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Narrator: ANGELO HEDDINGTON AND ELIZABETH RUDAVSKY --
TWO COUNTRY KIDS IN LOVE.
HE SEEMED MORE FAWNING OVER HER THAN ANYTHING.
Narrator: THEIR WHIRLWIND ROMANCE IS FOLLOWED BY A SHOTGUN WEDDING.
SHE SEEMED VERY HAPPY, SO THAT'S GREAT.
Narrator: BUT THEIR UNION IS BUILT
ON LAYERS OF LIES AND ESCALATING VIOLENCE.
O'Brien: BUT THE STORY WAS --
I MEAN, IT WAS EXTRAORDINARY ON SO MANY LEVELS, RIGHT?
I'M THINKING, "THIS IS A MOVIE."
[ SIREN WAILS ]
Elizabeth: I WAS NEVER REALLY EXPOSED
TO HOW EVIL PEOPLE COULD ACTUALLY BE.
Narrator: LOVE MAY BE BLIND AND MARRIAGE BLISS,
BUT DIVORCE IS ***.
-- Captions by VITAC -- www.vitac.com
CAPTIONS PAID FOR BY DISCOVERY COMMUNICATIONS
Narrator: GLENCOE, ONTARIO.
THIS IS HORSE COUNTRY.
ELIZABETH RUDAVSKY HAS ALWAYS LIVED HERE
AND HAS ALWAYS LOVED THE COUNTRY LIFESTYLE.
Elizabeth: I'M A COUNTRY BUM. GREW UP ON A FARM.
I LOVED GOING OUT AND JUST TAKING CARE OF THE ANIMALS,
AND I HELPED DOING HAY.
I HAD HAD A LITTLE .410 SHOTGUN THAT WAS GIVEN TO ME BY MY DAD.
SHE LIKED TO RAISE RABBITS AND JUST A LITTLE BIT OF EVERYTHING.
ONE TIME, SHE HAD A PET PIG,
AND SHE BABIED THAT LITTLE PIGGY AND IT GOT BIG.
Narrator: MORE THAN ANYTHING ELSE, ELIZABETH LOVES TO RIDE HORSES.
Elizabeth: I LOVED THE HORSES.
THEY JUST SEEMED TO UNDERSTAND ME. [ LAUGHS ]
Narrator: GLENCOE IS PARADISE FOR HORSE LOVERS
AND, AS JUST ABOUT EVERYONE WILL TELL YOU,
A TIGHT-KNIT COMMUNITY.
KELLY DUPON IS A LOCAL HORSE BOARDER.
Dupon: MOST PEOPLE ARE RELATED TO EACH OTHER.
I DID FIND THAT. [ LAUGHS ]
AND A LOT OF GOOD PEOPLE, THOUGH.
Narrator: IN 2002, ELIZABETH IS 26.
SHE WORKS PART-TIME
SELLING DOG-LICENSING TAGS OUTSIDE OF GLENCOE --
A SMALL CANADIAN FARMING VILLAGE JUST NORTH OF LAKE ERIE.
YOU JUST NEEDED TO GO FROM FARM TO FARM
THROUGHOUT THE WHOLE TOWNSHIP,
BASICALLY JUST HAVE PEOPLE BUY DOG LICENSES.
Narrator: THE JOB IS A GOOD FIT FOR EASY-GOING ELIZABETH.
OH, SHE TRUSTED EVERYBODY.
I DON'T PASS JUDGMENT ON PEOPLE.
OH, EVERYBODY KNOWS EVERYBODY FOR SURE.
NOT TOO MUCH GETS AWAY WITHOUT EVERYBODY KNOWING
WHAT THE NEXT-DOOR NEIGHBOR'S DOING.
Narrator: ELIZABETH LIVES WITH HER BOYFRIEND, ANDY.
THEY'VE BEEN TOGETHER SIX YEARS,
BUT UNLIKE ELIZABETH, ANDY'S NOT INTO HORSES.
I WOULD ALWAYS RIDE BY MYSELF.
I KNOW IT WAS VERY DANGEROUS TO RIDE BY MYSELF,
BUT IF YOU HAVE NOBODY TO GO WITH YOU, YOU JUST GO DO IT.
Narrator: ELIZABETH IS ABOUT TO MEET A STRANGER WHO SHARES HER PASSION.
OH, THERE WAS RUMORS REGARDING A LONE RIDER THAT WAS OUT RIDING.
WE DIDN'T KNOW WHO IT WAS.
YEAH, BASICALLY, HE CAME INTO TOWN AND RODE INTO TOWN
AND NOBODY KNEW HIM --
LIKE, "WHO'S THAT GUY?" SO...
Narrator: THAT GUY TURNS OUT TO BE ANGELO HEDDINGTON.
ELIZABETH MEETS HIM
WHEN SHE PULLS IN TO A FARM JUST OUTSIDE TOWN.
ANGELO HAS A JOB AS A FARM HAND AT REIN MINNEMA'S FARM.
Dupon: I THINK HE WAS WORKING FOR MINNEMA,
AND THEN HE GOT INJURED.
Narrator: ANGELO DOESN'T HAVE ANY CASH
TO PAY FOR HIS DOG'S LICENSE.
HE EXPLAINS HE FELL OFF A FENCE
AND WON'T BE ABLE TO WORK AGAIN UNTIL HIS LEG RECOVERS.
ELIZABETH AGREES TO COLLECT THE MONEY FROM HIM LATER.
THEIR CONVERSATION QUICKLY TURNS FROM DOGS TO HORSES.
HE SAYS, "OH, YEAH," HE HAS A HORSE AND,
"OH, WHERE'S YOUR HORSE?"
AND, "OH, HE'S IN THE BARN."
THAT WAS MY FIRST VISIT.
Narrator: RELATIONSHIP EXPERT STACY KAISER
AND FORENSIC PSYCHOLOGIST BRIAN RUSSELL
SEE LONELINESS AS A KEY PART OF THIS INSTANT ATTRACTION.
THERE'S ALWAYS SOMETHING ATTRACTIVE
ABOUT THE MYSTERIOUS STRANGER RIDING INTO TOWN,
AND I THINK THAT'S PART OF WHAT HAPPENED
WITH ELIZABETH AND ANGELO.
THE CONNECTION ON THE HORSES,
I THINK, IS MORE THAN SUPERFICIAL.
Dupon: I THINK THE HORSE WAS PROBABLY THE BIGGEST THING --
THAT SHE FOUND SOMEONE -- A MAN
THAT LIKES HORSES AND HAD A HORSE.
Narrator: ELIZABETH'S CONNECTION WITH ANGELO GROWS STRONGER
WHEN SHE MEETS HIS HORSE, EXCEL.
Elizabeth: IN MEETING EXCEL FOR THE FIRST TIME,
HE WAS A VERY GENTLE HORSE.
HE HAD A VERY SOFT EYE.
IN BEING AN ANIMAL LOVER,
YOU CAN ALWAYS JUDGE AN OWNER BY THE WAY THE ANIMAL ACTS.
I TOOK FROM THAT
THAT HE SHOWED THAT HE CARED SO MUCH ABOUT HIS ANIMALS
THAT HE WOULD CARE ABOUT PEOPLE JUST AS MUCH.
Narrator: THEY SWAP STORIES ABOUT LEARNING TO RIDE
AND THE TIMES THEY'VE BEEN BUCKED.
Elizabeth: EVERY TIME I TALKED ABOUT MY HORSE
AND I HAD A STORY ABOUT SOMETHING
THAT HAD HAPPENED TO MY HORSE,
HE WOULD ALWAYS GIVE ME A STORY --
SOMETHING RELATING.
WE HAD A LOT OF COMMON ISSUES, COMMON ADVENTURES.
Narrator: SOON THEY'RE CALLING EACH OTHER "ANGE" AND "LIZ,"
AND THE CONVERSATION TURNS PERSONAL.
Elizabeth: HE HAD SAID THAT HE WAS MARRIED BEFORE,
AND HE WAS JUST TRYING TO MOVE ON.
AND I HAD TOLD HIM THAT I HAD A BOYFRIEND AT THE TIME
AND ANDY WASN'T A HORSE LOVER.
Narrator: ELIZABETH CONFESSES TO ANGELO
HER RELATIONSHIP WITH ANDY HAS REACHED A DEAD END.
I THINK IT'S EASY SOMETIMES
FOR PEOPLE IN LONG-TERM RELATIONSHIPS
WHO GET UNHAPPY OR GET BORED FOR SOME REASON
TO RUN INTO SOMEBODY ELSE
AND FEEL A MUCH STRONGER CONNECTION
THAN THEY REALLY SHOULD FEEL
BECAUSE THE OTHER PERSON REFLECTS
PRECISELY THE THING THAT THEY'RE UNHAPPY ABOUT
IN THEIR CURRENT RELATIONSHIP.
Narrator: OVER THE NEXT THREE MONTHS,
ELIZABETH AND ANGELO SPEND MORE AND MORE TIME TOGETHER.
Elizabeth: I SHOWED HIM A COUPLE OF MY SPOTS
JUST TO GO DOWN AND SIT AND LOOK AT THE WATER.
WELL, THAT'S THE TYPES OF THINGS I LIKE TO DO.
Tom: THEY WENT RIDING AND DID THINGS, AND SHE SEEMED VERY HAPPY.
SO THAT'S GREAT.
Narrator: ANGELO JOINS ELIZABETH WHEN SHE'S OUT DOG-TAGGING.
I HAD ASKED ANDY MANY TIMES
TO JUST COME OUT WITH ME JUST DOG-TAGGING,
AND HE WOULD NEVER DO THAT FOR ME.
SO IT WAS REALLY NICE
THAT ANGE WANTED TO SPEND THE TIME WITH ME.
AND, TO ME, THAT MEANT A LOT.
Narrator: THE CLOSER ELIZABETH GROWS TO ANGELO,
THE FURTHER SHE DRIFTS FROM ANDY.
I JUST NEEDED A WAY TO GET OUT.
Narrator: IN APRIL, ELIZABETH MOVES OUT OF ANDY'S AND IN TO ANGELO'S.
Elizabeth: HE HAD THIS GREAT BIG HOUSE, AND IT WAS JUST HIM THERE --
THAT I WAS MORE THAN WELCOME TO MOVE IN.
AND I WAS HOPING THIS WOULD BE A GOOD, FRESH START.
Narrator: ELIZABETH EVEN MOVES HER HORSE, OWEN,
INTO THE STABLE NEXT TO ANGELO'S HORSE.
[ Laughing ] I JUMPED IN.
HE SEEMED REALLY NICE AND SWEET.
YOU KNOW, HE SEEMED MORE FAWNING OVER HER THAN ANYTHING.
Narrator: TOM RUDAVSKY IS ACCEPTING.
Tom: SHE REALLY DIDN'T SAY ANYTHING TO ME.
JUST ONE DAY, SHE'S LIVING WITH HER OTHER BOYFRIEND,
AND THEN SHE'S MOVED OUT AND MOVED IN WITH ANGELO.
I LIKED HER OTHER BOYFRIEND, BUT IT'S NOT WHAT I LIKE.
IT'S IF SHE'S HAPPY, THAT'S THE WAY IT IS.
IT'S REALLY CONCERNING TO ME
HOW QUICKLY ELIZABETH HAS FALLEN FOR ANGELO,
LEFT HER BOYFRIEND,
AND SUBSEQUENTLY MOVED IN WITH ANGELO.
IT'S ALMOST AS IF SHE HAS PUT HIM UP ON A PEDESTAL
THAT HE WILL INEVITABLY FALL FROM.
WHEN ONE PERSON SORT OF MIRRORS THE OTHER
AND HAS A REFLECTIVE RESPONSE
FOR THE THINGS THAT THE FIRST PERSON SAYS,
IT CAN INDICATE THE PRESENCE OF A CONNECTION.
WHEN THE RELATIONSHIP IS HEALTHY,
THAT'S WHAT IT DOES INDICATE.
IT CAN ALSO INDICATE MANIPULATION
IF SOME OF THE REFLECTED RESPONSES AREN'T GENUINE.
Narrator: WHEN ELIZABETH RETURNS TO HER SEASONAL JOB
AS A CASHIER AT A SLAUGHTERHOUSE, HER BOSS ALMA,
FINDS HER HAPPIER THAN EVER.
AND IT DOESN'T TAKE LONG BEFORE SHE MEETS ELIZABETH'S NEW BEAU.
ONE DAY, HE WOULD COME IN AND SAY,
"WELL, I BOUGHT HER EARRINGS,"
AND ELIZABETH WOULD BE WEARING THE EARRINGS.
AND THE NEXT DAY WOULD COME IN,
YOU KNOW, LIKE, "I BOUGHT HER A RING,"
AND ELIZABETH WOULD HAVE A RING ON HER FINGER.
Narrator: BUT NOT EVERYONE IS AS KEEN ON ANGELO.
NELSON BILYEA BUYS AND SELLS HORSES
AND HAS HAD DEALINGS WITH ANGELO ON HIS TRAVELS.
WELL, HE WOULD STAND THERE
WITH HIS HANDS IN HIS POCKET LIKE THIS
AND STAND JUST LIKE HE WAS A MACHO GUY --
VERY DEEP VOICE,
FULL OF B.S.
Narrator: NELSON DOESN'T THINK MUCH OF THE NEW COUPLE, EITHER.
Bilyea: SHE MAYBE HAD TO BE AN IDIOT
TO BE LIVING WITH SOMEBODY LIKE THIS.
I DON'T SPARE THE WORDS,
AND THAT WAS JUST WHAT WENT THROUGH MY MIND,
THINKING, "WHAT IN HELL IS GOING ON HERE?"
Narrator: BUT FOR THE MOST PART,
FRIENDS AND FAMILY WISH THEM ALL THE BEST.
I TEASE HER ABOUT IT BECAUSE SHE'S A CUTE GIRL,
AND SHE COULD DO BETTER, BUT THEN AGAIN, LOVE IS BLIND.
Narrator: BUT HAPPINESS IS NOT IN THE CARDS FOR ANGELO AND ELIZABETH.
Dupon: WHEN THEY WERE FIRST TOGETHER, HE WAS SO NICE TO HER.
AND THEN ALL OF A SUDDEN, IT WAS JUST, LIKE, SO NASTY.
Narrator: ELIZABETH RUDAVSKY LEAVES ANDY, HER BOYFRIEND OF SIX YEARS,
AND MOVES IN WITH ANGELO,
A MYSTERIOUS FARMHAND WHO RECENTLY MOVED
TO THE SMALL VILLAGE OF GLENCOE, ONTARIO.
BY APRIL 2002,
ANGELO AND ELIZABETH
ARE SPENDING ALMOST ALL THEIR TIME TOGETHER.
BUT CRACKS IN THEIR RELATIONSHIP ARE STARTING TO SHOW.
ANGELO IS MORE AND MORE POSSESSIVE.
IF SHE WAS ANYWHERE NEAR ME,
HE WOULD BE WITHIN 5, 10 FEET --
ALWAYS WITHIN LISTENING DISTANCE.
ANGELO ACCOMPANIES ELIZABETH TO WORK EVERY DAY
AND STAYS FOR HER ENTIRE SHIFT.
Alma: THE ONLY THING I KNEW --
ALL OF A SUDDEN, HE WAS IN THE PICTURE.
HE WOULD WAIT TILL LUNCH IN MY COFFEE ROOM
AND SIT THERE AND NEVER LEAVE.
Narrator: AT FIRST, ALMA CHALKS IT UP TO THE FOLLY OF YOUTH.
Alma: ONE TIME, THEY CAME IN THE SAME KIND OF SHIRT.
SO I THOUGHT, "WELL, THAT IS KIND OF CUTE.
THEY MUST REALLY LIKE EACH OTHER, YOU KNOW?"
Narrator: BUT THEN SHE NOTICES ELIZABETH IS LOSING WEIGHT.
AND WHEN SHE COMPLIMENTS HER ABOUT IT,
ANGELO IS THE ONE WHO REPLIES,
SAYING HE WANTS HIS GIRLFRIEND NICE AND THIN.
REPORTER JENNIFER O'BRIEN SAYS
THAT IN SPITE OF HIS BABY FACE,
ANGELO'S KNOWN AS A TOUGH GUY.
O'Brien: HE WAS REAL GRUFF, KIND OF SPOKE FROM HIS STOMACH.
WOULD, YOU KNOW, DO THINGS LIKE,
KIND OF, YOU KNOW, MACHO THINGS --
LIKE SPIT WHILE HE WAS SPEAKING TO SOMEONE
AND TALK KIND OF CRUDE.
AND HE HAD HIS HANDS IN HIS POCKETS ALL THE TIME,
AND HE WAS PLAYING WITH HIMSELF.
ANGELO'S BEHAVIOR SEEMS TO BE A LITTLE BIT DICHOTOMOUS
BECAUSE ON THE ONE SIDE,
ANGELO SEEMS TO BE REALLY TRYING
TO PROJECT A LOT OF WHAT WE MIGHT CALL,
KIND OF, ROUGH MASCULINITY.
ON THE OTHER SIDE,
ANGELO SEEMS TO BE TRYING TO PROJECT A LOT OF SENSITIVITY.
AND WHEN PEOPLE'S BEHAVIOR IS DICHOTOMOUS LIKE THAT,
IT SUGGESTS TO ME, AS A PSYCHOLOGIST,
THAT PERHAPS THERE'S SOME...
CHAMELEON-LIKE PHENOMENON IN PLAY.
Kaiser: THERE ARE REALLY TWO SIDES TO ANGELO,
AND IT'S REALLY COMMON FOR WOMEN TO BE ATTRACTED TO THAT.
THEY WANT THE BAD BOY ON THE OUTSIDE
WHO APPEARS SOFT ON THE INSIDE.
Narrator: WHEN ELIZABETH'S DAD, TOM RUDAVSKY,
MEETS ANGELO IN PERSON FOR THE FIRST TIME,
HE NOTICES A CHANGE IN HIS DAUGHTER'S BEHAVIOR.
Tom: THEY SAT ON THE COUCH,
AND HE MADE ELIZABETH SIT THERE STRAIGHT UP,
KNEES TOGETHER AND HANDS ON HER LEGS.
AND HE SAID, "YOU SIT STRAIGHT."
AND RIGHT FROM THAT DAY ON,
I KNEW THERE WAS GONNA BE A PROBLEM.
I JUST SAT THERE WITH MY HANDS IN MY LAP AND LOOKED PRETTY.
THE GIRL WHO USED TO BE MORE OF A TOMBOY
IS NOW DRESSING IN FLORAL DRESSES,
AND I THINK THAT THIS IS LEGITIMATELY CONCERNING.
SOMETHING HAS CHANGED IN HER.
SOMEHOW SHE'S BEING INFLUENCED.
WELL, I THINK TO THE EXTENT THAT ELIZABETH IS THE ONE
WHO SEEMS TO BE MAKING THE CHANGES AND THE SACRIFICES,
IT SUGGESTS THAT SHE IS IN THE ONE-DOWN POSITION.
SHE'S THE ONE WHO HAS LESS POWER IN THE RELATIONSHIP.
SHE'S THE ONE WHO'S ACQUIESCING TO.
Narrator: OVER TIME, PEOPLE START TO NOTICE
STRANGE INJURIES ON ELIZABETH,
AND WHEN QUESTIONED, THERE'S ALWAYS A PLAUSIBLE EXPLANATION.
Dupon: LIZ CAME TO THE HOUSE ONE DAY, AND SHE HAD THIS BIG, BLACK EYE.
AND I WAS QUESTIONING HER ABOUT IT.
SHE SAID, "OH, IT'S THE HORSE."
I THINK THE LAST TIME THEY SHOWED UP,
I BELIEVE ELIZABETH HAD A BLACK EYE.
I KNOW MY WIFE ASKED HER WHAT HAD HAPPENED,
AND ELIZABETH HAD TOLD HER THAT SHE RAN INTO A TRAILER DOOR.
Narrator: AFTER A FEW MONTHS, ANGELO'S PRESENCE IN THE LUNCHROOM
HAS BECOME SUCH A NUISANCE
THAT ALMA'S SON ASKS HIM TO LEAVE.
HE SAID, "ANGELO, I HAVE YOU ENOUGH. GO OUT.
YOU KNOW, GO, COME BACK AT 5:00, AND PICK HER UP."
Narrator: ANGELO DOESN'T LEAVE.
HE SIMPLY PLANTS HIMSELF IN FRONT OF THE SHOP.
Alma: BUT HE NEVER LISTEN.
YOU KNOW, THEN HE WAS SITTING ON A PARKING LOT.
Narrator: WHEN ASKED TO LEAVE THE PREMISES, HE CROSSES THE HIGHWAY
AND WATCHES ELIZABETH WORK FROM ACROSS THE ROAD.
FACING, YOU KNOW, THAT HE CAN SEE EVERYTHING
THROUGH THE WINDOW WHAT IS HAPPENING
AND SIT THERE UNTIL ELIZABETH WAS DONE.
THE FACT THAT ANGELO IS CONTINUOUSLY SHOWING UP
AND SPENDING LONG PERIODS OF TIME AT ELIZABETH'S WORK
DOES NOT NECESSARILY PORTEND SOME KIND OF DISASTER,
BUT I DO THINK IT PORTENDS DYSFUNCTION IN THE RELATIONSHIP
BECAUSE IT EITHER REFLECTS
AN UNHEALTHY DEGREE OF DEPENDENCY ON ANGELO'S PART
OR IT PORTENDS AN EFFORT TO ISOLATE ELIZABETH
EVEN IN HER OWN WORKPLACE -- IN OTHER WORDS,
TO PREVENT HER FROM HAVING THE OPPORTUNITY
TO INTERACT WITH OTHERS
OUTSIDE OF ANGELO'S WATCHFUL EYE.
IT'S A PREDATORY BEHAVIOR.
IT'S SOMEBODY WHO IS LURKING IN THE SHADOWS
WAITING FOR WHO KNOWS WHAT.
IT LOOKS LIKE HE IS NOT GIVING HER SPACE TO HAVE A LIFE,
AND IT ALSO MAKES ME THINK THAT HE HAS NOTHING TO DO.
DOESN'T HE HAVE ANYWHERE ELSE THAT HE NEEDS TO GO?
Narrator: THERE ARE DIFFERENT ACCOUNTS OF WHAT HAPPENS NEXT.
ALMA SAYS ELIZABETH UP AND QUIT.
SHE JUST SAID, "ALMA, I BETTER QUIT."
THAT WAS -- THAT'S IT.
YOU KNOW, LIKE, AND SHE DIDN'T GIVE ME THE REASON WHY.
Narrator: KELLY DUPON SAYS ELIZABETH IS FIRED.
Dupon: YOU CAN'T HAVE AN EMPLOYEE
WHERE SOMEONE'S SITTING OUTSIDE AND WAITING.
YOU KNOW, IT'S REALLY QUITE CREEPY TO THEM.
Narrator: EVERYONE AGREES THAT ANGELO'S PRESENCE IS TO BLAME.
AROUND THE SAME TIME, ELIZABETH ALSO LOSES HER DOG-TAGGING JOB.
SHE LOST TWO JOBS BECAUSE HER PARTNER WAS OUTSIDE,
YOU KNOW, STALKING HER, BASICALLY.
Narrator: THEN IN JUNE, THE COUPLE IS KICKED OFF THE FARM
FOR NOT PAYING RENT.
ELIZABETH'S BROTHER, TOMMY, TELLS THEIR FATHER
THAT ELIZABETH SHOWS SIGNS OF DOMESTIC ABUSE.
Tom: HE WAS TELLING ME
THAT HE'S SEEN ELIZABETH WITH BRUISES ON HER FACE.
I NEVER SEEN ELIZABETH WITH ANY INJURIES AT THAT TIME.
AND IT'S JUST FROM WHAT MY SON'S TOLD ME.
Narrator: OUT OF THE BLUE,
ELIZABETH ASKS HER BROTHER TO TAKE HER GUNS AWAY,
BUT DOESN'T SAY EXACTLY WHY.
I THINK I JUST TOLD HIM THAT THE GUNS NEED TO GO --
THAT IT'S NOT A LADY THING TO DO --
THAT THEY JUST NEED TO GO.
Narrator: IN TOWN AND AT THE BARN, TONGUES START TO WAG.
EVERYTHING ABOUT THIS RELATIONSHIP
STARTS TO FEEL WRONG.
NELSON, WHO'S KNOWN ANGELO FOR A LONG TIME,
EXPRESSES HIS CONCERNS TO KELLY.
Dupon: "YOU KNOW, I'D REALLY BE CAREFUL AROUND THAT ONE
'CAUSE, YEAH, HE'S SORT OF A SCAMMER AND A CON MAN,"
AND THAT SHE WAS SORT OF IN DANGER, REALLY.
IN A WAY, WE FELT SORRY FOR HER,
BUT IT'S NOT OUR DUTY TO WALK UP TO SOMEBODY AND SAY, "HEY."
Narrator: CONCERN GROWS WHEN ELIZABETH HOLDS A YARD SALE
IN A PASTURE ON NUMBER 2 HIGHWAY.
Dupon: I DROVE BY, AND THERE'S A BIG YARD SALE.
SO I STOPPED, AND THERE'S ALL THIS GREAT STUFF,
LIKE LONG RIDER COATS
AND SADDLES AND BLANKETS AND BRIDLES.
I MEAN, NICE STUFF.
SO I STOPPED AND BOUGHT A FEW THINGS,
BUT I SAID TO LIZ -- I SAID,
"WHY ARE YOU SELLING ALL YOUR STUFF?"
Narrator: ELIZABETH SAYS SHE NEEDS THE MONEY.
KELLY WONDERS WHY ANGELO ISN'T SELLING HIS STUFF, TOO.
AMONG THE ITEMS FOR SALE -- ELIZABETH'S FIRST SADDLE...
I REMEMBER IT HAD MY INITIALS ON IT.
I OILED IT ALL THE TIME,
AND IT WAS REALLY HARD TO SELL THAT SADDLE.
Narrator: ...AND HER HORSE, OWEN,
WHICH NELSON GLADLY TRADES FOR A MUCH CHEAPER HORSE.
Bilyea: HE WAS A VERY NICE HORSE.
I CANNOT TELL YOU WHERE I SOLD HIM,
BUT IT WAS A VERY GOOD HORSE DEAL FOR ME.
AND YOU THINK, "WHY IS SOMEBODY DOING THIS?"
SO HERE WE HAVE ELIZABETH,
WHO IS HAVING THIS YARD SALE
AND SELLING OFF POSSESSIONS THAT ARE NEAR AND DEAR TO HER,
AND ANGELO IS NOT.
WHAT THIS SAYS TO ME IS
NOT ONLY HAS SHE NOW BEEN ISOLATED
FROM WORK AND FAMILY AND FRIENDS,
BUT SHE'S STARTING TO SELL OFF HER POSSESSIONS.
SO WHAT IS GOING TO BE LEFT OF ELIZABETH?
WHAT, IN TERMS OF HER IDENTITY, IS SHE GOING TO STILL HAVE?
Narrator: THE COUPLE SOON FINDS A NEW PLACE IN RIDGETOWN,
40 MILES AWAY FROM EVERYONE THEY KNOW.
SO THEY MOVE AWAY. LIKE, THEY KEEP MOVING.
WE SORT OF HAVE INCREASING ISOLATION
FROM THOSE TO WHOM SHE'S ALWAYS LOOKED FOR SOCIAL SUPPORT.
ALL OF THOSE ARE INDICATORS
OF AN ISOLATIVE PROCESS THAT CAN BE DANGEROUS,
AND IT CAN INDICATE AN UNDERLYING PATTERN OF CONTROL
THAT CAN BECOME ABUSIVE VERY EASILY.
Narrator: BUT SOON HER LOVED ONES WILL GET BIG NEWS --
NEWS THAT MIGHT JUST EXPLAIN THE COUPLE'S ODD BEHAVIOR.
SHE WAS PRETTY EXCITED ABOUT BEING PREGNANT.
Narrator: AFTER LOSING TWO JOBS, THE ROOF OVER THEIR HEADS,
AND HAVING TO MOVE,
IT LOOKS LIKE ELIZABETH AND ANGELO'S RELATIONSHIP
IS ON THE ROCKS.
THEN, SEEMINGLY OUT OF NOWHERE,
THE COUPLE, WHO HAVE ONLY KNOWN EACH OTHER FOR FOUR MONTHS,
HOSTS A GARDEN PARTY AT ELIZABETH'S MOTHER'S HOUSE
IN ORDER TO MAKE AN IMPORTANT ANNOUNCEMENT.
IT WAS A BEAUTIFUL DAY OUT.
IT WAS A GOOD DAY.
Dupon: I WAS SHOCKED.
I WAS SHOCKED TO LEARN THAT THEY HAD GOTTEN MARRIED.
Narrator: BUT THERE'S EVEN BIGGER NEWS --
ELIZABETH ANNOUNCES SHE'S PREGNANT,
AND ANGELO IS THE PROUD FATHER-TO-BE.
Tom: YOU JUST CONGRATULATE HER,
AND, LIKE, THAT'S ALL YOU CAN DO.
I HUG HER, AND I SAID,
"OH, MY GOSH, YOU KNOW, YOU WON'T BE SORRY."
SO I WAS HAPPY FOR HER.
Narrator: BUT ONE THING OUTSHINES ELIZABETH'S SMILE AT THE PARTY.
I JUST LAUGHED AND THOUGHT WHAT A JOKE THAT IS.
IT BOTHERED ME TRYING TO EXPLAIN TO EVERYONE
HOW I COULD BE PREGNANT
AND HOW I WAS SO HAPPY
WHEN I HAD A BIG, BLACK EYE.
AND I KNEW HOW TO PULL THE WOOL OVER PEOPLE'S EYES.
IT WAS ONE THING THAT ANGE TAUGHT ME HOW TO DO.
Dupon: SHE'D SAY, "OH, I FELL DOWN,"
OR THE HORSE KICKED HER OR THE HORSE BIT HER
OR THE HORSE KNOCKED HER WITH HER HEAD.
Narrator: AFTER THE PARTY, PEOPLE SEE LESS OF ELIZABETH AND ANGELO.
WHEN THEY DO, IT'S MORE BRUISES AND MORE STORIES.
WE HAD A BIG TWO-HORSE TRAILER, AND ANGELO WANTED TO BORROW IT.
HE SENT HER TO GO AND CLEAN THE BEES OUT OF THE HORSE TRAILER.
AND SHE WAS, LIKE, TRYING TO -- SWATTING AT ALL THESE BEES,
BUT BEING THAT SHE WAS PREGNANT,
I MEAN, IT WOULD HAVE BEEN INSANE
FOR HER TO GO CLEAN IT OUT.
SO I THINK IT WAS MY HUSBAND THAT FINALLY SAID TO HIM,
"GET YOUR BUTT BACK THERE AND CLEAN THAT TRAILER OUT.
WHAT ARE YOU DOING?"
Tom: THE STORIES THAT YOU HEARD --
YOU FIGURED THAT THERE'S SOMETHING UP.
Narrator: TOM TRIES TO GIVE HIS DAUGHTER A WAY OUT.
Tom: ONE NIGHT, SHE CALLED ME UP,
AND I COULD TELL, LIKE, IN HER VOICE
THAT THERE WAS SOMETHING WRONG.
AND I ASKED HER.
I SAID, "IS HE HITTING YOU?"
AND SHE WOULDN'T SAY.
SO I SAID TO HER, "YOU TELL ME,
BECAUSE I'M ONLY A SHORT DISTANCE AWAY."
BUT NOTHING EVER COME OUT.
Narrator: ELIZABETH DOESN'T TAKE HER FATHER UP ON HIS OFFER TO HELP.
AND THINGS ONLY GET WORSE.
IN AUGUST, ELIZABETH IS ADMITTED TO THE HOSPITAL
WITH LIFE-THREATENING INJURIES.
I DIDN'T THINK I WAS GOING TO MAKE IT.
I JUST CHALKED IT UP AS, "I'M DEAD."
Narrator: SHE IS TREATED FOR BRUISING,
SWELLING, A COLLAPSED LUNG, AND VAGINAL LACERATIONS.
I WAS BASICALLY BLEEDING TO DEATH.
Narrator: ELIZABETH IS GIVEN SEVEN UNITS OF BLOOD.
THERE ARE 12 IN THE AVERAGE ADULT BODY.
SHE TELLS DOCTORS SHE WAS IN A HORSEBACK-RIDING ACCIDENT.
Elizabeth: BECAUSE OF WHERE MY INJURY WAS,
I TOLD THEM THAT THE HORSE HAD BUCKED,
AND I HAD COME DOWN AND LANDED ON THE SADDLE HORN.
AND THUS BE WHY I WAS --
HAD SUCH A...VERY LARGE... CUT DOWN THERE.
IT SEEMS COMPLETELY INCONCEIVABLE TO ME
THAT THE INJURIES THAT ELIZABETH HAD AT THIS POINT
WERE ADEQUATELY, REASONABLY, BELIEVABLY
EXPLAINED AWAY BY HAVING FALLEN ON A SADDLE HORN.
Kaiser: CLEARLY, THE ABUSE IS GETTING MORE INTENSE.
THAT SAID, EVEN THE BEST COUNSELOR
OR HOSPITAL PROFESSIONAL --
THEY CAN LEAD THAT HORSE TO WATER,
BUT THEY CAN'T MAKE HER DRINK.
AND SO THEY CAN GIVE HER THE TOOLS,
THEY CAN TALK TO HER ABOUT LEAVING,
BUT SHE'S AN ADULT,
AND IF SHE WANTS TO STAY IN THAT SITUATION,
SHE GETS TO STAY IN THAT SITUATION.
ANGE WOULD NOT LEAVE MY SIDE WHEN I WAS AT THE HOSPITAL.
HE WOULDN'T LET THE DOCTORS OR THE NURSES TALK TO ME BY MYSELF.
I KEPT TELLING THE DOCTORS THAT I WANTED TO GO HOME.
Narrator: BUT BACK HOME, ELIZABETH DROPS MORE BAD NEWS ON HER FAMILY.
THAT SHE HAD A MISCARRIAGE AND SHE HAD LOST THE BABY.
Narrator: IN SEPTEMBER, LESS THAN SEVEN MONTHS INTO THEIR RELATIONSHIP,
ELIZABETH AND ANGELO MOVE AGAIN.
THIS TIME TO A HOUSE IN CHATHAM,
MORE THAN AN HOUR'S DRIVE AWAY.
HE DEFINITELY HAD HER MOVE DOWN TO CHATHAM
TO KEEP HER AWAY FROM FAMILY AND FRIENDS, I THINK.
WHEN THEY MOVED TO CHATHAM, I COULD NOT REACH HER ANYMORE.
I NEVER REALLY SEEN HER MUCH AFTER THAT.
EACH STEP THAT WE MOVED, WE MOVED FURTHER AND FURTHER AWAY,
I WAS SLOWLY GETTING CUT OFF FROM MY FAMILY.
IN THE PROCESS OF MOVING FURTHER AND FURTHER FROM HOME,
IT MADE IT MORE AND MORE DIFFICULT TO SEE THEM --
TO BE ABLE JUST TO TAKE OFF AND GO FOR A VISIT.
I DON'T THINK ANYBODY KNEW HOW BAD IT REALLY WAS.
ELIZABETH IS SAYING THAT EVERYTHING IS FINE,
EVERYTHING'S GREAT IN THEIR RELATIONSHIP,
BUT SHE'S AFRAID IF SHE TELLS PEOPLE WHAT'S REALLY HAPPENING
THAT ANGELO MIGHT HURT HER MORE.
THERE'S A GIANT ELEPHANT IN THE ROOM,
AND NOBODY IS WANTING TO ACKNOWLEDGE THAT IT'S THERE.
Narrator: THEN ON SEPTEMBER 21st,
CHATHAM POLICE GET AN URGENT CALL.
THERE'S BEEN A STABBING AT THE COUPLE'S NEW ADDRESS.
ONLY THIS TIME, ANGELO'S IN TROUBLE.
Elizabeth: HE WAS...
HE WAS LAYING ON THE FRONT STEP WHEN THE POLICE ARRIVED.
Narrator: ELIZABETH TELLS POLICE A BURGLAR BROKE IN.
ANGELO WENT TO THE DOOR AND WAS ATTACKED.
[ SIREN WAILING ]
WITH ANGELO IN CRITICAL CONDITION,
ELIZABETH BRACES FOR THE WORST.
WE ALWAYS THOUGHT WE SHOULD HAVE TOLD HER,
BUT THEN IF YOU TOLD HER, DOES SHE SNAP THEN,
OR DOES SHE KNOW WHAT SHE'S MARRIED TO?
WE THOUGHT MAYBE SHE KNEW WHAT SHE WAS MARRIED TO.
Narrator: ANGELO HEDDINGTON IS STABBED
IN THE EARLY-MORNING HOURS OF SEPTEMBER 21, 2002.
HE'S RUSHED TO THE HOSPITAL.
Elizabeth: I KEPT SAYING TO ANGE THAT HE'LL BE OKAY.
"EVERYTHING WILL BE OKAY."
AND THEN AS I WAS BEING PULLED AWAY, I HEARD ANGE SAY...
"IT WAS MY WIFE."
[ SIGHS DEEPLY ]
I HAD ANGE'S BLOOD ALL OVER ME.
THEY WOULDN'T LET ME WASH.
Narrator: ELIZABETH IS TAKEN INTO CUSTODY FOR FURTHER INTERROGATION.
THE NEXT DAY, THE POLICE TELL ELIZABETH
THAT HER HUSBAND HAS JUST BEEN PRONOUNCED DEAD.
[ DOOR CLOSES ]
IT HAD SAID THAT... ANGE HAD PASSED AWAY...
AND THAT I WAS OFFICIALLY CHARGED
WITH FIRST-DEGREE ***.
Narrator: WHAT THE DETECTIVE SAYS NEXT IS EVEN MORE SHOCKING.
HE TELLS HER THE NAME OF HER DECEASED HUSBAND IS NOT ANGELO.
THE DETECTIVE REFERRED TO ANGELO AS ANGELA.
AND I KEPT SAYING, "NO, HIS NAME IS ANGELO."
AND HE -- HE ASKED ME IF I UNDERSTOOD
EXACTLY WHAT WAS GOING ON.
ANGE WAS A GIRL.
Flikweert: THE PARAMEDICS MADE AN OBSERVATION,
WHICH LED THEM TO BELIEVE
THAT THE PERSON WHO THEY BELIEVED WAS A MALE PERSON
WAS, IN FACT, A FEMALE PERSON.
Narrator: ON THEIR WAY TO THE HOSPITAL,
THE PARAMEDICS DISCOVERED A PROSTHETIC ***
UNDER ANGELO'S CLOTHES.
THE STORY IS EVERYWHERE,
AND ANGELO'S SECRET IS THE TALK OF THE TOWN.
HOW DO YOU KEEP SOMETHING LIKE THAT QUIET?
MY SON SHOWED ME THE NEWSPAPER.
I SAID, "NO. IT CANNOT BE."
PEOPLE WERE QUITE SHOCKED
TO FIND OUT THAT ANGELO WAS A WOMAN.
Narrator: NOT EVERYONE IS SURPRISED, THOUGH.
HORSE DEALER NELSON BILYEA SAYS YEARS BEFORE,
HE FIRST KNEW ANGELO AS ANGELA.
A BUNCH OF US WERE SITTING AROUND DRINKING BEER,
AND SHE WANDERED UP.
AND YOU COULD IMAGINE GUYS ABOUT HALF DRUNK,
AND THIS THING WALKS UP AND LETS ON TO US IT'S A GUY.
SHE WAS DRESSED LIKE A GUY, SHE ACTED LIKE A GUY,
BUT SHE HAD EARRINGS ON. AND I SAID TO HER,
"WHY WOULD YOU WEAR EARRINGS LIKE THAT TO THE WESTERN FAIR,"
AND SHE SAYS, "I AM A GIRL."
Narrator: NELSON HAD TRIED TO TELL PEOPLE ABOUT ANGELO,
BUT NOBODY BELIEVED HIM.
AND I TOLD KELLY -- I SAID,
"YOU REALIZE THOSE ARE TWO GIRLS?"
I'M THINKING, "WELL, SHE'S PREGNANT.
THERE'S NO WAY. THAT'S OBVIOUSLY A MAN."
Narrator: POLICE STRUGGLE TO UNDERSTAND
HOW ELIZABETH COULD HAVE HAD AN INTIMATE RELATIONSHIP
WITHOUT KNOWING ANGELO'S BIOLOGICAL SEX.
ELIZABETH TELLS THEM WHAT ANGELO TOLD HER.
AN EX-GIRLFRIEND GOT MAD AT HIM
AND BURNT HIS -- HIS GEN-- GENITALS,
AND THAT'S WHY HE WASN'T AS A NORMAL MALE.
I NEVER SEEN NOTHING.
I WAS -- THINGS WERE DARK.
YOU JUST...
I NEVER PASSED JUDGMENT.
I THINK IT'S COMPLETELY POSSIBLE
THAT ELIZABETH BELIEVED ANGELO'S STORY
AND THEN DECIDED TO RESPECT HIS WISHES
AND NOT TOUCH HIM PHYSICALLY
BECAUSE ELIZABETH WAS SO PASSIVE WHEN IT CAME TO HIM.
HE HAD SO MUCH CONTROL OVER HER
THAT IT WOULD MAKE SENSE THAT HE HAD CONTROL IN THE WORLD,
HE WOULD HAVE CONTROL IN THE BEDROOM, AS WELL.
Narrator: IN CUSTODY, ELIZABETH QUICKLY ADMITS TO KILLING ANGELO.
BUT SHE SAYS SHE ACTED IN SELF-DEFENSE.
IT'S LIKE EVERYBODY ELSE.
IF YOU'RE PUSHED TO THE LIMIT, PEOPLE PROTECT THEMSELVES.
Narrator: HER ACCOUNT OF HER SEVEN-MONTH RELATIONSHIP WITH ANGELO
IS HARROWING.
THE BEATINGS BEGAN WITHIN A WEEK OF MOVING IN WITH HIM.
I TOOK ONE HECK OF A BEATING.
SOON ANGELO PUNISHES ELIZABETH FOR OFFENSES
SUCH AS MAKING HER MEAL PORTIONS TOO LARGE.
Elizabeth: WELL, I TRIED TO MAKE IT AS EVEN AS POSSIBLE.
SO THEN HE WOULD START TAKING FOOD OFF MY PLATE.
"WELL, YOU'RE TRYING TO LOSE WEIGHT,
SO YOU DON'T NEED ALL THIS FOOD."
THE MORE I TRIED TO FIGHT BACK,
THE HARDER THE BEATINGS GOT,
THE MORE CREATIVE HE GOT.
Narrator: ELIZABETH REVEALS THE REAL REASON
SHE ASKED HER BROTHER TO TAKE HER GUNS AWAY --
SHE FEARED FOR HER LIFE.
HE HAD...
...COCKED THE GUN AND POINTED IT RIGHT AT MY HEAD AND SAID,
"DO YOU WANT ME TO PULL THE TRIGGER
AND SEE IF THERE'S SOMETHING IN THERE?"
AS I'M LOOKING DOWN THE BARREL OF MY OWN GUN.
Narrator: AND WHEN SHE WAS HOSPITALIZED,
SHE DIDN'T FALL ON THE SADDLE HORN.
SHE WAS VIOLATED WITH A METAL PIPE.
Elizabeth: I WAS ACTUALLY VERY SHOCKED
WHEN ANGE HAD PUT ME IN THE TRUCK
TO TAKE ME TO THE HOSPITAL.
I FIGURED I WAS JUST GONNA BE THROWN IN A DITCH SOMEWHERE
ON THE SIDE OF THE ROAD.
Narrator: ELIZABETH SPENDS HER 27th BIRTHDAY IN CUSTODY
IN SARNIA PRISON.
DR. PETER G. JAFFE, AN EXPERT ON DOMESTIC ABUSE,
IS BROUGHT IN BY ELIZABETH'S LAWYER
TO ASSESS HER MENTAL STATE.
I THINK WHAT WAS UNIQUE ABOUT ELIZABETH
IS THE FACT THAT SHE WASN'T THINKING ABOUT HERSELF
AND WHETHER SHE'D SPEND HER LIFE IN JAIL.
HER THINKING WAS REALLY ALL ABOUT
ANGELO AND ANGELO'S FAMILY
AND WHAT SHE HAD DONE.
Narrator: IN THEIR SESSIONS,
ELIZABETH REVEALS ANOTHER TRUTH TO DR. JAFFE --
SHE ISN'T LEGALLY MARRIED.
IT WAS VERY HARD LYING TO MY FAMILY.
THAT WAS THE BIGGEST THING
THAT -- THAT HURT SO MUCH
BECAUSE I HAVE ALWAYS BEEN A VERY HONEST PERSON.
Narrator: SHE WAS NEVER PREGNANT, EITHER.
I KNEW RIGHT OFF THE BAT
THAT IT WAS A BAD THING TO LIE AND SAY I WAS PREGNANT.
AND IT HURT ME MORE THAN PEOPLE REALIZE.
BUT I ALSO TRIED TO LET THEM KNOW
THAT I WAS DOING WHAT I NEEDED TO DO AT THAT TIME.
Narrator: IN THE MEANTIME,
POLICE LEARN ANGELO HAS A DARK HISTORY OF VIOLENCE.
HE STALKED, BEAT, AND STARVED AT LEAST FOUR PREVIOUS PARTNERS.
THERE WAS PHYSICAL ASSAULTS.
THERE WAS THREATS OF VIOLENCE.
IN EACH CASE, THERE WAS A LOT OF DRAMATIC WEIGHT LOSS
BY THE PARTNERS.
ACTUALLY, THEIR STORIES ARE VERY SIMILAR TO ELIZABETH.
MOST ABUSERS WILL HAVE A SERIES OF VICTIMS IN THEIR LIVES.
IT'S RARELY ONE VICTIM.
I ALWAYS WONDERED WHY SOME OF THESE WOMEN
HADN'T DECKED HER
OR PICKED UP A BASEBALL BAT OR SOMETHING.
Narrator: THE STORIES ARE DIFFICULT FOR ANGELO'S FAMILY TO HEAR.
JOURNALIST JENNIFER O'BRIEN
INTERVIEWS HIS MOTHER, MARLENE HEDDINGTON AT LENGTH.
O'Brien: MARLENE WANTED PEOPLE TO KNOW
THAT ANGELO WASN'T ALWAYS A MONSTER
AND WASN'T JUST EVIL-TO-THE-CORE KIND OF THING.
SHE WAS A TOMBOY, BUT A HAPPY KID.
MARLENE SAID, YOU KNOW, ANGELO WOULD BE THE FIRST PERSON
TO HELP YOU OUT OF A DITCH IF YOU WERE STUCK IN A DITCH.
Narrator: BUT ACCORDING TO MARLENE HEDDINGTON,
EVERYTHING CHANGED WHEN ANGELA TURNED 14.
SHE DROPPED OUT OF SCHOOL,
FOUND WORK AS A FARMHAND,
DRESSED AS A GUY, AND ANSWERED ONLY TO "ANGELO."
SHE STARTED SAYING, "I AM A BOY."
YOU KNOW, "THIS IS A MAN'S WORLD, AND I'M A MAN.
I'M NOT A GIRL. I DON'T WANT TO BE A GIRL."
Narrator: COULD ANGELO'S BEHAVIOR RESULT
FROM THE TRAUMATIC EXPERIENCE OF GROWING UP AS A TRANS PERSON?
GENDER DYSPHORIA DOES NOT ENTITLE YOU
TO DEFRAUD ANOTHER PERSON,
TO BE DISHONEST WITH ANOTHER PERSON,
TO BASICALLY USE ANOTHER PERSON
TO HELP YOU RESOLVE YOUR ISSUE.
IN A RELATIONSHIP,
HONESTY IS LITERALLY THE FOUNDATION OF SUCCESS.
AND SO THE FACT THAT HE WASN'T ABLE TO TELL HER THE TRUTH
TELLS ME THAT THERE MAY BE OTHER REASONS
AND OTHER THINGS THAT WEREN'T REAL ABOUT HIM.
ANGELO MADE REFERENCES TO ELIZABETH ABOUT, YOU KNOW,
A SISTER ANGELA THAT HAD BEEN SEXUALLY ASSAULTED
AND WAS STRUGGLING WITH, YOU KNOW,
HER OWN SEXUALITY AND THE AFTERMATH.
SO ONE COULD SPECULATE THAT ANGELO WAS REALLY TWO PEOPLE.
YOU KNOW, THERE WAS AN ANGELA THAT WAS A VULNERABLE VICTIM
OF SOMETHING TERRIBLE THAT HAPPENED WHEN SHE WAS YOUNGER,
AND THEN THERE WAS AN ANGELO,
WHO WAS THE MALE, YOU KNOW, AGGRESSOR, PERPETRATOR,
TRYING TO COMPENSATE, YOU KNOW,
OR DEAL WITH THE TRAUMA THAT SHE HAD SUFFERED EARLIER.
Narrator: WHATEVER THE ORIGIN OF THE VIOLENCE SHE WAS VICTIM OF,
IT FINALLY PUSHED ELIZABETH OVER THE EDGE.
THE DETAILS WILL SOON BE REVEALED IN COURT.
Elizabeth: EVERYTHING WAS STILL QUIET,
AND THEN ALL OF A SUDDEN...
HE ATTACKED ME AND STARTED COMING AT ME.
Narrator: ELIZABETH RUDAVSKY IS IN CUSTODY
AFTER STABBING HER PARTNER, ANGELO HEDDINGTON.
AFTER HIS DEATH, POLICE LEARN ANGELO IS REALLY ANGELA,
A WOMAN LIVING AS A MAN.
THE COURT PROCEEDING IN APRIL 2003 IS ONLY A DAY LONG.
THERE HAVE BEEN MURDERS, AND THERE HAVE BEEN ABUSE CASES,
BUT NOTHING LIKE THIS.
I'M THINKING, "THIS IS A MOVIE."
Narrator: FOR THE FIRST TIME,
THE PUBLIC LEARNS HOW ANGELO WAS REALLY KILLED.
IT STARTS WHEN ANGELO THREATENS THE LIFE
OF ELIZABETH'S 8-YEAR-OLD NIECE.
WE HAD A BIT OF AN EPISODE WHERE HE JUST ARGUED WITH ME,
AND WE JUST ARGUED BACK AND FORTH.
I WAS FINALLY STANDING UP FOR MYSELF
AND TELLING HIM THAT I'VE HAD ENOUGH.
I CAN'T TAKE THIS NO MORE. I'M DONE.
I JUST WANT OUT.
HE SAID THAT HE WOULD HAVE MY NIECE'S HEAD
BROUGHT TO ME ON A PLATTER IN THE MORNING.
AND I WAS VERY CONFUSED ON WHY...
WHY HE WOULD HARM A DEFENSELESS CHILD IN ALL THIS --
THAT SHE HAD NOTHING TO DO WITH THIS.
JUST LEAVE HER ALONE.
AND HE SAID, "NO."
HE SAYS TO ME, "WELL, I THINK I'M GONNA KILL YOU AND, UH...
...DEAL WITH YOUR BODY IN THE MORNING."
AND THEN ALL OF A SUDDEN...
...HE ATTACKED ME AND STARTED COMING AT ME.
HE STARTED GRABBING ME BY THE THROAT.
I FOUGHT BACK.
Narrator: SHE MANAGES, FOR THE FIRST TIME, TO ESCAPE.
BUT ANGELO CATCHES UP BEFORE ELIZABETH CAN BREAK FREE.
I DON'T REMEMBER DOING ANY OF THIS.
IT WAS LIKE I WAS WATCHING A MOVIE.
I JUST REMEMBER HIM SAYING, "YOU STABBED ME."
Narrator: POLICE SAY THE EVIDENCE SUPPORTS ELIZABETH'S VERSION OF EVENTS
AND HER ALLEGATIONS OF ABUSE.
Flikweert: WE SEIZED A VACUUM-CLEANER PIPE.
THERE WAS DNA THAT WE WERE ABLE TO EXTRACT FROM THAT PIPE
THAT SUPPORTED ALLEGATIONS THAT ELIZABETH HAD MADE.
I TOLD THE TRUTH.
IT FELT SO GOOD TO FINALLY GET IT OUT.
Narrator: THE COURT ALSO HEARS A SUMMARY
OF DR. JAFFE'S REPORT ON HER PSYCHOLOGICAL STATE
AND WHY SHE COULDN'T LEAVE ANGELO.
MOST PEOPLE THINK,
"WELL, I COULD NEVER BE IN THAT SITUATION, YOU KNOW.
SHOW ME A CRACK IN THE DOOR, I'M OUT OF THERE SO FAST."
BUT THAT'S NOT THE REALITY.
PART OF ABUSE IS TAKING SOMEBODY DOWN A VERY DARK HIGHWAY.
SO IF AN ABUSER GETS A VICTIM TO TELL ONE LIE,
THEN YOU'RE PART OF THE SCAM.
THEN YOU FEEL EVEN MORE TRAPPED.
ELIZABETH SAYS HER MENTAL STATE
ALSO KEPT HER FROM ASKING QUESTIONS
ABOUT ANGELO'S SEXUALITY.
I'M NOT NAIVE.
I GUESS DEEP DOWN, I DID KNOW ANGELO WAS AN ANGELA.
WHEN YOU'RE PUT IN CERTAIN CIRCUMSTANCES,
AND YOU'RE TOLD, AND FORCED, TO BELIEVE CERTAIN THINGS,
YOUR MIND GOES INTO A DEFENSE MODE.
Kaiser: DEFENSE MECHANISMS ARE VERY POWERFUL THINGS.
YOU CAN TRULY CONVINCE YOURSELF
THAT WHAT YOU THINK YOU'RE SEEING, YOU'RE NOT.
BUT I ALSO THINK IT MIGHT HAVE BEEN EMBARRASSING FOR HER.
SHE MIGHT NOT WANTED TO HAVE ADMITTED
THAT SHE MAYBE MADE A MISTAKE
AND BELIEVED THAT ANGELO WAS A MAN,
WHEN HE WAS GENETICALLY A WOMAN.
THERE'S ANOTHER DIMENSION HERE,
WHICH I THINK WAS UNIQUE IN THE SENSE THAT
ANGELO WAS THREATENING NOT ONLY TO HARM HER,
BUT ALSO HARM A NIECE OF HERS AND, YOU KNOW, HARM HER PARENTS.
SO IN THAT WAY, YOU'RE TOTALLY CAPTIVE,
BECAUSE EVEN IF YOU CAN SEEK FREEDOM,
YOU MIGHT BE ENDANGERING SOMEBODY ELSE WHO YOU LOVE.
Elizabeth: I'M NOT ONE TO CALL PEOPLE'S BLUFFS.
DO YOU WANT TO PLAY RUSSIAN ROULETTE
WITH YOUR FAMILY'S LIVES?
I DIDN'T WANT TO.
Narrator: THE JUDGE, CROWN PROSECUTORS,
AND POLICE INVESTIGATORS AGREE
ELIZABETH RUDAVSKY ACTED IN SELF-DEFENSE
WHEN SHE KILLED ANGELO HEDDINGTON.
THE *** CHARGE AGAINST ELIZABETH IS DROPPED.
10 YEARS AFTER THESE EVENTS, ELIZABETH LIVES A NORMAL LIFE
AND HAS ADVICE FOR OTHER VICTIMS OF DOMESTIC ABUSE.
Elizabeth: AS MUCH AS YOU THINK YOU'RE ALONE, YOU'RE NOT.
IT TAKES YOU TO STEP UP AND SAY SOMETHING IF YOU'RE IN DANGER.
I'M REALLY GLAD THAT ELIZABETH DECIDED TO TELL HER STORY
BECAUSE I BELIEVE THAT SHE HAS BEEN THROUGH
A TRAUMATIC EXPERIENCE.
AND SO IT'S MY BELIEVE THAT HER SHARING WHAT SHE WENT THROUGH
IS ACTUALLY PART OF THE PROCESS OF GETTING BETTER
AND NOT GOING THROUGH SOMETHING LIKE THAT AGAIN.
Narrator: IN 2007, ELIZABETH GETS MARRIED.
SADLY, HER HUSBAND MIKE, DIES OF A HEART ATTACK
SHORTLY AFTER THE BIRTH OF THEIR SON, LUKE.
LUKE IS PART OF MIKE.
THAT'S WHAT SHE'S LIVING FOR.
SHE JUST LIVED FOR THAT LITTLE KID, YOU KNOW?
I DON'T KNOW HOW SHE CAN BE SO STRONG.
I ALWAYS QUESTION, "WHY DID I MAKE IT THROUGH THIS?"
I BELIEVE IT WAS FOR MIKE AND LUKE.
DON'T GET THESE TEARS WRONG. I'M HAPPY.