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This programme contains some strong language and some violent scenes. | 0:00:02 | 0:00:07 | |
MUSIC: Adagio in G Minor by Tomaso Albinoni | 0:00:10 | 0:00:14 | |
HE SCREAMS | 0:02:59 | 0:03:01 | |
Good morning. | 0:03:42 | 0:03:43 | |
Lazaro, one moment. | 0:04:47 | 0:04:48 | |
-Let me get my racket. -OK. | 0:04:48 | 0:04:50 | |
Ciao bella. | 0:04:51 | 0:04:53 | |
Versace! | 0:05:11 | 0:05:12 | |
-Can we have your autograph? -Not today. Thank you. | 0:05:14 | 0:05:18 | |
-Hey. -Hi. How are you? | 0:06:01 | 0:06:04 | |
Good morning. | 0:06:07 | 0:06:09 | |
Hey. Good morning, Gianni. | 0:06:09 | 0:06:10 | |
Hi. Um, W Christy...and Diana. | 0:06:10 | 0:06:14 | |
-Thank you so much. -Thank you. | 0:06:27 | 0:06:29 | |
GUN COCKS | 0:07:13 | 0:07:14 | |
No. | 0:07:17 | 0:07:18 | |
Guess who I met. | 0:07:55 | 0:07:57 | |
-Andrew! -Guess. You have to guess. | 0:07:57 | 0:07:59 | |
Who, who, who? | 0:07:59 | 0:08:02 | |
Gianni Versace. | 0:08:04 | 0:08:05 | |
No! What?! | 0:08:05 | 0:08:08 | |
Oh, my God, tell me everything. | 0:08:08 | 0:08:10 | |
MUSIC: Last Night A DJ Saved My Life by Indeep | 0:08:11 | 0:08:14 | |
# Last night a DJ saved my life | 0:08:24 | 0:08:28 | |
# Last night a DJ saved my life yeah | 0:08:28 | 0:08:32 | |
# Cos I was sitting there bored to death | 0:08:32 | 0:08:35 | |
# And in just one breath he said | 0:08:35 | 0:08:37 | |
# You gotta get up, you gotta get on | 0:08:37 | 0:08:39 | |
# You gotta get down, girl | 0:08:39 | 0:08:42 | |
# You know you drive me crazy, baby | 0:08:43 | 0:08:47 | |
# You've got me turning to another man | 0:08:47 | 0:08:52 | |
# Called you on the phone | 0:08:52 | 0:08:54 | |
# No-one's home | 0:08:54 | 0:08:57 | |
# Baby, why ya leave me? | 0:09:03 | 0:09:05 | |
# And if it wasn't for the music | 0:09:06 | 0:09:09 | |
# I don't know what I'd do | 0:09:09 | 0:09:11 | |
# Yeah | 0:09:13 | 0:09:15 | |
# Last night a DJ saved my life | 0:09:15 | 0:09:19 | |
# Last night a DJ saved my life from a broken heart | 0:09:19 | 0:09:23 | |
# Last night a DJ saved my life | 0:09:23 | 0:09:26 | |
# Last night a DJ saved my life with a song. # | 0:09:28 | 0:09:31 | |
Signore Versace, buona sera. | 0:09:36 | 0:09:38 | |
This is my friend, Andrew. | 0:09:40 | 0:09:41 | |
Hi. | 0:09:42 | 0:09:44 | |
It's good to see you in San Francisco. | 0:09:44 | 0:09:48 | |
Thank you. | 0:09:48 | 0:09:50 | |
I'm excited to see the opera. | 0:09:52 | 0:09:53 | |
I think it's time we had a contemporary designer working on... | 0:09:53 | 0:09:56 | |
Have we met before? | 0:09:56 | 0:09:57 | |
Yes. Lago de Como. | 0:09:59 | 0:10:02 | |
A garden party at your residence. | 0:10:02 | 0:10:03 | |
I was by the shore admiring your view | 0:10:03 | 0:10:05 | |
and we exchanged a few words. | 0:10:05 | 0:10:06 | |
You were most gracious. Of course, I remember it - | 0:10:06 | 0:10:10 | |
but for you to remember it, it's very flattering. | 0:10:10 | 0:10:12 | |
Yeah, Lago de Como, that must be it. | 0:10:12 | 0:10:15 | |
Yes. So... | 0:10:15 | 0:10:16 | |
THEY CHAT | 0:10:16 | 0:10:18 | |
My mother's parents are from Italy. | 0:10:18 | 0:10:20 | |
From the south. Schillaci is their family name. Maybe you know them. | 0:10:20 | 0:10:23 | |
My mother still feels a very strong connection | 0:10:23 | 0:10:25 | |
to the country, but in truth, she's never been. | 0:10:25 | 0:10:27 | |
Can you believe that? | 0:10:27 | 0:10:29 | |
An Italian-American that's never even seen her own country? | 0:10:29 | 0:10:32 | |
She never returned with you? | 0:10:38 | 0:10:40 | |
Honestly... | 0:10:42 | 0:10:44 | |
..I think she's scared. | 0:10:44 | 0:10:46 | |
It's almost as if... | 0:10:46 | 0:10:48 | |
..she wants to keep Italy only in her mind as this perfect place. | 0:10:48 | 0:10:54 | |
Where were her parents born? | 0:10:59 | 0:11:01 | |
Palermo. | 0:11:04 | 0:11:05 | |
Uh, they were born in Palermo. | 0:11:06 | 0:11:08 | |
I'll have whatever he's having. | 0:11:08 | 0:11:10 | |
Sparkling water. | 0:11:11 | 0:11:13 | |
-Palermo, you said. -Oh, yes. They moved to Ohio in 1928. | 0:11:14 | 0:11:18 | |
I used to take the ferry to Palermo when I was a young boy. | 0:11:18 | 0:11:21 | |
So there I am sitting in the VIP area... | 0:11:21 | 0:11:24 | |
Wait, where is this? Hey, do you want some coffee? | 0:11:24 | 0:11:26 | |
Oh, no, I'll get it. | 0:11:26 | 0:11:27 | |
So, sitting in the VIP area at a private members only club... | 0:11:27 | 0:11:29 | |
Cigars, velvet upholstery... | 0:11:29 | 0:11:31 | |
Very strict policy on not approaching celebrities, | 0:11:31 | 0:11:34 | |
-which I would never do, by the way. -No. -Ugh. So tacky. | 0:11:34 | 0:11:37 | |
So I'm talking with my friend and then this... | 0:11:37 | 0:11:39 | |
..agreeable looking man comes up to me | 0:11:39 | 0:11:41 | |
and he introduces himself as Versace. | 0:11:41 | 0:11:44 | |
Yes. I say to him, "Honey, if you're Versace, I'm Coco Chanel." | 0:11:44 | 0:11:47 | |
-No, you didn't. -I said that. | 0:11:47 | 0:11:49 | |
It's so embarrassing - and I had to make it up to him later, | 0:11:49 | 0:11:51 | |
when he actually did establish himself as... | 0:11:51 | 0:11:54 | |
..you know, Versace. | 0:11:54 | 0:11:57 | |
I'm not really a fan of his clothes, per se, it's just so...bright. | 0:11:57 | 0:12:01 | |
-It's too much - but they say... -SHE MOUTHS | 0:12:01 | 0:12:03 | |
..that Armani designs clothes for wives. | 0:12:03 | 0:12:05 | |
I think that Versace designs clothes for sluts, | 0:12:05 | 0:12:08 | |
and don't you look at me like that. | 0:12:08 | 0:12:10 | |
Please, I know the score. | 0:12:10 | 0:12:12 | |
There's a lecherous fag on the prowl. | 0:12:12 | 0:12:14 | |
-I didn't know he was gay. -Hey, faggot is not a nice word. | 0:12:14 | 0:12:18 | |
Not nice when it's said by the wrong person - | 0:12:18 | 0:12:20 | |
but what are we supposed to call them? | 0:12:20 | 0:12:22 | |
Homosexuals? Hmm? Sounds so...scientific. | 0:12:22 | 0:12:25 | |
Anyway, I don't have a problem with it - it doesn't bother me. | 0:12:25 | 0:12:28 | |
At all. Which is why I agreed. | 0:12:28 | 0:12:29 | |
Wait, you agreed to what? | 0:12:29 | 0:12:31 | |
Oh, didn't I say? | 0:12:31 | 0:12:32 | |
He invited me to the opera. | 0:12:32 | 0:12:34 | |
He's designing the costumes for Capriccio. | 0:12:34 | 0:12:36 | |
It's a minor work, but even so. | 0:12:36 | 0:12:38 | |
I guess even in minor works, one must wear clothes. | 0:12:38 | 0:12:41 | |
And you said yes? | 0:12:42 | 0:12:45 | |
My dear, sweet Lizzie... | 0:12:45 | 0:12:47 | |
..Versace has invited me to the opera. | 0:12:50 | 0:12:54 | |
Of course I said yes. | 0:12:54 | 0:12:56 | |
So I said, "Lizzie, I'm not crazy about Versace, | 0:12:56 | 0:12:59 | |
"but I certainly wouldn't mind going to the opera." | 0:12:59 | 0:13:01 | |
-Is it real? -What? | 0:13:01 | 0:13:03 | |
Versace. | 0:13:03 | 0:13:05 | |
What do you mean? | 0:13:05 | 0:13:06 | |
The other day I heard you say you were half Jewish. | 0:13:06 | 0:13:09 | |
Well...that's complicated. | 0:13:09 | 0:13:11 | |
No, it isn't. You're not Jewish - you're Catholic, same as me. | 0:13:11 | 0:13:14 | |
You were an altar boy. | 0:13:14 | 0:13:15 | |
I mean, we spoke about what happened to you. | 0:13:15 | 0:13:17 | |
What does it matter what I said? | 0:13:17 | 0:13:19 | |
-What does it matter? -Yes. -It matters! | 0:13:19 | 0:13:21 | |
-Only if they know it isn't true. -But you know. | 0:13:21 | 0:13:24 | |
-I thought you'd be happy about it. -About what? -About Versace. | 0:13:25 | 0:13:28 | |
That you'd brag about a date with Versace? | 0:13:28 | 0:13:29 | |
-It's not a brag. -You can't even tell people you're gay. | 0:13:29 | 0:13:32 | |
I tell people all the time. I've told people for years. I... | 0:13:32 | 0:13:34 | |
You tell gay people you're gay and straight people you're straight. | 0:13:34 | 0:13:37 | |
I tell people what they need to hear. | 0:13:39 | 0:13:41 | |
How am I supposed to behave? | 0:13:42 | 0:13:44 | |
Do I pretend to know the person you're pretending to be? | 0:13:44 | 0:13:48 | |
I can't keep up. | 0:13:48 | 0:13:49 | |
Every time I feel like I'm getting close to you, | 0:13:49 | 0:13:51 | |
you say you're someone else. | 0:13:51 | 0:13:53 | |
I know I'm not... | 0:13:54 | 0:13:57 | |
-..impressive... -OK. | 0:13:57 | 0:13:59 | |
..but I'm nice. I'm smart... | 0:13:59 | 0:14:02 | |
..and I'm kind. | 0:14:02 | 0:14:05 | |
I...honestly... | 0:14:05 | 0:14:08 | |
..truthfully... | 0:14:10 | 0:14:13 | |
..I swear, I really do have a date with Gianni Versace. | 0:14:14 | 0:14:18 | |
I'm pleased for you. | 0:14:20 | 0:14:22 | |
Good. | 0:14:24 | 0:14:25 | |
What? No, no, no, darling, look at yourself. | 0:15:19 | 0:15:21 | |
Look at yourself in the mirror. Don't look at me. In the mirror. | 0:15:21 | 0:15:25 | |
To adjust a dress, the most important thing | 0:15:25 | 0:15:29 | |
is that I look at your face. | 0:15:29 | 0:15:31 | |
It's that I see your face. | 0:15:31 | 0:15:33 | |
I learned that from my mother. | 0:15:33 | 0:15:35 | |
She was a dressmaker. | 0:15:35 | 0:15:36 | |
She had a little store in Calabria. | 0:15:36 | 0:15:38 | |
My mother, she would stand with her clients, | 0:15:38 | 0:15:41 | |
who she considered her friends, | 0:15:41 | 0:15:43 | |
in front of the mirror and study their expressions. | 0:15:43 | 0:15:47 | |
Not the fabric, not the dress. | 0:15:47 | 0:15:49 | |
Their faces - and only when they were happy, | 0:15:49 | 0:15:52 | |
only when they smile, when they relax, | 0:15:52 | 0:15:56 | |
her work was complete. | 0:15:56 | 0:15:58 | |
My clothes serve you, darling. | 0:15:58 | 0:16:01 | |
I work for you. I'm not important. | 0:16:01 | 0:16:03 | |
It's you, it's all about you. Yes? | 0:16:03 | 0:16:05 | |
-Mm, yes. -Now you go. | 0:16:05 | 0:16:07 | |
MUSIC: All Around The World by Lisa Stansfield | 0:16:10 | 0:16:12 | |
You should have asked. | 0:16:28 | 0:16:30 | |
I have nothing. | 0:16:36 | 0:16:38 | |
You look very nice. | 0:16:42 | 0:16:44 | |
"Nice." | 0:16:44 | 0:16:46 | |
What were you going for? | 0:16:46 | 0:16:47 | |
Impressive. | 0:16:47 | 0:16:49 | |
Give me your hand. | 0:17:00 | 0:17:01 | |
Mm-hm. | 0:17:05 | 0:17:06 | |
You should... No. Uh... | 0:17:06 | 0:17:08 | |
I love you. | 0:17:12 | 0:17:14 | |
You are ridiculous. | 0:17:14 | 0:17:16 | |
See, that's impressive. | 0:17:18 | 0:17:19 | |
Yes. | 0:17:19 | 0:17:21 | |
ALERT CHIMES ON TANNOY | 0:17:21 | 0:17:23 | |
MUSIC: Kein Andres, das mir so im Herzen loht by Strauss | 0:17:35 | 0:17:38 | |
WOMAN SINGS IN GERMAN | 0:17:44 | 0:17:46 | |
Did you enjoy? | 0:19:52 | 0:19:53 | |
I loved it. | 0:19:53 | 0:19:55 | |
I thought it was inspiring. | 0:19:55 | 0:19:58 | |
You are creative, right? | 0:19:58 | 0:20:00 | |
Oh, pfft, of course, very much. | 0:20:00 | 0:20:02 | |
Thank you. | 0:20:02 | 0:20:03 | |
What do you do for work? | 0:20:07 | 0:20:09 | |
This and that. For my first job, | 0:20:09 | 0:20:11 | |
I worked for my father on his pineapple plantations | 0:20:11 | 0:20:15 | |
in the Philippines... Can you imagine that? | 0:20:15 | 0:20:17 | |
Picking them in the midday sun. You should've seen me. | 0:20:17 | 0:20:19 | |
My father was a-a military man. | 0:20:19 | 0:20:21 | |
He was a pilot for Imelda Marcos, the first lady of the Philippines. | 0:20:21 | 0:20:26 | |
-Really? -Yes! He flew one of those old planes, | 0:20:26 | 0:20:28 | |
the, um, the type that Buddy Holly died in. | 0:20:28 | 0:20:30 | |
Beechcraft Bonanza, they're called, if you know them. | 0:20:30 | 0:20:33 | |
He would fly them low to the ground | 0:20:33 | 0:20:34 | |
because Imelda was terrified of crashing - | 0:20:34 | 0:20:36 | |
and that is a true story. | 0:20:36 | 0:20:37 | |
My father would tell her, "Imelda, when you're flying a plane | 0:20:37 | 0:20:41 | |
"at 400 miles per hour in a rickety tin can, | 0:20:41 | 0:20:44 | |
"it doesn't, it doesn't matter how high you are." | 0:20:44 | 0:20:46 | |
And then you moved to America. | 0:20:48 | 0:20:50 | |
My father wanted me to have the very best education. | 0:20:50 | 0:20:53 | |
Which, of course, I had. | 0:20:53 | 0:20:55 | |
He's retired from the military now. | 0:20:55 | 0:20:57 | |
He runs all of his businesses from abroad, cos he can. | 0:20:57 | 0:21:00 | |
Who knew that there was so much money to be made in pineapples? | 0:21:00 | 0:21:03 | |
He was here the other day, he was just in town. | 0:21:03 | 0:21:05 | |
He was driving around in his Rolls-Royce | 0:21:05 | 0:21:08 | |
with his boyfriend as a chauffeur. | 0:21:08 | 0:21:11 | |
Boyfriend? | 0:21:11 | 0:21:12 | |
-Please, don't ask. -Your father has a boyfriend? | 0:21:12 | 0:21:14 | |
He left my mom and ran off with one of the young men | 0:21:14 | 0:21:16 | |
who worked on the plantations. | 0:21:16 | 0:21:17 | |
It was cute, I guess. | 0:21:19 | 0:21:21 | |
It's all so crazy. I'm writing a novel about it. | 0:21:21 | 0:21:24 | |
-You are? -Mm-hm. | 0:21:24 | 0:21:26 | |
I wish I had the patience to write a novel - | 0:21:26 | 0:21:28 | |
but my mind is always moving, you know? | 0:21:28 | 0:21:31 | |
I think you need great stillness to write a novel. | 0:21:31 | 0:21:33 | |
I'm never still. | 0:21:33 | 0:21:36 | |
Maybe you just need a crazy family. | 0:21:36 | 0:21:38 | |
For me, family's everything. | 0:21:38 | 0:21:40 | |
-Everything. -Hmm. | 0:21:40 | 0:21:41 | |
The first dress I ever made was for my sister Donatella. | 0:21:41 | 0:21:44 | |
Maybe every dress I make is for her. | 0:21:44 | 0:21:46 | |
That makes me want to cry. | 0:21:47 | 0:21:49 | |
Makes me smile. | 0:21:49 | 0:21:51 | |
Uh, yes, well, that, too. Yeah, of course. | 0:21:51 | 0:21:53 | |
The Medusa logo, from my company... | 0:21:55 | 0:21:59 | |
You know it? | 0:21:59 | 0:22:00 | |
So sophisticated. | 0:22:00 | 0:22:01 | |
As children, we used to play in ancient ruins | 0:22:01 | 0:22:05 | |
close to our home in Calabria, | 0:22:05 | 0:22:08 | |
and one day, I saw the Medusa's head with the... | 0:22:08 | 0:22:11 | |
..hair of snakes carved on the stone and I fell in love. | 0:22:11 | 0:22:13 | |
I know that many people call it pretentious, but I don't care. | 0:22:13 | 0:22:16 | |
How could my childhood be pretentious? | 0:22:16 | 0:22:18 | |
-I agree. -My hope is that when people... | 0:22:18 | 0:22:21 | |
..wear my clothes, they will get to know me a little bit, you know? | 0:22:21 | 0:22:24 | |
They will get to know my character, my...my love for life - | 0:22:24 | 0:22:28 | |
and I think that the same will happen with your novel. | 0:22:28 | 0:22:31 | |
People will get to know you a little bit when they read your book. | 0:22:31 | 0:22:34 | |
I'll send you an advanced copy. | 0:22:34 | 0:22:36 | |
You think I should change my name to something a little more literary? | 0:22:38 | 0:22:42 | |
I was... I was thinking Andrew DeSilva. | 0:22:42 | 0:22:44 | |
No. You should be proud of your name. | 0:22:44 | 0:22:46 | |
When they make a movie of my book, | 0:22:47 | 0:22:49 | |
you must design the clothes. You have to. | 0:22:49 | 0:22:52 | |
You...for Imelda, think of it. | 0:22:52 | 0:22:53 | |
She was a fashion icon, it would be perfect. | 0:22:53 | 0:22:55 | |
You know she had 3,000 pairs of shoes. | 0:22:55 | 0:22:56 | |
I know - but I don't design shoes. | 0:22:56 | 0:22:58 | |
Well... | 0:22:58 | 0:22:59 | |
But maybe I could try, for your movie. | 0:22:59 | 0:23:02 | |
Mm? | 0:23:04 | 0:23:06 | |
Maybe. | 0:23:06 | 0:23:07 | |
I'm so happy right now. | 0:23:08 | 0:23:10 | |
You should be. | 0:23:10 | 0:23:13 | |
You're handsome, clever. | 0:23:13 | 0:23:16 | |
I'm sure... | 0:23:19 | 0:23:22 | |
..you're going to be someone really special one day. | 0:23:22 | 0:23:26 | |
GUNSHOT | 0:23:28 | 0:23:29 | |
GUNSHOT | 0:23:36 | 0:23:37 | |
Hey! | 0:24:00 | 0:24:02 | |
Hey! | 0:24:04 | 0:24:05 | |
Gianni. | 0:24:11 | 0:24:13 | |
Help! | 0:24:13 | 0:24:14 | |
Help! | 0:24:36 | 0:24:37 | |
Please help. | 0:24:37 | 0:24:39 | |
I just need an ambulance. | 0:24:39 | 0:24:41 | |
Get an ambulance. | 0:24:41 | 0:24:42 | |
Ahhh....! | 0:25:22 | 0:25:24 | |
HE LAUGHS | 0:25:24 | 0:25:26 | |
Yes! | 0:25:30 | 0:25:32 | |
Ha! | 0:25:37 | 0:25:39 | |
DISTANT SIRENS | 0:25:55 | 0:25:57 | |
-You know who that is? -No. | 0:26:09 | 0:26:11 | |
It's Gianni Versace. | 0:26:13 | 0:26:15 | |
Ambulance! | 0:26:16 | 0:26:18 | |
Where's the ambulance? Please. | 0:26:18 | 0:26:20 | |
-Jesus. -Please help! | 0:26:20 | 0:26:24 | |
Move! Get an ambulance! | 0:26:24 | 0:26:26 | |
Yes! | 0:26:36 | 0:26:37 | |
Here we go. | 0:26:49 | 0:26:50 | |
All right. | 0:26:50 | 0:26:51 | |
Hey, stop! | 0:27:07 | 0:27:09 | |
OVER RADIO: All units, suspect last seen | 0:27:12 | 0:27:14 | |
entering 13th Street garage wearing red baseball hat, | 0:27:14 | 0:27:17 | |
grey T-shirt. Please advise. | 0:27:17 | 0:27:18 | |
No red hat, but some guy in a red shirt. | 0:27:18 | 0:27:20 | |
Latino. A security guard or parking attendant. | 0:27:20 | 0:27:23 | |
I'll check him out. | 0:27:23 | 0:27:25 | |
What do we got? | 0:27:43 | 0:27:44 | |
Patient has GSW times two to the head, found in cardiac arrest. | 0:27:44 | 0:27:47 | |
Asystolic, pupils are fixed and dilated. | 0:27:47 | 0:27:49 | |
How long has he been down? | 0:27:49 | 0:27:51 | |
-We're in. -Get him to Trauma One. | 0:27:51 | 0:27:52 | |
Hey, you! Stop right there! | 0:27:57 | 0:27:59 | |
Freeze! | 0:27:59 | 0:28:01 | |
Freeze! | 0:28:01 | 0:28:02 | |
Freeze! Freeze, right there! | 0:28:03 | 0:28:05 | |
-Come on, people. Let's go. -Keep him centred. | 0:28:05 | 0:28:07 | |
-Push, push. -Coming through, coming through. | 0:28:07 | 0:28:09 | |
I need that pulse. | 0:28:09 | 0:28:10 | |
GCS, level 3. | 0:28:10 | 0:28:12 | |
Suspect on the run, in pursuit! | 0:28:15 | 0:28:17 | |
Espanola Way. | 0:28:17 | 0:28:19 | |
Heading east. | 0:28:19 | 0:28:20 | |
Suspect is down. | 0:28:24 | 0:28:26 | |
Turn him over! | 0:28:26 | 0:28:28 | |
Let's go, let's go, let's go! | 0:28:35 | 0:28:37 | |
We need a crash cart. | 0:28:37 | 0:28:39 | |
-Get a cart, get a cart. -On three. | 0:28:39 | 0:28:41 | |
One, two, three. Lift. | 0:28:41 | 0:28:43 | |
Attempting CPR. | 0:28:43 | 0:28:44 | |
Get a second line. | 0:28:47 | 0:28:48 | |
Come on. | 0:28:48 | 0:28:49 | |
I have a weak pulse. | 0:28:51 | 0:28:54 | |
-Let's go, people, we've got a pulse. -Let's prep him for X-ray. | 0:28:54 | 0:28:57 | |
Hey, guys. I-I have the only photo. | 0:29:00 | 0:29:03 | |
The only... | 0:29:03 | 0:29:05 | |
I have the only photo of Versace. | 0:29:05 | 0:29:08 | |
Bidding starts at 30,000. | 0:29:08 | 0:29:10 | |
Looks like the bullet entered the maxilla and lodged in the vertex. | 0:29:10 | 0:29:13 | |
-Tore through the parietal lobe. -Not operable. | 0:29:13 | 0:29:15 | |
MONITOR BEEPS | 0:29:15 | 0:29:16 | |
MONITOR FLATLINES | 0:29:25 | 0:29:27 | |
Hold CPR. | 0:29:27 | 0:29:28 | |
Call it. | 0:29:35 | 0:29:37 | |
Time of death - 9:21am. | 0:29:37 | 0:29:40 | |
MUSIC: Oh! Quante volte by Vincenzo Bellini | 0:30:05 | 0:30:09 | |
Who is he? | 0:30:45 | 0:30:46 | |
Boyfriend. | 0:30:46 | 0:30:48 | |
Go, go, go, go, go, go. | 0:31:00 | 0:31:02 | |
Stay behind the line. | 0:31:02 | 0:31:04 | |
Hey! You want to be arrested? | 0:31:10 | 0:31:12 | |
CAMERAS CLICK | 0:32:10 | 0:32:12 | |
-TV: -Breaking news from Miami Beach. | 0:32:17 | 0:32:19 | |
We've received reports of a shooting | 0:32:19 | 0:32:20 | |
at fashion designer Gianni Versace's mansion on Ocean Drive. | 0:32:20 | 0:32:23 | |
The shooting occurred this morning at 9:00am. | 0:32:23 | 0:32:25 | |
No official statement from police has been made, | 0:32:25 | 0:32:28 | |
but the investigation is ongoing at this time. | 0:32:28 | 0:32:31 | |
Eyewitnesses have confirmed there is at least | 0:32:31 | 0:32:33 | |
one victim who was shot and rushed to the hospital. | 0:32:33 | 0:32:35 | |
Our reporter is standing by. | 0:32:35 | 0:32:37 | |
Well, we have just arrived at the scene, | 0:32:37 | 0:32:40 | |
but we can confirm that world-famous fashion designer Gianni Versace | 0:32:40 | 0:32:44 | |
has been shot here on the steps outside his villa. | 0:32:44 | 0:32:47 | |
South Carolina tags. | 0:33:05 | 0:33:06 | |
Sam-King-William-2-6-3. | 0:33:06 | 0:33:09 | |
Nah, nothing's coming up. | 0:33:13 | 0:33:15 | |
Could be stolen plates. | 0:33:15 | 0:33:16 | |
Try the vehicle ID number. | 0:33:16 | 0:33:18 | |
King-1-Adam-1-0. | 0:33:18 | 0:33:20 | |
Yeah. Vehicle linked to the homicide of William Reese. | 0:33:24 | 0:33:27 | |
Suspect name is Andrew Cunanan. | 0:33:27 | 0:33:30 | |
Pronounced Ver-sash-shay. | 0:33:32 | 0:33:34 | |
Singer? | 0:33:34 | 0:33:36 | |
That's Liberace. | 0:33:36 | 0:33:38 | |
It's the jeans guy. | 0:33:38 | 0:33:40 | |
Listen up, everyone. | 0:33:41 | 0:33:43 | |
Who do we have in Miami? | 0:33:43 | 0:33:44 | |
CHATTER AND CAMERAS CLICKING | 0:33:44 | 0:33:46 | |
You heard about the Chevy? | 0:34:05 | 0:34:07 | |
Red Chevy 1500. | 0:34:07 | 0:34:09 | |
-Pick-up truck? -That's right. | 0:34:09 | 0:34:10 | |
Hot damn, that's Cunanan. | 0:34:10 | 0:34:12 | |
That's Andrew Cunanan. | 0:34:12 | 0:34:14 | |
Agent Evans has been looking for Cunanan for several months. | 0:34:14 | 0:34:17 | |
In Miami? | 0:34:17 | 0:34:18 | |
In Fort Lauderdale, too. | 0:34:18 | 0:34:20 | |
Who is he? | 0:34:20 | 0:34:21 | |
How many people has he killed? | 0:34:25 | 0:34:27 | |
Four. Five now with...Versace. | 0:34:27 | 0:34:30 | |
How many flyers have gone out? | 0:34:30 | 0:34:32 | |
How many have gone out, Agent Evans? | 0:34:33 | 0:34:35 | |
Shortly before 9:00am, | 0:34:46 | 0:34:48 | |
fashion designer Gianni Versace | 0:34:48 | 0:34:50 | |
was shot on the steps of his villa. | 0:34:50 | 0:34:52 | |
He was then taken to Jackson Memorial Hospital, | 0:34:52 | 0:34:55 | |
where he was pronounced dead at 9:21am. | 0:34:55 | 0:34:58 | |
Miami Beach Police investigators, | 0:35:21 | 0:35:23 | |
in cooperation with the Federal Bureau of Investigation, | 0:35:23 | 0:35:25 | |
and the Florida Department of Law Enforcement, | 0:35:25 | 0:35:28 | |
are currently looking for Andrew Phillip Cunanan | 0:35:28 | 0:35:31 | |
as a suspect in the murder of Gianni Versace. | 0:35:31 | 0:35:33 | |
Cunanan should be considered armed | 0:35:46 | 0:35:49 | |
and extremely dangerous at this time. | 0:35:49 | 0:35:52 | |
What was your involvement with Mr Versace? | 0:37:04 | 0:37:06 | |
My involvement? | 0:37:08 | 0:37:09 | |
You were the person who found these, uh, dancers, models, | 0:37:09 | 0:37:12 | |
escorts, and brought them back to the house for sex? | 0:37:12 | 0:37:14 | |
Who told you that? | 0:37:14 | 0:37:16 | |
Mr D'Amico, this is a police investigation. | 0:37:16 | 0:37:18 | |
We need to know everything. | 0:37:18 | 0:37:20 | |
The staff told me when I interviewed them. | 0:37:20 | 0:37:22 | |
Well, I was his partner, not his pimp. | 0:37:22 | 0:37:25 | |
By partner, you mean...? | 0:37:25 | 0:37:27 | |
What-What do I mean? | 0:37:27 | 0:37:29 | |
Hey. Listen, I'm... | 0:37:38 | 0:37:40 | |
I'm on your side. | 0:37:40 | 0:37:43 | |
I'm just trying to figure out what was going on at the house. | 0:37:43 | 0:37:46 | |
Now, you say you're partners. | 0:37:46 | 0:37:48 | |
Partner. | 0:37:48 | 0:37:50 | |
His companion. | 0:37:51 | 0:37:54 | |
I loved him. | 0:37:54 | 0:37:55 | |
Though you were, um, bringing back other men? | 0:37:55 | 0:37:58 | |
For him? | 0:37:58 | 0:37:59 | |
You were... having sex with them, too? | 0:37:59 | 0:38:02 | |
With him there? | 0:38:02 | 0:38:04 | |
Sometimes. | 0:38:04 | 0:38:06 | |
Sometimes he wouldn't join in? | 0:38:06 | 0:38:09 | |
No, not always. | 0:38:10 | 0:38:12 | |
Sometimes... | 0:38:12 | 0:38:15 | |
It was... It was whatever he wanted. | 0:38:15 | 0:38:17 | |
These other men, uh, did they consider themselves | 0:38:17 | 0:38:20 | |
to be Versace's partner, too? | 0:38:20 | 0:38:22 | |
-No. Of course... -You see why I'm confused? | 0:38:22 | 0:38:23 | |
What's the difference? | 0:38:23 | 0:38:25 | |
15 years. | 0:38:25 | 0:38:27 | |
I lived with Gianni for 15 years, that is the difference. | 0:38:27 | 0:38:29 | |
OK. That-That's, um... | 0:38:29 | 0:38:31 | |
That's a good length of time. | 0:38:31 | 0:38:33 | |
Could you give us their names? These other men. | 0:38:35 | 0:38:37 | |
I can... I can find out. | 0:38:37 | 0:38:39 | |
Were they paid? | 0:38:41 | 0:38:42 | |
Oh, yes, no... | 0:38:42 | 0:38:44 | |
Most of the time they just fell for him. | 0:38:44 | 0:38:46 | |
He was a genius. | 0:38:46 | 0:38:49 | |
He cast a spell. | 0:38:49 | 0:38:50 | |
Hmm. Were you paid? | 0:38:50 | 0:38:53 | |
Was I paid? | 0:38:53 | 0:38:54 | |
To love him?! Was I paid to love him? | 0:38:54 | 0:38:57 | |
I'm sorry. I know you're upset, but... | 0:38:57 | 0:38:59 | |
This is new to me, I'm just trying to get everything clear. | 0:38:59 | 0:39:03 | |
-Don't want to make presumptions. -Yes, and I'm trying to help, but... | 0:39:03 | 0:39:06 | |
Did you see the man who shot Versace? | 0:39:09 | 0:39:12 | |
No. | 0:39:12 | 0:39:14 | |
Well, might it be one of these men who killed him? | 0:39:14 | 0:39:17 | |
Get them out, please. | 0:39:41 | 0:39:43 | |
HE SOBS | 0:39:59 | 0:40:00 | |
That's not what I need from you right now. | 0:40:02 | 0:40:04 | |
What do you need from me? | 0:40:08 | 0:40:09 | |
What were you saying to the police? | 0:40:11 | 0:40:13 | |
I don't know, they were asking some questions. | 0:40:13 | 0:40:16 | |
About Gianni's life. | 0:40:17 | 0:40:18 | |
What about my brother's life? | 0:40:19 | 0:40:21 | |
They will find out, Donatella. | 0:40:26 | 0:40:28 | |
What? What will they find out? | 0:40:28 | 0:40:30 | |
Everything. | 0:40:30 | 0:40:32 | |
Nothing was ever asked of you... | 0:40:36 | 0:40:38 | |
..except to take care of him - | 0:40:38 | 0:40:40 | |
and you couldn't even do that. | 0:40:40 | 0:40:42 | |
You are not to speak to anyone about my brother | 0:40:48 | 0:40:50 | |
without consulting me first. | 0:40:50 | 0:40:51 | |
Please sit down. | 0:41:54 | 0:41:56 | |
Well... | 0:41:57 | 0:41:59 | |
Thank you for coming. | 0:42:02 | 0:42:04 | |
For me to talk about business at this time, it's... | 0:42:04 | 0:42:08 | |
..kind of crazy, no? | 0:42:08 | 0:42:10 | |
As you know, my brother, | 0:42:15 | 0:42:18 | |
who I love very much, is dead... | 0:42:18 | 0:42:21 | |
..and now, the press and the police | 0:42:22 | 0:42:25 | |
will rake through his life. | 0:42:25 | 0:42:27 | |
Every rumour, every indiscretion. | 0:42:27 | 0:42:30 | |
They'll judge the killer, yes, | 0:42:30 | 0:42:32 | |
but they'll judge the victim, too. | 0:42:32 | 0:42:34 | |
At first people weep. | 0:42:35 | 0:42:37 | |
Then they whisper. | 0:42:37 | 0:42:38 | |
Gianni grew his company from one small store in Milano. | 0:42:42 | 0:42:46 | |
On Via della Spiga. | 0:42:46 | 0:42:49 | |
With a single rack of clothes... | 0:42:49 | 0:42:51 | |
..a little wooden bench... | 0:42:51 | 0:42:55 | |
..and a pietra grigia stone floor. | 0:42:55 | 0:42:57 | |
The same stone that's in our family chapel. | 0:42:57 | 0:42:59 | |
Our mother was there, Franca. | 0:43:02 | 0:43:04 | |
She was so proud. | 0:43:04 | 0:43:08 | |
From that to all this. | 0:43:08 | 0:43:10 | |
Everything you see around us. | 0:43:10 | 0:43:12 | |
This house, this company... | 0:43:12 | 0:43:15 | |
He was a creator, he was a collector, | 0:43:15 | 0:43:18 | |
he was a genius... | 0:43:18 | 0:43:20 | |
..and this company was his life. | 0:43:20 | 0:43:24 | |
When he was sad, it made him happy. | 0:43:24 | 0:43:26 | |
When he was sick, it kept him alive - | 0:43:26 | 0:43:30 | |
and my brother is still alive, as long as Versace's alive. | 0:43:30 | 0:43:33 | |
I will not allow that man... | 0:43:33 | 0:43:36 | |
..that nobody... to kill my brother twice. | 0:43:36 | 0:43:40 | |
The family thanks all those who have paid their respects... | 0:43:43 | 0:43:48 | |
..and marked their grief with silence. | 0:43:48 | 0:43:51 | |
This is a heinous and inexplicable crime. | 0:43:51 | 0:43:54 | |
Neither Gianni Versace, nor any of his family, | 0:43:54 | 0:43:59 | |
knew or had any contact | 0:43:59 | 0:44:02 | |
with the suspect known as Andrew Cunanan. | 0:44:02 | 0:44:07 | |
Thank you very much. | 0:44:08 | 0:44:09 | |
CLAMOUR OF VOICES | 0:44:09 | 0:44:10 | |
-TV: -That was the last night's official statement | 0:44:18 | 0:44:20 | |
from the house of Versace. Lydia's at the scene. | 0:44:20 | 0:44:23 | |
With the death of Gianni Versace, Miami is now at the centre | 0:44:23 | 0:44:25 | |
of one of the largest FBI manhunts of all time. | 0:44:25 | 0:44:28 | |
The police have named Andrew Cunanan as the suspect. | 0:44:28 | 0:44:31 | |
Please call the Channel 15 tip line | 0:44:31 | 0:44:33 | |
if you have any information. Operators are standing by. | 0:44:33 | 0:44:36 | |
This is a nationwide manhunt. Be on alert. | 0:44:36 | 0:44:38 | |
LOCK BUZZES | 0:44:42 | 0:44:44 | |
I gave him 190 cash for that coin. | 0:44:47 | 0:44:50 | |
OK, I did everything right. | 0:44:50 | 0:44:52 | |
I did everything by the book. | 0:44:52 | 0:44:53 | |
I asked him for his ID, he gave me a US passport. | 0:44:53 | 0:44:56 | |
Andrew P Cunanan. | 0:44:56 | 0:44:58 | |
I asked him for his address. | 0:44:58 | 0:45:00 | |
He gave me this address, right here. OK? | 0:45:00 | 0:45:03 | |
I handed the paperwork in to you guys, July 7. | 0:45:03 | 0:45:06 | |
Seven days before Versace was shot. | 0:45:06 | 0:45:08 | |
We got an address on Andrew Cunanan. | 0:45:08 | 0:45:11 | |
Gianni had hoped to be the first Italian designer | 0:45:11 | 0:45:15 | |
to list his company on both the Milan Borsa | 0:45:15 | 0:45:18 | |
and the New York Stock Exchange. | 0:45:18 | 0:45:20 | |
The papers with Morgan Stanley were signed. | 0:45:20 | 0:45:22 | |
They were signed a week ago. | 0:45:22 | 0:45:24 | |
That's why he was here, in this country. | 0:45:24 | 0:45:27 | |
So, I know how much it meant to him. | 0:45:27 | 0:45:30 | |
We can still go ahead. | 0:45:30 | 0:45:32 | |
He would have wanted us to. | 0:45:32 | 0:45:34 | |
Yes, he would have wanted that. | 0:45:34 | 0:45:36 | |
He would have wanted his death to change nothing - | 0:45:36 | 0:45:38 | |
but it changes everything. | 0:45:38 | 0:45:40 | |
If we pull out, | 0:45:40 | 0:45:42 | |
we won't be able to try again for many years, Donatella. | 0:45:42 | 0:45:45 | |
Maybe - but if we are a public company, | 0:45:45 | 0:45:48 | |
we are in the hands of strangers, Santo. | 0:45:48 | 0:45:50 | |
They can turn against us. | 0:45:50 | 0:45:52 | |
For good reasons, bad reasons, fair reasons, unfair ones. | 0:45:52 | 0:45:56 | |
This is not a time for strangers. | 0:45:56 | 0:45:58 | |
This is a time for family. | 0:45:58 | 0:46:00 | |
Tell Morgan Stanley... | 0:46:08 | 0:46:09 | |
..tell them we will not be listing on the New York Stock Exchange. | 0:46:10 | 0:46:14 | |
We'll remain a private company. | 0:46:14 | 0:46:16 | |
A family company. | 0:46:16 | 0:46:18 | |
I'm sorry. | 0:46:23 | 0:46:25 | |
Go, go, go, go, go! | 0:47:32 | 0:47:34 | |
-Don't fucking move. -Room's clear! | 0:47:35 | 0:47:37 | |
-I said don't move. -What's your name?! | 0:47:37 | 0:47:38 | |
What's your name?! | 0:47:38 | 0:47:40 | |
-Ronnie. Ronnie. -Do you know this man? | 0:47:40 | 0:47:42 | |
Do you know him?! | 0:47:42 | 0:47:44 | |
No. | 0:47:44 | 0:47:45 | |
All of them? | 0:48:34 | 0:48:35 | |
All of them. | 0:48:35 | 0:48:37 |