Original subtitles

(majestic music)

(tense intriguin9 music) (seagulls calling)

(saxophone music)

- [Rresente$ With me on "AU Tlash"

is an aUisf who has sfirred controversy

wifh her worp csin9 li9bt-emitfin9 rfiodes,

orkFO si9ns as fheY are pnorvn.

Aer name is Anne Eenfon,

anrf she's jcsf been cbosen fo represent

fbe Dnifed Ctates at nerytt year's Yenice Biennale.

Che's fbe firsf rvoman from America to be so honored.

The DC bas paHicipafed in the Eiennale for 90 Years,

represenfed onlY bY men.

Aorv do Yoc feel abocf bein9 fhe firsf woman7

(Anne cbuckling)

- [Anne] if did seem a bif overdce.

- [Presenter] Ni9hf?

Welcome to "AU Tlash" Anne.

- [Anne] ThanpYoc.

- [Presenter] Yoc've been called a lan9ca9e-based aUisf.

Wbaf does fhaf mean erytactlY?

- [Anne] Well, simTIY that I cse lan9ca9e

and consfrccf ferytt as the confent of mY rvorp.

Dy ideas come oct otliferatore as moch as anVhin9 else.

In tact, I've rfeliberatelY avoided

the scbject matter of aU alfo9ether.

- [Presenter] GooldYoc talp abocf tbe ran9e

otyoorscbject maffer?

- [Anne]/'ve trierf to hif on as manY topics as possible

trom polifics to personal relationships,

some stafements have 9reaf resonance rvifh ofhers,

I've plaYed ort of cliches.

The kFO formaf is 9ood becacse / can conciselY

mahe obsewafions on almost anY topic.

There's, ofcocrse, a soU otlevelin9 eftect

rvhen all these sfafemenfs are Tresenfed eqcallY.

Co, recenflY /'ve attempted fo mahe fhem hofter,

I've also- I also frt to mape tbe statements

accessible to fhe avera9e person.

- [Presenter] Ecf will fhe avera9e person

tind yocr rvorp rfifticclt fo accepf as aU,

as opposed to drarvin9 or scclpfcre, for erytample?

- [Anne] Oh no, /- people can relate fo rvhaf / rfo

becacse fbe medicm's everywbere,

peoTle are- are drawn fo the kFO si9ns

becacse theY're familiar,

fbeY're- fbeY're in marhets, lobbies.

(faint saxophone music)

You see there's that space again.

Oh, maybe you should check the pause statement

in between the segments, okay2

- Okay, let me go tbrou9h it again.

- Okay, so these are the cboices Bob sent.

- Margaret, I don't bave the time-

- You are picking the picture tbat you like

for the announcement. (Anne chuckling)

Now look, this one shows your take-cbar9e facade.

(Anne scoriin9) - Really?

- I don't knorv, I like the other one better.

It shows your girlisb vulnerability.

- I don't have tbe time to be doin9 this.

- Dust pick one.

Anne, just pick.

(tapping on paper)

But you chose the announcement.

Anne, at least play tbe interview

I 9ave you on the way back, okay?

(footsteps receding)

You're drivin9 me crazy bere, I need some input.

But call me, tbis is going out on the air.

- [Anne] I want my art to interact

with emer9ing technolo9ies.

Tbere's a subversive element to tbis

because my subjects have notbin9 to do

with news items or the rveather.

- [Rresenter] Do you think more arfists

will use these new technologies in their art?

- [Anne] I can't answer what's in store for the future.

(explosion boomin9) (tires squealing)

(horns honking)

(tires squealing) (hubcap ratting)

(horns honkin9) (tires squealing)

Use computers for their art,

but mostly in aesthetic ways.

I've used tbem along with some of my-

(radio shuttin9 o4)

(traYic rumbling)

(door slamming) (traYic rumbling)

(wind gustin9)

(traYic rumbling)

(paper crinkling)

(traYic rumbling)

(hi9h heels tapping)

(tire thuddin9)

(traYic rumbling)

(horn honking melodically)

- Hey, you looking for a ride2

You want a ride?

It's okay, you 9et in with us.

(man shouting indistinctly)

Come on.

(men Iaughing)

(tires squealing) (horn honking melodically)

(engine rumbling)

- [Carelli] I'm gonna tell you wbat

jour fucking problem is, okay2

- [Rianetti] Hej, fuck you, Carelli.

- [Carelli] You motherfucker,

that's how you talk to me?

You turn your back on me2

"Fuck Carelli"2

Do you hear me? Huh, huh2

(glass shattering) - [Rianetti] Oh, fuck!

Antbony!

- [Carelli] Yeah, yeah, jou call Anthony.

He can't belp jou now.

- [Oreek] Don't do nothing stupid, Anthony.

(man cAin9)

(knife slashing) (man screaming)

(man gag9ing)

- [Carelli] Doodbye, Anthonj.

(9uns firing)

(running footsteps)

I tell you that would happen2

(running footsteps)

Oreek! Pinella, Dreek!

Do! (running footsteps)

Det her!

(gun firing)

Wbat the fuck is tbat? Oet her!

(9uns firing)

(bullets zingin9) (Anne 9runtin9)

(9uns firing)

(Anne 9runtin9)

Where the fuck did she come from?

(Anne groaning)

- Hey, come on.

(horn honking)

(truck born bonking)

That must be her car.

- Take me to the police.

- Don't- don't let- - úesus, what bappened to jou2

- P- police.

Úust take me to police.

- Are you sure you're gonna be all right?

I'm fine, thank you.

I'm here to reporf a murder

and tbey tried to kill me too.

- I'm Walker.

- Wbere's my witness?

Det this, she doesn't even know who this is.

- Úesus Christ.

Leo Carelli.

(cat meowing)

- Hey, Frida, come on.

Ain't you hungA, baby?

(cat meowing)

Come on kitty, I'll feed you.

(cat meowin9) (Anne sighing)

(cat meowing)

(telephone beepin9)

(cat meowing)

Tbere you go, Frida.

Tbere you go, kitty.

- Look, wbj don't you get some sleep2

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

(footsteps receding) (door closin9)

(whispering) Anne?

Anne.

Should I pop tbis in the microwave2

- Oh, why don't you gimme a couple minutes, okay?

I don't knorv tbat I really feel like pizza rigbt now.

- Okay.

- What time is?

- It's past 11 , you've been asleep for a Ion9 time.

- Bob, do me a favor.

Wben you finish with that, would you take it dorvnstairs

to the kitchen and throw it out in tbe trasb?

- I onlj wanted a bite.

I ate earlier. - Mm.

- We'll go skiing this weekend.

It'Il take jour mind oY it.

(dog barking faintly)

(dramatic stin9) (man screaming)

- You're late.

- No, I'm sick about my car.

I had a dead batteA.

I don't even rvant to go into it.

I had- I bad to call AAA, it's... angway.

The cops show? - Nope.

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

they didn't show?

- A monkey in silks is still a monkey.

You deaf2 I said no cops.

Would I fuckin9 Iie to you?

- You don't bave to curse all the time, you know?

I understand.

- Sbe's up there.

- Wbere? Wbere up there2

- Ri9ht there, top windorv.

Come on. - You ready?

- Come on.

(can opening)

(cat meowing)

- Come here, Frida.

Come on, Frida.

(cat purrin9)

(cat meowing)

(cat growling)

(doorknob rattling)

(cat meowin9) (door opening)

(cat chirping)

(cat growling)

(qoorboards creaking) (cat growling)

(qoorboards creaking)

(cat growling)

(tense music) (cat growling)

(cat screaming)

(items clattering) - Oh, shit.

I thought that was- - Shhi

- Behind us or something.

I almost had a bearf attack.

(Anne breathing shakily)

(steps creaking)

(gun firing)

(Anne whimpering)

(Anne breathing shakily)

Wrong house?

(police sirens blaring)

- Ob, shit the cops are out there.

Come on, let's go.

(eerie tense music)

Cops2 - [Pinella] Cops.

- Crime doesn't pay, buh?

- This is six xebra four requesting a wagon,

rve got four male Hispanics on a possible 11350.

- [Pinella] When are you 9onna

sbut the fuck up? - Fo9ersiryt zebra focr,

9ive os a 20.

- 4th on Indiana and Venice.

- Well, I'm afraid, Ms. Benton you don't bave a cboice.

Local police don't have tbe resources to protect you.

Your onlj option is the Federal Protection Witness pro9ram.

- For how Iong2

- Well, tbat's up to Carelli's Iawyers.

If they're smarf, and tbey are smarf,

they can hold us up for months.

- Horv many months?

- Ob, six, ei9ht, plus appeals.

Then when it's over we'll 9et you

in the FBI pro9ram for witnesses against the mob.

They'll relocate you.

You'll starf a whole new life,

rvitb a new name and everybin9.

- I don't want a new name.

- Look, you'Il bave the best.

(Anne scoriin9) - Best of wbat2

This is bullshit.

(Pauling sighing)

- Call her a hostile witness.

Det an order for protective custody.

- I hate to do that, it's a lot of trouble.

- Yeah, but it's better tban her being dead.

(eerie music)

- Where's jour bathroom?

(people chatterin9)

(door slamming)

(eerie tense music)

(people chatterin9) (hi9h heels tapping)

(eerie tense music)

(toilet flushing)

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

(Anne breatbin9 beavily)

There's a 9uy there I don't wanna

deal rvitb right now, okay?

You understand what I'm saying2

- Yeab, I've been there,

but it's gonna cost you 50 bucks.

- All I've got is, uh, is 47, how's that2

Um, I'm gonna need $6 for tbe bus, okay?

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

- Okay, so jou owe me 10.

Here. (Anne breatbin9 beavily)

- I don't know, I mean, I don't know whether

I should forget about it. - Yeah.

(oYicers chatting indistinctly)

(traYic rumbling)

- How you doing?

(brakes squealin9) (bus door hissing)

(bus rumbling)

(people chatterin9) (desk clanking)

- I want a squad car outside ber house.

I want jou to check tbe bus station.

- Yes, sir. - Train station.

And the airport.

(bus rumbling)

(somber music)

- Oh, I'm sorE Ms. Benton,

but I can't give you that mucb money

rvitbout prior notice.

See, it's almost 3:30.

If you come back tomorrow-

- How much can you 9ive me right now?

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

- That'd be fine.

(tense music)

- I'm Margaret Mason.

They're 9ood, aren't they2

This is mj 9alleA.

Are you interested in prices2

Thej starf at 20,000, the smaller pieces.

Tbe Iarger one- - I want that one.

- Okay. (tense music)

(traYic rumbling)

(distant police sirens blarin9)

- [Frankie] Can I take care of that for your, Milo?

- [Milo] Yeah, here.

Be careful with it, Frankie.

- [Frankie] I got it, okay.

- I'm sorA, Milo.

I bold no brief for Rianetti,

but this Carelli business.

We must keep our mad dogs

on a shorfer Ieash in future.

You think you can find the girl?

- Probably.

(plane propeller droning) (coins tinkling)

- Mar9aret? Yeah, it's me, Anne.

Look, you- you have to go to mj house

and- and get Frida, okay2

I can't talk to you now,

I'll tA and 9et a hold of you Later, all right?

Bje. (plane propellor droning)

- 30 hours, 30 fuckin9 bours.

- I think we sbould stop and go get some food.

- I hate Carelli, man.

I hate him.

- Aren't you bungA2

Have you ever been to In-N-Out Burger2

- There's something- there's something we

haven't thougbt of yet.

- Can't think on an emptj stomacb.

- How do rve find ber2

(born hootin9)

- Hey, Milo, wbat do you tbink?

You got a view.

You got the bay.

You got an upstairs.

You find me tbat rag,

take care of her for me,

I can get you a fucking boat.

What do jou think?

- Can you work here all right, Mr. Milo?

- Yeah, I, uh... (clearing throat)

By noon tomorrow

I need a Iist of names, addresses of her friends,

phone numbers, relatives.

I need, uh, I need a phone companj insider

to find out if anj of them received

anj long-distance phone calls.

I need three computers.

Cross-referencin9 birfh cerfificate duplicates,

social security applications.

New, last Keo dajs.

Uh... (sighing)

If I can think of anything else

I'll ask for wben I need it.

- Simple.

My man, úohn Luponi'Il get you anything you need.

Huh, úohn2 He's my larvyer.

- He got express post in that bag.

- Wbo's the heat in tbis?

- It's a prosecutor from tbe úustice Deparfment.

His name is Rauling.

- Rauling's in love with Mr. Carelli.

- Tbat's good.

Passion's a bard thing to conceal.

- "Passion's a hard thing to conceal."

(boat horn blaring)

(seagulls calling)

(boat horn blaring) (soft music)

(soR music) (dog barking faintly)

(saxophone music)

(saxopbone music continuing)

(items thudding)

(saxopbone music continuing)

(saxopbone music continuing)

- Yeah, well what about her familj?

- [Luponi]Pone livin9 that we've been able to tind.

/nferesfin9ly enoo9b, Yoc 9cys have somethin9 in common.

That's hanrfY, isn'f if7

- Yeab, maybe.

(soR music)

(saxophone music)

(music ends)

(telepbone ringin9)

Yeah2

- [Luponi]Dy client is be9innin9 fo 9ef newocs. Dr. Dilo.

- Yeah, I don't blame bim,

Mr. Avoca would like to see this cleaned up too.

I'll get her.

May take me a while.

I'll get her.

(mecbanical whirring)

(saxophone warbling)

(pu4ing air)

(saxophone warbling dissonantly)

(saxophone stops)

(somber music) (water dripping)

(distant police sirens blarin9)

(somber music)

(keys jingling)

(elevator dinging) (somber music)

- We're gonna be here all nigbt rvitb this Iipstick thing.

We really need a stron9, clean ta9Iine.

- Something like, "The ultimate driving machine"'

only, for Iipstick.

- What about jou, jou got any ideas or rvhat?

- I might have an idea.

- You gotta 9et outta my deparfment.

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

Anne Benton's probably dead.

- Oh yeah?

How come Carelli's still looking for her?

Huh2 Huh2

I've got it narrorved down to three cities.

She's eitber in Houston, Seattle,

or Washington DC.

If I know tbat, tbe mob knows it too.

- Oh, "It's visual aspects is concerned with

references exterior to the concept

as well as the concept.

Oood conceptual art is concerned witb just the concept.

The known and unknown and unknown and known

and unknown is knorvn and unknown.

That wbich is not knorvn and unknown is known and unknown

and not known and unknown,"

what the fuck am I doing2

Conceptual art happenin9s with this shit.

Little broad here.

Yeah, look at some chicks.

Hey, you're looking good, Liza, huh?

(Milo sighing)

"Protect me from what I want.

Rrotect me from wbat I want."

Tbat's one of hers.

"Protect me from what I want.

Protect me..." Oh, I 9ot you, Anne, I gotcba.

- Life's not what I'm used to,

but it's not so bad.

It's just a question of forming new habits.

They get just as automatic as the old ones.

You know, Margaret,

in a rvay, it's kind of like

being a baby and comin9 into the world.

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

Well, that's all I have to saj for now.

Don't rvorZ about me, eveEthing's 9oing to be fine.

(footsteps approacbin9)

(footsteps approacbin9)

(door closin9) (hi9h heels tapping)

(engine rumbling)

- Anne Benton!

Anne Benton!

It's her.

- [OYicer] He's got her.

Oo, find her.

(relaxed music over speakers)

- FAnnocncertAftention 9olters,

don't for9et, tbis is twofer daY,

frvo hof do9s anrf two soft rfrinps

for the Trice of one.

(water bubbling) (relaxed music)

(relaxed music) (cbildren cbattering)

(door creaking) (relaxed music)

We'll be staUin9 tbe pcftin9 contest in l5 minctes

af hole ncmber nine by the tarmer-

- Two of you get across that bridge.

- Det 9oing, run.

(relaxed music)

(Anne 9runtin9) (Milo exclaiming)

(Milo groaning)

(door creaking)

(relaxed music)

- Oh, oh, well, my goodness.

(relaxed music)

(oYicers speaking indistinctly)

(relaxed music)

(door creaking)

(relaxed music)

- [Announcer] Yocratfenfion, Tlease.

We bave a little losf 9irl af the drinp cocnfer.

- [Pauling] Doddamn, 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 a, ugb.

(somber music) (train rattling)

(train horn blaring)

(soulful saxophone music)

- Fuck. (Milo sighing)

(saxophone warblin9 sadly)

(saxophone banging Ioudly)

(saxophone banging Ioudly)

(chair clanking)

(train rumbling) (bell clangin9)

- I IeR the back door key under the mat,

you leave it tbere too.

Ah, I don't know what I did

with tbe front door key.

This place belon9s to a Ioony art collector from EI Raso.

He never comes up here,

he just ships this stu4 up from time to time

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

Water tbe plants, pick up the mail.

I'll be back in a ferv weeks,

I just gotta 9et out of tbis city for a rvhile.

Oh, tbere's a veA nice bedroom right up those stairs.

You'll be real comforfable here.

(engine revving)

- [Anne] Ai, Dar9aref.

L've had to move a9ain.

I fraveled the last frvo rfaYs, /'m tired.

An old aU feacher of mine has a place tor me to sfaY.

I can'f tellYoc rvhere I am,

bct I'll peep in foccb.

(eerie music)

(owl hooting)

Hey, Margaret.

It's me, I guess.

Ah, I haven't been able to get away

from my work these days.

Busy, busy girl.

I've been tbinking about my friends.

Thinkin9 about you.

(chainsarv roaring)

(chainsaw shutting of b

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

Our forms aren't exactly simpatico.

Who did you say were workin9 for?

- Ob, I work for Bank of America.

I need a hundred pieces for Iobbies

up and down the state here.

I really need to talk to Anne.

- For banks, Anne's stuY ain't any good.

It's too distracting, too Iiteral.

Dets in the waj of business-as-usual.

(forklirt revvin9)

You need something less threatening, more abstract.

My friend Laddie Dill, be works in concrete.

- Yeah, I- I- I used to rvork in concrete too, shoes.

Arf. (Milo cbuckling)

Fucking arfists.

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

And pay tbis.

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

You see other people out here dressed like we are, huh?

- Ho, not reallj.

Well, tben get in the fucking car.

- Okay. - Det in the fuckin9 car.

- Úust take it easy.

Milo? Have a nice day, Milo.

- [Milo] Oet in the fucking car.

(engine roaring)

(hydraulic brakes hissing)

- Wbat you looking at?

- Ob, it's a- a picture look,

see, it's the same place as there, tbe church.

- Oh Ood, it is.

Who is that?

- Uh, Deorgia O'Keefe.

- Oh, I know her.

She's the- she's the one who- rvho paints

those flowers that look like 9enitalia, rigbt?

(both chuckling) - That's it, you got it.

- Ob, they're pretty tbougb, I like 'em.

- Dod, this is something else.

Must be scared riding around in this thing, no?

- Oh, why? (mimics explosion)

- Exploding?

- I kind of like it actually, yeah.

I mean, we make great time, never get stopped,

eveAbody gets out of our waj.

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

- Really? - Yeah.

- That's far away. - Well-

- Look, majbe you could do me a favor.

I got tbis envelope, maybe you can mail this

when you 9et 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 bow it is? - Yeah, yeah, I know.

Úust mail it? - Yeah.

(truck born bonking)

- Okay, I gotta 90.

- All right, tbanks a lot.

- Bje. - Take care.

- All right, you too.

(engine turning over)

- [Trucker] What the hell is that?

- I told tbat cbick I mail it for ber

wben we got to Canada.

- Oh, so we're 9onna mail this

wben we 9et to Canada, witb American stamps?

(engine rumbling)

If you used your brain like you used jour ass,

you'd be a genius.

- Fuck oY, Sparky.

(engine rumbling)

(door slamming)

(metal clanging)

(somber music)

- [Anne] Ai, Dar9aref.

If's me, I 9oess.

I don'f pnow if I can be rvith people,

I don't hnorv it I'm fit for it anYmore.

/'m cct oftnow, I'm losin9 mY connecfion.

I do have this tantasy.

There is a...there's a man in the darp,

I can see his tace.

Ae's 9ot a scag aroond my necp

and I pnow I'm 9onna die.

And nothin9 else mapes any difterence.

I realixe norv that I'm selfish

anrf I've alrvaYs been selfish and thaf's fine.

Based on a choice befrveen me anrfYoc,

it's Yoc who's 9onna 9et it.

Risfen, Dar9aret, I pnorv one thin9,

I cocld hill him, I cocld pillYoc,

I cocld hill anYone.

This time I actcallY believe I'm safe.

Po one pnows where I am

and evenfcally all this rvill be tor9otfen

and I'll be tor9often too.

(engines rumbling)

- Tell the boys, no red wine on my white sofas.

- Are you kiddin9 me or what?

I'm worried about 9oing to fucking jail,

you worried about those stupid fucking couches?

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

- Oet the fuck outta here.

Do get your hair done or something.

Det out of my fuckin9 ass.

- Boss, I was- I was thinking that-

- Boss? Now I'm a-

This fuckin9 joint is bu9ged,

I told jou a million times.

You gotta make me a boss.

How'd you like to be the fucking boss?

Boss or what?

Make me a fucking kingpin.

- Well, more bad news.

Nobodj's seen Milo since yesterdaj.

- So, where is he?

- He's in New Mexico.

See, it's on the postmark there, NM.

- I don't understand wbat's going on

with tbis guy, I'm telling you.

He's not a fuckin9 team player,

I can't put my fuckin9 finger on it.

- Let me go after ber, boss.

I'm sorA, I- I forgot.

I won't fuck up.

I'm a team player.

(Dreek chucklin9)

- What tbe fuck are you Iaughing at?

At least the kid asked to go.

- Let bim go.

- Team player, huh2

- That's right.

- Dood fucking kid.

You're gonna go. (Pinella cbuckling)

- [Pinella] I'm 9onna go. (Pinella cbuckling)

- Your wife mind if we have a cigar?

(drums beatin9) (dancers chanting)

- Hey, cowboy.

(drummin9 and chantin9 continuing)

- What you doing here, huh?

- What are you doin9 bere?

Tbat wasn't veA smarf, hub?

You takin9 oY without a word to anj of us.

You could've told me, Milo.

- Rinella. - What?

- Oet in there.

(drummin9 and chantin9 continuing)

How you get here2

You dumb assbole.

- I'm not dumb.

You're a sicko.

I've been watching you spyin9 on her.

You're supposed to kill her. (Pinella chuckling)

And you're just watching.

What are jou, some kind of perverf?

Huh? (Milo sucking teeth)

- Oh, Pinella. - [Pinella] Wbat?

(drummin9 and chantin9 continuing)

Hej, did I ever show you my Iucky gun?

The one that I do all my hits with, huh2

- Oh, no, Milo-

- Come on, awaj from tbe window, come over bere.

Come on, I'd love for you to see it.

See, bere it is, this is it.

- [Pinella] Wow, it's a bone handle.

- Yeah.

- Oee, tbat's a- that- that's a beauty, Milo.

(drummin9 and chantin9 continuing)

- Well, this is it.

(gun firing)

(body scraping against rvall)

(drummin9 and chantin9 continuing)

(Milo sighing) Shit.

Shit.

(drumming and chanting continuing in distance)

(drumming and canting)

(fire crackling)

(drummin9 and chantin9 continuing)

- These are the Renitente.

Tbey believe that to know Christ,

jou must suYer the pain of Christ.

Tbose are tbe spirit of tbe dead.

(drumming and canting) (fires roaring)

You know wbat that is?

(mechanical roarin9)

That's us.

(drumming and canting) (fires roaring)

(gun firing)

(drumming and canting) (fires roaring)

(fireworks xipping)

(drumming and canting) (fires roaring)

(drummin9 and chantin9 continuing faintly)

(qoorboard creaking)

(wood scraping)

(drumming and canting) (crowd cheering)

(fire cracklin9) (drumming and canting)

(mechanical roarin9)

(water running) (soft music)

(rvater stops)

(soR music)

(9entle 9uitar music)

(gentle guitar music continuing)

(do9 barking)

(guitar music continuing)

(eerie pulsating music)

(slow saxophone music)

(eerie pulsating music)

(slow saxophone music)

(tense music)

(bandcu4s clinking)

(Anne whimperin9) (bandcu4s clinking)

(Anne breatbin9 beavily)

(eerie music) (Anne breathing shakily)

- You know wbat I'm here to do?

I know everybin9 there is to knorv about you.

You know notbin9 about me.

All you need to know about me

is tbat I'm giving you a choice.

Either I finisb 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.

(tense music)

The choice is yours, make it.

(tense music)

- I'm gonna Live. (Anne breathing shakily)

- Do you understand2

- Yes. (Anne whimpering)

(ban9ing on door)

(drumming and canting) (crowd cheering faintly)

(tense music)

(drumming and canting) (crowd cheering faintly)

(tense music)

(drumming and canting) (crowd cheering faintly)

(tense music)

(door banging open) (tense music)

(drumming) (crowd cbeerin9 faintly)

- Wbere? (water splashing gently)

Who killed bim?

Who killed- And where's Milo?

Where is Mi-

They killed tbe fucking kid.

Thej killed that kid.

- Who's Milo2

(tapping headphones)

- I don't know.

We lost bim.

- [Reporfe$ There's never been a mafia hit

in tbe bistoA of tbis town. - Who the fuck is Milo?

(birds chirping)

(chair creaking) (birds chirping)

- Morning.

- Nah, the Iady will have a half a grapefruit,

dE whole-wheat toast, a glass of oran9e juice,

and a cup of mint tea.

- [Waitress] We don't have any mint tea.

- Uh, black tea with honey tben.

That jour fallback position.

Hey, hej, hej, I would like

a couple bamburger patties medium-rare,

green salad and a cup of black co4ee.

- All righty. - Tbanks.

You love Mexican food.

You've had six old Mustan9s in the past eight years.

You've got scars on your knees

from a 90-kart accident when you was a kid.

Ah, using tapes instead of Ietters.

Your favorite movie is "The Last Tan9o in Paris".

(chair creakin9) (Milo cbuckling)

You're allergic to a cerfain kind of cosmetics, huh2

Especially men's cologne.

(birds chirping)

No, no, no, be good.

(cup and saucer clattering)

Thank you.

(Milo slurpin9 co4ee)

Drink your tea.

- [Custome$ Oh, pretty good.

(Milo sighing)

- [Anne] Can I ask you a question?

- Sure.

- Is tbis a kidnappin9 or what?

- Well, jou could call it that.

- Well, what do you call it?

- I don't know.

- Why didn't you just kill me the waj jou killed Bob2

- Oh, I didn't kill Bob, I came on aRer tbat.

- But you would've killed him, wouldn't jou?

- Nah, I would've killed you.

(crickets chirpin9) (neon si9n buzzing)

Hey, Anne.

You know, jou're all stressed out.

It's bad for you.

Ab, don't look at me like that.

Come here a minute.

Come here.

Why don't jou...

(suitcase clickin9 open) make yourself comforfable?

Put your nightgown on?

Would you like a Coke from tbe machine or something2

We could dr- drink a Diet Coke together,

would jou like tbat?

(door slamming)

(fabric tbwackin9)

(Anne sighing)

(Milo sighing)

(faint soft music)

(bottle thudding)

(Anne sighing)

(grate scrapin9)

(matcb strikin9)

(faint soft music)

(Anne sighing)

(fire crackling)

I alwajs thought you was pretty,

but I never knew how beautiful you were.

Tbere's somethin9 I wanna say to jou.

There's something goin9 on here

that I really don't understand,

but I like it.

(Milo sighing) 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.

Ob, Ood, look at you.

Okay. (faint soft music)

You can trust me.

And I wanna be able to trust you...

because I never Ioved nobody before now.

(Milo sighing)

But I love you.

I love you...

before you was even born.

(kissing sortly)

(Milo sniYlin9)

Anne, you want some breakfast?

- No.

- You gotta eat something.

(bag xipping) - I'm not hungE.

- Oh, come on, jou'll get sometbin9 Later on the road.

(suitcases clatterin9)

Anne...you better cbeer up.

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

All tbe rules bave cbanged like that,

the sun is blue now and the moon is red,

and the- tbe sky is green and the- the sea is pink.

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

- Not only are you a murderer and a rapist,

but you're a pompous fuckin9 assbole.

- A rapist? I am no rapist.

Huh, you afraid of me?

I don't blame you.

In fact, I'd 9et a lot worse from you if jou weren't.

You should be afraid of me.

- Afraid of jou2

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

Wbat, afraid of some guj so hard up

tbat he's got a kidnap a 9irl to have sex with ber?

(Anne scoriin9)

- I don't tbink you realize what I've done for you.

I can't go back now.

They're looking for me

as bard as they're looking for you,

probably harder.

You know, tbey wanna kill us both.

Look, I'm- I'm not so hot at feelings, you know2

Majbe you could, jou know...

(Milo sighing) teach me?

You think that you could do that, Anne?

Could, uh...teach me?

- You are slow Iearners, gentlemen.

Either you sorf this out quickly

or you are no longer welcome in my bouse.

(clock cbiming)

- Lino, I'm afraid tbe situation

is a little more complicated than that.

Seems tbat our friend Mr. Milo

has leR the family circle,

and I tbink he's taken tbis girl Anne Benton with him.

- Okay, 9entlemen, come on, let's go.

(sboes squeaking)

- This guy Milo is a professional.

We don't even have his prints.

(Pauling sighing)

Hitman don't run oY of their victims.

(slow guitar music)

(birds squawkin9)

(slow guitar music)

(crickets chirpin9)

(slow guitar music)

- I can't believe you brougbt tbis.

Wbat, did jou go througb all of my drawers, buh?

- I bet you would look nice in tbem.

- Is tbat what this is all about tben?

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

- Why not?

(Anne scoriin9)

I tbougbt it would be fun.

You did it (clearing tbroat) for tbat jerk, Bob.

Hot bad, buh?

- That was di4erent, I was in love witb Bob.

- You were not.

You saw each otber once or twice a week

when you could pencil each otber in.

That's, uh, (clapping) not love, honey, no.

- Ob, yeah?

What do jou knorv, you don't know wbat love is.

- No, I know.

You don't know.

You don't do anything for anjbodj.

I gave up my career for you,

I gave up my life.

(fire crackling)

Now you could do a little something for me,

you can put tbis shit on.

- Fine.

Big man rvitb a gun, huh?

- Here. Here!

Hey, not in tbere, here, 90 on.

- Oh, fine, no problem, I can do that for you, huh.

You want me to be a- a hooker, Milo?

A little "Playboy" centerfold, huh2

Vulgar little tarf?

Is that wbat you want?

- Oh, that rvould be nice.

Uh, slow, ub.

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

They have no imagination.

You bave no imagination.

- Oh, I do have ima9ination,

I can tbink of lots of things.

In fact, I'm...I'm thinkin9 of a ferv of 'em right norv.

- Kinda like last nigbt, huh2

Rigbt on top of me, you came in two minutes.

U9h, that was quite imaginative, Milo, mm-mm-mm.

(Anne cbuckling)

You like this?

(sort tense music)

You really like this, don't you?

(Anne chuckling softly) Mm-bmm.

I know. (Anne chuckling softly)

Why don't I tie you up? Tbat'd be exciting.

In fact, jou sbould just give me your gun, I'd like tbat.

- Maybe, uh, when we knorv eacb other better.

- Chicken.

(sort tense music) (Anne chuckling softly)

Hey, uh-uh.

You said slower.

(Milo pantin9)

(both laughing) (saxophone music)

(Milo Iaughing) (saxophone music)

(faint soft music)

(door opening)

- I thought you were gonna get me jeans?

Thanks, Milo.

(plane rumbling)

(paper crinkling)

(faint soft music)

(Anne Iaugbing)

(Anne Iaughing Ioudly)

(car rumblin9) Milo2

Milo2 - What- what2

- Wbat's it like?

- [Milo] What's what like?

- Wbat's like being a hitman?

- 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 eveEthing 9oes okay.

- Come on, you don't feel an2hing?

- Let me put it to you this rvay,

I don't go out rigbt aRerwards

and have a big meal or anything.

(Anne Iaughing softlj)

(plane rumbling)

(propellor whirrin9 Ioudlj)

- Listen, jou can't keep thinking that

I'm 9onna do anything you want 'cause I'm not.

You know? It's not fair, it's not right.

This is mj life, not yours.

- No, this is not your life,

this is not my life eitber.

This is our life.

(tense music)

Anne, under the table.

(gun firing) (man 9runting)

(glass shatterin9) (people screaming)

(gun firing)

(lamp shattering)

(people screaming)

Out the front door.

- What about the back door?

- Out the front, Anne.

They come in tbe back.

(gun firing)

(gun firing) (woman shouting)

(gun firing)

Hey! (tense music)

(do9 barking)

(birds chirping) (coyote howling)

(Milo sighing)

(coyote howling)

(engine rumbling) (slow guitar music)

(engine rewing) (slow guitar music)

(Anne Iaugbing)

That was no hit.

You want a bite2

- Sure. - Hmm.

- Mmm-mmm. - Mexican food.

(Anne 9i9glin9)

Lot of cars passing us.

Maybe you oughta pull over, let me drive.

- [Anne] All right.

- You done good, I'm proud of you.

(gravel crunching)

(door banging open) (Anne sighing)

- Is this yours?

(birds chirping)

- Yeab, I guess it is.

- Mmm, love it.

(Milo cbuckling)

(Milo grunting) (Anne sighin9 happily)

(birds chirping)

- Oonna go unload the car.

Look around here.

(birds chirping)

(birds chirping)

(birds chirping)

(ax tbudding)

(wood cracking)

(sheep bleating)

(mjsterious music)

(romantic saxophone music)

(sbeep bleating) (saxopbone music continuing)

(wood cracking)

(saxopbone music continuing)

- Milo! (birds chirping)

There's tbis- tbere's a 9oat or lamb or something,

it's stuck in a- in a crevice in tbe mountain.

You've gotta belp me pull it out,

it's stuck, it's gonna starve,

it's all my fault. - Where, wbere, rvhere2

- Come on. (saxopbone music continuing)

(Iamb bleating) (Milo 9runtin9)

All right, come here. (romantic music)

(Iamb bleating)

(Milo grunting)

(lamb bleating) (romantic music)

(fire cracklin9) (crickets chirpin9)

- Anne?

- Mm?

- You awake, Anne?

- Mhmm. (crickets chirpin9)

- Come on.

It's your turn. (Anne chuckling softly)

- My turn for what?

- Tell me something secret about yourself.

- Mm. - No, like sometbin9 you never

told nobodj before.

- I thou9ht you knew eveAthing about me2

- Oh, come on.

(Anne chuckling softly)

- Okay, I'll tell jou a secret

I've never told anybody before.

- Yeah? - Yeah.

It's really embarrassing.

(Anne Iaughing softlj) - Yeah, embarrassing?

- It's dis9usting. - Disgusting?

- Mm. - All rigbt.

- You know wbat food I get these horrible cravings for?

This...this is so embarrassing.

(Anne Iaughing softlj) - It's all right.

Yeah? - Well, I'll be sitting

eatin9 dinner at, like, West Beach Cafe

in Venice and- - Yeah.

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

and my half order of capellini and bay scallops

and mj 9Iass of white wine

and then...and then suddenly

I have to bave a Hostess Sno Ball.

(Anne Iaughing softlj)

(Milo Iaughing) - Wbat?

- I especially like the pink one.

(Milo Iaughing)

- Oh, Anne.

- Oood night. (Milo cbuckling)

- Oood night, Anne.

(Milo groaning) (kisses smacking)

(Anne 9i9glin9) (Milo sighing)

(crickets chirpin9)

(birds chirping) (engine revving)

(birds chirping)

(engine revving)

(engine revving) (tires squealing)

- Thank you.

I like it.

(Milo Iaughing)

(plastic crinkling)

I'm telling jou, you're really missing out, darling.

This is how you gotta eat tbese things, in courses.

First course, second course, tbird course.

- You were right.

Tbey are disgusting.

I've been thinkin9.

You know the safest place for us?

- [Anne] Where?

- Hew Yealand.

- Milo. - No, I'm- I'm serious.

New Yealand, that's the place.

Tbere's hardly any people, there's Iots of sheep,

you'll love it.

(Anne 9i9glin9)

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

gonna let us take little cruise, buh?

- Hey, I can fix it.

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

Us playing "Ma and Pa Kettle" in the farmland paradise

is really...it's not a happening option.

This pastoral stu4 is terrific,

but it's only temporaE,

we need a city to survive.

- I can do otber things besides killing people, you know.

I, uh...

I own a Iarge cbain of laundromats.

I, uh...

I could do electrical work, carpentA.

- Yeah, well, tbat's fine for you,

but wbat about me?

I mean, I need people, I need museums,

I need 9alleries, I need a cultural environment.

- Ooh, "a cultural environment."

- Yeah.

- Who's tbe pompous asshole now?

(Milo chucklin9) Wbat a load of crap.

(Anne scoriin9) - Crap?

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

I mean, tbat'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?

Wbat you know about art would fit, like, a tbimble.

- Arf is Charlie Rarker. - Oh?

- Arf is Hieronymous Boscb,

or wbatever his name is.

Now, you call yourself an artist,

but you're art don't exist

rvitbout a wall socket to plug it into.

- Oh Ood, what a moron.

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

- Yeah? - Yeah.

- Well, I 9ot an idea for you.

Wbj don't you just go right back

to tbe land of fuckin9 wall sockets.

- Maybe I will.

- Fine. - Fine.

- Well, fine, bere's the fucking keys, go on.

- I'm going.

(footsteps retreating)

(wind blorving) (trees rustling)

(engine revving)

- And take jour fucking Sno Balls with jou!

Ha! (tires squealing)

(chair thudding)

(case clattering)

(birds chirping) (engines revvin9)

(tense music)

(tense saxopbone music)

(tense music) (engine revving)

(saxophone music)

(engines rumbling) (saxopbone music continuing)

I don't feel like talking to you rigbt now.

- Milo, listen. (Anne panting)

(engines rumbling faintly)

Come on. (bell tinkling)

(tense guitar music) (engines rumbling)

(tires squealing)

(tense guitar music)

(lamb bleating) Horv'd they find us2

Who else knows about this place2

- [Milo] It was a giR from my employer.

(Anne groaning)

Okay, I admitted it, I fucked up.

(Iamb bleating) You happy now2

(gravel crunching) (tense guitar music)

- Where does this road lead to?

- It's a dead end.

(Iamb bleating)

- All rigbt, stop.

Stop, Milo.

(Iamb bleating) Stop.

(rifle cocking)

(lamb bleating) (sheep bleating)

(born hootin9)

(sheep bleating)

Oh, thank Dod.

- You know how to fly one of these things?

- What? No.

- Well, it's Iucky I do, buh?

(Milo cbuckling) Yeab.

Lucky I do.

All right, get in there.

(birds squawkin9)

(engines rumbling)

- You're all right, Milo.

- Yeah, I hope you're right.

(engines rumbling)

(belicopter powering up) Wait here a minute, han9 on.

(belicopter powering up)

(engines rumbling)

(engine revving)

You vicious son of a bitches.

(gun firing)

(brakes squealin9) (gun firing)

(engines rumbling)

(9uns firing)

(helicopter blades thumping)

(helicopter blades thumping)

- [Ounman] Don't shoot, bold your fire.

- This whole area here

used to be a city, Anasaxi Pueblo.

Thousands of families Iived bere,

it was like fuckin9 L.A.

(helicopter blades thumping)

Those cliY over there used to be the waterfront.

The Navaho saj

they're the lar9est navy in the world.

This was all under water.

Tben one day, the Rocky Mountains rose

and the ocean IeR,

but that was over 200 million years ago.

- Uh-huh. (helicopter blades thumping)

- [Milo] Oh, shit.

(tense dramatic music)

(helicopter blades thumping) (tense dramatic music)

- Milo, boney, about that fight we had,

I- I really wanna rvork this out just in case,

jou knorv. - [Milo] Ah, for9et it.

(tense dramatic music) (helicopter blades thumping)

(gun firing)

Anne. (gun firing)

(helicopter blades thumping)

(gun firing)

(tense music) (helicopter blades thumping)

(gun firing)

Ah, shit, I can't do it.

(gun firing) (tense music)

Okay. (tense music)

(explosion boomin9)

(soR music) (birds chirping)

- [Calle$ YoorbelicoTter crasberf,

ei9hf tamily members rfied.

Hilo and the 9irl escaped.

/'m sorrt, Hr. Avoca.

(quiet somber music)

(clock cbiming)

(quiet somber music)

Absalom. (quiet somber music)

(cutleA clattering)

(spoon thwacking) (quiet somber music)

(wind blorving) (matcb strikin9)

- I tbought you didn't smoke.

- I don't.

(Anne clappin9)

- What's tbe plan, Milo?

What do we do now?

- I don't tbink there's an2bin9 that we can do.

- [Anne] What do you mean?

- I think we played this out

as far as we're 9onna be allowed.

(Anne scoriin9) - AIIowed?

(Milo sighing)

- You don't know these people like I do.

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

- [Anne] Come back to tbe parfy, Milo.

You're a hitman, for Christ's sake.

- [Milo] Wbat's tbat supposed to mean?

- It means you hit people.

Hit tbem. (flj buzzin9)

- Ob, sure.

3ust hit a couple Mafia dons

and their Beverly Hills Iawjer.

Sure, yeah, why not? Yeah.

- Exactly, rvhy not2

(potteA shattering) - Leo!

- Drace, if you don't get the fuck outta here,

there's gonna be more than red wine

spilled on tbose white fucking couches.

(door slamming)

Fucking dead, I'm dead.

(whispering) Shit, fuck.

You tbink the old man knows about tbe belicopter yet?

- Presumably.

(telepbone ringin9)

I imagine that'll be Avoca now.

- Dreek, get tbat.

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

(telepbone ringin9)

- Hello? Who?

- Have you, um, have you thou9ht about

taking a vacation, Leo2

You and Orace.

I got friends in Soutb Africa.

- One minute.

It's him.

It's bim, it's Milo.

- Dimme tbat pbone.

Hello?

Milo, it's you?

Yeah, wbere are you?

Where's tbe 9irl?

- I killed her.

(traYic rumbling)

I rvanna do a deal.

- Hello, Mr. Milo, this is úohn Luponi.

Are you sure jou've killed tbis girl?

We had the impression you were fairly close.

- I may have lost it for a minute,

but not now. (traYic rumbling)

I killed ber as an act of good faith,

and I expect some consideration in return bere.

- Wbat do you want?

- I wanna talk.

- Oet bim here, get him here.

- Well, we wanna talk too, Mr. Milo.

Why don't you come on over bere,

rve were just sitting down for Iuncb,

a nice friendly lunch.

(Milo Iaughing) - No way.

I'll meet you in tbe high deserf, Lancaster.

- No, tbat's out of the question, Milo.

Uh, why don't we meet at my o4ice?

- What you think I am, stupid?

Think of some otber place, Luponi,

someplace nice, open.

- What about San Pedro?

Wbere you popped Rianetti2

The refineE?

- Tbat's good.

Do jou know where San Pedro is,

where the refineries are?

- No, I don't.

No, I don't want-

- Hey, bey, that's our last oYer, asshole,

take it or 9et fucked.

- It's easy to find Milo,

and it would be convenient for all of us.

- AIright, bring...you come Luponi and brin9 Dreek.

- Ask him when.

- Oh, yes, wbat time, Milo?

- Five hours from now.

- That's a Ion9 time, Milo.

- I 9otta get there first.

- I've got a confession of trvo murders,

four hours to get in place.

(Pauling sighing) Let's go.

- I want this fuck,

I want this fuck.

- We got him.

- Yeah, I wanna make him see red rats.

(traYic rumbling)

(tense music)

- [Mobste$ I always wondered rvhat Avoca does, oil.

(seagulls calling)

This must be the place where tbey make the concrete shoes.

(tense music)

It's Carelli's car.

- [Mobster 2] Ob yeah.

(tense music)

- Seen any heat2 - We're clean.

- All rigbt.

(tense music)

- Is eveEbody ready?

- [OYicer 2] Tive cnit readY. (radio crackling)

(tense music)

- TE not to sweat so much, Leo.

You could shorf out your wires.

- [Carelli] Where tbe tccp are fheY, bch?

- [Dreek] Boss, look.

- [Carelli] Follow tbose, Oreek.

(tense music)

(tense music) (saxophone warbling)

- [Oreek]AeY, loop af all fbese Tinp ribbons, boss.

- Yeah, jeah, that's terrific, Dreek, yeah, thanks.

(saxophone warbling) (tense music)

(saxophone warbling) (tense music)

(saxophone warbling) (tense music)

(saxophone warbling) (tense music)

(air hissing)

(saxophone warbling) (tense music)

(air hissing)

(saxophone warbling) (tense music)

(saxophone warbling) (tense music)

(metal clinking)

(air hissing)

- Be careful, Dreek.

Put it down.

Dood boy.

Liquid hydrogen.

One spark's all it takes,

whole place could go up.

- [Carelli] So2 You'd 90 up too.

- [Milo] So wbat2 Huh2

- How you been, Milo?

You looking good.

- Hey, I feel good, Oreek.

Feelin9 good.

(gun firing) (Luponi groaning)

(rifle cocking)

- Oo in there and finish it.

(alarm blaring)

- Hey, let's go. (clapping)

- [Mobster 3] Come on, let's move it, come on.

(men shouting)

- What you rvant to go do that for2

- He was gonna sboot you, Milo.

- Not Luponi.

Luponi wasn't dangerous.

These are the dan9erous ones.

- Milo, what is this sbit?

What the fuck is goin9 on?

- Duess rve're just 9onna have to

take you with us, Leo.

- Come on, boss.

Milo's all rigbt.

- What about your trig9er-happy little bitcb?

- You know wbat, I'm gonna shoot jou too.

- Fuck this. - Shoot him!

Shoot him, he's getting arvay.

- Anne, shut the fuck up.

Do. - Tbanks, Milo.

(saxophone warbling)

- What, are you gonna leave me, you fuckbeads?

(saxophone warbling)

(Milo wolf wbistling)

(saxophone warbling)

(running footsteps)

- Hej, boss, how come thej're not following us?

(explosion boomin9) (men screaming)

- Move in, men, move in.

(engines rumbling) (running footsteps)

(police sirens blaring)

(tires squealing)

(helicopter blades thumping) (men shouting)

- What tbe fuck is this sbit?

Hey, Pauling, hey motherfucker-

(engine revving)

Fuck you.

- Hr. Avoca, this is Faolin9

anrf this is a closed channel.

TheY're all dead, I'm closin9 the case.

(helicopter blades thumping)

- [O4icer 3] Come on, get your hands on the side.

(men shouting)

- [OYicer 4] Come on hands bebind jour head.

(men shouting)

(engine revving)

(tires squealing)

(tense music)

(romantic saxophone music)

(Milo Iaughing)

(soR music)

(saxophone music)

(saxopbone music continuing)

(saxopbone music continuing)

(saxopbone music continuing)

(saxopbone music continuing)

(music fading)

(majestic music)

(music ends)