- 15 hours 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 —
00:30I was doing emergency coverage at Mendota Mental Health Institute.
00:47I was on the ward, and one of the nurses said, have you met Ed Gein?
00:52I said, no, I haven't. But she said, well, let me introduce you.
00:55I knew that he had murdered two people
01:01in this tiny town in the middle of Wisconsin.
01:07Then I learned all the other things that he had done.
01:16Make lampshades out of human skin,
01:20take skulls and make soup bowls out of them,
01:23and had a tremendous number of things that he did
01:28that were kind of macabre.
01:33One of what parts would you take, Paul?
01:36The head.
01:38And the sexual part.
01:41Yeah.
01:42He knew that they had made a movie.
01:49The comparison between the two of them
02:00was so right on
02:03that it was very, very scary.
02:11But I was interested.
02:13I've always been curious.
02:14That's been my downfall.
02:17That's been my downfall.
02:44You know, over the years,
03:05when these movies would come out about Ed Gein,
03:07I never was really interested,
03:10because we live the fact.
03:12It's a terrible thing for Ed Gein.
03:16It's a terrible thing for the people involved,
03:19and it was a terrible thing
03:20for the whole community of Plainfield.
03:27Why Ed Gein done what he done, I don't know.
03:30It's just too bad that the whole thing happened.
03:33Don't know what to call him.
03:34I don't know if he was deranged or if he was insane.
03:37I'm not proud to connect my dad with Ed Gein,
03:43but I'm proud of the way he handled the case
03:47and that things were handled the way they were handled.
03:52You're going to kill me?
03:56No?
03:56No.
03:56No.
03:57No.
03:58No.
03:59No.
03:59No.
03:59No.
04:00No.
04:04No.
04:19No.
04:20I once made a movie rather tongue-in-cheek called Psycho.
04:40A lot of people looked at this thing and said, what a dreadful thing to do, how awful and
04:51so forth.
04:52But of course it was to me, it had great elements of the cinema in it.
05:00Psycho originally appealed to one of Hitchcock's assistants who placed the novel in front of
05:04Hitchcock and said, let's do this next boss.
05:08We all enjoy, shall we say, putting our toe in the cold water of fear.
05:20Hitchcock had just made North by Northwest.
05:24And what came after this was the birds.
05:30Psycho is a kind of outlier for Hitchcock in many ways.
05:33First of all, of course, it's much more of a horror film compared to the suspense that
05:37he typically is associated with.
05:41Possibly what drew Hitchcock to Psycho was the idea that this was an American small town
05:48horror story.
05:50story.
05:51I think he was so attracted to this material in general because he was interested in what
05:59makes a character tick and how we can understand a character via that character's psychology.
06:03The name of Ed Gein means return of memories, memories that many have been trying to forget.
06:17Hitchcock attempted to get financing through his studio for this.
06:26And the studio pushed it away, rejected it and said, you can't make this film.
06:30This is not what we want.
06:33And so what Hitchcock did was enforce the terms of his contract, which gave him creative control
06:38over even big questions like, okay, what film are we doing next?
06:42You have to remember that this process of frightening is done by means of a given medium, the medium
06:51of pure cinema.
07:02Hitchcock used his TV crew, not his film crew, to make this.
07:08And that's part of the reason why the film's in black and white.
07:12When his previous films had been in color, he was using the tools that his TV crew knew best
07:18to make this film.
07:26That's one really interesting thing about Psycho.
07:29Of course, at that time, black and white is still a little bit more associated with realism
07:35than color film, right?
07:36Because color has this long history of being used as something of fantasy.
07:41Think about The Wizard of Oz.
07:42When Dorothy goes to Oz, all of a sudden everything's in color.
07:46We still kind of had those associations with black and white versus color by 1960.
07:52We don't think of Psycho as like a realism, realistic kind of movie.
07:57But the use of that particular kind of film stock actually places it much more in the realm
08:03of lived experience and of the world.
08:06The assembly of pieces of film to create fright is the essential part of my job.
08:14It's not just as much as a painter would, by putting certain colors together, create evil
08:22on canvas.
08:24Well, I run the office and tend the cabins and grounds and do little errands for my mother.
08:35I think the first time I saw Psycho, I was a teenager.
08:40I think I was about 15 and it scared the living daylights out of me.
08:43I was absolutely terrified.
08:44I mean, it was just absolute terror.
08:47The movie signals something about this interest in violence, this interest in the kind of perversions
08:55underneath the placid surface.
08:57Sometimes, when she talks to me like that, I feel I'd like to go up there.
09:02This is a shot that is so famous.
09:05And many people turn to this shot when they're talking about Psycho.
09:08And that's because this is a really, really great low angle here where we see Norman Bates.
09:14Something's very, very wrong.
09:16Something's wrong in Norman's psychology.
09:18All is not what it seems.
09:20And this is the scene where Norman says something equivalent to a boy's best friend is his mother.
09:26One of the things that we can see as Hitchcock's career progresses is that he really uses a lot
09:32of these kind of psychoanalytic approaches and approaches to character psychology.
09:37And that was part of what made it such a raging success.
09:50Psycho was released just over two years after Ed Gein's crimes were discovered.
10:00I've suggested that Psycho be seen from the beginning.
10:05In fact, this is more than a suggestion.
10:09It is required.
10:14This was the very first time that audiences were not allowed to enter the film after
10:20the movie had started.
10:24So if you wanted to buy a ticket and go see Psycho, you had to get there when it started
10:28because Hitchcock didn't want anybody to give away the twist.
10:31No one, but no one will be admitted to the theater after the start of each performance
10:37of Psycho.
10:40Audiences loved the film.
10:43It was amazingly popular.
10:46But reviewers less so.
10:50And in many of the reviews, Hitchcock was getting a lot of credit for like, and wow,
10:54Hitchcock had the courage to kill off the main character so early.
11:00This film had a horrible scene at the beginning of a girl being murdered in the shower.
11:04Well, I deliberately made that pretty rough.
11:08But as the film developed, I put less and less physical horror into it.
11:16I was transferring it from film into their mind.
11:19So towards the end, I had no violence at all.
11:22But the audience by this time was screaming in agony.
11:27Psycho's a lot more raw than earlier Hitchcock films.
11:31And I don't want to make it sound that Hitchcock wasn't interested in psychology before.
11:36But here in Psycho, we have it linked up with it actually being a real story.
11:41And that makes it really, really scary.
11:45It's in the title.
11:47It's about somebody being a psychotic.
11:51And that is really different from just saying, this monster's outlandish.
11:56This monster can never happen.
11:59Here we have a monster who is defined by the inner workings of his brain.
12:06And that's what I think makes it such a different horror film.
12:12I grew up in the 1950s, Baby Boomer, and going to the movies all the time.
12:17And all the monsters, all the monsters in movies back then were alien in some way.
12:35What Hitchcock did with Psycho was he created the first, like, all-American cinematic monster.
12:42And it was, of course, directly inspired by Gein.
13:08I was doing emergency coverage at Mendota,
13:12Mental Health Institute.
13:14I was on the ward, and one of the nurses said, have you met Ed Gein?
13:19I said, no, I haven't.
13:21But she said, well, let me introduce you.
13:23I was interested.
13:25I've always been curious.
13:27That's been my downfall.
13:29I saw the movie Psycho when I was in high school, and I was terrified by it.
13:44I remember I was with a girlfriend of mine.
13:47We had gone to see the movie.
13:49When we left the movie, we walked down the middle of the street, because we weren't going
13:54to be near anybody who could do anything to us.
13:56When you saw the rocker, the rocking chair, and you saw the mother, and you saw him, you could
14:09see that Ed Gein was the prototype for the character.
14:15The first meeting of him, he was in what we call the day room, and I went up to talk to him.
14:26We would talk about the weather, we would talk about some of the things he remembered about
14:55his life.
14:57He was aware that he had been very much written about and talked about.
15:02Nice man, just like anybody else, who seems to be a harmless fella, you know.
15:10I knew his dad more than 40 years ago when he used to haul potatoes in town.
15:16He was very soft-spoken.
15:18My sister-in-law, she's in a home now.
15:22He said, did you know, Eddie Gein killed Mrs. Wharton?
15:25I'm afraid that if people found out about that, there might be quite an uprising.
15:32He knew that they had made a movie in which he was the prototype for the character.
15:39Ed Gein was Norman Bates, Norman Bates was Ed Gein.
15:50Mild-mannered, attractive, nice to people around him.
15:56But very much hidden were all of the crazy things that he did.
16:13Some people had made movies or some characters after him, but that didn't make him any better.
16:21He was just very bland about everything.
16:24He never seemed to show much emotion.
16:29But that's so common in serial murderers.
16:33But he didn't like to talk about his crimes.
16:37He didn't want to glorify it.
16:41Psycho was such a powerful movie.
16:50He had so many people after him.
16:55He was hounded by everybody.
16:57So there was a bunch of photographers from the newspaper who want to take a picture.
17:04Do you want him to take a picture?
17:06No, no, of course not.
17:08He will get taken straight along.
17:12There will be an auction here Palm Sunday.
17:27But this house and the personal belongings of Ed Gein will be conspicuously absent.
17:32Call it an act of God or whatever you will.
17:35The main attraction will be missing, reduced to a mass of rubble by a mysterious fire.
17:41All we knew is that that one morning we got up and Ed Gein's house had burnt down.
17:50The farm where Ed Gein lived and where much of the grisly evidence has been found has been leveled.
17:58It burned down one night.
18:00No one knows why.
18:01But since then, the ground has been bulldozed over and trees planted there,
18:05trying apparently to wipe out every vestige of the grisly tragedy.
18:10We had heard that it took a long time for the fire department to get there.
18:15I'm sure it was arson and I think there was proof of that, but everybody was glad.
18:20We'd heard they were going to make a museum out of it, and that would be the last thing that the community needed.
18:35After it burnt, everybody was glad that it had burnt rather than having a museum of a sick man's home.
18:56The people of Plainfield in the area hope that ten years...
19:07Oh, stop.
19:08Stop a minute.
19:10But a period of ten years isn't enough for people to forget.
19:20And the farmers and people of Plainfield hope they won't have to return to the agony,
19:25the notoriety that accompanied the Ed Gein case just ten years ago.
19:40He was found incompetent for many years, and I think the reason was is because what he did was just so outrageous.
19:54It was so bizarre that the psychiatrist that evaluated him as well as the judge probably said,
20:00I just don't know. Let's just wait and see what we have.
20:04Eventually, he was found competent to proceed because he always was competent.
20:14Oh, he looks somewhat healthier. He was rather, seemed rather dark and gaunt personage ten years ago.
20:21He seems more like a middle-aged businessman at this time.
20:27Ed Gein, he had all kinds of fantasies about traveling to Europe.
20:33This is the courtroom where Ed Gein was.
20:55Hey, Wes.
20:57Nice to see you.
20:58This would have been whereabouts Ed Gein stood when he was on trial.
21:05Pretty much think it's identical to what it was back then from the photos I've seen.
21:10Judge Robert Gomar presided over Gein's 1968 trial.
21:25Gein was found insane.
21:27When he first appeared before me, I got the impression somewhat of a puppy.
21:34He's a small, neat-looking man, and he stood there with a kind of a ingratiating little smile on his face.
21:42It was obvious he wanted to make a good impression on the judge.
21:46If he'd had a tail to wiggle, I'm sure the puppy description would apply to him.
21:53I had contacted Judge Robert Gomar and was invited to his home.
22:03He did have this kind of Colonel Sanders aura about him.
22:10He kind of basked, I think, a little in his connection to the Gein case.
22:18Because it was obviously kind of the highlight of his judicial career.
22:24And he had taken advantage of his position in the case to write a book about Gein.
22:35One thing he did do in the book was reproduce crime scene photographs of Bernie's warden's violated corpse hanging from the rafters, disemboweled, very shocking photographs.
22:52Which had incurred the anger and the resentment of the people of Plainfield because they felt those photographs should never have been publicized.
23:05He took parts of the people home with him.
23:11He took the skin of women particularly.
23:15He decorated furniture with it.
23:18But he made many other items out of it.
23:23At that time, I don't know if it still holds, but Wisconsin had what they call these bifurcated or split trials.
23:32First, Gein would be tried for the murder of Bernie's warden.
23:37Then he would immediately have another trial in which his mental competence would be determined.
23:43My folks never talked about the trial.
23:49I don't think that they thought we needed to know these horrific details of the crime.
23:56We knew that my dad was having, we thought that my dad was having heart problems.
24:01My dad would get such bad pains.
24:04And I hated to see that.
24:06I'd say, Dad, what's the matter? What's the matter?
24:08Oh, nothing. I just got indigestion, he'd say.
24:11But then one night, it was just a massive heart attack and that was it.
24:15He had just turned 43 years old.
24:18One of his relatives said that this sheriff was actually the last victim of Ed Gein.
24:24Because he was so disturbed by what he'd seen and so disturbed by what Ed Gein's actions did to him personally, Ed Gein may as well have killed him.
24:32Ed Gein was found guilty of the first degree murder of Bernie's warden.
24:45Immediately, there was a second part of the trial and he was declared mentally incompetent and returned to the mental institution.
24:53And so, in effect, Gein was convicted and acquitted at the same time.
25:00The issue is his mental state at the time of the crime.
25:17In this case, you could argue that he has a mental disorder, but that's not all with respect to meeting the legal standard.
25:24Would you enjoy it while you're doing it?
25:27Uh, that's the worst part of it. I mean, they didn't plan.
25:30I move better, like, you know, for... restless.
25:36You need a defect of reason. And that usually means your thinking is delusional.
25:44God told me to do it, Martians are controlling my mind, that type of thing.
25:48Well, Gein knew what he was doing. He knew very well what he was doing.
25:51When you dig the grave up, you were kind of in a haze, too, is that it?
25:56Uh, that's what I could do, just, uh, how you do it.
26:02And then, one time, you said you, uh, realized what you were doing, and you covered her up without taking the thing.
26:08That's right.
26:15When I look at this from a distance, I don't see any basis for incompetency or legal insanity.
26:21Disturbance? Yes. Legal insanity? Based on what?
26:25He knew what he was doing, and he knew what he was doing was wrong. That's the standard.
26:29Back in 1962, the crime scene investigators returned all the body parts from Ed Gein's house, and they put them on a mass grave, which would include Mary Hogan's head.
26:52So they're all in that one grave.
26:58So this is the spot of the mass grave, where all the body parts are.
27:01His skin suit, all the mass.
27:04Mary Hogan's head is probably here.
27:06So now we're trying to uncover it.
27:08Okay, this is it. We found it.
27:24It says this is dedicated to the unknown that are buried here.
27:27Gein admitted to digging up 9 to 11 bodies, most from this Plainfield cemetery.
27:37But to this day, no one is sure how many graves may actually be empty.
27:41So it's actually weird that they would not have confirmed and identified precisely who was missing from which grave.
28:06I don't think nowadays anyone would accept the, what should we call him?
28:12The patient or the perpetrator would accept their self-report as being valid and entirely truthful, especially if you're raising issues about mental illness.
28:26Plainfield does not want to be remembered as the home of Ed Gein.
28:32People here do not want to be reminded that it was murder and grave robbery which put Plainfield on the map.
28:41The people of Plainfield were angry that the world had shined a spotlight on them as the home of Ed Gein.
28:49They were this small farming community that was perfectly happy with being isolated and not being known by the rest of the world.
28:58It was very traumatic to the community.
29:03And after the Gein crimes came to light, all these jokes began to circulate around the community.
29:13They were called Geiners.
29:18So, you know, they're not especially funny, but it would be like, why did Ed Gein always keep the heat on his house so the furniture wouldn't get goosebumps?
29:31Or why didn't people want to play cards with Ed?
29:36Because they were afraid he'd come up with a good hand.
29:41What were Ed Gein's favorite pastries?
29:45Ladyfingers.
29:46You know, stuff like that.
29:48You know, folklorists, you know, tend to see that kind of sick humor as, you know, defense against all the, you know, horrors.
30:01I remember when we first were reading Harold Schechter about the concept of Geiners, and it's kind of a direct line to us.
30:08To the last podcast on the left.
30:10It's more of kind of a mirror of like how people react to that horrible thing and why we say these jokes, which is to cope with horrible information.
30:38It's showtime.
30:50Texas Chainsaw Massacre came out in 1974.
30:52A lot of people were very upset by Texas Chainsaw Massacre.
30:56What's the matter, honey? You don't look so good.
31:00Some people were very, very disgusted and walked out of the film.
31:06They were so upset by what they saw as hyper-violence on screen.
31:10I think you're going to see a movie called Texas Chainsaw Massacre, like what do you expect?
31:20But for a lot of audiences, it also was thrilling.
31:26It was something that was so new, that was so different, that was doing something entirely new with this form and with this genre.
31:33When you understand that it's partially based on an actual story, on something that actually happened.
31:41What happened was true.
31:43All of a sudden, that outlandishness becomes something that's possible in real life and possible in somewhere like Wisconsin.
31:51Part of the film's inspiration came from the news, and it was so graphic.
32:01I mean, it was unbelievable.
32:07I have relatives from Wisconsin that lived about 27 miles from, you know, where the Ed Gein incident happened.
32:15And so when the Wisconsin relatives came to town, they would tell this story about the guy that covered his furniture with human skin, makes the human skin lampshades.
32:31Oh, my God.
32:33And, you know, those people continuously wound me up.
32:38Whatever they told me, and I'm sure I can't or wouldn't even want to recall all of it, but it stuck with me. It was always, it was always ever present.
32:48The Texas Chainsaw Massacre. After you stop screaming, you'll start talking about it.
32:56People are afraid of that little house in the middle of an abandoned field.
33:01When you're driving down the highway, it's why Texas Chainsaw Massacre was based off of his actions.
33:09Why Psycho was based off of his actions, because it was just such a unique moment in crime history.
33:16And then you see the guy who did it, and it's this goofy backwoods gremlin.
33:22I first saw Texas Chainsaw Massacre when I was 22.
33:38I can identify that it was at this exact moment because it left, like, a really dirty stain on my brain that I have never been able to scrub away since.
33:47I remember really clearly seeing that opening of the film and being so unsettled and so upset, because what that extreme close-up of an eye does is it puts us immediately in the zone of watching something.
34:08I think by making Leatherface into this character who wears somebody else's face, Toby Hooper is in some ways making a really sick joke about how we understand character psychology to work, and how we understand our own psychologies to work.
34:28The face that we present to the world, often that is kind of the face of another person, but here it's literalized in Leatherface, right?
34:36And so imitators and people inspired by it, they kind of sprang up really, really quickly because it was so abundantly clear that this was a work of such imagination, such creativity, but also it was a work that was so rooted in exactly what was happening in the U.S. at exactly that moment.
34:54I probably saw him about ten times.
35:09Every time I went, I was a new person to him, even though I had seen him before, and he would not recognize me, or he wouldn't seem to recognize me.
35:21People in the hospital basically didn't react at all to him because he was basically just a patient.
35:36He was demented, so he really didn't cause any problems.
35:41They never had to call any codes or any special kinds of interventions because he was acting out.
35:49He was just there.
35:50He was a monster, and I think people tended to not see that part of him.
36:09I think people tended to not see that part of him.
36:26Gein lived as a model prisoner, never displayed certainly any signs of violence.
36:35The big story was that he was harmless.
36:39I think people kind of felt sorry for him because he had been there for years now and wasn't showing symptoms.
36:52It just seemed, in many, many ways, Ed's life in a mental institution was far better than the kind of life he had been living up to that point.
37:06You know, he was living in this horror house, you know, surrounded by the body parts of human beings.
37:14No electricity, no running water.
37:17The only living things in the house were the spiders and the vermin.
37:23Now he was, as they say, three hots and a cot.
37:27We had other human interactions and so on and so forth.
37:31So, you know, I think he lived out his life, you know, pretty contentedly.
37:36My takeaway from my time with Ed Gein was I was very sad for him.
37:43He was really an enigma and he could never have made anything different in his life.
38:13The other type of theory was, I mean, when I was a pirate man, I was a Einsatron, so I'm sorry.
38:20No.
38:21You never saw him, you never see me.
38:23No.
38:25No.
38:26No.
38:28No.
38:30No.
38:31No.
38:34No.
38:39No.
38:41No.
38:43This is it, Ed's right here.
38:56The tombstone kept getting stolen, so once it got returned, it's right now in the basement
39:03of a cemetery board member has it, and they're talking about burying it somewhere so they
39:08never put one back on.
39:10Augusta's right here, and Henry's on the far left hand.
39:15I've always got an adrenaline rush being out here, seeing all the souvenirs being left
39:19for Ed.
39:21All the incense and work gloves and flowers, a lot of people come under and visit Ed.
39:39Ed had a very troubled life, and I think it had to be a relief to him when the end came.
39:54It affected me not one way or the other.
39:56Eddie had been there, part of my life.
39:58Now he's gone.
40:00I'm from Chicago, so Ed Gein was always satelliting in my consciousness.
40:19I'm Chuck Parello.
40:22I am the director of the movie Ed Gein.
40:25It is time for you to do the Lord's work.
40:28Are you ready, Edward?
40:30I'm ready, Mama.
40:32I got into the preparation for making the Ed Gein movie by first watching as many incarnations
40:41of the story that I could.
40:43And so I watched Psycho, Silence of the Lambs, Texas Chainsaw Massacre, Deranged.
40:52And we did go to Plainfield.
40:57I did feel an obligation to make it historically accurate.
41:01I thought there had been so many fictitious takes on it and people just borrowing elements from
41:07it that this time around we were going to tell it the way that it really happened.
41:14The portrayal of Ed in my film actually comes off as kind of sympathetic.
41:20I think that ended up being the right decision because you do empathize with him even though
41:25he's a horrible degenerate person.
41:28He was misunderstood and he just didn't get any help.
41:32I don't really see him as evil.
41:34I see him as someone who's sick, whose psychosis just kept getting worse and worse and who couldn't
41:42get any help.
41:44The evilness that manifests itself in the bad stuff that he did was quite another matter.
41:57There was a scene in the script where Ed was sewing together a skin suit and I ended up taking
42:05it out just because it was too similar to something that was in the Silence of the Lambs.
42:10I knew there would be fanboys who would say, oh, you took that from the Silence of the Lambs,
42:21you know, not knowing that it was actual source material stuff.
42:27There's been six movies based on the book Psycho and there's been a prequel TV show.
42:42House of a Thousand Corpses is a movie that clearly fits into this lineage.
42:49It's so clearly influenced by Toby Hooper, but then also with Ed Gein put back in and made
42:55central more so than in Texas Chainsaw Massacre.
42:58Then Devil's Rejects is a great example because that film also takes on a kind of twisted Americana.
43:05There's definitely things about movies like Ed Gein and Psycho that really makes you look twice
43:14at the kindly neighbor, you know, that lives next door to you.
43:18When Ed Gein came out, it just became a hit.
43:23All of a sudden, it was everywhere.
43:26But at the end of the day, you just turn it off and go back to leading your normal life.
43:31One thing I tried to do was to show the plight of the victims
43:36and show that these people actually had horrible things happen.
43:40I think that's what makes it have longevity and stick to your ribs kind of appeal.
43:48I think all of these movies and the story of Ed Gein, they really demonstrate a couple things.
43:54They tell us that horror is something that is a way that we understand ourselves.
44:02It is a necessary element of how the United States functions.
44:09I think one of the main attractions to the Ed Gein character is that he was an outsider.
44:13We've all felt like we didn't belong, people didn't like us.
44:18So there's this general thing there just that everybody can identify with, and I certainly did.
44:48How does the tapes change the story?
44:56Well, I mean, no one knew of the existence of this tape.
45:01I mean, this casts a whole new light on the Gein case.
45:06It's the whole context.
45:09Then how would you do with the head?
45:12That must have been taken from reading about these magazines and everything.
45:17Taking the reflection of, like, the headhunters.
45:24It's almost as if something emerged.
45:28A crack in Gein's psychology that allowed all this primitive, archaic stuff to pour out.
45:38In this modern America where all these families were gathered around, you know, watching Leave it to Beaver on TV.
45:46You know, you have this guy simultaneously in this little hell hole of a house.
45:55Dressing in the victim's skin and so on.
45:58What would you do with these sexual parts?
46:04I wouldn't enjoy the urgency.
46:07The question arises as to why does Gein, or any offender like him, keep doing it over and over again?
46:14And the answer is, it's part of what arouses them sexually.
46:19And the sexual instinct itself is strong.
46:22The fact that Gein kept doing it shows how strong the compulsion was.
46:27How strong the urge was to do it over and over and over again.
46:34And if he didn't get caught, he would have continued to do it until he got arrested.
46:39When I listen to the tapes, there's the researcher in me that's interested at an intellectual level about learning more from the actual words of a killer.
46:58Describing in detail why they did what they did.
47:03So there's a part of me that's just like intellectually fascinated by that.
47:06But then there's another part of me that, you know, when I tick off the researcher hat.
47:11There's an eeriness in hearing somebody seemingly so oblivious to the nature of what they have been doing.
47:19Ed Gein doesn't even remember some of the things or pretends or talks about how he doesn't remember things.
47:26Right? So the banality of what he's talking about is also really striking.
47:31How long ago did you start?
47:34Like I say, it might be four years.
47:38The man is truly very ill.
47:41So as you're talking to him, it is becoming very, very evident that he is, you're hearing him.
47:45One word sentences, the ending like, that's right, that's right.
47:50Like just trying to just, like he's talking about the weather.
48:02He sounds exactly as I expected him to sound.
48:05But he has an underlying urge that he does not understand.
48:08Like there's something inside of him that is absolutely undying.
48:15It will not go away.
48:17And this is the only way that he can manifest that.
48:19That's the most calm person I've ever heard with a bunch of vulvas in a box.
48:23You know?
48:24What would you do with the sexual parts?
48:31What do you think Augusta would have thought of all this?
48:33Augusta would have disapproved.
48:35Ed Gein was a puzzle.
48:43Why did he come out the way he did?
48:48Why didn't his brother turn out the way Ed Gein did?
48:52They were raised in the same family.
48:55The same kind of relationship.
48:58The same mother and father.
49:00The same environment.
49:01Why did Ed Gein become such a horrible murderer?
49:11Someday somebody who's smarter than I am is going to figure out these people before they kill everybody.
49:18I'm going to kill everybody.
49:19I'm going to kill everybody.
49:48Where did you guys look now?
49:49Where do you see my God Telling down the way it is going to save everyone?
49:50Take my mommy.
49:51Are you serious me?
49:52Right?
49:54If I don't understand the difference, I'm going to kill everybody.
49:56Harry in late at night.
49:57You're going to kill everyone?
49:58Jordan scrolling up with some lava Warner.
49:59You're going to kill everybody.
50:00I'm going to kill everybody.
50:02I'm going to kill everybody, sorry.
50:04I'm opposing my dog.
50:06Telling youago.
50:07How did a human вкус of life.
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