Danger with Grainger: The Seafarer Mystery (EP4896)

Summary

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Podcast Summary

The Great Detectives of Old Time Radio

Danger with Granger: The Seafarer Mystery (EP4896)

Aired: January 26, 2026
Host: Adam Graham
Featured Drama: “Danger with Granger” – “The Seafarer Mystery”

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Episode Overview

This episode features a classic “Danger with Granger” detective radio drama, “The Seafarer Mystery.” Private detective Steve Granger is drawn into a chilling case when a widow, Marsha Kendall, claims she’s receiving threatening letters and phone calls from her late husband—who drowned months ago. As Granger investigates, he uncovers familial resentment, possible foul play, and a scheme blending blackmail with murder. The story unfolds on the high seas and in New York, blending suspense with old-school noir charm.

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Key Discussion Points & Dramatic Plot

1. The Case Introduction: Letters from the Dead

• Client’s Entrance ([03:13]):
  • Marsha Kendall (the client) tells Granger she’s tormented by threatening letters and phone calls. She reveals her assailant’s handwriting and voice match her deceased husband, Clark.
  • Quote:
    “I recognized his voice, his handwriting.” – Marsha ([03:46])
  • Granger is taken aback when Marsha reveals:
    “Because my husband died three months ago.” – Marsha ([04:05])
• Marsha faints from distress, and Granger’s friend, Cal Hendricks, arrives, adding levity to the tension.

2. Sordid Family Ties and Suspicion

• Marsha recounts her late husband Clark’s suspicious death during a stormy night aboard their sailboat, the Seafarer. She describes how Clark went on deck and vanished, presumed drowned ([06:25]–[08:21]).
• The police investigated but ruled the case an accident, later identifying Clark’s body by dental records.

3. Investigation Aboard the Seafarer

• Granger and Hendricks visit the yacht club and the Seafarer ([09:01]–[11:49]). The old boatman, Pop, cryptically suggests the boat could be “haunted,” hinting at suspicion surrounding Marsha.
  • Quote:
    “Surprising you want to go aboard this ‘cause there’s talk... she might be haunted.” – Pop ([10:40])
• On board, they discover signs of recent occupation: a warm galley stove, fresh coffee, and pipe tobacco. As they prepare to leave, a mysterious shot narrowly misses Hendricks ([13:43]–[14:30]).

4. Shadowy Figures and a Brewing Confrontation

• Back at his office, Granger finds Marsha searching his desk, terrified and unable to rest ([15:23]). She insists none of Clark’s family has been aboard and claims not to know about Pop’s rumors.
• A local bar, The Cross Anchor, provides Granger with gossip: Pop coyly suggests that Marsha may have murdered her husband ([18:37]–[18:55]), but he’s evasive when pressed for details.

5. Unraveling the Mystery

• Hendricks verifies Clark’s burial and confirms his identity via dental records. The case seems closed, but doubt lingers.
  • Quote:
    “You can prove he actually wrote these? I can, Mrs. Kendall, it’s impossible for a man buried in a cemetery to write letters.” – Granger ([21:59])
• At the hotel, Marsha shows Granger the letters. During their tense discussion, a phone call with Clark’s voice summons her to the Seafarer at 10 PM ([22:34]–[22:53]).

6. The Final Showdown: Truth on the Water

• Granger and Hendricks lie in wait as Marsha meets her summoner on the Seafarer ([23:24]). The culprit is revealed—not Clark, but his brother, Paul Kendall ([24:04]).
  • Quote:
    “You who sent those letters and made those calls. You copied Clark’s handwriting. You imitated his voice.” – Marsha ([24:11])
  • Paul confesses to orchestrating the threats and reveals he murdered Clark, using the schemes to scare and lure Marsha.
  • “You won’t shoot so long as I hold her in front of me.” – Paul ([25:18])
• Granger and Hendricks intervene, Paul is wounded and subdued, and the case closes with Marsha fainting once more.

7. Denouement & Wrap-Up

• Granger explains to Marsha the sequence of events:
  • Pop saw Paul push Clark overboard but kept quiet, bribed with promises of a job in Mexico ([26:06]).
  • Paul attempted to frighten Marsha to gain money and was responsible for the violence on the Seafarer.
  • He will likely be committed to an institution for the criminally insane.

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Notable Quotes & Moments

• Marsha’s distress:
  • “Because my husband died three months ago.” ([04:05])
• Pop’s rumors:
  • “She might be haunted.” ([10:40])
• Granger’s logic:
  • “It’s impossible for a man buried in a cemetery to write letters.” ([21:59])
• Paul’s Reveal:
  • “You who sent those letters and made those calls. You copied Clark’s handwriting. You imitated his voice.” — Marsha to Paul ([24:11])
• Climactic Rescue:
  • “Because Cal Hendricks and I will be there too. And we’ll prove whether your husband is really dead or not.” — Granger ([22:57])
• Denouement:
  • “Pop confessed that he’d been around the night of the killing. He saw your brother-in-law push your husband off the boat and didn’t say anything. Paul Kendall promised him a job in Mexico if he’d help him out.” — Granger ([26:07])

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Host’s Commentary & Observations

Host: Adam Graham ([27:48])

• Adam praises the episode’s unique hook—threatening messages from a dead husband—as an ingenious way to grab listeners’ attention.
• “Our criminal’s overall plan of trying to commit blackmail as this lady’s actual dead husband was a bit nuts, but... it was still a really fun episode.” ([27:57])
• He shares some behind-the-scenes context, mentioning he was recording in Orlando while attending Podfest and thanks Patreon supporter Cassandra.
• Adam encourages listeners to follow, rate, and review the podcast, and teases next episodes.

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Timeline of Main Segments

| Timestamp | Content | |------------|------------------------------------------------------------------------| | 01:46 | Host Adam Graham introduces the episode, the show, and his location | | 03:13 | Marsha approaches Granger, describes her plight | | 04:05 | Shocking reveal: threatening messages from a deceased husband | | 08:21 | Marsha recounts the night of Clark’s death | | 10:40 | Pop’s “haunted” rumor about the Seafarer | | 13:43 | The mysterious shot at Cal Hendricks on the yacht | | 15:23 | Marsha enters Granger’s office again, terrified | | 18:37 | Granger questions Pop at the Cross Anchor bar | | 21:59 | Granger scrutinizes the “impossible” letters | | 22:34 | The ghostly phone call: Marsha summoned to the yacht | | 24:04 | Paul Kendall is revealed as the culprit | | 25:18 | Final struggle and Granger’s intervention | | 26:06 | Case summary and Pop’s confession | | 27:48 | Host’s wrap-up and personal remarks |

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Takeaways

• Classic radio detective tropes: The drama weaves sentimental and suspenseful threads—lost love, greed, intrigue, all bound together by an atmospheric seaside setting.
• A clever “phantom” plot device: The “messages from the grave” turn out to be the villain’s trickery, with plausible nods to handwriting and voice mimicry.
• Layered storytelling: Distrust, inheritance motives, and old gossip intermingle, leading to a satisfying, action-packed denouement.
• Engaging commentary: Adam’s wrap-up and humor help tie the retro drama to modern podcasting’s interactive style.

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For more golden age radio mysteries, subscribe and join The Great Detectives of Old Time Radio every week!

Transcript

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[C]

Welcome to the Great detectives of Old Time Radio from Orlando, Florida, this is your host, Adam Graham. In a moment, we are going to bring you this week's episode of Danger with Granger. But first I do want to encourage you, if you are enjoying the podcast, to please follow us using your favorite podcast software. And today's program is brought to you in part by the financial support of our listeners. And you can support the show at support.greatdetectives.net and yes, you did notice a slight difference in the opening as I am in Orlando today and I am here for the 12th annual Podfast. Maybe a little more on that later, but here from 1956 or 1957, here is the Seafarer mystery.

[D]

Danger with Granger. Come in.

[E]

You're a Steve Granger?

[D]

Yes, I am.

[E]

I'm Marsha Kendall. I want you to do something for me.

[D]

Sure, but you'd better sit down, Mrs. Kendall.

[E]

I'm tired. I feel dazed. Things go around here.

[D]

Sit right here.

[E]

Thank you.

[D]

Well, then, what's this all about?

[E]

About the letters. I have your confidence.

[D]

Of course you do.

[E]

I minded the letters, but they weren't quite as bad as the telephone calls at 6 in the morning.

[D]

You've been receiving threatening calls and letters, is that it? What do they say?

[F]

Always the same thing.

[E]

The letters. The voice on the telephone. I recognized his voice, his handwriting.

[D]

Do you know this man he's blackmailing?

[E]

Certainly I know him. He's my husband.

[D]

You mean your own husband is sending you threatening notes?

[E]

Yes, he is.

[D]

That certainly should be easy to stop.

[E]

I don't think so. Mr. Granger.

[D]

Why not?

[E]

Because my husband died three months ago.

[D]

This is Steve Granger, private detective, with a story about a woman, a series of threatening notes and telephone calls, along with a very clever scheme to commit murder. In just a moment, I'll take you back to one of my most interesting pictures. This is Granger. It came as quite a shock when the woman who was my client announced she was getting notes and telephone calls from a dead husband. That seemed like it was more of a shock to her than to me because as soon as she'd got that much out, she keeled over in a dead faint. And just to make matters worse, that was the moment my newspaper pal Cal Hendricks picked to pay a call. Whoa, whoa, whoa. What's this? The Steve Granger method for captivating beautiful women? Oh, what you do, Stevie boy? Knock them cold to make sure they fall for you? Go pedal your wisecracks of television. She fainted. Yeah. One good look at your homely puss. No doubt you'd faint too, if your dead husband had been writing you letters and calling you on the phone. Her dead husband? Well, that's a little twist. What's coming out of it?

[E]

What happened?

[D]

You just fainted. Here, let me help you up.

[E]

Oh, you.

[D]

Well, this is a friend of mine, Cal Hendricks. Mrs. Marcia Kendall. How do you do, Mrs. Kenyon? Maybe you better go home and have a rest. Like me to call you doctor?

[E]

No, no. I'm a settler stranger. Mr. Granger, do you remember a man named Clark Kendall?

[D]

The name sounds vaguely familiar. Sure, Stevie, I remember the story. He was drowned.

[E]

Yes, Mr. Hendricks, and I'm his widow.

[D]

Of course. He fell overboard off his boat. You tried to help him. The police had you in custody for several days.

[E]

That is correct, Mr. Granger.

[D]

He finally agreed that it was an accident, let you go, and now your dead husband is riding you and telephoning. What's this all about?

[E]

I married Clark two years ago. We were very happy in spite of certain obstacles.

[D]

What do you mean by obstacles?

[E]

Some of Clark's relatives didn't like me at all. Clark and I loved boating. We spent most of our time aboard the sea there, our 15 foot sailboat.

[D]

Just how did your husband die, Mrs. Kendall?

[E]

It was about three months ago. We were below in the cabin. The storm was coming up and the seafare was bringing him worms.

[D]

Darling, there's quite a blow coming up. I think I'll go topside and check the line.

[F]

Oh, but Clark, you've been on deck twice. Surely you must have taken care of everything.

[D]

I just want to make sure, that's all.

[F]

You act like you're afraid of a little wind, darling.

[D]

Well, I am. I am. Uh. Oh, I wonder what that was. Something bumped the hull.

[F]

I do hope another boat hasn't slipped its moorings. You want me to go along?

[D]

I'll call if I need you. I'll be right back.

[F]

The wind's come up. Be careful.

[E]

Don't worry.

[F]

I better close that hatch. It's beginning to rain. Clark, are you all right? Clark. Clark, where are you? Oh, did that boat come loose? Clark, what are you doing in that boat? Answer me, Clara. Clark, where are you? In the water. The lights were serving clock. Here, catch. Clock. I got it. I got the Boardrook clock. I can't see you. Where are you?

[E]

I never saw Clark again. Mr. Granger. I got in touch with the Coast Guard on the boats radio. They came out and searched the entire.

[F]

Area, but it was too late.

[D]

But his body was found, wasn't it?

[F]

Yes, a week later.

[D]

You identified him? Yes. Look, Mrs. Kendall, don't you think you better go home and get some rest? You're obviously unwell.

[F]

Why go home? I can't sleep.

[E]

Gotta find out about those letters and telephone calls.

[F]

And I need Mr. Granger's help.

[D]

Very well, Mrs. Kendall. I'd like to have a look at those letters. You have them with you?

[E]

No, they're at the apartment.

[D]

I'll pick them up later. And I'd like to have a look at your boat, if you still own it.

[E]

I do. You can pick up the keys at the yacht club office. I'll tell it to you.

[D]

Which club is it?

[E]

The Island Yacht Club.

[D]

Oh, yes, on City Island. I'll go out there today.

[E]

Here's my card.

[F]

When shall I hear from you?

[D]

Probably later in the day, Mrs. Kendall. Thank you.

[E]

And you, Mr. Hendricks.

[D]

I didn't do anything.

[E]

Goodbye.

[D]

Well, Steve, you got yourself quite a deal, haven't you? Yeah, I wonder. You wonder What? How much Mrs. Kendall didn't tell us. An interesting conjecture, Stevie. You know, I think I'll go out to that anchorage with you. I'll continue with this interesting story in a minute. Cal Hendricks and I got into this car and we drove out to the city island of the Island Yacht Club. Got the keys to the yacht Seafarer and stood for a moment waiting for a tender to take us out to the boat. I always loved the water, Steve. Ought to buy myself a little sailboat. Yeah, it's an interesting sight. Everybody working on the craft, painting, sanding, varnishing. Ah, here comes the tender.

[G]

You Gentleman white.

[D]

Yeah. Old timer, take us out of the Seafarer.

[G]

I reckon I can. Ain't nobody aboard, though. You got a key?

[D]

Right here.

[G]

Okay, I'll have you out there in two shakes of lamb steel. Hey, sit down. This journey here, McD. Both right in here.

[D]

Right you are.

[G]

It's kind of surprising you want to go aboard this he why I talk around the yacht club beach. She might be haunted.

[D]

Cal and I looked at each other and the balance of the ride was made in silence until we neared the slim, sleek looking yacht. My curiosity got the better of me. Say, Pop. Yeah? You said there was talk about the Seafarer being haunted. Where'd she get that reputation?

[G]

Yes, them who? Say, Mrs. Kendall just could have pushed the skipper overboard during that storm and.

[D]

Maybe hit him over the head with a boat hook while he was struggling in the water.

[G]

Could be.

[D]

I thought the candles got along pretty well.

[G]

There's Emma Shed.

[D]

They didn't like who?

[G]

I'm not saying, Misty. I'm just a man that runs the gender at this yacht club. This is the chief Air, mister. Grab a hold of that reel here. Hold us fast. 20, 10 climbs aboard.

[D]

Okay, I got it. Go ahead, Cal.

[G]

Now then, you hang on to this boat.

[D]

Right. Say, how do I get you back here, Pop?

[G]

They got a kind of electric horn on the Seafarer's deck. And when you want to be picked up, just sound it. I'll come out and pick you up.

[D]

Thanks, Pop. All right.

[G]

How long you intend to stay aboard?

[D]

Oh, not too long.

[G]

Well, you just sound that horn.

[D]

Nice old character, isn't he, Steve? I'm thinking about that haunted stuff somebody's been shooting off their mouths around here, huh? Now, let's go blow them. Look around. Pretty musty down below. Coming along, Cal? Yes, certainly. Wow. Nicely arranged, little craft. Hey, look at the navigation aid ship. To show radio, telephone, everything. A man at once, Steve. Huh? That bunk over there. Somebody's been aboard this boat very recently, too. Al and I got curious and we went over the Seafarer from stem to stern. Burner on the galley stove was warm, so was the coffee pot. There was pipe tobacco on the ashtray, but that was all. Well, Steve? Yeah, that's it. Nobody aboard unless they're cleaning the bottom of the hull. Hey, go up in deck, Cal. Find that boat horn gadget, give it a quick blast and we'll get back to shore. Right. You find it. How's that? Good. What we doing down below, Steve? I just opened a couple of portholes of ventilation. Whoever was here Last. Had them all closed down quick. Callie. You all right, Cal? I crawled over to Cal Hendricks, looking around to try and discover the source of the mysterious shot. I saw no one. The newsman lay on his side, curled up like an unnatural kitten. There was no wound. There was a bullet hole through the brim of his hat. Calh. Cal, come out of it. Oh, sorry, Steve.

[E]

I didn't mean to pass out.

[D]

Somebody punctured my hat with a bullet. I do the same act okay otherwise? Yeah, here comes Pop. Wonder if he heard the shot. You notice where it came from? No. The sound traveled in circles. Me on the water. Imagine it came from the shore due wet. Hey, look. Man running a thunderbolt. That isn't Pop going, Otis. I'll probably relief that. Yeah, maybe. You fellas want to go ashore? Yeah. I'm aboard then. Right. You first, Cal. I'll hang on while you get in. Steve. All right. All right. All set, boss. Okay, here we go. Do you mind if I ask you a question? Go right ahead. Where's the old timer who brought us out here?

[G]

You mean Pop?

[D]

He gave me this $5 to come out here and get you.

[G]

He said it was worth it not to come back out here.

[D]

I asked the new boatman if he'd heard any shootings which brought a negative shake of the head. At the dock. We asked for Pop, but no one seemed to know it'd gone from there. We automobiled it back to Manhattan. Call had to finish off his story and I headed back for my office. When I reached the door, I stopped. With a frosted pane of glass, I could dimly make out a figure bent over as though it could be going through my desk. I got out my gun.

[E]

Mr. Granger. Father, darling.

[D]

I thought you were going home to rest, Mrs. Kendall.

[E]

I tried. I became terrified. I thought the plane would win.

[F]

I couldn't stand it anymore.

[D]

So you came down to my office. You make yourself at home.

[E]

The door was unlocked. What's wrong, Mr. Danger? Why are you looking like that? Have you found something?

[D]

Yes, Mrs. Kendall. How long has it been since you've been aboard the Seafarer?

[E]

Not since the police made their investigation. Why do you ask?

[D]

You permit anybody aboard your boat?

[E]

Of course not. Why should I?

[D]

Joel Hendricks and I went out to the Island Club. We were aboard the Seafarer. We found a warm stove, plus a warm coffee pot. Also some tobacco in one of the ashtrays. Got anything to say?

[E]

No. I know nothing of this. Who would go aboard the Seafarer without permission?

[D]

But some of the in Laws.

[E]

They have been trusted.

[D]

Who are they?

[E]

They're Clark's sister, Anne, his brother Paul.

[D]

They live in New York.

[E]

Last I heard, Anne was in Canada. Paul's in Mexico. They're cru.

[D]

They're loking. Is that it?

[E]

Paul runs a commercial. Fisher's Police. It's called the Kendall Company.

[D]

Mrs. Candle, why don't you go back home?

[F]

I can't, Mr. Granger.

[E]

I'm frightened. I keep hearing Clark's voice on the telephone.

[D]

Got to get some rest and telephone a hotel nearby.

[F]

And get your room, Mr. Granger.

[D]

By the way, Mrs. Clanger Kendall as an old boatman down at the Island Yacht Club. They call him Pot.

[E]

What about him?

[D]

What reason would he have for saying the Seafarer was haunted? What do you know about that?

[E]

Nothing, Mr. Granger. Absolutely nothing.

[D]

He stood there straight and dignified. And a voice never gave a quiver. But I noticed a look of dismay in her eyes when I mentioned Pot. A look which went as quickly as it came. In just a moment, I'll bring you the climax of the case. I conducted Marcia Kendall to a nearby hotel and fixed her room. The letters and telephone calls from a dead husband were bothering her so much. I figured she ought to be safe from them for a while. The look in her eyes at the reference to Pop, who'd taken Callum me out to the Kendall's yacht. Sent me in search of the old boatman. I was told he might be found in a vista called the Cross Anchor. This was quite a hangout that evidently was not frequented by the upper classes. It had an odor which reminded me of booze water, which wasn't bad when he got used to it. The old timer was seated at a back table. There was another man with it, a sailor, complete with dungarees and a beard. When he left, I moved over. Hiya, Pot.

[G]

Where do you want?

[D]

You took me out of the Seafarer a couple of hours back. I want you to do it again now.

[G]

Get my relief man.

[D]

The relief man doesn't know anything about a shot that was fired at us. Would you?

[G]

I got nothing more to say about the Seafarer. And I don't know nothing about no shooting.

[D]

Even over a drink.

[G]

Even over the whole Atlantic Ocean.

[D]

Clark Kendall was drowned off the Seafarer. Old timer, I'd like to ask some questions.

[G]

Those who say that Mrs. Kendall can answer a lot of questions if she wants to. Ask her.

[D]

Ask her what?

[G]

Like did she eat Kendall over the head with a boat hook instead of fishing him out of the water?

[D]

You said they didn't get along.

[G]

There are those who say she married him for his money.

[D]

Who is? Those who? Say, Pop, I could mention your remarks to the police then. What?

[G]

Your policeman?

[D]

Nope, of course not.

[G]

Hey, Charlie, come here.

[D]

In a minute. Oh, you are having a drink on me.

[G]

Yeah, I'm having one on you right now.

[D]

What's yours, Pop?

[G]

This fella here, he been short of threatening me. He says he might tell the police I was talking about the chief here.

[D]

Get up, mister. Why? Never mind why. Get up and get out. Okay, I'll go along with you and make sure you don't have to guide me. Bartender, I can find my way to the door.

[G]

Yeah, I know you can.

[D]

Only don't find your way back in here again. I might have argued with that bartender, but he was out of my weight class. He tipped the scales. At about 210, I went back to my office and put in a long distance call. As I waited for the connection, I made a quick call to Cal Hendricks. Hendricks speaking. Cal, this is Granger. Oh, yes, Stevie, what's new? The haunted lady in the haunted boat. Now, why don't you do me a favor, Cal? Clark Kendall was buried in Long Tier Cemetery. Check for me, see if it's actually interred, will you? Oh, you think he was never buried? Just check. I'll take it from there. When you've done it, come around here and pick me up. I hung up and waited for reply to my long distance effort. When it came through, I knew a lot more, but still not enough. I sat thinking till Cal Hendricks showed up. Then we beat it around the corner to the hotel where Marsha Kendall was registered. Took me a little longer than I figured. Steve, what'd you find out? Coroner's jury listed Clark Kendall's death as accidental. Marcher Kendall was exonerated of any suspicion. Yeah, I know that. He was in Lawn Pierce Senate. Was he definitely identified as Clark Kendall? When a cop spends a little time in the water, they change appearance. His dentist identified him definitely. He'd had some special bridge work done. That really fixes me. Ah, now don't tell me you believe the cop Kendall is still alive. Right now I'm believing nothing. Here's a room 504. I only hope she hasn't taken a powder.

[F]

Mr. Granger, I've been so frightened.

[E]

Come in, please.

[D]

Thanks. Mrs. Kendall, I don't know what you're scared of. Nobody knows you're staying at this hotel outside of Mr. Hendricks and me. Unless you told someone else.

[F]

Why should I tell anyone else?

[D]

I'm Gonna be very blunt with you, lady. Is it or is it not true that you could have pushed your husband overboard that night and when he tried to climb back aboard a sea ferry, you hit him over the head with a boat hook?

[F]

How can you say such things? Why would I employ you to find.

[G]

Out who's been making these telephone calls.

[F]

And writing these letters?

[D]

That's why I'm here, Mrs. Kendall. I want to look at those letters you mentioned.

[E]

Very well.

[F]

I have them right here.

[D]

Take it easy, Granger. She's in no condition to stand too much of this time. I'm in no condition to stand this kind of malarkey here.

[F]

Mr. Granger.

[E]

These are the letters I received.

[F]

And any number of people will identify them as Clark's handwriting.

[D]

You can prove he actually wrote these? I can, Mrs. Kendall, it's impossible for a man buried in a cemetery to write letters.

[F]

That's what it's so fantastic, Mr. Granger. That's why I came to you. You've got to believe me. I did not kill my husband.

[D]

Another thing, Mrs. Kendall. You said these letters were at your apartment.

[F]

I picked them up when I went home. Before I registered at the hotel.

[D]

Uh huh.

[F]

Mr. Granger, you're thinking horrible things.

[D]

Go easy, Steve. Shall I answer Mrs. Kendall? I think she'd better do that, Cal.

[E]

Hello, Marcia? That's my husband.

[D]

Call the receiver away from here so I can listen. I want you to meet me tonight, board the seafarer at 10 o'. Clock. And if you're not there, I'll come after you. That was your husband? Yes. Are you sure?

[F]

Yes, Mr. Granger. What shall I do?

[D]

Be aboard the seafare at 10 o' clock like he told you. Because Cal Hendricks and I will be there too. And we'll prove whether your husband is really dead or not. Cal Hendricks stayed with Marcia Kendall to make sure that she would be aboard the yacht seafarer at 10. That night, a few hours in my hands, I ran an errand. One which took me back out to the Island Yacht Club and the old gent we knew as Pop.

[G]

You back again? What do you want now?

[D]

From you? I want nothing but the truth.

[G]

I ain't talking to you.

[D]

But you are, old timer. And right now. This was 10 o'. Clock. Marsha Kendall had come aboard the Seafarer by herself. Cal Hendricks and I had rowed out from an inconspicuous spot. We were huddled in the foreign cabin, waiting for her dead husband to come alive. Granger, did you hear that? Yeah. Small boat just tied up alongside. Ain't that tough, man. It must be. Well, my dear. And how are you, Paul?

[F]

Not Clark, but Paul.

[D]

That's right. I'm Paul.

[F]

But you're supposed to be down in Mexico, fishing off the coast.

[E]

It was you.

[F]

You who sent those letters and made those calls.

[E]

You copied Clark's handwriting.

[F]

You imitated his voice.

[D]

That is correct, my dear. I also trailed you to the hotel where you were hiding. But why?

[F]

What have I ever done to you? What do you want?

[D]

I wanted you on board this boat. We're going to sail out of this harbor together.

[F]

Paul, you're insane.

[D]

I don't think so.

[F]

You were around the night Clark was drowned. You must have been hiding on deck. You pushed him over the side.

[D]

Did I?

[F]

And it was you I saw huddled in a small boat that night. I had dismissed it as imagination.

[D]

Very shrewd. Dear sister in law.

[F]

Why did you do it?

[D]

I hated it.

[F]

And you going to notify the police.

[D]

On the ship to shore radio it disabled.

[F]

Darling, let go of me.

[D]

Oh, no. First I was going to take you with me. I still am. But I don't think you'll complete the entire trip.

[F]

You're hurting.

[D]

I'm going in there and get that character. Okay.

[F]

Help.

[D]

Help. You're wasting your breath, my sweet. There's no one to help. That's where you're wrong, Kendall. What? The detective. Get away from me, Kendall. And give up my shield?

[G]

Oh, no, Granger.

[D]

You won't shoot so long as I hold her in front of me.

[F]

Be careful, Mr. Granger. He's out of his mind.

[D]

Oh, I am, am I? I'll show you. All of you.

[F]

Mr. Granger, he got a gun.

[D]

Well, friends, that's the story. I'll be back to wrap up the case in just a minute. Paul Kendall started backing towards the hatch, but exposed one shoulder just enough for me to puncture it. That made it easy for Callum to overpower him and deliver him to police headquarters. The whole story came out a few days later.

[F]

I didn't know that Paul was up here. He was supposed to be down in Veracruz.

[D]

He had a run of bad luck. Came up here and tried to get money from your husband. How'd you find out about that? Steve? I telephoned the offices of his company in Veracruz. They couldn't produce Paul Kendall on the phone. And I remember the man I'd seen at the cross anchors talking to Pop.

[E]

It was Paul.

[D]

Yeah.

[F]

What was he doing with Pop?

[D]

Pop confessed that he'd been around the night of the killing. He saw your brother in law push your husband off the boat and didn't say anything. Paul Kendall promised him a job in Mexico if he'd help him out. There was also Pop tried to scare Cal and me too by firing at us when we were aboard the seafare. Your brother in law will probably go to an institution for the criminally insane.

[F]

Insane. Oh, oh, it's Catch your Kells.

[D]

She's passed out again. I've got a good take care of her. Hey, where are you going? Home old boy. This is one time where you're left holding the baby. Steve Granger Again. You just heard one of the most interesting cases in my files. I'll have another one for you, so be around next time.

[B]

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[C]

Welcome back. This one had me puzzled throughout and I thought it was a great hook. Just that first scene. Nothing quite like that to set up the fact that you're in for a really good mystery. Of course our criminal's overall plan of trying to commit blackmail as this lady's actually did husband was a bit nuts. But be that as it may, it was still a really fun episode. All right, well as I mentioned at the start of the episode, I am Podfest in Orlando at the time that I'm recording this had a good flight in and as I'm recording this I'm doing a short presentation tomorrow which will have been about a week and a half ago for you, but Orlando in January has always been nice time to visit so hoping to have a productive and useful conference. Alright, well now it's time to thank our Patreon Supporter of the day and I want to go ahead and thank Cassandra, patreon supporter since September 2025, currently supporting the podcast at the Psalmist level of $4 or more per month. Thanks so much for your support Cassandra 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 Monday with another episode of Danger with Granger. But join us back here tomorrow for the big story where all the shoveling.

[D]

That does it. What a beating she took. Yeah. Any idea who she is, Peterson? No identifying marks, labels torn off the clothes safe and calling it murder. Sure. Say, doctor. Yes. Can you add anything? Can you give me anything more on the cause of death beyond the beating, that is? Yes. What's that, sir? This woman has dirt in her mouth and in her throat. Yes. Proving. Proving she was alive when she was put here. Buried alive.

[C]

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

[A]

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