Original subtitles

PREVIOUSLY ON "CASTLE"...

WHAT THE HELL ARE YOU DOIN'? THAT'S MY SUSPECT.

OKAY, RELAX. WE'RE ON THE SAME TEAM. ROYCE?

HEY, KID. ALL THEY EVER TAUGHT US IN THE ACADEMY

WAS HOW TO DO PAPERWORK.

YOU WERE THE ONE WHO TAUGHT ME HOW TO BE A COP.

YOU WERE EASY TO IMPRESS. NO, I WASN'T. I WAS DROWNING,

AND YOU WERE DRY LAND.

I DIDN'T MEAN FOR IT TO GO LIKE THIS. Mike, I was in love with you.

GO AHEAD, KID. DO WHAT YOU GOTTA DO.

(Beckett) AND WHEN I ARREST YOU,

YOU'RE GONNA REALIZE THAT WHAT YOU DESTROYED TODAY

WAS WORTH A HELL OF A LOT MORE THAN MONEY.

(bang)

(grunts)

(grunts)

(panting)

(grunting)

(grunting)

(footsteps approach)

(panting)

YOU SHOULD'VE STAYED OUT OF THIS, ROYCE.

YOU HAVE NO IDEA

THE HELL THAT'S ABOUT TO RAIN DOWN ON YOU.

SCARY.

(police radio chatter)

WHERE IS HE? TURN AROUND AND GO BACK HOME

AND LET ME HANDLE THIS, ALL RIGHT?

SIR, I'VE SEEN DEAD BODIES BEFORE.

(radio chatter continues)

COME ON, KATE. YOU DON'T WANT TO REMEMBER HIM LIKE THIS.

CASTLE, IF IT WAS ME LYING THERE, WOULD YOU JUST WALK AWAY?

I'M SO SORRY, HONEY.

SO TELL ME WHAT HAPPENED.

HE WAS SHOT IN THE LEG.

JUDGING FROM THE BLOOD TRAIL,

I'D SAY THE BULLET BROKE THE BONE.

HE TRIED TO HIDE, BUT...

UH, I FOUND THIS IN HIS POCKET.

HE JUST FLEW IN FROM LOS ANGELES THIS AFTERNOON.

WHAT WAS HE DOING IN L.A.? I HEARD HE MOVED THERE

AFTER HE LOST HIS BOUNTY HUNTER'S LICENSE.

I GUESS HE WAS TRYING TO MAKE A FRESH START.

WHEN WAS THE LAST TIME YOU SPOKE TO HIM?

WHEN I ARRESTED HIM.

(camera shutter clicks)

LANIE, COULD I?

SURE.

(police radio chatter)

(camera shutter clicks)

(Lanie) ROYCE, UM...

HAD SOMETHING ELSE IN HIS POCKET.

IT'S ADDRESSED TO YOU.

(radio chatter continues)

ABOUT THE CASE?

NO.

(Esposito) THINK WE GOT THE MURDER WEAPON.

FOUND IT IN THE GARBAGE AROUND THE CORNER. GUN WAS DEFINITELY FIRED RECENTLY.

SHOOTER TOOK THE TIME TO EMPTY THE AMMO

BEFORE HE DUMPED IT. WORRIED WE'D FIND FINGERPRINTS ON THE BULLETS?

(mouths word) THIS IS A CHEAP STREET GUN. IT'S A THROWAWAY.

THERE'S THREADING ON THE BARREL.

SILENCER? YEAH.

ALLOWING OUR KILLER TO SHOOT ROYCE IN BROAD DAYLIGHT.

LISTEN, BECKETT, WE'RE GONNA GET THIS GUY.

WE GOT UNIFORMS HITTING EVERY STORE AND APARTMENT

IN A 5-BLOCK RADIUS.

THIS IS NEW YORK. SOMEBODY HAD TO HAVE SEEN SOMETHING.

(Beckett) L.A. TO NEW YORK--

IT'S LIKE ROYCE WAS RUNNING FROM SOMETHING,

LIKE HE KNEW HE WAS IN DANGER.

(Esposito) YO. YOU WERE RIGHT ABOUT THE SILENCER.

THE LAB FOUND TRACE AMOUNTS OF TITANIUM ALLOY IN THE THREADS.

THEY'VE NARROWED IT DONE TO ONE OF TWO COMMERCIAL SUPPRESSORS.

BOTH RUN ABOUT A GRAND.

WHY PUT AN EXPENSIVE SILENCER ON A CHEAP GUN?

BECAUSE OUR KILLER FOLLOWED ROYCE FROM L.A.

AND COULDN'T BRING HIS OWN GUN ON THE PLANE.

BUT A SILENCER IS JUST A CYLINDER.

IT COULD EASILY BE HIDDEN IN A CHECKED BAG. ISOLATE ALL OF THE FLIGHTS THAT SOMEONE

COULD'VE FOLLOWED ROYCE FROM L.A. ON.

THERE COULDN'T HAVE BEEN THAT MANY, AND SPECIFICALLY,

FOCUS ON THE PEOPLE WHO MIGHT HAVE BOUGHT TICKETS LAST MINUTE. RIGHT.

(Beckett) WHAT THE HELL WERE YOU INTO, MIKE?

OKAY, SO WE GOT FIVE FLIGHTS OUT OF L.A.

THAT MEET OUR CRITERIA. I RAN ALL THE PASSENGERS,

AND ONE NAME POPPED.

NEEL McCAULEY BOUGHT HIS TICKET AT THE AIRPORT

AN HOUR BEFORE THE FLIGHT.

HIS IDENTITY IS BRAND-NEW-- NO CREDIT HISTORY,

AND HIS DRIVER'S LICENSE NUMBER IS A FAKE.

NEEL McCAULEY, REALLY? WHY?

THAT'S ROBERT De NIRO'S CHARACTER IN "HEAT."

THAT'S OUR GUY.

WELL, IF IT IS, YOU'RE GONNA NEED TO GET ON A PLANE,

'CAUSE MR. McCAULEY FLEW BACK TO L.A.

TWO HOURS AFTER ROYCE WAS SHOT.

I'M NOT SENDING YOU TO L.A. YOU HAVE NO SOLID EVIDENCE

LINKING NEEL McCAULEY TO THIS MURDER. (Castle) HE CAME TO NEW YORK FOR SIX HOURS.

WHO FLIES IN FOR THAT SHORT A STAY? BUSINESSMEN DO IT ALL THE TIME.

BUSINESSMEN DON'T USE FALSE I.D.s... OR PACK A SILENCER.

THAT'S SUPPOSITION. I NEED A LOT MORE THAN THAT

TO JUSTIFY FLYING A DETECTIVE ACROSS THE COUNTRY.

YOU AND I BOTH KNOW THAT THE LONGER I WAIT

TO GO OUT THERE, THE COLDER THIS TRAIL GETS. TAKE A DAY,

SHORE THIS UP, AND IF THERE'S SUFFICIENT EVIDENCE,

I'LL CONTACT L.A.P.D. YOU'LL CONTACT THE L.A.P.D.?

THIS IS MY CASE. THIS HAPPENED IN OUR JURISDICTION.

YOU THINK THE L.A.P.D. IS GONNA LIFT A FINGER--

KATE, YOU'RE TOO CLOSE TO THIS. NO, SIR, I AM COMMITTED.

I AM NOT COMPROMISED.

YOU'RE TORN UP!

KATE, THINGS BETWEEN YOU AND ROYCE ENDED BADLY.

I GET IT, BUT THAT EMOTION IS EXACTLY WHY

I NEED TO ASSIGN THIS TO SOMEONE ELSE.

(people speaking indistinctly)

YOU KNOW WHAT? YOU'RE RIGHT.

I AM TOO CLOSE TO THIS.

I HAVE SOME VACATION DAYS COMING UP.

I THINK NOW WOULD BE A GOOD TIME.

KATE.

I HOPE YOU'RE NOT THINKING ABOUT DOING SOMETHING RECKLESS.

NO, SIR.

(indistinct conversations)

WHERE YOU GOING?

HOME. THE HELL YOU ARE.

CASTLE... PLEASE.

HE WAS MY TRAINING OFFICER, MY FRIEND.

I JUST--I REALLY NEED TO BE ALONE RIGHT NOW.

(clicks button)

(elevator bell dings)

(Royce's voice) "DEAR KATE,

"I BET I'VE WRITTEN THIS LETTER A HUNDRED TIMES.

"SOMEDAY, I MIGHT ACTUALLY SEND IT.

"THERE'S NO EXCUSE FOR WHAT I DID,

"ESPECIALLY WHAT I DID TO YOU.

"BUT I'M ON A RIGHTEOUS PATH NOW.

AND I HOPE SOMEDAY, THAT PATH EARNS ME YOUR FORGIVENESS."

(engine roaring)

(baby fussing)

(bell dings)

HI.

(chuckles) YEAH.

(baby crying)

(bell dings)

(crying continues)

EXCUSE ME. DETECTIVE BECKETT? YES.

YOU'VE BEEN UPGRADED TO FIRST CLASS.

(seat belt clicks)

I'M SORRY. EXCUSE ME.

(grunts) SORRY ABOUT THAT.

SEAT 3-C.

THANK YOU.

(indistinct conversations)

CHAMPAGNE?

CASTLE, WHAT ARE YOU DOING?

OH, THE STUDIO'S BEEN AFTER ME FOR WEEKS

TO FLY DOWN AND DO A SET VISIT FOR THE "HEAT WAVE" MOVIE.

IMAGINE MY SURPRISE WHEN I SAW YOUR NAME ON THE STANDBY LIST.

YOU CANNOT BE A PART OF WHAT I'M GONNA DO OUT THERE.

I THOUGHT YOU WERE ON VACATION. CASTLE...

IT IS ONE THING FOR YOU TO FOLLOW ME

WHEN WE'RE IN NEW YORK, BUT I AM NOT A COP IN L.A.

I DON'T HAVE ANY AUTHORITY OR BACKUP.

I'LL BE YOUR BACKUP.

BESIDES, GOING ROGUE IS KIND OF MY SPECIALTY.

YEAH, BUT SUBTLETY ISN'T.

I'M NOT GONNA GET RID OF YOU, AM I?

OKAY, LOOK...

IF WE DO THIS TOGETHER, YOU HAVE TO PROMISE ME

THAT WE'RE GONNA FLY UNDER THE RADAR.

OF COURSE.

♪♪♪

(men) ♪ LA LA LA LA, LA LA LA LA ♪

♪ LA LA LA, LA LA LA ♪

(tires squeal)

(revs engine)

♪♪♪

♪ I'M GONNA LEAVE IT ALL BEHIND NOW ♪

IS THIS WHAT YOU CALL "UNDER THE RADAR"?

IN L.A., THIS BABY FITS RIGHT IN.

SO WHAT'S OUR FIRST STOP? MY HOTEL. IT'S ON VENTURA BLVD.

THAT'S ALL THE WAY IN THE VALLEY.

HOW ARE WE SUPPOSED TO WORK TOGETHER IF YOU'RE AN HOUR AWAY?

CASTLE, WE WEREN'T SUPPOSED TO WORK TOGETHER AT ALL.

OKAY, LOOK, THE STUDIO COMPED ME A TWO-BEDROOM, FOUR-STAR SUITE.

YOU JUST STAY WITH ME. (laughs) YEAH, RIGHT.

WHAT? YOU'LL HAVE YOUR OWN ROOM.

UH, NO. I AM NOT STAYING WITH YOU.

AHH. WORRIED YOU CAN'T CONTROL YOURSELF WHEN WE'RE ALONE?

ACTUALLY, IT'S NOT ME THAT I'M WORRIED ABOUT.

I ASSURE YOU, MY INTENTIONS ARE PURE.

(revs engine)

(tires squeal)

WE'RE SO HAPPY TO HAVE YOU BACK, MR. CASTLE.

I'VE TAKEN THE LIBERTY OF SETTING UP THE SUITE

JUST THE WAY YOU LIKE IT. (Castle) THANK YOU.

AND I'VE SCHEDULE A COUPLES MASSAGE AT 7:00.

PURE, HUH? UH, MAURICE, YOU CAN GO AHEAD AND CANCEL THAT,

AND GET RID OF THE FLOWERS AND THE CHAMPAGNE.

WE'RE HERE TO WORK.

(Maurice) VERY GOOD, SIR.

FOR YOU.

THANK YOU, MAURICE.

THE LAST TIME I WAS HERE,

I BROUGHT THIS PARISIAN SUPER MODEL SO HE THOUGHT YOU--

IT'S NOT IMPORTANT. WOULD YOU LIKE TO CHOOSE YOUR ROOM?

NO, I'D LIKE TO START THE INVESTIGATION.

WE HAVEN'T EVEN ORDERED ROOM SERVICE YET.

CASTLE, I'M NOT HERE FOR ROOM SERVICE.

I'M HERE FOR JUSTICE.

WOW. IN L.A. FOR ALL OF A MINUTE,

AND ALREADY SHE'S SPOUTING CHEESY MOVIE DIALOGUE.

MUST BE SOMETHING IN THE AIR.

(Castle) THIS IS ROYCE'S PLACE?

THIS IS THE ADDRESS LISTED ON HIS DRIVER'S LICENSE.

DID I MISS THE PART WHERE YOU TOLD ME HE WAS RICH?

NO. HE WAS BARELY SCRAPING BY. (doorbell rings, intercom beeps)

(man) Yeah? YEAH, I'M A FRIEND OF MIKE ROYCE'S.

Come around the back.

(intercom beeps, buzzer sounds, lock clicks)

JERRY, I CANNOT HELP YOU OUT. I'M SORRY.

YOU GOTTA GO WITHOUT. YEAH. (clears throat)

I GOTTA GO. (cell phone beeps)

HELLO. WHOA. YOU'RE GENE SIMMONS.

YEAH, I'M THAT WEIRD GUY IN KISS. YEAH, THE GUY WITH

THE LONG TONGUE AND EVERYTHING. HELLO.

WHO'S THIS PRETTY LITTLE LADY?

I'M, UH, I'M--I'M DETECTIVE KATE BECKETT, NYPD.

IS MIKE IN TROUBLE?

ACTUALLY, HE WAS MURDERED. OH, THAT'S TERRIBLE.

HOW DID YOU KNOW HIM EXACTLY? WELL, I GOT INTO TROUBLE A FEW MONTHS BACK,

AND ROYCE HELPED ME OUT, I HELPED HIM,

AND I'VE BEEN LETTING HIM LIVE IN MY GUEST HOUSE.

SO YOU'RE SAYING, HE WAS IN THE BUSINESS

OF HELPING PEOPLE IN TROUBLE? HE WAS PRETTY GOOD AT IT.

(Castle) WAS HE HELPING ANYONE LATELY? WELL, THERE WAS A GIRL.

SHE CAME BY TWO DAYS AGO. UH, REALLY BEAUTIFUL, STUNNING.

UH, THIS GIRL, DO YOU REMEMBER HER NAME?

YOU KNOW WHAT? SHE DROPPED OFF A HEAD SHOT.

IF YOU GIVE ME A CHANCE, I'LL GO FIND IT.

(Beckett) THANK YOU.

(lowered voice) THIS IS SO WEIRD.

(lowered voice) WHAT?

I'VE DRESSED UP AS HIM FOR HALLOWEEN.

MM. I DID, TOO.

VIOLET YOUNG, A SMOKING-HOT WANNABE STARLET

WHOSE ONLY CREDIT IS "SLUMBER PARTY ZOMBIE."

WHAT KIND OF TROUBLE WOULD AN ACTRESS BE IN

THAT WOULD SCARE ROYCE INTO RUNNING?

WHAT ARE YOU DOING? PULLING UP "SLUMBER PARTY ZOMBIE" ON NETFLIX.

WHAT ARE YOU DOING? I'M GONNA GET AHOLD OF VIOLET'S AGENT, SEE IF I CAN

FIND OUT WHERE SHE IS.

YO, RYAN, WHAT'S UP? WE GOT LUCKY.

KIDS WERE TAGGING THAT BUILDING ACROSS FROM THE ALLEY,

SO THE OWNER PUT UP A CAMERA.

(clicks keyboard key, computer beeps) THERE'S OUR SHOOTER.

YOU CAN'T SEE HIS FACE OR THE LICENSE PLATE NUMBER.

BUT YOU CAN SEE THE DRIVER'S ARM. A BLACK GUY. EBONY TO OUR KILLER'S IVORY.

YOU STILL GOT THAT FRIEND AT T.S.A.? YEAH, WHY?

MAYBE THEY'LL SHARE SURVEILLANCE FOOTAGE

OF THE SECURITY CHECKPOINT THAT OUR SHOOTER WENT THROUGH.

THE GUY WAS IN TOWN FOR SIX HOURS, RIGHT?

THERE'S A CHANCE THAT HE'S WEARING THE SAME CLOTHES... (clicks keyboard keys)

AT THE AIRPORT THAT HE'S WEARING IN OUR VIDEO... WHICH MIGHT GET US A LOOK AT HIS FACE.

SO VIOLET'S SHOOTING A COMMERCIAL AT ZENITH STUDIOS.

NO WAY. THAT'S WHERE THEY'RE SHOOTING "HEAT WAVE."

OH, WOW. IT'S KISMET.

(revs engine)

VIOLET'S COMMERCIAL SHOOTS ON STAGE SEVEN.

RICK CASTLE! HA HA!

I CANNOT BELIEVE WE FINALLY GOT YOU OUT HERE.

TONY, YOU MONEY-GRUBBING BASTARD.

HOW'S FILMING? YOU KIDDING ME? IT'S AWESOME, BUDDY.

YOU KEEP WRITING 'EM, WE'LL KEEP MAKING 'EM. TONY, I WANT YOU TO MEET KATE BECKETT.

THIS IS THE INSPIRATION FOR NIKKI HEAT.

WOW. WITH YOUR LOOKS, HONEY, YOU COULD BE AN ACTRESS.

(chuckles) I'M COMPLETELY COMFORTABLE BEING A COP.

I'M GONNA GO AND LOOK FOR VIOLET. IT WAS NICE TO MEET YOU. YOU, TOO.

SHE'S HOT. MM.

NO WONDER YOUR SEX SCENES ARE SO STEAMY. (laughs)

SO, UH, WHERE'S OUR NIKKI HEAT, NATALIE RHODES?

(sighs) WHAT?

NATALIE'S HAVING SOME PERSONAL ISSUES.

WHAT KIND OF PERSONAL ISSUES? LET'S JUST SAY,

THERE WAS A SLIGHT MIX-UP WITH ONE OF HER PRESCRIPTIONS.

SHE'S IN REHAB? HEY, YOU DID NOT HEAR THAT FROM ME.

OH, THERE ARE THE ACTORS WHO PLAY RALEY AND OCHOA.

HERVé, TAYLOR-- IT'S HERVé.

YEAH, THAT'S WHAT I SAID. THIS IS YOUR CREATOR--RICHARD CASTLE.

YO. BIG FAN, BRO.

THANKS. I--OH.

I'VE READ ALL YOUR BOOKS.

IF YOU HAVE TIME, I'D LOVE TO TALK ABOUT MY MOTIVATION. WHAT DO YOU MEAN?

I MEAN, WHAT'S MY CHARACTER'S INNER LIFE?

WHY DO I DO WHAT I DO?

AH. YOU'RE A COP, SO IT'S YOUR JOB.

CASTLE. VIOLET DIDN'T SHOW UP TO WORK TODAY.

I JUST TALKED TO HER AGENT.

HE SAID THERE'S NO WAY SHE WOULD'VE MISSED THIS COMMERCIAL.

THIS WAS A HUGE BREAK FOR HER.

I'VE GOT HER ADDRESS.

YOU THINK SHE'S IN TROUBLE?

YEAH, OR WORSE.

YOU GUYS ON THE JOB? YEAH, YEAH.

YOU GUYS LOOK GREAT.

THAT IS JUST CREEPY.

TOTALLY.

MM, MM.

HEY. HOLA, CHICA.

WHAT ARE YOU DOING HERE?

I WAS IN THE NEIGHBORHOOD. MM.

I THOUGHT I'D STOP BY AND SEE IF THOSE BULLETS

YOU PULLED OUT OF ROYCE WERE READY TO GO OVER TO BALLISTICS.

I GOT A FRIEND THERE

WHO WILL MAKE SURE THEY GET PROCESSED RIGHT AWAY.

(chuckles)

MM. WAIT, WAIT, WAIT, WAIT A MINUTE.

IS YOUR "FRIEND" THAT TOP-HEAVY TRAMP IN RECEPTION?

HMM? WHAT?

I--YOU KNOW I ONLY HAVE EYES FOR YOU. I DON'T EVEN--

MM-HMM. AND YOU KNOW I HAVE EASY ACCESS TO SHARP OBJECTS.

WHAT THE HELL?

(sizzling)

ARE THOSE THE BULLETS?

YEAH. THEY'RE DISSOLVING.

(doorbell rings) I MEAN, ICE BULLETS I'VE HEARD OF.

(knock on door) BUT DISSOLVING BULLETS?

VIOLET? VIOLET YOUNG? (ring)

YOU'D THINK SOMEBODY ON MY CONSPIRACY WEB SITES

WOULD'VE MENTIONED THEM. (knocks)

I DON'T THINK VIOLET'S HOME.

YEAH.

(doorknob rattles)

YOU SURE THIS IS OKAY?

NO, IT IS NOT OKAY.

IT IS ACTUALLY, COMPLETELY... (clicks)

ILLEGAL.

HELLO?

VIOLET?

I DON'T SMELL A DEAD BODY.

SHE'S NOT HERE.

NO, SHE'S NOT. SHE'S IN NEW YORK.

THIS WAS ROYCE'S FLIGHT.

OKAY, SO THEY FLEW TOGETHER.

HE PROBABLY KNEW THAT THEY WERE IN TROUBLE

AND HE TRIED TO PROTECT HER BY TAKING HER TO NEW YORK.

PROTECT HER FROM WHAT?

MAYBE FROM THIS?

SURVEILLANCE PHOTOS?

WHAT WOULD SHE BE DOING WITH SURVEILLANCE PHOTOS?

MAYBE ROYCE WAS DOING SOME KIND OF P.I. WORK FOR HER.

HMM.

THE BUILDING THIS GUY IS COMING OUT OF LOOKS FAMILIAR.

SHE HAS ARTICLES ON CORGIS, ON SURFING, WINE TASTING.

HOW DOES ANY OF THIS ADD UP?

MAYBE SHE WAS RESEARCHING A ROLE. AND WHAT ROLE WOULD THAT BE?

AND WHAT DOES ANY OF IT HAVE TO DO WITH ROYCE? (beeps)

(man) THE POWER OF... SOUND... COMPELS YOU-- (beep)

(vehicle approaches)

(door closes)

(dog barks)

(whispers) COPS. COPS. COPS.

(whispering) PHOTO.. OKAY.

(button beeps, camera shutter clicks) OKAY, GO.

L.A.P.D.!

DON'T MOVE.

(barking continues)

THANKS.

AFTERNOON.

KYLE SEEGER, ROBBERY-HOMICIDE.

LOOK, KYLE, THIS IS A MISUNDERSTANDING--

MEANING YOU DIDN'T PICK THE LOCK

OR ILLEGALLY ENTER THIS HOUSE? MEANING SHE'S NYPD.

I KNOW WHO YOU ARE, DETECTIVE.

AND WHILE I CAN APPRECIATE YOUR LOSS,

I CAN'T HAVE YOU AND YOUR OFFBEAT SIDEKICK

RUNNING AROUND MY TOWN COMMITTING FELONIES

IN SOME MISGUIDED QUEST FOR JUSTICE. ARE--ARE YOU ARRESTING US?

OH, MUCH WORSE.

SOMEBODY WANTS TO HAVE A WORD WITH YOU.

(beeps) YOU'RE ON SPEAKER, SIR.

(Montgomery) Breaking into people's houses--

that's your idea of a vacation, Beckett?

SIR. I CAN EXPLAIN. I WAS-- NO, YOU CANNOT.

WHAT YOU CAN DO IS GET YOUR ASS ON THE NEXT PLANE OUT. (Castle) Uh, we have

A DINNER RESERVATION AT SPAGO. IS THE MORNING OKAY? OH, THIS IS ALL A BIG JOKE TO YOU, ISN'T IT, CASTLE?

But when Beckett is working mall security, I guess

following her around isn't gonna have quite the same allure.

BOTH OF YOU, COME HOME NOW.

(line disconnects, dial tone drones)

WOW. (beep)

THAT WAS AWKWARD.

YOU KNOW, UNLESS THERE'S SOMETHING ELSE,

I THINK WE SHOULD GO NOW.

HEY, ONE LAST THING. DID YOU FIND WHAT YOU WERE LOOKING FOR?

WRONG HOUSE.

WELCOME TO L.A., DETECTIVE. NOW GO HOME.

WOULD MONTGOMERY REALLY FIRE YOU? YEAH.

SO WE'RE GOING BACK TO NEW YORK. HELL, NO.

(phone rings)

(ring)

(sighs)

DETECTIVE RYAN.

HEY, IT'S ME. CAN YOU TALK?

YEAH, BUT MONTGOMERY IS SERIOUSLY FIRED UP.

Yeah, I know. Look, I need a favor from you,

BUT YOU CAN FEEL FREE TO SAY NO. OH, COME ON. WHATEVER IT IS, I'M SAYING YES.

Okay, great. Thanks.

We think that Royce had company when he traveled to New York.

HER NAME IS VIOLET YOUNG. WE THINK

whatever trouble he was into, she was involved somehow.

YOU THINK SHE'S STILL IN TOWN? Unless McCauley got to her first.

HER HEAD SHOT LISTS AN ACTING SCHOOL IN NEW YORK.

SHE MIGHT HAVE FRIENDS OUT THERE.

CAN YOU SEE IF SHE CONTACTED ANY OF THEM? YOU GOT IT. I'LL KEEP YOU POSTED.

(Beckett) GREAT. THANK YOU.

UH, ESPOSITO'S GOT SOMETHING. (whispers) BECKETT, LINE TWO.

'SUP, GIRL? HOW'S THE WEATHER IN YOUR WORLD?

SUNNY, CHANCE OF ASS KICKING. WHAT DO YOU GOT?

A photo of our killer, courtesy of T.S.A.

I'M SHOOTING IT OVER TO YOU NOW.

(chirps)

AND THAT'S NEEL McCAULEY?

Well, whoever he is, he wore the exact same clothes at J.F.K.

AS HE DID IN THAT ALLEY. THAT'S HOW WE GOT HIM.

OKAY, LOOK, THIS IS A LONG SHOT, BUT RUN FACIAL RECOGNITION

THROUGH THE FEDERAL AND LOCAL DATABASES. YOU GOT IT.

I FOUND HIM. NEEL McCAULEY?

NO. THE MYSTERY MAN FROM THE PHOTO IN VIOLET'S PLACE.

I REALIZED WHERE I'D SEEN THAT BUILDING

HE WAS COMING OUT OF BEFORE.

IT WAS THE BAD GUYS' HEADQUARTERS

IN "PRIMAL FURY: PRIMAL VENGEANCE."

SO DID A LITTLE INTERNET SEARCH, AND BAM, SAID THE LADY,

FOUND IT'S THE HOME OF KELVIN NORTH AMERICA.

SOME KIND OF R&D FACILITY.

THE CHIEF EXECUTIVE OFFICER IS CHARLES KELVIN.

GUESS WHAT HIS HOBBIES ARE.

"WINE, CORGIS AND SURFING." VIOLET WAS STUDYING HIM.

(Beckett) MR. KELVIN!

MR. KELVIN. (panting)

YOUR ASSISTANT SAID THAT WE COULD FIND YOU HERE.

THIS IS MY SURF HOUR,

SO WHATEVER YOU HAVE TO SAY, IT CAN WAIT TILL I'M DONE.

NO, IT CAN'T. I'M DETECTIVE KATE BECKETT.

THIS IS RICHARD CASTLE. DO YOU RECOGNIZE THIS WOMAN?

SURE. (grunts)

I MET HER IN LINE FOR COFFEE LAST FRIDAY, ASKED HER OUT.

THOUGHT THE DATE WAS GOING WELL TILL SHE WENT TO THE BATHROOM

AND NEVER CAME BACK. WHAT'S THIS ALL ABOUT ANYWAYS?

SOMETHING HAPPEN TO HER? DOES THIS RECORDING MEAN ANYTHING TO YOU?

(man) THE POWER OF... SOUND... COMPELS YOU-- (beep)

ISN'T THAT YOUR VOICE? THAT BITCH.

WHAT DOES THAT MEAN? THAT PHRASE IS THE KEY TO OUR HIGH SECURITY VAULT. VIOLET MUST

HAVE PIECED IT TOGETHER FROM WORDS I SAID DURING THE DATE.

I GOTTA GET BACK TO THE OFFICE.

(buzzer sounds, lock clicks)

NO.

THEY'RE GONE. WHAT WAS IN HERE?

THAT'S PROPRIETARY INFORMATION.

A BULLET?

I'M GUESSING IT DISSOLVES.

HOW DO YOU KNOW ABOUT THOSE?

THEY WERE USED IN A MURDER. GOD.

WE CREATED THEM TO TRY TO LAND A DEFENSE CONTRACT

IN ULTRALIGHT AMMUNITION.

THE DISSOLVING PROPERTY WAS A COMPLETE ACCIDENT.

(Charles) UNFORTUNATELY, IT RENDERED THE BULLETS USELESS

TO THE MILITARY. YEAH, BUT VALUABLE TO SOMEONE ELSE.

NOW HOW THE HELL DID THIS HAPPEN?

HEY. GOOD NEWS ON VIOLET. YOU FOUND HER?

UH... (chuckles) NOT THAT GOOD, BUT SHE IS ALIVE.

OR AT LEAST SHE WAS LAST NIGHT.

TRACKED DOWN AN EX OF HERS WHO SAID

SHE SHOWED UP ON HIS DOORSTEP, SCARED OUT OF HER MIND,

TOLD HIM SHE HAD COME OUT FROM L.A. WITH ROYCE,

BUT HE HAD DISAPPEARED, SO THE EX LET HER STAY THE NIGHT.

NEXT MORNING, VIOLET WAS GONE, SO WAS HIS WALLET.

HE KNOW WHERE SHE WAS HEADED? UH, NO, BUT TWO HOURS LATER,

A LARGE AFRICAN-AMERICAN GENTLEMAN

WITH A FONDNESS FOR KIDNEY PUNCHES SHOWED UP

AND ASKED THAT VERY SAME QUESTION. THE DRIVER WHO PICKED UP McCAULEY.

MM-HMM, THAT'S WHAT I WAS THINKING.

WORKED THE EX OVER PRETTY GOOD, TOO. LET'S GET HIM WITH A SKETCH ARTIST.

WAY AHEAD OF YOU, BRO.

LOOKS LIKE WE'RE NOT THE ONLY ONES HUNTING FOR VIOLET.

PICTURE THIS-- A GULLIBLE YOUNG ACTRESS,

DESPERATE TO MAKE A NAME FOR HERSELF.

SHE MEETS OUR MASTERMIND AT A CLUB.

HE NEEDS A PRETTY GIRL TO HELP HIM GET THE VOICE CODE.

HE TELLS VIOLET HE'S A PRODUCER, PROMISES TO MAKE HER FAMOUS

IF SHE HELPS HIM PLAY A PRACTICAL JOKE ON A FRIEND.

SHE DOESN'T EVEN REALIZE

THAT SHE'S PARTICIPATING IN A CRIME UNTIL AFTERWARDS.

SHE CAN'T CALL THE COPS, SO SHE CONTACTS ROYCE. BUT THEN OUR MR. McCAULEY FINDS OUT.

AND ROYCE TRIES TO CHANGE THE GAME.

HE GOES TO NEW YORK-- HOME FIELD ADVANTAGE.

CLASSIC. CLASSIC ROYCE.

(exhales)

I WAS SO IN AWE OF HIM, CASTLE,

WHEN I FIRST MET HIM.

I JUST HUNG ON HIS EVERY WORD.

AND THEN LATER, I REALIZED,

HE WAS JUST MAKING UP STORIES TO MESS WITH ME.

(laughs)

I CAN'T BELIEVE THAT I'M NEVER GONNA SEE HIM AGAIN.

YOU KNOW WHAT I THOUGHT WHEN I FIRST MET YOU?

HMM?

THAT YOU WERE A MYSTERY I WAS NEVER GONNA SOLVE.

EVEN NOW,

AFTER SPENDING ALL THIS TIME WITH YOU,

I'M...

I'M STILL AMAZED

AT THE DEPTHS OF YOUR STRENGTH,

YOUR HEART...

AND YOUR HOTNESS.

YOU'RE NOT SO BAD YOURSELF, CASTLE.

(Josh Ritter's "Come and Find Me" playing)

♪ SO I... ♪

I SHOULD GO. IT'S LATE.

GOOD NIGHT.

♪ AND YOUR CROOKED FACE WITH THE DAISIES ♪

KATE.

GOOD NIGHT, CASTLE.

♪ AND I KEEP ME IN A VACANT LOT ♪

♪ IN THE IVIES, FORGET-ME-NOTS ♪

♪ HOPING YOU WILL COME AND UNTANGLE ME ♪

♪ ONE OF THESE DAYS ♪

♪ COME AND... ♪

♪ FIND ME ♪

♪ NOW ♪

♪ COME AND... ♪

♪ FIND ME ♪

♪ NOW ♪

(pen squeaking)

(Castle) WOW.

SOMEBODY'S UP EARLY. HEY.

WHAT, DID YOU PACK A MURDER BOARD?

CONCIERGE.

CALLED DOWN, AND THEN THEN MINUTES LATER, VOILà.

OH, MAURICE IS AMAZING, ISN'T HE? YEAH.

I BET IF I ORDERED THE ARK OF THE COVENANT, HE'D COME THROUGH.

WOULDN'T YOU BE AFRAID TO OPEN IT? NO. IT ONLY MELTS NAZIS.

IS THAT, UH, KELVIN NORTH AMERICA?

YEAH, I'M TRYING TO FIGURE OUT THIS HEIST.

KELVIN SAID THAT THE LAST TIME THAT VAULT WAS ACCESSED

WAS AT 11:46 TUESDAY NIGHT. WELL, THAT MUST BE WHEN OUR THIEVES

STOLE THE HIGH-TECH AMMO. 800 POUNDS WORTH,

AND THEY WOULD'VE HAD TO TAKE IT OUT THE LOADING DOCK. BUT THAT GUARD STATION THERE,

I REMEMBER SEEING THAT WHEN WE WENT IN.

THERE'S NO WAY THEY COULD GET ALL THAT AMMO PAST HIM

WITHOUT A LITTLE INSIDER HELP. EXACTLY.

SO I CALLED THE SECURITY COMPANY, AND THEY SAID THAT

THE ONLY GUARD THAT WAS STATIONED AT THE LOADING BAY

THAT NIGHT WAS SOME GUY NAMED REGGIE WALSH.

I FEEL THE PLOT ABOUT TO THICKEN. HE ASKED TO BE REASSIGNED THE NEXT DAY.

(knock on door) ARE YOU EXPECTING ANYONE?

NO.

HEY, WAIT, WAIT, WAIT. WAIT.

(door closes)

DETECTIVE SEEGER.

MR. CASTLE. DO COME IN.

WOW. NICE DIGS.

IT SURE PAYS TO TRAVEL WITH A BEST-SELLING AUTHOR, HUH?

(Beckett) SEEGER, IF YOU'RE HERE TO DRIVE US TO THE AIRPORT,

WE'RE NOT PACKED YET. I'M HERE BECAUSE A REPORT CROSSED MY DESK ABOUT A THEFT

AT KELVIN NORTH AMERICA.

YOUR NAMES JUMPED OUT AT ME.

NOW TELL ME, WHAT DOES THE THEFT OF HIGH-TECH BULLETS

HAVE TO DO WITH YOUR MURDER INVESTIGATION?

WE'RE NOT INVESTIGATING A MURDER ANYMORE, REMEMBER?

WE'RE OFF THE CASE.

ARE WE GONNA DO THAT DANCE?

LOOK, WE DON'T KNOW ANY MORE ABOUT THAT THEFT THAN YOU DO.

BUT IF WE STUMBLE ACROSS SOMETHING

ON OUR WAY TO THE AIRPORT, WE'LL BE SURE AND LET YOU KNOW.

SEE THAT YOU DO.

(door opens)

DETECTIVE.

GOOD-BYE.

(Castle) ARE YOU SURE IT'S SUCH A GOOD IDEA, CUTTING HIM OUT?

HE MIGHT BE ABLE TO HELP US.

CASTLE, THE ONLY THING SEEGER CARES ABOUT IS THAT ROBBERY,

NOT ROYCE'S MURDER.

WHAT WE NEED TO DO IS QUESTION THAT GUARD--REGGIE WALSH.

HOW? YOU'RE NOT A COP HERE, REMEMBER?

REGGIE DOESN'T NEED TO KNOW THAT.

OH.

LIKE I TOLD YOU, I DON'T KNOW ANYTHING ABOUT A ROBBERY.

GIMME A BREAK, REGGIE. YOU'RE LYING.

YOU'RE A PUNK.

A DIRTY SKELL. A LOW-DOWN, RAT BASTARD--

EASY, GUYS.

YEAH, I-I MEAN, WE ALL WEAR THE UNIFORM, RIGHT?

YEAH, I JUST HOPE YOURS MAKES YOU LOOK GOOD ON TV.

WHAT ARE YOU TALKING ABOUT?

THE NEWS CAMERAS OUTSIDE OF THE PRECINCT.

THEY JUST LOVE A GOOD PERP WALK, REGGIE.

AND IF YOU'RE MIXED UP WITH THIS, I'M SURE

YOU WOULDN'T WANT TO BE SEEN TALKING TO THE COPS.

SO AS A COURTESY,

I AM GOING TO LET YOU COVER UP WITH MY JACKET.

I WOULDN'T TAKE IT OFF BEFORE WE GET INTO THE INTERVIEW ROOM.

THERE MIGHT BE REPORTERS ON THE INSIDE.

OKAY.

(Castle) YOU'RE A SECURITY GUARD, REGGIE.

IN PRISON, YOU'RE THE LOWEST OF THE LOW.

I-I THOUGHT THAT WAS CHILD MOLESTERS.

YEAH, WELL...

DUDE, SECURITY GUARD.

AND YOU KNOW WHAT THEY DO TO GUYS LIKE YOU IN LOMPOC. NO.

(Reggie) WHAT? THAT'S... THIS IS A LATTE. OKAY, I DRINK CHAI TEA LATTES.

IT'S TOO DISGUSTING TO SAY IN THE PRESENCE OF A WOMAN. HOW LONG DO YOU HAVE TO WORK FOR ME

UNTIL YOU GET THAT RIGHT? HUH? OR MAYBE-- COME ON, REGGIE.

(Beckett) WE KNOW YOU WERE AT THE LOADING BAY THAT NIGHT.

ALL RIGHT. UM...

THESE TWO GUYS CAME TO ME.

OFFERED ME 500 BUCKS TO TAKE A CIGARETTE BREAK AT MIDNIGHT.

THE ONLY REASON I WENT ALONG IS BECAUSE SAYING NO

DIDN'T REALLY SEEM LIKE AN OPTION. ARE THESE THE MEN?

YEAH. YEAH.

DID THEY GIVE YOU THEIR NAMES? NO.

OH, BUT, UH, WHEN THEY WERE WALKING AWAY,

THE BLACK GUY CALLED THE OTHER GUY GANZ.

ALL RIGHT, GUYS. THANKS VERY MUCH.

WE'RE DONE WITH THE ROOM. (man) OPEN-DO!

(motor whirring)

WHAT THE HELL? WELCOME TO HOLLYWOOD.

(Tony) GREAT SCENE, RICKY.

YOU SAID SHE WAS A STAR, AND THAT'S RIGHT.

DOES THIS MEAN I CAN LEAVE?

(Ryan) HIS NAME IS RUSSELL GANZ. SUSPECTED OF PULLING OFF

SEVERAL HIGH-PROFILE HEISTS DURING THE LAST FIVE YEARS,

INCLUDING THE THEFT

OF MILITARY-GRADE CIRCUIT BOARDS IN 2009.

Ganz is very smart and very violent.

His multimillion-dollar scores have allowed him

TO LIVE LIKE ROYALTY-- FAST CARS, HOT WOMEN.

DISSOLVING BULLETS WOULD BE WORTH A FORTUNE

FOR THE RIGHT BUYER, LIKE A GANG OR A DRUG CARTEL.

DO WE HAVE AN L.A. ADDRESS FOR GANZ

OR ANY KNOWN ASSOCIATES?

Uh, negative on the address.

AND IT LOOKS LIKE MOST OF HIS FRIENDS ARE INCARCERATED.

WAIT.

YEAH, HERE'S ONE THAT'S NOT. DONALD MANNIS.

HE LOOKS EXACTLY LIKE THE GUY HUNTING VIOLET.

OKAY, MANNIS MIGHT LEAD US TO GANZ,

SO LET'S GET HIS PHOTO TO ALL THE TROOPS. GOT IT. I'LL GET BACK TO YOU.

WE GOTTA FIND GANZ FAST.

ONCE HE FENCES THOSE BULLETS, HE'S GONNA DISAPPEAR.

DON'T WORRY. THE GUY LIKES THE PERKS OF WEALTH?

I KNOW JUST THE GUY TO HELP US FIND HIM.

OH, MR. GANZ IS WELL-KNOWN WITHIN MY NETWORK.

HE'S A FREQUENT GUEST AT OUR CITY'S FIVE-STAR HOTELS.

DO YOU ACTUALLY KNOW WHERE HE IS? AT A POOLSIDE CABANA AT THE EASTWAY.

HE ENJOYS BEING SURROUNDED BY BEAUTIFUL WOMEN

AS HE CONDUCTS BUSINESS ON THE PHONE, WHICH,

ACCORDING TO A POOLSIDE WAITER, HE'S DOING AS WE SPEAK.

MAURICE, THANK YOU VERY MUCH. YOU NEVER FAIL TO AMAZE.

MY PLEASURE, SIR, MA'AM.

OKAY, SO IF GANZ IS DOING BUSINESS POOLSIDE,

HE'S PROBABLY TRYING TO FIND A BUYER FOR THOSE BULLETS.

AND IF I CAN PUT HIM WITH THOSE BULLETS,

I CAN PROVE HE KILLED ROYCE. WELL, DON'T YOU THINK IT'S TIME WE CALLED THE L.A.P.D.?

I THINK I HAVE A BETTER IDEA.

(Sloan's "Other Side" playing)

(indistinct conversations)

(beep) IT'S TIME FOR A CELEBRATION.

SET IT UP FOR TONIGHT, WILL YOU, MAX?

YES, SIR.

♪♪♪

(slurps)

(indistinct conversations continue)

♪ THERE'S A CERTAIN KIND OF FEELING ♪

♪ ON THE OTHER SIDE ♪

♪ IT'LL TAUNT YOU FROM A DISTANCE ♪

♪ AND IT'S HARD TO FIGHT ♪

♪ I'VE GOT TO WALK AND SAY I LOST ♪

♪ BUT AT LEAST I ♪

♪ TRIED ♪

♪ THERE'S A CERTAIN WAY OF DEALING ♪

♪ WITH THE OTHER SIDE ♪

♪ IF YOU WANT PROOF OF ITS EXISTENCE ♪

♪ WELL, THAT'S HARD TO FIND ♪

♪ LESS DEEP, YEAH ♪

I APPRECIATE A WOMAN WHO KNOWS HOW TO MAKE AN ENTRANCE.

YOU STAYING AT THE HOTEL?

NO, I'M MEETING SOMEONE. BUSINESS OR PLEASURE?

HOPEFULLY A BIT OF BOTH...

MR. GANZ.

I'M LOLA BLACK. PLEASE SIT.

(indistinct conversations)

WHAT CAN I DO FOR YOU, MS. BLACK?

I REPRESENT A SMALL BUT POWERFUL GROUP

OF COLOMBIAN BUSINESS INTERESTS,

AND THEY UNDERSTAND THAT YOU'RE IN POSSESSION OF SOME...

UNIQUE MERCHANDISE.

HMM.

I'M AFRAID YOU'VE GOT ME CONFUSED WITH SOMEONE ELSE.

OH, I DON'T THINK SO.

THAT BUSINESS IN NEW YORK, THAT EX-COP?

IT WAS A VERY EFFECTIVE PRODUCT DEMONSTRATION.

HMM.

MY OFFER IS SERIOUS, AND MY CLIENTS

ARE NOT ACCUSTOMED TO HEARING THE WORDS "NO."

WELL... THE BIDDING ON THAT PARTICULAR ITEM

CLOSED ABOUT 20 MINUTES AGO.

BETTER LUCK NEXT TIME.

WAIT, UH...

$2 MILLION.

I-I CAN HAVE IT HERE WITHIN AN HOUR.

(indistinct conversations)

(Ganz) I'M IMPRESSED, ACTUALLY,

THE WAY YOU LURED ME IN. (button beeps, camera shutter clicks)

YOU HAD ME GUESSING THERE FOR A SECOND.

WHAT'S THAT SUPPOSED TO MEAN? IT MEANS YOU'RE A COP.

YOU'RE THE HOTTEST THING I'VE SEEN

COME OUT OF MAJOR CRIMES IN QUITE SOME TIME.

BUT YOU'RE A LITTLE TOO EAGER, A LITTLE GREEN.

NICE MEETING YOU, LOLA.

(indistinct conversations continue)

(whispers) OH, GOD, CASTLE.

(indistinct conversations)

(lowered voice) SO WHAT HAPPENED?

(normal voice) OW! I WAS TRYING TO KEEP HIM FROM SEEING YOU,

AND SO I PUSHED TOO HARD, AND HE MADE ME.

HE CALLED ME GREEN, CASTLE. WHAT THE HELL WERE YOU DOING? I SAW HIS PHONE IN THE CABANA.

I THOUGHT IT WAS WORTH THE RISK. YOU TOOK HIS PHONE?

NO! NO, I TOOK A PICTURE OF HIS RECENT CALL LIST. WHAT? WHERE IS IT?

DON'T--DON'T POKE ME. (laughs) POKE YOU? I WANT TO KISS YOU.

OKAY, WE NEED TO RUN DOWN THESE NUMBERS,

SEE IF WE CAN TRACE ONE OF THEM TO GANZ'S BUYER.

OKAY, NOW CAN WE CALL SEEGER?

GENTLEMEN, WHERE ARE WE WITH VIOLET YOUNG?

I JUST GOT OFF THE PHONE WITH HER MOTHER.

SHE SAID SHE REMEMBERS VIOLET HAVING A ROOMMATE

WHO LIVES NEAR CANAL STREET. YEAH, WE'RE GONNA HEAD OVER THERE AND SEE

IF VIOLET REACHED OUT TO HER. WELL, LET ME KNOW.

YEAH, RIGHT. HEY, YOU HEARD FROM BECKETT?

NO, SIR. YEAH, ME NEITHER.

SHE'S NOT ANSWERING HER CELL.

MAYBE SHE'S AIRBORNE.

UH-HUH. YEAH, THAT WOULD EXPLAIN HER PHONE BEING TURNED OFF.

OH.

YOU KNOW, I'M TRYING TO DECIDE WHO IS THE WORSE LIAR,

HIM OR YOU.

(indistinct conversations)

GO FIND VIOLET YOUNG.

HELP BECKETT PUT THIS THING TO BED, ALL RIGHT?

YES, SIR. RIGHT ON.

HEY, DETECTIVE SEE--

HEY.

YOU RUN WILD IN MY CITY, THEN YOU CALL ME FOR A FAVOR?

YOU GOT A LOT OF NERVE, DETECTIVE. I'LL GIVE YOU THAT. HEY, WE'RE TRYING TO GET

A VICIOUS CRIMINAL OFF OF YOUR STREETS. HEY, CAN I INTEREST YOU IN ONE OF THESE ROBES?

BEFORE YOU SAY NO, FEEL HOW SOFT THIS IS. NO, THANK YOU.

LOOK, WE'RE ALL ON THE SAME TEAM NOW,

SO WHY DON'T WE JUST GET THIS DONE WITH? AS LONG AS IT GETS DONE MY WAY.

FINE. WHAT DO YOU GOT?

WELL, GANZ'S PHONE IS A BURNER,

AND SO ARE MOST OF THE NUMBERS HE CALLED.

WHICH MEANS YOU DIDN'T GET THE BUYER'S I.D.

WE DID MANAGE TO TRACE ONE OF THE BURNERS HE CALLED

TO NEW YORK CITY. MANNIS. THAT'S GANZ'S PARTNER.

I BET GANZ WAS CALLING TO ASK

WHY THE HELL VIOLET YOUNG WAS STILL ALIVE.

DID YOU HAPPEN TO GET A LOCATION ON MANNIS' PHONE? JUST THAT IT'S IN MANHATTAN.

OKAY. SO LET'S CALL HIM, RILE HIM UP A BIT. RILE HIM UP HOW?

I'LL TELL HIM I MET GANZ.

GANZ WAS GONNA CUT HIM OUT OF THE DEAL.

MANNIS WASN'T PULLING HIS WEIGHT. MANNIS GETS PISSED, HE CALLS GANZ, MAYBE ONE OF THEM

LETS SOMETHING SLIP ABOUT THE LOCATION OF THE EXCHANGE. AND WE'LL BE LISTENING.

(cell phone auto dials) GOOD. I'LL TRY AND GET A WARRANT.

(Ryan) YOU'RE A HARD GIRL TO FIND, VIOLET.

I KNOW IT WAS WRONG TO RUN,

BUT I WAS AFRAID TO GO TO THE COPS.

I NEVER MEANT FOR ROYCE TO GET HURT.

WELL, LET'S JUST GET BACK TO THE STATION, VIOLET.

WE CAN WORK IT OUT, ALL RIGHT? LET'S GO.

(cell phone rings)

GUN!

DOWN! DOWN! DOWN! (gunfire)

(cell phone ringing) YOU OKAY?

YEAH. YOU? YEAH.

YOU OKAY? YEAH.

WAIT RIGHT HERE, ALL RIGHT? (groaning)

(ring)

(grunting) (rings and beeps)

YO.

ESPOSITO?

BECKETT?

ARE YOU WITH MANNIS? YEAH. I JUST SHOT HIM.

Why are you calling him?

LOOK, WE NEED TO KNOW WHERE AND WHEN GANZ

is selling those bullets. DON, WHERE'S THE DEAL GOING DOWN?

I'M HIT MAN. CALL AN AMBULANCE. WELL, MY PARTNER'S ON THAT.

9-1--WHAT-- WHAT COME AFTER THAT ONE?

I'M IN PAIN HERE, MAN! (grunts) IT'S OVER, MANNIS.

IF YOU GIVE US THE MEET LOCATION,

I'LL TELL THE D.A. IN L.A. THAT YOU COOPERATED.

(pants) AAH!

Aah! I'll tell you. (grunts)

Santa Monica Pier! 6:00!

NOW CALL AN AMBULANCE! WHO SHOT ROYCE?

IT WAS GANZ.

(groans)

YOU GET THAT?

YEAH, WE GOT IT. THANKS. (cell phone beeps)

GOTTA GET TO SANTA MONICA PIER.

IT'S QUARTER OF 6:00 NOW. THIS IS GONNA BE OUR LAST CHANCE TO GET GANZ.

LET'S ROLL.

(organ music playing)

(children laughing)

(music continues)

(indistinct conversations)

(music continues)

(indistinct conversations continue)

(music continues)

L.A.P.D. FREEZE.

PUT THE CASE DOWN. PUT THE CASE DOWN.

GET HANDS BEHIND YOUR HEAD.

(handcuffs clicking) YOU IN THE VAN! POLICE. BOTH HANDS OUT THE WINDOW.

OPEN THE DOOR. GET OUT SLOW.

SLOWLY.

UP AGAINST THE VAN.

UP AGAINST THE VAN! (grunts)

GIVE ME YOUR HAND. (groans)

WHERE IS HE? WHERE'S GANZ? (laughs)

AAH! (groans) WHERE IS HE?

(laughs)

(organ music playing)

(indistinct conversations)

(police radio chatter)

(music continues)

BINGO.

WHERE DID BECKETT GO?

(indistinct conversations)

(organ music playing)

(indistinct conversations continue)

(man) HEY, YOU.

(music continues)

(indistinct conversations continue)

(music continues)

(indistinct conversations continue)

(music continues)

(indistinct conversations continue)

(grunts) OH!

POLICE! STOP!

(people shouting indistinctly)

(grunts)

(panting)

OHH! OH!

(groans)

(exhales)

(inhales and exhales deeply)

(inhales sharply)

I KNEW YOU WERE A COP.

MY NAME IS DETECTIVE KATE BECKETT,

NYPD.

MICHAEL ROYCE WAS MY FRIEND.

YOU SHOT HIM

AND YOU LEFT HIM IN AN ALLEY LIKE A PIECE OF GARBAGE.

CONSIDER THIS POETIC JUSTICE.

HE SAID SOMETHING ABOUT HELL RAINING DOWN ON ME.

I NEVER IMAGINED HELL LOOKED LIKE YOU.

(panting) KATE!

RUSSELL GANZ, YOU ARE UNDER ARREST

FOR THE MURDER OF MICHAEL ROYCE.

(police radio chatter)

(Pearl Jam's "Just Breathe" playing)

(man) HANDS BEHIND YOUR BACK.

(men speaking indistinctly)

YOU OKAY?

YEAH.

♪ YES, I UNDERSTAND ♪

♪ THAT EVERY LIFE MUST END ♪

♪ UH-HUH ♪

(speaking inaudibly)

♪ AS WE SIT ALONE ♪

♪ I KNOW SOMEDAY WE MUST GO ♪

♪ UH-HUH ♪

(speaks inaudibly)

♪ OH, I'M A LUCKY MAN ♪

♪ TO COUNT ON BOTH HANDS THE ONES I LOVE ♪

♪ SOME FOLKS JUST HAVE ONE ♪

♪ YEAH, OTHERS THEY GOT NONE ♪

♪ UH-HUH ♪

(Castle) SO HOW CLOSE DID YOU COME... WITH GANZ?

♪ STAY WITH ME ♪

♪ OH, LET'S JUST BREATHE ♪

LET'S GO HOME, CASTLE.

(engines roaring)

(Royce's voice) "AND NOW FOR THE HARD PART, KID.

"IT'S CLEAR THAT YOU AND CASTLE HAVE SOMETHING REAL,

"AND YOU'RE FIGHTING IT.

"BUT TRUST ME,

"PUTTING THE JOB AHEAD OF YOUR HEART

"IS A MISTAKE.

"RISKING OUR HEARTS IS WHY WE'RE ALIVE.

"THE LAST THING YOU WANT IS TO LOOK BACK ON YOUR LIFE

"AND WONDER...

IF ONLY."

♪ NOTHING YOU WOULD TAKE ♪

♪ EVERYTHING YOU GAVE ♪

♪ OH, HOLD ME TILL I DIE ♪

♪ MEET YOU ON THE OTHER SIDE ♪

(rustles paper)