Original subtitles

- Imagine you're dead.

Feel yourself go numb.

Start with your fingers.

Move to your hands...

your wrists...

right on up to your elbows.

Everything is dead.

If we can imagine our own deaths

but still manage to come back to life,

then it proves that we can survive anything.

Now, don't be afraid.

Own the moment.

If you're in control,

then the chaos will happen around you

and not to you.

Do you understand?

- The camera's in the hat?

- Yeah, it sure is.

Look.

- I hope this works.

- Oh, three months of prep, it's going to be perfect.

- Okay, I'll punch in at 9:00, same as always.

Give me 20 minutes.

We should have a good crowd by then.

- Can I taste the fake blood again, Mom?

- No, honey, the bag is sealed. I don't want to stain my shirt.

- ♪ Take a straight and stronger course ♪

♪ To the corner of your life ♪

♪ Make the white queen run so fast ♪

♪ She hasn't got time ♪

♪ To make you a wife ♪

♪ 'Cause it's time ♪

♪ It's time in time with your time ♪

♪ And its news is captured ♪

- Well, hello.

How can I help you today?

Have a nice day.

- All of them.

-♪ And its news is captured ♪

- Gun!

- ♪ I've seen all good people turn their heads each day ♪

♪ So satisfied I'm... ♪

- I got it! I got the gun!

- It's over. It's over. - How could you?

Mama, no!

No, Mommy. Don't die.

Mommy!

And for what?

Lollipops?

Mommy loved lollipops.

- I'm telling you, it tastes just like maple syrup.

Sorry, guys. I'm so sorry.

- What? I'm hungry.

We skipped breakfast.

You did good.

You did great.

- Well done.

- Here you go. Come on.

- Baxter.

- That was my fault. I broke first.

I'm so sorry. I'll see you in the car.

- Go. - Thank you.

- What in the fuck is going on?

- Ladies and gentlemen,

let this be your trumpet call.

Life is sweet.

So taste it while you still can.

Baxter?

Baxter!

I think I found something!

- I mean, it's cruel.

I'm sitting there by myself because my dad is late, damn it.

What... this is...

Damn it.

It's...

- This is... - We're getting pretty close.

You should probably get into your robe.

- My robe? - We're just about ready

for the next scene, where you're topless.

Wardrobe should have a robe set for you in your trailer.

- Topless?

No. No.

The script doesn't mention nudity.

- Freeman put it in this morning.

- Come on. He never mentioned it to me when we rehearsed it.

- In five, everyone.

You look like more than five minutes out.

- Yeah. Oh, yeah.

I'm going to be a lot more than five.

- What's up, sunshine?

- You want me to get naked.

- Topless.

- A guy answers the door, and I am standing there

with my tits out?

- Gina wants to control the situation.

- With her breasts? Come on.

- I... I never...

would have guessed that you were so uptight.

You know, it's like, I mean, Annie Fang.

You know, wild woman. Indie darling.

- Sorry. Sorry to disappoint you.

- You used to... You used to do anything,

you know, for your roles.

- Those aren't stories I'm proud of, Freeman.

They're just like stupid, stupid things

that an actor does when they're too afraid to act.

I know better now.

- That's too bad.

- What? That I'm older and wiser?

- No, that... That you've become,

like, so bourgeois,

you know, with those shitty rom-coms and the...

- Okay, that's it. That's it, we're done.

You need to leave. You need to leave.

- I'm just trying to help you. - I'm not doing it.

- I want to show the world that...

That you are still a legitimate actress.

- Uh-huh. Thanks, Freeman.

- As brave and fearless as you've always...

- Yeah, I'm not doing it.

- I know what I am asking you to do is difficult.

- Mm-hmm.

- But great art is always difficult!

- Don't be afraid.

Own the moment.

If you're in control,

then the chaos will happen around you

and not to you.

Do you understand?

- Did they not send a robe for the walk?

- I don't need one. I'm in control.

Let's get this fucking scene over with.

- Fantastic.

All right, here we go, everyone.

- Hi, there. - Hi.

- Mmm...

How much is that?

- Two dollars.

That's five.

- I've got these for this.

And a good thing I only did about a dollar, okay?

So that's... all that's yours, and this and this.

Mine, yeah?

- How you doing, Harold? - Hey, Baxter. How are things?

- Well, the book is not done, if that's what you're asking.

But I'm working on it every day.

- You know it was two years overdue last month, right?

- I do.

- You know they're losing patience, right?

- I'm sure they are. Listen, if you're calling

to make me feel bad, you've done it,

and we can hang up now, okay?

- No. I might have a job.

- Yeah? For me?

- Nothing big. Just a story for a men's magazine.

Do you know what a potato gun is?

- You hit it with the hair spray, about 1 1/2 count.

- Hair spray, huh? - Yeah.

Seal it up.

Screw that on real tight.

Lock her up.

- Raise the weapon.

- This is about to get good. - Aim, fire.

- Come on.

- Don't it smell like french fries?

- A little bit.

You guys come out here quite a bit, do you?

- Oh, ever night, unless there's something good on TV.

- Right. - Understandable.

- Okay, Lois Lane.

We call this baby Air Force One.

- All right. - We're not going to pretend

that it's better than sex,

but this is going to make you very happy.

- Whoa! - Look at that!

Come on. Come on, you're a natural, man.

- Look at you. - I get it.

That's got a lot of character. Give me one more of those.

- Give me that, man.

- One more of those.

- Don't be afraid.

Own the moment.

If you're in control,

then the chaos will happen around you

and not to you.

You understand?

- Okay. I'm ready.

- One more!

One more.

- What? Don't be crazy. - No. No, no.

- No, don't push your luck.

- I'll do it. - Let's do it. You do it.

- Stay with us, pal. - What's going on?

- We're headed to the hospital, Baxter,

but I need you to talk to us, buddy. Can you do that?

Baxter, can you do that, buddy? - I shot you in the head.

- Huh? Yeah. What do you want me to say?

- Doesn't matter. Tell us anything.

Tell us about what you're writing.

- I am, uh... I got a new book,

but I'm a little writer's blocked.

- Oh, well, maybe we can help you out.

- What's it called?

- It's called, uh... "Children's Pit."

- Well, what's it about?

- It's about these two kids... A brother and a sister,

and they run away from an orphanage.

But they get caught by a pit master.

- Well, what's that? - It's just a guy

who has an arena underground

and forces them to fight for sport.

- Do they escape?

- I don't know. I don't know. I haven't gotten that far.

- Let me just take a little nap. - No, no, no!

- What's going on with my ear?

It really hurts.

- Perforated eardrum.

You'll be fine in a few weeks.

No flying for a while, though.

- Did you say no flying?

- That's what I said.

You'll feel better when your people get here.

- What does that mean? I don't have any people.

- Well, we went through your wallet.

Standard procedure.

The doctor called your parents. They're driving up to get you.

No, no.

No, no. Miss?

Miss?

- Caleb and Camille Fang

are most known for creating improvised public events

that incorporate their own children into the artwork.

The results are often as unsettling

as they are arresting.

In one of their earliest works,

Caleb Fang walked through a crowded roller skating rink

carrying his infant daughter.

Suddenly, a series of homemade flare-like devices

he had taped to his back began to discharge.

Camille captured the event from the rink's second level.

The Fangs simply throw themselves into a space

as if they were hand grenades,

and wait for the disruption to occur.

- Candace Cane! Give it up!

Whoo!

- They seemed to have no expectations

other than to willfully cause unrest.

- This kind of event is so rudimentary,

so unencumbered by the traditions

that have come before it,

that it almost strains the notion

of what constitutes art.

- The Fangs. That's just a gimmick.

That's all that is.

You can... that's not fair.

I mean, you know, whether or not you like the Fangs' work,

you can't deny the artistry, certainly.

- What? Of course I can. That's my job.

Look, the Fangs

pass off these hollow pranks as if that's enough.

- You can say the same thing about the diggers,

or the situationists, or the Dadaists for that matter.

But if you care to look a little deeper,

you'll find that the Fangs transcend what...

- They're not transcending anything.

- It's just tricks. - If...

in the... in the pageant piece,

they challenged gender stereotypes.

In the restaurant piece, they ask us to look at food

not as sustenance, but as status or style.

- In some of the early... - Oh, come on!

Just because... just because you attach a statement

doesn't make it art, you know?

You can call it art but real art requires

an aesthetic intelligence. - But that ambiguity

is what makes it interesting.

Is it art or is it a joke? Is it profound or is it a prank?

Are they geniuses or charlatans?

These are the questions that they want us to ask.

- Well, they're not too hard to answer.

- And the Fangs are challenging the very nature of art itself.

- I don't think they are.

- They embrace everything that's wonderful about art,

and they subvert it at the same time.

They are deeply serious class clowns who celebrate...

- "Clowns" is right, yeah.

I'm sorry.

What were you saying?

- I... I think what they're doing is wonderful.

- Well, I guess... I guess I just don't get it.

- Well, that's pretty obvious.

- So the truth is making a movie is really...

It's a strange process, you know?

Always requires some sort of degree of weirdness.

- Is that why you took off your top?

- I took off my top because...

well, because I wanted to prove to myself that I could do it.

I've never done a nude scene before, so what the hell, right?

Did Sally tell you that this was...

This is a very important article for me.

- No, she didn't. I know.

- Yeah.

They say I'm in a bit of a... I don't know.

Precarious position right now career-wise,

and then I have to, I don't know...

but I'm not stable.

- You don't have to worry about that.

Thank you, but I do.

Obviously I do.

- Well, you can relax,

because I don't care about your meltdowns.

I'm actually more interested in your family.

It's okay.

- I'm sorry. I'm so sorry.

- I'll get you another. - Thank you very much.

- Um...

you're not going to put that in the article, I hope.

- How could I leave it out? - Oh, shit.

- Are you always so jumpy when someone mentions your parents?

- It doesn't come up often, actually.

- Really? But they're famous.

- Well, not really.

In certain circles, I suppose. But...

- I wrote my thesis on their work.

- You're kidding.

Wow.

Great.

- That's why I wanted to do this story.

- Huh.

- Do you think you'll ever do another piece with them?

- No.

God no.

Thanks.

- It must have been fun, though.

Come on.

Being child A?

- Yeah, of course. But I'm not a child anymore.

Anyway, your readers don't want to hear about this.

They don't want to hear about weirdo performance art.

- Look, I think you're a great actress.

But the artist you are,

don't you think she was already there in child A?

The emotion? The joy? The anarchy?

It's too bad none of your directors

have known how to channel all that the way your parents did.

- When I was 9 years old...

child A was a role.

It was a role I played.

It's not who I am.

Hey, Baxter. How are you doing, buddy?

- I'm terrible.

- Where are you?

- I'm in upstate New York.

- Mmm, yeah, that is terrible.

What are you doing up there?

- I got shot in the head.

- What did you say?

- I got shot in the head. But I'm okay.

I'm...

well, I'm not okay. I'm in a hospital.

But, you know, I'm not dying, so...

- You got shot in the head?

- I did.

- Well, who? Who shot you in the head?

- Just this guy. And it was a potato.

- Baxter...

- It's not why I'm calling, though.

- Come on, are you on drugs? Are you?

- Yeah. Percocet, mostly.

- Mm-hmm. Would you call me back when you're lucid?

- No, no, Annie. Don't hang up.

- Come on, Baxter... - The doctors

will not let me leave.

And Mom and Dad are bringing me home to recuperate.

- What? - Yeah.

Mom and Dad are on their way. You got to come get me.

- Look, I'm in my pajamas and I'm 3,000 miles away.

- I can't do that. - Well, I can't go back home.

I can't go back home by myself.

- All right. Um...

I'm going to help you out,

but I'm just... I need a day to sort a few things out.

I'm in a really weird place right now.

- Are you in a weird place, Annie?

I almost got killed by a potato.

- Would you just relax? I'm sending you a plane ticket.

You can come and stay with me.

- No, no, I can't fly, Annie.

- So tell them you can't go.

Just stand up to them, Baxter.

- When have I ever done that?

No answer, right? Because I've never done it.

Thanks a lot, Annie.

- The point is, I call in a favor.

I line up this guy from "Esquire."

And you decide to nail him?

- No, I didn't decide it. Just... it happened.

- That's the problem, Annie.

These things shouldn't just happened.

- I know. - You could get away with this

a few years ago, okay?

Everybody likes a little shoplifting with their starlet.

A little DUI here and again.

It's kind of cute.

- Come on, I stopped that. Done.

- Yes, there was a nice lull in the middle years, you know?

Nice and quiet.

But things are starting to get a little loopy again.

You know? And I know the good offers aren't coming in.

But you can't panic about it.

- I can get back on track.

I can, Sally.

- I don't think you can.

You know, you have the impulse control of a 2-year-old.

Look...

Were you drinking again?

- No.

- Listen, if you are, I know a couple places.

I'm not drinking. I just... I need a project.

I mean, what about the start date on "Powers the Bee 3"?

Have we got that yet?

- You're going to have to talk to Gordon about that.

- Why?

- Why? Because he's your agent.

I think you should hear it from him.

- Hear what? - Oh, God.

- What?

- They offered "Lady Lightning" to Alison Cane.

- Okay. - Mm-hmm.

- Well, that's a bummer.

- Come on, Annie. Look at this as a good thing.

You don't have to wear that ridiculous costume anymore.

- I love that costume.

- Ugh! We'll get you a better one.

In the meantime,

I think you need to take a step back.

I think you just have to have a real sit-down with yourself.

- I don't even know what that means.

-♪ Bad world♪

♪ It's unforgiving♪

♪ Kill all parents so you can keep living ♪

♪ Kill all parents ♪

♪ So you can keep living ♪

♪ Kill them, kill them, kill them dead ♪

Thank you. Thank you. Thank you.

That was a song I wrote myself, called, "Kill All Parents."

We appreciate any donations you can spare for our dog Cornelius.

You ready?

One, two, three.

♪ Don't eat the bone ♪

♪ Don't eat the bone, it will make you sick ♪

- You guys... you guys are terrible!

- Hey, man, they're trying to perform. What's your problem?

- Be quiet. Let those kids be.

- Let the kids perform. - I mean, this is... bad.

This is horrible. I'm sorry. You suck.

- No, he's right. You guys are awful.

- She knows what she's talking about.

- You should learn how to play your instruments,

not just hold them and pound them.

- We can't afford lessons.

- Oh, I'm sorry. Did I hurt your feelings?

Because I want to kill myself, it's that bad.

- You're probably killing your dog with your music.

This will be great for my documentary on crap.

- All right, keep playing, kids. Keep playing.

- Do not listen to them. - What, you like this?

You need to get your ears checked, blondie.

You like these kids?

- I hope you don't have any kids.

- I hope your uterus shriveled up!

- No, I'm not taking this. - Give me the camera.

You have to get it. Give me the camera.

- There you go. That's the show.

That's the show.

- Oh, yeah!

- Nice.

- Oh! Oh, you were awful.

- Awful! - Awful!

- I have never heard... - Camera and the footage

all destroyed.

But I don't care! I don't care.

That was just for us. You were amazing.

I have never been prouder.

♪ Kill all the parents ♪

♪ So you can keep living ♪

♪ Kill them, kill them, kill them, kill them ♪

Yeah!

- Sorry we're late. Sorry. - You're late.

- I had a sign and everything. You had to get your own bag.

Thank you for coming.

- Well, we're going to take care of you.

- Yeah. You need taking care of too?

- Yeah. - You okay?

- How's your ear?

- It's... it's better than it was yesterday.

- Oh, God. - Look at these two.

- Hey. - Welcome home.

- Look at how skinny you are. - What's with the bandages?

- Well, did you see your brother's ear?

We wanted to play along.

Oh, you look so beautiful.

- We brought you a neck brace. Look at this.

- Oh, oh, here. - Come on.

- I'm not putting that on. - Brand-new. Never been used.

- So, hey, what's the plan?

- Daddy.

- Sorry, Annie. What's the plan, Annie?

- I don't know. I'm just here for Baxter.

- Oh, we're all here for Baxter.

- Whatever Baxter needs. - This is a place of healing.

- Mm-hmm. - That's great.

- I just need someone to take me shopping.

Not a lot of great options in your closet, Dad.

- Go lighter on those pills, sweetheart.

- My ear hurts pretty bad, Mom.

- What about you?

Anything you're itching to do while you're back?

- Mm, I'm just going to take it easy.

Do a little yoga. Some reflection.

- Ooh, reflection. - Yeah.

Apparently I have some bad habits that I have to break.

- Don't do that.

Your bad habits are my favorite thing about you.

- Yeah, but I think that's part of the problem, Daddy.

- Hey, speaking of,

we saw your titty shots.

- Holy shit. - They were wonderful.

Jesus Christ.

- Hey, it's about time you started playing with the idea

of celebrity in the female form as viewed objects.

- That's not what I was doing.

- Of course it is, whether you know it or not.

You could take the girl out of the art,

but you cannot take the art out of the girl.

- Well...

I'm still an artist, Daddy.

- That's what I just said.

- Yeah, actors. Actors are artists.

- Yes. Didn't I say I like your titty shot?

- We both liked them very much.

You have beautiful breasts, sweetheart.

Okay, that's it!

Can we not talk about the titty shots anymore, please?

- And we can stop saying titty shots, everybody.

- To Fangs.

Together again.

That's how it should be.

Waited a long time for this.

- Cheers.

- Titty shots.

Titty.

- Titty. - Dad.

- Titty! - Ugh, Dad...

Ridiculous.

I was better back then.

- It was so simple. - Yeah.

- They just told us what to do.

When did it get so complicated?

- Don't you know?

- No.

- Smother Beach. Come here.

Smother Beach.

Baxter...

You never sold the urgency in this one.

Thank God your sister improvised a bit.

Your mother nearly died out there.

- Baxter was perfect.

Perfect.

- What do you got on?

- Mind your business.

- I'll make popcorn!

- Thank you.

- Got something going on upstairs, huh?

- Well, we can pick it up later.

Nobody told me it was movie night.

- Put another one on just for the hell of it.

- Oh, that's better.

- Why are we doing this?

- Because need to behave like healthy people.

It's called acting.

You know? You want to look, you act the part

before you know you are that person.

What person?

- That person who doesn't screw things up.

Which means no more Percocet for you.

No more booze for me.

- Yeah, you think you can do that?

- Oh, yeah.

I thought it was nice last night.

Looking at those old pieces sitting on the couch together.

What?

- You don't see it, do you?

- See what?

- Being seduced by your own parents,

which I think is kind of gross.

- Come on, you're ridiculous.

- Let's turn back.

Mom wants us to run some errands with her.

You think I'm being ridiculous, huh?

- Yeah. - You didn't see that?

You didn't pick up on any of that?

- No. - Come on.

- What kind of errands?

I want to do some yoga after this.

- Let's go. Let's run uphill.

You want to be that person, that person runs uphill.

Come on.

- Yeah, I'll... I'll run uphill.

- Uh-oh. - Come on!

- Ow.

- Mmm, so where are we going?

- To the amusement park.

- We're running an errand at the amusement park?

- Why are we going there?

- The Denver MCA wants me to create a new piece.

I haven't heard from them in years,

and when we realized that you'd both be home...

- Needless to say, they were very excited.

- We're doing a piece? - Annie, Annie, put this on.

- Oh. - What did I tell you?

- What is this?

- It's a shirt, honey.

And you need to wear it, or the event won't work.

- All you have to do is hand out these fake coupons, huh?

- Yeah. - For chicken sandwiches.

- And when we're doing that, Baxter will film all the people

at the counter demanding free food.

- Then I rally the angry customers,

I get them to storm the counters.

It'll be a thing of beauty.

- I don't think this is a good idea.

- It's not a good idea. - No.

- What are you talking about?

It's going to be fun, like old times.

You're going to be brilliant.

- Yeah, what about when they recognize Annie?

- We brought a disguise.

- Annie's going to wear a disguise?

- That's a good one. I can't. - That stinks, Mom.

- Baxter. - Yeah?

- Stay out of this. - Okay.

- If the tabloids get a hold of this,

it will be terrible for me. - Exactly right.

- Who cares? You shouldn't be in that business anyway.

- What? - Please don't say that.

- Well, you've been at it for 20 years.

What have you got to show for it?

A bunch of crap movies and a tampon commercial.

- Caleb, be nice. - Oh, my God, Dad.

- Was it not a tampon campaign? - It was.

- Absorb all the good things in life and leave the rest to us.

- Okay, come on. - That's a terrible tag line.

- Just trying to make a living. - I'm giving you an opportunity

- to be artists again. - Okay, we've been over this.

A and B are still artists.

- Please don't call us A and B, Mom.

- "Please don't call us artists," you mean.

- Caleb! - I'm sorry, your popcorn flicks

and Baxter's emo crap fiction is not art.

It's garbage.

- What is wrong with him?

Dad?

- Caleb, can I just say

you forget, I've seen the reviews of the masterpieces

you and Mom have been churning out.

- Don't, don't, don't, don't. - No, this...

He needs to hear this. - No, no. Annie, drop it.

- All right? Let's talk about the water balloon thing. Huh?

- Yeah. - Let's talk about

the disastrous wife-abusive piece.

- What about the epileptic and the...

- Oh, my God. The epileptic in the antique shop.

- That was distasteful, Mom. - Okay, all right, we get it.

We get it, the pieces aren't the same without you.

- We know that. - They're not.

- Oh, no, they're not. - No.

- That's why we're doing this. - Shove it!

Shove it up your ass!

We don't need you.

Your mother and I, we'll do it ourselves.

We've done it that way for years.

We're trying to be nice.

Thought you might want to feel part of it again.

But to hell with you both.

- Baxter, could you at least work the camera?

- But you still want me to film it?

- Yes, of course. - Yeah, grudgingly.

- Yeah, you're damn right it's going to be grudgingly.

- Yeah. Go ahead. - No.

- Even though it's all been shoved up my ass.

- No...

- This is horrible.

- It's really tough to watch.

- I mean, I knew he didn't like my movies,

but I had no idea that he hated them.

- What he hates is that he needs us.

Without us, their work sucks.

That's what he hates.

- I'm sorry to bother you.

- Oh, it's fine.

- Would you like me to sign... - Baxter?

Suzanne. Suzanne Crosby?

- Oh, yeah. You left a message. How's it going?

We went to high school together.

- Yeah. It's okay if you don't remember me.

- No, I do, I do, now that I'm looking at you.

- Your hair used to be... - Oh, God, yeah.

- And you had a bunch of piercings, am I right?

- Yeah, yeah. I still do have a couple.

- Oh, yeah. Yeah, yeah, yeah.

- I hope this isn't too weird.

You know, I just... I saw you, happened to be here.

So I just thought I'd say hello.

- She's got a writing class she wants me to come to.

Well, you heard. This is my sister, Annie.

- Hi. I don't mean to be pushy.

- You're not. - I just think the students

would love to hear you speak,

you being from the area and making such a name for yourself.

- Oh, I don't know about that.

- Oh, come on. - Yeah.

- Say yes. - Yeah!

- Say yes. - I'm thinking about it.

- Let me... - Come on.

- Well, you know, no pressure.

I'm easy, so just...

You have the information.

- Yeah, I'll get a hold of you.

- I'll...

it was good to see you.

- Okay. Thanks. - Good to see you.

- Good to see you too. - Bye.

- She's adorable.

- Yeah.

Oh, look alive.

They hooked one.

- That poor cashier.

She doesn't get paid enough to handle this.

- Oh, shit.

He's giving it to him.

- What is that? She's giving him a sandwich.

- She thinks it's real? - I don't know.

She thinks it's real.

Okay, see what happens.

She gave it to them.

What the hell?

What the hell is going on here? You can't rely on anybody

these days to make a proper piece of art.

Give me one of those.

- Hello.

- Hi.

- I'd like one free sandwich, please.

- Sure thing. Here you go.

- Thank you. Wait, don't I need a coupon?

- Okay.

- Now, I got this from some shady-looking characters

over by the Orange Julius.

It doesn't seem on the up and up.

- No, it's good.

- I think that's fake.

- I don't think so.

- It is, though.

I want you to look at it for two seconds;

you tell me if that's real.

- Do you want the sandwich or not?

- Let me talk to your manager.

- Sure.

Charlie, can you come over here for a second?

- Hi. What can I do for you?

- Is the manager not at work today?

- Oh, no, he is. You got him.

- That coupon is fake.

- Oh. No, it's fine, sir.

- Have you looked at it?

- I did. It's official.

- It's not official.

It does not look to be official to me.

That's a fake.

And you've handed out all these free sandwiches

for counterfeit coupons?

You're a fool, and your people are fools.

- Sir, please just take your free sandwich

and step out of line.

- I wouldn't eat that shit sandwich if you paid me.

- Okay, sir, I will call the police.

- You have the tiniest responsibility.

You just have to do your job. I do the rest.

All you have to do is let that thing happen.

What is wrong with people these days?

I do the work, you get to witness the beauty.

That's all you had to... Stop that!

You don't record me. I record you.

This is supposed to be art.

Not some YouTube video.

- Honey, let's just leave.

- Didn't I say this would happen?

You thought they'd solve everything.

They've only made things worse.

- You did this. Hey!

Hey!

You! You did this!

- Okay, honey, let's go.

- I think they're losing it.

- Their artistic sensibility?

- No, their minds. They're... - Yeah.

- I mean, he's always had

an odd idea of what constituted art.

But come on, that was almost silly.

Did he really think he could lead a coup on a Chicken Queen?

- I don't know.

Maybe we should have helped them.

- Help them? - Yeah.

- No, Annie, come on. Absolutely not.

- They're struggling.

We all are.

- Well, it's not the same, though.

Besides, helping them wouldn't solve anything.

It would turn us back into kids. Is that what you want?

- Hey.

Your father and I have decided to go to the Berkshires

for a few days.

- Berkshires, huh? Great.

- When? - Tonight.

- Is this because of the Chicken Queen?

- What a disaster.

- Great art's always difficult, though, right?

- What'd you say?

- I just said what you always tell us.

That great art's always difficult.

- Do me a favor.

Don't talk about things you know nothing about.

- Okay. Deal.

- I found something weird.

- That is weird.

- There's like a hundred of these in the back of my closet.

- What do you think they are?

- I don't know.

Maybe a fan sent them?

I mean, remember that lady

who sent all those teeth in the Ziploc bags?

- They're actually kind of great.

I mean, look at the detail.

- Yeah. - What are you doing?

- Nothing. - Don't look at those.

Oh, no. Shit.

No, no, no, no, no, no, no, no, no, no.

- What's wrong? - I... I don't know.

God damn it.

- Where did these paintings come from?

- They're mine.

- They're yours? - You did these?

- Yes, I did.

- Since when did you start painting, Mom?

- How do you think I got into art school?

I stopped when I met Daddy.

- So he doesn't know about these?

- Oh, good God, no.

If he ever found out that I started painting again,

that'd be such a betrayal.

- Why is this door locked?

- We're... we're talking.

- About what?

- Our feelings.

Meet me in the car.

- I want you to have these. Here, that's for you.

That's for you.

- Now, promise me that if I die before your father,

you'll get rid of all the others.

So let's... Let's put these back.

- They're amazing.

- Oh, they're just paintings.

- They're pretty great, Mom.

- Yeah, thank you.

- The fridge is full,

so you are welcome to whatever is in there.

- Thanks, Mom. Have fun.

- Thanks. - Give me a kiss.

- Drive safe, Dad.

- Yup. - You look after your brother.

- It's only going to be a couple of days.

- I know. - I'll be fine.

- Bye, Daddy.

- Stay out of our room.

- Will do.

- Why is she crying?

- She always cries at good-byes.

-♪ I pawned everything ♪

♪ That I had this morning ♪

- You know, as awkward as yesterday was,

I really think I've cleared a hurdle.

- Oh, yeah? - Yeah.

I was thinking about what...

What that stupid "Esquire" guy said.

That every time I make a... I don't know,

make a mess of things,

I'm just doing exactly what child A always did.

But when I think about, it pissed me off that he was...

- That he was right on the money, right?

- Exactly, Baxter.

He was right on the money.

And yesterday I didn't do that.

Mm-mm, child A stood up to them.

- And that's thanks to child B, right?

- Yeah.

We're helping each other.

We're breaking old patterns.

- Like a couple of Dr. Phils.

We're getting better.

Come on, I haven't had a drink.

You haven't had a pill.

- Well, oops.

- Baxter. - My ear hurt.

- Anyway, but something's working.

- You know? - Mm-hmm.

- And when Mom and Dad realize that we're not kids anymore,

which they have to do,

we could have a healthy family.

Healthy life.

Do healthy things together.

Take a trip.

Grand Canyon.

In a Winnebago.

- Sounds terrible.

- Well, I'm just spitballing.

Come on, don't bring me down.

- Good morning, ma'am.

Would you mind coming down to the station?

There's a situation we'd like to talk to you about.

- Now, the car that is registered to your parents

was found at a rest stop on route 22

just before the Massachusetts border.

They were not with the car,

but there were, I'm afraid, signs of a struggle,

and quite a bit of blood.

- We checked the security cameras

and interviewed employees at the surrounding locations.

But we've been unable to come up with anything conclusive

at this point.

- All signs indicate that your parents

are currently missing,

and we have to suspect foul play.

- I'm sorry, sheriff.

This is... our parents aren't missing.

They're artists. It's all a performance.

- We know all about their art things.

But the fact is, they're missing from a car

that they were driving, and it's covered in blood.

- This is so stupid.

- Ma'am, there have been four rest stop abductions

in the last nine months, all along route 22,

and all ending in homicides.

- Hang on.

Really?

- That's not what this is.

- Well, let's hope not.

- Let's hope not. But the crime scene photos

do show some startling similarities to the other cases.

- Would it be possible for me to have a look at that?

- Did you say four in the last nine months?

And this would be the fifth or the fourth?

- Jesus Christ. Let me see that.

- It's fake. Fake blood. This is what they...

- Can I see it? - This is what they use

in a lot of their performances.

- The lab will let us know if that is the case.

- You think they're dead, right?

- We don't know that, but...

it is a possible scenario, yes.

- Our parents are probably hiding somewhere now,

laughing themselves silly.

And as soon as you say they're dead,

they're going to pop up resurrected.

- It takes seven years to pronounce someone dead

without a body in this state.

Are they going to wait seven years?

- Here's another one.

"College student latest victim

in a string of rest stop murders."

- Mm-hmm. They knew about the murders.

- They built the entire piece around them.

And do you know why they did it?

Because we wouldn't do the Chicken Queen thing.

We're being punished.

- "Local man found in IHOP Dumpster."

- Oh, place of healing my ass.

Staging their own death.

- Annie, don't do that.

- Oh, God. You're right, you're right.

What am I doing?

I'm slipping back.

And you want to know something?

This is all Caleb.

All Caleb.

That's why Mom was crying when she left.

She didn't want to go.

Why else would she leave

those paintings for us to find?

- Well, she didn't. He hid them.

- From him. She wasn't hiding them from us.

They were in my closet.

She wants us to know that she's her own artist.

Right?

She doesn't want to do his art anymore.

Same as us. She is... She is being forced into it,

just as we are.

We're all being forced into this crap.

- And what if he isn't doing that?

What if this is real?

I mean, just consider it.

- Baxter, come on.

- It could be real, Annie. Come on.

- That's what he wants.

This is what he wants.

He wants us to think that they're dead.

It's pretty low, even by his standards,

but that's what he wants.

He wants child A, child B crying, doing this.

- Mm-hmm. I hope you're right.

- My... son of a bitch.

- What?

- That son of a bitch!

If this is an art piece,

then they're recording us.

And they've got cameras somewhere.

And they're trying to tape us.

Caleb?

Camille?

I know it!

Come on! Dad?

I know they're hiding somewhere.

Just waiting.

We are... we are going to bed early.

We're getting up early.

We're putting our heads together

and we're going to search for them.

And we're not going to stop until we find them.

- I can't think of anyone.

They didn't have any friends. We're their only relatives.

- Well, somebody's helping them.

- What are you doing? What is that?

- This is a corkboard.

I can't conduct an investigation without a corkboard.

- And I am pinning all this stuff to it.

Been through their address books,

through their e-mails.

And I haven't really found anything that jumps out.

- Don't you think we should let the sheriff do all this?

- No, no. The sheriff isn't looking for them.

The sheriff is looking for murderers.

- Yeah, and if we do find them and they're alive,

what then?

What do we do? Do we punish them?

- This isn't about punishment, Baxter.

This is about honesty.

This is about saying, "Enough. We're done. Cut the crap.

"No more pretending. You're not dead.

"We're not in mourning.

We're not going to play anymore."

We're going to get on with our lives.

We're going to be a real family for once.

Live a real life.

- And rent a Winnebago. You know?

- Are you making fun of me?

- No.

- I'm doing this for us.

For all of us.

You understand that, right?

- Okay.

Are you hungry?

- No. I have to stay focused.

Watch a few of these.

Stay focused.

- I do not feel comfortable doing this.

- And it's just a bad idea. - Have you heard,

"The show must go on"?

Well, that is what happens when the leading man

crashes his car into a tree on opening night.

- I have to stage manage. - Baxter.

Coby is in the hospital with a broken collarbone.

This is my final performance of my senior year.

- There are kissing scenes.

- I'm an actor. I won't be kissing you.

- Yes, you will. - I'll be kissing Romeo.

- Played by your brother.

- I just heard about what happened to Coby Reed.

- We got a packed auditorium. - It's okay.

Baxter's going to step in.

Miss Delano, are you familiar with the plot of this play?

- Baxter knows the lines, Joe. Without him,

we don't have a play. - Yeah, well,

with him we have incest.

All right, very well.

We will do this play.

There will be no kissing.

- It's "Romeo and Juliet."

- That's the deal, Miss Fang.

- You're going to be great. Go get dressed.

- Though grant for prayers' sake.

- Then move not, while my prayer's effect I take.

Thus from my lips, by thine, my sin is purged.

Then have my lips the sin that they have took.

- Sin from thy lips?

Give me my sin again.

- You kiss by the book.

People are laughing because of you.

You are ruining...

Good evening to my ghostly confessor.

- Romeo will thank thee, daughter,

for us both.

- No, no, no, no, no. No, no, no, no, no.

- Bravo!

Bravo!

- You know what? - I really appreciate that.

- Best Shakespeare I've ever seen.

B, I'm telling you, so good.

- It was so good. - Miss Delano.

- Get in the car. Come on.

- Quite a night, right?

- I was just fired, actually.

- What?

- Oh, it was worth it.

Tonight we did what theater should do.

- But it wasn't your fault.

- Oh, I knew what I was getting into.

I told your parents when we were preparing this thing

that the best art always leaves scorched earth

in its wake.

Scorched earth.

- What do you mean?

When we were preparing this thing?

- Your parents didn't tell you?

It was their idea.

But I was honored to be a part of it.

You might not believe it, but I studied at my university.

I studied in the experimental theater wing.

So your parents are just two of the most important

avant-garde artists of our time.

Of course, I helped them.

- Well, what about Coby Reed?

How'd you know he'd just crash his car?

- Oh, your parents took care of him.

No, no, no, no. Goodness, no.

They paid him $500 to drop out of the play.

The crash was just bad luck.

- Why would they do all that?

- For art, darling.

For art.

- We're such cattle, you know?

People need to be shaken up, snapped out of it,

look around, see things in a new way.

That's what we try to do in our work,

because if you shake something up hard enough,

it gets transformed.

- It's not really about what we do.

It's what they do. - Yeah.

- The people watching. Our work has an effect on them,

because we wake them up.

We bring them back to life. - Mm-hmm.

It's a resurrection.

- And not a reflection of the human condition?

- No. You know it's not.

Who wants to see a reflection of the human condition?

I suppose that happens when our pieces

are shown in galleries.

"Oh, look what they did. Look how people responded.

It's so human and wonderful."

But that's not the art.

To me, by then, you know, it's over.

- Yeah, we really only do gallery shows to get grants.

- Mm-hmm.

The art is in the actual moment, as it's happening.

Real people really responding.

The actual human condition,

not some artist's version of it.

- But isn't that just life?

- Yes, exactly.

Not a reflection of life, but life itself.

Art and life, life and art. We make them interchangeable.

And both are enriched because of it.

- Do you think other art can do that?

- No. What, painting?

Photography? That's the opposite.

That's death.

Art happens when things move around,

not when you freeze them in a block of ice.

That was art.

- You're crazy.

- This is not.

See?

- Cheers. - Right?

- That's right.

- Did I surprise you? - You surprised me.

You always do, don't you?

- Anyway, that's what I mean.

- Hey, Baxter? - Yeah?

- The "Romeo and Juliet" thing.

That was when it all stopped being simple, isn't it?

- Well, isn't that when you left?

- No. I left because I went to college.

Hey, why are you getting dressed up?

- I want to look the part.

- What part?

- The part of someone who gets up in front of a class

and isn't completely petrified by it.

- You're going? - Yeah. Is that wrong?

- I just think it's a little strange.

I mean, come on. Making public appearances

when your parents are missing?

- Well, I need the distraction.

- Oh, Baxter.

Well, then I want to go. I want to hear you speak.

- I'm not really going to be speaking.

I'm just going to be answering their questions.

- I don't care. I want to go.

- All right.

I don't want you jumping in, though, okay?

They just... they want to hear from me.

- I won't say a word.

- Good. What do you think?

- What do I think?

I don't know. Lose the ear thing.

- Well, it's there for medical reasons, but...

- I think it looks a bit...

- Like I've been hurt.

- Distracting.

They won't listen to your...

- It's not working with this or this, right?

- Because this is pretty tight. - Just lose the ear thing.

- So, this is Baxter Fang,

author of "House of Swans,"

which was nominated for the coveted Golden Quill Award.

His second novel, "The Underground" was,

befitting a second novel,

a more complex and divisive book.

- That's fair.

He's going to talk to us today

about the creative process.

Baxter, take it away.

- Okay.

Do they want to do just questions?

I can... let me present...

I'll present to you the how I work.

I'll tell you how I write.

I write by computer. I do it all on computer.

And...

and I...

I chew gum.

I find that very helpful.

- Maybe you could speak in more general terms.

You know, like what drives you to put pen to paper.

A little more general, generally?

- A little more general terms? - Yeah.

Good, good.

Let's see.

Sometimes I get horrible thoughts in my head.

You guys ever get horrible thoughts in your head?

You know, I can't get them out,

so it helps me to write them down.

Uh, when I was a kid I thought a lot about this one...

I mean, I thought about what would happen

if my parents died.

And, um...

and I couldn't get it out of my head.

Can't. Couldn't.

Can't. And...

and you don't want to think about it.

But if you do get stuck with it,

I suggest you write it down.

That's what I did.

I've...

well, my sister and I don't have relatives.

So in my story, we get... We get taken to an orphanage.

And this orphanage is run by this woman.

And she mistreats all these kids.

She's very harsh to them.

And my sister and I, we... we put up with...

With all the... The harsh treatment for months.

And then we figure out a way to escape.

One night, under cover of darkness,

we go through this incinerator chute.

We get out the bottom of the chute,

and we scoot off across this field of beets.

I had it as a field of beets.

Anyway, so this is a field of beets.

And we're running across it and running across.

We're looking over our shoulder, and all is good.

We make it, we get to the other side,

and there's this peaceful forest.

And we go into this forest. And it's...

We think that all the hardship is behind us.

But then suddenly a sack goes over our heads.

And we're taken away into this underground, like, lair.

And there's all these other kidnapped kids in there.

And another chapter of misery would kind of start from there.

I don't have that part yet. But... anyway.

Anybody ever have terrible thoughts like that?

- I do. - Do you.

- All the time.

- Just write them down.

It's helpful for me, at least.

You know, if I can't get it out of my head, I just...

I write them down.

Even if they're super weird, I can control them

and I can... I can...

I can just... you know, I can control my world,

you know, with writing.

That's what writing is for me.

Just...

- You have five new messages.

First new message.

- Hi, this is Anne Amotta from...

- Second new message.

- This is WMAC in Albany.

We were hoping to schedule an interview in regards...

- Third new message.

- Hey, this is Eddie Sanchez...

- Fourth new message.

- Hey, this is Sheriff Hale.

I said I'd call when the blood results came back.

I'm afraid that the blood at the scene

does match your dad's DNA profile.

So it is real,

which obviously none of us wanted.

But it does mean that we have a serious situation here.

So we'll need to dig a bit deeper into the investigation,

as we discussed.

I'd appreciate a call back. Thank you.

- That doesn't mean anything.

Caleb's done crazier things than draw his own blood.

You know that.

- Good night.

- Baxter!

I think I found something!

You were wrong.

You were wrong when you said

that they didn't have any friends.

You forgot about Hobart.

- Who's that?

- Hobart Waxman. Their mentor.

If they told anyone about their disappearance,

they would have told Hobart.

- Can we talk about this tomorrow?

Because I'm right in the middle of this.

- The middle of what? - I'm writing my book. I just...

I've thought of something really good, and I'm...

- Oh, wow. That's exciting.

- I'm excited about it.

- So, what are we going to do about Hobart?

- He's got to be dead, or pretty close to it.

- Then we'd better find him soon.

- Annie... - Come on.

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

Don't do this to me. Don't make me do it by myself.

You promised. You promised that we'd help each other.

- The first year I was in Hobart's class,

we went to see a piece by the artist Chris Burdon,

whose work Hobart did not care for.

- Chris Burdon's a hack. A complete and utter fraud.

- So we're at Burdon's gallery,

and he tell us he's going to be shot today.

Sure enough, an assistant pulls out a gun and shoots him

in the arm.

I was shocked. I thought it was thrilling.

And I made the mistake of saying so in class.

So Hobart turns on me and he says...

- It's horseshit!

Art should never happen in a controlled environment.

That's not art. I don't know what it is.

Taxidermy.

I mean, who the hell cares

if you let somebody come and shoot you

in a goddamn galley?

There's no danger. There's no... no surprise.

No, it needs to take place in the world,

around people who just don't know that it's art.

That's the way it has to be.

- He was so disappointed in me.

I had to make it up to him somehow.

- Caleb and I were dating,

and he asked me if I could run a camera.

- So we hunkered down in a classroom

on the fifth floor of the History Building

with a window that overlooked the courtyard.

And we waited for Hobart to pass by.

-♪ Honey'd sweet apples ♪

♪ They're rotting away ♪

♪ Millions of people ♪

♪ Never start in the race ♪

♪ There's stuff on our plates ♪

♪ That has not been alive ♪

♪ Someone pays full price ♪

♪ For my cheap flight life ♪

♪ Sunshine ♪

- He shot me with a crossbow.

I... I shot him

with a crossbow.

- He almost used a rifle.

And thank God you didn't.

- No, he knew it was going to happen.

He just didn't know when.

- There was a card in my pocket

that said I'd been wounded by a friend.

There was chaos, screaming, blood,

silence.

I remember lying there thinking,

"This is so beautiful."

- He... he refused to give them my name.

Whoa!

- He's a good guy. - Yeah, he's all right.

Hobart. - Hobart.

You fat fuck.

-♪ Sunshine ♪

♪ We all see ♪

♪ The same sky ♪

- Wow.

It doesn't look like there's anybody here.

So, what now?

- Even better.

Let's find an open door, search the house.

- Hang on. What are you talking about?

- Come on, let's split up. Quick!

- We're just going to break in? - Yeah.

- Annie... - Come on.

- Don't move, honey! - Oh!

- I'll put a hole in your boyfriend.

- He's got a gun.

- Take it easy, Hobart.

You... you know us.

Annie. Annie Fang.

- Holy shit.

Is this Baxter?

- Yeah. Baxter. Baxter Fang.

I'll be damned!

- So can you take the gun out of my back now, please?

- Oh, hell, I don't have a gun.

Just my finger.

- Oh. - Bang, bang.

- You got me.

- Annie, I haven't seen you since you were a little thing.

I watched all your movies, though.

And you too, Baxter.

Those books are terrific.

- Thank you.

- Well, not that second one.

That was... - Not for you?

- But the first one, that was very good.

- Thank you. Yeah, the second one...

The second one was... That was a challenge.

Third one's going to be good, though.

So I read about your parents.

Awful story.

Think they're really dead?

- I think it's very possible. - No, no, no. I don't.

I think you're helping them.

- Is that why you're here?

- You're the only one who believes in them enough

to not tell anyone else, so...

They love you.

They most certainly do not.

We had a falling out years ago.

- Really? - Is that right?

- Mm-hmm.

- Really? - Yeah.

- Well, what was it about?

It's not my place to say.

Can I offer you a little advice?

- Sure.

- Stop looking for them.

It was a bad idea, tangling up family and art.

It...

But maybe you're free of that now.

You need to stop thinking of this as a slight

and start thinking of it as a gift.

Yeah.

A gift.

I know I shouldn't.

- What is this?

- They were lost after you left.

The work suffered terribly.

So a few years back,

I offered to finance a documentary on them,

to celebrate what you'd all done.

But also to close that chapter

so they could move on to something new.

- A documentary.

- Yeah. It was a... It was a terrible idea.

We never released it, obviously.

But you asked about the falling out.

- Tell me, did you ever think that what you were doing

might have an adverse affect on the children?

- No. Children are amazingly resilient.

- When my cousin Jeffrey was 2, he got stuck in a well

for three days.

And now he's got a family and he sells vinyl siding.

So there you go.

- And when did you decide

that you wanted to use them in the work?

- "A" was a baby.

And, to be honest, after she was born I was...

Well, I was miserable.

I thought, "This is the end of our life."

- As artists. - Obviously as artists,

because... and I've heard this over again,

children kill art.

They just do. You have them,

and the passion you had for creative expression

becomes secondary.

- Some people believe that.

- I went into a terrible funk,

but then the most wonderful thing happened.

Near Christmas, we took the baby to see Santa at the mall.

- It was my idea. I thought it'd be cute.

- We grabbed the camera. We go down there.

And I put A on this rancid hobo's lap.

And she, of course, screams, but in a way I'd never heard.

It was like something conjured by the dark arts,

like a horde of demons were going to fly out of her mouth.

And poor Santa's trying to shake her loose.

The elves go running for the break room.

Families grab their children, run from the line.

It was pandemonium,

and an epiphany for me.

I thought, children don't have to kill art.

Not if they are the art.

For the first time I thought,

"Hey...

I think I want kids."

- Jesus.

Don't say that. - It's true.

- Um, you know, I don't want that in there.

- Why? - I want that whole

last section cut. - Why? That was great.

- What he said about the kids. - That was great stuff.

- No, Hobart, no.

- What? But... - No, if you put that in there,

I swear I'm not coming back.

- Come on, where are you going? - I'm done with this.

No, not unless you promise me.

- If we're going to tell the story

don't we have to tell the real story?

- Baxter. - Hmm?

- I know how to find them.

- Annie, it's late. Go to bed.

- No, no, no, no. Mom's paintings.

We do this gallery show.

We call it "The Hidden Art of Camille Fang,"

and we promote it like a memorial,

and then Caleb will come out of hiding.

He will be incensed. He will rail against it.

What do you think of that? What do you think?

- Please, come on. I think you're drunk. Come on.

- I'm not drunk. - I can smell it.

- No, I've had a drink. I'm not drunk.

- Turn off that goddamn light right now and go to bed, Annie.

Stop watching that fucking documentary.

- I have a friend who has a gallery.

- You sound like an idiot. I'm finished with this.

I'm all done.

I'm done helping you with this search.

I'm done with the road trips and the corkboard.

I'm doing all this because I'm your brother, Annie,

and I love you, and I think that you might need all this stuff

to help you get through all this stuff with Mom and Dad.

But I'm starting to think that you're just avoiding it.

- Avoiding what? - I think you're just

avoiding the truth.

Come on.

And if they're not dead,

they want everyone to think that they are,

including their own kids.

So if we find them, what difference does it make?

You can't say anything to them

to make them change who they are.

- You don't know that.

- Yes, I do. And for some reason,

you've got some crazy idea in your head

that suddenly they're going to stop being who they are.

And they're going to stop doing the things that they do,

and being the people that they are, Annie.

That they're going to suddenly become these normal parents,

and it's going to help you fix all of your... stuff.

It's just not going to happen.

We can't fix them.

We can only fix ourselves.

- Can we, though?

- Yeah.

I think we can.

And moving on is the start.

- You think they're dead, don't you?

You thought it the whole time.

- I don't know.

If they're dead, it's horrible.

But if they're not dead...

it's kind of worse.

In a lot of different ways.

So either way,

I just think they're gone, you know?

- Hi.

Find anything you like yet?

- I got my eye on a couple of things.

- Yeah?

- What's this music?

- Oh, this is... I don't know.

Something from my parents' collection.

If you like it, I can get you a deal.

- What about... What about this?

What about this instead?

- That you can have.

- Really? - Yeah.

- Annie won't mind?

- No, it's mine.

I won that.

- Even better. Even better. - I'm giving it to you.

- How do I look? - You look good.

Try it on. I bet it fits you.

- Yeah. - Come on.

- Through here. - Hang on a second.

- Hang on a second. - ♪ Kill, kill♪

♪ Kill all parents kill all parents♪

♪ Kill all parents♪

♪ Kill all parents, kill all parents♪

- Hey, Annie?

- ♪ Kill all parents so you can keep living♪

♪ Kill all parents♪

- ♪ Kill all parents♪ - Do you hear that?

- ♪ Kill all parents, kill, kill♪

- That sound familiar? - Yeah.

- ♪ Kill all parents, kill all parents♪

- Sure is.

♪ Kill all parents, kill, kill♪

"The Vengeful Virgins"?

What...

Song four.

"K.A.P. Kill All Parents."

- Is everything okay? - Let me see that.

"Kill All Parents" is a Fang song.

Annie and I sang this in a piece as kids.

Annie wrote this song.

Didn't see sing this at Central Park?

And Dad's camera was destroyed. There's no footage.

- Yeah. - The only way they'd know

about this song is through you, me, Mom or Dad.

- "The Vengeful Virgins recently signed to Light Noise,

"a tiny indie label based in the northwest.

"Lucas and Linus Baltz of 14,

"self-taught musicians obsessed with the apocalypse

and still living in Massachusetts."

- Why am I so afraid they're going to kill us?

- They're not going to kill us.

We're just looking for information.

- Yeah, okay. You ready?

- Okay, you're looking for an address book,

lyric sheet, diary, anything that's helpful.

- Yeah. Got it.

- Remember your lines?

- I do. I got it.

- Want to run it? - No, I don't want to run it.

- Hi. Is that Linus?

- Lucas. - Mmm, Lucas.

Fifty-fifty shot.

- We're the writers from "Spin."

"Spin" magazine.

- Were you not expecting us?

- No.

- Oh, that's weird. - No?

- I'm Janet Day.

This is Pete Sanders. - I'm Pete.

- And we're here to do the profile on you and your brother

for the magazine. - Yeah.

We're supposed to do an interview.

- Usually interviews go through our manager.

- Yeah, we did that. - Sure.

- Oh, this is... - Yeah, did nobody call you?

- Strange they didn't give you a heads up.

I mean, anyway, can we come in?

Because this isn't going to get it done, so...

- Hey, there's Linus.

- Who are they? - "Spin" magazine.

They want to do a story about us.

- How's it going?

- Yeah, you might even get the cover.

- That's true. That's true. - So...

Mind if we jump in?

- Is that all right?

Just... just start talking, you know?

- What kind of guitar do you play?

- Hey, do you guys mind if I use your restroom?

- It's down the hall.

- Is that down this way? - Yeah.

- Thank you.

- Um, I got it from a catalogue.

Some cheap thing.

We don't care about instruments.

- Great. Uh...

What are your influences?

- Um, we like speed metal, I guess.

But we're not good enough to play it.

We listen to some rap.

- Cool.

Great.

And...

Tell me about the song "K.A.P."

- Um, what do you want to know?

- What made you write it?

- We just thought people should kill their parents

if they want to do anything good with their lives.

It's a stupid song, really.

- You didn't write the song, Lucas.

- Yes, we did. We wrote it.

- No, you didn't.

And I'm going to write an entire article about it

unless you tell me who did.

- Yeah. Pan down.

- Pan down on my... - Oh, oh, my God!

- Oh, God, that hurts. - Are you all right?

- Yeah, yeah. - Good, good.

- Aah!

- That's good, that's good.

That's good, that's enough.

Okay...

- Put it... put it on the steering wheel.

- All right.

- You didn't write it.

Who taught it to you?

Come on.

Who?

- I think you should go.

- Where'd you get that song?

- Hey, Annie...

- Where'd you get the song?

- Okay, we didn't write it.

But it was the first song we played,

so we put it on the album because we knew it so well.

- Of course you didn't write it. You want to know why?

I wrote the song. - What is this?

- They said they were from "Spin," Mom,

but I don't think they are.

- Go play out back, boys.

- Miss Delano?

- What the fuck?

- I said go out back.

- Where are our parents?

- Leave us alone, please.

Just let us live our lives.

- Tell us what you know about them.

- I can't. - Why not?

- A and B.

I'd like to say I'm surprised, but I'm not.

I should have known you'd find me.

- Where's Mom?

- Uh, she doesn't live here.

- Do you?

You pay attention, Caleb.

You've obviously been working on this for a very long time.

And Baxter and I,

we want to ruin it for you very badly.

We want it to explode in your face.

And that is what's going to happen

unless you tell me exactly what I want to know.

- Didn't I warn you?

Shut up!

- What the hell is this?

- That's our family.

- How long ago was this taken? Look at this.

- Seven years ago.

- Bonnie's my wife.

Really?

- It's complicated. - Yeah.

- Those boys love Caleb, so don't you ruin that.

- Stop.

- He's been a wonderful father to them.

He goes to baseball games and concerts.

And you don't need him. We do.

You can think what you want, but he dotes on the three of us.

- Stop talking!

You take us to Camille.

- Yeah, let's go see Camille.

- Yeah. - Come on, let's go.

- You take us to Camille right now.

- Okay, now give me a rag. - All right, all right.

- Oh, my God. - I can't believe

you slashed your arm like this.

- Ridiculous. - We needed the blood.

- What's Mom's fake name?

- Patty Howard.

- Does she have a fake family too?

- No.

See, Bonnie inherited this cabin up north.

Mom's been spending summers there,

getting to know people in town

so it wouldn't be suspicious when she settled there.

- So this has been in the works for a while.

- For several years, yes.

We had to be thorough.

Create new identities we could slip into

when Caleb and Camille died.

We needed social security numbers,

bank accounts, tax history.

Otherwise, it wouldn't have worked.

- It didn't work.

- Hello, Annie. Baxter.

- Hello, Patty.

Here's how this is going to go.

You're going to answer a couple of questions,

and then you're going to do what I tell you next.

Let's start at why?

- The work. Why else?

This was meant to be our defining work.

An event so large it would overshadow

everything we'd done before.

But then it became clear that you no longer saw value

in our work.

We knew we couldn't trust you with the plan.

We kept it from you.

- So you suckered in Miss Delano instead

to help you?

- We didn't sucker in anyone.

She came on willingly long ago.

Some people appreciate our work.

- He and Bonnie were to live as husband and wife

in appearance only.

And that worked for a couple of years.

But things happened.

You're adults. You know that.

- Hold on a second.

You're actually the father of those boys?

- Every piece has its own complications.

And for what it's worth,

the boys did help with the cover story.

- Wow. You actually replaced us.

- No one replaced anyone.

- You didn't want to work with us.

- Why did you put up with all this?

- The art.

Everything we've ever done is for the art.

- No, it wasn't just the art, Caleb.

You know that.

Everything I do is out of love for you.

And I made him a promise after you were born.

He wanted to leave, and I swore to him.

That if he figured out a way to be happy and still stay,

then I'd always do the same for him.

- Even sacrifice your own children?

- Don't say that. - Come on.

When push came to shove every time,

you chose him over us.

- For God's sake, you talk like I'm a monster.

We had a good life. You were happy children.

You forget how fun those pieces could be.

The thrill of leaping in... - Oh, give me a break.

- No net, not knowing what was going to happen.

You're telling me that wasn't fun?

The adventures we had.

What did other kids do? Go to the Grand Canyon.

Disney World? We did something important.

- I think I would have preferred Disney World, okay?

- If you're asking. - Yeah, and a mom and a dad.

- I've always loved you kids.

Whatever ambivalence I might have felt early on,

it turned into love.

- As long as we didn't do shitty movies

and compromise your artistic sensibilities, huh?

- What, I'm not allowed to disapprove your choices?

That's like the main thing parents do.

- What's your take on the Vengeful Virgins?

- That stupid CD, that damn song,

it nearly ruined everything.

- Promise your dad that you won't tell.

- No, we're pulling the plug. This little piece is over.

- The hell it is. - The hell it isn't.

I'm going to take this,

I'm going to go right to the press.

- You give that to me. - No.

- You're going to ruin years of work

because your feelings got hurt.

- That's right, Pop. - Come on, just be reasonable,

both of you, and just don't blow this up.

- Well, that's what we Fangs do. We blow things up.

- Look, we get it.

You think we damaged you.

Fine. My parents damaged me. Her parents damaged her.

You have kids. You're going to damage them.

That's what parents do.

So what?

I'm not a young man anymore.

This is the last big thing I'll ever make.

- Come visit once a year,

and just please don't tell.

- You want us to pretend you're dead?

Sure.

We can do that.

Come on. Give it to me.

We can do it.

- Yeah?

- Well, thank God that's over.

- Okay.

Let's go.

- You may not understand or appreciate

or value what we do, but you cannot deny

its relevance, its... Its effectiveness.

Everything we did woke you up.

Made you look at your life anew.

That's what we do for people.

That's what we've always done.

And that's a good thing.

- Yeah. Yeah, I suppose it is.

But you know what happens to those people?

- What?

- Well, they walk away.

You never see them again.

- Keep going to those baseball games.

The boys will like that.

You ready?

- I'm ready.

- Now...

imagine you're dead.

Feel yourself go numb.

Start with your fingers.

Move to your hands, your wrists,

right on up to your elbows.

Everything is dead.

If we can imagine our own deaths

but still manage to come back to life,

then it proves that we can survive anything.

- "'Don't be afraid.

"'Own the moment.

"'If you're in control,

"'then the chaos will happen around you

"'and not to you.

"Do you understand?'

"The children nodded,

"and the pit master threw open the door

"that led to the arena.

"A roar came roaring down the tunnel.

"The eager spectators were out there.

"Rachel took her brother's hand and began their walk

"to the pit.

"They knew this was their job:

"to fight the others,

"to do unspeakable acts

in order to please the adults who watched over them."

"But still, the siblings had each other,

"and the ability to imagine a better place.

"For the truly believed,

"despite all they had been through,

"that happiness was still possible.

"That somewhere in the future,

"they would escape the pit and find redemption

"in a new world.

"And this is the thought that they clung to,

"the brother and the sister,

"as they held hands

"and walked toward the arena

and finally stepped into the light."