Danger with Grainger: Phony Photographer Case (EP4866)

Summary

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The Great Detectives of Old Time Radio

Danger with Grainger: "Phony Photographer Case" (EP4866)

December 15, 2025

Host: Adam Graham

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Episode Overview

This episode features an installment from the classic radio detective series "Danger with Grainger," spotlighting the "Phony Photographer Case." Host Adam Graham transports listeners into the smoky world of 1950s private detective radio drama. Steve Granger, a wisecracking PI, finds himself enmeshed in a web of blackmail, murder, and undercover intrigue—centered around a redheaded nightclub camera girl with a mysterious agenda and a set of suspicious "lipsticks." The narrative weaves through tense encounters, underworld dealings, and a surprising twist involving a hidden photograph and the ingenious use of spy gadgetry.

Adam Graham follows up the episode with his own commentary, reflecting on the story's twists, the era’s espionage tropes, and listener feedback.

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Key Discussion Points & Plot Summary

1. Case Introduction and the Inciting Incident

• [02:54] Steve Granger stumbles upon an illicit deal going down—some "rocks" (likely diamonds) are exchanged, but the hand-off is interrupted by a flash photograph, resulting in murder.
  • Granger: “There's nothing as quiet as a knife. If I shot the guy, there'd be a thousand cops around in two minutes. Give me the camera.”

2. Meeting Ricky Moore—the Camera Girl

• [04:56–05:55] At the Arabian Nights nightclub, Granger is approached by Ricky Moore, a redheaded camera girl nervous about being followed.
  • Ricky: “I get through here in a few minutes. Walk out with me. Like you and I had a date.”
  • Granger agrees, sensing she’s in danger.

3. The Mystery Deepens

• [06:02–07:29]
  • Granger visits Ricky's apartment at her request after she spots someone watching her.
  • He encounters a suspicious man outside but chases him off.
  • Granger gets knocked out by an unknown assailant, and Ricky subsequently disappears.

4. The Photographer’s Darkroom and Alibis

• [08:03–11:24]
  • Granger visits Ricky’s boss, Frederick Gray, who claims ignorance of the photographer’s fate.
  • Granger eavesdrops as Gray secretly conducts a clandestine meeting with the man who was watching Ricky.

5. Blackmail, Murder, and Missing Photographs

• [11:26–16:17]

  • Granger’s investigation uncovers bloodstains in Gray’s studio, implying foul play.

  • Granger learns from his newspaperman friend Cal that a photographer named Phil Grant was murdered (the same Grant referenced in the opening exchange).

    • Notable: "Phil Grant, news photographer found stabbed to death on Pier 13. Editor claims he was working in a smuggling..." — Cal Hendricks [14:31]

6. Climax—Tying Up the Threads

• [17:20–23:13]

  • Granger reunites with Ricky at Gray’s office. Together, they discover Gray’s body hidden in a locked broom closet.
  • Granger realizes the crime is connected to a blackmail and diamond smuggling ring.

• Notable Discovery:

  • Granger finds that Ricky’s “lipsticks” are actually covert cameras.
    • Granger: “Could it be possible that these are not lipsticks? They might be cameras.” [21:11]

7. Showdown & Resolution

• [22:12–23:13]

  • In the alley near the nightclub, Granger overhears Clint Karen (the club’s owner) and Muncie (the thug) plotting to finish off Ricky and cover up their crimes.

  • Ricky and Granger are cornered, but Granger reveals he has the incriminating pictures and uses them as leverage. A fight ensues, and the police arrive.

  • Granger: “I don't think Ms. Moore has the pictures, Karen, because I've got them. And a couple of lipstick cameras I swiped out of her apartment.” [23:04]

• Aftermath:

  • Karen and Muncie are arrested for murder and smuggling. The pictures, taken with Ricky’s lipstick cameras, are used as evidence.

8. Final Dialogue & Reveals

• [23:55–24:39]

  • Granger asks Ricky why she returned to the club despite the danger; she confesses she wanted to take more photos for her undercover news assignment.

  • It’s revealed Ricky was actually a newspaper photographer investigating the crime ring and Phil Grant’s death.

  • Notable Quote:

    • Ricky: “I couldn't. This was a hush hush assignment. And Granger, just to show you how the news feels about you, here's a check.” [24:13]

  • Granger closes with his trademark humor and flirtation:

    • Granger: “Well, well, I love figures, Ricky. Whether they're numerical or physical. Say, how about the lipstick cameras? Got one with you today?”
    • Ricky: “No. Well, with you I figured I'd need regular lipstick.”
    • Granger: “Hmm. I got news for you. You could be right.” [24:35–24:39]

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Host Adam Graham’s Commentary & Listener Feedback

Commentary Highlights

• [25:35] Adam Graham reflects on the episode:

  • Surprised by the twist that Ricky wasn’t just a camera girl but an undercover reporter.
  • Remarks on the fanciful nature of lipstick spy cameras, noting they existed for espionage but were “probably just the writer having some fanciful fun” in the context of newspaper reporting.

• Notable Quote:

  • “On the bright side, Granger actually got a check that wasn’t expected and got a date with the woman involved in the case. So this is one of those cases that make up for all the other ones where the woman turns out to be a lying femme fatale who stiffs our hero.”

Listener Mail Segment

• [26:40]
  • Graham reads feedback from a listener named Dawn on Spotify, who is amused by Adam’s strong opinions on “what makes a fixer good or bad.”
  • Graham clarifies his takes are shaped by consuming "a ridiculous amount of golden age crime fiction."

Patreon Acknowledgment

• [27:34]
  • Brief thanks to supporter Catherine, with a callout to Patreon listeners.

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Notable Quotes & Memorable Moments (with Timestamps)

• “There's nothing as quiet as a knife.” – Unnamed thug [02:54]
• “My name is Ricky Moore.” – Ricky Moore [07:39]
• “Could it be possible that these are not lipsticks? They might be cameras.” – Steve Granger [21:11]
• “I couldn't [tell you]. This was a hush hush assignment. And Granger, just to show you how the news feels about you, here's a check.” – Ricky Moore [24:13]
• “Well, well, I love figures, Ricky. Whether they're numerical or physical.” – Steve Granger [24:23]
• “On the bright side, Granger actually got a check that wasn’t expected and got a date with the woman involved in the case.” – Adam Graham, host [25:50]

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Important Timestamps and Segments

• [02:54] — Opening crime and introduction of the smuggling plot
• [04:56] — Granger’s meeting with Ricky Moore at the nightclub
• [06:02] — Call for help and Granger’s investigation begins
• [08:03] — Interview with Gray and stealthy eavesdropping
• [11:26] — Clues to the blackmail scheme
• [15:36] — Granger and Ricky reunite; search for Gray
• [17:20] — Discovery of Gray’s body
• [21:11] — Revelation of lipstick cameras
• [22:12] — Showdown in the office; true villains arrested
• [23:55] — Final wrap-up and revelation of Ricky’s true identity
• [25:35] — Host commentary and analysis
• [27:34] — Patreon and listener feedback

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Tone and Style

The episode blends classic noir hardboiled narration ("I was hit hard enough to flatten my arches...") with a brisk, snappy dialogue. Granger's wisecracks and persistent sleuthing keep the tension high, while moments of banter and cheeky flirtation add charm. Adam Graham’s commentary is warm, knowledgeable, and lightly humorous, with a nostalgic respect for Golden Age detective fiction.

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For Those Who Haven’t Listened…

This episode stands as a gripping and twist-filled classic detective yarn. Private Eye Steve Granger untangles a web of blackmail, murder, and undercover reporting in the glittering, gritty world of nightclubs and newsrooms. The plot revolves around identity, hidden evidence, and clever spy gadgets, capped with a noir flourish and a dash of romance.

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Transcript

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[Adam Graham (Podcast Host)]

Welcome to the Great Detectives of 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 Danger with Granger. But first, I do want to let you know that today's program is brought to you in part by the financial support of our listeners. You can support the show on a one time basis. Support.greatdetectives.net and become one of our ongoing Patreon supporters for as little as $2 per by going to patreon.greatdetectives.net well now from 1956 or 1957, here is the episode Phony Photographer Case.

[Steve Granger (Private Detective)]

Where's granger? Hey you. Yes? Your name Muncie? Yeah. Got the money here. Where's the stuff? Don't be in such a hurry. Yes, well, there. Okay. Here are the rocks. Tell the boss I'll get in touch with him later in about. Hey what's that? Somebody took a flashlight picture. After him, quick. We came in and. Get away. Take care of him. There's nothing as quiet as a knife. Yeah, If I shot the guy, there'd be a thousand cops around in two minutes. Give me the camera. That one camera will never take another picture. Turn him over. Let's find out who he is. He works for a newspaper named Grant. What do we do? Take his wallet and his dog. When the cops find him, they'll think somebody tried to hold him up. Good idea. I'll take that busted camera with me and burn it up. Yes, that'll give the cops on the chew on clue. This is Steve Granger, private detective with a story about a cute little redhead and the cute little mess of mayhem and murder she was involved in. In just a moment, I'll take you back to one of my most interesting cases. This is Granger. And as far as I was concerned, the whole thing began in a joint called the Arabian Nights. The Arabian Nights bore even a remote resemblance to that joint. And I figured I was wearing a two headed turban. Smoke hung low and the prices hung high. I was sitting in a booth minding Steve Granger's business when this dish with a camera moved over.

[Ricky Moore (Camera Girl)]

Take your picture, mister?

[Steve Granger (Private Detective)]

No thanks, baby. I'm afraid my face is too rugged for your camera.

[Ricky Moore (Camera Girl)]

Oh, I wouldn't say that, Mr. Granger.

[Steve Granger (Private Detective)]

Oh, you know me. Is that bad? I don't know.

[Ricky Moore (Camera Girl)]

Granger, do me a favor, please.

[Steve Granger (Private Detective)]

What?

[Ricky Moore (Camera Girl)]

I get through here in a few minutes. Walk out with me. Like you and I had a date.

[Steve Granger (Private Detective)]

Why should I?

[Ricky Moore (Camera Girl)]

Because I think somebody's after me.

[Steve Granger (Private Detective)]

The camera girl smiled at me, swung over to another table and talked to man and his girlfriend into posing for a shot. A few minutes later I got to my feet and joined her at the door. On the way out, I noticed nothing unusual. Just a couple of night flying characters who gave the girl a double O with the double eyes.

[Ricky Moore (Camera Girl)]

Yeah, big favor, Granger.

[Steve Granger (Private Detective)]

What's this all about? Boyfriends getting too urgent?

[Ricky Moore (Camera Girl)]

Could be, mister. Is there anyone behind us?

[Steve Granger (Private Detective)]

Only our shadows. They look good together.

[Ricky Moore (Camera Girl)]

You're positive no one's following us?

[Steve Granger (Private Detective)]

Yeah.

[Ricky Moore (Camera Girl)]

In that case, I'll see you later. This is where we separate.

[Steve Granger (Private Detective)]

Short trip, but a merry one.

[Ricky Moore (Camera Girl)]

Again, thanks.

[Steve Granger (Private Detective)]

You wouldn't care to mention your name?

[Ricky Moore (Camera Girl)]

Ricky will do.

[Steve Granger (Private Detective)]

I'd like to hear from you sometime.

[Ricky Moore (Camera Girl)]

Maybe you will.

[Steve Granger (Private Detective)]

The little redhead hopped the cab and disappeared towards downtown New York. Since I wasn't too far from my apartment, I walked it, enjoying the cold, crisp Air. I just got inside my place when things started happening. Hello.

[Ricky Moore (Camera Girl)]

Steve Granger?

[Steve Granger (Private Detective)]

Yeah.

[Ricky Moore (Camera Girl)]

Still interested in camera girls?

[Steve Granger (Private Detective)]

If they're red at it, why not come on over?

[Ricky Moore (Camera Girl)]

I'm at home. 1185 West First Street, Apartment 1J.

[Steve Granger (Private Detective)]

Is there a reason for this invitation?

[Ricky Moore (Camera Girl)]

There is a man. He's been watching my place.

[Steve Granger (Private Detective)]

I cabded over to Ricky's address but stopped a block away, got out and started walking. As I came abreast of her building, I could see the spotter huddled in a doorway across the street. I moved over looking for something. But if I am, it's not you. Could it be a girl? It could be none of your business, mister. So blow, will you? There have been things going on in this neighborhood. Girls being held up. The cop, huh? Men are shade themselves in dark door. Always look suspicious if you get. Maybe I just stopped to light my pipe. In that case, have a match? Thanks. Got anything else to say? I just remembered a date. Good for you. And it's better be.

[Ricky Moore (Camera Girl)]

Did you find out who he was?

[Steve Granger (Private Detective)]

No.

[Ricky Moore (Camera Girl)]

But you did get rid of him.

[Steve Granger (Private Detective)]

You remember the sudden date I persuaded him was on the other side of town. Suppose we get real chummy, baby, you start telling me things.

[Ricky Moore (Camera Girl)]

My name is Ricky Moore.

[Steve Granger (Private Detective)]

I found that out from the index outside. I want to know about those. Why the hell that's just it.

[Ricky Moore (Camera Girl)]

I don't know.

[Steve Granger (Private Detective)]

You work full time as a camera girl.

[Ricky Moore (Camera Girl)]

Gray, he's got a place over on, huh?

[Steve Granger (Private Detective)]

Think you might have taken some guy's picture who's allergic to that sort of thing?

[Ricky Moore (Camera Girl)]

I wouldn't do that. I can't take pictures without permission. I'd have to pay for the negative.

[Steve Granger (Private Detective)]

Just the same, maybe you ought to go over and see what you took tonight, huh? Has Gray got them?

[Ricky Moore (Camera Girl)]

Yeah, I sent them over by messenger.

[Steve Granger (Private Detective)]

Okay, let's go. Okay. Where's the light switch? Somebody outside on the sidewalk looking in by the door. Is it Stan? Man, get your coat. Pretend we're leaving.

[Ricky Moore (Camera Girl)]

Now what?

[Steve Granger (Private Detective)]

You stay here. I'm going outside and ask that character a few embarrassing questions. All right. Go back inside. Don't turn on any lights and wait for me. I got out into the street, took a look around. There wasn't a sign of the guy with a curiosity. I figured he was stashed out in a doorway. The doorway was empty. I decided he must have beat it and turned around to get back to Ricky. Hey, what the. I was hit hard enough to flatten my arches. I sat to the sidewalk while the entire constellation passed in review. Comets and all. I'll continue with this interesting story in a minute. When I came to after being slugged, it seemed like a couple of hundred years later. And I got on my feet and went back inside of the camera girl's apartment. There was no answer. Department door. And this was one time when I wanted one. I unsnapped my pocket knife. I reached inside, flipped the light switch and looked around. The girl was gone. She could have left of her own volition or the man who'd slug me could have taken her away by force. I looked up a boss's address in the phone book and went over. I wanted to look at the picture she'd taken. That her boss, Mr. Frederick Gray, was very obliging. You see, Granger, these negatives are just the ordinary snaps of people in nightclubs. Yeah? Nothing there. Your information, Mr. Gray. Ms. Moore has disappeared. And there was a guy watching her apartment. Oh, it might have been a personal thing. Surely. Ricky might have a boyfriend. They could have quarreled. You know how those things are. This guy didn't act like a boyfriend. Besides, you didn't know him. I don't know. If something has happened to Ms. Moore, it would be unfortunate. Yeah, most unfortunate. I left the office, moved down the hallways, then tiptoed back just in case the photographer was playing tricks. Listening at his door, I recognized the word of a telephone dial and a moment later heard his voice. Listen, there's a private detective named Granger looking for her. Yes, of course. I want to meet you. Where? Very well. 20 minutes. When Gray came out of his building and legged it up the street, I was right behind him. He wound up in an 8th Avenue saloon parked in a corner. This was the sort of place you could wear your hat in a boot. So I pulled mine down over my eyes. As I slipped into the one next to Gray, he was joined by the same man I'd seen watching Ricky Moore's apartment earlier. The two men kept the talk confidential. I pinned my ears back. Here is the dough in its envelope. Fine, but I. I want to count it. You don't trust me?

[Ricky Moore (Camera Girl)]

Yeah.

[Steve Granger (Private Detective)]

Yes, it's all here. Thanks. What are you so nervous about? That crummy private eye? Yeah, he's very alert. I think he suspects something. Are you watching Ricky's place? Yeah. I don't take chances. Now, did you take care of that little chore? Yes, I destroyed the negative. And now that our business is finished, I'll say good night. You wouldn't be pulling a fast switch, would you? You're being silly. Yeah, I'm Being so silly. I'm gonna walk you over to your place. But listen. That way we'll make sure if it's okay, you're okay. But listen, will you? If not, don't do that. The character made a motion of drawing a finger across his throat. When Gray's nervousness climbed up to the shaky stage. They left the 8th Avenue joint and went back to Gray's building. I walked around outside wondering if I should go up or not. After a while, I got that feeling that something had gone wrong. So I walked into the building and up to Frederick Gray's place. The hallway lights glowed with a yellow color. That added an eerie touch to the whole thing. The lights were on in his office. The place was deserted. And I wondered how Frederick Gray and the other man had done the duck act so quickly. Then I saw it on the floor. A couple of stains, reddish and fresh looking. These stains, I knew, couldn't be photographic chemicals. They looked more like blood. I never considered myself psychic. Just staring at those stains gave me a quiet little creepy feeling. Like the one the guy got when he woke up in the middle of the night. Reached out for the matches and felt them put into his hand. In just a minute, I'll bring you the climax of the case. I stood there in Frederick Gray's Photographic Studios. I was looking at the fresh stains on the floor so hard, I got a crick in my neck. So it took me a little while to turn it. When I heard the door behind me open. Who are you? I could ask the same question, fella. What are you doing in here this time of night? Oh, I work here. I'm Mr. Gray's darkroom technician. I developed the pictures the girls take. I see. Did you see Mr. Gray coming a little while ago? Why, yes. Was there a man with him wearing a gray suit? Yes. Was there an argument? Did you hear him fighting or anything like that? I don't know, sir. I just popped in and popped out, but, well, I think they walked down the hall. Did you develop the pictures Ricky Moore took tonight? Not all of them. The ones she took at the Arabian Nights were developed by Mr. Gray himself. Oh, you haven't seen Ms. Moore tonight? No, sir. You see, I spend most of my time in the darkroom. I like it there. Oh, great. I beat it out of there and called in my pal Cal Hendricks. He kept real newspaperman's hours. Was pretty good about giving out with information. Always provided he got first option on any news story. Well, Steve, at this hour of the night, you should be ornamenting a ringside table at one of 52nd Street Bistro. I know. What do you know about Frederick Gray? He's a photographer. Operates a photo syndicate around the night spots. Has four girls working for him. Yeah, for eight times what they're worth. These girls will snap you in any sort of incriminating poses that I know. Could he work a racket along with it? Everybody has larceny in their hearts. Skip the philosophy. That's all you have on Gray? Yep. You always seem to be a legitimate businessman. Why? It's beginning to look like he's selling certain pictures at special prices. You're working on him working for one of the camera girls. Looks like she's in the same kind of enterprise. I'll see you later. Come on, let's see that paper. Okay. Phil Grant, news photographer found stabbed to Death on Pier 13. Editor claims he was working in a smuggling. So what? The dead man held the button off the man's suit coat in his right hand. A news photographer. I wonder. I don't know why the story about the murder Newspaper photographer tied in with Ricky Moore in a disappearance. But the feeling persisted. I said good night to Cal Hendricks and went back to Frederick Gray's place of business. Through the glass panel in the office door, I could see movement.

[Ricky Moore (Camera Girl)]

Granger.

[Steve Granger (Private Detective)]

Well, Ms. Moore, I thought I'd lost you.

[Ricky Moore (Camera Girl)]

Lost me?

[Steve Granger (Private Detective)]

Just what kind of a racket are you pulling, Ms. Moore?

[Ricky Moore (Camera Girl)]

Racket?

[Steve Granger (Private Detective)]

Don't play innocent. First you're afraid to leave, then you're not. What's the gag?

[Ricky Moore (Camera Girl)]

There's no gag. I don't know what you're talking about.

[Steve Granger (Private Detective)]

I'm talking about the guy who was watching your apartment. What about him?

[Ricky Moore (Camera Girl)]

I don't. Oh, no. He looked suspicious. I became frightened. I called you. You drove him away. That's it. Granger, what's wrong?

[Steve Granger (Private Detective)]

Have you seen Frederick Gray?

[Ricky Moore (Camera Girl)]

Not in the last few hours.

[Steve Granger (Private Detective)]

Let's look around. Where?

[Ricky Moore (Camera Girl)]

For whom? Granger. What are you looking for?

[Steve Granger (Private Detective)]

Place where a man could be hidden if he were tied up.

[Ricky Moore (Camera Girl)]

That's the only closet in this office that's empty.

[Steve Granger (Private Detective)]

What's down the hall, Ms. Moore?

[Ricky Moore (Camera Girl)]

Nothing. A broom closet, I think.

[Steve Granger (Private Detective)]

Let's take a look at it. That's it. Mm. Any reason why a broom closet should be locked?

[Ricky Moore (Camera Girl)]

Don't ask me.

[Steve Granger (Private Detective)]

Haven't got time to fool around now. Then we'll got it. Well? Well, I agree. Yeah. And has been stabbed.

[Ricky Moore (Camera Girl)]

I can't believe it. Why would anybody kill him?

[Steve Granger (Private Detective)]

If that's an act, Save it for the police, Ms. Moore. Because from where I stand it begins to look like your boss was doing a little blackmailing.

[Ricky Moore (Camera Girl)]

God believe it.

[Steve Granger (Private Detective)]

He met a guy a while ago in a saloon. They came up here after the guy had given your boss some money.

[Ricky Moore (Camera Girl)]

Do you know the man?

[Steve Granger (Private Detective)]

I do. He's the same guy was watching your apartment. Now, what's the connection, Ms. Moore? Where do you fit in?

[Ricky Moore (Camera Girl)]

I don't know.

[Steve Granger (Private Detective)]

By the way, do you know any newspaper photographers?

[Ricky Moore (Camera Girl)]

Those paper photographer.

[Steve Granger (Private Detective)]

Say one named Grant. Grant? What's wrong, Ms. Moore? You know him?

[Ricky Moore (Camera Girl)]

No. No, I've never heard of him.

[Steve Granger (Private Detective)]

I know that Ricky Moore was keeping things from me. One of them being the fact that she knew the dead photographer. After the cops finished with us, I told her to go home and stay there. I drifted back to the Arabian Nights. A girl with an upswept hairdo and a downswept evening gown was running her hands over the keyboard of a picture piano. I wedged myself into a spot at the bar. Out of the corner of my eye could see the owner. Clint. Karen, start over. How you feeling? Your camera girl tried to snap me a couple of hours ago and you wind up walking out with her. Why was that? Nor do I walk out with strangers. I'd like to talk to you about it, Granger. Start talking. Not here. My office. Okay. Here we are. Sit down, Granger. Thanks. That girl, Ricky Moore. Just how well do you know her? Just casually. What's the beef, Clint? I know exactly, but I smile. Swindle. Oh, yeah. I've been waiting for her to come back. I think her pictures are getting high priced. I know where she lives. I know she's a camera girl, period. Guess I counted on you too heavily. If I come up with anything, I'll let you know. Fine, Granger. See you later. Oh, not that door, pal. Take this one here. Oh. Where's this one lead to? Out the alleyway. That way you won't have to fight that crowd inside. Thanks. I walked down the alleyway towards the street with my ears flapping like a set of mainsoles. After a few seconds, I had a door open very, very softly, then close again. It would have been Karen making certain I was on my way. I paused, then went back to the door. There was a window next to the door, dirty and grimy, but I could see enough to recognize the man who'd stepped into Karen's office the moment I'd left. It was the man who'd given the money to Gray. The same one who'd been keeping an eye on the Moore gal. I bet I needed A crack in the door. Ranger was just here. Muncie let him out the back door. Yeah, I spotted him. That's why I didn't come in right away. Here's a doe back. What about the pictures? Junk. Gray was trying to pull a fast one, huh? What happened to him? He's in the broom closet. Muncie, you didn't. It was the only way. What about the Moore dame? She phoned me, said she'd be around in a half hour. Yeah, but not for long. I got out of the alley and grabbed a cab out of the Moore girl's apartment. But I was too late. The place was deserted. I moved around looking for something that could give me a lead on just who she actually was. I opened the desk drawer and found three lipsticks. Thought it was a strange place for a woman to keep her kiss lacquer. Then I made a closer examination. They only looked like lipsticks. They served an entirely different purpose. I beat it back down to the Arabian Nights, hoping the inmates hadn't folded their tents. Because it was getting to be dawn. I hung around the entrance to the alleyway that was. I ran alongside Clint, Karen Spot. Standing first on one foot, then on the other. And wishing I'd had a third one to relieve the ache in the other two. Then I spotted Ricky walking towards me, camera case slung over one shoulder. I waited until she got abreast of me.

[Ricky Moore (Camera Girl)]

Ricky Granger.

[Steve Granger (Private Detective)]

Where are you going?

[Ricky Moore (Camera Girl)]

Hi.

[Steve Granger (Private Detective)]

Back to the club, Ms. Joint.

[Ricky Moore (Camera Girl)]

Of course. I have to return the photos even if Mr. Gray is dead.

[Steve Granger (Private Detective)]

Is that the only reason?

[Ricky Moore (Camera Girl)]

Why are you looking at me like that?

[Steve Granger (Private Detective)]

I don't know whether you're on the level that tilted like a battleship on a mud flat. Here, Just let me see that.

[Ricky Moore (Camera Girl)]

Give me back my purse.

[Steve Granger (Private Detective)]

Cut it out. The usual junk a woman carries around.

[Ricky Moore (Camera Girl)]

How dare you snatch my purse.

[Steve Granger (Private Detective)]

Give it back to s. Just a second, baby. Don't get grabby. Wow, these are interesting. Imagine a girl carrying not one, but three lipsticks. What were you planning to do? Make up the chorus at the Copacabanner?

[Ricky Moore (Camera Girl)]

I want them right now.

[Steve Granger (Private Detective)]

Look at the two of them. They have little holes in one end, a little button on the other end. Could it be possible that these are not lipsticks? They might be cameras.

[Ricky Moore (Camera Girl)]

Suppose they are.

[Steve Granger (Private Detective)]

Here, here. What's going on, Ricky?

[Ricky Moore (Camera Girl)]

This man is bothering me.

[Steve Granger (Private Detective)]

Feeling as a trouble fella. Get out of here. I got some unfinished business with Ms. Moore. I know.

[Ricky Moore (Camera Girl)]

Have to remain on.

[Steve Granger (Private Detective)]

Shut that out. Stop that, I said. Hey, Ricky. Ricky, come back. Instead of following Ricky, Moore through the front entrance of the club. I took it back down the alleyway, feeling certain that she'd wind up in the office. I waited one minute. Window prowling, maybe two. Then she was escorted into the room by Clint Karen and placed in a chair facing the window. The mug Muncie was still there. And suddenly I noticed something that made me realize why I'd subconsciously linked this caper with the murder of the news photographer. A button was missing from muncie's coat. Well, Ms. Moore, we've been waiting for you.

[Ricky Moore (Camera Girl)]

I don't know. His dad is carrying. Something wrong?

[Steve Granger (Private Detective)]

No, no, Ms. Moore. You don't have to pretend any longer. I've known for some time that you work for the Noose.

[Ricky Moore (Camera Girl)]

The news, please.

[Steve Granger (Private Detective)]

Muncie trailed you there when you made your last report. That's when another news photographer went down to Pier 13. He had a tip that some diamonds were being passed. You. You killed Phil Grant, I thought personally, my dear. Now all I want from you are the pictures you took in the club and through that window.

[Ricky Moore (Camera Girl)]

I have nothing to say. I worked for Frederick Gray.

[Steve Granger (Private Detective)]

That's all. We thought of. Gray, too. But it turned out that he didn't have the pictures. He was just a blackmailer.

[Ricky Moore (Camera Girl)]

Killed him, too.

[Steve Granger (Private Detective)]

There's too much talk about nothing. The pictures, please.

[Ricky Moore (Camera Girl)]

I haven't got any pictures.

[Steve Granger (Private Detective)]

Muncie. Perhaps you'd better persuade the young lady. Sure, why not? I've used this twice before. Three times. Lucky, huh? Let me go. No, you don't.

[Ricky Moore (Camera Girl)]

Take that thing away from me.

[Steve Granger (Private Detective)]

All right, you two. Dropper greed. You, you. Karen, Stand still. Come over here, Ricky.

[Ricky Moore (Camera Girl)]

All right.

[Steve Granger (Private Detective)]

I don't think Ms. Moore has the pictures, Karen, because I've got them. And a couple of lipstick cameras I swiped out of her apartment.

[Ricky Moore (Camera Girl)]

Look out.

[Steve Granger (Private Detective)]

Now you'll have to throw that thing left handed for a while. Why? Well, friends, that's the story. I'll be back to wrap up the case in just a minute. Glenn. Karen hit the floor with a sore chin as his pal Muncie nursed a wounded arm. The police came around. The two were taken into custody on suspicion of murder. Also, the customs boys wanted him on a charge of smuggling. Charges substantiated by the pictures Ricky Moore had taken of the jewels in Karen's office. But there were a couple of things I still couldn't figure out.

[Ricky Moore (Camera Girl)]

Just what puzzled you, Granger, Why you.

[Steve Granger (Private Detective)]

Came back to the club. If you had the pictures, why stick your knocking back into the lion's mouth?

[Ricky Moore (Camera Girl)]

I wanted to see if I Could get a couple more to bring in. You see, I took them through that dirty window from the alleyway. I wanted to get into the office and use some dodge to clean the window.

[Steve Granger (Private Detective)]

Why don't you tell me you worked for the news?

[Ricky Moore (Camera Girl)]

I couldn't. This was a hush hush assignment. And Granger, just to show you how the news feels about you, here's a check.

[Steve Granger (Private Detective)]

Well, well, I love figures, Ricky. Whether they're numerical or physical. Say, how about the lipstick cameras? Got one with you today? No. Why not?

[Ricky Moore (Camera Girl)]

Well, with you I figured I'd need regular lipstick.

[Steve Granger (Private Detective)]

Hmm. I got news for you. You could be right. Steve Granger again. You just heard one of the most interesting cases in my files. And I'll have another one for you, so be around next time.

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[Adam Graham (Podcast Host)]

Welcome back. I didn't suspect that she was undercover as a nightclub photographer to cover for the fact that she was actually a newspaper photographer. And I guess that does kind of make sense. Am I unsure about the whole lipstick camera as being a practical real life thing? Certainly this was the type of device that was used by female KGB agents. And who knows, it may have been used by American female agents during the Cold War, but lipstick cameras for actual newspaper photographers? That seems to be just the writer having some fanciful fun. On the bright side, Granger actually got a check that wasn't expected and got a date with the woman involved in the case. So this is one of those cases that make up for all the other ones where the woman turns out to be a line femme fatale who's stiffs our hero. Well, listener comments and feedback now. And we have a comment over on Spotify regarding the episode Lady Alibi. Dawn writes, it sort of scares me that Adam has such strong opinions on what makes a fixer good or bad. Well, Dawn, I can appreciate where you're coming from, but I think just a few days ago I got opinions on what might get someone shiv different prison. I tend to assume that such opinions are based on innocent knowledge or watching a lot of true tv. And for my part, my opinions on what makes a good fixer comes down to more of being a consumer of a ridiculous amount of golden age crime fiction over the radio, as well as some books and movies that have kind of set my expectations. So you and anyone else concerned can rest at ease. Well, now it is time to thank our Patreon Supporter of the Day and I want to thank Catherine patreon supporter since June 2021, currently supporting the podcast at the Psalmist level of $4 or more per month. 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 for from. We'll be back next Monday with another episode of Danger with Granger, but join us back here tomorrow for the Big.

[Steve Granger (Private Detective)]

Story where All right, reporter pain left here, but I Keep your trap shut and turn left I said. All right. Stop the car there under that tree, you know where it's nice and dark. Look, I Do as I say. Now turn off the ignition. Your headlights too. What are you gonna do now? Just make sure you don't double cross a waller windshield.

[Adam Graham (Podcast Host)]

I hope you'll be with us then. In the meantime, send your comments to box13greatdetectives.net Follow us on Twitter at radiodetectives and check us out on Instagram instagram.com greatdetectives From Bo Boise, Idaho, this is your host, Adam Graham signing off.

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