In terms of fur fashion, the film takes a while to get going, and depending on your definition of “get going,” this probably isn't it. But, consider this all but assuredly spotted faux fur jacket worn by Janice (Carla Buzzanca) to be fully documented. You won't have to worry about Janice much anymore after this scene, anyway.

Finally, Candice gets into the ‘80s spirit with the first of her two big furs of the film, a full-length coat that may be sheared red fox. This first scene in the car is a little tight, but don't worry; we will get a much better look at it soon.

That would be when Candice doggedly continues her investigations by looking for a patsy to frame *cough* the murderer because of a… dream. The plot of this film is… let's call it “interesting” and move on.

Fortunately, this sequence gives us an ample amount of the coat.

Between Candice's two big fur fashion moments, we have a very frustratingly short reminder that this is 1984 as Gloria (Belinda Busato) arrives at the studio wearing this full-length dyed fox coat.

It's really the best thing in the film, but it's not on screen for very long. This is most of it. I'm willing to bet this is one of the very few scenes in cinematic history of a woman wearing a full-length fox coat on a bicycle.

Now we move to the marquee fur, a white mink stroller worn by Candice through the film's climax.

This provides ample screen time as Candice runs through the studio with the lights flashing on and off before entering the very blue control room. This is some nice cinematography, I'll give it that.

If you're a fan of white mink, this should be on your watchlist for sure. 

Spoilers: Candice did it. She's the killer, makes the villain's speech, and then kills herself with her own needle. It is all explained, and if you care, the Wikipedia article has a very detailed summary (Get there quick, it's already got the “too long or excessively detailed” warning slapped on it as of publish).