WEBVTT
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Every story has a beginning, but not everyone has an ending.
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In the shadows of headlines and buried police reports lay
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the voices of the missing, the murdered, and the forgotten,
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waiting to be heard and have their stories told. This
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is The Book of the Dead, a true crime podcast
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where we remember forgotten victims of heinous crimes, reopen cold cases,
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re visit haunting disappearances, and uncover the truths buried beneath
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the years of silence. I'm your host, Courtney Liso, and
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every week we turn to another chapter, one victim, one mystery,
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one step closer to justice. Brought to you by Darkast
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Network INDEEP Podcasts with the Twist. Hello, Hello, Welcome to
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the next chapter in the Book of the Dead. Today,
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I have with me two special guests, two of the
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founders of twenty six Street Books, a new publisher focused
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on bringing new approaches to the art of true crime.
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First with me is Greg Alwen, former keyboardist for bands
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like Shady Days, Jericho and Chill Factor, who went from
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stages and hanging out with fellow rock stars to prosecuting
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some of the toughest cases in Chicago. Also with me
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is Jonathan Dixon, a former music critic for The Boston
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Phoenix and author of Beaten, Seared and Sauced. They are
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here to talk about their first book together, Convergence, the
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story of a horrific double murder in March of nineteen
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seventy six, where a young couple Giom Messina and Delphine
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Moore were killed. Against all of the odds stacked against him,
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Greg Owen and his partner Mike Goggin brought a seemingly
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unwinnable case to trial. Thank you both for joining me today.
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I am very excited to have you.
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Thank you for having us here.
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Thank Greg.
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You walked away from your band at a pivotal moment
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in your career to become a lawyer. What brought on
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that change and how did it contribute to shaping you
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into the prosecutor that she would ultimately end up being.
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Well, I mean, I was dedicated to the music. It
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was my life from age fifteen. And what occurred was
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at a certain point our band was ready to go
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on tour with Black Materner Overdrive, and we were on
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our way to do a big album, and I had
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a woman that I really loved, Great pay who I
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was in La and she I found out she was
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having an affair with somebody else who was actually a
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dope theater and it's just I mean, I was, I
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just wasn't strong. It crushed me. I mean I literally
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left the band to go and try to deal with this.
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And then after I got back a couple months mos later,
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I seen Emerson Nake and Palmer, and Keith Emerson was
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a keyboard player, and he was the greatest keyboard player
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I've ever seen. So between that and me's starting to
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question my own talent. And I saw a note on
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the bulletin board that the Cook County State's Attorneys off
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was looking for interns to potentially become prosecutors. And I
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looked at it, I go, well, that's about the opposite
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of what I'm doing, And something inside of me said
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that's probably what you should do. So I called my
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mother I'd paid Paul. I said, could you have your
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friend who does your hair cut my hair tonight? And
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my mother thought it was something wrong with me, what
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are you okay? And I had long airs as I
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was a kid, a little young. My hair was on
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my shoulders and that night I got my hair cut
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and the next day I showed up for this interview
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with suit. My mother bought me a sup from Facy
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Penny and the next day I showed up with this interview.
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The guy goes, we're we're desperate trouble. We were so
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bad that we've had the Supreme Court. And then when
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I come up with a special rule that if you're
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a senior loss and your grades are good enough, you
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can actually go with a supervisor in a government of
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setting and try cases. So I didn't know what that
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really meant, and he says, so when you start Monday.
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I mean I literally went from Wednesday night having long
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hair the Monday having short hair and being in a crown.
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I was still in the band. I left two weeks later. Yeah,
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I transitioned literally overnight, and it was the best thing
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I ever did. I enjoyed every bit of it, and
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what it taught me was, first of all, I'm not
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afraid to talk in front of people. You know, when
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you've been on the stage for ten years as a
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young person, I mean you get over that. You're not
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you don't have the jitters. Now speaking to a jury
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isn't quite the same, but once you get comfortable. I
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never had a problem like being in front of people,
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you know, and speaking, because I learned that as a musician,
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So that that that helped me a lot. And the
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other thing that helped me was this, I grew up
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in a time when there's certain prejudices. But for me
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and my people, we didn't care who anybody was. If
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you're a good drummer, we don't care what color anything.
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Nothing I met zero And so when you're raised in
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that from almost a child, you don't even consider that
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it's not even an issue. So when I started to
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Stay's attorney's office in Chicago, there was there was a
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fair fair amount of prejudice, whatever the word may be.
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I didn't bring that with me. See, I wasn't like that,
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and so was different from me because I didn't approach
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it as this guy's that, or it was like he
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killed somebody, we don't care who he is or what
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he is. We're gonna do what we can to make
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sure he doesn't do it to somebody else. So it
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helped me be more open minded, you know, and to
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not bring some kind of prejudice into the prosecution of anything.
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I never it was never, never even in my brain
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or vocabulary. So between those two things. It helped a lot.
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Actually having been in a band, I can imagine.
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It would just kind of being forced all the time
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to be on stage, you know, putting yourself out there,
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to transitioning to the courtroom where it's the same thing.
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You're putting yourself out there. You have to argue, you
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have to perform for the jury.
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Yes, and it is a performance. By the way, it's
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not an accident when you're out in the courtroom. These
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are not accidents. These are planned strategies done so that
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in our case, a guilty person doesn't go out and
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injure somebody else. That was how I was motivated. It
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wasn't like I want to get this guy. It was
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more that I don't want somebody else to be injured
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or whatever because I didn't do a good enough job
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in what I was doing for. I was motivated for
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the victims and the potential victims in the future.
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Absolutely, And I think that's a really great way to
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look at it is, you know, putting a focus on
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the victims and then potential future victims. So convergence has
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written in the vein of Truman Capodis in Cold Blood,
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which is obviously known for its dramatization. What compelled you
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both to emulate that style, and did you have any
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misgivings about taking some creative license with the genre of
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true crime.
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We were casting around for a little bit to try
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to find the right way to tell the story, to
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try to find the right voice, and we had a
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lot of I wouldn't say false starts. We had a
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lot of experiments, and we actually got pretty far taking
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a completely different approach to telling the story. It just
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wasn't feeling right. And I remember Greg saying, this isn't
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quite not getting it. And you know, I had read
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In Cold Blood a long time ago and Executioner's Song,
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and I had loved all the kind of noir ish,
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you know, black lizard crime stuff with Jim Thompson and
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Raymond Chant, that sort of thing, and I just thought
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there was no reason why the two can you know,
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the can't come together. I also thought that as far
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as kind of I wouldn't say, we didn't fabricate much.
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I didn't know what was going on in someone's head.
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But I'm a human being, they're a human being. I
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could kind of maybe guess a little bit. And Greg
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was able to guide me by talking about different personalities
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and that sort of thing, which made it quite a
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bit easier. And you know, so we had to do
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a little reconstructing there, and you know, obviously we had
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to kind of reconstruct some of the dialogue. But I
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think that that's a pretty common you know, it's a
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pretty common hurdle that true crime writers have to get over.
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But we were also from the writing perspective, I was
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lucky because I had Greg and right there and he
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was able to tell me, you know, okay, yeah, this
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is what I was thinking, and I could guarantee that
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this is what Mike was thinking, and and that made
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my job a lot easier. And we also had the
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court transcripts for the trial portion of the book, and
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we have to cut out a lot of the dead parts,
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but you know, a lot of the transcript is exactly
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what was said in court. And there's a video of
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Greg giving a version of the closing argument, and that
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was pretty much word for word. And also, I mean
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that touches also on the question you just asked about
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the performative aspect of things, because Greg in that video
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he's like got this presence, this bearing, this gravity, and
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you realize, like there is a performative aspect to that
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you're kind of acting, you know, it is a form
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of acting.
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I guess, yeah, No, definitely, it is a form of acting. Greg,
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what was it like kind of seeing like these moments
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in your career brought to life in a different form
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so many years ag after the fact.
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Jonathan captured recaptured well me and what I was able
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to do was the victim's father, Tony. We became very close.
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He became my surrogate father. I mean, we got that
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over for thirty five years. And because of that, when
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I'm talking about what Tony said or what he felt,
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I heard it. I mean, it wasn't we didn't have
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to make that up. I mean he told me what
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it felt like when he walked into the door and
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what he found. And we stayed close until he passed away.
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And then Ted O'Connor was one of the detectives. Will
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Jonathan talked to him personally too. I mean, the man
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who saw the kids. We met with him a few times.
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So it wasn't I we had to make up what
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he said or thought. And the other thing that's important,
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we never once said what Mitchell Wenger was thinking, see,
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because we didn't know that that would be totally fictitious
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if we would have said what he said. Cedric one
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of the characters. I met with him many many times,
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so I expressed what he felt, you know, because that's
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what he said. What we wanted to do, though, is
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to make it not just an narrative, you know, make
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it so that people really felt what it was like,
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what is it like to sit in the prosecution's chair,
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what do they do? And it also at one point
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we turned it Jonathan and his writing turned it like
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you're almost a juror. You're trying to figure out what happened?
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You know, why is this going on? Because from the
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start of the case four years before I tried it
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to the end, the motive was the most unbelievably we
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could not figure it out, That police couldn't figure it out,
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nobody and it just stayed with me, I mean forever.
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I mean it made no sense at all.
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Yeah, I think it was. It's accurate saying that the
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reader's kind of like in the jury, see because it does.
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You are trying to just coming from you who's read
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the book, you can really feel that trying to figure
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out what happened, you know, as the case is being
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laid out before you and reading Convergence, the Messino More
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case seems pretty straight forward. I mean, police had gotten
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the killer really quickly, but then everything falls apart four
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years later. You know, the evidence is disappearing, the witnesses
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are fearing being put on the stand. How did you
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end up taking the case, especially after it moved to
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the Delhi Center, which isn't exactly known for trying high
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stakes cases.
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Well, we didn't have a title for the book at
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the beginning. We didn't know what it was. But as
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I was relating to him things he started catching. He goes, great,
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these are unbelievable coincidences. I mean I never thought about it,
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see because I was it was me. I was in
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the midst of it. So as I'm sharing with him
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and we're like, oh my god. Well, the first major
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coincidence was this. I'm taking the bar exam in March third,
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nineteen seventy six, and I went for lunch with other
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LUs early for the first half and I heard sirens,
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a lot of siren and the bar where I took
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the bar exam was not too far from where the
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crime scene was, and so later that day I get
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a call from my brother and he says to me,
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I'm ready to go to La. He says, my friend
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got murdered. I go, what friendy with my friend Geo?
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I go, who's that? He goes, Hee, you probably don't
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know me. You always on tour, and he starts telling me.
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I said, and I'd seen a paper in the evening edition.
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The paper be put in a boxes. I walked into
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my house after the exam and it said contractor actress
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found slain. I didn't have any money in my pocket,
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so I couldn't buy a copy. But I thought it