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Speaker 1: Welcome to the Great Detectives of Old Time Radio from Boise, Idaho.

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This is your host, Adam Graham. In a moment, we're

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going to bring you this week's episode of Danger with Granger.

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But first I do want to let you know that

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today's program is brought you in part by the financial

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support of our listeners. You can't support the show on

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a one time basis. Support Dot Great Detectives dot net

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and become one of our ongoing Patreon supporter as far

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as little last two dollars per month by going to

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Patreon dot Great Detectives dot net. Well now, from nineteen

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fifty six or nineteen fifty seven, here is the episode

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Phony Photographer Case.

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Speaker 2: Aker where drinker.

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Speaker 3: Hey you.

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Speaker 4: Yeah, you mean muncy?

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Speaker 2: Yeah? Got the money? Yeah, where's the stuff? Don't be

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such a hook.

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Speaker 5: M.

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Speaker 4: That's a little kay.

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Speaker 3: Er. The rocks tell the boss I getting touch something later.

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But hey, what's that?

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Speaker 6: Somebody took a FoST fight picture pretty quick? You can't

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and get away. Take care of him. Nothing as quiet

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as a knife.

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Speaker 4: Yeah, I shot the guy to be a thousand cops

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around in two minutes.

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Speaker 2: Give me the camera.

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Speaker 6: That one camera will never take another picture.

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Speaker 2: Turn him over.

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Speaker 4: Let's find out over here she works for a newspaper

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names the Grand What do we do?

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Speaker 1: Heigy wallet?

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Speaker 3: And he's do when the coup find Himil, they'll think

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some be tryed to hold him up.

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Speaker 4: A good idea.

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Speaker 6: I'll take that, bust that camera with me and burn

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it up. Yeah, that'll give the cups on the chew

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on two.

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Speaker 3: With a Steve Granger, private detective with a story about

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a cute little redhead and the cute little mess of

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mayhem and murder she was involved in. And just a moment,

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I'll take you back to one of my most the

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thing cases.

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Speaker 2: This is Granger.

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Speaker 3: And as far as I was concerned, the whole thing

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began and a joint called the Arabian Nights, the Arabian Nights,

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or even a remote resemblance to that joint, And I

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figured I was wearing a two headed turbine, smoke hung

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low and the prices hung high. I was stead of

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in a booth mining Steve Granger's business when a dish

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with a camera moved over. No thanks, maybe I'm afraid

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my face is too rugged for your camera.

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Speaker 5: Oh I wouldn't say that.

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Speaker 2: Oh you know me?

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Speaker 5: Is that I don't know, going to give me a

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paper piece? What I get you here in a few minutes,

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walk out with me like you and I had a date.

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Speaker 2: Where should I?

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Speaker 5: Because I think somebody's after me.

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Speaker 3: The camera girl smiled at me. They swung over one

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of the table and talked to man and his girlfriend

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and opposing for shot. A few minutes later, I got

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to my feet and joiner at the door. On the

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way out, I noticed nothing unusual, just a couple of

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night flying characters who gave the all.

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Speaker 2: The double ole, the double eyes.

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Speaker 5: Yep, big favorite ranger.

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Speaker 2: What's this all about? Boyfriends getting too urgent?

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Speaker 5: Is there anyone behind us?

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Speaker 2: Only eyes shadows and they look good together.

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Speaker 5: No one's following, Nick Kase, I'll see you, lady.

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Speaker 3: This is very separated, sure truth A merry one again.

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You wouldn't care to mention your name?

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Speaker 5: Rickie will do.

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Speaker 6: I'd like to hear from you sometimes, Maybe you will.

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Speaker 3: A little redhead hopped the cabin disappeared towards downtown New York,

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so as I wasn't too far from my apartment, I

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walked in and, enjoying the cold Chris bare I just got

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inside my place when things started happening.

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Speaker 5: Hello, stranger, Yeah, still interested in camera girls?

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Speaker 2: If they're redheaded, why not come on over.

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Speaker 5: I'm at home eleven eighty five Way, First Street, Apartment one.

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Speaker 2: Is there a reason for this incipation?

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Speaker 5: There is a man you've been watching my place.

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Speaker 3: I cabbed it over to Ricky's address, but stopped the

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block away, got out and started walking. As I came

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abreast of her building, and I could see the spotter

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huddled in the doorway.

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Speaker 2: Across the street. I moved over looking for something.

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Speaker 6: But if I am it's not you, It's gonna be

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uh girl, it could be none of your business, mister.

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Speaker 3: It's a blow with eleven things going on in this neighborhood.

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Girls being held out.

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Speaker 2: The cup then I shaved themselves in the dark.

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Speaker 6: Doorways looked suspicious.

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Speaker 2: If you get.

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Speaker 6: Maybe I just stopped to like my pipe.

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Speaker 2: In that case, I have a match. Thanks, Got anything

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else to say? I just remember that day. Good for you,

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and i'd better be.

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Speaker 5: I got who's lost?

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Speaker 3: No, you remember a sudden date? I sweated and was

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on the other side of town. Suppose we get real chummy, baby,

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you start telling me things.

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Speaker 5: My name is Ricky Moore.

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Speaker 3: I found out from the index outside. I want to

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know about those.

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Speaker 7: That's just it.

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Speaker 5: I don't know.

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Speaker 2: You work full time as a camera girl.

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Speaker 5: Great, he's got to place over.

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Speaker 3: H think you might have taken some guy's picture who's

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allergic to that sort of thing.

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Speaker 5: I wouldn't do that. I can't take pictures without permission.

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I'd have to pay for the negatives.

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Speaker 2: It's the same. Maybe you ought to go over and

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see what you took tonight. I don't. Okay, let's go. Okay,

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where did I twitched?

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Speaker 3: Somebody outside on the side was looking in the door

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the same, get your coat, pretendual leaving.

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Speaker 2: You stay here. I'm going outside.

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Speaker 3: Mask that character a few embarrassing questions. All right, go

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back inside, don't turn on any lights, and.

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Speaker 6: Wait for me.

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Speaker 3: I got out into the street to look around. There

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wasn't a sign of the guy with a curiosity.

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Speaker 2: I think he was tashed out in the doorway. The

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doorway was empty.

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Speaker 3: I decided he must have beat it and turned round

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to get back to Ricky.

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Speaker 6: Okay, what the stop?

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Speaker 3: I was hit hot enough to flatten my arches. I

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sat to the side walk while the entire constellation passed

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in review. Comets and all. I'll continue with this interesting

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story in a minute. When I came to it being slugged,

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it seemed like a couple of hundred years later. And

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I got on my feet and went back inside of

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the camera girl's apartment. There was no answer to apartment door,

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and this was one time when I wanted one. I

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undersnapped my pocket knight. I reached inside, flipped the light switch.

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Speaker 2: And looked around. The girl was gone.

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Speaker 3: She could have left of her own volition, while the

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man who'd slugged me could have taken her away by force.

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I looked up a boss's address and the phone book.

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Speaker 2: And went over.

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Speaker 3: I wanted to look at the picture she'd taken. That

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her boss, mister Frederick Gray, was very obliging. You see, Granger,

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These negatives adjust the ordinary snaps of people in nightclubs.

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Speaker 2: Yeah, nothing there your information, mister Gray.

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Speaker 3: Miss Moore has disappeared and there was a guy watching

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her apartment.

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Speaker 2: Oh, it might have been a personal thing.

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Speaker 3: Surely Ricky might have a boyfriend.

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Speaker 2: They could have quarreled, you know how those.

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Speaker 3: Things outch guy didn't act like a boyfriend. Besides, she

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didn't know him. I don't know if something has happened

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to miss Moore to be unfortunate. Yeah, most unfortunate. I

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left the office, moved on the Halloways, then tiptoed back,

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just in case the photographer was playing tricks.

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Speaker 2: Was sting at this door.

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Speaker 3: I recognized the word of a telephone dial, and a

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moment later heard his voice. Listen, there's a private detective

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named Greg you're looking for her?

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Speaker 2: Yes, of course, I wanted to meet you where.

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Speaker 3: Very well.

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Speaker 2: Twenty minutes.

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Speaker 3: When Gray came out of his building and legged it

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up the street, I was right behind him. He wound

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up in an eighth Avenue saloon, parked in a corner.

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This was the sort of place you could wear. He

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had in a boot, so I pulled mine down over

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my eyes as I slipped in the one next to Gray.

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He was joined by the same man I'd seen watching

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Ricky morris apartment earlier. The two men kept the talk confidential.

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I pinned my ears back.

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Speaker 6: Here is the dough in this envelope.

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Speaker 3: I wont the cutage.

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Speaker 6: You don't trust me?

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Speaker 2: Yeah, yes, it's all here.

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Speaker 3: Thanks.

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Speaker 6: You're so nervous about that crummy private eye.

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Speaker 2: Yeah, he's very alat I think you suspect something. Are

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you watching Ricky's pace?

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Speaker 6: Yeah, I don't take chances. Wow, did you take care

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of that little chour?

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Speaker 3: Yes? I had destroyed that negative and now that our

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business is finished, out saying good night.

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Speaker 6: You wouldn't be pulling a fast which would you pay

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your big silly Yeah, I'm being so silly. I'm going

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to walk you over to your place.

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Speaker 2: But listen that way will.

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Speaker 6: Make sure if it's okay, you're okay. But listen, will

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you it's not.

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Speaker 3: Don't do that.

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Speaker 2: The character.

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Speaker 3: I made a motion of drawing a finger across his

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throat from Gray's nervousness, climbed up to the shaky stage

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and up the aph to have an a joint, and

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went back to Gray's building. I walked around outside, wondering

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if we should go up or not. After a while,

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I got that feeling that something had gone wrong, So

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I walked into the building and up to Frederick Gray's place.

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All the way lights glowed with a yellow color that

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added an eerie touch to the whole thing. The lights

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were on in his office. The place was deserted, and

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I wondered how Frederick Gray and the other man had

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done the duck act.

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Speaker 2: So quickly.

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Speaker 3: Then I saw it on the floor, A couple of stains,

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reddish and fresh looking. These stains I knew couldn't be

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photographic chemicals that looked more like blood.

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Speaker 2: I never considered myself psychic.

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Speaker 3: Just staring at those stains gave me a quiet, little

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creepy feeling, like the one the guy got when he

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woke up in the middle of the night, reached out

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for the matches and felt them put unto his hand.

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In just a minute, I'll bring you the climax of

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the case. I stood there in Frederick Gray's photographic studios.

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I was looking at the fresh stains on the floor,

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said how I get a crik in my neck? So

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it took me a little while to turnet when I

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heard the door behind me open, wore you I could

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ask the same questions, fella, what are you doing in

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here this time of night? Oh?

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Speaker 2: I work here on mister Grey's dark room. Technician. I

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developed the pictures the girls take. I see.

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Speaker 3: Did you see mister Gray coming a little while ago?

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Speaker 2: Why?

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Speaker 4: Yeah?

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Speaker 2: Was there a man with him wearing a gray suit?

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Speaker 3: Yes?

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Speaker 2: Was there an argument? Hear him fighting or anything like that?

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I don't know, sir. I just popped him and popped off.

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Speaker 4: But well, I think they walked down the hall.

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Speaker 2: Did you developed the pictures, Ricky Moore took tonight?

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Speaker 3: Not all of them, once you took up the Arabian

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Nights were developed by mister Gray himself.

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Speaker 2: You haven't seen this more tonight? Well, sir, you see,

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I spend most of my time in the dark room.

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Speaker 5: I like it there.

241
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Speaker 3: Oh great, I beat it out of there and called

242
00:12:38,799 --> 00:12:40,159
in my pal cal Hendricks.

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Speaker 2: He kept real newspaper.

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Speaker 3: Man's hours, was pretty good about giving out with information,

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00:12:44,559 --> 00:12:46,360
always provided he got first option.

246
00:12:46,200 --> 00:12:47,120
Speaker 2: On any news story.

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Speaker 3: Oh see this out of the night. You should be

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on a many ringside table one of fifty second Street bistro.

249
00:12:51,639 --> 00:12:53,639
Speaker 2: And know, why do you know about Frederick Gray?

250
00:12:53,679 --> 00:12:56,320
Speaker 3: He's a photographer, operates the photos anice around the Knight's

251
00:12:56,320 --> 00:12:58,799
spots as ful girls working for him. Yeah, for eight

252
00:12:58,840 --> 00:13:00,759
times what they're worth. These good also snap you in

253
00:13:00,840 --> 00:13:02,440
any sort of incriminating pose?

254
00:13:02,519 --> 00:13:03,279
Speaker 2: It that I know?

255
00:13:04,320 --> 00:13:06,720
Speaker 3: Could he work a racket along with it? Everybody has

256
00:13:06,759 --> 00:13:09,960
lostoy in their heartskipt the philosophy. That's all you have

257
00:13:10,039 --> 00:13:11,960
on Gray? Yep, you always seemed to be a legitimate

258
00:13:11,960 --> 00:13:14,960
business man. Why it's beginning to look like he's selling

259
00:13:15,000 --> 00:13:18,320
certain pictures at special prices.

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00:13:18,600 --> 00:13:20,320
Speaker 2: You're working on you and working for one of the

261
00:13:20,320 --> 00:13:23,679
camera goes. Looks like she's in the same kind of enterprise.

262
00:13:23,720 --> 00:13:26,320
And see a letter. H let's see that paper.

263
00:13:26,600 --> 00:13:32,240
Speaker 3: Ohee soil Grant news photographer found stabbed to death on

264
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Peer thirteen editor claims he was working in a smuggling

265
00:13:35,440 --> 00:13:40,360
ex So what did man held a button off a

266
00:13:40,440 --> 00:13:44,799
man's suit coat in his right hand a news photographer?

267
00:13:46,320 --> 00:13:46,799
Speaker 2: I wonder.

268
00:13:46,799 --> 00:13:52,200
Speaker 3: I don't know why the story about the murder of

269
00:13:52,240 --> 00:13:54,799
newspaper photographer tight end with Ricky Moore in a disappearance,

270
00:13:54,840 --> 00:13:57,519
but the feeling persisted. I said good night to Cal

271
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Hendricks and went back to Frederick Gray's place of business.

272
00:14:02,360 --> 00:14:04,320
Through the glass panel in the office store, I could

273
00:14:04,320 --> 00:14:08,320
see movement stranger. Well, miss Moore, I thought I'd lost.

274
00:14:08,360 --> 00:14:09,279
You lost.

275
00:14:09,759 --> 00:14:11,480
Speaker 2: Just what kind of a racket are you pulling this?

276
00:14:11,679 --> 00:14:11,840
Speaker 4: More?

277
00:14:12,559 --> 00:14:14,919
Speaker 2: Don't play innocent first, you're afraid to leave. On you're not.

278
00:14:15,039 --> 00:14:15,600
What's the gag?

279
00:14:15,720 --> 00:14:17,679
Speaker 5: There's no gag. I don't know what you're talking about.

280
00:14:17,919 --> 00:14:20,159
Speaker 2: Talking about the guy who was watching your apartment? What

281
00:14:20,200 --> 00:14:20,679
about him?

282
00:14:20,759 --> 00:14:23,480
Speaker 5: I don't know he looked suspicious. I became frightened.

283
00:14:23,519 --> 00:14:24,200
Speaker 7: I called you.

284
00:14:24,200 --> 00:14:28,399
Speaker 5: You drove him away. That's it, Grange, what's wrong?

285
00:14:28,879 --> 00:14:29,919
Speaker 2: Have you seen Frederick Gray?

286
00:14:30,519 --> 00:14:31,159
Speaker 3: The last you are?

287
00:14:31,320 --> 00:14:32,080
Speaker 2: Let's look around?

288
00:14:32,519 --> 00:14:35,679
Speaker 5: Where for room ranger?

289
00:14:35,720 --> 00:14:37,600
Speaker 2: What are you looking for? Place where a man could

290
00:14:37,600 --> 00:14:39,639
be hidden if you were tied up?

291
00:14:40,960 --> 00:14:44,720
Speaker 3: That's the only closet in this office that's empty.

292
00:14:45,600 --> 00:14:46,960
Speaker 2: What's down the hall this morning?

293
00:14:47,399 --> 00:14:48,799
Speaker 5: Nothing? The broom closet?

294
00:14:48,840 --> 00:14:50,000
Speaker 3: I think, let's take a look at it.

295
00:14:54,039 --> 00:14:54,480
Speaker 2: Is it.

296
00:14:57,480 --> 00:15:01,200
Speaker 3: Any reason why broom closet should be locked? You haven't

297
00:15:01,200 --> 00:15:02,240
got time to pool her around?

298
00:15:02,840 --> 00:15:12,159
Speaker 2: Then? Well well well yeah, and it's been stabbed.

299
00:15:13,679 --> 00:15:14,759
Speaker 5: Why would anybody kill?

300
00:15:15,279 --> 00:15:16,080
Speaker 2: If that's an act?

301
00:15:16,120 --> 00:15:18,720
Speaker 3: Save it for the police, miss Moore, because from where

302
00:15:18,759 --> 00:15:20,480
I stand up against to look like your boss was

303
00:15:20,480 --> 00:15:23,360
doing a little blackmailing. You met a guy a while

304
00:15:23,360 --> 00:15:25,080
ago in a saloon. They came up here after the

305
00:15:25,120 --> 00:15:26,360
guy I'd given you a buy some money.

306
00:15:26,480 --> 00:15:27,919
Speaker 2: You know I do.

307
00:15:28,320 --> 00:15:30,360
Speaker 3: It's the same guy who was watching your apartment. Now,

308
00:15:30,360 --> 00:15:33,759
WA's the connection, miss Moore? What are you for them done? Not?

309
00:15:33,919 --> 00:15:37,799
By the way, do you know any newspaper photographers?

310
00:15:38,399 --> 00:15:39,200
Speaker 5: Photographers?

311
00:15:39,240 --> 00:15:45,000
Speaker 2: Say one named Grant? What's wrong? Miss Moore? You know no.

312
00:15:46,720 --> 00:15:47,480
Speaker 1: No, I've never heard of.

313
00:15:50,720 --> 00:15:52,679
Speaker 3: I know that Ricky Moore was keeping things from me,

314
00:15:52,720 --> 00:15:54,720
one of them being the fact that she knew the

315
00:15:54,720 --> 00:15:57,840
dead photographer. After the cops finished with us, I told

316
00:15:57,840 --> 00:16:00,879
her to go home and stay there. I drifted back

317
00:16:00,879 --> 00:16:02,240
to the Arabian Knights.

318
00:16:02,919 --> 00:16:04,399
Speaker 2: The girl and I've swept hair and.

319
00:16:04,399 --> 00:16:06,639
Speaker 3: A down swept evening gown was running her hands over

320
00:16:06,679 --> 00:16:09,600
the keyboard of a piano. I wedged myself and was

321
00:16:09,600 --> 00:16:11,639
spot at the bar. Out of the corner of my

322
00:16:11,639 --> 00:16:13,879
eye could see the owner, Clint Karen start over.

323
00:16:14,919 --> 00:16:16,679
Speaker 2: Oh, Venger, how are you feeling?

324
00:16:17,000 --> 00:16:19,440
Speaker 3: The camera girl tried to sniffy a couple of hours ago,

325
00:16:19,480 --> 00:16:21,159
and you'll wind up walking up with him.

326
00:16:21,639 --> 00:16:22,080
Speaker 2: Where was that?

327
00:16:22,799 --> 00:16:26,919
Speaker 3: Nor do I walk out with the strangers. I'd like

328
00:16:27,000 --> 00:16:29,559
to talk to you about it, Glender, start talking? Not

329
00:16:29,679 --> 00:16:41,000
here my office? Okay, here we are, sit down, Glengeer, thanks,

330
00:16:41,480 --> 00:16:44,879
I'd go Rookie Moore, just how well do you know it?

331
00:16:45,080 --> 00:16:46,519
Speaker 2: Just casually? What's a beef? Clint?

332
00:16:46,639 --> 00:16:49,679
Speaker 3: I know exactly, but I smile swindle, huh, yeah, I've

333
00:16:49,679 --> 00:16:52,360
been waiting for to come back. I think her pictures

334
00:16:52,360 --> 00:16:53,320
are getting high priced.

335
00:16:53,320 --> 00:16:55,720
Speaker 2: You know where she lives. I know she's a camera girl, period.

336
00:16:56,279 --> 00:16:58,000
Speaker 3: Yes, I counted on you too heavily.

337
00:16:58,919 --> 00:17:00,600
Speaker 2: If I come up with an I'll let you know.

338
00:17:01,200 --> 00:17:04,640
Speaker 3: Fine ginger, see you lady that door pal dig this

339
00:17:04,680 --> 00:17:05,119
one here?

340
00:17:05,599 --> 00:17:09,000
Speaker 2: Oh? Where's this one? Later to the only way.

341
00:17:09,559 --> 00:17:11,640
Speaker 3: That way, you won't have to fight that crowd inside.

342
00:17:12,440 --> 00:17:12,799
Speaker 2: Thanks.

343
00:17:18,079 --> 00:17:19,839
Speaker 3: I walked down the alley way towards the street with

344
00:17:19,920 --> 00:17:22,640
my ears flapping like a set of mantils. After a

345
00:17:22,640 --> 00:17:24,759
few seconds, I had a door open very softly, then

346
00:17:24,799 --> 00:17:25,400
close again.

347
00:17:25,799 --> 00:17:27,440
Speaker 2: It would have been Karen making set, and I was

348
00:17:27,480 --> 00:17:28,039
on my way.

349
00:17:28,720 --> 00:17:34,799
Speaker 3: I paused and went back to the door. There was

350
00:17:34,839 --> 00:17:36,640
a window next to the door, dirty and grimy, but

351
00:17:36,640 --> 00:17:38,480
I could see enough to recognize the man who'd stepped

352
00:17:38,480 --> 00:17:40,200
in the Karen's office the moment I'd left. It was

353
00:17:40,200 --> 00:17:42,160
the man who'd given them money to Gray, the same

354
00:17:42,160 --> 00:17:44,079
one who'd been keeping an eye on the moor go.

355
00:17:44,960 --> 00:17:46,559
I bet a need of the crank in the door.

356
00:17:47,279 --> 00:17:47,799
Speaker 2: He was just here.

357
00:17:48,039 --> 00:17:49,200
Speaker 3: See put him out the back door.

358
00:17:49,319 --> 00:17:50,200
Speaker 6: Yeah, I spot at him.

359
00:17:50,359 --> 00:17:52,480
Speaker 2: That's why I didn't come in right away. Here's a

360
00:17:52,519 --> 00:17:54,000
door back well. The picture's chunk.

361
00:17:54,240 --> 00:17:55,559
Speaker 6: Gray was trying to pull a fast one.

362
00:17:55,759 --> 00:17:56,200
Speaker 2: What happened?

363
00:17:56,640 --> 00:17:59,279
Speaker 6: He's in a brooded closet. It was the only way

364
00:17:59,880 --> 00:18:00,640
about the More day.

365
00:18:00,759 --> 00:18:03,640
Speaker 3: She called me, since you'd be around in a half hours, Yeah,

366
00:18:03,759 --> 00:18:09,559
but not for long. I got out of the alley

367
00:18:09,599 --> 00:18:11,599
and grabbed a cab out of the More girl's apartment,

368
00:18:11,880 --> 00:18:12,720
but I was too late.

369
00:18:12,799 --> 00:18:13,799
Speaker 2: The place was deserted.

370
00:18:14,200 --> 00:18:16,119
Speaker 3: I moved around looking for something that could give me

371
00:18:16,119 --> 00:18:20,240
a lead on just who she actually was. I opened

372
00:18:20,240 --> 00:18:22,640
a desk drawer and found three lipsticks. Thought it was

373
00:18:22,640 --> 00:18:25,720
a strange place for women to keep her kisslacker. Then

374
00:18:25,759 --> 00:18:29,119
I made a closer examination. They only looked like lipsticks,

375
00:18:29,279 --> 00:18:32,680
they served an entirely different purpose. Maybeat it back down

376
00:18:32,680 --> 00:18:35,359
to the Arabian Nights, hoping the inmates hadn't folded their tents.

377
00:18:35,400 --> 00:18:36,599
Speaker 2: Because it was getting to be dawn.

378
00:18:42,279 --> 00:18:44,160
Speaker 3: I hung around the entrance to the alleyway that ran

379
00:18:44,200 --> 00:18:46,880
alongside Clinton Karen spot standing first on one foot, then

380
00:18:46,880 --> 00:18:48,519
on the other, and wish I got out a third

381
00:18:48,559 --> 00:18:49,279
one to relieve the.

382
00:18:49,200 --> 00:18:50,079
Speaker 2: Ache, and the other two.

383
00:18:50,720 --> 00:18:53,559
Speaker 3: Then I spotted Ricky walking towards me, camera case slung

384
00:18:53,559 --> 00:18:56,200
over one shoulder. I waited until she got a breast

385
00:18:56,240 --> 00:18:59,720
of me. Ricky, where are you going?

386
00:19:00,240 --> 00:19:00,480
Speaker 4: Alright?

387
00:19:01,279 --> 00:19:02,440
Speaker 2: Back to the club, let's joined.

388
00:19:02,640 --> 00:19:05,319
Speaker 5: Of course I have to return the photos, even if

389
00:19:05,359 --> 00:19:08,720
it's great, is dead the only reason why are you

390
00:19:08,799 --> 00:19:09,680
looking at me like that?

391
00:19:09,799 --> 00:19:11,240
Speaker 3: I don't know whether you're on the level or tilt

392
00:19:11,240 --> 00:19:12,720
it like a battleship and a mud flat.

393
00:19:13,839 --> 00:19:21,519
Speaker 2: He just let me see that. Cut it out? They

394
00:19:21,640 --> 00:19:24,839
usual junker woman carries around dat purse.

395
00:19:24,880 --> 00:19:26,000
Speaker 5: Give it back to second just.

396
00:19:25,880 --> 00:19:28,960
Speaker 3: A second, baby, don't get grabby.

397
00:19:29,759 --> 00:19:31,960
Speaker 2: Wow, these are interesting.

398
00:19:32,640 --> 00:19:36,079
Speaker 3: Why did you a girl carrying not one, but three lipsticks?

399
00:19:36,599 --> 00:19:38,279
Speaker 2: What are you plenty to do? Make up a chorus

400
00:19:38,279 --> 00:19:39,200
at the cocoaka banner?

401
00:19:39,480 --> 00:19:40,680
Speaker 5: I want them right now.

402
00:19:41,279 --> 00:19:43,759
Speaker 2: Look at the two of them.

403
00:19:43,920 --> 00:19:46,839
Speaker 3: They have little holes in one end, a little button

404
00:19:46,880 --> 00:19:48,680
on the other end. Could it be possible if these

405
00:19:48,680 --> 00:19:49,640
are knock lipsticks?

406
00:19:50,160 --> 00:19:50,720
Speaker 2: But they might be?

407
00:19:50,920 --> 00:19:53,559
Speaker 3: Uh cameras suppose.

408
00:19:53,240 --> 00:19:54,559
Speaker 6: They are here here?

409
00:19:54,640 --> 00:19:56,079
Speaker 2: What's going on with this? Man?

410
00:19:56,240 --> 00:19:56,960
Speaker 5: Is bothering me?

411
00:19:57,000 --> 00:19:58,160
Speaker 6: He's doing as the trouble for her.

412
00:19:58,319 --> 00:19:59,079
Speaker 2: Get out of here.

413
00:19:59,440 --> 00:20:01,720
Speaker 3: I got someone finish business with miss Moore, and I'll

414
00:20:01,720 --> 00:20:05,839
have to remain on that out stop that I said.

415
00:20:07,720 --> 00:20:09,960
Speaker 2: Here, Ricky, Ricky, come back.

416
00:20:13,799 --> 00:20:15,720
Speaker 3: Instead of following Ricky Moore through the front entrance of

417
00:20:15,720 --> 00:20:17,519
the club, I took it back down the Alleyway, feeling

418
00:20:17,559 --> 00:20:19,559
certain that she'd wind up in the office. I waited

419
00:20:19,559 --> 00:20:23,000
one minute window prowling, maybe two. Then she was escorted

420
00:20:23,000 --> 00:20:24,640
into the room by Clint Karen and placed in a

421
00:20:24,720 --> 00:20:27,880
chair facing the window. The mug Munsey was still there,

422
00:20:28,160 --> 00:20:30,680
And suddenly I noticed something that made me realize why

423
00:20:30,720 --> 00:20:32,759
I'd subconsciously linked this caper with the.

424
00:20:32,759 --> 00:20:36,279
Speaker 2: Murder of the news photographer. A button was missing from

425
00:20:36,319 --> 00:20:37,079
Munsey's coat.

426
00:20:40,000 --> 00:20:42,000
Speaker 3: Well, it's more, I've been waiting for you.

427
00:20:42,039 --> 00:20:44,279
Speaker 5: Hi, Dan's characters something wrong.

428
00:20:44,400 --> 00:20:46,680
Speaker 3: No, No, it's more. You don't have to pretend any longer.

429
00:20:46,960 --> 00:20:50,119
I've known for some time that you worked for the news. Yes, please,

430
00:20:50,279 --> 00:20:52,480
Monthly trailed you there when you made your last report.

431
00:20:53,119 --> 00:20:55,960
That's when another news photographer went down to Pier thirteen.

432
00:20:56,039 --> 00:20:58,279
He had a tip with some diamonds were being passed

433
00:20:59,680 --> 00:21:03,880
kill I personally, my dear. Now all on from you

434
00:21:03,960 --> 00:21:06,279
are the pictures you took in the club and through

435
00:21:06,319 --> 00:21:06,759
that window.

436
00:21:07,319 --> 00:21:09,400
Speaker 5: I have now to say I worked for Freddie Gray.

437
00:21:09,799 --> 00:21:12,039
Speaker 3: We thought of Gray too, but it turned out that

438
00:21:12,079 --> 00:21:14,160
he didn't have the pictures. He was just a blackmailer

439
00:21:14,880 --> 00:21:17,160
showed him. There's too much talk about nothing.

440
00:21:17,680 --> 00:21:18,720
Speaker 2: The pictures, please.

441
00:21:18,480 --> 00:21:21,960
Speaker 3: I haven't gotten pictures on See, perhaps you'd better persuade

442
00:21:21,960 --> 00:21:22,519
the young lady.

443
00:21:22,640 --> 00:21:26,079
Speaker 4: Sure, why not, I've used this twice before, three times

444
00:21:26,160 --> 00:21:30,279
lucky huh?

445
00:21:29,200 --> 00:21:34,519
Speaker 3: All right, you Karen stands to come on here, Ricky.

446
00:21:34,559 --> 00:21:36,440
I don't think this more has the pictures, Karen, because

447
00:21:36,480 --> 00:21:38,519
I've got him and a couple of lipstick cameras I

448
00:21:38,559 --> 00:21:39,440
swiped out of her apartment.

449
00:21:39,599 --> 00:21:39,799
Speaker 4: See.

450
00:21:43,160 --> 00:21:45,000
Speaker 6: Now you'll have to throw that thing left handed for

451
00:21:45,039 --> 00:21:46,000
a while, are you.

452
00:21:57,240 --> 00:21:59,359
Speaker 3: Well, friends, that's the story. I'll be back to wrap

453
00:21:59,440 --> 00:22:07,200
up the case in just a minute. Clint Karen hit

454
00:22:07,240 --> 00:22:08,799
the floor with a saw a chin as his para

455
00:22:08,839 --> 00:22:11,759
Montin has to wounded arm. The police came around. The

456
00:22:11,799 --> 00:22:14,599
two were taking it a custody on suspicion of murder. Also,

457
00:22:14,640 --> 00:22:17,039
the customs boys wanted them on a charge of smuggling,

458
00:22:17,640 --> 00:22:20,519
charges substantiated by the pictures. Ricky Moore had taken of

459
00:22:20,559 --> 00:22:22,200
the jewels in Karen's office.

460
00:22:22,720 --> 00:22:23,680
Speaker 2: But there were a couple of things.

461
00:22:23,720 --> 00:22:27,400
Speaker 3: I still couldn't figure out how you granger, Well you

462
00:22:27,480 --> 00:22:30,279
came back to the club if you had the pictures.

463
00:22:30,319 --> 00:22:32,200
When I stick you're knocking back into the lion's mouth.

464
00:22:32,640 --> 00:22:34,400
Speaker 5: I wanted to see if I could get a couple

465
00:22:34,440 --> 00:22:36,319
more to bring in. You see, I took them to

466
00:22:36,400 --> 00:22:39,079
that dirty window from the alleyway. I wasn't getting into

467
00:22:39,160 --> 00:22:41,359
the office and used some dodge to clean windows.

468
00:22:41,480 --> 00:22:43,160
Speaker 2: Don worked for the news.

469
00:22:43,200 --> 00:22:47,519
Speaker 5: I couldn't. It was a hush hush assignment and Granger

470
00:22:47,680 --> 00:22:49,759
just to show you how the news feels about you.

471
00:22:51,160 --> 00:22:51,880
Speaker 1: There's a check.

472
00:22:53,000 --> 00:22:58,119
Speaker 3: Well. I love figures, Ricky, whether they're numerica of physical.

473
00:22:59,319 --> 00:23:02,920
Speaker 2: See how about them? Stick camerasin got one with you today?

474
00:23:03,359 --> 00:23:08,680
Speaker 5: No, but wow with you. I figured I be recognized.

475
00:23:09,640 --> 00:23:14,759
Speaker 2: M hmm, get news for you. You could be right,

476
00:23:19,039 --> 00:23:20,880
Steve grang Riggan, You've just.

477
00:23:20,880 --> 00:23:23,160
Speaker 3: Heard one of the most interesting cases in my files,

478
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and I'll have another one for you, so I'll be

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around next time.

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Speaker 1: Welcome back. I didn't suspect that she was undercover as

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00:23:41,720 --> 00:23:45,799
a not club photographer to cover for the fact that

482
00:23:45,839 --> 00:23:49,839
she was actually a newspaper photographer. And I guess that

483
00:23:49,880 --> 00:23:54,160
does kind of make sense. Uh are about the whole

484
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lipstick camera as being a practical real life thing. Certainly

485
00:23:59,640 --> 00:24:03,000
this was the type of device that was used by

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00:24:03,119 --> 00:24:06,759
female KGB agents, and who knows it may have been

487
00:24:06,839 --> 00:24:11,720
used by American female agents during the Cold War, but

488
00:24:11,880 --> 00:24:18,000
lipstick cameras for actual newspaper photographers. That seems to be

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just the writer having some fanciful fun. On the bright side,

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Granger actually got a check that wasn't expected and got

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a date with the woman involved in the case. So

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00:24:30,759 --> 00:24:32,839
this is one of those cases that make up for

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00:24:32,920 --> 00:24:35,039
all the other ones where the woman turns out to

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00:24:35,079 --> 00:24:38,799
be a line femme fatale who Stiff's our hero? Well

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listener comments and feedback now, and we have a comment

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00:24:42,880 --> 00:24:47,920
over on Spotify regarding the episode The Lady Alibi Don

497
00:24:47,960 --> 00:24:52,400
Wright's it sort of scares me that Adam has such

498
00:24:52,480 --> 00:24:57,559
strong opinions on what makes a fixer good or bad. Well, Don,

499
00:24:57,599 --> 00:25:01,960
I can appreciate where you're coming from, but yeah, I

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00:25:01,960 --> 00:25:05,599
think just a few days ago I got opinions on

501
00:25:06,480 --> 00:25:10,319
what might get someone shift in prison. I tend to

502
00:25:10,400 --> 00:25:15,400
assume that such opinions are based on innocent knowledge or

503
00:25:15,480 --> 00:25:18,759
watching a lot of true tav and for my part,

504
00:25:18,960 --> 00:25:22,039
my opinions on what makes it good fixer comes down

505
00:25:22,160 --> 00:25:28,079
to more of being a consumer of a ridiculous amount

506
00:25:28,440 --> 00:25:32,160
of Golden age crime fiction over the radio, as well

507
00:25:32,200 --> 00:25:34,480
as some books and movies that have kind of set

508
00:25:34,559 --> 00:25:39,240
my expectations, so you and anyone else concerned can rest

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00:25:39,279 --> 00:25:41,960
at ease. Well, now it is time to think our

510
00:25:42,079 --> 00:25:45,240
Patreon supporter of the day, and I want to thank Catherine,

511
00:25:45,279 --> 00:25:49,359
Patreon supporter since June twenty twenty one, currently supporting the

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00:25:49,440 --> 00:25:52,400
podcast at the Shawness level of four dollars or more

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00:25:52,440 --> 00:25:54,920
per month, and I will do it for today. If

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00:25:54,920 --> 00:25:59,160
you're enjoying the podcast, please follow us using your favorite

515
00:25:59,200 --> 00:26:02,720
podcastsquare and be sure to rate and review the podcast

516
00:26:02,759 --> 00:26:06,240
wherever you download it from. We'll be back next Monday

517
00:26:06,359 --> 00:26:10,599
with another episode of Danger with Granger, But join us

518
00:26:10,640 --> 00:26:15,160
back here tomorrow for the big story where.

519
00:26:15,559 --> 00:26:19,160
Speaker 7: All right, Tint left it, but I take your trap

520
00:26:19,200 --> 00:26:24,680
shut and Tint left, I said, all right, drop the

521
00:26:24,720 --> 00:26:26,839
card air under that tree. You know where it's nights

522
00:26:26,880 --> 00:26:31,759
and dot look. So as I say, now, I know

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00:26:31,799 --> 00:26:38,640
if you adniffen your headline to what are you I'm

524
00:26:38,640 --> 00:26:42,920
gonna do now, let's make sure you down double classes Wintle.

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Speaker 1: Hope you'll be with us then in the meantime, send

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00:26:46,200 --> 00:26:50,880
your comments to Box thirteen at Great Deetectives dot net,

527
00:26:51,359 --> 00:26:55,640
follow us on Twitter at Radio Detectors, and check us

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00:26:55,640 --> 00:27:00,440
out on Instagram, Instagram, dot com. Slash Great Detector is

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from Boise, Idaho. This is your host, Adam Graham signing off.