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Jeffery Deaver
BIO
Jeffery
Deaver is the author of fourteen suspense novels. His books have
been translated into a dozen languages. Universal Pictures is currently
producing THE BONE COLLECTOR, and HBO recently broadcast a film
version of his A MAIDEN'S GRAVE (under the title Dead Silence).
The popular novel, COFFIN DANCER, is now available in paperback.
Deaver was born in Chicago, attended the University of Missouri,
and received his law degree from Fordham University in New York.
In 1990 he quit practicing law to write full time. He lives in California
and Virginia.
INTERVIEW
May
11, 2001
When Jeffery Deaver's thriller, THE BONE COLLECTOR, hit the market just four years ago
no one could have anticipated the impact it would have, nor the adoration it would
generate among readers of the genre. With each successive novel, Deaver's reputation has
continued to escalate with fans and critics alike. His newest thriller, THE BLUE NOWHERE,
contains a chilling and topical scenario that prompted Bookreporter.com's Joe Hartlaub to
ask Deaver about his research into the world of hackers, where his storylines originate,
and more!
TRC: The most memorable passage of THE BLUE NOWHERE for me was, interestingly enough, your
detailed description of exactly what happens between the point that one puts pressure on a
keyboard letter and that letter appears on a computer screen assuming, of course, that
everything works as intended. That description is of course only the first of many
informational nuggets which readers of your novels have come to anticipate. Did you rely
on an expert in the field, your own research, or a combination of the two in building the
factual foundation of THE BLUE NOWHERE?
JD: As in all of my books, I think it's vital that
research enhances the story, not detracts from it. I intended THE BLUE NOWHERE to be,
first of all, a harrowing cat-and-mouse chase --- one that happens to take place in
Silicon Valley and which features computers as weapons but is a classic suspense thriller
at heart. So, while I did talk to a few hackers and computer security experts, most
of my research was done on the Net itself and through books and magazines.
I appreciate your comment about that particular passage, which I tried to write in a
rather poetic way, because I wanted to convey to my readers the magic of the computer
world (which is what I call "the blue nowhere"). While computers are
machines and tools they nonetheless have an artistic and --- to some --- a mystical side
to them.
TRC: THE BLUE NOWHERE demonstrates quite effectively how computers have so permeated
our society that we almost don't notice them until something goes wrong. Unfortunately,
the vulnerability of the systems has increased exponentially with our dependence upon
them. Your latest novel, THE BLUE NOWHERE explores the possibilities of what can occur
when someone utilizes this dependence with a sinister and diabolical twist. What was your
inspiration for the utilization of computer systems as a tool for a serial killer?
JD: I'm often asked where the ideas for my books come
from. To answer that I have to describe what I think is my responsibility as a thriller
writer: To give my readers the most exciting roller coaster ride of a suspense story I can
possibly think of.
This means that, rather than looking through newspapers or magazines for inspiration, I
spend much of my time during the early stages of a book sitting in a dark room and trying
to think up a story line that will fit the typical Deaver novel: one that features strong
(though possibly flawed) heroes, sick and twisted bad guys, deadlines every few chapters,
a short time frame for the entire story (eight to forty-eight hours or so), lots of
surprising plot twists and turns and plenty of cliffhangers.
THE BLUE NOWHERE came about exactly this way. Although it appears topical --- it deals
with the subjects of computers and hacking, which are about as current as one can get ---
in fact, the story arose out of this simple premise: how frightening it would be if
someone could learn details of our lives we thought were secret and then use that
information to destroy us.
It then occurred to me: what better way to do this than by having the bad guy be a hacker
who isn't interested in cracking into government or corporate computers but into our
personal computers at home, learning what he can about us and then "social
engineering" (which means scamming or tricking) us to our doom. I loved the idea
that, after reading the book, people going on-line will get a little shiver of fear that
somebody might be watching what they're reading or looking at or putting into their online
investment account.
TRC: Phate, the deranged but brilliant hacker in THE BLUE NOWHERE, could be out there
right now. Was there any one individual or situation that functioned as a template for
your creation of Phate?
JD: No, Phate was solely my creation. He's an amalgam
of the criminal hackers I read about while researching the book --- some of whom broke
into systems to vandalize or steal data and some of whom broke in simply to satisfy their
curiosity. Added to his ability as a hacker, though, is his sociopathic goal --- the
destruction of others' lives, as if his victims were merely characters in a computer game.
It's rare ---in the real world --- for a hacker to engage in any violent behavior.
TRC: Similarly, Shawn, Phate's game partner, is one of the more interesting secondary
characters I think I've ever encountered in a work of suspense fiction. I don't want to
give anything away here as to Shawn's ultimate identity, but I was intrigued as to how the
character developed. You have indicated elsewhere that you extensively outline your novels
before you begin the ultimate task of writing them. Did you see Shawn in--to keep the
twist secret, let's say his or her--ultimate identity when you started writing THE BLUE
NOWHERE, or did he or she evolve as you began writing him?
JD: I always love playing with the misidentification
of my villains (and good guys too sometimes). Plot twists and surprises please readers and
I try hard to incorporate them into all of my books. I knew who Shawn would be from the
beginning and worked all the clues as to his or her identity into the story.
TRC: Your work is known for, among other things, extensive research into particular
topics. Have you found that the Internet has facilitated your research in any way, or are
you more comfortable utilizing traditional sources such as libraries and universities?
JD: I will do whatever is the most efficient way to
research and that is generally on the Internet, rather than libraries and universities. I
can find almost anything I need online.
When an author speaks to people in person or goes to a location to gather research the
temptation is to use too much of that material in the book. The trick to research is to
use just enough. As in all my books, I used research in THE BLUE NOWHERE to enhance the
story, to move the plot along. It's never included in my books as ancillary information or
for background. So I needed to learn a great deal about machines and code and hacking and
the like to integrate the details into the story so readers can understand the drama of
the hacking.
TRC: Lincoln Rhyme is perhaps the best known of your creations. Do you have any plans
for a new novel involving him?
JD: Yes, I'm doing a Lincoln Rhyme/Amelia Sachs novel
every other year. I have the first draft of my 2002 thriller, featuring them, just about
finished. The title is THE STONE MONKEY.
TRC: Are you working on anything new right now?
JD: The Lincoln Rhyme book that I mention above ---
and then I'm researching my stand-alone book for 2003. But, being a writer who loves
suspense, I can't really say anything right now about either one.
TRC: Given your interest in computer systems and cyberspace as subject matter, have you
had any urge, or been approached, about writing a treatment for a computer strategy game?
JD: No, I'm happy to write my books. In fact, since I
finished THE BLUE NOWHERE about nine months ago, my "expertise" has faded. I'm
onto new subjects now.
TRC: Is there anything you have read in the last six months that you would recommend to
your readers?
JD: I loved John Le Carre's THE CONSTANT GARDENER, but
that's about the only novel, other than those I blurb for my and other publishers. I work
very long hours at my books --- writing a book a year, plus short stories, movie and TV
consulting and occasional other projects. Most of my reading is research for my own
projects.
TRC: What would be your fantasy hacking scenario?
JD: Oh, I'd like to go back and change that C grade I
got in my contracts class in law school. But, now that I think about it, I went to school
back in the stone age, when all the records were kept on that "dead-tree stuff"
--- paper.
TRC: What type of computer do YOU use?
JD: A clone that a computer expert friend of mine
assembled. Then I use a Toshiba laptop when I'm on the road.
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PAST INTERVIEW
May
12, 2000
Jeffery Deaver is one of our favorite thriller writers. Not only
can he quickly tap out nail-biting suspense novels, he is also genuine,
sincere, and from all our email exchanges, kindhearted. You might
expect a more frightening visage from the creator of such twisted
stories as THE BONE COLLECTOR, but you'd be wrong. Recently, Joe
Hartlaub, Bookreporter.com's Senior Writer and thriller aficionado,
had an opportunity to ask Deaver about his new thriller THE EMPTY
CHAIR, future movies starring everyone's favorite protagonist Lincoln
Rhyme, the honor of receiving the DREAM Award, and much more in
our latest interview.
TRC: THE EMPTY CHAIR focuses on not one, but three, scientific
areas: medicine; psychology; and entomology, the study of insects.
How did you become interested in insects as an underlying plot device
for the novel?
JD: In all my books themes such
as the insect world serve several purposes. In THE EMPTY CHAIR the
creatures provide an eeriness to the story to keep my readers unsettled
--- wasps, after all, are used as a weapon on more than one occasion.
They also give me a chance to paint a full portrait of Garrett Hanlon,
the kidnapper in the story. He's known as the "Insect Boy," who's
learned much of what he knows about life and survival from living
among his miniature "friends" in the woods and swamp. This knowledge
lets him go one-on-one with Lincoln Rhyme and I liked setting the
boy and the man --- both scientists in their own right --- up against
each other and having them try to outsmart each other. Finally,
insects are the ultimate key to the secret of the tragedies occurring
in and around Tanner's Corner (though I can't say more, for fear
of spoiling the story).
TRC: Vladimir Nabokov also loved the field of entomology. Were
you in any way inspired by him or his writings on the subject? If
not, what books helped you in your research?
JD: Nabokov was, of course,
an inspired scientist as well as a literary giant and --- if I recall
--- made a number of important contributions to the subject of entomology.
I didn't, in fact, rely on his scientific writing as much as I did
off-the-shelf field manuals and entomological textbooks to extract
specific details that were helpful in speeding my plots along. Those
who've read my books know that nearly every bit of research I include
must either advance the story or flesh out a character. This is
true of the information about insects.
TRC: Your books are well-known for a number of factors: unexpected
plot twists, unique characters, and meticulous research. For THE
EMPTY CHAIR did you continue your past practice of doing your own
research, or, given the number of scientific disciplines presented,
did you have assistance?
JD: I do all my own research
--- for the reason suggested in the previous response: Because the
research serves the plot, I alone know what details are important.
If I were throwing in information solely for atmosphere then someone
else could provide me with facts. But I can't separate research
from the story. Besides, I have a voracious curiosity and the act
of researching is, for me, pure fun.
TRC: THE EMPTY CHAIR moves Lincoln Rhyme from New York City to
an extremely rural area of North Carolina. While we don't want to
give away any of the plot aspects, did you begin with the idea of
moving Rhyme out of New York, and into another locale, or did you
find, as your idea developed, that moving him out of New York and
into unfamiliar territory provided additional dimensions to your
story?
JD: From the very beginning
of my outlining I intended to move Lincoln out of familiar environs.
One of the themes of the story is that of a fish out of water (as
Lincoln repeats to himself several times) and I wanted both Lincoln
and Amelia to be challenged by the strange --- and spooky --- geography
and life styles of a place as far from New York as I could make
it. As you observe, too, the plot of the story depends on the setting
being in a place like the fictional Paquenoke County, North Carolina
--- but we'll have to let your subscribers find out why this is
so.
TRC: THE EMPTY CHAIR touches on a topic I have been interested
in for quite some time, that being the lost colony of Roanoke. You
present a theory in THE EMPTY CHAIR as to what occurred. Is this
theory your own conclusion, based upon your research for THE EMPTY
CHAIR?
JD: After considerable reading
about the Lost Colony, I must confess that I'm no closer to an answer
than anyone else. I lean toward the theory that the settlers died
at sea en route to Hatteras or landed there and were killed but
that's far from conclusive. Mary Beth's theory in THE EMPTY CHAIR
--- the kidnapped victim --- that the colonists traveled west into
Albemarle Sound is plausible but not supported by much historic
data.
TRC: There has been an incredible amount of progress which has
been made in the past five years with respect to the treatment of
spinal cord injuries. The treatment contemplated by Lincoln Rhyme
in THE EMPTY CHAIR is in fact quite similar to one of many which
have recently reached the experimental stage. Do you at some point
see Rhyme regaining, at least to some extent, any additional physical
functional capacity?
JD: Despite the intense amount
of spinal cord research being done around the world, for someone
as severely injured as Lincoln Rhyme there seems to be little chance
for major improvement in his condition in the near future. It was
important to me to make clear to readers that Lincoln's doctor had
told him the operation would have no, or at best minuscule, effect
and that the criminalist was seeking this treatment in a Quixotic
vein. I liked the irony --- and the resulting insights into their
characters --- that Lincoln wanted to risk the operation to improve
himself for the sake of Amelia, while she harbored a secret desire
that he not improve. This is similar to the theme of a short story
some of your subscribers might be familiar with --- "The Gift of
the Magi," by O. Henry.
TRC: One of the most enjoyable realistic aspects of your Lincoln
Rhyme novels for me has been the slowly developing romance between
Rhyme and Amelia Sachs. What is striking is the way they slowly
dance around their relationship --- complicated not only by Rhyme's
physical condition, but also by their working relationship and Sachs'
quiet, surprising insecurity. Yet, their mutual feeling for each
other is an irresistible force. You manage to maintain this as a
subplot although it has major plot potential. Is there a real world
model for this relationship?
JD: I must say that there is
no real world model except to the extent that observation and empathy
have shown me that the most enduring relationships (and therefore
the more appealing to my readers) are those in which the partners
challenge each other, respect each other and fill the gaps in each
other. It is very important to me --- in order to please my readers
--- that I keep a certain realism in the Lincoln Rhyme books and
the connection that I've tried to craft between Lincoln and Amelia
is what I see as the sort of honest and complex relationship that
would develop between two people like these two. I also spend a
great deal of time working on their relationship because it's important
to me to be able to imperil my characters in as many ways as possible
--- and manipulating relationships is as good a way to keep readers
on the edge of their seats as exposing them to physical violence.
TRC: You recently were accorded a DREAM award --- an honor which,
while not widely known, is nonetheless highly prestigious. Would
you mind telling us a bit about that?
JD: This was indeed an honor.
The Western Law Center for Disabled Rights --- a watchdog association
that advocates the rights of the disabled --- selected me for the
award last year. It's given to an individual in the creative arts
for a realistic portrayal of the disabled --- not a sentimentalized
or melodramatic work, but one that presents the disabled as multidimensional
human beings. The award is one of the consequences of my work that
I'm most proud of.
TRC: You are an attorney. One would think that you would take
the highly traveled road of legal thrillers, since it covers territory
which you are familiar with. Yet, you have eschewed that genre,
choosing to focus, instead, on forensics, and criminology. What
led you to choose those fields as topics for your novels?
JD: My whole point of writing
is to give readers something they will enjoy; they pay me hard-earned
money and it's my responsibility to return something pleasurable
to them. One of the things they enjoy most, I've learned, is the
sort of book I now write --- taking place over a short time frame,
involving multiple plots, frequent deadlines, surprising plot twists
and turns, endings that bring together all the plot strands in a
whammy twist or two. I've been called a writer of "ticking-bomb
thrillers" and, in general, legal thrillers tend to take place over
a longer period of time than my typical book (one or two days) and
require more exposition and leisurely development. I have written
one legal thriller --- Mistress of Justice --- and it was typical
of this distinction, being less an edge-of-the-chair thriller than
a dark psychological study of power and corruption on Wall Street.
TRC: Given the theatrical success of THE BONE COLLECTOR, are
there any plans in the works for adapting THE COFFIN DANCER into
a film? And, if so, what input will you have in the production?
JD: Universal Pictures has the
rights to make any future Lincoln Rhyme movies, provided they pay
me (just a friendly reminder, just in case any of their executives
are reading this!). The box office gross of the movie was good but
the video rentals have been phenomenal. I haven't heard specifically
if they want to make another movie but I wouldn't be surprised if
it happens. I'm so busy with my present writing that I'm afraid
I wouldn't have time to be very involved.
TRC: What are you working on now?
JD: The better question might
be what am I not working on. Let's see...I'm promoting THE EMPTY
CHAIR hardcover and THE DEVIL'S TEARDROP paperback. I'm reviewing
proofs for a new hardcover for Simon and Schuster, to be published
in December, called SPEAKING IN TONGUES --- another non-Lincoln
Rhyme
thriller. I'm also helping in the promotion of several of my older
books, which are now being brought back into print: MANHATTAN IS
MY BEAT, DEATH OF A BLUE MOVIES STAR, HARD NEWS, SHALLOW GRAVES
and BLOODY RIVER BLUES. Oh, yes, I'm finishing my big
thriller for 2001. I can't say much about it right now but I will
tell you this: My intent is to scare the living daylights out of
anybody who owns a computer...
TRC: What are you reading now?
JD: Sadly nothing for leisure;
it's all been research on the history of Silicon Valley and the
computer industry for next year's book. I'll be taking a little
time off toward the end of the summer and trying desperately to
catch up on my reading.
TRC: What advice would you give to aspiring writers of the suspense
genre?
JD: There are only two rules
I'd give to aspiring writers: one, write what you enjoy reading
and, two, never, ever, ever give up; rejection is a speed bump,
not a brick wall.
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PAST INTERVIEW
Jeffery Deaver talks about his brilliant fictional detective Lincoln Rhyme and his
arch-nemesis, the Coffin Dancer:
My first and foremost goal is to keep readers turning the pages. Mickey Spillane said that
people don't read books to get to the middle; they read to get to the end. And I've tried
to embrace that philosophy in my writing. THE COFFIN DANCER is typical of the thriller I
enjoy writing. In it, my hero --- a brilliant forensic detective --- matches wits with a
brilliant hired killer, each one staying just one step ahead of each other (and sometimes
the reader, too) as the murderer tries to kill two witnesses scheduled to appear before a
jury. As always in my books, not everything is what it seems to be, and there are plenty
of twists and turns that I hope will surprise even the most discerning reader. Nothing
makes me happier than to have a reader come up to me at a signing and say, "Wow. You
got me again."
My hero, Lincoln Rhyme, is an interesting character. He's a quadriplegic. Formerly head of
NYPD Forensics, he was injured on the job and now can move only his head, neck and left
ring finger. THE COFFIN DANCER is the second book featuring Rhyme; the first was THE BONE
COLLECTOR. I created him as a character for two reasons. First, I was
fascinated with the concept of the human mind as independent of our bodies --- that even
with a destroyed body, our essence remains unchanged. Second (after all, I write
thrillers) I liked the idea of a final scene where my hero is utterly helpless, locked in
a room with the armed villain and no one is coming to rescue him. He has to escape by his
own wits.
That was the concept in THE BONE COLLECTOR. In the sequel, THE COFFIN
DANCER, which deals in part with commercial aviation, I came up with the idea
of my female protagonist --- a pilot --- on board an airplane that's carrying a bomb that
will go off if she descends below a certain altitude. The bomb's outside the airplane;
there's no way to defuse it...What are she and Lincoln Rhyme going to do? (If you want to
find out, you have to read the book...) It's those kind of cliff-hangers that I love; I
put as many of them into my books as possible. All of my thrillers take place in very
compressed time frames --- as short as eight hours, as long as two days --- and have
interweaving plots and subplots that all come together at the end. One of the best
compliments I've ever had is the comment by a radio interviewer, who introduced me as the
"king of the ticking-clock novel." I can't say I created the genre, but it's
certainly my favorite to write in.
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PAST INTERVIEW
August 27, 1999
Jeffery Deaver, author of the popular THE COFFIN DANCER and THE BONE COLLECTOR, is back
with a new and timely thriller, THE DEVIL'S TEARDROP: A Novel of the Last Night of the
Century. As the millennium draws to a close, this is exactly the kind of book you should
read if you want to scare yourself...and thrill seekers everywhere will undoubtedly want
to do just that. In this interview that ends with a riddle, Deaver confides in us about
his next book, the fate of his reoccurring character Lincoln Rhyme, his idea of a perfect
millennium evening, and more.
TRC: THE DEVIL'S TEARDROP has all of the elements of what is becoming known as a
"Deaver" novel --- almost a genre unto itself --- an interesting if eccentric
protagonist; a brilliant and horribly diabolical murderer; and a resolution that takes the
term "whodunit" into new, uncharted territory. What methodology did you use when
working on THE DEVIL'S TEARDROP?
JD: As with all my books, THE DEVIL'S TEARDROP sticks
pretty closely to the format I've learned readers really like: the thriller as roller
coaster. Because they're very plot driven, have many twists and turns and surprises, and
take place over a short time period (in this book, less than one day) I have to outline
very carefully to make sure all the various stories come together in the end. Woe to the
writer who neglects the ending of the book; it's the most important part!
TRC: The resolution of THE DEVIL'S TEARDROP hinges upon the science of forensic
document examination. You obviously did quite a bit of research into this area,
given that your presentation of it is highly informative while at the same time extremely
entertaining. How did you research the book? Do you enjoy the researching
process?
JD: I love to research. Most of the research I do is
through books and the Internet. Writers have to be careful not to include too much
research in their books. There's nothing worse than reading a good thriller only to find
an indulgent author who's showing off or filling space by adding pages of information that
have nothing to do with the story. All the researched information in a book must have a
payoff (for plot or character development), otherwise out it goes.
TRC: On a related note, creative writing appears to draw quite a few future
ex-attorneys into its grasp. Most, however, choose to write legal procedural
thrillers. You, however, in such books as THE DEVILS TEARDROP and THE BONE
COLLECTOR, are drawn to forensic science. What originally sparked your interest in that
area?
JD: I found that forensic science let me write
faster-paced thrillers --- legal novels (I've written one --- MISTRESS OF JUSTICE) move a
bit more slowly (just like the law itself) than the type of book I'm interested in.
TRC: Given the successes of THE BONE COLLECTOR and THE COFFIN DANCER you must have been
tempted to write another book concerning Lincoln Rhyme; indeed, he makes a very brief
appearance in THE DEVIL'S TEARDROP. Do you know if we will be seeing more of
Rhyme in the future?
JD: Yes. My latest book --- soon to be finished ---
features Lincoln Rhyme and Amelia Sachs. It's called THE EMPTY CHAIR.
TRC: What about Parker Kincaid?
JD: I always try to make my heroes human and a bit
different from your run-of-the-mill sorts. I liked the idea of a single father who works
at home so he can raise his two children. The response to Parker among readers has been
very good; I'm just not sure how much further I can go in a sub-sub-sub genre like
document forensics. I don't doubt Parker will be back in cameo --- possible to help out
Lincoln at some point.
TRC: Do you have favorite reoccurring characters in novels? If so who are they and in
what books do they appear?
JD: I cut my literary teeth on Miss Marple, Sherlock
Holmes, Doc Savage, James Bond, Matt Helm, Mike Hammer. But I have to say my favorite
character who made multiple appearances was George Smiley in the John Le Carre
books.
TRC: A number of your earlier books are regrettably out of print. Are there
any plans afoot to reissue any or all of them?
JD: Yes, nearly all of the early ones are being
brought back: MANHATTAN IS MY BEAT, DEATH OF A BLUE MOVIE STAR, HARD NEWS, MISTRESS OF
JUSTICE, THE LESSON OF HER DEATH. In addition, Pocket Books is reissuing books written
under my pseudonym William Jefferies, but now under the Deaver name. They are SHALLOW
GRAVES, BLOODY RIVER BLUES and a third, previously unpublished, in the series: HELL'S
KITCHEN.
TRC: You stopped practicing law to write full-time in 1990. Did you have any
moments where you woke up in the middle of the night and asked yourself "What Have I
DONE?!" Are you happy with the path your career has taken?
JD: No regrets at all. There is nothing in the world
like the privilege of being able to write full-time.
TRC: What are you reading now?
JD: The corollary of the answer just above, about
writing full time, is that it's highly FULL TIME. Writing a book a year (I work on two at
once) doesn't give me a lot of time for reading; also, I'm like a sponge and when I'm
writing I can't read other writers for fear of being influenced by others' writing.
TRC: What authors or books have influenced you?
JD: In the thriller vein: Thomas Harris, John Le
Carre, Barbara Vine, Ian Fleming, George Simenon, P.D. James. As for writing in general:
Saul Bellow, Walker Percy, John Cheever, John Updike, Mark Helprin, Gabriel Marquez, Jane
Smiley, Theodore Dreiser, Joyce Carol Oates and the poets Richard Wilbur, William Butler
Yeats, Wallace Stevens, Robert Pinsky, Robert Frost.
TRC: Do you find yourself reading a variety of books or do you stick mainly to one or
two genres?
JD: Again, it's mostly research.
TRC: What advice would you give to aspiring writers?
JD: Write the sort of book that excites you. Don't
ever, ever, ever stop.
TRC: THE DEVIL'S TEARDROP takes place on the last day of the last year of the last
century of this millennium --- if, of course, we mark the beginning of the new century and
millennium from the "-00-" year. What plans do you have for New
Year's Eve and what are your thoughts on the millennium?
JD: Popcorn, a good bottle of wine and a steam-powered
TV set.
TRC: Lastly, there is a child in a room with an adult. The child is the
adult's daughter, but the adult is not the child's mother. Who then, is the
adult?
JD: The father...
By the way, a teenage boy and his half-brother are riding down the street on a motorcycle.
He loses control and crashes. The half-brother isn't hurt but the medics race the teenager
to the emergency room, where the admitting nurse looks at him and screams, "It's my
son!" Another nurse takes the unconscious boy into surgery. The surgeon comes in and
says, "Oh, no, my son!"
The nurse isn't the boy's mother and the surgeon isn't the boy's father. Who are they?
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