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Ethan Thompson
Ethan Thompson

[S1E7] I Found Out What The Secret To Murder Is...


We still have three episodes to go -- or only have three, depending on how you look at it. At this point, we know -- the audience that is, not the trio -- the secret behind Zoe's death, one of the Arconia murders. What will happen when Mabel finds out?




[S1E7] I Found Out What the Secret to Murder is...



Just a few days after the Huling murders, Stearns County investigators interviewed the man who eventually would be convicted of the crimes, Joe Ture. Ture was eating breakfast at a Clearwater restaurant and harassing waitresses when one of them called the police. Inside his car, they found a metal rod wrapped in a steering wheel cover, a ski mask and a small toy car. Ture acted suspiciously during the interview, but without evidence to hold him, a judge let him go. Once free, he committed a series of crimes, including the 1980 abduction, rape and murder of Diane Edwards, a waitress in West St. Paul, Minn.


In an unsolved case from 1974, two sisters, Mary and Susanne Reker, left home in St. Cloud to buy school supplies and never returned. They were found by two teenage boys 26 days later, stabbed to death in a rock quarry. Their bodies were discovered in October that year, right before the November sheriff's election. The girls' mother, Rita Reker, said the department was too preoccupied to investigate their murders. "They were busy with the elections and all," she said.


Richard Osman 00:41Yes, fascinating. We live, we live in a world where the cultural narrative is sort of run by 25 year old people in the gym and on Instagram. And it sort of leaves a wide open goal to write about these characters. You know, you've got these character, Mike, four characters, they're all in their 70s. You know, they meet up to solve crimes. And they're so underestimated and overlooked and considered harmless and ignored by popular culture, that I get the chance to write these heroes. And it seems like I'm doing something revolutionary. And of course, I'm not I'm not doing anything I'm just writing about for people who happen to have interesting lives, who happened to be wise, who happen to be quite unlikely friends, but this extra sort of kudos, that says, Thank you for challenging, you know, the normative thing. Again, I wasn't intended to challenge anything I was intended to write about people I found fascinating. But it's interesting, the outpouring of love, they get on the upper end of people to say Thank God, you know, as you say, this is not somebody who has just met up with an old university friend, you know, it's not sure what the rest of my life is gonna take, you know, these, these are people who've seen it all and done it all.


Richard Osman 07:51Well, here's, here's honestly, what I think the secret is that because I'm sort of half and half to be honest. In my head. I know who did it. But I'm not I'm not averse to changing my mind. But the whole point with a mystery, I think is that every everyone has to be a convincing suspect. Okay, so I'm writing it as if anyone could have done it. So actually, if I changed my mind very late on the day about who did it, I don't actually have to go back and change anything. Because I've made everyone a suspect anyway, you know, I might go back and add a little something extra, it might take a few bits and bobs out. But I'm not suddenly going to have to know that someone's not in the scene three minutes going to prove that they didn't do it somehow. And then I've got to say actually, they did. The whole point is everybody as a suspect all the way through. And therefore it's sort of if you get towards the end, see, that's the thing if you're if you get to the end of the United sort of thing, okay, my final destination, but then you suddenly go, hold on a minute, what if that was a bluff? You know, what if that whole plot was a bluff, and you know, actually Person X did it, then great. You don't have to change a single word, you just have an extra Excuse me. You don't have to change a single word. You know, you just have to add a bit of the end of what you don't have on it. That was all about this person. But you're not cheating anyone because you've set everyone up as a suspect anyway. So I think it's a sort of false dichotomy. I think that I think you can decide who it is or you can't decide who it is the writing process, I think is identical.


Richard Osman 11:38So Okay. Here's the secret to it. You know, I love crime fiction. I always love crime fiction. The one thing that's very hard is is comic crime fiction, because jokes take you out of a situation. And that's not what I what I want people to be immersed. So right from the second one, Scene one, Book One, I did not set out to write a funny book, I'm setting out to write a series, but I'm not, there's not a single one liner in the whole thing, right? There's not a single setup punchline in any of the books. But it is my default option in my head. And as I might in scenes, the characters, or the humor, all of the laughs or where the jokes come from genuine character, it comes from the response of someone genuine to a genuine situation. So yes, they do make me laugh, because, you know, you'll send someone in with a gun. And then Joyce says something with sort of which, to me feels unexpected. And so I'm laughing because it's funny, but at the same time, I'm not saying, Oh, look, here's a here's a writer telling you a joke, right? I'm literally just saying this is how Joyce responds to a guy with a gun walking into the room. So the key, I think, to making them funny is to have characters who have a particular view of the world have a particular take on the world, which again, is sort of easier when they're in the 70s. Because they get much less of a toss of what anyone thinks about them, you know, and by myself Teddy, the first thing on their mind, which is always a funny characteristic. And so the secret of them being funny is me desperately trying not to be funny. At all times. That's all the way through the book. Don't be funny turn to a joke. Don't Don't do a joke. And then but occasionally the characters do want and I have to let them.


Richard Osman 21:50They'll always be more with me. But excellent, I'm gonna hold you to it. Yeah, and the interesting thing about Thursday murder club, because they're not traditional detectives. They're not a detective agency. And so it's actually quite hard to keep the plots up without suddenly being random without being like Murder, She Wrote them, you know, it's the death of the week. And they turn up. And that's, that's not what I wanted to do. And so the first of all, books are all sort of a continuum continuum, each other, and it depends on the first book lead to the events of the second, and so on. And the fact that the first book exists, is the thing that sets them on the path for this sort of mayhem that they'd like to for the next three. And, you know, the next series of books I want to write, I really, really want to have a traditional detective, I want to have someone who can sit in an office, have someone knock on the door, and say, Here's your plot, for this book. Take your plots, please do not I mean it because it's that to me, and then I can, then I can sort of do anything, I can take any plot from anywhere in the world. And just like people, like the detectives, I've got a detective do over the next one. Then I can go anywhere in the world, and do anything and have any sort of crime. And so firstly, murder comes much more of a complex piece and much more of a world. It's like, like the Marvel Cinematic Universe, but 70s. And it'd be lovely to have a series that is required, and to be able to sit in your office and someone tell you that someone's stolen a Jade Scorpion, you know,


After being sent by Brennan to photograph the surrounding area of the crime scene, Zack suddenly realizes the significance of the numbers that were found with the victim. They appeared to be a phone number but they actually correlated to the time and place of a meeting the victim had on the night of her murder. Hodgins determines the victim may have been moved from the crime scene before she was deposited at the place where she was found. Brennan declares that they need to exhume the body to determine where the victim was killed. Meanwhile, Booth visits the victim's family and their lawyer, David Ross ,who he becomes suspicious of.


Booth interrogates Ross, who claims that the victim had run away after they had engaged in sexual intercourse and that he had waited for her to return for two hours before leaving the parking lot. After FBI Deputy Director Sam Cullen agrees to grant the resources Booth and Brennan need to find the evidence they need from the marsh, they discover more bodies in the marsh, which convinces Booth that they had the right guy all along. Epps was the killer and he had manipulated his defense lawyer, Booth, and Brennan to discover the remains of his other victims. Booth remarks that Epps has them in checkmate; if they don't call about the bodies in time, Epps can never be put on trial for these murders. However, if they do call, Epps will get a stay of execution until the other murders have been investigated. Brennan tells him that it's their duty to give the victims justice. Booth calls Amy and tells her what has happened.


Ellie questions Susan Wright. She says that in addition to the skateboard, they found cigarettes matching Susan's brand in the sand around Danny's body. At first, Susan denies knowing anything. Ellie threatens to charge her and have her dog put to sleep when found. Reluctantly, Susan says that she was out walking her dog the night of Danny's murder when she saw the body from the cliff top. She made her way down to the beach and looked at Danny's body. Ellie finds it odd that Susan would stand over a dead boy's body and smoke cigarettes and then not tell anyone. Susan says that Danny was "beautiful" and that she knew his body would be found, but that she didn't want to get involved.


Hardy interrogates Nigel. At first he claims not to know Susan Wright, but when Hardy tells him that they found her dog in his garden he admits to knowing her. At the same time, Ellie is interrogating Susan. Susan says that Nigel came to her trailer and threatened her with his crossbow because he "didn't like what I was saying" but she claims to forget what she said to have angered Nigel. Hardy pressures Nigel about Danny's murder. He says he wasn't involved in it. Hardy pressures him as to why she would accuse Nigel of dumping the body and Nigel says that it's because she's his mother. 041b061a72


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