When Casey inherited Johnny Keeler's prized collection of photo negatives, he suspected the legacy was anything but innocent. Keeler had been a fast man with a shutter, adept at catching the embarrassing moment; his files were certain to contain some awkward, even dangerous shots. What Casey hadn’t figured was the kind of trouble police call homicide.
A lot of people wanted some of those negatives — and wanted them badly. Most of them relied on money, big money, as a convincer, but at least one of them was ready to take them by way of murder.
Just why should a Congressman, a broker, a District Attorney, a disreputable private eye, even Keeler’s own daughter want so desperately to latch on to certain films? When the score stood at two dead and more to go, the squeeze was on Casey to find the answer — fast.
All Casey knew for certain was that giving up the negatives might be as deadly as keeping them.
Cover art by Arthur Hawkins.