Phelps. I'd...
Okay, Donald Phelps, sit down
and behave yourself.
Pigsty.
You're a pretty
important guy around here.
Is this an accurate statement
of your experience?
Why were you at my opening?
Just getting to know you.
Why am I here?
I've given you a statement.
You certainly have.
Look, what's on those pages
is what I saw.
You can see that we might be having
difficulty absorbing it...
...even though
it is what you saw.
I'm going to call my lawyer.
I think it's the time to do that.
Or do you have
to read my rights first?
Hell, no.
I didn't even f risk you yet.
What about this?
That's legal.
Yeah, I know it's legal.
Why do you carry it?
Cut rope and shit.
Yeah, I know.
You probably just carry it...
...to protect Miss Mars'
fancy, expensive camera equipment.
And maybe protect her
f rom some creeps, right?
You're the man.
This whole city's f ull of creeps.
Right?
Guess which creep's arrest record
I have here.
What I'm trying to do is give...
...an account of the times
in which I'm living.
I've seen all kinds of murder.
Physical, yes. But moral,
spiritual, emotional murder!
I can't stop it, but I can show it.
I can make people look at it.
That's a very moral point of view.
Thank you.
I've got something
I want to show you.
Where did you get that?
This is you on the f ront
here, isn't it?
Have you ever seen...
...this particular copy
of this book before?
Yes. I saw it happen.
With your own eyes?
In a nightmare.
Were you f riends with Doris Spenser?
I knew her.
Business acquaintances.
And Miss Elaine Cassell?
I knew her...
...well.
I am sick and tired
of waiting back there!
Now I want to know
where my girlf riend is!
-My father is a very...
-My father can whip your father's ass!
Get him out of here.
If you want real suspects,
take a look at that number...
...you just dragged out.
That's right.
You can tell me anything you want.
Why don't you give me
a bit of that Rona Barrett?
Frankly, I don't do Rona Barrett.
How'd you like to see
my Barbara Walters?
Hey, I do a terrific Lloyd Bridges.
These are classified police
photographs of unsolved murders.
They've never been
published anywhere at all.
Now, what I would like you to do
is compare your photograph to ours...
...in this case...
...and in this case.
-My question is simple...
-Why are my photos so much like yours?
That's right.
When were these taken?
About two years ago.
This one, about 14 months.
-It's disturbing.
-Extremely.
-No, the timing is disturbing.
-In what way?
You go through definite periods
in your work.
About two years ago,
I began to see...
...images of murder, violence.
And it started to become
a part of my work.
By "see, " do you mean...
..."see" as you see
in your statement?
No, I would just be in
the middle of doing something...
...and suddenly,
images would come to me...
...well, like those.
You think I was in
those actual situations...
..mitted the murders and
then re-created them in photographs?
I don't buy it.
Keep it moving, please.
-Get rid of him.
-I already told you once.
Let's go.
-How you doing, lieutenant?
-How you doing, Murph?
Just send it up. Elaine Cassell
apartment. That's right. Third floor.
I'd like to know if you recognize
any of these clothes.
I think...
...they're my husband's.
Husband?
Ex-husband.
We've been divorced over a year.
The last I heard, he was
living in San Francisco.
Well, he's back.
Obviously.
Was this going on
when you were married?
-What's his name?
-Michael.
Michael Reisler.
Is this him?
Is this a picture of your ex-husband?
Those are very nice clothes.
What does he do?
Did you buy those clothes?
Michael couldn't kill anyone.
Do you have any idea where he is?
No idea.
Are you still in love with him?
-May I go home now?
-Of course.
Thank you.
Good evening.
Good night.
Good night.
In case you need me, this is my number.
Call me anytime, day or night.
John Neville.