January 2, 2019 • 24 mins
Hank takes matters into his own hands only to discover more than he ever bargained for.
Starring Joe Manganiello, Camilla Luddington, Mike Colter, Cree Summer, and Oliver Vaquer.
“Angel Eyes” performed by Desi Dennis-Dylan. Piano arrangement by James Harper. Composed by Matt Dennis. Lyrics by Earl Brent.
Directed by E. Ryan Martz. Written by Oliver Vaquer. Story by E. Ryan Martz and Oliver Vaquer. Sound Design by Joel Raabe. Produced by Vox Populi.
Social Media:
Oliver Vaquer @Oliver_Vaquer
E. Ryan Martz @eryanmartz
Angel of Vine @angelofvine
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
A note to the listener. The following story contains some
adult content and language. Ice white ice like a winding sheet,
sheathing each smoke grind, wall Ice on the stove, pipe,
ice on the bed, ice gleaming overall, sparkling ice on
(00:26):
the dead man's chest, glittering ice in his hair, ice
on his fingers, ice at his heart, ice in his
glassy stare that. Hey, it's it's Oscar Simmonds. Hey, Oscar,
(00:47):
how are you good? Good? Do you have a few
minutes just to let you know I'm recording the conversation. Okay,
I have nothing to hide. How's the listening party going.
It's going well, certainly, no lack of material. Sorry, yeah,
don't be compy. Are you kidding me? It's totally worth it.
I can sleep when I'm dead. What's up? You said
(01:09):
you found a bunch of photographs and hanks, right, a lot. Yeah,
each case file had corresponding photos. Unfortunately not in the
angel box though. Oh no, no, that's okay. I didn't
think that there would be a question. This may sounds strange.
Were there uh any that were separated? I need it
stood out. Yeah, there's a separate envelope that has a
bunch of old photos. No one in them, though, and
(01:32):
a few of them are a little disturbing. They wouldn't
happen to be of a bunch of rooms, would they. Yeah,
that's yeah, they're they're just interiors. How did you know that?
Just a hunch? I think it may need to come
take a look at them. If that's okay, why don't
I send them to you? Oh no, no, no, you
don't have to do that. No, it's it's really futifly
all the way up to Seattle for an envelope full
(01:53):
of snapshots. Okay, yeah, I can give you our corporate
account then you can. You can ship them overnight. That
way about be insured. No word about it now, but
I am fair enough. I'll email you all the info
as soon as beat off. Okay, I can't drive over
there later today and get them out to you. Thank you,
thank you? Um oh, please give my best to fill us.
(02:18):
Did my grandfather actually solve this thing? I don't know.
I don't know yet. I'm hoping those those pictures help
answer the question from Vox Popula and the Los Angeles Harold,
this is the Angel of Vine. My old hoard ain't
(02:42):
getting in no ground because my angels. As it turns out,
if you're in the Los Angeles area, you can take
(03:03):
a guided tour of Leonard Shaw's famed nine acre bell
Air estate. I know this because I recently went on
the tour. In his will, Shaw left his estate to
the Historical Society so that every inch of the house,
including the grounds, would be preserved exactly as he left them.
It wasn't something I would have done before we embarked
on this little journey together. By the way, not because
(03:23):
I don't find Hollywood history interesting. I do, um, but
because Leonard Shaw was never relevant to anything I've been
working on. And more candidly, why would I care to
see the surroundings of an uber, wealthy tyrant known for
decades of bullying and abuse? So then why did I go?
I went because the next tape through every idiom I
could imagine at me, it all starts to go off
(03:45):
the rails, Things begin to unravel, and Hank flies off
the handle. Are you ready? Because once it derails, it
doesn't get back on track. Hank decided to break in
(04:09):
and go on his own private tour of Shaw's estate. Yeah, yeah,
he broke in, And when I realized where he was.
I thought, what the hell is he doing? This guy
was a cop. He's got to be smarter than this.
I understand that whole desperate times call for desperate measures impulse,
but trespassing couldn't have been Hanks on the option. It
(04:29):
couldn't have been right. But either way, my speculation is
irrelevant because it was the option he chose. As I listened,
I had no idea where he was in regards to
the house. I didn't know how to place him on
the grounds. So of course I turned to the internet
for maybe an aerial shot of the property to get
(04:49):
an idea, and I did find a photo, and it
is enormous, And that's when I also found the tour info.
The day that I went, I brought the recording with
me to see if I could retrace hank steps and
figure out why it took him twenty two minutes to
get to the poolhouse. I will try to guide you
as best as I can. When you first enter the
(05:13):
front gate, there's a glaring security floor. That is if
you're looking for it, like I was. The generator that
powers the driveway lights is directly inside the outer wall.
It creates a halfway point in what would be potentially
leg breaking jump. The driveway is at least fifty yards
(05:41):
from the gate to the turnaround at the entrance to
the main house. The front doors are large and heavy,
so not a lock that could be picked silently. Oh
I don't know why I thought it would be that easy.
To the left of the house, it's a wrought iron
(06:02):
gate onto the grounds, but it's surrounded by topiaries. No
one would be able to get over or through without
a chainsaw or a welding torch, two tools seldom associated
with stealth. To the right is a four car garage
(06:25):
with a side door that connects to the mud room
of the house. There are only two ways out of
the house and onto the back of the property. One
(06:48):
is through the double doors at the very end of
the dining room, which lets out directly underneath the balcony
of Shaw's master suite. It's a stone patio that leads
to a great lawn where there is absolute lean no cover.
The only other possibility is through the kitchen, which lets
out on the side of the house beside a row
of trees where the trash bins would have been kept.
(07:19):
Ship The path from the kitchen winds around the side
and under a trellis to the rose garden. From the
garden you have two choices, left to the tennis courts plural,
(07:42):
or right down a winding stone staircase to a landing
that serves as a lounge. From here you have the
vantage point of both the courts to the left or
to the right. At the bottom of another staircase, the pool.
The amount of space not to mention the grandiosity of luxury.
When I surveyed from the landing, I admit I admit
to thinking, what an incredible house to host a party,
(08:04):
if not for its host, that is, the pool is huge,
country club huge. The left side is lined with yellow
and white striped deck chairs and umbrellas, like the ones
at the Parker in Palm Springs. The right side has
a twelve ft bar next to a hot tub and
a cabana with two separate shower rooms. The cabana is
(08:24):
not the poolhouse. The cabana is just the cabana. At
the far end of the pool, there is a path
which leads through a set of spruce trees to an
impressive single story structure with a concrete span. It looks
like a Frank Lloyd wrighte cold, imposing, cryptic, almost as
(08:47):
if it overlooks the house instead of the other way around.
This is the poolhouse. I wanted to peek inside so
much more so than anything else on the tour, and
for obvious reasons that you're about to hear. But we
didn't have access to anything beyond the pool deck, so
I was left, in my imagination the entire pool area,
(09:14):
including the path to the pool house. The entire area
is out in the open, which Hank seemed to forget momentarily. Jesus,
the heating go alone. I don't know if you wanted
to be seen. I don't know if he cared. I
don't know what he was thinking. From this point forward,
I was flying just as blind as your and I'm
(09:43):
in st bitch. Ye never did give me that second scotch.
M hm ah h Now what are you writing? What?
(10:41):
I don't mh the hell? Yeah? No. Drip a long
(11:39):
cord around the back of the neck, between the thighs
up to the wrist, who as tight as you can
on each wrist separately. Where the captive struggles, the tighter
it will become. Did they do to you? Yeah? How
(12:10):
many were there? Why were you in here. What did
they do to you? Jesus ship so bitch? Where the
(12:36):
hell at lights? Wouldn't gods what no, no, panto Barlaton,
(13:01):
lying sun, I'm gonna oh my god, oh god, I
(13:22):
get it. I gotta get it. M m. The drive
(14:09):
is an erratic twenty minutes where Hank doesn't say much,
but when he does, he sounds like he's completely lost
his mind. He repeats, I don't understand. He beats on
the steering wheel and yells out the window as he
speeds past the only other car on the road at
that hour. I think he's lucky he didn't get shot
when he arrived at that house. Come on, goddamn it,
(14:32):
the officer and I have a loaded weapon. Back away
to the door, Open away from the door and open up. Hey, hey,
it's the middle of goddamn knight. Open up. Aren't you
out of your mind? What are you doing? I was
ready to shoot your man. It's Hank, Dotty, It's just Hank.
(14:53):
Hank to death. Sorry, Doty, Sorry, I'm I'm you don't
look so good, Hank, Now, sit down before you fall down?
What's got you so bothered? Ah? Yes, part of the talk.
(15:13):
I get it. I don't want you to have to
hear the starting. You don't have to explain yourself to me, Hank.
How about I put on some coffee. You don't have
to do that, no bother at all. You have that
not going anywhere anytime soon. Look about you, Hank. I'll
go put the coffee on and then I'm going back
to bed. You fellas are on your own after that.
(15:34):
Thank you, honey, Good night, gentlemen? Where did you come from?
Should I forget to stop? The tape doesn't make any sense?
You don't have to understand. What good is this to you?
My brain's not working right. I feel scattered and I
(15:55):
don't want to forget anything. Just just listen to me, okay,
hear me out call whatever the hell you want, but
I need to record it, so I will forget it. Hank.
Please just just forget we're recording, and just just ask
me questions. Please? All right? All right? No sense? Ed?
(16:16):
I said, all right, yeah, well you tonight? Was it?
Leonard Shaw as a state and bell Air? Why were
you there? I think that he and his doctor ad
La Harrison are responsible for the disappearance and murder of
Marley and Murray Evans. Ad La Harrison was already clear.
Can everyone just stop saying that already? For Christ's sakes?
(16:37):
I know it was clear. I know that. Then what
makes you think otherwise? The poolhouse? What poolhouse? What are
you talking about? I found what? What did you fine? Hank?
I don't know what they did in there? It looked
like it's simple enough when you walk in. There's a
(16:57):
couple of couches at bar, pool tables as a code
rack that I had a drink. And then what I
opened the closet next to the code rack and there
were I don't know, what do you call him, like
a you know that that the feather neck bows that
there were There were feather bows bow And I got
that feeling, right, okay that I got that feeling from
(17:18):
the bowls. No, no, not from the bows, but because
they didn't it was something wasn't right. I don't know,
I I got that feeling. Nothing made sense all of
a sudden, and I didn't wanted to make sense. I
took out another I took another snapshot. How many pictures
did you take? I got as much as I could
with my flashlight. Hey, did Sean know you were in there?
(17:43):
Just so listen so there's a loan hole away leading
from the club room. There's doors on the other side
of this hallway, rooms all the way to the door
at the other end, but they were all closed, and
I thought, I thought, why are they all closed? It
wasn't right, so I opened the first door on the left. Look,
I've never seen this stuff before. I'm not following you, Hank.
(18:05):
There are hooks on the wall, and there were masks,
and there's there's ropes and chains for what they They
tied him to a board. There were scratch marks, and
there was this this the garden hose with a trojan
tied around. When I and they tied him to a board,
it sounds like they're into kink, Hank, screwkink. I don't
(18:27):
care if they're kinky. That played times none of my business.
But it doesn't stop there. And this was only the
first room. Now, the next door was to a closet
and it was locked. Why so I Jimmy, did it open.
You can't be doing that at Priece. I don't have
another tape on me, and and this one's almost done.
I Jimmy, did it open. And there was a there
was a camera, a camera on a tripod pointing through
(18:49):
a cutout in the wall. But on the other side,
it's not a cutout, it's a mirror. First started show
I was making pornography, and I don't think the girls
knew it. They didn't know they were being recorded at
there's all kind of costumes and fancy, unmentionable. The layout
of this room was different, like like a movie set.
(19:10):
There's furniture that there was more equipment in there. It's
not a bat it's it's like a like a like
a bat handle with with a flat end. But but
there were rubber tubes and syringes and photographs and naked
women bounding gag. There's one with an audience people watch
whatever was done to her. It's the privacy of his
own home, Hank. We may not agree with it, but
(19:31):
it's his whole. There was a projector and I watched
I turned it on and there was a woman. I
don't know who she was, but she wasn't conscious, and
there were she wasn't conscious, she didn't know what they
were doing. And on the wall there were instructions. What
kind of instructions so that they can't escape, they can't
(19:53):
escape out of time and they must have taken maneuver,
and then they must have taken him into that room
at the end of the hall. When the party ended,
when the watches and the ones participating, when they left,
that's when they took her into that room at the
end of the hall. He took her into that room.
Who Adler, That's that's his prescription pad. It his name's
(20:14):
right there on the top. It's his room. He's the doctor.
He took her into that room. Maybe with Shaw, I
don't know, but but definitely Adler. What was in the
room the door, the door like like going into a
meat locker. The temperature is low. The first thing I
noticed was how cold it was to to the to
the bone and pitch black. It's an operating room. They
(20:38):
set up a goddamn operating room. Goss bandages, turniquets, hypodermic syringes,
surgical supplies, and there was pent to barbatall it sucker barbatall.
These were the drugs that were in marline. These were
the drugs that were in Marline at bottles of him.
They went to kept her in there. They must have
(21:00):
There's a bed, a metal bed, and there were restraints
from a hospital warden on the other side of that room,
there's a metal table with one of those those operating
room lights. There's so many machines, machines, but two of
them machines. What kind of machines had God, there's so
much blood. What sheets and rags soaked in blood? It
(21:23):
wasn't just Marlene Ed. They didn't stop at Marlene. D
Adler's killing women in that house. He killed her in
that house, and he drained her body of its blood
on the table in that room. You can't. And I
was there, calmed down. He drained her, and then he
cleaned her, and then he cut her up in that please,
Doddy Adler Harrison killed Marlene Marie Evans in that room.
(21:49):
God damn it. And they bastard let her. Shaw helped
him cover it all up. He covered it all up.
If Hank was right, then how many potential victims are
we talking about here? How many more women before and
after Marlene? He was smart to turn to it. With
(22:09):
Ed and the l a p. D. Involved. It would
be much easier with their help. It would only be
a matter of time before hand could close the case uptight,
collect the rest of his money, and return to some
semblance of a normal life, everything wrapped up in a
nice little bow. But let's be honest, nothing is ever
that easy. The Angel of Vine is a podcast produced
(22:36):
by Vox Popula on behalf of the Los Angeles Harold.
Thank you for listening to the Angel of Vine. If
you'd like to support us, please leave us a review
and tell your friends to subscribe it. The Angel of
Vine is available on Apple Podcasts, Spotify, Stitcher, and all
major podcast apps. If you can't wait for the next
episode of the Angel of Vine, episodes nine and ten
(22:58):
are available right now exclusively on Stitcher Premium, as well
as angel Levine, bonus episodes, extended episodes, and add free episodes.
Go to Stitcher Premium dot com slash Angel and use
promo code Angel to get your first month of Stitcher
Premium free. The Angel of Vine is directed by e
Ryan Martz, written by Oliver Vacare, story about e. Ryan Marts,
(23:20):
Jason Salwalt and Oliver Vacare. Sound designed by Joel Robbie
and Andrew Vernon. Produced by Vox Popular in association with
Forever Dog Podcast Network. This episode's performances by Joe Manganello,
Camilla Luddington, Mike Coulter Cree Summer and Oliver Vacare. Angelis
is performed by Desi Dennis Dylan piano and arrangement by
(23:43):
James Harper, composed by Matt Dennis, Lyrics by Earl Brent
from downtown Los Angeles. This has been the Angel le Vine.
You'll hear more from us soon. Oh mm is my
a Joe? I excuse me while I did suppia
A note to the listener. The following story contains some
adult content and language. Ice white ice like a winding sheet,
sheathing each smoke grind, wall Ice on the stove, pipe,
ice on the bed, ice gleaming overall, sparkling ice on
(00:26):
the dead man's chest, glittering ice in his hair, ice
on his fingers, ice at his heart, ice in his
glassy stare that. Hey, it's it's Oscar Simmonds. Hey, Oscar,
(00:47):
how are you good? Good? Do you have a few
minutes just to let you know I'm recording the conversation. Okay,
I have nothing to hide. How's the listening party going.
It's going well, certainly, no lack of material. Sorry, yeah,
don't be compy. Are you kidding me? It's totally worth it.
I can sleep when I'm dead. What's up? You said
(01:09):
you found a bunch of photographs and hanks, right, a lot. Yeah,
each case file had corresponding photos. Unfortunately not in the
angel box though. Oh no, no, that's okay. I didn't
think that there would be a question. This may sounds strange.
Were there uh any that were separated? I need it
stood out. Yeah, there's a separate envelope that has a
bunch of old photos. No one in them, though, and
(01:32):
a few of them are a little disturbing. They wouldn't
happen to be of a bunch of rooms, would they. Yeah,
that's yeah, they're they're just interiors. How did you know that?
Just a hunch? I think it may need to come
take a look at them. If that's okay, why don't
I send them to you? Oh no, no, no, you
don't have to do that. No, it's it's really futifly
all the way up to Seattle for an envelope full
(01:53):
of snapshots. Okay, yeah, I can give you our corporate
account then you can. You can ship them overnight. That
way about be insured. No word about it now, but
I am fair enough. I'll email you all the info
as soon as beat off. Okay, I can't drive over
there later today and get them out to you. Thank you,
thank you? Um oh, please give my best to fill us.
(02:18):
Did my grandfather actually solve this thing? I don't know.
I don't know yet. I'm hoping those those pictures help
answer the question from Vox Popula and the Los Angeles Harold,
this is the Angel of Vine. My old hoard ain't
(02:42):
getting in no ground because my angels. As it turns out,
if you're in the Los Angeles area, you can take
(03:03):
a guided tour of Leonard Shaw's famed nine acre bell
Air estate. I know this because I recently went on
the tour. In his will, Shaw left his estate to
the Historical Society so that every inch of the house,
including the grounds, would be preserved exactly as he left them.
It wasn't something I would have done before we embarked
on this little journey together. By the way, not because
(03:23):
I don't find Hollywood history interesting. I do, um, but
because Leonard Shaw was never relevant to anything I've been
working on. And more candidly, why would I care to
see the surroundings of an uber, wealthy tyrant known for
decades of bullying and abuse? So then why did I go?
I went because the next tape through every idiom I
could imagine at me, it all starts to go off
(03:45):
the rails, Things begin to unravel, and Hank flies off
the handle. Are you ready? Because once it derails, it
doesn't get back on track. Hank decided to break in
(04:09):
and go on his own private tour of Shaw's estate. Yeah, yeah,
he broke in, And when I realized where he was.
I thought, what the hell is he doing? This guy
was a cop. He's got to be smarter than this.
I understand that whole desperate times call for desperate measures impulse,
but trespassing couldn't have been Hanks on the option. It
(04:29):
couldn't have been right. But either way, my speculation is
irrelevant because it was the option he chose. As I listened,
I had no idea where he was in regards to
the house. I didn't know how to place him on
the grounds. So of course I turned to the internet
for maybe an aerial shot of the property to get
(04:49):
an idea, and I did find a photo, and it
is enormous, And that's when I also found the tour info.
The day that I went, I brought the recording with
me to see if I could retrace hank steps and
figure out why it took him twenty two minutes to
get to the poolhouse. I will try to guide you
as best as I can. When you first enter the
(05:13):
front gate, there's a glaring security floor. That is if
you're looking for it, like I was. The generator that
powers the driveway lights is directly inside the outer wall.
It creates a halfway point in what would be potentially
leg breaking jump. The driveway is at least fifty yards
(05:41):
from the gate to the turnaround at the entrance to
the main house. The front doors are large and heavy,
so not a lock that could be picked silently. Oh
I don't know why I thought it would be that easy.
To the left of the house, it's a wrought iron
(06:02):
gate onto the grounds, but it's surrounded by topiaries. No
one would be able to get over or through without
a chainsaw or a welding torch, two tools seldom associated
with stealth. To the right is a four car garage
(06:25):
with a side door that connects to the mud room
of the house. There are only two ways out of
the house and onto the back of the property. One
(06:48):
is through the double doors at the very end of
the dining room, which lets out directly underneath the balcony
of Shaw's master suite. It's a stone patio that leads
to a great lawn where there is absolute lean no cover.
The only other possibility is through the kitchen, which lets
out on the side of the house beside a row
of trees where the trash bins would have been kept.
(07:19):
Ship The path from the kitchen winds around the side
and under a trellis to the rose garden. From the
garden you have two choices, left to the tennis courts plural,
(07:42):
or right down a winding stone staircase to a landing
that serves as a lounge. From here you have the
vantage point of both the courts to the left or
to the right. At the bottom of another staircase, the pool.
The amount of space not to mention the grandiosity of luxury.
When I surveyed from the landing, I admit I admit
to thinking, what an incredible house to host a party,
(08:04):
if not for its host, that is, the pool is huge,
country club huge. The left side is lined with yellow
and white striped deck chairs and umbrellas, like the ones
at the Parker in Palm Springs. The right side has
a twelve ft bar next to a hot tub and
a cabana with two separate shower rooms. The cabana is
(08:24):
not the poolhouse. The cabana is just the cabana. At
the far end of the pool, there is a path
which leads through a set of spruce trees to an
impressive single story structure with a concrete span. It looks
like a Frank Lloyd wrighte cold, imposing, cryptic, almost as
(08:47):
if it overlooks the house instead of the other way around.
This is the poolhouse. I wanted to peek inside so
much more so than anything else on the tour, and
for obvious reasons that you're about to hear. But we
didn't have access to anything beyond the pool deck, so
I was left, in my imagination the entire pool area,
(09:14):
including the path to the pool house. The entire area
is out in the open, which Hank seemed to forget momentarily. Jesus,
the heating go alone. I don't know if you wanted
to be seen. I don't know if he cared. I
don't know what he was thinking. From this point forward,
I was flying just as blind as your and I'm
(09:43):
in st bitch. Ye never did give me that second scotch.
M hm ah h Now what are you writing? What?
(10:41):
I don't mh the hell? Yeah? No. Drip a long
(11:39):
cord around the back of the neck, between the thighs
up to the wrist, who as tight as you can
on each wrist separately. Where the captive struggles, the tighter
it will become. Did they do to you? Yeah? How
(12:10):
many were there? Why were you in here. What did
they do to you? Jesus ship so bitch? Where the
(12:36):
hell at lights? Wouldn't gods what no, no, panto Barlaton,
(13:01):
lying sun, I'm gonna oh my god, oh god, I
(13:22):
get it. I gotta get it. M m. The drive
(14:09):
is an erratic twenty minutes where Hank doesn't say much,
but when he does, he sounds like he's completely lost
his mind. He repeats, I don't understand. He beats on
the steering wheel and yells out the window as he
speeds past the only other car on the road at
that hour. I think he's lucky he didn't get shot
when he arrived at that house. Come on, goddamn it,
(14:32):
the officer and I have a loaded weapon. Back away
to the door, Open away from the door and open up. Hey, hey,
it's the middle of goddamn knight. Open up. Aren't you
out of your mind? What are you doing? I was
ready to shoot your man. It's Hank, Dotty, It's just Hank.
(14:53):
Hank to death. Sorry, Doty, Sorry, I'm I'm you don't
look so good, Hank, Now, sit down before you fall down?
What's got you so bothered? Ah? Yes, part of the talk.
(15:13):
I get it. I don't want you to have to
hear the starting. You don't have to explain yourself to me, Hank.
How about I put on some coffee. You don't have
to do that, no bother at all. You have that
not going anywhere anytime soon. Look about you, Hank. I'll
go put the coffee on and then I'm going back
to bed. You fellas are on your own after that.
(15:34):
Thank you, honey, Good night, gentlemen? Where did you come from?
Should I forget to stop? The tape doesn't make any sense?
You don't have to understand. What good is this to you?
My brain's not working right. I feel scattered and I
(15:55):
don't want to forget anything. Just just listen to me, okay,
hear me out call whatever the hell you want, but
I need to record it, so I will forget it. Hank.
Please just just forget we're recording, and just just ask
me questions. Please? All right? All right? No sense? Ed?
(16:16):
I said, all right, yeah, well you tonight? Was it?
Leonard Shaw as a state and bell Air? Why were
you there? I think that he and his doctor ad
La Harrison are responsible for the disappearance and murder of
Marley and Murray Evans. Ad La Harrison was already clear.
Can everyone just stop saying that already? For Christ's sakes?
(16:37):
I know it was clear. I know that. Then what
makes you think otherwise? The poolhouse? What poolhouse? What are
you talking about? I found what? What did you fine? Hank?
I don't know what they did in there? It looked
like it's simple enough when you walk in. There's a
(16:57):
couple of couches at bar, pool tables as a code
rack that I had a drink. And then what I
opened the closet next to the code rack and there
were I don't know, what do you call him, like
a you know that that the feather neck bows that
there were There were feather bows bow And I got
that feeling, right, okay that I got that feeling from
(17:18):
the bowls. No, no, not from the bows, but because
they didn't it was something wasn't right. I don't know,
I I got that feeling. Nothing made sense all of
a sudden, and I didn't wanted to make sense. I
took out another I took another snapshot. How many pictures
did you take? I got as much as I could
with my flashlight. Hey, did Sean know you were in there?
(17:43):
Just so listen so there's a loan hole away leading
from the club room. There's doors on the other side
of this hallway, rooms all the way to the door
at the other end, but they were all closed, and
I thought, I thought, why are they all closed? It
wasn't right, so I opened the first door on the left. Look,
I've never seen this stuff before. I'm not following you, Hank.
(18:05):
There are hooks on the wall, and there were masks,
and there's there's ropes and chains for what they They
tied him to a board. There were scratch marks, and
there was this this the garden hose with a trojan
tied around. When I and they tied him to a board,
it sounds like they're into kink, Hank, screwkink. I don't
(18:27):
care if they're kinky. That played times none of my business.
But it doesn't stop there. And this was only the
first room. Now, the next door was to a closet
and it was locked. Why so I Jimmy, did it open.
You can't be doing that at Priece. I don't have
another tape on me, and and this one's almost done.
I Jimmy, did it open. And there was a there
was a camera, a camera on a tripod pointing through
(18:49):
a cutout in the wall. But on the other side,
it's not a cutout, it's a mirror. First started show
I was making pornography, and I don't think the girls
knew it. They didn't know they were being recorded at
there's all kind of costumes and fancy, unmentionable. The layout
of this room was different, like like a movie set.
(19:10):
There's furniture that there was more equipment in there. It's
not a bat it's it's like a like a like
a bat handle with with a flat end. But but
there were rubber tubes and syringes and photographs and naked
women bounding gag. There's one with an audience people watch
whatever was done to her. It's the privacy of his
own home, Hank. We may not agree with it, but
(19:31):
it's his whole. There was a projector and I watched
I turned it on and there was a woman. I
don't know who she was, but she wasn't conscious, and
there were she wasn't conscious, she didn't know what they
were doing. And on the wall there were instructions. What
kind of instructions so that they can't escape, they can't
(19:53):
escape out of time and they must have taken maneuver,
and then they must have taken him into that room
at the end of the hall. When the party ended,
when the watches and the ones participating, when they left,
that's when they took her into that room at the
end of the hall. He took her into that room.
Who Adler, That's that's his prescription pad. It his name's
(20:14):
right there on the top. It's his room. He's the doctor.
He took her into that room. Maybe with Shaw, I
don't know, but but definitely Adler. What was in the
room the door, the door like like going into a
meat locker. The temperature is low. The first thing I
noticed was how cold it was to to the to
the bone and pitch black. It's an operating room. They
(20:38):
set up a goddamn operating room. Goss bandages, turniquets, hypodermic syringes,
surgical supplies, and there was pent to barbatall it sucker barbatall.
These were the drugs that were in marline. These were
the drugs that were in Marline at bottles of him.
They went to kept her in there. They must have
(21:00):
There's a bed, a metal bed, and there were restraints
from a hospital warden on the other side of that room,
there's a metal table with one of those those operating
room lights. There's so many machines, machines, but two of
them machines. What kind of machines had God, there's so
much blood. What sheets and rags soaked in blood? It
(21:23):
wasn't just Marlene Ed. They didn't stop at Marlene. D
Adler's killing women in that house. He killed her in
that house, and he drained her body of its blood
on the table in that room. You can't. And I
was there, calmed down. He drained her, and then he
cleaned her, and then he cut her up in that please,
Doddy Adler Harrison killed Marlene Marie Evans in that room.
(21:49):
God damn it. And they bastard let her. Shaw helped
him cover it all up. He covered it all up.
If Hank was right, then how many potential victims are
we talking about here? How many more women before and
after Marlene? He was smart to turn to it. With
(22:09):
Ed and the l a p. D. Involved. It would
be much easier with their help. It would only be
a matter of time before hand could close the case uptight,
collect the rest of his money, and return to some
semblance of a normal life, everything wrapped up in a
nice little bow. But let's be honest, nothing is ever
that easy. The Angel of Vine is a podcast produced
(22:36):
by Vox Popula on behalf of the Los Angeles Harold.
Thank you for listening to the Angel of Vine. If
you'd like to support us, please leave us a review
and tell your friends to subscribe it. The Angel of
Vine is available on Apple Podcasts, Spotify, Stitcher, and all
major podcast apps. If you can't wait for the next
episode of the Angel of Vine, episodes nine and ten
(22:58):
are available right now exclusively on Stitcher Premium, as well
as angel Levine, bonus episodes, extended episodes, and add free episodes.
Go to Stitcher Premium dot com slash Angel and use
promo code Angel to get your first month of Stitcher
Premium free. The Angel of Vine is directed by e
Ryan Martz, written by Oliver Vacare, story about e. Ryan Marts,
(23:20):
Jason Salwalt and Oliver Vacare. Sound designed by Joel Robbie
and Andrew Vernon. Produced by Vox Popular in association with
Forever Dog Podcast Network. This episode's performances by Joe Manganello,
Camilla Luddington, Mike Coulter Cree Summer and Oliver Vacare. Angelis
is performed by Desi Dennis Dylan piano and arrangement by
(23:43):
James Harper, composed by Matt Dennis, Lyrics by Earl Brent
from downtown Los Angeles. This has been the Angel le Vine.
You'll hear more from us soon. Oh mm is my
a Joe? I excuse me while I did suppia
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