Keith Morrison

Josh, what particular part of it drew you to doing this?

Mm-hmm.

We run into those characters a lot in this line of work, and they are on the surface charming.

They're able to somehow attract women, maybe, as you say, bright, smart women who are nevertheless charming.

They know how to fill a gap in a person's life.

Was she someone who had not had a long-term boyfriend or husband or had difficulty finding a romantic relationship?

And she's a university professor, for God's sake.

Well, they don't advertise themselves.

You know, somebody who is smooth and homogeneous and apparently very charming but has a violent undertow, they're not going to say, hey, by the way, I can be a violent guy.

Watch out.

You know?

Not clear.

However, after the fact, the whole business of moving the car and putting it in a place where some idiot might steal it, which, of course, some idiot did, indicates he's trying to cover up the crime, at least.

That's not true.

So before we pick up the case again, tell me about this neighborhood and where it happened.

But to get back there, to recognize where you are, must have been quite a moment.

You know, this is beginning to resemble an old-fashioned British detective story because, you know, it's a reporter drawn back to his home community and why there's a murder he should cover and how interesting the murder is.

And he follows it around from place to place in his old neighborhood, having feelings of connection.

That's not a British murder mystery.

You're getting all American on me now.