Podcast Summary: The Saint – “A Real Gone Guy” (07/02/1950)

Podcast: Choice Classic Radio Detectives | Old Time Radio
Episode: The Saint: A Real Gone Guy
Date: January 25, 2026
Main Theme:
A classic whodunit, “A Real Gone Guy” features Simon Templar—The Saint—portrayed by Vincent Price, as he delves into the backstage rivalries of a jazz band after the murder of their egocentric bandleader, Terry Richards. With a tangle of motives, romantic entanglements, and the rhythmic pulse of post-war jazz, Templar must sift through gruff conductors, nervous canaries, and ambitious drummers to uncover the killer before the murderer strikes again.

Key Discussion Points and Plot Breakdown

1. The Murder’s Hook [03:35]

• News breaks out: Band leader Terry Richards, known as “The Real Gone Guy,” is found dead—strangled—just before his group’s big concert tour.
• Templar gets involved: Shirley Gray, a singer and old friend, calls Simon Templar for help, panicking as she feels the police may suspect the wrong person, possibly her or her secret husband, Sammy (the band’s conductor).

2. The Lineup of Suspects [05:07–10:48]

• Sammy (conductor):
  • Aggressive, blunt, more interested in keeping the band together than mourning Terry. Now inherits the band (and its problems).
    • “Well, Terry was a slob and you know it.” (Sammy, 08:30)
• Shirley Gray (singer):
  • Nervous, keeps secrets, notably about being married to Sammy.
  • Found the body, fears the police will blame her or Sammy.
• Dick Carver (drummer):
  • Bitter about always being sidelined, admits ambition. Pushes Shirley to call Templar.
    • “All I do is beat these lousy drums.” (Dick, 09:11)
• Doorman:
  • A sardonic observer, provides clues about comings and goings at the theater.

3. The Investigation Unfolds [10:48–18:26]

• Motive clues:
  • Terry Richards monopolized the band, stifling others' ambitions, especially Dick and Sammy.
  • Shirley was a solo star before being relegated to a band singer, a move that’s implied to be Terry's doing.
    • “She used to be the biggest name on radio.” (Simon, 10:13)
• E-string revelation:
  • Shirley reveals Terry was killed with an E-string from a guitar, a detail she kept from police due to fear (12:27).
    • “Surely, my sweet … when one is in possession of evidence … one tells the cops or one suffers.” (Templar, 12:51)
• Templar is attacked:
  • Someone slugs Templar as he starts to uncover truths, suggesting the killer is desperate.

4. Key Clues and Tensions [18:26–23:05]

• Band’s internal dynamics:
  • Dick’s resentment surfaces—he wanted more musical breaks, always denied by Terry. Shirley wonders if Dick’s new arrangement (“Temptation”) could finally spotlight him.
• E-string as a warning:
  • Another E-string appears on Shirley’s dress form—Templar deduces someone is warning those involved.
• Preparation for a reveal:
  • Templar sets a trap during a band rehearsal, suspecting the killer will snap under pressure.

5. The Reveal [23:05–26:43]

• Dramatic confrontation: During rehearsal, Dick, the drummer, panics when Templar spots a guitar and stops the music.
  • “Your killing days are over, son.” (Templar, 24:20)
• Templar’s deduction:
  • Realizes the killer adapted a paratrooper’s method—using a wire and batons/claves for leverage—to strangle victims.
  • Dick’s signature line, “All I do is beat these lousy drums,” mirrored his bitterness turned murderous.
  • “He tied the ends of the guitar strings to the claves he used for Latin American rhythms.” (Templar, 26:29)

6. Emotional Fallout and Closing [26:43–28:29]

• Motives clarified:
  • Dick wanted to lead the band, sick of being overlooked.
    • “He wanted to be like Krupa, have his own band.” (Templar, 25:16)
• Shirley and Sammy’s secret marriage is revealed:
  • Shirley reveals, “Sammy and I have been secretly married for six months.” (Shirley, 27:41)
• Templar, witty to the last:
  • Attempts to invite Shirley to see his “Picassos,” learning too late about her marriage.
    • “My dear, when one as charming as you comes to my place, it's not to see the Picassos, but the handwriting on the walls.” (Templar, 27:27)

Notable Quotes and Memorable Moments

• Lieutenant Schwartz, on police workload:
  • “I got maniacs confessing to murders that never happened. I got murderers caught in the act who say, ‘Who, me?’” (Lieutenant, 02:57)
• Templar’s sardonic humor:
  • “Anyone for badminton?” (Templar, 03:16)
  • “I eat it [money]. It's cheaper than food these days.” (Templar, 09:20)
• Doorman’s disdain for musicians:
  • “The police were put on this earth…so-called musicians could arise in the morning with the assurance that somewhere on earth there was someone lower on the scale…” (Doorman, 14:49)
• Dick’s bitterness:
  • “All I do is beat these lousy drums.” (repeated motif throughout)
• Templar’s deduction:
  • “He tied the ends of the guitar string to the claves … then approached his victims from the rear, looped the wire over their heads, and curtains.” (Templar, 26:29)
• Romantic banter at the close:
  • Shirley: “You're inviting me to come up and see your Picassos?”
    Templar: “When one as charming as you comes to my place, it's not to see the Picassos, but the handwriting on the walls.” (27:27)

Timestamps for Key Segments

• Murder announcement / Schwartz call: [03:35–04:16]
• Doorman banter & band intro: [04:38–06:01]
• Shirley’s plea & evidence reveal: [06:21–13:01]
• Attack on Templar / Shirley threatened: [13:37–14:48]
• Clues from the drums / Latin rhythms: [19:28–20:29]
• Trap & confession: [23:05–24:35]
• Motive explained / How the crime was done: [25:16–26:43]
• Romantic twist & ending: [27:24–28:29]

Tone and Style

The episode is crackling with sharp wit, musical jargon, and noir banter, much of it delivered with Vincent Price’s signature blend of charm and irony. The jazz world’s competitiveness, ego, and post-war shadows mingle with classic detective intrigue, resulting in an episode that is at once light on its feet and sharply suspenseful.

In summary:
“A Real Gone Guy” showcases The Saint at his teasing, insightful best—uncovering human rivalry behind artistic collaboration, all amidst the sound and fury of a jazz band whose greatest drama lives offstage. With a satisfying twist ending, it’s a quintessential Golden Age radio mystery—equal parts clever plotting, atmospheric character work, and breezy style.