[Man Singing, Indistinct]
[Crowd Whooping]
The very next moment of this film...
will change your mind forever...
about art and pornography, my friends.
[Cheering]
You've heard all the rumors.
Now, before you see the truth,
the 11 th Annual Continental...
Erotic Film Critics Festival...
introduces the creator of Death and the Lady,
first-prize winner Milton Glantz!
[Cheering Continues]
[Crowd Chanting, Indistinct]
[Crowd] Glantz, Glantz, Glantz, Glantz!
How do other erotic filmmakers feel about your entry into their field?
I think it gives them something to aim at.
Glantz!
Glantz! You murderer! You're gonna pay!
[Gina] Out of the way. Police officers. It's not just a movie!
It's real! Murderer!
Come on. Let's calm down. It's not just a movie!
Come on. You killed her, Glantz! You're gonna pay!
You murderer! Murderer! [Echoing]
Look, he killed her. Milton Glantz killed that girl in a film. I was there.
We don't hear anybody else sayin' anything except that it was a skin flick with a fake murder. A real murder.
At first, sure, yeah. We faked it all day, over and over.
This guy Glantz was directing, and he was never satisfied.
Hard-core— Erotic films don't usually go like that.
They're quick and cheap.
Yeah, you'd know somethin' about that, I guess.
Says here you've made 36 peep-show reels, seven porn features,
and he's got 14 obscenity-related arrests.
Did six months in Dade County Correctional Institute...
for the last one.
Then you were released on parole.
July 26 you reported a murder.
Uniforms found signs of moviemaking— makeup blood— no murder.
You said snuff porn. But even if it was just regular porn, you're riskin' your parole.
I know. You're lucky that they didn't lock you up again back in July!
I know! I thought maybe that—
What? That we'd help you?
You got nothin'. You got nothin' here.
You made a public threat. Look, what do you got against this director?
Nothin'! I didn't even know his name until I saw his picture in the Herald about this erotic film festival.
That's how I finally tracked him down. Then you rehearsed the murder— the fake murder— all day long?
Yeah. All day long?
Yes! It was me and a lighting guy in this wolf's head.
Look, Glantz had called a wrap about 5:00, and everybody took off.
I'm headin' toward the door when here comes Blondie and another guy in a wolf's head,
and he says that we're gonna do it again.
You said another guy in a wolf's head.
Who was it?
I didn't see it off him.
Blondie gets back in bed, and we run through the snuff just like before.
Except for this time, the guy in the wolf's head really kills her.
Sorry, pal. Nobody snuffs anybody with an entire film crew as witnesses.
I told you. He'd wrapped the crew. It was just the three of us!
- And you couldn't stop it, huh? - He had a knife.
Maybe Glantz didn't do it, but it was his film!
It was a setup. This guy Glantz put Knox up to it so he could sell more tickets.
[Tubbs] He doesn't even know who was in the wolf's head. Wolf's head?
Ooh, did you see the flick? What was the rating?
On a Deep Throat scale of violence to women? About an 11.
Other parts of it are a mild turn-on. Glantz has a nice touch.
Gina. I saw the film this morning.
Forget about this bogus guy. We've got better things to do than chase around after guys in raincoats.
If they wanna look at that stuff, so what?
And what's this? Uhh, that's evidence from the crack house bust we made last night...
while you and Cinderella were at the sleaze ball.
Could you log it in, please?
Listen, Glantz has a fat bio in this Dictionary of American Artists.
He was born in Chicopee, Massachusetts.
He attended the Rhode Island School of Design...
and shows at the best galleries like Sonnabend and Burgess.
So what's a classy guy like that doin' makin' X-rated films?
"His work bridges fine arts and popular media,
redeeming images of suffering with technical precision."
"Technical precision"!
[Laughs] I'd call this stuff"dirty movies."
But then, what the hell do I know?
Can someone help me out over here?
Yeah, could you help her out over here? [Tubbs] Yeah, right.
You know, in his speech last night, Glantz said that what he's doing now...
is called '"erotic performance art."
You know, some of it's not bad. I mean, he's won enough awards. Yeah. What about that guy Knox?
He's a chump. I still can't understand what makes him tick.
Physically or mentally? Well, maybe he likes the rehearsals.
Tulane Knox. He's in and out of prison.
Day laborer with odd jobs. He's a regular in the porno loops.
And he also poses for those stills in the stroke books.
And live sex shows in San Francisco.
You mean, dead sex shows in Miami, according to him. Hmm.
Whoa! What?
What's in here? [Crockett] What?
You found some rat's nest, huh? Maybe one of'em stowed away.
Oh, yeah? Well, swell. Here. Come on. It's your evidence. You look.
For goodness sake. A nice police officer like you. Hmm!
Aww! I wonder how that got there.
Hmm? Well.
Ohh! Probably followed one of those rats, huh?
Didn't you lose a kitty?
Go on. Get 'im outta here. Go feed the little monster. [Giggles]
Now maybe we won't have to listen to her complain about the lost cat.
What about Death and the Lady?
I say we forget it. I don't think so.
You know, I don't think it was a publicity stunt.
If Knox is on parole, why would he squawk on Glantz a second time without proof?
He'd just wind up bein' sent right back up to the slammer.
Are we entertaining the idea here that we got a murder investigation?
We got a two-bit porno actor...
who says a world-famous director killed a girl then made a film about it.
Now he's chargin' 8.50 for a seat. Is that right?
That's the ticket.
We got a murder allegation, and we got it in the press.
I'm putting Knox on the street and notifying Corrections.
Maybe they wanna pull him in on his parole.
But don't close the file. I wanna keep it open until we've got the whole story.
You know somethin' we don't?
No, except that it says in the news here that, uh,
the mayor has six paintings by Milton Glantz,
including, uh, the giant contact lens.
If he calls, I wanna have the whole goods. What's that doing here?
Evidence.
[Meows]
[Chuckles]
[Chattering]
[Man] Hey, you're gonna like it!
Put big wrapping. Wrap.
Wrap. Okay. Look at me.
Look at me. Good. Wrap.
See, part of my art lies in engaging the illicit.
Probing the truth of all human experience, even the dark, violent side.
Keep wrapping, John. Chan, wrap his chest. Well, rumor has it that, uh,
you might've gotten a little overzealous in your probing of the dark, violent side.
Well—
Well, I try to be realistic, not real. [Laughs]
Look. Yeah, meanwhile, nobody's seen the star of your movie around anywhere.
Well, she's, uh, no doubt around the festival promoting herself.
You know. [Giggles] Who isn't?
Leave these plastic rolls right in here. Leave the rolls right in here.
I noticed that you didn't even give her a— a credit in your movie.
Stand back. Walk away, walk away.
What's her name, anyway?
We called her Blondie.
But... I think her name was...
Lori.
Um, Swann.
Swann, I think.
Um, come back. Step in, step in.
Two faces, right here. I want a shot of this. Two faces right next—
That's it. And then continue wrapping.
Lori Swann, huh?
Yeah.
You know, when you started asking questions, I assumed you were with the press.
But now, I, uh— I don't recall your credentials.
Well, now, there's a good reason for that.
I didn't show 'em to ya.
Oh, how elegant.
Miami Vice.
Uh, Detective Crockett, is it? Yep.
Are you fascinated with art, or did you take an art course in college, or, uh, did you go to college?
I mean, why are you here? [Chuckles]
Hmm? Well, I'll tell ya.
Now, personally, I don't give a damn if you wanna make dirty movies all day...
and you show 'em to a bunch of mouth breathers.
That's entirely up to you.
But I am gonna find that girl.
[Sighs] Do you know where she lives?
Hmm. Yes, where do women like that live?
Where did you find her?
A high-class modeling agency that recruits in, uh, low-class establishments.
Uh, peep shows, I believe they're called.
Almost finished. Hmm?
Almost finished, huh? Yeah.
Yes, almost. Yes.
You see, movies— [Can Thuds]
Are just an illusion.
If people wanna believe they're real, they'll have a more satisfying artistic encounter.
And if they spend more money—
[Chuckles] Yeah.
I mean, if they wanna believe they're real, what difference does it make?
Oh, it makes a lot of difference—
to the girl.
Do you have a light? No, gave it up.
Oh, here we go. Here's one.
[Match Strikes]
I want some Polaroids of this.
[Creaking]
It was a one-day shoot. Easy lighting. Paid in cash.
I wish all my gigs were that easy.
So what about the murder scene? Look, that's what the bonus was for.
Glantz said, "Anyone asks, say the snuff was real."
He wanted some ink on goin' for realism. It's bull.
It's something. So, you just, uh, left the lights on and went for a drink?
Yeah. We got it all, then left the gear there and went for a pop— me, Glantz, Sam, the cameraman and the girl.
The guy was too loaded.
Death and the Lady. I was on that shoot.
Did anything unusual happen? Yeah. We got paid.
Now, did anyone get killed? Course not.
I shot every foot of it, 14 rolls in all.
Every frame a work of art. You're pretty proud of it, huh?
Ah, it's a living. Uh-huh.
Maybe I'll get an award for it.
Now look, just for the record, um, did you shoot the whole film?
That's not the whole film, just the snuff part.
Glantz shot some in Nassau. Shot some pickups in New York. The knife going in, for instance?
Yeah. Well, I knew that wasn't my bit the moment I saw it. I told him, it's not my style.
He laughed. He said I caught him. [Laughs]
He respects me, but he wouldn't tell me where he got it.
Yeah, thanks. Not him. See you later.
All right. Thanks a lot. Yeah.
[Man, Woman Chattering]
[Man Singing]
[Man #2] And how fast are you?
[Woman] Fast as you want me to be.
[Continues, Indistinct]
Remind me again what we're doin'. Investigating a murder that took place in a movie.
Mm-hmm. I was afraid of that.
You know, sometimes they say that, uh, modeling agencies recruit women in here.
Well, beauty is where you find it, pal. Yeah, I heard that.
[Chattering]
[Laughing]
Excuse me, I'm looking for a young lady, name of Lori.
Mmm. Ask her.
Thanks.
About so tall. Her name's Lori.
Hey, you wanna party?
I wanna talk. Baby, you know I only talk in here.
[Continues]
[Bell Dings]
I'm looking for a girl named Lori. How about a little tip, baby?
Oh, baby. Only two dollars?
She's a blonde. Her name is Lori. [Bell Dings]
[Groans]
[Bell Dings]
She's about, uh, 22, 23,
5' 8", 5' 9",
long blonde hair.
Maybe.
You know where I can find her? [Bell Dings]
Hi.
[Man, Woman Arguing In Spanish]
We already talked to Glantz and the electrician, and nobody says it happened.
I was there. I talked to Lori— Blondie—you know, the girl you said that was dead.
You're wasting our time with this stunt. We don't like nobody to waste our time!
I saw her! He ripped her open!
I dream about it, and I dream about it!
[Sobbing] What's the use, huh?
He's a big hoodoo, right?
Well, you cops—You always let those guys get away with murder!
[TV]
[Tubbs] Nobody says there was a murder. Except Knox.
It's his word against the word of a famous artist who kids study at college.
And against everybody else who worked on the film.
Including the woman who claimed she was killed.
Well, the D.A. Wants an update. So where are we?
We have nothing. Find the original negative?
[Switek] It's at Regal Lab. We checked it. It's the negative.
No help. [Hughes] So I can tell the D.A. It's all showbiz, right?
[Tubbs] Maybe. This guy Glantz sure has a way of finally getting your attention.
[Hughes] Hold it, hold it. Where's the crime?
You said you talked to the woman, and she's alive.
Look at her eyes. They're dead.
There are the files on everyone in the industry—
porno films, magazines—
everyone and everything.
Hey, you see that?
Pornographic graffiti from the ruins of Pompeii.
And this— this is Hinda Wassau.
The first stripper to ever caress her own body in her act, huh?
John Henry Kurtz's pornographic photographs. Do you know what?
He sold these in the Civil War to the Union armies.
Listen, I've got a file on a tape that you would really enjoy.
Lori Swann, two N's.
She's been in the business a while. Peep show grind artist, part-time.
Yeah, I'll look.
Lori Swann. [Typing]
Ah. Born Lauren Swann Hunter.
Huh. Quite a career.
It's too bad these people don't make royalties on their tape rentals, huh? [Laughs]
- Is that Death and the Lady? - Mm-hmm, yeah. Too fussy for my book though. Self-conscious.
Second one she's made, though, for the artist.
Talkin' about Glantz? Mmm.
What's the other one? [Taps Key]
Twins, last year. Hey, you know, I've got stills from that here somewhere.
Yeah. Yeah.
[Chuckles]
Twins is right.
[Man Singing Hard Rock]
Hit the bricks, sport.
Go on! Beat it.
Seen any good movies lately?
I just saw a classic.
It was called Twins. Yeah?
Turn you on big time?
[Gasps]
Who was the other woman? Hey, no big deal. We just called her Blaize.
You know where I can find her? We—We model at art school.
I sometimes pick up some extra. It's— It's a straight place.
Nude poses, but single only. No— No doubles.
I'll give you the address. Thank you.
[Trudy] Excuse me. Can you tell me where Mr. Lifton is?
Mr. Lifton? Sir, we'd like to talk to you, please.
[Gina] Hi. We're tryin' to locate a model by the name of Blaize.
Blaize? Pretty, blonde, medium height.
Ah, well, we get so many street kids modelin'. Oh, how about these two?
Sure. That's, uh, Lori Swann on the right.
The other girl is...
Amy Ryder.
Mm-hmm. That's her name.
[Chuckles] I can never remember.
Of course, I haven't seen Amy in some time— they come, they go.
Amy, um, models here in exchange for lessons.
Yeah. No talent, but a real serious worker— when she shows up.
Some of the students keep things here—
you know, works in progress, stufflike that.
This is hers.
Amy's sketchbook.
She was proud of some of this.
Must've figured she was comin' back.
I guess I oughta send it on to her.
You're not Amy Ryder. Do I have the right apartment? Uh, no. I'm Jill, her sister.
Oh. How can I help you?
I'm Sonny Burnett. I take some classes at the art school that Amy goes to. I was cleaning out my locker.
I found her sketch pad. I don't know how the hell it got in there, but I thought maybe she might want it.
She hasn't been around much since she, uh, went to make that movie. I don't know anything about that.
Do you know where she's been? Oh, she just went out.
Just now? I mean, she hasn't been out of town?
[Phone Ringing] No, why would she be?
[Man] Jillie? Oh, uh, I gotta go.
Sorry.
[Crowd Chattering]
[Man Singing Pop]
Ah, Mr. Crockett. Mr. Tubbs.
Have you located my star? Lori Swann?
Ah, that's her name. That's not who we're looking for.
We'd like to have a word with you.
Excuse me.
[Continues, Indistinct]
Who are you looking for? [Chuckles] Her look-alike— the woman who could've been killed in her place.
Oh, this is wild. Who is Lori Swann's look-alike, hmm?
[Laughs] Come on, Mr. Glantz.
You worked with her before. The woman in the close-up.
The woman who was killed. Mr. Crockett, you're fixated on dead people.
Are you a necrophiliac? Come on. [Chuckling]
No. No, not yet, but I'm workin' on it.
You know, you're a man motivated by curiosity.
So am I.
It's fascinating.
We're the same kind of person.
No, we're not.
I think this is dirty business,
and you think it's art.
Hmm. Your cameraman, Sam Asch,
said that he wasn't present when you shot the murder inserts.
No, he wasn't. You'd like to meet the woman I used for the inserts?
Amy Ryder? Who?
Amy Ryder. Lori's double.
Oh, of course, Amy Ryder.
But I thought you meant the double I used in Death and the Lady— Margot Frank.
Margot is the unacknowledged star of a number of my films.
[Both Chuckle]
In New York we did the pickup scenes— you know, the close-ups and the special effects.
- When? - Umm, six weeks after we finished filming here and in the Bahamas.
I can get the exact dates if you like.
Margot also...
did the dead eyes.
So drop by when I have more time,
and I'll give you a course on how much more real art is than life.
But now I have this dumb party to attend to, so if you'll excuse me—
Something wrong?
Tell me.
What was it like playing a woman that gets raped and then murdered?
It was fun.
I've done— [Laughs]
Lots of things.
My film must've convinced you. Hmm?
And I didn't even have to go through the trouble of really killing someone. Aah!
Yeah, it bein' so messy and all.
[Crowd Cheering]
[Woman On TV] And now, this week's "Spotlight On Show Business."
Entertainment reporter Robert Selnik comes to us with a very different look...
into the often steamy world of X-rated films.
[Selnik] The press for years created a wall...
separating those people within the business of pornography...
from the rest of the industry.
At this point it's time to introduce you to some of the controversy...
surrounding the Continental Erotic Art Awards that are going on in Miami right now.
One of the people who has brought down the house, so to speak, is Milton Glantz.
Milton, welcome.
Let me start by asking:
Do you use erotic violence in your movies to titillate your audience?
I try to bring out the element of violence and danger.
[Laughs] And...
that exists only when illusion and reality have a very fine line.
[Selnik] Well, the audience is, after all, sitting in a theater. They know this isn't real.
[Glantz] Well, I think the audience...
has an appetite...
for violence...
that is primal—
that releases in them...
an awareness in an unconscious level that, uh—
that is very frightening.
And I am just a facilitator of that.
I am just—
[Tubbs] Sonny.
You all right?
Yeah.
You want somethin' particular, Rico?
Just dropped by.
It's a beautiful night.
Moon over Miami.
[Bottle Thuds]
I was thinking about somethin' that happened when I was in high school.
Yeah?
What?
There was this girl.
She was no beauty, but she was nice.
She got drunk one night at a victory party after one of our games, and...
went off with a bunch of the guys from the team.
This happened,
that happened.
One of the guys took a Polaroid picture of her.
The next day he...
put it up in the locker room.
It was pretty raw stuff, you know?
She never knew about it.
Yeah? But that's not the point.
It didn't matter that she didn't know about it.
It wasn't any of my business. I didn't have anything to do with it. But I f— I felt like I sh—
[Sighs] I should've ripped that picture down.
But I never did.
[Sighs]
This is the insert that Glantz says he shot of his model Margot in New York...
six weeks after he'd filmed Lori here.
I got Regal Lab to print this up from the original negative.
Look at the edge numbers. The lab numbers? What about 'em?
These are frames...
of the film with Lori,
before the murder insert.
Now look at these edge numbers. Hmm.
They're in a slightly different sequence, but they're close to the others.
- This case really got to you, didn't it? - Case?
What damn case?
We don't have a damn case. Right.
The D.A. Said we didn't have a case.
Because Lori Swann is alive, right? Right.
And because her look-alike Amy Ryder...
was at home with her sister this afternoon, right?
Yeah. And Glantz says he shot the murder close-up in New York...
with a Margot someone.
But the numbers on the murder close-up...
and the numbers of the scenes with Lori...
are damn near the same.
Similar numbers means Glantz lied.
Three possible doubles and they're all alive, huh?
Now you and me and Castillo, we got how many years of experience between us?
Forty, 45. Somethin' like that.
- Hmm. And we're wrong? - Right.
- You believe that? - Hell, no.
Let's go.
[Man] Jillie, who is it? Who's calling at this hour? Go back to bed, Dad.
Who—Who is it, Jillie? It's me, sir. Sonny Burnett.
I just stopped by to askJill a couple of questions about her sister.
Oh, she don't have a sister. I only got one daughter.
Just one. Don't have another.
Okay, Dad. Go to bed.
Dad doesn't approve of Amy's modeling at the art school. What else doesn't he approve of?
She got mixed up with that guy Glantz, didn't she? I've never heard of him. It's late.
When I was here before, you lied when you said that Amy just left.
Why? Where is she?
She moved out a couple of months ago. To do that movie with Glantz,
Death and the Lady, right? No. No movies. I haven't seen her since she left. Please go.
I don't want my Dad to find out.
She said she was, but that's all I know.
Did she tell you what she was gonna do in that film?
No, really, that's all I know. That's all she told me.
Jill—
That's enough.
In the time frame you're looking at, there were six female Caucasians age 20 to 30...
who turned up as Jane Doe, deceased, in Florida.
We've got two of'em in theJackson Memorial Morgue.
One of'em was interesting. Some kind of a voodoo—
Anybody with knife wounds?
Five. Knives are the weapons of choice these days, you know.
Yes, I know. Look, why don't you pull the records? We'll see if we can come up with a match.
Well, they'll have to come from Tallahassee in the morning.
It must be something special.
What? The case—
to drag me out of bed. It's a work of art.
You lied to me about seeing your sister, and you're lying to me about Glantz.
You weren't telling me the truth. And I think you're tryin' to protect him.
No, I've never even met him. Well, you should.
He killed your sister.
And I think you know that too.
Just talk to us, Jill. Please leave me alone.
What was it, blackmail? Did Glantz threaten you?
I wanna go. You know, I can't get this film outta my head.
I can't get it outta my head, and she's not even my sister. Have you seen it?
I'll bet you haven't even seen it. Take a look at this. No, I don't—
Take a look at it. You take a look at that, and then tell me you wanna protect Glantz.
Go ahead. Take a look at that.
Hmm? Please—
- Look at that. Take a look at that. That guy killed her! - That's not my—
- Look at it. Look at it! - Tell him! - You look at her!
Not me, you!
I know what she went through—
not the snuff film, before.
She let Glantz do that to her! She let him!
[Sobs] She was so snowed out, she wasn't there.
[Crying]
She was dying.
She had two, three weeks to live.
She had thoracic cancer.
Glantz paid her a lot—
money she gave to Dad for his treatments.
She said it was Glantz's money.
It was cash.
There's no record.
Ah, Mr. Crockett, Mr. Tubbs. Doing a little late-night collecting? I'm afraid the gallery is—
[Crockett] You have the right to remain silent.
Anything you say can and will be used against you in a court of law.
You have the right to an attorney. If you cannot afford one, one will be appointed for you.
Yeah, Glantz wasn't even there when they filmed her death.
He hired a guy who could be anywhere in the world right now.
I'll get the F.B.I. To run a trace. See if they can come up with any mechanics that were here during July.
Yeah? Tell 'em we're lookin' for a guy in a wolf's head who did something a little stronger than euthanasia.
And don't hold your breath while we're waitin'.
The fingerprints from theJane Doe, deceased, that the coroner came up with—
They do match Amy Ryder's.
They found her 11 days after the murder in an alley in Tampa. "Homeless" was the designation.
[Footsteps Approaching]
There were knife wounds where we'd expect, but the medical examiner cannot identify them as the immediate cause of death.
He says it could have been the cancer.
Amy Ryder has been missing since this film was shot. [Meowing]
Glantz lied about when and where he shot the insert of the murder.
Now, have you ever heard of a murderer before...
making a film about the act, and then showing it to thousands of people?
He killed her, and now he's flauntin' it.
His lawyer could start a jury thinkin' that maybe he did her a favor.
Work on their compassion. You know what I mean?
It's still murder.
This is no mercy killing.
It is bloodless, brutal exploitation.
Even if she wanted it, she was his victim.
Look, I'm 60% with you, Crockett.
I just— I can't sell what we've got to a jury. It's all circumstantial.
Come on. Edge numbers? Body doubles?
You can't even prove that the money Amy left her father came from Glantz!
Let's spend our time on somebody we can nail.
What was it that Glantz said?
"This wasn't a murder.
[Meows] It was erotic performance art."
[Tubbs] This has got to be a new legal record, Hughes.
[Bell Dings] Guy walks on murder one in six hours and 11 minutes by my watch.
[Hughes] I tried to tell you, there's no case. You should've reviewed the evidence with me before you busted him.
We got an eyewitness to the murder. The sister said she made the movie. I caught Glantz in a lie. What else do you want?
I got too much. I got three blondes. I got 20 witnesses who put Glantz a mile away. What'll get 'im?
Proof of murder would be nice.
Tell me, Mr. Crockett. When I go back to work, do you intend to arrest me again?
Perhaps on a more substantial charge?
My friends, who, by the way, include...
nearly a dozen major museums and contributors,
are quite concerned...
about your efforts to limit my artistic freedom.
You weren't being censored, Milt baby. You were being arrested for murder.
Yes, assuming someone was murdered during the filming of my movie,
and assuming that I wasn't miles away at a bar with witnesses when it happened,
and assuming that you can prove that I had planned it.
Perhaps it was just the psychotic act...
of a porn star who went crazy when the cameras were running.
But that's not what happened.
Is it?
Merely hypothetical.
But it might make an interesting defense if I ever need one.
Another day, Detective.
[Man Singing]
[Continues]
[Vocalizing]
[Singing Continues]
[Fades]
[Glantz] Detective Crockett.
Have you come... to wish me bon voyage?
[Inhales Deeply]
This is nice. Very nice, Glantz.
Powerful, powerful picture.
And it's—
it's all okay.
Isn't it?
Because you didn't kill her.
Right?
You were—
You were in a bar... with witnesses when it happened.
Right?
Yeah. Eh!
She would've died anyway.
So you got away with it.
The perfect murder—
all in the name of art.
Right?
Wrong.
You think violence is attractive?
You think violence is chic and artistic?
You think violence is fun?
Do you wanna know what violence is?
This is violence. [Grunts]
[Groans] Is that attractive?
That excite you, huh?
That titillate you? Did it?
Was that chic? Huh?
Did you like that?
Get over here. Stop.
[Groaning]
[Panting]
[Door Opens]
[Door Closes] [Siren Wailing In Distance]