Real Life Real Crime | Monsters Part 2: Monsters Part 2: Inside the Crime Scene Reboot

Summary

Real Life Real Crime | “Monsters Part 2: Inside the Crime Scene Reboot”

Host: Woody Overton
Release Date: March 31, 2026
Length: ~1 hr (Content begins at 05:46)

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Overview

In "Monsters Part 2," Woody Overton, award-winning true crime investigator and host, continues his deep dive into the brutal murder of an 82-year-old woman—a case he personally worked. This episode guides listeners through the painstaking crime scene processing, highlighting the emotional gravity and forensic challenges posed by one of the most gruesome scenes Woody has ever encountered. Listeners experience both the technical rigor of a homicide investigation and Woody's emotive, straight-shooting storytelling as he narrates discoveries, interviews, and the early threads of suspicion.

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Key Segments & Discussion Points

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1. Setting the Scene: Crime Scene Entry & Processing

[05:46 – 14:40]

• Woody warns listeners that this account is unfiltered and true, stemming from first-hand experience, not media or internet sources.
• Recaps Part 1: Scene is a residence, large crowd outside, victim's daughter previously interviewed; victim (white female, age 82) found dead, half in a bedroom doorway.
• Processing Steps:
  • The investigators and Louisiana State Police crime lab technicians glove and suit up.
  • First priority: photograph everything from every possible angle before touching or collecting evidence.
    • Quote – Woody:
      “First thing is, you got to photograph everything. … Thousands of pictures. Every single view… you only get one shot at it.” [06:54]
• Initial walk-through:
  • Enter from the mud room (laundry area); notice broken glass, light fixture broken, suspicious as perpetrators often bust lights to conceal their presence.
  • Moving to kitchen: Blood drops—not spatter—suggest someone walked through multiple times.
• Living room findings:
  • Large quantity cocaine on coffee table (“at least an eight ball”), lines cut out—a connection to possible drug activity.
  • Gun cabinet (light wood, glass front) is empty; most guns and ammunition missing; blood present by the cabinet.

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2. Following the Blood: Hallway, Victim & Forensic Observations

[14:41 – 27:00]

• Hallway approach: Detailed, methodical photography of all blood pools, splatter, and footprints (both from responders and more).
• Visuals:
  • “Lake of blood,” increasing intensity nearer to the victim.
  • Blood spatter on both walls and ceiling, indicating multiple violent impacts.
  • The victim’s clothing suggests the nightgown and underwear were moved post-mortem (lack of blood on certain surfaces)—possibly staged after death.
    • Quote – Woody:
      “That tells me… the nightgown was pushed up and the panties were pulled down after all the damage had been done… probably after the victim was already dead.” [12:25]
• Victim’s injuries:
  • “Her head was so severely beaten, so severely damaged… you could see skull all over her head.” [18:10]
  • Numerous forceful blows using heavy objects; unclear if gunshot involved due to overwhelming head trauma.

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3. Weapons, Evidence, and the Search for the Murder Weapon(s)

[21:44 – 27:10]

• Near the body:
  • Two main objects:
    • Broken heavy vase (“not like a single flower vase… really have to hit them hard”), [21:50]
    • Thick glass Coke bottle (old-fashioned type), also blood-stained.
  • Both likely used in the attack.
• In bedroom:
  • The victim’s walker is by the bed.
  • Gun cabinet contents absent; bag of ice in the bathroom sink, multiple blood drops.
• Firearms Evidence:
  • .22 caliber bullets found (both shorts and longs); spent .22 casing in hallway.
  • No clear bullet wound due to trauma.

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4. Rigorous Evidence Collection & DNA Strategy

[27:10 – 35:00]

• After photography, the second phase is evidence collection:
  • Meticulous gathering of all blood samples—anticipating perpetrator may have self-injured during attack (blood trails to kitchen, bathrooms, mud room).
  • Bagging of the condom wrapper from living room fireplace (previously seen) for DNA.
  • Testing of drugs: Field test confirms presence of cocaine.
  • Broken glass from vase/Coke bottle, shell casings—all catalogued.
  • Bullets, blood, and other items all sampled and bagged, process extends for hours.
    • Quote – Woody:
      “You’re not ever going to rush it. It’s a homicide, right… and then it’s the worst you’ve ever seen.” [33:22]
• Once complete, the coroner is brought in; the body is bagged and “tagged”—forensic chain of custody scrupulously maintained.

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5. Family Interviews & Early Suspicions

[37:22 – 52:00]

• After the body is removed, Woody and his partner Calvin begin interviews outside.
• Atmosphere is tense, grief-stricken, and chaotic; much suspicion is voiced.
• First interview: A granddaughter, emotionally unstable and using racial slurs, accuses “black drug dealers” of killing her grandmother over drugs supposedly owed by her stepdad.
  • Her claims are not substantiated—may be grief or misdirection.
  • She denies seeing her stepdad (the victim’s son-in-law, a man with past drug issues) that day; her story comes across as forced to Woody.
• Contrastingly, another granddaughter and her husband (a cop) are calm and composed and give consistent info; both say stepdad had shed drug habit years ago.
• The missing stepdad’s biological son (works with him) is also interviewed; confirms he left work early, is using a maroon company truck, and had access to company funds. He, too, believes his dad was sober and “a Christian man.”
  • Quote – Woody (about suspect):
    “He’s had a narcotics problem in the past, cocaine specifically. And we got the coke in the house, and, you know, we just got to work it right.” [47:28]

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6. Lead: Suspect Spotted in Mississippi—The Walmart Tape

[52:00 – 57:00]

• New witness: family member from Mississippi encounters missing suspect at a Walmart, carrying groceries; she tries to confront him with the news, and he acts amped up, leaves suddenly in the company truck.
• This incident is several hours and many miles from crime scene, deepening suspicion.
• Police obtain Walmart surveillance video and purchase receipt:
  • Suspect appears unhurried, buying everyday goods but also:
    • Set of large women’s lingerie (“fake silk, shiny dark blue, size jumbo”)
    • Grapes
    • Unexplained purchase: large yellow squash.
  • Quote – Woody:
    “I can understand everything he bought, and even grapes… But he bought some large yellow squash. … I don’t understand the women’s underwear unless he has a girlfriend somewhere, right? … But the squash.” [56:00]
• Suspect remains missing; positively identified from footage.

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7. Cliffhanger & What’s Next

[57:00 – End]

• Woody teases further twists—listeners “have no idea where the story is going,” emphasizing even long-time followers don’t know the whole truth.
• The depth of family loss and Woody’s empathy for the bereaved is clear.
• Promise to continue next episode, possibly exposing more hidden details.

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Notable Quotes & Moments

• The brutality of the scene:
  “Her head was so severely beaten, so severely damaged… like nothing I’d ever seen.” – Woody [18:10]
• Crime scene rigor:
  “Every single view that you think you could have of everything that's in that residence, you do it because you only get one shot at it.” – Woody [06:54]
• Assessment of possible fake staging:
  “Nightgown was pushed up and the panties were pulled down after all the damage had been done… probably after the victim was already dead.” – Woody [12:25]
• Processing the impact:
  “It didn’t look like a human head.” – Woody [21:44]
• Upon discovering the cocaine:
  “Now we have cocaine on the table in the living room.” – Woody [10:51]
• On gathering family statements:
  “Everybody’s a suspect except for us.” – Woody [47:58]
• Perplexed by suspect’s purchases:
  “But he bought some large yellow squash. … I don’t understand the women’s underwear unless he’s got a girlfriend somewhere… but the squash.” – Woody [56:00]
• On handling the case:
  “You’re not ever going to rush it. It’s a homicide, right… and then it’s the worst you’ve ever seen.” – Woody [33:22]

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Important Timestamps

• 05:46 – Explicit content warning & case background
• 06:54 – Importance of meticulous crime scene photography
• 10:51 – Discovery of cocaine in the living room
• 12:25 – Observation that staging may have occurred postmortem
• 18:10 – Description of the victim’s horrific injuries
• 21:44–21:50 – Evidence of weapons (vase, Coke bottle) and further blood evidence
• 27:10 – Transition from photography to evidence collection
• 33:22 – Reason for evidence collection pace and diligence
• 37:22 – Shift to family interviews, suspicious behavior outside
• 47:28 – Linking the missing stepdad and cocaine at the scene
• 52:00 – Walmart sighting: suspect in Mississippi, suspicious purchases
• 56:00 – Details of the Walmart receipt and the squash “mystery”

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Tone & Style Highlights

• Woody’s style remains unvarnished, emotive, sometimes darkly humorous but always respectful to victims.
• Heavy use of Cajun and Mississippi regionalisms, storytelling flourishes, and “from the field” specifics.
• Explicit and at times graphic in crime description, but always with stated purpose: confronting the reality of evil.

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Conclusion

This episode is a raw, gripping look at homicide investigation—balancing forensic science with the intense emotional weight carried by investigators and families. Listeners are brought intimately close to the scene, the evidence, and the earliest cracks in the case. Suspicion, family dysfunction, addiction, and forensic detail intermingle as Woody lays the groundwork for the coming revelations.

Teaser:
The story is far from over, and Woody hints at further jaw-dropping twists in the next episode.

Transcript

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[Woody Overton]

Hey, all.

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[Woody Overton]

Warning this episode of Real Life, Real Crime. The podcast may contain descriptions of acts of violence or that of a sexual nature, and should be for people that are 18 years or older. He my warning people, I do not get the facts of these cases off of the Internet or for some television show. The facts I'm retelling, you were presented to me by the victims of the crimes or, or the perpetrators who committed the crimes against the victims. My descriptions of the crime scenes, what I saw with my own two eyes. If you're going to get offended, please turn this podcast off now. Thank you. Hello everybody. Welcome to this edition of Real Life, Real Crime, the podcast. And as always, I'm your host, Woody Overton. Today I'm going to be continuing with part two of a series I call Monsters. Stay tuned at the end of the episode for some announcements. I'm just gonna get right into it. If you hadn't heard the first edition of Monsters, go back and listen to it. But last week I left y' all at the. We were starting to work the crime scene. We were inside the residence. Louisiana State police crime lab technicians that got there, they brought in all their stuff and we're standing there and I just gone to the fireplace and seen a condom wrapper, partially burned. Trojan condom wrapper, partially burned. And they're putting on their booties and giving us booties and gloves and everything else. And it's just Calvin B. And I. And then I told you there, there's a large crowd gathered outside now and we had already done the interview with the victim's daughter. The victim is 82 year old white female who's deceased, laying in the hallway half in and half out of the doorway to a bedroom in the hallway in the house. And it's the most horrific crime scene I've ever seen. And now going to walk you through the crime scene as we process it. I'm give you another warning. I am not telling you what I'm about to tell you to sensationalize anything. I have to tell you this about the brutality of it because you need to understand the evil that happened. My heart goes out to the family to this day. And it's now been, it's been 14 years since this happened to this past week. Okay. And so I'm gonna continue. We suit up, glove up and everything and start to process the scene. Well, the first thing you're gonna do is you're going to photograph everything. And I always say we've photographed everything. Like you're working a homicide, right? Even if I'm going to look at a house to buy, right? And I want to pictures for later on. I take the pictures from every single angle, every single corner, every single everything, every angle Thousands of pictures. Every single view that you think you could have of everything that's in that residence, you do it because you only get one shot at it. Y' all also, they do video now, right? But you only get one shot at it. So in so many cases, there are things that you go back afterwards that you get more information on that you go back and you. You want to look through your pictures of the video and see, you know, you find something that you didn't see before, right? You. That you recognize a piece of evidence or picture that you took that's vastly important to the case that you didn't know before you got more information as you're conducting an investigation. So first thing is, you got to photograph everything. So I'm walking with the crime lab technician as he's photographing, and we actually went to what would be the rear door of the residence. Now, let me explain that to you. If you come in from the back door, you walk into the door. You walk into the back door. That's where we start. It opens inward to the right, and you walk into what I call a mud room. In South Louisiana, we call them a mud room. That would be the room where you come in and you have your washer and your dryer in your laundry and stuff like that. You can hang your coats. We call it a mud room. Like if been out hunting, you take off your muddy boots and your muddy clothes. When I was a kid, you know, we come in the mud room, and a lot of times my mama make. Take us outside and make a strip neck and hoses down with the hose because we'd be covered in mud from the head to the tube. But anyways, call it a mud room. So we walk in to the mud room, start to photograph it, and one of the things I notice on the floor is broken glass and in the mud room and, well, where does that come from? What type of glass is it? You look up, and the light fixture that was over the mud room, actually, we tried to turn on the light and then turn on, and the light fixture was busted out. The light bulb was busted out. I thought, well, that's kind. That's really kind of strange, right? I don't. You know, a lot of times in cases, people will bust out lights so they can hide before they attack their victims, et cetera. But anyway, filing it away, broken glass. Photograph it all. Photograph the broken light. And then we start to proceed into the house. You come immediately into the kitchen. Refrigerator is right there to your right. You know, you got your sink and all that in a table area, et cetera. And now there's blood drop, Shaw, fat blood drops, not blood splatter, kind of spread out. You know, they're not like, not like the person was standing in one spot bleeding, as if the person had to walk through at least once, maybe several times. And so we're following the blood trail, photographing through. And then you, you get to the end of the kitchen and you make that right, and that's the open. And I told you to open up onto the living room and that long hallway that ran the length of the house. And when you make that right and you're looking that away, the front door would have been on your left hand side. You can see the, the victim laying in the hallway where I told you about. And you got the living room. Well, let's take a ride into the living room. And I told him about the condom in the. The fireplace. They take a picture of that and then we start to photograph the living room. Well, there's a coffee table in front of the couch. On the coffee table. And I didn't tell you about this last week, although I did see it, I forgot to tell you. On the coffee table is what appeared to be powdered cocaine. Okay. In what I call at least an eight ball, an eighth of an ounce of cocaine in a opened up like a plastic baggie. And there was actually a couple lines on the table that have been cut out. Lines, y', all. When general, when people snore cocaine, they pour it out and they cut it up with credit card or a razor blade, whatever, and then make it in line and they snort it through a straw or just put their nose to them. Snort it up. So now we have cocaine on the table in the living room. All right, so we're photographing that and oh, the gun cabinet I told you about, it was empty. The door was open on it. It was a tall. Most gun cabinets are tall, right? Because the height of rifles and shotguns. But it was a light wood color glass front gun cabinet. And it held, I don't know, eight to 12 guns, I'm guessing rifles. They had slots for it, but it was open. And the bottom underneath had like a, a drawer section where you keep all your ammo and stuff and gun cleaning stuff. And that was open also. Guess what? No guns, zero. And not a lot of ammunition. There was some ammunition that was left, but not a lot. So it looked like all the guns had been taken in. The majority of the ammunition had been taken from the gun cabinet. And guess What? There was some blood there also. So now. But we're not sampling yet, we're taking samples yet. We're just photographing everything. So then we start to proceed down the hallway. I showed him the bathroom on the right. The bag of ice is still in the sink. Still got ice in it. Still got blood drops in the bathroom. Photograph it all begin to proceed down the hallway further. And now, and now this is where the lake of blood is, if you will, before we get to the victim. And they're taking detailed photographs of the footprints and the shoe prints that are. Some of them were mine. Some of them obviously were the victim's daughter. But obviously there was more than that. But now it's kind of all messed up. But they take it in the close ups and it's a real tedious process. You don't get in a rush. I mean, this takes a long time. And so photographing every single drop of blood, every footprint, every whatever, as we get closer to the victim's body, the blood spatter, and I told you about that last week, blood spatter was on both sides of the hallway walls. It was on the roof of the hallway above the victim. And the crime lab tech was like, damn. And I said, I know, right? I mean, so if, if you get shot one time, and I told you the bullet goes in, the slower blood comes out, faster blood comes out, hits it, you're going to have that one blood splatter. We had multiple blood splatters all over the walls from different angles. Different angles, which means there's many, many different wings. Okay, get to the victim. And I told you that her nightgown was pushed up, panties were down, possible rape, but it's all got to be photographed. But one thing I noticed was that the large amount of blood there was, there was not much blood splatter on the backside. Or. Okay, if you fold a nightgown up, there wasn't much blood splatter on the back side of the nightgown. There also wasn't much, if any blood on the underwear that were pulled down. Okay, that tells me something. What does it tell me? It tells me more than likely the nightgown was pushed up and the panties were pulled down after all the damage had been done to the victim, otherwise there would have been blood splatter on in those locations. Also there were some drops, and that's to be duly noted, but no blood splatter. So I'm thinking this is probably done after the victim was already dead. So we're at the victim and this is going to be hard to hear and it's not to sensationalize. It's because you need to know. The victim was face down and she her head. I don't know how else to describe it. Her head was so severely beaten, so severely damaged. There's like nothing I'd ever seen. And I'm not talking about from a gunshot wound. I'm talking about tears in her head and then through her hair and on the skull. You could see skull all over her head. I mean, there's tears, but it was down to the bone. You could see the white of her skull. Too many to count. Too many blows to the head to count. She didn't even look like a human being. Real life, Real crime.

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[Woody Overton]

It didn't look like a human head. So we're photographing it and you don't really talk other than. And some of the blood around her head. I noticed two things now. Her head was more in the doorway, y', all, into the bedroom. And there was a. Her lower end of her body that was more out into the hallway. And there's broken glass. Two different types of broken glass. One appeared to be a vase. It was like, I think it was like white. And it had. If it had been intact, you'd be had like a, maybe a painted on flower design, if you will. But it's in. I mean, it's heavy vase. I mean, it's not like a single flower vase. It was a. It was a big, heavy vase, but it was broken. And if you hit somebody with that, it'd do some damage, but you had, you would really have to hit them hard and numerous times to break that thing. Because it was thick. It wasn't, it wasn't a thin walled, cheap base, but it was busted in. Glass was scattered, part into the bedroom, part some in the hallway. Not much in the hallway, more into the bedroom where a head was, but it was there. And then I noticed a Coke bottle, an old timey Coke bottle. Okay, now, when I was a boy and you grew up, you went to a vending machine. You got. They didn't have. I don't know if they even had canned Cokes when I was a kid, but they, they served it in these thick glass bottles. All right, this was a broken, thick, thick glass Coke bottle. And younger generation, go look it up. Go look up old Coke bottles. And these are the ones that you could used to trade in. When I was a kid. You could collect them and trade them in for like a nickel at the store because they reused them before. Recycling was cool, I guess. And that was there also. Now, it wasn't shattered as much as the vase was. But it was there and it had blood on it. And look, if you hit somebody with a woman old school coke bottle, it's really going to do some damage. Go into that bedroom. Her Walker. The victim, 82 year old, could not walk without the assistance of a walker. Okay. Her walker was when you walk into the bedroom. It's a small bedroom. You actually had to step over her in the doorway. He turned to the left. Her walk was down beside the bed. And then there was a nightstand and a full size bed. And then he turned to your right, I think there was a, it was a tv, a small tv. And then like, like a shelving where like knickknacks were, is what I call them. And on that shelf was an overturned thing. I think they were like an LSU collector might have been from the national championship. The old coke bottle, like a six pack and it was turned over and one of them obviously was out of it. And that's the one that was on the floor and there was some blood there and. It just is a, just a fucked up scene. And there's so much blood on the walls on the roof and oh, the phone was ripped out and on the floor also. Evidently the victim had a phone in her room. And the is just so much blood. And I'm not talking about the lake of blood in the hallway now. I'm talking about the blood splatter and, and then drops mixed in. Right. And so photograph that have to step back over her. And then when upon closer inspection on the floor we saw some 22 caliber bullets. Okay. There were a couple that were not shot, meaning they were just loose bullets on the floor. Now they were.22 caliber shorts. There was a spent casing of a 22 caliber long found in the hallway. Spent, meaning it had been fired, followed away. We'll get to it sooner or later. But you looked at, you looked at the victim and the damage done her head. I couldn't see a bullet hole. I mean you couldn't see anything. But anyway, keep that in your mind. Some 22 caliber shorts that were not fired. Then a 22 caliber long that was proceeding down the hall. The, you know, the blood splatter continue goes down the hall. But as the further it gets away from the body, the thinner the lines of the blood yet that are on the wall and stuff. Right, but it was in all directions. You know, we keep film filming and shooting down the hall and then turn into the master bedroom and we get into the single fat drops I told you about and, and film the whole shoot, the whole bedroom and go into that bathroom. And there's blood drops, fat drops in the bathroom and in that bathroom sink. All photograph very important. And we get done photographing the whole house. Well, the next step is evidence collection, okay? And then during this time, you don't let anybody else in. And then we're suited up properly and everything else. But Stan came to the door and he said, man, this. There's this one female out there and she's. She's really carrying on. She's screaming about some blacks must have did this and us over drugs and blah, blah, blah. And I said, well, obviously we'll get her statement, right, Stan? I said, you know, I said, I'd like to get it ourselves so we can have. We said. I said, let her go for a little, you know, we got to work this scene, right? And so they start back the same way we photographed it at the back door. Come in. Oh, yeah. When you're photographing it, like the bullet casings and. And the different blood drops, et cetera, they're dropping the little yellow cards on it, right? With numbers on it. So it's potential evidence, but at least it's being cataloged in the photographs. You don't just go in and, you know, photograph it. And without marking it. And on certain things, do you take a tape measure and you put it in or ruler. Not a tape measure, a ruler. And you put that into the photograph so you. It can give you a dimensional size. They can go back later on and tell whatever it is you're photographing how long or how big it was in. They can figure that out. So anyway, we go back in evidence collection part. Now, the first thing that they want to do is go through and get a sample of all the blood, different samples of all the blood. Why? Because it appears there's going to be whoever did this, there's going to be their blood throughout the house, right? The fat drops I've been telling you about, probably from them damaging their hands when they beat the victim and broke the. The vase and stuff. You, you know, you break that, you're going to get cut. Why do I know or suspect it's not the victim's fat Blood drops in the back bathroom or on the bag of ice in the front bathroom or on the back door. And, and, you know, it's. It's hell is. It's a blood trail, for lack of better word. Because first of all, she had to use a walker and certainly she didn't. We can't prove beyond reasonable Doubt at this time, but certainly she didn't unload the gun cabinet by herself. Certainly she didn't put a bag of ice in that front bathroom and, you know, then go to the back bathroom. I mean, I guess she could have, but the chances are slim. So we're testing everything for DNA, blood samples, and it took forever. Why? Because there's just so much blood. Just so much blood. And so. And we're talking about hours, y', all that have gone by, and we're working and we're working diligently and they're going through and they take all the DNA samples. They take the condom wrapper. We end up taking the cocaine. And we did a, what we call it, a field test on the cocaine. They take a small amount and they put it in one of these little containers. I forget what they call them now. I used to use them all the time. And anyway, you open this field drug testing kit is what it's called. I forget the exact nomenclature, but what it is, is a little plastic container pouch that has three vials on the inside of it. You open the pouch from the top, you put a small amount of the suspected narcotics in it. Then you break the vials. The glass vials are inside, contain liquids, chemical reagents, and you break them from left to right. You break one, and you have to shake it for a second. You break the second one, you shake for however long, break third and shake for how long? At the end of the, when you're shaking it, if it turns a certain color, it's. It is whatever drug it in the case. And it came up bright blue, positive for cocaine. So then you got to collect the cocaine and, and put it in evidence and. And in my hell, we're not even near the body yet, right? Then the DNA out the bag, ice and out of the bathrooms. And then you got to collect the broken vase and coke bottle, and you got to collect the shell casing that was spent. You got to collect the bullets that weren't. Weren't fired. I mean, it's just everything. Okay, but we did. And it takes hours and hours and to be done correctly. And guess what? You're not ever going to rush it. It's a homicide, right? And then it's the worst that you've ever seen. And then collect all the evidence and everything, you know, the DNA is good and all that. And then the crime lab is when they say, okay, we're done, let's. Let's get the corner in and do the body now, we haven't turned her over or anything at this point. So we could bring the corner in and he has, you know, put on his stuff. He put on the booties and stuff, more to protect his boots, I think, than anything. And the coarse gloves. And we go down to where the body is and roll her over and the front side of her face is just. It's just not there. I mean, it's, it's. It just doesn't look like a human head. And she had white. White hair. White gray hair and. But it was all red and just absolutely destroyed. Didn't look like a human. So they bag her hands, put paper bag. The technicians did. They bagged her hands. I probably forgot to tell you about that. You take the hand and you put it into a paper bag and you then you tape off the paper bag. Close. Why do you do that? In case she fought her attacker. Attackers and has DNA underneath her fingernails that's going to come out the autopsy. So you don't want to lose any evidence. She may have hair in her hand. We don't know. You don't want to lose any of that evidence. Her hands have to be bagged. She's in lividity by this time. Meaning the body was, you know, was stiff and. And that's all important. The, the body temperature was taken. All that is important to establish some time of death and try to establish time of death and wind up putting her in a body bag, sealing it and then putting on the lock on the body bag, which has a number on it. And that's to establish the chain of custody. You photograph that right there. And before she's given to the corner or taken in. We used Seals Funeral Home at the time that's where the autopsies were done. And they would actually send out two of their guys with the stretcher to put the body on the body bag on when once we were done. But anyway, so tag him back for like a better term. Bag and tag. She's bagged. You tag it. You are establishing a chain of custody. That everything that's on her body or her hands are wrapped up or it's in her head or whatever it may be is inside of that bag. And it will not be open until the autopsy. And that's when you match the corn, not the corn. The forensic pathologist matches your photograph from the crime scene of the same lock, et cetera. Establishing a chain of custody. It's got to go in this report because the defense attorney, you know, can have everything thrown out if the chain of custody is not there. Evidence Is everything in a case like this. So we get her bagged and tagged and then have seals come to the door. We carried her down the hall, put her on the, the stretcher, they cover it up. Now remember, the family's still outside, right? In cover up. And they take her to Seals Funeral home in Denim Springs. And behind the funeral home is where they, they kept the bodies in the refrigerated things like you see in the movies, the steel things where the doors open up and they put them on the trays. God, it sounds so cold. Right? But it's what it is. Trays. And they put them on trays and they put them back in the cooler until we can get the autopsy schedule. Got the autopsy scheduled for, I think it was going to be the day after that.

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[Woody Overton]

Anyway, so we get her out now she's gone and, and then we meet back and Stan was like, you know, you got to go out and interview those girls. Said absolutely, we're going to do that. So let's go do it now. So Calvin and I go out. You. It's just surreal. It's. It's a bad scene. I mean this lady, 82 year old lady, spent her whole life helping kids. Everybody loved her. She's got. Everybody loved her. And so, so many people out there, the motions are so high. But Stan told me which one it was that was doing this extra carrying on and we, Calvin and I approached her first and I'm gonna tell the names later on, y'. All. Calvin, I approached the first and I said, I said you are. He said that, that was my, that's my grandmother. That's my grandmother that killed. I said, okay. I said I knew. We need to get a statement from you. Now let me describe her to you. She's a white female, probably close to 40, real disheveled looking, real, real unkempt. Yeah, I'm not saying this to be ugly. I'm just telling you what I was served. She, I'm not gonna be ugly, but she, she. Kind of a dirty blonde, Real dirty blonde, if not brown hair, real disheveled looking. Just not well put together, if you will. Almost. She was all frantic and stuff and to me she almost appeared to be under the influence of something. Now by this Time. We've been there like five hours or more. And she's been out there the whole time too. And I get it. Her grandmother has been brutally murdered, and she's been out there with her mama and her sister the entire time. And so we get her in my truck and introduce ourselves and don't have to advise her. I don't know anything about anything at this point. That's the truth. And get her name, get where she lives, and she's going on and on, and she wouldn't shut up about, you know, interrupting us about how these. And she's using n words. These must have did it. And he's using drugs. And I was like, oh, just, you know, settle down. Look, we need your help, you know, playing her a little bit and, and needs your help. And you got to tell us everything you know. You got to paint it for me like a. A movie. I mean, act like I know nothing at all. Etc. I said, who are you talking about? Who would be in this house that would have drugs that. That would owe money to black drug dealers that would come in here and kill your grandmother? Because that's what she kept saying. And she said the guy's name. She said, that's my stepdad. I said, okay. And I said, has he ever showed up tonight? And she said. She said, no, he's not here. And we've been trying to call him and we don't know where he's at, and he should have been here. And that's why I know that they probably got him to and. And killed my grandmother. I said, all right. I said, well, you can tell me about him. What makes you thinks he. He uses drugs? She said, he used to use it a long time ago. I'm just guessing that he must have started again. I'm just guessing. I'm thinking, yeah, you know, some. And my mind, right. And Calvin and I can read each other. I know he's thinking the same thing. You just don't start out guessing that. And, and the victim's daughter, the wife of this girl's. This girl's mother's husband and I mean, this girl's mama, the. The. The daughter of deceased is the one that told us he did have a drug problem many, many years ago, but not anytime recent and the great job and career, blah, blah, blah. So I asked when was the last time you saw him? And she said, oh, I don't know, a couple days ago or whatever she told me. And I said, so you didn't see him today? She said, absolutely not. I said, okay, where were you today? And she said, I was at home. I said, by yourself? And she said, yeah, I was by myself. And she was married. And I said, your husband wasn't home? She said, no, I was home by myself. And I said, you haven't seen him? She said, no. And I said, and you tried to call him? And he said, I can't get in touch with him. And I knew it. I know that son of bitch had had drugs and owed these black guys money, and they did this, blah, blah, blah. And she wasn't saying black guys. And she's going on and on. You know what? Just locked her into her statement, basically right to the point where we were done with her. I knew. I felt personally something wasn't quite right, but I don't know. It's beginning investigation. People act differently under grief, right? So we get. Let her out. And there was another granddaughter that was there. If you put the two side by side, exact opposites. This girl, and I call a girl, this young lady was very well put together. Her hair was, you know, I mean, I guess you said immaculate, but her hair was brushed, and she was, you know, very, very pretty. And her husband was there with her. And her husband was a Baton Rouge city police officer. And. And I told him. I said, look, we got to talk to her. And he said, I get it. I understand. And get her in the truck. And she's. Of course, she was at home or at work that day. And she also tried to call the stepdad and couldn't get in touch with them. She knew he had a narcotics problem in the past, but certainly not at any time. And they're. They're knowing them, right? He'd been clean, works the same job, et cetera, et cetera. So get out, y'. All. This is all going on, And. And we're conducting these interviews, and the guy's biological son shows up that he actually worked with at the company. And we get him in, interview him, and start talking to him and say, hey, you know, she's. The victim is dead. He's like, I can't believe that. I just can't believe it. And. And I said, and I understand your dad, you know, lives here. And he said, yeah, yeah. And. And I said, I understand that he works with you. And, of course, y', all, Calvin's asking questions, too, and we're playing off each other. And understand he works with you. Yeah, at our company. And, you know, I said, was he at work today? And he said he came in for a few minutes but he left way early. I said, all right. I said, what does he drive? He said, he drives a company truck, a maroon, I think it was a GMC extended cab. I said, so he doesn't own the truck? He said, absolutely not. And he said on top of that, he. He was supposed. I think he was supposed to go make a bank deposit. How much? He said, like 3, $500 that he had access to. And he said, I can't get in touch with him. He said, I've been trying to call him all night and go straight to voicemail. I'm like, all right. And I said, you know the name of your company? Said? I said, or the other people saw him come in today and leave early? Said, yes. I said, you mind if we send somebody out there tomorrow, talk to him? He said, no. He. I said, do you have any reason to believe that your father was using narcotics? He said, absolutely not. He said he had a problem with it in the past. He said, but if he's been using again, he's been keeping it from me. And he said, I wouldn't put up with it. He said, my father's a Christian man. He goes to church. He testifies his. About his fight with narcotics and his demons and everything else. And he said, I just don't believe it. And I said, well, look, you know, we got this information. I said, I'm really got to get with you on, you know, a lot of stuff, y'. All. And I was thinking in my mind and does he have a company credit card? Does he have, you know, what? How does he get his money? We don't have a suspect yet, but it's certainly strange, this dude in here by now, it's like probably 2 o' clock in the morning or later. I don't know, it's been a long time. And we talked to him and ended up releasing him from the initial interview. And we met back with Stan and everything and told him, so look, man, I said, obviously this dude is missing. He's had a narcotics problem in the past, cocaine specifically. And we got the coke in the house, and, you know, we just got to work it right. And I said, we got to start somewhere. We got to start with him. And he's like, yeah, yeah, you're right. But you can't discount the, you know, the drug dealer thing. I said, look, we can't discount anything. Everybody's suspect except for us. And meanwhile, we're standing there talking, and the daughter of the victim, the first one we interviewed, comes up and says, says, I Think they're like her granddaughter. Her granddaughter or they. There were a lot of orphan children, y', all, that were involved in the story that I may tell you about or may not or whatever. And they all considered this the victim to be their grandmother, what have you. And she said. She said, this girl just got here and she had to drive in from north Mississippi, and she's got information on him, talking about her husband that was missing. I said, all right. So Calvin and I go up and introduce herself, said, hey, can you come in the truck and talk to us? And so she did. And she gets in there, told her names, told us where she lived in northern middle part of Mississippi. And I said, you. You. I understand you have some information on him. And she said, I do. She said, it just totally freaked me out. I said, what is it? And she said, I stopped. Yeah, I think it was Brookhaven, Mississippi. It's either Brookhaven or McComb, but I'll tell you about both of them. They're not 15 miles apart. And if you go to. If you come into Livingston parish on Interstate 12, or say. Let's say you leave in Livingston parish on Interstate 12, you go east until you hit I55. I55. And that runs north all the way from the Mississippi line all the way down to where it hits Interstate 10. I mean, you take left and go to New Orleans. So she said, anyway, you. You would take I55 into Mississippi. You. You know, you pass now Louisiana, you get through Kentwood, and then you come into whatever small town in Mississippi and then another one in the town. Yes, a couple bigger ones, and they are McComb and then Brookhaven. Regardless, she said she got the phone call about the victim, who's her great grandmother or whatever, and she was like, holy hell. And. And I mean, you know, she loves the lady, right? And she's coming. She's family. She said, I had to load up. I had to bring my kids or whomever somewhere. It's in the middle of night now. Said I had to load up. I had to stop at Walmart to get something to drink or. I don't remember what it was. Maybe some cigarettes, I don't remember. But that was the only thing that was open that time of night in that small of a town was the Walmart. She says, I go, I'm getting out of my vehicle, I'm going to walk in the door of Walmart, and I see him coming out and he's carrying some bags of groceries. And she stopped and she said, it freaked me the fuck out. She's like, what are you doing here? She said, don't you know? Don't you know? And I'm not gonna say the vic's name, what they called her. She said, don't you know? She's. She's dead. She's been brutally murdered. And then he looks at her and he said, yeah, yeah, I heard, I heard. I'm. I'm heading that way right now. I'm heading that way right now. She said, what are you doing in Mississippi? He said, I was up here for work, but I'm headed that way right now. I'm headed straight there. She said, he was really. Not strung out, but really amped up. And then he took off and he got into that maroon truck and drove off. And she said it freaked her out. And so she just left. And she ends up coming there, and she's, you know, gets there and we're interviewing her, and I said, what time was it? She told me when she was at the Walmart. And so we thanked her and let her go. Got her phone number in case we need to contact her again. But we got her statement that she sees him in Mississippi. Now, this is like. This is like three hours from where the victim is. Let's see, I'm an hour at least two and a half, three hours from where the victim is, and he's coming out of Walmart in the middle of the night carrying grocery bags. So we ended up interviewing everybody else or whatever is. It's like four or five o' clock in the morning. We have Holder last detecting me, and I said, I said, we got to get to Walmart. We got to pull a video. We got to find out what time he got there. We got to see if we can see any injuries on him. We got to see what he bought. He said, I agree. He said, I agree. I said, look, I'm white. He said, I'm gonna get the day shift guy. Come on, run over there, give it the manager. Pull the video. Go. You and Calvin go get a couple hours sleep and then meet me back at the office late in maybe two hours. He said, sleep ass house. I said, all right, so go home. Go back up. I mean, sleep for an hour probably, and shower, fresh clothes, go back to the office, and they're there. And I forget who it was. It may have been Ken McMorris. I went and pulled the video, and they had sure enough, sure and Walmart cooperated without a warrant. They told him what we were looking at, and not only did they give Us the video, but they gave us the receipt, copy of the receipt of what he bought in the video. This dude I'm describing for you, he's probably 5 11, maybe 280 pounds, fat, big, thick glasses, probably late 40s. And he's just a slob. And he's in a shirt, like a T shirt with a pocket thing on the front and, and some jeans and whatever. And he's just strolling through Walmart, you know, getting things off the shelves. But at one point he went to the women's section, women's underwear section, and, and he picked something out of there. Then he, he went all the way through the store. He went, I'm sure he shopping like it's a Sunday and he's got all the time in the world. He went to the fruits and vegetable section and got a couple items. And so I'm looking at the receipt while we're watching the video and receipt shows some normal things like some toiletries, you know, toothbrush, toothpaste, some deodorant and. But it got to the women's section. He bought a pair, or I guess you call him a set. I'm not a lingerie guy, but he bought, I guess I'm a call a set, a set of women's underwear. I think they were like fake silk and like a shiny dark blue, but I forget how this list on receipt, but it was like size jumbo. And I don't know women's clothing sizes, but the manager store said that, that what he bought was the largest size that they had. And then he went, when he was in the food section, he bought different food items. When we went, I can understand everything he bought. And even grapes. He bought some grapes, right? You can put grapes in a cooler and, and eat them as you're driving down the road. But he bought some large yellow squash. Squash the vegetable. And I'm thinking. And I told Cat, I said, what the fuck? I mean, I can understand. I don't understand the women's underwear unless he's got a girlfriend somewhere, right? And I said, but the squash. Cal said, I don't know, man. He said, I don't know. He never showed up that night, by the way, after the witness put him in the Walmart. And she was right, it was him. We, we printed out the picture from the Walmart show. Some. Another detective took it to one of the family members. They said, yeah, that's him. We knew it was him anyway. We had pulled his driver's license and all that, but he was positively identified as being him. But the things that stick out from the receipt for me at the Walmart or the women's bra and panties, but it was like a set thing, more like a lingerie thing. And then the big squash. Figure it out and I'm gonna conclude it for this week on Monsters. You have no idea where the story is going. We're almost another hour in and I'm gonna leave it at that. It'll continue it again next week. And even if you know the story, you don't know the story. The heart goes out to them to and it always will to this family. It's just unbelievable. And as always, thank y' all for everything. Thank you for listening and sharing Real life, Real crime. Thank you for making us first runner up to 2020's best true crime podcast of the year award. Thank you Patreon members for your support. You you're going to be getting your patron episode the Wednesday before Thanksgiving. I'm not releasing anything next week except for a patron episode and it doesn't have to do with monsters. This is, it's another full length episode as part of your patron benefits. And you'll be getting of course, patron. You get this episode earlier than everybody else. Commercial and unedited. All lifers, all life. Thank you. Thank you. I understand if you can't be a patron member. Thank you for continuing to share. And like us, y', all, all our pages are blowing up. Go follow me on Instagram at at Real life, Real Crime and at Overton Woody. Check out all our social media. Check out our YouTube channel. It's growing phenomenally. All the episodes are on there, previously pulled. Who Murdered Courtney Coco is on there with video. So it's more like a movie. The Rapids Burning series, the same thing. It's not just the episode and we're adding more episodes. My wife's working on it all the time, putting more videos and interviews, et cetera, in episodes. Don't forget when Courtney Coco's case is solved. Well solved. It's already been solved. After the arrest of made we are going to release don't Call It a Cold Case by Toby, Tom Play and I the new podcast and it's going to be dealing strictly with Ms. Barbara Blunt, this case. So y' all keep continue calling your tips on that in Lopa, Louisiana Organ procurement Agency. Go to their website, take two minutes, sign up to be an organ donor. Save a life. We have stories coming up that homicide victims were organ donors. And there we we're going to have their family members on and they're going to be able to tell you who their organs went to. And we'll also tell you about the horrible homicides that they were victims of, et cetera. So all that's coming anyway. Go to go to lipa.org sign up to be an organ donor and when they ask you how you heard about them, go to Livingston Parish Literacy and Technology Center Criminal justice students. That's how I heard it. Check the box. Those kids are pushing for it. Such a great cause. It's also personally my cause. Real Life Real Crime is adopted lopa, their nonprofit organization. I'm going to continue to every episode I ever do, I'm going to sign out talking about Lopa. Because if one person goes out there and signs up and by chance your organs get to be used, then you're saving lives. So I'm Woody Overton, you host a Real Life Real Crime the podcast. And until next time or ever, don't let me catch you down on murder by you. Peace. You have the right to remain silent.

[Miranda Rights Speaker]

Anything you say can and will be used against you in a court of law. You got to write to the attorney prior to it during any question. If you can't afford one, the court

[Woody Overton]

appoint one for you.

[Miranda Rights Speaker]

Do you understand your rights?

[Intro/Outro Music or Voice]

When the wolf is at your door you running over that's the sho

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already

[Intro/Outro Music or Voice]

knows all about you Cut you down no matter by you now you better walk.

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[Alex Cancerwitz]

Hi, this is Alex Cancerwitz. I'm the host of Big Technology Podcast, a longtime reporter and an on air contributor to cnbc. And if you're like me, you're trying to figure out how artificial intelligence is changing the business world and our lives. So each week on Big Technology, I bring on key actors from companies building AI tech and outsiders trying to influence it, asking where this is all going. They come from places like Nvidia, Microsoft, Amazon and plenty more. So if you want to be smart with your wallet, your career choices, in meetings with your colleagues and at dinner parties, listen to Big Technology Podcast. Wherever you get your podcasts.