All language subtitles for The Jinx The Life and Deaths of Robert Durst 6.eng

Ed Murphy: I've never seen
anybody send a letter like that

in previous cases stating
there's a cadaver,

as he described it,
at a certain location,

because he's more or less
giving himself up,

whoever sends that,
that letter.

It's just a very,
very strange thing.

Robert Durst:
That's her address.

Uh, block letters of somebody
who's hiding their signature.

And they spell "Beverly" wrong.

Somebody had to plan
to do this.

They had to go to her house,
do what they did,

and, and now you're
taking this big risk.

Andrew Jarecki:
Which big risk?

You're writing
a note to the police,

that only the killer
could have written.

And the police
went on and on about

how "cadaver" is the wrong...

you know,
most people wouldn't say "cadaver,"

they'd say "body."

They would conclude that
that meant

that the person had
something to do with

medical or ambulance services,

somebody who is
involved in that

and would know and use the
word "cadaver" for a body.

Eleanor Schwank: I think
that word is so telling.

Kathie had a cadaver
in medical school.

She didn't give it a name.

You know,
she had respect for the fact that

it was a human being,
a living human being at one time.

And so...
She talked about her cadaver,

and she talked to Bob
about the cadaver.

Bob heard that word
over and over again

in relation to a dead body.

If you ask anybody
how they would describe

a dead body,
nobody says "cadaver."

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Yeah, but Wall Street.

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Oh, Jesus.

"Beverley".

Jarecki: I couldn't
help but recognize

a similarity between the two.

I want to know
what you thought of it.

I don't know enough
about handwriting

to be anything
other than dangerous,

but I see similarities
and I see differences.

Pirro: Oh, God.
The "B" is exactly the same.

Son of a bitch.

Sync, corrected by icephoenix
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Um, so are you going to
record our conversation now?

Marc Smerling: Yeah.

Are you figuring now,
or are you done?

Smerling: No, it's recording.

Zac Stuart-Pontier: That's
when it goes into digital.

- See that?
- Smerling: Yeah, yeah, yeah.

How do we make sure that
we accomplish our goals?

Number one...
Get justice such as

we can get in this case.

So we don't want
to interfere with

anything that police could do.

We don't want to
interfere with anything

that'll continue to
get us more evidence

or any of that.

Bob... Second interview.

It's very possible
that he goes into

the interview feeling one way,

and he comes out
of the interview

feeling a totally
different way.

Whether we use it or not,
I would love

to do the handwriting
exempt thing

that we were talking about.

My name is John Osborn,
and I'm a forensic document examiner.

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Osborn: What I'm
immediately looking at is

letter forms which
appear more than once.

So, for instance, you have
1, 2, 3 capital letters "N."

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Osborn: There's some distinctive
characteristics of interest.

But in order to determine
whether or not

these two writings were
prepared by the same person,

you would have to have
a significantly larger

quantity of known specimen
hand printing

and numerical figures
that are comparable...

Not necessarily the same
words or names,

and not necessarily
in the same order,

but the same
individual letters.

Smerling: All right.
So what do we have documents-wise?

How many documents do we have?

- Man: About 40.
- That's a lot.

Smerling: Oh, my God,
look at that.

Man: A lease application
where Bob says his job

is a chief botanist.

This is good.

Smerling: There's
a ton of them.

They're very similar,
all of them.

Osborn: So what I'm going
to do is first take

the cadaver letter

and the envelope that
the letter was received in

and separate out each
of the letter forms.

What I want to do is perform
a comparative analysis

between the individual letters
and numerical figures

that appear in the cadaver
letter and the envelope

with appropriately comparable
known specimens,

submitted as that of
Robert Durst.

The "N"s...
The more distinctive characteristic.

Let's take a look at
this one right here

among our questioned items,
and this one right here.

I mean, I would say
they're pretty bang on.

These particular characteristics
are unique to one person,

and only one person.

Jarecki: You know,
this is a guy who in some ways

I've been giving tremendous
benefit of the doubt.

You know, not just in terms of

the kinds of questions
I ask him,

but in terms of my emotional
connection to him.

You know, I like the guy.

This shift, for me, post-L.A.,

and, you know, with everything

that we've learned
in the meantime, is big.

And yet it's not,
it can't be evidenced

in my relationship with him.

I can't be,
I can't be any different.

And yet my feelings about it
are very different.

My feelings are, you know,
are different not

because I thought, "Well, I was

"sure that Bob was innocent,
but

I wasn't sure that
Bob was guilty."

And that's a big, big change.

[Phone ringing]

Recorded voice: Your call
has been forwarded

to an automatic
voice message system.

Robert Durst's voice
on machine: Hi. This is Bob.

Recorded voice:
Is not available.

Jarecki on recording: Hey, Bob.
It's Andrew Jarecki.

I want to sit down
and finish our

trailing questions
on our interview.

I'm going to need, you know,
a, I don't know, a solid day.

So that's my theory.
I'm at your disposal. Bye.

[Phone ringing]

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Do we know where
he is in Spain?

Yeah, he's in Madrid.

Stuart-Pontier: Well,
we don't know that he's in Madrid.

I mean, I find him to be...

- Yeah, I doubt he's lying about that...
- Truthful.

Stuart-Pontier: Are you guys
fucking kidding me?

[Phone ringing]

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Wow.

He actually told me
he was in Madrid.

[Phone ringing]

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Recorded voice:
Is not available.

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Smerling: So how
many days till Bob?

Well, today is Tuesday.

- It's a week.
- Next Tuesday, one week till Bob.

If he doesn't cancel.

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I mean, I'm very disappointed
to not be doing this on Tuesday.

Smerling: Oh, me, too.

You know?
It's kind of killing...

Smerling:
I feel like we're just...

I... I... I hate to say it,

I don't want
to be the naysayer,

but it just doesn't sound
like he's gonna do it.

Sounds like he's just
going to keep putting it off

and keep seesawing
and torturing us.

I think it just
literally comes down to,

in the sleepwalking of Bob,

is today a day when
he feels like talking,

is a day when he doesn't
feel like talking,

is a day when he feels like talking,
he'll give me a date.

Later on,
if it happens by coincidence

that that date is another day

when he feels like talking,
he'll show up.

If it's not another day when he

feels like talking,
he won't show up.

[Phone ringing]

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[Phone hangs up]

So Bob basically
is off the map.

Yeah,
which is why I don't think

he's like necessarily
freaked out about us,

unless he's actually
found something out.

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Hi. I'm trying
to get the arrest number

for somebody who was arrested
either today or yesterday.

He's not at Manhattan
Central Booking,

and he's not at
Bronx Central Booking.

But if he was arrested today,
they don't get a list.

She says,
"My list, if he was arrested today,

my list doesn't get updated
until 4:30-5:00."

M13672299?

You can't tell me what he was arrested for,
can you?

Okay. All right.
Thank you.

Smerling: In court,
they said Doug had put

an order of protection on Bob after,
you know,

that day we shot
in Times Square.

They had video surveillance
footage of Bob approaching

Doug's house a couple
of weeks later.

And so apparently he had broken
the order of protection.

So they went
and they arrested Bob.

And they had a bail hearing
that he got $5,000 bail.

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Jarecki: Yesterday,
suddenly, Bob called me.

So then he sends me this
message this morning.

"Left you a lengthy voicemail
and I ain't heard anything.

"Hope you not dead.
Otherwise please contact. Bob."

Smerling: Let's hear it.

Recorded voice: Next message.

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They're saying,
"Bob, if you don't want to go to jail,

"and you want to have
a good defense here,

you need Jarecki and Smerling
to give you the defense."

Obviously it gives us
a lot of leverage.

I can get the footage that we,
that we shot that day,

and the stuff in front of the,
in front of Douglas' house,

and share it with you.

My only, you know, uh,
um, request is that

we agree that if
you're going to,

if you're going to submit it
or file it or something,

that we just agree to limit,
limit it,

you know,
to the relevant thing.

I don't know what that is.
But I'll be happy to agree to,

you know, if you want to use it

or you want to make it
part of your filing, I will.

[Phone ringing]

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If it happens this weekend,

uh, how are we approaching it?
You know?

We're going to start
with softball questions.

A trip down Memory Lane.

We want to bring him to that place,
that time.

Smerling: So,
we have a little pile of stuff.

"Here's a photograph
of you and Susan.

Do you remember
when that was taken?"

Now we give him just the letter

that's in the envelope.

You take it out of
the envelope.

Don't let him see the envelope.

Take it out of the envelope.
Hand it to him.

Jarecki: "Susie.

"Now and again
I think about old times.

Good luck. Bobby."

This was in Susan's
personal effects.

So, this is a letter to Susan.

Why was this letter so short?

When did you have
an office at 67 Wall Street?

Then you put the envelope.

"Here's the envelope
it came in."

And now he looks
at the envelope.

And he's like how is he
going to back out of that?

I don't think...
He's not gonna admit to writing that.

He's not gonna admit to it.

Dude, this is...
This is extremely hard for him to say...

This was found inside this.

They're both on ancient,

12-, 14-year-old
Robert Durst letterhead.

- Smerling: I understand.
- This was falsified...

So, you're going to
have to dig in on him.

He says,
"I didn't write that envelope.

I don't know where that
envelope came from."

You're going to have to dig in.

You're saying I got to do that,
what I just did?

Yeah, you gotta do that.

Well, I mean,
the question then is,

you know, is it enough?

And do we move on
to something else?

Smerling: That one you're
going to have to modulate.

Well, if he admits...

Smerling: If he says,
"Yes, I wrote the cadaver note,"

then you get to
"Did you kill your best friend?"

We don't know what
he's going to say.

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Jarecki: "Did you
carry this with you?"

I guess is the question.

Stuart-Pontier: Yeah, no.
I think that's...

If he'll talk about that...

That's not bad.

Why were...
"Why were you caring about carrying?" is better.

Smerling: I think that,
if I was sitting in the hot seat,

that's a hard one to explain.

I don't have to go into the
letterhead question on this, right?

I can use the letterhead
question here.

The problem is that...

Smerling: That's what
you've got to do...

He may say...

Smerling: He'll be focusing
on the letterhead.

Well, I don't know, because...

Smerling: There's
a good chance.

And it will take
his mind off...

Yeah,
but it gives him a lot of time

if he's scanning...
And he's a smart fucker...

Gives him a lot of time
to look down there

and be like, "Oh, they're going...
They're going there."

Smerling: How about being more
firm to him about it, saying,

"Obviously to anybody
who's looking,

"looks at these two,
these two addresses written this way,

"they're going to think they're
written by the same person,

"that the person that
wrote this envelope

wrote the cadaver note."

Stuart-Pontier: Is that
better than "I," "me."

Look, "When I look at this,
it seems to me that..."

I think that's always best.

"When I look at these two things,
Bob, it looks to me like..."

Can I just say, "When Marc and
I look at these two things"?

[Laughter]

"When Zac looks at
these two things"?

The more I sit here,
the more I realize like,

"A,"
how hard this is gonna be...

and "B,"
how cold it's going to feel to him.

There's not a doubt in my mind

that Bob Durst has killed
at least 3 people.

I believe that he killed
his first wife.

I think Susan Berman
had fallen on hard times.

I think when she
made the statement

that the New York detectives
were gonna go talk to her,

that sealed her fate.

I think whoever killed her
assassinated her,

and I think it was Bob Durst.

There's no doubt
in my mind that he...

That he killed Morris Black,
because he admitted to it.

He also dismembered him.

I... I think he is being
unfairly accused of these.

Honest...
I know that he is innocent

of the... Of the charges

in, uh, in Galveston.

But, I... I feel like he is being

unfairly accused on
these other events...

The disappearance of
Kathie in New York,

and the...
The death of Susan Berman.

You know, I've said
before that I think

that Bob Durst may be the
unluckiest man in the world.

Murphy: A lot of people
write him off

as an eccentric kind of guy,
and, uh, you know,

"It's just Bob being Bob."

It would be cute if
"Bob being Bob"

didn't result in
3 people being dead.

Bill Mayer:
Bobby's best friend.

Bobby's wife.
Bobby's neighbor.

You know, there's not a...

very often they say, you know,

a lot of smoke doesn't
necessarily mean fire,

but I think there's
a lot of smoke here.

He seems to be
at the wrong place

at the wrong time very often.

Bagli: I think that his whole life,
he's felt slighted

and underappreciated
and smarter than other people.

And he wants to
get this across.

He doesn't feel like
justice has been done,

even as people peel away and
want little to do with him.

He's stuck in a rut that began
when he was a... A child.

Lewis: Right or wrong,
Bob has dodged some bullets.

And when you care
about someone,

and you're in the line
of work I am,

that leads me to want
to counsel Bob

to enjoy the vineyard,
have a good time

in New York and Los Angeles,
travel.

Even this documentary,
I told him,

"Look, I know you want
to tell your story.

"It's important to you,
and that's fine by me.

"But I want you
to remember one thing.

"You run the risk of
pissing people off.

"And people that have intentions
contrary to your liberty.

Don't forget that."

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Jarecki: I mean, I'm very...
I'm very nervous about it.

Smerling: Why?

Uh, I don't know.

I woke up early this morning.

You know, I've spent a lot of
time on the phone with him,

a lot of time talking to him.

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For years, I've been saying to people,
"I'm not afraid of him.

I don't feel fear."

But at the same time, you know,

you can't help
but consider that

if you're about to
let him know that,

you know,
you're potentially becoming the enemy.

Smerling:
There he is.

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Hey, Mr. Durst.

Smerling:
Hey, Bob.

- Jarecki: Marc.
- Smerling: How are you doing?

Nice to see you again.

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Let's go upstairs.

...reach into
the bag...

Right, so what we're going
to do is get some coffee...

Very interesting
information for you,

if you want to do it.
And...

[Yawns]
Excuse me.

So, I want to...
Now I want to ask you

about a bunch of
photographs and stuff.

Some of it's all stuff...

Some of it's stuff
you've seen before,

because some of it
I got from you.

Um, but for us to...

That's me and my yellow horse.

We're in Central Park.

This one is you and Kathie.

Could this be at
her mother's house?

Might be in Vermont.

I still have
the long bangs type...

What was it,
Viking something or other hair.

Jarecki: This is an interesting
picture of you and Susan.

Yes,
I'd like to get a copy of this.

Jarecki: Yeah.

You can have this one.

Um... All right.
I want to ask you about this address.

"Susie.

"Now and again I think
about old times."

"G.D. Good luck.
Bobby."

"Susie"...
What, what about the address?

This office was...
Was your own office

that you had for
a period of time?

Yeah, yeah.
I... I...

when I left
the family business,

I moved my office downtown.

Do you remember
writing this to Susan?

No, not at all.

I left the family
business in '94, '95.

"Susie, now and again
I think about old times.

Good luck. Bobby."

I don't know what
Susie was doing.

She must have come out with
a new something or other?

Whatever she had had published
or whatever in '94, '95.

I have no idea
what that's about.

My theory is that
this probably was

- you sending her some support.
- Oh, that's possible.

That certainly is possible.

I can easily see
writing that letter

and putting a check in there.

I want to show you the envelope
that that letter came in.

Would you read me the
address on this envelope?

"Robert Durst, Floor 24,

67 Wall Street, New York,
New York 10005."

And who you sent it to?

"Susan Berman.
1527 Benedict Canyon,

Beverly Hills, California."

"Beverly, spelled wrong,
California. 90210."

Which is, which is, you know,

the zip code that you
want in Beverly Hills,

but you just didn't want
Susie's neighborhood.

So, obviously I want to ask
you about the cadaver note,

the famous cadaver note.

Can you read me the
spelling of Beverly Hills?

"Beverly Hills Police, 1527
Benedict Canyon, Cadaver."

The same misspelling.

So "Beverly" is spelled
the same way on this

and the same way on this.

Same misspelling.

What does that say to you?

Well, I mean,
the writing looks similar

and the spelling is...
Is the same,

so I can see the conclusion
the cops would draw,

or the writing
exemplar person would

conclude they were both written
by the same person.

And I think this, I mean,

this is a comparison of the two,
right?

Which is a...

Very similar.

So, I guess the question is

did you write the cadaver note?

No,
I didn't write the cadaver note.

So you wrote this,
but you didn't write this?

Definitely wrote this,
but I definitely did not write that.

I...
I guess I'm searching for a way,

among other things,
to understand how, um...

Two people could
misspell "Beverly"?

I'm searching for
a way to figure out

how you didn't write
the cadaver note,

'cause it's so similar.

Well,
what I see as the similarity

is really the...
A misspelling in the Beverly.

Other than that,
the block letters are block letters.

How else would you write a block letter than...
Than that?

I mean... I mean, it's almost like a...
A typed thing.

It's gonna look...
With 2 typewriters,

it's gonna look the same.

So, you wrote one of these,

but you didn't
write the other one?

I wrote this one,
but I did not write the cadaver one.

And can you tell me
which one you didn't write?

No.

Jarecki: Good.

- Thank you very much.
- Well, thank you very much.

And it's
5 after 4:00.

- Perfect timing.
- Can I have this?

- Or are you gonna send me...?
- Yeah, I want you to have it.

Thank you. Oh.

Do we have Bob's bag nearby?

Wilhm: Do you want to take
one of the sandwiches, Bob?

Yeah,
but we can wrap one up and...

Stuart-Pontier: We've
got so many sandwiches.

[Laughs]
What are we going to do with them?

Durst: I am going to go use the restroom,
which is right here.

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Durst: Or maybe
this is the bathroom?

- Stuart-Pontier: Yeah, that's the...
- Durst: You're right.

This is the bathroom.

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[Water running]

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[Grunts]

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[Groans]

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[Groans]

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