The Saint versus Scotland Yard (The Saint Series) Page 22

  And the girl knew what his silence meant. For him, the die was cast, and, being the man he was, he was ready to pay cash. His hand was in his pocket, and the smile hadn’t wavered on his lips. But just for that moment he was taking his unflinching farewell of the fair fields of irresponsible adventure, understanding just what it would mean to him to pay the score, scanning the road ahead with the steady eyes that had never feared anything in this life. And he was ready to start the journey there and then.

  And Patricia smiled. She had never loved him more than she did at that moment, but she smiled with nothing but the smile behind her eyes. And she answered before he had spoken.

  “Boy,” she said, “I couldn’t be happier than I am now.”

  He did not move. She went on, quickly:

  “Don’t say it, Simon! I don’t want you to. Haven’t we both got everything we want as it is? Isn’t life splendid enough? Aren’t we going to have more adventures, and—and—”

  “Fun and games for ever?”

  “Yes! Aren’t we? Why spoil the magic? I won’t listen to you. Even if we’ve missed out on this adventure—”

  Suddenly he laughed. His hands went to his hips. She had been waiting for that laugh. She had put all she was into the task of winning it. And, with that laugh, the spell that had held his eyes so quiet and steady was broken. She saw the leap of the old mirth and glamour lighting them again. She was happy.

  “Pat, is that really what you want?”

  “It’s everything I want.”

  “To go on with the fighting and the fun? To go on racketing around the world, doing everything that’s utterly and gloriously mad—swaggering, swashbuckling, singing—showing all these dreary old dogs what can be done with life—not giving a damn for anyone—robbing the rich, helping the poor—plaguing the pompous—killing dragons, pulling policemen’s legs—”

  “I’m ready for it all!” He caught her hands.

  “Are you sure?”

  “Positive.”

  “Not one tiny little doubt about it?”

  “Not one.”

  “Then we can start this minute.”

  She stared.

  “What do you mean?” she asked.

  The Saint loosened his belt and pointed downwards. Even then, she didn’t understand.

  “Remember how I found Bertie? He was halfway into the Lovedew’s wardrobe trunk. We had a short but merry scrap. And then he went on in. Well, during the tumult and the shouting, and the general excitement, in the course of which Bertie soaked up one of the juiciest KOs I’ve ever distributed—”

  He broke off and the girl turned round in amazed perplexity.

  From somewhere on the Berengaria had periled out the wild and frantic shriek of an irreparably outraged camel collapsing under the last intolerable straw.

  Patricia turned again, her face blank with bewilderment.

  “What on earth was that?” she asked.

  The Saint smiled seraphically.

  “That was the death-cry of old Pimply-face. They’ve just opened her trunk and discovered Bertie. And he has no trousers on. We can begin our travels right now,” said the Saint.

  PUBLICATION HISTORY

  Like so many previous Saint books, this one has its origins in Charteris’s work for The Thriller magazine.

  “The Inland Revenue” started life as “The Masked Menace” in No. 116, published on 25 April 1931. “The Million Pound Day” was originally “Black Face” in issue No. 122 from 6 June that same year, and “The Melancholy Journey of Mr Teal” started life as “The Kidnapped Killer” in No. 131 from 8 August 1931.

  These stories were combined under the title The Holy Terror, first published in May 1932 by Hodder & Stoughton. An American edition, under the much more mass market–friendly title of The Saint Versus Scotland Yard, was published by the Doubleday Crime Club in September 1932. The UK reverted to that title with the publication of the first Pan paperback in 1949.

  Charteris dedicated the book to his first wife, Pauline, whom he’d married on 24 June 1931 in Nice, France. They’d met a few years earlier when both were living in South Kensington, London, and Pauline had accompanied Leslie throughout much of the early years of his career. Their daughter, Patricia, was born the following year. After her divorce from Charteris in 1937, Pauline went on to marry literary agent Innes Rose, and for many years both worked at John Farquharson Ltd., which represented Charteris amongst many other authors. She passed away in June 1975.

  This title wasn’t translated quite so quickly as many previous Saint adventures; the Swedes called it Helgonet contra Scotland Yard in 1964 to coincide with the first Saint TV show, but it started life as Helgonet på hemmaplan in the 1940s.

  The French opted for the bibliographically confusing Le Saint à Londres in 1939, whilst in 1933 the Spanish opted for El Santo contra la policía. The Portuguese meanwhile kept it straightforward and published O Santo contra a Scotland Yard in 1950. The Dutch christened it De schrik der dieven for the original translation in 1947.

  A Hungarian translation, under the title of Az Angyal a Scotland Yard ellen, was combined with a translation of The Saint Intervenes (Az Angyal beavatkozik since you ask) and published in 1990.

  A Braille version has been published in Australia by The Queensland Braille Writing Association.

  “The Million Pound Day” formed the basis for the 1939 film The Saint in London, produced by RKO and starring George Sanders as Simon Templar.

  Some commentators have suggested that the much derided 1997 film The Saint adapted the plot point from “The Melancholy Journey of Mr Teal” in which the Saint plans to retire once his bank account reaches a certain level, but such a deliberate homage to the original character seems wildly out of place for a film that deviated so far from the established character of the Saint.

  “The Inland Revenue,” which was adapted by screenwriter Paul Erickson and retitled “The Scorpion,” aired as the forty-third episode in the Roger Moore series The Saint, first broadcast on Sunday, 18 October 1964.

  ABOUT THE AUTHOR

  “I’m mad enough to believe in romance. And I’m sick and tired of this age—tired of the miserable little mildewed things that people racked their brains about, and wrote books about, and called life. I wanted something more elementary and honest—battle, murder, sudden death, with plenty of good beer and damsels in distress, and a complete callousness about blipping the ungodly over the beezer. It mayn’t be life as we know it, but it ought to be.”

  —Leslie Charteris in a 1935 BBC radio interview

  Leslie Charteris was born Leslie Charles Bowyer-Yin in Singapore on 12 May 1907.

  He was the son of a Chinese doctor and his English wife, who’d met in London a few years earlier. Young Leslie found friends hard to come by in colonial Singapore. The English children had been told not to play with Eurasians, and the Chinese children had been told not to play with Europeans. Leslie was caught in between and took refuge in reading.

  “I read a great many good books and enjoyed them because nobody had told me that they were classics. I also read a great many bad books which nobody told me not to read…I read a great many popular scientific articles and acquired from them an astonishing amount of general knowledge before I discovered that this acquisition was supposed to be a chore.”1

  One of his favourite things to read was a magazine called Chums. “The Best and Brightest Paper for Boys” (if you believe the adverts) was a monthly paper full of swashbuckling adventure stories aimed at boys, encouraging them to be honourable and moral and perhaps even “upright citizens with furled umbrellas.”2 Undoubtedly these types of stories would influence his later work.

  When his parents split up shortly after the end of World War I, Charteris accompanied his mother and brother back to England, where he was sent to Rossall School in Fleetwood, Lancashire. Rossall was then a very stereotypical English public school, and it struggled to cope with this multilingual mixed-race boy just into his t
eens who’d already seen more of the world than many of his peers would see in their lifetimes. He was an outsider.

  He left Rossall in 1924. Keen to pursue a creative career, he decided to study art in Paris—after all, that was where the great artists went—but soon found that the life of a literally starving artist didn’t appeal. He continued writing, firing off speculative stories to magazines, and it was the sale of a short story to Windsor Magazine that saved him from penury.

  He returned to London in 1925, as his parents—particularly his father—wanted him to become a lawyer, and he was sent to study law at Cambridge University. In the mid-1920s, Cambridge was full of Bright Young Things—aristocrats and bohemians somewhat typified in the Evelyn Waugh novel Vile Bodies—and again the mixed-race Bowyer-Yin found that he didn’t fit in. He was an outsider who preferred to make his own way in the world and wasn’t one of the privileged upper class. It didn’t help that he found his studies boring and decided it was more fun contemplating ways to circumvent the law. This inspired him to write a novel, and when publishers Ward Lock & Co. offered him a three-book deal on the strength of it, he abandoned his studies to pursue a writing career.

  When his father learnt of this, he was not impressed, as he considered writers to be “rogues and vagabonds.” Charteris would later recall that “I wanted to be a writer, he wanted me to become a lawyer. I was stubborn, he said I would end up in the gutter. So I left home. Later on, when I had a little success, we were reconciled by letter, but I never saw him again.”3

  X Esquire, his first novel, appeared in April 1927. The lead character, X Esquire, is a mysterious hero, hunting down and killing the businessmen trying to wipe out Britain by distributing quantities of free poisoned cigarettes. His second novel, The White Rider, was published the following spring, and in one memorable scene shows the hero chasing after his damsel in distress, only for him to overtake the villains, leap into their car…and promptly faint.

  These two plot highlights may go some way to explaining Charteris’s comment on Meet—the Tiger!, published in September 1928, that “it was only the third book I’d written, and the best, I would say, for it was that the first two were even worse.”4

  Twenty-one-year-old authors are naturally self-critical. Despite reasonably good reviews, the Saint didn’t set the world on fire, and Charteris moved on to a new hero for his next book. This was The Bandit, an adventure story featuring Ramon Francisco De Castilla y Espronceda Manrique, published in the summer of 1929 after its serialisation in the Empire News, a now long-forgotten Sunday newspaper. But sales of The Bandit were less than impressive, and Charteris began to question his choice of career. It was all very well writing—but if nobody wants to read what you write, what’s the point?

  “I had to succeed, because before me loomed the only alternative, the dreadful penalty of failure…the routine office hours, the five-day week…the lethal assimilation into the ranks of honest, hard-working, conformist, God-fearing pillars of the community.”5

  However his fortunes—and the Saint’s—were about to change. In late 1928, Leslie had met Monty Haydon, a London-based editor who was looking for writers to pen stories for his new paper, The Thriller—“The Paper with a Thousand Thrills.” Charteris later recalled that “he said he was starting a new magazine, had read one of my books and would like some stories from me. I couldn’t have been more grateful, both from the point of view of vanity and finance!”6

  The paper launched in early 1929, and Leslie’s first work, “The Story of a Dead Man,” featuring Jimmy Traill, appeared in issue 4 (published on 2 March 1929). That was followed just over a month later with “The Secret of Beacon Inn,” starring Rameses “Pip” Smith. At the same time, Leslie finished writing another non-Saint novel, Daredevil, which would be published in late 1929. Storm Arden was the hero; more notably, the book saw the first introduction of a Scotland Yard inspector by the name of Claud Eustace Teal.

  The Saint returned in the thirteenth issue of The Thriller. The byline proclaimed that the tale was “A Thrilling Complete Story of the Underworld”; the title was “The Five Kings,” and it actually featured Four Kings and a Joker. Simon Templar, of course, was the Joker.

  Charteris spent the rest of 1929 telling the adventures of the Five Kings in five subsequent The Thriller stories. “It was very hard work, for the pay was lousy, but Monty Haydon was a brilliant and stimulating editor, full of ideas. While he didn’t actually help shape the Saint as a character, he did suggest story lines. He would take me out to lunch and say, ‘What are you going to write about next?’ I’d often say I was damned if I knew. And Monty would say, ‘Well, I was reading something the other day…’ He had a fund of ideas and we would talk them over, and then I would go away and write a story. He was a great creative editor.”7

  Charteris would have one more attempt at writing about a hero other than Simon Templar, in three novelettes published in The Thriller in early 1930, but he swiftly returned to the Saint. This was partly due to his self-confessed laziness—he wanted to write more stories for The Thriller and other magazines, and creating a new hero for every story was hard work—but mainly due to feedback from Monty Haydon. It seemed people wanted to read more adventures of the Saint…

  Charteris would contribute over forty stories to The Thriller throughout the 1930s. Shortly after their debut, he persuaded publisher Hodder & Stoughton that if he collected some of these stories and rewrote them a little, they could publish them as a Saint book. Enter the Saint was first published in August 1930, and the reaction was good enough for the publishers to bring out another collection. And another…

  Of the twenty Saint books published in the 1930s, almost all have their origins in those magazine stories.

  Why was the Saint so popular throughout the decade? Aside from the charm and ability of Charteris’s storytelling, the stories, particularly those published in the first half of the ’30s, are full of energy and joie de vivre. With economic depression rampant throughout the period, the public at large seemed to want some escapism.

  And Simon Templar’s appeal was wide-ranging: he wasn’t an upper-class hero like so many of the period. With no obvious background and no attachment to the Old School Tie, no friends in high places who could provide a get-out-of-jail-free card, the Saint was uniquely classless. Not unlike his creator.

  Throughout Leslie’s formative years, his heritage had been an issue. In his early days in Singapore, during his time at school, at Cambridge University or even just in everyday life, he couldn’t avoid the fact that for many people his mixed parentage was a problem. He would later tell a story of how he was chased up the road by a stick-waving typical English gent who took offence to his daughter being escorted around town by a foreigner.

  Like the Saint, he was an outsider. And although he had spent a significant portion of his formative years in England, he couldn’t settle.

  As a young boy he had read of an America “peopled largely by Indians, and characters in fringed buckskin jackets who fought nobly against them. I spent a great deal of time day-dreaming about a visit to this prodigious and exciting country.”8

  It was time to realise this wish. Charteris and his first wife, Pauline, whom he’d met in London when they were both teenagers and married in 1931, set sail for the States in late 1932; the Saint had already made his debut in America courtesy of the publisher Doubleday. Charteris and his wife found a New York still experiencing the tail end of Prohibition, and times were tough at first. Despite sales to The American Magazine and others, it wasn’t until a chance meeting with writer turned Hollywood executive Bartlett McCormack in their favourite speakeasy that Charteris’s career stepped up a gear.

  Soon Charteris was in Hollywood, working on what would become the 1933 movie Midnight Club. However, Hollywood’s treatment of writers wasn’t to Charteris’s taste, and he began to yearn for home. Within a few months, he returned to the UK and began writing more Saint stories for Monty Haydon and Bill McElroy.


  He also rewrote a story he’d sketched out whilst in the States, a version of which had been published in The American Magazine in September 1934. This new novel, The Saint in New York, published in 1935, was a significant advance for the Saint and Leslie Charteris. Gone were the high jinks and the badinage. The youthful exuberance evident in the Saint’s early adventures had evolved into something a little darker, a little more hard-boiled. It was the next stage in development for the author and his creation, and readers loved it. It became a bestseller on both sides of the Atlantic.

  Having spent his formative years in places as far apart as Singapore and England, with substantial travel in between, it should be no surprise that Leslie had a serious case of wanderlust. With a bestseller under his belt, he now had the means to see more of the world.

  Nineteen thirty-six found him in Tenerife, researching another Saint adventure alongside translating the biography of Juan Belmonte, a well-known Spanish matador. Estranged for several months, Leslie and Pauline divorced in 1937. The following year, Leslie married an American, Barbara Meyer, who’d accompanied him to Tenerife. In early 1938, Charteris and his new bride set off in a trailer of his own design and spent eighteen months travelling round America and Canada.

  The Saint in New York had reminded Hollywood of Charteris’s talents, and film rights to the novel were sold prior to publication in 1935. Although the proposed 1935 film production was rejected by the Hays Office for its violent content, RKO’s eventual 1938 production persuaded Charteris to try his luck once more in Hollywood.

  New opportunities had opened up, and throughout the 1940s the Saint appeared not only in books and movies but in a newspaper strip, a comic-book series, and on radio.

  Anyone wishing to adapt the character in any medium found a stern taskmaster in Charteris. He was never completely satisfied, nor was he shy of showing his displeasure. He did, however, ensure that copyright in any Saint adventure belonged to him, even if scripted by another writer—a contractual obligation that he was to insist on throughout his career.