Filmmaker Andrew Jarecki knows that voice intimately. It has seeped into his consciousness — the distinctive New York rasp of Robert Durst, scion of a powerful New York real estate family and a man suspected of triple murder. “Once it’s in your head, you can’t get rid of it,” he says.
Jarecki has heard that voice too many times to count: In interviews, prison phone calls, wiretaps, voicemails — the persistent, insistent whine that conveyed to Durst accomplices, enablers, attorneys, “This is what I need from you.” And his signature sign-off, “Bye bye,” uttered almost mechanically, but with an open-ended undertone that sent a message: “Until the next thing I need from you.” “His voice was a big part of this kind of hypnotic quality of Bob,” says the director of The Jinx, parts 1 and 2. “He’s able to exert dominance through his voice and through his delivery.” That larynx, its mesmerizing drone, got people to do things they might not otherwise have done — funnel funds to Durst when he was on the run, say, or dispose of possibly incriminating evidence, overlook his pattern of deceit and homicide.
Often with the implicit promise of a payoff. Whenever things looked grim for Bob, someone always came through. His situation looked particularly dire after the airing of the original Jinx in 2015.
In a stunning scene in that series, Durst, unaware he could be heard through a wireless mic, appeared to confess to offing three people — his first wife, Kathie, his friend Susan Berman, and a neighbor in Galveston, Texas whose dismembered body had been found bobbing in Galveston Bay. “What the hell did I do?
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