Miami Vice Season 4 Episode 3 Death And The Lady
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00:00It's hardening things
00:16I'll deny the same
00:21I just cry to see
00:26The very next moment of this film
00:42will change your mind forever
00:47about art and pornography, my friends.
00:56You've heard all the rumors.
01:04Now, before you see the truth,
01:08the 11th annual Continental Erotic Film Critics Festival
01:14introduces the creator of Death
01:18and the lady First Prize winner, Milton Glantz!
01:26Thecia?
01:34Thecia!
01:37Thecia!
01:44Thecia, thecia!
01:50How do other erotic filmmakers feel about your entry into their field?
02:13I think you'd give them something to aim at.
02:16Please!
02:18Please!
02:20You murderer!
02:22You're gonna pay!
02:24It's not just a movie!
02:27It's real!
02:29Murderer!
02:31It's not just a movie!
02:35You killed the glass!
02:37You're gonna pay!
02:39You murderer!
02:41Murderer!
02:46This movie is a movie to be drawn into the movies.
02:48I mean...
02:49You killed the nun?
02:51But maybe it can be plenty of money to keep and hid all the water keluarges,
02:55You come fromวพ assume!
02:56ShouldID?
02:57Uh!
02:58Ya know!
02:59Like, oh wait!
03:01Be PelagUN long!
03:04No I'm willing, freezing!
04:17Over and over.
04:19This guy, Lanz, was directing and he was never satisfied.
04:23Hardcore...
04:25Films don't usually go like that.
04:27They're quick and cheap.
04:31Yeah, you'd know something about that, I guess.
04:35It says here you've made 36 peep show reels,
04:39seven porn features.
04:41He's got 14 obscenity-related arrests.
04:45Did six months in Dade County Correctional Institute for the last one.
04:53Then you were released on parole.
04:57July 26th, you reported a murder.
05:01Uniforms found the signs of movie making.
05:04Makeup, blood, no murder.
05:06You said snuff porn.
05:08But even with just regular form, you're risking your parole.
05:11I know.
05:12You're lucky that they didn't lock you up again back in July.
05:15I know.
05:16I thought maybe that...
05:18What, that we'd help you?
05:20You got nothing.
05:22You got nothing here.
05:24You made a public threat.
05:27Well, what do you got against this director?
05:29Nothing.
05:30I didn't even know his name until I saw his picture in the Herald about this erotic film festival.
05:35That's how I finally tracked him down.
05:37Okay, and then you rehearsed the murder.
05:39The fake murder all day long, huh?
05:41Yeah.
05:42All day long?
05:43Yes!
05:44It was me and a lighting guy in his wolf's head.
05:49Glanson called a rap about Bob and everybody took off.
05:53And I'm heading toward the door and here comes Blondie and another guy in a wolf's head.
05:58And he says that we're gonna do it again.
06:00He said another guy in a wolf's head.
06:02Who was it?
06:04I didn't see it all.
06:06Blondie gets back in bed and we run through the snuff just like before except for this time the guy in a wolf's head really kills her.
06:16Sorry pal.
06:17Nobody snuffs anybody with an entire film Cruise Witnesses.
06:21I told you we'd wrap the crew. It was just the three of us.
06:24You couldn't stop it, huh?
06:26He had a knife.
06:28Maybe Glantz didn't do it, but it was his film.
06:32It was a set up.
06:34This guy Glantz put Knox up to it so he could sell more tickets.
06:39He doesn't even know who was in the wolf's head.
06:42Wolf's head?
06:43Ooh.
06:44Did you see the flick?
06:45What was the rating?
06:46On a deep throat scale of violence to women, about an 11.
06:51Other parts of it are a mild turn-on.
06:55Glantz has a nice touch.
06:57Gina, I saw the film this morning.
07:00Forget about this bogus guy.
07:02We got better things to do than chase around after guys in raincoats.
07:06If they want to look at that stuff, so what?
07:09And what's this?
07:11Uh, that's evidence from the crack house bus we made last night while you and Cinderella were at the sleaze ball.
07:19Could you log it in, please?
07:21Listen, Glantz has a fat bio in this dictionary of American artists.
07:26He was born in Chicopee, Massachusetts.
07:29He attended the Rhode Island School of Design and shows at the best galleries like Sonaban and Burgess.
07:36So what's a classy guy like that do to make an X-rated film?
07:40His work bridges fine arts and popular media, redeeming images of suffering with technical precision.
07:47Technical precision.
07:49I call this stuff dirty movies.
07:53But then, what the hell do I know?
07:55Can someone help me out over here?
07:58Yeah, could you help her out over here?
08:01Yeah, right.
08:02You know, in his speech last night, Glantz said that what he's doing now is called erotic performance art.
08:10You know, some of it's not bad. I mean, he's won enough awards.
08:14Yeah, what about that guy, Knox? He's a chump. I still can't understand what makes him tick.
08:19Physically or mentally?
08:21Yeah, maybe he likes the rehearsals.
08:23Tulane Knox, he's in and out of prison, day labor with odd jobs.
08:28He's a regular in the porno loops.
08:31And he also poses for those stills in the stroke books.
08:37And live sex shows in San Francisco.
08:40And dead sex shows in Miami, according to him.
08:44Hm. Whoa!
08:46What?
08:47What's in here?
08:49What?
08:50I found some rats last night.
08:52Maybe one of them stowed away.
08:54Oh, yeah? Well, here. Come on. It's your evidence. You look.
09:00For goodness sake.
09:02A nice police officer like you.
09:05Oh, God.
09:07Oh.
09:08I wonder how that got there.
09:11Probably followed by those rats, huh?
09:21Didn't you lose a kitty?
09:23Come on.
09:24Get him out of here. Go feed the little monster.
09:28Maybe we won't have to listen to her complain about the lost cat.
09:33What about death in the lake?
09:35I say we forget it.
09:37I don't think so.
09:38You know, I don't think it was a publicity stunt.
09:41If Knox is on parole, why would he squawk on glance a second time without proof?
09:48He'd just wind up being sent right back up to the slammer.
09:54Are we entertaining the idea here that we got a murder investigation?
09:59We got a two-bit porno actor who says a world-famous director killed a girl,
10:06then made a film about it, and now he's charging $8.50 for a seat?
10:10Is that right?
10:11That's the ticket.
10:13We got a murder allegation.
10:17We got it in the press.
10:20I'm putting Knox on the street, notifying corrections.
10:25Maybe they want to plumb in on his parole.
10:28But don't close the file.
10:30I want to keep it open until we got the whole story.
10:33You know something we don't?
10:36No.
10:39Except that it says in the news here that the mayor has six paintings by Milton Glantz,
10:48including the giant contact lens.
10:52If he calls, I want to have the whole goods.
10:57What's that doing here?
11:00Evidence?
11:02Fine?
11:03Fine.
11:04Fine, fine.
11:05Fine.
11:06All right, come on, Mike.
11:36All right, come on, Mike.
12:07Probing the truth of all human experience, even the dark, violent side.
12:12Keep wrapping, John. Chan wrapped his chest.
12:14Well, rumor has it that you might have gotten a little overzealous in your probing of the dark, violent side.
12:23Well, I try to be realistic, not real.
12:30Look.
12:31Yeah, meanwhile, nobody's seen the star of your movie around anywhere.
12:36Well, she's, uh, no doubt around the festival promoting herself.
12:40You know.
12:42Who isn't?
12:44Leave these plastic rolls right in here.
12:46Leave these rolls right in here.
12:49I noticed you didn't even give her, uh, credit in your movie.
12:53Stand back.
12:55Walk away.
12:55Walk away.
12:56Walk away.
12:56Walk away.
13:16Swan, I think, come back, step in, step in, two faces, right here, I want a shot of this,
13:35two faces, right next, that's it, and then continue rapping, R.A. Swan, yeah,
13:44you know, when you started asking questions, I assumed you were depressed, but now I don't recall
14:09your credentials. Well, now, there's a good reason for that, I didn't show them to you.
14:19Oh, how elegant, Miami Vice, Detective Crockett, is it? Yep. Are you fascinated with art, or did you take
14:31an art course in college, or did you go to college, or why are you here, huh? Well, I'll tell you.
14:41Now, personally, I don't give a damn if you want to make dirty movies all day and show them to a bunch
14:48of mouth breathers, that's entirely up to you, but I am going to find that girl. Do you know where she lives?
15:01Yes, where do women like that live? Where did you find her? A high-class modeling agency that recruits in
15:10low-class establishments, um, peep shows, I believe they're called.
15:20Almost finished.
15:24Almost finished, huh?
15:26Yeah.
15:29Yes, almost.
15:31Yes.
15:31You see, movies are just an illusion. If people want to believe they're real, they'll have a more
15:41satisfying artistic encounter.
15:45And if they spend more money...
15:51Yeah.
15:54I mean, if they want to believe they're real, what difference does it make?
15:57Well, it makes a lot of difference.
16:01To the girl.
16:09Do you have a light?
16:12Nope. Gave it up.
16:14Oh, here we go.
16:15Let's go.
16:27I want some Polaroids, of this.
16:50It was a one-day shoot.
16:52Easy lighting, paid in cash.
16:55Wish all my gigs were that easy.
17:00So what about the murder scene?
17:02Look, that's what the bonus was for.
17:05Glenn said anyone asks, say the snuff was real.
17:08He wanted some ink on going for realism.
17:10It's bull.
17:11It's something.
17:13So, you just, uh, left the lights on and went for a drink?
17:18Yeah, we got it all.
17:19Them left the gear there and went for a pop.
17:20Me, Glenn, Sam, uh, the cameraman and the girl.
17:24The guy was too loaded.
17:25Death and the lady.
17:30I was on that shoot.
17:32Did anything unusual happen?
17:34Yeah.
17:35We got paid.
17:37Now, did anyone get killed?
17:39Of course not.
17:40I shot every foot of it.
17:42I shot every foot of it, 14 rolls in all.
17:44Every frame will work a lot.
17:48You're pretty proud of it, huh?
17:50That's a living.
17:52Maybe I'll get an award for it.
17:55Well, look, just for the record, um, did you shoot the whole film?
17:59Well, look, that's not the whole film.
18:02Just the snuff part.
18:04Glenn shot some in Nassau.
18:06Shot some pickups in New York.
18:08The knife going in, for instance?
18:09Yeah.
18:09Well, I knew that that wasn't my bit the moment I saw it.
18:12I told him.
18:13It's not my style.
18:15He laughed.
18:16He said I caught him.
18:18He respects me.
18:21He wouldn't tell me where he got it.
18:24Yeah, thanks.
18:25Not him.
18:26See you later.
18:27All right.
18:28Thanks a lot.
18:29Yeah.
18:41I got your picture.
18:44They hang on my wall.
18:47So what?
18:51You know, I've got this picture of you in my head, but I can't see.
18:57Remind me again what we're doing.
19:00Investigating the murders that took place in a movie.
19:03I was afraid of that.
19:04You know, sometimes they say that modeling agencies recruit women in the air.
19:09The beauty's where they find it.
19:11Yeah, I heard that.
19:17Excuse me.
19:24I'm looking for...
19:25Laurie.
19:27Laurie.
19:30That's why it hurts.
19:34Jessica.
19:35I'm beeping my soul.
19:43Dad.
19:44It's the dog.
19:45It's Laurie.
19:46Sorry.
19:55Hey, you want to party?
19:56I want to talk.
20:01Baby.
20:02You know I ain't talking here.
20:04I read in the papers
20:13about this young boy.
20:26I'm looking for a girl named Laurie.
20:29How about a little tip, baby?
20:30Oh, baby.
20:44Only two dollars?
20:47She's a blonde.
20:50Her name is Laurie.
20:51Laurie.
20:51She's about 22, 23.
21:10Five-eight.
21:12Five-nine.
21:14Long blonde hair.
21:15You know where I can find her?
21:20Maybe.
21:24You know where I can find her?
21:25I can find her.
21:39Hi.
21:39Hi.
21:45We already talked to Glance
22:02and the electrician
22:03and nobody says it happened.
22:05I'm just kidding.
22:06I talked to Laurie.
22:08Blondie.
22:08You know, the girl you said
22:09that was dead.
22:10You know, you're wasting
22:11our time with this stunt.
22:12We don't like nobody
22:13to waste our time.
22:14Nice car!
22:15He ripped her open!
22:19I dream about it
22:21and I dream about it.
22:25What's the use, huh?
22:28He's a big hoodoo, right?
22:30Well, you cops,
22:31you always let those guys
22:33get away with murder.
22:45Nobody says there was a murder.
22:49Except Knox.
22:50It's his word against
22:51the word of a famous artist
22:52who kids study at college.
22:55And against everybody else
22:56who worked on the film,
22:58including the woman
22:59who claimed she was killed.
23:01The D.A. wants an update,
23:04so where are we?
23:05We have nothing.
23:07Find the original negative.
23:08It's at Riga Lab.
23:10We checked it.
23:11It's the negative.
23:12No help.
23:12So I can tell the D.A.
23:14it's all showbiz, right?
23:15Maybe.
23:16This guy Glance,
23:17she has a way
23:18of finally getting your attention.
23:19Hold it, hold it.
23:22Where's the crime?
23:23You said you talked
23:24to the woman
23:25and she's alive.
23:26Look at her eyes.
23:30They're dead.
23:38There are the files
23:40on everyone in the industry.
23:42Porno films, magazines.
23:45Everyone and everything.
23:48Hey, see that?
23:51Pornographic graffiti
23:52from the ruins of Pompeii.
23:55And this,
23:56this is Hindawasa,
23:58first stripper
23:59to ever curse her own body
24:01in her act, huh?
24:02John Henry Kurtz's
24:04pornographic photographs.
24:05Do you know what?
24:06He sold these
24:07in the Civil War
24:09to the Union armies.
24:11Listen,
24:11I've got a file on a tape
24:14that you would really enjoy.
24:16Laurie Swan,
24:17two ends.
24:19She's been in the business
24:20a while.
24:22Peeps show grind artists
24:23part-time.
24:24Yeah.
24:25I'll look.
24:27Laurie Swan.
24:32Ah, born Lauren Swan Hunter.
24:36Quite a career.
24:38Too bad these people
24:39don't make royalties
24:40on their tape rentals, huh?
24:42Is that Death and the Lady?
24:45Mm-hmm.
24:47Yeah.
24:47Too fussy for my book, though.
24:49Self-conscious.
24:52Second one she's made, though,
24:53for the artist.
24:56Drunk my glands.
24:57Mm-hmm.
24:58What's the other one?
25:00The twins,
25:02last year.
25:03Hey, you know,
25:04I got stills
25:05from that here somewhere.
25:12Yeah.
25:12Twins is right.
25:22Twins is right.
25:27It's raining down deep in my soul.
25:34Hit the brakes, important.
25:36Go on and repeat it.
25:40Seen any good movies lately?
25:42I just saw a classic.
25:46It was called Twins.
25:47Yeah?
25:49Turn you on, big time.
25:54Who was the other woman?
25:56Ain't no big deal.
25:57We just called her Blaze.
25:59You know where I can find her?
26:01We model at art school.
26:03I sometimes pick up some extra...
26:05It's a straight place.
26:08New poses, but single only.
26:10No doubles.
26:11I'll give you the address.
26:33Excuse me.
26:35Can you tell me where Mr. Lipton is?
26:39Mr. Lipton?
26:41Sir, we'd like to talk to you, please.
26:45Hi.
26:46We're trying to locate a model
26:48by the name of Blaze.
26:50Blaze?
26:50Pretty, blonde, medium height.
26:52I don't know.
26:53We got so many street kids, ma.
26:55How about these two?
26:59Sure.
26:59That's, uh,
27:01Lori Swan on the right.
27:03The other girl is Amy Ryder.
27:12That's her name.
27:14I can never remember.
27:16Of course, I haven't seen Amy in some time.
27:18They come, they go.
27:21Amy, um, models here in exchange for lessons.
27:24Yeah, no talent, but a real serious worker.
27:30When she shows up.
27:33Some of the students keep things here.
27:37You know, works in progress, stuff like that.
27:41This is hers.
27:43Amy's sketchbook.
27:48She was proud of some of this.
27:52Must have figured she was coming back.
27:57I guess I ought to send it on to her.
27:59You're not Amy Ryder.
28:12Do I have the right apartment?
28:13Uh, no, I'm Jill, her sister.
28:15Oh.
28:16How can I help you?
28:17Well, I'm Sonny Burnett.
28:18I take some classes at the art school that Amy goes to.
28:22And I was cleaning out my locker,
28:25and I found her sketch pad.
28:26I don't know how the hell it got in there,
28:28but I thought maybe she might want it.
28:30She hasn't been around much
28:32since she went to make that movie.
28:34I don't know anything about that.
28:37Do you know where she's been?
28:38Oh, she just went out.
28:40Just now?
28:43I mean, she hasn't been out of town?
28:46No, why would she be?
28:48Kelly!
28:49Oh, uh, I gotta go.
28:52Sorry.
28:59I don't know.
29:08Everybody's searching for a new sensation.
29:09Everybody's talking about the state of the nation.
29:12Everybody's searching for a prophet's land.
29:17Everybody's failing to understand.
29:21Pleasure.
29:23Little treasure.
29:24Little treasure.
29:24Ah, Mr. Crockett, Mr. Tubbs, have you located my star, Harry Swan?
29:36Ah, that's her name.
29:38That's not who we're looking for.
29:40We'd like to have a word with you.
29:44Excuse me.
29:51Who are you looking for?
29:53Her look-alike.
29:54The woman who could have been killed in her place.
29:57Oh, this is wild.
29:58Who is Laurie Swan's look-alike?
30:00Come on, Mr. Glantz.
30:03You worked with her before.
30:05The woman in the close-up.
30:07The woman who was killed.
30:09Mr. Crockett, you're fixated on dead people.
30:12Are you a necrophilia?
30:14Come on, I need you.
30:19No, not yet, but I'm working on it.
30:22You're a man motivated by curiosity.
30:25So am I.
30:27It's fascinating.
30:28We're the same kind of person.
30:31No, we're not.
30:35I think this is dirty business.
30:45And you think it's art.
30:52Your cameraman, Sam I, said that he wasn't present when you shot the murder inserts.
30:57No, he wasn't.
30:58You'd like to meet the woman I used for the inserts.
31:00Amy Ryder?
31:01Who?
31:02Amy Ryder.
31:03Lori's double.
31:04Oh, of course.
31:05Amy Ryder.
31:06And I thought you meant the double I used in Death and the Lady.
31:11Margot Franck.
31:13Margot is the unacknowledged star of a number of my films.
31:19In New York we did the pick-up scenes, you know, the close-up scenes and special effects.
31:37When?
31:38Um, six weeks after we finished filming here and in the Bahamas.
31:43I can get the exact dates if you'd like.
31:46Margot also.
31:52To the dead eyes.
32:17So drop by when I have more time.
32:21And I'll give you a course on how much more real art is than life.
32:27But now I have this dumb party to attend to, so if you'll excuse me.
32:37Something wrong.
32:42Tell me, what was it like playing a woman that gets raped and then murdered?
32:49It was fun.
32:50It was fun.
32:51I've done lots of things.
32:56My film must have convinced you.
32:57And I didn't even have to go through the trouble of really killing someone.
33:03Ah.
33:04Yeah, it being so messy and all.
33:06Yeah, it being so messy and all.
33:07Yeah, it being so messy and all.
33:11Yeah.
33:12Yeah.
33:13Yeah.
33:14Yeah.
33:15Yeah.
33:16Yeah.
33:17Yeah.
33:18Yeah.
33:19Yeah.
33:20Yeah.
33:21Yeah.
33:22Yeah.
33:23Yeah.
33:24Mm-hmm.
33:25Yeah.
33:26Yeah.
33:27Yeah.
33:28Yeah.
33:29Yeah.
33:30Yeah.
33:31Yeah.
33:32That's good.
33:33Yeah, that's good!
33:34It's over.
33:35Oh!
33:36Yeah, yeah!
34:07At this point, it's time to introduce you to some of the controversies surrounding the continent of the party party courts that are going on in Miami right now.
34:22One of the people who has brought down the house, so to speak, is Milton Blance. Milton, welcome.
34:29Let me start by asking, do you use erotic violence in your movies to titillate your audience?
34:37I try to bring out the element of violence and danger.
34:43And that exists only when illusion and reality have a very fine line.
34:53Well, the audience is, after all, sitting in a theater. They know this isn't real.
34:59Well, I think of the audience as an appetite for violence that is primal.
35:10That, uh, releases in them an awareness in an unconscious level that, uh, that is very frightening.
35:24And I am just a facilitator of that. I am just...
35:40Sonny.
35:54You all right?
35:57Yeah.
36:02You want something particularly common?
36:09Sonny.
36:10Just drop by.
36:17It's a beautiful night.
36:19A moon over Miami.
36:39I was thinking about something that happened when I was in high school.
36:45Yeah?
36:48What?
36:56There was this girl.
37:01She has no beauty. She's nice.
37:10She got drunk one night at a victory party after one of our games.
37:19Went off with a bunch of the guys from the team.
37:25This happened. That happened.
37:33One of the guys took a Polaroid picture of her.
37:39The next day,
37:44put it up in the locker room.
37:47It was pretty raw stuff, you know.
37:49She never knew about it.
37:59But that's not the point.
38:03It didn't matter that she didn't know about it.
38:09It wasn't any of my business. I didn't have anything to do with it.
38:13But I've...
38:15I felt like I should...
38:20I should have ripped that picture down.
38:22But I never did.
38:35I never did.
38:54This is the insert.
38:55The glance says he shot of his model, Margo, in New York.
39:00Six weeks after he filmed Lori here.
39:04I got Regal Lab to print this up from the original negative.
39:09Look at the edge numbers.
39:11Lab numbers? What about them?
39:12These are frames of the film with Lori for the murder insert.
39:21Now, look at these edge numbers.
39:24They're in a slightly different sequence.
39:29But they're close to the others.
39:31This case really got to you, didn't it?
39:38Case?
39:40What damn case?
39:43We don't have a damn case.
39:46Right.
39:48The DA said we didn't have a case.
39:51Because Lori Swan is alive, right?
39:54Right.
39:56And because her look-alike, Amy Ryder,
39:59was at home with her sister this afternoon, right?
40:04Yeah.
40:06Glant says he shot the murder close-up in New York
40:09with a Margo somewhere.
40:11But the numbers on the murder close-up,
40:14and the numbers of the scenes with Lori,
40:18are damn near the same.
40:21Similar numbers means Glant's life.
40:25Three possible doubles, and they're all alive, huh?
40:30Now, you and me and Castillo, we got...
40:33how many years of experience between us?
40:36Forty, forty-five, something like that.
40:39Hmm.
40:41And we're wrong.
40:43Right.
40:44We believe that.
40:46Hell no.
40:49Let's go.
40:51Jilly, who is it?
40:53Who's calling at this hour?
40:54Go back to bed, Dad.
40:56Who is it, Jilly?
40:58It's me, sir.
40:59Sonny Burnett.
41:01I just stopped by to ask Jill a couple of questions about her sister.
41:04Oh, she don't have a sister.
41:06I only got one daughter.
41:08Just one.
41:10Don't have another.
41:11Dad.
41:13Dad doesn't approve of Amy's modeling at the art school.
41:16What else doesn't he approve of?
41:18She got mixed up with that guy Glantz, didn't she?
41:21I've never heard of him in Slate.
41:23When I was here before, you lied when you said Amy just left.
41:28Why?
41:30Where is she?
41:32She moved out a couple of months ago.
41:35To do that movie with Glantz.
41:37Death and the Lady, right?
41:38No, no movies.
41:39I haven't seen her since she left.
41:41Please go.
41:46I don't want my dad to find out.
41:49She said she was, but that's all I know.
41:51Did she tell you what she was going to do in that film?
41:55No, really.
41:56That's all I know.
41:57That's all she told me.
42:01Jill.
42:07That's enough.
42:21That's enough.
42:25In the time frame you're looking at, there were six female Caucasians, aged 20 to 30, who turned up as Jane Doe, deceased in Florida.
42:35We got two of them in the Jackson Memorial morgue.
42:38One of them was interesting.
42:41Some kind of a voodoo.
42:43For anybody with knife wounds?
42:47Five.
42:49Knives are the weapons of choice these days, you know.
42:52Yes, I know.
42:53Why don't you pull the records so we can come up with a match?
42:56Well, they'll have to come from Tallahassee in the morning.
43:00It must be something special.
43:04What?
43:06The case.
43:08To drag me out of bed.
43:10It's a work of art.
43:12You lied to me about seeing your sister, and you're lying to me about Glance.
43:17You aren't telling me the truth.
43:19And I think you're trying to protect him.
43:22No, I've never even met him.
43:24Well, you should.
43:27He killed your sister.
43:31And I think you know that, too.
43:33Just talk to us, Jill.
43:35Please leave me alone.
43:37What was it, blackmail?
43:39Your Glance threaten you.
43:40I want to go.
43:41You know...
43:43I can't get this film out of my head.
43:46I can't get it out of my head, and she's not even my sister.
43:49Have you seen it?
43:51I'll bet you haven't even seen it.
43:52Take a look at this.
43:53No, I don't...
43:54Take a look at it.
43:56You take a look at that, and then tell me that you want to protect Glance.
43:59Go ahead.
44:01Take a look at that.
44:04Look at that.
44:06Take a look at that.
44:07That guy killed her.
44:08Look at it.
44:09Look at it!
44:10Kill him.
44:11You look at her.
44:12Not me.
44:13You.
44:15I know what she went through.
44:18Not the snuff film before.
44:22She let Glance do that to her.
44:25She let him.
44:30She was so snowed out she wasn't there.
44:33She wasn't there.
44:44She was dying.
44:49She had two, three weeks to live.
44:51She had thoracic cancer.
44:52Blance paid her a lot.
44:53She had thoracic cancer.
44:54Blance paid her a lot.
44:58Money she gave to Danvers treatment.
44:59She said it was Glance money.
45:00She said it was Glance money.
45:01She said it was Glance money.
45:05It was cash.
45:06There's no record.
45:07She said it was Glance money.
45:08It was cash.
45:12There's no record.
45:13She said it was Glance money.
45:14She said it was Glance money.
45:15It was cash.
45:17There's no record.
45:19She said it was Glance money.
45:20Yeah?
45:21Okay.
45:22She said it was Glance money.
45:24She said it was Glance money.
45:25She said it was Glance money.
45:26Yeah?
45:28So, she said it was cash.
45:31There's no record.
45:32Oh, Mr. Crockett, Mr. Tubbs.
46:00You have the right to remain silent. Anything you say can and will be used against you in the court of law.
46:09You have the right to an attorney. If you cannot afford one, one will be appointed for you.
46:17You have the right to remain silent.
46:22Glantz wasn't even there when they filmed her death. He hired a guy who could be anywhere in the world right now.
46:29I'll get the FBI to run a trace, see if they can come up with any mechanics over here during July.
46:35Yeah, tell them we're looking for a guy in a wolf's head who did something a little stronger than euthanasia.
46:41And don't hold your breath while we're waiting.
46:44The fingerprints of the Jane Doe deceased that the coroner came up with, they do match Amy Ryder's.
46:54They found her 11 days after the murder of Nellie in Tampa. Homeless was the designation.
47:01There were knife wounds where we'd expect, but the medical examiner cannot identify them as the immediate cause of death.
47:10Says it could have been the cancer.
47:13Amy Ryder has been missing since this film was shot.
47:18Glantz lied about when and where he shot the inserts of the murder.
47:24Now, have you ever heard of a murderer before making a film about the act and then showing it to thousands of people?
47:35He killed her, and now he's flaunting it.
47:41His lawyer could start a jury thinking that maybe he did her a favor, working their compassion, you know what I mean?
47:49And still murder.
47:51This is no mercy killing.
47:55It is bloodless, brutal exploitation.
48:00Even if she wanted it, she was his victim.
48:06Look, I'm 60% with you, Crockett. I just, I can't sell what we've got to a jury.
48:12It's all circumstantial.
48:14Come on, edge numbers, body doubles.
48:16You can't even prove that the money Amy left her father came from Glantz!
48:28Spend our time with somebody we can nail.
48:30It wasn't that Glantz said, this wasn't a murder, it was erotic performance art.
48:43I think this has got to be a new legal record used.
48:47Guy walks on murder one in six hours and eleven minutes by my wife.
48:52I tried to tell you before, there's no case. You guys should have reviewed the evidence with me before you busted it.
48:58We got an eyewitness to the murder. Sister said she made the movie. I caught Glantz in a lie. What else do you want?
49:06I got too much. I got three blondes. I got twenty witnesses.
49:09Who put Glantz in a bar a mile away.
49:11What'll be the clincher? What'll get it?
49:13Proof of murder would be nice.
49:14Tell me, Mr. Crockett, when I go back to work, do you intend to arrest me again?
49:36Perhaps under more substantial charge.
49:38My friends, who, by the way, include nearly a dozen major museums and contributors, are quite concerned about your efforts to limit my artistic freedom.
49:56You weren't being censored, Milt Baby. You were being arrested for murder.
50:02Yes, assuming someone was murdered during the filming of my movie.
50:08And assuming that I wasn't miles away at a bar with witnesses when it happened.
50:14And assuming that you can prove that I had planned it.
50:21Perhaps it was just the psychotic act of a porn star who went crazy when the cameras were running.
50:28But that's not what happened.
50:31Is it?
50:35Merely hypothetical.
50:39But it might make an interesting defense if I ever need one.
50:59Another day, Peter.
51:01Another day, Peter.
51:03Where ever did you find this place?
51:21I've traveled now for days and days
51:25It's very cold and uninviting
51:31It feels that I'm not one to hear
51:37You say your world was torn apart
51:43By the one who won your heart
51:50But I will never let you down
51:56I'm waiting on the edge of town
52:02On the edge of town
52:09On the edge of town
52:16I'll be here
52:27I'll be here
52:40I'll be here
52:40Detective Crockett
52:57Detective Crockett
53:09Have you come
53:12To wish me bon voyage?
53:17This is nice
53:19Very nice
53:21Powerful
53:28Powerful picture
53:29And it's
53:38It's all okay
53:42Because
53:50You didn't kill her
53:53Right?
53:58You were
53:59You were in a bar
54:02With witnesses when it happened
54:06Right?
54:06Right?
54:06Right?
54:12She would have died anyway
54:19So you got away with it
54:29The perfect murder
54:34All in the name of art
54:41All in the name of art
54:41Right?
54:50Wrong
54:51You think violence is
55:02Attractive
55:03You think violence is
55:07Chic
55:09And artistic
55:11You think violence is fun
55:16Do you want to know
55:21What violence is?
55:29This is violence
55:30Is that attractive?
55:39That excite you?
55:41Huh?
55:43That titillating?
55:44Is that cheek?
55:50Huh?
55:50Do you like that?
55:53Get over here
55:54I'll start
55:56Let's stop
55:57Let's go
55:57No
55:57No