Original subtitles

OHH.

JOSEPH... THIS IS THE LAST TIME WE CAN DO THIS.

WHAT ARE YOU TALKING ABOUT? I'M GOING BACK TO MY HUSBAND.

ALFONSO? I'M SORRY.

ANGIE, BABY, WHAT ABOUT US?

(sighs)

(door closes) OH, MY GOD. OH, MY GOD. THAT'S HIM.

HE'S HOME EARLY. (man with European accent) ANGELA, ARE YOU UPSTAIRS?

HIDE IN THE CLOSET. NOW. I'M GOING. I'M GOING.

MI BELLO...

AH! AAH!

(gasps)

(murmuring)

ALL RIGHT. WHAT'S GOING ON, FELLAS?

WHAT, THE GAG REEL GETTING A LITTLE THIN?

MNH-MNH. NO.

OH, MY GOD.

IT'S SARAH.

SOMEONE KILLED SARAH.

(Bachman-Turner Overdrive's

"Takin' Care of Business" playing)

(humming)

♪♪♪

(hums) YEOW.

OH. OH-HOO!

(raised voice) I KNOW YOU AREN'T COOKING BREAKFAST,

SO WHAT IS ALL THIS?

(lowers volume) SPRING CLEANING.

(normal voice) OH. WELL, MOTHER, I AM--I AM SHOCKED

THAT YOU EVEN KNOW HOW TO OPERATE A SPONGE. OH, I HAVE CLEANED BEFORE.

WELL, I'VE SUPERVISED CLEANING BEFORE.

AND WHAT HAS, UH, PROMPTED

THIS SUDDEN BURST OF DOMESTIC DEVOTION?

THE SPACE FOR MY ACTING SCHOOL

WON'T BE READY FOR ANOTHER MONTH,

ALEXIS IS ALL BUSY WITH HER A.P. TESTS,

MY LUNCH DATE CANCELED... OH.

AND IF I DON'T DO SOMETHING PRODUCTIVE,

I'M GONNA TEAR MY HAIR OUT, SO OUT MY WAY. PARDON.

(cell phone rings) OH.

(ring) SPEAKING OF HAIR.

(sexy voice) HELLO, BECKETT.

(normal voice) YES. 1777 21st STREET.

ALL RIGHT. I'LL MEET YOU THERE.

DID YOU SAY 1777 21st STREET?

YEAH. THERE WAS A MURDER THERE. WHY?

OH, I KNOW THAT ADDRESS. THAT'S GEMSTAR STUDIOS.

THAT'S WHERE THEY FILM "TEMPTATION LANE."

THE SOAP OPERA YOU USED TO BE ON? OH, I-I HOPE IT'S NOBODY THAT I KNOW.

MAYBE I SHOULD GO WITH YOU. (laughs)

IT'S A CRIME SCENE, MOTHER. WE'RE TRAINED PROFESSIONALS.

RICHARD CASTLE, YOU ARE NEITHER TRAINED

NOR A PROFESSIONAL.

I'LL TEXT YOU WITH UPDATES.

VICTIM'S NAME IS SARAH CUTLER.

LOOKS LIKE SHE WAS KILLED LAST NIGHT

AND STUFFED INTO A CLOSET ON SET.

WAS SHE A PART OF THE PRODUCTION? YEAH.

LET ME GUESS. THE DIVA ACTRESS THAT EVERYONE HATED. ACTUALLY, CASTLE, SHE WAS A WRITER.

A WRITER? (Esposito) MM-HMM.

WHY WOULD ANYONE WANT TO KILL A WRITER? OH, SO MANY REASONS.

OR MAYBE SARAH DISCOVERED

THAT GREEK BILLIONAIRE MIKKOS HAD INVENTED A MACHINE

THAT COULD CAUSE BLIZZARDS,

THAT WOULD PLUNGE THE ENTIRE WORLD INTO AN ICE AGE.

REALLY? YOU'RE GONNA GO WITH AN EVIL WEATHER MACHINE?

IT ALREADY HAPPENED.

ON "GENERAL HOSPITAL." LOOK, BEAR IN MIND,

WE'RE ENTERING INTO A WORLD OF EPIC DRAMA

WITH LARGER-THAN-LIFE CHARACTERS,

EACH ONE TEEMING WITH TWISTED SECRETS

AND PERSONAL INTRIGUE.

IT STANDS TO REASON THAT THE MOTIVE FOR THIS MURDER

WILL BE WORTHY OF A SOAP OPERA.

CASTLE, EVEN IN A WORLD OF EPIC DRAMA,

THE MOTIVES ARE USUALLY QUITE ORDINARY.

(Castle) NOW DOES THAT LOOK ORDINARY TO YOU?

(camera shutter clicking)

THE VICTIM WITH AN AX IN HER BACK

ON THE SET OF HER OWN SHOW...

ODDS ARE, THE KILLER WALKS AMONGST US

ON THIS VERY SOUNDSTAGE.

SO WHAT HAVE WE GOT?

HER SPINAL CORD WAS SEVERED WITH THE AX.

UPON CONTACT, HER LUNGS FILLED WITH BLOOD,

'CAUSING HER TO DROWN.

I CAN PUT THE TIME OF DEATH IN A 4-HOUR WINDOW,

SOMEWHERE BETWEEN 7:00 AND 11:00 P.M. LAST NIGHT.

AND WHERE DID THIS AX COME FROM? IT'S THE FIRE AX FROM THE STAGE.

CREW MEMBERS THINK IT MIGHT BE SYMBOLIC. SYMBOLIC?

WELL, WHEN MS. CUTLER TOOK OVER WRITING THE SHOW,

FIRST THING SHE DID WAS KILL OFF

ONE OF THE MAIN CHARACTERS WITH AN AX.

NOW IT SAVED THE SHOW, BUT SOME OF THE FANS WERE UNHAPPY. YOU DAMN RIGHT WE WERE UNHAPPY.

ASHLEY CONRAD WAS THE MATRIARCH OF "TEMPTATION LANE"

FOR 30 YEARS, AND THEN ALL OF A SUDDEN--WHAP!

LANIE.

RIGHT.

BASED ON THE C.S.U. SWEEP, SHE WAS KILLED RIGHT HERE.

THE KILLER WIPED UP THE BLOOD SPATTER

AND SHOVED HER IN THE CLOSET. (Castle) WHICH MEANS THEY KNEW THERE WAS A CLOSET

TO SHOVE HER INTO,

SUGGESTING SOMEONE FAMILIAR WITH THE LAYOUT.

AN INSIDER, PERHAPS? (Ryan) WELL, I JUST CHECKED WITH SECURITY.

THEY'RE ON HIGH ALERT NOW, BUT AS YOU CAN TELL,

THINGS AREN'T EXACTLY BUTTONED UP AROUND HERE. AND WHAT ABOUT THE CAMERAS?

ONLY ONE AT THE MAIN ENTRANCE,

BUT NO ONE WAS MANNING THE ENTRANCE TO THIS SOUNDSTAGE.

OH, SO IT IS POSSIBLE THAT SOMEONE FROM THE OUTSIDE GOT IN?

HAVE YOU TALKED TO NEXT OF KIN? HUSBAND WAS ON SET WHEN THE BODY WAS DISCOVERED.

TURNS OUT, HE'S ONE OF THE DIRECTORS. OKAY, SO WHY DON'T YOU GUYS

GET STATEMENTS FROM THE ACTORS THAT FOUND HER?

CASTLE AND I WILL TALK TO THE HUSBAND. RIGHT.

IT'S TRAGIC, REALLY. I MEAN, SARAH WAS A GEM.

SUPREMELY TALENTED, TOO.

IT ALL BEGINS WITH THE WORDS.

BUT IT'S ALSO HOW YOU SAY THEM. SO TRUE.

MY PERFORMANCE BRINGS ANGELA CANNON TO LIFE.

WITHOUT SARAH'S WORDS, I'D JUST BE

AN INCREDIBLY GORGEOUS WOMAN NAMED MANDY BRONSON.

SHE REALLY UNDERSTOOD JOSEPH FOX.

(sucks teeth) MY CHARACTER.

HE'S VERY COMPLICATED.

COMPLICATED? A 5 YEAR OLD COULD WRITE HIM. YOU KNOW, I'D BE INSULTED

IF YOU ACTUALLY KNEW ANYTHING ABOUT ACTING. MS. BRONSON,

WHAT TIME DID YOU LEAVE THE STUDIO LAST NIGHT?

WE WRAPPED AT 6:00, AND I WENT STRAIGHT HOME.

I, UM... I DREW A BATH, POURED A GLASS OF WINE,

PUT ON A LITTLE JOHN LEGEND,

THEN I SLIPPED OUT OF MY SILK ROBE

AND LET THE BUBBLES SOAK EVERY INCH OF MY BODY. WOW.

DUDE.

DUDE. DUDE.

I'M JUST... MR. HASTINGS, HOW ABOUT YOU?

DITTO. YOU ALSO DREW A BUBBLE BATH

AND LISTENED TO SOME JOHN LEGEND? NO, I LEFT RIGHT AFTER WE WRAPPED.

AND WHEN DID YOU LAST SEE SARAH? SHE CAME DOWN TO THE SET

RIGHT BEFORE WE SHOT A LOVE SCENE. HA! MORE LIKE A TORTURE SCENE,

WITH ME GETTING SMOTHERED BY HIS BULK.

WHY DON'T YOU GET YOUR ASS TO THE GYM? I'LL GO TO THE GYM IF YOU POP A TIC TAC

THE NEXT TIME WE HAVE TO KISS.

CAN WE GET BACK TO SARAH FOR JUST ONE MORE MOMENT?

DID SHE HAVE ANY ENEMIES IN THE PRODUCTION?

NO, NO. SARAH WAS WONDERFUL. EVERYBODY LOVED HER.

YEAH. SHE TREATED EVERYONE WITH RESPECT.

I CAN'T IMAGINE WHO WOULD DO THIS.

MR. POWERS, WHEN WAS THE LAST TIME YOU HEARD FROM YOUR WIFE?

I, UM, SPOKE WITH SARAH... LAST NIGHT, RIGHT--RIGHT HERE,

RIGHT WHERE WE'RE STANDING RIGHT NOW.

AND WHAT DID THE TWO OF YOU TALK ABOUT?

END OF THE DAY, JUST TOUCHING BASE. WHAT TIME WAS THAT?

MAYBE A LITTLE AFTER 6:00. UH, DIDN'T YOU FIND IT STRANGE

THAT SARAH DIDN'T COME HOME LAST NIGHT? I'M USED TO IT.

SARAH'S THE HEAD WRITER. LONG HOURS WRITING SCRIPTS

KIND OF COMES WITH THE TERRITORY.

SHE HAVE ANY TROUBLE WITH CAST OR CREW?

WELL, EVERYBODY HERE HAS AN AGENDA,

AND SARAH HAD TO MAKE A LOT OF TOUGH DECISIONS,

BUT NOBODY HERE WOULD ACTUALLY HURT HER.

I MEAN, WE'RE LIKE A FAMILY. WHAT ABOUT ANYONE OUTSIDE THE SHOW?

NO, NOT THAT I... WAIT.

WHAT? FOX CAN LOVER.

FOX CAN LOVER?

ABOUT A WEEK AGO, SARAH HAD THIS--THIS CRAZY, OBSESSED FAN

KICKED OFF THE SET.

SH-SHE WRITES AN UNOFFICIAL BLOG ABOUT THE SHOW.

SHE'S A SHIPPER WHO GOES BY THE SCREEN NAME FoxCanLover.

A SHIPPER? UH, YEAH, IT'S A PERSON WHO INVESTS

IN THE RELATIONSHIPS OF A SHOW.

IN THIS CASE, IT WOULD BE JOSEPH FOX AND ANGELA CANNON,

HENCE FoxCan.

EXACTLY, BUT WHEN SHE GETS HERE, SHE LOSES IT,

GOES CRAZY, THREATENS SARAH.

SECURITY HAS TO ESCORT HER OFF. DO YOU KNOW THE LADY'S NAME?

NO, I-I DON'T, BUT SARAH'S ASSISTANT WOULD--

REESE HARMON. (footsteps approach)

IS IT TRUE? OH. (whispering) IT'S TRUE.

I'M SO SORRY. (crying) MY BABY'S GONE.

I'M SORRY. (normal voice) THIS IS, UM,

THIS IS SARAH'S MOM, GLORIA CHAMBERS.

DETECTIVE BECKETT IS INVESTIGATING SARAH'S MURDER.

IT'S SO UNFAIR.

I JUST GOT HER BACK, AND NOW SHE'S GONE.

MRS. CHAMBERS, WERE THE TWO OF YOU ESTRANGED?

WE HAD BEEN FOR YEARS.

I GAVE HER UP FOR ADOPTION WHEN I WAS YOUNG.

WHAT KIND OF MONSTER WOULD DO THIS?

WE DON'T KNOW JUST YET, BUT WE ARE GONNA DO

EVERYTHING WE CAN TO BRING THEM TO JUSTICE.

YOU'D BETTER, OR I WILL SUE THE ENTIRE CITY

FOR EVERY NICKEL IT'S WORTH.

WELL, I UNDERSTAND BEING UPSET,

BUT THREATENING TO SUE?

YEAH, WELL, EVERYBODY PROCESSES THEIR GRIEF DIFFERENTLY.

YES, UNLESS SHE'S A GOLD-DIGGING OPPORTUNIST

WHO'S INSINUATED HERSELF BACK INTO HER DAUGHTER'S LIFE

BECAUSE SHE'S IN NEED OF A HEART TRANSPLANT,

AND SARAH IS THE ONLY COMPATIBLE DONOR. SURE, MAYBE ON "TEMPTATION LANE."

NOT IN THE REAL WORLD.

UH, SPEAKING OF WHICH, FoxCan? MM-HMM.

JOSEPH FOX AND ANGELA CANNON-- HOW DID YOU KNOW THEIR NAMES?

UH, ONE OF THE UNIFORMS BRIEFED ME.

OH. AND SHIPPERS-- RELATIONSHIP FANS?

CASTLE, I DO READ, YOU KNOW? COOL.

(indistinct conversations)

(bell rings)

(ring)

(Beckett) EXCUSE ME.

ARE YOU REESE HARMON?

FoxCanLover's REAL NAME

IS CARRIE EDWARDS.

SHE WON THE SET VISIT FROM A LITERACY CHARITY

THAT SARAH SUPPORTED. SHE PAID $1,000 FOR IT.

EVERYTHING WAS FINE AT FIRST, BUT WHEN SHE SAW SARAH,

SHE GOT IN HER FACE AND STARTED YELLING,

"YOU RUINED EVERYTHING." DID SHE EVER SEND SARAH ANY THREATENING LETTERS,

ANYTHING THAT YOU MIGHT HAVE ON FILE?

NO, BUT SHE DID WRITE SOME PRETTY AWFUL THINGS ON HER BLOG.

I'LL SHOW YOU THAT. MM-HMM.

IF SARAH WAS WORKING LATE, WHY WEREN'T YOU HERE?

YOU--YOU ARE HER ASSISTANT?

I USUALLY STAY, BUT SARAH WOULDN'T LET ME.

WHY NOT? ONE OF HER PASSIONS WAS HELPING YOUNG WRITERS.

SHE GOT ME A POSITION

AT THE NETWORK FELLOWSHIP PROGRAM.

WE HAD A MIXER LAST NIGHT. (clicks mouse keys)

SHE WAS SUPPOSED TO COME, BUT... SHE NEVER SHOWED.

WHEN WAS THE LAST TIME YOU SAW HER?

AROUND 6:30.

BROUGHT HER HER COFFEE AND SCONE. (beep)

HERE IT IS. LAST WEEK, THE DAY OF THE SET VISIT,

LOOK AT WHAT SHE WROTE.

"MADE IT ONTO THE SET,

BUT DIDN'T COMPLETE THE MISSION." LOOK AT THE MOST RECENT POST.

"LAST TIME, I FAILED. THIS TIME I WILL SUCCEED.

"SHE'S BEEN STABBING US LOYAL FANS IN THE BACK.

NOW IT'S OUR TURN TO TAKE HER DOWN..."

"IT'S TIME TO GIVE HER THE AXE."

SHE'S DEAD? YEAH.

SARAH CUTLER'S DEAD?

THAT'S THE BEST NEWS EVER.

CAN I SEND A QUICK TWEET?

NOT COOL?

I'LL WAIT. MUST HAVE BEEN DIFFICULT NOT TO BLOG ABOUT IT LAST NIGHT.

YEAH. HOW WOULD I KNOW?

WAIT.

YOU GUYS THINK I HAD SOMETHING TO DO WITH THIS?

WELL, I MEAN, YOUR BLOG CLEARLY SPELLS OUT

YOUR DETERMINATION TO TAKE OUT SARAH.

BUT EVERYBODY TALKS TOUGH ON THE INTERNET.

YOU WROTE, "IT'S TIME TO GIVE HER THE AX"

THE DAY SHE WAS KILLED WITH AN AX.

OKAY, NOW I CAN EXPLAIN THIS.

WE ALREADY FIGURED IT OUT.

YOU BOUGHT THE SET VISIT TO GET CLOSER TO SARAH.

YOUR VISIT WAS CUT SHORT.

YOU CAME BACK LAST NIGHT WHEN NO ONE WAS AROUND

AND THEN YOU REMEMBERED, THERE'S AN AX ON THE SOUNDSTAGE.

NO, NO, NO. I BOUGHT THE SET VISIT

BECAUSE SHE WAS BEING SWAYED BY THE CanFonsos.

WHO?

THE CanFonsos-- THE OPPOSITION.

(scoffs) THEY BELIEVE THAT ANGELA CANNON

SHOULD BE TOGETHER WITH ALFONSO DOMINGUEZ.

I WAS TRYING TO CONVINCE HER

THAT ANGELA BELONGS WITH JOSEPH. WITH AN AX?

YES.

WAIT. NO.

I WAS ORGANIZING A PROTEST, OKAY? WE WERE GONNA SEND

A WHOLE BUNCH OF AXES TO THE HEAD OF THE NETWORK,

DEMANDING THAT SARAH BE FIRED.

I'VE GOT EVERYBODY ON MY WEB SITE DOING IT.

WE WANT THEM TO KNOW THAT WE THINK SARAH'S RUINING THE SHOW. WHERE WERE YOU LAST NIGHT BETWEEN 7:00 AND 11:00?

I WAS CHATTING WITH THE OTHER FoxCans.

WILD GUESS--ALONE?

NO. NO, AND I CAN PROVE IT. MARY AND DENNIS WERE HOME.

AND THOSE ARE YOUR ROOMMATES?

NO. MY PARENTS.

(Castle) I JUST DON'T SEE THAT GIRL SWINGING AN AX,

LET ALONE LEAVING HER HOUSE.

WHAT'S THE MATTER, HOMICIDAL FAN NOT SOAPY ENOUGH FOR YOU?

YOU KNOW, WHEN YOU SAY SOAPY, I CONJURE UP IMAGES-- CASTLE, FOCUS.

I AM. ON OUR SUSPECT.

OH. I MEAN, YOU SAW HOW OBSESSIVE SHE WAS.

SHE INVESTS IN THESE FICTIONAL RELATIONSHIPS.

SHE CARES IF ANGELA IS GONNA GET BACK TOGETHER WITH ALFONSO,

IF MARGUERITE'S GONNA SURVIVE HER CANCER SCARE-- OH, MY GOD.

WHAT?

YOU WATCH "TEMPTATION LANE."

WHAT?

NO.

(laughs)

NO ONE SAID ANYTHING...

ABOUT MARGUERITE'S CANCER SCARE.

YOU KNOW A LOT ABOUT SHIPPERS, YOU KNOW ABOUT FoxCans.

YOU ARE A FAN--A BIG, FAT "TEMPTATION LANE" FAN.

OKAY, MAYBE I WATCHED IT LIKE ONCE OR TWICE.

IT'S JUST SO DELIGHTFULLY NOT YOU.

SO SAYS THE GUY WHO RATTLES OFF PLOT POINTS

FROM "GENERAL HOSPITAL."

OH, THAT IS COMPLETELY DIFFERENT.

THAT IS FOR RESEARCH. WHAT WAS FOR RESEARCH?

(Castle and Beckett) NOTHING.

MARY AND DENNIS CONFIRM

THAT BLOGGER CHICK WAS IN HER ROOM ALL NIGHT.

WHAT ABOUT THE CAST AND CREW? SO FAR, ALL THEIR ALIBIS CHECKED OUT.

BUT I WAS LOOKING OVER SARAH'S SCHEDULE.

LAST WEEK, THERE WERE A COUPLE OF APPOINTMENTS

THAT JUST SAY "M," AND THERE WAS ANOTHER ONE

THE DAY BEFORE THE MURDER, THEN ONE SCHEDULED FOR TOMORROW. SO?

SO HER ASSISTANT DIDN'T SCHEDULE THESE,

WHICH MEANS IT WAS PERSONAL,

AND HER HUSBAND DIDN'T KNOW ABOUT THEM EITHER. WITH SARAH'S WORKLOAD,

IT MUST HAVE BEEN IMPORTANT FOR HER TO MAKE TIME. EXACTLY, AND HER HUSBAND AND ASSISTANT BOTH SAY THAT

WHEN SHE CAME BACK FROM THESE APPOINTMENTS, SHE WAS UPSET. ALL RIGHT, LET'S SEE WHAT WE CAN DIG UP FROM THAT.

HEY, BECKETT. HEY. WHAT'D YOU FIND AT THE APARTMENT?

HER HUSBAND'S STUFF.

HIS CLOTHES ARE GONE, AND ONLY HER STUFF IS IN THE BATHROOM,

SO I TALKED TO THE DOORMAN, AND HE SAID

THAT VINCE HASN'T LIVED THERE IN ALMOST TWO MONTHS.

THEY'VE BEEN SEPARATED.

FUNNY HE DIDN'T MENTION THAT EARLIER.

LOOKS LIKE SOMEONE'S HIDING SOMETHING ON "TEMPTATION LANE."

LOOK, I KNEW IF I TOLD YOU THAT MY MARRIAGE WAS IN TROUBLE

THAT I WOULD BE SUSPECT NUMBER ONE.

MAYBE, BUT NOW THAT WE KNOW THAT YOU LIED,

IT MAKES YOU LOOK EVEN WORSE.

(sighs)

WHY DID YOU SEPARATE?

EVERYTHING CHANGED AFTER SARAH GOT THE BIG PROMOTION.

IF I WANTED TO SPEND TIME WITH MY OWN WIFE,

I HAD TO SCHEDULE AN APPOINTMENT.

IT WASN'T WORKING, SO I MOVED OUT.

YOU KNOW, THERE'S ANOTHER VERSION OF THIS STORY

WHERE YOUR WIFE KICKED YOU OUT, AND THEN SHE DEMANDED A DIVORCE.

HMM. ONLY THIS WAY, YOU DON'T HAVE TO WORRY

ABOUT SPLITTING YOUR ASSETS. I DIDN'T KILL MY WIFE.

WELL, THEN WHERE WERE YOU THE NIGHT THAT SHE WAS KILLED?

I WAS AT THE HOTEL.

I WENT THERE IMMEDIATELY AFTER WE WRAPPED HERE. AND CAN ANYONE VOUCH FOR THAT?

COME ON, VINCE. TELL US YOU WERE ALONE.

IT'LL MAKE ARRESTING YOU THAT MUCH EASIER.

I, UM...

I WASN'T... ALONE.

I'M GONNA NEED A NAME.

MANDY BRONSON.

MANDY BRONSON?

AS IN ANGELA CANNON, AS IN STAR OF "TEMPTATION LANE"?

YES, THAT MANDY BRONSON.

JUST CHECKING.

DID SHE STAY THE NIGHT?

NO. WE ORDERED ROOM SERVICE, AND, UM...

ABOUT 7:00, SHE GOT AN E-MAIL FROM SARAH

AND SHE WENT RUNNING OFF.

SO THE NIGHT THAT YOUR WIFE WAS KILLED,

SHE E-MAILED YOUR MISTRESS,

AND YOU DIDN'T THINK THAT THAT WAS IMPORTANT TO MENTION?

IT WASN'T A BIG DEAL.

I ASKED MANDY ABOUT IT. SHE GOT SOME NEW SCRIPT PAGES

THAT SARAH WANTED HER TO LOOK OVER,

SO SHE WENT HOME TO MEMORIZE THEM. WERE YOU ALONE THE REST OF THE NIGHT?

YES. YES. I CRACKED THE MINIBAR,

I ORDERED PAY-PER-VIEW. YOU CAN CHECK.

I WILL.

IT CAN'T BE THE HUSBAND. WELL, HE'S GOT MOTIVE.

YEAH, BUT MARRIAGE ON THE ROCKS, KILLING FOR MONEY?

THAT'S JUST SO-- ORDINARY?

WE NEED TO FOCUS ON MANDY BRONSON--

HOME-WRECKING DIVA ENGAGED IN A TORRID AFFAIR

WITH THE VICTIM'S HUSBAND.

SHE FLED THEIR ILLICIT LOVE NEST

AFTER A MYSTERIOUS E-MAIL FROM SARAH

ON THE EVE OF HER MURDER.

YEAH, BUT WE DON'T EVEN KNOW IF THERE WAS AN E-MAIL.

I MEAN, VINCENT COULD'VE BEEN LYING. BUT YOU ARE RIGHT.

MANDY BRONSON DOES HAVE SOME EXPLAINING TO DO.

"ESPLANIE." WHAT?

LANIE AND ESPOSITO. LIKE FoxCan.

WE CAN CALL THEM ESPLANIE, WHICH IS PERFECT

BECAUSE THEY'RE ALWAYS ESPLAINING THINGS.

(chuckles) MOTHER?

HI. MARTHA, WHAT A SURPRISE.

YES, WHAT AN UNEXPECTED SURPRISE.

(lowered voice) WHAT ARE YOU DOING HERE? GRIEVING.

(normal voice) YOU DIDN'T EVEN KNOW THE VICTIM. DARLING, A LOSS FOR A SHOW LIKE THIS

IS A LOSS FOR ANYONE WHO WAS EVER PART OF ITS HISTORY.

AND...

(lowered voice) I THINK I CAN BE OF HELP HERE.

I THINK I COULD BE YOUR INSIDE SOURCE

AND GET THE SCOOP ON WHAT'S REALLY GOING ON HERE.

OH, HO HO. AND WHAT BETTER PLACE TO START THAN LANCE HASTINGS?

YOU KNOW HIM?

HE WAS MY LOVE INTEREST 30 YEARS AGO, ONSCREEN...

AND OFF. (chuckles) (laughs)

AFTER MY CHARACTER MARRIED HIS CHARACTER, JOSEPH FOX,

SHE WAS KIDNAPPED, BURIED ALIVE, TRAPPED IN A CAVE WITH BEARS,

UH, KIDNAPPED AGAIN,

AND HELD HOSTAGE IN THE SEWERS OF PARIS.

HOW LONG WERE YOU ON THE SHOW? THREE WEEKS.

GOTTA GO. EXCUSE ME.

MY MOTHER GIVES NEW MEANING TO THE WORD "TRANSPARENT."

MARTHA. LANCE. OH, DARLING.

SO GOOD TO SEE YOU. I KNOW.

(keyboard keys clicking)

(beep)

THERE'S HER ACCOUNT. WHAT ARE YOU LOOKING FOR?

AN E-MAIL THAT SARAH SENT BEFORE SHE DIED.

(Castle) THERE IT IS.

(beep)

"MEET ME AT THE OFFICE ASAP."

SO SARAH HAD MANDY MEET HER HERE THAT NIGHT.

YOU THINK SHE FOUND OUT ABOUT THE AFFAIR,

PLANNED TO CONFRONT HER? I DON'T KNOW. THERE'S AN ATTACHMENT.

(clicks mouse) OH, IT'S A SCRIPT FOR AN UPCOMING EPISODE.

THE CHARACTERS ARE VACATIONING IN PAMPLONA.

OH, MY GOD. OH, MY GOD.

MANDY BRONSON'S CHARACTER IS GORED TO DEATH

WHILE RUNNING WITH THE BULLS. SARAH BROUGHT HER HERE

TO TELL MANDY SHE WAS WRITING HER OFF THE SHOW.

LOOKS LIKE MANDY WROTE HER OFF FIRST.

(whispers) CASTLE. COME HERE. COME HERE. COME HERE.

(normal voice) I KNOW SHE'S A MURDER SUSPECT,

BUT YOU GOTTA ADMIT, SHE IS SMOKIN' HOT.

AGREED. SO HOT, IN FACT, IT LED TO A TORRID AFFAIR

WITH SARAH'S DIRECTOR HUSBAND.

SARAH FOUND OUT ABOUT IT,

DECIDED TO KILL OFF MANDY'S CHARACTER.

DOESN'T GET ANY SOAPIER THAN THAT. OH, OBVIOUSLY, YOU HAVEN'T SEEN "CHIQUITAS."

AS IN BANANAS? NO. AS IN THE TELENOVELA.

OH. I USED TO WATCH IT GROWING UP WITH MY GRANDMOTHER.

BRO, THERE WAS THIS ONE EPISODE WHERE GABRIELA DISCOVERED THAT

HER HUSBAND WAS SLEEPING WITH HER EVIL TWIN SISTER TERESITA,

ONLY TO LATER FIND OUT THAT SHE HAD

MULTIPLE PERSONALITY DISORDER. WAIT. DOES THAT EVEN QUALIFY AS CHEATING?

DUDE. WHAT?

DON'T OVERTHINK IT.

MS. BRONSON, I'M CURIOUS HOW YOU FELT

WHEN YOU FOUND OUT

THAT SARAH WAS GONNA KILL OFF YOUR CHARACTER.

KILL OFF MY CHARACTER? (laughs) THAT'S RIDICULOUS.

I'M THE REASON THE RATINGS WERE UP.

WELL, THEN WHY DID SHE WRITE THIS SCENE

WHERE ANGELA CANNON HAS AN UNFORTUNATE ENCOUNTER

WITH A BULL?

SARAH PROBABLY WRITES A DEATH SCENE

FOR EVERY CHARACTER ON THE SHOW...

TO KEEP THE ACTORS IN LINE.

SHE WROTE THOSE PARTICULAR PAGES THE NIGHT THAT SHE WAS MURDERED

WHILE YOU WERE WITH HER HUSBAND.

HE TOLD US THAT YOU LEFT

RIGHT AFTER YOU GOT AN E-MAIL FROM SARAH.

BUT YOU DIDN'T GO HOME, DID YOU?

YOU WENT TO GO AND CONFRONT HER.

SARAH WANTED TO SAVE HER MARRIAGE.

SHE THOUGHT THE WAY SHE COULD DO THAT

WAS TO GET ME OUT OF THE PICTURE. AND YOU WANTED TO URGE HER TO RECONSIDER,

AND WHEN SHE DIDN'T, YOU KILLED HER.

I ADMIT, I WENT TO SEE THE BITCH.

I TOLD HER ANGELA CANNON IS THE HEART AND SOUL OF THE SHOW.

BUT WHEN I SAW SHE WOULDN'T BACK DOWN, I LEFT.

I DIDN'T NEED TO KILL HER. AND WHY IS THAT?

BECAUSE I STILL HAD A HAND TO PLAY.

EVERYBODY THINKS SARAH CALLS THE SHOTS

AT "TEMPTATION LANE."

BUT THE SECOND IN COMMAND, PETER CONNELLY,

HE'S THE ONE THE NETWORK REALLY TRUSTS.

WHAT IS THIS OTHER HAND THAT YOU HAD TO PLAY?

I DID WHAT ANY INDUSTRIOUS ACTRESS WOULD DO.

I WENT TO HIS APARTMENT STRAIGHT FROM THE STUDIO

AND USED MY POWERS OF PERSUASION

TO GET HIM ON MY SIDE.

WHEN DID YOU LEAVE?

THE SUN WAS UP.

AND MY CHARACTER IS STILL ALIVE.

(man) YEAH, SHE SHOWED UP AT MY APARTMENT LAST NIGHT.

SHE WAS WEARING A FUR COAT. SO?

JUST...

A FUR COAT.

AND I NEARLY HAD A HEART ATTACK WHEN SHE LET IT SLIP OPEN.

YEARS OF FANTASIZING, AND THERE SHE WAS,

STANDING RIGHT IN FRONT OF ME. AND WHAT DID SHE WANT?

SHE WAS ALL FIRED UP

ABOUT SARAH WANTING TO WRITE HER OFF THE SHOW.

SO THEN I HAD TO LISTEN TO MANDY SUMMARIZE

EVERY "SOAP DIGEST" ARTICLE PRAISING HER PERFORMANCE.

JUST TO MAKE HER STOP... (sighs)

I AGREED THAT I WOULD TALK TO SARAH.

ONLY NOW YOU DON'T HAVE TO.

REESE. GRAB YOUR LAPTOP AND JOIN THE GROUP.

WE'RE ALL HANDS ON DECK. YOU MEAN IT?

I'M NOT GONNA ASK YOU TWICE.

SOUNDS LIKE YOU'RE PRETTY DESPERATE.

MR. CASTLE, YOU PUBLISH, WHAT, ONE BOOK A YEAR?

GIVE OR TAKE.

IN THAT SAME TIME PERIOD, WE PRODUCE 250 EPISODES.

I'M DOWN A WRITER. REESE WROTE SOME SCRIPT ABOUT HORSES

THAT SARAH ACTUALLY LIKED, SO, YEAH,

I'M GONNA TAKE THE EXTRA HELP WHERE I CAN GET IT.

UNLESS, OF COURSE, YOU'D LIKE TO JUMP IN.

YOU KNOW WHAT'S INTERESTING? WITH SARAH OUT OF THE WAY,

MANDY GETS TO STAY ON THE SHOW, AND YOU GET PROMOTED. HEY, I'M A PROFESSIONAL.

MANDY'S STAYING BECAUSE ANGELA CANNON

IS THE HEART AND SOUL OF THIS SHOW.

WELL, WHERE HAVE I HEARD THAT BEFORE?

UH, WE'LL KEEP IN TOUCH. (cell phone rings)

(rings and beeps) BECKETT.

SO THE HOTEL CONFIRMED THAT THE TIME SENSORS

IN VINCE'S MINIBAR WERE ACTIVATED TILL 11:30 P.M.

SO I GUESS OUR DEADLY LOVE TRIANGLE

WASN'T SO DEADLY AFTER ALL. NOT ON HIS SIDE ANYWAY.

BUT THE HOT NEWS IS, RYAN GOT A HIT

ON THOSE MYSTERY APPOINTMENTS THAT SARAH WAS GOING TO.

HE FOUND CREDIT CARD CHARGES

THAT MATCHED UP TIME AND DATE TO THE MEETINGS AND WHERE WAS SHE GOING?

TO A COFFEE SHOP ON 7th, AND ACCORDING TO HER CALENDAR,

HER NEXT MEETING IS IN ABOUT AN HOUR.

CASTLE, YOU UP FOR A COFFEE BREAK? (clicks cell phone closed)

THERE YOU GO. THANKS.

CAN I HELP YOU?

YES. I HOPE SO.

DO YOU RECOGNIZE THIS WOMAN?

YEAH.

WHY?

♪♪♪

(crying) SHE CAN'T BE DEAD. SHE CAN'T BE DEAD. SHE CAN'T.

I'M SO SORRY, MS. GOLDBERG.

IT'S NOT FAIR. IT IS SO NOT FAIR.

WHAT AM I SUPPOSED TO DO?

DID THE TWO OF YOU KNOW EACH OTHER VERY WELL?

ACTUALLY, I DIDN'T KNOW HER AT ALL.

(continues crying) THEN WHY WOULD YOU BE SO UPSET?

WELL, BECAUSE...

SHE PROMISED SHE WOULD READ MY SCREENPLAY,

AND IF SHE LIKED IT... (sobs)

SHE WOULD HELP ME FIND AN AGENT.

WHO WOULD SHE MEET WHEN SHE CAME HERE?

WHAT'S IT MATTER? SHE'S DEAD.

I LOST MY CHANCE.

(sobbing)

I'LL TELL YOU WHAT--

I'LL MAKE YOU A DEAL.

IF YOU TELL US WHAT HAPPENED AFTER THAT,

I'LL READ YOUR SCRIPT,

AND IF I LIKE IT, I'LL GIVE IT TO MY AGENT.

REALLY?

REALLY.

SHE MET WITH A GUY, AND THEY SAT AT A TABLE IN A CORNER.

DO YOU REMEMBER WHAT HE LOOKED LIKE?

UM... LIKE HIM. EXACTLY LIKE HIM.

UH, GIVE ME A DOUBLE ESPRESSO, WILL YA?

WHAT ABOUT MY SCRIPT? I'LL COME BACK AND GET IT WHEN WE'RE DONE.

OH.

(indistinct conversations)

DO I KNOW YOU?

I'M A FRIEND OF SARAH CUTLER.

YEAH? YOU BRING MY MONEY?

WHAT MONEY?

LOOK, I DID WHAT SHE ASKED,

AND NOW I WANT WHAT I'M OWED.

AND, UM, WHAT IS IT THAT SHE ASKED YOU TO DO?

NONE OF YOUR DAMN BUSINESS. WHO THE HELL ARE YOU?

NYPD.

SARAH'S DEAD, SO IT IS MY BUSINESS.

NOW... WHO THE HELL ARE YOU?

JOHNNY DIMES. I'M A P.I.

SARAH CUTLER WAS A CLIENT. WHAT DO YOU MEAN, SHE'S DEAD?

"SHE'S DEAD" ONLY REALLY HAS THE ONE MEANING.

DID SHE HIRE YOU TO FOLLOW HER HUSBAND?

HUSBAND? NO.

SHE HIRED ME TO INVESTIGATE GLORIA CHAMBERS.

THE MOM.

I KNEW IT. WAS SHE INVOLVED IN ORGAN HARVESTING?

THAT DIDN'T REALLY COME UP, BUT I CAN TELL YOU THIS--

GLORIA CHAMBERS ISN'T HER REAL BIRTH MOM.

SHE'S A FAKE.

OHH. THE MOM ISN'T REALLY THE MOM?

DOES IT GET ANY SOAPIER THAN THAT?

OOH.

OH, IS THAT THE P.I.'s FILE ON SARAH'S FAUX MOTHER?

YEAH, APPARENTLY GLORIA SHOWED UP THREE YEARS AGO

CLAIMING TO BE SARAH'S BIRTH MOM, AND SARAH GOT SUSPICIOUS.

SO SHE HIRED A P.I. IN ORDER TO LOOK INTO GLORIA'S HISTORY.

WHAT NEFARIOUS SCHEME HAS GLORIA SET INTO MOTION?

PERHAPS SHE PLANNED...

ON REPLACING SARAH WITH A CLONE.

SHE WANTED SARAH'S MONEY.

MONEY?

YEAH. SORRY TO BURST YOUR BUBBLE, CASTLE,

BUT GLORIA'S GOT A HISTORY OF INSURANCE SCAMS

AND HUSBANDS WITH EMPTY BANK ACCOUNTS.

WE BRINGING HER IN? YEAH, WE'RE TRYING. WE PUT OUT AN A.P.B.

HER APARTMENT'S EMPTY,

AND THE DOORMAN SAW HER LEAVE WITH A SUITCASE THIS MORNING.

OOH.

SO MAYBE DIMES TELLS SARAH ABOUT GLORIA,

SARAH CONFRONTS HER,

AND THEN GLORIA KILLS SARAH IN ORDER TO AVOID EXPOSURE.

AND AFTER PLAYING THE ROLE OF GRIEVING MOTHER ON SET,

GLORIA KNEW ENOUGH TO GET THE HELL OUT OF DODGE.

(elevator bell dings)

YO. LOOK WHO GOT CAUGHT

TRYING TO BUY A TICKET TO THE BAHAMAS AT J.F.K.

(Castle) GLORIA. EVERYTHING IN NEW YORK REMINDED ME OF SARAH.

I NEEDED TO DISTANCE MYSELF

FROM THE AGONIZING TRUTH THAT SHE'S DEAD.

(sighs deeply)

NOW IF DENIAL IS A CRIME...

I PLEAD GUILTY.

GOOD TO KNOW.

NOW HOW DO YOU PLEAD ON MURDER?

(Beckett) GLORIA CHAMBERS, ALSO KNOWN AS CHARLENE SELLARS.

YOU HAVE BEEN A VERY BUSY WOMAN.

YOURS IS A REAL RAGS-TO-RICHES STORY.

ONLY TROUBLE IS, THE RICHES NEVER SEEM TO BE YOURS.

FRAUD IN FLORIDA,

EMBEZZLEMENT IN NORTH CAROLINA--

I SERVED MY TIME FOR THOSE PRIOR MISUNDERSTANDINGS.

AND THEN YOU LATCHED ON TO YOUR NEXT MEAL TICKET--

CONSTANTINE PIRELLI.

AFTER HIM, IT WAS ERNESTO CRUZ.

I HEAR THEY'RE VERY ANXIOUS FOR YOU TO COME BACK...

WITH THEIR MONEY.

I WAS MARRIED TO THOSE MEN. IT WAS OUR MONEY.

I CAN TELL YOU,

I EARNED EVERY PENNY.

BUT AS USUAL, YOU BLEW IT ALL, AND SO YOU LOOKED FOR

YOUR NEXT TICKET, WHICH YOU FOUND IN SARAH CUTLER. YOU HEARD AN INTERVIEW WHERE SHE MENTIONED

BEING ADOPTED, DID A LITTLE RESEARCH,

AND THEN SHOWED UP AS THE LONG-LOST MOTHER.

SARAH MIGHT HAVE BEEN UNDER THE IMPRESSION

THAT SHE WAS MY DAUGHTER, BUT I DIDN'T KILL HER.

I MEAN, IN MY OWN WAY, I WAS--

I WAS FOND OF SARAH.

FOND ENOUGH THAT YOU WERE ABLE TO MASQUERADE AS HER MOTHER.

YOU HAD MOTIVE TO KILL HER.

THAT'S WHY YOU TRIED TO FLEE THE COUNTRY. WHAT MOTIVE?

HER WILL SHOWS THAT SHE PLANNED TO LEAVE YOU $300,000.

MM. SHE'S A GENEROUS GIRL, MY SARAH.

SHE'S NOT YOUR SARAH. AND THAT'S NOT YOUR MONEY.

YOU KNEW SHE WROTE YOU INTO HER WILL.

IN FACT, YOU PROBABLY PLANNED IT ALL ALONG.

SO WHEN SHE CONFRONTED YOU,

YOU KNEW THAT YOU HAD A NARROW WINDOW

WITHIN WHICH TO KILL HER BEFORE SHE WROTE YOU OUT. HERE'S YOUR PROBLEM--

I AM NOT YOUR KILLER.

IF I WERE YOU, I'D LOOK INTO THE OTHER MAN IN HER LIFE.

WHAT OTHER MAN? THE ONE THAT GAVE HER

THE 2-KARAT ARTHUR KLEIN EARRINGS JUST THE OTHER DAY.

DOES THIS OTHER MAN HAVE A NAME?

SARAH DIDN'T TELL ME THAT,

BUT WHOEVER HE WAS, THEY MUST HAVE JUST SPLIT UP,

BECAUSE HE WAS TRYING TO WIN HER OVER. REALLY? YOU'RE GONNA POINT US TO A MYSTERIOUS STRANGER?

IT'S THE TRUTH. COMING FROM A PROFESSIONAL LIAR.

I WAS NOWHERE NEAR THIS GODFORSAKEN SOAP SET

WHEN SHE DIED.

I... I WAS DOING SOMETHING USEFUL WITH MY TIME.

READING TO THE BLIND?

MM. CLOSE. I WAS DONATING.

TO THE PONIES. OH.

O.T.B. RECEIPTS IN GLORIA'S PURSE

PUT HER BETTING ON RACES TILL 10:00 P.M. AND OUR TIME OF DEATH

IS ESTIMATED AT 11:00 ON THE OUTSIDE,

AND WE DON'T HAVE ANYTHING TO TIE HER TO THE STUDIO. I THOUGHT FAKE MOM WAS A LOCK.

IT'S STARTING TO LOOK LESS THAT WAY BY THE MINUTE.

I FOUND THE EARRINGS THAT GLORIA TALKED ABOUT

IN SARAH'S APARTMENT. (Castle) FANCY.

YEAH, OVER 10 GRAND WORTH OF FANCY. THOSE ARE WORTH OVER 10 GRAND?

(scoffs) PLEASE. LANIE LOVES DIAMONDS.

"DIAMONDS ARE FOREVER LIKE MY DEVOTION TO YOU."

WHO WRITES NOTES THIS CHEESY? WELL, NOT THE HUSBAND.

I CHECKED ON HIS FINANCIALS. HE DIDN'T BUY THEM.

OKAY, SO MAYBE GLORIA WAS TELLING US THE TRUTH.

MAYBE SARAH WAS HAVING AN AFFAIR. WELL, THAT MAKES PERFECT SENSE.

SARAH WAS SEPARATED FROM HER HUSBAND VINCE,

AND AFTER LONG, GRUELING DAYS AT WORK,

SHE'D GO HOME TO A COLD, EMPTY APARTMENT.

FEELING LONELY, BETRAYED, SHE SEEKS COMFORT

IN THE ARMS OF THIS MYSTERY MAN... AND SHE DECIDES THAT SHE WANTS HER HUSBAND BACK,

SO SHE WRITES HIS MISTRESS, MANDY BRONSON,

OFF THE SHOW IN ORDER TO SAVE THEIR MARRIAGE. AND HER NEXT STOP WOULD BE TO GET RID OF THE OTHER MAN.

SO MAYBE THE OTHER MAN DIDN'T GO OFF QUIETLY INTO THE NIGHT.

DO YOU TWO PRACTICE THIS WHEN WE'RE NOT AROUND?

THESE EARRINGS ARE EXCLUSIVE

TO ARTHUR KLEIN'S BOUTIQUE IN CHELSEA.

LET'S FIND OUT WHO BOUGHT THEM. RIGHT.

(snaps)

OKAY, SO GLORIA IS IN THE CLEAR.

UNIFORMS SHOWED HER PHOTO AT O.T.B.,

AND A BARTENDER THERE

REMEMBERS SEEING HER AT 11:15.

YOU KNOW, I CAN SEE WHY SHE FELL FOR GLORIA'S CON.

SARAH WAS MOTHERLESS, CHILDLESS.

SHE WAS TAKING YOUNG WRITERS UNDER HER WING.

SHE WAS LOOKING FOR FAMILY. WOW, CASTLE.

THAT'S A REFRESHINGLY DOWN-TO-EARTH THEORY.

JUST TRYING TO KEEP YOU ON YOUR TOES.

HEY, SO WE RAN DOWN PURCHASES AT KLEIN'S BOUTIQUE,

AND GUESS WHO POPPED.

(Castle and Beckett) LANCE HASTINGS? (Esposito) AND THAT'S NOT ALL.

I RAN LANCE'S CREDIT CARD ACTIVITY TO CONFIRM THE PURCHASE

AND SOMETHING ELSE CAUGHT MY EYE.

LANCE CHARGED A CAB RIDE TO THE STUDIO

THE NIGHT OF THE MURDER. YEAH, WHEN WE INTERVIEWED HIM,

HE SAID HE WENT STRAIGHT HOME AT 6:00 P.M. CAB COMPANY DROVE HIM BACK TO THE STUDIO AROUND 8:00.

OKAY, SO THAT FALLS RIGHT WITHIN THE WINDOW

OF OUR TIME OF DEATH. GO PICK HIM UP. YEAH, WE ALREADY SENT A UNIFORM.

HE'S NOT HOME, AND HE'S NOT ANSWERING HIS PHONE. MY MOTHER WAS SPEAKING TO HIM EARLIER ON SET.

(beep)

HI, SWEETIE. IS GRAM THERE? I NEED TO TALK TO HER.

WHAT'S WRONG?

I KNOW WHERE THE KILLER IS.

HE'S WITH MY MOTHER.

CASTLE, IT'S OKAY. I'M SURE YOUR MOM'S NOT IN ANY DANGER.

YEAH, YOU'RE PROBABLY RIGHT. (Lance) I'M SORRY, MY DEAR,

BUT AFTER EVERYTHING I'VE TOLD YOU,

I CAN'T LET YOU LEAVE THIS ROOM ALIVE. (Martha) LANCE, THINK ABOUT WHAT YOU'RE DOING.

I AM THINKING ABOUT IT. I CAN'T LET YOU LIVE! THINK ABOUT US--AAH!

DROP THE KNIFE! WHAT--

DROP THE WEAPON. W-W-W-WAIT A MINUTE.

AAH!

RICHARD, WHAT ARE YOU DOING?

OH, NOTHING. JUST SAVING YOUR LIFE. THAT'S ALL.

SHE SAID DROP THE KNIFE!

THE ONLY THING THAT KNIFE COULD KILL IS BUTTER.

WHAT ARE YOU TALKING ABOUT?

(sighs)

(clatters)

IT'S A PROP.

WE WERE JUST WORKING OUT A SCENE.

GUYS, IT WAS COMPLETELY MY IDEA.

YOU KNOW, THE ACTOR'S VERSION OF "SHOW ME YOUR GOLF SWING."

WELL, THE KNIFE MAY BE FAKE,

BUT THE AX YOU PUT INTO SARAH'S BACK WAS REAL.

YOU LIED TO DETECTIVES RYAN AND ESPOSITO

REGARDING YOUR WHEREABOUTS THE NIGHT OF THE MURDER.

(sighs) YOU WANT THE TRUTH? THAT WOULD BE A GREAT PLACE TO START.

(imitates Jack Nicholson) YOU CAN'T HANDLE THE TRUTH.

SIR, I AM NOT INTERESTED IN YOUR JACK NICHOLSON IMPRESSIONS.

WE KNOW THAT YOU WENT BACK TO THE STUDIO

THE NIGHT OF THE MURDER.

AND WHAT I'M ASKING IS WHY.

IT WAS A FRIENDLY CONVERSATION BETWEEN COLLEAGUES.

A FRIENDLY CONVERSATION IN WHICH SHE TOLD YOU

SHE WAS GOING TO GO BACK TO HER HUSBAND.

WHAT THE HELL ARE YOU TALKING ABOUT? WHY WOULD SHE DO THAT? BECAUSE SHE WAS BREAKING UP WITH YOU.

IS THAT WHAT YOU THINK IS GOING ON HERE?

YOU THINK THAT SARAH AND I WERE LOVERS?

DID YOU OR DID YOU NOT

BUY AN EXPENSIVE PAIR OF DIAMOND EARRINGS FOR HER?

YES, BUT NOT TO WOO HER. IT WAS TO ENCOURAGE SARAH

TO LET ME OUT OF MY CONTRACT FOR A MOVIE ROLE. A MOVIE ROLE?

YES. THE COEN BROTHERS HAVE ASKED ME TO PLAY

MATT DAMON'S HALF-WIT DAD IN THEIR NEW MOVIE.

IT'S A ROLE OF A LIFETIME. IT HAS NOMINATIONS

WRITTEN ALL OVER IT. THAT STILL DOESN'T EXPLAIN

WHY YOU WENT BACK TO THE STUDIO THAT NIGHT. I WENT TO THANK SARAH IN PERSON,

BECAUSE MY AGENT HAD CALLED ME THAT EVENING

TO TELL ME THAT SHE HAD AGREED TO LET ME OUT.

THE REASON I DIDN'T MENTION ANY OF THIS IS,

I DIDN'T WANT TO RISK MISSING WORK ON THE MOVIE. WHY DIDN'T YOU JUST CALL HER?

I WANTED HER TO KNOW HOW MUCH I APPRECIATED IT.

SO YOU WENT BACK TO THANK HER, AND THAT'S IT?

NO, NOT EXACTLY. UH...

WHEN I GOT THERE, SHE WAS READING A SCRIPT,

AND SHE SEEMED UPSET.

I ASKED HER WHY, AND...

SHE SAID SOMEBODY HAD BETRAYED HER.

WHO? WELL, AT FIRST, I THOUGHT IT WAS ME

FOR TAKING THE MOVIE ROLE, BUT THEN...

SHE SAID THAT SOMEONE WASN'T WHO...

SHE THOUGHT THEY WERE.

AND SHE DIDN'T LET ON AS TO WHO THIS PERSON WAS?

NO. I DIDN'T WANT TO GIVE HER THE OPPORTUNITY

TO CHANGE HER MIND ABOUT THE MOVIE,

SO I EXITED... STAGE LEFT.

OKAY.

FOUND THE DEAL MEMO THAT SARAH SIGNED

IN ORDER TO GET LANCE OUT FOR HIS MOVIE.

HE WASN'T LYING.

MY MOTHER IS NEVER GONNA LET ME FORGET THIS.

OH, COME ON, CASTLE. SHE'LL PROBABLY THINK

IT WAS SWEET THAT YOU WERE CONCERNED ABOUT HER.

THIS IS MARTHA RODGERS WE ARE TALKING ABOUT.

I INTRUDED ON HER "MOMENT."

NO, I WILL PAY DEARLY.

WHEN LANCE CAME HERE, SARAH TOLD HIM

THAT SOMEONE WASN'T WHO SHE THOUGHT THEY WERE.

WHO DO YOU THINK THAT WAS? HOW ABOUT THE WOMAN WHO MAKES MY MOTHER LOOK LIKE A SAINT?

YEAH, BUT SARAH ALREADY CUT GLORIA OUT OF HER LIFE.

MAYBE... MAYBE IT WAS HER CHEATING HUSBAND.

EXCEPT LANCE MET WITH SARAH AFTER MANDY BRONSON.

BY THE TIME MANDY SHOWED UP, SARAH HAD ALREADY DECIDED

WHAT SHE WANTED TO DO WITH HER MARRIAGE. YEAH, BUT EVEN IF SARAH DECIDED

THAT SHE WAS GONNA GET BACK TOGETHER WITH VINCE,

IT DOESN'T MEAN THAT SHE DIDN'T HAVE DOUBTS.

NO. NO, YOU'RE RIGHT.

EXCEPT HE HAS AN ALIBI. EVERYONE HAS AN ALIBI.

YEAH, WELL, SOMEBODY OUT THERE DOESN'T,

AND WE ARE GONNA FIND THEM. WELL, MAYBE WE SHOULD SLEEP ON IT.

SEPARATELY.

KATHERINE BECKETT, I NEVER.

HELLO, LADIES.

HEY, DAD. GRAM TOLD ME

HOW YOU WENT ALL JASON BOURNE ON HER DATE. COME ON.

I THINK I DESERVE SOME KUDOS FOR MY SELFLESS COURAGE

IN THE FACE OF PERCEIVED DANGER.

AH, THINK WHAT YOU WILL.

BUT I'VE TAKEN THE LIBERTY OF SELECTING AN APOLOGY GIFT--

PAGE 47, DOG-EARED FOR YOUR CONVENIENCE.

THE DRESS? UH-HUH. AND THE SHOES.

OH! AND THE PURSE. (chuckles)

WHERE DID YOU GET THIS, DARLING?

OH, FROM A WOMAN I MET ON THE CASE.

SHE'S AN ASPIRING WRITER. OH.

IN A MOMENT OF WEAKNESS, I TOLD HER I'D READ IT.

OH, IT'S REALLY PRETTY GOOD. SHE'S GOT VERY VIVID CHARACTERS,

WELL PLOTTED, PLEASANTLY SALACIOUS.

GREAT. THAT'S WHAT I'LL TELL HER.

NO, NO, NO, NO. YOU SAID YOU WOULD READ IT, HONEY. YOU. I WILL.

I JUST HAVE TO DO A LITTLE MORE THINKING ON THE CASE. HE'S PROCRASTINATING.

(laughs) I KNOW. (whispers) I KNOW. NO, I AM NOT.

I AM JUST ABOUT TO SOLVE A CRITICAL PIECE OF OUR MYSTERY.

NOW THAT YOU'VE DETERMINED THAT LANCE IS NOT THE AX MURDERER?

SO WHAT'S THE CRITICAL PIECE OF EVIDENCE, DAD?

WELL, SHORTLY BEFORE SHE DIED,

SARAH CUTLER SAID THAT SOMEONE HAD BETRAYED HER.

I THINK THAT PERSON IS OUR KILLER.

WELL, THEN IT COULD BE ANYBODY, DARLING,

BECAUSE BETRAYAL IS A WAY OF LIFE ON A SOAP OPERA.

AND LET ME TELL YOU, "TEMPTATION LANE"

IS LIKE THIS SEETHING CAULDRON

OF SORDIDNESS AND TREACHERY AND NAKED AMBITION.

AND YOU KNOW WHICH PEOPLE

ARE THE MOST MANIPULATIVE AND DEVIOUS?

I DO.

I KNOW WHO BETRAYED SARAH.

LOOK, THERE'S NOTHING IN MY CONTRACT

THAT SAYS THAT I HAVE TO BE A COP ALL OF A SUDDEN.

I-I--I'VE GOTTA REHEARSE.

GET OFF THE PHONE. LET'S DO THIS. LET'S GO.

(indistinct conversations)

OKAY, CASTLE. LET'S GO. OH, WAIT. NO, HANG ON. I JUST WROTE MY FIRST SOAP SCENE,

WHICH THEY ARE ABOUT TO SHOOT. WELL, I'LL--I'LL CATCH IT ON TV. WE'VE GOT AN ARREST TO MAKE.

NO, NO, WAIT. THIS SCENE IS GOING TO EXPOSE THE KILLER.

"THE PLAY'S THE THING WHEREIN WE'LL CATCH

THE CONSCIENCE OF THE KING"-- HAMLET.

WE ALREADY KNOW WHO THE KILLER IS,

SO YOU'RE WASTING MY TIME-- ME. NOT IF I GET US A CONFESSION.

(man) PLACES, PLEASE. (whispers) THEY'RE STARTING. LET'S GO.

OKAY. NO, SEND IT BACK.

YEAH. ALL RIGHT, THANKS.

HEY, COME ON IN, GUYS. THANKS.

(lowered voice) CASTLE, WHAT ARE WE-- AH-- (whispers) SHH, SHH. JUST WATCH, JUST WATCH.

CAN WE CLOSE THE DOWNSTAGE DOOR TO GET BETTER EYES ON MANDY,

PLEASE? (man) CLOSE THOSE DOORS!

(Vince) AND CLEAR THE SET. HERE WE GO, EVERYBODY. (man) QUIET ON THE SET.

IN FIVE... FOUR...

THREE... TWO...

(switch clicks) TWO'S ON THE LINE.

(man) AND ACTION.

CAN'T YOU AT LEAST KNOCK? I'M CHANGING.

NOTHING I HAVEN'T SEEN BEFORE...

AND ENJOYED IMMENSELY.

REALLY?

IT'S A SOAP OPERA. I HAD TO HONOR THE FORM.

WHAT ARE YOU DOING HERE, JOSEPH?

IF THIS IS ABOUT OUR RELATIONSHIP-- NO, IT ISN'T.

IT'S ABOUT YOUR RESEARCH PAPER.

THE ONE I HAD YOU SUBMIT

FOR THE MONTENEGRO JOURNALISM FELLOWSHIP.

IS THERE NEWS ABOUT THE WINNER?

THE THING ABOUT THE FELLOWSHIP IS THAT

IT CAN OPEN DOORS, IT LAUNCH CAREERS. (mouths words)

THAT'S WHY I RECOMMENDED YOU.

OVER TO ONE. SO DID I WIN?

THREE.

I WENT TO THE COFFEE SHOP THIS MORNING,

AND A BARISTA THERE ASKED ME TO READ AN ARTICLE

THAT SHE HAD WRITTEN FOR HER COLLEGE PAPER.

ODDLY ENOUGH, IT WAS IDENTICAL TO YOURS.

THERE MUST BE SOME MISTAKE. NO, JUST THE ONE YOU MADE IN ASSUMING THAT YOU COULD

PASS OFF SOMEBODY ELSE'S MATERIAL AS YOUR OWN.

YOU ARE A FRAUD, ANGELA.

AND I AM GOING TO CALL THE FELLOWSHIP

AND LET THEM KNOW THAT EXACTLY.

OH, AND BY THE WAY...

(mouths words) YOU'RE FIRED.

AND CUT. NICE JOB, PEOPLE.

(Reese) UM...

I DON'T UNDERSTAND. THIS IS--

THIS IS NOT THE SCENE THAT WE WORKED ON YESTERDAY.

WE MADE SOME ADJUSTMENTS.

AND YET, IT HAS AN ODDLY FAMILIAR RING TO IT.

READING OTHER PEOPLE'S SCRIPTS IS A PART OF YOUR JOB,

ISN'T IT? WHAT ARE YOU ACCUSING ME OF?

DID YOU NOT SEE THE SCENE? IF YOU'RE GOING TO BE A WRITER,

YOU HAVE TO HAVE A BETTER GRASP OF SUBTEXT.

(scoffs) LOOK, I--I'M...

I MIGHT HAVE MIXED UP SOME OF THE SCRIPTS,

BUT I WAS AT THE FELLOWSHIP MIXER

THE NIGHT THAT SARAH DIED.

NOBODY THERE REMEMBERS SEEING YOU AFTER 8:00 P.M.

SARAH WAS KILLED WITH AN AX, REESE.

WHOEVER KILLED HER GOT BLOOD ON THEIR CLOTHES

AND ON THEIR SHOES.

SOME OF IT INVISIBLE TO THE NAKED EYE,

BUT IT DOESN'T MATTER HOW MUCH YOU TRY TO WASH IT,

IT'S STILL THERE.

I HAVE OFFICERS AT YOUR APARTMENT.

(voice breaking) YOU HAVE NO IDEA

WHAT I DID FOR HER.

PICKING UP HER DOGS,

PICKING UP HER DRY CLEANING,

THE LATE NIGHTS, THE WEEKENDS,

NO VACATION.

YOU TRY WRITING A SCRIPT WITH ALL OF THAT GOING ON.

I WORKED TOO HARD

TO LET IT END THAT WAY.

I DESERVED THAT OPPORTUNITY,

AND I COULD NOT LET HER TAKE THAT AWAY FROM ME.

IT WAS NEVER YOURS TO BEGIN WITH.

(crew speaks indistinctly)

(indistinct conversations)

KILLING SARAH TO KEEP A LID ON HER PLAGIARISM?

THAT'S COLD. AND PRETTY ORDINARY AS FAR AS MOTIVES GO.

(Ryan) SHE DIDN'T WANT TO PUT IN THE WORK,

SO SHE TOOK A SHORTCUT. THERE ARE NO SHORTCUTS IN WRITING.

NOPE, BUT THERE IS TO OUR FAVORITE BAR.

I FOUND A NEW ROUTE THAT'LL GET US

TO THE OLD HAUNT IN EIGHT MINUTES.

YOU UP FOR A BEER? COME ON. I KNOW THE OWNER. YEAH, I'M DOWN, BRO. HOW 'BOUT YOU, CASTLE?

RIGHT BEHIND YOU.

WHAT?

GOT YOU A PRESENT.

A SIGNED CAST PHOTO FROM "TEMPTATION LANE."

HOW DID YOU EVEN GET THIS?

I KNOW PEOPLE WHO KNOW PEOPLE.

OKAY.

(laughs) I WAS 9,

AND I HAD TO GET MY TONSILS TAKEN OUT,

AND I WAS MISERABLE.

AND SO MY MOM TOOK TIME OFF OF WORK

AND... STAYED WITH ME

AND CUDDLED UP IN FRONT OF THE TV

ON THE COUCH,

AND WE WOULD WATCH EPISODES OF "TEMPTATION LANE."

SO EVERY TIME I SEE IT NOW, IT JUST--

IT MAKES ME FEEL LIKE HOME AND... SAFE.

SO THERE YOU GO. JUDGE AWAY.

(inhales sharply)

MY DVR...

WOULD MAKE YOURS LOOK LIKE "MASTERPIECE THEATRE."

BUT I AM GLAD TO KNOW THIS ABOUT YOU.

(cell phone rings)

(ring)

(ring)

I'LL LEAVE YOU TO IT.

(ring)

HEY, CASTLE. THANK YOU FOR THE PHOTO.

(ring)

I'LL SEE YOU.

(clicks cell phone, cell phone beeps)

HEY.

(Lance) AFTER ALL THESE YEARS,

ALL THE TIMES I COULD'VE BEEN HOLDING YOU IN MY ARMS...

(Martha) THEN LET'S NOT WASTE MORE TIME WITH WORDS.

LET'S JUST

LET OUR LIPS DO THE TALKING.

YOU TWO RUNNING LINES AGAIN?

OH. WELL, NO, NO.

WE WERE JUST, UH... YOU KNOW, TALKING.

OH.

OH.

UM... I'M GONNA--

I'LL JUST--I'LL...

GO TO THE...

AAH.