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(gentle music)

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(gentle music)

(gentle music continues)

(choir singing in foreign language)

(woman singing in foreign language)

(liquor sloshing)

(cigarette hisses)

(woman blows)

(woman singing in foreign language)

(choir singing in foreign language)

(footsteps tapping)

(woman blows)

(gentle music continues)

(choir singing in foreign language)

(woman screams)

(chair thuds)

(choir singing in foreign language)

(cigarette thuds)

(choir singing in foreign language)

(footsteps tapping)

- 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.

- Mm, 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.

- (chuckles) 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.

(gentle music)

(birds chirping)

(keyboard clacking)

(door scrapes)

- He peed on the bed again.

- [Jennifer] (chuckles) 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.

(crowd chattering)

- [Woman] Some champagne, yes.

(woman giggling)

- 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?

- 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.

(crowd clapping)

- 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.

(both 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.

(upbeat music)

Could you pardon me, please?

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 wanna capitalize on the sense of mystery.

(Julian chuckles)

(sighs) 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.

(Leon sighs)

(dramatic music)

- 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.

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

Just keep me posted.

(footsteps tapping)

- 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)

(dramatic orchestral music continues)

- 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.

(Samuel 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?

(dramatic orchestral music)

- 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?

(Leon sighs)

Seven years ago, you were a different man.

(bell clangs)

(both laughing)

- 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.

(dramatic orchestral music)

- [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.

(Carrie 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, 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.

(dramatic orchestral music)

(car door clicks)

Okay, you stay here.

(ominous orchestral music)

(ominous orchestral music continues)

- What are you doin' here, huh?

- Nothing.

- [Julian] 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 wanna talk to you. - About what?

- About your work.

- My work speaks for itself.

- We wanna do an interview with you

to go with the opening of the show.

(Julian chuckles)

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

The world wants to know.

- Yeah, I wanna know. - You wanna know.

(ominous orchestral music)

I like your eyes.

- What were her eyes like?

- End of interview.

(ominous orchestral music)

(radio music)

(Carrie gasping) (car door thuds)

- Jennifer, you scared the shit out of me.

Well, what happened?

Did you talk to him?

(ominous orchestral music)

- Just drive, okay?

- What am I, your slave?

(car engine sputters)

(ominous orchestral music)

(bell clanging)

- 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.

(footsteps tapping)

(Carrie clearing throat)

- Come on, I thought we were having lunch.

- Uh, listen to this.

Um, 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?

- Mm-hm.

Yeah.

- [Carrie] 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.

- 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.

(lips smack)

- Your niece, hello. (chuckles)

- 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.

(siren blaring)

(mysterious orchestral music)

(engine whirring)

(mysterious orchestral music continues)

(engine whirring) (metal clanging)

(knuckles rapping)

- Mr. Jons?

(mysterious orchestral music continues)

- 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.

(Julian chuckles)

(Julian sighs)

How'd you find me?

- I'm very resourceful.

- [Julian] What do you want?

- Oh, uh, right.

Your work.

- [Julian] Spit it out.

- Okay, years ago, you know, in New York,

your work was very rational and controlled, very.

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

(chuckles) Sorry.

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.

(dramatic orchestral music)

(Julian sighs)

This is what I paint.

That's all.

Like being in the seventh circle of hell, huh?

- 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. (chuckles)

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

- Um, do you know the expression curiosity killed the cat?

- Mm-hm.

- What did you do to your eyes?

- Oh, I.

Well, you know I thought

maybe it would make them look more interesting.

(Julian chuckles)

- Interesting?

(Jennifer chuckles)

It's frightening.

(Jennifer chuckles)

Hold still.

- Too much, huh?

- Just a little.

(dramatic orchestral music)

Later, yeah?

- Mm.

(ominous orchestral music)

(upbeat music) (crowd chattering)

- Scotch rocks, please.

- There you go.

(crowd chattering)

- I don't know what to say.

(Julian chuckles)

- 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, I'm 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.

Um, do you want a drink, some tea or something?

Don't look at those.

- I'm no critic.

- I just, uh, I do them to relax.

- You relax too much.

(Jennifer chuckles)

- 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 thuds)

(crickets chirping)

(light orchestral music)

(light orchestral music continues)

(light orchestral music continues)

(Jennifer moaning softly)

(light orchestral music continues)

(light orchestral music continues)

(birds chirping)

- 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.

(Carrie sighs)

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

- You saw him?

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

- Pervert.

(Carrie chuckles)

(birds chirping) (car engine revving)

- 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?

- Mm-hmm.

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.

(gentle music)

♪ 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 ♪

(phone ringing)

- Oh, how's that dynamite article coming?

- It's coming.

Yeah, I'm thinking about it right now.

(Jennifer chuckles)

(mysterious orchestral music)

(car engine revving)

(car door thuds)

(mysterious orchestral music)

Julian?

Julian?

Is Julian here?

- You mean J?

I wanted to apologize for my, 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.

(John chuckles)

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 attraction 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, what, 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.

(bell clanging)

- 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?

(Jennifer chuckles)

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 wanna 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, like an animal,

like nothing I've ever heard.

I remember blood.

I don't know whose, hers or mine.

Everything else is all, uh, 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.

(Julian sighs)

(Jennifer chuckles)

(dramatic orchestral music)

- Sometimes you just scare me.

- Yeah.

(dramatic orchestral music continues)

(dramatic orchestral music continues)

- [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.

(Sherman chuckles)

- 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.

(Samuel laughing)

- [Man] Is he a good fuck?

(dramatic orchestral music)

(car engine revving)

(dramatic orchestral music continues)

- Hello?

Hello?

Hello?

(John chuckles)

(clears throat)

Um, 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,

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)

(dramatic orchestral music continues)

(woman screaming)

- What the fuck are you doing?

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

Get the fuck out of here.

(car engine revving)

(water splashing)

Remind me.

My medication's almost gone.

I need to get it refilled.

- Can we stay here tonight?

- 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 wanna stay here.

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

- (chuckles) Come on. - What?

Do you 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, all right?

- 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.

(glasses clinking)

- 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.

(dramatic orchestral music)

(Samuel laughing)

(dramatic orchestral music continues)

- They told me that the painting was finished.

I'd really love to see it.

(footsteps tapping)

Is this how you see me?

- Anna.

(dramatic orchestral music)

(choir singing in foreign language)

(ominous orchestral music)

(water droplet plopping)

(ominous orchestral music)

(Julian shouting) (glass shattering)

- Jenny, Jenny. - What?

- He's outside.

- Who?

- [Carrie] Maybe we should call the police.

(knuckles rapping)

- 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?

- What happened?

- 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.

- 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.

(Carrie scoffs)

(car engine revving)

- Keys.

(car door thuds)

(ominous orchestral music)

(engine whirring)

(door scrapes)

- Hello?

- I'm right here.

(ominous orchestral music continues)

Oh, my God, look at this place.

(ominous orchestral music continues)

(water droplet plopping)

(ominous orchestral music continues)

- No, she was here.

She was right here.

- I don't know, maybe you just,

you dreamt the whole thing.

(Julian sighs)

I could get that refilled for you.

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

(footsteps tapping)

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.

(suspenseful music)

- Just get those things

and meet back at the loft in an hour.

- [Carrie] Okay. - Okay.

(car engine revving)

- Hello. - Hello.

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

- No, I wanted to return something to you.

Did 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 wanna know who this man is.

(Leon sighs)

- 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.

(car engine revving)

- Hi.

- Hey, you okay?

- [Jennifer] Yeah.

- Here's your folder.

- Thanks.

Do you have any cash?

- [Carrie] I don't.

(footsteps tapping)

- 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.

(ominous music)

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 murderer.

- 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?

(ominous music)

How 'bout this, huh?

What about her?

(bottles clatter)

- 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!

(ominous music)

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.

(Samuel 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?

(Samuel chuckles)

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.

(Samuel laughing)

- Jen, what's goin' on?

(ominous music)

(gun clatters)

(Jennifer gasping)

(gunshot bangs)

(Jennifer gasping and panting)

- 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 never stopped.

I just kept on walking.

(sirens wailing)

(Julian sighs)

- Hello, excuse me.

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

(dramatic orchestral music)

(dramatic orchestral music continues)

♪ 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 wanna 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 ♪

(gentle music)