WEBVTT - Patrick Radden Keefe: London Falling

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<v Speaker 1>This story contains adult content and language. Listener discretion is advised.

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<v Speaker 2>He basically said, you know, you civilians, you normal people.

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<v Speaker 2>You just assume you can google someone. But the real

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<v Speaker 2>badge of class is if you google someone and they

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<v Speaker 2>don't come up.

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<v Speaker 1>I'm Kate Winkler Dawson, a nonfiction author and journalism professor

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<v Speaker 1>in Austin, Texas. I'm also the co host of the

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<v Speaker 1>podcast Buried Bones on Exactly Right, and throughout my career,

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<v Speaker 1>research for my many audio and book projects has taken

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<v Speaker 1>me around the world. On Wicked Words, I sit down

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<v Speaker 1>with the people I've met along the way, amazing writers, journalists, filmmakers,

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<v Speaker 1>and podcasters who have investigated and reported on notorious true

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<v Speaker 1>crime cases. This is about the choices writers make, both

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<v Speaker 1>good and bad, and it's a deep dive into the

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<v Speaker 1>unpublished details behind their stories. In twenty nineteen, surveillance cameras

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<v Speaker 1>at the headquarters of Britain's spy agency in London recorded

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<v Speaker 1>video of a nineteen year old man. He was pacing

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<v Speaker 1>back and forth on a high balcony of a luxury

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<v Speaker 1>tower along the bank of the river at two in

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<v Speaker 1>the morning. He jumped into the water. Soon his family

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<v Speaker 1>discovered that he had a secret life that might have

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<v Speaker 1>led to his death. Best Selling author Patrick Radden Keef

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<v Speaker 1>tells me about his book London Falling, a mysterious death

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<v Speaker 1>in a gilded city and a family search for truth.

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<v Speaker 1>So tell me how you found the story to begin with.

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<v Speaker 1>You're at the New Yorker right now, right? Did it

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<v Speaker 1>come to you through the magazine?

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<v Speaker 2>No, it came to me in a weird way. You know,

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<v Speaker 2>when I go looking for stories, I almost never find them.

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<v Speaker 2>I have colleagues and friends who are really amazing at

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<v Speaker 2>kind of going out and they sort of go fishing,

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<v Speaker 2>and they occasionally will hook something great, and that never

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<v Speaker 2>happens to me. My line always comes back empty. But

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<v Speaker 2>if I just move around the world, things sometimes find me.

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<v Speaker 2>And so in this case, I published a book in

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<v Speaker 2>twenty nineteen called Say Nothing, which is about a murder

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<v Speaker 2>during the troubles in Northern Ireland, and that book was

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<v Speaker 2>optioned by a company in Hollywood before it came out,

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<v Speaker 2>and there was a long period of time, kind of

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<v Speaker 2>gestation period, where we were developing what turned out to

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<v Speaker 2>be a limited series. In the summer of twenty twenty three,

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<v Speaker 2>I was living in the UK, because we were making

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<v Speaker 2>that book into a TV show which ended up coming

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<v Speaker 2>out on Ooh, so I moved my family over there.

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<v Speaker 2>I was a producer on the show, so I was

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<v Speaker 2>pretty involved, and I was on set one day. We

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<v Speaker 2>were in the Inns of Court in London and there

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<v Speaker 2>was a sort of an office building that we had

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<v Speaker 2>made to look like Scotland Yard. We had a scene

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<v Speaker 2>at Scotland Yard, which is ironic. If you know what

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<v Speaker 2>my book ended up being about, a lot of it

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<v Speaker 2>is Scotland Yard. So I was there on set in

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<v Speaker 2>this place that's been made up to look like Scotland Yard.

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<v Speaker 2>And there was a guy who was a guest of

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<v Speaker 2>the director that day and we just started chatting. We

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<v Speaker 2>were sort of sitting in the director's chairs, you know,

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<v Speaker 2>at the monitors between setups, and he learned that I

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<v Speaker 2>was a magazine journalist, and I sort of talked to

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<v Speaker 2>him a little bit about the kinds of stories I'm

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<v Speaker 2>interested in, and then he said, you know, I think

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<v Speaker 2>I might have a story for you. And I should

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<v Speaker 2>say people say that to me all the time, and

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<v Speaker 2>almost never do they have a story that I actually

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<v Speaker 2>want to write. I'm always happy to hear their ideas.

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<v Speaker 2>But it's because I spend five, six, seven, eight months

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<v Speaker 2>working on a piece. It's just, you know, it's a

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<v Speaker 2>big commitment. He said. I know this family in London.

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<v Speaker 2>They're really good friends of mine. It's just like an

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<v Speaker 2>upper middle class Jewish family. They live in West London

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<v Speaker 2>and made a veil which is a nice neighborhood there.

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<v Speaker 2>And they had a nineteen year old son who died

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<v Speaker 2>in twenty ninety and he died in mysterious circumstances. He

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<v Speaker 2>went off the balcony of a luxury building overlooking the Thames,

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<v Speaker 2>the river that runs through London. And after he died,

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<v Speaker 2>his parents were trying to figure out what had happened

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<v Speaker 2>to him, how this could have happened, and they made

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<v Speaker 2>this terrible discovery, which is that he had had a

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<v Speaker 2>secret life that they hadn't known about. So this boy's

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<v Speaker 2>name was Zach Brettler, and what his parents were named

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<v Speaker 2>Matthew and Rachelle learned was that Zach had been going

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<v Speaker 2>around London kind of living the identity of an alter ego.

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<v Speaker 2>He had this alter ego, which was zachis mylof a

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<v Speaker 2>name they'd never heard, and he was telling people that

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<v Speaker 2>he was Zakis Mylof and he was the son of

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<v Speaker 2>a Russian oligarch. That his father was a Russian billionaire

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<v Speaker 2>living in London. And so, you know, the first shock

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<v Speaker 2>for the parents is this terrible shock of their kid's death.

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<v Speaker 2>The second shock is discovering that he'd been living with

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<v Speaker 2>them and had been carrying on this secret life they

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<v Speaker 2>hadn't known about. And so this guy, he basically told

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<v Speaker 2>me as much as I just told you, and I

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<v Speaker 2>knew if there's any way I can persuade this family

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<v Speaker 2>to tell their story, which they hadn't gone public with

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<v Speaker 2>at that point, this is how I'll spend the next

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<v Speaker 2>year of my life figuring this out.

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<v Speaker 1>Let's start where it makes sense for you, is that

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<v Speaker 1>with Zach in his background and how he grew up

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<v Speaker 1>or what's the best way to start.

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<v Speaker 2>Yeah, maybe with Zach, I mean, you know, or with

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<v Speaker 2>Matthew and Rochelle. Really so, his parents, who are really

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<v Speaker 2>the main characters in the book, were a London couple.

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<v Speaker 2>They're now in their early sixties. Matthew works in finance

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<v Speaker 2>and Rochelle as a freelance journalist. And when they met,

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<v Speaker 2>you know, it's interesting they had something in common which

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<v Speaker 2>is that they both had fathers who were Holocaust survivors,

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<v Speaker 2>and both fathers had survived the Holocaust at quite an

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<v Speaker 2>early age. I g as teenagers and then they ended

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<v Speaker 2>up in the UK basically alone in the world. Their

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<v Speaker 2>whole families have been killed, and so these two young guys,

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<v Speaker 2>Matthew's father and Rashell's father, as teenagers had to kind

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<v Speaker 2>of reinvent themselves and like, you know, find a whole

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<v Speaker 2>new life in England. And when they were in their thirties,

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<v Speaker 2>Matthew Michelle met and they ended up having two sons.

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<v Speaker 2>There's an older brother named Joe and then a little

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<v Speaker 2>brother named Zach, and Zach was born in the year

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<v Speaker 2>two thousand, so he's a real kind of child of

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<v Speaker 2>the millennium. And they grew up, you know, it was

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<v Speaker 2>a kind of happy, happy life growing up. They were

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<v Speaker 2>financially comfortable, They lived in a nice apartment in a

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<v Speaker 2>nice neighborhood, They traveled and they had kind of quite

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<v Speaker 2>a close knit extended family. And Joe ended up going

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<v Speaker 2>off to this sort of elite private school in London

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<v Speaker 2>called UCS University College School. He did well there and

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<v Speaker 2>it was all going well, and the parents just sort

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<v Speaker 2>of assumed that Zach would go there too, And when

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<v Speaker 2>it came time to take the test, he took the

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<v Speaker 2>test and he didn't do particularly well, and he had

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<v Speaker 2>an interview and he kind of flubbed the interview and

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<v Speaker 2>he didn't get in. And this school had a policy

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<v Speaker 2>they wouldn't give favoritism to siblings. The reason I tell

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<v Speaker 2>you this it all seems a little in the weeds,

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<v Speaker 2>but I think, you know, you look at the life

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<v Speaker 2>of any family and sometimes weird things happen in adolescents

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<v Speaker 2>and you kind of go back and you're trying to

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<v Speaker 2>find the place where it all went wrong, and for

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<v Speaker 2>the parents, this is actually sort of where it starts

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<v Speaker 2>to go wrong. And Zach was really devastated that he

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<v Speaker 2>couldn't get into the school that his brother was going to.

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<v Speaker 2>He reapplied and didn't get in again, and then he

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<v Speaker 2>ended up going to this other school in London called

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<v Speaker 2>mill Hill, which was also a sort of fancy private school,

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<v Speaker 2>expensive but not as hard to get into. And when

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<v Speaker 2>he got there, a lot of his classmates were the

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<v Speaker 2>children of oligarchs. They were the children of very wealthy

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<v Speaker 2>people from the Soviet Union, the former Soviet Union, who

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<v Speaker 2>had relocated to London, had a ton of money, and

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<v Speaker 2>there were these kids who had the money and kind

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<v Speaker 2>of swagger, and they were these sort of blingy kids.

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<v Speaker 2>And Zach became really transfixed by these classmates who were

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<v Speaker 2>living what to him at age, you know, fifteen sixteen

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<v Speaker 2>years old, seemed like kind of a fantasy existence.

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<v Speaker 1>I have to imagine that some of the oligarchs, the

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<v Speaker 1>parents here were not on the up and up. Or

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<v Speaker 1>is that the wrong assumption? They just had made so

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<v Speaker 1>much money, you know, in this in the former Soviney Union,

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<v Speaker 1>that they were able to afford a London private school.

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<v Speaker 2>Well, I mean you need to It's a great question,

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<v Speaker 2>and to answer it you sort of need to back

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<v Speaker 2>up a little bit because you know, you hear people

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<v Speaker 2>talk about the Russian oligarchs, what does it really mean?

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<v Speaker 2>So when I was growing up, you know, I was

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<v Speaker 2>born in nineteen seventy six, and there was the Soviet Union, right,

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<v Speaker 2>it was this thing that existed and eventually it collapses

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<v Speaker 2>in pretty dramatic fashion. And under the communist Soviet regime,

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<v Speaker 2>there were these big state owned enterprises, so you'd have

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<v Speaker 2>you know, whatever it was, like a big oil and

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<v Speaker 2>gas company or a big utility or what have you,

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<v Speaker 2>and those were state owned because it was a communist government.

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<v Speaker 2>And then what happened was, in a pretty short period

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<v Speaker 2>of time all that stuff got privatized and there was

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<v Speaker 2>a huge amount of corruption at the time, and so

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<v Speaker 2>you had this brief window where a lot of what

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<v Speaker 2>had been the kind of industrial base of the Soviet

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<v Speaker 2>Union suddenly ends up going into private hands. And it

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<v Speaker 2>happens in kind of a quick and messy fashion, and

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<v Speaker 2>so you get, you know, you get kind of rigged

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<v Speaker 2>bids and cronyism, and people who suddenly go from you know,

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<v Speaker 2>they knew the right person and then suddenly it's like

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<v Speaker 2>they own fifty percent of a massive oil company or

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<v Speaker 2>whatever it is. And so the first generation of oligarchs

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<v Speaker 2>were people like that, people who got massively wealthy overnight

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<v Speaker 2>by essentially taking over in these sweetheart deals these formerly

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<v Speaker 2>stayed on enterprises. You know, is it the same thing

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<v Speaker 2>as like walking into a bank the gun and robbing it? No?

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<v Speaker 2>Is it what we would think of as totally kosher.

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<v Speaker 2>Probably not. And they accumulated these huge fortunes and then

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<v Speaker 2>the thing is that Russia was actually not a great

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<v Speaker 2>place if you it was a great place to make money.

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<v Speaker 2>It wasn't a great place to hold on to your

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<v Speaker 2>fortune because there's a lot of political instability, there's a

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<v Speaker 2>lot of corruption. You didn't know who was going to

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<v Speaker 2>come for you. And so this generation of oligarchs, basically

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<v Speaker 2>in the you know, starting in the kind of late

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<v Speaker 2>nineteen nineties early two thousands, starts thinking, okay, well, where

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<v Speaker 2>can I take my money where it's going to be safe,

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<v Speaker 2>And the answer was London, and they moved in really

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<v Speaker 2>large numbers to London. The city of London kind of

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<v Speaker 2>incentivized them, you know, it said like, if you come

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<v Speaker 2>in and you invest a certain mind in the economy,

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<v Speaker 2>we'll give you a visa. We'll make it easy for you.

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<v Speaker 2>We have great private schools, or you can send your kids.

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<v Speaker 2>We've got awesome real estate that's you know, palatial and

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<v Speaker 2>a great investment. And so you had this influx of

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<v Speaker 2>people from Russia and Kazakhstan and various other former Soviet republics.

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<v Speaker 2>And yeah, listen, I'm not here to tell you that

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<v Speaker 2>all these people were crooks, but were there's some crooks

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<v Speaker 2>among them. Absolutely were places like these private schools where

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<v Speaker 2>they screening there's actually a quote in my book, there's

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<v Speaker 2>a guy who's a consultant to these private schools because

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<v Speaker 2>they suddenly had all these ex Soviet students, and he said,

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<v Speaker 2>you know, we don't screen out the mafia, Like, how

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<v Speaker 2>would you do that? We don't know where the money

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<v Speaker 2>came from. And so that's this environment that Zach Butler

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<v Speaker 2>grows up in, this environment where there's there's a lot

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<v Speaker 2>of new money and there are these kids who just

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<v Speaker 2>are living this kind of over the top lifestyle. It's

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<v Speaker 2>like they would wear really fancy suits to class, and

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<v Speaker 2>they would party in hotels on weekends and they you know,

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<v Speaker 2>there's a story I tell in the book about how

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<v Speaker 2>they would live in the dorms. They had dorms there

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<v Speaker 2>and it was like an eight minute walk from your

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<v Speaker 2>dorm to class in the morning, and on cold mornings,

0:11:57.200 --> 0:12:02.080
<v Speaker 2>these kids would get ubers. But so that's the sort

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<v Speaker 2>of environment he grew up surrounded by, and he or

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<v Speaker 2>he was, you know, in school, surrounded by and his

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<v Speaker 2>parents start to notice because he's he gets really into

0:12:09.880 --> 0:12:12.240
<v Speaker 2>fancy cars and he's always wondering like mom and dad,

0:12:12.240 --> 0:12:14.520
<v Speaker 2>why don't we have a nicer car, Why don't we

0:12:14.520 --> 0:12:16.920
<v Speaker 2>have a bigger house. You know, they drove a Mazda,

0:12:17.080 --> 0:12:18.600
<v Speaker 2>and he was thinking, you know, why don't we drive

0:12:18.600 --> 0:12:21.840
<v Speaker 2>a range Rover. Why can't we do anything better. There

0:12:21.880 --> 0:12:24.960
<v Speaker 2>was one day when he the school actually called their

0:12:25.000 --> 0:12:27.439
<v Speaker 2>home and said, hey, you know, Zach was just picked

0:12:27.520 --> 0:12:30.000
<v Speaker 2>up and he's coming home. But he was picked up

0:12:30.000 --> 0:12:33.240
<v Speaker 2>in a Chaufford limousine and the parents didn't know what

0:12:33.280 --> 0:12:35.160
<v Speaker 2>this is about. And when he got home they asked him, like,

0:12:35.480 --> 0:12:36.760
<v Speaker 2>you know, how did this happen. He said, he paid

0:12:36.760 --> 0:12:38.280
<v Speaker 2>for it himself, and he told them I wanted to

0:12:38.280 --> 0:12:40.520
<v Speaker 2>see what it would feel like to be picked up

0:12:40.559 --> 0:12:42.080
<v Speaker 2>in a limousine. So he was a kid who kind

0:12:42.080 --> 0:12:45.760
<v Speaker 2>of starting to lose his bearings, I think because he

0:12:45.840 --> 0:12:49.320
<v Speaker 2>was obsessed with conspicuous consumption and wealth.

0:12:49.920 --> 0:12:53.120
<v Speaker 1>Yeah. I interviewed an author I think it was last

0:12:53.160 --> 0:12:56.560
<v Speaker 1>year who wrote about the murder of a high up

0:12:56.559 --> 0:13:00.440
<v Speaker 1>but local official in China, and part of it was

0:13:01.200 --> 0:13:04.880
<v Speaker 1>that many members of the Communist Party in China sent

0:13:04.960 --> 0:13:07.880
<v Speaker 1>their kids to London to get educated. Totally, so I

0:13:07.920 --> 0:13:09.760
<v Speaker 1>see that. I mean, you know, just from that book,

0:13:09.800 --> 0:13:11.520
<v Speaker 1>the kind of the opulence, which I don't think is

0:13:11.559 --> 0:13:13.600
<v Speaker 1>as much as it would be from folks from the

0:13:13.600 --> 0:13:16.440
<v Speaker 1>Soviet Union. But still before we talk a little bit

0:13:16.480 --> 0:13:20.319
<v Speaker 1>more about Zach, I'm curious about what you think the

0:13:20.360 --> 0:13:25.000
<v Speaker 1>expectations were for the folks from the Soviet Union who

0:13:25.000 --> 0:13:28.400
<v Speaker 1>were wealthier of their kids in London. Would it be

0:13:28.480 --> 0:13:30.800
<v Speaker 1>they go into finance. Would it be that they return

0:13:31.480 --> 0:13:34.480
<v Speaker 1>home and you know, join with whatever business this is

0:13:35.000 --> 0:13:37.360
<v Speaker 1>that their parents have gotten so wealthy from so quickly.

0:13:38.240 --> 0:13:40.640
<v Speaker 2>I mean, I think it would probably vary. But my

0:13:40.920 --> 0:13:44.720
<v Speaker 2>hunch is that the kinds of oligarchs that I'm talking about,

0:13:44.760 --> 0:13:46.840
<v Speaker 2>these are people with billions and billions of dollars, so

0:13:47.760 --> 0:13:51.240
<v Speaker 2>their kids don't need to work at all. And maybe

0:13:51.440 --> 0:13:54.520
<v Speaker 2>depending on who the parent is, there's a sense of, oh,

0:13:53.960 --> 0:13:57.640
<v Speaker 2>I hope my son or daughter, you know, makes their

0:13:57.679 --> 0:14:02.280
<v Speaker 2>own way and distinguishes themselves somehow in life. But generally speaking,

0:14:02.360 --> 0:14:06.200
<v Speaker 2>it's like, if they stay out of jail and maintain

0:14:06.200 --> 0:14:08.480
<v Speaker 2>a relationship with you, it probably feels like a win.

0:14:09.040 --> 0:14:11.440
<v Speaker 2>I just think that the whole I mean this in

0:14:11.480 --> 0:14:13.000
<v Speaker 2>a kind of weird way. My book is a book

0:14:13.040 --> 0:14:17.520
<v Speaker 2>about parenting, and when you get to that level of wealth,

0:14:17.559 --> 0:14:19.480
<v Speaker 2>it's just all the laws of physics are a little

0:14:19.480 --> 0:14:21.400
<v Speaker 2>different than they are for the rest of us. And

0:14:21.440 --> 0:14:24.160
<v Speaker 2>so I think in Zach's case, you know, his parents

0:14:24.200 --> 0:14:27.360
<v Speaker 2>wanted him to sort of live a decent life, you know,

0:14:27.440 --> 0:14:30.040
<v Speaker 2>and to be happy and be close with his family,

0:14:30.080 --> 0:14:34.400
<v Speaker 2>and sure like do well in school and have conventional accomplishments.

0:14:34.720 --> 0:14:38.160
<v Speaker 2>But they were thinking in a fairly sort of straightforward register.

0:14:38.440 --> 0:14:41.600
<v Speaker 2>And then Zach's looking at these kids, thinking, you know,

0:14:42.400 --> 0:14:44.560
<v Speaker 2>I want to take over the world, right like I

0:14:44.600 --> 0:14:47.120
<v Speaker 2>want to be a master of the universe.

0:14:47.840 --> 0:14:52.040
<v Speaker 1>Did Matthew and Rochelle ever have any reservations about keeping

0:14:52.160 --> 0:14:55.440
<v Speaker 1>him there? It must have been a pretty quick transition.

0:14:55.520 --> 0:14:57.720
<v Speaker 1>Did they say, there are a lot of other schools

0:14:57.720 --> 0:14:59.920
<v Speaker 1>in London, let's pull him out where there's not this

0:15:00.080 --> 0:15:00.840
<v Speaker 1>kind of influence.

0:15:01.440 --> 0:15:03.680
<v Speaker 2>I think that they did, and he actually did leave

0:15:03.800 --> 0:15:07.800
<v Speaker 2>eventually for his last year. They did. But I think

0:15:07.880 --> 0:15:12.160
<v Speaker 2>that in some ways this is a story in which

0:15:12.240 --> 0:15:15.680
<v Speaker 2>they never realized how bad things really were until their

0:15:15.680 --> 0:15:18.840
<v Speaker 2>son was dead, and then they looked back and they

0:15:18.840 --> 0:15:21.320
<v Speaker 2>had to kind of retrace their steps and think, God,

0:15:21.320 --> 0:15:25.040
<v Speaker 2>where did it all go so wrong? And part of

0:15:25.040 --> 0:15:28.880
<v Speaker 2>what's so intriguing about Zach is that he, you know,

0:15:28.920 --> 0:15:31.480
<v Speaker 2>in a way that they really didn't know. They knew

0:15:31.480 --> 0:15:33.960
<v Speaker 2>that he could sometimes be dishonest, and he sometimes sort

0:15:33.960 --> 0:15:36.800
<v Speaker 2>of told stories. They didn't know that he was a

0:15:36.840 --> 0:15:40.040
<v Speaker 2>compulsive liar who was really pretending to all kinds of

0:15:40.080 --> 0:15:42.240
<v Speaker 2>different people that he was somebody who he wasn't. They

0:15:42.240 --> 0:15:45.520
<v Speaker 2>didn't know that until after he died, and so I

0:15:45.520 --> 0:15:50.600
<v Speaker 2>don't think they had a real appreciation for how dangerous

0:15:50.640 --> 0:15:53.640
<v Speaker 2>his situation was until it was too late to do

0:15:53.680 --> 0:15:57.680
<v Speaker 2>anything about it.

0:15:57.720 --> 0:16:00.480
<v Speaker 1>Is there something that happens at this school, in this

0:16:00.600 --> 0:16:04.320
<v Speaker 1>high school that changes things other than he's starting to

0:16:04.440 --> 0:16:07.320
<v Speaker 1>lie and maybe, you know, give me some examples of

0:16:07.360 --> 0:16:09.280
<v Speaker 1>what lies he was telling while he was there.

0:16:10.120 --> 0:16:14.160
<v Speaker 2>You know, it's interesting when Matthew and Rochelle started finding

0:16:14.160 --> 0:16:18.320
<v Speaker 2>out about Zach's secret life, they were really looking at

0:16:18.720 --> 0:16:21.240
<v Speaker 2>He dies at nineteen, so they're looking at the years

0:16:21.360 --> 0:16:25.760
<v Speaker 2>kind of sixteen, seventeen, eighteen nineteen. I when I started

0:16:25.760 --> 0:16:28.480
<v Speaker 2>working on this project, tracked down a number of his

0:16:28.680 --> 0:16:32.800
<v Speaker 2>friends from school, and I interviewed people who told me

0:16:32.800 --> 0:16:35.400
<v Speaker 2>about lies he told when he was thirteen. So when

0:16:35.400 --> 0:16:38.880
<v Speaker 2>he arrived at mill Hill that school, there were some

0:16:38.960 --> 0:16:42.760
<v Speaker 2>kids who he told that his mother was dead. It's

0:16:42.800 --> 0:16:46.040
<v Speaker 2>a really unsettling thing to learn, I think, particularly for Rochelle.

0:16:46.120 --> 0:16:48.800
<v Speaker 2>His mother. You know, like, what a strange thing for

0:16:48.880 --> 0:16:52.560
<v Speaker 2>your child to tell people. But I do think that

0:16:52.640 --> 0:16:55.840
<v Speaker 2>in that case, it was partially that he was a

0:16:55.880 --> 0:16:58.440
<v Speaker 2>new kid at a new school. He wanted to make friends.

0:16:58.960 --> 0:17:01.240
<v Speaker 2>I think he realized that, you know, I think most

0:17:01.280 --> 0:17:04.320
<v Speaker 2>people are are pretty compassionate, and so I think that

0:17:04.800 --> 0:17:06.199
<v Speaker 2>if you're a thirteen year old kid and you'd tell

0:17:06.240 --> 0:17:09.280
<v Speaker 2>somebody that you've lost your mother, their heart opens up

0:17:09.280 --> 0:17:11.600
<v Speaker 2>to you a little bit more quickly then it might

0:17:11.680 --> 0:17:14.359
<v Speaker 2>otherwise if you're just a new kid in school. But

0:17:14.400 --> 0:17:16.160
<v Speaker 2>there were lies like that, and then he would tell

0:17:16.200 --> 0:17:19.600
<v Speaker 2>all these lies to his friends, where you know, he

0:17:19.640 --> 0:17:23.159
<v Speaker 2>would say that he had all these deals going and

0:17:23.200 --> 0:17:25.520
<v Speaker 2>he was getting into oil and gas deals, and he

0:17:25.560 --> 0:17:28.000
<v Speaker 2>would say that his father, he told some of them

0:17:28.000 --> 0:17:32.200
<v Speaker 2>his father was an arms dealer. And some of the friends,

0:17:32.400 --> 0:17:34.600
<v Speaker 2>the friends who were sort of better friends, started to

0:17:34.640 --> 0:17:36.920
<v Speaker 2>figure it out, so he Zach was. There were certain

0:17:36.960 --> 0:17:39.240
<v Speaker 2>movies that Zach was really obsessed with. There's a movie

0:17:39.240 --> 0:17:41.440
<v Speaker 2>a lot of people have seen, The Wolf of Wall Street,

0:17:42.080 --> 0:17:43.800
<v Speaker 2>which was one of his favorite movies. He watched it

0:17:43.800 --> 0:17:48.000
<v Speaker 2>again and again. And there's another movie called war Dogs,

0:17:48.040 --> 0:17:53.280
<v Speaker 2>which is a movie that Jonah Hill was in Ironicy

0:17:53.359 --> 0:17:55.919
<v Speaker 2>Jonah Hill is actually in both movies, and War Dogs

0:17:55.920 --> 0:17:58.600
<v Speaker 2>is based on true story about these two these two

0:17:58.680 --> 0:18:01.760
<v Speaker 2>young Florida kids, these buddies, who when they were in

0:18:01.760 --> 0:18:05.119
<v Speaker 2>their early twenties went into business's arms dealers. This is

0:18:05.359 --> 0:18:07.480
<v Speaker 2>sort of back in the days of the Iraq War,

0:18:07.640 --> 0:18:11.359
<v Speaker 2>and they became these kind of illegal arms dealers. Basically,

0:18:11.840 --> 0:18:15.840
<v Speaker 2>so he liked stories about young men, true stories about

0:18:15.880 --> 0:18:17.960
<v Speaker 2>young men who were kind of on the make, were

0:18:18.040 --> 0:18:22.280
<v Speaker 2>hustlers looking to make a lot of money quickly, willing

0:18:22.400 --> 0:18:25.439
<v Speaker 2>to cut some corners and maybe lie in order to

0:18:25.440 --> 0:18:30.160
<v Speaker 2>do so. And he would take little bits of inspiration

0:18:30.320 --> 0:18:34.359
<v Speaker 2>actually from those movies. Specifically, so Zach, when he was

0:18:34.400 --> 0:18:37.560
<v Speaker 2>eighteen years old, started his own business. He incorporated a business.

0:18:37.840 --> 0:18:40.040
<v Speaker 2>I don't know that it ever actually did anything, really,

0:18:40.080 --> 0:18:43.479
<v Speaker 2>but he formally incorporated this business and he called it

0:18:43.520 --> 0:18:46.720
<v Speaker 2>Omega Stratton. And I think that Omega is a reference

0:18:46.760 --> 0:18:49.760
<v Speaker 2>to the watch, just the watch that James Bond wears.

0:18:50.280 --> 0:18:54.480
<v Speaker 2>But Stratton is clearly a reference to Stratton Oakmont, which

0:18:54.520 --> 0:18:56.639
<v Speaker 2>is the name of the business in the Wolf of

0:18:56.640 --> 0:18:59.320
<v Speaker 2>Wall Street, the guy when he starts his crooked brokerage firm,

0:18:59.359 --> 0:19:02.240
<v Speaker 2>it's called Stratton Oakmont, which it's just such an insane

0:19:02.240 --> 0:19:04.119
<v Speaker 2>thing to contemplate, right that you would you'd like to

0:19:04.160 --> 0:19:08.320
<v Speaker 2>start a business and name it after the famously illegal

0:19:08.400 --> 0:19:11.280
<v Speaker 2>business in a Martin Scorsese movie that sent the guy

0:19:11.320 --> 0:19:14.480
<v Speaker 2>who ran it to prison. So he started telling these stories,

0:19:14.480 --> 0:19:16.280
<v Speaker 2>and he would tell his friends that his dad was

0:19:16.320 --> 0:19:18.400
<v Speaker 2>an arm stealer. And there's kind of a funny story

0:19:18.400 --> 0:19:21.359
<v Speaker 2>where one of his friends, this guy Andre, played tennis

0:19:21.359 --> 0:19:24.640
<v Speaker 2>with him. They were they would play doubles and there

0:19:24.680 --> 0:19:28.320
<v Speaker 2>was a tournament at some point Matthew Zach's dad was

0:19:28.359 --> 0:19:29.480
<v Speaker 2>going to drive them.

0:19:29.680 --> 0:19:32.640
<v Speaker 1>To the tennis tournament in his Mazda.

0:19:33.080 --> 0:19:35.840
<v Speaker 2>Well that's the thing. So in advance, Zach takes Andrea

0:19:35.840 --> 0:19:38.760
<v Speaker 2>aside and he says, so listen, my dad, you know,

0:19:38.840 --> 0:19:41.719
<v Speaker 2>has he's got two range Rovers. But the thing is

0:19:42.760 --> 0:19:44.959
<v Speaker 2>both of them are in the shop, like you know,

0:19:45.000 --> 0:19:48.080
<v Speaker 2>what are the chances and he's got this crappy loaner

0:19:48.160 --> 0:19:51.560
<v Speaker 2>car and he's really unhappy about it. So whatever you do,

0:19:51.560 --> 0:19:55.440
<v Speaker 2>don't mention the range Rovers. And so Andre expects this

0:19:55.480 --> 0:19:57.919
<v Speaker 2>guy to be this like grizzled armsteeler who drives two

0:19:58.000 --> 0:20:00.280
<v Speaker 2>range Rovers. And Matthew shows up in ma he was

0:20:00.320 --> 0:20:04.560
<v Speaker 2>this kind of gentle, sweet guy who doesn't seem like

0:20:04.600 --> 0:20:07.720
<v Speaker 2>an arms dealer at all and drives a Mazda, and

0:20:09.040 --> 0:20:12.399
<v Speaker 2>eventually his friends started to see through some of the last.

0:20:12.640 --> 0:20:15.160
<v Speaker 1>Did his parents reflect on that with you at all,

0:20:15.359 --> 0:20:17.879
<v Speaker 1>just sort of you know, taking a left instead of

0:20:17.920 --> 0:20:20.520
<v Speaker 1>a right in life and what would have happened if

0:20:20.520 --> 0:20:21.880
<v Speaker 1>he hadn't had those influences?

0:20:22.080 --> 0:20:24.520
<v Speaker 2>Yeah? Absolutely, I mean I think in a strange way,

0:20:25.920 --> 0:20:28.480
<v Speaker 2>you know, the torture for them their son died now

0:20:28.960 --> 0:20:31.880
<v Speaker 2>almost seven years ago, is that they're kind of trapped

0:20:32.320 --> 0:20:34.959
<v Speaker 2>in a situation where they're constantly thinking about what if

0:20:35.000 --> 0:20:37.440
<v Speaker 2>we'd taken that left, what if we'd taken that right?

0:20:37.960 --> 0:20:40.879
<v Speaker 2>And I do think that part of what was so

0:20:41.080 --> 0:20:43.920
<v Speaker 2>fascinating about Zach. So like, there's an obvious question when

0:20:43.960 --> 0:20:46.920
<v Speaker 2>you look at Zach's life, which is was this kid

0:20:46.960 --> 0:20:51.159
<v Speaker 2>actually clinically delusional? Like did he believe some of the

0:20:51.200 --> 0:20:53.840
<v Speaker 2>stuff that he was saying? And I'm pretty convinced that

0:20:53.880 --> 0:20:57.280
<v Speaker 2>he wasn't, in part because he was very selective in

0:20:57.320 --> 0:21:00.880
<v Speaker 2>what lies he told to different people, and so there

0:21:00.920 --> 0:21:02.320
<v Speaker 2>was all kinds of stuff that he was out there

0:21:02.359 --> 0:21:05.000
<v Speaker 2>telling people about himself, you know, not just that he

0:21:05.400 --> 0:21:07.359
<v Speaker 2>you know, eventually he goes he sort of takes it

0:21:07.359 --> 0:21:08.840
<v Speaker 2>to the next level and starts claiming he's the son

0:21:08.880 --> 0:21:11.480
<v Speaker 2>of a Russian oligarch. But he would say that he

0:21:11.640 --> 0:21:16.000
<v Speaker 2>lived in this luxury building called one Hyde Park, which

0:21:16.080 --> 0:21:19.360
<v Speaker 2>is this, you know, like the most expensive residential complex

0:21:19.400 --> 0:21:21.800
<v Speaker 2>anywhere in the world, or that's what it built itself

0:21:21.840 --> 0:21:24.439
<v Speaker 2>as when it was opened, this place in Knightsbridge, and

0:21:24.920 --> 0:21:27.560
<v Speaker 2>people would actually come and meet him there, and he

0:21:27.600 --> 0:21:30.840
<v Speaker 2>would he'd always be like right in front of the building,

0:21:30.880 --> 0:21:32.920
<v Speaker 2>as if he'd just walked out, like nobody ever saw

0:21:33.000 --> 0:21:36.800
<v Speaker 2>him actually walking out. He was very careful about that stuff.

0:21:37.040 --> 0:21:39.399
<v Speaker 2>But I think if he had been at school with Joe,

0:21:39.480 --> 0:21:43.119
<v Speaker 2>it would have been harder to get away with some

0:21:43.200 --> 0:21:46.600
<v Speaker 2>of that stuff because you know, your older brother would

0:21:46.600 --> 0:21:47.879
<v Speaker 2>be there to sort of fact check you.

0:21:48.560 --> 0:21:52.199
<v Speaker 1>So had what happened to him not happened, and we

0:21:52.240 --> 0:21:54.840
<v Speaker 1>need to get into that soon. I think would he

0:21:54.960 --> 0:21:57.639
<v Speaker 1>have been perhaps destined. Do you see this as a

0:21:57.680 --> 0:22:01.760
<v Speaker 1>potential Bernie made off path way considering how he felt

0:22:01.760 --> 0:22:06.040
<v Speaker 1>about wolf Wall Street or do you feel like you

0:22:06.080 --> 0:22:08.480
<v Speaker 1>know that maybe his parents thought this wasn't something that

0:22:08.520 --> 0:22:10.479
<v Speaker 1>was ingrained in him and he would just need to

0:22:10.600 --> 0:22:12.960
<v Speaker 1>go to university and snap out of it or something

0:22:13.080 --> 0:22:13.360
<v Speaker 1>like that.

0:22:14.040 --> 0:22:17.280
<v Speaker 2>Yeah, I've thought a lot about this. I think there's

0:22:17.320 --> 0:22:19.200
<v Speaker 2>a couple of different ways I would answer that. One

0:22:19.280 --> 0:22:23.439
<v Speaker 2>is I think that we live in an era of

0:22:23.760 --> 0:22:29.480
<v Speaker 2>pretty pervasive BS, right, And there's that old expression you

0:22:29.520 --> 0:22:31.320
<v Speaker 2>got to fake it till you make it, And I

0:22:31.320 --> 0:22:33.959
<v Speaker 2>think we are surrounded by people who have kind of

0:22:34.000 --> 0:22:37.240
<v Speaker 2>faked it till they made it, Like people who I mean,

0:22:37.480 --> 0:22:39.879
<v Speaker 2>for every Bernie made Off, where you've got somebody as

0:22:39.920 --> 0:22:41.240
<v Speaker 2>a con artist and he kind of gets away with

0:22:41.240 --> 0:22:43.359
<v Speaker 2>it until he doesn't. I think there's a lot of

0:22:43.359 --> 0:22:46.520
<v Speaker 2>con artists out there, you know, still getting away with it.

0:22:47.320 --> 0:22:49.560
<v Speaker 2>So I've always been of the view that if Zach

0:22:49.680 --> 0:22:53.480
<v Speaker 2>had been able to survive his teens, and if he

0:22:53.520 --> 0:22:55.000
<v Speaker 2>had not, we'll talk about it, but he ends up

0:22:55.000 --> 0:22:57.359
<v Speaker 2>getting mixed up with some very dangerous people. If he

0:22:57.400 --> 0:22:59.080
<v Speaker 2>had not gotten mixed up with the people he got

0:22:59.119 --> 0:23:01.399
<v Speaker 2>mixed up with, yeah, I tend to think that he

0:23:01.440 --> 0:23:03.600
<v Speaker 2>probably would have ended up in real estate or something,

0:23:03.880 --> 0:23:07.480
<v Speaker 2>and he could be, you know, he could be a

0:23:07.600 --> 0:23:11.680
<v Speaker 2>very wealthy twenty five year old today who had made

0:23:11.720 --> 0:23:14.119
<v Speaker 2>a killing and you know, told a few lies along

0:23:14.160 --> 0:23:16.479
<v Speaker 2>the way. But nobody was in any of the wiser

0:23:16.960 --> 0:23:20.399
<v Speaker 2>There's a there's a really touching moment that I described

0:23:20.400 --> 0:23:23.119
<v Speaker 2>in the book where Matthew the dad, was listening to

0:23:23.160 --> 0:23:26.199
<v Speaker 2>a podcast after Zach died, and on the podcast they

0:23:26.200 --> 0:23:28.399
<v Speaker 2>were talking about Bob Dylan and they talked about how

0:23:28.440 --> 0:23:30.880
<v Speaker 2>when Bob Dylan was young, he told all these lies

0:23:30.920 --> 0:23:32.960
<v Speaker 2>about himself, like when he first showed up on the

0:23:33.000 --> 0:23:37.000
<v Speaker 2>scene playing music. I mean, even his name, you know,

0:23:37.119 --> 0:23:39.639
<v Speaker 2>was a lot and he kind of invented a new

0:23:39.720 --> 0:23:42.199
<v Speaker 2>name for himself. And he would say that he'd, you know,

0:23:42.200 --> 0:23:45.680
<v Speaker 2>he'd run off to join the circus at a young age,

0:23:45.800 --> 0:23:48.879
<v Speaker 2>and that he kind of ran away from home and

0:23:48.920 --> 0:23:52.720
<v Speaker 2>he was you know, he's part Native American, and that

0:23:52.800 --> 0:23:55.200
<v Speaker 2>he'd turned tricks in Times Square. There were all these

0:23:55.240 --> 0:23:58.960
<v Speaker 2>stories that Bob Dylan was telling, and Matthew was really

0:23:59.040 --> 0:24:01.360
<v Speaker 2>sort of taken by this account because he said, it's

0:24:01.359 --> 0:24:04.119
<v Speaker 2>so interesting. You know, Dylan was kind of trying to

0:24:04.200 --> 0:24:06.880
<v Speaker 2>establish himself on the scene, this really talented young guy,

0:24:06.920 --> 0:24:08.480
<v Speaker 2>but he didn't really know who he was going to be.

0:24:08.920 --> 0:24:11.960
<v Speaker 2>Nobody knew who he was, and so he's just kind

0:24:11.960 --> 0:24:14.960
<v Speaker 2>of trying things out, and you know what Matthew said

0:24:15.000 --> 0:24:17.760
<v Speaker 2>was eventually, like he settled down. Dylan would probably chuckle

0:24:17.800 --> 0:24:20.359
<v Speaker 2>about it today if you asked him about it, but eventually,

0:24:20.960 --> 0:24:22.960
<v Speaker 2>you know, he kind of lived a normal life once

0:24:23.000 --> 0:24:24.119
<v Speaker 2>his feet hit the ground.

0:24:24.760 --> 0:24:27.320
<v Speaker 1>So if we get into the main point of the

0:24:27.320 --> 0:24:31.280
<v Speaker 1>story here, so we see that Zach is establishing this

0:24:31.400 --> 0:24:35.959
<v Speaker 1>business Omega Stratton when he's eighteen. Is there any and

0:24:36.160 --> 0:24:38.480
<v Speaker 1>I don't think you've said this, but do we see

0:24:38.480 --> 0:24:43.200
<v Speaker 1>any illegal activity in high school before he graduates?

0:24:43.480 --> 0:24:45.800
<v Speaker 2>I think there probably was some. I mean, I you know,

0:24:45.960 --> 0:24:50.080
<v Speaker 2>in my reporting obviously all after Zach died, I was

0:24:50.119 --> 0:24:52.880
<v Speaker 2>able to establish it. You know, he was dealing drugs

0:24:52.920 --> 0:24:55.480
<v Speaker 2>in a I think a pretty low level way, but

0:24:55.560 --> 0:24:59.800
<v Speaker 2>he was dealing some prescription drugs things like that. He was.

0:25:01.000 --> 0:25:03.280
<v Speaker 2>It's funny because he was always very health conscious and

0:25:03.320 --> 0:25:05.800
<v Speaker 2>he wouldn't drink alcohol for a long time, wouldn't spook

0:25:05.800 --> 0:25:10.040
<v Speaker 2>cigarettes or marijuana or anything. But even just little things

0:25:10.040 --> 0:25:12.159
<v Speaker 2>like he was. He would he would get some older

0:25:12.160 --> 0:25:14.040
<v Speaker 2>friend to buy him a carton of cigarettes and then

0:25:14.080 --> 0:25:18.000
<v Speaker 2>he would sell Lucy's to to kids in the school,

0:25:18.800 --> 0:25:22.560
<v Speaker 2>presumably at a markup per cigarette. So he had little

0:25:22.600 --> 0:25:26.560
<v Speaker 2>hustles like that. But there was nothing that seemed like

0:25:26.600 --> 0:25:27.880
<v Speaker 2>kind of big time illegality.

0:25:28.080 --> 0:25:32.560
<v Speaker 1>Now, okay, so where does it start? Where he is

0:25:32.600 --> 0:25:36.560
<v Speaker 1>starting to meet people who you know, are are really

0:25:36.600 --> 0:25:39.199
<v Speaker 1>above his league, and all of a sudden we go

0:25:39.240 --> 0:25:42.200
<v Speaker 1>from high school teenager to an adult who maybe can't

0:25:42.240 --> 0:25:44.320
<v Speaker 1>handle some of the things he's getting into. Where does

0:25:44.359 --> 0:25:44.960
<v Speaker 1>that start.

0:25:45.200 --> 0:25:47.560
<v Speaker 2>Well, so there's a few things that happened. He one

0:25:47.720 --> 0:25:54.560
<v Speaker 2>night ends up somehow talking his way into this party.

0:25:54.720 --> 0:25:56.560
<v Speaker 2>It's a it's a it's a kind. It's a place

0:25:56.600 --> 0:25:59.359
<v Speaker 2>called the Chelsea Arts Club, and they're having a benefit

0:25:59.560 --> 0:26:02.000
<v Speaker 2>and there's a lot of art on the wall and

0:26:02.040 --> 0:26:03.840
<v Speaker 2>people are buying the art and people are kind of

0:26:03.920 --> 0:26:07.560
<v Speaker 2>mingling with drinks, and somehow, to this day I don't know,

0:26:07.960 --> 0:26:10.119
<v Speaker 2>Zach talks his way into that thing. He somehow gets in,

0:26:10.280 --> 0:26:14.040
<v Speaker 2>gets on the list, and he ends up chatting with

0:26:14.119 --> 0:26:16.800
<v Speaker 2>this guy. And I should say, just by way of background,

0:26:17.440 --> 0:26:20.000
<v Speaker 2>Zach was really obsessed with a guy named Romana Bramovic.

0:26:20.359 --> 0:26:24.240
<v Speaker 2>And Romano Bromvic is the was the owner. He's a

0:26:24.280 --> 0:26:28.560
<v Speaker 2>Russian oligarch, someone who had had a He now claims

0:26:28.560 --> 0:26:30.560
<v Speaker 2>that he's not close with Putin, but somebody who the

0:26:30.560 --> 0:26:34.200
<v Speaker 2>perception has always been, you know, had a relatively close

0:26:34.240 --> 0:26:38.600
<v Speaker 2>relationship with Putin, and he had bought the Chelsea Football Club,

0:26:38.640 --> 0:26:41.440
<v Speaker 2>one of the biggest, most storied soccer teams in the UK,

0:26:42.400 --> 0:26:44.199
<v Speaker 2>and put a ton of money into it, and so

0:26:44.240 --> 0:26:46.159
<v Speaker 2>he was kind of a famous oligarch, just like a

0:26:46.160 --> 0:26:50.920
<v Speaker 2>famously wealthy guy, you know, always being photographed in Saint

0:26:51.000 --> 0:26:53.520
<v Speaker 2>Bart's on a huge yacht and you know, bought the

0:26:53.520 --> 0:26:56.280
<v Speaker 2>biggest mansion here and the biggest mansion there, and a

0:26:56.280 --> 0:26:58.520
<v Speaker 2>massive art collection and he just spent one hundred million

0:26:58.560 --> 0:27:01.080
<v Speaker 2>dollars on a painting. He's that kind of guy. I

0:27:01.080 --> 0:27:03.280
<v Speaker 2>don't think Zach ever met Romano Brovich, but he was

0:27:03.480 --> 0:27:06.960
<v Speaker 2>very taken with him. He was like a superhero to Zach.

0:27:08.000 --> 0:27:09.800
<v Speaker 2>So he shows up at this thing at the Chelsea

0:27:09.920 --> 0:27:12.399
<v Speaker 2>Arts Club, and you know, we've all had this experience

0:27:12.400 --> 0:27:15.440
<v Speaker 2>where you show up at something and you're there and

0:27:15.800 --> 0:27:18.200
<v Speaker 2>kind of trying to mingle, but you don't really know anyone.

0:27:18.200 --> 0:27:20.920
<v Speaker 2>You didn't come with anyone, and you end up sort

0:27:20.960 --> 0:27:23.600
<v Speaker 2>of meeting eyes with somebody else who's there by themselves.

0:27:23.640 --> 0:27:25.879
<v Speaker 2>You know, you're both in the same kind of awkward predicament.

0:27:26.760 --> 0:27:30.120
<v Speaker 2>And he ends up meeting this guy named Mark Foley

0:27:31.320 --> 0:27:34.760
<v Speaker 2>and they're introduced, and Mark Foley says that he works

0:27:34.760 --> 0:27:38.600
<v Speaker 2>for Chelsea Football Club. So this random guy is there

0:27:38.720 --> 0:27:41.240
<v Speaker 2>and he says, hey, I basically work for Romano Broovich.

0:27:41.280 --> 0:27:43.760
<v Speaker 2>I work for the guy that is your idol. And

0:27:43.840 --> 0:27:46.840
<v Speaker 2>at that point Zach says, oh, well, you know, I

0:27:46.960 --> 0:27:50.359
<v Speaker 2>come from a Russian family. My father's a wealthy Russian

0:27:50.400 --> 0:27:52.800
<v Speaker 2>guy here in London and I sort of help him

0:27:52.800 --> 0:27:56.600
<v Speaker 2>out with business and what have you. And I think

0:27:57.080 --> 0:27:59.840
<v Speaker 2>that Mark Foley was patient zero. I think Mark Foley

0:27:59.880 --> 0:28:03.120
<v Speaker 2>is the first person's act told this lie to and

0:28:03.200 --> 0:28:06.320
<v Speaker 2>the crazy thing is it works. Mark fully believes him

0:28:06.680 --> 0:28:08.520
<v Speaker 2>and says, well, listen, we should get together. You know,

0:28:08.520 --> 0:28:10.960
<v Speaker 2>if you want to make investments, we should talk. And

0:28:11.040 --> 0:28:13.080
<v Speaker 2>so that's the sort of first run on the ladder,

0:28:13.080 --> 0:28:15.639
<v Speaker 2>and then through Mark Foley, he ends up meeting a

0:28:15.640 --> 0:28:17.160
<v Speaker 2>guy who's one of the major characters in the book,

0:28:17.160 --> 0:28:21.400
<v Speaker 2>this guy ak Barshamji, who's a kind of slippery, dashing

0:28:22.160 --> 0:28:27.520
<v Speaker 2>London businessman, and ak Barshamji introduces him to a friend

0:28:27.520 --> 0:28:31.280
<v Speaker 2>of his who's a guy named Vernda Sharma but who's

0:28:31.280 --> 0:28:34.280
<v Speaker 2>better known in London by the nickname Indian Dave. And

0:28:34.359 --> 0:28:37.920
<v Speaker 2>Verrender Sharma was a gangster, a very very violent gangster.

0:28:38.520 --> 0:28:41.960
<v Speaker 2>And so Zach pretty quickly after meeting Mark Foley, ends

0:28:42.040 --> 0:28:45.120
<v Speaker 2>up in the orbit of these two guys who are

0:28:45.160 --> 0:28:49.280
<v Speaker 2>quite different ak Barshamji an Indian Dave, but they are

0:28:49.320 --> 0:28:51.600
<v Speaker 2>both pretty dodgy in their own ways.

0:28:52.120 --> 0:28:54.520
<v Speaker 1>So what are the ages of all of these folks,

0:28:54.560 --> 0:28:58.080
<v Speaker 1>Because he's what eighteen nineteen when this is happening. How

0:28:58.880 --> 0:29:01.880
<v Speaker 1>how far back for his death does this start to

0:29:01.880 --> 0:29:02.600
<v Speaker 1>happen for him?

0:29:02.920 --> 0:29:07.600
<v Speaker 2>So this, all of this happens basically in his eighteenth

0:29:07.680 --> 0:29:10.120
<v Speaker 2>and nineteenth years, So he's eighteen years old when he

0:29:10.160 --> 0:29:13.440
<v Speaker 2>meets these guys. They are older, they are in their

0:29:14.640 --> 0:29:16.600
<v Speaker 2>you know, Akbar at that point is probably in his

0:29:16.840 --> 0:29:21.160
<v Speaker 2>mid forties and Indian Dave is probably in his fifties.

0:29:21.680 --> 0:29:23.920
<v Speaker 2>And it's the sort of strange feature of this story

0:29:24.400 --> 0:29:26.160
<v Speaker 2>that they meet this kid and they start hanging out

0:29:26.160 --> 0:29:31.080
<v Speaker 2>with him. But part of what's so wild about this

0:29:31.280 --> 0:29:34.520
<v Speaker 2>tale is that in a way that Zach didn't know

0:29:35.040 --> 0:29:37.640
<v Speaker 2>and actually his parents after he dies, like it takes

0:29:37.680 --> 0:29:40.360
<v Speaker 2>them the longest time to figure this out, they didn't

0:29:40.400 --> 0:29:43.520
<v Speaker 2>know this either. Both Akharshamji and Indian Dave were in

0:29:43.640 --> 0:29:47.280
<v Speaker 2>trouble at this point, so Akhbarshamji had been having all

0:29:47.320 --> 0:29:50.240
<v Speaker 2>kinds of business problems and actually had just declared bankruptcy.

0:29:50.440 --> 0:29:53.040
<v Speaker 2>He was still carrying on like a very wealthy guy.

0:29:53.200 --> 0:29:56.600
<v Speaker 2>He lived in an apartment that costs ten million pounds

0:29:56.640 --> 0:30:00.000
<v Speaker 2>and the nicest neighborhood and you know, had an office

0:30:00.400 --> 0:30:04.120
<v Speaker 2>a fancy block and drove around in his Mercedes and

0:30:04.160 --> 0:30:05.720
<v Speaker 2>he acted like he didn't have a care in the world,

0:30:05.720 --> 0:30:08.000
<v Speaker 2>but behind the scenes, he had actually just declared bankruptcy.

0:30:08.760 --> 0:30:13.080
<v Speaker 2>And Indian Day of the Gangster was facing a dilemma

0:30:13.120 --> 0:30:14.840
<v Speaker 2>that a lot of gangsters do. I'm mean, I've written

0:30:14.840 --> 0:30:16.600
<v Speaker 2>about a lot of gangsters over the years, and you know,

0:30:16.640 --> 0:30:20.520
<v Speaker 2>there's no there's like no pension plan for these guys, right.

0:30:20.600 --> 0:30:24.520
<v Speaker 2>So he was a really violent extortionist who had done

0:30:24.560 --> 0:30:27.520
<v Speaker 2>some pretty awful things in his day, but he was

0:30:27.520 --> 0:30:30.600
<v Speaker 2>getting old and you know, his daughter had just had

0:30:30.600 --> 0:30:32.800
<v Speaker 2>a baby, and he was sort of wondering how am

0:30:32.840 --> 0:30:35.960
<v Speaker 2>I gonna how am I gonna make it in retirement.

0:30:36.400 --> 0:30:39.720
<v Speaker 2>So you have this kind of interesting turn of events

0:30:39.720 --> 0:30:41.960
<v Speaker 2>where you get these two guys, both of whom are

0:30:42.120 --> 0:30:46.040
<v Speaker 2>a little worried about their finances, and then onto the

0:30:46.080 --> 0:30:49.520
<v Speaker 2>stage walks this eighteen year old kid who says, hey,

0:30:49.520 --> 0:30:52.240
<v Speaker 2>my name is Zach. My father is a Russian oligarch

0:30:52.560 --> 0:30:55.800
<v Speaker 2>worth billions of dollars, and he's entrusted me to make

0:30:55.840 --> 0:30:58.520
<v Speaker 2>investments for the family, and he seems to want to

0:30:58.560 --> 0:31:02.120
<v Speaker 2>hang out, and you get into this kind of weird

0:31:02.120 --> 0:31:04.120
<v Speaker 2>thing where each of these guys had something that the

0:31:04.160 --> 0:31:05.320
<v Speaker 2>other wanted.

0:31:08.920 --> 0:31:13.200
<v Speaker 1>How would one find out if this kid was in

0:31:13.240 --> 0:31:17.000
<v Speaker 1>fact the son of a Russian oligarch. I mean, is

0:31:17.040 --> 0:31:20.040
<v Speaker 1>there not people they get asked to verify totally?

0:31:20.160 --> 0:31:23.720
<v Speaker 2>This was my first question. Akbar Shamji to this day

0:31:23.840 --> 0:31:27.000
<v Speaker 2>has never spoken with me on the phone. He refused

0:31:27.000 --> 0:31:28.680
<v Speaker 2>to meet with me, but he did agree to email

0:31:28.720 --> 0:31:30.560
<v Speaker 2>with me, and so we emailed quite a lot when

0:31:30.600 --> 0:31:33.480
<v Speaker 2>I was working on this. And one of my first

0:31:33.560 --> 0:31:37.040
<v Speaker 2>questions to him was, I remember they weren't just meeting socially,

0:31:37.040 --> 0:31:39.000
<v Speaker 2>like they were talking about doing business together when it

0:31:39.080 --> 0:31:43.680
<v Speaker 2>first When it first starts, Akbar has this residential complex

0:31:43.720 --> 0:31:45.760
<v Speaker 2>that he's looking to build in Lisbon and he's looking

0:31:45.800 --> 0:31:48.920
<v Speaker 2>for investors. So when he first meet Zach, the idea

0:31:49.000 --> 0:31:53.040
<v Speaker 2>is that zak Ishmilov might invest his family's money in

0:31:53.080 --> 0:31:57.720
<v Speaker 2>this project. And I said to Akmar you know, I'm

0:31:57.760 --> 0:32:01.360
<v Speaker 2>just a writer, Like, I'm no savvy businessiness man. But

0:32:02.160 --> 0:32:05.720
<v Speaker 2>if I met someone who was a potential investor and

0:32:05.760 --> 0:32:08.440
<v Speaker 2>they said, oh, my dad's an oligarch worth billions of dollars,

0:32:08.600 --> 0:32:11.000
<v Speaker 2>I would google them like I would google the name

0:32:11.120 --> 0:32:14.680
<v Speaker 2>Zaki Smilov. Yeah, that much due diligence, I think I'd

0:32:14.720 --> 0:32:20.200
<v Speaker 2>be capable of. And interestingly, there is an oligarch whose

0:32:20.240 --> 0:32:23.000
<v Speaker 2>last name is this my love. But I don't know

0:32:23.040 --> 0:32:25.760
<v Speaker 2>that zach was necessarily claiming that it was him, that

0:32:25.760 --> 0:32:29.480
<v Speaker 2>that was the dad specifically. But then what Achbar said

0:32:29.560 --> 0:32:32.240
<v Speaker 2>was he's it was really interesting. He said, you know

0:32:32.240 --> 0:32:34.600
<v Speaker 2>when you move around London and there's all these people,

0:32:35.120 --> 0:32:38.080
<v Speaker 2>some of them from the formeran Soviet Union, who have

0:32:38.160 --> 0:32:42.840
<v Speaker 2>a ton of money, and the really wealthy people have

0:32:43.040 --> 0:32:46.800
<v Speaker 2>a very low profile on the internet. Okay, he basically said,

0:32:46.800 --> 0:32:50.520
<v Speaker 2>you know, like you civilians, you normal people, you just

0:32:50.560 --> 0:32:53.440
<v Speaker 2>assume you can google someone. But the real badge of

0:32:53.480 --> 0:32:56.479
<v Speaker 2>class is if you google someone and they don't come up.

0:32:56.600 --> 0:32:58.480
<v Speaker 2>And so this is what he is. What he said,

0:32:59.720 --> 0:33:01.680
<v Speaker 2>you know, do I buy it? I don't know. It

0:33:01.800 --> 0:33:04.800
<v Speaker 2>always seemed to me a little insane that he was

0:33:04.840 --> 0:33:09.400
<v Speaker 2>so easily tricked by Zach. But you know in walk

0:33:09.480 --> 0:33:13.400
<v Speaker 2>Zach and he basically he's almost like there's almost a

0:33:13.480 --> 0:33:15.720
<v Speaker 2>kind of talented mister Ripley thing right, Like he just

0:33:15.760 --> 0:33:19.400
<v Speaker 2>sort of Zach was very cunning, he could be charming.

0:33:19.920 --> 0:33:23.440
<v Speaker 2>He's very kind of quick witted, and he's just able

0:33:23.480 --> 0:33:27.200
<v Speaker 2>to dupe these people who seem like quite trusting in retrospect.

0:33:27.680 --> 0:33:29.880
<v Speaker 1>You know, you said mister Ripley, which I think is

0:33:29.920 --> 0:33:34.560
<v Speaker 1>interesting because I was just wondering, how do you get

0:33:34.680 --> 0:33:38.720
<v Speaker 1>Zach's voice? I mean, you have his parents, you have observations,

0:33:38.760 --> 0:33:42.720
<v Speaker 1>and you've got these people, But are their emails, are

0:33:42.720 --> 0:33:46.920
<v Speaker 1>their text messages? How are you able to kind of

0:33:47.320 --> 0:33:49.760
<v Speaker 1>humanize him a little bit? What do you have access

0:33:49.800 --> 0:33:52.160
<v Speaker 1>to those like in Zach's mind, what's happening?

0:33:52.800 --> 0:33:55.000
<v Speaker 2>Yeah, it's such a good question. I So, you know,

0:33:55.080 --> 0:33:58.560
<v Speaker 2>I think of myself as writing in the tradition of

0:33:59.040 --> 0:34:04.160
<v Speaker 2>narrative nonfiction. So ideally, when I'm writing a story for

0:34:04.200 --> 0:34:06.240
<v Speaker 2>The New Yorker or I'm writing a book, I want

0:34:06.240 --> 0:34:08.879
<v Speaker 2>it to feel to you as you're reading, like you're

0:34:08.920 --> 0:34:13.400
<v Speaker 2>reading a novel. I need characters who feel kind of

0:34:13.520 --> 0:34:17.400
<v Speaker 2>rich and robust and surprising. I need you to be

0:34:17.400 --> 0:34:22.319
<v Speaker 2>able to kind of hear the voices of people. I

0:34:22.440 --> 0:34:24.840
<v Speaker 2>basically won't write a story if I feel as though

0:34:26.080 --> 0:34:29.239
<v Speaker 2>there aren't going to be those emotional access points. The

0:34:29.360 --> 0:34:31.680
<v Speaker 2>challenge is that, unlike a novelist, I'm not able to

0:34:31.680 --> 0:34:36.719
<v Speaker 2>make anything up or speculate or sort of do too

0:34:36.840 --> 0:34:38.840
<v Speaker 2>much of kind of he would have thought, X, Y

0:34:38.840 --> 0:34:41.720
<v Speaker 2>and Z. You know, you really have to be pretty

0:34:41.719 --> 0:34:44.799
<v Speaker 2>disciplined about it. And so what that means is, I

0:34:44.840 --> 0:34:49.239
<v Speaker 2>am always looking for, first of all, people who knew

0:34:49.600 --> 0:34:52.440
<v Speaker 2>if somebody is dead and therefore not available to me,

0:34:53.239 --> 0:34:54.759
<v Speaker 2>or if they're alive and they won't talk to me.

0:34:54.800 --> 0:34:57.359
<v Speaker 2>I mean, sometimes I'm writing about people who don't want

0:34:57.360 --> 0:34:59.360
<v Speaker 2>me to be writing about them. I am trying to

0:34:59.360 --> 0:35:03.520
<v Speaker 2>find people who knew them well and can recount conversations.

0:35:03.840 --> 0:35:06.239
<v Speaker 2>I'm trying to find artifacts. And so in Zach's case,

0:35:06.280 --> 0:35:12.200
<v Speaker 2>what that means is emails, text messages, video that people took.

0:35:12.560 --> 0:35:16.399
<v Speaker 2>And then you know, there's even situations in which say,

0:35:16.400 --> 0:35:19.640
<v Speaker 2>there's somebody who wouldn't talk to me. But when the

0:35:19.680 --> 0:35:23.560
<v Speaker 2>police started investigating, the police did their own interrogations, and

0:35:23.640 --> 0:35:26.799
<v Speaker 2>I ended up getting transcripts of the police's interrogations, and

0:35:26.880 --> 0:35:28.799
<v Speaker 2>so the person says, oh, well, on such and such

0:35:28.800 --> 0:35:31.920
<v Speaker 2>a day, Zach said this to me, and so it's

0:35:32.239 --> 0:35:34.760
<v Speaker 2>kind of putting together a collage of all that kind

0:35:34.800 --> 0:35:39.120
<v Speaker 2>of material, and it's hugely important to me. I mean, listen,

0:35:39.200 --> 0:35:42.360
<v Speaker 2>I should say, like, Zach's a pretty enigmatic guy, and

0:35:42.719 --> 0:35:44.520
<v Speaker 2>I don't know that I'm ever going to truly figure

0:35:44.600 --> 0:35:46.160
<v Speaker 2>him out. I don't think his parents are ever going

0:35:46.239 --> 0:35:47.960
<v Speaker 2>to truly figure him out. There's always going to be

0:35:48.000 --> 0:35:52.439
<v Speaker 2>some degree of mystery with this person. But in terms

0:35:52.440 --> 0:35:54.680
<v Speaker 2>of getting a sense of how did he carry himself

0:35:54.680 --> 0:35:57.000
<v Speaker 2>when he walked into a room, how did he talk,

0:35:57.160 --> 0:35:59.520
<v Speaker 2>how did he look at you? I just interviewed a

0:35:59.560 --> 0:36:02.080
<v Speaker 2>ton of his friends and family members and people who

0:36:02.560 --> 0:36:04.440
<v Speaker 2>dealt with them over the years, and then it was

0:36:04.480 --> 0:36:06.840
<v Speaker 2>really helpful also to get some of his texts.

0:36:07.560 --> 0:36:10.040
<v Speaker 1>Oh yeah, well, and that's what I met by voice.

0:36:10.239 --> 0:36:12.600
<v Speaker 1>I mean, I always took about the role of the journalists,

0:36:12.680 --> 0:36:16.320
<v Speaker 1>especially when you're writing creative nonfiction. You know, a narrative

0:36:16.400 --> 0:36:19.440
<v Speaker 1>nonfiction like you are and like I do. Is you know,

0:36:19.480 --> 0:36:23.120
<v Speaker 1>You've got Zach's parents, their lens, what they're looking through,

0:36:23.160 --> 0:36:25.520
<v Speaker 1>You've got all of the friends you've been talking to

0:36:25.600 --> 0:36:28.919
<v Speaker 1>act about this stuff too, And you know, our job

0:36:29.000 --> 0:36:31.400
<v Speaker 1>is to pull all of those little tiny pieces together

0:36:31.760 --> 0:36:35.920
<v Speaker 1>to create this this profile of somebody that none of

0:36:36.000 --> 0:36:39.120
<v Speaker 1>these people have. Nobody's pulled thatts together in the way

0:36:39.160 --> 0:36:41.759
<v Speaker 1>you have. And then you've got this objectivity, you know,

0:36:41.840 --> 0:36:44.160
<v Speaker 1>as a journalist who doesn't really have any you know,

0:36:44.320 --> 0:36:46.399
<v Speaker 1>skin in the game with this, and your whole job

0:36:46.480 --> 0:36:49.080
<v Speaker 1>is to try to get to him so that you're

0:36:49.160 --> 0:36:51.880
<v Speaker 1>humanizing him, so that we care about what happens to

0:36:52.000 --> 0:36:55.000
<v Speaker 1>this nineteen year old. So yeah, I think that. I mean,

0:36:55.000 --> 0:36:57.879
<v Speaker 1>it's a very difficult job. But I think usually when

0:36:57.880 --> 0:37:00.319
<v Speaker 1>people know that person and I think it's the end

0:37:00.320 --> 0:37:02.000
<v Speaker 1>of a book, like with your book, you can kind

0:37:02.040 --> 0:37:03.719
<v Speaker 1>of walk away and say, Okay, I see all the

0:37:04.320 --> 0:37:06.920
<v Speaker 1>I see the little pieces in the quilt of this

0:37:06.960 --> 0:37:09.319
<v Speaker 1>guy's life, and so I think that's great that you

0:37:09.360 --> 0:37:10.640
<v Speaker 1>did all that due diligence.

0:37:11.239 --> 0:37:14.080
<v Speaker 2>It's interesting. Listen. It is a ton of work. But

0:37:14.160 --> 0:37:17.200
<v Speaker 2>I also think that it's important for me. You know,

0:37:17.239 --> 0:37:19.719
<v Speaker 2>there's an analogy. This is not my original analogy. Some

0:37:19.760 --> 0:37:22.239
<v Speaker 2>other writer use this, but somebody once compared it to

0:37:22.280 --> 0:37:25.560
<v Speaker 2>a duck. A duck floating along the water, and if

0:37:25.600 --> 0:37:28.920
<v Speaker 2>you look at the duck. Above the water, they're serene.

0:37:29.000 --> 0:37:31.520
<v Speaker 2>It's just like glass. They're sort of smoothly floating along.

0:37:31.760 --> 0:37:33.560
<v Speaker 2>What you don't see is that underneath the water they're

0:37:33.560 --> 0:37:36.480
<v Speaker 2>furiously paddling like that. Yeah, and I sort of think

0:37:36.480 --> 0:37:39.600
<v Speaker 2>of I think of a book like that where I

0:37:39.680 --> 0:37:42.840
<v Speaker 2>want the reading experience to be perfectly fluid, but it

0:37:42.840 --> 0:37:45.160
<v Speaker 2>does take an enormous amount of work and kind of

0:37:45.160 --> 0:37:49.000
<v Speaker 2>frantic activity to get all that stuff. And for me,

0:37:49.160 --> 0:37:52.520
<v Speaker 2>the greatest compliment is when some of Zach's family members

0:37:52.560 --> 0:37:54.319
<v Speaker 2>have now read the book and when they feel as

0:37:54.360 --> 0:37:57.239
<v Speaker 2>though it captured him. That means a lot to me.

0:37:57.760 --> 0:38:04.120
<v Speaker 2>And sometimes somebody will read something I've written and say,

0:38:05.440 --> 0:38:07.560
<v Speaker 2>as a good friend of mine who read the manuscript

0:38:07.600 --> 0:38:10.359
<v Speaker 2>pretty early on, at one point he said something like, oh,

0:38:10.400 --> 0:38:13.000
<v Speaker 2>Acbar wouldn't do that. I think Achbar would do this,

0:38:13.800 --> 0:38:15.800
<v Speaker 2>And I just sort of felt as though, yes, okay,

0:38:15.920 --> 0:38:18.040
<v Speaker 2>job done. I want you to have enough of a

0:38:18.080 --> 0:38:21.080
<v Speaker 2>sense of who this guy is that I could describe

0:38:21.080 --> 0:38:23.160
<v Speaker 2>some random situation to you and you could tell me

0:38:23.160 --> 0:38:24.200
<v Speaker 2>how Akbar would.

0:38:23.960 --> 0:38:28.280
<v Speaker 1>Respond, especially because you are essentially writing a non fiction mystery.

0:38:28.360 --> 0:38:30.200
<v Speaker 1>I mean, that's what you're trying to do, is by

0:38:30.239 --> 0:38:33.319
<v Speaker 1>the end, you have an opinion, and you know, I

0:38:33.320 --> 0:38:35.880
<v Speaker 1>want to get closer to now to the to the incident.

0:38:36.360 --> 0:38:39.040
<v Speaker 1>You have an opinion, but you know you also want

0:38:39.040 --> 0:38:41.080
<v Speaker 1>the reader to have an opinion too, And those are

0:38:41.080 --> 0:38:43.080
<v Speaker 1>the best kinds of books where it's sort of ambiguous

0:38:43.080 --> 0:38:45.319
<v Speaker 1>and you say, okay, well what do you think after

0:38:45.400 --> 0:38:49.040
<v Speaker 1>I have unspoiled everything I know about this guy? So okay,

0:38:49.120 --> 0:38:51.160
<v Speaker 1>well this is you know, we're I think we were

0:38:51.160 --> 0:38:55.520
<v Speaker 1>pretty well established now, I mean where we left things

0:38:55.560 --> 0:38:58.400
<v Speaker 1>off were was that Zach was saying, I've got all

0:38:58.400 --> 0:39:00.799
<v Speaker 1>this money and I'm ready to invent my dad's money.

0:39:00.800 --> 0:39:02.399
<v Speaker 1>And he just said, go for it, whatever you want

0:39:02.440 --> 0:39:05.680
<v Speaker 1>to do. And then you've got Akmar, who you know,

0:39:05.760 --> 0:39:08.760
<v Speaker 1>says I've got tell me again, is it business complex

0:39:08.840 --> 0:39:10.200
<v Speaker 1>or condos or what does he have?

0:39:10.880 --> 0:39:14.879
<v Speaker 2>You know, initially there was this Lisbon project, which were

0:39:14.920 --> 0:39:18.239
<v Speaker 2>these these residential towers that he wanted to build, and

0:39:18.280 --> 0:39:22.120
<v Speaker 2>then what happened was basically they that was Zach. Zach

0:39:22.160 --> 0:39:27.200
<v Speaker 2>said I'm gonna take over my family. But then Zach

0:39:27.360 --> 0:39:30.279
<v Speaker 2>doesn't come through the money and at a certain point

0:39:30.640 --> 0:39:38.520
<v Speaker 2>Zach says, oh, my father died suddenly, and now I'm

0:39:38.560 --> 0:39:43.799
<v Speaker 2>fighting with my mother who lives in Dubai, and you know,

0:39:43.840 --> 0:39:46.719
<v Speaker 2>there's a kind of a dispute over the estate with

0:39:46.840 --> 0:39:50.480
<v Speaker 2>my siblings and so forth. So it gets really crazy.

0:39:50.520 --> 0:39:54.720
<v Speaker 2>At a certain point, Zach says, I'm homeless. He tells

0:39:54.719 --> 0:39:58.080
<v Speaker 2>Akbar like, I don't have any place to stay, and

0:39:58.160 --> 0:40:01.240
<v Speaker 2>I've been kicked out of my family's you know, huge

0:40:01.239 --> 0:40:04.360
<v Speaker 2>property at one Eyed Park in the fancy building. And

0:40:04.440 --> 0:40:06.640
<v Speaker 2>at this point Akbar says, you know, I know this

0:40:06.760 --> 0:40:09.520
<v Speaker 2>guy named Verrinder Sharma who's a good friend of mine.

0:40:09.520 --> 0:40:11.560
<v Speaker 2>He doesn't, I don't think. He tells Zach right away

0:40:11.600 --> 0:40:14.560
<v Speaker 2>that Sharma is a gangster and he has a big

0:40:14.600 --> 0:40:18.319
<v Speaker 2>apartment in this luxury building called River Walk, which is

0:40:18.480 --> 0:40:21.640
<v Speaker 2>overlooking the Thames River. It's kind of luxury high rise

0:40:22.680 --> 0:40:24.560
<v Speaker 2>and he's just there on his own. Maybe you could

0:40:24.560 --> 0:40:28.920
<v Speaker 2>stay with him. So Akbar introduces Zach to this guy

0:40:29.000 --> 0:40:31.919
<v Speaker 2>who is known as Indian Dave. People call him Dave.

0:40:32.080 --> 0:40:35.520
<v Speaker 2>You know, his actual legal name is Rinder Sharma. And

0:40:36.120 --> 0:40:39.319
<v Speaker 2>Zach goes and stays with him. And Zach is telling

0:40:39.400 --> 0:40:41.600
<v Speaker 2>all kinds of different people, different stories. So he tells

0:40:41.680 --> 0:40:44.400
<v Speaker 2>Akbar and Verrinder, I'm the son of Russian oligarch. My

0:40:44.440 --> 0:40:46.919
<v Speaker 2>father has just died. My mother lives in Dubai. There's

0:40:46.960 --> 0:40:50.200
<v Speaker 2>a fight over the estate. She's kicked me out of

0:40:50.200 --> 0:40:53.640
<v Speaker 2>my luxury of property in London. I have no place

0:40:53.680 --> 0:40:56.160
<v Speaker 2>to stay, and so I'm just temporarily going to stay

0:40:56.160 --> 0:41:00.760
<v Speaker 2>with you. He tells his parents. I I met this guy.

0:41:01.120 --> 0:41:04.960
<v Speaker 2>He says, he's a rubber tycoon, and he has three

0:41:05.000 --> 0:41:07.800
<v Speaker 2>apartments in this building and he's one of them is vacant,

0:41:07.880 --> 0:41:10.319
<v Speaker 2>and he's letting me stay in it. Now, it wasn't

0:41:10.320 --> 0:41:13.000
<v Speaker 2>three apartments, so it was one apartment, was a three bedroom.

0:41:13.360 --> 0:41:15.799
<v Speaker 2>And for a few months, Zach goes and stays in

0:41:15.800 --> 0:41:20.080
<v Speaker 2>this guy's apartment and becomes kind of closer and closer

0:41:20.120 --> 0:41:24.440
<v Speaker 2>with this guy Sharma, who you know, is someone who

0:41:24.480 --> 0:41:26.399
<v Speaker 2>I go through his whole criminal history in the book,

0:41:26.440 --> 0:41:29.480
<v Speaker 2>but it had a long history as a gangster, as

0:41:29.480 --> 0:41:34.040
<v Speaker 2>an extortionist, was involved in the contract killings. He was

0:41:34.040 --> 0:41:37.719
<v Speaker 2>a real leg breaker, a dangerous, dangerous guy. And he

0:41:37.800 --> 0:41:41.799
<v Speaker 2>and Zach developed this friendship and it all culminates on

0:41:41.840 --> 0:41:47.520
<v Speaker 2>this one night in November twenty nineteen when Akbar and

0:41:47.600 --> 0:41:51.200
<v Speaker 2>Sharma and Zach are in that apartment and at about

0:41:51.320 --> 0:41:55.040
<v Speaker 2>two in the morning, Zach responds to an email from

0:41:55.080 --> 0:41:57.359
<v Speaker 2>his mom. His mam At emailed them saying, hey, where

0:41:57.400 --> 0:41:59.320
<v Speaker 2>are you? What's going on? Are you okay? And he

0:41:59.360 --> 0:42:03.560
<v Speaker 2>writes back all good x And twenty minutes later he

0:42:03.600 --> 0:42:06.200
<v Speaker 2>walks out on the balcony and he goes off the

0:42:06.200 --> 0:42:11.120
<v Speaker 2>balcony into the Thames. And his parents actually initially didn't

0:42:11.160 --> 0:42:15.279
<v Speaker 2>know who's dead because he wasn't carrying any ID and

0:42:15.320 --> 0:42:18.760
<v Speaker 2>so when his body was found he was a John Doe.

0:42:19.360 --> 0:42:21.560
<v Speaker 2>Very weird thing. But in London, it's this vast city,

0:42:21.600 --> 0:42:23.520
<v Speaker 2>you know, and you have the Scotland Yard is huge,

0:42:23.520 --> 0:42:26.279
<v Speaker 2>but you have basically a missing person's investigation in one

0:42:26.280 --> 0:42:28.120
<v Speaker 2>part of the city and a John Doe in the

0:42:28.200 --> 0:42:30.600
<v Speaker 2>other part of the city, and it takes days for

0:42:30.640 --> 0:42:34.600
<v Speaker 2>them to realize that they're actually the same person. And

0:42:34.640 --> 0:42:37.319
<v Speaker 2>this very weird thing happens, which is the morning after

0:42:37.400 --> 0:42:40.680
<v Speaker 2>Zach dies. Rochelle doesn't know that he's dead. She's alone

0:42:40.920 --> 0:42:44.760
<v Speaker 2>in the family apartment and there's a knock on the door.

0:42:45.160 --> 0:42:48.680
<v Speaker 2>There's a guy there and he says, is Zach here?

0:42:48.680 --> 0:42:51.200
<v Speaker 2>And she says no. She says who are you? And

0:42:51.239 --> 0:42:53.680
<v Speaker 2>he says, well, who are you? And she says I'm

0:42:53.760 --> 0:42:57.239
<v Speaker 2>Zach's mom, and the guy says, you can't be his mom.

0:42:57.280 --> 0:43:01.120
<v Speaker 2>His mom's in Dubai, and she's totally confused. This means

0:43:01.160 --> 0:43:04.279
<v Speaker 2>nothing to her. She doesn't know what could be going on,

0:43:04.360 --> 0:43:07.440
<v Speaker 2>and the guy drives off, and it's only days later

0:43:08.800 --> 0:43:11.840
<v Speaker 2>that she learns that Zach had this whole hidden story.

0:43:12.800 --> 0:43:15.600
<v Speaker 1>I think I want context on where he stood with

0:43:15.640 --> 0:43:19.440
<v Speaker 1>these two guys, Acbar and then Dave. Did he promise

0:43:19.520 --> 0:43:23.120
<v Speaker 1>money or was he owing money? Were they, you know,

0:43:23.200 --> 0:43:28.279
<v Speaker 1>supplementing his lifestyle of clothes or what would be the

0:43:28.280 --> 0:43:32.880
<v Speaker 1>motive besides drunken something argument, what would be the thing

0:43:32.960 --> 0:43:35.040
<v Speaker 1>that would really make them upset?

0:43:35.480 --> 0:43:38.640
<v Speaker 2>Well, I think what happened was that Zach I should

0:43:38.640 --> 0:43:41.359
<v Speaker 2>say he was nineteen, he was eighteen when he met

0:43:41.360 --> 0:43:44.560
<v Speaker 2>these guys. Yeah, long term thinking is not always the

0:43:44.560 --> 0:43:47.040
<v Speaker 2>strong suit at that age. You know, your brain hasn't

0:43:47.080 --> 0:43:49.200
<v Speaker 2>actually developed all that. It's funny. On a different story

0:43:49.239 --> 0:43:51.600
<v Speaker 2>that I wrote years ago, I remember there was a

0:43:51.600 --> 0:43:53.759
<v Speaker 2>guy I quoted. It was a medical It was a

0:43:53.760 --> 0:43:56.719
<v Speaker 2>doctor who was a witness in a criminal trial, and

0:43:56.760 --> 0:43:59.640
<v Speaker 2>he described teenage, teenage brains and he said, you know,

0:44:00.120 --> 0:44:02.120
<v Speaker 2>a teenage brain, you know, he said it's like a

0:44:02.120 --> 0:44:05.640
<v Speaker 2>car with a powerful engine and no breaks. And I

0:44:05.680 --> 0:44:08.160
<v Speaker 2>think that's a little bit what was going on. I

0:44:08.160 --> 0:44:10.840
<v Speaker 2>don't know that Zach had like a long term plan

0:44:11.080 --> 0:44:13.000
<v Speaker 2>that he thought out. I think he was going from

0:44:13.040 --> 0:44:17.240
<v Speaker 2>one little hustle to another. He came into this saying,

0:44:17.280 --> 0:44:21.160
<v Speaker 2>I'm really rich. I come from a wealthy family. I'm

0:44:21.160 --> 0:44:24.840
<v Speaker 2>going to inherit hundreds of millions of dollars and I

0:44:24.920 --> 0:44:26.920
<v Speaker 2>might be able to invest, we could do business together,

0:44:27.040 --> 0:44:28.359
<v Speaker 2>so on and so forth. And I think what he

0:44:28.440 --> 0:44:31.319
<v Speaker 2>was thinking was, these guys are glamorous, they're a little

0:44:31.320 --> 0:44:34.480
<v Speaker 2>bit dangerous, they're exciting, they're living the kind of life

0:44:34.520 --> 0:44:36.600
<v Speaker 2>I want to be living. I'm going to tell a

0:44:36.640 --> 0:44:38.520
<v Speaker 2>few lies in order to see what I can do

0:44:38.640 --> 0:44:41.040
<v Speaker 2>to kind of get him with them, just to get

0:44:41.040 --> 0:44:43.680
<v Speaker 2>in the door, and I'll figure it out. I'll figure

0:44:43.719 --> 0:44:46.000
<v Speaker 2>it out, you know, it'll kind of work itself out.

0:44:46.920 --> 0:44:50.279
<v Speaker 2>So that's what he does. And he's a teenager, so

0:44:50.280 --> 0:44:53.200
<v Speaker 2>he doesn't have a lot of money, and they do

0:44:53.320 --> 0:44:55.919
<v Speaker 2>they do things like they pick up ubers here and there.

0:44:56.080 --> 0:44:57.919
<v Speaker 2>You know, they'll pick up a meal here and there.

0:44:57.960 --> 0:44:59.800
<v Speaker 2>It's nothing. They're not giving him a ton of money,

0:44:59.800 --> 0:45:02.160
<v Speaker 2>but he gets a place to stay in this luxury

0:45:02.200 --> 0:45:07.440
<v Speaker 2>apartment overlooking the Thames, and initially there's always some story,

0:45:07.520 --> 0:45:10.360
<v Speaker 2>some excuse, some reason why he's not coming through with

0:45:10.400 --> 0:45:13.120
<v Speaker 2>the money. And I think that what ends up happening

0:45:13.280 --> 0:45:15.400
<v Speaker 2>that night when he ends up in the apartment with

0:45:15.400 --> 0:45:17.920
<v Speaker 2>those guys, something has come to a head. And I

0:45:17.920 --> 0:45:20.600
<v Speaker 2>think what it is is that they are beginning to

0:45:20.600 --> 0:45:24.279
<v Speaker 2>figure out that he's not who he claimed that he was,

0:45:25.160 --> 0:45:29.160
<v Speaker 2>and that he doesn't have billions of dollars lined up,

0:45:29.239 --> 0:45:32.799
<v Speaker 2>that that money is not going to materialize. I have

0:45:32.840 --> 0:45:35.520
<v Speaker 2>all these texts, and there's a text where Akbar says,

0:45:36.400 --> 0:45:39.360
<v Speaker 2>you know, I keep telling Dave that there may not

0:45:39.480 --> 0:45:41.440
<v Speaker 2>be a pot of gold at the end of this rainbow.

0:45:42.000 --> 0:45:44.520
<v Speaker 2>And I think that that was part of what Dave

0:45:44.719 --> 0:45:49.560
<v Speaker 2>was figuring out. And so you can imagine how incredibly

0:45:49.640 --> 0:45:51.839
<v Speaker 2>dangerous this is for Zach is that he's with this

0:45:52.040 --> 0:45:58.800
<v Speaker 2>really murderous, terrifying guy who's just realizing in real time

0:45:59.640 --> 0:46:03.080
<v Speaker 2>that he's been duped by a kid, and that he

0:46:03.120 --> 0:46:06.799
<v Speaker 2>actually took the kid into his home. Yeah, and that

0:46:06.920 --> 0:46:09.680
<v Speaker 2>he's been totally tricked, and that the money he was

0:46:09.719 --> 0:46:13.600
<v Speaker 2>counting on to see him through his retirement is not

0:46:13.719 --> 0:46:15.560
<v Speaker 2>coming and that he's been had.

0:46:16.400 --> 0:46:19.320
<v Speaker 1>Of these two men, I'm assuming you think that Akbar

0:46:19.560 --> 0:46:23.480
<v Speaker 1>is the more rational. He's a businessman, you know, this

0:46:23.600 --> 0:46:29.360
<v Speaker 1>is he would be vastly disappointed in Zach, but you

0:46:29.360 --> 0:46:32.520
<v Speaker 1>would get a very different reaction from Dave. I'm assuming

0:46:32.560 --> 0:46:34.319
<v Speaker 1>because he's just sort of this you know, he is

0:46:34.320 --> 0:46:37.360
<v Speaker 1>a gangster and smart, but at the same time irrational.

0:46:37.400 --> 0:46:40.960
<v Speaker 2>Also, yeah, I mean I think Acbar, you know, I

0:46:40.960 --> 0:46:43.920
<v Speaker 2>would argue it's pretty irrational of Acbar to have introduced

0:46:44.040 --> 0:46:46.719
<v Speaker 2>this kid, eighteen at the time, to this to like

0:46:46.760 --> 0:46:49.680
<v Speaker 2>his most dangerous friend. No, I don't know that Achbar

0:46:49.840 --> 0:46:53.160
<v Speaker 2>would win any awards in the in the rationality department,

0:46:53.239 --> 0:46:56.920
<v Speaker 2>But I don't think that Achbar was violent, was like

0:46:56.960 --> 0:47:00.799
<v Speaker 2>impulsively violent in the same way that Dave was. And

0:47:00.840 --> 0:47:04.960
<v Speaker 2>there are you know, just to sort of give you

0:47:05.040 --> 0:47:06.960
<v Speaker 2>a sense, because these are you know, this kind of

0:47:06.960 --> 0:47:08.840
<v Speaker 2>background is important. But like there's a story in the

0:47:08.880 --> 0:47:11.040
<v Speaker 2>book about Indian Dave and another gangster who actually did

0:47:11.080 --> 0:47:13.560
<v Speaker 2>spend a lot of time talking with castrating a man

0:47:14.520 --> 0:47:17.040
<v Speaker 2>like that's the kind of person we're talking about here.

0:47:17.080 --> 0:47:19.680
<v Speaker 2>There's a story in the book about a guy that

0:47:19.719 --> 0:47:24.120
<v Speaker 2>they were extorting and they Indian. Dave, you know, pushed

0:47:24.160 --> 0:47:26.759
<v Speaker 2>a knife into the guy's neck. But then after doing

0:47:26.800 --> 0:47:28.719
<v Speaker 2>that kind of opening up this wound in the neck,

0:47:29.040 --> 0:47:32.840
<v Speaker 2>he took two fingers and like jammed them into the wound.

0:47:33.320 --> 0:47:37.680
<v Speaker 2>He you know, he was a sadistic guy. So I

0:47:37.719 --> 0:47:43.239
<v Speaker 2>think Akbar was incredibly responsible, and I mean it ends

0:47:43.320 --> 0:47:44.759
<v Speaker 2>up being kind of funny, but when you look at

0:47:44.760 --> 0:47:47.799
<v Speaker 2>his business history, like not actually a great businessman, it

0:47:47.840 --> 0:47:50.759
<v Speaker 2>turns out, but not violent the way that Dave was.

0:47:50.880 --> 0:47:52.279
<v Speaker 2>Dave was a really dangerous guy.

0:47:52.920 --> 0:47:56.320
<v Speaker 1>Tell me about that surveillance footage that I know is

0:47:56.360 --> 0:47:59.600
<v Speaker 1>picked up by m I six and what it shows

0:48:00.040 --> 0:48:02.520
<v Speaker 1>and then sort of if there is an investigation at all,

0:48:02.719 --> 0:48:05.719
<v Speaker 1>does it show is there any possibility according to this

0:48:05.760 --> 0:48:08.719
<v Speaker 1>footage that he was pushed or tossed over or does

0:48:08.719 --> 0:48:11.640
<v Speaker 1>it clearly show intention on Zach's part.

0:48:12.520 --> 0:48:16.279
<v Speaker 2>So, London is a city with a ton of CCTV.

0:48:16.760 --> 0:48:20.759
<v Speaker 2>It was one of the earliest adopters on CCTV, and

0:48:20.800 --> 0:48:23.080
<v Speaker 2>that for me, it was kind of a gift because

0:48:23.080 --> 0:48:24.640
<v Speaker 2>there's a big part of the book with sort of

0:48:24.719 --> 0:48:27.279
<v Speaker 2>forensically looking at what happened that evening and there's some

0:48:27.400 --> 0:48:30.400
<v Speaker 2>crazy stuff with who comes to the apartment, When do

0:48:30.440 --> 0:48:34.279
<v Speaker 2>they leave, what do they do? And after Zach went

0:48:34.320 --> 0:48:40.440
<v Speaker 2>off the balcony, they discovered that the building is directly

0:48:40.480 --> 0:48:45.919
<v Speaker 2>opposite six, which is the spy headquarters of British Intelligence.

0:48:46.120 --> 0:48:48.440
<v Speaker 2>And you know, a building that would be familiar to

0:48:48.440 --> 0:48:51.640
<v Speaker 2>people who've watched the Jams Pond movies because it's the

0:48:51.800 --> 0:48:56.080
<v Speaker 2>headquarters of I six and six had a camera facing

0:48:56.640 --> 0:49:01.799
<v Speaker 2>riverwalks building and what they saw on the camera was

0:49:01.800 --> 0:49:04.560
<v Speaker 2>the building was mostly dark, but the apartment was lit up,

0:49:05.239 --> 0:49:08.240
<v Speaker 2>and it's the footage is from far across the river,

0:49:08.400 --> 0:49:13.160
<v Speaker 2>but it's a little grainy, but basically Zach walks out

0:49:13.160 --> 0:49:17.759
<v Speaker 2>onto the balcony. It's cold and very late at night.

0:49:17.800 --> 0:49:19.719
<v Speaker 2>He walks out of the balcony. He walks to sort

0:49:19.719 --> 0:49:21.480
<v Speaker 2>of one edge of the balcony and he kind of

0:49:21.520 --> 0:49:23.880
<v Speaker 2>looks over the edge, and then he crosses to the

0:49:23.880 --> 0:49:26.520
<v Speaker 2>other and looks over and then he comes crosses back

0:49:26.560 --> 0:49:29.280
<v Speaker 2>to the center and he climbs up and he jumps,

0:49:29.600 --> 0:49:33.000
<v Speaker 2>so he's not pushed. There's nobody else on the balcony

0:49:33.080 --> 0:49:36.799
<v Speaker 2>with him, and you might have an inference then where

0:49:36.800 --> 0:49:39.080
<v Speaker 2>you say, okay, well this is a suicide. So that's

0:49:39.080 --> 0:49:44.560
<v Speaker 2>straightforward except that if you keep watching the footage, what

0:49:44.640 --> 0:49:47.440
<v Speaker 2>you see is that the lights stay on and then

0:49:47.480 --> 0:49:50.600
<v Speaker 2>there's some movement and somebody's moving around in the apartment

0:49:51.320 --> 0:49:55.680
<v Speaker 2>after he's gone off, and then eventually the lights go out.

0:49:58.160 --> 0:50:01.280
<v Speaker 2>So we know that Indian Dave was in the apartment

0:50:01.320 --> 0:50:03.640
<v Speaker 2>when he dies. We know he's in the apartment afterwards,

0:50:03.640 --> 0:50:07.960
<v Speaker 2>we know he does not call the police. Zach goes out,

0:50:08.040 --> 0:50:11.040
<v Speaker 2>goes off the balcony, and actually I get into all

0:50:11.080 --> 0:50:14.279
<v Speaker 2>this detail in the book. But Akbar comes back and

0:50:14.360 --> 0:50:18.080
<v Speaker 2>comes back up to the apartment after he's gone off

0:50:18.120 --> 0:50:19.959
<v Speaker 2>the balcony, and the two of them are in there,

0:50:20.040 --> 0:50:24.400
<v Speaker 2>and then Akbar leaves and Indian Dave turns out the

0:50:24.480 --> 0:50:28.440
<v Speaker 2>light and the risk of spoiling a little moment in

0:50:28.480 --> 0:50:33.319
<v Speaker 2>the book, there's this incredible turn of events where I

0:50:33.400 --> 0:50:36.440
<v Speaker 2>mentioned that London has all this CCTV. So what Acbar,

0:50:36.640 --> 0:50:41.719
<v Speaker 2>in his police interrogation tells the cops is I basically

0:50:41.719 --> 0:50:43.879
<v Speaker 2>said good night to those guys and then I drove home.

0:50:44.560 --> 0:50:46.279
<v Speaker 2>What he doesn't mention is that he actually at a

0:50:46.320 --> 0:50:49.239
<v Speaker 2>certain point drives back after Zax goon off and then

0:50:49.239 --> 0:50:53.640
<v Speaker 2>they have the CCTV, and the CCTV shows him going

0:50:53.719 --> 0:50:56.080
<v Speaker 2>up to the apartment. This is after zaxscon off. He's

0:50:56.160 --> 0:50:58.440
<v Speaker 2>up there for like twenty minutes. Then he comes back down.

0:50:59.360 --> 0:51:01.640
<v Speaker 2>He walks aroun round to the other side of the building.

0:51:02.320 --> 0:51:07.360
<v Speaker 2>He goes over to the river front and he looks

0:51:07.440 --> 0:51:10.080
<v Speaker 2>into the water at exactly the point where Zach has

0:51:10.120 --> 0:51:13.520
<v Speaker 2>just gone into it. Then he turns around and goes

0:51:13.520 --> 0:51:15.280
<v Speaker 2>to his car and drives away.

0:51:16.440 --> 0:51:19.319
<v Speaker 1>Was there any chance of survival? How far up were

0:51:19.320 --> 0:51:20.440
<v Speaker 1>we talking this?

0:51:21.040 --> 0:51:26.560
<v Speaker 2>Five stories? And yes, I mean I think that there's

0:51:26.640 --> 0:51:29.640
<v Speaker 2>a universe in which he could have survived had he

0:51:29.719 --> 0:51:31.880
<v Speaker 2>made it clean into the water. But it was a

0:51:31.920 --> 0:51:34.160
<v Speaker 2>long jump in order to get to the water. And

0:51:34.200 --> 0:51:36.480
<v Speaker 2>what happened is that on the way down his hip

0:51:37.080 --> 0:51:41.880
<v Speaker 2>clipped the wall, and so he died in the water. Listen,

0:51:42.200 --> 0:51:44.000
<v Speaker 2>the water was cold. I mean, there's you know, there's

0:51:44.000 --> 0:51:46.120
<v Speaker 2>all kinds of reasons why he might not have survived,

0:51:46.160 --> 0:51:48.920
<v Speaker 2>but I think that the kind of most obvious cause

0:51:48.920 --> 0:51:51.840
<v Speaker 2>of death was the fact that rather than make it

0:51:51.880 --> 0:51:54.480
<v Speaker 2>clean into the water, he just clipped the water. He

0:51:54.600 --> 0:51:58.040
<v Speaker 2>just clipped the wall and broke his hip.

0:51:58.440 --> 0:52:00.319
<v Speaker 1>You know, I'm trying to get over the irony that

0:52:00.400 --> 0:52:04.200
<v Speaker 1>you've got this awful gangster Indian day of living in

0:52:04.200 --> 0:52:07.240
<v Speaker 1>this building and right across the street from m I six.

0:52:07.480 --> 0:52:11.200
<v Speaker 1>And had he ever been surveiled under any circumstances for anything.

0:52:11.840 --> 0:52:14.840
<v Speaker 2>I mean, he'd certainly been surveiled because of criminal stuff

0:52:14.840 --> 0:52:17.440
<v Speaker 2>that he'd been involved in over the years. It's so

0:52:17.719 --> 0:52:20.560
<v Speaker 2>funny that you should mention this. I thought about this

0:52:20.640 --> 0:52:24.240
<v Speaker 2>a lot. You know, I've written about intelligence agencies before.

0:52:24.320 --> 0:52:27.920
<v Speaker 2>My whole first book was about spying. And when you

0:52:27.960 --> 0:52:32.480
<v Speaker 2>look at this building Riverwalk, it looks directly at six.

0:52:32.760 --> 0:52:39.160
<v Speaker 2>And I talked to a few people on the fringes

0:52:39.160 --> 0:52:42.279
<v Speaker 2>of the intelligence community, and they said, m I six

0:52:42.400 --> 0:52:43.719
<v Speaker 2>is going to have a pretty good sense of what's

0:52:43.760 --> 0:52:45.560
<v Speaker 2>going on in that building at any given moment in time,

0:52:45.560 --> 0:52:47.799
<v Speaker 2>because if you think about it, you know, you could

0:52:47.800 --> 0:52:53.480
<v Speaker 2>have the Chinese, or the Iranians or whoever the Israelis,

0:52:53.520 --> 0:52:57.360
<v Speaker 2>you know, like any the Russians could set up shop

0:52:57.719 --> 0:53:02.360
<v Speaker 2>in an apartment and basically surveil AM I six. And

0:53:02.400 --> 0:53:06.480
<v Speaker 2>so presumably am I six is looking back into the building,

0:53:07.080 --> 0:53:10.920
<v Speaker 2>but they were, you know, all we know is that footage,

0:53:10.960 --> 0:53:13.359
<v Speaker 2>like we haven't. There's nothing has come out in terms

0:53:13.400 --> 0:53:15.960
<v Speaker 2>of them knowing more about what might have gone on.

0:53:16.200 --> 0:53:19.360
<v Speaker 2>The really crazy thing is that a year after Zach died,

0:53:20.080 --> 0:53:23.000
<v Speaker 2>his parents got a call from the police saying, Indian

0:53:23.080 --> 0:53:25.440
<v Speaker 2>Dave just died in the same apartment.

0:53:25.680 --> 0:53:29.160
<v Speaker 1>Yeah, if we go back, what triggers an investigation here?

0:53:29.440 --> 0:53:32.120
<v Speaker 1>I mean, this is a suicide. It happens, you know,

0:53:32.239 --> 0:53:34.320
<v Speaker 1>this is a way that people do it. I assume

0:53:34.360 --> 0:53:37.440
<v Speaker 1>this wouldn't have been considered unusual. Is it who was

0:53:37.480 --> 0:53:39.960
<v Speaker 1>in the apartment at the time, or do his parents,

0:53:40.719 --> 0:53:43.520
<v Speaker 1>you know, insist on an investigation or would that be normal?

0:53:44.239 --> 0:53:46.680
<v Speaker 2>Yeah, I mean I certainly when the when the parents

0:53:46.680 --> 0:53:49.240
<v Speaker 2>initially meet with the police, the police are not making

0:53:49.320 --> 0:53:52.799
<v Speaker 2>any judgments one way or another about how it is

0:53:52.800 --> 0:53:58.200
<v Speaker 2>that Zach died, and the fact that he's in the

0:53:58.200 --> 0:54:01.439
<v Speaker 2>apartment with these two guys that acbar. When he gets

0:54:01.480 --> 0:54:04.560
<v Speaker 2>brought in to be interrogated by the police, he just

0:54:04.680 --> 0:54:09.799
<v Speaker 2>lies a lot. He lies, you know, in a way

0:54:09.840 --> 0:54:14.080
<v Speaker 2>that would seem not particularly cautious, but when you're talking

0:54:14.120 --> 0:54:16.040
<v Speaker 2>with the police, like he lies in ways that they're

0:54:16.080 --> 0:54:17.520
<v Speaker 2>going to be able to figure out. He tells them all,

0:54:17.560 --> 0:54:19.080
<v Speaker 2>I got my car and I drove straight home, and

0:54:19.600 --> 0:54:22.120
<v Speaker 2>then they get the CCTV in it's obvious that he didn't.

0:54:22.320 --> 0:54:28.280
<v Speaker 2>He's not acting like someone who is totally innocent and Indian.

0:54:28.400 --> 0:54:31.720
<v Speaker 2>Dave basically just says no comment, no comment, no comment,

0:54:31.760 --> 0:54:34.160
<v Speaker 2>no comment. He won't answer any questions at all, and

0:54:34.239 --> 0:54:38.360
<v Speaker 2>I think that arouses the suspicions of the police and

0:54:39.120 --> 0:54:42.279
<v Speaker 2>Matthew Michelle. The parents were pushing for a kind of

0:54:42.320 --> 0:54:44.160
<v Speaker 2>aggressive investigation and that was sort of what they were

0:54:44.200 --> 0:54:50.160
<v Speaker 2>promised in the weeks after Zach's death. But then this

0:54:50.360 --> 0:54:52.840
<v Speaker 2>kind of weird thing happens, which is that after promising

0:54:52.880 --> 0:54:57.520
<v Speaker 2>them in the world, Scotland Yard kind of flubs the investigation.

0:54:57.640 --> 0:54:59.480
<v Speaker 2>They just don't There's a lot of work that they

0:54:59.520 --> 0:55:03.760
<v Speaker 2>don't do, really obvious calls that they don't make people,

0:55:03.800 --> 0:55:07.880
<v Speaker 2>they don't track down questions, they don't ask. I think

0:55:07.920 --> 0:55:10.880
<v Speaker 2>there's probably different explanations for that. I think the fact

0:55:10.960 --> 0:55:14.160
<v Speaker 2>of COVID didn't help. Right that this is all happening

0:55:14.239 --> 0:55:16.040
<v Speaker 2>in the end of twenty nineteen, so a few months

0:55:16.120 --> 0:55:19.920
<v Speaker 2>later the pandemic sets in. Some of it is that

0:55:19.960 --> 0:55:23.080
<v Speaker 2>there's been cutbacks at the Metropolitan Police, like Scotland Yard

0:55:23.120 --> 0:55:25.040
<v Speaker 2>still has his reputation is a great police force, but

0:55:25.080 --> 0:55:27.800
<v Speaker 2>in fact it's kind of a shadow of its former

0:55:27.840 --> 0:55:30.879
<v Speaker 2>self at this point. But I think there's a kind

0:55:30.880 --> 0:55:33.400
<v Speaker 2>of more interesting thing going on, which is that I

0:55:33.440 --> 0:55:39.440
<v Speaker 2>think that cops think about things in categories, and it's

0:55:39.480 --> 0:55:40.760
<v Speaker 2>all about clearing cases.

0:55:40.760 --> 0:55:40.880
<v Speaker 1>You know.

0:55:41.000 --> 0:55:42.719
<v Speaker 2>Somebody said to me, our job is not to be

0:55:42.880 --> 0:55:46.640
<v Speaker 2>Sherlock Holmes. It's not to solve mysteries. Our job is

0:55:46.680 --> 0:55:51.640
<v Speaker 2>to investigate crimes that can be charged in a court

0:55:51.640 --> 0:55:56.160
<v Speaker 2>of law, you know. And in this case, what happened

0:55:56.280 --> 0:55:59.359
<v Speaker 2>was it looks like a suicide, but maybe it wasn't

0:55:59.360 --> 0:56:01.640
<v Speaker 2>a suicide. It looks like a murder. But then they

0:56:01.680 --> 0:56:04.600
<v Speaker 2>have this tape showing that Zach was alone on the balcony,

0:56:05.480 --> 0:56:08.040
<v Speaker 2>so it maybe is this third thing that's kind of

0:56:08.080 --> 0:56:11.240
<v Speaker 2>more exotic, right where he's jumping off of his own volition,

0:56:12.000 --> 0:56:13.920
<v Speaker 2>but he sort of has to jump off.

0:56:14.080 --> 0:56:17.600
<v Speaker 1>Yeah, And which is a very Sherlock Holmes thing. Pick

0:56:17.640 --> 0:56:19.040
<v Speaker 1>your poison, which one do you want?

0:56:19.160 --> 0:56:21.279
<v Speaker 2>Absolutely, and the kind of thing that you know, a

0:56:21.400 --> 0:56:25.320
<v Speaker 2>Sherlock Holmes would be all over. But if you're the

0:56:25.440 --> 0:56:28.920
<v Speaker 2>kind of beleaguered police of Scotland Yard in the year

0:56:29.000 --> 0:56:32.240
<v Speaker 2>twenty twenty, right, it all just seems like a little

0:56:32.280 --> 0:56:34.600
<v Speaker 2>too much. And then there's a whole other dimension of this,

0:56:34.680 --> 0:56:36.840
<v Speaker 2>which we haven't talked about, but is in the backdrop

0:56:36.880 --> 0:56:39.000
<v Speaker 2>of my book, which is that this seemed like it

0:56:39.040 --> 0:56:44.000
<v Speaker 2>was connected to the Russians. And there have been something

0:56:44.120 --> 0:56:48.040
<v Speaker 2>like two dozen cases over the last twenty years in

0:56:48.080 --> 0:56:51.160
<v Speaker 2>which people have died in or around London and mysterious

0:56:51.160 --> 0:56:56.200
<v Speaker 2>circumstances who are connected in some way or the other

0:56:56.400 --> 0:56:59.800
<v Speaker 2>to the Russians or have acrossed the Russians, you know,

0:57:00.080 --> 0:57:03.520
<v Speaker 2>people falling out of windows and off of roofs and

0:57:03.600 --> 0:57:08.200
<v Speaker 2>in front of subway cars. And I think that there

0:57:08.280 --> 0:57:11.200
<v Speaker 2>was something happening in this case. Where do you find

0:57:11.200 --> 0:57:12.440
<v Speaker 2>out he'd been pretending he was the son of a

0:57:12.480 --> 0:57:16.080
<v Speaker 2>Russian oligarch. And for some of the cops there was

0:57:16.080 --> 0:57:18.000
<v Speaker 2>a sense of Okay, well, we're not going to look

0:57:18.040 --> 0:57:20.760
<v Speaker 2>too this all just seems a little above my pay grade.

0:57:20.840 --> 0:57:22.040
<v Speaker 2>Whatever's going on here?

0:57:22.200 --> 0:57:24.000
<v Speaker 1>Well, and also I was just thinking, I know that

0:57:24.040 --> 0:57:26.120
<v Speaker 1>they didn't ask the questions they should have asked and

0:57:26.120 --> 0:57:29.240
<v Speaker 1>investigated everything. But just like on the first blush, how

0:57:29.280 --> 0:57:32.880
<v Speaker 1>would you prove it even if there were conversations, unless

0:57:32.880 --> 0:57:36.160
<v Speaker 1>it was recorded, how could you prove that both of

0:57:36.200 --> 0:57:39.560
<v Speaker 1>these guys or somebody threatened him. You know, I just

0:57:39.600 --> 0:57:42.200
<v Speaker 1>don't even know how that would under great circumstances with

0:57:42.200 --> 0:57:43.880
<v Speaker 1>the Sherlock Holmes, how would that be proved?

0:57:44.000 --> 0:57:45.720
<v Speaker 2>Well, I mean I think so. I think part of

0:57:45.720 --> 0:57:48.200
<v Speaker 2>the challenge that they had is that and this seems

0:57:48.320 --> 0:57:50.280
<v Speaker 2>kind of insane to me, but you know, having written

0:57:50.320 --> 0:57:53.880
<v Speaker 2>about many, many, many criminal cases over the last twenty years,

0:57:54.360 --> 0:57:56.960
<v Speaker 2>it is very often the case, certainly with the FBI,

0:57:57.240 --> 0:57:59.720
<v Speaker 2>that when the FBI is building a case, the first

0:57:59.760 --> 0:58:01.320
<v Speaker 2>thing that'll do is they're going to have you come

0:58:01.320 --> 0:58:04.640
<v Speaker 2>in and they want to interview you, and they tell

0:58:04.640 --> 0:58:05.960
<v Speaker 2>you that you got to tell the truth. But what

0:58:06.000 --> 0:58:08.800
<v Speaker 2>they're really hoping is that you lie to them, because

0:58:08.800 --> 0:58:10.800
<v Speaker 2>then they have you online to the FBI, and once

0:58:10.800 --> 0:58:13.760
<v Speaker 2>they've got that bit of leverage on you, then you're

0:58:13.840 --> 0:58:16.120
<v Speaker 2>kind of theirs, you know, then they can make you

0:58:16.720 --> 0:58:21.080
<v Speaker 2>play ball. And in the UK, under British law, it

0:58:21.160 --> 0:58:24.760
<v Speaker 2>is not a crime by itself to lie to the cops.

0:58:25.360 --> 0:58:27.640
<v Speaker 2>And so part of the challenge is that Achbar came

0:58:27.640 --> 0:58:29.320
<v Speaker 2>in and he just lied and lied and lied, and

0:58:29.360 --> 0:58:31.720
<v Speaker 2>they knew it, and they said, you know, we're having

0:58:31.760 --> 0:58:34.640
<v Speaker 2>a little trouble squaring all the stuff you're telling us

0:58:34.680 --> 0:58:36.800
<v Speaker 2>with the stuff that we know. They had these very

0:58:36.800 --> 0:58:39.120
<v Speaker 2>polite ways of telling him that they knew he was lying,

0:58:40.000 --> 0:58:45.280
<v Speaker 2>but they couldn't then turn around and say, and we're

0:58:45.280 --> 0:58:47.959
<v Speaker 2>going to send you to prison for lying to us

0:58:48.200 --> 0:58:51.480
<v Speaker 2>unless you tell us what really happened that night. And

0:58:51.520 --> 0:58:56.680
<v Speaker 2>so Achbar just never cooperated. And at a certain point,

0:58:56.680 --> 0:58:59.200
<v Speaker 2>Indian Dave is sort of out of the picture, and

0:58:59.280 --> 0:59:01.000
<v Speaker 2>so I think that was other challenge for them.

0:59:01.760 --> 0:59:04.920
<v Speaker 1>So this book is centered on the mystery of the

0:59:04.920 --> 0:59:07.320
<v Speaker 1>death of this nineteen year old and how he's entangled

0:59:07.320 --> 0:59:10.640
<v Speaker 1>with these two really bad people and you know, habitual

0:59:10.760 --> 0:59:14.520
<v Speaker 1>lying and all of that. I'm wondering what the parents

0:59:14.720 --> 0:59:17.720
<v Speaker 1>who first drew you to this this is you wanted

0:59:17.720 --> 0:59:20.840
<v Speaker 1>the emotional part of it. What they wanted out of

0:59:20.840 --> 0:59:22.720
<v Speaker 1>the book? Did they want you to come to a

0:59:22.800 --> 0:59:27.080
<v Speaker 1>conclusion yourself. Did they want a new investigation or did

0:59:27.160 --> 0:59:30.160
<v Speaker 1>they want to take control of the narrative and say,

0:59:30.200 --> 0:59:33.080
<v Speaker 1>this is you know who our son really was and

0:59:33.120 --> 0:59:34.240
<v Speaker 1>this is what we went through.

0:59:35.120 --> 0:59:37.880
<v Speaker 2>Yeah, you know, it's interesting they when I met them,

0:59:38.120 --> 0:59:41.000
<v Speaker 2>they had not spoken publicly about this at all. There

0:59:41.080 --> 0:59:43.400
<v Speaker 2>was nothing on the internet when I first heard about this,

0:59:43.880 --> 0:59:46.640
<v Speaker 2>no press articles, nothing, They'd kept it all very quiet,

0:59:47.000 --> 0:59:49.800
<v Speaker 2>and their attitude had been the authorities are doing their job.

0:59:49.840 --> 0:59:52.120
<v Speaker 2>We're going to trust the authorities. And part of the

0:59:52.160 --> 0:59:54.000
<v Speaker 2>story I tell in the book is about how gradually

0:59:54.080 --> 0:59:57.280
<v Speaker 2>they realized, oh my god, the police aren't going to

0:59:57.280 --> 1:00:00.600
<v Speaker 2>really look into this, and there was an inquest process

1:00:00.640 --> 1:00:03.160
<v Speaker 2>and that was also kind of inconclusive, and so part

1:00:03.160 --> 1:00:06.200
<v Speaker 2>of what this story is about actually is these two civilians,

1:00:06.240 --> 1:00:08.960
<v Speaker 2>these parents who are mourning the death of their son,

1:00:09.680 --> 1:00:12.960
<v Speaker 2>having to kind of become detectives themselves. They have to

1:00:13.080 --> 1:00:16.480
<v Speaker 2>do what the authorities wouldn't do, and they go out

1:00:16.560 --> 1:00:20.600
<v Speaker 2>and start interviewing gangsters and you know, looking into some

1:00:20.640 --> 1:00:24.840
<v Speaker 2>of the kind of strange subterranean places where Zach was

1:00:24.880 --> 1:00:28.120
<v Speaker 2>spending his time. And they come out of that with

1:00:28.200 --> 1:00:30.720
<v Speaker 2>a much richer sense of who their son really was

1:00:31.000 --> 1:00:33.760
<v Speaker 2>in life. And when they talked to me, I think

1:00:33.760 --> 1:00:35.160
<v Speaker 2>there were a few things going on. I mean, I

1:00:35.160 --> 1:00:37.480
<v Speaker 2>think some of it was that they had kind of

1:00:37.480 --> 1:00:39.320
<v Speaker 2>come to the end of the road with the authorities,

1:00:39.840 --> 1:00:44.000
<v Speaker 2>and they wanted some greater degree of accountability, and they

1:00:44.000 --> 1:00:47.720
<v Speaker 2>wanted to tell their story. And it's funny, you know,

1:00:47.760 --> 1:00:50.080
<v Speaker 2>I trained as a lawyer before I became a full

1:00:50.120 --> 1:00:53.360
<v Speaker 2>time writer. And I think a lot about what the

1:00:53.400 --> 1:00:56.280
<v Speaker 2>burden of proof is in a legal context and then

1:00:56.320 --> 1:01:00.320
<v Speaker 2>in a reporting context, and the role of justice in

1:01:00.400 --> 1:01:04.760
<v Speaker 2>these different kinds of forums. I wrote a big book

1:01:04.800 --> 1:01:09.360
<v Speaker 2>about the Sackler family, the family that became billionaires through

1:01:09.400 --> 1:01:11.560
<v Speaker 2>the sale of oxy content and helped give rise to

1:01:11.600 --> 1:01:13.760
<v Speaker 2>the opioid crisis, and that was kind of a story

1:01:13.800 --> 1:01:15.320
<v Speaker 2>in which the bad guys get away with it in

1:01:15.360 --> 1:01:17.320
<v Speaker 2>the end. You know, they were this very wealthy family

1:01:17.320 --> 1:01:19.000
<v Speaker 2>who basically are you know, they're very wealthy at the

1:01:19.000 --> 1:01:20.800
<v Speaker 2>beginning of the book and very wealthy at the end,

1:01:21.320 --> 1:01:23.920
<v Speaker 2>and none of them go to jail. But there was

1:01:23.960 --> 1:01:25.960
<v Speaker 2>a sense in which the book itself was a kind

1:01:25.960 --> 1:01:28.880
<v Speaker 2>of small form of accountability because you're telling the story,

1:01:29.560 --> 1:01:31.920
<v Speaker 2>and it's a true story, and it's undeniable. And I

1:01:31.960 --> 1:01:34.479
<v Speaker 2>think that's part of what the Brawlers wanted, was listen,

1:01:34.480 --> 1:01:36.840
<v Speaker 2>we're going to point the fingers here and tell the

1:01:36.880 --> 1:01:40.680
<v Speaker 2>real story in this book. And I've never had a

1:01:40.720 --> 1:01:43.120
<v Speaker 2>relationship with people that I'm writing about quite like the

1:01:43.160 --> 1:01:45.000
<v Speaker 2>relationship I had with them. I spent hundreds of hours

1:01:45.040 --> 1:01:49.160
<v Speaker 2>talking to them. It was very, very intense, and I

1:01:49.200 --> 1:01:51.840
<v Speaker 2>have to say I was quite inspired by them, not

1:01:52.120 --> 1:01:57.080
<v Speaker 2>just by their ability to investigate their son's death in

1:01:57.080 --> 1:02:02.520
<v Speaker 2>this kind of tenacious, defiant way, but also by the

1:02:02.560 --> 1:02:04.760
<v Speaker 2>way in which they weren't paralyzed by his death, and

1:02:04.800 --> 1:02:07.600
<v Speaker 2>they have kind of figured out a way to keep

1:02:07.680 --> 1:02:10.360
<v Speaker 2>living and to live joyously and to honor his memory,

1:02:11.080 --> 1:02:13.400
<v Speaker 2>and in a strange way, I think the whole process

1:02:13.440 --> 1:02:15.640
<v Speaker 2>of working with me on this book has been part

1:02:15.640 --> 1:02:16.680
<v Speaker 2>of that. Well.

1:02:16.680 --> 1:02:18.720
<v Speaker 1>It's interesting. I mean, I know that no one is

1:02:19.600 --> 1:02:22.600
<v Speaker 1>ultimately held responsible for it, and we don't have all

1:02:22.600 --> 1:02:24.800
<v Speaker 1>of the real answers. I know you have a conclusion

1:02:24.880 --> 1:02:27.400
<v Speaker 1>and we'll let everybody read in the book, But to me,

1:02:27.520 --> 1:02:30.600
<v Speaker 1>it also strikes me as a book about from their

1:02:30.640 --> 1:02:33.960
<v Speaker 1>point of view, grieving a lot of grieving which I

1:02:34.000 --> 1:02:37.240
<v Speaker 1>think everyone to a certain extent can relate to, and

1:02:37.320 --> 1:02:39.520
<v Speaker 1>how you grieve and what that process is like, and

1:02:40.120 --> 1:02:43.640
<v Speaker 1>you know, can you come to a conclusion or closure?

1:02:43.880 --> 1:02:48.200
<v Speaker 1>Do you think if there is a sentence that kind

1:02:48.200 --> 1:02:51.160
<v Speaker 1>of summarizes how they feel about you know, all of

1:02:51.200 --> 1:02:53.840
<v Speaker 1>this has happened. Is it simply just like he was

1:02:53.880 --> 1:02:55.960
<v Speaker 1>a kid, You know, he was nineteen, He was a kid.

1:02:56.000 --> 1:02:58.080
<v Speaker 1>He didn't know what he was getting into, and he

1:02:58.120 --> 1:03:01.240
<v Speaker 1>made a mistake, and he paid price, you know, but

1:03:01.680 --> 1:03:05.400
<v Speaker 1>with all intensive purposes, you know, we feel like positive

1:03:05.440 --> 1:03:07.680
<v Speaker 1>about the way that that his life would have gone.

1:03:08.000 --> 1:03:10.000
<v Speaker 2>I don't know, Yeah, I mean I think I think

1:03:10.080 --> 1:03:11.880
<v Speaker 2>that's that's a nice way of putting in. And I

1:03:11.880 --> 1:03:14.040
<v Speaker 2>guess the other thing I would add is that the

1:03:15.520 --> 1:03:18.960
<v Speaker 2>I'm always interested in people's backstories and in their family histories.

1:03:19.040 --> 1:03:22.280
<v Speaker 2>I do this with all my books. I think that

1:03:22.360 --> 1:03:24.480
<v Speaker 2>all of us are a kind of reflection on some

1:03:24.600 --> 1:03:26.760
<v Speaker 2>level of where we've come from and who's come before.

1:03:27.640 --> 1:03:30.760
<v Speaker 2>And so as a storytelling device, I love to introduce

1:03:30.800 --> 1:03:33.480
<v Speaker 2>you to someone and then tell you about their grandparents

1:03:33.520 --> 1:03:35.120
<v Speaker 2>and how they came to this place and so on.

1:03:35.560 --> 1:03:39.080
<v Speaker 2>So I was drawn initially to this story of Zach because,

1:03:39.480 --> 1:03:42.080
<v Speaker 2>you know, he had these two grandfathers who survived the

1:03:42.080 --> 1:03:45.920
<v Speaker 2>Holocaust and their whole families were wiped out, and they

1:03:46.640 --> 1:03:49.919
<v Speaker 2>arrived in the UK as teenagers. And you know, part

1:03:49.920 --> 1:03:52.240
<v Speaker 2>of my story is a story about reinvention. Zach tried

1:03:52.240 --> 1:03:54.400
<v Speaker 2>to reinvent himself as a teenager. He tried to become

1:03:54.480 --> 1:03:56.760
<v Speaker 2>someone else. A lot of us do that as adolescens,

1:03:57.320 --> 1:03:58.880
<v Speaker 2>and I was interested in the idea that he of

1:03:58.960 --> 1:04:01.720
<v Speaker 2>these two grandfathers who would also reinvent in themselves. It's like,

1:04:01.720 --> 1:04:05.240
<v Speaker 2>you come here, you're kind of tabula rasa. You've lost

1:04:05.280 --> 1:04:07.440
<v Speaker 2>everything and you have to decide who am I going

1:04:07.520 --> 1:04:11.080
<v Speaker 2>to be? And for the longest time, I thought that

1:04:11.240 --> 1:04:14.320
<v Speaker 2>was the role that his grandparents played in the story.

1:04:14.920 --> 1:04:17.360
<v Speaker 2>And then there's this one night towards the end of

1:04:17.400 --> 1:04:19.200
<v Speaker 2>my work on the book where I was having dinner

1:04:19.240 --> 1:04:21.800
<v Speaker 2>with Matthew Michelle at a little Italian restaurant and I

1:04:21.840 --> 1:04:24.880
<v Speaker 2>was trying to convey to them just how sort of

1:04:25.000 --> 1:04:26.880
<v Speaker 2>in awe I was that they keep getting out of

1:04:26.920 --> 1:04:29.080
<v Speaker 2>bed in the morning and their life isn't joyless like

1:04:29.120 --> 1:04:31.280
<v Speaker 2>they you know, they have friends and they're close to

1:04:31.320 --> 1:04:34.040
<v Speaker 2>their family, and they were it's little things like they

1:04:34.160 --> 1:04:36.240
<v Speaker 2>you know, like they loved The Grateful Dead and they

1:04:36.240 --> 1:04:37.800
<v Speaker 2>were going to see The Grateful Dead played at the

1:04:37.840 --> 1:04:40.600
<v Speaker 2>Sphere in Las Vegas, and they're excited about that. And

1:04:40.640 --> 1:04:42.600
<v Speaker 2>I was asking them about that, and they started they

1:04:42.600 --> 1:04:46.160
<v Speaker 2>both started talking about their fathers and they said, you know,

1:04:47.680 --> 1:04:51.960
<v Speaker 2>both of our fathers lost everything. You know, experience like

1:04:52.000 --> 1:04:54.680
<v Speaker 2>the greatest horror imaginable. It's like you're a teenage kid

1:04:54.680 --> 1:04:58.920
<v Speaker 2>and your whole family's murdered, and yet both of them

1:04:59.240 --> 1:05:02.480
<v Speaker 2>learned how to kind of lived defiantly and joyously in

1:05:02.560 --> 1:05:06.160
<v Speaker 2>the face of that loss. Rachelle's sister Gabby told me

1:05:06.240 --> 1:05:07.440
<v Speaker 2>she was like, you know, when I looked into my

1:05:07.480 --> 1:05:11.280
<v Speaker 2>father's eyes, I never saw barbed wire. I just saw

1:05:11.640 --> 1:05:15.760
<v Speaker 2>like a really loving father. And to me, that was

1:05:15.840 --> 1:05:18.479
<v Speaker 2>so inspiring the idea, and it was something I really

1:05:18.480 --> 1:05:20.479
<v Speaker 2>didn't see for the first two years I was working

1:05:20.480 --> 1:05:21.520
<v Speaker 2>on the book, even though it was kind of right

1:05:21.560 --> 1:05:23.760
<v Speaker 2>in front of my face. Was that part of what

1:05:24.480 --> 1:05:29.320
<v Speaker 2>gave this couple the incredible emotional resources to deal with

1:05:29.400 --> 1:05:33.040
<v Speaker 2>the death of a son, the most unimaginably awful kind

1:05:33.040 --> 1:05:36.760
<v Speaker 2>of loss, was the fact that they'd grown up in

1:05:36.840 --> 1:05:40.480
<v Speaker 2>these families that have been shaped by these grandfathers who

1:05:40.640 --> 1:05:43.959
<v Speaker 2>both lost like that much and more and learned how

1:05:44.000 --> 1:05:46.320
<v Speaker 2>to kind of keep living. And so there's a you know,

1:05:46.360 --> 1:05:49.200
<v Speaker 2>there's that wonderful biblical quote actually, which which both of

1:05:49.240 --> 1:05:50.880
<v Speaker 2>them loved and I quoted in the book because they

1:05:50.920 --> 1:05:52.480
<v Speaker 2>cited it to me. But that idea of you know,

1:05:52.520 --> 1:05:56.600
<v Speaker 2>I've put before you life and death, choose life, And

1:05:56.800 --> 1:05:58.880
<v Speaker 2>I think that's kind of their that's sort of their motto.

1:05:59.040 --> 1:06:08.880
<v Speaker 2>In a way.

1:06:11.160 --> 1:06:14.080
<v Speaker 1>If you love historical true crime stories, check out the

1:06:14.120 --> 1:06:17.160
<v Speaker 1>audio versions of my books The Sinners, All Bow, The

1:06:17.200 --> 1:06:20.360
<v Speaker 1>Ghost Club, All That Is Wicked, and American Sherlock and

1:06:20.440 --> 1:06:23.720
<v Speaker 1>Don't Forget. There are twelve seasons of my historical true

1:06:23.720 --> 1:06:28.240
<v Speaker 1>crime podcast, tenfold More Wicked right here in this podcast feed,

1:06:28.480 --> 1:06:31.200
<v Speaker 1>scroll back and give them a listen if you haven't already.

1:06:31.640 --> 1:06:35.120
<v Speaker 1>This has been an exactly right production. Our senior producer

1:06:35.240 --> 1:06:39.640
<v Speaker 1>is Alexis a Morosi. Our associate producer is Christina Chamberlain.

1:06:40.000 --> 1:06:43.600
<v Speaker 1>This episode was mixed by John Bradley. Curtis Heath is

1:06:43.640 --> 1:06:48.600
<v Speaker 1>our composer. Artwork by Nick Toga. Executive produced by Georgia Hardstark,

1:06:48.800 --> 1:06:52.840
<v Speaker 1>Karen Kilgarriff and Danielle Kramer. Follow Wicked Words on Instagram

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<v Speaker 1>and Facebook at tenfold more Wicked and on Twitter at

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1:06:59.120 --> 1:07:01.720
<v Speaker 1>that could use the ten from the crew at tenfold

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<v Speaker 1>more Wicked, email us at info at tenfoldmore Wicked dot com.

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