The Cotton Club Murder | The Limo Driver | 2

Summary

Hollywood & Crime: The Cotton Club Murder | The Limo Driver | Episode 2

Introduction

In Season 8 of Wondery's gripping true-crime series, Hollywood & Crime, Episode 2 titled "The Limo Driver" delves deeper into the mysterious and tragic demise of Roy Raiden, a rising variety show producer whose ambitions in Hollywood led him down a dark and deadly path. This episode unravels the intricate web of relationships, deceit, and criminal activities that culminated in Raiden's murder, shedding light on the complexities of the Hollywood underbelly.

Background: Roy Raiden and Laney Jacobs

The story begins by introducing Laney Jacobs, a formidable drug dealer from Miami, who, despite her tumultuous personal life—including a failed sixth marriage to Joe Amir and the birth of her son Dax—harbored aspirations of transitioning from a cocaine mogul to a movie producer. Her partnership with Milan Bella Chasis, a notorious drug lord, allowed her to manage and distribute significant quantities of cocaine across California. As Laney contemplated expanding her horizons into the film industry, her path crossed with Roy Raiden, setting the stage for a fateful collaboration.

Roy Raiden's Rise and Fall

Roy Raiden, inspired by his father Broadway Al Raiden’s legacy in the nightlife industry, sought to revive vaudeville through his variety shows. By the late 1970s, Raiden had transformed from a high school dropout into a millionaire producer, attracting notable talents and building an entertainment empire. However, his success was marred by personal excesses—heavy drinking, cocaine use, and a series of scandals, including allegations of financial improprieties involving police and firefighter charities.

A pivotal moment occurred on April 11, 1980, when Raiden's reputation was severely damaged after a party at his mansion, Ocean Castle, led to accusations of sexual assault and subsequent legal troubles. Although charges against him were eventually dropped, the scandal decimated his business, leading him to relocate to Los Angeles in January 1983 with aspirations to pivot into the movie industry.

The Meeting: Laney Jacobs and Robert Evans

In Los Angeles, Laney Jacobs sought to leverage her connections and Raiden's financial backing to enter the movie production scene. Her introduction to Robert Evans, a seasoned but beleaguered Hollywood producer struggling to fund his ambitious project, The Cotton Club, was orchestrated by Gary Keyes, a limousine driver with ties to both Evans and Laney. This meeting, depicted in a high-stakes luncheon at the Polo Lounge in March 1983, was crucial in aligning the financial and creative forces necessary to bring Evans' vision to fruition.

Investigative Developments: Detective Avila's Pursuit

Detective Carlos Avila, spearheading the investigation into Raiden's murder, navigated a labyrinth of leads that initially seemed unrelated but gradually pointed back to key figures in Raiden's network. Laney Jacobs emerged as the primary suspect due to her last known association with Raiden and her suspicious activities leading up to his disappearance.

Notable Quote:

“Don't get mad at me, all right?” (07:48) - Lainey Jacobs expressing frustration during a phone call recorded by Raiden’s associate.

Despite Laney’s alibi, supported by her lawyer Frank Rubino, Avila remained unconvinced. A breakthrough came when phone records revealed a late-night call between Laney and Robert Evans, suggesting deeper ties and potential motives behind Raiden's murder.

The Limo Driver's Testimony

Gary Keyes provided critical insights during his interview with Avila, revealing unsettling encounters at Laney's home, including the presence of two men with handcuffs—actors who did not appear to be law enforcement officers. This observation hinted at possible intimidation or illicit activities linked to the murder case.

Notable Quote:

“When I got to the house to pick him up, there were these two other men there, and one of them had handcuffs, but they didn't look like cops to me.” (35:34) - Gary Keyes describing suspicious individuals observed at Laney’s residence.

Robert Evans: A Hollywood Powerhouse Under Scrutiny

Robert Evans, once the youngest producer at Paramount Pictures with a stellar portfolio including The Godfather and Chinatown, found himself battling personal and professional demons following a cocaine-related arrest in 1980. Desperate for a comeback, Evans became entangled in Raiden and Laney’s schemes to secure funding for The Cotton Club. His involvement raised questions about his true intentions and possible connections to Raiden's demise.

Notable Quote:

“I can't tell him.” (08:01) - Robert Evans hesitating to disclose details during his phone conversation with Laney Jacobs.

Avila’s interrogation of Evans unveiled inconsistencies in his accounts, particularly regarding the late-night call with Laney Jacobs, further entangling Evans in the mystery surrounding Raiden's murder.

The Breakthrough: Bill Menser's Connection

Detective Avila's relentless pursuit led to the arrest of Bill Menser, the limo driver associated with Raiden's murder. Upon searching Menser's apartment, Avila discovered purchase slips and photographs linking Menser directly to Laney Jacobs and the murder scene in Caswell Canyon. This evidence was pivotal in establishing Menser’s presence at the crime location, solidifying his role as a primary suspect.

Notable Quote:

“Bingo.” (32:39) - Avila's realization upon identifying the purchase slip linking Laney Jacobs to Bill Menser.

Confrontation and Implications

With Menser now in custody, Detective Avila prepared to confront him, anticipating that under pressure, Menser would divulge critical information about the events leading up to Raiden's murder. The discovery of Menser’s photographs at the murder site provided undeniable evidence, suggesting a premeditated connection to both Laney Jacobs and Roy Raiden.

Notable Quote:

“Same background. Same jagged skyline. Mentzer has clearly been here before.” (28:07) - Avila noting the undeniable match between the photographs and the murder scene.

Conclusion: The Path to Unveiling the Truth

Episode 2 of Hollywood & Crime masterfully chronicles the intricate investigation into Roy Raiden's murder, highlighting the pivotal roles played by Laney Jacobs, Robert Evans, and Bill Menser. As Detective Avila edges closer to uncovering the truth, the episode underscores the perils of ambition and the dark intersections of fame, crime, and loyalty in Hollywood's glamorous yet treacherous landscape.

Hollywood & Crime: The Cotton Club Murder continues to unravel the complex narrative of power, betrayal, and the relentless search for answers, offering listeners a compelling glimpse into one of Hollywood's most enigmatic crimes.

Notable Quotes Summary:

• “I don't like you being so far away.” (02:32) - Milan Bella Chasis expressing concern over Laney's proposed move to Los Angeles.
• “Don't get mad at me, all right?” (07:48) - Laney Jacobs expressing frustration during a phone call.
• “I can't tell him.” (08:01) - Robert Evans hesitating to disclose details.
• “Bingo.” (32:39) - Detective Avila connecting the purchase slip to Bill Menser.
• “Same background. Same jagged skyline. Mentzer has clearly been here before.” (28:07) - Avila confirming the connection between photographs and the murder scene.

Further Research and Production Credits

This episode was meticulously researched using sources such as Steve Wick's Bad Company Drugs, Hollywood and the Cotton Club Murder and the Los Angeles Superior Court Archives and Record Center. The production team, including Tracy Patton, Rebecca Reynolds, and Jim Carpenter, alongside writer Dana Rossi and managing producer Sophia Martins, crafted a narrative that is both informative and engaging, bringing to life the events that led to one of Hollywood's most perplexing murders.

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Note: This summary is based on the provided transcript and structured to highlight key elements of the episode, including notable quotes and their timestamps for reference.

Transcript

[Tracy Patton]

Wondery subscribers can binge all episodes of Hollywood and Crime the Cotton Club Murder early and ad free. Join Wondery plus in the Wondery app or on Apple Podcasts.

[Josh Lucas]

Wondery.

[Tracy Patton]

Laney Jacobs was ready for a seismic shift in her life. She'd risen to the top, distributing pure white Colombian powder in Miami. But the thrill of the climb had faded. It was July 1982. Laney cradled her two month old baby boy. His big brown eyes, wide and innocent, stared back at her. A year ago, Laney got hit with an unexpected urge. She wanted a baby. She got one, along with husband number six, Joe Amir. Easy on the eyes, thick dark hair, a crooked smile. But the marriage quickly fizzled. Laney was left with Dax, her sweet little boy. Having a kid, though, didn't stop her from being restless. She handed Dax off to his nanny, Miriam, then padded across her backyard toward the pool. Milan Bella Chasis waited for her in a lounge chair. He sipped champagne, flanked by his two bodyguards. Laney poured herself a glass, then sat down next to the notorious drug lord. Almost two years of working with Milan had created a familiar rhythm. Not even her pregnancy and brief marriage interfered with their arrangement. She and Milan still slept together when it suited them. Laney found him both alluring and dangerous, but she knew how to handle him. He trusted her implicitly. Why wouldn't he? Their business had skyrocketed in the past year, especially in California. Laney had been flying to Los Angeles, ensuring new distributors were on top of their game. She saw an opportunity to grow the company and laid out a plan for their west coast expansion. Milan, eager to increase profits, agreed. Laney, however, had one condition to make sure everything runs smoothly. It makes sense for me to move to LA permanently. Lainey couldn't read his expression.

[Josh Lucas]

I don't like you being so far away.

[Tracy Patton]

He squeezed her hand.

[Josh Lucas]

But I agree. It's a smart move and we'll have our coast to coast empire.

[Tracy Patton]

Laney exhaled, a weight lifting from her shoulders. But there was something she hadn't really revealed to Milan. The real reason she wanted to move west. Her trips to LA had opened her eyes to a new world. The mansions, the lifestyles of the stars, and the power brokers who called the shots. A seductive world built on carefully crafted illusions. It lit a spark inside her. Maybe movies weren't so different from the games she already played. She was a cocaine mogul. Couldn't she be a movie mogul? Laney reached for the bottle of champagne and refilled their glasses. She raised hers and toasted to Hollywood endings. This Episode is brought to you by Audible, your destination for best selling audiobooks, exclusive Audible originals and more. New members can try audible free for 30 days. Visit audible.com cotton or text cotton to 500500 people thought it was impossible to.

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[Tracy Patton]

From Wondry. I'm Tracy Patton along with my co host Josh Lucas and this is Hollywood and crime. The Cotton Club Murder in our last episode, the bullet riddled body of variety show producer Roy Radin was found just outside of Los Angeles. He had been missing for almost. Detectives from the Los Angeles Sheriff's Department learned that Raiden was last seen with a mysterious woman who was a known coke dealer, Laney Jacobs. But so far they have more questions than answers about who wanted him dead. This is episode two, the limo driver.

[Josh Lucas]

It'S early July 1983. Los Angeles Sheriff's Department headquarters downtown. Just over three weeks since Roy Raiden's body was found. Detective Carlos Avila and his partner Willie Ahn sit in a stuffy conference room on is setting up a reel to reel tape player. Since the investigation started, they've been chasing down different leads. Detectives discovered Roy's godfather, Johnny Stopelli was a member of the Genovese crime family and Raiden owed him 750 grand after Stopelli invested in his shows. Maybe the mob was getting antsy for their money. Then there was the charity scandal. Raiden struck deals with local police and firefighter unions, promote his shows and get A cut of the profits for their charities. Allegations flew he kept more than his share. This sparked an investigation by the New York attorney general in 1975. The legal battles hounded him up until his death. But both the mob connection and the charity scandal proved to be dead ends. Detectives couldn't find any motive that would lead to murder. Their best suspect is still Lainey Jacobs, a drug dealer who was one of the last people to see Roy alive. Avila looked into her last known address, a house in Sherman Oaks. Property records show she put the place up for sale on May 12, just one day before Raiden's murder. Laney's whereabouts are unknown, but they have a tape that might be useful. One of Raiden's associates, Mickey Davenco, recorded a call with Laney right after Raiden disappeared on presses play on the tape recorder and the recording jumps straight into the conversation.

[Lainey Jacobs]

I don't know what kind of joke this is. I told Jonathan I wasn't the last person with him. He got out and I and had me dropped off. So I don't think this is very funny. I've had it with him and you can tell him.

[Robert Evans]

I can't tell him.

[Lainey Jacobs]

I don't know if the goddamn driver dropped me off. How am I supposed to know?

[Tracy Patton]

Don't get mad at me, all right?

[Lainey Jacobs]

Well, I can tell you where I was. I was dropped off at about 9:30. I wasn't with this.

[Gary Keyes]

I'm not doubting that.

[Josh Lucas]

I'm not doubting that at all. The conversation ends when Lainey abruptly hangs up. Avila glances at his partner. They both agree that Laney's story about being dropped off sounds forced. A detective pops his head into the conference room. He tells them that Lainey Jacobs, lawyer called. He's dropping by later. Avila's been expecting this. So far, Laney's refused to talk. Maybe this visit from her lawyer would finally break the deadlock. All Roy Raiden ever wanted was to be a somebody in show business. His dream burned brighter than the spotlights on the Broadway stage. And it was because of his father, Broadway Al Raiden. In the Roaring Twenties, Broadway Al owned a string of New York City nightclubs. Back then, vaudeville ruled the stage. A whirlwind of music, comedy, dance, anything that'd keep an audience tossing coins at the center of it was Broadway Al. He took his productions on the road, churning out a hundred shows up and down the East Coast. Roy was born in 1949, long after his father's golden age. He still got to watch Big Al's shows, even though they'd lost some of their luster. He ate up stories from Broadway, Al's glory days. The packed houses, famous stars and dazzling showgirls. If Roy closed his eyes, he could still smell his father's expensive aftershave. Even feel the soft fabric on Al's custom pinstripe suits. Roy wanted to be just like his old man. Right down to those fancy threads. When he pictured his future, Roy didn't see algebra playing a big role. So in 1965, he quit school. At 16, he was ready to take on the showbiz life. Roy booked rock shows. Then he tried singing in the beatnik nightclubs of Greenwich Village. He even did publicity for the Clyde Beatty Circus. At 17, Roy was done with dead end gigs. He wanted to produce his own shows. A wild idea unfolded. His show would be a spectacle. A revival of vaudeville that would reclaim its place in the spotlight. He envisioned the lineup. Singers belting out old hits, sexy dancers burning up the stage. And old time comedians keeping the laughs rolling. It sounded crazy in this age of rock bands and rebellion. But Roy had a feeling in his gut. One that could lead to buckets of cash. His grand plan went beyond getting rich. It was a chance to make his dad proud. Hell, even outdo him. The real prize was the entertainment empire he'd soon build. He already had the name Roy Raiden Enterprises.

[Tracy Patton]

Lainey Jacobs stood in front of the five bedroom house she just bought in suburban Sherman Oaks, California. It was spacious and secluded, but still near Hollywood. She could hear kids playing from a neighboring yard. The ideal place to raise her son and discreetly move millions in cash and cocaine. It was early January, January 1983. Laney had made the move to LA three months ago with her nanny, Miriam and her five month old baby Dax. As soon as they moved in, security became her top priority. Laney walked into her garage. A compact, muscular man surrounded by power tools motioned her over. Tallie Rogers was a former boxer with the nickname Rock Hard Rogers. Millan had set him up as Laney's drug courier. But he also had a knack for carpentry.

[Josh Lucas]

Almost done. All you have to do is open this closet and there's your secret safe in the back.

[Tracy Patton]

Tally demonstrated by sliding open a panel and the one in my bedroom.

[Josh Lucas]

Yes, ma'am, all done. I checked the bars on all the windows too. This place is like Fort Knox.

[Tracy Patton]

Laney couldn't help but like Talley. He was easygoing. His Mississippi drawl gave his words a folksy charm, even when discussing business. In no time they established a smooth routine. Twice A month. Rogers picked up the drugs from Milan's house in Miami and drove to LA. He transported 10 to 12 kilos worth a cool 900 grand. Rogers got paid 20,000 per round trip. Laney thought he had a sweet deal for essentially being a glorified chauffeur. But if Milan was cool with it, she wouldn't rock the boat. Now that the business hummed along, Laney could focus on chasing her Hollywood dream. She hadn't exactly figured out her first step, but in this town, it was who you knew that mattered most. Now it just came down to timing and luck. And Laney was always lucky.

[Josh Lucas]

Detective Avila is at his desk, knee deep in paperwork, when Lainey Jacobs, lawyer, strides in. Frank Rubino is tall, dark haired, and dressed in a sharply tailored suit. Avila knows him by reputation. Rubino is a former Secret Service agent. He's known as a white powder lawyer in Miami for defending so many coke dealers. In fact, according to an old arrest report, Rubino had already come to Lainey's rescue. A few years ago in Miami, a cop found coke, marijuana, and 30 grand in her car after a traffic stop. Rubino challenged the legality of the search and got her off. Avila points to a chair next to his desk. Rubino sits down and gets right to it. I want to be clear, Detective. My client has an airtight alibi for the time of Raiden's murder. She was in Los Angeles with a lawyer she knew, Saul Becherat. Rubino slides a sworn statement across Avila's desk. It details lainey's alibi. On May 13, she met Becheret at the Westwood Marquee bar just after 10pm approximately an hour later, they walked to his home, just a few blocks away. After they arrived, Laney made some phone calls and didn't leave until 5am Avila thinks through the timeline. Raiden's murder couldn't have happened before 10:15pm Caswell Canyon was an hour's drive, minimum. Laney's alibi falls neatly within that time frame. Avila locks eyes with Rubino. Oh, well and good. But we'd still like to speak with Ms. Jacobs. She's not answering any questions. You have her alibi. That should suffice. Avila's hands are tied. He can't force a suspect to talk. Rubino stands. It's clear the meeting is over. He exits the office with a curtain. Odd. Avila swivels his chair toward an let's order Bessarat's phone record. See if there's anything from that night. A week later, they get the phone logs. Avila scours the pages and notices one timestamp in particular. 12:21am an outgoing call to a New York City area code. A few minutes later, there's an incoming call from the same number. A background check later reveals the name on the account Robert Evans, the movie producer. A jolt of anticipation shoots through Avila. Why was Lainey Jacobs talking to Evans that late? It was almost 3:30am in New York, and Roy Raiden most likely dead. They need to question the prince of Hollywood himself, Robert Evans.

[Tracy Patton]

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[Josh Lucas]

Roy Raiden went from high school dropout at 16 to millionaire in his early 20s. It started with a favor. He approached Georgie Jessel, an old buddy of his father's and a comedy legend, with a crazy proposition. Headline a show with no upfront payment. His Sheer audacity won Jaisal over as well as other entertainers who agreed to perform. Then Roy hustled. He found Billy Bach, billed as the world's smallest saxophonist. Even a famous chimp named J. Fred Muggs. The Roy Raiden variety show debuted and audiences were hooked. Now he was on a bus loaded with performers headed for Fall River, Massachusetts, about to play a packed house. It was December 1, 1978, and Roy was 29. Next to him sat a reporter from ABC TV who'd been assigned to interview him. The reporter pointed her microphone towards Roy.

[Tracy Patton]

Why are you in this business?

[Josh Lucas]

What did you want to bring back by doing this?

[Robert Evans]

Well, basically, I always wanted to be in show business. My father was a producer. So as a kid I grew up with show business people around. I loved it.

[Josh Lucas]

What does this give people that television doesn't give them?

[Robert Evans]

Well, the feeling when you go. See, when you go to a theater, that. That feeling you have between the performer, the audience, that emotion, unfortunately, that's a lost art.

[Josh Lucas]

Roy stuck to his original vision, using a mix of classic stars like Eddie Fiser, Cab Calloway, Milton Berle, bands like the Drifters and Shirelles, and his crowd pleasing novelty acts. The tour bus arrived at the venue's parking lot. Roy finished his interview and made his way backstage. He watched his MC step into the spotlight.

[Carl]

Welcome, ladies and gentlemen, to Roy Rey's tribute to Baudelaire.

[Josh Lucas]

Roy thought about how far he'd come with all the money he'd made. He bought a Tudor style mansion in the Hamptons. He christened it Ocean Castle. 22,000 square feet and 72 rooms, complete with pool, library and wine cellar. And he even got married. Success, though, brought its own demons. Fine liquor became a daily entry indulgence. And Roy treated every meal like his personal buffet. His weight ballooned to 275 pounds. There was another vice he'd grown fond of. In a corner backstage, Roy reached into his pocket and pulled out a vial. Cocaine. He poured some on the back of his hand and snorted. It was nothing he couldn't handle with his demanding schedule. He needed the energy boost. But Roy's triumphs, like his cocaine habit, were a fleeting high. He wanted bigger things. Roy had a new dream simmering inside him. If he could churn out hit shows, he could produce hit movies. Roy took another hit of coke, the familiar rush fueling his drive. Hollywood. That would be his next step. He was certain of it.

[Tracy Patton]

Mid January 1983. Los Angeles. Laney was moving one step closer to becoming a movie producer. Two weeks Ago, at a swanky party in Benedict Canyon, she met Roy Raiden. Roy was new here, too, a millionaire variety show producer from the east coast, and he was angling to get into movies. Since then, Laney and Roy had become fast friends. They both had a fondness for parties and cocaine, and Roy was turning into a lucrative client. Laney peeked through the front blinds of her house. A black stretch limo waited out front. Despite having a Porsche and a Mercedes, Laney loved being chauffeured. Today, shopping in Beverly Hills beckoned, and she was ready to unleash her credit card. She strolled outside and the limo driver hopped out of the car. With a sweeping gesture, he opened the door. Laney laughed. Gary Keyes had been driving her around a lot since her move to la. She could tell he had a soft spot for her. She settled back against the seat and kept the partition open. Laney got a kick listening to Gary's stories about Hollywood. He used to dance on Soul Train and said he even taught Michael Jackson the Robot. This was LA's magic for Laney. The feeling that everyone was just a heartbeat away from someone famous. Gary's voice shook Laney out of her daydreaming.

[Gary Keyes]

You ever think about acting, Ms. Jacobs? I could see you in the movies.

[Tracy Patton]

I'm flattered, but no. I've always wanted to work in movies, though. It's my plan to be a producer.

[Gary Keyes]

I understand everybody comes here with a dream.

[Tracy Patton]

Gary said that he drove a lot of famous people around. In fact, the limousine company he worked for was co owned by one of the biggest movie producers in town. A guy named Robert Evans. Evans was working on a new movie and looking for investors. The Robert Evans. Laney's mind raced with possibilities. Then Gary did the work for her.

[Gary Keyes]

You know what? The next time I drive, Mr. Evans, I'm going to mention you. I bet he'd love to meet you.

[Tracy Patton]

Laney resisted the urge to squeal in delight. A face to face with Robert Evans. Once she had his attention, she'd get exactly what she wanted.

[Josh Lucas]

Detective Carlos Avila drives up to the iron gates of Robert Evans estate in Beverly hills. It's early July 1983. He rolls down his window. An intercom nestled in a rose bush crackles to life. Detectives Avila and An are here to speak with Mr. Evans. The detective passes through the gate and onto a long driveway lined with fountains, manicured hedges. Avila had reached out to Evans through his attorney, Robert Shapiro. The producer had already been questioned once by the LAPD after Raiden vanished. Surprisingly, he'd agreed to speak Again, Avila knocks on the massive oak door. Evans. Butler answers and welcomes them to Woodland. The butler leads Avila and on down a short hallway covered in framed photos of Evans. With a roster of movie stars. Warren Beatty, Dustin Hoffman and so many pictures with Jack Nicholson you'd think he lived here too. The detectives finally get to a living room with floor to ceiling windows. Sitting on a couch beneath an ornate chandelier is Robert Evans himself. He's wearing an open shirt with large framed rose tinted glasses. His bronze tan contrasts with his jet black dye job. Evans gets up to shake the detective's hands with enthusiasm like this is a social visit. Avila starts by asking Evans how he knows Roy Raiden and Laney Jacobs. Evans says he didn't know them well. They were really just casual acquaintances. Avila doesn't buy it. Laney called you the night of roy Raiden's disappearance. May 13th. What did she call you about? Evans cocks his head like he's jogging his memory. Honestly, I don't remember. Why? Seems like it would be hard to forget a call that came in so late 3:21am East coast time. You called her back? A few minutes later. Evans shifts in his seat. As far as I recall because it was so late. Laney told me that she had a big fight with Roy and he threw her out of the limo. Avila shoots a look at his partner on the taped call. Lainey said that he got out and had me dropped off. An asks if he's sure that's what she said. Evans says yes. Avila inquires about the reason for the fight. Evans suspects it stemmed from the film. He was trying to get the Cotton Club he'd been looking for financing. Raiden's role in exchange for a producer credit was to secure investors. Avila asks for more details. Roy convinced a business associate to get the Puerto Rican government to invest 35 million. Laney wanted her and Roy to split the profits 50. 50. Roy didn't want to do that, but he finally agreed to 50 grand as a kind of finder's fee. I told him I think it's only fair to give her something. Believe me. Out. Avila nods. Raiden's assistant, Jonathan Lawson, had told them the same story. Laney thought she was going to be a partner and got offered a consolation prize. And instead Avila wraps up the interview, then remembers one more question. You never mentioned how you met Laney in the first place. We had the same limo driver, a guy by the name of Gary Keyes. He introduced us. As they get up to leave, Evans walks over to an antique desk. He rummages around some drawers, then pulls out a stack of bound papers. He signs it with a flourish and hands it to Avila. It's the screenplay of Chinatown, one of Evan's hit movies. What the hell is he supposed to do with this, Avila wonders. Use it as a doorstop? Avila's not convinced whether Evans knows more than he's saying, but they need to track down this limo driver, Gary Keyes. Raiden was last seen in a limo, and Laney and Evans shared a driver. Keys could have taken Roy on his final ride.

[Tracy Patton]

February 1983 Hollywood a month and a half before Roy Raiden was murdered, Robert Evans paced inside his office on the Paramount studio's lot. He'd been working the phone all day, hustling to find investors for his latest film. For the last three years, Evans had been trying to get the Cotton Club off the ground. Set in the Roaring Twenties in Harlem, the story pulsed with gangsters, romance and fantastic dance routines. Evans knew it would be a box office gold mine. He initially secured a cool 8 million from investors at the Cannes Film Festival. But with pre production eating up around 140 grand a week, that cash was all but gone. Then Adnan Khashoggi, a wealthy Saudi arms dealer, promised him 12 million. But Khashoggi didn't like the script, so he bailed. Everybody's a critic, thought Evans. He was hemorrhaging money and needed an infusion fast. His limo finally pulled up and he signaled to his driver, Gary Keyes. Evans watched the iconic white arches of Paramount disappear as the car made a right on Melrose. Those arches used to symbolize his power. Back in 1967. At 36, Evans was the youngest producer on record to run Paramount Pictures. He oversaw massive hits like Love Story, Rosemary's Baby, the Godfather and Chinatown. A list actors lined up to work with him. He dated and married gorgeous women like actress Ally McGraw. After a Paramount shakeup in 1974, he decided to go independent. His movies Marathon man and Urban Cowboy, scored at the box office. Then came the year that shattered him. 1980. An undercover cocaine sting landed him in trouble. Evans wasn't caught with the drug, but he admitted to discussing the purchase over the phone. That was enough for federal agents to bust him. Evans was offered probation if he agreed to produce an anti drug psa. He accepted. The result was a TV special titled Get High on Yourself. The real jail sentence came from Hollywood. This town hated failure. And after his drug arrest, Evans reeked of it. It didn't help that one of his last movies, Players bombed. He hadn't worked since his arrest. Now he was 53 and desperate for a comeback. His gnawing anxiety fueled his coke use. Could could anyone blame him?

[Gary Keyes]

Hard day, Mr. Evans?

[Tracy Patton]

Gary Keyes shot him an understanding smile.

[Josh Lucas]

Is there ever an easy day in this town?

[Tracy Patton]

Keyes laughed, then cleared his throat. Evans sensed a question coming. He was right. The chauffeur asked if there might be any part for him in Evans new movie. He sighed. Casting a bit roll was the last thing on Evans mind, but Keys was a nice guy.

[Josh Lucas]

Tell you what. You find me some investors and I'll set you up in the film.

[Tracy Patton]

Evans meant it in that moment, but he might not remember in 10 minutes. Such is Hollywood.

[Gary Keyes]

There's this rich lady I drive sometimes. Real good looking. Sophisticated too. Moved here from Miami and says she wants to get into the movie business. Her name is Laney Jacobs. I could set you up.

[Tracy Patton]

Evans wasn't sold on some Florida gal having Khashoggi money, but he was running out of options.

[Josh Lucas]

Sure thing, kid. Make it happen.

[Tracy Patton]

Even if this Laney Jacobs didn't have a dime, he'd be meeting a pretty face. And in Robert Evans book, that was never a waste of time.

[Josh Lucas]

July 1983 detectives Avila and An walk through the parking lot of Ascot Limousine Service in West Los Angeles. This is where Gary Keyes works. Keys is the driver who introduced Laney Jacobs and Robert Evans. Both detectives are anxious to find out if Keyes might have been behind the wheel. The night of Roy Raiden's murder, Keyes was polishing the hood of a stretch limo. When the detectives found him, they introduced themselves and he seemed more than willing to talk to them. Did you ever drive a woman named Laney Jacobs? Avila sees Keys expression soften at the mention of Laney's name.

[Gary Keyes]

Oh, yeah, yeah. Real classy lady. Beautiful lady. I drove her around many times. I don't know how she got mixed up in this mess.

[Josh Lucas]

It's no surprise Keyes knows about Laney's involvement in the case. Her name has been splashed all over the press. Keyes confirmed that he introduced Laney to Robert Evans so that they could discuss investing in his latest movie, the Cotton Club. Avila nods. That lines up with what Evans told them. Do you remember driving her Friday night? May 13? Keys pulls out his appointment book, flipping back to May. He shakes his head. No, he didn't drive Laney Jacobs that night. But he did drive Laney's son and nanny to the airport earlier in the day. And he'd seen something that worried him at Laney's home in Sherman Oaks.

[Gary Keyes]

When I got to the house to pick him up, there were these two other men there, and one of them had handcuffs, but they didn't look like cops to me.

[Josh Lucas]

Avila and an exchanged knowing looks. Lainey's nanny and kid leaving just before she skipped town was no coincidence. And who the hell were these guys with handcuffs? Did they say anything to you?

[Gary Keyes]

Just that they'd heard a lot about me. They left me with a bad feeling on the way to the airport. I even asked the nanny if everything was okay. She said it was, so I dropped it.

[Josh Lucas]

Keys came up empty on names but offered vague descriptions of the men, one tall and slim in jeans, the other shorter and stocky. Two new unknowns. Maybe one of them was the driver the night of Raiden's murder. But Avila knows that finding them will be a long shot.

[Detective Carlos Avila]

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[Tracy Patton]

Beverly Hills, March 1983 just before sunset. Magic hour, as they say in the film business. That time in late afternoon when the natural light is perfect and bathes everything in a beautiful glow that was definitely Laney Jacobs. As Gary Keys drove through the electronic gates at Robert Evans home, she checked her compact hair, loose and sexy, her skin radiant and sun kissed, and she was about to meet one of the most powerful movie producers in Hollywood. She owed Keys big time for setting this up. The limo pulled up to Evan's chateau style home, white and completely covered in ivy. Laney felt transported to the French countryside. A butler led her to the back patio surrounded by a wall of trees, where Evans was sipping a late afternoon cocktail. Laney's pulse quickened. She saw in person what she'd always seen in photos. Jet black hair, deep tan and large frame sunglasses. But it wasn't his look elevating her heart rate. It was the power radiating off him. She caught Evans looking her up and down too. There was definite chemistry. Robert led Laney to his office slash screening room and asked if he could get her a drink. She declined. Laney wanted to talk business. For now at least. So when will I get to see the next Robert Evans masterpiece? Evans attentive gaze seemed more about escorting her to the bedroom, working on a.

[Josh Lucas]

Film about the Cotton Club. It's going to be big, but I need upwards of 50 million to get this thing off the ground.

[Tracy Patton]

Laney's smile faltered. Uh oh. 50 million. She had money, but not like that. So she went on the charm offensive and turned up her Southern accent. Well, I'm looking to invest, but more to the tune of 5 or 10 million. Evans chuckled and gave her a look that said, honey, here's how the world really works. But Laney wasn't about to be dismissed. She thought fast. Her new party buddy, Roy Raiden, popped into her head. You know, I recently met someone who deals in that kind of money. Easy producer out of New York named Roy Raiden. We could all meet. Laney had a feeling that if Raiden didn't have 50 million liquid, he'd move heaven and earth to get it. Evan seemed unfazed by her proposal.

[Josh Lucas]

Sure I can't get you a cocktail?

[Tracy Patton]

Laney nodded. The rum and Coke materialized. So what about Roy Raiden? She repeated, watching Evans over the rim of the glass. His eyes lingered on her face.

[Josh Lucas]

Absolutely, honey. Let's make it happen.

[Tracy Patton]

Lainey took a slow sip of her cocktail. Evans might think he was calling the shots, but she was already reeling him in.

[Josh Lucas]

By the end of the disco decade, Roy Raiden was riding high as a successful theatrical producer. But that was before April 11, 1980, and the weekend that ruined his life. There were earlier signs that things were unraveling. Ocean Castle, his Southampton mansion, had turned into a den of debauchery. The booze flowed, cocaine in every room. A parade of women came and went, and Roy's empire was showing cracks. Back in 1975, rumors flew that he was skimming cash earmarked for police and firefighter charities. The New York attorney general even launched a fraud investigation. Roy argued it cost a fortune to run his big shows. He kept what he thought was fair. So far, no charges stuck. But the scandal wouldn't go away. Some of his promoters were facing legal action and lawsuits were piling up. Roy just partied. On Friday, 11th arrived with another blowout bash planned at Ocean Castle. One of the guests was a 24 year old actress named Melanie Haller. She was an occasional Playboy model and part of the cast of the TV sitcom Welcome Back Cotter, the show that launched John Travolta's career. The night spiraled into a haze of drugs and sex. Then it took a sinister turn. Sometime early Sunday morning, Holler was found slumped over a seat on the Long Island Railroad Bloody, bruised, barely coherent, police recalled. She said she'd been sexually assaulted at Roy Raiden's party. Ocean Castle was raided, and Roy was arrested for illegal possession of a firearm and cocaine. The press was all over the story, dragging Roy's name through the mud. A year later, Robert McKee IV, Holler's date from that weekend, pleaded guilty to second degree assault. Charges against Roy were dropped. But the scandal torpedoed his vaudeville business. Ticket sales tanked. He spent days in bed watching TV in a fog of gloom. But then a surge of optimism returned. He remembered the dream he'd put on hold. The timing seemed perfect. To transition into the movie business. So he made arrangements to sell Ocean Castle. He filed for divorce. Then Roy packed up and headed for Hollywood with his loyal assistant, Jonathan Lawson. He prayed the Holler mess wouldn't follow him. Within days of arriving in LA in January of 1983, his luck changed. He met Lainey Jacobs. By September 1983, Detective Avila has been working the Roy Raiden homicide for three months. And there was still no major breakthroughs. Then Avila learned a crucial piece of information that had slipped through the cracks. In May, just after Raiden vanished, a narcotics informant tipped off the LAPD about a possible murder involving a rental car from a company called lexpress. But without evidence, the lead went cold. Avila knew in his gut that it was connected to Raiden's murder. So he tracked down the rental car company. Detectives scoured the limo and found it wiped clean. Not a single trace of fingerprints, hair or fibers. But the owner of the company told detectives who rented the car Bill Mentzer. Avila finally had a name clearly linked to the limo that drove Roy Raiden to his death. Menser even refused the company. Japanese driver said he had his own. Finding Mentzer became Avila's top priority. On September 19, 1983, Avila catches a lucky break. A cocaine bust had gone down at lax and one of the men arrested was Bill Menser. As it turns out, Menser is Avila's favorite kind of criminal, incapable of Lang Low. With Menser in custody, police obtain a search warrant for his apartment. Avila races to the San Fernando Valley. He pulls into one of the countless beige apartment complexes that line Magnolia Boulevard. A few cops stand at the entrance with a guy in handcuffs, dark hair, bodybuilder type, sporting a Tom Selleck mustache. This has to be Mentzer. Mentor leads Avila upstairs to his apartment. Inside, it's a mess. Stacks of magazines and papers everywhere. A few undershirts and socks hang over the arm of the couch. Avila pulls on his gloves and starts to poke around. He thumbs through a stack of papers on the kitchen counter. One jumps out. It's a purchase slip for a 1982 Cadillac. Then he sees the name of the buyer. Laney Jacobs. Bingo. So Laney is connected to Menser. The only question is how. Avila thinks back to his conversation with the limo driver, Gary Keyes. Keyes saw a couple of guys with handcuffs at Laney house the day he drove her son and nanny to the airport. Maybe one of those guys was Mentzer. Avila pulls out a bag and places the slip inside. He knows Mensur is watching. Then he heads to the bedroom and opens the top drawer of a dresser. Pile of junk. But two photographs catch his eye. In one photograph, Mensers with a guy holding a gun. In the other, mincer's with a different guy, also with a gun. Avila holds the photos next to each other. His eyes widen. Both photographs look like they were taken in the same dry desert spot. A place that looks an awful lot like Caswell Canyon. Where Roy's body was found, obviously. Avila bags the photos. The next morning he speeds up Interstate 5. He inches down a rocky road to the scene of Roy's murder and parks. Avila grabs the two photos and walks to the spot where Roy was found. He holds the pictures up and rotates them from left to right. Then he freezes. It's a match. Same background. Same jagged skyline. Mentzer has clearly been here before. Avila knows in his gut that he was here the night of the murder. He can't wait to grill Mensur. But when Avila finally gets Menser into an interview room, he clams up and demands to see his lawyer. Avila believes it's a matter of time before he changes his mind. Which cocaine trafficking charges hanging over his head. Menser will want to strike a deal. Then he'll have plenty to say.

[Tracy Patton]

Early April 1983 the Polo Lounge in the Beverly Hills Hotel. Laney Jacobs sat impatient at a center table wearing a Valentino power suit. It was a game of high stakes and Laney dressed to kill. Roy Raiden and Robert Evans were directly across from her. This was the meeting she'd been waiting for. When Laney told Roy about Evans movie deal, she thought he was going to pass out with excitement. She didn't waste any time arranging this lunch. Laney gazed over her pastel pink menu. The white bank hats and pristine white tablecloths popped against the dark green of the walls. The Polo Lounge was the place for stars and power players to make deals. And with Evans in her party of three, they scored a prime seat. Laney had been anxious about the two men finally meeting. She hoped Roy wouldn't order everything off the damn menu and would his booming laugh and outrageous stories turn off the sophisticated Evans. But the energy between them buzzed as they bounced ideas off each other. All her worry melted. Roy announced that this meeting was kismet. He'd always been drawn to the 1920s era and been wanting to do a musical about the Cotton Club for years. Evans flashed Raiden a smile that could melt an iceberg. He said this Cotton Club project was a gangster flick with a love story twist, and getting it right meant a mountain of cash. Roy leaned forward, a confident grin spreading across his face.

[Josh Lucas]

Well, you came to the right guy. I have connections to make that happen.

[Tracy Patton]

Laney could feel how hungry they all were for this deal. Evan's eyes blazed with intensity.

[Josh Lucas]

The Cotton Club is just the start. This could lead to a three picture deal.

[Tracy Patton]

Laney had been quiet for the last couple of minutes, but her heart was pounding like she just did five lines. A contract would still need to be worked out, but the humdrum paperwork could wait. Now was a time to sell. Laney was officially in the movie business. Follow Hollywood in Crime the Cotton Club Murder on the Wondery App, Amazon Music, or wherever you get your podcasts. You can binge all episodes early and ad free right now by joining Wondery plus in the Wondery app or on Apple Podcasts. Before you go, tell us about yourself by completing a short [e-mail] survey this is episode 2 of Six from Hollywood and Crime, the Cotton Club Murder. This podcast is based on historical research, but in some cases we can't know exactly what was said, so certain dialogue dramatized. We used many sources when researching this story, but ones we found exceptionally helpful are Bad Company Drugs, Hollywood and the Cotton Club Murder by Steve Wick and the Los Angeles Superior Court Archives and Record Center. Our show was produced by Tracy Patton, Rebecca Reynolds, and Jim Carpenter for Hollywood and Crime. Our writer is Dana Rossi, our managing producer is Sophia Martins, and our coordinating producer is Taylor Sniffin. Our story editor is Michaela Bly. Research by Adam Melian, sound design is by Kyle Randall. Our audio engineers are Sergio Enriquez and Augustine Lim. Audio assembly by Daniel Gonzalez Additional audio assistance from Adrian Tapia Fact checking by Will Tavlin Voice acting by Larry Herron For Wondery, our producer is Yasmin Ward and our senior producer is Laura Donna Palavoda. Executive producers are Erin O'Flaherty, Marshall Louie, and Jen Sargent.

[Narrator]

Dracula, the ancient vampire who terrorizes Victorian London blood and garlic, bats and crucifixion. Even if you haven't read the book, you think you know the story.

[Detective Carlos Avila]

One of the incredible things about Dracula is that not only is it this wonderful snapshot of the 19th century, but it also has so much resonance today.

[Narrator]

The vampire doesn't cast a reflection in a mirror, so when we look in the mirror, the only thing we see is our own monstrous abilities. From the host and producer of American History Tellers and History Daily comes the new podcast, the Real History of Dracula. We'll reveal how author Bram Stoker rated ancient folklore, exploited Victorian fears around sex, science and religion, and how, even today, we remain enthralled to his strange creatures of the night. You can binge all episodes of the Real History of Dracula exclusively with Wondery. Join Wonderyplus and the wondry Apple podcasts or Spotify.