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Speaker 1: A new to the listener. The following story contains some

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Speaker 1: adult content and language. This was her last stop before

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Speaker 1: she was killed, and somebody knows something or somebody saw something.

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Speaker 1: I will not leave here without their next I would

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Speaker 1: caution you to be very careful, Mr Briggs. You're over

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Speaker 1: confidence is skating dangerously close to stupidity. Only one man

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Speaker 1: has ever spoken to me in that tone of voice

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Speaker 1: without consequence, and the only reason I let him off

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Speaker 1: the hook is because each and every word out of

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Speaker 1: his mouth on screen may be more money than the last,

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Speaker 1: but your words are worthless. So change of goddamn tone

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Speaker 1: and fast and without. Ladies and gentlemen, allow me to

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Speaker 1: introduce you to the President of Classic Pictures, Mr Leonard Shaw,

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Speaker 1: from Vox Popula and the Los Angeles. Harold, this is

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Speaker 1: the angel A Vine, my old heart, anking and no

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Speaker 1: ground because my angels. Welcome back to the podcast. Thank

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Speaker 1: you once again for joining us. Okay, so before I

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Speaker 1: play you the meeting between Hank and Leonard Shaw, we

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Speaker 1: have a bit of ground to cover so that we

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Speaker 1: can understand who Hanks dealing with. And the story starts

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Speaker 1: farther away from Hollywood than you might think. At one

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Speaker 1: point in time, Fort Lee, New Jersey, was actually considered

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Speaker 1: the film capital of the world thanks to a man

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Speaker 1: named Thomas Edison. You may have heard of him now.

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Speaker 1: One of his contributions was the invention of the earliest

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Speaker 1: motion picture viewer, called the kinetoscope. But it's even greater

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Speaker 1: contribution was his desire for notoriety, control, and ultimately power.

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Speaker 1: Edison hoarded so many patents over movie making technology and

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Speaker 1: equipment that it was almost impossible for anyone to produce

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Speaker 1: or distribute a movie without his say so. He also

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Speaker 1: went as far as to omit the film's credits in

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Speaker 1: order to avoid attributing monetary value to any of its players.

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Speaker 1: What's the saying, power tends to corrupt, absolute, power, corrupt

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Speaker 1: absolutely something like that. Remember that for later. So, while

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Speaker 1: the men in New Jersey were fighting over who would

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Speaker 1: die with the most money, a fifteen year old boy

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Speaker 1: in Brooklyn by the name of Leonard Schuster sold newspapers

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Speaker 1: to help his impoverished family. His father worked in a

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Speaker 1: tobacco processing plant while his mother cared for his two

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Speaker 1: younger brothers, no doubt, a difficult life made even more

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Speaker 1: difficult by his father's sudden death. Now the sole support

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Speaker 1: system for his family. Leonard pulled up his proverbial bootstrap

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Speaker 1: and went from street corner newspaper salesman to Aaron Boy

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Speaker 1: and Carl Lemley's first company, located in the Student Baker

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Speaker 1: Building in Times Square. That production company became what we

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Speaker 1: now know as Universal Studios. True story, it was at

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Speaker 1: pre Universal that Leonard met a man by the name

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Speaker 1: of Daniel Albright, one of the many producers who worked

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Speaker 1: with Lemley to challenge Edison's stranglehold on the industry. The

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Speaker 1: story of their meeting goes something like this. One morning,

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Speaker 1: in the presence of Lemley and Albright, Leonard reacted to

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Speaker 1: a photograph of Mary Pickford and blurted out, who is that?

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Speaker 1: I've seen her before, I'd watched that girl do anything.

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Speaker 1: A light bulb goes off. Lemley and Albright look at

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Speaker 1: each other. What if it's the actor and not the

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Speaker 1: movie that the public want? And it was there that

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Speaker 1: the star system and star power were born. So love

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Speaker 1: him or hat him for it? The origin of celebrity

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Speaker 1: culture came from Leonard's lurid adolescent thoughts. Now, Lemley already

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Speaker 1: had the wonder Kin Thalberg as his assistant so Albright

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Speaker 1: hired Leonard is his He began grooming Leonard for production,

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Speaker 1: and even moved his family with them when all Bright

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Speaker 1: Classic Pictures migrated west. Once in California, Albright suggested that

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Speaker 1: Leonard changed his last name to something sharp so that

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Speaker 1: no one will ever forget it, And so Leonard Schuster

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Speaker 1: of Brooklyn, New York became Leonard Shaw of Hollywood, California.

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Speaker 1: Shaw was a very quick learner, and Albright encouraged him

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Speaker 1: and implemented many of his ideas. Shawn knew a good

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Speaker 1: script when he read one, and recommended projects that garnered success.

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Speaker 1: He also had an incredible eye for talent and took

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Speaker 1: an interest in building that talent in creating Albright's movie stars.

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Speaker 1: Since social hob nobbing was inherent in that process, people

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Speaker 1: got to know him, and they genuinely liked him, and

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Speaker 1: because they liked him, they wanted to come work for

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Speaker 1: the studio. Leonard Shaw made all Bright Classic Pictures more

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Speaker 1: popular and more profitable than ever for and after only

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Speaker 1: four years, Daniel Albright made Leonard Shaw his partner. But

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Speaker 1: power tends to corrupt, remember, so while all Bright sat

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Speaker 1: happily in his office counting money, Shaw began to position

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Speaker 1: himself as the face of the studio. This eventually led

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Speaker 1: to Allbright's downfall. Daniel Albright found himself at the center

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Speaker 1: of a very public scandal. It involved a sexual encounter

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Speaker 1: with an actor by the name of Jack Lawrence, who

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Speaker 1: was under contract at the studio. Now. Back then, in

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Speaker 1: order to protect their image, almost every studio held their actors, directors,

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Speaker 1: and producers to what was known as a morality clause.

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Speaker 1: Among its many restrictions, one caveat specifically stated that you

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Speaker 1: couldn't be openly gay or bisexual. So in the news

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Speaker 1: of the affair threatened to derail his efforts. Shaw had

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Speaker 1: Lawrence banned from the lot, He acquired Albright shares, and

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Speaker 1: had any trace of the Albright name removed from the studio.

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Speaker 1: Everything Albright had worked for crumbled, and overnight he disappeared

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Speaker 1: from Hollywood. Now here's something interesting I found. There may

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Speaker 1: be a reach, but I don't know. You tell me.

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Speaker 1: In an interview done shortly after Albright's death, his son

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Speaker 1: revealed that his father was in fact gay, but had

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Speaker 1: always vehemently denied the affair with Lawrence. Albright maintained that

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Speaker 1: he met Lawrence only once and that was the extent

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Speaker 1: of their contact. His son's theory is that Shaw was

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Speaker 1: the one who leaked the false story in order to

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Speaker 1: force Allbright out absolute power, corrupt, absolutely enter Leonard Shaw

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Speaker 1: the monster. From that point forward, Shaw ruled what was

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Speaker 1: now classic pictures in proper dictatorial fashion. His employees were overworked, underpaid,

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Speaker 1: and his for the abusing. I mean, we heard Erwin

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Speaker 1: Fogelman say himself, h h, he's a prick. Say this.

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Speaker 1: He's mean just for the sake of being mean, gets

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Speaker 1: his kicks humiliating people. Shaw appeased only the stars who

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Speaker 1: made him barrels of money, and threatened to end the

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Speaker 1: careers of those who didn't. But once he had another

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Speaker 1: success on his hands, he would turn on the charm

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Speaker 1: and start doling out praise to make everyone feel important.

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Speaker 1: And they did feel important, and so they forgot. They

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Speaker 1: forgot that they were shaking hands with a monster. In

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Speaker 1: my research, I came across a quote of Shaws which

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Speaker 1: I think represents his values perfectly. When Casa Blanca won

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Speaker 1: the Academy Award for Best Picture, the studio had Jack Warner,

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Speaker 1: who had nothing to do with the making of Casablanca,

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Speaker 1: rushed the stage ahead of the movie's producer Halby Wallace,

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Speaker 1: and accepted the award himself at the Governor's Ball that evening.

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Speaker 1: Shaw told head A Hopper, That's the only time I've

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Speaker 1: agreed with anything Jack Warner has ever done. That's said.

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Speaker 1: If I'm Wallace, Warner's getting a couple of teeth knocked

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Speaker 1: out tonight. Hey, I'm just here for the circus. I'm

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Speaker 1: pretty sure that Hank Briggs didn't have any interest in

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Speaker 1: the circus. All he wanted was to know who Marlene

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Speaker 1: was with the night of Shaw's party, the night that

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Speaker 1: she was murdered. This next tape I'm about to play

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Speaker 1: for you has not been edited in any way, shape

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Speaker 1: or form. It is in its entirety exactly as I

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Speaker 1: heard it the very first time. Testing to three, testing,

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Speaker 1: testing one to three. H It's Friday night, twenty past three.

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Speaker 1: Drivers early, Okay, off to meet Leonard Shaw. Here goes

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Speaker 1: Beverly Glen high Good. Oh, Beverly Glenn. I'll tell you

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Speaker 1: the houses on St. Pierre Sherard, tucked away, tucked away

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Speaker 1: on Cpierre Beverly Glenn. St. Pierre Nimes Road. Hey, thanks,

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Speaker 1: you didn't have to get that for me. Imagine if

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Speaker 1: I couldn't open my own doors. That is a big house.

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Speaker 1: Oh yeah, you got me here, But am I gonna

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Speaker 1: get lost once I'm inside there? Wh are you sure? Eyes?

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Speaker 1: And how it doesn't live here? I am running the

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Speaker 1: wrong racket. Hey, I didn't catch your name. Nice to

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Speaker 1: meet you, too, penal Admer. You do not know he's sick.

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Speaker 1: You got it, got it? And you only have ten

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Speaker 1: minutes with him? Okay, Jesus, everyone is so friendly around here.

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Speaker 1: I'm serious. Yeah, that's what I was implying. I already

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Speaker 1: told you I'm not gonna take up his time. Now

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Speaker 1: you're gonna let me in? Or do I have to

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Speaker 1: yell at him from here ten minutes? I was told

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Speaker 1: Lois two staircases will look better than one, but she

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Speaker 1: didn't go for it. Oh come on, doc, not even

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Speaker 1: a smile. It's been a long day, all right, suit yourself.

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Speaker 1: Follow me. He's waiting for you in the great room.

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Speaker 1: The great room. Do you tell him how we met?

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Speaker 1: Not exactly. I told him that you waiting for me

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Speaker 1: outside the lock. What you tell him about me? Nothing? Nothing? Nothing.

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Speaker 1: I gave him your card, assuming that that would be

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Speaker 1: the end of Itding Yet here you are yet here?

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Speaker 1: I am can't for you look at all that green

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Speaker 1: must take him forever to Moa. How big is this place?

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Speaker 1: Nine acres na for what? Come on? Keep walking? Well?

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Speaker 1: Thanks for making this out, but Adler, I do appreciate it. Yeah,

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Speaker 1: I don't think me yet, Mr Shaw. This is private

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Speaker 1: investigator Hank Breaks. It's nice to meet you. Mr Shaw.

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Speaker 1: Thank you for take off the fucking trench coat. Pardon me?

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Speaker 1: You look like an idiot? Well, who do you think

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Speaker 1: you want? Bogart? You're not he died in January? Is

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Speaker 1: I show some respect? Take the coat off and sit

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Speaker 1: down an get him something to drink. What do you drink? No? No, wait,

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Speaker 1: let me guess. Scotch whiskey man, Adla, get him a

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Speaker 1: scotch neat you know what? Make it too? His nose

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Speaker 1: looks a little red. Idler, don't be rude. Just get

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Speaker 1: him one, Adler. This is a very nice home you

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Speaker 1: have here, A very nice home. What is that Betty

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Speaker 1: Crockers Ship of cards? It's a nice home. It's goddamn lavish.

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Speaker 1: Did you expect less? No? I just are you nervous?

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Speaker 1: You look nervous? Is it my size? My cane? I

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Speaker 1: hope it's not this old cane of mine disregarded. It's

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Speaker 1: only the discipline to help, Hank. I'm kidding. Lightening up

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Speaker 1: that second scotch might help, after all, are you pouring

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Speaker 1: it at this filling? At Jesus Sorry, bottle is almost empty.

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Speaker 1: Handle put a new one. That shut up? I just

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Speaker 1: give him a drink already. Thanks Seddler. You've got some

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Speaker 1: very interesting pieces of art here, Mr Shaw. Thanks which

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Speaker 1: that No, that's not art, that's called the kinetoscope, a

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Speaker 1: peep show machine and antiquity of the film world. That's

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Speaker 1: from a friend with a bent's sense of humor. Anything

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Speaker 1: else you'd like to add mind before you tell me

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Speaker 1: why you're here, The books, the piano, actual art, not specifically. No, no,

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Speaker 1: he didn't strike me as much of an officiado. So

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Speaker 1: what brings you here today? Mr Hank Briggs? What the

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Speaker 1: hell is so interesting about? Little on me? First off,

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Speaker 1: Mr Shan, thank you for Jesus Christ. What is this?

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Speaker 1: Thank you? Ordship? That's the second thank you I heard.

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Speaker 1: The first one I just ignored it. Not so bright

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Speaker 1: this one. Let me be I don't care why you're here,

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Speaker 1: only you do, so we either spit it out or

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Speaker 1: get the funk out. A woman by the name of

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Speaker 1: Marlene Murray Evans, the Angel of Vine, worked here the

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Speaker 1: night of March seventeenth, nineteen fifty six. It was the

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Speaker 1: last time she was seeing alive. The Angel of Vine

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Speaker 1: worked here. No, I don't think that's right. I'm fairly

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Speaker 1: certain it is, Mr Show fairly certain. Wow. Well, if

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Speaker 1: that's the case, then why are you asking the questions

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Speaker 1: and not the police? Because no one knew she was here?

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Speaker 1: No one. Nope. Let me give you a little hint.

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Speaker 1: Mr Briggs called the caterers. They're the ones who do

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Speaker 1: the hiring. She wasn't with the kids. Yeah. I was

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Speaker 1: told you had a few questions, and you still haven't

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Speaker 1: asked anything. I think the person who killed her may

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Speaker 1: have been one of your guests. Still not a question.

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Speaker 1: Who was at your party that night? God? Dare it is? You? See?

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Speaker 1: That wasn't so hard, now, was it? So? You want

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Speaker 1: to know who was a party in this house a

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Speaker 1: year and a half ago, and I know it was

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Speaker 1: a long time. What a colossal waste of my time?

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Speaker 1: Are you insane? Obviously? I don't expect you to remember.

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Speaker 1: And what is your suggestion. I don't know. A copy

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Speaker 1: of the guest list maybe or a guest list. No,

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Speaker 1: there's no guest list. What do you think goes on here?

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Speaker 1: That we announced people as they enter, that I have

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Speaker 1: I have servants who break out the silver and fine china.

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Speaker 1: What what? What? Place cards? Seating arrangements? People come when

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Speaker 1: they want, They eat with their hands. There's booze and

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Speaker 1: music and sometimes more than one. Somebody falls into a

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Speaker 1: pool with all their clothes on. That's a hell of

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Speaker 1: a good time. Well then just tell me the regulars.

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Speaker 1: Everyone everyone attended my parties. I'm let it, fucking shaw.

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Speaker 1: You're a woman is just a needle in a haystack.

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Speaker 1: I'm sure she was here. Yeah, then how'd she get here? Huh?

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Speaker 1: Who'd she come with? You said it wasn't the caterers,

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Speaker 1: So who the hell would she working for? I can't

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Speaker 1: tell you that. You can't got the funk out of

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Speaker 1: my eyes, not until you give me some names. This

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Speaker 1: was her last stop before she was killed, and somebody

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Speaker 1: knows something or somebody saw something, and I will not

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Speaker 1: leave here without their necks. I would caution you to

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Speaker 1: be very careful, Mr Briggs. You're over confidence is skating

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Speaker 1: dangerously close to stupidity. Only one man has ever spoken

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Speaker 1: to me in that tone of voice about consequence, and

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Speaker 1: the only reason I let him off the hook is

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Speaker 1: because each and every word out of his mouth on

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Speaker 1: screen made me more money than the last. But your

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Speaker 1: words are worthless, So change you goddamn tone and fast.

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Speaker 1: Mr Sherman. You know what. You don't have to change

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Speaker 1: a thing, silly me. I do remember now, there wasn't

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Speaker 1: a party, Not March seventeenth, anyway, maybe March sixteen, or

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Speaker 1: maybe the eighteenth, but definitely not the seventeen. I must

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Speaker 1: have been out of town that day. No party, no guests.

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Speaker 1: You see nothing to be concerned about. You think this

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Speaker 1: is funny, sit down. A woman is dead. Becure me

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Speaker 1: have been in this house and you think there's something

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Speaker 1: that said over laughing out said yet goddamn mouth adler.

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Speaker 1: Nobody asked for your opinion, and I certainly don't meet

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Speaker 1: him in order to shut your yap. I didn't bring

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Speaker 1: you here to answer any of your questions. I brought

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Speaker 1: you here to show you just how insignificant you are.

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Speaker 1: But she was here. But she was here, or show

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Speaker 1: me some fucking proof otherwise I can only assume that

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Speaker 1: you're just another dick searching for Hollywood dirt in the

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Speaker 1: want place here, Dan Will shouldn't be that I'd be

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Speaker 1: dumb enough to give you any you accidental detective. Oh oh,

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Speaker 1: that's a good stair hack. Yeah, that's an angry stare.

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Speaker 1: I love it. And since you're still standing, why don't

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Speaker 1: you get that cheap coat off my furniture and the

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Speaker 1: adler's show you to the door, Because if I had

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Speaker 1: to tell you to get the funk out of my

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Speaker 1: house again, you will do so. In the back of

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Speaker 1: a squad car my draw. It will return you to

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Speaker 1: wherever it is that you came from. Let's go ahead.

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Speaker 1: You're welcome. Thanks so much for the Scotch leo. Oh

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Speaker 1: of course, now it makes sense. Two pains in my ass.

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Speaker 1: You tell Rwin Fogelman. I said to take a dive

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Speaker 1: up an overpass, and it doesn't matter which one. Don't

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Speaker 1: go make it waves and not in this water. It

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Speaker 1: will be better for you if I don't remember you

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Speaker 1: after today. Oh my god, damn door. Is that your

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Speaker 1: plan to get hot under the collar and insult the

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Speaker 1: man in his own home. Don't you lecture me? You

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Speaker 1: have any idea. What's construction? He knows something? All right?

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Speaker 1: You are delusion on the open called worse. Just give

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Speaker 1: me the help back to my office and don't think

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Speaker 1: for a second. Excuse me, frank right, m hm. What

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Speaker 1: can I get for you? Just the water for now?

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Speaker 1: Slow night. Yeah, it's all right. Nice fish in the back.

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Speaker 1: He's expecting me. Yep, should it be? Keep the change.

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Speaker 1: It's cool, man, water is free. I know. Thanks, Come

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Speaker 1: on in. What is it? Oh? Hell no, don't this time?

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Speaker 1: I brought mine too. Now show me your hands so

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Speaker 1: I can put this away. Man, what are you doing

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Speaker 1: back here? Didn't answer all your questions already? You did.

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Speaker 1: I just didn't ask enough. That's not my problem. You're right,

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Speaker 1: it's mine, and there are people I need to answer to.

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Speaker 1: I couldn't get the show. No, I got to the

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Speaker 1: son of a bitch. Let me guess. He said there

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00:20:10,440 --> 00:20:13,600
Speaker 1: wasn't no party. No, he said there was a party,

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00:20:14,160 --> 00:20:17,480
Speaker 1: and he said you were there me. He's lying. He

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00:20:17,520 --> 00:20:19,400
Speaker 1: says you picked the girls up after they were done.

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Speaker 1: That's a lie, it's what he said. Man. I ain't

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00:20:21,920 --> 00:20:24,919
Speaker 1: never been up Beverly Hills or Belle Are whatever the

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00:20:24,920 --> 00:20:27,159
Speaker 1: hell these people are from. You're kidding me. I'll be

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Speaker 1: arrested before I got passed Western Maybe what do I know?

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00:20:30,000 --> 00:20:31,440
Speaker 1: But if there's even a chance that you were the

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Speaker 1: last person to see here before she died, then I

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00:20:33,400 --> 00:20:36,920
Speaker 1: got to report it to the people in charge. Man,

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00:20:37,000 --> 00:20:39,760
Speaker 1: it's a bullshit. You don't want to lose this club,

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Speaker 1: do you? Fish? It's a nice club. Goddamn it, storeship,

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Speaker 1: That's what this is right here. I can't have nothing nice,

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00:20:47,600 --> 00:20:54,080
Speaker 1: can't leave nothing to hell along here, take that and

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00:20:54,160 --> 00:20:57,280
Speaker 1: get your damn proof or whatever the hell it is.

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Speaker 1: You need to leave me alone. Virginia Hanley worked the

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Speaker 1: party with her that night. She'll tell you I wouldn't

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Speaker 1: to win near the Viginia. Are we done here? Hey? Yeah,

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00:21:10,600 --> 00:21:15,560
Speaker 1: yes we're done. Thank you? No? Oh, now you polite?

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Speaker 1: Why don't you just let me get back to my business.

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00:21:22,480 --> 00:21:32,160
Speaker 1: I should shoot this man in the back. Guy, nothing,

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00:21:32,240 --> 00:21:34,440
Speaker 1: that's nonsense. You're not so good at a job, are

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Speaker 1: you me? Me? You're looking at me? Would I just

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Speaker 1: come say? Oh, you sign a bitch? Who you're working for? Shan?

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00:21:43,240 --> 00:21:47,200
Speaker 1: You're telling me for sean row window down, run it down?

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00:21:47,280 --> 00:21:49,639
Speaker 1: Look at me? You want to smash it? In. I

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00:21:49,880 --> 00:21:53,760
Speaker 1: look at me now, now, okay, go ahead, keep it out.

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00:21:53,800 --> 00:21:56,800
Speaker 1: I think a good look. Go on? Look? Fuck what

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00:21:57,040 --> 00:21:59,720
Speaker 1: you shy all of a sudden. You've been following me

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00:21:59,800 --> 00:22:01,960
Speaker 1: some last night. You don't want to get a good

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00:22:02,000 --> 00:22:07,760
Speaker 1: long look at my pretty face? See cheese, you yellow bastard. Now,

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00:22:07,840 --> 00:22:11,400
Speaker 1: I don't cheese looks like I think a good look

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00:22:11,440 --> 00:22:14,679
Speaker 1: at this? You see it? I see you again. I

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00:22:14,720 --> 00:22:17,480
Speaker 1: swear to God, I'll use it. Get out of here.

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Speaker 1: You is it? Okay? Yeah, it's excuse me, excuse me,

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00:22:39,000 --> 00:22:43,919
Speaker 1: miss Virginia Hamley. No, no, no no, please wait, do you

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Speaker 1: have a minute. Can you slow down now? I just

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00:22:46,640 --> 00:22:51,320
Speaker 1: need to My name is Hank Briggs. Oh my god,

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00:22:51,359 --> 00:22:57,119
Speaker 1: it's you. Sorry, you must have me mistakes. You're a

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00:22:57,160 --> 00:23:00,040
Speaker 1: cigarette girl. Didn't I already tell you? Just told me

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00:23:00,160 --> 00:23:03,720
Speaker 1: you were a friend. Hey, I really need your help.

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00:23:05,640 --> 00:23:08,399
Speaker 1: I know about Fish Shaw. You were at the party

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00:23:08,400 --> 00:23:24,480
Speaker 1: with her? Yeah? Yeah, I was. Were you together the

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00:23:24,520 --> 00:23:30,080
Speaker 1: whole night until around eleven o'clock? What happened? She wouldn't

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00:23:30,080 --> 00:23:35,320
Speaker 1: get on the bus? What bus? The bus? Fish arranges them.

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Speaker 1: They took us to and from the parties with the musicians.

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00:23:38,800 --> 00:23:41,080
Speaker 1: They were all left back to Hollywood, that they were

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00:23:41,119 --> 00:23:46,480
Speaker 1: always different. That scar on your arm, it's nothing. Did

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00:23:46,480 --> 00:23:50,119
Speaker 1: you get that from? When it shows? Why did you

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00:23:50,200 --> 00:23:53,600
Speaker 1: leave her that night? I didn't leave her. I'm sorry.

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Speaker 1: I'm sorry. I didn't mean to say you. You left her?

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Speaker 1: Why did she choose to stay? I didn't want to stay.

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00:24:01,840 --> 00:24:03,760
Speaker 1: I didn't want her to stay. What do you think

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00:24:03,800 --> 00:24:08,119
Speaker 1: she stayed? When I was ready to go, I found

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00:24:08,119 --> 00:24:11,360
Speaker 1: her near the kitchen. She'd been crying, so I took

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00:24:11,359 --> 00:24:13,439
Speaker 1: her to the ladies room so she could fix herself up.

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00:24:14,240 --> 00:24:17,520
Speaker 1: Why was she crying? Shaw's parties can get a little

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00:24:18,240 --> 00:24:22,320
Speaker 1: out of hand, a little wild. But but she was

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00:24:22,359 --> 00:24:25,320
Speaker 1: a good girl, always was. But he got the wrong idea,

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Speaker 1: assumed she would I want to join him in the

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Speaker 1: pool house? Who they had an argument about it that

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00:24:31,920 --> 00:24:35,400
Speaker 1: the argument started days before. But she didn't think that

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Speaker 1: she would see him that night, so hold of her.

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Speaker 1: He wasn't worth it. I told her she could stay

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Speaker 1: with me that night. We would we would get pancakes,

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Speaker 1: and she could stay with me. And she wanted to

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Speaker 1: finish it. I told her she was being silly. How

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Speaker 1: will you get home? I'll get home, I promise. I

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Speaker 1: made a promise. She wouldn't go to the pool house.

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Speaker 1: I made a promise she wouldn't leave with him. And

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Speaker 1: you who who did she promise she wouldn't leave with?

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Speaker 1: Was it Shaw? No? Not Shaw? Who the doctor? What doctor?

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Speaker 1: It's from the paper house? Adver Harrison? What was he

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Speaker 1: doing there? What do you mean he was at all

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Speaker 1: of Shaw's parties? Are you sure that's where he first

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Speaker 1: recognized her as the girl from work? I told her

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Speaker 1: to get on the bus. I made her promise. Why

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Speaker 1: didn't you go to the police? He was cleared, not

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Speaker 1: immediately what No, he but he was cleared. They wouldn't

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Speaker 1: have believed me. They needed to know. I swear to

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Speaker 1: you that that's where this tape ended. And when I

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Speaker 1: heard it, I scared the dog, yelling are you kidding me?

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Speaker 1: So now we know that Marlene was definitely at the party,

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Speaker 1: and so was Adler. So he lied to Hank? So

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Speaker 1: did he kill her? After all? We know that they

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00:26:00,480 --> 00:26:03,359
Speaker 1: had an argument that started days before. Perhaps that was

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00:26:03,400 --> 00:26:06,000
Speaker 1: the argument that the security guard told the press about.

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Speaker 1: Either way, was he the last person to see her alive?

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Speaker 1: We don't know, but we do know that there's a

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00:26:18,320 --> 00:26:23,840
Speaker 1: mysterious poolhouse and whatever went on in that poolhouse. Marlene

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Speaker 1: was not meant to see whatever it was. I don't

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Speaker 1: think Hank is going to get another invitation from Leonard

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Speaker 1: Shaw in order to ask. The Angel of Vine is

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Speaker 1: a podcast produced by Vox popular on behalf of the

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00:26:44,920 --> 00:26:48,680
Speaker 1: Los Angeles Herald. Thank you for listening to the Angel

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00:26:48,720 --> 00:26:51,399
Speaker 1: of Vine. If you'd like to support us, please leave

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Speaker 1: us a review and tell your friends to subscribe. The

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Speaker 1: Angel of Vine is available on Apple Podcasts, Spotify, Stitcher,

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Speaker 1: and all major podcast If you can't wait for the

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Speaker 1: next episode of The Angel Levine, episodes eight through ten

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Speaker 1: are available right now exclusively on Stitcher Premium, as well

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Speaker 1: as Angel Levine bonus episodes, extended episodes, and add free episodes.

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Speaker 1: Go to Stitcher Premium dot com slash angel and use

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Speaker 1: promo code Angel to get your first month of Stitcher

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Speaker 1: Premium free. The Angel Levine is directed by e Ryan Martz,

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00:27:23,640 --> 00:27:27,520
Speaker 1: written by Oliver Vakare, story about e. Ryan Marts, Jason Salmwalt,

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00:27:27,560 --> 00:27:31,359
Speaker 1: and Oliver Vakare. Sound designed by Joel Robbie and Matt Tamarrello.

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00:27:31,880 --> 00:27:36,040
Speaker 1: Produced by Vox Populi in association with Forever Dog Podcast Network.

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00:27:36,320 --> 00:27:41,840
Speaker 1: This episode's performances by Joe Manganello, Alfred Molina, Misha Collins,

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00:27:42,160 --> 00:27:47,320
Speaker 1: Cary Peyton, William DeMeritt, Courtney Taylor, Cree Summer, and Oliver Vacare.

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00:27:48,040 --> 00:27:51,440
Speaker 1: Angel Iz is performed by Desi Dennis Dylan piano and

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00:27:51,560 --> 00:27:55,560
Speaker 1: arrangement by James Harper, composed by Matt Dennis, lyrics by

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00:27:55,600 --> 00:28:00,040
Speaker 1: Earl Brent from downtown Los Angeles. This has been in

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Speaker 1: the Angel of Vine. You'll hear more from us soon.

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00:28:04,200 --> 00:28:26,760
Speaker 1: Oh well is my ad Joe eyes, excuse me while

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Speaker 1: I died Sepiace