- 2 months ago
Psycho: The Lost Ed Gein Tapes is a chilling 4-part docuseries that dives deep into the twisted psyche of Ed Gein—the real-life inspiration behind horror legends like Norman Bates (Psycho), Leatherface (Texas Chainsaw Massacre), and Buffalo Bill (Silence of the Lambs).
In this series, we explore Gein’s disturbing crimes through rare archival audio, interviews, and dramatizations. We also connect the dots to Netflix’s Monster: The Ed Gein Story, starring Charlie Hunnam, and examine how Hollywood transformed Gein’s grotesque reality into cinematic terror.
🎥 Whether you're a true crime junkie or a horror film fanatic, this series uncovers the terrifying truth behind the myths.
👉 Don’t forget to like, comment, and subscribe for more deep dives into the minds that shaped horror history.
In this series, we explore Gein’s disturbing crimes through rare archival audio, interviews, and dramatizations. We also connect the dots to Netflix’s Monster: The Ed Gein Story, starring Charlie Hunnam, and examine how Hollywood transformed Gein’s grotesque reality into cinematic terror.
🎥 Whether you're a true crime junkie or a horror film fanatic, this series uncovers the terrifying truth behind the myths.
👉 Don’t forget to like, comment, and subscribe for more deep dives into the minds that shaped horror history.
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Short filmTranscript
00:00Transcribed by —
00:30The end of the 1950s, that's a time that we generally associate with this kind of perfect ideal of the American suburb.
00:502.5 children, the picket fence, the husband going off to work, the woman staying at home and tending the family.
00:58What's new, Hasbro?
01:00Mr. and Mrs. Potato Head with their own cars and trailers. That's what's new.
01:07Was that in reality what was actually happening the entire time? Of course not, right? Of course not.
01:12In 1957, this small-town Wisconsin horror story was being exposed to the world.
01:34The shock and the fear that suddenly gripped him when the grisly tale of Ed Gein became public.
01:42When you listen to the tape of Ed Gein, you almost anticipate hearing somebody act like a monster.
01:59Do you remember grassing the outer body?
02:03Yeah.
02:05There seems to be a real disconnect between this meek, quiet, solitary person and the gruesome things that they've discovered at his house.
02:16There's a number of questions when you analyze the case.
02:35Did he have sexual relations with the bodies?
02:39Could he have eaten some of the victims?
02:42There's very little that Gein is not capable of.
02:54We'll be in the hospital.
03:20Ed Gein's story is just so gruesome.
03:28Most people can't imagine what it would be like to excavate a corpse from the ground
03:35and then take the head and the skull and then create objects out of the parts that you take from a rotten corpse.
03:50We're not sure what it means to be a corpse.
03:56No, I don't think so.
04:00No, I'm not sure what it means to be a corpse.
04:05I don't know if it's the murders.
04:10It's the murders.
04:15It's the murders.
04:18I'm looking at additional records, maybe a little deeper into records, based on his
04:40initial examination and evaluation at Central State Hospital, Edward Gein talks about constructing
04:49masks out of the skin from the skulls of some of the people he dug up and then putting these
05:02masks on his own face.
05:23One could conjecture that in doing so, that is to say, putting these masks on is a
05:32way of transforming himself or being a different person for a moment?
05:37Is this a way of relating to the corpses and becoming intimate with them?
05:50He doesn't really talk about being sickened by the behavior.
05:54So clearly this had meaning for him and this was important to him.
05:59We know that he had these face masks, some of which he hung on his wall as trophies.
06:12You know, this is where Toby Hooper got the whole Leatherface idea from.
06:21I remember watching Texas Chainsaw Massacre for the first time when I was in high school.
06:30The thing that always stood out to me was the grittiness of how I was shot and the fact
06:37that it seemed almost in parts like a snuff video, the fact that Leatherface, the character, was loosely based on Ed Gein and because of the kinds of things that he was doing with people's skin.
06:52The house that Texas Chainsaw Massacre is modeled upon was the home of Ed Gein.
07:08The word that people used over and over again after they discovered the house was revolting.
07:12There's something about his home to me is very indicative of who he was too.
07:22There's just something about serial killers and kind of like what their homes come to represent to them.
07:27Like there is a house out there where there shouldn't be and there's also a bunch of fucked up stuff happening inside of that house where it shouldn't be.
07:33I love this shot where Pamela's walking up to the house for the first time.
07:52It's shot almost at ground level.
07:55We have lots of camera movement as she's walking in.
08:00And now she's about to enter this really, really awful room.
08:04The room that is, of course, drawing in large part on what Ed Gein's house would have looked like.
08:16There is so much about Texas Chainsaw Massacre that just feels so gritty, so grimy,
08:23and like you are stuck in this house with this entire horrifying family and you can't get out.
08:30That to me was so much of what made it so scary.
08:33It felt completely immersive because it felt so urgent, so real.
08:39The other reason that it's so urgent, it's so visceral, it's so upsetting,
08:44is because not only is it based on a real moment, but the house that Toby Hooper and the crew used to shoot Texas Chainsaw Massacre,
08:54well, they had filled it with all of these animal parts.
08:58And these animal parts were sitting there for days.
09:01She's really experiencing what it's like to be in a room with all of those dead animals,
09:10all of those bits of rotting animals.
09:13And, of course, as she's trying to get away from all of these horrors,
09:19this is, of course, the moment when Leatherface comes out.
09:26He's called Leatherface because he has a collection of masks that he has made out of human skin.
09:37That's the thing that really sticks out to me in terms of Ed Gein.
09:40It's the fact that he repurposed people's bodies,
09:43and that's what's so upsetting about him.
09:49It's the fact that he makes you a star guy and everything.
10:07What would you do with the sexual parts?
10:09That would be anything.
10:12One was painted, they said.
10:14Well, that one, you know, when they died,
10:19we got, um, uh,
10:23put the table.
10:26Is everything right, you know?
10:28Oh.
10:30Well, what would you do with the sexual parts, anything?
10:33No, that's the damn part of it.
10:36Just look at her?
10:37Well, we didn't do that.
10:38Actually, we've been not there for years.
10:43Well, we didn't make that.
10:48What makes Gein stand out is what he did with the bodies.
10:52If you look at a group of sexual murderers,
10:55only about 6% have engaged in necrophilia.
11:02Police say these two young men have committed an act
11:05that is so unthinkable,
11:07there isn't even a law against it.
11:09The men allegedly sexually assaulted two female corpses.
11:13Webster's dictionary describes necrophilia
11:17as an erotic attraction to corpses.
11:19Necrophilia is a paraphilia.
11:22It's an abnormal sexual arousal pattern.
11:25There's many different types of paraphilias.
11:28Pedophilia is a paraphilia.
11:29Fetishism, sexual arousal to nonliving objects,
11:33is a paraphilia.
11:34Voyeurism.
11:35Necrophilia is another paraphilia.
11:38Historically, law enforcers here in Florida
11:40charged necrophiliacs with sexual battery.
11:43That is, until a few years ago
11:45when a circuit court in South Florida ruled
11:47that consent is no longer an issue if a person is dead.
11:53We understand the psychopathology of sexual murder
11:57and all these other sorts of bizarre paraphilias
12:00much better today than they did in 1950s.
12:03Every mental illness has its causes associated
12:06with a patient's character, his upbringing,
12:09and the joys and sorrows he has gone through.
12:11The motivation for the vast majority of necrophiliacs
12:17is that a dead body is not threatening.
12:21Because these are people internally that feel weak and inadequate.
12:28The vast majority of offenders kill the person,
12:33then for some reason they're stimulated by the dead body
12:36and penetrate the body.
12:37In that case, the body is basically still warm.
12:40Not every case involving necrophilia involves sexual murder.
12:46I had a case of a guy who was a histology technician in a hospital,
12:51went to the morgue where they kept the slides because it was cool.
12:55When security left, he took out the corpse,
12:58the refrigerated corpse of a 91-year-old woman,
13:01penetrated her sexually using a latex glove as a condom.
13:06He didn't kill anybody.
13:08But you go where your psychology leads you.
13:13With respect to Ed Gein.
13:16This was not a spontaneous act where he killed somebody
13:21and then he penetrated the person.
13:23No, he was highly motivated to get corpses.
13:26What would you do with a psychopath?
13:32I wouldn't ignore your currency.
13:41Gein, he's creating items from most of its genitals
13:45and vaginas and nipples and these sorts of things
13:49in addition to skin.
13:51In Gein's case, he was wearing human skin,
13:55getting into human skin, this type of thing.
14:02You have to remember that this guy
14:06had grew up with more rage probably
14:09than anyone could ever imagine.
14:11And even though he couldn't readily express it,
14:16when you're that angry,
14:18you either direct it outward or you direct it inward.
14:21You become a murderer or you become sadistic
14:26or you become perversely involved in the kinds of activities
14:31that he found himself involved in.
14:36It's as perverse and bizarre as it can possibly be.
14:40Have you ever seen a case where a sexually violent offender
14:47has wanted to physically wear the skin?
14:50No.
14:51Is this completely unique?
14:52Well, as I said, there is a very rare delusion involving skin.
14:57I did have a case where a person thought that his brother
15:00was wearing a skin suit and he was an imposter
15:02and wound up killing him.
15:04But I've never had a case
15:06where a person wanted to wear somebody else's skin.
15:09I don't think I ever heard of a case like that
15:11in the annals of crime.
15:14How long ago did you start, Tom?
15:32Like I say, it might be four years.
15:35Shortly after Augusta died, Ed Gein closed off her room
15:46and, you know, it was the only room in the house
15:49that he never entered.
15:51He made it into a kind of little shrine.
15:53You don't have to go much further than look at his home.
16:00The place was total disarray, cluttered, dirt, garbage,
16:06smelled of rotting flesh and all the rest.
16:10And then look at his mother's room.
16:11It was completely preserved.
16:13Meet the way she left it.
16:23That's what's so unsettling about watching Psycho.
16:32Here in Psycho, we have it linked up
16:35with the possibility of it actually being a real story,
16:38and that makes it really, really scary.
16:43Mrs. Bates.
16:48Norman Bates's motivation to kill
16:50is that he has this long-term obsession with his mother
16:54that's so much in keeping with Hitchcock's more raw approach.
17:07You can love your parents,
17:09but still a healthy person strives in a sense
17:12to be able to formulate some kind of critique
17:15of what, you know, you like or didn't like
17:18about the way they raised you.
17:20I don't think he was able to do that in any conscious way.
17:23So there's a kind of closeness that's pathologic.
17:29He could not separate himself emotionally,
17:33psychologically from his mother.
17:35This is all in his mind.
17:41One of the most infamous aspects of the Gein case,
17:45it's the one that Thomas Harris employed in Sansa Lemp,
17:51was Gein making a skin suit.
17:59He flayed the legs from a corpse.
18:04He flayed the upper torso,
18:06including the breasts from a corpse.
18:08He dried them.
18:11He apparently attached some kind of strings,
18:14and he would put on this skin suit.
18:26The skin suit, I think,
18:29has an entirely different meaning for him
18:32than anything else that he did with these bodies.
18:41I think the skin suit was the real project.
18:48It raises a couple of possibilities.
18:51This is his way of becoming more intimate with mother,
18:57if not literally his mother.
19:06I think that with what we know
19:07about his attachment to his mother,
19:09that that is a much more kind of compelling example
19:12of him role-playing
19:14and desperately just trying to feel her presence again,
19:18even if it means just stepping into this suit that he's made.
19:22And my understanding of the case is,
19:28the reason he couldn't disinter his mother
19:30is I think there was cement around the coffin itself,
19:33which often happens in some cemeteries
19:35for erosion reasons and so on.
19:37I think that was his problem.
19:39I think Ed was far too scared of his mother
19:46to ever even attempt to dig her up,
19:49because I think it had to be her choice.
19:51It had to be something that she wanted.
19:52He was never going to make her do anything
19:55that she didn't want to do,
19:56and she was only going to come out of that grave
19:58if she wanted to come out.
19:59All men should respect women so much.
20:01Sure. Yeah.
20:02It's great.
20:04Because he can't bring his mother's corpse
20:06back to the home where he wants to have his mother,
20:10the skin suit becomes a type of role-play
20:14where he can step into the skin of his mother,
20:18even though it's not the skin of his mother.
20:28He can step into some object that represents his mother,
20:32and for whatever period of time,
20:35he can kind of resuscitate her
20:37and play as if he is her.
20:41My hobby is stuffing things.
20:43You know, taxidermy.
20:45So clearly both Norman Bates and Ed Gein
20:48are a little bit obsessed with their mothers.
20:51A man should have a hobby.
20:53Well, it's...
20:55It's more than a hobby.
20:58In this scene, we start to learn a little bit more
21:01about Norman Bates's mother.
21:04We're also learning that he's very into taxidermy.
21:12We'll learn later at the end of the film
21:14that Norman Bates has been keeping his mother taxidermied
21:17in his house.
21:18It speaks to this idea of the 1950s American family ideal,
21:32where you should respect your mother,
21:34you should adore your mother,
21:35and then how easily that gets kind of twisted
21:37into absolute obsession and absolute darkness.
21:41I think this is a real moment where we see horror as a genre
21:46developing this notion.
21:53Look, Mama.
21:55I brought you a visitor.
21:57I brought you a visitor.
22:14In terms of the skin suit he made,
22:16a lot of what Gein did had to do with resurrecting his mother.
22:21But the other part of it is, you know,
22:24Gein's fantasy about becoming a woman.
22:31We know that he avidly read stories
22:34about this ex-GI
22:38who went to Sweden
22:43and had a sex change operation.
22:46and came back as Christine Jorgensen.
23:01Christine Jorgensen, who made world headlines
23:03when she was transformed from a former GI into a woman,
23:07is now a Woman of the Year,
23:09a title bestowed upon her by the Scandinavian Societies
23:11of Greater New York.
23:17There was a lot of publicity about Christine Jorgensen,
23:20and, uh, Ed followed that case very closely.
23:24I am, uh, deeply honored
23:27and most sincerely touched.
23:29Ed Gein was also obsessed with the Christine Jorgensen case.
23:35When he was interviewed by a psychiatrist later on,
23:38he did say that when he was a little boy,
23:40he did often wonder what it would be like to be a little girl.
23:44Oh, yeah.
23:45I mean, it's weird because the entire thing, uh,
23:47is filtered through the lens of Ed Gein.
23:50You know, it's still filtered through this, like,
23:52demented lens.
23:54But he definitely was looking for sense of self, though, right?
23:56Oh, yeah.
23:57Just trying to figure out who he is.
23:58Sure, surely.
23:59What is he doing in Plainfield, Wisconsin?
24:01What's the point of life?
24:02And I guess it just led to him making a skin suit.
24:10If you're inclined or sensitive to or vulnerable to input
24:15from magazines or movies you see or stuff you read,
24:20you know, it may find its way into your imagination
24:23and then start to incorporate that into your own fantasy life.
24:31You know, I think about things like sexual identity
24:33and sort of, who was this guy sexually?
24:37And I don't know if he knew,
24:39but it would seem as though he never had sex.
24:45It seemed as though his mother cautioned him
24:48that you shouldn't have sex unless you marry a woman.
24:55So...
24:58Was there something sexually gratifying about this?
25:07Necrophiliacs disinterred bodies
25:09for the purpose of having sex with the corpse.
25:12That's why they're doing it.
25:13In Gein's case, it could have been
25:15that he wanted to have sex with his mother.
25:17There's certainly a lot of Oedipal dynamics
25:19that psychologists and psychiatrists talk about all the time.
25:23He may have been to the point where his years of wallowing,
25:30this very bizarre lifestyle,
25:32just wasn't doing the trick for him anymore.
25:40It might be satisfying on some level for him
25:43for many years to defile...
25:46dead bodies.
25:49But there's nothing more powerful in killing someone.
25:52What?
25:53What is the fact that he's killed?
25:54What?
25:55What is the fact that he's killed?
25:56What is the fact that he's killed?
25:57What is the fact that he's killed?
25:58I had to escape from killing someone.
25:59I got you.
26:29Mary Hogan, there were all kinds of rumors
26:53about her background.
26:56She was a plain-spoken woman, apparently
26:59with somewhat of a profane tongue,
27:01who ran this little roadhouse tavern
27:04that Eddie sometimes patronized.
27:13Mrs. Hogan, that was the little tavern up there.
27:18North of where our farm was, it was probably four miles up there.
27:24Mary Hogan, Ed Gein, sort of saw her
27:27as this dark shadow side of his mother, you know,
27:32where his mother was a saintly figure.
27:35Mary Hogan was the embodiment of all that was most corrupt.
27:43Some customer came in, saw evidence that there had been
27:48some kind of commotion in the tavern.
27:58Mary Hogan was gone.
28:00There were some overturned chairs.
28:02There were bullet casings and some bloodstains.
28:06It was clear that something dire had happened.
28:08I would have been, what, 13, 14 years old.
28:18Mary Hogan was missing.
28:20And I suppose they had found some blood.
28:24Nobody knew who did it.
28:25Were you in there the other day she was missing?
28:38No.
28:39No.
28:47Ed Gein is confronted with the gravity of what he's done
28:52and is unable to own up to it and accept responsibility.
28:58The funny thing was that after that it happened,
29:01the Thresh and crew, they were talking about it with Eddie.
29:04And Eddie says, I got her down to my place.
29:06And I said, Eddie, you fool, you haven't got her down to your place.
29:10And he said, yes, I do.
29:11And, you know, everybody laughed and joked about it.
29:13And that was the extent of it.
29:18He was telling the truth.
29:19He did have her down to his place.
29:22Wisconsin people have a great sense of humor.
29:23They really do.
29:24And it is kind of funny.
29:25That one is strange to me.
29:27What's interesting about the Mary Hogan accusation
29:37is that he denied killing Mary Hogan for so long.
29:44It wasn't until they had to tell him, like,
29:46we found her head inside your house.
29:49Once investigators were going through Gein's farmhouse,
30:07one of them found a paper bag and just reached inside him
30:14and pulled out this head that he immediately
30:18recognized as Mary Hogan.
30:27I went with Arnie Fritz and the sheriff
30:31out to Ed Gein's house.
30:35I searched the kitchen and found in the stove
30:41where there had been some human bones burnt.
30:48Shoe box had the face mask of a woman.
30:58And by that time, the sheriff from Portage County was there.
31:04And when they lifted up that face mask,
31:06he immediately recognized it as Mary Hogan.
31:10When you say face mask, what are you talking about?
31:13Well, he took the skin, cut it up at the back and there,
31:17and just peeled it off the face, the skin.
31:21The hair and everything was on the mask.
31:23Basically, the head, it was rigged up so it could be worn.
31:37In terms of his necrophiliac urges, you know, it's like he ran out of bodies.
31:59You know, there wasn't any suitable body in the graveyard at that point,
32:02so he decided to create his own.
32:10Ed Gein was devastatingly curious about the female form.
32:15Yes.
32:16The only female form that he knew was his mother's.
32:18And he actually developed a form of sexual attraction to his mother.
32:23No one knows what's going on in his interior life.
32:30He has not said a single one of these thoughts to another human being.
32:38And there's a curiosity that is building inside of you.
32:41So it's like, it's a further of like, just like, weirdly just being obsessed
32:46with the female form and just wanting to see it.
32:48It's such an intimate act, murder.
33:06Especially when it's close.
33:10He wasn't getting enough out of the dead bodies emotionally.
33:14The next place to go would be, well, let me take someone's life.
33:44Ed Gein says in the tapes several times that he can't remember.
33:57This is an individual who does not have the emotional, social development of an adult
34:04being confronted with the gruesome crimes that he's committed
34:08and trying to find a way to soften his responsibility.
34:14This is a way to kind of distance himself from the heinous
34:44crimes that he's committed by feigning that he has amnesia,
34:48that he can't remember, that he goes into a haze,
34:51that he becomes this other person.
34:53When you dig these graves up, you were kind of in a haze too, is that it?
34:57That's what I could just, uh, uh, how do you do it?
35:04And then one time you said you were trying to realize what you were doing
35:07and you covered her up without taking the thing.
35:09At one point, after multiple rounds of this, where he says that he can't remember,
35:16he says that if they can show that it was my gun that went off, um, then I guess it was me.
35:22He's describing an object that is of his possession committing the crime as if it has agency or autonomy in the world,
35:29when in fact, you know, he is the one committing this violence.
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41:05We know that he had brought some .22 caliber shells with him.
41:35Gordon's hardware stocked a lot of the supplies for people who were doing farming and so on.
41:50It also stocked rifles.
41:54Ed Gein took one of the rifles.
42:01When her back was turned, he loaded the rifle.
42:05Do you remember Calendry?
42:09That's what I can't remember.
42:31We're in Main Street, Plainfield, Wisconsin.
42:33This is the main drag.
42:37This had been all dirt roads back in the day.
42:45Okay, this is the hardware store.
42:47It's a little different than it was back in 1957.
42:49Actually, the spot where they kept the guns was in the back of the store.
42:54Bernice Warden was actually looking out the window across the street where the gas station was
42:58when she got shot in the back of the head.
43:08Ed Gein walked back in the store and wanted to see a .22 rifle that was in the back of the store.
43:13So Bernice got that for him.
43:15And she went up front by the counter to look out the window out at the gas station.
43:19Ed Gein pulled a bullet out of his front pocket, loaded it inside the gun, and shot her in the back of the head.
43:24Now, the back of the store has changed a little bit.
43:36This part sticking out was not there.
43:38It was totally flush.
43:39Now, right about where these glass doors was is actually an overhead garage.
43:42And inside that was where the warden's hardware truck was parked.
43:46It was a pickup truck.
43:47Ed put Bernice in the back of that pickup truck.
43:52When you go inside, you can kind of feel heaviness on you.
43:55Like, this is a historical spot to me.
44:04Welcome to Plainfield.
44:05It was kind of hard to drag her around the store, though, wasn't it?
44:13She's quite a heavy woman, wasn't she?
44:16Did you throw her over your shoulder?
44:22To drag her around.
44:31After executing Bernice Wharton,
44:33Gein dragged her body out the back of the store, loaded it into her truck.
44:48Ed Gein drove to his farmhouse, dragged her corpse into his woodshed,
44:55and then walked back into town, distance of about six miles, I think,
45:01and got in his own car.
45:07Do you do well?
45:09Do you remember carrying her in the truck?
45:10With that, I couldn't, uh,
45:14slightly.
45:31We're currently at Ed Gein's land on the corner of Second Archer.
45:46And this is where Ed would have drove his car in when he had Bernice Wharton in the back.
45:50Exciting standing here.
46:05This is the frickin' property, man.
46:07This is where it all happened.
46:19I love it.
46:20Do you remember Gresson's outer body?
46:37Do you remember Gresson's outer body?
46:41Yeah.
46:43That's true.
46:49The floor was dirt, and basically she was hanging from the rafters on a hoist.
46:53And she was basically totally gutted by, like, a deer and no head.
46:57Well, how was she hanging up there?
47:04Well, uh, years ago, uh, a man was going to go deer hunting.
47:10I did experiment with me, you know?
47:13I thought I was gonna take my shot in and use drugs.
47:17I put that up and was gonna go deer hunting.
47:19That's the place that she was hanging from.
47:22I don't know whether I've seen her and figured she was a deer, right, or...
47:37On the tapes, you hear the judge say multiple times,
47:41you gutted her like a deer.
47:43Well, you kind of thought you were deer.
47:44Well, that's good.
47:45That's the way it could be.
47:47And someone else is like a deer.
47:52It's a community where people are used to hunting.
48:01Used to working with their hands.
48:05They're familiar with knives.
48:09And the practices that you would use to skin and kill animals
48:13is something that could be transferable to humans.
48:15He had no empathy or no ability to connect emotionally or psychologically to her.
48:24And I guess he wanted to clean her up, get her as clean as possible
48:29by bleeding her, you know, like a deer or like an animal,
48:34so that he could get on with the business of what he wanted her to do,
48:37which is probably to skin her.
48:39What did you use to cut her?
48:47You got some knives there that you used for that?
48:49Uh, very nice.
48:52It's just not even possible for any normal person to, you know,
49:06imagine that kind of mentality.
49:22committing these atrocities on female bodies, you know, was just,
49:32was just part of his life.
49:33How did you, uh, how was you hanging up there?
49:39You were hanging on feet.
49:40On the feet.
49:41After Ed was caught, townspeople started telling stories about Ed having come to their house
50:07and offered them venison from the deer he had killed.
50:11By his own admission, Ed had never hunted deer.
50:37So, the point of those stories was that
50:46they now realized
50:50that the meat that Gein was offering them
50:53was actually human flesh.
51:06that they were killing him because
51:08they started toす' spot and there were not
51:08anyDan can cover them about
51:10what he wanted to tell
51:11that they were
51:13that he grew up in the building at Mark Coobs.
51:15If one of them david blows my son claimed from the twitter in zoolins,
51:22is that the most if they was killed...
51:25And the negative one was killed a victory.
51:28they then would battle for each other outēto
51:29until the blatant signal.
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