Original subtitles

[music playing]

[music playing]

SARAH: We're going to opening in a week.

We're never going to make it.

I want it to be right.

RICARDO: Ay, ay, ay, I have to make this right.

Look, look.

SARAH: That looks like a good spot.

No, no, we're not building calendars.

This is a ballad betweenthe artist and the audience.

It doesn't work.

[music playing]

That's perfect.

Great.

OK.

That works.

It looks good to me, but what do I know?

LOWELL: Bravo, Ricardo.

Magnifico.

RICARDO: Gracias.

Uncle Lowell, you're back.

Oh, I missed you.

That's good because I missed you, too.

Miss Fuentes.

Senor Kincaid.

Mm, you never fail to make my day.

Matthew.

Lowell.

And this.

Congratulations. RICARDO: Gracias.

It speaks to you?

Mm, no, Ricardo, it doesn't speak to me.

No?

It sings.

Muchas gracias, Senor Lowell, muchas gracias.

How was Mexico?

LOWELL: It was muggy anddirty and noisy and wonderful.

Did my parcel come yet?

What parcel?

You remember, I told you Iwas shipping some artifacts

from Mexico home.

And you said to shipthem to the gallery and--

I haven't seen it.

It should be here by now.

Amy, has anything arrived from Mexico?

A wooden box, about this big?

No, nothing from Mexico.

Well, maybe it's stuck in customs.

I could check. - Would you do that?

Listen, I better get going.

Wait.

You just come here.

I haven't seen you for a month.

I haven't even been home yet.

You can go home later.

I need a break.

Come on. - OK.

Lunch.

- We won't be long. - Oh.

Well, take your time.

I'm going to head back to the office.

LOWELL: Bye. - See ya, Lowell.

MATT: Anything For Uncle Lowell.

AMY: He's been away.

He wants to see her.

Don't take it personally.

Come on, Amy.

It happens every time.

It's like I'm a piece of furniture.

AMY: He's jealous.

MATT: Right.

No, really.

Come on, you know Lowell.

He always has to be the center of attention.

And now you come along.

Mm, hm, the handsome youngman is coming to take her away.

So I'm a threat.

Absolutemente.

It's classic.

And she's the only family he's got.

SARAH: So what do you think?

What do you really think?

Am I crazy?

Are they going to laugh me out of town?

Tell me, I haven't lost my mind.

It's too late now, isn't it?

Thanks.

A little Montezuma's revenge, maybe?

Sorry.

You're not eating.

And you're cranky.

Well, your uncle is getting old, my sweet.

And old people tend to get cranky.

So what were you doing in Mexico for a month?

Visiting friends, reliving my youth.

Sounds awfully sentimental.

Maybe you are getting old.

Well, I am a retired civil servant.

Much more boring and sensiblethan you give me credit for.

Speaking of boring andsensible, how our young Matthew?

[door creaks]

Hello.

We're not usually this disorganized.

MAN: Who's the artist?

Voila, Ricardo Monterro.

Your work, it's fabulous.

Thank you.

Thank you, senor.

Carl Spencer.

Amy Fuentes.

Sorry, Amy, I'll see you later.

Great.

This is Matt Colby.

Matt Colby, Colby McDougall?

That would be me.

I was told if I wanted to buy real estate,

you're the man to talk to.

Well, what did you have in mind?

SARAH: He's the best thingthat's ever happened to me.

Do you love him?

I want a simple life.

Someone to love who will love me back.

I don't want to spend therest of my life alone.

Like me.

Oh.

I know he loves you.

I didn't say he was a fool.

CARL: So let's just cut to the chase.

I'm authorized to buy up all this old warehouse

land along the waterfront.

Have you had a look around?

It's not exactly picturesque.

Actually, it's really ugly.

CARL: Dare to dream guys.

The potential is there.

It's just waiting to be exploited.

Now, we're going to turnthis town into Carmel East.

CARL: I was hoping we could scout around.

You give me an idea about what'savailable, how many pounds

of flesh it's going to cost me.

I'll get the car.

Take a little drive.

See what you have in mind.

Now I'll talk to Matt.

And if you two are going to get married,

he might want to be there.

Why don't you like him?

I didn't say I didn't like him.

I just said he was sensible.

How come when you say sensible it

sounds like a terrible insult?

When was last time you had a check-up?

Will you stop nagging?

I'm not nagging.

I'm worrying.

You're the only Uncle Lowell I've got.

I'm fine.

Adios, muchacha.

Have a nice day.

Call customs.

What?

My parcel from Mexico.

Call customs.

OK, OK.

[music playing]

[car key beeps]

[engine starts]

MATT: Well, mostly peopleputting in restaurants,

craft galleries.

Condominiums is a whole other kettle of fish.

But I don't see why not.

El Mundo Latino is not a craft gallery.

Well, it started out that way.

But Sarah is determinedto turn it into something

more sophisticated.

Sarah?

Oh, Sarah Fraser.

My fiance.

Congratulations.

Thank you.

I found her place.

Did the legals on the lease.

And put a few books in myself.

Well, so, good investment?

The best ever made.

I hope.

What's the history?

You two high school sweethearts?

She's from Delaware.

Uh, huh.

How'd she come here?

Well, her dad died when she was a kid,

and her mom died a few years ago.

She's got an uncle up here with a place.

So she moved here.

And I got to meet her, thanks to Uncle Lowell.

Right, Lowell Fraser, that sounds familiar.

No, Kincaid.

Lowell Kincaid, used tobe some sort of diplomat.

So I guess they're close, huh?

Oh, very.

So I think he's a little jealous--

ah, he's OK.

I understand.

So condos.

Mm, hm.

A mall, that's a good idea.

There may be some problem with the zoning,

but I think I know who I can talk to.

[music playing]

[tv playing]

Lowell, turn around.

[gasps]

LOWELL [VOICEOVER]: To Gabriel,from Jehovah, re The Covenant.

I have some new artifactsI'd love to show you.

The sooner the better or maybe not at all.

Please trust me.

Contact me.

[music playing]

MATT: This guy is talkingabout a huge complex from one

end of the pier to the other.

And he just walks intothe gallery looking for you?

MATT: Yeah, I know.

Oh, I know.

But listen, I called his references.

He checks out.

It all seems to be on the level.

I'm really happy for you.

For us.

So I thought maybe tomorrownight, for of us, dinner?

Four of us?

Oh, he and Amy really hit it off.

I'm just not sure where to take them, though.

Yes, you are.

And I'll do my poachedsalmon if you and Amy help.

She already said yes.

Would you mind if I asked Uncle Lowell?

Why?

I don't know.

He wasn't right today.

He seemed almost lonely.

Didn't you think he look tired?

I thought he looked his age.

Sarah this is a business dinner for me.

I want to impress the socks of this guy,

and your uncle makes me nervous.

He's always got to be the main attraction.

That's not true.

It's just that people like him.

He's an interesting guy.

Sarah, please, another time.

Tomorrow night I got to beconfident to be at my best.

OK, I won't call Lowell.

[music playing]

[knocking]

Bon voyage, mon ami.

[music playing]

WOMAN [OVER SPEAKER]: Finalcall for flight 225 to Paris.

Final call for flight 225 to Paris.

[music playing]

Uncle Lowell?

Uncle Lowell?

CARL: I thought I heard somebody.

[gasps]

Who are you?

CARL: Well, I could ask you the same question.

Who are you?

How did you get in?

The key was in bird house in the front lawn.

In Mexico City, it was bougainvillea bush.

I think he must have seen that in a movie

when he was a kid or something.

You didn't answer my question.

Who are you?

All right, Tim Jenkins.

TJ Software.

I'm a computer geek from Washington.

I helped set up thecomputer system for Lowell

when he was stationed at the embassy there.

Here's my Visa, MasterCard,my Amex, my health club.

He called me and told me his computer

system kept shutting down.

So I came and told him I'dhelp him with the hard drive.

Not many people know about this place.

Well, your computer geeksknow everything these days.

It's a sign of the times.

When did he call you?

This is a trick question?

He didn't call me.

He e-mailed me.

You can look through his emailfile if you have his password.

Do I look dangerous to you?

Well, you're a totalstranger in my uncle's house.

And here's me all by myself.

Pardon me if I'm a little wary.

Sign of the times.

Your uncle? Lowell.

Yeah.

My mother's brother.

He never mentioned you.

Ditto.

Well, it's a pleasure.

I had no idea.

I'm sure he's in town, shopping or something.

There's a town, I presume.

I would have seen him on the way out.

I'm sure he'll be back soon.

Well I was looking in the fridge for something

to eat because I'm starving.

There's got to be something in there.

Well, why don't you try the seafood

place back up on the highway.

It's not bad.

OK.

I'll go with you.

Oh, OK.

SARAH: Where's your car?

It's parked up there.

LOWELL [VOICEOVER]: Aboutthose letters of transit.

How soon will I see you?

If at all.

Anxiously, Jay.

Come on, come on.

I thought I'd surprise him,but I guess he got me first.

Boy, are you suspicious.

Why don't I take my owncar, and I'll follow you.

RICARDO: Amy, what is that?

I don't know.

It's from Mexico.

Ah, must be Lowell's stuff.

Tacky.

[non-english speech]

[phone ringing]

Ricardo, put it back.

Yeah.

El Mondo.

It's me.

Ah, Lowell.

Your box is here.

LOWELL [ON PHONE]: Well, that's good.

Ricardo.

LOWELL [ON PHONE]: Put is someplace safe.

I'll pick it up when I get back.

AMY: Back from where?

Paris.

AMY [ON PHONE]: Oh, la, la.

What in God's name are you doing in Paris?

Well, right now I'm sittingin the Tuileries Garden

munching a baguette waiting for a friend.

AMY [ON PHONE]: A woman.

Don't ask.

I'm innocent of all charges.

LOWELL [ON PHONE]: Is Sarah there?

Well, as a matter of fact,she's on her way to your place.

Why?

AMY [ON PHONE]: Well, shesaid you looked a tired.

She wanted to see how you were.

Call her the house.

Tell her I'm fine.

LOWELL [ON PHONE]: And tellher is she stops nagging me,

I'll bring her a wedding present.

And listen, put the box somewhere

where no one will trip over it.

Valuable stuff?

LOWELL [ON PHONE]: To me.

Adieu, Amy.

[grunting]

[music playing]

LOWELL [VOICEOVER]: Gabriel, are you there?

Please acknowledge.

Jehovah.

[music playing]

TIM: So, who's the artist?

SARAH: Ricardo Montero.

He's Costa Rican.

He's very bold.

He does these oversized people.

Like Patero.

Very much.

Wit these incredible colors and settings.

It's funny, it's--

Entertaining?

Art that entertains.

A critic might hear you.

No people's tastes arepretty conventional here.

I don't know how they'll react.

Well, if they feel thatthey're being patronized,

I'm sure they won't like it.

But if they can find something that

connects to their own lives,why wouldn't they like it?

You're making me feel very good.

And I've got a suspicionyou're doing it on purpose.

There you go again.

Why do I do that?

I don't know.

SARAH: But you know likeany computer geek I've met.

For starters, where's your pen case.

No, no.

Nerds wear those.

I'm a geek.

So you're from Washington?

Interrogation resumes.

Yes, I'm from Washington.

May I clear these for you?

- Thanks. - Thanks.

There you go.

So family there?

Family where?

Washington?

No.

No, what about you?

Are you married?

Engaged.

Well, congratulations.

Thanks.

He's a lawyer, real estatemostly, wills, you know,

the basics.

No, I don't mean he's boring.

He's one of those guys you can count on.

Dependable

What's wrong with that?

Not a damn thing.

I mean it, not a damn thing.

Maybe we should get the bill.

Yeah Listen, why don't youtake care of that for me.

And I'll be right back.

Sure.

[music playing]

Well, I explained to youI don't know where he is.

I know that, but he left his car at the airport,

so I figured he skipped.

I told you, he doped me.

I was locked in the car.

Fine, fine.

TIM: I'm sure he'll be back soon.

[phone ringing]

Speak of the devil.

Hello, uncle-- oh, hi.

Paris?

When did he go to Paris?

Did he say what her name was?

Did he mention a friendcoming to fix his computer?

Tim Jenkins?

Are you sure, Amy?

Soon.

Oh, dinner.

I forgot. I'm on my way.

OK?

Paris?

He didn't say anything about you.

Other things on his mind, I guess.

I guess.

Good for him.

Listen, I have to run.

I'm supposed to be givinga dinner party tonight.

So--

Well I'm sure he'lljust be a couple of days.

I'll just wait here.

Sure.

There's a couple of decent hotels in town.

I said, I'll wait here.

I'd rather you didn't.

I understand.

[music playing]

[horn honks]

[music playing]

SARAH: Hi, kids.

You get everything?

Salmon, lemons, dill, Dijon--

Sarah--

Asparagus, baby carrots, wild rice.

Amy, it's perfect.

Where were you?

Lowell's.

MATT: Lowell is in Paris.

I know.

Can you believe it?

So what were you doing?

SARAH: Waiting for him.

I didn't realize here he was.

For a guy so lonely, he couldhave at least given you a call.

Matt.

Sorry, I'm-- you should have called.

SARAH: You're right.

I'm sorry.

Now, go away, so I can work.

So what happened?

Nothing.

Nothing?

Nothing all afternoon.

Come on, Sarah, throw me a bone.- Amy.

That's me.

Amy.

Yeah, nothing.

Who's Tim Jenkins?

TIM [ON ANSWERING MACHINE]:Hi, you've reached

the offices of TJ Software.

Software solutions for the global village.

Please leave your name andnumber and a brief message

and I'll get back to you.

Bye, bye.

[beep]

[music playing]

[beep]

Access denied.

OK, here we go.

[beeping]

TIM [VOICEOVER]: I am in your house.

Where are you?

Gabriel.

LOWELL [VOICEOVER]: I'm nearby.

The phones are not secure.

Meet me tonight in town.

An art gallery, El Mondo Latino.

After dark.

Hm.

TIM [VOICEOVER]: I don't takeorders from you any more.

We are a long way from trust.

LOWELL [VOICEOVER]: Please believe me.

Other old friends are also nearby.

Old friends?

LOWELL [VOICEOVER]: Be careful.

I'll explain when I see you.

TIM [VOICEOVER]: Who is Sarah Fraser?

LOWELL [VOICEOVER]: She knows nothing.

Don't let anything happen to her.

SARAH: He was so cool, so relaxed.

So he does it all the time.

Does what?

Explain himself.

Put people at ease.

Get control of situations.

I'd started telling him about Matt.

Yeah, well, Matt's your fiance.

I don't see anything wrong with that.

Defending myself,justifying our relationship

to a total stranger.

You know, there's somethingyou're not telling me.

Like what does he look like?

He looks like trouble,that's what he looks like.

Ah, just your type of guy.

Uh, uh, I've had my share.

They're charming,irresistible, wonderful lovers,

lousy friends.

They never get married.

The turn words like dependableand sensible into insults.

Make the good men of this world,like Matt, look dull and naive.

And they always leave you out in the cold.

They hurt.

I've got the scars to prove it.

Touche.

[door bell rings]

Might be my lucky night.

I'll go get him.

[music playing]

CARL: He sounds veryeccentric, this uncle of yours.

Why would he fly an oldfriend up from Washington

and then take off and go to Paris.

It was message on the phone.

There wasn't a message.

There was a guy there when I got to the house

waiting for Uncle Lowell.

MATT: What guy?

SARAH: Timothy Jenkins.

He designs software.

He said Uncle Lowell invited for the weekend.

- And he was in the house?- Yeah.

Doesn't your uncle lock up before he goes away?

He had a key.

I mean, he knew where the key was.

He obviously knew Lowell.

So you just spent the entire day

with a total stranger who justshowed up in Lowell's house.

Didn't you say he was an old man?

No, I didn't.

SARAH: He's 35, 40, tall.

AMY: Well, anyway I think UncleLowell is losing his mind.

You know that box he was fussing about?

The one with the famous Mexican artifacts.

It arrived.

It is the ugliest,worst collection of Latino

kitsch you can imagine.

AMY: Anyway, Lowell's on the phone from Paris

saying, put it somewheresafe, like it's Aztec gold.

What's wrong with him?

Here's to uncle when and his Aztec gold.

[music playing]

[key turning in lock]

[music playing]

[groans]

Where is it?

Where is it?

The stuff you stole, Lowell, we want it back.

It's not here.

Get up.

Get up.

One word and I'll blow your brains out.

Hello?

Somebody here?

[music playing]

[phone ringing]

Hello.

What?

When?

What did they take?

All right, calm down.

I'll be right there.

There's been a break in at the gallery.

[police radio chatter]

[music playing]

SARAH: Don't you thinks It's weird how

someone breaks into thegallery and nothing is stolen?

I guess Ricardo scared him off.

I'll help with the dishes.

I'll finish them in the morning.

I'm-- really tired.

It's been a crazy day.

You know you're not supposed to get

married if you don't want to.

It's not like paying taxes.

You know I love you.

I know.

[music playing]

[car approaching]

It wasn't there.

It wasn't there.

Where is it?

If I knew that.

I wouldn't be here, would I?

This isn't Mexico, Lowell.

You're not my commander and chief any more.

[groans]

[foot steps]

[rattles door]

[door bell rings]

[knocking]

Who is it?

[knocking]

Who is it?

TIM: It's Tim Jenkins.

Ah, any word from Lowell?

No.

Damn.

What's wrong?

Well, I booked into the hotel and found out

that I was sleeping next to analternative Celtic punk rock

fiddle band from Cape Bretonwho alternatively drank, jammed,

and fought with each other.

So I figured LowellSchmowell, it's time to go.

And I booked out of the hotel.

I booked a flight.

I head to the airport.

Flight's canceled.

So now I've got no place to stay.

And I thought I'd come here.

Do you have any scotch.

I think so.

I prefer single malt, butanything with alcohol will do.

That is the worst story I've ever heard.

Well, the part about the fiddle band is true.

I think you better leave.

Sarah, I--

I don't how to see this.

TIM: I'll just come out and say it.

No, I think it's best if you just--

No, I realize that you're engaged

and that I am here on a day pass.

And I know you think I'm a shadycharacter at best, but I-- uh--

I wanted to see you.

And I knew if I didn't do something,

I might not get a chance.

I'm not going to stay long.

I just want to talk.

Just go, please.

There's nothing I can do to change your mind?

Look, um--

Tim, you seem like a nice person.

I am.

But I don't know youfrom a hole in the ground.

And it's late.

And I have a lot of work to do tomorrow.

So, uh-- good night.

[music playing]

It would be in your best interest

to treat me with respect.

I know about the box and those kitschy artifacts.

That's what Amy called them.

You know Amy.

She's a little firecracker, isn't she?

You think she'd like Mexico?

I had dinner with hertonight and Matt and Sarah.

You know, Sarah, the beautiful niece?

You never us about her.

[music playing]

Hey.

[gasps] That's three timesyou scared the hell out of me

today.

I went in the wrong door.

So were you looking for me?

I was just going to say if--

if you have nowhere else togo, you can sleep on the couch

if you want, one night.

[music playing]

Here's a towel and blanket.

Bathroom's there if you to wash up.

Thanks.

I guess Uncle Lowell is forgiven.

Not by me, he isn't.

Good night.

TIM: Good night.

Tim, can't talk to you?

Yeah, what is it?

It's Uncle Lowell.

I mean, he's always been unpredictable.

But lately he's been acting strange.

He was obsessed about his box of artifacts

he had shipped from Mexico.

He was really anxious toget it and then he just--

Then he took off for Paris.

Yeah.

And the box arrive.

It's junk.

Stuff that Uncle Lowell would normally sneer at.

And then tonight there wasa break in at the gallery.

And the box got stolen?

No, nothing was stolen.

Ricardo had it in his room.

SARAH: Why would anybodywant to steal a box of junk?

Unless-- this is ridiculous.

I always had thissuspicion about Uncle Lowell,

that he wasn't really a diplomat.

He was actually-- I don't know--

some kind of spy.

Did you ever think that?

No.

Matt says Lowell just loves toput this exotic spin on things.

Like suddenly taking off for Paris?

SARAH: It's not just the disappearing acts.

We spend so much timetogether and talk so much,

but the truth is I don'treally know much about him.

SARAH: There's something so solitary about him,

not lonely, just solitary.

Well, what's the difference?

Well, you can be byyourself and not be lonely.

You think so?

SARAH: I love being by myself.

But you're engaged.

You think I'm gettingmarried to avoid loneliness?

TIM: No, I didn't say that.

I--

Maybe Lowell didn't set out to be solitary.

Probably chose a path in life and that choice

had consequences.

And maybe sometimes it does get lonely,

but he deals with it the best he can.

You're from the same breed, aren't you?

I think that we can probablycontact Lowell in Paris

and get to the bottom of this.

You know, Lowell's not so solitary.

He's got you.

He's lucky.

Good night.

[music playing]

Good night.

[music playing]

So Lowell, where's the box?

You see, Carl, I do have things you need.

[phone dialing]

[dial-up sound]

Come on, talk to me.

[groaning]

[music playing]

[rumbling sound]

[dog barking in distance]

[suspenseful music playing]

[car engine starts]

What was that?

Me.

No-- I thought it was a bathroom.

I opened my eyes just in the nick of time.

Go to sleep.

[knocking]

Would you prefer tosign for this or pay cash.

Get out of here.

Well, you're very welcome.

Will that be all that, ma'am.

Don't forget the laundry.

Beat it.

I have to run.

The gallery is a bit of a mess from last night.

Ricardo will be having a fit.

Ah, he's probably just scared.

He needs a crutch.

He needs a mother.

Don't we all?

So could I just tag along?

I'd love to see the gallery.

Sure, if you don'tmind helping me clean up.

SARAH: Ricardo, we can't just put the stuff here.

It's junk.

These things, look, I know it is junk, Sarah.

OK, I know.

But it's like the guy outside the museo,

you know, selling thepostcards of the Mona Lisa?

Well, it sets a stage.

It makes the gallery and you look silly.

Oh, Sarah, por favor, you're not listening.

You mind this shop like a clam.

SARAH: No, Ricardo, I wantyour work to shine through.

RICARDO: Yeah, but.

SARAH: It doesn't need anything around it.

RICARDO: Yeah, but.- It doesn't need a show.

It is the show.

Oh, you read that somewhere.

Maybe you heard it on Oprah.

SARAH: Maybe I really meant it.

There may be a practicalproblem you're considering.

If you put the bad stuff out, people

might want to buy itinstead of the good stuff,

which is your work.

It's beautiful.

All right.

RICARDO: All right.

It was just an idea.

RICARDO: One more, Amy.

OK, careful.

There you go.

It's all there.

Absolutemente.

You said you wanted to take it home.

RICARDO: Oh, adios, amigo,I think it's over for Matt.

What's going on?

Come on.

What's the matter?

Let's go, let's go.

Get in.

SARAH: Now you're making me nervous.

Why?

Because I didn't ask you to drive me home.

And you're driving too fast.

Well, I'm just not used tothese peppy four cylinders,

you know.

I drive a bigger car as a rule.

[tires screech]

[music playing]

TIM: You know whose car that is?

SARAH: No.

You're half a block away.

Tim, this is fine right here.

Tim.

What are you doing?

Tim, where are we going?

Stop the car. I want to get out.

[tires screech]

[horn honk]

Hey, hey, hey.

SARAH: You're crazy.

Let me out of here.

That's dangerous.

Don't do that.

Where are you taking me?

Sarah, I know what this looks like,

but I'm not going to hurt you.

Good, I was worried there for a minute.

Let go of my arm.

Then keep away from the wheel.

[music playing]

TIM: I really need to know what's in that box.

SARAH: By kidnapping me?

TIM: I'm concerned about your safety.

My safety.

What does this have to do with Uncle Lowell?

- I don't know. - Like hell you don't.

Stop lying to me.

Look, it is best that youknow as little as possible.

OK, we're going to get out of the car.

And we're going to go in the house now.

And you're going to go with me.

OK?

[grunts]

[music playing]

You're wasting time.

We have to find out what's in that box.

You understand me?

[music playing]

Bet you didn't know about this.

[alarm sounds]

Where is he?

I don't know.

TIM: That's the truth.

What the hell are these things?

Gods, spirits.

Thank you.

TIM: Do they mean anything?

They tell a story?

SARAH: You pray to themfor health and prosperity,

sexual potency, children.

My wrist is sore.

Yeah, well, I don't have time to go chasing

you around in the woods.

MATT: Well, do you know where she is?

Ah, yeah, she said she wasgoing to do some shopping,

get some things for the gallery.

Amy, where is she?

She was going to drop off thatbox of Lowell's at her house.

Was she with someone?

That Tim guy?

Yeah, I think so.

When did they leave?

CARL: Matthew, there you are.

I was looking for you and Sarah.

I wanted to thank you for a great evening.

You're lucky man.

You OK?

You look pale.

No, I'm fine.

Sarah's inside?

No, I don't know where she is.

She's with that computer man Tim.

Where'd they go?

I don't know.

CARL: Is this him?

I didn't see him, but Amy did.

We need to talk.

He's a very dangerous man.

You sure our little friend Ricardo

put everything in this box?

Yes.

I have to go to the bathroom.

Are you going to stay in here with me?

No.

When I get that email from Lowell,

I hadn't seen or spoken to him for six years,

since he left Mexico.

Why would he ask you to come here

and then take off for Paris?

TIM: He's not in Paris.

It was Lowell that broke into the gallery.

He's looking for this box.

But there is nothing in thisdamn box, not that I can find.

Could you please tell me what's going on?

MATT: This is Tim?

CARL: His real name is Adrian Seville.

We all worked for the company.

MATT: What company?

CIA.

Lowell was chief of covert operations.

He was like god almighty.

And we were his two archangels.Adrian went bad.

He crossed over.

Framed Lowell.

Drummed him out of the service.

Lowell's been trying to getthe goods on him ever since.

The proof he needs has got tobe in that box from Mexico.

And Adrian will do anythinghe can to get to it first.

This is nuts.

MATT: I don't believe any of this.

Matthew, you don't have a choice.

Sarah's life depends on it.

Thanks.

Well, you're a good cook for an arrogant,

lying, son of a bitch.

So, uh-- trust no one, is at the track?

Which means no wife, no lover, no children,

never be vulnerable.

I couldn't live like that.

I could never marrysomebody I didn't want love.

So there you go.

We all have our arrangementswith ourselves, don't we?

Did I say I didn't love him?

Did I say I was lost and lonely?

Yeah, I think you were trying to last night.

I guess we're justmade for each other then.

He's a good man, honest, trustworthy.

Not like me?

No.

Not like you at all.

[music playing]

Tim.

[music playing]

It's all right.

Trust me.

Sarah.

TIM: Sarah.

Sarah!

You're being more stupid thanyou could possibly imagine.

[gun shot]

Trust me.

I know how to shoot a gun, and I'll shoot

you if you don't do what I say.

You can start anytime.

The more you know, the more you're at risk.

I'm already at risk.

At least tell me why.

SARAH: Tim.

That guy Carl.

Matt's real estate tycoon?

TIM: Carl Spencer.

What about him?

He's not here to buy real estate.

He's here to get your uncle.

He's after the box.

Why?

Your uncle was thehead of covert operations

for the CIA in Mexico.

He recruited Carl Spencerand I. We worked for him.

He trained us.

Six years ago your uncle was accused

of drug peddling and extortion.

TIM: An investigation was launched

and he resigned in disgracebefore an official report

was tabled.

Was he guilty?

TIM: I tried to investigateit on my own body,

but he had me kicked out of Mexico.

His last official duty.

I haven't seen or spoken to him since.

Until I got the email, Sarah--

What is supposed to be in that box?

I don't know.

Something that exonerates himand then obviously incriminates

Carl, because Carl left the company

a year after your uncle.

He's a very rich man today.

He's got your uncle prisoner.

He wants the box.

And he'll kill him if he gets--

Sarah!

TIM: Sarah, where are you going?

SARAH: The police.

No, no, they can't do a thing.It'll be too late--

Sarah, if you're--

TIM: If Carl gets that box, he'll your uncle.

Listen to me.

Sarah!

[music playing]

[grunting]

[engine starts]

AMY [ON PHONE]: El Mondo Latino, Amy Fuentes.

Hi, Amy, it's Tim.

TIM [ON PHONE]: Have you seen Sarah?

I thought she was with you.

TIM [ON PHONE]: Well, she took off.

That guy Carl was looking for you.

Where's he?

AMY [ON PHONE]: He left with Matt.

He didn't look too pleased.

Where'd they go?

[music playing]

SARAH: Matt.

My god, Sarah, you're all right.

I think Uncle Lowell is in serious trouble.

We need to call the police, butwe can't tell Carl about this.

Do you understand?

Don't talk to Carl.

Don't talk to Carl about what?

- What's he doing here?- Honey, Carl's not a developer.

He's with the CIA.

It's not what Adrian told you, is it?

Who's Adrian?

Tim.

His real name is Adrian Seville.

He's here to kill your uncle.

CARL: Mr. Seville framed Lowell.

He made it look like he was taking

money from the drug cartel.

I believe the proof is in that box,

canceled checks, documents,bank transfers, something.

Lowell wants Karl to have the box.

Where is it, Sarah?

We took it to Lowell's.

Tim, Adrian, whatever his name is,

he examined every single thing in that box.

He couldn't find anything.

He's lying.

No, there really was nothing.

He couldn't believe it either.

He freaked.

That's why I knew he was lying.

So I ran.

CARL: You ran?

He just let you go?

I took his car.

So where's the box?

Back at Lowell's I guess.

You are Lowell's niece, aren't you?

Run, Matt.

[gun shot]

Knowing what you know now, doyou honestly think I wouldn't

kill you to get what I want?

CARL: Where's the box?

In the car.

Very good.

You keep making the right choices

you might get through this.

Matt--

[music playing]

You drive.

[music playing]

Matt, I'm sorry, I have to do this.

Carl's got her.

My fault.

No, it's not your fault. It'snot one bit your fault. Do you

know where they went?

TIM: Come on, you can tell me.

It's OK.

Don't worry, we'll find her.

Seventh nature.

What is it?

MATT: A pier.

A shack at the pier.

Talk.

Hold this against your side.

You know, Sarah wasright, you're a good man.

TIM: Yes, we need an ambulance.

A man's been shot.

[music playing]

SARAH: You didn't hurt him, right?

CARL: Everything I am I owe to Uncle Lowell.

He's like a father to me.

Persuade him to tell me what I need to know,

and I'll spare his life.

I'm so sorry.

Please forgive me.

He's fine.

Aren't you, Lowell?

This is my associate, Mr. Dusek.

Bobby, this is Miss Frazer.

It seems that Adrian is in the vicinity,

one step behind as usual.

It's my fault.

Which means I don't have all day.

And you have very few options left, Lowell.

She gets out of here alive.

If you tell me what's in the box.

You know what's in the box.

CARL: Yes.

But where?

It seems that even Mr.Seville couldn't find it.

Where are the packing papers?

What?

The statues are wrapped in packing papers.

Where are the packing papers?

They're not here.

The gallery.

We took the statues out of box.

We must have put them back without the paper.

It's in the garbage.

Picked up tonight.

We'll be back.

I'm not leaving you.

It's OK, Sarah, it's OK.

He still needs to me alive.

Good bye, Lowell.

As always, it's been a slice.

[music playing]

You know, you're a stupid man, Lowell.

You could rolling in dough right now.

You could have anything you wanted to.

[glass shatters]

[gun shot]

LOWELL: They're headed for the gallery.

It's the packing papers.

Go.

[music playing]

[train whistle]

[music playing]

Carl, let her go.

Should know better than that, Adrian.

Let her go.

He's going to kill Lowell.

She's very smart.

CARL: Tell her what to do, Adrian.

Do what he says, Sarah.

He's not going to kill, Lowell.

CARL: Very good.

Nothing that Lowell Kincaid does is

of any interest to the company.

He's a drug peddler and a crook.

TIM: How many people know, Carl?

When the bottles' uncorked--

Drop the gun.

Drop it.

[train whistle blares]

I should have done this years ago.

[gun shot]

[grunts]

Carl!

[gun shot]

Oh my god, Sarah.

I'm sorry.

I'm sorry.

- Matt? - I found him.

I called an ambulance.

He'll be OK.

We've got to call the cops.

TIM: Well, what are wegoing to tell him, Lowell?

You got your ID?

TIM: Yeah.

OK, I'm a retired diplomat.

I screwed them over in Mexico.

This guy was sent to settle the score.

LOWELL: You were tipped off.

You rescued us.

He's got no ID.

We got to call the gallery.

We got to get her out of here.

You're right.

Sarah, I don't want you mixed up in this.

You don't want me sayingthe wrong thing you mean.

You can't help your uncleby sticking around, Sarah.

Sarah.

Tell them whatever you want.

LOWELL: Where are you going?

SARAH: To the hospital.

Get rid of the gun.

[splashing sound]

Kind of like old times, huh, Adrian?

It's good to see you again, Lowell.

[sirens approaching]

Get your hands up.

SARAH: Well--

Hi.

I'm going to make wedding plans

as soon as you're out of here.

No, we won't.

I think we'll do better as friends.

I'm so sorry, Matt.

Me too.

LOWELL: There's the proof.

And it's in Carl's ownhandwriting, not even in code,

straight out.

Dear Mr. Spencer--

it's amazing.

Why would he write it all down.

It's the survival instinct.

Paper trail to the big shots,a way to protect his ass.

I taught him well.

How did you get that?

They were trying to cleanhouse for real this time.

I had to pay for it, butit was almost reasonable.

So now what, Lowell?

I want my file restored and anexoneration from the director.

Why did you let me think you were guilty?

I didn't want you going after him.

Carl is tough and he's mean.

He would have had you for lunch and dinner.

You're like a father to me.

You should have trusted me.

I just wanted someone to get out clean.

Why would you get Sarah mixed up in this?

Because I'm old and stupid and lazy

and the gallery was an easy cover.

You nearly got her killed.

You're in love with her.

She doesn't want me.

[party chatter]

All right, all right, ladiesand gentlemen, Ricardo Montero.

[cheers and applause]

So tell me, Ricardo, is this speaking to you?

Oh, me, it sings.

Thank you very much.

I told you. He's a star.

Congratulations.

Can you forgive me?

Please.

Only if you buy something.

Is there anything left?

A couple of less than stellar pieces.

Done.

How's Matt?

Healing.

We broke off our engagement.

You OK?

Yeah.

He's a good friend.

And he always will be.

Well, speaking ofhealing, how about a weekend

in the country, just the two of us all of us,

when this is all over?

Please.

Uncle Lowell--

Ain't love grand?

Does she talk about him?

Nope.

[music playing]

Uncle Lowell?

Uncle Lowell?

TIM: He's not here.

You have to stop doing this to me.

This time it's not my fault.

Let me guess.

No Uncle Lowell?

No Uncle Lowell. No note.

No card.

No cryptic clues.

Whose His car is gone too.

What are you doing here?

I was invited for the weekend.

He didn't tell you I was going to be here?

No.

I'm going to kill him.

TIM: Did he tell you Ihanded him my resignation?

No.

What are you going to do?

Well I thought I might go into computer repair.

Seems to be the only thing I'm good at.

But I'm willing to learn.

Then what?

Whatever you want to teach me.

As long as it doesn't involve handcuffs.

[music playing]

Paris, first class all the way.

Lucky you.

Unfortunately, I'vebeen evicted from my home.

TICKET AGENT: Oh, I'm sorry, sir.

Oh, don't be sorry, darling.

It's all in a good cause.

May I help you.

[roar of jets]

[music playing]