BECKETT: Previously on Castle...
I can't prove it, but my gut says...
Hey, everybody, it's me Nathan Fillion, you know me as Castle.
Hi, I'm Michael Mosley.
FILLION: You sure? Nicely done. MOSLEY: I play 3 XK.
I'm Rob Bowman, director.
Andrew Marlowe, writer of this episode.
Therefore that can't be him.
I'm Michael Boudreau.
FILLION: Welcome, everybody.
It's a beautiful Tuesday afternoon for us here...
BOWMAN: Deep, deep in Hollywood.
So this is part two of our annual two-parter.
Episode 715.
FILLION: How many episodes is this for you now, Mike?
MOSLEY: I think it's two... No, I mean, I think it's three,
but I come in and I go, and then the storyline comes and goes, so it's very...
But I don't remember, I think, four... I don't remember
- how many of these... - FILLION: It's four, I think.
- It should be four, yes? - MOSLEY: Four?
I'll be somewhere, like, on a set
and they'll be like, "We need to take your picture
"because your mug shots gonna be on the show."
MARLOWE: We start off in this one in the middle of the story,
in the middle of action.
Uh, Beckett is missing.
BOWMAN: Mmm-hmm.
FILLION: "There's her car."
- There. There's her car. - (FILLION LAUGHS)
That's what I said in the show.
BOWMAN: There was a lot of script, none of which I wanted to trim,
so we just jam-packed it into the 42 and a half minute story time
and the eight days of filming. And the trick was to go...
The fun part of this episode, for me, was to go as deep as possible,
as fast as possible without lingering ever.
So we just compressed it as much.
MARLOWE: The story really is an exploration of Castle's inner state
as he descends trying to figure out
what happened to Beckett, where she is.
BOWMAN: And the story theme is
how far will a person go for somebody they love?
MOSLEY: Mmm-hmm.
BOWMAN: And the other notion was,
what will Castle do outside his normal behavior to go find and save Beckett?
RYAN: Mr. Boudreau, open up!
Mr. Boudreau, shortly after leaving to meet with your friend, Amy Barrett,
one of our detectives went missing.
So?
So, where is she?
I don't know. I've been in police custody until an hour ago.
Giving you the perfect alibi.
FILLION: At this point, we're still allowing for people to have doubts
that this guy could maybe not be Tyson.
MOSLEY: Mmm-hmm.
MARLOWE: What was that like for you, Michael, to play two sides of a guy?
The guy who is innocent, and then later on
the guy who is totally the creepy serial killer?
MOSLEY: Well, I think that he always has one foot in each canoe.
When we first met him, he was playing this victim, you know what I mean?
And then he turns into this mad man, you know what I mean?
So, he always has this duality about him
which has always been really fun to play.
FILLION: Yeah, even your charming innocence is a little creepy.
MOSLEY: (LAUGHING) That's good. That's good.
- Not like that. - So what? We just let him kill her?
No. But Castle, we can't do anything if we don't have anything.
MARLOWE: Nathan, you don't always have the chance
to get physical on the show, to throw people around.
How does that feel when you get a chance to do that?
FILLION: It's great.
I think the one thing that happens
when you have a show for seven years is it gets very, very easy.
So when you get to do something that's a little outside the box
and a little outside your character,
it's a lot more fun, you get to really enjoy it.
One thing I always try to be considerate about is,
I don't want anyone going home bruised, especially me.
MOSLEY: Well, I went home a little bruised.
FILLION: I know that. BOWMAN: I was going to say so,
- except on this one. - (ALL LAUGHING)
MOSLEY: Yeah, I went home...
But that's fun, you know what I mean? I never felt unsafe or anything.
FILLION: Unless it's Michael Mosley. We don't care then.
MOSLEY: (LAUGHING) Yeah.
FILLION: But you were a trouper about it.
MOSLEY: It was fun. That's the fun stuff.
When you're a little kid and you think about
someday I wanna grow up and play cops and robbers on TV,
that's the fun stuff.
- Espo, put units on Nieman as well. - ESPOSITO: Copy that.
CASTLE: Anything on the canvass?
We've pulled officers from the 3rd and 8th precincts to help.
BOWMAN: Between seeing Tyson in the apartment
and repelling Castle and Ryan
and then Esposito going up against Annie Wersching
where she's put up her wall,
we've now established this impenetrable wall to get to these two,
which, to me, is gonna require Castle to become large enough
or forceful enough to somehow metaphorically break through that wall.
Amy's not gonna be in public, not if she's working with Tyson.
GATES: And we're assuming Boudreau is Tyson.
But what if Mike Boudreau is really Mike Boudreau?
BOWMAN: And we're just about to get an emotional springboard.
FILLION: I grew up with a Jeaque Goudreau,
so every time you said Boudreau,
I always wanted to say Goudreau the whole time.
MOSLEY: I grew up in Iowa where Mike Boudreau grew up.
No. He's just messing with our heads.
Boudreau is Tyson.
It doesn't make any sense. Why would he let himself get arrested?
Why would he risk returning to his apartment?
FILLION: All part of his diabolical plan.
Ripped By mstoll
You were saying, Mike, since you played 3 XK,
that people come up to you on the street
and tell you how creepy you are.
MOSLEY: Yes, they do.
Yeah, they do. (CHUCKLES) They recognize me, they do.
That's been a very popular character for me, you know what I mean?
I've done, like, seasons...
BOWMAN: Are they drawn to you or do they walk slowly?
MOSLEY: Well, they look at... At first, they're not sure why they know me,
but then they say, "Castle," and they're like, "Oh, you're so spooky."
But it will happen out of nowhere, and it's really wild. It's been fun.
FILLION: So, is creepy a niche now for you?
- Is that something you can put it... - (MOSLEY LAUGHING)
FILLION: "I've found something I'm really good at,
"this is in my wheelhouse."
MOSLEY: I hope so. It's really wild.
Yeah, it's great that it creeps people out.
RYAN: How long to trace? TORY: Don't know.
It sounded like she was struggling. She was trying
to get away from someone. She could still be there.
MARLOWE: So, Rob, when you have a scene
that is intended to provoke anxiety
and launch your character,
what do you do with the camera to communicate that visually?
BOWMAN: Any of the shot design comes from
whatever the narrative causes me to do,
and then I try to inhabit the characters during my homework,
and I'm literally shooting...
All the cars pulling up to me is just a metaphor
for Castle's will to go find Beckett.
It's not really about the action of it all,
it's me feeling the desperation of Castle and the anger.
And so, I just visually express that with cars sliding around corners,
but that's not what it feels like narratively to me.
To me, it feels like that's how Castle feels.
The whole thing should just feel like what Castle's going through,
no matter what scene it is.
FILLION: This is all spooky ghost story lighting as well.
MOSLEY: Mmm-hmm.
BOWMAN: Yeah, and again,
painting it the way the inside of Castle would look.
It's more of a willingness to go to the dark side and more of a willingness,
even though I'm a little early,
more of a willingness to dip into the other side.
And there's sort of a balance between
patience and impatience in this episode
in the storytelling,
because, again, that's what Castle is, so it's a very tight cut here.
Everybody's charging at us...
I need search teams on every roof. Let's go!
I don't understand. If this is a recording...
BOWMAN: But I think Castle's need to know is faster than he is getting
useful information to find Beckett,
so that's where the impatience comes from.
Now, here's frustration.
It's an interview Beckett gave to the local news
just after you disappeared.
BECKETT: Please. If you have any information,
or know anything about the disappearance of Richard Castle,
I need your help.
BOWMAN: Now we're calling back to the missing two months
which is not Castle's fault, but it's still causing harm to people.
Using a parabolic mic on the street, maybe even at crime scenes.
Then this was planned. They've been preparing this for months.
Looks that way.
This was about Beckett.
No. That interview, that was meant as a...
It's a message...
FILLION: Yeah, 3 XK made this very personal.
MOSLEY: Yeah.
GATES: Why?
Why is Tyson fixated...
MARLOWE: One of the real challenges in the writing is
how do you expose the character of somebody who's not present?
And the manipulations of Tyson were a way
to expose his inner plans and his inner psychology,
the way he likes to manipulate situations
and Castle feeling more and more like he's caught up in that web
until he makes the decision to try and break through that
a little bit later in the episode.
FILLION: Always super exciting to kill off a powerful, popular character.
When you kill one off, do you also say,
"Huh, I'm gonna miss him, it's really kind of..."
MARLOWE: Yeah, we always mourn the loss.
They're always there, and television, these days, no one stays dead forever.
(FILLION LAUGHING)
BOWMAN: I was going to say there was no burial.
FILLION: Except you, Mike. MOSLEY: I know.
FILLION: Except you, the exception to the rule.
BOWMAN: People were pining about the death and the end of 3 XK
and I said, "Ah, if it does well and the audience loves it,
"we'll somehow bring him back."
MOSLEY: Yeah, you were like, "Hey, if this episode goes well,
"we'll have you in a hospital with a heart monitor."
BOWMAN: (LAUGHING) That's right.
With an oxygen tube.
FILLION: He really was Mike Boudreau.
MARLOWE: When the zombie apocalypse comes,
Tyson might be the first one to rise.
MOSLEY: Sure.
Maybe there are more weirdoes out there
that have made their face look like Jerry Tyson.
FILLION: Something has happened to Castle over the years,
the cars we sit in have gotten much better.
- (BOWMAN LAUGHS) - MOSLEY: Much more comfortable.
FILLION: This one has seat heaters. It was toasty there.
- In Canada we call that a toque. - MOSLEY: Yeah.
BOWMAN: Well, it's all been pent up and now it's sort of coiled now,
as though ready to strike.
I love how they put my credit right over Nathan's saddle.
(FILLION AND MOSLEY CHUCKLING)
No, no, no.
MARLOWE: I do want to say, in that scene, that walking out...
FILLION: Nice. BOWMAN: Yeah.
MARLOWE: Great score by Robert Duncan here
to capture Castle's inner state.
MOSLEY: Yeah, Castle's a badass in this one right here.
FILLION: He's a nice guy.
I mean, he doesn't have a lot to worry about,
but when push comes to shove,
you can see that he's a real man underneath all that stuff,
he's got real issues, real anger.
If there's anything pent up, certainly, uh,
Tyson's gonna be on the receiving end of that.
...stolen three days ago.
That's gotta be it.
RYAN: All right. I'll run an APB.
Make sure you let Castle know too.
Yeah. Where is Castle?
- (GROANING) - Where is she?
Get out of here.
Is she alive?
Help! I need help! Get off me!
MARLOWE: What was it like, guys, to square off in this scene?
MOSLEY: Oh, there was one bruise, right there.
- FILLION: Yeah, definitely. - (MOSLEY LAUGHING)
BOWMAN: Mike, Nate, what was it like to handle each other like this?
MOSLEY: It was fun. I mean, I don't know.
What do you think, Nathan? How would you describe it?
FILLION: It's a little bit of a dance and in those kind of throws,
it's a little misleading, but Mike is leading.
MOSLEY: Yeah.
FILLION: So I'm not so much throwing as trying to follow,
so that the pressure and the tension comes from Mike.
MOSLEY: I think that's how the stunt works, right?
The guy that's getting beat on is the guy that's leading.
BOWMAN: And the trick is to make it look like
Castle is pushing him when he's not.
And the only reason... There's one shot in this scene
that's the stunt double,
only because we had to send Mike away to get the cut,
but, otherwise, the two of them did all of it.
And we would do a take and then Mike would say,
"Let's go a little harder,"
and Nate and I just followed Michael's lead.
I'm not him.
Doctor Nieman just made me look like him, but I'm not him.
Where is she?
My name is Michael Boudreau. I swear. I was...
I was born in Iowa.
I was raised on 11725 North Genoa Street.
BOWMAN: I have to go back and underline
Castle's resolution and conclusion
when he goes into the room, we were lining up that over into Mike
when he opened the door
and I had stepped away and Nate came back and went,
"Hey, Rob, take a look at this" and Nathan walked in, closed the door
and it was just the end of the over to Mike,
but the resolution in Castle's face, like,
"this is going to happen unless I get what I want" was chilling.
So we shot it and it's in the show, but that was not part of my plan.
But a chilling moment.
MOSLEY: Yeah, that's great right there, Nathan.
MARLOWE: It was an interesting scene to write
because my first few drafts of it were not great
because I was not going to the place of assuming
that Boudreau was absolutely innocent,
so I had to put myself in the situation of thinking,
"Okay, this is an innocent guy and this is a misunderstanding"
and finally the authenticity in the scene came out.
MOSLEY: Yeah, I think we were dancing with how creepy to be here.
How much Boudreau or how much Tyson,
what did we want
- from that last piece. - FILLION: Look at that.
MOSLEY: 'Cause we had a wide range of different guys there.
(INAUDIBLE)
ESPOSITO: Come on, Castle. Assault with a deadly weapon?
MARLOWE: That's an interesting shot where you have focus
close to the camera and far away.
What did you use to get that shot?
BOWMAN: It's a split diopter
because I wanted Tyson to be the dominant figure-character at this point
and Castle surrounded by actual friends,
outside of the holding cell, incarcerated.
And it's all backwards, Tyson's the serial killer.
Tyson's the killer and yet Castle's the one in handcuffs in incarceration
and we're about to fingerprint him.
And here's the first, after the first interaction,
the first little battle, "Ha-ha. One to nothing, bud."
GATES: You are never gonna win going straight at him.
MARLOWE: This is a pivotal scene.
When you get to the end you'll see that there's a bit of a reversal in the episode
and the seeds are planted here by what Gates says to Castle.
"What's this guy's story? What makes him tick?
"Who is he and how do you get inside his head?"
And that starts Castle on a journey that we, then, expose later on
that's going parallel to the main action of the episode.
BOWMAN: And it's earned because he failed
in two confrontations with Tyson
through intimidation, physical intimidation,
felony assault got him nowhere.
So Gates is resetting him saying,
"Let's not use your fists, let's use your head."
When we were originally talking about the episode,
I was all about the anger and the rage
and how Castle would be driven beyond himself to go get Beckett
and Marlowe was the one who put the agility to it
and the smarts to it by saying,
"Yeah, maybe in the beginning,
"but he's gonna have to use his head eventually. "
And I remember calling him asking about that Gates scene
and him saying,
"Remember, he's better off if he uses his head not his fists."
MOSLEY: Yeah, 'cause Tyson wants to pull him into that arena...
BOWMAN: He wants to make him mad. Get him out of his head.
MOSLEY: He wants to pull him into his space.
BOWMAN: The predatory space,
where it's more reptilian than thinking and civilized.
Get his picture on the wire.
- I want him found. - ESPOSITO: Captain!
I just sent teams to Kelly Nieman's apartment to check on her.
- She's gone. - How can she be gone?
We've been on her place the whole time.
(CELL PHONE RINGING)
ESPOSITO: They found an access door to the roof open.
She must have went out of it
and climbed across the roof to another building.
GATES: Get an APB out on her.
Get teams down to the hospital, see if she's...
Hello?
TYSON: How did it feel to be that close?
(RATTLING)
Tyson.
MARLOWE: I'd say you're about to see
one of my favorite Rob Bowman shots of all time.
It's this tracking shot right behind Nathan here
where you see everybody in the bullpen starting to walk along
with this sense of anticipation of what this phone call is.
So there's no need to cut to them for reactions
because you see the emotions in the background through their physicality.
It's a brilliantly designed shot.
BOWMAN: I always take it as Marlowe writes these scenes with 100 people,
he just wants to know if I can figure them out.
(ALL LAUGHING)
MARLOWE: Yes.
BOWMAN: I'm worried about the next one,
but I got to stay in Castle's head
so that's why I'm front and center with Nathan.
- Did you get him? - Stand by.
Wait. Wait.
(COMPUTER CHIRPING)
We got it! Number's coming through right now!
Where is he calling from?
FILLION: It's coming from inside the house.
MOSLEY: I was just going to say that.
- BOWMAN: "What's the address?" - (MOSLEY CHUCKLES)
BOWMAN: You can't say it on TV.
FILLION: Now even the apartment looks spooky.
It's a place we're familiar with.
It's always warm and sunny and bright in there,
- but now it's just terrifying. - MOSLEY: There's no campfire in there.
CASTLE: You have your passport?
Yes, yes, yes. But Richard, Europe? I...
No buts. I need to know that you're safe.
Now, the police are gonna take you to the airport.
I have friends waiting for you on the other side.
BOWMAN: Obviously, the last scene is one shot, but it's one cycle of emotion.
He's thinking he's going to walk in and see body parts
of his mother and his daughter raped and mutilated.
So the place looks the way, again,
I think it looks in Castle's head.
But then we choreograph it to come around and Nathan's exhaled,
but that's enough.
And then the next one is one with some pops
and by doing all this script in eight days and, I'm thinking, it's built around Nate.
Nate's a one take guy, I think I can actually pull this off
if I'm front and center with Nathan the whole time
because he already is ahead of where it's got to be.
We'll have a short chat, shoot it, it's gonna work.
I can do this in eight days.
But I don't know a lot of other people I could have shot
in the years I've worked,
we could have done this in eight days 'cause Nate steps up.
He also doesn't want to do it more than
a few times 'cause he already gave it to me.
(FILLION LAUGHING)
BOWMAN: So I'm not worried I'm going long anyway.
FILLION: That's so generous how you want to give away credit like that.
Let's not pretend.
MARLOWE: One of the things Rob and I talked about
is the frenetic pace of a lot of this stuff.
Coming into the loft, coming into this next scene,
because we want the audience to have a sense of exhaustion
akin to what Castle's is.
That he's been going through this experience of being manipulated
and just everywhere he turns, it's a frantic pace
and you don't have a chance to catch your breath.
BOWMAN: He's not going to stop till he finds her, so we can't either.
FILLION: There's not a lot of chance
to catch your breath in this episode.
MOSLEY: No. BOWMAN: No.
If he's in there, he's gonna gun for you first.
(SHOTGUN COCKS)
BECKETT: Castle, wait! Get back, it's a trap!
- (GUNSHOTS) - Watch out!
(SCREAMS) Beckett! No!
BOWMAN: This is another level for Tyson
and you can't un-see,
Castle can't un-see what he thought he just saw.
He thinks he just saw the love of his life assassinated.
I'm sorry. Kate, I'm so sorry.
I'm sorry.
MOSLEY: I don't know if you want to show behind the curtain, Rob,
but was that digital?
Or was that practical?
BOWMAN: The blood was digital. MOSLEY: Okay.
The blood was digital.
BOWMAN: Here's the ring out of this.
To me, this what I project into Castle is,
"It's not Beckett, but he killed some innocent girl just to torture me."
This is horrible...
MARLOWE: That relief is so tainted that another life was lost.
FILLION: Mmm-hmm. BOWMAN: In a game.
FILLION: It takes the sweet out of bittersweet.
BOWMAN: Thank you.
And now there is a causal darkening,
deeper darkening of Castle here,
and a deeper understanding of what's going on.
MARLOWE: And an important dramatic turn in the story
where you start with what Gates told him
and then we hear what he says at the end of this scene,
he's planting that seed for the parallel journey that gets paid off at the end.
You think she's still alive?
She's alive.
How do you know?
Because he's not done with me yet.
BOWMAN: I love the calm of Castle 'cause it seems like,
"Now I understand I have to use my head to go forward,"
but he's also resolved of who he's got to be to go forward.
So now we take away all of
the audiences' sense of place or geography.
And Marlowe writes this so it's like
we're just going to live in Beckett's experience
which is you can't see anything except what she sees with her eyes.
Even that one last shot of the scene
is a pivot shot because it's a little too wide.
MARLOWE: So really strong point of view story
where you're really living in Castle's point of view
and then when you're in Beckett in those scenes
you're deeply in her point of view.
And Rob and I talked about anything else outside that point of view
- is relatively irrelevant. - BOWMAN: It's not necessary.
Not by chasing him, not by playing his game.
FILLION: This... I remember reading the payoff that comes later,
how you guys...
How, Andrew, sorry, you layered this,
you built something and then in retrospect
we go back and see
- what we truly saw being built. - BOWMAN: We re-contextualized it.
FILLION: I really enjoyed reading it.
- Ah! Here's Lee. - MOSLEY: Here comes Lee.
MARLOWE: Lee Tergesen, ah, amazing.
MOSLEY: He's great. MARLOWE: Really great.
You and your cop friend put me in here.
MOSLEY: I met Lee and Jon Huertas
shooting a show called Generation Kill in South Africa.
FILLION: Yes, you did.
MOSLEY: I've known these guys for a while.
MARLOWE: There's been a Gen Kill reunion on this show.
- Yeah. - MOSLEY: Yeah, it was.
You shared a cell with him...
MARLOWE: I got to say, I loved writing this scene,
but I love more seeing it come to life.
When I was editing this scene, between Lee and Nathan,
just the acting tour de force on both sides
and the layers they brought on both sides was remarkable.
- It gave me chills. - FILLION: Oh, I'm glad.
BOWMAN: And I had never met Lee before it was, "Hi, four pages,
"turning point scene, with number one, let's see it."
MARLOWE: And often times on our show when you look at four pages,
you're like, "Oh, this scene is not gonna sustain,"
but this one just ended up being gripping 'cause of the performances.
He's not.
Just another way for him to disappear so he could make his plans.
He's alive?
And he has my wife.
You shared a cell with him for four years.
MARLOWE: And again, in the background
you can hear that heartbeat,
Robert Duncan score,
giving the anxiety and the propulsion to the scene.
...somewhere in the city, a place he would go to feel safe?
(CHUCKLES) You need my help.
(ALL LAUGHING)
Yes, I need your help.
You put me in here.
He put you in here.
He got you to do those things. He got inside your head.
BOWMAN: The lighting on Nate,
we're seeing less and less of Castle as we know him
as the story progresses, so we just...
I almost missed it, too. I almost went too far,
but it's just scraping the left side of his face
because that's about as much of the Castle we know that's left
and all the darkness is the Castle that's appearing in this story.
And Lee's actually got a little more light on him
because we learn so much,
so there was a little... I damn near missed it,
because if that light moved another inch or another foot,
there would be nothing on Nathans face,
but that's what the intention was...
That's as much of good old Castle that's left.
FILLION: And our DP for this episode was Daryn Okada,
who is not our usual DP.
He is our DP when Bill Roe is off doing pre or post
because he's been directing a lot.
MARLOWE: Yeah, he directed the first part of the two-parter,
- so he was off on this episode. - FILLION: Right.
BOWMAN: And Daryn knows... Well, he's a master,
and if Bill's listening, we just shot it in your spirit, Bill.
We only did what you would have done, so.
(ALL CHUCKLING)
BOWMAN: But Daryn did a really nice job
copying what you would have done, Bill.
MARLOWE: With his own signature, if Daryn's listening, 'cause he's brilliant.
- (ALL LAUGHING) - BOWMAN: Yeah.
FILLION: What are the odds those guys watch the commentaries.
BOWMAN: Daryn made sure to paint every scene with a different color.
There is nothing that's similar in the show.
Side by side.
Fine.
Guess I just didn't think, after all these years,
you'd still let him control you.
What kind of revenge?
MARCUS: There was a place he talked about.
A house in the woods.
CASTLE: Where?
A little ways up the Hudson, owned by a family friend.
When he was a kid, he'd go there in the summers,
when things got too intense...
MARLOWE: We shoot these things out of order.
We group all the precinct scenes together.
What was it like for you tracking the psychological journey of Castle
in this, Nathan, given that the scenes were out of order
and you had to know exactly where you were in that descent?
FILLION: Some of these episodes
are gonna take a little more work than others.
And the ones that take more work,
I turn to Rob and lean on him
at about a little greater than 45 degree angle.
Fair to say, Rob?
BOWMAN: Yeah, but that's okay, I'm not telling him what to do.
He knows. That's why he's usually like,
"Oh, yeah, yeah right, right, I know what it is."
But we do collaborate or we conspire together to tell the same story,
and we usually don't finish talking until we both are doing the same thing.
It's really important to Nathan to know exactly what's required,
what's the right thing to do, and what are we both doing,
so we can do it one or two times and go do the next thing.
FILLION: Yeah, and Rob, you have a great shorthand as well.
You can get those ideas across quickly and concisely.
- BOWMAN: I've been taught by you. - (ALL LAUGHING)
BOWMAN: I use to speak, like, two, three paragraphs to Nathan
and all this depth and he'd go, "So faster?"
(ALL LAUGHING)
BOWMAN: "Yes, please go faster."
FILLION: Where was this spot? It's beautiful.
MOSLEY: I know. I was just thinking that.
BOWMAN: This is Topanga Canyon.
FILLION: It's great spending a day
out in the middle of nowhere, just...
MOSLEY: No cell phone service. FILLION: No mosquitoes either.
- Oh, what was her name? - MARLOWE: She's Laura Coover.
FILLION: Well done, Laura Coover.
BOWMAN: Lovely Laura, she's very good.
FILLION: Yeah, she did a lovely job.
MARLOWE: She had a couple great scenes in the first part of the two-parter,
so I encourage you guys, all, to go back and take a look at those.
(LIGHTER CLICKING)
MARLOWE: I'm always amazed by the anxiety
you can capture in this camera work, Rob.
BOWMAN: The director was full of anxiety this day 'cause this was...
MARLOWE: (LAUGHING) It was a big day.
BOWMAN: It was a huge day, but the main thing...
MARLOWE: So that's the trick, to make you anxious
- and then the camera will be anxious? - BOWMAN: I guess.
No, I wanted all these bits and pieces. I knew how to build it,
it was just doing it when the sun was up.
MOSLEY: Are you guys losing light here?
BOWMAN: No, but in getting those wide shots with the tree, the graphics,
and then color timing it so they're almost completely black
and detailing out all these moments.
Again, I knew Nate could do it.
I just didn't know if I could stay calm enough
and get that many setups that were narratively influenced.
We did get it, but it was a heck of a day.
A heck of a day.
I don't believe you. Who's down there? Who's in the house?
Just me.
You're lying.
FILLION: Some of my favorite days are the, uh, walking around,
don't say anything, telling a story with no words.
MARLOWE: It's so nice to be filmic.
So much of it is the ricochet words back and forth,
but when you can take the time and you can watch somebody think
and you can watch that thought develop...
FILLION: Yes. MARLOWE: Great.
All the trunk space. Get in.
BOWMAN: There's been a couple of times, probably more,
that Marlowe has written a script for me
and I want it to be a thinking script, and I want it to be an internal script,
and he'll write these big long sections with no dialogue,
and I'll go back and say, "Don't you want to...
"Hey, this is what you wanted, you go figure it out.
"It's you and Nathan, make it happen."
It's a little scary.
MARLOWE: Yeah, we had a good time with that In the Belly of the Beast
- where that was a Beckett PO V story. - BOWMAN: Yeah.
MARLOWE: And then in the second part of the two-parter
with Brolin, Hunt, that we did a couple years ago,
where Nathan goes to Paris.
FILLION: Annie. MOSLEY: Annie is so good in this.
MARLOWE: She's so good. MOSLEY: Such a creep.
MARLOWE: So nice in real life though.
MOSLEY: Oh, yes, she's such a sweetie.
BOWMAN: Her ability to do this dialogue,
this menacing dialogue matter of fact-ly
was scene saving.
And then I walked up to thank her afterwards
for how well she had done it and she was aware that it was fragile,
that she was aware how easily overplayed and she was so relieved.
MARLOWE: Yeah.
BOWMAN: She said "Thank you,"
and exhaled like, "I know that I could have been terrible."
FILLION: That's an excellent point.
Both Annie and you, Mike,
this kind of stuff, this villainy is so easily overplayed.
MOSLEY: Yeah, you have to really rely on Rob
because you're afraid you're gonna...
Yeah, at any moment you're like, "Is that too much?"
MARLOWE: The thing is the words are enough.
You don't have to lean into it because if you lean into it,
it suddenly becomes arched and mustache-twirling.
MOSLEY: Yeah.
FILLION: Wringing your hands. MOSLEY: Yeah. Petting the cat.
(FILLION LAUGHING EVILLY)
What do you think he's gonna do when you're no longer useful to him?
He will kill you.
I am your only chance, Kelly. I can...
MARLOWE: The laser line's on the face,
great metaphor for dissecting the face
without actually having to put a knife to it.
- (DEVICE BEEPING) - What are you doing?
With all the police attention, I'll need a new face.
MARLOWE: What a great foreign atmosphere
that our production design team created here.
Led by Alfred Sole.
BOWMAN: And not with all the money in the world.
That's, uh, packing...
MARLOWE: It's basically bubble wrap on the walls.
BOWMAN: It's bubble wrap,
but with the way the light hits it, it just creates a foreign environment.
You can't get your hands on it, you can't figure it out.
(SHUSHING)
(MUFFLED MOANING)
BOWMAN: And I'm gonna say it now,
the following section, not including the stairs, is take one.
Which is a big deal for him...
'Cause this is the house where he's going to die.
This is where Tyson is gonna kill him,
but he doesn't care, he's gonna go in there for Beckett.
And I don't even remember what Nathan and I talked about,
if we talked, I think it was kind of evident,
but this is one camera in the kitchen
and this is second camera, and we did it one time.
I said, "Cut." Nate was great, his gun work was professional.
MARLOWE: And with scenes with tension, the fewer cuts, the better
because the audience maintains oriented...
BOWMAN: That's it, one take.
The heartbeat... It was the post of the railing,
was supposed to establish that accelerating heart rate.
But to me, this is all just Castle walking closer to dying or finding Beckett.
We're supposed to think that he's walking into that med-room
where Beckett and Annie are.
MARLOWE: So we turn around and we see that light coming,
which is that same quality of light
that we'd established in the other room.
BOWMAN: Right. MOSLEY: Mmm-hmm.
MARLOWE: So we think we're close to victory and we're not.
BOWMAN: I got to... Hands up to production design and set dec.
Wooden chairs, incandescent light, warm light,
we are not in that room and your eye goes right to it,
and just tells you instantly that we're not there.
MARLOWE: And again, probing Tyson's psychology
and the manipulation, and the depth of the manipulation,
and the depth of the game.
She's not here.
TYSON: But you are.
FILLION: He's right behind me, isn't he? MOSLEY: Mmm-hmm.
FILLION: (WHISPERS) Shit.
(MOSLEY CHUCKLES)
- (CRACKLING) - (GROANING)
MOSLEY: Oops.
FILLION: Good work, Paul Scott. MOSLEY: Yeah.
FILLION: Paul Scott, a very good stunt double.
BOWMAN: And you really tased him, didn't you?
MOSLEY: I did.
BOWMAN: You had to method your way through that?
MOSLEY: Yeah, Paul and I were back looking on You Tube...
There's, like, police academy cadets who do it,
so they know what it's like. So we were watching that on You Tube.
BOWMAN: Let's do the real thing.
MOSLEY: Yeah, he had two little barbs
shoot out of that thing and land in his chest.
I mean, he had a pad on,
but not on his arms or legs so we had to be careful.
The mask we show to the world.
I find that clients
invariably hope a procedure won't just change their looks,
but change who they are in some deeper way.
BOWMAN: This was sort of a good way to express what Beckett's future was.
I mean, obviously, Annie's not gonna literally remove her face,
but it was just a way to express to Beckett what her future was.
MARLOWE: And she did a really great job, Stana did in this,
given that there's no dialogue here,
she's got to be expressive with her eyes
and we have to take a journey of fear and hope and purpose with her
with the cloth in her mouth and just her eyes to do the work.
Did you get what you need from her?
Enough. I can do the rest after.
Get her ready.
MARLOWE: So, Mike, you had a bit of a monolog coming up,
how do you approach something like that?
We were talking a little bit about the delicate nature of creepy dialogue
where you want it to be honest for a character
who happens to be a psychopath without leaning into cliché.
BOWMAN: And it will parallel what we're looking at here with Annie here.
They're both doing the same.
MOSLEY: You're really leaning on Rob a lot
because we can do it a bunch of different ways.
Is this part of a setup, does he mean what he's saying,
is this part of a game, when does the anger bubble up,
when is he in control of this situation, when is he not?
I mean, I think he always thinks he's in control,
but this one was more unique.
It was almost like he was really speaking from the gut to Castle,
maybe for the first time as opposed to always manipulating him.
- It was like a... - BOWMAN: Mea culpa.
MOSLEY: Yeah. BOWMAN: Bad guy mea culpa.
- MOSLEY: Yeah. - (BOWMAN CHUCKLES)
...is they're so predictable.
They're like mice. You can get them to do...
MOSLEY: I remember, Rob, you saying that
you liked to watch him reason in this scene.
That you liked watching him think.
- Reason through this stuff. - BOWMAN: Yep.
MOSLEY: And that's where we landed that day?
BOWMAN: Yep.
There's no need to be mean, there's no need to laugh,
there's no need to be delicious about it all.
...chasing their tails,
I knew it'll only be a matter of time before you did something on your own.
Visiting my old cellie was a...
Well, that was a natural choice.
This was a set-up.
What better way to get you here alone than to make you think it was your idea?
MARLOWE: What I like about what all you guys found on the day
is how the scene subtly shifts
and you just feel the power
tilting just a little bit to Castle,
and then how it just becomes an avalanche that Tyson can't believe.
Really well handled on all your parts.
BOWMAN: You're gonna vote that Castle is gonna think of something.
He's a sharp cookie,
but up against equally sharp
except in a criminal way, a criminal mind,
I just don't know how it's gonna come out.
Your inadequacy.
All the games, all the manipulation.
After I screwed up your plans,
you needed to prove you were smarter than me.
MARLOWE: So this is that next beat.
This is the journey that Gates sent Castle on,
and the realization of,
"this is who this guy is, this is what he needs and I can use that."
You know, I've written characters like you.
Cunning psychopaths so narcissistic they believe they can't be caught.
Because they're smarter than everyone,
and they need to prove it.
Well, that's your story, Jerry.
MARLOWE: And now you can feel the power start to shift.
BOWMAN: Or, "I'm dead anyway,
"I might as well just tell him what I think about him."
One or the other.
So I let you.
What do you mean?
(ALL CHUCKLING)
It was the only way to find you.
I needed to find you so I could find her.
But the truth, Jerry...
We're not gonna find her. Not like this.
FILLION: I love these reveals. MOSLEY: Yeah.
...not by playing his game.
We need to take the game to him.
Put this deep in your ear, all right? All the way in.
CASTLE: The truth is,
I lured you here.
To watch you die.
BOWMAN: It's a rush of hope, but Castle still doesn't have a weapon.
Are we clear?
Clear about what?
Then take the shot.
BOWMAN: Uh-oh. Turn around. Turn around.
MARLOWE: Dawning realization.
(SILENCED GUNSHOT)
MOSLEY: Uh... BOWMAN: Good night.
FILLION: And now this is also something
that can be very easily overplayed,
the draining life force,
when you watch someone dying in disbelief.
Just imagine his world darkening around him,
it's so great, wonderful job, wonderful job.
(ALL LAUGHING)
BOWMAN: The sides coming in.
MOSLEY: Dang it, Huertas, I thought we were friends.
You have her location?
Yeah.
Here.
This is the last number he called. Beckett's with Nieman.
I need an emergency trace on the following number.
FILLION: Great team. Great teamwork. MOSLEY: Mmm-hmm.
BOWMAN: Yeah.
FILLION: I can always count on Esposito and Ryan.
He should've called by now.
BOWMAN: However far along Beckett is in tearing up that
arm restraint,
I put Annie over there just so it's like, "Now I'm caught."
Just keep taking away Beckett's advantage.
Just keep removing more and more options.
I'm afraid it's time, Detective.
BOWMAN: Boom.
- That gives me chills every time. - MOSLEY: I like that music.
It's fantastic.
MARLOWE: We made a conscious decision there
to hold on that black until it was uncomfortable before
- that door got kicked in. - BOWMAN: It worked.
MARLOWE: I thought it was important to the storytelling
not to have the guys come and rescue her,
but to come in time to see her rescued and if not for what Castle did,
she would never be in the position to be able to rescue herself.
Buying her that time.
After all that, just this moment of affection and gratitude,
Beckett's not that present just 'cause of what she just went through.
MARLOWE: Whatever act of violence she just had to go through
was better unseen by the audience,
by Castle and by her, so she steps away from it, emotionally.
BOWMAN: As you said to me, it's a lot different to kill somebody
and feel their warm body with a knife than it is to shoot them.
It's a little dreamy here because Beckett's not really present.
MOSLEY: But your lights have switched now.
FILLION: Starting to look like morning.
MOSLEY: The back, it's warmer now. BOWMAN: Yeah.
MOSLEY: It's over.
BOWMAN: The idea was that she smells the place,
that these people look familiar, it sounds familiar
and slowly you're pulling her back.
And then the hug with Lanie is like,
"Yeah. Okay, this is a real thing, I'm really here.
"I'm not trapped anymore, I'm not in danger anymore."
That was the stupidest, most reckless, irresponsible stunt
you've ever pulled, Mr. Castle.
Thank you.
Okay, all right. All right, all right. Okay! (CHUCKLES)
FILLION: She likes him.
(ALL CHUCKLING)
Assault charges?
CASTLE: It's a long story.
But, Captain, you can't be serious.
Serial killer or no,
you threatened an unarmed man with a gun.
The DA takes that very seriously.
But, in light of your outstanding work on this case,
he's willing to drop the charges
if you agree to 1,000 hours of community service.
A thousand hours?
GATES: Yes.
As a consultant to Detective Beckett and the 12th Precinct.
MARLOWE: And all's right with the world.
I'm being un-banned?
Mr. Castle, welcome back.
Okay. (CHUCKLES)
FILLION: In real life, Jon Huertas just kept ruining that touching moment.
MOSLEY: Did he? FILLION: Yeah.
- He kept making it about sex. - (ALL LAUGHING)
Big group hug, everybody's group huggin' it.
(GROANS)
MARLOWE: You know, Castle's a bit of an episodic show in that,
we don't generally carry big emotions over from one episode to the next,
so each episode can stand alone.
So it was very important to have this scene
where they acknowledge what this journey has meant to the two of them.
Beckett having to deal with Dr. Nieman,
and Castle having to deal with 3 XK all these years.
When you were gone?
All the time.
BOWMAN: I think it was honest for her to still be darkened by that.
...close my eyes, I see her face.
I see his, too,
since that night on the bridge.
FILLION: Oh, yeah, I shot you then, too.
MOSLEY: I've been shot, I've been thrown off a bridge.
I open my eyes and look at you.
BOWMAN: When he says that and she says...
Thanks for coming to get me.
BOWMAN: Then I know that she's present enough to say thank you.
That she's not back in that stainless steel room anymore.
All's well, but never the same.
Thanks for watching.
FILLION: Well done, everyone. MARLOWE: Great episode, guys.
MOSLEY: Yeah, and I want to thank you guys, too,
for letting me play in your sandbox.
This has been one of the... A great time in my life.
BOWMAN: Andrew and I were very excited to have you back.
Nathan was a little reluctant, so...
MOSLEY: (CHUCKLES) I kind of got that.
BOWMAN: But we talked to him and he said,
"Is he gonna die?" And I said,
"Yeah, he's gonna die," and he said, "All right, fine.
FILLION: "All right, whatever."
BOWMAN: Anyway.
FILLION: Also congratulations on your first DVD commentary, Mike.
MOSLEY: Oh, yes, this is the first time I've done this. Yeah, thanks.
FILLION: So don't be too cruel on Twitter.
MOSLEY: Okay.
BOWMAN: Bye. MARLOWE: Nicely done.
FILLION: Bye.
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