Shirley Clarke: Did you like the name Aaron Payne?
Jason Holliday: As Aaron Payne I I was pretty. . .far out. Not any further than I am now, but I was. . .oh well, it had unpleasant memories that lead to this state of depression. And. . .I just thought, being with those people in San Francisco whose personalities were suiting their names that, if I found myself another name and gave myself another chance, uh. . .I’d be happier. And I dug being called Jason. And like, all my hip friends and the people that I knew, I told them my name is Jason now. And they’d call me that. But a few evil people. . .you know, every now and then they’ll call you Aaron. And, uh. . .I remember once, in San Francisco, I told Miles Davis, I said, “My name is Jason.” And Miles said, “Shit. . .That ain’t none of your name.” But he was hip enough to call me Jason. He hasn’t called me Aaron since. And, as Jason, I really have discovered a new personality. I’m a lazy cat. I’ve always wanted to really jump into it, but. . .I kept avoiding it somehow. Like I made an excuse for accepting other people’s problems and puttin’ down my own. And I always became this one or that one’s flunky or anything to do to keep from facing what I really wanted to do. And now I kinda like want to do it. And Jason sorta is giving me the strength to do it. Like, I came back to New York after being away for three four five years, and some old friends that you don’t even see any more and the new ones or the ones that you keep, I told them my name was Jason. And, uh. . .I was able to establish that. I got the social security card: Jason Holliday. I have a cabaret license. Believe me: there’s something to the name. You know, if the name rings a bell to you and makes you feel well, then take the name.
Christina Drayton: Now I have some instructions for you. I want you to go straight back to the gallery – Start your motor – When you get to the gallery tell Jennifer that she will be looking after things temporarily, she’s to give me a ring if there’s anything she can’t deal with herself. Then go into the office, and make out a check, for “cash,” for the sum of $5,000. Then carefully, but carefully Hilary, remove absolutely everything that might subsequently remind me that you had ever been there, including that yellow thing with the blue bulbs which you have such an affection for. Then take the check, for $5,000, which I feel you deserve, and get – permanently – lost. It’s not that I don’t want to know you, Hilary – although I don’t – it’s just that I’m afraid we’re not really the sort of people that you can afford to be associated with. Don’t speak, Hilary, just. . .go.
Lyon Burke: Did you know you are the most beautiful girl that ever left lipstick in my office?
Anne Welles: You like women, don’t you?
Lyon Burke: I like career girls. We’re compatible.
Anne Welles: It’s said they don’t make good wives.
Lyon Burke: I’m not looking for a wife. Some men just don’t pull well in double harness.
Anne Welles: You’re fortunate. You know yourself. I don’t know who I am or what I want. I only know I have to find out.
Brewster: Walker. You’re a very bad man, very destructive man! Why do you run around doing things like this? What do you want?
Walker: I want my money. I want my $93 grand.
Brewster: $93,000? You threaten a financial structure like this for $93,000? I don’t believe you. What do you really want?
Walker: I – I really want my money. I want my money.
Brewster: I’m not going to give you any money and nobody else is. Don’t you understand that?
Walker: Who runs things?
Brewster: Carter and I run things. I run things.
Walker: What about Fairfax? Will he pay me?
Brewster: Fairfax is a man who signs checks.
Walker: No, cash.
Brewster: Fairfax isn’t going to give you anything. He’s finished. Fairfax is dead. He just doesn’t know it yet.
Walker: Somebody’s got to pay.