Let your conscience be your guide to the ethics of parodying and ""adapting"" Leslie Charteris' creation. Certainly Flemming Lee's reworking of two stories by Norman Worker based on Charteris' svelte sleuth are pleasant enough. In one case the Saint tracks down an art swindle; in the other he collars a crime lord named Supremo, amid dives and mansions, with a worshipful socialite. Featherweight nostalgic amusements with only an occasional smart-alec nip (""he set out in his . . . incredibly expensive Hirondel"") to bite the hand that feeds and feeds. . . .