Plot
While dancing at a New Year's party, the Saint spots an agent of Val Travers preparing to shoot someone, so Templar guns him down first at the stroke of midnight. Templar is placed by witnesses at the scene, so the San Francisco police request the assistance of Inspector Henry Fernack (Jonathan Hale). Before Fernack can leave, the Saint arrives in New York and accompanies him to the west coast.
Val Travers' father had been a police inspector whose effectiveness had caused trouble for a mysterious criminal mastermind named Waldeman. When a large sum of money was found in his safety deposit box, however, he was fired on suspicion of working for Waldeman and committed suicide. Travers is determined to clear his name by any means necessary. The Saint takes up her cause, despite her hostility for his interference in her plans and her suspicions about his motives.
Templar gets the cooperation of the police commissioner, over the objections of Chief Inspector Webster and criminologist Cullis, who wonder if the Saint is Waldeman himself.
Templar and Travers cross paths again when the trail leads to Martin Eastman, a noted philanthropist and seemingly-irreproachable citizen, whom they both suspect is linked to Waldeman in some way. Templar forces Travers and her gang to drive away, all except her burglar, Zipper Dyson. Templar gets Dyson to open Eastman's safe and takes the money inside. The serial numbers confirm that it was stolen in a robbery perpetrated by Waldeman. When Eastman contacts Cullis instead of reporting the theft, Templar knows that Cullis is also working for Waldeman. With that information, not only does the Saint exonerate Travers' father, he also identifies Waldeman.
Read more about this topic: The Saint Strikes Back
Famous quotes containing the word plot:
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)
“Those blessed structures, plot and rhyme—
why are they no help to me now
I want to make
something imagined, not recalled?”
—Robert Lowell (1917–1977)
“If you need a certain vitality you can only supply it yourself, or there comes a point, anyway, when no one’s actions but your own seem dramatically convincing and justifiable in the plot that the number of your days concocts.”
—John Ashbery (b. 1927)