Original subtitles

SO HAVE YOU PICKED A PLACE YET?

I'D LOVE TO DO IT AT THE BOTANICAL GARDENS,

BUT CHRIS THINKS IT'S TOO EXPENSIVE.

IT'S YOUR WEDDING.

IT'S SUPPOSED TO COST A FORTUNE.

I KNOW. YOU ONLY GET MARRIED ONCE.

(grunts)

(gasps) (woman screams)

(whimpers)

AAH! OH, MY GOD! (man) SOMEBODY CALL 9-1-1!

HELP! PLEASE.

SOMEBODY, HELP! HELP!

I'LL CALL YOU LATER. BYE.

WHO WAS THAT?

PERSONAL BUSINESS, CASTLE.

REALLY? WHO IS IT? INQUIRING MINDS WANT TO KNOW.

YEAH, WELL, IF YOU MUST KNOW, HIS NAME IS ROGER.

(chuckles) ROGER.

DON'T MAKE FUN.

DO YOU KNOW WHAT HE HAS THAT FEW MEN HAVE?

A JOSH GROBAN CD? UH, HUMMEL FIGURINES?

NO, NOT EVEN CLOSE.

ROGER HAS THE MOST INCREDIBLE

RESISTANCE BAND.

A RESISTANCE BAND?

WHAT IS THAT? IS THAT WHAT I THINK IT IS?

FOR STRENGTH TRAINING. HE'S MY PHYSICAL THERAPIST.

OH. OH, I HAD NO IDEA YOU WERE STILL GOING.

YEAH, FOR ANOTHER FEW WEEKS, TILL I GET 100%.

HEY, GOOD MORNING. MORNING.

SO WHAT DO WE GOT?

VICTIM'S NAME IS SARAH VASQUEZ.

SHE'S A 28-YEAR-OLD KINDERGARTEN TEACHER.

SHE AND A CLASSMATE WERE LEAVING THIS YOGA STUDIO

WHEN SARAH SUDDENLY DROPPED.

BULLET WOUND STRAIGHT TO THE HEART.

YEAH, WHAT'S WEIRD IS, NO ONE HEARD A SHOT

OR SAW A SHOOTER.

MAYBE THE WEAPON WAS SILENCED.

MAYBE IT WAS A STRAY BULLET.

JUST READ AN ARTICLE,

HOW A MAILMAN IN PORTLAND WAS KILLED

WHEN A BULLET FIRED INTO THE AIR

SIX BLOCKS AWAY FELL BACK TO EARTH.

THIS BULLET DIDN'T JUST DROP FROM THE SKY

AND HIT SARAH VASQUEZ.

ANGLE'S WRONG.

IT WENT THROUGH HER FROM FRONT TO BACK,

NOT FROM UP TO DOWN.

CAN YOU TELL US POINT OF ORIGIN?

NOT UNTIL I DO A FULL EXAM.

WAS YOGA A REGULAR THING FOR SARAH?

TUESDAYS AND THURSDAYS AT 7:00 A.M.,

BEFORE SCHOOL STARTED. OKAY, LET'S LOOK INTO ENEMIES

AND ANYONE THAT KNEW SHE WAS HERE. RIGHT.

(police radio chatter)

WE JUST GOT ENGAGED LAST MONTH.

SHE WAS SO EXCITED ABOUT PLANNING THE WEDDING.

CHRIS, WAS THERE ANYONE THAT MIGHT HAVE WANTED TO HURT SARAH?

NO.

MAYBE AN OLD BOYFRIEND WHO WAS UPSET ABOUT THE WEDDING?

SHE DIDN'T HAVE ANYONE LIKE THAT IN HER LIFE.

EVERYONE LOVED SARAH.

WAIT.

SHE DID MENTION SOMETHING LAST NIGHT ABOUT A GUY.

SOMEONE SHE KNEW?

NO. UH...

SHE SAID SHE SAW HIM A FEW DAYS AGO, OUTSIDE THE SCHOOL.

AND THEN TUESDAY MORNING, SHE SAID

SHE THOUGHT SHE SAW HIM WHEN SHE GOT OUT OF YOGA.

DID SHE TELL YOU WHAT HE LOOKED LIKE?

I-I-I CAN'T REMEMBER. I...

(Ryan) LOOKS LIKE SARAH'S YOGA ROUTINE

WAS COMMON KNOWLEDGE.

SHE EVEN POSTED ABOUT IT ON Facebook, JOKED THAT

SHE WAS GONNA FIT INTO THAT DRESS IF IT KILLED HER.

(cell phone rings) WELL, SOMEBODY WAS FOLLOWING HER,

SO LET'S TALK TO HER FRIENDS AND COWORKERS... (ring)

AND SEE IF THEY SAW A STRANGE MAN HANGING AROUND.

ON IT. (beeps)

BECKETT.

(Esposito) Lanie's got something.

You should get down here.

THE BULLET THAT KILLED SARAH VASQUEZ

IS A .308,

SPECIFICALLY A 168 GRAIN SIERRA MATCHKING.

A RIFLE BULLET.

IT'S A COMMON AMMUNITION FAVORED BY...

LONG-RANGE SHOOTERS.

SO SHE WAS SHOT FROM A DISTANCE?

BASED ON HER WOUND AND HOW DEEP IT WENT INTO THE DOOR FRAME,

I'D SAY THE BULLET WAS FIRED

BETWEEN 200 AND 300 YARDS AWAY.

200 YARDS?

DO WE HAVE ANY IDEA WHERE FROM EXACTLY?

(Esposito) WE'RE CANVASSING.

(beeps) NEAR AS WE CAN FIGURE...

(beep) THE SHOOTER FIRED FROM ONE OF THESE BUILDINGS,

SOMEWHERE BETWEEN THE 10th AND 15th FLOOR.

YOU GUYS, YOU DON'T HAVE TO AVOID THE WORD ON MY ACCOUNT.

WHAT WORD? SNIPER.

EVEN I NOTICED.

WE WEREN'T AVOIDING ANYTHING.

IT WAS HER IDEA. SHE--

LOOK, GUYS, I'M A BIG GIRL.

SO LET'S JUST CUT TO THE CHASE. HOW GOOD IS THIS GUY?

WELL, HE'S AS GOOD AS ANY OF THE SHOOTER--SNIPERS

IN MY UNIT.

HE TOOK OUT A MOVING TARGET FROM A QUARTER OF A MILE AWAY.

DID SHE FEEL IT?

NO.

SHE DIED INSTANTLY.

SO THEN I GUESS THE QUESTION IS,

WHY DID OUR SNIPER TARGET SARAH?

ANY LEADS ON THE GUY THAT SHE SAID WAS FOLLOWING HER?

NO ONE IN HER CIRCLE REMEMBERS SEEING THE GUY,

AND SHE DIDN'T MENTION HIM TO ANYONE BUT HER FIANCE.

MAYBE HE DIDN'T HAVE ANYTHING TO DO WITH IT.

WHAT DO YOU MEAN?

WELL, USUALLY WE FIND OUR KILLERS BY KNOWING OUR VICTIMS,

FINDING A MOTIVE.

BUT WHAT IF THERE ISN'T ONE?

WHAT IF SHE WAS SHOT AT RANDOM? HOW DO WE FIND HIM THEN?

(gunshot)

(people screaming indistinctly)

(man) BECKETT'S DOWN!

(Castle whispers) NO, NO, NO, KATE.

(people shouting indistinctly)

(bolt clicks)

(gunshot)

VICTIM IS HENRY WYATT,

38-YEAR-OLD ATTORNEY.

SAME SHOOTER?

LOOKS THAT WAY.

(car door slams, sound distorted)

ANYONE, UH, SEE OR HEAR ANYTHING?

NADA, JUST LIKE BEFORE. HE WENT FOR THE HEAD THIS TIME.

HE'S GETTING MORE CONFIDENT.

ANOTHER VICTIM, SAME TIME OF DAY--

THIS COULD BE THE D.C. SNIPER ALL OVER AGAIN.

(sirens wailing)

LANIE, IS THAT THE SLUG?

YEAH, IT'S ALL BANGED UP FROM THE CONCRETE,

BUT IT LOOKS LIKE THE SAME CALIBER.

THE ANGLE OF THE ENTRY'S MORE EXTREME, THOUGH.

HE SHOT WYATT FROM HIGHER UP.

(car horns honk, sirens wail, sound distorted)

SEE SOMETHING?

(distorted sounds continue)

BECKETT, YOU ALL RIGHT?

YEAH, I'M JUST, UH... I-I'M JUST TRYING TO FIGURE OUT

WHY THESE TWO VICTIMS AND--AND...

WHY SHOOT HERE?

(Esposito) THE VICTIMS MIGHT BE RANDOM,

BUT THE LOCATION ISN'T.

A PRO RECONS HIS TARGET BEFOREHAND.

IF YOU'RE GONNA KILL SOMETHING FROM A LONG DISTANCE,

IT'S NOT A POINT-AND-SHOOT ACTIVITY.

YOU FACTOR IN ALL THE CONDITIONS,

LIKE RANGE TO TARGET,

MINUTE OF ARC, AND...

WINDAGE.

WHAT IS IT?

THIS FLAG...

IS THE PERFECT WIND GAUGE.

THAT CAN'T BE A COINCIDENCE.

OKAY, SO IF HE HUNG THAT UP THERE,

WE MIGHT BE ABLE TO GET EYES ON HIM.

WE SHOULD CANVASS THE AREA FOR SECURITY CAMERAS--

(siren whoops)

(grunts)

(radio chatter continues)

(indistinct conversations)

(Gates, voice distorted) WE HAVE A GUNMAN

TERRORIZING THIS CITY-- 2 VICTIMS IN 24 HOURS.

WE DON'T KNOW WHO HE IS OR WHY HE SHOT THOSE FOLKS.

(normal voice) DETECTIVE RYAN, WHAT DO WE KNOW

ABOUT THE SECOND VICTIM?

HENRY WYATT WAS A LITIGATION PARTNER AT A LAW FIRM

TWO BLOCKS FROM WHERE HE WAS SHOT,

AND ACCORDING TO HIS SECRETARY,

HE LIKED TO WALK, WHICH MEANS THERE WAS

A PREDICTABLE ROUTINE, JUST LIKE SARAH VASQUEZ.

WHICH DOESN'T MEAN THEY WERE TARGETED.

(voice distorts) AFTER ALL, MOST NEW YORKERS FOLLOW ROUTINES.

(normal voice) ESPOSITO...

(voice distorts) HAVE WE LEARNED WHERE THEY WERE SHOT FROM?

(voice distorts) WE'VE GOT TEAMS SWEEPING...

(normal voice) BUILDINGS NEAR BOTH CRIME SCENES,

AND SO FAR, WE'VE COME UP EMPTY.

(voice distorts) WE NEED TO FIND OUR SHOOTER...

(lowered voice) YOU KNOW, IT'S JUST A STARTLE RESPONSE.

IT COULD HAPPEN TO ANYONE. (lowered voice) YEAH, WELL, I'M NOT ANYONE.

NO, I'M JUST SAYIN'. (normal voice) JUST DON'T.

(Gates) DETECTIVE BECKETT...

WHERE ARE WE ON HENRY WYATT AND SARAH VASQUEZ?

I'M SORRY?

ON LINKS BETWEEN THE VICTIMS?

(rustles paper)

WE'RE STILL CHECKING, BUT THEY DON'T LIVE

OR WORK IN THE SAME AREA,

AND IT DOESN'T SEEM LIKE THEY HAVE ANYONE IN COMMON.

IN FACT, WE HAVEN'T REALLY FOUND ANY CONNECTIONS

BETWEEN THE TWO OF THEM YET.

WELL, KEEP LOOKING.

WE KNOW HE HAS TRAINING, A SPECIFIC SKILL SET.

NOW EVERY BRANCH IN THE MILITARY HAS SNIPERS...

(voice distorts) SO DO LAW ENFORCEMENT AGENCIES.

(Esposito, voice distorted) WE'RE TALKING ABOUT CLOSE TO...

(normal voice) A THOUSAND QUALIFIED SHOOTERS.

THE FACT IS, EVERYONE IN THIS CITY

IS A POTENTIAL TARGET.

(normal voice) LET'S GET IT DONE, PEOPLE.

(indistinct conversations)

WAIT. WHERE YOU GOING?

I-I JUST HAVE TO GO DO SOMETHING.

HEY, BECKETT,

CANVASS TURNED UP A SECURITY CAMERA

ACROSS FROM WHERE THE FLAG WAS HUNG.

FOOTAGE IS ON ITS WAY IN RIGHT NOW.

(indistinct conversations continue)

IS SHE OKAY?

NO. YOU DON'T UNDERSTAND.

I NEED TO BE OKAY.

THAT'S NOT ALWAYS A CHOICE, KATE.

WHAT YOU'RE DESCRIBING, A HYPERVIGILANCE,

IT'S A CLASSIC SYMPTOM OF POST-TRAUMATIC STRESS DISORDER.

I DON'T HAVE P.T.S.D.

YOU WERE SHOT BY A SNIPER.

I THINK IT'S FAIR TO SAY,

THIS CASE IS GOING TO BRING UP ISSUES,

ISSUES YOU STILL HAVEN'T DEALT WITH.

OKAY, THEN FINE. I'LL DEAL WITH THEM.

RIGHT NOW I NEED TO FIGURE OUT HOW TO MAKE THIS STOP.

IT'S NOT GOING TO STOP,

NOT WITHOUT TIME AND TREATMENT.

THE PSYCHOLOGICAL TRAUMA IS EVERY BIT AS REAL

AS THE PHYSICAL TRAUMA.

LISTEN, PEOPLE ARE DYING OUT THERE.

I DON'T HAVE TIME TO GET ALL WEEPY OVER A COUPLE OF SCARS.

OKAY. SO WHAT'S THE ALTERNATIVE,

WALKING AROUND FEELING LIKE YOU HAVE CROSSHAIRS ON YOUR BACK,

THINKING EVERY GLINT OFF A WINDOW IS A SNIPER'S SCOPE?

LOOK, THERE'S GOTTA BE A PILL OUT THERE

OR SOMETHING, RIGHT?

SOMETHING TO TAKE THE EDGE OFF.

MEDICATION CAN HELP...

BUT NOT RIGHT AWAY.

WELL, THEN WHAT?

WELL, FOR ONE,

I THINK YOU SHOULD CONSIDER STEPPING AWAY FROM THE CASE.

YOU DON'T THINK I CAN HANDLE THIS?

I'M SAYING...

YOU DON'T HAVE TO.

YOU'RE NOT THE ONLY COP IN THE CITY, KATE.

OKAY.

THEN YOU KNOW WHAT?

I'M FINE.

THANK YOU.

HOW WORRIED SHOULD I BE ABOUT BECKETT?

SHE'S NEVER SNAPPED AT ME LIKE THAT BEFORE.

AND MEANT IT.

HELL, IT WAS BAD FOR ME WHEN I CAME BACK,

AND I NEVER TOOK A BULLET.

WELL, AT LEAST SHE DOESN'T REMEMBER IT.

OR SHE DOESN'T WANT TO REMEMBER.

A THING LIKE THAT, IT'S EASIER TO JUST KEEP IN A BOX.

BUT THIS CASE MIGHT BUST THAT BOX OPEN.

SO WHAT CAN WE DO?

CATCH THE SHOOTER. HE'S RIGHT.

BEST THING FOR EVERYONE, BECKETT INCLUDED.

IN THE MEANTIME, JUST GIVE HER SPACE

AND DON'T TAKE IT PERSONALLY.

(video plays without audio)

HEY, GUYS, CHECK THIS OUT.

THIS IS 2 DAYS AGO AT 4:30 P.M.

HE PLANTED THE FLAG. HE'S GOTTA BE OUR SHOOTER.

HE KNOWS WHERE THE CAMERA IS.

THAT'S WHY HE KEEPS HIS FACE COVERED.

WHY CHOOSE THIS STREET?

WHY NOT PICK A PLACE WITHOUT ANY SECURITY CAMERAS?

'CAUSE HE'S STRAIGHT UP TAUNTING US.

(clicks and beeps)

I'LL RUN THIS PHOTO BY VICTIMS' COWORKERS AND FRIENDS,

SEE IF ANYONE RECOGNIZES HIM.

HE IS NOT GONNA MAKE IT EASY FOR US TO CATCH HIM, IS HE?

NO. HE'S SMART AND HE'S PATIENT.

(cell phone rings) THAT'S PART OF A SNIPER'S D.N.A.

(beeps) YEAH.

DON'T GO IN.

CALL C.S.U. I'LL BE THERE IN TEN. (beep)

UNIFORM JUST FOUND WHERE THE SNIPER

SHOT HENRY WYATT FROM.

YEP.

THERE'S THE CRIME SCENE.

600 YARDS.

WORLD-CLASS SHOT.

BUT IT'S ALL WRONG. WHAT DO YOU MEAN?

THE VIEW OF THE KILL ZONE IS PARTIALLY OBSTRUCTED

BY THAT TREE.

A BETTER SHOT WOULD'VE BEEN FROM THE ROOF.

OUR BOY WOULD KNOW THAT.

SO WHY WOULDN'T HE TAKE THE SHOT FROM UP THERE?

IT'S POSSIBLE HE WAS WORRIED ABOUT BEING SEEN

BY SOMEONE IN A TALLER BUILDING OR A PASSING HELICOPTER.

WHAT'S THAT?

A PAPER DOLL.

THINK MAYBE IT WAS LEFT BY THE SNIPER?

OR...

ONE OF THE WORKMEN'S KIDS.

SO THE SNIPER TOOK THE SHOT FROM THIS WINDOW.

NO.

HE WOULD'VE WANTED TO BE INVISIBLE FROM THE STREET.

HE'D HAVE TAKEN THE SHOT FROM...

RIGHT HERE.

HE TOOK HIS TIME...

TO SPOT THAT FLAG.

ADJUSTED FOR WIND.

ACQUIRED HIS TARGET.

BAM.

(gunshot, shell casing clatters)

THE SHELL CASING.

IT WOULD'VE EJECTED TO THE RIGHT.

(panting)

(elevator bell dings)

(doors open)

(indistinct conversations)

SORRY. SORRY.

(indistinct conversations continue)

(sound distorts)

(grunts) SORRY.

(indistinct conversations continue)

HEY. WHERE HAVE YOU BEEN? I CALLED YOU.

(sound normalizes) UH, YEAH, MY PHONE'S OFF. WHAT'S--WHAT'S UP?

SHELL CASING FROM THE WYATT SNIPER HIDE HAD A PRINT ON IT.

WE JUST MATCHED IT TO A FORMER SPECIAL FORCES SNIPER

NAMED MARCUS FORD.

JUST WENT THROUGH A BITTER DIVORCE--

TEXTBOOK TRIGGER FOR THAT KIND OF VIOLENCE.

(elevator bell dings) FORD RUNS A SHOOTING RANGE IN LONG ISLAND.

STATE POLICE HAVE A TACTICAL TEAM

ON THE WAY TO MEET US THERE NOW.

(sounds distort)

UH, MAYBE, UH,

IT WOULD BE A GOOD IDEA IF WE HUNG BACK HERE?

WE'LL STUDY UP ON FORD, JUST PREP FOR THE INTERROGATION.

YEAH, THAT'S A GOOD IDEA. WE GOT IT COVERED.

YEAH, OKAY.

(elevator bell dings)

(whispers) THANK YOU.

OUR OFFICERS FOUND A WHOLE ARSENAL

AT YOUR SHOOTING RANGE, MR. FORD.

LAST TIME I CHECKED,

I STILL HAVE THE RIGHT TO BEAR ARMS.

YEAH, WELL, YOU SHOULD KNOW THAT BALLISTICS

IS TESTING YOUR RIFLES.

HAVE AT IT. I DIDN'T SHOOT ANYONE.

WELL, THAT'S NOT EXACTLY TRUE, IS IT?

ACCORDING TO YOUR MILITARY RECORD,

YOU HAVE 92 CONFIRMED KILLS. SO?

YOU LOOKIN' TO MAKE IT AN EVEN HUNDRED?

WHAT'S IT LIKE TO LOOK THROUGH THE SCOPE,

TO PLAY GOD?

HOW DO YOU FEEL WHEN YOU PULL THAT TRIGGER

AND YOU DESTROY SOMEONE'S LIFE?

IT'S NONE OF YOUR DAMN BUSINESS IS HOW IT FEELS.

YOU KNOW WHAT I THINK?

I THINK THAT YOU SHOULD BE ON THE OTHER SIDE OF THAT BARREL.

IS THAT A THREAT? ARE YOU THREATENING ME?

WHAT ARE THOSE PEOPLE? ARE THEY JUST PAPER TARGETS TO YOU?

DO YOU EVEN THINK ABOUT THE PAIN THAT YOU'VE CAUSED,

ABOUT THE FAMILIES THAT YOU LEAVE BEHIND?

EVERY LIFE I EVER TOOK SAVED ONE OF OURS!

LIKE HELL IT DID! YOU KNOW WHAT I THINK?

I THINK THAT YOU LIKED IT.

I THINK THAT YOU COULDN'T WAIT TO KILL AGAIN.

YOU'RE OUTTA YOUR MIND, LADY.

WE FOUND YOUR PRINT ON A SHELL CASING LEFT BY THE SNIPER.

THAT'S IMPOSSIBLE.

THAT IS A LIE.

I HAVE NOTHING LEFT TO SAY.

I KNOW MY RIGHTS.

(indistinct conversations)

NONE OF FORD'S WEAPONS ARE A MATCH.

SO? THAT DOESN'T MEAN HE'S NOT THE SNIPER.

HE COULD'VE HIDDEN THE RIFLE.

FORD'S NOT OUR MAN.

HIS ALIBIS FOR BOTH SHOOTINGS ARE SOLID.

ARE YOU SURE?

I THINK I KNOW HOW TO CHECK AN ALIBI, DETECTIVE.

(Castle) WELL, IF HE'S NOT OUR MAN,

HOW THE HELL DID HIS FINGERPRINT GET ON THAT SHELL CASING?

COULD BE A RELOAD.

IT'S EASY ENOUGH TO LOAD A NEW BULLET

INTO AN EMPTY SHELL CASING LIKE THE ONE WE FOUND.

ALL YOU NEED IS THE RIGHT EQUIPMENT.

WHICH MEANS OUR SNIPER

IS A CLIENT AT FORD'S SHOOTING RANGE.

GO BACK IN THERE AND GET HIS HELP.

(paper rustles)

HE'S NOT GONNA WANT TO TALK TO US

AFTER THE WAY YOU WENT AFTER HIM.

SO WHAT ARE YOU TRYING TO SAY, THAT I SCREWED UP?

NO, UM--

I THINK WHAT HE'S SAYING IS THAT

YOU PLAYED BAD COP.

AND NOW WE'LL GET MORE OUT OF FORD

IF I GO IN AND PLAY GOOD COP.

OKAY, FINE.

(paper rustles)

MAYBE FORD CAN GET US WHAT WE NEED TO NAIL THIS GUY.

(indistinct conversations continue)

MR. FORD, MY APOLOGIES.

(heart beating)

(indistinct conversations)

(heart beating faster)

(heart pounding)

(man) GUN!

(gunshot)

(distorted sounds)

(gunshot)

(Castle) KATE! (gunshot)

(distorted sounds continue)

(Castle) BECKETT.

(sound normalizes) COFFEE?

NO. NO, THANKS.

IT'S DECAF. LOOK--

CASTLE, I'M FINE.

RIGHT, BUT-- NO, REALLY.

I'M FINE. WHAT'S IN THE FOLDER?

C.S.U. REPORT ON THE PAPER DOLL.

THIS WAS NOT MADE BY A KID.

IT WAS CUT OUT VERY PRECISELY WITH AN X-ACTO KNIFE.

OUT OF WHAT, A MAGAZINE?

NO, THE PAPER STOCK IS TOO HEAVY,

AND GIVEN THERE'S NOTHING PRINTED ON THE BACK,

IT'S PROBABLY FROM SOME HIGH-END COFFEE TABLE BOOK OF SOME KIND.

MY GUESS-- A BOOK OF PAINTINGS.

IF YOU LOOK CLOSELY, YOU CAN SEE BRUSH STROKES.

I THINK THE SNIPER LEFT THAT.

WHY WOULD HE DO THAT?

THAT MUCH I DON'T KNOW.

YO.

MARCUS FORD WAS NO HELP.

HE COULDN'T I.D. THE GUY IN THE VIDEO.

WE'RE PULLING HIS CREDIT CARD RECEIPTS,

BUT HE SAYS THAT THE SHOOTING RANGE IS MOSTLY A CASH BUSINESS.

(cell phone rings)

(beeps)

BECKETT.

WHERE?

OKAY. WE'RE ON OUR WAY.

(beep)

RYAN FOUND THE BUILDING

THE SNIPER SHOT SARAH VASQUEZ FROM.

THE SUPER RECOGNIZED THE JACKET FROM THE PHOTO,

SAID HE'D BEEN HANGING AROUND THE BUILDING.

HOW DO WE KNOW HE WAS IN THIS ROOM?

BECAUSE WE FOUND ANOTHER ONE OF THESE.

THIS IS IT. HE SHOT SARAH VASQUEZ FROM RIGHT HERE.

THIS IS DIFFERENT FROM THE FIRST ONE.

IT MUST BE FROM A DIFFERENT PAINTING.

THEY'VE GOTTA MEAN SOMETHING.

YEAH, LIKE WHAT? WHAT'S IT POSSIBLY GONNA MEAN?

I DON'T KNOW, BUT HE'S LEAVING 'EM FOR A REASON.

YEAH, HE'S SCREWING WITH US.

HE'S JUST TAUNTING US AND TRYING TO MAKE US LOOK LIKE IDIOTS.

HEY.

WE'LL FIGURE IT OUT, OKAY?

FOUND SOMETHING.

MOLESKIN.

HARD-CORE MILITARY SNIPERS PUT IT

ON THE STOCKS OF THEIR WEAPONS TO ABSORB SWEAT

SO THEIR RIFLES DON'T SLIP.

IF THERE'S SWEAT, WE CAN GET D.N.A.

YEAH.

ALL RIGHT, GO.

THIS IS WHERE IT ALL STARTED.

HE PULLED THAT TRIGGER RIGHT IN THIS ROOM.

ONE SECOND, SARAH VASQUEZ IS ALIVE

AND DREAMING OF THE PERFECT WEDDING,

AND THEN SHE ISN'T.

KATE...

YOU KNOW HE SAW HER FACE WHEN HE KILLED HER?

PEOPLE ALWAYS THINK

THAT SNIPERS ARE SO REMOVED FROM THEIR TARGETS.

BUT HE WASN'T. HE IS AS CLOSE AS WE ARE RIGHT NOW,

LOOKING THROUGH THAT SCOPE.

WE'RE GONNA CATCH THIS GUY.

YEAH. LIKE WE CAUGHT THE GUY THAT SHOT ME.

(liquid trickle echoes)

(glass clatter echoes)

(gunshot)

AAH! (glass shatters)

(table clatters) AAH!

(voices shouting indistinctly) OH!

(monitor emits continuous tone)

OH! (clatters)

(voices continue shouting indistinctly)

(grunts)

(grunt)

(groans and grunts)

(voices continue shouting indistinctly)

OH, DARLING.

I HOPE YOU HAVEN'T BEEN UP ALL NIGHT.

AH, I COULDN'T SLEEP.

TWO DAYS, TWO PEOPLE DEAD--

SOMEONE OUT THERE IS WAKING UP

NOT KNOWING THEY'RE GONNA BE MURDER NUMBER THREE.

I THINK I JUST DECIDED TO SKIP SCHOOL TODAY.

ACTUALLY, I THINK YOU'RE BOTH

UNDER HOUSE ARREST UNTIL WE CATCH THIS GUY.

OH, I CAN ONLY IMAGINE HOW THIS SNIPER

MUST BE AFFECTING BECKETT.

SHE SAYS SHE'S FINE... (mouths word)

SO WHAT ARE YOU GONNA DO?

THE ONLY THING I CAN DO--

TRY TO FIGURE OUT WHY HE'S LEAVING THESE DAMN DOLLS BEHIND.

IF I COULD JUST FIGURE OUT WHAT PAINTING THEY'RE FROM.

LET ME SEE.

CHIAROSCURO.

YOU RECOGNIZE THAT?

IT'S A STYLE OF PAINTING

THAT WAS INVENTED DURING THE RENAISSANCE,

EXEMPLIFIED BY STRONG CONTRAST BETWEEN LIGHT AND DARK.

WE LEARNED ABOUT IT IN ART HISTORY.

TRY LOOKING UP CARAVAGGIO

OR PETRAZANO.

(clicks keyboard keys)

CAN I JUST SAY, THIS SCHOOL OF YOURS

IS WORTH EVERY PENNY I PAID?

HEY, THIS MIGHT BE IT.

(computer beeps)

PETRAZANO.

"THE PERSECUTION OF KINGS."

(indistinct conversations)

(computer chirps)

(Ryan) BECKETT.

D.N.A. ON THE MOLESKIN WAS A BUST.

(Gates) RYAN, YOU GOT RESULTS?

THERE WERE NO MATCHES IN THE CODIS DATABASE.

THE BEST THE LAB WAS ABLE TO DO WAS D.N.A. PHENOTYPE,

AND THEY SAY THEY THINK OUR SNIPER

IS A MALE WITH LIGHT HAIR AND BROWN EYES,

BUT THAT STILL LEAVES US WITH OVER 200 SUSPECTS ON OUR LIST.

I WOULDN'T CUT DOWN THE LIST YET.

GIVEN WHAT WE WENT THROUGH WITH THE SHELL CASING,

THERE'S A CHANCE THE MOLESKIN'S NOT EVEN HIS.

(elevator bell dings)

I KNOW WHAT THE PAPER DOLLS MEAN.

MR. CASTLE, NOW IS NOT THE TIME FOR YOUR THEATRICS.

CAPTAIN, JUST LISTEN. THE PAPER DOLLS ARE PREDICTIVE.

THE DOLLS ARE CUT OUT OF PAINTINGS

THAT LITERALLY TELL US THE LOCATION OF THE NEXT TARGET.

THE ONE THAT WE FOUND AT THE FIRST SHOOTING,

IT COMES FROM A PAINTING CALLED "THE PERSECUTION OF KINGS."

HENRY WYATT WAS KILLED ON KING STREET. EXACTLY.

THE ONE WE FOUND IN THE HIDE OF THE SECOND SHOOTING,

THAT'S FROM A PAINTING CALLED "THE FALL FROM GRACE."

THERE'S A GRACE AVENUE IN THE BRONX.

GRACE CHURCH IS ON... 10th STREET AND 4th AVENUE.

AND THERE'S ABOUT A DOZEN OTHER POSSIBILITIES.

IF WE CAN NARROW IT DOWN... (telephone rings)

WE MIGHT BE ABLE TO STOP HIM FROM... (multiple telephones ringing)

(additional telephones ringing)

(man) PICK-UP DESK. HOLD, PLEASE.

(telephones continue ringing)

(sound distorts)

(people speaking indistinctly)

(Castle) BECKETT. GRACE.

BECKETT!

(woman) I DON'T KNOW WHERE IT'S COMING FROM!

(sirens wailing)

(people speaking indistinctly)

(woman) RIGHT THIS WAY.

HOW MANY PEOPLE ARE DEAD?

(man) NONE. THANK GOD.

YEAH, SNIPER OPENED FIRE

THROUGH THE WINDOW OF A CONFERENCE ROOM,

ON THE 15th FLOOR. IS ANYONE ELSE INJURED?

NO, JUST HER.

HER NAME IS EMILY REESE, AND HE ONLY SHOT AT HER.

EMILY, MY NAME IS DETECTIVE KATE BECKETT.

I NEED YOU TO TELL ME WHAT HAPPENED.

(crying) WHY ME?

WHAT DID I DO?

WHY IS SOMEBODY TRYING TO KILL ME.

EMILY, HAVE YOU SEEN ANYBODY WATCHING YOU LATELY?

NO. I-I DON'T KNOW. I DON'T KNOW.

WE GOTTA GET HER TO THE HOSPITAL. NO!

DON'T LET THEM TAKE ME OUTSIDE.

HE'S STILL OUT THERE.

NO, YOU'RE GONNA BE OKAY, EMILY.

PLEASE DON'T DO THIS. HE'S OUT THERE.

HE'S GOING TO KILL ME. PLEASE.

JUST GO. GET HER OUTTA HERE. NOW. GO.

PLEASE. PLEASE, NO!

(people speaking indistinctly)

BECKETT.

(panting)

KATE.

(grunts)

(pants)

(grunts)

(groans and grunts)

(panting)

(sobs)

(crying)

(sobs)

SHE'S SPINNING OUT OF CONTROL.

SHE'S LOSING HER ABILITY TO COPE.

(elevator bell dings)

(indistinct conversations)

(lowered voice) LOOK, SHE SHOULD NOT BE ON THIS CASE.

WELL, SHE'S NOT JUST GONNA WALK AWAY.

NO, SHE'S GONNA DRIVE HERSELF INTO THE GROUND.

AND YOU'RE THE ONLY ONE WHO HAS ANY CLUE

AS TO WHAT SHE'S GOING THROUGH.

SO WHAT HELPED YOU?

(indistinct conversations continue)

ESPO, WHAT ARE WE DOING BACK HERE?

I WANT TO SHOW YOU SOMETHING.

WHAT IS THAT?

THE RIFLE THAT SHOT YOU.

YOU ARE WAY OUTTA LINE.

JUST LOOK AT IT.

(voice breaking) NO. WHAT THE HELL ARE YOU DOING?

I'VE BEEN WHERE YOU ARE. I KNOW WHAT YOU'RE GOING THROUGH.

JAVI, I'M FINE.

YOU'RE NOT FINE.

YOU'RE JUST TRYING TO ACT LIKE YOU ARE.

THIS IS JUST A TOOL.

IT'S A HUNK OF STEEL.

IT HAS NO MAGICAL POWERS,

AND THE PERSON THAT FIRED IT

IS NOT SOME ALL-POWERFUL GOD.

HE'S JUST A GUY... WITH A GUN,

JUST LIKE THE GUY WE'RE HUNTING NOW.

AND LIKE EVERY OTHER BAD GUY, HE'S DAMAGED GOODS.

SO AM I.

THAT'S RIGHT.

AND THAT'S OKAY.

YOU THINK IT'S A WEAKNESS?

MAKE IT A STRENGTH.

IT'S A PART OF YOU.

SO USE IT.

(sniffles)

(sniffles)

(sniffles)

(footsteps receding)

(door opens)

(sighs)

ANY IDEA WHY THE SNIPER TARGETED EMILY REESE?

NOT YET. SHE WAS A V.P. AT A TELECOM COMPANY,

SINGLE, JUST BOUGHT AN APARTMENT ON WEST 96th.

NO KNOWN CONNECTIONS TO THE OTHER VICS.

BUT WE DO KNOW HE WAS FOLLOWING HER.

CASTLE, WHAT DO YOU HAVE?

YOU'RE LOOKING AT A VIDEO TAKEN FROM EMILY'S LOBBY

YESTERDAY AT 1:40.

THAT'S FOUR HOURS AFTER HE SHOT WYATT.

THERE'S EMILY, GETTING INTO THE ELEVATOR.

(Gates) THERE HE IS.

THAT'S OUR GUY.

(Castle) YEAH.

UNFORTUNATELY, WE STILL CAN'T SEE HIS FACE.

WHAT IS HE WAITING FOR?

HE'S WATCHING TO SEE WHAT FLOOR SHE'D GET OFF ON.

HE KNEW EXACTLY WHERE SHE WAS GONNA BE.

IT'S A MIRACLE EMILY'S NOT DEAD.

IT'S NOT A MIRACLE. IT'S POOR PLANNING.

TURNS OUT OUR SNIPER USED THE WRONG AMMO.

THE 1-6-8 GRAIN LOSES STABILITY WHEN IT GOES THROUGH GLASS.

THE 1-6-5 IS DESIGNED FOR THAT KINDA SHOT.

HE DIDN'T KNOW THAT, WHICH MEANS

HE HAS LESS EXPERIENCE THAN WE THOUGHT.

OKAY, WE NEED TO GO BACK TO THE SUSPECT LIST,

CROSS OFF ALL LAW ENFORCEMENT SHOOTERS

AND ANY COMBAT VETS WITH URBAN EXPERIENCE. (Esposito) ALL RIGHT.

IS IT JUST ME...

OR IS HIS COFFEE CUP IDENTICAL TO EMILY'S?

(Ryan) SAME LOGO.

IT'S FROM THE SAME SHOP.

ZOOM IN ON THAT.

CAFFE...

PRIMO.

MUST HAVE FOLLOWED HER FROM THERE.

I-IF HE'S A CUSTOMER, MAYBE SOMEONE CAN I.D. HIM.

THERE'S ONLY ONE CAFFE PRIMO. IT'S ON 47th STREET, 2 BLOCKS

FROM THE GRACE POINT TOWER WHERE EMILY WORKED.

OKAY, WE NEED TO FIND OUT IF ANY OF THE OTHER VICTIMS

HAVE A CONNECTION TO THAT SHOP.

ALL RIGHT.

UH, WHERE'S BECKETT?

SHE'S RUNNING DOWN A LEAD.

WHY WOULD YOU SHOOT FROM HERE

WHEN THE ROOF GAVE YOU A CLEANER SHOT?

(hinges squeak)

(grunts)

AAH.

AAH. (inhales sharply)

(groans)

(panting)

(Ryan) THAT COFFEE SHOP MAY BE THE KEY.

SARAH VASQUEZ LIVED SIX BLOCKS FROM THE GRACE POINT TOWER.

AND SHE HAD A RECEIPT IN HER WALLET FROM CAFFE PRIMO

DATED THREE DAYS AGO.

WHAT ABOUT HENRY WYATT?

WYATT'S THERAPIST HAS AN OFFICE

RIGHT ACROSS THE STREET FROM THE COFFEE SHOP.

HE HAD A SESSION TWO DAYS BEFORE HE WAS KILLED.

THAT SHOP'S GOTTA BE GROUND ZERO

WHERE HE SELECTED HIS VICTIMS.

GET THE HELL DOWN THERE AND GET ME AN I.D.

THE CLOCK'S TICKING ON HIS NEXT VICTIM.

(man) YEAH, THEY ALL GET COFFEE HERE

ON A PRETTY REGULAR BASIS.

ARE YOU SAYING HE SHOOTS PEOPLE FROM MY SHOP?

IT COULD BE JUST A COINCIDENCE.

HAVE ANY OF THEM BEEN IN HERE TOGETHER?

MAYBE TALKING TO EACH OTHER OR ANYONE ELSE FOR THAT MATTER.

NOT THAT I REMEMBER. WHAT ABOUT THIS GUY?

IS HE A CUSTOMER?

IS THAT THE SNIPER?

HAVE YOU SEEN HIM? DOES HE LOOK FAMILIAR?

(sighs) NO.

SORRY. MAYBE IF I COULD GET A BETTER LOOK AT HIS FACE--

(man) ROBERT, PHONE CALL.

EXCUSE ME.

I'M JUST PRAYING THAT I GET ACCEPTED.

YOUR DAD'S AN ALUMNI. YOU'RE IN FOR SURE.

YO, DUDE. I TOTALLY CLOSED THE DEAL.

EIGHT FIGURES AND A PIECE OF THE MERCHANDISING.

NO, IT WAS EPIC, BRO.

(indistinct conversations)

(man) HEY, CAN YOU GO IN THE BACK

AND GET SOME MORE OF THAT, UH, CREAMER?

I HATE TO THINK THAT ANY OF THESE PEOPLE ARE DEAD

JUST BECAUSE THEY PICKED THE WRONG PLACE TO BUY COFFEE.

IT'S NOT THE COFFEE SHOP. I KNOW HOW THE VICTIMS ARE CONNECTED.

HOW?

SARAH VASQUEZ JUST GOT ENGAGED,

HENRY WYATT JUST MADE PARTNER AT HIS FIRM...

AND EMILY REESE JUST BOUGHT A GIANT APARTMENT

ON THE UPPER WEST SIDE.

THEY ALL HAD RECENT SUCCESSES.

ACCORDING TO OUR PROFILE, THIS SNIPER IS A PARANOID LONER.

HE FEELS ALIENATED,

VICTIMIZED BY THE WORLD.

HE COMES INTO HERE FOR A CUP OF COFFEE,

AND HE HEARS ABOUT HOW WELL EVERYONE'S DOING,

HOW THEIR DREAMS ARE COMING TRUE

WHILE HIS ARE NOT.

MAKES HIM FEEL INVISIBLE,

MAKES HIM FEEL ANGRY.

SO HE PICKS ONE OF THEM OUT, AND HE MAKES THEM PAY.

BUT EVEN IF YOU'RE RIGHT, IT DOESN'T GET US

ANY CLOSER TO CATCHING THIS GUY.

IT MIGHT IF WE ASK THE RIGHT QUESTION.

HE DIDN'T SHOOT FROM THE ROOF

BECAUSE HE COULDN'T CLIMB THE LADDER.

IF YOU LOOK AT THE VIDEO, THERE'S A SLIGHT HITCH

IN HIS STEP.

I THINK HE HAS A PHYSICAL DISABILITY.

UH, ROBERT.

DOES THIS RING A BELL?

A GUY WITH A LIMP OR A LEG INJURY?

THERE IS A HOMELESS GUY

WHO'S BEEN HANGING AROUND THE LAST FEW WEEKS.

I THINK HE'S GOT A PROSTHETIC LEG.

WE'RE GONNA NEED A DESCRIPTION.

(clicking keyboard keys)

(Ryan) ALL RIGHT, ADDING DISABILITY

AND PARTIAL AND/OR FULL AMPUTATION TO THE LIST

CUTS IT DOWN FROM 207...

(beeping)

TO THREE.

(clicks keyboard keys)

ERIK HOWARD, LEE TRAVIS-- (Castle) THAT'S HIM.

LEE TRAVIS.

(beep)

(Beckett) HE'S 38 YEARS OLD.

HE DID A YEAR IN THE MARINES BEFORE LOSING HIS RIGHT LEG

IN A HIT-AND-RUN MOTORCYCLE ACCIDENT.

NEVER CAUGHT THE DRIVER OF THE CAR,

AND LEE WAS GIVEN AN HONORABLE DISCHARGE.

AND ACCORDING TO HIS COUNSELOR, LEE WENT INTO A DEEP DEPRESSION.

TURNED HIS ANGER AGAINST THE WORLD.

HE A STRING OF LOW-PAYING JOBS, INCLUDING A STINT

AS A SECURITY GUARD FOR THE METROPOLITAN MUSEUM OF ART,

WHERE HIS FORMER BOSS SAID HE SPENT A LOT OF TIME

IN THE OLD MASTERS SECTION, HOME OF CARAVAGGIO AND PETRAZANO.

ALL RIGHT, I'M RELEASING LEE'S PHOTO AND BIO TO THE MEDIA.

WITHIN THE HOUR, EVERY PERSON IN NEW YORK WILL KNOW WHO HE IS.

WAIT, SIR. ARE YOU SURE THAT'S A GOOD IDEA?

IF HE KNOWS THAT WE'RE CLOSING IN,

THAT MIGHT TRIGGER ANOTHER SHOOTING. WE NEED TO RISK IT.

WE PUT HIS FACE OUT THERE, IT COULD GIVE US

A LEAD ON HIS WHEREABOUTS.

WHAT DO WE KNOW ABOUT HIS FAMILY?

LEE HAS A SISTER IN QUEENS.

ESPOSITO'S TRACKING HER DOWN RIGHT NOW.

ARE YOU SURE IT'S HIM?

(Beckett) YES.

YOU'RE NOT SURPRISED.

LEE'S AN ANGRY GUY.

HE HAS BEEN SINCE THE ACCIDENT.

I TRIED TO DO WHAT I COULD, BUT...

YOU CAN'T GIVE HELP IF SOMEONE WON'T TAKE IT.

IT BREAKS MY HEART THAT HE WOULD DO SOMETHING LIKE THIS.

WHEN WAS THE LAST TIME YOU SAW HIM?

ABOUT A MONTH AGO.

HE CAME OUT TO QUEENS FOR THE DAY.

IT DIDN'T GO WELL.

HE LOST HIS APARTMENT,

WANTED ME TO ASK HIM TO MOVE IN WITH US, BUT...

(voice breaks) I DIDN'T WANT HIM AROUND THE KIDS.

DO YOU KNOW WHERE HE'S LIVING?

I GAVE HIM MY OLD CAR WHEN HE LEFT.

IT'S A BLUE PLYMOUTH DUSTER.

DO YOU THINK YOU COULD WRITE DOWN THE LICENSE PLATE NUMBER?

(cell phone rings)

EXCUSE ME.

(beeps) BECKETT.

WHERE?

WE'RE ON OUR WAY.

(beep) I'M SORRY. WE GOTTA GO.

UNIFORMS JUST FOUND THE THIRD HIDE

WHERE EMILY REESE WAS SHOT FROM.

DETECTIVE.

I KNOW MY BROTHER'S DONE TERRIBLE THINGS, BUT...

(voice breaks) PLEASE DON'T HURT HIM.

(Castle) HOW IS HE FINDING THESE PLACES?

THE SAME WAY HE CHOOSES HIS VICTIMS. HE LISTENS.

HE'S HOMELESS, SO NOBODY NOTICES HIM.

ONCE HE FINDS A BUILDING THAT HE'LL BE SHOOTING FROM,

HE RECONS IT FOR THE BEST VANTAGE POINT.

CASTLE...

WE NEED TO FIND THAT PAPER DOLL,

SEE WHERE HE'S GONNA STRIKE NEXT.

FOUND IT.

OH, MY GOD.

DOES IT I.D. THE NEXT VICTIM?

NOT VICTIM.

VICTIMS.

(indistinct conversations)

A PATROL UNIT FOUND LEE'S CAR.

THESE WERE IN THE TRUNK.

ANY SIGN OF THE GUN? NO.

(inhales) ALL RIGHT.

LISTEN UP. I WANT ALL UNITS ON TACTICAL ALERT.

LEE TRAVIS IS OUT THERE RIGHT NOW WITH HIS WEAPON,

INTENDING TO KILL MULTIPLE VICTIMS.

AND GIVEN THAT THE FIRST THREE WERE SHOT IN THE MORNING,

WE DON'T HAVE A LOT OF TIME. (elevator bell dings)

I GOT IT! (pants)

YOU KNOW WHERE HE CUT THE CHAIN OF DOLLS FROM?

I CONVINCED THEM TO LET ME INTO THE MUSEUM EARLY.

I COMPARED THE DOLLS

TO ALL THE PAINTINGS IN THEIR COLLECTION.

IT'S CALLED "LIONS IN THE MEADOW."

THE ONLY MEADOW I KNOW OF IN NEW YORK IS AT...

IS IN CENTRAL PARK.

WE SHOULD ASSUME THAT TRAVIS IS ALREADY IN POSITION.

IF WE START CLEARING THE PARK, HE MIGHT START FIRING.

WHOEVER THESE DOZEN VICTIMS ARE, HE'S TARGETING THEM

FOR THE SAME REASON HE WENT AFTER THE OTHERS,

SO WE CAN ASSUME THEY'RE ALL PART OF THE SAME GROUP.

BECKETT, TAKE EVERYONE WE CAN SPARE, HEAD FOR THE PARK.

I WANT YOU IN PLACE AND READY TO MOVE

WHEN WE FIGURE THIS OUT.

RYAN, GET ON THE PHONE TO THE PARKS DEPARTMENT.

FIND OUT WHAT THEY HAVE SCHEDULED THERE THIS MORNING.

CASTLE, YOU COMING?

I'M MORE USEFUL HERE, HELPING RYAN

FIGURE OUT WHO THE TARGETS ARE.

YOU GOT THIS.

(elevator bell dings)

(clicks)

(clatters)

(beeps) ALL THAT TREE COVER IS GONNA MAKE IT HARD FOR HIM TO TARGET

ANY LARGE AREA OF THE PARK.

ALSO, THE BUILDINGS ON THE EAST AND WEST SIDES OF THE PARK

ARE HIGH-END APARTMENTS WITH DOORMEN.

WHICH MEANS HE WOULD HAVE TO SHOOT

FROM THE SOUTH END OF THE PARK.

I JUST GOT OFF THE PHONE WITH THE PARKS DEPARTMENT.

THERE'S OVER A DOZEN EVENTS PLANNED IN CENTRAL PARK TODAY.

ANYTHING ON THE SOUTH END?

A NATURE SANCTUARY TOUR AND A...

CELEBRATION FOR WESTERN HIGH SCHOOL.

THEIR TRACK TEAM JUST WON THE STATE CHAMPIONSHIP.

THEY SHOULD BE ON THEIR WAY INTO THE PARK RIGHT NOW.

WAIT. WESTERN HIGH SCHOOL'S THREE BLOCKS AWAY

FROM THE COFFEE SHOP. THEIR TEAM'S CALLED THE LIONS.

LEE MUST HAVE HEARD ONE OF THE PARENTS OR STUDENTS

BOASTING ABOUT WINNING THAT MEET.

HOW ARE THEY GETTING TO THE PARK?

COMING IN BY BUS.

I'LL CALL E.S.U.

RYAN, WE NEED TO STOP THAT BUS.

♪♪♪

(cheering)

♪♪♪

(rings)

(cheering continues)

(ring)

(tires squealing)

(indistinct conversations)

LISTEN, THE SCHOOL HAS A BUS UNLOADING

AT THE GRAND ARMY PLAZA ENTRANCE AT THE PARK.

E.S.U. TOLD GATES THAT THESE TWO BUILDINGS

HAVE THE BEST VANTAGE POINT FOR THE SNIPER.

HOW LONG TILL E.S.U. COUNTERSNIPERS GET HERE?

10 MINUTES, SO SEARCH ALL OF THE FLOORS ABOVE THE 20th.

LET'S GO.

(man speaks indistinctly)

♪♪♪

(cheering)

COME ON. COME ON.

(phone rings)

ANSWER YOUR PHONE, DAMN IT!

♪♪♪

(rings)

(cheering)

(radio beeps)

(lowered voice) I GOT AN OPEN DOOR.

SUITE 24-21. I'M GOING IN.

(panting)

(clicks)

STOP! POLICE!

OHH! (grunts)

(grunting)

(pants)

PUT THE GUN DOWN, LEE.

I HAVE A JOB TO DO.

(pants) WHY DON'T YOU JUST CALL IT WHAT IT IS, OKAY?

YOU SHOOT PEOPLE IN COLD BLOOD.

THOSE PEOPLE DESERVE WHAT THEY'RE GETTING.

GOD BLESSED THEM. (pants)

HE GAVE TO THEM AND TOOK FROM ME--

MY LEG, MY LIFE.

HOW IS THAT FAIR, HUH?

HOW IS THAT RIGHT?

THOSE PEOPLE THAT YOU BLAME? THEY'RE NO DIFFERENT FROM YOU.

YOU'RE JUST SAYING THAT 'CAUSE YOU'RE ONE OF 'EM.

YOU THINK MY LIFE IS A PICNIC?

(panting)

I KNOW WHAT IF FEELS LIKE TO BE IN THOSE CROSSHAIRS,

TO FEEL THE BULLET BURN THROUGH MY CHEST.

I KNOW WHAT IT FEELS LIKE TO HAVE MY LIFE LEAVE MY BODY.

AND I THINK YOU DO, TOO.

THAT'S WHY YOU KEEP LEAVING THOSE PAPER DOLLS BEHIND,

BECAUSE YOU'RE LOOKING FOR SOMEBODY

TO HELP YOU FIND ANOTHER WAY.

THERE IS NO OTHER WAY.

NOT ANYMORE. NO.

IT'S TOO LATE. NO, NO.

THERE'S ALWAYS ANOTHER WAY.

I WANT TO HELP YOU. I KNOW THAT YOU'RE IN PAIN,

AND WE CAN FIND A BETTER VOICE FOR YOUR PAIN.

PLEASE JUST PUT THAT GUN DOWN. JUST TURN AROUND.

NO. DON'T LOOK AT ME. JUST TURN AROUND.

NO! TURN AROUND!

NO. IF YOU'RE GONNA SHOOT ME,

YOU LOOK AT ME IN THE EYES, OKAY?

AND YOU LOOK HARD,

BECAUSE I AM NOT YOUR ENEMY. I CAN'T BE.

YOU AND I HAVE TOO MUCH IN COMMON.

(exhales)

(panting)

NO, WE DON'T.

(exhales)

I HAVE A JOB TO DO.

(panting)

SORRY.

(grunts) (gunshot, glass shatters)

(gasps and exhales) (body thuds)

(indistinct conversations)

HEY.

HEY.

WHAT ARE YOU DOING?

JUST WAITING FOR MY PARTNER.

MAYBE YOU'VE SEEN HER.

PRETTY GIRL,

THINKS SHE CAN LEAP TALL BUILDINGS IN A SINGLE BOUND,

CARRIES THE WEIGHT OF THE WORLD ON HER SHOULDERS, YET...

STILL MANAGES TO LAUGH AT SOME OF MY JOKES.

SHE SOUNDS LIKE A HANDFUL.

TELL ME ABOUT IT.

ANYWAY...

IF YOU DO SEE HER,

TELL HER SHE OWES ME ABOUT

A HUNDRED COFFEES.

CASTLE.

THANK YOU.

FOR WHAT?

FOR NOT PUSHING

AND GIVING ME THE SPACE TO GET THROUGH THIS.

ALWAYS.

SO HOW DO YOU FEEL NOW THAT LEE TRAVIS IS DEAD?

I THOUGHT THAT TAKING HIM DOWN WOULD RESOLVE THINGS,

BUT... IT'S STILL THERE.

BECAUSE YOU HAVEN'T FULLY DEALT WITH WHAT HAPPENED TO YOU.

NO.

I FELT IT BEFORE THE SHOOTING.

I THINK IT'S ALWAYS BEEN THERE,

DEEP INSIDE, SINCE THAT NIGHT.

THE NIGHT YOUR MOM WAS KILLED.

MM-HMM.

I'VE LET IT DEFINE ME, DRIVE ME.

IT'S MADE ME WHO I AM.

BUT NOW...

BUT NOW?

I WANT TO BE MORE

THAN WHO I AM.

BUT I DON'T KNOW IF I KNOW HOW TO DO THAT

WITHOUT LETTING MY MOM DOWN.

SHE'S DEAD, KATE.

YOU CAN'T LET HER DOWN.

THE ONLY PERSON YOU CAN LET DOWN IS YOURSELF.

(clears throat)

HER DEATH IS A PART OF YOU.

AND YOU'RE GONNA HAVE TO MAKE PEACE WITH THAT,

JUST LIKE YOU'RE GONNA HAVE TO MAKE PEACE

WITH THE SCARS FROM YOUR SHOOTING.

BUT IT DOESN'T HAVE TO LIMIT YOU.

HOW AM I SUPPOSED TO LET GO?

I CAN HELP YOU.

BUT THE QUESTION IS,

ARE YOU READY?

YEAH, I THINK I AM.