|
Anamorph
|
| 00:00:03 |
They were pulling her out of |
| 00:00:08 |
more water than blood in her |
| 00:00:14 |
Was she able to speak? |
| 00:00:18 |
She stopped breathing |
| 00:00:25 |
OK, that should be enough |
| 00:00:28 |
Detective Aubrey, despite |
| 00:00:31 |
with regards to proper |
| 00:00:33 |
We will not be proceeding |
| 00:00:37 |
Six weeks have elasped ... |
| 00:00:38 |
since the last Uncle Eddie murder. |
| 00:00:40 |
And that itself suggest that |
| 00:00:46 |
Congratulations on your promotion |
| 00:01:02 |
This afternoon |
| 00:01:04 |
lead investigator in |
| 00:01:09 |
The death of primary suspect |
| 00:01:13 |
ended this morning. |
| 00:01:16 |
... these horrible murders. |
| 00:01:19 |
The circumstances |
| 00:01:21 |
remain as yet unclear. |
| 00:01:23 |
Linked by their gruesome art ... |
| 00:01:30 |
while presenting the awards ... |
| 00:01:34 |
responsible for bringing one of |
| 00:01:35 |
most disturbing case. |
| 00:03:38 |
Come on. |
| 00:03:54 |
Wait, wait, wait. |
| 00:04:23 |
Wait, my hat. |
| 00:04:47 |
Hey, OK? |
| 00:05:27 |
Don't be seduced. |
| 00:05:29 |
Avoid psychological |
| 00:05:32 |
related to the killer's intent |
| 00:05:34 |
We may never know |
| 00:05:37 |
He may never know. |
| 00:05:50 |
Treat the boundaries of the |
| 00:05:53 |
and limit your analysis to what |
| 00:05:56 |
Stick with it, |
| 00:05:59 |
and above all, in your initial |
| 00:06:02 |
trust your own eyes. |
| 00:06:04 |
Remember, all you really have |
| 00:06:08 |
His work is pathetic, |
| 00:06:15 |
OK, we'll pick up |
| 00:06:37 |
Ninety three. |
| 00:07:09 |
Yup |
| 00:08:16 |
Well you better get him out out of here. |
| 00:08:20 |
Do us all a favour |
| 00:08:22 |
Walk away and take him |
| 00:08:42 |
Gonna ask some of you questions. |
| 00:08:44 |
We got a preliminary statement |
| 00:08:46 |
Stan, don't recognize you. |
| 00:08:48 |
Good, I'm good |
| 00:08:51 |
Action is in there |
| 00:08:53 |
Chew a little easier |
| 00:08:56 |
Brainerd called me. |
| 00:08:57 |
Brainerd called him, eh |
| 00:09:00 |
Stan ... |
| 00:09:03 |
You come in the morning, alright? |
| 00:09:05 |
See, I'm getting promoted. |
| 00:09:10 |
No. |
| 00:09:12 |
I got to tell you I had a bad case of |
| 00:09:16 |
What caper? |
| 00:09:19 |
The caper. Uncle Eddie. |
| 00:09:23 |
Isn't that why Brainerd brought you in? |
| 00:09:44 |
No, no, no, you're cold. |
| 00:09:56 |
We held up turning it down |
| 00:10:01 |
Yes, it's the kind of smell like it |
| 00:10:04 |
Billy, video. |
| 00:10:17 |
I call that a conversation piece. |
| 00:10:28 |
It is a camera obscura. |
| 00:10:34 |
A device used in |
| 00:10:35 |
to draw in perspective. |
| 00:10:40 |
May I? |
| 00:10:48 |
Hey, Hey! You want to hold off |
| 00:10:52 |
The pinhole focuses the light. |
| 00:11:02 |
You have that flashlight? |
| 00:11:17 |
Take it down |
| 00:12:00 |
I would love to get up there. |
| 00:12:02 |
I do not know, man. |
| 00:12:05 |
Did you see they called Stan Aubray in? |
| 00:12:07 |
Nope. Hey, he's on one of my classes |
| 00:12:09 |
I thought they retired him already |
| 00:12:11 |
God ... |
| 00:12:42 |
Wanna buy you breakfast. |
| 00:12:47 |
I think I'm getting a cold. |
| 00:12:53 |
OK. |
| 00:14:24 |
What are you doing, Stan? |
| 00:14:28 |
Worrying. |
| 00:14:29 |
About what? |
| 00:14:33 |
That's what my mon used to say |
| 00:14:35 |
is to touch things all the |
| 00:14:39 |
That's why you're good |
| 00:14:42 |
You never mentioned your mother before. |
| 00:14:46 |
She live in the city? |
| 00:14:54 |
Staying sober? |
| 00:14:57 |
Four years and three months. |
| 00:15:00 |
You're gonna ask me that everytime? |
| 00:15:06 |
Yes, it's certainly the best |
| 00:15:09 |
Or maybe that's the idea. |
| 00:15:11 |
You probably you keep |
| 00:15:13 |
at every donation center. |
| 00:15:22 |
It's so weird to think of my blood |
| 00:15:26 |
You know, if you'd run into me |
| 00:15:29 |
thought wouln't be accepting |
| 00:15:31 |
No, you'd estrange yourself |
| 00:15:35 |
Can I pick who it goes to? |
| 00:15:38 |
It's my blood. |
| 00:15:42 |
That is the trouble with transfusions. |
| 00:15:44 |
You have to replace like with like. |
| 00:15:46 |
It's not true. |
| 00:15:48 |
If you are old |
| 00:15:56 |
You know Crystal was old. |
| 00:15:58 |
When I used to see her |
| 00:16:00 |
because she'd give it up |
| 00:16:02 |
She give it up for you? |
| 00:16:05 |
Did she say something? |
| 00:16:07 |
I don't know, between dates, yeah. |
| 00:16:10 |
You have a lot of time |
| 00:16:13 |
I knew things from it |
| 00:16:16 |
She had this birthmark ... |
| 00:16:18 |
under his left arm. |
| 00:16:20 |
She always used to say that no matter |
| 00:16:22 |
no man would ever find her |
| 00:16:26 |
Think about it too |
| 00:16:34 |
Sorry. |
| 00:16:37 |
Let's go to somewhere |
| 00:16:40 |
Above ground, maybe |
| 00:16:43 |
Like hiking |
| 00:16:45 |
I'm going with some friends |
| 00:16:47 |
You could come. |
| 00:16:49 |
I'd love to |
| 00:16:54 |
Shocking. |
| 00:16:59 |
Probably. |
| 00:17:02 |
Probably not. |
| 00:17:05 |
I got to go. |
| 00:17:19 |
Looks like an egg. |
| 00:17:24 |
Sometimes a circle |
| 00:17:27 |
Building management got back |
| 00:17:30 |
The hanging man was |
| 00:17:33 |
Works as a day trader, |
| 00:17:37 |
I thought that you might want to take |
| 00:17:40 |
He was up all night. |
| 00:17:42 |
It's a theory it was a ritual killing, |
| 00:17:44 |
some kind of a copycat |
| 00:17:49 |
No, this is different. |
| 00:17:53 |
It's less spontaneous. |
| 00:17:56 |
It don't seem so different to me. |
| 00:18:01 |
Look, hard as the Uncle Eddie case was |
| 00:18:04 |
you're still a detective |
| 00:18:09 |
I'd appreciate it if you'd give |
| 00:18:15 |
I'll will |
| 00:18:18 |
Thank you. |
| 00:18:28 |
Based on decomposition of the body, |
| 00:18:30 |
victim's been dead |
| 00:18:33 |
Now, the cause of death. |
| 00:18:37 |
But he was probably dead |
| 00:18:39 |
Yeah. |
| 00:18:43 |
Intestines had been removed |
| 00:18:46 |
The killer went to the trouble of ... |
| 00:18:50 |
and closing the incision |
| 00:18:56 |
I would have cleaned the body |
| 00:19:01 |
The blue is not just discoloration. |
| 00:19:04 |
The body was painted |
| 00:19:08 |
It's all over him |
| 00:19:11 |
I don't see it here. |
| 00:19:14 |
Just the front of his body. |
| 00:19:18 |
The side that faced |
| 00:19:21 |
Like a stage set, |
| 00:19:24 |
What, the human slide show ... |
| 00:19:25 |
wasn't kinky enough? |
| 00:19:27 |
He had to paint the body? |
| 00:19:31 |
Maybe trying to pretty him up. |
| 00:19:59 |
Excuse me ... |
| 00:20:02 |
Are you the owner? |
| 00:20:03 |
Yeah |
| 00:20:04 |
You can't put a painting like that |
| 00:20:07 |
Why? |
| 00:20:12 |
It is irresponsible. |
| 00:20:17 |
I don't have to look at that |
| 00:20:20 |
So, buy it and burn it. |
| 00:20:23 |
Don't get fresh with me. |
| 00:20:27 |
How much is this? |
| 00:20:29 |
Why not have more of those? |
| 00:20:32 |
When was the last time |
| 00:20:34 |
Where did you get this? |
| 00:20:39 |
I may need to call you. |
| 00:20:41 |
Its like its stolen? |
| 00:20:43 |
Hey listen, I just |
| 00:20:45 |
right in front of my shop. |
| 00:20:47 |
Thanks |
| 00:20:59 |
Nice painting. |
| 00:21:03 |
These aren't commercial pigments. |
| 00:21:05 |
Pull samples |
| 00:21:08 |
and have the lab |
| 00:21:12 |
There is something else. |
| 00:21:13 |
We did an X-ray |
| 00:21:16 |
This is pretty wild |
| 00:21:22 |
Look like there was a bird |
| 00:21:27 |
I wonder |
| 00:21:29 |
Do you have anything to wrap this up? |
| 00:21:31 |
I want to take it over there myself |
| 00:21:43 |
You've been shopping, Stan? |
| 00:21:51 |
"Mr. Aubrey, Let's talk" |
| 00:21:52 |
"Alex" |
| 00:22:04 |
Stan, I wanted to pick your |
| 00:22:08 |
What is this? |
| 00:22:10 |
I still need to sit down |
| 00:22:13 |
No, no, no, I mean |
| 00:22:20 |
Given the copycat angle ... |
| 00:22:21 |
I though it was good idea |
| 00:22:23 |
You looked at my file? |
| 00:22:26 |
You don't mind, do you? |
| 00:22:31 |
Hey Stan, why not you flip |
| 00:22:35 |
Look to see if those guys |
| 00:22:38 |
I know it is tedious right, but, |
| 00:22:45 |
What is today? |
| 00:22:48 |
No, the date. |
| 00:22:55 |
Ok, this is what I've got. |
| 00:23:01 |
Nice. |
| 00:23:02 |
Sixteenth century Ming |
| 00:23:06 |
Rarity, Joseph Ubonn. |
| 00:23:11 |
And an American Victorian |
| 00:23:16 |
I do not know this is your style but ... |
| 00:23:20 |
Oh that a girl |
| 00:23:24 |
See I stumble upon |
| 00:23:27 |
of Civil War porn. |
| 00:23:30 |
I am not interested in pornography, |
| 00:23:33 |
something I can touch. |
| 00:23:35 |
Okay, I was ready |
| 00:23:37 |
But you hold on to those. |
| 00:23:41 |
Oye, oye, not her. |
| 00:23:46 |
Russ, another round. |
| 00:23:48 |
Coming up. |
| 00:23:52 |
Here is a painting |
| 00:23:59 |
Sorry, Stan, |
| 00:24:04 |
And doesn't go with your chair. |
| 00:24:07 |
It is a picture of |
| 00:24:09 |
I am working on. |
| 00:24:11 |
It was in the window of the |
| 00:24:16 |
I think the killer painted it. |
| 00:24:20 |
Wow. |
| 00:24:22 |
That would be quite a coincidence |
| 00:24:26 |
Come on, I mean anybody |
| 00:24:30 |
It has been in the news |
| 00:24:33 |
if you haven't noticed. |
| 00:24:34 |
"Copycat Killer on The Loose" |
| 00:24:38 |
All these years, Stan ... |
| 00:24:44 |
You know, just sticking it out |
| 00:25:54 |
Detective |
| 00:25:57 |
Hey, not too shaby. |
| 00:25:59 |
The department really spared no |
| 00:26:02 |
It's beautiful, fellas. |
| 00:26:04 |
You know my brother |
| 00:26:12 |
Beer? |
| 00:26:24 |
Two shots already yeah? |
| 00:26:27 |
Cheers, Cheers. |
| 00:26:29 |
Great success. |
| 00:26:37 |
Carl, you know you'll f ... it for |
| 00:26:51 |
Miss? |
| 00:26:53 |
Miss, Could I get |
| 00:27:06 |
Sure are a lot of cops here, |
| 00:27:12 |
How do you know my name? |
| 00:27:18 |
Probably read |
| 00:27:19 |
on Uncle Eddie investigation. |
| 00:27:26 |
When other reporters were taking |
| 00:27:31 |
Turns out you and I were right. |
| 00:27:33 |
We were? |
| 00:27:38 |
Talk to me about the new case |
| 00:27:41 |
Is it a copycat killer? |
| 00:27:43 |
You think he'll kill again? |
| 00:27:47 |
Who do we call him? |
| 00:27:50 |
What do you want? |
| 00:27:54 |
Why don't you walk away after |
| 00:28:00 |
It is sad |
| 00:28:06 |
Excuse me. |
| 00:28:23 |
Detective Aubrey, it's Martin. |
| 00:28:25 |
I got the results |
| 00:28:27 |
You were right, |
| 00:28:29 |
The samples taken |
| 00:28:32 |
match the ones from the |
| 00:28:34 |
I'll leave the report |
| 00:29:15 |
"Uncle Eddie stumps |
| 00:29:24 |
"Serial Killing Spree" |
| 00:29:39 |
"Another murder of series" |
| 00:29:56 |
"Prostitute Stabbed by Docks" |
| 00:30:18 |
Responding officers, |
| 00:30:21 |
now approaching |
| 00:30:22 |
to northeast side |
| 00:30:47 |
OK, Stan? |
| 00:30:51 |
No? |
| 00:30:53 |
You see this is the thing, |
| 00:30:55 |
in the same office ... about what |
| 00:30:59 |
I don't even know if you're married. |
| 00:31:02 |
I don't even know |
| 00:31:08 |
Look, if you want to slip out |
| 00:31:11 |
well, I don't give a shit |
| 00:31:14 |
But you and I are gonna have to |
| 00:31:16 |
Both got the same shield |
| 00:32:43 |
Christ ... |
| 00:33:44 |
You're OK, Stan? |
| 00:34:53 |
The human jigsaw. |
| 00:34:55 |
We need an anthropologist |
| 00:34:59 |
Tissue works come back |
| 00:35:01 |
It's all pieces of the same guy. |
| 00:35:03 |
A Jeff Sarno. |
| 00:35:06 |
Except the intestines. |
| 00:35:09 |
They belong to Mr. Calderon. |
| 00:35:11 |
We checked for evidence |
| 00:35:16 |
Hey, Stan, |
| 00:35:18 |
What did I missed? |
| 00:35:21 |
What else you got? |
| 00:35:23 |
This might interest to |
| 00:35:26 |
and human behavior. |
| 00:35:27 |
Victim had |
| 00:35:31 |
Apparently wasn't happy |
| 00:35:33 |
so they split his his upper palate ... |
| 00:35:37 |
and lengthened it to |
| 00:35:42 |
Pretty ironic, huh? |
| 00:35:44 |
All that work and end up |
| 00:35:46 |
Why would he go through |
| 00:35:49 |
Jeff Sarno was an actor. |
| 00:35:53 |
Didn't you read the case file? |
| 00:35:56 |
He had an audition. |
| 00:35:58 |
According to his agent, the |
| 00:36:00 |
had the right look for the part |
| 00:36:02 |
We got an address or a phone |
| 00:36:04 |
No. We checked |
| 00:36:06 |
And the agent? |
| 00:36:08 |
He just got a call saying that they |
| 00:36:12 |
Whatever that means. |
| 00:36:15 |
When Sarno didn't call back |
| 00:36:16 |
The agent figured the kid |
| 00:36:49 |
"We need a good Scout" |
| 00:38:21 |
Session 2, November 17. |
| 00:38:24 |
Detective Aubrey, let's pick up |
| 00:38:30 |
We were talking about the moment |
| 00:38:34 |
They were pulling here out of the River |
| 00:38:38 |
She was wearing a fur coat |
| 00:38:41 |
and heavy with the water. |
| 00:38:48 |
Was she able to speak? |
| 00:38:51 |
She had multiple stab wounds |
| 00:38:54 |
There was more water than blood |
| 00:38:58 |
I tried to use my hands |
| 00:39:01 |
but she took |
| 00:39:06 |
and looked right through me. |
| 00:39:11 |
And then she stopped breathing. |
| 00:39:14 |
He said you had met the victim before. |
| 00:39:17 |
Did you ever intend to warn her |
| 00:39:41 |
It is one in the morning. |
| 00:39:42 |
I'm sorry, I know it's late, but did |
| 00:39:47 |
Not only you just now. |
| 00:39:49 |
Someone broke into my apartment |
| 00:39:53 |
No, didn't hear anything. |
| 00:40:50 |
What you think? |
| 00:40:51 |
White male, age 43, lives alone. |
| 00:40:55 |
One case of corrupting a minor ... |
| 00:40:57 |
brought by the DA's office |
| 00:40:59 |
then later dismissed. |
| 00:41:01 |
Drives a Lincoln, similar to the one |
| 00:41:05 |
at three of the last |
| 00:41:07 |
And we got prints |
| 00:41:09 |
based on saliva match |
| 00:41:19 |
I think this is our guy. |
| 00:41:21 |
I can have a warrant ready |
| 00:41:47 |
Hey Stan! |
| 00:41:58 |
Aubrey and Luiz, you take the back, |
| 00:42:03 |
Now wait on my signal. |
| 00:42:26 |
Position. |
| 00:42:30 |
Gun! Gun, gun! |
| 00:42:40 |
We got the bastard |
| 00:42:44 |
It looked like a gun |
| 00:43:00 |
Did the right thing. |
| 00:43:34 |
I was going to meet you upstairs |
| 00:43:36 |
I can't, I just got time |
| 00:43:38 |
We can go get a coffee. |
| 00:43:40 |
I really need a cigarette. |
| 00:43:43 |
No, hop in. |
| 00:43:51 |
How you doing, man? |
| 00:43:53 |
Thanks for returning my call. |
| 00:43:55 |
We are buddies |
| 00:43:57 |
I heard that you are working |
| 00:44:00 |
Yeah, they expect to be on something |
| 00:44:04 |
Last one? |
| 00:44:08 |
You got promoted didn't you? |
| 00:44:11 |
They got me up there |
| 00:44:14 |
Oh good. |
| 00:44:17 |
Tough thing was that girl. |
| 00:44:20 |
Could have been twenty more |
| 00:44:24 |
Panned out in the end. |
| 00:44:27 |
How is your family? |
| 00:44:30 |
Everybody's good. |
| 00:44:33 |
Big kids, man. |
| 00:44:39 |
Look, It's great to see you, man. |
| 00:44:42 |
Me too. |
| 00:44:45 |
Have something you want |
| 00:44:47 |
No! |
| 00:44:50 |
I mean I'm on this thing and ... |
| 00:44:59 |
You know, I think I know |
| 00:45:04 |
My advice to you is, if it's in |
| 00:45:08 |
Things change. |
| 00:45:10 |
Never set foot in the same river twice. |
| 00:45:16 |
Thanks. |
| 00:45:18 |
I think you gonna catch this guy. |
| 00:45:34 |
That one. |
| 00:45:36 |
This is the one you want? |
| 00:45:38 |
What's wrong with the one |
| 00:45:41 |
Oh you know that I actually having |
| 00:45:44 |
I just want another chair. |
| 00:45:47 |
What's wrong with having |
| 00:45:49 |
Nothing wrong, Stan. |
| 00:45:53 |
I get you a Federal salty table or |
| 00:45:58 |
No, no, no, that's what I want. |
| 00:46:04 |
What? |
| 00:46:09 |
You just have to have it, don't you? |
| 00:46:12 |
That's your problem, Stan. |
| 00:46:15 |
Me, I love the feel of an object |
| 00:46:21 |
You can't let go of |
| 00:46:24 |
Like that girl, |
| 00:46:28 |
Might not be your fault. |
| 00:46:31 |
Might just be the past |
| 00:46:36 |
Keeps pulling you back |
| 00:46:39 |
Now all of a sudden |
| 00:46:42 |
We do not know if it is a copycat. |
| 00:46:44 |
I'm not so sure either, Stan. |
| 00:46:46 |
I took a look at some photos |
| 00:46:49 |
and I kept thinking about |
| 00:46:53 |
He said it was a piece of junk. |
| 00:46:55 |
There was something there though. |
| 00:46:57 |
The presentation of the body, |
| 00:47:02 |
There was something about it, |
| 00:47:04 |
No, I don't know what you mean. |
| 00:47:08 |
Looking at the work |
| 00:47:10 |
was like watching |
| 00:47:20 |
I think you should stick |
| 00:47:23 |
and vintage porn. |
| 00:47:25 |
Don't get your horns all twisted. |
| 00:47:27 |
We killed Uncle Eddie. |
| 00:47:32 |
You're dealing with the same guy. |
| 00:47:39 |
I'm tired of your bullshit. |
| 00:47:41 |
No, I'm leaving. |
| 00:47:43 |
I'm leaving. |
| 00:48:52 |
Sorry. |
| 00:48:54 |
I'm sorry. |
| 00:51:25 |
Stan. |
| 00:51:31 |
Thanks |
| 00:51:33 |
Eggs Florentine. |
| 00:52:03 |
Is it true that there is a connection |
| 00:52:08 |
What about connections to Uncle Eddie? |
| 00:52:11 |
Come on, give us something. |
| 00:52:14 |
There is no copycat, |
| 00:52:17 |
Leave it alone. |
| 00:52:19 |
I heard the victim worked |
| 00:52:23 |
You got to give me something. |
| 00:52:24 |
I can't always have information ... |
| 00:52:28 |
Hold on here, miss. |
| 00:52:33 |
Who leaked this to the press? |
| 00:52:37 |
Hard to keep a lid on |
| 00:52:39 |
You know that, Stan. |
| 00:52:44 |
This guy really |
| 00:52:48 |
Work colleague |
| 00:52:51 |
Make me lie for you, Stan. |
| 00:54:05 |
Used your friend |
| 00:54:35 |
What's this one about, Picasso? |
| 00:57:23 |
Guy is writing a love letter, Stan. |
| 00:57:44 |
Stan ... |
| 00:57:47 |
Just take a minute. |
| 00:57:49 |
I wasn't sure whether |
| 00:57:51 |
so I talked it over with my wife. |
| 00:57:54 |
She works a hotline |
| 00:57:59 |
She told me that the only way to |
| 00:58:04 |
Has seen this morning paper? |
| 00:58:07 |
Your past is starting |
| 00:58:09 |
Camera Killer |
| 00:58:10 |
Which version of my past do |
| 00:58:12 |
Your old partner, |
| 00:58:16 |
Now why is that? |
| 00:58:19 |
Good answer. |
| 00:58:20 |
But I don't think there is much |
| 00:58:23 |
Hey, but f ... the copycat. |
| 00:58:25 |
I got Carl, |
| 00:58:27 |
asking whether the correlation |
| 00:58:29 |
is more than circumstantial. |
| 00:58:32 |
And he's not the only one. |
| 00:58:37 |
You are not the kind of cop |
| 00:58:40 |
And I told Carl, this much. |
| 00:58:43 |
Don't mention it. |
| 00:58:46 |
Hey, look. There was one |
| 00:58:49 |
yours, mine |
| 00:58:51 |
That's one version. |
| 00:59:02 |
This next photo is from |
| 00:59:05 |
the French master photographer. |
| 00:59:08 |
He spent his entire life |
| 00:59:13 |
that instant when |
| 00:59:16 |
conspire to reveal |
| 00:59:21 |
Too esoteric? |
| 00:59:26 |
What do you see? |
| 00:59:31 |
Where is the decisive moment? |
| 00:59:36 |
Is this the truth? |
| 00:59:40 |
Or this? |
| 00:59:43 |
Or is it just another angle? |
| 00:59:48 |
You're all familiar with |
| 00:59:52 |
Now everybody's talking |
| 00:59:57 |
If Uncle Eddie is the original, |
| 01:00:00 |
then the copycat is the one |
| 01:00:04 |
compelled to reconsctruct |
| 01:00:09 |
the decisive moment |
| 01:00:21 |
And maybe there is no copycat. |
| 01:00:25 |
Only a killer that has become |
| 01:00:32 |
No longer content to kill |
| 01:00:36 |
he forces the decisive moment. |
| 01:00:50 |
The killer painted half |
| 01:00:53 |
and I finished the rest. |
| 01:00:58 |
It's weird |
| 01:01:01 |
Because he's implicating you |
| 01:01:05 |
I mean, you're already his patron. |
| 01:01:08 |
Remember you bought |
| 01:01:11 |
Without a patron |
| 01:01:15 |
Maybe you are his Pope Innocent. |
| 01:01:17 |
Maybe you're his crazy |
| 01:01:23 |
OK, I got Velazquez portrait of |
| 01:01:29 |
Quite an ambivalent study |
| 01:01:32 |
And here comes Francis Bacon. |
| 01:01:35 |
Despite never seeing |
| 01:01:38 |
Bacon became so obsessed |
| 01:01:40 |
that he compulsively repainted it |
| 01:01:44 |
but each version |
| 01:02:05 |
Did I tell you that the latest victim |
| 01:02:07 |
on the Uncle Eddie murders? |
| 01:02:11 |
I think you've been part of |
| 01:02:17 |
It's not until an artist |
| 01:02:20 |
that he can create |
| 01:02:24 |
Where he gets his obsession from, |
| 01:02:28 |
It can be the myth of Prometheus, |
| 01:02:30 |
It can be another man's |
| 01:02:32 |
it can even the story of |
| 01:02:36 |
It can be anything. |
| 01:02:38 |
So drink up. |
| 01:02:52 |
Seems familiar right? |
| 01:02:54 |
The artist had the real |
| 01:02:57 |
Already some show is in the |
| 01:03:01 |
You wouldn't believe what |
| 01:03:03 |
What's his name? |
| 01:03:05 |
...no official representation. |
| 01:03:07 |
Where we find it? |
| 01:03:10 |
This guy doesn't exist, |
| 01:03:13 |
The only thing you have is his work. |
| 01:03:15 |
What about the gallery owner? |
| 01:03:17 |
Blowing rail since back room I guess. |
| 01:03:28 |
That is my chair. |
| 01:03:29 |
Yeah, I told you I would |
| 01:03:31 |
No, it's my chair. |
| 01:03:36 |
Fate |
| 01:03:39 |
It was stolen. |
| 01:03:43 |
We take it later. |
| 01:03:47 |
No, you can't do that, Stan. |
| 01:03:48 |
All right, just tell them |
| 01:03:54 |
Oh good, you're back. |
| 01:03:56 |
Any chance of returning our "Fate" |
| 01:03:59 |
What? |
| 01:04:03 |
I am afraid I can't do that. |
| 01:04:06 |
I suppose you'll |
| 01:04:08 |
if I choose to respect |
| 01:04:11 |
No, we're not gonna do that |
| 01:04:13 |
All I have is a name. |
| 01:04:16 |
Gerri Harden. |
| 01:04:19 |
You got a bio, any photos? |
| 01:04:22 |
You never asked where she lived? |
| 01:04:24 |
You never talked about boyfriends, |
| 01:04:27 |
Detecting is your pastime, |
| 01:04:31 |
And she sold quite a few. |
| 01:04:35 |
We gonna have to ask |
| 01:04:36 |
to give a full description anyway. |
| 01:04:38 |
OK. |
| 01:04:55 |
Not a single trace of fiber in any |
| 01:04:57 |
but this clay |
| 01:05:00 |
We didn't even need to dust. |
| 01:05:04 |
I'm gonna need a few hours. |
| 01:05:19 |
You get a match? |
| 01:05:20 |
A match, a name |
| 01:07:32 |
It's an anagram, for a red herring. |
| 01:07:38 |
I don't think there |
| 01:07:43 |
Take a look. |
| 01:08:11 |
Who is that, Stan? |
| 01:08:17 |
Looks like someone else thinks |
| 01:09:02 |
You're different from when |
| 01:09:09 |
It's funny. |
| 01:09:12 |
Crystal said the same thing to me. |
| 01:09:18 |
It's going to be five years |
| 01:09:22 |
I know. |
| 01:09:24 |
She was my best friend. |
| 01:09:33 |
There's nothing you |
| 01:09:36 |
She was half dead |
| 01:09:38 |
I am sure she forgives you. |
| 01:09:42 |
No, she won't. |
| 01:09:45 |
That night |
| 01:09:49 |
had shifted his killings |
| 01:09:51 |
I should've warned her, |
| 01:09:56 |
I tried to keep an eye on her but |
| 01:10:04 |
By the time I got there ... |
| 01:10:07 |
well ... |
| 01:10:12 |
they were pulling her out of the water. |
| 01:10:21 |
Nothing I could do. |
| 01:10:27 |
Shul Grantz. You told her |
| 01:10:36 |
What do you think? |
| 01:10:42 |
Good for you. |
| 01:10:47 |
I was out there that night too. |
| 01:10:50 |
I didn't know. |
| 01:10:58 |
I'm sorry. |
| 01:11:54 |
Aubrey. |
| 01:11:54 |
The poison heart |
| 01:11:56 |
What? |
| 01:11:58 |
The poison harms. |
| 01:12:03 |
Now you should know that. Cos you've |
| 01:12:09 |
Now that you've seen my work |
| 01:12:13 |
You and I both like the color blue, |
| 01:12:16 |
a pigment that was |
| 01:12:20 |
It is also the color of Narcicism. |
| 01:12:25 |
How will you spend your final moments? |
| 01:12:29 |
Staring on your face |
| 01:12:32 |
Maybe it won't be your face in the |
| 01:12:40 |
Water, limpid and clear. |
| 01:12:45 |
Clear as crystal. |
| 01:12:50 |
I have a theory. |
| 01:12:53 |
Uncle Eddie got scared and |
| 01:12:55 |
because he knew |
| 01:12:58 |
He knew. |
| 01:13:02 |
An artist never stops working. |
| 01:13:06 |
He always gathering material, |
| 01:13:12 |
I having another show. |
| 01:13:19 |
You should thank me, Stan. |
| 01:13:23 |
If it weren't for me |
| 01:13:26 |
riddling out your existence. |
| 01:15:16 |
Detective Aubrey. |
| 01:15:28 |
We did dealt it what |
| 01:15:33 |
Cover the rock when you |
| 01:16:51 |
Eggs Florentine. |
| 01:16:53 |
No eggs today. |
| 01:16:55 |
I told your friend |
| 01:17:01 |
He paid for it already. |
| 01:17:05 |
No, thanks. Just tea. |
| 01:17:12 |
Prasa carnia |
| 01:17:14 |
Coffee cup in the trash |
| 01:17:17 |
It was mere. |
| 01:17:18 |
You went through my trash? |
| 01:17:22 |
You are hell of a good detective, Carl. |
| 01:17:27 |
Place is great. |
| 01:17:31 |
Gina, I got to tell you old boy ... |
| 01:17:34 |
She's got a real mouth on her. |
| 01:17:38 |
You know Stan, there are reems of |
| 01:17:43 |
Enquiry transcripts, |
| 01:17:47 |
case logs. |
| 01:17:48 |
But you know what? |
| 01:17:53 |
None |
| 01:17:56 |
Till you caught ... |
| 01:17:59 |
I mean killed ... |
| 01:18:03 |
Sure he was the one? |
| 01:18:06 |
He had to be. |
| 01:18:13 |
You know back in the warehouse, |
| 01:18:17 |
He said you |
| 01:18:19 |
You didn't mention |
| 01:18:21 |
the day he was murdered. |
| 01:18:22 |
You investigating me |
| 01:18:24 |
If I were investigating you, believe |
| 01:18:31 |
Nothing you want to tell me |
| 01:18:34 |
I'm all ears. |
| 01:18:38 |
I'll call you if I think of anything. |
| 01:18:43 |
And while you're thinking, I'm |
| 01:18:52 |
Let's better hope that it |
| 01:19:06 |
A Red Herring |
| 01:19:45 |
Anamorphism |
| 01:19:48 |
Renaissance painting technique ... |
| 01:19:50 |
which uses the principles |
| 01:19:53 |
to construct an alternate image |
| 01:19:58 |
Take this image, for example, |
| 01:20:03 |
If you stand at an extreme oblique |
| 01:20:07 |
A second image, often |
| 01:20:14 |
In this case, |
| 01:20:19 |
Holbein, this is 1536. |
| 01:20:23 |
Now this painting magnifies the |
| 01:20:27 |
pursuit of life. |
| 01:20:30 |
But take a closer look, view it |
| 01:20:34 |
and a secret message is revealed. |
| 01:20:39 |
You're being confronted with a skull. |
| 01:20:42 |
Your memento mori. |
| 01:20:45 |
It's interesting but, what does |
| 01:20:51 |
All the devices |
| 01:20:55 |
they are like a tutorial on |
| 01:21:00 |
But anamorphosis |
| 01:21:04 |
canceling out all that you've learned |
| 01:21:08 |
There is always another angle, |
| 01:21:15 |
The truth depends |
| 01:21:18 |
Yeah. |
| 01:21:20 |
You got to go back |
| 01:23:50 |
Hey, back here! |
| 01:23:53 |
Come, we go! |
| 01:24:24 |
Stan ... |
| 01:24:27 |
Stan ... |
| 01:24:29 |
Okay, fine. |
| 01:24:31 |
Hi |
| 01:24:32 |
I promised my folks whatever |
| 01:24:36 |
but then I realized that I |
| 01:24:42 |
I want to see you again. |
| 01:24:43 |
Call me or a ... |
| 01:24:45 |
I have a meeting tonight. |
| 01:25:06 |
Hi, it's Sandy. |
| 01:25:12 |
Sandy? |
| 01:25:13 |
No, it's Carl. |
| 01:25:15 |
What do you want? |
| 01:25:16 |
Stan, let me talk to you. |
| 01:25:17 |
I can't talk right now. |
| 01:25:18 |
Stan, I need to talk to you |
| 01:25:20 |
I'll call you back |
| 01:25:45 |
Can I help you? |
| 01:25:48 |
Yes, I am looking for a |
| 01:25:51 |
Oh, we do not use last names here. |
| 01:25:59 |
She left just soon as she got here. |
| 01:26:02 |
It was obvious that she wasn't sober. |
| 01:26:07 |
Her sponsor was kind enough |
| 01:26:14 |
Have you ever seen this man, |
| 01:26:18 |
That's Michael C. |
| 01:26:21 |
That's her sponsor. |
| 01:26:24 |
¿What's his last name? |
| 01:26:27 |
Alcoholics Anonymous. It Anony ... |
| 01:26:31 |
Stan ... |
| 01:26:33 |
Michael left this for you. |
| 01:26:47 |
What was that? |
| 01:26:48 |
he just gave me the package. |
| 01:27:28 |
You have always 'stood the scum |
| 01:27:35 |
I can't believe that |
| 01:28:05 |
You sure you're not too high |
| 01:28:08 |
I'm fine. |
| 01:28:12 |
Why is it you never seem high? |
| 01:28:16 |
Would never put that |
| 01:28:35 |
Hey, hey. |
| 01:28:41 |
Can I see it? |
| 01:28:43 |
Why won't you let me see it? |
| 01:28:46 |
Wait, let me look at it. |
| 01:28:50 |
Oh God, you know what. |
| 01:36:25 |
Death |
