The Awakening (1995) - full transcript
Sara lives in a small town where everybody knows everybody and her life is an open book. Left with the care of her family home, she has trouble meeting the mortgage payments and her ex-boyfriend is the bank manager attempting to foreclose. When she takes in boarders to meet expenses, she unwittingly rents a room to an international criminal hiding out from a bounty hunter, John Flynn. When the bounty hunter shows up, the criminal takes a hike. Reluctantly admitting that he might need her help, Flynn agrees to make Sara a partner for half the bounty if they catch the missing man in time. What follows is a wild ride where Sara discovered that she is anything but boring and predictable.
[music playing]
Want to try it?
[music playing]
[humming]
[music playing]
[grunting]
Mr. Lafleur, are you back yet?
Stay here.
If he comes back, I don't want
him in until he pays his rent.
What a mess.
Ow!
Ooh, damn it.
[grunting]
What am I doing?
I'm going to go back
to clean up that mess.
[children playing]
No.
Just shoot me.
Every summer.
[music playing]
Just what I need.
I don't have time for this.
[music playing]
Oh, Mr. Thatcher.
Here, let me help you with that.
Bless you, Sara.
Whoa, those look heavy.
Yeah.
Is that tenant of
yours still missing?
Afraid so, Mrs. Thatcher.
He'll be back any day now.
Those insurance types
are pretty reliable.
Now, don't you let him
keep showing off for you.
He's gonna throw
his back out again.
That McAllister girl, when's
she going to get a new fella?
And those horizontal stripes.
Bye-bye.
[radio playing]
Davy Howard disappeared once.
I didn't know that.
Mm-hmm.
He scared the daylights
out of everyone.
Where'd he go?
Vacation.
He forgot to tell the mailman
who was delivering his mail.
It piled up, the old
man figured the worst.
Vacation, now
that says intrigue.
Yeah, well, people
should know to do
things without telling someone.
Scared the daylights
out of everyone.
So I hope your tenant
comes back, Sara.
Everybody knows?
Isn't there anything
more exciting going on?
No.
No.
Nigel Bowers' wife's pregnant.
She was going to find
out, sooner or later.
Nigel's having a baby?
How nice.
His wife, actually.
Twins.
How fertile of them.
Bye, Alice.
It's OK.
Uh, Nigel, you know,
dumped me a long time ago.
Right.
At least, what?
Uh-- uh, four years?
Five?
Five.
Right, right.
That, uh, that summer
that your parents died.
Thank you.
[beeping]
Uh-oh, what do we have here?
Mr. Maldon to the
register, please.
I'm right here,
for crimey sakes.
Well, what's the problem?
Uh, your-- your card,
it rejected the charge.
$26?
Let me see that.
Well, you're probably
over your limit.
You know how fussy these
banks are now days?
Let her take it on credit.
Oh, no.
No, really, Mr. Maldon.
I--
Now, now, Sara.
What are you going to do,
run out of town on me?
I've known you your whole life.
Why-- why that bucket's
liable to be more
unpredictable than you are.
You know what I mean?
Yeah.
Um-- I'll bring you a check.
Bye.
Bye.
NANCY: It doesn't
mean you're boring.
More predictable
than a bucket?
Only cement is further out
on the boredom spectrum.
Stop it.
It just means
you're responsible.
That's not bad.
It would go cement,
Sara McCallister,
bucket, then maybe lint.
Just stop feeling
sorry for yourself.
I'm more boring than lint.
I just want to withdraw $200.
Mm-hmm.
N-O.
What?
We can't take out
what you don't have in.
Shoot me.
OK, just give me
whatever I have in there.
NANCY: Deposit, please.
Ooh, this is going
to hurt the bank.
Sara, a word?
Maybe you should have worn
those vertical stripes today.
Nigel, congratulations.
Twins.
Sara, I know we
have a, uh, history,
and, uh, I'm trying
to be understanding,
but I'm the manager
here, not just your ex.
I don't know, Nigel,
since you dumped
me before we were married, does
that actually make you my ex?
Oh-- technically speaking.
- Is that sarcasm, Sara?
- Sorry.
I'd be remiss if I didn't
bring to your attention
the condition of your finances.
They're not exactly shipshape.
More like shipwreck.
I know.
But right now, Nigel--
No-- no-- you're-- you're--
behind in your mortgage--
I know, and I promise you.
I'm sorry to
barge in like this,
but Sara's got to come with me.
It's an emergency.
An emergency?
Haircut.
An emergency haircut?
It's a girl thing.
An emergency haircut?
I got flustered.
Lying isn't my thing.
You're something else.
What else is it going to be?
An emergency dye job?
I'm a natural blonde.
Blonde?
Wait a minute.
This is "mouse,"
or "dish water,"
but I could make
you really blonde.
What am I going to do?
How about a cute
little pixie cut?
Or-- or maybe we
could go platinum?
Ugh, stop, stop!
I'm having a breakdown.
Russell Lafleur is gone,
along with his back rent.
I'm broke.
I'm on the verge of
losing my family's home.
How is platinum going to help?
Platinum tells the world, my
middle name is "adventure,"
things happen.
I mean, come on.
When was the last time
you had a real date?
A date?
That's like a fig, right?
Sara, let me spruce you up.
[music playing]
(ON THE RADIO) It's
another beautiful spring
day in Schomburg Cove, Maine.
It's 11 AM, you're
tuned to 93.2 FM.
It's 71 degrees, looking
for a high of 75 today.
Beautiful and sunny.
This one's going out from--
Wait a minute.
Mr. Lafleur, you're back!
Mr. Lafleur, hello.
Welcome home.
Mr. Lafleur, I have
some mail for you.
Hello?
Mr. Lafleur?
[muffled screaming]
Shh-- shh-- shh--
no yelping now.
Promise?
Let me go.
I'd love to, darling,
but, uh, you're the one
who's got the grip on me.
See?
Exactly who are you?
Flynn.
You're a friend of
Russell's, Mr. Flynn?--
Just Flynn.
Flynn.
Right.
How did you get in here?
I broke in.
Oh God.
Don't Oh no.
No, please-- uh--
FLYNN: See a ghost?
You don't look
like an assailant.
FLYNN: Who's being assailed?
Well, if you understood
the definition, it--
Oh, I do.
What I don't understand
is whether keeping
your butt from hitting
the floor is attacking,
raiding, or storming.
Please don't hurt me.
Oh, just shoot me.
No!
Ha, I mean-- nervous--
don't shoot me.
I'll do anything.
Anything you want.
Please.
Please don't shoot.
Please.
Make me an omelette?
Please?
Nice place.
SARA: Thanks, I'm sure you only
pick nice places to burgle.
Now, technically,
it's a B and E, ma'am--
breaking and entering.
You're good at that.
Doesn't take a lot of talent.
Secret is a sharp--
So, Flynn, onions
with your omelette?
Oh, only if it's
not too much trouble.
Here.
Thank you.
Oh, do-- do you
have any white wine?
Wine?
Uh, forget it.
W-- would you mind
if I wash my hands?
Onions, you know?
Eat.
I'll be right back.
[water running]
Hello, George?
It's me, Sara McAllister.
I'm being held hostage.
Yes, in my house.
There's a man in my dining room.
He has a gun, George.
Yes.
Hurry.
You really didn't
have to do the dishes.
What, are you kidding?
After you cooked?
Will that hurt it?
No, no.
I put all my guns on the piano.
No fast moves, OK?
So tell me more
about Mr. Lafleur.
How long's he been gone?
I already told you everything.
He's not that interesting.
He sells insurance.
Then how about playing
something for me.
I'd love to hear--
No.
Absolutely not.
Never.
Whoa, just a simple question.
I don't play in public.
Ever.
This isn't public, darling.
This is just one-on-one.
[car door opening]
Look, you can rob
me or whatever it
is you're going to do to me--
GEORGE: Open up, police!
Huh, George-- George in here.
He's got a gun!
Hurry!
Ha ha!
How you doing, George?
That's all right, Jim.
Go wait in the car.
Flynn, we'll I'll be god darn.
I haven't seen you
since that bank thief.
Good to see you, man.
You're looking good!
Wait a minute!
Hold it, George!
This is the way you
treat known criminals?
Flynn is one of
the best bounty
hunters in the country, Sara.
Now, you should be proud
to have him as a guest.
Guest?
He's an intruder, George.
I have a, uh, bench warrant
here for a Benny Fortrell,
a.k.a.
Russell Lafleur.
GEORGE: What's he done?
International
antiquities thief.
Ancient statues and coins.
Not my thing, but,
you know, Greece
seems to want it back pretty
badly if you catch my drift.
Wow, right here
in Schomburg Cove.
Wait a minute.
What about me?
Ugh-- ow-- he held
me at gunpoint.
Fortrell's, I doubt
it has a license.
It's empty.
You forced me to cook for you.
George, he forced
me to cook for him.
I did-- I didn't force.
I said "please."
Killer omelette.
- That's it.
Out.
Out of my house.
It's been real.
You know what?
I don't care about Russell,
Benny, statues, Greece.
Just leave, please.
I was hoping that I
could spend the night.
Wh--
I'll just let the two
of you work that one out.
Goodnight, Ms. McAllister.
George.
Spend the night?
- Fortrell is--
Are you mad?
--on his way back from Greece,
and he's due here any minute.
You don't know me--
Well, let's keep it that way.
I am not leaving
until I apprehend him.
Now, why don't I
rent out a room?
You have a sign up front
saying there's a vacancy.
Over my dead body.
500 500 bucks a night.
Read my lips--
no.
NANCY (ON PHONE): You said "no?"
Nancy, he did B and E.
NANCY (ON PHONE): After
the way you described him,
let him do the whole alphabet.
Come on Sara, take a chance.
Take off the clothes
you're wearing right now,
put on something sexy, invite
him in and fluff up his pillow.
Now.
Tomorrow we'll do your hair.
In the meantime, don't
let him out of your sight.
Tomorrow he'll have Russel--
Benny, whatever.
He'll be good riddance,
still a lying cad.
To think I cooked for him.
NANCY (ON PHONE):
What's he doing right now?
SARA: How on Earth would I know?
[doorbell ringing]
SARA: He's got more nerve
than a rooster in a hen house.
This better not be you, Flynn.
Don't even think I'm going to
fix you coffee and breakfast.
Coming.
Nigel.
Hi.
[car honking]
I'll be fast, 'cause
Corinne's waiting for me.
The little misses.
Flynn?
Uh, Sara, here's
the deal, all right?
Uh, all houses are, well,
you know, endless money pits.
Now, you've given it your all,
in honor of your late parents,
but it is destroying you.
Let me buy it from you.
- What?
Yeah-- I'd be doing you a
favor, if you think about it.
Right, like the
favor you did me
when you found out my parents
didn't leave me any money.
That was a long time ago--
What do you call
that favor, Nigel?
Liberating me from
our engagement.
Gee, you're a living saint.
This is not very produc--
Saint Nigel, the Benevolent.
Let's not get bitchy.
[car honking]
Come on.
We need the extra room.
And, well, Corinne's
got her heart set
on putting little swings here
where this old spruce is.
My grandfather
planted that spruce.
Tell Corinne she can kiss my--
FLYNN: Sara!
Darling.
Sara.
Sara.
The neighbors!
Don't mean to
be rude, old man,
but you've caught us in
an inconvenient time.
Well, I'll-- then--
I'll-- I'll-- come
back at-- at, uh--
later.
Why did you do that to Nigel?
This whole town is
gonna be talking.
He was in my way.
I'm tired.
I need a-- a shower.
I need a cup of coffee.
I need a bed!
What does this
look like, the Y?
Look, I heard you talking.
I know you need the money.
Let's make a deal--
if you let me stay
here to catch Fortrell,
I'll make you my associate.
We'll split the bounty.
How much?
Let's put it this way,
you won't have to worry
about your mortgage, ever.
A spruce tree.
How do I know I can trust you?
There's only one
thing that follows
a man throughout his life--
his word.
You can trust me, Sara.
Ooh, how about this?
Wear this.
That's underwear.
That's what people
wear on dates now.
Look at Madonna.
This isn't a date.
It's dinner.
It's business.
It's close enough.
Ooh, how about this?
We're going to be discussing
strategy, important bus--
Oh, no.
Not these shoes.
You're going to look like you
write English detective novels.
Sensible shoes?
Ugh.
Nobody notices shoes.
Besides, "must be
aware of unintentional
sexual messages--"
Oh, Sara, for once in
your life, take a chance.
Go for it.
You don't always have to
be Ms. Responsibility.
I mean, this time let somebody
else balance their checkbook
right to the penny,
or mow their lawn
on exactly the seventh
day, or-- or install
their summer screens--
I'm already a week late on
my summer screens, thank you.
And what?
Did the world come to an end?
Did you read in the
paper, "Sara McCallister
a Week Late on Her
Summer Screens.
Photograph on Page 3?"
Huh?
No.
Everybody else gets to have fun.
Why not you?
- I think maybe this blue dress.
- Ugh.
You're going to look like
a nun on her day off.
At least belt it.
Belts make me look fat.
I give up.
Ugh.
OK, you're right.
I'll belt it.
Walk on the wild side.
Woo!
[doorbell ringing]
- He's here.
Don't worry.
Dress.
I'll go.
Ow.
Hi.
Are you OK?
You must be Flynn.
I'm Sara.
No, I'm not.
I'm Nancy.
Sara's on her way downstairs.
Can I get you anything?
Uh, no.
That's-- that's OK.
I'll just, uh, wait.
Oh, well yeah.
Come in.
You know, I just want to say--
well, this may be
presumptuous, but, um,
Sara's such a good person.
She's decent and sweet and--
well, what, exactly,
are your plans?
You mean, are my
intentions honorable?
Well, I just don't
want her to get hurt.
Oh, I didn't
realize that dinner
was such a high-risk activity.
Except those little
chicken bones.
Gotta watch those.
Is this Sara?
A little baby fat.
Hmm.
Well, that was years ago.
And this is her
with her parents.
This was just before her
first big piano recital--
her first and last.
Yeah, what happened with that?
She would-- she wouldn't
play for me the other night.
Oh, well, she, um--
she bombed on stage.
I mean, it wasn't
really her fault.
Her parents were just
so overprotective.
They never really gave her
a chance to prove anything
on her own, so that night--
I mean, there she was, the
biggest night of her life,
and she froze in
front of everyone.
It was a total disaster.
And that was it.
Never again.
You know, in fact,
I've heard her play.
She's great.
Lucky you.
Look, Mr. Flynn--
Just Flynn.
You don't come from here,
and you won't end up here,
but we do.
Where you come from, that--
that glamorous
"jetset-y," "bounter-y"
"hunter-y" kind of world, you
don't know girls like Sara.
She's good on the inside.
You know, she--
she has integrity.
She's-- she's sensitive
in a way a guy like
you would never understand.
Hey, hey, Dr. Freud,
obviously who and what I am
is an open book to you, but
don't lose any sleep over me,
OK?
Th-- those homespun
qualities that you mentioned?
Not my type.
Zippo.
You want to know what
my intentions are?
I'm going to catch my
man, and then I'm history.
Got it?
- Take it off.
- What?
- The belt.
- Why?
- Just do it.
- But you said that--
I know, I know.
I made a mistake.
He's not the one you
want to wear a belt for.
He's not for you.
You mean I'm not good enough.
You took one look
at him and realized.
FLYNN: Hey, up there,
we have a job to do.
All I want to do is keep
you from getting hurt.
Don't you understand?
Too well.
Oh, you dressed.
You--
Nice shoes.
Sensible.
So, you mentioned dinner?
FLYNN: Welcome to the glamorous
world of bounty hunting.
SARA: I love this old wharf.
It's been for sale for as
long as I can remember.
So, what's our game plan?
How come we're out here?
I figured Fortrell
is either headed
back to your house or here.
You see that story facility?
Depending on how cautious
he is, he'll either store it
or keep it with him.
Wow.
How did you figure all that out?
I, uh-- well, I--
ha-- found this
invoice in his garbage.
I could have done that.
So this is what he stole.
That is a panel
from the Constantinos
Hoard in Cyprus,
which means that it's
a fresh dig, no provenance.
[throat clearing]
Ca-- Can I have the
English translation?
The operative words are
"priceless" and "stolen."
There he is.
I can't believe it, quiet
little Russell Lafleur--
thief.
How do you know he's
even going to come back?
He'll come back.
Too many people
would be suspicious,
especially in a small town.
I'll say.
And plus, he left
his gun behind.
If he wasn't planning
on returning,
he would have ditched it.
Hey, what if he's back
at the house right now?
We've got it wired for sound.
We'd get him before he
could change into his socks.
So you're a high-tech Dick.
A high-tech Dick.
So, now what?
Now?
Nothing.
This is a stakeout, Sara.
Now we wait.
Spread your legs.
What?
In your dreams!
Ex-- Excuse me.
Mm?
I, uh-- I thought maybe
you might be thirsty?
Sorry.
You want to open it?
Woo.
Sorry.
I didn't know your
work was this exciting.
It can be, it's
just your lucky night.
What's that supposed to mean?
You're not exactly
the gutsy type.
Oh, and you know my type, huh?
I was gutsy once.
Oh, yeah?
When?
When I was eight.
I just learned how to ride
a bike and my parents,
they would only let me
ride in the front yard
while they watched.
But one day I chased a
fire engine all the way
past the radio tower
outside of town.
That must be about five
miles from your house.
5 and 6/10 each way.
Why?
That's a lot of pedaling
for a little girl.
Fire engines were my weakness.
I'd hear them and think about
it, the danger, excitement.
That day, I just
couldn't help myself.
Off I went, no turning back.
That was a long time ago.
Fortell's not
coming, let's go back.
Thank you.
So, your room's
beside Russell's--
I-- I-- I mean Benny.
When he comes back,
I'll be waiting.
Goodnight, Sara.
Flynn, you want to come in?
Go on inside, Sara.
I-- I've already
decided that I--
I'm not going to
kiss you goodnight.
Nerve!
"I've already decided
I'm not kissing you."
Well, who asked you?
All the stinking nerve.
Arrogant.
Creep.
Jerk.
[electric toothbrush]
Jerk.
If you were the last person on
a desert island, begging me,
I wouldn't kiss you.
Flynn.
Mm, Flynn.
Flynn.
Just shoot me.
[car approaching]
Oh, Benny.
Ah, key, key.
Where is it?
Ah, uh, uh.
(WHISPERING) He's coming.
Flynn.
Flynn, wake up.
- You're under arrest!
- It's me.
Stop, he's coming.
- What are you doing?
Russell-- I mean--
I mean Benny.
Damn it!
Ow, ow!
Get up, get up.
Come on!
Hurry!
- Handcuffed.
You handcuffed me.
Where's the key?
The key?
- Come on, get it.
- I see it.
He's getting away.
[muffled speaking]
FLYNN: Go, go, go.
Go, go, go.
SARA: Ow!
FLYNN: Damn it,
he's getting away!
SARA: Watch it.
[falling down stairs]
SARA: That's Benny,
he's getting away.
Ow, why'd you handcuff me?
FLYNN: Whose fault is that?
SARA: Whose handcuffs are they?
FLYNN: Who came barreling in
here where she didn't belong?
Who forgot to tell his
partner her part in the plan?
What plan?
There's no plan, it's just me.
So give me the key.
Now.
No plan, you were lying?
Look, I am not
discussing this now.
You lied to me!
Give me the key.
This isn't a game.
Ow!
Unlike that blather
about "one thing
that follows a man around
for the rest of his life."
Give me that key.
I have a job to do.
Y-- You don't belong me.
I am going with you.
Stop acting crazy, Sara.
Just stay here in your little
town where you belong--
ow-- and finish changing
your window screens.
You're too old to be
chasing fire trucks.
We had a deal, Flynn.
You said you were
a man of your word.
Are you?
Get in the car.
SARA: Nelly, the speed
limit's only 30 around here.
[music playing]
Flynn?
Flynn?
Flynn?
Flynn!
Flynn!
Flynn!
I thought you ditched me.
Those tranquilizers
wear off, dear?
We let her We let
her out once a month.
Nice shoes.
Try these on.
They should fit.
You bought me new clothes?
In a matter of
hours, we're going
to be in the office of
the world's authority
on the contents of the
Constantinos Hoard.
If we are lucky, he will
let us know which collector
is buying these artifacts.
Now that is where Benny
is going with the panel.
How do you know this stuff?
Well, it's my job, ma'am.
Besides, once you get out of
the boonies like Schomburg Cove,
Dr. Hamilton-Ives happens
to be relatively famous.
And you want me to wear this?
As opposed to what?
Hey, that's brand new.
What are you doing?
Exactly.
You're an archaeologist.
We've been on a dig in
Greece, and have made contact
with Turkish grave
robbers who will
supply us with the
stolen antiquities
from the Constantinos Hoard.
For the right
buyer, of course.
[MUSIC PLAYING - COLIN JAMES,
"KEEP ON LOVIN' ME BABY"]
COLIN JAMES (SINGING):
Well, I want you to love me.
Well, I want you to love me.
Well, I want you to love me.
Naturally, a find like
the Constantinos Hoard
doesn't turn up every day.
We have been hearing rumors
of more activity with it.
And, uh, what about provenance?
Can your advisors provide
the legal documentation?
You're testing us,
Dr. Hamilton-Ives.
You know this dig is fresh.
There are no documents,
because Greece
doesn't allow these items out
of the country-- not legally.
If your collector has
a problem with this,
then perhaps we
should go elsewhere.
No, no.
I assure you you've
come to the right place.
My collector has assembled
all the known pieces
of the Constantinos Hoard.
It's become something of
an obsession with him.
If you have access
to more, I can assure
you he'll want to meet you.
Why don't we discuss this
further in my office?
(WHISPERING) Sara.
Sara.
I have a feeling you would
like to take a souvenir home?
Extraordinary piece.
DR. HAMILTON-IVES: Yes, they
are beautiful, aren't they?
SARA: The collector is
John Charles Alford?
Milk-toast Russell hangs out
with John Charles Alford?
Fortrell is no milk-toast
if he's dealing with Alford.
He's swimming with the
meanest of sharks, Sara.
Do not underestimate him.
A shark?
Zillionaire philanthropist
John Charles Alford is a shark?
And there there's
no Santa Claus either.
That way.
Now what?
Now we have less than two
days to beat Fortrell to Miami,
headquarters to
John Charles Alford.
Two days?
We'll be there by dinner
if we make the next flight.
No planes.
What?
There's one every hour from--
This is not negotiable.
Come on.
What, are you afraid to fly?
Maybe you could say
it a little louder.
I don't think
everybody heard you.
Mr. no nonsense, tough as
nails, Mr. I'm so perfect--
Could you-- could
you stop this.
--is afraid to fly.
Well, let's hit the road then.
FLYNN: Has anyone
ever told you you have
a little mean streak in you?
Why don't you let me drive?
I've never driven
a Corvette before.
In your dreams.
It so happens I won the
defensive driver award
in my driver's training
class, and I've never
been in any sort of accident.
Oh, then the odds
are against you,
and you're an accident
waiting to happen.
Trust me, it is not going
to happen in this car.
This car is my family.
- Don't be rude.
This is a thing.
Family is real.
[whistle]
Suit yourself.
[MUSIC PLAYING - COLIN JAMES,
"KEEP ON LOVIN' ME BABY"]
COLIN JAMES (SINGING):
Well, I want you to kiss me.
Whoa, yeah.
Whoa, yeah.
Whoa, baby.
You know what pleases me.
You know what pleases me.
Early in the morning.
Flynn!
I hate to break it to
you, but you almost just
crashed your family.
OK, you drive.
We'll make better time.
Don't make jokes about
something you don't understand.
[MUSIC PLAYING - COLIN JAMES,
"KEEP ON LOVIN' ME BABY"]
COLIN JAMES (SINGING):
You know what pleases me.
You know what pleases me.
Early in the morning, or
any time at night, well,
I can feel your tender lips
making me feel all right.
You know it pleases me.
Oops.
Just don't let
it be the oil pan.
Ugh.
TOW TRUCK DRIVER (INTO
RADIO): Johnny, I'm looking
for an oil pan for a Corvette.
Sure, I'll wait.
I'm sorry.
I'm really sorry.
Flynn, please.
I'm so sorry, just--
You can stop that anytime now.
Why don't you just yell,
get mad, say something.
I found the part.
I can fix it up by seven--
that's AM.
See?
Life goes on.
Yeah, life goes on.
Let's just ride it
where it takes us.
Is that what you want, Sara?
To ride it?
Sure.
Why not?
Then you have to ask for it.
That's rule number one
in getting what you want,
you get to ask.
Are you trying
to scare me, Flynn?
Are you scared, Sara?
What's there to be scared of?
You're a white picket
fence kind of girl.
You like words like
"commitment" and "forever,"
nice, safe words.
Well, I don't know those words.
And when I see a white fence
I just want to burn it down.
It's the fire that scares you.
Maybe you're the one
that's scared, Flynn.
And all that fire is
just a smokescreen.
But if you're mad about your
car, you should just say so.
It's not nice to
manipulate people.
Hi.
I never said that I
wasn't close to my family.
Well, technically, you said
your car was your family,
which might suggest--
Which might suggest
that there are
certain topics
that are off limits
in the course of idle chitchat.
You're right, Flynn.
I'm sorry.
I just thought I
could get to know you.
I was hoping we
could be friends.
I'm sorry, I'm tired.
It's OK, it's-- it's my fault.
FLYNN: My dad was one of the
first casualties in Vietnam.
You don't have to tell me.
I barely remember him.
I was just a kid.
I remember my mom
crying, though.
And when she pulled herself
together, she took a job.
And she used to
work all the time,
but there was
never enough money.
One Christmas, I remember
complaining because I
only got a pair of
shoes and everybody else
got bikes-- whatever.
So the next year, she--
she took on a second job
so we could have
a real Christmas.
It was a night job in a bar.
The last thing that--
that she would say
was, leave the light
on for me, kiddo.
It was-- It was kind of
our own private joke,
you know, since it was me
that was afraid of the dark.
And, uh, one night, there
was a fight in the bar.
They broke it up, but the guy
came back with a gun and--
just one of those flukes,
she got in the way.
Story of my life.
Flynn, I want to spend
the night with you.
On your terms, not mine.
No safe words, no picket
fences, just the fire.
[music playing]
You're so beautiful, Sara.
You're so beautiful.
You don't even know.
Mm.
You're still here.
I thought I dreamt you.
Don't go yet.
FLYNN: Get dressed,
Sara, it's morning.
Flynn what happened last
night wasn't just physical.
I know you were hurt
as a child, but--
FLYNN: Don't psychoanalyze me.
I-- I have been pitched by
more savvy women than you,
and it doesn't--
here, I'll cut to the chase, OK?
I'm afraid of intimacy.
I admit it.
Happy?
Point is, I'm going to stay
afraid, so save your speech,
because I'm not going to change.
I'll wait.
$350.
Yeah.
FLYNN: Nice doing
business with you.
No, no, better.
NANCY (ON PHONE): Tell me
you didn't just tell me that.
I'm in love with him, Nance.
And he's in love too,
he just doesn't know it.
He eats women's hearts
for breakfast, Sara,
and you got naked with him?
How was it?
I don't kiss and tell.
FLYNN: Come on, Sara.
Let's go.
Look, he's waiting.
I gotta go.
Um, I just wanted
you to know I'm OK.
No, you're not OK, Sara.
I mean, besides having a
broken heart waiting to happen,
Nigel is foreclosing
on your house.
You've got to get back here.
Tell Nigel all I
need is 24 hours.
We'll nab Benny Fortrell and--
[car horn]
--Flynn will have
come to his senses.
Wish me luck.
Don't do it, Sara.
SARA (ON PHONE): Bye, Nance.
SARA: When are we stopping?
I'm starving.
FLYNN: Grab a candy
bar, clock's ticking.
SARA: If we had flown,
we wouldn't even
be having this conversation.
FLYNN: Whine all you
want, I'm not stopping.
FLYNN: Stop looking
at me like you're
waiting to talk about feelings.
What?
I'm just sitting here,
minding my own business,
eating my breakfast.
Well, hurry up.
We have to make Miami today.
Gulping one's food
isn't good for digestion.
Boy, are a grump in the morning.
Sara, the bounty runs
out in exactly 15 hours.
I'm not here for
some romp to break
up the monotony of my life.
Is that why you think I came?
To break up the
monotony of my life?
Let me tell you something,
I came because--
because something snapped.
Like something, some
force was suddenly
going to keep me from dying
of acute responsibility.
Here lies Sara McCallister,
always did the right thing.
No, Flynn.
You came along and--
it was fate.
I'm nobody's fate.
[music playing - "la bamba"]
Just the lady.
Stay, wait for me.
- I don't want--
This time you are
listening to me.
We're not even registered.
I-- I can't just hang
out, I mean, look at me.
Pretend you're the gardener.
- Right, I'm--
- Out.
Stay here.
I'll be back.
Hurry.
[music playing - "la bamba"]
FLYNN: It's showtime.
Let's go.
No time for jokes.
Put this on.
Where exactly would
you have me put this on?
Right here in the
lobby, where I've been
waiting for you for two hours.
HOTEL EMPLOYEE: Mr.
Arnold, your room key, sir.
FLYNN: Thank you.
HOTEL EMPLOYEE: Thank you, sir.
Happy?
Who's Mr. Arnold?
FLYNN: Your husband,
Mrs. Arnold.
You are Susan Arnold, and
you are extraordinarily rich,
but you're even more
private than rich.
You don't even look like you.
One hour, the Arnolds are
meeting John Charles Alford.
We have been investing
in antiquities,
and have heard the rumors
of the Constantinos Hoard.
We want it at any price.
You let me do the talking.
Now get ready.
I'm sure the clothes will fit.
Did you lose your personality
back out on the highway?
[door slam]
You're being a real jerk.
SARA: I'm sure the
clothes will fit.
So arrogant.
[knocking]
Go away, I'm not ready yet.
[knocking]
Extremely rude.
Five minutes to dress.
Mrs. Arnold, I'm
here to do your hair.
Just one last touch and then--
perfect.
Voila!
Come on, let's
have a look at you.
Oh, Mrs. Arnold,
you look lovely.
You know, that suit
fits you perfectly.
It's time.
Why did you throw these away?
All they need is
a little washing.
You won't be needing them.
Well, I can't
exactly wear this suit
for the next three days.
Not that it isn't the
most beautiful thing
I've ever worn in
my whole life, even
though you haven't noticed.
You don't get it, do you?
It's over.
We're this far
from Fortrell now.
Which means that you're this
far from getting on a plane
and going back to your life--
your house, your windows,
your picket fence.
Now, come on.
We've got less than eight hours
before the bounty runs out.
You ready?
Do you have your story down?
Just let me do the talking.
I can't do this, Flynn.
Are you in or out, Sara?
I can't think straight.
Just stop it.
But last night, I know
that means something.
Would you make up
your mind-- in or out?
I have told you my terms.
If you can't accept--
Then I quit.
Right now.
My terms.
This is my job, Sara.
This is the eleventh hour.
How can you think about a job?
This is your life.
You are about to--
The whole thing is hopeless.
I mean, think about it.
If the Arnolds are so
extraordinarily rich,
then Alford is going
to know them socially.
This is a stupid plan, Flynn.
Alford knows about
them because of the DEA,
who spent years
inventing this cover.
DEA, as in Drug
Enforcement Agency?
I thought this was
about antiquities.
John Charles Alford
is Juan Carlos Alfonso.
He's the banker to Medellin
and Cali drug cartels.
He launders their
money, Sara, which is
why this is about antiquities.
They are very expensive,
they tend to be untraceable,
and they're only
semi-legal to begin with.
This is not a game, Sara, so
are you in or are you out?
Mr. And Mrs. Arnold, how
nice to meet you at last.
I've heard so much about you.
Mr. Alford.
Please, call me John.
I hope you don't
mind the informality.
I prefer it.
This is my wife, Susan.
Susan, say hello to Mr. Alford--
John.
You OK, Susan?
You seem a little--
(BRITISH ACCENT)
It's just Miami--
I'm not terribly
fond of the city.
Although I mean no offense.
No offense taken.
I'm not a native, myself.
Let's go into my office.
Straight ahead, this way.
(BRITISH ACCENT)
If you don't mind,
I would like to wash my hands.
Cities, you know, so unclean.
Yes, of course.
My secretary will
show you the way.
Meanwhile, Guthrie, why don't
you join me in my office?
I understand we have
much to discuss.
[phone ringing]
SECRETARY: Ah, Mr.
Fortrell, how was your trip?
No, I'm sorry, he just
stepped into a meeting.
But I will let him know
that you're in the city.
And you're staying
at your usual hotel?
OK, bye-bye.
Ah, there you are.
I trust you're feeling better.
Your husband has been telling
me about your collection
of antiquities.
I must say, I am very impressed.
It's not often that one
meets a kindred spirit.
(BRITISH ACCENT) Yes,
sometimes it happens only once
in a lifetime--
finding a kindred
spirit, I mean.
JOHN CHARLES
ALFORD: Yes, I know.
And yet, that puts us in
the regrettable position
of desiring the same thing.
I understand you're here
because of my passion
for the Constantinos Hoard.
I bet you'd just love to see
the collection, wouldn't you?
(BRITISH ACCENT) Well--
Absolutely.
Would be an honor.
It would be my pleasure.
Please, follow me.
Please, this way.
Constantinos Hoard.
These are, perhaps,
the finest antiquities
to come out of Greece.
This is definitely
what we have come for.
Oh, unfortunately,
it's not for sale.
Oh, I beg to differ.
Everything is for sale.
Yes, well--
As long as the
collection is complete.
I understand that
there is another piece
that has been discovered.
Mr. Alford, if
that's everything,
I'll be leaving for the evening.
Your messages.
Yes, the new panel
will be here tomorrow.
Remarkable detective
skills you people have.
This altitude, John,
our world is very small.
When, exactly, can I see it?
(BRITISH ACCENT) Really,
Guthrie, Mr. Alford
says his collection
isn't for sale.
I don't believe you
should press it.
- Well, actually--
- (BRITISH ACCENT) No, no.
You've made yourself
clear, and we
are being crass by pressing it.
I-- I can explain.
Susan!
(BRITISH ACCENT) Yes,
Guthrie, do explain.
I'll wait for you by the lift.
Good evening, Mr. Alford.
Good evening.
Forgive her.
Cities-- puts her on edge.
Just give me a moment with her.
FLYNN: (WHISPERED) Sara.
Have you lost your mind?
I've been on Fortrell's
trail for six months.
I'm on the brink of closing
this case, finding Fortrell--
We've got it.
Let's get out of here.
What?
Fortrell is here.
You are brilliant.
You are amazing.
I've never been so
scared in my life.
"I'll wait for
you by the lift."
Where did you get that?
In a book.
Where else?
So what's with the DEA
and how did you know
about Alford and Arnold and--
I-- I helped invent them.
For-- for 10 years, I was
Special Agent John Flynn with
the US Drug Enforcement Agency.
Where do you think
I was all morning?
Shopping for me?
Trading information
with the local office.
It's amazing.
You are amazing.
Is Fortrell there?
FLYNN: Nope.
Now what?
Remember the stakeout, Sara?
Ugh, man, that is so boring.
There's got to be a better
way to find out where he is.
Yeah, well, I left my
crystal ball at home.
What are you doing?
Flynn, there are
some things I'm going
to be much better at than you.
(NEW YORK ACCENT)
Benny Fortrell told me
you'd know where
I could find him.
He said all I had to do was ask.
Yeah, and, uh, who are you?
His landlady,
who do you think?
I'm looking for back rent.
You know Blackjack's,
over on Bay?
Be
Sure.
That's where he'll be tonight.
Oh, man.
Ugh.
Flynn.
I have the most
gigantic favor to ask.
Oh, sorry.
That's OK.
Did you say something?
There's just this one spot
in the middle of my back.
Funny how our bodies
are designed--
almost perfectly, you know?
99 percent.
But then we have these
arms that don't quite
reach the middle of our back.
One teeny little design flaw.
Crazy, isn't it?
Don't stop.
Your plane leaves tonight.
What plane?
The one I just
reserved your seat in.
I'm borrowing
one of your shirts.
You can have it--
a memento.
I'm going with
you to Blackjack's.
Right.
It's a solo game from here on.
Someone's got to peel you off
the floor when you get shot.
We are not having
this conversation.
Don't be so stubborn.
You need me to ID him.
Somehow, I have managed
without you all these years.
Yeah, well, in your
photo, Benny has a beard.
He doesn't happen
to have one now.
I know what he looks like.
Sara, you are
not coming, period.
If you don't take me,
I'll follow you in a taxi.
I'm down to the
wire on this one.
The bounty runs out at midnight.
And either I have him by then,
or it's gotten pretty messy.
Now please, Sarah, I--
that's something that I
don't want you to see.
Do you understand?
For us, whatever us is.
We ID Fortrell, and then you go.
Agreed?
Agreed.
[MUSIC PLAYING - "MAN
SMART (WOMAN SMARTER)"]
PIANOMAN (SINGING): To find
out which one is smarter.
Some say men, but I say no.
So what do I do?
Nothing.
Come on, Flynn.
OK, you have two
jobs-- stay out
of the way and find Fortrell.
And don't act like a girl.
Technically,
that's three things.
Evening, folks.
What can I get you?
Hi, uh, bourbon neat.
White wi-- whiskey,
with, you know, cubes.
On the rocks.
Uh-huh.
I knew that.
Do you see him.
No.
Bourbon, and
one white whiskey.
PIANOMAN: Eleven o'clock,
almost quitting hour, folks.
But I've got time
for one more tune.
Just send that request
on a brand new $20 bill,
and I'll do whatever
you want to here.
Oh, no, no, I ain't doing that.
Sara, you promised.
Stay here.
PIANOMAN: Oh, that's not bad.
What do y'all think
about that one?
[inaudible]
OK, well, listen.
What kind of music you
been listening to--
I've got to find a way
to get past that bouncer.
- Let me.
- No.
Well, maybe I
can distract him.
- No, no, no, we had a deal.
- "Yesterday."
"Yesterday."
GUS: Play "Come a
Little Bit Closer."
"Come a Little Bit Closer."
Gus, you know I don't play
"Come a Little Bit Closer."
GUS: Come on, man, you
know it's my favorite song.
I know it's your
favorite song.
Every night, Gus,
you want me to play
"Come a Little Bit Closer."
"Come a Little Bit Closer"
just one time, please.
I know, I know it's
your favorite song.
You gotta be crazy,
I ain't playing that.
I can do "Come a
Little Bit Closer."
FLYNN: Sara.
Sara.
But only if you'll join me.
PIANOMAN: Looks like
we have a volunteer.
What do you say, folks?
- Are you crazy?
I must be.
I barely know the song.
PIANOMAN: Right this way.
I've been keeping the
bench warm for you.
Don't mind them, they're just
a little young and restless.
You know how it is.
Don't be nervous, darling.
You'll be fine, just fine.
Now sit yourself down.
That's right.
Now you go get them, girl.
[MUSIC PLAYING - "COME A LITTLE
BIT CLOSER"]
Mm-mm.
AUDIENCE WOMAN: A
little more heat, honey.
A little more heat.
(SINGING) In a little
cafe just the other side
of the border.
She was sitting there giving me
looks that make my mouth water.
So I started walking her way.
She belonged to that man, Jose.
And I knew, yes, I knew I should
leave, but I heard her say--
yeah, yeah-- come a
little bit closer.
You're my kind of man,
so big and so strong.
Come a little bit closer.
I'm all alone, and
the night is so long.
GUS: [chicken noises]
Sing it to me.
SARA (SINGING): Then
the music stopped.
When I looked, the
cafe was empty.
Then I heard Jose say, "Man, you
know you're in trouble plenty."
So I dropped--
FLYNN: Hey!
SARA (SINGING): --the drink
from my hand, and through--
Hold it, Fortrell.
Yeah, what are you
going to do, shoot me?
Don't tempt me.
You've got less than an hour
left, then your bounty's up.
What do you want to talk
about, sports or music?
Hands on the roof.
Like this?
What you going to do now,
mister bounty hunter?
Sara, I told you
to get out of here.
You want me to
get out of here?
We had a deal.
Do you ever hold up
your end of a deal?
I happen to be
extremely conscientious,
as a matter of fact.
Then get of here!
SARA: Oh, OK.
Now?
You want me to go now?
Right now?
Right after I just
saved you're butt?
You didn't save my butt.
Stop it, just stop it.
Move.
Back off.
Move now.
Go on.
Back off.
[MUSIC PLAYING - 54
40, "INSIDE THE HORN"]
54-40 (SINGING): Here we go.
Not a bad idea,
Ms. McCallister.
This is irre-- really
irresponsible of you.
Open your eyes!
Open them!
Ooh-ooh, this is fast.
54-40 (SINGING): Inside
my head, I see a lady.
Completely numb from
the shock of war.
Wondering when if it's raining.
I gotta get you.
Gotta get you.
I got to get you home.
I gotta get you.
We lost him.
54-40 (SINGING): Gotta get you.
I got to get you home.
They say with love
comes a bolder force.
Make a life more worth saving.
I could taker her
out and set her free.
FORTRELL: So you want
to play chicken, huh?
54-40 (SINGING): With her
eyes in play she beckons me.
You take my place.
I'll take yours.
FORTRELL: Ahh!
Flynn!
[crime scene noises]
POLICE OFFICER: Here it is.
Better call the boys
from the DEA over.
REPORTER: Benny, you
got any comments?
Benny, how do you feel
now that you got caught?
What'd you have, Benny, drugs?
DEA OFFICER: What do we got
here, 10 million dollar pizza?
Drug game's not
like it used to be.
Hey, guys, here it is.
Imagine laundering
money this way.
We keep looking for
suitcases of greenbacks,
the cartel keeps finding new
ways of getting the money out.
This is unique.
I don't know what all
the fuss is about.
This just looks like a piece
from my folks' back yard.
Isn't that something?
Here, take care of that.
I'll be back in a minute.
Well, congratulations, Flynn.
The boys at the
agency were taking
bets you wouldn't
pull this one off,
but, uh, this was just
wired in from Athens.
That's nice.
Looks like the Greeks had
a little more faith in you
than we did.
They paying you that much
for a piece of plaster?
That's not plaster,
it's history.
Big difference.
Apparently.
OK?
SARA: See, you just tie the
short end over like that.
Jeez, yeah, you could
be an honorary paramedic.
Can I steal you patient yet?
Oh, she's healthier
than we are.
You take care, Sara.
Thanks.
You feeling all right?
Yeah, just some bruises.
You were pretty terrific, Flynn.
You almost killed yourself
to save that panel.
It wasn't the panel
I was trying to save.
Here, this is for you.
Flynn, this could
buy me three houses.
Yeah, well I--
I let them know that I have
some information about the rest
of the Constantinos Hoard.
And Greece is very serious
about their history.
Take it.
You earned it.
They've, uh-- they've
offered to, uh, fly
you home in their private jet.
I know you like champagne.
Flynn--
Don't say it, Sara.
We're partners.
We should be together.
- You know me and flying.
Don't make jokes.
Do you remember when I--
I told you that the first
rule of getting what you want
is asking for it?
The second was asking
for the right thing.
It isn't me.
Don't do this.
Don't tell me that
I'm not good enough.
That's not what I'm saying.
It's not you.
Sara.
Go home.
Live your life.
Look at you.
You don't need me.
You're going to be
all right on your own.
I know that, Flynn.
But what about you?
MAN: Go, break it up.
There's nothing to see.
FLYNN: She's ready to go.
[music playing]
So was he really tall,
dark, and handsome?
Everybody's talking.
Can I just make
a deposit, please.
Everybody's right.
Thank goodness you are back.
What on Earth where you thinking
of, going off with that--
that-- that--
"Man," I believe is the
operative word here, Nigel.
Man.
Don't get flip, Sara.
I'm just thinking
about your reputation.
And for a woman on her own--
Do we actually have
something to discuss here?
Like how you tried to foreclose
on my house while I was gone.
That's not a done deal.
But maybe in the future you're
going to thank me for that.
For the time being, I'm
just glad that the Sara
we know and love is--
You know what?
You never knew me, and heaven
knows you never loved me.
Adios, Nigel.
Hey, hey, what
about your house?
I'll call you.
Give my best to the misses.
NANCY: I told you
he'd break your heart.
Well, you'll never
see him again.
SARA: He didn't break
my heart, Nancy.
I did it for myself.
Wait a sec.
Why do we always stop here?
Is it some kind
of secret ritual?
I like the view, so shoot me.
[laughter]
A little late on those
windows, aren't you, Sara?
Who's there?
[baby crying]
I'm looking for Sara.
Doesn't she live here anymore?
I wish.
Try the wharf.
CORINNE: Can you get in here?
I need your help.
I'm coming, Corinne.
CORINNE: I can't change
them both at the same time.
NIGEL: Yeah-- just
change one of them then.
[MUSIC PLAYING - "THE LIES OF
HANDSOME MEN"]
SARA (SINGING): I
believe in witchcraft.
And I believe in Cinderella.
I believe in Gypsies.
And I believe I cast a spell
that's sent into the sky.
'Cause I believe the
lies of handsome men.
Sometimes, in a dark
and quiet place,
the truth and I
meet face to face.
But even though his
highness disappears,
I keep some stunning souvenirs.
So I believe in heroes.
And I expect that happy ending.
Wishing on some rainbow, I
pretend he's not pretending.
Someday I'll get
wise, but right now, I
need the lies of handsome men.
SARA: Thank you.
A friend of mine once
told me the secrets
to getting what you want.
He said, you have to be
brave enough to ask for it,
you have to be
persistent, and you have
to ask for the right thing.
If you follow these three
secrets, then what you want
might just walk through
your front door.
Well, folks, the best thing
about owning your own club
is you get to take a
break whenever you want.
I think people are staring.
It's a small town,
you'll get used to it.
I love you, Sara.
I know you do, Flynn.
It took me a while to
work out how to say it.
It's a long winter.
We have lots of time
to work out the kinks.
By the way, I love you too.
[MUSIC PLAYING - "THE LIES OF
HANDSOME MEN"]
SARA (SINGING): I
believe in star signs.
And I believe in film romances.
I believe in fantasy.
And I believe with just one
glance he's crazy for my eyes.
'Cause I believe the
lies of handsome men.
I believe in witchcraft.
And I believe in Cinderella.
I believe in Gypsies.
And I believe--
Want to try it?
[music playing]
[humming]
[music playing]
[grunting]
Mr. Lafleur, are you back yet?
Stay here.
If he comes back, I don't want
him in until he pays his rent.
What a mess.
Ow!
Ooh, damn it.
[grunting]
What am I doing?
I'm going to go back
to clean up that mess.
[children playing]
No.
Just shoot me.
Every summer.
[music playing]
Just what I need.
I don't have time for this.
[music playing]
Oh, Mr. Thatcher.
Here, let me help you with that.
Bless you, Sara.
Whoa, those look heavy.
Yeah.
Is that tenant of
yours still missing?
Afraid so, Mrs. Thatcher.
He'll be back any day now.
Those insurance types
are pretty reliable.
Now, don't you let him
keep showing off for you.
He's gonna throw
his back out again.
That McAllister girl, when's
she going to get a new fella?
And those horizontal stripes.
Bye-bye.
[radio playing]
Davy Howard disappeared once.
I didn't know that.
Mm-hmm.
He scared the daylights
out of everyone.
Where'd he go?
Vacation.
He forgot to tell the mailman
who was delivering his mail.
It piled up, the old
man figured the worst.
Vacation, now
that says intrigue.
Yeah, well, people
should know to do
things without telling someone.
Scared the daylights
out of everyone.
So I hope your tenant
comes back, Sara.
Everybody knows?
Isn't there anything
more exciting going on?
No.
No.
Nigel Bowers' wife's pregnant.
She was going to find
out, sooner or later.
Nigel's having a baby?
How nice.
His wife, actually.
Twins.
How fertile of them.
Bye, Alice.
It's OK.
Uh, Nigel, you know,
dumped me a long time ago.
Right.
At least, what?
Uh-- uh, four years?
Five?
Five.
Right, right.
That, uh, that summer
that your parents died.
Thank you.
[beeping]
Uh-oh, what do we have here?
Mr. Maldon to the
register, please.
I'm right here,
for crimey sakes.
Well, what's the problem?
Uh, your-- your card,
it rejected the charge.
$26?
Let me see that.
Well, you're probably
over your limit.
You know how fussy these
banks are now days?
Let her take it on credit.
Oh, no.
No, really, Mr. Maldon.
I--
Now, now, Sara.
What are you going to do,
run out of town on me?
I've known you your whole life.
Why-- why that bucket's
liable to be more
unpredictable than you are.
You know what I mean?
Yeah.
Um-- I'll bring you a check.
Bye.
Bye.
NANCY: It doesn't
mean you're boring.
More predictable
than a bucket?
Only cement is further out
on the boredom spectrum.
Stop it.
It just means
you're responsible.
That's not bad.
It would go cement,
Sara McCallister,
bucket, then maybe lint.
Just stop feeling
sorry for yourself.
I'm more boring than lint.
I just want to withdraw $200.
Mm-hmm.
N-O.
What?
We can't take out
what you don't have in.
Shoot me.
OK, just give me
whatever I have in there.
NANCY: Deposit, please.
Ooh, this is going
to hurt the bank.
Sara, a word?
Maybe you should have worn
those vertical stripes today.
Nigel, congratulations.
Twins.
Sara, I know we
have a, uh, history,
and, uh, I'm trying
to be understanding,
but I'm the manager
here, not just your ex.
I don't know, Nigel,
since you dumped
me before we were married, does
that actually make you my ex?
Oh-- technically speaking.
- Is that sarcasm, Sara?
- Sorry.
I'd be remiss if I didn't
bring to your attention
the condition of your finances.
They're not exactly shipshape.
More like shipwreck.
I know.
But right now, Nigel--
No-- no-- you're-- you're--
behind in your mortgage--
I know, and I promise you.
I'm sorry to
barge in like this,
but Sara's got to come with me.
It's an emergency.
An emergency?
Haircut.
An emergency haircut?
It's a girl thing.
An emergency haircut?
I got flustered.
Lying isn't my thing.
You're something else.
What else is it going to be?
An emergency dye job?
I'm a natural blonde.
Blonde?
Wait a minute.
This is "mouse,"
or "dish water,"
but I could make
you really blonde.
What am I going to do?
How about a cute
little pixie cut?
Or-- or maybe we
could go platinum?
Ugh, stop, stop!
I'm having a breakdown.
Russell Lafleur is gone,
along with his back rent.
I'm broke.
I'm on the verge of
losing my family's home.
How is platinum going to help?
Platinum tells the world, my
middle name is "adventure,"
things happen.
I mean, come on.
When was the last time
you had a real date?
A date?
That's like a fig, right?
Sara, let me spruce you up.
[music playing]
(ON THE RADIO) It's
another beautiful spring
day in Schomburg Cove, Maine.
It's 11 AM, you're
tuned to 93.2 FM.
It's 71 degrees, looking
for a high of 75 today.
Beautiful and sunny.
This one's going out from--
Wait a minute.
Mr. Lafleur, you're back!
Mr. Lafleur, hello.
Welcome home.
Mr. Lafleur, I have
some mail for you.
Hello?
Mr. Lafleur?
[muffled screaming]
Shh-- shh-- shh--
no yelping now.
Promise?
Let me go.
I'd love to, darling,
but, uh, you're the one
who's got the grip on me.
See?
Exactly who are you?
Flynn.
You're a friend of
Russell's, Mr. Flynn?--
Just Flynn.
Flynn.
Right.
How did you get in here?
I broke in.
Oh God.
Don't Oh no.
No, please-- uh--
FLYNN: See a ghost?
You don't look
like an assailant.
FLYNN: Who's being assailed?
Well, if you understood
the definition, it--
Oh, I do.
What I don't understand
is whether keeping
your butt from hitting
the floor is attacking,
raiding, or storming.
Please don't hurt me.
Oh, just shoot me.
No!
Ha, I mean-- nervous--
don't shoot me.
I'll do anything.
Anything you want.
Please.
Please don't shoot.
Please.
Make me an omelette?
Please?
Nice place.
SARA: Thanks, I'm sure you only
pick nice places to burgle.
Now, technically,
it's a B and E, ma'am--
breaking and entering.
You're good at that.
Doesn't take a lot of talent.
Secret is a sharp--
So, Flynn, onions
with your omelette?
Oh, only if it's
not too much trouble.
Here.
Thank you.
Oh, do-- do you
have any white wine?
Wine?
Uh, forget it.
W-- would you mind
if I wash my hands?
Onions, you know?
Eat.
I'll be right back.
[water running]
Hello, George?
It's me, Sara McAllister.
I'm being held hostage.
Yes, in my house.
There's a man in my dining room.
He has a gun, George.
Yes.
Hurry.
You really didn't
have to do the dishes.
What, are you kidding?
After you cooked?
Will that hurt it?
No, no.
I put all my guns on the piano.
No fast moves, OK?
So tell me more
about Mr. Lafleur.
How long's he been gone?
I already told you everything.
He's not that interesting.
He sells insurance.
Then how about playing
something for me.
I'd love to hear--
No.
Absolutely not.
Never.
Whoa, just a simple question.
I don't play in public.
Ever.
This isn't public, darling.
This is just one-on-one.
[car door opening]
Look, you can rob
me or whatever it
is you're going to do to me--
GEORGE: Open up, police!
Huh, George-- George in here.
He's got a gun!
Hurry!
Ha ha!
How you doing, George?
That's all right, Jim.
Go wait in the car.
Flynn, we'll I'll be god darn.
I haven't seen you
since that bank thief.
Good to see you, man.
You're looking good!
Wait a minute!
Hold it, George!
This is the way you
treat known criminals?
Flynn is one of
the best bounty
hunters in the country, Sara.
Now, you should be proud
to have him as a guest.
Guest?
He's an intruder, George.
I have a, uh, bench warrant
here for a Benny Fortrell,
a.k.a.
Russell Lafleur.
GEORGE: What's he done?
International
antiquities thief.
Ancient statues and coins.
Not my thing, but,
you know, Greece
seems to want it back pretty
badly if you catch my drift.
Wow, right here
in Schomburg Cove.
Wait a minute.
What about me?
Ugh-- ow-- he held
me at gunpoint.
Fortrell's, I doubt
it has a license.
It's empty.
You forced me to cook for you.
George, he forced
me to cook for him.
I did-- I didn't force.
I said "please."
Killer omelette.
- That's it.
Out.
Out of my house.
It's been real.
You know what?
I don't care about Russell,
Benny, statues, Greece.
Just leave, please.
I was hoping that I
could spend the night.
Wh--
I'll just let the two
of you work that one out.
Goodnight, Ms. McAllister.
George.
Spend the night?
- Fortrell is--
Are you mad?
--on his way back from Greece,
and he's due here any minute.
You don't know me--
Well, let's keep it that way.
I am not leaving
until I apprehend him.
Now, why don't I
rent out a room?
You have a sign up front
saying there's a vacancy.
Over my dead body.
500 500 bucks a night.
Read my lips--
no.
NANCY (ON PHONE): You said "no?"
Nancy, he did B and E.
NANCY (ON PHONE): After
the way you described him,
let him do the whole alphabet.
Come on Sara, take a chance.
Take off the clothes
you're wearing right now,
put on something sexy, invite
him in and fluff up his pillow.
Now.
Tomorrow we'll do your hair.
In the meantime, don't
let him out of your sight.
Tomorrow he'll have Russel--
Benny, whatever.
He'll be good riddance,
still a lying cad.
To think I cooked for him.
NANCY (ON PHONE):
What's he doing right now?
SARA: How on Earth would I know?
[doorbell ringing]
SARA: He's got more nerve
than a rooster in a hen house.
This better not be you, Flynn.
Don't even think I'm going to
fix you coffee and breakfast.
Coming.
Nigel.
Hi.
[car honking]
I'll be fast, 'cause
Corinne's waiting for me.
The little misses.
Flynn?
Uh, Sara, here's
the deal, all right?
Uh, all houses are, well,
you know, endless money pits.
Now, you've given it your all,
in honor of your late parents,
but it is destroying you.
Let me buy it from you.
- What?
Yeah-- I'd be doing you a
favor, if you think about it.
Right, like the
favor you did me
when you found out my parents
didn't leave me any money.
That was a long time ago--
What do you call
that favor, Nigel?
Liberating me from
our engagement.
Gee, you're a living saint.
This is not very produc--
Saint Nigel, the Benevolent.
Let's not get bitchy.
[car honking]
Come on.
We need the extra room.
And, well, Corinne's
got her heart set
on putting little swings here
where this old spruce is.
My grandfather
planted that spruce.
Tell Corinne she can kiss my--
FLYNN: Sara!
Darling.
Sara.
Sara.
The neighbors!
Don't mean to
be rude, old man,
but you've caught us in
an inconvenient time.
Well, I'll-- then--
I'll-- I'll-- come
back at-- at, uh--
later.
Why did you do that to Nigel?
This whole town is
gonna be talking.
He was in my way.
I'm tired.
I need a-- a shower.
I need a cup of coffee.
I need a bed!
What does this
look like, the Y?
Look, I heard you talking.
I know you need the money.
Let's make a deal--
if you let me stay
here to catch Fortrell,
I'll make you my associate.
We'll split the bounty.
How much?
Let's put it this way,
you won't have to worry
about your mortgage, ever.
A spruce tree.
How do I know I can trust you?
There's only one
thing that follows
a man throughout his life--
his word.
You can trust me, Sara.
Ooh, how about this?
Wear this.
That's underwear.
That's what people
wear on dates now.
Look at Madonna.
This isn't a date.
It's dinner.
It's business.
It's close enough.
Ooh, how about this?
We're going to be discussing
strategy, important bus--
Oh, no.
Not these shoes.
You're going to look like you
write English detective novels.
Sensible shoes?
Ugh.
Nobody notices shoes.
Besides, "must be
aware of unintentional
sexual messages--"
Oh, Sara, for once in
your life, take a chance.
Go for it.
You don't always have to
be Ms. Responsibility.
I mean, this time let somebody
else balance their checkbook
right to the penny,
or mow their lawn
on exactly the seventh
day, or-- or install
their summer screens--
I'm already a week late on
my summer screens, thank you.
And what?
Did the world come to an end?
Did you read in the
paper, "Sara McCallister
a Week Late on Her
Summer Screens.
Photograph on Page 3?"
Huh?
No.
Everybody else gets to have fun.
Why not you?
- I think maybe this blue dress.
- Ugh.
You're going to look like
a nun on her day off.
At least belt it.
Belts make me look fat.
I give up.
Ugh.
OK, you're right.
I'll belt it.
Walk on the wild side.
Woo!
[doorbell ringing]
- He's here.
Don't worry.
Dress.
I'll go.
Ow.
Hi.
Are you OK?
You must be Flynn.
I'm Sara.
No, I'm not.
I'm Nancy.
Sara's on her way downstairs.
Can I get you anything?
Uh, no.
That's-- that's OK.
I'll just, uh, wait.
Oh, well yeah.
Come in.
You know, I just want to say--
well, this may be
presumptuous, but, um,
Sara's such a good person.
She's decent and sweet and--
well, what, exactly,
are your plans?
You mean, are my
intentions honorable?
Well, I just don't
want her to get hurt.
Oh, I didn't
realize that dinner
was such a high-risk activity.
Except those little
chicken bones.
Gotta watch those.
Is this Sara?
A little baby fat.
Hmm.
Well, that was years ago.
And this is her
with her parents.
This was just before her
first big piano recital--
her first and last.
Yeah, what happened with that?
She would-- she wouldn't
play for me the other night.
Oh, well, she, um--
she bombed on stage.
I mean, it wasn't
really her fault.
Her parents were just
so overprotective.
They never really gave her
a chance to prove anything
on her own, so that night--
I mean, there she was, the
biggest night of her life,
and she froze in
front of everyone.
It was a total disaster.
And that was it.
Never again.
You know, in fact,
I've heard her play.
She's great.
Lucky you.
Look, Mr. Flynn--
Just Flynn.
You don't come from here,
and you won't end up here,
but we do.
Where you come from, that--
that glamorous
"jetset-y," "bounter-y"
"hunter-y" kind of world, you
don't know girls like Sara.
She's good on the inside.
You know, she--
she has integrity.
She's-- she's sensitive
in a way a guy like
you would never understand.
Hey, hey, Dr. Freud,
obviously who and what I am
is an open book to you, but
don't lose any sleep over me,
OK?
Th-- those homespun
qualities that you mentioned?
Not my type.
Zippo.
You want to know what
my intentions are?
I'm going to catch my
man, and then I'm history.
Got it?
- Take it off.
- What?
- The belt.
- Why?
- Just do it.
- But you said that--
I know, I know.
I made a mistake.
He's not the one you
want to wear a belt for.
He's not for you.
You mean I'm not good enough.
You took one look
at him and realized.
FLYNN: Hey, up there,
we have a job to do.
All I want to do is keep
you from getting hurt.
Don't you understand?
Too well.
Oh, you dressed.
You--
Nice shoes.
Sensible.
So, you mentioned dinner?
FLYNN: Welcome to the glamorous
world of bounty hunting.
SARA: I love this old wharf.
It's been for sale for as
long as I can remember.
So, what's our game plan?
How come we're out here?
I figured Fortrell
is either headed
back to your house or here.
You see that story facility?
Depending on how cautious
he is, he'll either store it
or keep it with him.
Wow.
How did you figure all that out?
I, uh-- well, I--
ha-- found this
invoice in his garbage.
I could have done that.
So this is what he stole.
That is a panel
from the Constantinos
Hoard in Cyprus,
which means that it's
a fresh dig, no provenance.
[throat clearing]
Ca-- Can I have the
English translation?
The operative words are
"priceless" and "stolen."
There he is.
I can't believe it, quiet
little Russell Lafleur--
thief.
How do you know he's
even going to come back?
He'll come back.
Too many people
would be suspicious,
especially in a small town.
I'll say.
And plus, he left
his gun behind.
If he wasn't planning
on returning,
he would have ditched it.
Hey, what if he's back
at the house right now?
We've got it wired for sound.
We'd get him before he
could change into his socks.
So you're a high-tech Dick.
A high-tech Dick.
So, now what?
Now?
Nothing.
This is a stakeout, Sara.
Now we wait.
Spread your legs.
What?
In your dreams!
Ex-- Excuse me.
Mm?
I, uh-- I thought maybe
you might be thirsty?
Sorry.
You want to open it?
Woo.
Sorry.
I didn't know your
work was this exciting.
It can be, it's
just your lucky night.
What's that supposed to mean?
You're not exactly
the gutsy type.
Oh, and you know my type, huh?
I was gutsy once.
Oh, yeah?
When?
When I was eight.
I just learned how to ride
a bike and my parents,
they would only let me
ride in the front yard
while they watched.
But one day I chased a
fire engine all the way
past the radio tower
outside of town.
That must be about five
miles from your house.
5 and 6/10 each way.
Why?
That's a lot of pedaling
for a little girl.
Fire engines were my weakness.
I'd hear them and think about
it, the danger, excitement.
That day, I just
couldn't help myself.
Off I went, no turning back.
That was a long time ago.
Fortell's not
coming, let's go back.
Thank you.
So, your room's
beside Russell's--
I-- I-- I mean Benny.
When he comes back,
I'll be waiting.
Goodnight, Sara.
Flynn, you want to come in?
Go on inside, Sara.
I-- I've already
decided that I--
I'm not going to
kiss you goodnight.
Nerve!
"I've already decided
I'm not kissing you."
Well, who asked you?
All the stinking nerve.
Arrogant.
Creep.
Jerk.
[electric toothbrush]
Jerk.
If you were the last person on
a desert island, begging me,
I wouldn't kiss you.
Flynn.
Mm, Flynn.
Flynn.
Just shoot me.
[car approaching]
Oh, Benny.
Ah, key, key.
Where is it?
Ah, uh, uh.
(WHISPERING) He's coming.
Flynn.
Flynn, wake up.
- You're under arrest!
- It's me.
Stop, he's coming.
- What are you doing?
Russell-- I mean--
I mean Benny.
Damn it!
Ow, ow!
Get up, get up.
Come on!
Hurry!
- Handcuffed.
You handcuffed me.
Where's the key?
The key?
- Come on, get it.
- I see it.
He's getting away.
[muffled speaking]
FLYNN: Go, go, go.
Go, go, go.
SARA: Ow!
FLYNN: Damn it,
he's getting away!
SARA: Watch it.
[falling down stairs]
SARA: That's Benny,
he's getting away.
Ow, why'd you handcuff me?
FLYNN: Whose fault is that?
SARA: Whose handcuffs are they?
FLYNN: Who came barreling in
here where she didn't belong?
Who forgot to tell his
partner her part in the plan?
What plan?
There's no plan, it's just me.
So give me the key.
Now.
No plan, you were lying?
Look, I am not
discussing this now.
You lied to me!
Give me the key.
This isn't a game.
Ow!
Unlike that blather
about "one thing
that follows a man around
for the rest of his life."
Give me that key.
I have a job to do.
Y-- You don't belong me.
I am going with you.
Stop acting crazy, Sara.
Just stay here in your little
town where you belong--
ow-- and finish changing
your window screens.
You're too old to be
chasing fire trucks.
We had a deal, Flynn.
You said you were
a man of your word.
Are you?
Get in the car.
SARA: Nelly, the speed
limit's only 30 around here.
[music playing]
Flynn?
Flynn?
Flynn?
Flynn!
Flynn!
Flynn!
I thought you ditched me.
Those tranquilizers
wear off, dear?
We let her We let
her out once a month.
Nice shoes.
Try these on.
They should fit.
You bought me new clothes?
In a matter of
hours, we're going
to be in the office of
the world's authority
on the contents of the
Constantinos Hoard.
If we are lucky, he will
let us know which collector
is buying these artifacts.
Now that is where Benny
is going with the panel.
How do you know this stuff?
Well, it's my job, ma'am.
Besides, once you get out of
the boonies like Schomburg Cove,
Dr. Hamilton-Ives happens
to be relatively famous.
And you want me to wear this?
As opposed to what?
Hey, that's brand new.
What are you doing?
Exactly.
You're an archaeologist.
We've been on a dig in
Greece, and have made contact
with Turkish grave
robbers who will
supply us with the
stolen antiquities
from the Constantinos Hoard.
For the right
buyer, of course.
[MUSIC PLAYING - COLIN JAMES,
"KEEP ON LOVIN' ME BABY"]
COLIN JAMES (SINGING):
Well, I want you to love me.
Well, I want you to love me.
Well, I want you to love me.
Naturally, a find like
the Constantinos Hoard
doesn't turn up every day.
We have been hearing rumors
of more activity with it.
And, uh, what about provenance?
Can your advisors provide
the legal documentation?
You're testing us,
Dr. Hamilton-Ives.
You know this dig is fresh.
There are no documents,
because Greece
doesn't allow these items out
of the country-- not legally.
If your collector has
a problem with this,
then perhaps we
should go elsewhere.
No, no.
I assure you you've
come to the right place.
My collector has assembled
all the known pieces
of the Constantinos Hoard.
It's become something of
an obsession with him.
If you have access
to more, I can assure
you he'll want to meet you.
Why don't we discuss this
further in my office?
(WHISPERING) Sara.
Sara.
I have a feeling you would
like to take a souvenir home?
Extraordinary piece.
DR. HAMILTON-IVES: Yes, they
are beautiful, aren't they?
SARA: The collector is
John Charles Alford?
Milk-toast Russell hangs out
with John Charles Alford?
Fortrell is no milk-toast
if he's dealing with Alford.
He's swimming with the
meanest of sharks, Sara.
Do not underestimate him.
A shark?
Zillionaire philanthropist
John Charles Alford is a shark?
And there there's
no Santa Claus either.
That way.
Now what?
Now we have less than two
days to beat Fortrell to Miami,
headquarters to
John Charles Alford.
Two days?
We'll be there by dinner
if we make the next flight.
No planes.
What?
There's one every hour from--
This is not negotiable.
Come on.
What, are you afraid to fly?
Maybe you could say
it a little louder.
I don't think
everybody heard you.
Mr. no nonsense, tough as
nails, Mr. I'm so perfect--
Could you-- could
you stop this.
--is afraid to fly.
Well, let's hit the road then.
FLYNN: Has anyone
ever told you you have
a little mean streak in you?
Why don't you let me drive?
I've never driven
a Corvette before.
In your dreams.
It so happens I won the
defensive driver award
in my driver's training
class, and I've never
been in any sort of accident.
Oh, then the odds
are against you,
and you're an accident
waiting to happen.
Trust me, it is not going
to happen in this car.
This car is my family.
- Don't be rude.
This is a thing.
Family is real.
[whistle]
Suit yourself.
[MUSIC PLAYING - COLIN JAMES,
"KEEP ON LOVIN' ME BABY"]
COLIN JAMES (SINGING):
Well, I want you to kiss me.
Whoa, yeah.
Whoa, yeah.
Whoa, baby.
You know what pleases me.
You know what pleases me.
Early in the morning.
Flynn!
I hate to break it to
you, but you almost just
crashed your family.
OK, you drive.
We'll make better time.
Don't make jokes about
something you don't understand.
[MUSIC PLAYING - COLIN JAMES,
"KEEP ON LOVIN' ME BABY"]
COLIN JAMES (SINGING):
You know what pleases me.
You know what pleases me.
Early in the morning, or
any time at night, well,
I can feel your tender lips
making me feel all right.
You know it pleases me.
Oops.
Just don't let
it be the oil pan.
Ugh.
TOW TRUCK DRIVER (INTO
RADIO): Johnny, I'm looking
for an oil pan for a Corvette.
Sure, I'll wait.
I'm sorry.
I'm really sorry.
Flynn, please.
I'm so sorry, just--
You can stop that anytime now.
Why don't you just yell,
get mad, say something.
I found the part.
I can fix it up by seven--
that's AM.
See?
Life goes on.
Yeah, life goes on.
Let's just ride it
where it takes us.
Is that what you want, Sara?
To ride it?
Sure.
Why not?
Then you have to ask for it.
That's rule number one
in getting what you want,
you get to ask.
Are you trying
to scare me, Flynn?
Are you scared, Sara?
What's there to be scared of?
You're a white picket
fence kind of girl.
You like words like
"commitment" and "forever,"
nice, safe words.
Well, I don't know those words.
And when I see a white fence
I just want to burn it down.
It's the fire that scares you.
Maybe you're the one
that's scared, Flynn.
And all that fire is
just a smokescreen.
But if you're mad about your
car, you should just say so.
It's not nice to
manipulate people.
Hi.
I never said that I
wasn't close to my family.
Well, technically, you said
your car was your family,
which might suggest--
Which might suggest
that there are
certain topics
that are off limits
in the course of idle chitchat.
You're right, Flynn.
I'm sorry.
I just thought I
could get to know you.
I was hoping we
could be friends.
I'm sorry, I'm tired.
It's OK, it's-- it's my fault.
FLYNN: My dad was one of the
first casualties in Vietnam.
You don't have to tell me.
I barely remember him.
I was just a kid.
I remember my mom
crying, though.
And when she pulled herself
together, she took a job.
And she used to
work all the time,
but there was
never enough money.
One Christmas, I remember
complaining because I
only got a pair of
shoes and everybody else
got bikes-- whatever.
So the next year, she--
she took on a second job
so we could have
a real Christmas.
It was a night job in a bar.
The last thing that--
that she would say
was, leave the light
on for me, kiddo.
It was-- It was kind of
our own private joke,
you know, since it was me
that was afraid of the dark.
And, uh, one night, there
was a fight in the bar.
They broke it up, but the guy
came back with a gun and--
just one of those flukes,
she got in the way.
Story of my life.
Flynn, I want to spend
the night with you.
On your terms, not mine.
No safe words, no picket
fences, just the fire.
[music playing]
You're so beautiful, Sara.
You're so beautiful.
You don't even know.
Mm.
You're still here.
I thought I dreamt you.
Don't go yet.
FLYNN: Get dressed,
Sara, it's morning.
Flynn what happened last
night wasn't just physical.
I know you were hurt
as a child, but--
FLYNN: Don't psychoanalyze me.
I-- I have been pitched by
more savvy women than you,
and it doesn't--
here, I'll cut to the chase, OK?
I'm afraid of intimacy.
I admit it.
Happy?
Point is, I'm going to stay
afraid, so save your speech,
because I'm not going to change.
I'll wait.
$350.
Yeah.
FLYNN: Nice doing
business with you.
No, no, better.
NANCY (ON PHONE): Tell me
you didn't just tell me that.
I'm in love with him, Nance.
And he's in love too,
he just doesn't know it.
He eats women's hearts
for breakfast, Sara,
and you got naked with him?
How was it?
I don't kiss and tell.
FLYNN: Come on, Sara.
Let's go.
Look, he's waiting.
I gotta go.
Um, I just wanted
you to know I'm OK.
No, you're not OK, Sara.
I mean, besides having a
broken heart waiting to happen,
Nigel is foreclosing
on your house.
You've got to get back here.
Tell Nigel all I
need is 24 hours.
We'll nab Benny Fortrell and--
[car horn]
--Flynn will have
come to his senses.
Wish me luck.
Don't do it, Sara.
SARA (ON PHONE): Bye, Nance.
SARA: When are we stopping?
I'm starving.
FLYNN: Grab a candy
bar, clock's ticking.
SARA: If we had flown,
we wouldn't even
be having this conversation.
FLYNN: Whine all you
want, I'm not stopping.
FLYNN: Stop looking
at me like you're
waiting to talk about feelings.
What?
I'm just sitting here,
minding my own business,
eating my breakfast.
Well, hurry up.
We have to make Miami today.
Gulping one's food
isn't good for digestion.
Boy, are a grump in the morning.
Sara, the bounty runs
out in exactly 15 hours.
I'm not here for
some romp to break
up the monotony of my life.
Is that why you think I came?
To break up the
monotony of my life?
Let me tell you something,
I came because--
because something snapped.
Like something, some
force was suddenly
going to keep me from dying
of acute responsibility.
Here lies Sara McCallister,
always did the right thing.
No, Flynn.
You came along and--
it was fate.
I'm nobody's fate.
[music playing - "la bamba"]
Just the lady.
Stay, wait for me.
- I don't want--
This time you are
listening to me.
We're not even registered.
I-- I can't just hang
out, I mean, look at me.
Pretend you're the gardener.
- Right, I'm--
- Out.
Stay here.
I'll be back.
Hurry.
[music playing - "la bamba"]
FLYNN: It's showtime.
Let's go.
No time for jokes.
Put this on.
Where exactly would
you have me put this on?
Right here in the
lobby, where I've been
waiting for you for two hours.
HOTEL EMPLOYEE: Mr.
Arnold, your room key, sir.
FLYNN: Thank you.
HOTEL EMPLOYEE: Thank you, sir.
Happy?
Who's Mr. Arnold?
FLYNN: Your husband,
Mrs. Arnold.
You are Susan Arnold, and
you are extraordinarily rich,
but you're even more
private than rich.
You don't even look like you.
One hour, the Arnolds are
meeting John Charles Alford.
We have been investing
in antiquities,
and have heard the rumors
of the Constantinos Hoard.
We want it at any price.
You let me do the talking.
Now get ready.
I'm sure the clothes will fit.
Did you lose your personality
back out on the highway?
[door slam]
You're being a real jerk.
SARA: I'm sure the
clothes will fit.
So arrogant.
[knocking]
Go away, I'm not ready yet.
[knocking]
Extremely rude.
Five minutes to dress.
Mrs. Arnold, I'm
here to do your hair.
Just one last touch and then--
perfect.
Voila!
Come on, let's
have a look at you.
Oh, Mrs. Arnold,
you look lovely.
You know, that suit
fits you perfectly.
It's time.
Why did you throw these away?
All they need is
a little washing.
You won't be needing them.
Well, I can't
exactly wear this suit
for the next three days.
Not that it isn't the
most beautiful thing
I've ever worn in
my whole life, even
though you haven't noticed.
You don't get it, do you?
It's over.
We're this far
from Fortrell now.
Which means that you're this
far from getting on a plane
and going back to your life--
your house, your windows,
your picket fence.
Now, come on.
We've got less than eight hours
before the bounty runs out.
You ready?
Do you have your story down?
Just let me do the talking.
I can't do this, Flynn.
Are you in or out, Sara?
I can't think straight.
Just stop it.
But last night, I know
that means something.
Would you make up
your mind-- in or out?
I have told you my terms.
If you can't accept--
Then I quit.
Right now.
My terms.
This is my job, Sara.
This is the eleventh hour.
How can you think about a job?
This is your life.
You are about to--
The whole thing is hopeless.
I mean, think about it.
If the Arnolds are so
extraordinarily rich,
then Alford is going
to know them socially.
This is a stupid plan, Flynn.
Alford knows about
them because of the DEA,
who spent years
inventing this cover.
DEA, as in Drug
Enforcement Agency?
I thought this was
about antiquities.
John Charles Alford
is Juan Carlos Alfonso.
He's the banker to Medellin
and Cali drug cartels.
He launders their
money, Sara, which is
why this is about antiquities.
They are very expensive,
they tend to be untraceable,
and they're only
semi-legal to begin with.
This is not a game, Sara, so
are you in or are you out?
Mr. And Mrs. Arnold, how
nice to meet you at last.
I've heard so much about you.
Mr. Alford.
Please, call me John.
I hope you don't
mind the informality.
I prefer it.
This is my wife, Susan.
Susan, say hello to Mr. Alford--
John.
You OK, Susan?
You seem a little--
(BRITISH ACCENT)
It's just Miami--
I'm not terribly
fond of the city.
Although I mean no offense.
No offense taken.
I'm not a native, myself.
Let's go into my office.
Straight ahead, this way.
(BRITISH ACCENT)
If you don't mind,
I would like to wash my hands.
Cities, you know, so unclean.
Yes, of course.
My secretary will
show you the way.
Meanwhile, Guthrie, why don't
you join me in my office?
I understand we have
much to discuss.
[phone ringing]
SECRETARY: Ah, Mr.
Fortrell, how was your trip?
No, I'm sorry, he just
stepped into a meeting.
But I will let him know
that you're in the city.
And you're staying
at your usual hotel?
OK, bye-bye.
Ah, there you are.
I trust you're feeling better.
Your husband has been telling
me about your collection
of antiquities.
I must say, I am very impressed.
It's not often that one
meets a kindred spirit.
(BRITISH ACCENT) Yes,
sometimes it happens only once
in a lifetime--
finding a kindred
spirit, I mean.
JOHN CHARLES
ALFORD: Yes, I know.
And yet, that puts us in
the regrettable position
of desiring the same thing.
I understand you're here
because of my passion
for the Constantinos Hoard.
I bet you'd just love to see
the collection, wouldn't you?
(BRITISH ACCENT) Well--
Absolutely.
Would be an honor.
It would be my pleasure.
Please, follow me.
Please, this way.
Constantinos Hoard.
These are, perhaps,
the finest antiquities
to come out of Greece.
This is definitely
what we have come for.
Oh, unfortunately,
it's not for sale.
Oh, I beg to differ.
Everything is for sale.
Yes, well--
As long as the
collection is complete.
I understand that
there is another piece
that has been discovered.
Mr. Alford, if
that's everything,
I'll be leaving for the evening.
Your messages.
Yes, the new panel
will be here tomorrow.
Remarkable detective
skills you people have.
This altitude, John,
our world is very small.
When, exactly, can I see it?
(BRITISH ACCENT) Really,
Guthrie, Mr. Alford
says his collection
isn't for sale.
I don't believe you
should press it.
- Well, actually--
- (BRITISH ACCENT) No, no.
You've made yourself
clear, and we
are being crass by pressing it.
I-- I can explain.
Susan!
(BRITISH ACCENT) Yes,
Guthrie, do explain.
I'll wait for you by the lift.
Good evening, Mr. Alford.
Good evening.
Forgive her.
Cities-- puts her on edge.
Just give me a moment with her.
FLYNN: (WHISPERED) Sara.
Have you lost your mind?
I've been on Fortrell's
trail for six months.
I'm on the brink of closing
this case, finding Fortrell--
We've got it.
Let's get out of here.
What?
Fortrell is here.
You are brilliant.
You are amazing.
I've never been so
scared in my life.
"I'll wait for
you by the lift."
Where did you get that?
In a book.
Where else?
So what's with the DEA
and how did you know
about Alford and Arnold and--
I-- I helped invent them.
For-- for 10 years, I was
Special Agent John Flynn with
the US Drug Enforcement Agency.
Where do you think
I was all morning?
Shopping for me?
Trading information
with the local office.
It's amazing.
You are amazing.
Is Fortrell there?
FLYNN: Nope.
Now what?
Remember the stakeout, Sara?
Ugh, man, that is so boring.
There's got to be a better
way to find out where he is.
Yeah, well, I left my
crystal ball at home.
What are you doing?
Flynn, there are
some things I'm going
to be much better at than you.
(NEW YORK ACCENT)
Benny Fortrell told me
you'd know where
I could find him.
He said all I had to do was ask.
Yeah, and, uh, who are you?
His landlady,
who do you think?
I'm looking for back rent.
You know Blackjack's,
over on Bay?
Be
Sure.
That's where he'll be tonight.
Oh, man.
Ugh.
Flynn.
I have the most
gigantic favor to ask.
Oh, sorry.
That's OK.
Did you say something?
There's just this one spot
in the middle of my back.
Funny how our bodies
are designed--
almost perfectly, you know?
99 percent.
But then we have these
arms that don't quite
reach the middle of our back.
One teeny little design flaw.
Crazy, isn't it?
Don't stop.
Your plane leaves tonight.
What plane?
The one I just
reserved your seat in.
I'm borrowing
one of your shirts.
You can have it--
a memento.
I'm going with
you to Blackjack's.
Right.
It's a solo game from here on.
Someone's got to peel you off
the floor when you get shot.
We are not having
this conversation.
Don't be so stubborn.
You need me to ID him.
Somehow, I have managed
without you all these years.
Yeah, well, in your
photo, Benny has a beard.
He doesn't happen
to have one now.
I know what he looks like.
Sara, you are
not coming, period.
If you don't take me,
I'll follow you in a taxi.
I'm down to the
wire on this one.
The bounty runs out at midnight.
And either I have him by then,
or it's gotten pretty messy.
Now please, Sarah, I--
that's something that I
don't want you to see.
Do you understand?
For us, whatever us is.
We ID Fortrell, and then you go.
Agreed?
Agreed.
[MUSIC PLAYING - "MAN
SMART (WOMAN SMARTER)"]
PIANOMAN (SINGING): To find
out which one is smarter.
Some say men, but I say no.
So what do I do?
Nothing.
Come on, Flynn.
OK, you have two
jobs-- stay out
of the way and find Fortrell.
And don't act like a girl.
Technically,
that's three things.
Evening, folks.
What can I get you?
Hi, uh, bourbon neat.
White wi-- whiskey,
with, you know, cubes.
On the rocks.
Uh-huh.
I knew that.
Do you see him.
No.
Bourbon, and
one white whiskey.
PIANOMAN: Eleven o'clock,
almost quitting hour, folks.
But I've got time
for one more tune.
Just send that request
on a brand new $20 bill,
and I'll do whatever
you want to here.
Oh, no, no, I ain't doing that.
Sara, you promised.
Stay here.
PIANOMAN: Oh, that's not bad.
What do y'all think
about that one?
[inaudible]
OK, well, listen.
What kind of music you
been listening to--
I've got to find a way
to get past that bouncer.
- Let me.
- No.
Well, maybe I
can distract him.
- No, no, no, we had a deal.
- "Yesterday."
"Yesterday."
GUS: Play "Come a
Little Bit Closer."
"Come a Little Bit Closer."
Gus, you know I don't play
"Come a Little Bit Closer."
GUS: Come on, man, you
know it's my favorite song.
I know it's your
favorite song.
Every night, Gus,
you want me to play
"Come a Little Bit Closer."
"Come a Little Bit Closer"
just one time, please.
I know, I know it's
your favorite song.
You gotta be crazy,
I ain't playing that.
I can do "Come a
Little Bit Closer."
FLYNN: Sara.
Sara.
But only if you'll join me.
PIANOMAN: Looks like
we have a volunteer.
What do you say, folks?
- Are you crazy?
I must be.
I barely know the song.
PIANOMAN: Right this way.
I've been keeping the
bench warm for you.
Don't mind them, they're just
a little young and restless.
You know how it is.
Don't be nervous, darling.
You'll be fine, just fine.
Now sit yourself down.
That's right.
Now you go get them, girl.
[MUSIC PLAYING - "COME A LITTLE
BIT CLOSER"]
Mm-mm.
AUDIENCE WOMAN: A
little more heat, honey.
A little more heat.
(SINGING) In a little
cafe just the other side
of the border.
She was sitting there giving me
looks that make my mouth water.
So I started walking her way.
She belonged to that man, Jose.
And I knew, yes, I knew I should
leave, but I heard her say--
yeah, yeah-- come a
little bit closer.
You're my kind of man,
so big and so strong.
Come a little bit closer.
I'm all alone, and
the night is so long.
GUS: [chicken noises]
Sing it to me.
SARA (SINGING): Then
the music stopped.
When I looked, the
cafe was empty.
Then I heard Jose say, "Man, you
know you're in trouble plenty."
So I dropped--
FLYNN: Hey!
SARA (SINGING): --the drink
from my hand, and through--
Hold it, Fortrell.
Yeah, what are you
going to do, shoot me?
Don't tempt me.
You've got less than an hour
left, then your bounty's up.
What do you want to talk
about, sports or music?
Hands on the roof.
Like this?
What you going to do now,
mister bounty hunter?
Sara, I told you
to get out of here.
You want me to
get out of here?
We had a deal.
Do you ever hold up
your end of a deal?
I happen to be
extremely conscientious,
as a matter of fact.
Then get of here!
SARA: Oh, OK.
Now?
You want me to go now?
Right now?
Right after I just
saved you're butt?
You didn't save my butt.
Stop it, just stop it.
Move.
Back off.
Move now.
Go on.
Back off.
[MUSIC PLAYING - 54
40, "INSIDE THE HORN"]
54-40 (SINGING): Here we go.
Not a bad idea,
Ms. McCallister.
This is irre-- really
irresponsible of you.
Open your eyes!
Open them!
Ooh-ooh, this is fast.
54-40 (SINGING): Inside
my head, I see a lady.
Completely numb from
the shock of war.
Wondering when if it's raining.
I gotta get you.
Gotta get you.
I got to get you home.
I gotta get you.
We lost him.
54-40 (SINGING): Gotta get you.
I got to get you home.
They say with love
comes a bolder force.
Make a life more worth saving.
I could taker her
out and set her free.
FORTRELL: So you want
to play chicken, huh?
54-40 (SINGING): With her
eyes in play she beckons me.
You take my place.
I'll take yours.
FORTRELL: Ahh!
Flynn!
[crime scene noises]
POLICE OFFICER: Here it is.
Better call the boys
from the DEA over.
REPORTER: Benny, you
got any comments?
Benny, how do you feel
now that you got caught?
What'd you have, Benny, drugs?
DEA OFFICER: What do we got
here, 10 million dollar pizza?
Drug game's not
like it used to be.
Hey, guys, here it is.
Imagine laundering
money this way.
We keep looking for
suitcases of greenbacks,
the cartel keeps finding new
ways of getting the money out.
This is unique.
I don't know what all
the fuss is about.
This just looks like a piece
from my folks' back yard.
Isn't that something?
Here, take care of that.
I'll be back in a minute.
Well, congratulations, Flynn.
The boys at the
agency were taking
bets you wouldn't
pull this one off,
but, uh, this was just
wired in from Athens.
That's nice.
Looks like the Greeks had
a little more faith in you
than we did.
They paying you that much
for a piece of plaster?
That's not plaster,
it's history.
Big difference.
Apparently.
OK?
SARA: See, you just tie the
short end over like that.
Jeez, yeah, you could
be an honorary paramedic.
Can I steal you patient yet?
Oh, she's healthier
than we are.
You take care, Sara.
Thanks.
You feeling all right?
Yeah, just some bruises.
You were pretty terrific, Flynn.
You almost killed yourself
to save that panel.
It wasn't the panel
I was trying to save.
Here, this is for you.
Flynn, this could
buy me three houses.
Yeah, well I--
I let them know that I have
some information about the rest
of the Constantinos Hoard.
And Greece is very serious
about their history.
Take it.
You earned it.
They've, uh-- they've
offered to, uh, fly
you home in their private jet.
I know you like champagne.
Flynn--
Don't say it, Sara.
We're partners.
We should be together.
- You know me and flying.
Don't make jokes.
Do you remember when I--
I told you that the first
rule of getting what you want
is asking for it?
The second was asking
for the right thing.
It isn't me.
Don't do this.
Don't tell me that
I'm not good enough.
That's not what I'm saying.
It's not you.
Sara.
Go home.
Live your life.
Look at you.
You don't need me.
You're going to be
all right on your own.
I know that, Flynn.
But what about you?
MAN: Go, break it up.
There's nothing to see.
FLYNN: She's ready to go.
[music playing]
So was he really tall,
dark, and handsome?
Everybody's talking.
Can I just make
a deposit, please.
Everybody's right.
Thank goodness you are back.
What on Earth where you thinking
of, going off with that--
that-- that--
"Man," I believe is the
operative word here, Nigel.
Man.
Don't get flip, Sara.
I'm just thinking
about your reputation.
And for a woman on her own--
Do we actually have
something to discuss here?
Like how you tried to foreclose
on my house while I was gone.
That's not a done deal.
But maybe in the future you're
going to thank me for that.
For the time being, I'm
just glad that the Sara
we know and love is--
You know what?
You never knew me, and heaven
knows you never loved me.
Adios, Nigel.
Hey, hey, what
about your house?
I'll call you.
Give my best to the misses.
NANCY: I told you
he'd break your heart.
Well, you'll never
see him again.
SARA: He didn't break
my heart, Nancy.
I did it for myself.
Wait a sec.
Why do we always stop here?
Is it some kind
of secret ritual?
I like the view, so shoot me.
[laughter]
A little late on those
windows, aren't you, Sara?
Who's there?
[baby crying]
I'm looking for Sara.
Doesn't she live here anymore?
I wish.
Try the wharf.
CORINNE: Can you get in here?
I need your help.
I'm coming, Corinne.
CORINNE: I can't change
them both at the same time.
NIGEL: Yeah-- just
change one of them then.
[MUSIC PLAYING - "THE LIES OF
HANDSOME MEN"]
SARA (SINGING): I
believe in witchcraft.
And I believe in Cinderella.
I believe in Gypsies.
And I believe I cast a spell
that's sent into the sky.
'Cause I believe the
lies of handsome men.
Sometimes, in a dark
and quiet place,
the truth and I
meet face to face.
But even though his
highness disappears,
I keep some stunning souvenirs.
So I believe in heroes.
And I expect that happy ending.
Wishing on some rainbow, I
pretend he's not pretending.
Someday I'll get
wise, but right now, I
need the lies of handsome men.
SARA: Thank you.
A friend of mine once
told me the secrets
to getting what you want.
He said, you have to be
brave enough to ask for it,
you have to be
persistent, and you have
to ask for the right thing.
If you follow these three
secrets, then what you want
might just walk through
your front door.
Well, folks, the best thing
about owning your own club
is you get to take a
break whenever you want.
I think people are staring.
It's a small town,
you'll get used to it.
I love you, Sara.
I know you do, Flynn.
It took me a while to
work out how to say it.
It's a long winter.
We have lots of time
to work out the kinks.
By the way, I love you too.
[MUSIC PLAYING - "THE LIES OF
HANDSOME MEN"]
SARA (SINGING): I
believe in star signs.
And I believe in film romances.
I believe in fantasy.
And I believe with just one
glance he's crazy for my eyes.
'Cause I believe the
lies of handsome men.
I believe in witchcraft.
And I believe in Cinderella.
I believe in Gypsies.
And I believe--