Anamorph Page #3

nice cushy desk job

Oh good.

- Tough thing was that girl.

- The girl?

Could have been twenty more

girls like her dead, Stan.

Panned out in the end.

How is your family?

Everybody's good.

Boys are 8 and 10 now.

Big kids, man.

Look, It's great to see you, man.

Me too.

Have something you want

to get off your chest?

No!

I mean I'm on this thing and...

I have been thinking.

You know, I think I know

what is going on here.

My advice to you is, if it's in

the past, let it stay there.

Things change.

Never set foot in the same river twice.

- Thanks.

- Sure.

I think you gonna catch this guy.

That one.

- This is the one you want?

- Yes.

What's wrong with the one

you've got, Stan?

Oh you know that I actually having

company over the year?

I just want another chair.

What's wrong with having

two matching chairs?

Nothing wrong, Stan.

Nothing wrong.

I get you a Federal salty table or

a Heppelwhite for the same price.

- No, no, no, that's what I want.

- OK.

What?

You just have to have it, don't you?

That's your problem, Stan.

Me, I love the feel of an object

changing hands, to let it go.

You can't let go of

anything, can you?

Like that girl,

the memory of the girl.

Might not be your fault.

Might just be the past

that isn't through with you yet.

Keeps pulling you back

all the time.

Now all of a sudden

it's a copycat killer.

We do not know if it is a copycat.

I'm not so sure either, Stan.

I took a look at some photos

from the Uncle Eddie killings,

and I kept thinking about

your painting... and

He said it was a piece of junk.

There was something there though.

The presentation of the body,

the pigments and gestalt.

There was something about it,

You know what I mean?

No, I don't know what you mean.

Looking at the work

in a sequence,

was like watching

a retrospective.

I think you should stick

to garage sales...

and vintage porn.

Don't get your horns all twisted.

We killed Uncle Eddie.

You're dealing with the same guy.

- I'm tired of your bullshit.

- Stan, sit down, Stan.

- No, I'm leaving.

- Come on, sit down, Stan.

I'm leaving.

Sorry.

I'm sorry.

Stan.

Thanks

Eggs Florentine.

Is it true that there is a connection

with the murders of Uncle Eddie?

What about connections to Uncle Eddie?

Is it a copycat?

- Come on, give us something.

- When I say stop, you stop.

There is no copycat,

got nothing to do with Uncle Eddie.

Leave it alone.

I heard the victim worked

Uncle Eddie cases with you.

You got to give me something.

- I can't always have information...

- Get her out of here!

Hold on here, miss.

Who leaked this to the press?

Hard to keep a lid on

a story like this.

You know that, Stan.

This guy really

a buddy of yours?

Work colleague

Make me lie for you, Stan.

Used your friend

like an inkwell.

What's this one about, Picasso?

What's the connection?

Guy is writing a love letter, Stan.

Stan...

Just take a minute.

I wasn't sure whether

I should come down here...

so I talked it over with my wife.

She works a hotline

as a crisis counselor.

She told me that the only way to

avoid a crisis is to anticipate one.

Has seen this morning paper?

Your past is starting

to give me nightmares.

Camera Killer

Leaves a Mess

Which version of my past do

you mean?

Your old partner,

George, is dead.

- Now why is that?

- I do not know.

Good answer.

But I don't think there is much

to this copycat angle.

Hey, but f... the copycat.

I got Carl,

of all people,

asking whether the correlation

between these cases...

is more than circumstantial.

And he's not the only one.

You are not the kind of cop

who'd kill an innocent man.

- And I told Carl, this much.

- Thanks for your confidence.

Don't mention it.

Hey, look. There was one

version of the past,

yours, mine

and the department.

That's one version.

This next photo is from

Gauthier Grisomme,

the French master photographer.

He spent his entire life

chasing the decisive moment,

that instant when

composition, form and content...

conspire to reveal

some fundamental truth.

Too esoteric?

Hold that thought.

What do you see?

Where is the decisive moment?

What truth is revealed?

Is this the truth?

Or this?

Or this?

Or is it just another angle?

You're all familiar with

the Uncle Eddie case.

Now everybody's talking

about a copycat.

If Uncle Eddie is the original,

then the copycat is the one

always trailing behind,

compelled to reconsctruct

again and again...

the decisive moment

that has already happened.

And maybe there is no copycat.

Only a killer that has become

impatient with chance.

No longer content to kill

his victims where they stand,

he forces the decisive moment.

The killer painted half

of this with a pantograph,

and I finished the rest.

It's weird

but it makes sense, Stan.

Because he's implicating you

more and more into his crime.

I mean, you're already his patron.

Remember you bought

that painting?

Without a patron

there is no painting.

Maybe you are his Pope Innocent.

Maybe you're his crazy

object of obsession, Stan.

OK, I got Velazquez portrait of

of the Pope Innocent X.

Quite an ambivalent study

of absolute power.

And here comes Francis Bacon.

Despite never seeing

this painting in person,

Bacon became so obsessed

with it...

that he compulsively repainted it

over and over again,

but each version

more horrific than the previous.

Did I tell you that the latest victim

worked with me...

on the Uncle Eddie murders?

I think you've been part of

this bizarre thing all along.

It's not until an artist

finds his obsession...

that he can create

his most inpired work.

Where he gets his obsession from,

it does't really matter

It can be the myth of Prometheus,

It can be another man's

painting of the Pope,

it can even the story of

Stan Aubrey.

It can be anything.

So drink up.

I'll gonna show you something.

Seems familiar right?

The artist had the real

underground cult following

Already some show is in the

more hip galleries down town.

You wouldn't believe what

this stuff is selling for.

- What's his name?

- No name.

...no official representation.

- Where we find it?

- Stan, that's the whole thing.

This guy doesn't exist,

that's the whole gimmit

The only thing you have is his work.

What about the gallery owner?

Blowing rail since back room I guess.

That is my chair.

Yeah, I told you I would

help you to find...

- No, it's my chair.

- What?

Fate

Wood and fabric

It was stolen.

We take it later.

I'll swing the car around.

No, you can't do that, Stan.

All right, just tell them

it's evidence.

Oh good, you're back.

Any chance of returning our "Fate"

- What?

- The chair that you absconded with.

I am afraid I can't do that.

- - Evidence.

I suppose you'll

beat me with rubber hoses...

if I choose to respect

the artist's anonymity.

No, we're not gonna do that

but you got to tell us what you know.

- All I have is a name.

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