WEBVTT - Chapter 5: The Hollow Truth

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<v Speaker 1>Hey, lethal listeners, tag Torres here stay tuned for the

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<v Speaker 1>next episode of Lethal Lit. But before we dive into

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<v Speaker 1>today's episode, here's a quick word from our sponsor reporting

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<v Speaker 1>the line from the scene of the latest victim. In

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<v Speaker 1>a recent blue of death, there has rocked the community

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<v Speaker 1>of Hollow Falls. This time, the DJFPD have lost one

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<v Speaker 1>of their own, Detective Jake Lane. Okay, take take now,

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<v Speaker 1>It's not the time to lose control all of us.

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<v Speaker 1>Blood Doris, Hey, Doris, it's me Carver. Are you hurt.

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<v Speaker 1>I don't think so. I'm just trying to process. It's

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<v Speaker 1>gonna be Okay, Take Can you tell me what happened?

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<v Speaker 1>I heard entire squealing, but I couldn't really see the car.

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<v Speaker 1>By the time I got to him, he was in

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<v Speaker 1>the road, all bent and bloody. Damn it, I'd warned him,

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<v Speaker 1>got too close. What he was a good cup, a

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<v Speaker 1>bit of an opportunist, but the best partner right had

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<v Speaker 1>in years. You hang around here long enough, you know

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<v Speaker 1>the type. They either move on to bigger cities with

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<v Speaker 1>bigger challenges, or burnout fast. Jake. He wanted to correct

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<v Speaker 1>this case so badly. I wanted to be the hero,

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<v Speaker 1>but this lid killer isn't just a crazy person, It's

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<v Speaker 1>an infection on this tab. All right, let's clear this scene.

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<v Speaker 1>Hine was one of ours people. Let's do right by him.

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<v Speaker 1>It's over, it's all ending. I'm tig Torres and this

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<v Speaker 1>is lethal lit. Detective Lehane, our one friend in the

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<v Speaker 1>police department, is now dead. But if you've been listening

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<v Speaker 1>to this podcast, you know his death was no random accident.

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<v Speaker 1>Lehane was run over by the lip killer, which means

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<v Speaker 1>we've lost our only supporter inside the police department, just

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<v Speaker 1>as the murderer is starting to evolve. In the original killings,

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<v Speaker 1>the books or clues left at a crime scene would

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<v Speaker 1>point back to the murder itself, But this time he

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<v Speaker 1>called it in advance, dropping clues about the Great Gatsby

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<v Speaker 1>to us. In Lehane before the murder. Was he taunting us,

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<v Speaker 1>showing off that he knew exactly how we'd react, how

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<v Speaker 1>Lehane would try to take matters into his own hands.

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<v Speaker 1>M it's in these dark moments that people have to

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<v Speaker 1>step up. I know Aunt Beth did. She just didn't

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<v Speaker 1>have anyone she could count on. If she had, she

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<v Speaker 1>would have made it to the finish line and solved this.

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<v Speaker 1>I feel like I'm so close to cracking the case.

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<v Speaker 1>I just need that one last break to figure it out.

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<v Speaker 1>It's so frustrating. Everything in Hollow Falls is on lockdown.

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<v Speaker 1>I'm at home on suggested bedrest. Detective Carver had me

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<v Speaker 1>checked out at the hospital, but they said I just

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<v Speaker 1>needed sleep. In the last twenty four hours, my friends

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<v Speaker 1>and I have been terrorized, injured, and kidnapped. Max and

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<v Speaker 1>I both survived and encounter with the lip killer, while

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<v Speaker 1>Detective Lahane did not. So Needless to say, Detective Carver

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<v Speaker 1>isn't letting any of us out of her sight, not

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<v Speaker 1>even Ella. If we want to meet, we've got to

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<v Speaker 1>slip past the black and white it's stationed outside our houses.

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<v Speaker 1>But the upside of being in solitary lots more time

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<v Speaker 1>to think, and two things stick out. First, the murder

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<v Speaker 1>of Detective Lehane was rushed. The lid killer only had

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<v Speaker 1>time to make the broad strokes, no note, no elaborate staging.

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<v Speaker 1>Is he worried because we're getting close to catching him

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<v Speaker 1>or is it just part of a more complex plan?

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<v Speaker 1>La Um, what's up? Is everything? Okay? I'm in the

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<v Speaker 1>middle of recording the podcast. I know how he boards

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<v Speaker 1>and it is do you mean? But lunch is on

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<v Speaker 1>the table and I don't cook for ghosts. Okay, I

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<v Speaker 1>made your favorite. I'll be down in a few minutes. Okay,

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<v Speaker 1>remember what the police lady said, did he the the

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<v Speaker 1>energy around us? He's dark? The flock is so sick.

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<v Speaker 1>You have to rest the care of yourself. I get

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<v Speaker 1>it be down soon. Stop please, all the murdered talk

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<v Speaker 1>when there's really nice, as I was saying. Second thing

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<v Speaker 1>that sticks out now that I've basically memorized all of

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<v Speaker 1>the ant Bath tapes, I know they cover most of

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<v Speaker 1>the victims Amudola, del Canto, Senior Wosniac, except for one

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<v Speaker 1>there's a missing death. But um, check this out. I've

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<v Speaker 1>listened to these tapes more times than St. Vincent's latest,

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<v Speaker 1>and I'd never heard this before. Benefits of spacing out

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<v Speaker 1>and leaving the file playing until the end by Ray Bradberry.

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<v Speaker 1>That's important. But the pieces aren't adding up, and as usual,

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<v Speaker 1>I'm running at a tape. Sam, if you hear this,

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<v Speaker 1>I go down. This is on you. I'm counting on

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<v Speaker 1>you to finish this in the event that I can't.

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<v Speaker 1>Fahrenheit is a major clue. Why Well, in all the

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<v Speaker 1>books my aunt mentions in our tapes, each one is

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<v Speaker 1>lined up with a victim except for this one. So

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<v Speaker 1>why would she name drop just the Bradberry book here?

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<v Speaker 1>Because it was a message to herself and to her

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<v Speaker 1>only other hope, her partner, Sam Steiner. If we're missing

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<v Speaker 1>a piece to this puzzle, there's a good chance hollow

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<v Speaker 1>Fall's favorite ba lt loving hermit might have it. Sorry,

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<v Speaker 1>Ailauroavia will have to wait. I've got a craving for

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<v Speaker 1>some old school diner food dig We've been sitting here

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<v Speaker 1>for like yours, I feel gray hairs forming when and

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<v Speaker 1>I are outside the Star of Diner entering our three

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<v Speaker 1>of our steakout. We managed to ditch our security detail.

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<v Speaker 1>Aboila and her homecooked food make for the perfect distraction.

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<v Speaker 1>So now we're sitting here and when's Mom's car? Hoping

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<v Speaker 1>for another glimpse of our elusive bigfoot, Sam Steiner, So

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<v Speaker 1>when are we going to talk about you and ali

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<v Speaker 1>um the day after never? We're on a steak out here.

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<v Speaker 1>We don't have time to like gossip tig. We're on

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<v Speaker 1>a steak out. We've literally got nothing but time to kill.

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<v Speaker 1>Are you uncomfortable talking about having sex with Ali? What? WHOA? No?

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<v Speaker 1>Just I'm gonna be real with you, Tig. I like you.

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<v Speaker 1>At first. I thought I got a vibe off of you.

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<v Speaker 1>But what kind of vibe? Like good into chicks vibe?

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<v Speaker 1>You get that right? Some people are gay? Of course

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<v Speaker 1>I get that. I'm from New York. I know all

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<v Speaker 1>types of people. Okay, sure you really got that vibe

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<v Speaker 1>off of me that I was into girls. It doesn't

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<v Speaker 1>matter girls boys, by pan, that's your business to figure out.

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<v Speaker 1>All I'm saying is if you're feeling Ali, that's cool.

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<v Speaker 1>If you're just into dudes, also cool. But if you're

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<v Speaker 1>confused about whether you're into girls, yeah, I'm here to help. Um.

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<v Speaker 1>I don't really know what to say to all that,

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<v Speaker 1>but I guess thanks. When a tig rull in your window?

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<v Speaker 1>Oh ah, hey Sam, honey, running into you here? Get

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<v Speaker 1>up follow me. After our pulse rates returned to normal,

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<v Speaker 1>Sam led us to his trailer, which is the place

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<v Speaker 1>you live when you don't want anyone to ever visit.

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<v Speaker 1>He offered us some tea, which we hoped would come

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<v Speaker 1>with a side of more tea. I saw you guys

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<v Speaker 1>hovering outside the diner hours ago. I was wondering when

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<v Speaker 1>you would get the guts to come to me directly.

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<v Speaker 1>What you were playing hard to get, unstoppable when there

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<v Speaker 1>was something or someone she was after. She was like

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<v Speaker 1>a machine, steely, I'd focus. She set up all these

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<v Speaker 1>clues for us to follow, each of which has led

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<v Speaker 1>back to one of our tapes. I know she was

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<v Speaker 1>pointing me in a direction for a reason, but I'm

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<v Speaker 1>just not sure which vague notes and clues an easy

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<v Speaker 1>roadmap to follow? MO that that that doesn't sound like

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<v Speaker 1>that style. I get that she's probably your hero, and

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<v Speaker 1>you've put around this this pedestal bit. What are you

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<v Speaker 1>trying to accomplish by just following along? Are you bringing

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<v Speaker 1>anything if your own to the table. Why are we

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<v Speaker 1>talking to this guy again? You're full of it, Sam.

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<v Speaker 1>I know I'm not my Aunt Beth, And yeah, maybe

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<v Speaker 1>following her clues looks like I'm just retracing her steps.

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<v Speaker 1>But what's your excuse? Why do you give up? There's

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<v Speaker 1>another tape, isn't there? Who told you that? It's the

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<v Speaker 1>only explanation for the gap in Aunt Beth's narrative? And

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<v Speaker 1>like you said, she's not the type to leave loose ends.

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<v Speaker 1>Maybe I was quick to judge you. After all, the

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<v Speaker 1>best reporters pushed through. They they learn what to do

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<v Speaker 1>when their investigation hits a roadblock, the backtrack. Right. So,

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<v Speaker 1>my aunt mentions the book Fahrenheit for early on as

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<v Speaker 1>one the killer used for inspiration. But yet none of

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<v Speaker 1>the six murders include her own line up with that book,

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<v Speaker 1>which makes me wonder if there's still another tape and

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<v Speaker 1>another murder out there, and if there's anyone who could

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<v Speaker 1>have it, it's you. In your research, so far have

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<v Speaker 1>you come across the name Anna Killedean. I've held onto

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<v Speaker 1>this for a decade since that day. Let it go

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<v Speaker 1>there to the crossing alone? Where were you that night?

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<v Speaker 1>I was a desk jockey, the reporter who could work

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<v Speaker 1>the phones. I was a writer. I wasn't the guy

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<v Speaker 1>to pound the pavement. I mean that, that's why we

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<v Speaker 1>made such a good team. I wanted to help, but

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<v Speaker 1>there's no way I could follow into that place. It

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<v Speaker 1>just wasn't me out. He was just scared. So what

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<v Speaker 1>if she was such a good friend of his and

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<v Speaker 1>her was in danger, then why didn't you want me

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<v Speaker 1>to explain myself to you? Here? Take the tape, do

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<v Speaker 1>something with it. When Sam handed me the tape, I

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<v Speaker 1>felt an electric shock. This could be the key to everything.

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<v Speaker 1>My aunt Feth wasn't killed because she was annoying the

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<v Speaker 1>lip killer. She was killed because she was close to

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<v Speaker 1>figuring out who they were. And the only other person

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<v Speaker 1>who knew how close she got was Steiner, who's here

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<v Speaker 1>hiding evidence in his dingy cave just because he never

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<v Speaker 1>had the courage to take the next step. So let

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<v Speaker 1>me get this straight. You've had this tape all along

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<v Speaker 1>and didn't tell anyone. You didn't think it could be

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<v Speaker 1>useful to solving her more. I listened to it, I

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<v Speaker 1>did research, even talk to people interested in the case

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<v Speaker 1>to who the Murder of Crows? So you know about

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<v Speaker 1>the group? Yeah, yeah, I mentioned a few, but about

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<v Speaker 1>what was on there to some of them. I did

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<v Speaker 1>as much as I could, but I couldn't crack it,

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<v Speaker 1>and I couldn't give it to the cops. They would

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<v Speaker 1>have just buried it. So I said on it. I'm

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<v Speaker 1>not your aunt. Take I'm not made up of the

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<v Speaker 1>same stuff as she was. But you people are already

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<v Speaker 1>listening to you. You've created a movement with that podcast

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<v Speaker 1>of yours. And you put that to good use. That's

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<v Speaker 1>why you should have it. That's such a cop out, dude.

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<v Speaker 1>So who else knows about this tape? Anyone else besides

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<v Speaker 1>the crew? I don't think so, And what I told

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<v Speaker 1>them was too vague to really pass on to anyone else.

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<v Speaker 1>I do know that Beth was seeing someone off and

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<v Speaker 1>on at the time of her death. But and Beth

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<v Speaker 1>had a secret hook up when No, Seriously, this is

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<v Speaker 1>a big clue. What if she was Pillow talking Sam?

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<v Speaker 1>What did she dish to you about her man? Look,

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<v Speaker 1>she was my friend, but tib Beth kip those parts

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<v Speaker 1>of her life very prevant. Well, we can figure out

0:14:10.240 --> 0:14:13.760
<v Speaker 1>the logistics of my aunt's social life later. So that's it.

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<v Speaker 1>You remain here in your hideout while you let other

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<v Speaker 1>people do the dirty work for you. Again, it's not

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<v Speaker 1>like that, and come with us, help us. This is

0:14:24.280 --> 0:14:27.000
<v Speaker 1>your chance to help us catch this killer. You owe

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<v Speaker 1>it to my aunt Bath. What do you want from me?

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<v Speaker 1>Nothing's changed. I'm still same scared piece of crap I

0:14:35.520 --> 0:14:40.600
<v Speaker 1>was ten years ago. Okay, I can't help you. Do

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<v Speaker 1>you want my blood on your hands too? I think

0:14:45.040 --> 0:14:48.800
<v Speaker 1>it's about time you two left. I didn't have time

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<v Speaker 1>to hold Steiner's hand. I needed to know where he stood.

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<v Speaker 1>Either he was helping us or he was holding us back.

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<v Speaker 1>It was time to move on without him. And then

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<v Speaker 1>finally we listened to the long lost tape and everything changed.

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<v Speaker 1>It's the end of the road for the lit Killer.

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<v Speaker 1>All of the clues he's been leaving up until now,

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<v Speaker 1>the literary references, the obnoxious messages, the choices of victims.

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<v Speaker 1>They've painted him into a corner. Anna kill Dean is

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<v Speaker 1>the key. The exceptions always proved the rule. Killed Dean's

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<v Speaker 1>been listed as missing for weeks and shame Army. I

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<v Speaker 1>never considered her part of the case. She didn't fit

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<v Speaker 1>the victim profile until I was reading over some of

0:15:33.680 --> 0:15:38.200
<v Speaker 1>Steiner's notes and came across her photo and realized I've

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<v Speaker 1>met her before. Our connection, the person we both knew

0:15:41.920 --> 0:15:46.040
<v Speaker 1>and common sent a chill through me. The call sealed it,

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<v Speaker 1>her voice, the fear echoing through the line. It has

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<v Speaker 1>to be her. I know what I have to do now,

0:15:53.040 --> 0:15:57.320
<v Speaker 1>I know where I need to go. Before we could

0:15:57.360 --> 0:16:01.360
<v Speaker 1>process what we'd heard, the lit Killer reared has left

0:16:01.440 --> 0:16:07.320
<v Speaker 1>uphead again. Just take a listen to Ali's message. Take

0:16:07.400 --> 0:16:11.120
<v Speaker 1>It's me, it's alwis listen. Ella is missing. She was

0:16:11.200 --> 0:16:13.640
<v Speaker 1>here at the hospital with us checking in on Max,

0:16:13.680 --> 0:16:16.640
<v Speaker 1>if you can believe it. But now she's gone, and

0:16:16.800 --> 0:16:20.320
<v Speaker 1>Carver's piste about you, and when slipping away to take

0:16:21.840 --> 0:16:24.480
<v Speaker 1>there was another clue left here. So if you could

0:16:24.480 --> 0:16:27.600
<v Speaker 1>get yourself down here, I need to see you. I

0:16:27.680 --> 0:16:30.480
<v Speaker 1>need to see that you're safe, and seriously would have

0:16:30.560 --> 0:16:34.080
<v Speaker 1>killed you to answer your freaking phone when and I

0:16:34.120 --> 0:16:37.280
<v Speaker 1>are walking back into Hollow Falls General ready to reconvene

0:16:37.360 --> 0:16:40.200
<v Speaker 1>with the here you are. What the hell happened? Allie?

0:16:40.440 --> 0:16:43.720
<v Speaker 1>How did elegant? I don't know. We were just in

0:16:43.800 --> 0:16:46.720
<v Speaker 1>here chilling with Max, and she stepped out and then

0:16:46.760 --> 0:16:50.040
<v Speaker 1>she was gone. I hate that. I'm now worried about her.

0:16:50.840 --> 0:16:53.640
<v Speaker 1>Is Max? Still? I'm still here a girl. Don't worry

0:16:53.640 --> 0:16:56.880
<v Speaker 1>about me. These men's are killing my focus, though, So

0:16:57.040 --> 0:17:02.520
<v Speaker 1>don't be offended if I is so down. Can we

0:17:02.600 --> 0:17:05.080
<v Speaker 1>really trust Carver's guards if they couldn't even keep an

0:17:05.119 --> 0:17:07.600
<v Speaker 1>eye on one blonde girl who never shuts up, it's

0:17:07.600 --> 0:17:11.040
<v Speaker 1>a fair question. I'm sorry. I know I messed up.

0:17:11.040 --> 0:17:14.240
<v Speaker 1>I shouldn't have let anyone wander off alone. But you know, Ella,

0:17:14.359 --> 0:17:20.080
<v Speaker 1>she's so irritating, and she just keeps talking. So it's

0:17:20.119 --> 0:17:25.439
<v Speaker 1>not your fault, Dolly. You said you found something, a clue. Well,

0:17:26.160 --> 0:17:29.159
<v Speaker 1>the cops snagged the actual clue, but I managed to

0:17:29.200 --> 0:17:33.359
<v Speaker 1>take some pictures of this book. Joseph Conra has a

0:17:33.359 --> 0:17:37.879
<v Speaker 1>heart of darkness. One of the pages was marked, and

0:17:38.119 --> 0:17:43.920
<v Speaker 1>this passage was highlighted. Here let me scroll, yeah, here.

0:17:44.640 --> 0:17:48.320
<v Speaker 1>But his soul was mad being alone in the wilderness,

0:17:48.400 --> 0:17:51.680
<v Speaker 1>it had looked within itself, and by Heavens, I tell you,

0:17:51.920 --> 0:17:55.159
<v Speaker 1>it had gone mad. I don't know what that's supposed

0:17:55.200 --> 0:17:58.240
<v Speaker 1>to mean. But of course there's also another freaking note.

0:17:58.880 --> 0:18:00.960
<v Speaker 1>I took a picture of that too. Give me your phone.

0:18:01.000 --> 0:18:04.879
<v Speaker 1>I'll read it. Yeah, give her your phone. The news Titans,

0:18:04.920 --> 0:18:08.520
<v Speaker 1>and it requires your attention. Take no cops, no high

0:18:08.520 --> 0:18:13.680
<v Speaker 1>school newspaper cronies. Ass Finales are for heroes and villains.

0:18:14.119 --> 0:18:17.000
<v Speaker 1>If you have truly succeeded where your aunt failed, you'll

0:18:17.000 --> 0:18:20.680
<v Speaker 1>know where to go. If not, did anyone much care

0:18:20.800 --> 0:18:25.919
<v Speaker 1>for the mayor's daughter? Anyway? He's taunting me, goading me

0:18:26.000 --> 0:18:28.080
<v Speaker 1>to see if I can figure out his stupid clues,

0:18:28.640 --> 0:18:30.800
<v Speaker 1>if I can measure up to my aunt Beth. Take

0:18:31.400 --> 0:18:33.639
<v Speaker 1>you don't have to do. I know where to go. Okay,

0:18:33.680 --> 0:18:36.520
<v Speaker 1>so we'll go now. The lid killer made it clear

0:18:36.960 --> 0:18:39.960
<v Speaker 1>I can't bring friends or the police, and I can't

0:18:40.000 --> 0:18:43.439
<v Speaker 1>put you guys at risk like I did Max. Distract

0:18:43.480 --> 0:18:45.880
<v Speaker 1>the guards as long as you can. Okay, I'm going

0:18:45.880 --> 0:18:52.399
<v Speaker 1>in alone. No, No, you're not. Sam, creepy diner, dude, brute,

0:18:52.440 --> 0:18:58.000
<v Speaker 1>smelling flesh. I need to square things with you with Beth.

0:18:58.480 --> 0:19:00.760
<v Speaker 1>I can't sit back and let everything happened around me.

0:19:02.240 --> 0:19:06.440
<v Speaker 1>All right, let's roll, Sam, you're with me. I'll fill

0:19:06.440 --> 0:19:08.359
<v Speaker 1>you in on the way. How are you going to

0:19:08.400 --> 0:19:13.400
<v Speaker 1>get past our new BFFs out there on a guard

0:19:13.440 --> 0:19:16.880
<v Speaker 1>by the elevator. Hey, no, you won't let us come

0:19:16.880 --> 0:19:19.680
<v Speaker 1>with you, but you'll let this guy. Ambeth trusted him.

0:19:19.840 --> 0:19:23.080
<v Speaker 1>He was a old partner, now he's mine. No, this

0:19:23.160 --> 0:19:26.480
<v Speaker 1>is total b s. We were your partners. Ohly, we

0:19:26.520 --> 0:19:28.680
<v Speaker 1>can't let her do this. No, no one asked me,

0:19:28.880 --> 0:19:31.840
<v Speaker 1>But this plan could totally use some work. The liad

0:19:31.920 --> 0:19:36.160
<v Speaker 1>killer said, no, friends, no police. He doesn't know Sam's

0:19:36.160 --> 0:19:40.240
<v Speaker 1>back in play, so technically I'm still going on his terms,

0:19:41.080 --> 0:19:44.200
<v Speaker 1>just with backup, which is more than my aunt had.

0:19:45.600 --> 0:19:48.680
<v Speaker 1>Come on, Sam, let's go I'll call you guys when

0:19:48.720 --> 0:19:57.600
<v Speaker 1>we have something. Remember, distract and delay. Heart of Darkness

0:19:57.920 --> 0:20:02.960
<v Speaker 1>is about obsession, mental nous, and the quote unquote differences

0:20:03.080 --> 0:20:08.120
<v Speaker 1>between civilized people and savages. The main character, Charles Marlowe,

0:20:08.760 --> 0:20:11.199
<v Speaker 1>is a dude dealing in ivory who's headed down the

0:20:11.240 --> 0:20:14.480
<v Speaker 1>Congo River. If you haven't read the book, it's also

0:20:14.760 --> 0:20:17.920
<v Speaker 1>kind of like that movie Apocalypse Now And if you

0:20:18.000 --> 0:20:22.439
<v Speaker 1>haven't seen that either, I guess just think about what

0:20:22.480 --> 0:20:24.000
<v Speaker 1>it would be like to go on a trip to

0:20:24.040 --> 0:20:27.040
<v Speaker 1>meet up with a guy whose mental state was a

0:20:27.160 --> 0:20:30.960
<v Speaker 1>question mark. My detective work has brought us to the

0:20:31.000 --> 0:20:34.720
<v Speaker 1>Silko River, which empties out into Lake Deloia, a once

0:20:34.760 --> 0:20:38.240
<v Speaker 1>popular camping site. I figure, if we have any hope

0:20:38.240 --> 0:20:46.240
<v Speaker 1>of finding Ella, it'll be here. I didn't think we'd

0:20:46.240 --> 0:20:50.359
<v Speaker 1>be taking a through the woods exactly. Well neither did I.

0:20:50.760 --> 0:20:53.600
<v Speaker 1>But I think following the Silko will get us to

0:20:53.640 --> 0:20:58.000
<v Speaker 1>where we can. Oh God, what was that? I don't know?

0:20:58.840 --> 0:21:15.680
<v Speaker 1>Come on, hello, are you there? Wait till phone. No,

0:21:15.840 --> 0:21:27.480
<v Speaker 1>it's it's a what you're talking She's close. Let's go.

0:21:35.480 --> 0:21:38.600
<v Speaker 1>After following Ella's voice for what seemed like an eternity,

0:21:38.960 --> 0:21:43.600
<v Speaker 1>we came across a cabin, Ella, are you in here?

0:21:44.119 --> 0:21:50.040
<v Speaker 1>It's tig We can hear you. Look, there's a closed

0:21:50.040 --> 0:21:55.560
<v Speaker 1>door at the end of the hall there. Hello, we

0:21:55.680 --> 0:22:03.200
<v Speaker 1>got you, We're here. Help me on t That worked through.

0:22:08.080 --> 0:22:12.520
<v Speaker 1>That's how curse died. Heart of Darkness. The memory flooded

0:22:12.560 --> 0:22:15.440
<v Speaker 1>my mind as we worked to free Ella. My dad

0:22:15.480 --> 0:22:18.479
<v Speaker 1>and Aunt Beeth discussing Heart of Darkness over dinner one

0:22:18.600 --> 0:22:21.879
<v Speaker 1>night with aboila how the school had just voted to

0:22:21.960 --> 0:22:26.640
<v Speaker 1>ban it. My aunt she had a friend, a teacher

0:22:27.200 --> 0:22:31.679
<v Speaker 1>who had included the novel in his curriculum. Anyway, Okay,

0:22:32.000 --> 0:22:37.919
<v Speaker 1>free's let's get out of here. Someone's coming. Can you

0:22:37.960 --> 0:22:43.960
<v Speaker 1>carry Ella? All the clues had been right in front

0:22:43.960 --> 0:22:48.960
<v Speaker 1>of us. I missed them. Aunt Beth missed them. Sam

0:22:49.000 --> 0:22:53.120
<v Speaker 1>missed them. Who else was in that murder of Crow's

0:22:53.119 --> 0:22:57.040
<v Speaker 1>Club with you? Sam? Not a lot of people had

0:22:57.160 --> 0:23:08.960
<v Speaker 1>blood cantil kids, Highsmith. Who else he's been here in

0:23:09.000 --> 0:23:15.680
<v Speaker 1>this time? This is the place? He need us? Take

0:23:17.119 --> 0:23:30.600
<v Speaker 1>Get behind me, No, get Sam, run, Jake Ellen. Sam.

0:23:30.720 --> 0:23:34.040
<v Speaker 1>I'm Darbings in email for you. The last time we talked,

0:23:34.760 --> 0:23:37.639
<v Speaker 1>I said some words I didn't mean and I'm not

0:23:37.720 --> 0:23:43.640
<v Speaker 1>mad at you. Okay, I'm sorry I understand you want

0:23:43.720 --> 0:23:47.240
<v Speaker 1>made for this. If you get this and I haven't

0:23:47.280 --> 0:23:50.680
<v Speaker 1>heard from me, I love you too, Sam. You're part

0:23:50.720 --> 0:23:56.199
<v Speaker 1>of my family. I don't please send my love to

0:23:56.280 --> 0:24:00.960
<v Speaker 1>Mamma and my brother and my sweet niece Tig. I

0:24:01.000 --> 0:24:04.920
<v Speaker 1>hope this is just no a dramatic paranoia. But if

0:24:04.920 --> 0:24:08.000
<v Speaker 1>there's a chance I can save someone, save Anna, Killdean,

0:24:08.720 --> 0:24:14.320
<v Speaker 1>I have to try. I hear you. I know you're

0:24:14.359 --> 0:24:19.560
<v Speaker 1>still out there. No running off after this murder? H Harry?

0:24:20.440 --> 0:24:23.639
<v Speaker 1>Do you mind if I call you Harry or do

0:24:23.720 --> 0:24:32.959
<v Speaker 1>you prefer Mr Levinson? Always the former? Thank you for asking.

0:24:33.720 --> 0:24:36.240
<v Speaker 1>I think it's high time you and I had words,

0:24:37.640 --> 0:24:48.400
<v Speaker 1>don't you. On the next episode of Lethal Litt where

0:24:48.400 --> 0:24:52.359
<v Speaker 1>where we were meant to be, tack tauris poor young

0:24:52.480 --> 0:24:57.480
<v Speaker 1>girl was so tormented by her owns tragic field that

0:24:57.640 --> 0:25:18.040
<v Speaker 1>she's driven to madness. Einhorn's Epic Productions and I Heart

0:25:18.160 --> 0:25:23.159
<v Speaker 1>Radio present Legal Lynton, a tig Torres mystery created an

0:25:23.200 --> 0:25:27.800
<v Speaker 1>executive produced by Heather Einhorn and Adam Staffaroni, written, created

0:25:27.840 --> 0:25:32.520
<v Speaker 1>and executive produced by Alex Sagura and Monica Gallagher, Directed

0:25:32.560 --> 0:25:35.960
<v Speaker 1>by J. B. Block, Produced by A Rupe Senna Kayla,

0:25:36.240 --> 0:25:41.240
<v Speaker 1>Chris Peterson and Sandy Smallen's art by Rebecca Mock, Creative

0:25:41.240 --> 0:25:45.840
<v Speaker 1>direction and design by Ryan mccamn, with performances by Rebecca Silaire,

0:25:46.280 --> 0:25:52.200
<v Speaker 1>J B. Block, Matt Gumley, Paul Guide, Jennifer Giles, Rachel Orum, Land,

0:25:52.640 --> 0:25:58.760
<v Speaker 1>Alba Ponsteleone, Shelley Shnoy, Luke Flattery and Gil Artino. Post

0:25:58.760 --> 0:26:03.840
<v Speaker 1>production supervisor Michael Sinterer, Nicholas, recording engineer and dialog editor

0:26:04.200 --> 0:26:10.080
<v Speaker 1>Michael Schneider, mixer Michael Sinterer, Nicholas, sound designer Justin Koehler,

0:26:10.560 --> 0:26:17.800
<v Speaker 1>composer Jared Faber, Creative consultant Monique Chavez, studio manager Clark Chang,

0:26:18.240 --> 0:26:24.159
<v Speaker 1>Production coordination Gail Artina and Laura Martin, Production assistant Rachel

0:26:24.200 --> 0:26:28.840
<v Speaker 1>Slotsky and Francesca Collo. Recorded at Navy Post in New

0:26:28.920 --> 0:26:33.000
<v Speaker 1>York City, featuring the song's Jupiter performed by Donna Missel

0:26:33.200 --> 0:26:37.560
<v Speaker 1>courtesy of Harvest Records under license from Universal Music Enterprises.

0:26:37.840 --> 0:26:41.800
<v Speaker 1>And Guardian Alien performed by Dana Williams, written by Dana

0:26:41.840 --> 0:26:45.639
<v Speaker 1>Williams s C, s A C and Aaron Fenning s E.

0:26:45.920 --> 0:26:49.399
<v Speaker 1>S A C. Courtesy of the Royalty Network, Inc. On

0:26:49.520 --> 0:26:54.159
<v Speaker 1>behalf of Smig's song ascap Captus Pallace s C. S

0:26:54.200 --> 0:26:58.600
<v Speaker 1>A C and Dana Williams Letha litt A Take Torre's

0:26:58.680 --> 0:27:02.240
<v Speaker 1>Mystery is a protect auction by Ironhorn's Epic Productions for

0:27:02.400 --> 0:27:06.040
<v Speaker 1>I Heart Radio had to Take Tourist dot com to

0:27:06.160 --> 0:27:11.159
<v Speaker 1>share theories, discover new evidence, and follow case updates. For

0:27:11.240 --> 0:27:26.240
<v Speaker 1>more information, visit Einhorn's Epic Productions dot com