The Saint: Reflection on Murder (EP5011)

Summary

Podcast Episode Summary — The Great Detectives of Old Time Radio: The Saint – "Reflection on Murder" (EP5011, July 6, 2026)

---

Overview

In this episode, host Adam Graham presents an old-time radio drama featuring Simon Templar, “The Saint” (portrayed by Vincent Price), in the episode "Reflection on Murder" (originally aired August 13, 1950). The plot revolves around a murder in the world of publishing and theater, with Templar racing to unveil the killer before more lives are lost. Alongside suspenseful detective action, the episode is spiced with witty banter typical of The Saint, clever deduction, and a twist ending.

Adam Graham complements the drama with insightful commentary, listener feedback, and tributes to Vincent Price’s enduring charisma.

---

Key Discussion Points and Plot Breakdown

[02:36] – Introduction to The Saint & Setting the Scene

• Simon Templar (The Saint) is introduced as the charismatic detective.
• The episode opens with gunshots in a cab: a man (Jim Barry, a publisher) is murdered, and Betty Ames (a young actress) flees the scene.
  • Betty and Simon’s Banter:

    "If you think you're being funny, Mr. Templar, there's nothing funny about murder. Particularly when as pretty a girl as you is involved."
    — Simon Templar [04:15]

[05:08] – The Investigation Begins

• Templar quickly identifies Betty, a rising theater star, at the scene and escorts her to rehearsal.
• Betty insists she’s not involved, but Simon points out her proximity to the murder.
• An attempt is made on their lives as they’re driven to the theater — their cab is shot at.
  • Simon’s Quip:

    "Somebody doesn't like us, Benny. The driver of that car threw some hot lead our way."
    — Simon Templar [05:30]

[06:19–09:02] – At the Theater: More Suspects & More Danger

• Simon accompanies Betty to the theater. Backstage, in her dressing room, several other suspects emerge:
  • Vera Pangborn (novelist, Betty’s friend)
  • Helen Trask (young author)
  • Larry Stevens (stage manager, who acts suspiciously)
• During a rehearsal, Simon discovers a real bullet cartridge in Stevens’s trouser cuff, prompting fear that someone intends to use a real gun on stage.
  • Key Moment:

    "Maybe you don't [know what’s going on]. But you should know a revolver cartridge when you see one."
    — Simon Templar to Stevens [07:48]

[09:25–12:19] – Attempted Murder Thwarted

• The live bullet is discovered in the stage prop, and Simon’s intervention likely prevents another murder.
• The motive behind the bullet swap is questioned.

[12:45–13:42] – To the Morgue

• Simon and Betty visit the morgue to see Jim Barry’s effects, using a ploy to access his personal items.
• Betty fakes a faint to cover Simon’s petty larceny, retrieving Barry’s office keys.

[15:27–18:30] – Digging Into Motives

• In Barry’s office, Simon and Betty uncover a memo expressing disdain for Helen Trask’s “corny” manuscript, suggesting business and romantic entanglements.
  • Kilgore (Barry’s business partner and financier of the play) disliked the book, which was published anyway, hinting at possible personal motives.

[18:09–20:04] – Murders Multiply

• Shots are fired in Kilgore’s office; he is killed, removing another suspect.
• At home, Betty receives a call from Vera Pangborn, who claims to have crucial information — but Vera is shot mid-conversation.
  • Memorable Moment:

    "This may come as a tremendous surprise, Betty, but it sounds like Vera Pangborn just became murder victim number three."
    — Simon Templar [20:04]

[20:25–21:54] – Vera Survives an Attempt

• Simon and Betty rush to Vera’s apartment, finding her wounded but alive after being shot through her apartment window by a masked assailant.

[22:19–24:05] – Closing in on the Truth

• Simon corrals all the suspects, including Stevens and Helen Trask, for a final confrontation and cross-examination.
• Theories about Stevens’s cartridge and Helen’s relationship with Barry are discussed, but nothing conclusive emerges.

[24:53–26:54] – The Trap Is Set

• Simon calls Vera (now in hospital) and deliberately fakes that Betty has remembered who the killer was — a maneuver clearly designed as bait.

[26:19–28:48] – The Revealing Confrontation

• At Betty’s apartment, Vera appears, armed, revealing herself as the murderer.
  • Vera confesses that Jim Barry was her husband and she acted out of jealousy, jealousy of the attentions he paid to young women writers (Helen Trask in particular). Kilgore was killed because he suspected Vera.
  • Vera also faked her own shooting to deflect suspicion.
    • Confrontation Quote:

      "Was he your husband?"
      "That's right. Jim was my husband."
      — Simon Templar & Vera Pangborn [27:02]

• Simon subdues Vera, preventing further bloodshed.

[28:48–29:17] – Simon Explains the Solution

• Simon explains how he deduced Vera’s guilt:
  • The shattered glass outside Vera’s window betrayed that the shot was fired from inside (not the fire escape).
  • Vera faked her own wound and staged the shooting to throw off suspicion.
  • Motive: fear of discovery and jealousy.
    • Simon’s Reasoning:

      "She was afraid you'd remember that it was her familiar face you saw in the crowd just before Jim Barry was killed."
      — Simon Templar [29:08]

[29:17–29:45] – Closing Romantic Banter

• The case wrapped up, Simon and Betty share a playful romantic moment, hinting at a deepening connection as the music swells.

---

Notable Quotes & Memorable Moments

• Simon’s Wry Humor:

  "Sometimes I feel as though I had a neon sign on my forehead. I'll confess the fatal appellation."
  — Simon Templar [03:56]

• Revelation at the Rehearsal:

  "Perhaps you'd better take a second look. But why would anyone in this theater substitute real bullets for the blanks?"
  — Simon Templar [10:04]

• On Motives:

  "The usual motives are money, jealousy and fear of discovery."
  — Simon Templar [10:54]

• The Trap for the Killer:

  "Tell her Simon Templar 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."
  — Simon Templar [25:09]

• Confronting Vera:

  "Jealousy was the only motive I could figure for you."
  — Simon Templar [27:07]

• The Critical Clue:

  "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!"
  — Simon Templar [28:23]

---

Adam Graham’s Post-Episode Commentary & Listener Feedback ([31:46])

• Adam reflects on Simon’s reasoning, noting the clever but far-fetched aspects of the resolution — particularly the trope of suspects trying to deflect suspicion by faking their own injuries.
  • "It must have taken Simon a little while to put it all together with Vera..." [31:46]
• Listener Emmett praises Vincent Price’s charismatic performance, commenting:
  • "Love listening to The Saint, in large part because of Vincent Price, who I think would be just as compelling were he to have a show in which all he did was read the dictionary."
• Adam shares his appreciation for Price, recalling his various roles across media.
• He thanks Patreon supporter Lisa and encourages listeners to subscribe.

---

Timestamps for Key Segments

• 02:36 — Episode Begins: Murder in a Cab
• 05:08 — Simon Templar Teams Up with Betty Ames
• 07:48 — Suspicious Cartridge and Rehearsal Mishap
• 12:45 — At the Morgue: Recovering Barry’s Keys
• 15:27 — Investigating Barry’s Office
• 18:09 — Another Shooting: Kilgore Killed
• 19:23 — Vera’s Phone Call and Shooting
• 22:19 — Gathering Suspects for Final Reveal
• 26:19 — Final Confrontation at Betty’s Apartment: Vera Unmasked
• 29:08 — Simon Explains the Solution
• 31:46 — Adam Graham’s Commentary and Listener Feedback

---

Episode Takeaways

• Classic Whodunit Structure:
  An array of plausible suspects, red herrings, misdirections, and a killer hiding in plain sight.
• Vincent Price’s Saint:
  Witty, urbane, and perceptive, adding gravitas and wry humor.
• Twist Ending:
  The solution hinges on misdirection and physical evidence (the broken glass), with the murderer faking their own vulnerability.

---

Final Thought

"Reflection on Murder" encapsulates the charm and suspense of golden age radio mysteries, driven by sharp dialogue, a tightly woven plot, and the magnetic presence of Vincent Price as The Saint. Adam Graham’s hosting provides the perfect nostalgic wrap-up, blending appreciation for classic radio with thoughtful listener engagement.

---

Transcript

[Betty Ames]

This is the story of the one. The one who keeps multiple buildings running smoothly day after day. Plumbing that flows, H Vac that hums. Cleaning supplies that keep surfaces sparkling. That's why she counts on Grainger. With easy reordering online and 24. 7 support, Grainger helps her keep the products she needs on hand so shelves stay stocked and buildings stay ready. Call 1-800-GRAINGER Click grainger.com or just stop by Grainger for the ones who get it done. Grainger knows when you're a procurement manager for an office park, you're not managing one building, you're managing all of them. And to stay ahead, you need to see through walls and around corners.

[Simon Templar]

Lights about to fail.

[Betty Ames]

Filters ready to clog H Vac on its last leg. If you wait until something breaks, you're already behind. Count on Grainger for quality products, easy reordering and 24.

[Simon Templar]

7 support.

[Betty Ames]

Call 1-800-GRAINGER click grainger.com or just stop by Grainger for the ones who get it done.

[Adam Graham]

Welcome to the Great Detectives of Old Time Radio from Boise, Idaho. This is your host, Adam Graham. In a moment, we're going to bring you today's episode of the Saint. But first, I do want to encourage you. If you're enjoying the podcast, please follow us using your favorite podcast software. And today's program is brought to you in part by the financial support of our listeners. You, you can support the show on a one time basis. Support.greatdetectives.net and you can become one of our ongoing Patreon supporters for as little as $2 per month. Go to patreon.greatdetectives.net but now, from August 13, 1950, here is reflection on Murder,

[Simon Templar]

The Adventures of the Saint, starring Vincent Price. The Saint. The Based on characters created by Leslie Charteris and known to millions from books, magazines and motion pictures, the Robin Hood of modern crime. Now comes transcribe the radio starring Hollywood's brilliant and talented actor, Vincent Price as the Saint.

[Betty Ames]

What happened? What's wrong? Someone shot that. It's murder. He's murdered. Oh. I didn't see you in there. I thought the cab was empty.

[Simon Templar]

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

[Betty Ames]

I must.

[Simon Templar]

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

[Betty Ames]

Yes, I am.

[Simon Templar]

All right, driver, step on it.

[Betty Ames]

Yes, sir.

[Simon Templar]

Comfortable, Ms. Ames?

[Betty Ames]

I don't know you, do I?

[Simon Templar]

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

[Betty Ames]

Simon Templer?

[Simon Templar]

Yes.

[Betty Ames]

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

[Simon Templar]

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

[Betty Ames]

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

[Simon Templar]

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 court.

[Betty Ames]

If you think you're being funny, Mr.

[Simon Templar]

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

[Betty Ames]

But I'm not involved.

[Simon Templar]

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.

[Betty Ames]

Well, I. 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?

[Simon Templar]

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.

[Betty Ames]

Of course, I should have known.

[Simon Templar]

Did you know the man who was shot at?

[Betty Ames]

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

[Simon Templar]

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?

[Betty Ames]

No, just a business talk.

[Simon Templar]

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

[Betty Ames]

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

[Simon Templar]

Down, Benny. Down to the floor.

[Betty Ames]

I said down. What? What happened?

[Simon Templar]

Somebody doesn't like us, Benny. The driver of that car threw some hot lead our way.

[Betty Ames]

Oh, it wasn't.

[Simon Templar]

I don't know. I only saw the glint of a gun out of the corner of my eye. Hey, driver.

[Betty Ames]

Are you Simon? But he did wait. Ay,

[Simon Templar]

now, how do you like that? We get shot at and he faints.

[Betty Ames]

I don't blame him. I feel him.

[Simon Templar]

No, don't, don't. You must be due at the theater for rehearsal about now. And the show must go on for. For the life of me, I've never been able to.

[Betty Ames]

Hey, Joe. Bring yourself to more. Darcy. Okay, Larry, here's my dressing room. Sim, you go in and wait for me. I have you watch the rehearsal from the wings. That Larry Stevens, our stage manager, is superstitious. About.

[Simon Templar]

Okay Betty, but your sanctified watchdog will be panting on your threshold. Do you get that?

[Betty Ames]

After what's happened? Simon, I'll be glad to know you're close by. See you later.

[Simon Templar]

Oh well, might as well wait inside.

[Betty Ames]

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?

[Simon Templar]

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?

[Betty Ames]

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?

[Simon Templar]

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

[Betty Ames]

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

[Simon Templar]

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

[Betty Ames]

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

[Simon Templar]

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

[Betty Ames]

Oh, and I was so anxious to see you.

[Simon Templar]

Why not let me substitute? I'm very good at parlor tricks and small talk. And your name's Templar? Yes, it has been for a number of years. I can remember way back when my parents had a 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. John, there's something about the way you said that that hurts me deeply. It. Hey, 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 start. I presume there's a shooting scene in this play? Why 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 camper. I don't. You'll have a dead star on your hand. Betty Ames.

[Betty Ames]

Are you crazy?

[Simon Templar]

I hope so. I hear them. Where's the closest stage engine? Over there to your left. I hope you know what you're doing? I'm afraid I do. They're at the shooting scene.

[Betty Ames]

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

[Simon Templar]

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

[Betty Ames]

Why shouldn't I be, Simon?

[Simon Templar]

Now, there you have me.

[Betty Ames]

Quiet.

[Simon Templar]

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, Billy?

[Betty Ames]

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

[Simon Templar]

And cartridges. That's it. I've always wondered how people shot and plays had so many lies. You mind if I take a look? What's all the commotion about? Oh, hello, Mr. Jilgore. 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 start before they get to the. Now, 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 temper. So what? So this. Break it open, son.

[Betty Ames]

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

[Simon Templar]

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, could it?

[Betty Ames]

I still don't understand how you knew Simon.

[Simon Templar]

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.

[Betty Ames]

Oh, if you hadn't startled him.

[Simon Templar]

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

[Betty Ames]

But why should anyone want to kill me?

[Simon Templar]

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

[Betty Ames]

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.

[Simon Templar]

Are you certain of that, Betty?

[Betty Ames]

Of course I am.

[Simon Templar]

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

[Betty Ames]

So are a dozen other people.

[Simon Templar]

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

[Betty Ames]

I didn't see anything at the killing,

[Simon Templar]

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

[Betty Ames]

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

[Simon Templar]

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

[Betty Ames]

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

[Simon Templar]

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

[Betty Ames]

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.

[Simon Templar]

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

[Betty Ames]

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

[Simon Templar]

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. King Gore, 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.

[Betty Ames]

Had that cartridge in his cuff.

[Simon Templar]

Yes, he did, didn't he?

[Betty Ames]

So where does that get us, Simon?

[Simon Templar]

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.

[Betty Ames]

This place gives me the creep, son.

[Simon Templar]

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

[Betty Ames]

the world, do you think? Your skiing work.

[Simon Templar]

How optimistic can one man be? But it's worth a try.

[Betty Ames]

Looking for someone, Mrs. Temple?

[Simon Templar]

Hello there, Duncan. How are things?

[Betty Ames]

Things? Oh, they're pretty dead around here. Pretty dead.

[Simon Templar]

Same jolly old soul, aren't you?

[Betty Ames]

Oh, I get the kicks, Mr. Templar.

[Simon Templar]

Now, peachy for you. Feel jolly enough to do me a favor? Maybe. Yeah. Did you get an advanced case of rigor mortis in here sometime this evening? Fellow by the name of Barry. Barry?

[Betty Ames]

You sure did.

[Simon Templar]

Gun killing. Neat job, too.

[Betty Ames]

You want to see him?

[Simon Templar]

Oh, no, 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.

[Betty Ames]

You have? But how could that be, Mr. Templar?

[Simon Templar]

Let's look at his personal effects and see, eh, Duncan?

[Betty Ames]

Personal effects? Yeah, it's a sure ought to. No sir, can't you know the rules?

[Simon Templar]

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.

[Betty Ames]

Oh, $11.63, you say? Well, that's an interesting theory, Mr. Templar. We can't block the progress of science, can we?

[Simon Templar]

No, indeed. There you are.

[Betty Ames]

Take a look.

[Simon Templar]

Wallet, jewelry, a couple of keyrings.

[Betty Ames]

There's a couple of hundred bucks in the wallet. Master's Arthur Alter T, don't it?

[Simon Templar]

Is that all there was on him?

[Betty Ames]

Well, see for yourself. I told you that.

[Simon Templar]

Hey.

[Betty Ames]

Hey, look out.

[Simon Templar]

Yeah.

[Betty Ames]

You're okay, miss. Okay, I got you. Thank you. I don't know what happened. Suddenly everything turned black.

[Simon Templar]

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

[Betty Ames]

No, I don't need her. 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.

[Simon Templar]

Well, I did get hold of Barry's keys, and thanks to the fainting act you saved. And very realistic it was, too. There was little else of interest there.

[Betty Ames]

Then what goes on?

[Simon Templar]

Now, 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 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?

[Betty Ames]

Oh, yes, right over there. Kilgore is the one next to it. There's the light switch on the wall.

[Simon Templar]

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

[Betty Ames]

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

[Simon Templar]

Neither do I, but I'm looking for motives. And what better place to find motives than in the dead man's private files? Let's start with his stuff on the desk.

[Betty Ames]

Those are only galley proofs of a book, Simon.

[Simon Templar]

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

[Betty Ames]

Oh, no. Talk about corn.

[Simon Templar]

No motive for murder there, I wonder.

[Betty Ames]

What do you mean?

[Simon Templar]

This inter office memo clipped to it. Listen to this. Pete begged him, stop publishing this kind of type before it ruins us. It's initial K. K for Kilgore.

[Betty Ames]

What do you make of that, Simon?

[Simon Templar]

I think Kilgore didn't like the book.

[Betty Ames]

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

[Simon Templar]

Maybe you better take another look at Helen fast.

[Betty Ames]

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

[Simon Templar]

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.

[Betty Ames]

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

[Simon Templar]

Very inconsiderate of him.

[Betty Ames]

But what if it's the police? Jim Bower's murderer?

[Simon Templar]

Their suggestions are very inconsiderate of you.

[Betty Ames]

What's he doing? Now, son, now he.

[Simon Templar]

There are two people in the office.

[Betty Ames]

Are they coming in here?

[Simon Templar]

No, no, they've gone into kill boy'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 here. Yeah, we could hear those all right, couldn't we? I'll be right back.

[Betty Ames]

No, Simon, please.

[Simon Templar]

Whoever it was got away.

[Betty Ames]

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

[Simon Templar]

I better make it a carpenter instead. Betty Carpenter. Yeah, the shots missed, but I certainly smashed up that desk I ran into. Find the lights and see how much damage was done. That does it.

[Betty Ames]

Now, Simon.

[Simon Templar]

Damage was quite extensive to Mr. Kilgore. A chief suspect has been crossed off the list by a bullet between his eyes.

[Betty Ames]

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

[Simon Templar]

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

[Betty Ames]

Yes, of course, Betty.

[Simon Templar]

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

[Betty Ames]

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

[Simon Templar]

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

[Betty Ames]

Vera. What do you mean? Well, I don't know just how to explain it, Betty, but. Get away from that window. Vera, what is it? No. No. Vera. Vera, are you still there? Simon, those were shots. What happened there?

[Simon Templar]

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

[Betty Ames]

Vera doesn't answer, Charlie.

[Simon Templar]

Well, if I must use brawn instead of brain, Ineffective, if not neat. Come on, let's go in.

[Betty Ames]

Simon. There she is. Yeah, on the floor.

[Simon Templar]

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.

[Betty Ames]

I'll be right back, Simon.

[Simon Templar]

Good.

[Betty Ames]

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

[Simon Templar]

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

[Betty Ames]

You better let me at it.

[Simon Templar]

Wait out. I'll lift her under the tavern there. Now, if you'll make like Florence Nightingale. Betty, I. I'd like to look at the fire screen.

[Betty Ames]

All right, son. Betty. 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.

[Simon Templar]

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?

[Betty Ames]

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 shot twice.

[Simon Templar]

There you are, Vera.

[Betty Ames]

And that'll hold you until we get a doctor.

[Simon Templar]

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?

[Betty Ames]

I can't tell you, Simon.

[Simon Templar]

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

[Betty Ames]

No, no, no. I won't say anything. He's already shot at me once. I won't say anything. It'll kill him. Sarah, 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.

[Simon Templar]

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

[Betty Ames]

Is that where you're going now?

[Simon Templar]

No, I'm going to Larry Stevens 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. Oh, well. I have an invitation for you, Stevens, to come calling on Helen Trask with me. Helen Tratt? 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? This. 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.

[Betty Ames]

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

[Simon Templar]

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

[Betty Ames]

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

[Simon Templar]

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

[Betty Ames]

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

[Simon Templar]

What are you driving at anyway, Temple? I 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 the in. That's it exactly. A very simple explanation. Yeah, it's 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?

[Betty Ames]

Phone? Why, no. No, not at all.

[Simon Templar]

Thanks.

[Betty Ames]

You calling the police, Simon?

[Simon Templar]

No. Vera Penguin. Vera Penguin, 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.

[Betty Ames]

Simon, what is this all about?

[Simon Templar]

Beautiful here in the park, isn't it?

[Betty Ames]

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

[Simon Templar]

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

[Betty Ames]

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

[Simon Templar]

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

[Betty Ames]

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

[Simon Templar]

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

[Betty Ames]

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

[Simon Templar]

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

[Betty Ames]

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

[Simon Templar]

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

[Betty Ames]

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

[Simon Templar]

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

[Betty Ames]

Shut that jaw, Simon, quickly.

[Simon Templar]

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

[Betty Ames]

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

[Simon Templar]

Now that you apparently have made sure,

[Betty Ames]

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

[Simon Templar]

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

[Betty Ames]

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

[Simon Templar]

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

[Betty Ames]

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.

[Simon Templar]

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

[Betty Ames]

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

[Simon Templar]

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

[Betty Ames]

Oh. Oh, Simon, I was so scared.

[Simon Templar]

You know something, Betty? So was I.

[Betty Ames]

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

[Simon Templar]

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

[Betty Ames]

No, Simon, I won't.

[Simon Templar]

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

[Betty Ames]

What about the glass?

[Simon Templar]

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, we have achieved a meeting of the mind. Now, if we can carry that a bit further while discussing those lovely shimmering stuff.

[Betty Ames]

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

[Simon Templar]

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

[Betty Ames]

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?

[Simon Templar]

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

[Betty Ames]

Money, jealousy and fear of discovery.

[Simon Templar]

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?

[Betty Ames]

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

[Simon Templar]

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

[Betty Ames]

All right, Simon, get interested.

[Simon Templar]

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 sphere 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 Sydney Marshall. Our cast included Francis Cheney, Barbara Er. Elanor Odley, 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. SA 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 NBCR2 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 Ghostman. And congratulations to station WWJ Detroit on this, their 30th anniversary of broadcasting. This is NBC, the National Broadcasting Company.

[Adam Graham]

Welcome back. It must have taken Simon a little while to put it all together with Vera, given that he had the gathering of other potential suspects, excluding her, therefore assuming that she was out of the running, which I think does actually make sense, because a natural inclination in a case like that isn't to assume that the person shot it themselves. But Simon has a. Oh, wait a minute. Moment. All right, well, listener comments and feedback now. And we have a comment from Emmett, who writes regarding the case of the previewed crime. Love listening to the Saint, in large part because of Vincent Price, who I think would be just as compelling were he to have a show in which all he did was read the dictionary. But this one strains credulity just a bit too far. But what the heck, it's Vincent Price, so. Well, I appreciate the sentiment there, and I think that it does ask a lot of the listener with its solution. So essentially, this corrupt financier is able to break and enter the bedroom of the Saint and able to predict that the Saint suspecting murder will lead to his disloyal acquaintances taking his revenge effectively. And then he is also able to predict that he'll have a heart attack. So it asks a lot of suspension of disbelief. But I think that Vincent Price's presence really does help pull things off, though. I also enjoyed the version done with William Gardigan on Barry Craig a few years later. But Price is extra special. I definitely agree with that. And he puts on so many magnificent performances. He's given anything to work with. He was gold. He obviously did a lot of things, from Hammer Horror to narrating Michael Jackson's thriller video. And of course, there's the villainous Professor Ratigan in the Great Mouse Detective. But other things that I've heard him in or seen him in, such as the Snoop Sisters or. Or the animated 1980s Hanna Barbera Nativity story where he did King Herod. He always manages to put something extra special in his performance if he's given the opportunity. Probably the most disappointing role I saw with him in it was in Columbo, where he played a supporting character and the script just did not give him much to work with. But if he's given a little bit to work with, he'll turn in a great performance. Phone book might be a bit of a stretch. All right, well, now it is time to thank our Patreon supporter of the day. Thank you to Lisa, Patreon supporter since August of 2025, currently supporting the podcast at the Psalmist level of $4 or more per month. Thanks so much for your support, Lisa. And that'll do it for today. If you're enjoying the podcast, please follow us using your favorite podcast software and be sure to rate and review the podcast wherever you download it from. We'll be back next Monday with another episode of the Saint, but join us back here tomorrow for the big story,

[Simon Templar]

where today is Saturday. Monday is July 4th. Well, how would you like to start working for us beginning Tuesday morning? You mean that, Mr. Barnes? Sure. I mean, would you like to start Tuesday?

[Betty Ames]

Would I?

[Simon Templar]

Gee, would I. Say, Mr. Barnes, could I call my wife? Before you call her Ed, let's just say a couple of details. You're being put on as a cub reporter. Sure, sure. I've never had any real experience, so I kind of expected. And you'll be on trial for six months as cub pay. Six months? That's the way we work it, Ed. I see. Six months on trial at cub pay. That's a long time for a married man. I know how it is, Ed, but that's our rule. No way of breaking it? I'm afraid not. What if I'm good? We expect you to be good. What if I'm very good? Let me tell you something, Ed. If you went out, caught a murderer single handed, then got him to sign a confession, and then got the story exclusive for our papers, well, we might break the rule and put you on permanent staff before the six months were up. And the chances of that happening to a cub reporter in Eureka are about, oh, I'd say roughly a million to one against you.

[Adam Graham]

I hope you'll be with us then. In the meantime, send your comments to box [e-mail]. follow us on Twitter at Radio Detectives and check us out on Instagram. Instagram.

[Simon Templar]

Com.

[Adam Graham]

Great. Detectives from Boise, Idaho, this is your host, Adam Graham, signing off.