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Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:01,632 --> 00:00:04,135 THERE ARE TWO KINDS OF FOLKS WHO SIT AROUND THINKING ABOUT 2 00:00:04,135 --> 00:00:06,006 HOW TO KILL PEOPLE--PSYCHOPATHS AND MYSTERY WRITERS. 3 00:00:06,006 --> 00:00:08,639 I'M THE KIND THAT PAYS BETTER. WHO AM I? I'M RICK CASTLE. 4 00:00:08,639 --> 00:00:10,641 CASTLE. CASTLE. 5 00:00:10,641 --> 00:00:13,314 I REALLY AM RUGGEDLY HANDSOME, AREN'T I? EVERY WRITER NEEDS INSPIRATION, 6 00:00:13,314 --> 00:00:15,216 AND I'VE FOUND MINE. DETECTIVE KATE BECKETT. 7 00:00:15,216 --> 00:00:17,388 BECKETT. BECKETT. 8 00:00:17,388 --> 00:00:19,390 NIKKI HEAT? THE CHARACTER HE'S BASING ON YOU. 9 00:00:19,390 --> 00:00:21,352 AND THANKS TO MY FRIENDSHIP WITH THE MAYOR, 10 00:00:21,352 --> 00:00:24,055 I GET TO BE ON HER CASE. I WOULD BE HAPPY TO LET YOU SPANK ME. 11 00:00:24,055 --> 00:00:27,128 AND TOGETHER WE CATCH KILLERS. WE MAKE A PRETTY GOOD TEAM, YOU KNOW? 12 00:00:27,128 --> 00:00:30,030 LIKE STARSKY AND HUTCH, TURNER AND HOOCH. YOU DO REMIND ME A LITTLE OF HOOCH. 13 00:00:30,030 --> 00:00:34,305 (Billy Idol's "Dancing With Myself" playing) 14 00:00:34,305 --> 00:00:36,767 ♪ ON THE FLOORS OF TOKYO ♪ 15 00:00:36,767 --> 00:00:39,039 ♪ OR DOWN IN LONDON TOWN TO GO GO ♪ 16 00:00:39,039 --> 00:00:41,142 ♪ WITH THE RECORD SELECTION ♪ 17 00:00:41,142 --> 00:00:42,513 ♪ AND THE MIRROR'S REFLECTION ♪ 18 00:00:42,513 --> 00:00:44,345 ♪ I'M DANCING WITH MYSELF ♪ 19 00:00:44,345 --> 00:00:48,048 ♪ WHEN THERE'S NO ONE ELSE IN SIGHT ♪ 20 00:00:48,048 --> 00:00:51,822 ♪ IN THE CROWDED LONELY NIGHT, WELL, I WAIT SO LONG... ♪ 21 00:00:51,822 --> 00:00:53,354 HEY. 22 00:00:53,354 --> 00:00:55,456 (turns off music) WHAT'S WRONG? 23 00:00:55,456 --> 00:00:58,058 DAD, THEY'RE SAYING SHE'S DEAD. 24 00:00:58,058 --> 00:00:59,530 WHO'S DEAD? 25 00:00:59,530 --> 00:01:02,633 HAYLEY BLUE. THE GAWKER WEB SITE JUST POSTED IT. 26 00:01:02,633 --> 00:01:05,436 OH, THE GIRL FROM THE BAND YOU LIKE. 27 00:01:05,436 --> 00:01:08,639 THEY SAY THEY FOUND HER BODY IN AN ALLEY IN CHELSEA. OH, ANGEL, ARE YOU SURE IT'S NOT JUST A RUMOR? 28 00:01:08,639 --> 00:01:11,642 I MEAN, THOSE GOSSIP BLOGS, THEY DON'T REALLY CHECK FACTS. 29 00:01:11,642 --> 00:01:13,474 THEY WERE RIGHT WHEN THEY SAID 30 00:01:13,474 --> 00:01:15,476 HAYLEY WAS BREAKING UP THE BAND TO GO SOLO. 31 00:01:15,476 --> 00:01:17,478 LOOK, IF THERE WAS ANY TRUTH TO IT, 32 00:01:17,478 --> 00:01:19,710 I'M SURE DETECTIVE BECKETT WOULD'VE CALLED BY NOW. 33 00:01:19,710 --> 00:01:22,213 (cell phone rings) 34 00:01:22,213 --> 00:01:24,315 (rings and beeps) 35 00:01:27,688 --> 00:01:29,089 (sighs) 36 00:01:29,089 --> 00:01:33,294 (music playing indistinctly) 37 00:01:33,294 --> 00:01:35,196 (Perlmutter) BROKEN NECK. 38 00:01:35,196 --> 00:01:37,198 AT LEAST, THAT'S MY PRELIM. 39 00:01:37,198 --> 00:01:40,331 NO WALLET, NO PHONE, NO I.D. 40 00:01:40,331 --> 00:01:42,433 SHE DOESN'T NEED I.D. 41 00:01:42,433 --> 00:01:44,205 YOU KNOW HER? 42 00:01:44,205 --> 00:01:46,237 ARE YOU SURE IT'S HER? THAT'S HAYLEY BLUE. 43 00:01:46,237 --> 00:01:49,280 I TOOK ALEXIS TO SEE HER BAND, THE BLUE PILL, LAST YEAR. 44 00:01:49,280 --> 00:01:52,283 WHAT HAPPENED? WELL, IT LOOKS LIKE SHE WAS KILLED OFF-SITE, 45 00:01:52,283 --> 00:01:55,716 THEN BROUGHT HERE AND STAGED. TIME OF DEATH? 46 00:01:55,716 --> 00:01:58,849 UH, I'D SAY BETWEEN MIDNIGHT AND 3:00 A.M., GIVE OR TAKE. 47 00:01:58,849 --> 00:02:02,153 (music continues) DO YOU GUYS HEAR THAT? 48 00:02:02,153 --> 00:02:04,395 WHAT? THE SONG--IT'S PLAYING AGAIN. 49 00:02:04,395 --> 00:02:07,558 (music continues) 50 00:02:07,558 --> 00:02:10,661 (camera shutter clicking) 51 00:02:10,661 --> 00:02:13,564 IT'S ON REPEAT. 52 00:02:13,564 --> 00:02:16,136 "HERE, KITTY KITTY" BY THE BLUE PILLS. 53 00:02:16,136 --> 00:02:18,869 IT'S ONE OF HERS. WELL, THAT'S GOTTA BE A MESSAGE, RIGHT? 54 00:02:18,869 --> 00:02:20,871 ALL RIGHT, HAVE C.S.U. BAG THIS, 55 00:02:20,871 --> 00:02:22,873 CHECK THE BODY-- FIBERS, PRINTS, THE WHOLE WORKS. 56 00:02:22,873 --> 00:02:24,875 GUY COULD'VE TOSSED THE BODY IN A DUMPSTER. 57 00:02:24,875 --> 00:02:27,478 INSTEAD HE HANGS HER FROM A FIRE ESCAPE. 58 00:02:27,478 --> 00:02:29,480 HE IS SENDING A MESSAGE. 59 00:02:31,552 --> 00:02:34,225 (Montgomery) IT'S ABOUT TIME YOU GOT BACK. 60 00:02:34,225 --> 00:02:35,826 WE'VE GOT A VERY PERSISTENT CITIZEN 61 00:02:35,826 --> 00:02:38,289 WAITING TO ASK YOU SOME QUESTIONS. 62 00:02:38,289 --> 00:02:40,731 ALEXIS, WHAT ARE YOU DOING HERE? 63 00:02:40,731 --> 00:02:44,235 HOW COME YOU'RE NOT AT SCHOOL? OH, I HAVE STUDY HALL FIRST PERIOD. 64 00:02:44,235 --> 00:02:47,468 DAD, IS IT TRUE? UH, YEAH, SWEETIE. I'M AFRAID SO. 65 00:02:47,468 --> 00:02:50,241 WHAT HAPPENED, WAS IT THE DRUGS? 66 00:02:50,241 --> 00:02:53,204 DOESN'T LOOK LIKE IT. WHY? DID SHE HAVE A DRUG PROBLEM? WELL, SHE USED TO. 67 00:02:53,204 --> 00:02:55,606 SHE WENT TO REHAB A FEW MONTHS AGO 68 00:02:55,606 --> 00:02:58,509 AFTER HER FRIEND FOUND HER CHOKING ON HER OWN-- OKAY. YOU KNOW, I-- YOU KNOW WHAT? I THINK IT'S TIME 69 00:02:58,509 --> 00:03:00,951 WE RESET THE PARENTAL CONTROLS ON YOUR COMPUTER. PLEASE. 70 00:03:00,951 --> 00:03:03,614 I HAD TO SET PARENTAL CONTROL ON YOUR COMPUTER. REMEMBER? SPEAKING OF WHICH-- 71 00:03:03,614 --> 00:03:05,656 NO. (Esposito) BECKETT. 72 00:03:05,656 --> 00:03:06,887 YEAH. 73 00:03:06,887 --> 00:03:08,559 STREET WAS NEGATIVE FOR CAMERAS. 74 00:03:08,559 --> 00:03:11,191 WE GOT A DOZEN SHOE PRINTS OFF THE ALLEY, SIZE 5 THROUGH 11. 75 00:03:11,191 --> 00:03:12,693 CHECKED HER D.M.V. RECORDS ONLINE, 76 00:03:12,693 --> 00:03:14,925 SHE MOVED FROM THE ADDRESS THEY HAVE LISTED THREE MONTHS AGO. 77 00:03:14,925 --> 00:03:18,969 THAT WAS ABOUT THE SAME TIME THAT HAYLEY WENT INTO REHAB. (Ryan) BUT CHECK THIS OUT. 78 00:03:18,969 --> 00:03:20,971 I RAN A SEARCH FOR THAT SONG ON HAYLEY'S iPod, 79 00:03:20,971 --> 00:03:22,473 "HERE, KITTY KITTY." 80 00:03:22,473 --> 00:03:24,305 LOOK WHAT POPPED UP. 81 00:03:24,305 --> 00:03:27,578 ♪ I CAN SEE THE WRITING 'CAUSE I WROTE IT ON THE WALL ♪ 82 00:03:27,578 --> 00:03:29,880 A MUSIC VIDEO? SEE IF THIS LOOKS FAMILIAR. 83 00:03:29,880 --> 00:03:31,982 ♪♪ 84 00:03:31,982 --> 00:03:33,914 ♪ YOU CAN'T CONQUER AND DIVIDE ♪ 85 00:03:33,914 --> 00:03:35,946 ♪ JUST BECAUSE I'M OPEN WIDE ♪ 86 00:03:35,946 --> 00:03:37,988 ♪ YOU CAN'T CATCH ME THOUGH YOU TRY ♪ 87 00:03:37,988 --> 00:03:41,352 ♪ YOU CAN KISS THIS GOOD-BYE ♪ 88 00:03:41,352 --> 00:03:42,453 (keyboard key clicks) 89 00:03:42,453 --> 00:03:44,595 IS THAT HOW YOU FOUND HER? 90 00:03:44,595 --> 00:03:46,597 DOES THAT MEAN ANYTHING TO YOU? 91 00:03:46,597 --> 00:03:48,599 YEAH. HAYLEY WROTE THIS SONG 92 00:03:48,599 --> 00:03:51,231 ABOUT SOME OBSESSED FAN WHO WAS STALKING HER. DO YOU KNOW WHO HE WAS? 93 00:03:51,231 --> 00:03:53,233 WAIT. THERE MIGHT BE SOMETHING IN THE SONG. 94 00:03:53,233 --> 00:03:54,905 PLAY IT AGAIN. 95 00:03:54,905 --> 00:03:57,568 ♪ IT'S OKAY TO WANT ME, BUT YOU WANT NOTHING ELSE ♪ 96 00:03:57,568 --> 00:03:59,940 ♪ SITTING BACK AND PLOTTING ♪ 97 00:03:59,940 --> 00:04:02,012 ♪ IS A CRIME IN ITSELF ♪ 98 00:04:02,012 --> 00:04:03,874 "SITTING BACK AND PLOTTING." 99 00:04:03,874 --> 00:04:06,317 SOUNDS LIKE SHE THOUGHT HE WAS DANGEROUS. YEAH. LISTEN, HERE'S THE PART. 100 00:04:06,317 --> 00:04:10,451 ♪ DOES 50 FEET OR LESS MEAN ANYTHING TO YOU AT ALL? ♪ 101 00:04:10,451 --> 00:04:13,624 "50 FEET OR LESS." SHE GOT A RESTRAINING ORDER AGAINST HIM. 102 00:04:13,624 --> 00:04:16,887 ALL RIGHT, RUN IT AND GET ME A NAME. 103 00:04:16,887 --> 00:04:18,889 AND YOU... WILL GO OFF TO SCHOOL. 104 00:04:18,889 --> 00:04:21,732 BUT I WAS JUST HELPFUL. YES, BUT IF I LET YOU OUT OF CLASS 105 00:04:21,732 --> 00:04:25,966 EVERY TIME YOU WERE HELPFUL, YOU'D NEVER GO. BUT I WON'T BE ABLE TO FOCUS ON SCHOOL TODAY. 106 00:04:25,966 --> 00:04:27,938 I JUST CAN'T CONCENTRATE. WHICH WOULD MAKE YOU 107 00:04:27,938 --> 00:04:30,471 JUST LIKE ALL THE OTHER KIDS IN YOUR CLASS. DAD. 108 00:04:30,471 --> 00:04:33,504 I AM SERIOUS. OR I WILL CALL THE TRUANT OFFICER. 109 00:04:33,504 --> 00:04:36,046 DO YOU STILL HAVE TRUANT OFFICERS? BUDGET CUTS. 110 00:04:36,046 --> 00:04:38,008 OH, YOU'RE SO LUCKY. FOUND YOUR STALKER. 111 00:04:38,008 --> 00:04:40,481 FRANCO MARQUEZ-- A.K.A. FRANKIE MARKIE. 112 00:04:40,481 --> 00:04:43,554 HAYLEY FILED HALF A DOZEN COMPLAINTS AGAINST HIM. 113 00:04:43,554 --> 00:04:46,387 IT SAYS HERE THAT HE EVEN TRIED TO BREAK INTO HER APARTMENT. 114 00:04:46,387 --> 00:04:49,289 AND WHEN SHE FILED AGAINST HIM, HE SHOWED UP IN COURT 115 00:04:49,289 --> 00:04:52,062 AND HE CALLED HER A... 116 00:04:52,062 --> 00:04:54,064 B-I-T-C-H. 117 00:04:54,064 --> 00:04:56,667 SHE CAN SPELL, DETECTIVE. 118 00:04:56,667 --> 00:04:58,469 PROBABLY BETTER THAN YOU. 119 00:04:58,469 --> 00:05:00,771 BRING HIM IN. 120 00:05:00,771 --> 00:05:02,072 AND YOU, TO SCHOOL. 121 00:05:02,072 --> 00:05:03,334 FINE. 122 00:05:03,334 --> 00:05:04,835 THANK YOU. 123 00:05:10,711 --> 00:05:11,882 WHAT? 124 00:05:11,882 --> 00:05:15,015 NOTHING. IT'S JUST, I'M SO USED TO YOU 125 00:05:15,015 --> 00:05:17,988 ACTING LIKE A 12 YEAR OLD ALL OF THE TIME. 126 00:05:17,988 --> 00:05:20,991 IT'S KIND OF REFRESHING TO SEE YOU AS A FATHER. MAKES YOU WANT ME, RIGHT? 127 00:05:20,991 --> 00:05:23,394 AND THERE'S THE 12 YEAR OLD AGAIN. 128 00:05:23,394 --> 00:05:24,895 WHO ARE YOU CALLING? 129 00:05:24,895 --> 00:05:26,497 ELLISON-KING REHAB CENTER. 130 00:05:26,497 --> 00:05:28,499 IT'S WHERE ALL THE STARS GO TO CLEAN UP. I FIGURED HAYLEY 131 00:05:28,499 --> 00:05:30,931 MUST HAVE GIVEN THEM HER HOME ADDRESS ON HER EXIT INTERVIEW. 132 00:05:30,931 --> 00:05:33,534 IF HAYLEY CLEANED UP. THAT'S WHERE SHE WOULD'VE GONE. 133 00:05:35,065 --> 00:05:38,409 MRS. BUSCH, THE REHAB CENTER SAID THAT YOU AND YOUR HUSBAND 134 00:05:38,409 --> 00:05:40,411 PAID FOR HER TREATMENT, 135 00:05:40,411 --> 00:05:43,414 AND THAT SHE MOVED IN WITH YOU AFTER SHE LEFT THE FACILITY. YEAH. 136 00:05:43,414 --> 00:05:44,915 SHE'D BECOME LIKE FAMILY. 137 00:05:44,915 --> 00:05:46,417 (Castle) DO ALL RECORD PRODUCERS 138 00:05:46,417 --> 00:05:48,419 PAY FOR THEIR ARTISTS TO GO TO REHAB? 139 00:05:48,419 --> 00:05:51,382 NO, MOST JUST SCORE THEM DRUGS AND THEN LOOK THE OTHER WAY. 140 00:05:51,382 --> 00:05:54,385 THEIR MANAGER GETS 'EM SOME POT SO THEY CAN RELAX. 141 00:05:54,385 --> 00:05:57,057 THE PRODUCER GETS THEM SOME BLOW SO THEY CAN-- 142 00:05:57,057 --> 00:05:59,430 SO THEY CAN WORK. 143 00:05:59,430 --> 00:06:01,492 THEN SOMEONE GETS 'EM HEROIN. 144 00:06:01,492 --> 00:06:05,666 BY THE TIME WE GOT TO HAYLEY, SHE WAS ALREADY HOOKED. 145 00:06:05,666 --> 00:06:07,568 WE TOLD HER OUR DOOR WAS ALWAYS OPEN 146 00:06:07,568 --> 00:06:10,140 IF SHE WANTED TO GET CLEAN. SHE WAS ALWAYS BETTER THAN THAT BAND. 147 00:06:10,140 --> 00:06:12,142 SHE WAS THE TALENT. 148 00:06:12,142 --> 00:06:14,144 WELL, WHEN THEY FINALLY BROKE UP, 149 00:06:14,144 --> 00:06:17,578 SHE WANTED OFF THE DRUGS, SO WE TOOK HER IN. SHE WAS READY. 150 00:06:17,578 --> 00:06:20,150 SHE WAS RECORDING AGAIN. AND TO BE KILLED BY A FAN... 151 00:06:20,150 --> 00:06:24,515 ACTUALLY, WE DON'T KNOW FOR SURE THAT IT WAS FRANCO. YOU DON'T? 152 00:06:24,515 --> 00:06:26,987 NO. BUT YOU WEREN'T THERE IN THE MIDDLE OF THE NIGHT 153 00:06:26,987 --> 00:06:28,989 WHEN SHE WAS WAKING UP SCREAMING, 154 00:06:28,989 --> 00:06:31,722 TERRIFIED THAT SOMETHING LIKE THIS WAS GONNA HAPPEN. 155 00:06:31,722 --> 00:06:34,064 WE WERE SUPPOSED TO PROTECT HER. 156 00:06:34,064 --> 00:06:36,597 WE SHOULD'VE TRIED HARDER TO FIND HER. 157 00:06:36,597 --> 00:06:40,100 TO FIND HER? LAST MONDAY, SHE DIDN'T SHOW UP AT THE STUDIO FOR A SESSION. 158 00:06:40,100 --> 00:06:42,903 WHEN WE GOT HOME, SHE WAS GONE, 159 00:06:42,903 --> 00:06:44,875 SO WERE HER CLOTHES, HER WATCH, HER JEWELRY-- 160 00:06:44,875 --> 00:06:47,037 ANYTHING SHE COULD SELL. WE FIGURED-- 161 00:06:47,037 --> 00:06:50,711 SHE HAD RELAPSED. WE TRIED CALLING HER, BUT HER CELL PHONE WAS DISCONNECTED. 162 00:06:50,711 --> 00:06:54,014 IT, YOU KNOW, IT WASN'T LIKE HER TO JUST DISAPPEAR. 163 00:06:54,014 --> 00:06:56,016 SOMETHING SPOOKED HER. 164 00:06:56,016 --> 00:06:57,948 DID HAYLEY HAVE ANY FAMILY? 165 00:06:57,948 --> 00:07:01,121 YEAH. A SISTER. SKY. 166 00:07:01,121 --> 00:07:04,925 DO YOU KNOW WHERE WE COULD FIND HER? WHEREVER SHE IS, SHE PROBABLY HAS A NEEDLE IN HER ARM. 167 00:07:04,925 --> 00:07:07,458 WHEN HAYLEY GOT OUT OF REHAB, 168 00:07:07,458 --> 00:07:09,560 ALL SHE COULD TALK ABOUT WAS SAVING SKY. 169 00:07:09,560 --> 00:07:13,003 NOT THAT SKY WANTED SAVING AFTER WHAT HAYLEY DID TO HER. 170 00:07:13,003 --> 00:07:15,135 WHAT DID HAYLEY DO TO HER? 171 00:07:15,135 --> 00:07:17,437 SHE GOT FAMOUS. 172 00:07:17,437 --> 00:07:18,939 (cell phone rings) 173 00:07:18,939 --> 00:07:20,440 OH, EXCUSE ME. 174 00:07:20,440 --> 00:07:23,213 (rings and beeps) 175 00:07:23,213 --> 00:07:24,575 BECKETT. 176 00:07:24,575 --> 00:07:26,076 OUR FANATIC FAN IS RABBITING. 177 00:07:26,076 --> 00:07:28,619 A NEIGHBOR SAW HIM LEAVING WITH A BACKPACK THIS MORNING. 178 00:07:28,619 --> 00:07:30,981 FROM THE LOOKS OF HIS PLACE, HE LEFT IN A HURRY. 179 00:07:30,981 --> 00:07:33,123 ANY IDEA WHERE HE WAS GOING? Yeah. Away. 180 00:07:33,123 --> 00:07:36,957 HE ALSO CHARGED A BUS TICKET AT PORT AUTHORITY THIS MORNING. HE'S HEADED UPSTATE. 181 00:07:36,957 --> 00:07:39,129 Bus pulled out five minutes ago. You hear that? 182 00:07:39,129 --> 00:07:40,831 YEAH. (beep) 183 00:07:45,636 --> 00:07:47,137 (sirens wailing) 184 00:07:47,137 --> 00:07:49,139 (man) THIS IS THE POLICE DEPARTMENT. 185 00:07:49,139 --> 00:07:52,142 PULL YOUR BUS OVER TO THE CURB. 186 00:07:52,142 --> 00:07:54,104 (tires squealing) 187 00:07:54,104 --> 00:07:55,606 (police radio chatter) 188 00:07:55,606 --> 00:07:57,848 (man) STEP BACK, EVERYONE! 189 00:07:57,848 --> 00:07:59,049 (man speaks indistinctly) 190 00:07:59,049 --> 00:08:02,152 ALL RIGHT, GOT IT. GO. 191 00:08:02,152 --> 00:08:05,656 HANDS WHERE I CAN SEE 'EM, NOW! (woman gasps) 192 00:08:05,656 --> 00:08:08,659 NOBODY MOVE! 193 00:08:37,287 --> 00:08:39,519 (woman gasps) 194 00:08:39,519 --> 00:08:41,692 (grunts) (bus riders) OH! 195 00:08:41,692 --> 00:08:44,154 FRANCO MARQUEZ, YOU'RE UNDER ARREST 196 00:08:44,154 --> 00:08:46,697 FOR THE MURDER OF HAYLEY BLUE. 197 00:08:46,697 --> 00:08:48,699 (Esposito) GET UP. GET UP HERE! 198 00:08:48,699 --> 00:08:51,161 EASY! EASY, MAN! GOD, YOU'RE HURTING ME! 199 00:08:51,161 --> 00:08:53,864 (Franco grunts) 200 00:08:53,864 --> 00:08:59,069 ♪♪ 201 00:09:06,046 --> 00:09:08,819 YOU GUYS ARE SO STUPID. 202 00:09:08,819 --> 00:09:11,181 I LOVED HAYLEY. SHE WAS MY SOUL MATE. 203 00:09:11,181 --> 00:09:12,923 WHY WOULD I KILL HER?! 204 00:09:12,923 --> 00:09:15,926 WHY DID YOU RUN? (scoffs) WHEN I HEARD HOW YOU FOUND HER, 205 00:09:15,926 --> 00:09:17,588 I KNEW WHAT YOU'D THINK. 206 00:09:17,588 --> 00:09:20,761 OH, SHE WROTE A SONG ABOUT ME, SO OF COURSE I MUST HAVE K-- 207 00:09:20,761 --> 00:09:23,594 WHERE WERE YOU AFTER MIDNIGHT LAST NIGHT? 208 00:09:23,594 --> 00:09:26,837 SHE PLAYED A SET AT THE BITTER END LAST NIGHT... 209 00:09:26,837 --> 00:09:28,639 BRAND-NEW SONG. 210 00:09:28,639 --> 00:09:30,641 IT WAS, LIKE, A TOTAL SURPRISE. 211 00:09:30,641 --> 00:09:32,973 LIKE, THERE WAS NO E-MAIL BLAST OR NOTHING, SO I WASN'T THERE. 212 00:09:32,973 --> 00:09:35,646 I ASKED YOU WHERE YOU WERE, NOT WHERE YOU WEREN'T. 213 00:09:35,646 --> 00:09:38,278 SOMEONE RECORDED THE CONCERT AND POSTED IT ONLINE. 214 00:09:38,278 --> 00:09:40,811 IT'S GONE TOTALLY VIRAL ALREADY. 215 00:09:40,811 --> 00:09:43,283 SO THAT'S WHERE I WAS-- AT HOME IN MY ROOM 216 00:09:43,283 --> 00:09:45,986 LISTENING TO HAYLEY'S FINAL SHOW. 217 00:09:45,986 --> 00:09:48,989 YOU SAY FINAL SHOW LIKE YOU KNEW IT WAS GONNA BE HER LAST. 218 00:09:48,989 --> 00:09:51,591 I DID KNOW. SO DID HAYLEY. 219 00:09:51,591 --> 00:09:55,766 SHE KNEW LAST NIGHT SHE WAS GONNA DIE. 220 00:09:55,766 --> 00:09:57,798 LISTEN. 221 00:09:57,798 --> 00:10:00,170 (sighs) 222 00:10:00,170 --> 00:10:02,172 (guitar music playing) 223 00:10:02,172 --> 00:10:04,604 HER NEW SONG. 224 00:10:04,604 --> 00:10:06,677 ♪ THE HANDS WE'RE DEALT ♪ 225 00:10:06,677 --> 00:10:11,111 ♪ WILL NEVER DISAPPEAR ♪ 226 00:10:11,111 --> 00:10:17,347 ♪ DEATH, SHE GROWS NEAR ♪ 227 00:10:19,289 --> 00:10:21,251 "DEATH, SHE GROWS NEAR"? 228 00:10:21,251 --> 00:10:24,124 SHE KNEW HE WAS GONNA KILL HER LAST NIGHT. 229 00:10:24,124 --> 00:10:27,397 AND HE KNEW HE COULD FRAME ME WHEN HE DID. WHO ARE YOU TALKING ABOUT? 230 00:10:27,397 --> 00:10:29,399 I KNOW I'M NOT SUPPOSED TO, BUT... 231 00:10:29,399 --> 00:10:32,132 THE RESTRAINING ORDER... I FOLLOWED HER. 232 00:10:32,132 --> 00:10:35,706 I CAME AROUND THE CORNER, HE WAS YELLING AT HER. 233 00:10:35,706 --> 00:10:37,768 HE SAID HE WAS GONNA KILL HER. 234 00:10:37,768 --> 00:10:39,810 WHO SAID? 235 00:10:39,810 --> 00:10:42,112 FRANCO, WHO DID YOU SEE? 236 00:10:42,112 --> 00:10:44,845 ZACK METZGER, 237 00:10:44,845 --> 00:10:46,847 HER GUITARIST. 238 00:10:46,847 --> 00:10:50,250 ZACK METZGER, GUITAR GOD-- JUVIE RECORDS ARE SEALED, 239 00:10:50,250 --> 00:10:53,123 BUT HE'S GOT A HALF A DOZEN PRIORS AS AN ADULT. 240 00:10:53,123 --> 00:10:55,185 COUPLE OF 'EM ARE DOMESTIC ASSAULTS, TOO. 241 00:10:55,185 --> 00:10:58,088 APPARENTLY, HE LIKES TO HIT WOMEN. (Castle) LOOK AT THIS GUY. 242 00:10:58,088 --> 00:11:00,190 IF I WAS A WOMAN, I'D JUST HIM BACK. 243 00:11:00,190 --> 00:11:03,193 DOES HE LOOK LIKE A KILLER TO YOU? EVERYBODY LOOKS LIKE A KILLER TO ME, CASTLE. 244 00:11:03,193 --> 00:11:05,866 JOB REQUIREMENT. 245 00:11:05,866 --> 00:11:09,369 DO I LOOK LIKE A KILLER TO YOU? YES, YOU KILL MY PATIENCE. 246 00:11:09,369 --> 00:11:12,703 HEY. SO... I JUST TOOK A REPORT 247 00:11:12,703 --> 00:11:15,005 FROM THE RECEIVING OFFICER AT THE 20th PRECINCT. 248 00:11:15,005 --> 00:11:17,077 HE RECOGNIZED HAYLEY FROM THE NEWS. 249 00:11:17,077 --> 00:11:20,110 AND? HE SAYS HAYLEY SHOWED UP AT THEIR DOOR 250 00:11:20,110 --> 00:11:22,082 TO FILE A REPORT THE DAY SHE WENT MISSING. 251 00:11:22,082 --> 00:11:24,014 ABOUT WHAT? HE DOESN'T KNOW. 252 00:11:24,014 --> 00:11:26,016 SHE ASKED TO SPEAK WITH A DETECTIVE. 253 00:11:26,016 --> 00:11:28,889 BY THE TIME THE RECEIVING OFFICER FOUND ONE, 254 00:11:28,889 --> 00:11:32,392 SHE'D SKIPPED OUT. THERE'S ONLY ONE REASON YOU GO TO THE COPS--TO REPORT A CRIME. 255 00:11:32,392 --> 00:11:35,095 OR TO GET HELP BECAUSE YOU THINK YOU'RE IN DANGER. 256 00:11:35,095 --> 00:11:38,698 (rock music playing) 257 00:11:40,370 --> 00:11:42,332 (man speaks indistinctly) 258 00:11:42,332 --> 00:11:44,775 (music continues) 259 00:11:44,775 --> 00:11:47,277 (man) HANG ON A SECOND. I THINK WE'VE GOT COMPANY. 260 00:11:47,277 --> 00:11:48,979 (song ends) 261 00:11:48,979 --> 00:11:53,113 (man) CAREFUL WITH THAT GUITAR WHEN YOU PUT THAT AWAY. 262 00:11:53,113 --> 00:11:55,345 WE HEARD ABOUT WHAT HAPPENED TO HAYLEY. 263 00:11:55,345 --> 00:11:59,049 SUCKS, RIGHT? CAN I GET YOU A TISSUE? 264 00:11:59,049 --> 00:12:01,321 WE HAVE A WITNESS WHO SAW YOU GUYS FIGHTING. 265 00:12:01,321 --> 00:12:04,124 (chuckles) SO? SO SHE'S DEAD NOW. 266 00:12:04,124 --> 00:12:07,157 WELL, I DIDN'T KILL HER. ARE YOU SURE ABOUT THAT? 267 00:12:07,157 --> 00:12:09,229 YOU SURE YOU DIDN'T GET A LITTLE HIGH, 268 00:12:09,229 --> 00:12:12,232 MAYBE PULL A "HULK SMASH" ON YOUR BAND MATE? 269 00:12:12,232 --> 00:12:15,105 YEAH. YEAH, I'M SURE. WHERE WERE YOU 270 00:12:15,105 --> 00:12:17,768 BETWEEN MIDNIGHT AND 3:00 A.M. ON SUNDAY NIGHT? 271 00:12:17,768 --> 00:12:19,770 WE HAD A GIG. 272 00:12:19,770 --> 00:12:22,242 GILLESPIE SWEET 16 OVER ON 82nd. 273 00:12:22,242 --> 00:12:23,944 WE FINISHED AROUND 1:30. 274 00:12:23,944 --> 00:12:26,116 WE PACKED UP AND WE WERE OUT BY 2:00. 275 00:12:26,116 --> 00:12:28,879 ME AND NICK SHARED A CAB TO WILLIAMSBURG. 276 00:12:28,879 --> 00:12:31,321 I PAID WITH A CREDIT CARD. ARE WE DONE? 277 00:12:31,321 --> 00:12:33,824 WOW. SWEET 16 PARTIES. 278 00:12:33,824 --> 00:12:36,326 WHEN HAYLEY WAS WITH THE BAND, WEREN'T YOU OPENING FOR P!NK? 279 00:12:36,326 --> 00:12:39,189 WHAT DO YOU GUYS WANT ME TO SAY? 280 00:12:39,189 --> 00:12:42,262 OKAY, SHE SCREWED ALL OF US WHEN SHE HAD HER LITTLE MELTDOWN 281 00:12:42,262 --> 00:12:44,064 AND DECIDED TO GO SOLO. 282 00:12:44,064 --> 00:12:47,497 DO I HATE HER? YES. DID I KILL HER? NO. WHAT'D YOU GUYS FIGHT ABOUT? 283 00:12:47,497 --> 00:12:49,870 (sighs) HER BEING A SELFISH BITCH. 284 00:12:49,870 --> 00:12:51,171 SHE FOUND OUT 285 00:12:51,171 --> 00:12:54,044 THAT WE WERE HOLDING AUDITIONS FOR HER REPLACEMENT. 286 00:12:54,044 --> 00:12:56,476 AND SHE HAD THOSE D-BAG PRODUCERS SEND US 287 00:12:56,476 --> 00:12:59,850 A CEASE AND RESIST LETTER. OR A CEASE AND DESIST LETTER. 288 00:12:59,850 --> 00:13:02,512 WE MADE THE REPUTATION FOR THE NAME "BLUE PILL," 289 00:13:02,512 --> 00:13:04,184 BUT SHE OWNED IT. 290 00:13:04,184 --> 00:13:07,787 SO WHAT? SHE HAS A MELTDOWN AND DISAPPEARS OFF THE MAP, 291 00:13:07,787 --> 00:13:11,091 A-A-AND WE CAN'T USE OUR OWN DAMN NAME? 292 00:13:11,091 --> 00:13:14,224 HELL, WE CAN'T EVEN GET ARRESTED NOW. POOR CHOICE OF WORDS. 293 00:13:14,224 --> 00:13:16,266 (cell phone rings) 294 00:13:16,266 --> 00:13:17,427 (beeps) 295 00:13:17,427 --> 00:13:19,569 BECKETT. 296 00:13:19,569 --> 00:13:22,102 OKAY. 297 00:13:22,102 --> 00:13:25,105 HAYLEY'S SISTER IS ON HER WAY TO THE MORGUE 298 00:13:25,105 --> 00:13:27,277 TO IDENTIFY THE BODY. 299 00:13:27,277 --> 00:13:29,239 DON'T LEAVE TOWN. 300 00:13:29,239 --> 00:13:31,111 (woman) ♪ ONE MORE TIME IS WHAT I CRY ♪ 301 00:13:31,111 --> 00:13:33,083 BUT FEEL FREE TO BATHE. 302 00:13:33,083 --> 00:13:35,315 ♪ WHENEVER I BEGIN TO DROWN ♪ 303 00:13:35,315 --> 00:13:38,288 YEAH, WE NEED SECURITY DOWN HERE RIGHT AWAY. (woman) WHO'S THE STUPID BITCH NOW, HUH?! 304 00:13:38,288 --> 00:13:40,290 YOU ARE! WHO'S DEAD ONE NOW, HUH? 305 00:13:40,290 --> 00:13:42,292 (woman shouting indistinctly) WHAT'S GOING ON IN THERE? 306 00:13:42,292 --> 00:13:44,294 UH, HAYLEY BLUE'S SISTER SKY 307 00:13:44,294 --> 00:13:46,296 IS HAVING A VERY EMOTIONAL REACTION 308 00:13:46,296 --> 00:13:48,228 TO HER SISTER'S DEATH. YOU HYPOCRITE! WHO'S DEAD NOW, HUH? 309 00:13:48,228 --> 00:13:49,930 YOU ARE! 310 00:13:49,930 --> 00:13:51,331 SKY. 311 00:13:51,331 --> 00:13:53,433 OW. 312 00:13:53,433 --> 00:13:55,265 WHAT DO YOU WANT? 313 00:13:55,265 --> 00:13:58,438 'CAUSE I'M TALKING TO MY SISTER. I'M DETECTIVE KATE BECKETT. 314 00:13:58,438 --> 00:14:01,171 I'D LIKE TO ASK YOU A FEW QUESTIONS, IF THAT'S OKAY. 315 00:14:01,171 --> 00:14:04,044 YOU'RE A COP? YEAH. 316 00:14:04,044 --> 00:14:06,616 IS THAT A KNIFE? AM I BREAKING THE LAW? 317 00:14:06,616 --> 00:14:08,248 YEAH. 318 00:14:08,248 --> 00:14:09,449 BAD? 319 00:14:09,449 --> 00:14:11,151 PRETTY BAD. 320 00:14:11,151 --> 00:14:15,185 ♪ I'M SAFE AND SOUND ♪ 321 00:14:15,185 --> 00:14:18,028 ♪ AND IT'S WHERE I WANT TO BE ♪ 322 00:14:18,028 --> 00:14:21,031 ♪ AND WHERE I'M GONNA STAY ♪ 323 00:14:21,031 --> 00:14:24,134 ♪ 'CAUSE YOU WON'T TAKE ME DOWN ♪ 324 00:14:24,134 --> 00:14:26,136 DO YOU WANT TO KNOW A SECRET? 325 00:14:26,136 --> 00:14:27,998 ♪ NOT TODAY ♪ 326 00:14:27,998 --> 00:14:30,070 I THINK I MIGHT HAVE KILLED HER. 327 00:14:46,516 --> 00:14:48,188 HOW DID YOU KILL HER? 328 00:14:48,188 --> 00:14:50,460 I TOLD HER TO DO THE WORLD A FAVOR AND DROP DEAD. 329 00:14:50,460 --> 00:14:52,162 AND THEN SHE DID. 330 00:14:52,162 --> 00:14:55,225 IT'S FUNNY. SHE USUALLY DOESN'T LISTEN TO ME. 331 00:14:55,225 --> 00:14:59,169 WHY WOULD YOU TELL HER TO DROP DEAD? SHE'S YOUR SISTER. SHE WAS AN ASS. 332 00:14:59,169 --> 00:15:02,032 WHEN DID YOU SEE HER LAST? I DON'T KNOW-- WEDNESDAY, THURSDAY. 333 00:15:02,032 --> 00:15:05,205 WHAT DAY IS IT TODAY? WHERE'D YOU SEE HER? 334 00:15:10,410 --> 00:15:13,683 SHE FOUND ME SELLING A BRACELET 335 00:15:13,683 --> 00:15:16,516 THAT SHE BOUGHT ME FOR MY BIRTHDAY. 336 00:15:16,516 --> 00:15:18,518 DO YOU KNOW WHERE SHE WAS STAYING? 337 00:15:18,518 --> 00:15:20,590 NO, NOT SINCE SHE LEFT BREE AND IAN'S-- 338 00:15:20,590 --> 00:15:22,592 THE CHURCH OF HOLIER THAN THOU. 339 00:15:22,592 --> 00:15:24,554 SHE SAID SHE WAS GOING OFF THE GRID. 340 00:15:24,554 --> 00:15:26,556 SHE DIDN'T EVEN HAVE A PHONE. 341 00:15:26,556 --> 00:15:29,059 SECRET AGENT CLEAN AND SOBER-- HAYLEY BLUE. 342 00:15:29,059 --> 00:15:32,602 WHY'D SHE LEAVE THEIR PLACE? SHE ALWAYS LEAVES. 343 00:15:32,602 --> 00:15:36,236 YOU SAID SHE WAS LOOKING FOR YOU LAST WEEK. 344 00:15:36,236 --> 00:15:39,339 YEAH. SHE HAD SOMETHING TO TELL ME, SOMETHING IMPORTANT. 345 00:15:39,339 --> 00:15:42,272 WHAT? I DON'T KNOW, 'CAUSE I TOLD HER TO GO SCREW HERSELF. 346 00:15:42,272 --> 00:15:45,275 I MEAN, I REALLY DON'T NEED HER TRYING TO FIX ME 347 00:15:45,275 --> 00:15:47,277 OR TRYING TO SAVE ME OR MAKING PROMISES 348 00:15:47,277 --> 00:15:49,279 THAT SHE KNEW SHE WASN'T GONNA BE ABLE TO KEEP. 349 00:15:49,279 --> 00:15:52,983 WHAT PROMISES WOULD SHE MAKE? SHE SAID THAT I COULD COME BACK. 350 00:15:52,983 --> 00:15:56,256 SHE SAID THAT WE WERE GONNA BE A TEAM. 351 00:15:56,256 --> 00:15:58,228 BUT I HAD TO GET CLEAN. 352 00:15:58,228 --> 00:16:00,960 "YOU GOTTA CLEAN UP, BABY GIRL. 353 00:16:00,960 --> 00:16:02,962 YOU'RE GONNA END UP DEAD." 354 00:16:02,962 --> 00:16:04,494 HMM. THUS, IRONY. 355 00:16:04,494 --> 00:16:07,167 HOW WAS I SUPPOSED TO GET CLEAN... 356 00:16:07,167 --> 00:16:09,269 WHEN SHE COULDN'T EVEN DO IT? 357 00:16:09,269 --> 00:16:11,371 WAIT A MINUTE. SHE WAS USING AGAIN? 358 00:16:11,371 --> 00:16:14,604 YEAH, SHE WAS WITH TONY THE DAY AFTER I SAW HER. WHO'S TONY? 359 00:16:14,604 --> 00:16:16,746 MY DEALER. 360 00:16:16,746 --> 00:16:19,279 SHE WAS HANDING HIM A WAD OF CASH. 361 00:16:22,152 --> 00:16:24,214 I WAS JUST THINKING, IF SHE WAS USING AGAIN, 362 00:16:24,214 --> 00:16:26,386 THAT WOULD EXPLAIN WHY SHE LEFT HER PRODUCERS, 363 00:16:26,386 --> 00:16:28,388 BUT NOT WHY SHE WAS KILLED, 364 00:16:28,388 --> 00:16:30,390 WHO KILLED HER OR WHY SHE WENT TO THE POLICE. 365 00:16:30,390 --> 00:16:33,193 WHAT I JUST SAID WAS NOT CONFUSING ENOUGH 366 00:16:33,193 --> 00:16:35,765 FOR YOUR FACE TO DO WHAT IT'S DOING. THAT WAS PERLMUTTER. 367 00:16:35,765 --> 00:16:38,268 THE TOX RESULTS JUST GOT BACK FROM THE LAB. 368 00:16:38,268 --> 00:16:40,270 THERE WERE NO DRUGS IN HAYLEY'S SYSTEM. 369 00:16:40,270 --> 00:16:42,272 SHE WAS 100% CLEAN AND SOBER. 370 00:16:42,272 --> 00:16:44,274 THEN WHY WAS SHE GIVING A WAD OF CASH 371 00:16:44,274 --> 00:16:46,376 TO TONY THE DRUG DEALER? 372 00:16:51,141 --> 00:16:54,144 SHE DIDN'T WANT DRUGS. SHE WANTED A GUN. A GUN? 373 00:16:54,144 --> 00:16:56,216 NOT A PUNK-ASS .22 EITHER. 374 00:16:56,216 --> 00:16:59,189 A .38. SHE WANTED TO PUT A HOLE IN A BROTHER. 375 00:16:59,189 --> 00:17:02,422 SEEING AS SHE'S DEAD, I SAY I DID THE RIGHT THING AT THE TIME. 376 00:17:02,422 --> 00:17:04,524 THE GIRL WAS SCARED. OF WHAT? 377 00:17:04,524 --> 00:17:06,526 DIDN'T SAY, AND I DIDN'T ASK. 378 00:17:06,526 --> 00:17:09,199 SHE JUST WANTED THE GUN. 379 00:17:09,199 --> 00:17:12,202 ARE YOU SURE? (Perlmutter) You telling me how to do my job? 380 00:17:12,202 --> 00:17:15,605 NO, PERLMUTTER. I'M NOT TRYING TO TELL YOU HOW TO DO YOUR JOB. Good. You can stop calling me, then. 381 00:17:15,605 --> 00:17:19,569 I JUST... HELLO? HE JUST HUNG UP ON ME. 382 00:17:19,569 --> 00:17:22,272 THERE'S A REASON HE HANGS OUT WITH DEAD PEOPLE. 383 00:17:22,272 --> 00:17:25,115 SO WHAT DID HE SAY? HE IDENTIFIED THE LIPSTICK THAT WAS USED 384 00:17:25,115 --> 00:17:27,647 TO PAINT A SMILE ON HAYLEY'S FACE 385 00:17:27,647 --> 00:17:30,450 AS DANIELLA BOLAN'S VELVET KISS LIPSTICK--LAVA RED. YES, BUT WHAT ABOUT THE GUN? WHAT'D HE SAY ABOUT THE GUN? 386 00:17:30,450 --> 00:17:33,253 OH, I THOUGHT YOU'D NEVER ASK. 387 00:17:33,253 --> 00:17:36,156 THEY FOUND GUNPOWDER RESIDUE ON HAYLEY'S HANDS. 388 00:17:36,156 --> 00:17:39,159 SO NOT ONLY DID SHE BUY A GUN, BUT SHE USED IT. 389 00:17:39,159 --> 00:17:42,592 BUT WHY DIDN'T WE FIND IT? THAT'S BECAUSE WE DIDN'T FIND HER WHERE SHE WAS KILLED. 390 00:17:42,592 --> 00:17:45,135 SO SOMEONE ATTACKED HER, SOMEONE THAT SHE WAS AFRAID OF. 391 00:17:45,135 --> 00:17:47,797 SHE TRIES TO SHOOT THEM, AND IN THE STRUGGLE, 392 00:17:47,797 --> 00:17:50,600 THE ASSAILANT BREAKS HER NECK, DRAGS HER DOWN AN ALLEYWAY, 393 00:17:50,600 --> 00:17:53,072 HANGS HER UPSIDE DOWN, PAINTS A SMILE ON HER FACE, 394 00:17:53,072 --> 00:17:56,106 WHICH APPARENTLY WAS A LOT LIKE A MUSIC VIDEO 395 00:17:56,106 --> 00:17:58,378 THAT HAS NOTHING TO DO WITH OUR MURDER. 396 00:17:58,378 --> 00:18:00,450 YOU THOUGHT YOU SOUNDED SO SMART 397 00:18:00,450 --> 00:18:03,453 WHEN YOU STARTED THAT SENTENCE, DIDN'T YOU? OKAY, MR. MYSTERY WRITER MAN, 398 00:18:03,453 --> 00:18:06,556 WHAT'S YOUR BEST-SELLING THEORY? I'M GONNA GO WITH THE BUTLER. 399 00:18:06,556 --> 00:18:10,160 THE BUTLER? THAT'S WHO WE ALWAYS GO WITH WHEN WE RUN OUT OF IDEAS. 400 00:18:10,160 --> 00:18:12,292 HOW ABOUT ALEXIS? OH, ALEXIS. 401 00:18:12,292 --> 00:18:14,294 SHE'S PERFECT-- SHE'S PERIPHERAL TO THE CASE, 402 00:18:14,294 --> 00:18:16,296 WE DON'T SUSPECT HER, SHE HAS NO ALIBI. 403 00:18:16,296 --> 00:18:19,169 OKAY, I'LL TELL YOU WHAT, WHY DON'T YOU GO HOME 404 00:18:19,169 --> 00:18:21,771 AND QUESTION HER? AND IF SHE BREAKS, CALL ME. 405 00:18:21,771 --> 00:18:24,334 (Castle) HEY. 406 00:18:24,334 --> 00:18:27,207 IF YOU KILLED SOMEONE, YOU WOULD TELL ME, RIGHT? 407 00:18:27,207 --> 00:18:29,709 OF COURSE. (music playing indistinctly) 408 00:18:29,709 --> 00:18:31,811 I'D NEED HELP HIDING THE BODY. 409 00:18:31,811 --> 00:18:33,813 AH HA HA. THAT'S MY GIRL. 410 00:18:33,813 --> 00:18:35,845 HI, DARLING. DID YOU GET MY TEXTS? 411 00:18:35,845 --> 00:18:38,618 YEAH. DID YOU REALLY MEET THE REST OF THE BLUE PILL? 412 00:18:38,618 --> 00:18:42,322 YES, I DID, AND ALL I CAN SAY IS, ADMIRE THEM FROM AFAR. 413 00:18:42,322 --> 00:18:45,355 WHAT ARE YOU LISTENING TO? (Martha) IT'S HAYLEY'S LAST PERFORMANCE. 414 00:18:45,355 --> 00:18:49,299 OY! SHE HASN'T STOPPED LISTENING TO IT ALL NIGHT. 415 00:18:49,299 --> 00:18:50,830 IT'S CALLED "THRESHOLD." 416 00:18:50,830 --> 00:18:52,832 OH, YEAH. IT'S, UH, IT'S PRETTY. 417 00:18:52,832 --> 00:18:54,604 A LITTLE CREEPY, THOUGH. 418 00:18:54,604 --> 00:18:56,836 VERY CREEPY. HOW'S IT CREEPY? 419 00:18:56,836 --> 00:18:58,338 "DEATH, SHE GROWS NEAR"? 420 00:18:58,338 --> 00:18:59,869 IT'S KINDA LIKE "FINAL DESTINATION," 421 00:18:59,869 --> 00:19:03,243 BUT IN SONG FORM. SHE DOESN'T MEAN "DEATH" DEATH. 422 00:19:03,243 --> 00:19:06,145 WELL, WHAT OTHER KINDS OF DEATH ARE THERE? 423 00:19:06,145 --> 00:19:08,147 ALLEGORICAL, METAPHORIC, SYMBOLIC, SPIRITUAL, 424 00:19:08,147 --> 00:19:11,251 EMOTIONAL, SEXUAL-- AH, O-OKAY, OKAY. THAT'S QUITE ENOUGH. 425 00:19:11,251 --> 00:19:13,823 I THINK I'M PAYING FAR TOO MUCH FOR HER EDUCATION. 426 00:19:13,823 --> 00:19:16,726 I THINK THIS ONE'S SYMBOLIC. HAYLEY WAS INTO ALL SORTS 427 00:19:16,726 --> 00:19:20,230 OF NEW AGE-Y IMAGERY--UH, NUMEROLOGY, ASTROLOGY, TAROT. 428 00:19:20,230 --> 00:19:23,363 AND IN TAROT, THE DEATH CARD DOESN'T SYMBOLIZE DYING. 429 00:19:23,363 --> 00:19:25,795 IT SYMBOLIZES TRANSFORMATION, CHANGE. 430 00:19:25,795 --> 00:19:27,797 LISTEN. (computer beeps, volume increases) 431 00:19:27,797 --> 00:19:29,469 ♪ THE HANDS WE'RE DEALT ♪ 432 00:19:29,469 --> 00:19:33,273 ♪ WILL NEVER DISAPPEAR ♪ 433 00:19:33,273 --> 00:19:36,306 (beep, song pauses) "THE HANDS WE'RE DEALT," LIKE SHE'S HAVING HER CARDS READ. 434 00:19:36,306 --> 00:19:38,308 "DEATH GROWS NEAR" MEANS CHANGE IS COMING. 435 00:19:38,308 --> 00:19:41,881 OH, OH, THAT REMINDS ME OF SITTING AROUND WITH LISA OLSEN 436 00:19:41,881 --> 00:19:44,314 TRYING TO DECODE THE BEATLES' LYRICS-- 437 00:19:44,314 --> 00:19:46,756 SPINNING THE RECORD BACKWARDS AND TO SEE IF, UH, 438 00:19:46,756 --> 00:19:48,588 PAUL WAS DEAD. 439 00:19:48,588 --> 00:19:50,590 AND WHO COULD FORGET THE COUNTLESS HOURS 440 00:19:50,590 --> 00:19:53,493 I SPENT PONDERING THE LYRICS TO VAN HALEN'S "HOT FOR TEACHER"? 441 00:19:53,493 --> 00:19:55,925 MM. (cell phone rings and beeps, e-mail signal dings) 442 00:19:55,925 --> 00:19:58,328 (laughs) SOUNDS LIKE A DRAMA IS AFOOT. 443 00:19:58,328 --> 00:20:01,801 WHO KISSED WHOM AT WHICH BLEACHERS? NO, IT'S THE OFFICIAL BLUE PILL WEB SITE. 444 00:20:01,801 --> 00:20:03,473 THERE'S A NEW THREAD 445 00:20:03,473 --> 00:20:06,736 TALKING ABOUT THE BAND GETTING BACK TOGETHER. WHAT? 446 00:20:06,736 --> 00:20:08,638 LOOK AT THIS. 447 00:20:08,638 --> 00:20:11,481 "SKY BLUE IS SUPPOSED TO TAKE HAYLEY'S PLACE AS LEAD SINGER. 448 00:20:11,481 --> 00:20:13,283 "THIS IS ALL BUT A DONE DEAL. 449 00:20:13,283 --> 00:20:15,545 "I HEARD THEY'RE STARTING REHEARSALS RIGHT AWAY. 450 00:20:15,545 --> 00:20:18,348 O.M.G.! O.M.G.! O.M.G.!" AND LOOK AT THIS ONE. 451 00:20:18,348 --> 00:20:20,350 "A SOURCE AT JOHN McGINNIS MANAGEMENT 452 00:20:20,350 --> 00:20:22,352 "CONFIRMED IT WHEN I CALLED-- 453 00:20:22,352 --> 00:20:24,394 THE BLUE PILL IS DEFINITELY GETTING BACK TOGETHER." 454 00:20:24,394 --> 00:20:27,297 "THE HAYLEY BLUE TRIBUTE TOUR." I THOUGHT YOU SAID HAYLEY WOULDN'T LET THE BAND 455 00:20:27,297 --> 00:20:28,998 HAVE THE NAME BACK. SHE WOULDN'T. 456 00:20:28,998 --> 00:20:31,901 THEN HOW CAN THEY USE IT? WELL, HAYLEY IS DEAD AND SKY'S HER ONLY FAMILY. 457 00:20:31,901 --> 00:20:35,335 IF HAYLEY OWNED THE NAME, THEN IT WOULD GO TO SKY. YOU DON'T THINK SKY KILLED HER OWN SISTER? 458 00:20:35,335 --> 00:20:38,268 SKY IS 100 POUNDS DRIPPING WET. 459 00:20:38,268 --> 00:20:42,272 THE ONLY NECK SHE COULD BREAK IS HER OWN. 460 00:20:42,272 --> 00:20:44,274 "JOHN McGINNIS MANAGEMENT." WHO'S JOHN McGINNIS? 461 00:20:44,274 --> 00:20:46,416 HAYLEY'S OLD MANAGER. SHE FIRED HIM WHEN SHE GOT CLEAN. 462 00:20:46,416 --> 00:20:47,917 SHE DIDN'T SAY HIS NAME, 463 00:20:47,917 --> 00:20:49,919 BUT IN HER INTERVIEW IN "SPIN" LAST MONTH, 464 00:20:49,919 --> 00:20:52,622 SHE PRETTY MUCH IMPLIED THAT HE'S THE ONE 465 00:20:52,622 --> 00:20:56,826 THAT GOT HER HOOKED TO BEGIN WITH. IF THE BAND GOT BACK TOGETHER, HE'D HAVE THE MOST TO GAIN. 466 00:20:56,826 --> 00:20:59,389 NOW DOES THAT MAN LOOK LIKE A KILLER TO YOU? 467 00:20:59,389 --> 00:21:01,461 EVERYBODY LOOKS LIKE A KILLER TO ME. 468 00:21:01,461 --> 00:21:03,393 IT'S A JOB REQUIREMENT. 469 00:21:03,393 --> 00:21:06,336 YOU DIDN'T SAY THAT ABOUT SKY. 470 00:21:06,336 --> 00:21:08,668 JUST... LET ME HAVE THIS MOMENT. 471 00:21:16,546 --> 00:21:17,977 I TOLD YOU-- 472 00:21:17,977 --> 00:21:20,480 SUNDAY NIGHT, I WAS IN PHILLY SCOUTING A BAND. 473 00:21:20,480 --> 00:21:23,282 I HIT A MOTEL, I WATCHED A LITTLE PAY-PER-VIEW, 474 00:21:23,282 --> 00:21:26,656 AND I WENT TO BED, WHICH MAY SAY SOMETHING ABOUT MY TASTE, 475 00:21:26,656 --> 00:21:29,819 BUT IT DOES NOT MAKE ME A CRIMINAL. 476 00:21:29,819 --> 00:21:31,561 BUT YOUR RAP SHEET DOES. 477 00:21:31,561 --> 00:21:33,563 SIX COUNTS OF MISDEMEANOR POSSESSION, 478 00:21:33,563 --> 00:21:36,896 TWO COUNTS OF FELONY POSSESSION WITH THE INTENT TO DISTRIBUTE. 479 00:21:36,896 --> 00:21:38,828 (Castle) WHAT'D YOU DO, McGINNIS, 480 00:21:38,828 --> 00:21:40,330 GIVE 'EM A LITTLE TASTE, 481 00:21:40,330 --> 00:21:43,703 MAKE 'EM NEED YOU, MAKE 'EM DEPEND ON YOU? 482 00:21:43,703 --> 00:21:46,406 YOU WANT TO KNOW WHAT I DO? 483 00:21:46,406 --> 00:21:48,508 I MAKE THINGS HAPPEN. 484 00:21:48,508 --> 00:21:50,510 WHEN I MET HAYLEY AND HER SISTER, 485 00:21:50,510 --> 00:21:52,382 THEY WERE PLAYING OPEN MIKES 486 00:21:52,382 --> 00:21:54,914 AT COFFEEHOUSES IN THE EAST VILLAGE. 487 00:21:54,914 --> 00:21:56,916 WHO DO YOU THINK GOT HER A VOCAL COACH? 488 00:21:56,916 --> 00:21:58,818 WHO PAID FOR HER STYLIST? 489 00:21:58,818 --> 00:22:01,591 I TOOK A THIRD-RATE-- A THIRD-RATE--MILEY CYRUS 490 00:22:01,591 --> 00:22:04,093 AND TURNED HER INTO THE NEXT GWEN STEFANI, 491 00:22:04,093 --> 00:22:06,626 AND RIGHT BEFORE MY PAYOFF, 492 00:22:06,626 --> 00:22:09,499 SHE WALKS AWAY. 493 00:22:09,499 --> 00:22:11,561 I... I... (mutters) 494 00:22:11,561 --> 00:22:13,563 AND SINCE SHE OWNED THE BAND NAME, 495 00:22:13,563 --> 00:22:15,435 YOUR HANDS WERE TIED. 496 00:22:15,435 --> 00:22:16,906 BUT NOW THAT SHE'S DEAD, 497 00:22:16,906 --> 00:22:19,409 ALL YOU NEEDED TO DO WAS ROPE IN SKY. 498 00:22:19,409 --> 00:22:21,771 (laughs) LOOK... 499 00:22:21,771 --> 00:22:23,973 THE WAY I SEE IT, 500 00:22:23,973 --> 00:22:26,976 THE BAND GETS BACK TOGETHER, EVERYBODY MAKES A LOT OF MONEY, 501 00:22:26,976 --> 00:22:29,348 EVERYBODY'S HAPPY. 502 00:22:29,348 --> 00:22:32,452 EXCEPT FOR HAYLEY, BECAUSE SHE'S DEAD. 503 00:22:32,452 --> 00:22:35,455 WHICH WILL NO DOUBT HELP US SELL LOTS OF TICKETS 504 00:22:35,455 --> 00:22:37,857 WHEN THE BAND GOES BACK ON TOUR. 505 00:22:37,857 --> 00:22:40,730 IS THAT WHY YOU KILLED HER? 506 00:22:42,392 --> 00:22:46,496 NOW I KNOW MY RIGHTS HERE, AND I'M DONE TALKING. 507 00:22:46,496 --> 00:22:49,669 YOU THINK YOU GOT A CASE? ARREST ME. 508 00:22:49,669 --> 00:22:53,573 I WOULD LOVE TO HAVE THAT KIND OF PUBLICITY. 509 00:22:53,573 --> 00:22:56,576 I NEVER FULLY APPRECIATED THE NUANCES OF THE WORD "SKEEVY" 510 00:22:56,576 --> 00:22:58,147 UNTIL JUST NOW. 511 00:22:58,147 --> 00:23:01,010 HEY, RYAN, DID YOU GET THE PHONE RECORDS 512 00:23:01,010 --> 00:23:04,013 FOR JOHN McGINNIS AND McGINNIS MANAGEMENT? YEAH, JUST GOT 'EM. 513 00:23:04,013 --> 00:23:07,016 YOU DON'T THINK HE DID IT? HE CHALLENGED ME TO ARREST HIM. 514 00:23:07,016 --> 00:23:09,018 HE'S PROBABLY SCREWED 515 00:23:09,018 --> 00:23:11,020 AND FIGURES BLUFFING IS HIS BEST BET. 516 00:23:11,020 --> 00:23:13,893 RYAN, LET'S CROSS-REFERENCE HIS CALLS WITH OUR HIT LIST, 517 00:23:13,893 --> 00:23:16,095 FIND OUT IF HE WAS IN CONTACT 518 00:23:16,095 --> 00:23:18,898 WITH ANYONE FROM HAYLEY'S INNER CIRCLE. WHAT ABOUT HIM BEING IN PHILADELPHIA? 519 00:23:18,898 --> 00:23:21,701 WITH THE RIGHT CONNECTIONS, YOU CAN KILL WITH A PHONE CALL. YEAH, RIGHT HERE. 520 00:23:21,701 --> 00:23:24,534 LOOKS LIKE THE DAY BEFORE HAYLEY DIED, McGINNIS PUT IN 521 00:23:24,534 --> 00:23:27,176 A 10-MINUTE PHONE CALL TO ZACK, THE GUITARIST. 522 00:23:27,176 --> 00:23:30,440 HE HASN'T REPRESENTED THE BAND IN MONTHS. 523 00:23:30,440 --> 00:23:33,743 WHY WOULD HE CALL ZACK THE DAY BEFORE HAYLEY DIED? 524 00:23:33,743 --> 00:23:36,085 LET'S GO FIND OUT. 525 00:23:36,085 --> 00:23:39,188 (Zack) WHAT IS YOUR PROBLEM, YOU FREAK?! 526 00:23:39,188 --> 00:23:42,121 YOU ARE COMPLETELY MENTAL! (Sky) WHO THE HELL DO YOU THINK YOU ARE, LOSER?! 527 00:23:42,121 --> 00:23:45,024 DON'T YOU WALK AWAY FROM ME. I'M TALKING TO YOU! 528 00:23:45,024 --> 00:23:48,598 (objects clattering and crashing) GET THE HELL AWAY FROM ME! YOU TOUCH ME AGAIN, 529 00:23:48,598 --> 00:23:51,461 AND I SWEAR TO GOD, I WILL KILL YOU! (Castle) WHOA! HEY! 530 00:23:51,461 --> 00:23:53,202 SCREW YOU, YOU STUPID WHORE! SIT DOWN, ZACK! 531 00:23:53,202 --> 00:23:55,505 (Sky) OH, STOP! HEY, SKY. IT'S OKAY. SKY. 532 00:23:55,505 --> 00:23:58,067 NO, DON'T! LEAVE ME ALONE. WHAT DID YOU DO TO HER? 533 00:23:58,067 --> 00:23:59,509 NOTHING, MAN! SHE ATTACKED ME. 534 00:23:59,509 --> 00:24:02,111 WE WERE RIFFING ON ONE OF HAYLEY'S SONGS. 535 00:24:02,111 --> 00:24:04,744 ONE MINUTE SHE'S SINGING ALONG, THE NEXT MINUTE, 536 00:24:04,744 --> 00:24:07,747 SHE GOES POSTAL, STARTS TELLING ME I'M STEALING FROM HAYLEY. 537 00:24:07,747 --> 00:24:10,520 SHE'S CRAZY. IT DOESN'T LOOK GOOD, ZACK. 538 00:24:10,520 --> 00:24:13,152 BEATING UP ONE BLUE, KILLING ANOTHER? LOOK, I ALREADY TOLD YOU GU-- 539 00:24:13,152 --> 00:24:15,154 SIT DOWN! SIT! 540 00:24:15,154 --> 00:24:17,086 NOW TALK. 541 00:24:17,086 --> 00:24:21,591 I ALREADY TOLD YOU GUYS, I DIDN'T KILL HAYLEY. OKAY? 542 00:24:21,591 --> 00:24:23,663 I WAS AT THE BIRTHDAY GIG, REMEMBER? 543 00:24:23,663 --> 00:24:25,865 RIGHT. THE GILLESPIES' SWEET 16? 544 00:24:25,865 --> 00:24:28,838 YOU TOOK THREE HALF-HOUR BREAKS IN BETWEEN SETS, 545 00:24:28,838 --> 00:24:32,471 DURING WHICH NO ONE REMEMBERS SEEING YOU. 546 00:24:32,471 --> 00:24:34,944 YOU COULD'VE EASILY SLIPPED AWAY AND KILLED HAYLEY. 547 00:24:34,944 --> 00:24:37,777 NOBODY SAW ME BECAUSE I DIDN'T WANT TO SPARK UP A PIPE 548 00:24:37,777 --> 00:24:40,980 IN FRONT OF A BUNCH OF TEENAGERS. WELL, YOUR INNATE SENSE OF DECENCY IS INSPIRING. 549 00:24:40,980 --> 00:24:43,482 WHY DID YOU TALK TO JOHN McGINNIS 550 00:24:43,482 --> 00:24:45,915 THE DAY BEFORE HAYLEY WAS KILLED? HE'S MY MANAGER. IS THAT A CRIME? 551 00:24:45,915 --> 00:24:47,917 EX-MANAGER. HE LET ALL OF YOU GUYS GO 552 00:24:47,917 --> 00:24:50,019 AFTER HAYLEY DISBANDED THE GROUP. 553 00:24:50,019 --> 00:24:52,491 SO WHY DID HE CALL YOU, ZACK? 554 00:24:52,491 --> 00:24:55,264 I'LL TELL YOU WHY. YOU BOTH NEEDED TO GET RID OF HAYLEY 555 00:24:55,264 --> 00:24:58,998 TO GET THE BAND NAME BACK, AND HE CALLED WITH A PLAN. 556 00:24:58,998 --> 00:25:01,070 OKAY, LOOK, FINE, HE HAD A PLAN. 557 00:25:01,070 --> 00:25:03,903 BUT IT WASN'T TO KILL HAYLEY. HE WANTED TO FIND SKY. 558 00:25:03,903 --> 00:25:06,235 WHY? HE HEARD THAT SKY AND HAYLEY WERE TALKING AGAIN. 559 00:25:06,235 --> 00:25:10,009 HE WANTED ME TO GREASE HER WHEELS A BIT. OH, WHAT, WITH YOUR VAST ARRAY OF CHARMS? 560 00:25:10,009 --> 00:25:12,011 IT'S OKAY. 561 00:25:12,011 --> 00:25:14,013 McGINNIS WANTED ME TO GIVE HER DOPE 562 00:25:14,013 --> 00:25:16,015 AND HAVE HER TALK TO HAYLEY 563 00:25:16,015 --> 00:25:18,517 AND GET THE BAND NAME BACK. 564 00:25:18,517 --> 00:25:21,851 HE KNEW THAT THE ONLY WAY TO GET TO HAYLEY WAS THROUGH SKY. 565 00:25:21,851 --> 00:25:24,554 SO I GOT HER WASTED, OKAY? 566 00:25:24,554 --> 00:25:26,195 A LITTLE TOO WASTED. 567 00:25:26,195 --> 00:25:29,258 AND I WENT TO GO SEE HAYLEY MYSELF. 568 00:25:29,258 --> 00:25:33,162 YOU SAW HAYLEY THE NIGHT THAT SHE WAS KILLED? 569 00:25:33,162 --> 00:25:36,065 YOU SHOULDA TOLD US THAT, ZACK. 570 00:25:36,065 --> 00:25:39,208 WHAT, MAKE ME LOOK EVEN MORE GUILTY TO YOU GUYS? 571 00:25:39,208 --> 00:25:42,171 NO. I WATCH TV. I KNOW HOW THE JURY WORKS. 572 00:25:42,171 --> 00:25:45,214 THESE ARE THE LITTLE THINGS THAT GET YOU CONVICTED. SO DOES LYING TO COPS. 573 00:25:45,214 --> 00:25:47,777 KEEP GOING. SPILL IT. 574 00:25:47,777 --> 00:25:50,549 SHE WAS AT A COFFEEHOUSE. 575 00:25:50,549 --> 00:25:52,321 SHE WAS WRITING SONGS AGAIN. 576 00:25:52,321 --> 00:25:54,684 E-EVERYTHING WAS FINE UNTIL HER PHONE RANG. 577 00:25:54,684 --> 00:25:56,686 WHAT HAPPENED? 578 00:25:56,686 --> 00:25:58,257 SHE FREAKED. 579 00:25:58,257 --> 00:25:59,959 SHE HIT "IGNORE," 580 00:25:59,959 --> 00:26:02,161 BUT EVERY TIME SHE DID, IT JUST RANG AGAIN. 581 00:26:02,161 --> 00:26:06,295 AND EVERY TIME IT RANG, SHE JUST FLIPPED OUT EVEN MORE. YOU HAVE ANY IDEA WHO IT WAS? 582 00:26:06,295 --> 00:26:08,297 YEAH, BECAUSE THEY CALLED SO MANY TIMES, 583 00:26:08,297 --> 00:26:10,900 I SAW THE CALLER I.D. 584 00:26:10,900 --> 00:26:14,974 IT SCARED ME WHEN I SAW IT, TOO. 585 00:26:14,974 --> 00:26:19,809 IT SAID IT WAS DEATH CALLING. 586 00:26:19,809 --> 00:26:22,281 (Castle) I THOUGHT SHE DIDN'T HAVE A PHONE? 587 00:26:22,281 --> 00:26:25,254 SHE PROBABLY HAD A PAY-AS-YOU-GO PLAN, PAID CASH, 588 00:26:25,254 --> 00:26:27,356 AND GAVE THE PHONE COMPANY FALSE INFORMATION. 589 00:26:27,356 --> 00:26:29,689 WELL, THAT MAKES SENSE IF SHE WAS HIDING FROM DEATH 590 00:26:29,689 --> 00:26:31,921 AND TRYING TO STAY OFF THE GRID LIKE SKY SAID. 591 00:26:31,921 --> 00:26:33,923 OKAY, SO OBVIOUSLY, THERE'S A HUMAN BEING 592 00:26:33,923 --> 00:26:35,925 AT THE OTHER END OF THE PHONE. 593 00:26:35,925 --> 00:26:37,927 AND WHOEVER IT IS PROBABLY TRACKED HER DOWN 594 00:26:37,927 --> 00:26:39,228 AND THEN KILLED HER. 595 00:26:39,228 --> 00:26:41,230 SO WHO HAD THE DUBIOUS DISTINCTION 596 00:26:41,230 --> 00:26:43,232 OF BEING KNOWN BY HAYLEY AS "DEATH"? 597 00:26:43,232 --> 00:26:45,234 OKAY. WELL, HOW DOES THE SONG GO? 598 00:26:45,234 --> 00:26:48,337 "DEATH, SHE GROWS NEAR." "SHE"--DEATH IS A WOMAN. 599 00:26:48,337 --> 00:26:50,039 OKAY, FOLLOWING YOU SO FAR. 600 00:26:50,039 --> 00:26:51,340 OKAY, ALEXIS SAYS THAT HAYLEY 601 00:26:51,340 --> 00:26:54,043 LIKED TO DRAW FROM TAROT CARDS IN HER WRITING. 602 00:26:54,043 --> 00:26:56,045 AND IN TAROT CARDS, DEATH ISN'T DEATH. 603 00:26:56,045 --> 00:26:58,347 DEATH MEANS CHANGE. OKAY, SO SHE WASN'T HIDING FROM DEATH. 604 00:26:58,347 --> 00:27:01,791 SHE WAS HIDING FROM CHANGE. SHE HATED OBAMA. 605 00:27:01,791 --> 00:27:03,793 WHO WAS THE EMBODIMENT OF CHANGE? 606 00:27:03,793 --> 00:27:05,895 WHAT WOMAN REPRESENTED 607 00:27:05,895 --> 00:27:08,698 THE BIGGEST CHANGE IN HAYLEY'S LIFE? 608 00:27:08,698 --> 00:27:10,760 THE ONE WHO SENT HER TO REHAB. 609 00:27:10,760 --> 00:27:12,762 THE ONE WHO SAVED HER LIFE. 610 00:27:12,762 --> 00:27:15,264 BREE BUSCH? WHY WOULD HAYLEY'S PRODUCER WANT TO HURT HER? 611 00:27:15,264 --> 00:27:18,107 I DON'T KNOW, BUT IT'S WORTH A SHOT. 612 00:27:18,107 --> 00:27:21,170 (sniffling) 613 00:27:21,170 --> 00:27:24,043 ARE YOU CRYING? (mouths words) 614 00:27:24,043 --> 00:27:27,046 (crying and sniffling) 615 00:27:28,818 --> 00:27:30,880 HEY. 616 00:27:32,922 --> 00:27:35,384 I WAS SINGING HER WORDS. 617 00:27:35,384 --> 00:27:38,758 I COULD HEAR HER VOICE. 618 00:27:38,758 --> 00:27:41,861 I COULD FEEL HER, LIKE SHE WAS HERE. 619 00:27:45,034 --> 00:27:48,367 THAT'S BECAUSE YOUR SISTER WAS STRONG. 620 00:27:48,367 --> 00:27:50,039 (sniffling) 621 00:27:50,039 --> 00:27:52,041 YOU THOUGHT THAT SHE WAS USING AGAIN. 622 00:27:52,041 --> 00:27:54,844 BUT SHE WASN'T. SHE WAS CLEAN. 623 00:28:01,680 --> 00:28:03,682 I WISH THERE WAS SOMETHING WE COULD DO. 624 00:28:03,682 --> 00:28:06,015 CAN'T WE SEND HER TO REHAB OR SOMETHING? 625 00:28:06,015 --> 00:28:09,018 NO ONE CAN HELP HER UNTIL SHE'S READY TO GET CLEAN. 626 00:28:09,018 --> 00:28:12,021 SO I CALLED IN THE WARRANTS YOU WANTED ON BREE BUSCH. 627 00:28:12,021 --> 00:28:14,293 PHONE RECORDS ARE GONNA TAKE A DAY, 628 00:28:14,293 --> 00:28:16,996 BUT HER CREDIT CARD PUTS HER IN THE CITY AT 10:48. 629 00:28:16,996 --> 00:28:18,998 NOW I CHECKED OUR INTERVIEW NOTES. 630 00:28:18,998 --> 00:28:21,470 SHE SAID SHE WAS AT HOME IN BROOKLYN AT 10:00. WHERE WAS SHE AT 10:48? 631 00:28:21,470 --> 00:28:23,873 AT A PHARMACY AT 12th AND 19th. 632 00:28:23,873 --> 00:28:26,705 THAT'S THREE BLOCKS FROM THE CRIME SCENE. (Esposito) YEAH. 633 00:28:26,705 --> 00:28:28,707 MADE ME WONDER WHAT SHE WAS SHOPPING FOR, 634 00:28:28,707 --> 00:28:31,440 SO I CALLED THE STORE. THEY FAXED OVER A RECEIPT. 635 00:28:31,440 --> 00:28:33,442 BOTTLE OF WATER, ENERGY BAR... 636 00:28:33,442 --> 00:28:38,017 AND A TUBE OF DANIELLA BOLAN VELVET KISS LAVA RED LIPSTICK. 637 00:28:38,017 --> 00:28:42,351 THAT'S THE SAME LIPSTICK USED TO PAINT A SMILE ON HAYLEY'S FACE. 638 00:28:49,228 --> 00:28:50,729 OKAY, IT'S TRUE. 639 00:28:50,729 --> 00:28:52,862 I SAW HER THE NIGHT SHE DIED. 640 00:28:52,862 --> 00:28:55,304 WHY DIDN'T YOU TELL US THAT BEFORE? 641 00:28:55,304 --> 00:28:57,306 SHE HAD CALLED THE STUDIO EARLIER THAT DAY. 642 00:28:57,306 --> 00:28:59,308 SHE SPOKE TO MY ASSISTANT KELLY, OKAY? 643 00:28:59,308 --> 00:29:01,911 SHE SAID SHE WANTED TO COME BY AND PICK UP SOME STUFF 644 00:29:01,911 --> 00:29:04,944 SHE'D LEFT BEHIND-- A GUITAR AND SOME PEDALS. THAT'S HOW YOU GOT HER NEW NUMBER. 645 00:29:04,944 --> 00:29:08,047 I CALLED HER BACK IMMEDIATELY. YOU KNOW, I KEPT CALLING. 646 00:29:08,047 --> 00:29:11,020 SHE WOULDN'T PICK UP. I MUST HAVE LEFT HALF A DOZEN MESSAGES. 647 00:29:11,020 --> 00:29:13,022 SO FINALLY I-I, YOU KNOW, LEFT HER A MESSAGE SAYING, 648 00:29:13,022 --> 00:29:14,323 "COME BY TONIGHT, YOU KNOW. 649 00:29:14,323 --> 00:29:16,325 SOMEONE WILL BE HERE TO GIVE YOU YOUR STUFF." 650 00:29:16,325 --> 00:29:19,959 AND I DIDN'T TELL HER IT WAS GONNA BE ME, SO SHE SHOWED. WHAT TIME WAS THAT? 651 00:29:19,959 --> 00:29:21,290 OH, ABOUT 11:00. 652 00:29:21,290 --> 00:29:24,063 ANYWAY, I-I SAID, "I'M NOT GONNA GIVE YOU YOUR STUFF 653 00:29:24,063 --> 00:29:26,365 UNLESS YOU TELL ME WHAT'S GOING ON," YOU KNOW? 654 00:29:26,365 --> 00:29:30,399 SHE WOULDN'T EVEN LOOK AT ME. YOU HAVE TO UNDERSTAND, UM, 655 00:29:30,399 --> 00:29:32,902 I HAD PUT SO MUCH MONEY INTO THIS RECORD, 656 00:29:32,902 --> 00:29:36,906 IF SHE DIDN'T FINISH IT, I WAS GONNA LOSE THE STUDIO. 657 00:29:36,906 --> 00:29:39,508 SO I HAD TO GET HER TO STAY, RIGHT? 658 00:29:39,508 --> 00:29:42,952 MM. UH, SHE WAS USING ANYWAY. 659 00:29:42,952 --> 00:29:46,085 YOU OFFERED HER DRUGS. 660 00:29:46,085 --> 00:29:48,087 A BAG. I OFFERED HER A BAG. 661 00:29:48,087 --> 00:29:51,360 I SAID, "THERE'S PLENTY MORE WHERE THAT CAME FROM." 662 00:29:51,360 --> 00:29:53,923 WELL, I-I WOULD'VE, UH... 663 00:29:53,923 --> 00:29:56,095 GOTTEN HER HELP AFTER SHE FINISHED. 664 00:29:56,095 --> 00:29:58,097 I COULDN'T LET HER WALK AWAY. 665 00:29:58,097 --> 00:30:00,970 YEAH. WELL, HERE'S THE THING, MRS. BUSCH-- 666 00:30:00,970 --> 00:30:02,972 HAYLEY WAS CLEAN WHEN SHE DIED. 667 00:30:02,972 --> 00:30:05,034 SHE WASN'T USING. 668 00:30:05,034 --> 00:30:07,436 WELL, I KNOW THAT NOW. 669 00:30:07,436 --> 00:30:09,438 I MEAN, SHE-- SHE OPENED UP HER JACKET 670 00:30:09,438 --> 00:30:13,142 AND SHOWED ME WHAT WAS TUCKED INSIDE--A GUN. 671 00:30:13,142 --> 00:30:15,144 I MEAN, SHE HAD A GUN. 672 00:30:15,144 --> 00:30:18,547 AND SHE SAID, "I WOULD RATHER PUT A BULLET IN MY BRAIN 673 00:30:18,547 --> 00:30:21,450 THAN TO BE USING AGAIN." LET ME MAKE SURE I'M GETTING THIS RIGHT. 674 00:30:21,450 --> 00:30:24,523 YOU LURED HAYLEY HERE UNDER FALSE PRETENSES, 675 00:30:24,523 --> 00:30:27,526 OFFERED HER DRUGS, GOT INTO A HEATED ARGUMENT, 676 00:30:27,526 --> 00:30:31,300 AND YOU'RE TELLING ME THAT SHE WALKED OUT OF THAT DOOR ALIVE? 677 00:30:31,300 --> 00:30:35,304 WHEN DID YOU REPLACE THE PANEL ON THIS BAFFLE? 678 00:30:35,304 --> 00:30:37,967 I-I DON'T THINK IT'S EVER BEEN REPLACED. 679 00:30:37,967 --> 00:30:40,839 YEAH, IT HAS. IT'S NEWER THAN THE OTHER ONES. COULD YOU BE CAREFUL, PLEASE? 680 00:30:40,839 --> 00:30:43,172 THAT'S EXPENSIVE EQUIPMENT. (wood thuds) 681 00:30:43,172 --> 00:30:45,044 CASTLE, WHAT ARE YOU DOING? 682 00:30:50,920 --> 00:30:53,052 APPARENTLY, I'M UNCOVERING A BULLET HOLE. 683 00:30:58,387 --> 00:31:01,460 JUDGING FROM THE DIAMETER OF THE HOLE, IT'S A .38. 684 00:31:01,460 --> 00:31:03,462 THAT GUNPOWDER RESIDUE ON HAYLEY'S HANDS? 685 00:31:03,462 --> 00:31:05,995 THIS IS WHERE THE GUN WAS FIRED. 686 00:31:05,995 --> 00:31:10,339 I HAVE NO IDEA HOW THAT BULLET HOLE GOT THERE. YOU AND HAYLEY FOUGHT. 687 00:31:10,339 --> 00:31:12,341 YOU KNEW THAT IF SHE WALKED OUT THAT DOOR, 688 00:31:12,341 --> 00:31:14,303 YOU WOULD NEVER SEE HER AGAIN. 689 00:31:14,303 --> 00:31:16,305 AND SO YOU GRABBED HER FROM BEHIND. 690 00:31:16,305 --> 00:31:19,048 SHE PULLED OUT A GUN. IT SCARED YOU. 691 00:31:19,048 --> 00:31:21,050 YOU HELD HER TIGHT. A SHOT WENT OFF. 692 00:31:21,050 --> 00:31:22,351 YOU HELD HER TIGHTER STILL, 693 00:31:22,351 --> 00:31:24,313 AND BEFORE YOU EVEN KNEW WHAT HAPPENED, 694 00:31:24,313 --> 00:31:26,655 SHE STOPPED STRUGGLING. 695 00:31:26,655 --> 00:31:30,389 YOU BROKE HER NECK WITHOUT REALIZING IT. THAT'S NOT WHAT HAPPENED. 696 00:31:30,389 --> 00:31:32,992 THAT'S NOT WHAT HAPPENED AT ALL. 697 00:31:32,992 --> 00:31:36,095 IF IT WAS AN ACCIDENT, IF IT WAS AN ACT OF SELF-DEFENSE, 698 00:31:36,095 --> 00:31:38,367 YOU'RE GONNA MAKE THIS ALL EASIER ON YOURSELF 699 00:31:38,367 --> 00:31:40,369 JUST BY TELLING US THE TRUTH. 700 00:31:40,369 --> 00:31:42,371 (Montgomery) SHE'S GONNA DO 20 YEARS 701 00:31:42,371 --> 00:31:44,433 INSTEAD OF PLEADING OUT AND DOING FIVE. 702 00:31:44,433 --> 00:31:46,435 GUILTY CONSCIENCE OR LOUSY LAWYER? 703 00:31:46,435 --> 00:31:49,908 BREE, PLEASE. I CAN'T LOSE YOU FOR 20 YEARS. 704 00:31:49,908 --> 00:31:52,341 I CAN'T LIE. I DIDN'T HURT HER! 705 00:31:52,341 --> 00:31:54,643 THAT'S NOT WHAT HAPPENED. I GUESS IT'S UP TO THE LAWYERS NOW. 706 00:31:54,643 --> 00:31:57,346 THAT'S NOT WHAT HAP-- (switch clicks) 707 00:32:12,331 --> 00:32:14,503 YOU GOIN' HOME TO TELL ALEXIS THE NEWS? 708 00:32:14,503 --> 00:32:16,505 JUST THOUGHT I'D GO FOR A WALK. 709 00:32:16,505 --> 00:32:18,407 ANYPLACE IN PARTICULAR? 710 00:32:20,339 --> 00:32:22,041 IT KILLS ME 711 00:32:22,041 --> 00:32:25,514 THINKING ABOUT HER OUT THERE ALONE. 712 00:32:25,514 --> 00:32:28,477 COME ON. I'LL DRIVE. 713 00:32:30,980 --> 00:32:32,651 SKY? 714 00:32:32,651 --> 00:32:35,154 SKY? 715 00:32:35,154 --> 00:32:38,157 ARE YOU SURE ZACK SAID SHE WAS CRASHING HERE? 716 00:32:38,157 --> 00:32:39,458 YEAH. 717 00:32:44,663 --> 00:32:47,366 (clattering) 718 00:32:47,366 --> 00:32:49,168 IT'S OVER THERE. 719 00:32:49,168 --> 00:32:53,402 (Beckett) SKY. SKY. 720 00:32:53,402 --> 00:32:56,475 HEY, GIRL. HEY. 721 00:32:56,475 --> 00:32:58,107 YOU OKAY? 722 00:32:58,107 --> 00:33:00,509 CAN YOU HEAR ME? 723 00:33:00,509 --> 00:33:03,082 CAN YOU HEAR ME? 724 00:33:03,082 --> 00:33:05,084 McGINNIS GAVE US A SIGNING BONUS. 725 00:33:05,084 --> 00:33:08,087 HE TOLD US A PLACE WE COULD FIX FOR CHEAP. 726 00:33:09,688 --> 00:33:12,391 MM. I COULDN'T DO IT. (sighs) 727 00:33:12,391 --> 00:33:14,993 NO, HAYLEY DIDN'T WANT ME TO. 728 00:33:18,327 --> 00:33:22,000 I C--I'M CLEAN. 729 00:33:22,000 --> 00:33:25,374 SHE'S GONNA HELP ME, RIGHT? 730 00:33:25,374 --> 00:33:29,108 WHEREVER SHE IS... 731 00:33:29,108 --> 00:33:31,580 SHE'S LOOKING OUT FOR ME, RIGHT? 732 00:33:31,580 --> 00:33:34,012 SHE'S ALREADY DOING IT. 733 00:33:34,012 --> 00:33:36,345 (Castle) COME ON. LET'S GET YOU OUT OF HERE. 734 00:33:36,345 --> 00:33:38,387 (Hayley) ♪ INSIDE THIS LIFE ♪ 735 00:33:38,387 --> 00:33:41,550 ♪ UNDER A SPELL ♪ 736 00:33:46,325 --> 00:33:49,098 ♪ I CLOSE MY EYES ♪ 737 00:33:49,098 --> 00:33:50,399 ♪ AND LIVE TO TELL ♪ 738 00:33:50,399 --> 00:33:54,633 IS SKY GOING TO BE OKAY? 739 00:33:54,633 --> 00:33:56,465 I THINK SO. 740 00:33:56,465 --> 00:33:58,467 THE WORST PART IS OVER. 741 00:33:58,467 --> 00:34:02,541 NOW SHE JUST HAS TO FIGURE OUT THE REST OF HER LIFE. 742 00:34:02,541 --> 00:34:05,174 AND HAYLEY? 743 00:34:05,174 --> 00:34:08,177 THE WHOLE THING WAS JUST SOME STUPID ACCIDENT? 744 00:34:08,177 --> 00:34:10,419 IT'S JUST SO POINTLESS. 745 00:34:10,419 --> 00:34:12,521 I KNOW. 746 00:34:12,521 --> 00:34:14,523 SOMETIMES WHEN WE LOSE AN ARTIST WE LIKE, 747 00:34:14,523 --> 00:34:17,156 IT'S KINDA LIKE LOSING A FRIEND. 748 00:34:17,156 --> 00:34:19,488 YOU KNOW, I REMEMBER WHEN JOHN LENNON DIED... 749 00:34:19,488 --> 00:34:22,091 I DIDN'T LEAVE MY ROOM FOR A WEEK. 750 00:34:22,091 --> 00:34:24,263 SHE WAS ONLY 25. 751 00:34:24,263 --> 00:34:27,266 I CAN'T HELP BUT THINK ABOUT ALL THE SONGS SHE WON'T WRITE 752 00:34:27,266 --> 00:34:29,238 THAT WE WON'T GET TO HEAR NOW. 753 00:34:29,238 --> 00:34:33,302 AND ALL BECAUSE A PRODUCER THOUGHT SHE WAS BACK ON DRUGS... 754 00:34:33,302 --> 00:34:35,404 WHY WOULD SHE EVEN THINK THAT? 755 00:34:35,404 --> 00:34:37,406 YOU KNOW, WHEN PEOPLE WE CARE ABOUT 756 00:34:37,406 --> 00:34:39,408 SUDDENLY TURN AGAINST US, 757 00:34:39,408 --> 00:34:42,611 WE CAN COME UP WITH ALL SORTS OF REASONS TO EXPLAIN IT. 758 00:34:42,611 --> 00:34:44,453 (song continues playing) 759 00:34:44,453 --> 00:34:47,416 WHO KNOWS WHAT REALLY HAPPENED? 760 00:34:47,416 --> 00:34:49,618 ♪ PEOPLE CHANGE ♪ 761 00:34:49,618 --> 00:34:51,320 ♪ AND INSTANTLY... ♪ 762 00:34:51,320 --> 00:34:54,623 WELL, THAT'S IT FOR ME. YOU STAYIN' UP? 763 00:34:54,623 --> 00:34:58,427 IS IT OKAY? I JUST WANT TO LISTEN A LITTLE LONGER. 764 00:34:58,427 --> 00:35:00,129 OF COURSE. 765 00:35:00,129 --> 00:35:03,532 ♪ I CAN'T ERASE ALL THE MEMORIES ♪ 766 00:35:03,532 --> 00:35:05,474 ♪ I CAN EXPLAIN ♪ 767 00:35:05,474 --> 00:35:09,808 ♪ IF YOU'RE LISTENING ♪ 768 00:35:09,808 --> 00:35:12,110 ♪ PEOPLE CHANGE ♪ 769 00:35:12,110 --> 00:35:14,413 "I CAN EXPLAIN IF YOU'RE LISTENING." 770 00:35:14,413 --> 00:35:16,415 WHAT, DAD? 771 00:35:16,415 --> 00:35:20,118 SHE WROTE THAT SONG A WEEK BEFORE SHE DIED, 772 00:35:20,118 --> 00:35:23,522 AFTER SHE LEFT HER PRODUCERS AND WENT TO THE COPS. 773 00:35:23,522 --> 00:35:26,855 MAYBE SHE'S TRYING TO TELL US WHAT WAS GOING ON. 774 00:35:26,855 --> 00:35:30,499 "LOCKED UP IN SILENCE, A LIVING HELL." 775 00:35:30,499 --> 00:35:31,660 REHAB? 776 00:35:31,660 --> 00:35:34,363 OR HER PRODUCERS. 777 00:35:34,363 --> 00:35:36,435 "THE LOVING HAND THAT SAVED ME." 778 00:35:36,435 --> 00:35:38,737 ♪ HIS DARKNESS WEIGHS ON ME AT NIGHT ♪ 779 00:35:38,737 --> 00:35:40,839 HER PRODUCERS BREE AND IAN? WAIT. 780 00:35:40,839 --> 00:35:42,911 ♪ PEOP-- ♪ 781 00:35:42,911 --> 00:35:45,674 (beeps) WHAT IS SHE SAYING THERE, "ITS DARKNESS" OR "HIS DARKNESS"? 782 00:35:45,674 --> 00:35:50,419 ♪ HIS DARKNESS WEIGHS ON ME AT NIGHT ♪ 783 00:35:50,419 --> 00:35:51,580 (beep) 784 00:35:51,580 --> 00:35:54,583 ♪ I NEVER ASKED ♪ 785 00:35:54,583 --> 00:35:56,755 ♪ OR WANTED TO ♪ 786 00:35:56,755 --> 00:35:57,926 (beep) 787 00:35:57,926 --> 00:35:59,428 (song skips) 788 00:35:59,428 --> 00:36:02,491 ♪ YOU STEPPED ACROSS MY THRESHOLD ♪ 789 00:36:02,491 --> 00:36:04,493 ♪ HOW COULD YOU? ♪ 790 00:36:04,493 --> 00:36:08,337 "YOU STEPPED ACROSS MY THRESHOLD. HOW COULD YOU?" 791 00:36:08,337 --> 00:36:11,470 OH, GOD, DAD. 792 00:36:11,470 --> 00:36:14,503 DOES THAT MEAN WHAT I THINK IT MEANS? 793 00:36:14,503 --> 00:36:15,774 (cell phone beeps) 794 00:36:15,774 --> 00:36:19,548 IT MEANS... WE HAVE THE WRONG KILLER. 795 00:36:26,955 --> 00:36:29,518 (Beckett) THE IDENTITY OF OUR KILLER IS IN THE SONG? 796 00:36:29,518 --> 00:36:31,820 IT'S RIGHT THERE. LISTEN. I KNOW. I ALREADY HEARD IT. 797 00:36:31,820 --> 00:36:34,823 DON'T YOU THINK THAT IF HAYLEY KNEW WHO WAS GONNA KILL HER, 798 00:36:34,823 --> 00:36:38,827 SHE WOULD'VE TRIED TO PREVENT THE MURDER? IT NEVER MADE SENSE UNTIL NOW. WHY WOULD SHE UP AND DISAPPEAR 799 00:36:38,827 --> 00:36:40,829 WHEN EVERYTHING SEEMED TO BE GOING SO WELL? 800 00:36:40,829 --> 00:36:43,532 IT'S IN THE WORDS. SHE EVEN SAYS IT. 801 00:36:43,532 --> 00:36:45,434 "I CAN EXPLAIN IF YOU'RE LISTENING." 802 00:37:01,590 --> 00:37:04,222 JUST LIKE THAT, I'M FREE TO GO? 803 00:37:04,222 --> 00:37:05,524 JUST LIKE THAT. (laughs) 804 00:37:05,524 --> 00:37:07,526 YOU NEED TO SIGN A FEW RELEASE FORMS, 805 00:37:07,526 --> 00:37:10,559 IF YOU DON'T MIND. (Ian) I DON'T BELIEVE IT. THANK GOD. 806 00:37:10,559 --> 00:37:12,701 THANK YOU SO MUCH. 807 00:37:12,701 --> 00:37:15,804 DOES THIS MEAN YOU FOUND THE REAL KILLER? (Beckett) WE'RE ABOUT TO MAKE AN ARREST. 808 00:37:15,804 --> 00:37:18,507 THAT'S GREAT. YOU KNOW WHAT'S EVEN BETTER 809 00:37:18,507 --> 00:37:22,271 IS IT WAS HAYLEY HERSELF WHO LED US TO HER KILLER. 810 00:37:22,271 --> 00:37:23,712 HOW'D SHE DO THAT? 811 00:37:23,712 --> 00:37:27,015 HER LAST SONG--THE ONE THAT WAS PLAYING THE NIGHT SHE DIED. 812 00:37:27,015 --> 00:37:30,018 IT'S ALL OVER THE WEB. YOU KNOW THE ONE. (remote beeps) 813 00:37:30,018 --> 00:37:32,481 (Hayley) ♪ INSIDE THIS LIFE ♪ 814 00:37:32,481 --> 00:37:34,483 ♪ UNDER A SPELL ♪ 815 00:37:34,483 --> 00:37:36,254 MM. 816 00:37:36,254 --> 00:37:38,256 IT'S THE LYRICS THAT REALLY GET ME. 817 00:37:38,256 --> 00:37:39,588 THERE'S SO MANY LAYERS. 818 00:37:39,588 --> 00:37:42,391 IT TOOK ME A FEW LISTENS TO GET TO THE BOTTOM OF THEM. 819 00:37:42,391 --> 00:37:44,032 MM-HMM. FIRST TIME I HEARD IT, 820 00:37:44,032 --> 00:37:46,395 I THOUGHT IT WAS ABOUT GOING INTO REHAB. 821 00:37:46,395 --> 00:37:48,697 IT IS. IT'S ABOUT COMING FROM A DARK PLACE 822 00:37:48,697 --> 00:37:51,400 AND HAVING THE COURAGE TO GET ON WITH YOUR LIFE. 823 00:37:51,400 --> 00:37:53,472 DIFFERENT DARK PLACE. LISTEN. 824 00:37:53,472 --> 00:37:55,604 THIS IS THE PART THAT GIVES IT AWAY. (beeps, song skips) 825 00:37:55,604 --> 00:37:57,406 ♪ I NEVER ASKED ♪ 826 00:37:57,406 --> 00:38:01,580 ♪ OR WANTED TO ♪ 827 00:38:05,384 --> 00:38:09,658 ♪ YOU STEPPED ACROSS MY THRESHOLD ♪ 828 00:38:09,658 --> 00:38:11,360 ♪ HOW COULD YOU? ♪ 829 00:38:11,360 --> 00:38:13,362 I DON'T UNDERSTAND. 830 00:38:13,362 --> 00:38:15,364 SOMEBODY CROSSED OVER HER THRESHOLD. 831 00:38:15,364 --> 00:38:17,726 SHE DIDN'T WANT HIM TO. SOMEONE FORCED HIMSELF ON HER. 832 00:38:17,726 --> 00:38:19,928 YOU'RE GETTING ALL THAT FROM A SONG? 833 00:38:19,928 --> 00:38:22,501 WELL, THERE'S OTHER PLACES WHERE IT'S MORE OVERT. 834 00:38:22,501 --> 00:38:25,674 BUT IF YOU LISTEN TO THE WORDS, ANALYZE THEM, IT'S ALL THERE-- 835 00:38:25,674 --> 00:38:28,607 FATHER FIGURE, BETRAYAL... 836 00:38:28,607 --> 00:38:30,509 VIOLATION. 837 00:38:30,509 --> 00:38:32,841 IT'S TRULY AWFUL. 838 00:38:32,841 --> 00:38:36,585 WHY DIDN'T SHE SAY ANYTHING? 839 00:38:36,585 --> 00:38:38,587 IAN, DID SHE EVER SAY ANYTHING TO YOU? 840 00:38:38,587 --> 00:38:40,449 NO. NO, SHE DIDN'T. 841 00:38:40,449 --> 00:38:42,451 YOU TOLD YOUR HUSBAND ABOUT ARGUING WITH HAYLEY 842 00:38:42,451 --> 00:38:45,323 THE NIGHT SHE WAS KILLED, DIDN'T YOU? (Bree) YES. 843 00:38:45,323 --> 00:38:48,326 HE WAS THERE WHEN I GOT HOME FROM THE STUDIO. 844 00:38:48,326 --> 00:38:50,328 I TOLD HIM THE WHOLE THING. 845 00:38:50,328 --> 00:38:52,531 UH, I WAS SO UPSET, 846 00:38:52,531 --> 00:38:56,465 I TOOK A SLEEPING PILL TO GET SOME REST. THAT'S WHEN YOU BORROWED YOUR WIFE'S CELL PHONE 847 00:38:56,465 --> 00:38:58,607 AND HER BRAND-NEW LIPSTICK. 848 00:38:58,607 --> 00:39:00,639 IT'S A GOOD THING WE'D SUBPOENAED 849 00:39:00,639 --> 00:39:02,340 YOUR WIFE'S PHONE RECORDS 850 00:39:02,340 --> 00:39:04,443 WHEN I HAD THIS WHOLE CRAZY LYRIC IDEA. 851 00:39:04,443 --> 00:39:06,545 OTHERWISE, WE MIGHT HAVE MISSED OUT 852 00:39:06,545 --> 00:39:09,548 ON ALL THOSE TEXTS YOU SENT HAYLEY. WHAT TEXTS? 853 00:39:09,548 --> 00:39:12,381 TEXT MESSAGE FROM YOUR PHONE AT 11:52-- 854 00:39:12,381 --> 00:39:15,384 "IAN TOLD ME THE WHOLE THING. WE HAVE TO TALK RIGHT AWAY. 855 00:39:15,384 --> 00:39:16,855 MEET ME AT THE STUDIO." 856 00:39:16,855 --> 00:39:18,757 I NEVER SENT THAT TEXT. 857 00:39:18,757 --> 00:39:20,759 11:54--"I'M SO SORRY FOR WHAT HE DID TO YOU. 858 00:39:20,759 --> 00:39:22,931 I'M LEAVING HIM. PLEASE COME TALK TO ME." 859 00:39:22,931 --> 00:39:27,396 AND THEN FINALLY AT 11:56, A REPLY FROM HAYLEY. 860 00:39:27,396 --> 00:39:29,638 "SEE YOU THERE." 861 00:39:29,638 --> 00:39:31,500 (voice breaks) WHAT DID YOU DO? 862 00:39:31,500 --> 00:39:34,372 "THE LOVING HAND THAT SAVED ME HELD TOO TIGHT." 863 00:39:34,372 --> 00:39:36,875 HE PRETENDED TO BE YOU 864 00:39:36,875 --> 00:39:40,579 BECAUSE HE WAS THE ONE WHO FORCED HIMSELF ON HAYLEY. 865 00:39:40,579 --> 00:39:42,581 HE WAS AFRAID SHE WAS GONNA TALK, 866 00:39:42,581 --> 00:39:44,052 SO HE PRETENDED. 867 00:39:44,052 --> 00:39:45,714 BY THE TIME HAYLEY REALIZED 868 00:39:45,714 --> 00:39:48,016 IT WAS IAN WAITING FOR HER AT THE OFFICE, 869 00:39:48,016 --> 00:39:49,658 IT WAS TOO LATE. 870 00:39:49,658 --> 00:39:50,959 IAN? 871 00:39:55,724 --> 00:39:56,725 IAN?! 872 00:39:56,725 --> 00:39:58,727 I DIDN'T FORCE MYSELF ON HAYLEY. 873 00:39:58,727 --> 00:40:01,600 SHE SEDUCED ME, FROM THE TIME SHE MOVED IN-- 874 00:40:01,600 --> 00:40:04,603 THE WAY SHE TALKED TO ME, THE WAY SHE TOUCHED ME. 875 00:40:04,603 --> 00:40:07,636 AND NOW AFTER ALL WE'D DONE FOR HER, 876 00:40:07,636 --> 00:40:10,439 SHE WAS GONNA MAKE UP THIS LIE TO DESTROY OUR MARRIAGE 877 00:40:10,439 --> 00:40:12,441 AND RUIN OUR--OUR BUSINESS? 878 00:40:12,441 --> 00:40:15,614 NO. SO YOU SNAPPED HER NECK. 879 00:40:15,614 --> 00:40:17,916 THE GUN DIDN'T DO HER ANY GOOD, DID IT? 880 00:40:17,916 --> 00:40:19,788 YOU WERE TOO STRONG, 881 00:40:19,788 --> 00:40:22,891 JUST LIKE THE NIGHT WHEN YOU ASSAULTED HER. 882 00:40:22,891 --> 00:40:25,594 YOU KILLED HER. 883 00:40:25,594 --> 00:40:27,596 AND YOU ALMOST GOT AWAY WITH IT. 884 00:40:27,596 --> 00:40:31,429 BUT HAYLEY WOULDN'T SHUT UP, WOULD SHE? 885 00:40:31,429 --> 00:40:32,731 THAT WAS PRETTY SMART, 886 00:40:32,731 --> 00:40:34,733 STAGING THE CRIME SCENE LIKE THE STALKER VIDEO, 887 00:40:34,733 --> 00:40:36,905 MAKING IT LOOK LIKE SOMEONE ELSE DID IT. 888 00:40:36,905 --> 00:40:40,108 SHE LOVED YOU LIKE A FATHER. 889 00:40:40,108 --> 00:40:43,512 THE WAY SHE LOOKED UP TO YOU... 890 00:40:43,512 --> 00:40:45,544 IT MADE ME LOVE YOU MORE. 891 00:40:45,544 --> 00:40:47,175 (cries) 892 00:40:47,175 --> 00:40:49,678 LOOK AT ME. 893 00:40:49,678 --> 00:40:52,821 I'D LIKE A LAWYER NOW. 894 00:40:57,586 --> 00:40:59,588 BREE TURNED ON HER HUSBAND 895 00:40:59,588 --> 00:41:02,661 THE MOMENT SHE FOUND OUT WHAT HE HAD DONE TO HAYLEY. 896 00:41:02,661 --> 00:41:04,663 NEEDLESS TO SAY, SHE'S FILED FOR DIVORCE. 897 00:41:04,663 --> 00:41:07,666 NO WONDER HAYLEY COULDN'T TELL BREE WHY SHE RAN AWAY. 898 00:41:07,666 --> 00:41:09,768 YOU SEE, SHE DIDN'T HAVE ANYONE TO TALK TO. 899 00:41:09,768 --> 00:41:12,971 SO SHE DID THE ONE THING THAT SHE COULD. SHE WROTE ABOUT IT. THAT KINDA REMINDS ME 900 00:41:12,971 --> 00:41:15,203 OF WHEN I WROTE "WHEN IT COMES TO SLAUGHTER." 901 00:41:15,203 --> 00:41:18,807 IT WAS AT A TIME IN MY LIFE WHEN I WAS JUST-- 902 00:41:18,807 --> 00:41:21,810 I WAS TRYING TO WORK THROUGH... IT'S NOT IMPORTANT. 903 00:41:21,810 --> 00:41:24,482 SO IS HE PLEADING OUT? OH, HE CAN TRY. 904 00:41:24,482 --> 00:41:26,484 PERLMUTTER RAN HIS COAT AND FOUND 905 00:41:26,484 --> 00:41:28,717 THE SAME GUNPOWDER RESIDUE THAT HE FOUND ON HAYLEY. 906 00:41:28,717 --> 00:41:31,520 HE'S GOING AWAY FOR A LONG TIME. GOOD. 907 00:41:31,520 --> 00:41:33,692 NICE JOB... 908 00:41:33,692 --> 00:41:35,964 BOTH OF YOU. 909 00:41:39,968 --> 00:41:42,971 SO WHAT ARE YOU GONNA TELL ALEXIS? 910 00:41:42,971 --> 00:41:45,674 WHAT I ALWAYS TELL HER... 911 00:41:45,674 --> 00:41:47,706 THE TRUTH. 912 00:41:47,706 --> 00:41:51,610 (rock music playing) 913 00:41:51,610 --> 00:41:55,243 (cheers and applause) 914 00:41:55,243 --> 00:41:57,245 HAYLEY MARIA BLUE, 915 00:41:57,245 --> 00:41:59,247 WE LOVE AND MISS YOU. 916 00:41:59,247 --> 00:42:01,590 THIS ONE'S FOR YOU. 917 00:42:01,590 --> 00:42:04,222 ♪ INSIDE THIS LIFE ♪ 918 00:42:04,222 --> 00:42:07,756 ♪ UNDER A SPELL ♪ 919 00:42:07,756 --> 00:42:09,758 (man) WE LOVE YOU, HAYLEY! 920 00:42:09,758 --> 00:42:12,160 (crowd cheering) 921 00:42:12,160 --> 00:42:15,233 ♪ I CLOSE MY EYES ♪ 922 00:42:15,233 --> 00:42:19,808 ♪ AND LIVE TO TELL ♪ 923 00:42:23,572 --> 00:42:25,243 ♪ THE HANDS WE'RE DEALT ♪ 924 00:42:25,243 --> 00:42:28,777 ♪ WILL NEVER DISAPPEAR ♪ 925 00:42:28,777 --> 00:42:35,884 ♪ DEATH, SHE GROWS NEAR ♪ 926 00:42:35,884 --> 00:42:38,086 ♪ PEOPLE CHANGE ♪ 927 00:42:38,086 --> 00:42:41,630 ♪ AND INSTANTLY ♪ 928 00:42:41,630 --> 00:42:44,633 ♪ I'M NOT THE SAME GIRL ♪ 929 00:42:44,633 --> 00:42:46,895 ♪ I USED TO BE ♪ 930 00:42:46,895 --> 00:42:49,197 ♪ I CAN'T ERASE ♪ 931 00:42:49,197 --> 00:42:52,270 ♪ ALL THE MEMORIES ♪ 932 00:42:52,270 --> 00:42:57,345 ♪ BUT I CAN EXPLAIN IF YOU'RE LISTENING ♪ 69174

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