Original subtitles

THERE ARE TWO KINDS OF FOLKS WHO SIT AROUND THINKING ABOUT

HOW TO KILL PEOPLE--PSYCHOPATHS AND MYSTERY WRITERS.

I'M THE KIND THAT PAYS BETTER. WHO AM I? I'M RICK CASTLE.

CASTLE. CASTLE.

I REALLY AM RUGGEDLY HANDSOME, AREN'T I? EVERY WRITER NEEDS INSPIRATION,

AND I'VE FOUND MINE. DETECTIVE KATE BECKETT.

BECKETT. BECKETT.

NIKKI HEAT? THE CHARACTER HE'S BASING ON YOU.

AND THANKS TO MY FRIENDSHIP WITH THE MAYOR,

I GET TO BE ON HER CASE. I WOULD BE HAPPY TO LET YOU SPANK ME.

AND TOGETHER WE CATCH KILLERS. WE MAKE A PRETTY GOOD TEAM, YOU KNOW?

LIKE STARSKY AND HUTCH, TURNER AND HOOCH. YOU DO REMIND ME A LITTLE OF HOOCH.

(Billy Idol's "Dancing With Myself" playing)

♪ ON THE FLOORS OF TOKYO ♪

♪ OR DOWN IN LONDON TOWN TO GO GO ♪

♪ WITH THE RECORD SELECTION ♪

♪ AND THE MIRROR'S REFLECTION ♪

♪ I'M DANCING WITH MYSELF ♪

♪ WHEN THERE'S NO ONE ELSE IN SIGHT ♪

♪ IN THE CROWDED LONELY NIGHT, WELL, I WAIT SO LONG... ♪

HEY.

(turns off music) WHAT'S WRONG?

DAD, THEY'RE SAYING SHE'S DEAD.

WHO'S DEAD?

HAYLEY BLUE. THE GAWKER WEB SITE JUST POSTED IT.

OH, THE GIRL FROM THE BAND YOU LIKE.

THEY SAY THEY FOUND HER BODY IN AN ALLEY IN CHELSEA. OH, ANGEL, ARE YOU SURE IT'S NOT JUST A RUMOR?

I MEAN, THOSE GOSSIP BLOGS, THEY DON'T REALLY CHECK FACTS.

THEY WERE RIGHT WHEN THEY SAID

HAYLEY WAS BREAKING UP THE BAND TO GO SOLO.

LOOK, IF THERE WAS ANY TRUTH TO IT,

I'M SURE DETECTIVE BECKETT WOULD'VE CALLED BY NOW.

(cell phone rings)

(rings and beeps)

(sighs)

(music playing indistinctly)

(Perlmutter) BROKEN NECK.

AT LEAST, THAT'S MY PRELIM.

NO WALLET, NO PHONE, NO I.D.

SHE DOESN'T NEED I.D.

YOU KNOW HER?

ARE YOU SURE IT'S HER? THAT'S HAYLEY BLUE.

I TOOK ALEXIS TO SEE HER BAND, THE BLUE PILL, LAST YEAR.

WHAT HAPPENED? WELL, IT LOOKS LIKE SHE WAS KILLED OFF-SITE,

THEN BROUGHT HERE AND STAGED. TIME OF DEATH?

UH, I'D SAY BETWEEN MIDNIGHT AND 3:00 A.M., GIVE OR TAKE.

(music continues) DO YOU GUYS HEAR THAT?

WHAT? THE SONG--IT'S PLAYING AGAIN.

(music continues)

(camera shutter clicking)

IT'S ON REPEAT.

"HERE, KITTY KITTY" BY THE BLUE PILLS.

IT'S ONE OF HERS. WELL, THAT'S GOTTA BE A MESSAGE, RIGHT?

ALL RIGHT, HAVE C.S.U. BAG THIS,

CHECK THE BODY-- FIBERS, PRINTS, THE WHOLE WORKS.

GUY COULD'VE TOSSED THE BODY IN A DUMPSTER.

INSTEAD HE HANGS HER FROM A FIRE ESCAPE.

HE IS SENDING A MESSAGE.

(Montgomery) IT'S ABOUT TIME YOU GOT BACK.

WE'VE GOT A VERY PERSISTENT CITIZEN

WAITING TO ASK YOU SOME QUESTIONS.

ALEXIS, WHAT ARE YOU DOING HERE?

HOW COME YOU'RE NOT AT SCHOOL? OH, I HAVE STUDY HALL FIRST PERIOD.

DAD, IS IT TRUE? UH, YEAH, SWEETIE. I'M AFRAID SO.

WHAT HAPPENED, WAS IT THE DRUGS?

DOESN'T LOOK LIKE IT. WHY? DID SHE HAVE A DRUG PROBLEM? WELL, SHE USED TO.

SHE WENT TO REHAB A FEW MONTHS AGO

AFTER HER FRIEND FOUND HER CHOKING ON HER OWN-- OKAY. YOU KNOW, I-- YOU KNOW WHAT? I THINK IT'S TIME

WE RESET THE PARENTAL CONTROLS ON YOUR COMPUTER. PLEASE.

I HAD TO SET PARENTAL CONTROL ON YOUR COMPUTER. REMEMBER? SPEAKING OF WHICH--

NO. (Esposito) BECKETT.

YEAH.

STREET WAS NEGATIVE FOR CAMERAS.

WE GOT A DOZEN SHOE PRINTS OFF THE ALLEY, SIZE 5 THROUGH 11.

CHECKED HER D.M.V. RECORDS ONLINE,

SHE MOVED FROM THE ADDRESS THEY HAVE LISTED THREE MONTHS AGO.

THAT WAS ABOUT THE SAME TIME THAT HAYLEY WENT INTO REHAB. (Ryan) BUT CHECK THIS OUT.

I RAN A SEARCH FOR THAT SONG ON HAYLEY'S iPod,

"HERE, KITTY KITTY."

LOOK WHAT POPPED UP.

♪ I CAN SEE THE WRITING 'CAUSE I WROTE IT ON THE WALL ♪

A MUSIC VIDEO? SEE IF THIS LOOKS FAMILIAR.

♪♪

♪ YOU CAN'T CONQUER AND DIVIDE ♪

♪ JUST BECAUSE I'M OPEN WIDE ♪

♪ YOU CAN'T CATCH ME THOUGH YOU TRY ♪

♪ YOU CAN KISS THIS GOOD-BYE ♪

(keyboard key clicks)

IS THAT HOW YOU FOUND HER?

DOES THAT MEAN ANYTHING TO YOU?

YEAH. HAYLEY WROTE THIS SONG

ABOUT SOME OBSESSED FAN WHO WAS STALKING HER. DO YOU KNOW WHO HE WAS?

WAIT. THERE MIGHT BE SOMETHING IN THE SONG.

PLAY IT AGAIN.

♪ IT'S OKAY TO WANT ME, BUT YOU WANT NOTHING ELSE ♪

♪ SITTING BACK AND PLOTTING ♪

♪ IS A CRIME IN ITSELF ♪

"SITTING BACK AND PLOTTING."

SOUNDS LIKE SHE THOUGHT HE WAS DANGEROUS. YEAH. LISTEN, HERE'S THE PART.

♪ DOES 50 FEET OR LESS MEAN ANYTHING TO YOU AT ALL? ♪

"50 FEET OR LESS." SHE GOT A RESTRAINING ORDER AGAINST HIM.

ALL RIGHT, RUN IT AND GET ME A NAME.

AND YOU... WILL GO OFF TO SCHOOL.

BUT I WAS JUST HELPFUL. YES, BUT IF I LET YOU OUT OF CLASS

EVERY TIME YOU WERE HELPFUL, YOU'D NEVER GO. BUT I WON'T BE ABLE TO FOCUS ON SCHOOL TODAY.

I JUST CAN'T CONCENTRATE. WHICH WOULD MAKE YOU

JUST LIKE ALL THE OTHER KIDS IN YOUR CLASS. DAD.

I AM SERIOUS. OR I WILL CALL THE TRUANT OFFICER.

DO YOU STILL HAVE TRUANT OFFICERS? BUDGET CUTS.

OH, YOU'RE SO LUCKY. FOUND YOUR STALKER.

FRANCO MARQUEZ-- A.K.A. FRANKIE MARKIE.

HAYLEY FILED HALF A DOZEN COMPLAINTS AGAINST HIM.

IT SAYS HERE THAT HE EVEN TRIED TO BREAK INTO HER APARTMENT.

AND WHEN SHE FILED AGAINST HIM, HE SHOWED UP IN COURT

AND HE CALLED HER A...

B-I-T-C-H.

SHE CAN SPELL, DETECTIVE.

PROBABLY BETTER THAN YOU.

BRING HIM IN.

AND YOU, TO SCHOOL.

FINE.

THANK YOU.

WHAT?

NOTHING. IT'S JUST, I'M SO USED TO YOU

ACTING LIKE A 12 YEAR OLD ALL OF THE TIME.

IT'S KIND OF REFRESHING TO SEE YOU AS A FATHER. MAKES YOU WANT ME, RIGHT?

AND THERE'S THE 12 YEAR OLD AGAIN.

WHO ARE YOU CALLING?

ELLISON-KING REHAB CENTER.

IT'S WHERE ALL THE STARS GO TO CLEAN UP. I FIGURED HAYLEY

MUST HAVE GIVEN THEM HER HOME ADDRESS ON HER EXIT INTERVIEW.

IF HAYLEY CLEANED UP. THAT'S WHERE SHE WOULD'VE GONE.

MRS. BUSCH, THE REHAB CENTER SAID THAT YOU AND YOUR HUSBAND

PAID FOR HER TREATMENT,

AND THAT SHE MOVED IN WITH YOU AFTER SHE LEFT THE FACILITY. YEAH.

SHE'D BECOME LIKE FAMILY.

(Castle) DO ALL RECORD PRODUCERS

PAY FOR THEIR ARTISTS TO GO TO REHAB?

NO, MOST JUST SCORE THEM DRUGS AND THEN LOOK THE OTHER WAY.

THEIR MANAGER GETS 'EM SOME POT SO THEY CAN RELAX.

THE PRODUCER GETS THEM SOME BLOW SO THEY CAN--

SO THEY CAN WORK.

THEN SOMEONE GETS 'EM HEROIN.

BY THE TIME WE GOT TO HAYLEY, SHE WAS ALREADY HOOKED.

WE TOLD HER OUR DOOR WAS ALWAYS OPEN

IF SHE WANTED TO GET CLEAN. SHE WAS ALWAYS BETTER THAN THAT BAND.

SHE WAS THE TALENT.

WELL, WHEN THEY FINALLY BROKE UP,

SHE WANTED OFF THE DRUGS, SO WE TOOK HER IN. SHE WAS READY.

SHE WAS RECORDING AGAIN. AND TO BE KILLED BY A FAN...

ACTUALLY, WE DON'T KNOW FOR SURE THAT IT WAS FRANCO. YOU DON'T?

NO. BUT YOU WEREN'T THERE IN THE MIDDLE OF THE NIGHT

WHEN SHE WAS WAKING UP SCREAMING,

TERRIFIED THAT SOMETHING LIKE THIS WAS GONNA HAPPEN.

WE WERE SUPPOSED TO PROTECT HER.

WE SHOULD'VE TRIED HARDER TO FIND HER.

TO FIND HER? LAST MONDAY, SHE DIDN'T SHOW UP AT THE STUDIO FOR A SESSION.

WHEN WE GOT HOME, SHE WAS GONE,

SO WERE HER CLOTHES, HER WATCH, HER JEWELRY--

ANYTHING SHE COULD SELL. WE FIGURED--

SHE HAD RELAPSED. WE TRIED CALLING HER, BUT HER CELL PHONE WAS DISCONNECTED.

IT, YOU KNOW, IT WASN'T LIKE HER TO JUST DISAPPEAR.

SOMETHING SPOOKED HER.

DID HAYLEY HAVE ANY FAMILY?

YEAH. A SISTER. SKY.

DO YOU KNOW WHERE WE COULD FIND HER? WHEREVER SHE IS, SHE PROBABLY HAS A NEEDLE IN HER ARM.

WHEN HAYLEY GOT OUT OF REHAB,

ALL SHE COULD TALK ABOUT WAS SAVING SKY.

NOT THAT SKY WANTED SAVING AFTER WHAT HAYLEY DID TO HER.

WHAT DID HAYLEY DO TO HER?

SHE GOT FAMOUS.

(cell phone rings)

OH, EXCUSE ME.

(rings and beeps)

BECKETT.

OUR FANATIC FAN IS RABBITING.

A NEIGHBOR SAW HIM LEAVING WITH A BACKPACK THIS MORNING.

FROM THE LOOKS OF HIS PLACE, HE LEFT IN A HURRY.

ANY IDEA WHERE HE WAS GOING? Yeah. Away.

HE ALSO CHARGED A BUS TICKET AT PORT AUTHORITY THIS MORNING. HE'S HEADED UPSTATE.

Bus pulled out five minutes ago. You hear that?

YEAH. (beep)

(sirens wailing)

(man) THIS IS THE POLICE DEPARTMENT.

PULL YOUR BUS OVER TO THE CURB.

(tires squealing)

(police radio chatter)

(man) STEP BACK, EVERYONE!

(man speaks indistinctly)

ALL RIGHT, GOT IT. GO.

HANDS WHERE I CAN SEE 'EM, NOW! (woman gasps)

NOBODY MOVE!

(woman gasps)

(grunts) (bus riders) OH!

FRANCO MARQUEZ, YOU'RE UNDER ARREST

FOR THE MURDER OF HAYLEY BLUE.

(Esposito) GET UP. GET UP HERE!

EASY! EASY, MAN! GOD, YOU'RE HURTING ME!

(Franco grunts)

♪♪

YOU GUYS ARE SO STUPID.

I LOVED HAYLEY. SHE WAS MY SOUL MATE.

WHY WOULD I KILL HER?!

WHY DID YOU RUN? (scoffs) WHEN I HEARD HOW YOU FOUND HER,

I KNEW WHAT YOU'D THINK.

OH, SHE WROTE A SONG ABOUT ME, SO OF COURSE I MUST HAVE K--

WHERE WERE YOU AFTER MIDNIGHT LAST NIGHT?

SHE PLAYED A SET AT THE BITTER END LAST NIGHT...

BRAND-NEW SONG.

IT WAS, LIKE, A TOTAL SURPRISE.

LIKE, THERE WAS NO E-MAIL BLAST OR NOTHING, SO I WASN'T THERE.

I ASKED YOU WHERE YOU WERE, NOT WHERE YOU WEREN'T.

SOMEONE RECORDED THE CONCERT AND POSTED IT ONLINE.

IT'S GONE TOTALLY VIRAL ALREADY.

SO THAT'S WHERE I WAS-- AT HOME IN MY ROOM

LISTENING TO HAYLEY'S FINAL SHOW.

YOU SAY FINAL SHOW LIKE YOU KNEW IT WAS GONNA BE HER LAST.

I DID KNOW. SO DID HAYLEY.

SHE KNEW LAST NIGHT SHE WAS GONNA DIE.

LISTEN.

(sighs)

(guitar music playing)

HER NEW SONG.

♪ THE HANDS WE'RE DEALT ♪

♪ WILL NEVER DISAPPEAR ♪

♪ DEATH, SHE GROWS NEAR ♪

"DEATH, SHE GROWS NEAR"?

SHE KNEW HE WAS GONNA KILL HER LAST NIGHT.

AND HE KNEW HE COULD FRAME ME WHEN HE DID. WHO ARE YOU TALKING ABOUT?

I KNOW I'M NOT SUPPOSED TO, BUT...

THE RESTRAINING ORDER... I FOLLOWED HER.

I CAME AROUND THE CORNER, HE WAS YELLING AT HER.

HE SAID HE WAS GONNA KILL HER.

WHO SAID?

FRANCO, WHO DID YOU SEE?

ZACK METZGER,

HER GUITARIST.

ZACK METZGER, GUITAR GOD-- JUVIE RECORDS ARE SEALED,

BUT HE'S GOT A HALF A DOZEN PRIORS AS AN ADULT.

COUPLE OF 'EM ARE DOMESTIC ASSAULTS, TOO.

APPARENTLY, HE LIKES TO HIT WOMEN. (Castle) LOOK AT THIS GUY.

IF I WAS A WOMAN, I'D JUST HIM BACK.

DOES HE LOOK LIKE A KILLER TO YOU? EVERYBODY LOOKS LIKE A KILLER TO ME, CASTLE.

JOB REQUIREMENT.

DO I LOOK LIKE A KILLER TO YOU? YES, YOU KILL MY PATIENCE.

HEY. SO... I JUST TOOK A REPORT

FROM THE RECEIVING OFFICER AT THE 20th PRECINCT.

HE RECOGNIZED HAYLEY FROM THE NEWS.

AND? HE SAYS HAYLEY SHOWED UP AT THEIR DOOR

TO FILE A REPORT THE DAY SHE WENT MISSING.

ABOUT WHAT? HE DOESN'T KNOW.

SHE ASKED TO SPEAK WITH A DETECTIVE.

BY THE TIME THE RECEIVING OFFICER FOUND ONE,

SHE'D SKIPPED OUT. THERE'S ONLY ONE REASON YOU GO TO THE COPS--TO REPORT A CRIME.

OR TO GET HELP BECAUSE YOU THINK YOU'RE IN DANGER.

(rock music playing)

(man speaks indistinctly)

(music continues)

(man) HANG ON A SECOND. I THINK WE'VE GOT COMPANY.

(song ends)

(man) CAREFUL WITH THAT GUITAR WHEN YOU PUT THAT AWAY.

WE HEARD ABOUT WHAT HAPPENED TO HAYLEY.

SUCKS, RIGHT? CAN I GET YOU A TISSUE?

WE HAVE A WITNESS WHO SAW YOU GUYS FIGHTING.

(chuckles) SO? SO SHE'S DEAD NOW.

WELL, I DIDN'T KILL HER. ARE YOU SURE ABOUT THAT?

YOU SURE YOU DIDN'T GET A LITTLE HIGH,

MAYBE PULL A "HULK SMASH" ON YOUR BAND MATE?

YEAH. YEAH, I'M SURE. WHERE WERE YOU

BETWEEN MIDNIGHT AND 3:00 A.M. ON SUNDAY NIGHT?

WE HAD A GIG.

GILLESPIE SWEET 16 OVER ON 82nd.

WE FINISHED AROUND 1:30.

WE PACKED UP AND WE WERE OUT BY 2:00.

ME AND NICK SHARED A CAB TO WILLIAMSBURG.

I PAID WITH A CREDIT CARD. ARE WE DONE?

WOW. SWEET 16 PARTIES.

WHEN HAYLEY WAS WITH THE BAND, WEREN'T YOU OPENING FOR P!NK?

WHAT DO YOU GUYS WANT ME TO SAY?

OKAY, SHE SCREWED ALL OF US WHEN SHE HAD HER LITTLE MELTDOWN

AND DECIDED TO GO SOLO.

DO I HATE HER? YES. DID I KILL HER? NO. WHAT'D YOU GUYS FIGHT ABOUT?

(sighs) HER BEING A SELFISH BITCH.

SHE FOUND OUT

THAT WE WERE HOLDING AUDITIONS FOR HER REPLACEMENT.

AND SHE HAD THOSE D-BAG PRODUCERS SEND US

A CEASE AND RESIST LETTER. OR A CEASE AND DESIST LETTER.

WE MADE THE REPUTATION FOR THE NAME "BLUE PILL,"

BUT SHE OWNED IT.

SO WHAT? SHE HAS A MELTDOWN AND DISAPPEARS OFF THE MAP,

A-A-AND WE CAN'T USE OUR OWN DAMN NAME?

HELL, WE CAN'T EVEN GET ARRESTED NOW. POOR CHOICE OF WORDS.

(cell phone rings)

(beeps)

BECKETT.

OKAY.

HAYLEY'S SISTER IS ON HER WAY TO THE MORGUE

TO IDENTIFY THE BODY.

DON'T LEAVE TOWN.

(woman) ♪ ONE MORE TIME IS WHAT I CRY ♪

BUT FEEL FREE TO BATHE.

♪ WHENEVER I BEGIN TO DROWN ♪

YEAH, WE NEED SECURITY DOWN HERE RIGHT AWAY. (woman) WHO'S THE STUPID BITCH NOW, HUH?!

YOU ARE! WHO'S DEAD ONE NOW, HUH?

(woman shouting indistinctly) WHAT'S GOING ON IN THERE?

UH, HAYLEY BLUE'S SISTER SKY

IS HAVING A VERY EMOTIONAL REACTION

TO HER SISTER'S DEATH. YOU HYPOCRITE! WHO'S DEAD NOW, HUH?

YOU ARE!

SKY.

OW.

WHAT DO YOU WANT?

'CAUSE I'M TALKING TO MY SISTER. I'M DETECTIVE KATE BECKETT.

I'D LIKE TO ASK YOU A FEW QUESTIONS, IF THAT'S OKAY.

YOU'RE A COP? YEAH.

IS THAT A KNIFE? AM I BREAKING THE LAW?

YEAH.

BAD?

PRETTY BAD.

♪ I'M SAFE AND SOUND ♪

♪ AND IT'S WHERE I WANT TO BE ♪

♪ AND WHERE I'M GONNA STAY ♪

♪ 'CAUSE YOU WON'T TAKE ME DOWN ♪

DO YOU WANT TO KNOW A SECRET?

♪ NOT TODAY ♪

I THINK I MIGHT HAVE KILLED HER.

HOW DID YOU KILL HER?

I TOLD HER TO DO THE WORLD A FAVOR AND DROP DEAD.

AND THEN SHE DID.

IT'S FUNNY. SHE USUALLY DOESN'T LISTEN TO ME.

WHY WOULD YOU TELL HER TO DROP DEAD? SHE'S YOUR SISTER. SHE WAS AN ASS.

WHEN DID YOU SEE HER LAST? I DON'T KNOW-- WEDNESDAY, THURSDAY.

WHAT DAY IS IT TODAY? WHERE'D YOU SEE HER?

SHE FOUND ME SELLING A BRACELET

THAT SHE BOUGHT ME FOR MY BIRTHDAY.

DO YOU KNOW WHERE SHE WAS STAYING?

NO, NOT SINCE SHE LEFT BREE AND IAN'S--

THE CHURCH OF HOLIER THAN THOU.

SHE SAID SHE WAS GOING OFF THE GRID.

SHE DIDN'T EVEN HAVE A PHONE.

SECRET AGENT CLEAN AND SOBER-- HAYLEY BLUE.

WHY'D SHE LEAVE THEIR PLACE? SHE ALWAYS LEAVES.

YOU SAID SHE WAS LOOKING FOR YOU LAST WEEK.

YEAH. SHE HAD SOMETHING TO TELL ME, SOMETHING IMPORTANT.

WHAT? I DON'T KNOW, 'CAUSE I TOLD HER TO GO SCREW HERSELF.

I MEAN, I REALLY DON'T NEED HER TRYING TO FIX ME

OR TRYING TO SAVE ME OR MAKING PROMISES

THAT SHE KNEW SHE WASN'T GONNA BE ABLE TO KEEP.

WHAT PROMISES WOULD SHE MAKE? SHE SAID THAT I COULD COME BACK.

SHE SAID THAT WE WERE GONNA BE A TEAM.

BUT I HAD TO GET CLEAN.

"YOU GOTTA CLEAN UP, BABY GIRL.

YOU'RE GONNA END UP DEAD."

HMM. THUS, IRONY.

HOW WAS I SUPPOSED TO GET CLEAN...

WHEN SHE COULDN'T EVEN DO IT?

WAIT A MINUTE. SHE WAS USING AGAIN?

YEAH, SHE WAS WITH TONY THE DAY AFTER I SAW HER. WHO'S TONY?

MY DEALER.

SHE WAS HANDING HIM A WAD OF CASH.

I WAS JUST THINKING, IF SHE WAS USING AGAIN,

THAT WOULD EXPLAIN WHY SHE LEFT HER PRODUCERS,

BUT NOT WHY SHE WAS KILLED,

WHO KILLED HER OR WHY SHE WENT TO THE POLICE.

WHAT I JUST SAID WAS NOT CONFUSING ENOUGH

FOR YOUR FACE TO DO WHAT IT'S DOING. THAT WAS PERLMUTTER.

THE TOX RESULTS JUST GOT BACK FROM THE LAB.

THERE WERE NO DRUGS IN HAYLEY'S SYSTEM.

SHE WAS 100% CLEAN AND SOBER.

THEN WHY WAS SHE GIVING A WAD OF CASH

TO TONY THE DRUG DEALER?

SHE DIDN'T WANT DRUGS. SHE WANTED A GUN. A GUN?

NOT A PUNK-ASS .22 EITHER.

A .38. SHE WANTED TO PUT A HOLE IN A BROTHER.

SEEING AS SHE'S DEAD, I SAY I DID THE RIGHT THING AT THE TIME.

THE GIRL WAS SCARED. OF WHAT?

DIDN'T SAY, AND I DIDN'T ASK.

SHE JUST WANTED THE GUN.

ARE YOU SURE? (Perlmutter) You telling me how to do my job?

NO, PERLMUTTER. I'M NOT TRYING TO TELL YOU HOW TO DO YOUR JOB. Good. You can stop calling me, then.

I JUST... HELLO? HE JUST HUNG UP ON ME.

THERE'S A REASON HE HANGS OUT WITH DEAD PEOPLE.

SO WHAT DID HE SAY? HE IDENTIFIED THE LIPSTICK THAT WAS USED

TO PAINT A SMILE ON HAYLEY'S FACE

AS DANIELLA BOLAN'S VELVET KISS LIPSTICK--LAVA RED. YES, BUT WHAT ABOUT THE GUN? WHAT'D HE SAY ABOUT THE GUN?

OH, I THOUGHT YOU'D NEVER ASK.

THEY FOUND GUNPOWDER RESIDUE ON HAYLEY'S HANDS.

SO NOT ONLY DID SHE BUY A GUN, BUT SHE USED IT.

BUT WHY DIDN'T WE FIND IT? THAT'S BECAUSE WE DIDN'T FIND HER WHERE SHE WAS KILLED.

SO SOMEONE ATTACKED HER, SOMEONE THAT SHE WAS AFRAID OF.

SHE TRIES TO SHOOT THEM, AND IN THE STRUGGLE,

THE ASSAILANT BREAKS HER NECK, DRAGS HER DOWN AN ALLEYWAY,

HANGS HER UPSIDE DOWN, PAINTS A SMILE ON HER FACE,

WHICH APPARENTLY WAS A LOT LIKE A MUSIC VIDEO

THAT HAS NOTHING TO DO WITH OUR MURDER.

YOU THOUGHT YOU SOUNDED SO SMART

WHEN YOU STARTED THAT SENTENCE, DIDN'T YOU? OKAY, MR. MYSTERY WRITER MAN,

WHAT'S YOUR BEST-SELLING THEORY? I'M GONNA GO WITH THE BUTLER.

THE BUTLER? THAT'S WHO WE ALWAYS GO WITH WHEN WE RUN OUT OF IDEAS.

HOW ABOUT ALEXIS? OH, ALEXIS.

SHE'S PERFECT-- SHE'S PERIPHERAL TO THE CASE,

WE DON'T SUSPECT HER, SHE HAS NO ALIBI.

OKAY, I'LL TELL YOU WHAT, WHY DON'T YOU GO HOME

AND QUESTION HER? AND IF SHE BREAKS, CALL ME.

(Castle) HEY.

IF YOU KILLED SOMEONE, YOU WOULD TELL ME, RIGHT?

OF COURSE. (music playing indistinctly)

I'D NEED HELP HIDING THE BODY.

AH HA HA. THAT'S MY GIRL.

HI, DARLING. DID YOU GET MY TEXTS?

YEAH. DID YOU REALLY MEET THE REST OF THE BLUE PILL?

YES, I DID, AND ALL I CAN SAY IS, ADMIRE THEM FROM AFAR.

WHAT ARE YOU LISTENING TO? (Martha) IT'S HAYLEY'S LAST PERFORMANCE.

OY! SHE HASN'T STOPPED LISTENING TO IT ALL NIGHT.

IT'S CALLED "THRESHOLD."

OH, YEAH. IT'S, UH, IT'S PRETTY.

A LITTLE CREEPY, THOUGH.

VERY CREEPY. HOW'S IT CREEPY?

"DEATH, SHE GROWS NEAR"?

IT'S KINDA LIKE "FINAL DESTINATION,"

BUT IN SONG FORM. SHE DOESN'T MEAN "DEATH" DEATH.

WELL, WHAT OTHER KINDS OF DEATH ARE THERE?

ALLEGORICAL, METAPHORIC, SYMBOLIC, SPIRITUAL,

EMOTIONAL, SEXUAL-- AH, O-OKAY, OKAY. THAT'S QUITE ENOUGH.

I THINK I'M PAYING FAR TOO MUCH FOR HER EDUCATION.

I THINK THIS ONE'S SYMBOLIC. HAYLEY WAS INTO ALL SORTS

OF NEW AGE-Y IMAGERY--UH, NUMEROLOGY, ASTROLOGY, TAROT.

AND IN TAROT, THE DEATH CARD DOESN'T SYMBOLIZE DYING.

IT SYMBOLIZES TRANSFORMATION, CHANGE.

LISTEN. (computer beeps, volume increases)

♪ THE HANDS WE'RE DEALT ♪

♪ WILL NEVER DISAPPEAR ♪

(beep, song pauses) "THE HANDS WE'RE DEALT," LIKE SHE'S HAVING HER CARDS READ.

"DEATH GROWS NEAR" MEANS CHANGE IS COMING.

OH, OH, THAT REMINDS ME OF SITTING AROUND WITH LISA OLSEN

TRYING TO DECODE THE BEATLES' LYRICS--

SPINNING THE RECORD BACKWARDS AND TO SEE IF, UH,

PAUL WAS DEAD.

AND WHO COULD FORGET THE COUNTLESS HOURS

I SPENT PONDERING THE LYRICS TO VAN HALEN'S "HOT FOR TEACHER"?

MM. (cell phone rings and beeps, e-mail signal dings)

(laughs) SOUNDS LIKE A DRAMA IS AFOOT.

WHO KISSED WHOM AT WHICH BLEACHERS? NO, IT'S THE OFFICIAL BLUE PILL WEB SITE.

THERE'S A NEW THREAD

TALKING ABOUT THE BAND GETTING BACK TOGETHER. WHAT?

LOOK AT THIS.

"SKY BLUE IS SUPPOSED TO TAKE HAYLEY'S PLACE AS LEAD SINGER.

"THIS IS ALL BUT A DONE DEAL.

"I HEARD THEY'RE STARTING REHEARSALS RIGHT AWAY.

O.M.G.! O.M.G.! O.M.G.!" AND LOOK AT THIS ONE.

"A SOURCE AT JOHN McGINNIS MANAGEMENT

"CONFIRMED IT WHEN I CALLED--

THE BLUE PILL IS DEFINITELY GETTING BACK TOGETHER."

"THE HAYLEY BLUE TRIBUTE TOUR." I THOUGHT YOU SAID HAYLEY WOULDN'T LET THE BAND

HAVE THE NAME BACK. SHE WOULDN'T.

THEN HOW CAN THEY USE IT? WELL, HAYLEY IS DEAD AND SKY'S HER ONLY FAMILY.

IF HAYLEY OWNED THE NAME, THEN IT WOULD GO TO SKY. YOU DON'T THINK SKY KILLED HER OWN SISTER?

SKY IS 100 POUNDS DRIPPING WET.

THE ONLY NECK SHE COULD BREAK IS HER OWN.

"JOHN McGINNIS MANAGEMENT." WHO'S JOHN McGINNIS?

HAYLEY'S OLD MANAGER. SHE FIRED HIM WHEN SHE GOT CLEAN.

SHE DIDN'T SAY HIS NAME,

BUT IN HER INTERVIEW IN "SPIN" LAST MONTH,

SHE PRETTY MUCH IMPLIED THAT HE'S THE ONE

THAT GOT HER HOOKED TO BEGIN WITH. IF THE BAND GOT BACK TOGETHER, HE'D HAVE THE MOST TO GAIN.

NOW DOES THAT MAN LOOK LIKE A KILLER TO YOU?

EVERYBODY LOOKS LIKE A KILLER TO ME.

IT'S A JOB REQUIREMENT.

YOU DIDN'T SAY THAT ABOUT SKY.

JUST... LET ME HAVE THIS MOMENT.

I TOLD YOU--

SUNDAY NIGHT, I WAS IN PHILLY SCOUTING A BAND.

I HIT A MOTEL, I WATCHED A LITTLE PAY-PER-VIEW,

AND I WENT TO BED, WHICH MAY SAY SOMETHING ABOUT MY TASTE,

BUT IT DOES NOT MAKE ME A CRIMINAL.

BUT YOUR RAP SHEET DOES.

SIX COUNTS OF MISDEMEANOR POSSESSION,

TWO COUNTS OF FELONY POSSESSION WITH THE INTENT TO DISTRIBUTE.

(Castle) WHAT'D YOU DO, McGINNIS,

GIVE 'EM A LITTLE TASTE,

MAKE 'EM NEED YOU, MAKE 'EM DEPEND ON YOU?

YOU WANT TO KNOW WHAT I DO?

I MAKE THINGS HAPPEN.

WHEN I MET HAYLEY AND HER SISTER,

THEY WERE PLAYING OPEN MIKES

AT COFFEEHOUSES IN THE EAST VILLAGE.

WHO DO YOU THINK GOT HER A VOCAL COACH?

WHO PAID FOR HER STYLIST?

I TOOK A THIRD-RATE-- A THIRD-RATE--MILEY CYRUS

AND TURNED HER INTO THE NEXT GWEN STEFANI,

AND RIGHT BEFORE MY PAYOFF,

SHE WALKS AWAY.

I... I... (mutters)

AND SINCE SHE OWNED THE BAND NAME,

YOUR HANDS WERE TIED.

BUT NOW THAT SHE'S DEAD,

ALL YOU NEEDED TO DO WAS ROPE IN SKY.

(laughs) LOOK...

THE WAY I SEE IT,

THE BAND GETS BACK TOGETHER, EVERYBODY MAKES A LOT OF MONEY,

EVERYBODY'S HAPPY.

EXCEPT FOR HAYLEY, BECAUSE SHE'S DEAD.

WHICH WILL NO DOUBT HELP US SELL LOTS OF TICKETS

WHEN THE BAND GOES BACK ON TOUR.

IS THAT WHY YOU KILLED HER?

NOW I KNOW MY RIGHTS HERE, AND I'M DONE TALKING.

YOU THINK YOU GOT A CASE? ARREST ME.

I WOULD LOVE TO HAVE THAT KIND OF PUBLICITY.

I NEVER FULLY APPRECIATED THE NUANCES OF THE WORD "SKEEVY"

UNTIL JUST NOW.

HEY, RYAN, DID YOU GET THE PHONE RECORDS

FOR JOHN McGINNIS AND McGINNIS MANAGEMENT? YEAH, JUST GOT 'EM.

YOU DON'T THINK HE DID IT? HE CHALLENGED ME TO ARREST HIM.

HE'S PROBABLY SCREWED

AND FIGURES BLUFFING IS HIS BEST BET.

RYAN, LET'S CROSS-REFERENCE HIS CALLS WITH OUR HIT LIST,

FIND OUT IF HE WAS IN CONTACT

WITH ANYONE FROM HAYLEY'S INNER CIRCLE. WHAT ABOUT HIM BEING IN PHILADELPHIA?

WITH THE RIGHT CONNECTIONS, YOU CAN KILL WITH A PHONE CALL. YEAH, RIGHT HERE.

LOOKS LIKE THE DAY BEFORE HAYLEY DIED, McGINNIS PUT IN

A 10-MINUTE PHONE CALL TO ZACK, THE GUITARIST.

HE HASN'T REPRESENTED THE BAND IN MONTHS.

WHY WOULD HE CALL ZACK THE DAY BEFORE HAYLEY DIED?

LET'S GO FIND OUT.

(Zack) WHAT IS YOUR PROBLEM, YOU FREAK?!

YOU ARE COMPLETELY MENTAL! (Sky) WHO THE HELL DO YOU THINK YOU ARE, LOSER?!

DON'T YOU WALK AWAY FROM ME. I'M TALKING TO YOU!

(objects clattering and crashing) GET THE HELL AWAY FROM ME! YOU TOUCH ME AGAIN,

AND I SWEAR TO GOD, I WILL KILL YOU! (Castle) WHOA! HEY!

SCREW YOU, YOU STUPID WHORE! SIT DOWN, ZACK!

(Sky) OH, STOP! HEY, SKY. IT'S OKAY. SKY.

NO, DON'T! LEAVE ME ALONE. WHAT DID YOU DO TO HER?

NOTHING, MAN! SHE ATTACKED ME.

WE WERE RIFFING ON ONE OF HAYLEY'S SONGS.

ONE MINUTE SHE'S SINGING ALONG, THE NEXT MINUTE,

SHE GOES POSTAL, STARTS TELLING ME I'M STEALING FROM HAYLEY.

SHE'S CRAZY. IT DOESN'T LOOK GOOD, ZACK.

BEATING UP ONE BLUE, KILLING ANOTHER? LOOK, I ALREADY TOLD YOU GU--

SIT DOWN! SIT!

NOW TALK.

I ALREADY TOLD YOU GUYS, I DIDN'T KILL HAYLEY. OKAY?

I WAS AT THE BIRTHDAY GIG, REMEMBER?

RIGHT. THE GILLESPIES' SWEET 16?

YOU TOOK THREE HALF-HOUR BREAKS IN BETWEEN SETS,

DURING WHICH NO ONE REMEMBERS SEEING YOU.

YOU COULD'VE EASILY SLIPPED AWAY AND KILLED HAYLEY.

NOBODY SAW ME BECAUSE I DIDN'T WANT TO SPARK UP A PIPE

IN FRONT OF A BUNCH OF TEENAGERS. WELL, YOUR INNATE SENSE OF DECENCY IS INSPIRING.

WHY DID YOU TALK TO JOHN McGINNIS

THE DAY BEFORE HAYLEY WAS KILLED? HE'S MY MANAGER. IS THAT A CRIME?

EX-MANAGER. HE LET ALL OF YOU GUYS GO

AFTER HAYLEY DISBANDED THE GROUP.

SO WHY DID HE CALL YOU, ZACK?

I'LL TELL YOU WHY. YOU BOTH NEEDED TO GET RID OF HAYLEY

TO GET THE BAND NAME BACK, AND HE CALLED WITH A PLAN.

OKAY, LOOK, FINE, HE HAD A PLAN.

BUT IT WASN'T TO KILL HAYLEY. HE WANTED TO FIND SKY.

WHY? HE HEARD THAT SKY AND HAYLEY WERE TALKING AGAIN.

HE WANTED ME TO GREASE HER WHEELS A BIT. OH, WHAT, WITH YOUR VAST ARRAY OF CHARMS?

IT'S OKAY.

McGINNIS WANTED ME TO GIVE HER DOPE

AND HAVE HER TALK TO HAYLEY

AND GET THE BAND NAME BACK.

HE KNEW THAT THE ONLY WAY TO GET TO HAYLEY WAS THROUGH SKY.

SO I GOT HER WASTED, OKAY?

A LITTLE TOO WASTED.

AND I WENT TO GO SEE HAYLEY MYSELF.

YOU SAW HAYLEY THE NIGHT THAT SHE WAS KILLED?

YOU SHOULDA TOLD US THAT, ZACK.

WHAT, MAKE ME LOOK EVEN MORE GUILTY TO YOU GUYS?

NO. I WATCH TV. I KNOW HOW THE JURY WORKS.

THESE ARE THE LITTLE THINGS THAT GET YOU CONVICTED. SO DOES LYING TO COPS.

KEEP GOING. SPILL IT.

SHE WAS AT A COFFEEHOUSE.

SHE WAS WRITING SONGS AGAIN.

E-EVERYTHING WAS FINE UNTIL HER PHONE RANG.

WHAT HAPPENED?

SHE FREAKED.

SHE HIT "IGNORE,"

BUT EVERY TIME SHE DID, IT JUST RANG AGAIN.

AND EVERY TIME IT RANG, SHE JUST FLIPPED OUT EVEN MORE. YOU HAVE ANY IDEA WHO IT WAS?

YEAH, BECAUSE THEY CALLED SO MANY TIMES,

I SAW THE CALLER I.D.

IT SCARED ME WHEN I SAW IT, TOO.

IT SAID IT WAS DEATH CALLING.

(Castle) I THOUGHT SHE DIDN'T HAVE A PHONE?

SHE PROBABLY HAD A PAY-AS-YOU-GO PLAN, PAID CASH,

AND GAVE THE PHONE COMPANY FALSE INFORMATION.

WELL, THAT MAKES SENSE IF SHE WAS HIDING FROM DEATH

AND TRYING TO STAY OFF THE GRID LIKE SKY SAID.

OKAY, SO OBVIOUSLY, THERE'S A HUMAN BEING

AT THE OTHER END OF THE PHONE.

AND WHOEVER IT IS PROBABLY TRACKED HER DOWN

AND THEN KILLED HER.

SO WHO HAD THE DUBIOUS DISTINCTION

OF BEING KNOWN BY HAYLEY AS "DEATH"?

OKAY. WELL, HOW DOES THE SONG GO?

"DEATH, SHE GROWS NEAR." "SHE"--DEATH IS A WOMAN.

OKAY, FOLLOWING YOU SO FAR.

OKAY, ALEXIS SAYS THAT HAYLEY

LIKED TO DRAW FROM TAROT CARDS IN HER WRITING.

AND IN TAROT CARDS, DEATH ISN'T DEATH.

DEATH MEANS CHANGE. OKAY, SO SHE WASN'T HIDING FROM DEATH.

SHE WAS HIDING FROM CHANGE. SHE HATED OBAMA.

WHO WAS THE EMBODIMENT OF CHANGE?

WHAT WOMAN REPRESENTED

THE BIGGEST CHANGE IN HAYLEY'S LIFE?

THE ONE WHO SENT HER TO REHAB.

THE ONE WHO SAVED HER LIFE.

BREE BUSCH? WHY WOULD HAYLEY'S PRODUCER WANT TO HURT HER?

I DON'T KNOW, BUT IT'S WORTH A SHOT.

(sniffling)

ARE YOU CRYING? (mouths words)

(crying and sniffling)

HEY.

I WAS SINGING HER WORDS.

I COULD HEAR HER VOICE.

I COULD FEEL HER, LIKE SHE WAS HERE.

THAT'S BECAUSE YOUR SISTER WAS STRONG.

(sniffling)

YOU THOUGHT THAT SHE WAS USING AGAIN.

BUT SHE WASN'T. SHE WAS CLEAN.

I WISH THERE WAS SOMETHING WE COULD DO.

CAN'T WE SEND HER TO REHAB OR SOMETHING?

NO ONE CAN HELP HER UNTIL SHE'S READY TO GET CLEAN.

SO I CALLED IN THE WARRANTS YOU WANTED ON BREE BUSCH.

PHONE RECORDS ARE GONNA TAKE A DAY,

BUT HER CREDIT CARD PUTS HER IN THE CITY AT 10:48.

NOW I CHECKED OUR INTERVIEW NOTES.

SHE SAID SHE WAS AT HOME IN BROOKLYN AT 10:00. WHERE WAS SHE AT 10:48?

AT A PHARMACY AT 12th AND 19th.

THAT'S THREE BLOCKS FROM THE CRIME SCENE. (Esposito) YEAH.

MADE ME WONDER WHAT SHE WAS SHOPPING FOR,

SO I CALLED THE STORE. THEY FAXED OVER A RECEIPT.

BOTTLE OF WATER, ENERGY BAR...

AND A TUBE OF DANIELLA BOLAN VELVET KISS LAVA RED LIPSTICK.

THAT'S THE SAME LIPSTICK USED TO PAINT A SMILE ON HAYLEY'S FACE.

OKAY, IT'S TRUE.

I SAW HER THE NIGHT SHE DIED.

WHY DIDN'T YOU TELL US THAT BEFORE?

SHE HAD CALLED THE STUDIO EARLIER THAT DAY.

SHE SPOKE TO MY ASSISTANT KELLY, OKAY?

SHE SAID SHE WANTED TO COME BY AND PICK UP SOME STUFF

SHE'D LEFT BEHIND-- A GUITAR AND SOME PEDALS. THAT'S HOW YOU GOT HER NEW NUMBER.

I CALLED HER BACK IMMEDIATELY. YOU KNOW, I KEPT CALLING.

SHE WOULDN'T PICK UP. I MUST HAVE LEFT HALF A DOZEN MESSAGES.

SO FINALLY I-I, YOU KNOW, LEFT HER A MESSAGE SAYING,

"COME BY TONIGHT, YOU KNOW.

SOMEONE WILL BE HERE TO GIVE YOU YOUR STUFF."

AND I DIDN'T TELL HER IT WAS GONNA BE ME, SO SHE SHOWED. WHAT TIME WAS THAT?

OH, ABOUT 11:00.

ANYWAY, I-I SAID, "I'M NOT GONNA GIVE YOU YOUR STUFF

UNLESS YOU TELL ME WHAT'S GOING ON," YOU KNOW?

SHE WOULDN'T EVEN LOOK AT ME. YOU HAVE TO UNDERSTAND, UM,

I HAD PUT SO MUCH MONEY INTO THIS RECORD,

IF SHE DIDN'T FINISH IT, I WAS GONNA LOSE THE STUDIO.

SO I HAD TO GET HER TO STAY, RIGHT?

MM. UH, SHE WAS USING ANYWAY.

YOU OFFERED HER DRUGS.

A BAG. I OFFERED HER A BAG.

I SAID, "THERE'S PLENTY MORE WHERE THAT CAME FROM."

WELL, I-I WOULD'VE, UH...

GOTTEN HER HELP AFTER SHE FINISHED.

I COULDN'T LET HER WALK AWAY.

YEAH. WELL, HERE'S THE THING, MRS. BUSCH--

HAYLEY WAS CLEAN WHEN SHE DIED.

SHE WASN'T USING.

WELL, I KNOW THAT NOW.

I MEAN, SHE-- SHE OPENED UP HER JACKET

AND SHOWED ME WHAT WAS TUCKED INSIDE--A GUN.

I MEAN, SHE HAD A GUN.

AND SHE SAID, "I WOULD RATHER PUT A BULLET IN MY BRAIN

THAN TO BE USING AGAIN." LET ME MAKE SURE I'M GETTING THIS RIGHT.

YOU LURED HAYLEY HERE UNDER FALSE PRETENSES,

OFFERED HER DRUGS, GOT INTO A HEATED ARGUMENT,

AND YOU'RE TELLING ME THAT SHE WALKED OUT OF THAT DOOR ALIVE?

WHEN DID YOU REPLACE THE PANEL ON THIS BAFFLE?

I-I DON'T THINK IT'S EVER BEEN REPLACED.

YEAH, IT HAS. IT'S NEWER THAN THE OTHER ONES. COULD YOU BE CAREFUL, PLEASE?

THAT'S EXPENSIVE EQUIPMENT. (wood thuds)

CASTLE, WHAT ARE YOU DOING?

APPARENTLY, I'M UNCOVERING A BULLET HOLE.

JUDGING FROM THE DIAMETER OF THE HOLE, IT'S A .38.

THAT GUNPOWDER RESIDUE ON HAYLEY'S HANDS?

THIS IS WHERE THE GUN WAS FIRED.

I HAVE NO IDEA HOW THAT BULLET HOLE GOT THERE. YOU AND HAYLEY FOUGHT.

YOU KNEW THAT IF SHE WALKED OUT THAT DOOR,

YOU WOULD NEVER SEE HER AGAIN.

AND SO YOU GRABBED HER FROM BEHIND.

SHE PULLED OUT A GUN. IT SCARED YOU.

YOU HELD HER TIGHT. A SHOT WENT OFF.

YOU HELD HER TIGHTER STILL,

AND BEFORE YOU EVEN KNEW WHAT HAPPENED,

SHE STOPPED STRUGGLING.

YOU BROKE HER NECK WITHOUT REALIZING IT. THAT'S NOT WHAT HAPPENED.

THAT'S NOT WHAT HAPPENED AT ALL.

IF IT WAS AN ACCIDENT, IF IT WAS AN ACT OF SELF-DEFENSE,

YOU'RE GONNA MAKE THIS ALL EASIER ON YOURSELF

JUST BY TELLING US THE TRUTH.

(Montgomery) SHE'S GONNA DO 20 YEARS

INSTEAD OF PLEADING OUT AND DOING FIVE.

GUILTY CONSCIENCE OR LOUSY LAWYER?

BREE, PLEASE. I CAN'T LOSE YOU FOR 20 YEARS.

I CAN'T LIE. I DIDN'T HURT HER!

THAT'S NOT WHAT HAPPENED. I GUESS IT'S UP TO THE LAWYERS NOW.

THAT'S NOT WHAT HAP-- (switch clicks)

YOU GOIN' HOME TO TELL ALEXIS THE NEWS?

JUST THOUGHT I'D GO FOR A WALK.

ANYPLACE IN PARTICULAR?

IT KILLS ME

THINKING ABOUT HER OUT THERE ALONE.

COME ON. I'LL DRIVE.

SKY?

SKY?

ARE YOU SURE ZACK SAID SHE WAS CRASHING HERE?

YEAH.

(clattering)

IT'S OVER THERE.

(Beckett) SKY. SKY.

HEY, GIRL. HEY.

YOU OKAY?

CAN YOU HEAR ME?

CAN YOU HEAR ME?

McGINNIS GAVE US A SIGNING BONUS.

HE TOLD US A PLACE WE COULD FIX FOR CHEAP.

MM. I COULDN'T DO IT. (sighs)

NO, HAYLEY DIDN'T WANT ME TO.

I C--I'M CLEAN.

SHE'S GONNA HELP ME, RIGHT?

WHEREVER SHE IS...

SHE'S LOOKING OUT FOR ME, RIGHT?

SHE'S ALREADY DOING IT.

(Castle) COME ON. LET'S GET YOU OUT OF HERE.

(Hayley) ♪ INSIDE THIS LIFE ♪

♪ UNDER A SPELL ♪

♪ I CLOSE MY EYES ♪

♪ AND LIVE TO TELL ♪

IS SKY GOING TO BE OKAY?

I THINK SO.

THE WORST PART IS OVER.

NOW SHE JUST HAS TO FIGURE OUT THE REST OF HER LIFE.

AND HAYLEY?

THE WHOLE THING WAS JUST SOME STUPID ACCIDENT?

IT'S JUST SO POINTLESS.

I KNOW.

SOMETIMES WHEN WE LOSE AN ARTIST WE LIKE,

IT'S KINDA LIKE LOSING A FRIEND.

YOU KNOW, I REMEMBER WHEN JOHN LENNON DIED...

I DIDN'T LEAVE MY ROOM FOR A WEEK.

SHE WAS ONLY 25.

I CAN'T HELP BUT THINK ABOUT ALL THE SONGS SHE WON'T WRITE

THAT WE WON'T GET TO HEAR NOW.

AND ALL BECAUSE A PRODUCER THOUGHT SHE WAS BACK ON DRUGS...

WHY WOULD SHE EVEN THINK THAT?

YOU KNOW, WHEN PEOPLE WE CARE ABOUT

SUDDENLY TURN AGAINST US,

WE CAN COME UP WITH ALL SORTS OF REASONS TO EXPLAIN IT.

(song continues playing)

WHO KNOWS WHAT REALLY HAPPENED?

♪ PEOPLE CHANGE ♪

♪ AND INSTANTLY... ♪

WELL, THAT'S IT FOR ME. YOU STAYIN' UP?

IS IT OKAY? I JUST WANT TO LISTEN A LITTLE LONGER.

OF COURSE.

♪ I CAN'T ERASE ALL THE MEMORIES ♪

♪ I CAN EXPLAIN ♪

♪ IF YOU'RE LISTENING ♪

♪ PEOPLE CHANGE ♪

"I CAN EXPLAIN IF YOU'RE LISTENING."

WHAT, DAD?

SHE WROTE THAT SONG A WEEK BEFORE SHE DIED,

AFTER SHE LEFT HER PRODUCERS AND WENT TO THE COPS.

MAYBE SHE'S TRYING TO TELL US WHAT WAS GOING ON.

"LOCKED UP IN SILENCE, A LIVING HELL."

REHAB?

OR HER PRODUCERS.

"THE LOVING HAND THAT SAVED ME."

♪ HIS DARKNESS WEIGHS ON ME AT NIGHT ♪

HER PRODUCERS BREE AND IAN? WAIT.

♪ PEOP-- ♪

(beeps) WHAT IS SHE SAYING THERE, "ITS DARKNESS" OR "HIS DARKNESS"?

♪ HIS DARKNESS WEIGHS ON ME AT NIGHT ♪

(beep)

♪ I NEVER ASKED ♪

♪ OR WANTED TO ♪

(beep)

(song skips)

♪ YOU STEPPED ACROSS MY THRESHOLD ♪

♪ HOW COULD YOU? ♪

"YOU STEPPED ACROSS MY THRESHOLD. HOW COULD YOU?"

OH, GOD, DAD.

DOES THAT MEAN WHAT I THINK IT MEANS?

(cell phone beeps)

IT MEANS... WE HAVE THE WRONG KILLER.

(Beckett) THE IDENTITY OF OUR KILLER IS IN THE SONG?

IT'S RIGHT THERE. LISTEN. I KNOW. I ALREADY HEARD IT.

DON'T YOU THINK THAT IF HAYLEY KNEW WHO WAS GONNA KILL HER,

SHE WOULD'VE TRIED TO PREVENT THE MURDER? IT NEVER MADE SENSE UNTIL NOW. WHY WOULD SHE UP AND DISAPPEAR

WHEN EVERYTHING SEEMED TO BE GOING SO WELL?

IT'S IN THE WORDS. SHE EVEN SAYS IT.

"I CAN EXPLAIN IF YOU'RE LISTENING."

JUST LIKE THAT, I'M FREE TO GO?

JUST LIKE THAT. (laughs)

YOU NEED TO SIGN A FEW RELEASE FORMS,

IF YOU DON'T MIND. (Ian) I DON'T BELIEVE IT. THANK GOD.

THANK YOU SO MUCH.

DOES THIS MEAN YOU FOUND THE REAL KILLER? (Beckett) WE'RE ABOUT TO MAKE AN ARREST.

THAT'S GREAT. YOU KNOW WHAT'S EVEN BETTER

IS IT WAS HAYLEY HERSELF WHO LED US TO HER KILLER.

HOW'D SHE DO THAT?

HER LAST SONG--THE ONE THAT WAS PLAYING THE NIGHT SHE DIED.

IT'S ALL OVER THE WEB. YOU KNOW THE ONE. (remote beeps)

(Hayley) ♪ INSIDE THIS LIFE ♪

♪ UNDER A SPELL ♪

MM.

IT'S THE LYRICS THAT REALLY GET ME.

THERE'S SO MANY LAYERS.

IT TOOK ME A FEW LISTENS TO GET TO THE BOTTOM OF THEM.

MM-HMM. FIRST TIME I HEARD IT,

I THOUGHT IT WAS ABOUT GOING INTO REHAB.

IT IS. IT'S ABOUT COMING FROM A DARK PLACE

AND HAVING THE COURAGE TO GET ON WITH YOUR LIFE.

DIFFERENT DARK PLACE. LISTEN.

THIS IS THE PART THAT GIVES IT AWAY. (beeps, song skips)

♪ I NEVER ASKED ♪

♪ OR WANTED TO ♪

♪ YOU STEPPED ACROSS MY THRESHOLD ♪

♪ HOW COULD YOU? ♪

I DON'T UNDERSTAND.

SOMEBODY CROSSED OVER HER THRESHOLD.

SHE DIDN'T WANT HIM TO. SOMEONE FORCED HIMSELF ON HER.

YOU'RE GETTING ALL THAT FROM A SONG?

WELL, THERE'S OTHER PLACES WHERE IT'S MORE OVERT.

BUT IF YOU LISTEN TO THE WORDS, ANALYZE THEM, IT'S ALL THERE--

FATHER FIGURE, BETRAYAL...

VIOLATION.

IT'S TRULY AWFUL.

WHY DIDN'T SHE SAY ANYTHING?

IAN, DID SHE EVER SAY ANYTHING TO YOU?

NO. NO, SHE DIDN'T.

YOU TOLD YOUR HUSBAND ABOUT ARGUING WITH HAYLEY

THE NIGHT SHE WAS KILLED, DIDN'T YOU? (Bree) YES.

HE WAS THERE WHEN I GOT HOME FROM THE STUDIO.

I TOLD HIM THE WHOLE THING.

UH, I WAS SO UPSET,

I TOOK A SLEEPING PILL TO GET SOME REST. THAT'S WHEN YOU BORROWED YOUR WIFE'S CELL PHONE

AND HER BRAND-NEW LIPSTICK.

IT'S A GOOD THING WE'D SUBPOENAED

YOUR WIFE'S PHONE RECORDS

WHEN I HAD THIS WHOLE CRAZY LYRIC IDEA.

OTHERWISE, WE MIGHT HAVE MISSED OUT

ON ALL THOSE TEXTS YOU SENT HAYLEY. WHAT TEXTS?

TEXT MESSAGE FROM YOUR PHONE AT 11:52--

"IAN TOLD ME THE WHOLE THING. WE HAVE TO TALK RIGHT AWAY.

MEET ME AT THE STUDIO."

I NEVER SENT THAT TEXT.

11:54--"I'M SO SORRY FOR WHAT HE DID TO YOU.

I'M LEAVING HIM. PLEASE COME TALK TO ME."

AND THEN FINALLY AT 11:56, A REPLY FROM HAYLEY.

"SEE YOU THERE."

(voice breaks) WHAT DID YOU DO?

"THE LOVING HAND THAT SAVED ME HELD TOO TIGHT."

HE PRETENDED TO BE YOU

BECAUSE HE WAS THE ONE WHO FORCED HIMSELF ON HAYLEY.

HE WAS AFRAID SHE WAS GONNA TALK,

SO HE PRETENDED.

BY THE TIME HAYLEY REALIZED

IT WAS IAN WAITING FOR HER AT THE OFFICE,

IT WAS TOO LATE.

IAN?

IAN?!

I DIDN'T FORCE MYSELF ON HAYLEY.

SHE SEDUCED ME, FROM THE TIME SHE MOVED IN--

THE WAY SHE TALKED TO ME, THE WAY SHE TOUCHED ME.

AND NOW AFTER ALL WE'D DONE FOR HER,

SHE WAS GONNA MAKE UP THIS LIE TO DESTROY OUR MARRIAGE

AND RUIN OUR--OUR BUSINESS?

NO. SO YOU SNAPPED HER NECK.

THE GUN DIDN'T DO HER ANY GOOD, DID IT?

YOU WERE TOO STRONG,

JUST LIKE THE NIGHT WHEN YOU ASSAULTED HER.

YOU KILLED HER.

AND YOU ALMOST GOT AWAY WITH IT.

BUT HAYLEY WOULDN'T SHUT UP, WOULD SHE?

THAT WAS PRETTY SMART,

STAGING THE CRIME SCENE LIKE THE STALKER VIDEO,

MAKING IT LOOK LIKE SOMEONE ELSE DID IT.

SHE LOVED YOU LIKE A FATHER.

THE WAY SHE LOOKED UP TO YOU...

IT MADE ME LOVE YOU MORE.

(cries)

LOOK AT ME.

I'D LIKE A LAWYER NOW.

BREE TURNED ON HER HUSBAND

THE MOMENT SHE FOUND OUT WHAT HE HAD DONE TO HAYLEY.

NEEDLESS TO SAY, SHE'S FILED FOR DIVORCE.

NO WONDER HAYLEY COULDN'T TELL BREE WHY SHE RAN AWAY.

YOU SEE, SHE DIDN'T HAVE ANYONE TO TALK TO.

SO SHE DID THE ONE THING THAT SHE COULD. SHE WROTE ABOUT IT. THAT KINDA REMINDS ME

OF WHEN I WROTE "WHEN IT COMES TO SLAUGHTER."

IT WAS AT A TIME IN MY LIFE WHEN I WAS JUST--

I WAS TRYING TO WORK THROUGH... IT'S NOT IMPORTANT.

SO IS HE PLEADING OUT? OH, HE CAN TRY.

PERLMUTTER RAN HIS COAT AND FOUND

THE SAME GUNPOWDER RESIDUE THAT HE FOUND ON HAYLEY.

HE'S GOING AWAY FOR A LONG TIME. GOOD.

NICE JOB...

BOTH OF YOU.

SO WHAT ARE YOU GONNA TELL ALEXIS?

WHAT I ALWAYS TELL HER...

THE TRUTH.

(rock music playing)

(cheers and applause)

HAYLEY MARIA BLUE,

WE LOVE AND MISS YOU.

THIS ONE'S FOR YOU.

♪ INSIDE THIS LIFE ♪

♪ UNDER A SPELL ♪

(man) WE LOVE YOU, HAYLEY!

(crowd cheering)

♪ I CLOSE MY EYES ♪

♪ AND LIVE TO TELL ♪

♪ THE HANDS WE'RE DEALT ♪

♪ WILL NEVER DISAPPEAR ♪

♪ DEATH, SHE GROWS NEAR ♪

♪ PEOPLE CHANGE ♪

♪ AND INSTANTLY ♪

♪ I'M NOT THE SAME GIRL ♪

♪ I USED TO BE ♪

♪ I CAN'T ERASE ♪

♪ ALL THE MEMORIES ♪

♪ BUT I CAN EXPLAIN IF YOU'RE LISTENING ♪