1 00:00:01,572 --> 00:00:04,105 THERE ARE TWO KINDS OF FOLKS WHO SIT AROUND THINKING ABOUT 2 00:00:04,105 --> 00:00:06,137 HOW TO KILL PEOPLE--PSYCHOPATHS AND MYSTERY WRITERS. 3 00:00:06,137 --> 00:00:08,539 I'M THE KIND THAT PAYS BETTER. WHO AM I? I'M RICK CASTLE. 4 00:00:08,539 --> 00:00:10,641 CASTLE. CASTLE. 5 00:00:10,641 --> 00:00:13,284 I REALLY AM RUGGEDLY HANDSOME, AREN'T I? EVERY WRITER NEEDS INSPIRATION, 6 00:00:13,284 --> 00:00:15,186 AND I'VE FOUND MINE. DETECTIVE KATE BECKETT. 7 00:00:15,186 --> 00:00:17,318 BECKETT. BECKETT. 8 00:00:17,318 --> 00:00:19,320 NIKKI HEAT? THE CHARACTER HE'S BASING ON YOU. 9 00:00:19,320 --> 00:00:21,322 AND THANKS TO MY FRIENDSHIP WITH THE MAYOR, 10 00:00:21,322 --> 00:00:23,794 I GET TO BE ON HER CASE. I WOULD BE HAPPY TO LET YOU SPANK ME. 11 00:00:23,794 --> 00:00:27,058 AND TOGETHER, WE CATCH KILLERS. WE MAKE A PRETTY GOOD TEAM, YOU KNOW? 12 00:00:27,058 --> 00:00:30,161 LIKE STARSKY AND HUTCH, TURNER AND HOOCH. YOU DO REMIND ME A LITTLE OF HOOCH. 13 00:00:30,161 --> 00:00:33,304 (The Apples in Stereo's "7 Stars" playing) 14 00:00:35,035 --> 00:00:39,140 ♪ 7 STARS IN THE SKY, IN THE SKY ♪ 15 00:00:39,140 --> 00:00:41,142 YEAH, PAULA, THAT SOUNDS PERFECT. 16 00:00:41,142 --> 00:00:42,443 YEAH, CLOSE THE DEAL. 17 00:00:42,443 --> 00:00:44,275 THANK YOU. AND TO YOU. 18 00:00:44,275 --> 00:00:46,777 HEY. HEY. 19 00:00:46,777 --> 00:00:49,520 ASK ME WHY I'M HERE. YOU KNOW, I ASK MYSELF THAT QUESTION EVERY DAY. 20 00:00:49,520 --> 00:00:51,522 THAT WAS PAULA, MY AGENT, WITH BIG NEWS 21 00:00:51,522 --> 00:00:54,054 ABOUT MY BOOK "HEAT WAVE." MM-HMM. 22 00:00:54,054 --> 00:00:56,527 WANNA GUESS? GUESSING WOULD IMPLY CARING. 23 00:00:56,527 --> 00:00:58,159 I'LL GIVE YOU A HINT. 24 00:00:58,159 --> 00:01:00,231 THE HEADLINES IN THE TRADES MIGHT READ, 25 00:01:00,231 --> 00:01:05,766 "CASTLE BEST SELLER TO 'HEAT'UP BIG SCREEN." 26 00:01:05,766 --> 00:01:08,068 YOUR BOOK IS BEING MADE INTO A MOVIE? 27 00:01:08,068 --> 00:01:10,070 (snaps fingers) AND YOU ARE ABOUT TO BE IMMORTALIZED 28 00:01:10,070 --> 00:01:12,103 ON THE SILVER SCREEN. 29 00:01:12,103 --> 00:01:15,776 ACTUALLY, NIKKI HEAT IS GOING TO BE IMMORTALIZED, NOT ME. YES, WELL, TECHNICALLY, 30 00:01:15,776 --> 00:01:18,779 BUT IT'S BEEN WIDELY PUBLICIZED THAT YOU ARE THE INSPIRATION. 31 00:01:18,779 --> 00:01:21,252 SO WHO WOULD YOU LIKE TO PLAY YOU IN THE MOVIE? (Ryan) WHOA. ARE YOU KIDDING? 32 00:01:21,252 --> 00:01:22,853 THEY'RE REALLY MAKING A NIKKI HEAT MOVIE? 33 00:01:22,853 --> 00:01:26,417 DUDE, DID I CALL IT OR WHAT? AH, CONGRATS, BRO. 34 00:01:26,417 --> 00:01:28,519 THANK YOU! WHAT DO YOU THINK, 35 00:01:28,519 --> 00:01:30,821 CAN WE GET JAMES McAVOY FOR DETECTIVE RALEY? (telephone rings) 36 00:01:30,821 --> 00:01:32,823 (Esposito) I'M GONNA GO WITH JAVIER BARDEM. BECKETT. 37 00:01:32,823 --> 00:01:35,526 YOU CAST YOUR DREAMS? (man) Yeah, I'd like to report a murder. 38 00:01:35,526 --> 00:01:38,529 DO YOU HAVE AN ADDRESS? (Castle, Esposito and Ryan speaking indistinctly) 39 00:01:38,529 --> 00:01:41,101 Where's the fun in that? (snaps fingers) 40 00:01:41,101 --> 00:01:43,204 OKAY. 41 00:01:43,204 --> 00:01:45,136 WHO IS THIS? 42 00:01:45,136 --> 00:01:46,477 Oh, a fan. 43 00:01:46,477 --> 00:01:49,780 TELL ME MORE ABOUT THIS MURDER. (Ryan) TRACING. 44 00:01:49,780 --> 00:01:51,312 Well, I did it. 45 00:01:51,312 --> 00:01:53,314 And that's all you need to know. 46 00:01:53,314 --> 00:01:54,815 (Ryan) GOT IT. 47 00:01:54,815 --> 00:01:57,318 HELLO? 42nd AND LEX. 48 00:01:57,318 --> 00:01:59,750 THAT'S GRAND CENTRAL STATION. YEAH, LET'S GO. 49 00:01:59,750 --> 00:02:01,292 (Ryan) ACCORDING TO TECH, 50 00:02:01,292 --> 00:02:04,225 THE PHONE CALL CAME FROM THE SECOND BOOTH ON THE END. 51 00:02:04,225 --> 00:02:08,199 (woman speaking indistinctly over p.a.) 52 00:02:11,232 --> 00:02:15,206 (metal squealing and rumbling) 53 00:02:30,150 --> 00:02:32,223 (camera shutter clicks) 54 00:02:32,223 --> 00:02:33,724 HERE'S HIS WALLET. 55 00:02:33,724 --> 00:02:35,556 (man speaking indistinctly over p.a.) 56 00:02:35,556 --> 00:02:36,857 (Lanie) THANK YOU. 57 00:02:36,857 --> 00:02:38,489 (man) YOU GOT IT. 58 00:02:38,489 --> 00:02:41,192 HIS NAME'S ALEX PETERMAN, LIVES IN DOBBS FERRY. 59 00:02:41,192 --> 00:02:43,234 SO IT WASN'T A ROBBERY. 60 00:02:43,234 --> 00:02:44,735 HE'S A PERSONAL INJURY ATTORNEY. 61 00:02:44,735 --> 00:02:46,297 TAKING THE LATE TRAIN HOME. 62 00:02:46,297 --> 00:02:47,798 ANYTHING OTHER THAN G.S.W.s? 63 00:02:47,798 --> 00:02:51,342 NOPE, JUST THE 5 SHOTS TO THE CHEST FROM A .45. 64 00:02:51,342 --> 00:02:54,245 A .45 MAKES A PRETTY LOUD SNAP, CRACKLE AND POP. 65 00:02:54,245 --> 00:02:57,548 I FIND IT HARD TO BELIEVE NO ONE HEARD IT ON THE MAIN CONCOURSE. HE MUST HAVE USED A SUPPRESSOR 66 00:02:57,548 --> 00:03:01,252 AND WAITED FOR THE TRAIN TO PASS BY. AND LET'S FACE IT-- NEW YORKERS ARE FAMOUS 67 00:03:01,252 --> 00:03:03,884 FOR THEIR "HEAR NO EVIL, SEE NO EVIL" ATTITUDE. 68 00:03:03,884 --> 00:03:05,856 I'LL GIVE YOU A CALL WITH AN UPDATE 69 00:03:05,856 --> 00:03:08,219 ONCE I GET HIM BACK TO THE LAB. THANK YOU. 70 00:03:08,219 --> 00:03:11,462 QUICK--WHO DO YOU WANT TO PLAY YOU IN THE NIKKI HEAT MOVIE? HALLE BERRY. 71 00:03:11,462 --> 00:03:14,395 SEE? SOME PEOPLE ARE JUST GREAT AT THAT GAME. 72 00:03:14,395 --> 00:03:17,728 YOU KNOW WHO WE COULD GET FOR YOU? ANGELINA. NO. 73 00:03:17,728 --> 00:03:20,601 KATE BECKETT, KATE BECKINSALE. 74 00:03:20,601 --> 00:03:22,873 WE'LL CALL YOU K-BECKS. 75 00:03:22,873 --> 00:03:26,537 HEY, GUYS, WHERE ARE WE ON THE CASE? (Esposito) WE GOT A WOMAN WHO SAYS THAT SHE HEARD 76 00:03:26,537 --> 00:03:28,439 A LOUD SOUND AROUND 8:45-- 77 00:03:28,439 --> 00:03:31,242 SOUNDED LIKE A CAR DOOR SLAMMING. AND SHE SAID SHE SAW A WHITE MALE, 78 00:03:31,242 --> 00:03:34,885 30s, AVERAGE HEIGHT, EXITING THE WAITING ROOM, 79 00:03:34,885 --> 00:03:39,620 MOVING VERY QUICKLY TO THE 42nd STREET EXIT. SAID HE WAS WEARING A BLACK COAT, BLACK BALL CAP, SUNGLASSES 80 00:03:39,620 --> 00:03:41,622 AND HAD SOME SORT OF BEARD, MAYBE A GOATEE. 81 00:03:41,622 --> 00:03:43,954 ALL RIGHT, LET'S SEE IF ANYONE CAN CORROBORATE HER DESCRIPTION, 82 00:03:43,954 --> 00:03:46,957 AND LET'S MAKE UP A SKETCH, SHOW IT TO ALEX PETERMAN'S FAMILY, 83 00:03:46,957 --> 00:03:49,560 SEE IF THEY RECOGNIZE THE KILLER. RIGHT. 84 00:03:49,560 --> 00:03:51,532 (man speaking indistinctly over p.a.) 85 00:03:51,532 --> 00:03:52,903 WHAT IS IT? 86 00:03:52,903 --> 00:03:54,765 (man continues speaking indistinctly) 87 00:03:54,765 --> 00:03:56,967 HE CALLED TO REPORT HIS CRIME. 88 00:03:56,967 --> 00:03:59,640 AND THAT VOICE... 89 00:03:59,640 --> 00:04:02,913 IT'S LIKE HE DID THIS FOR FUN. 90 00:04:02,913 --> 00:04:06,317 (camera shutter clicks, metal clanks) 91 00:04:06,317 --> 00:04:08,779 (click) 92 00:04:10,381 --> 00:04:12,523 (Alexis) HEY. YOU'RE UP EARLY. 93 00:04:12,523 --> 00:04:15,025 YES, I HAVE A DATE WITH BECKETT AT THE MORGUE. 94 00:04:15,025 --> 00:04:17,988 WHAT NEFARIOUS PLOTS ARE YOU TWO HATCHING? UH-- 95 00:04:17,988 --> 00:04:19,990 MY BIRTHDAY IS COMING UP. 96 00:04:19,990 --> 00:04:21,892 UH-HUH. 97 00:04:21,892 --> 00:04:24,335 I THINK YOU SHOULD TELL HIM, GRAM. 98 00:04:24,335 --> 00:04:26,297 SOMETIMES HE GIVES GOOD ADVICE. 99 00:04:26,297 --> 00:04:28,839 SOMETIMES? YEAH, MAYBE YOU'RE RIGHT. 100 00:04:28,839 --> 00:04:32,042 BUT I AM NOT IN THE MOOD FOR ANY OF YOUR CAVALIER QUIPS. 101 00:04:32,042 --> 00:04:36,647 I'LL BE SERIOUS AS A SHARK ATTACK. CHET HAS ASKED ME TO MOVE IN WITH HIM. 102 00:04:36,647 --> 00:04:39,480 I TOLD HER... THAT I THOUGHT IT WAS TOO SOON. 103 00:04:39,480 --> 00:04:42,713 THEY'VE ONLY BEEN DATING A FEW MONTHS. 104 00:04:42,713 --> 00:04:45,656 WHEN YOU GET TO BE OUR AGE, EVERY MINUTE COUNTS. 105 00:04:45,656 --> 00:04:48,589 TO THAT END, I HAVE MADE A LIST OF PROS AND CONS. 106 00:04:48,589 --> 00:04:50,561 SO FAR THE PROS ARE WINNING. 107 00:04:50,561 --> 00:04:53,564 "PRO-- HE MAKES ME FEEL YOUNG." WELL... 108 00:04:53,564 --> 00:04:56,797 I MAKE YOU FEEL YOUNG. OH, DARLING. 109 00:04:56,797 --> 00:04:59,870 "CONS--I DON'T WANT TO LIVE IN ANOTHER MAN'S HOME." 110 00:04:59,870 --> 00:05:02,903 YOU ARE NOT ANOTHER MAN. BESIDES, I TRAINED YOU. 111 00:05:02,903 --> 00:05:05,436 WHO KNOWS WHAT BAD HABITS 112 00:05:05,436 --> 00:05:08,609 CHET PICKED UP ALONG THE WAY, YOU KNOW? MM-HMM. 113 00:05:08,609 --> 00:05:10,881 MOTHER, WHATEVER YOU DECIDE, I WILL SUPPORT YOU, 114 00:05:10,881 --> 00:05:14,415 THE SAME WAY I HAVE SINCE THE LAST MAN YOU LIVED WITH 115 00:05:14,415 --> 00:05:16,016 STOLE YOUR LIFE SAVINGS. (sighs) 116 00:05:16,016 --> 00:05:18,018 CAUSE OF DEATH IS MULTIPLE GUNSHOT WOUNDS. 117 00:05:18,018 --> 00:05:21,422 TOX INDICATES HE HAD A MARTINI ABOUT AN HOUR BEFORE HE DIED. 118 00:05:21,422 --> 00:05:22,923 OTHER THAN THAT, 119 00:05:22,923 --> 00:05:25,626 THERE IS NOTHING INTERESTING ABOUT THE BODY. 120 00:05:25,626 --> 00:05:27,758 SO THEN WHY THE CALL? 121 00:05:27,758 --> 00:05:30,461 THE BODY ISN'T INTERESTING. EXCUSE ME. 122 00:05:30,461 --> 00:05:31,932 BUT THE BULLETS ARE. 123 00:05:31,932 --> 00:05:34,905 CHECK OUT THE MARKING ON THE END OF THE SLUGS. 124 00:05:34,905 --> 00:05:36,407 AFTERMARKET FACTORY STAMPS? 125 00:05:36,407 --> 00:05:37,738 NO. 126 00:05:37,738 --> 00:05:40,641 THOSE AREN'T STAMPS. THEY'RE LETTERS. 127 00:05:40,641 --> 00:05:43,514 AND LOOK, THEY'RE HAND-ETCHED. 128 00:05:45,576 --> 00:05:47,418 THEY SPELL SOMETHING. 129 00:05:47,418 --> 00:05:49,079 THEY SPELL... 130 00:05:49,079 --> 00:05:50,981 "KINKI." 131 00:05:54,054 --> 00:05:55,656 NO. 132 00:05:55,656 --> 00:05:59,560 (bullets clattering) 133 00:06:01,061 --> 00:06:02,963 "NIKKI." 134 00:06:02,963 --> 00:06:04,665 NIKKI HEAT. 135 00:06:06,497 --> 00:06:08,639 THAT'S WHY HE CALLED ME. 136 00:06:08,639 --> 00:06:10,671 THAT'S WHY HE SAID HE WAS A FAN. 137 00:06:10,671 --> 00:06:12,973 HE DEDICATED THIS MURDER TO ME. 138 00:06:12,973 --> 00:06:16,046 DOES HE REALIZE SHE'S A FICTIONAL CHARACTER 139 00:06:16,046 --> 00:06:19,049 NOT A REAL PERSON? OBVIOUSLY, HE'S DELUSIONAL, BUT GIVEN THAT NIKKI HEAT 140 00:06:19,049 --> 00:06:21,712 IS BASED ON DETECTIVE BECKETT, MAYBE HE'S CONFUSING THE TWO. 141 00:06:21,712 --> 00:06:23,954 AND WE SHOWED ALEX PETERMAN'S FAMILY 142 00:06:23,954 --> 00:06:26,757 THE SKETCH OF OUR SUSPECT. HE DID NOT LOOK FAMILIAR. 143 00:06:26,757 --> 00:06:29,059 HOW ARE WE ON FORENSICS? 144 00:06:29,059 --> 00:06:30,721 C.S.U. GRABBED ABOUT 200 FINGERPRINTS, 145 00:06:30,721 --> 00:06:33,023 A THOUSAND FIBERS AND 60 ODD D.N.A. SAMPLES, 146 00:06:33,023 --> 00:06:35,496 AND THAT WAS JUST FROM THE PHONE BOX. 147 00:06:35,496 --> 00:06:38,999 THEY'RE WORKING THEM UP NOW... AFTER THEY CLEAR THEIR BACKLOG. 148 00:06:38,999 --> 00:06:42,102 BECKETT. GUY ON THE PHONE'S ASKING FOR DETECTIVE HEAT. 149 00:06:46,707 --> 00:06:47,938 (beeps) 150 00:06:47,938 --> 00:06:49,640 BECKETT. 151 00:06:49,640 --> 00:06:53,183 (man) Nikki, did you get the first part of my message? 152 00:06:53,183 --> 00:06:55,415 YES, I DID. 153 00:06:55,415 --> 00:06:57,748 Well, the second is at the Central Park carousel. 154 00:06:57,748 --> 00:06:59,049 (line disconnects) 155 00:07:01,121 --> 00:07:04,124 (organ music playing) 156 00:07:09,660 --> 00:07:10,961 (hinges squeak) 157 00:07:10,961 --> 00:07:12,663 (door creaks) 158 00:07:12,663 --> 00:07:15,666 (music continues) 159 00:07:15,666 --> 00:07:17,968 (gate squeaks) 160 00:07:17,968 --> 00:07:21,612 (music continues) 161 00:07:26,977 --> 00:07:31,522 (music continues) 162 00:07:39,029 --> 00:07:40,961 (carousel creaks) 163 00:07:40,961 --> 00:07:45,536 (music continues) 164 00:07:58,148 --> 00:08:03,614 ♪♪ 165 00:08:10,991 --> 00:08:13,023 (indistinct conversations) 166 00:08:13,023 --> 00:08:16,166 (camera shutter clicks) 167 00:08:16,166 --> 00:08:17,998 (Lanie) SAME M.O. 168 00:08:17,998 --> 00:08:20,801 SHE WAS SHOT 4 TIMES WITH A .45. 169 00:08:20,801 --> 00:08:23,273 THERE ARE CONTUSIONS ON THE VICTIM'S LEFT SIDE 170 00:08:23,273 --> 00:08:25,275 CONSISTENT WITH THE MUZZLE OF A .45 171 00:08:25,275 --> 00:08:27,107 BEING JAMMED INTO HER RIBS. 172 00:08:27,107 --> 00:08:29,109 I'M GUESSING THE KILLER IS LEFT-HANDED. 173 00:08:29,109 --> 00:08:32,282 C.S.U. PULL THE SLUGS FROM THE BACK OF THE CARRIAGE? 174 00:08:32,282 --> 00:08:34,214 YES, THERE WERE LETTERS ON THE SLUGS. 175 00:08:34,214 --> 00:08:36,186 THEY SPELL "W-I-L-L." 176 00:08:36,186 --> 00:08:38,218 SO HE'S SENDING A MESSAGE. 177 00:08:38,218 --> 00:08:40,651 "NIKKI WILL"... 178 00:08:40,651 --> 00:08:43,153 WHAT? NIKKI WILL WHAT? 179 00:08:43,153 --> 00:08:44,755 (police radio chatter) 180 00:08:44,755 --> 00:08:48,559 THANK YOU, LANIE. MM-HMM. 181 00:08:48,559 --> 00:08:51,161 (Castle) I GUESS IT'S OFFICIAL. OUR GUY IS A SERIAL KILLER. 182 00:08:51,161 --> 00:08:53,163 I WOULD THINK THAT A SERIAL KILLER 183 00:08:53,163 --> 00:08:56,006 WOULD BE LIKE THE HOLY GRAIL FOR A CRIME NOVELIST. I GUESS IT WOULD BE 184 00:08:56,006 --> 00:08:58,639 IF IT WEREN'T FOR THE NIKKI HEAT OF IT ALL. AH. 185 00:08:58,639 --> 00:09:00,641 I'M FEELING A LITTLE BIT RESPONSIBLE. 186 00:09:00,641 --> 00:09:02,843 REALLY? LIKE THE BEATLES ARE RESPONSIBLE 187 00:09:02,843 --> 00:09:04,615 FOR CHARLES MANSON 'CAUSE OF "HELTER SKELTER"? 188 00:09:04,615 --> 00:09:07,117 OR IS IT MORE LIKE JODIE FOSTER IS RESPONSIBLE 189 00:09:07,117 --> 00:09:10,180 FOR JOHN HINCKLEY SHOOTING REAGAN? IF I HADN'T CREATED NIKKI HEAT-- 190 00:09:10,180 --> 00:09:12,152 HE WOULD STILL BE KILLING. 191 00:09:12,152 --> 00:09:15,185 HE'D JUST FIND ANOTHER REASON WHY. (man) ALL RIGHT, FOLKS. MAKE WAY. 192 00:09:15,185 --> 00:09:17,628 (woman) NOW WHAT'S GOING ON? 193 00:09:17,628 --> 00:09:20,631 EITHER A U.F.O. JUST LANDED ON THE OTHER SIDE OF THE PARK... 194 00:09:20,631 --> 00:09:23,093 OR ELSE THE FBI IS HERE TO CLAIM JURISDICTION 195 00:09:23,093 --> 00:09:26,767 OVER THIS CASE. MAYBE THEY JUST WANT TO RIDE ON THE CAROUSEL 196 00:09:26,767 --> 00:09:29,139 BEFORE THE LINE GETS TOO LONG. 197 00:09:29,139 --> 00:09:31,942 ROPE OFF A 10-FOOT CIRCUMFERENCE AROUND THE CAROUSEL. 198 00:09:31,942 --> 00:09:33,944 SWEEP FOR PRINTS AND TRACE EVIDENCE. 199 00:09:33,944 --> 00:09:36,046 CLOSE OFF THE PARK ENTRANCE AT 6th. 200 00:09:36,046 --> 00:09:39,109 WORK UP THE ENTIRE FOOTPATH. MM-HMM. 201 00:09:39,109 --> 00:09:41,581 HERE GOES. NIKKI HEAT I PRESUME. 202 00:09:41,581 --> 00:09:43,814 IT'S BECKETT. DETECTIVE KATE BECKETT. 203 00:09:43,814 --> 00:09:46,657 YEAH, I READ ALL ABOUT YOU IN "COSMO." 204 00:09:46,657 --> 00:09:49,259 AND YOU MUST BE THE CELEBRITY WRITER TAGALONG, RICHARD CASTLE. 205 00:09:49,259 --> 00:09:52,292 SPECIAL AGENT JORDAN SHAW. JOR-JORDAN SHAW? 206 00:09:52,292 --> 00:09:55,195 THE SAME JORDAN SHAW THAT BROKE 207 00:09:55,195 --> 00:09:57,768 THE HUDSON VALLEY STRANGLER CASE BACK IN 1991? 208 00:09:57,768 --> 00:09:59,770 I ALSO PLAY A MEAN GAME OF SCRABBLE. 209 00:09:59,770 --> 00:10:02,803 NOW THAT WE ALL KNOW EACH OTHER, I'D LIKE TO SEE THE BODY. 210 00:10:02,803 --> 00:10:05,736 AGENT SHAW, MY PEOPLE HAVE ALREADY SECURED THE AREA. 211 00:10:05,736 --> 00:10:08,308 C.S.U. IS ON THE SCENE, AND WE ARE CANVASSING THE PARK. 212 00:10:08,308 --> 00:10:11,011 SO AS HAPPY AS I AM TO SEE THE CAVALRY, 213 00:10:11,011 --> 00:10:13,784 THERE'S REALLY NOT MUCH LEFT HERE FOR YOU TO DO. 214 00:10:13,784 --> 00:10:15,786 DETECTIVE, THE GODS IN THE MARBLE HALLS 215 00:10:15,786 --> 00:10:19,019 HAVE SENT ME HERE TO CATCH A KILLER, WHICH I WILL DO 216 00:10:19,019 --> 00:10:22,022 WITH OR WITHOUT YOUR HELP, OKAY? NOW COULD I SEE THE BODY? THAT IS SO GOING IN THE MOVIE. 217 00:10:22,022 --> 00:10:25,756 CAN YOU SAY THAT AGAIN, BUT START FROM "MARBLE HALLS"? 218 00:10:25,756 --> 00:10:28,659 UNIs PULLED THIS FROM A TRASH BIN. WALLET'S INSIDE. 219 00:10:28,659 --> 00:10:32,062 THE VIC'S NAME IS MICHELLE LEWIS. ACCORDING TO HER BUSINESS CARD, SHE'S A DOG WALKER. 220 00:10:32,062 --> 00:10:35,265 THERE'S A PRINT HERE, AND IT'S TOO LARGE TO BE OUR VICTIM'S. 221 00:10:35,265 --> 00:10:38,008 LET'S GET IT TO THE LAB FOR-- (cell phone camera beeps) 222 00:10:38,008 --> 00:10:40,070 WHAT ARE YOU DOING? 223 00:10:40,070 --> 00:10:42,943 THAT PRINT IS ALREADY IN THE LAB AND BEING PROCESSED. 224 00:10:42,943 --> 00:10:46,717 NO MUSS, NO FUSS, NO BLACK POWDER ON YOUR CLOTHES. 225 00:10:46,717 --> 00:10:50,851 WOW. THERE'S AN APP FOR THAT? THAT'S WHY I JOINED THE FBI, MR. CASTLE, FOR THE TOYS. 226 00:10:50,851 --> 00:10:53,123 I'M REALLY EAGER TO SEE THAT BODY. 227 00:10:53,123 --> 00:10:56,226 CAN I TAKE A LOOK AT THAT-- 228 00:10:56,226 --> 00:10:58,829 BE A CHANCE TO CHECK IT LATER. 229 00:11:01,892 --> 00:11:04,034 (agents speaking indistinctly) 230 00:11:04,034 --> 00:11:06,166 WHAT IS GOING ON? 231 00:11:06,166 --> 00:11:09,199 THEY'RE SETTING UP THE WAR ROOM. (drill whirs) 232 00:11:09,199 --> 00:11:11,842 WAR ROOM? 233 00:11:11,842 --> 00:11:15,205 (whispers) TELL ME EVERYTHING YOU KNOW ABOUT JORDAN SHAW. SHE IS LIKE THE FEDERAL YOU. 234 00:11:15,205 --> 00:11:17,748 SHE IS GOOD. SHE IS REAL GOOD. 235 00:11:17,748 --> 00:11:19,750 SHE CRACKED OPEN THAT HUDSON VALLEY STRANGLER CASE 236 00:11:19,750 --> 00:11:21,081 WHEN SHE WAS JUST 25. 237 00:11:21,081 --> 00:11:24,414 I THOUGHT THEY CAUGHT HIM OFF OF A SPEEDING TICKET. 238 00:11:24,414 --> 00:11:27,858 WELL, DON'T ASK ME HOW, BUT SHE PROFILED THAT HE DROVE A YUGO. 239 00:11:27,858 --> 00:11:31,121 THEY FOUND A GIRL TIED UP IN THE BACK. UH-HUH. JORDAN SHAW SAVED THAT GIRL'S LIFE. 240 00:11:31,121 --> 00:11:34,064 I'VE NEVER SEEN YOU SO EXCITED TO MEET ANYONE BEFORE. 241 00:11:34,064 --> 00:11:37,397 NO, I JUST--I'M-- OH, I'M IMPRESSED WITH-- (man) EXCUSE US. 242 00:11:37,397 --> 00:11:39,229 (man) WATCH IT. I... 243 00:11:39,229 --> 00:11:43,703 CAN WE GO SEE THE WAR ROOM NOW? 244 00:11:43,703 --> 00:11:46,236 (Shaw) YOU'RE RUNNING PARTIALS, TOO, RIGHT? (man) THROUGH ALL DATABASES. 245 00:11:46,236 --> 00:11:49,910 THE LAB'S GETTING US INFORMATION AS FAST AS WE CAN FOLLOW UP. 246 00:11:49,910 --> 00:11:51,912 I THOUGHT THERE WAS A BACKLOG AT THE LAB. 247 00:11:51,912 --> 00:11:54,785 I HAVE A FEDERAL FAST PASS, SO I GET TO JUMP THE LINE. 248 00:11:54,785 --> 00:11:57,047 (screen beeping) CURRENTLY WE ARE RUNNING 35 SOLID LEADS 249 00:11:57,047 --> 00:11:58,749 BASED ON D.N.A., PRINTS, 250 00:11:58,749 --> 00:12:00,821 TRACE EVIDENCE FOUND FROM BOTH CRIME SCENES, 251 00:12:00,821 --> 00:12:03,754 AND WE'RE RUNNING IT THROUGH THE FBI DATA MATRIX. (beeping) 252 00:12:03,754 --> 00:12:05,826 THE MATRIX ALSO LOOKS FOR A CONNECTION 253 00:12:05,826 --> 00:12:08,428 BETWEEN THE VICTIMS IN CASE THE KILLER HAS A TYPE 254 00:12:08,428 --> 00:12:11,431 OR A FAVORITE HUNTING GROUND OR ISN'T KILLING RANDOMLY. 255 00:12:11,431 --> 00:12:13,804 BOTH ALEX PETERMAN AND MICHELLE LEWIS BELONGED TO 256 00:12:13,804 --> 00:12:16,506 THE SAME WESSEX GYM, BUT THEY WENT TO DIFFERENT LOCATIONS. 257 00:12:16,506 --> 00:12:18,508 THEY WERE BOTH MEMBERS OF MoMA. 258 00:12:18,508 --> 00:12:21,311 HMM. THEY BOTH ADOPTED THEIR DOGS 259 00:12:21,311 --> 00:12:23,343 FROM THE SAME A.S.P.C.A. 260 00:12:23,343 --> 00:12:25,345 SOUNDS LIKE IT DOES YOUR JOB FOR YOU. 261 00:12:25,345 --> 00:12:27,347 A MACHINE CAN COLLATE. IT CAN'T THINK. 262 00:12:27,347 --> 00:12:30,120 (slams down clipboard) IT TAKES A MIND TO HUNT A MIND. 263 00:12:30,120 --> 00:12:32,152 TAKE THIS GUY. (Beckett) WOW. 264 00:12:32,152 --> 00:12:36,056 (beeping) HE CALLS THE POLICE TO REPORT HIS OWN CRIME, 265 00:12:36,056 --> 00:12:38,428 LIKES TO KILL IN HEAVILY POPULATED AREAS 266 00:12:38,428 --> 00:12:40,430 AND USES BULLETS AS MESSAGES. 267 00:12:40,430 --> 00:12:43,994 NOW MOST OF THESE STALKER TYPES CAN BARELY TIE THEIR OWN SHOES. 268 00:12:43,994 --> 00:12:46,336 THIS ONE'S DIFFERENT, SMARTER. 269 00:12:46,336 --> 00:12:49,299 YOU ALMOST SOUND LIKE YOU ADMIRE HIM. 270 00:12:49,299 --> 00:12:53,143 I ADMIRE HIM THE WAY ROBERT SHAW ADMIRED THE SHARK IN "JAWS." 271 00:12:53,143 --> 00:12:55,045 THE BETTER I KNOW HIM, 272 00:12:55,045 --> 00:12:57,808 THE EASIER IT'LL BE TO CATCH HIM. THAT'S LIKE WHEN I'M WRITING. 273 00:12:57,808 --> 00:13:00,110 THE KILLER'S VOICE DOESN'T SOUND AUTHENTIC 274 00:13:00,110 --> 00:13:03,513 UNLESS I UNDERSTAND HIS MOTIVATION. WELL, THIS GUY LIKES TO MAKE A SCENE. 275 00:13:03,513 --> 00:13:06,386 I WOULDN'T BE SURPRISED IF HE WAS ALSO AN ARSONIST. 276 00:13:06,386 --> 00:13:08,388 IN FACT, I THINK THAT'S WHAT DREW HIM 277 00:13:08,388 --> 00:13:11,221 TO THE NIKKI HEAT CHARACTER IN THE FIRST PLACE--HER NAME. 278 00:13:11,221 --> 00:13:14,194 SPEAKING OF DETECTIVE HEAT... OH. 279 00:13:14,194 --> 00:13:15,896 WHOA. WHOA. GUYS. LISTEN. 280 00:13:15,896 --> 00:13:18,398 NOT THAT I DON'T APPRECIATE THE ROYALTIES, BUT, UH, 281 00:13:18,398 --> 00:13:21,401 WHY DO YOU NEED A HUNDRED COPIES OF "HEAT WAVE"? 282 00:13:21,401 --> 00:13:24,574 IF OUR KILLER IS OBSESSED WITH NIKKI HEAT, THEN SO ARE WE. 283 00:13:24,574 --> 00:13:26,276 AVERY, CLIFF NOTES, PLEASE. 284 00:13:26,276 --> 00:13:28,278 A REAL ESTATE TYCOON IS KILLED. 285 00:13:28,278 --> 00:13:30,440 DETECTIVE NIKKI HEAT CATCHES THE CASE 286 00:13:30,440 --> 00:13:34,044 AND INVESTIGATES SUSPECTS WHO WANTED THE MAN DEAD. 287 00:13:34,044 --> 00:13:36,216 THERE'S A TROPHY WIFE, OF COURSE, 288 00:13:36,216 --> 00:13:38,218 DANGEROUS MOBSTERS--- UH, UH, EXCUSE ME. 289 00:13:38,218 --> 00:13:40,951 IT'S--IT'S A--IT'S A "NEW YORK TIMES" BEST-SELLER. 290 00:13:40,951 --> 00:13:44,024 I DON'T THINK THERE'S A NEED TO MAKE IT SOUND QUITE SO DRY. 291 00:13:44,024 --> 00:13:45,495 THANKS. 292 00:13:45,495 --> 00:13:48,558 HEAT'S LIFE IS COMPLICATED BY A REPORTER NAMED JAMESON ROOK, 293 00:13:48,558 --> 00:13:51,561 WHO'S FOLLOWING HER AROUND FOR AN ARTICLE HE'S WRITING. 294 00:13:51,561 --> 00:13:55,165 HEAT AND ROOK VERBALLY SPAR, AND IN CHAPTER 11, 295 00:13:55,165 --> 00:13:58,368 ADMIT THEIR ATTRACTION FOR ONE ANOTHER AND HAVE SEX. 296 00:13:58,368 --> 00:14:01,141 (agents chuckle) 297 00:14:01,141 --> 00:14:03,944 MM-HMM. 298 00:14:03,944 --> 00:14:05,515 IT'S FICTION. 299 00:14:05,515 --> 00:14:07,177 (computer beeping) 300 00:14:07,177 --> 00:14:10,150 IN THE END, WHEN THE KILLER'S REVEALED, 301 00:14:10,150 --> 00:14:12,482 IT TURNS OUT IT'S ACTUALLY-- 302 00:14:12,482 --> 00:14:15,485 OH, OH, OH. SPOILER ALERT. 303 00:14:15,485 --> 00:14:19,159 IN DEFERENCE TO MR. CASTLE'S ARTISTIC SENSITIVITY, 304 00:14:19,159 --> 00:14:21,631 YOU CAN ALL READ THE BOOK TO FIND OUT THE IDENTITY 305 00:14:21,631 --> 00:14:23,633 OF THE KILLER. THANK YOU. 306 00:14:23,633 --> 00:14:26,396 AND IF YOU WANT ME TO AUTOGRAPH THOSE FOR YOU, 307 00:14:26,396 --> 00:14:28,999 JUST FORM A SINGLE FILE LINE RIGHT HERE. 308 00:14:28,999 --> 00:14:31,871 OR NOT. (computer beeps) 309 00:14:31,871 --> 00:14:34,644 WE GOT A HIT. THAT PINKIE PRINT OFF THE SECOND VICTIM'S PURSE 310 00:14:34,644 --> 00:14:37,247 BELONGS TO A DONALD SALT, 2-TIME LOSER, 311 00:14:37,247 --> 00:14:40,580 ON PAROLE FOR A MANSLAUGHTER CONVICTION IN 2005. 312 00:14:40,580 --> 00:14:43,483 THEY JUST MATCHED IT TO THE PARTIAL PINKIE PRINT 313 00:14:43,483 --> 00:14:47,287 YOUR TEAM RECOVERED FROM GRAND CENTRAL. (Castle) TWO PINKIE PRINTS? 314 00:14:47,287 --> 00:14:49,419 SO HE WAS AT THE STATION AND THE CAROUSEL. 315 00:14:49,419 --> 00:14:51,891 AND THE PURSE PUTS HIM WITH OUR VICTIM. 316 00:14:51,891 --> 00:14:54,364 LET'S MOUNT UP. 317 00:14:57,327 --> 00:15:01,431 (Shaw) YEAH. OKAY. JUST PULLING UP NOW. 318 00:15:01,431 --> 00:15:03,533 YEP, GOT IT. 319 00:15:03,533 --> 00:15:04,904 (beeps) 320 00:15:04,904 --> 00:15:07,407 SALT LIVES IN THAT BRICK BUILDING. 321 00:15:07,407 --> 00:15:10,410 (goggles whirring) HIS SUPERVISOR SAYS HE LEFT WORK AN HOUR AGO. 322 00:15:10,410 --> 00:15:12,412 SO HE SHOULD BE HOME BY NOW. 323 00:15:12,412 --> 00:15:14,584 WHEN THE OTHERS GET HERE, WE'LL TAKE HIM. 324 00:15:14,584 --> 00:15:17,347 WHAT IS HE DOING? HE, UM, TOUCHES THINGS. 325 00:15:17,347 --> 00:15:19,149 (whirring) NIGHT VISION GOGGLES. 326 00:15:19,149 --> 00:15:21,491 I THINK I HAVE THE NEWER MODEL THOUGH. 327 00:15:21,491 --> 00:15:23,323 YOU KNOW, MAYBE IN MY THIRD BOOK, 328 00:15:23,323 --> 00:15:25,255 NIKKI HEAT WILL CROSS SWORDS 329 00:15:25,255 --> 00:15:28,928 WITH A GOOD-LOOKING, YET COLDHEARTED FBI PROFILER. 330 00:15:28,928 --> 00:15:31,661 CALL IT "FEDERAL HEAT." 331 00:15:31,661 --> 00:15:33,263 OR MAYBE NOT. 332 00:15:38,238 --> 00:15:40,610 SO HOW LONG HAVE YOU TWO BEEN SLEEPING TOGETHER? 333 00:15:40,610 --> 00:15:44,014 I'M... WE'RE-- WE'RE NOT SLEEPING TOGETHER. 334 00:15:44,014 --> 00:15:46,276 (Castle laughs) WE--HE-- HE JUST OBSERVES ME. 335 00:15:46,276 --> 00:15:48,348 YEAH. I'VE SEEN HOW HE OBSERVES YOU. 336 00:15:48,348 --> 00:15:51,351 (beeping and whirring) NO, SHE'S RIGHT. ASIDE FROM MY SECOND WIFE, 337 00:15:51,351 --> 00:15:54,284 THIS IS THE MOST SEXLESS RELATIONSHIP I'VE EVER BEEN IN. 338 00:15:54,284 --> 00:15:56,726 I'VE BEEN PROFILING PEOPLE FOR A LONG TIME. 339 00:15:56,726 --> 00:15:59,589 I'M HARDLY EVER WRONG. WELL, THIS TIME YOU ARE... WRONG. 340 00:15:59,589 --> 00:16:01,591 (beeping) SO IF YOU'RE NOT SLEEPING TOGETHER, 341 00:16:01,591 --> 00:16:03,593 WHY DO YOU KEEP HIM AROUND? 342 00:16:03,593 --> 00:16:06,366 YOU KNOW I CAN HEAR YOU? 343 00:16:06,366 --> 00:16:09,069 HE'S ACTUALLY PROVEN TO BE SURPRISINGLY HELPFUL. 344 00:16:09,069 --> 00:16:11,571 HMM. HAVE TO TAKE YOUR WORD ON THAT. 345 00:16:11,571 --> 00:16:13,973 (beeps and whirs) 346 00:16:13,973 --> 00:16:16,276 PUT THE TASER DOWN. 347 00:16:16,276 --> 00:16:18,048 (beeps) 348 00:16:18,048 --> 00:16:21,051 (taser powers down) 349 00:16:21,051 --> 00:16:23,153 OKAY, THE TEAM'S HERE. 350 00:16:23,153 --> 00:16:25,055 YOU STAY IN THE CAR. 351 00:16:25,055 --> 00:16:28,658 YOU HEARD HER, CASTLE. STAY. 352 00:16:28,658 --> 00:16:31,591 COULD YOU AT LEAST CRACK THE WINDOW FOR ME? 353 00:16:31,591 --> 00:16:34,294 (motor whirs) 354 00:16:34,294 --> 00:16:37,267 (man) COME ON. LET'S GO. MOVE, MOVE. 355 00:16:37,267 --> 00:16:40,730 LET'S MAKE IT QUICK AND BLOODLESS. 356 00:16:44,074 --> 00:16:45,475 (man) GO, GO, GO. 357 00:16:45,475 --> 00:16:46,776 GO. 358 00:16:48,308 --> 00:16:51,081 HANG ON. 359 00:16:51,081 --> 00:16:53,213 STOP! FBI! HEY! 360 00:16:53,213 --> 00:16:55,615 (grunts) 361 00:16:55,615 --> 00:16:58,248 (taser powers up) 362 00:16:58,248 --> 00:16:59,289 (click) AAH! 363 00:16:59,289 --> 00:17:02,122 (electricity crackles) AAH! OH! 364 00:17:02,122 --> 00:17:03,253 OH! 365 00:17:03,253 --> 00:17:05,525 (beep) OHH! OH! 366 00:17:05,525 --> 00:17:07,227 OH! 367 00:17:07,227 --> 00:17:08,498 SEE, I'M HELPING. 368 00:17:08,498 --> 00:17:11,301 YEAH. I'LL BUY YOU AN ICE CREAM LATER. 369 00:17:11,301 --> 00:17:13,703 (Beckett) AGENT SHAW, WE GOT A PROBLEM. 370 00:17:13,703 --> 00:17:15,705 HIS PINKIE FINGER'S MISSING. 371 00:17:15,705 --> 00:17:17,207 (groans) 372 00:17:17,207 --> 00:17:20,740 WHICH ONE OF YOU IS NIKKI HEAT? 373 00:17:20,740 --> 00:17:22,512 (sighs) 374 00:17:29,779 --> 00:17:32,182 SO I WAS ON ONE OF THOSE INTERNET BARTER SITES, 375 00:17:32,182 --> 00:17:34,424 AND I WAS LOOKING-- 376 00:17:34,424 --> 00:17:36,456 IT, UH, DOESN'T MATTER WHAT I WAS LOOKING FOR. 377 00:17:36,456 --> 00:17:39,329 BUT I CAME ACROSS THE AD. 378 00:17:39,329 --> 00:17:41,091 "FINGER WANTED. WILL PAY TOP DOLLAR." 379 00:17:41,091 --> 00:17:43,233 AND WHAT'S TOP DOLLAR FOR A PINKIE FINGER? 380 00:17:43,233 --> 00:17:45,465 5,000 BUCKS. 381 00:17:45,465 --> 00:17:47,737 SOUNDS LIKE A REAL DEAL. 382 00:17:47,737 --> 00:17:50,100 HEY, YOU GET LESS THAN THAT FOR A KIDNEY. 383 00:17:50,100 --> 00:17:52,102 SO ANYWAY, I E-MAILED HIM BACK. 384 00:17:52,102 --> 00:17:54,104 I TOLD HIM I HAD EVERYTHING HE WANTED. 385 00:17:54,104 --> 00:17:57,247 YOU GAVE HIM THE FINGER. WHAT MORE DID HE WANT? 386 00:17:57,247 --> 00:17:59,549 HE WANTED ME TO HAVE A VIOLENT FELONY CONVICTION 387 00:17:59,549 --> 00:18:01,611 AND TO BE RECENTLY PAROLED. 388 00:18:01,611 --> 00:18:04,284 AND YOU ALSO HAD TO BE WILLING TO SUFFER THROUGH 389 00:18:04,284 --> 00:18:06,286 THE INDIGNITY OF A FALSE ARREST. 390 00:18:06,286 --> 00:18:10,660 HE TOLD ME DETECTIVE NIKKI HEAT WOULD BE COMING FOR ME... 391 00:18:10,660 --> 00:18:13,823 AND IT MIGHT GET PHYSICAL. 392 00:18:13,823 --> 00:18:16,266 HE DIDN'T MENTION ANYTHING ABOUT CAPTAIN AMERICA 393 00:18:16,266 --> 00:18:17,767 WITH THE TASER GUN. 394 00:18:17,767 --> 00:18:19,369 SO HE WARNED YOU 395 00:18:19,369 --> 00:18:22,302 THAT HE WOULD BE PLANTING YOUR PRINT AT A MURDER SCENE. 396 00:18:22,302 --> 00:18:24,374 WHICH IS WHY YOU HAVE AN ALIBI. 397 00:18:24,374 --> 00:18:26,376 I WAS PERCHED ON MY FAVORITE BAR STOOL 398 00:18:26,376 --> 00:18:28,308 AT McSORLEY'S UNTIL CLOSING EVERY NIGHT 399 00:18:28,308 --> 00:18:31,281 SINCE THAT MAN TOOK MY DIGIT AND WALKED AWAY WITH IT 400 00:18:31,281 --> 00:18:33,713 IN HIS COOLER. IS THIS THE MAN? 401 00:18:33,713 --> 00:18:36,216 I'M NOT SURE. I DIDN'T REALLY SEE HIM. 402 00:18:36,216 --> 00:18:38,718 HE HAD A HAT AND SUNGLASSES. WHO BANDAGED YOUR FINGER? 403 00:18:38,718 --> 00:18:40,450 HE DID. 404 00:18:40,450 --> 00:18:43,793 HE SAID YOU'D NOTICE. 405 00:18:45,555 --> 00:18:48,428 OOH, BE GENTLE WITH ME, NIKKI. 406 00:18:51,761 --> 00:18:54,804 (bandage crackling) 407 00:18:57,307 --> 00:18:59,369 THERE'S NUMBERS HERE. 408 00:19:02,842 --> 00:19:04,844 THIS LOOKS LIKE A CODE. 409 00:19:04,844 --> 00:19:07,547 (Castle) SEVERED DIGITS, 410 00:19:07,547 --> 00:19:10,250 A SECRET CODE--THIS IS LIKE ONE OF MY BOOKS. 411 00:19:10,250 --> 00:19:12,422 YOU SHOULD'VE BEEN WITH ME ON THE RECAPITATOR CASE. 412 00:19:12,422 --> 00:19:14,884 WHAT, THAT GUY IN PHOENIX WHO SWITCHED HIS VICTIMS' HEADS? 413 00:19:14,884 --> 00:19:18,258 THAT WAS YOUR CASE? (Avery) OUR TECHS HAVE RUN THE NUMBERS 414 00:19:18,258 --> 00:19:21,391 THROUGH ALL CONVENTIONAL CRYPTOLOGY. WE CAN'T CRACK IT. 415 00:19:21,391 --> 00:19:24,394 WHICH MEANS WHAT? THERE'S EITHER A REFERENCE KEY THAT WE DON'T HAVE 416 00:19:24,394 --> 00:19:27,437 OR THE CODE ITSELF IS JUST A RANDOM STRING OF NUMBERS. IT'S NOT RANDOM. 417 00:19:27,437 --> 00:19:30,300 HE BOUGHT ANOTHER MAN'S FINGER SO HE COULD LEAVE A PRINT 418 00:19:30,300 --> 00:19:32,442 THAT WOULD LEAD US DIRECTLY TO THIS CODE. 419 00:19:32,442 --> 00:19:34,173 IT'S HOW HE TAUNTS NIKKI. 420 00:19:34,173 --> 00:19:36,276 "ARE YOU CLEVER ENOUGH TO SOLVE MY RIDDLE?" 421 00:19:36,276 --> 00:19:38,278 SO WHATEVER THIS REFERENCE KEY IS, 422 00:19:38,278 --> 00:19:40,710 HE THINKS YOU CAN FIND IT. THOSE NUMBERS COULD MEAN ANYTHING. 423 00:19:40,710 --> 00:19:42,952 (Castle) WELL, THE LEFT-HAND COLUMN IS LESS THAN 300. 424 00:19:42,952 --> 00:19:44,954 RIGHT-HAND COLUMN IS NO MORE THAN 260. 425 00:19:44,954 --> 00:19:46,956 AND THE COMBINATION OF THE JOINED PAIR 426 00:19:46,956 --> 00:19:49,719 MOST LIKELY YIELDS A WORD. WORDS. 427 00:19:49,719 --> 00:19:51,691 IT'S "HEAT WAVE." 428 00:19:51,691 --> 00:19:56,226 WHEN WE TYPESET A MANUSCRIPT, IT'S USUALLY 300 WORDS A PAGE. 429 00:19:56,226 --> 00:19:58,528 AND "HEAT WAVE" IS LESS THAN 300 PAGES. 430 00:19:58,528 --> 00:20:01,431 FIRST COLUMN IS A PAGE NUMBER... 431 00:20:01,431 --> 00:20:03,273 COUNTING BACKWARDS FROM THE BOTTOM. 432 00:20:03,273 --> 00:20:06,236 79. SECOND COLUMN IS A WORD. 433 00:20:06,236 --> 00:20:08,408 32, 33. "I." 126--80, "WILL." 434 00:20:08,408 --> 00:20:10,810 145--204, "KILL." 435 00:20:10,810 --> 00:20:12,312 "I WILL KILL"... 436 00:20:12,312 --> 00:20:15,345 HANG ON. I'M UPLOADING THE TEXT RIGHT NOW. 437 00:20:15,345 --> 00:20:17,417 (computer beeping) 438 00:20:17,417 --> 00:20:18,818 "I WILL KILL 439 00:20:18,818 --> 00:20:20,990 "SOMEONE ELSE BEFORE 440 00:20:20,990 --> 00:20:24,354 "MIDNIGHT TONIGHT UNLESS YOU STOP ME." 441 00:20:27,357 --> 00:20:29,659 MIDNIGHT. THAT'S EIGHT HOURS AWAY. 442 00:20:29,659 --> 00:20:32,732 HE'S PUTTING US ON THE CLOCK. HE'S DARING US TO STOP HIM. 443 00:20:36,266 --> 00:20:39,409 (indistinct conversations) 444 00:20:39,409 --> 00:20:41,271 KICKIN' IT OLD-SCHOOL? 445 00:20:41,271 --> 00:20:43,242 THE WHITE BOARD'S ALWAYS WORKED FOR ME. 446 00:20:43,242 --> 00:20:45,415 I'VE BEEN GOING OVER SUBWAY ROUTES, 447 00:20:45,415 --> 00:20:47,917 TRYING TO SEE IF I CAN TRACE A PATTERN 448 00:20:47,917 --> 00:20:49,919 FROM GRAND CENTRAL TO THE CAROUSEL 449 00:20:49,919 --> 00:20:52,582 TO THE NEXT LOCATION, AND SO FAR, NOTHING DEFINITIVE. 450 00:20:52,582 --> 00:20:54,424 WELL, MAYBE THERE'S SOMETHING 451 00:20:54,424 --> 00:20:56,656 ABOUT HOW HE CHOOSES HIS VICTIMS. 452 00:20:56,656 --> 00:20:58,888 FIRST A MAN, THEN A WOMAN. A LAWYER AND A DOG WALKER? 453 00:20:58,888 --> 00:21:00,730 LET'S FACE IT. THERE'S NO PATTERN THERE. 454 00:21:00,730 --> 00:21:03,733 THERE'S NO WAY TO PREDICT WHERE HE'S GONNA GO NEXT, 455 00:21:03,733 --> 00:21:07,397 AND IT'S ALREADY 9:00, AND WE'RE OUT OF TIME. 456 00:21:07,397 --> 00:21:11,971 AND EVERY MURDER HE COMMITS IN THE NAME OF NIKKI HEAT... 457 00:21:11,971 --> 00:21:14,344 A VERY WISE WOMAN ONCE TOLD ME, 458 00:21:14,344 --> 00:21:19,008 YOU CAN'T BLAME JODIE FOSTER FOR JOHN HINCKLEY. 459 00:21:19,008 --> 00:21:21,711 BUT YOU CAN BLAME HER FOR "NIM'S ISLAND." 460 00:21:21,711 --> 00:21:23,513 (chuckles) 461 00:21:23,513 --> 00:21:26,486 (man) LEAD JUST CAME IN NOW. (man) LET'S GET IT TO AVERY. 462 00:21:26,486 --> 00:21:29,789 (man) GUYS, CAN WE PUT IT ON THE COMPUTER REAL QUICK? 463 00:21:29,789 --> 00:21:32,422 WHAT HAVE YOU GOT? LAB RESULTS CAME BACK ON THAT BANDAGE. 464 00:21:32,422 --> 00:21:34,424 TESTED POSITIVE FOR FORMALDEHYDE, 465 00:21:34,424 --> 00:21:35,995 METHANOL AND ETHANOL. 466 00:21:35,995 --> 00:21:39,028 EMBALMING FLUID. EMBALMING FLUID. 467 00:21:39,028 --> 00:21:41,531 THE LAB FOUND TRACES OF FORMALDEHYDE AT GRAND CENTRAL 468 00:21:41,531 --> 00:21:45,074 AND ETHANOL AT THE CAROUSEL. OUR KILLER WORKS AT A MORTUARY. 469 00:21:45,074 --> 00:21:47,006 OR HE COULD BE A HOSPITAL EMPLOYEE 470 00:21:47,006 --> 00:21:49,539 OR A JANITOR AT A MORGUE. 471 00:21:49,539 --> 00:21:51,681 NO. CASTLE'S THEORY IS MORE LIKELY. 472 00:21:51,681 --> 00:21:53,513 BRING UP ALL THE MORTUARIES IN THE CITY. 473 00:21:53,513 --> 00:21:56,516 WE'VE GOT OVER A THOUSAND IN THE NEW YORK CITY AREA ALONE. 474 00:21:56,516 --> 00:21:59,549 WE CAN'T HIT ALL THESE BEFORE MIDNIGHT. CAN YOU CROSS-REFERENCE MORTUARY EXPERIENCE 475 00:21:59,549 --> 00:22:02,422 WITH CRIMINAL RECORDS? OR JOB FINDER GROUPS FOR EX-CONS. 476 00:22:02,422 --> 00:22:04,724 YES! I CAN TRY. 477 00:22:04,724 --> 00:22:06,456 SIX NAMES. 478 00:22:06,456 --> 00:22:08,658 MOBILIZE THE TROOPS. I WANT EVERY ONE OF THESE GUYS 479 00:22:08,658 --> 00:22:10,600 IN OUR CUSTODY BEFORE MIDNIGHT. 480 00:22:10,600 --> 00:22:14,604 I SEE WHAT YOU MEAN ABOUT HIM BEING HELPFUL. 481 00:22:16,866 --> 00:22:20,540 ANY OF THESE UNDERTAKERS LOOK GOOD FOR IT? 482 00:22:20,540 --> 00:22:23,613 THEY ALL SAY THE SAME THING, "WE WORK WITH DEAD BODIES ALL DAY, 483 00:22:23,613 --> 00:22:25,615 WE DON'T NEED TO MAKE MORE." 484 00:22:25,615 --> 00:22:27,617 HE BAITED US, JUST LIKE WITH THAT FINGERPRINT. 485 00:22:27,617 --> 00:22:29,719 WE'RE WASTING OUR TIME. 486 00:22:29,719 --> 00:22:32,752 HE'S ON THE PHONE. HE'S ASKING FOR NIKKI HEAT. 487 00:22:32,752 --> 00:22:35,455 WE'RE TRACING THE CALL. 488 00:22:35,455 --> 00:22:36,956 (mouths word) 489 00:22:36,956 --> 00:22:38,558 HELLO. 490 00:22:38,558 --> 00:22:39,829 Nikki? 491 00:22:39,829 --> 00:22:42,091 YOU WERE SUPPOSED TO STOP ME. 492 00:22:42,091 --> 00:22:44,634 I wanted you to stop me. 493 00:22:44,634 --> 00:22:46,636 TELL ME WHERE YOU ARE. 494 00:22:46,636 --> 00:22:49,368 Will you come alone? 495 00:22:50,940 --> 00:22:52,572 YES, JUST YOU AND ME. 496 00:22:52,572 --> 00:22:55,605 We can figure this out. 497 00:22:55,605 --> 00:23:00,149 I CAN HELP YOU. YOU JUST NEED TO TRUST ME. 498 00:23:00,149 --> 00:23:03,853 Tell me something... 499 00:23:03,853 --> 00:23:08,117 HOW DOES IT FEEL TO KNOW THAT YOU HAVE FAILED? 500 00:23:08,117 --> 00:23:09,989 (clatters) 501 00:23:23,132 --> 00:23:26,105 (tires squealing) 502 00:23:28,037 --> 00:23:31,040 CHECK THE STAIRS. GET A UNIT ON THE ROOF. 503 00:23:31,040 --> 00:23:33,643 I WANT EYES ON EVERY INCH OF THIS STRUCTURE. 504 00:23:33,643 --> 00:23:36,115 HE WAS JUST HERE. THAT BODY CAN'T BE TOO FAR. 505 00:23:36,115 --> 00:23:38,648 OVER HERE! A LOT OF BLOOD. 506 00:23:38,648 --> 00:23:40,750 (man yells indistinctly) A WOMAN'S SHOE. 507 00:23:40,750 --> 00:23:42,452 GOT A BROKEN HEEL. 508 00:23:42,452 --> 00:23:45,124 STRANDS OF HAIR. LOOKS LIKE SHE PUT UP A FIGHT. 509 00:23:45,124 --> 00:23:46,826 THERE'S FOUR SHELL CASINGS. 510 00:23:46,826 --> 00:23:49,198 THERE'S NO WAY SHE WOULD'VE SURVIVED 511 00:23:49,198 --> 00:23:51,831 WITHOUT MEDICAL ATTENTION. THEN WHERE'S THE BODY? 512 00:23:51,831 --> 00:23:53,833 HE ALWAYS LEAVES THE BODY WHERE HE KILLS. 513 00:23:53,833 --> 00:23:55,565 AND HE ALWAYS KILLS IN FAMOUS PLACES 514 00:23:55,565 --> 00:23:57,537 WITH LOTS OF FOOT TRAFFIC. 515 00:23:57,537 --> 00:23:59,208 HE'S CHANGING HIS M.O. 516 00:23:59,208 --> 00:24:01,070 WHICH MAKES HIM MORE UNPREDICTABLE, 517 00:24:01,070 --> 00:24:03,072 WHICH MAKES HIM MORE DANGEROUS. 518 00:24:03,072 --> 00:24:05,074 STRUCTURE'S CLEAR. THERE'S NO BODY. 519 00:24:05,074 --> 00:24:07,076 WHERE THE HELL DID HE PUT HER? 520 00:24:07,076 --> 00:24:09,949 (Beckett) HE PUT HER IN HIS TRUNK. 521 00:24:09,949 --> 00:24:13,653 THAT BLOOD TRAIL ENDS RIGHT HERE. 522 00:24:13,653 --> 00:24:16,225 SO HE WAITED, PROBABLY LEFT HIS CAR IDLING, 523 00:24:16,225 --> 00:24:18,828 TAKES DOWN HIS VICTIM, POPPED HIS TRUNK, PUT HER IN, 524 00:24:18,828 --> 00:24:21,661 DROVE AWAY, BODY ON BOARD. GET THE PARKING ATTENDANT 525 00:24:21,661 --> 00:24:23,763 TO GIVE US A LIST OF ALL THE VEHICLES THROUGH HERE 526 00:24:23,763 --> 00:24:25,595 AND THE VIDEO FOOTAGE. MM-HMM. 527 00:24:25,595 --> 00:24:28,498 YOU THINK HE USED HIS OWN CAR? NO, BUT IF HE STOLE IT TONIGHT, 528 00:24:28,498 --> 00:24:30,670 HE MIGHT NOT HAVE HAD TIME TO SWITCH THE PLATES. 529 00:24:30,670 --> 00:24:32,902 WE PUT OUT AN A.P.B. I'LL GET MY GUYS TO GET A ROSTER 530 00:24:32,902 --> 00:24:35,204 OF ALL THE PEOPLE WHO HAD MONTHLIES ON THIS FLOOR. MY PEOPLE ARE ALREADY ON IT. 531 00:24:35,204 --> 00:24:37,607 I GOT WAY MORE PEOPLE THAN YOU DO. 532 00:24:37,607 --> 00:24:39,148 YOUR CAPTAIN HAS A UNIT ON YOUR APARTMENT. 533 00:24:39,148 --> 00:24:41,851 GO HOME. GET SOME REST. IT'S NOT NECESS-- 534 00:24:41,851 --> 00:24:45,555 NO ARGUMENT. YOU'RE NO GOOD TO ME IF YOU'RE BURNED OUT. 535 00:24:55,124 --> 00:24:57,727 (roaring) 536 00:24:57,727 --> 00:25:00,730 (Martha) HE ROARS LIKE AN ANGRY, CAGED ANIMAL. 537 00:25:00,730 --> 00:25:03,272 CONCENTRATE TOWARDS THE OUTER HATCH AREA. 538 00:25:03,272 --> 00:25:05,805 THE BLOWS DON'T SEEM TO BE INJURING HIS HANDS. 539 00:25:05,805 --> 00:25:07,807 THERE'S NO--THERE'S NO BLOOD THAT I CAN SEE. 540 00:25:07,807 --> 00:25:09,639 (Castle) HEY. 541 00:25:09,639 --> 00:25:11,641 HI. WHAT ARE YOU STILL DOING UP? 542 00:25:11,641 --> 00:25:13,813 OH, CAN'T SLEEP. TOO MUCH ON MY MIND. 543 00:25:13,813 --> 00:25:17,516 YOU KNOW, DECISIONS TO MAKE AND... 544 00:25:17,516 --> 00:25:19,518 WOW. ONE OF YOUR OLD WEDDING VIDEOS. 545 00:25:19,518 --> 00:25:22,021 (laughs) OH-HO-HO. ARE YOU KIDDING? 546 00:25:22,021 --> 00:25:24,293 THIS GUY'S A PUSHOVER COMPARED TO MY EX-HUSBANDS. (remote beeps) 547 00:25:24,293 --> 00:25:27,056 SO THE PROS OUTWEIGHED THE CONS? 548 00:25:27,056 --> 00:25:29,929 DARLING, THIS WAS ALWAYS SUPPOSED TO BE 549 00:25:29,929 --> 00:25:33,302 A TEMPORARY SITUATION--UN-UNTIL I GOT BACK ON MY FEET, YOU KNOW. 550 00:25:33,302 --> 00:25:36,535 WELL, THE RODGERS WOMEN ALWAYS FOLLOW THEIR HEARTS. 551 00:25:36,535 --> 00:25:38,808 YEAH. 552 00:25:38,808 --> 00:25:40,570 YOU OKAY? 553 00:25:40,570 --> 00:25:44,213 THIS CASE, IT JUST... 554 00:25:44,213 --> 00:25:46,175 IF IT WASN'T FOR MY BOOK-- 555 00:25:46,175 --> 00:25:48,177 WHAT ARE YOU GONNA DO, DARLING, 556 00:25:48,177 --> 00:25:51,150 STOP WRITING BECAUSE SOME IDIOT HAS GOT A SCREW LOOSE? 557 00:25:51,150 --> 00:25:53,182 NO, IT'S JUST... 558 00:25:53,182 --> 00:25:56,185 I NEVER INTENDED TO PUT HER IN HARM'S WAY. 559 00:25:56,185 --> 00:25:58,187 LET ME TELL YOU SOMETHING ABOUT KATE BECKETT. 560 00:25:58,187 --> 00:26:00,960 THAT GAL CAN TAKE CARE OF HERSELF. 561 00:26:00,960 --> 00:26:02,632 REALLY. 562 00:26:11,671 --> 00:26:15,945 (floorboard creaks) 563 00:26:15,945 --> 00:26:17,847 (creak) 564 00:26:28,357 --> 00:26:30,920 (gun clicks) 565 00:26:36,195 --> 00:26:38,297 WHOO! WOW! 566 00:26:38,297 --> 00:26:41,330 CASTLE? WHAT ARE YOU DOING HERE? 567 00:26:41,330 --> 00:26:43,202 (pants) WINE? 568 00:26:43,202 --> 00:26:45,204 (cork pops) SO WHAT HAPPENED TO YOUR SECURITY DETAIL? 569 00:26:45,204 --> 00:26:46,806 I DIDN'T SEE ANYONE OUTSIDE. 570 00:26:46,806 --> 00:26:50,109 I SENT THEM HOME AFTER I GOT IN. 571 00:26:50,109 --> 00:26:51,911 WHAT? 572 00:26:51,911 --> 00:26:54,183 THE WINDOWS ARE LOCKED, THE DOOR IS LOCKED, 573 00:26:54,183 --> 00:26:56,115 I'M ARMED. 574 00:26:56,115 --> 00:27:00,890 SO OUR GUY KILLED THE OTHERS WHERE THEY WERE FOUND. 575 00:27:00,890 --> 00:27:02,191 WHY NOT THIS GIRL? 576 00:27:02,191 --> 00:27:04,894 WHY DIDN'T HE JUST LEAVE HER IN THE GARAGE 577 00:27:04,894 --> 00:27:06,195 WHERE WE'D FIND HER? 578 00:27:06,195 --> 00:27:07,897 HE'S CHANGING IT UP. 579 00:27:07,897 --> 00:27:10,259 OR THIS VICTIM IS SPECIAL. OH, NO, THANKS. 580 00:27:10,259 --> 00:27:13,232 NO, NO, AGENT SHAW SAID WE NEED TO DECOMPRESS. 581 00:27:13,232 --> 00:27:17,366 NOTHING DECOMPRESSES LIKE A 2000 CHâTEAUNEUF-du-PAPE. 582 00:27:17,366 --> 00:27:20,169 OH, WELL, IF SPECIAL AGENT SHAW SAID SO... 583 00:27:20,169 --> 00:27:24,774 WHAT IS THAT SUPPOSED TO MEAN? NOTHING. I JUST SEE THE WAY THAT YOU LISTEN TO HER, 584 00:27:24,774 --> 00:27:27,316 THE WAY THAT YOU LOOK AT ALL OF HER FANCY EQUIPMENT. 585 00:27:27,316 --> 00:27:29,318 NOW MY MURDER BOARD'S NOT ENOUGH FOR YOU? 586 00:27:29,318 --> 00:27:31,280 NOW YOU NEED A SMART BOARD? 587 00:27:31,280 --> 00:27:35,154 ARE YOU JEALOUS? I'M NOT JEALOUS. I'M JUST EMBARRASSED... 588 00:27:35,154 --> 00:27:37,186 (scoffs) THE WAY THAT YOU ACT LIKE A 10 YEAR OLD, 589 00:27:37,186 --> 00:27:39,689 ALL IMPRESSED BY HER DATA MATRIX. 590 00:27:39,689 --> 00:27:42,231 "OH, IT COLLATES INFORMATION SO QUICKLY, AGENT SHAW. 591 00:27:42,231 --> 00:27:44,694 TELL ME ALL ABOUT IT." YOU ARE RIDICULOUS. 592 00:27:44,694 --> 00:27:47,236 AND THEN TO TOP IT OFF, YOU ARE NOW BUILDING THEORY WITH HER. SO? 593 00:27:47,236 --> 00:27:49,939 SO YOU'RE SUPPOSED TO BE BUILDING THEORY WITH ME. 594 00:27:49,939 --> 00:27:53,102 YOU'RE SUPPOSED TO BE ON MY TEAM. WELL, I THOUGHT WE WERE ALL ON THE SAME TEAM? 595 00:27:53,102 --> 00:27:56,105 WE ARE. IT'S JUST... I THINK THAT IF YOU HAVE AN INSIGHT, 596 00:27:56,105 --> 00:27:58,878 YOU SHOULD RUN IT BY ME FIRST. 597 00:27:58,878 --> 00:28:00,980 FINE. I WILL. NOW DRINK YOUR WINE. 598 00:28:00,980 --> 00:28:02,281 THANKS. 599 00:28:02,281 --> 00:28:04,984 BUT I AM TIRED. 600 00:28:04,984 --> 00:28:07,787 AND... I NEED TO GO TO BED. 601 00:28:07,787 --> 00:28:10,119 OH, NO. I'M NOT LEAVING. 602 00:28:10,119 --> 00:28:12,421 I'M HERE TO PROTECT YOU. 603 00:28:12,421 --> 00:28:15,194 WHAT, WITH YOUR VAST ARSENAL OF RAPIER WIT? 604 00:28:15,194 --> 00:28:19,228 THERE IS A MADMAN GUNNING FOR YOU BECAUSE OF ME. 605 00:28:19,228 --> 00:28:22,031 I AM NOT GOING TO LEAVE YOU ALONE. 606 00:28:22,031 --> 00:28:25,204 OKAY, FINE. I AM TOO TIRED TO ARGUE. 607 00:28:25,204 --> 00:28:27,436 BUT IF I SEE THAT DOORKNOB TURN, 608 00:28:27,436 --> 00:28:29,238 I WILL HAVE YOU KNOW, 609 00:28:29,238 --> 00:28:32,211 MR. CASTLE, THAT I SLEEP WITH A GUN. UNDERSTOOD. 610 00:28:35,014 --> 00:28:37,716 (grunts) 611 00:28:52,101 --> 00:28:54,303 (dishes clatter) 612 00:28:54,303 --> 00:28:57,436 (clank) 613 00:28:57,436 --> 00:28:59,969 (sizzling) 614 00:28:59,969 --> 00:29:03,042 YOU'RE STILL HERE... AND YOU'RE MAKING PANCAKES? 615 00:29:03,042 --> 00:29:06,375 I WAS HOPING FOR BACON AND EGGS, BUT YOUR EGGS ARE EXPIRED 616 00:29:06,375 --> 00:29:10,219 AND YOUR BACON HAS SOMETHING FURRY ON IT. YEAH, WELL, I MOSTLY ORDER IN. 617 00:29:10,219 --> 00:29:12,321 I FIGURED THAT FROM THE STYROFOAM TEMPLE 618 00:29:12,321 --> 00:29:15,254 YOU'VE GOT GOING ON IN THAT REFRIGERATOR. 619 00:29:15,254 --> 00:29:17,386 COFFEE'S BREWED. I THINK YOUR FILTER'S BROKEN THOUGH. 620 00:29:17,386 --> 00:29:19,758 I'LL ORDER YOU A NEW ONE LATER. WOW. LOOKS LIKE YOU THOUGHT OF EVERYTHING. 621 00:29:19,758 --> 00:29:21,330 (snaps fingers) EXCEPT THE PAPER. 622 00:29:21,330 --> 00:29:23,332 CASTLE, WE DON'T HAVE TIME FOR THE PAPER. 623 00:29:23,332 --> 00:29:26,035 THERE'S A BODY OUT THERE THAT I GOTTA FIND. AH! 624 00:29:27,366 --> 00:29:30,469 LOOKS LIKE IT FOUND YOU. 625 00:29:39,048 --> 00:29:41,851 (camera shutter clicking) 626 00:29:41,851 --> 00:29:44,884 SO YOU HAD JUST GOTTEN UP, RIGHT? 627 00:29:44,884 --> 00:29:46,886 YEAH. CASTLE JUST FINISHED MAKING BREAKFAST, 628 00:29:46,886 --> 00:29:49,358 AND HE WENT TO THE DOOR-- WHAT KIND OF BREAKFAST? 629 00:29:49,358 --> 00:29:51,220 UH, I'M SORRY? 630 00:29:51,220 --> 00:29:53,792 WHAT KIND OF BREAKFAST WAS HE MAKING? 631 00:29:53,792 --> 00:29:55,424 PANCAKES. 632 00:29:55,424 --> 00:29:57,496 WELL, ISN'T THAT DOMESTIC? 633 00:29:57,496 --> 00:29:59,068 ANYWAY, 634 00:29:59,068 --> 00:30:02,331 THE PAPER USUALLY ARRIVES AT 4:00, AND WE WERE UP AT 7:00. 635 00:30:02,331 --> 00:30:04,904 SO THAT MEANS THE KILLER HAD A 3-HOUR WINDOW 636 00:30:04,904 --> 00:30:07,877 WHERE HE COULD'VE LEFT THE BODY THERE UNNOTICED. AND EXACTLY WHAT TIME 637 00:30:07,877 --> 00:30:10,279 DID YOU AND MR. CASTLE GO TO BED LAST NIGHT? 638 00:30:10,279 --> 00:30:12,341 I THINK WE'RE DONE HERE. 639 00:30:12,341 --> 00:30:15,044 DUDE, I SEE BECKETT IN HER JAMMIES... 640 00:30:15,044 --> 00:30:17,316 (clinks glass) WINE GLASSES ON THE TABLE. 641 00:30:17,316 --> 00:30:20,519 THERE'S NOTHING GOING ON WITH BECKETT AND ME. 642 00:30:20,519 --> 00:30:24,293 NO MORE THAN THERE WAS YESTERDAY. DUDE, YOU MADE HER PANCAKES? 643 00:30:24,293 --> 00:30:27,396 IT'S JUST BREAKFAST. PANCAKES IS NOT JUST BREAKFAST. 644 00:30:27,396 --> 00:30:29,528 IT'S AN EDIBLE WAY OF SAYING, 645 00:30:29,528 --> 00:30:31,530 "THANK YOU SO MUCH FOR LAST NIGHT." 646 00:30:31,530 --> 00:30:34,263 CASTLE, COME ON. WE'RE YOUR FRIENDS. DETAILS. 647 00:30:34,263 --> 00:30:35,965 (camera shutter clicking) 648 00:30:35,965 --> 00:30:38,007 (whispers) ALL RIGHT. COME HERE. 649 00:30:38,007 --> 00:30:40,209 (indistinct conversations) 650 00:30:40,209 --> 00:30:42,872 (loud voice) THERE ARE NO DETAILS. 651 00:30:42,872 --> 00:30:45,875 I CAN'T EVEN LOOK AT YOU RIGHT NOW. 652 00:30:45,875 --> 00:30:48,217 WITNESS REFUSES TO COOPERATE. 653 00:30:48,217 --> 00:30:49,578 (camera shutter clicking) 654 00:30:49,578 --> 00:30:52,621 NOW WE KNOW WHY HE TOOK THE BODY. 655 00:30:52,621 --> 00:30:56,455 "I KNOW WHERE YOU LIVE." THIS WAS A THREAT. 656 00:30:56,455 --> 00:30:58,457 MORE THAN THAT. 657 00:30:58,457 --> 00:31:00,990 HE'S SAYING HE'S DISAPPOINTED IN YOU. 658 00:31:00,990 --> 00:31:02,391 IN HIS MIND, 659 00:31:02,391 --> 00:31:05,164 HE GAVE YOU FAIR WARNING THAT HE WAS GOING TO KILL AGAIN. 660 00:31:05,164 --> 00:31:08,167 IF YOU HAD BEEN SMARTER, YOU WOULD'VE BEEN ABLE TO STOP HIM. 661 00:31:08,167 --> 00:31:12,141 HE'S SAYING, "THIS ONE IS ON YOU." 662 00:31:12,141 --> 00:31:15,444 I'M PROFILING HIM, DETECTIVE, NOT AGREEING WITH HIM. 663 00:31:15,444 --> 00:31:17,446 THE GUY IS A FRIGGIN' NUT BAR. 664 00:31:17,446 --> 00:31:19,378 DON'T LET HIM GET TO YOU. 665 00:31:19,378 --> 00:31:21,580 TALK ABOUT IRONY. 666 00:31:21,580 --> 00:31:24,313 DO WE HAVE AN I.D. ON OUR VIC? NO, NOT YET. 667 00:31:24,313 --> 00:31:27,316 THERE'S NO PURSE, NO MISSING PERSON'S REPORT FILED. 668 00:31:27,316 --> 00:31:29,118 THE CORONER'S VAN'S DOWNSTAIRS. 669 00:31:29,118 --> 00:31:31,961 WE NEED TO GET THE BODY TO THE MORGUE AND PULL THE SLUGS. 670 00:31:31,961 --> 00:31:33,462 ONLY FOUR ENTRY WOUNDS. 671 00:31:33,462 --> 00:31:34,964 IF THE PATTERN HOLDS, 672 00:31:34,964 --> 00:31:36,996 HE SHOULD HAVE A 4-LETTER WORD FOR US. 673 00:31:36,996 --> 00:31:39,898 THAT'S FUNNY. I HAVE A 4-LETTER WORD FOR HIM, TOO. 674 00:31:39,898 --> 00:31:42,901 WHY DON'T YOU TWO ESCORT THE BODY TO THE MORGUE 675 00:31:42,901 --> 00:31:45,074 AND LET ME KNOW WHAT YOU FIND? OKAY. 676 00:31:45,074 --> 00:31:47,476 ONCE YOU'RE DRESSED, OF COURSE. 677 00:31:47,476 --> 00:31:50,539 (police radio chatter) 678 00:31:53,943 --> 00:31:55,945 HEY. HEARD YOU TWO WERE MAKING PANCAKES 679 00:31:55,945 --> 00:31:57,446 WHEN THE BODY DROPPED. 680 00:31:57,446 --> 00:32:00,289 NOTHING HAPPENED. RIGHT. 681 00:32:00,289 --> 00:32:02,221 SO WHAT DO YOU GOT? 682 00:32:02,221 --> 00:32:03,592 LETTERS ON THE SLUGS. 683 00:32:03,592 --> 00:32:06,025 "B-U-R--" 684 00:32:06,025 --> 00:32:08,457 "BURN." NIKKI WILL BURN. 685 00:32:08,457 --> 00:32:11,030 WELL, THAT'S CHILLING. OUR VICTIM'S FINGERPRINTS AREN'T IN THE SYSTEM. 686 00:32:11,030 --> 00:32:13,032 DO YOU HAVE ANYTHING THAT CAN I.D. HER? 687 00:32:13,032 --> 00:32:16,405 WELL, I FOUND FORMALDEHYDE ON HER. YEAH, THAT'S FROM THE KILLER. 688 00:32:16,405 --> 00:32:18,437 HE LEFT IT AT THE OTHER SCENES AS WELL. 689 00:32:18,437 --> 00:32:21,570 NOT TRACES. IT WAS UNDER HER FINGERNAILS, IN HER HAIR. 690 00:32:21,570 --> 00:32:23,572 SHE WORKED WITH EMBALMING FLUID. 691 00:32:23,572 --> 00:32:27,416 I ALSO FOUND TRACES OF CLAY, POLYURETHANE AND ANIMAL BLOOD. 692 00:32:27,416 --> 00:32:30,249 I DON'T KNOW WHO SHE IS, BUT I CAN TELL YOU WHAT SHE DOES. 693 00:32:30,249 --> 00:32:33,382 (Castle and Beckett) SHE'S A TAXIDERMIST. IT'S SO CUTE, THE WAY YOU TWO DO THAT. 694 00:32:36,425 --> 00:32:39,458 TAXIDERMY? EMBALMING FLUID PLUS ANIMAL HAIR 695 00:32:39,458 --> 00:32:41,130 EQUALS NORMAN BATES' FAVORITE PASTIME. 696 00:32:41,130 --> 00:32:43,962 IT CAN'T BE JUST A COINCIDENCE THAT WE FOUND EMBALMING FLUID 697 00:32:43,962 --> 00:32:47,236 AT OUR FIRST TWO CRIME SCENES AS WELL. 698 00:32:47,236 --> 00:32:51,300 SO THE KILLER AND THIS VICTIM WERE CONNECTED. 699 00:32:51,300 --> 00:32:53,042 (Beckett) IT SEEMS SO. 700 00:32:53,042 --> 00:32:55,044 SO THERE'S ONLY SEVEN TAXIDERMY SHOPS IN THE CITY. 701 00:32:55,044 --> 00:32:57,306 MY GUYS ARE RUNNING THEM DOWN RIGHT NOW. 702 00:32:57,306 --> 00:32:59,408 BUT IF THERE WAS A CONNECTION BETWEEN THEM, 703 00:32:59,408 --> 00:33:02,581 WHY DIDN'T COMPARISON MATRIX FIND IT? MAYBE IT'S NOT AS SIMPLE AS A WORK RELATIONSHIP 704 00:33:02,581 --> 00:33:04,583 OR GOING TO THE SAME GYM. 705 00:33:04,583 --> 00:33:08,517 LIKE YOU SAID, IT TAKES A MIND TO HUNT A MIND. YO. 706 00:33:08,517 --> 00:33:10,359 WE GOT AN I.D. ON OUR THIRD VIC. 707 00:33:10,359 --> 00:33:12,321 HER NAME IS SANDRA KELLER. 708 00:33:12,321 --> 00:33:14,463 SHE WORKS AT A TAXIDERMY SHOP DOWNTOWN. 709 00:33:14,463 --> 00:33:17,226 ANY CONNECTION BETWEEN HER AND OUR KILLER? 710 00:33:17,226 --> 00:33:19,368 A COLLEAGUE OF HERS SAID SHE HAD A RUN-IN WITH A GUY 711 00:33:19,368 --> 00:33:22,231 WHO MAYBE MATCHED OUR SKETCH-- A CUSTOMER WHOSE BICHON FRISE 712 00:33:22,231 --> 00:33:25,204 HAD BEEN KILLED IN THE PARK BY ANOTHER DOG--A ROTTWEILER. CUSTOMER WAS HEARTBROKEN. 713 00:33:25,204 --> 00:33:27,376 HE PAID HALF UP FRONT TO HAVE HIS MR. BUMPKINS 714 00:33:27,376 --> 00:33:29,038 PRESERVED FOR ETERNITY. 715 00:33:29,038 --> 00:33:32,041 WHEN HE CAME BACK TO PICK UP HIS DOG, DIDN'T HAVE THE FEE. 716 00:33:32,041 --> 00:33:34,043 WHEN SANDRA REFUSED TO GIVE UP STUFFED BUMPKINS, 717 00:33:34,043 --> 00:33:36,745 THE GUY WENT BALLISTIC AND STORMED OUT OF THE STORE. 718 00:33:36,745 --> 00:33:38,487 TWO NIGHTS LATER, THEY HAD A BREAK-IN. 719 00:33:38,487 --> 00:33:40,749 AMONG THE THINGS THAT WENT MISSING ARE THIS GUY'S 720 00:33:40,749 --> 00:33:44,053 STUFFED BICHON FRISE AND A BUNCH OF EMBALMING FLUID. THAT EXPLAINS WHY WE FOUND TRACES OF IT 721 00:33:44,053 --> 00:33:46,755 AT THE MURDER SCENES. HE ALSO TRASHED THE STORE'S COMPUTER. 722 00:33:46,755 --> 00:33:50,459 THERE'S NO CLIENT DATA, NO NAME. MY AGENTS INTERVIEWED 723 00:33:50,459 --> 00:33:53,532 ALL OF MICHELLE LEWIS' DOG WALKING CLIENTS. 724 00:33:53,532 --> 00:33:56,535 ONE COUPLE HAD TO PUT THEIR ROTTWEILER DOWN BECAUSE 725 00:33:56,535 --> 00:33:59,508 MICHELLE LOST CONTROL OF IT, AND IT KILLED ANOTHER DOG. MR. BUMPKINS. 726 00:33:59,508 --> 00:34:03,272 SO GRIEF-STRICKEN, OUR KILLER BLAMES MICHELLE AND SANDRA 727 00:34:03,272 --> 00:34:06,445 FOR THE LOSS OF HIS BEST FRIEND AND DECIDES TO GET REVENGE. 728 00:34:06,445 --> 00:34:08,177 ALL OF THIS ABOUT A DOG? 729 00:34:08,177 --> 00:34:11,120 WHAT DOES THIS HAVE TO DO WITH NIKKI HEAT? THE DOG'S THE TRIGGER. 730 00:34:11,120 --> 00:34:14,323 MAYBE HE WAS READING THE BOOK WHEN IT WAS KILLED. 731 00:34:14,323 --> 00:34:17,526 WHEN HE SNAPPED, HE SOMEHOW BLAMED NIKKI FOR IT. IT SEEMS A LITTLE ABSURD. 732 00:34:17,526 --> 00:34:20,459 YOU MUST BE A CAT LOVER. 733 00:34:20,459 --> 00:34:23,362 DETECTIVE, HE'S LOOKING FOR A REASON TO KILL. THIS IS IT. (Esposito) WHAT ABOUT OUR FIRST VIC? 734 00:34:23,362 --> 00:34:26,765 HOW DOES PETERMAN FIT IN TO ALL THIS? (Castle) WELL, HE WAS A PERSONAL INJURY LAWYER. 735 00:34:26,765 --> 00:34:28,737 MAYBE OUR MURDERER WANTED TO FILE 736 00:34:28,737 --> 00:34:32,441 A WRONGFUL DOGGY DEATH SUIT. (Avery) ACCORDING TO PETERMAN'S NOTES, 737 00:34:32,441 --> 00:34:35,844 BACK IN JANUARY, HE HAD A MEETING WITH A BEN CONRAD 738 00:34:35,844 --> 00:34:38,076 OVER A LAWSUIT ABOUT A DEAD DOG. 739 00:34:38,076 --> 00:34:40,749 PETERMAN DECLINED TO TAKE THE CASE THOUGH. THAT'S THE LAST PIECE OF OUR PUZZLE. 740 00:34:40,749 --> 00:34:43,682 WHAT DO YOU HAVE ON CONRAD? (clicks keyboard key) 741 00:34:43,682 --> 00:34:46,585 (computer beeps) JUST A PHOTO FROM THE D.M.V. 742 00:34:46,585 --> 00:34:48,487 (beep) 743 00:34:48,487 --> 00:34:51,390 (beeping) 744 00:34:51,390 --> 00:34:54,793 (beeping continues) 745 00:34:54,793 --> 00:34:58,797 GOT YOU, YOU SON OF A BITCH. 746 00:35:08,477 --> 00:35:11,109 YEAH. 747 00:35:11,109 --> 00:35:12,381 OKAY. 748 00:35:12,381 --> 00:35:14,213 OKAY, SWEETIE. 749 00:35:14,213 --> 00:35:16,215 MOMMY'S GOTTA GO ARREST SOMEBODY, OKAY? 750 00:35:16,215 --> 00:35:19,218 I'LL BE HOME FOR DINNER. ALL RIGHT. I LOVE YOU. 751 00:35:19,218 --> 00:35:20,389 BYE. 752 00:35:20,389 --> 00:35:22,821 YOU'RE A MOM? YEAH. 753 00:35:22,821 --> 00:35:26,495 AND YOU CAN HOLSTER YOUR GUN. YOU'RE BOTH STAYING HERE. WHAT? NO, COME NO. 754 00:35:26,495 --> 00:35:30,229 THIS IS THE FINAL TAKEDOWN. YOU CAN'T LET HER DO THIS TO US. 755 00:35:30,229 --> 00:35:32,231 NO, AGENT SHAW IS RIGHT. I'M HIS TARGET. 756 00:35:32,231 --> 00:35:33,532 I CAN'T COMPROMISE YOUR TEAM 757 00:35:33,532 --> 00:35:36,535 BY WALKING INTO THE LINE OF FIRE. 758 00:35:36,535 --> 00:35:40,239 WE'LL TAKE HIM DOWN. IT'LL STILL BE YOUR COLLAR. MM-HMM. 759 00:35:40,239 --> 00:35:43,242 WOW. SHE'S A MOM. I NEVER WOULD'VE PEGGED HER FOR THAT. (cell phone ringing) 760 00:35:43,242 --> 00:35:45,374 I FIGURED SHE WAS A CAREER-DRIVEN WOMAN 761 00:35:45,374 --> 00:35:48,247 WITH NO TIME FOR A FAMILY. WELL, NOT EVERYBODY MAKES THAT CHOICE. 762 00:35:48,247 --> 00:35:49,248 BECKETT. 763 00:35:49,248 --> 00:35:51,380 HE'S CALLING FOR YOU. 764 00:35:51,380 --> 00:35:53,852 PUT HIM ON. 765 00:35:53,852 --> 00:35:55,384 HELLO. 766 00:35:55,384 --> 00:35:58,727 Oh, you think you're so smart, don't you, Nikki? 767 00:35:58,727 --> 00:36:05,264 You think, what, just because you found me that you won? 768 00:36:05,264 --> 00:36:06,895 (whispers) HE KNOWS WE'RE HERE. 769 00:36:06,895 --> 00:36:11,270 (normal voice) IT'S OVER, BEN. TIME TO GIVE UP. 770 00:36:11,270 --> 00:36:14,903 No, it's not over! 771 00:36:16,705 --> 00:36:19,308 BEN, LISTEN TO ME. YOU'RE SURROUNDED. 772 00:36:19,308 --> 00:36:21,580 I NEED YOU TO PUT THE GUN DOWN. 773 00:36:21,580 --> 00:36:25,514 You know I can't do that, Nikki. 774 00:36:25,514 --> 00:36:28,787 BEN, I NEED YOU TO STEP OUTSIDE OF YOUR APARTMENT 775 00:36:28,787 --> 00:36:31,460 WITH YOUR HANDS RAISED. 776 00:36:31,460 --> 00:36:34,523 That's not our game. One of us has to die. 777 00:36:34,523 --> 00:36:36,395 NO ONE HAS TO DIE. 778 00:36:36,395 --> 00:36:38,397 Somebody always has to die! 779 00:36:42,871 --> 00:36:46,875 And since it can't be you... 780 00:36:46,875 --> 00:36:49,638 BEN. 781 00:36:49,638 --> 00:36:50,779 (gunshot) 782 00:36:50,779 --> 00:36:52,541 (Shaw) GO! 783 00:36:52,541 --> 00:36:55,444 (man) GO! GO! GO! 784 00:36:55,444 --> 00:36:57,346 (man) KITCHEN'S CLEAR! 785 00:36:57,346 --> 00:36:59,648 (man) BATHROOM'S CLEAR! 786 00:36:59,648 --> 00:37:02,251 (man) CLEAR! 787 00:37:04,353 --> 00:37:06,355 (camera shutter clicks) (Shaw) WE'RE SENDING THE GUN TO BALLISTICS, 788 00:37:06,355 --> 00:37:08,397 BUT GIVEN IT'S A .45, IT'S PROBABLY THE SAME ONE 789 00:37:08,397 --> 00:37:11,500 HE USED ON OUR OTHER VICTIMS. AND PROBABLY THE SAME ONE HE WAS GONNA USE ON YOU. 790 00:37:11,500 --> 00:37:13,302 UH, ACTUALLY, NO. 791 00:37:13,302 --> 00:37:16,705 HE WAS PLANNING SOMETHING A LITTLE BIT MORE SPECTACULAR. 792 00:37:16,705 --> 00:37:18,837 CELL PHONES? 793 00:37:18,837 --> 00:37:23,241 HE WAS MAKING A DETONATOR. 794 00:37:23,241 --> 00:37:25,544 (three beeps sound) 795 00:37:25,544 --> 00:37:28,677 (male voice) GOOD-BYE, NIKKI. GOOD-BYE, NIKKI. 796 00:37:28,677 --> 00:37:31,580 (beeps and clatters) HE WAS EXTRACTING FORMALDEHYDE 797 00:37:31,580 --> 00:37:34,483 FROM THE EMBALMING FLUID HE STOLE TO CREATE CYCLONITE-- 798 00:37:34,483 --> 00:37:36,485 A NEAR MILITARY-GRADE EXPLOSIVE. 799 00:37:36,485 --> 00:37:39,488 WHEN YOU PROFILED HIM, YOU SAID HE WAS PROBABLY AN ARSONIST. 800 00:37:39,488 --> 00:37:41,890 I ALSO SAID HE LIKED TO MAKE A BIG SCENE. 801 00:37:41,890 --> 00:37:43,892 SCHEMATICS OF THE PRECINCT. 802 00:37:43,892 --> 00:37:46,365 HE WAS PLANNING ON KILLING YOU 803 00:37:46,365 --> 00:37:48,367 AND TAKING THE WHOLE STATION WITH YOU. 804 00:37:48,367 --> 00:37:51,570 "NIKKI WILL BURN." I CAN SEE THE POETRY IN THAT. 805 00:37:51,570 --> 00:37:54,873 THE TERRIBLE, HOMICIDAL POETRY. 806 00:37:54,873 --> 00:37:58,447 I JUST WOULDN'T HAVE PROFILED THIS GUY AS SUICIDAL. 807 00:37:58,447 --> 00:38:00,509 I GUESS ONCE WE FOUND HIM, 808 00:38:00,509 --> 00:38:04,583 IT WAS THE ONLY WAY HE COULD CONTROL THE SITUATION. 809 00:38:04,583 --> 00:38:07,416 WELL, AT LEAST CONRAD SAVED US THE TROUBLE OF A TRIAL. 810 00:38:07,416 --> 00:38:10,919 AND THE BEST NEWS IS, I'M OUT OF YOUR HAIR. 811 00:38:10,919 --> 00:38:13,291 THE BEST NEWS... 812 00:38:13,291 --> 00:38:15,494 IS THAT IT'S OVER. 813 00:38:15,494 --> 00:38:16,795 (police radio chatter) 814 00:38:16,795 --> 00:38:18,497 (camera shutter clicks) 815 00:38:30,709 --> 00:38:32,080 HEY. 816 00:38:32,080 --> 00:38:34,413 I THOUGHT YOU WENT TO BED AN HOUR AGO. 817 00:38:34,413 --> 00:38:36,645 I COULDN'T SLEEP. 818 00:38:36,645 --> 00:38:39,588 I THOUGHT THE CASE WAS OVER. 819 00:38:39,588 --> 00:38:42,621 OH, IT IS. WRAPPED UP ALL NICE AND NEAT. 820 00:38:42,621 --> 00:38:45,093 THAT'S A GOOD THING, RIGHT? 821 00:38:45,093 --> 00:38:47,556 IN A BOOK, THAT'S A GOOD THING. 822 00:38:47,556 --> 00:38:50,529 IN REAL LIFE, NOTHING IS THAT NEAT. 823 00:38:50,529 --> 00:38:53,562 WHAT'S GOT YOU STILL UP? 824 00:38:53,562 --> 00:38:55,864 GRAM. 825 00:38:55,864 --> 00:38:57,866 I CAN'T BELIEVE SHE'S LEAVING TOMORROW. 826 00:38:57,866 --> 00:38:59,868 I MEAN, YEAH, WHEN SHE FIRST MOVED IN, 827 00:38:59,868 --> 00:39:03,041 I COULDN'T IMAGINE HAVING HER AROUND ALL THE TIME. 828 00:39:03,041 --> 00:39:07,976 BUT NOW I... CAN'T IMAGINE HER BEING GONE. 829 00:39:07,976 --> 00:39:10,579 LISTEN... 830 00:39:10,579 --> 00:39:13,351 IT'S A FACT OF LIFE. 831 00:39:13,351 --> 00:39:14,883 PEOPLE WE LOVE LEAVE US. 832 00:39:16,825 --> 00:39:18,827 UNLESS YOU CHAIN 'EM TO A RADIATOR, 833 00:39:18,827 --> 00:39:21,460 WHICH FOR SOME REASON IS ILLEGAL. (chuckles) 834 00:39:21,460 --> 00:39:25,864 BUT, UH... KNOWING HER... 835 00:39:25,864 --> 00:39:28,837 (whispers) SHE'LL BE BACK IN SIX MONTHS. 836 00:39:28,837 --> 00:39:31,540 (Martha) OH, GOOD. YOU'RE BOTH UP. 837 00:39:31,540 --> 00:39:34,002 DARLING, I NEED YOU TO HELP ME DECIDE ON WHAT TO TAKE. 838 00:39:34,002 --> 00:39:36,875 OH, AND I NEED TO GET MY BAGS DOWN. 839 00:39:36,875 --> 00:39:40,148 RICHARD, COULD YOU GIVE US A HAND? (normal voice) A HAND. 840 00:39:40,148 --> 00:39:41,650 WHAT? 841 00:39:43,512 --> 00:39:45,484 THE BRUISING PATTERN ON THE SECOND VICTIM-- 842 00:39:45,484 --> 00:39:48,557 THE KILLER USED HIS LEFT HAND. 843 00:39:48,557 --> 00:39:51,059 AND... YOU SEE HIS HANDWRITING? 844 00:39:51,059 --> 00:39:54,062 LOOK AT THE SLOPE ON THE "4" AND THE LOOP ON THE "6." 845 00:39:54,062 --> 00:39:56,425 YEAH. SO HE WAS LEFT-HANDED. 846 00:39:56,425 --> 00:39:58,827 WELL, BEN CONRAD SHOT HIMSELF WITH HIS RIGHT HAND. 847 00:39:58,827 --> 00:40:01,399 IF THE MAN IN THE WINDOW WAS BEN CONRAD, 848 00:40:01,399 --> 00:40:03,972 HE WOULD'VE SHOT HIMSELF ON THE LEFT SIDE. (gunshot) 849 00:40:03,972 --> 00:40:05,474 BEN CONRAD DIDN'T KILL HIMSELF. 850 00:40:05,474 --> 00:40:07,706 BEN CONRAD WAS MURDERED BY THE MAN IN THE WINDOW. 851 00:40:07,706 --> 00:40:09,478 BEN--BEN'S NOT OUR KILLER. 852 00:40:09,478 --> 00:40:11,980 THE REAL KILLER WAS JUST PLAYING WITH US. BUT THE EVIDENCE-- 853 00:40:11,980 --> 00:40:14,983 NO, IT WAS--IT WAS PLANTED THERE TO LEAD US TO BEN. 854 00:40:14,983 --> 00:40:17,586 HE WANTS US TO THINK IT'S OVER. 855 00:40:17,586 --> 00:40:19,588 HE WANTS US TO DROP OUR GUARD. 856 00:40:19,588 --> 00:40:22,621 HE WANTS TO MAKE A BIG SCENE. 857 00:40:22,621 --> 00:40:25,093 "NIKKI WILL BURN." 858 00:40:25,093 --> 00:40:26,855 BECKETT. 859 00:40:26,855 --> 00:40:29,057 OH, GOD. 860 00:40:29,057 --> 00:40:33,061 (keypad beeps) MONTGOMERY TOOK THE DETAIL OFF HER PLACE. SHE'S ALONE. 861 00:40:33,061 --> 00:40:35,534 (phone rings) 862 00:40:35,534 --> 00:40:38,006 (cell phone rings) 863 00:40:38,006 --> 00:40:40,809 (water running) 864 00:40:43,612 --> 00:40:45,844 SHE'S NOT PICKING UP. CALL THE PRECINCT. 865 00:40:45,844 --> 00:40:48,016 TELL THEM TO GET OVER THERE RIGHT AWAY. 866 00:40:48,016 --> 00:40:51,019 TELL THEM WE WERE WRONG. TELL THEM THE KILLER'S STILL ALIVE. 867 00:40:51,019 --> 00:40:54,883 YOU LOCK THIS DOOR BEHIND ME. DON'T LET ANYONE IN. CAPTAIN MONTGOMERY, PLEASE. YES, TELL HIM IT'S AN EMERGENCY. 868 00:40:54,883 --> 00:40:58,787 (water running) 869 00:41:01,790 --> 00:41:04,833 (cell phone rings) 870 00:41:06,595 --> 00:41:09,668 (ring) 871 00:41:09,668 --> 00:41:11,900 (handles squeak) 872 00:41:11,900 --> 00:41:15,604 COME ON, BECKETT. PICK UP. PICK UP THE PHONE. PICK IT UP! 873 00:41:15,604 --> 00:41:17,646 (ring) 874 00:41:17,646 --> 00:41:19,678 (water drips) 875 00:41:19,678 --> 00:41:24,482 (ring) 876 00:41:24,482 --> 00:41:27,716 (ring) 877 00:41:27,716 --> 00:41:29,918 (beep) 878 00:41:29,918 --> 00:41:31,620 WHAT, CASTLE? 879 00:41:31,620 --> 00:41:33,722 IT WASN'T BEN CONRAD. HE'S NOT THE KILLER! 880 00:41:33,722 --> 00:41:37,065 THE KILLER'S STILL ALIVE! THE KILLER'S STILL ALIVE! 881 00:41:37,065 --> 00:41:39,528 (three beeps sound) (man) GOOD-BYE, NIKKI. 882 00:41:39,528 --> 00:41:40,929 KATE! 883 00:41:40,929 --> 00:41:43,932 (people shouting indistinctly) 884 00:41:49,538 --> 00:41:53,542 (debris clatters)