rest.


When I am again ready, I will work.


- I bet you made enough money off


that tourist to retire for life.


- For a few months, okay?


Now, let us have some coffee and some fruit.


- No, thank you.


We have to get back to Istanbul.


If you'll excuse us, we'll see ourselves out.


(suspenseful music)


Good day.


(suspenseful music)


- This man who att*cked you, did he say anything?


- He said you were hiding!


He wanted to know where.


- Did you tell him?


- No!


- You steal my photographs!


You meddle in my affairs!


Now, anything can happen!


- Uncle, why did you leave your workroom?


Why did we come to this house and hide?


Please, tell me!


- My child, perhaps you have a right to know.


- Well, I hope you told Kemal what would


happen if he did it again.


- I frightened him to death, Sir.


- Good night, Geoffrey.


Don't stay too long.


- Good night, Sir.


(suspenseful music)


(telephone ringing)


- Hello?


Geoffrey?


- Simon, I'm at the museum.


Look, I've got to see you.



I've made a shattering discovery and I--


Look, I can't talk to you over the phone.


Can you come over right away?


- Sure, I'll be there in minutes.


- Come to the side entrance and ring the bell.


I'll come down and let you in, all right?


Bye. - Bye.


(suspenseful music)


(dramatic music)


Geoff?


(dramatic music)


(suspenseful music)


(footsteps approaching)


- I've had a phone call telling me


that you would be here, Mr. Templar.


- And who are you?


- In Istanbul, I usually ask the questions but,


since you are interested,


I am Inspector Yolu, Istanbul police.


Now, Mr. Templar, I think you have


a great deal of explaining to do.


(dramatic music)


- And may I say that I sincerely hope the girl


and her uncle will confirm your story.


- They will and I appreciate your concern.


- But, Mr. Templar, I am a very fair and


reasonable man if people tell me the truth.


But, if they lie--


- Oh, I can imagine.


- You must admit, your reputation is, to say the least--


- Uskudar.


- I do not understand, Inspector.


Who do you wish?


- Is this man Kemal?


- No.


- Kemal?


- [Yolu] Do you know anyone by that name?


- No.


- A young girl, beautiful, named Ayesha?


- No, no.


- But she lives here!


- No!


- We live here.


- Inspector, I was in this house only


six hours ago with Geoffrey Bane!


Now, I can describe everything that's in that room.


There's a chest, a sideboard, tapestries--


(dramatic music)


They changed all of it.


- No girl, no uncle, no truth!


- But, I was here this afternoon!


- Were you?


- They were here.


You saw me when I was leaving.


You let me in!


- No one was here today.


No one.


- [Simon] You're lying.


- No one!


- They've been paid off.


- Mr. Templar, I have no alternative.


You are under arrest.


(dramatic music)


- I hate to tell you this, Inspector Yo-yo--


- [Yolu] Yolu!


- Yolu.


But, this type of third degree went out years ago.


- All I am interested in, Mr. Templar, is the truth.


- And that's what you have been getting all night long.


- No, I checked.


That old couple have lived in that house for years.


- I don't doubt it but Ayesha and her uncle live there, too.


- No.


My men are combing Istanbul for them at this very moment.


If they exist, we will find them.


- They exist.


- So, let us start from the beginning again, hm?


You were in the museum and you saw this girl.


- That is exactly what I have been telling you.


- [Yolu] Tell me again.


- I was in the museum--


(knocking)


- Simon, I'm so sorry about this.


I came as soon as I heard.


Inspector, I can vouch completely for Mr. Templar.


He was a great friend of Geoffrey Bane's and


I've known him myself personally for over five years.


- At the word of Ahmed Bayer, I stand corrected.


- Thank you, Inspector.


I'm delighted you believe somebody.


- Fantastic!


Incredible!


- But fake.


- Oh, yes.


Yes, fake.


Only an expert could tell.


- Obviously the switch was made while the collection


was out for cleaning.


- The question is, by whom?


- Surely, you're not suggesting that I--



- Well, someone was responsible!


- Somebody in that house in Uskudar.


(suspenseful music)


- You have no right in my house.


- We have lived here for years.


- [Vito] You ask anyone in the village.


- I believe you.


- Then, what is it you want?


- How much did they pay you?


- Nothing!


No one ever pay us anything.


Now, go.


Get out of this house.


- I'm afraid I can't.


- But, why?


We have done nothing.


- You could be implicated in m*rder.


- No!


- Geoffrey Bane was , at the height of his career.


He was brutally m*rder*d.


- Oh, Vito!


This is a great sin!


- Don't get excited!


- A man dead!


It will be on our conscience forever!


- [Vito] Hold your tongue!


Kemal gave us much money.


- For what?


- To say that he did not live here.


That furniture you saw is in the cellar.


That is all we know, I swear!


We never thought anyone was to die, never!


- Where is Kemal now?


- I do not know.


- Please believe me.


It's terribly important.


Will you help me?


- Vito?


- Kemal often goes to the Cafe Kismet


in the early afternoon.


It is a coffee shop in Istanbul.


(suspenseful music)


- A beautiful view of the Bosphorus, Sir.


- That depends on how you look at it.


- I carry it as an insurance against v*olence.


- With me, it won't insure you against anything.


- You were with Geoffrey Bane.


You saw the Gadic Collection.


Is that not so?


- You're well informed.


- Where is it now?


- [Simon] It is a beautiful view.


- Why do you not answer, Mr. Templar?


- Because I am allergic to little men with g*ns.


- I would pay well to know where the collection is,


and the girl and her uncle.


- How boring.


- $ , for a piece of information.


- Let's get something straight.


If I had it, I would sell it, but I haven't.


Now, excuse me.


We are landing.


- One moment, Mr. Templar!


(grunting)


(splashing)


- You'd better buy some more insurance.


(suspenseful music)


The room service is superb but


I don't remember placing the order.


- Oh, no, you didn't.


I'm a surprise package.


- Lethal, languid or both?


- Depends.


- [Simon] May I?


- Please do.


It's on your bill.


- [Simon] To credit cards.


- Actually, Mr. Templar, I'm here on business.


- I rarely find business a pleasure.


Obviously, this is going to be an exception.


- Thank you.


- Now, if it's not too impertinent a question,


how did you get into my room?


- Oh, there are very few doors in Istanbul


that do not open to me.


- Must be very convenient for you.


Just for the record, what'll I call you?


- My name is Diya.


- Diya?


How very nice.


Well, Diya dear, what do you want?


- Very simply, the Gadic Treasure.


Did I say something amusing?


- No, no, but the last person to approach me


on that subject carried a g*n.


- Oh, I'd never dream of using such an approach,


not with a man like you.


- I do prefer gentle persuasion.


- That is my way also.


- We have a great deal in common.



- But, you do know where the Gadic Treasure is.


- It's amazing how everybody jumps to that conclusion.


- But, you do know.


- Do I?


- Yes, dear Mr. Templar, you do.


I am offering you a partnership.


- A partnership?


Since the last offer was only money,


a partnership with you is vastly more intriguing.


- Then, shall we sign the contract?


- Why not?


(lush romantic orchestral music)


- I have reason to believe that the Gadic Collection


will shortly be available.


- And naturally you will want to give me first refusal.


- Naturally.


- You are telling me that the price is high?


- It is very high, Sir.


- Sukan, have you heard the old story of


the k*lling of the Golden Goose?


- A very excellent object lesson, Sir.


- Remember it.


How much?


- A half a million American dollars.


- Agreed.


(dramatic music)


When do I get it?


- Soon.


You will pay cash?


- On delivery.


- Then you shall have it.


- Where is the collection now?


- It is in the hands of a certain Simon Templar.


(speaking foreign language)


- Not unless you speak English.


- Oh, yes, Sir.


I speak very good.


- I am anxious to locate a man named Kemal.


- Kemal?


- Yes, around .


- Ah, an age of wisdom.


- Do you know him?


- Yes, Sir, but people come and go and you understand,


my memory, she is not what it should be.


- Yes, well, think very hard.


- Indeed, Sir.


I am thinking.


- I appreciate your efforts.


- I, yours too, but unfortunately ...


Ah, I know the man you mean.


- I want to talk to him.


- Perhaps he doesn't want to talk to you.


- It will be in his interest.


- I will tell him so and if he shares that opinion,


I can do something.


(suspenseful music)


- May I?


- Please, it would be a pleasure.


- Is it time I knew your name?


- Well, of all the names that people call me,


Sukan comes most prettily off the tongue.


- Do you enjoy following me?


- Yes, Sir.


- Did you k*ll Geoff Bane?


- No, I hate physical v*olence.


It sickens me.


- Very sensitive.


- This coffee, it's sickening, too, don't you agree?


- Are you suggesting we drink someplace else?


- Oh, Mr. Templar, you have such a quick mind.


- Yes.


- This is more to your taste, Mr. Templar?


- Your friend, Sukan, is right.


This is the best Turkish I ever tasted.


- I employ Sukan.


He is not my friend.


- And what category am I in?


- I require a little cooperation from you.


Would you care to taste a strawberry from Havakia?


- No, I'd prefer to get to the point.


- The point, Mr. Templar, is the Gadic Collection.


- I had a feeling that subject would come up.


- Please.


Take a fig.


I was alarmed to hear that Ayesha and Kemal had disappeared.


- And you think I can tell you where they are.


- I know you can.


- How do you find the honeylip fig?


- A shade dry.


- You are right.


I apologize.


(bell ringing)


- Please don't change them on my account.


- [Turen] So, Mr. Templar, tell me.


Where is the Gadic Collection?


- Suppose I say I don't know.


You won't believe me.


- Mr. Templar, I am an expert in


the art of making people talk.


- And in other things, I'm sure.



- [Diya] Darling, am I interrupting?


- Not at all.


May I present Mr. Simon Templar?


My wife.


- A pleasure to meet you, Mr. Templar.


- Our first meeting is something I will always remember.


- Darling, the Brazilian Ambassador's dinner this evening,


at what time are we due?


- Eight o'clock.


- Forgive the interruption, Mr. Templar.


- We weren't discussing anything important,


just a partnership.


And since there's nothing left to discuss, I'll say goodbye.


(dramatic music)


- We would like you to stay with us


a moment longer please, Mr. Templar.


- Seeing that you've bought new insurance,


it's rather difficult to refuse.


- Mr. Templar, this will give you


an opportunity to make up your mind.


Take him downstairs.


- Oh, I do hope we shall meet again.


(suspenseful music)


- Please, Mr. Templar.


- [Turen] You look puzzled, Mr. Templar.


- Oh, I think I get the basic idea.


- Sukan, turn it on.


(machinery whirring)


Would you be so kind as to look at the base of the wall?


An invention of Aslan,


one of the insurgents when they conquered Baghdad in .


- It was used extensively during the Crusades


to persuade the Christians to relinquish their fight.


- It must have been persuasive.


- In those days, the slaves pushed the walls together.


Turen added the motor.


- Oh, well, that's progress.


- At this speed,


the walls will come together in about minutes.


- Well, let's synchronize our watches, shall we?


- Let me know when he's ready to talk.


(dramatic music)


What a fortunate man I am.


- In what way, dearest?


- To have so beautiful a wife.


- It is I who am fortunate.


- "Perdition, catch my soul, but I do love thee!"


- Mr. Templar, please cooperate.


Why die for the Gadic Collection?


It isn't worth it.


(suspenseful music)


- In my imagination,


I sensed a look in your beautiful eyes when you saw Templar.


- No man could interest me after you.


(suspenseful music)


- Mr. Templar, why do you persist in being so obstinate?


- Why, it's in my nature.


(suspenseful music)


- I had a dream last night.


I dreamt that you had stolen


the Gadic Collection from me and flown away.


- Don't say things like this, even in jest.


- Flown away, like ...


Like a bird from its cage!


(dishes clattering)


- I'll get you another.


(suspenseful music)


- Sir, you are so stubborn!


Why do you let this go on any longer?


- Okay, Sukan, I'll do a deal with you.


- You mean, without Turen?


- Who needs him?


You let me out, I'll split the Gadic Treasure with you -


- That sounds a very interesting idea.


- Is it a deal?


- I see no reason why it shouldn't be.


- Then, let me out.


- Of course.


After you have told me where the treasure is.


- The pay will be split two ways.


- Nothing for Turen!


- Watch it!


(dramatic music)


(grunting)


Turn the motor off!


(dramatic music)


- It's time to see to our guest


before he becomes a colander.


- You are ill, Turen?


- Coffee!


(screaming)


Lies! Lies!


(screaming)


- [Diya] No, no!


(gasping)


(suspenseful music)


- It's about time, partner.


The key's down there.


(suspenseful music)


(screaming)



(suspenseful music)


(dramatic music)


(scuffling)


(suspenseful music)


(grunting)


Come!


(suspenseful music)


- Turen will k*ll me.


- Oh, he won't.


I promise you.


- Then, what will become of me?


- Depends what you want.


- I'd like to get away from here, away from Turen,


live someplace quietly.


- Such as?


- The South of France.


- Well, I'm sure that could be arranged.


- Excuse me, Sir.


Kemal will talk to you.


Here's the number where you can reach him.


- Thank you.


- The telephone is over there, compliments of the house.


- You'd better get back to the hotel.


Lock yourself in the room.


- You know I never use keys.


- That's right.


I'll be there as soon as I can.


I'll contact Kemal and Ayesha.


(suspenseful music)


(telephone ringing)


- Yes?


Yes, my uncle is here.


- It is him?


Yes, Mr. Templar.


I am sorry but after this Bane business,


we are afraid of everybody.


- Kemal, I must see you as soon as possible.


Anywhere you like.


You name it, I'll be there.


- Meet me on the ferry, the one that leaves at four.


Then, I will tell you everything.


Thank you, Mr. Templar.


- He will help us?


- Yes, if anybody can.


- Uncle, it was wrong of you to get involved in this.


Stupid and greedy!


- Money is always attractive.


- But, not m*rder!


(suspenseful music)


(dramatic music)


(suspenseful music)


(gasping)


(dramatic music)


(screaming)


- Ayesha.


Save her.


- Where is she?


- Nabashir, one-nine-three.


Nabashir!


(dramatic music)


(slow mournful music)


- I'm sorry, Ayesha.


- He believed that people who are foolish


deserved to be separated from their money.


- Well, I must confess, I feel the same way myself at times.


- Then, you understand that he was not


a violent man or cruel.


He was greedy and before he d*ed, he was ashamed of that.


- Ayesha, do you know where the collection is?


- Yes.


(suspenseful music)


(dramatic music)


Ssh, they are old.


They will wake easily.


(suspenseful music)


- It's hard to realize this is worth a fortune.


(suspenseful music)


(dramatic music)


(scuffling)


(grunting)


(scuffling)


(grunting)


(g*nsh*t)


(dramatic music)


Inspector, right on time.


Speaking for myself,


I can't say how delighted I am to see you.


- And I am glad to see you, Mr. Templar.


Alive.


- Yes, well, I'd like to stay that way.


The g*n?


- Oh.


- Now, Inspector, we have a great deal


of information to trade.


- I am always ready to trade, Mr. Templar.


- Yes, yes, it's genuine.


Well, Mr. Templar,


you have rendered us a truly heroic service.


- Well, I'll render you one more.


Once, there was a man at a museum.



Part of his job was to have the Gadic Collection cleaned,


so he called in Kemal.


- Are you daring to accuse me of


having anything to do with this?


- Nobody's accusing anybody of anything at the moment.


May I?


Now, knowing Kemal to be a superb artist,


our man had a brilliant idea duplication.


Kemal took the originals piece-by-piece to his workshop,


ostensibly to clean them but of course, he didn't.


He made magnificent copies.


Then, keeping the originals,


he returned the fakes to the museum.


When he had the entire collection,


he knew he was onto a pretty golden bandwagon.


He didn't need anybody.


So, he took the reins himself,


and the collection, and disappeared.


Now, our man was pretty furious,


so he hired a thug to keep an around-the-clock


watch on the bazaar and sure enough,


he spotted Ayesha, right in the next room,


but I came along and spoiled things.


Well, the rest, gentlemen, is history.


Except that our timid Turk has to put the finger


on his museum accomplice.


- But, surely, Mr. Templar, no one would believe this man.


Zoltan, a notorious criminal?


- Zoltan?


How did you know his name was Zoltan?


- The Inspector told me.


- I said nothing.


- Well, you yourself, Mr. Templar, mentioned--


- No.


The truth is, you knew his name because you hired him.


So, Ahmed, the game is up.


Oh, Inspector?


You haven't forgotten our bargain?


- Of course not.


The fakes are worthless, Mr. Templar.


They're yours.


Do with them what you will.


- But, not the original.


- I'm afraid!


You don't know what Turen is like!


- I know exactly what he's like.


He gets what he wants, either by force or by money.


You leave everything to me.


(knocking)


- Oh!


- In the bathroom.


(dramatic music)


Sukan, you really are a believer in insurance.


- I knew you had it.


- I thought somehow you'd find out.


- I must have it and what I want, I get.


We can do this in one of two ways


Sukan's way, with a b*llet,


or my way $ , .


Which do you prefer?


- Since I have a choice, I'll take the cash.


Sorry, Sukan.


- Agreed.


- Are you sure it's worth this much?


- It's worth times more than that.


- Really?


- Believe me, Mr. Templar.


I have the bargain.


I can honestly say that it has been a great pleasure


to do business with you.


- I hope you will always feel that way.


Oh, Sukan?


Your insurance.


What a partner!


(dramatic music)


("The Saint Theme" by Edwin Astley and Leslie Charteris)


(dramatic music)


(light orchestral fanfare)
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