Speaker 1: Welcome to Great Detectives Old Time Radio from Boise, Idaho.
This is your host, Adam Graham. In a moment, we're
going to bring you this week's episode of Broadways My Beat.
But first I 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
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But now, from December twenty ninth, nineteen fifty one, here
is the Ted Everly murder case.
Speaker 2: Yes you, Ross Locke, that's right, you police. You got
a reason to come around this time of night. My
wife and I were just going to sleep.
Speaker 3: You were in a place earlier at night. A bar
on one hundred and thirty nine seven lots of bars
on that sweet There's an alley behind this one where
a man was beaten to death.
Speaker 2: Nobody at all honey, you just go back to sleep,
said a man was beating to death.
Speaker 3: A man who invited you out into an alley, a
shoe salesman named was Ted Ebery.
Speaker 2: Oh yeah, honey, Janie, I got to go out for
a while. Honey, don't you wait up for me here?
All right, let's go huh quietly, we're waking everybody in
the house. H M.
Speaker 3: Sit over there, Ross, This is a protective muggle, hi, Ross.
Speaker 2: Now we all know each other. That's right. We're going
to get along too, aren't we. Ros Sure sure anything.
Speaker 3: Tomm you're a fighter, Ross, welter good one. Muggovin here
is quite a fight fan. I just mentioned your name
to him in the all abouts sure.
Speaker 4: Every time you hit the garden, that was me in
the aisle seat, third row. They had class, real class, Danny.
Speaker 2: Yeah.
Speaker 5: How many times have I told you about this boy?
Speaker 2: How many times a week?
Speaker 4: I ask myself why a boy like Ross quits, resigns
from the field, a chap with crowbars.
Speaker 2: In the space, Why, I ask yourself? Why not ask me?
All right? Ross, I'm asked fighting. That's not the way,
not for me. The other boys I know all the
reasons why they fight.
Speaker 3: All the reasons for me, what's for you?
Speaker 2: Russ? I make the model model.
Speaker 4: Kids are playing ships and bottles, things like that.
Speaker 2: From blueprints, conventions, buildings, machine All the scale gives them
a chance to see and touch what they were dreaming
about on the drafting board. Gives me a chance to
use my hands, real fine work.
Speaker 3: Scared, I like that sounds interesting.
Speaker 2: I like it. Sure you do. You killed a man tonight,
Ross I didn't kill him, or maybe you didn't mean
to it first.
Speaker 4: Maybe you forgot the boy with fish like yours, deadly
weapons we called a fighter can kill him out easy, with.
Speaker 2: Hands like yours.
Speaker 3: I told you haven't rushed. You haven't told us this thing,
except you were in the bar.
Speaker 2: I was sitting there with my friend. Let's talk him.
This guy came up the slummer drunk. I had to
pick a fight, and they do that sometimes gives him kicks,
because I remember I was a fighter once. Sure, sure
they do that.
Speaker 4: But this one you took out in the alley, beat
him to death, murdered him.
Speaker 2: Yeah. I took him out in the alley with my
arm around him, tried to talk to him, reason with him.
I'm crazy. I had to do that sometimes. I walked
him up the alley from the bar. He broke away,
pulled a jack knife, name after it passed out before
he gets and he poor, miserable. And after that I
didn't touch him, just walked away from him, under around,
walked away down the other end of the alley. One home.
Speaker 6: Hello, boy, guess what I got?
Speaker 2: Boy? We give up Webster? What he got?
Speaker 7: I rip that Everleven rip as corps. Don't talk to
him anymore. Ross boy, you don't have to. I'm taking
you away from all this.
Speaker 2: I don't know.
Speaker 7: I know, boy, I know, and I'm a friend of
a friend of yours. Fellow, you haven't been very nice
to Jack Cobol, your former manager, but he's your nice.
Speaker 5: To you Coobyl.
Speaker 7: He I had old Billy Webster counselor. And you're going
to get up and walk out of here just because
I say so.
Speaker 5: He'sney boy.
Speaker 3: Yeah, and you too, Webster leaf with him. The next morning,
look up a man named Jack Cobol. Come up with
an address of a place as He's gym on Amsterdam.
Go there a gem like a sweaty hot training quarters
for latter day gladiators classed variously according to Pounded records
expectations boxers, punchers, bummers past the middleweight. It was being
furious at a canvas bag. A lightweight being nimble with
a jumping rope, brushed against a man in an overcoat
who had taken a fighting stance and was sneering his
broken face into full length mirror. Stop a boy with
a bucket and ask for Jack Colbo and be told
that's him over near the ring and the purple T shirt.
Speaker 8: Well it, what's the matter with you?
Speaker 7: Pull the left?
Speaker 3: No, no, no, your name Cobo?
Speaker 5: Yeah, so toss it already.
Speaker 8: Don't stand there and wave it.
Speaker 9: Go ahead, go ahead, okay, can't do something in the
heavy bag?
Speaker 5: Three rounds? Okay?
Speaker 3: What I'm from the police. I want to know what
made you hire a lawyer for Ross Locke.
Speaker 9: I think because Christmas is over. I'm strange because I'm friendly.
I just asked telling you I'm under a ross lot.
Speaker 2: It's the matter with you?
Speaker 5: Don't you have friends?
Speaker 3: Look, mister Kobo, I'm trying to find out all I
can about Ross low because I understand that you used
to manage him. He was a comer. He left you,
didn't it bother you?
Speaker 5: Looked like I'm stone. Sure it bothered me.
Speaker 9: Fighter like him giving up all that sure dope for
me too should bothers me.
Speaker 3: But you're still his friend.
Speaker 5: So especially what I saw last night.
Speaker 3: You were at that bar last night, you saw the fight.
Where were you when.
Speaker 5: I got there trying to find Ross?
Speaker 3: Just tell me what happened.
Speaker 9: Dame standing in the doorway with a bottle. I couldn't
get near Ross, and that Slummer went outside and around
the blocking up the alley. Slummer was banging on Ross
the names he was calling him. I'm going to court
and testify self defense for Ross.
Speaker 5: Like it was.
Speaker 3: Ross said he didn't put a hand on that man.
Speaker 9: Maybe that's your story. Ross was planning tows, but that's
not the way it happened. Me testifying my lawyer is
self defense.
Speaker 3: Please possibly that man was holding a jack knife. So
it will be simple.
Speaker 9: I'm gonna take care of everything. I'm gonna fide me. Yeah, yeah, he'sier.
I'll take the message. Okay, Sure, I'll tell him it's
for you. I just don't let people to use my
phone germs.
Speaker 5: And the mouth beats.
Speaker 3: What was the message?
Speaker 9: Message is about the Harlem River at the end of
Lennox said, that's where you want it.
Speaker 5: In a hurry.
Speaker 2: You living goodbye.
Speaker 1: Over here?
Speaker 7: Danny?
Speaker 2: Who ponder some kid looked in the river?
Speaker 3: There she was yelled for.
Speaker 2: The police got around just a little while ago.
Speaker 3: Why did you call me mothering?
Speaker 2: Couldn't you handle it?
Speaker 3: I didn't think you'd want me to, didn't they tell
you over the phone?
Speaker 6: Come on, come on?
Speaker 2: Who is she? I'll take a blanket off. See Darle Bennett.
Speaker 4: Uh huh, the woman of scream murder in the alley
last night. We'd better look close then.
Speaker 3: Murder. That's right, Carol Bennett.
Speaker 2: Danny strangled at death.
Speaker 10: You are listening to Broadways My Beat, written by Morton
Fine and David Freakin and starring Larry Thor as Detective
Danny Clover.
Speaker 8: For each hour of each.
Speaker 10: Day of the year, someone dies, a man steps off
a curb without looking in both directions, a woman jay walks,
and a child turns a corner on his bicycle without
looking first. Nearly nine thousand pedestrians were killed in these
and other motor accidents during nineteen fifty one. The fault
many times is yours. The pedestrian careless walking is as
dangerous as careless driving.
Speaker 3: Broadway makes happy holidays for the time of the year's dying,
those twelve long months with not enough laughter. They're going
now and it's a time for dancing. So hurry up
and exchange the Christmas presents. Get out on the street,
buy a noise maker and create a stir. It's the
thing to do. Join the mob, kid. Everybody's making the
nude dreams for the new year, maybe even today. Maybe
the golden girl will smile. Dear from the crowd and
beckon once happened to a friend of yours. But in
my office at police headquarters, no crowd, just me. The
sergeant with papers is handed.
Speaker 2: Danny, Yeah, what is it?
Speaker 5: You know, I'm worried.
Speaker 3: What's the trouble?
Speaker 2: Next year is leapyer and it worries young Go.
Speaker 11: Ahead, laugh, make funny jokes, make mockery of daddy's cares
and woes.
Speaker 3: I'm not making mockery of anything to you know. What's
the trouble.
Speaker 11: My eldest youngster, Tina, she's seventeen. She told me last
night the next year being leap Yer, she's going to
pop the cock. The patrol man reared. She's going to
offer her hand in marriage to me.
Speaker 3: That's very nice. Tina's a lovely girl. Ridden is a
fine officer.
Speaker 11: Heckel, Go ahead, I stand there helpless before you're heckle.
You're on their side, gino. After all the ticking thing
we've been through, shoulder what I asked for first? Let
me finish shoulder to shoulder.
Speaker 2: Yeah, I did tell me about it now.
Speaker 11: Carol Bennett is dead from strangle. Unknown casst him to
the Holland River and found at eleven twenty three am by.
Speaker 3: Tell me about Carol Bennett? What did you find?
Speaker 11: Minor misdemeanors which caused the plague of thirty day sentences
by our magistrates and many unheated lectures by saying the
girl prone to petty thefts, etc. Where you lived, good
drifter mostly outside of Harlem. Checked out the last address
early this morning, threw twenty bucks at the landlady and said,
bump out about the change. Who needs it? Now'll give
you a piece of advice. I think she was strangled
by that rows lock so that she could not testify
against them.
Speaker 5: You want an old points bulletin, Danny, I'll.
Speaker 3: Let you know. I think I know where to find
the back again to the tenement where the boy had
first been picked up. And it's day now. No night
time to veil the scarred doorways, no shadow to smother
the sudden crying out that pierces the carters. No night
sound of trumpet to wash away the stillness that follows
on Harlem Tenement, huddled close in on itself against December,
trying to soak up the last sunlight of a dying year,
and never making anything. Walk through the silence that happened
when your foot crossed its threshold, up the flight of stairs,
down a hall whose walls are closer against him than
there were the night before, knocking the door.
Speaker 12: Oh, I thought you were someone else, Missus Locke. That's right.
Speaker 3: What do you want? Ross up?
Speaker 2: The police?
Speaker 12: You're the man that was here last night. You took
Ross away. He hasn't come home.
Speaker 3: Why you won't try to stop me if I take
a look around, Missus Locke, come on in. We want him.
Missus Locke, where is it?
Speaker 12: I don't know. You told me why you took him away.
Speaker 3: He beat up a man last night, killed him.
Speaker 12: You lie, you stand there and you lie to my face.
Speaker 3: This morning a girl was found in the Harlem River.
A girl had been strangle the girl and saw Ross
kill the man.
Speaker 12: And you're telling me me that I Ross did all that.
Speaker 3: He left headquarters late last night. Did he come home?
He's a fugitive analysis.
Speaker 12: I've heard all about them fugitives. I've seen pictures on
streets back home.
Speaker 3: If you know where he is, it'll be better.
Speaker 12: Come here, mister. I want to show you something. See
that that's a model, a model of the new little
machine Ross was working on. Look how tiny those parts are,
how delicate. That's the way Ross uses his hands. You're
going to stand there and tell me Ross uses his
hands to kill. I don't want to talk to you any.
Speaker 2: More, mister.
Speaker 3: Get out and libr and leave the scars gouged up
by words and fingernails and pen knives and the exchange
value of a dollar. Get out into what Sunshine has
left and call sergeant to Tagley. I tell him to
get out on all points. Bulletin on Ross Locke and
continue with your own checking. Then have detective mugam and
drive you to the man, who, as far as you knew,
was the last wonder I have seen Ross, the lawyer
who had brought a writ go to the office of lawyer.
Speaker 2: Webster led you came, Mannie lad you dropped in.
Speaker 3: You're glad. I'm glad, Webster. I want you to be
in a happy frame of mind. I got some questions
when I asked you, that's going shoot? Where'd you go
when you left headquarters with Ross Locke?
Speaker 7: I took him home with me, gave McLean shirt, raiser,
a son of blade, and some hot water. I wanted
him to look real nice for what my client colbom.
He likes people to look real nice when they come caught.
Speaker 3: And that's where you took him. I didn't say that.
Come on, Webster, you get cagy with me. You're a lawyer.
Is gonna need a lawyer?
Speaker 2: You're the one. Daddy, good old you.
Speaker 3: You're ready to go downtown. We'll use my car.
Speaker 7: I don't you just listened sometime instead of sneering. I
never said I took Ross to Cobo.
Speaker 3: That's up. Where'd he go?
Speaker 6: How do I know where he went?
Speaker 2: He walked out.
Speaker 5: He wouldn't go see Cobo.
Speaker 3: You know? Why?
Speaker 2: What do you think I do?
Speaker 6: Danny tapped people's brain.
Speaker 5: I said, let's go see Cobo.
Speaker 2: Kid.
Speaker 8: He pushed me against the wall, you know, playfully.
Speaker 5: So I couldn't get up for five minutes.
Speaker 8: He pushed me and walked out. Personally, I don't like
the question playful.
Speaker 3: Boys like ross and that's all you can tell me.
Speaker 8: I'm a bright and he after all?
Speaker 3: Do I look like a boy who would?
Speaker 2: Yeah?
Speaker 1: What is it?
Speaker 2: Muga vin the radio? What did I think We're.
Speaker 13: Gonna get there?
Speaker 4: Over there, Danny? They can lock between the tenements.
Speaker 8: All right, you people, I get back.
Speaker 2: Let us through, Please, let us through.
Speaker 3: Okay, officer, we'll take it.
Speaker 2: Give me a flash. Look at him, Danny. His hands,
his hands are.
Speaker 3: It was the first thing you saw in the quickening darkness,
his hands, the hands that had shaped delicate things, minute things, crushed, broken,
twisted into something without form, without name, and stained now
with dull scarlet of a fury violence. And the boy's
eyes as he looked at you considered your reaction, anguish
and something else, something that made to turn a wave.
Speaker 4: Ambuinus, Danny, take you, me and the patrolman to clear
the crowd.
Speaker 2: You hand them.
Speaker 3: The left kid.
Speaker 9: Lap laft.
Speaker 8: Laugh from the shore of the bottle.
Speaker 3: Laugh, how your boy, you can quit mock coble. I
want to talk to you all.
Speaker 9: Right, like a shower kid, see you in the morning.
Thank you to the Jim Slate Clover.
Speaker 3: I checked your house. They tell me you were down here.
Now let me ask you the same question.
Speaker 5: What keeps you here? Something you teasing myself? That kid
you just saw as guts up everything by the left hand.
Speaker 3: As good as Ross Locke.
Speaker 5: I doubted last cot sock with both hands.
Speaker 3: No more.
Speaker 5: Yeah, I know.
Speaker 9: Head it over the radio with the rest of the
bad news. Holy slap one of these light bags clovery.
Good for the nerves.
Speaker 6: I get tense stuff.
Speaker 3: Would I hear news like that?
Speaker 2: Cut it out?
Speaker 3: Coble kidding said, cut it out?
Speaker 2: What's your mission?
Speaker 3: I will two murders and assault?
Speaker 2: How bad is he?
Speaker 3: It'd be all right, won't be able to build any
more models.
Speaker 2: Yeah.
Speaker 3: Somebody hit him over the head from behind, then went
to work on his hands ruined.
Speaker 2: Imagine.
Speaker 5: I think there's somebody doing that to a guy's head.
Speaker 3: Yeah, I can figure somebody doing that.
Speaker 2: I'm sorry. I got you like it now.
Speaker 3: Ross couldn't fight even if they wanted to.
Speaker 9: For anybody he saw his hands you, I don't know
a shame too, good boy like him.
Speaker 3: You can't make models, can't fight. Probably as many jobs
you'll be able to do with his hands.
Speaker 5: Yeah, I'll send himself some time to time.
Speaker 3: No, a girl named Carol Bennett should know her.
Speaker 5: Dame of the bottle of Dame. We saw Ross Killette man,
Dame you fished out of the river.
Speaker 2: Who doesn't know her?
Speaker 3: You know why she died? There was a reason. She
was blackmailing, the killer of a Camden shoe salesman man
who was found beating to death last night in an alley.
Speaker 9: You're crazy? How got you blackmail Ross? He didn't have
that kind of toe.
Speaker 5: You do so but putting away for rainy days that
gives you a long nose.
Speaker 3: Girl was standing at the doorway of the alley. She
saw what happened. Saw that Ross didn't touch that drunk.
Saw Ross walk away the way Ross said he did.
Speaker 5: You believe what the boy told you?
Speaker 12: Yeah?
Speaker 2: I do.
Speaker 3: The way someone fixed his hands makes me believe it.
Speaker 5: Boy gets himself a couple of broken hands. It makes
him stop being a murderer.
Speaker 2: Let me tell you a little bit more. What Carol saw.
Speaker 3: She saw you. She saw you finish the job on
the drunk that Ross didn't get to do blackmail.
Speaker 5: Give a good deal of my time to that boy,
even hide him a lawyer.
Speaker 8: No, why would I go.
Speaker 2: Do what you said?
Speaker 5: Then I suddenly go crazy. Look your lock of clover.
Speaker 3: You're going to appear as an eye with mister Ross's
murder of that man. Told me so yourself that way.
When Ross was acquitted, he'd owe your son to fight.
Speaker 2: For you again.
Speaker 5: Anybody ever call you a deep thinker, Danny.
Speaker 3: And when he wouldn't come to you, you found him.
Speaker 2: Reckon.
Speaker 3: Let's go downtown, Cobo, be a put.
Speaker 2: Down that jackknife.
Speaker 3: It cuts glober.
Speaker 8: Like this, your weight, your.
Speaker 6: Closet, clever.
Speaker 13: Over low, Okay, on your feet, let's go.
Speaker 3: In a little while. Broadway will knock itself to pieces.
Funny fellas, the funny hats, and lean out of the
hotel windows and pour water on the celebrants of the
tin horns. There'll be laughter and crowd and swirl and
the fine thing the words happy New Year, and Broadway
means it with all its heart. It's Broadway, the gaudiest,
the most violent, the lonesomest.
Speaker 2: Mile in the world.
Speaker 6: Broadway, My beat, Broadway's my beat.
Speaker 10: Stars Larry Thor as Detective Danny Clover, with Charles Calvert
as to Taglia and Jack Krushian as Mugavin. The program
was produced and directed by Elliott Lewis, with musical score
composed and conducted by Alexander Courage. In tonight's story, Clayton
Post was heard as Colbow and Roy Glenn as Ross Locke.
Featured in the cast were Herb Butterfield, Charlotte Lawrence, Jenny Legone,
and Jester.
Speaker 8: Hairston Tomorrow Afternoon, don't.
Speaker 10: Miss the third annual gathering of CBS Radio's top foreign correspondence,
all making their year end reports on the state of
the world. Ed Murrow is the host. Remember it's Tomorrow
Afternoon on most.
Speaker 6: Of these same radio stations.
Speaker 10: It's hard hitting, it's factual, it's food for thought, it's
years of crisis. Bill Andrews speaking. And remember those lovable rascals,
Amos and Andy are here every Sunday on the CBS
Radio Network.
Speaker 1: Welcome back. I have to say that this whole plot
of murdering the shoe salesman and hoping that Ross Locke
gets framed for it so that you'll exonerate him and
he'll feel like he owes you, and so he'll fight.
Speaker 2: Again for you.
Speaker 1: That seems a bit elaborate for a improvised first time,
assumably a murder of a complete stranger on a night
you'd just been planning to go out to the bar.
I definitely feel bad for Ross Locke at the end.
That's just really sad. And so broadways, my beat had
no problem ending the year on a bit of a downer,
although the New Year's message, which seemed like very similar
to the one they did in nineteen fifty of what
was a nice touch. Now Geno's concern about his daughter.
There are probably a couple of things to understand. First
of all, there was a tradition originally established in Ireland,
but it spread throughout Europe, and that was on leap
Day of Leap Year, so February twenty nine, women could
legally propose marriage to their sweetheart. This practice was brought
to Scotland by Irish monks and Queen Margaret passed a
law allowing it, and then it kind of spread throughout Europe.
So his daughter talking about taking advantage of that tradition
to pop the question to this patrolman. Now in the
twenty first century, in most areas of the United States,
this would create a lot of concern, but not so
in the nineteen fifties. In the nineteen fifties, the average
age of a woman getting married for the first time
was twenty point two years. Our average today is between
twenty eight point four to twenty eight point six years,
so on average, more women getting married closer to age
thirty than to age twenty and so in a lot
of that Danny's reaction makes sense. She's a wonderful girl,
he's a great officer.
Speaker 8: What's the problem?
Speaker 2: Now?
Speaker 1: Even if tartagly I didn't have any objections to the
match in terms of merits of either of their character.
As an aad, this would still be a very difficult
proposition and something that I don't think you know would
be ready for with so many feelings and anxiety surrounding it. Though,
if you're looking for sympathy, going to the bachelor's probably
not going to do a whole lot of good for you.
And of course it's possible that his daughter might have
been just saying something to get a rise out of
her old dad. But what a teenage girl really say
something just to shock her father. I'm not an expert,
so I will demore. Now we turn to listener comments
and feedback, and we start with an email from Nick
at Berkeley, who writes in the Marriage Smith Murder Case.
Sergeant Tartagley asked, Danny, why is this morning different than
all the other mornings? Morton Fine and David Freakin, both
being Jewish. I suspect this is a little nod to
the Passover Seder, which begins with a child asking why
is this not different than all other?
Speaker 2: Nots?
Speaker 1: Thanks Nicholas. I don't know if I would think of
it as like an intentional nod. It seems like it'd
be a little odd to make a Passover reference in
a story that went out on December eight, But I
think it may have been one of those things where
the culture that a writer is raised in, the religion,
the films, the music, it comes out in their work.
Not all of the references are intentional or thought of,
but if something has influence to writer, it does come
out in their writing, which I think is a good
explanation for the way that reference came in. And I
appreciate your comment because that did strike me. I just
didn't quite know what to make of it, But thanks
so much for the email Nicholas. Well, now it's time
to think our Patreon supporter of the day. I want
to thank Alan, Patreon supporter since February twenty twenty four,
currently supporting the podcast at the Detective Sergeant level of
seven dollars and fourteen cents or more per month. Thanks
so much for your support, Alan, And that will 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 will be back next Wednesday with another episode of
Broadways My Bait. But join us back here tomorrow for
drag netwhere.
Speaker 14: You know any other fellow's working for this five or Steve,
any other kids in school? And no, just button me,
That's all I know. It wouldn't be so bad if
it was just the books. Lousy Charlie, you had to
go and promote the party routine, get everybody mixed up
in that.
Speaker 2: How do you mean?
Speaker 6: What's that all about, Charlie.
Speaker 14: He stays at this place out on Sepalviita. It's a motel.
That's where we always contacted him. Yeah, after a couple
of weeks when we got to know him, He asked
me and Bud out to this place, said he was
going to throw a party, told us to bring our
girl friends along. Turned out we were the only ones
at the party, Me and Bud and the girls and
Charlie Freiburg. Party lasted pretty late. I should have been
smart enough to figure it out.
Speaker 2: I wasn't.
Speaker 3: What do you mean, Steve, figure out?
Speaker 9: What?
Speaker 14: Why Charlie be throwing parties just for us? The first
two times, there wasn't anything wrong. We just talk, danced
with the girls, drank some beer. Charlie told us to
have a good time. He threw a party every Friday night.
Never broke up till after three o'clock.
Speaker 2: Old, your girl friend, your's and.
Speaker 14: Buds seventeen and they're both seventeen. They've been around though.
No use kidding you. They weren't very smart. I can
tell you that none of us were.
Speaker 2: I guess.
Speaker 14: Next couple of parties, Charlie had whiskey. There some girls
drink right along with them.
Speaker 2: So did we tiebreak serve the whiskey?
Speaker 3: Did he?
Speaker 14: Yeah, that's right. We know that the drinks kept handing
the girls. A lot of stuff about how I used
to be a director in pictures, had a lot of
connections in Hollywood. My last party I was at, he
said he was going to get the girl's screen test.
A lot of malarchy like that.
Speaker 1: I hope you'll be with us then. In the meantime,
send your comments to Box thirteen at Great Detectives dot net,
follow us on Twitter at Radio Detectors, and check us
out on Instagram, Instagram, dot com, slash Great Detectors From Boise, Idaho.
This is your host, Adam Graham signing off.