5x16 Transcript

Transcribed by:
McManda
CASTLE
EPISODE 5x16
"Hunt"

[Previously on CASTLE]


EXT – ROOFTOP

ALEXIS CASTLE looks around, then down to the street below.

ALEXIS
Help!

She can only scream for help once before a man grabs her and muffles her screams. Two other men help drag her away as she struggles and continues to scream.

ALEXIS
Help! Help me!

INT – TWELFTH PRECINCT WORK ROOM

CASTLE and BECKETT are with the EL-MASRIS. They’re being debriefed on the updates by FBI AGENT HARRIS.

RICHARD CASTLE
They’re in another country. How is that possible?

FBI AGENT HARRIS
We don’t know. But clearly the kidnappers were working for outside interests. The voices on the call have been identified as Egyptian.

CASTLE
This isn’t a kidnapping for ransom, is it? (he turns to ANWAR EL-MASRI) Why are they in Paris?

ANWAR EL-MASRI
I don’t know.

CASTLE
They took your daughter there and my daughter along with her. There must be a reason.

ANWAR
(forcefully) I don’t know!

CASTLE
They are covering their tracks! Why?

LINA EL-MASRI
Please! (she’s teary) They have our daughter, too.

That sobers CASTLE. He visibly backs off and tries to calm down.

HARRIS
Show them the sketch.

CAPTAIN VICTORIA GATES
A neighbor spotted this man coming out of the farmhouse driveway after the girls were taken. Do either of you recognize him?

She hands a sketch to ANWAR, then to CASTLE.

ANWAR
No, he’s not familiar.

CASTLE studies his copy then shakes his head.

BECKETT
(sighs) So what’s our next step?

HARRIS
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.

HARRIS
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 establish -

CASTLE
Reaching out? What does that mean?

HARRIS
Uh, there are certain protocols we have to follow before we can move forward. Permissions we have to get.

CASTLE’s trying to play by their rules but it’s getting harder to deal with the red tape.

CASTLE
And how long will that take?

HARRIS
A day or two at the most.

CASTLE
A day or – (he pauses) Our daughters are out there right now. They need our help right now!

HARRIS
If you want to help your daughter, you’re going to have to be patient.

CASTLE gives him a deadly look. It’s not enough. BECKETT can feel the tension in the room.

INT – TWELFTH PRECINCT HALLWAY

CASTLE sits by himself. He doesn’t even glance at her when BECKETT walks up next to him. She sits and hands him a coffee.

BECKETT
Hey.

CASTLE says nothing. BECKETT waits him out.

CASTLE
(raw) She sounded so scared. I could hear it in her voice, just like when she was a little girl. And there was nothing I could do.

BECKETT
(low) She wasn’t hurt, Castle. That’s what matters. That’s what we hold on to.

CASTLE
I just want her home.

BECKETT grabs his hand in support.

BECKETT
We’re not giving up yet.

GATES
Hey. They just called El-Masri with terms.

INT – TWELFTH PRECINCT WORKROOM

HARRIS
It’s too soon. We can’t be in position in time.

ANWAR
I don’t care. I’m getting her back.

CASTLE
What did they say?

HARRIS
It was a ransom demand. 15 million Euro from anti-Mubarak dissonants. They set an exchange three hours from now.

BECKETT
Where?

HARRIS
In Paris, down by the Seine. Mr. El-Masri, you have to let me contact the local authorities.

ANWAR
No! (he stops typing on his phone) They were clear. They see police, my daughter dies. We’ll pay to get her back.

CASTLE
Did they – (he swallows) – did they say anything about Alexis?

LINA
Anwar insisted. And they’ve agreed to release both our daughters.

BECKETT turns to CASTLE. That’s good news. CASTLE swallows hard again, then walks closer to ANWAR.

CASTLE
If there is anything I owe you –

ANWAR
You owe me nothing.

He claps CASTLE on the shoulder in support. CASTLE tries to force a grateful smile.

GATES
If the police aren’t involved then who’s making the drop?

ANWAR
My wife has a sister living in Paris. Her husband will do the exchange. (HARRIS isn’t happy with that plan) Now if you’ll excuse us, we have many calls to make.

ANWAR and LINA start to leave.

CASTLE
Thank you.

ANWAR
Just pray these men are honorable.

They leave.

HARRIS
There are security cameras covering that part of the Seine. At the very least maybe we can get a tap in. See who these guys are.

INT – TWELFTH PRECINCT WORKROOM

TECH GUY pulls up all the security cameras around the drop site.

TECH GUY
Sir. We’re live.

HARRIS
Any activity?

TECH GUY
Looks deserted so far.

They settle in to watch. HARRIS scans the footage, then points at a car in one of the views.

HARRIS
There. Can you get any closer?

TECH guy tries, then does. They watch a man get out of the car.

LINA
That’s him. That’s Achmed.

They watch ACHMED. He’s alone at the drop site.

CASTLE
This doesn’t even seem real. Like some kind of show.

A white van drives up. The entire room watches tensely as ACHMED scrambles back to his car. He pulls out a bag and drops it in front of the van. He backs away quickly with his hands raised. Two men in black get out. They study the bag, then force ACHMED to the ground with his hands on his head.

LINA
Achmed!

HARRIS
Get the Paris police on the phone, now.

TECH GUY makes a move for the phone.

ANWAR
No, no, no! Wait, wait. Wait.

The men in the video head back to the van, leaving ACHMED on the ground. ACHMED says something to the men, but the van drives past him. There’s no sign of the girls.

LINA
No. No!

ACHMED runs from the car and out of sight of the cameras.

CASTLE
Where – where are they? Where are the girls?

ACHMED comes back into the line of the cameras. He’s got his arms around SARA as he leads her to the car. They stop and he gives her a hug. ALEXIS is nowhere to be seen.

ANWAR
He has her. She’s safe.

LINA cries in relief and they hug. CASTLE still searches the video feed for signs of ALEXIS.

CASTLE
Where’s Alexis?

BECKETT realizes that ALEXIS isn’t there and shuts her eyes. The others are silent. CASTLE shuts down again.

INT – TWELFTH PRECINCT INTERVIEW ROOM

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.

CASTLE
They got what they wanted. She’s of no value anymore.

BECKETT
You don’t know that.

CASTLE
Yes, I do.

He’s motionless. There’s no intonation in his voice. He’s just existing now. Existing with no hope. Finally he stands.

BECKETT
Where’re you going?

CASTLE
To tell my mother. She doesn’t know yet.

BECKETT
I’ll go with.

CASTLE
No. (she pauses) I need to do this alone.

He walks from the room slowly.

INT – TWELFTH PRECINCT WORK ROOM

HARRIS
Castle may be right. Sara was the objective. Alexis is just a liability now.

BECKETT
Then why didn’t they bring her to the exchange?

HARRIS
Same reason they took her. A bargaining chip. Insurance in case something went wrong.

BECKETT sighs.

GATES
Insurance they don’t need anymore.

HARRIS
We’ll keep moving forward. But we have to manage our expectations now.

BECKETT
Agent Harris, I’m not going to manage expectations. I’ll be solving a murder. The girl’s kidnapper, Roger Henson, was tortured and killed, most likely by the people that hired him. We find those people, we will find Alexis.

EST – NEW YORK CITY, NIGHTTIME

INT – TWELFTH PRECINCT WORK ROOM

BECKETT has ALEXIS’ case laid out in front of her. It’s late, but she’s still working.

BECKETT
(on the phone) Castle, it’s me again. Can you just call me when you get this?

She hangs up and JAVIER ESPOSITO walks in.

JAVIER ESPOSITO
Still not answering?

BECKETT
No. (he hands her a cup of coffee) Thanks.

ESPOSITO
Welcome. Any luck on the dead guy?

BECKETT
Henson’s been … completely off the grid. I can’t even find a known address.

ESPOSITO
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?

BECKETT
Espo, I can’t find a connection if I don’t even know where to start. (she’s grasping for anything now) How are you guys doing on the planes?

ESPOSITO
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 them filed flight plans for France. So far they all seem legit. So Ryan and I are going to expand our search in the morning.

BECKETT sighs and leans back in her chair, her hands covering her eyes.

ESPOSITO
Kate.

She doesn’t move.

BECKETT
What?

ESPOSITO
You should go. (off her look. He nods) He needs you.

INT – CASTLE’S LOFT

MARTHA opens the door for BECKETT.

MARTHA
Kate! Thank God. Is there any news?

BECKETT enters the loft with a purpose.

BECKETT
Uh, no. Not yet. But we’re doing everything that we can.

She looks around the loft for CASTLE.

MARTHA
Well, where’s Richard?

BECKETT whips around to face MARTHA.

BECKETT
I thought that he was with you.

MARTHA
No! He told me he was going to be with you, working on the case.

BECKETT
Martha, I haven’t seen him all day.

MARTHA thinks, realizes.

MARTHA
(low) Oh, no.

BECKETT
What?

MARTHA
No. (she heads for CASTLE’S office and rummages through a desk drawer) It’s gone.

BECKETT
What’s gone?

MARTHA picks up the phone and dials. She’s not really paying attention to BECKETT.

MARTHA
Ugh, it’s so stupid. It’s just – stupid.

BECKETT
Martha, what’s going on?

MARTHA holds out a hand and waits for the call to connect.

MARTHA
(low) Pick up, pick up, pick up.

Finally the call connects.

CASTLE
Castle.

MARTHA
Richard! Where are you?

CASTLE
I’m at the precinct with Beckett. Why?

MARTHA
Don’t lie to me, Richard. Beckett is here, your passport is gone. (BECKETT realizes what that means) Now what the hell do you think you’re doing?

CASTLE
Getting my daughter back.

He hangs up and continues to walk down the street. The Eiffel Tower is off in the distance. He’s in Paris.

INT – TWELFTH PRECINCT BULLPEN

ESPOSITO
Paris? What the hell’s he doing in Paris?

BECKETT
He thinks that he can find her.

KEVIN RYAN
What, so he’s Liam Neeson now?

ESPOSITO
Liam Neeson? The dude’s barely Ashley Judd.

BECKETT
Look, in the state that he’s who knows what he’s capable of. But he says that he knows someone that can help.

ESPOSITO
You gonna go after him?

BECKETT
And 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. (she makes her decision) Can you circle back with the Feds? Have them 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.

RYAN
Yeah.

BECKETT
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.

INT – PARISIAN COFFEE SHOP

GASTON
Merci, Colette. Et si jamais vous quittez votre petit ami – (he turns around) – Richard!

CASTLE
Hello Gaston.

INT – PARISIAN COFFEE SHOP

GASTON
Richard, I am so terribly sorry. If there’s anything I can do –

CASTLE
You’re still working as an advisor to the Administrator of Defense, right?

GASTON
Yes, but that gives me very little pull with the Police Nationale. I can make inquiries though.

CASTLE
No, I – 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.

GASTON
Ricky, I told you that in confidence.

CASTLE
But he exists.

GASTON
(pauses) 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.

CASTLE doesn’t let him look away.

CASTLE
Beatrice, she must be what, 14 now? Patrice is 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. Now imagine them gone.

GASTON sighs heavily.

GASTON
He’s expensive.

CASTLE
I don’t care. (he’s starting to break) Gaston, please.

GASTON thinks for a moment, then shrugs.

GASTON
Stay close to your phone.

He stands and leaves. It’s something, at least.

INT – TWELFTH PRECINCT BULLPEN

ESPOSITO
Yo Beckett! They didn’t fly to Paris. At least not at first. (he takes a photo from a folder and adds it to the murder board) FAA shows a Dassault Falcon left 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.

BECKETT
Alexis and Sara.

ESPOSITO
French immigration met them at the plane and processed the girls before they were loaded onto an ambulance. They were both unconscious at the time.

GATES
That’s how they did it.

BECKETT
What do we know about the plane?

ESPOSITO
It’s owed by one of those Russian oligarchs. A Vladimir Abramivich.

BECKETT
And how is he connected to the El-Masris?

ESPOSITO
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.

GATES
These people stole a jet?

BECKETT
For a simple hostage exchange? That doesn’t add up.

RYAN elbows his way in to talk to BECKETT.

RYAN
Hey so, I talked to my guys in narcotics. 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. (he holds up a paper) Henson had a girlfriend.

BECKETT grabs the paper and leaves to follow the lead.

EXT – PARIS, DAYTIME

CASTLE can’t do anything but wait for help from GASTON. His phone chimes with a text message. It reads “St. Thomas d’Aquin church. 1 hr. Take seat. He’ll find you.”

CASTLE pockets his phone and starts walking. He finds the church and walks in.

INT – ST. THOMAS D’AQUIN CHURCH

It’s mostly empty. CASTLE walks in and takes a seat, as instructed. There’s a menacing guy already there, but CASTLE sits some distance away from him. He takes a chance and looks back at the guy, but when he does a voice comes over his other shoulder.

JACQUE HENRI
“Vengeance is mine”, sayeth the Lord. “I will repay.” Sometimes the Lord needs a little help, huh?

He gives CASTLE a look. CASTLE lets out a shaky breath.

CASTLE
Thank you for coming.

HENRI
Don’t thank me yet. My terms. Half now, half when I find her.

CASTLE
Can you? Find her?

HENRI
Yes. But I don’t promise to find her alive. That, I’m afraid, is out of my control.

CASTLE considers. It’s better than not knowing.

CASTLE
Where do we start?

HENRI
I understand there is a recording of a call she made to you.

CASTLE looks at him sharply.

CASTLE
How did you – (off his look) Yeah, there’s a recording.

HENRI
I need a copy.

CASTLE
There’s nothing on it that indicates where she is.

HENRI
And who told you that?

CASTLE
The FBI.

HENRI
And then you thank God I’m not the FBI.

HENRI moves around CASTLE and crosses himself.

HENRI
Come.

INT – TUNNELS OF PARIS

HENRI leads CASTLE down a set of stairs.

CASTLE
Where are we going?

HENRI
To see a friend.

The stairs open up into a tunnel. The tunnel opens up into a room where a man sits with a bunch of tech looking equipment.

THE MOLE
Bonjour, Henri!

HENRI
Bonjour!

THE MOLE
Monsieur Castle, I presume.

THE MOLE holds out his hand.

CASTLE
Yeah. And you are?

CASTLE has to make an effort to shake his hand. It’s like the guy doesn’t even see him.

HENRI
We call him la taupe – the mole.

THE MOLE
Il est tendu, eh?

HENRI
Pas mal, eh.

CASTLE
What?

HENRI
Says you’re nervous. He can hear your heart.

CASTLE is confused by this guy.

INT – TUNNELS OF PARIS

THE MOLE works on the video of ALEXIS’ call. He plays and replays it, and messes with the audio. Things get deeper and distorted. Hearing it again grates on CASTLE.

CASTLE
I told you, there’s nothing on there. Nothing to see or hear.

THE MOLE
Ah, you listen with your eyes. Shh.

THE MOLE goes back to work. CASTLE gives HENRI a look and he just shrugs.

THE MOLE
There. Hear that?

It’s a bunch of rumblings.

CASTLE
No.

THE MOLE
Right there. (he pauses) Church bells.

CASTLE startles. He heard no bells.

THE MOLE
Saint George’s in the … sixteenth. ( HENRI grabs a map.) From the sound of it, she’s 6, maybe 8 blocks away. And there’s a restaurant in the building she’s in.

CASTLE
How can you tell that?

THE MOLE
Sounds, Monsieur Castle, are like fingerprints. No two are alike. Ah, that hum? That’s from a restaurant ventilation system. Commercial grade.

All the sounds blend together and CASTLE can pick out none of what he’s talking about. It’s discouraging and it shows.

HENRI
When was the last time you slept?

CASTLE
I – I don’t know. I’m good.

HENRI
No, this will take some time. I will wake you when we find something, hmm?

CASTLE moves to disagree, but then he nods. He leans back on the bed he’s sitting on and tries to make himself relax. The sounds of ALEXIS’ call surround him.

ALEXIS
(on the call) They’re coming. They’ve realized we’re gone.

CASTLE
(on the call) Baby, get out of there. Get out of there now.

EST – NEW YORK CITY, DAYTIME

INT – TWELFTH PRECINCT INTERROGATION ROOM

They’ve found ROGER HENSON’S girlfriend.

BECKETT
(sighs) Ms. Degarmo, I’m going to ask you again. What else can you tell me about Roger Henson’s murder?

PAULINE DEGARMO
I don’t have to tell you nothing. I know my rights. You can’t keep me here.

PAULINE leans back in her chair, balances on the back legs, flippant.

BECKETT
He’s dead. Tortured. I’m just trying to find the people that did it to him.

PAULINE
Listen, b*tch. I don’t talk to cops. Now go get me my lawyer and then go to hell.

BECKETT isn’t taking her talk. She slams her foot into the chair and sends it crashing backward.

BECKETT
(angrily) 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 – (she throws her file toward PAULINE and forces herself to calm ) – are in my way. Now you don’t talk to cops? I’m not a cop today, honey. Now, who was he working for?

BECKETT’S anger worked. PAULINE startles back.

PAULINE
He didn’t say.

BECKETT picks up a sketch of the guy from the farmhouse.

BECKETT
Who’s this guy?

PAULINE
(afraid) I don’t know.

BECKETT
What?

PAULINE
But Roger got strange calls in the middle of the night. People with accents.

BECKETT
What kind of accents?

PAULINE
Foreign.

BECKETT
What phone did he use?

She’s growing angry again.

PAULINE
He didn’t give me the number!

Something clicks with BECKETT and she dials it back.

BECKETT
Good. I believe you. Now you’re going to give me his address.

INT – ROGER HENSON’S APARTMENT

BECKETT kicks in the door and RYAN and ESPOSITO follow her in.

ESPOSITO
It looks like somebody got here first.

They place has already been torn apart.

BECKETT
These people hired him to kidnap those girls. So why would they torture and murder him? Why would they toss this place?

ESPOSITO
Maybe it wasn’t the same guys.

BECKETT
Who else is it gonna be? Check with the neighbors. See if they saw anything.

ESPOSITO
(nods) Yeah.

He leaves.

RYAN
Beckett. (he moves a pillow) A computer.

He pulls the hard drive out.

BECKETT
Get it to tech. Tear it apart. Find me something. Anything.

EST – PARIS, DUSK

INT – TUNNELS OF PARIS

The loading of a gun rouses CASTLE. HENRI sticks a gun in his jacket.

CASTLE
What’s going on? You found something?

HENRI
Maybe. Acoustic tiles, office space, close to a rooftop. Might fit the bill.

CASTLE stands.

CASTLE
I’m coming.

HENRI
No, no, no. It might not be the place.

CASTLE
I don’t care.

HENRI
It might be the place.

He gives CASTLE a long look. What he means is it might be the place they find ALEXIS dead.

CASTLE
My daughter. My money. I’m coming.

INT – OFFICE BUILDING

HENRI slides a pipe camera under the door. There’s no one in the hallway. When he’s satisfied they’re in the right place, he opens the door and heads down the hallway with his gun drawn. CASTLE follows behind him as he tries different doors. They’re all locked except for one. The open door is an office, but it’s empty. They look up and find a mark on the ceiling that matches the mark from the video with ALEXIS.

CASTLE hands over the bag he was carrying and sets out to see if he can find his daughter. He doubles back and down the hall until he finds the room ALEXIS and SARA were held in. It’s empty now. He stops and reaches down. There’s a long red hair on the cot.

CASTLE
They were here.

HENRI
Not anymore.

They were so close.

INT – OFFICE BUILDING

They’ve gone back to the office where ALEXIS had called from.

HENRI
This is not the work of typical kidnappers. The place is clean. It’s too clean. This is trade craft.

CASTLE
Trade craft as in spies?

HENRI
Whoever is behind this has intelligence training. They left no trace.

CASTLE
So how do we find them?

HENRI sighs.

CASTLE
(exasperated) You said you could find them.

HENRI
Shh!

He holds up his finger and draws a knife. Crossing to the wall behind CASTLE he cuts a semi-circle in the wallpaper to reveal a bug. He walks back to CASTLE.

HENRI
(whispered) They’re listening. So if the cops find this place they stay ahead of the investigation.

CASTLE
(whispered) Who are these people?

HENRI
(whispered) Let’s find out.

HENRI crosses back to the wall. He stands beside the bug.

HENRI
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. Now 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’re stupid, then I’ll 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.

He looks to CASTLE. Seconds later the phone rings. HENRI picks it up. He listens to the demands in French. Castle doesn’t catch all of it.

INT – OFFICE BUILDING HALLWAY

CASTLE
Sans le père? Without the father?

HENRI
Don’t you see? This is good news. They want to negotiate. It means she’s safe.

CASTLE
You’re not having that meeting without me.

HENRI
You’re emotionally compromised. That makes you like an animal to them. Unpredictable and dangerous. (CASTLE stares in defiance) Mr. Castle, this is what I do. It’s what you paid me for. Now let me meet with them. Let me negotiate the terms.

CASTLE doesn’t want to but he nods.

HENRI
Oh, well of course they will ask for more money. I need to know. How much can you afford?

CASTLE just looks at him.

EST – NEW YORK CITY, MORNING

INT – TWELFTH PRECINCT WORK ROOM

ESPOSITO
Yo Beckett. One of Henson’s neighbors saw someone leaving his apartment two days back. We just got the sketch. (he hands it over) It’s the same dude who was spotted leaving the farmhouse where Henson was found.

She compares it to the other sketch.

BECKETT
First he tortures Henson and then he trashes his place. Why? (to TECH GUY) Where are you with Henson’s hard drive?

TECH GUY
It’s been erased. And not with commercial software.

BECKETT
Were you able to pull anything from it?

TECH GUY
I’ll do what I can, but I wouldn’t get your hopes up.

BECKETT
Do it. We gotta figure out what he was looking for.

INT – TUNNELS OF PARIS

THE MOLE
Don’t worry. Henri always comes through.

He hands CASTLE a cup of tea.

CASTLE
Shouldn’t he be back by now?

THE MOLE
He is.

The door opens and HENRI walks in. CASTLE jumps up to meet him.

CASTLE
Was she there?

HENRI
Yes. (he holds up a photo of ALEXIS with a newspaper) And she is safe. This is today’s paper.

CASTLE
Why did they take her?

HENRI
It was convenient. But they’ve agreed to let her go.

CASTLE
When?

HENRI
Later today. In the Forest of Fontainebleau. It will give you time to get the money together.

CASTLE nods.

INT – TWELFTH PRECINCT WORK ROOM

The TECH GUY is working on gathering data from HENSON’S hard drive. He manages to put together a picture. It’s of ALEXIS. He stands.

TECH GUY
Detective Beckett?

INT – TWELFTH PRECINCT WORKROOM

TECH GUY
Henson was looking at these. Surveillance photos.

He pulls up even more photos.

BECKETT
Oh God. Alexis. She wasn’t at the wrong place at the wrong time. She was the target.

EXT – FOREST OF FONTAINEBLEAU

CASTLE opens the briefcase full of money. He flips through a stack of 500 euros again before shutting the top. HENRI drives them to the drop location and parks. There’s an SUV already waiting for them. With one last look, CASTLE and HENRI get out of the car. CASTLE’S phone rings. It’s BECKETT, but he ignores it. Men start to get out of the SUV.

CASTLE
Where’s Alexis? I don’t see her.

HENRI and CASTLE start to walk slowly toward them. HENRI draws his gun from his jacket.

HENRI
Stay calm.

CASTLE hesitates.

CASTLE
No, no, no. This isn’t right. It’s not right.

CASTLE starts to slowly back up. He stops when he backs into HENRI’S gun at his neck.

HENRI
Don’t move. (to the other men in French) He’s yours, like we agreed.

CASTLE
You’re selling me out? Why?

HENRI
I value my life more than my word. If I had known who was really holding your daughter, who your daughter really is –

CASTLE
Who she really is? That – I – I don’t understand.

HENRI
I never would have taken the job.

CASTLE
She’s nobody.

A masked man grabs CASTLE and starts to lead him away.

HENRI
Mon paiement?

A masked man nods. HENRI steps forward and takes the briefcase of money from CASTLE. CASTLE sighs. The masked men lead CASTLE a bit further into the forest. They shove him and he tumbles to his knees on the ground.

CASTLE
Ow! Wait, okay, wait. Just – what do you want?

One of the men raises his gun and aims it at CASTLE. They want to kill him. He raises his hands and braces for his execution. There are five shots, but CASTLE is unharmed. He looks around. Everyone else in the forest is dead, including HENRI.

EXT– FOREST OF FOUNTAINEBLEAU

CASTLE looks around, not sure what to make of all the dead men around him. A man dressed in black comes from behind the trees. CASTLE scrambles to get away.

JACKSON HUNT
Ah, ah, ah.

CASTLE stops.

HUNT
If I’d wanted you dead, you’d be dead.

CASTLE
You’re the guy in the sketch. You were at the farmhouse.

HUNT
That’s right. Your friend there was pretty good. A bit out of his league. I am not surprised he crossed to the other side.

HUNT calmly grabs car keys from HENRI’S dead body.

CASTLE
You know what’s going on here? You – you know where my daughter is?

HUNT
Look, we’re exposed here. We gotta go. Now.

He opens the door to the driver’s side of the car HENRI and CASTLE came in.

CASTLE
Go? What are you talking about? Go where?

HUNT
Somewhere safe. Get in the car.

CASTLE
No, not until you tell me what’s going on. (his phone rings and with one last look he turns away to answer it) Beckett. I am so glad you called.

BECKETT
Castle, Alexis wasn’t taken by accident. She was the target. They wanted her.

CASTLE
Listen, I –

He doesn’t finish. HUNT takes his phone and throws it in the air, using it as a target for his gun. The phone disconnects and BECKETT pulls it away from her ear, looking at it in shocked disbelief.

CASTLE
What are you doing? That was a $200 phone!

HUNT
That’s how they track you. Now get in the car.

HUNT turns and walks away. He’s done discussing.

CASTLE
(pointedly) Hey, I am not getting in the car.

HUNT
Oh, don’t be an idiot. I’m the good guy.

CASTLE
Oh, you expect me to trust you?

HUNT
You’re still alive, aren’t you? (CASTLE has no rebuttal) What are you going to do? Stay out here in the woods with all the dead guys?

CASTLE looks around him. HUNT gets in the car.

CASTLE
Fine. I’ll get in the car.

HUNT
Given how you’re feeling so bad about your $200 buck phone you might want to pick up that 3 million dollar briefcase.

CASTLE hesitates a second, then does as suggested and pries the briefcase of money from HENRI’S hand.

HUNT
Take it with you.

CASTLE gets in the car.

CASTLE
At least tell me your name.

HUNT
Hunt. Jackson Hunt.

CASTLE
Sounds made up.

HUNT
(smirks) It is.

HUNT puts the car in reverse and they drive away.

EST – PARIS, MORNING

INT – VOLKOV’S HOUSE

A bunch of men with guns stand around a very ornate room. They don’t speak English, but they’re talking about something. In the next room ALEXIS is locked in a cage. She listens to them talk and when they walk toward her she tries to get their attention.

ALEXIS
Hey. Hey. Can someone just please tell me what’s going on? Why am I here?

They look at her, but they don’t say anything. They just keep walking.

EST – PARIS, DAYTIME

INT – HUNT’S APARTMENT

CASTLE shuts the door behind him when they get in.

HUNT
We should be safe here for now.

CASTLE notices a collage of various pictures of ALEXIS on the wall. They’re from all over in different points of her life.

CASTLE
Where did you get these?

HUNT
It’s not important. Now what’s important is that we get her back.

CASTLE
I don’t even know you. Why would you care?

HUNT
(shrugs) It’s my job. I was sent.

CASTLE
By whom? El-Masri?

HUNT
What’s the difference?

CASTLE
You need to tell me who hired you and why these people took my daughter.

A phone on the dresser rings.

HUNT
That’s yours. You want to get it?

CASTLE
How’s it mine? You shot mine.

HUNT
It’s a clone. That’s how I tracked you. Difference is, that one’s secure. It’s probably Beckett.

The fact that he knows about BECKETT catches his attention.

HUNT
You ought to let her know you’re safe.

CASTLE picks up the phone and looks at the display.

CASTLE
It’s not Beckett. It’s a local number. (he realizes) Alexis. (he picks up) Alexis?

GREGOR VOLKOV
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.

CASTLE is confused but does as instructed.

HUNT
Yeah.

VOLKOV
It’s you. After all these years, it’s finally you.

HUNT
Time to let her go, Volkov.

VOLKOV
The way you let Anna go? No. It’s time to end things. A life for a life. Tomorrow, 6AM. Outside the Palais Le Bon. 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.

VOLKOV hangs up.

CASTLE
This is about you?

HUNT
Yeah.

CASTLE
I don’t understand. What does this have to do with Alexis? Why would they take her?

HUNT
Because I was careless. Because somehow she found out who she was. Who you were. And he knew I’d come for her.

CASTLE
Why? Why would you come for her?

HUNT
Because she is my granddaughter.

Of anything HUNT could have said, CASTLE did not expect that.

HUNT
Richard, I’m your father.

CASTLE can’t hide his shock and confusion.

INT – HUNT’S APARTMENT

CASTLE
You’re telling me you’re a spy?

HUNT
Intelligence asset is the term.

CASTLE tries to process.

CASTLE
My dad’s a spy. (confused) Does my mom know?

HUNT
(shakes his head) Uh uh. What’d she tell you about me?

CASTLE
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.

They both take a second to think.

HUNT
That night I had just finished a job at the U.N. At least, I thought I had. 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.

CASTLE
You’ve known about me? About us? All these years and you never once let us know you were out there?

HUNT
What I do means no communication, no relationships, to anyone. But, hey, I’ve been around. We’ve met before. (off CASTLE’S incredulous look) Yeah. When you were about 10 years old. Your mother took you to the library and you were looking for a book and I gave you a copy of –

CASTLE
Casino Royale.

HUNT
Yeah.

CASTLE
That was you?

Hunt nods. CASTLE processes.

CASTLE
That book made me want to be a writer.

HUNT
I could believe it when I read your first spy novel.

CASTLE
You read my books?

HUNT
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 checking on you, and your mom, and Alexis your whole lives.

HUNT is completely sincere.

CASTLE
This man who has my daughter, who is he?

HUNT
Gregor Volkov. KGB’s most feared agent. I killed his wife Anna at a counterintelligence op twelve years ago here in Paris. The first time he came after me I put him away in a Chechnyan prison for life. Then he escaped. He’s been trying to figure out a way to draw me out ever since.

CASTLE
If this was about Alexis, why would he take the other girl?

HUNT
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.

CASTLE
And if you do show up?

HUNT
He’ll kill us both just for fun.

CASTLE steps forward.

CASTLE
If you know me at all you know I’ll do anything.

HUNT considers this.

HUNT
You know, our only advantage is Volkov doesn’t know I’ve found him. (he shows CASTLE a map) He may not be prepared for a direct assault. If I can get inside his compound I can get Alexis out.

CASTLE
A direct assault?

HUNT
This is our best shot. Her best shot. But we need a tactical advantage. I can’t do this alone.

CASTLE
(pauses, then nods) Tell me what you need.

HUNT
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’ve been playing cop for years. You ready to play spy?

CASTLE huffs humorlessly and gives HUNT a look before turning back to the plans.

EXT – VOLKOV’S HOUSE

The place is swarming with armed guards. HUNT keeps an eye on them with binoculars.

INT – SEWER SYSTEM

CASTLE walks with a flashlight and a walkie-talkie.

HUNT
How’re we doing?

CASTLE
Yeah, I’m almost there.

HUNT
You should see a junction box with six conduits coming from it.

CASTLE stops and checks.

CASTLE
I see it.

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

CASTLE
Got it.

He sets up his tools.

HUNT
Wrap the charge around it like I showed you. And then attach the detonator.

CASTLE works while HUNT keeps watch above ground.

CASTLE
All right, I’m setting the detonator for 30 seconds … now.

He hits a button and starts to walk back the way he came. He only gets around a corner when men with guns come up behind him.

GUARD
Hey, don’t move!

CASTLE turns and talks into his walkie-talkie.

CASTLE
We may have a problem.

INT – VOLKOV’S HOUSE

The armed guards lead a blindfolded CASTLE through the house. They end up in the room where ALEXIS is being held.

ALEXIS
Dad? Dad?

CASTLE
Alexis? Alexis?

He rips the blindfold off and runs toward her.

ALEXIS
Dad? Dad!

CASTLE
Alexis!

Each is happy to see the other. CASTLE crouches by the cage.

CASTLE
Alexis! Hey. You okay?

ALEXIS
Yeah but, what are you doing here? The kidnap you too?

He looks around.

CASTLE
Uh, yeah. Trying to rescue you.

ALEXIS
(sadly) You shouldn’t be here.

CASTLE
Shh. (low) It’s okay. We’re together. It’s going to be okay. (emotionally) You look good.

She laughs despite her tears.

VOLKOV
You are like your father, Mr. Castle.

His voice and the sound of a gun cocking gets CASTLE’S attention.

VOLKOV
Getting involved where you don’t belong. (CASTLE stands slowly) Did he really think I would not be prepared for an attack?

ALEXIS
Dad, what’s he talking about?

VOLKOV
Tell her. Go on. Tell her why she’s here.

CASTLE
She’s of no use to you. Let her go.

VOLKOV
When a man doubles his wealth, why should he give half of it away?

A GUARD approaches VOLKOV.

GUARD
He had this on him.

VOLKOV takes the walkie-talkie.

VOLKOV
Time to end this. (into the walkie-talkie) 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 10 seconds to show yourself to my men out front. Give yourself up – (he cocks his gun) – or I will kill him.

ALEXIS
(whimpered) Dad.

CASTLE
(low) It’s okay.

VOLKOV
10. .. 9… 8 … 7…

He walks a few steps away.

ALEXIS
I’m sorry.

CASTLE
It’s all right.

VOLKOV
6 … 5 … 4 …

ALEXIS starts to sob.

VOLKOV
3 …

HUNT
(over walkie-talkie) You’re not going to kill my son, Volkov.

The room goes still.

VOLKOV
No? And why is that?

HUNT
Because you’ll be dead.

He hits a button and the walkie-talkie starts to beep. VOLKOV only has time to turn to CASTLE.

CASTLE
(to ALEXIS) Get down.

She does at the same time he does. The walkie-talkie explodes, killing VOLKOV and a few of his men in a short blast.

INT – HUNT’S APARTMENT, FLASHBACK

HUNT
Once the charge goes off there’ll be a moment when it all hits the fan. (he hands CASTLE a watch) Use this to get her out.

INT – VOLKOV’S HOUSE, PRESENT

CASTLE uses the watch to blast open the cage door.

CASTLE
Watch your eyes, sweetheart.

INT – HUNT’S APARTMENT, FLASHBACK

HUNT
And then run.

INT – VOLKOV’S HOUSE, PRESENT

CASTLE opens the cage door and grabs ALEXIS’ hand. They run under fire down the hallway.

INT – HUNT’S APARTMENT, FLASHBACK

HUNT
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
What about his men? What if they try to stop us?

HUNT
Don’t let them.

INT – VOLKOV’S HOUSE, PRESENT

CASTLE and ALEXIS continue running. CASTLE runs straight into one of VOLKOV’S men and sends him to the ground. They leave quickly out the back door as planned.

HUNT (VOICEOVER)
Just keep moving until you hit the back door. I’ll be coming in the front. Don’t stop running. Ever. Not until you reach the U.S. Embassy.

ALEXIS and CASTLE run through the streets of Paris. They make it to the Embassy and are ushered inside by a MARINE. It's over. They’re safe.

INT – HUNT’S APARTMENT, FLASHBACK

HUNT
And once you reach the Embassy ask for Deputy Chief of Missions Jim Aldicot. He’ll provide you both with an official cover story. One that credits Interpol and the French police and doesn’t include me.

CASTLE
What happens to you after?

HUNT
Assuming we’re both not killed, I – I disappear.

That doesn’t sit right with CASTLE.

CASTLE
No, but we just –

HUNT
That’s the job. That’s my life.

CASTLE
Yeah, but – 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 … (he pauses) I – I need to have more time.

HUNT
Maybe we can do that sometime, you know, some day.

He sounds full of forced hope. Neither likes this outcome.

CASTLE
How will I know if you made it?

HUNT
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.

It’s something CASTLE never thought he’d hear; approval from his father.

HUNT
Always.

CASTLE gives him a small smile. HUNT returns it. Both are emotional. This isn’t how they wanted this to go.

EST – NEW YORK CITY, DUSK

INT – CASTLE’S APARTMENT BUILDING

They’ve finally made it home.

ALEXIS
I have never in my life been so happy to be home.

CASTLE
Amen.

ALEXIS
I know we’re not supposed to talk about what really happened, but … thank you. For everything.

They’ve stopped just outside the door to the loft. He pulls her into a hug.

CASTLE
Hey. That’s what fathers do.

ALEXIS
You think he made it out?

CASTLE
(wistfully) I wish I knew. (he gives her a look and lowers his voice) You ready?

ALEXIS nods. CASTLE opens the door to the loft.

MARTHA
Oh… you’re back!

MARTHA and BECKETT were waiting for them to come home. They’ve even hung a ‘Welcome Home’ banner. MARTHA pulls ALEXIS into a huge hug.

MARTHA
You’re back!

ALEXIS
Oh, it’s so great to be home.

BECKETT heads straight for CASTLE. She hugs him.

BECKETT
(softly) I’m so glad you’re okay. (she pulls back) Please don’t do anything like that again without me, okay?

He doesn’t look away but he smiles.

CASTLE
I won’t.

She smiles back, then leans in for a kiss.

ALEXIS
It’s okay, Gram. I’m okay.

MARTHA
Oh!

CASTLE and BECKETT extend their moment a second longer, but then she turns and smiles at ALEXIS. She leaves CASTLE’S arms to hug ALEXIS.

BECKETT
Hi, honey!

MARTHA gives CASTLE a hug.

BECKETT
(to ALEXIS) How are you?

MARTHA
Brilliant. You are just brilliant. Everyone must be starving. C’mon. I’ve made breakfast.

She pulls CASTLE along while BECKETT and ALEXIS follow behind, arm-in-arm. When they get closer to the breakfast bar CASTLE notices the package waiting.

CASTLE
Mother, what’s this?

MARTHA
Oh, it came for you this morning. Why? Is it important?

CASTLE rips it open. Inside is a copy of Casino Royale. CASTLE looks from the book to MARTHA. She’s not sure what the significance is.

CASTLE
(fondly) Mom, there’s something I want to tell you.

He smiles. Everything is okay.

THE END

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