The Saint: A Real Gone Guy 07/02/1950

Summary

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.

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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)

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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)

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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]

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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.

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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.

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].

[B]

We delayed the start of this program to bring you a special news bulletin from the NBC newsroom in New York. Two fresh columns of North Korean troops have crossed the Han river and are moving southward below Seoul. Two other invader columns have outflanked the town and airstrip of Suwon on the east. And a spokesman at a U.S. advanced headquarters in Korea says the defense situation has definitely worsened in the past 24 hours. Keep tuned to your NBC station for the later news.

[C]

The Adventures of the Saints, starring Vincent Price. The Saints. 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 to radio starring Hollywood's brilliant and talented actor, Vincent Price as the Saint.

[D]

Oh, hello, Templars Mortuary.

[E]

Mr. Simon Templer.

[D]

Unfortunately, Littleton is calling. What time is it?

[E]

At the sound of the. I'm sorry, I'm not allowed to give that information. Littleton is calling.

[D]

All right, put him on.

[E]

One moment, please. Hello? Hello, Is this Simon Templer?

[D]

Yes, it is.

[E]

Well, my name is Shirley Gray. Please, I need you.

[D]

Yes, go on. Hello? Sammy, who are you talking to?

[E]

Oh, well, I was just calling you at the theater.

[F]

You knew I was with the cops.

[A]

Hang it up.

[E]

All right. Hello? I'm sorry I bothered you. Sammy just got back.

[D]

Hello? Hello?

[E]

Your party has hung up, sir.

[D]

So they have. Thank you. Shirley Gray. Shirley Gray. Oh, of course.

[F]

Homicide. Lieutenant Schwartz.

[D]

Guess who?

[F]

Oh, no. Templar. No, no, no, no, no.

[D]

You hate me, don't you?

[F]

Templar, this is a homicide bureau. I am up to the cleft of my rugged chin and work. I got maniacs confessing to murders that never happened. I got murderers caught in the act.

[D]

Who.

[F]

Say who?

[E]

Me.

[F]

And now. Now I got. I got. Templar.

[D]

Yes, Lieutenant.

[F]

Templar. You got something to say, say it.

[D]

Anyone for badminton?

[F]

Templar.

[D]

Okay, Lieutenant, I just want some information.

[F]

Read the newspapers, Templar. They whip up the crime waves. I don't.

[D]

Well, then what do journalism's juvenile delinquents have to say about events in the city of Littleton today?

[F]

You don't know.

[D]

I couldn't even guess.

[F]

Well, stay happy. Go back to bed, Lieutenant.

[D]

I'll write a letter to the Times.

[F]

Okay, Templar, have it your way. You ever hear of a band leader named Terry Richards?

[D]

Of course. You mean the one they call the real gone Guy?

[F]

I hope to hold half note. Templar. He's real gone, all right. So gone, he's dead. He was strangled.

[D]

Oh. Well, thank you, Lieutenant, for your first exclusive.

[F]

Look, if you're figuring a butt in Templar, I wouldn't.

[D]

Now, you know me. You remember Lieutenant Ruggles, old meathead?

[F]

Old meathead? Well, he's now chief of police at Littleton. You'd better stay out of his way.

[D]

I wouldn't dream of getting in his way. Or would I?

[F]

I'm not kidding, Templar. Terry Richards was a real big name. Ruggles wants this one for himself. You get in his way, he'll have you so deep in the pokey, they'll be feeding you with a pea shooter. Hey, on second thought, is that bad?

[D]

Lieutenant?

[F]

Yes, Templar?

[D]

Did someone spike your bubble gum this morning?

[F]

Yes, I. Goodbye, pal.

[D]

Don't sneeze into the breeze.

[F]

Yes, sir.

[D]

I'd like to go backstage, please, Mr. Doorman.

[G]

Well, it's possible to get there if your cultural development is at a certain level.

[D]

Well, I'm fond of Mondrian.

[G]

I collect Americana. I am fond of portraits of those men who have become our presidents. I am especially cheered by portraits of Lincoln, done, of course, on fine paper in black, bordered and shaded in hues and shades of green, which one finds so cool and comforting.

[D]

Your taste is admirable. It happens that I.

[G]

Here you are, my perfect specimen. Pass, friend.

[D]

Thank you so much.

[G]

Oh, Mr. Templer, you know me.

[D]

You expected me.

[G]

Ms. Gray. Hope for you as she described you.

[D]

Still, it cost me $5.

[G]

Nothing ventured, nothing gained. Ms. Gray is in her dressing room. First corridor to your right and first door to the left.

[D]

Oh, thank you. I say, tell me something. Is this the same Shirley Gray who sings pallids so wonderfully?

[G]

The same, but she sings them no more. Melo Rooney, El Rowti.

[D]

You swallowed something? A bop.

[G]

That's what the great Terry Richards played.

[D]

Oh, I gather you were not a fan of the late Mr. Richards.

[G]

The man who knocked him off was a hero.

[D]

I see.

[G]

Ms. Gray is the only nice person in the band. Take care of her, will you?

[D]

You think she needs taking care of?

[G]

There's a killer running around, Mr. Templar. Of course, if he's just after another musician, that's all right.

[D]

Patril is going to hate you in the morning.

[G]

He wouldn't dare. First corridor to your right, first door to the left. Mr. Templar.

[D]

Miss Gray.

[E]

Oh, you frightened me.

[D]

You're Simon Templer. Secretary Shirley Gray. Fan Club, cell three, group two. Currently underground, Atwood Shores.

[E]

Oh, Mr. Templer, I'm so glad.

[D]

Who is Sammy?

[E]

He's what do you mean?

[D]

Well, all the way down here, I've been asking myself, why would Shirley Gray call me? And after calling, why would she hang up just because a man named Sammy entered the room? You see, I'm just the old curious one.

[E]

Well, I want you to do one thing for me. Find out who killed Terry Richards.

[D]

That's a job for the police, isn't it?

[E]

Well, they might get the wrong person.

[D]

Sammy, for instance.

[E]

They might not find out in time. Somebody else might get killed.

[D]

The doorman seems to have had the same thought. What brings it on?

[E]

No one knows why Terry was killed. Nobody liked him, but nobody hated him enough to kill him. This is almost the work of a maniac. There was no reason for it.

[D]

You mean no one was ambitious, jealous, frustrated?

[E]

Oh, don't talk like that.

[D]

You're hiding something from Simon.

[E]

Please don't joke. I found Terry's body. I called the police, and they said he must have been strangled with a stout, thin cord.

[D]

But, well.

[E]

Well, they're wrong about it and about everything else. He was strangled with a.

[F]

What's this? Another cup?

[E]

Sammy, this is Simon Templar. The Saint Simon.

[F]

I told you to let it alone, Shirley. Get out.

[D]

Templar. I'm happy to know you, too, friendly one.

[F]

Look, Templar, we're being held in this offbeat bergen. We can't get out. I'm spending all my time at the jail answering the silly questions of these cornball cups. And now you. I've got rehearsals to do. Now will you get out?

[E]

Oh, no, Sammy, no. Not rehearsals already. What? Terry hasn't even been.

[D]

Yes, Sammy. Why are you so anxious to get in rehearsal?

[F]

We've got a contract for a concert tour.

[A]

That's what we were doing in this Corn palace, warming up for the tour.

[F]

The band's got to be in shape in a week or the contract is canceled. No contract, no tour. No tour, no band. No band. We're in a panic.

[G]

Do you see?

[D]

No. Just where do you fit in?

[F]

I like money.

[D]

I eat it. It's cheaper than food these days.

[F]

Besides, if we make out, the agency.

[A]

Is giving me the band.

[F]

I got it coming, just like Terry had. What happened? Coming to him?

[E]

Oh, Sammy.

[F]

Well, Terry was a slob, and you know it.

[D]

You are a man of grace and charm, Sammy.

[F]

Send him away, Shirley. Get him out of here.

[D]

Gentle psychotic, isn't he? As we jazz lovers say, this routine is murder.

[E]

Well, I'll. I'll talk to him. Will you wait for me, Simon?

[D]

Need you ask?

[A]

May I come in, Mr. Templer?

[D]

Of course. Say, how did you Know me?

[A]

I. I talked Shirley into calling you. My name's Dick Carvin.

[D]

You're with the band.

[A]

All I do is beat these lousy drums.

[D]

You ever hear that joke to the point of nausea? Who killed Terry Richards?

[A]

I don't know. The cops thought Shirley might have because she found him. But it wasn't Shirley. I had her call you so you could prove it was someone else.

[D]

What was she doing in his dressing room? Was it her habit to go there? The carveth, Dear boy, if you want me to help.

[A]

Okay, okay. Lay out for four bars and I'll give you the score. I understood Terry Richards. I didn't like him any more than anybody else, but I did understand him. I've been with him since the year one. Sammy has too. Only he played a three year job with the Army.

[D]

Sammy called Terry a slob. Yeah.

[A]

Before the war, Sammy and Terry started this band. Terry fronted it. Sammy arranged and conducted rehearsals. The man sent him greetings. And he went into the paratroops and came back tough and hard. I thought he'd killed Terry. When he found out Terry had cut in for 100% of the band. I remember his hands were just aching.

[D]

Why did he come back with Terry?

[A]

Terry was up here. Mack Number one. He was willing to pay for Sammy's talent and pay good. That's the only way he could keep anybody, including Shirley. Poor kid. It wasn't enough she had to work for him. She had to go along with him a little way if she wanted her job. And she did.

[D]

Why? Why? She used to be the biggest name on radio. Without Terry Richards, how did she ever become a band singer?

[A]

Canaries are hard to figure. Maybe that's the question you've got to answer, miss.

[D]

Terry Richards seems to have been a dismal kind of snail.

[A]

I admired him, Mr. Templar, for one reason. He knew how to compete. Fight, cheat, steal, hit below the belt, but stay on top. He had one philosophy, and it fit this world great. Hooray for me and nuts to you. If I could have had that, I'd have done all right. I'd have been bigger than Terry Richards. But I haven't got it. I admired the man who had it.

[D]

This has been an enchanting recital of the foibles of humanity. But who killed Terry Richards?

[A]

I wish you'd find out.

[D]

Why are you so anxious, dear?

[A]

Because without Terry, this band can still go places. Oh, we needed him like the Metanese. Common Lombardo. Now Sammy will be in charge, don't you see? And he'll give everybody A chance. Even me.

[D]

What do you mean?

[A]

But Terry wouldn't give any of us a chance to shine. We always had to feature his guitar. What?

[D]

We.

[A]

We got a Real gone arrangement of Temptation. Just me on Timps and Shirley on voice. Real gone. Real gone.

[E]

But Terry wouldn't even listen.

[D]

I've heard of progressive music as a sample. I'd say it hasn't gone quite far enough. It's still in the range of hearing on.

[A]

I missed a template.

[D]

But surely. Come on, let's go this way. The green room. Good heaven. Shirley. Out of the way. Call the cops. Hurry. Oh, Mr. Templar. Oh.

[E]

Are you all right, Simon?

[D]

Oh, yes, angel. I'll be all right. Hey, I thought you were dead.

[A]

She just fainted.

[D]

Templar, did you call the police?

[A]

Dick, between giving her smelling salts and bathing your head, I haven't had much of a chance.

[D]

What is they say in the. Who done? It's happened.

[A]

Somebody slugged you from behind. And pushed me through the door and slammed it.

[D]

Oh, my neck. There must have been a rabbit punch.

[E]

Do you want a doctor?

[D]

Simon, dear heart, I want an answer. By the way, what did happen to you?

[E]

Well, I argued with Sammy for a while, and then I came over here and I picked up Sammy's baton. And this was wrapped around him.

[D]

Wait till I stand up. Oh, that floor was so comfortable. What is this thing?

[A]

It's an E string for a guitar.

[E]

It's what was used to kill Terry.

[A]

Probably from his own guitar.

[D]

Probably someone had a sense of poetic justice. A guitar string for a guitarist. Let me see that thing.

[G]

Ow.

[E]

What's the matter?

[D]

I pulled it tight. It cut into my hands. Hey, wait a minute. How did you know Terry was killed with an E string, Shirley?

[E]

Well, it was beside him when I found him. Between the time I called the police and the time they got here, someone had taken.

[D]

Surely, my sweet Emily Post has it that when one is in possession of evidence or information about evidence, one tells the cops or one suffers. One does.

[E]

I was afraid.

[D]

But you see, you are more afraid now. This thing is a warning for Sammy, for you, for everybody. Hey, by the way, where is Sammy? Why didn't he come running when he heard you scream?

[A]

Same reason I knew she was in the green room and not his dressing room. His room is soundproof.

[D]

Well, I move that we adjourn to Sammy's little cell and see.

[E]

No.

[D]

Surely you're not going to be stubborn.

[E]

All right, let's go.

[D]

Something tells me we've got to break it down.

[A]

Oh, Sammy, the E string again.

[D]

All right, Dick, now the cops. The cops.

[E]

But Sammy.

[D]

We'll take care of Sammy, I hope.

[G]

Mr. Templar, I have answered the questions of the police. I have answered the questions of my wife. Now you want me to answer your questions?

[D]

My friend, as doorman of this house of culture, you are in a most enviable position. You see who goes and who comes. Now let me review the bidding. The famous Terry Richards.

[G]

The infamous Terry Richards.

[D]

Nonetheless, he was killed. A bumbling, murderous toad came within a minute of killing Sammy today. The same wart brained idiot delivered a rabbit punch to my neck. I only want to be sure it was no outside force. Do you follow me?

[G]

As the animal act follows the acrobats, Mr. Templar. But I must repeat, no insidious force has come through these portals unless that force be you. And you should hear, Chief Ruggles on the subject of you police.

[D]

You don't like the police?

[G]

Mr. Templar, the police were put on this earth for one reason. So that so called musicians could arise in the morning with the assurance that somewhere on earth there was someone lower on the scale of human beings.

[D]

You could be censored for that. Tell me, are you here all the time?

[G]

Mr. Templar, there are matters one does not discuss with just any stranger.

[D]

Oh, oh, oh. Touche. I'm sure. I. I simply want to learn who could be a murderer. That's all. It's a simple one. Some people want food, I want a murderer. Some people want a new apartment. I want a sneaky soft pedal thug who could walk so softly he would be unheard of. And who would slug me from behind.

[G]

Even I could do that, Mr. Templar. I wear sneakers. They're relaxing. I could come upon you so quietly, so you could.

[D]

I'll give it thought, thank you so very much.

[G]

It was nothing, Mr. Temple.

[D]

I know nothing. Are you feeling better? Sammy Templer?

[F]

Are you still around?

[D]

You're not happy with me, Sammy.

[E]

Sammy, please. If it weren't for Mr. Templer, you might be dead.

[F]

Oh, if he hadn't shown up, it wouldn't have happened. He got ahold of something and scared somebody, that's all.

[D]

Whom did I frighten, Sammy? You?

[F]

What do you mean?

[D]

It occurs to me that if I were a person so willed and so frightened, I could hold a wire about my neck and induce unconsciousness.

[A]

You've got rocks in your head, Templar. Why don't you leave it alone?

[F]

Let the cops out.

[D]

Because somebody slugged me, Sammy, and I'm very sensitive about such things.

[E]

Why don't you two stop fighting? This is serious. Somebody else is going to get hurt?

[A]

Yes.

[F]

And I hereby nominate Simon Templar.

[D]

I must decline because of the press of business. Look, instead of us arguing like this, why don't you go rehearse?

[C]

Oh, great.

[F]

Now he's gonna run the band too?

[D]

No, but at least you'll be out of my hair for a while.

[F]

Oh.

[D]

Sammy has an abrupt personality. Well, Shirley, we're alone.

[E]

Simon, are you getting anywhere?

[D]

The answer to that would have to come from your own lovely lips. You're very sweet, Shirley, to see you as you are now at. Well, as they say in the soap operas, it does something to me here.

[E]

Suppose whoever it is gets away with it. Suppose he succeeds next time, kills Sammy or. Or me.

[D]

Tell me, Shirley, did you kill Terry?

[E]

What did you say?

[D]

I said, did you kill Terry and try to kill Sammy? Simon, I'm very rude. My analyst tells me. Never mind my analyst. I hate him. You didn't answer my question.

[E]

No, I didn't kill Terry. You satisfied?

[D]

Eminently. Tell me something, Shirley. A couple of years ago, you were going great guns as a soloist. I remember reading something about a big recording contract. I had your recording of April in Paris. It was one of the best things I ever heard.

[E]

I'm still getting royalties on it.

[D]

How is it that you came to work with a band? What happened that you gave up your contracts and your big career? Why do you stay with this band?

[E]

Is my career pertinent?

[D]

I don't know. But I do know that we're going to have this cleared up very soon.

[E]

Oh, do you really think so?

[D]

I've got something right on the tip of my mind. Can't quite get hold of it, but I will. And if we can clear it up in time and Sammy has the band in shape, you'll be hitting the road, so you'd better be in shape. Why don't you go to your dressing now and rest, huh? Go on. It'll do you good.

[E]

Well, all right, if you say so.

[D]

I'll walk with you. Is that idea of Dick's about temptation going to work out really?

[E]

I don't know, Simon. I'm not too crazy about it, but maybe it will. I hope so, for Dick's sake.

[D]

Dick's sake?

[E]

Yes. You know, every time Sammy wrote an arrangement so Dick would have some breaks, Terry would insist that it be rewritten for his guitar. Poor Dick would just sit up and keep a rhythm, as he said. All he does is play those lousy drums.

[D]

Yes, it might be a break for Dick at that. He's a nice fellow. He's got Something coming, I should suppose.

[E]

Well, this is where I drop off. What are you going to do?

[D]

Oh, I don't know. Catch a murderer maybe. Hello, dick.

[A]

Oh, hello, Mr. Templar.

[D]

Oh, no, no, don't stop playing. Go right ahead. Dick.

[A]

Oh, I was just passing the time of day. You having any luck?

[D]

Well, I'm about to step out of this door window and call for Philip Marlowe.

[A]

Well, if there's anything I can do, or any of the fellas for that matter, I know they'll help.

[D]

I thought they were all happy to see your late maestro go. That was the impression I had.

[A]

Now Sammy might give you that impression or that whacked up doorkeeper, but I don't think anybody likes to see somebody murdered. Especially when they know the killer is still on the loose.

[D]

But you fellas seem to be taking it in stride.

[A]

Some people. Yeah, some people know me. I'm worried.

[D]

Oh, take it easy now. Say, you certainly need a lot of paraphernalia in your trade.

[A]

Yeah, cymbals, chimps, bongo, tambourines.

[D]

What are these things?

[A]

Oh, these? These are claves.

[D]

What are they for?

[A]

Set a rhythm for the Latin American stuff. Here, let me show you.

[D]

See?

[A]

Very simple.

[D]

Yes, indeed, very simple. Yeah, this is quite an array of stuff for one who just beats the drum.

[A]

That's all I do, beat these lousy drums.

[D]

Well, I have to do some more snooping, Dick. I'll see you around.

[A]

Okay, Mr. Templar.

[D]

Lousy drums.

[F]

Hey, what's the idea of busting in here?

[D]

Tammy, I've got two questions for you. If you're interested in finding Terry Richards killer.

[F]

I'm not.

[D]

Number one, you were in the paratroops.

[F]

Yes, I was in the par.

[D]

Number two. Did you make patrols behind the lines where you had to kill a man with your own hands? You scum. I asked you a question. Did you?

[A]

That's my answer. Now get out of here.

[F]

And if I set eyes on you again, I'll.

[D]

Kill me. Sammy, get out. You know, I think I'd feel much better if you'd take my head in your lap and bathe my face. I feel much.

[E]

Oh, Simon, stop it. You know, you shouldn't have just barged in on Sammy like that. He has a temper and he doesn't like to be reminded of. Well, you just should have been more diplomatic.

[D]

I was. Diplomacy, my dear girl, is not always a matter of kid gloves.

[E]

Oh, Simon, why don't you give it up? I'm awfully sorry I got you into this.

[D]

I'm not at all. It's well Worth everything just to sit here and have your sympathy and. Hey, Shirley.

[E]

Simon, what's the matter?

[D]

That dress form. Around the neck of it, an E string.

[E]

Simon, who.

[D]

Would you mind? Julie, I. I think I know what it means now. All of it.

[E]

But why me? Do I know something? What is it?

[D]

No, you don't know anything. But you've done something. Yes. Yes, it figures.

[E]

Oh, Simon.

[D]

Now don't cry. Shirley, tell me, did Sammy get someone to take Terry's place with the guitar?

[E]

No.

[D]

Good. First, we'll take care of that for him.

[E]

But I. I.

[D]

Second, you're going to make sure the public address system is warmed up in the wing so I can use it. And third, you're going to tell Sammy and Dick you want to run through Temptation.

[E]

Oh, no, Simon, I couldn't make like.

[D]

That tired old gag, you know, the show must go on. It's one of the most important things in your life. And I want you to do just as I say, or I'm afraid you're not going to have a life to have important things happen in.

[F]

Okay, let's take it once and then forget it. No, Carl, it's up to you. Dick, take it in the downflip.

[D]

You ready, maestro?

[A]

Yeah.

[D]

Okay, now remember what you did.

[F]

Ready, Shirley?

[E]

Yeah, Sammy.

[A]

Dick, roll it.

[E]

You came, I was alone I should.

[A]

Have known.

[E]

You were temptation you smiled, luring me on my heart was gone you were temptation.

[D]

Okay, maestro, it's yours. Stop it. Stop it. Stop.

[F]

Where did that guitar come from?

[E]

Stop it. Rachel, stop it.

[D]

What's the matter, Dick?

[A]

You get away from me, Templar.

[F]

I'll kill you.

[D]

Your killing days are over, son.

[F]

All over, Simon. What are you trying to do, Templar? You trying to louse up the whole band?

[D]

The music you play hasn't loused up your band. How could I possibly do it? Simon will clip you, Dick.

[E]

How could it? I don't understand.

[D]

We understand, don't we, Dick?

[F]

I don't know what you're talking about.

[D]

Sammy, if you will call the cops, I'll tell Dick a little story about a man who was very ambitious, who wanted to be big and important like Terry Richards, who didn't want anybody to get in the way of his ambitions, who admired selfishness and ruthlessness. It's about the story we'll tell, isn't it, Dick?

[F]

All I do is beat these lousy drums.

[E]

All I do is beat these lousy drums. But why did he try to kill me, Simon?

[D]

My idea. Just remain as you are.

[E]

Isn't this romantic, Simon? You should know.

[D]

Oh, I Do know he killed Terry because as you said, Terry took all the licks. What you say that Dick thought belonged to him. Then he got real ambitious. He wanted to be like Krupa, have his own band. And he tried to kill Sammy. Then he could fight for the leadership of a band that was already great.

[E]

Oh, it's so awful.

[D]

Dear heart and gentle woman.

[E]

It's a one, Simon.

[D]

I mean, meeting you.

[E]

Oh, but when did you first suspect.

[D]

That you are wonderful.

[E]

No, that Dick was the killer.

[D]

I was puzzled that someone had used a guitar string for the purpose of strangling Terry Richards. It cuts into the hands and there's no purchase unless it's wound around the hands. And that gives no wire for strangulation. Then I came across the cloves and Dick's drums and everything fell into place. I see.

[E]

You know, I remember when Sammy got back from the army and we had a party and he got drunk and told us how they used to kill the enemy with wire. The ends of which were tied to batons to give them. What did you say? Purchase.

[D]

Surely you're making Simon sound anticlimactic. And that's not in the contract.

[E]

Oh, I'm sorry, Simon. You really did a good job.

[D]

But just stay as you are, dear.

[E]

Oh, Simon.

[D]

Well, in any event, Dick remembered Sammy's tales of the paratroops. He tied the ends of the guitar strings to the clavis he used for Latin American rhythms. And then he approached his victims from the rear, looped the wire over their heads and curtains.

[E]

Oh, how terrible.

[D]

It was very clever. When you screamed and fainted and we came to you. He stepped behind me and slugged me. Then he ran to make his pass at killing Sammy. He wasn't clever enough to take his time and make it thorough.

[E]

Oh, I think it's so gruesome.

[D]

I think it's wonderful.

[E]

Oh, Simon, you can't.

[D]

But I do. The more I explain, the more you shiver. The more you shiver, the closer you come, and it's wonderful.

[E]

Will you please listen to me for a moment?

[D]

No, dear. You're upset. You'll be going back to the city now, you know. I think that monster, Chief Ruggles, will release all of you. Why don't you have dinner at my place, just you and me? You like my place? I have a fine collection of modern art, especially Picasso.

[E]

You're inviting me to come up and see your Picassos?

[D]

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.

[F]

What are you doing with my wife?

[G]

Templa.

[D]

Your.

[F]

My wife?

[D]

Oh, how depressing.

[E]

Simon, that's what I've been trying to tell you. You asked why I stayed with this band and gave up my other career. Well, it's because Sammy and I have been secretly married for six months.

[D]

Oh, no.

[E]

Well, that's why I called you. I was afraid when the police found out, they'd think that Sammy killed Terry because of jealousy.

[F]

I would still like to know, Templar.

[A]

What you were doing with your arm around my wife.

[D]

I. Oh, I was consoling her.

[F]

I've got some consolation for you, Sammy.

[D]

I wouldn't advise violence. I'm ready this time.

[G]

Violence?

[F]

You've got me all wrong. Chief. Chief Ruggles.

[D]

Sammy.

[F]

Now what do you want? You still looking for Templar? What else? Here he is.

[D]

Oh, no.

[F]

Templar.

[D]

Hello, Chief.

[F]

I want to talk to you. Say goodbye to the nice man, Shirley.

[E]

Goodbye, Simon. And thanks, my dear.

[D]

My sweet. We'll meet again.

[F]

Over my dead body.

[D]

I'll try to arrange.

[C]

You have been listening to another adventure of the Saint, the Robin Hood of modern crime. And now, here's our star, Vincent Price.

[D]

Ladies and gentlemen, in tonight's cast, you heard Vivi Janis, Larry Dobkin, Lou Merrill, Jack Edwards and Bill Johnstone. This is Vincent Price inviting you to join us again next week at this same time for another exciting adventure of the Saint. Good.

[C]

Script of the Saint was written by Charles Glenn. Music was composed and conducted by Von Dexter. The Saint, based on characters created by Leslie Charteris, is a James L. Safier production and is directed by Helen Mack. Vincent Price is soon to be seen in the Universal International picture Curtain call at Cactus Creek. And all you Saint fans will be glad to know that the Saint comic books are on sale at all newsstand. Your announcer is Don Stanley. Next, it's Sam Spade. Then Summer Symphony on NBC.