6x20 Transcript

Transcribed by:
McManda
CASTLE
EPISODE 6x20
"That '70s Show"


EXT – CONSTRUCTION SITE

A cement block with 1978 on it is jackhammered apart by a construction worker.

CONSTRUCTION WORKER
Hold it!

They stop. A CONSTRUCTION WORKER starts to clear debris that had been chipped away. He moves a large piece of cement and reveals a skeletal hand. Upon realizing what he’s uncovered, he drops the cement he was holding and peers closer.

CONSTRUCTION WORKER
What the … (he turns and yells) Hey! Somebody call the foreman!

INT – CASTLE’S LOFT, MORNING

RICHARD CASTLE opens the door from his bedroom.

RICHARD CASTLE
So, breakfast? Divide and conquer?

KATE BECKETT fixes her robe and walks out of the room past him.

KATE BECKETT
I’ll make the coffee.

CASTLE
I’ll make the omelets.

MARTHA RODGERS
And I am going to make your day. I have the most exciting news. I just wanted to wait until you were finished doing – (she gestures to the bedroom) – you know, whatever you were doing in there.

CASTLE
Sleeping.

BECKETT
Uh, what news?

MARTHA
About your wedding.

CASTLE
Oh! Um … you’ve come up with options for flower arrangements.

MARTHA
I have searched high and low trying to capture the look that is the essence of you. (she moves to an easel and pulls away a cover) I give you … the tunnel of love. The bride and groom walk to the altar through the arched passageway festooned with exotic flowers. Then, I found this.

She reveals another photo. Both CASTLE and BECKETT are less than thrilled with the presentation.

CASTLE
Is that … a giant photograph?

BECKETT
Made entirely of flowers?

MARTHA
Yes, except it would be, of course, the two of you. Painstakingly crafted by skilled artisans. Just … (she sighs in pleasure) But wait, there’s more.

She moves to show them another photo. BECKETT digs her nails into CASTLE’S back.

CASTLE
Mother, as much as I appreciate your passion and obviously diligent research, I just think this is a little too much.

MARTHA
In terms of expense?

CASTLE
In terms of – (he pauses) -- everything.

MARTHA
(sighs) Richard, why do you just dismiss all of my ideas about your ceremony?

CASTLE
You mean like your ideas of bringing in giant ice sculptures of Nikki Heat or hiring the Vienna Boys Choir, or having the Blue Angels fly overhead?

MARTHA
Richard, I am simply trying to bring a little pageantry into your wedding. But it seems that the only role you want me to play is that of guest. Fine. I can do that.

MARTHA walks away. CASTLE wipes a hand over his face.

EXT - CONSTRUCTION SITE

CASTLE shuts the door to BECKETT’S car.

CASTLE
I just asked her to check into flowers and keep it simple. With her track record I should have known better.

BECKETT
Look, she means well, Castle. She just wants to be a part of this. So let’s find something for her to do. Some kind of a wedding project.

CASTLE
Yes. You’re right. But something she can’t turn into an over the top disaster.

They both pause and try to think of something suitable for MARTHA to do. They’ve got nothing.

BECKETT
I’ll keep thinking.

CASTLE
Yeah, me too.

JAVIER ESPOSITO
Yo. So this building was set to be demolished. That is, until the salvage crew stripping this place came across this body.

They look at the body. Except there’s not much body left. It’s just a skeleton wearing tattered blue fabric.

KEVIN RYAN
Buried under concrete, no less.

BECKETT
You got cause of death?

LANIE
Not until I do a full exam, but he’s probably been here since they poured the concrete back in 1978.

CASTLE
A dead man from the Carter administration entombed in cement. I am intrigued.

BECKETT
Anything else you can tell us about the victim?

LANIE
He was maybe early 30s, and a sharp dresser. Check out that powder blue suit.

BECKETT
Yeah, straight from the disco era.

CASTLE
And a testament to the truly indestructible nature of polyester.

RYAN
We’ll check out the building back in 1978 and who owns it now.

ESPOSITO
We’ll also pull permits, see if we can track down who poured this concrete.

CASTLE bends down to take a closer look at the skeleton. There’s still a ring on his pinky and a watch on his wrist.

CASTLE
(long gasp) I know who the victim is.

ESPOSITO
(dryly) What?

CASTLE
A man in his 30s with a penchant for pinky rings and Panerai watches who mysteriously vanished in 1978? C’mon.

ESPOSITO shrugs.

BECKETT
Vince Bianchi?

CASTLE taps his nose and points excitedly at her.

LANIE
Of the Bianchi crime family?

CASTLE
And one of the most powerful and feared mafia dons of his day. Until he disappeared, Jimmy Hoffa style. And for over 3 decades he was right here. We just found Vince Bianchi.

INT – TWELFTH PRECINCT BULLPEN

DETECTIVE MILT BOYLE points at a photo that they’ve built the murder board around.

DETECTIVE MILT BOYLE
Vince Bianchi. Before he turned into the pile of bones you guys found. Back then, we were trying to take him off the streets. Then on July 30th, 1978, somebody did it for us.

RYAN
(whispered to ESPOSITO) High profile case like this? Gates sure did pick the wrong week to go to a terrorism seminar.

BECKETT
Detective Boyle? Could one of the other crime families have had him killed?

BOYLE
It’s definitely possible. (he points) Mickey “The Blade” Carcano, Louie “The Lip” Maneri. Both wanted to muscle in on Bianchi’s territory, so they had motive.

CASTLE
(whispered to BECKETT) It’s like being transported to a bygone era. Mickey the Blade? Louie the Lip? Where are these guys now?

BECKETT
Probably under concrete.

BOYLE
Vince had rivals inside the Bianchi family.

BECKETT
Were any of these rivals suspects?

BOYLE
Yeah, this guy. Frank Russo, one of his lieutenants. He took over the Bianchi family after Vince vanished and was one of the last people to see him alive. They had dinner together that night at Gino's Restaurant. The owner snapped this picture of Frank and Vince. It’s the last known photo of Vince Bianchi. Frank claimed he drove Vince home and never saw him again.

CASTLE
What do you think really happened?

BOYLE
I think Frank talked Vince into a night on the town, lured him someplace, and killed him. But we could never prove it.

BECKETT
Castle, look at the suit Vince was wearing at the restaurant.

CASTLE
It’s black, it’s not powder blue.

BECKETT
So he did go out after dinner that night.

CASTLE
Then Frank Russo is lying.

BECKETT
We need to talk to Frank Russo.

INT – FRANK RUSSO’S APARTMENT

FRANK RUSSO
Vince was a good man, God rest. (he crosses himself) Now at least he’ll get a proper burial.

BECKETT
Yeah, Mr. Russo, we’d like to revisit the night that he disappeared.

They sit.

FRANK
Look, that whole thing was a ages ago.

BECKETT
Right, and after it happened you took over the Bianchi crime family, isn’t that true?

FRANK
I’m legit now. I own several businesses.

MARIE RUSSO
Oh yeah, crumbs the family threw you when they shoved you out the door.

FRANK
Hey, excuse me for making an honest living to keep four thousand square feet over your head.

MARIE
Yeah, but it’s not the penthouse, is it, Frank? It’s not the top floor.

BECKETT’S eyes widen. There’s an awkward silence as MARIE walks away.

FRANK
What are you going to do?

BECKETT
You know what? Why don’t you just walk us through what happened at Gino’s restaurant?

FRANK
Vince and I broke bread. We shot the breeze. Vince talked about the future, settling down, how important it was for a don to be a family man. After dinner I dropped him home. That was it.

CASTLE
And you and Vince didn’t go out afterwards?

FRANK
Again with this. How many times do I have to say it? No.

BECKETT
Then why was he found in a different suit then the one he wore at Gino’s Restaurant?

FRANK
I have no idea. If he went out after, it’s new to me. But if he did go out, Harold would have known about it.

CASTLE
Harold?

FRANK
Harold Leone. Vince didn’t brush his teeth without talking to Harold.

INT – BECKETT’S CAR

BECKETT and CASTLE are on the phone with BOYLE.

BOYLE
If you ask me, Frank’s just pointing at something shiny so you quit looking at him.

BECKETT
Yeah well, that’s very possible, but who is Harold Leone?

BOYLE
Vince’s advisor. His consigliere.

CASTLE
You mean like Tom Hagen in The Godfather.

BOYLE
Yeah, but after Vince went missing Harold kind of dropped off the world.

BECKETT
Was he ever a suspect?

BOYLE
Nah. But word was he knew things.

BECKETT
So where can we find him now?

BOYLE
I might have an address in my files.

EXT – HAROLD LEONE’S HOUSE

CASTLE and BECKETT pull up outside a house. YVONNE is washing a car outside.

BECKETT
Excuse me, ma’am? Hi. NYPD. We’re looking for Harold Leone. Is this where he lives?

YVONNE
Uh, I’m Yvonne. I look after Harold.

BECKETT
Well, we’d like to speak with him.

YVONNE
Are you sure about that? I mean, he’s a sweet man deep down, but he’s just a little off.

CASTLE
Off … how?

YVONNE
Pathological grieving is what they call it. Harold’s best friend disappeared back in ’78 and he never got over it, never moved on. It’s like he’s frozen in time. That’s why he stays home and still owns this car and makes me wear these dumbass clothes.

CASTLE
I’m sorry, are you saying that Harold thinks it’s the 1970s?

YVONNE
Yeah. And anything that happens that bursts that bubble? Oh, he just gets all confused. So when you go in to talk to him, just turn off your cell phones. Pretend like it’s 40 years ago and you shouldn’t have any problem. (she studies BECKETT) Actually, you will have a problem.

BECKETT’S smile falls.

INT – HAROLD LEONE’S HOUSE

HAROLD LEONE is watching an old episode of All In The Family. His living room looks like it’s straight out of the 1970s.

CASTLE
Whoa. Look at this place.

YVONNE
Harold? You have guests.

HAROLD LEONE
Huh? (he comes from the kitchen) Whoa. Well, this hot mama can be my guest all night long.

He approaches BECKETT and she holds out her hand.

BECKETT
Uh, sir, I’m Detective Beckett and this is Mr. Castle.

HAROLD
Captain.

HAROLD shakes CASTLE’S hand.

CASTLE
Castle.

HAROLD
Oh, Captain Castle. I bet you’re showing this little lady the ropes, huh? Breaking her in, huh?

BECKETT glares at CASTLE.

CASTLE
Well, actually, um …

HAROLD
I mean, have you ever seen a cop with an ass that fine? If this is women’s lib, I’m all for it.

BECKETT
Excuse me?

CASTLE
To be fair, you do have a very fine … (off her look) never mind.

HAROLD
So, how can I help you, Captain?

BECKETT bristles.

CASTLE
Uh, well, truth is, we’re here about Vince Bianchi.

HAROLD
You found him?

BECKETT
I’m afraid we did. He was found in a light blue suit. We believe he went somewhere after he left Gino’s Restaurant the night that he was killed.

CASTLE
Now we were told that he kept you informed about what he did. You have any idea where he went that night?

HAROLD
Yeah. And I know who killed him, too.

INT – HAROLD LEONE’S HOUSE

CASTLE
Just to be clear, you’re saying you know who killed Vince Bianchi?

BECKETT
What’s his name?

HAROLD
That’s a dangerous question, sweetheart. (to CASTLE) I’m going to need protection.

BECKETT
I can assign officers to protect you if necessary.

HAROLD
(scoffs) If necessary. (to CASTLE) Can you tell cupcake here that I’m risking my life just talking to you guys. The people that killed Vince would do the same to me in a heartbeat.

BECKETT rolls her eyes.

BECKETT
I think that’s really unlikely. I mean, most of those people aren’t even around after all these years, so I –

CASTLE’S eyebrows raise.

HAROLD
What do you mean, years? (he starts to hyperventilate) Vince has not been gone … for years. No.

CASTLE
I’m sure what Detective Beckett meant to say –

HAROLD
Is this a trick? You are trying to trick me into saying things. Maybe Vince isn’t even dead.

CASTLE
No. He most definitely is.

HAROLD
Well then, show me. If I’m going to tell you who killed him, I’m going to see his face first.

BECKETT
I’m sorry, Harold, but that’s impossible.

HAROLD
Why? If Vince is dead, show me his body.

BECKETT
Harold –

HAROLD
No body, no talking.

CASTLE
(seriously) Sir, by the power vested in me by the NYPD, I will personally arrange for you to observe the deceased.

BECKETT gives him an incredulous look.

HAROLD
You are a man of honor, Captain.

He shoots BECKETT an I-told-you-so look and she rolls her eyes.

BECKETT
(sharply, to CASTLE) Can we speak outside, Captain?

CASTLE
Of course. (to HAROLD) Rookies.

EXT – HAROLD LEONE’S HOUSE

BECKETT storms toward her car.

BECKETT
“By the power vested in me?” Castle, what the hell were you doing?

CASTLE
I was trying to stop the meltdown he had when you stepped out of the 70s.

BECKETT
By promising him a body that we don’t have?

CASTLE
He can help us solve an infamous gangland slaying.

BECKETT
Maybe he’s delusional. We already know he’s delusional about what year it is.

CASTLE
If we’re going to find out what he knows, he has to trust us. He has to see a body.

BECKETT’S phone beeps. She sighs heavily and checks it, giving CASTLE a look before turning for her car.

BECKETT
Lanie’s got something at the morgue.

CASTLE
You know what else she’s got? Bodies. Lots of ‘em. Maybe one of them looks enough like Vince Bianchi.

BECKETT
Don’t even go there, cupcake.

INT – TWELFTH PRECINCT BULLPEN

ESPOSITO is watching 70s video on his computer.

RYAN
This you checking out who owns that building?

ESPOSITO
I’m waiting on a call from records, so I figured I’d study up on the period.

RYAN
Huh.

ESPOSITO jerks RYAN’S chair closer.

ESPOSITO
By starting with this documentary I found on these two NYPD badasses from back in the day. (he points at the screen) Snookie Watts and Ray Price. Check out Snookie’s move right here.

They watch as SNOOKIE slides across the hood of their car.

NARRATOR (on screen)
Snookie, you and Ray have made quite a name for yourselves in the anti-crime units.

SNOOKIE (on screen)
You better believe it, baby. Stopping crime one skell at a time.

They high-five.

RAY (on screen)
Right on, right on. See, when the bad guys see the old red rocket here? They know a serious head cracking is on the way.

RYAN
So … the good old days of police brutality.

ESPOSITO’S joy falls from his face.

ESPOSITO
Man. You just don’t get it.

INT – MORGUE

LANIE
So it looks like our victim was killed by multiple gunshot wounds. When I pieced his skull back together I found this entry wound from a .38.

CASTLE
One in the noggin. Classic mafia rub out.

LANIE
Not exactly. As near as I can figure, Vince was shot in the back first. Maybe as he was walking away. There’s an exit wound in his abdomen.

BECKETT
In his abdomen? You got all of that from bones?

LANIE
I got a little help from this. (she leads them to another table) When the concrete settled on him it formed an almost perfect mold. We were able to make a cast of the body, which showed the exit wound.

They look at the plastic rendition of VINCE’S body.

CASTLE
We have a body. We have a body to show Harold. This is exactly what we need to get him to talk.

BECKETT
Castle! It’s rubber.

CASTLE
He doesn’t need to know that. (to LANIE) Couldn’t a skilled mortician apply a little hair and makeup to this, make it look like a reasonable facsimile of Vince Bianchi?

LANIE
I’ve seen them do more with a lot less. But I don’t want to be a part of some crazy plan –

CASTLE
You have to. Because for this to work, this place has to look like the 70s. (he looks LANIE up and down) And so do you.

BECKETT gives CASTLE a look.

INT – TWELFTH PRECINCT WORK ROOM

RYAN
So, Mr. Maneri, now that Vince Bianchi’s death is officially a homicide, we are re-interviewing all his former enemies, including yourself. Now, is it possible for you to tell me where you were on July 30th, 1978?

DEANNA MANERI
I speak for my husband, Louie the Lip, here. And I tell you that he had no part in whacking Vince Bianchi. And even if he did, he doesn’t remember.

RYAN knows this isn’t going to go well. MANERI is old now, frail and thin and on oxygen and in a wheelchair.

LOUIE MANERI
(shrugs) What she said.

DEANNA rips the cigarette from his mouth.

DEANNA
What did the doctor tell you? What are you trying to do, make me a widow? You promised the doctor not to do that –

ESPOSITO rushes in. He pushes MANERI’s wheelchair out the door.

ESPOSITO
Would you two excuse us for a minute? Thanks.

DEANNA rushes after MANERI in his chair.

DEANNA
You’re going to put yourself in an early grave!

RYAN
Man, I’m spinning my wheels on this thing. Everyone connected to this case is either dead or looks like Louie the Lip over there. This guy Harold might be our only shot at solving this thing.

ESPOSITO
What, the kook who thinks it’s the 70s? No way, bro. I just got us a real lead.

RYAN
Connected to who owns the building?

ESPOSITO
Sort of. Turns out that back in the 70s the mob had a piece of all the concrete work in the city. It was divvied up so that different crime families controlled different parts of town. Now, the concrete that Vince was found under was smack dab in the middle of Carcano territory.

RYAN
And the Carcanos were Vince’s chief rivals back in the day. Are any of them still alive?

ESPOSITO adds a photo to the murder board.

ESPOSITO
Michael Carcano. He was head of the family then and he still is today.

RYAN
Huh.

INT – TWELFTH PRECINCT INTERVIEW ROOM

MICHAEL CARCANO
I’m only here out of respect for Vince Bianchi. And I’ll say now what I said in ’78. It wasn’t me that did him.

ESPOSITO
Really? Because we found him under your concrete.

CARCANO
What, I’m going to bury a body in my own back yard? Plus, if I had someone disappear they’d stay that way.

RYAN
Well, they did. Until a developer decided to tear down that building. We know that you wanted in on Vince’s territory.

CARCANO
Well, here’s something you don’t know. Me and him were in talks to merge the families. (off ESPOSITO’S skeptical look) Yeah. It was a beneficial deal for both sides. Losing that merger was bad for business. So why should I want to get rid of him?

ESPOSITO
(shrugs) Maybe because you wanted the whole pie instead of just a bigger slice.

CARCANO stands.

CARCANO
If you boys have any more questions you can talk to my attorney. (he moves to leave) You know, after this long the truth is hard to find. If I was you I’d quit looking for it. Sometimes what’s in the past should stay there.

RYAN
Is that a threat?

CARCANO
What do you think?

He leaves.

INT – MORGUE

BECKETT
I look ridiculous.

She and CASTLE has dressed in 1970s-esque clothes. They’re leading HAROLD into the morgue.

CASTLE
Ridiculously hot. Besides, what’s a little humiliation when you can find out who killed Vince Bianchi?

HAROLD
All right, so where is Vince, huh?

BECKETT opens a door. CASTLE gestures for him to enter.

BECKETT
He’s in here.

HAROLD walks in.

CASTLE
(mumbled) Just hope Lanie did her part.

INT – MORGUE

LANIE waits by an examination table. She’s decked out in a tight red dress and her hair is large and afro-y.

HAROLD
Whoa!

BECKETT
(aside) Oh, she did her part all right.

HAROLD approaches LANIE.

HAROLD
Honey, spin around. Show me that caboose.

LANIE
You keep dreaming, mister.

CASTLE
(whispered to BECKETT) What is she wearing? I said 70s, not Pam Grier.

BECKETT
The only 70s outfit she had was her Foxy Brown Halloween costume.

Even CASTLE gapes.

HAROLD
Come on baby, once you go white nothing else seems right.

LANIE
I’d rather be dead than in end up in your bed, jive turkey.

BECKETT rushes forward.

BECKETT
Okay, that’s enough. Doctor Parish?

HAROLD
She’s a doctor, too? Well, that means she sure knows her way around …

He trails off when LANIE flips the sheet back. HAROLD looks at the rubber version of VINCE, made to look like it’s a real body. CASTLE, BECKETT, and LANIE all hold their breath.

CASTLE
Well?

BECKETT
Harold? We kept our end of the bargain.

HAROLD takes a long moment.

HAROLD
(to LANIE, low) Was there anything else on him? Any of his stuff?

LANIE
A pinky ring, a watch, and this. It’s one of those pressed pennies from Coney Island.

She hands him evidence bags with the things in them. He studies the penny, flipping it over to check the back. He hands it all back to LANIE before leaving the room in silence.

INT – MORGUE

HAROLD hasn’t gone far. BECKETT walks up.

BECKETT
You said that you’d talk to us.

HAROLD
Vince always carried that coin for luck. Seeing him there, I don’t know. It just hit me that he’s really gone.

CASTLE
Harold, we know this is hard. We need you to help us bring Vince’s killer to justice.

BECKETT isn’t paying attention to CASTLE consoling HAROLD. She’s noticed a man dressed in scrubs moving slowly. He reaches under a sheet and pulls out a gun.

BECKETT
Get down! (she pushes HAROLD down) Get down!

The MAN opens fire on them. CASTLE and HAROLD scramble for cover behind a gurney as BECKETT draws her gun and fires back. The MAN rushes away. Behind the gurney the arm of a corpse falls from under the sheet. CASTLE bats it away.

INT – MORGUE

CSU is taking evidence from the shooting in the morgue. BECKETT is on her phone.

BECKETT
Okay, thanks.

She hangs up and turns when LANIE speaks.

LANIE
Did this really just happen? An attempted mob hit in my morgue?

BECKETT
Lanie, it was pure luck that no one got hurt.

LANIE
How’s Harold?

BECKETT
Castle took him home. We’ve got him under police protection.

ESPOSITO
Yo Beckett. I heard what hap – (he stops when he sees what they’re wearing) – wow.

LANIE
Don’t you say another word.

It doesn’t stop him from staring.

RYAN
Hey. Looks like our shooter was a pro. He left by the stairs and he barred the door. He had an exit plan.

BECKETT
Any witnesses see him?

RYAN
Yeah. But he was wearing that mask so no one got a good look at his face. But he might have been sent by Michael Carcano. Carcano just warned me and Javi off the case. Right, Javi?

ESPOSITO
I’m sorry, what?

LANIE rolls her eyes.

BECKETT
Check the security cameras outside the building. If we can ID the shooter maybe we can tie him to Carcano or whoever else was behind this.

BECKETT leaves. RYAN hesitates before moving to follow.

RYAN
(over his shoulder to LANIE) Nice dress.

LANIE rolls her eyes.

INT – TWELFTH PRECINCT WORK ROOM

TORY ELLIS is working on a video feed when RYAN and ESPOSITO walk in.

RYAN
Hey Tory, what’ve you got?

TORY ELLIS
I was checking traffic cam footage near the morgue and found this. Here’s our shooter. It’s a half a block away. He must have come out the rear exit of the morgue. Now, watch. He takes off his mask.

She pauses the video and RYAN studies it.

RYAN
Send this image to organized crime. Maybe they can ID him.

INT – TWELFTH PRECINCT BULLPEN

BECKETT
So nobody in organized crime could tell us who he is?

RYAN
No, but look at him. He’s from the same generation as Vince. Maybe he was even involved in the original hit.

ESPOSITO
Either way, organized crime said that our shooter might have been brought from out of town so that he couldn’t be linked to whoever hired him.

RYAN
We’re circulating the photo and we’ve already got an APB.

BECKETT
Let’s run it past FBI, too. If he’s from out of town maybe they’ll recognize him.

ESPOSITO
We’re already on it. But what we really need is for your boy Harold to tell us what he knows.

INT – HAROLD LEONE’S HOUSE

HAROLD
I was a sitting duck in there! How could you let this happen? What kind of cop are you, anyway?

CASTLE jumps up from the couch.

CASTLE
Harold, we’re doing everything we can to bring in the gunman.

HAROLD
This is what I get for being a snitch.

CASTLE
Well, technically you’re not a snitch because you haven’t actually told us anything yet.

HAROLD
Well, they don’t know that.

CASTLE
No. They don’t. They figure you’re singing like a canary.

HAROLD
Are you trying to make me feel better? Because this is not helping!

BECKETT
I’m trying to show you you’ve got nothing to lose and everything to gain by coming clean. Tell us who’s behind this. We can go after them and keep you safe!

HAROLD deflates.

HAROLD
All right. I’ll tell you everything I know.

CASTLE sighs in relief.

HAROLD
Let’s go down to the precinct and make it official.

CASTLE
Precinct?

HAROLD
Yeah. The precinct. I’m going to feel a little safer with all those cops around.

CASTLE
Well … why can’t we do it here?

HAROLD
Why can’t we do it there?

INT – TWELFTH PRECINCT BREAK ROOM

BECKETT blocks CASTLE’S exit.

BECKETT
I will tell you why not. Because the second Harold sets foot in this place it will burst his little 70s bubble.

CASTLE
It won’t burst his bubble – (he hedges) – if it looks like the 70s.

BECKETT
You cannot be suggesting that we redecorate the precinct.

CASTLE
The bare bones of this place will totally work. We just need to take away the computers and put back the typewriters.

BECKETT
No! No. Absolutely not.

She moves to leave.

CASTLE
People tried to kill Harold because he knows who murdered Vince. This is the only way we can get him to talk to us. (she’s quiet) He’s the only lead we have.

BECKETT
Captain Gates will never go for it.

CASTLE
Captain Gates isn’t here. You’re in charge.

BECKETT
And what about all the other cops? Their clothes are a dead giveaway.

CASTLE
Not if you, as ranking officer, order them to come to work dressed in 1970s clothing.

BECKETT
(incredulously) What?

CASTLE
I’ve opened an account at a costume shop – at no small expense. They’re going to help us in our little endeavor by providing 1970s police uniforms.

BECKETT
Castle –

CASTLE
This will be a minor disruption. We redress the squad room just long enough to walk Harold through. Let him dig on that 70s vibe and then he gives us a statement. It worked before, it’ll work again.

She grabs his shoulders.

BECKETT
The morgue was one room. You’re talking about an entire 70s makeover. That is a massive undertaking.

CASTLE
Which is why I’ve called a specialist. Of sorts.

BECKETT
(understanding) No.

CASTLE
Yes. My mother is going to come, help us coordinate –

BECKETT
You’re doing this for your mother?

CASTLE
No! Of course not. A little bit, yes. Well, we did say we’d give her a project.

BECKETT
Yeah, for our wedding. Not for my precinct.

CASTLE
Let’s face it. We cannot let that woman anywhere near our wedding. But … she will love this. And then we get to solve the greatest mystery of the disco era. Besides the popularity of disco itself. It’s a win-win.

BECKETT
(low) I highly doubt that. (he gives her puppy eyes) But I don’t see a better option.

He grabs her face happily. She’s less than happy.

CASTLE
You are so doing the right thing. And trust me, you will thank me. (he lets her go and races for the door) Now, take a good look around and say a fond farewell. Because by tomorrow, it’ll be the 70s.

He snaps and dances his way out the door.

EST – HAROLD LEONE’S HOUSE, DAYTIME

INT – HAROLD LEONE’S HOUSE

CASTLE is set to take HAROLD to the precinct. He’s trying to talk with BECKETT on the phone without giving away that it’s all fake.

CASTLE
Hey, what is taking so long down there? Harold is ready to go and I’m running out of excuses.

BECKETT is trying to make things work at the precinct. MARTHA has taken over and it looks more like backstage at a theater than a police department.

BECKETT
This is a total fiasco.

CASTLE
A fiasco named Martha Rodgers?

BECKETT
She’s turned this into a huge production. She’s even brought in actors.

CASTLE
She what? Would – (he pauses to catch his breath) – would you put her on, please?

BECKETT
Yeah. (he finds MARTHA) Uh, Martha? Hey. (she holds out the phone) Castle.

MARTHA
Richard?

BECKETT
Yeah.

MARTHA
Ah. (she takes the phone) Hi, darling.

CASTLE
Actors, Mother?

MARTHA
In light of the abysmal talent pool you have here, yes, I’ve hired a couple of actors. And not only that, I have written these scripts so everybody knows exactly what their play is.

CASTLE
(whispered) We don’t need scripts! And we don’t need actors to play cops. We have actual cops!

MARTHA
That is such an ignorant thing to say and an insult to the craft of acting.

MARTHA waves off someone looking for her input.

CASTLE
Mother, all we need is to walk Harold through the precinct and into interrogation.

MARTHA
Richard, I am trying to create an authentic experience here so that the two of you can crack this case. Now is that so wrong?

CASTLE sighs.

HAROLD
Okay, Captain. Let’s get this show on the road.

CASTLE
(mumbled) Did you hear that, Mother?

MARTHA
Music to my ears. (she hands the phone back to BECKETT) All right, everyone! Places, please!

EXT – HAROLD LEONE’S HOUSE

CASTLE walks out first and upon seeing the coast is clear, gestures for HAROLD to come out. He escorts HAROLD to a vintage cop car and they all get in. CASTLE smiles at his victory until he notices that the UNIFORM with them has his fake mustache falling off. CASTLE gestures for him to fix it and he does.

CASTLE
Twelfth Precinct. Let’s boogie.

HAROLD
Come on. Let’s go already.

They drive off. The old car is loud and creaking as it makes it way down the street.

INT TWELFTH PRECINCT BULLPEN

CASTLE is nervous in the elevator. He’s not sure what to expect when the doors open. But he shouldn’t have been nervous. When they stop off HAROLD smiles.

HAROLD
Yeah, yeah, yeah. This is more like it. (he laughs) There’s the little lady. Hey, sweet cheeks. You look good.

BECKETT’S look is vaguely hippie.

BECKETT
(holds up a hand) Stop talking, start walking. (HAROLD leaves them) Castle, if this doesn’t work I’m going to kill you.

They follow behind HAROLD.

CASTLE
What are you talking about? It has to work. Look at this place. It’s amazing. And admit it. You’re having a little bit of fun.

HAROLD stops to look at the murder board. Instead of the whiteboard it’s now a chalkboard.

HAROLD
Hey. Most of these guys, I know. (he points to the recent photos) But who are those old farts?

CASTLE
Uh oh.

BECKETT
Uh, Harold, we should –

CASTLE
Whoa. Is that ‘sito and Ryan?

They’re distracted by RYAN and ESPOSITO. They enter and are dressed to look exactly like the cops from the documentary ESPOSITO was watching, SNOOKIE and RAY.

RYAN
I can’t believe you talked me into this.

ESPOSITO
Just play the part, man. I am, you should, too.

HAROLD
Snookie Watts and Ray Price.

ESPOSITO
Ah hah, that’s us, baby. What it is.

HAROLD
You guys are legends. I’ve seen your pictures in the papers.

CASTLE
Hey, Harold. Why don’t we go take that statement?

HAROLD
I want Snookie and Ray to do it. I love these guys.

CASTLE startles. RYAN and ESPOSITO look at each other. They weren’t prepared for that request.

BECKETT
(desperately) Okay, fine. Snookie, Ray, take Harold to interrogation.

HAROLD
What do you mean, interrogation? I’m just going to talk these people. I’m no criminal. (to RYAN and ESPOSITO) I can’t believe you let this chick boss you around.

HAROLD walks towards the interview room. RYAN and ESPOSITO thrown them a desperate look before following him.

CASTLE
He can see the entire bullpen from there. The charade was only supposed to last long enough to get him to interrogation. Harold’s going to realize that this is all fake. What do we do now?

MARTHA walks by with a costumed UNIFORM.

MARTHA
(hissed) Richard. Scripts are on your desks. (normally) This is outrageous, Officer. My behavior was entirely consensual.

BECKETT watches with wide eyes. Her eyes widen even further when she sees the ‘Captain Castle’ nameplate on a desk. CASTLE, on the other hand, is thrilled. He’s shocked when he sees ALEXIS CASTLE. He goes to her.

CASTLE
Alexis? What are you doing here?

ALEXIS CASTLE
Gram asked me to come. (she stands) I’m playing a teenage runaway who hitchhiked her way to the Big Apple in search of her dreams.

She’s wearing a very 70s outfit, just like the rest of them. But hers shows much more skin than anyone else’s.

CASTLE
Wearing that?

ALEXIS
Halter tops were big in the 70s.

CASTLE
So were those peasant blouses. Why – why didn’t you wear one of those?

She just smirks at him and continues to play her role. CASTLE heads to his fake desk.

CASTLE
Ha … we really do have fake scripts.

BECKETT
Yeah. But Snookie and Ray don’t.

They turn to watch RYAN and ESPOSITO through the window.

INT – TWELFTH PRECINCT INTERVIEW ROOM

HAROLD
I’ve gotta tell you, I dig how you guys clean up the streets.

ESPOSITO laughs.

ESPOSITO
Yeah, well, that’s super groovy Harold, but how about we talk about Vince? Who killed him?

HAROLD
First, what is the scoop on the guy you busted? That naked Puerto Rican cat?(he laughs) What really happened there? Huh?

RYAN chokes on the smoke from the cigarette he’s holding. ESPOSITO laughs along nervously.

ESPOSITO
The naked Puerto Rican cat? Uh … that, um … we’ve busted so many naked Puerto Rican cats, it um … they all just –

RYAN suddenly seems to fall into character.


RYAN
All right, Harold. Here’s the lowdown, brother. Yeah, yeah. Sure, me and Snookie, we book around town in the Red Rocket busting bad guys and hunting stone cold foxes, but you are going to solve the murder of Vince Bianchi. And that is something more righteous than we have ever done. What we want is to hear your story. Can you dig it?

INT – TWELFTH PRECINCT BULLPEN

For lack of anything else, CASTLE and BECKETT have started playing their roles. Badly.

CASTLE
(reading) Have a seat, Reno.

RENO
(hissed) I’m already seated.

CASTLE
Sorry, that’s –

He gestures for the scene to go on.

RENO
I don’t talk to no fuzz, pig.

CASTLE
Well, you’re going to talk to this pig – (he checks his script) – this fuzz.

RENO
Yeah? Why’s that, jive turkey?

CASTLE
Because I’m about to make you one sweetass deal. (he drops character) My God, who wrote this.

RENO
(hissed) I did.

CASTLE looks at him sheepishly.

INT – TWELFTH PRECINCT BULLPEN

DRUGGIE GIRL
I can’t do it. I can’t give up my connection, you dig?

BECKETT
(badly acted) I want the name of your pusher and I want it now!

She checks her script and realizes she missed her gesture. She slams her hand on the desk.

INT – TWELFTH PRECINCT INTERVIEW ROOM

HAROLD
Okay. Here it is. Everything I know. Me and Vince, we were going to meet up later that night. (shrugs) When I didn’t hear from him I knew something was wrong.

RYAN
And you knew who was behind it.

HAROLD
(nods) But to get the whole picture we’ve got to talk about Glitterati.

ESPOSITO
What’s – what’s Glitterati?

HAROLD
The nightclub. You know.

ESPOSITO
Yeah, I know.

He doesn’t know. But before he can cover, his phone rings. RYAN and ESPOSITO share an awkward look.

HAROLD
What’s that sound?

ESPOSITO
Uh … I don’t know. What is that? What -

HAROLD looks around. RYAN rolls his eyes. ESPOSITO tries to pull his phone out to silence it without HAROLD noticing.

RYAN
Yeah, Harold, you – you were telling us about Glitterati.

HAROLD
Yeah, that’s a nightclub, yes.

ESPOSITO
We know that, but what does it have to do with who killed Vince?

They’re losing him. The 70s bubble has been broken and he’s mentally not with them anymore.

HAROLD
I don’t know.

RYAN
(laughs) What do you mean, Harold? You were just about to tell us. Come on. Lay it on me, brother.

HAROLD
(nods) Yeah, I just had it. Glitterati. (he thinks) Glitterati is the key to this whole thing. (he looks up) I can’t remember.

INT – TWELFTH PRECINCT BULLPEN

RYAN
He was this close to giving up the deets on Vince’s death, but then somebody’s cell phone rings and he lost his mojo.

ESPOSITO looks sheepish.

BECKETT
Then help him get it back.

ESPOSITO
We tried, but all he can remember is that it had something to do with a club called Glitterati.

RYAN
I say me and Espo take him there. Maybe it’ll jog his memory.

BECKETT
That was over 30 years ago. That place probably doesn’t even exist anymore.

RYAN
Actually, it’s been though a lot of different incarnations, but guess what? It’s back to being a 70s club again.

CASTLE startles.

CASTLE
This could work!

BECKETT
First, the morgue. Then the precinct. And now you guys want to take him to a club? No. No. This has to stop.

CASTLE
After everything we’ve already done? (he waves BECKETT away) We’re too close. We stop now, we walk away with nothing.

The elevator dings.

CAPTAIN VICTORIA GATES
Detective Beckett!

They all spin around. GATES is angry.

GATES
What the hell is going on here?

BECKETT
(to RYAN, quickly) Take him to Glitterati. Go. Go!

RYAN and ESPOSITO rush away. CASTLE tries to hide behind his hand.

INT – CAPTAIN GATES’S OFFICE

CASTLE follows BECKETT into GATES’S office.

BECKETT
(mumbled) Didn’t you say I’d be thanking you?

CASTLE
Maybe just not right away. (to GATES) Captain Gates! I thought you were at a terrorism seminar?

GATES
It was canceled due to a bomb threat.

CASTLE
Which is ironic –

GATES
Mr. Castle, what on Earth possessed you to turn my precinct into the set of Kojak? (she picks up an rotary phone in illustration) Oh, or should I address you as Captain Castle.

She picks up the nameplate and he laughs nervously.

CASTLE
Okay, that was so not my idea –

GATES
Oh, but the rest of this was?

BECKETT
Sir, in fairness –

GATES
And you, Detective Beckett? You know what a high profile case this is. How could you allow this circus?

BECKETT
Sir, given his fixation with the 70s we thought this would be an opportunity to let Harold Leone open up about his knowledge about Vincent Bianchi’s murder.

GATES
And did he?

They’re silent.

CASTLE
Well … no. But –

GATES
So all this mess, this ridiculous display, and you have nothing to show for it?

BECKETT’S phone beeps.

BECKETT
Actually, sir, we do. APB just snagged our suspect from the morgue shooting. He stopped at a tollbooth on the Jersey Turnpike. They’re bringing him in now.

GATES
A breakthrough achieved by proper police work, not by pretending it’s the 70s! Until I can decide what disciplinary action to take, I want the both of you out of my sight. (she points to CASTLE) Especially you. Now bring in Esposito and Ryan.

They hesitate.

BECKETT
Sir, they’re not here.

CASTLE
They took Harold to a – a disco.

GATES glares at them.

EXT – GLITTERATI, NIGHTTIME

RYAN and ESPOSITO have found a red and white striped car to pose as their Red Rocket. The car squeals as it come around the corner. They park and get out. ESPOSITO tries to slide across the hood like his alter ego SNOOKIE, but he falls right off with a yell.

EXT – GLITTERATI

RYAN
I tell you, these clothes? That car? I feel invincible, man. Like Ray Price, kicking ass and taking names 70s style. I get it now, baby.

While RYAN’S really gotten into his character, ESPOSITO is struggling.

ESPOSITO
Yeah? Good for you.

INT - GLITTERATI

HAROLD
Whoa!

The club embodies a 70s disco with lots of neon lights. Even the people are dressed to embody the 70s.

HAROLD
Wow, this is out of sight!

He runs for the dance floor and starts to dance.

RYAN
Anything coming back to you, Harold?

ESPOSITO
Yeah, about how Glitterati connects back to Vince?

HAROLD
No, no. No, not yet. Give me a minute. Give me a minute. (he leaves them and sidles up to a woman on the dance floor) Hey, baby. How’re you doing, hon? That’s a nice dress. Can I talk you out of it?

The woman stops dancing, gives him a grimace, and turns and walks away.

INT – TWELFTH PRECINCT BULLPEN

ROBERT DECKER is alone at the table when BECKETT walks in.

ROBERT DECKER
You throwing a costume party out there?

BECKETT
Well, here’s you in your costume after you tried to kill Harold Leone at the morgue.

He looks at the photo she’s slid across the table.

DECKER
That’s a guy walking down the street. That’s all I see.

BECKETT
Yeah well, you seem to be walking down a lot of streets where homicides happen. Let’s see … Robert Decker. Assault convictions, manslaughter, a person of interest in six contract killings.

She sits back.

INT – TWELFTH PRECINCT OBSERVATION ROOM

CASTLE is only half paying attention to BECKETT’S interrogation. He’s scrolling through his phone.

INT – TWELFTH PRECINCT INTERROGATION ROOM

DECKER
Look, you’ve got no proof. No witnesses can say I was there. Including you.

She leans forward.

BECKETT
We found your gun hidden in the door panel of your car. It’s going to match the bullets fired in the morgue. I’ve got you. Now, why don’t you tell me who hired you? I’ll put in a good word with the DA. (he’s silent) Come on. Who hired you? Was it Michael Carcano?

DECKER
I’ve got nothing to say.

INT – TWELFTH PRECINCT OBSERVATION ROOM

CASTLE finds something. He stands, but hesitates before knocking on the window.

INT – TWELFTH PRECINCT INTERROGATION ROOM

BECKETT
What are you, sixty years old? So even another ten years is going to be life in prison for you.

DECKER
Well, I’ve got more friends on the inside than the outside at this point.

There’s a knocking on the glass. BECKETT stills. A second later it’s pounding. BECKETT sighs.

DECKER
You guys run a real tight ship here.

INT – TWELFTH PRECINCT OBSERVATION ROOM

BECKETT
Castle – (she shuts the door behind her) – what the hell?

CASTLE
I got something. (he holds up his phone) I was looking at old photos taken at Glitterati in the 70s. I found three of Vince on the dance floor boogying his heart out.

BECKETT
Okay, so Vince went to the club. How is that news?

CASTLE
Because these pictures are taken on three different occasions and he’s always wearing the same thing.

BECKETT
The powder blue suit.

CASTLE
It’s a designated disco outfit.

BECKETT
Vince must have gone to Glitterati the night that he was killed.

CASTLE
It might even be where he was killed because look who owns the club.

He holds his phone out to her. It’s a photo of FRANK.

INT – GLITTERATI

RYAN and ESPOSITO are enjoying themselves at the club when ESPOSITO’S phone rings.

ESPOSITO
Excuse me one second. (he answers) Beckett.

BECKETT
Where’s Harold?

ESPOSITO
Oh, he just took off for a second to take a leak.

BECKETT
Find him. Frank Russo owned the club back then and he owns it now.

ESPOSITO
Got it.

INT – GLITTERATI

HAROLD wanders up the stairs. It’s a familiar space for him and he stops when he sees FRANK RUSSO sitting in a private room. He tries to walk in but he’s stopped by a SECURITY GUARD.

SECURITY GUARD
Hey sorry, buddy. If you want to see Mr. Russo you have to make an appointment.

HAROLD
Oh, no sweat.

He turns back. There’s a DRINK GIRL that’s just come up the stairs with a bottle of champagne. HAROLD grabs the bottle and smashes it against the SECURITY GUARD’S head. He goes down and HAROLD grabs the gun from his waistband and trains it on FRANK.

FRANK
Who the – Harold? Harold?

HAROLD
Admit you killed Vince. Just admit it to me and you won’t suffer.

He doesn’t get to move. RYAN and ESPOSITO are there, guns raised against HAROLD.

ESPOSITO
Harold!

RYAN
Drop the gun, Harold!

ESPOSITO
Drop it, now!

INT – TWELFTH PRECINCT INTERROGATION ROOM

HAROLD
Where is my stuff? The booking officer made me empty my pockets.

BECKETT
You have bigger problems than your personal effects, Harold. Like assault charges, like lying to the police. Tell me something. What year is it?

HAROLD
I – don’t –

BECKETT
Drop the act, Harold. Tell me what year it is. I know that you know.

HAROLD
Please stop. Please.

BECKETT
What year is it, Harold?

HAROLD
It is the year I need it to be, okay? When Vince was alive and things were good.

CASTLE
Harold, what makes you think Frank Russo killed Vince?

HAROLD
Vince only ever wore that blue suit to Glitterati. And when you two said that’s what he had on, I knew.

BECKETT
What else do you remember about what happened that night?

HAROLD
Before he went to dinner, Vince told me that he needed to meet up with me later, that he had something important to tell me. And then when he didn’t show up I got worried. I – I was driving all over the place looking for him, I hit all of his old haunts, I even went to Glitterati. But there was a sign on the door that said it was closed for a private event.

BECKETT
And when you heard Vince had that suit on?

HAROLD
I figured the private event was Frank killing him. But I knew I couldn’t go straight at Frank, not after he tried to whack me.

BECKETT
You were playing us the whole time.

HAROLD
No, not at the beginning. But when I got shot at, that’s when things got real. It was like – like a bubble popped inside me.

CASTLE
You asked us to bring you to the precinct hoping you could see what Frank looks like now. Hoping we would lead you right to his doorstep.

HAROLD
Frank needed to pay for what he did to Vince.

INT – TWELFTH PRECINCT INTERROGATION ROOM

FRANK
I didn’t try to whack anybody. Not Vince, not Harold either.

ESPOSITO
Then who did, Frank?

FRANK
How the hell would I know? But if Harold is saying I took out Vince he is way off base.

ESPOSITO
Well, Vince went to Glitterati that night, yet you had it closed for an event.

RYAN
It’s your club, Frank. Are you trying to tell us that you don’t know what’s going on inside your own club?

ESPOSITO
What happened that night?

INT – TWELFTH PRECINCT OBSERVATION ROOM

CASTLE is watching. BECKETT sits next to him.

FRANK
What I’m about to tell you I never told anybody. It was Vince. Vince booked the club that night.

RYAN
Vince had the private event?

FRANK
He brought it up over dinner, said he wanted the club to himself that night. I mean, he was the boss. What was I going to do, say no? Vince goes to my club, ends up missing? If people knew that they would have thought I killed him. So I kept my mouth shut about it.

RYAN
Why would Vince want the club?

INT – TWELFTH PRECINCT INTERROGATION ROOM

FRANK
He had been talking about settling down, getting married. I figured he was proposing to some girl. Plus, when I opened up the next morning "Last Dance" was on the turntable. A romantic favorite back then.

INT – TWELFTH PRECINCT OBSERVATION ROOM

RYAN
So what girl?

FRANK
He didn’t talk about her and I didn’t ask. But I knew he had someone special in his life.

CASTLE
And who’s this mystery woman? Did she lure Vince to the club to be assassinated or did some romantic plan of his go horribly awry?

BECKETT
That may be exactly what happened. I went through Harold’s personal effects. Look at what I found.

She holds up a small bag. CASTLE takes it and looks inside. He looks up at BECKETT in surprise.

INT - TWELFTH PRECINCT INTERROGATION ROOM

BECKETT dumps HAROLD’S things from the bag onto the table. She pulls out a pressed penny and hands it to him.

BECKETT
Was this the item you were so worried about, Harold?

CASTLE
It’s from Coney Island, just like Vince’s. Even has the same date stamped on it.

BECKETT
You carried it with you, just like Vince did. Seeing it at the morgue, it brought you to tears.

CASTLE
You and Vince were in love.

HAROLD
(his face falls) Yes. We were. We tried not to be, but …

CASTLE
And you were going to lose him.

He startles.

HAROLD
Wait. You can’t be thinking that I killed Vince.

BECKETT
Yeah, we believe that he went to Glitterati to propose marriage. He was leaving you for a woman.

HAROLD
Of course he was. I was the one who told him he had to get married. It would ruin him if people found out about us. Being his number two was enough for me.

BECKETT
Harold, if Vince was getting married how come no one else knew about it?

HAROLD
It had to be kept hush hush. You see, this was more than a marriage. It was a merger. Vince was going to marry Michael Carcano’s sister and unite the two families. But he never told me that he was going to propose that night.

CASTLE
Who is Michael Carcano’s sister? What’s her name?

INT – FRANK RUSSO’S APARTMENT

MARIE opens the door.

MARIE
Frank’s not here.

BECKETT
Yeah, actually we’re not looking for Frank, Mrs. Russo. Would you mind if we came in?

MARIE
Let’s keep this short. My meditation teacher’s on her way.

They follow her into the apartment.

BECKETT
Okay, so then why don’t you tell us what happened at Glitterati the night that Vince vanished?

MARIE
How would I know?

BECKETT
Because you were there.

MARIE
What are you talking about?

CASTLE
Vince had "Last Dance" playing. You thought he was going to propose. To cement, as it were, the union between your two families.

BECKETT
But he couldn’t go through with it.

CASTLE
You couldn’t handle the rejection. So as he left you shot him in the back, then again in the face. You know, because it was personal.

MARIE
You guys have quite the imagination.

BECKETT
Your brother knew that Vince’s murder would trigger a mob war. So he used his access to concrete to make Vince disappear.

CASTLE
After that you hitched your wagon to Frank. But his tenure as head of the Bianchi family was disappointingly brief.

MARIE
You can’t prove any of this. All you’ve got is a story. Now get out.

She tries to walk away.

BECKETT
If it is just a story, then you wouldn’t have hired a hit man. Robert Decker decided that he didn’t want to die in prison so he rolled on you. He told us that you paid him to kill Harold when you found out he was talking to the cops.

CASTLE
And here’s the funny part. Well, maybe not so funny to you. Nobody, including Harold, knew you killed Vince. If you had just left Harold alone it would’ve stayed that way.

BECKETT walks forward.

BECKETT
Marie Russo, you are under arrest for conspiracy to commit murder. (she tightens the handcuffs) Let’s go.

INT – TWELFTH PRECINCT BULLPEN

A UNIFORM leads MARIE away. She glares at HAROLD as she passes.

HAROLD
I wish Vince had just said yes to her. Maybe then he’d still be alive.

BECKETT
Well, he had to follow his heart. It’s probably what he wanted to tell you that night.

HAROLD
Isn’t that something? Knowing he did that for me?

BECKETT
So, how does it feel to be in the 2010s?

HAROLD
Ah, it’s okay. I’m ready to say goodbye to the 70s. Say goodbye to Vince.

CASTLE stops them.

CASTLE
Well then, let’s do it the right way. Honor the times along with the man.

BECKETT
Castle, tell me you don’t mean –

CASTLE
Oh, but I do.

She looks to HAROLD. He looks at CASTLE.

INT – GLITTERATI

CASTLE and BECKETT are on the dance floor. They’ve donned 70s disco appropriate clothes once again and despite her reservations, BECKETT is having fun.

CASTLE
I had no idea you could disco dance.

BECKETT
Oh, Castle. I’m a woman of many hidden talents.

She gestures him closer and grabs his hand.

CASTLE
I look forward to discovering every single one.

She laughs and leads him off the dance floor. They run into MARTHA and ALEXIS.

ALEXIS
Hey, Dad!

CASTLE
Oh, sweetie! I’m digging those groovy duds.

MARTHA
(laughs) Doesn’t she look stunning in this outfit?

CASTLE
I’m just glad it covers more this time.

ALEXIS
Oh, Dad.

CASTLE
I – what?

ALEXIS passes by them to go dance.

CASTLE
Mother, thank you so much for everything.

BECKETT
It was spectacular.

MARTHA
Now that you guys have connected to my vision here, perhaps we can revisit the flowers?

CASTLE
(adamantly) No.

MARTHA
No?

BECKETT
(shakes her head) No.

INT – GLITTERATI

RYAN and ESPOSITO are back in their SNOOKIE and RAY costumes. They’re swaying on the dance floor, too.

ESPOSITO
Dig it, man. The 70s is a cool place to visit, but I would not want to live here, bro.

RYAN
You sure about that, blood?

They catch sight of TORY and LANIE dancing together across the floor.

ESPOSITO
Oh, Lord have mercy. Oh, Snookie, Snookie now.

He dances his way over to them. RYAN stays behind and busts out some sweet 70s dance moves.

INT – GLITTERATI

Even GATES has come to the party.

CASTLE
Captain Gates. Does this mean all is forgiven?

GATES
It means I like to dance, Mr. Castle.

She dances away. She’s not as mad as she is projecting. BECKETT hands CASTLE a champagne glass.

CASTLE
Oh.

BECKETT
Hey.

CASTLE
Perfect.

BECKETT
Cheers.

They drink together. A new song starts. It’s "Last Dance", and something catches BECKETT’S eye.

BECKETT
Oh, Castle, look. Look at Harold.

He’s swaying by himself to the music. CASTLE and BECKETT clink glasses again, for VINCE and for HAROLD and for their relationship. They watch HAROLD sway and say his goodbyes to VINCE.

THE END

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