1 00:00:02,473 --> 00:00:06,077 (man speaking foreign language) 2 00:00:12,043 --> 00:00:15,116 (man continues speaking foreign language) 3 00:00:22,123 --> 00:00:25,456 (man continues speaking foreign language) 4 00:00:31,102 --> 00:00:35,066 (man continues speaking foreign language) 5 00:00:47,578 --> 00:00:51,082 (moaning) 6 00:00:52,623 --> 00:00:54,125 (woman) AAH! 7 00:00:54,125 --> 00:00:56,056 AAH! 8 00:00:56,056 --> 00:00:57,458 (Castle) WHOA! AAH! 9 00:00:57,458 --> 00:00:58,789 (glass shatters) 10 00:00:58,789 --> 00:01:00,831 (woman sighs) 11 00:01:00,831 --> 00:01:03,134 (panting) 12 00:01:03,134 --> 00:01:05,236 (out of breath) THAT WAS... 13 00:01:05,236 --> 00:01:06,637 OH, YEAH. 14 00:01:06,637 --> 00:01:08,769 TOP TEN, AT LEAST. 15 00:01:08,769 --> 00:01:10,801 MA-MAYBE TOP 20. (sighs) 16 00:01:10,801 --> 00:01:13,244 NOT TOP TEN? 17 00:01:13,244 --> 00:01:15,176 WELL... 18 00:01:15,176 --> 00:01:16,407 THERE WAS PARIS. 19 00:01:16,407 --> 00:01:18,679 KAUAI. (laughs) 20 00:01:18,679 --> 00:01:20,481 YANKEE STADIUM. 21 00:01:20,481 --> 00:01:22,553 OH, THAT PLACE IN THE POCONOS. YES. 22 00:01:22,553 --> 00:01:25,085 MYKONOS. (sighs) 23 00:01:25,085 --> 00:01:26,817 CONEY ISLAND. OH! 24 00:01:26,817 --> 00:01:29,660 AND THEN THERE WAS STATEN ISLAND. OH, AND THE HOT AIR BALLOON. 25 00:01:29,660 --> 00:01:31,722 THE WESTMINSTER DOG SHOW. OH. 26 00:01:31,722 --> 00:01:34,165 THAT WAS... THAT'S ONLY NINE. 27 00:01:34,165 --> 00:01:37,097 WELL, THE NIGHT WE MADE ALEXIS. OH. MM. 28 00:01:37,097 --> 00:01:38,369 MMM. MMM. 29 00:01:38,369 --> 00:01:40,371 WE HAVE HAD FUN, HAVEN'T WE? 30 00:01:40,371 --> 00:01:41,872 OH, YEAH. 31 00:01:41,872 --> 00:01:44,775 MAKES YOU WONDER WHY WE EVER GOT DIVORCED. I KNOW, RIGHT? 32 00:01:44,775 --> 00:01:47,238 I MEAN, EXCEPT FOR YOU HAVING AN AFFAIR 33 00:01:47,238 --> 00:01:49,740 WITH YOUR DIRECTOR AND MOVING TO MALIBU 34 00:01:49,740 --> 00:01:51,742 AND SERVING ME WITH DIVORCE PAPERS, 35 00:01:51,742 --> 00:01:53,844 I THINK WE REALLY HAD A CHANCE. 36 00:01:53,844 --> 00:01:55,386 MM. 37 00:01:55,386 --> 00:01:56,747 I'M MOVING BACK. 38 00:01:56,747 --> 00:01:59,220 BACK TO NEW YORK? 39 00:02:00,751 --> 00:02:02,593 I MISS IT. 40 00:02:02,593 --> 00:02:04,695 I MISS IT. I MISS ALEXIS. I MISS YOU. 41 00:02:04,695 --> 00:02:06,327 UH, WHAT ABOUT YOUR CAREER? 42 00:02:06,327 --> 00:02:08,399 OH, L.A.'s CHANGED. 43 00:02:08,399 --> 00:02:10,701 UH, THE JUICY ROLES JUST AREN'T THERE 44 00:02:10,701 --> 00:02:12,863 FOR AN ACTRESS OF MY CALIBER. 45 00:02:12,863 --> 00:02:15,806 I NEED A CHANGE, LIKE BROADWAY MAYBE. 46 00:02:15,806 --> 00:02:18,709 THE LEGITIMATE STAGE. (chuckles) YEAH, BUT-- 47 00:02:18,709 --> 00:02:20,611 WHOA, WHOA. (laughs) 48 00:02:20,611 --> 00:02:22,142 TIME-OUT, HEY. 49 00:02:22,142 --> 00:02:24,875 MEREDITH, HOLD ON, HAVE YOU REALLY THOUGHT THIS THROUGH? 50 00:02:24,875 --> 00:02:26,417 WHAT'S TO THINK ABOUT? 51 00:02:26,417 --> 00:02:28,849 YOU, ME, ALEXIS--ALL LIVING IN THE SAME CITY-- 52 00:02:28,849 --> 00:02:30,921 IT'S GONNA BE JUST LIKE OLD TIMES. 53 00:02:30,921 --> 00:02:32,823 (moaning) 54 00:02:32,823 --> 00:02:34,325 OKAY. 55 00:02:36,857 --> 00:02:40,291 (breath catches) 56 00:02:40,291 --> 00:02:46,697 ♪♪ 57 00:02:46,697 --> 00:02:48,699 (siren wailing) 58 00:02:48,699 --> 00:02:50,841 (police radio chatter) 59 00:02:50,841 --> 00:02:52,703 (camera shutter clicking) 60 00:02:52,703 --> 00:02:55,846 (Esposito) VIC'S AN AFRICAN-AMERICAN MALE, 61 00:02:55,846 --> 00:02:57,508 EARLY 20s. 62 00:02:57,508 --> 00:03:00,611 MULTIPLE STAB WOUNDS, CONTUSIONS ON THE ARMS AND TORSO. 63 00:03:00,611 --> 00:03:02,613 THE BODY WAS DISCOVERED BY A HOMELESS GUY. 64 00:03:02,613 --> 00:03:05,216 HE WAS BEATEN, MAYBE TORTURED. 65 00:03:05,216 --> 00:03:07,918 LOOKS LIKE SOME KIND OF RITUALISTIC KILLING. (Beckett) YOU THINK? 66 00:03:07,918 --> 00:03:10,221 (Beckett) HELLO? 67 00:03:10,221 --> 00:03:12,523 HMM? YOU OKAY? 68 00:03:12,523 --> 00:03:15,226 I HAD SEX WITH MY EX-WIFE THIS MORNING. 69 00:03:15,226 --> 00:03:18,599 MY FIRST EX-WIFE--MEREDITH-- ALEXIS' MOM. 70 00:03:18,599 --> 00:03:21,272 AND SHE'S THINKING ABOUT MOVING BACK TO NEW YORK. 71 00:03:21,272 --> 00:03:23,974 DO YOU KNOW WHAT THAT WOULD MEAN TO ME? 72 00:03:23,974 --> 00:03:26,337 THAT WOULD BE A VERY SPECIAL BRAND OF HELL-- 73 00:03:26,337 --> 00:03:29,209 THE HELL OF A DEEP-FRIED TWINKIE. A DEEP-FRIED TWINKIE? 74 00:03:29,209 --> 00:03:31,812 YEAH, THE GUILTY PLEASURE THAT YOU KNOW IS BAD FOR YOU, 75 00:03:31,812 --> 00:03:34,915 SO YOU ONLY DO IT ONCE, MAYBE TWICE A YEAR FOR THE NOVELTY. AHH. 76 00:03:34,915 --> 00:03:37,217 BUT A DEEP-FRIED TWINKIE EVERY DAY IS-- CASTLE! 77 00:03:37,217 --> 00:03:39,920 WHAT? CRIME SCENE. DEAD BODY. LITTLE RESPECT HERE. 78 00:03:39,920 --> 00:03:43,624 I DON'T THINK HE CAN HEAR ME. OKAY, HOW ABOUT A LITTLE SELF-RESPECT THEN? 79 00:03:43,624 --> 00:03:46,757 FINE. CHECK OUT HIS MOUTH. 80 00:03:46,757 --> 00:03:49,830 THERE'S PROBABLY A LITTLE POUCH IN THERE. 81 00:03:49,830 --> 00:03:53,534 (camera shutter clicking) 82 00:03:56,737 --> 00:03:58,809 HOW DID YOU KNOW? OPEN IT. 83 00:04:04,775 --> 00:04:06,547 WHAT DOES IT MEAN? 84 00:04:06,547 --> 00:04:09,320 IT'S VODUN. VODUN? 85 00:04:09,320 --> 00:04:12,423 WHAT, IS THAT SOME KIND OF "STAR TREK" THING? 86 00:04:12,423 --> 00:04:13,784 NO, DUDE, IT'S A RELIGION, 87 00:04:13,784 --> 00:04:16,387 PRACTICED PRIMARILY IN WEST AFRICA. 88 00:04:16,387 --> 00:04:17,858 WHAT? I READ, TOO. 89 00:04:17,858 --> 00:04:20,691 THE, UH, BLOOD IN THE BOWL-- MOST LIKELY ANIMAL. 90 00:04:20,691 --> 00:04:22,433 PART OF THE CEREMONY. 91 00:04:22,433 --> 00:04:25,296 THE POUCH IS AN OFFERING TO THE SPIRITS, 92 00:04:25,296 --> 00:04:28,339 BUT I DON'T RECOGNIZE THE SYMBOL. WELL, IF YOU DID, YOU'D BE A SUSPECT. 93 00:04:28,339 --> 00:04:31,472 SO HOW DO YOU KNOW ABOUT ALL THIS? RESEARCH FOR MY SIXTH DERRICK STORM NOVEL. 94 00:04:31,472 --> 00:04:33,744 "UNHOLY STORM." YES, THANK YOU. 95 00:04:33,744 --> 00:04:36,877 AND, UH, VODUN'S NOT JUST LIMITED TO WEST AFRICA. 96 00:04:36,877 --> 00:04:39,580 IT'S ALSO PRACTICED BY HAITIAN AND DOMINICAN COMMUNITIES 97 00:04:39,580 --> 00:04:43,684 RIGHT HERE IN NEW YORK. HAVE C.S.U. RUN THE POUCH. HAVE AN M.E. TEST THE BLOOD. 98 00:04:43,684 --> 00:04:45,886 AND LET'S GET HIS FINGERPRINTS IN THE SYSTEM, 99 00:04:45,886 --> 00:04:48,619 SEE IF THERE'S AN I.D. THIS RITUAL--I ASSUME THEN 100 00:04:48,619 --> 00:04:50,921 IT WAS DONE FOR A SPECIFIC PURPOSE? THAT'S ONLY IF YOU'RE ASSUMING 101 00:04:50,921 --> 00:04:53,924 THAT THE GUY DOING THIS WAS RATIONAL. NO, NO, SHE'S RIGHT. 102 00:04:53,924 --> 00:04:56,627 IT MIGHT NOT MAKE SENSE TO YOU OR ME, 103 00:04:56,627 --> 00:04:59,069 BUT, UH, IF WE FOUND OUT WHY HE DID THIS, 104 00:04:59,069 --> 00:05:02,673 WE MIGHT FIND YOUR KILLER. YEAH, THAT'S KINDA HOW WE DO IT. 105 00:05:02,673 --> 00:05:05,836 DO YOU STILL HAVE THE RESEARCH? AS A MATTER OF FACT, I DO. 106 00:05:05,836 --> 00:05:07,838 (Castle) "THE PURPOSE OF THEIR RITUALS 107 00:05:07,838 --> 00:05:09,840 "WAS TO MAKE CONTACT WITH THE SPIRITS 108 00:05:09,840 --> 00:05:13,313 "AND THE SPIRIT WORLD, TO GAIN THEIR FAVOR THROUGH SACRIFICE. 109 00:05:13,313 --> 00:05:15,586 "STORM WAS PRETTY SURE HE'D SACRIFICE ANYTHING 110 00:05:15,586 --> 00:05:18,749 "WHEN HE SAW THE AMULET SWAYING RHYTHMICALLY BACK AND FORTH 111 00:05:18,749 --> 00:05:20,751 BETWEEN THE WOMAN'S BARE, GLISTENING BREASTS." 112 00:05:20,751 --> 00:05:22,753 "UNHOLY STORM"? YOU DRAGGED ME IN HERE 113 00:05:22,753 --> 00:05:24,925 SO THAT YOU COULD READ FROM YOUR OWN BOOK? 114 00:05:24,925 --> 00:05:27,598 HEY, THERE'S A LOT OF GOOD STUFF IN HERE, 115 00:05:27,598 --> 00:05:29,760 AND SOME OF IT IS FACTUAL. WHERE ARE YOU GOING? 116 00:05:29,760 --> 00:05:33,504 I HAVE A MURDER TO SOLVE. I THOUGHT THAT'S WHAT WE WERE DOING. 117 00:05:33,504 --> 00:05:35,406 OKAY, LOOK, I'M SO-- I-I AM JUST KIDDING. 118 00:05:35,406 --> 00:05:37,408 I DO HAVE ANOTHER SOURCE. 119 00:05:37,408 --> 00:05:40,641 (keys jangle) AND YOU CALL YOUR EX-WIFE A "DEEP-FRIED TWINKIE." 120 00:05:40,641 --> 00:05:43,674 OH, TRUST ME--AS ANNOYING AND INTRUSIVE YOU THINK I AM, 121 00:05:43,674 --> 00:05:45,876 SHE IS A MILLION TIMES WORSE. WHAT ABOUT ALEXIS? 122 00:05:45,876 --> 00:05:47,918 MAYBE SHE MISSES HER MOM. 123 00:05:47,918 --> 00:05:51,582 MAYBE IT WOULD BE A GOOD IDEA TO HAVE HER BACK IN TOWN. YEAH, RIGHT. 124 00:05:51,582 --> 00:05:53,053 THIS ONCE, WHEN ALEXIS WAS 9, 125 00:05:53,053 --> 00:05:55,786 MEREDITH DROPPED BY TO TAKE HER OUT TO LUNCH. SO? 126 00:05:55,786 --> 00:05:57,758 IN PARIS. PARIS! 127 00:05:57,758 --> 00:06:00,060 AND THEN SHE ACTED LIKE THERE WAS NOTHING WRONG. 128 00:06:00,060 --> 00:06:02,733 SHE'S AUNTIE MAME ON METH. IF SHE'S SO BAD, 129 00:06:02,733 --> 00:06:04,995 THEN WHY'D YOU SLEEP WITH HER THIS MORNING? 130 00:06:04,995 --> 00:06:07,538 LET ME TELL YOU SOMETHING ABOUT CRAZY PEOPLE. 131 00:06:07,538 --> 00:06:10,571 (whispering) THE SEX IS UNBELIEVABLE. HOW SHALLOW ARE YOU? 132 00:06:10,571 --> 00:06:13,944 VERY. YOU KNOW, I DON'T HAVE TIME FOR THIS. 133 00:06:13,944 --> 00:06:17,478 SOMEONE ORDER LUNCH? 134 00:06:17,478 --> 00:06:19,480 (normal voice) DETECTIVE BECKETT, 135 00:06:19,480 --> 00:06:21,652 MEET MY OTHER SOURCE. 136 00:06:21,652 --> 00:06:23,484 THE SYMBOL'S A VEVER. 137 00:06:23,484 --> 00:06:25,786 A REPRESENTATION OF ONE WHO CAN OPEN CROSSROADS 138 00:06:25,786 --> 00:06:27,488 INTO THE SPIRIT WORLD. 139 00:06:27,488 --> 00:06:29,660 MICHELLE TAUGHT ME EVERYTHING I KNOW ABOUT VODUN. 140 00:06:29,660 --> 00:06:30,921 WHICH OBVIOUSLY ISN'T MUCH. 141 00:06:30,921 --> 00:06:32,923 THAT SCENE WITH THE TOPLESS GIRL 142 00:06:32,923 --> 00:06:34,995 AND THE CHICKEN BLOOD-- WHAT WAS THAT? 143 00:06:34,995 --> 00:06:36,997 I TOOK A FEW LIBERTIES. 144 00:06:36,997 --> 00:06:38,969 YOU KNOW, FROM THE DESIGN, 145 00:06:38,969 --> 00:06:41,632 I'D SAY THIS ISN'T HAITIAN, JAMAICAN OR DOMINICAN. 146 00:06:41,632 --> 00:06:43,804 THIS IS HARD-CORE NIGERIAN. 147 00:06:43,804 --> 00:06:46,106 WHAT ABOUT THIS CHARM? 148 00:06:46,106 --> 00:06:50,811 THE CHARM'S AN OFFERING TO A VODUN SAINT, OR LOA. 149 00:06:50,811 --> 00:06:52,813 IN THIS CASE, IT'S OGUN. 150 00:06:52,813 --> 00:06:54,815 HE'S USUALLY CALLED UPON TO HELP FIND SOMETHING 151 00:06:54,815 --> 00:06:58,519 THAT'S BEEN LOST. SO OUR KILLER'S LOOKING FOR SOMETHING. 152 00:06:58,519 --> 00:07:00,721 SOMETHING THE VICTIM ONCE POSSESSED. MAYBE THAT'S WHY HE WAS TORTURED. 153 00:07:00,721 --> 00:07:03,153 COULD THE KIND OF CEREMONY 154 00:07:03,153 --> 00:07:06,597 INDICATE WHAT THE KILLER WAS LOOKING FOR? UNFORTUNATELY, NO. 155 00:07:06,597 --> 00:07:08,699 HOW DO YOU KNOW SO MUCH ABOUT THIS? 156 00:07:08,699 --> 00:07:10,200 BECAUSE I PRACTICE. 157 00:07:10,200 --> 00:07:13,604 MY JUNIOR YEAR, I SPENT ABROAD IN NIGERIA. 158 00:07:13,604 --> 00:07:16,537 FELL IN LOVE WITH THE RELIGION, THE CUISINE. 159 00:07:16,537 --> 00:07:20,170 MICHELLE OWNS THE BEST NIGERIAN RESTAURANT IN THE CITY. (chuckles) 160 00:07:20,170 --> 00:07:23,013 IT'S FUNNY. I NEVER WOULD'VE PEGGED YOU FOR THE OCCULT TYPE. 161 00:07:23,013 --> 00:07:26,517 OCCULT IS IN THE EYE OF THE BEHOLDER, DETECTIVE. 162 00:07:26,517 --> 00:07:28,979 AS BIZARRE AS VODUN MAY SEEM TO YOU, 163 00:07:28,979 --> 00:07:31,021 I ASSURE YOU, THE BELIEFS OF WESTERN RELIGIONS 164 00:07:31,021 --> 00:07:33,784 SEEM JUST AS STRANGE TO OUTSIDERS. 165 00:07:33,784 --> 00:07:36,086 HOW DO YOU LIKE THE COW'S FOOT STEW? 166 00:07:36,086 --> 00:07:37,658 (mouth full) COW'S FOOT? 167 00:07:37,658 --> 00:07:40,160 YOU SAID IT WAS BEEF. 168 00:07:40,160 --> 00:07:43,564 TECHNICALLY, COW IS BEEF. BESIDES, YOU LIKED IT. 169 00:07:45,666 --> 00:07:48,098 SO... (clears throat) 170 00:07:48,098 --> 00:07:51,872 THIS MURDER--IS, UM, IS THAT A PART OF THE CEREMONY, AS WELL? 171 00:07:51,872 --> 00:07:54,575 NO. VODUN IS A PEACEFUL, DEEPLY SPIRITUAL RELIGION 172 00:07:54,575 --> 00:07:56,577 PRACTICED BY MILLIONS OF PEOPLE 173 00:07:56,577 --> 00:07:58,609 ACROSS THE WORLD EVERY DAY. 174 00:07:58,609 --> 00:08:01,051 I DOUBT WHOEVER DID THIS IS VERY PEACEFUL. 175 00:08:01,051 --> 00:08:02,553 NO. 176 00:08:02,553 --> 00:08:04,955 YOUR KILLER MAY BE VODUN, 177 00:08:04,955 --> 00:08:06,857 BUT THAT'S NOT WHY THIS MAN'S DEAD. 178 00:08:06,857 --> 00:08:08,659 HE WAS KILLED 179 00:08:08,659 --> 00:08:11,592 BECAUSE HE HAD SOMETHING THE KILLER DESPERATELY WANTS. 180 00:08:11,592 --> 00:08:13,794 AND HE'S NOT GONNA STOP UNTIL HE FINDS IT. 181 00:08:13,794 --> 00:08:16,527 (cell phone rings) 182 00:08:16,527 --> 00:08:18,128 EXCUSE ME. (beep) 183 00:08:18,128 --> 00:08:19,530 BECKETT. 184 00:08:19,530 --> 00:08:21,872 YEAH, IT'S RYAN. 185 00:08:21,872 --> 00:08:24,074 WE GOT ANOTHER ONE. 186 00:08:33,744 --> 00:08:35,245 VICTIM'S NAME IS DARCY CHO. 187 00:08:35,245 --> 00:08:37,988 SECOND-YEAR LAWYER AT A FIRM DOWNTOWN. 188 00:08:37,988 --> 00:08:41,692 (Esposito) MULTIPLE STAB WOUNDS, JUST LIKE THE LAST ONE. (Ryan) NEIGHBOR FOUND THE DOOR OPEN, CALLED THE SUPER. 189 00:08:41,692 --> 00:08:44,925 THIS IS WHAT THEY FOUND. THE STAGING IS EXACTLY THE SAME. 190 00:08:44,925 --> 00:08:47,628 YEAH. WHEN THEY SAW WHAT THEY HAD, 191 00:08:47,628 --> 00:08:51,001 WEST SIDE BOYS GAVE US A CALL. LOOKS LIKE SHE PUT UP A FIGHT. 192 00:08:51,001 --> 00:08:54,304 DEFENSIVE WOUNDS ON HER FOREARM. PARAPHERNALIA IS THE SAME AS THE OTHER MURDER. 193 00:08:54,304 --> 00:08:56,807 AND I FOUND ANOTHER CHARM IN HER MOUTH. 194 00:08:56,807 --> 00:09:00,641 ANYTHING BACK FROM C.S.U. ON THE OTHER SCENE? 195 00:09:00,641 --> 00:09:03,313 CANDLE'S BASIC PARAFFIN, FOUND IN ANY BODEGA. 196 00:09:03,313 --> 00:09:05,315 FIGURE IT'S GONNA BE THE SAME WITH THIS ONE. 197 00:09:05,315 --> 00:09:08,018 THE CLOTH IS A COMMON RED FLANNEL. 198 00:09:08,018 --> 00:09:09,750 GLASS BOWL--MADE IN CHINA. 199 00:09:09,750 --> 00:09:12,322 WHAT ABOUT THE BLOOD? CHICKEN BLOOD. 200 00:09:12,322 --> 00:09:15,586 MAYBE SHE USED THIS PURSE TO DEFEND HERSELF. 201 00:09:15,586 --> 00:09:18,288 WE KNOW HE HASN'T FOUND WHAT HE'S LOOKING FOR. HOW DO YOU KNOW? 202 00:09:18,288 --> 00:09:20,661 THE CHARM IN HER MOUTH. 203 00:09:20,661 --> 00:09:23,563 HE STILL NEEDS THE SPIRITS TO GUIDE HIM. CHAPTER TEN. 204 00:09:23,563 --> 00:09:25,636 FIND OUT WHAT YOU CAN ABOUT DARCY. 205 00:09:25,636 --> 00:09:27,598 SEE IF SHE KNEW OUR FIRST VICTIM. 206 00:09:27,598 --> 00:09:30,340 I WANNA KNOW HOW THESE MURDERS ARE CONNECTED. 207 00:09:30,340 --> 00:09:31,241 RIGHT. 208 00:09:33,303 --> 00:09:36,206 (indistinct conversations) 209 00:09:36,206 --> 00:09:37,748 (knock on door) 210 00:09:37,748 --> 00:09:40,150 MR. SIMMONS, YOU WANTED TO SEE ME? 211 00:09:40,150 --> 00:09:43,213 ALEXIS, I'M AFRAID WE HAVE SOME BAD NEWS. 212 00:09:43,213 --> 00:09:46,216 WHAT? NO, IS IT MY DAD? DID HE GET SHOT? 213 00:09:46,216 --> 00:09:49,019 IT'S NOT YOUR DAD, SWEETIE. 214 00:09:49,019 --> 00:09:51,261 MOM? IT'S YOUR GRANDFATHER. 215 00:09:51,261 --> 00:09:53,593 HE PASSED AWAY THIS MORNING. 216 00:09:53,593 --> 00:09:55,025 GRANDFATHER? 217 00:09:55,025 --> 00:09:57,628 I KNOW. IT'S A LOT TO TAKE IN. 218 00:09:57,628 --> 00:10:00,370 MOM, I HAVE A CALCULUS TEST TODAY. 219 00:10:00,370 --> 00:10:02,873 GIVEN THE CIRCUMSTANCES, I'M SURE MR. BROWN 220 00:10:02,873 --> 00:10:04,875 WILL LET YOU MAKE IT UP. 221 00:10:04,875 --> 00:10:07,277 THANK YOU, MR. SIMMONS, FOR YOUR COMPASSION 222 00:10:07,277 --> 00:10:10,310 IN THIS TRYING TIME. 223 00:10:10,310 --> 00:10:12,983 LET'S GO, HONEY. LOTS TO DO. 224 00:10:12,983 --> 00:10:14,985 UH, MOM, GRANDPA DIED SIX YEARS AGO. 225 00:10:14,985 --> 00:10:16,987 I KNOW, BUT A DEATH IN THE FAMILY-- 226 00:10:16,987 --> 00:10:18,989 ALWAYS A GOOD EXCUSE TO GET OUT OF SCHOOL. 227 00:10:18,989 --> 00:10:20,991 NO, IT'S A CREEPY EXCUSE. 228 00:10:20,991 --> 00:10:23,023 COME ON, I NEED SOME ALEXIS TIME. (sighs) 229 00:10:23,023 --> 00:10:25,656 DO YOU REALIZE I'VE BEEN IN TOWN A WHOLE WEEK, 230 00:10:25,656 --> 00:10:29,199 AND WE HAVEN'T EVEN GONE SHOPPING? WE'RE GOING SHOPPING ON SATURDAY... 231 00:10:29,199 --> 00:10:32,132 WHEN I DON'T HAVE SCHOOL. BUT BENDEL'S IS HAVING ITS SALE NOW! 232 00:10:32,132 --> 00:10:34,965 I STUDIED ALL WEEK FOR THIS TEST. OKAY, WHY BOTHER LEARNING MATH 233 00:10:34,965 --> 00:10:37,267 IF YOU DON'T GET TO APPLY IT IN REAL-LIFE SITUATIONS, 234 00:10:37,267 --> 00:10:39,870 LIKE CALCULATING YOUR SAVINGS? 235 00:10:39,870 --> 00:10:41,912 COME ON, WHAT'S THE HARM? 236 00:10:41,912 --> 00:10:44,274 UNLESS YOU REALLY WANT TO GO BACK 237 00:10:44,274 --> 00:10:46,977 AND TELL MR. SIMMONS YOUR MOTHER'S A LIAR. 238 00:10:46,977 --> 00:10:50,851 FINE, BUT PROMISE WE'RE NOT LEAVING THE CITY. 239 00:10:50,851 --> 00:10:53,253 (laughs) COME ON! 240 00:10:53,253 --> 00:10:56,687 IT DOESN'T MAKE SENSE. WHY WOULD SOMEONE KILL HER? 241 00:10:56,687 --> 00:10:58,959 MS. BUTTON, YOUR OFFICE MANAGER 242 00:10:58,959 --> 00:11:02,032 SAID THAT YOU AND DARCY WERE CLOSE. 243 00:11:02,032 --> 00:11:04,194 WE JOINED THE FIRM AT THE SAME TIME. 244 00:11:04,194 --> 00:11:06,897 NEITHER OF US KNEW ANYONE IN THE CITY, 245 00:11:06,897 --> 00:11:10,000 SO WE JUST, SORT OF, BECAME BEST FRIENDS. 246 00:11:10,000 --> 00:11:14,374 DO YOU RECOGNIZE THIS MAN? 247 00:11:14,374 --> 00:11:17,708 WE THINK HE AND DARCY MIGHT BE CONNECTED. 248 00:11:17,708 --> 00:11:20,210 NO, I DON'T... 249 00:11:23,253 --> 00:11:25,055 WHAT HAPPENED TO HIM? 250 00:11:25,055 --> 00:11:27,988 THAT'S WHAT WE'RE TRYING TO FIND OUT. 251 00:11:30,090 --> 00:11:33,193 OH, GOD. YOU MEAN THIS IS WHAT HAPP-- 252 00:11:35,325 --> 00:11:39,169 WHO WOULD DO SOMETHING LIKE THIS? 253 00:11:41,201 --> 00:11:43,203 I SPOKE TO JILL BUTTON, DARCY'S B.F.F. 254 00:11:43,203 --> 00:11:45,005 SHE SAID SHE'S PRETTY FAMILIAR 255 00:11:45,005 --> 00:11:47,007 WITH ALL OF DARCY'S FRIENDS AND CLIENTS, 256 00:11:47,007 --> 00:11:49,379 BUT SHE'S NEVER SEEN THE VIC BEFORE. 257 00:11:49,379 --> 00:11:51,882 THE LAW FIRM DOES SOME CORPORATE STUFF, 258 00:11:51,882 --> 00:11:53,984 SOME IMMIGRATION WORK, BUT THERE'S NOTHING 259 00:11:53,984 --> 00:11:56,716 TO INDICATE ANY INVOLVEMENT IN SOMETHING LIKE THIS. SO OUR FIRST VICTIM GETS KILLED 260 00:11:56,716 --> 00:11:59,489 IN A RELIGIOUS RITUAL, AND THEN HISTORY REPEATS ITSELF 261 00:11:59,489 --> 00:12:02,292 WITH THIS LAWYER THE VERY SAME DAY? OH, THERE'S A LAWYER JOKE THERE SOMEWHERE, 262 00:12:02,292 --> 00:12:05,195 I JUST CAN'T THINK OF IT. AND THEN THE KILLER TOSSES THE WOMAN'S APARTMENT 263 00:12:05,195 --> 00:12:08,298 LOOKING FOR WHAT-- MONEY, DRUGS, WHAT? AS FAR AS WE CAN TELL, DARCY WAS CLEAN. 264 00:12:08,298 --> 00:12:10,300 YO, WE GOT A HIT ON THE FIRST VICTIM'S PRINTS. 265 00:12:10,300 --> 00:12:11,832 I.N.S. DATABASE. JAMAL BUONSI? 266 00:12:11,832 --> 00:12:13,303 NIGERIAN NATIONAL. 267 00:12:13,303 --> 00:12:15,235 ENTERED THE U.S. ON A STUDENT VISA 18 MONTHS AGO. 268 00:12:15,235 --> 00:12:18,038 WAS ENROLLED AT N.Y.U. AS AN EXCHANGE STUDENT. 269 00:12:18,038 --> 00:12:19,910 HIS VISA EXPIRED A YEAR AGO. YEP. 270 00:12:19,910 --> 00:12:22,312 LOOKS LIKE HE DECIDED TO STAY. LUCKY HIM. 271 00:12:22,312 --> 00:12:25,515 ANY WORD ON HIS LAST KNOWN WHEREABOUTS? YEAH, I WAS ABLE TO TRACK DOWN THE FAMILY 272 00:12:25,515 --> 00:12:27,477 THAT HE LIVED WITH WHEN HE WAS A STUDENT. 273 00:12:27,477 --> 00:12:29,880 LAST TIME THEY SAW HIM, HE WAS IN A CAB 274 00:12:29,880 --> 00:12:32,883 ON HIS WAY TO KENNEDY. I TAKE IT THAT'S NOT THE END OF THE STORY. 275 00:12:32,883 --> 00:12:34,885 TURNS OUT THAT JAMAL AND THEIR 13-YEAR-OLD SON 276 00:12:34,885 --> 00:12:36,186 WERE PRETTY CLOSE. 277 00:12:36,186 --> 00:12:38,188 COUPLE OF MONTHS AGO, THE FOLKS DISCOVERED 278 00:12:38,188 --> 00:12:41,191 THAT THEY WERE STILL IN TOUCH. JAMAL'S CELL PHONE NUMBER, 279 00:12:41,191 --> 00:12:45,095 BILLED TO AN ADDRESS ON EAST 3rd. THAT'S JUST A FEW BLOCKS FROM WHERE JAMAL'S BODY WAS FOUND. 280 00:12:45,095 --> 00:12:47,097 EAST 3rd's RIGHT NEAR DARCY CHO'S LAW FIRM. 281 00:12:47,097 --> 00:12:49,339 AND YOU SAID DARCY CHO'S FIRM DID SOME WORK ON IMMIGRATION. 282 00:12:49,339 --> 00:12:52,272 YEAH. YOU AND ESPOSITO TAKE A RIDE DOWN THERE. 283 00:12:52,272 --> 00:12:54,344 I WANT YOU TO LOOK AT DARCY CHO'S CLIENT LIST. 284 00:12:54,344 --> 00:12:57,547 MAYBE JAMAL WAS USING ANOTHER NAME. WE'LL GET A WARRANT FOR THE BILLING ADDRESS. 285 00:12:57,547 --> 00:12:59,880 FIND OUT WHAT THIS GUY WANTS 286 00:12:59,880 --> 00:13:04,214 BEFORE THIS SON OF A BITCH KILLS AGAIN, ALL RIGHT? YES, SIR. 287 00:13:04,214 --> 00:13:07,257 (Castle) I WASN'T EXPECTING A DOORMAN BUILDING, 288 00:13:07,257 --> 00:13:09,259 BUT A 6-STORY WALK-UP? 289 00:13:09,259 --> 00:13:11,361 YOU SHOULD'VE SEEN MY FIRST APARTMENT. 290 00:13:11,361 --> 00:13:14,024 THREE FLIGHTS UP ON AN AIR SHAFT 291 00:13:14,024 --> 00:13:15,565 OVER A RESTAURANT. 292 00:13:15,565 --> 00:13:18,228 THE WHOLE PLACE SMELLED LIKE CHICKEN WINGS. 293 00:13:18,228 --> 00:13:19,299 (chuckles) 294 00:13:21,972 --> 00:13:24,234 THEY COME HERE LOOKING FOR A NEW START, 295 00:13:24,234 --> 00:13:26,236 AND THIS IS WHAT THEY GET... 296 00:13:26,236 --> 00:13:27,838 SLUM HOUSING? 297 00:13:27,838 --> 00:13:30,440 STILL, FOR SOME, IT'S BETTER THAN WHAT THEY LEFT. 298 00:13:30,440 --> 00:13:32,812 (tv playing indistinctly) 299 00:13:32,812 --> 00:13:35,445 SOUNDS LIKE JAMAL DIDN'T LIVE ALONE. 300 00:13:35,445 --> 00:13:38,388 (indistinct talking and shouting) 301 00:13:38,388 --> 00:13:41,591 (tv turns off) 302 00:13:41,591 --> 00:13:43,123 YES? 303 00:13:43,123 --> 00:13:45,095 DETECTIVE BECKETT, NYPD. 304 00:13:45,095 --> 00:13:46,426 (grunts) NO! 305 00:13:46,426 --> 00:13:48,558 (men shout indistinctly) HANDS! SHOW ME YOUR HANDS! 306 00:13:48,558 --> 00:13:51,902 IMMIGRATION. (man speaks indistinctly) 307 00:13:51,902 --> 00:13:56,206 I'M NOT IMMIGRATION. EVERYBODY, JUST RELAX, OKAY? 308 00:13:56,206 --> 00:13:59,539 IF YOU'RE NOT FROM IMMIGRATION... 309 00:13:59,539 --> 00:14:02,142 THEN WHO ARE YOU? I'M A HOMICIDE DETECTIVE. 310 00:14:02,142 --> 00:14:06,146 I'M LOOKING FOR INFORMATION ON JAMAL BUONSI. 311 00:14:06,146 --> 00:14:09,479 WE DON'T KNOW ANY JAMAL. 312 00:14:09,479 --> 00:14:12,182 THEN YOU WANNA TELL ME WHY HIS CELL PHONE 313 00:14:12,182 --> 00:14:13,623 IS BILLED TO THIS ADDRESS? 314 00:14:19,089 --> 00:14:22,262 DETECTIVE. 315 00:14:25,936 --> 00:14:28,238 SAME RED FLANNEL. 316 00:14:28,238 --> 00:14:29,239 WHOA. 317 00:14:29,239 --> 00:14:31,641 (Beckett) WHAT IS IT? 318 00:14:31,641 --> 00:14:34,644 (clattering) 319 00:14:40,250 --> 00:14:43,013 WHOSE BED IS THAT? 320 00:14:54,264 --> 00:14:56,596 WE CAN LINK THE RED FLANNEL TO TWO OTHER MURDERS. 321 00:14:56,596 --> 00:14:59,399 IN THIS COUNTRY, THAT PUTS YOU IN A LOT OF TROUBLE. 322 00:14:59,399 --> 00:15:02,532 I'VE DONE NOTHING WRONG. TWO PEOPLE ARE DEAD. 323 00:15:02,532 --> 00:15:05,675 ONE OF THEM IS A MAN THAT YOU LIVED WITH. 324 00:15:09,909 --> 00:15:14,514 SAME RED FLANNEL, SAME CANDLES. AND AGAIN, HERE. 325 00:15:14,514 --> 00:15:17,247 WHY DID YOU KILL HER, AZI? 326 00:15:17,247 --> 00:15:20,620 I DON'T KNOW THIS WOMAN. I HAVEN'T KILLED ANYONE. 327 00:15:20,620 --> 00:15:23,453 SO YOU'RE TELLING ME THAT IT'S ALL JUST A COINCIDENCE 328 00:15:23,453 --> 00:15:26,456 THAT THESE THINGS WERE FOUND IN YOUR APARTMENT UNDER YOUR BED? 329 00:15:26,456 --> 00:15:28,058 THEY WEREN'T MINE! 330 00:15:28,058 --> 00:15:30,060 THEY WERE FOR SOMEONE ELSE. 331 00:15:30,060 --> 00:15:33,503 WHO? DO YOU WANT TO GO BACK TO NIGERIA? 332 00:15:33,503 --> 00:15:36,706 BECAUSE I CAN ARRANGE THAT WITH A SINGLE PHONE CALL. 333 00:15:38,938 --> 00:15:41,071 SO CAN HE. 334 00:15:44,114 --> 00:15:46,546 (Beckett) WHO? 335 00:15:46,546 --> 00:15:49,949 JAMAL WAS YOUR FRIEND, WASN'T HE? 336 00:15:49,949 --> 00:15:51,251 YES. 337 00:15:51,251 --> 00:15:54,054 THEN DON'T YOU WANT US TO CATCH WHO KILLED HIM? 338 00:15:54,054 --> 00:15:56,586 DON'T YOU WANT JUSTICE? 339 00:16:00,690 --> 00:16:03,163 HIS NAME IS CHARLES. 340 00:16:03,163 --> 00:16:07,237 CHARLES ONI. 341 00:16:07,237 --> 00:16:10,070 IMMIGRANTS KNOW THIS MAN. 342 00:16:10,070 --> 00:16:13,003 HE OWNS THE PLACES WHERE WE LIVE. 343 00:16:13,003 --> 00:16:15,575 HE OWNS THE PLACES WHERE WE WORK. 344 00:16:15,575 --> 00:16:19,149 AND WHAT ABOUT JAMAL? DID HE WORK FOR HIM, TOO? 345 00:16:19,149 --> 00:16:21,481 AT HIS STORE ON CANAL STREET. 346 00:16:21,481 --> 00:16:23,083 BUT IT-- 347 00:16:23,083 --> 00:16:25,085 IT--IT--IT WAS ONLY TEMPORARY. 348 00:16:25,085 --> 00:16:27,987 HE WAS GOING TO SAVE HIS MONEY TO-- 349 00:16:27,987 --> 00:16:31,161 TO APPLY FOR A VISA, BECOME LEGAL. 350 00:16:31,161 --> 00:16:33,323 AND ONI HAD A PROBLEM WITH THAT? 351 00:16:33,323 --> 00:16:35,065 NO. 352 00:16:35,065 --> 00:16:37,997 YESTERDAY, WHEN ONI CAME LOOKING FOR JAMAL, 353 00:16:37,997 --> 00:16:41,531 HE SAID JAMAL HAD TAKEN SOMETHING. 354 00:16:41,531 --> 00:16:43,673 BUT JAMAL WAS NOT A THIEF. 355 00:16:43,673 --> 00:16:45,375 BUT ONI INSISTED. 356 00:16:45,375 --> 00:16:47,377 HE SAY-- HE KNEW MY FATHER 357 00:16:47,377 --> 00:16:49,639 WAS THE PRIEST OF OUR VILLAGE. 358 00:16:49,639 --> 00:16:53,113 SO HE MADE ME TO SHOW HIM HOW TO INVOKE THE SPIRITS. 359 00:16:53,113 --> 00:16:56,015 WHAT DID JAMAL TAKE? 360 00:16:56,015 --> 00:16:58,488 ONI DIDN'T SAY. 361 00:16:58,488 --> 00:17:00,190 WHY DIDN'T YOU ASK? 362 00:17:00,190 --> 00:17:02,352 'CAUSE I WAS SCARED. 363 00:17:02,352 --> 00:17:05,125 BECAUSE HE WOULD'VE KILLED ME. 364 00:17:05,125 --> 00:17:07,557 THE ONLY REASON I AM TELLING YOU THIS NOW 365 00:17:07,557 --> 00:17:10,230 IS BECAUSE JAMAL WAS A FRIEND. 366 00:17:10,230 --> 00:17:12,762 HE DID NOT DESERVE TO DIE LIKE THAT. 367 00:17:12,762 --> 00:17:15,034 ONI WAS WRONG. 368 00:17:16,566 --> 00:17:18,568 (Beckett) CITY RECORDS SHOW NO VENDOR'S LICENSE 369 00:17:18,568 --> 00:17:20,740 FOR A CHARLES ONI ON CANAL STREET. 370 00:17:20,740 --> 00:17:22,242 WELL, THE GUY'S EXPLOITING ILLEGALS. 371 00:17:22,242 --> 00:17:24,244 I DOUBT HE'S GONNA USE HIS REAL NAME. 372 00:17:24,244 --> 00:17:27,347 CLEARLY NOT. THE APARTMENT IS OWNED BY A ROBERT BURNETT. 373 00:17:27,347 --> 00:17:29,349 NO LISTING IN THE TRI-STATE AREA, 374 00:17:29,349 --> 00:17:31,351 AND THE ADDRESS IS A P.O. BOX IN JERSEY. 375 00:17:31,351 --> 00:17:33,353 YO, YO, LAW FIRM'S A DEAD END. 376 00:17:33,353 --> 00:17:35,555 THEY'VE NEVER HEARD OF ANYONE NAMED JAMAL BUONSI, 377 00:17:35,555 --> 00:17:38,558 AND THERE WAS NOTHING SUSPICIOUS IN DARCY'S CLIENT LIST. 378 00:17:38,558 --> 00:17:40,059 THAT'S PERFECT, 379 00:17:40,059 --> 00:17:42,061 'CAUSE OUR SUSPECT'S NEVER HEARD OF DARCY CHO. 380 00:17:42,061 --> 00:17:44,834 WE STILL HAVE NO IDEA WHAT OUR TWO VICTIMS HAVE IN COMMON. 381 00:17:44,834 --> 00:17:47,297 (man) EXCUSE ME, MA'AM. (Meredith) NO, I'M NOT GONNA WAIT DOWNSTAIRS. 382 00:17:47,297 --> 00:17:50,270 DO YOU HAVE ANY IDEA WHO PAYS YOUR SALARY? ME AND MY TAXES. 383 00:17:50,270 --> 00:17:51,801 IS THAT-- UH, YEP. 384 00:17:51,801 --> 00:17:53,473 RICHARD! OVER HERE! 385 00:17:53,473 --> 00:17:56,376 DEEP-FRIED TWINKIE? AFRAID SO. 386 00:17:56,376 --> 00:17:59,379 MEREDITH! WHAT A SURPRISE. 387 00:17:59,379 --> 00:18:01,111 I KNOW. ISN'T IT GREAT? 388 00:18:01,111 --> 00:18:03,383 IN L.A., NO ONE EVER JUST STOPS BY. 389 00:18:03,383 --> 00:18:06,486 DON'T YOU JUST LOVE THIS TOWN? MORE AND MORE BY THE MINUTE. 390 00:18:06,486 --> 00:18:09,559 UH, MEREDITH, THESE ARE DETECTIVES RYAN, ESPOSITO 391 00:18:09,559 --> 00:18:11,090 AND DETECTIVE BECKETT. 392 00:18:11,090 --> 00:18:13,393 OH, BECKETT-- YOUR NEW MUSE. 393 00:18:13,393 --> 00:18:15,795 ALEXIS TOLD ME ALL ABOUT IT, 394 00:18:15,795 --> 00:18:18,268 AND I SIMPLY HAD TO STOP BY. 395 00:18:18,268 --> 00:18:21,731 (chuckles) YOU KNOW, I WAS HIS INSPIRATION ONCE. 396 00:18:21,731 --> 00:18:23,233 WERE YOU NOW? 397 00:18:23,233 --> 00:18:27,106 STILL AM, FROM TIME TO TIME. RIGHT, KITTEN? 398 00:18:27,106 --> 00:18:28,838 KITTEN? (snickers) 399 00:18:28,838 --> 00:18:30,810 I HAD THIS DREAM ONCE, 400 00:18:30,810 --> 00:18:33,313 ONLY I WAS NAKED AND FAR LESS EMBARRASSED. 401 00:18:33,313 --> 00:18:35,315 (Meredith) ANYWAY, WE WERE IN THE NEIGHBORHOOD 402 00:18:35,315 --> 00:18:37,587 AND I HAVE A DINNER TONIGHT, SO I THOUGHT I WOULD 403 00:18:37,587 --> 00:18:40,190 DROP ALEXIS HERE INSTEAD OF SCHLEPPING ALL THE WAY DOWNTOWN. 404 00:18:40,190 --> 00:18:41,891 IS THAT S.J.P.'s PURSE? S.J.P.? 405 00:18:41,891 --> 00:18:43,753 SARAH JESSICA PARKER. 406 00:18:43,753 --> 00:18:46,656 SHE WORE ONE JUST LIKE IT TO THE ARMANI SHOW IN MILAN. (mouthing words) 407 00:18:46,656 --> 00:18:49,359 IT WAS ON "FASHION SCOOP DAILY" LAST WEEK. 408 00:18:49,359 --> 00:18:53,403 WELL, ACTUALLY, THIS PURSE BELONGS TO ONE OF OUR VICTIMS. OH, THAT IS SO TRAGIC. 409 00:18:53,403 --> 00:18:55,805 MORE TRAGIC, OF COURSE, IF IT'D BEEN THE REAL THING. 410 00:18:55,805 --> 00:18:58,438 BUT... STILL. WHAT, ARE YOU SAYING THIS WAS FAKE? 411 00:18:58,438 --> 00:19:00,670 WELL, LOOK AT THE LEATHER AND THE STITCHING. 412 00:19:00,670 --> 00:19:02,842 IT'S TOTALLY A KNOCKOFF. I MEAN, IT'S GOOD ENOUGH 413 00:19:02,842 --> 00:19:07,517 TO FOOL THE UNTRAINED SHOPPER, BUT I HAVE A RETAIL EYE. CANAL STREET. 414 00:19:07,517 --> 00:19:10,450 CANAL'S WHERE THEY SELL THE KNOCKOFFS--WATCHES, LUGGAGE. AND HANDBAGS. 415 00:19:10,450 --> 00:19:12,822 DARCY'S OFFICE IS RIGHT NEAR CANAL. 416 00:19:12,822 --> 00:19:16,226 IF SHE WAS GONNA BUY A DESIGNER KNOCKOFF... SHE MIGHT'VE GOT IT FROM THE STALL WHERE JAMAL WORKS. 417 00:19:16,226 --> 00:19:18,588 ONI'S STALL. THAT'S WHAT CONNECTS OUR TWO VICTIMS. 418 00:19:18,588 --> 00:19:20,230 GET A SKETCH FROM AZI. 419 00:19:20,230 --> 00:19:22,532 MAYBE ONE OF THE OTHER VENDORS 420 00:19:22,532 --> 00:19:25,695 WILL BE ABLE TO I.D. ONI'S STALL. YOU GOT IT, BOSS. 421 00:19:25,695 --> 00:19:27,697 SEE? I ALWAYS WAS YOUR LUCKY CHARM. 422 00:19:27,697 --> 00:19:30,770 JUST THINK OF THE THINGS WE'LL DO ONCE I MOVE BACK. 423 00:19:30,770 --> 00:19:32,442 (chuckles) 424 00:19:32,442 --> 00:19:34,444 (siren wails) 425 00:19:34,444 --> 00:19:36,706 (indistinct conversations) 426 00:19:36,706 --> 00:19:40,780 THAT'S ONI. 427 00:19:47,457 --> 00:19:49,289 CHARLES ONI. 428 00:19:49,289 --> 00:19:51,961 NOW WE HAVE A FACE TO GO WITH THE NAME. 429 00:19:51,961 --> 00:19:54,664 SOMEONE ON CANAL STREET'S GOTTA KNOW THIS GUY. 430 00:19:54,664 --> 00:19:56,796 HMM. WHERE'S CASTLE? 431 00:19:56,796 --> 00:19:59,269 HE WENT HOME. 432 00:19:59,269 --> 00:20:01,331 DEEP-FRIED TWINKIE, HUH? 433 00:20:01,331 --> 00:20:03,303 I DIDN'T ASK. 434 00:20:11,210 --> 00:20:12,712 (door opens) 435 00:20:12,712 --> 00:20:15,214 (sighs) WHY DON'T YOU GET A CORKBOARD 436 00:20:15,214 --> 00:20:16,916 LIKE A NORMAL PERSON? 437 00:20:16,916 --> 00:20:19,849 WHY DON'T YOU KNOCK LIKE A NORMAL PERSON? YOU KNOW MEREDITH 438 00:20:19,849 --> 00:20:23,553 KIDNAPPED ALEXIS FROM SCHOOL TODAY? AND WE ALL PAID A HEFTY RANSOM. 439 00:20:23,553 --> 00:20:25,895 IT'S OUTRAGEOUS. YOU REMEMBER YOUR TOURING PRODUCTION 440 00:20:25,895 --> 00:20:27,597 OF "A CHORUS LINE"? 441 00:20:27,597 --> 00:20:30,600 I ALMOST HAD TO REPEAT FIFTH GRADE. OH, THAT WAS DIFFERENT. 442 00:20:30,600 --> 00:20:32,862 I WAS WORKING AND TRYING TO BE A MOTHER. 443 00:20:32,862 --> 00:20:35,635 I WASN'T JUST WALTZING INTO TOWN LIKE A DIVA, 444 00:20:35,635 --> 00:20:39,369 DISRUPTING EVERYBODY'S LIFE. THAT'S WHO SHE IS. YOU KNOW THAT. 445 00:20:39,369 --> 00:20:41,771 HAVE YOU CONSIDERED WHAT IT'S GOING TO BE LIKE 446 00:20:41,771 --> 00:20:44,514 HAVING MEREDITH BACK IN NEW YORK, 447 00:20:44,514 --> 00:20:47,847 HOW IT'S GOING TO AFFECT YOU? YOU MEAN HOW IT'S GOING TO AFFECT YOU. 448 00:20:47,847 --> 00:20:49,649 ALL OF US, ACTUALLY. 449 00:20:49,649 --> 00:20:52,352 WELL, WHAT DO YOU WANT ME TO DO, MOTHER? 450 00:20:52,352 --> 00:20:55,355 IT'S NOT LIKE I COULD BAN HER FROM NEW YORK. 451 00:20:55,355 --> 00:20:57,987 AND THIS WHOLE THEATER THING-- IT'S RIDICULOUS. 452 00:20:57,987 --> 00:21:00,630 YOU KNOW SHE HASN'T LANDED A ROLE IN MONTHS? 453 00:21:00,630 --> 00:21:02,732 UH-HUH, THAT'S RIGHT. I MADE A COUPLE OF CALLS. 454 00:21:02,732 --> 00:21:05,465 WHY DO YOU THINK SHE'S MOVING BACK TO NEW YORK? 455 00:21:05,465 --> 00:21:07,737 SHE CAN'T GET ARRESTED IN L.A. 456 00:21:07,737 --> 00:21:10,800 I WONDER IF SHE COULD GET ARRESTED IN NEW YORK. 457 00:21:10,800 --> 00:21:13,443 I KNOW PEOPLE NOW. AND DOES SHE HONESTLY THINK 458 00:21:13,443 --> 00:21:15,775 THAT SHE'S JUST GONNA SHOW UP WITH A REEL OF, WHAT, 459 00:21:15,775 --> 00:21:17,707 "ACCORDING TO JIM" GUEST SPOTS, 460 00:21:17,707 --> 00:21:20,550 AND PUSH SOME REAL ACTOR ASIDE, 461 00:21:20,550 --> 00:21:22,552 SOME ACTOR WHO HAS... 462 00:21:22,552 --> 00:21:25,014 (voice breaking) WHO HAS DEDICATED THEIR ENTIRE LIFE 463 00:21:25,014 --> 00:21:28,458 TO THE GREATEST PROFESSION IN THE WORLD? 464 00:21:28,458 --> 00:21:31,290 YOU DON'T CHOOSE THE THEATER. 465 00:21:31,290 --> 00:21:32,892 THE THEATER CHOOSES YOU. 466 00:21:32,892 --> 00:21:36,466 WHY DID YOU MARRY HER, ANYWAY? 467 00:21:36,466 --> 00:21:39,999 I DON'T KNOW, MOTHER. MAYBE SHE REMINDED ME OF YOU. 468 00:21:42,472 --> 00:21:45,004 LOOK AT THIS CRAP. 469 00:21:45,004 --> 00:21:47,707 ALL MY YEARS ON THE FORCE, I NEVER UNDERSTOOD 470 00:21:47,707 --> 00:21:50,680 WHY WE NEVER SHUT THESE GUYS DOWN. COME HERE. 471 00:21:50,680 --> 00:21:53,683 SEE, THIS IS SUPPOSED TO BE A GUCCI. MM-HMM. 472 00:21:53,683 --> 00:21:55,885 BUT IF YOU LOOK CLOSE, 473 00:21:55,885 --> 00:21:59,419 INSTEAD OF THE "G.G.," THE INITIALS SAY "C.C." I DON'T KNOW. THAT'S PRETTY CLOSE, BRO. 474 00:21:59,419 --> 00:22:01,951 BUT NOT EXACT. AND THAT'S WHAT KEEPS THESE GUYS 475 00:22:01,951 --> 00:22:03,953 FROM GETTING BUSTED. SEE, TECHNICALLY, 476 00:22:03,953 --> 00:22:07,326 IT'S NOT AN IMITATION. IT'S AN HOMAGE. AN "HOMAGE." RIGHT. 477 00:22:07,326 --> 00:22:10,730 YOU LADIES PICKING OUT SOMETHING PRETTY FOR YOURSELVES? 478 00:22:10,730 --> 00:22:13,733 YOU GOT THE WARRANT? WHICH ONE IS IT? 479 00:22:23,613 --> 00:22:27,617 (Esposito) THIS PLACE HAS BEEN TRASHED. 480 00:22:27,617 --> 00:22:30,650 YOU GUYS, SAME CHANEL BAGS. 481 00:22:30,650 --> 00:22:33,623 (Castle) THAT'S WEIRD--SHREDDED, LIKE OUR VICTIM'S PURSE. 482 00:22:33,623 --> 00:22:35,885 (Ryan) MAYBE DARCY WASN'T USING IT TO DEFEND HERSELF. 483 00:22:35,885 --> 00:22:38,758 BECKETT. 484 00:22:43,563 --> 00:22:45,435 THIS ONE LOOKS DIFFERENT. 485 00:22:45,435 --> 00:22:47,437 IT DOESN'T LOOK LIKE THE ONES THAT WE FOUND 486 00:22:47,437 --> 00:22:48,898 IN THE OTHER VICTIMS' MOUTHS. 487 00:22:48,898 --> 00:22:51,671 I'VE SEEN THIS SYMBOL BEFORE. 488 00:22:51,671 --> 00:22:53,703 THAT'S THE SYMBOL FOR DEATH. 489 00:22:53,703 --> 00:22:55,705 WHY WOULD A GUY MARK HIS OWN STALL 490 00:22:55,705 --> 00:22:57,076 WITH THE DEATH SYMBOL? 491 00:22:57,076 --> 00:23:00,109 HE WOULDN'T. THE SYMBOL WAS MEANT FOR HIM. 492 00:23:00,109 --> 00:23:02,952 CHARLES ONI'S BEEN MARKED FOR DEATH. 493 00:23:12,592 --> 00:23:14,824 THE LININGS HAVE ALL BEEN CUT OUT. 494 00:23:14,824 --> 00:23:17,567 ALL OF THIS STUFF IS IMPORTED, RIGHT? 495 00:23:17,567 --> 00:23:20,430 YEAH. YOU KNOW, KNOCKOFFS WOULD BE THE PERFECT DELIVERY SYSTEM 496 00:23:20,430 --> 00:23:22,732 FOR A SMUGGLER. YEAH, BUT WHAT ARE THEY SMUGGLING? 497 00:23:22,732 --> 00:23:25,134 THE ONLY PERSON WHO CAN TELL US THAT 498 00:23:25,134 --> 00:23:27,707 HAS BEEN MARKED FOR DEATH. (Esposito) WELL, IF HE IS STILL ALIVE, 499 00:23:27,707 --> 00:23:29,979 HE DOESN'T HAVE ANY INCENTIVE TO STICK AROUND. 500 00:23:29,979 --> 00:23:31,911 CASTLE? 501 00:23:31,911 --> 00:23:33,783 WHERE'S HE GOING? 502 00:23:33,783 --> 00:23:36,786 NOTIFY PASSPORT CONTROL. GET 'EM THE SKETCH OF ONI 503 00:23:36,786 --> 00:23:39,649 AND TELL 'EM TO PUT HIS NAME AND ALIASES ON THE NO-FLY LIST. 504 00:23:39,649 --> 00:23:41,591 YOU GOT IT, BOSS. 505 00:23:41,591 --> 00:23:43,422 (Beckett) CASTLE? 506 00:23:43,422 --> 00:23:45,995 CASTLE! I'M ON TV. 507 00:23:45,995 --> 00:23:49,058 ARE YOU HAVING A BREAKDOWN? NOT A BREAKDOWN. A BREAKTHROUGH. 508 00:23:49,058 --> 00:23:52,502 AND I REALLY AM RUGGEDLY HANDSOME, AREN'T I? I'M WAITING FOR THE BREAKTHROUGH. 509 00:23:52,502 --> 00:23:54,734 LOOK BEHIND ME. IF THAT CAMERA'S RECORDING... 510 00:23:54,734 --> 00:23:58,708 THEN WE'D BE ABLE TO SEE WHO TRASHED THE STALL. 511 00:23:58,708 --> 00:24:00,810 (man) WHAT CAN I SAY? 512 00:24:00,810 --> 00:24:02,812 PEOPLE LIKE TO SEE THEMSELVES ON TELEVISION. 513 00:24:02,812 --> 00:24:06,015 I MEAN, YOU WOULD NOT BELIEVE THE THINGS PEOPLE DO 514 00:24:06,015 --> 00:24:08,017 IN FRONT OF A CAMERA. I'M LISTENING. 515 00:24:08,017 --> 00:24:09,849 LIKE, THIS ONE CHICK, SHE'S STANDING THERE 516 00:24:09,849 --> 00:24:13,583 RIGHT IN FRONT OF THE STORE, AND SHE STARTS TO TAKE OFF 517 00:24:13,583 --> 00:24:15,585 HER, UH-- JUST SHOW US THE RECORDINGS 518 00:24:15,585 --> 00:24:17,657 FROM THE PAST COUPLE OF DAYS, OKAY? 519 00:24:17,657 --> 00:24:20,159 HER BLOOD SUGAR GETS LOW, SHE GETS A LITTLE CRANKY. ZIP IT... KITTEN. 520 00:24:20,159 --> 00:24:22,692 I'M SORRY, BUT I CAN'T SHOW YOU THE RECORDING. 521 00:24:22,692 --> 00:24:25,034 YOU NEED A WARRANT? WOULDN'T HELP. SOLD IT. 522 00:24:25,034 --> 00:24:28,037 SOLD THE CAMERA IN THE WINDOW? SOME GUY ROLLS IN HERE YESTERDAY, 523 00:24:28,037 --> 00:24:30,169 ASKED FOR THAT ONE SPECIFICALLY. 524 00:24:30,169 --> 00:24:32,542 I TOLD HIM WE GOT OTHERS, ONES WITH BOXES. 525 00:24:32,542 --> 00:24:36,475 BUT HE WANTS THE ONE IN THE WINDOW. WHAT DOES HE LOOK LIKE? 526 00:24:36,475 --> 00:24:40,580 6', BIG, BLACK, HAD AN ACCENT. 527 00:24:40,580 --> 00:24:42,481 WAS IT HIM? 528 00:24:42,481 --> 00:24:45,985 NO, HE OWNS THE STALL ACROSS THE STREET. YOU KNOW HIM? 529 00:24:45,985 --> 00:24:49,488 WE SAY HI. BUT THIS GUY-- HE SEEMED, UH, HEAVY. 530 00:24:49,488 --> 00:24:52,792 NOT IN THE PHYSICAL SENSE--JUST SOMETHING ABOUT HIM, YOU KNOW? 531 00:24:52,792 --> 00:24:56,766 LIKE HE'D SEEN THINGS-- BAD THINGS. WHAT ELSE? 532 00:24:56,766 --> 00:24:58,528 HE PAID CASH--RETAIL. 533 00:24:58,528 --> 00:25:02,501 I MEAN, AT MY PRICES? HE DIDN'T EVEN TRY TO NEGOTIATE ONCE. 534 00:25:02,501 --> 00:25:04,874 WOULD YOU BE WILLING TO WORK WITH A POLICE SKETCH ARTIST? 535 00:25:04,874 --> 00:25:07,206 WOULDN'T A REAL PICTURE BE BETTER? 536 00:25:07,206 --> 00:25:10,039 YOU SAID THAT HE TOOK THE CAMERA AND THE RECORDINGS. 537 00:25:10,039 --> 00:25:12,812 LADY, THIS IS AN ELECTRONICS STORE. 538 00:25:12,812 --> 00:25:15,745 I GOT CAMERAS ALL OVER THIS PLACE. 539 00:25:15,745 --> 00:25:18,517 YEAH, HE DOES LOOK LIKE THE KIND OF GUY 540 00:25:18,517 --> 00:25:22,221 WHO'D PAINT A DEATH SYMBOL ON YOUR FLOOR. (Castle) WHAT I DON'T GET IS, WHY WOULD HE WANT THE CAMERA? 541 00:25:22,221 --> 00:25:26,626 'CAUSE HE HAD THE SAME IDEA WE DID. WE WANTED THE CAMERA BECAUSE WE WANTED TO FIND HIM. 542 00:25:26,626 --> 00:25:30,159 WELL, WHAT WAS HE LOOKING FOR? AND WHAT WAS INSIDE THE PURSES? 543 00:25:30,159 --> 00:25:31,661 (cell phone rings) 544 00:25:31,661 --> 00:25:33,963 ESPOSITO. YEAH. REALLY? 545 00:25:33,963 --> 00:25:37,166 WHEN? NO, NO, NO. ABSOLUTELY. 546 00:25:37,166 --> 00:25:38,808 BRING HIM IN. 547 00:25:38,808 --> 00:25:40,970 (closes cell phone) T.S.A. JUST PULLED CHARLES ONI 548 00:25:40,970 --> 00:25:43,542 OUT OF THE SECURITY LINE AT J.F.K. OFF OUR SKETCH. 549 00:25:43,542 --> 00:25:44,814 GOOD CALL, BRO. THANK YOU. 550 00:25:44,814 --> 00:25:46,776 WHERE WAS HE GOING? 551 00:25:46,776 --> 00:25:50,319 NIGERIA. UNDER THE NAME ROBERT BURNETT. 552 00:25:52,952 --> 00:25:55,655 I DON'T KNOW WHAT YOU'RE TALKING ABOUT. 553 00:25:55,655 --> 00:25:57,657 I WAS GOING HOME TO VISIT MY FAMILY. 554 00:25:57,657 --> 00:26:00,089 THEN WHY'D YOU ONLY HAVE A ONE-WAY TICKET? 555 00:26:00,089 --> 00:26:01,631 MY MOTHER IS ILL. 556 00:26:01,631 --> 00:26:04,333 I DID NOT KNOW WHEN I'D BE RETURNING. 557 00:26:04,333 --> 00:26:07,096 MUST BE NICE, BEING ABLE TO SEE YOUR MOTHER, 558 00:26:07,096 --> 00:26:10,039 SOMETHING THAT JAMAL BUONSI WILL NEVER GET A CHANCE TO DO. 559 00:26:10,039 --> 00:26:12,802 WE KNOW THAT YOU ARE INVOLVED IN BOTH OF THESE MURDERS. 560 00:26:12,802 --> 00:26:16,305 AZI--THE MAN THAT YOU INTIMIDATED INTO FINDING JAMAL-- 561 00:26:16,305 --> 00:26:18,978 HE IS VERY EAGER TO TESTIFY AGAINST YOU. 562 00:26:18,978 --> 00:26:21,580 APPARENTLY, HE TAKES HIS RELIGIOUS BELIEFS 563 00:26:21,580 --> 00:26:23,282 VERY SERIOUSLY. 564 00:26:23,282 --> 00:26:26,155 DOESN'T BELIEVE VODUN SHOULD BE USED TO KILL PEOPLE. I DIDN'T KILL ANYONE. 565 00:26:26,155 --> 00:26:28,688 THEN WHY WERE YOU LOOKING FOR JAMAL? 566 00:26:28,688 --> 00:26:32,892 TELL ME SOMETHING-- WHAT'S IN THE PURSE? 567 00:26:32,892 --> 00:26:36,766 WHAT ARE YOU SMUGGLING, MR. ONI? 568 00:26:36,766 --> 00:26:38,267 I WANT A LAWYER. 569 00:26:38,267 --> 00:26:40,770 ARE YOU SURE? BECAUSE IF YOU GET A LAWYER, 570 00:26:40,770 --> 00:26:43,633 YOU'LL BE OUT OF HERE IN ABOUT AN HOUR, 571 00:26:43,633 --> 00:26:45,635 AND I WON'T LET YOU LEAVE TOWN, 572 00:26:45,635 --> 00:26:49,078 AND THAT'S EXACTLY WHAT YOU WANT, ISN'T IT, TO LEAVE TOWN? 573 00:26:49,078 --> 00:26:51,681 YOU SCARE A LOT OF PEOPLE, MR. ONI-- 574 00:26:51,681 --> 00:26:54,383 IMMIGRANTS, ILLEGALS. 575 00:26:54,383 --> 00:26:56,986 TELL ME... 576 00:26:56,986 --> 00:26:59,849 WHO SCARES YOU? 577 00:27:02,221 --> 00:27:04,093 I DON'T KNOW THIS MAN. 578 00:27:04,093 --> 00:27:06,095 (Castle) HE KNOWS YOU. 579 00:27:06,095 --> 00:27:09,398 MATTER OF FACT, HE'S MARKED YOU FOR DEATH. 580 00:27:09,398 --> 00:27:12,932 JAMAL WORKED FOR YOU, AND HE'S DEAD. 581 00:27:12,932 --> 00:27:15,935 DARCY CHO--SHE JUST BOUGHT A PURSE FROM YOU, 582 00:27:15,935 --> 00:27:17,937 AND NOW SHE'S DEAD. 583 00:27:17,937 --> 00:27:19,669 WHY? 584 00:27:21,240 --> 00:27:23,272 I WON'T TALK WITHOUT PROTECTION. 585 00:27:23,272 --> 00:27:27,346 I CAN'T PROTECT YOU UNLESS YOU TELL ME FROM WHAT. 586 00:27:30,780 --> 00:27:33,182 HIS NAME IS MUKHTAR BAYLOR. 587 00:27:33,182 --> 00:27:35,955 VERY BAD, VERY DANGEROUS. 588 00:27:35,955 --> 00:27:38,187 FORMER CHILD SOLDIER. 589 00:27:38,187 --> 00:27:41,030 THEY CALL HIM "THE BUTCHER OF BENIN." 590 00:27:41,030 --> 00:27:43,292 WHAT'S HE DOING IN THE U.S.? 591 00:27:43,292 --> 00:27:48,067 HE TRAFFICS--DRUGS, WOMEN, WHATEVER WILL MAKE HIM MONEY. 592 00:27:48,067 --> 00:27:52,341 IT IS HIM THAT KILLED JAMAL AND THE WOMAN. 593 00:27:52,341 --> 00:27:53,803 WHY? 594 00:27:57,246 --> 00:27:59,809 IF I TELL YOU, 595 00:27:59,809 --> 00:28:02,281 YOU WILL PROTECT ME? 596 00:28:02,281 --> 00:28:04,353 (Beckett) ONI'S A COUNTERFEITER. 597 00:28:04,353 --> 00:28:06,856 HE GETS PAPERS FOR ILLEGALS-- PASSPORTS, VISAS, 598 00:28:06,856 --> 00:28:08,858 WHATEVER THEY NEED. A REAL FRIEND TO THE COMMUNITY. 599 00:28:08,858 --> 00:28:10,860 ONI ALSO PROVIDED BAYLOR WITH DOCUMENTS 600 00:28:10,860 --> 00:28:13,823 FOR HIS TRAFFICKERS. SEWN INSIDE THE LINING OF HIS PURSES. 601 00:28:13,823 --> 00:28:17,326 YEAH, WHICH HE KEEPS IN THE BACK OF THE STALL. ONLY HE DIDN'T COUNT ON "FASHION SCOOP DAILY." 602 00:28:17,326 --> 00:28:20,029 THE WEB SITE. YEAH, THE ARTICLE ON SARAH JESSICA PARKER? 603 00:28:20,029 --> 00:28:22,772 APPEARS THERE WAS A RUN ON THE PURSES. YEAH. OUR FIRST VIC, JAMAL-- 604 00:28:22,772 --> 00:28:24,774 YEAH? HE SOLD BAGS OUT FRONT. 605 00:28:24,774 --> 00:28:26,776 HE DIDN'T KNOW ABOUT ONI'S SCAM. 606 00:28:26,776 --> 00:28:28,908 WHEN HE RAN OUT OF BAGS, HE SOLD THE ONES FROM THE BACK. 607 00:28:28,908 --> 00:28:31,210 WHY DIDN'T HE JUST GET ONI TO FORGE MORE DOCUMENTS? 608 00:28:31,210 --> 00:28:33,913 IT TAKES TIME, AND BAYLOR DOESN'T HAVE TIME. THE PAPERS ARE FOR BAYLOR'S BROTHER IN AFRICA. 609 00:28:33,913 --> 00:28:35,915 THE NIGERIAN OFFICIALS ARE CLOSING IN ON HIM 610 00:28:35,915 --> 00:28:37,216 FOR DRUG TRAFFICKING. 611 00:28:37,216 --> 00:28:39,218 IF BAYLOR DOESN'T GET HIM TO THE U.S. SOON, 612 00:28:39,218 --> 00:28:42,721 THEY'LL EXECUTE HIM. ONI SAYS BAYLOR OPERATES OUT OF A WAREHOUSE DOWNTOWN. 613 00:28:42,721 --> 00:28:46,155 FIND THIS DIRTBALL BEFORE HE MURDERS SOMEONE ELSE, ALL RIGHT? 614 00:28:46,155 --> 00:28:50,159 (indistinct conversations) 615 00:28:50,159 --> 00:28:52,131 WHERE DID THE BAG COME FROM? 616 00:28:52,131 --> 00:28:53,432 OH, SORRY, THAT'S MINE. 617 00:28:53,432 --> 00:28:55,905 I FELT, GIVEN EVERYTHING THAT'S HAPPENED, 618 00:28:55,905 --> 00:28:57,206 I SHOULD BE PREPARED. 619 00:28:57,206 --> 00:28:59,308 I GOT THIS SPECIAL ORDER. 620 00:28:59,308 --> 00:29:01,971 AND LOOK. 621 00:29:01,971 --> 00:29:04,313 "WRITER"? UH-HUH. COOL, HUH? 622 00:29:04,313 --> 00:29:06,215 NO, NOT COOL. 623 00:29:06,215 --> 00:29:09,318 YOU DON'T NEED A VEST. IF YOU SHOOT ME, DO I NOT BLEED? 624 00:29:09,318 --> 00:29:12,321 YOU'RE NOT GONNA GET SHOT. AND YOU KNOW WHY? 625 00:29:12,321 --> 00:29:15,324 BECAUSE YOU ARE GOING NOWHERE NEAR THE GUNFIRE. 626 00:29:15,324 --> 00:29:18,327 YOU'RE STAYING HERE. YES, WE'VE SEEN HOW WELL THAT WORKS. 627 00:29:18,327 --> 00:29:22,161 STAY HERE, CASTLE, AND DON'T DO ANYTHING. 628 00:29:22,161 --> 00:29:25,134 ALL RIGHT, THIS IS OUR GUY. GOT HIM? YEAH. 629 00:29:25,134 --> 00:29:26,495 MM-HMM. LET'S GO. 630 00:30:26,525 --> 00:30:29,228 (high-pitched electronic voice) DAD! DAD! DAD! 631 00:30:29,228 --> 00:30:35,204 DAD! DAD! DAD! DAD! DAD! DAD! 632 00:30:35,204 --> 00:30:36,505 DAD! DAD! DAD! 633 00:30:36,505 --> 00:30:38,137 (beep) 634 00:30:40,239 --> 00:30:42,541 (whispers) I'M GONNA-- I'M GONNA JUST GET THAT. 635 00:30:42,541 --> 00:30:44,443 (mouths words) 636 00:30:46,145 --> 00:30:47,877 (beep) 637 00:30:47,877 --> 00:30:49,218 (rings) Hi. 638 00:30:49,218 --> 00:30:52,051 ALEXIS? WHAT'S WRONG? Richard, guess what. 639 00:30:52,051 --> 00:30:54,383 MEREDITH? I found a place. 640 00:30:54,383 --> 00:30:56,886 A PERFECT PLACE. IT'S LIGHT, SPACIOUS 641 00:30:56,886 --> 00:30:59,088 AND ONLY A MILLION SIX. 642 00:30:59,088 --> 00:31:02,091 BUT THE TEXT SAID "ALEXIS." IT SAID IT WAS AN EMERGENCY. 643 00:31:02,091 --> 00:31:05,264 (laughs) WELL, HOW ELSE WAS I GONNA GET YOU TO CALL ME BACK? 644 00:31:05,264 --> 00:31:07,266 B-BUT-- ARE YOU AT THE LOFT? 645 00:31:07,266 --> 00:31:10,269 Mm, I was in the neighborhood and I had to pee, 646 00:31:10,269 --> 00:31:13,002 so I had Eduardo let me in. So I called the realtor, 647 00:31:13,002 --> 00:31:16,245 AND HERE'S THE THING--I MAY NEED YOU TO COSIGN THE LOAN. 648 00:31:16,245 --> 00:31:17,907 MEREDITH, WE'RE DIVORCED. 649 00:31:17,907 --> 00:31:19,949 I-I'M NOT GONNA COSIGN A LOAN FOR YOU. 650 00:31:19,949 --> 00:31:22,251 IT'S FOR ALEXIS, TOO. I MEAN, IT'S ONLY A ONE-BEDROOM, 651 00:31:22,251 --> 00:31:25,254 BUT YOU WANT HER TO BE COMFORTABLE 652 00:31:25,254 --> 00:31:28,257 WHEN SHE VISITS, RIGHT? LOOK, CAN I CALL YOU BACK? I'M RIGHT IN THE MIDDLE 653 00:31:28,257 --> 00:31:30,259 OF CAPTURING A VERY DANGEROUS NIGERIAN DRUG LORD... 654 00:31:30,259 --> 00:31:32,161 IT'S KIND OF A THING. 655 00:31:32,161 --> 00:31:34,223 OKAY, LATER THEN. HEY, RICHARD? 656 00:31:34,223 --> 00:31:35,965 YEAH. 657 00:31:35,965 --> 00:31:37,126 THANKS. 658 00:31:37,126 --> 00:31:39,028 FOR WHAT? Putting up with me. 659 00:31:39,028 --> 00:31:41,230 I know I've been a handful, but... 660 00:31:41,230 --> 00:31:44,173 once things settle down, I think it's gonna be great. 661 00:31:44,173 --> 00:31:46,175 THAT'S THE GUY. THAT'S THE GUY! 662 00:31:46,175 --> 00:31:48,978 HEY! HEY! 663 00:31:48,978 --> 00:31:52,381 HEY! THE-- 664 00:31:55,114 --> 00:31:57,516 ARE YOU EVEN LISTENING TO ME? 665 00:31:57,516 --> 00:31:59,288 HEY! 666 00:32:04,053 --> 00:32:06,555 THIS IS GONNA BITE ME IN THE ASS. 667 00:32:06,555 --> 00:32:08,697 (Beckett) CASTLE! 668 00:32:12,101 --> 00:32:15,034 WHAT DO YOU MEAN YOU DIDN'T GET THE PLATE? 669 00:32:15,034 --> 00:32:17,506 UH, THERE WAS A-- IT WAS COMING-- WHAT KIND OF CAR WAS IT? 670 00:32:17,506 --> 00:32:20,139 UH, IT WAS BIG. IT WAS AN S.U.V., I THINK. YOU THINK? 671 00:32:20,139 --> 00:32:23,172 (Ryan) WHAT ABOUT THE COLOR? UM, BLACK. UH, DARK BLUE. 672 00:32:23,172 --> 00:32:27,076 UH, IT'S--IT'S VERY HARD BEING A WITNESS. 673 00:32:27,076 --> 00:32:30,049 I DON'T KNOW HOW YOU GUYS EVER GET A CONVICTION. 674 00:32:30,049 --> 00:32:33,082 I'M USUALLY REALLY GOOD WITH THE DETAILED STUFF. 675 00:32:33,082 --> 00:32:36,385 I JUST--I GOT DISTRACTED. YEAH, YOU WERE ROLLING CALLS DURING A TAC STRIKE. 676 00:32:36,385 --> 00:32:39,958 HMM. INTERESTING. HE WAS SUPPOSED TO BE INSIDE THE BUILDING! 677 00:32:39,958 --> 00:32:42,061 WHAT ABOUT THE COLOR OF YOUR SHIRT? 678 00:32:42,061 --> 00:32:44,663 WHAT IS THAT RIGHT NOW? IS THAT BLACK OR BLUE? 679 00:32:44,663 --> 00:32:48,337 I-I-I COULDN'T QUITE TELL. THE SUN WAS IN MY EYES. 680 00:32:59,008 --> 00:33:00,679 WEIRD. 681 00:33:00,679 --> 00:33:03,312 REALLY WEIRD. 682 00:33:06,485 --> 00:33:09,158 (Esposito) IT'S THE SAME RED FLANNEL. 683 00:33:09,158 --> 00:33:12,691 HEY... VODUN GUY'S A YOGA NUT. 684 00:33:12,691 --> 00:33:15,194 WELL, JUST 'CAUSE YOU'RE A COLD-BLOODED KILLER 685 00:33:15,194 --> 00:33:18,027 DOESN'T MEAN YOU DON'T TAKE CARE OF YOURSELF. 686 00:33:24,303 --> 00:33:26,105 YOU GUYS. 687 00:33:26,105 --> 00:33:28,037 THE CAMERA FROM THE ELECTRONICS STORE. 688 00:33:30,039 --> 00:33:32,711 SEE? NOT A COMPLETE BUST. 689 00:33:32,711 --> 00:33:35,184 (beeps) 690 00:33:35,184 --> 00:33:38,147 (Castle) THERE'S JAMAL. (Esposito) MM-HMM. 691 00:33:38,147 --> 00:33:39,718 AND DARCY CHO. 692 00:33:39,718 --> 00:33:41,450 (beep) 693 00:33:41,450 --> 00:33:44,353 WHOA, WHOA, WHOA, WHOA. GO BACK, GO BACK, GO BACK, GO BACK. OKAY. 694 00:33:44,353 --> 00:33:46,355 (click) MORE. MORE. 695 00:33:46,355 --> 00:33:47,756 ALL RIGHT. (click) 696 00:33:47,756 --> 00:33:50,229 STOP. WELL, LOOKS LIKE SOMEONE ELSE BESIDES DARCY 697 00:33:50,229 --> 00:33:53,031 BOUGHT A CHANEL BAG FROM JAMAL. AND SHE'S CARRYING A YOGA MAT. 698 00:33:53,031 --> 00:33:54,763 HMM. (Beckett) THAT'S WHY HE BOUGHT THE CAMERA. 699 00:33:54,763 --> 00:33:57,466 BAYLOR'S LOOKING FOR HER. HE WANTS HIS PASSPORT 700 00:33:57,466 --> 00:34:00,469 SO HE'S HUNTING DOWN EVERYONE THAT BOUGHT THAT PURSE. EIGHT MILLION PEOPLE IN THE CITY. 701 00:34:00,469 --> 00:34:03,372 HE'LL NEVER FIND HER. HE FOUND DARCY CHO. HE'LL FIND HER. 702 00:34:03,372 --> 00:34:05,314 (Beckett) NOT IF WE FIND HER FIRST. 703 00:34:05,314 --> 00:34:08,477 YOU ZOOM IN ON HER HAND. HMM. 704 00:34:08,477 --> 00:34:11,550 SHE'S GOT A COFFEE FROM JAVA LOFT. 705 00:34:11,550 --> 00:34:13,822 SO? SO WE'RE LOOKING FOR A YOGA STUDIO 706 00:34:13,822 --> 00:34:16,685 NEAR A JAVA LOFT SOMEWHERE OFF CANAL STREET. 707 00:34:16,685 --> 00:34:18,757 GOTTA BE A DOZEN POSSIBILITIES. BAYLOR'S GOT A HEAD START. 708 00:34:18,757 --> 00:34:22,091 YES, BUT I'VE GOT AN AWESOME SERVICE PLAN NOW. 709 00:34:22,091 --> 00:34:24,093 WE'RE LOOKING FOR YOGA GIRL. 710 00:34:24,093 --> 00:34:27,065 YOU GUYS SEE IF ANYONE ELSE BOUGHT THAT PURSE. 711 00:34:27,065 --> 00:34:28,797 THERE ARE FOUR JAVA LOFTS WITHIN FIVE BLOCKS 712 00:34:28,797 --> 00:34:30,739 OF CANAL STREET. AND YOGA STUDIOS? 713 00:34:30,739 --> 00:34:33,102 THE TIME STAMP ON THE VIDEO WAS 3:22. 714 00:34:33,102 --> 00:34:35,604 WE'RE LOOKING FOR A YOGA STUDIO NEARBY 715 00:34:35,604 --> 00:34:37,746 WITH A CLASS THAT ENDS AT ABOUT 3:00. 716 00:34:37,746 --> 00:34:40,749 MAYBE THE WOMAN WAS ON HER WAY TO YOGA CLASS. 717 00:34:40,749 --> 00:34:42,751 YOU EVER TRY DOING A HALF MOON POSE 718 00:34:42,751 --> 00:34:44,453 CRANKED UP ON CAFFEINE? 719 00:34:44,453 --> 00:34:46,515 IT COMPLETELY THROWS OFF YOUR CHI. 720 00:34:46,515 --> 00:34:49,788 TRUST ME, SHE BOUGHT HER COFFEE AFTER CLASS. A CLASS FINISHING AROUND 3:00 P.M. 721 00:34:49,788 --> 00:34:52,121 WOULD GIVE HER ENOUGH TIME TO BUY A COFFEE. 722 00:34:52,121 --> 00:34:54,793 BUT ENOUGH TIME TO FINISH IT BEFORE CANAL STREET. 723 00:34:54,793 --> 00:34:56,465 GOT IT. 724 00:34:56,465 --> 00:34:58,827 (Beckett) NYPD. 725 00:34:58,827 --> 00:35:00,829 DO YOU KNOW THIS GIRL? 726 00:35:00,829 --> 00:35:03,772 DIANA EDWARDS. WHAT'S SHE DONE? WHAT DO YOU MEAN? 727 00:35:03,772 --> 00:35:08,137 YOU'RE THE SECOND COP THAT'S COME IN LOOKING FOR HER. ANOTHER COP WAS HERE? 728 00:35:08,137 --> 00:35:12,381 YEAH, HE JUST LEFT A FEW MINUTES AGO. BAYLOR. WE NEED DIANA'S ADDRESS RIGHT NOW. 729 00:35:14,413 --> 00:35:16,885 DIANA EDWARDS! NYPD! OPEN UP! 730 00:35:16,885 --> 00:35:18,887 CAN I KICK IT DOWN? 731 00:35:18,887 --> 00:35:20,589 SORRY, KITTEN. 732 00:35:20,589 --> 00:35:21,720 NYPD! 733 00:35:21,720 --> 00:35:23,722 (woman) OKAY, OKAY! TAKE IT EASY! 734 00:35:23,722 --> 00:35:27,856 DETECTIVE BECKETT, NYPD. ARE YOU DIANA EDWARDS? YEAH. 735 00:35:27,856 --> 00:35:29,358 HEY! IS EVERYTHING OKAY? 736 00:35:29,358 --> 00:35:30,829 FINE. 737 00:35:30,829 --> 00:35:33,832 WE HAVE A VIDEO SURVEILLANCE OF YOU PURCHASING A CHANEL BAG 738 00:35:33,832 --> 00:35:37,836 ON CANAL STREET TWO DAYS AGO. WOW, I KNOW YOU GUYS ARE CRACKING DOWN 739 00:35:37,836 --> 00:35:40,569 ON THE KNOCKOFFS, BUT I-- WHERE'S THE BAG? 740 00:35:40,569 --> 00:35:42,511 OVER THERE. 741 00:35:42,511 --> 00:35:43,772 (sighs) 742 00:35:45,774 --> 00:35:47,916 EXCUSE ME! 743 00:35:47,916 --> 00:35:51,750 HEY! WHAT ARE YOU DOING THAT FOR? 744 00:35:53,922 --> 00:35:55,854 WHAT'S GOING ON? 745 00:35:55,854 --> 00:35:59,188 YOU ARE A VERY LUCKY LADY. I DON'T UNDERSTAND. AM I IN TROUBLE? 746 00:35:59,188 --> 00:36:01,730 NO. BUT FROM NOW ON, ALWAYS BUY RETAIL. 747 00:36:01,730 --> 00:36:04,233 DETECTIVE BECKETT. I NEED A UNIT AT 91st AND BROADWAY-- WHOA! 748 00:36:04,233 --> 00:36:05,894 (gunfire) 749 00:36:05,894 --> 00:36:08,197 (Diana screams) (Beckett) CALL 9-1-1! 750 00:36:15,744 --> 00:36:17,876 OH! 751 00:36:17,876 --> 00:36:21,650 GIVE ME THE PASSPORT! PUT DOWN YOUR WEAPON, NOW! 752 00:36:21,650 --> 00:36:23,852 (gunshot) 753 00:36:23,852 --> 00:36:26,755 GIVE ME THE PASSPORT! 754 00:36:35,764 --> 00:36:37,726 BAYLOR, ANY MINUTE NOW, 755 00:36:37,726 --> 00:36:40,429 THIS PLACE IS GONNA BE CRAWLING WITH COPS! 756 00:36:40,429 --> 00:36:42,801 DON'T MAKE THINGS WORSE THAN THEY ARE! 757 00:36:45,734 --> 00:36:47,676 (gunfire, glass shatters) 758 00:36:50,409 --> 00:36:53,712 GIVE ME WHAT I WANT, AND I WALK AWAY! I'VE WRITTEN THIS SCENE ABOUT A HUNDRED TIMES. 759 00:36:53,712 --> 00:36:56,285 WE GIVE HIM WHAT HE WANTS, YOU KNOW HOW IT ENDS? 760 00:36:56,285 --> 00:36:58,987 BADLY. AND BY "BADLY," I MEAN US DEAD. JUST STAY DOWN. 761 00:36:58,987 --> 00:37:01,750 YOU STAY DOWN. I CAN'T SHOOT HIM FROM DOWN HERE. 762 00:37:01,750 --> 00:37:04,593 YEAH, HE CAN'T SHOOT YOU, EITHER. (gunfire) 763 00:37:04,593 --> 00:37:05,894 (glass shatters) 764 00:37:05,894 --> 00:37:07,996 I CAN'T SEE HIM. 765 00:37:07,996 --> 00:37:10,359 (exhales sharply) SHH. HE'S MOVING. 766 00:37:10,359 --> 00:37:11,760 (cocks gun) 767 00:37:11,760 --> 00:37:13,932 I'VE ONLY GOT TWO ROUNDS LEFT. 768 00:37:13,932 --> 00:37:15,864 I NEED A CLEAN SHOT. 769 00:37:15,864 --> 00:37:18,707 I GOTTA GET EYES ON HIM SOMEHOW. 770 00:37:18,707 --> 00:37:21,009 WHAT'S WITH YOU AND PHONES? SHH. 771 00:37:21,009 --> 00:37:23,011 (camera shutter clicks) 772 00:37:23,011 --> 00:37:25,814 I'M NOT PLAYING GAMES! 773 00:37:25,814 --> 00:37:28,747 I DON'T HAVE AN ANGLE ON HIM FROM DOWN HERE. 774 00:37:28,747 --> 00:37:30,849 I WILL KILL YOU BOTH! OKAY. 775 00:37:30,849 --> 00:37:33,322 (panting) WHEN WE SHOOT, HE SHOOTS. 776 00:37:33,322 --> 00:37:35,424 HE'LL BE EXPOSED. 777 00:37:37,255 --> 00:37:39,388 I'LL SET THE PICK, YOU TAKE HIM DOWN. 778 00:37:39,388 --> 00:37:41,730 SET THE PICK WITH WHAT? 779 00:37:41,730 --> 00:37:44,563 THIS. YOU'RE GONNA GET YOURSELF SHOT. 780 00:37:44,563 --> 00:37:46,935 NOT IF YOU MAKE YOUR SHOT COUNT. CASTLE! 781 00:37:46,935 --> 00:37:48,897 JUST BE READY. 782 00:37:52,771 --> 00:37:54,703 THIS IS YOUR LAST WARNING! 783 00:37:54,703 --> 00:37:56,745 (Castle) NOW! (cork pops) 784 00:37:56,745 --> 00:37:58,447 (gunfire) AAH! 785 00:37:58,447 --> 00:37:59,548 (groans) 786 00:37:59,548 --> 00:38:01,480 AH. WHEW. 787 00:38:01,480 --> 00:38:04,613 (siren wailing) 788 00:38:04,613 --> 00:38:07,786 I'D SAY THIS DESERVES A TOAST. 789 00:38:07,786 --> 00:38:11,289 HUH. (siren continues) 790 00:38:15,824 --> 00:38:18,927 (indistinct conversations) 791 00:38:18,927 --> 00:38:21,299 BAYLOR'S GONNA MAKE IT. 792 00:38:21,299 --> 00:38:23,672 YOU OKAY, CASTLE? 793 00:38:23,672 --> 00:38:25,634 MY FIRST GUN BATTLE. 794 00:38:25,634 --> 00:38:27,005 YOUR LAST GUN BATTLE. 795 00:38:27,005 --> 00:38:29,438 MM. DON'T BE SO PESSIMISTIC. 796 00:38:29,438 --> 00:38:31,810 I THINK I HANDLED MYSELF PRETTY WELL. 797 00:38:31,810 --> 00:38:34,643 YEAH. YOU PROBABLY SAVED MY LIFE. PROBABLY? 798 00:38:34,643 --> 00:38:36,645 I DEFINITELY SAVED YOUR LIFE. 799 00:38:36,645 --> 00:38:39,448 AND YOU KNOW WHAT THAT MEANS, DON'T YOU? 800 00:38:39,448 --> 00:38:42,020 IT MEANS YOU OWE ME. OWE YOU WHAT? 801 00:38:42,020 --> 00:38:43,952 WHATEVER I WANT. 802 00:38:43,952 --> 00:38:49,327 AND YOU KNOW EXACTLY WHAT I WANT, DON'T YOU? 803 00:38:49,327 --> 00:38:55,063 YOU KNOW WHAT I REALLY, REALLY WANT YOU TO DO? 804 00:38:56,635 --> 00:38:59,037 (whispers) NEVER... EVER... 805 00:38:59,037 --> 00:39:01,570 CALL ME "KITTEN." 806 00:39:09,478 --> 00:39:13,782 (Brett Dennen) ♪ IT'S ENOUGH TO MAKE YOU GO CRAZY ♪ 807 00:39:13,782 --> 00:39:16,385 (typing on keyboard) (Alexis) DAD? 808 00:39:16,385 --> 00:39:17,656 YEAH, SWEETIE? 809 00:39:17,656 --> 00:39:21,390 ♪ AND I'M AMAZED I HAVEN'T YET ♪ 810 00:39:21,390 --> 00:39:22,731 HYPOTHETICALLY, 811 00:39:22,731 --> 00:39:24,833 IS IT OKAY TO LOVE SOMEONE 812 00:39:24,833 --> 00:39:28,667 BUT NOT WANT THEM AROUND ALL THE TIME? 813 00:39:28,667 --> 00:39:30,469 YOU MEAN MOM? 814 00:39:30,469 --> 00:39:32,601 I LOVE HER. I DO. 815 00:39:32,601 --> 00:39:35,444 I KNOW YOU DO, AND I'M GLAD YOU DO. 816 00:39:35,444 --> 00:39:38,577 BUT, DAD, SHE DRIVES ME CRAZY. 817 00:39:38,577 --> 00:39:39,878 YEAH. 818 00:39:39,878 --> 00:39:41,650 THAT'S WHAT MOMS DO. 819 00:39:41,650 --> 00:39:43,752 BUT IF SHE LIVES HERE... 820 00:39:43,752 --> 00:39:45,083 (door opens) 821 00:39:45,083 --> 00:39:47,616 (Meredith) RICHARD? RICHARD. ALEXIS. 822 00:39:47,616 --> 00:39:48,787 (chuckles) 823 00:39:48,787 --> 00:39:51,019 YOUR SECRET'S SAFE WITH ME. 824 00:39:51,019 --> 00:39:52,791 ♪♪ 825 00:39:52,791 --> 00:39:54,593 (exhales deeply) 826 00:39:54,593 --> 00:39:57,566 HELLO? ANYONE HOME? HELLO? 827 00:39:57,566 --> 00:40:00,629 YOU WILL NOT BELIEVE WHAT HAPPENED. 828 00:40:00,629 --> 00:40:03,101 I GOT A CALL FROM MY AGENT. 829 00:40:03,101 --> 00:40:06,475 I'VE BEEN OFFERED A HUGE ROLE IN A NEW INDIE FILM. OH-- 830 00:40:06,475 --> 00:40:08,477 WOW. (laughs) 831 00:40:08,477 --> 00:40:09,878 MOM, THAT'S AWESOME. 832 00:40:09,878 --> 00:40:13,782 IT IS. BUT... HERE'S THE BAD NEWS, SWEETIE. 833 00:40:13,782 --> 00:40:15,784 I'M GONNA HAVE TO PUT MY PLANS 834 00:40:15,784 --> 00:40:20,418 TO MOVE BACK TO NEW YORK ON HOLD. OH... HOW EVER WILL WE MANAGE? 835 00:40:20,418 --> 00:40:22,420 WELL, THAT'S OKAY, MOM. 836 00:40:22,420 --> 00:40:24,923 IT SOUNDS LIKE A HUGE OPPORTUNITY. IT IS. IT REALLY IS. 837 00:40:24,923 --> 00:40:27,425 BESIDES, IT'S NOT LIKE BROADWAY'S GOING ANYWHERE. 838 00:40:27,425 --> 00:40:31,530 I CAN ALWAYS DO THEATER WHEN I'M TOO OLD FOR HI-DEF. 839 00:40:31,530 --> 00:40:33,962 UH, SO WHEN DO YOU NEED TO BE BACK IN L.A.? 840 00:40:33,962 --> 00:40:36,965 TOMORROW. I NEED TO GET BACK TO MY HOTEL AND PACK, 841 00:40:36,965 --> 00:40:39,007 BUT I WANTED TO TELL YOU THE GOOD NEWS. 842 00:40:39,007 --> 00:40:41,670 THERE'S SO MUCH FUN STUFF WE DIDN'T GET TO DO. 843 00:40:41,670 --> 00:40:44,973 BUT I'LL BE BACK SOON, I PROMISE. I KNOW. 844 00:40:44,973 --> 00:40:46,545 I LOVE YOU, MOM. MM. 845 00:40:46,545 --> 00:40:49,548 THANKS FOR TAKING ME SHOPPING. OH, ANYTIME. 846 00:40:49,548 --> 00:40:51,680 (Plain White T's "1, 2, 3, 4" playing) 847 00:40:51,680 --> 00:40:53,552 GOOD-BYE, MARTHA. 848 00:40:53,552 --> 00:40:56,485 MEREDITH. 849 00:40:56,485 --> 00:40:59,658 YOU KNOW I ALWAYS HATE TO SEE YOU GO. 850 00:40:59,658 --> 00:41:02,460 (Meredith) MM. 851 00:41:02,460 --> 00:41:06,064 NEXT TIME--TOP TEN. 852 00:41:06,064 --> 00:41:07,866 TOP TEN. 853 00:41:07,866 --> 00:41:10,639 ♪ THREE WORDS FOR YOU ♪ 854 00:41:10,639 --> 00:41:14,472 ♪ I LOVE YOU ♪ ♪ I LOVE YOU ♪ 855 00:41:14,472 --> 00:41:16,945 WHEW. OKAY, DAD, SPILL. 856 00:41:16,945 --> 00:41:18,146 WHAT? 857 00:41:18,146 --> 00:41:19,708 WHAT DID YOU DO? 858 00:41:19,708 --> 00:41:21,810 NOTHING. 859 00:41:21,810 --> 00:41:23,982 OH. MY BUSINESS MANAGER CALLED 860 00:41:23,982 --> 00:41:27,055 WITH AN EXCELLENT INVESTMENT OPPORTUNITY-- 861 00:41:27,055 --> 00:41:29,618 A SMALL, ARTSY INDEPENDENT FEATURE. 862 00:41:29,618 --> 00:41:31,620 (Martha) OH, THAT'S MY BOY! 863 00:41:31,620 --> 00:41:33,622 EH, SHE'S PERFECT FOR THE ROLE. 864 00:41:33,622 --> 00:41:35,764 I'M DOING THEM A FAVOR. I THINK. 865 00:41:35,764 --> 00:41:38,767 I HOPE YOU DON'T MIND. RAISING ONE PARENT'S HARD ENOUGH. 866 00:41:38,767 --> 00:41:41,770 I DON'T KNOW WHAT I'D DO IF I HAD TO RAISE TWO. 867 00:41:41,770 --> 00:41:45,674 (Martha) THERE WASN'T A LITTLE PART FOR ME... 868 00:41:45,674 --> 00:41:47,676 NO, NO. IN THE ARTSY... UH, NO. 869 00:41:47,676 --> 00:41:49,077 ♪ I LOVE YOU ♪