Original subtitles

(orchestral music)

(dramatic orchestral music)

(dramatic orchestral music)

(dramatic orchestral music)

(dramatic orchestral music)

- Hey sweetie, come here right now.

So fancy for breakfast.

(dramatic orchestral music) - Hey.

(dramatic orchestral music)

♪ Let me be your whiskey ♪

(dramatic orchestral music) - Thank you.

(dramatic orchestral music)

(dramatic orchestral music)

- Are you ready with your best friend?

(dramatic orchestral music)

- She sets her mind as something.

Reminds me of someone I know.

- There it is.

- It's adorable.

- Mina, you are the orange juice.

(horn honking) - Daddy.

- I thought he was coming tomorrow.

- Well, what date is it?

- Jesus, it's the 23rd.

(dramatic orchestral music)

- So, I conveniently forgot.

Sue me.

(laughing)

- You know you can't stop her, she and her father.

- You're taking his side now?

- It's not about sides.

You thought he deserves to know her daddy.

You know you loved each other once.

- Yeah, I wasn't the one who ruined it.

- He was working late hours, doing God knows what with who.

- I know.

- Come here right now.

(dramatic orchestral music)

(laughing)

- There's daddy.

- Daddy!

(speaking in foreign language) - 10 a.

m. has promised.

- I'll bring her back for six.

- Okay.

- Okay.

- I'll take this one.

Come on.

- You okay?

- You seem a little distracted.

- Uh, yeah, yeah, I'm fine.

Start work stuff.

Good.

- All right.

- Watch your hand, Vino.

- Hey, what you got there?

One second.

- Should we have a story?

- No, I don't have a story.

- Yeah?

- I'll read you a second.

- Wilkie and Reiki's adventure began at the zoo.

- Dinosaur living zoo.

- Man, our story.

- They do.

- Yes!

(laughing)

(dramatic music)

- Do you like your nukas, Tyl?

- Yes, mama.

- Yes!

- What are we missing?

- Shrucks, you're a papa, of course.

- Well, that's not what we pay.

- Okay, but it is what your father's medication costs.

- That may be, but I've never paid that before.

I have all the records here.

- Could I just see the manager?

- I am the manager, ma'am.

- What happened to Phil?

- Oh, he retired last week.

He, uh, moved to Belka with his family.

- Just give me a minute.

- Yeah.

(glass shatters)

- Oh, okay, I think I see what's going on.

You are right, let me just update some details.

I'm so sorry about that, ma'am.

You can go and pay at the cashier.

- Thank you.

(tense music) - Mina?

- Amina?

- Mina?

Amina?

Mina?

Has anyone seen my daughter?

She's dressed like a, like a dinosaur.

- Oh, my goodness.

- Mina?

- Is she there?

- She's here?

- Mina, have you seen a little girl?

She's only four.

Oh, my God, please.

Oh, hey, look, hey.

Ah, oh, my God.

Hey, hey, hey, hey, hey, hey.

(laughs)

(tense music) - Did you find?

Where are they?

- Come with us, come with us, come with us.

What's going on?

- We're doing everything we can to find Amina.

- I know Kareem took her.

I know he did.

He was acting real fucking weird yesterday.

And then Mina told me that he was talking about me to somebody on the phone.

- He's threatened this before.

- He has.

- If that's the case, I'm struggling to understand why Kareem

didn't just keep Amina on one of his visits.

- How am I supposed to know that?

- Can you think of anything you may have done?

- Something I made?

- God dammit, she's saying her fault?

- I didn't mean that.

- She didn't do anything, cause this, but the fuck is wrong with you.

- Nick is gonna take her home.

- Home?

- This is serious, I used to talk about it all the time.

I'm getting a job in a hospital nearest family.

When we got divorced, he tried to do it then.

I had to get a restraining order to stop him taking her out of the country.

You need to check all the airports.

What?

What is it?

- There isn't a federal law that prevents a parent from taking their child.

- It's kidnapping, he's kidnapped her.

- Their own child internationally.

- If that's the case, I'm sorry there's nothing we can do.

- You gotta be kidding me, he can just take her.

- So what, I just, I just, I ain't lose my daughter.

- We're following all procedures.

- We have roadblocks in place and a team on the way across the south.

But right now, I just need to know what other possibilities are.

- Why are there possibilities?

- What?

You mean like a child snatcher?

- Yeah, could you tell me which Ohio airport I need for a flight to Syria?

- Oh please.

- Uh-huh.

- You can't hide from me.

- I see you.

- There she is, flight to Syria,

depart from Port Columbus via Amsterdam

and range from $750 to $1,000.

- Okay. - Thank you.

- We went to Kareem's house.

I'm afraid it was cleared out.

There were just a few things left.

- Did you check Port Columbus airport?

- We found his car in long-term storage.

We're checking flight list, but we do now suspect he has left the country.

(dramatic music)

- Kareem Salle Talah.

- No, she doesn't have any contacts for his family.

- Radiology.

- Sorry, I don't understand.

- He said his father lived in Riyadh in Saudi

Arabia, but there's no record of him being there.

- Ah, Surah, at Chaha.

- Because she never went there and they never came here.

- Sorry, I don't have anyone by that name.

- Okay, I don't know.

You're the lawyer.

Don't you have an investigator or something?

I don't like your attitude either, pal.

Oh, God.

(dramatic music)

(gun firing)

(gun firing)

(gun firing)

(gun firing)

- I'm being gone.

(dramatic music)

(gun firing)

(dramatic music)

(dramatic music)

(dramatic music)

- When Kareem took Mina overseas, it wasn't a crime.

If you can't believe that.

I've been without my baby girl for over two years.

And every day that I don't get to see her,

it hurts like a bullet.

Thanks to your incredible generosity.

I'm gonna get to go to Washington.

And I'm gonna knock on every door and talk to every suit.

I'm gonna do everything I can to find my baby.

I won't rest until I get to bring her home where she belongs.

My mom left me when I was little.

I am not walking away from my own.

(audience clapping)

(coughing)

- Nothing to leave you.

(coughing)

- No, stop right there.

- You stick to your guns.

- It's like I taught you.

- Yeah.

(breathing heavily) - Love you.

(dramatic music)

- Stay at your intent.

- I'd like to position for a Senate resolution.

- And the support of your governor.

Then think it back.

- You can't block the door, ma'am.

- Excuse me, I can't stay here.

It's my first amendment right.

- At a point I'll be sent to you within the next six months.

- Six months?

Let me go wait.

- Ma'am.

- Uh, do you speak English?

- I can't read the signature on my x-ray.

- The majority of kidnappings in this country are committed by parents.

- I think it says Kareem Taleb.

- Last year, over 25,000 children were abducted by parents and nothing is being done.

- There is no position here by the name.

- Okay.

- Thanks anyway.

- Mara Danning has returned to Washington to action a

hunger strike with the parents protest group she formed

in the wake of the disappearance of her daughter four years ago.

(dramatic music)

(somber music)

- What if I sit?

- Can I help you with something?

- No, but I might be able to help you.

- Look, cowboy, I just wanna be alone, okay?

(dramatic music)

- I'm in the shower, cover of business.

- You did this.

Is it legal?

Is it legal or is it abduction?

- I'm broke, so.

- I know.

Keep that.

I have a proposition for you.

- Come work for me.

- You help me find other people's kids.

I'll help you find yours.

- You know, it pays pretty good, too.

(somber music) - Call me.

- Mara, this is Carl.

Heads up linguistics and pretty much anything I can't do.

He's my second in command.

- I'm your only in command.

- All right, nice to meet you.

- I'm glad you called.

- It's not a yes.

- Okay, it's for you.

(somber music)

- Hey, this is a good thing.

I have contacts all of the Middle East.

We'll find her in time.

- I haven't seen my daughter in four years, 86 days, four hours.

- How long has it been since you've been?

- Nine days.

- Yeah.

- I can't.

- We're your best option, Mara.

(somber music) - All right.

Here.

- I don't understand why you want me.

I turned into the same stress for God's sake.

- Well, if I'm being completely honest,

we need a woman on our team.

You round as less suspicion in this line of work.

- And you're tough.

- That should get you started.

Enough to help with your dad's treatments.

- You ready for your first case?

- Come on, man.

- This is Maya.

That's her son, J.D.

Barely sees the father until one day he decides, you know what, I want my kid back.

He beats her senseless and then takes the kid back to Mexico.

I need more intel.

She's holding back.

I figure she's scared.

- Well, of course she's scared, look at you.

You're like a goddamn sack of rocks.

- No one knows what this feels like more than you, Mara.

- He's safe.

You could get him back, is it true?

Please, I just won't.

Him with me.

I can sleep, I can breathe.

- We will try to get him back.

But first, could you just tell me a little bit about your son?

- He is gentle.

You know, he can spend hours throwing and he really likes animals.

(mellow music)

- What part do I play?

- Your job is to keep the child calm,

at least until we can hand him back to the client.

- You give us plausibility.

Keep everything looking normal.

- So I play mother?

- Exactly.

Let me run you through the plan, step by step.

(mellow music)

- Finding a recover in the target is hard enough.

Then you gotta get him across the border with fake paperwork.

- How did we do that?

- This is only Mexico to Arizona.

It's easy.

(mellow music)

- Lot of stray dogs in Mexico.

(mellow music)

(mellow music)

(mellow music)

- Okay, we're on.

- Huh?

- Let's go.

(mellow music)

(mellow music)

- Okay, keep a lookout.

(mellow music)

(mellow music) - Whoa, whoa.

Hey, wait.

Shit, what?

- Class must have canceled, move it.

- Damn, Mr. Window.

- We're gonna have to improvise.

(mellow music)

- Hey, get ready.

- We can't do it here, can we?

(mellow music)

(mellow music)

(mellow music)

(mellow music)

(mellow music)

- What was that?

(mellow music)

(mellow music)

(mellow music)

(mellow music)

(mellow music)

(mellow music)

- I'm not gonna hurt you, okay?

I'm taking you home to see your mom.

Momma, would you like that?

Good boy, help me up.

(mellow music)

(mellow music)

(mellow music)

(mellow music)

(mellow music)

(mellow music)

(mellow music)

(mellow music)

(mellow music) - Hey!

(mellow music)

- This way, this way.

(mellow music)

(mellow music)

(mellow music)

(mellow music)

(mellow music)

- Come on, go, go, go.

(mellow music)

(mellow music)

(mellow music)

(mellow music)

(mellow music)

(mellow music)

(mellow music)

(mellow music)

(mellow music)

(mellow music)

(mellow music)

(mellow music)

(mellow music)

- Hey, I'm just... (mellow music) All right.

- Good boy.

- Hi, she's here.

Keep him here.

Once we're paid, we'll bring her in.

- Are you from the series?

- It doesn't look first.

- Okay.

- Do you want to learn minutes?

- I want to.

- All right.

- You're welcome for your job.

- First.

- First.

- Do you want to go?

- Yeah, he's waiting for you.

- Thank you.

(mellow music) - Oh my God.

(mellow music) - Oh my God.

(mellow music) Oh my God.

(mellow music)

(mellow music)

(mellow music)

(mellow music)

- Can I have what she's having?

Please.

Hey.

How you doin'?

Ah.

You're cut.

(mellow music) Thank you.

- Wow, that's, that's more than I make in six months.

That's just a fraction of what I need for me now.

- We did somethin' good here.

You know that, right?

- So how come I feel like a mercenary?

- We have to be paid for the risk we take.

- She was desperate.

- But she found the money and that's good, right?

I could never afford that.

- You won't have to.

- Right, quit pro quo.

It's the jobs that'll pay for it.

- Eventually?

- How long's eventually?

- Look, sometimes it's cut and dry, you know?

You find the kid, you find a way in.

It's pretty straightforward.

- But not mine, right?

Not me now.

- Well, in your ex, he's pretty good at covering his tracks, but you know that.

And you've been lookin' for him a lot longer than I have.

- You don't have kids if you're out, right?

- No.

- So, why do you do it?

- Well, I just got out of the Marines, Panama City Beach.

It was pretty down and out.

Didn't have a lot of transferable skills.

And I was hangin' out to that center, you know?

Lookin' for work.

This one day, this guy comes in and he's talkin'

about this Washington mom who wanted her kid's snatch back.

You know, it was really good money.

It turns out, I was pretty good at it, you know?

Gave me purpose.

So then I don't know, form the unit.

Hard Carl, rest his history.

- You ever had a job go back?

- Well, it's not too well on that, okay?

Today was a good day to your future.

- Scallop, the kid's grandmother, gave evidence that the stepfather is violent.

- Yeah, he has convictions, but he won't be in Edinburgh when we snatch back.

He'll be traveling for work.

(dramatic music)

(intense music) - Okay.

(intense music)

(dramatic music)

- May I help you?

- Yeah, hi, could you tell me who I'd need to speak to

to get a list of all the hospitals in Lebanon?

- We have a new case, top priority.

Albania.

Thought it was gettin' pretty rough out there.

- Brides and chaos.

- Yeah, well, chaos was good cover.

- Where's the rest of the intel?

- That's all I have.

(dramatic music)

(dramatic music)

- It's gotta be this one.

(speaks in foreign language)

(dramatic music)

(dramatic music)

(dramatic music)

(dramatic music)

(dramatic music)

(dramatic music)

- Oh, come on, come on, come on, come on.

(dramatic music)

- Hey, we gotta get some car.

(dramatic music)

- Go, go, go, we're running from here.

- Hey, back, back, back, back.

(dramatic music)

- Hey, back, back, back.

(dramatic music)

(dramatic music)

- Go, these back.

(dramatic music)

(dramatic music)

(dramatic music)

(dramatic music)

(dramatic music)

(dramatic music)

- Hey, you fucking touched me.

- Hey, hey, hey, hey.

(dramatic music)

(dramatic music)

(dramatic music)

(dramatic music)

(dramatic music)

(dramatic music)

(dramatic music) - Fuck.

Where's the transport?

Mitch?

- He pulled the plane.

- Who?

- Lewis.

- This is CIA?

Why the fuck didn't you tell us?

- CIA, what?

- Lewis.

- Hey, it was on a need to know basis.

- Hey, hey, hey, hey, hey, hey.

- I'm your partner.

I'm need to know.

- Stop it.

- What does this mean?

- It means the CIA got us to do a dirty job.

And now that it's gone wrong, they're leaving us in it.

- Is that true?

They're not gonna help us?

- I'll figure it out.

- I know we've worked for parents.

- We do.

It's still a father getting back his daughter.

- Who pays us doesn't matter.

- It doesn't matter.

- What, what we do, who we do at four is all the fucking matters.

Get the fuck out of here.

- I hope you know what you're doing.

- I'm helping people get their kids back.

- And is this the best way to get?

- I mean it back.

She's just putting so much trust in this thing.

I just worry that you just lost track of where you're trying to get to.

- Listen, I'll decide who and what I trust.

- I have to go.

Love you.

- Then 500 feet and the venue is on the left.

At least I think it's a little unclear.

- Yeah, Carl's not taking photos.

- Okay.

- Main entrance is on the main road.

- But there's another way in on our corner that takes us through the kitchen.

- What?

- It's kind of a natural at this.

- But what if we give them the wrong parent?

What if the mother's no good?

- Where's this going?

- I almost caught rid of her, let me know.

And now I can't be able to live without her.

We'll make Karim in the hospital, and all these problems with my hands and feet.

We needed all my scans.

We started seeing each other after that.

It was kind and funny, it took care of me.

It made me feel safe.

I never intended to get pregnant.

I freaked out.

I left Karim a message, and I drove myself to the clinic.

Right when I was about to sign the papers,

Karim came rushing in, just full of passion.

That's what he was like about the things that he loves.

And he said, "We can do this, it's gonna be okay.

" And it was for a while.

Then he started acting really weird.

Stand out late, wanted me to quit my job.

I started drinking too much, I guess.

- It was not really your fault.

You didn't really know the guy.

- How do you know what I should be punishing myself for?

- Okay, there's what I do know.

Parents, they need you on these jobs.

What about you?

Do you know what I mean?

(gentle music)

(phone ringing) - Robison.

(phone ringing)

- What have you got?

- What about Romania?

- I'm working on it.

- Petra's father really wants his daughter back.

She's the most important thing in the world to him.

I don't object to your private cases,

but not at the expense of what the CIA needs from you, okay?

- Well, I think I'm helping these parents too.

- And I'm sure that they are very grateful, but you're a military man.

So I know that you understand the plight of housewives

and grandparents is not quite as vital as keeping this country and its assets safe.

- Stop deprioritizing my cases, Mitchell, or you won't have any.

- All right, I'll move Romania to the top of the list.

- How are things going with tanning?

- Good.

- She's still looking for her kid?

- Of course.

- Just remember to keep the trail cold for as long as possible.

- Why would you say that?

- Kareem Taleb is a dangerous man.

She's better off without him in her life.

- How dangerous, Lewis?

- That's classified.

You do your job and I'll do mine.

- Ah, do you speak English?

- Yes, Mom.

- Thank you.

I have a patient at your hospital, but I can't read his chart.

I can only read the name of the radiologist.

- Could I speak to him, please?

His name's Kareem Taleb.

- One minute, please.

- Mm-hmm.

- He is not working today.

Would you like to leave him a message?

- Taleb?

- Yes.

- T-A-L-E-B?

- He does?

That's him.

That's him.

- Mm-hmm.

- Me neither.

- Me neither.

- Mm-hmm.

(dramatic music)

(tense music) - Mm-hmm.

- Mm-hmm.

- Mm-hmm.

- I found him.

Kareem is in Lebanon.

- Behind you?

- Yeah, I tracked him down to a hospital, just outside Beirut.

He's been working there for a whole year.

- Not you sure?

- Oh, Jesus Christ, Mitch.

Do you know how many calls I'd made to hospitals in Syria and surrounding countries?

Hundreds.

And then suddenly, just like that, there he fucking is.

Can't even change his name.

- Oh, so that's what this is, huh?

You come over, use me.

- No, this is the best lead I've ever had.

- Right, Mark.

- I just wanna go out here.

- Why am I always telling you?

You have to stop and think.

- Fuckin' yell at me.

This is finally something real for me.

- Okay, I'm sorry, I didn't, you're right.

It's a good lead, but you weren't gonna go out there on your own.

So when the time is right, we'll do it like all the others.

Plan, rehearsed.

- And when we'll be the right time, Mitch, because you keep saying that.

The fucking time is now.

We need to get out there.

Is the Beirut job still on the table?

- The Beirut job is too risky.

- So you take it and then the client will pay

for you to pull strings to get us out there.

Please.

- So as far as we can tell, exit points are here and the rear trade entrance.

That'll be our best bet to avoid her private security.

- Well, we only have one invite, so it'll have to be me.

- You get trapped, you'll have to fight your way out alone.

- Yeah, I've done it before.

- I don't like it.

- What?

- You're kidding, right?

It's the perfect setup and the biggest score we've ever gotten.

- You know Lebanon is still unstable, right?

Beirut is militarized and these people have money for private guards.

I'm the one that has to get us out if it all goes to shit.

Nah, this is a no-go for me.

- No, I may never have enough chance to get out there.

- We'll find another way.

- It's been eight years, eight fucking years.

How much more time do you think I can fight?

- Jesus Christ.

- What the fuck was that?

- I told you, I don't like it, it feels dangerous.

- More dangerous than taking kids from richest fuck statesmen.

- Maybe she's better off if she lets this whole Lebanon lead go.

- Are you serious?

She dumped all those jobs with us because you've made

her a promise that one of them would be her own kid.

Imagine that, Mitch, having a mother who loves you that much.

I sure as shit would have ended up here.

- Come on, man.

Help us figure out this nudge.

Then we'll go out there, do it as well as we usually do it.

And then afterwards, we'll help her get her daughter back.

Okay.

Come on, man.

Let's do this.

Okay.

We're good.

You better know this house inside and out.

Every room, every exit.

And this one's by the book.

My rules, okay?

- Yeah.

- Yeah.

- Thank you.

- Okay.

It's for you.

(somber music)

- I waited as long as I could for a meter.

When your mom left, remember?

I didn't know whether either of us would be okay.

You were so tiny.

I remember.

I took you to the park.

You climbed a jungle gym

and you fell off.

(laughing)

- That's my team.

- And that woman, she came

and I'm rushing over.

She said, "Where's your mother?

" And then you said,

"I know it's gone.

"My dad's in.

"And it's fine.

" - Mm-hmm.

And that's what I knew.

You would always be okay.

You have to be strong for me, Lenna.

- No, please, no.

- I told her,

"I love her so much.

" - I need to rush now.

(somber music)

(dramatic music)

(dramatic music)

(dramatic music) - Hey, musty.

(dramatic music)

(indistinct chatter) - Hey.

(indistinct chatter)

- Who are you and what did you do as Sariah?

- Hey.

- You're so tall.

- Get over here.

- Your mom's here?

- Yeah.

(gasping)

(indistinct chatter)

- All right, so good.

- See you.

(indistinct chatter) - Oh, no, no.

- Too long, Dassia.

This is Mara.

- Hi.

- Hi.

- Hi.

- Dassia, go and get the tea.

- Mm-hmm.

- Please.

- Nothing's changed right here, huh?

- Oh, it's like a zone here sometimes.

I hope you don't mind, but you will be sleeping in the living room.

- Oh, no.

- I didn't want you to have to share with the men.

- That's very thoughtful, thank you.

- Come on.

(dramatic music)

Robson told me that your ex-husband is living here.

You are okay to talk about it.

Yeah, of course.

- For you.

- No.

- Thank you.

- Thank you.

- Please.

- She's wonderful.

- They get over so fast.

You know what your ex works.

- At a hospital, just outside the city, I think, but I don't know where he lives.

- I'll take you there tomorrow.

- See if we can't find out.

(dramatic music) - Hi.

I think I might finally be under the same little patch of stars that she is.

- Wow.

- Like I know you feel close to her,

but I really need you focused on this job first, okay?

- I know.

(dramatic music)

(dramatic music)

- He was on a temporary contract.

There's not here anymore.

- Hey, it's a process.

He's in the city.

We are going to find him.

(dramatic music)

(dramatic music)

- Can you move in it?

- That's not the sound.

- Yep.

- Okay, no heroics tonight.

- Grab the kid and you get out of there.

Be careful, Mara.

(dramatic music)

- What are they taking on you?

- Mother of the beast.

(dramatic music)

(speaking in foreign language)

(speaking in foreign language)

- Are you from the embassy?

- Oh god, no, for politics and in finance.

- Hmm, excellent.

Please do tell me if you need an introduction to any of my other guests.

- That is so kind of you.

In the meantime, could you point me in the direction of the lady's room?

- Say it down the hall.

- Thank you, pal.

(speaking in foreign language)

(dramatic music)

(speaking in foreign language)

(dramatic music)

(speaking in foreign language)

(speaking in foreign language)

(speaking in foreign language)

- Come on, let's go, come on.

Okay, let's go, come on.

(dramatic music)

- It's gonna be okay.

(dramatic music)

(speaking in foreign language)

(dramatic music)

(speaking in foreign language)

(dramatic music)

(dramatic music)

- What are you doing with my daughter?

- I'm not gonna hurt her.

- Yet you're taking her away from me?

(dramatic music)

(speaking in foreign language)

(dramatic music)

(dramatic music)

(dramatic music) - Don't.

(dramatic music)

(speaking in foreign language)

(dramatic music)

(dramatic music)

(dramatic music)

(dramatic music)

(dramatic music)

(dramatic music)

(dramatic music) - Get her?

(dramatic music)

(dramatic music)

(dramatic music) - You okay?

- Drive!

(dramatic music)

(dramatic music)

- Look, look, I see him, hang on.

(dramatic music)

- I got you baby.

- I'm out of my beat.

- Get down!

(dramatic music)

(dramatic music)

- Get your ass down!

(dramatic music)

(dramatic music)

- Oh wait, watch out!

Shit!

(dramatic music)

(dramatic music)

- What happened in there?

(dramatic music)

- Laura, are you gonna tough?

(dramatic music)

(dramatic music)

(dramatic music)

(dramatic music)

(dramatic music)

(dramatic music)

- Let's go, girl.

(dramatic music)

(dramatic music)

(dramatic music)

(dramatic music)

(dramatic music)

(dramatic music)

(dramatic music)

- Okay, it's okay.

(dramatic music)

(dramatic music)

(dramatic music) - He's here.

(dramatic music)

(dramatic music) - Thank you.

(dramatic music) - Of course.

(dramatic music)

- Thank you, come on.

(dramatic music)

(dramatic music)

(dramatic music)

- It was an accident, Mora.

(dramatic music)

(dramatic music)

- You're not gonna let me look for a mean anymore, are you?

(dramatic music)

(dramatic music)

(dramatic music)

(dramatic music)

(dramatic music)

- Okay, I'm going out.

Let's see if I can find us the way home.

- I'll come.

- No, it's not safe.

Stay here at the hotel.

At least until I can find out if we're in the clear.

(dramatic music)

(dramatic music)

(dramatic music) - Who is it?

- That's young.

- That's, that's, that's, okay, okay, okay.

- Hey.

- Hey.

(dramatic music)

- Wait, you shouldn't be here.

- I have a lead.

- On what?

- On Amino.

- No, we have to go.

- No, wait for Robeson.

- No, you know, a lead only lasts so long.

- I'll go with myself.

- No, you heard what he said.

- A couple of hours, tops.

At least we have some intel.

(dramatic music)

(dramatic music)

- You should wait till you.

- In and out, okay?

- Yeah.

(dramatic music)

- What are you doing out here?

This is my territory.

The more pertinent question is what the hell are you

doing out here and not in Romania like I ordered you to?

And at the center of all this is Danning, who's compromised us

with a snacks back caught up in a blood bath.

- A woman who shouldn't be anywhere near here

that is at risk of destroying everything that I've worked for the last eight years.

- And a woman who's the only one who could have gotten this in and out.

- Is that right?

- That's right.

- And you're telling me that you had to take a job in Beirut?

- She goes to school with her youngest granddaughter.

- Where?

- Have you met her, Amina?

- (speaks in foreign language) - Hey, yeah.

(speaks in foreign language)

- She thinks that Amina is rather a rebel.

(laughs)

- Oh, she, yes, that's good.

(speaks in foreign language)

- The time of the school's finish.

(speaks in foreign language)

'Cause she'll give me an address.

- Robeson, let me make it absolutely clear to

you as you don't seem to have got the message.

It is imperative to my interests

and therefore to yours that she does not find Kareem to let.

- So when you asked me to stop looking into Kareem,

I did, but if you expect me to keep that mother from her daughter,

you better tell me what the fuck's really going on right now.

- (speaks in foreign language)

- Oh, what do you know about your husband's life here?

- I've been nothing, why?

- (speaks in foreign language)

- (speaks in foreign language)

- She should leave.

(speaks in foreign language)

(speaks in foreign language)

- Please, please.

- As a mother.

(speaks in foreign language)

- As a mother, she tells you go see your daughter,

see that she is fine, but then you should leave.

The enemy of my enemy is my friend.

Good luck.

(dramatic music)

- I cannot come to this court, I cannot bring trouble to my family.

You understand me?

- Of course, of course.

You've done more to help me in a few days

than anyone in my home country did for years.

Don't.

- You had me lie to her.

- No.

It's not lying if you didn't have all the facts.

- Where are you?

- I tipped you off to her so that you could give her

an opportunity to get involved in something, right?

- Distract her.

- Something that would give her life the purpose,

and then you let her lead you right here.

- You used me.

- You need to convince her that the lead she has her faults,

and you need to get her out of the country immediately.

- And if I don't, then I can't guarantee that she or her family will be safe.

From you, from anybody.

Her desperation is making the situation unstable, and that's when people get hurt.

Do you really want that on your conscience?

I need you to serve your country right now, not her.

I know you understand that.

It never put your hands on me like that again.

(dramatic music)

(dramatic music)

(dramatic music)

- Looks pretty secure.

Heavy gates, guards, CCTV.

No back entrance.

School got out 10 minutes ago.

- This is where she lives.

- Hey.

Is that her?

(dramatic music) - Please.

(dramatic music)

(dramatic music)

(dramatic music)

- Hey, hey, hey.

- They'll see you.

- Shut the door.

- We have no plan.

Anything you do now will just tip them off a room and everything.

Hide your face.

(dramatic music)

(dramatic music)

(dramatic music)

(dramatic music) - No.

Hey.

(dramatic music)

(dramatic music)

- I'm not in there.

(dramatic music)

(dramatic music)

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(dramatic music)

(dramatic music)

(dramatic music)

(dramatic music)

(dramatic music) - Come on.

(dramatic music)

Hey, Moira, come on.

It's okay.

(dramatic music)

- No, but it's gonna hurt you.

- Okay.

(dramatic music) - No.

(dramatic music)

- Is it not there?

(dramatic music) - I don't know.

- Come on, I don't know.

- No.

(dramatic music)

- What are you doing?

Come on.

(dramatic music)

- Come on, let's go.

(dramatic music)

- Come on, come on, come on, come on, come on, come on.

(dramatic music)

- Oh, here we go, here we go.

(dramatic music)

(dramatic music)

- No, no, no, no, no, no, no, no, no, no, no, no, no.

- No, let us in, let us in, let us in.

Just until we figure this mess out.

(dramatic music) - That's mine.

- Did she speak English?

I don't know if she speaks English.

(dramatic music)

- Do I mean, I, I speak English.

(dramatic music)

(dramatic music)

(dramatic music)

(dramatic music)

(dramatic music)

- I tell her I love her and tell her she should never have been brought

to this country and I didn't know and I couldn't find her.

And I just, I just wanna take her back to America to be her mom, to be your mom.

(dramatic music)

(dramatic music)

(dramatic music)

(dramatic music) - What?

(dramatic music)

- She said, I don't have a mother, my mother is dead.

(dramatic music)

(dramatic music)

(dramatic music)

(dramatic music)

(dramatic music)

- What's going on?

(dramatic music)

- What the fuck?

Look, it's not how it looks.

Really had to grab her.

We had no other twins.

(dramatic music)

We can't stay here.

(dramatic music)

(dramatic music)

(dramatic music)

(dramatic music)

(dramatic music)

- Amina, Amina, you have to come with me.

- No!

- Amina, let's feel him on.

(dramatic music)

(dramatic music) - Take this.

He should have known better.

It was Dromgoey.

(dramatic music)

(dramatic music)

(dramatic music)

(dramatic music)

- So, um,

college has told me you speak good English.

You're stubborn, huh?

Guess you get something for me after all.

Maybe it's wrong, maybe I don't speak it.

- I am tough with my class in English.

- You're always super smart, Amina.

- Amina.

- Amina.

- Sorry.

- I've carried this every day since you last.

- Also,

this is me and you.

You're four.

It's your birthday.

You're much older now.

Do you have any hobbies?

Still like swimming?

- We have pool.

- Wow, huh, you do.

- I, it is, on the team.

And how do you say?

- Oh, captain.

- Captain.

- Wow.

- You know, I was the one who I thought you had a swim.

At all, at the lake with your grandpa.

- I have my jutty here.

- Your jutty?

That's what you call it.

- What is he?

- He died.

He'd been sick for a long time, but he wanted me to tell you that.

- I loved you.

Very, very much.

You should've waited.

- I'm on good waiting, dummy.

I saw an opportunity and I took it.

- You're reckless.

- I'm her mother.

I saw her.

- You know, after all this time,

I didn't, I had to knit for so long.

My heart, Mitch.

- I couldn't wait.

- Mitch, it hits me.

I imagine running into my arms.

I know she's sleeping in my, I'm some fucking monster.

How do we get out of this country?

- We have to take Amina back to Karim.

- Is that a joke?

- I can't get her out.

We're all in danger if we don't return her.

- Why? What's happened?

- You're gonna have to trust me.

- Oh, what?

Trust you?

- Yes.

- After I finally do the thing that no one was prepared

to help me with, you're telling me to take her back?

What the fuck is going on?

- If you try to get past me, I'll kill it if you play one finger on her.

I will fuck you up.

- Tell me what's going on.

- Stop!

- Tell me!

- Karim has ties to Muslim Brotherhood.

- There, now you know.

- What?

- Apparently he got caught up through his family's connections.

They blackmailed him into laundering money for

him, and that's when the CIA discovered him.

- Oh, the CIA knew?

- Mara, we're hired contractors.

My contact Lewis told me Karim cut a deal with the CIA as an informant.

He works for them.

In return, he gets to keep Amina.

He's been relocating him out here.

- Oh, sorry.

I just found this out.

- Oh, those deadheads.

He blocked my search in Washington, and hired you to keep me from her.

- Yes.

- Okay, Muslim Brotherhood.

Why would I do with having affairs?

- If we don't get you out and return her,

I honestly don't know what he might do.

(screaming) - Please stop.

- Stop.

- You kept me working for you.

You slept with me.

- I'm sorry.

Okay.

(sighing)

- What are you gonna do now, Mitch?

'Cause I am not giving her back.

Let me both know it.

Does it either help me or let me go?

- This is over.

I never wanna hear from you again.

(sighing) - You ready?

(dog barking)

- Here, I think your face is covered.

(somber music) - Where are we?

- Beauty stops the papers.

- So we can get across the border.

- Thanks for being so quick.

I owe ya, I'll call you when I get to Damascus.

(somber music)

- Is he your husband?

- No.

- Are you with us on America?

- No, we just, we just work together.

It's all.

- Hey, do you wanna swing?

Come on.

It's okay.

- Come on.

All right, we got you.

Okay, ready?

One, two, three.

(somber music)

(laughing)

(laughing)

(somber music)

(somber music)

(somber music)

- I have something similar.

(somber music)

(somber music)

(somber music) - Passport.

(somber music)

(somber music)

(somber music)

(somber music)

- There are Americans here.

They want to see your Blafers.

(somber music) - Shit.

(somber music)

- What is happening?

- I love you.

- Find another brand.

- I don't be like this everywhere.

- Going somewhere?

(speaking in foreign language) - You American?

- You're traveling with anyone?

(somber music)

- I can't believe what you're doing.

What's best for us, Mitch?

- It's okay.

That was me.

- Cora.

- Say whatever you need to say to keep yourself safe.

I'm not losing her again.

- Hey!

- Come on.

- Let me know.

(somber music) - Shut move!

- Put the gun down.

Put the gun down.

(grunting)

(grunting) - Go!

- Go like you have to chance.

- Go!

(grunting)

(somber music)

(somber music)

- Where are we going now?

- I'm gonna find you somewhere to cross.

- It's okay.

- I am hungry.

- I'll make bed to the boss.

- I don't have anything else.

- I want to go home now.

- I told you, we are going home.

- To America.

- I like it here.

I like my friends in my house.

(somber music) - This thing.

- You're gonna make so many new friends in America.

- Jati won't be there.

- No, no.

- Who will be?

- Me.

- Me.

- Me.

- Me no.

- Me no.

- She can be you and me.

- I don't want to be with you.

- Okay, we don't mean that.

- I want to stay with mom, but why would you take me away from me?

Sit down!

- Sorry, I haven't heard you.

Are you okay?

- It's just... - No idea, my lord.

- How long it's taken me to find you.

- But that was never the last.

- What?

- I was just at home.

- I never asked you to come and find me.

(somber music)

(somber music)

- Where are you going?

- It's okay.

I'm just, wait, wait there.

(somber music)

(somber music)

(somber music)

(somber music) - Where's she?

- She's safe.

- Where's she with?

- A friend.

- I need to see her now.

- Yeah, it hurts, doesn't it?

Eight years apart.

How did you do it?

- I'm sorry.

I'm sorry.

I'm sorry for what I've done to you, everything.

I swear, ma'am, I was cornered.

If I stayed, I would have put both of you in danger.

And now she's been protected by one of the most powerful organizations in the world.

- Yeah, who helped you to kidnap her?

Do you understand how crazy that sounds?

- The people I worked for threatened me and the family if I didn't relocate.

I couldn't face it without her.

And honestly, I wanted to give her a better life.

As long as I kept quiet and played by their rules, they gave us that.

- You stole her from me.

My little girl.

- Our little girl.

- Don't you fucking come near me.

- I'm sorry.

Okay.

(sighs)

- Did you know I was looking for you?

- They kept telling me you were getting on with your life.

- And you believed that?

- It was easier that way.

- You took my most precious thing I'd ever had.

You obliterated my life.

- And you spent this whole time telling her I was dead?

I don't, I don't get out.

You can hate me that much.

- I don't, I don't tell you I saw it.

- Shut up.

I don't give a fuck what you think, Karim.

I swear to God if you say, what fucking word I will kill you.

You have no idea.

She's not the little girl that I lost anymore.

She doesn't know.

So I guess we kind of am dead, right?

Thanks to you.

- Promise me, she'll be safe with you.

Promise me.

- I promise.

She's safe.

She's a happy.

She has a good life here.

You've seen it for yourself.

- Was it ever real, you and me?

- I loved you, Mom.

I loved it.

- No.

- All right, so you're going to tell me the truth.

You're going to tell that it was your fault

that she hasn't had a mother looking out for her this whole time.

You're going to tell her everything that I did to try to find her.

You're going to beg for her forgiveness

and then you're going to help us rebuild our lives together.

Okay?

- I will.

- This is not for you.

This is for her.

- I understand what my daughter needs.

- I hope it's him.

(dramatic music)

- Wait, it's okay.

- Promise.

- Hey.

- You remember, I've always loved you.

- I mean, no, no, no.

(dramatic music)

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