- Dan Chase: [to Zoe] Lesson number two. When communications are compromised, always have a reserve. Uh, Emily and I, we share this account. Double digit primes on the left, that means she's okay. Crooked number that follows... that means she's on her way to my location. She's coming.
- Julian Carson: I think you may be right.
- Mike: I'm always right. You're gonna have to be more specific.
- Harold Harper: You know, there's a pretty good chance that he's not terribly happy to see me. This is gonna be a lot less Three Musketeers than you're hoping for.
- Angela Adams: You are underestimating him.
- [pause]
- Angela Adams: *Again*.
- Harold Harper: So whose idea was the reserve comms with the bank account?
- Angela Adams: His.
- Harold Harper: It's clever. Is that the only way you speak to each other?
- Angela Adams: No.
- Harold Harper: How else?
- [no response]
- Harold Harper: This isn't an interrogation.
- Angela Adams: Yes, it is.
- Harold Harper: Okay. Maybe it is, but not that way. You tell me I only half know you. I'm trying.
- Angela Adams: [clears throat] We speak on the phone.
- Harold Harper: Burner phones?
- Angela Adams: Yes.
- Harold Harper: Where?
- Angela Adams: Depends on the time of day, on my way to work. There's a garage on 10th and F. And at night, a playground in my neighborhood.
- Harold Harper: What about travel?
- Angela Adams: What about it?
- Harold Harper: When was the last time you saw him?
- Angela Adams: Fall, 2012.
- Harold Harper: [concernedly] What about your mother's funeral?
- Angela Adams: I didn't go. We both felt it was too dangerous. I wrote down what I felt I needed to say and I asked him to put it in the casket with her.
- Harold Harper: So, all that time... all you've been to him are sounds on the phone. A voice without a body.
- Angela Adams: [contemptuously] Don't do that.
- Harold Harper: Do what?
- Angela Adams: Diminish it. He's made sacrifices for me. I've made sacrifices for them. That's what it took to protect each other. Doesn't make him any less of a father.
- Harold Harper: What's left when all there is is sacrifice?
- Angela Adams: Clarity. Because I know there is nothing he wouldn't give up for me. Or me for him.
- [looks away as eyes well up]
- Angela Adams: That's what love is.
- Harold Harper: [exits helicopter and walks down marina ramp toward Chase] So, how do you want to do this?
- Dan Chase: Where's my daughter? I know she was with you, where is she now?
- Harold Harper: She's been taken.
- Dan Chase: Taken? Taken by who?
- Harold Harper: The old man. We're gonna go get her back.
- Dan Chase: [sets a pen on a cocktail napkin on Zoe's seat tray] Write your name on there.
- Zoe: Why?
- Dan Chase: Go on.
- Zoe: Which one?
- Dan Chase: Your real one.
- [Zoe writes on the cocktail napkin]
- Dan Chase: This is something I used to do early on to help me get my head straight before I stepped into a new op. Yeah, all right. Now, put it in there. Yeah, go on, in the water. Yeah.
- [ink runs on submerged cocktail napkin]
- Dan Chase: Now, see, your name... is still in there somewhere. But it's got to let go of you for a while, and you got to let go of it. Huh? When you walk out the door, it stays behind, you know? And you figure out a way to put it back together again when it's time.
- Zoe: Far be it from me to tell you how to do your job, but that seems like a problematic metaphor.
- Dan Chase: Oh?
- Zoe: This isn't reversible. In any way. Whate... whatever this is, it can't go back to what it was.
- [momentary wry smile appears on Chase]
- Zoe: Oh... I see. That's the price you pay for your line of work.
- Dan Chase: Um, that's the price you pay for waking up in the morning.
- [hands water glass to flight attendant]
- Flight attendant: Merci, monsieur.
- Dan Chase: [sighs] Everything's in free fall, all the time.
- [exhales]
- Dan Chase: We're not wired to cope with that, so we've all agreed to *pretend* that it isn't happening. But it is.
- Morgan Bote: [Cheryl hands off phone] Harold, I came as soon as I heard. Are you all right? Cheryl mentioned it was a rough flight between you and Angela.
- Harold Harper: Is my wife in the room with you?
- Morgan Bote: No, she's just gone to put Henry to bed.
- Harold Harper: Good. What the fuck do you think happened?
- Morgan Bote: I see.
- Harold Harper: You planted a mole in my office. You made me an accessory to I don't know how many crimes.
- Morgan Bote: I gave you a daughter.
- Harold Harper: That was the result. I want to know the intent.
- Morgan Bote: What difference does the intent make with that result?
- Harold Harper: It makes some difference to me.
- Morgan Bote: Because he asked. Despite all he'd done, I s... I still loved him. And he asked me to help him protect his only child, so I did as he asked. The same as I would have done for you. The same as I can do for you... now.
- Harold Harper: You're gonna help me now?
- Morgan Bote: Ask me to fix this, Harold, and I will.
- Harold Harper: How?
- Morgan Bote: I have always felt some connection to those surgeons on the battlefields of the Civil war. In the middle of all that suffering, armed only with a saw for the bone and dope for the pain, and asked to do the unthinkable... sever the parts to save the whole. I've always felt that is my profession too. To ignore the blood and the wailing and decide what allows for the greatest possible good. It's what I taught you to do, so I imagine you can see where this is going. If Angela Adams is never heard from again, this can all be laid at her feet. And you can be free of it.
- Harold Harper: No.
- Morgan Bote: That identity may have been born out of love, but it has become malignant. A danger to the things it's connected to. Even the girl herself might be saved, if she can separate from the name. Out in the wild, maybe she can find a way to recover.
- [door closes]
- Morgan Bote: I hear Cheryl returning. Tell me where you are. Ask me for my help... and you will get it.
- Harold Harper: In that part of the world, with his resources, Faraz Hamzad is a ghost. He cannot be approached. He cannot be touched. He cannot be killed, no matter what your dad says.
- [Adams smiles knowingly]
- Harold Harper: Okay, I'm underestimating him.
- Angela Adams: Again.
- [smiles and nods her head]
- Angela Adams: I think we both know that this has to happen. Your story gets a happy ending. I'm still not even sure what mine is really about. I have to go figure that out. No matter where it takes me.
- [Harper offers his hand to shake]
- Angela Adams: [Adams and Harper embrace as both tear-up, Harper turns and exits]
- Zoe: I want to understand how your world works. Will you explain it to me?
- Dan Chase: Lesson number one. All tradecraft is waged wielding two weapons in concert. In your left hand, uh, is your empathy. Your ability to read people, know what they want, what they need. What they fear. What, uh, may give them hope. Cause them shame. And then, uh, in your other hand... you've got your ruthlessness. The willingness to use all that insight against them, uh... And when both of those two knives are sharp, you'd be amazed what they can cut through.
- Zoe: And that's something you're taught?
- Dan Chase: Mm-hmm. Well, a little bit. But I learned by doing, mostly.
- Zoe: Emotionally carving strangers to pieces through trial and error sounds messy.
- Dan Chase: Ah, you have no idea.
- Zoe: Don't I?
- Dan Chase: Oh, do you?
- Zoe: The day we met.
- Dan Chase: Mm-hmm.
- Zoe: When you cooked for me, told me stories and were charming, that's what you were doing, wasn't it? Disassembling me to see how I worked? Applying pressure to the seams so that I'd let you stay?
- [pause]
- Zoe: Was it difficult? Was I difficult to disassemble and manipulate?
- Dan Chase: It's not really a "hard or easy" kind of thing. Everyone's, you know, wired so differently...
- [interrupted]
- Zoe: It's really a simple question.
- Dan Chase: Yeah, not very hard.
- Zoe: Really?
- Dan Chase: Yeah.
- Zoe: Okay. I really want to know how to do this.
- Dan Chase: You haven't, uh... heard the catch yet, though.
- Zoe: Oh? What's the catch?
- Dan Chase: Uh, the catch...... is that once you turn it on you can't turn it off. Ever. Now every time you meet someone, you get close to someone, you lay eyes on them, you'll be thinking... how easy it would be to use them, you know. Hurt 'em, discard them. And maybe you wonder if, you know, maybe they're doing it to you too, now. Maybe you can never really trust anyone ever again.
- [protracted pause]
- Dan Chase: Still want me to go on?
- Zoe: Well, friend, I haven't really trusted anyone for a very long time, so why the fuck would I want to start now?