All language subtitles for Catchfire.1990.WEBRip.x264-ION10

[ slow music playing ]

Woman:
Margaret,
you're my best friend.

You decide.
I'll trust you.

Woman #2:
But, Anne, this opening
is major.

It'll establish you
as an important artist.

Anne:
Yeah, sure.

Anne, come on,
help me.

I hate
when you ignore me.

Just choose.
Choose one.

You've got to pick the picture that you like for the announcement.

There's that space again.

Why don't you check the
pause statement in between
the segments, okay?

Okay,
I'll go through it again.

[ computers beeping ]

Do you know what, Anne?
You gotta pick one now.

- Yeah, okay, that one.
- I don't know, I kind of
like this one better.

It shows that girlish
vulnerability of yours.

I can't be doing this right now.
I've got a million things to do.

You've got to pick.
Anne?

Pick, please.

But you picked
the announcement.

Where are you going?

You're driving me crazy.
I need some input here.

Hey, call me!
This is going
to the printers tomorrow.

[ slow music playing ]

- [ tire explodes ]
- [ horns honk ]

[ tires squeal ]

- [ hubcap rattling ]
- [ horns honking ]

[ tires squeal ]

- [ horn honking melodically ]
- Man: Hey, you want a ride?

- Lady, you want a ride?
- It's okay. You get in with us!

[ continues, indistinct ]

Both:
Hey, mama, come on! Yeah!

[ men laughing ]

- [ tires squealing ]
- [ horn honks melodically ]

Man:
I'm gonna tell you what
your fuckin' problem is, okay?

- Hey, fuck you, Carelli.
- You motherfucker!

That's how you talk to me?
You turn your back on me?

"Fuck Carelli"?!

- Don't turn your fucking back!
- Hey, come on!

- You hear me? Huh? Huh?
- What the fuck you think
you're doing?

Oh, fuck!
Anthony!

- Yeah, yeah, you call Anthony.
- What the fuck?!

- Nobody's gonna help you now.
- Don't do nothing stupid,
Anthony.

My fucking face!

- No!
- [ knife slashing ]

[ gagging ]

[ growling, spitting ]

- [ man crying, wailing ]
- Carelli: Good-bye, Anthony.

Yeah, Greek,
waste him!

[ both firing ]

I tell you
that would happen?

Quick! Hey!

Get her! What the fuck is that?
Get her!

[ firing ]

[ bullet zinging ]

- [ bullet zinging ]
- Carelli: Get her!

[ gun firing ]

Carelli:
Go!

- Fuck-- you!
- [ horn honking ]

[ fence rattling ]

[ semi honking ]

[ car honking ]

That must be her car!
Come on.

Pauling,
Justice Department.

You Justice boys move fast
in your private planes.

Oh. I'm Walker.

Where's my witness?

Get this.

She doesn't even know
who this is.

Jesus Christ.

Leo Carelli.

Don't let her leave
without telling me.

Bob? Bob?

It's me again.
Pick up.

Walker:
...oil refinery
picking up blood samples.

Any idea
who the victim was?

From her description,
it could be Avras,
could be Rianetti.

Eh, it doesn't matter
anyway.

This is pure gold.

Anne?
Hi, babe.

Pauling:
Gotta find a safe place
for her.

- Walker: Wait a minute--
- You okay?

- Let's just get out of here.
- [ meowing ]

Hey, Frida, come on.
Ain't you hungry, baby?

Come on, kitty.
I'll feed you.

- [ cat meows ]
- [ sighs ]

[ meowing ]

[ beeps ]

There you go, Frida.

There you go, kitty.

Look, why don't you
get some sleep?

I'll bring you some dinner
later on, okay?

Anne?

Mmm.

Should I pop this
in the microwave?

Oh, why don't you give me
a couple minutes, okay?

I don't know that I really feel
like pizza right now.

Okay.

What time is it?

It's past 11:00.

You've been asleep
for a long time.

Bob, do me a favor.
When you finish with that,

would you take it
downstairs to the kitchen
and throw it out in the trash?

I only wanted a bite.

I ate earlier.

We'll go skiing
this weekend.

It'll take your mind
off it.

[ distant dog barking ]

Ahhh!

You're late.

Oh, I'm sick about my car.
I had a dead battery.

I don't even want to go into it.
I had to call AAA.

It's-- anyway,
did the cops show?

Nope.

You're sure-- I mean,
you're absolutely sure

that they didn't show?

A monkey in silks
is still a monkey.
You deaf?

I said no cops.
Would I fuckin' lie to you?

You don't have to curse
all the time, huh?

I understand.

She's up there.

Where?

Where up there?

Right there,
top window.

- Come on. Come on.
- You ready?

[ cat meows ]

Come here, Frida.

Come on, Frida.

Oh.

[ growling ]

[ doorknob rattling ]

- [ floorboards creak ]
- [ cat growls ]

- [ cat growls ]
- Oh, shit.

- I thought that
was behind us or something.
- Shh!

I almost had a heart attack.

[ guns firing ]

[ tires squealing ]

Wrong house?

- [ car doors slamming ]
- No.

[ indistinct police radio ]

Oh, shit,
the cops are out there.

[ doorknob rattling ]

Pauling:
I'm afraid, Miss Benton,
you don't have a choice.

Your only option
is the Federal Protection
Witness Program.

For how long?

Well, that's up to
Carelli's lawyers.

If they're smart--
and they are smart--

they could hold us up
for months.

How many months?

Aw, six, eight,
plus appeals.

Then when it's over,
we'll get you in
the FBI program

for witnesses
against the mob.

We'll relocate you.
You'll start a whole new life

with a new name
and everything.

I don't want a new name.

Look, you'll have
the best.

[ sighs ]

Best of what?

This is bullshit.

[ sighs ]

Call her a hostile witness.

Get an order
for protective custody.

I hate to do that.
It's a lot of trouble.

Yeah, but it's better
than her being dead.

Where's the bathroom?

[ sighs ]

[ toilet flushes ]

I'll buy that wig
and your coat from you
for $30.

There's a guy out there
I don't want to deal with
right now.

You understand what I'm saying?

Yeah, I dig that,
but it's gonna cost you
50 bucks.

Look, all I've got is--
is 47.

Except, um, I'm gonna need
$5 for the bus, okay?

$40?
I'll give you $40 for that.

Okay, so you'll owe me 10.

Here.

[ men chattering ]

[ change clanking ]

How you doin'?

[ distant siren wailing ]

I want a squad car
outside her house.

- I want you
to check the bus station.
- Yes, sir.

Train station
and the airport.

Oh, I'm sorry,
Miss Benton,

but I can't give you
that much money without
prior notice.

See, it's almost 3:30.
If you come back tomorrow--

How much can you give me
right now?

Uh, I guess
we could manage $15,000.

That'll be fine.

I'm Margaret Mason.

They're good, aren't they?

This is my gallery.

Are you interested
in prices?

They start at 20,000--
the small pieces.
The larger--

I want that one.

Okay.

[ distant siren wailing ]

Can I take care
of that for you, Milo?

Yeah, here.

Be careful with it,
Frankie.

Uh, yeah.
I got it, okay.

I'm sorry, Milo.

You think
you can find the girl?

Probably.

[ pay phone dinging ]

[ propeller spinning ]

Margaret?

Yeah, it's me, Anne.

Look, you have to go
to my house and get Frida, okay?

I can't talk to you now.
I'll try and get a hold
of you later, all right?

Bye.

Man:
"Killing is unavoidable,

but is nothing
to be proud of."
[ laughing ]

Milo, try one of these.
Havanas-- they're the best.

I don't smoke.

Greek.

Thanks, boss.

[ sniffs ]

Would you bring me
up to date?

Man: Well, the problem is she got away from the cops.

If they hadn't let her slip,

she'd be--
how shall I put it?

Dead--
that's how she'd be.

She'd be dead.

The stupid cops,
you know.

I understand there was
another opportunity.

We got her boyfriend.

[ laughing ]
That kills me.

[ laughing ]

Mr. Avoca talk to you

about my extending
my franchise?

Yeah, how much
did this thing cost?

When are you gonna
smarten up?

That's an investment.
When the broad dies,

the price
goes through the roof.

- Eh!
- Never learn.

Anything--
anything you want.

All I want
is information.

How cold is the trail?

30 hours.
30 fucking hours.

I think we should stop
and go get some food.

I hate Carelli, man.
I hate him.

Aren't you hungry?
Have you ever been
to In-N-Out Burger?

There's something--
there's something we haven't
thought of yet.

Can't think
on an empty stomach.

How do we find her?

Carelli:
Hey, Milo,
what do you think?

Huh? They got a view.

They got the bay.

They got an upstairs.

You find me that rag,

take care of her for me,

I can get you
a fucking boat.

What do you think?

Can you work here all right,
Mr. Milo?

Yeah, I--

by noon tomorrow,
I need...

a list of names,
addresses of her friends,

phone numbers, relatives.

I need-- I need
a phone company insider

to find out

if any of them received
any long-distance phone calls.

And I need three computers,

cross-referencing
birth certificate duplicates,

Social Security applications.

New-- last two days.

Uh...

If I can think of anything else,
I'll ask for it when I need it.

Simple.

My man John Luponi
will get you anything you need.
Huh, John?

He's my lawyer.

Who's the heat in this?

It's a prosecutor
from the Justice Department.

Name's Pauling.

Pauling's in love
with Mr. Carelli.

Milo:
That's good.

Passion's a hard thing
to conceal.

"Passion's
a hard thing to conceal."

- [ horn blowing ]
- [ gulls squawking ]

[ distant dog barking ]

[ phone ringing ]

Yeah?

Luponi:
My client is beginning
to get nervous, Mr. Milo.

Yeah, I don't blame him.
Mr. Avoca would like to
see this cleaned up too.

I'll get her.
May take me a while.
I'll get her.

[ saxophone playing ]

We're gonna be all night
with this lipstick thing.

We really need
a strong, clean tagline.

Something like:
"The ultimate driving machine,"

only for lipstick.

How about you?
You got any ideas or what?

I might have an idea.

You gotta get out
of my department.

You've been here
almost two months.
Her trail is cold.

Anne Benton
is probably dead.

Oh, yeah?
How come Carelli's
still looking for her, huh?

Huh? I've got it narrowed down
to three cities.

She's either in Houston,
Seattle or Washington, D.C.

If I know that,
the mob knows it too.

Milo: Art.

"Its digital aspect

is concerned with references
exterior to the concept

as well as the con-cept.

Good conceptual art

is concerned
with just the con-cept.

The known,
an unknown,

an unknown, a known,
an unknown is known
and then known.

That which is not known
and then known is known

and then known
and unknown and on."

What the fuck am I doing?
Conceptual art.

[ muttering ]

Little broad here.

Here, the chick.

Hey, you're looking good, Liza.
Huh?

"Protect me
from what I want.

Protect me from what I want."

That's one of hers.

"Protect me from what I want.
Protect me--"

Oh, I got you.

You know, Margaret,
it's kind of like being a baby

and being born into the world.

If you're alive that day,
that's a success.

Well, that's all
I've got to say for now.

[ sighs ]

Don't worry about me.
Everything's going to be fine.

[ beeps ]

Pauling:
Anne Benton!

Anne Benton?

It's her!

Woman over P.A.:
Attention, golfers!

Don't forget,
this is twofer day!

Two hot dogs,
two soft drinks
for the price of one.

Just take your men
around that way.

[ woman over P.A.
continues ]

[ children laughing ]

The two of you,
get across that bridge.

Hey, go!

Someone over there.

Woman over P.A.:
See you there!

[ grunts ]

Oh!

[ panting ]

[ child calling out ]

Woman over P.A.:
Your attention, please.

We have a little lost girl
at the drink counter.

Goddamn son of a bitch!
I can't believe this.

You guys are supposed to be
the best in the world

- and you can't even find-- ah!
- [ static over radio ]

[ distant train whistle
blowing ]

[ blowing ]

[ saxophone wailing ]

[ bouncing ]

[ crossing signal dinging ]

Anne:
Hi, Margaret.

I've had to move again.

I traveled
the last two days.
I'm tired.

An old art teacher of mine
has a place for me to stay.

I can't tell you
where I am,

but I'll keep in touch.

I left the back-door key
under the mat.

You'll leave it there too.

Uh, I don't know what I did
with the front-door key.

This place belongs
to a loony art collector
from El Paso.

He never comes up here.
He just ships this stuff up
from time to time

and I'm supposed to
house-sit all this.

Water the plants,
pick up the mail.
I'll be back in a few weeks.

I just gotta get out
of this city for a while.

There's a very nice bedroom
right up those stairs.

You'll be
real comfortable here.

[ chain saw revving ]

I haven't seen Anne Benton
in a long time.

Our forms aren't
exactly simpatico.

Who did you say you were working for?

Oh, I work
for Bank of America.

I need 100 pieces for lobbies
up and down the state here.

I really need
to talk to Anne.

For banks,
Anne's stuff ain't any good.
It's too distracting.

Too literal. Gets in the way of business as usual.

You need something less threatening, more abstract.

My friend Laddie Dill,
he works in concrete.

Yeah, I used to work
in concrete too.

Shoes.

Oh, I--

Fuckin' artists.

Pinella, if I see you again,
you're dead.

And pay this.

Where the fuck do you
think we are, 42nd Street?

You see other people out here
dressed like we are? Huh?

No, not really.

- Well, then get
in the fucking car!
- Okay.

Get in the fucking car.

Just take it easy.
Milo?

- Have a nice day, Milo.
- Get in the fucking car.

Hey, Margaret.

It's me, I guess.

[ sighs ]
I haven't been able to get away
from my work these days.

Busy, busy girl.

I've been thinking
about my friends.

Thinking about you.

[ brakes squeal ]

What you lookin' at?

Oh, it's a picture of--
see, it's the same place
as there, the church.

Oh, God, it is.
Who is that?

Uh, Georgia O'Keeffe.

Oh, I know her.

She's the-- she's the one
who paints those flowers

- that look
like genitalia, right?
- That's it, you got it.

They're pretty, though.
I like 'em.

God, this is something else.

Must be scared riding around
in this thing, no?

Oh, why?
[ imitates explosion ]

Exploding?

I kind of like it, actually.
You know?

I mean, we make great time.

Never get stopped.
Everybody gets out of our way.

Shit, we'll be in Canada
in two days.

- Really?
- Yeah.

- That's far away.
- Well...

Look, maybe you
could do me a favor.

I got this envelope.
Maybe you could mail this
when you get to Canada?

Come on, honeycakes.
Let's hit it.

It's for my ex-husband

and I just don't want him
to know where I am, you know?

- You know how it is.
- Yeah. Yeah, I know.

- Just mail it?
- Yeah.

- [ horn honks ]
- Okay, I gotta go. All right.

- Thanks a lot.
- Bye.

- Take care.
- All right, you too.

- [ engine starts ]
- Man: What the hell is that?

I told that chick I'd mail it
for her when we got to Canada.

Oh, so we're gonna mail this
when we get to Canada

with American stamps?

If you used your brain
like you use your ass,
you'd be a genius.

Fuck off, Sparky.

Anne:
Hi, Margaret.
It's me, I guess.

This time I actually
believe I'm safe.

No one knows
where I am.

And eventually all this
will be forgotten

and I'll be forgotten too.

I don't know
if I can be with people.

I don't know if I'm fit
for it anymore.

I'm cut off
and I'm losing my connection.

I do have this fantasy.

There's-- there's a man
in the dark.

I can see his face.

He's got a scarf
around my neck

and I know
I'm going to die.

And nothing else
makes any difference.

Leo, tell the boys,
no red wine on my white sofas.

Are you kidding me
or what?

I'm worried about going
to fucking jail,

you're worried about
the stupid fucking carpet?

Don't take your shit
out on me, Leo.

Get the fuck out of here.
Go get your hair done
or something.

Get out of my fuckin' ass.

- Boss, I was thinking that--
- Boss?

Now I'm a--
this fucking joint is bugged!

I tell you a million times.
You gotta make me a boss?

How'd you like to be
the fuckin' boss?

Boss of what?

Make me a fucking kingpin.

Well, more bad news.

Nobody's seen Milo
since yesterday.

So where is he?

New Mexico.

See, it's on
the postmark there-- N.M.

I don't understand
what's going on with this guy,
I'm telling you.

He's not a fucking team player.
I can't put my fucking finger
on it.

Let me go after her, boss.
I'm sorry-- forgot.

I won't fuck up.
I'm a team player.

[ chuckling ]

What the fuck
are you laughing at?

At least the kid
asked to go.

Let him go.

You're a team player, huh?

That's right.

Good fucking kid.
You're gonna go.

[ Pinella laughing ]
I'm gonna go.

[ Pinella
continues laughing ]

Your wife mind
if we have a cigar?

[ drums beating ]

[ men chanting ]

[ man hooting ]

[ man hoots ]

Hey, cowboy.

What you doin' here?!
Huh?

What are you doing here?!

That wasn't very smart, huh--

you taking off
without a word to any of us?

You could have told me, Milo.

- You could've told me, Milo.
- Pinella! Pinella.

- What?
- Get in there.

Pinella, look,
how did you get here?

Tell me that you didn't
fly to Albuquerque
and rent a car.

Tell me
that you didn't do that.

Well, what did you
expect me to do, walk? Huh?

Now the police
know we're here.

And that means that they know
that Anne Benton's here.

You dumb asshole.

I'm not dumb.
I've been watching you
spying on her.

You're supposed to kill her.
[ laughing ]

And you're just watching.

What are you,
some kind of pervert?

Oh, Pinella.

[ muted hooting continues ]

[ wooden board jostles ]

[ muted cheering ]

[ water stops ]

Damn, we haven't had
a serious murder like this
in seven or eight years.

Well, you're gonna
have another one if you
don't move fast.

You know this woman?

[ whimpers ]

You know
what I'm here to do.

I know everything there is
to know about you.

You know nothing
about me.

All you need
to know about me

is that I'm giving you
a choice.

Either I finish you now
or I let you live.

And if I let you live,

your life is mine

and you belong to me.

And if you go against me
in any way,

I'll finish you.

The choice is yours.

Make it.

I'm gonna live.

Do you understand?

[ whimpers ]

[ doors slamming ]

[ indistinct police radio ]

[ kicking door ]

[ police radio continues ]

[ door closes ]

Where?!

Who killed him?!

Who killed--
and where's Milo?!

- Where is Mi--
- [ clicking ]

- They killed the fucking kid.
They killed that kid.
- Shh.

Who's Milo?

[ tapping ]
I don't know.

We lost him.

- Who the fuck is Milo?
- [ reporters clamoring ]

'Morning.

Nah.

The lady will have
a half a grapefruit,

dry whole wheat toast,
a glass of orange juice,

and a cup of mint tea.

We don't have any mint tea.

Uh, black tea
with honey, then.

That's your fallback position.

Hey, hey, hey!

I would like a couple
hamburger patties medium-rare,

a green salad
and cup of black coffee.

- All right.
- Thanks.

You love Mexican food.

You've had six old Mustangs
in the past eight years.

You got scars on your knees
from a go-cart accident
when you was a kid.

Uh, you send tapes
instead of letters.

Your favorite movie--
"The Last Tango in Paris," huh?

You're allergic
to a certain kind of cosmetics,

especially men's cologne.

No, no, no, no, no.

Be good.

Thank you.

[ slurping ]

Yum.

Anne:
Can I ask you a question?

Sure.

Is this a kidnapping
or what?

Well, you could call it that.

Well, what do you call it?

I don't know.

Why didn't you just kill me
the way you killed Bob?

Oh, I didn't kill Bob.
I came on after that.

But you would have killed him,
wouldn't you?

Nah.

I would have killed you.

What the--

You get comfortable

and...

put your nightgown on.

Jerk.

Hey, Anne?

Would you like a Coke
from the machine or something?

[ muttering ]

[ distant traffic sounds ]

I always thought
you was pretty.

But I never knew

how beautiful you were.

There's something
I want to say to you.

There's something
going on here

that I really
don't understand.

But I like it.

I don't know.
Shit.

But you know what I mean.

I know that you know what I mean.

I'm just not good
at talking.

Oh, God, look at you.

Okay.

You can trust me.

And I want to be able
to trust you.

Because I never loved
nobody before now.

But I love you.

Anne, you want
some breakfast?

No.

You gotta eat something.

I'm not hungry.

Oh, come on,
you'll get something
later on the road.

Milo:
Anne, you gotta cheer up.

I don't think
that you understand
the situation here.

All the rules
have changed like that.

The sun is blue now
and the moon is red,

the sky is green
and the sea is pink.

We're--
we're in another world here.

If you are thinking
of escaping,

you're thinking
of dying.

You made the choice.

It was the only choice
that you had.

But you made it.

Not only are you
a murderer and a rapist,

but you're a pompous
fucking asshole.

I don't think you realize
what I done for you.

I can't go back.

They're looking for me as hard
as they're looking for you--

probably harder.

You understand?
They want to kill us both.

You got to face
some hard realities here.

That's the problem
with you artists.

You got no sense
of hard realities.

- You know.
You live in a dreamworld.
- Milo?

Ivory towers.
Me, I'm from the street.

You want to learn
a sense of reality,

you don't sit
in no fucking Eames chair.

You get out,
you pound the pavement.

[ footsteps ]

You know,

you really
ought to listen to me
when I'm talking to you.

[ distant train whistle
blowing ]

Ah, shit!

God damn it!
Anne, you got a tissue
or something?

Should have brought
that fucking scarf.

[ machine shuts off ]

[ door sliding closed ]

I can hear you!

Anne?

Come on.

Anne, it's obvious
where you are. Come on.

I guess I owed you
that one.

Come on.

Come on.

Come on!

- You afraid of me?
- Afraid of you?

I ain't afraid of you.
I'm not afraid of you.

What, afraid of a guy
who's so hard up,

he's got to kidnap a girl
to have sex with her?

- Anne.
- Don't touch me.

Christ, I don't know.
I ain't even had a date
in 20 years.

I've had sex,
but I done this all wrong.

Look, I'm-- I'm not
so hot at feelings.

You know?

Maybe you could,
you know,

teach me?

You think that
you could do that, Anne?

You could teach me.

[ bird squawking ]

I can't believe
you brought this.

What, did you go
through all of my drawers, huh?

I bet you would
look nice in them.

Is that what this
is all about, then?

What, you want me to put this
all on for you, huh?

Why not?

I thought
it would be fun.

I gave up my career for you.

I gave up my life.

Now you could do
a little something for me.

You put this shit on.

Fine.

- Big man with a gun, huh?
- Here.

Here!

Hey, not in there!
Here.

Go on.

Oh, fine.

No problem.
I can do that for you. Huh?

You want me to be
a hooker, Milo?

A little "Playboy"
centerfold, huh?

Vulgar little tart?
Is that what you want?

Oh, that would be nice.

Uh, slow, uh...

Let me tell you
a little something
about men, Milo.

They have no imagination.

You have no imagination.

I do have imagination.
I can think of lots of things.

In fact, I'm--

I'm thinking
of a few of them right now.

[ laughs ]

You like this?

You really like this,
don't you?

[ laughs ]
Mm-hmm.

I know.

Why don't I tie you up?
That would be exciting.

I'd like that.

Maybe, um...

when we know
each other better.

Chicken.

It seems that our friend
Mr. Milo

has left
the family circle.

And I think he's taken
this girl Anne Benton with him.

Pauling:
That's impossible.

This guy Milo
is a professional.

We don't even
have his prints.

[ sighs ]

Professional hit men don't
run off with their victims.

[ distant traffic sounds ]

[ birds singing ]

[ door unlocking ]

I thought you were
going to get me jeans.

[ laughs ]

Come back to bed.

[ sighs ]

- Anne: Milo?
- Milo: What, what?

- What's it like?
- What's what like?

What's it like
being a hit man?

It's a job.
I don't think about it much.

What does it feel like
doing a hit?

It don't feel like anything.

You're too busy making sure
everything goes right.

Come on.
You don't feel anything?

Let me put it
to you this way--

I don't go out right afterwards,
have a big meal or anything.

Listen,

you can't keep thinking
that I'm going to do anything
you want, 'cause I'm not.

You know?

It's not fair.
It's not right.

This is my life,
not yours.

No, this is not your life.

This is not my life either.

This is our life.

Anne,
under the table.

- [ man grunting ]
- [ guns firing ]

[ women screaming ]

- Out the front door.
- What about the back door?

Out the front, Anne!
They come in the back.

- [ both firing ]
- [ woman grunting ]

[ woman grunting ]

Hey!

- Hey!
- [ dogs barking ]

[ coyote howling ]

[ laughing ]

That was no hit.

You want a bite?

- Sure.
- Mmm.

Mmm! Mmm!

Mexican food.

[ giggling ]

There's a lot of cars passing us.

Maybe you ought to pull over,
let me drive.

- All right.
- You done good.

I'm proud of you.

Is this yours?

Eh, I guess it is.

Mmm.
Love it.

[ laughs ]

[ grunts ]

Gonna go
unload the car.

Look around here.

[ bleating ]

Anne:
Milo?

- [ panting ]
- Oh, hold on.

There's this--
there's a baby goat
or a lamb or something.

It's stuck in a crevasse
in the mountain.

You've got to help me
pull it out-- it's stuck.

- It's gonna starve.
- Where, where, where?

Come on!

[ bleating ]

[ Milo grunting ]

Oh, okay.

[ birds chirping ]

Milo:
That there's
the Rocky Mountains.

Anne:
No.

That's the back
of the Jemez.

The what?

The Jemez wilderness.
On the other side of that
is Los Alamos.

[ laughs ]

Can you see everything?

Look, there's Chicago.

Mmm.

Milo:
Tell me something secret
about yourself.

- Mmm, like--
- No, like something

you never
told nobody before.

I thought you knew
everything about me.

Oh, come on.

Okay.

I'll tell you a secret
I've never told anybody before.

Yeah?

Yeah.
It's really embarrassing.

Yeah, embarrassing?

[ laughs ]
It's disgusting.

Disgusting?

- Mmm.
- All right.

You know what food I get
these terrible cravings for?

This-- this is
so embarrassing.

It's all right.
Yeah?

Well, I'll be sitting
eating dinner

at, like,
the West Beach Cafe in Venice.

Yeah?

I'll have my--
I'll have my arugula salad

and my half order
of capellini and bay scallops

- and my glass of white wine--
- Yeah?

and then suddenly

I have to have

a Hostess Sno Ball.
[ laughs ]

[ laughs ]
What?

I especially like
the pink ones.

[ laughs ]

Oh, Anne.

Good night.

Good night, Anne.

Mmm.

Thank you.

I like it.

Milo:
You were right.

They are disgusting.

I've been thinking.

You know
the safest place for us?

- Where?
- New Zealand.

Milo.

No, I'm serious.
New Zealand-- that's the place.

There's hardly any people.
There's lots of sheep.

- You'll love it.
- [ laughs ]

We could take a cargo boat.

It's kind of like a sea cruise,
only better.

Fewer assholes.

Oh, as if your mafia friends

are just going to let us
take a little cruise, huh?

Hey, I can fix it.

Milo, let's get real here
for a second.

I can do other things
besides killing people,
you know?

I, uh...

I own a large chain
of Laundromats.

I, uh...

I could do
electrical work, carpentry.

Yeah, well,
that's fine for you.

But what about me?
I mean, I need people.

I need museums,
I need galleries,

I need
a cultural environment.

Ooh,
a "cultural environment."

Yeah.

Who's the pompous asshole now?

I mean, what a load of crap.

Crap?

Wait a minute, that's--
that's my work.

I mean, that's my life.
I'm an artist.

Oh, you think
you're an artist.

Let me tell you
about art, baby.

You're gonna tell me
about art?

What you know about art
would fit in, like,
a thimble.

Art is Charlie Parker.

Art is Hieronymous Bosch,
or whatever his name is.

Now you call yourself
an artist,

but your art don't exist

without a wall socket
to plug it into.

Oh, God, what a moron.

You're a moron
and a Philistine,
you know that?

- Yeah?
- Yeah.

Well, I got an idea
for you.

Why don't you just
go right back to the land
of fucking wall sockets?

Maybe I will.

Fine.

Fine.

Well, fine, here--
here's the fucking keys.

- Go on.
- I'm going.

[ car starts ]

And take your fucking
Sno Balls with you!

Ha!

[ playing ]

Milo!
Milo, listen.

How'd they find us?

Who else knows
about this place?

It was a gift
from my employer.

Oh.

Okay, I admit it--
I fucked up.

You happy now?

[ brakes squeal ]

Where does this road
lead to?

It's a dead end.

All right, stop.

[ bleating ]

Ah, thank God.

You know how to fly
one of these things?

What? No.

Lucky I do, huh?

- [ Milo laughs ]
- Oh, yeah?

Yeah, I do.

Get in there.

You're all right, Milo.

Yeah, I hope you're right.

- [ blades whirring ]
- Wait here a minute.

Hang on.

You vicious
son of a bitches!

- [ firing ]
- [ brakes squealing ]

[ bullets zinging ]

- [ helicopter rising ]
- [ all firing ]

[ bullets zinging ]

This whole area here
used to be a city--

Anasazi Pueblo.
Thousands of families
lived here.

It was like fuckin' L.A.

Those cliffs over there
used to be the waterfront--

the Navaho state.

They're the largest
navy in the world.

This was all underwater.

Then one day,
the Rocky Mountains rose
and the ocean left.

But that was over
200 million years ago.

Uh-huh.

Oh, shit.

Milo, honey,
about that fight we had--

I really want
to work this out,
just in case, you know.

Forget it.

- [ firing ]
- Anne!

[ bullets zinging ]

Milo:
Okay!

I thought you didn't smoke.

I don't.

What's the plan, Milo?
What do we do now?

I don't think there's
anything that we can do.

What do you mean?

I think we played this out
as far as we're going
to be allowed.

Allowed?

You don't know
these people like I do.

Shit, I was the one
that was living in
the dreamworld.

Anne:
Come back to the party, Milo.

You're a hit man,
for Christ's sake.

Milo:
What's that supposed to mean?

Anne:
It means you hit people.
Hit them.

Oh, sure, just hit
a couple Mafia dons

and their Beverly Hills lawyers.
Sure, yeah, why not? Yeah.

Exactly. Why not?

Leo!

Grace, if you don't
get the fuck out of here,

there's going to be more
than red wine

spilled on
those white fucking couches.

Fucking dead.
I'm dead.

Shit!

Fuck.

You think the old man
knows about the helicopter yet?

Presumably.

[ phone ringing ]

I imagine
that'll be Avoca now.

Greek, get that.

If it's for me,
I ain't here.

Hello?

Who?

Have you-- have you thought
about taking a vacation, Leo?

You and Grace?

I got friends
in South Africa.

Greek:
It's him.

It's him-- it's Milo.

Give me that phone.

Hello?

Milo, it's you?

Yeah, where are you?
Where's the girl?

I killed her.

I want to do a deal.

Uh, hello, Mr. Milo.
This is John Luponi.

Are you sure
you've killed this girl?

We had the impression
you were fairly close.

I may have lost it
for a minute, but not now.

I killed her as an act
of good faith.

And I expect some consideration
in return here.

What do you want?

I want to talk.

Get him here.
Get him here.

Well, we want to talk too,
Mr. Milo.

Why don't you
come on over here?

We were just
sitting down for lunch--
a nice friendly lunch.

[ laughs ]
No way.

I'll meet you
in the high desert-- Lancaster.

That's out
of the question, Milo.

Uh, why don't we
meet at my office?

What you think I am, stupid?

Think of some other place,
Luponi-- someplace nice, open.

What about San Pedro?

Where you popped Rianetti?
The refinery?

That's good.

Do you know where San Pedro is,
where the refineries are?

No, I don't.
No, I don't want--

Hey, hey,
that's our last offer, asshole.
Take it or get fucked!

It's easy to find, Milo.

And it would be convenient
for all of us.

All right, bring--
you come, Luponi,
and bring Greek.

Ask him when.

Oh, yes.
What time, Milo?

Five hours from now.

That's a long time, Milo.

I gotta get there first.

We got a confession
of two murders.

Four hours
to get into place.

[ sighs ]

Let's go.

I want this fuck.
I want this fuck.

I want to make him
see red rats.

- We got him.
- Greek: Yeah.

[ door dinging ]

That's Carelli's car.

Man:
Oh, yeah.

Seen any heat?

- We're clean.
- All right.

Luponi: Try not to sweat so much, Leo. You could short out your wire.

Where the fuck
are they, huh?

Greek:
Hey, look at all
these pink ribbons, boss.

Carelli:
Follow those, Greek.

[ machines whirring ]

[ motor humming ]

[ metal clanging ]

Be careful, Greek!

Put it down.

Good boy.

Liquid hydrogen.
One spark's all it takes.

Whole place could go up.

Carelli:
So? You'd go up too!

So what? Huh?

How you been, Milo?
You're looking good.

Hey, I feel good, Greek.

Feeling good.

- [ rifle fires ]
- [ grunts ]

[ cocks rifle ]

Go in there
and finish it.

Hey, let's go!

Man:
Come on, let's move it!
Come on.

Oh, he was going
to shoot you, Milo.

Not Luponi--
Luponi wasn't dangerous.

These are the dangerous ones.

All:
Yeah, come on, let's go,
let's go!

Come on, boss,
Milo's all right.

What's the matter
with this trigger-happy
little bitch?

Hey, you know what?
I'm gonna shoot you too.

- Fuck this!
- Anne: Shoot him!

Shoot him,
he's getting away.

Anne, shut the fuck up!

- Go on.
- Thanks, Milo.

What, are you gonna leave me,
you fuckheads?!

Ah.

[ whistles ]

Hey, boss, how come
they're not following us?!

Ahh!

Move in, move in.

[ sirens wailing ]

Out of the car!
Put your hands on your head!

Man:
Go, go!

[ soft music playing ]

[ saxophone playing ]