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(majestic music)

(tense intriguing music) (seagulls calling)

(saxophone music)

- [Presenter] With me on "Art Flash"

is an artist who has stirred controversy

with her work using light-emitting diodes,

or LED signs as they are known.

Her name is Anne Benton,

and she's just been chosen to represent

the United States at next year's Venice Biennale.

She's the first woman from America to be so honored.

The US has participated in the Biennale for 90 years,

represented only by men.

How do you feel about being the first woman?

(Anne chuckling)

- [Anne] It did seem a bit overdue.

- [Presenter] Right?

Welcome to " Art Flash" Anne.

- [Anne] Thank you.

- [Presenter] You've been called a language-based artist.

What does that mean exactly?

- [Anne] Well, simply that I use language

and construct text as the content of my work.

My ideas come out of literature as much as anything else.

In fact, I've deliberately avoided

the subject matter of art altogether.

- [Presenter] Could you talk about the range

of your subject matter?

- [Anne] I've tried to hit on as many topics as possible

from politics to personal relationships,

some statements have great resonance with others,

I've played off of cliches.

The LED format is good because I can concisely

make observations on almost any topic.

There's, of course, a sort of leveling effect

when all these statements are presented equally.

So, recently I've attempted to make them hotter,

I've also-I also try to make the statements

accessible to the average person.

- [Presenter] But will the average person

find your work difficult to accept as art,

as opposed to drawing or sculpture, for example?

- [Anne] Oh no, I-people can relate to what I do

because the medium's everywhere,

people are-are drawn to the LED signs

because they're familiar,

they're-they're in markets, lobbies.

(faint saxophone music)

You see there's that space again.

Oh, maybe you should check the pause statement

in between the segments, okay?

- Okay, let me go through it again.

- Okay, so these are the choices Bob sent.

- Margaret, I don't have the time-

- You are picking the picture that you like

for the announcement. (Anne chuckling)

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

(Anne scoffing) - Really?

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

It shows your girlish vulnerability.

- I don't have the time to be doing this.

- Just pick one.

Anne, just pick.

(tapping on paper)

But you chose the announcement.

Anne, at least play the interview

I gave you on the way back, okay?

(footsteps receding)

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

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

- [Anne] I want my art to interact

with emerging technologies.

There's a subversive element to this

because my subjects have nothing to do

with news items or the weather.

- [Presenter] Do you think more artists

will use these new technologies in their art?

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

(explosion booming) (tires squealing)

(horns honking)

(tires squealing) (hubcap ratting)

(horns honking) (tires squealing)

Use computers for their art,

but mostly in aesthetic ways.

I've used them along with some of my-

(radio shutting off)

(traffic rumbling)

(door slamming) (traffic rumbling)

(wind gusting)

(traffic rumbling)

(paper crinkling)

(traffic rumbling)

(high heels tapping)

(tire thudding)

(traffic rumbling)

(horn honking melodically)

- Hey, you looking for a ride?

You want a ride?

It's okay, you get in with us.

(man shouting indistinctly)

Come on.

(men laughing)

(tires squealing) (horn honking melodically)

(engine rumbling)

- [Carelli] I'm gonna tell you what

your fucking problem is, okay?

- [Rianetti] Hey, fuck you, Carelli.

- [Carelli] You motherfucker,

that's how you talk to me?

You turn your back on me?

"Fuck Carelli"?

Do you hear me? Huh, huh?

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

Anthony!

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

He can't help you now.

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

(man crying)

(knife slashing) (man screaming)

(man gagging)

- [Carelli] Goodbye, Anthony.

(guns firing)

(running footsteps)

I tell you that would happen?

(running footsteps)

Greek! Pinella, Greek!

Go! (running footsteps)

Get her!

(gun firing)

What the fuck is that? Get her!

(guns firing)

(bullets zinging) (Anne grunting)

(guns firing)

(Anne grunting)

Where the fuck did she come from?

(Anne groaning)

- Hey, come on.

(horn honking)

(truck horn honking)

That must be her car.

- Take me to the police.

- Don't-don't let- - Jesus, what happened to you?

- P-police.

Just take me to police.

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

I'm fine, thank you.

I'm here to report a murder

and they tried to kill me too.

- I'm Walker.

- Where's my witness?

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

- Jesus Christ.

Leo Carelli.

(cat meowing)

- Hey, Frida, come on.

Ain't you hungry, baby?

(cat meowing)

Come on kitty, I'll feed you.

(cat meowing) (Anne sighing)

(cat meowing)

(telephone beeping)

(cat meowing)

There you go, Frida.

There you go, kitty.

- Look, why don't you get some sleep?

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

(footsteps receding) (door closing)

(whispering) Anne?

Anne.

Should I pop this in the microwave?

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

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

- Okay.

- What time is?

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

- Bob, do me a favor.

When you finish with that, would you take it downstairs

to the kitchen and throw it out in the trash?

- I only wanted a bite.

I ate earlier. - Mm.

- We'll go skiing this weekend.

It'll take your mind off it.

(dog barking faintly)

(dramatic sting) (man screaming)

- You're late.

- No, I'm sick about my car.

I had a dead battery.

I don't even want to go into it.

I had-I had to call AAA, it's... anyway.

The cops show? - Nope.

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

they didn't show?

- A monkey in silks is still a monkey.

You deaf? I said no cops.

Would I fucking lie to you?

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

I understand.

- She's up there.

- Where? Where up there?

- Right there, top window.

Come on. - You ready?

- Come on.

(can opening)

(cat meowing)

- Come here, Frida.

Come on, Frida.

(cat purring)

(cat meowing)

(cat growling)

(doorknob rattling)

(cat meowing) (door opening)

(cat chirping)

(cat growling)

(floorboards creaking) (cat growling)

(floorboards creaking)

(cat growling)

(tense music) (cat growling)

(cat screaming)

(items clattering) - Oh, shit.

I thought that was- - Shh!

- Behind us or something.

I almost had a heart attack.

(Anne breathing shakily)

(steps creaking)

(gun firing)

(Anne whimpering)

(Anne breathing shakily)

Wrong house?

(police sirens blaring)

- Oh, shit the cops are out there.

Come on, let's go.

(eerie tense music)

Cops? - [Pinella] Cops.

- Crime doesn't pay, huh?

- This is six zebra four requesting a wagon,

we got four male Hispanics on a possible 11350.

- [Pinella] When are you gonna

shut the fuck up? - Roger six zebra four,

give us a 20.

- 4th on Indiana and Venice.

- Well, I'm afraid, Ms. Benton you don't have a choice.

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

Your only option is the Federal Protection Witness program.

- For how long?

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

If they're smart, and they are smart,

they can hold us up for months.

- How many months?

- Oh, six, eight, plus appeals.

Then when it's over we'll get you

in the FBI program for witnesses against the mob.

They'll relocate you.

You'll start a whole new life,

with a new name and everything.

- I don't want a new name.

- Look, you'll have the best.

(Anne scoffing) - Best of what?

This is bullshit.

(Pauling sighing)

- Call her a hostile witness.

Get an order for protective custody.

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

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

(eerie music)

- Where's your bathroom?

(people chattering)

(door slamming)

(eerie tense music)

(people chattering) (high heels tapping)

(eerie tense music)

(toilet flushing)

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

(Anne breathing heavily)

There's a guy there I don't wanna

deal with right now, okay?

You understand what I'm saying?

- Yeah, I've been there,

but it's gonna cost you 50 bucks.

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

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

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

- Okay, so you owe me 10.

Here. (Anne breathing heavily)

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

I should forget about it. - Yeah.

(officers chatting indistinctly)

(traffic rumbling)

- How you doing?

(brakes squealing) (bus door hissing)

(bus rumbling)

(people chattering) (desk clanking)

- I want a squad car outside her house.

I want you to check the bus station.

- Yes, sir. - Train station.

And the airport.

(bus rumbling)

(somber music)

- Oh, I'm sorry Ms. Benton,

but I can't give you that much money

without prior notice.

See, it's almost 3:30.

If you come back tomorrow-

- How much can you give me right now?

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

- That'd be fine.

(tense music)

- I'm Margaret Mason.

They're good, aren't they?

This is my gallery.

Are you interested in prices?

They start at 20,000, the smaller pieces.

The larger one- - I want that one.

- Okay. (tense music)

(traffic rumbling)

(distant police sirens blaring)

- [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 sorry, Milo.

I hold no brief for Rianetti,

but this Carelli business.

We must keep our mad dogs

on a shorter leash in future.

You think you can find the girl?

- Probably.

(plane propeller droning) (coins tinkling)

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

Look, you-you have to go to my house

and-and get Frida, okay?

I can't talk to you now,

I'll try and get a hold of you later, all right?

Bye. (plane propeller droning)

- 30 hours, 30 fucking hours.

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

- I hate Carelli, man.

I hate him.

- Aren't you hungry?

Have you ever been to In-N-Out Burger?

- There's something-there's something we

haven't thought of yet.

- Can't think on an empty stomach.

- How do we find her?

(horn hooting)

- Hey, Milo, what do you think?

You got a view.

You got the bay.

You got an upstairs.

You find me that rag,

take care of her for me,

I can get you a fucking boat.

What do you think?

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

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

By noon tomorrow

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

phone numbers, relatives.

I need, uh, I need a phone company insider

to find out if any of them received

any long-distance phone calls.

I need three computers.

Cross-referencing birth certificate duplicates,

social security applications.

New, last two days.

Uh... (sighing)

If I can think of anything else

I'll ask for when I need it.

- Simple.

My man, John Luponi'll get you anything you need.

Huh, John? He's my lawyer.

- He got express post in that bag.

- Who's the heat in this?

- It's a prosecutor from the Justice Department.

His name is Pauling.

- Pauling's in love with Mr. Carelli.

- That's good.

Passion's a hard thing to conceal.

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

(boat horn blaring)

(seagulls calling)

(boat horn blaring) (soft music)

(soft music) (dog barking faintly)

(saxophone music)

(saxophone music continuing)

(items thudding)

(saxophone music continuing)

(saxophone music continuing)

- Yeah, well what about her family?

- [Luponi] None living that we've been able to find.

Interestingly enough, you guys have something in common.

That's handy, isn't it?

- Yeah, maybe.

(soft music)

(saxophone music)

(music ends)

(telephone ringing)

Yeah?

- [Luponi] My client is beginning to get nervous. Mr. Milo.

- Yeah, I don't blame him,

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

I'll get her.

May take me a while.

I'll get her.

(mechanical whirring)

(saxophone warbling)

(puffing air)

(saxophone warbling dissonantly)

(saxophone stops)

(somber music) (water dripping)

(distant police sirens blaring)

(somber music)

(keys jingling)

(elevator dinging) (somber music)

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

We really need a strong, clean tagline.

- Something like, "The ultimate driving machine,"

only, for lipstick.

- What about you, you got any ideas or what?

- I might have an idea.

- You gotta get outta my department.

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?

Huh? Huh?

I've got it narrowed down to three cities.

She's either in Houston, Seattle,

or Washington DC.

If I know that, the mob knows it too.

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

references exterior to the concept

as well as the concept.

Good conceptual art is concerned with just the concept.

The known and unknown and unknown and known

and unknown is known and unknown.

That which is not known and unknown is known and unknown

and not known and unknown,"

what the fuck am I doing?

Conceptual art happenings 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.

Protect me from what I want."

That's one of hers.

"Protect me from what I want.

Protect me..." Oh, I got you, Anne, I gotcha.

- 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 way, it's kind of like

being a baby and coming into the world.

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

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

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

(footsteps approaching)

(footsteps approaching)

(door closing) (high heels tapping)

(engine rumbling)

- Anne Benton!

Anne Benton!

It's her.

- [Officer] He's got her.

Go, find her.

(relaxed music over speakers)

- [Announcer] Attention golfers,

don't forget, this is twofer day,

two hot dogs and two soft drinks

for the price of one.

(water bubbling) (relaxed music)

(relaxed music) (children chattering)

(door creaking) (relaxed music)

We'll be starting the putting contest in 15 minutes

at hole number nine by the farmer-

- Two of you get across that bridge.

- Get going, run.

(relaxed music)

(Anne grunting) (Milo exclaiming)

(Milo groaning)

(door creaking)

(relaxed music)

- Oh, oh, well, my goodness.

(relaxed music)

(officers speaking indistinctly)

(relaxed music)

(door creaking)

(relaxed music)

- [Announcer] Your attention, please.

We have a little lost girl at the drink counter.

- [Pauling] Goddamn, son of a bitch,

I can't believe this.

You guys are supposed to be the best in the world

and you can't even find a, ugh.

(somber music) (train rattling)

(train horn blaring)

(soulful saxophone music)

- Fuck. (Milo sighing)

(saxophone warbling sadly)

(saxophone banging loudly)

(saxophone banging loudly)

(chair clanking)

(train rumbling) (bell clanging)

- I left the back door key under the mat,

you leave it there too.

Ah, I don't know what I did

with the front door key.

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

He never comes up here,

he just ships this stuff up from time to time

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

Water the plants, pick up the mail.

I'll be back in a few weeks,

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

Oh, there's a very nice bedroom right up those stairs.

You'll be real comfortable here.

(engine revving)

- [Anne] Hi, Margaret.

I've had to move again.

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

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

I can't tell you where I am,

but I'll keep in touch.

(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 thinking about my friends.

Thinking about you.

(chainsaw roaring)

(chainsaw shutting off)

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

Our forms aren't exactly simpatico.

Who did you say were working for?

- Oh, I work for Bank of America.

I need a hundred pieces for lobbies

up and down the state here.

I really need to talk to Anne.

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

It's too distracting, too literal.

Gets in the way of business-as-usual.

(forklift revving)

You need something less threatening, more abstract.

My friend Laddie Dill, he works in concrete.

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

Art. (Milo chuckling)

Fucking artists.

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

And pay this.

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

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

- No, not really.

Well, then get in the fucking car.

- Okay. - Get in the fucking car.

- Just take it easy.

Milo? Have a nice day, Milo.

- [Milo] Get in the fucking car.

(engine roaring)

(hydraulic brakes hissing)

- What you looking at?

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

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

- Oh God, it is.

Who is that?

- Uh, Georgia O'Keefe.

- Oh, I know her.

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

those flowers that look like genitalia, right?

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

- Oh, they're pretty though, I like 'em.

- God, 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,

everybody gets out of our way.

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

- Really? - Yeah.

- That's far away. - Well-

- Look, maybe you could do me a favor.

I got this envelope, maybe you can mail this

when you get to Canada?

- Come on, honeycakes, let's hit it.

- It's for my ex-husband and I just don't want him

to know where I am, you know?

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

Just mail it? - Yeah.

(truck horn honking)

- Okay, I gotta go.

- All right, thanks a lot.

- Bye. - Take care.

- All right, you too.

(engine turning over)

- [Trucker] What the hell is that?

- I told that chick I mail it for her

when we got to Canada.

- Oh, so we're gonna mail this

when we get to Canada, with American stamps?

(engine rumbling)

If you used your brain like you used your ass,

you'd be a genius.

- Fuck off, Sparky.

(engine rumbling)

(door slamming)

(metal clanging)

(somber music)

- [Anne] Hi, Margaret.

It's me, I guess.

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

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

I'm cut off now, I'm losing my connection.

I do have this fantasy.

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

I can see his face.

He's got a scarf around my neck

and I know I'm gonna die.

And nothing else makes any difference.

I realize now that I'm selfish

and I've always been selfish and that's fine.

Based on a choice between me and you,

it's you who's gonna get it.

Listen, Margaret, I know one thing,

I could kill him, I could kill you,

I could kill anyone.

This time I actually believe I'm safe.

No one knows where I am

and eventually all this will be forgotten

and I'll be forgotten too.

(engines rumbling)

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

- Are you kidding me or what?

I'm worried about going to fucking jail,

you worried about those stupid fucking couches?

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

- Get the fuck outta here.

Go get your hair done or something.

Get out of my fucking ass.

- Boss, I was-I was thinking that-

- Boss? Now I'm a-

This fucking joint is bugged,

I told you 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.

Nobody's seen Milo since yesterday.

- So, where is he?

- He's in New Mexico.

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

- I don't understand what's going on

with this guy, I'm telling you.

He's not a fucking team player,

I can't put my fucking finger on it.

- Let me go after her, boss.

I'm sorry, I-I forgot.

I won't fuck up.

I'm a team player.

(Greek chuckling)

- What the fuck are you laughing at?

At least the kid asked to go.

- Let him go.

- Team player, huh?

- That's right.

- Good fucking kid.

You're gonna go. (Pinella chuckling)

- [Pinella] I'm gonna go. (Pinella chuckling)

- Your wife mind if we have a cigar?

(drums beating) (dancers chanting)

- Hey, cowboy.

(drumming and chanting continuing)

- What you doing here, huh?

- What are you doing here?

That wasn't very smart, huh?

You taking off without a word to any of us.

You could've told me, Milo.

- Pinella. - What?

- Get in there.

(drumming and chanting continuing)

How you get here?

You dumb asshole.

- I'm not dumb.

You're a sicko.

I've been watching you spying on her.

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

And you're just watching.

What are you, some kind of pervert?

Huh? (Milo sucking teeth)

- Oh, Pinella. - [Pinella] What?

(drumming and chanting continuing)

Hey, did I ever show you my lucky gun?

The one that I do all my hits with, huh?

- Oh, no, Milo-

- Come on, away from the window, come over here.

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

See, here it is, this is it.

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

- Yeah.

- Gee, that's a-that- that's a beauty, Milo.

(drumming and chanting continuing)

- Well, this is it.

(gun firing)

(body scraping against wall)

(drumming and chanting continuing)

(Milo sighing) Shit.

Shit.

(drumming and chanting continuing in distance)

(drumming and chanting)

(fire crackling)

(drumming and chanting continuing)

- These are the Penitente.

They believe that to know Christ,

you must suffer the pain of Christ.

Those are the spirit of the dead.

(drumming and chanting) (fires roaring)

You know what that is?

(mechanical roaring)

That's us.

(drumming and chanting) (fires roaring)

(gun firing)

(drumming and chanting) (fires roaring)

(fireworks zipping)

(drumming and chanting) (fires roaring)

(drumming and chanting continuing faintly)

(floorboard creaking)

(wood scraping)

(drumming and chanting) (crowd cheering)

(fire crackling) (drumming and chanting)

(mechanical roaring)

(water running) (soft music)

(water stops)

(soft music)

(gentle guitar music)

(gentle guitar music continuing)

(dog barking)

(guitar music continuing)

(eerie pulsating music)

(slow saxophone music)

(eerie pulsating music)

(slow saxophone music)

(tense music)

(handcuffs clinking)

(Anne whimpering) (handcuffs clinking)

(Anne breathing heavily)

(eerie music) (Anne breathing shakily)

- You know what I'm here to do?

I know everything there is to know about you.

You know nothing about me.

All you need to know about me

is that I'm giving you a choice.

Either I finish you now or I let you live,

and if I let you live,

your life is mine

and you belong to me.

And if you go against me in any way, I'll finish you.

(tense music)

The choice is yours, make it.

(tense music)

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

- Do you understand?

- Yes. (Anne whimpering)

(banging on door)

(drumming and chanting) (crowd cheering faintly)

(tense music)

(drumming and chanting) (crowd cheering faintly)

(tense music)

(drumming and chanting) (crowd cheering faintly)

(tense music)

(door banging open) (tense music)

(drumming) (crowd cheering faintly)

- Where? (water splashing gently)

Who killed him?

Who killed- And where's Milo?

Where is Mi-

They killed the fucking kid.

They killed that kid.

- Who's Milo?

(tapping headphones)

- I don't know.

We lost him.

- [Reporter] There's never been a mafia hit

in the history of this town. - Who the fuck is Milo?

(birds chirping)

(chair creaking) (birds chirping)

- Morning.

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

dry whole-wheat toast, a glass of orange juice,

and a cup of mint tea.

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

- Uh, black tea with honey then.

That your fallback position.

Hey, hey, hey, I would like

a couple hamburger patties medium-rare,

green salad and a cup of black coffee.

- All righty. - Thanks.

You love Mexican food.

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

You've got scars on your knees

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

Ah, using tapes instead of letters.

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

(chair creaking) (Milo chuckling)

You're allergic to a certain kind of cosmetics, huh?

Especially men's cologne.

(birds chirping)

No, no, no, be good.

(cup and saucer clattering)

Thank you.

(Milo slurping coffee)

Drink your tea.

- [Customer] Oh, pretty good.

(Milo sighing)

- [Anne] Can I ask you a question?

- Sure.

- Is this a kidnapping or what?

- Well, you could call it that.

- Well, what do you call it?

- I don't know.

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

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

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

- Nah, I would've killed you.

(crickets chirping) (neon sign buzzing)

Hey, Anne.

You know, you're all stressed out.

It's bad for you.

Ah, don't look at me like that.

Come here a minute.

Come here.

Why don't you...

(suitcase clicking open) make yourself comfortable?

Put your nightgown on?

Would you like a Coke from the machine or something?

We could dr-drink a Diet Coke together,

would you like that?

(door slamming)

(fabric thwacking)

(Anne sighing)

(Milo sighing)

(faint soft music)

(bottle thudding)

(Anne sighing)

(grate scraping)

(match striking)

(faint soft music)

(Anne sighing)

(fire crackling)

I always thought you was pretty,

but I never knew how beautiful you were.

There's something I wanna say to you.

There's something going 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.

Oh, God, look at you.

Okay. (faint soft music)

You can trust me.

And I wanna be able to trust you...

because I never loved nobody before now.

(Milo sighing)

But I love you.

I love you...

before you was even born.

(kissing softly)

(Milo sniffling)

Anne, you want some breakfast?

- No.

- You gotta eat something.

(bag zipping) - I'm not hungry.

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

(suitcases clattering)

Anne... you better cheer up.

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

All the rules have changed like that,

the sun is blue now and the moon is red,

and the-the 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 fucking asshole.

- A rapist? I am no rapist.

Huh, you afraid of me?

I don't blame you.

In fact, I'd get a lot worse from you if you weren't.

You should be afraid of me.

- Afraid of you?

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

What, afraid of some guy so hard up

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

(Anne scoffing)

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

I can't go back now.

They're looking for me

as hard as they're looking for you,

probably harder.

You know, they wanna kill us both.

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

Maybe you could, you know...

(Milo sighing) teach me?

You think that you could do that, Anne?

Could, uh... teach me?

- You are slow learners, gentlemen.

Either you sort this out quickly

or you are no longer welcome in my house.

(clock chiming)

- Lino, I'm afraid the situation

is a little more complicated than that.

Seems that our friend Mr. Milo

has left the family circle,

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

- Okay, gentlemen, come on, let's go.

(shoes squeaking)

- This guy Milo is a professional.

We don't even have his prints.

(Pauling sighing)

Hitman don't run off of their victims.

(slow guitar music)

(birds squawking)

(slow guitar music)

(crickets chirping)

(slow guitar music)

- I can't believe you brought this.

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

- I bet you would look nice in them.

- Is that what this is all about then?

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

- Why not?

(Anne scoffing)

I thought it would be fun.

You did it (clearing throat) for that jerk, Bob.

Not bad, huh?

- That was different, I was in love with Bob.

- You were not.

You saw each other once or twice a week

when you could pencil each other in.

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

- Oh, yeah?

What do you know, you don't know what love is.

- No, I know.

You don't know.

You don't do anything for anybody.

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 this shit on.

- Fine.

Big man with a gun, huh?

- Here. Here!

Hey, not in there, here, go on.

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

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

A little "Playboy" centerfold, huh?

Vulgar little tart?

Is that what you want?

- Oh, that would be nice.

Uh, slow, uh.

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

They have no imagination.

You have no imagination.

- Oh, I do have imagination,

I can think of lots of things.

In fact, I'm... I'm thinking of a few of 'em right now.

- Kinda like last night, huh?

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

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

(Anne chuckling)

You like this?

(soft tense music)

You really like this, don't you?

(Anne chuckling softly) Mm-hmm.

I know. (Anne chuckling softly)

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

In fact, you should just give me your gun, I'd like that.

- Maybe, uh, when we know each other better.

- Chicken.

(soft tense music) (Anne chuckling softly)

Hey, uh-uh.

You said slower.

(Milo panting)

(both laughing) (saxophone music)

(Milo laughing) (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 laughing)

(Anne laughing loudly)

(car rumbling) Milo?

Milo? - What-what?

- What's it like?

- [Milo] What's what like?

- What'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 everything goes okay.

- Come on, you don't feel anything?

- Let me put it to you this way,

I don't go out right afterwards

and have a big meal or anything.

(Anne laughing softly)

(plane rumbling)

(propeller whirring loudly)

- Listen, you can't keep thinking that

I'm gonna do anything you want 'cause I'm not.

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

This is my life, not yours.

- No, this is not your life,

this is not my life either.

This is our life.

(tense music)

Anne, under the table.

(gun firing) (man grunting)

(glass shattering) (people screaming)

(gun firing)

(lamp shattering)

(people screaming)

Out the front door.

- What about the back door?

- Out the front, Anne.

They come in the back.

(gun firing)

(gun firing) (woman shouting)

(gun firing)

Hey! (tense music)

(dog barking)

(birds chirping) (coyote howling)

(Milo sighing)

(coyote howling)

(engine rumbling) (slow guitar music)

(engine revving) (slow guitar music)

(Anne laughing)

That was no hit.

You want a bite?

- Sure. - Hmm.

- Mmm-mmm. - Mexican food.

(Anne giggling)

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)

- Yeah, I guess it is.

- Mmm, love it.

(Milo chuckling)

(Milo grunting) (Anne sighing happily)

(birds chirping)

- Gonna go unload the car.

Look around here.

(birds chirping)

(birds chirping)

(birds chirping)

(ax thudding)

(wood cracking)

(sheep bleating)

(mysterious music)

(romantic saxophone music)

(sheep bleating) (saxophone music continuing)

(wood cracking)

(saxophone music continuing)

- Milo! (birds chirping)

There's this-there's a goat or lamb or something,

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

You've gotta help me pull it out,

it's stuck, it's gonna starve,

it's all my fault. - Where, where, where?

- Come on. (saxophone music continuing)

(lamb bleating) (Milo grunting)

All right, come here. (romantic music)

(lamb bleating)

(Milo grunting)

(lamb bleating) (romantic music)

(fire crackling) (crickets chirping)

- Anne?

- Mm?

- You awake, Anne?

- Mhmm. (crickets chirping)

- Come on.

It's your turn. (Anne chuckling softly)

- My turn for what?

- Tell me something secret about yourself.

- Mm. - No, like something you never

told nobody before.

- I thought you knew everything about me?

- Oh, come on.

(Anne chuckling softly)

- Okay, I'll tell you a secret

I've never told anybody before.

- Yeah? - Yeah.

It's really embarrassing.

(Anne laughing softly) - Yeah, embarrassing?

- It's disgusting. - Disgusting?

- Mm. - All right.

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

This... this is so embarrassing.

(Anne laughing softly) - It's all right.

Yeah? - Well, I'll be sitting

eating dinner at, like, West Beach Cafe

in Venice and- - Yeah.

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

and my half order of capellini and bay scallops

and my glass of white wine

and then... and then suddenly

I have to have a Hostess Sno Ball.

(Anne laughing softly)

(Milo laughing) - What?

- I especially like the pink one.

(Milo laughing)

- Oh, Anne.

- Good night. (Milo chuckling)

- Good night, Anne.

(Milo groaning) (kisses smacking)

(Anne giggling) (Milo sighing)

(crickets chirping)

(birds chirping) (engine revving)

(birds chirping)

(engine revving)

(engine revving) (tires squealing)

- Thank you.

I like it.

(Milo laughing)

(plastic crinkling)

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

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

First course, second course, third course.

- You were right.

They are disgusting.

I've been thinking.

You know the safest place for us?

- [Anne] Where?

- New Zealand.

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

New Zealand, that's the place.

There's hardly any people, there's lots of sheep,

you'll love it.

(Anne giggling)

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, huh?

- 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 stuff is terrific,

but it's only temporary,

we need a city to survive.

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

I, uh...

I own a large chain of laundromats.

I, uh...

I could do electrical work, carpentry.

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

but what about me?

I mean, I need people, I need museums,

I need galleries, I need a cultural environment.

- Ooh, "a cultural environment."

- Yeah.

- Who's the pompous asshole now?

(Milo chuckling) What a load of crap.

(Anne scoffing) - Crap?

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

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

- Oh, you think you're an artist?

Let me tell you about art, baby.

- You're gonna tell me about art?

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

- Art is Charlie Parker. - Oh?

- Art is Hieronymous Bosch,

or whatever his name is.

Now, you call yourself an artist,

but you're art don't exist

without a wall socket to plug it into.

- Oh God, what a moron.

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

- Yeah? - Yeah.

- Well, I got an idea for you.

Why don't you just go right back

to the land of fucking wall sockets.

- Maybe I will.

- Fine. - Fine.

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

- I'm going.

(footsteps retreating)

(wind blowing) (trees rustling)

(engine revving)

- And take your fucking Sno Balls with you!

Ha! (tires squealing)

(chair thudding)

(case clattering)

(birds chirping) (engines revving)

(tense music)

(tense saxophone music)

(tense music) (engine revving)

(saxophone music)

(engines rumbling) (saxophone music continuing)

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

- Milo, listen. (Anne panting)

(engines rumbling faintly)

Come on. (bell tinkling)

(tense guitar music) (engines rumbling)

(tires squealing)

(tense guitar music)

(lamb bleating) How'd they find us?

Who else knows about this place?

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

(Anne groaning)

Okay, I admitted it, I fucked up.

(lamb bleating) You happy now?

(gravel crunching) (tense guitar music)

- Where does this road lead to?

- It's a dead end.

(lamb bleating)

- All right, stop.

Stop, Milo.

(lamb bleating) Stop.

(rifle cocking)

(lamb bleating) (sheep bleating)

(horn hooting)

(sheep bleating)

Oh, thank God.

- You know how to fly one of these things?

- What? No.

- Well, it's lucky I do, huh?

(Milo chuckling) Yeah.

Lucky I do.

All right, get in there.

(birds squawking)

(engines rumbling)

- You're all right, Milo.

- Yeah, I hope you're right.

(engines rumbling)

(helicopter powering up) Wait here a minute, hang on.

(helicopter powering up)

(engines rumbling)

(engine revving)

You vicious son of a bitches.

(gun firing)

(brakes squealing) (gun firing)

(engines rumbling)

(guns firing)

(helicopter blades thumping)

(helicopter blades thumping)

- [Gunman] Don't shoot, hold your fire.

- This whole area here

used to be a city, Anasazi Pueblo.

Thousands of families lived here,

it was like fucking L.A.

(helicopter blades thumping)

Those cliff over there used to be the waterfront.

The Navaho say

they're the largest navy in the world.

This was all under water.

Then one day, the Rocky Mountains rose

and the ocean left,

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, honey, about that fight we had,

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

you know. - [Milo] Ah, forget 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 booming)

(soft music) (birds chirping)

- [Caller] Your helicopter crashed,

eight family members died.

Milo and the girl escaped.

I'm sorry, Mr. Avoca.

(quiet somber music)

(clock chiming)

(quiet somber music)

Absalom. (quiet somber music)

(cutlery clattering)

(spoon thwacking) (quiet somber music)

(wind blowing) (match striking)

- I thought you didn't smoke.

- I don't.

(Anne clapping)

- What's the plan, Milo?

What do we do now?

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

- [Anne] What do you mean?

- I think we played this out

as far as we're gonna be allowed.

(Anne scoffing) - Allowed?

(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 the party, Milo.

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

- [Milo] What's that supposed to mean?

- It means you hit people.

Hit them. (fly buzzing)

- Oh, sure.

Just hit a couple Mafia dons

and their Beverly Hills lawyer.

Sure, yeah, why not? Yeah.

- Exactly, why not?

(pottery shattering) - Leo!

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

there's gonna be more than red wine

spilled on those white fucking couches.

(door slamming)

Fucking dead, I'm dead.

(whispering) Shit, fuck.

You think the old man knows about the helicopter yet?

- Presumably.

(telephone ringing)

I imagine that'll be Avoca now.

- Greek, get that.

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

(telephone ringing)

- Hello? Who?

- Have you, um, have you thought about

taking a vacation, Leo?

You and Grace.

I got friends in South Africa.

- One minute.

It's him.

It's him, it's Milo.

- Gimme that phone.

Hello?

Milo, it's you?

Yeah, where are you?

Where's the girl?

- I killed her.

(traffic rumbling)

I wanna do a deal.

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

Are you sure you've killed this girl?

We had the impression you were fairly close.

- I may have lost it for a minute,

but not now. (traffic rumbling)

I killed her as an act of good faith,

and I expect some consideration in return here.

- What do you want?

- I wanna talk.

- Get him here, get him here.

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

Why don't you come on over here,

we were just sitting down for lunch,

a nice friendly lunch.

(Milo laughing) - No way.

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

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

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

- What you think I am, stupid?

Think of some other place, Luponi,

someplace nice, open.

- What about San Pedro?

Where you popped Rianetti?

The refinery?

- That's good.

Do you know where San Pedro is,

where the refineries are?

- No, I don't.

No, I don't want-

- Hey, hey, that's our last offer, asshole,

take it or get fucked.

- It's easy to find Milo,

and it would be convenient for all of us.

- Alright, bring... you come Luponi and bring Greek.

- Ask him when.

- Oh, yes, what time, Milo?

- Five hours from now.

- That's a long time, Milo.

- I gotta get there first.

- I've got a confession of two 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.

(traffic rumbling)

(tense music)

- [Mobster] I always wondered what Avoca does, oil.

(seagulls calling)

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

(tense music)

It's Carelli's car.

- [Mobster 2] Oh yeah.

(tense music)

- Seen any heat? - We're clean.

- All right.

(tense music)

- Is everybody ready?

- [Officer 2] Five unit ready. (radio crackling)

(tense music)

- Try not to sweat so much, Leo.

You could short out your wires.

- [Carelli] Where the fuck are they, huh?

- [Greek] Boss, look.

- [Carelli] Follow those, Greek.

(tense music)

(tense music) (saxophone warbling)

- [Greek] Hey, look at all these pink ribbons, boss.

- Yeah, yeah, that's terrific, Greek, 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, Greek.

Put it down.

Good boy.

Liquid hydrogen.

One spark's all it takes,

whole place could go up.

- [Carelli] So? You'd go up too.

- [Milo] So what? Huh?

- How you been, Milo?

You looking good.

- Hey, I feel good, Greek.

Feeling good.

(gun firing) (Luponi groaning)

(rifle cocking)

- Go 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 want to go do that for?

- He was gonna shoot you, Milo.

- Not Luponi.

Luponi wasn't dangerous.

These are the dangerous ones.

- Milo, what is this shit?

What the fuck is going on?

- Guess we're just gonna have to

take you with us, Leo.

- Come on, boss.

Milo's all right.

- What about your trigger-happy little bitch?

- You know what, I'm gonna shoot you too.

- Fuck this. - Shoot him!

Shoot him, he's getting away.

- Anne, shut the fuck up.

Go. - Thanks, Milo.

(saxophone warbling)

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

(saxophone warbling)

(Milo wolf whistling)

(saxophone warbling)

(running footsteps)

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

(explosion booming) (men screaming)

- Move in, men, move in.

(engines rumbling) (running footsteps)

(police sirens blaring)

(tires squealing)

(helicopter blades thumping) (men shouting)

- What the fuck is this shit?

Hey, Pauling, hey motherfucker-

(engine revving)

Fuck you.

- Mr. Avoca, this is Pauling

and this is a closed channel.

They're all dead, I'm closing the case.

(helicopter blades thumping)

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

(men shouting)

- [Officer 4] Come on hands behind your head.

(men shouting)

(engine revving)

(tires squealing)

(tense music)

(romantic saxophone music)

(Milo laughing)

(soft music)

(saxophone music)

(saxophone music continuing)

(saxophone music continuing)

(saxophone music continuing)

(saxophone music continuing)

(music fading)

(majestic music)

(music ends)