1 00:00:01,001 --> 00:00:03,034 OHH. 2 00:00:03,034 --> 00:00:06,077 JOSEPH... THIS IS THE LAST TIME WE CAN DO THIS. 3 00:00:06,077 --> 00:00:08,509 WHAT ARE YOU TALKING ABOUT? I'M GOING BACK TO MY HUSBAND. 4 00:00:08,509 --> 00:00:11,011 ALFONSO? I'M SORRY. 5 00:00:11,011 --> 00:00:13,684 ANGIE, BABY, WHAT ABOUT US? 6 00:00:13,684 --> 00:00:15,246 (sighs) 7 00:00:15,246 --> 00:00:18,249 (door closes) OH, MY GOD. OH, MY GOD. THAT'S HIM. 8 00:00:18,249 --> 00:00:20,491 HE'S HOME EARLY. (man with European accent) ANGELA, ARE YOU UPSTAIRS? 9 00:00:20,491 --> 00:00:22,653 HIDE IN THE CLOSET. NOW. I'M GOING. I'M GOING. 10 00:00:22,653 --> 00:00:24,525 MI BELLO... 11 00:00:24,525 --> 00:00:26,797 AH! AAH! 12 00:00:26,797 --> 00:00:29,400 (gasps) 13 00:00:29,400 --> 00:00:32,233 (murmuring) 14 00:00:32,233 --> 00:00:35,466 ALL RIGHT. WHAT'S GOING ON, FELLAS? 15 00:00:35,466 --> 00:00:39,340 WHAT, THE GAG REEL GETTING A LITTLE THIN? 16 00:00:39,340 --> 00:00:42,313 MNH-MNH. NO. 17 00:00:45,316 --> 00:00:46,817 OH, MY GOD. 18 00:00:46,817 --> 00:00:48,679 IT'S SARAH. 19 00:00:48,679 --> 00:00:51,182 SOMEONE KILLED SARAH. 20 00:00:55,156 --> 00:00:56,787 (Bachman-Turner Overdrive's 21 00:00:56,787 --> 00:01:00,691 "Takin' Care of Business" playing) 22 00:01:02,693 --> 00:01:06,397 (humming) 23 00:01:06,397 --> 00:01:09,540 ♪♪♪ 24 00:01:09,540 --> 00:01:11,402 (hums) YEOW. 25 00:01:11,402 --> 00:01:13,474 OH. OH-HOO! 26 00:01:13,474 --> 00:01:16,547 (raised voice) I KNOW YOU AREN'T COOKING BREAKFAST, 27 00:01:16,547 --> 00:01:18,179 SO WHAT IS ALL THIS? 28 00:01:18,179 --> 00:01:20,411 (lowers volume) SPRING CLEANING. 29 00:01:20,411 --> 00:01:23,354 (normal voice) OH. WELL, MOTHER, I AM--I AM SHOCKED 30 00:01:23,354 --> 00:01:26,086 THAT YOU EVEN KNOW HOW TO OPERATE A SPONGE. OH, I HAVE CLEANED BEFORE. 31 00:01:26,086 --> 00:01:29,720 WELL, I'VE SUPERVISED CLEANING BEFORE. 32 00:01:29,720 --> 00:01:31,722 AND WHAT HAS, UH, PROMPTED 33 00:01:31,722 --> 00:01:34,425 THIS SUDDEN BURST OF DOMESTIC DEVOTION? 34 00:01:34,425 --> 00:01:36,427 THE SPACE FOR MY ACTING SCHOOL 35 00:01:36,427 --> 00:01:38,699 WON'T BE READY FOR ANOTHER MONTH, 36 00:01:38,699 --> 00:01:41,372 ALEXIS IS ALL BUSY WITH HER A.P. TESTS, 37 00:01:41,372 --> 00:01:43,634 MY LUNCH DATE CANCELED... OH. 38 00:01:43,634 --> 00:01:45,606 AND IF I DON'T DO SOMETHING PRODUCTIVE, 39 00:01:45,606 --> 00:01:48,679 I'M GONNA TEAR MY HAIR OUT, SO OUT MY WAY. PARDON. 40 00:01:48,679 --> 00:01:50,411 (cell phone rings) OH. 41 00:01:50,411 --> 00:01:52,143 (ring) SPEAKING OF HAIR. 42 00:01:52,143 --> 00:01:54,415 (sexy voice) HELLO, BECKETT. 43 00:01:54,415 --> 00:01:57,488 (normal voice) YES. 1777 21st STREET. 44 00:01:57,488 --> 00:01:59,620 ALL RIGHT. I'LL MEET YOU THERE. 45 00:01:59,620 --> 00:02:01,692 DID YOU SAY 1777 21st STREET? 46 00:02:01,692 --> 00:02:03,694 YEAH. THERE WAS A MURDER THERE. WHY? 47 00:02:03,694 --> 00:02:05,696 OH, I KNOW THAT ADDRESS. THAT'S GEMSTAR STUDIOS. 48 00:02:05,696 --> 00:02:07,758 THAT'S WHERE THEY FILM "TEMPTATION LANE." 49 00:02:07,758 --> 00:02:10,861 THE SOAP OPERA YOU USED TO BE ON? OH, I-I HOPE IT'S NOBODY THAT I KNOW. 50 00:02:10,861 --> 00:02:13,664 MAYBE I SHOULD GO WITH YOU. (laughs) 51 00:02:13,664 --> 00:02:16,637 IT'S A CRIME SCENE, MOTHER. WE'RE TRAINED PROFESSIONALS. 52 00:02:16,637 --> 00:02:18,839 RICHARD CASTLE, YOU ARE NEITHER TRAINED 53 00:02:18,839 --> 00:02:21,642 NOR A PROFESSIONAL. 54 00:02:21,642 --> 00:02:25,446 I'LL TEXT YOU WITH UPDATES. 55 00:02:25,446 --> 00:02:28,449 VICTIM'S NAME IS SARAH CUTLER. 56 00:02:28,449 --> 00:02:30,451 LOOKS LIKE SHE WAS KILLED LAST NIGHT 57 00:02:30,451 --> 00:02:32,453 AND STUFFED INTO A CLOSET ON SET. 58 00:02:32,453 --> 00:02:34,855 WAS SHE A PART OF THE PRODUCTION? YEAH. 59 00:02:34,855 --> 00:02:37,688 LET ME GUESS. THE DIVA ACTRESS THAT EVERYONE HATED. ACTUALLY, CASTLE, SHE WAS A WRITER. 60 00:02:37,688 --> 00:02:39,430 A WRITER? (Esposito) MM-HMM. 61 00:02:39,430 --> 00:02:42,363 WHY WOULD ANYONE WANT TO KILL A WRITER? OH, SO MANY REASONS. 62 00:02:42,363 --> 00:02:45,896 ORMAYBESARAH DISCOVERED 63 00:02:45,896 --> 00:02:48,799 THAT GREEK BILLIONAIRE MIKKOS HAD INVENTED A MACHINE 64 00:02:48,799 --> 00:02:50,471 THAT COULD CAUSE BLIZZARDS, 65 00:02:50,471 --> 00:02:52,743 THAT WOULD PLUNGE THE ENTIRE WORLD INTO AN ICE AGE. 66 00:02:52,743 --> 00:02:56,307 REALLY? YOU'RE GONNA GO WITH AN EVIL WEATHER MACHINE? 67 00:02:56,307 --> 00:02:57,808 IT ALREADY HAPPENED. 68 00:02:57,808 --> 00:03:00,311 ON "GENERAL HOSPITAL." LOOK, BEAR IN MIND, 69 00:03:00,311 --> 00:03:02,313 WE'RE ENTERING INTO A WORLD OF EPIC DRAMA 70 00:03:02,313 --> 00:03:04,315 WITH LARGER-THAN-LIFE CHARACTERS, 71 00:03:04,315 --> 00:03:06,657 EACH ONE TEEMING WITH TWISTED SECRETS 72 00:03:06,657 --> 00:03:08,659 AND PERSONAL INTRIGUE. 73 00:03:08,659 --> 00:03:11,262 IT STANDS TO REASON THAT THE MOTIVE FOR THIS MURDER 74 00:03:11,262 --> 00:03:13,464 WILL BE WORTHY OF A SOAP OPERA. 75 00:03:13,464 --> 00:03:15,566 CASTLE, EVEN IN A WORLD OF EPIC DRAMA, 76 00:03:15,566 --> 00:03:17,828 THE MOTIVES ARE USUALLY QUITE ORDINARY. 77 00:03:17,828 --> 00:03:19,930 (Castle) NOW DOES THAT LOOK ORDINARY TO YOU? 78 00:03:19,930 --> 00:03:22,433 (camera shutter clicking) 79 00:03:22,433 --> 00:03:24,805 THE VICTIM WITH AN AX IN HER BACK 80 00:03:24,805 --> 00:03:27,838 ON THE SET OF HER OWN SHOW... 81 00:03:27,838 --> 00:03:29,840 ODDS ARE, THE KILLER WALKS AMONGST US 82 00:03:29,840 --> 00:03:32,313 ON THIS VERY SOUNDSTAGE. 83 00:03:32,313 --> 00:03:33,744 SO WHAT HAVE WE GOT? 84 00:03:33,744 --> 00:03:36,216 HER SPINAL CORD WAS SEVERED WITH THE AX. 85 00:03:36,216 --> 00:03:38,218 UPON CONTACT, HER LUNGS FILLED WITH BLOOD, 86 00:03:38,218 --> 00:03:40,421 'CAUSING HER TO DROWN. 87 00:03:40,421 --> 00:03:43,354 I CAN PUT THE TIME OF DEATH IN A 4-HOUR WINDOW, 88 00:03:43,354 --> 00:03:45,896 SOMEWHERE BETWEEN 7:00 AND 11:00 P.M. LAST NIGHT. 89 00:03:45,896 --> 00:03:48,459 AND WHERE DID THIS AX COME FROM? IT'S THE FIRE AX FROM THE STAGE. 90 00:03:48,459 --> 00:03:51,402 CREW MEMBERS THINK IT MIGHT BE SYMBOLIC. SYMBOLIC? 91 00:03:51,402 --> 00:03:53,404 WELL, WHEN MS. CUTLER TOOK OVER WRITING THE SHOW, 92 00:03:53,404 --> 00:03:55,966 FIRST THING SHE DID WAS KILL OFF 93 00:03:55,966 --> 00:03:58,439 ONE OF THE MAIN CHARACTERS WITH AN AX. 94 00:03:58,439 --> 00:04:01,472 NOW IT SAVED THE SHOW, BUT SOME OF THE FANS WERE UNHAPPY. YOU DAMN RIGHT WE WERE UNHAPPY. 95 00:04:01,472 --> 00:04:04,815 ASHLEY CONRAD WAS THE MATRIARCH OF "TEMPTATION LANE" 96 00:04:04,815 --> 00:04:07,278 FOR 30 YEARS, AND THEN ALL OF A SUDDEN--WHAP! 97 00:04:07,278 --> 00:04:08,349 LANIE. 98 00:04:08,349 --> 00:04:09,650 RIGHT. 99 00:04:09,650 --> 00:04:12,783 BASED ON THE C.S.U. SWEEP, SHE WAS KILLED RIGHT HERE. 100 00:04:12,783 --> 00:04:15,556 THE KILLER WIPED UP THE BLOOD SPATTER 101 00:04:15,556 --> 00:04:18,429 AND SHOVED HER IN THE CLOSET. (Castle) WHICH MEANS THEY KNEW THERE WAS A CLOSET 102 00:04:18,429 --> 00:04:19,830 TO SHOVE HER INTO, 103 00:04:19,830 --> 00:04:21,892 SUGGESTING SOMEONE FAMILIAR WITH THE LAYOUT. 104 00:04:21,892 --> 00:04:24,695 AN INSIDER, PERHAPS? (Ryan) WELL, I JUST CHECKED WITH SECURITY. 105 00:04:24,695 --> 00:04:26,967 THEY'RE ON HIGH ALERT NOW, BUT AS YOU CAN TELL, 106 00:04:26,967 --> 00:04:29,400 THINGS AREN'T EXACTLY BUTTONED UP AROUND HERE. AND WHAT ABOUT THE CAMERAS? 107 00:04:29,400 --> 00:04:31,402 ONLY ONE AT THE MAIN ENTRANCE, 108 00:04:31,402 --> 00:04:33,844 BUT NO ONE WAS MANNING THE ENTRANCE TO THIS SOUNDSTAGE. 109 00:04:33,844 --> 00:04:36,907 OH, SO IT IS POSSIBLE THAT SOMEONE FROM THE OUTSIDE GOT IN? 110 00:04:36,907 --> 00:04:41,312 HAVE YOU TALKED TO NEXT OF KIN? HUSBAND WAS ON SET WHEN THE BODY WAS DISCOVERED. 111 00:04:41,312 --> 00:04:43,584 TURNS OUT, HE'S ONE OF THE DIRECTORS. OKAY, SO WHY DON'T YOU GUYS 112 00:04:43,584 --> 00:04:45,586 GET STATEMENTS FROM THE ACTORS THAT FOUND HER? 113 00:04:45,586 --> 00:04:48,419 CASTLE AND I WILL TALK TO THE HUSBAND. RIGHT. 114 00:04:48,419 --> 00:04:51,492 IT'S TRAGIC, REALLY. I MEAN, SARAH WAS A GEM. 115 00:04:51,492 --> 00:04:53,324 SUPREMELY TALENTED, TOO. 116 00:04:53,324 --> 00:04:54,825 IT ALL BEGINS WITH THE WORDS. 117 00:04:54,825 --> 00:04:57,798 BUT IT'S ALSO HOW YOU SAY THEM. SO TRUE. 118 00:04:57,798 --> 00:05:01,432 MY PERFORMANCE BRINGS ANGELA CANNON TO LIFE. 119 00:05:01,432 --> 00:05:03,474 WITHOUT SARAH'S WORDS, I'D JUST BE 120 00:05:03,474 --> 00:05:06,607 AN INCREDIBLY GORGEOUS WOMAN NAMED MANDY BRONSON. 121 00:05:06,607 --> 00:05:09,680 SHEREALLYUNDERSTOOD JOSEPH FOX. 122 00:05:09,680 --> 00:05:11,482 (sucks teeth) MY CHARACTER. 123 00:05:11,482 --> 00:05:13,083 HE'S VERY COMPLICATED. 124 00:05:13,083 --> 00:05:16,717 COMPLICATED? A 5 YEAR OLD COULD WRITE HIM. YOU KNOW, I'D BE INSULTED 125 00:05:16,717 --> 00:05:19,390 IF YOU ACTUALLY KNEW ANYTHING ABOUT ACTING. MS. BRONSON, 126 00:05:19,390 --> 00:05:21,552 WHAT TIME DID YOU LEAVE THE STUDIO LAST NIGHT? 127 00:05:21,552 --> 00:05:25,456 WE WRAPPED AT 6:00, AND I WENT STRAIGHT HOME. 128 00:05:25,456 --> 00:05:28,098 I, UM... I DREW A BATH, POURED A GLASS OF WINE, 129 00:05:28,098 --> 00:05:30,601 PUT ON A LITTLE JOHN LEGEND, 130 00:05:30,601 --> 00:05:32,963 THEN I SLIPPED OUT OF MY SILK ROBE 131 00:05:32,963 --> 00:05:36,066 AND LET THE BUBBLES SOAK EVERY INCH OF MY BODY. WOW. 132 00:05:36,066 --> 00:05:37,868 DUDE. 133 00:05:37,868 --> 00:05:39,470 DUDE. DUDE. 134 00:05:39,470 --> 00:05:41,712 I'M JUST... MR. HASTINGS, HOW ABOUT YOU? 135 00:05:41,712 --> 00:05:43,714 DITTO. YOU ALSO DREW A BUBBLE BATH 136 00:05:43,714 --> 00:05:47,017 AND LISTENED TO SOME JOHN LEGEND? NO, I LEFT RIGHT AFTER WE WRAPPED. 137 00:05:47,017 --> 00:05:49,750 AND WHEN DID YOU LAST SEE SARAH? SHE CAME DOWN TO THE SET 138 00:05:49,750 --> 00:05:52,352 RIGHT BEFORE WE SHOT A LOVE SCENE. HA! MORE LIKE A TORTURE SCENE, 139 00:05:52,352 --> 00:05:54,585 WITH ME GETTING SMOTHERED BY HIS BULK. 140 00:05:54,585 --> 00:05:57,388 WHY DON'T YOU GET YOUR ASS TO THE GYM? I'LL GO TO THE GYM IF YOU POP A TIC TAC 141 00:05:57,388 --> 00:05:59,390 THE NEXT TIME WE HAVE TO KISS. 142 00:05:59,390 --> 00:06:02,463 CAN WE GET BACK TO SARAH FOR JUST ONE MORE MOMENT? 143 00:06:02,463 --> 00:06:04,735 DID SHE HAVE ANY ENEMIES IN THE PRODUCTION? 144 00:06:04,735 --> 00:06:07,498 NO, NO. SARAH WAS WONDERFUL. EVERYBODY LOVED HER. 145 00:06:07,498 --> 00:06:09,800 YEAH. SHE TREATED EVERYONE WITH RESPECT. 146 00:06:09,800 --> 00:06:12,743 I CAN'T IMAGINE WHO WOULD DO THIS. 147 00:06:15,145 --> 00:06:18,609 MR. POWERS, WHEN WAS THE LAST TIME YOU HEARD FROM YOUR WIFE? 148 00:06:18,609 --> 00:06:22,152 I, UM, SPOKE WITH SARAH... LAST NIGHT, RIGHT--RIGHT HERE, 149 00:06:22,152 --> 00:06:24,154 RIGHT WHERE WE'RE STANDING RIGHT NOW. 150 00:06:24,154 --> 00:06:26,787 AND WHAT DID THE TWO OF YOU TALK ABOUT? 151 00:06:26,787 --> 00:06:29,059 END OF THE DAY, JUST TOUCHING BASE. WHAT TIME WAS THAT? 152 00:06:29,059 --> 00:06:31,962 MAYBE A LITTLE AFTER 6:00. UH, DIDN'T YOU FIND IT STRANGE 153 00:06:31,962 --> 00:06:34,965 THAT SARAH DIDN'T COME HOME LAST NIGHT? I'M USED TO IT. 154 00:06:34,965 --> 00:06:37,528 SARAH'S THE HEAD WRITER. LONG HOURS WRITING SCRIPTS 155 00:06:37,528 --> 00:06:39,870 KIND OF COMES WITH THE TERRITORY. 156 00:06:39,870 --> 00:06:41,772 SHE HAVE ANY TROUBLE WITH CAST OR CREW? 157 00:06:41,772 --> 00:06:43,734 WELL, EVERYBODY HERE HAS AN AGENDA, 158 00:06:43,734 --> 00:06:46,006 AND SARAH HAD TO MAKE A LOT OF TOUGH DECISIONS, 159 00:06:46,006 --> 00:06:47,878 BUT NOBODY HERE WOULD ACTUALLY HURT HER. 160 00:06:47,878 --> 00:06:51,041 I MEAN, WE'RE LIKE A FAMILY. WHAT ABOUT ANYONE OUTSIDE THE SHOW? 161 00:06:51,041 --> 00:06:54,615 NO, NOT THAT I... WAIT. 162 00:06:54,615 --> 00:06:56,687 WHAT? FOX CAN LOVER. 163 00:06:56,687 --> 00:06:58,749 FOX CAN LOVER? 164 00:06:58,749 --> 00:07:02,723 ABOUT A WEEK AGO, SARAH HAD THIS--THIS CRAZY, OBSESSED FAN 165 00:07:02,723 --> 00:07:04,895 KICKED OFF THE SET. 166 00:07:04,895 --> 00:07:06,897 SH-SHE WRITES AN UNOFFICIAL BLOG ABOUT THE SHOW. 167 00:07:06,897 --> 00:07:09,660 SHE'S A SHIPPER WHO GOES BY THE SCREEN NAME FoxCanLover. 168 00:07:09,660 --> 00:07:11,732 A SHIPPER? UH, YEAH, IT'S A PERSON WHO INVESTS 169 00:07:11,732 --> 00:07:14,465 IN THE RELATIONSHIPS OF A SHOW. 170 00:07:14,465 --> 00:07:16,867 IN THIS CASE, IT WOULD BE JOSEPH FOX AND ANGELA CANNON, 171 00:07:16,867 --> 00:07:18,469 HENCE FoxCan. 172 00:07:18,469 --> 00:07:20,440 EXACTLY, BUT WHEN SHE GETS HERE, SHE LOSES IT, 173 00:07:20,440 --> 00:07:21,972 GOES CRAZY, THREATENS SARAH. 174 00:07:21,972 --> 00:07:23,974 SECURITY HAS TO ESCORT HER OFF. DO YOU KNOW THE LADY'S NAME? 175 00:07:23,974 --> 00:07:25,976 NO, I-I DON'T, BUT SARAH'S ASSISTANT WOULD-- 176 00:07:25,976 --> 00:07:28,979 REESE HARMON. (footsteps approach) 177 00:07:28,979 --> 00:07:31,982 IS IT TRUE? OH. (whispering) IT'S TRUE. 178 00:07:31,982 --> 00:07:34,454 I'M SO SORRY. (crying) MY BABY'S GONE. 179 00:07:34,454 --> 00:07:36,587 I'M SORRY. (normal voice) THIS IS, UM, 180 00:07:36,587 --> 00:07:39,229 THIS IS SARAH'S MOM, GLORIA CHAMBERS. 181 00:07:39,229 --> 00:07:42,062 DETECTIVE BECKETT IS INVESTIGATING SARAH'S MURDER. 182 00:07:42,062 --> 00:07:43,794 IT'S SO UNFAIR. 183 00:07:43,794 --> 00:07:45,996 I JUST GOT HER BACK, AND NOW SHE'S GONE. 184 00:07:45,996 --> 00:07:48,839 MRS. CHAMBERS, WERE THE TWO OF YOU ESTRANGED? 185 00:07:48,839 --> 00:07:50,571 WE HAD BEEN FOR YEARS. 186 00:07:50,571 --> 00:07:53,003 I GAVE HER UP FOR ADOPTION WHEN I WAS YOUNG. 187 00:07:53,003 --> 00:07:55,906 WHAT KIND OF MONSTER WOULD DO THIS? 188 00:07:55,906 --> 00:07:58,248 WE DON'T KNOW JUST YET, BUT WE ARE GONNA DO 189 00:07:58,248 --> 00:08:00,651 EVERYTHING WE CAN TO BRING THEM TO JUSTICE. 190 00:08:00,651 --> 00:08:03,614 YOU'D BETTER, OR I WILL SUE THE ENTIRE CITY 191 00:08:03,614 --> 00:08:06,787 FOR EVERY NICKEL IT'S WORTH. 192 00:08:09,119 --> 00:08:11,021 WELL, I UNDERSTAND BEING UPSET, 193 00:08:11,021 --> 00:08:12,763 BUT THREATENING TO SUE? 194 00:08:12,763 --> 00:08:15,165 YEAH, WELL, EVERYBODY PROCESSES THEIR GRIEF DIFFERENTLY. 195 00:08:15,165 --> 00:08:17,167 YES, UNLESS SHE'S A GOLD-DIGGING OPPORTUNIST 196 00:08:17,167 --> 00:08:20,170 WHO'S INSINUATED HERSELF BACK INTO HER DAUGHTER'S LIFE 197 00:08:20,170 --> 00:08:22,172 BECAUSE SHE'S IN NEED OF A HEART TRANSPLANT, 198 00:08:22,172 --> 00:08:24,905 AND SARAH IS THE ONLY COMPATIBLE DONOR. SURE, MAYBE ON "TEMPTATION LANE." 199 00:08:24,905 --> 00:08:26,907 NOT IN THE REAL WORLD. 200 00:08:26,907 --> 00:08:28,909 UH, SPEAKING OF WHICH, FoxCan? MM-HMM. 201 00:08:28,909 --> 00:08:31,742 JOSEPH FOX AND ANGELA CANNON-- HOW DID YOU KNOW THEIR NAMES? 202 00:08:31,742 --> 00:08:33,744 UH, ONE OF THE UNIFORMS BRIEFED ME. 203 00:08:33,744 --> 00:08:36,046 OH. AND SHIPPERS-- RELATIONSHIP FANS? 204 00:08:36,046 --> 00:08:38,919 CASTLE, I DO READ, YOU KNOW? COOL. 205 00:08:38,919 --> 00:08:41,592 (indistinct conversations) 206 00:08:41,592 --> 00:08:43,594 (bell rings) 207 00:08:43,594 --> 00:08:45,025 (ring) 208 00:08:50,901 --> 00:08:52,633 (Beckett) EXCUSE ME. 209 00:08:52,633 --> 00:08:54,765 ARE YOU REESE HARMON? 210 00:08:57,668 --> 00:08:59,069 FoxCanLover's REAL NAME 211 00:08:59,069 --> 00:09:02,613 IS CARRIE EDWARDS. 212 00:09:02,613 --> 00:09:05,646 SHE WON THE SET VISIT FROM A LITERACY CHARITY 213 00:09:05,646 --> 00:09:08,849 THAT SARAH SUPPORTED. SHE PAID $1,000 FOR IT. 214 00:09:08,849 --> 00:09:11,551 EVERYTHING WAS FINE AT FIRST, BUT WHEN SHE SAW SARAH, 215 00:09:11,551 --> 00:09:13,784 SHE GOT IN HER FACE AND STARTED YELLING, 216 00:09:13,784 --> 00:09:16,787 "YOU RUINED EVERYTHING." DID SHE EVER SEND SARAH ANY THREATENING LETTERS, 217 00:09:16,787 --> 00:09:19,089 ANYTHING THAT YOU MIGHT HAVE ON FILE? 218 00:09:19,089 --> 00:09:21,992 NO, BUT SHE DID WRITE SOME PRETTY AWFUL THINGS ON HER BLOG. 219 00:09:21,992 --> 00:09:23,994 I'LL SHOW YOU THAT. MM-HMM. 220 00:09:23,994 --> 00:09:26,566 IF SARAH WAS WORKING LATE, WHY WEREN'T YOU HERE? 221 00:09:26,566 --> 00:09:28,238 YOU--YOU ARE HER ASSISTANT? 222 00:09:28,238 --> 00:09:30,240 I USUALLY STAY, BUT SARAH WOULDN'T LET ME. 223 00:09:30,240 --> 00:09:33,644 WHY NOT? ONE OF HER PASSIONS WAS HELPING YOUNG WRITERS. 224 00:09:33,644 --> 00:09:35,575 SHE GOT ME A POSITION 225 00:09:35,575 --> 00:09:37,007 AT THE NETWORK FELLOWSHIP PROGRAM. 226 00:09:37,007 --> 00:09:39,950 WE HAD A MIXER LAST NIGHT. (clicks mouse keys) 227 00:09:39,950 --> 00:09:43,083 SHE WAS SUPPOSED TO COME, BUT... SHE NEVER SHOWED. 228 00:09:43,083 --> 00:09:45,886 WHEN WAS THE LAST TIME YOU SAW HER? 229 00:09:45,886 --> 00:09:47,688 AROUND 6:30. 230 00:09:47,688 --> 00:09:49,720 BROUGHT HER HER COFFEE AND SCONE. (beep) 231 00:09:49,720 --> 00:09:53,063 HERE IT IS. LAST WEEK, THE DAY OF THE SET VISIT, 232 00:09:53,063 --> 00:09:56,126 LOOK AT WHAT SHE WROTE. 233 00:09:56,126 --> 00:09:58,368 "MADE IT ONTO THE SET, 234 00:09:58,368 --> 00:10:01,772 BUT DIDN'T COMPLETE THE MISSION." LOOK AT THE MOST RECENT POST. 235 00:10:01,772 --> 00:10:04,104 "LAST TIME, I FAILED. THIS TIME I WILL SUCCEED. 236 00:10:04,104 --> 00:10:06,606 "SHE'S BEEN STABBING US LOYAL FANS IN THE BACK. 237 00:10:06,606 --> 00:10:08,608 NOW IT'S OUR TURN TO TAKE HER DOWN..." 238 00:10:08,608 --> 00:10:12,612 "IT'S TIME TO GIVE HER THE AXE." 239 00:10:26,026 --> 00:10:27,698 SHE'S DEAD? YEAH. 240 00:10:27,698 --> 00:10:29,700 SARAH CUTLER'S DEAD? 241 00:10:29,700 --> 00:10:31,662 THAT'S THE BEST NEWS EVER. 242 00:10:31,662 --> 00:10:33,363 CAN I SEND A QUICK TWEET? 243 00:10:33,363 --> 00:10:35,165 NOT COOL? 244 00:10:35,165 --> 00:10:38,268 I'LL WAIT. MUST HAVE BEEN DIFFICULT NOT TO BLOG ABOUT IT LAST NIGHT. 245 00:10:38,268 --> 00:10:39,940 YEAH. HOW WOULD I KNOW? 246 00:10:41,341 --> 00:10:43,273 WAIT. 247 00:10:43,273 --> 00:10:45,976 YOU GUYS THINK I HAD SOMETHING TO DO WITH THIS? 248 00:10:45,976 --> 00:10:48,348 WELL, I MEAN, YOUR BLOG CLEARLY SPELLS OUT 249 00:10:48,348 --> 00:10:51,982 YOUR DETERMINATION TO TAKE OUT SARAH. 250 00:10:51,982 --> 00:10:54,324 BUT EVERYBODY TALKS TOUGH ON THE INTERNET. 251 00:10:54,324 --> 00:10:57,257 YOU WROTE, "IT'S TIME TO GIVE HER THE AX" 252 00:10:57,257 --> 00:10:59,990 THE DAY SHE WAS KILLED WITH AN AX. 253 00:10:59,990 --> 00:11:02,793 OKAY, NOW I CAN EXPLAIN THIS. 254 00:11:02,793 --> 00:11:04,194 WE ALREADY FIGURED IT OUT. 255 00:11:04,194 --> 00:11:06,196 YOU BOUGHT THE SET VISIT TO GET CLOSER TO SARAH. 256 00:11:06,196 --> 00:11:07,798 YOUR VISIT WAS CUT SHORT. 257 00:11:07,798 --> 00:11:10,801 YOU CAME BACK LAST NIGHT WHEN NO ONE WAS AROUND 258 00:11:10,801 --> 00:11:13,944 AND THEN YOU REMEMBERED, THERE'S AN AX ON THE SOUNDSTAGE. 259 00:11:13,944 --> 00:11:15,946 NO, NO, NO. I BOUGHT THE SET VISIT 260 00:11:15,946 --> 00:11:18,678 BECAUSE SHE WAS BEING SWAYED BY THE CanFonsos. 261 00:11:18,678 --> 00:11:20,350 WHO? 262 00:11:20,350 --> 00:11:22,682 THE CanFonsos-- THE OPPOSITION. 263 00:11:22,682 --> 00:11:26,086 (scoffs) THEY BELIEVE THAT ANGELA CANNON 264 00:11:26,086 --> 00:11:28,088 SHOULD BE TOGETHER WITH ALFONSO DOMINGUEZ. 265 00:11:28,088 --> 00:11:30,060 I WAS TRYING TO CONVINCE HER 266 00:11:30,060 --> 00:11:32,422 THAT ANGELA BELONGS WITH JOSEPH. WITH AN AX? 267 00:11:32,422 --> 00:11:33,924 YES. 268 00:11:33,924 --> 00:11:35,465 WAIT. NO. 269 00:11:35,465 --> 00:11:38,268 I WAS ORGANIZING A PROTEST, OKAY? WE WERE GONNA SEND 270 00:11:38,268 --> 00:11:40,400 A WHOLE BUNCH OF AXES TO THE HEAD OF THE NETWORK, 271 00:11:40,400 --> 00:11:42,702 DEMANDING THAT SARAH BE FIRED. 272 00:11:42,702 --> 00:11:45,776 I'VE GOT EVERYBODY ON MY WEB SITE DOING IT. 273 00:11:45,776 --> 00:11:49,209 WE WANT THEM TO KNOW THAT WE THINK SARAH'S RUINING THE SHOW. WHERE WERE YOU LAST NIGHT BETWEEN 7:00 AND 11:00? 274 00:11:49,209 --> 00:11:51,441 I WAS CHATTING WITH THE OTHER FoxCans. 275 00:11:51,441 --> 00:11:53,814 WILD GUESS--ALONE? 276 00:11:53,814 --> 00:11:57,347 NO. NO, AND I CAN PROVE IT. MARY AND DENNIS WERE HOME. 277 00:11:57,347 --> 00:11:59,049 AND THOSE ARE YOUR ROOMMATES? 278 00:11:59,049 --> 00:12:01,351 NO. MY PARENTS. 279 00:12:06,997 --> 00:12:09,399 (Castle) I JUST DON'T SEE THAT GIRL SWINGING AN AX, 280 00:12:09,399 --> 00:12:11,962 LET ALONE LEAVING HER HOUSE. 281 00:12:11,962 --> 00:12:14,965 WHAT'S THE MATTER, HOMICIDAL FAN NOT SOAPY ENOUGH FOR YOU? 282 00:12:14,965 --> 00:12:18,508 YOU KNOW, WHEN YOU SAY SOAPY, I CONJURE UP IMAGES-- CASTLE, FOCUS. 283 00:12:18,508 --> 00:12:20,470 I AM. ON OUR SUSPECT. 284 00:12:20,470 --> 00:12:23,073 OH. I MEAN, YOU SAW HOW OBSESSIVE SHE WAS. 285 00:12:23,073 --> 00:12:26,046 SHE INVESTS IN THESE FICTIONAL RELATIONSHIPS. 286 00:12:26,046 --> 00:12:29,449 SHE CARES IF ANGELA IS GONNA GET BACK TOGETHER WITH ALFONSO, 287 00:12:29,449 --> 00:12:31,852 IF MARGUERITE'S GONNA SURVIVE HER CANCER SCARE-- OH, MY GOD. 288 00:12:31,852 --> 00:12:32,953 WHAT? 289 00:12:32,953 --> 00:12:34,925 YOU WATCH "TEMPTATION LANE." 290 00:12:34,925 --> 00:12:36,186 WHAT? 291 00:12:36,186 --> 00:12:37,427 NO. 292 00:12:37,427 --> 00:12:38,959 (laughs) 293 00:12:38,959 --> 00:12:41,992 NO ONE SAID ANYTHING... 294 00:12:41,992 --> 00:12:44,094 ABOUT MARGUERITE'S CANCER SCARE. 295 00:12:44,094 --> 00:12:48,098 YOU KNOW A LOT ABOUT SHIPPERS, YOU KNOW ABOUT FoxCans. 296 00:12:48,098 --> 00:12:51,771 YOUAREA FAN--A BIG, FAT "TEMPTATION LANE" FAN. 297 00:12:51,771 --> 00:12:54,004 OKAY, MAYBE I WATCHED IT LIKE ONCE OR TWICE. 298 00:12:54,004 --> 00:12:57,247 IT'S JUST SO DELIGHTFULLY NOT YOU. 299 00:12:57,247 --> 00:13:00,080 SO SAYS THE GUY WHO RATTLES OFF PLOT POINTS 300 00:13:00,080 --> 00:13:01,481 FROM "GENERAL HOSPITAL." 301 00:13:01,481 --> 00:13:03,984 OH, THAT IS COMPLETELY DIFFERENT. 302 00:13:03,984 --> 00:13:06,186 THATIS FOR RESEARCH. WHAT WAS FOR RESEARCH? 303 00:13:06,186 --> 00:13:08,258 (Castle and Beckett) NOTHING. 304 00:13:10,090 --> 00:13:12,092 MARY AND DENNIS CONFIRM 305 00:13:12,092 --> 00:13:14,364 THAT BLOGGER CHICK WAS IN HER ROOM ALL NIGHT. 306 00:13:14,364 --> 00:13:17,397 WHAT ABOUT THE CAST AND CREW? SO FAR, ALL THEIR ALIBIS CHECKED OUT. 307 00:13:17,397 --> 00:13:19,870 BUT I WAS LOOKING OVER SARAH'S SCHEDULE. 308 00:13:19,870 --> 00:13:21,872 LAST WEEK, THERE WERE A COUPLE OF APPOINTMENTS 309 00:13:21,872 --> 00:13:23,874 THAT JUST SAY "M," AND THERE WAS ANOTHER ONE 310 00:13:23,874 --> 00:13:27,137 THE DAY BEFORE THE MURDER, THEN ONE SCHEDULED FOR TOMORROW. SO? 311 00:13:27,137 --> 00:13:29,009 SO HER ASSISTANT DIDN'T SCHEDULE THESE, 312 00:13:29,009 --> 00:13:30,540 WHICH MEANS IT WAS PERSONAL, 313 00:13:30,540 --> 00:13:33,543 AND HER HUSBAND DIDN'T KNOW ABOUT THEM EITHER. WITH SARAH'S WORKLOAD, 314 00:13:33,543 --> 00:13:36,516 IT MUST HAVE BEEN IMPORTANT FOR HER TO MAKE TIME. EXACTLY, AND HER HUSBAND AND ASSISTANT BOTH SAY THAT 315 00:13:36,516 --> 00:13:40,520 WHEN SHE CAME BACK FROM THESE APPOINTMENTS, SHE WAS UPSET. ALL RIGHT, LET'S SEE WHAT WE CAN DIG UP FROM THAT. 316 00:13:40,520 --> 00:13:43,453 HEY, BECKETT. HEY. WHAT'D YOU FIND AT THE APARTMENT? 317 00:13:43,453 --> 00:13:45,055 HER HUSBAND'S STUFF. 318 00:13:45,055 --> 00:13:47,597 HIS CLOTHES ARE GONE, AND ONLY HER STUFF IS IN THE BATHROOM, 319 00:13:47,597 --> 00:13:49,930 SO I TALKED TO THE DOORMAN, AND HE SAID 320 00:13:49,930 --> 00:13:52,332 THAT VINCE HASN'T LIVED THERE IN ALMOST TWO MONTHS. 321 00:13:52,332 --> 00:13:53,964 THEY'VE BEEN SEPARATED. 322 00:13:53,964 --> 00:13:56,066 FUNNY HE DIDN'T MENTION THAT EARLIER. 323 00:13:56,066 --> 00:13:58,308 LOOKS LIKE SOMEONE'S HIDING SOMETHING ON "TEMPTATION LANE." 324 00:13:58,308 --> 00:14:01,441 LOOK, I KNEW IF I TOLD YOU THAT MY MARRIAGE WAS IN TROUBLE 325 00:14:01,441 --> 00:14:03,473 THAT I WOULD BE SUSPECT NUMBER ONE. 326 00:14:03,473 --> 00:14:06,046 MAYBE, BUT NOW THAT WE KNOW THAT YOU LIED, 327 00:14:06,046 --> 00:14:08,048 IT MAKES YOU LOOK EVEN WORSE. 328 00:14:08,048 --> 00:14:09,379 (sighs) 329 00:14:09,379 --> 00:14:10,951 WHY DID YOU SEPARATE? 330 00:14:10,951 --> 00:14:13,183 EVERYTHING CHANGED AFTER SARAH GOT THE BIG PROMOTION. 331 00:14:13,183 --> 00:14:15,255 IF I WANTED TO SPEND TIME WITH MY OWN WIFE, 332 00:14:15,255 --> 00:14:18,158 I HAD TO SCHEDULE AN APPOINTMENT. 333 00:14:18,158 --> 00:14:20,230 IT WASN'T WORKING, SO I MOVED OUT. 334 00:14:20,230 --> 00:14:22,232 YOU KNOW, THERE'S ANOTHER VERSION OF THIS STORY 335 00:14:22,232 --> 00:14:25,135 WHERE YOUR WIFE KICKED YOU OUT, AND THEN SHE DEMANDED A DIVORCE. 336 00:14:25,135 --> 00:14:27,337 HMM. ONLY THIS WAY, YOU DON'T HAVE TO WORRY 337 00:14:27,337 --> 00:14:30,200 ABOUT SPLITTING YOUR ASSETS. I DIDN'T KILL MY WIFE. 338 00:14:30,200 --> 00:14:32,943 WELL, THEN WHERE WERE YOU THE NIGHT THAT SHE WAS KILLED? 339 00:14:32,943 --> 00:14:34,644 I WAS AT THE HOTEL. 340 00:14:34,644 --> 00:14:38,378 I WENT THERE IMMEDIATELY AFTER WE WRAPPED HERE. AND CAN ANYONE VOUCH FOR THAT? 341 00:14:38,378 --> 00:14:41,281 COME ON, VINCE. TELL US YOU WERE ALONE. 342 00:14:41,281 --> 00:14:44,114 IT'LL MAKE ARRESTING YOU THAT MUCH EASIER. 343 00:14:46,586 --> 00:14:49,889 I, UM... 344 00:14:49,889 --> 00:14:52,923 I WASN'T... ALONE. 345 00:14:52,923 --> 00:14:55,365 I'M GONNA NEED A NAME. 346 00:14:57,127 --> 00:14:58,498 MANDY BRONSON. 347 00:14:58,498 --> 00:15:00,370 MANDY BRONSON? 348 00:15:00,370 --> 00:15:03,603 AS IN ANGELA CANNON, AS IN STAR OF "TEMPTATION LANE"? 349 00:15:03,603 --> 00:15:06,176 YES, THAT MANDY BRONSON. 350 00:15:06,176 --> 00:15:09,409 JUST CHECKING. 351 00:15:09,409 --> 00:15:12,642 DID SHE STAY THE NIGHT? 352 00:15:12,642 --> 00:15:15,115 NO. WE ORDERED ROOM SERVICE, AND, UM... 353 00:15:15,115 --> 00:15:17,447 ABOUT 7:00, SHE GOT AN E-MAIL FROM SARAH 354 00:15:17,447 --> 00:15:19,189 AND SHE WENT RUNNING OFF. 355 00:15:19,189 --> 00:15:21,591 SO THE NIGHT THAT YOUR WIFE WAS KILLED, 356 00:15:21,591 --> 00:15:24,254 SHE E-MAILED YOUR MISTRESS, 357 00:15:24,254 --> 00:15:27,257 AND YOU DIDN'T THINK THAT THAT WAS IMPORTANT TO MENTION? 358 00:15:27,257 --> 00:15:29,459 IT WASN'T A BIG DEAL. 359 00:15:29,459 --> 00:15:32,402 I ASKED MANDY ABOUT IT. SHE GOT SOME NEW SCRIPT PAGES 360 00:15:32,402 --> 00:15:34,404 THAT SARAH WANTED HER TO LOOK OVER, 361 00:15:34,404 --> 00:15:36,936 SO SHE WENT HOME TO MEMORIZE THEM. WERE YOU ALONE THE REST OF THE NIGHT? 362 00:15:36,936 --> 00:15:39,269 YES. YES. I CRACKED THE MINIBAR, 363 00:15:39,269 --> 00:15:41,511 I ORDERED PAY-PER-VIEW. YOU CAN CHECK. 364 00:15:41,511 --> 00:15:43,213 I WILL. 365 00:15:43,213 --> 00:15:45,475 IT CAN'T BE THE HUSBAND. WELL, HE'S GOT MOTIVE. 366 00:15:45,475 --> 00:15:47,617 YEAH, BUT MARRIAGE ON THE ROCKS, KILLING FOR MONEY? 367 00:15:47,617 --> 00:15:49,980 THAT'S JUST SO-- ORDINARY? 368 00:15:49,980 --> 00:15:52,352 WE NEED TO FOCUS ON MANDY BRONSON-- 369 00:15:52,352 --> 00:15:54,624 HOME-WRECKING DIVA ENGAGED IN A TORRID AFFAIR 370 00:15:54,624 --> 00:15:56,226 WITH THE VICTIM'S HUSBAND. 371 00:15:56,226 --> 00:15:58,258 SHE FLED THEIR ILLICIT LOVE NEST 372 00:15:58,258 --> 00:16:00,290 AFTER A MYSTERIOUS E-MAIL FROM SARAH 373 00:16:00,290 --> 00:16:02,292 ON THE EVE OF HER MURDER. 374 00:16:02,292 --> 00:16:04,694 YEAH, BUT WE DON'T EVEN KNOW IF THERE WAS AN E-MAIL. 375 00:16:04,694 --> 00:16:07,067 I MEAN, VINCENT COULD'VE BEEN LYING.BUTYOU ARE RIGHT. 376 00:16:07,067 --> 00:16:09,399 MANDY BRONSON DOES HAVE SOME EXPLAINING TO DO. 377 00:16:09,399 --> 00:16:10,700 "ESPLANIE." WHAT? 378 00:16:10,700 --> 00:16:12,672 LANIE AND ESPOSITO. LIKE FoxCan. 379 00:16:12,672 --> 00:16:14,674 WE CAN CALL THEM ESPLANIE, WHICH IS PERFECT 380 00:16:14,674 --> 00:16:16,676 BECAUSE THEY'RE ALWAYS ESPLAININGTHINGS. 381 00:16:16,676 --> 00:16:18,378 (chuckles) MOTHER? 382 00:16:18,378 --> 00:16:20,580 HI. MARTHA, WHAT A SURPRISE. 383 00:16:20,580 --> 00:16:23,013 YES, WHAT AN UNEXPECTED SURPRISE. 384 00:16:23,013 --> 00:16:25,555 (lowered voice) WHAT ARE YOU DOING HERE? GRIEVING. 385 00:16:25,555 --> 00:16:28,558 (normal voice) YOU DIDN'T EVEN KNOW THE VICTIM. DARLING, A LOSS FOR A SHOW LIKE THIS 386 00:16:28,558 --> 00:16:32,122 IS A LOSS FOR ANYONE WHO WAS EVER PART OF ITS HISTORY. 387 00:16:32,122 --> 00:16:33,263 AND... 388 00:16:33,263 --> 00:16:36,266 (lowered voice) I THINK I CAN BE OF HELP HERE. 389 00:16:36,266 --> 00:16:39,029 I THINK I COULD BE YOUR INSIDE SOURCE 390 00:16:39,029 --> 00:16:42,001 AND GET THE SCOOP ON WHAT'S REALLY GOING ON HERE. 391 00:16:42,001 --> 00:16:45,275 OH, HO HO. AND WHAT BETTER PLACE TO START THAN LANCE HASTINGS? 392 00:16:45,275 --> 00:16:46,676 YOU KNOW HIM? 393 00:16:46,676 --> 00:16:49,709 HE WAS MY LOVE INTEREST 30 YEARS AGO, ONSCREEN... 394 00:16:49,709 --> 00:16:51,681 AND OFF. (chuckles) (laughs) 395 00:16:51,681 --> 00:16:55,085 AFTER MY CHARACTER MARRIED HIS CHARACTER, JOSEPH FOX, 396 00:16:55,085 --> 00:16:59,419 SHE WAS KIDNAPPED, BURIED ALIVE, TRAPPED IN A CAVE WITH BEARS, 397 00:16:59,419 --> 00:17:01,091 UH, KIDNAPPED AGAIN, 398 00:17:01,091 --> 00:17:03,753 AND HELD HOSTAGE IN THE SEWERS OF PARIS. 399 00:17:03,753 --> 00:17:06,696 HOW LONG WERE YOU ON THE SHOW? THREE WEEKS. 400 00:17:06,696 --> 00:17:09,028 GOTTA GO. EXCUSE ME. 401 00:17:09,028 --> 00:17:12,662 MY MOTHER GIVES NEW MEANING TO THE WORD "TRANSPARENT." 402 00:17:12,662 --> 00:17:15,165 MARTHA. LANCE. OH, DARLING. 403 00:17:15,165 --> 00:17:17,167 SO GOOD TO SEE YOU. I KNOW. 404 00:17:17,167 --> 00:17:19,409 (keyboard keys clicking) 405 00:17:19,409 --> 00:17:20,710 (beep) 406 00:17:20,710 --> 00:17:23,713 THERE'S HER ACCOUNT. WHAT ARE YOU LOOKING FOR? 407 00:17:23,713 --> 00:17:26,076 AN E-MAIL THAT SARAH SENT BEFORE SHE DIED. 408 00:17:27,547 --> 00:17:29,149 (Castle) THERE IT IS. 409 00:17:29,149 --> 00:17:30,280 (beep) 410 00:17:30,280 --> 00:17:32,682 "MEET ME AT THE OFFICE ASAP." 411 00:17:32,682 --> 00:17:34,754 SO SARAH HAD MANDY MEET HER HERE THAT NIGHT. 412 00:17:34,754 --> 00:17:37,327 YOU THINK SHE FOUND OUT ABOUT THE AFFAIR, 413 00:17:37,327 --> 00:17:40,730 PLANNED TO CONFRONT HER? I DON'T KNOW. THERE'S AN ATTACHMENT. 414 00:17:40,730 --> 00:17:43,633 (clicks mouse) OH, IT'S A SCRIPT FOR AN UPCOMING EPISODE. 415 00:17:43,633 --> 00:17:47,467 THE CHARACTERS ARE VACATIONING IN PAMPLONA. 416 00:17:47,467 --> 00:17:49,469 OH, MY GOD. OH,MYGOD. 417 00:17:49,469 --> 00:17:51,471 MANDY BRONSON'S CHARACTER IS GORED TO DEATH 418 00:17:51,471 --> 00:17:54,174 WHILE RUNNING WITH THE BULLS. SARAH BROUGHT HER HERE 419 00:17:54,174 --> 00:17:56,606 TO TELL MANDY SHE WAS WRITING HER OFF THE SHOW. 420 00:17:56,606 --> 00:17:59,149 LOOKS LIKE MANDY WROTE HER OFF FIRST. 421 00:18:06,856 --> 00:18:09,088 (whispers) CASTLE. COME HERE. COME HERE. COME HERE. 422 00:18:09,088 --> 00:18:11,090 (normal voice) I KNOW SHE'S A MURDER SUSPECT, 423 00:18:11,090 --> 00:18:13,363 BUT YOU GOTTA ADMIT, SHE IS SMOKIN' HOT. 424 00:18:13,363 --> 00:18:17,467 AGREED. SO HOT, IN FACT, IT LED TO A TORRID AFFAIR 425 00:18:17,467 --> 00:18:19,629 WITH SARAH'S DIRECTOR HUSBAND. 426 00:18:19,629 --> 00:18:21,231 SARAH FOUND OUT ABOUT IT, 427 00:18:21,231 --> 00:18:23,703 DECIDED TO KILL OFF MANDY'S CHARACTER. 428 00:18:23,703 --> 00:18:26,406 DOESN'T GET ANY SOAPIER THAN THAT. OH, OBVIOUSLY, YOU HAVEN'T SEEN "CHIQUITAS." 429 00:18:26,406 --> 00:18:28,338 AS IN BANANAS? NO. AS IN THE TELENOVELA. 430 00:18:28,338 --> 00:18:31,341 OH. I USED TO WATCH IT GROWING UP WITH MY GRANDMOTHER. 431 00:18:31,341 --> 00:18:34,144 BRO, THERE WAS THIS ONE EPISODE WHERE GABRIELA DISCOVERED THAT 432 00:18:34,144 --> 00:18:36,846 HER HUSBAND WAS SLEEPING WITH HER EVIL TWIN SISTER TERESITA, 433 00:18:36,846 --> 00:18:38,848 ONLY TO LATER FIND OUT THAT SHE HAD 434 00:18:38,848 --> 00:18:41,391 MULTIPLE PERSONALITY DISORDER. WAIT. DOES THAT EVEN QUALIFY AS CHEATING? 435 00:18:41,391 --> 00:18:42,622 DUDE. WHAT? 436 00:18:42,622 --> 00:18:44,524 DON'T OVERTHINK IT. 437 00:18:47,797 --> 00:18:50,600 MS. BRONSON, I'M CURIOUS HOW YOU FELT 438 00:18:50,600 --> 00:18:52,302 WHEN YOU FOUND OUT 439 00:18:52,302 --> 00:18:54,304 THAT SARAH WAS GONNA KILL OFF YOUR CHARACTER. 440 00:18:54,304 --> 00:18:57,767 KILL OFF MY CHARACTER? (laughs) THAT'S RIDICULOUS. 441 00:18:57,767 --> 00:18:59,639 I'M THE REASON THE RATINGS WERE UP. 442 00:18:59,639 --> 00:19:01,711 WELL, THEN WHY DID SHE WRITE THIS SCENE 443 00:19:01,711 --> 00:19:03,713 WHERE ANGELA CANNON HAS AN UNFORTUNATE ENCOUNTER 444 00:19:03,713 --> 00:19:05,645 WITH A BULL? 445 00:19:05,645 --> 00:19:07,647 SARAH PROBABLY WRITES A DEATH SCENE 446 00:19:07,647 --> 00:19:09,779 FOR EVERY CHARACTER ON THE SHOW... 447 00:19:09,779 --> 00:19:11,651 TO KEEP THE ACTORS IN LINE. 448 00:19:11,651 --> 00:19:14,654 SHE WROTE THOSE PARTICULAR PAGES THE NIGHT THAT SHE WAS MURDERED 449 00:19:14,654 --> 00:19:17,156 WHILE YOU WERE WITH HER HUSBAND. 450 00:19:17,156 --> 00:19:18,828 HE TOLD US THAT YOU LEFT 451 00:19:18,828 --> 00:19:20,830 RIGHT AFTER YOU GOT AN E-MAIL FROM SARAH. 452 00:19:20,830 --> 00:19:22,832 BUT YOU DIDN'T GO HOME, DID YOU? 453 00:19:22,832 --> 00:19:25,395 YOU WENT TO GO AND CONFRONT HER. 454 00:19:25,395 --> 00:19:27,397 SARAH WANTED TO SAVE HER MARRIAGE. 455 00:19:27,397 --> 00:19:29,399 SHE THOUGHT THE WAY SHE COULD DO THAT 456 00:19:29,399 --> 00:19:32,272 WAS TO GET ME OUT OF THE PICTURE. AND YOU WANTED TO URGE HER TO RECONSIDER, 457 00:19:32,272 --> 00:19:34,274 AND WHEN SHE DIDN'T, YOU KILLED HER. 458 00:19:34,274 --> 00:19:37,447 I ADMIT, I WENT TO SEE THE BITCH. 459 00:19:37,447 --> 00:19:40,310 I TOLD HER ANGELA CANNON IS THE HEART AND SOUL OF THE SHOW. 460 00:19:40,310 --> 00:19:42,252 BUT WHEN I SAW SHE WOULDN'T BACK DOWN, I LEFT. 461 00:19:42,252 --> 00:19:44,414 I DIDN'T NEED TO KILL HER. AND WHY IS THAT? 462 00:19:44,414 --> 00:19:46,816 BECAUSE I STILL HAD A HAND TO PLAY. 463 00:19:46,816 --> 00:19:48,818 EVERYBODY THINKS SARAH CALLS THE SHOTS 464 00:19:48,818 --> 00:19:50,390 AT "TEMPTATION LANE." 465 00:19:50,390 --> 00:19:52,392 BUT THE SECOND IN COMMAND, PETER CONNELLY, 466 00:19:52,392 --> 00:19:54,294 HE'S THE ONE THE NETWORK REALLY TRUSTS. 467 00:19:54,294 --> 00:19:56,296 WHAT IS THIS OTHER HAND THAT YOU HAD TO PLAY? 468 00:19:56,296 --> 00:19:58,368 I DID WHAT ANY INDUSTRIOUS ACTRESS WOULD DO. 469 00:19:58,368 --> 00:20:01,431 I WENT TO HIS APARTMENT STRAIGHT FROM THE STUDIO 470 00:20:01,431 --> 00:20:03,433 AND USED MY POWERS OF PERSUASION 471 00:20:03,433 --> 00:20:05,675 TO GET HIM ON MY SIDE. 472 00:20:07,437 --> 00:20:08,978 WHEN DID YOU LEAVE? 473 00:20:08,978 --> 00:20:10,810 THE SUN WAS UP. 474 00:20:10,810 --> 00:20:14,444 AND MY CHARACTER IS STILL ALIVE. 475 00:20:14,444 --> 00:20:16,986 (man) YEAH, SHE SHOWED UP AT MY APARTMENT LAST NIGHT. 476 00:20:16,986 --> 00:20:19,989 SHE WAS WEARING A FUR COAT. SO? 477 00:20:19,989 --> 00:20:21,851 JUST... 478 00:20:21,851 --> 00:20:24,324 A FUR COAT. 479 00:20:24,324 --> 00:20:27,457 AND I NEARLY HAD A HEART ATTACK WHEN SHE LET IT SLIP OPEN. 480 00:20:27,457 --> 00:20:29,929 YEARS OF FANTASIZING, AND THERE SHE WAS, 481 00:20:29,929 --> 00:20:33,303 STANDING RIGHT IN FRONT OF ME. AND WHAT DID SHE WANT? 482 00:20:33,303 --> 00:20:34,834 SHE WAS ALL FIRED UP 483 00:20:34,834 --> 00:20:37,437 ABOUT SARAH WANTING TO WRITE HER OFF THE SHOW. 484 00:20:37,437 --> 00:20:39,709 SO THEN I HAD TO LISTEN TO MANDY SUMMARIZE 485 00:20:39,709 --> 00:20:43,773 EVERY"SOAP DIGEST" ARTICLE PRAISING HER PERFORMANCE. 486 00:20:43,773 --> 00:20:45,775 JUST TO MAKE HER STOP... (sighs) 487 00:20:45,775 --> 00:20:47,977 I AGREED THAT I WOULD TALK TO SARAH. 488 00:20:47,977 --> 00:20:50,920 ONLY NOW YOU DON'T HAVE TO. 489 00:20:50,920 --> 00:20:53,723 REESE. GRAB YOUR LAPTOP AND JOIN THE GROUP. 490 00:20:53,723 --> 00:20:56,386 WE'RE ALL HANDS ON DECK. YOU MEAN IT? 491 00:20:56,386 --> 00:20:58,588 I'M NOT GONNA ASK YOU TWICE. 492 00:20:58,588 --> 00:21:00,790 SOUNDS LIKE YOU'RE PRETTY DESPERATE. 493 00:21:00,790 --> 00:21:03,493 MR. CASTLE, YOU PUBLISH, WHAT, ONE BOOK A YEAR? 494 00:21:03,493 --> 00:21:05,365 GIVE OR TAKE. 495 00:21:05,365 --> 00:21:08,638 IN THAT SAME TIME PERIOD, WE PRODUCE 250 EPISODES. 496 00:21:08,638 --> 00:21:11,471 I'M DOWN A WRITER. REESE WROTE SOME SCRIPT ABOUT HORSES 497 00:21:11,471 --> 00:21:13,443 THAT SARAH ACTUALLY LIKED, SO, YEAH, 498 00:21:13,443 --> 00:21:16,045 I'M GONNA TAKE THE EXTRA HELP WHERE I CAN GET IT. 499 00:21:16,045 --> 00:21:18,578 UNLESS, OF COURSE, YOU'D LIKE TO JUMP IN. 500 00:21:18,578 --> 00:21:21,311 YOU KNOW WHAT'S INTERESTING? WITH SARAH OUT OF THE WAY, 501 00:21:21,311 --> 00:21:24,454 MANDY GETS TO STAY ON THE SHOW, AND YOU GET PROMOTED. HEY, I'M A PROFESSIONAL. 502 00:21:24,454 --> 00:21:26,456 MANDY'S STAYING BECAUSE ANGELA CANNON 503 00:21:26,456 --> 00:21:28,488 IS THE HEART AND SOUL OF THIS SHOW. 504 00:21:28,488 --> 00:21:31,321 WELL, WHERE HAVE I HEARD THAT BEFORE? 505 00:21:31,321 --> 00:21:33,323 UH, WE'LL KEEP IN TOUCH. (cell phone rings) 506 00:21:33,323 --> 00:21:34,724 (rings and beeps) BECKETT. 507 00:21:34,724 --> 00:21:36,726 SO THE HOTEL CONFIRMED THAT THE TIME SENSORS 508 00:21:36,726 --> 00:21:39,499 IN VINCE'S MINIBAR WERE ACTIVATED TILL 11:30 P.M. 509 00:21:39,499 --> 00:21:41,501 SO I GUESS OUR DEADLY LOVE TRIANGLE 510 00:21:41,501 --> 00:21:43,533 WASN'T SO DEADLY AFTER ALL. NOT ON HIS SIDE ANYWAY. 511 00:21:43,533 --> 00:21:45,535 BUT THE HOT NEWS IS, RYAN GOT A HIT 512 00:21:45,535 --> 00:21:47,937 ON THOSE MYSTERY APPOINTMENTS THAT SARAH WAS GOING TO. 513 00:21:47,937 --> 00:21:49,809 HE FOUND CREDIT CARD CHARGES 514 00:21:49,809 --> 00:21:52,882 THAT MATCHED UP TIME AND DATE TO THE MEETINGS AND WHERE WAS SHE GOING? 515 00:21:52,882 --> 00:21:56,315 TO A COFFEE SHOP ON 7th, AND ACCORDING TO HER CALENDAR, 516 00:21:56,315 --> 00:21:58,317 HER NEXT MEETING IS IN ABOUT AN HOUR. 517 00:21:58,317 --> 00:22:02,051 CASTLE, YOU UP FOR A COFFEE BREAK? (clicks cell phone closed) 518 00:22:02,051 --> 00:22:04,994 THERE YOU GO. THANKS. 519 00:22:04,994 --> 00:22:06,596 CAN I HELP YOU? 520 00:22:06,596 --> 00:22:08,458 YES. I HOPE SO. 521 00:22:08,458 --> 00:22:10,500 DO YOU RECOGNIZE THIS WOMAN? 522 00:22:10,500 --> 00:22:12,732 YEAH. 523 00:22:12,732 --> 00:22:13,903 WHY? 524 00:22:13,903 --> 00:22:16,065 ♪♪♪ 525 00:22:16,065 --> 00:22:19,939 (crying) SHE CAN'T BE DEAD. SHE CAN'T BE DEAD. SHE CAN'T. 526 00:22:19,939 --> 00:22:21,711 I'M SO SORRY, MS. GOLDBERG. 527 00:22:21,711 --> 00:22:25,675 IT'S NOT FAIR. IT IS SO NOT FAIR. 528 00:22:25,675 --> 00:22:27,617 WHAT AM I SUPPOSED TO DO? 529 00:22:27,617 --> 00:22:30,019 DID THE TWO OF YOU KNOW EACH OTHER VERY WELL? 530 00:22:30,019 --> 00:22:32,382 ACTUALLY, I DIDN'T KNOW HER AT ALL. 531 00:22:32,382 --> 00:22:35,385 (continues crying) THEN WHY WOULD YOU BE SO UPSET? 532 00:22:35,385 --> 00:22:36,756 WELL, BECAUSE... 533 00:22:36,756 --> 00:22:39,088 SHE PROMISED SHE WOULD READ MY SCREENPLAY, 534 00:22:39,088 --> 00:22:41,691 AND IF SHE LIKED IT... (sobs) 535 00:22:41,691 --> 00:22:44,063 SHE WOULD HELP ME FIND AN AGENT. 536 00:22:44,063 --> 00:22:46,636 WHO WOULD SHE MEET WHEN SHE CAME HERE? 537 00:22:46,636 --> 00:22:49,999 WHAT'S IT MATTER? SHE'S DEAD. 538 00:22:49,999 --> 00:22:51,771 I LOST MY CHANCE. 539 00:22:51,771 --> 00:22:55,104 (sobbing) 540 00:22:57,747 --> 00:23:01,010 I'LL TELL YOU WHAT-- 541 00:23:01,010 --> 00:23:02,882 I'LL MAKE YOU A DEAL. 542 00:23:02,882 --> 00:23:04,884 IF YOU TELL US WHAT HAPPENED AFTER THAT, 543 00:23:04,884 --> 00:23:06,486 I'LL READ YOUR SCRIPT, 544 00:23:06,486 --> 00:23:08,818 AND IF I LIKE IT, I'LL GIVE IT TO MY AGENT. 545 00:23:08,818 --> 00:23:09,959 REALLY? 546 00:23:09,959 --> 00:23:12,021 REALLY. 547 00:23:12,021 --> 00:23:15,164 SHE MET WITH A GUY, AND THEY SAT AT A TABLE IN A CORNER. 548 00:23:15,164 --> 00:23:17,467 DO YOU REMEMBER WHAT HE LOOKED LIKE? 549 00:23:17,467 --> 00:23:21,471 UM... LIKE HIM. EXACTLY LIKE HIM. 550 00:23:21,471 --> 00:23:23,032 UH, GIVE ME A DOUBLE ESPRESSO, WILL YA? 551 00:23:23,032 --> 00:23:26,005 WHAT ABOUT MY SCRIPT? I'LL COME BACK AND GET IT WHEN WE'RE DONE. 552 00:23:26,005 --> 00:23:27,136 OH. 553 00:23:27,136 --> 00:23:30,139 (indistinct conversations) 554 00:23:32,682 --> 00:23:34,584 DO I KNOW YOU? 555 00:23:34,584 --> 00:23:36,586 I'M A FRIEND OF SARAH CUTLER. 556 00:23:36,586 --> 00:23:38,147 YEAH? YOU BRING MY MONEY? 557 00:23:38,147 --> 00:23:40,149 WHAT MONEY? 558 00:23:40,149 --> 00:23:42,151 LOOK, I DID WHAT SHE ASKED, 559 00:23:42,151 --> 00:23:44,824 AND NOW I WANT WHAT I'M OWED. 560 00:23:44,824 --> 00:23:47,697 AND, UM, WHAT IS IT THAT SHE ASKED YOU TO DO? 561 00:23:47,697 --> 00:23:51,561 NONE OF YOUR DAMN BUSINESS. WHO THE HELL ARE YOU? 562 00:23:51,561 --> 00:23:53,733 NYPD. 563 00:23:53,733 --> 00:23:55,735 SARAH'S DEAD, SO IT IS MY BUSINESS. 564 00:23:55,735 --> 00:23:58,037 NOW... WHO THE HELL ARE YOU? 565 00:23:58,037 --> 00:24:00,169 JOHNNY DIMES. I'M A P.I. 566 00:24:00,169 --> 00:24:04,073 SARAH CUTLER WAS A CLIENT. WHAT DO YOU MEAN, SHE'S DEAD? 567 00:24:04,073 --> 00:24:07,016 "SHE'S DEAD" ONLY REALLY HAS THE ONE MEANING. 568 00:24:07,016 --> 00:24:09,018 DID SHE HIRE YOU TO FOLLOW HER HUSBAND? 569 00:24:09,018 --> 00:24:10,750 HUSBAND? NO. 570 00:24:10,750 --> 00:24:13,152 SHE HIRED ME TO INVESTIGATE GLORIA CHAMBERS. 571 00:24:13,152 --> 00:24:14,754 THE MOM. 572 00:24:14,754 --> 00:24:17,487 I KNEW IT. WAS SHE INVOLVED IN ORGAN HARVESTING? 573 00:24:17,487 --> 00:24:20,490 THAT DIDN'T REALLY COME UP, BUT I CAN TELL YOU THIS-- 574 00:24:20,490 --> 00:24:23,092 GLORIA CHAMBERS ISN'T HER REAL BIRTH MOM. 575 00:24:23,092 --> 00:24:24,734 SHE'S A FAKE. 576 00:24:24,734 --> 00:24:28,638 OHH. THE MOM ISN'T REALLY THE MOM? 577 00:24:28,638 --> 00:24:31,040 DOES IT GET ANY SOAPIER THAN THAT? 578 00:24:40,510 --> 00:24:41,781 OOH. 579 00:24:41,781 --> 00:24:44,754 OH, IS THAT THE P.I.'s FILE ON SARAH'S FAUX MOTHER? 580 00:24:44,754 --> 00:24:47,086 YEAH, APPARENTLY GLORIA SHOWED UP THREE YEARS AGO 581 00:24:47,086 --> 00:24:49,689 CLAIMING TO BE SARAH'S BIRTH MOM, AND SARAH GOT SUSPICIOUS. 582 00:24:49,689 --> 00:24:53,092 SO SHE HIRED A P.I. IN ORDER TO LOOK INTO GLORIA'S HISTORY. 583 00:24:53,092 --> 00:24:55,695 WHAT NEFARIOUS SCHEME HAS GLORIA SET INTO MOTION? 584 00:24:55,695 --> 00:24:57,096 PERHAPS SHE PLANNED... 585 00:24:57,096 --> 00:24:59,098 ON REPLACING SARAH WITH A CLONE. 586 00:24:59,098 --> 00:25:01,170 SHE WANTED SARAH'S MONEY. 587 00:25:01,170 --> 00:25:02,632 MONEY? 588 00:25:02,632 --> 00:25:04,634 YEAH. SORRY TO BURST YOUR BUBBLE, CASTLE, 589 00:25:04,634 --> 00:25:07,036 BUT GLORIA'S GOT A HISTORY OF INSURANCE SCAMS 590 00:25:07,036 --> 00:25:09,278 AND HUSBANDS WITH EMPTY BANK ACCOUNTS. 591 00:25:09,278 --> 00:25:11,611 WE BRINGING HER IN? YEAH, WE'RE TRYING. WE PUT OUT AN A.P.B. 592 00:25:11,611 --> 00:25:13,042 HER APARTMENT'S EMPTY, 593 00:25:13,042 --> 00:25:16,045 AND THE DOORMAN SAW HER LEAVE WITH A SUITCASE THIS MORNING. 594 00:25:16,045 --> 00:25:18,588 OOH. 595 00:25:18,588 --> 00:25:21,721 SO MAYBE DIMES TELLS SARAH ABOUT GLORIA, 596 00:25:21,721 --> 00:25:23,252 SARAH CONFRONTS HER, 597 00:25:23,252 --> 00:25:26,255 AND THEN GLORIA KILLS SARAH IN ORDER TO AVOID EXPOSURE. 598 00:25:26,255 --> 00:25:29,258 AND AFTER PLAYING THE ROLE OF GRIEVING MOTHER ON SET, 599 00:25:29,258 --> 00:25:32,632 GLORIA KNEW ENOUGH TO GET THE HELL OUT OF DODGE. 600 00:25:32,632 --> 00:25:34,904 (elevator bell dings) 601 00:25:34,904 --> 00:25:36,906 YO. LOOK WHO GOT CAUGHT 602 00:25:36,906 --> 00:25:39,308 TRYING TO BUY A TICKET TO THE BAHAMAS AT J.F.K. 603 00:25:39,308 --> 00:25:42,171 (Castle) GLORIA. EVERYTHING IN NEW YORK REMINDED ME OF SARAH. 604 00:25:42,171 --> 00:25:44,043 I NEEDED TO DISTANCE MYSELF 605 00:25:44,043 --> 00:25:46,746 FROM THE AGONIZING TRUTH THAT SHE'S DEAD. 606 00:25:46,746 --> 00:25:48,147 (sighs deeply) 607 00:25:48,147 --> 00:25:51,921 NOW IF DENIAL IS A CRIME... 608 00:25:51,921 --> 00:25:54,183 I PLEAD GUILTY. 609 00:25:54,183 --> 00:25:55,785 GOOD TO KNOW. 610 00:25:55,785 --> 00:25:57,857 NOW HOW DO YOU PLEAD ON MURDER? 611 00:25:57,857 --> 00:26:01,190 (Beckett) GLORIA CHAMBERS, ALSO KNOWN AS CHARLENE SELLARS. 612 00:26:01,190 --> 00:26:03,192 YOU HAVE BEEN A VERY BUSY WOMAN. 613 00:26:03,192 --> 00:26:06,335 YOURS IS A REAL RAGS-TO-RICHES STORY. 614 00:26:06,335 --> 00:26:09,969 ONLY TROUBLE IS, THE RICHES NEVER SEEM TO BE YOURS. 615 00:26:09,969 --> 00:26:11,671 FRAUD IN FLORIDA, 616 00:26:11,671 --> 00:26:14,073 EMBEZZLEMENT IN NORTH CAROLINA-- 617 00:26:14,073 --> 00:26:16,305 I SERVED MY TIME FOR THOSE PRIOR MISUNDERSTANDINGS. 618 00:26:16,305 --> 00:26:19,348 AND THEN YOU LATCHED ON TO YOUR NEXT MEAL TICKET-- 619 00:26:19,348 --> 00:26:21,911 CONSTANTINE PIRELLI. 620 00:26:21,911 --> 00:26:23,913 AFTER HIM, IT WAS ERNESTO CRUZ. 621 00:26:23,913 --> 00:26:25,915 I HEAR THEY'RE VERY ANXIOUS FOR YOU TO COME BACK... 622 00:26:25,915 --> 00:26:27,657 WITH THEIR MONEY. 623 00:26:27,657 --> 00:26:30,219 I WAS MARRIED TO THOSE MEN. IT WASOURMONEY. 624 00:26:30,219 --> 00:26:31,921 I CAN TELL YOU, 625 00:26:31,921 --> 00:26:33,693 I EARNED EVERY PENNY. 626 00:26:33,693 --> 00:26:36,766 BUT AS USUAL, YOU BLEW IT ALL, AND SO YOU LOOKED FOR 627 00:26:36,766 --> 00:26:39,929 YOUR NEXT TICKET, WHICH YOU FOUND IN SARAH CUTLER. YOU HEARD AN INTERVIEW WHERE SHE MENTIONED 628 00:26:39,929 --> 00:26:42,371 BEING ADOPTED, DID A LITTLE RESEARCH, 629 00:26:42,371 --> 00:26:45,074 AND THEN SHOWED UP AS THE LONG-LOST MOTHER. 630 00:26:45,074 --> 00:26:47,036 SARAH MIGHT HAVE BEEN UNDER THE IMPRESSION 631 00:26:47,036 --> 00:26:49,839 THAT SHE WAS MY DAUGHTER, BUT I DIDN'T KILL HER. 632 00:26:49,839 --> 00:26:52,181 I MEAN, IN MY OWN WAY, I WAS-- 633 00:26:52,181 --> 00:26:53,913 I WAS FOND OF SARAH. 634 00:26:53,913 --> 00:26:56,245 FOND ENOUGH THAT YOU WERE ABLE TO MASQUERADE AS HER MOTHER. 635 00:26:56,245 --> 00:26:58,287 YOU HAD MOTIVE TO KILL HER. 636 00:26:58,287 --> 00:27:01,220 THAT'S WHY YOU TRIED TO FLEE THE COUNTRY. WHAT MOTIVE? 637 00:27:01,220 --> 00:27:06,125 HER WILL SHOWS THAT SHE PLANNED TO LEAVE YOU $300,000. 638 00:27:06,125 --> 00:27:08,798 MM. SHE'S A GENEROUS GIRL, MY SARAH. 639 00:27:08,798 --> 00:27:11,931 SHE'S NOT YOUR SARAH. AND THAT'S NOT YOUR MONEY. 640 00:27:11,931 --> 00:27:14,363 YOU KNEW SHE WROTE YOU INTO HER WILL. 641 00:27:14,363 --> 00:27:16,906 IN FACT, YOU PROBABLY PLANNED IT ALL ALONG. 642 00:27:16,906 --> 00:27:18,808 SO WHEN SHE CONFRONTED YOU, 643 00:27:18,808 --> 00:27:20,810 YOU KNEW THAT YOU HAD A NARROW WINDOW 644 00:27:20,810 --> 00:27:23,813 WITHIN WHICH TO KILL HER BEFORE SHE WROTE YOU OUT. HERE'S YOUR PROBLEM-- 645 00:27:23,813 --> 00:27:25,644 I AM NOT YOUR KILLER. 646 00:27:25,644 --> 00:27:29,679 IF I WERE YOU, I'D LOOK INTO THE OTHER MAN IN HER LIFE. 647 00:27:29,679 --> 00:27:33,152 WHAT OTHER MAN? THE ONE THAT GAVE HER 648 00:27:33,152 --> 00:27:35,955 THE 2-KARAT ARTHUR KLEIN EARRINGS JUST THE OTHER DAY. 649 00:27:35,955 --> 00:27:38,057 DOES THIS OTHER MAN HAVE A NAME? 650 00:27:38,057 --> 00:27:39,428 SARAH DIDN'T TELL ME THAT, 651 00:27:39,428 --> 00:27:42,161 BUT WHOEVER HE WAS, THEY MUST HAVE JUST SPLIT UP, 652 00:27:42,161 --> 00:27:45,895 BECAUSE HE WAS TRYING TO WIN HER OVER. REALLY? YOU'RE GONNA POINT US TO A MYSTERIOUS STRANGER? 653 00:27:45,895 --> 00:27:48,898 IT'S THE TRUTH. COMING FROM A PROFESSIONAL LIAR. 654 00:27:48,898 --> 00:27:51,871 I WAS NOWHERE NEAR THIS GODFORSAKEN SOAP SET 655 00:27:51,871 --> 00:27:53,703 WHEN SHE DIED. 656 00:27:53,703 --> 00:27:57,276 I... I WAS DOING SOMETHING USEFUL WITH MY TIME. 657 00:27:57,276 --> 00:27:58,948 READING TO THE BLIND? 658 00:27:58,948 --> 00:28:02,211 MM. CLOSE. I WAS DONATING. 659 00:28:02,211 --> 00:28:04,914 TO THE PONIES. OH. 660 00:28:07,216 --> 00:28:09,088 O.T.B. RECEIPTS IN GLORIA'S PURSE 661 00:28:09,088 --> 00:28:12,191 PUT HER BETTING ON RACES TILL 10:00 P.M. AND OUR TIME OF DEATH 662 00:28:12,191 --> 00:28:14,463 IS ESTIMATED AT 11:00 ON THE OUTSIDE, 663 00:28:14,463 --> 00:28:17,466 AND WE DON'T HAVE ANYTHING TO TIE HER TO THE STUDIO. I THOUGHT FAKE MOM WAS A LOCK. 664 00:28:17,466 --> 00:28:20,800 IT'S STARTING TO LOOK LESS THAT WAY BY THE MINUTE. 665 00:28:20,800 --> 00:28:22,902 I FOUND THE EARRINGS THAT GLORIA TALKED ABOUT 666 00:28:22,902 --> 00:28:24,834 IN SARAH'S APARTMENT. (Castle) FANCY. 667 00:28:24,834 --> 00:28:27,837 YEAH, OVER 10 GRAND WORTH OF FANCY. THOSE ARE WORTH OVER 10 GRAND? 668 00:28:27,837 --> 00:28:30,479 (scoffs) PLEASE. LANIE LOVES DIAMONDS. 669 00:28:30,479 --> 00:28:33,382 "DIAMONDS ARE FOREVER LIKE MY DEVOTION TO YOU." 670 00:28:33,382 --> 00:28:35,815 WHO WRITES NOTES THIS CHEESY? WELL, NOT THE HUSBAND. 671 00:28:35,815 --> 00:28:37,817 I CHECKED ON HIS FINANCIALS. HE DIDN'T BUY THEM. 672 00:28:37,817 --> 00:28:40,089 OKAY, SO MAYBE GLORIA WAS TELLING US THE TRUTH. 673 00:28:40,089 --> 00:28:43,192 MAYBE SARAH WAS HAVING AN AFFAIR. WELL, THAT MAKES PERFECT SENSE. 674 00:28:43,192 --> 00:28:46,095 SARAH WAS SEPARATED FROM HER HUSBAND VINCE, 675 00:28:46,095 --> 00:28:48,097 AND AFTER LONG, GRUELING DAYS AT WORK, 676 00:28:48,097 --> 00:28:50,099 SHE'D GO HOME TO A COLD, EMPTY APARTMENT. 677 00:28:50,099 --> 00:28:52,131 FEELING LONELY, BETRAYED, SHE SEEKS COMFORT 678 00:28:52,131 --> 00:28:55,034 IN THE ARMS OF THIS MYSTERY MAN... AND SHE DECIDES THAT SHE WANTS HER HUSBAND BACK, 679 00:28:55,034 --> 00:28:57,366 SO SHE WRITES HIS MISTRESS, MANDY BRONSON, 680 00:28:57,366 --> 00:29:00,840 OFF THE SHOW IN ORDER TO SAVE THEIR MARRIAGE. AND HER NEXT STOP WOULD BE TO GET RID OF THE OTHER MAN. 681 00:29:00,840 --> 00:29:04,073 SO MAYBE THE OTHER MAN DIDN'T GO OFF QUIETLY INTO THE NIGHT. 682 00:29:04,073 --> 00:29:06,776 DO YOU TWO PRACTICE THIS WHEN WE'RE NOT AROUND? 683 00:29:06,776 --> 00:29:08,317 THESE EARRINGS ARE EXCLUSIVE 684 00:29:08,317 --> 00:29:10,319 TO ARTHUR KLEIN'S BOUTIQUE IN CHELSEA. 685 00:29:10,319 --> 00:29:12,321 LET'S FIND OUT WHO BOUGHT THEM. RIGHT. 686 00:29:12,321 --> 00:29:14,423 (snaps) 687 00:29:14,423 --> 00:29:16,425 OKAY, SO GLORIA IS IN THE CLEAR. 688 00:29:16,425 --> 00:29:18,988 UNIFORMS SHOWED HER PHOTO AT O.T.B., 689 00:29:18,988 --> 00:29:20,529 AND A BARTENDER THERE 690 00:29:20,529 --> 00:29:23,192 REMEMBERS SEEING HER AT 11:15. 691 00:29:23,192 --> 00:29:26,395 YOU KNOW, I CAN SEE WHY SHE FELL FOR GLORIA'S CON. 692 00:29:26,395 --> 00:29:28,998 SARAH WAS MOTHERLESS, CHILDLESS. 693 00:29:28,998 --> 00:29:31,000 SHE WAS TAKING YOUNG WRITERS UNDER HER WING. 694 00:29:31,000 --> 00:29:33,472 SHE WAS LOOKING FOR FAMILY. WOW, CASTLE. 695 00:29:33,472 --> 00:29:35,504 THAT'S A REFRESHINGLY DOWN-TO-EARTH THEORY. 696 00:29:35,504 --> 00:29:38,047 JUST TRYING TO KEEP YOU ON YOUR TOES. 697 00:29:38,047 --> 00:29:40,049 HEY, SO WE RAN DOWN PURCHASES AT KLEIN'S BOUTIQUE, 698 00:29:40,049 --> 00:29:41,780 AND GUESS WHO POPPED. 699 00:29:41,780 --> 00:29:44,453 (Castle and Beckett) LANCE HASTINGS? (Esposito) AND THAT'S NOT ALL. 700 00:29:44,453 --> 00:29:48,157 I RAN LANCE'S CREDIT CARD ACTIVITY TO CONFIRM THE PURCHASE 701 00:29:48,157 --> 00:29:50,159 AND SOMETHING ELSE CAUGHT MY EYE. 702 00:29:50,159 --> 00:29:52,161 LANCE CHARGED A CAB RIDE TO THE STUDIO 703 00:29:52,161 --> 00:29:54,363 THE NIGHT OF THE MURDER. YEAH, WHEN WE INTERVIEWED HIM, 704 00:29:54,363 --> 00:29:57,326 HE SAID HE WENT STRAIGHT HOME AT 6:00 P.M. CAB COMPANY DROVE HIM BACK TO THE STUDIO AROUND 8:00. 705 00:29:57,326 --> 00:29:59,528 OKAY, SO THAT FALLS RIGHT WITHIN THE WINDOW 706 00:29:59,528 --> 00:30:02,501 OF OUR TIME OF DEATH. GO PICK HIM UP. YEAH, WE ALREADY SENT A UNIFORM. 707 00:30:02,501 --> 00:30:06,135 HE'S NOT HOME, AND HE'S NOT ANSWERING HIS PHONE. MY MOTHER WAS SPEAKING TO HIM EARLIER ON SET. 708 00:30:06,135 --> 00:30:08,007 (beep) 709 00:30:08,007 --> 00:30:12,411 HI, SWEETIE. IS GRAM THERE? I NEED TO TALK TO HER. 710 00:30:12,411 --> 00:30:14,543 WHAT'S WRONG? 711 00:30:14,543 --> 00:30:17,987 I KNOW WHERE THE KILLER IS. 712 00:30:17,987 --> 00:30:20,890 HE'S WITH MY MOTHER. 713 00:30:29,498 --> 00:30:32,001 CASTLE, IT'S OKAY. I'M SURE YOUR MOM'S NOT IN ANY DANGER. 714 00:30:32,001 --> 00:30:34,363 YEAH, YOU'RE PROBABLY RIGHT. (Lance) I'M SORRY, MY DEAR, 715 00:30:34,363 --> 00:30:36,966 BUT AFTER EVERYTHING I'VE TOLD YOU, 716 00:30:36,966 --> 00:30:39,508 I CAN'T LET YOU LEAVE THIS ROOM ALIVE. (Martha) LANCE, THINK ABOUT WHAT YOU'RE DOING. 717 00:30:39,508 --> 00:30:42,271 I AM THINKING ABOUT IT. I CAN'T LET YOU LIVE! THINK ABOUT US--AAH! 718 00:30:42,271 --> 00:30:43,973 DROP THE KNIFE! WHAT-- 719 00:30:43,973 --> 00:30:45,975 DROP THE WEAPON. W-W-W-WAIT A MINUTE. 720 00:30:45,975 --> 00:30:47,516 AAH! 721 00:30:47,516 --> 00:30:50,019 RICHARD, WHAT ARE YOU DOING? 722 00:30:50,019 --> 00:30:52,351 OH, NOTHING. JUST SAVING YOUR LIFE. THAT'S ALL. 723 00:30:52,351 --> 00:30:54,123 SHE SAID DROP THE KNIFE! 724 00:30:54,123 --> 00:30:56,125 THE ONLY THING THAT KNIFE COULD KILL IS BUTTER. 725 00:30:56,125 --> 00:30:57,957 WHAT ARE YOU TALKING ABOUT? 726 00:30:57,957 --> 00:30:59,328 (sighs) 727 00:31:01,360 --> 00:31:03,292 (clatters) 728 00:31:03,292 --> 00:31:04,433 IT'S A PROP. 729 00:31:04,433 --> 00:31:06,635 WE WERE JUST WORKING OUT A SCENE. 730 00:31:06,635 --> 00:31:08,337 GUYS, IT WAS COMPLETELY MY IDEA. 731 00:31:08,337 --> 00:31:11,640 YOU KNOW, THE ACTOR'S VERSION OF "SHOW ME YOUR GOLF SWING." 732 00:31:11,640 --> 00:31:13,602 WELL, THE KNIFE MAY BE FAKE, 733 00:31:13,602 --> 00:31:17,907 BUT THE AX YOU PUT INTO SARAH'S BACK WAS REAL. 734 00:31:17,907 --> 00:31:20,309 YOU LIED TO DETECTIVES RYAN AND ESPOSITO 735 00:31:20,309 --> 00:31:22,982 REGARDING YOUR WHEREABOUTS THE NIGHT OF THE MURDER. 736 00:31:22,982 --> 00:31:26,355 (sighs) YOU WANT THE TRUTH? THAT WOULD BE A GREAT PLACE TO START. 737 00:31:26,355 --> 00:31:29,618 (imitates Jack Nicholson) YOU CAN'T HANDLE THE TRUTH. 738 00:31:29,618 --> 00:31:33,092 SIR, I AM NOT INTERESTED IN YOUR JACK NICHOLSON IMPRESSIONS. 739 00:31:33,092 --> 00:31:35,364 WE KNOW THAT YOU WENT BACK TO THE STUDIO 740 00:31:35,364 --> 00:31:37,096 THE NIGHT OF THE MURDER. 741 00:31:37,096 --> 00:31:40,199 AND WHAT I'M ASKING IS WHY. 742 00:31:40,199 --> 00:31:42,501 IT WAS A FRIENDLY CONVERSATION BETWEEN COLLEAGUES. 743 00:31:42,501 --> 00:31:45,504 A FRIENDLY CONVERSATION IN WHICH SHE TOLD YOU 744 00:31:45,504 --> 00:31:48,107 SHE WAS GOING TO GO BACK TO HER HUSBAND. 745 00:31:48,107 --> 00:31:51,640 WHAT THE HELL ARE YOU TALKING ABOUT? WHY WOULD SHE DO THAT? BECAUSE SHE WAS BREAKING UP WITH YOU. 746 00:31:51,640 --> 00:31:53,642 IS THAT WHAT YOU THINK IS GOING ON HERE? 747 00:31:53,642 --> 00:31:56,115 YOU THINK THAT SARAH AND I WERE LOVERS? 748 00:31:56,115 --> 00:31:58,117 DID YOU OR DID YOU NOT 749 00:31:58,117 --> 00:32:00,649 BUY AN EXPENSIVE PAIR OF DIAMOND EARRINGS FOR HER? 750 00:32:00,649 --> 00:32:03,252 YES, BUT NOT TO WOO HER. IT WAS TO ENCOURAGE SARAH 751 00:32:03,252 --> 00:32:05,995 TO LET ME OUT OF MY CONTRACT FOR A MOVIE ROLE. A MOVIE ROLE? 752 00:32:05,995 --> 00:32:08,327 YES. THE COEN BROTHERS HAVE ASKED ME TO PLAY 753 00:32:08,327 --> 00:32:10,329 MATT DAMON'S HALF-WIT DAD IN THEIR NEW MOVIE. 754 00:32:10,329 --> 00:32:12,931 IT'S A ROLE OF A LIFETIME. IT HAS NOMINATIONS 755 00:32:12,931 --> 00:32:14,933 WRITTEN ALL OVER IT. THAT STILL DOESN'T EXPLAIN 756 00:32:14,933 --> 00:32:17,566 WHY YOU WENT BACK TO THE STUDIO THAT NIGHT. I WENT TO THANK SARAH IN PERSON, 757 00:32:17,566 --> 00:32:19,568 BECAUSE MY AGENT HAD CALLED ME THAT EVENING 758 00:32:19,568 --> 00:32:22,011 TO TELL ME THAT SHE HAD AGREED TO LET ME OUT. 759 00:32:22,011 --> 00:32:24,013 THE REASON I DIDN'T MENTION ANY OF THIS IS, 760 00:32:24,013 --> 00:32:27,176 I DIDN'T WANT TO RISK MISSING WORK ON THE MOVIE. WHY DIDN'T YOU JUST CALL HER? 761 00:32:27,176 --> 00:32:29,248 I WANTED HER TO KNOW HOW MUCH I APPRECIATED IT. 762 00:32:29,248 --> 00:32:31,650 SO YOU WENT BACK TO THANK HER, AND THAT'S IT? 763 00:32:31,650 --> 00:32:33,452 NO, NOT EXACTLY. UH... 764 00:32:33,452 --> 00:32:35,454 WHEN I GOT THERE, SHE WAS READING A SCRIPT, 765 00:32:35,454 --> 00:32:37,056 AND SHE SEEMED UPSET. 766 00:32:37,056 --> 00:32:39,188 I ASKED HER WHY, AND... 767 00:32:39,188 --> 00:32:41,190 SHE SAID SOMEBODY HAD BETRAYED HER. 768 00:32:41,190 --> 00:32:43,192 WHO? WELL, AT FIRST, I THOUGHT IT WAS ME 769 00:32:43,192 --> 00:32:46,135 FOR TAKING THE MOVIE ROLE, BUT THEN... 770 00:32:46,135 --> 00:32:48,537 SHE SAID THAT SOMEONE WASN'T WHO... 771 00:32:48,537 --> 00:32:51,140 SHE THOUGHT THEY WERE. 772 00:32:51,140 --> 00:32:53,702 AND SHE DIDN'T LET ON AS TO WHO THIS PERSON WAS? 773 00:32:53,702 --> 00:32:56,705 NO. I DIDN'T WANT TO GIVE HER THE OPPORTUNITY 774 00:32:56,705 --> 00:32:58,707 TO CHANGE HER MIND ABOUT THE MOVIE, 775 00:32:58,707 --> 00:33:01,580 SO I EXITED... STAGE LEFT. 776 00:33:19,668 --> 00:33:21,200 OKAY. 777 00:33:21,200 --> 00:33:23,202 FOUND THE DEAL MEMO THAT SARAH SIGNED 778 00:33:23,202 --> 00:33:26,735 IN ORDER TO GET LANCE OUT FOR HIS MOVIE. 779 00:33:26,735 --> 00:33:28,677 HE WASN'T LYING. 780 00:33:28,677 --> 00:33:31,210 MY MOTHER IS NEVER GONNA LET ME FORGET THIS. 781 00:33:31,210 --> 00:33:33,212 OH, COME ON, CASTLE. SHE'LL PROBABLY THINK 782 00:33:33,212 --> 00:33:36,145 IT WAS SWEET THAT YOU WERE CONCERNED ABOUT HER. 783 00:33:36,145 --> 00:33:38,147 THIS IS MARTHA RODGERS WE ARE TALKING ABOUT. 784 00:33:38,147 --> 00:33:40,289 I INTRUDED ON HER "MOMENT." 785 00:33:40,289 --> 00:33:42,351 NO, I WILL PAY DEARLY. 786 00:33:42,351 --> 00:33:44,323 WHEN LANCE CAME HERE, SARAH TOLD HIM 787 00:33:44,323 --> 00:33:46,725 THAT SOMEONE WASN'T WHO SHE THOUGHT THEY WERE. 788 00:33:46,725 --> 00:33:50,799 WHO DO YOU THINK THAT WAS? HOW ABOUT THE WOMAN WHO MAKES MY MOTHER LOOK LIKE A SAINT? 789 00:33:50,799 --> 00:33:53,802 YEAH, BUT SARAH ALREADY CUT GLORIA OUT OF HER LIFE. 790 00:33:53,802 --> 00:33:56,165 MAYBE... MAYBE IT WAS HER CHEATING HUSBAND. 791 00:33:56,165 --> 00:33:58,537 EXCEPT LANCE MET WITH SARAH AFTERMANDY BRONSON. 792 00:33:58,537 --> 00:34:02,171 BY THE TIME MANDY SHOWED UP, SARAH HAD ALREADY DECIDED 793 00:34:02,171 --> 00:34:04,713 WHAT SHE WANTED TO DO WITH HER MARRIAGE. YEAH, BUT EVEN IF SARAH DECIDED 794 00:34:04,713 --> 00:34:06,715 THAT SHE WAS GONNA GET BACK TOGETHER WITH VINCE, 795 00:34:06,715 --> 00:34:09,418 IT DOESN'T MEAN THAT SHE DIDN'T HAVE DOUBTS. 796 00:34:09,418 --> 00:34:10,819 NO. NO, YOU'RE RIGHT. 797 00:34:10,819 --> 00:34:14,253 EXCEPT HE HAS AN ALIBI. EVERYONE HAS AN ALIBI. 798 00:34:14,253 --> 00:34:16,125 YEAH, WELL, SOMEBODY OUT THERE DOESN'T, 799 00:34:16,125 --> 00:34:19,428 AND WE ARE GONNA FIND THEM. WELL, MAYBE WE SHOULD SLEEP ON IT. 800 00:34:19,428 --> 00:34:22,791 SEPARATELY. 801 00:34:22,791 --> 00:34:25,664 KATHERINE BECKETT, I NEVER. 802 00:34:27,396 --> 00:34:29,568 HELLO, LADIES. 803 00:34:29,568 --> 00:34:31,170 HEY, DAD. GRAM TOLD ME 804 00:34:31,170 --> 00:34:33,802 HOW YOU WENT ALL JASON BOURNE ON HER DATE. COME ON. 805 00:34:33,802 --> 00:34:36,645 I THINK I DESERVE SOME KUDOS FOR MY SELFLESS COURAGE 806 00:34:36,645 --> 00:34:38,647 IN THE FACE OF PERCEIVED DANGER. 807 00:34:38,647 --> 00:34:40,649 AH, THINK WHAT YOU WILL. 808 00:34:40,649 --> 00:34:43,652 BUT I'VE TAKEN THE LIBERTY OF SELECTING AN APOLOGY GIFT-- 809 00:34:43,652 --> 00:34:47,316 PAGE 47, DOG-EARED FOR YOUR CONVENIENCE. 810 00:34:47,316 --> 00:34:49,518 THE DRESS? UH-HUH. AND THE SHOES. 811 00:34:49,518 --> 00:34:51,820 OH! AND THE PURSE. (chuckles) 812 00:34:51,820 --> 00:34:53,822 WHERE DID YOU GET THIS, DARLING? 813 00:34:53,822 --> 00:34:56,165 OH, FROM A WOMAN I MET ON THE CASE. 814 00:34:56,165 --> 00:34:57,826 SHE'S AN ASPIRING WRITER. OH. 815 00:34:57,826 --> 00:35:00,529 IN A MOMENT OF WEAKNESS, I TOLD HER I'D READ IT. 816 00:35:00,529 --> 00:35:03,802 OH, IT'S REALLY PRETTY GOOD. SHE'S GOT VERY VIVID CHARACTERS, 817 00:35:03,802 --> 00:35:06,605 WELL PLOTTED, PLEASANTLY SALACIOUS. 818 00:35:06,605 --> 00:35:08,707 GREAT. THAT'S WHAT I'LL TELL HER. 819 00:35:08,707 --> 00:35:12,110 NO, NO, NO, NO. YOU SAID YOU WOULD READ IT, HONEY.YOU. I WILL. 820 00:35:12,110 --> 00:35:15,544 I JUST HAVE TO DO A LITTLE MORE THINKING ON THE CASE. HE'S PROCRASTINATING. 821 00:35:15,544 --> 00:35:17,816 (laughs) I KNOW. (whispers) I KNOW. NO, I AM NOT. 822 00:35:17,816 --> 00:35:21,190 I AM JUST ABOUT TO SOLVE A CRITICAL PIECE OF OUR MYSTERY. 823 00:35:21,190 --> 00:35:23,592 NOW THAT YOU'VE DETERMINED THAT LANCE ISNOTTHE AX MURDERER? 824 00:35:23,592 --> 00:35:26,225 SO WHAT'S THE CRITICAL PIECE OF EVIDENCE, DAD? 825 00:35:26,225 --> 00:35:27,626 WELL, SHORTLY BEFORE SHE DIED, 826 00:35:27,626 --> 00:35:30,329 SARAH CUTLER SAID THAT SOMEONE HAD BETRAYED HER. 827 00:35:30,329 --> 00:35:32,331 I THINK THAT PERSON IS OUR KILLER. 828 00:35:32,331 --> 00:35:34,333 WELL, THEN IT COULD BE ANYBODY, DARLING, 829 00:35:34,333 --> 00:35:37,566 BECAUSE BETRAYAL IS A WAY OF LIFE ON A SOAP OPERA. 830 00:35:37,566 --> 00:35:40,239 AND LET ME TELL YOU, "TEMPTATION LANE" 831 00:35:40,239 --> 00:35:42,171 IS LIKE THIS SEETHING CAULDRON 832 00:35:42,171 --> 00:35:46,144 OF SORDIDNESS AND TREACHERY AND NAKED AMBITION. 833 00:35:46,144 --> 00:35:47,846 AND YOU KNOW WHICH PEOPLE 834 00:35:47,846 --> 00:35:49,818 ARE THE MOST MANIPULATIVE AND DEVIOUS? 835 00:35:49,818 --> 00:35:52,421 I DO. 836 00:35:52,421 --> 00:35:55,324 I KNOW WHO BETRAYED SARAH. 837 00:36:02,861 --> 00:36:04,863 LOOK, THERE'S NOTHING IN MY CONTRACT 838 00:36:04,863 --> 00:36:07,536 THAT SAYS THAT I HAVE TO BE A COP ALL OF A SUDDEN. 839 00:36:07,536 --> 00:36:09,298 I-I--I'VE GOTTA REHEARSE. 840 00:36:09,298 --> 00:36:11,800 GET OFF THE PHONE. LET'S DO THIS. LET'S GO. 841 00:36:11,800 --> 00:36:15,173 (indistinct conversations) 842 00:36:15,173 --> 00:36:18,277 OKAY, CASTLE. LET'S GO. OH, WAIT. NO, HANG ON. I JUST WROTE MY FIRST SOAP SCENE, 843 00:36:18,277 --> 00:36:21,550 WHICH THEY ARE ABOUT TO SHOOT. WELL, I'LL--I'LL CATCH IT ON TV. WE'VE GOT AN ARREST TO MAKE. 844 00:36:21,550 --> 00:36:24,182 NO, NO, WAIT. THIS SCENE IS GOING TO EXPOSE THE KILLER. 845 00:36:24,182 --> 00:36:26,184 "THE PLAY'S THE THING WHEREIN WE'LL CATCH 846 00:36:26,184 --> 00:36:28,186 THE CONSCIENCE OF THE KING"-- HAMLET. 847 00:36:28,186 --> 00:36:30,188 WE ALREADY KNOW WHO THE KILLER IS, 848 00:36:30,188 --> 00:36:32,961 SO YOU'RE WASTING MY TIME-- ME. NOT IF I GET US A CONFESSION. 849 00:36:32,961 --> 00:36:34,963 (man) PLACES, PLEASE. (whispers) THEY'RE STARTING. LET'S GO. 850 00:36:34,963 --> 00:36:36,565 OKAY. NO, SEND IT BACK. 851 00:36:36,565 --> 00:36:38,627 YEAH. ALL RIGHT, THANKS. 852 00:36:38,627 --> 00:36:40,969 HEY, COME ON IN, GUYS. THANKS. 853 00:36:40,969 --> 00:36:43,932 (lowered voice) CASTLE, WHAT ARE WE-- AH-- (whispers) SHH, SHH. JUST WATCH, JUST WATCH. 854 00:36:43,932 --> 00:36:46,835 CAN WE CLOSE THE DOWNSTAGE DOOR TO GET BETTER EYES ON MANDY, 855 00:36:46,835 --> 00:36:49,378 PLEASE? (man) CLOSE THOSE DOORS! 856 00:36:49,378 --> 00:36:51,440 (Vince) AND CLEAR THE SET. HERE WE GO, EVERYBODY. (man) QUIET ON THE SET. 857 00:36:51,440 --> 00:36:54,243 IN FIVE... FOUR... 858 00:36:54,243 --> 00:36:55,984 THREE... TWO... 859 00:36:55,984 --> 00:36:59,288 (switch clicks) TWO'S ON THE LINE. 860 00:36:59,288 --> 00:37:00,849 (man) AND ACTION. 861 00:37:02,391 --> 00:37:04,393 CAN'T YOU AT LEAST KNOCK? I'M CHANGING. 862 00:37:04,393 --> 00:37:06,795 NOTHING I HAVEN'T SEEN BEFORE... 863 00:37:06,795 --> 00:37:09,328 AND ENJOYED IMMENSELY. 864 00:37:09,328 --> 00:37:10,499 REALLY? 865 00:37:10,499 --> 00:37:13,001 IT'S A SOAP OPERA. I HAD TO HONOR THE FORM. 866 00:37:13,001 --> 00:37:14,963 WHAT ARE YOU DOING HERE, JOSEPH? 867 00:37:14,963 --> 00:37:17,836 IF THIS IS ABOUT OUR RELATIONSHIP-- NO, IT ISN'T. 868 00:37:17,836 --> 00:37:19,838 IT'S ABOUT YOUR RESEARCH PAPER. 869 00:37:19,838 --> 00:37:21,840 THE ONE I HAD YOU SUBMIT 870 00:37:21,840 --> 00:37:23,972 FOR THE MONTENEGRO JOURNALISM FELLOWSHIP. 871 00:37:23,972 --> 00:37:25,774 IS THERE NEWS ABOUT THE WINNER? 872 00:37:25,774 --> 00:37:28,347 THE THING ABOUT THE FELLOWSHIP IS THAT 873 00:37:28,347 --> 00:37:31,580 IT CAN OPEN DOORS, IT LAUNCH CAREERS. (mouths words) 874 00:37:31,580 --> 00:37:33,482 THAT'S WHY I RECOMMENDED YOU. 875 00:37:33,482 --> 00:37:35,484 OVER TO ONE. SO DID I WIN? 876 00:37:35,484 --> 00:37:36,785 THREE. 877 00:37:36,785 --> 00:37:38,787 I WENT TO THE COFFEE SHOP THIS MORNING, 878 00:37:38,787 --> 00:37:41,330 AND A BARISTA THERE ASKED ME TO READ AN ARTICLE 879 00:37:41,330 --> 00:37:43,332 THAT SHE HAD WRITTEN FOR HER COLLEGE PAPER. 880 00:37:43,332 --> 00:37:49,468 ODDLY ENOUGH, IT WAS IDENTICAL TO YOURS. 881 00:37:49,468 --> 00:37:52,471 THERE MUST BE SOME MISTAKE. NO, JUST THE ONE YOU MADE IN ASSUMING THAT YOU COULD 882 00:37:52,471 --> 00:37:54,703 PASS OFF SOMEBODY ELSE'S MATERIAL AS YOUR OWN. 883 00:37:54,703 --> 00:37:57,606 YOU ARE A FRAUD, ANGELA. 884 00:37:57,606 --> 00:37:59,878 AND I AM GOING TO CALL THE FELLOWSHIP 885 00:37:59,878 --> 00:38:03,281 AND LET THEM KNOW THAT EXACTLY. 886 00:38:03,281 --> 00:38:06,054 OH, AND BY THE WAY... 887 00:38:06,054 --> 00:38:07,656 (mouths words) YOU'RE FIRED. 888 00:38:07,656 --> 00:38:09,758 AND CUT. NICE JOB, PEOPLE. 889 00:38:09,758 --> 00:38:11,690 (Reese) UM... 890 00:38:11,690 --> 00:38:13,422 I DON'T UNDERSTAND. THIS IS-- 891 00:38:13,422 --> 00:38:15,824 THIS IS NOT THE SCENE THAT WE WORKED ON YESTERDAY. 892 00:38:15,824 --> 00:38:17,926 WE MADE SOME ADJUSTMENTS. 893 00:38:17,926 --> 00:38:20,869 AND YET, IT HAS AN ODDLY FAMILIAR RING TO IT. 894 00:38:20,869 --> 00:38:23,472 READING OTHER PEOPLE'S SCRIPTS IS A PART OF YOUR JOB, 895 00:38:23,472 --> 00:38:25,374 ISN'T IT? WHAT ARE YOU ACCUSING ME OF? 896 00:38:25,374 --> 00:38:28,377 DID YOU NOT SEE THE SCENE? IF YOU'RE GOING TO BE A WRITER, 897 00:38:28,377 --> 00:38:31,810 YOU HAVE TO HAVE A BETTER GRASP OF SUBTEXT. 898 00:38:31,810 --> 00:38:34,012 (scoffs) LOOK, I--I'M... 899 00:38:34,012 --> 00:38:37,646 I MIGHT HAVE MIXED UP SOME OF THE SCRIPTS, 900 00:38:37,646 --> 00:38:40,018 BUT I WAS AT THE FELLOWSHIP MIXER 901 00:38:40,018 --> 00:38:41,720 THE NIGHT THAT SARAH DIED. 902 00:38:41,720 --> 00:38:44,353 NOBODY THERE REMEMBERS SEEING YOU AFTER 8:00 P.M. 903 00:38:44,353 --> 00:38:46,024 SARAH WAS KILLED WITH AN AX, REESE. 904 00:38:46,024 --> 00:38:48,026 WHOEVER KILLED HER GOT BLOOD ON THEIR CLOTHES 905 00:38:48,026 --> 00:38:49,828 AND ON THEIR SHOES. 906 00:38:49,828 --> 00:38:52,100 SOME OF IT INVISIBLE TO THE NAKED EYE, 907 00:38:52,100 --> 00:38:54,933 BUT IT DOESN'T MATTER HOW MUCH YOU TRY TO WASH IT, 908 00:38:54,933 --> 00:38:57,065 IT'S STILL THERE. 909 00:38:57,065 --> 00:38:59,408 I HAVE OFFICERS AT YOUR APARTMENT. 910 00:39:04,973 --> 00:39:06,975 (voice breaking) YOU HAVE NO IDEA 911 00:39:06,975 --> 00:39:10,118 WHAT I DID FOR HER. 912 00:39:10,118 --> 00:39:12,481 PICKING UP HER DOGS, 913 00:39:12,481 --> 00:39:15,484 PICKING UP HER DRY CLEANING, 914 00:39:15,484 --> 00:39:17,526 THE LATE NIGHTS, THE WEEKENDS, 915 00:39:17,526 --> 00:39:19,728 NO VACATION. 916 00:39:19,728 --> 00:39:22,461 YOU TRY WRITING A SCRIPT WITH ALL OF THAT GOING ON. 917 00:39:22,461 --> 00:39:24,132 I WORKED TOO HARD 918 00:39:24,132 --> 00:39:26,595 TO LET IT END THAT WAY. 919 00:39:26,595 --> 00:39:29,438 I DESERVED THAT OPPORTUNITY, 920 00:39:29,438 --> 00:39:34,042 AND I COULD NOT LET HER TAKE THAT AWAY FROM ME. 921 00:39:34,042 --> 00:39:36,945 IT WAS NEVER YOURS TO BEGIN WITH. 922 00:39:36,945 --> 00:39:39,748 (crew speaks indistinctly) 923 00:39:39,748 --> 00:39:43,612 (indistinct conversations) 924 00:39:43,612 --> 00:39:46,014 KILLING SARAH TO KEEP A LID ON HER PLAGIARISM? 925 00:39:46,014 --> 00:39:48,917 THAT'S COLD. AND PRETTY ORDINARY AS FAR AS MOTIVES GO. 926 00:39:48,917 --> 00:39:50,859 (Ryan) SHE DIDN'T WANT TO PUT IN THE WORK, 927 00:39:50,859 --> 00:39:53,662 SO SHE TOOK A SHORTCUT. THERE ARE NO SHORTCUTS IN WRITING. 928 00:39:53,662 --> 00:39:56,525 NOPE, BUT THERE IS TO OUR FAVORITE BAR. 929 00:39:56,525 --> 00:39:58,467 I FOUND A NEW ROUTE THAT'LL GET US 930 00:39:58,467 --> 00:40:00,599 TO THE OLD HAUNT IN EIGHT MINUTES. 931 00:40:00,599 --> 00:40:03,602 YOU UP FOR A BEER? COME ON. I KNOW THE OWNER. YEAH, I'M DOWN, BRO. HOW 'BOUT YOU, CASTLE? 932 00:40:03,602 --> 00:40:05,604 RIGHT BEHIND YOU. 933 00:40:16,845 --> 00:40:18,447 WHAT? 934 00:40:20,489 --> 00:40:21,890 GOT YOU A PRESENT. 935 00:40:27,726 --> 00:40:30,729 A SIGNED CAST PHOTO FROM "TEMPTATION LANE." 936 00:40:30,729 --> 00:40:33,902 HOW DID YOU EVEN GET THIS? 937 00:40:33,902 --> 00:40:35,934 I KNOW PEOPLE WHO KNOW PEOPLE. 938 00:40:39,037 --> 00:40:41,740 OKAY. 939 00:40:41,740 --> 00:40:44,042 (laughs) I WAS 9, 940 00:40:44,042 --> 00:40:46,745 AND I HAD TO GET MY TONSILS TAKEN OUT, 941 00:40:46,745 --> 00:40:48,617 AND I WAS MISERABLE. 942 00:40:48,617 --> 00:40:50,619 AND SO MY MOM TOOK TIME OFF OF WORK 943 00:40:50,619 --> 00:40:52,150 AND... STAYED WITH ME 944 00:40:52,150 --> 00:40:54,753 AND CUDDLED UP IN FRONT OF THE TV 945 00:40:54,753 --> 00:40:56,755 ON THE COUCH, 946 00:40:56,755 --> 00:40:58,987 AND WE WOULD WATCH EPISODES OF "TEMPTATION LANE." 947 00:40:58,987 --> 00:41:01,630 SO EVERY TIME I SEE IT NOW, IT JUST-- 948 00:41:01,630 --> 00:41:07,065 IT MAKES ME FEEL LIKE HOME AND... SAFE. 949 00:41:07,065 --> 00:41:09,868 SO THERE YOU GO. JUDGE AWAY. 950 00:41:09,868 --> 00:41:11,700 (inhales sharply) 951 00:41:11,700 --> 00:41:14,743 MY DVR... 952 00:41:14,743 --> 00:41:17,746 WOULD MAKE YOURS LOOK LIKE "MASTERPIECE THEATRE." 953 00:41:17,746 --> 00:41:20,949 BUT I AM GLAD TO KNOW THIS ABOUT YOU. 954 00:41:24,052 --> 00:41:26,985 (cell phone rings) 955 00:41:29,017 --> 00:41:31,920 (ring) 956 00:41:31,920 --> 00:41:34,693 (ring) 957 00:41:34,693 --> 00:41:37,766 I'LL LEAVE YOU TO IT. 958 00:41:37,766 --> 00:41:39,167 (ring) 959 00:41:39,167 --> 00:41:41,499 HEY, CASTLE. THANK YOU FOR THE PHOTO. 960 00:41:41,499 --> 00:41:42,631 (ring) 961 00:41:42,631 --> 00:41:44,502 I'LL SEE YOU. 962 00:41:44,502 --> 00:41:46,675 (clicks cell phone, cell phone beeps) 963 00:41:46,675 --> 00:41:48,607 HEY. 964 00:41:51,509 --> 00:41:53,511 (Lance) AFTER ALL THESE YEARS, 965 00:41:53,511 --> 00:41:56,985 ALL THE TIMES I COULD'VE BEEN HOLDING YOU IN MY ARMS... 966 00:41:56,985 --> 00:42:00,048 (Martha) THEN LET'S NOT WASTE MORE TIME WITH WORDS. 967 00:42:00,048 --> 00:42:01,890 LET'S JUST 968 00:42:01,890 --> 00:42:04,092 LET OUR LIPS DO THE TALKING. 969 00:42:04,092 --> 00:42:06,024 YOU TWO RUNNING LINES AGAIN? 970 00:42:06,024 --> 00:42:07,626 OH. WELL, NO, NO. 971 00:42:07,626 --> 00:42:10,659 WE WERE JUST, UH... YOU KNOW, TALKING. 972 00:42:10,659 --> 00:42:13,702 OH. 973 00:42:13,702 --> 00:42:15,203 OH. 974 00:42:15,203 --> 00:42:17,305 UM... I'M GONNA-- 975 00:42:17,305 --> 00:42:19,107 I'LL JUST--I'LL... 976 00:42:19,107 --> 00:42:22,140 GO TO THE... 977 00:42:22,140 --> 00:42:25,714 AAH.