Marian Williams Realizes It’s Over as Detectives Hit Her With a Murder Charge

Added: 2026-05-26

[00:00:00]The interrogation room is often where the truth begins to unravel. Under bright fluorescent lights, away from family, friends, [music] and outside influences, suspects are left alone with their thoughts. And with [music] detectives determined to uncover what really happened. In the case of Marian Williams, investigators believe the answers they were looking for could be found within those four walls. As detectives sat across from Marian, they carefully observed every word, every pause, and [music] every reaction. What appeared at first to be a routine interview would soon become one of the most [music] talked about interrogation sessions in the case. The atmosphere was tense with investigators methodically piecing together a timeline while comparing Marian's statements [music] against the evidence they had already collected. Throughout the question, detectives pressed for [music] details, revisiting key moments and asking Marian to explain events that they believe were critical to the investigation. With each answer, investigators looked for inconsistencies, searching for anything that might reveal what truly happened behind closed doors. The room remained quiet, except for the voices of detectives and the occasional silence [music] that often speaks louder than words. For seasoned investigators, interrogations are not simply [music] about asking questions. They are about understanding behavior, testing credibility, and uncovering facts that may have been hidden from public view.

[00:01:20]In Marian Williams case, every minute of questioning seemed to bring detectives one step closer to understanding the events that had led them there. But as the interview continued, viewers would witness moments that sparked debate, raised questions, and left many wondering what Marian was really thinking as detectives continued their relentless pursuit of the truth.

[00:01:41]Tonight, we examine the interrogation of Marian Williams, breaking down the key moments, the investigator's strategy, and the details that transformed an ordinary interview room into the center of a shocking true crime investigation.

[00:01:54]Before we begin, don't forget to like, subscribe, and turn on notifications for Behind the Crime TV. And let us know in the comments what country are you watching from.

[00:02:03]>> I reserved us this room, so if you want to just have a seat over here. I brought tissues in case you need tissues. My phone is there again just to get an audio recording just because you talk so soft and it's hard for me here. I want to be able to focus on you.

[00:02:18]>> This is Detective Chris Whitman.

[00:02:20]>> How you doing, ma'am?

[00:02:20]>> Um, so he's kind of been helping me out and kind of keeping focus and keep track. So, usually whenever we have an investigation like one person is leading, you always have somebody else kind of guide you along and everything.

[00:02:32]Oh, let me go get you have the card.

[00:02:35]>> Yeah.

[00:02:35]>> Okay. I think Lisa told me about him.

[00:02:38]You know, Lisa.

[00:02:39]>> Yes.

[00:02:40]>> Lisa. Yes.

[00:02:41]>> Yes. Yes. Um, so, and so here's something that I want to just knock out the way because here's the deal. You can't freely walk around this building.

[00:02:50]Um, you have to be escorted. And so, when any time I do talk to anybody in here, I just read them the Miranda rights. I'm not charging with anything.

[00:02:58]I just want to read the Miranda rights because you can't just freely get up and and walk out of the building without me escorting you. So, I want to just be make everything clear for you. So you have the right to remain silent.

[00:03:08]Anything you say can't be used against you in court. You have the right to talk to a lawyer for advice before we ask you any questioning any questions and to have him or her present with you during questioning if you wish. If you cannot afford a lawyer, one will be appointed for you before any questioning if you wish. If you decide to answer questions now without a lawyer present, you will still have the same right to stop answering at any time. You also have the right to stop answering at any time until you talk to a lawyer. So do you understand these rights as I've explained them to you?

[00:03:37]Yes.

[00:03:37]>> Okay. All right. So, and with these rights of mind, do you wish to talk to me now?

[00:03:43]>> Yes, I do.

[00:03:44]>> Okay. All right. So, [clears throat] um you sounded really upset on the phone earlier today. Um so, again, you can take your mask off or if you want us to wear one, >> whatever makes you feel more comfortable.

[00:03:56]>> I know it's easier to breathe without these things. It's just >> The detective begins by lowering Marian's defensiveness. Instead of confronting her like an obvious suspect, he offers tissues, adjusts for her comfort, explains why she's being read her rights, and repeatedly speaks in a soft, non-threatening tone. When a subject feels emotionally contained rather than attacked, they are more likely to keep talking, fill silences, and reveal information they would otherwise guard.

[00:04:26]So, you end up getting a good tape.

[00:04:29]>> A big tape. [snorts] >> Okay.

[00:04:33]>> Can we put in a good tape?

[00:04:46]What kind of container?

[00:04:48][snorts] >> [snorts] [laughter] [snorts] >> This one on it with the lid on.

[00:05:24]What color was that thing?

[00:05:28][singing] You're doing good. Take your time.

[00:05:33][snorts] >> I'm right here with you. Go. I'm right here with you.

[00:05:47]>> [snorts] >> a big pink like container with the lid on it. [snorts] Like I already explained it to the to one of your guys. I already told one of your guys all it is the pink container.

[00:05:59]>> You told them about a pink container and it had a lid on it.

[00:06:03][clears throat and snorts] >> Is it What's the material of the container?

[00:06:08]>> Like what's it made out of? Is it >> a plastic? Okay.

[00:06:14]But [clears throat] >> nobody knew about this. A mealer Valerie husband don't know. My husband didn't know [snorts] cuz it happened so quick.

[00:06:22]So we were so serious.

[00:06:24]But Dave don't know nothing.

[00:06:26]>> Even if somebody thought he he knows nothing, he knew nothing about it. It happened.

[00:06:31]>> I believe that.

[00:06:32]>> I would tell you I'm trying to tell you.

[00:06:34]I'm telling you the truth about everything. I tried but I beat around the basement all [snorts] because I told you he said the truth. He said, "While we tell the truth, he gave me a hug." She was good. [snorts] Pink container.

[00:06:50]>> Where did the pink container go?

[00:06:53]>> They burned it. I told him that to >> Okay. You burned it where?

[00:06:58]>> Out there in the yard.

[00:07:00]>> In your house with Andrew or your house uh where Bo Peep stays at. So outross.

[00:07:07]So, you just you burned it in the yard?

[00:07:10]Like where?

[00:07:11]>> Was it a rugged barrel?

[00:07:13]>> Whenever Marian becomes vague or overwhelmed, the detective gently redirects her toward concrete details.

[00:07:20]What kind of container was it? What color? Where was it burned? Which room?

[00:07:24]Front seat or back seat? Saturday or Sunday? This reflects the reality monitoring framework which distinguishes between genuine remembered events and constructed accounts by examining sensory and contextual detail. Real experiences usually contain anchor details, but fabricated or manipulated stories often wobble when the speaker is forced to specify time, sequence, or physical placement.

[00:07:48]>> There's an old raggedy barrel burned.

[00:07:51]>> Okay.

[00:07:53]When [snorts] did you That's about she burned it.

[00:07:58]So you and Valerie burned [snorts] the the container. Was Dave with you guys?

[00:08:04]>> Did he know what was happening?

[00:08:09]>> I don't know. We didn't tell him what [clears throat] happened.

[00:08:12]>> So you didn't tell him. You know that you never told him?

[00:08:14]>> I didn't tell.

[00:08:15]>> Okay. So where were you guys? You put the container in an old raggedy container like a >> It was a barrel.

[00:08:22]>> A barrel. Like a a burn barrel. Like I live out in the country. to have one too, right? So, where was that barrel at?

[00:08:30]>> It was sitting. You remember the two bears in the yard?

[00:08:33]>> The two black ones in by the shed.

[00:08:35]>> You walked over there. The dogs is over there. They went everywhere with [snorts] >> Okay.

[00:08:39]>> They wasn't strong enough to pick up anything, but it wasn't her body in there.

[00:08:44]>> It was not her body or it was her body in the pink container that's in the burn barrel.

[00:08:51]>> It was her body. Okay.

[00:08:53]>> [snorts] >> And then um when did you what day was that that you guys were doing that?

[00:09:00]>> That was it was it was a Saturday morning.

[00:09:04]>> Okay.

[00:09:07]>> No, that was Sunday. It was Saturday morning.

[00:09:10]What did we have to be?

[00:09:12]>> Right. When you when when did you find her?

[00:09:15]>> Sunday.

[00:09:16]>> Passed.

[00:09:19]She passed sometime I think from looking back from maybe 12 to about 6 or seven.

[00:09:30]>> Six. Okay. So 12:00 p.m.

[00:09:32]>> Oh, that's the last time. No. No.

[00:09:34]>> What day for me?

[00:09:35]>> Okay. Okay.

[00:09:37]>> Thank you. So be like this. This is This is 11.

[00:09:43]>> This is 12. Yeah. So it'll be Saturday.

[00:09:46][snorts] So, Saturday morning around 6:00 a.m. you found her?

[00:09:50]>> Yes, ma'am.

[00:09:51]>> Okay. And then >> about No, about 7 cuz that's when I remember when I got the phone call.

[00:09:58]>> Mhm.

[00:09:58]>> That's when I called Valerie.

[00:10:00]>> You called Valerie. And did she come over immediately or later or something different?

[00:10:05]>> She came immediately, but she didn't know what I didn't >> over the phone. Okay. So she came over >> cuz when when she cuz when I called you said no. When I called she said, "You ready for me to pick her up?" And I said, "Yeah." [snorts] And so I didn't tell her that because I wasn't the sheriff. I just >> The detective does not immediately challenge every inconsistency. First, he lets Marion commit herself to broad claims. Valerie hit Dileia. Dileia stopped breathing. Valerie came over.

[00:10:36]The body was moved. The pink tote was used. the tote was burned. This is tied to the commitment and consistency principle from social psychology. Once people publicly commit to a version of events, they feel internal pressure to stay broadly consistent with it.

[00:10:51]Detectives can then use that commitment against them by probing specifics.

[00:10:56]>> And you telling her, "Don't whoop her again."

[00:11:01]Is that am I missing something?

[00:11:04]>> It sounded like you came out from what you said. You came out of the room and saw her whooping her.

[00:11:10]>> Okay. And I'm sorry, baby. [snorts] I'm sorry. That's my bad. I'm sorry.

[00:11:13]>> No, I I I understand.

[00:11:15]>> Somebody understand Listen to >> I'm doing my best. Said you really forget.

[00:11:20]>> If Miss Lisa told you anything about me, she you know, you're probably dealing with a pretty good guy.

[00:11:25]>> That's what she told me.

[00:11:26]>> So, I'm she's the best.

[00:11:29]>> Yeah, you're really good.

[00:11:30]>> She's she's busy, too.

[00:11:32]the whole team, even the guys, even the way they was drill. I mean, you know, it's just I'm so proud of the way I'm telling you cuz if it wasn't for that and me having the dream from Lely >> Mhm.

[00:11:43]>> I wouldn't be here. I wouldn't be here talking to y'all.

[00:11:45]>> I appreciate it.

[00:11:46]>> I wouldn't be here.

[00:11:47]>> I [snorts] appreciate it.

[00:11:48]>> You know, cuz I've always been an honest person. Always told the truth. Lily was my heart. It's just so I mean, it's, you know, it's like I'm gambling between my baby, my sister. It's just like I [snorts] told my mom I said she might not be my birth child. She was my baby.

[00:12:06]She was part of my care take care of her >> and she was blood. She was blood to you.

[00:12:12]She was your baby.

[00:12:13]>> Miss Lisa told me about that about you.

[00:12:15]She said you cared about her.

[00:12:18]>> You know they want >> good care of her.

[00:12:20]>> They want you know. But just let my sister you know >> we just >> my sister she's good people but the same thing but she was I just found out from oldest my other sister about my sister had and she I talked to Linda and Linda said you make sure you tell them what I told you which I didn't cuz I wasn't very close to her family.

[00:12:42]>> Marian repeatedly describes herself as truthful caring religious and devoted to Dileia. The detective subtly encourages that self-image instead of attacking it head-on. He reinforces the idea that she loved Dileia, that she is doing the right thing now and that truth matters.

[00:13:01]This produces pressure through self-discre theory. The greater the gap between Marian's claimed identity, loving guardian, honest person, woman of faith, and her actual conduct, failure to protect, concealment, participation in a false missing child story, the more psychological discomfort she experiences.

[00:13:21][snorts] >> How can I call Valerie?

[00:13:23]>> Oh, I didn't know if you could call in there. I know that they can call. I didn't know if you guys can call in to her.

[00:13:30]>> Okay. I'm sorry, baby. No, I'm sorry.

[00:13:33]>> Um, [snorts] so after you guys were driving around and Valerie said that this is what we can say that she was from the house, um, taken from the house, what happened? We start driving around.

[00:14:06][snorts] Let me back up a little something. Okay.

[00:14:10]>> You asked me. You said I called Valerie.

[00:14:12]>> I can't call Valerie.

[00:14:13]>> You can't call her cuz she's in the the meridian a place for detox or whatever.

[00:14:27]I think Valerie called me this but I can't call her. Valerie called me this morning.

[00:14:31]>> Yeah. I don't know. I didn't know if you guys can call in if there's a line that family on.

[00:14:37]>> You can call in for sure but I didn't call Valerie cuz I didn't Okay. [snorts] >> But I don't know if >> Why did Valerie call me this morning? I can't call Valerie.

[00:14:46]>> Okay. She might have called you >> cuz you said you have that number saved.

[00:14:51]>> Yes.

[00:14:51]>> From when?

[00:14:52]>> Yes, ma'am. But I can't call. Yes, ma'am.

[00:14:54]>> You can check You check my phone, you can check it. Yes, [snorts] ma'am. But um >> Yes, ma'am. I did. And you know, I asked Valerie, I told Valerie, I said, "Valerie, I say the truth got to come out." Cuz yesterday she called my phone.

[00:15:10]I never answer my phone.

[00:15:11]>> Mhm.

[00:15:12]>> She called. Then she called my mother and I told her, "Hey." And I kept going.

[00:15:16]Okay.

[00:15:17]>> But um Yes, ma'am. And I told her I said, "The truth got to come out." She's like, "What truth? What truth?" Mhm. Ask me what truth. I said, "You don't remember that? I don't remember that."

[00:15:34]I said, "She don't remember. I know what I remember. I have to make peace with God."

[00:15:40]So she was saying about >> perhaps the most elegant tactic in the whole exchange is that Marion is allowed to feel she came in because she wanted the truth to come out. She talks about dreams, guilt, God, and the need to speak. The detective does not strip that away. This works through self-perception theory. People interpret their own behavior by observing themselves. If Marian sees herself as voluntarily confessing because her conscience demanded it, she is more likely to continue cooperating than if she feels overpowered into admission.

[00:16:17]>> Okay. When you last left that lacrosse house and she was inside that first room on the right in the tote and you had gone back out there late in the night and you're >> saying goodbyes and sorryries to her, right? I was saying it wasn't later that night >> on Saturday.

[00:16:35]>> Mhm. It was probably in the evening.

[00:16:37]>> Okay.

[00:16:39]>> And then you left.

[00:16:41]>> Mhm.

[00:16:42]>> Cuz you and I had already talked before.

[00:16:44]So, let me clarify this. You and I talked before that you had changed those locks. And the only people that had a key to that house since the locks been changed two months ago is you and Valerie.

[00:16:56]>> Mhm. So when you did leave the house after you had your time with her in that evening, did you lock the door or was the door unlocked or something else? We had keys, but no man, I locked my door.

[00:17:08]>> Okay.

[00:17:09]Okay.

[00:17:12]>> So to your knowledge, it's only you and Valerie that still have a key to that lock.

[00:17:18]>> Yes, ma'am. Cuz Valerie tried to give me the keys.

[00:17:21]>> She tried to give you the keys. Tell me about that.

[00:17:25]Did you recuse? That's how I know.

[00:17:27]>> When did she do that?

[00:17:29]>> Sunday night.

[00:17:30]>> Sunday night.

[00:17:39]>> That's when you [snorts] That's when you called her.

[00:17:45]>> She said, "We give you your keys to your house."

[00:17:47]>> After I called her, she said that.

[00:17:48]>> Yes.

[00:17:49]>> Okay. So, she told you I called her and asked her to come in. She come to my house. I didn't let him in. I kept going outside the gate because I know what he's talking about.

[00:17:58]>> And she told me you called her to come in and she said, "Here are your keys." I said, "No."

[00:18:05]>> Okay. Keys.

[00:18:09][snorts] In this section, the detective keeps making Marion revisit the same sequence from slightly different angles. when she arrived, where the tote was, whether the lid was on, who was present, whether the door was locked, what Valerie said, and what happened before or after the report. This is a classic memory testing tactic grounded in the repeated retrieval principle from cognitive psychology. Genuine memories usually retain a stable core, even when retold from different prompts, while deceptive or contaminated accounts tend to drift under repetition because the speaker is reconstructing rather than simply recalling.

[00:18:49]deny everything.

[00:18:53]>> What else was out of place >> when I went to my house?

[00:18:59]>> When you were at the house. So you see the pink tote that's out of place.

[00:19:02]>> That was outside.

[00:19:03]>> That was outside in the front yard. So what else was out of place? Anything?

[00:19:08]Try and like picture it if you can.

[00:19:13]>> In that room so many totes.

[00:19:15]>> Mhm.

[00:19:35]looks out of place.

[00:19:42]>> This is when I found the PE this after the thing was on >> when you pull up to that house cuz I know how it is. You have the tires front. You have to get out and move the tires to come in or you can come in from Cromwell's Chris's here and drive straight in. How did you pull in by the way?

[00:19:58]>> When you came and met me there, were you by the tires? You came in through Chris's property.

[00:20:02]>> I come in the front of it >> for where you and I sat by the tires >> cuz usually that's the way I come. I don't go through his yard. Okay.

[00:20:09]>> But I came through his yard cuz you had the car and I asked him and I come through.

[00:20:12]>> Okay.

[00:20:14]And you saw that the pink tote was outside.

[00:20:16]>> Mhm.

[00:20:18]Where was any everything else? Like where was the burn barrel? Where was >> Oh, that's what you're asking. I thought you were saying inside.

[00:20:26]>> Anything else? Yeah, I mean [clears throat] outside. We're going to work our way inside, but anything that you notice outside? So, the pink is there lit on or lit off?

[00:20:36]>> Lid on, but it was like closer by the by the house.

[00:20:38]>> It was closer by the house. Okay. Like the front steps to the house or part of the corner of the house. Okay.

[00:20:44]>> So, um lid on and the tote. Is there anything else that caught your eye that was like, well, who moved this or who did that or anything like that?

[00:20:55]>> That's just saying I didn't >> I didn't think it would anything else could catch my eyes cuz I didn't I know nobody had no pizza or my sister.

[00:21:02]>> Okay. The detective repeatedly asks Marian to mentally picture the setting, how she drove in, what side of the house the tote was on, where the barrel stood, which row they took, which dumpsters were on the left side, what the room looked like, where the window was, and what Dio was wearing. This draws on the encoding specificity principle, which holds that memory is often best retrieved when the contextual features present at the time of the event are mentally recreated.

[00:21:27]>> So, she was already put into the room in lacrosse house, near house.

[00:21:33]Okay.

[00:21:36]Now, >> I don't want you to I know this is hard because we're asking you a bunch of questions. We're kind of going back and forth.

[00:21:43]>> The day you said you saw Valerie Whooper with a cord, what kind of cord was that?

[00:21:47]>> It's like a It's like a little like extension cord thing. an extension cord plug or like the one that you would just plug in or >> that's a you know that's a that's a I don't I know what my kids are going I never that's normal for you know >> it's not normal >> what color was it I think brown >> brown where is that at now >> threw it away she threw it away >> she threw it Where is I? I told him a lot of stuff. I told him stuff.

[00:22:27]The garbage can, you know, but stuff.

[00:22:31]>> Okay.

[00:22:32]>> Was that in the tote with her or something different?

[00:22:40]>> It wasn't in the tote with No, ma'am. It was in the tote.

[00:22:44]>> Okay.

[00:22:46]>> So, where did you guys throw or where did she or you throw the extension cord?

[00:22:53]It's in in um the trash can.

[00:22:57]>> Okay.

[00:22:58]>> If that's where it's going.

[00:22:58]>> But this is in your house in Manoka, right? Where the whooping took place. So like >> she took Okay. So the next morning when she come home and she realized it >> Mhm.

[00:23:08]>> she she got the cord.

[00:23:10]>> Mhm.

[00:23:11]>> And she rolled the cord up.

[00:23:12]>> Okay.

[00:23:13]>> And she put the cord in a bag. In a trash bag.

[00:23:16]>> In a trash bag.

[00:23:17]>> My work somebody. So >> like what color was a trash bag? It it I think it was a Walmart bag then a trash bag.

[00:23:25]>> Okay.

[00:23:26]>> It would be white.

[00:23:28]>> Okay. So, it was like a Walmart bag and just using it as trash.

[00:23:31]>> The detective carefully distinguishes between what Marian saw, what Valerie told her, what she physically handled, what she merely suspected, and what she personally witnessed versus heard secondhand. That separation reflects source monitoring theory, which examines how people identify where a memory came from. direct perception, conversation, inference, or imagination. In deceptive narratives, suspects often blur these categories because it helps them avoid accountability.

[00:24:02]>> Okay.

[00:24:08]>> What was she? Do you remember what she had on? What kind of clothing she was wearing?

[00:24:14]>> Yes, sir.

[00:24:16]I can't um those those pajamas that some describe the pajamas I remember seeing but I can't tell. I mean I know it's blue.

[00:24:26]>> It was blue.

[00:24:27]>> Yes.

[00:24:27]>> And she was in her pajamas.

[00:24:29]>> Mhm.

[00:24:30]>> Okay. So blue pajamas. But that's all that you can remember.

[00:24:35]>> And this would have been the same clothes she had on Saturday when you were at the house and you were remember rubbing her leg?

[00:24:41]>> Yes, sir.

[00:24:42]>> Okay. Was it a night gown or a a onesie or a >> No, a little undershirt.

[00:24:52]>> So, it was an undershirt piece.

[00:24:54]>> A two-piece. And were they shorts or pants or was it a sleeve shirt, a tank top, or something?

[00:25:04]Like a tank top. It's >> like a tank top.

[00:25:06]>> Undershirt.

[00:25:09]>> So, there was an undershirt and a a t-shirt with sleeves. No, ma'am. So, >> it was undershirt and a little It was a matching outfit. She always got a matching top and bottom and >> Okay.

[00:25:21]>> She always like the dress. Very good.

[00:25:23]And she >> So, an undershirt and >> it's like a little wife beater.

[00:25:28]>> Okay. A wife beater undershirt.

[00:25:30]>> A lookoff shirt like this.

[00:25:32]>> She had on the little >> jacket. Not a jacket.

[00:25:38]>> It was a buttonup uh blouse over the Okay. Yeah.

[00:25:42]>> Is it a what shade of blue? Like you see is it a light blue like this wall dark blue or something in between or >> it's like a >> It's like all different little blues like little flowers like >> like a little flower or some type of pattern >> tissue box kind of like that blue.

[00:26:05]>> Or I got kids. Elsa >> like that Elsa. Princess Elsa. It's the Frozen.

[00:26:12]>> Yeah. Yeah.

[00:26:13]>> I've got kids.

[00:26:15]>> Do you remember where you bought those pajamas from?

[00:26:19]>> Where were they purchased at?

[00:26:20]>> Walmart.

[00:26:21]>> At Walmart. How long ago?

[00:26:24]>> Marian does not reveal everything at once. She first gives the broad outline, then later remembers the lake, then the clothing, then the removal of the clothing, then the trash location, then the phone details. The detective allows and encourages this gradual expansion rather than demanding a perfect full confession in one pass that reflects the foot in the door effect from social influence research. Once someone has agreed to a smaller admission, they become more likely to agree to larger, more incriminating admissions that are consistent with the first year.

[00:26:59]>> A year. Okay.

[00:27:02]Um what um because you remember you told me that you did her hair and that you had that picture where you just was her hair still like that when she was in the tote. So it was braids on the side. There's like a poof here and a poof in the back.

[00:27:27]>> I like rubber bands connected.

[00:27:29]>> Rubber bands. Okay.

[00:27:32]I had it.

[00:27:35]It was loose. It was loose.

[00:27:38]>> It was loose.

[00:27:40]>> Okay.

[00:27:41]Did she have any shoes or socks on or?

[00:27:46]>> No.

[00:27:48]>> I know. She had her ears pierced.

[00:27:50]Anything?

[00:27:53]>> She didn't have ears. She didn't have earrings on the earrings when she got >> Okay. Yeah, that makes sense. Neither do I.

[00:28:08]>> Would you be willing to take us out to this lake?

[00:28:12]>> Show us.

[00:28:13]>> All right, baby. I appreciate that.

[00:28:15]Thank you.

[00:28:16]>> I'm ready to go to jail.

[00:28:18]>> Ready? We talk.

[00:28:20]>> I'm ready to go. is my biggest.

[00:28:24]Did I expect I give my mom a hug? I gave everybody hugs. [snorts] You want to hear something? That's so sad.

[00:28:33]>> I'm sorry.

[00:28:34]>> We want We want to bring her home, though.

[00:28:37]>> We just want to bring her home. [snorts] >> What you bring home?

[00:28:42]>> Well, we would like >> the body.

[00:28:46]>> We want to bring her home so that we have a place where she can have a proper burial. I don't care what y'all do to me. Y'all could shoot me and I'll be okay cuz I could have protected her. I told my mom I've always been like the number one mommy around my whole kids.

[00:29:00]But what happened to you? We can >> That's why that's why they let me adopt him so fast cuz everybody know my church.

[00:29:12]>> I know you're good enough. I [snorts] know you I know you're good. The detective asks about hair, pajamas, earrings, bags, routes, who normally carries a phone, what kind of case Valerie's phone had, and whether Marion used her phone or a laptop for Gmail.

[00:29:26]These may seem mundane, but they serve a sophisticated purpose rooted in behavioral consistency theory. People are more believable when their account fits the ordinary rhythms of their habits and environment. Detectives use everyday details to see whether the suspect's story integrates naturally with live behavior or sounds retrofitted around a crime.

[00:29:46]>> You called Valerie Saturday morning. Um, what phone did you use to call her?

[00:29:53][snorts] >> My cell phone.

[00:29:54]>> Your cell phone. The one that I have right now. Okay. And then when you and Valerie left your house after you put her in the tote, you loaded the tote in the car into the back. She put it in the back of your car, back seat. Um, and you both took separate cars to your house on Lacrosse, the old house. Um, [clears throat] did you have your cell phone with you?

[00:30:20][snorts] Okay. And when you guys got to the lacrosse house and after Valerie put her into the room and you guys left into your car now, right? And you go driving around cuz you're trying to process and and you're panicking. Okay. [laughter] Right.

[00:30:40]>> Yes.

[00:30:52]when you guys were driving around, um, you had [snorts] your phone with you.

[00:31:00]>> Okay. And, uh, did you see Valerie's phone with her?

[00:31:06][snorts] >> I can't remember it. I know. I have this.

[00:31:09]>> You know, you had yours. Well, how >> most most of the time I know she has a phone. She does she normally carry her phone with her every Okay.

[00:31:18]>> Nobody could have got their phone if that's what you're getting to.

[00:31:20]>> Okay. Um do you know the password to her phone?

[00:31:24]>> No. Okay. Um so did you get any phone calls or anything like that when you were driving around? Even if you ignored them and you didn't answer, did because I know your husband kind of blows you up a bit sometimes. And do you remember if somebody called you?

[00:31:40]>> I remember nobody called me. Okay. If they did, I can't remember. Okay. And I know that Dave is pretty kind of like check check too. Did anybody call Valerie or Yeah, >> I can't remember if anybody >> The detective keeps compressing many scattered events into short windows.

[00:31:57]Saturday morning, the drive, the lake idea, the tote, the report, Sunday morning, the empty container, the trash disposal. This mirrors the logic of event segmentation theory, which explains how people mentally divide continuous experience into meaningful units. Truthful memories usually organize around natural event boundaries. Deceptive accounts often struggle when investigators insist on sharp transitions between one event block and the next.

[00:32:29]>> It's Gloina, right?

[00:32:31]>> Is that what you go by? Gloina.

[00:32:33]>> Marion.

[00:32:33]>> Marion. Okay. I thought they call call you Gloet.

[00:32:36]>> That's a that's what my family calls me.

[00:32:39]>> Okay. Um I'm Chris Whitel. You know, I was sitting in here earlier and you know, Lisa kind of told me about the whole thing, this whole case. And everything, you know, I sat in here. I I haven't been a part of this investigation a whole bunch. I don't know a whole bunch of the intricacies about it. So, you sitting in here today kind of filled me in and kind of schooled me up on it and allowed me to kind of brief myself and figure out what was going on with everything.

[00:33:13]um you know after we talked and that's kind of where I've been. I've kind of been reading the case and reading reading up on it and figuring out kind of educating myself on everything and what with what you told us today and um you know at the end of the day we're going to be speaking to Valerie too about this whole thing. So the big thing is whatever whatever you tell us, we we want to make sure it's the truth and what actually happened and we want to get out in front of that before everything.

[00:33:50]>> Yes, sir.

[00:33:51]>> Cuz I mean, at the end of the day, >> this this young girl, the the truth needs to come out about this young lady.

[00:34:08]And [clears throat] we need to we need to bring her home.

[00:34:14]You know what I mean? You you were talking about church earlier today. You seen you go to church and we we need to bring her home. Give her a proper resting spot.

[00:34:28]>> This section opens with a different strategy. The detective is no longer just listening. He is confronting Marion with the idea that parts of her story do not fit. But instead of attacking her directly, he frames truth as something she still has time to get ahead of.

[00:34:43]>> How about you tell me kind of >> it >> what what doesn't fit cuz I've got my hunches and my suspicions.

[00:34:53]>> But you look at that young lady have >> and she came here to you today. She talked to you today. She made you come in here and do the right thing. Do the right thing by that young lady and give her a proper closure and justice.

[00:35:14]Okay.

[00:35:17]>> So, let's start from the get-go.

[00:35:20]Friday, Friday the 16th.

[00:35:29]Let's talk about that day.

[00:35:34]Let's kind of go back through it and ret talk about it. Just me and you. And go back through it.

[00:35:46]And if it helps you, I know you're religious. If you want to pray about it, you can hold my hand. We can pray about it and we can go through it and go through it. Just me and you.

[00:35:58]told me about you.

[00:35:59]>> H >> Lisa told me that you >> Lisa told me what >> she told me about you.

[00:36:05]>> What? What did she tell you?

[00:36:08]>> Yeah.

[00:36:10][snorts] >> An accident.

[00:36:18]>> H >> It was an accident.

[00:36:20]>> It was an accident.

[00:36:21]>> She didn't try to beat her.

[00:36:23]>> She didn't try to beat her.

[00:36:24]>> Now Marian begins shifting the language.

[00:36:27]Earlier, this was told like a cover up after a death. Here, she starts calling an accident. That word matters because suspects often change labels first, not facts, when they're trying to reduce moral blame without fully changing the story.

[00:36:47]Now, just by some of the stuff on scene and talking to you and hearing you talk today, I don't I don't believe she died overnight.

[00:36:58]Sir, >> I don't believe she died overnight.

[00:37:01]>> What you mean? Please do that. H >> So what you mean?

[00:37:05]>> I don't believe you said you know she beat her.

[00:37:10]>> Mhm.

[00:37:10]>> And then the next morning you found her.

[00:37:14]I don't believe that.

[00:37:16]>> Wow.

[00:37:19]>> I I will come out and tell you that I believe a lot of the stuff you're saying, >> but I don't believe it. It happened overnight. I believe you. I believe you know.

[00:37:32]And I need you to >> lie to me.

[00:37:35]>> Now, that's one thing I'm not telling you lie about. Not sir.

[00:37:37]>> You're not lying to me. You You're trying to say that.

[00:37:40]>> Okay.

[00:37:40]>> No. No. No sir. No, sir.

[00:37:42]>> Okay. What are you lying to me about?

[00:37:44]>> I'm not lying to you about nothing.

[00:37:45]That's that's one thing I'm not lying about.

[00:37:47]>> Well, you just you just said >> that's the one thing I'm saying. That's that's the thing I'm not lying to you about.

[00:37:51]>> Okay. So, you found her the next morning.

[00:37:53]>> Yes. What?

[00:37:55]>> Okay. Yes, sir.

[00:37:56]>> She now >> when my sister whooped her, like I said, I went to the bathroom. When I came out, my sister's whooping her. I told her to stop.

[00:38:07]>> Where was she whooping her? Cuz [clears throat] >> on her legs, >> somebody You don't die from getting whooped on your legs.

[00:38:16]>> Oh, when I came in, that's what I was.

[00:38:18]>> Okay.

[00:38:19]>> Did you see her with any other injuries?

[00:38:26]Like her head had >> her head.

[00:38:30]>> Yes, sir. Like her head. I didn't see it then until I washed her hair.

[00:38:34]>> Okay. What was there?

[00:38:35]>> Like a like a little bump like maybe a little scratch like yesterday.

[00:38:42]>> Did she say how she got that scratch or >> No, sir. But I asked her about it. I said it did. Was she on the drug?

[00:38:50]She's like, "No, no, I did it myself."

[00:38:54]>> She said she did it. Yes, sir. Like, she hit her head. She could have hit her head.

[00:38:58]>> She hit her head.

[00:38:59]>> I don't know.

[00:39:00]>> The detective zeros in on the head injury here, and that is no accident. A beating to the legs does not easily explain death. So, he starts pressing for the injury that makes the rest of Marian's timeline harder to believe.

[00:39:12]This is where her version begins to strain under medical reality.

[00:39:16]>> So, you saying that you think that she didn't she wasn't like that?

[00:39:21]>> Well, what I'm trying to figure out is I know later on you say, you know, you call your sister and your sister comes over.

[00:39:29]>> Yeah. Was in the morning, sir.

[00:39:31]>> In the morning. 7 in the morning. Andrew is still asleep.

[00:39:34]>> Yes, sir.

[00:39:35]>> And then Yes, sir.

[00:39:36]>> Okay. And then you and your sister, you get this tote from inside your house.

[00:39:42]>> Yes, sir.

[00:39:43]>> And you put her in this tote.

[00:39:45]>> Mhm.

[00:39:46]>> I haven't put her in my sister.

[00:39:48]>> Your your sister put her in.

[00:39:51]>> Okay.

[00:39:52]And [clears throat] how long was this tote?

[00:39:56]>> Can I ask you a question, too?

[00:39:58]>> Yes, ma'am.

[00:39:59]>> Do you think I'm telling you a story about the tote, too?

[00:40:03]I believe some of your stories and I believe some of the stuff that you've told us.

[00:40:08]>> You don't need to talk about the tote.

[00:40:10]>> I believe a tote was used just by from what you're listening to.

[00:40:17]But I believe that there was some help done in getting her in this tote, >> putting her in the tote. So I couldn't help but put the tote. She she wasn't that big.

[00:40:30]>> Yeah. If that's the case, my sister carried the toe back. She lift the toe back. I couldn't help her. I can't lift nothing.

[00:40:36]>> Well, >> what can I lift? I'll be >> My sister, tell you the truth. She tell you, she took the tote to that car by herself. My sister's very strong. She's a big girl.

[00:40:47]>> Okay.

[00:40:47]>> Yes, sir. I won't tell you no lie. She took that tote. She picked that baby up.

[00:40:50]Took that tote to that car by herself.

[00:40:52]>> Okay.

[00:40:53]>> By herself. Yes, sir.

[00:40:55]Well, I know I I've been I investigate homicides and I investigate deaths.

[00:41:02]>> I'm going to tell what I do.

[00:41:03]>> And the human body does some stuff when it's decomposing after death.

[00:41:10]>> Decomposing.

[00:41:11]>> Okay.

[00:41:11]>> It it it's where it rots and it kind of gets stiff. You understand the muscles and the muscles in the body >> and there's some fluidity and it's it's hard to move a a deceased person.

[00:41:24]>> She wasn't too.

[00:41:25]>> So she was she was linked. She >> Yes, sir. She wasn't too.

[00:41:29]>> Once the conversation moves to the tote and the body, the detective shifts from sympathy to reconstruction. He is testing not just what Marion says happened, but whether it would have been physically possible the way she describes it. In homicide interviews, mechanics often expose what emotion tries to hide.

[00:41:47]>> I know I told you earlier. I sure did. I think I told you earlier that when we left my house, I did tell you that. I told you about a joke.

[00:42:04]Okay.

[00:42:05]Cuz now I I know what I told you, but I'm not trying to remember what I told.

[00:42:08]I'm trying to remember the truth.

[00:42:10]>> Yeah. And and I was just thinking we left my house.

[00:42:18]>> Yeah, that's right. When we left my house for money, we took the body out to the house.

[00:42:25]>> You took it where?

[00:42:26]>> To lacrosse. The house.

[00:42:27]>> You guys took it to Lacrosse. Okay. In your car.

[00:42:31]>> It was in my car, but Valerie had her car.

[00:42:33]>> Oh, Valerie drove to Lacrosse as well.

[00:42:36]So, she followed [clears throat] you guys followed >> She followed you up there. Okay. So then you drove back to Lacrosse. Valerie picked up her >> arm. Now you're trying. I'm like, "Wait a minute. He can't get me confused cuz I know the truth. I'm not >> And that's what that's what I want you to start from the That's what I told you earlier." Yes, sir. I see.

[00:42:53]>> So you guys she left Lacrosse and then you came home.

[00:42:58]Correct.

[00:43:00]From from your house on Lacrosse.

[00:43:02]>> No sir.

[00:43:03]>> Okay. Then what? When the battery got left, we went to the house.

[00:43:10]>> Mhm.

[00:43:13]Aside then we come back, got a guy in her car and got to take our car to her house to her house. Got a guy in her car and then we drove around. Okay.

[00:43:27]>> Then I took dropped out of >> here. Marion starts correcting herself in real time, and that is incredibly important. Detectives often revisit the same sequence because memory under pressure can split apart. When a suspect suddenly says, "I'm trying to remember the truth. It usually means the original version is no longer holding together."

[00:43:50]>> Later on that night.

[00:43:52]>> No, that evening.

[00:43:53]>> That evening.

[00:43:54]>> Yes.

[00:43:54]>> Okay.

[00:43:56][snorts] And then how long do you think you spent out there >> when you when you went back the second time? How long do you think you were there?

[00:44:10]>> Mhm.

[00:44:23]>> 15 20 minutes.

[00:44:24]>> 15 20 minutes. Okay.

[00:44:26]>> 15.

[00:44:28]>> And then you left that night and returned back to your home.

[00:44:31]>> Yes, sir.

[00:44:32]>> Okay.

[00:44:35]And then we're talking this is that's the end of Saturday evening. Sunday evening rolls around or Sunday morning rolls around >> and then take me through the Sunday.

[00:44:49]Okay.

[00:44:50]>> Sunday. So I I told Miss Nancy cuz that was the first I know when I called Valerie. I might have called it wanted to but I know I saw Val sending money cuz that's when I was up and I started you know riding around like you know if I was you ride around to >> just run around.

[00:45:15]>> Yeah.

[00:45:16]>> I didn't have God with me.

[00:45:17]>> Yeah.

[00:45:18]>> I didn't have it with me. But you just said you were riding around, >> right? I was pretending like I was looking for >> Okay. Cuz I was going to say, you know, you know where she's at.

[00:45:27]>> I knew where she was at and and even after I knew I still get in my car and I ride around.

[00:45:37]>> Okay.

[00:45:49]By this point, the interview is no longer just about Dileia's death. It is about coordination, staging, and concealment. Marian describes driving routes, disposal ideas, and making the body visible enough to be found that reveals planning after the fact, and that planning is what turns panic into criminal intent.

[00:46:12]>> Were you saying something to me?

[00:46:16]a minute ago. Were you saying something to me?

[00:46:20]>> Said I think it was Nancy or something.

[00:46:22]>> Okay. What you thought your password might be or something like that?

[00:46:26]>> Oh, it said March.

[00:46:28]I thought it might.

[00:46:31]I know it's not 03 cuz I've been had that much. It could be 0322.

[00:46:37]>> Like just the numbers >> cuz that's my birthday.

[00:46:39]>> Okay. So it could be still the word march or so capital M >> it's always be capital in lower [clears throat] case it's >> okay March 03 >> 22 >> you don't think it is that >> always >> could it be what about if it was March spelled out and then 2264 so the date and the year would you have ever done that doesn't sound like that sounds familiar to you >> something I would do too but >> okay it would be >> so it But we could try the March.

[00:47:12]Okay. 0322 just like that.

[00:47:16]>> Okay. I'll let him know.

[00:47:17]>> All right. Thank you, babe. I appreciate that.

[00:47:19]>> It can't be nothing else cuz that's all that goes along with it.

[00:47:22]>> Gotcha.

[00:47:23]>> Yeah. This I mean this is important information.

[00:47:26]>> I mean I >> I told you earlier we I I want to verify. I mean, accidents happen and stuff happens and we want to verify your information and make sure what you're telling us is true and correct and accurate and you know, I mean, you came in here and you disclosed all this to us and I am very appreciative and she's very appreciative of that as well. I mean, I see you been looking at it.

[00:47:54]She's Lily. I'm I mean I was up here when I left out of here earlier so I can see you're you're looking at it but all this information I mean it it's very important we want to bring her home.

[00:48:07]>> She came >> and I gave her my phone. I mean I thought she said she can do everything.

[00:48:13]I thought she could do everything like he said looking at the front of it.

[00:48:16]>> Even here detectives stay focused on one thing verification. Marian wants sympathy, but investigators keep returning to the Gmail account because digital evidence could confirm when she was where she claimed to be. In homicide cases, emotion matters less than what can actually be proven.

[00:48:33]>> Do you know I know you put cameras out at my house?

[00:48:37]>> Did you cameras?

[00:48:38]>> Yeah, I cross. Did you know I knew that?

[00:48:40]>> That you have cameras?

[00:48:42]>> No, that you all put cameras up there.

[00:48:45]>> I don't know what you're referencing. I know that your cousin Bo Peep has cameras.

[00:48:50]Yeah. He told me he's got cameras.

[00:48:52]>> He told you, but he told you a lie.

[00:48:54]>> Okay.

[00:48:55]>> He has no cameras. But there's cameras out there in my yard that you won't put up there. Did you know that, >> ma'am? That was not done by me. If somebody's got cameras up there, that was not done by me or by any of not by my authority or anything like I don't know what you're talking about.

[00:49:09]>> Wow.

[00:49:12]>> I'd love to see what you are talking about if you know where they're at.

[00:49:15]>> So, I know. Oh my.

[00:49:20]Are you for real?

[00:49:22]>> I have nothing to do with any cameras out there.

[00:49:25]>> Hand of God.

[00:49:26]>> You're a Christian, right?

[00:49:28]>> You're a pastor, right?

[00:49:29]>> No.

[00:49:30]>> I don't have a pastor.

[00:49:31]>> Oh, so you're a pastor.

[00:49:33]>> No.

[00:49:34]>> Oh, someone told me he's a pastor.

[00:49:35]>> No.

[00:49:35]>> I'm going to I know you're not sitting up here.

[00:49:38]>> No.

[00:49:38]>> Oh, wow.

[00:49:40]>> Now, Marian becomes suspicious and distracted, suddenly talking about cameras near the house. That matters because guilty people under pressure often become hyper aware of surveillance, witnesses, and unseen evidence. The detective does not dismiss it. She uses it to keep Marion talking and attest what else she may know.

[00:49:59]>> I haven't liked you yet. I If I had a camera out there, I would I wouldn't even need to talk to you if I had a camera, now would I? If I had cameras out there.

[00:50:07]>> No, that's after you guys went Friday.

[00:50:10]Cameras out there.

[00:50:12]If you would believe the day that I've had since that Friday.

[00:50:16]>> Oh my god.

[00:50:17]>> I have not uh >> I haven't been out to that house since that Friday.

[00:50:22]>> I didn't say you.

[00:50:24]>> Oh say you?

[00:50:25]>> No. The only time when I called you and I said, "Hey, I have detectives out there." Cuz they wanted to get the gun out of the house. Remember?

[00:50:31]>> Yes.

[00:50:32]>> That's when we went back to that house.

[00:50:34]That's the only time that I know of any of my folks were out there. And nobody else knows anything about that house but >> my group right here.

[00:50:45]So I don't know what cameras I'd love for you to point them out because we're I can go I have people outside that can go and look at that. So where are these cameras at?

[00:50:57]Somebody has cameras. If you said you see cameras and somebody's got cameras and somebody's maybe watching it and I want to know who that is. Well, it's good cuz I left my door unlocked cuz I know cameras here. I left my door unlocked. So, we want to go in again called.

[00:51:13]>> When did you leave? What are you talking about? When did you leave your When did you notice cameras? Talk to me about cameras?

[00:51:20]>> Saturday.

[00:51:21]>> Saturday.

[00:51:21]>> And y'all came out when Monday.

[00:51:23]>> We were We were back out. We were there that Friday and then we came back out Monday.

[00:51:30]And that's when you told the guys that because they got out there because they went to go get the gun that they had seen on Friday. You had already gotten it sometime over that weekend. You told me. So you I said, "Okay, can you go and meet my guys out there >> and give it?" Okay. So >> yeah. So I don't know when did you see cameras?

[00:51:48]>> The camera discussion also reveals something deeper. Marian is still thinking about access to that property, who could enter it, and who might have seen something. Even when the topic shifts, her mind stays centered on the house, the scene, and whatever happened there after Dileia disappeared. Miss >> Marian, um, I'm Sergeant Myers. I'm the supervisor of our homicide major investigation squad. I know you've been talking to Miss Nancy and Chris, right?

[00:52:16]>> Yes, sir. Um, listen what I want to tell you, okay, is we are obtaining search warrants for the houses and your phone and Valerie's phone.

[00:52:36]>> Okay. Mhm.

[00:52:38]>> What what is literally about to happen is we're going to be going into both of them.

[00:52:43]>> Mhm.

[00:52:44]>> And we're going to get all the information out of them.

[00:52:47]>> Okay.

[00:52:48]>> And I am here as a last ditch effort because this baby right here, >> I want her out of wherever she is right now tonight.

[00:53:06]>> And the what what we're running up against >> is one daylight, right? It's getting late.

[00:53:18]We want to find her. We want to bring her home where she belongs.

[00:53:24]>> Search ma'am. Oh, I'm sorry.

[00:53:29]>> We're going to talk to Valerie. Okay.

[00:53:31]>> Okay. We're gonna do all this. This is your and I'm not trying to I'm being me, okay?

[00:53:41]>> This is your only opportunity >> right now >> with me sitting here. If you know where she is or have any clue where you think she might be before we get to that, >> please tell us before we get to the warrants and get to Valerie because we don't want it to be worse on you than it already is. I need >> By now, the detectives change tone completely. The conversation becomes less about passwords and more about urgency. They tell Marion directly that search warrants are coming. Daylight is running out and this may be her last chance to help bring Dileia home before police find the truth without her.

[00:54:24]>> I know I can explain it to you. I don't know a lot about that. The only way I can explain it is what you did. Where did it go?

[00:54:35]>> Past the elementary school.

[00:54:38]>> I didn't see a restaurant cuz when we turned all I could see was houses on each side right behind the kangaroo.

[00:54:44]>> Where's the kangaroo again?

[00:54:46]We need to bring a computer in here.

[00:54:49]Easy.

[00:54:57]>> There it is.

[00:54:57]>> The Kangaroo Express. So, at this Kangaroo where that mobile station is, it's also called Kangaroo Express.

[00:55:05]>> Mhm.

[00:55:07]>> Okay. So, we'll zoom back down. You came down 441, right?

[00:55:12]>> Yes. I made a left turn.

[00:55:14]>> You made a left turn. So you kind of would go up in here. Thank you, Miss Mary.

[00:55:19]>> Okay.

[00:55:20]>> Would you like myself or Sergeant Marc to be with >> How many more people going?

[00:55:25]>> It'll probably be somebody driving and then I might [clears throat] be in in the >> and then one of us.

[00:55:30]>> Yeah.

[00:55:30]>> Or all of us. Not necessarily. We're all going to kind of follow each other up there. Who are you more comfortable in the car with you? I know it's not me.

[00:55:40]>> Not I mean it doesn't matter.

[00:55:42]>> She does yell though.

[00:55:43]>> It doesn't matter. I wasn't yelling.

[00:55:44]>> She Yeah, she wasn't yelling at you, but >> doesn't matter.

[00:55:47]>> Okay, >> I'm I'm comfortable with anybody. It's about getting a baby.

[00:55:50]>> Let's get this baby.

[00:55:51]>> Let's bring her home.

[00:55:52]>> Let's bring her home. All right.

[00:55:55]>> And that pressure finally works. Instead of resisting, Marian begins helping map the route she and Valerie drove near Bernett's Lake. In the end, this is what breaks the stalemate. Not a confession about intent, but cooperation that may [music] lead detectives to the place where the family hoped Dio would be found.

[00:56:13]>> [music] >> At the time of reporting, there is no clearly confirmed final sentence publicly available for Marion in this case. However, what is known is that the investigation led to serious charges, including negligent manslaughter and child neglect, resulting in great bodily harm. In January 2026, codefendant Valerie entered a guilty or no contest plea to these charges, marking a significant development in the