The mysterious death of Felicia Tang. Produced by Chuck Stevenson, Greg Fisher and Sarah Prior. A frantic Brian Randone called 9.

EMTs were on the scene in minutes, but it was too late to save her. Schoonmaker to a vacant apartment next door to the actual scene; the layout is identical. The girl on the bathroom floor turned out to be 3. Felicia Tang, a model and actress with the typical Hollywood dream of fame and fortune. He runs DSport magazine, a business built around fast Asian cars and models. That's where he met Felicia in April 2. He had been home, he was the one who called 9.

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Randone, was sitting with his arms on his legs and he had his head down.. Doney explained. I asked him point blank.. In the last few decades, it's become a popular illegal party drug that's supposed to make you feel sleepy and sexy. It's supposed to be sipped by the capful. Felicia drank it like water, Randone says, from a bottle on her bedside table. I saw that in the police report. I have a clean, perfect record.

I'm a straight arrow.. I firmly believe that this is a murder case and he killed her.

Randone says the charge was not only a rush to judgment, but a flat- out lie.? Did you lay a hand on her in any way?

I did just the opposite. I mean Felicia died.

I'm in jail .. County jail, a squeaky clean Brian Randone grew up in Nebraska. He played football, and when he was a senior in high school, found Jesus. That's also when he discovered a deep desire to spread the gospel. He created his own preaching style - - a sort of religious performance art.

The whole theme was, you know, babies are in their pens cause they're immature.. He became a youth pastor and hosted a radio show for Christian singles in Dallas. ADD kind of personality. So I just like excitement.. And it was the promise of an exciting life that lured him to the bright lights and big stars of Los Angeles in 2. Nebraska. And Los Angeles did not disappoint. Brian Randone had moved there to become an actor, but quickly realized his real talent was in sales.

He started his own business, worked hard and made a lot of money selling phone and internet services. By June 2. 00. 9, just two months after meeting the woman of his dreams, Randone says he was already planning their life together. Ho!' I said, 'When did this happen?'. I know what I'm doing with it.' .. I ever do too much of this.. Felicia died, Brian was late getting home and Felicia was mad.

And she kind of went like this. Basically it was like two drunk people, and I just remember her rolling off the bed..

So I grabbed as many pillows as I could and I shoved them all around so that if she was doing this movement type thing that she would hit the pillows. When you saw her at 8 o'clock in the morning, which is four hours earlier than when the paramedics arrived, there was no blood, no cuts, no scratches, no scrapes, no bruising on her face anywhere? On her arms? On her legs? Then, at about 1. Randone says he came back upstairs to the bedroom. Only then did he see the extent of Felicia's condition. I looked and said..

And I'm like, 'Felicia, Felicia, Felicia.'. Whiskey Tango Foxtrot (2016) Ipod Download. As I was, I mean I can do two things at one time, I mean, I'm on the phone, I'm, looking around, thinking.. I pulled her as fast as I could to the shower, and I started - - I called 9.

OK, if she's breathing do not give her mouth to mouth. Brian Randone: You know, when I breathe into her she's breathing but- -9. So she's not breathing, you're breathing for her? Brian Randone: Yeah..

When paramedics arrived, Felicia was dead, but the EKG still showed a signal. It's called PEA - - pulseless electrical activity - - and it's going to play a very important role in this case. The presence of PEA indicates Felicia had been dead no more than 3. When police canvassed Randone's apartment, they found some mysterious clues and started to piece together what might have happened in the hours leading up to Felicia's death. Richard Doney explained, . Brian Schoonmaker. And there were odd clumps of hair on the floor.

Schoonmaker. He strongly believes that pattern - - from knees to the feet and elbows to the hands - - is a hallmark of defensive wounds. According to the detective, Felicia wasn't flailing about and out of control; she was curled up, defending herself. She had bit through her tongue. It is an extraordinary amount of bruising and cuts, would you not agree? I mean I don't believe - - I know. He believes that the deep bruising on her face and the bite mark on her tongue were a result of Felicia's desperate struggle to breathe.

Brian Randone was charged with murder, but prosecutors didn't stop there. When they saw the extensive bruising and cuts on Felicia's arms and legs, they added another charge: Torture. I just remember saying, 'God, you know, you have to get me through this.'. Felicia Tang's death, Randone entered a Pasadena courtroom to be tried for murder and torture. Brian Schoonmaker. Richard Doney. Randone's defense attorney, Mark Overland, says the case is simple. Felicia died from an overdose.

Something the defense says is just bad science. I love the sound of handcuffs morning noon or night.

But I like for them to be guilty.. She is testifying for the defense. Porrata has amassed a video library of people under the influence to help illustrate the dangers of GHB. They show GHB users flailing about and out of control. One man falls down repeatedly during a traffic stop, hitting his head several times against the car door. Another man is crumpled nearly in half as he tries to navigate around his own home, his head snapping back over and over. But Detective Doney argues overdoses are quieter than this.

And on that point, Porrata agrees with the prosecution. That's because she believes Felicia took two doses - - one the night before she died that caused a rage.. When lab tests were completed they showed no blood - - hardly a case for murder says the defense. And what's more, the defense adds, Brian Randone simply had no motive to kill Felicia. So the jury never heard him tell his version of what happened that night.

They only heard about the brief statements he made to police that afternoon and his desperate 9. But they didn't need to hear from Brian Randone given what they were about to be told by former San Diego Deputy Medical Examiner Dr. Harry Bonnell. Bonnell testified. Dr. Bonnell says homicide is simply impossible- -and claims the PEA paramedics found in Felicia's body proves it.

Bonnell says there are only two causes of PEA: . Bonnell went on, telling the jury there is no PEA in smothering. There was no evidence to support a murder. The prosecutor, who was clearly surprised by this testimony, begged the judge for an opportunity to call a rebuttal witness. The judge refused. Seek and you'll find,'.

The defense had scored some points during trial - - especially when the prosecution lost the opportunity to rebut Dr. Bonnell's testimony. They believed the only explanation was murder. Richard Doney. They were back on Friday afternoon. The verdict: Not guilty of torture.

Not guilty of murder. I was literally speechless. I - - actually, I said, 'OK, stop joking. Really, what'd they say?' No. Not guilty, both counts. Brian Schoonmaker.

Doney. After the trial, two of the jurors agreed to speak to . And I'm a nurse but I - it - - it shocked me. But, surprisingly, as the jury pored over the evidence, what police thought was the strongest point of the case - - Felicia's injuries - - did not seem to impress either one of these jurors.? And one of the reasons is because no one can give me a reason why she has all the bruising on her face.

And it turns out Dr. Bonnell's testimony was crucial. But the PEA pretty much solidified my decision. The jurors were totally unaware that the prosecutor had tried to call a rebuttal witness. And several medical examiners . Bonnell was incorrect.

They say PEA is possible in smothering. It was a complicated case.

But for one juror, it was clear: Not guilty was not the same as innocent. I firmly believe that he killed her. Like it's OK for Brian to kill somebody.

Despite this paradox, in the history of cinema, there have been many great films about Christian faith — though not nearly enough: Carl Theodor Dreyer’s “Ordet,” Robert Bresson’s “The Diary of a Country Priest,” Jean- Pierre Melville’s “L. Though undeniably gorgeous, it is punishingly long, frequently boring, and woefully unengaging at some of its most critical moments. It is too subdued for Scorsese- philes, too violent for the most devout, and too abstruse for the great many moviegoers who such an expensive undertaking hopes to attract (which no doubt explains why Scorsese was compelled to cast “The Amazing Spider- Man” actor Andrew Garfield and two “Star Wars” stars). Still, viewed through the narrow prism of films about faith, “Silence” is a remarkable achievement, tackling as it does a number of Big Questions in a medium that, owing to its commercial nature, so often shies away from Christianity altogether. Considering the dominant role religious belief plays in the lives of so many, it’s surprising, even scandalous, that so few films face the subject head- on. Though the screenplay (which Scorsese adapted with Jay Cocks, his collaborator on “The Age of Innocence” and “Gangs of New York”) intends for us to consider this question on some deep teleological level, the film would do well to engage with it first in more literal terms. For those not already versed in the finer points of Christian dogma, “apostasy” is the act by which someone renounces his faith, represented in the particular context of this film by placing one’s foot upon a fumi- e (or religious carving of Mary or Jesus).

Here, apostasy is the weapon by which 1. Japanese officials, threatened by European colonial powers and the missionary faith they brought with them, sought to combat the spread of Christianity among peasants receptive to the notion that their suffering might be lifted in heaven. In Scorsese’s comparably low- key “Kundun,” the future Dalai Lama learns the Four Noble Truths of Buddhist teaching. Cult Classics Movies Baby Driver (2017). Pride causes suffering.” This is a priceless insight, and one that Garfield’s character, a presumptuous young “padre” named Sebasti. Though Rodrigues imagines his greatest obstacle to be God’s silence (he prays constantly, and yet He never responds), the story hinges on the character’s seemingly unbreakable arrogance — a dimension significantly downplayed in Garfield’s self- effacing performance.

Instead, the actor focuses on Rodrigues’ doubt, as reflected in the dense clouds of fog and mist that permeate much of the film. If “Apocalypse Now” was a modern twist on “Heart of Darkness,” then “Silence” could fairly be viewed as Scorsese’s own take on that paradigm.

Call it “Soul of Murkiness.” Together with another Portuguese priest, Francisco Garrpe (Driver, who looks the part, his lean, angular face reflecting the severity of classic religious icons), Rodrigues petitions his Jesuit superior (Ciar. Their only clue is a long- delayed letter, which tells of unspeakable torture practices visited upon Christian priests and converts alike in an attempt to discourage the spread of the religion, coupled with rumors that Ferreira ultimately apostatized and now lives with a wife as a Japanese. For the sincerely devout Rodrigues, the mission represents an opportunity to do good, offering salvation to the savages, but also a shot at glory. He makes the journey — which, in a two- hour- and- 4.

With martyrdom comes divine reward (including the possibility of special visions, a privileged place in heaven, and eventual sainthood), and in End. Kichijiro has apostatized once already, and he will again before the movie ends, repeatedly betraying his faith and returning to beg forgiveness. Generally speaking, the casting of the Japanese characters favors actors who look like ghoulish exaggerations — like the rude caricatures found in Tintin comics, their teeth and fingernails smeared in grime. Compared with the humanely depicted natives of Roland Joffe’s more conventionally accessible/satisfying “The Mission,” the Japanese here come across as frighteningly “other,” almost animalistic. An unnerving inquisitor named Inoue (Issey Ogata) has a wheedling voice and faux- gracious manner that suggests the Japanese equivalent of Christoph Waltz’s Nazi colonel in “Inglourious Basterds.”This style of representation marks a troubling, but no doubt deliberate choice on Scorsese’s part — especially compared with Garfield’s bare- chested, fabulously coiffed Rodrigues.

Underscoring where our sympathies are expected to lie, the missionary outsiders all speak English (with wildly varied Portuguese accents), while the comparably heathen locals communicate in subtitled Japanese. Worse still, Rodrigues watches as his cohort achieves the martyrdom he seeks (in a horrific beachfront scene that rings strangely hollow). Through it all, Rodrigues continues his appeal to God, praying for guidance, but receiving only . Until he doesn’t.

The film’s last hour is by far its most challenging, as Scorsese goes out of his way to avoid some of the sweeping, free- associative techniques Malick has innovated for spiritual cinema, turning instead to the austere model of Bresson, Dreyer, and others that “Last Temptation” screenwriter Paul Schrader once described as “transcendental cinema,” in which powerless protagonists struggle against forces beyond their control. Whereas End. What Ferreira describes as “the most powerful act of love that has ever been performed” feels like a no- brainer, with no catharsis to ease the anti- climax. From the Crusades to the Spanish Inquisition, when one considers all the cruelty that religion has exerted on the world, it seems almost unfair to focus on this footnote in world history, where priests were punished for their beliefs, the way early Christians were thrown to the lions. And yet, these paradoxes surely aren’t lost on Scorsese, who has created a taxing film that will not only hold up to multiple viewings, but practically demands them. Here, as ever, he brings an arresting visual sense to the project, reteaming with production designer Dante Ferretti and DP Rodrigo Prieto to create evocative widescreen tableaux, shot on celluloid and shrouded in mist and shadow, while relaxing some of his flashier techniques (with its Peter Gabriel score and aggressive cutting, “Last Temptation” feels dated today in a way that the director clearly intends to avoid here).

What little music “Silence” does contain is featured so faintly as to be almost subliminal, leaving ample room for engaged audiences to personalize the viewing experience, while frustrating those grasping for clues as to the precise emotional reaction Scorsese intends. That’s a risky move, as is the dramatic way he breaks the silence in the end. Those who put their faith in Scorsese may find it challenged as never before by his long- gestating passion project. Reviewed at Paramount studios, Nov.

MPAA Rating: R. Running time: 1. MIN. Production(U. S.- Taiwan- Mexico) A Paramount Pictures release of a Sharp. Sword Films, AI Film presentation, in association with Catch. Play, IM Global, Verdi Prods., of an EFO Films, YLK, G& G, Sikelia, F. Producers: Martin Scorsese, Emma Tillinger Koskoff, Randall Emmett, Barbara De Fina, Gast.

Executive producers: Dale A. Brown, Matthew J. Malek, Manu Gargi, Tyler Zacharia, Ken Kao, Dan Kao, Niels Juul, Chad A. Verdi, Len Blavatnik, Aviv Giladi, Lawrence Bender, Stuart Ford. Co- producers: David Webb, Marianne Bower, Eriko Miyagawa, Diane Sabatini. Crew. Director: Martin Scorsese.

Screenplay: Scorsese, Jay Cocks, based on the novel by Sh. Camera (color, widescreen): Rodrigo Prieto. Editor: Thelma Schoonmaker. With. Andrew Garfield, Adam Driver, Tadanobu Asano, Ciar.