Plot
The film is set in Turin, Italy. It opens with a prologue sequence showing the young Italian Carabinieri clerk Filippo (Ribisi) learning to fly a helicopter using a flight simulator. When he accidentally crashes the virtual helicopter by ascending too dramatically, his instructor tells him, "In a real helicopter, you can't just keep going up and up," prompting Filippo to ask, "How high can you go?" The film then cuts to Phillipa (Blanchett), who is preparing to plant a bomb in the downtown office of a high-ranking businessman. Although everything goes according to her plan, the trash can in which she places the bomb is emptied by a janitor immediately after she leaves and later explodes in an elevator, killing four people.
Philippa is tracked down by the Carabinieri, arrested, and brought to the station where Filippo works. When she is questioned, she reveals that she is an English teacher at a local school where several students have recently died of drug-related causes. Discovering that they had all been supplied by the same local cartel, she had contacted the Carabinieri with the names of the drug ring leaders, begging them to intervene, but was repeatedly ignored. At her wits' end, she decided to kill the leader of the cartel, the businessman whose office she targeted. In the process of her interrogation, Filippo (who is translating her confession for his superiors) falls in love with Philippa and helps her escape from Carabinieri custody. After she kills the drug lord who was her original target, the pair become fugitives from the law and flee to the countryside, where they eventually find refuge with one of Philippa's friends and finally consummate their relationship. When the authorities raid the house where they are hiding, the fugitives steal a Carabinieri helicopter parked on the front lawn and escape by air. The officers on the ground fire repeatedly at them, to no avail, as the craft climbs higher and higher and finally disappears.
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Famous quotes containing the word plot:
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
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