DANNY ROLLING SERIAL KILLER-Sondra London

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and his handwritten explanation of its symbolism. Podcasters Dan Supaski True Murder and Ariel Kooxie Malice share thought provoking conversations that elicit new revelations about London's work with Rolling, and in a sensational Secret interview with Rolling is finally revealed. The book that we're featuring this evening is Danny Rolling Serial Killer Interviews with my special guest, journalists and author

Sondra London. Welcome back to the program, and thank you so much for this interview, Sondra London.

book Killer Fiction, I still was not done. I still was mystified by this phenomenon. So when Danny Rowling contacted me and offered me the privilege of access to him, I considered it a great privilege, and I was very happy to be able to allow to do this course of study under whatever I had no idea of. No one could imagine the conditions that developed from me doing this story, but I was very committed to doing this,

so at any rate, we did the book. Well. It turns out that doing the book is historian itself, and a book can only be one book link long, and so far as I'm concerned, one subject. So out of all that work, the Making of a serial Killer, it runs about two hundred pages, and it's only the material that really relates to that title, and I only covered that much. But in the course of working the Danny

Rowlings of an enormous amount of material was generated. And I would like to think I was done with that case by doing the Making of a Serial Killer, But it turns out there's some really, really more interesting things that follow on, And so I purposed to do a book I call Beyond the Making of a Serial Killer. And I got about one hundred and fifty pages into that project when now you did my interview with Anthony

me only Oh my goodness. This turned out to be a four hour marathon interview and we just we just stayed on it and very wide ranging topics from other cases that he and I had both worked. And we're talking so much about the use of the artwork as being able to convey the essence of the personality. And so those are the things that we talked about. And well, it turned out to be about one hundred and twenty pages long, and I said, wow, you know it's going

to take over the whole book. And so I said, you know what, let me just break that out into another book and put some more interviews in it, and just do a book only of interviews. So in my mind, I thought I had all these interviews transcribed and I would just kind of, you know, I'll slap this together and no time at all, it would be like it did itself. You know, it didn't turn out that way. Transcribing is very hard. I used to be a professional

transcriptionist for medical but not now. I don't want to do any more transcribing because and then you use the robot and you get all the us and ums, and you know, it's more work to go through there and pick them out than it would be if you just sat and typed it. So anyway, that was my concept.

That was why I decided to do this book, and I decided to get this out and then go back to work on Beyond the Making of a Serial Killer, which is really back more to the subject of Danny Rowling's crimes, because in that book, I will reveal the confessions to the triple murder in Louisiana, and I'm also

including some of Danny Rowling's fiction. He had specialized on a long project called the Legends of the Black Marsh, kind of like fairy tales from the Middle Ages with witches and gypsies and princes and princesses and you know, fiery steeds, you know, But he did within that body of work he started doing contemporary fiction. He still called it Legends of the Black Marsh, but it wasn't it was contemporary. So I put a couple of those in there,

because he deals. The protagonist in the story is, of course Danny Rowling right, So it's another way to see it. So that's what's going to be in beyond the making of a serial killer when I get it done. Meanwhile, I put out this book of interviews, and to me, it's not like what you'd call a regular true crime book. It's more like a magazine in a way, because you can pick up any part and just read that part. You don't have to read it in order, and in fact,

there is no order. It's not in chronological order by any means. If anything, it's the opposite. Because I put the interview with Meoli up front. I just feel that it's very conversational and there's lots of interesting artwork. At the end of when Meoli and I have our little chat, there's a story that the any rolling Road for Meoli

and it's included here, and it's called Rooftop. So he wrote that story after he left my companionship and my elaboration, and I made some observations about how Danny had changed since we last worked together, and it comes out in that story. I included his handwriting because it's become starting to annoy me. People are saying that he didn't write

anything that I wrote. It okay, And I find myself having to defend myself in the form of putting the handwriting, and I clean up the image from artifacts so you don't see the wrinkles and that you just see a black and white image of his what he inscribed against the white page. And there's a lot of information in that. You know, there's a whole body of study about handwriting graphology and people who say that your handwriting reveals things about yourself. And so I considered that as much a

part of it as a drawing of a face. Right here, he's using his whole self to inscribe these words. They're not edited. There's no sound for London in the mix. Uh So there, that's it. So that's just please don't pursue that area of inquiry because it's fruitless. That would defeat my whole purpose in being there. If I wanted to make things up, I would write fiction.

able to be able to communicate. And also as just from the very beginning he used artwork and symbols and you can explain, but the way he expressed himself, so it wasn't like you were directing him to do this, which just happens to be very entertaining way of presentation. Like you say, very much like a magazine though with artwork, poems, writing, it's very very decorative. Tell us why was essential that he communicate this way?

and we worked and interviewed artist Tool and he was illiterate. Okay, So at that point when I began to work with Tool, I had gone from Schaeffer who had a degree in creative writing and criminal justice double bachelor's degrees, to artist Tool, who was functionally Elizabeth And I said, well, how am I gonna get me anything from him? And it was then that I introduced the very idea that I later called killer art. And I'm just like, well, you can't write,

send me pictures. And so then we got to meet him and questioned him about his pictures in person and do a drawing there and you know, watch him do it, work with him on that. So I learned how you can use that form of expression, and then if you want to, you can go further and delve with the person and say, you know, well, I see why that your figure is missing one part of the body's what's missing. And they can't even figure out that they haven't drawn

any feet on it. And that has to do with not being grounded literally, because our psychology and our body are intimately they're they're part of the same entity. Okay, So it's like you can't separate your foot from your leg. You can't separate your psychological or spiritual self from your body. So when the body does, if you want to know about the mind, then you can delve in that direction. When with Danny Rowling, we were participating consensually in revealing

the inner workings of his mind. And he has often said I don't understand myself. When asked if he was dangerous over me, he was killed again and he said, you know, I really can't say. You know, he says, my mind has betrayed me and I really don't know. So and then look at the appearance he made in court. It's so famous. They played this on TV all the time, where he sings to me and I'm standing there looking really sappy and he's singing away. But listen to the

words he's the words are what were my words? All my tears run together? What were my words? Because at that point it was understood that, you know, he was half unconscious and youth in the arts, the music gestures anything nonverbal is closer to the unconscious. You're trying to probe and to the unconscious and find out what's hiding in there and who is Jemini? You know, and you know in order to get to that level, you can't.

The person is not a machine that you walk up and put a quarter in and you get your answers on ice.

have to go down into the hole anymore. I've been there. I know what it is. It's the whole.

kind of a pale eyes, so for his eyes to change. Now, remember Anthony Muoli was there in person with Danny, and I have never been allowed to be there in person with Danny. All of our work was in writing and it's really as we experienced it. At the time, we wanted visitation. The state knew we wanted visitation, so they withheld it to manipulate him to confess. Okay, So being in the middle in the first person, it was, well, we just want to have the station so we can

talk about the things about his life story and his crimes. Well, the state thought they were hurting us by denying that, but guess what all that did was ensure that everything we did was in writing. So there's no question did it happen or not. There's no question is this sound for London saying this or is it Danny Rowling saying it?

Because every single thing that happened is in writing. So I think it's kind of ironic that in the attempt to defeat our purpose and to make me stop doing my project, they really were part of helping to create it as the a very useful document historically, because it is a document. It isn't just me saying this.

think it looks more exceptional when you look at prisoner. Prisoners, but jet remembered they're they're in a cage. They're deprived of normal lives, is the main thing about a prisoner, you know.

photographer with him took all these pictures. And but Don Sider was very, very thoughtful and in depth thinker, and he spent enough time with me to find out that I think there I'm just not going to say he said this, but I think he found out that what they wanted was not the real story. And he said he had come to respect me. I sent me Christmas cards and checked up on me from time to time.

And so when he went in and got that tape, and so when they killed the story, I took it as a gesture of his own personal goodwill that he gave me that tape. He said, it's yours. Do whatever you want with it, because evidently there was some kind of kind of a you know, get a kind of program going on there, reaching through People magazine, and evidently Don Cider didn't want to play to that audience, right, So that's how we got the tape. Now, what did

I learn from that tape? I was able to really hear Danny change personalities in an audio in real time, and that was kind of shocking. First time I heard it, I was like, who's that? A different voice comes in, you know, and I was like, what, wait a minute. When he says, oh my god, that's him, and he tells this part where he's talking about how Gemini came and whispered in his ear and all, and he uses the voice of Gemini and it's kind of a whisper, and he whispers the words that jem and I said

to him. And then right after that, then he says, in Danny's voice, he says, and I let that thing into me. I let that Gemini spirit into me. And you can tell you can hear him changing his point of view.

react in a different mode without thinking. Because that's normal, you see, it's normal to have different presentations for different circumstances. What the difference there between normal and Danny Rowling is that his condition was so much more extreme that that he had lost control of it, and if you were just normal, you could control and modulate your presentation accordingly.

You know, whether you're with the you know, leading the brownie troop, or whether you're the CEO you know of a company deploying one hundred and fifty people, you could easily do both things. It's not any kind of weird pathology involved. The way we get into the weird pathology is when the break is so strong, it's so extreme, that the different ways of being don't they're not merged, they don't flow one to the other. It's rigid, they're separated. You get one or the other.

something novel and I still think it is. Maybe you can explain what you mean by that and why you're not an apologist for all the graphic detail and all of the things that Danny Rowling was willing to say about the truth about.

call it censorship, you could call it that. And he continually argued his position that it was important for me to recognize that we're dealing with pathology, and if you don't present the pathology, it is a cheat. So I got that from John Shaeffer, and like I say, that was not my own idea. I had to be convinced

of it. And so once he condensed me, then I begin to see it that way, because I begin to see that entertainment uses mortality as a dramatic device, and we use the idea that someone might die or be killed to build interest in a story, and sects it up to because we're talking literally about life and death.

There's nothing more interesting than life and death. So entertainment requires that you produce a feeling of wanting to buy the sponsor's product at the end of the experience, so they don't really serve their interest to take you on a trip that you know, a horror is a true horror show will leave you unsettled, you wondering. You know, if your next door neighbor might like autist tool said, just pick up an ac accent, start hitting you with it.

And that's what he said. He said, anybody can go off anytime, you don't know, but to think that way, to leave your audience that way, is not a satisfying esthetic experience. Now you know, Shakespeare was a success. He was the rock star of his time, and he never

let a play end without leaving the stage littered with corpses. Yeah, okay, So to present that experience to the audience in a way and then to wrap it up in a way that leaves them intact and maybe with something to think about, but not really disturbed, you know, to the point where they don't want to come to the next play. So I think that those the demands of entertainment have shaped what we want to hear about. And I, for example, I'll use Anne rule. UH was probably the definition of

successful uh true crime. And UH I knew Anne, and we had several talks about this and the things that I was pursuing. You said, Oh, I stay away from that. You know, the uh JFK assassination. Oh I stay away from that. Uh the hand of death cult. Oh no, no, I I don't have anything to do with it. And then she has said publicly things like who cares if one whino bashes another whino over the head? It's not interesting?

And that goes all the way back to our theories uh uh in esthetics that we developed uh from the the Greeks and the Romans, that we're concerned with people of significance in what happens with them. We don't care about the bums out there in the alley hitting each other over the head. There's no stakes, there's nothing that we care about involved there. Okay, So I've given a lot of thought of this and how entertainment shape what

our audiences want. And then instead of becoming another in rule and providing exactly what they want, I'm doing the opposite. Why Because I'm more interested in doing things that other people have left undone. Okay, if you want the same old thing, then you can get it easily, and so you don't need me. So since I'm here, why don't I go ahead and do the things that you don't dare to do. I say the things that you don't dare to say, because at least it's not the same

old thing. Working with for Shaeffer, who really a terrible experience and having to be treated to the kind of assaults that he would perpetrate with his writing that he sent to me to publish it was. It was very painful. But then to come to Danny Rowling again, he has a different reason for wanting to participate. When I meet this person, he has already committed his crime. That's a given. You can't get stuck on that level. You can't just keep saying over and over but he got her head off,

How could you talk to him? Okay, that was already done before the very beginning, so it has to be given. So what do you do then? And what he wanted to do was try to give back at least some understanding of what could be learned from the story of his life, from what he had done, what had shaped him, the things that had happened to him, and then he did not shirk in any way personal responsibility for what

he had done. So it's the whole picture right there, that he wanted to do something good for the world, and I wanted to do something good for the world because I wanted to look into this dark corner of secrets. Everyone's too afraid to go in there with the monster, and so you don't find out anything. And he could have lived and died none of this, and we'd never known any of this. And as far as I didn't teach him. And I go back to what Diane Fitzpatrick

said about being in the MK Ultra program. She said, now, this isn't after we wrote the book in personal correspondence, she said, it's not like they taught us anything. She said, it's like they enabled us to bring it out in ourselves, right, Okay, So to create a condition to allow the person to come forth in their own way, it's not the same as teaching them how to write. And the case of Danny Rolling, the biggest characteristic he had when I started

with him was zero self esteem. He hated himself so much, and he did not consider himself in any way worth anything. And so when he began sending me these letters, and he would burn first into graphics in the middle of the word, it'd just be writing along in words. Then all of a sudden, it's a picture, you know, and I'm like, what is this? Okay? I said. Finally, I said, Danny,

you are an artist. And I said, if you want to draw pictures, please just start a new page, draw picture, sign it, and date it, because you are an artist. And anyone who had any contact at Danny Rolling from then on knows very well that how much he took that to heart. Every single page he ever wrote, he dated and initialed okay. And then he began once once someone was there to validate him, to see to see something, to see himself as reflect that in the eyes of

someone who saw something there. Okay. He would look into my eyes and I would see he would see that I respected him and that he was valuable and interesting. And so from that he gained enough ego nourishment to come forth with his art, which I did not teach him art, and that's for sure, Yeah, but I just uh worked with him until he was a person who had enough self respect that he would allow that artistic talent to come out into and to mature and grow.

And Danny, before he died, he had become I think other people will say that he had become one of the most preeminent killer artists that of modern times. He's done an incredible body of work. And the thing that I find most compelling about what came out of that was that it is not just decorative. It's not oh, he's a good artist. It's that he used the graphic cards to probe his own mind. And that's what we're

here for. He's not there to make pretty pictures like Elmer Wayne Henley make the prettiest little landscapes you will ever saw. You know, uh Malveaux, And I think Malvaux is a fabulous artist, but he never created anything that delved into his mind. And so that's why I think Danny Rowling's artwork turned out to be significant.

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and his artwork. But there was a whole group of people that were in sense that you would dare do anything like that and share have any feelings for this Danny Rowling, And we'll get to that a little bit later, but will let you include a particularly interesting interview with Dateline with Jane Paully and Jane Paully has somebody named

Jennifer Frake on the program. And then you join a little bit later as you as it is demonstrated in this interview or illustrated, what exactly happens, what is the premise of it? Tell us a little bit more about your invite onto this with Jane Paully on Dateline and Jennifer Frake's appearance. Tell us more about what happens.

just go into it with you now. I was under contract to Maury Terry, who's been in the news again recently, and Maury Terry had me under contract and told me that he was going to arrange exclusive coverage and for me to tell everyone no. And so that's what happened. I told everyone no. And the other part of it what Mary Terry was going to do for me and manifest for me. That didn't work out quite that way. But let's go back to NBC. So NBC's down there and there the part the motel I stayed in for

the trial. I had to talk to them about my, uh my privacy and instructed them not for no one there to I was there or where ourves and they breached that. They weaked that out to the press, so every time I had to step out of my door, they would be camping out there. So NBC sent the one down and it was kind of funny. I told her, sure, I said, so we can talk. You can take me out to dinner at the outback. That would be great. And then she's like, ooh, I'm vegan and everything. I said,

that's cool. You don't have to eat it, you know, and oh, I'm a marathon running around. That's wonderful. Okay, we're going to the outback right and and you know that's it. That's my commitment to you. I'll let you take me to the outback. So then she comes to pick me up. Oh, why don't we go to Streak and Shake instead. I'm like goodbye, And so that when on and then that did not succeed, and they sent a third producer down from New York to Bird dog Me. Okay,

this one got sent to Maury Terry. So they were negotiating back and forth. Maury Terry was saying this, Oh, we don't pay for news. She said, well, you pay for entertainment. You want to do an entertainment story and then you pay for it, you know. And they were like, ooh, no, it's not entertainment, it's news. So that didn't go anywhere. Okay. So those were the three producers that came down to

Gainesville to bother me in person. After that they switched to calling me at work and insisting ending and then they're like, well, we're going to do this story anyway, whether you participate or not, okay, And so I did agree to do this story. Now, this was a transcript of the first appearance I did on NBC Dayline, and I just couldn't believe they had the nerve to call me again and want me to go on again. And in fact, I did go on again, but I had

some secret weapons. My good friend and alumnus had been very high up in the DA's office in New York State and organized crime, and he trained prosecutors for the state. He came down from Albany to my hotel in New York City and put me through coaching session, uh par excellence, and then he would throw me questions and then he and I went answer and he said no, no, no, you can't be angry. You can't be angry. Now I'll

do it again. And so I had that training session with him because he was my friend, and so I did the second appearance, you know, and it was just as UH damaging. I had over two hundred and fifty death threats uh and UH when I tried to report it to UH law enforcement, UH, they said that they didn't accept that that kind of report. Okay, And I stopped counting after the two hundred and fiftieth threat that I was keeping track of. But all this was UH

deliberately done. And I, as I told them, when they were trying to argue me into appearing all that, I would say, look at I'm not that big of a story. What's the big deal? You know? Why are you so determined to get me? You know? And now I realize that they were getting their marching orders from intelligence, frankly, because I've learned more since then, you know, from other people and other sources that now I realize that's what

that was. Okay. So so here we have what happened in this story there that's in the book Janet Freke. All right. The Making of a Serial Killer includes one chapter where Danny wrote about committing a rape in Sarasota. Danny Rowling did not know the woman's name and did

not name her or identify her in any way. Okay, And so the and they come forth with this bogus story that she was in her local Barnes and Noble browsing the books, which people who knew her and Sarasota said was absolutely preposterous, knowing her reputation and her you know, other other activities. But she was browsing the books and Burned and Noble when she found this book and she opened it up and she saw what he was. He was writing about her, and she fell to her knees

there in the aisle. Okay, she literally fell to her knees. Oh, she was so devastated at this write up. And then the other handle on this story was the hero cop. Now the hero cop, oh legedly, according to the story presented, heard about his rape, not not for reading the book or anything, you know, couldn't say that. So he just knew about it, I guess. And so he ran her DNA against Danny Rowling and got a hit. Now, why is this nonsense? Because the statute of limitations on rape

had run. Okay. That means that there was no active case open, okay, And that means that any law enforcement agency in the state of Florida that expects to get the services of the State lab has to fill out a form with the case number on it, okay, to even file it. Okay. The next thing is, during that same time frame, I had a murder suspect and we got his DNA and it took the state lab eighteen months to get around to it, even though it had a case number. Okay. So that's that's the state of

the art of the State clime labs. They are underfunded, their way behind. You don't just run down there and check the DNA. He said, quote unquote, he checked it rolling on a hunch, on a hunch? What hunch? And what about your boss? How did he approve of you spending your time that way on a case of rape that had been committed over seven years earlier. None of that's holds up. That just doesn't hold up. Didn't happen.

all entertainment. But at the same time you have to admit that you made a conscious decision to not be a writer like Anne Rule and saw the future and were more was more interested in the way which were sent a book differently than Ann Rule. Not everybody wrote like Ann Rule even at the time, but to be successful.

So the thing is, I got to say that you also use controversy, and not to say you deserve the ridicule and the humiliation and the attacks and the trying to end your career economically, but I'm saying that it seems that Jane Pauley is is poking you with the idea that you don't have enough empathy and how dare you have feelings? Or a serial killer? And that's the way they're the way they're painting this, And so why

do you present this in the book? And again people see this as you are somewhat attacking or criticizing Janet Frake. Why is it not that, why.

you can't keep from saying my name. And she laughed. She said, you're right, you know, because that's the ultimate irony. And this is what I brought out in the controversy with the state governor of Wyoming who wanted me banned from AOL and went on Larry King to say, I want to thank the governor for catapulting me into the spotlight. I was working in obscurity until he chose to bring me to the attention of millions of people all over

the world. CNN was on two hundred something countries, you know. And I say, all of a sudden, my my website is flooded with you know, people wanting to and I all these offers to do interviews, and I said, I just want to thank the governor, you know, for bringing me to the attention of all these new and this new audience. And that was the same thing I would say to Jane polly Well. I said, it in a different way. And she also said she also said, O weur attorneys, uh have believed that you are in the

right on the state lawsuit. And I said, oh, so will they fire and will they file an amicus brief? Oh no, she said, that's gonna happen.

he did to me. Okay. And when the Associated Press covered that, he admitted, but he didn't say it as if he should be ashamed of it. He said it as if it was evident of what a brilliant attorney he was. He said, I haven't heard of anyone this law has been used against who was not a fellon. Okay, So that was his He was so creative. I don't know of any other case when one of these type of cases was brought against a non convicted person, okay.

And he told the Associated Press he always wanted to be successful, but he never suspected that his success would be measured by how well he prevented someone else's. So they had no real legal precedent and no way to attach me to this action. In addition, there was no money Okay, no money was ever paid to Danny Rowling, and that's easily proven because his accounts or public record. Okay, there was never any money. The lawsuit was brought under

prior restraint, which again is improper illegal. I was sued before these stories were written. They were not written. Yeah, okay, when I was sued. So there's you know, I could go on and on about how bogus this action was, but I will bow to the wisdom of Steve Dunlevy, or the anchor on a current affair that I brought this to because I was already doing stories for him, and he said, nobody gives a bleep about the First Amendment.

It's not a story. And you know, I don't want to hear that either, but I'm afraid that that's the way it is. The eyes glaze over. It says, if our constitutional protections against abuse, as if that's just nothing, that's just a bore. That's a big boar, okay. And if there was an injustice done to you as a journalist, who cares? Have you got another story? You know, it's

not a story. So the fact that I don't really want to leave the stage without putting it on the record, the things that I had to go through because I did the story, and this book here, Danny Rowling Serial Killer Interviews, does put those things on the record, or some of them, and it gives you an idea that this was a historically significant event, bringing this book into being being the making of a serial killer, the effect that all these spinall were generated in terms of the impact.

out of that interview. So tell us a little bit about that interview and what was had from it.

But what happened there was that society played a role, and society refused to protect the child, okay, and society indemnified the father because he was a good officer, and those things could go on. And I would say that if there was a turning point where this child could have been saying, that was it when society allowed the abuse and indemnified it. And from that point on, eventually it coalesced in his mind that his enemy was not

his father, It was society. So under the terms that he presents as the drama that went on within his mind, it was a deal expressed in terms of one life for every year that you were tortured in prison. So that is an abstraction. That's not a love rivalry or trying to sell body parts or any of the things that we have for these multiple homicides. It was an abstraction and really had nothing to do with who these victims were. It wasn't you know, when you get out

of prison, you're gonna hunt like with Schaeffer. Oh, he threatened the defense attorney, he threatened the prosecutor, he threatened the judge. You know, he threatened the sheriff. He was going to get out. He was going to have his organized crime people go after them. Well, that's not what this was. This was against what someone with the heavily Christian background might refer to as powers and principalities.

Gemini choose that victimology? And my answer would be because these were young people who belonged and were cherished by society. Their parents put them in school and took care of them. They were well kempt, they were valued. And I see, if there was only one image of Danny Rowling, it would be a guy with his nose pressed up against the window of life, watching life go by and knowing he could never be part of it.

know why. And he gets saying I don't have a message. And I said, well, oh, everyone says you do, and so and he said, any days, any message, it's geminized MESSAGESLF. Well, you asked Gemini, you know him, I don't, And so eventually it just came through from that type of dialogue saying that evil walks this world like a natural man and that he was there to show that evil is real. So that's as far as we're going to get with that, my friend, Well, there's no other source. There's no other

source on that. That's as far as it goes.

He wrote to me and he said, there there were several things I need to consider and when I plead, And the first number one how is this going to affect our story? And then there were two other things. The last one was the victim's families. And then he went into his discussion of his bullet points, and he talk totally about how is this going to affect our story? He never got to the part about the victim's family

item that he listed. And I called his lawyers when I got this letter, and I said, you better go down there and get a hold of him. I said, he is more concerned about this story than he is about his own life. And his lawyers said to me, that's how it's always been with Danny.

those and never ever get to see them. But you've included this and one of the biggest change exchanges on this radio show is that callers call in and talk about your culpability and that you should fry along with oh yeah, and that they can't understand your viewpoint on the death penalty. So you do talk about that viewpoint, tell us how you feel and what people might say in contrast to what you're saying about the death penalty.

is that tension in your heart. So if this is the intention that you're expressing, it's ironic because you're blaming someone else for being homicidal while you are expressing the desire for a living person to be killed. And I wish that that irony were made more prominent if it were possible.

undead memories of the lives you've taken. They won't let you rest. Every night you'll awake and they're dancing on your grave, demanding nothing less than your whole life. Cause you've been dancing with the reaper. Now every day you see him in your own eyes. So this goes on, and then at the end I speak, and this is what I would like to say. If I only had a few words. My last words would be Execution makes us killers too. I know, well I'm a killer, and

so are you. Vengeance demands the killer die. When will we stop? And wonder why God help us.