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Rick comes to Kate’s desk, saddened, heart-heavy, heart–broken, yet emboldened with her apparent need for him, and his need to be near her, so aware of all they share and all they can lose. In “Sucker Punch,” mid-season two, the scene is set; seated near her desk, Rick softly speaks to Kate regarding the capturing and subsequent killing of Dick Coonan, Johanna Beckett’s murderer.
Indeed, Rick grieves for his part in Coonan’s death, seeing how his death almost destroys Kate at the time. When Coonan grabs Rick to use as his shield to exit the station, Kate must shoot Coonan, thus saving Rick’s life.
But Kate kills her only link to those who hired Coonan to murder her beloved mother; this earlier scene stirs the senses and reminds us of Rick’s and Kate’s love, their connection and dedication to each other.
Kate frantically tries to revive Coonan, compressing his chest to staunch the bleeding, her hands bathed in his blood and her tears streaming down her face.
Her Captain and co-workers, friends, observe, not knowing how to comfort Kate or how to stop the explosion of grief and passion, so real, so wrenching to watch her torment, Kate wiping away her tears with the back of her bloodied hands.
Her pathos is palpable; friends stare, stricken, Rick touches her shoulder as a lover and a friend and gently soothes Kate past the horror, pulls her away from the pain, with Coonan’s life slipping away, on the floor of her precinct, and Kate so helpless to stop it.
Later, to please Kate and to show his compassion for her and perhaps to assuage his own heartache, Rick brings foods to the precinct to share privately with Kate, at her desk, some of everything: Sushi, Italian, Thai, and hotdogs. May his gifts be sufficient, he internalizes, to soothe her grief and his own?
It is touching to see Rick earnestly and sweetly gather from the take-out bag on the floor at his feet, each delicacy, to please her, one at a time (I brought you some Italian, some sushi; I didn’t know what you would like), his love offering for Kate, his friend and so much more he now realizes with every breath and every look. How can he make it right?
“It isn’t your fault, you know.” And hearts stand still with her words.
“I over-stepped. I came down here to say I’m sorry and that I’m through; I can’t shadow you anymore; if it wasn’t for me…”
“If it wasn’t for you, I would never have found my mom’s killer. And someday soon I’m going to find the sons’ of bitches who had Coonan kill her, and I’d like you around when I do.”
Deeply moved, Rick’s despair lifts, his emotions change with her next words: “And if you tell anyone about what I’m going to say, there’s going to be another shooting. I’ve gotten used to you pulling my pigtails. I have a hard job, Castle, and having you around makes it a little more fun.”
Rick searches her exquisite face, her eyes; staring kindly, loving her, his eyes searching her heart, and visibly swallowing for breath, he replies, his new words to share, gentle words, words he has heard before, elsewhere, now new for him, code words of love:
“Your secret’s safe with me.”
The lyrics from the song “When I Look at You,” by Miley Cyrus surround the theme, the scenes, the heart of the narrative for both of them and complete my word video for the provenance of the promise words, Rick’s and Kate’s, and their story of secrets, safety and always love.
Oddly enough now, it’s a story turned upside down and on its heels, a story now about silly, serious stuff of life, of parents and the serious, your secret’s safe with me; your truth is safe with me.
“When I look at you, I see forgiveness; I see the truth
You love me for who I am, like the stars hold the moon
Right there where they belong
And I know I’m not alone.”
“Your secret’s safe with me,” Martha’s proclaims, lending her love and support to her son, motherly words for Rick whose depth of character she congratulates. She recognizes that Rick is so much more that the hedonistic play-boy, with the swaggering, renowned yet ruined reprobate-reputation he has enjoyed… until Kate.
In this early season two episode, aptly entitled “Inventing the Girl,” Rick busily impresses himself, Kate and a young girl, Rina, a model. Rick, struts and puffs, pretends to know Rina at the rehearsal, to solidify his suave image. Just how young she is he is soon to find out.
Later Rick realizes that young women, slightly older than his beloved daughter Alexis are often abused and sexually taken advantage of in the modeling world. One in particular, Jenna Mc Boyd is murdered, by her own husband, who is overcome by jealousy.
Jenna’s best friend, a duplicitous Iago, gossips about and drugs Jenna, her competition, setting loose a susceptible, young husband to kill Jenna in a fit of anger and seeming rejection. Additionally a sleazy photographer seeks sexual favors for his perfect pictures of the star-struck young models.
Ultimately Rick invites the young impressionable Rina, Alexis’ former babysitter, as it turns out, to his home to be reunited with Alexis. Rick informs his mother Rina’s presence is “not what you think.” Rick continues: “If Jenna had had someone looking out for her, she might still be alive today; so if Rina needs a friend, she knows she’s got one.”
Martha knowingly tells her son: “And don’t worry; I know you have an image to protect; Oh my son, the big softie. Your secret’s safe with me.”
“Everybody needs inspiration
Everybody needs a song
A beautiful melody when the night’s so long
‘Cause there is no guarantee that this life is easy.”
There are their stories, the narratives or the provenance of the words “secret’s safe with me,” words mirrored and repeated in episode 3 of season five. The serious origins of the words, the phrase, examined, the operative words now are far funnier and yet serious…“stuff,” and “parents.”
The episode begins and ends with Rick as a parent touching or holding a gold medal, part of Alexis’s stuff she plans to take to college. But Rick sensibly doesn’t think that she should take it with her. Martha interrupts, though, and claims that “everybody needs their stuff.”
It’s fitting that Martha be the first to know about Rick and Kate’s secret love affair and she wonders when he will tell his daughter. It is a hilarious recognition scene with Rick sputtering at his best, busted. At first they are reminiscing about the monsters under a young Alexis’ bed and Dad, the hero, who banishes them and next Rick and Kate’s love affair.
And now Rick worries about the boys who will make moves on his baby girl in college. Of course, Martha wants Rick to tell Alexis about his relationship with Beckett.
Rick cannot believe she knows, but Martha saw Kate (Poor girl!) hiding in the closet, and isn’t it time they came out of the closet, so to speak, well, not when Alexis can see them, but shouldn’t Alexis know about the situation. Too funny!
Walking along with Kate as they usually do before a case, and often discussing Rick’s relationship with his daughter, Rick reveals that he told Alexis, who is oblivious to the information; and his mother knows. Rick promises Kate that no one will know: “our secret is safe! “
Kate understands Alexis’ attachment to her stuff:”We all need our stuff; it’s comforting and reminds me of my past.”
Oh yes, as for the crime of the week. Wendy Dupree is murdered, her death scene zeroing in on her final attempts to write a clue in her own blood: the clue is LIE. The final shot focuses symbolically on her eye as life leaves her body.
Naturally, Rick has a little fun with the word “lie,” as in parts of speech and the word lay or the initials as in “Long Island Institute of Excellence”” or Love is everything.” With that thought, he accuses himself of “getting soft.” They both are soft in love’s embrace.
At the station Kate goes for two cups of coffee, and Rick is feeling pretty important and cosseted by his beautiful lover waiting on him, and dares to answer her phone. Going into Kate’s drawer for paper and pen, he finds a little stick figure made of twigs and twine and answers for his invasion with Kate’s reprimand, ”Stay out of my stuff.”
Rick answers: “Need I remind you that I have seen your stuff?” How amazing it is to share so much, to share your body with someone and then be territorial about a possession. This only piques Rick’s interest, trying to figure out the provenance of the stick man.
They are learning how to be partners in new ways. They want so much to kiss and touch each other. It is a powerful desire. I am reminded of “Cuffed” with the two of them doing just fine handcuffed together and learning to find their rhythm.
So it is in this episode, cuffed a bit, slightly out of sync. At first Rick is a bit too hyper and joking, trying too hard, but then he relaxes and has the most tender and serious moments.
It turns out that the word LIE is really 317, the number to a storage facility with the contents up for auction. Why did Wendy Dupree, a waitress from Philadelphia want to get the contents of a storage locker and use four thousand dollars that she took from her employer to bid for the goods? She is looking for the clues her twin left her in a china doll.
In a clever auction scene, Rick, the millionaire author according to Kate, wins the bid for the contents of the locker, and they bring it back to the station. Stuff! Crap! Sir comes into the room and yells, “What the hell is going on here; whose junk is this?
Rick generously and deliberately gives Gates the Gemini doll, from his cache, part of a collection so desired by Sir. She is overwhelmed with thanks to Rick and is positively giddy, creepy according to Ryan and Esposito. It is kind of.
Both Duprees are murdered as it turns out. Wendell becomes a chauffeur to Angelica Henley, a wealthy socialite to steal, not her bracelet but a glass eye, evidence which leads to the person who is responsible for the hit and run death of their parents a while ago.
Concluding the investigation, Rick has the pleasure of pointing out the culprit, And with dramatic flair, he says the words he has always wanted to say: “The butler did it.”
The plot is fine, but the interplay between the characters is stellar as usual.
At first Gates is overjoyed with the Gemini doll Rick gives her, part of the junk, the stuff, the largess from the locker. But later in his usual zealous haste, Rick smashes it in order to find evidence. Not only does he smash it but he smashes one of Gates’ own dolls from her private collection.
For that egregious act Gates gives him the stink eye, and Rick has expended just about all his chips, all his newly earned prestige.
But wait! Gates now reads “Frozen Heat” and is quite enamored with an author in her midst. She just might be crushing on our famous author when she gets his autograph and tells him she plans to read all of the Nikki Heat books.
I wonder what she will think, smart captain she is, when the characters just seem a bit familiar and what about the weak, disliked Captain depicted in “Frozen Heat.”
Indeed that is another story, but for a while I thought the two for one situation (doll and book) would grant Rick pardon and allow him to be a paid consultant or at least an honored member of her staff. Then Rick and Kate can really come out of each other’s closets and be requested and welcomed. This theory is still a work in progress.
As for a Rick, Kate sexy moment, such a steamy, pulse-pounding (theirs and mine) love scene with nary a kiss or a hug exchanged have I ever seen.
Parting from each other for the day and not planning to see each other that night, because Rick is taking Alexis to school the first thing in the morning, Rick and Kate engage in “swordplay” a passionate sweaty scene, making everyone’s blood boil, I am sure.
What is it with these two when it comes to hands and fingers wrapped, intertwined together? I can think of a dozen or so sensuous scenes, nervous scenes, with their hands wrapped around each other, stroking and healing, but this one actually stopped my heart and caused me to blush.
Rick looks dreamily into Kate’s eyes, (nothing new here), and never looking more handsome, to the love of his life says in a sexy, low voice: “I so wish I could kiss you right now.”
“Yeah, I know.” Kate smiles one of her glorious smiles.
Then Rick sticks his hand out to shake hands with Kate; we’ve seen this before without the same results.
This is what he should have done in “When the Bough Breaks,” when parting forever with Kate, or in “Embarrassments of Bitches” when caught up in stroking and circling Kate’s hand with his finger as an example of something Royal the dog loved. That time Rick bolted out the door in a panic.
This time sexual tension builds:
“This is me softly touching your face; pulling you in for a long slow kiss.”
“And this is me kissing you back; running my hands through your hair,” Kate stroking with her thumb the tender soft tissue between his thumb and index finger.
Rick slowly pulling away, then states the obvious: “Best hand shake ever.”
And Kate is standing there wishing for more.
Are our hearts melting? I mean truly wipe me up.
You appear just like a dream to me
Just like kaleidoscope colors that prove to me
All I need, every breath that I breathe
Don’t you know, you’re beautiful
Rick has another scene that sets the heart aglow, with Alexis. She has declined his invitation to dine together the evening before, sourly saying: “Why don’t you take your girlfriend?”
In the dorm Rick, a bit apprehensive, feels as if he has ground to make up with the apple of his eye. Rick begins to address Alexis’ concern over his affair with Beckett, but Alexis shuts him down. Alexis has Dad’s number, accusing Rick of being so “smart but clueless.”
For Alexis is frightened, and feels alone; it has nothing to do with Kate. She is used to her mother being gone. But her father is always there for her, and now she fears she’ll wake up and not have him there to ease her burdens and to slay the monsters or dragons under her bed.
In so many ways, Rick has taken her ostensible maturity for granted. So have we. She is a frightened little girl leaving home for the first time.
Feeling a bit lost she confides in her father: “No matter what, I’d wake up and you’d be there.”
Rick consoles her saying: “Everything will be fine. And though I am there, if you need me here, here is where I’ll be.”
And then his beloved daughter asks him to perform a little ritual: check for monsters under her bed. Rick does: “If there are, I’ll come running.”
The scenes between father and daughter have been heart- warming and genuine since the beginning of the show, loving scenes which we all wait to see, seeing Rick so much more than the self-centered man child he often appeared and such a wonderful father.
One last scene completes the sweetness and loving care in this episode; indeed a natural scene showing Rick’s love of Kate. Seated in his chair next to Kate’s desk, Rick, as he has done since the beginning of their partnership, claims that everyone has a story, including the little stickman story, part of Kate’s stuff in her desk drawer; the stuff he questions and touches earlier.
He wants Kate to tell the stickman story in her own good time, whenever she wants; he can wait. And then she tells him in a scene reminiscent of the scene between them when he gifts her with the Temptation Lane soap opera picture, an endearing gift which calls to her memory times she and her mother sat together watching the show when she was a child recuperating from an illness.
Rick sits down, hands curled up, knuckles covering his lips just under his nose, eyes intent, staring his love and attention to her lovely face, settled in to hear her story as he has done when presenting the gifts of her father’s repaired watch and the Temptation Lane photo.
Only this time she gifts him …with her precious story of the stickman. This time they are not interrupted not do they hide their mutual love for each other.
Kate begins. She and her father can no longer stay at a reception after her mother’s funeral. Sensing her despair, her father confides: “Let’s get the hell out of her, Katie,” and they walk the beach, just father and daughter, grieving together.
With twigs and twine that wash up on the shore, Jim Beckett and Kate craft a little stickman and it becomes Kate’s treasure, her talisman.
Finally, at home later, in the last scene, Rick discovers his mother wants to remain with him claiming it’s “a parent’s sacrifice,” and whimsically Rick sits down to treasure one of the pieces “of stuff” Alexis leaves behind at her father’s suggestion.
Parents and children; loved and loved ones; lovers learning; prized possessions and stuff all tied together; dare I say the stuff of life.
Rick holds the gold medal on a blue ribbon, a medal he presented to Alexis to honor the feat, the day she rode her bicycle without the training wheels. Musing, moved, loving Alexis, perhaps Rick thinks again of the last few words he shared with Kate earlier, Kate whom he will see later in the evening, as he promised, for “he cannot wait.”
After learning the provenance of the stickman, Rick asks Kate: “Does that make that day a bad memory or a good one?”
Kate responds: “Both! Even on the worst days, there’s a possibility for joy.”
Rick temporarily leaves Kate, his love, until later, saying: “Nice.”
When the waves are flooding the shore
And I can’t find my way home anymore
That’s when I, I, I look at you
I look at you