Бесплатный фрагмент - Kill Marilyn

Valeria V. Miller is an independent publicist and researcher of 20th-century mysteries. Her work focuses on exposing the hidden mechanisms of power, conspiracies, and the fates of individuals whose lives and deaths became intertwined with the interests of the elite. Her book on Marilyn Monroe is part of a larger series of investigations in which facts and documents speak louder than myths

“Kill Marilyn” — The Secret Life of a Star Behind the Smile

Valeria V. Miller’s new book reveals what official Hollywood chronicles have kept silent. For the first time, unknown details of Marilyn Monroe’s autopsy are published, along with new evidence of her connections with John F. Kennedy and the circle that simultaneously admired and controlled her life. Discover how the Hollywood legend ended up in absolute solitude, despite fame, wealth, and the attention of the most powerful people in the country. Every page is a journey to the truth about the short but brilliant life of a woman whose secrets and elite connections continue to astonish historians and journalists. This book is not just a biography. It is an investigation that overturns the perception of Marilyn Monroe and reveals what really happened behind the closed doors of the White House and Hollywood.

The Death Laid in Bed

“We didn’t recognize her. This wasn’t the star from the posters. She looked like someone who had been through hell.”

— Allan Abbott, funeral director

Los Angeles, August 4, 1962. The house on Fifth Helena Drive was bathed in the soft glow of lamps; the shadows fell crookedly, as if shaped by fear. Marilyn Monroe walked through the rooms in a long cream-colored robe, without makeup. She wasn’t smiling — and that alone was unusual. The only one nearby was her housekeeper, Eunice Murray. Murray claimed that at 8:00 p.m. the actress had wished “to be alone.” But later she would admit that all evening she heard men’s voices by the door. Something was happening, but no one came in through the front entrance.

At 9:00 p.m., Marilyn’s phone line was busy. For a long time. At that hour she was speaking either with Joe DiMaggio Jr. or with Peter Lawford — actor and brother-in-law of John F. Kennedy. Lawford would later confess that she sounded strange: “as if she were saying goodbye, quiet and incoherent, asking me to say farewell to the President as well.” With sadness, he added: “That was her suicide note.” According to the official version, she took forty Nembutal tablets. But the next morning there was no vomiting, no traces in the stomach, no glass of water. The liver was completely “empty” — almost no poison was found there. Which means she hadn’t swallowed it. It was administered to her.

Night. Around 11:30 p.m. At that time, black cars without license plates appeared in her neighborhood. Witnesses from the house next door claimed they saw two unknown men arrive. One “looked like Robert Kennedy,” the other was a silent bodyguard. They heard a woman screaming. Then silence. Later, private detective Fred Otash, hired to keep watch, would say that on that evening Robert Kennedy had indeed flown into Los Angeles — despite his official alibi. He was accompanied by security officers and was in the Brentwood area.

Question: what is the Attorney General of the United States doing at night in the house of his brother’s lover, just hours before her death?

Around midnight, psychiatrist Ralph Greenson, according to the official version, was called to the house. He found Marilyn in bed. Dead. Lying face down. But the body looked deliberately arranged. No panic. This was not a suicide. It was a scene. A theater. Someone had placed her that way. Someone wanted us to see her exactly like that.

August 5, 3:30 a.m. The police were finally called. Hours after her death. Why? The housekeeper would later say she had “hesitated.” Greenson — that he “feared a scandal.” The ambulance arrived too late. But paramedic James Hall, one of the first on the scene, would later testify under oath: “She was still warm. Possibly alive.” This witness was fired. The second paramedic disappeared. As did the audio recordings made in the house that night. The official ruling: “Probable suicide by barbiturate overdose.” But just a day before her death, Marilyn told a friend: “If anything happens to me, it won’t be me. It will be them.”

“When I saw her body, I didn’t recognize her at first. There was nothing left of Marilyn.”

— Allan Abbott, funeral director who prepared the body for burial.

When she was found, Marilyn lay face down, her naked body covered with a blanket, in a “soldier’s pose”: arms straight at her sides, the body arranged as if it had been placed, not collapsed in agony. And this is where the strangeness begins. When Marilyn Monroe’s body was delivered to the Los Angeles County morgue on August 5, 1962, the first to see it were employees of the Westwood Village Mortuary. One of them, Allan Abbott, years later described a scene that sent chills through him:

“Her face was blotched. The skin gray. Her hair dirty, tangled. She had no teeth. We literally had to reconstruct her face so that the family could say goodbye.”

“We didn’t recognize her. This wasn’t the star from the posters. She looked like someone who had been through hell.”

— Allan Abbott, funeral director

What were those blotches? Why was she missing teeth? What happened to Marilyn Monroe’s body in the final hours of her life? In the pathologist’s report by Dr. Thomas Noguchi, the blotches are not described in detail. This is alarming: the report focuses on the condition of internal organs, the stomach, and the blood, but barely mentions her face. Yet the funeral team described purple and dark marks on her face, neck, and shoulders. These could be postmortem lividity (livor mortis), which appears a few hours after death when blood settles in the lower parts of the body. But they could also be bruises and contusions, if one assumes Monroe was physically assaulted. Injection marks — if the drug was administered forcibly — could also account for blotches from subcutaneous injections in the neck or face.

“The livor mortis marks were in unusual places for a person found lying face down. This led some experts to question the actual position in which she died,” wrote journalist Donald Spoto in his book Marilyn Monroe: The Biography.

According to Abbott’s testimony, Marilyn wore removable dental prosthetics. At the time of her death, she had no natural teeth. Why? Most likely due to her dependence on barbiturates and amphetamines — substances that cause dry mouth and accelerate enamel decay. It’s possible Monroe removed her dentures before going to bed, as many people do, and death caught her in that state. But there’s another possibility: a blow to the face (for example, a fist or blunt object) could have dislodged the dentures. In any case, at the autopsy she was toothless, with tangled, dirty hair, and her face was deformed, sunken, with collapsed cheeks. The funeral staff later admitted that they had to use cotton, makeup, and plastic inserts to reconstruct a recognizable likeness of Monroe. There were also obvious signs of trauma. Although the official version claims a barbiturate overdose, many details suggest otherwise: the unusual distribution of postmortem lividity, visible blotches and bruises on the face, neck, shoulder, and back; the lack of stomach contents despite the alleged ingestion of 40 pills (which is impossible if taken orally). Theories arose that Monroe was strangled and her body then positioned to stage an overdose. Some researchers suggest she may have been administered a lethal dose via rectal or intramuscular injection — something pathologist Noguchi mentioned in his later interviews.

Dr. Thomas Noguchi, the young pathologist who conducted the autopsy, admitted in his memoirs in the 1980s:

“I could not find any traces of capsules in the stomach. It was strange. There weren’t even remnants… Yet the level of the substance in the liver was lethal. This is impossible without an injection or rectal administration.”

Monroe was always obsessively careful about her appearance. Even in a drugged trance, she would never allow herself to look unkempt. That’s why the tangled, greasy, seemingly “unwashed” hair noted by the morgue staff is alarming. It looked as if she had been held somewhere without access to a bathroom, without care. As if she had spent at least a full day in confinement before her death. This contradicts the official story of “she stepped out of the shower, took the pills, and went to bed.” No bath, no fresh styling — just a dirty head, sweat, and grime. For Monroe, this would have been a symbol of catastrophe. The autopsy recorded postmortem lividity, but witnesses described dark areas on the face, neck, and chest resembling bruises. These could be from blows, from strangulation causing blood to pool in the skin, or from pressure and struggle. Could she have been beaten or restrained, forced to say something? Certainly.

“The one who stands beside the dying is either a savior or an executioner.”

Marilyn’s psychoanalyst, Dr. Ralph Greenson, was closely involved in her personal life. He often violated professional boundaries, showing up unannounced, supposedly “treating” her with words, while simultaneously collaborating with her physician, Hyman Engelberg, who prescribed the strongest medications. Greenson was the last person to see her alive — and the first to declare her dead. According to one version, he arrived at the house earlier than he claimed and was present that night when everything happened. He and housekeeper Eunice Murray gave coordinated but contradictory statements — first saying the door was locked, then that they saw light under the door, then that they knocked but could not get in. Their accounts changed over the course of the investigation.

“I don’t remember exactly when the doctor arrived… Everything was like a fog.”

— Eunice Murray, during questioning

And now — the key point: the injection mark. In 1962, pathologist Thomas Noguchi noted the absence of capsules in the stomach. This confirms that the barbiturate was not swallowed. There was also no puncture in the arm or vein. But there was a faint mark near the heart, which, according to one theory, could indicate a cardiac injection — an intracardiac shot (rare, but possible in emergency medicine).

“An injection into the heart? But why — if the person was already dead? This isn’t an attempt to save, it’s an intervention,”

the pathologist commented in the 1980s.

If Greenson saw that she was in critical condition — why didn’t he call an ambulance? Why, instead, did he allegedly administer an injection himself? Or… did he give a shot that didn’t save, but finished her?

Greenson was not just a doctor. He was close to the Kennedy circle. According to unverified reports, he may have been instructed as Monroe’s overseer. He was supposed to ensure she didn’t lose control. But if she went out of control — he could have been the executor of a sentence passed by the elite. Did he have the means and resources? Yes. He was a physician. He had access to the drugs. He could administer a lethal dose via enema or injection under the guise of aid. He knew that afterward it would be recorded as an overdose. And he was the first to tell the police: “She committed suicide.”

“He came into the house and everything was already prepared. He knew what to do,”

the actress’s housekeeper recalled later, when asked how the doctor behaved that night.

The hand that administered the poison had to be medically competent, have access to the body, and raise no suspicion. Capable of passing off a killing as “assistance” or a “delayed reaction.” All of this points to Dr. Ralph Greenson. He may not have been the one who ordered it, but he could have been the executor — the one who delivered the final dose. The one who did not save her. The one who knew how to kill — and how to disguise it as treatment. When someone dies under suspicious circumstances, investigators always look at who first “found” the body and who first gave testimony. Dr. Ralph Greenson is exactly that person. And his behavior immediately after Marilyn’s death raises many troubling questions. According to his version, he arrived at the house that night when called by housekeeper Eunice Murray. But in other accounts, he was already in the house beforehand, or even at the moment of the actress’s death.

At first he stated: “I arrived after a call from Murray and found her already dead.” Then he changed his account: “I was there all evening. She was in a depressed state. Then I left.” But later he said: “Murray and I tried to open the door to her bedroom, and then I saw the body.”

Different sources give different times for the doctor’s arrival—10:30 p.m., midnight, 3:00 a.m. There is no single version confirmed by all witnesses. Eunice Murray also constantly changed her story — likely in collusion with him. Officially, the call was logged around 4:25 a.m. But Greenson was in the house much earlier. Why didn’t he call immediately if he saw Marilyn unconscious? Moreover, he called her treating physician, Dr. Engelberg, rather than the ambulance. This behavior is extremely odd for someone who supposedly found a dead patient and wanted to save her life. All logic suggests he was stalling for time.

“He seemed as if he was waiting for something. Or someone. Before calling the police,”

from unofficial notes by investigator James Hall.

When the police arrived, the doctor did not behave like a flustered physician who had just discovered a patient’s body, but like someone controlling the scene. He immediately suggested suicide, even though official medical personnel had not yet conducted an examination.

“He was almost dictating to the police what to write. The idea of an overdose didn’t come from us, it came from him,”

recalled police officer Joe Hill.

On different days, Greenson said: that “she had taken the pills” — yet the autopsy showed no capsules. That “her door was locked” — but the housekeeper said the door was open. That “the body lay on the bed in a specific position” — but there are no photos of that position, and the body was likely moved. He also claimed the body was still warm, yet forensic experts later determined she had been dead at least six hours before their arrival. If Dr. Greenson had truly only wanted to help, his behavior would have been straightforward and logical: an urgent call to the ambulance, immediate resuscitation, clear explanations. Instead, he stalled for time and did not call for help. Then he changed his statements, guiding investigators toward the version he wanted. Greenson provided questionable details that were later contradicted by the autopsy. This is not the behavior of a doctor. This is the behavior of someone participating in a staged scenario.

After Marilyn Monroe’s death, Dr. Ralph Greenson did not disappear from public view. He did not retreat into the shadows, as an innocent physician shocked by a patient’s death might; on the contrary, he began giving interviews, appearing in the press, and… increasingly contradicted himself, raising even more suspicion. In an interview with The Psychiatric Times in 1963, Greenson stated:

“She was like a glass vase on a cliff — beautiful, trembling. I felt that someone wanted to destroy her. I felt she was surrounded by people who were using her. I tried to protect her.”

At first glance — sympathy. But who were these “people”? He never named names or even hinted at them. The journalist who interviewed him later admitted that part of the conversation had been removed at Greenson’s own request, supposedly because “it could harm important people.”

“He stopped the recording when the conversation turned to the Kennedys. He said, ‘I must not talk about this,’”

— journalist B.H.

In another interview he gave in 1967, he claimed:

“She spoke about Robert, but she had no emotional connection with him. I don’t think he loved her. And she… she wanted love.”

But by 1972, in an interview with the French newspaper Le Monde, he suddenly stated:

“I never saw Robert Kennedy in her house. That’s fiction. She simply idealized him.”

These statements not only contradict each other but also directly conflict with witness accounts, which placed Robert Kennedy in Marilyn’s house the day before her death — and even reported hearing screams. Ralph Greenson was not merely Marilyn’s psychoanalyst. He moved in Los Angeles’s privileged circles, serving the elite, including lawyers, politicians, and media executives. Through these clients, he was indirectly connected to Robert Kennedy. Some investigators (such as Fred Otash) claimed that Greenson was aware of Robert Kennedy’s visit to Marilyn’s house on August 4, 1962. Moreover, there are unverified reports that Greenson was the one who informed Robert about the actress’s condition that evening.

“He could have been an intermediary. He could have been the one who gave the signal for her elimination. Or the one who watched the order being carried out,”

wrote journalist Anthony Summers in 1985.

Greenson never condemned the Kennedys, neither publicly nor in private conversations. Even when all evidence pointed to the family’s involvement in the tragedy, he steadfastly defended their honor. It’s clear he knew more than he admitted. He always avoided direct answers when Robert Kennedy was mentioned. His interviews are full of contradictions — first claiming the Kennedys were present, then saying they were not. He remained silent on parts of the events, citing “ethics,” yet allowed himself to comment on the actress’s intimate life. His social circle intersected with the Kennedy clan, and he could have been serving their interests. If this was a staged scenario, Dr. Greenson played a significant role. His contradictory statements, public lyrical interviews, and refusal to answer key questions directly all resemble the behavior of someone living with a secret. And that secret was Marilyn’s death.

Quotes from Dr. Greenson about Marilyn Monroe: 1963, private interview for a medical seminar in Beverly Hills:

“She was a sexual addict. Men were like a drug to her. If she didn’t arouse them, she felt she didn’t exist.”

“She had almost no intellect. She was an actress of the body, not the mind. Her brain was like that of a sixteen-year-old girl, but with a woman’s body.”

— testimony of Dr. Arnold Goldman, participant of the seminar. Records published in 1995.

1966, Psychological Profiles of Public Icons magazine.

“She manipulated men as if she had slept with each of them — even when she hadn’t. Her power lay in making them believe she was already theirs.”

— article edited by R. Greenson, part of materials from a psychoanalytic conference.

1972, interview with the French newspaper Le Monde.

“She slept with anyone who promised her protection. It didn’t matter who it was — Joe DiMaggio, Arthur Miller, or Robert Kennedy. She made no distinctions.”

“I told her, ‘You are losing your boundaries. You are not a woman — you are a symbol, and you enjoy it.’ She laughed. She liked it.”

The full interview was later removed from the newspaper’s website following complaints from lawyers. 1976, private conversation with colleagues at a symposium in Los Angeles (transcript made public only in 2002):

“She said she had twelve abortions. I’m not sure if that’s true, but she spoke of it without any emotion.”

“She called sex ‘the cheapest way to get warmth.’ This wasn’t a star speaking — it was a psychotic orphan.”

— American Psychoanalytic Association archives, symposium protocol.

This is not merely about medical assessments, but about crude, humiliating, almost sadistic characterizations that he shared after Marilyn’s death. Instead of protecting her dignity, he exposed her intimate vulnerabilities to the public, twisting and embellishing them as if to justify himself, shift blame onto her, or… humiliate her retroactively, as though exacting revenge. Such rhetoric resembles the monologue of a perpetrator, not a physician. For two months after Marilyn’s death, he secluded himself and refused to see patients. He did not leave the house without his wife, spoke of “possible surveillance,” and drank whiskey every evening, despite previously abstaining from alcohol.

“He whispered: ‘They will come for me,’ ‘I knew they were using me,’”

— testimony of his wife, Hilda Greenson, in letters to a friend.

According to his sister, after Marilyn’s death, he refused to use the phone — insisting that calls be made only to the city line — and claimed that his mirror was “watching” him. He repeatedly nailed shut gaps in the windows so that he could “not be seen.” He muttered that “dots were blinking’ in the windows. I was afraid to leave him alone,” — from his sister’s personal diary, 1963. Greenson increasingly resembled a psychiatrist descending into madness. One night, Hilda awoke to the smell of burning paper. She found Ralph at the fireplace — burning notebooks. Later he claimed that “there was nothing important” in those diaries, yet several of his colleagues remembered that he had recorded nearly every session with Marilyn there for almost three years. In the 1970s, one of his psychoanalyst friends, Dr. Harold Winter, suggested that Greenson undergo a “reverse therapeutic session” to relieve anxiety. He agreed, but at the first mention of the name “Marilyn,” he abruptly stood up and left the room, refusing to continue.

When UCLA gained access to part of his archives in the 1980s, it was discovered that several pages had been torn from the 1962 notebooks, and the dates in the entries did not match — especially during the week of Marilyn’s death. In his “official version,” the session with her ended at 7:00 p.m. on August 4, but neighbors claimed he left her much later, closer to midnight. By 1974, Greenson was already suffering from panic attacks, undergoing treatment for alcohol dependency, and experiencing insomnia and hallucinations. He stopped practicing and moved from Beverly Hills to a secluded house in Malibu.

“He was devastated. As if someone had been holding him by the throat all these years and never let go. I do not rule out that he felt guilt — either for not saving her, or for becoming part of something much larger and darker.”

— Dr. Leo Rankin

Before his death in 1979, Greenson requested that no public memorials be held and that all his personal letters be destroyed.

Yvonne Murray was also in Marilyn’s house on August 4, 1962—and she was supposedly the first to “sense that something was wrong” that night. According to her version, she went to bed around 10:00 p.m., then awoke at 3:00 a.m. feeling uneasy. She approached Marilyn’s door and called out, but there was no answer. Seeing light under the door, she realized something was wrong and summoned Dr. Greenson. Yet by 1963, she inadvertently revealed more. In a BBC interview, she let slip that someone else had been in the house that night. When pressed by the journalist, she admitted:

“Of course, Robert Kennedy was there… Ah, I shouldn’t have said that.”

— Yvonne Murray, BBC Panorama interview, 1985 (cut from the broadcast but preserved on tapes).

In one interrogation, she said she “went to bed at 10:00 p.m.,” while in another, she claimed she “talked to Marilyn until midnight.” She insisted that the bedroom door was locked, but staff later stated that there was no lock at all. She said Dr. Greenson broke a window to enter, yet the police found no signs of forced entry. At first, she said Marilyn was lying face down; later she claimed she “was lying on her back, calm, as if asleep.” None of her accounts matched the official report. She constantly contradicted herself, lied, or nervously deflected questions.

After Marilyn’s death, Yvonne disappeared from public view for several years, only to later reappear in documentaries — with a revised version of the story. In 1985, she claimed Robert Kennedy had indeed been there — but literally the next day recanted, saying she had been “misunderstood.”

“She lied with a smile, as if reading from a script. But the moment she forgot a line — she would turn pale and start stammering.”

— from the memoirs of a BBC cameraman

“She behaved like a woman who had been told: if you speak, you will disappear forever.”

— Donald Wolfe, The Last Days of Marilyn Monroe

Yvonne was privy to a great deal — she heard phone calls, knew who came and went. She may have seen Robert Kennedy that night — or even participated in the “preparations.” She acted under the direction of Dr. Greenson, who clearly controlled her. Yvonne Murray portrayed herself as a naive maid “deeply concerned for Marilyn,” but her behavior was not that of a woman in shock. It was the behavior of someone playing a role. She lied, repeatedly changing her story as she received new instructions. And she died with her lies, never revealing the truth.

“Marilyn Monroe was either killed or died elsewhere, and her body was brought home.”

— a version voiced by a former LAPD officer, which ruined both his career and, eventually, his life. The officer was removed from the case, and the theory was dismissed, despite circumstances and evidence pointing exactly in this direction.

Monroe’s room was too pristine — no signs of struggle. No broken glass, furniture perfectly arranged. The bed was neatly made, with only pills and a glass on the nightstand. For someone supposedly dying in agony from an “overdose” (if one accepts the official version), this is unnatural. Considering that the autopsy showed signs of possible violence: Dr. Thomas Noguchi’s autopsy report notes “abnormal rectal dilation”. In the official autopsy, it is mentioned:

“There was pronounced hyperemia and blood congestion in the colon, particularly in the rectum.”

It is also noted: “The rectum was significantly distended.”

This cannot be explained by a tablet overdose. In typical overdose cases, remnants of the drugs are found in the stomach — but in this instance, there were no traces of pills at all. Despite the “massive dose” of barbiturates (Nembutal and chloral hydrate), no capsules, tablets, or residues were detected in the stomach, intestines, or even the esophagus. This contradicts the official version that she voluntarily ingested them. Some researchers (such as Donald Spoto, Don Wilson, and John Miner) suggested that the substances were administered rectally — either as suppositories or via an enema. This would explain the abnormal distension of the rectum as well as the absence of traces in the stomach. However, there are even more troubling interpretations. Some independent experts, including former forensic pathologists in the 1980s and 1990s, stated:

“Rectal distension and micro-injuries to the mucosa could indicate forced administration of a substance, or… sexualized abuse.”

Although this was never officially confirmed, the nature of the injuries and the absence of other explanations look highly suspicious. This cannot be accounted for by the version of an oral overdose. It could only indicate the forced administration of a substance — or even suggest sexualized violence — especially when considering the other bruises and injuries. Yet it is striking that there were no signs of physical struggle in the room. The housekeeper, Eunice Murray, behaved suspiciously. She claimed the laundry was running at night, which contradicted both standard practices of the time and neighbors’ testimony. She frequently changed her statements and altered the chronology of events.

Paramedic James Hall, in an interview during the 1980s, stated that he arrived at the scene before the police and that Marilyn was still alive, though unconscious. According to him, the emergency doctor attempted resuscitation but was prevented from acting by Marilyn’s personal psychoanalyst, Dr. Ralph Greenson. Subsequently, the paramedics were reportedly forced to leave, and the body was later “placed” on the bed to stage a suicide. An LAPD officer speculated that Marilyn had been taken to a private residence, restrained for a “conversation.” There, she reportedly had a panic episode, threatening the press and public exposure. Something went wrong, and during attempts to “calm her,” she died. The body was then quickly returned to the bedroom, the doctors called, and a suicide scenario was staged. Neighbors reported seeing cars arriving and leaving around midnight. Journalists were on the scene before the police — violating standard procedures.

John Miner, a former district attorney who oversaw the autopsy, privately asserted that Marilyn could not have died in the manner officially described and that she had no motive for suicide. He had listened to recordings she made on a dictaphone the night of her death and concluded from them that she was alert, full of ideas, and not depressed.

In Marilyn Monroe: The Biography (1993), Donald Spoto advanced the theory:

“Monroe’s death may have occurred somewhere other than her home, and her body was later returned there to conceal the true circumstances.”

He also pointed out that there were numerous inconsistencies in the statements of Eunice Murray and Dr. Grinsson, and that the medical evidence did not align with the suicide narrative. Robert Slatzer — a journalist and allegedly Monroe’s unofficial husband — actively promoted the theory that she was killed because of her connections to the Kennedy brothers. According to him, she was taken to the home of Peter Lawford (Robert Kennedy’s brother-in-law) for a meeting, where the conflict occurred. After her death, her body was returned to her bedroom, and everything was staged. The Life and Curious Death of Marilyn Monroe (1975).

Jack Clemmons — the first officer on the scene of the “suicide” — arrived at Monroe’s house around 4:45 a.m. He had been called by the housekeeper, Eunice Murray, but by that time, Dr. Grinsson and Dr. Engelberg (her general practitioner) were already in the house.

“I immediately sensed that something was wrong. I didn’t see a glass of water — yet to take that many pills, a person would have needed a lot of liquid. The housekeeper was dressed, groomed, and behaving as if she were expecting reporters. It all looked staged.”

Clemmons was not allowed to file an official report with his observations. He claimed that upon arriving at the scene, he wanted to document his suspicions: the lack of disorder in the room, the position of the body, and the strange behavior of the housekeeper and doctors. But he was instructed not to include subjective observations and simply follow the official “suicide” narrative.

“I was just the on-duty officer. I was made to understand that I shouldn’t stick my nose where it wasn’t wanted. It was an order from above.”

— Jack Clemmons.

The LAPD leadership quickly handed the case over to the district attorney without a full investigation, and Clemmons was removed from further involvement. The inquiry was soon closed, and the prosecutor’s review concluded “probable suicide.” Despite being the first officer to see the body, he was never officially interviewed as a key witness. Later, his public statements were ignored or discredited. When Clemmons began speaking out in the 1970s, mainstream media largely refused to cite him. He was portrayed as a “bitter ex-cop,” despite leaving the force with a clean record. In some circles, he was labeled a conspiracy theorist, although he never claimed anything fantastical — only reporting his observations at the scene, which contradicted the official version. He claimed he was monitored; in interviews, Clemmons said he felt surveillance and pressure after going public. Some researchers noted that his prospects for further police career advancement were blocked. In most well-known books about Marilyn Monroe, Clemmons’ name is either omitted or briefly mentioned, with no focus on his suspicions. This is striking, given that he was the first officer on the scene, and his experience should have been central. Clemmons’ version did not fit the political and media narrative of the time. U.S. authorities likely chose to quietly close the case as a suicide to avoid any connection to the Kennedys or exposure of intelligence influence. Clemmons was among the first to attempt telling the truth, and for that, he was silently sidelined from the official story.

In any case, the version suggesting that Marilyn Monroe was killed — or died — outside her home, and that her body was later carefully “staged” to fit a suicide scenario, is not mere conspiracy theory, but one of the most substantiated alternatives to the official account. There is a version that long remained only a rumor but has enough grounds to be taken seriously: a video recording of Marilyn Monroe being tortured and killed. According to anonymous sources, the footage was made on the night of August 4–5, 1962, in the basement of a house allegedly owned by someone close to the Kennedy family. The purpose of this violence was to extract information that Monroe could have used to blackmail the Kennedy brothers. This video was never part of the official investigation. On the contrary, it appears to have become the subject of a closed deal within the elite and may still be kept in private collections, used as a tool of coercion. This testimony was obtained by investigative journalists in the mid-1990s. It has neither been officially refuted nor confirmed. The source presented himself as a former technical employee associated with the archives of one of the intelligence agencies. He refused to give his name, citing threats to his life, but reported the following:

“Yes, such a recording exists — or at least, it once existed. It is a video made on the night of August 4–5, 1962. It shows Marilyn Monroe in the basement of one of the houses belonging to Kennedy’s circle — allegedly Peter Lawford, Robert Kennedy’s brother-in-law. The room has no windows; the lighting is harsh and directed. She is beaten. On the footage, she is conscious, speaks weakly, her face is injured, and there is visible blood.”

According to the source, the purpose of this was clear: to obtain compromising material that Monroe was allegedly gathering against the Kennedy brothers. She knew too much and, as some believe, tried to use this knowledge as leverage or blackmail, counting on protection, influence, or a return to her former status. In particular, this may have involved her diaries, which reportedly mentioned conversations with the Kennedys about the mafia, the assassination of Ngo Dinh Diem — the president of South Vietnam — and sensitive details of her relationships with both of them. The source claims that the recording was kept for a long time in a private collection, inaccessible to the public, and was possibly used in closed circles as a tool of leverage or blackmail.

“I cannot say who holds her now,” he said. “These things are not filed in any archive. They are handed over personally. In these games, nothing is official. This tape is part of a much darker story — a story in which death is simply a way to clean things up.”

So far, no confirmation of this recording has been found. However, no official investigation ever explored the possibility that Monroe was moved on the night of her death. None of the potential witnesses were ever formally questioned in court. It is precisely this silence — long, total, almost ceremonial — that makes the anonymous source’s version not only possible, but disturbingly plausible.

In 2001, a former staffer of the U.S. Congress, connected to the archival committee on national security, made a brief but telling remark in a private conversation with American journalist Michael R. Wilson (who worked on The Monroe Silence project):

“In 1979, while preparing materials for the Kennedy case, I heard a phrase that literally froze in the air. One of the consultants — a retired diplomat — said behind closed doors: ‘The Monroe tape… it would have been better if it never existed. It could ruin not only the past, but the future as well.’”

The journalist recorded this remark in his notes but never published it — according to him, “there were no legal grounds, only an atmosphere of fear.” This fragment first came to light in 2017, when Wilson’s drafts were transferred to an independent archive of the Memory Vault project, dedicated to investigations of missing documents and materials from the Cold War era. The same archive contains another recorded conversation — with an unnamed former FBI agent, retired in 1992. He stated that in the first days following Monroe’s death, the bureau’s archives underwent an “internal purge” of documents related to her name.

“There were materials. There were tapes. I don’t know if there were any torture recordings, but someone very much wanted it gone forever. One of the supervisors said at the time, ‘If she was a threat — then now the threat is gone.’”

None of these testimonies have been officially confirmed to date. There is a view that the aforementioned video — allegedly capturing the torture and killing of Marilyn Monroe — did not simply vanish, but was privatized, handed over into private hands, and became an object of trade on closed elite networks. Some independent researchers studying the phenomenon of “elites-only footage” (video materials accessible exclusively to a select circle) claim that certain clips visually resembling the described fragment periodically “surface” on the dark net, but always under strict control.

“This is not just an archive. It’s a ritual. Some people don’t merely store these materials — they watch them. Because the feeling of absolute power over a body, over a legend, over the truth — that is their form of self-affirmation,” says a cybersecurity consultant who wished to remain anonymous.

This is not about mass distribution, but isolated viewings in closed sessions, accompanied by multi-layered identification, cryptocurrency payments, and unofficial protection from private structures. In such circles, these recordings are referred to as “white room tapes” — materials filmed on a “white canvas’ of fear, pain, and helplessness. And if the Marilyn tape truly exists, it most likely belongs to this category: a type where the documentary nature of violence is inseparable from its deliberate consumption as an act of domination.

“For them, this isn’t just a video. It’s a symbol. You watch an icon die — and you realize her death belongs to you. That’s how power works at the highest levels.”

There is no direct evidence that a Marilyn Monroe recording has ever been used as snuff footage. Yet all the key circumstances of her death — secrecy, disappearance of evidence, contradictory testimonies, absence of an independent autopsy, and unconfirmed signs of violence — make such a scenario not only possible but disturbingly plausible.

“I saw a minute or two. It’s not cinema. It’s not eroticism. It’s not even pornography. It’s a demonstration of power. Nothing more,” said a source identifying himself as a “former technician” who worked with private archival collections in the Middle East. He claims the footage still exists and is occasionally shown for money — “in closed sessions, only to those who know what they’re looking for.”

In these circles, the term used is theatrical death feed: an elite form of snuff content, accessible not through the dark web, but via personal connections and enormous sums. According to unverified reports, one viewing could cost upwards of $500,000. It is not entertainment — it is a symbol of entry into a club, and simultaneously, an act of subjugation. Security reports on digital platforms occasionally reference a category called phantom footage: clips that appear for an hour, transmitted only via encrypted packets, and then vanish. Several traces of such packets in 2019, according to a confidential DARPA report, were linked to files labeled “MM-62-original,” “Cellar Footage,” and “P.L. basement copy.”

“Peter Lawford — the brother-in-law of the Kennedys — had professional cinematic equipment in his home. That’s well documented. In 1962, both Robert and John visited his house. If any recording was made, it would have been there,” says one researcher.

If the footage exists, it is not just a record of a crime. Every viewing is an act of power — a reminder that even Marilyn Monroe’s death can belong to those who stand above law, morality, and history. These recordings are not leaks; they are demonstrations. You don’t steal such a tape. You are shown it — only if you are already one of them, and if you’ve paid well.

Abandoned. Resold. Forgotten

“My mother never laughed. She had dry lips, dead eyes. When she looked at me, I was afraid.”

— Marilyn Monroe, recalling her childhood.

Gladys May Baker was a woman whose shadow weighed heavily on the life of Norma Jeane Mortenson, later known as Marilyn Monroe. Gladys was born in the early 1900s into a family marked by cruelty and misunderstanding. According to relatives, her childhood was shaped by strict discipline and emotional coldness. Gladys’s father was described as a harsh man with a quick temper, a trait that left a lasting imprint on the entire family. There is speculation that her family may have had hereditary mental illnesses, a mystery at the time. According to medical records, Gladys began suffering from mental disorders at a young age. The diagnosis given to her in the 1930s — schizophrenia — essentially meant a lifelong confinement in a psychiatric hospital, with little hope for rehabilitation. At that time, treatment consisted primarily of long-term hospitalization, electroconvulsive therapy, and social isolation. Conditions in psychiatric institutions were harsh, and patients often endured abuse and neglect.

When Gladys gave birth to Norma Jeane in 1926, her mental health deteriorated significantly. Unable to care for her child, she placed her daughter immediately under the guardianship of various foster families, and later in orphanages. Contact with her mother was infrequent and brief.

“I didn’t even know she was my mother until I was six.”

— Marilyn Monroe, recalling her childhood.

In the recollections of foster parents and teachers, descriptions of Gladys are often contradictory. Some remembered her as a woman with a sharp and unpredictable temperament, capable of outbursts of aggression. Others noted her weakness and despair, sometimes bordering on indifference.

One of the foster families said:

“We understood that Gladys was herself a victim of her illness, but she was too destructive for Norma. Every time she appeared, everything around her seemed to fall apart.”

From a 1933 medical report, St. Vincent’s Hospital (Los Angeles):

“Patient Gladys May Baker was admitted with a diagnosis of chronic schizophrenia. Symptoms include hallucinations, aggressive behavior, and periods of complete apathy. Long-term hospitalization and restriction of contact with minors are recommended.”

Social worker report, 1940:

“Gladys Baker is unable to provide consistent care for a child. She does not demonstrate the capacity for stable maternal care. Contact with her daughter is episodic and occurs under conditions of emotional instability, which worsens the mental state of both the mother and the child. The child shows signs of fear and confusion. Continued guardianship by third parties is recommended.”

Lovers, foster mother (memoirs, published in 1985):

“Gladys was a shadow of herself — sometimes sharp, sometimes lifeless. We understood that her illness was no excuse, but she broke everything around her. For Norma, it was terrifying — she was afraid of her mother, but loved her completely.”

Josephine Wright, teacher at the orphanage:

“Norma Jeane was like an abandoned ship. Her mother was the storm she tried to escape, yet always remained caught in its whirlpool.”

Gladys began working in Hollywood in the 1920s, long before the birth of Norma Jeane. She was a film cutter at Consolidated Film Industries, where films for major studios were processed and edited. It was a low-paying but stable trade, and for a woman at that time — a rather unusual and “male” occupation. Norma Jeane was born on June 1, 1926, and at the time of her birth, Gladys was still working at the studio but had already begun suffering from mental health problems, which affected her future and deprived her of the ability to care for her daughter.

Marilyn Monroe recalled:

“My mother never laughed. She had dry lips, dead eyes. When she looked at me, I became scared.”

Grace McKee, a friend of Gladys who later became Norma Jeane’s guardian, said:

“Gladys could be cheerful, but it didn’t last long. Then everything changed — she would withdraw, get lost, start seeing threats in every person. I was afraid that one day she might harm the child. She didn’t even belong to herself.”

Neighbors in Los Angeles (Highland Park area), where they lived from 1926–1934, recounted:

“She kept to herself. Sometimes she would run out into the street in a nightgown, shouting that ‘he’ had been killed or that she was being followed. She said messages were being sent to her through the radio. Once, she locked the child in the house and disappeared — she just vanished. The girl was found a day later.”

Psychiatrists, according to medical records from Norwalk Hospital, wrote:

“Paranoid delusions — belief that she was being persecuted, watched, or targeted for death. Auditory hallucinations — claimed to hear voices, sometimes ‘the voice of God.’ Disorientation in reality — forgot who she was, where she was, confused faces.”

Gladys suffered from a severe mental disorder, alternating between quiet apathy and moments of anxiety and aggression. She would scream at the child, hit her, sit silently in the dark for hours, or talk to “voices.” Sometimes she would fall into a stupor, then suddenly jump up and start “putting things in order,” throwing objects and accusing her daughter of conspiracy.

“My mother said I smelled of evil. Then she locked me in the closet and went to work,”

— one of the incidents recalled by Marilyn.

According to Monroe herself, in a psychotic episode, her mother grabbed a pillow and tried to suffocate her. A neighbor rescued her after hearing the screams.

“My mother looked at me as if I wasn’t me. Then she lunged at me with the pillow. I thought I was going to die,”

— Marilyn recalled, as reported by biographers.

This incident was the last straw, after which Gladys was immediately hospitalized, and the girl was placed with a foster family. The fear of inheriting her mother’s illness — already as an adult — haunted Marilyn throughout her life; she would panic at the thought of “going crazy like Mom.”

“I was afraid all my life that I would go crazy like my mother. Sometimes I felt — she was inside me. And I clung to glamour, to men, to pills, just to avoid being alone with myself,”

— Marilyn said in an interview (Sam Staggs, Inventing Marilyn, 2000).

“Sometimes I just lie there, afraid to open my eyes. I think, ‘What if I’m already like Mom?’”

(From Marilyn’s letters to Dr. Green, her psychiatrist, 1959)

Marilyn recalled that her mother never touched her with love, never hugged or kissed her. She was distant, frightening, and cold.

“My mother… she didn’t look, she drilled. Her gaze was icy. I was afraid of her because I couldn’t tell where the human ended and something else began. She wasn’t cruel. She was just… not mine. I was her mistake.”

“She didn’t scream. She just looked. Looked as if I were something foreign, frightening,” Marilyn recalled. “And I knew: I had to be quiet, invisible, preferably — not breathe at all.”

— Anthony Summers, Goddess: The Secret Lives of Marilyn Monroe, 1985.

“Gladys never hugged her. Marilyn recalled that her mother kept her distance even when the girl was sick or crying. ‘She said that love makes children weak,’”

— Donald Spoto, Marilyn Monroe: The Biography

A study of the Baker family genealogy reveals cases of mental illness and suicides among close relatives. Gladys was hospitalized more than 20 times during her life, indicating the chronic and progressive nature of her illness. She spent her final years in strict isolation and died under complete isolation in 1984, in a psychiatric hospital. Marilyn’s older half-brother (on her mother’s side), Robert Kermit Baker, was born in 1917. He also suffered from serious mental disorders like his mother. He was committed to a psychiatric hospital in his youth and died there at the age of 30, in 1933, when Marilyn was only 7 years old. Marilyn never saw him. He disappeared from her life before she even realized she had a brother. His name was rarely mentioned — as if people wanted to erase the very fact of his existence.

Quote from biographer Donald Spoto (Marilyn Monroe: The Biography):

“Robert was a taboo. No one spoke of him. It was as if he did not exist. He was the first ghost in her family, and far from the last.”

Bernice Baker Miracle, born in 1919, was Marilyn’s sister, but Marilyn only learned of her existence at the age of 12. Until then, she did not know she had a sister. In their youth, they never interacted because Bernice was given into the care of her father in Kentucky. Their mother did not maintain contact. They met for the first time when Marilyn was already a teenager.

“When we first talked, I thought she was joking. A sister? Mine? But then I saw something familiar in her — her eyes, lips, expression.”

— Marilyn, recalling Bernice’s memories.

Later, when Marilyn had already become an actress, they occasionally corresponded and met rarely, but their relationship remained strained. Bernice later wrote:

“I was like a strange reminder of the past she was running from. She didn’t know how to talk to me — we were almost strangers.”

In this family, there was neither kinship nor warmth — only the genes Marilyn feared she might inherit. Her childhood was spent in orphanages and foster homes, where she was unloved, misunderstood, and often treated cruelly. Constant relocations and the feeling of rejection and helplessness shaped a sense of complete social insignificance. Norma Jeane understood perfectly well that there was almost no chance to escape such an environment. Her memories are full of bitter phrases:

“I am nobody. No one wants me, no one waits for me, I was just thrown into the garbage.”

“I didn’t know who I was. I didn’t know why I was born. I didn’t know who I belonged to. And I learned: to no one.”

— Norma Jeane Baker (Marilyn Monroe), in conversation with Ben Hecht, 1954

Marilyn Monroe was born out of wedlock, and her life from the very beginning was a stark, ugly demonstration of how the system treats children whose parents are absent. Her mother, Gladys, suffered from a severe mental disorder and was admitted to a psychiatric hospital shortly after giving birth. Her father — Charles Stanley Gifford — tall, well-groomed, and proper, refused to acknowledge paternity. He neither paid support nor visited. She was neither adopted nor rescued — she was passed “from hand to hand.”

“I was something like luggage to them, something that could be handed from one person to another.”

— Marilyn Monroe

In 1926, when Norma Jeane was eleven days old, she was placed with the Bolender foster family, strict Christian Pentecostals from Hawthorne, California. She lived there until she was seven, calling her foster mother, Ida, “Mom,” unaware that she had a real mother. The Bolenders received state payments for her care and also had other foster children. Their neighbor later said:

“She was quiet, obedient, and tried not to interfere. But something in her was already ringing alarm bells — she looked at the world as if she could see something frightening behind it.”

— Georgia Winslow, neighbor of the Bolenders

The family was not cruel — but neither were they loving. They considered her simply “the girl we were given” and strictly monitored her behavior. No affection. Only discipline, prayers, and coldness. Norma Jeane lived there until she was seven. Suddenly, Gladys decided to take her daughter back. She rented a house on Arbolea Drive, then suffered a nervous breakdown, and the girl witnessed her mother in a fit of madness, snatching her away from her foster parents. This was her first encounter with insanity — and not the last. Soon, Gladys was admitted to a psychiatric hospital again. After Gladys’s final hospitalization, Norma Jeane was sent to the Los Angeles orphanage. There, she first learned what it meant to be “one of many.” Dirty beds. Mockery. Fear. The girl with a mop of light brown hair slept in a communal bedroom, ate from aluminum dishes, and waited for someone to “take her” again — like a box from the attic.

“In the orphanage, I learned to be silent. Nobody wanted to listen there.”

— Marilyn Monroe, interview, 1956

She was taken by families for short periods, often simply for state subsidies. In some cases, abuses occurred.

Marilyn later admitted:

“They molested me. More than once. I would leave, and they would send me somewhere else again. They thought I was lying and just wanted attention.”

— Marilyn Monroe, recounted in Norman Rieglers’ book

Norma Jeane was only nine when she was once again placed into “safe hands.” Grace McKee — her mother’s best friend — had married a man named Doc Goddard and decided that she now had a “real family.” She took the child from the orphanage and brought her to a new home, which smelled of half-drunk whiskey. Grace McKee, the official guardian, played an ambiguous role in her life. She was the first to tell Norma Jeane about cinema. She took her to studios, let her wear makeup, and even indulge in fantasies.

“I was supposed to be grateful. I had a mattress, I had a pillow. But I feared the night more than the cold or hunger.”

— Marilyn Monroe, from private notes (cited in Taraborrelli)

Doc Goddard, as neighbors recalled, appeared to be a respectable man, an electrician, with a rough face and a perpetually stubbled chin. But behind that image, something darker lurked.