Tunnel Vision (1995) - full transcript

A pair of cops investigate a series of art-gallery related murders.

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- So, a dance?

- Enjoying yourself?
- Very much.

You know, I admire your priorities, Frank.

I didn't think I could take a time off

in the middle of a murder investigation.

- Yeah, well, sometimes a cop's
personal life comes first.

Excuse me.

What a bore.

- What made you invite him?

- I thought it was the right thing to do.

- Yeah, well, let's not talk about him.

What about us?

- What?

- Yeah, I was saving myself for you

and you go and get
married to my best friend.

- I would have thought
you're more Steve's type.


Credit me with a little more taste.

Kelly, I thought you.

- I do.

- C'mon, Gene Kelly.

If you won't marry me, you
can at least dance with me.


- May I?

Who said you could kiss her?

- Oh, come on.

- All right, it was a
congratulations kiss, darling.

- Oh, yeah?

- Yeah.

- Come on now, it's a wedding.

Have a drink.

- I wish you luck, lad.

You'll need it.

- Yeah?

- Hey, y'all come on.

Stop it!

- Frank, don't spoil our wedding day.

- I'm sorry, I'm sorry.

- Stop messing about and get me.

- Now I've got you.

- The taxi.

- Oh, taxi, the taxi.

Come here.

- It can wait.
- It can wait.

- Our bags are out there.



- Helena?

Good morning.

- Oh God, you scared me!

- Oh, I'm sorry.

- Darling.

- What's the matter?

- I can't be late.

I'm sorry.

I'll make it up to you.

I promise.

I promise.

- You're not gonna be late tonight?

- Oh, I hope not.

I love you.

- I love you, too.

- For you, sir.

- Thanks.



I saved the delivery boy the trouble.

- Oh.

- To the most beautiful girl in the world.

Happy Valentine's.


What's up?

- Oh, nothing.

The florist got the message wrong.

They're early.

- Yeah, well, we need to go.

- Another one.

- Ah-huh.

That's a nice outfit, Frank.

- Give me two minutes.

- Shall I put these in a vase?


- Okay.

- So, what do you normally do?

- I check every morning, six o'clock,

to see that nothing's left behind.

People leave all kinds of things in here.

I found a camera, a Walkman,

I've even found three pairs of trousers.

- Okay, well, tell me about this morning.

- Well, up to here it's the same as usual.

Then I saw the carriage.

I thought my dad's gonna kill me.

- Why?

- 'Cause all the carriages
have to be out every night.

Someone must've pushed this one back in.

- You didn't see or hear anyone?

- No, I just saw her.

- That's it.

Thanks for the moment, Danny.
- You sure?

Maybe I should tag along,
just in case I remember

a vital clue.

- No, I think I've got
all I need at the moment.

Danny, vamoose.


- I'd say she's been dead
at least a couple of days.

- Just like the last one.

- Possibly.

- Possibly?

That's the best you can do?

- Well, there were traces of
paint too in her fingernails.

- White, like the last time?

- No, blue.

Look, I should be able to give
you more by early tomorrow.

- Jack.
- A-S-A-P.

- All right.

- No one saw or heard anything

until after the boy found her.

- The walk.

And get those test results
back to me promptly.

- What did the note say on the last one?

Progress, wasn't it?

Look at the body, Frank,

the way it's been arranged.

Our killer thinks he's an artist.

- Come on, guys, give me a break.

Anything can happen on a horse race.

- All right, where's the booze?

- There's been some changes.

This is for you.

- Aww.

- Frank!

- Yes, sir?

What the hell is this?

- Now, Frank.

- Give Helena a ring, will you?

An art director should
know all about artists.

- Sure.

- Your file makes riveting reading.

Quite a reputation you've made.

- I wouldn't say that.

- No?

Well, I would.

- Looks, so you know, I--

- It can't go on.

- What?

- This.

It's nothing personal but this department

doesn't have room for mavericks anymore.

We play it by the rules here, right.

No more hunches, no more instincts.

- I've had more arrests and convictions

than anyone else here.

- Had, Frank.

Your last two confessions
were ripped apart in court.

It's getting harder for us.

We need evidence, solid evidence.

If you can't buckle down,
then we'll find someone

more suitable for your talents.

- Is that all?

- That's all.

- It appears to us that whoever did this

could have artistic pretentions
or might even be an artist.

- Not on the car, you bloody idiot!

Move over there!
- Sorry, Ray.

- Get this thing back,
get this thing back.

- Oh God, they're horrible.

Play it back!

- You're right though.

You're right though, they, God,

they are presented like artwork.

Some of the titles and the
composition are actually

they're a bit like the
expressionism in '20s and '30s.

- Did that remind you of anything
that you've seen recently?

- No, not really.

But I'm going to see an
exhibition in a few days.

- You didn't tell me.

Yeah, well I might have gone, you know.

- Oh.

You know, he sounds like

where he does constantly come.

But he's trying to get
interested in something I like.

- Helena!


- All right, I've got to go.


- Hello.


Oh, it's you.

Don't you ever give up?


But a first date is a first date.


Speak up, I can hardly hear.

Are you on your car phone?

That's better.

So did I.


God, you're persistent.

All right, you win.

But pick up a pizza on your way over.

Yes, with anchovies and olives too.

And remember I'm not promising anything.


Hello, how did you get in?

- I don't know.

It's quite flattering, really.

I mean they're lovely flowers.

- Well, I was embarrassed.

I had to pretend to
Kelly that I'd sent them.

- Well, maybe you should've.

Women do like to get flowers, you know,

and not just on Valentine's Day.

Anyway, your
mates' having a joke.

- Yeah.

- Darling, I'm tired.

- I think I found something.

Frank, over here.

There's another one too there, look.

- So how much will you
give me for Daisy Bell?

I really can't believe this.

I think someone might've copied my work

to commit murder.

Of course, it's not necessarily my work.

- No?

- Oh, no.

See, I'm what you might
call a neo-expressionist.

- What?

- Oh, new expressionist.

Like the expressionist, we
take a Freudian approach to art

to try to show not what's on the surface

but the emotions that lie beneath.

- These expressionists
would I have heard of them?

- Sure.

Kandinsky, Munch.

You know, The Scream?

- Yeah, yeah, right.

- Your paintings sell well.

- If they did, I wouldn't
be running this gallery.

Now I try to get the names
and addresses of anyone

who shows an interest in my work.

That's very efficient.

- I think a positive approach
to selling my paintings.

- Like you're trying the hard
sell on the exhibition floor.

You bet.

- What about this one, Mr. Breslin?

When did you paint this?

- Oh, a woman about seven months ago.

It's one of my favorites.

A celebration to female's sexuality.

Unfortunately, it wasn't a
theme taken up by your murderer.

- How do you mean?

- Well he killed them, didn't he?

That hardly shows much love.

- The other ones?

- Oh no, those are earlier.

About a year and a half ago.

- And the models?

- From up here.

- Okay.

Thanks very much, Mr. Breslin.

That's it for the moment.

We'll be in touch.

- You're welcome.

- Thank you.

- See you.
- Bye bye.

- Bye.

- Who were they?

- Cops.

Investigating those girls' murders.

- Oh, you're the number one suspect?

Now they're on the ball.

- Very funny, Johnny.

Have you made up your mind
yet about the painting?

- Yeah.

I wanna buy it.

- Great.

- That's the good news.

The bad news is I won't
pay what you're asking.

- Do you have to eat meat at every meal?

- If this man was born to be vegetarian

he'd have large fluffy ears

and bounce up and down all the time.

- You know, you've said that
every day for the last year.

- One year.

We've been working together
one whole year, well.

- So what do you think about Breslin?

- Well, if he's an actor
he's a damn good one.

He seems genuinely shocked.

- And very cooperative.

- Kelly, do you think Helena has a lover?

- What?

Now where did that come from?

- Ah, it's just--

- Hang on.

Frank, over there.

Back up?

- No time, come on.

- Hi.

Spare a ciggy?

- Get lost.

- That's no way to speak to a lady.

- Kelly, he's out.

- I'll take the front.

- Sorry, we're closed.

- Oh.

Really, really?

- I said open it!

Come on, move it, move it!

Come on, hurry!

Under the counter, mister,

the stuff under the counter.

Hurry up!

Come on, hurry up!

Hurry up, hurry up!

Move it, move it!
- Freeze!

Don't move!

Don't move!

- Oh, let him go and let
us out, or I'll shoot her.

Come on!

Come on!

- Give me the gun.

- Get away!

And you, you drop your gun.

- Give me the gun.

- I'll shoot!

I mean it.

- Kelly!

- It's all right.

- I'll do it!

- Come on.

- Why didn't you call for back up?

That's standard procedure for chrissake!

- Standard procedure.

There wasn't time.

- Not good enough, Frank!

I've got the commissioner on my back

and the entire bloody media
screaming about gung-ho cops.

- Yes, but we did stop the hold-up

and apprehend the robbers, sir.

- Right, so what's the bloody problem?

- A kid's been shot!

That's their bloody problem!

It's your bloody problem too!

- So?

- If Pelligrini doesn't pull through

I won't have any choice,
I'll have to suspend you.

- Okay.

- Did you know it wasn't loaded?

- Not at first.

I remembered when he grabbed it.

- For chrissake, why didn't you say?

- Because I didn't think you'd shoot.

Look, thanks for not telling Bosey.

- I'll tell him my offsider
walked unarmed into a store

full of pistol turd punks, sure.

What's that?

- It's the autopsy and coroner's
report, all 20 pages of it.

- And?

- Well, it's definitely the same killer.

Like the first one, she was strangled

and knifed in the stomach after death.

- Was she raped?

- Jack says no.

And no genital damage either.

But there's one difference.

This one was beaten.

- We still don't know who she is?

- No.

Steve's still chasing up on that tattoo.

- Telephone, Frank.

- Here?


Yeah, you're speaking to him.


Yeah, any young woman.



Rachel Kossinger, that's two S's.


It's a missing person.

Another one's disappeared.


Hmm nice.

I know it.

- It's the one that I wear.

- Oh yeah, right.

- She's very pretty, Frank.

- Yeah, hey.

Look at these.

- Oh, very snazzy.

- Our Rachel isn't all sugar and spice.

- Leather coat, leather
trousers, even a leather bra.

Now the first one,
Beverly Jones had leather

coming out her ears.

It's totally imagery.

I just never took any notice.

- Doesn't necessarily
mean she was into S&M.

- Yeah, I know.

But it couldn't.

- Chip?

- You must have a stomach
as strong as an ox.

- Barbecue, shrimp and tomato.

- Oh God!

- What will they think of next?

- Jack, just get over it, will you?

- We only found her today.

You can barely see it,
but it's definitely there.

Small hole.

- Big enough to take a nipple ring.

- Easily.

- Nipple ring?


- And those welts on the
first body, Beverly Jones,

exactly how long ago did
that beating take place?

- As I said in my report the
way the welts were healing

have her indicated that
the beating occurred

a number of days before
the body was discovered.

- Number of days.

I thought pathology was
an accurate science.

- Frank, people's bodies
heal at different rates.

- So it could've happened
before she was abducted?

- Yeah.


- S&M again?

- It fits.

- Okay.

Thanks, Jack.

So, two murdered women both into S&M.

- Frank, what's wrong?

- Wrong?

Nothing's wrong.

I just come to get my wife a lift home.

- Hi.

- David, we'll talk about
it tomorrow, all right?

- Yeah.

Okay, great.

Ciao, huh.

- Oh, you're incredible.

- I'm incredible?

I'm just saying he's a
pretentious little creep--

- Yeah, I've got that bit, Frank.

What do you think about how I feel

before you start turning up at work

and throwing temper tantrums?

It's really embarrassing!

- He had his arm around you!

- It's not a crime, Frank!

We had a good day at work.

We've just won the Powers account.

- Big deal.

- How dare you!

The fact that your work
is important to you

doesn't mean that you can dismiss mine.

- You're out day and night.

I never get to see you.

And when I do come to
pick you up I find you,

you're hugging some smart
Aleck in an Armani suit.

- Oh, stop it, Frank!

Jesus, I hate this macho bullshit!

Why are you so insecure?

I work with David, Frank.

I share my life with you.

I love you.

- Oh, you have a strange
way of showing it.

Swanning around with that sleaze.

- Well, it's my swanning
around as you put it

that pays most of our bills around here.

- And you could tell loverboy
David to have the guts

to speak to me next time he phones!

- Enough, enough.

You're too strong for me.

- You just weren't concentrating.

- Can I talk to you?

- Yeah, sure.

Just give me five minutes, okay?

- All right.

- See you downstairs.

- Are you done?

Would you mind holding it for me?


- So he hasn't said
anything to you about us?

- This and that.

Yeah, nothing much.

- We had an awful fight tonight.

He thinks I'm having an
affair with someone at work.

- Who?

- David De Salvo.

- The cute one that you were
dancing with at the wedding?



- Oh, don't be ridiculous.

All right, maybe.

Maybe if I'm still single.

We do get on, but I'm not screwing him.

I think Frank's scared that
I'm gonna be like Margaret.

- No.

Margaret was a slut.

And Frank knew that when he married her.

He thought that he could change her.

Helena, a lot of people
have jealous streaks.

- It's more than that.

In the jealousy stakes,
Frank's in the super leagues.

- Steve, I'm talking to you.

- Sorry.

- Any luck with the tattoo on Jane Doe?

- Well nothing so far, but I'm checking.

Dental charts, missing
persons in the state

and international, the usual.

Oh, and Breslin does check out.

Not even an overdue parking ticket.

So can I have my magazine back?

- I don't think so.

- Any news on Pelligrini?

- Still stable.

- What are these?

- New expense and overtime sheets

and I want them filled in properly.

It's time homicide was
made cost effective.

- Jesus!

- Okay, just spit it out.

- I've got a case I can't crack.

A boy lying half dead in
the hospital 'cause of me.

- No, no, Frank.

That wasn't your fault.

- A boss who wants to fire me

and make murder cost effective.

Helena's fucking another man.

- Helena?

Where's your evidence?

- I saw her last night

with that De Salvo creep.

He was all over her like a rash.

She was doing nothing to stop it.

Why, why is she doing this to me?

And there's the flowers, phone calls.

Remember those flowers you
brought on Valentine's Day?

They weren't from me.

- Really?

Then who were they from?

- De Salvo, someone else, I don't know.

That's the point.

The phone keeps ringing
and there's no one there.

- Well, it's hardly conclusive.

- It was you who said I
shouldn't have got married.

I should have listened.

- Members only.

- Police.

- Sorry, mate.

- These two women,

are either of them members?

- Christ, I don't know.

Well, they look a little familiar.

The boss may know.

You go wait and the bar
and I'll tell you're here.

Oh and drinks are on the house.

Tell them Micky said so.

- Jennifer Lee.

I own the club.

- Frank Yanovitch, Kelly Wheatstone.

- Hi.

- Do you a moment?
- Sure.

- We're conducting a murder investigation.

Apparently the two deceased

have something to do with this club.

You might recognize them.

This woman.


- Well, I couldn't say for sure.

Everybody who comes in
here has to be a member

and sign the book.

License and regulation.

- We'll need to borrow your records.

- You'll have to give me a receipt.

I don't want any trouble
with a licensing cop.

- That won't be a problem.

- All right.

Better come through the office then.

- Hello.
- Hi.

- Look--
- Look--

You first.

- No, you go first.

- About last night, you and De Salvo,

maybe I did overreact a bit.

Okay, a lot.

- No, Frank--

- Just thinking about you
and him working together

so closely every day it,

it really gets to me.

- You're gonna have to trust me, Frank.

- I know, I know.

I've seen the way he looks
at you, the way he stares,

he hasn't really given up on you, has he?

- McCann's are looking for
a new creative director.

They've approached me
but I have to finish up

this campaign first, all right?

- Have I told you how
much I love you today?

- Tell me.

- Late Valentine's present.

- About three hours too late.

- We never seem to get our timing right.

- I don't know about that.

- Get your ears out of my face.

It tickles.

- Dean, leg.

- No, no!

- Dean?

Are you all right?


- I'm fine.

Point the torch down here.

You okay?

- Yuck!

Good thing I landed on something soft.

- Hi, this is the Yanovitch residence.

We're not at home at the moment.

If you'd like to give us a
name and number after the beep.

- [Kelly) Frank.

Frank, it's Kelly.

Are you there?

I know it's late but pick
up the phone over there.

I mean it, Frank.

It's urgent.

- Yes, Kelly?

I'm awake.

No, it's fine, what is it?


- Frank, what the hell is going on?

Three killings by the same
man and what have you got?

Sweet F.A.!

- That's not strictly true, no.

We think he's an artist or
someone with artistic pretensions

who picks up his victims
through S&M links.

- That's it?

Six weeks of inquiries,
no suspects, nothing.

What about the boyfriends?

- They're clean.

- You haven't even managed to
identify the second body yet.

- It's proving difficult.

- Are they the two that
found the last one?


- And they're clean.

You know, chose the wrong
place at the wrong time

for a poke in the grass.

- Look, this isn't good enough.

I'm reassigning you.

- You can't do that.

- Try me.

Yes, Kelly?

- Sir, it's about Craig
Breslin, the artist.

He's in this member's
book from that S&M club,

the Golden Gateway, and
so of Beverly Jones,

our first victim, and Rachel Kossinger,

the girl that's just been found.

- So?

- So, Breslin was at
the club when the nights

that those girls disappeared.

- Thank you, Kelly.

I thought you'd already
eliminated Breslin as a suspect?

- You know, we didn't know this then.

There's always been
something about Breslin.

- More hunches, Frank.

Okay, bring him in.

Let's hope this isn't another
of your wild goose chases.

Yeah, he's checking right now.

Can we call
him for the information?

Why don't you give
it to me and I'll let him know?

Meet her at 21:30, got that?

- Yeah, 9:30.


It's up the
main street on the mall.

- Yes, I know the place.

I'll let him know.

End of message.


- You okay?

- Oh, toast and jam, great.

You really know how to
treat a woman, Frank.

No, thank you.

- I know I really should
be back out there.

- Doing what?

I'm tired, you're tired,
everyone's looking for him

and as soon as he turns up
they'll let us know, okay?

How long is she away for?

- Overnight.

There's an emergency.

Problem with a shoot.

- Oh come on, stop being a baby.

Advertising people travel all the time,

you should know that by now.

Frank, I'm sorry.

No, no, no, no, Frank, please.

Your stomach, it's crying
out to be fed properly.

- I'm hungry.

- No, you like Italian food, don't you?

- Who doesn't?

- We had to look at the reservation.

Can I have your name, please?

- Wheatstone.
- Thank you.

- It was the linguini that I've had.

- So linguini, eh.

- Yeah, it's really good.

- Linguini.

- Frank.


- I trusted you, Helena!

- What is wrong?

- Wrong?

You're asking me what's wrong?

I'll tell you what's wrong.

"You have to trust me."

Remember who said that?

- Did you get my message?

- Yeah.

And this, this is what you call

going on a shoot in the state.

- The second message, Frank,
the one about finishing early.

- Please.

- Kelly.

- What's going on?

- Did you pass on my message?

- I don't know what you're talking about.

Come inside, come.

- Hey, hey, slow down.

- Steve.

- Bob, give Steve another one.

- Not for me.

- Come on.

Come on, sit down.

Sit, sit down.

Great friend you turn out to be.

Don't even drink with me.

- I'm no duty, Frank.

Come on, I'll give you a lift home, eh.

- No.

I'm having fun, enjoying myself.

- She loves you, Frank.

I mean she's not like Margaret.

She actually loves you.

- Yeah.

- So what are you gonna do,

hang around here all night?

Last chance, I'll give you a lift.

- You go, mate.

I'm staying.

- Okay.

Take it easy.

- Mr. Breslin.

- Let's try one more time.

Please, Mr. Breslin.

Tell me where you went after
you left the Gateway Club

on the nights that Beverly Jones

and Rachel Kossinger were killed?

- I'm not saying anything
'till I talk to my lawyer.

- Turn it off.

- Well?

What do you think?

- About what?

- Jesus Christ, Frank!

What's with you?

- We'll have to get him a lawyer.

- Well, you've got another couple of hours

before he needs to be charged.

In the meantime, you and
Frank get over to his house.

Let's hope forensic
comes up with something.

And for God's sake, Frank,
pull yourself together.

- The forensic records says
there's not a drop of blood

anywhere in the house.

So if he snuffed 'em,
he didn't do it here.

Frank's gotta get his act together.

- Frank.


He's just going crazy right now.

What are they?

- Love letters.

- Satisfied?

- Well, I want to speak to her.

Check out her story, make sure
that her husband was away.

- That won't be necessary.

I told you Mrs. Leyton
will swear that Mr. Breslin

was with her on the night she mentioned.

- I'd like to hear that from her.

- Out of the question.

Surely a sworn statement will suffice.

- A sworn statement will
be all that's necessary

at this stage.

Thank you.

- Okay?

- You really shouldn't have
lied to us, Mr. Breslin.

Having an affair with a
married woman is no big deal.

- It is when the woman's husband

is a violent and rich asshole.

I'm in love, detective.

People do all sorts of things for love.

Lie, cheat, steal, even murder.

In your line of work
you'd know all about that,

wouldn't you?

- How do we know she's
not covering for Breslin?

- We don't.

But there's no concrete
evidence to the contrary.

- Well I still want to interview her.

- Not without more evidence.

She is the wife of the cabinet minister.

- Oh Jesus Christ!

- Another one of Frank's
hunches bites the dust.

By the way, where is he?

- Hi.
- Hi.

- Is Frank in?

- No, he's not in, no.

- Helena, are you okay?

- I'm--

- Hey, what's the matter?

What's wrong?



- Yeah.

He searched all the rooms.

I came home to this.

You don't think I'd remember
someone giving me this?

- Well, what about these?

- I don't know where they came from.

I don't know why they're addressed to me.

I've never seen them before.

- Right.

It's all very strange.

- I'm not having an affair
with David De Salvo, Kelly.

- What about the
restaurant the other night?

- It wasn't what you think.

Look, I don't know what's going on, okay.

But it's starting to get really scary.

- Jesus Christ!

- Frank?

- Yeah.

Jesus, you gotta have a kick.

- Well, you shouldn't go
creeping up on people.

How did you get in here anyway?

- The window.

You're late.

Have you a date?

- That's none of your business.

- You know, there's two
cops watching this place.

- What?

- Over there.

- Bosey.

- You don't seem surprised.

- I'm more surprised
that you turned up here.

- I needed a place to sleep.

Helena and me it's,

it's over.

- So you don't know then?

- What?

- Oh.

There's a warrant out for your arrest

for the murder of David De Salvo.

I want them taken off right now!

- Sit down.
- No, no.

You have no right to do this to me!

- Kelly, sit down!

That's better.

Now what the hell are you on about?

- Why are you having me watched?

- I know how you feel about Frank.

- Yeah, but, Steve's close to him too.

Is he under surveillance?


- No, but that's different.

Steve's not--

- A what?

A woman.

Oh, and therefore can't be trusted.

Of course.

I mean I might be in love with him, right?

- There's been speculation.

- You know how hard I've
worked to get into this squad,

harder than any man and
I'm not gonna risk my job

whatever my feelings are for Frank!

- Kelly, you go when I say you go!

Okay, you've made your point.

I'll have the men taken off.

- Thank you, sir.

- I've been trying to make sense of it.

Sure, I hit him hard.

And when I left him he was conscious.


That kid I shot,
Pelligrini, I'm pretty sure

I put his brother away
about five years ago.

Can you check on it?

- Okay.

Are we closer to
finding our artistic killer?

- No.

I really thought we
cracked it with Breslin.

The girlfriend's
probably covering for him.

- Yeah, but Bosey won't
let me anywhere near her.

She's too well connected.

Bugger him!

Put her feet to the flame.

- I'm gonna go.

Bosey's watching me like a hawk.

- Meet at the sanctuary in two hours?

- Okay.

- Hang on, buddy.

This yours?

- Yeah, thanks.

- Thank you, Jill.

If I need you, I'll call you.

- Mrs. Leyton.

- One minute.

You're wasting your time.

Anything I've got to say I'll
say it through my lawyer.

- Mrs. Leyton, I realize that
this is a delicate matter,

but someone is killing young women

and that someone could be your lover.

- It's absurd.

- Is it?

- If he was killing people,
doing these hideous things

to women don't you
think I'd know about it?

- Ted Bundy killed 23
women and his girlfriend

knew nothing about it.

- You don't know Craig.

- That's right.

And I don't know you either, Mrs. Leyton.

What do you do together?

- What?

- Does he tie you up, hurt you,

strangle you maybe?

- I'm calling my lawyer.

- This is what he does.

This, and this, and this.

- Go, now!

- I hope for your sake that
you're right about him.

I really do.

- How'd it go?

- I tried.

- And?

- I don't know.

She could be covering for him.

But she's so afraid of any scandal.

I don't think she'll be of much use.

Are you okay?
- Yeah.

What about Pelligrini's brother?

- He was let out three
months ago, early release.

- Any address?
- I'm still checking.

- I really appreciate this.

- Frank, maybe it would be better if--

- Kelly, it's up to me to
prove I didn't kill him.

I'm not giving myself up.

- Okay.

Why don't you give me a
ring in about an hour?

I should have that address
for you by then, all right?

- Okay.

- Take care of yourself.

- About time.

I've identified the
girl at the gay string.

Helga Bergen, Swiss backpacker.

- Great.

- It gets better.

She was at the club a week
before her body turned up.

So I ran a check on the membership book,

only three men were there all the nights

that the girls disappeared.

- Breslin?

- Yeah.

But he's alibi.

- Okay.

So we check all the others.


Can you hold one moment, please?

Steve, this is private.

- I'm dreadfully sorry.

I'll be over there at
my desk waiting for you

when you're ready to go.

- Thank you.


Yes, it's 24 St. Pancras
Street, off the highway,

opposite those derelict warehouses.

- Thanks, Kelly.

- Okay, bye.

- Where's the cavalry?

- I thought I'd give myself a head start.


And for your information,

Kelly didn't give me
the address willingly.

- Who said anything about Kelly?

- Recommendable.

I thought we should have
a little chat in private

before the others arrive.

- Her breasts rose up and down.

Her body quivered.

This time she knew it
was going to be good.

She took a deep breath as a
whip sliced through the air.

You get paid for writing this stuff?

- Yeah.

Quite a lot as a matter of fact.

- Why Johnny B. Bade?

- Why not?

Karl Knowles gonna write the serious stuff

and Johnny B. Bade for the rest,

which of course sells much, much better.

- And you go to the Golden
Gateaway Club for research?

- No, for pleasure.

- You were at the club on the
nights of January the 14th,

February the 11th and March the 4th.

- I don't know.


I'm pretty much a regular.

What time do you
usually leave the club,

Mr. Knowles?

- Oh it varies.

Normally about two or three.

Hey, all those dates are Fridays.

- That's right.

- Ah, yes.

So I'd definitely be at the club.

Never miss a Friday.

- Any idea where you went after?

- Oh, that's easy.

Fridays we all come
back here and party on.

Can I ask you a question?

- Go ahead.

- Are you wearing Bella Versai?

- Yes.

How did you know?

- It's for party trick.

- Very impressive.

- Certain smells are provocative.

They bring back memories, don't you think?

- I guess.

- Well, they do for me.

- Mr. Knowles, we'll need
all those Friday night names.

- Sure.

- And you think you're being set up

by Pelligrini's kid brother?

- He's probably been following me around,

waiting to jump me.

He sees me deck De Salvo,

realizes it's a better way to get even.

- Nice try, Frank, but it won't fly.

He's in jail.

- No, he's not.

Kelly told me.

- Picked up last week for
selling speed to school kids.

- Oh shit!

Look, you gotta believe me, Kev.

I didn't kill him.

I just hit him.

- Maybe.

But someone dragged him to death.

- Look, let me find the
bastard that set me up.

- Can't do it, Frank.

We have to play it by the rules.

Hands out.

- How's Pelligrini?

- He'll make it.


- You have lovely eyes, you know.

- Mr. Adams, would you mind
just answering the question?

- Okay.

I take my girlfriend there.

Turns her on.

- Could we have her name and address?

- Sure.

- Is much of your work like this?

- Not at the moment.

Picasso had his Blue Period.

I'm going through my erotic period.

There's a real shortage of good models.

Have you ever posed?

- No.

Mr. Adams, there's one more thing--

- Well, how about it?

- What?

- Posing for me.


- Helena.

It's me.

Come on, shh.

It's okay, it's okay, it's okay.

I'm gonna take my hand away now, okay.

- Sorry to disturb you, Mrs. Yanovitch,

but we thought we heard
someone prowling in there.

Are you okay?

- Oh, I'm fine.

I was just watching the telly actually.

- Well, sorry to trouble you then.

- No problem at all.

- We're only out there
if there's any problems.

- Thank you.

- I didn't do it, you know.

- That's it?

You come in here and you tell me

that you didn't murder the
man that's supposedly my lover

and everything's back to normal?

- There were reasons.

- The point is you didn't believe me.

You didn't trust me.

The shoot finished early, Frank.

We flew back and I gave the station a ring

and I told them to tell you
to meet me at Pub Luigi's

if you were finished by 9:30,

otherwise I would see you back at home.

- Maybe they forgot.

- No, Frank.

I hang on while they did it, okay.

And they came back and
they said that Kelly

had made a note of the restaurant.

- Kelly.

- Well, now Kelly says she didn't even,

she didn't even get the message.

- I'm sorry.

- You can't go through
life thinking saying sorry

kills everything, Frank.

- That's it.

I'm off.

Come on, Kelly, call it a day.

- No.

No, you go.

I'm fine.

- Please yourself.


- Bye.

Yes, yes.


Steve, wait.

- What's up?

- We've gotta go and check out Knowles.

- Why?

- The perfume, Bella Versai,
Rachel Kossinger had some

in her room and it was used
by the first victim too.

- So?

- Well, Knowles picked up on my perfume.

I wear Bella Versai.

Don't you remember?

He said that it was his party trick

that it brought back memories.

- Yeah, but that could be a coincidence.

- Okay.

Then what about the fact that he buys

paintings from Breslin?

- Yeah, but he doesn't.

I would've noticed his
name on Breslin's list.

- Yes, because you were looking

for the name of Karl
Knowles, not Johnny B. Bade.

Mr. Knowles!

Mr. Knowles!

Mr. Knowles!

- Come on.

We need a warrant.


- Oh my God.


- Hey, hey, hey, hey.


- Steve.


Everything okay?

- Fine.

It has been a rough couple of days.


- Oh, help yourself.

- Don't worry about Knowles.

We'll get him.

- Frank would've loved to
have found that bastard.

- You've always had a crush
on Frank, haven't you?

- You think I've had a
crush on everyone, but you.

- No.

I think you've had a crush
on everybody, and me.

Of course, I'm far too modest
to make the first move.

I should be going.

I'm bushed.

I'll let myself out.

- Steve.

- Yeah?

- Night.

- Good night.

- Shoo!


You scared me.

Are you okay?

Look, Bosey, I didn't have
anything to do with that.

- Yes, I know.

- You should've run for it.

- Maybe.

- Well, at least one thing
has turned out right.

We got him.

- Who, Breslin?

- No.

A guy called Karl Knowles.

The perfume was the trigger.

- You're a good detective, Kelly.

So how about you help me with this?

You buy a lot of flowers, do you?

- You don't think I--

- Stay where you are.

- Look, you're tired and confused.

- Kelly.

- Frank.

This is ridiculous.

I love flowers.

Look, now put the gun down.

And let's go through this
together calmly and rationally.

Talk to me Frank.

Innocent until proved guilty, remember?

- I know you did it.

You sent the flowers,

you planted the letters and the jewelry

and you killed De Salvo.

- And this is your evidence?

- I don't know.

I don't know what you thought,
Kelly, but I don't love you.

- You think I love you?

Frank, honestly.

Now put the gun down.

This is so stupid.

- I'll shoot, Kelly.


- I had to.

I didn't wanna go this far, believe me.

I just wanted her to leave you.

I tried everything but she wouldn't go.

Killing De Salvo was the only
way of getting rid of you.

She loves me.

I know she does.

- Helena?

- Of course, Helena.

And you stole her from me.

- Stole her?

She's your friend, Kelly.

No one's stolen anyone from you.

- It was just Helena and
me before you muscled in.

Oh but, nevermind about good
old Kelly, she'll get by.

That's what you thought, didn't you?

I was going to tell her,
explain how much I needed her.

I have to have her.

- Kelly, you need help.

- How did you get in here?

- Kelly.


Kelly, I'll get help.

- Yes, we did have another suspect

but I always had my sight
set on Craig Breslin.

Any other questions?

- Inspector, any leads in
the Kelly Wheatstone case?

- Yes, that was a tragedy.

I'll be issuing--

- May I?