1 00:00:01,200 --> 00:00:04,280 Speaker 1: A note to the listener. The following story contains some 2 00:00:04,400 --> 00:00:15,520 Speaker 1: adult content and language, and so it comes to this, 3 00:00:17,600 --> 00:00:21,360 Speaker 1: no long winded recap or explanation of any kind. Here 4 00:00:21,400 --> 00:00:23,680 Speaker 1: we are at the end of it, the end of 5 00:00:23,680 --> 00:00:27,240 Speaker 1: Hank's journey, end of ours. So I'm just gonna sit 6 00:00:27,280 --> 00:00:28,960 Speaker 1: back and be quiet and allow us to finish what 7 00:00:29,000 --> 00:00:37,680 Speaker 1: we started. Welcome back, Mr Briggs. I've been very much 8 00:00:37,680 --> 00:00:43,520 Speaker 1: looking forward to this. Please come in, no butler today. 9 00:00:44,720 --> 00:00:47,440 Speaker 1: I only hire assistance when I'm entertaining. When it comes 10 00:00:47,440 --> 00:00:49,159 Speaker 1: to all the odds and ends, I know what I like, 11 00:00:49,280 --> 00:00:51,279 Speaker 1: but I don't know how to prepare and present it. 12 00:00:51,400 --> 00:00:55,440 Speaker 1: So no tea. Then, of course there's tea. I had 13 00:00:55,520 --> 00:00:57,480 Speaker 1: just assumed you wanted to relay the information and get 14 00:00:57,480 --> 00:01:00,400 Speaker 1: back to life as usual. Might as usual? Is that 15 00:01:00,520 --> 00:01:03,520 Speaker 1: how you think this works? I would hope that you 16 00:01:03,520 --> 00:01:05,679 Speaker 1: would be able to separate yourself from the work long 17 00:01:05,800 --> 00:01:09,000 Speaker 1: enough to enjoy life. Yes, you don't know anything about 18 00:01:09,040 --> 00:01:13,959 Speaker 1: my life, Hank. I think you've forgotten why I hired you. 19 00:01:23,280 --> 00:01:31,080 Speaker 1: See t what's in the envelope? Why that's the second 20 00:01:31,080 --> 00:01:34,240 Speaker 1: half of your payment? Mr Briggs. You didn't think I'd forgotten, 21 00:01:34,240 --> 00:01:38,280 Speaker 1: did you. That's simple humph. It's all there, shouldn't it be, 22 00:01:38,319 --> 00:01:42,280 Speaker 1: That's sure, but neither of us known if I actually 23 00:01:42,280 --> 00:01:47,480 Speaker 1: solved anything. Solve That was always a pressure word for motivation. 24 00:01:47,520 --> 00:01:50,160 Speaker 1: If you will, I said, you would be chasing information, 25 00:01:50,200 --> 00:01:53,320 Speaker 1: and chase information you have. I would never allow you 26 00:01:53,360 --> 00:01:56,520 Speaker 1: to go without reward for all your efforts, unless you 27 00:01:56,600 --> 00:02:00,800 Speaker 1: feel that you have been careless. That's another matter. Entirely. 28 00:02:01,440 --> 00:02:05,200 Speaker 1: I wouldn't say careless, but I do have a few questions. 29 00:02:06,480 --> 00:02:08,760 Speaker 1: I realized that I wasn't as thorough as I could 30 00:02:08,760 --> 00:02:11,360 Speaker 1: have been when you first brought me into this. But 31 00:02:11,639 --> 00:02:15,560 Speaker 1: that's the tricky thing about hindsight. Right by all means 32 00:02:15,600 --> 00:02:20,160 Speaker 1: ask me anything, who do you think killed her? I 33 00:02:20,200 --> 00:02:23,600 Speaker 1: really wouldn't know. No, I know, But if you had 34 00:02:23,639 --> 00:02:27,680 Speaker 1: to guess, who'd you lean towards? I call it a hunch. 35 00:02:28,000 --> 00:02:30,320 Speaker 1: You know those instincts of mine you talked about, the 36 00:02:30,919 --> 00:02:33,840 Speaker 1: ones that make me picasso. You must have some of 37 00:02:33,840 --> 00:02:38,160 Speaker 1: those instincts, right. I don't consider myself a detective in 38 00:02:38,240 --> 00:02:42,000 Speaker 1: the slightest Mr Briggs, not even one guess. Come on, 39 00:02:42,240 --> 00:02:45,160 Speaker 1: humor me, all this chasing, all this work, don't you 40 00:02:45,200 --> 00:02:49,080 Speaker 1: want to know if you were right? I did I 41 00:02:49,120 --> 00:02:51,960 Speaker 1: had a hunch when I started hunting and scrauching. Come on, 42 00:02:52,120 --> 00:02:54,720 Speaker 1: just play along and take a guess if it turns 43 00:02:54,760 --> 00:03:00,920 Speaker 1: out to be right fastest murder ever solved. This is 44 00:03:00,960 --> 00:03:04,560 Speaker 1: a very strange exercise, mister Briggs. I haven't the faintest 45 00:03:04,600 --> 00:03:10,400 Speaker 1: idea one guess. Was it the doctor? Damn good guess? 46 00:03:11,080 --> 00:03:15,160 Speaker 1: But no, you know, people still believe he was responsible 47 00:03:15,200 --> 00:03:17,240 Speaker 1: for it, even after he had been cleared. I was 48 00:03:17,280 --> 00:03:23,280 Speaker 1: one of those people. Really, yes, twice. Very interesting. I'm 49 00:03:23,320 --> 00:03:28,600 Speaker 1: curious as to why clean cuts precision would have taken 50 00:03:28,680 --> 00:03:30,520 Speaker 1: years of experience to be able to cut her up 51 00:03:30,560 --> 00:03:33,600 Speaker 1: like that. That's very astute view. But it couldn't have 52 00:03:33,639 --> 00:03:38,800 Speaker 1: been him. You're sure, without question, z Aliba checked out 53 00:03:39,640 --> 00:03:45,400 Speaker 1: clean as a whistle. Uh. That's a relief, you see. 54 00:03:46,280 --> 00:03:48,320 Speaker 1: That is a job well done on your part. Do 55 00:03:48,320 --> 00:03:50,760 Speaker 1: you know, Adler Harrison. I can't say that I do 56 00:03:50,960 --> 00:03:55,360 Speaker 1: why relief. Relief is a pretty strong word to use 57 00:03:55,360 --> 00:03:57,240 Speaker 1: for someone you've never met. You don't have to know 58 00:03:57,320 --> 00:04:00,600 Speaker 1: someone to have empathy for them. Mister Briggs, I think 59 00:04:00,600 --> 00:04:02,600 Speaker 1: you've done a wonderful thing for this man. Once the 60 00:04:02,640 --> 00:04:04,920 Speaker 1: press are able to properly exonerate him, he may be 61 00:04:04,920 --> 00:04:07,400 Speaker 1: able to piece his career back together. After all, press, 62 00:04:08,360 --> 00:04:11,760 Speaker 1: who's going to care at this point? You don't think 63 00:04:11,760 --> 00:04:15,160 Speaker 1: the public will want to know new Plus, he's busy 64 00:04:15,160 --> 00:04:17,080 Speaker 1: with Leonard Shaw's dirty work, so I don't think he's 65 00:04:17,080 --> 00:04:21,240 Speaker 1: gonna want too much attention. Leonard Shaw the king himself. 66 00:04:22,080 --> 00:04:23,720 Speaker 1: The last place he expected to be was in the 67 00:04:23,760 --> 00:04:28,120 Speaker 1: middle of all this, with a punk like me questioning him. 68 00:04:28,120 --> 00:04:32,040 Speaker 1: You met with Leonard Shaw, I did, and he's every 69 00:04:32,040 --> 00:04:35,480 Speaker 1: bit to prick. I've been told he was. He's sick. 70 00:04:35,520 --> 00:04:40,400 Speaker 1: You know, kidneys are failing that Poe Man. I wouldn't 71 00:04:40,400 --> 00:04:43,279 Speaker 1: waste your empathy on old Leo Benny Luck. He'll go quick. 72 00:04:45,440 --> 00:04:48,080 Speaker 1: I'm surprised at you, Mr Briggs. I wouldn't have expected 73 00:04:48,120 --> 00:04:50,520 Speaker 1: you to be so frivolous in regards to another suffering. 74 00:04:51,000 --> 00:04:55,440 Speaker 1: It's funny you should say that, Sam. Why is that? 75 00:04:55,440 --> 00:05:04,359 Speaker 1: That was my impression of you too. She didn't suffer, Hank. 76 00:05:05,560 --> 00:05:10,680 Speaker 1: Not at any point did Marline suffer, So you don't 77 00:05:10,680 --> 00:05:14,200 Speaker 1: deny it, Hank. I think we've done enough dancing today, 78 00:05:14,200 --> 00:05:19,920 Speaker 1: don't you. Butler t hunch Adler dip Once you said 79 00:05:19,920 --> 00:05:24,240 Speaker 1: it wasn't Adler, I was satisfied you wanted me to 80 00:05:24,279 --> 00:05:29,360 Speaker 1: know it was you. Now, that's not true. I was 81 00:05:29,400 --> 00:05:31,720 Speaker 1: perfectly content to part ways with you today as the 82 00:05:31,800 --> 00:05:36,320 Speaker 1: charitable donor, despite your failures. But once you mentioned Leonard, 83 00:05:36,360 --> 00:05:38,880 Speaker 1: I knew you'd gotten closer than you were ever supposed to. 84 00:05:41,160 --> 00:05:43,080 Speaker 1: You may not be a detective, Hank, but you're certainly 85 00:05:43,120 --> 00:05:53,080 Speaker 1: not an idiot. Follow me, Hank. Why don't you just 86 00:05:53,200 --> 00:05:56,200 Speaker 1: follow me and you can have all your answers before 87 00:05:56,240 --> 00:06:08,000 Speaker 1: you walk out of here? M h s. All of this, 88 00:06:09,600 --> 00:06:15,279 Speaker 1: this was what you were bored. Bored. Quite the contrary, 89 00:06:15,720 --> 00:06:19,080 Speaker 1: I've been more invested in this than anything I've ever done. 90 00:06:19,200 --> 00:06:22,760 Speaker 1: Did you meet her at shots? I did, and that 91 00:06:22,960 --> 00:06:25,600 Speaker 1: vile gigglow of a doctor stalking or hoping to make 92 00:06:25,640 --> 00:06:28,600 Speaker 1: her one of his conquests. She had no interest in 93 00:06:28,680 --> 00:06:32,880 Speaker 1: him at first, but at each gathering, however subtle, I 94 00:06:32,920 --> 00:06:37,120 Speaker 1: could see a flirtation growing. And then what mm hmm, 95 00:06:37,800 --> 00:06:40,200 Speaker 1: I wanted to paint her. She understood that I wasn't 96 00:06:40,240 --> 00:06:41,960 Speaker 1: a threat to her. Right over there is where she 97 00:06:41,960 --> 00:06:44,479 Speaker 1: sat for me, and often it was there that we 98 00:06:44,600 --> 00:06:48,239 Speaker 1: developed our friendship. You killed her in here. I wanted 99 00:06:48,279 --> 00:06:51,320 Speaker 1: to capture what light she afforded the world before it 100 00:06:51,440 --> 00:06:53,280 Speaker 1: left her in the same way, it leaves all of 101 00:06:53,320 --> 00:06:55,560 Speaker 1: the innocence. Did you kill her in here as she 102 00:06:55,640 --> 00:06:58,039 Speaker 1: died in this room? Yes, But as I said, she 103 00:06:58,200 --> 00:07:00,560 Speaker 1: didn't suffer. I don't understand why I have any of this. 104 00:07:01,160 --> 00:07:06,440 Speaker 1: Why out of reverence for her reverence, you pride her 105 00:07:06,520 --> 00:07:11,760 Speaker 1: ribs apart and drain her. I removed her impurity once 106 00:07:11,800 --> 00:07:15,600 Speaker 1: the barbiturates entered her she was no longer clean. Left 107 00:07:15,640 --> 00:07:17,960 Speaker 1: her in a parking lot so that she would be 108 00:07:18,000 --> 00:07:21,040 Speaker 1: more accessible to the common man, just like the construction 109 00:07:21,040 --> 00:07:24,160 Speaker 1: worker who found her, just like you noticed. Doesn't make 110 00:07:24,200 --> 00:07:30,920 Speaker 1: any sense, of course it does. You're just not listening. Listen. 111 00:07:31,800 --> 00:07:36,400 Speaker 1: Anyone is capable of being renewed, anyone is capable of salvation. 112 00:07:36,520 --> 00:07:38,720 Speaker 1: Where you opened her arms and you crossed her legs, 113 00:07:39,400 --> 00:07:42,200 Speaker 1: what did all that mean? Uh? The search for artistic 114 00:07:42,280 --> 00:07:45,160 Speaker 1: meaning has become overbearing ly un original. Don't you think 115 00:07:46,000 --> 00:07:48,200 Speaker 1: it was simply the position in which I felt that 116 00:07:48,280 --> 00:07:57,480 Speaker 1: her innocence would be best preserved. Meaning destroys purity. Meanings 117 00:07:57,520 --> 00:08:00,880 Speaker 1: when my heart began to suffer the most an obsession 118 00:08:00,920 --> 00:08:04,360 Speaker 1: with meaning, as contradictory as it may sound, I would 119 00:08:04,440 --> 00:08:07,000 Speaker 1: rather that we as intellectuals, abandoned the need for meaning, 120 00:08:08,080 --> 00:08:11,840 Speaker 1: all of us, for it is only in the absence 121 00:08:11,880 --> 00:08:16,880 Speaker 1: of meaning that we are emotionally and psychologically free to experience. 122 00:08:19,240 --> 00:08:23,000 Speaker 1: There was a woman. Well there's always a woman, isn't 123 00:08:23,040 --> 00:08:25,520 Speaker 1: there as appropriately so, as that is how we all 124 00:08:25,520 --> 00:08:28,760 Speaker 1: come into this world. Her name was Genevieve, and she 125 00:08:28,840 --> 00:08:31,520 Speaker 1: took such loving care of me, such care that my 126 00:08:31,680 --> 00:08:38,760 Speaker 1: memories honored her more than anyone. Still too. See, I 127 00:08:38,800 --> 00:08:43,640 Speaker 1: wasn't ready. My style was crude, certainly wasn't art. It 128 00:08:43,720 --> 00:08:47,480 Speaker 1: was harried and clumsy, and I was ashamed. I wanted 129 00:08:47,520 --> 00:08:50,760 Speaker 1: to be rid of my failure. But it being quite 130 00:08:50,800 --> 00:08:53,880 Speaker 1: a different canvas. It's not as if she could be 131 00:08:53,880 --> 00:08:56,760 Speaker 1: thrown out in the bins, although in retrospect I suppose 132 00:08:56,840 --> 00:08:59,080 Speaker 1: I could have. But I was so young and petuous 133 00:08:59,120 --> 00:09:02,360 Speaker 1: and overcome with fear an adrenaline. My only thought was fire. 134 00:09:04,240 --> 00:09:05,920 Speaker 1: It was the only way in which I could absolve 135 00:09:06,040 --> 00:09:13,320 Speaker 1: myself of both the shame and the act. My initial 136 00:09:13,360 --> 00:09:20,440 Speaker 1: experience when she was gone, Oh it was unbearable. I 137 00:09:20,520 --> 00:09:23,600 Speaker 1: was nineteen years old. The pain that I felt what's excruciating, 138 00:09:25,400 --> 00:09:28,480 Speaker 1: as if someone was standing on my chest. Peeling away 139 00:09:28,520 --> 00:09:30,319 Speaker 1: what I felt for her an inch at a time, 140 00:09:30,960 --> 00:09:35,720 Speaker 1: pure dane, raw emotional movement that only exists in nature. 141 00:09:39,960 --> 00:09:42,160 Speaker 1: I tried to find meaning in her death for years 142 00:09:42,200 --> 00:09:44,679 Speaker 1: after I left Paris, and the more I uncovered about 143 00:09:44,679 --> 00:09:47,520 Speaker 1: her sordid tale of prostitution and disease and drug addiction, 144 00:09:48,640 --> 00:09:50,880 Speaker 1: the more I uncovered about my own prejudice. I could 145 00:09:50,920 --> 00:09:54,000 Speaker 1: no longer recognize her. When I thought of her. My 146 00:09:54,040 --> 00:09:59,319 Speaker 1: thoughts were clouded with judgment and expletives and contempt. So 147 00:09:59,520 --> 00:10:05,600 Speaker 1: I thought or less, and so I felt less until 148 00:10:05,640 --> 00:10:10,880 Speaker 1: I felt nothing. Ironic, isn't it At the end of 149 00:10:10,880 --> 00:10:14,559 Speaker 1: my quest for meaning, she no longer held any meaning, 150 00:10:17,280 --> 00:10:20,240 Speaker 1: And so I wept not for her, not for me, 151 00:10:20,280 --> 00:10:25,240 Speaker 1: but for the loss of feeling itself. I wanted that 152 00:10:25,360 --> 00:10:31,480 Speaker 1: feeling again. I wanted that feeling of loss, of emptiness, 153 00:10:31,920 --> 00:10:37,199 Speaker 1: the raw emotional movement. I didn't ask Marline any personal questions, 154 00:10:37,200 --> 00:10:40,120 Speaker 1: not one. See. I didn't want any part of her past. 155 00:10:40,360 --> 00:10:43,560 Speaker 1: I wanted to know her, experience her only as she 156 00:10:43,800 --> 00:10:47,000 Speaker 1: was at that time of her life. I wanted to 157 00:10:47,120 --> 00:10:50,840 Speaker 1: ensure her a perfect future. I wanted to develop the 158 00:10:50,920 --> 00:10:54,080 Speaker 1: love necessary to feel it ripped from me the moment 159 00:10:54,160 --> 00:10:57,120 Speaker 1: she was gone, her parents set right out there. No 160 00:10:59,760 --> 00:11:02,520 Speaker 1: that ar her parents here when the feelings began to fade. 161 00:11:03,040 --> 00:11:06,520 Speaker 1: There's nothing more powerful and more innocent than a mother's love. 162 00:11:06,559 --> 00:11:09,360 Speaker 1: And I'd hope that her parents recollections of her might 163 00:11:09,400 --> 00:11:17,839 Speaker 1: stir something inside of me. But nothing, nothing, And so 164 00:11:17,920 --> 00:11:23,120 Speaker 1: it will continue as it always has, and she, like 165 00:11:23,240 --> 00:11:25,920 Speaker 1: the others, will remain in this room with me as 166 00:11:25,960 --> 00:11:29,439 Speaker 1: I search for inspiration once again. What do you mean, 167 00:11:29,480 --> 00:11:33,480 Speaker 1: remain in this room. I'm not a butcher, Hank, I'm 168 00:11:33,520 --> 00:11:39,080 Speaker 1: an artist. My love for them went into my art. 169 00:11:39,480 --> 00:11:44,560 Speaker 1: They are in my art. They are all in my art. 170 00:11:47,960 --> 00:11:51,280 Speaker 1: In doing so, I make them clean again. What is this? 171 00:11:52,520 --> 00:11:56,840 Speaker 1: It's a rebirth on canvas. Let's pay now. That is 172 00:11:56,960 --> 00:12:00,880 Speaker 1: very much Marline's blood, you know it? How many here 173 00:12:00,920 --> 00:12:10,320 Speaker 1: against the wall? This one is Marline, She's Unfortunately she 174 00:12:10,400 --> 00:12:13,280 Speaker 1: was never intended for this series. They should have only 175 00:12:13,280 --> 00:12:17,800 Speaker 1: have ever been twenty seven paintings. Marlene was my masterpiece. 176 00:12:18,040 --> 00:12:23,520 Speaker 1: I was certain that she wouldn't that she couldn't be ignored. 177 00:12:24,920 --> 00:12:26,840 Speaker 1: She should have been the focal point of our time, 178 00:12:27,920 --> 00:12:31,960 Speaker 1: not the irresponsible and reckless death of a heart throb 179 00:12:32,120 --> 00:12:36,080 Speaker 1: or foreign nuclear weapons testing certainly not backseat to the 180 00:12:36,120 --> 00:12:38,360 Speaker 1: most handsome bachelor of the year on the cover of 181 00:12:38,400 --> 00:12:41,880 Speaker 1: Life magazine. She should have been on the cover of Life, 182 00:12:41,880 --> 00:12:44,719 Speaker 1: if we're all being honest with ourselves. I didn't want 183 00:12:44,720 --> 00:12:48,480 Speaker 1: her to disappear, and so I made her clean again. 184 00:12:49,880 --> 00:12:52,760 Speaker 1: I hope in you was that whatever you found would 185 00:12:52,800 --> 00:12:56,920 Speaker 1: resurrect her importance. She could once again be unique as 186 00:12:56,920 --> 00:12:59,839 Speaker 1: a work of art, as sculpture of beauty, distorted in 187 00:13:00,040 --> 00:13:04,720 Speaker 1: her human form, fragmented in body, but never in soul. 188 00:13:06,080 --> 00:13:22,080 Speaker 1: I am questionable, concrete Saint M twenty seven others. She 189 00:13:22,280 --> 00:13:29,760 Speaker 1: wasn't meant for this, hank, And I assure you she wasn't. Oh, 190 00:13:30,640 --> 00:13:39,040 Speaker 1: I hardly think that's necessary. And that's where it ended. 191 00:13:40,280 --> 00:13:42,000 Speaker 1: The tape didn't run out. There was more tape, but 192 00:13:42,040 --> 00:13:45,800 Speaker 1: it was all blank. I threw in two more random tapes, 193 00:13:46,200 --> 00:13:48,640 Speaker 1: and it was an older hank. So I pressed up 194 00:13:50,240 --> 00:13:53,600 Speaker 1: and I sat there, and I knew who had killed 195 00:13:53,640 --> 00:13:57,200 Speaker 1: Marlene Marie Evans. I knew who had killed the Angel 196 00:13:57,200 --> 00:14:03,559 Speaker 1: of mine. And there was the confession. And now what 197 00:14:03,640 --> 00:14:05,319 Speaker 1: was I supposed to do with it? This was a 198 00:14:05,360 --> 00:14:08,199 Speaker 1: little bit bigger than an internet search. So I called 199 00:14:08,240 --> 00:14:10,520 Speaker 1: the Herald's contact within the l A p D who 200 00:14:10,520 --> 00:14:13,240 Speaker 1: connected me to the cold case unit. I arranged to 201 00:14:13,280 --> 00:14:14,959 Speaker 1: meet with them in hand over the tapes pertinent to 202 00:14:15,000 --> 00:14:19,920 Speaker 1: the Angel of Vine and the rest is the rest. Actually, 203 00:14:19,920 --> 00:14:22,000 Speaker 1: I shouldn't say the rest is the rest. That's too flippant. 204 00:14:22,040 --> 00:14:26,040 Speaker 1: I don't want to dishonor Marlene's memory that way. Marlene 205 00:14:26,080 --> 00:14:28,080 Speaker 1: had no next of kin, no one connected to her 206 00:14:28,120 --> 00:14:31,120 Speaker 1: is still alive. But I would like us to take 207 00:14:31,160 --> 00:14:35,360 Speaker 1: a moment to acknowledge her makes your rest in peace. 208 00:14:37,320 --> 00:14:40,280 Speaker 1: I would also like to acknowledge that, thanks to Hank Briggs, 209 00:14:41,000 --> 00:14:44,080 Speaker 1: this is the oldest cold case ever to have been solved. 210 00:14:45,800 --> 00:14:49,840 Speaker 1: But now we're faced with a new question. What the 211 00:14:49,840 --> 00:14:55,040 Speaker 1: hell happened to Samuel Tench? Throughout his life and career. 212 00:14:55,080 --> 00:14:58,680 Speaker 1: Samuel Tench was incredibly reclusive. No family, no close friends 213 00:14:58,760 --> 00:15:01,280 Speaker 1: per se, only acquaintance is so he was free to 214 00:15:01,280 --> 00:15:04,040 Speaker 1: travel to any destination anywhere on the planet at any 215 00:15:04,080 --> 00:15:08,800 Speaker 1: moment in time, and he did. The only person in 216 00:15:08,840 --> 00:15:11,560 Speaker 1: his life with whom he had consistent contact with was 217 00:15:11,640 --> 00:15:16,200 Speaker 1: his art dealer and occasional confident, Theodore Redmond. Redmond said 218 00:15:16,200 --> 00:15:18,400 Speaker 1: that he had learned to live with the disappearing acts. 219 00:15:18,400 --> 00:15:22,440 Speaker 1: It was part of Tench's creative process, he said, and 220 00:15:22,440 --> 00:15:25,400 Speaker 1: whether it had been weeks or even months, when Tench 221 00:15:25,440 --> 00:15:27,960 Speaker 1: would return from a pilgrimage, he would do so without 222 00:15:28,000 --> 00:15:32,480 Speaker 1: apology or explanation, as if he had never left. When 223 00:15:32,520 --> 00:15:34,800 Speaker 1: Redmond couldn't get in touch with Tench around the fall 224 00:15:34,840 --> 00:15:38,400 Speaker 1: of nineteen fifty seven, it was perfectly natural for him 225 00:15:38,440 --> 00:15:40,320 Speaker 1: to think the Tench had left on another one of 226 00:15:40,360 --> 00:15:45,080 Speaker 1: his excursions. By March of nineteen fifty nine, and still 227 00:15:45,120 --> 00:15:48,520 Speaker 1: with no word from him, Redmond just assumed the Tench 228 00:15:48,600 --> 00:15:51,560 Speaker 1: didn't want to be found, that he had decided to 229 00:15:51,640 --> 00:15:56,360 Speaker 1: leave the art world his way. In the summer of 230 00:15:56,440 --> 00:16:00,920 Speaker 1: nineteen Redmond sold all of Samuel Tench's assets at auction, 231 00:16:02,560 --> 00:16:05,560 Speaker 1: all except for the portraits that Redmond found in the 232 00:16:05,640 --> 00:16:09,520 Speaker 1: studio behind the Garden. Those went back to New York 233 00:16:09,520 --> 00:16:11,960 Speaker 1: with Redmond. Some were sold somewhere loan to museums and 234 00:16:12,000 --> 00:16:19,120 Speaker 1: other galleries. But that's all irrelevant now. As of today, 235 00:16:20,400 --> 00:16:22,720 Speaker 1: you won't be able to find one of the twenty 236 00:16:22,760 --> 00:16:25,840 Speaker 1: seven Samuel Tant water color portraits anywhere in the world, 237 00:16:25,840 --> 00:16:29,200 Speaker 1: not in the Music Stockholm, the Tate, the Broad, Googgenheim, 238 00:16:29,240 --> 00:16:33,440 Speaker 1: a private collector's home, and nowhere they've all been collected 239 00:16:33,440 --> 00:16:38,360 Speaker 1: as evidence because of Hanks tapes. Think about this tentious 240 00:16:38,400 --> 00:16:41,680 Speaker 1: portraits painted in the blood of his twenty seven victims 241 00:16:41,920 --> 00:16:44,480 Speaker 1: were hanging in some of the most famous spaces in 242 00:16:44,520 --> 00:16:49,760 Speaker 1: the world for five decades, seen by billions of unaware patrons, 243 00:16:49,800 --> 00:16:52,800 Speaker 1: some of whom probably got very close to the canvas, 244 00:16:52,840 --> 00:16:59,640 Speaker 1: as art observers tend to do. That's insane, and was 245 00:16:59,680 --> 00:17:02,360 Speaker 1: even more insane is that there was an exhibition that 246 00:17:02,400 --> 00:17:04,560 Speaker 1: took place at the Redmond Gallery in New York City, 247 00:17:04,560 --> 00:17:10,840 Speaker 1: and of all twenty seven portraits, all twenty seven victims 248 00:17:10,880 --> 00:17:14,720 Speaker 1: were in the same room at the same time, nobody knew, 249 00:17:15,640 --> 00:17:17,640 Speaker 1: and when the exhibition was over, they were each ship 250 00:17:17,640 --> 00:17:24,200 Speaker 1: back to wherever they came from until today. Now. Remember 251 00:17:24,320 --> 00:17:27,000 Speaker 1: Tench said he only intended for there to be twenty 252 00:17:27,080 --> 00:17:32,720 Speaker 1: seven Marlene made, but there are only twenty seven portraits. 253 00:17:34,520 --> 00:17:41,960 Speaker 1: Where is Marlene's watercolor portrait? It was never found. Redmond 254 00:17:42,000 --> 00:17:47,040 Speaker 1: only brought twenty seven back to New York with him. 255 00:17:47,119 --> 00:17:50,400 Speaker 1: So the mystery of the Angel of Vine is solved, 256 00:17:50,480 --> 00:17:54,439 Speaker 1: only to become the mystery of Samuel Tench and the 257 00:17:54,480 --> 00:18:00,280 Speaker 1: mystery of Hank Briggs for Tench? How many victims were 258 00:18:00,280 --> 00:18:03,080 Speaker 1: there prior to him perfecting his art? And will we 259 00:18:03,119 --> 00:18:07,800 Speaker 1: ever find out the names of the For Hank? Why 260 00:18:07,800 --> 00:18:11,560 Speaker 1: didn't he tell anyone? I'll tell you what I think. 261 00:18:11,880 --> 00:18:15,199 Speaker 1: I think Hank Briggs killed Samuel Tench. I think he 262 00:18:15,280 --> 00:18:17,159 Speaker 1: was face to face with a serial killer who he 263 00:18:17,240 --> 00:18:21,720 Speaker 1: knew would kill again. Now there's absolutely zero proof that 264 00:18:21,760 --> 00:18:26,600 Speaker 1: he killed Tench? So why hide the tapes? Guilt Shane? 265 00:18:28,800 --> 00:18:31,479 Speaker 1: Why did Hank become the recluse that Samuel Tench has been? 266 00:18:33,480 --> 00:18:36,040 Speaker 1: Is that the tradeoff once you've killed? I don't know, 267 00:18:38,040 --> 00:18:42,080 Speaker 1: but that's what became of him. And maybe I'm wrong. 268 00:18:42,280 --> 00:18:44,679 Speaker 1: Maybe Hank just walked away that day, out of the garden, 269 00:18:44,720 --> 00:18:46,439 Speaker 1: down the hall and into his car with ten tho 270 00:18:46,720 --> 00:18:49,479 Speaker 1: in cash. And maybe Tench did retire from the art 271 00:18:49,480 --> 00:18:52,000 Speaker 1: world to spend the rest of his days in solitude overseas. 272 00:18:52,080 --> 00:18:58,119 Speaker 1: It's possible, but I don't believe that, and Hank's family 273 00:18:58,160 --> 00:19:02,000 Speaker 1: didn't either. You know how, when every engagement story one 274 00:19:02,040 --> 00:19:04,360 Speaker 1: person gets awkward and clumsy and the other freaks out. 275 00:19:05,359 --> 00:19:08,879 Speaker 1: This was that? Who is who? In this case? I 276 00:19:09,200 --> 00:19:13,720 Speaker 1: freaked out? Really after we spoke, Okay, I was gonna say, 277 00:19:13,760 --> 00:19:16,800 Speaker 1: you sounded perfectly calm on the phone, because my first 278 00:19:16,800 --> 00:19:21,920 Speaker 1: reaction was confusion, then shock, then freak out. I probably 279 00:19:21,920 --> 00:19:24,159 Speaker 1: should have led with are you sitting down? All you 280 00:19:24,280 --> 00:19:27,479 Speaker 1: said was he solved it? And then I have no 281 00:19:27,560 --> 00:19:30,800 Speaker 1: idea what you said, but I did hear it was Tench. 282 00:19:31,280 --> 00:19:33,720 Speaker 1: And that's when the adrenaline kicked in. When did she 283 00:19:33,800 --> 00:19:35,440 Speaker 1: tell you? As soon as we got off the phone, 284 00:19:35,800 --> 00:19:39,400 Speaker 1: she never calls the restaurant. Scared me half to death 285 00:19:39,640 --> 00:19:41,520 Speaker 1: middle of the rush and Dale comes to the front 286 00:19:41,560 --> 00:19:44,280 Speaker 1: and says, it's bet it's urgent. I don't I don't 287 00:19:44,320 --> 00:19:46,520 Speaker 1: even know what I said. You were yelling. I need 288 00:19:46,560 --> 00:19:48,240 Speaker 1: the art for Oscar. I need the art for Oscar. 289 00:19:48,280 --> 00:19:49,919 Speaker 1: I need to send the book in the art to Oscar. 290 00:19:50,000 --> 00:19:53,280 Speaker 1: So I said, go again a tiger, right, No, that 291 00:19:53,480 --> 00:19:59,480 Speaker 1: wasn't it. Oh right? The keys? Okay. What I said 292 00:19:59,720 --> 00:20:03,400 Speaker 1: was why the hell are you calling me when you've 293 00:20:03,400 --> 00:20:06,960 Speaker 1: got a set of keys, Go get them tiger. Then 294 00:20:07,040 --> 00:20:10,520 Speaker 1: I told her about our call and Hank and Tench, 295 00:20:10,920 --> 00:20:13,639 Speaker 1: and all I could think was get that artwork out 296 00:20:13,680 --> 00:20:16,320 Speaker 1: of my house? Is all you said. All you said 297 00:20:16,440 --> 00:20:19,520 Speaker 1: was get that artwork out of my house. Just to 298 00:20:19,560 --> 00:20:22,720 Speaker 1: clarify for our listeners, Um, what art are we talking 299 00:20:22,720 --> 00:20:27,040 Speaker 1: about here? The art that we found in the ike, Yes, 300 00:20:27,040 --> 00:20:32,560 Speaker 1: specifically three rolled canvases of Samuel Tench originals. I want 301 00:20:32,560 --> 00:20:35,000 Speaker 1: to make it clear to our listeners that they are 302 00:20:35,119 --> 00:20:39,120 Speaker 1: not three of the absolutely not. No. I have seen 303 00:20:39,160 --> 00:20:42,080 Speaker 1: these works, I have handled them. They were definitely painted 304 00:20:42,119 --> 00:20:46,720 Speaker 1: with the crilics. It was paint, thank god. Now you 305 00:20:46,760 --> 00:20:51,159 Speaker 1: also mentioned a book, yes, Collected Poems of Robert's Service. 306 00:20:52,119 --> 00:20:57,520 Speaker 1: And what was the inscription? Hank to paint and canvas 307 00:20:57,520 --> 00:21:05,800 Speaker 1: Samuel Hanks toast the day Tench hired him? So creepy. Um, 308 00:21:05,880 --> 00:21:09,200 Speaker 1: let's let's shift subjects. What I really want to ask 309 00:21:09,240 --> 00:21:11,280 Speaker 1: you about is Hank. Now, when I met you both 310 00:21:11,280 --> 00:21:12,960 Speaker 1: almost a year ago, how many of the tapes did 311 00:21:12,960 --> 00:21:16,840 Speaker 1: you listen to? None, just a sample? And now how 312 00:21:16,840 --> 00:21:21,000 Speaker 1: many of you listened to all of them? All of them? 313 00:21:21,080 --> 00:21:24,200 Speaker 1: What did your sister say? She has no memory of 314 00:21:24,280 --> 00:21:26,879 Speaker 1: him at all, so it didn't really make a difference 315 00:21:26,880 --> 00:21:29,639 Speaker 1: to her. She thought it was a good story, but 316 00:21:30,200 --> 00:21:33,400 Speaker 1: that was about it. What's the biggest difference for you? Now? 317 00:21:34,880 --> 00:21:43,400 Speaker 1: I definitely think he killed tench mm hmm. Yeah, I'm 318 00:21:43,480 --> 00:21:47,959 Speaker 1: kind of leaning that way too. What's the hesitation? I 319 00:21:48,000 --> 00:21:51,320 Speaker 1: don't know. I I don't think there's any way to 320 00:21:51,359 --> 00:21:54,240 Speaker 1: explain what it feels like to get to know your grandfather, 321 00:21:54,320 --> 00:21:56,119 Speaker 1: get to like the man that you're getting to know, 322 00:21:56,280 --> 00:21:57,879 Speaker 1: and then all of a sudden have to think of 323 00:21:57,920 --> 00:22:02,000 Speaker 1: the possibility that this person who you really like may 324 00:22:02,040 --> 00:22:06,120 Speaker 1: have murdered someone. It's does that make any sense? It's 325 00:22:06,240 --> 00:22:09,520 Speaker 1: it's difficult to understand. Yeah, I know, perfect sense, I 326 00:22:09,520 --> 00:22:13,720 Speaker 1: get and see. For me, it's kind of the opposite. 327 00:22:14,880 --> 00:22:17,080 Speaker 1: I liked him more for the idea that he was 328 00:22:17,119 --> 00:22:19,000 Speaker 1: with a man he knew would kill again have given 329 00:22:19,040 --> 00:22:23,400 Speaker 1: the chance, and he dealt with it. Interesting. I mean, 330 00:22:23,440 --> 00:22:26,919 Speaker 1: I'm not advocating for vigilantism, but in this case, you know, 331 00:22:27,680 --> 00:22:31,119 Speaker 1: greater good and all that. Did you wonder if maybe 332 00:22:31,119 --> 00:22:32,840 Speaker 1: that's why he didn't come home when it was done. 333 00:22:34,040 --> 00:22:38,080 Speaker 1: I didn't. Actually, what I thought about the most was 334 00:22:38,160 --> 00:22:41,679 Speaker 1: that my mother had absolutely no idea that any of 335 00:22:41,720 --> 00:22:47,040 Speaker 1: this was going on, and I wish she could have known. 336 00:22:47,760 --> 00:22:49,520 Speaker 1: I think it would have answered a lot of questions 337 00:22:49,520 --> 00:22:54,440 Speaker 1: for her. Didn't answer questions, you arette, Yeah, I mean sure, 338 00:22:55,840 --> 00:22:58,680 Speaker 1: I have a better understanding of who he was, and 339 00:22:58,960 --> 00:23:01,520 Speaker 1: that would make sense. And so if that's why he disappeared, 340 00:23:03,160 --> 00:23:08,280 Speaker 1: did it change how you felt about him? You know, 341 00:23:10,080 --> 00:23:16,000 Speaker 1: I don't know yet. I definitely felt sorry for him, 342 00:23:16,320 --> 00:23:24,200 Speaker 1: but how I feel about him, Uh, it's a it's 343 00:23:24,200 --> 00:23:27,640 Speaker 1: a good question. I'll have to get back to you, 344 00:23:27,640 --> 00:23:33,720 Speaker 1: you know, all you do that right, please don't well. 345 00:23:33,760 --> 00:23:36,440 Speaker 1: I think I can safely speak for an entire community 346 00:23:36,440 --> 00:23:40,480 Speaker 1: of people when I say thank you, and personally, I 347 00:23:40,520 --> 00:23:42,920 Speaker 1: would like to thank you both very very much for 348 00:23:42,960 --> 00:23:45,160 Speaker 1: trusting me with this man's life. Thank you for reaching 349 00:23:45,160 --> 00:23:47,159 Speaker 1: out to me in the first place, and thank you 350 00:23:47,200 --> 00:23:50,400 Speaker 1: for letting me into your home and your family history, 351 00:23:51,080 --> 00:23:52,919 Speaker 1: and for being so open to all of my questions. 352 00:23:53,160 --> 00:23:57,119 Speaker 1: Thank you, seriously, thank you for taking it on this responsibility. 353 00:23:57,880 --> 00:24:00,760 Speaker 1: That was my pleasure, and I'm fairly confident that this 354 00:24:00,840 --> 00:24:10,480 Speaker 1: experience will remain highlight I think that does it, Oh 355 00:24:11,000 --> 00:24:16,479 Speaker 1: my plight. When I started this project, I didn't think 356 00:24:16,720 --> 00:24:20,720 Speaker 1: there would be a definitive answer to my questions. I 357 00:24:20,720 --> 00:24:23,080 Speaker 1: thought we would learn more details in the Angel Vine case, 358 00:24:23,160 --> 00:24:25,840 Speaker 1: more facts that would elaborate on what we already knew. 359 00:24:27,200 --> 00:24:29,440 Speaker 1: But I really didn't think there would be an actual ending. 360 00:24:30,600 --> 00:24:34,000 Speaker 1: There were so many tapes There are so many tapes, 361 00:24:34,600 --> 00:24:36,560 Speaker 1: and they spanned from the last tape that I played 362 00:24:36,600 --> 00:24:40,320 Speaker 1: you well into Hank's old age, And like Beth and Phillis, 363 00:24:40,400 --> 00:24:42,680 Speaker 1: I listened to everything that Hank Briggs had to say. 364 00:24:44,240 --> 00:24:47,200 Speaker 1: Here was a family man with a great sense of humor, 365 00:24:47,440 --> 00:24:50,119 Speaker 1: assault of the earth, do the right things, stand up, 366 00:24:50,160 --> 00:24:52,560 Speaker 1: guy who didn't have a mean bone in his body, 367 00:24:53,160 --> 00:24:54,919 Speaker 1: yet to catch a killer, he may have had to 368 00:24:54,960 --> 00:24:59,240 Speaker 1: become one. What does that do to a person like Hank, 369 00:25:00,400 --> 00:25:02,840 Speaker 1: For someone who was a good cop and wanted more 370 00:25:02,880 --> 00:25:07,240 Speaker 1: than anything to be a great detective. Whatever went on 371 00:25:07,320 --> 00:25:09,240 Speaker 1: in that studio after he stopped the tape, that is 372 00:25:09,240 --> 00:25:13,879 Speaker 1: another mystery altogether. But if Hank the cop vanished that day, 373 00:25:13,920 --> 00:25:16,639 Speaker 1: then why not destroy the tapes? Why not destroy the 374 00:25:16,800 --> 00:25:20,840 Speaker 1: art in the book of poetry? Unless that's all that 375 00:25:21,040 --> 00:25:23,000 Speaker 1: was left to remind him of who he was and 376 00:25:23,040 --> 00:25:27,320 Speaker 1: what he had sacrificed it all for Hank Briggs with 377 00:25:27,320 --> 00:25:31,840 Speaker 1: a damn good detective, even if he didn't have a 378 00:25:31,880 --> 00:25:35,199 Speaker 1: badge to show for it. I for one hope that 379 00:25:35,280 --> 00:25:38,760 Speaker 1: he knew that, and that he left all of this 380 00:25:38,920 --> 00:25:42,480 Speaker 1: for us so that we would too. There was a 381 00:25:42,520 --> 00:25:46,240 Speaker 1: lot of information here, and I tried to compile it 382 00:25:46,240 --> 00:25:49,159 Speaker 1: as efficiently and as effectively as possible in order to 383 00:25:49,200 --> 00:25:53,120 Speaker 1: bring you this story. It was an important story. Hank 384 00:25:53,200 --> 00:25:56,520 Speaker 1: was onto something when he started recording the world around him, 385 00:25:56,560 --> 00:25:58,840 Speaker 1: and by taking the time to stop and listen, he 386 00:25:58,960 --> 00:26:03,879 Speaker 1: didn't have to miss a thing. As I leave you 387 00:26:03,920 --> 00:26:06,639 Speaker 1: with Hank's final words, I would like to say, thank you, 388 00:26:08,040 --> 00:26:12,359 Speaker 1: thank you for listening. I'm Oscar Simmons and this was 389 00:26:13,520 --> 00:26:24,679 Speaker 1: the Angel of Vine. Jeesy to cry that you're beaten 390 00:26:25,200 --> 00:26:31,760 Speaker 1: and die, jeezy to crawfish and crawl, but to fight, 391 00:26:32,240 --> 00:26:37,000 Speaker 1: and to fight when hoops out of sight, Well that's 392 00:26:37,080 --> 00:26:41,200 Speaker 1: the best game of them all. And though you come 393 00:26:41,240 --> 00:26:49,400 Speaker 1: out of each grueling, bout, broken, battered and scarred, just 394 00:26:49,440 --> 00:26:55,880 Speaker 1: have one more try. It stead easy to die. It's 395 00:26:55,920 --> 00:27:14,960 Speaker 1: the keeping on living that's hard. H I one time, come, 396 00:27:22,119 --> 00:27:44,600 Speaker 1: oh way is my a joel E excuse me while 397 00:27:45,160 --> 00:28:02,200 Speaker 1: I did SUPPI thank you for listening to the Angel 398 00:28:02,240 --> 00:28:04,880 Speaker 1: of Vine. If you'd like to support us, please leave 399 00:28:04,920 --> 00:28:07,960 Speaker 1: us a review and tell your friends to subscribe. The 400 00:28:08,000 --> 00:28:11,800 Speaker 1: Angel of Vine is available on Apple Podcasts, Spotify, Stitcher, 401 00:28:12,000 --> 00:28:15,119 Speaker 1: and all major podcast apps. If you want more of 402 00:28:15,160 --> 00:28:17,920 Speaker 1: the Angel of Vine, please check out our bonus episodes 403 00:28:17,960 --> 00:28:22,920 Speaker 1: and extended episodes available exclusively on Stitcher Premium, including cast interviews, 404 00:28:23,040 --> 00:28:26,760 Speaker 1: behind the scenes stories, journeys through Old Hollywood, and much more. 405 00:28:30,280 --> 00:28:35,520 Speaker 1: This season's performances by Joe Manganello, Constant Zimmer, Camilla Luddington, 406 00:28:35,960 --> 00:28:41,719 Speaker 1: Oliver Vakhre, Alan Tuteck, Mike Colter, Misha Collins, Alfred Molina, 407 00:28:42,200 --> 00:28:47,600 Speaker 1: Kary Peyton, Nolan North, Cree, Summer, Rebecca Field, Eric Bowsa, 408 00:28:48,080 --> 00:28:54,160 Speaker 1: Matthew Mercer, Travis Willingham, Cary Walgren, Courtney Taylor, Steve Bloom, 409 00:28:54,160 --> 00:29:00,520 Speaker 1: Mary Elizabeth McGlenn, Coco Lamaru, Tom Sibley, Ali Ruddy, Amari Williams, 410 00:29:00,920 --> 00:29:07,240 Speaker 1: William DeMeritt Delaney, Hilen Patrick, Eazel, Philip Mershamon The Angel 411 00:29:07,280 --> 00:29:10,840 Speaker 1: Levine was written by Oliver Vacare, directed by E. Ryan Martz, 412 00:29:11,240 --> 00:29:14,400 Speaker 1: Story by E. Ryan Martz, Jason sum Walton, Oliver Vacare. 413 00:29:14,920 --> 00:29:18,400 Speaker 1: Lead sound designer was Joel Robbie. Additional sound design by 414 00:29:18,480 --> 00:29:22,640 Speaker 1: Kevin du Ziblon, Matt Tamarello and Andrew Vernon. Recording engineer 415 00:29:22,680 --> 00:29:27,200 Speaker 1: was Colin Rodgers. Produced by Vox Popular Incorporated in association 416 00:29:27,240 --> 00:29:31,640 Speaker 1: with Forever Dog Podcast Network Associate producers William chip Beaman 417 00:29:31,800 --> 00:29:37,280 Speaker 1: and Julia Bianco of the Holp Network. Recorded at Roundabout Entertainment, Burbank, California. 418 00:29:37,720 --> 00:29:41,440 Speaker 1: Angel I's performed by Desy Dennis Dyllan, Piano arrangement by 419 00:29:41,520 --> 00:29:44,840 Speaker 1: James Harper, composed by Matt Dennis, Lyrics by Earl Brent, 420 00:29:45,440 --> 00:29:48,920 Speaker 1: Cover art by Studio Lissara. This has been season one 421 00:29:49,200 --> 00:29:51,800 Speaker 1: of the Angel Levine. Thank you for listening.