1 00:00:02,033 --> 00:00:03,534 PREVIOUSLY ON "CASTLE"... 2 00:00:03,534 --> 00:00:06,207 WHAT THE HELL ARE YOU DOIN'? THAT'S MY SUSPECT. 3 00:00:06,207 --> 00:00:08,209 OKAY, RELAX. WE'RE ON THE SAME TEAM. ROYCE? 4 00:00:08,209 --> 00:00:11,212 HEY, KID. ALL THEY EVER TAUGHT US IN THE ACADEMY 5 00:00:11,212 --> 00:00:12,743 WAS HOW TO DO PAPERWORK. 6 00:00:12,743 --> 00:00:15,786 YOU WERE THE ONE WHO TAUGHT ME HOW TO BE A COP. 7 00:00:15,786 --> 00:00:18,189 YOU WERE EASY TO IMPRESS. NO, I WASN'T. I WAS DROWNING, 8 00:00:18,189 --> 00:00:20,321 AND YOU WERE DRY LAND. 9 00:00:20,321 --> 00:00:24,255 I DIDN'T MEAN FOR IT TO GO LIKE THIS. Mike, I was in love with you. 10 00:00:24,255 --> 00:00:26,297 GO AHEAD, KID. DO WHAT YOU GOTTA DO. 11 00:00:26,297 --> 00:00:28,129 (Beckett) AND WHEN I ARREST YOU, 12 00:00:28,129 --> 00:00:30,261 YOU'RE GONNA REALIZE THAT WHAT YOU DESTROYED TODAY 13 00:00:30,261 --> 00:00:33,164 WAS WORTH A HELL OF A LOT MORE THAN MONEY. 14 00:00:33,164 --> 00:00:34,105 (bang) 15 00:00:34,105 --> 00:00:35,206 (grunts) 16 00:00:37,438 --> 00:00:38,709 (grunts) 17 00:00:38,709 --> 00:00:42,543 (panting) 18 00:00:42,543 --> 00:00:45,546 (grunting) 19 00:00:52,783 --> 00:00:55,786 (grunting) 20 00:01:13,144 --> 00:01:14,445 (footsteps approach) 21 00:01:14,445 --> 00:01:17,448 (panting) 22 00:01:20,251 --> 00:01:22,253 YOU SHOULD'VE STAYED OUT OF THIS, ROYCE. 23 00:01:22,253 --> 00:01:24,115 YOU HAVE NO IDEA 24 00:01:24,115 --> 00:01:27,087 THE HELL THAT'S ABOUT TO RAIN DOWN ON YOU. 25 00:01:27,087 --> 00:01:28,819 SCARY. 26 00:01:35,696 --> 00:01:39,370 (police radio chatter) 27 00:01:43,103 --> 00:01:45,406 WHERE IS HE? TURN AROUND AND GO BACK HOME 28 00:01:45,406 --> 00:01:47,408 AND LET ME HANDLE THIS, ALL RIGHT? 29 00:01:47,408 --> 00:01:49,410 SIR, I'VE SEEN DEAD BODIES BEFORE. 30 00:01:49,410 --> 00:01:52,413 (radio chatter continues) 31 00:01:55,416 --> 00:01:58,419 COME ON, KATE. YOU DON'T WANT TO REMEMBER HIM LIKE THIS. 32 00:01:58,419 --> 00:02:02,193 CASTLE, IF IT WAS ME LYING THERE, WOULD YOU JUST WALK AWAY? 33 00:02:08,159 --> 00:02:11,432 I'M SO SORRY, HONEY. 34 00:02:11,432 --> 00:02:13,434 SO TELL ME WHAT HAPPENED. 35 00:02:13,434 --> 00:02:15,306 HE WAS SHOT IN THE LEG. 36 00:02:15,306 --> 00:02:16,907 JUDGING FROM THE BLOOD TRAIL, 37 00:02:16,907 --> 00:02:18,909 I'D SAY THE BULLET BROKE THE BONE. 38 00:02:18,909 --> 00:02:21,242 HE TRIED TO HIDE, BUT... 39 00:02:23,874 --> 00:02:26,917 UH, I FOUND THIS IN HIS POCKET. 40 00:02:26,917 --> 00:02:29,920 HE JUST FLEW IN FROM LOS ANGELES THIS AFTERNOON. 41 00:02:29,920 --> 00:02:32,823 WHAT WAS HE DOING IN L.A.? I HEARD HE MOVED THERE 42 00:02:32,823 --> 00:02:35,155 AFTER HE LOST HIS BOUNTY HUNTER'S LICENSE. 43 00:02:35,155 --> 00:02:37,288 I GUESS HE WAS TRYING TO MAKE A FRESH START. 44 00:02:37,288 --> 00:02:40,691 WHEN WAS THE LAST TIME YOU SPOKE TO HIM? 45 00:02:40,691 --> 00:02:43,494 WHEN I ARRESTED HIM. 46 00:02:43,494 --> 00:02:46,367 (camera shutter clicks) 47 00:02:46,367 --> 00:02:47,838 LANIE, COULD I? 48 00:02:47,838 --> 00:02:49,840 SURE. 49 00:02:49,840 --> 00:02:53,304 (police radio chatter) 50 00:03:02,483 --> 00:03:04,184 (camera shutter clicks) 51 00:03:14,495 --> 00:03:16,567 (Lanie) ROYCE, UM... 52 00:03:16,567 --> 00:03:19,430 HAD SOMETHING ELSE IN HIS POCKET. 53 00:03:19,430 --> 00:03:21,332 IT'S ADDRESSED TO YOU. 54 00:03:21,332 --> 00:03:24,335 (radio chatter continues) 55 00:03:27,738 --> 00:03:30,210 ABOUT THE CASE? 56 00:03:30,210 --> 00:03:32,413 NO. 57 00:03:32,413 --> 00:03:35,416 (Esposito) THINK WE GOT THE MURDER WEAPON. 58 00:03:35,416 --> 00:03:37,918 FOUND IT IN THE GARBAGE AROUND THE CORNER. GUN WAS DEFINITELY FIRED RECENTLY. 59 00:03:37,918 --> 00:03:39,920 SHOOTER TOOK THE TIME TO EMPTY THE AMMO 60 00:03:39,920 --> 00:03:42,923 BEFORE HE DUMPED IT. WORRIED WE'D FIND FINGERPRINTS ON THE BULLETS? 61 00:03:42,923 --> 00:03:45,856 (mouths word) THIS IS A CHEAP STREET GUN. IT'S A THROWAWAY. 62 00:03:45,856 --> 00:03:48,228 THERE'S THREADING ON THE BARREL. 63 00:03:48,228 --> 00:03:50,701 SILENCER? YEAH. 64 00:03:50,701 --> 00:03:53,834 ALLOWING OUR KILLER TO SHOOT ROYCE IN BROAD DAYLIGHT. 65 00:03:53,834 --> 00:03:55,836 LISTEN, BECKETT, WE'RE GONNA GET THIS GUY. 66 00:03:55,836 --> 00:03:58,569 WE GOT UNIFORMS HITTING EVERY STORE AND APARTMENT 67 00:03:58,569 --> 00:04:00,311 IN A 5-BLOCK RADIUS. 68 00:04:00,311 --> 00:04:03,414 THIS IS NEW YORK. SOMEBODY HAD TO HAVE SEEN SOMETHING. 69 00:04:04,945 --> 00:04:06,817 (Beckett) L.A. TO NEW YORK-- 70 00:04:06,817 --> 00:04:09,480 IT'S LIKE ROYCE WAS RUNNING FROM SOMETHING, 71 00:04:09,480 --> 00:04:11,882 LIKE HE KNEW HE WAS IN DANGER. 72 00:04:11,882 --> 00:04:14,285 (Esposito) YO. YOU WERE RIGHT ABOUT THE SILENCER. 73 00:04:14,285 --> 00:04:16,987 THE LAB FOUND TRACE AMOUNTS OF TITANIUM ALLOY IN THE THREADS. 74 00:04:16,987 --> 00:04:19,660 THEY'VE NARROWED IT DONE TO ONE OF TWO COMMERCIAL SUPPRESSORS. 75 00:04:19,660 --> 00:04:21,332 BOTH RUN ABOUT A GRAND. 76 00:04:21,332 --> 00:04:23,634 WHY PUT AN EXPENSIVE SILENCER ON A CHEAP GUN? 77 00:04:23,634 --> 00:04:26,937 BECAUSE OUR KILLER FOLLOWED ROYCE FROM L.A. 78 00:04:26,937 --> 00:04:29,440 AND COULDN'T BRING HIS OWN GUN ON THE PLANE. 79 00:04:29,440 --> 00:04:31,502 BUT A SILENCER IS JUST A CYLINDER. 80 00:04:31,502 --> 00:04:33,974 IT COULD EASILY BE HIDDEN IN A CHECKED BAG. ISOLATE ALL OF THE FLIGHTS THAT SOMEONE 81 00:04:33,974 --> 00:04:35,976 COULD'VE FOLLOWED ROYCE FROM L.A. ON. 82 00:04:35,976 --> 00:04:37,978 THERE COULDN'T HAVE BEEN THAT MANY, AND SPECIFICALLY, 83 00:04:37,978 --> 00:04:41,952 FOCUS ON THE PEOPLE WHO MIGHT HAVE BOUGHT TICKETS LAST MINUTE. RIGHT. 84 00:04:41,952 --> 00:04:44,415 (Beckett) WHAT THE HELL WERE YOU INTO, MIKE? 85 00:04:44,415 --> 00:04:46,957 OKAY, SO WE GOT FIVE FLIGHTS OUT OF L.A. 86 00:04:46,957 --> 00:04:49,990 THAT MEET OUR CRITERIA. I RAN ALL THE PASSENGERS, 87 00:04:49,990 --> 00:04:51,862 AND ONE NAME POPPED. 88 00:04:51,862 --> 00:04:53,964 NEEL McCAULEY BOUGHT HIS TICKET AT THE AIRPORT 89 00:04:53,964 --> 00:04:55,826 AN HOUR BEFORE THE FLIGHT. 90 00:04:55,826 --> 00:04:57,968 HIS IDENTITY IS BRAND-NEW-- NO CREDIT HISTORY, 91 00:04:57,968 --> 00:04:59,970 AND HIS DRIVER'S LICENSE NUMBER IS A FAKE. 92 00:04:59,970 --> 00:05:02,533 NEEL McCAULEY, REALLY? WHY? 93 00:05:02,533 --> 00:05:05,035 THAT'S ROBERT De NIRO'S CHARACTER IN "HEAT." 94 00:05:05,035 --> 00:05:06,707 THAT'S OUR GUY. 95 00:05:06,707 --> 00:05:09,710 WELL, IF IT IS, YOU'RE GONNA NEED TO GET ON A PLANE, 96 00:05:09,710 --> 00:05:11,712 'CAUSE MR. McCAULEY FLEW BACK TO L.A. 97 00:05:11,712 --> 00:05:14,615 TWO HOURS AFTER ROYCE WAS SHOT. 98 00:05:14,615 --> 00:05:16,887 I'M NOT SENDING YOU TO L.A. YOU HAVE NO SOLID EVIDENCE 99 00:05:16,887 --> 00:05:19,850 LINKING NEEL McCAULEY TO THIS MURDER. (Castle) HE CAME TO NEW YORK FOR SIX HOURS. 100 00:05:19,850 --> 00:05:22,893 WHO FLIES IN FOR THAT SHORT A STAY? BUSINESSMEN DO IT ALL THE TIME. 101 00:05:22,893 --> 00:05:25,656 BUSINESSMEN DON'T USE FALSE I.D.s... OR PACK A SILENCER. 102 00:05:25,656 --> 00:05:27,658 THAT'S SUPPOSITION. I NEED A LOT MORE THAN THAT 103 00:05:27,658 --> 00:05:29,700 TO JUSTIFY FLYING A DETECTIVE ACROSS THE COUNTRY. 104 00:05:29,700 --> 00:05:31,702 YOU AND I BOTH KNOW THAT THE LONGER I WAIT 105 00:05:31,702 --> 00:05:34,565 TO GO OUT THERE, THE COLDER THIS TRAIL GETS. TAKE A DAY, 106 00:05:34,565 --> 00:05:36,567 SHORE THIS UP, AND IF THERE'S SUFFICIENT EVIDENCE, 107 00:05:36,567 --> 00:05:39,039 I'LL CONTACT L.A.P.D. YOU'LL CONTACT THE L.A.P.D.? 108 00:05:39,039 --> 00:05:41,672 THIS IS MY CASE. THIS HAPPENED IN OUR JURISDICTION. 109 00:05:41,672 --> 00:05:44,575 YOU THINK THE L.A.P.D. IS GONNA LIFT A FINGER-- 110 00:05:44,575 --> 00:05:46,917 KATE, YOU'RE TOO CLOSE TO THIS. NO, SIR, I AM COMMITTED. 111 00:05:46,917 --> 00:05:48,919 I AM NOT COMPROMISED. 112 00:05:48,919 --> 00:05:51,021 YOU'RE TORN UP! 113 00:05:54,725 --> 00:05:58,489 KATE, THINGS BETWEEN YOU AND ROYCE ENDED BADLY. 114 00:05:58,489 --> 00:06:01,862 I GET IT, BUT THAT EMOTION IS EXACTLY WHY 115 00:06:01,862 --> 00:06:06,567 I NEED TO ASSIGN THIS TO SOMEONE ELSE. 116 00:06:06,567 --> 00:06:08,599 (people speaking indistinctly) 117 00:06:08,599 --> 00:06:12,002 YOU KNOW WHAT? YOU'RE RIGHT. 118 00:06:12,002 --> 00:06:15,776 I AM TOO CLOSE TO THIS. 119 00:06:15,776 --> 00:06:18,378 I HAVE SOME VACATION DAYS COMING UP. 120 00:06:18,378 --> 00:06:21,151 I THINK NOW WOULD BE A GOOD TIME. 121 00:06:21,151 --> 00:06:22,713 KATE. 122 00:06:24,755 --> 00:06:27,888 I HOPE YOU'RE NOT THINKING ABOUT DOING SOMETHING RECKLESS. 123 00:06:27,888 --> 00:06:29,760 NO, SIR. 124 00:06:35,926 --> 00:06:38,569 (indistinct conversations) 125 00:06:38,569 --> 00:06:40,070 WHERE YOU GOING? 126 00:06:40,070 --> 00:06:42,072 HOME. THE HELL YOU ARE. 127 00:06:42,072 --> 00:06:44,475 CASTLE... PLEASE. 128 00:06:44,475 --> 00:06:46,907 HE WAS MY TRAINING OFFICER, MY FRIEND. 129 00:06:46,907 --> 00:06:50,911 I JUST--I REALLY NEED TO BE ALONE RIGHT NOW. 130 00:06:58,789 --> 00:07:00,150 (clicks button) 131 00:07:00,150 --> 00:07:01,852 (elevator bell dings) 132 00:07:01,852 --> 00:07:04,024 (Royce's voice) "DEAR KATE, 133 00:07:04,024 --> 00:07:06,527 "I BET I'VE WRITTEN THIS LETTER A HUNDRED TIMES. 134 00:07:06,527 --> 00:07:08,529 "SOMEDAY, I MIGHT ACTUALLY SEND IT. 135 00:07:08,529 --> 00:07:10,531 "THERE'S NO EXCUSE FOR WHAT I DID, 136 00:07:10,531 --> 00:07:12,533 "ESPECIALLY WHAT I DID TO YOU. 137 00:07:12,533 --> 00:07:15,035 "BUT I'M ON A RIGHTEOUS PATH NOW. 138 00:07:15,035 --> 00:07:18,539 AND I HOPE SOMEDAY, THAT PATH EARNS ME YOUR FORGIVENESS." 139 00:07:26,477 --> 00:07:29,980 (engine roaring) 140 00:07:29,980 --> 00:07:31,682 (baby fussing) 141 00:07:31,682 --> 00:07:32,953 (bell dings) 142 00:07:32,953 --> 00:07:34,755 HI. 143 00:07:34,755 --> 00:07:36,056 (chuckles) YEAH. 144 00:07:36,056 --> 00:07:39,059 (baby crying) 145 00:07:39,059 --> 00:07:40,761 (bell dings) 146 00:07:40,761 --> 00:07:41,962 (crying continues) 147 00:07:41,962 --> 00:07:44,595 EXCUSE ME. DETECTIVE BECKETT? YES. 148 00:07:44,595 --> 00:07:47,037 YOU'VE BEEN UPGRADED TO FIRST CLASS. 149 00:07:47,037 --> 00:07:48,739 (seat belt clicks) 150 00:07:48,739 --> 00:07:50,941 I'M SORRY. EXCUSE ME. 151 00:07:50,941 --> 00:07:53,704 (grunts) SORRY ABOUT THAT. 152 00:07:53,704 --> 00:07:55,005 SEAT 3-C. 153 00:07:55,005 --> 00:07:56,877 THANK YOU. 154 00:07:56,877 --> 00:08:00,781 (indistinct conversations) 155 00:08:00,781 --> 00:08:02,783 CHAMPAGNE? 156 00:08:18,028 --> 00:08:20,100 CASTLE, WHAT ARE YOU DOING? 157 00:08:20,100 --> 00:08:22,102 OH, THE STUDIO'S BEEN AFTER ME FOR WEEKS 158 00:08:22,102 --> 00:08:24,805 TO FLY DOWN AND DO A SET VISIT FOR THE "HEAT WAVE" MOVIE. 159 00:08:24,805 --> 00:08:28,008 IMAGINE MY SURPRISE WHEN I SAW YOUR NAME ON THE STANDBY LIST. 160 00:08:28,008 --> 00:08:31,081 YOU CANNOT BE A PART OF WHAT I'M GONNA DO OUT THERE. 161 00:08:31,081 --> 00:08:33,083 I THOUGHT YOU WERE ON VACATION. CASTLE... 162 00:08:33,083 --> 00:08:35,085 IT IS ONE THING FOR YOU TO FOLLOW ME 163 00:08:35,085 --> 00:08:38,088 WHEN WE'RE IN NEW YORK, BUT I AM NOT A COP IN L.A. 164 00:08:38,088 --> 00:08:40,520 I DON'T HAVE ANY AUTHORITY OR BACKUP. 165 00:08:40,520 --> 00:08:42,923 I'LL BE YOUR BACKUP. 166 00:08:42,923 --> 00:08:44,895 BESIDES, GOING ROGUE IS KIND OF MY SPECIALTY. 167 00:08:44,895 --> 00:08:47,798 YEAH, BUT SUBTLETY ISN'T. 168 00:08:47,798 --> 00:08:50,961 I'M NOT GONNA GET RID OF YOU, AM I? 169 00:08:50,961 --> 00:08:53,063 OKAY, LOOK... 170 00:08:53,063 --> 00:08:56,066 IF WE DO THIS TOGETHER, YOU HAVE TO PROMISE ME 171 00:08:56,066 --> 00:08:58,068 THAT WE'RE GONNA FLY UNDER THE RADAR. 172 00:08:58,068 --> 00:09:00,571 OF COURSE. 173 00:09:00,571 --> 00:09:02,142 ♪♪♪ 174 00:09:02,142 --> 00:09:04,074 (men) ♪ LA LA LA LA, LA LA LA LA ♪ 175 00:09:04,074 --> 00:09:06,316 ♪ LA LA LA, LA LA LA ♪ 176 00:09:06,316 --> 00:09:08,048 (tires squeal) 177 00:09:08,048 --> 00:09:09,850 (revs engine) 178 00:09:09,850 --> 00:09:12,883 ♪♪♪ 179 00:09:12,883 --> 00:09:16,026 ♪ I'M GONNA LEAVE IT ALL BEHIND NOW ♪ 180 00:09:16,026 --> 00:09:18,028 IS THIS WHAT YOU CALL "UNDER THE RADAR"? 181 00:09:18,028 --> 00:09:20,090 IN L.A., THIS BABY FITS RIGHT IN. 182 00:09:20,090 --> 00:09:22,933 SO WHAT'S OUR FIRST STOP? MY HOTEL. IT'S ON VENTURA BLVD. 183 00:09:22,933 --> 00:09:25,165 THAT'S ALL THE WAY IN THE VALLEY. 184 00:09:25,165 --> 00:09:28,138 HOW ARE WE SUPPOSED TO WORK TOGETHER IF YOU'RE AN HOUR AWAY? 185 00:09:28,138 --> 00:09:30,871 CASTLE, WE WEREN'T SUPPOSED TO WORK TOGETHER AT ALL. 186 00:09:30,871 --> 00:09:33,573 OKAY, LOOK, THE STUDIO COMPED ME A TWO-BEDROOM, FOUR-STAR SUITE. 187 00:09:33,573 --> 00:09:36,647 YOU JUST STAY WITH ME. (laughs) YEAH, RIGHT. 188 00:09:36,647 --> 00:09:38,649 WHAT? YOU'LL HAVE YOUR OWN ROOM. 189 00:09:38,649 --> 00:09:40,651 UH, NO. I AM NOT STAYING WITH YOU. 190 00:09:40,651 --> 00:09:43,353 AHH. WORRIED YOU CAN'T CONTROL YOURSELF WHEN WE'RE ALONE? 191 00:09:43,353 --> 00:09:45,355 ACTUALLY, IT'S NOT ME THAT I'M WORRIED ABOUT. 192 00:09:45,355 --> 00:09:48,088 I ASSURE YOU, MY INTENTIONS ARE PURE. 193 00:09:48,088 --> 00:09:49,920 (revs engine) 194 00:09:49,920 --> 00:09:52,663 (tires squeal) 195 00:09:55,225 --> 00:09:57,297 WE'RE SO HAPPY TO HAVE YOU BACK, MR. CASTLE. 196 00:09:57,297 --> 00:09:59,970 I'VE TAKEN THE LIBERTY OF SETTING UP THE SUITE 197 00:09:59,970 --> 00:10:02,102 JUST THE WAY YOU LIKE IT. (Castle) THANK YOU. 198 00:10:02,102 --> 00:10:05,105 AND I'VE SCHEDULE A COUPLES MASSAGE AT 7:00. 199 00:10:05,105 --> 00:10:08,639 PURE, HUH? UH, MAURICE, YOU CAN GO AHEAD AND CANCEL THAT, 200 00:10:08,639 --> 00:10:11,041 AND GET RID OF THE FLOWERS AND THE CHAMPAGNE. 201 00:10:11,041 --> 00:10:13,043 WE'RE HERE TO WORK. 202 00:10:13,043 --> 00:10:15,716 (Maurice) VERY GOOD, SIR. 203 00:10:15,716 --> 00:10:17,848 FOR YOU. 204 00:10:17,848 --> 00:10:20,090 THANK YOU, MAURICE. 205 00:10:21,321 --> 00:10:23,323 THE LAST TIME I WAS HERE, 206 00:10:23,323 --> 00:10:26,056 I BROUGHT THIS PARISIAN SUPER MODEL SO HE THOUGHT YOU-- 207 00:10:26,056 --> 00:10:29,359 IT'S NOT IMPORTANT. WOULD YOU LIKE TO CHOOSE YOUR ROOM? 208 00:10:29,359 --> 00:10:31,962 NO, I'D LIKE TO START THE INVESTIGATION. 209 00:10:31,962 --> 00:10:33,964 WE HAVEN'T EVEN ORDERED ROOM SERVICE YET. 210 00:10:33,964 --> 00:10:36,867 CASTLE, I'M NOT HERE FOR ROOM SERVICE. 211 00:10:36,867 --> 00:10:38,869 I'M HERE FOR JUSTICE. 212 00:10:38,869 --> 00:10:41,311 WOW. IN L.A. FOR ALL OF A MINUTE, 213 00:10:41,311 --> 00:10:44,314 AND ALREADY SHE'S SPOUTING CHEESY MOVIE DIALOGUE. 214 00:10:44,314 --> 00:10:47,978 MUST BE SOMETHING IN THE AIR. 215 00:10:47,978 --> 00:10:50,681 (Castle) THISIS ROYCE'S PLACE? 216 00:10:50,681 --> 00:10:52,983 THIS IS THE ADDRESS LISTED ON HIS DRIVER'S LICENSE. 217 00:10:52,983 --> 00:10:55,986 DID I MISS THE PART WHERE YOU TOLD ME HE WAS RICH? 218 00:10:55,986 --> 00:10:58,128 NO. HE WAS BARELY SCRAPING BY. (doorbell rings, intercom beeps) 219 00:10:58,128 --> 00:11:00,731 (man) Yeah? YEAH, I'M A FRIEND OF MIKE ROYCE'S. 220 00:11:00,731 --> 00:11:02,062 Come around the back. 221 00:11:02,062 --> 00:11:04,094 (intercom beeps, buzzer sounds, lock clicks) 222 00:11:04,094 --> 00:11:06,096 JERRY, I CANNOT HELP YOU OUT. I'M SORRY. 223 00:11:06,096 --> 00:11:08,839 YOU GOTTA GO WITHOUT. YEAH. (clears throat) 224 00:11:08,839 --> 00:11:10,741 I GOTTA GO. (cell phone beeps) 225 00:11:10,741 --> 00:11:12,743 HELLO. WHOA. YOU'RE GENE SIMMONS. 226 00:11:12,743 --> 00:11:15,305 YEAH, I'M THAT WEIRD GUY IN KISS. YEAH, THE GUY WITH 227 00:11:15,305 --> 00:11:17,407 THE LONG TONGUE AND EVERYTHING.HELLO. 228 00:11:17,407 --> 00:11:19,449 WHO'S THIS PRETTY LITTLE LADY? 229 00:11:19,449 --> 00:11:22,953 I'M, UH, I'M--I'M DETECTIVE KATE BECKETT, NYPD. 230 00:11:22,953 --> 00:11:24,785 IS MIKE IN TROUBLE? 231 00:11:24,785 --> 00:11:28,819 ACTUALLY, HE WAS MURDERED. OH, THAT'S TERRIBLE. 232 00:11:28,819 --> 00:11:32,062 HOW DID YOU KNOW HIM EXACTLY? WELL, I GOT INTO TROUBLE A FEW MONTHS BACK, 233 00:11:32,062 --> 00:11:33,794 AND ROYCE HELPED ME OUT, I HELPED HIM, 234 00:11:33,794 --> 00:11:35,966 AND I'VE BEEN LETTING HIM LIVE IN MY GUEST HOUSE. 235 00:11:35,966 --> 00:11:38,298 SO YOU'RE SAYING, HE WAS IN THE BUSINESS 236 00:11:38,298 --> 00:11:41,371 OF HELPING PEOPLE IN TROUBLE? HE WAS PRETTY GOOD AT IT. 237 00:11:41,371 --> 00:11:44,074 (Castle) WAS HE HELPING ANYONE LATELY? WELL, THERE WAS A GIRL. 238 00:11:44,074 --> 00:11:46,036 SHE CAME BY TWO DAYS AGO. UH, REALLY BEAUTIFUL, STUNNING. 239 00:11:46,036 --> 00:11:49,009 UH, THIS GIRL, DO YOU REMEMBER HER NAME? 240 00:11:49,009 --> 00:11:51,011 YOU KNOW WHAT? SHE DROPPED OFF A HEAD SHOT. 241 00:11:51,011 --> 00:11:53,083 IF YOU GIVE ME A CHANCE, I'LL GO FIND IT. 242 00:11:53,083 --> 00:11:54,945 (Beckett) THANK YOU. 243 00:11:54,945 --> 00:11:56,987 (lowered voice) THIS IS SO WEIRD. 244 00:11:56,987 --> 00:11:59,119 (lowered voice) WHAT? 245 00:11:59,119 --> 00:12:01,451 I'VE DRESSED UP AS HIM FOR HALLOWEEN. 246 00:12:01,451 --> 00:12:03,293 MM. I DID, TOO. 247 00:12:03,293 --> 00:12:06,396 VIOLET YOUNG, A SMOKING-HOT WANNABE STARLET 248 00:12:06,396 --> 00:12:10,000 WHOSE ONLY CREDIT IS "SLUMBER PARTY ZOMBIE." 249 00:12:10,000 --> 00:12:12,462 WHAT KIND OF TROUBLE WOULD AN ACTRESS BE IN 250 00:12:12,462 --> 00:12:14,434 THAT WOULD SCARE ROYCE INTO RUNNING? 251 00:12:14,434 --> 00:12:17,968 WHAT ARE YOU DOING? PULLING UP "SLUMBER PARTY ZOMBIE" ON NETFLIX. 252 00:12:17,968 --> 00:12:20,310 WHAT ARE YOU DOING? I'M GONNA GET AHOLD OF VIOLET'S AGENT, SEE IF I CAN 253 00:12:20,310 --> 00:12:22,072 FIND OUT WHERE SHE IS. 254 00:12:22,072 --> 00:12:24,744 YO, RYAN, WHAT'S UP? WE GOT LUCKY. 255 00:12:24,744 --> 00:12:27,047 KIDS WERE TAGGING THAT BUILDING ACROSS FROM THE ALLEY, 256 00:12:27,047 --> 00:12:29,179 SO THE OWNER PUT UP A CAMERA. 257 00:12:29,179 --> 00:12:31,181 (clicks keyboard key, computer beeps) THERE'S OUR SHOOTER. 258 00:12:31,181 --> 00:12:34,054 YOU CAN'T SEE HIS FACE OR THE LICENSE PLATE NUMBER. 259 00:12:34,054 --> 00:12:36,957 BUT YOU CAN SEE THE DRIVER'S ARM. A BLACK GUY. EBONY TO OUR KILLER'S IVORY. 260 00:12:36,957 --> 00:12:40,030 YOU STILL GOT THAT FRIEND AT T.S.A.? YEAH, WHY? 261 00:12:40,030 --> 00:12:42,032 MAYBE THEY'LL SHARE SURVEILLANCE FOOTAGE 262 00:12:42,032 --> 00:12:44,034 OF THE SECURITY CHECKPOINT THAT OUR SHOOTER WENT THROUGH. 263 00:12:44,034 --> 00:12:46,036 THE GUY WAS IN TOWN FOR SIX HOURS, RIGHT? 264 00:12:46,036 --> 00:12:48,899 THERE'S A CHANCE THAT HE'S WEARING THE SAME CLOTHES... (clicks keyboard keys) 265 00:12:48,899 --> 00:12:53,043 AT THE AIRPORT THAT HE'S WEARING IN OUR VIDEO... WHICH MIGHT GET US A LOOK AT HIS FACE. 266 00:12:53,043 --> 00:12:56,346 SO VIOLET'S SHOOTING A COMMERCIAL AT ZENITH STUDIOS. 267 00:12:56,346 --> 00:12:58,849 NO WAY. THAT'S WHERE THEY'RE SHOOTING "HEAT WAVE." 268 00:12:58,849 --> 00:13:00,510 OH, WOW. IT'S KISMET. 269 00:13:00,510 --> 00:13:02,913 (revs engine) 270 00:13:16,426 --> 00:13:19,930 VIOLET'S COMMERCIAL SHOOTS ON STAGE SEVEN. 271 00:13:19,930 --> 00:13:21,231 RICK CASTLE! HA HA! 272 00:13:21,231 --> 00:13:24,104 I CANNOT BELIEVE WE FINALLY GOT YOU OUT HERE. 273 00:13:24,104 --> 00:13:26,937 TONY, YOU MONEY-GRUBBING BASTARD. 274 00:13:26,937 --> 00:13:29,439 HOW'S FILMING? YOU KIDDING ME? IT'S AWESOME, BUDDY. 275 00:13:29,439 --> 00:13:32,442 YOU KEEP WRITING 'EM, WE'LL KEEP MAKING 'EM. TONY, I WANT YOU TO MEET KATE BECKETT. 276 00:13:32,442 --> 00:13:34,284 THIS IS THE INSPIRATION FOR NIKKI HEAT. 277 00:13:34,284 --> 00:13:37,517 WOW. WITH YOUR LOOKS, HONEY, YOU COULD BE AN ACTRESS. 278 00:13:37,517 --> 00:13:39,519 (chuckles) I'M COMPLETELY COMFORTABLE BEING A COP. 279 00:13:39,519 --> 00:13:42,392 I'M GONNA GO AND LOOK FOR VIOLET. IT WAS NICE TO MEET YOU. YOU, TOO. 280 00:13:42,392 --> 00:13:44,094 SHE'S HOT. MM. 281 00:13:44,094 --> 00:13:46,526 NO WONDER YOUR SEX SCENES ARE SO STEAMY. (laughs) 282 00:13:46,526 --> 00:13:48,528 SO, UH, WHERE'S OUR NIKKI HEAT, NATALIE RHODES? 283 00:13:48,528 --> 00:13:50,400 (sighs) WHAT? 284 00:13:50,400 --> 00:13:53,233 NATALIE'S HAVING SOME PERSONAL ISSUES. 285 00:13:53,233 --> 00:13:55,235 WHAT KIND OF PERSONAL ISSUES? LET'S JUST SAY, 286 00:13:55,235 --> 00:13:57,367 THERE WAS A SLIGHT MIX-UP WITH ONE OF HER PRESCRIPTIONS. 287 00:13:57,367 --> 00:13:59,910 SHE'S IN REHAB? HEY, YOU DID NOT HEAR THAT FROM ME. 288 00:13:59,910 --> 00:14:01,972 OH, THERE ARE THE ACTORS WHO PLAY RALEY AND OCHOA. 289 00:14:01,972 --> 00:14:03,974 HERVé,TAYLOR-- IT'S HERVé. 290 00:14:03,974 --> 00:14:06,917 YEAH, THAT'S WHAT I SAID. THIS IS YOUR CREATOR--RICHARD CASTLE. 291 00:14:06,917 --> 00:14:08,879 YO. BIG FAN, BRO. 292 00:14:08,879 --> 00:14:11,281 THANKS. I--OH. 293 00:14:11,281 --> 00:14:13,223 I'VE READ ALL YOUR BOOKS. 294 00:14:13,223 --> 00:14:16,526 IF YOU HAVE TIME, I'D LOVE TO TALK ABOUT MY MOTIVATION. WHAT DO YOU MEAN? 295 00:14:16,526 --> 00:14:18,358 I MEAN, WHAT'S MY CHARACTER'S INNER LIFE? 296 00:14:18,358 --> 00:14:20,330 WHY DO I DO WHAT I DO? 297 00:14:20,330 --> 00:14:22,332 AH. YOU'RE A COP, SO IT'S YOUR JOB. 298 00:14:22,332 --> 00:14:24,965 CASTLE. VIOLET DIDN'T SHOW UP TO WORK TODAY. 299 00:14:24,965 --> 00:14:26,967 I JUST TALKED TO HER AGENT. 300 00:14:26,967 --> 00:14:29,369 HE SAID THERE'S NO WAY SHE WOULD'VE MISSED THIS COMMERCIAL. 301 00:14:29,369 --> 00:14:31,972 THIS WAS A HUGE BREAK FOR HER. 302 00:14:31,972 --> 00:14:33,643 I'VE GOT HER ADDRESS. 303 00:14:33,643 --> 00:14:35,405 YOU THINK SHE'S IN TROUBLE? 304 00:14:35,405 --> 00:14:37,007 YEAH, OR WORSE. 305 00:14:37,007 --> 00:14:40,010 YOU GUYS ON THE JOB? YEAH, YEAH. 306 00:14:42,082 --> 00:14:44,154 YOU GUYS LOOK GREAT. 307 00:14:45,885 --> 00:14:47,387 THAT IS JUST CREEPY. 308 00:14:47,387 --> 00:14:49,019 TOTALLY. 309 00:14:51,291 --> 00:14:53,163 MM, MM. 310 00:14:53,163 --> 00:14:55,625 HEY. HOLA, CHICA. 311 00:14:55,625 --> 00:14:58,068 WHAT ARE YOU DOING HERE? 312 00:14:58,068 --> 00:15:00,130 I WAS IN THE NEIGHBORHOOD. MM. 313 00:15:00,130 --> 00:15:02,432 I THOUGHT I'D STOP BY AND SEE IF THOSE BULLETS 314 00:15:02,432 --> 00:15:05,135 YOU PULLED OUT OF ROYCE WERE READY TO GO OVER TO BALLISTICS. 315 00:15:05,135 --> 00:15:06,536 I GOT A FRIEND THERE 316 00:15:06,536 --> 00:15:08,538 WHO WILL MAKE SURE THEY GET PROCESSED RIGHT AWAY. 317 00:15:08,538 --> 00:15:10,410 (chuckles) 318 00:15:10,410 --> 00:15:12,612 MM. WAIT, WAIT, WAIT, WAIT A MINUTE. 319 00:15:12,612 --> 00:15:16,046 IS YOUR "FRIEND" THAT TOP-HEAVY TRAMP IN RECEPTION? 320 00:15:16,046 --> 00:15:17,417 HMM? WHAT? 321 00:15:17,417 --> 00:15:20,190 I--YOU KNOW I ONLY HAVE EYES FOR YOU. I DON'T EVEN-- 322 00:15:20,190 --> 00:15:25,395 MM-HMM. AND YOU KNOW I HAVE EASY ACCESS TO SHARP OBJECTS. 323 00:15:25,395 --> 00:15:28,058 WHAT THE HELL? 324 00:15:28,058 --> 00:15:31,131 (sizzling) 325 00:15:31,131 --> 00:15:32,462 ARE THOSE THE BULLETS? 326 00:15:32,462 --> 00:15:35,305 YEAH. THEY'RE DISSOLVING. 327 00:15:35,305 --> 00:15:38,308 (doorbell rings) I MEAN, ICE BULLETS I'VE HEARD OF. 328 00:15:38,308 --> 00:15:40,310 (knock on door) BUT DISSOLVING BULLETS? 329 00:15:40,310 --> 00:15:42,973 VIOLET? VIOLET YOUNG? (ring) 330 00:15:42,973 --> 00:15:45,175 YOU'D THINK SOMEBODY ON MY CONSPIRACY WEB SITES 331 00:15:45,175 --> 00:15:47,247 WOULD'VE MENTIONED THEM. (knocks) 332 00:15:47,247 --> 00:15:49,519 I DON'T THINK VIOLET'S HOME. 333 00:15:49,519 --> 00:15:50,981 YEAH. 334 00:15:53,123 --> 00:15:56,286 (doorknob rattles) 335 00:15:56,286 --> 00:15:58,028 YOU SURE THIS IS OKAY? 336 00:15:58,028 --> 00:16:00,160 NO, IT IS NOT OKAY. 337 00:16:00,160 --> 00:16:03,293 IT IS ACTUALLY, COMPLETELY... (clicks) 338 00:16:03,293 --> 00:16:06,096 ILLEGAL. 339 00:16:06,096 --> 00:16:07,467 HELLO? 340 00:16:07,467 --> 00:16:10,170 VIOLET? 341 00:16:10,170 --> 00:16:12,302 I DON'T SMELL A DEAD BODY. 342 00:16:18,078 --> 00:16:19,979 SHE'S NOT HERE. 343 00:16:19,979 --> 00:16:23,313 NO, SHE'S NOT. SHE'S IN NEW YORK. 344 00:16:23,313 --> 00:16:25,085 THIS WAS ROYCE'S FLIGHT. 345 00:16:25,085 --> 00:16:27,087 OKAY, SO THEY FLEW TOGETHER. 346 00:16:27,087 --> 00:16:30,290 HE PROBABLY KNEW THAT THEY WERE IN TROUBLE 347 00:16:30,290 --> 00:16:33,293 AND HE TRIED TO PROTECT HER BY TAKING HER TO NEW YORK. 348 00:16:33,293 --> 00:16:35,295 PROTECT HER FROM WHAT? 349 00:16:35,295 --> 00:16:37,167 MAYBE FROM THIS? 350 00:16:37,167 --> 00:16:39,029 SURVEILLANCE PHOTOS? 351 00:16:39,029 --> 00:16:41,631 WHAT WOULD SHE BE DOING WITH SURVEILLANCE PHOTOS? 352 00:16:41,631 --> 00:16:44,034 MAYBE ROYCE WAS DOING SOME KIND OF P.I. WORK FOR HER. 353 00:16:44,034 --> 00:16:46,306 HMM. 354 00:16:46,306 --> 00:16:49,039 THE BUILDING THIS GUY IS COMING OUT OF LOOKS FAMILIAR. 355 00:16:49,039 --> 00:16:52,342 SHE HAS ARTICLES ON CORGIS, ON SURFING, WINE TASTING. 356 00:16:52,342 --> 00:16:54,384 HOW DOES ANY OF THIS ADD UP? 357 00:16:54,384 --> 00:16:57,287 MAYBE SHE WAS RESEARCHING A ROLE. AND WHAT ROLE WOULD THAT BE? 358 00:16:57,287 --> 00:17:00,550 AND WHAT DOES ANY OF IT HAVE TO DO WITH ROYCE? (beeps) 359 00:17:00,550 --> 00:17:03,593 (man) THE POWER OF... SOUND... COMPELS YOU-- (beep) 360 00:17:03,593 --> 00:17:06,025 (vehicle approaches) 361 00:17:07,557 --> 00:17:09,329 (door closes) 362 00:17:09,329 --> 00:17:11,731 (dog barks) 363 00:17:11,731 --> 00:17:13,503 (whispers) COPS. COPS. COPS. 364 00:17:13,503 --> 00:17:15,505 (whispering) PHOTO.. OKAY. 365 00:17:15,505 --> 00:17:18,268 (button beeps, camera shutter clicks) OKAY, GO. 366 00:17:18,268 --> 00:17:20,410 L.A.P.D.! 367 00:17:20,410 --> 00:17:23,113 DON'T MOVE. 368 00:17:23,113 --> 00:17:26,816 (barking continues) 369 00:17:35,555 --> 00:17:37,287 THANKS. 370 00:17:37,287 --> 00:17:39,159 AFTERNOON. 371 00:17:39,159 --> 00:17:41,261 KYLE SEEGER, ROBBERY-HOMICIDE. 372 00:17:41,261 --> 00:17:44,063 LOOK, KYLE, THIS IS A MISUNDERSTANDING-- 373 00:17:44,063 --> 00:17:46,065 MEANING YOU DIDN'T PICK THE LOCK 374 00:17:46,065 --> 00:17:48,238 OR ILLEGALLY ENTER THIS HOUSE? MEANING SHE'S NYPD. 375 00:17:48,238 --> 00:17:50,200 I KNOW WHO YOU ARE, DETECTIVE. 376 00:17:50,200 --> 00:17:52,742 AND WHILE I CAN APPRECIATE YOUR LOSS, 377 00:17:52,742 --> 00:17:55,575 I CAN'T HAVE YOU AND YOUR OFFBEAT SIDEKICK 378 00:17:55,575 --> 00:17:57,577 RUNNING AROUND MY TOWN COMMITTING FELONIES 379 00:17:57,577 --> 00:18:00,110 IN SOME MISGUIDED QUEST FOR JUSTICE. ARE--ARE YOU ARRESTING US? 380 00:18:00,110 --> 00:18:01,751 OH, MUCH WORSE. 381 00:18:01,751 --> 00:18:03,753 SOMEBODY WANTS TO HAVE A WORD WITH YOU. 382 00:18:03,753 --> 00:18:05,585 (beeps) YOU'RE ON SPEAKER, SIR. 383 00:18:05,585 --> 00:18:07,587 (Montgomery) Breaking into people's houses-- 384 00:18:07,587 --> 00:18:09,689 that's your idea of a vacation, Beckett? 385 00:18:09,689 --> 00:18:12,422 SIR. I CAN EXPLAIN. I WAS-- NO, YOU CANNOT. 386 00:18:12,422 --> 00:18:15,595 WHAT YOU CAN DO IS GET YOUR ASS ON THE NEXT PLANE OUT. (Castle) Uh, we have 387 00:18:15,595 --> 00:18:19,799 A DINNER RESERVATION AT SPAGO. IS THE MORNING OKAY? OH, THIS IS ALL A BIG JOKE TO YOU, ISN'T IT, CASTLE? 388 00:18:19,799 --> 00:18:22,472 But when Beckett is working mall security, I guess 389 00:18:22,472 --> 00:18:25,435 following her around isn't gonna have quite the same allure. 390 00:18:25,435 --> 00:18:28,138 BOTH OF YOU, COME HOMENOW. 391 00:18:28,138 --> 00:18:30,109 (line disconnects, dial tone drones) 392 00:18:30,109 --> 00:18:31,581 WOW. (beep) 393 00:18:31,581 --> 00:18:33,243 THAT WAS AWKWARD. 394 00:18:33,243 --> 00:18:35,345 YOU KNOW, UNLESS THERE'S SOMETHING ELSE, 395 00:18:35,345 --> 00:18:37,687 I THINK WE SHOULD GO NOW. 396 00:18:37,687 --> 00:18:41,251 HEY, ONE LAST THING. DID YOU FIND WHAT YOU WERE LOOKING FOR? 397 00:18:41,251 --> 00:18:42,822 WRONG HOUSE. 398 00:18:42,822 --> 00:18:47,657 WELCOME TO L.A., DETECTIVE. NOW GO HOME. 399 00:18:47,657 --> 00:18:50,200 WOULD MONTGOMERY REALLY FIRE YOU? YEAH. 400 00:18:50,200 --> 00:18:52,162 SO WE'RE GOING BACK TO NEW YORK. HELL, NO. 401 00:18:52,162 --> 00:18:53,463 (phone rings) 402 00:18:53,463 --> 00:18:54,634 (ring) 403 00:18:54,634 --> 00:18:56,135 (sighs) 404 00:18:56,135 --> 00:18:57,637 DETECTIVE RYAN. 405 00:18:57,637 --> 00:19:00,139 HEY, IT'S ME. CAN YOU TALK? 406 00:19:00,139 --> 00:19:02,141 YEAH, BUT MONTGOMERY IS SERIOUSLY FIRED UP. 407 00:19:02,141 --> 00:19:04,574 Yeah, I know. Look, I need a favor from you, 408 00:19:04,574 --> 00:19:06,876 BUT YOU CAN FEEL FREE TO SAY NO. OH, COME ON. WHATEVER IT IS, I'M SAYING YES. 409 00:19:06,876 --> 00:19:08,378 Okay, great. Thanks. 410 00:19:08,378 --> 00:19:10,720 We think that Royce had company when he traveled to New York. 411 00:19:10,720 --> 00:19:12,822 HER NAME IS VIOLET YOUNG. WE THINK 412 00:19:12,822 --> 00:19:15,325 whatever trouble he was into, she was involved somehow. 413 00:19:15,325 --> 00:19:18,188 YOU THINK SHE'S STILL IN TOWN? Unless McCauley got to her first. 414 00:19:18,188 --> 00:19:20,190 HER HEAD SHOT LISTS AN ACTING SCHOOL IN NEW YORK. 415 00:19:20,190 --> 00:19:22,192 SHE MIGHT HAVE FRIENDS OUT THERE. 416 00:19:22,192 --> 00:19:25,565 CAN YOU SEE IF SHE CONTACTED ANY OF THEM? YOU GOT IT. I'LL KEEP YOU POSTED. 417 00:19:25,565 --> 00:19:27,537 (Beckett) GREAT. THANK YOU. 418 00:19:27,537 --> 00:19:31,241 UH, ESPOSITO'S GOT SOMETHING. (whispers) BECKETT, LINE TWO. 419 00:19:31,241 --> 00:19:34,173 'SUP, GIRL? HOW'S THE WEATHER IN YOUR WORLD? 420 00:19:34,173 --> 00:19:36,676 SUNNY, CHANCE OF ASS KICKING. WHAT DO YOU GOT? 421 00:19:36,676 --> 00:19:38,948 A photo of our killer, courtesy of T.S.A. 422 00:19:38,948 --> 00:19:40,880 I'M SHOOTING IT OVER TO YOU NOW. 423 00:19:40,880 --> 00:19:44,284 (chirps) 424 00:19:46,516 --> 00:19:48,418 AND THAT'S NEEL McCAULEY? 425 00:19:48,418 --> 00:19:51,421 Well, whoever he is, he wore the exact same clothes at J.F.K. 426 00:19:51,421 --> 00:19:54,824 AS HE DID IN THAT ALLEY. THAT'S HOW WE GOT HIM. 427 00:19:54,824 --> 00:19:57,267 OKAY, LOOK, THIS IS A LONG SHOT, BUT RUN FACIAL RECOGNITION 428 00:19:57,267 --> 00:20:00,199 THROUGH THE FEDERAL AND LOCAL DATABASES. YOU GOT IT. 429 00:20:00,199 --> 00:20:02,532 I FOUND HIM. NEEL McCAULEY? 430 00:20:02,532 --> 00:20:04,774 NO. THE MYSTERY MAN FROM THE PHOTO IN VIOLET'S PLACE. 431 00:20:04,774 --> 00:20:06,706 I REALIZED WHERE I'D SEEN THAT BUILDING 432 00:20:06,706 --> 00:20:08,708 HE WAS COMING OUT OF BEFORE. 433 00:20:08,708 --> 00:20:10,840 IT WAS THE BAD GUYS' HEADQUARTERS 434 00:20:10,840 --> 00:20:12,542 IN "PRIMAL FURY: PRIMAL VENGEANCE." 435 00:20:12,542 --> 00:20:14,544 SO DID A LITTLE INTERNET SEARCH, AND BAM, SAID THE LADY, 436 00:20:14,544 --> 00:20:16,386 FOUND IT'S THE HOME OF KELVIN NORTH AMERICA. 437 00:20:16,386 --> 00:20:18,388 SOME KIND OF R&D FACILITY. 438 00:20:18,388 --> 00:20:20,850 THE CHIEF EXECUTIVE OFFICER IS CHARLES KELVIN. 439 00:20:20,850 --> 00:20:22,852 GUESS WHAT HIS HOBBIES ARE. 440 00:20:22,852 --> 00:20:26,796 "WINE, CORGIS AND SURFING." VIOLET WAS STUDYING HIM. 441 00:20:26,796 --> 00:20:28,998 (Beckett) MR. KELVIN! 442 00:20:28,998 --> 00:20:31,230 MR. KELVIN. (panting) 443 00:20:31,230 --> 00:20:33,303 YOUR ASSISTANT SAID THAT WE COULD FIND YOU HERE. 444 00:20:33,303 --> 00:20:34,964 THIS IS MY SURF HOUR, 445 00:20:34,964 --> 00:20:37,437 SO WHATEVER YOU HAVE TO SAY, IT CAN WAIT TILL I'M DONE. 446 00:20:37,437 --> 00:20:39,869 NO, IT CAN'T. I'M DETECTIVE KATE BECKETT. 447 00:20:39,869 --> 00:20:42,342 THIS IS RICHARD CASTLE. DO YOU RECOGNIZE THIS WOMAN? 448 00:20:42,342 --> 00:20:43,773 SURE. (grunts) 449 00:20:43,773 --> 00:20:46,776 I MET HER IN LINE FOR COFFEE LAST FRIDAY, ASKED HER OUT. 450 00:20:46,776 --> 00:20:49,679 THOUGHT THE DATE WAS GOING WELL TILL SHE WENT TO THE BATHROOM 451 00:20:49,679 --> 00:20:51,921 AND NEVER CAME BACK. WHAT'S THIS ALL ABOUT ANYWAYS? 452 00:20:51,921 --> 00:20:54,424 SOMETHING HAPPEN TO HER? DOES THIS RECORDING MEAN ANYTHING TO YOU? 453 00:20:54,424 --> 00:20:56,756 (man) THE POWER OF... SOUND... COMPELS YOU-- (beep) 454 00:20:56,756 --> 00:20:59,559 ISN'T THAT YOUR VOICE? THAT BITCH. 455 00:20:59,559 --> 00:21:02,592 WHAT DOES THAT MEAN? THAT PHRASE IS THE KEY TO OUR HIGH SECURITY VAULT. VIOLET MUST 456 00:21:02,592 --> 00:21:04,964 HAVE PIECED IT TOGETHER FROM WORDS I SAID DURING THE DATE. 457 00:21:04,964 --> 00:21:06,936 I GOTTA GET BACK TO THE OFFICE. 458 00:21:06,936 --> 00:21:08,638 (buzzer sounds, lock clicks) 459 00:21:08,638 --> 00:21:10,540 NO. 460 00:21:10,540 --> 00:21:12,942 THEY'RE GONE. WHAT WAS IN HERE? 461 00:21:12,942 --> 00:21:14,974 THAT'S PROPRIETARY INFORMATION. 462 00:21:14,974 --> 00:21:16,676 A BULLET? 463 00:21:16,676 --> 00:21:18,047 I'M GUESSING IT DISSOLVES. 464 00:21:18,047 --> 00:21:20,780 HOW DO YOU KNOW ABOUT THOSE? 465 00:21:20,780 --> 00:21:22,882 THEY WERE USED IN A MURDER. GOD. 466 00:21:22,882 --> 00:21:25,585 WE CREATED THEM TO TRY TO LAND A DEFENSE CONTRACT 467 00:21:25,585 --> 00:21:27,056 IN ULTRALIGHT AMMUNITION. 468 00:21:27,056 --> 00:21:29,489 THE DISSOLVING PROPERTY WAS A COMPLETE ACCIDENT. 469 00:21:29,489 --> 00:21:31,491 (Charles) UNFORTUNATELY, IT RENDERED THE BULLETS USELESS 470 00:21:31,491 --> 00:21:34,994 TO THE MILITARY. YEAH, BUT VALUABLE TO SOMEONE ELSE. 471 00:21:34,994 --> 00:21:37,367 NOW HOW THE HELL DID THIS HAPPEN? 472 00:21:39,369 --> 00:21:42,001 HEY. GOOD NEWS ON VIOLET. YOU FOUND HER? 473 00:21:42,001 --> 00:21:44,504 UH... (chuckles) NOT THAT GOOD, BUT SHE IS ALIVE. 474 00:21:44,504 --> 00:21:46,506 OR AT LEAST SHE WAS LAST NIGHT. 475 00:21:46,506 --> 00:21:48,508 TRACKED DOWN AN EX OF HERS WHO SAID 476 00:21:48,508 --> 00:21:50,880 SHE SHOWED UP ON HIS DOORSTEP, SCARED OUT OF HER MIND, 477 00:21:50,880 --> 00:21:52,882 TOLD HIM SHE HAD COME OUT FROM L.A. WITH ROYCE, 478 00:21:52,882 --> 00:21:55,815 BUT HE HAD DISAPPEARED, SO THE EX LET HER STAY THE NIGHT. 479 00:21:55,815 --> 00:21:57,817 NEXT MORNING, VIOLET WAS GONE, SO WAS HIS WALLET. 480 00:21:57,817 --> 00:22:00,350 HE KNOW WHERE SHE WAS HEADED? UH, NO, BUT TWO HOURS LATER, 481 00:22:00,350 --> 00:22:02,021 A LARGE AFRICAN-AMERICAN GENTLEMAN 482 00:22:02,021 --> 00:22:04,023 WITH A FONDNESS FOR KIDNEY PUNCHES SHOWED UP 483 00:22:04,023 --> 00:22:06,356 AND ASKED THAT VERY SAME QUESTION. THE DRIVER WHO PICKED UP McCAULEY. 484 00:22:06,356 --> 00:22:08,528 MM-HMM, THAT'S WHAT I WAS THINKING. 485 00:22:08,528 --> 00:22:11,401 WORKED THE EX OVER PRETTY GOOD, TOO. LET'S GET HIM WITH A SKETCH ARTIST. 486 00:22:11,401 --> 00:22:13,703 WAY AHEAD OF YOU, BRO. 487 00:22:13,703 --> 00:22:16,065 LOOKS LIKE WE'RE NOT THE ONLY ONES HUNTING FOR VIOLET. 488 00:22:16,065 --> 00:22:19,509 PICTURE THIS-- A GULLIBLE YOUNG ACTRESS, 489 00:22:19,509 --> 00:22:21,741 DESPERATE TO MAKE A NAME FOR HERSELF. 490 00:22:21,741 --> 00:22:24,874 SHE MEETS OUR MASTERMIND AT A CLUB. 491 00:22:24,874 --> 00:22:28,918 HE NEEDS A PRETTY GIRL TO HELP HIM GET THE VOICE CODE. 492 00:22:28,918 --> 00:22:31,921 HE TELLS VIOLET HE'S A PRODUCER, PROMISES TO MAKE HER FAMOUS 493 00:22:31,921 --> 00:22:34,784 IF SHE HELPS HIM PLAY A PRACTICAL JOKE ON A FRIEND. 494 00:22:34,784 --> 00:22:36,456 SHE DOESN'T EVEN REALIZE 495 00:22:36,456 --> 00:22:38,958 THAT SHE'S PARTICIPATING IN A CRIME UNTIL AFTERWARDS. 496 00:22:38,958 --> 00:22:41,761 SHE CAN'T CALL THE COPS, SO SHE CONTACTS ROYCE. BUT THEN OUR MR. McCAULEY FINDS OUT. 497 00:22:41,761 --> 00:22:43,763 AND ROYCE TRIES TO CHANGE THE GAME. 498 00:22:43,763 --> 00:22:47,066 HE GOES TO NEW YORK-- HOME FIELD ADVANTAGE. 499 00:22:47,066 --> 00:22:50,870 CLASSIC. CLASSIC ROYCE. 500 00:22:50,870 --> 00:22:53,573 (exhales) 501 00:22:53,573 --> 00:22:55,575 I WAS SO IN AWE OF HIM, CASTLE, 502 00:22:55,575 --> 00:22:57,607 WHEN I FIRST MET HIM. 503 00:22:57,607 --> 00:23:01,611 I JUST HUNG ON HIS EVERY WORD. 504 00:23:01,611 --> 00:23:03,453 AND THEN LATER, I REALIZED, 505 00:23:03,453 --> 00:23:06,015 HE WAS JUST MAKING UP STORIES TO MESS WITH ME. 506 00:23:06,015 --> 00:23:08,057 (laughs) 507 00:23:11,461 --> 00:23:14,594 I CAN'T BELIEVE THAT I'M NEVER GONNA SEE HIM AGAIN. 508 00:23:20,129 --> 00:23:23,402 YOU KNOW WHAT I THOUGHT WHEN I FIRST MET YOU? 509 00:23:23,402 --> 00:23:24,874 HMM? 510 00:23:27,136 --> 00:23:30,680 THAT YOU WERE A MYSTERY I WAS NEVER GONNA SOLVE. 511 00:23:32,942 --> 00:23:34,914 EVEN NOW, 512 00:23:34,914 --> 00:23:36,916 AFTER SPENDING ALL THIS TIME WITH YOU, 513 00:23:36,916 --> 00:23:39,749 I'M... 514 00:23:39,749 --> 00:23:41,621 I'M STILL AMAZED 515 00:23:41,621 --> 00:23:43,993 AT THE DEPTHS OF YOUR STRENGTH, 516 00:23:43,993 --> 00:23:47,056 YOUR HEART... 517 00:23:47,056 --> 00:23:49,058 AND YOUR HOTNESS. 518 00:23:49,058 --> 00:23:53,503 YOU'RE NOT SO BAD YOURSELF, CASTLE. 519 00:23:53,503 --> 00:23:56,706 (Josh Ritter's "Come and Find Me" playing) 520 00:24:05,114 --> 00:24:06,816 ♪ SO I... ♪ 521 00:24:06,816 --> 00:24:08,548 I SHOULD GO. IT'S LATE. 522 00:24:08,548 --> 00:24:10,149 GOOD NIGHT. 523 00:24:10,149 --> 00:24:12,982 ♪ AND YOUR CROOKED FACE WITH THE DAISIES ♪ 524 00:24:12,982 --> 00:24:14,684 KATE. 525 00:24:14,684 --> 00:24:16,956 GOOD NIGHT, CASTLE. 526 00:24:16,956 --> 00:24:19,689 ♪ AND I KEEP ME IN A VACANT LOT ♪ 527 00:24:19,689 --> 00:24:22,532 ♪ IN THE IVIES, FORGET-ME-NOTS ♪ 528 00:24:22,532 --> 00:24:24,534 ♪ HOPING YOU WILL COME AND UNTANGLE ME ♪ 529 00:24:24,534 --> 00:24:28,137 ♪ ONE OF THESE DAYS ♪ 530 00:24:28,137 --> 00:24:30,840 ♪ COME AND... ♪ 531 00:24:30,840 --> 00:24:33,743 ♪ FIND ME ♪ 532 00:24:33,743 --> 00:24:35,875 ♪ NOW ♪ 533 00:24:39,178 --> 00:24:40,880 ♪ COME AND... ♪ 534 00:24:40,880 --> 00:24:44,053 ♪ FIND ME ♪ 535 00:24:44,053 --> 00:24:47,957 ♪ NOW ♪ 536 00:25:15,985 --> 00:25:19,048 (pen squeaking) 537 00:25:19,048 --> 00:25:21,751 (Castle) WOW. 538 00:25:21,751 --> 00:25:23,953 SOMEBODY'S UP EARLY. HEY. 539 00:25:23,953 --> 00:25:27,026 WHAT, DID YOU PACK A MURDER BOARD? 540 00:25:27,026 --> 00:25:28,197 CONCIERGE. 541 00:25:28,197 --> 00:25:30,159 CALLED DOWN, AND THEN THEN MINUTES LATER, VOILà. 542 00:25:30,159 --> 00:25:32,201 OH, MAURICE IS AMAZING, ISN'T HE? YEAH. 543 00:25:32,201 --> 00:25:34,764 I BET IF I ORDERED THE ARK OF THE COVENANT, HE'D COME THROUGH. 544 00:25:34,764 --> 00:25:38,037 WOULDN'T YOU BE AFRAID TO OPEN IT? NO. IT ONLY MELTS NAZIS. 545 00:25:38,037 --> 00:25:40,309 IS THAT, UH, KELVIN NORTH AMERICA? 546 00:25:40,309 --> 00:25:42,812 YEAH, I'M TRYING TO FIGURE OUT THIS HEIST. 547 00:25:42,812 --> 00:25:45,775 KELVIN SAID THAT THE LAST TIME THAT VAULT WAS ACCESSED 548 00:25:45,775 --> 00:25:48,047 WAS AT 11:46 TUESDAY NIGHT. WELL, THAT MUST BE WHEN OUR THIEVES 549 00:25:48,047 --> 00:25:50,820 STOLE THE HIGH-TECH AMMO. 800 POUNDS WORTH, 550 00:25:50,820 --> 00:25:54,123 AND THEY WOULD'VE HAD TO TAKE IT OUT THE LOADING DOCK. BUT THAT GUARD STATION THERE, 551 00:25:54,123 --> 00:25:56,255 I REMEMBER SEEING THAT WHEN WE WENT IN. 552 00:25:56,255 --> 00:25:58,758 THERE'S NO WAY THEY COULD GET ALL THAT AMMO PAST HIM 553 00:25:58,758 --> 00:26:01,060 WITHOUT A LITTLE INSIDER HELP. EXACTLY. 554 00:26:01,060 --> 00:26:03,132 SO I CALLED THE SECURITY COMPANY, AND THEY SAID THAT 555 00:26:03,132 --> 00:26:05,134 THE ONLY GUARD THAT WAS STATIONED AT THE LOADING BAY 556 00:26:05,134 --> 00:26:07,897 THAT NIGHT WAS SOME GUY NAMED REGGIE WALSH. 557 00:26:07,897 --> 00:26:11,871 I FEEL THE PLOT ABOUT TO THICKEN. HE ASKED TO BE REASSIGNED THE NEXT DAY. 558 00:26:11,871 --> 00:26:13,873 (knock on door) ARE YOU EXPECTING ANYONE? 559 00:26:13,873 --> 00:26:15,044 NO. 560 00:26:15,044 --> 00:26:17,707 HEY, WAIT, WAIT, WAIT. WAIT. 561 00:26:23,152 --> 00:26:25,014 (door closes) 562 00:26:28,988 --> 00:26:31,260 DETECTIVE SEEGER. 563 00:26:31,260 --> 00:26:33,222 MR. CASTLE. DO COME IN. 564 00:26:35,094 --> 00:26:38,167 WOW. NICE DIGS. 565 00:26:38,167 --> 00:26:42,131 IT SURE PAYS TO TRAVEL WITH A BEST-SELLING AUTHOR, HUH? 566 00:26:42,131 --> 00:26:45,274 (Beckett) SEEGER, IF YOU'RE HERE TO DRIVE US TO THE AIRPORT, 567 00:26:45,274 --> 00:26:48,377 WE'RE NOT PACKED YET. I'M HERE BECAUSE A REPORT CROSSED MY DESK ABOUT A THEFT 568 00:26:48,377 --> 00:26:50,640 AT KELVIN NORTH AMERICA. 569 00:26:50,640 --> 00:26:52,912 YOUR NAMES JUMPED OUT AT ME. 570 00:26:52,912 --> 00:26:55,915 NOW TELL ME, WHAT DOES THE THEFT OF HIGH-TECH BULLETS 571 00:26:55,915 --> 00:26:57,917 HAVE TO DO WITH YOUR MURDER INVESTIGATION? 572 00:26:57,917 --> 00:27:00,389 WE'RE NOT INVESTIGATING A MURDER ANYMORE, REMEMBER? 573 00:27:00,389 --> 00:27:02,091 WE'RE OFF THE CASE. 574 00:27:02,091 --> 00:27:04,193 ARE WE GONNA DO THAT DANCE? 575 00:27:04,193 --> 00:27:07,196 LOOK, WE DON'T KNOW ANY MORE ABOUT THAT THEFT THAN YOU DO. 576 00:27:07,196 --> 00:27:09,198 BUT IF WE STUMBLE ACROSS SOMETHING 577 00:27:09,198 --> 00:27:13,062 ON OUR WAY TO THE AIRPORT, WE'LL BE SURE AND LET YOU KNOW. 578 00:27:13,062 --> 00:27:15,034 SEE THAT YOU DO. 579 00:27:15,034 --> 00:27:16,706 (door opens) 580 00:27:16,706 --> 00:27:17,867 DETECTIVE. 581 00:27:17,867 --> 00:27:20,109 GOOD-BYE. 582 00:27:20,109 --> 00:27:23,112 (Castle) ARE YOU SURE IT'S SUCH A GOOD IDEA, CUTTING HIM OUT? 583 00:27:23,112 --> 00:27:25,174 HE MIGHT BE ABLE TO HELP US. 584 00:27:25,174 --> 00:27:27,717 CASTLE, THE ONLY THING SEEGER CARES ABOUT IS THAT ROBBERY, 585 00:27:27,717 --> 00:27:29,018 NOT ROYCE'S MURDER. 586 00:27:29,018 --> 00:27:31,350 WHAT WE NEED TO DO IS QUESTION THAT GUARD--REGGIE WALSH. 587 00:27:31,350 --> 00:27:34,183 HOW? YOU'RE NOT A COP HERE, REMEMBER? 588 00:27:34,183 --> 00:27:38,057 REGGIE DOESN'T NEED TO KNOW THAT. 589 00:27:38,057 --> 00:27:39,058 OH. 590 00:27:43,062 --> 00:27:45,735 LIKE I TOLD YOU, I DON'T KNOW ANYTHING ABOUT A ROBBERY. 591 00:27:45,735 --> 00:27:47,737 GIMME A BREAK, REGGIE. YOU'RE LYING. 592 00:27:47,737 --> 00:27:49,038 YOU'RE A PUNK. 593 00:27:49,038 --> 00:27:51,040 A DIRTY SKELL. A LOW-DOWN, RAT BASTARD-- 594 00:27:51,040 --> 00:27:53,803 EASY, GUYS. 595 00:27:53,803 --> 00:27:55,805 YEAH, I-I MEAN, WE ALL WEAR THE UNIFORM, RIGHT? 596 00:27:55,805 --> 00:27:58,147 YEAH, I JUST HOPE YOURS MAKES YOU LOOK GOOD ON TV. 597 00:27:58,147 --> 00:28:00,279 WHAT ARE YOU TALKING ABOUT? 598 00:28:00,279 --> 00:28:02,281 THE NEWS CAMERAS OUTSIDE OF THE PRECINCT. 599 00:28:02,281 --> 00:28:04,313 THEY JUST LOVE A GOOD PERP WALK, REGGIE. 600 00:28:04,313 --> 00:28:07,016 AND IF YOU'RE MIXED UP WITH THIS, I'M SURE 601 00:28:07,016 --> 00:28:09,118 YOU WOULDN'T WANT TO BE SEEN TALKING TO THE COPS. 602 00:28:09,118 --> 00:28:11,120 SO AS A COURTESY, 603 00:28:11,120 --> 00:28:14,323 I AM GOING TO LET YOU COVER UP WITH MY JACKET. 604 00:28:17,727 --> 00:28:20,970 I WOULDN'T TAKE IT OFF BEFORE WE GET INTO THE INTERVIEW ROOM. 605 00:28:20,970 --> 00:28:23,002 THERE MIGHT BE REPORTERS ON THE INSIDE. 606 00:28:23,002 --> 00:28:24,203 OKAY. 607 00:28:27,276 --> 00:28:29,378 (Castle) YOU'RE A SECURITY GUARD, REGGIE. 608 00:28:29,378 --> 00:28:34,043 IN PRISON, YOU'RE THE LOWEST OF THE LOW. 609 00:28:34,043 --> 00:28:36,285 I-I THOUGHT THAT WAS CHILD MOLESTERS. 610 00:28:36,285 --> 00:28:38,788 YEAH, WELL... 611 00:28:38,788 --> 00:28:41,991 DUDE, SECURITY GUARD. 612 00:28:41,991 --> 00:28:46,295 AND YOU KNOW WHAT THEY DO TO GUYS LIKE YOU IN LOMPOC. NO. 613 00:28:46,295 --> 00:28:48,828 (Reggie) WHAT? THAT'S... THIS IS A LATTE. OKAY, I DRINK CHAI TEA LATTES. 614 00:28:48,828 --> 00:28:51,460 IT'S TOO DISGUSTING TO SAY IN THE PRESENCE OF A WOMAN. HOW LONG DO YOU HAVE TO WORK FOR ME 615 00:28:51,460 --> 00:28:53,963 UNTIL YOU GET THAT RIGHT? HUH? OR MAYBE-- COME ON, REGGIE. 616 00:28:53,963 --> 00:28:56,966 (Beckett) WE KNOW YOU WERE AT THE LOADING BAY THAT NIGHT. 617 00:28:56,966 --> 00:28:59,008 ALL RIGHT. UM... 618 00:28:59,008 --> 00:29:01,941 THESE TWO GUYS CAME TO ME. 619 00:29:01,941 --> 00:29:05,044 OFFERED ME 500 BUCKS TO TAKE A CIGARETTE BREAK AT MIDNIGHT. 620 00:29:05,044 --> 00:29:08,017 THE ONLY REASON I WENT ALONG IS BECAUSE SAYING NO 621 00:29:08,017 --> 00:29:10,820 DIDN'T REALLY SEEM LIKE AN OPTION. ARE THESE THE MEN? 622 00:29:10,820 --> 00:29:13,783 YEAH. YEAH. 623 00:29:13,783 --> 00:29:16,225 DID THEY GIVE YOU THEIR NAMES? NO. 624 00:29:16,225 --> 00:29:18,227 OH, BUT, UH, WHEN THEY WERE WALKING AWAY, 625 00:29:18,227 --> 00:29:20,890 THE BLACK GUY CALLED THE OTHER GUY GANZ. 626 00:29:20,890 --> 00:29:23,132 ALL RIGHT, GUYS. THANKS VERY MUCH. 627 00:29:23,132 --> 00:29:25,434 WE'RE DONE WITH THE ROOM. (man) OPEN-DO! 628 00:29:25,434 --> 00:29:27,997 (motor whirring) 629 00:29:27,997 --> 00:29:30,539 WHAT THE HELL? WELCOME TO HOLLYWOOD. 630 00:29:30,539 --> 00:29:32,441 (Tony) GREAT SCENE, RICKY. 631 00:29:32,441 --> 00:29:34,974 YOU SAID SHE WAS A STAR, AND THAT'S RIGHT. 632 00:29:34,974 --> 00:29:37,006 DOES THIS MEAN I CAN LEAVE? 633 00:29:37,006 --> 00:29:39,308 (Ryan) HIS NAME IS RUSSELL GANZ. SUSPECTED OF PULLING OFF 634 00:29:39,308 --> 00:29:42,111 SEVERAL HIGH-PROFILE HEISTS DURING THE LAST FIVE YEARS, 635 00:29:42,111 --> 00:29:43,813 INCLUDING THE THEFT 636 00:29:43,813 --> 00:29:45,384 OF MILITARY-GRADE CIRCUIT BOARDS IN 2009. 637 00:29:45,384 --> 00:29:47,957 Ganz is very smart and very violent. 638 00:29:47,957 --> 00:29:50,389 His multimillion-dollar scores have allowed him 639 00:29:50,389 --> 00:29:52,361 TO LIVE LIKE ROYALTY-- FAST CARS, HOT WOMEN. 640 00:29:52,361 --> 00:29:54,824 DISSOLVING BULLETS WOULD BE WORTH A FORTUNE 641 00:29:54,824 --> 00:29:57,296 FOR THE RIGHT BUYER, LIKE A GANG OR A DRUG CARTEL. 642 00:29:57,296 --> 00:29:59,298 DO WE HAVE AN L.A. ADDRESS FOR GANZ 643 00:29:59,298 --> 00:30:00,970 OR ANY KNOWN ASSOCIATES? 644 00:30:00,970 --> 00:30:02,972 Uh, negative on the address. 645 00:30:02,972 --> 00:30:05,404 AND IT LOOKS LIKE MOST OF HIS FRIENDS ARE INCARCERATED. 646 00:30:05,404 --> 00:30:06,836 WAIT. 647 00:30:06,836 --> 00:30:08,838 YEAH, HERE'S ONE THAT'S NOT. DONALD MANNIS. 648 00:30:08,838 --> 00:30:11,140 HE LOOKS EXACTLY LIKE THE GUY HUNTING VIOLET. 649 00:30:11,140 --> 00:30:13,142 OKAY, MANNIS MIGHT LEAD US TO GANZ, 650 00:30:13,142 --> 00:30:16,415 SO LET'S GET HIS PHOTO TO ALL THE TROOPS. GOT IT. I'LL GET BACK TO YOU. 651 00:30:16,415 --> 00:30:18,117 WE GOTTA FIND GANZ FAST. 652 00:30:18,117 --> 00:30:20,950 ONCE HE FENCES THOSE BULLETS, HE'S GONNA DISAPPEAR. 653 00:30:20,950 --> 00:30:23,522 DON'T WORRY. THE GUY LIKES THE PERKS OF WEALTH? 654 00:30:23,522 --> 00:30:25,524 I KNOW JUST THE GUY TO HELP US FIND HIM. 655 00:30:25,524 --> 00:30:28,097 OH, MR. GANZ IS WELL-KNOWN WITHIN MY NETWORK. 656 00:30:28,097 --> 00:30:30,900 HE'S A FREQUENT GUEST AT OUR CITY'S FIVE-STAR HOTELS. 657 00:30:30,900 --> 00:30:33,963 DO YOU ACTUALLY KNOW WHERE HE IS? AT A POOLSIDE CABANA AT THE EASTWAY. 658 00:30:33,963 --> 00:30:36,235 HE ENJOYS BEING SURROUNDED BY BEAUTIFUL WOMEN 659 00:30:36,235 --> 00:30:38,437 AS HE CONDUCTS BUSINESS ON THE PHONE, WHICH, 660 00:30:38,437 --> 00:30:41,040 ACCORDING TO A POOLSIDE WAITER, HE'S DOING AS WE SPEAK. 661 00:30:41,040 --> 00:30:43,842 MAURICE, THANK YOU VERY MUCH. YOU NEVER FAIL TO AMAZE. 662 00:30:43,842 --> 00:30:46,976 MY PLEASURE, SIR, MA'AM. 663 00:30:46,976 --> 00:30:49,848 OKAY, SO IF GANZ IS DOING BUSINESS POOLSIDE, 664 00:30:49,848 --> 00:30:53,222 HE'S PROBABLY TRYING TO FIND A BUYER FOR THOSE BULLETS. 665 00:30:53,222 --> 00:30:55,224 AND IF I CAN PUT HIM WITH THOSE BULLETS, 666 00:30:55,224 --> 00:30:59,628 I CAN PROVE HE KILLED ROYCE. WELL, DON'T YOU THINK IT'S TIME WE CALLED THE L.A.P.D.? 667 00:30:59,628 --> 00:31:02,261 I THINK I HAVE A BETTER IDEA. 668 00:31:09,198 --> 00:31:13,072 (Sloan's "Other Side" playing) 669 00:31:13,072 --> 00:31:16,075 (indistinct conversations) 670 00:31:18,978 --> 00:31:21,280 (beep) IT'S TIME FOR A CELEBRATION. 671 00:31:21,280 --> 00:31:23,282 SET IT UP FOR TONIGHT, WILL YOU, MAX? 672 00:31:23,282 --> 00:31:24,914 YES, SIR. 673 00:31:24,914 --> 00:31:27,216 ♪♪♪ 674 00:31:27,216 --> 00:31:28,887 (slurps) 675 00:31:28,887 --> 00:31:32,061 (indistinct conversations continue) 676 00:31:32,061 --> 00:31:34,593 ♪ THERE'S A CERTAIN KIND OF FEELING ♪ 677 00:31:34,593 --> 00:31:37,066 ♪ ON THE OTHER SIDE ♪ 678 00:31:37,066 --> 00:31:40,299 ♪ IT'LL TAUNT YOU FROM A DISTANCE ♪ 679 00:31:40,299 --> 00:31:43,002 ♪ AND IT'S HARD TO FIGHT ♪ 680 00:31:43,002 --> 00:31:45,975 ♪ I'VE GOT TO WALK AND SAY I LOST ♪ 681 00:31:45,975 --> 00:31:49,078 ♪ BUT AT LEAST I ♪ 682 00:31:49,078 --> 00:31:52,011 ♪ TRIED ♪ 683 00:31:52,011 --> 00:31:55,544 ♪ THERE'S A CERTAIN WAY OF DEALING ♪ 684 00:31:55,544 --> 00:31:58,287 ♪ WITH THE OTHER SIDE ♪ 685 00:31:58,287 --> 00:32:01,520 ♪ IF YOU WANT PROOF OF ITS EXISTENCE ♪ 686 00:32:01,520 --> 00:32:04,393 ♪ WELL, THAT'S HARD TO FIND ♪ 687 00:32:04,393 --> 00:32:06,695 ♪ LESS DEEP, YEAH ♪ 688 00:32:06,695 --> 00:32:10,159 I APPRECIATE A WOMAN WHO KNOWS HOW TO MAKE AN ENTRANCE. 689 00:32:10,159 --> 00:32:12,561 YOU STAYING AT THE HOTEL? 690 00:32:12,561 --> 00:32:15,965 NO, I'M MEETING SOMEONE. BUSINESS OR PLEASURE? 691 00:32:15,965 --> 00:32:17,967 HOPEFULLY A BIT OF BOTH... 692 00:32:17,967 --> 00:32:20,409 MR. GANZ. 693 00:32:20,409 --> 00:32:23,542 I'M LOLA BLACK. PLEASE SIT. 694 00:32:23,542 --> 00:32:27,046 (indistinct conversations) 695 00:32:27,046 --> 00:32:30,119 WHAT CAN I DO FOR YOU, MS. BLACK? 696 00:32:30,119 --> 00:32:32,121 I REPRESENT A SMALL BUT POWERFUL GROUP 697 00:32:32,121 --> 00:32:34,153 OF COLOMBIAN BUSINESS INTERESTS, 698 00:32:34,153 --> 00:32:37,386 AND THEY UNDERSTAND THAT YOU'RE IN POSSESSION OF SOME... 699 00:32:37,386 --> 00:32:39,258 UNIQUE MERCHANDISE. 700 00:32:39,258 --> 00:32:41,430 HMM. 701 00:32:41,430 --> 00:32:44,163 I'M AFRAID YOU'VE GOT ME CONFUSED WITH SOMEONE ELSE. 702 00:32:44,163 --> 00:32:45,634 OH, I DON'T THINK SO. 703 00:32:45,634 --> 00:32:47,636 THAT BUSINESS IN NEW YORK, THAT EX-COP? 704 00:32:47,636 --> 00:32:50,139 IT WAS A VERY EFFECTIVE PRODUCT DEMONSTRATION. 705 00:32:50,139 --> 00:32:51,300 HMM. 706 00:32:51,300 --> 00:32:53,372 MY OFFER IS SERIOUS, AND MY CLIENTS 707 00:32:53,372 --> 00:32:57,246 ARE NOT ACCUSTOMED TO HEARING THE WORDS "NO." 708 00:32:57,246 --> 00:33:01,150 WELL... THE BIDDING ON THAT PARTICULAR ITEM 709 00:33:01,150 --> 00:33:03,082 CLOSED ABOUT 20 MINUTES AGO. 710 00:33:03,082 --> 00:33:05,054 BETTER LUCK NEXT TIME. 711 00:33:05,054 --> 00:33:07,086 WAIT, UH... 712 00:33:07,086 --> 00:33:08,987 $2 MILLION. 713 00:33:08,987 --> 00:33:12,361 I-I CAN HAVE IT HERE WITHIN AN HOUR. 714 00:33:12,361 --> 00:33:13,992 (indistinct conversations) 715 00:33:13,992 --> 00:33:15,694 (Ganz) I'M IMPRESSED, ACTUALLY, 716 00:33:15,694 --> 00:33:18,367 THE WAY YOU LURED ME IN. (button beeps, camera shutter clicks) 717 00:33:18,367 --> 00:33:20,329 YOU HAD ME GUESSING THERE FOR A SECOND. 718 00:33:20,329 --> 00:33:23,202 WHAT'S THAT SUPPOSED TO MEAN? IT MEANS YOU'RE A COP. 719 00:33:23,202 --> 00:33:25,204 YOU'RE THE HOTTEST THING I'VE SEEN 720 00:33:25,204 --> 00:33:27,636 COME OUT OF MAJOR CRIMES IN QUITE SOME TIME. 721 00:33:27,636 --> 00:33:31,380 BUT YOU'RE A LITTLE TOO EAGER, A LITTLE GREEN. 722 00:33:31,380 --> 00:33:34,443 NICE MEETING YOU, LOLA. 723 00:33:34,443 --> 00:33:37,286 (indistinct conversations continue) 724 00:33:37,286 --> 00:33:40,018 (whispers) OH, GOD, CASTLE. 725 00:33:40,018 --> 00:33:42,391 (indistinct conversations) 726 00:33:42,391 --> 00:33:44,393 (lowered voice) SO WHAT HAPPENED? 727 00:33:44,393 --> 00:33:47,396 (normal voice) OW! I WAS TRYING TO KEEP HIM FROM SEEING YOU, 728 00:33:47,396 --> 00:33:49,558 AND SO I PUSHED TOO HARD, AND HE MADE ME. 729 00:33:49,558 --> 00:33:52,531 HE CALLED ME GREEN, CASTLE. WHAT THE HELL WERE YOU DOING? I SAW HIS PHONE IN THE CABANA. 730 00:33:52,531 --> 00:33:55,604 I THOUGHT IT WAS WORTH THE RISK. YOU TOOK HIS PHONE? 731 00:33:55,604 --> 00:33:58,807 NO! NO, I TOOK A PICTURE OF HIS RECENT CALL LIST. WHAT? WHERE IS IT? 732 00:33:58,807 --> 00:34:01,570 DON'T--DON'T POKE ME. (laughs) POKE YOU? I WANT TO KISS YOU. 733 00:34:01,570 --> 00:34:03,742 OKAY, WE NEED TO RUN DOWN THESE NUMBERS, 734 00:34:03,742 --> 00:34:06,445 SEE IF WE CAN TRACE ONE OF THEM TO GANZ'S BUYER. 735 00:34:06,445 --> 00:34:08,717 OKAY,NOWCAN WE CALL SEEGER? 736 00:34:10,679 --> 00:34:13,452 GENTLEMEN, WHERE ARE WE WITH VIOLET YOUNG? 737 00:34:13,452 --> 00:34:15,454 I JUST GOT OFF THE PHONE WITH HER MOTHER. 738 00:34:15,454 --> 00:34:17,626 SHE SAID SHE REMEMBERS VIOLET HAVING A ROOMMATE 739 00:34:17,626 --> 00:34:20,689 WHO LIVES NEAR CANAL STREET. YEAH, WE'RE GONNA HEAD OVER THERE AND SEE 740 00:34:20,689 --> 00:34:22,691 IF VIOLET REACHED OUT TO HER. WELL, LET ME KNOW. 741 00:34:22,691 --> 00:34:25,134 YEAH, RIGHT. HEY, YOU HEARD FROM BECKETT? 742 00:34:25,134 --> 00:34:27,566 NO, SIR. YEAH, ME NEITHER. 743 00:34:27,566 --> 00:34:29,238 SHE'S NOT ANSWERING HER CELL. 744 00:34:29,238 --> 00:34:30,739 MAYBE SHE'S AIRBORNE. 745 00:34:30,739 --> 00:34:33,372 UH-HUH. YEAH, THAT WOULD EXPLAIN HER PHONE BEING TURNED OFF. 746 00:34:33,372 --> 00:34:34,843 OH. 747 00:34:34,843 --> 00:34:38,847 YOU KNOW, I'M TRYING TO DECIDE WHO IS THE WORSE LIAR, 748 00:34:38,847 --> 00:34:40,709 HIM OR YOU. 749 00:34:40,709 --> 00:34:42,851 (indistinct conversations) 750 00:34:42,851 --> 00:34:44,513 GO FIND VIOLET YOUNG. 751 00:34:44,513 --> 00:34:46,755 HELP BECKETT PUT THIS THING TO BED, ALL RIGHT? 752 00:34:46,755 --> 00:34:48,457 YES, SIR. RIGHT ON. 753 00:34:55,194 --> 00:34:56,795 HEY, DETECTIVE SEE-- 754 00:34:56,795 --> 00:34:58,127 HEY. 755 00:34:58,127 --> 00:35:01,300 YOU RUN WILD IN MY CITY, THEN YOU CALL ME FOR A FAVOR? 756 00:35:01,300 --> 00:35:04,303 YOU GOT A LOT OF NERVE, DETECTIVE. I'LL GIVE YOU THAT. HEY, WE'RE TRYING TO GET 757 00:35:04,303 --> 00:35:07,476 A VICIOUS CRIMINAL OFF OFYOURSTREETS. HEY, CAN I INTEREST YOU IN ONE OF THESE ROBES? 758 00:35:07,476 --> 00:35:10,839 BEFORE YOU SAY NO, FEEL HOW SOFT THIS IS. NO, THANK YOU. 759 00:35:10,839 --> 00:35:13,182 LOOK, WE'RE ALL ON THE SAME TEAM NOW, 760 00:35:13,182 --> 00:35:16,585 SO WHY DON'T WE JUST GET THIS DONE WITH? AS LONG AS IT GETS DONE MY WAY. 761 00:35:16,585 --> 00:35:18,147 FINE. WHAT DO YOU GOT? 762 00:35:18,147 --> 00:35:20,149 WELL, GANZ'S PHONE IS A BURNER, 763 00:35:20,149 --> 00:35:22,151 AND SO ARE MOST OF THE NUMBERS HE CALLED. 764 00:35:22,151 --> 00:35:24,153 WHICH MEANS YOU DIDN'T GET THE BUYER'S I.D. 765 00:35:24,153 --> 00:35:26,355 WE DID MANAGE TO TRACE ONE OF THE BURNERS HE CALLED 766 00:35:26,355 --> 00:35:28,497 TO NEW YORK CITY. MANNIS. THAT'S GANZ'S PARTNER. 767 00:35:28,497 --> 00:35:30,499 I BET GANZ WAS CALLING TO ASK 768 00:35:30,499 --> 00:35:33,131 WHY THE HELL VIOLET YOUNG WAS STILL ALIVE. 769 00:35:33,131 --> 00:35:36,165 DID YOU HAPPEN TO GET A LOCATION ON MANNIS' PHONE? JUST THAT IT'S IN MANHATTAN. 770 00:35:36,165 --> 00:35:38,437 OKAY. SO LET'S CALL HIM, RILE HIM UP A BIT. RILE HIM UP HOW? 771 00:35:38,437 --> 00:35:40,439 I'LL TELL HIM I MET GANZ. 772 00:35:40,439 --> 00:35:42,671 GANZ WAS GONNA CUT HIM OUT OF THE DEAL. 773 00:35:42,671 --> 00:35:45,644 MANNIS WASN'T PULLING HIS WEIGHT. MANNIS GETS PISSED, HE CALLS GANZ, MAYBE ONE OF THEM 774 00:35:45,644 --> 00:35:48,647 LETS SOMETHING SLIP ABOUT THE LOCATION OF THE EXCHANGE. AND WE'LL BE LISTENING. 775 00:35:48,647 --> 00:35:51,520 (cell phone auto dials) GOOD. I'LL TRY AND GET A WARRANT. 776 00:35:51,520 --> 00:35:54,483 (Ryan) YOU'RE A HARD GIRL TO FIND, VIOLET. 777 00:35:54,483 --> 00:35:56,455 I KNOW IT WAS WRONG TO RUN, 778 00:35:56,455 --> 00:35:58,757 BUT I WAS AFRAID TO GO TO THE COPS. 779 00:35:58,757 --> 00:36:01,830 I NEVER MEANT FOR ROYCE TO GET HURT. 780 00:36:01,830 --> 00:36:04,833 WELL, LET'S JUST GET BACK TO THE STATION, VIOLET. 781 00:36:04,833 --> 00:36:08,267 WE CAN WORK IT OUT, ALL RIGHT? LET'S GO. 782 00:36:08,267 --> 00:36:09,838 (cell phone rings) 783 00:36:09,838 --> 00:36:11,400 GUN! 784 00:36:11,400 --> 00:36:13,742 DOWN! DOWN! DOWN! (gunfire) 785 00:36:13,742 --> 00:36:15,904 (cell phone ringing) YOU OKAY? 786 00:36:15,904 --> 00:36:17,606 YEAH. YOU? YEAH. 787 00:36:17,606 --> 00:36:18,907 YOU OKAY? YEAH. 788 00:36:18,907 --> 00:36:22,251 WAIT RIGHT HERE, ALL RIGHT? (groaning) 789 00:36:22,251 --> 00:36:23,912 (ring) 790 00:36:23,912 --> 00:36:25,414 (grunting) (rings and beeps) 791 00:36:25,414 --> 00:36:26,955 YO. 792 00:36:26,955 --> 00:36:29,258 ESPOSITO? 793 00:36:29,258 --> 00:36:31,390 BECKETT? 794 00:36:31,390 --> 00:36:33,692 ARE YOU WITH MANNIS? YEAH. I JUST SHOT HIM. 795 00:36:33,692 --> 00:36:35,364 Why are you calling him? 796 00:36:35,364 --> 00:36:37,726 LOOK, WE NEED TO KNOW WHERE AND WHEN GANZ 797 00:36:37,726 --> 00:36:41,700 is selling those bullets. DON, WHERE'S THE DEAL GOING DOWN? 798 00:36:41,700 --> 00:36:44,873 I'M HIT MAN. CALL AN AMBULANCE. WELL, MY PARTNER'S ON THAT. 799 00:36:44,873 --> 00:36:48,237 9-1--WHAT-- WHAT COME AFTER THAT ONE? 800 00:36:48,237 --> 00:36:50,839 I'M IN PAIN HERE, MAN! (grunts) IT'S OVER, MANNIS. 801 00:36:50,839 --> 00:36:52,841 IF YOU GIVE US THE MEET LOCATION, 802 00:36:52,841 --> 00:36:54,883 I'LL TELL THE D.A. IN L.A. THAT YOU COOPERATED. 803 00:36:54,883 --> 00:36:57,886 (pants) AAH! 804 00:36:57,886 --> 00:36:59,788 Aah! I'll tell you. (grunts) 805 00:36:59,788 --> 00:37:01,620 Santa Monica Pier! 6:00! 806 00:37:01,620 --> 00:37:04,323 NOW CALL AN AMBULANCE! WHO SHOT ROYCE? 807 00:37:04,323 --> 00:37:07,526 IT WAS GANZ. 808 00:37:07,526 --> 00:37:08,927 (groans) 809 00:37:08,927 --> 00:37:10,799 YOU GET THAT? 810 00:37:10,799 --> 00:37:12,901 YEAH, WE GOT IT. THANKS. (cell phone beeps) 811 00:37:12,901 --> 00:37:14,963 GOTTA GET TO SANTA MONICA PIER. 812 00:37:14,963 --> 00:37:17,966 IT'S QUARTER OF 6:00 NOW. THIS IS GONNA BE OUR LAST CHANCE TO GET GANZ. 813 00:37:17,966 --> 00:37:20,008 LET'S ROLL. 814 00:37:29,578 --> 00:37:32,681 (organ music playing) 815 00:37:32,681 --> 00:37:35,954 (children laughing) 816 00:37:35,954 --> 00:37:40,028 (music continues) 817 00:37:40,028 --> 00:37:43,031 (indistinct conversations) 818 00:37:43,031 --> 00:37:46,865 (music continues) 819 00:37:46,865 --> 00:37:50,769 (indistinct conversations continue) 820 00:37:50,769 --> 00:37:53,872 (music continues) 821 00:37:57,005 --> 00:37:59,678 L.A.P.D. FREEZE. 822 00:37:59,678 --> 00:38:03,482 PUT THE CASE DOWN. PUT THE CASE DOWN. 823 00:38:03,482 --> 00:38:05,053 GET HANDS BEHIND YOUR HEAD. 824 00:38:05,053 --> 00:38:08,757 (handcuffs clicking) YOU IN THE VAN! POLICE. BOTH HANDS OUT THE WINDOW. 825 00:38:11,019 --> 00:38:13,892 OPEN THE DOOR. GET OUT SLOW. 826 00:38:16,024 --> 00:38:18,897 SLOWLY. 827 00:38:18,897 --> 00:38:21,570 UP AGAINST THE VAN. 828 00:38:21,570 --> 00:38:23,572 UP AGAINST THE VAN! (grunts) 829 00:38:23,572 --> 00:38:25,033 GIVE ME YOUR HAND. (groans) 830 00:38:25,033 --> 00:38:27,035 WHERE IS HE? WHERE'S GANZ? (laughs) 831 00:38:27,035 --> 00:38:29,037 AAH! (groans) WHERE IS HE? 832 00:38:29,037 --> 00:38:31,039 (laughs) 833 00:38:31,039 --> 00:38:34,343 (organ music playing) 834 00:38:34,343 --> 00:38:37,786 (indistinct conversations) 835 00:38:37,786 --> 00:38:40,889 (police radio chatter) 836 00:38:40,889 --> 00:38:43,952 (music continues) 837 00:38:43,952 --> 00:38:46,054 BINGO. 838 00:38:46,054 --> 00:38:48,397 WHERE DID BECKETT GO? 839 00:38:48,397 --> 00:38:51,400 (indistinct conversations) 840 00:38:51,400 --> 00:38:54,903 (organ music playing) 841 00:38:54,903 --> 00:38:59,067 (indistinct conversations continue) 842 00:38:59,067 --> 00:39:01,470 (man) HEY, YOU. 843 00:39:01,470 --> 00:39:04,473 (music continues) 844 00:39:04,473 --> 00:39:07,946 (indistinct conversations continue) 845 00:39:07,946 --> 00:39:10,979 (music continues) 846 00:39:10,979 --> 00:39:14,853 (indistinct conversations continue) 847 00:39:14,853 --> 00:39:17,856 (music continues) 848 00:39:17,856 --> 00:39:22,461 (indistinct conversations continue) 849 00:39:22,461 --> 00:39:24,062 (grunts) OH! 850 00:39:24,062 --> 00:39:26,465 POLICE! STOP! 851 00:39:26,465 --> 00:39:28,397 (people shouting indistinctly) 852 00:39:28,397 --> 00:39:31,570 (grunts) 853 00:39:40,579 --> 00:39:41,880 (panting) 854 00:39:41,880 --> 00:39:43,582 OHH! OH! 855 00:39:46,585 --> 00:39:49,418 (groans) 856 00:39:51,089 --> 00:39:53,922 (exhales) 857 00:39:53,922 --> 00:39:55,424 (inhales and exhales deeply) 858 00:39:55,424 --> 00:39:56,965 (inhales sharply) 859 00:39:56,965 --> 00:39:59,027 I KNEW YOU WERE A COP. 860 00:39:59,027 --> 00:40:01,029 MY NAME IS DETECTIVE KATE BECKETT, 861 00:40:01,029 --> 00:40:02,901 NYPD. 862 00:40:02,901 --> 00:40:06,705 MICHAEL ROYCE WAS MY FRIEND. 863 00:40:06,705 --> 00:40:08,136 YOU SHOT HIM 864 00:40:08,136 --> 00:40:11,039 AND YOU LEFT HIM IN AN ALLEY LIKE A PIECE OF GARBAGE. 865 00:40:11,039 --> 00:40:14,643 CONSIDER THIS POETIC JUSTICE. 866 00:40:14,643 --> 00:40:18,947 HE SAID SOMETHING ABOUT HELL RAINING DOWN ON ME. 867 00:40:18,947 --> 00:40:23,892 I NEVER IMAGINED HELL LOOKED LIKE YOU. 868 00:40:34,963 --> 00:40:36,965 (panting) KATE! 869 00:40:36,965 --> 00:40:39,037 RUSSELL GANZ, YOU ARE UNDER ARREST 870 00:40:39,037 --> 00:40:42,010 FOR THE MURDER OF MICHAEL ROYCE. 871 00:40:42,010 --> 00:40:43,972 (police radio chatter) 872 00:40:43,972 --> 00:40:47,976 (Pearl Jam's "Just Breathe" playing) 873 00:40:47,976 --> 00:40:49,948 (man) HANDS BEHIND YOUR BACK. 874 00:40:49,948 --> 00:40:51,650 (men speaking indistinctly) 875 00:40:51,650 --> 00:40:54,553 YOU OKAY? 876 00:40:54,553 --> 00:40:56,925 YEAH. 877 00:40:56,925 --> 00:40:58,827 ♪ YES, I UNDERSTAND ♪ 878 00:40:58,827 --> 00:41:01,059 ♪ THAT EVERY LIFE MUST END ♪ 879 00:41:01,059 --> 00:41:04,863 ♪ UH-HUH ♪ 880 00:41:04,863 --> 00:41:06,535 (speaking inaudibly) 881 00:41:06,535 --> 00:41:08,036 ♪ AS WE SIT ALONE ♪ 882 00:41:08,036 --> 00:41:10,138 ♪ I KNOW SOMEDAY WE MUST GO ♪ 883 00:41:10,138 --> 00:41:12,901 ♪ UH-HUH ♪ 884 00:41:12,901 --> 00:41:14,142 (speaks inaudibly) 885 00:41:14,142 --> 00:41:17,045 ♪ OH, I'M A LUCKY MAN ♪ 886 00:41:17,045 --> 00:41:20,909 ♪ TO COUNT ON BOTH HANDS THE ONES I LOVE ♪ 887 00:41:23,481 --> 00:41:25,614 ♪ SOME FOLKS JUST HAVE ONE ♪ 888 00:41:25,614 --> 00:41:27,916 ♪ YEAH, OTHERS THEY GOT NONE ♪ 889 00:41:27,916 --> 00:41:30,519 ♪ UH-HUH ♪ 890 00:41:30,519 --> 00:41:34,723 (Castle) SO HOW CLOSE DID YOU COME... WITH GANZ? 891 00:41:34,723 --> 00:41:36,565 ♪ STAY WITH ME ♪ 892 00:41:36,565 --> 00:41:42,070 ♪ OH, LET'S JUST BREATHE ♪ 893 00:41:42,070 --> 00:41:44,803 LET'S GO HOME, CASTLE. 894 00:41:44,803 --> 00:41:46,605 (engines roaring) 895 00:41:46,605 --> 00:41:49,207 (Royce's voice) "AND NOW FOR THE HARD PART, KID. 896 00:41:49,207 --> 00:41:53,612 "IT'S CLEAR THAT YOU AND CASTLE HAVE SOMETHING REAL, 897 00:41:53,612 --> 00:41:55,914 "AND YOU'RE FIGHTING IT. 898 00:41:55,914 --> 00:41:57,946 "BUT TRUST ME, 899 00:41:57,946 --> 00:41:59,988 "PUTTING THE JOB AHEAD OF YOUR HEART 900 00:41:59,988 --> 00:42:02,150 "IS A MISTAKE. 901 00:42:02,150 --> 00:42:05,854 "RISKING OUR HEARTS IS WHY WE'RE ALIVE. 902 00:42:05,854 --> 00:42:08,857 "THE LAST THING YOU WANT IS TO LOOK BACK ON YOUR LIFE 903 00:42:08,857 --> 00:42:10,829 "AND WONDER... 904 00:42:10,829 --> 00:42:12,961 IF ONLY." 905 00:42:12,961 --> 00:42:14,963 ♪ NOTHING YOU WOULD TAKE ♪ 906 00:42:14,963 --> 00:42:19,237 ♪ EVERYTHING YOU GAVE ♪ 907 00:42:19,237 --> 00:42:23,672 ♪ OH, HOLD ME TILL I DIE ♪ 908 00:42:23,672 --> 00:42:29,678 ♪ MEET YOU ON THE OTHER SIDE ♪ 909 00:42:29,678 --> 00:42:33,221 (rustles paper)