WEBVTT - Four. Five. Nine.

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<v Speaker 1>A note to the listener. The following story contains some

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<v Speaker 1>adult content and language. Ice white ice like a winding sheet,

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<v Speaker 1>sheathing each smoke grind, wall Ice on the stove, pipe,

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<v Speaker 1>ice on the bed, ice gleaming overall, sparkling ice on

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<v Speaker 1>the dead man's chest, glittering ice in his hair, ice

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<v Speaker 1>on his fingers, ice at his heart, ice in his

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<v Speaker 1>glassy stare that. Hey, it's it's Oscar Simmonds. Hey, Oscar,

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<v Speaker 1>how are you good? Good? Do you have a few

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<v Speaker 1>minutes just to let you know I'm recording the conversation. Okay,

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<v Speaker 1>I have nothing to hide. How's the listening party going.

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<v Speaker 1>It's going well, certainly, no lack of material. Sorry, yeah,

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<v Speaker 1>don't be compy. Are you kidding me? It's totally worth it.

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<v Speaker 1>I can sleep when I'm dead. What's up? You said

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<v Speaker 1>you found a bunch of photographs and hanks, right, a lot. Yeah,

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<v Speaker 1>each case file had corresponding photos. Unfortunately not in the

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<v Speaker 1>angel box though. Oh no, no, that's okay. I didn't

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<v Speaker 1>think that there would be a question. This may sounds strange.

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<v Speaker 1>Were there uh any that were separated? I need it

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<v Speaker 1>stood out. Yeah, there's a separate envelope that has a

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<v Speaker 1>bunch of old photos. No one in them, though, and

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<v Speaker 1>a few of them are a little disturbing. They wouldn't

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<v Speaker 1>happen to be of a bunch of rooms, would they. Yeah,

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<v Speaker 1>that's yeah, they're they're just interiors. How did you know that?

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<v Speaker 1>Just a hunch? I think it may need to come

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<v Speaker 1>take a look at them. If that's okay, why don't

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<v Speaker 1>I send them to you? Oh no, no, no, you

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<v Speaker 1>don't have to do that. No, it's it's really futifly

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<v Speaker 1>all the way up to Seattle for an envelope full

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<v Speaker 1>of snapshots. Okay, yeah, I can give you our corporate

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<v Speaker 1>account then you can. You can ship them overnight. That

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<v Speaker 1>way about be insured. No word about it now, but

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<v Speaker 1>I am fair enough. I'll email you all the info

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<v Speaker 1>as soon as beat off. Okay, I can't drive over

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<v Speaker 1>there later today and get them out to you. Thank you,

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<v Speaker 1>thank you? Um oh, please give my best to fill us.

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<v Speaker 1>Did my grandfather actually solve this thing? I don't know.

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<v Speaker 1>I don't know yet. I'm hoping those those pictures help

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<v Speaker 1>answer the question from Vox Popula and the Los Angeles Harold,

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<v Speaker 1>this is the Angel of Vine. My old hoard ain't

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<v Speaker 1>getting in no ground because my angels. As it turns out,

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<v Speaker 1>if you're in the Los Angeles area, you can take

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<v Speaker 1>a guided tour of Leonard Shaw's famed nine acre bell

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<v Speaker 1>Air estate. I know this because I recently went on

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<v Speaker 1>the tour. In his will, Shaw left his estate to

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<v Speaker 1>the Historical Society so that every inch of the house,

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<v Speaker 1>including the grounds, would be preserved exactly as he left them.

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<v Speaker 1>It wasn't something I would have done before we embarked

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<v Speaker 1>on this little journey together. By the way, not because

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<v Speaker 1>I don't find Hollywood history interesting. I do, um, but

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<v Speaker 1>because Leonard Shaw was never relevant to anything I've been

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<v Speaker 1>working on. And more candidly, why would I care to

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<v Speaker 1>see the surroundings of an uber, wealthy tyrant known for

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<v Speaker 1>decades of bullying and abuse? So then why did I go?

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<v Speaker 1>I went because the next tape through every idiom I

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<v Speaker 1>could imagine at me, it all starts to go off

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<v Speaker 1>the rails, Things begin to unravel, and Hank flies off

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<v Speaker 1>the handle. Are you ready? Because once it derails, it

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<v Speaker 1>doesn't get back on track. Hank decided to break in

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<v Speaker 1>and go on his own private tour of Shaw's estate. Yeah, yeah,

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<v Speaker 1>he broke in, And when I realized where he was.

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<v Speaker 1>I thought, what the hell is he doing? This guy

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<v Speaker 1>was a cop. He's got to be smarter than this.

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<v Speaker 1>I understand that whole desperate times call for desperate measures impulse,

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<v Speaker 1>but trespassing couldn't have been Hanks on the option. It

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<v Speaker 1>couldn't have been right. But either way, my speculation is

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<v Speaker 1>irrelevant because it was the option he chose. As I listened,

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<v Speaker 1>I had no idea where he was in regards to

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<v Speaker 1>the house. I didn't know how to place him on

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<v Speaker 1>the grounds. So of course I turned to the internet

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<v Speaker 1>for maybe an aerial shot of the property to get

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<v Speaker 1>an idea, and I did find a photo, and it

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<v Speaker 1>is enormous, And that's when I also found the tour info.

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<v Speaker 1>The day that I went, I brought the recording with

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<v Speaker 1>me to see if I could retrace hank steps and

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<v Speaker 1>figure out why it took him twenty two minutes to

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<v Speaker 1>get to the poolhouse. I will try to guide you

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<v Speaker 1>as best as I can. When you first enter the

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<v Speaker 1>front gate, there's a glaring security floor. That is if

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<v Speaker 1>you're looking for it, like I was. The generator that

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<v Speaker 1>powers the driveway lights is directly inside the outer wall.

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<v Speaker 1>It creates a halfway point in what would be potentially

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<v Speaker 1>leg breaking jump. The driveway is at least fifty yards

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<v Speaker 1>from the gate to the turnaround at the entrance to

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<v Speaker 1>the main house. The front doors are large and heavy,

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<v Speaker 1>so not a lock that could be picked silently. Oh

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<v Speaker 1>I don't know why I thought it would be that easy.

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<v Speaker 1>To the left of the house, it's a wrought iron

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<v Speaker 1>gate onto the grounds, but it's surrounded by topiaries. No

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<v Speaker 1>one would be able to get over or through without

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<v Speaker 1>a chainsaw or a welding torch, two tools seldom associated

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<v Speaker 1>with stealth. To the right is a four car garage

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<v Speaker 1>with a side door that connects to the mud room

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<v Speaker 1>of the house. There are only two ways out of

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<v Speaker 1>the house and onto the back of the property. One

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<v Speaker 1>is through the double doors at the very end of

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<v Speaker 1>the dining room, which lets out directly underneath the balcony

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<v Speaker 1>of Shaw's master suite. It's a stone patio that leads

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<v Speaker 1>to a great lawn where there is absolute lean no cover.

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<v Speaker 1>The only other possibility is through the kitchen, which lets

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<v Speaker 1>out on the side of the house beside a row

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<v Speaker 1>of trees where the trash bins would have been kept.

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<v Speaker 1>Ship The path from the kitchen winds around the side

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<v Speaker 1>and under a trellis to the rose garden. From the

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<v Speaker 1>garden you have two choices, left to the tennis courts plural,

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<v Speaker 1>or right down a winding stone staircase to a landing

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<v Speaker 1>that serves as a lounge. From here you have the

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<v Speaker 1>vantage point of both the courts to the left or

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<v Speaker 1>to the right. At the bottom of another staircase, the pool.

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<v Speaker 1>The amount of space not to mention the grandiosity of luxury.

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<v Speaker 1>When I surveyed from the landing, I admit I admit

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<v Speaker 1>to thinking, what an incredible house to host a party,

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<v Speaker 1>if not for its host, that is, the pool is huge,

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<v Speaker 1>country club huge. The left side is lined with yellow

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<v Speaker 1>and white striped deck chairs and umbrellas, like the ones

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<v Speaker 1>at the Parker in Palm Springs. The right side has

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<v Speaker 1>a twelve ft bar next to a hot tub and

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<v Speaker 1>a cabana with two separate shower rooms. The cabana is

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<v Speaker 1>not the poolhouse. The cabana is just the cabana. At

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<v Speaker 1>the far end of the pool, there is a path

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<v Speaker 1>which leads through a set of spruce trees to an

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<v Speaker 1>impressive single story structure with a concrete span. It looks

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<v Speaker 1>like a Frank Lloyd wrighte cold, imposing, cryptic, almost as

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<v Speaker 1>if it overlooks the house instead of the other way around.

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<v Speaker 1>This is the poolhouse. I wanted to peek inside so

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<v Speaker 1>much more so than anything else on the tour, and

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<v Speaker 1>for obvious reasons that you're about to hear. But we

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<v Speaker 1>didn't have access to anything beyond the pool deck, so

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<v Speaker 1>I was left, in my imagination the entire pool area,

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<v Speaker 1>including the path to the pool house. The entire area

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<v Speaker 1>is out in the open, which Hank seemed to forget momentarily. Jesus,

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<v Speaker 1>the heating go alone. I don't know if you wanted

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<v Speaker 1>to be seen. I don't know if he cared. I

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<v Speaker 1>don't know what he was thinking. From this point forward,

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<v Speaker 1>I was flying just as blind as your and I'm

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<v Speaker 1>in st bitch. Ye never did give me that second scotch.

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<v Speaker 1>M hm ah h Now what are you writing? What?

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<v Speaker 1>I don't mh the hell? Yeah? No. Drip a long

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<v Speaker 1>cord around the back of the neck, between the thighs

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<v Speaker 1>up to the wrist, who as tight as you can

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<v Speaker 1>on each wrist separately. Where the captive struggles, the tighter

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<v Speaker 1>it will become. Did they do to you? Yeah? How

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<v Speaker 1>many were there? Why were you in here. What did

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<v Speaker 1>they do to you? Jesus ship so bitch? Where the

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<v Speaker 1>hell at lights? Wouldn't gods what no, no, panto Barlaton,

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<v Speaker 1>lying sun, I'm gonna oh my god, oh god, I

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<v Speaker 1>get it. I gotta get it. M m. The drive

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<v Speaker 1>is an erratic twenty minutes where Hank doesn't say much,

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<v Speaker 1>but when he does, he sounds like he's completely lost

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<v Speaker 1>his mind. He repeats, I don't understand. He beats on

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<v Speaker 1>the steering wheel and yells out the window as he

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<v Speaker 1>speeds past the only other car on the road at

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<v Speaker 1>that hour. I think he's lucky he didn't get shot

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<v Speaker 1>when he arrived at that house. Come on, goddamn it,

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<v Speaker 1>the officer and I have a loaded weapon. Back away

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<v Speaker 1>to the door, Open away from the door and open up. Hey, hey,

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<v Speaker 1>it's the middle of goddamn knight. Open up. Aren't you

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<v Speaker 1>out of your mind? What are you doing? I was

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<v Speaker 1>ready to shoot your man. It's Hank, Dotty, It's just Hank.

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<v Speaker 1>Hank to death. Sorry, Doty, Sorry, I'm I'm you don't

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<v Speaker 1>look so good, Hank, Now, sit down before you fall down?

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<v Speaker 1>What's got you so bothered? Ah? Yes, part of the talk.

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<v Speaker 1>I get it. I don't want you to have to

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<v Speaker 1>hear the starting. You don't have to explain yourself to me, Hank.

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<v Speaker 1>How about I put on some coffee. You don't have

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<v Speaker 1>to do that, no bother at all. You have that

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<v Speaker 1>not going anywhere anytime soon. Look about you, Hank. I'll

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<v Speaker 1>go put the coffee on and then I'm going back

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<v Speaker 1>to bed. You fellas are on your own after that.

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<v Speaker 1>Thank you, honey, Good night, gentlemen? Where did you come from?

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<v Speaker 1>Should I forget to stop? The tape doesn't make any sense?

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<v Speaker 1>You don't have to understand. What good is this to you?

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<v Speaker 1>My brain's not working right. I feel scattered and I

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<v Speaker 1>don't want to forget anything. Just just listen to me, okay,

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<v Speaker 1>hear me out call whatever the hell you want, but

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<v Speaker 1>I need to record it, so I will forget it. Hank.

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<v Speaker 1>Please just just forget we're recording, and just just ask

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<v Speaker 1>me questions. Please? All right? All right? No sense? Ed?

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<v Speaker 1>I said, all right, yeah, well you tonight? Was it?

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<v Speaker 1>Leonard Shaw as a state and bell Air? Why were

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<v Speaker 1>you there? I think that he and his doctor ad

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<v Speaker 1>La Harrison are responsible for the disappearance and murder of

0:16:30.840 --> 0:16:34.120
<v Speaker 1>Marley and Murray Evans. Ad La Harrison was already clear.

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<v Speaker 1>Can everyone just stop saying that already? For Christ's sakes?

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<v Speaker 1>I know it was clear. I know that. Then what

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<v Speaker 1>makes you think otherwise? The poolhouse? What poolhouse? What are

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<v Speaker 1>you talking about? I found what? What did you fine? Hank?

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<v Speaker 1>I don't know what they did in there? It looked

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<v Speaker 1>like it's simple enough when you walk in. There's a

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<v Speaker 1>couple of couches at bar, pool tables as a code

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<v Speaker 1>rack that I had a drink. And then what I

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<v Speaker 1>opened the closet next to the code rack and there

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<v Speaker 1>were I don't know, what do you call him, like

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<v Speaker 1>a you know that that the feather neck bows that

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<v Speaker 1>there were There were feather bows bow And I got

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<v Speaker 1>that feeling, right, okay that I got that feeling from

0:17:18.920 --> 0:17:23.359
<v Speaker 1>the bowls. No, no, not from the bows, but because

0:17:23.359 --> 0:17:26.600
<v Speaker 1>they didn't it was something wasn't right. I don't know,

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<v Speaker 1>I I got that feeling. Nothing made sense all of

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<v Speaker 1>a sudden, and I didn't wanted to make sense. I

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<v Speaker 1>took out another I took another snapshot. How many pictures

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<v Speaker 1>did you take? I got as much as I could

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<v Speaker 1>with my flashlight. Hey, did Sean know you were in there?

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<v Speaker 1>Just so listen so there's a loan hole away leading

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<v Speaker 1>from the club room. There's doors on the other side

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<v Speaker 1>of this hallway, rooms all the way to the door

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<v Speaker 1>at the other end, but they were all closed, and

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<v Speaker 1>I thought, I thought, why are they all closed? It

0:17:56.680 --> 0:18:02.520
<v Speaker 1>wasn't right, so I opened the first door on the left. Look,

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<v Speaker 1>I've never seen this stuff before. I'm not following you, Hank.

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<v Speaker 1>There are hooks on the wall, and there were masks,

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<v Speaker 1>and there's there's ropes and chains for what they They

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<v Speaker 1>tied him to a board. There were scratch marks, and

0:18:15.600 --> 0:18:19.320
<v Speaker 1>there was this this the garden hose with a trojan

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<v Speaker 1>tied around. When I and they tied him to a board,

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<v Speaker 1>it sounds like they're into kink, Hank, screwkink. I don't

0:18:27.840 --> 0:18:30.399
<v Speaker 1>care if they're kinky. That played times none of my business.

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<v Speaker 1>But it doesn't stop there. And this was only the

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<v Speaker 1>first room. Now, the next door was to a closet

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<v Speaker 1>and it was locked. Why so I Jimmy, did it open.

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<v Speaker 1>You can't be doing that at Priece. I don't have

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<v Speaker 1>another tape on me, and and this one's almost done.

0:18:45.400 --> 0:18:46.879
<v Speaker 1>I Jimmy, did it open. And there was a there

0:18:46.920 --> 0:18:49.520
<v Speaker 1>was a camera, a camera on a tripod pointing through

0:18:49.520 --> 0:18:51.439
<v Speaker 1>a cutout in the wall. But on the other side,

0:18:51.800 --> 0:18:56.560
<v Speaker 1>it's not a cutout, it's a mirror. First started show

0:18:56.600 --> 0:18:58.920
<v Speaker 1>I was making pornography, and I don't think the girls

0:18:59.040 --> 0:19:01.919
<v Speaker 1>knew it. They didn't know they were being recorded at

0:19:02.640 --> 0:19:07.480
<v Speaker 1>there's all kind of costumes and fancy, unmentionable. The layout

0:19:07.480 --> 0:19:10.440
<v Speaker 1>of this room was different, like like a movie set.

0:19:10.480 --> 0:19:14.480
<v Speaker 1>There's furniture that there was more equipment in there. It's

0:19:14.480 --> 0:19:16.960
<v Speaker 1>not a bat it's it's like a like a like

0:19:17.000 --> 0:19:19.919
<v Speaker 1>a bat handle with with a flat end. But but

0:19:19.960 --> 0:19:23.119
<v Speaker 1>there were rubber tubes and syringes and photographs and naked

0:19:23.119 --> 0:19:26.440
<v Speaker 1>women bounding gag. There's one with an audience people watch

0:19:26.520 --> 0:19:28.439
<v Speaker 1>whatever was done to her. It's the privacy of his

0:19:28.480 --> 0:19:30.879
<v Speaker 1>own home, Hank. We may not agree with it, but

0:19:31.000 --> 0:19:34.760
<v Speaker 1>it's his whole. There was a projector and I watched

0:19:35.440 --> 0:19:36.960
<v Speaker 1>I turned it on and there was a woman. I

0:19:37.240 --> 0:19:40.280
<v Speaker 1>don't know who she was, but she wasn't conscious, and

0:19:40.320 --> 0:19:44.000
<v Speaker 1>there were she wasn't conscious, she didn't know what they

0:19:44.000 --> 0:19:47.399
<v Speaker 1>were doing. And on the wall there were instructions. What

0:19:47.600 --> 0:19:53.320
<v Speaker 1>kind of instructions so that they can't escape, they can't

0:19:53.440 --> 0:19:55.920
<v Speaker 1>escape out of time and they must have taken maneuver,

0:19:56.480 --> 0:19:58.120
<v Speaker 1>and then they must have taken him into that room

0:19:58.119 --> 0:19:59.960
<v Speaker 1>at the end of the hall. When the party ended,

0:20:00.000 --> 0:20:02.200
<v Speaker 1>when the watches and the ones participating, when they left,

0:20:02.320 --> 0:20:03.919
<v Speaker 1>that's when they took her into that room at the

0:20:03.960 --> 0:20:07.639
<v Speaker 1>end of the hall. He took her into that room.

0:20:07.640 --> 0:20:14.240
<v Speaker 1>Who Adler, That's that's his prescription pad. It his name's

0:20:14.359 --> 0:20:16.800
<v Speaker 1>right there on the top. It's his room. He's the doctor.

0:20:16.880 --> 0:20:18.879
<v Speaker 1>He took her into that room. Maybe with Shaw, I

0:20:18.880 --> 0:20:22.080
<v Speaker 1>don't know, but but definitely Adler. What was in the

0:20:22.200 --> 0:20:28.520
<v Speaker 1>room the door, the door like like going into a

0:20:28.600 --> 0:20:32.359
<v Speaker 1>meat locker. The temperature is low. The first thing I

0:20:32.400 --> 0:20:34.040
<v Speaker 1>noticed was how cold it was to to the to

0:20:34.080 --> 0:20:38.199
<v Speaker 1>the bone and pitch black. It's an operating room. They

0:20:38.280 --> 0:20:43.520
<v Speaker 1>set up a goddamn operating room. Goss bandages, turniquets, hypodermic syringes,

0:20:43.920 --> 0:20:48.560
<v Speaker 1>surgical supplies, and there was pent to barbatall it sucker barbatall.

0:20:50.400 --> 0:20:54.040
<v Speaker 1>These were the drugs that were in marline. These were

0:20:54.040 --> 0:20:57.440
<v Speaker 1>the drugs that were in Marline at bottles of him.

0:20:58.240 --> 0:21:00.399
<v Speaker 1>They went to kept her in there. They must have

0:21:00.760 --> 0:21:03.520
<v Speaker 1>There's a bed, a metal bed, and there were restraints

0:21:03.560 --> 0:21:05.760
<v Speaker 1>from a hospital warden on the other side of that room,

0:21:05.960 --> 0:21:08.760
<v Speaker 1>there's a metal table with one of those those operating

0:21:08.800 --> 0:21:14.240
<v Speaker 1>room lights. There's so many machines, machines, but two of

0:21:14.280 --> 0:21:18.159
<v Speaker 1>them machines. What kind of machines had God, there's so

0:21:18.240 --> 0:21:23.600
<v Speaker 1>much blood. What sheets and rags soaked in blood? It

0:21:23.720 --> 0:21:26.800
<v Speaker 1>wasn't just Marlene Ed. They didn't stop at Marlene. D

0:21:27.040 --> 0:21:29.600
<v Speaker 1>Adler's killing women in that house. He killed her in

0:21:29.640 --> 0:21:32.080
<v Speaker 1>that house, and he drained her body of its blood

0:21:32.160 --> 0:21:34.840
<v Speaker 1>on the table in that room. You can't. And I

0:21:35.000 --> 0:21:38.679
<v Speaker 1>was there, calmed down. He drained her, and then he

0:21:38.840 --> 0:21:43.080
<v Speaker 1>cleaned her, and then he cut her up in that please,

0:21:43.520 --> 0:21:49.080
<v Speaker 1>Doddy Adler Harrison killed Marlene Marie Evans in that room.

0:21:49.119 --> 0:21:51.520
<v Speaker 1>God damn it. And they bastard let her. Shaw helped

0:21:51.600 --> 0:21:55.360
<v Speaker 1>him cover it all up. He covered it all up.

0:21:58.600 --> 0:22:01.160
<v Speaker 1>If Hank was right, then how many potential victims are

0:22:01.160 --> 0:22:05.040
<v Speaker 1>we talking about here? How many more women before and

0:22:05.119 --> 0:22:09.760
<v Speaker 1>after Marlene? He was smart to turn to it. With

0:22:09.960 --> 0:22:11.480
<v Speaker 1>Ed and the l a p. D. Involved. It would

0:22:11.520 --> 0:22:13.399
<v Speaker 1>be much easier with their help. It would only be

0:22:13.440 --> 0:22:16.439
<v Speaker 1>a matter of time before hand could close the case uptight,

0:22:16.800 --> 0:22:19.240
<v Speaker 1>collect the rest of his money, and return to some

0:22:19.359 --> 0:22:22.919
<v Speaker 1>semblance of a normal life, everything wrapped up in a

0:22:23.000 --> 0:22:28.080
<v Speaker 1>nice little bow. But let's be honest, nothing is ever

0:22:28.200 --> 0:22:36.240
<v Speaker 1>that easy. The Angel of Vine is a podcast produced

0:22:36.240 --> 0:22:39.439
<v Speaker 1>by Vox Popula on behalf of the Los Angeles Harold.

0:22:40.560 --> 0:22:42.840
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<v Speaker 1>Premium free. The Angel of Vine is directed by e

0:23:16.359 --> 0:23:20.119
<v Speaker 1>Ryan Martz, written by Oliver Vacare, story about e. Ryan Marts,

0:23:20.200 --> 0:23:24.000
<v Speaker 1>Jason Salwalt and Oliver Vacare. Sound designed by Joel Robbie

0:23:24.000 --> 0:23:27.960
<v Speaker 1>and Andrew Vernon. Produced by Vox Popular in association with

0:23:28.000 --> 0:23:33.119
<v Speaker 1>Forever Dog Podcast Network. This episode's performances by Joe Manganello,

0:23:33.480 --> 0:23:39.440
<v Speaker 1>Camilla Luddington, Mike Coulter Cree Summer and Oliver Vacare. Angelis

0:23:39.560 --> 0:23:42.960
<v Speaker 1>is performed by Desi Dennis Dylan piano and arrangement by

0:23:43.040 --> 0:23:46.840
<v Speaker 1>James Harper, composed by Matt Dennis, Lyrics by Earl Brent

0:23:47.840 --> 0:23:51.960
<v Speaker 1>from downtown Los Angeles. This has been the Angel le Vine.

0:23:52.440 --> 0:24:01.840
<v Speaker 1>You'll hear more from us soon. Oh mm is my

0:24:02.240 --> 0:24:22.320
<v Speaker 1>a Joe? I excuse me while I did suppia