Original subtitles

PREVIOUSLY ON "CASTLE"...

(Beckett) THAT'S SARA EL-MASRI. SHE WAS ABDUCTED.

I WILL PAY ANYTHING.

(voice breaks) SHE'S MY ONLY CHILD.

THEY TOOK ALEXIS, TOO.

SHE WAS JUST IN THE WRONG PLACE AT THE WRONG TIME.

(Beckett) IF THERE IS A LEAD, WE ARE GONNA FIND IT.

(Harris) GO! GO!

THE FARMHOUSE WAS EMPTY.

WE SEARCHED TOP TO BOTTOM. THEY'RE GONE.

ROGER HENSON-- HE WAS TORTURED AT LENGTH

BY SOMEONE WHO KNEW WHAT THEY WERE DOING.

HENSON WAS WORKING FOR THE KIDNAPPERS.

WHY WOULD THEY TORTURE HIM?

(Alexis) I GOT IT.

YOU'RE GOING TO GET OUT OF HERE.

Daddy!

ALEXIS. WHERE ARE YOU?

I DON'T KNOW.

They're coming. They found out we're gone.

GET OUT OF THERE NOW.

CAN YOU TELL WHERE THE CALL IS COMING FROM?

THE CALL ORIGINATED FROM A CELL TOWER

IN PARIS, FRANCE.

(panting)

(bell tolling)

(horns honking)

HELP!

NO! NO!

GET OFF ME!

AAH!

(Alexis screams)

THEY'RE IN ANOTHER COUNTRY. HOW IS THAT POSSIBLE?

(Harris) WE DON'T KNOW, BUT CLEARLY

THE KIDNAPPERS WERE WORKING FOR OUTSIDE INTERESTS.

THE VOICES ON THE CALL HAVE BEEN IDENTIFIED AS EGYPTIAN.

THIS ISN'T A KIDNAPPING FOR RANSOM,

IS IT?

WHY ARE THEY IN PARIS?

I DON'T KNOW.

THEY TOOK YOUR DAUGHTER THERE,

AND MY DAUGHTER ALONG WITH HER. THERE MUST BE A REASON.

I DON'T KNOW!

THEY ARE COVERING THEIR TRACKS. WHY?

(crying) PLEASE.

THEY HAVE OUR DAUGHTER, TOO.

SHOW THEM THE SKETCH.

(Gates) A NEIGHBOR SPOTTED THIS MAN

COMING OUT OF THE FARMHOUSE DRIVEWAY

AFTER THE GIRLS WERE TAKEN.

DO EITHER OF YOU RECOGNIZE HIM?

(Anwar) NO, HE'S NOT FAMILIAR.

SO WHAT'S OUR NEXT STEP?

THE SKYPE CALL WAS MADE

OVER A CELLULAR DATA NETWORK,

SO WE HAVE ISOLATED THE SIGNAL

TO A 30-SQUARE-KILOMETER AREA.

(Beckett) 30-SQUARE KILOMETERS IS THE WHOLE CITY.

I KNOW.

BUT HOPEFULLY, AN ANALYSIS OF THE VIDEO

WILL GIVE US A CLUE AS TO WHERE THEY'RE BEING HELD.

IN THE MEANTIME, WE'RE REACHING OUT TO THE EMBASSY TO ESTAB--

REACHING OUT? WHAT DOES THAT MEAN?

THERE ARE CERTAIN PROTOCOLS WE HAVE TO FOLLOW

BEFORE WE CAN MOVE FORWARD, PERMISSIONS WE HAVE TO GET.

AND HOW LONG WILL THAT TAKE?

A DAY OR TWO AT THE MOST.

A DAY OR...

OUR DAUGHTERS ARE OUT THERE RIGHT NOW.

THEY NEED OUR HELP RIGHT NOW.

IF YOU WANT TO HELP YOUR DAUGHTER,

YOU'RE GONNA HAVE TO BE PATIENT.

(whispers) HEY.

(exhales)

SHE SOUNDED SO SCARED.

(people speaking indistinctly)

I COULD HEAR IT IN HER VOICE,

JUST LIKE WHEN SHE WAS A LITTLE GIRL.

AND THERE WAS NOTHING I COULD DO.

SHE WASN'T HURT, CASTLE.

THAT'S WHAT MATTERS.

THAT'S WHAT WE HOLD ON TO.

I JUST WANT HER HOME.

WE'RE NOT GIVING UP YET.

(Gates) HEY.

THEY JUST CALLED EL-MASRI WITH TERMS.

(Harris) IT'S TOO SOON. WE CAN'T BE IN POSITION IN TIME.

(Anwar) I DON'T CARE. I'M GETTING HER BACK.

WHAT DID THEY SAY? IT WAS A RANSOM DEMAND.

$15 MILLION EURO-- FROM ANTI-MUBARAK DISSIDENTS.

THEY SET AN EXCHANGE THREE HOURS FROM NOW.

WHERE?

IN PARIS DOWN BY THE SEINE.

MR. EL-MASRI, YOU HAVE TO LET ME CONTACT

THE LOCAL AUTHORITIES. NO!

THEY WERE CLEAR.

THEY SEE POLICE, MY DAUGHTER DIES.

WE'LL PAY TO GET HER BACK.

DID THEY...

DID THEY SAY ANYTHING ABOUT ALEXIS?

ANWAR INSISTED,

AND THEY'VE AGREED TO RELEASE BOTH OUR DAUGHTERS.

IF THERE IS ANYTHING I OWE YOU...

YOU OWE ME NOTHING.

(pats arm)

IF THE POLICE AREN'T INVOLVED, THEN WHO'S MAKING THE DROP?

MY WIFE HAS A SISTER LIVING IN PARIS.

HER HUSBAND WILL DO THE EXCHANGE.

NOW IF YOU'LL EXCUSE US, WE HAVE MANY CALLS TO MAKE.

THANK YOU.

JUST PRAY THESE MEN ARE HONORABLE.

(door opens)

THERE ARE SECURITY CAMERAS

COVERING THAT PORTION OF THE SEINE.

AT THE VERY LEAST, MAYBE WE CAN GET A TAP IN,

SEE WHO THESE GUYS ARE.

(monitor chirping)

(static crackles)

SIR, WE'RE LIVE.

ANY ACTIVITY?

IT LOOKS DESERTED SO FAR.

(video feed playing without audio)

(static crackles)

THERE.

CAN YOU GET ANY CLOSER?

(whooshes)

(static crackles)

(static crackles)

(Lina) THAT'S HIM. THAT'S AHMED.

(Castle) THIS DOESN'T EVEN SEEM REAL.

IT'S LIKE SOME KIND OF SHOW.

(speaks inaudibly)

AHMED!

GET THE PARIS POLICE ON THE PHONE. NOW.

(Anwar) NO, NO, NO, NO! WAIT. WAIT.

(speaks inaudibly)

(Lina) NO. NO! (cries)

WHERE--WHERE ARE THEY? WHERE ARE THE GIRLS?

(Lina cries)

(Anwar) HE HAS HER. SHE'S SAFE.

(cries)

(Castle) WHERE'S ALEXIS?

(Beckett) AGENT HARRIS JUST SPOKE WITH SARA.

SHE AND ALEXIS WERE SEPARATED AFTER THE ESCAPE ATTEMPT.

AND THAT WAS THE LAST TIME THAT SHE SAW HER.

THEY GOT WHAT THEY WANTED. SHE'S OF NO VALUE ANYMORE.

YOU DON'T KNOW THAT.

YES, I DO.

WHERE YOU GOING?

TO TELL MY MOTHER. SHE DOESN'T KNOW YET.

I'LL GO WITH.

NO.

I NEED TO DO THIS ALONE.

(Harris) CASTLE MAY BE RIGHT.

SARA WAS THE OBJECTIVE.

ALEXIS IS JUST A LIABILITY NOW.

THEN WHY DIDN'T THEY BRING HER TO THE EXCHANGE?

THE SAME REASON THEY TOOK HER-- A BARGAINING CHIP,

INSURANCE IN CASE SOMETHING WENT WRONG.

INSURANCE THEY DON'T NEED ANYMORE.

WE'LL KEEP MOVING FORWARD.

BUT WE HAVE TO MANAGE EXPECTATIONS NOW.

AGENT HARRIS, I'M NOT GONNA MANAGE EXPECTATIONS.

I'LL BE SOLVING A MURDER.

THE GIRLS' KIDNAPPER ROGER HENSON

WAS TORTURED AND KILLED,

MOST LIKELY BE THE PEOPLE THAT HIRED HIM.

WE FIND THOSE PEOPLE, WE WILL FIND ALEXIS.

(sirens wailing)

(Beckett) CASTLE, IT'S ME AGAIN.

CAN YOU JUST CALL ME WHEN YOU GET THIS?

(cell phone beeps)

(footsteps approach, door opens)

HE STILL NOT ANSWERING?

NO.

THANKS.

YOU'RE WELCOME. ANY LUCK ON THE DEAD GUY?

HENSON'S BEEN... COMPLETELY OFF THE GRID.

I CAN'T EVEN FIND A KNOWN ADDRESS.

ALL RIGHT, HERE'S WHAT I DON'T GET--

HOW DOES A MID-LEVEL NARCOTICS SMUGGLER

GET HOOKED UP WITH A BUNCH OF MIDDLE-EASTERN RADICALS?

ESPO, I CAN'T FIND A CONNECTION

IF I DON'T EVEN KNOW WHERE TO START.

HOW ARE YOU GUYS DOING ON THE PLANES?

RYAN AND I HAVE BEEN THROUGH EVERY FLIGHT PLAN

OF EVERY PRIVATE JET THAT'S DEPARTED FROM HERE TO ALBANY,

AND ONLY A COUPLE OF 'EM FILED FLIGHT PLANS FOR FRANCE.

SO FAR,

THEY ALL SEEM LEGIT.

SO RYAN AND I ARE GONNA EXPAND OUR SEARCH IN THE MORNING.

(sighs)

KATE.

(exhales) WHAT?

YOU SHOULD GO.

HE NEEDS YOU.

KATE.

THANK GOD. IS THERE ANY NEWS?

UH, NO, NOT YET, BUT WE ARE DOING EVERYTHING THAT WE CAN.

(door closes)

WELL, WHERE'S RICHARD?

I THOUGHT THAT HE WAS WITH YOU.

NO. HE TOLD ME HE WAS GONNA BE WITH YOU,

WORKING ON THE CASE.

MARTHA, I HAVEN'T SEEN HIM ALL DAY.

OH, NO.

WHAT?

NO.

IT'S GONE. (closes drawer)

WHAT'S GONE?

(keypad beeps, phone autodials) OH, IT'S SO STUPID. IT'S JUST STUPID.

(phone ringing) MARTHA, WHAT'S GOING ON?

(exhales) PICK UP. PICK UP. PICK UP. PICK UP.

(line clicks) Castle.

RICHARD, WHERE ARE YOU?

I'm at the precinct with Beckett. Why?

DON'T LIE TO ME, RICHARD.

BECKETT IS HERE. YOUR PASSPORT IS GONE.

NOW WHAT THE HELL DO YOU THINK YOU'RE DOING?

GETTING MY DAUGHTER BACK.

(cell phone beeps)

(horns honk, traffic zooms)

PARIS? WHAT THE HELL IS HE DOING IN PARIS?

HE THINKS THAT HE CAN FIND HER.

WHAT, SO HE'S LIAM NEESON NOW?

LIAM NEESON? THE DUDE'S BARELY ASHLEY JUDD.

LOOK, IN THE STATE THAT HE'S IN,

WHO KNOWS WHAT HE'S CAPABLE OF?

BUT HE SAYS THAT HE KNOWS SOMEONE THAT CAN HELP.

YOU GONNA GO AFTER HIM?

AND A LOSE A DAY FLYING OUT THERE

AND ANOTHER ONE TRACKING HIM DOWN

IN A PLACE THAT I DON'T HAVE JURISDICTION OR AUTHORITY?

NO.

LOOK, HE'S...

HE'S ACTING LIKE A FATHER,

AND... I HAVE TO ACT LIKE A COP.

CAN YOU CIRCLE BACK WITH THE FEDS?

HAVE 'EM WIDEN THE SEARCH TO ANY PRIVATE JETS

FLYING OUT TO ANYWHERE IN EUROPE.

AND, RYAN, I'M HITTING A WALL WITH ROGER HENSON.

YOU THINK YOU CAN REACH OUT TO YOUR GUYS IN NARCOTICS?

MAYBE THEY HEARD SOMETHING ON THE STREETS.

YEAH.

LOOK, YOU GUYS, I DON'T KNOW WHO CASTLE

THINKS HE KNOWS.

BUT LET'S FIND HIS DAUGHTER BEFORE HE DOES SOMETHING STUPID

AND GETS HIMSELF KILLED.

(man) MERCI, COLETTE.

ET SI JAMAIS VOUS QUITTEZ VOTRE PETIT AMI...

RICHARD?

HELLO, GASTON.

RICHARD, I AM SO TERRIBLY SORRY.

IF THERE'S ANYTHING I CAN DO...

YOU'RE STILL WORKING AS AN ADVISOR

TO THE MINISTER OF DEFENSE, RIGHT?

YES, BUT THAT GIVES ME VERY LITTLE PULL

WITH THE POLICE NATIONALE.

UH, I COULD MAKE INQUIRIES, THOUGH.

NO. UM... I APPRECIATE IT.

I'M NOT REALLY LOOKING FOR A BUREAUCRATIC RUNAROUND.

WHEN YOU WERE ADVISING ME

ON THOSE LAST FEW DERRICK STORM NOVELS,

YOU MENTIONED A MAN THAT THE FRENCH GOVERNMENT

WOULD SOMETIMES HIRE

WHEN THEY COULDN'T AFFORD TO TAKE OFFICIAL ACTION.

RICKY, I TOLD YOU THAT IN CONFIDENCE.

BUT HE EXISTS?

IT IS ONE THING TO WRITE ABOUT THESE CHARACTERS

FROM THE SAFETY OF YOUR OWN DESK.

BUT MEN LIKE THIS,

THEY ARE NOT THE KIND OF PEOPLE YOU EVER WANT TO KNOW.

BEATRICE--SHE MUST BE, WHAT, 14 NOW?

PATRICE GOING ON 9?

I WANT YOU TO THINK ABOUT HOW IT FEELS

WHEN YOU HUG THEM,

THE LOOK IN THEIR EYE WHEN YOU COME HOME.

AND NOW IMAGINE THEM GONE.

(sighs)

HE'S EXPENSIVE.

I DON'T CARE.

GASTON, PLEASE.

(sighs)

STAY CLOSE TO YOUR PHONE.

YO, BECKETT.

THEY DIDN'T FLY TO PARIS, AT LEAST NOT AT FIRST.

F.A.A. SHOWS A DASSAULT FALCON

DEPARTING TETERBORO TO BRUSSELS

18 HOURS AFTER THE GIRLS WERE TAKEN.

THE PLANE WAS THEN DESIGNATED A MEDICAL ANGEL FLIGHT,

TRANSPORTING TWO YOUNG WOMEN AWAITING ORGAN TRANSPLANT

FROM BRUSSELS TO PARIS.

ALEXIS AND SARA.

FRENCH IMMIGRATION MET THE PLANE AND PROCESSED THE GIRLS

BEFORE THEY WERE LOADED ONTO AN AMBULANCE.

THEY WERE BOTH UNCONSCIOUS AT THE TIME.

THAT'S HOW THEY DID IT.

WHAT DO WE KNOW ABOUT THE PLANE?

IT'S OWNED BY ONE OF THOSE RUSSIAN OLIGARCHS--

UH, VLADIMIR ABRAMOVICH.

AND HOW IS HE CONNECTED TO THE EL-MASRIS?

HE'S NOT.

IN FACT, IT'S POSSIBLE HE'S NOT EVEN INVOLVED.

HIS PLANE WAS IN PARIS UNDER REPAIRS.

AND NONE OF HIS PEOPLE EVEN KNEW IT WAS TAKEN.

THESE PEOPLE STOLE A JET?

FOR A SIMPLE HOSTAGE EXCHANGE?

THAT DOESN'T ADD UP.

HEY, SO I TALKED TO MY GUYS IN NARCOTICS.

NOW THEY DIDN'T SEEM TO KNOW MUCH

ABOUT WHAT HENSON HAD BEEN INTO RECENTLY

OR WHERE HE'D BEEN LIVING,

BUT THEY DID KNOW SOMETHING THAT WE DIDN'T.

HENSON HAD A GIRLFRIEND.

(cell phone chimes)

(chimes)

(bell tolling)

(people speaking indistinctly)

(French accent) "'VENGEANCE IS MINE,' SAYETH THE LORD.

'I WILL REPAY.'"

BUT SOMETIMES,

THE LORD NEEDS A LITTLE HELP, HUH?

THANK YOU FOR COMING.

DON'T THANK ME YET.

MY TERMS.

HALF NOW. HALF WHEN I FIND HER.

CAN YOU FIND HER?

YES.

BUT I DON'T PROMISE TO FIND HER ALIVE.

THAT, I'M AFRAID, IS OUT OF MY CONTROL.

WHERE DO WE START?

I UNDERSTAND THERE IS A RECORDING

OF A CALL SHE MADE TO YOU.

HOW DID YOU...

YEAH, THERE'S A RECORDING.

I'LL NEED A COPY.

THERE'S NOTHING ON IT THAT INDICATES WHERE SHE IS.

AND WHO TOLD YOU THAT?

THE FBI.

WELL, THEN YOU THANK GOD I'M NOT THE FBI.

(bell tolling)

COME.

WHERE ARE WE GOING?

TO SEE A FRIEND.

(electricity buzzing)

BONJOUR, HENRI.

BONJOUR.

(French accent) MONSIEUR CASTLE, I PRESUME.

YEAH.

AND--AND YOU ARE?

WE CALL HIM LE TAUPE.

THE MOLE.

DETENDU, HUH?

MM. PAS MAL. WHAT?

HE SAYS YOU'RE NERVOUS. HE CAN HEAR YOUR HEART?

(buzzing continues)

(Castle) WHAT'S OUT-- WHAT'S OUTSIDE THE WINDOW?

Nothing. Nothing. I can't see anything.

The windows are covered up.

They're coming. They're coming. They found out we're gone.

BABY, GET OF THERE. GET OUT OF THERE NOW.

(computer chirps)

I TOLD YOU, THERE'S NOTHING ON THERE. (sound on playback distorts)

NOTHING TO SEE OR HEAR.

AH. YOU LISTEN WITH YOUR EYES. SHH.

(keyboard keys click)

(speaks indistinctly)

(sound further distorts on playback)

(static crackles)

(distortion increases)

THERE. HEAR THAT?

(distorted playback continues)

NO.

RIGHT THERE.

(distorted playback continues)

CHURCH BELLS.

ST. GEORGE'S, IN THE 16th.

(distorted playback continues)

FROM THE SOUND OF IT,

SHE'S, UH, SIX,

MAYBE EIGHT BLOCKS AWAY.

AND THERE'S A RESTAURANT IN THE BUILDING SHE'S IN.

HOW CAN YOU TELL THAT?

SOUNDS, MR. CASTLE, ARE LIKE FINGERPRINTS.

NO TWO ARE ALIKE.

AH, THAT HUM?

IT'S FROM A RESTAURANT VENTILATION SYSTEM,

COMMERCIAL GRADE,

AND, UH... (speaks indistinctly)

IT NEEDS SERVICING.

WHEN WAS THE LAST TIME YOU SLEPT?

I-I DON'T KNOW. I'M GOOD.

NO, THIS WILL TAKE SOME TIME.

I WILL WAKE YOU WHEN WE FIND SOMETHING, HUH?

(distorted playback continues)

MM.

(Castle, distorted voice) WHAT'S OUT--

WHAT'S OUTSIDE THE WINDOW?

(distortion increases)

(normal voice) They're coming.

They're coming. They found out we're gone.

(Castle) BABY, GET OUT OF THERE. GET OUT OF THERE NOW.

(sighs) MS. DeGARMO,

I'M GONNA ASK YOU AGAIN.

WHAT ELSE CAN YOU TELL ME ABOUT ROGER HENSON'S MURDER?

I DON'T HAVE TO TELL YOU NOTHING.

I KNOW MY RIGHTS. YOU CAN'T KEEP ME HERE.

HE'S DEAD,

TORTURED.

I'M JUST TRYING TO FIND THE PEOPLE THAT DID IT TO HIM.

LISTEN, BITCH,

I DON'T TALK TO COPS.

NOW GO GET ME MY LAWYER AND THEN GO TO HELL--

DO YOU HAVE ANY IDEA WHAT THIS IS ALL ABOUT?!

YOU THINK I'M SOME BEAT COP

BUSTING YOU ON POSSESSION CHARGES?

MY PARTNER'S DAUGHTER IS MISSING,

AND YOU...

ARE IN MY WAY.

NOW YOU DON'T TALK TO COPS?

I'M NOT A COP TODAY, HONEY.

WHO WAS HE WORKING FOR?

HE DIDN'T SAY.

WHO'S THIS GUY?

I DON'T KNOW.

WHAT?

BUT ROGER GOT STRANGE CALLS IN THE MIDDLE OF THE NIGHT.

PEOPLE WITH ACCENTS.

WHAT KIND OF ACCENTS?

FOREIGN. WHAT PHONE DID HE USE?

HE DIDN'T GIVE ME THE NUMBER!

GOOD. I BELIEVE YOU. (pants)

NOW YOU'RE GONNA GIVE ME HIS ADDRESS.

(wood clatters)

LOOKS LIKE SOMEBODY GOT HERE FIRST.

THESE PEOPLE HIRED HIM TO KIDNAP THOSE GIRLS.

SO WHY WOULD THEY TORTURE AND MURDER HIM?

WHY WOULD THEY TOSS THIS PLACE?

MAYBE IT WASN'T THE SAME GUYS.

WHO ELSE IS IT GONNA BE?

CHECK WITH THE NEIGHBORS. SEE IF THEY SAW ANYTHING.

YEAH.

BECKETT, COMPUTER.

GET IT TO TECH.

HAVE THEM TEAR IT APART. FIND ME SOMETHING,

ANYTHING.

(clicking)

WHAT'S GOING ON?

YOU FOUND SOMETHING?

MAYBE.

ACOUSTIC TILES,

OFFICE SPACE, CLOSE TO A ROOFTOP--

MIGHT FILL THE BILL.

I'M COMING.

NO, NO, NO. IT MIGHT NOT BE THE PLACE.

I DON'T CARE.

IT COULD BE THE PLACE.

MY DAUGHTER, MY MONEY.

I'M COMING.

(doorknob rattles)

(door thuds)

(hinges squeak)

(footsteps approach)

THEY WERE HERE.

NOT ANYMORE.

(Henri) THIS IS NOT THE WORK OF TYPICAL KIDNAPPERS.

(buzzes, clicks switch)

(thuds)

THE PLACE IS CLEAN.

IT'S TOO CLEAN.

THIS IS TRADECRAFT.

TRADECRAFT AS IN SPIES?

WHOEVER IS BEHIND THIS HAS INTELLIGENCE TRAINING.

THEY LEFT NO TRACE.

SO HOW DO WE FIND 'EM?

(sighs)

YOU SAID YOU COULD FIND THEM--

SHH. (object swipes fabric)

(blade tings)

(whispering) THEY'RE LISTENING.

SO IF THE COPS FIND THIS PLACE,

THEY STAY AHEAD OF THE INVESTIGATION.

(whispers) WHO ARE THESE PEOPLE?

(whispers) LET'S FIND OUT.

I KNOW YOU'RE OUT THERE.

I KNOW YOU'RE LISTENING, SO YOU KNOW I'M NOT A COP.

I'M NOT INTERESTED IN YOU, YOUR CAUSE, OR THE LAW.

ALL WE WANT IS THE GIRL.

YOU GOT WHAT YOU WANTED.

NOW SHE'S MEANINGLESS TO YOU, BUT NOT TO ME.

SO IF YOU'RE SMART, YOU CALL,

WE DISCUSS TERMS.

BUT IF YOU ARE STUPID,

THEN I WILL COME FOR YOU.

I EXPECT BY NOW YOU HAVE RUN VOICE RECOGNITION,

SO YOU KNOW WHO I AM, YOU KNOW MY REPUTATION,

AND YOU KNOW WHAT I WILL DO WHEN I FIND YOU.

THE CHOICE IS YOURS.

(telephone rings)

(ring)

(ring)

(ring)

OUI.

(man) La coulée verte, sept huers.

Venez seul.

Sans la père.

"SANS LA PERE"?

WITHOUT THE FATHER?

DON'T YOU SEE? THIS IS GOOD NEWS.

THEY WANT TO NEGOTIATE. IT MEANS SHE'S SAFE.

YOU'RE NOT HAVING THAT MEETING WITHOUT ME.

YOU ARE EMOTIONALLY COMPROMISED.

THAT MAKES YOU LIKE AN ANIMAL TO THEM--

UNPREDICTABLE AND DANGEROUS.

MONSIEUR CASTLE...

THIS IS WHAT I DO.

IT'S WHAT YOU PAY ME FOR.

NOW LET ME MEET WITH THEM.

LET ME NEGOTIATE THE TERMS.

OH, AND OF COURSE THEY WILL ASK FOR MORE MONEY.

I NEED TO KNOW...

HOW MUCH CAN YOU AFFORD?

(Esposito) YO, BECKETT.

ONE OF HENSON'S NEIGHBORS SAW SOMEONE LEAVING HIS APARTMENT

TWO DAYS BACK.

WE JUST GOT THE SKETCH.

THAT'S THE SAME DUDE WHO WAS SPOTTED LEAVING THE FARMHOUSE

WHERE HENSON'S BODY WAS FOUND.

FIRST HE TORTURES HENSON,

AND THEN HE TRASHES HIS PLACE. WHY?

WHERE ARE YOU WITH HENSON'S HARD DRIVE?

IT'S BEEN ERASED,

AND NOT WITH COMMERCIAL SOFTWARE.

WERE YOU ABLE TO PULL ANYTHING FROM IT?

I'LL DO WHAT I CAN,

BUT I WOULDN'T GET YOUR HOPES UP.

DO IT. WE GOTTA FIGURE OUT WHAT HE WAS LOOKING FOR.

DON'T WORRY.

HENRI ALWAYS COMES THROUGH.

SHOULDN'T HE BE BACK BY NOW?

HE IS.

(door opens and closes)

WAS SHE THERE?

YES, AND SHE IS SAFE.

THIS IS TODAY'S PAPER.

WHY DID THEY TAKE HER?

IT WAS CONVENIENT, BUT THEY'VE AGREED TO LET HER GO.

WHEN?

LATER TODAY, IN THE FOREST OF FONTAINEBLEAU.

IT WILL GIVE YOU TIME TO GET THE MONEY TOGETHER.

(computer beeping)

(beeping continues)

DETECTIVE BECKETT! (beep)

HENSON WAS LOOKING AT THESE. (clicks keyboard keys)

(computer beeps)

SURVEILLANCE PHOTOS.

OH, GOD. ALEXIS.

SHE WASN'T AT THE WRONG PLACE AT THE WRONG TIME.

SHE WAS THE TARGET.

(cell phone rings)

(ring)

(clicks)

WHERE'S ALEXIS? I DON'T SEE HER.

(closes car door)

STAY CALM.

NO, NO, NO. THIS ISN'T RIGHT.

IT'S NOT RIGHT.

DON'T MOVE.

(speaks French)

YOU'RE SELLING ME OUT? WHY?

I VALUE MY LIFE MORE THAN MY WORD.

IF I HAD KNOWN WHO WAS REALLY HOLDING YOUR DAUGHTER,

WHO YOUR DAUGHTER REALLY IS...

WHO SHE REALLY IS? LOOK, I-I DON'T UNDERSTAND.

I WOULD NEVER HAVE TAKEN THE JOB.

SHE'S NOBODY.

ATTENDEZ.

MON PAIEMENT?

OW!

WAIT. OKAY, WAIT.

JUST... WHAT DO YOU WANT?

(rapid muffled gunfire)

(birds cawing)

UNH, UNH, UNH.

IF I'D WANTED YOU DEAD,

YOU'D BE DEAD.

YOU'RE THE GUY IN THE SKETCH. YOU WERE AT THE FARMHOUSE.

THAT'S RIGHT.

YOUR FRIEND THERE WAS PRETTY GOOD,

BUT A BIT OUT OF HIS LEAGUE.

I AM NOT SURPRISED THAT HE CROSSED TO THE OTHER SIDE.

(jangles keys)

YOU KNOW WHAT'S GOING ON HERE?

YOU--DO YOU KNOW WHERE MY DAUGHTER IS?

LOOK, WE'RE EXPOSED HERE. WE GOTTA GO NOW.

GO? WHAT ARE YOU TALKING ABOUT? GO WHERE?

SOMEWHERE SAFE. GET IN THE CAR.

NO, NOT UNTIL YOU TELL ME WHAT'S GOING ON.

(cell phone rings)

(beeps)

BECKETT, I AM SO GLAD YOU CALLED.

Castle, Alexis wasn't

TAKEN BY ACCIDENT.

SHE WAS THE TARGET. THEY WANTED HER.

Listen,

I-- (shatters)

(line disconnects)

WHAT ARE YOU DOING?! THAT WAS A $200 PHONE.

AND THAT'S HOW THEY TRACK YOU.

NOW GET IN THE CAR.

HEY, I AM NOT GETTING IN THE CAR.

OH, DON'T BE AN IDIOT. I'M THE GOOD GUY.

OH, YOU EXPECT ME TO TRUST YOU?

WELL, YOU'RE STILL ALIVE, AREN'T YOU?

WHAT ARE YOU GONNA DO,

STAY OUT HERE IN THE WOODS WITH ALL THE DEAD GUYS?

FINE.

I'LL GET IN THE CAR. (car door closes)

GIVEN HOW YOU'RE FEELING SO BAD

ABOUT YOUR 200-BUCK PHONE,

YOU MIGHT WANT TO PICK UP THAT $3-MILLION BRIEFCASE.

TAKE IT WITH YOU.

(opens door)

EW.

(starts engine)

AT LEAST TELL ME YOUR NAME.

HUNT. JACKSON HUNT.

THAT SOUNDS MADE UP.

(clicks gear shift)

IT IS.

(man speaking in foreign language)

(continues speaking foreign language)

HEY!

HEY, COULD SOMEONE JUST PLEASE TELL ME WHAT'S GOING ON?

WHY AM I HERE?

(exhales)

WE SHOULD BE SAFE HERE FOR NOW.

(Castle) WHERE DID YOU GET THESE?

(Hunt) THAT'S NOT IMPORTANT.

YOU KNOW WHAT'S IMPORTANT, IS WE GET HER BACK.

WELL, I DON'T EVEN KNOW YOU. WHY WOULD YOU CARE?

IT'S MY JOB. I WAS SENT.

BY WHOM, THE EL-MASRIS?

WHAT'S THE DIFFERENCE?

YOU NEED TO TELL ME WHO HIRED YOU

AND WHY THESE PEOPLE TOOK MY DAUGHTER.

(cell phone ringing)

THAT'S YOURS.

YOU WANT TO GET IT?

HOW IS IT MINE? YOU SHOT MINE.

IT'S A CLONE. THAT'S HOW I TRACKED YOU.

THE DIFFERENCE IS THAT THAT ONE'S SECURE.

IT'S PROBABLY BECKETT.

YOU OUGHT TO LET HER KNOW YOU'RE SAFE.

(rings)

IT'S NOT BECKETT. IT'S A LOCAL NUMBER.

(ring)

ALEXIS.

(beeps) ALEXIS?

(Russian accent) I'M AFRAID NOT, MR. CASTLE.

BUT I AM THE ONE HOLDING HER.

IF YOU VALUE HER LIFE,

YOU WILL GIVE THE PHONE TO THE MAN STANDING NEXT TO YOU,

the one responsible

for all the bloodshed in the woods.

YEAH?

It's you.

AFTER ALL THESE YEARS, IT'S FINALLY YOU.

TIME TO LET HER GO, VOLKOV.

The way you let Anna go?

NO. IT'S TIME TO END THINGS.

A LIFE

for a life.

TOMORROW, 6:00 A.M.

OUTSIDE THE PALAIS BOURBON.

IF YOU SHOW, I'LL SPARE HER.

BUT IF YOU DON'T,

I WILL PUT A BULLET IN HER BRAIN INSTEAD OF YOURS,

AND WE START AGAIN.

(cell phone beeps)

(beeps)

THIS IS ABOUT YOU?

YEAH.

I DON'T UNDERSTAND.

WHAT DOES THIS HAVE TO DO WITH ALEXIS?

WHY WOULD THEY TAKE HER?

BECAUSE I WAS CARELESS.

BECAUSE SOMEHOW HE FOUND OUT WHO SHE WAS, WHO YOU WERE,

AND HE KNEW I'D COME FOR HER.

WHY? WHY WOULD YOU COME FOR HER?

BECAUSE SHE'S MY GRANDDAUGHTER.

RICHARD,

I'M YOUR FATHER.

YOU'RE TELLING ME YOU'RE A SPY?

"INTELLIGENCE ASSET" IS THE TERM.

MY DAD'S A SPY.

DOES MY MOM KNOW?

MNH-MNH.

WHAT DID SHE TELL YOU ABOUT ME?

UH, THAT IT WAS A SPECIAL NIGHT.

SHE WAS IN LOVE.

SHE WOKE UP THE NEXT MORNING, YOU WERE GONE.

SHE NEVER SAW YOU AGAIN.

YEAH, THAT NIGHT,

I HAD JUST FINISHED A JOB AT THE U.N.

LEAST I THOUGHT I HAD.

AND THE NEXT DAY, THINGS WENT SOUTH.

I HAD TO GET OUT OF THE CITY FAST.

IT WAS A YEAR BEFORE I WAS STATESIDE AGAIN.

THAT'S WHEN I FOUND OUT ABOUT YOU.

YOU'VE KNOWN ABOUT ME...

ABOUT US, ALL THESE YEARS,

AND YOU NEVER ONCE LET US KNOW YOU WERE OUT THERE?

WHAT I DO MEANS NO COMMUNICATION,

NO RELATIONSHIPS, TO ANYONE.

BUT... HEY, I'VE BEEN AROUND.

WE'VE MET BEFORE.

YEAH.

WHEN YOU WERE ABOUT 10 YEARS OLD,

YOUR MOTHER TOOK YOU TO THE LIBRARY,

AND YOU WERE LOOKING FOR A BOOK AND, UH,

I GAVE YOU A COPY OF, UH--

"CASINO ROYALE."

YEAH.

THAT WAS YOU?

THAT BOOK MADE ME WANT TO BECOME A WRITER.

I COULDN'T BELIEVE IT WHEN I READ YOUR FIRST SPY NOVEL.

YOU READ MY BOOKS?

OH, YEAH.

I GREASED SOME WHEELS AT THE CIA

WHEN YOU WERE TRYING TO GET ACCESS

TO SOME INFORMATION FOR RESEARCH.

I KNOW THAT'S NOT MUCH,

BUT FOR A MINUTE THERE...

IT MADE ME FEEL LIKE A FATHER.

NO, I'VE BEEN, UH, CHECKING ON YOU AND YOUR MOM

AND ALEXIS

YOUR WHOLE LIVES.

THIS MAN WHO HAS MY DAUGHTER, WHO IS HE?

GREGOR VOLKOV?

THE K.G.B.'s MOST FEARED AGENT.

I KILLED HIS WIFE ANNA,

A COUNTER-INTELLIGENCE OPERATIVE,

12 YEARS AGO IN AN OPERATION HERE IN PARIS.

THE FIRST TIME HE CAME AFTER ME,

I PUT HIM AWAY IN A CHECHEN PRISON FOR LIFE.

THEN... HE ESCAPED.

AND HE'S BEEN TRYING TO FIGURE OUT A WAY

TO DRAW ME OUT EVER SINCE.

IF THIS WAS ABOUT ALEXIS,

WHY WOULD HE TAKE THE OTHER GIRL?

BECAUSE IF HE JUST TOOK ALEXIS,

IT WOULDN'T BE INTERNATIONAL NEWS.

HE NEEDED SOMEBODY HIGH-PROFILE. HE NEEDED ME TO KNOW.

AND NOW HE'S GOT ME EXACTLY WHERE HE WANTS ME.

IF I DON'T SHOW UP TOMORROW, HE WILL KILL HER.

AND IF YOU DO SHOW UP?

HE'LL KILL US BOTH JUST FOR FUN.

IF YOU KNOW ME AT ALL, YOU KNOW I'LL DO ANYTHING.

THEN OUR ONLY ADVANTAGE IS

VOLKOV DOESN'T KNOW I'VE FOUND HIM.

HE MAY NOT BE PREPARED FOR A DIRECT ASSAULT.

IF I CAN GET INSIDE HIS COMPOUND,

I CAN GET ALEXIS OUT.

A DIRECT ASSAULT?

THIS IS OUR BEST SHOT, HER BEST SHOT.

BUT WE NEED A TACTICAL ADVANTAGE.

I CAN'T DO THIS ALONE.

TELL ME WHAT YOU NEED.

WHERE SHE'S BEING HELD,

THERE'S A CONDUIT SUPPLYING IT

THAT RUNS THROUGH THE OLD SEWER SYSTEM.

YOU CUT THOSE CABLES, YOU CUT THEIR POWER.

LIGHTS, ALARM, SECURITY VIDEO--

THAT CONDUIT'S THE KEY.

WHAT DO YOU SAY, KID?

YOU BEEN PLAYING COP FOR YEARS.

YOU READY TO PLAY SPY?

(huffs)

(Hunt) How are we doing?

(radio clicks) YEAH, I'M ALMOST THERE.

You should see a junction box

with six conduits coming from it.

I SEE IT.

(radio clicks)

The one you want is the third one from the bottom.

GOT IT.

WRAP THE CHARGE AROUND IT LIKE I SHOWED YOU

and then attach the detonator. (radio clicks)

(Castle) All right. I'm setting the detonator for 30 seconds...

(beep) NOW.

(beeping)

(Russian accent) HEY.

DON'T MOVE.

(beeping continues)

(clicks)

WE MAY HAVE A PROBLEM.

DAD?

DAD.

ALEXIS?

ALEXIS.

DAD. DAD! ALEXIS.

ALEXIS.

HEY. (panting)

YOU OKAY?

YEAH, BUT... WHAT ARE YOU DOING HERE?

DID THEY KIDNAP YOU, TOO?

UH... YEAH.

TRYING TO... RESCUE YOU.

YOU SHOULDN'T BE HERE.

(whispering) SHH. IT'S OKAY. WE'RE TOGETHER NOW.

IT'S GONNA BE OKAY.

YOU--YOU LOOK GOOD.

(laughs and sniffles)

(Volkov) YOU ARE LIKE YOUR FATHER, MR. CASTLE.

(gun cocks)

GETTING INVOLVED WHERE YOU DON'T BELONG.

DID HE REALLY THINK

I WOULD NOT PREPARED FOR AN ATTACK?

DAD, WHAT'S HE TALKING ABOUT?

TELL HER.

GO ON. TELL HER WHY SHE'S HERE.

YOU HAVE ME NOW.

SHE'S OF NO USE TO YOU. LET HER GO.

WHEN A MAN DOUBLES HIS WEALTH,

WHY SHOULD HE GIVE HALF OF IT AWAY?

(footsteps approach)

(Russian accent) HE HAD THIS ON HIM.

TIME TO END THIS.

(clicks radio)

I KNOW THAT YOU ARE HERE.

I KNOW THAT YOU ARE CLOSE.

AND I WANT YOU TO KNOW

THAT I HAVE YOUR SON.

You have ten seconds to show yourself

to my men out front.

Give yourself up...

(clicks)

OR I WILL KILL HIM.

(whispers) DAD.

(whispers) IT'S OKAY.

TEN...

NINE...

EIGHT...

SEVEN... I'M SORRY.

IT'S ALL RIGHT. SIX...

(Alexis crying)

FIVE...

FOUR...

(continues crying) (radio clicks)

THREE... You're not gonna kill my son, Volkov.

(radio clicks) NO?

AND WHY IS THAT?

(clicks) BECAUSE YOU'LL BE DEAD.

(humming and beeping) (gasps)

GET DOWN.

(booms)

(gunfire)

(Hunt) ONCE THE CHARGE GOES OFF,

THERE'LL BE A MOMENT WHEN IT ALL HITS THE FAN.

USE THIS TO GET HER OUT.

(gunfire continues)

CLOSE YOUR EYES, SWEETHEART.

(crackles)

AND THEN RUN.

GO. (gunfire continues)

LET'S GO.

(gunfire continues)

HIS MEN WILL MOVE TO THE FRONT

TO RESPOND TO MY ATTACK.

YOU MOVE TO THE BACK,

THROUGH THESE DOORS

AND RIGHT DOWN THIS CORRIDOR.

(Castle) AND WHAT ABOUT HIS MEN?

WHAT IF THEY TRY TO STOP US?

DON'T LET THEM. AAH!

(man grunts) AAH!

JUST KEEP MOVING UNTIL YOU HIT THE BACK DOOR

'CAUSE I'LL BE COMING IN THE FRONT.

DON'T STOP RUNNING, EVER...

(horns honking)

(panting)

NOT UNTIL YOU REACH THE U.S. EMBASSY.

(speaking inaudibly)

AND ONCE YOU REACH THE EMBASSY,

ASK FOR DEPUTY CHIEF OF MISSIONS JIM ALDACOTT.

AND HE'LL PROVIDE YOU BOTH WITH AN OFFICIAL COVER STORY.

ONE THAT CREDITS INTERPOL AND THE FRENCH POLICE

AND DOESN'T INCLUDE ME.

WHAT HAPPENS TO YOU AFTER?

ASSUMING... (chuckles) WE'RE BOTH NOT KILLED,

I-I DISAPPEAR.

NO, BUT WE JUST--

THAT'S THE JOB. THAT'S MY LIFE.

YEAH, BUT, UH... WE JUST MET.

I MEAN, I GOT A LOT OF QUESTIONS,

A LOT OF THINGS I WANT TO SAY.

I DON'T--I DON'T...

I-I NEED TO HAVE MORE TIME.

MAYBE WE CAN DO THAT SOMETIME,

YOU KNOW, SOMEDAY.

HOW WILL I KNOW IF YOU MADE IT?

OH, YOU WON'T. NOT OFFICIALLY AT LEAST.

I KNOW THIS HAS BEEN TOUGH FOR YOU, RICHARD, AND...

I JUST WANT YOU TO KNOW, SON,

I'VE ALWAYS BEEN PROUD OF YOU.

ALWAYS.

I HAVE NEVER IN MY LIFE BEEN SO HAPPY TO BE HOME.

AMEN.

I KNOW WE'RE NOT SUPPOSED TO TALK ABOUT

WHAT REALLY HAPPENED, BUT...

THANK YOU FOR EVERYTHING.

HEY, IT'S WHAT FATHERS DO.

YOU THINK HE MADE IT OUT?

I WISH I KNEW.

(whispers) YOU READY?

(exhales)

(Martha gasps)

OHH!

YOU'RE BACK!

YOU'RE BACK! OHH. (Alexis) IT'S GREAT TO BE HOME.

(lowered voice) I'M SO GLAD YOU'RE OKAY.

PLEASE DON'T DO ANYTHING LIKE THAT AGAIN WITHOUT ME.

(lowered voice) I WON'T.

(Alexis) IT'S OKAY, GRAM. I'M OKAY.

(Martha) OHH.

(Alexis chuckles)

HONEY, HI. (Martha laughs)

COME HERE. (laughing)

YOU ARE BRILLIANT.

JUST BRIL--EVERYBODY MUST BE STARVING.

COME ON. I'VE MADE BREAKFAST.

(sighs)

OHH.

MOTHER, WHAT'S THIS?

OH, IT CAME FOR YOU THIS MORNING.

WHY, IS IT IMPORTANT?

MOM...

THERE'S SOMETHING I WANT TO TELL YOU.