Dark Side of Genius (1994) - full transcript

(MultiCom Jingle)

("Requiem in D Minor" by Mozart)

- Taking in the Barnard?

- [Jennifer] Yeah.

- [Leo] It's impressive work, isn't it?

- Yeah, managed to take pop
art to a new level of banality.

- Now, Miss Cole, be kind.

They're struggling artists.

They do suffer so for their art.

- Yes, and pass it on to the consumer.

- Well, I hope you'll be more
charitable in your review.



- I will.

- You know, I was thinking
that maybe next week

at the opening you could come
and meet some of my artists,

and then maybe you might--

- Lose my objectivity.

No, you wouldn't want that, would you?

- No.

My, you are too young and too
beautiful to be such a cynic.

- [Jennifer] Julian Jons,
wasn't he convicted of murder?

- Now that is quite remarkable.

- But I thought he, you know.

- Oh no, he's back at work.

In fact, he's putting on a show for me.

- Here, a show?



- In the fall.

- Are they all like this?

- He's entering a different period.

- He peed on the bed again.

- [Jennifer] Just being territorial.

Maybe you should get another boyfriend.

- Why doesn't he pee on your bed?

Why am I so lucky?

- Must relate to your particular odor.

- I'm not the one with a
particular odor, thank you.

You know, I thought
when we had him neutered

that he'd give up all
this male aggression.

You know, he doesn't have any balls.

He should behave accordingly.

Ew.

- Julian Jons.

- Julian Jons, that name rings a bell.

Did I have sex with him?

- He's some artist who killed
his model in the early '80s.

- No shit.

- Yeah, he was put away in an asylum,

but he's out again and working.

- Well, that's our legal system for you.

- Please, may I?

In his organization of material,

he gives voice and substance

to his deep primal urges.

- Do we have any ammonia?

- Yeah, I guess.

(upbeat electronic music)

- [Man] I'll just have one
more, then I'll be done.

- Okay.

- [Woman] It's dark, just a little bit.

- [Woman] Some champagne, yes.

- Miss Cole.

- Oh, hello.

- I'm so glad you could make it.

- It's a quick sale.

- Well, thanks to you and
your very gracious article.

- Oh, I was just being honest.

- Mr. Rourke shares your opinion.

Samuel, this is Jennifer Cole.

She's the young lady who helped inform

your excellent purchase.

- Miss Cole, a pleasure.

- Thank you.

- [Samuel] I found your
review most insightful.

- You did?
- Yes.

- [Jennifer] Is Mr. Jons
gonna be here this evening?

- [Leo] Oh, Julian, no
he's a very private person.

He's not really one for crowds.

(glass clinking)

I'd like to get this
speech out of the way.

Good evening, ladies and
gentlemen, and welcome.

I hope you've all taken
a tour of the gallery

and had the opportunity to
be dazzled by the variety

of talents bursting upon
the art scene today.

We here at the Bennini
like to keep an open eye,

an open heart, and an
open pocketbook for works

of vision and talent.

We're proud to present
Visions of the Millennium.

(applauding)

- Excuse me, you're Jennifer Cole,

the famous art critic for the weekly.

- Yeah.

- Or should I say the
famous junior art critic?

John Barnard, the artist
whose work you find

so derivative and undistinguished.

- Excuse me.

- No, excuse me for offending
your elevated sensibilities

with my, what'd you call it?

My well-orchestrated vacuities.

My talent for the nondescript.

- You didn't have to memorize your review.

I'd have sent you one.

- [John] You think this
Julian Jons character

is a real find, do you?

Deviant has-been spilling
his fucked up perversions

all over the canvas.

- Mr. Barnard, you know,
it's unfortunate your work

isn't as rude and obnoxious as you are.

At least then you could leave
some kind of an impression

on the viewer.

- Oh, I see, you're repressed.

- Huh?

- You know what you need?

A big, thick, stiff one between the legs

to open up your critical faculties.

- Yeah, you're right.

- You do.
- I do.

(speaking in foreign language)

- And especially in
these hard fiscal times.

- If you're as impotent
as your paintings--

- Oh, that's a good one.
- You're not gonna be

much help to me, are you?

- We need to support the
emerging artist and (coughing).

Because, excuse me, without our support.

Would you pardon me?

Julian, what a nice surprise.

I thought we agreed you were
going to stay out of sight

for a while.

- You sold the Anna.

- Yes, and congratulations.

The buyer is sponsoring your next show.

I was gonna call you.

- I thought we agreed that you'd wait.

Who's the buyer?

- He's a Mr. Rourke, and he's on the board

of the Chicago Museum of Contemporary Art.

You know what this could mean for us?

Listen, Julian, all you
have to do is lay low

and keep working.

We've got a marketing
strategy all laid out.

Just don't screw it up.

We want to capitalize
on the sense of mystery.

Julian, you're a great artist.

Your work stands tall on its own,

but you know you've got
a certain notoriety too,

and if we can make that work for us.

That's the name of the game, isn't it?

- Yeah, I guess it is.

- Make sure he goes out the back way.

- He's been gone since 1985,
and now suddenly he's back

producing radically different
work of enormous quality.

Where's he been?

What happened to him?

Where's he going?

I mean, there's a thousand
questions about him.

That isn't even a good reproduction.

In person, the colors are just so vibrant.

They really kind of pull
you into the canvas.

- I got a good feel from
your review that you were

getting sucked into something.

- Anyway, I wanna do an
in-depth interview with him.

I think he wants the attention.

- But how do you even know it is Jons?

The style looks very different.

- Because I saw him for a moment.

Oh, come on, it's gonna
be a great story, Sherman.

This forgotten young
artist back from the grave.

- Alright, angel, I guess
he's worth checking out.

Just keep me posted.

- I don't understand why you
won't give me his number.

It's the most ridiculous
thing I've ever heard.

- It's gallery policy.

- Oh, it is not.

You'd give me the number
of any one of these artists

in a second.

- Mr. Jons values his privacy.

- [Jennifer] Bollocks.

- If there's a message you'd
like to leave for him--

- There's a feature
article for this gallery.

Feature.

- Feature.

- Will he get this?

- Of course.

(dramatic orchestral music)

- Nice work, Julian.

- Never should've given
you a key to the studio.

- I've brought someone
I'd like you to meet.

Julian Jons, your
benefactor, Samuel Rourke.

- Pleasure, Mr. Jons.

I see, a little dirty.

Well, that's magnificent.

Is that Anna 15?

- 15, 16, I don't count 'em.

- Exciting news, Julian.

Mr. Rourke has a proposition for you.

- Really?

- Yes, I'd like to have a
portrait done of a lady friend.

- A portrait, well, you
wanna call a photographer.

(laughing)

- That's really good, Julian.

You're a funny man, isn't he Bennini?

- I only paint what I choose to paint.

- Don't misunderstand, Julian.

Mr. Rourke doesn't expect
you to change your style.

- No, not at all.

I just want you to use
her for inspiration,

and I'm sure she will inspire you.

- I don't use models, you know that.

- But it's commission, Julian.

- I don't do commissions.

- I can assure you, Mr.
Jons, the terms will be fair.

- I don't care!

I don't care about the terms!

I don't use models.

I don't need models.

I have all the images I need.

- He'll come around.

I'll talk to him.

- He's an artist.

One has to make allowances, right?

- The Annas are fine, Julian.

I mean, they're wonderful.

You just can't go on painting
the same thing forever.

You have to move on.

So you paint this girl.

Do whatever you want.

Give her four eyes, three
tits, and a nose in her navel.

I mean, who cares?

- I'm afraid.

- Afraid of what?

Seven years ago, you were a different man.

(laughing)

- [Samuel] That's very
good, Bennini, I like that.

- Julian, Mr. Rourke has
someone he'd like you to meet.

- Hello, Julian, may I introduce
you to Kristi Anderson?

- Mr. Jons, I really love your work.

- Hello.

- Don't stare at him, baby,
like he's one of his paintings.

She has beautiful eyes, doesn't she?

Bewitching.

- [Jennifer] He has to
come out sooner or later.

- How do you know?

You know, I really
don't see the attraction

of all this for you.

- I can work this into a major article.

I mean, I could get national exposure.

(snoring)

Don't start, it's my job.

- It's your job to sit
here on stakeout all day

waiting for some homicidal nutcase?

You know, if you're trying to get laid,

I can think of an easier way to do it.

- It's not just the fact
that he's painting again.

It's the fact that he's painting her,

the woman he destroyed.

I mean, that's just such a classic image.

The tortured romantic haunted
by his dreams, nightmares.

I don't know.

- Some guy carves up his
girlfriend a few years ago.

Now he's working it out in visual therapy.

That's his problem.

What does that have to do--

- Shh.

Okay, you stay here.

(ominous orchestral music)

- What are you doin' here, huh?

- Nothing.
- What do you want?

- Nothing.
- You're lying.

You're following me, why?

Who sent you?
- I'm not, nobody.

I'm an art critic.

My name's Jennifer Cole,
I'm with Arts Weekly.

- So what is it?

- I want to talk to you.

- About what?
- About your work.

- My work speaks for itself.

- [Jennifer] We want to do
an interview with you to go

with the opening of the show.

- So I'm good copy now, is that it?

The world wants to know.

- Yeah, I want to know.
- You want to know.

I like your eyes.

- [Jennifer] What were her eyes like?

- End of interview.

(gasping)

- Jennifer, you scared the shit out of me.

Well, what happened?

Did you talk to him?

- Just drive, okay?

- [Carrie] What am I, your slave?

(ominous orchestral music)

- Well?

- Turn around.

- What, are you lookin' for my best side?

- No, that's not it.

Get up.

Here, have a seat.

Get up here.

(clearing throat)

- Come on, I thought we were having lunch.

- Listen to this.

Anna, the victim's eyes were
gouged out with a pallet knife

after strangling her to death.

In an especially grizzly touch,
the blood was then applied

to the canvas of a painting whose subject

was Miss Richardson herself.

- Jennifer.

- Miss Richardson's involvement
with another artist,

Paul Jackson, is said to
have triggered the incident.

The defendant, a hot, young
artist who exploded on the

New York art scene, is being
held in custody without bail.

He is scheduled to undergo
psychiatric examinations today.

- Wow.

- [Jennifer] Hold on one second.

Wait here.

- [Carrie] We said Thai, remember?

- Yeah, I know.

Okay, let's go.

- [Carrie] Oh, you're ready now?

Is that my shirt?

- No, not anymore.

So how did you get in
contact with Mr. Jons?

Do you know him from New York?

- No, I'd read about him
in the papers of course.

It's a tragic thing.

It haunts him still.

He loved her terribly.

- [Jennifer] Terribly.

- But no, it was just
a lucky circumstance.

I was down at the annual art fair

this winter in San
Francisco, and there it was.

Anna 14, shining like
a jewel in a dung heap.

Then, as everyone should
know, I brought him to town

and set him up in a studio.

- Where is that, the studio?

- Miss Cole, Julian is
an intensely private man.

He's scarred and he's fragile.

He needs to feel secure.

I can't breach that security
no matter how valuable

the resulting publicity might be.

You understand.

Oh, hello.

Miss Cole, this is my niece, Naomi.

- Your niece, hello.

- If you'll pardon me a moment,

my day seems to be filling up.

(ominous orchestral music)

- [John] Aw, you didn't have to steal it.

You could've just asked me for my number.

- Do you live here?

- I'm here to pick up a check.

You'll be happy to know my
undistinguished painting

sold at a very distinguished price.

- It's a miracle.

- Yeah, well some people
still recognize quality.

I recognize quality.

(mysterious orchestral music)

- Mr. Jons?

- Let's get started.

Who are you?

Oh, great, it's the little spy.

- Yeah, well, we didn't
finish our conversation.

- [Julian] I'm afraid you can't stay.

- Oh, what are you?

Ow.

You have a very strong grip.

- Comes with wrestling
with the muses I guess.

How'd you find me?

- I'm very resourceful.

- [Julian] What do you want?

- Oh, right.

Your work.

- [Julian] Spit it out.

- Okay, years ago in New York,
your work was very rational

and controlled, very.

And now there's a sense that it's.

It's a very powerful sense of,
well, violence and brutality.

- Please, spare me the psychobabble, okay?

I've had enough of it for one lifetime.

- I'd like you to explain in
your words the connection.

I mean, you know, as a critic--

- As a critic, you
shouldn't even speculate.

Stick with what you see.

This is what I paint.

That's all.

Like being in the seventh
circle of hell, huh?

- [Jennifer] It's her, isn't it?

Anna.

- The woman I loved, yeah.

- Julian?

- You can just go ahead and get changed.

Oh, I have to go.

I'm being paid.

- Do you think it would be
possible to talk later, you know?

- Do you know the expression
curiosity killed the cat?

- Mm hm.

- What did you do to your eyes?

- Well, you know I thought
maybe it would make them

look more interesting.

- Interesting?

It's frightening.

Hold still.

- Too much, huh?

- Just a little.

Later, yeah?

(ominous orchestral music)

(thudding bass music)
(crowd chattering)

Scotch rocks, please.

- There you go.

- I don't know what to say.

- I'm sure you got plenty of
questions in your notepad.

- Why'd you kiss me?

- That's an easy one.

Your lips were directly in my path,

and you painted your
eyes to attract me, so.

- This is not the most professional way

to conduct an interview.

- Why don't we just forget the interview?

- We should forget the whole thing.

I wish you would stop doing that.

- Miss Cole, I kissed you
because I was supposed to.

Did you find the experience so unpleasant?

- Well, so glad you two
could finally get together.

Perhaps we can hope for another

favorable article, Miss Cole.

- Hi, Julian.

Fine, thanks, how are you?

Keeping fast company, I see.

Hi, Jen, how's life among the frigid?

Great, great.

Listen, you watch out for her, old man.

She's beautiful, but she's
got a stinger in that tail.

Just don't try doggy style,
you know what I mean?

Come on, Leo, I'll get us a table.

- Guess you can't always
trust your instincts, huh?

- Well, yes, Barnard is charming,

but there's a buyer for
every painting, Miss Cole.

You two have a nice evening.

- [Jennifer] You too.

Are you okay?

- Yeah, it just keeps me calm.

- Good.

- Nice place.

- Yeah, belongs to my dad.

He's living in Europe now,

so it's just me and my
roommate Carrie here.

Do you want a drink, tea or something?

Don't look at those.

- I'm no critic.

- I just do them to relax.

- You relax too much.

- You know, I used to paint rationally.

Very controlled, as you say.

But now I just paint with
brutality and violence

like I'm in some fuckin' frenzy.

(door slamming)

(light orchestral music)

- That crazy artist, I cannot believe it.

- Believe it.

- Jack the fucking Ripper.

This is not a joke, Jenny,
he's a dangerous man.

Do you know how many
unsolved murders there are

in this town?

- What about the jerk you
were out with last night?

He could be a serial
killer, you don't know.

- But you do know, that is the point.

You know what you're
getting into bed with.

- Christ, Carrie, please.

I mean, that was a long time ago.

Just lay off, will you?

- You know what, you're right.

I'm sure you're gonna be safe.

I'm sure it's probably
out of his system by now.

I'm sorry, but this does
not look anything like him.

- You saw him?

- Of course, I saw you
from the window, tramp.

- Pervert.

- Okay?
- Yeah.

- So why do I collect art, Jennifer?

Well, I've been acquiring
things all my life,

companies, buildings, people.

I spent my whole life making money.

- Yeah.

- Now it doesn't seem to be enough.

Something's missing.

- So art serves as a
compensation for that.

- Well, I sympathize with artists.

We're on the same wavelength, you know?

Create, build, acquire, it's
an expression of power you see?

- Why the particular
interest in Julian Jons?

- Why not?

He's very much like me,
single-minded, obsessed, haunted.

You could say I've been
waiting for Julian Jons

to come along.

What is your particular interest
in Mr. Jons if I may ask?

- I think he's a very talented individual.

- Yes, he certainly is.

♫ I sit alone in front
of all I'll ever known

♫ Painting days and painting time

♫ Hangs near this funny rhyme

♫ By the window waits for wind to blow

♫ The world's a theater, a place I play

♫ Words are heard and never read

♫ I'm trying to rip them from my head

♫ And endlessly I'm watching my parade

♫ My hat hangs near the crosstown train

♫ The crosstown park and mindless rain

♫ Way down Strawberry Lane

♫ Way down Strawberry Lane

♫ Way down Strawberry Lane

♫ Way down Strawberry Lane

- Oh, how's that dynamite article coming?

- It's coming.

Yeah, I'm thinking about it right now.

(mysterious orchestral music)

Julian?

Julian?

Is Julian here?

- You mean J?

I wanted to apologize
for my jerky behavior.

I've been a jerk, haven't I?

- I'm sure you can't help it.

- Listen, I'm sorry for
tricking you into coming here,

but I had a very good reason.

- I expect you did.

- First.

My phone number.

Now you can call me whenever you want to.

And second, I'm interested
in painting you.

- Are you?

- Yes, I am.

I think you have the kind of
body that would lend itself

well to a nude study.

I'm an artist too, you know.

If I had painted Anna, a
beautiful and sensuous woman,

that's exactly what she would've been.

Beautiful and sensuous.

Not a bunch of limbs and a torso.

Oh God, what is the attaction here, huh?

What is it?

I mean, let's face it.

We're dealing with a
paranoid schizophrenic here.

The man's a pro.

He starts his career off
as a disciple of Matisse,

and then seven years and
a fuckin' murder later,

he's Edvard Munch.

I mean, look at how he signs his name.

- He uses his left hand.

I think he's superstitious.

- That's just the point.

He never used to sign
his paintings at all.

And what about that left hand?

- What about it?

- Well, surely you're aware, Miss Cole,

that Julian Jons was a lefthanded painter.

And we know that this was
executed by a right hand.

Or was that superstition too?

- What exactly is your point?

- Figure it out.

I was there, too, you know.

I knew Anna Richardson.

- [Jennifer] Did you?

- I was young and naive then.

I've matured since then.

- What was she like?

- What are you like?

What is Jennifer Cole like?

Are you adventurous?

You ever make love on
a waxed hardwood floor?

Get up enough speed, pretty
soon you're hydroplaning.

It's a bad idea, you know, you and Julian.

A critic should never fall for an artist.

Conflict of interest, babe.

- What was it like in the hospitals?

- You mean the asylum.

That's what it was, an asylum.

Here, will you hold this down?

It was a retreat from the world basically.

There's no time, there's no life.

- Did you paint while you were in there?

- What, like Van Gogh?

Was I a visionary madman?

No.

- When did you start
painting right handed?

You know, all your earlier
work was with your left.

- My left hand has blood on it,

so it's lost the right to paint.

- It's amazing.

I mean, you know, you paint
just as well if not better.

- You want to hear
about the murder, right?

- [Jennifer] No, not if you
don't want to talk about it.

- Well, I'll tell you what I remember.

I remember her voice
turning wild like an animal,

like nothing I've ever heard.

I remember blood.

I don't know whose, hers or mine.

Everything else is all just a dream.

I mean, I reach out for it to grab it,

but it just slips away.

All that's real to me is the scream.

I hear that every night.

- Sometimes you just scare me.

- Yeah.

- [Sherman] Well, let me try
and put this delicately, Jen.

There's talk that you're shacking up

with this Julian Jons character.

- [Jennifer] That's ridiculous.

- You were seen together.

- I'm interviewing him.

I'm getting his thoughts.

- Your personal life
is your personal thing,

but there are questions of ethics here.

- I'm a professional,
I know what I'm doing.

- Jennifer, Jennifer,
artists are funny people.

They feed off their own obsessions.

You can't separate them from their demons.

You shouldn't try.

- I know what I'm doing.

- Hope you do.

(eerie music)

Artists are funny people.

They feed off their own obsessions.

You can't separate them from their demons.

- A critic should never
fall for an artist.

- Glad you two could finally get together.

(laughing)

Is he a good fuck?

(dramatic orchestral music)

- Hello?

Hello?

Hello?

I just wanted to talk
about Anna Richardson.

- Anna Richardson, hmm.

Anna Richardson, how do I know that name?

- You said you knew her.

- Well, I did.

Anna knew everybody.

She'd just jump from one artist to another

like a hungry flea.

I mean, I was young and naive then.

I told you that, but I did
manage to satisfy her desires

on one occasion.

- But she was in love
with Julian, wasn't she?

- Anna was in love with Anna.

There was no contest.

Listen, I'd love to invite you in, but...

- Your Leo's niece.

- Right.

Jennifer, come join us.

- Some other time.

(dramatic orchestral music)

(screaming)

- The fuck are you doing?

- Cut your hair or don't come back here.

Get the fuck out of here.

(water splashing)

Remind me.

My medication's almost gone.

I need to get it refilled.

- Can we stay here tonight?

- [Julian] Here, why?

- Well, 'cause my editor
says that I shouldn't be seen

with you in public.

It's unethical.

- Well, ethical or not,
there's no food here, so--

- I'm not hungry.

I just would like to stay
here with you tonight.

- I don't want to stay here.

- Maybe you don't want me to stay here.

- Come on.

- What?

Do think it would offend her?

- Oh, please.

- Well, she's always with
you, even when you're with me.

- Stop it.

- She cheated on you, Julian.

She didn't love you.

- I'm not gonna discuss Anna with you.

You didn't know her, alright?

- You won't discuss it--

- No, and you couldn't understand it.

- Oh, I couldn't?

She's dead for Christ's sake, she's gone.

- Shut up!

Jennifer.

(ominous orchestral music)

- To the portrait of Kristi
and the new Julian Jons show.

- Yes, and to the genius of Jons.

And when do I get to
look at this masterpiece?

I'm curious to see what I paid for.

- Tomorrow, stop by the loft.

(laughing)

- They told me that the
painting was finished.

I'd really love to see it.

Is this how you see me?

- Anna.

("Requiem in D Minor" by Mozart)

(ominous orchestral music)

(shouting)
(glass shattering)

- Jenny, Jenny.
- What?

- He's outside.
- Who?

- [Carrie] Maybe we
should call the police.

(knocking)

- Excuse me, lady, who's
got the $15 for the cab?

- Will you take care of that?

- I warned her.

I warned her, didn't I?

She was with me last night.

She came to see the painting.

I slept with her.

I was drinking.

I feel asleep, or I passed out.

This morning,

she was in the bathroom.

Her eyes.

(ominous orchestral music)

- He can't stay here.

- Maybe he imagined the whole thing.

- [Carrie] Did he imagine the blood?

- It was his own blood.

He was drinking.

He's on medication.

I should go over to his place and see if--

- Are you nuts?

Let the cops do that.

You're not going over there by yourself.

(ominous orchestral music)

Keys.

- Hello?

- I'm right here.

Oh my God, look at this place.

- No, she was here.

She was right here.

- I don't know, maybe you
dreamt the whole thing.

I could get that refilled for you.

You get some rest, and I'll do that.

You know, I'm beginning
to think that there was

a body up there.

- Right, but we couldn't see
her because she was painted

to blend in with the tile floor.

- She wasn't dead.

Someone's trying to fuck with his mind.

- Who is Paul Jackson?

- Who?

Paul Jackson, I don't know.

- Didn't he have something to do with

that model getting killed?

Remember, you read it
to me from that article

that day in your office.

- Just get those things
and meet back at the loft

in an hour.

- Okay.
- Okay.

- Hello.
- Hello.

- I don't have time
for an interview today.

- No, I wanted to return something to you.

Did you lose this?

That's yours, isn't it?

- It was.

I gave it to someone as a gift.

- Who?

- Look, I really don't
have time for this today.

We're moving things around
for the new Julian Jons show,

and we're all very excited,

but we're very much under the gun.

- Yeah, I should imagine so.

What are you gonna call
it, Visions of Madness?

I mean, insanity is a
very good selling point.

Is that what this is all about?

You're gonna capitalize
on Julian's instability.

Make sure he comes off as
crazy whatever that takes.

It is a good way to drive
up the prices I suppose.

- Always the cynic.

The reality is I sold the
entire collection outright

weeks ago.

- Did you?

Does this person know who he's getting?

Can you explain this to me,

why he has Paul Jackson's medication?

- Ah, Paul Jackson, it's
another of Julian's aliases.

- [Jennifer] He would
use the name of the man

that caused him to kill his girlfriend?

- Well, Julian always did have
a penchant for the macabre.

- I wonder what the Chicago Museum of Art

will think of all this.

- Now, wait just a second.

Now, let's not be too hasty.

- You know, I don't
care what kind of a scam

you've got going.

I just want to know who this man is.

- The real Julian Jons is dead.

Yes, it was three years ago.

He came to me after he left the hospital.

He was looking for help,

and I offered to take a look at his work.

But he didn't have any.

And I offered to support him

in exchange for exclusive representation.

But he couldn't produce.

There was nothing left.

Anna had taken his genius with her.

A month or so later he was gone.

- He killed himself?

- Yes, he died a complete unknown.

So when I came across Anna
14, I knew it was a fake.

A very good fake, and
a very profitable fake.

- And Paul,

is he in on this?

- No, he really thinks he's Julian.

I'm not a psychiatrist.

I don't know how to explain it.

- But he isn't a murderer.

- Not as far as I know.

I mean, he assumed Julian's
name and personality,

and he may have assumed his
homicidal tendencies too.

I mean, time will tell.

But now, this is all off the record.

I will deny it publicly
with the greatest vehemence.

- Hi.
- Hey, you okay?

- [Jennifer] Yeah.

- Here's your folder.

- Thanks.

Do you have any cash?

- [Carrie] I don't.

- Seven years ago, Julian
killed Anna Richardson

because she was in love with Paul Jackson.

Julian went to an asylum,
and Paul disappeared.

And then last year you
turn up in San Francisco,

signing your paintings as
Julian Jons, but Julian's dead.

He killed himself.

Are you Paul Jackson?

- What in the hell are you talking about?

- Were you there?

Did you hear her get murdered?

That's why you say that
you hear her screaming

in your head all the time.

- Yeah, I was there.

I killed her.

- On the medication, it says
your name's Paul Jackson.

- [Julian] It's an alias.

- Do you really believe that you are him,

or are you just fucking with everybody?

- I am who I say I am.

- You're a murderer.

- Yes, I'm a fucking--

- Murder me.

Here, come on, do it.

Stick my eye out.

Come on, do it, do it.

- I'm no killer, huh?

I'm no murderer?

How 'bout this, huh?

What about her?

- Hello, Miss Cole, what
a pleasant surprise.

What's the matter?

Julian, are you up to
your old tricks again?

- I have to call the police.

- No, you're not calling the police.

It's too soon for the police.

And don't you move, just stay there.

Back up.

Now, first things first.

Give me the pen.

That's right, the pen.

Leo told me you had it, now give it up.

That's it.

Oh, that's cute.

Pick it up.

Pick it up!

Thank you.

Very clever of her, Julian, isn't it?

- He's not Julian.

- How very perceptive of you, Miss Cole.

You know, I made that same
observation at the opening,

which is precisely why I
have to protect my interests.

You see, he must die as Julian.

You can follow that, can't you?

I knew you could.

It's just you poor thing,
you're unfortunate enough

to be in the wrong
place at the right time.

(laughing)

So you see when the cops get here, well,

they're gonna have two bloody murders

and one very ghastly looking suicide.

Paul.

Paul, do you know what's
like when a gun goes off

through the roof of your mouth, Paul?

It spackles your brains
on the fuckin' wall.

Kind of like a Jackson Pollock, you know?

That may be worth more down
the road than that goddamn

stupid fuckin' Anna
series I bought from you.

(laughing)

- Jen, what's goin' on?

(gunshot banging)

(gasping)

- I was waiting for Anna
outside Julian's loft.

I heard her scream.

I ran inside.

I watched him gouge her eyes out.

I couldn't even move.

I could've saved her,
but I was just frozen.

And I turned and started
walking, and I ever stopped.

I just kept on walking.

- Hello, excuse me.

Need you to come with us
and give us a statement.

(dramatic orchestral music)

♫ Will I speak to you tomorrow

♫ Just keep screamin' the
same old line as before

♫ You won't listen to what I'm sayin'

♫ You wanna make sure
that there's no surprise

♫ To you anymore

♫ And I know you mean it when you say it

♫ That you really want to end it

♫ But it's plainly not
as simple as you say

♫ I'm trying not to get too distant

♫ But your story's too inconsistent

♫ And you deny it and
you lied to me every day

♫ Painting pictures and pretending

♫ Dreaming of a world
that can never ever be

♫ Making it fit your story ending

♫ Peace be on your ashes cast to sea

♫ I hope you find your secret

♫ Peace be on your ashes cast to sea

♫ I guess you'll miss the coming new year

♫ You said you hated them anyway

♫ Ain't nothin' new

♫ Same old reruns on TV

♫ Same old sun goin' down every day

♫ Goin' right down on you

♫ Painting pictures and pretending

♫ Dreaming of a world
that can never ever be

♫ Making it fit your story ending

♫ Peace be on your ashes cast to sea

♫ Hope you find your secret

♫ Peace be on your ashes cast to sea

♫ Is it so much better where you're goin'

♫ You can tie shoes, nearly all you know

♫ And now the reaper
gonna be your only prayer

(MultiCom Jingle)