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Murder In Hollywood | Justified Ep1 · DEADBUG SAYS

0:03
[SPEAKER_00]: Beverly Hills, good Friday, the 4th April, 1558, 730 North Bedford Drive, right to the house, swanky, with the pink bedroom, will be starlighting in one nobody's shooting.
0:35
[SPEAKER_00]: On the floor, a 32-year-old man is making what land a tonneau will let a call under oath.
0:44
[SPEAKER_00]: The most horrible noises in his throat.
0:48
[SPEAKER_00]: Gaspin, like he went around and I guess he was, but on his own blood.
0:58
[SPEAKER_00]: There is one hole in him, not a frenzy.
1:04
[SPEAKER_00]: had a dozen wild swings, one thrust, one eight inch kitchen knife, through the abdomen, the liver, to be precise, a portal vein.
1:21
[SPEAKER_00]: He bleeds out internally, so fast a doctor in the house cannot do a thing.
1:29
[SPEAKER_00]: The man on the carpet,
1:35
[SPEAKER_00]: Experiencing.
1:37
[SPEAKER_00]: Mickey Cohen's boy.
1:39
[SPEAKER_00]: With mob ties.
1:42
[SPEAKER_00]: With the sort of handsome, that looks like a worn-in sign.
1:47
[SPEAKER_00]: A worn-in sign that women rarely heed.
1:51
[SPEAKER_00]: Standing, shaking in the doorway, is a 14-year-old child.
1:56
[SPEAKER_00]: And a night gown.
1:58
[SPEAKER_00]: A name is Cheryl Crane.
2:02
[SPEAKER_00]: She's the only child of Lendatana.
2:05
[SPEAKER_00]: Just what a girl, MGM product, actress, Oscar nominated Cox Accavaja.
2:14
[SPEAKER_00]: I guess one could literally wax.
2:17
[SPEAKER_00]: And this is where our story begins.
2:45
[SPEAKER_00]: Buddha, let's never clean, lust, hate, anger, revenge, and sometimes it's just rather, and there are those who love to pretend that Buddha is simple, it isn't, it's hunger, it's hate,
3:15
[SPEAKER_00]: Sometimes it's nothing at all, just bad luck with the blade.
3:21
[SPEAKER_00]: And then there are the motors that we can look back at, and we can now say, we're justified.
3:44
[SPEAKER_00]: Hollywood, in the 1950s, was a beautiful lie.
3:51
[SPEAKER_00]: Every leading man had a shitty thick.
3:54
[SPEAKER_00]: And every leading lady was known at the abortion clinics.
3:59
[SPEAKER_00]: Studios still sold purity.
4:02
[SPEAKER_00]: White gloves, long, frilly dresses.
4:06
[SPEAKER_00]: Chetch on something.
4:08
[SPEAKER_00]: Wait until you married, teenagers hanging out at soda joints, you know, the school.
4:14
[SPEAKER_00]: But behind the 1950s, niceties, in the billboards, in the photo ops, there was a cesspool, and it was pearls.
4:25
[SPEAKER_00]: nuggets and beetles, and that's in a nice part of town, creeps who smiled for the cameras, those faces broke, as soon as the shooting stopped, and they were usually down on their knees.
4:39
[SPEAKER_00]: And the mob?
4:40
[SPEAKER_00]: Hmm.
4:41
[SPEAKER_00]: Well, they were no rumour, mob's the Mickey Colon, eight in the same joints as the producers in the director's, and it was the wise guys who were dating the women on the billboards.
4:52
[SPEAKER_00]: A bodyguard could become a boyfriend.
4:56
[SPEAKER_00]: A boy friend could become a problem.
5:01
[SPEAKER_00]: A problem could become a photograph.
5:06
[SPEAKER_00]: The press agents buried before breakfast.
5:09
[SPEAKER_00]: Image was the real product.
5:13
[SPEAKER_00]: A syphilitic town, broken dreams, where VD, with the order of the day,
5:21
[SPEAKER_00]: Hell, you'd be more likely coming up lucky on Blackjack than you were to stick in your dick and sum up in common actress and not have pus who's now to your pick-up by the end of the week.
5:34
[SPEAKER_00]: And yeah, sure, no were the place that dreams all right.
5:38
[SPEAKER_00]: broken dreams.
5:41
[SPEAKER_00]: Where a favor will kill you as quick as a bullet.
5:45
[SPEAKER_00]: My image was the real product.
5:47
[SPEAKER_00]: Govadential magazine, a gossip rag, were camped outside everybody's door.
5:52
[SPEAKER_00]: We're a town that's still ran on silence.
5:55
[SPEAKER_00]: Pay off the tabloids, hide the young boy, ship the girl to Mexico.
6:01
[SPEAKER_00]: Give a doctor a couple of hundred dollars to keep his mouth shut.
6:05
[SPEAKER_00]: Call a lawyer, whose number
6:09
[SPEAKER_00]: but in the 1950s, Hollywood was also a town in transition.
6:16
[SPEAKER_00]: The golden columns of Hollywood were losing a bit of their sheen.
6:21
[SPEAKER_00]: Television was eating into its audience, and the fixes and the morality clauses of the 30s and 40s.
6:30
[SPEAKER_00]: Well, that would become an harder.
6:34
[SPEAKER_00]: I will bulge in of the seams.
6:36
[SPEAKER_00]: Like one of those handsome leading man's pants, while he will watch in the pool boy through his job.
6:43
[SPEAKER_00]: And that's what Hollywood would become.
6:46
[SPEAKER_00]: They were dying.
6:48
[SPEAKER_00]: The secrets weren't going away as quick, and I guess it's safe to say that people were getting sloppy.
6:56
[SPEAKER_00]: And that was the city that Lanetana worked in.
7:00
[SPEAKER_00]: A factory that's all glamour and rented muscle.
7:05
[SPEAKER_00]: It plays where you could be the most photographed woman alive and still open your front door to a man who was muscle for the mob with dirty little secrets that everyone patented, not to know about.
7:33
[SPEAKER_00]: Julia Jean Turner was born February 8th, 1921 and Wallace Idaho, a silver mine in town, and the Panhandle, born houses smelt a smoke, Elx Club on Saturday nights.
7:53
[SPEAKER_00]: Hell, you'd be hard pressed to find a man wearing a tie.
7:58
[SPEAKER_00]: Unless it were to his wedding, or to his funeral.
8:03
[SPEAKER_00]: John Virgil Turner was a minor, a failed to dry cleaner, a tap dancer, but no one called him John.
8:12
[SPEAKER_00]: He was simply known as Virgil.
8:15
[SPEAKER_00]: The mother, Meldred, was a teenager when she married him.
8:19
[SPEAKER_00]: Lana, being there only child, he'd give a tap dance and lessons in the kitchen because the floor sounded right.
8:25
[SPEAKER_00]: I guess he had to let the dream go, but he was always a bit sad.
8:31
[SPEAKER_00]: And he had that sadness at the bottom of the bottle.
8:34
[SPEAKER_00]: They put Lana in theater class, but when the money ran out, they backed up the car and had it for San Francisco, looking for better things.
8:44
[SPEAKER_00]: Lana is now six.
8:49
[SPEAKER_00]: The parents' split, Meldre Bwachs, Hennelanna goes to anyone's house who will watch a while a mother tries to scrape together a living.
9:02
[SPEAKER_00]: On the night of the 14th of December 1913, Virgil wins a fat, budget cash, and a floating crap game, and he can't believe his luck, finally making good, and he stuffs it in a sock, and he walks away with a big shitty and grin on his face, thinking he's gonna finally be able to get Lana, those dance classes that she wanted.
9:26
[SPEAKER_00]: But fate's a fickle dealer.
9:29
[SPEAKER_00]: She'll let you sit on a hot hand all night, then deal from the bottom of the deck, and smile, luxe in heaven, who you'll name.
9:37
[SPEAKER_00]: And Virgil walked into the night for the smile on his face.
9:41
[SPEAKER_00]: That wouldn't last.
9:43
[SPEAKER_00]: Because the next morning, he was found on the street, on the corner of Mariposa, and Minnesota.
9:50
[SPEAKER_00]: Head smashed in from behind, dripping out like guacamole,
9:57
[SPEAKER_00]: His shotgun, the killer was never named, she was nine, but her remains unsolved.
10:09
[SPEAKER_00]: And that was the first body in Lana Turner's life, but it wouldn't be the last.
10:17
[SPEAKER_00]: It was after her ex-husband's brutal murder, the Maldron, couldn't stay in the side of San Francisco, so she backed up everything that she could fit in the suitcase, and her and Lana boarded a greyhound, and they moved to Hollywood.
10:33
[SPEAKER_00]: By all accounts, Lana was a good-looking kid, and she got attention from men only.
10:38
[SPEAKER_00]: As young as 12, she was getting unsolicited glances and whistles from the local men.
10:45
[SPEAKER_00]: The first one in her class to get tits, the first one to get a boy friend.
10:49
[SPEAKER_00]: And Lana didn't like school too much.
10:52
[SPEAKER_00]: She preferred to hang out in the malt shops in Hollywood.
10:55
[SPEAKER_00]: Read the latest gossip magazines.
10:57
[SPEAKER_00]: It was there she was discovered.
11:00
[SPEAKER_00]: Some sleazy agents saw her packed into a sweater, noticed her visible charms.
11:06
[SPEAKER_00]: They bleached the hair, got her a first contract at MGM.
11:11
[SPEAKER_00]: Give her dance lessons, all the things she dropped off.
11:15
[SPEAKER_00]: That's where she got her nickname, The Sweater Girl, a nickname that she'd have for the rest of her life.
11:22
[SPEAKER_00]: I lay enough, I was called the Sweater Guy at school, to wish I have no fucking idea why, because I didn't have breasts, and I certainly didn't wear a sweater.
11:31
[SPEAKER_00]: But that nickname is important, because it tells you what Hollywood that she was for.
11:38
[SPEAKER_00]: She wore a pair of tits, and the camera loved those tits, the way the lights sat on them, and the public loved those tits as well, and the love the idea of a walk-and-class girl from Wallace, Idaho, who could walk into a soda fountain, and come out of goddess.
11:56
[SPEAKER_00]: Then she went on to spend 18 years at MGM.
12:00
[SPEAKER_00]: was one of the highest paid women in America, a pin-up and a sex symbol, painted on the side of every bomb, a drop-and-bombs on the nazis.
12:11
[SPEAKER_00]: Not bad.
12:13
[SPEAKER_00]: Considering all the contemporaries were working in an office typing, what their highest aspirations may be to suck off the bus by this wife's back, so they could de-throner and get the house of the cushy life.
12:27
[SPEAKER_00]: But then there was one role in her career that changed the temperature in the room.
12:32
[SPEAKER_00]: The post-man always rings twice, in 1946, playing the seductress, the vamp, chorus myth, the wife who wants more than just working in a diner, takes on a lover and decides to have her husband killed.
12:49
[SPEAKER_00]: And maybe that's where set the tone of what people thought of them.
12:52
[SPEAKER_00]: I said, Dr. S. This is the performance where suddenly the critics saw her more than just a set of tits, and white people still take a seriously.
13:03
[SPEAKER_00]: She was no longer a joke.
13:05
[SPEAKER_00]: She was a commercial weapon from there as she went on to the bat in the beautiful, playing a movie star coming apart.
13:14
[SPEAKER_00]: 1957 Peyton plays playing a single mother with secrets in a small town, a Academy Award nomination for Best Actress.
13:23
[SPEAKER_00]: Then TV came along, Tarnish and the glamour are Hollywood, with its cheap programming, the throne and the kings and queens, and their multimillion dollar contracts, an MGM led a go in 1956, and then there was the general decline of many big stars in Hollywood.
13:42
[SPEAKER_00]: Atlanta became known more for her role-matches than anything else and when the studio cut her loose She were independent now of freelance and work that once a week is defined But husband's on the other hand, Atlanta collected husbands the way the town collected headlines Audit Shaw, a band leader, lasted four months
14:06
[SPEAKER_00]: She laid her cold at her college education.
14:09
[SPEAKER_00]: I guess it was his room at Proclivity for Sodomy and Young Boys.
14:14
[SPEAKER_00]: Then came Steve Crane.
14:16
[SPEAKER_00]: They looked in 1942.
14:18
[SPEAKER_00]: And while on Honeymoon, she found out it was still married.
14:21
[SPEAKER_00]: They had the remarried in 43.
14:23
[SPEAKER_00]: Hope and maybe a baby would save it.
14:25
[SPEAKER_00]: Cheryl arrived on the 25th of July that same year.
14:29
[SPEAKER_00]: But the marriage were already cracking at the seams.
14:32
[SPEAKER_00]: By 44, Crane was gone from the house, and Cheryl was at the force statistic before she could walk.
14:40
[SPEAKER_00]: After that, there was money and muscle in rotation.
14:43
[SPEAKER_00]: Millionaire, Bob, Topping, then Lex Barker, who played Tarzan, got the role more because he looked good in a line cloth, then because he could act.
14:53
[SPEAKER_00]: Each won a public wedding, and acquired a mess.
14:58
[SPEAKER_00]: By the time Johnny Stampenado showed up with his flowers in his fake name and his Grace Paul Chom, the pattern was set.
15:07
[SPEAKER_00]: Sholana could stop a camera.
15:10
[SPEAKER_00]: But she couldn't make a man stay decent.
15:14
[SPEAKER_00]: Cheryl Christina Crane, father Joseph Stephen Crane, actor, who became a restaurateur.
15:23
[SPEAKER_00]: Parents divorced when she was a baby.
15:26
[SPEAKER_00]: famous at birth, which is a curse dressed as a gift.
15:31
[SPEAKER_00]: And Annie's grandmother, Meldred, boarding school, the child of a woman whose job is to be looked at, to be tasty, which means the child learns to be looked at, and to be tasty.
15:48
[SPEAKER_00]: Cheryl would later write in Detua, a Hollywood story, published in 1988, that Lex Baca, the guy who looked good in a loincloth, husband number four, had sexually abused her throughout the relationship, starting when she was 10.
16:04
[SPEAKER_00]: I show hope he won't wear an a loincloth.
16:07
[SPEAKER_00]: When she finally got up the courage to tell her mother to see who having a sexual relationship with her husband, her mother, the forced Tazan.
16:16
[SPEAKER_00]: And this needs to be put on record because if you skip this, you won't be able to understand in a child's mind.
16:24
[SPEAKER_00]: How an adult male, in her home, can do what he wants until someone stops him.
16:31
[SPEAKER_00]: Was Lana done her a good mother?
16:33
[SPEAKER_00]: Who can say, that's out of my area of expertise, and not a question for me, but certainly a question that juvenile court would be asking.
16:43
[SPEAKER_00]: He was a work in actress who dissipated the pitches and husbands.
16:47
[SPEAKER_00]: She was also by Cheryl's own later account, the center of the girls' loyalty.
16:54
[SPEAKER_00]: Cheryl was devoted.
16:56
[SPEAKER_00]: That word matters.
16:57
[SPEAKER_00]: The voted children do catastrophic things when they think the center of their world is about to be cut up.
17:07
[SPEAKER_00]: Lana, the private person from the inquest in the memoirs was glamorous, impulsive, and she was bad at being alone.
17:17
[SPEAKER_00]: Meaning, if the toilet seat won't left up, and there wasn't a grease stain on the pillow beside him.
17:23
[SPEAKER_00]: Well, I liked it and feel complete.
17:27
[SPEAKER_00]: And apparently, she had a real thing for wops and they goes, and once they got balls deep enough,
17:34
[SPEAKER_00]: She had a hard time uprooting them and getting rid of them.
17:37
[SPEAKER_00]: I guess you could literally wax, she would better it come and then going.
17:43
[SPEAKER_00]: Lana would later testify in court that Stappin' Otto told her if he said jump.
17:49
[SPEAKER_00]: Wow, she better jump.
17:51
[SPEAKER_00]: And if he said hop, she'd better hop.
17:54
[SPEAKER_00]: And if she didn't, he would cut a face, or make her a cripple.
18:00
[SPEAKER_00]: On after that, he would kill her, and the girl, and the grandmother.
18:06
[SPEAKER_00]: And she stayed, even after stopping Otto gave that speech in her own house.
18:12
[SPEAKER_00]: But that's not she asked for it.
18:15
[SPEAKER_00]: That is the mechanics of a course of fair-based control and relationship with a movie star's checkbook attached.
18:24
[SPEAKER_00]: But Lana, she wasn't a pushover.
18:27
[SPEAKER_00]: She tried to end at several times.
18:29
[SPEAKER_00]: There was in 1957, in London, England, while filming another place in another time, with a young Sean Connery.
18:42
[SPEAKER_00]: be pissed to whip the actress in front of the crew and wave the gun at Connery.
18:47
[SPEAKER_00]: But the future James Bond won no scissor, many took the gun off him and beat the shit out of him.
18:52
[SPEAKER_00]: A beating, like Stomponado would never had, then Scallon Yard got involved, and they deported the grease ball back to America.
19:00
[SPEAKER_00]: But for whatever reason, surely afterwards, maybe it was looking at the grease staying on a pillow, reminded her of Stomponado.
19:07
[SPEAKER_00]: She took him back.
19:09
[SPEAKER_00]: I'm the couple wrecking south in Mexico.
19:12
[SPEAKER_00]: John Stomponado, Jr., Woodstock, Illinois, more on 1925.
19:19
[SPEAKER_00]: Marine, and after the war, he drifts west, attracted Dalai.
19:25
[SPEAKER_00]: The place at all, grease balls are attracted to them.
19:28
[SPEAKER_00]: The proximity to money and people who hurt for it.
19:32
[SPEAKER_00]: He gets a job with Mickey Cohen as a bodyguard.
19:35
[SPEAKER_00]: Collecta all round, goon.
19:38
[SPEAKER_00]: And an occasional escort for lonely Hollywood wives.
19:43
[SPEAKER_00]: But not all of them were lonely housewives.
19:47
[SPEAKER_00]: He was linked to Hollywood royalty, including the psychos, Janet Lee, and Frank Sinatra's main squeeze, Eva Gardner, who's also no stranger to the mob.
19:58
[SPEAKER_00]: At the time, he was a well-known hustler, named Johnny Steele.
20:03
[SPEAKER_00]: Parlius, that was the name he signed on the flowers he sent.
20:07
[SPEAKER_00]: But he was also known as Cohen's boy.
20:09
[SPEAKER_00]: Meaning, if you messed with him, you're messed with Mickey Cohen.
20:16
[SPEAKER_00]: But John Steele was the name that Lana Normass, and she didn't find out his real name, until it moved in.
20:24
[SPEAKER_00]: What was he like?
20:26
[SPEAKER_00]: Physically, dark, compact, with a gym-built, the open shirt, the Mediterranean grease ball look at the 50s Hollywood, that well-heeled women saw as exotic and dangerous, while others just saw them as grease balls.
20:44
[SPEAKER_00]: His psychological profile, at least from the people who know him, he would jealous.
20:51
[SPEAKER_00]: extremely violent, and he liked to be theatrical, meaning when he bashed in someone's face.
20:58
[SPEAKER_00]: He liked to be surrounded by a crowd, one account has him in London, taking a razor blade, and cutting a man from here to ear, because he took a side glance at his girl.
21:07
[SPEAKER_00]: Then he apparently returned to his table and finished his meal.
21:11
[SPEAKER_00]: Turner would later testify that there were no photographs that he'd taken off a wall she was dropped.
21:17
[SPEAKER_00]: That he held in safekeeping to put the squeeze on her, threads that are specific.
21:23
[SPEAKER_00]: He'd fuck up a face, her career, her mother, and a child.
21:29
[SPEAKER_00]: And I guess those threads were specific enough to make us stay.
21:36
[SPEAKER_00]: After his death, Mickey Cohen liked them enough to pay to ship the body back to his home for burial, and spit on the verdict.
21:43
[SPEAKER_00]: Cohen's line after the inquest is the best line of the entire file.
21:48
[SPEAKER_00]: Where he said, there's the first time in my life I've ever seen a dead man convicted of his own murder.
21:55
[SPEAKER_00]: I guess that's gangster humor for you.
21:57
[SPEAKER_00]: Cohen would end up in Alcatraz three years later for tax evasion.
22:02
[SPEAKER_00]: where he'd be attacked by fellow prisoner and end up a legmental, and died as stomach cancer in 1976.
22:09
[SPEAKER_00]: Stomponado was 32 when he ended up on a morgue slab.
22:14
[SPEAKER_00]: He'd had one child with an unnamed woman.
22:17
[SPEAKER_00]: He was not a mythic monster made up by the film studios.
22:21
[SPEAKER_00]: He was a mid-level wise guy who punched the buff his weight class.
22:25
[SPEAKER_00]: Attached himself to the most photographed woman in the postcode,
22:30
[SPEAKER_00]: and discovered that fame does not make a person easy at all.
22:34
[SPEAKER_00]: It makes onin' them public.
22:38
[SPEAKER_00]: But I'm guessing that he were the type of guy that even if you told him, the end into the story.
22:44
[SPEAKER_00]: He would've still wanted to proceed exactly the same way.
22:48
[SPEAKER_00]: Hoping that being a whole turn at a vending.
22:51
[SPEAKER_00]: Oh, David, they direct this cut, if you will.
22:55
[SPEAKER_00]: By all accounts,
23:00
[SPEAKER_00]: was on and off, which is another weighing as saying she kept him at a distance and he kept coming back.
23:09
[SPEAKER_00]: While accounts he wanted marriage, she didn't.
23:13
[SPEAKER_00]: He wanted to be seen with her, but she didn't want to be seen with them.
23:18
[SPEAKER_00]: Because I guess Tana knew what the studio remnants in the columnist would do if she showed up with Mickey Cohen's muscle on her arm.
23:28
[SPEAKER_00]: So she hit them away.
23:30
[SPEAKER_00]: She spent time with them on the side.
23:32
[SPEAKER_00]: She'd take them to Mexico after he'd been thrown at England.
23:37
[SPEAKER_00]: March 1958, the Academy Awards paid in place as a hit.
23:42
[SPEAKER_00]: Ironically a movie made about a town that has secrets to hide, and Turner's performance has given her an nomination for Best Actress, and once again, all the tensile town are looking at her, and although she was still taken Johnny's load, she didn't take him to the awards ceremony, which infuriated him.
24:03
[SPEAKER_00]: It should have been him on the red carpet, so he waits in a dry way, and he beats her when she comes home.
24:10
[SPEAKER_00]: And her daughter, Cheryl, she hides under her pillow, but she hears that beating.
24:15
[SPEAKER_00]: That beating has not folklore.
24:18
[SPEAKER_00]: It is in the timeline of every serious account of Lana Turner's life.
24:24
[SPEAKER_00]: Turner and her daughter now reside in a rented home on 730 North Bedford, a new house.
24:32
[SPEAKER_00]: with new knives in the kitchen, and this detail will matter later to the conspiracy people.
24:39
[SPEAKER_00]: So pocket, she tells Cheryl on the afternoon of April 4th that she's going to end it that night.
24:47
[SPEAKER_00]: The quote from Turner on the stand said to Adara, I'm going to end it with them tonight, baby.
24:53
[SPEAKER_00]: It's going to be a rough night, are you prepared for it?
24:56
[SPEAKER_00]: Because they both knew that Johnny didn't like rejection.
25:00
[SPEAKER_00]: And that is a 36-year-old woman asking a 14-year-old child to brace for a storm, as storm that she created and was now inviting into the house.
25:12
[SPEAKER_00]: I want you to sit with that.
25:14
[SPEAKER_00]: Not as a damn nation of Lena, but as architecture.
25:21
[SPEAKER_00]: If the child had been briefed, the child was in the building.
25:26
[SPEAKER_00]: The man who's already threatened to cut their faces, is coming there, after dark, good Friday, the Christian calendar.
25:37
[SPEAKER_00]: Hollywood address the town that loves his symbol, but it doesn't deserve this one.
25:52
[SPEAKER_00]: Cheryl's statement to the chief of police, Clinton, Anderson, and Cheryl's later memoir and the autopsy.
26:01
[SPEAKER_00]: Evening.
26:03
[SPEAKER_00]: Stampenado arrives, the argument starts in Cheryl's room.
26:07
[SPEAKER_00]: Then moves in the land as bedroom.
26:10
[SPEAKER_00]: Raised voices, the threats that Cheryl said she'd heard through a bedroom wall, that he'll cut a face.
26:18
[SPEAKER_00]: She'll never walk again.
26:20
[SPEAKER_00]: He'll get her mother, he'll get her kid.
26:24
[SPEAKER_00]: She cannot throw him out.
26:26
[SPEAKER_00]: She cannot get rid of him not easily.
26:29
[SPEAKER_00]: Lannas' version on this stand is the same temperature.
26:37
[SPEAKER_00]: the jump-hop speech.
26:39
[SPEAKER_00]: I'll kill you.
26:40
[SPEAKER_00]: I'll kill the girl.
26:42
[SPEAKER_00]: I'll kill the grandmother.
26:44
[SPEAKER_00]: She tells Cheryl to go back to her room and Cheryl goes, then she doesn't stay.
26:53
[SPEAKER_00]: Cheryl then goes downstairs to the kitchen and there's a knife, a car in knife, eight and nine inches, depending on which report you like.
27:02
[SPEAKER_00]: wouldn't handle the kind you buy when you move house and suddenly on a kitchen.
27:07
[SPEAKER_00]: Cheryl said that she didn't consciously think that she was going to stab Johnny.
27:12
[SPEAKER_00]: She thought protection.
27:14
[SPEAKER_00]: That distinction is real and law.
27:17
[SPEAKER_00]: But the critics would say thinner than the drywall and Cheryl's role.
27:21
[SPEAKER_00]: She comes back up.
27:23
[SPEAKER_00]: What happens in the next five seconds is the whole case.
27:32
[SPEAKER_00]: He's behind them.
27:34
[SPEAKER_00]: She opens a door, Cheryl is there.
27:37
[SPEAKER_00]: Lana, I swear it was so fast that I truthfully thought she'd hit him in the stomach.
27:43
[SPEAKER_00]: The best I can remember, they came together, they potted, and I still never saw a blade.
27:51
[SPEAKER_00]: Cheryl, later, the door flies open.
27:54
[SPEAKER_00]: John came towards her, hands up, she raises knife, he walks into it.
28:00
[SPEAKER_00]: Cheryl, 2012, and he looked at me, and he said, my God, Cheryl, what are you done?
28:08
[SPEAKER_00]: He pulls off the blade, he goes down.
28:12
[SPEAKER_00]: The noises in the throat, Lannar runs for a towel, Cheryl drops an iPhone to a marble top to table.
28:19
[SPEAKER_00]: She phones a father, I did it, Daddy.
28:23
[SPEAKER_00]: I did it, but it didn't mean to.
28:26
[SPEAKER_00]: Tonna will ask the police chief that night if she can take the blame.
28:31
[SPEAKER_00]: Anderson says, no, not unless she did it.
28:35
[SPEAKER_00]: Cheryl was already confessed.
28:39
[SPEAKER_00]: Well, Anna's screams and sobs, my baby, not my baby.
28:46
[SPEAKER_00]: The doctor arrives, Johnny's dead at the scene.
28:50
[SPEAKER_00]: Lights are on, the body, the girl, the star.
28:56
[SPEAKER_00]: The autopsy said it were a single wound.
28:59
[SPEAKER_00]: How to struggle carved into ten holes.
29:02
[SPEAKER_00]: One track.
29:04
[SPEAKER_00]: Catastrophic plumbing.
29:07
[SPEAKER_00]: Excavation, if you will.
29:09
[SPEAKER_00]: There's a strong man.
29:10
[SPEAKER_00]: A 14-year-old girl put a kitchen life into the one place that ends the argument.
29:16
[SPEAKER_00]: Either she got very lucky, or he ran into it.
29:20
[SPEAKER_00]: Exactly as she says.
29:22
[SPEAKER_00]: or someone else put it in there, and then the room all agreed, monestory, to tell the cops.
29:28
[SPEAKER_00]: Coronavirus figured it seemed all too neat to not be, and if they were making it up, they were all doing an academy award performance.
29:37
[SPEAKER_00]: And as she just lost out at a chance at a Oscar to Joan Woodward, I guess she wouldn't that good of an actress.
29:45
[SPEAKER_00]: Oh, washing, there were many in Hollywood who believed that it was Turner, who killed Johnny, and that she will let in Cheryl take the rap, knowing that she were a juvenile, and she get away with it.
29:57
[SPEAKER_00]: Cheryl was now in juvenile hall, and she does not testify life.
30:02
[SPEAKER_00]: She is 14.
30:03
[SPEAKER_00]: Her statement is red.
30:06
[SPEAKER_00]: April 11th, 1958, corners in quest.
30:10
[SPEAKER_00]: The room is a circus, a hundred-plus reporters, live on the radio, just like a script that a one of those B movies.
30:18
[SPEAKER_00]: When Mickey Cohen takes a stand, he jokes that he's afraid that he'll get accused.
30:24
[SPEAKER_00]: and then he's excused.
30:25
[SPEAKER_00]: Then the star arrives on the stand.
30:28
[SPEAKER_00]: Land of Turner.
30:30
[SPEAKER_00]: Where are white gloves?
30:32
[SPEAKER_00]: We're glass of water.
30:33
[SPEAKER_00]: And for 62 minutes, she calls him Mr. Stomponado, which is strange considering they were exchange and body fluids for two years.
30:42
[SPEAKER_00]: My guess for malady is what got her off.
30:46
[SPEAKER_00]: She cries, talks about the beatings.
30:49
[SPEAKER_00]: The threats and tells the story the exact way that Cheryl did, but for many, whether this trashed the nature, they say that she should have won an Oscar, and that it were the performance of her life, but it was all in the house.
31:04
[SPEAKER_00]: Cheryl was saying she's not acting, she was terrified, she was fighting for her child, and maybe she was, or maybe she wasn't, and I guess there's only three people who will ever know
31:18
[SPEAKER_00]: Atlanta, her daughter Cheryl, and stop in auto, and he ain't squawking.
31:29
[SPEAKER_00]: At the end of the day, Atlanta Turner had been trained since he was 16 years old to survive being looked at.
31:36
[SPEAKER_00]: An inquest is just another kind of close-up.
31:40
[SPEAKER_00]: A jury of ten men and two women deliberate for about twenty-five minutes they come back with the verdict justifiable homicide the DA says unless new facts appear he's not inclined to prosecute
32:00
[SPEAKER_00]: And that is the ball game on the criminal side, justifiable homicide.
32:05
[SPEAKER_00]: And what this means is that the girl, recently believed her mother, was an imminent danger of great bodily harm or death.
32:14
[SPEAKER_00]: And the force she used answered that danger, defense of another, not a metal, not a blessing, a legal conclusion that the killing will not be punished as murder.
32:28
[SPEAKER_00]: Mickey Cohen, gangster, profiteer, temp, and other names too cruel to mention, the age of decision, and says the deck were mocked.
32:40
[SPEAKER_00]: This stomping auto-family suits, the column's turn on Lanna anyway, an unfit mother, moral vacancy, this sweater girl who let the underworld into a nursery, the juvenile court does not send Cheryl home to her, like nothing happened.
32:56
[SPEAKER_00]: Grandma the milder it gets her and the kids given a psychiatric order and then Cheryl sent to her girl's school I guess where she could learn the proper etiquette of a young lady Several times she escapes the school she's recaptured while the papers are all still reading Lanetana got away with murder
33:18
[SPEAKER_00]: And the reality of this story is that Lana Tuna coulda killed Johnny.
33:22
[SPEAKER_00]: Yes, sure.
33:23
[SPEAKER_00]: Cheryl took the weight because a 14-year-old will not hang the way a movie star will.
33:29
[SPEAKER_00]: And because her star can still work after a tragedy, but not after a murder conviction.
33:36
[SPEAKER_00]: The reasons people give, one, he was a grown man, tough, a gangster, a wise guy, a child, putting a single perfect hole in him, feels too tidy, too.
33:50
[SPEAKER_00]: that when they'll fingerprints on the knife, according to some later retelling of the physical evidence, blood and a same description that don't match the wild fight, the Turner had said that had happened.
34:03
[SPEAKER_00]: Lannas closed in the room, lack the mess.
34:06
[SPEAKER_00]: Number three.
34:08
[SPEAKER_00]: Lana asked that night to take the blame.
34:11
[SPEAKER_00]: The conspiracy reading is, she asked, because it was her as to take.
34:16
[SPEAKER_00]: The official reading said, she asked because she was the mother.
34:20
[SPEAKER_00]: Man, she didn't want her daughter, put in a cage.
34:24
[SPEAKER_00]: Cheryl would repeat her story over the years unchanged.
34:27
[SPEAKER_00]: I killed John Stoppinato, and I didn't do it to cover up for my mother.
34:32
[SPEAKER_00]: Not my mother, not the woman I know.
34:36
[SPEAKER_00]: She has had every incentive at different times in a life to hand the knife back to Lana, she is not.
34:43
[SPEAKER_00]: And although I'm no jury, the inquest heard the mother, the police chief, the girls immediate confession, the doctor, they heard of the threats.
34:53
[SPEAKER_00]: They believed the child walked in with a knife because she thought her mother was about to be carved.
34:59
[SPEAKER_00]: That belief has held in public for 60 plus years.
35:07
[SPEAKER_01]: Yeah, sure.
35:08
[SPEAKER_00]: In a physical sense, the system treat a movie star and a mob boy friend the way it would treat it a waitress and a waffle house?
35:17
[SPEAKER_00]: Of course not.
35:19
[SPEAKER_00]: That is not the same as proof.
35:22
[SPEAKER_00]: What I will say, the useful question is, not which woman are you going to make the villain.
35:28
[SPEAKER_00]: The question we should be asking is, is how a house gets to the point where a 14-year-old thinks a carbon-life is the only way to end an argument.
35:38
[SPEAKER_00]: After Stomponardo was ventilated, Peyton placed tickets sell like hot cakes.
35:44
[SPEAKER_00]: Scandal has advertised, and if you already got a face for people to pay for,
35:49
[SPEAKER_00]: Another time in another place, the Connery picture.
35:52
[SPEAKER_00]: Wow, that bomb did the box office.
35:55
[SPEAKER_00]: Which is a shame because it seems Connery should have got accolades for the only one to give Stamponato a beating.
36:01
[SPEAKER_00]: Well, the only adult, that's if you believe the Cheryl, handed Johnny Stamponato was asked.
36:07
[SPEAKER_00]: The rumours that she committed the murder, fathered Lenitana for the rest of her life, and a career, I wouldn't have had the same.
36:13
[SPEAKER_00]: Yeah, sure, she showed up in gaspards on TV, couple episodes of Love Boat, but that were about it.
36:20
[SPEAKER_00]: and she dies in 1995 from throat cancer, and Cheryl is there, by a side, and if anyone were expecting a confession on a deathbed, it didn't come.
36:32
[SPEAKER_00]: Cheryl's wrote on the other hand, Wajarda, and Quaida, she wore a ward of the state, locked away in Juvee and Gull's schools, suicide attempts, which you could read all about an arm hem was.
36:47
[SPEAKER_00]: After her modeling days, she became a real estate agent in Hawaii and Palm Springs.
36:52
[SPEAKER_00]: Brass cancer survivor, double mastectomy.
36:55
[SPEAKER_00]: And she's still alive.
36:56
[SPEAKER_00]: She even came out as a take, making the tabloids, telling everybody she'd known since she was 13 years old.
37:03
[SPEAKER_00]: An ogan blamah.
37:04
[SPEAKER_00]: After all, she was raped by Tazan.
37:08
[SPEAKER_00]: And I guess it's safe to say just like a mother, Cheryl, was a survivor.
37:13
[SPEAKER_00]: And Hollywood does what Hollywood does.
37:16
[SPEAKER_00]: It turns the night in the folklore.
37:20
[SPEAKER_00]: Then into true crime content, then into a series opener.
37:26
[SPEAKER_00]: And that's where I come into it.
37:28
[SPEAKER_00]: After all, I'm not above the food chain.
37:32
[SPEAKER_00]: I'm on it.
37:34
[SPEAKER_00]: And this has been an episode of Justified.
37:38
[SPEAKER_00]: And I'm dead bug, and I'm till next time.
37:42
[SPEAKER_00]: Adios.
37:44
[SPEAKER_00]: And I'm gonna send this one out to all you love us.
38:08
[SPEAKER_01]: As you know that would always end You were never even friends It was all just lost
39:11
[SPEAKER_01]: And that is only so nice I hope you can eventually Cut's like a life What happens to nobody Cut with a knife I wish I could watch you die in your sleep
39:39
[SPEAKER_01]: I tell the police that it was peace.