Margaret, you're my best friend.
You decide. I'll trust you.
But, Anne, this opening is major.
It'll establish you as an important artist.
Anne: Yeah, sure.
Anne, come on, help me.
I hate when you ignore me.
Just choose. Choose one.
You've got to pick the picture that you like for the announcement.
There's that space again.
Why don't you check the pause statement in between the segments, okay?
Okay, I'll go through it again.
Do you know what, Anne? You gotta pick one now.
- Yeah, okay, that one. - I don't know, I kind of like this one better.
It shows that girlish vulnerability of yours.
I can't be doing this right now. I've got a million things to do.
You've got to pick. Anne?
Pick, please.
But you picked the announcement.
Where are you going?
You're driving me crazy. I need some input here.
Hey, call me! This is going to the printers tomorrow.
Hey, you want a ride?
- Lady, you want a ride? - It's okay. You get in with us!
Hey, mama, come on! Yeah!
I'm gonna tell you what your fuckin' problem is, okay?
- Hey, fuck you, Carelli. - You motherfucker!
That's how you talk to me? You turn your back on me?
"Fuck Carelli"?!
- Don't turn your fucking back! - Hey, come on!
- You hear me? Huh? Huh? - What the fuck you think you're doing?
Oh, fuck! Anthony!
- Yeah, yeah, you call Anthony. - What the fuck?!
- Nobody's gonna help you now. - Don't do nothing stupid, Anthony.
My fucking face!
No!
Good-bye, Anthony.
Yeah, Greek, waste him!
I tell you that would happen?
Quick! Hey!
Get her! What the fuck is that? Get her!
Go!
Fuck... you!
That must be her car! Come on.
Pauling, Justice Department.
You Justice boys move fast in your private planes.
Oh. I'm Walker.
Where's my witness?
Get this.
She doesn't even know who this is.
Jesus Christ.
Leo Carelli.
Don't let her leave without telling me.
Bob? Bob?
It's me again. Pick up.
Walker: oil refinery picking up blood samples.
Any idea who the victim was?
From her description, it could be Avras, could be Rianetti.
Eh, it doesn't matter anyway.
This is pure gold.
Anne? Hi, babe.
Pauling: Gotta find a safe place for her.
- Walker: Wait a minute... - You okay?
Let's just get out of here.
Hey, Frida, come on. Ain't you hungry, baby?
Come on, kitty. I'll feed you.
There you go, Frida.
There you go, kitty.
Look, why don't you get some sleep?
I'll bring you some dinner later on, okay?
Anne?
Mmm.
Should I pop this in the microwave?
Oh, why don't you give me a couple minutes, okay?
I don't know that I really feel like pizza right now.
Okay.
What time is it?
It's past 11:00.
You've been asleep for a long time.
Bob, do me a favor. When you finish with that,
would you take it downstairs to the kitchen and throw it out in the trash?
I only wanted a bite.
I ate earlier.
We'll go skiing this weekend.
It'll take your mind off it.
Ahhh!
You're late.
Oh, I'm sick about my car. I had a dead battery.
I don't even want to go into it. I had to call AAA.
It's... anyway, did the cops show?
Nope.
You're sure... I mean, you're absolutely sure
that they didn't show?
A monkey in silks is still a monkey. You deaf?
I said no cops. Would I fuckin' lie to you?
You don't have to curse all the time, huh?
I understand.
She's up there.
Where?
Where up there?
Right there, top window.
- Come on. Come on. - You ready?
Come here, Frida.
Come on, Frida.
Oh.
Oh, shit.
- I thought that was behind us or something. - Shh!
I almost had a heart attack.
Wrong house?
No.
Oh, shit, the cops are out there.
Pauling: I'm afraid, Miss Benton, you don't have a choice.
Your only option is the Federal Protection Witness Program.
For how long?
Well, that's up to Carelli's lawyers.
If they're smart... And they are smart...
They could hold us up for months.
How many months?
Aw, six, eight, plus appeals.
Then when it's over, we'll get you in the FBI program
for witnesses against the mob.
We'll relocate you. You'll start a whole new life
with a new name and everything.
I don't want a new name.
Look, you'll have the best.
Best of what?
This is bullshit.
Call her a hostile witness.
Get an order for protective custody.
I hate to do that. It's a lot of trouble.
Yeah, but it's better than her being dead.
Where's the bathroom?
I'll buy that wig and your coat from you for $30.
There's a guy out there I don't want to deal with right now.
You understand what I'm saying?
Yeah, I dig that, but it's gonna cost you 50 bucks.
Look, all I've got is... is 47.
Except, um, I'm gonna need $5 for the bus, okay?
$40? I'll give you $40 for that.
Okay, so you'll owe me 10.
Here.
How you doin'?
I want a squad car outside her house.
- I want you to check the bus station. - Yes, sir.
Train station and the airport.
Oh, I'm sorry, Miss Benton,
but I can't give you that much money without prior notice.
See, it's almost 3:30. If you come back tomorrow...
How much can you give me right now?
Uh, I guess we could manage $15,000.
That'll be fine.
I'm Margaret Mason.
They're good, aren't they?
This is my gallery.
Are you interested in prices?
They start at 20,000... the small pieces. The larger...
I want that one.
Okay.
Can I take care of that for you, Milo?
Yeah, here.
Be careful with it, Frankie.
Uh, yeah. I got it, okay.
I'm sorry, Milo.
You think you can find the girl?
Probably.
Margaret?
Yeah, it's me, Anne.
Look, you have to go to my house and get Frida, okay?
I can't talk to you now. I'll try and get a hold of you later, all right?
Bye.
"Killing is unavoidable",
"but is nothing to be proud of."
Milo, try one of these. Havanas... they're the best.
I don't smoke.
Greek.
Thanks, boss.
Would you bring me up to date?
Well, the problem is she got away from the cops.
If they hadn't let her slip,
she'd be... how shall I put it?
Dead... that's how she'd be.
She'd be dead.
The stupid cops, you know.
I understand there was another opportunity.
We got her boyfriend.
That kills me.
Mr. Avoca talk to you
about my extending my franchise?
Yeah, how much did this thing cost?
When are you gonna smarten up?
That's an investment. When the broad dies,
the price goes through the roof.
- Eh! - Never learn.
Anything... anything you want.
All I want is information.
How cold is the trail?
30 hours. 30 fucking hours.
I think we should stop and go get some food.
I hate Carelli, man. I hate him.
Aren't you hungry? Have you ever been to In-N-Out Burger?
There's something... there's something we haven't thought of yet.
Can't think on an empty stomach.
How do we find her?
Carelli: Hey, Milo, what do you think?
Huh? They got a view.
They got the bay.
They got an upstairs.
You find me that rag,
take care of her for me,
I can get you a fucking boat.
What do you think?
Can you work here all right, Mr. Milo?
Yeah, I...
By noon tomorrow, I need...
a list of names, addresses of her friends,
phone numbers, relatives.
I need... I need a phone company insider
to find out
if any of them received any long-distance phone calls.
And I need three computers,
cross-referencing birth certificate duplicates,
Social Security applications.
New... last two days.
Uh...
If I can think of anything else, I'll ask for it when I need it.
Simple.
My man John Luponi will get you anything you need. Huh, John?
He's my lawyer.
Who's the heat in this?
It's a prosecutor from the Justice Department.
Name's Pauling.
Pauling's in love with Mr. Carelli.
Milo: That's good.
Passion's a hard thing to conceal.
"Passion's a hard thing to conceal."
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.
We're gonna be all night with this lipstick thing.
We really need a strong, clean tagline.
Something like: "The ultimate driving machine,"
only for lipstick.
How about you? You got any ideas or what?
I might have an idea.
You gotta get out of my department.
You've been here almost two months. Her trail is cold.
Anne Benton is probably dead.
Oh, yeah? How come Carelli's still looking for her, huh?
Huh? I've got it narrowed down to three cities.
She's either in Houston, Seattle or Washington, D.C.
If I know that, the mob knows it too.
Art.
"Its digital aspect"
is concerned with references exterior to the concept
as well as the con-cept.
Good conceptual art
is concerned with just the con-cept.
The known, an unknown,
an unknown, a known, an unknown is known and then known.
That which is not known and then known is known
"and then known and unknown and on."
What the fuck am I doing? Conceptual art.
Little broad here.
Here, the chick.
Hey, you're looking good, Liza. Huh?
"Protect me from what I want.
Protect me from what I want."
That's one of hers.
"Protect me from what I want. Protect me..."
Oh, I got you.
You know, Margaret, it's kind of like being a baby
and being born into the world.
If you're alive that day, that's a success.
Well, that's all I've got to say for now.
Don't worry about me. Everything's going to be fine.
Pauling: Anne Benton!
Anne Benton?
It's her!
Woman over P.A.: Attention, golfers!
Don't forget, this is twofer day!
Two hot dogs, two soft drinks for the price of one.
Just take your men around that way.
The two of you, get across that bridge.
Hey, go!
Someone over there.
See you there!
Oh!
Your attention, please.
We have a little lost girl at the drink counter.
Goddamn son of a bitch! I can't believe this.
You guys are supposed to be the best in the world
and you can't even find... ah!
Hi, Margaret.
I've had to move again.
I traveled the last two days. I'm tired.
An old art teacher of mine has a place for me to stay.
I can't tell you where I am,
but I'll keep in touch.
I left the back-door key under the mat.
You'll leave it there too.
Uh, I don't know what I did with the front-door key.
This place belongs to a loony art collector from El Paso.
He never comes up here. He just ships this stuff up from time to time
and I'm supposed to house-sit all this.
Water the plants, pick up the mail. I'll be back in a few weeks.
I just gotta get out of this city for a while.
There's a very nice bedroom right up those stairs.
You'll be real comfortable here.
I haven't seen Anne Benton in a long time.
Our forms aren't exactly simpatico.
Who did you say you were working for?
Oh, I work for Bank of America.
I need 100 pieces for lobbies up and down the state here.
I really need to talk to Anne.
For banks, Anne's stuff ain't any good. It's too distracting.
Too literal. Gets in the way of business as usual.
You need something less threatening, more abstract.
My friend Laddie Dill, he works in concrete.
Yeah, I used to work in concrete too.
Shoes.
Oh, I...
Fuckin' artists.
Pinella, if I see you again, you're dead.
And pay this.
Where the fuck do you think we are, 42nd Street?
You see other people out here dressed like we are? Huh?
No, not really.
- Well, then get in the fucking car! - Okay.
Get in the fucking car.
Just take it easy. Milo?
- Have a nice day, Milo. - Get in the fucking car.
Hey, Margaret.
It's me, I guess.
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.
What you lookin' at?
Oh, it's a picture of... see, it's the same place as there, the church.
Oh, God, it is. Who is that?
Uh, Georgia O'Keeffe.
Oh, I know her.
She's the... she's the one who paints those flowers
- that look like genitalia, right? - That's it, you got it.
They're pretty, though. I like 'em.
God, this is something else.
Must be scared riding around in this thing, no?
Oh, why?
Exploding?
I kind of like it, actually. You know?
I mean, we make great time.
Never get stopped. Everybody gets out of our way.
Shit, we'll be in Canada in two days.
- Really? - Yeah.
- That's far away. - Well...
Look, maybe you could do me a favor.
I got this envelope. Maybe you could mail this when you get to Canada?
Come on, honeycakes. Let's hit it.
It's for my ex-husband
and I just don't want him to know where I am, you know?
- You know how it is. - Yeah. Yeah, I know.
- Just mail it? - Yeah.
- Okay, I gotta go. All right.
- Thanks a lot. - Bye.
- Take care. - All right, you too.
What the hell is that?
I told that chick I'd mail it for her when we got to Canada.
Oh, so we're gonna mail this when we get to Canada
with American stamps?
If you used your brain like you use your ass, you'd be a genius.
Fuck off, Sparky.
Anne: Hi, Margaret. It's me, I guess.
This time I actually believe I'm safe.
No one knows where I am.
And eventually all this will be forgotten
and I'll be forgotten too.
I don't know if I can be with people.
I don't know if I'm fit for it anymore.
I'm cut off and I'm losing my connection.
I do have this fantasy.
There's... there's a man in the dark.
I can see his face.
He's got a scarf around my neck
and I know I'm going to die.
And nothing else makes any difference.
Leo, tell the boys, no red wine on my white sofas.
Are you kidding me or what?
I'm worried about going to fucking jail,
you're worried about the stupid fucking carpet?
Don't take your shit out on me, Leo.
Get the fuck out of here. Go get your hair done or something.
Get out of my fuckin' ass.
- Boss, I was thinking that... - Boss?
Now I'm a... This fucking joint is bugged!
I tell you a million times. You gotta make me a boss?
How'd you like to be the fuckin' boss?
Boss of what?
Make me a fucking kingpin.
Well, more bad news.
Nobody's seen Milo since yesterday.
So where is he?
New Mexico.
See, it's on the postmark there... N.M.
I don't understand what's going on with this guy, I'm telling you.
He's not a fucking team player. I can't put my fucking finger on it.
Let me go after her, boss. I'm sorry... forgot.
I won't fuck up. I'm a team player.
What the fuck are you laughing at?
At least the kid asked to go.
Let him go.
You're a team player, huh?
That's right.
Good fucking kid. You're gonna go.
I'm gonna go.
Your wife mind if we have a cigar?
Hey, cowboy.
What you doin' here?! Huh?
What are you doing here?!
That wasn't very smart, huh...
You taking off without a word to any of us?
You could have told me, Milo.
- You could've told me, Milo. - Pinella! Pinella.
- What? - Get in there.
Pinella, look, how did you get here?
Tell me that you didn't fly to Albuquerque and rent a car.
Tell me that you didn't do that.
Well, what did you expect me to do, walk? Huh?
Now the police know we're here.
And that means that they know that Anne Benton's here.
You dumb asshole.
I'm not dumb. I've been watching you spying on her.
You're supposed to kill her.
And you're just watching.
What are you, some kind of pervert?
Oh, Pinella.
Damn, we haven't had a serious murder like this in seven or eight years.
Well, you're gonna have another one if you don't move fast.
You know this woman?
You know what I'm here to do.
I know everything there is to know about you.
You know nothing about me.
All you need to know about me
is that I'm giving you a choice.
Either I finish you now or I let you live.
And if I let you live,
your life is mine
and you belong to me.
And if you go against me in any way,
I'll finish you.
The choice is yours.
Make it.
I'm gonna live.
Do you understand?
Where?!
Who killed him?!
Who killed... and where's Milo?!
Where is Mi...
- They killed the fucking kid. They killed that kid. - Shh.
Who's Milo?
I don't know.
We lost him.
Who the fuck is Milo?
'Morning.
Nah.
The lady will have a half a grapefruit,
dry whole wheat toast, a glass of orange juice,
and a cup of mint tea.
We don't have any mint tea.
Uh, black tea with honey, then.
That's your fallback position.
Hey, hey, hey!
I would like a couple hamburger patties medium-rare,
a green salad and cup of black coffee.
- All right. - Thanks.
You love Mexican food.
You've had six old Mustangs in the past eight years.
You got scars on your knees from a go-cart accident when you was a kid.
Uh, you send tapes instead of letters.
Your favorite movie... "The Last Tango in Paris," huh?
You're allergic to a certain kind of cosmetics,
especially men's cologne.
No, no, no, no, no.
Be good.
Thank you.
Yum.
Anne: Can I ask you a question?
Sure.
Is this a kidnapping or what?
Well, you could call it that.
Well, what do you call it?
I don't know.
Why didn't you just kill me the way you killed Bob?
Oh, I didn't kill Bob. I came on after that.
But you would have killed him, wouldn't you?
Nah.
I would have killed you.
What the...
You get comfortable
and...
put your nightgown on.
Jerk.
Hey, Anne?
Would you like a Coke from the machine or something?
I always thought you was pretty.
But I never knew
how beautiful you were.
There's something I want to say to you.
There's something going on here
that I really don't understand.
But I like it.
I don't know. Shit.
But you know what I mean.
I know that you know what I mean.
I'm just not good at talking.
Oh, God, look at you.
Okay.
You can trust me.
And I want to be able to trust you.
Because I never loved nobody before now.
But I love you.
Anne, you want some breakfast?
No.
You gotta eat something.
I'm not hungry.
Oh, come on, you'll get something later on the road.
Milo: Anne, you gotta cheer up.
I don't think that you understand the situation here.
All the rules have changed like that.
The sun is blue now and the moon is red,
the sky is green and the sea is pink.
We're... We're in another world here.
If you are thinking of escaping,
you're thinking of dying.
You made the choice.
It was the only choice that you had.
But you made it.
Not only are you a murderer and a rapist,
but you're a pompous fucking asshole.
I don't think you realize what I done for you.
I can't go back.
They're looking for me as hard as they're looking for you...
Probably harder.
You understand? They want to kill us both.
You got to face some hard realities here.
That's the problem with you artists.
You got no sense of hard realities.
- You know. You live in a dreamworld. - Milo?
Ivory towers. Me, I'm from the street.
You want to learn a sense of reality,
you don't sit in no fucking Eames chair.
You get out, you pound the pavement.
You know,
you really ought to listen to me when I'm talking to you.
Ah, shit!
God damn it! Anne, you got a tissue or something?
Should have brought that fucking scarf.
I can hear you!
Anne?
Come on.
Anne, it's obvious where you are. Come on.
I guess I owed you that one.
Come on.
Come on!
- You afraid of me? - Afraid of you?
I ain't afraid of you. I'm not afraid of you.
What, afraid of a guy who's so hard up,
he's got to kidnap a girl to have sex with her?
- Anne. - Don't touch me.
Christ, I don't know. I ain't even had a date in 20 years.
I've had sex, but I done this all wrong.
Look, I'm... I'm not so hot at feelings.
You know?
Maybe you could, you know,
teach me?
You think that you could do that, Anne?
You could teach me.
I can't believe you brought this.
What, did you go through all of my drawers, huh?
I bet you would look nice in them.
Is that what this is all about, then?
What, you want me to put this all on for you, huh?
Why not?
I thought it would be fun.
I gave up my career for you.
I gave up my life.
Now you could do a little something for me.
You put this shit on.
Fine.
- Big man with a gun, huh? - Here.
Here!
Hey, not in there! Here.
Go on.
Oh, fine.
No problem. I can do that for you. Huh?
You want me to be a hooker, Milo?
A little "Playboy" centerfold, huh?
Vulgar little tart? Is that what you want?
Oh, that would be nice.
Uh, slow, uh...
Let me tell you a little something about men, Milo.
They have no imagination.
You have no imagination.
I do have imagination. I can think of lots of things.
In fact, I'm...
I'm thinking of a few of them right now.
You like this?
You really like this, don't you?
Mm-hmm.
I know.
Why don't I tie you up? That would be exciting.
I'd like that.
Maybe, um...
when we know each other better.
Chicken.
It seems that our friend Mr. Milo
has left the family circle.
And I think he's taken this girl Anne Benton with him.
That's impossible.
This guy Milo is a professional.
We don't even have his prints.
Professional hit men don't run off with their victims.
I thought you were going to get me jeans.
Come back to bed.
- Anne: Milo? - Milo: What, what?
- What's it like? - What's what like?
What's it like being a hit man?
It's a job. I don't think about it much.
What does it feel like doing a hit?
It don't feel like anything.
You're too busy making sure everything goes right.
Come on. You don't feel anything?
Let me put it to you this way...
I don't go out right afterwards, have a big meal or anything.
Listen,
you can't keep thinking that I'm going to do anything you want, 'cause I'm not.
You know?
It's not fair. It's not right.
This is my life, not yours.
No, this is not your life.
This is not my life either.
This is our life.
Anne, under the table.
- Out the front door. - What about the back door?
Out the front, Anne! They come in the back.
Hey!
That was no hit.
You want a bite?
- Sure. - Mmm.
Mmm! Mmm!
Mexican food.
There's a lot of cars passing us.
Maybe you ought to pull over, let me drive.
- All right. - You done good.
I'm proud of you.
Is this yours?
Eh, I guess it is.
Mmm. Love it.
Gonna go unload the car.
Look around here.
Milo?
Oh, hold on.
There's this... there's a baby goat or a lamb or something.
It's stuck in a crevasse in the mountain.
You've got to help me pull it out... it's stuck.
- It's gonna starve. - Where, where, where?
Come on!
Oh, okay.
Milo: That there's the Rocky Mountains.
Anne: No.
That's the back of the Jemez.
The what?
The Jemez wilderness. On the other side of that is Los Alamos.
Can you see everything?
Look, there's Chicago.
Mmm.
Tell me something secret about yourself.
- Mmm, like... - No, like something
you never told nobody before.
I thought you knew everything about me.
Oh, come on.
Okay.
I'll tell you a secret I've never told anybody before.
Yeah?
Yeah. It's really embarrassing.
Yeah, embarrassing?
It's disgusting.
Disgusting?
- Mmm. - All right.
You know what food I get these terrible cravings for?
This... this is so embarrassing.
It's all right. Yeah?
Well, I'll be sitting eating dinner
at, like, the West Beach Cafe in Venice.
Yeah?
I'll have my... I'll have my arugula salad
and my half order of capellini and bay scallops
- and my glass of white wine... - Yeah?
And then suddenly
I have to have
a Hostess Sno Ball.
What?
I especially like the pink ones.
Oh, Anne.
Good night.
Good night, Anne.
Mmm.
Thank you.
I like it.
Milo: You were right.
They are disgusting.
I've been thinking.
You know the safest place for us?
- Where? - New Zealand.
Milo.
No, I'm serious. New Zealand... that's the place.
There's hardly any people. There's lots of sheep.
You'll love it.
We could take a cargo boat.
It's kind of like a sea cruise, only better.
Fewer assholes.
Oh, as if your mafia friends
are just going to let us take a little cruise, huh?
Hey, I can fix it.
Milo, let's get real here for a second.
I can do other things besides killing people, you know?
I, uh...
I own a large chain of Laundromats.
I, uh...
I could do electrical work, carpentry.
Yeah, well, that's fine for you.
But what about me? I mean, I need people.
I need museums, I need galleries,
I need a cultural environment.
Ooh, a "cultural environment."
Yeah.
Who's the pompous asshole now?
I mean, what a load of crap.
Crap?
Wait a minute, that's... That's my work.
I mean, that's my life. I'm an artist.
Oh, you think you're an artist.
Let me tell you about art, baby.
You're gonna tell me about art?
What you know about art would fit in, like, a thimble.
Art is Charlie Parker.
Art is Hieronymous Bosch, or whatever his name is.
Now you call yourself an artist,
but your art don't exist
without a wall socket to plug it into.
Oh, God, what a moron.
You're a moron and a Philistine, you know that?
- Yeah? - Yeah.
Well, I got an idea for you.
Why don't you just go right back to the land of fucking wall sockets?
Maybe I will.
Fine.
Well, fine, here... Here's the fucking keys.
- Go on. - I'm going.
And take your fucking Sno Balls with you!
Ha!
Milo! Milo, listen.
How'd they find us?
Who else knows about this place?
It was a gift from my employer.
Oh.
Okay, I admit it... I fucked up.
You happy now?
Where does this road lead to?
It's a dead end.
All right, stop.
Ah, thank God.
You know how to fly one of these things?
What? No.
Lucky I do, huh?
Oh, yeah?
Yeah, I do.
Get in there.
You're all right, Milo.
Yeah, I hope you're right.
Wait here a minute.
Hang on.
You vicious son of a bitches!
This whole area here used to be a city...
Anasazi Pueblo. Thousands of families lived here.
It was like fuckin' L.A.
Those cliffs over there used to be the waterfront...
The Navaho state.
They're the largest navy in the world.
This was all underwater.
Then one day, the Rocky Mountains rose and the ocean left.
But that was over 200 million years ago.
Uh-huh.
Oh, shit.
Milo, honey, about that fight we had...
I really want to work this out, just in case, you know.
Forget it.
Anne!
Milo: Okay!
I thought you didn't smoke.
I don't.
What's the plan, Milo? What do we do now?
I don't think there's anything that we can do.
What do you mean?
I think we played this out as far as we're going to be allowed.
Allowed?
You don't know these people like I do.
Shit, I was the one that was living in the dreamworld.
Anne: Come back to the party, Milo.
You're a hit man, for Christ's sake.
Milo: What's that supposed to mean?
Anne: It means you hit people. Hit them.
Oh, sure, just hit a couple Mafia dons
and their Beverly Hills lawyers. Sure, yeah, why not? Yeah.
Exactly. Why not?
Leo!
Grace, if you don't get the fuck out of here,
there's going to be more than red wine
spilled on those white fucking couches.
Fucking dead. I'm dead.
Shit!
Fuck.
You think the old man knows about the helicopter yet?
Presumably.
I imagine that'll be Avoca now.
Greek, get that.
If it's for me, I ain't here.
Hello?
Who?
Have you... have you thought about taking a vacation, Leo?
You and Grace?
I got friends in South Africa.
Greek: It's him.
It's him... it's Milo.
Give me that phone.
Hello?
Milo, it's you?
Yeah, where are you? Where's the girl?
I killed her.
I want to do a deal.
Uh, hello, Mr. Milo. This is John Luponi.
Are you sure you've killed this girl?
We had the impression you were fairly close.
I may have lost it for a minute, but not now.
I killed her as an act of good faith.
And I expect some consideration in return here.
What do you want?
I want to talk.
Get him here. Get him here.
Well, we want to talk too, Mr. Milo.
Why don't you come on over here?
We were just sitting down for lunch... a nice friendly lunch.
No way.
I'll meet you in the high desert... Lancaster.
That's out of the question, Milo.
Uh, why don't we meet at my office?
What you think I am, stupid?
Think of some other place, Luponi... someplace nice, open.
What about San Pedro?
Where you popped Rianetti? The refinery?
That's good.
Do you know where San Pedro is, where the refineries are?
No, I don't. No, I don't want...
Hey, hey, that's our last offer, asshole. Take it or get fucked!
It's easy to find, Milo.
And it would be convenient for all of us.
All right, bring... you come, Luponi, and bring Greek.
Ask him when.
Oh, yes. What time, Milo?
Five hours from now.
That's a long time, Milo.
I gotta get there first.
We got a confession of two murders.
Four hours to get into place.
Let's go.
I want this fuck. I want this fuck.
I want to make him see red rats.
- We got him. - Yeah.
That's Carelli's car.
Oh, yeah.
Seen any heat?
- We're clean. - All right.
Try not to sweat so much, Leo. You could short out your wire.
Where the fuck are they, huh?
Greek: Hey, look at all these pink ribbons, boss.
Follow those, Greek.
Be careful, Greek!
Put it down.
Good boy.
Liquid hydrogen. One spark's all it takes.
Whole place could go up.
So? You'd go up too!
So what? Huh?
How you been, Milo? You're looking good.
Hey, I feel good, Greek.
Feeling good.
Go in there and finish it.
Hey, let's go!
Come on, let's move it! Come on.
Oh, he was going to shoot you, Milo.
Not Luponi... Luponi wasn't dangerous.
These are the dangerous ones.
Yeah, come on, let's go, let's go!
Come on, boss, Milo's all right.
What's the matter with this trigger-happy little bitch?
Hey, you know what? I'm gonna shoot you too.
- Fuck this! - Shoot him!
Shoot him, he's getting away.
Anne, shut the fuck up!
- Go on. - Thanks, Milo.
What, are you gonna leave me, you fuckheads?!
Ah.
Hey, boss, how come they're not following us?!
Ahh!
Move in, move in.
Out of the car! Put your hands on your head!
Go, go!