WEBVTT - La Belle Epoque

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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. At the close of our first episode,

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<v Speaker 1>Hank Briggs was visited by an anonymous man. This man

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<v Speaker 1>wanted to hire Hank to unearth something the detectives of

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<v Speaker 1>the l a p d Had failed to determine for

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<v Speaker 1>over a year. Who killed the Angel of Vine. On

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<v Speaker 1>this episode, we will get to know much more about

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<v Speaker 1>this not so mysterious individual and be able to answer

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<v Speaker 1>at least part of the question what made Hank Briggs

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<v Speaker 1>the guy for the job from Vox Populi and the

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<v Speaker 1>Los Angeles Harold, this is the Angel of Vine. My

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<v Speaker 1>old heart ain't gain and no ground because my angela easy.

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<v Speaker 1>I said, just a second, the Dame of Rush I'm

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<v Speaker 1>in here. I'm not going anywhere. Yeah, how can I

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<v Speaker 1>help you, Hank Briege. That's what it says in the door.

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<v Speaker 1>May I sit? That's what it's there for. You come.

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<v Speaker 1>Highly recommended, Mr Briggs. Urban was especially pleased with your discretion. Everyone.

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<v Speaker 1>You don't strike me as a Hollywood type. I'd like

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<v Speaker 1>you to help me find someone how. You're gonna have

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<v Speaker 1>to be a little bit more specific, Mr Briggs. I

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<v Speaker 1>want you to help me find whoever killed Marley Marie Evans.

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<v Speaker 1>Who are you? My name is Samuel Tench, Mr Briggs.

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<v Speaker 1>You're gonna make your work for aren't you? Okay? Mr Tench? Samuel?

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<v Speaker 1>What do you do? Where are you from? What's your

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<v Speaker 1>favorite drink? Why me? Which of the questions would you

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<v Speaker 1>like answered first? Mr? Briggs? Well, I don't know answer

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<v Speaker 1>them in any or You're like, look, I got things

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<v Speaker 1>to do. Forgive me if I don't have time for

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<v Speaker 1>twenty questions. My apologies, Mr Briggs. I didn't mean to

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<v Speaker 1>give you the impression that I was here merely to

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<v Speaker 1>waste your time, ah as state did. My name is

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<v Speaker 1>Samuel Tinch. I am an artist. You may know some

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<v Speaker 1>of my work, you may not. That is of no

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<v Speaker 1>concern to me. I am from many places, but I

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<v Speaker 1>live in Los Angeles. I am partial to a dry Gibson,

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<v Speaker 1>but if it would make you feel more comfortable, I'm

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<v Speaker 1>also quite fond of a tumbler of Scotch neat with

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<v Speaker 1>water back. I was kidding about the drink. No, you weren't.

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<v Speaker 1>Why me? As I mentioned, you were recommended by Irwin?

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<v Speaker 1>And how do you two know each other? Do you

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<v Speaker 1>interrogate all of your prospective clients, Mr Briggs, or have

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<v Speaker 1>I on something to offend you. No offense. It's just

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<v Speaker 1>not often that someone comes through that door asking me

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<v Speaker 1>for the impossible. Don't sell yourself so short, Mr Briggs.

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<v Speaker 1>Irwin has commissioned a few paintings from me through the years.

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<v Speaker 1>We ran into each other at the Fountain Coffee Room

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<v Speaker 1>and I said I was in the market for a

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<v Speaker 1>private investigator. He said, you'd be able to assist me murder.

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<v Speaker 1>I didn't divulge what the purposes of my hiring you

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<v Speaker 1>would be for, sir Mr Tench, but I still don't

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<v Speaker 1>understand how I can be of help to you. Mr Briggs.

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<v Speaker 1>This may surprise you, but in what little I know

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<v Speaker 1>of your background, you strike me in very much the

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<v Speaker 1>same way as Pablo Picasso. That's a no one. You

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<v Speaker 1>were a police officer in the same way that Picasso

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<v Speaker 1>began as a formerly trained artist, but at the point

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<v Speaker 1>where instinct and the creative mind took over his genius emerged.

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<v Speaker 1>He began to experiment with different theories and ideas, influences

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<v Speaker 1>and techniques. It's safe to say that through his artistic

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<v Speaker 1>evaloue from Cubis too neo classical to surrealist. His instincts

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<v Speaker 1>surely must have evolved as well. So you think I'm

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<v Speaker 1>a genius. I think you have the same capacity for creativity,

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<v Speaker 1>Mr Briggs, the same instincts. I'm sure I don't need

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<v Speaker 1>to tell you all of this. No, Mr Briggs, My

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<v Speaker 1>point is that the rules haven't managed to obtain anything new.

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<v Speaker 1>You were trained to know how to play by the rules,

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<v Speaker 1>but you also know how to break them, how to

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<v Speaker 1>read between the lines? Has the same fact, Mr Briggs.

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<v Speaker 1>How did you discover that the man Irwin Fogelman's wife

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<v Speaker 1>was having an affair with was his financial advisor? I

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<v Speaker 1>thought you don't divulge your information. I don't, but I

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<v Speaker 1>have no control over what comes out of other people's mouths.

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<v Speaker 1>Did your discovery of the identity of her lover come

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<v Speaker 1>from good old fashioned police work? Now who's doing the interrogating.

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<v Speaker 1>I'm merely making my point. I think that your expectation

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<v Speaker 1>of what I can obtain maybe a tad unrealistic. I

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<v Speaker 1>don't think so. A majority of the inhabitants of the

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<v Speaker 1>city don't talk to the police, Mr Briggs. They hide

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<v Speaker 1>from them. However, someone has yourself who has the techniques

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<v Speaker 1>and the instincts required to gather information poses absolutely zero

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<v Speaker 1>threat too, said inhabitants, would you mind not at all? Right?

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<v Speaker 1>I don't have any war make it, do you? See?

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<v Speaker 1>Mr Briggs? You can ask questions that a member of

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<v Speaker 1>the Los Angeles Police Department cannot ask. You can ask

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<v Speaker 1>very ugly questions to very ugly people, and in very

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<v Speaker 1>ugly ways, without breaking any laws, of course. And my

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<v Speaker 1>guess is that without a badge or a grudge or

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<v Speaker 1>a uniform, these ugly people will bestow upon you answers

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<v Speaker 1>containing viable, helpful, and hopefully useful information. I'm certainly not

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<v Speaker 1>hiring you to bring anyone to justice. What do you mean?

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<v Speaker 1>Nothing more than chasing information? So wait, you want me

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<v Speaker 1>to find out who killed the Angel of Vine? And

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<v Speaker 1>then just white say hello, why did you do it? No,

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<v Speaker 1>Mr Briggs, I would like it very much of the

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<v Speaker 1>person who killed Marlene was caught, But as you are

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<v Speaker 1>no longer an officer of the law, I'm merely stating

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<v Speaker 1>that person won't be you. So you see, my expectations

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<v Speaker 1>are quite grounded in reality. After all, what's this? That

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<v Speaker 1>is my offer per week for your services? This is

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<v Speaker 1>a week? Yes, that's a that's a lot of money.

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<v Speaker 1>It is. If you prefer, I can pay you in

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<v Speaker 1>the amount of ten tho dollars up front. Either way,

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<v Speaker 1>you will receive an additional ten thousand when your work

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<v Speaker 1>is done, a thousand dollars when you solve the case. Yes, Jesus,

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<v Speaker 1>that's a lot of money. Yes, m hm. Weekly is fine.

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<v Speaker 1>UM an artist U a painting canvas. Mr Briggs ship

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<v Speaker 1>to pink canvas. The conversation goes on from there and

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<v Speaker 1>we'll come back to it, but I want to stop

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<v Speaker 1>here for a couple of minutes to talk about Samuel Tench.

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<v Speaker 1>First off, Yes, that is contemporary artist Samuel Tench. You

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<v Speaker 1>may not recognize the name, but you would definitely recognize

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<v Speaker 1>a painting or two of his. Amidst Hank's things, Beth

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<v Speaker 1>found the very piece of paper that we heard Tench

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<v Speaker 1>hand to Hank. It's a piece of light yellow stationary

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<v Speaker 1>with the powder blue letter head st on. It is

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<v Speaker 1>written Hank Briggs Detective Agency, fifty p W that's per

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<v Speaker 1>week for where services rendered, and at the bottom is

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<v Speaker 1>an actual Samuel Tench signature. A little background for those

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<v Speaker 1>who may be unfamiliar. Samuel Tench was born in Paris

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<v Speaker 1>into quite an artistic family. His mother, Liliana, was a

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<v Speaker 1>very well known dancer and stage performer. She toured throughout Europe,

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<v Speaker 1>which is how she met Samuel's father, Andre, a theater

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<v Speaker 1>owner in the Ninth Arrondissement during the height of Label epoch.

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<v Speaker 1>The First World War began a few years after Samuel

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<v Speaker 1>was born, and by the time Parisians adjusted to the

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<v Speaker 1>German bombardment, Andrea had reopened the theater and Liliana was

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<v Speaker 1>once again performing nightly. This left Samuel in the custody

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<v Speaker 1>of a menagerie of caregivers, as he refers to it

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<v Speaker 1>in his autobiography, one dancer in particular by the name

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<v Speaker 1>of Genevieve, whom he regards quite fondly as gifting him

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<v Speaker 1>with the very first materials with which to express himself.

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<v Speaker 1>By the age of thirteen, it was evident that he

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<v Speaker 1>had an incredible gift. At the age of seventeen, with

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<v Speaker 1>the support of his parents and a little promotion, of course,

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<v Speaker 1>Samuel Tench held his very first exhibition in the neighborhood

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<v Speaker 1>of Montparnasse, where every single one of his painting sold

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<v Speaker 1>without going into the entirety of Tench's backstory, it is

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<v Speaker 1>clear that he had one eye on his work and

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<v Speaker 1>the other eye on the rise of Nazism in Germany.

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<v Speaker 1>Having already lived through one war, he wasn't eager to

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<v Speaker 1>wait out the possibility of a second. In the spring

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<v Speaker 1>before Samuel left Paris, he narrowly survived a fire that

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<v Speaker 1>consumed half of his parents theater. Genevieve was one of

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<v Speaker 1>twelve people who died in the flames. His final painting,

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<v Speaker 1>on European Soil depicts a tattered pair of dark stockings

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<v Speaker 1>under the scorched brim of a top hat. The silhouette

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<v Speaker 1>in the background is presumed to be Tench as he

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<v Speaker 1>exits through the doorway. The pain ing is appropriately named

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<v Speaker 1>The Agony. Flash forward to Los Angeles, where Tench found

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<v Speaker 1>himself drawn to a community of artists such as Philip

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<v Speaker 1>Gustin and Reuben Kadish. As a result, his early work

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<v Speaker 1>in the u s is very politically charged and almost

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<v Speaker 1>industrial in nature. Around the time Gustin moved to New York,

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<v Speaker 1>tenches paintings became more and more colorful, large canvases, explosive

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<v Speaker 1>with elaborate brushstrokes, but most notable are his abstract portraitures

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<v Speaker 1>in watercolor and acrylic. Those are closer to what you

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<v Speaker 1>would expect. If I showed you one of those, you'd say, oh, yeah, yeah,

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<v Speaker 1>I've seen that painting. So that is who Samuel Tench was.

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<v Speaker 1>But as far as we're concerned, who he is now

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<v Speaker 1>is Hank Briggs employer. Just out of curiosity, why this case,

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<v Speaker 1>Mr Briggs? Have you ever been to the Plaza Arts

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<v Speaker 1>Center and A right, yeah, it's just uff from Little

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<v Speaker 1>Joe's on College Street. Your baseball fan, I gather you're

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<v Speaker 1>not much of a baseball fan. I no, it doesn't matter, sorry,

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<v Speaker 1>Plas Art Center. No, I've never been. A Mexican muralist

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<v Speaker 1>by the name of David Alfaro Ciceros created a fresco

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<v Speaker 1>entitled America Tropical or La America Tropical. I've never seen

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<v Speaker 1>it and I'm afraid you won't. Sorry. Sigeros was hired

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<v Speaker 1>to paint someone else's idea of a docile and romantic

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<v Speaker 1>fictional Mexico that Los Angeles would be comfortable with. What

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<v Speaker 1>they wanted was an illusion. What he gave them was

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<v Speaker 1>brazen honesty. The crucifixion of an Indian peon being attacked

0:11:44.080 --> 0:11:49.520
<v Speaker 1>by an American Eagle. It sparked outrage, and so they

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<v Speaker 1>white washed the wall to create an illusion that honesty

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<v Speaker 1>can be easily forgotten, not frolling. I don't want Marlene

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<v Speaker 1>Marie Evans to be forgot, Mr Briggs. She was an

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<v Speaker 1>innocent and what honesty she found so brutal in its

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<v Speaker 1>act that she was made famous only to be forgotten.

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<v Speaker 1>Every story should have an ending, Mr Briggs. Don't you

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<v Speaker 1>think I'm glad you understand? Where will you begin to look?

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<v Speaker 1>Most likely wherever the investigation came to Hall? Do you

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<v Speaker 1>still have access to that information? Will is Montgomery Palmer

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<v Speaker 1>going to be a problem? Shouldn't be good? I don't

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<v Speaker 1>need to know any more than that. Good because I

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<v Speaker 1>wasn't going to tell you any more than that. Well,

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<v Speaker 1>Mr Briggs, I shall take my leave of you. It

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<v Speaker 1>has been a pleasure, it sure has. Thank you for

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<v Speaker 1>taking all this responsibility. We will be in contact, sure

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<v Speaker 1>will h Holy shit, Dotty attack. Can you do me

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<v Speaker 1>a favor? Yeah? Can you have ed call me as

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<v Speaker 1>soon as he gets in. Yeah, now, everything's fine. Just

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<v Speaker 1>I just need to run something bybe she's good. Yeah,

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<v Speaker 1>she's she's good. Yeah, Yeah, I do that. Yeah, I'm

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<v Speaker 1>sure she'd love to hear from me. Okay, all right,

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<v Speaker 1>thanks Dotty. There is only one reason for Samuel Tends

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<v Speaker 1>to have mentioned the name Montgomery Palmer, or I should

0:13:56.679 --> 0:14:01.520
<v Speaker 1>say Captain Montgomery Palmer. He was worried, even if you

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<v Speaker 1>can't hear it in his voice, which you can't for

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<v Speaker 1>the briefest of moments, He's worried that, from an investigative standpoint,

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<v Speaker 1>hanks strained relationship with the l a p D Might

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<v Speaker 1>render him impotent. Why Montgomery Palmer, Why not any other

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<v Speaker 1>member of the force. Well, at that time, Montgomery Palmer

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<v Speaker 1>was the face of the Angel Levine investigation. He protected

0:14:22.480 --> 0:14:26.080
<v Speaker 1>information at all costs. If there were any obvious setbacks,

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<v Speaker 1>he was more than happy to blame them on the

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<v Speaker 1>interference of the press and their lack of discretion. So

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<v Speaker 1>as far as any inside information pretending to the case,

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<v Speaker 1>Montgomery sure as hell wasn't going to approve of Hank's involvement.

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<v Speaker 1>Side note. Through all of this digging, the one difficulty

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<v Speaker 1>I've had with hanks recordings is that they're not dated.

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<v Speaker 1>So while I have figured out a general timeline, the

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<v Speaker 1>following conversation with Ed could have been days even we

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<v Speaker 1>after tension. Just gives me that minute, not I promise

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<v Speaker 1>you won't take a minute when it gets cold. You

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<v Speaker 1>can hate it up yourself, even I won't keep him wrong.

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<v Speaker 1>What's your guy for me? Pointner? But that's it. Tell

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<v Speaker 1>me you're not recording this. Come on And that's where

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<v Speaker 1>the recording cuts out, But a few seconds later it

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<v Speaker 1>starts up again. There's no indication of how much time

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<v Speaker 1>passes or how much of the conversation has missed. All

0:15:44.760 --> 0:15:48.160
<v Speaker 1>I know is that Hank didn't tell Addie. That's the gist.

0:15:48.960 --> 0:15:51.080
<v Speaker 1>How can nobody know where she was at night? Not

0:15:51.240 --> 0:15:54.840
<v Speaker 1>one person who's interviewed you you see for yourself. How

0:15:54.880 --> 0:15:57.120
<v Speaker 1>can this be? All of it? It's so thin. Everything

0:15:57.160 --> 0:16:01.200
<v Speaker 1>else is all bogus leads and confessions. Well, can you

0:16:01.200 --> 0:16:03.760
<v Speaker 1>give me any of those, Hank? None of them checked out,

0:16:03.920 --> 0:16:07.600
<v Speaker 1>any co workers, the receptionist, nursing staff, eating security guard.

0:16:07.680 --> 0:16:11.000
<v Speaker 1>They all messition that she mainly kept to herself, and

0:16:11.000 --> 0:16:13.560
<v Speaker 1>that she was seen once or twice with Dr Harrison.

0:16:13.920 --> 0:16:18.040
<v Speaker 1>And that's all in this one. He was cleared, Hank.

0:16:18.880 --> 0:16:21.480
<v Speaker 1>That's a damn shame too. The only viable suspect and

0:16:21.560 --> 0:16:26.560
<v Speaker 1>his our bite checks out. Still I gotta go through

0:16:26.600 --> 0:16:30.160
<v Speaker 1>all of it. It's in there with the Perkins Report.

0:16:30.720 --> 0:16:34.280
<v Speaker 1>Don't you have an office or rough family? No boyfriends,

0:16:34.320 --> 0:16:38.240
<v Speaker 1>no ex boyfriends, all back in Idaho. I told you, man,

0:16:38.360 --> 0:16:41.800
<v Speaker 1>there's no one new. You're gonna be chasing your tail

0:16:41.880 --> 0:16:45.200
<v Speaker 1>man telling you at least I'm getting paid for him,

0:16:45.240 --> 0:16:47.320
<v Speaker 1>and that man is either crazy or has a very

0:16:47.360 --> 0:16:49.800
<v Speaker 1>interesting sense of humor. My money's on a little bit

0:16:49.800 --> 0:16:55.360
<v Speaker 1>of both. He ed, Yeah, I problems. I'll get these

0:16:55.400 --> 0:16:57.240
<v Speaker 1>back to you just as soon as I'm finished with him.

0:16:57.480 --> 0:17:03.240
<v Speaker 1>No rush partner, nobody's gonna miss him. Hey, what about

0:17:03.280 --> 0:17:14.040
<v Speaker 1>this roommate of hers? Gladys prints mag Pritts Prits Pritts.

0:17:15.400 --> 0:17:19.640
<v Speaker 1>Gladys Pritt said she didn't know much, Marlene, never lift

0:17:19.640 --> 0:17:23.159
<v Speaker 1>a room at night. Come on, there's plenty I know

0:17:23.200 --> 0:17:25.200
<v Speaker 1>about people I wish I didn't. Then I don't live

0:17:25.240 --> 0:17:32.320
<v Speaker 1>with him, probably too eight now huh tomorrow tomorrow, Bright

0:17:32.359 --> 0:17:43.040
<v Speaker 1>and early. I don't know why Hank risked putting ed

0:17:43.080 --> 0:17:45.920
<v Speaker 1>in jeopardy by recording the exchange, maybe force of habit

0:17:46.720 --> 0:17:51.480
<v Speaker 1>insurance for what though, I can't say. But he did

0:17:51.520 --> 0:17:53.439
<v Speaker 1>forget to turn it off as he drove away and

0:17:53.480 --> 0:17:56.240
<v Speaker 1>All that remains until the tape runs out are the rare,

0:17:56.640 --> 0:17:59.679
<v Speaker 1>uneventful sounds of the Los Angeles city streets at night,

0:18:02.000 --> 0:18:04.200
<v Speaker 1>whether it was the very next morning or a morning

0:18:04.280 --> 0:18:11.680
<v Speaker 1>soon after that. Hank didn't waste any time all these years.

0:18:11.720 --> 0:18:14.639
<v Speaker 1>I still don't understand these half numbers. I could someone

0:18:14.640 --> 0:18:24.120
<v Speaker 1>have a half of an address living twenty nine, living

0:18:24.160 --> 0:18:28.960
<v Speaker 1>twenty seven. No, he's gotta be eleven thirty three. Excuse me, Yep,

0:18:29.400 --> 0:18:38.320
<v Speaker 1>it's eleven thirty three. No number on the car, right, thanks? Sure, things,

0:18:40.520 --> 0:18:43.480
<v Speaker 1>Christ wouldn't I anywhere else the front door to this

0:18:43.600 --> 0:18:49.800
<v Speaker 1>place around the side. That's no front door on the side,

0:18:50.840 --> 0:18:57.160
<v Speaker 1>thanks again, shop, Let's just things stay up. Don't getting

0:18:57.119 --> 0:18:58.720
<v Speaker 1>you live on earth? What I pretend you living out

0:18:58.720 --> 0:19:03.680
<v Speaker 1>of space? Get it? It's like living next door in

0:19:03.720 --> 0:19:08.600
<v Speaker 1>the norms. Fun fact, the outer space motif of the

0:19:08.640 --> 0:19:11.240
<v Speaker 1>building that Hanks referring to came to be known as

0:19:11.520 --> 0:19:15.800
<v Speaker 1>a ding bat. Imagine two stories stucko shoe box with

0:19:15.880 --> 0:19:18.720
<v Speaker 1>no visible doors, car poared on the ground floor with

0:19:18.760 --> 0:19:22.320
<v Speaker 1>the apartments above it. In some cases, instead of numbers,

0:19:22.800 --> 0:19:28.240
<v Speaker 1>ding bats showcase their elaborate names, names like the Hillside Manner,

0:19:28.520 --> 0:19:34.240
<v Speaker 1>Hollywood Royal Hawaiian palms, or my personal favorite Tiara some

0:19:34.320 --> 0:19:37.720
<v Speaker 1>added starburst decorations similar to the famous Las Vegas sign.

0:19:38.520 --> 0:19:41.280
<v Speaker 1>Any dry cleaner your grandparents may have frequented, or a

0:19:41.280 --> 0:19:45.160
<v Speaker 1>car washer. Two. Norm's restaurant is a twenty four hour

0:19:45.240 --> 0:19:48.959
<v Speaker 1>Los Angeles stable in the same style. So why am

0:19:48.960 --> 0:19:53.080
<v Speaker 1>I telling you this simple answer. I didn't expect to

0:19:53.119 --> 0:19:57.000
<v Speaker 1>fall down a rabbit hole of architectural research because of

0:19:57.040 --> 0:20:13.840
<v Speaker 1>handkarbrikes M Yeah, yeah, Gladdice Prits depends, Gladdie. My name

0:20:13.880 --> 0:20:17.320
<v Speaker 1>is Hank Briggs. I'm a private investigator. You've got the

0:20:17.320 --> 0:20:20.320
<v Speaker 1>wrong address, Dick. It will only take a minute, unless

0:20:20.359 --> 0:20:22.879
<v Speaker 1>you're going to propose. I got nothing here to investigate.

0:20:23.320 --> 0:20:33.560
<v Speaker 1>It's about Marlene Murray Evans. Let me get decent. I

0:20:33.600 --> 0:20:35.240
<v Speaker 1>played the rest of this interview for you in the

0:20:35.320 --> 0:20:37.840
<v Speaker 1>last episode, but I want to revisit one part of

0:20:37.840 --> 0:20:41.440
<v Speaker 1>it for just a second. Remember that Hank is only

0:20:41.480 --> 0:20:45.120
<v Speaker 1>in front of Gladys because he had a hunch six

0:20:45.240 --> 0:20:48.280
<v Speaker 1>nights a week. Even Jane Mansfield took a night off

0:20:48.320 --> 0:20:49.879
<v Speaker 1>from diction. Look, I don't know what to tell you

0:20:49.920 --> 0:20:53.880
<v Speaker 1>about Gladys. Don't look over there. There's no one over there.

0:20:54.800 --> 0:21:01.080
<v Speaker 1>Why aren't you telling me, Gladys, nothing looked me in

0:21:01.080 --> 0:21:03.560
<v Speaker 1>the eyes. Nothing looked me in the eyes. And tell

0:21:03.600 --> 0:21:06.080
<v Speaker 1>me that Marlene worked part time in the doctor's office

0:21:06.160 --> 0:21:08.680
<v Speaker 1>during the day and was home every night in her room,

0:21:08.720 --> 0:21:12.000
<v Speaker 1>but you never saw each other. She didn't want a

0:21:12.040 --> 0:21:15.960
<v Speaker 1>parent style what. She didn't want her parents to know.

0:21:16.240 --> 0:21:20.080
<v Speaker 1>I didn't want her parents to know what, Gladys. She

0:21:20.160 --> 0:21:26.320
<v Speaker 1>started looking knights as a cocktail waitress where cres and

0:21:26.480 --> 0:21:30.840
<v Speaker 1>from that hunch, Hank Briggs uncovered the first new lead

0:21:30.920 --> 0:21:35.720
<v Speaker 1>in over a year in an unsolvable case. It was

0:21:35.760 --> 0:21:40.520
<v Speaker 1>a name, the name of a place, a place where

0:21:40.600 --> 0:21:50.800
<v Speaker 1>no one knew Marlene Marie Evans had worked. The Angel

0:21:50.840 --> 0:21:53.679
<v Speaker 1>of Vine is a podcast produced by Vox popular on

0:21:53.760 --> 0:21:58.119
<v Speaker 1>behalf of the Los Angeles Herald. Thank you for listening

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<v Speaker 1>is directed by E Ryan Martz, written by Oliver Vacare.

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<v Speaker 1>Story about E. Ryan Marts, Jason Salwalt, and Oliver Vakare.

0:22:39.280 --> 0:22:43.040
<v Speaker 1>Sound designed by Joel Robbie and Matt Tamarillo. Produced by

0:22:43.080 --> 0:22:47.359
<v Speaker 1>Vox Populi in association with Forever Dog Podcast Network. This

0:22:47.440 --> 0:22:53.439
<v Speaker 1>episode's performances by Joe Manganello, Alan Tuteck, Mike Coulter, Cree Summer,

0:22:53.960 --> 0:22:59.320
<v Speaker 1>Matthew Mercer, Rebecca Field, and Oliver Vacare. Angelis is performed

0:22:59.359 --> 0:23:02.879
<v Speaker 1>by Desi Miss Dylan piano and arrangement by James Harper.

0:23:03.400 --> 0:23:09.359
<v Speaker 1>Composed by Matt Dennis, Lyrics by Earl Brent from downtown

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<v Speaker 1>Los Angeles. This has been the Angel of Vine. You'll

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<v Speaker 1>hear more from us soon. Oh well, is my a Joe?

0:23:26.280 --> 0:23:43.160
<v Speaker 1>Excuse me while I deedup piece