December 5, 2018 • 24 mins
Hank’s stakeout leads him to LA’s famous Central Avenue jazz corridor and a movie studio back lot.
Performances by Joe Manganiello, Misha Collins, Khary Payton, Nolan North, Travis Willingham, Kari Wahlgren, Courtenay Taylor, Eric Bauza, William Demeritt, Imari Williams, Philip Mershon, Delaney Hillan, 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. What's in a name? Let's try
something say or think of the name of the last
person you saw. Now, did you imagine the letters that
(00:21):
make up their name or did you imagine them them right?
And if you stay with that image of them, your
mind will fill in even more details about that person
just from a word, just from their name. There are
so few names involved in the Angel of Vine case,
(00:42):
so little information that the circumstances leading to the death
of Marley Marie Evans required some level of imagination that
the cops either didn't have or didn't care enough to employ.
Hank briggs use of his imagination just got him a
new name. It's Zeros. Granted it was the name of
(01:02):
a nightclub, but a name no one else had associated
with this case. And what's in this particular name is
an entirely unexplored world which Hank Briggs was about to
enter from Vox Popula and the Los Angeles. Harold, this
(01:24):
is the Angel of Vine. My old heart ain't gain
and no ground because my angels. These are snippets of
(01:53):
the recordings from Hank's steak out of cereals. It's thorough,
not so much informatively, but thorough and sheer. Volume four
separate tapes for a total of fourteen recorded hours over
what I think was roughly eight or nine days. My
best guest just based on his mention of the daytime
food deliveries, and yes, I have listened to all of it.
He sat in his car on the corner of Sunset
(02:15):
Boulevard and Olive Drive, observing that place and talking to
himself for eight or nine days. Zero's being the spectacle
that it was almost every night, Hank thought it would
be easier to hop the velvet rope of the daytime door. Hey,
excuse me, pal, you run this place? Yeah, yeah, I'm
(02:39):
looking around Crates the salmon because I run this place. Hey, Anton,
Now that one's gotta go in the cooler. It's a
manager around at eight o'clock in the morning. Bunny, I
think that's your name, because I didn't throw you one. Listen,
it's daylight. I'm not here to make a mess. Yeah,
(03:00):
people call me tiny while are you're stepping over him?
Or before? Was that? Jesus? Nothing? Listen, Tiny, maybe you
can help me, you know, with what somebody used to
work here. I'm not gonna be much help there. I'm
back in the house, not even back of the house.
(03:21):
I'm more like under the house. Honestly, I'm usually gone
by the time most of the staff arrived. You don't
see anyone coming to donor. I do my job so
I can be out of my way, simple as that.
To sound philosophy, Yeah, yeah, because people mistake me for
a philosopher all the time. We've done here. And who
do want need to speak to? It's in charge of hiring.
(03:44):
You're pretty persistent for not wasn't a mess. Who's asking?
Labor union? Labor union? What are you some sort of commie?
Get out of here, your clown clown? Le'm asking your question.
I wouldn't being really nice to you, and I don't
have to be. I don't have a lot of patience.
(04:08):
I'm not patient. Draft My wife nuts who thanks buddy,
it was a joker. I don't think it was. Look,
I'm not trying to inconvenient you. I'm just here to
find someone who might be able to help me do
my job so that I can be on my way.
(04:30):
Ask for Alistair. He's the manager. He comes in around them.
But you didn't get his name from me, because I
I don't need any trouble. You can tell him I
was looking for him. I said, I don't need any trouble.
Hank has no direct contact with anyone named Alistair within
the fourteen hours of tape of the people he sees
(04:50):
entering an exiting CEOs, Hank takes a few guesses at
who might be Alistair, but there are no conversations with
any other male employees. The only other time Hank left
the confines of his car were to question a couple
of the female employees, and for whatever reason, his favorite
cover seemed to be labor union leader Hank Briggs. She
(05:16):
was with a baseball player, that made sense, and now
she's with a writer, A normal person. With a woman
like that, I wouldn't even have the course to say. Hi. Way,
when Piggy asked to dance and she says I would
enjoy to dance, gives him every time I think about it.
(05:42):
Fly on the wall, Oh my kidding, there's no flies
in there. There we are, ladies. Just to what I
wanted to top. Two mm hmm. Excuse me, ladies, I'm
(06:04):
really sorry to bother you. Hello. I don't think you're sorry,
I'm assuming you both work here? Is that correct? H
That's right? Do you mind if I asked you some questions?
I'm with Local forty seven. I'm Hank Braves, Diane Mosley,
late for work. Would you tell what do you ladies
do here? I would coach check cigarette girl? Don't they
(06:27):
have machines? Now? Hey? Easy, there are here trying to
get me canned? So what's Local forty seven musicians? Junior? Oh,
it's about Barnaby's hand, Barnaby the piano player. Obviously it isn't.
What's your question, Hank Briggs? Was it? We gotta get inside?
Did either of you know Marlene? Marie Evans? Never heard
(06:51):
of her? We gotta go. Diane, you've never heard of her,
don't know her? Frenie? We agree, Sony bitch? Oh hey, hey,
I'm not a creepy. Let's get tossed on the sunset.
Just a a few questions. You can't be back here, sir,
(07:13):
this is private property. All right, I'm going. I'm going.
Hank didn believed the cigarette girl, and he was right
not to, but he was wrong when he said he
didn't have patience. Hank Briggs had enough patience to spend
an entire week scouring the paper for baseball scores while
washing down cracker jacks with black coffee, until the right
(07:33):
moment arrived for him to have a real conversation with
Diane Moseley, the co check girl. Nice. Catch up with
you later, Diane. Yeah, it's okay. He startled me. He
shouldn't do that. I'm sorry. It didn't mean to scare you.
(07:56):
Henk Briggs, yeah, I remember you. Do you mind if
we walk? No? No, not at all? Cigarette, No, thank you?
Did you know Marley? Yes? But not well, you know
(08:20):
she was. She was real nice, so polite, always a
please and thank you, no matter what. Were you too close? Well?
I mean we didn't socialize outside of work more than
a few times. If that's what you mean, any particular reason,
I don't know. I don't think so. She was certainly
a lot more outgoing than I am. How's that? She
(08:43):
was really good on the floor, you know, never hovering,
not trying to be noticed. It's just like she belonged
with the stars, you know. She was so relaxed, I
mean relaxed around James Dean. I mean, are you kidding me? Nice?
He came in, I couldn't even look at him. I
get too nervous. No, I like my little own clay
(09:05):
away from it all. Did you know if anyone else
was close with her? You're not really a musician, are you.
Why did you pretend not to know her? We were
told not to mention that she ever worked at the club.
It would have shut us down. Why. I can't afford
(09:28):
to lose my job, Mr Briggs, I promise you you're
not going to That's not why I'm here. They didn't
want a chance anyone looking at the books. Okay, there
are no books. It pays in cash. And since Marlene
had already quit the club when it happened, she wasn't
working here when she was killed. She was only working
(09:51):
to privates. Privates What what's that? I don't know. That's
what she called him. Were these privates arranged through the club? No?
Who then? I don't know. Well, did you work with
anyone else? Diane? I'm not a cop. I'm not trying
to get anyone in trouble here. I promised that you
(10:13):
were in that giant bouncer you got at the front door.
Will never ever see me again. I just need a name, please, Fish, Fish, Fish,
that's what I thought, you said. He runs a club
called The Battle. It's way down on Central Marley and
(10:38):
asked me if I wanted to make some good money
working for him, like three or four times would make
here in a night, Like I said, I'm not real outgoing,
so I said no. Well, please don't not tell anybody.
I told you all of this, and there's no need
for me to talk to anyone. I doubt what I needed.
Can I help you get somewhere? Thank you? And it's
(11:17):
hey day. The historic Central Avenue Jazz Corridor, or the
Avenue as it was called, was where everybody wanted to
be when the sun went down in Los Angeles. Wild
nights of drink, dance, and authentic live jazz unlike any
you might ever hear again. Ella Fitzgerald, Louis Armstrong, Billie Holiday,
Art Tatum, Lionel Hampton, Charlie Parker, Lena Horne. These were
(11:40):
just some of the musicians you might see on any
given night, and if not performing, chances are you could
catch a glimpse of one of them amidst the crowd
at Club Alabama, the Last Word, the down Beat, or
in the lobby of where they all stayed the famed
Dunbar Hotel. It was the West Coast lem renaissance, and
(12:01):
it had everyone's attention, including the cops. Like any other
area in Los Angeles at that time, Central Avenue had
its sed reputation for drugs, gambling, and prostitution, and it's
known that gangsters like Mickey Cohen would hide away in
the clubs that he was rumored to have invested in,
either from the cops or from hits placed on him
(12:21):
by other gangsters. The Battle was a lesser known venue
than the others and opened just at the tail end
of this booming era. It was a smaller club, so
it wouldn't have been as easy to blend in, So
for a few nights, Hank carefully assumed the role of
bar fly very much. I haven't heard the name fish
(12:48):
once since I've been here. I got three viable contenders, though,
each one of them real slick, good with the crowd.
At ten of this we are that steals trio dude,
forget to tip your that's last called buddy, Yeah, why not?
I'll take one more? Still on, still on it. There
(13:13):
you go. Thanks, keep the change this sea taking our
years bound. You made it just in time, drink up fast.
Good point, Good point. I was gonna say the same
thing to you, just taking my time, unless you're gonna
sit here another night talking to yourself? Can I help
(13:34):
you with something uncanny? There you go, taking the words
right out of my mouth again. Only cut the chitchen.
What you want? What makes you think? Good? Nights? Ago?
You asked the trumpet player by the name of Ellis
that this was Fish's joint. Fish Frank, hand me that
(13:56):
bottle and two glasses. You got it. Why don't we
head to my office and talk about whatever the hell
it is got you looking so skittish. I'll be in
the back it rayneeds me. Uncle. It's been a long
time since a white man came asking for me. What
are you playing that? I see plenty of white people
(14:17):
in there, Oh them, No, they are customers. They're down
here slumming to get a taste of a real experience. You.
I got no idea why you're here, but I do know.
I clocked you the seince you walked in. You don't
exactly scream jazz man, set jass down. Do you hear
(14:42):
about Shepherd's money? No good? Am I gonna need this?
No good? As long as we square on that what
you want? Where was Marline Murray Evans work in the
night she was murdered? Little ship? You just came out
(15:06):
and said it just like that. You ain't messing around,
aren't you. I know that she worked for you doing
privates wherever the hell that is? Privates? Kind of foolish nonsense,
is that? What did she do for you? Look? I
had a lot of girls who worked for me. I
don't keep track of them all. Sure, I get it.
A businessman like you does tons of deals. Definitely too
(15:27):
busy to remember every single person he hires. In my
costs you pretty spot all. And the Angel of Vine
was well over a year ago, right, easily right, except
that it was the Angel of Vine girl being ripped
open in the parking lots, the kind of thing people
tend to remember, especially when they're partly responsible. Whoa, whoa, whoa. Now,
(15:48):
I didn't have nothing to do with that girl getting killed.
She signed up to work those parties through one of
my other girls. I only ever meta when she came
down here to get paid. Okay, good, So she did
work for you. Thank you for being honest. Damn it. Now,
what parties you know, just private parties. That was all
(16:09):
all these fancy ass people in their big houses, the
ones who have their drivers, bring them down here to
take a peek at how we live. Just like those
people out there tonight. They want the life, but on
the turf. You know what I'm saying. I supplied to
things musicians and girls, prostitution. Ow hell, no, I look
like jelly roller you. As far as I was concerned,
(16:32):
they were having drinks and tiny ask food on silver
platters with important Hollywood people. Whatever they did after them parties,
I didn't ask. None of my damn business still isn't ship.
When that girl turned up dead, all of that stopped.
The people who hired me stopped calling. Not you here,
(16:55):
why I need to know where she was at night?
We did a party at Leonard Schawles that week, Leonard
Shaw as in Classics Studios, Leonard Shaw. Most of the
parties with a Leni Shaw your movie mogul A hell,
that's gonna do it? All that money, you got what
(17:17):
you need? Because I'm tired as all hell, and I'm
certainly not gonna get any more. Sober sly in here
talking with your ass. This was huge. The fact that
Marlene was working at a party before she was killed,
opened up new possibilities for a number of potential witnesses
as well as potential suspects. All Hank needed was a
(17:39):
guest list from one of the most powerful and inaccessible
people in all of Hollywood. All I could say is,
I'm glad he's paying good afternoon. So how may I
help you? I'm supposed to be beating someone here. Irwin Ogelman. Yes,
(18:02):
he's in the new room, right this way, new room.
A quick reminder, Erwin Fogelman was the director who had
hired Hank and then recommended him to Samuel Towns Hag
Briggs Musso's huh and I think they were gonna let
me in. It's good to see you, Hag. I appreciate
(18:23):
you taking the time out of your busy schedule. Or
when are you kidding? You know the reason I still
have a busy schedule. I already ordered us the double
tender one. Get a drink, let me get the winter No, no, no,
it's okay. Water is fun. You know I'm footing the
bill right. No, suit yourself. So to what do I,
oldest honor? What can you tell me about Leonard Shaw? Uh?
(18:47):
He's a prick. Say this. He's mean just for the
sake of being mean, gets his kicks humiliating people working
on a case, and his name came up. He throw
a lot of parties at his house. He threw parties
on that estate every weekend. How many people you think?
How many people like that? Everyone? I used to say,
(19:08):
if you want to keep your stars, then you gotta
keep them full of champagne. What a prick? Anyway you'd
be able to track down. I don't know a guest
less me? Oh no, no, God no, I mean. Leo
hates me almost as much as he hates being called.
Leo took absolute pleasure in firing me. He and I
haven't spoken in at least three maybe four years. He
(19:30):
swore to destroy my career. That's all right, all right,
it's not the first, probably won't be the last. The
double tenderloine for your gentlemen, Please be careful. The play
is very high, not that one of these. Please, hey,
come on, please start eating. What happened with you two?
Did you ever see my picture divided before the fall?
(19:52):
I'm afraid I didn't wife and I don't get out much.
It's rhetorical Hank, I never made it. Pardon Leo gave
me six million dollars to shoot this epic production in Utah,
which turned into a disaster. Everybody was getting violently. It
was hotter than hades. We had actors passing out in
their costumes, right makeup running into the actor's eyes. Then
(20:13):
we had a week of torrential rain and flash flooding
in the basin that served as the majority of our location.
We had to pack up and return to the studio.
I got it done, but there wasn't much to brag about.
Downright disaster. Ended up costing lead on another couple of
millions of shelving so as not to affect the studio's reputation.
M I couldn't get your run a Leonard show if
(20:36):
you showed up with eight million dollars and an apology
letter written on gold leaf in my own blood. But
I can get you on the lot. That'll do great.
Set it up with my girl, Yeah, hand deliver a
script or something anyone knows. Maybe you can finagle your
way into his cold black heart. Yeah, prick. As the
(21:00):
very next hite begins, Hank is already on the lot.
I don't know how he did it, but he did
testing testing. Okay, let's find out a little bit about you.
Mr Shaw here, ghoes just here to drop up this script? No,
(21:31):
no need to get up. I could just hand it
right to r I'm sorry, he just shipped. Should I
call security? You're Adler, Harrison Adler. Should I call security? No?
Not if you want to keep your job, you wan.
I don't think Leonard shouted be too happy to know
that just any random stranger could get into his office.
All right, just calm down. That won't be necessary, imagin
(21:55):
Just close the door and go back to work. Yes, Adler,
And just like that, Hank Briggs was face to face
with the only person suspected of killing. The Angel of Vine.
(22:15):
The Angel of Vine is a podcast produced by Vox
Populi on behalf of the Los Angeles Herald. 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. The Angel of Vine is available
on Apple Podcasts, Spotify, Stitcher, and all major podcast apps.
(22:36):
If you can't wait for the next episode of the
Angel of Vine, episode five is available right now exclusively
on Stitcher Premium, as well as Angel of Vine, 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
(22:56):
of Vine is directed by E Ryan Marts, written by
Oliver Vakare, story about E. Ryan Marts, Jason Smwalt and
Oliver Vakare. Sound designed by Joel Robby and Kevin Duzablon.
Produced by Vox Popular in association with Forever Dog Podcast Network.
This episode's performances by Joe Manganello, Misha Collins, Cary Peyton,
(23:16):
Nolan North, Travis William, Cory Walgren, Courtney Taylor, Eric Bowsa,
William DeMeritt, Imari Williams, Philip Murshawn Delaney, Hilen Cree, Summer
and Oliver Vakhare. Angelis is performed by Desi Dennis Dylan
piano and arrangement by James Harper. Composed by Matt Dennis,
(23:37):
Lyrics by Earl Brent from downtown Los Angeles. This has
been the Angel of Vine. You'll hear more from us soon.
Oh is my Joe h A excuse me? While I
(24:12):
did Suppia
A note to the listener. The following story contains some
adult content and language. What's in a name? Let's try
something say or think of the name of the last
person you saw. Now, did you imagine the letters that
(00:21):
make up their name or did you imagine them them right?
And if you stay with that image of them, your
mind will fill in even more details about that person
just from a word, just from their name. There are
so few names involved in the Angel of Vine case,
(00:42):
so little information that the circumstances leading to the death
of Marley Marie Evans required some level of imagination that
the cops either didn't have or didn't care enough to employ.
Hank briggs use of his imagination just got him a
new name. It's Zeros. Granted it was the name of
(01:02):
a nightclub, but a name no one else had associated
with this case. And what's in this particular name is
an entirely unexplored world which Hank Briggs was about to
enter from Vox Popula and the Los Angeles. Harold, this
(01:24):
is the Angel of Vine. My old heart ain't gain
and no ground because my angels. These are snippets of
(01:53):
the recordings from Hank's steak out of cereals. It's thorough,
not so much informatively, but thorough and sheer. Volume four
separate tapes for a total of fourteen recorded hours over
what I think was roughly eight or nine days. My
best guest just based on his mention of the daytime
food deliveries, and yes, I have listened to all of it.
He sat in his car on the corner of Sunset
(02:15):
Boulevard and Olive Drive, observing that place and talking to
himself for eight or nine days. Zero's being the spectacle
that it was almost every night, Hank thought it would
be easier to hop the velvet rope of the daytime door. Hey,
excuse me, pal, you run this place? Yeah, yeah, I'm
(02:39):
looking around Crates the salmon because I run this place. Hey, Anton,
Now that one's gotta go in the cooler. It's a
manager around at eight o'clock in the morning. Bunny, I
think that's your name, because I didn't throw you one. Listen,
it's daylight. I'm not here to make a mess. Yeah,
(03:00):
people call me tiny while are you're stepping over him?
Or before? Was that? Jesus? Nothing? Listen, Tiny, maybe you
can help me, you know, with what somebody used to
work here. I'm not gonna be much help there. I'm
back in the house, not even back of the house.
(03:21):
I'm more like under the house. Honestly, I'm usually gone
by the time most of the staff arrived. You don't
see anyone coming to donor. I do my job so
I can be out of my way, simple as that.
To sound philosophy, Yeah, yeah, because people mistake me for
a philosopher all the time. We've done here. And who
do want need to speak to? It's in charge of hiring.
(03:44):
You're pretty persistent for not wasn't a mess. Who's asking?
Labor union? Labor union? What are you some sort of commie?
Get out of here, your clown clown? Le'm asking your question.
I wouldn't being really nice to you, and I don't
have to be. I don't have a lot of patience.
(04:08):
I'm not patient. Draft My wife nuts who thanks buddy,
it was a joker. I don't think it was. Look,
I'm not trying to inconvenient you. I'm just here to
find someone who might be able to help me do
my job so that I can be on my way.
(04:30):
Ask for Alistair. He's the manager. He comes in around them.
But you didn't get his name from me, because I
I don't need any trouble. You can tell him I
was looking for him. I said, I don't need any trouble.
Hank has no direct contact with anyone named Alistair within
the fourteen hours of tape of the people he sees
(04:50):
entering an exiting CEOs, Hank takes a few guesses at
who might be Alistair, but there are no conversations with
any other male employees. The only other time Hank left
the confines of his car were to question a couple
of the female employees, and for whatever reason, his favorite
cover seemed to be labor union leader Hank Briggs. She
(05:16):
was with a baseball player, that made sense, and now
she's with a writer, A normal person. With a woman
like that, I wouldn't even have the course to say. Hi. Way,
when Piggy asked to dance and she says I would
enjoy to dance, gives him every time I think about it.
(05:42):
Fly on the wall, Oh my kidding, there's no flies
in there. There we are, ladies. Just to what I
wanted to top. Two mm hmm. Excuse me, ladies, I'm
(06:04):
really sorry to bother you. Hello. I don't think you're sorry,
I'm assuming you both work here? Is that correct? H
That's right? Do you mind if I asked you some questions?
I'm with Local forty seven. I'm Hank Braves, Diane Mosley,
late for work. Would you tell what do you ladies
do here? I would coach check cigarette girl? Don't they
(06:27):
have machines? Now? Hey? Easy, there are here trying to
get me canned? So what's Local forty seven musicians? Junior? Oh,
it's about Barnaby's hand, Barnaby the piano player. Obviously it isn't.
What's your question, Hank Briggs? Was it? We gotta get inside?
Did either of you know Marlene? Marie Evans? Never heard
(06:51):
of her? We gotta go. Diane, you've never heard of her,
don't know her? Frenie? We agree, Sony bitch? Oh hey, hey,
I'm not a creepy. Let's get tossed on the sunset.
Just a a few questions. You can't be back here, sir,
(07:13):
this is private property. All right, I'm going. I'm going.
Hank didn believed the cigarette girl, and he was right
not to, but he was wrong when he said he
didn't have patience. Hank Briggs had enough patience to spend
an entire week scouring the paper for baseball scores while
washing down cracker jacks with black coffee, until the right
(07:33):
moment arrived for him to have a real conversation with
Diane Moseley, the co check girl. Nice. Catch up with
you later, Diane. Yeah, it's okay. He startled me. He
shouldn't do that. I'm sorry. It didn't mean to scare you.
(07:56):
Henk Briggs, yeah, I remember you. Do you mind if
we walk? No? No, not at all? Cigarette, No, thank you?
Did you know Marley? Yes? But not well, you know
(08:20):
she was. She was real nice, so polite, always a
please and thank you, no matter what. Were you too close? Well?
I mean we didn't socialize outside of work more than
a few times. If that's what you mean, any particular reason,
I don't know. I don't think so. She was certainly
a lot more outgoing than I am. How's that? She
(08:43):
was really good on the floor, you know, never hovering,
not trying to be noticed. It's just like she belonged
with the stars, you know. She was so relaxed, I
mean relaxed around James Dean. I mean, are you kidding me? Nice?
He came in, I couldn't even look at him. I
get too nervous. No, I like my little own clay
(09:05):
away from it all. Did you know if anyone else
was close with her? You're not really a musician, are you.
Why did you pretend not to know her? We were
told not to mention that she ever worked at the club.
It would have shut us down. Why. I can't afford
(09:28):
to lose my job, Mr Briggs, I promise you you're
not going to That's not why I'm here. They didn't
want a chance anyone looking at the books. Okay, there
are no books. It pays in cash. And since Marlene
had already quit the club when it happened, she wasn't
working here when she was killed. She was only working
(09:51):
to privates. Privates What what's that? I don't know. That's
what she called him. Were these privates arranged through the club? No?
Who then? I don't know. Well, did you work with
anyone else? Diane? I'm not a cop. I'm not trying
to get anyone in trouble here. I promised that you
(10:13):
were in that giant bouncer you got at the front door.
Will never ever see me again. I just need a name, please, Fish, Fish, Fish,
that's what I thought, you said. He runs a club
called The Battle. It's way down on Central Marley and
(10:38):
asked me if I wanted to make some good money
working for him, like three or four times would make
here in a night, Like I said, I'm not real outgoing,
so I said no. Well, please don't not tell anybody.
I told you all of this, and there's no need
for me to talk to anyone. I doubt what I needed.
Can I help you get somewhere? Thank you? And it's
(11:17):
hey day. The historic Central Avenue Jazz Corridor, or the
Avenue as it was called, was where everybody wanted to
be when the sun went down in Los Angeles. Wild
nights of drink, dance, and authentic live jazz unlike any
you might ever hear again. Ella Fitzgerald, Louis Armstrong, Billie Holiday,
Art Tatum, Lionel Hampton, Charlie Parker, Lena Horne. These were
(11:40):
just some of the musicians you might see on any
given night, and if not performing, chances are you could
catch a glimpse of one of them amidst the crowd
at Club Alabama, the Last Word, the down Beat, or
in the lobby of where they all stayed the famed
Dunbar Hotel. It was the West Coast lem renaissance, and
(12:01):
it had everyone's attention, including the cops. Like any other
area in Los Angeles at that time, Central Avenue had
its sed reputation for drugs, gambling, and prostitution, and it's
known that gangsters like Mickey Cohen would hide away in
the clubs that he was rumored to have invested in,
either from the cops or from hits placed on him
(12:21):
by other gangsters. The Battle was a lesser known venue
than the others and opened just at the tail end
of this booming era. It was a smaller club, so
it wouldn't have been as easy to blend in, So
for a few nights, Hank carefully assumed the role of
bar fly very much. I haven't heard the name fish
(12:48):
once since I've been here. I got three viable contenders, though,
each one of them real slick, good with the crowd.
At ten of this we are that steals trio dude,
forget to tip your that's last called buddy, Yeah, why not?
I'll take one more? Still on, still on it. There
(13:13):
you go. Thanks, keep the change this sea taking our
years bound. You made it just in time, drink up fast.
Good point, Good point. I was gonna say the same
thing to you, just taking my time, unless you're gonna
sit here another night talking to yourself? Can I help
(13:34):
you with something uncanny? There you go, taking the words
right out of my mouth again. Only cut the chitchen.
What you want? What makes you think? Good? Nights? Ago?
You asked the trumpet player by the name of Ellis
that this was Fish's joint. Fish Frank, hand me that
(13:56):
bottle and two glasses. You got it. Why don't we
head to my office and talk about whatever the hell
it is got you looking so skittish. I'll be in
the back it rayneeds me. Uncle. It's been a long
time since a white man came asking for me. What
are you playing that? I see plenty of white people
(14:17):
in there, Oh them, No, they are customers. They're down
here slumming to get a taste of a real experience. You.
I got no idea why you're here, but I do know.
I clocked you the seince you walked in. You don't
exactly scream jazz man, set jass down. Do you hear
(14:42):
about Shepherd's money? No good? Am I gonna need this?
No good? As long as we square on that what
you want? Where was Marline Murray Evans work in the
night she was murdered? Little ship? You just came out
(15:06):
and said it just like that. You ain't messing around,
aren't you. I know that she worked for you doing
privates wherever the hell that is? Privates? Kind of foolish nonsense,
is that? What did she do for you? Look? I
had a lot of girls who worked for me. I
don't keep track of them all. Sure, I get it.
A businessman like you does tons of deals. Definitely too
(15:27):
busy to remember every single person he hires. In my
costs you pretty spot all. And the Angel of Vine
was well over a year ago, right, easily right, except
that it was the Angel of Vine girl being ripped
open in the parking lots, the kind of thing people
tend to remember, especially when they're partly responsible. Whoa, whoa, whoa. Now,
(15:48):
I didn't have nothing to do with that girl getting killed.
She signed up to work those parties through one of
my other girls. I only ever meta when she came
down here to get paid. Okay, good, So she did
work for you. Thank you for being honest. Damn it. Now,
what parties you know, just private parties. That was all
(16:09):
all these fancy ass people in their big houses, the
ones who have their drivers, bring them down here to
take a peek at how we live. Just like those
people out there tonight. They want the life, but on
the turf. You know what I'm saying. I supplied to
things musicians and girls, prostitution. Ow hell, no, I look
like jelly roller you. As far as I was concerned,
(16:32):
they were having drinks and tiny ask food on silver
platters with important Hollywood people. Whatever they did after them parties,
I didn't ask. None of my damn business still isn't ship.
When that girl turned up dead, all of that stopped.
The people who hired me stopped calling. Not you here,
(16:55):
why I need to know where she was at night?
We did a party at Leonard Schawles that week, Leonard
Shaw as in Classics Studios, Leonard Shaw. Most of the
parties with a Leni Shaw your movie mogul A hell,
that's gonna do it? All that money, you got what
(17:17):
you need? Because I'm tired as all hell, and I'm
certainly not gonna get any more. Sober sly in here
talking with your ass. This was huge. The fact that
Marlene was working at a party before she was killed,
opened up new possibilities for a number of potential witnesses
as well as potential suspects. All Hank needed was a
(17:39):
guest list from one of the most powerful and inaccessible
people in all of Hollywood. All I could say is,
I'm glad he's paying good afternoon. So how may I
help you? I'm supposed to be beating someone here. Irwin Ogelman. Yes,
(18:02):
he's in the new room, right this way, new room.
A quick reminder, Erwin Fogelman was the director who had
hired Hank and then recommended him to Samuel Towns Hag
Briggs Musso's huh and I think they were gonna let
me in. It's good to see you, Hag. I appreciate
(18:23):
you taking the time out of your busy schedule. Or
when are you kidding? You know the reason I still
have a busy schedule. I already ordered us the double
tender one. Get a drink, let me get the winter No, no, no,
it's okay. Water is fun. You know I'm footing the
bill right. No, suit yourself. So to what do I,
oldest honor? What can you tell me about Leonard Shaw? Uh?
(18:47):
He's a prick. Say this. He's mean just for the
sake of being mean, gets his kicks humiliating people working
on a case, and his name came up. He throw
a lot of parties at his house. He threw parties
on that estate every weekend. How many people you think?
How many people like that? Everyone? I used to say,
(19:08):
if you want to keep your stars, then you gotta
keep them full of champagne. What a prick? Anyway you'd
be able to track down. I don't know a guest
less me? Oh no, no, God no, I mean. Leo
hates me almost as much as he hates being called.
Leo took absolute pleasure in firing me. He and I
haven't spoken in at least three maybe four years. He
(19:30):
swore to destroy my career. That's all right, all right,
it's not the first, probably won't be the last. The
double tenderloine for your gentlemen, Please be careful. The play
is very high, not that one of these. Please, hey,
come on, please start eating. What happened with you two?
Did you ever see my picture divided before the fall?
(19:52):
I'm afraid I didn't wife and I don't get out much.
It's rhetorical Hank, I never made it. Pardon Leo gave
me six million dollars to shoot this epic production in Utah,
which turned into a disaster. Everybody was getting violently. It
was hotter than hades. We had actors passing out in
their costumes, right makeup running into the actor's eyes. Then
(20:13):
we had a week of torrential rain and flash flooding
in the basin that served as the majority of our location.
We had to pack up and return to the studio.
I got it done, but there wasn't much to brag about.
Downright disaster. Ended up costing lead on another couple of
millions of shelving so as not to affect the studio's reputation.
M I couldn't get your run a Leonard show if
(20:36):
you showed up with eight million dollars and an apology
letter written on gold leaf in my own blood. But
I can get you on the lot. That'll do great.
Set it up with my girl, Yeah, hand deliver a
script or something anyone knows. Maybe you can finagle your
way into his cold black heart. Yeah, prick. As the
(21:00):
very next hite begins, Hank is already on the lot.
I don't know how he did it, but he did
testing testing. Okay, let's find out a little bit about you.
Mr Shaw here, ghoes just here to drop up this script? No,
(21:31):
no need to get up. I could just hand it
right to r I'm sorry, he just shipped. Should I
call security? You're Adler, Harrison Adler. Should I call security? No?
Not if you want to keep your job, you wan.
I don't think Leonard shouted be too happy to know
that just any random stranger could get into his office.
All right, just calm down. That won't be necessary, imagin
(21:55):
Just close the door and go back to work. Yes, Adler,
And just like that, Hank Briggs was face to face
with the only person suspected of killing. The Angel of Vine.
(22:15):
The Angel of Vine is a podcast produced by Vox
Populi on behalf of the Los Angeles Herald. 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. The Angel of Vine is available
on Apple Podcasts, Spotify, Stitcher, and all major podcast apps.
(22:36):
If you can't wait for the next episode of the
Angel of Vine, episode five is available right now exclusively
on Stitcher Premium, as well as Angel of Vine, 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
(22:56):
of Vine is directed by E Ryan Marts, written by
Oliver Vakare, story about E. Ryan Marts, Jason Smwalt and
Oliver Vakare. Sound designed by Joel Robby and Kevin Duzablon.
Produced by Vox Popular in association with Forever Dog Podcast Network.
This episode's performances by Joe Manganello, Misha Collins, Cary Peyton,
(23:16):
Nolan North, Travis William, Cory Walgren, Courtney Taylor, Eric Bowsa,
William DeMeritt, Imari Williams, Philip Murshawn Delaney, Hilen Cree, Summer
and Oliver Vakhare. Angelis is performed by Desi Dennis Dylan
piano and arrangement by James Harper. Composed by Matt Dennis,
(23:37):
Lyrics by Earl Brent from downtown Los Angeles. This has
been the Angel of Vine. You'll hear more from us soon.
Oh is my Joe h A excuse me? While I
(24:12):
did Suppia
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