Article: Exit: Elevate, Descend

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———

Alone, she stares regretfully at her barren desk, all traces of her identity erased, and then a last lingering glance at Rick’s now empty chair, all so vibrant once before, now just empty; numbed she traces the final steps down the hallway, resigned from the police force she loves and serves so well, now forsaking everything that was comfortable and familiar. Detective Kate Beckett exits the 12th precinct for the last time.

“All the world’s a stage,” William Shakespeare observed so long ago, and “all the men and women merely players; they have their exits and their entrances.” And this is Kate’s time to leave.

Superimposed on Kate’s departure scene are two parallel tracks, one a voice-over, Alexis, delivering her farewell, valedictory speech, and the other in counterpoint is Andrew Belle’s poignant, plaintive, bitter-sweet song “In My Veins,” a lyrical message of change and regret, and then the despair of love gone dark and wrong. But somewhere hidden in the song is a faint whisper of hope, just a “glimpse of sun light shining down” on the loved one’s face.

“Endings are inevitable. Leaves fall.”

Kate holds back her grief until she reaches the safety of the elevator; the curtain opens to envelop her, this stage prop that elevates and descends with passengers, pilgrims who make their way onto the stage and off, some days to the heights of the cylinder, then deposited on the precinct stage, or today descending with Kate to the depths and the bowels of below.

“Nothing goes as planned. Everything will break. People say goodbye, in their own special way. All that you rely on…”

Kate’s life’s purpose is devoid of meaning now. What does life and love all mean? Where has her stubbornness and obsession led her?

“We close the book; we say goodbye.”

The metal curtain closes, down on Kate’s past, on her present, her future so uncertain; now just alone. Her friends are torn asunder as is her life.

The elevator descends.

“And all that you can fake will leave you in the morning but find you in the day.”

Only darkness, despair and regret fill her empty heart; the familiar, forsaken. Tucked in the elevator, hidden, harbored safely, alone, Kate rocks to sooth herself, her face drained numb; there is no comfort, no expectations now. Gone is her hope of tomorrow. Everything is fake, worthless, so much time spent obsessed, and wasted, love now lost forever.

“We say goodbye.”

All gone now; shared love once heartened the weary pilgrim, but love unnurtured for fear or hubris is love lost and the chance of a life time lost. Oh, Rick.

The elevator, as a major prop on the Castle precinct stage, extricates, elevates and entrusts, lifts and plunks down, harbors safely, or treasures, transfers or descends, presents characters onto the stage and removes them, usually only Kate and Rick, and such a telling instrument; with hearts on display, the elevator reflects the moods, the love, the hurt, the joy, the embarrassment; the honesty.

In “Countdown” Rick relives a similar scene, a parallel or mirror experience to Kate’s final descent in “Always,” curtain closed on everything she knows. The main difference between the two scenes is the dialogue is not interior or voice over in “Countdown,” but spoken before Rick gets onto the lift to descend. “Hell of a day he says to Kate.”

And it truly is, for Rick and Kate suffer near death, freezing in the refrigerator storage, clinging to each other for warmth, physical and emotional, knowing that they could well die, with Rick so protective of Kate, bearing the brunt of the cold. Rick gently caresses Kate’s face, and ever hopeful tells her “we’re not dead yet.”

Kate thanks him “for being there,” her personal mantra, words so important to her, and Rick pledges his love with his word: “Always.” Later they almost die again, defusing the bomb which would destroy them and parts of the city. Rick could never be more in love with Kate.

But planning to suggest a dinner date or something similar just to unwind, Rick spies Kate’s boyfriend, and Rick cannot leave fast enough. “I should go home. Get some rest. Long day! Good night,” so heart breaking for it is not Rick’s always hopeful words:”until tomorrow.”

A hopeful tomorrow with Kate does not exist. From Josh’s embrace, Kate watches Rick leave, puzzled, barely aware of his inner turmoil as Rick so deliberate, so despairing, never turning back, walks away, to the elevator to exit as fast as possible.

The face-saving curtain opens, and harbors him. Slowly, Rick turns around and leans his head against the wall. He sighs and stares so defeated; the curtain closes and he descends.

Parallel, matching-elevator scenes also occur in “Little Girl Lost,” late season one and “A Rose for ever After,” season two. By now it is obvious that Rick’s and Kate’s involvement with each other has reached new heights, and the elevator entrusts them delicately to their destinations.

In both instances Rick and Kate talk about serious, lost loves, each revealing a different aspect of his or her personality. In “Little Girl Lost,” Kate’s former love, Will Sorensen, enlists Kate’s help on a case.

Of course, his presence stirs up conflict between Rick and Will, both vying for Kate’s attention and virtually setting up a ”pissing contest” according to Kate. We see Rick, cool and casual, but becoming aware of Kate on an entirely different level. Kate recognizes Rick’s intense interest and speaks first in the safety of the elevator.

“A Rose for Ever After” mirrors “Little Girl Lost,” and involves Rick’s serious lost love, shared for three years and then through misunderstanding and youth, sadly separated for ever. Rick carries a touch of regret forever after for the “one who got away,” and Kate, Kate may just be that “little girl, still lost.”

But Kate sees Rick in a new light after meeting Kyra; she sees a man who could attract and hold a serious person, and Rick’s longing looks at Kyra suggest sorrow, and change forever after Kate’s opinion about Rick. After a loud silence in both scenes, Kate speaks first:

“Six months.”

“We met in college. We were together nearly three years.”

“Six months what?”

“I didn’t ask.”

“We dated for six months.”

“Yes, you were not asking very loudly.”

” I didn’t ask.”

“She’s different from your ex-wives”

“Yeah, I know you weren’t asking very loudly.”

“What do you mean?”

“She’s real. I didn’t think you went for real.”

“I know. I’m like a Jedi like that.”

“Tough -breakup?”

“It was a long time ago.”

Then, of course, we have Kate’s own elevator ride with the lovely Kyra, the ultimate treasuring and transferring scene, two hearts on display. Kyra tells Kate: “I feel like I know you a little from Nikki Heat, the dedication.” Kyra confides that she, “Still reads all of Rick’s books.

A slightly embarrassed Kate reminds Kyra that “most of the book is just a result of Castle’s overactive imagination.”

“When I knew him he was just Rick, fresh off his first best seller. Well, active imagination or not, I know he only dedicates his books to people he really cares for.” Kyra is real to Kate, and Kate emerges from the elevator ride with many thoughts about Rick to consider and revise.

In “Poof! You’re Dead,” Kate elevates Rick’s spirits when she presents him with magical flowers. That’s all we see in this hearts on display scene, and the curtain closes on the elevator scene with a sparkling-happy Rick and a smiling Kate.

Earlier Rick breaks up with his ex- wife Gina, for magic does not exist between them, and he knows it is over. In one magical poof- moment, mid- sentence, Rick simply stops and stares at Kate; he realizes it is Kate he wants; Kate is his magic, and he is definitely a goner.

When Kate overhears Rick’s break-up conversation with Gina, Kate appears stunned with regret, for Rick is now free and she is not. Why is it always so difficult she seems to be thinking, this growing attraction we share, so star -crossed in love matters and so in sync in everything else?

The curtain opens to carry them down. To lift Rick’s spirits and perhaps her own, Kate suggests they go out and catch the comfort food truck. And relishing in the “macaroni and cheese, hot biscuits and warm chocolate,” (and Kate’s company), Rick responds: “How could I say no.” Indeed.

Who can forget one of the funniest elevator scenes in “Castle”? In “Wrapped in Death” Rick is convinced that he is under a spell or a curse, and shaken mightily after the day’s horrific experiences, Rick rides the get -away elevator. But it is haunted with a mind of its own, out to get Rick. The elevator stops and torments Rick. Now Rick’s reassuring self- talk begins:

“No reason to panic.” The lights go out and panic sets in.

“Small reason to panic.” he whispers. Rick begins to frantically bang the wall panels. He cries, “Huh!”

“There is no curse.” he chants; “there is no curse.” Now Rick is scared, terrified, for the curse madness has him near hysteria.

“What do I do if the elevator falls?” Well, what does one do?

“I think I’m supposed to jump in the air. No!”

And now Rick has the perfect solution. “Lay on the ground.”

The heavy, metal curtain opens, and spews him free. There Rick remains, face down, legs and arms akimbo, and spread out on the floor, on display for Kate and all to see him at his most fearful. And so relieved, Rick doesn’t much care.

After sputtering for a while, words failing him, totally rattled, Rick exits the scene saying: “I think I’ll go and splash some water on my face and throw up a little bit.”

That about says it all!

Every Castle episode seems to hold a favorite elevator scene with Rick and Kate in sync or out of sorts. And every fan has several favorites. Recall the Nikki Heat episode. The clone Natalie/Kate/Nikki attacks, actually pins Rick against the wall in the elevator and kisses a somewhat willing Rick under her guise of doing research for her method acting. Yeah! And the curtain closes on Rick and Natalie with Kate simmering, suspecting the worst.

Then we have the numerous times when Rick and Kate burst out of the elevator proclaiming in sync that they know who the killer is. Or the time they emerge after a discussion as to Rick and Sophia Turner’s relationship and just how long did this “muse” thing go on. The truth will out in the elevator.

Or in “The Limey,” recall a crestfallen Kate sitting at her desk, alone, Rick in a symbolic, long distant shot entering the elevator to descend, his eyes on Kate, leaving her for someone else, the curtain closing on their chances at reconciliation.

Often times arguing, teasing, or flirting, Kate and Rick board the elevator. Other times they descend angry with each other, body language telling all, very far apart, no reassuring curtain for either one.

More often than not, however, they enter the elevator smiling and plainly happy with each other. The elevator seems to be more than a prop, perhaps another character, certainly the vehicle which propels the characters forward or upward, onto the stage, or off, extricated from, embarking on or descending from any difficulties.

A lot gets settled on the elevator, this very basic but very telling prop on the Castle stage, with Rick and Kate either cocooned in a safety net, hidden behind the velvet or iron curtain, or revealed in maximum exposure, all emotions on display, in a sometimes forgiving or sometimes angry atmosphere. Yes, the elevator has its power to lift, to extricate, to provide exit, to elevate to the heights or descend to the depths.

The elevator is a constant; it always awaits, ready for its passengers, its pilgrims, and the next trip.

About Trueheart

Peggy is a retired high school teacher and since the 2009 beginning, a proud devotee of all things Castle. I guess you might call this old teach a shipper, and doesn't that beat all.

Comments

  1. RichardD says:

    ALWAYS superb article

  2. Honey Apostos says:

    I never thought of the elevator that way. Wonderful observations.

  3. The Elavator scenes are some of my absolute favourites from the series,the one that comes to mind right now ‘Deep In Death’ they stroll into it like every other time,lean against the back wall and then Kate on her cell remembers “I’m still pissed” and walks toward the closing curtain with castle visibely sighing in the background.

  4. Phillip says:

    And I certainly never thought of “Castle” as Shakespearean comedy. It may be no coincidence that the heroine of “Taming of the Shrew” is named Katerina–Kate, for short. (Not that I’d ever liken Det. 2nd Grade Beckett to a shrew, defined as “an ill-tempered, scolding woman) One could certainly argue Richard Castle is cut from the same cloth as Petruchio, both wealthy and celebrated men with a sense of entitlement, accustomed to having their way with the ladies, neither quite sure what to make of the strong-willed, independent Kate but intrigued enough to pursue her first as a challenge and then out of genuine love.

    There is also something Shakespearean in the way this pair find their way into one another’s arms despite missed cues, bad timing of cosmic proportions, and the occasional assassination attempt. (For those of you who prefer Shakespearean tragedy, “Castle” has no shortage of scheming, duplicity, and buckets o’ blood) Nor could any of Shakespeare’s protagonists ask for a nobler “exeunt” than that of the late, lamented Roy Montgomery, a deeply human and thus deeply flawed man who atoned for his betrayal with a final act of self-sacrifice. (Am I alone in wondering what went through Ruben Santiago-Hudson’s mind when Andrew Marlowe broke the news his character would be killed off at the end of Season 3?)

    Trueheart, I found this a clever and insightful essay and I thank you for sharing. I’ll never think of this utilitarian stage prop as “just an elevator” again.

  5. Only you could write something so beautiful about a metal box, Peggy!

    It’s incredible to me that an everyday space can be the antagonist for so many memorable moments — the first being Kate stopping the elevator door from closing in “Nanny McDead”. There is so much symbolism in the idea of a door closing on a conversation.

    “The truth will out in the elevator.” So true and so poetic. The elevator is the area of the precinct that allows for the depth of emotion to emerge. Whether it is fright, frustration, joy, or humour, the elevator provides an area of seclusion and solitude. A sort of limbo, if you will…

    When alone in the elevator, Kate seems to allow her vulnerabilities to emerge. In “Kill Shot”, her hand quakes… In “Always”, she seems unsure of her next move…

    The same goes for Rick. He hides his emotions and frustrations until he is confined in the safety of the elevator. At the end of “47 Seconds”, he retreats to the elevator after bidding Kate “good night” (and not his hopeful “Tomorrow”)… Rather than talk to Kate, he rushes to the elevator in “The Limey”… In “Countdown”, we feel Rick’s defeat when he knocks his head against the police logo as Josh hugs Kate…

    However, the elevator is also a source of that ever-popular teasing between the two. The magical flowers in “Poof!” and Rick’s question to Kate about her giant moth theory in “Punked”. There was even the down button that lit up without being pressed at the end of “Demons”.

    Like a good friend, the elevator is always there to help Rick and Kate get to where they need to go… to help them as a vehicle of self-reflection… to help them figure out their next move.

    • Trueheart says:

      Shena, I was planning to add this scene to my article but cut it when the words started piling up. Now I feel it completes the elevator saga. Kate and Rick aren’t even on it.

      Another elevator ride doesn’t involve Rick or Kate, per se, or perhaps it involves their alter egos. It all happens in “Heroes and Villains,” a somewhat lighter episode after the catharsis of “Rise,” the season four premiere.

      In the last scene of the episode Kate chastises a young cop saying: “Ann, you’re a good cop, and you’ve got somebody who cares about you.” Of course, this scene simply simmers with irony.

      For at this moment Rick moves into view, into Kate’s line of vision. Oh, Kate, you are so talking about yourself it boggles the mind. “Don’t be so driven by your past that you throwaway your future,” Kate continues, advising Ann. Now we sputter. Does Kate hear herself, or is she genuinely trying to help a troubled young cop?

      Ann moves away from Kate, thankful for her advice and help, heading towards her writer, boy- friend, and the two seek refuge on the elevator. As they board Rick remarks nostalgically: “A writer and his muse, fighting crime. Just like us.”

      And then the two young lovers kiss fondly and hopefully, not exactly what Rick had in mind at this moment. As Rick and Kate watch the couple, the curtain gently closes on the still kissing lovers, reunited in love and the safety of the elevator.

      Rick’s remark is out there; Kate puckers up her lips perhaps anticipating a kiss from Rick, and smiling, as if sitting in the catbird seat. Slightly befuddled and unready, Rick does a double –take, first on Kate’s pleased puckered expression and then on her ready lips.

      With a little panic setting in, Rick speedily exits mumbling:”tomorrow” to Kate. Kate happily agrees, smiling again as if enjoying her own private little secret.

      Ah, bravely extricating himself, Rick flees to the safety of the elevator. Still, Rick’s exit may not be that speedy, especially if the lovers are still kissing and the elevator balks and won’t release them just yet.

      • Peggy, I find that the elevator ‘observation’ in “Heroes and Villains” to be one of the most revealing with regards to the evolutions in Kate and Rick’s relationship. Considering Kate is aware of the fact that Rick loves her, it is interesting that she gives him ‘that look’ as they observe “the writer and his muse” kissing in their elevator. The sacred place where emotions are raw and people are at their most honest.

        We see Kate bite and purse her lips quite a lot… usually when she is in a playful and flirtatious mood. In this scene, she does so with a very flirtatious side-ways glance. It is interesting to me that it is Castle who retreats. It’s like he’s seeing a reflection of himself and Kate in the elevator and does not know how to act on this intimacy.

        The elevator is symbolic of their relationship. They go through their ‘ups’ and their ‘downs’ together. It is always willing to open itself up for them. It is always willing to take them to where they want to go. If the homicide department is a little family, the elevator is their way home.

        As you said, the elevator is ‘always’ there for them… tomorrow and tomorrow and tomorrow…

  6. It’s like the Precinct’s Personal Limbo,Go in and come out changed OR Go in and come out more determined to ruin any chance of happiness.

  7. Kavitha says:

    The first time i saw castle, it was already season2. I became an instant fan of castle and all the characters, from rick to kate, esposito to ryan, from alexis, martha to lanie. Every single moment of castle characters, blending with every murder mystery and story they solve and the way they relate it to their life was beautifully written and executed perfectly by the actors. The murder- board, the elevator, the coffee cup, the swing, everything so important, all small details taken care of.

    The start of caskett friendship progressing to trust, faith and then ending in love. Wow! Couldnt be more beautiful. The last few episodes when their friendship, trust, love all were under trial and YES! Finally as Always love alone triumphs! The pain of rick when he overhears kate yelling that she remembers everything and the pain rick went thru’ and decided that it was over! That hurt me the most.
    In the finale, when he exclaims that he has been standing right there fr 4 years, and asks her to
    Open her eyes and see and that they were not just partners! And Kate finally going to castle after all the turmoil, the little girl lost finally found her way! Creeping out of her past and accepting that ‘all she wanted was U’. That is indeed love. And yes! Always love alone triumps!

  8. catluver says:

    Nice insights about the elevator. Now this is something that I would love to see some Castle fan make a video of. I am watching DVDs of season 3 right now and expect to get 1 in the mail tomorrow. I am going to be watching these scenes in a new way now. Thanks!

  9. Peggy, this article astounds me. So much thought transferred into a masterpiece. Yes, the elevator was their “safe” room. Thank you for reviving those moments again … and now, I can’t wait to see the Caskett love that will surely be shown in the elevator! :o)

  10. Toronto says:

    This is a very elevated discussion.

    There is a nice moment in the CIA elevator in “Pandora” when the masks are taken off, and the first thing Castle says is “You OK?”. He does the same thing in “Close Encounters of the Murderous Kind” — the first thing he says is: “Where’s Beckett?” (We don’t get her opening question, as her scene enters a little way into the interrogation.) His first concern is for her welfare.

    I like the other elevator scene in “Nanny McDead” when Castle times the movement of the elevator from the 12th to the 15th floor. “By the way, that whole elevator thing, I just did that because you smell nice.”

    • Trueheart says:

      I may have used elevated and its synonyms a few times. When you said”when the masks are taken off,” you got me going again, Toronto.

      I was thinking of your possible response to another concept I had while thinking about the elevator. Hey, you noticed I even use “lift.” Just a little Brit lingo…ha ha

      How about the lift as a Deus ex Machina, the god machine, descending to extricate our heroes from any and all difficulties.? The crane descends, whisks the lovers away, all problems resolved, not to mention any plot wrinkles …instant denouement. I know, a bit far fetched and since I could not sustain the concept, I deep sixed it.

    • TracyLee55 says:

      Actually in the epi Close Encounters- When Kate is in interrogation chair and her hood is pulled off, she says immediately “Where’s Castle?”

      • Toronto says:

        I was totally wrong, my bad. (I remembered her saying “Who are you?” and forgot the rest. Shouldn’t rely on memory so much!!)

  11. Toronto says:

    The other Shakespeare play that Castle is based on (as are all these romantic comedies of fighting smart-talking couples) is “Much Ado About Nothing”. It is interesting that Joss Whedon’s new film of “Much Ado” is about to come out (no superheros, though there is a Hero in the play), with Nathan Fillion as Dogberry.

    • Phillip says:

      Toronto, I have the Kenneth Branagh/Emma Thompson version of “Much Ado” on DVD but had no idea there was a remake directed by Joss Whedon in the works. I note the cast includes Clark (SHIELD Agent Coulson) Gregg and Reed Diamond from “Homicide: Life on the Street.” Seeing Nathan Fillion do Shakespeare–especially in the role of Dogberry–would be worth the price of admission by itself.
      What is the likelihood Mr. Whedon could be induced somehow to write and/or direct the annual two-part episode of “Castle” for Season 5?

      • TracyLee55 says:

        Phillip I agree with you about seeing Nathan in the role of Dogberry. I definitely want see it when it comes out! And yes Joss directing Castle? That would be outstanding!

        • Phillip says:

          Tracy, if memory serves Michael Keaton played Dogberry in the Branagh version. He was scarily credible in the role. Nathan has his work cut out for him.

    • Toronto says:

      I have high hopes for Joss’ “Much Ado” — I can only hope it will be much funnier than the Branagh/Thompson version (much as I love Emma), which hardly scratched the surface of what is possible in that play.

  12. Toronto says:

    I’m floored, hoist on my own petard. You hit the button, conveyed a grain of truth. O’tis amazing.

    There’s an amazing elevator scene in Angel, a descent into the depths of hell that turns out to be a hell of a different colour — I thought of it when Castle looks at the deep floor number in Pandora.

    (and speaking of missed floors, that great little scene in “Murder Most Fowl” where the kidnappers end up in the lobby).

    • You’ve really ‘elevated’ the quality of this response by how you’ve explored every ‘level’ of this response! (How many more elevator puns can we come up with?) :)

      • I have been simply floored by the conversation!

        • Trueheart says:

          We need some elevator quotes from you, Baycab, but I must confess I looked up the subject before writing this reply, and nothing jumped out at me. Maybe you can find a good one or two and not …. her elevator does not go all the way to the top.

          Loved your coffee quotes last time…

          • “Always” love and appreciate your writings and, of course, all the follow on conversation.

            In Wrapped in Death with Rick under a curse (from the 12th) and fearing for his life all he needed to remember at that time of crisis was:

            “If you die in an elevator, be sure to push the Up button.”

            With our heroes finally laying aside enough of their personal baggage to realize all they wanted or needed was each other thus allowing them to become a couple, it might be well to remember (in Season 5) that:

            Marriage (or a relationship) can be like an elevator, you can rise up or go down. If things seem broken…then walk the stairs up. Keep trying.”

            Last but not least, in a vein similar to Rick’s mail order bride comment (his Czech mate), I probably can hear him saying the reason he loves and trusts the elevator is that:

            “If I have to move up in a building, I choose the elevator over the escalator. Because one time I was riding the escalator and I tripped. I fell down the stairs for an hour and a half.”

      • anitasubtext says:

        Baycab that is hilarious!

  13. TracyLee55 says:

    As always Peggy your insightful and eloquent views make me see scenes in a whole new and delightful light. Thanks again for lifting our hearts and minds to the romantic in all of us.

  14. Toronto says:

    Another nice elevator moment occurs in “Deep in Death” when Beckett, still mad at Castle, refuses to stand beside him as they go down in the elevator….she drifts forward while he steams.

  15. Peggy,
    Beautifully crafted and written article !!! You are truly gifted. Always had diificulty looking for and defining the symbolism in the classic works in College i.e. Beowulf, Siddhartha and others until very talented teachers and professors such as yourself managed to chisel through my rather thick cement skull.
    Please keep up these great writings and maybe there will be a glimmer of hope for me after all.

    Best wishes,
    Steve Q

    • Phillip says:

      Steve, you still have the edge over me in that I never read Hermann Hesse in college. Nor did I read Joseph Conrad or Somerset Maugham. I was too busy working my way through Ed McBain’s 87th Precinct novels and the works of Ellery Queen. Unfortunately my idea of classical literature was “The First Deadly Sin” by Lawrence Sanders, rather dated by today’s standards (picture Castle & Beckett trying to function without cell phones and the Internet) but still a haunting and powerful story detective story.

      One of the most prized books in my library is an original hardcover of Joe Wambaugh’s “The New Centurions,” purchased for three dollars at a tag sale in 2008. I’m also enjoying his more recent “Hollywood Station” novels, in no small part because the uniform cops often play an instrumental role in solving the mystery. Wambaugh retired from LAPD as a detective, but at heart he’s a beat cop like me. Perhaps Castle & Beckett will cross paths with him the next time a case takes them to the Left Coast.

      • Phillip,

        After my college days from many years past quickly lead me away from the classics (they were required reading) and like you I now tend to devour the writings of Michael Connolly, Robert Crais (Joe Pike, Elvis Cole) John Sanford (Lucas Davenport) and on occasion Michael McGarrity (Kevin Kearney, Southwestern settings). As coincidence would have it I am now reading Joseph Wambaugh (1996) called “Floaters). I have read all of Wambaugh’s books and will pick up his newest novel called “Harbour Nocturne”(SP?) tomorrow. He doesn’t seem to publish that often but when he does it is well worth the wait. I am somewhat envious of you with owning “The New Centurions” in hard cover,
        as I read that book along with “The Choirboys” and “The Onion Field” again in years past. I would still like to see that poker game with some of these authors and Beckett at the table winning numerous hands. I believe in an early season episode Castle invited her to the “author poker” table but she said it was too rich for her blood. Now that they are an item Castle could easily front the $$$ for Kate to sit in. Any woman who does the NY Times crossword in ink ( as you suggested) could be a real predator in a game of high stakes poker.

        Take care & stay safe,
        Steve

        • Phillip says:

          Steve, my theory that Beckett works the NYT crossword in ink stems from the fact that Jillian, the heroine I created for my work in progress, does the same. Jill is the same height as Stana (5’9″) but has green eyes and black hair. She is like Beckett handy with a Glock and handles a Crown Vic at pursuit speeds “like a soccer mom navigating the supermarket parking lot in her Volvo hatchback.” Jillian differs from Kate in that she works uniform patrol, though she aspires to make detective rank one day.
          She’s also British, which requires some explanation. Some years ago I watched a segment of “Cops” set in Sacramento. Two beat officers were chasing a reckless motorcycle operator. The female officer calling the pursuit from the shotgun seat had an unmistakably English accent. It got me to wondering how an Englishwoman ended up riding a black & white in California. “I’ll bet she has an interesting backstory” I thought to myself, and thus was born Jillian. I can’t speak to her poker skills, but I suppose there’s still time to fine tune her character a little…

          • Phillip,

            When your written work is published, and I am reasonably confident that it will,
            I will be one of the first to buy , read and enjoy your work.

            (By the way I drive a Volvo XC60)

            Steve

          • TracyLee55 says:

            Phillip, I am with Steve on this one, Please keep us informed about the progress of your book. If your book reflects any of talent that you show in your eloquent and wonderful responses here, I can imagine how wonderful your novel shall be. I also hope your book carries your illustrations.

            I too love to write. I write short stories, and a little poetry. It had laid dormant for long while, and God periodically had friends ask me “Trace, why don’t you write anymore? You were given that talent”. And…. I still kind of sat on it, then one day I “met” two people reading reviews on Castle S 2 & 3 on a different web site and responded to them. Peggy was one of them (I hope you don’t mind me sharing that Peggy). I was very quickly taken into the fold with these two wonderful people who complemented and encouraged my writing. So I am passing the encouragement on to you. I don’t know if I have anything worth publishing, but some of my “stuff” (I have been told by friends) has brought comfort and joy to them. That in itself was so touching to my heart.

            So write on Phillip, write on. And Steve, you too are a wonderful writer, so I also encourage you to do so, if you have not already.

            Peggy has such talent, and has brought to light imaginings I have not noticed before… Elevators, coffee, smiles, glances…….ah my heart leaps at these things.

    • Trueheart says:

      Steve,
      I remember you. You sat in the back of the classroom, a shy guy, our resident philosopher and an excellent writer. I and all of your other teachers thank you for being a great student, always trying your best. We are proud of you.

      We definitely need a few Castle “author poker” nights with the marvelous Kate as a special guest. Oh, boy, Ricky.

      I, too, like the mystery writers, especially John Sanford

      • Peggy,

        You are too kind and your description of me is eerily accurate at that juncture in my life.
        After college, a transformation took place as to what path I would take in my life’s work.
        Some might describe it as a cathartic moment but I would liken it more accurately as a calling or something that I was meant to do. As I write this, I look back on a law enforcement career than spanned thirty plus years. Both Tracy, Phillip and I have had a number of conversations on a different thread. As my first post on this Castle T.V. blog I had stated that this show has brought out the romantic side of me, still to the somewhat disbelief of my lovely wife of 42 years. Phillip and I seem to have quite a bit in common
        being “comrades in arms” if you will and Tracy who apparently works in a very stressful environment of an E.R type setting. I have also stated that even though happily retired now I still miss the people with whom I worked and later lead on the job. I suppose you never really retire you just step away for others to continue on.

        Best Wishes,
        Steve Q

        • 42 years! Wow! Congratulations, Steve!

        • Trueheart says:

          We do step away when we retire, but then we find so many other things to do and so many other ways to share our hopes and dreams. Thank you for sharing with us. You may have been on Trueheart’s Castledom forum with Tracy. Perhaps you (and your wife) and Phillip can join us again. Thank you for writing.

  16. Heather says:

    The emptiness of a Monday night without Castle is hard. Yet, the finale (and springtime) gives us cause for such hope. I’d given up haunting the Castle websites, to try new adventures and to enjoy the outdoors. When I do catch up with this website, it is such a joy to find a new article with its ensuing discussion waiting…like a present. And my delight with these characters is renewed. I am continually impressed by the caliber of the member contributed articles. You invite us into the elevator, expand its walls that we might all “ride along”, and cause us to rise. Thanks.