1x09 Transcript

Little Girl Lost
transcribed by lika_mikala

ACT ONE
[EXT. APARTMENT BUILDING - DAY]
BECKETT finds CASTLE waiting with two cups of designer coffee.

CASTLE
Morning. Grande skim latte, two pumps sugar-free vanilla, and a bear claw.

[She takes the coffee and bag, surprised he knows her drink.]

BECKETT
How did you know...

CASTLE
I'm a novelist. It's my job to notice things.

BECKETT
It's Sunday morning. Shouldn't you be slinking home from a scandalous liaison?

CASTLE
Would you be jealous if I were?

BECKETT
In your dreams.

CASTLE
Actually, in my dreams you're never jealous. In my dreams, you just join...

[BECKETT shoves the bear claw into his mouth.]

CASTLE (CONT'D)
So, Montgomery called and said, "Come down right away." So, it must be gruesome.

BECKETT
Try not to get so giddy every time we go to a crime scene, okay?

CASTLE
'Cause somebody's dead, doesn't mean you have to be grumpy.

BECKETT
Oh, do you want to see grumpy? How about the cover art for your new novel?

CASTLE
Nikki Heat cover art? That's only available to...

[CASTLE realizes something, and BECKETT is horrified. She turns and rushes off toward the crime scene.]

CASTLE (CONT'D)
Oh my God. You subscribe to my website? Wait a minute, are you CastleFreak1212? CastleLover45?

BECKETT
You do realize that most people would be creeped out by crazy anonymous fans?

CASTLE
Like you?

BECKETT
It was strictly professional curiosity.

CASTLE
So, what did you think of your alter ego, Nikki? Pretty sweet, right?

BECKETT
"Sweet"? She's naked!

CASTLE
She's not naked. She's holding a gun... strategically.

BECKETT
You know... I take comfort in the fact that, if they're already publishing the cover art, then your book - and our little partnership - is almost done.

[BECKETT places her coffee cup back in the holder that CASTLE is carrying. They reach an apartment door. BECKETT nods to a Uniform and enters. The Uniform stops CASTLE for a moment.]

UNIFORM
No coffee in here, sir.

[The CANDELA apartment is bustling with Uniforms and Techs taking crime scene photos. We get a sense of urgency. CAPTAIN MONTGOMERY approaches BECKETT and CASTLE.]

BECKETT
Sir? What's going on?

CAPTAIN MONTGOMERY
2-year-old girl, Angela Candela, reported missing by her parents about eight o'clock this morning.

BECKETT
Where'd they find the body?

CAPTAIN MONTGOMERY
They haven't found her. She was abducted. Father was in the other room, painting.

CASTLE
Kidnapped from her home?

BECKETT
I don't understand, sir. If this isn't a murder, why am I here?

CAPTAIN MONTGOMERY
The Feds requested you to be on the task force.

CASTLE
Feds?

BECKETT
FBI has jurisdiction over child abduction cases.

CASTLE
Then why call me?

CAPTAIN MONTGOMERY
'Cause I like pissing off the FBI. And because you think outside the box. That's something the Feebs rarely do.

BECKETT
Sir, who's the Special Agent in charge?

CAPTAIN MONTGOMERY
Beckett, it doesn't matter who--

BECKETT
Sir, who?

MONTGOMERY (with meaning)
Sorenson.

CASTLE
Who's Sorenson?

BECKETT
I thought that he was in--

MONTGOMERY
In Boston? Not anymore. He's here.

CASTLE
Who's Sorenson?

MONTGOMERY
This isn't gonna be a problem, is it, Detective? I mean, we're all professionals here, right?

CASTLE
Actually, I'm not. Who's Sorenson?

BECKETT
No, sir. Not a problem.

MONTGOMERY
For what it's worth, that missing little girl doesn't care about your history, nor do her terrified parents. They just want their baby back alive.

[MONTGOMERY's cell rings.]

BECKETT
Where is he, sir?

MONTGOMERY
He's over there, talking to the parents.

MONTGOMERY (on cell)
Montgomery.

[BECKETT turns to see the parents, ALFRED and THERESA CANDELA (30s, Hispanic), standing with FBI AGENT WILL SORENSON (30s, attractive, charismatic, and smart). He looks up and sees BECKETT. They lock eyes. CASTLE sees it and immediately can tell (as we can) that there's a history.]

ALFRED
Yeah, please. Whatever you need.

SORENSON
Excuse me.

[SORENSON crosses to CASTLE and BECKETT.]

SORENSON
Hello, Kate.

BECKETT
Hello, Will. How long you been back?

SORENSON
A couple months.

[BECKETT nods. "Couple months." He should've called.]

BECKETT
Something wrong with Boston?

SORENSON
Fresh lobster gets old fast. You look good.

BECKETT
Thanks. I feel good. Agent Sorenson, this is Richard Castle.

SORENSON
The famous novelist.

CASTLE
Writer of wrongs.

SORENSON
So, Captain Montgomery filled me in on your little arrangement. And I have no problem with it, as long as it doesn't interfere with the investigation.

CASTLE
Oh, don't worry about me. Quiet as a mouse.

[SORENSON shows BECKETT a photo of an adorable 2-year-old girl clutching a stuffed bunny.]

SORENSON
Angela Candela. Two years old. Abducted this morning between 7:30 and 8 a.m. Parents were home at the time.

CASTLE
How do you get abducted when your parents are home?

[SORENSON gives CASTLE a look]

CASTLE (CONT'D)
Yeah.

[CASTLE shuts up.]

SORENSON
Dad got up with the kid about seven, let the Mom sleep in. He planted Angela in front of the tube with a juice box and some cereal, then headed into his art studio.

[They walk into the art studio.]

SORENSON (CONT'D)
Obviously, he's a painter.

CASTLE
He just left his kid?

BECKETT
Did he hear anything at least?

SORENSON
He was listening to his iPod.

CASTLE
Nothing like a little quality time with Daddy.

--
[03:58, INT. CANDELA APARTMENT - DAY]
BECKETT, SORENSON, and CASTLE are standing by an opened window in the kitchen with THERESA and ALFRED CANDELA.

ALFRED
When I couldn't find her, I looked everywhere for her, and then I saw the window.

SORENSON
The lock was jimmied from the outside.

ALFRED
I-- I ran outside. I looked for her.

BECKETT
Mr. Candela, you live on a ground-floor apartment with windows facing the alleyway. Most people have bars.

THERESA
We were going to. We just...

ALFRED
I never got around to it.

[BECKETT inspects the floor below the window.]

SORENSON (re: dirt)
We think the dirt's from outside.

ALFRED
How could this happen in our own home?

BECKETT
So, our suspect climbed in through the window, grabbed Angela and probably walked out the back door.

CASTLE
Just like that?

SORENSON
We have her photo on the wires and are issuing an AMBER Alert to Port Authority and the Tri-State Area.

BECKETT
I'll have my guys run down any registered sex offenders and residential burglaries. What about the parents? Anyone they can think of?

SORENSON
No, not that either of them can think straight right now.

CASTLE
This thing goes south, they'll never think straight again.

FBI TECH (CRAWFORD)
Agent Sorenson?

SORENSON
The phone's over there. Get a tap on it.

[SORENSON sees a look on BECKETT's face and steps closer. A little too close to be professional.]

SORENSON
This one'll end better. I promise.

--
[05:05, NT. PRECINCT, ELEVATOR - DAY]
CASTLE and BECKETT. The silence is deafening.

BECKETT
Six months.

CASTLE
"Six months," what?

BECKETT
We dated for six months.

CASTLE
I didn't ask.

BECKETT
Yeah, I know. You were not asking very loudly.

CASTLE
I know, I'm like a Jedi like that.

[BECKETT and CASTLE exit and walk to the bullpen.]

CASTLE
So, how'd you meet?

BECKETT
Kidnapping. A 6-year-old boy.

CASTLE
How'd it end?

BECKETT
We got the guy.

[But the way she says it, there's clearly more to the story. We find ESPOSITO and RYAN at their desks. RYAN is wearing a particularly loud tie.]

BECKETT (CONT'D)
What do we got on the parents?

RYAN
Theresa and Alfred Candela. Married ten years. One child: Angela Candela.

CASTLE (noticing the tie)
Whoa! Sorry. Sorry about that. That tie took me a little by surprise.

[ESPOSITO snickers.]

RYAN
Okay. Get it all out. This is a gift from my girlfriend.

ESPOSITO
"Girlfriend"?

BECKETT
Already giving gifts, huh?

RYAN
Today's our two-week anniversary.

[They all "ooh"]

ESPOSITO
Two weeks! Is that the paper or the silk?

CASTLE
I believe it's the whipped.

ESPOSITO
Good one.

RYAN
Yeah, yeah, yeah, yeah, yeah. One child: Angela Candela. Age two. Adopted.

BECKETT
Adopted?

RYAN
Yeah, two years ago. Mom, Theresa, she's a fund manager at Keller Stanton. Dad's a small-time artist. Shows at the Grayson Gallery in Chelsea once in a while. Neighbor says he stays home with the kid.

[BECKETT pulls out a piece of paper.]

BECKETT
All right, here's a list of all the people who had access to the apartment: babysitters, cleaning lady, super. Let's cross-reference that with any registered sex offenders in the area, see if anyone had a thing for little girls.

ESPOSITO
You thinking there's some creepy-crawly probably scouted from the inside?

[BECKETT's phone rings.]

BECKETT
Well, the father said what he did this morning was part of a routine. So, either somebody got lucky, or they already knew it. (picks up phone) Beckett. Yeah, we'll be right there. (hangs up) Looks like it wasn't a creepy crawler after all. Candelas just got a ransom call.

--
ACT TWO

[INT. CANDELA APARTMENT, LIVING ROOM - DAY]

An FBI Tech, Crawford, late-20s, female, has phone surveillance equipment laid out on the coffee table. BECKETT and SORENSON huddle with ALFRED and THERESA around the table, as the recording of the ransom call is played. CASTLE watches from outside the circle.

THERESA (ON RECORDING) (nervous)
Hello?

SCRAMBLED VOICE (ON RECORDING)
We have your daughter.

THERESA (ON RECORDING)
Please. She's just a child. Please don't hurt her.

SCRAMBLED VOICE (ON RECORDING)
Whether we hurt her is up to you. Whether she lives is up to you. You want your daughter, we want 750,000 dollars. You have twenty-four hours.

THERESA (ON RECORDING)
I want to speak to her. I want to know she's safe.

[There's a click.]

SORENSON
They used an Internet Voice over IP service.

BECKETT
Meaning it's untraceable.

SORENSON
Can you raise the 750?

THERESA
I-- It's everything we have.

ALFRED
If it means getting Angela back, we'll pay.

SORENSON
Then you should start getting your financial records together.

BECKETT
Mrs. Candela, is there anyone that you know that can help you? An accountant, or maybe someone at your firm?

ALFRED
Nina could help.

BECKETT
Nina?

THERESA
My sister. She's a CPA.

ALFRED
But even if we give them money, how can we be sure we'll get her back?

SORENSON
You have to have hope. You have to imagine your little girl walking through that front door, safe and sound. Your daughter needs you right now. She needs you to have faith. To be strong.

--
[07:59, INT. CANDELA APARTMENT, KITCHEN - DAY]
SORENSON studies a transcript of the ransom call. CASTLE is nearby.

CASTLE
You do this a lot? Kidnappings? You seem to know what to say.

SORENSON
It's not about what you say. It's about controlling the situation. Controlling the emotions.

CASTLE
You requested your ex-girlfriend for the task force. That doesn't indicate, to me, a control over your emotions.

SORENSON
I requested Beckett because she's the best in the city.

CASTLE
Not because you wanted to see her again?

SORENSON
How about you, Castle? You've written, what, twenty best-sellers?

CASTLE
Well, 26, but who's counting?

SORENSON
Why the sudden need to shadow a real detective?

CASTLE
Well, the ones on TV seemed oddly fixated on their sunglasses.

SORENSON
So, with all the fat, balding detectives in the NYPD, you just happen to end up shadowing her.

CASTLE
Must be fate.

SORENSON
Must be.

[BECKETT enters the room. The boys drop it.]

BECKETT
Candelas have pulled their financials. Her sister's on the way. Anything on the transcripts?

SORENSON
It's clear the ransom demand has significance. Kidnappers make an issue about knowing what the Candelas have.

CASTLE
They said it's everything they have.

SORENSON
Whoever made the demand knows them well enough to know exactly what they're worth.

--

[09:05, INT. CANDELA APARTMENT, LIVING ROOM - DAY]

SORENSON, followed by BECKETT and CASTLE, approaches THERESA, who's settled in at the dining table. Financial statements are laid out. With THERESA is her younger sister, Nina Mendola, 30.

BECKETT
How does it look?

THERESA
Detective. Agent Sorenson. This is my sister, Nina.

NINA
It's doable. We'll market the stocks tomorrow morning. We'll have to wipe out the retirement account and both pensions. And you'll have to pay penalties.

THERESA
Well, I don't care. Whatever it takes.

[CASTLE sees ALFRED throwing paint at a canvas in the studio]

THERESA
He paints when he's stressed.

CASTLE
Does he sell much?

THERESA
Some.

NINA
That's generous.

[THERESA gives her sister a look]

NINA (CONT'D)
Sorry.

THERESA (to CASTLE)
Why do you ask?

CASTLE
I don't know many artists with their own pension account.

NINA
Theresa set up the account for him. So he'd have something for him and Angela. You know, if something...

CASTLE
Tell me--

SORENSON
Mrs. Candela, we think the specificity of the amount of the ransom demand suggests the kidnappers had knowledge of your finances.

BECKETT
Was there anyone who might have had a grudge against you? Or maybe someone close to you who needed the money now?

THERESA
No one who would do something like this.

ALFRED
What about Doug Ellers?

[They turn. ALFRED's in the hallway, wiping paint off his hands.]

BECKETT
Who's Doug Ellers?

THERESA
Someone I worked with. But, no, I can't imagine--

ALFRED (cutting her off)
What about those messages he left you at work? Remember you filed those complaints with HR?

THERESA
I know what happened, Alfred!

SORENSON
Mrs. Candela, I know how hard this is. It's understandable to get frustrated. But, please... we need to know everything.

THERESA
Ellers ran an asset management group. They weren't performing, so I let him go.

SORENSON
Did he ever threaten you?

THERESA
Well, he blamed me for his divorce. He said his wife left him because I fired him, and...

[THERESA stops, suddenly concerned.]

BECKETT
And what?

THERESA
And she took his kids.

--
[10:47, INT. PRECINCT, BULLPEN - DAY]

CASTLE, BECKETT, RYAN, ESPOSITO, and SORENSON stride through the bullpen toward interrogation.

BECKETT
Where'd you find him?

RYAN
In line at Off-Track Betting.

ESPOSITO
ESU just hit his apartment. No trace of the kid.

SORENSON
That's not good. (to BECKETT) Pressure interview. I'll take the lead.

[SORENSON is about to open the door when he realizes that CASTLE thinks he's joining.]

SORENSON (CONT'D)
No.

BECKETT
He'll be fine, Will.

SORENSON
Kate, I don't care how big a fan of his you are. He doesn't come in the room.

CASTLE
Fine. That's fine. Uh, just for the record, though... How big a fan is she?

RYAN
Come on, Castle. Come watch from the bleachers with us. See how the Feebees do it.

[As CASTLE, ESPOSITO, and RYAN head toward observation, BECKETT and SORENSON enter the interrogation room to find Doug Ellers, mid-40s.]

BECKETT
Mr. Ellers, Detective Kate Beckett. NYPD.

SORENSON
Special Agent Sorenson, FBI. When was your last contact with Theresa Candela?

ELLERS
Theresa Candela? Wha-- what's going on?

BECKETT
Just answer the question.

ELLERS
What did she say about me?

SORENSON
Let's talk about what you said to her.

[SORENSON pulls out an MP3 player. Hits "play."]

ELLERS (ON RECORDING)
I gave you six years of my life. Six years! My profits built your whole damn division. And now you want to
bend me over? You want to cut me out? Well, karma's a b*tch, Theresa. You burn down my house. I'm gonna burn yours down.

[SORENSON clicks off the recording.]

SORENSON
You left that three months ago, just after your wife left.

ELLERS
Yeah? So? Every word of it's true.

BECKETT
It's harassment.

ELLERS
Oh, what's she gonna press charges now?

SORENSON
Yeah. Kidnapping. Assault. Breaking and entering.

ELLERS
What the hell are you talking about?

BECKETT
Somebody kidnapped Angela Candela this morning.

ELLERS
What? Kidnapped?

SORENSON
Hurting someone else's child isn't the way to get back your own.

ELLERS
No, no, no. This is not me. Theresa may not be my favorite person, but I would never harm a child.

BECKETT
Your ex-wife wasn't so sure. According to your divorce papers, there were allegations of violence.

ELLERS
My ex-wife was looking for a payday. That's all.

SORENSON
You're not looking for a payday, are you, Mr. Ellers?

ELLERS
You have the wrong guy.

--
[12:50, INT. PRECINCT, BULLPEN - DAY]

SORENSON and BECKETT exit Interrogation at the same time that CASTLE, ESPOSITO, and RYAN exit Observation.

SORENSON (to ESPOSITO and RYAN)
Run him down. Where he was all morning, who can vouch.

CASTLE
Pretty clear it wasn't him.

SORENSON
You a mind reader, too?

CASTLE
Come on. If he was your guy, he'd be downplaying his feelings for Theresa, not wearing them on his sleeve.

SORENSON
A couple dozen best-sellers doesn't make you a criminologist.

CASTLE
I also don't need a weatherman to tell me that the sky is blue.

BECKETT
Oh, for godsakes, why don't you both just drop your pants and get it over with?

CASTLE
I'm game.

BECKETT
The fact is, you're both right. He probably didn't do it, but when a child's life is at stake, we have to be sure. We have to question everything we think we know. (to ESPOSITO and RYAN) You guys, keep Ellers on ice until we can trace every second of his morning. Will, you and I are going back to the Candelas'. We're gonna profile all of their associates.

CASTLE
What should I do?

[BECKETT walks back to CASTLE.]

BECKETT
I need you to go home.

[CASTLE takes a look at SORENSON before responding]

CASTLE
Okay. But if you need me, call. Even if it's just to talk.

--
ACT THREE
[13:56, INT. CASTLE'S LOFT, LIVING ROOM - NIGHT]
CASTLE walks through the front door and hears Martha, passionately confronting a client. He pauses when he realizes her voice is coming from his office.

MARTHA
Todd, honey, I really, really need you to focus on calibrating your creative energy. What do I mean? I mean the source of your power. The source of your power, Todd, is you.

[CASTLE enters. Martha sits at his desk, her feet up like she owns the place. She's facing one of her sad sack clients: Todd, 35, self-involved. There's a name plaque on the desk that reads: "Martha Rodgers, life coach."

CASTLE
Howdy, Mother.

[Martha, a bit deer-in-headlights, and Todd turn to CASTLE.]

MARTHA
Hello. Well, you're here. (fake chuckle) I'm just finishing up a session in... ("hint-hint") ...my office.

CASTLE
I'm so flattered you have my framed book covers in your office.

MARTHA
Well, a coach can never be too proud.

[Todd stands and grabs his knapsack. Gets up the nerve.]

TODD
Mr. Castle, I just want to thank you for being so honest about your struggle with persistent and chronic writer's block.

CASTLE
Excuse me?

TODD
Well, Todd is an aspiring novelist, so I shared with him your inspiring tale of triumph over adversity.

CASTLE
Well, how courageous of me. Good luck, Todd.

TODD
Thanks! I'll take the year-long package.

[Todd hands Martha a check]

MARTHA
Way to be decisive, kiddo. Good for you. I'll see you next week.

TODD (to CASTLE)
Nice meeting you.

[Martha walks Todd to the door]

MARTHA
And remember, you is who you is.

TODD
Right.

MARTHA
And if you ain't who you is, who is you?

[Todd exits. CASTLE grabs Martha's name plaque off his desk and walks into the kitchen, Martha following.]

CASTLE
Well, nice to see all those years as an actress have really paid off. "Focus on calibrating your creative energies"?

MARTHA
I'll have you know, Todd is a very bright spirit in need of direction.

CASTLE
Mother, it's bad enough that you're slandering me, do you have to commandeer my office to do your new-age coddle session?

MARTHA
Richard, you can't expect me to pay Manhattan rates for office space.

[CASTLE sets Martha's name plaque down on the kitchen table.]

CASTLE
Well, how about this? You cannot beat this location. Proximity to beverages and sharp utensils.

MARTHA
Sweetheart, as your life coach, I urge you to say nay to your inner naysayer. I call that a Martha-ism.

[CASTLE opens the fridge and grabs a beer. Martha opens the fridge and grabs one for herself]

CASTLE
How is it that you don't know who my father is, you don't know how your ex-husband stole all your money, yet you are giving life-coaching advice?

MARTHA
Mistakes are the building blocks of wisdom. A Martha-ism. Besides, Freud was an addict. It didn't stop him from helping people.

CASTLE
Sadly, faced with his mother's twisted-yet-unimpeachable logic, Richard Castle's head exploded.

MARTHA
Ah, well. So, why are you home so early?

CASTLE
Well, thought I'd take a little breather. Working on a, uh, kidnapping case. A little girl.

MARTHA
No wonder you're so surly. Those poor parents, having a child ripped away. I can't imagine how they must feel.

CASTLE
Is Alexis home?

MARTHA
She's upstairs.

CASTLE
Feeling a deep-seated need for a hug.

MARTHA
Perfectly understandable. After all, we are pod-mates. Another Martha-ism. I call it the pea pod bond. You know, the bond that exists between parent and child. You and me. You and Alexis. We're all peas in a pod and, whether we like it or not, everyone who's ever had a child is in the pod forever.

CASTLE
"The pea pod bond."

MARTHA
Yeah.

CASTLE
Alexis! Thank you, Mother.

MARTHA
Oh.

CASTLE
I'll deduct my session fee from your rent.

MARTHA
What? Whoa, whoa. You might want to consider the yearlong package. It's a bargain.

[As he gets to the door, he sees ALEXIS coming down the stairs. He ambushes her with a hug.]

ALEXIS
What was that for?

CASTLE
Just a pea pod thing. Gram'll explain.

--

[17:15, INT. CANDELA APARTMENT, KITCHEN - NIGHT]

It's quiet. BECKETT enters and is surprised to find SORENSON pouring himself a cup of coffee, somber.

BECKETT
Hey.

SORENSON (re: the coffee)
Hey, yourself. Want some?

BECKETT
Yeah, thanks.

[He hands her a cup.]

BECKETT (CONT'D)
So, I just got word from my guys, and Ellers is a dead end. The owner over at Paradise Diner on East 62nd vouched that he was having his usual poached eggs this morning.

SORENSON
Would have been too easy, right? Or over-easy.

[She looks at him. Then smiles.]

BECKETT
That's like something Castle would say.

SORENSON
You like him.

BECKETT
No. I just, um... I don't know. I think he's interesting.

SORENSON
So you're not...?

BECKETT
Together? No...

SORENSON
I meant to call. Must've picked up the phone a dozen times.

BECKETT
Yeah, I know. You meant to do a lot of things. That's why you left, remember?

SORENSON
Boston was a great opportunity.

BECKETT
I'm not saying that it wasn't. I'm just saying it was a choice. That didn't include me.

SORENSON
You could've come.

BECKETT
And then done what? Join the Boston PD, and then you have to move to Phoenix, and then Cleveland. And then you're back here. I mean, we both know what that life is all about.

SORENSON
Didn't stop me from missing you. Missing us. Sundays in the park. Those ridiculous neon ice skates at Rockefeller Center.

[She smiles.]

BECKETT
I will have you know that those ice skates are awesome.

SORENSON
It wasn't the skates.

[SORENSON inches closer. BECKETT doesn't pull away.]

BECKETT
Will, I-- I'm...

[SORENSON goes in for a kiss. And it's hot. CASTLE walks in.]

CASTLE
Oh! I thought cops and Feds hated each other.

[BECKETT and SORENSON pull away. AWKWARD!]

CASTLE (CONT'D)
They say justice never sleeps. I think I know why.

BECKETT
We were just, uh...

CASTLE
Being consenting adults. I'm not judging.

BECKETT
I thought I told you to go home.

CASTLE
I did go home, but then my mother told me something that couldn't wait.

SORENSON
You live with your mother?

CASTLE
Yeah. Apparently, we're peas in a pod. But the important point is, Angela's adopted.

BECKETT
So?

CASTLE
So, prior to giving up her baby, the birth mother would've been given background on the Candelas. Specifically, their ability to support the child.

BECKETT
Knowledge of their finances.

SORENSON
Really, Kate? We're going to waste time on the insights of Nancy Drew here?

CASTLE
Is that supposed to be an insult? Because Nancy Drew solved every case. Look, okay, and I'm quoting here, "When a child's life is at stake, we have to be sure. Which means we have to question everything we think we know."

--

[19:56, INT. PRECINCT, INTERROGATION/OBSERVATION ROOM - DAY]

BECKETT and SORENSON, with LUCIA GOMEZ.

LUCIA
I was a junior in high school. What was I gonna do with a baby?

SORENSON
It's been two years, Ms. Gomez. Two years is still a long time to think about a decision you made when you were sixteen.

LUCIA
What am I doing here? What is this about?

BECKETT
We're talking about the baby and your regretting your decision.

LUCIA
My decision? Well, I don't regret my decision.

SORENSON
Then why did you try to find her?

LUCIA
What are you talking about?

BECKETT
This is a petition that you filed with the adoption agency a couple of months ago.

[BECKETT places the form in front of LUCIA.]

BECKETT (CONT'D)
It's a form requesting the identity of the adoptive parents of Angela.

SORENSON
A signed form.

LUCIA
No. That's not my signature.

BECKETT
Lucia, I'm not--

LUCIA
No, really. Look, you can see for yourself.

[LUCIA pulls out her wallet. She hands BECKETT her driver's license.]

LUCIA (CONT'D)
That's not my signature. Why? What's going on? What happened to her? Is she okay?

BECKETT
Did anyone in your family object to you giving up your baby?

LUCIA
No, no one. My mom even helped me with it.

SORENSON
And the father?

LUCIA
Juan? Uh, he was in Iraq when I had her, but we talked about it. He was cool.

BECKETT
Are you sure about that?

[LUCIA looks away. No, she's not sure.]

SORENSON
Is he still in Iraq?

LUCIA
Naw. He got back a couple months ago.

--

[21:25, INT. PARKING GARAGE, 10TH FLOOR - DAY]

BECKETT and SORENSON approach JUAN RESTREPO, 21, a car detailer, working on a car.

BECKETT
Juan Restrepo?

[A guy working on a car points to JUAN.]

BECKETT (CONT'D)
NYPD, we'd like to ask you some...

[But seeing BECKETT's badge, JUAN takes off running.]

BECKETT (CONT'D)
Go, go, go, go! Hey!

SORENSON
Freeze! Hands up!

[JUAN books down the ramp, SORENSON behind him, with BECKETT trailing. JUAN reaches the bottom and runs right into CASTLE, RYAN, and ESPOSITO.]

SORENSON (CONT'D)
Freeze!

RYAN
Keep your hands up. Hit the ground. On the ground!

[RYAN and ESPOSITO move in to cuff him.]

--
ACT FOUR
[21:52, INT. PARKING GARAGE, WALL - DAY]
JUAN RESTREPO is now handcuffed. BECKETT faces him. CASTLE stands nearby, watching BECKETT interrogating JUAN twenty feet away.

BECKETT
So why'd you run?

JUAN
Look, in my neighborhood, when you see a cop - that's what you do.

[CASTLE joins SORENSON.]

CASTLE (re: BECKETT and JUAN)
What? No good cop, bad Fed?

SORENSON
The guy did two tours in the Gulf. I go over there, he'd turn it into a pissing match. But Kate, she's got a way of sneaking up on people.

CASTLE
You mean like last night?

[SORENSON doesn't take the bait. ESPOSITO and RYAN, wearing latex gloves, inspect the contents of the interior of JUAN's beat-up Corolla. RYAN picks through a pile of fast food wrappers in the filthy front seat. SORENSON, also gloved, inspects the trunk.]

RYAN (groans)
Can you believe this? He details cars for a living. He could have a little more pride in his ride.

[SORENSON closes the trunk. CASTLE continues following him.]

CASTLE
I'm just saying. Looked like quite a kiss.

SORENSON
You jealous, Castle?

CASTLE
Me? No. Though you have to admit, I was right.

SORENSON
You are jealous. That I hooked her.

CASTLE
What's there to be jealous of? You couldn't reel her in.

SORENSON
We'll see about that.

[Back with BECKETT and JUAN.]

JUAN
I was eighteen when Lucia got pregnant. Six months in, I got deployed. I never even had the chance to see her.

BECKETT
But you signed the adoption papers.

JUAN
You know, when you're over there, you see so many kids. I just... I needed to know she was okay. I-- I... filled out the form and I put Lucia's name instead.

BECKETT
You got an address.

[JUAN nods.]

JUAN
Dude felt bad for me. He was over there, too, in Gulf One, and he only lost an arm.

BECKETT
And what'd you lose?

JUAN
An IED hit my Humvee. Shrapnel tore through the floor. Doc says I'm never gonna have kids of my own. So, I uh, I got an address and I went to go see my daughter.

BECKETT
So you kidnap her and you ask her adoptive parents for money?

JUAN
Wait, "Kidnap her"? She was kidnapped? and you think I did that? All I ever wanted to know was that she was okay! Is she?

--
[23:38, INT. PRECINCT, BREAKROOM - DAY]
BECKETT, SORENSON, and CASTLE stand together, anxious. Through the door in the bullpen, we see RYAN and JUAN seated at RYAN's desk. ESPOSITO pops in from the bullpen.

ESPOSITO
Yo. Birth dad. Story checks out. Limo company had him doing their fleet yesterday.

[BECKETT nods. ESPOSITO heads back to his desk in the bullpen.]

SORENSON
I don't care. He had motive and opportunity.

CASTLE
His motive was the instinct of fatherhood. If he took her, he'd have been with her. Not at some twelve-dollar-an-hour detailing job.

SORENSON
Doesn't matter. I want ESU on his place.

BECKETT
It's not him, Will! We're at square freakin' one, and we've got nothing. You can send ESU wherever you want, but I'm not losing this one.

[She walks away from them into the bullpen, frustrated. CASTLE sees the depth of how she feels as she walks off.]

CASTLE
What did she mean, "not losing this one"?

SORENSON
The case we worked.

CASTLE
I thought you got the guy.

SORENSON
We did, but... the kid was already dead.

[CASTLE looks over where BECKETT went. SORENSON's phone rings.]

SORENSON (CONT'D) (picking up)
Sorenson. (listens) On my way.

[SORENSON goes to BECKETT in the bullpen.]

SORENSON (CONT'D)
Another call about the ransom.

--

[24:32, INT. CANDELA APARTMENT, LIVING ROOM - DAY]

A bank guard unloads thick packets of $100 bills onto the dining table. The FBI Tech downloads to CASTLE, BECKETT, SORENSON, and the CANDELAs.

FBI TECH (CRAWFORD)
They asked for seventy-five packs of hundreds, randomized serial numbers and warned against bait money, dye packs, and trackers.

CASTLE
Sounds like they know your playbook.

FBI TECH (CRAWFORD)
They were detailed, down to the make, model, and color of the backpack.

BECKETT
Drop instructions?

FBI TECH (CRAWFORD)
We wait for their call.

SORENSON
All right, let's get the money set and be ready to make the drop.

ALFRED
But why didn't they tell us where to bring the money?

BECKETT
They're testing you. It's not unusual.

SORENSON
Which means, before we make the drop, we'll need to test them. We'll need proof that they have
Angela and that she's okay.

ALFRED
What if they don't give any? What if they refuse?

THERESA
How can you think that?

ALFRED
I just saying--

THERESA
You think she's dead?

ALFRED
No. Of course not.

THERESA
I should've gotten up. I shouldn't have let you watch her!

ALFRED
Don't say that-

THERESA
Don't tell me what to say! Tell me, Alfred, was it worth it?

[She points into the art studio off the living room, to the big canvas with the red paint splatter - the one ALFRED was working on during the montage. THERESA picks up a vase and hurls it at the painting. It slams against it and breaks.]

THERESA (CONT'D)
Was it worth our little girl? Oh, my God...

[BECKETT crosses to THERESA.]

BECKETT
Mrs. Candela? Theresa... You can't give in to your fear. Neither you nor your husband is to responsible for what happened.

[The phone rings. Agents and cops spring into action, pulling on headsets and flipping on monitoring equipment. BECKETT leads THERESA toward the phone.]

BECKETT
Come on.


SORENSON
Remember, no proof, no money. We need to be firm on that.

[THERESA wipes away her tears and nods.]

SORENSON (CONT'D)
Okay, here we go.

[THERESA answers the phone.]

THERESA
Hello?

SCRAMBLED VOICE (SPEAKER)
Listen carefully. Any deviation and your daughter dies.

THERESA
I understand.

SCRAMBLED VOICE (SPEAKER)
A civilian, not a cop, must make the drop or we kill the girl. We see police or FBI and she dies. You have the money?

THERESA
Yes. 750. Like you said.

SCRAMBLED VOICE (SPEAKER)
Put it in the backpack and bring it to the northeast corner of 1st Avenue and 47th. There's a mailbox there with a cell phone taped underneath. We'll text further instruction once you're there. When we have the money, then we'll call with the girl's location.

BECKETT (whispering to THERESA)
Ask for proof that Angela's okay.

THERESA
You won't get any money until I know my little girl is okay.

[A tense silence.]

LITTLE GIRL'S VOICE (SPEAKER)
Mama?

THERESA
Hi, sweetheart!

SCRAMBLED VOICE (SPEAKER)
You have one hour.

[The call ends.]

--

[26:51, INT. CANDELA APARTMENT, KITCHEN - MOMENTS LATER]

CASTLE, BECKETT, and SORENSON. There's a sense of urgency. SORENSON studies a map on the kitchen counter.

SORENSON
Once they get paid, there's no incentive to keep her alive. So, I'll make the drop. Figure we'll place our people at a one-block radius from the mailbox--

ALFRED
No. They said no cops.

SORENSON
It's okay. I've done this before. They won't know I'm an FBI agent.

ALFRED
And if they do?

BECKETT
Mr. Candela, we need this to go as smoothly as possible.

ALFRED
She's my daughter and we're going to follow their instructions to the letter. They said no cops. Look, I'm her father and I can do this. Do I make myself clear?

[SORENSON nods. ALFRED turns and leaves.]

SORENSON
No way we can send the father. Too many things could go wrong. He's too emotional.

BECKETT
What choice do we have?

CASTLE
Me.

BECKETT
What?

CASTLE
I'm not a cop. I'm certainly not emotional.

SORENSON
No. Absolutely not.

CASTLE
The NYPD already has a signed waiver from me. And, I don't like saying this, but you're running out of time.

BECKETT
Castle's right.

SORENSON
You can't be serious.

BECKETT
He's been with me on cases before. He's good under pressure. And he's our best shot.

--
ACT FIVE
[28:07, INT. CANDELA APARTMENT - DAY]
ALFRED and THERESA watch a video of them playing with ANGELA.

ALFRED (on video)
Are you getting this?

THERESA (on video)
I got it.

ALFRED (on video)
Look at her go.

[An FBI Tech works on wiring CASTLE, as BECKETT steps in.]

BECKETT
Okay, so this is usually the part where I ask if you've thought this through, and then I remembered you don't think things through.

[FBI Tech threads a wire under CASTLE's shirt. He gasps.]

CASTLE
Cold hands. Cold hands.

BECKETT
These people are dangerous, Castle. You need to stay alert and focused.

CASTLE
"Alert and focused," got it.

[CASTLE gasps again as the Tech's hands brush his skin again]

CASTLE (CONT'D)
Maybe if you-- maybe if you just rub them together for a second...

[FBI Tech smiles, shakes her head, keeps working.]

CASTLE (CONT'D)
Wait, alert and what?

[BECKETT turns to him.]

CASTLE (CONT'D)
I'm just kidding.

FBI TECH (CRAWFORD)
You're good to go.

CASTLE
Thanks.

[CASTLE buttons up the rest of his shirt as the FBI Tech exits. CASTLE looks at BECKETT, sees her concern.]

CASTLE
Hey. It's gonna be okay.

BECKETT
Look, about last night, what happened in the kitchen, I-- I just...

CASTLE
Oh, listen, You don't need to explain that, that's...

BECKETT
I don't?

CASTLE
Unless you want to.

BECKETT
Uh... no, you know, I-- I just figured for the character, for Nikki Heat...

CASTLE
Yeah, y-- I think-- I think I understand Nikki better than you think I do.

BECKETT
Be careful, okay?

CASTLE
Do I detect actual concern for my well-being?

BECKETT
Screw this up and I'll kill you.

CASTLE
That's more like it.

--

[29:34, EXT. MANHATTAN STREET - DAY]

A mailbox. CASTLE carries the green backpack toward it. In BECKETT's unmarked, BECKETT and SORENSON watch CASTLE from a distance. They talk to him over the radio.

CASTLE
Okay, I have eyes on the target. Over. Are you reading me?

BECKETT
We don't have to read you, we can see you. Now shut up and focus.

CASTLE
Roger that. Five by five.

SORENSON
He's quite a guy. If he only knew how a big a fan you really are.

BECKETT
Yeah, well, he's not going to know.

SORENSON
You never told him how you stood in line for an hour just to get your book signed? How his novels got you through your mother's death?

BECKETT
Is there anything you don't remember?

SORENSON
Not when it comes to you.

[As they share a look, CASTLE gets to the mailbox, crouches down, and reaches under.]

CASTLE
I feel like Michael finding the gun taped behind the toilet.

[He rips the phone away from the bottom of the mailbox and pulls the tape off. The phone beeps.]

CASTLE (CONT'D)
Uh. You might want to tell Ryan and ESPOSITO to hang back. They just sent a text. It says, "We're watching you."

SORENSON
Could just be a ruse.

CASTLE
Nope. They just sent another one. It says, "You're wearing a black raincoat."

BECKETT
Okay, so they can see you. That doesn't change anything.

[BECKETT then gets a text on her phone. She pulls it up: "U GUYS MAKING OUT?"]

SORENSON
(seeing the text)
Tell him to stop fooling around.

BECKETT
Like that'll help.

[CASTLE reads the next text.]

CASTLE
Okay. It says, "Cross the street, and head west on East 47th.

[CASTLE walks a few steps, pauses a moment.]

CASTLE (CONT'D)
That's left, right?

BECKETT
Right.

CASTLE
Right, right? Or right, left?

BECKETT/SORENSON
Left!

[CASTLE heads across the street and gets another text.]

CASTLE
"1201 1st." That's just ahead.

[As CASTLE heads toward the building, behind him we reveal ESPOSITO and RYAN trailing at a distance. They're also wired.]

ESPOSITO
Got it. We see him.

[We're back with CASTLE as he enters the 1201 1ST Avenue, lobby. CASTLE enters into a crowd inside the building's lobby.]

CASTLE (reading text)
They want me to leave the bag at the shoeshine stand and exit out the side. All right, I'm at the stand.

SORENSON
Have him make the drop.

BECKETT
Castle, leave the bag. Make the drop and walk away.

[RYAN and ESPOSITO enter the lobby. They look through the crowd for CASTLE, but can't see him.]

RYAN
Coming in. We don't have him yet.

[CASTLE leaves the backpack and keeps walking.]

CASTLE
I just left it. I'm headed out.

BECKETT
Esposito, Ryan, you got eyes?

ESPOSITO
I see the shoeshine stand.

[RYAN spots an Asian male, 20s, jeans and a brown shirt, with the green backpack, heading toward the exit!]

RYAN
Wait. I got the backpack. Asian male, long hair. I got him, I got him.

[ESPOSITO closes in and tackles him.]

ESPOSITO
Where's the girl?! Where's Angela?!

ASIAN MALE
What girl? I don't know what you're talking about!

[ESPOSITO grabs the backpack and opens it up to find... only newspaper.]

ESPOSITO
Ryan! Ryan!

[He points to a girl with the same backpack. RYAN chases her down, rips her pack off, and opens it. More newspaper. He sees another person with the backpack, and another, and another.]

--

[32:45, INT. CANDELA APARTMENT, LIVING ROOM - DAY]

CASTLE, BECKETT, and SORENSON are with ALFRED and THERESA, the tension between them since the blowup still lingering.

BECKETT
The kidnappers posted an ad on Craigslist and said that this was a performance art piece for YouTube.

SORENSON
They sent out nearly two dozen of the backpacks. The poster used an IP anonymizer, making it impossible to trace.

ALFRED
So we just do nothing?

CASTLE
Well, I managed to slip the phone that the kidnappers gave me into the backpack.

THERESA
I don't understand.

CASTLE
Well, before I did that, I sent a text message to Detective Beckett.

BECKETT
The phone's under a bulk account so we can't trace its owner, but we can trace its ID.

SORENSON
So far, we've pinged the phone to a twenty-block radius on the Lower East Side. We'll need another few hours to narrow it down. In the meantime, I moved a team into the area. They'll work the streets. Be ready to move when we have more information.

--
[INT. CANDELA APARTMENT, ANGELA'S BEDROOM - DAY]
CASTLE's finished being de-wired by FBI Tech. BECKETT approaches.

CASTLE
Thanks.

FBI TECH (CRAWFORD)
Mm-hmm.

BECKETT
You okay?

CASTLE
I keep thinking, if only I saw who took that bag...

BECKETT
Well, that wasn't your job.

[CASTLE's gaze falls on the framed picture of a beautiful, smiling ANGELA clutching a stuffed bunny.]

CASTLE
I can't imagine anything like this ever happening to Alexis.

BECKETT
We'll get her back soon.

[They're interrupted by SORENSON, looking disturbed.]

SORENSON
Not as soon as we hoped. They must've found it and taken the batteries out. We just lost the signal from the phone.

--

ACT SIX

[34:10, INT. CASTLE'S LOFT, CASTLE'S OFFICE - PRE-DAWN]

CASTLE, in his pajamas, his laptop on his lap, scrolls through photos he took on his phone of the CANDELAS' apartment. A few photos come up at a time. ALEXIS, in her pj's, enters, sleepy.

ALEXIS
Hey.

CASTLE
Hey. What are you doing up? Stressing about finals?

ALEXIS
American Lit's today. I was having nightmares about Hester Prynne.

CASTLE
Ah. The irony for you is, not getting an "A" would cause you shame.

ALEXIS
So why are you up?

CASTLE
Looking for a white rabbit.

ALEXIS
Lewis Carroll or The Matrix?

CASTLE
I'm not sure yet.

ALEXIS
What did Beckett tell you about taking phone photos at the crime scene?

CASTLE
I don't know, I wasn't listening.

[ALEXIS shakes her head with a smile.]

CASTLE (CONT'D)
See all the stuffed animals on the bed?

ALEXIS
Mm-hmm. It looks just like mine used to. Remember when I had all those animals?

CASTLE
If by "remember when" you mean Monkey-Bunkey - who has been washed so many times he looks like roadkill now - then, yes.

ALEXIS (best poker face)
I have no idea what you're talking about.

CASTLE
Oh, then you won't mind, next time I see him, if I throw him out.

[She grabs his ear.]

ALEXIS
Don't you dare. Don't.

CASTLE
Ooow. I won't. I won't. I won't.

ALEXIS
Okay.

CASTLE
Okay.

[ALEXIS notices one of the photos on screen: a close-up of a framed photo of ANGELA with the bunny.]

ALEXIS
So, you think the bunny has something to do with the case?

CASTLE
Well, I'll let you know when I go down the rabbit hole.

--

[35:26, INT. CANDELA APARTMENT, ANGELA'S BEDROOM - DAWN]

It's very early. Some light seeps in around the window shades, but it's pretty dark. BECKETT is asleep on a rocking chair. We see some feds in the background in the living room. BECKETT stirs to find CASTLE searching ANGELA's bed with a flashlight.

BECKETT
Castle?

CASTLE
Go back to sleep.

BECKETT
What are you doing?

CASTLE
When Alexis was little, she had a stuffed monkey that she could not live without. One time we were on vacation, she forgot to pack him. I bought another one, but she knew it was not Monkey-Bunkey.

BECKETT
So?

CASTLE
So...

[CASTLE picks up the framed photograph of ANGELA clutching her bunny in bed. He holds it up to BECKETT.]

CASTLE
There's two more pictures of her clutching this bunny out there. So where's the bunny?

BECKETT
You think whoever took Angela knew her well enough to take the bunny, too? But we already checked the Candelas' list. Couple of teenage babysitters, a cleaning lady... They're all being cleared.

CASTLE
Only not all baby-sitters are teenagers. Sometimes they're people close to us. Sometimes they're family. When did we lose the signal on the phone?

BECKETT
Right after we told the Candelas we were tracking it.

[BECKETT and CASTLE discreetly approach SORENSON in the living room]

BECKETT
Theresa's sister, Nina. You got an address?

--

[36:24, EXT. APARTMENT BUILDING, COURTYARD PLAYGROUND - MORNING]

BECKETT and SORENSON pull up to a private playground, surrounded by buildings, not seen from the street. BECKETT, CASTLE, and SORENSON walk across the playground. Nina looks anxious, holding ANGELA's stuffed bunny, but as she rises and turns, she sees RYAN and ESPOSITO closing behind her.

SORENSON
Nina Mendoza, you're under arrest for the kidnapping of Angela Candela.

ESPOSITO
Taking your own niece. Put your hands behind your back.

RYAN
You have the right to remain silent. Anything you say can be used...

[BECKETT goes to ANGELA and bends down.]

BECKETT
Hello, Angela.

RYAN
...against you in a court of law.

BECKETT
I am so happy to see you.

RYAN
You have the right to an attorney...

BECKETT
You wanna go and see Mommy?

[BECKETT scoops her up.]

BECKETT (CONT'D)
Come on, baby. Look at you. Hello. Hi, beautiful. Want to grab your pink rabbit?

[BECKETT grabs the stuffed rabbit off of the bench where Nina was sitting]

BECKETT (CONT'D)
Look at the rabbit.

[SORENSON glances over at CASTLE, nods. Then both men turn and follow BECKETT as she comforts ANGELA.]

--

[37:13, INT. CANDELA APARTMENT, LIVING ROOM - DAY]

THERESA and ALFRED sit at the dining table. BECKETT enters carrying ANGELA, who is clutching her bunny. SORENSON and CASTLE follow right behind.

ALFRED
Oh, my God. Angie!

[ALFRED, overcome, runs to his little girl and scoops her up from BECKETT, giving her hugs and kisses.]

ALFRED (CONT'D)
Mi corazon! Oh, God. You look perfect, just perfect!
(then, to BECKETT)
Is she okay?

BECKETT
She's fine. Yeah.

[ALFRED, smiling ear-to-ear, turns to THERESA. Curiously, she's still at the table, stone-faced. Numb.]

ALFRED (CONT'D)
Honey, what are you doing? She's here! She's home!
(off her silence)
What is it? What's wrong?

[But THERESA remains statue-like. ALFRED looks back to BECKETT, SORENSON, and CASTLE, whose serious expressions reveal that something is amiss.]

ALFRED (CONT'D)
What's going on?

SORENSON
(to FBI Tech, indicating ANGELA's room)
Crawford, can you take Angela?

FBI TECH (CRAWFORD)
Come here, sweetheart.

[The FBI Tech takes ANGELA from ALFRED's arms. BECKETT hands Crawford the pink bunny]

BECKETT
Here you go, Crawford.

FBI TECH (CRAWFORD)
Thank you. Here we go.

[Crawford carries ANGELA to her room]

ALFRED
What did you do?

THERESA
I worked fourteen-hour days year after year, killing myself so that we can have a life. And what did you do? Oh, you painted. All you did was paint.

ALFRED
That's not true.

THERESA
Really? What about that job you said that you were going to get so that I could cut my hours?

ALFRED
I was taking care of Angela.

THERESA
"Taking care"? You left her there! In front of the TV! Every day! (to the others) Do you know how many times I woke up to her screams because he was in that room, blasting the music in his ears?

BECKETT
It doesn't give you the right to kidnap your own child.

THERESA
How is it kidnapping? She's my daughter.

BECKETT
Mrs. Candela, you had your sister climb through that window and take her.

THERESA
I gave her permission.

BECKETT
It doesn't matter. You violated your husband's custodial rights.

THERESA (laughs)
"Custodial rights"? He didn't even notice that she was gone! What kind of a father does that to his two year old child?

ALFRED
Why would you do this? Why would you put us through that? I mean, for godsake, why not just divorce me?

THERESA
Oh, so that you can sue me for alimony? So that you can get half of everything? So that you can get custody of Angela because I'm at work all day and you can "be there for her"? No. I've seen what happens to the guys at work. What happened to Doug Ellers. No way was that gonna happen to me.

CASTLE
You were paying the ransom to yourself.

THERESA
Once Angela returned, I would file for the papers. There would be nothing left for him to take.

BECKETT
And if Angela was kidnapped when Alfred was taking care of her, then...

THERESA
The lawyer said that if I could prove him negligent, I would get custody. I wouldn't have to move out of the apartment that I paid for so that he could live here with my daughter. Do you know how hard it was to adopt her? How much it cost? Ten years! How many paintings have you sold, Alfred? Huh? How many?

ALFRED
How could you hate me so much?

THERESA
You made it easy.

--

[40:53, INT. PRECINCT, BULLPEN - NIGHT]

BECKETT sits at her desk, doing paperwork. SORENSON walks up and takes the seat next to her desk.

SORENSON
So, how do you think she'll do?

BECKETT
Well, it depends on how many mothers are on the jury.

SORENSON
So, now that it's over... now that I'm back, I was... thinking, maybe we could give it another shot.

BECKETT
And when you leave again?

SORENSON
You come with me.

[She looks at him for a moment, then looks away. He looks down and nods.]

SORENSON (CONT'D)
Think about it.

[BECKETT nods. As she watches him walk away, CASTLE takes a seat.]

CASTLE
Nice guy. I can see how it wouldn't work, though.

BECKETT
Really?

CASTLE
Sure.

BECKETT
Huh.

CASTLE
Handsome, square-jawed, by-the-book.

BECKETT
And that's a bad thing?

CASTLE
Yeah, he's like the male you. Ying needs Yang, not another Ying. Ying-Yang is harmony, but Ying-Ying is... a name for a panda.

BECKETT
Any more wisdom, Obi-Wan?

CASTLE
Nope. That's it for today. What say we celebrate by going out for a drink?

BECKETT
I can't. I've got a date.

[She rises and grabs her stuff.]

CASTLE
A date? You date? Who?

BECKETT
That's why it's called "private life." Because it's private. Unlike you, I don't live my life on Page Six.

CASTLE
Well, you're a mysterious woman, Detective Beckett.

BECKETT
Maybe there's a little more Nikki Heat in me than you think.

[She shoots him a mysterious smile as she heads out of the precinct, his jealousy of this mystery man building.]

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Note: Some of the transcript descriptions are based off of these scripts, which are possibly early drafts of the episodes.

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