For the month of August, we've been running a series of interviews Bob has done with documentary filmmakers that we've been calling Bob's Docs, although one of them was mine.

And each week we've gone through some of the themes of documentary filmmaking from the personal journey to the gift of extraordinary access.

Well, Bob called last week the finale, but I wanted to get in one more,

a really fun one. This one is about what happens when documentaries dig into a he-said, she-said,

and examine conflicting narratives. Or what you'll hear documentary filmmaker Errol Morris call Russia Mormon.

Kinky sex, religion, the beauty queen, Mormon missionaries,

kidnap at gunpoint. There was something in that story for everyone.

It was a perfect tabloid story.

In 1997, a young American Mormon missionary named Kirk Anderson studying in England vanished and resurfaced a few days later with a remarkable story.

He said that Joyce McKinney, a former beauty queen he dated, had followed him to London, kidnapped him at gunpoint, chloroformed him, imprisoned him in a cabin, and raped him.

McKinney claimed that she and Anderson were in love, a love he had disavowed because of Mormon brainwashing.

It was the perfect tabloid story, and the British tabs dove in, citing either with Kirk or with Joyce.

Director Errol Morris, who had freed an innocent man on death row with his documentary The Thin Blue Line

and probed the psyche of Robert McNamara in the fog of war, attempted to get to the bottom of the

McKinney scandal in his documentary tabloid.

When I spoke to him in 2011, he said he'd interviewed McKinney at length and found her views

unchanged after 33 years.

Do you think a woman can rape a man?

No.

I think that's like putting a marshmallow in a parking meter.

A guy either wants to have sex or he doesn't. He has an erection or he doesn't.

Morris doesn't ever solve the mystery of what happened in that cabin in Devonshire. Instead, he serves up a series of conflicting narratives tracing the events of those days long ago.

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