All language subtitles for remembering

- [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] 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.

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.

But you chose the announcement.

Anne, at least play tbe interview

I 9ave you on the way back, okay?

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.

Use computers for their art,

but mostly in aesthetic ways.

I've used tbem along with some of my-

- Hey, you looking for a ride2

You want a ride?

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

Come on.

- [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.

- [Carelli] Doodbye, Anthonj.

I tell you that would happen2

Oreek!
Pinella, Dreek!

Do!
(running footsteps)

Det her!

Wbat the fuck is tbat?
Oet her!

Where the fuck did she come from?

- Hey, come on.

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.

- Hey, Frida, come on.

Ain't you hungA, baby?

Come on kitty, I'll feed you.

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?

(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.

- 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.

- Come here, Frida.

Come on, Frida.

- Oh, shit.

I thought that was-
- Shhi

- Behind us or something.

I almost had a bearf attack.

Wrong house?

- Ob, shit the cops are out there.

Come on, let's go.

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.

- 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.

- Where's jour bathroom?

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

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.

- How you doing?

- I want a squad car outside ber house.

I want jou to check tbe bus station.

- Yes, sir.
- Train station.

And the airport.

- 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.

- 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)

- [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.

- 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

- 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."

- 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.

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.

- 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?

"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.

- Anne Benton!

Anne Benton!

It's her.

- [OYicer] He's got her.

Oo, find her.

- FAnnocncertAftention 9olters,

don't for9et, tbis is twofer daY,

frvo hof do9s anrf two soft rfrinps

for the Trice of one.

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.

- Oh, oh, well, my goodness.

- [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.

- Fuck.
(Milo sighing)

- 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.

- [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.

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.

- 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.

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.

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.

- 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.

- Okay, I gotta 90.

- All right, tbanks a lot.

- Bje.
- Take care.

- All right, you too.

- [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?

If you used your brain
like you used jour ass,

you'd be a genius.

- Fuck oY, Sparky.

- [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.

- 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.

- 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?

- Hey, cowboy.

- 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.

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.

- Well, this is it.

(Milo sighing)
Shit.

Shit.

- These are the Renitente.

Tbey believe that to know Christ,

jou must suYer the pain of Christ.

Tbose are tbe spirit of tbe dead.

You know wbat that is?

That's us.

- 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.

The choice is yours, make it.

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

- Do you understand2

- Yes.
(Anne whimpering)

- 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

- 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?

- 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".

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

Especially men's cologne.

No, no, no, be good.

Thank you.

Drink your tea.

- [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.

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...

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?

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.

But I love you.

I love you...

before you was even born.

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.

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?

- 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.

- 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.

- This guy Milo is a professional.

We don't even have his prints.

Hitman don't run oY of their victims.

- 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?

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.

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.

You like this?

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.

Hey, uh-uh.

You said slower.

- I thought you were gonna get me jeans?

Thanks, Milo.

(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.

- 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.

Anne, under the table.

Out the front door.

- What about the back door?

- Out the front, Anne.

They come in tbe back.

Hey!
(tense music)

That was no hit.

You want a bite2

- Sure.
- Hmm.

- Mmm-mmm.
- Mexican food.

Lot of cars passing us.

Maybe you oughta pull over, let me drive.

- [Anne] All right.

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

- Is this yours?

- Yeab, I guess it is.

- Mmm, love it.

- Oonna go unload the car.

Look around here.

- 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.

All right, come here.

- 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.

- 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.

(Milo Iaughing)
- Wbat?

- I especially like the pink one.

- Oh, Anne.

- Oood night.
(Milo cbuckling)

- Oood night, Anne.

- Thank you.

I like it.

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.

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.

- 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.

- And take jour fucking
Sno Balls with jou!

Ha!
(tires squealing)

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

- Milo, listen.
(Anne panting)

Come on.
(bell tinkling)

(lamb bleating)
Horv'd they find us2

Who else knows about this place2

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

Okay, I admitted it, I fucked up.

(Iamb bleating)
You happy now2

- Where does this road lead to?

- It's a dead end.

(Iamb bleating)

- All rigbt, stop.

Stop, Milo.

(Iamb bleating)
Stop.

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.

- You're all right, Milo.

- Yeah, I hope you're right.

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

You vicious son of a bitches.

- [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.

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.

- Milo, boney, about that fight we had,

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

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

Anne.
(gun firing)

Ah, shit, I can't do it.

Okay.
(tense music)

(explosion boomin9)

- [Calle$ YoorbelicoTter crasberf,

ei9hf tamily members rfied.

Hilo and the 9irl escaped.

/'m sorrt, Hr. Avoca.

Absalom.
(quiet somber music)

- I tbought you didn't smoke.

- I don't.

- 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.

- AIIowed?

- 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.

Fucking dead, I'm dead.

(whispering)
Shit, fuck.

You tbink the old man knows
about tbe belicopter yet?

- Presumably.

I imagine that'll be Avoca now.

- Dreek, get tbat.

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

- 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.

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.

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.

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.

Let's go.

- I want this fuck,

I want this fuck.

- We got him.

- Yeah, I wanna make him see red rats.

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

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

It's Carelli's car.

- [Mobster 2] Ob yeah.

- Seen any heat2
- We're clean.

- All rigbt.

- Is eveEbody ready?

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

- 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.

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

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

- 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.

- Oo in there and finish it.

- Hey, let's go.
(clapping)

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

- 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.

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

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

- Move in, men, move in.

- What tbe fuck is this sbit?

Hey, Pauling, hey motherfucker-

Fuck you.

- Hr. Avoca, this is Faolin9

anrf this is a closed channel.

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

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

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