Kill Marilyn. Secrets That Kill: Hollywood Under the Rule of the Elite

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.”