The Saint: Reflection on Murder 08/13/1950

Summary

Podcast Summary: The Saint – "Reflection on Murder" (08/13/1950)

Podcast: Choice Classic Radio Detectives | Old Time Radio
Host: Choice Classic Radio
Episode: The Saint: "Reflection on Murder"
Original Air Date: August 13, 1950
Featured Star: Vincent Price as Simon Templar
Summary Date: March 8, 2026

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Episode Overview

This episode of The Saint follows the urbane detective Simon Templar, aka "The Saint", as he investigates the murder of publisher Jim Barry. Set against the theatrical backdrop of a play's dress rehearsal, the plot quickly thickens with more attempts on the lives of those involved. Simon must unravel a web of jealousy, professional rivalry, and deception to reveal the murderer’s true identity—all while navigating witty banter, tense confrontations, and classic noir intrigue.

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Key Discussion Points & Story Progression

1. The Murder and Initial Escape

• Scene: The episode opens amid chaos as actress Betty Ames flees the murder scene of publisher Jim Barry. Simon Templar (Vincent Price) intercepts her and tries to coax details from her as they share a cab ([01:08]–[02:49]).
  • Notable Quote:
    • Simon: "Fate is not synonymous with boogeyman, Ms. Ames. And why not call me Simon? After all, we were both present at the unveiling of the corps." ([02:04])
  • They are shot at during the cab ride, suggesting the killer may be after witnesses ([02:24]).

2. Backstage Suspicion

• Scene: At the theater, Simon meets Vera Pangborn and Helen Trask, both writers published by Jim Barry, and Larry Stevens, the stage manager ([04:48]–[05:35]).
  • Notable Quote:
    • Simon (on the murder attempts): "Somebody doesn't like us, Betty. The driver of that car threw some hot lead our way." ([03:29])
  • During rehearsal, Simon intervenes when he discovers a live cartridge in Stevens’ cuff and halts a shooting scene ([07:02]–[08:03]).
    • Simon discovers that the gun using in rehearsal contained real bullets, indicating deliberate sabotage intended for Betty ([07:24]–[08:03]).

3. Investigation and Motive

• Scene: Simon deduces ties among the suspects—Betty, the two writers, Kilgore (Barry’s business partner), and Stevens ([09:04]–[10:17]).
  • Discussion centers around possible motives: money, jealousy, and fear of discovery ([08:54]).
  • Betty recalls seeing a "familiar face" at the murder but can't identify them ([09:20]–[09:50]).

4. Clues at the Morgue and Publisher’s Office

• Scene: Simon and Betty visit the morgue, pulling a ruse to access the murder victim’s effects ([10:45]–[12:33]).
  • Simon lifts Barry’s office keys, and they break into the publisher’s office, seeking evidence ([13:26]–[14:04]).
  • They find a note from Kilgore criticizing Helen's manuscript—suggesting business friction and hinting at romantic entanglements ([14:28]–[15:04]).

5. Second Murder and Attempted Third

• Scene: As Simon and Betty search the office, shots ring out, and Kilgore is found dead ([16:09]–[16:52]).
  • Later, Vera phones Betty, claims to have information, and is shot—which nearly silences another key witness ([17:21]–[18:03]).
  • Simon deduces Vera’s shooter fired from inside her apartment based on the pattern of shattered glass ([26:04]–[26:23]).

6. Unmasking the Murderer

• Scene: Simon gathers everyone at Helen’s apartment for group questioning ([21:24]–[22:50]), then sets a final trap by pretending Betty has recalled the killer’s face ([22:56]–[23:32]).
• He and Betty confront Vera in Betty’s apartment, where Vera, armed, admits she killed Jim Barry out of jealousy (he was her husband and left her for Helen).
  • Notable Quote:
    • “Every young woman who came along and thought she could write turned his head … Jim was my husband.” – Vera ([25:02])
  • Simon disarms Vera before she can kill again ([25:30]–[25:39]).

7. Wrap-up and Explanations

• Simon explains Vera had faked her own wounding and had staged the shooting through the window to seem like a victim, not the killer ([26:04]–[26:42]).
  • Notable Quotes:
    • "It was the glass and the fire escape ... the shot was fired from within, scattering the glass outward. And who was inside the apartment at the time? Vera." ([26:23])
  • Motive was fear of discovery—Vera worried Betty could recall seeing her at the scene ([27:05]–[27:07]).
• Simon and Betty end the episode with playful banter under the moon—a classic romantic noir finish ([27:16]–[27:45]).

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Memorable Quotes & Moments

• Simon on his reputation:
  "Sometimes I feel as though I had a neon sign on my forehead. I'll confess the fatal appellation." ([01:56])
• Betty on witnessing the murder:
  "I heard those shots and saw him fall, I … how did you know who I was?" ([02:32])
• Simon’s dry wit:
  "You know, Stevens, I must be super sensitive. Why else would I get the idea that you don't like me?" ([07:03])
• Vera’s confession:
  "That's right. Jim was my husband…every young woman who came along and thought she could write turned his head … now Jim's dead and Kilgore is dead because he suspected me. And you're going to die too, right now." ([25:02]–[25:21])

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Important Segment Timestamps

• 00:00–01:08: Intro, setup, murder discovered
• 01:47–02:49: Simon and Betty in cab, first suspicions & shooting attempt
• 04:48–05:35: Introduction of Vera, Helen, and Stevens backstage
• 07:02–08:03: Simon halts rehearsal, discovers real bullets in stage gun
• 10:45–12:33: At the morgue; Simon and Betty’s ruse
• 13:26–14:04: Breaking into Barry’s office, motive clues found
• 16:09–16:52: Second murder: Kilgore shot dead
• 17:21–18:03: Vera shot while on phone call with Betty
• 25:02–25:39: Vera confesses to Simon and Betty at gunpoint
• 26:04–26:42: Simon explains the fake shooting, glass clue
• 27:01–27:16: Motive clarified: fear Betty would remember Vera’s face

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Tone and Style

The dialogue is rapid, clever, and characteristic of noir detective fiction. Simon’s wry humor lightens dark moments, and witty exchanges abound even in tense confrontations. Vincent Price’s portrayal lends sophistication and subtlety, balancing suspense and romantic undertones.

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Conclusion

In Reflection on Murder, Simon Templar unravels a multi-layered murder case among theater people, revealing Vera's jealousy and fear of discovery as the driving motives. The episode blends sharp wit, danger, and classic detective deduction—a vintage audio drama experience showcasing the golden age of radio sleuths.

Transcript

[A]

Welcome to Choice classic radio where we bring to you the greatest old time radio shows like us on Facebook. Subscribe to us on YouTube and thank you for [e-mail]. The Adventures of the Saint starring Vincent Price. The Saint. Based on characters created by Leslie Charter and known to millions from books, magazines and motion pictures, the Robin Hood of modern crime now comes transcribed to radio starring Hollywood's brilliant and talented actor Vincent Price as. Let's sing.

[B]

What's wrong? It's not someone shot. It's murder. He's murdered. Please. He's dead. Oh, I didn't see you in May. I thought the cab was empty.

[A]

It's Perfectly all right, Ms. Ames. Oh, please don't go.

[B]

I must.

[A]

The police now at the scene of the crime. They'll take care of things. As I can see, you're in a hurry.

[B]

Yes, I am.

[A]

All right, driver, step on it. Yes, sir. Comfortable, Ms. Ames?

[B]

I don't know you, do I?

[A]

An oversight on my part. That can be easily remedied. I'm Simon Templer.

[B]

Simon Templer?

[A]

Yes.

[B]

Oh, you're the saint, aren't you?

[A]

Sometimes I feel as though I had a neon sign on my forehead. I'll confess the fatal appellation.

[B]

Well, I think I'd better get out, Mr. Templer. You see, I.

[A]

Fate is not synonymous with boogeyman, Ms. Ames. And why not call me Simon? After all, we were both present at the unveiling of the corps.

[B]

If you think you're being funny, Mr.

[A]

Templar, there's nothing funny about murder. Particularly when as pretty a girl as you is involved.

[B]

But I'm not involved.

[A]

A question of semantics, Ms. Ames. A man gets killed when you're within five feet of him and you turn tail and run. If that's not being involved, my dictionary lied to me.

[B]

I suppose you're right. It was foolish of me to run. But when I heard those shots and saw him fall, I. How did you know who I was?

[A]

Such modesty is becoming. But hardly intelligent, Ms. Ames. You're a star. Your show is opening in a week and your pictures have been plastered all over town.

[B]

Of course, I should have known.

[A]

Did you know the man who was shot at?

[B]

Yes. Yes, I had an appointment with him. His name was Jim Barry.

[A]

Oh, the publisher. Yes, I know him. Or rather knew him. He's been kind enough to publish some scribblings of mine. But what were you going to see him about? Anything special?

[B]

No, just a business talk.

[A]

Business talk? With a publisher? Don't tell me the Barry Kilgore company is going to publish the story of your life.

[B]

No, but Jim's firm was preparing an anthology to modern theater and he wanted to include the new play I'm going to be in.

[A]

Down, Denny, down to the floor.

[B]

I said down. What? What happened?

[A]

Somebody doesn't like us, Betty. The driver of that car threw some hot lead our way. I don't know. I only saw the glint of a gun out of the corner of my eye.

[B]

Hey.

[A]

Hey driver.

[B]

Are you Simon? Is he dead?

[A]

We don't see. Now how do you like that? We get shot at and he faints.

[B]

I don't blame him. I feel a little.

[A]

Don't. Don't. You must be due at the theater for rehearsal about now. And the show must go on. Though for the life of me I've never been able to understand why. Hey Joe, bring this soap in wand state. Okay, Larry,

[B]

here's my dressing room. Sim, you go in and wait for me. I'd have you watch the rehearsal from the wings that Larry Stevens, our stage manager is superstitious about.

[A]

Okay, Betty, but your sanctified watchdog will be panting on your threshold till you get back.

[B]

After what's happened, Simon, I'll be glad to know you're good.

[A]

Bye.

[B]

See you later.

[A]

Oh well, I might as well wait inside.

[B]

But really Vera, I don't know what you mean. I think you do, Helen. Just remember what I told you about Jim Barry and you'll be. Simon Templar. What in the world are you doing?

[A]

Well that's what I call a quick switch. Vera Panguin, lady novelist gets stage struck. Or are you merely getting material for a novel about backstage?

[B]

Oh no, no theater novels for me, Simon. Oh, let me introduce Helen Trask. Helen, this is Simon Templer. How do you do, Mr. Templar?

[A]

As well as might be expected under the circumstances, Ms. Traska. Not too accustomed to entering one lovely ladies dressing room and finding two others awaiting me.

[B]

Well as a matter of fact Helen and I were waiting for Jim Barry. We thought he was coming here with Betty.

[A]

Jim Barry? Oh, he's your publisher, isn't he Vera?

[B]

Yes, and Helen's too. Helen's his really latest discovery. She has a new novel coming out.

[A]

Well, I'm afraid you're going to be disappointed ladies. Barry's been unexpectedly detained.

[B]

Oh, and I was so anxious to see.

[A]

Why not let me substitute? I'm very good at parlor tricks and small talk. Your name's Templar? Yes, it has been for a number of years. I can remember way back when my parents. What's the big idea of keeping Ms. Ames away from rehearsal. Did I? Who are you? Oh, Stevens, the stage manager. That's right. And I'm also the guy who doesn't like stage door johns. There's something about the way you said that that hurts me deeply. He. What's that thing in the cuff of your trousers, Steven? In the cuff of my trousers? Yeah, right here. Now look here, Templar, I don't know what this is all about. Maybe you don't, but you should know a revolver cartridge when you see one. Revolver cartridge? Is that what this is? It is. Where's Betty Ames? Why, in rehearsal. I had them starred. I presume there's a shooting scene in this play. I. Yes, toward the end of the first act. But I. I. You'll like me even less after this. But I'm stopping that rehearsal. You can't do that, Kemper. I don't. You'll have a dead star on your hand, Betty Ames. Are you crazy? I hope so. I hear them. Where's the closest stage entrance? Over there to your left. I hope you know what you're doing. I'm afraid I do. They're at the shooting scene. Now stop it.

[B]

Don't you stop. Simon. What is it? Simon, what's the matter?

[A]

Apparently nothing, but I'm a little amazed at finding you all right.

[B]

Why shouldn't I be, Simon?

[A]

Now there you have me. Quiet. Quiet, everybody. Hepler, I've had enough of this nonsense. You've held up the rehearsal by keeping Betty away. And now you've broken up the end of the first act. Either you get out of this theater or I'll have you throw it out. You know, Stevens, I must be super sensitive. Why else would I get the idea that you don't like me? No, don't answer. There's something I want to do first. Where's the gun your leading man fired just now, Betty?

[B]

It's over there on the floor. Just a prop gun with blank cartridges.

[A]

Blank cartridges? So that's it. I've always wondered how people shot in place had so many lives. You mind if I take a look? What's all the commotion about? Oh, hello, Mr. Kilgore. We've been having a little trouble with a fellow named Templar, but everything's under control. Well, it better be. I've got quite an investment in the show. And the way it looks now, it'll flop before they get to the. Now, there's nothing for you to get excited about, Mr. Kilgore. I assure you that that's all in the way one looks at it, Stevens. And I suggest that you look at this gun. I see a templer. So what? So this. Break it,

[B]

Simon. Those aren't blank cartridges. They're real. Real?

[A]

But that's impossible. Perhaps you'd better take a second look. But why would anyone in this theater substitute real bullets for the blanks? Now, that is a puzzling question, Stevens. Of course, it couldn't possibly be that someone was interested in killing Betty Ames. Now,

[B]

I still don't understand how you knew Simon.

[A]

Well, theatrical people may dress somewhat unconventionally, but I thought that Stevens with revolver cartridges in his trouser cuffs was going a bit overboard. Fortunately, your leading man is a sensitive soul. He jumped at least a foot when I shouted at him as he fired.

[B]

Oh, if you hadn't startled him.

[A]

Yeah, Then I doubt that we'd be sitting here in your dressing room.

[B]

But why should anyone want to kill me?

[A]

The usual motives are money, jealousy and fear of discovery.

[B]

But I'm not rich, and there's no reason for anyone being jealous of me. And I don't know a thing about anyone.

[A]

Are you certain of that, Betty?

[B]

Of course I am.

[A]

You were pretty much in evidence when Jim Barry was killed.

[B]

So were a dozen other people.

[A]

Yeah, but perhaps they didn't see what you saw.

[B]

I didn't see anything.

[A]

At the killing, perhaps, but what about? Well, a familiar face in the crowd, for example.

[B]

Familiar face? No. Oh, wait a minute. Yes. Yes, I did see someone.

[A]

The eyes have it. You saw the killer. Who was it?

[B]

That's just it. I don't know.

[A]

Let me remind you that a familiar face belongs to someone you know or have seen before.

[B]

Yes, I know that, Simon. But I just caught a flash of the face, and I was thinking it looked familiar and was starting to identify it in my mind. And then the shots were fired and Jim Barry was killed, and then it was gone.

[A]

I don't suppose you got a similar flash among the people in the theater tonight?

[B]

No. Might have been any one of them. Or none of them.

[A]

Hardly what I'd call an elucidating statement. Let's put this together. Barry was the publisher for Vera Pangburn and Helen Trask, and both of them were in the theater. Kilgore, who put up the money for the show, was Barry's partner in the publishing business. And he was in the theater. Steven's, the stage manager, had that cartridge in his cuff. Yes, he did, didn't he?

[B]

So where does that get us, Simon?

[A]

Exactly? Nowhere. Well, as my old grandmother used to say, if at first you don't Succeed. Try checking up on the corpse. Come on, Betty, let's go to the morgue.

[B]

This place gives me the creep, son.

[A]

Strangely enough, the morgue never was noted for being the most cheerful place in the world.

[B]

Do you think your scheme will work?

[A]

How optimistic can one man be? But it's quite the trial.

[B]

Looking for someone, Mr. Templar?

[A]

Hello there, Duncan. How are things? Things? Oh, they're pretty dead around here.

[B]

Pretty dead.

[A]

Same jolly old soul, aren't you? Oh, I get my kicks, Mr. Templer. How peachy for you. Feel jolly enough to do me a favor?

[B]

Maybe?

[A]

Yeah. Did you get an advanced case of rigor mortis in here sometime this evening? Fellow by the name of Barry.

[B]

Barry?

[A]

Yeah.

[B]

You sure did.

[A]

Gun killing. Neat job, too.

[B]

You want to see him? Oh, no.

[A]

I bow to the lady, Duncan. But you know, I have a theory that every murdered man dies with exactly $11.63 in his pocket. You have?

[B]

But how could that be, Mr. Templer?

[A]

Let's look at his personal effects and see, eh, Duncan? Personal effect. Yeah. Well, now, it's a sure ought to.

[B]

No, sir.

[A]

Can't you know the rules? Oh, of course, I'm sorry I mentioned it, but Ms. Ames was anxious to see if those opening night tickets to her new show, the ones in your name, that is, could possibly have been lost around here somewhere. Oh, $11.63, you say?

[B]

Well, that's an interesting theory, Mr. Templar.

[A]

And we can't block the progress of science, can we? No, indeed.

[B]

There you are.

[A]

Take a look. Wallet, jewelry, a couple of keyrings.

[B]

There's a couple of hundred bucks in the wallet. Masters or theory all to tune it, don't it?

[A]

Is that all there was on him? Well, see for yourself.

[B]

I told you that.

[A]

Hey, hey, look out. He's going to faint. You. Yeah, you're okay, miss. Okay, I got you.

[B]

Thank you. Thank you. I don't know what happened. Suddenly everything turned black.

[A]

All right, Betty, don't talk. I'll get you outside. Even an old ghoul like Duncan gets queasy in here sometimes.

[B]

No, I don't neither. You sure you're okay, miss? Yes, thank you. I'm all right now. Thanks very much, Mr. Duncan. Well, you're welcome. And them opening night tickets in my name you lost? Oh, you'll find them at the box office in your name, Mr. Duncan. Well, glad you folks dropped in. The first part of your scheme seemed to work all right, Simon.

[A]

Well, I did get hold of Barry's keys, and thanks to the fainting act you staked and very realistic. It was too, but there was little else of interest there.

[B]

Then what goes on now?

[A]

I might suggest that we halt right here in front of the office of Barry, Kilgore Co. Publishers. Pick out a key that looks as though it fits the lock. Mm. And walk right in there. You see what skill, perseverance and some petty larceny can accomplish. Now, where's Jim Barry's office, Do you know? Oh, yes.

[B]

Right over there. Kilgore is the one next to it. There's the light switch on the wall.

[A]

You'll never make an understudy to a sneak thief by talking about lights, Betty. My flashlight's enough.

[B]

But I still don't understand what you expect to find up here, Simon.

[A]

Neither do I. But I'm looking for motives. What better place to find motives than in the dead man's private files? Let's start with this stuff on the desk.

[B]

Those are only golly proofs of a book, Simon.

[A]

So it would appear. What a fascinating title. My Heart's One Romance by Helen Trapp.

[B]

Oh, no. Talk about corn. No motive for murder, Vass.

[A]

I wonder.

[B]

What do you mean?

[A]

This inter office memo clipped to it. Listen to this. Repeat seg, Jim. Stop publishing this kind of tripe before it ruins us. It's initialed K. K for Kilgore.

[B]

What do you make of that, Simon?

[A]

I think Kilgore didn't like the book.

[B]

But if it's as bad as all that, why was Jim Barry publishing it?

[A]

Maybe you better take another look at Helen fast.

[B]

Oh, you mean you think that Helen and Jim Barry are.

[A]

I prefer to keep an open and clean mind about these things. But we do know Kilgore didn't like it. And Kilgore stands to get plenty. Now that Barry's dead. He becomes sole owner of the business.

[B]

Simon. Simon, someone's coming to the outer office.

[A]

Very inconsiderate of him.

[B]

What if it's the police or Jim Bar's murderer?

[A]

Those suggestions are very inconsiderate of you.

[B]

What's he doing now, Simon?

[A]

Not he. There are two people in the office.

[B]

Are they coming in here?

[A]

No, no. They've gone into Kilgore's office. They didn't turn on the light, so they must be familiar with the place. Remind me to complain to the owners of this building. They've made these walls so soundproof, I can't even recognize the voices, let alone hear. We could hear those all right, couldn't we? I'll be right back.

[B]

No, Simon, please.

[A]

Whoever it was got away Simon.

[B]

Simon, are you all right? I'll get a doctor.

[A]

I better make it a carpenter instead. Betty Carpenter. Yeah, the shot's missed. But I certainly smashed up that desk I ran into. Find the lights and see how much damage was done. That does it now, Simon. Damage was quite extensive. To Mr. Kilgore. Our chief suspect has been crossed off the list by a bullet between his eyes.

[B]

Well, at least you got me home safe and sound. Simon.

[A]

After what's gone on today, I'm beginning to wonder how that happened to me. Does everything look to be in place?

[B]

Yes, of course, Betty.

[A]

It's a funny thing, but ever since my college prom days, I've had an abiding dislike for chaperones popping up unexpectedly. I'd better look around. Look, don't let these modern inventions frighten you, Betty. The telephone is quite hard.

[B]

My nerves are. I'll answer. Hello, Betty? Betty, this is Vera Pangborn. Oh, yes, Vera. I want you to do me a favor, Betty. I think I know something about Jim Barry's death. Just a minute, Vera. Simon, is Vera Pangborn? She says she thinks she knows something about the Barry killing.

[A]

Well, don't be piggish about things. Split the receiver with me and let me listen too.

[B]

Vera. What do you mean? I don't know just how to explain it, Betty, but get away from that window. Vera, what is it? Milk. Vera? Vera, are you still there? Simon, those were shots. What happened there?

[A]

This may come as a tremendous surprise, Betty, but it sounds like Vera Pangbrand just became murder victim number three.

[B]

Vera doesn't answer, Simon.

[A]

I must use brawn instead of brains. Unaffected, if not neat. Come on, let's go in.

[B]

Simon, there she is. Yeah, on the poor.

[A]

All right, is she? She's luckier than Barry or Kilgore. Shot in the upper part of the arm. You better get some towels, Betty.

[B]

I'll be right back, son.

[A]

Good.

[B]

What happened, Simon? Man on the fire escape is shot at me.

[A]

I'd be indignant about it too, Vera, but suppose we talk about it later?

[B]

You better let me at it.

[A]

Wait, I'll. I'll lift her under the Damon. There. Now, if you'll make like Florence Nightingale. Betty, I. I'd like to look at the firescape.

[B]

All right, son.

[A]

Betty.

[B]

Betty. Poor darling. Time for talk later. Let's get you fixed up first. You just relax, Vera. We're here and everything's going to be all right. Thanks.

[A]

The view from your fire escape is very disappointing, Vera. Only shattered glass out there. Did this homicidal friend of yours shoot through the window?

[B]

Yes. I was talking on the phone to Betty and I looked up and saw him. He had a handkerchief over his face and he she shot twice. There you are, Vera. And that'll hold you until we get a doctor.

[A]

By the way, Vera, not that I'm curious or anything, but what was it you were going to tell Betty over the phone about Jim Barry's murder?

[B]

I can't tell you, Simon.

[A]

Well, I'll admit I'm not as pretty as Betty or as Simon.

[B]

No, no, no, I won't say anything. He's already shot at me once. I won't say anything. He'll kill Lady. Oh, my dear, take it easy. You don't have to tell us anything. Simon, we better call a doctor. She's in no condition to be bothered now.

[A]

Right now, neither am I. Suppose you take care of the medical details and then meet me at Helen's. Ax at Helen's? Yeah.

[B]

Is that where you're going now?

[A]

No, I'm going to Larry Steven's place. And if that sounds confusing to you, it's no wonder I'm a little confused myself. Yes? Hello, Stevens. You mind if I step inside? Templar, what in blazes are you doing here? I guess you do mind. Well, I have an invitation for you, Stevens, to come calling on Helen Trask with me. Helen Trask? Why should I go to her place? I thought it would be sweet if we all chewed over a few explanations together. You'll get no explanations for me. Now get out, Templar. Okay, Stevens. But if you don't mind, I would like to leave you something first. Yes? What's that? You know something, Stevens? I think you're coming with me whether you want to or not. All right. Now that Betty is here, we have a quorum.

[B]

But I. I don't understand, Mr. Templer. Why are you all here at my apartment?

[A]

There's no sense asking him, Helen. He's completely crazy. Stevens, I think you're prejudiced because your jaw still aches a little. Hm. Ms. Trask, when I entered Betty's dressing room tonight, Vera was saying something to you about Jim Barry. What was it?

[B]

Why, she was merely warning me against him. Said he had a weakness for young women writers.

[A]

In your case, that's understandable. Would you say his weakness could account for a rather poor manuscript being accepted?

[B]

If you're insinuating anything, Mr. Temple. Oh, Helen, of course not. You didn't listen to Vera, did you? Naturally not. Mr. Bally always acted like a perfect gentleman.

[A]

What are you driving at anyway, Templar? They say I'm A perfectionist, Stevens. I don't like ragged details hanging over. And that snatch of conversation intrigued me. Something else intrigues me, too. That cartridge in the trouser cuff episode. You really are determined to play Sherlock Holmes, aren't you? Well, if it'll relieve your mind any. On my way to Betty's dressing room, I bumped into a prop table box of what I thought were blank cartridges spilled against me and onto the floor. Do you think that there might have been some loaded cartridges among the blanks and that one of them lodged in your cup? That's it exactly. A very simple explanation. Yes, almost too simple. Did you try to check this theory of yours? Well, I tried to, but when I got back to the table, the box was gone. Which, of course makes it even simpler. Do you mind if I use your phone, Helen?

[B]

Phone. Oh, I know. No, not at all.

[A]

Thanks.

[B]

You calling the police, Simon?

[A]

No. Vera Panguin. Vera Panguin, that's right. Hello. Oh, yes, Doctor. How's Ms. Penguin? Oh, that's fine. Give her a message, will you, please? Tell her Simon Templer called and she needn't worry about that killer any longer. That's right. Betty Ames has remembered who it was she saw at the scene of the murder. And that's all the evidence we need.

[B]

Simon, what is this all about?

[A]

Beautiful here in the park, isn't it?

[B]

You know very well that I haven't remembered the face I saw when Jim was killed.

[A]

A brilliant moon, soft starlight. A perfect night for romance. And she talks about killing.

[B]

Oh, please, Simon, please. What are we doing out here anyway?

[A]

To take a cue from you? Just killing time. And I think we've killed enough. Let's get going.

[B]

Simon, for the last time, will you give me a direct answer? Where are we going?

[A]

Oh, didn't I tell you, Betty? Why, I'm merely taking you home.

[B]

Here's my daughter, Simon. I can find my way in alone.

[A]

Don't you think the least I can do is to search the apartment for you again?

[B]

That won't be necessary, thank you. Good night.

[A]

Well, at least allow me to turn the lights on for you.

[B]

There. You satisfied? Now you can see for yourself if there's.

[A]

Yes, I can see quite well. Hello, Vera.

[B]

Shut that door, Simon, quickly.

[A]

I never argue with a lady, Vera, Particularly when she's got a gun in her hand.

[B]

That's better. I thought that phone call of yours might have been a trap, Simon, but I had to make sure.

[A]

Now that you apparently have made sure,

[B]

Vera, you and Betty are going to join the other. Simon.

[A]

Tell me why? You killed Jim Barry, Vera. Was he your husband?

[B]

Pretty smart, aren't you, Simon? That's right. Jim was my husband.

[A]

Yes, I thought so. Jealousy was the only motive I could figure for you.

[B]

Every young woman who came along and thought she could write turned his head. The Helen Trask. A high school girl could write a better book than she did.

[A]

But Jim Barry was going to divorce you and marry her, wasn't he?

[B]

Yes. And now Jim's dead and Kilgore is dead because he suspected me. And you're going to die too, right now.

[A]

No, you don't give me that. No, she isn't. Are you, Vera? No.

[B]

No. Oh, Simon. Oh, Simon, I was so scared.

[A]

You know something, Betty? So was I.

[B]

I still don't understand, Simon. That business of theirs being shot. Now, how did you know that she'd fake that?

[A]

You know, Betty, that's one thing I always do dislike about solving a murder. I have to explain things, but if you won't let well enough alone.

[B]

No, Simon, I won't.

[A]

All right. It was the glass and the fire escape. Now, shall we get back to that moon?

[B]

Simon, what about the glass?

[A]

Oh, it came from the shattered window and there was no glass within the room. Therefore, the shot was fired from within, scattering the glass outward. And who was inside the apartment at the time? Vera M. We have achieved a meeting of the mind. Now, if we can carry that a bit further while discussing those lovely shimmering stuff.

[B]

But I heard two shots fired over the phone. Did she use the second one to give herself that flesh wound?

[A]

If you were afraid someone was closing in, you'd make a last desperate attempt to throw suspicion elsewhere, wouldn't you?

[B]

And she was the one who put the real bullets and the gun in the theater and fired at me in the cab. But, Simon, why me?

[A]

Well, I hate to get repetitious, but remember those motives for murder I listed?

[B]

Money, jealousy and fear of discovery.

[A]

Yeah, let's latch onto the last one. She was afraid you'd remember that it was her familiar face you saw in the crowd just before Jim Barry was killed. Satisfied now?

[B]

Well, almost. There's just one more little thing.

[A]

Look, Betty, if it doesn't concern the moon, I'm not interested.

[B]

All right, Simon, get interested.

[A]

You have been listening to another transcribed Adventure of the Saint, the Robin Hood of modern crime. Now, here's our star, Vincent Price. Ladies and gentlemen, as good citizens, we have the entire of American life in which to use our heritage. So let's make the affairs of our nation state and community our affairs. Remember that we all have a voice in them. Use that voice and use it well and often. Only then can we set an example of freedom, knowing that our own American heritage is secure. This is Vincent Price inviting you to join us again next week at this same time for another exciting adventure of the Saint. Good night. Tonight's script of the Saint was written by Sidney Marshall. Our cast included Frances Cheney, Barbara Tyler, Eleanor Audley, Frank Gerstel, Stanley Farrar and Arthur Q. Bryant. Music was composed and conducted by Von Dexter. The Saint, based on characters created by Leslie Charteris, is a James L. Sassier production and is directed by Helen Mank. 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 on sale at all newsstands. Your announcer is Don Stanley. Program. Get your program, dear. Following now on NBC, R2 stellar programs you'll want to stay tuned for. Listen next for another exciting adventure mystery on the adventures of Sam Spade. Then hear the NBC Symphony's summer concert with guest artists Helen Trouble and Vladimir Goshman. And congratulations to station WWJ Detroit on this, their 30th anniversary of broadcasting. This is NBC, the National Broadcasting Company.

[B]

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