DISCLAIMER: All the character's belong to Bruno Heller, I just use them for inspiration.
AUTHOR'S NOTE: I couldn't wait for the S4 premier so I wrote my own! Be warned it is in script form rather than a narrative.
THANKS TO: Bruno, of course, and the wonderful cast for making my job so easy.
RED APPLES
Recap from S3 finale
Open on
Interior - Shopping Mall plaza – Armed Security guards close in on Jane who is calmly sitting with his hands on his head at a table. A body lies nearby. The nearest guard gives instructions. Jane slowly pushes his chair back and kneels on the ground. The guard arrests and cuffs him. Armed Police Officers arrive. One escorts Jane out of the mall.
Cut to
Exterior - CBI HQ – a vehicle pulls into the parking lot escorted by police cars.
Cut to
Interior – CBI HQ
Jane is escorted down a corridor. Other CBI operatives pause to watch. Last of all, Jane passes by Cho and Rigsby. He gives them a half-shrug, as if it was inevitable, before being led away down a set of stairs.
Cut to
Opening Titles
Cut to
Interior – CBI HQ
Lisbon storms through the doors into the bullpen. Her arm is in an immobiliser. There are bloodstains on her shirt. Rigsby and Cho are there.
RIGSBY
Boss? Aren't you supposed to be in the hosp - ?
LISBON
(urgency in her voice)
Where is he? Have you spoken to him?
Rigsby looks at Cho.
CHO
They're holding him downstairs. La Roche has got guards on the door. He won't allow us anywhere near.
LISBON
(already moving away)
Which cell?
RIGSBY
Er…seven…But Boss? You won't be able to get –
He takes a deep breath. He and Cho watch her disappear down the stairs.
Cut to
Interior - Holding Cells corridor
LISBON
(to guard)
Open it up!
GUARD
Ma'am, I have specific orders not to let you or any of your team in here.
LISBON
Yeah, I heard. Now open it up or I'll see to it that you end up in Traffic Division for the rest of your career.
GUARD
(hesitating)
Ma'am, I 'm sorry. I can't.
LISBON
Can't? Or won't? (Takes a breath – reads his name badge)
Harris? Why does that name sound familiar?
GUARD
I applied for a place within your unit last month, Ma'am.
LISBON
(a grin appearing)
That's right. (she pauses) I was impressed with your file. (cocks head) …Not so much now. Can't have people working for me who won't follow my orders.
He shifts on his feet – there is a long pause – then he looks along the corridor.
GUARD
I can let you have five minutes.
LISBON
That's all I need.
Guard unlocks the door. Jane is seated on one side of the desk. He is wearing orange scrubs. He looks up at the opening of the door, sighs deeply, and then looks away.
Cut to
Interior – the holding cell
Lisbon enters. The door closes.
LISBON
What the hell were you thinking?
JANE
(looking at his scrub top) I know. I asked for a blue one but they only had orange.
LISBON (contd)
You just killed a man in cold blood in front of numerous witnesses. Do you have any idea how serious that is, Jane? We are in the state of California. A crime like that carries the death penalty. Did you even consider that before you pulled such a stupid stunt?
Jane watches her, but doesn't respond – there's a strange expression on his face. Lisbon waits a beat before continuing, her exasperation showing.
LISBON (contd)
And where the hell did you get the gun? You hate guns! …Say something, dammit!
JANE
(calmly)
Shouldn't you be in the hospital?
LISBON
(incredulous)
That's it? That's all you're going to say? No explanation, no apology?
JANE
What's to explain? You knew it would come to this one day, Lisbon. I distinctly remember having a conversation with you about what I would do to Red John when I found him. So… I found him, (he shrugs) … I did it. There's nothing more to be said.
Lisbon is open mouthed. She takes a breath, shakes her head. She is lost for words
LISBON
Jane, you could be put to death!
JANE
(shrugs)
Meh...
LISBON
Would you stop it? You're acting like a kid who's not afraid of getting into trouble with mom and dad 'cos you stayed out late. This is serious. There is nothing I can do to help you.
Jane places a hand on hers. His tone is serious.
JANE
You've already helped me.
Lisbon is about to reply. At that moment the door opens and Agent JJ La Roche enters the cell.
LA ROCHE
Agent Lisbon, I'd like you to step outside please.
Lisbon takes a deep breath and looks from La Roche to Jane. Jane squeezes her hand and nods slightly for her to follow the request. Her expression shows fear and concern for him. Jane shrugs slightly, removes his hand and breaks eye contact. Lisbon leaves. She looks back as the door shuts.
Cut to
Interior – Holding cells corridor
Lisbon and La Roche walk down the corridor.
LA ROCHE
I gave specific orders for you to stay away. Can you tell me why you decided to ignore those orders?
LISBON
I needed to see him.
LA ROCHE
About?
Lisbon looks at him for a moment.
LISBON
I needed to know what he did with my stapler.
La Roche nods slowly and thoughtfully. There is suspicion written all over his face.
LA ROCHE
He just said you'd helped him already. What exactly did he mean by that?
LISBON
(a crease on her brow)
Are you serious? You're questioning me?
LA ROCHE
Jane had a gun with him when he was arrested. Do you have any idea where he got it?
LISBON
(incredulous)
Are you suggesting that I gave Jane the gun?
LA ROCHE
(He looks closely into Lisbon's face.)
Did you?
LISBON
No!
LA ROCHE
You have access to the armoury. And, as head of the unit you have the power to decide which agents should be carrying firearms.
LISBON
He's not an agent, he's a consultant.
They reach the top of the stairs. La Roche eyeballs her closely.
LA ROCHE
We'll be talking again soon, Agent Lisbon. In the meantime, you and your team are forbidden to go anywhere near Jane or this case. If there is another infraction, however slight, I will have all of your badges. Is that clear? … Agent Lisbon?
Lisbon gives him an annoyed look, but nods slightly. La Roche walks off. Cho, Rigsby and Van Pelt walk over to her.
CHO
What did he say?
LISBON
He says if we breathe the wrong way we'll all be suspended.
CHO
(nods)
I meant Jane.
LISBON
Oh. He's not co-operating.
VAN PELT
But he could get the death penalty.
LISBON
I know, and I explained that to him. He just shrugged it off. You know how he is.
RIGSBY
We gotta do something. We can't just let it go. This is Jane.
The team nod in agreement.
LISBON
She holds up her good hand.
I know, I know. But he killed a man in cold blood…premeditatedly. He has to go through due process just like everyone else. There's not a whole lot we can do at this point.
RIGBSY
(thinking)
What about the gun he used? We could track that down. Maybe it'll lead us somewhere. And how do we know it was really Red John? We should run the victim's prints, do a background check.
Cho and Van Pelt nod.
LISBON
And normally we would do all of that…but if La Roche finds out what we're up to it could be the end of all our careers.
VAN PELT
(slightly disgusted by Lisbon's response)
What's more important, your career or saving Jane's life? Wayne's right. We have to do something. I can't just sit around waiting to lose someone else I care about.
They look at her compassionately. Rigbsy brushes her fingers with his hand, briefly squeezing her little finger. Van Pelt blinks back a tear.
LISBON
(looking apologetic)
You're right. I know, I know! And I'm sorry about O'Laughlin, Grace. I know you had feelings for him.
After a long pause she checks around her, then speaks in hushed tones.
LISBON (contd)
(To Grace) You've got a laptop at home, right?
VAN PELT
Yeah.
LISBON
Can you get access to CBI databases on it? Evidence, etcetera?
VAN PELT
Yeah. Sometimes if I don't get through everything here, I take it home to finish.
LISBON
Okay. We need to get as much of the information from here as we can…But be discreet. La Roche can't know what we're up to. We'll meet at your place after work. Agreed?
The team nod their heads just as La Roche steps up behind Lisbon.
LISBON
(Becoming aware of this, she raises her voice)
That's agreed then. Jane has made his bed. He has to lie in it. There is nothing we can do about that now, no matter how much we might want to. We stay away. Clear?
OTHERS
Clear, Boss.
LISBON
Good. (pause) Now there are plenty of other cases we need to work on. Van Pelt, did you get anywhere with that background check on the Sacks case?
VAN PELT
Er…just got a few more phone calls to make.
Lisbon's face asks Grace if he's gone Van Pelt glances over Lisbon's shoulder. La Roche has heard enough and moves on. Van Pelt nods. Lisbon sighs quietly.
LISBON
Okay. Remember what we said.
She leaves and goes to her office.
Cut to
Interior - Shopping Mall – Crime scene is taped off. There are forensic technicians photographing and collecting evidence. One in particular is hovering by the sheet-covered body. He lifts the sheet to peek at the victim's face. There is a strange look on the tech's face – he seems disgusted, yet irritated. He crouches and looks more closely, then using a pair of tweezers he removes what looks like a splinter of wood from the floor beneath the victim's neck, and places it into a small paper bindle which he then places into his jacket pocket. He looks again at the victim's face, shakes his head slowly and drops the sheet back into place. One of the officers approaches.
OFFICER
Bad one, huh?
BRETT PARTRIDGE
I've seen worse.
OFFICER
Yeah, I bet. And to think it was one of our own who did it.
Partridge looks at him questioningly.
OFFICER (contd)
Yeah…it was some guy from the CBI. Damn, that's gotta have an impact on their reputation. They're supposed to be the best at closing cases.
PARTRIDGE
Yeah, well. I guess they just closed another one, right?
He chuckles at his own joke then waits a beat.
PARTRIDGE (contd)
Did you know the guy who did it?
OFFICER
Not really. Heard about him though. He's not really an agent, just some kind of consultant. I know some of my colleagues think he's an arrogant son of a –
PARTRIDGE
Not Patrick Jane?
OFFICER
Yeah, that's him. You know him?
PARTRIDGE
Kind of…had a couple of run-ins with him myself. Sooo…the great Patrick Jane has finally taken a fall. Couldn't have happened to a nicer guy.
A smug smile appears on his face.
OFFICER
I'm sensing irony here.
A Detective approaches the stationary men.
DETECTIVE
You two done socialising? Jackson? I need you outside on the perimeter. Crowds are forming.
OFFICER JACKSON
Yes, sir.
The Detective looks at Partridge.
DETECTIVE
Don't you have some evidence to collect?
He turns and walks away. Partridge pulls a childish face in his wake. He looks back at the body and the wry smirk appears on his face again. He then returns to his duties.
Cut to
Exterior shot of CBI HQ
Cut to
Interior – Roof top room at CBI
Lisbon enters the roof space. She meanders over to the desk where Jane does all of his thinking. She scans the area looking for something. She goes over to the makeshift bed and frisks through the loose blanket and pillow. As she pats the pillow she feels something solid within the pillowcase. She pulls out a small envelope with her name written on it. She recognises Jane's familiar scrawl. She opens it and finds two plastic key cards inserted into a folded piece of paper.
LISBON
Ah-ha ! Jane, you're so old school!
She grins and then places it into the inside pocket of her jacket. She glances around briefly and then leaves.
Cut to
Exterior – Long Stay Motel car park.
Lisbon's SUV pulls up. She and Van Pelt make their way to the first storey. They locate a door and use one of the keycards. Lisbon looks over her shoulder, then enters. She glances around Jane's room. It is sparse. Van Pelt finds a couple of suits in the hanging space and a few toiletries in the bathroom but not much else. They leave.
Cut to
Exterior – Walkway outside the motel room. Shutting the door behind her, Lisbon pulls out the other plastic key card and reads the number on it. She looks around, locates the corresponding door and they enter.
Cut to
Interior – Jane's other motel room.
Lisbon and Van Pelt are searching for something. They have looked practically everywhere. It is just as sparse as the previous room. Lisbon pauses to take a breath and rethink when she notices the edge of a wooden box protruding slightly from underneath the bedside cabinet. She glances at the other bedside cabinet. There is a similar gap but no box. She looks back at the box and retrieves it. She and Van Pelt glance at each other. The box contains a foam insert cut out in the shape of a gun. It is empty. Underneath it there is a small red notebook. She picks it out and flicks through it briefly. A slight grin forms and she tucks the notebook into the waistband of her pants beneath her jacket. They leave.
Cut to
Exterior – evening - Outside Van Pelt's home. Jane's distinctive eggshell blue Citroen pulls up and jerks to a halt. There is the sound of a grating gearstick. Grace and Lisbon share a confused look as Rigsby climbs out of it.
RIGSBY
Man, how the hell does he drive this thing?
(to their puzzled looks) I didn't want to leave it in the parking lot at the mall.
LISBON
It wasn't impounded as evidence?
RIGSBY
Apparently not. La Roche didn't seem interested when I mentioned moving it. In fact, he seemed to welcome the idea.
LISBON
(slightly suspicious)
Okay...Did you find anything interesting in there?
RIGSBY
Not really. Just a dog-eared copy of a book of William Blake poems in the glove compartment. And a lot of candy bar wrappers…Who knew Jane had such a sweet tooth, huh?
They move towards the front door when Cho pulls up and parks. He joins them and they enter the building.
Cut to
Interior - CBI Holding Cell
Jane is seated, staring into space. His hands are loosely interlocked and his thumbs gently tap against each other. He seems to be in a meditative state. His breathing is slow and relaxed. The door opens and Agent JJ La Roche enters. He places a rather thick file on the table and closely watches Jane, who hasn't acknowledged his presence. He seats himself in front of Jane.
LA ROCHE
So…you killed Red John. You must be pleased.
Jane takes a deep breath and seems to come out of his trance. He looks at La Roche and gives a half-smile, cocking his head slightly at the same time.
LA ROCHE
It was always just a matter of time with you, Jane.
Jane still doesn't speak. La Roche flips open the file in front of him. Jane continues to smirk at him, doesn't break eye contact and doesn't look at the file.
LA ROCHE (contd)
(Flicking the file open and skim reading.)
Patrick Jane. You joined the CBI in 2004, several months after your wife and daughter were viciously and brutally murdered.
He looks up to see if there is any response. Jane is staring straight ahead, though there is a slight flaring of his nostrils.
LA ROCHE (contd)
Three years ago you were suspended for two weeks after you caused a woman to shoot and kill her husband in front of you. You have been written up for harassing several figures of high standing, including an Assistant DA and two High Court Judges. You've been to prison for spying on members of your own unit and the CBI has received more complaints about you than any other member of staff in the history of the unit.
La Roche makes eye contact. Jane looks away, raising his eyes and smirking (almost with a hint of pride), sighs deeply and then looks back at La Roche.
LA ROCHE (contd)
My, my…your file does make for interesting reading. And those aren't even the good bits. You commandeered a gun from a high profile science Professor's office and threatened to shoot him and a colleague; you shot and killed a local law enforcement officer almost two years ago, allegedly in self-defence; though we only have Agent Lisbon's confirmation of that. Earlier this year you were found at a crime scene standing over a body with the murder weapon in your hand. Not long ago you gave a known murder suspect - Todd Johnson - a gun and encouraged him to shoot an unsuspecting fake psychic. That's not to mention helping a wanted fugitive – Agent Hightower - to escape and evade arrest… And here we are today - unlawful possession of a firearm and pre-meditated murder. You've come a long way.
Jane continues to stare at La Roche.
JANE
It's fascinating.
LA ROCHE
What is?
JANE
The little tick just under your left eye. Its pace quickens when you seem excited about something. It's kind of mesmerising in a soothing sort of a way.
La Roche considers this momentarily, then cocks his head.
LA ROCHE
Are you trying to play your mind games on me, Jane?
JANE
No, not at all. (he shrugs) It was just an observation.
La Roche stares at him closely. Jane gives a silent chuckle.
JANE
Are you trying to intimidate me into confessing, JJ? Can I call you JJ?... Because if you are, I'll tell you right now, it's wasted energy. I admit it. I killed the son of a bitch. (Holds his hands up) He killed my family…I killed him. (Shrugs) It's the way of the world – the natural order of things. You got me bang to rights; … red-handed, so-to-speak.
Jane finds his own pun amusing.
JANE (contd)
Aside from which, he pulled a gun on me. Some would say it was an act of self-defense.
(He folds his arms)
La Roche stares at him for a lengthy moment then flips the folder closed.
LA ROCHE
Yes…It was always a matter of time with you, Jane.
JANE
So you said.
LA ROCHE
Just hope you didn't piss off the DA too much. He tends to get quite enthusiastic when the death penalty is involved.
Jane grins knowingly, stretches his arms upwards and places them behind his head. La Roche retrieves the file and knocks on the door for the guard to let him out.
Cut to
Interior – Van Pelt's living area – open plan
The team are seated around the dining table. Van Pelt is tapping on her laptop. Lisbon is flicking through Jane's notebook. Cho is reading through a copy of Jane's arrest file, and Rigsby is studying the book of William Blake poems he found in Jane's car.
RIGSBY
You know what I don't get?
CHO
(not looking up)
What?
RIGSBY
Why would Jane have a book of poems by William Blake?
CHO
Jane told us that Red John recited the first verse of The Tyger by Blake when he had him captive.
RIGSBY
Yeah I know that, but that was just one poem, why would Jane have a whole book of them. He could have just printed a copy of that one off the internet.
CHO
(a slight shrug)
I don't know. Maybe he thought there were more clues to be found within other poems.
He looks back down to what he was reading. Rigsby nods, conceding the point. He turns the page to the next poem.
Cut to a close-up of the page. Poem entitled 'A Poison Tree'.
Cut back to Rigsby. He reads it then softly whistles to himself.
RIGSBY
Hey, listen to this:
'I was angry with my friend:
I told my wrath, my wrath did end.
I was angry with my foe:
I told it not, my wrath did grow.'
Sounds like the grudge Jane's been keeping all these years against Red John, right?
Cho looks at him, unimpressed.
RIGSBY
Wait. It goes on;
'And I watered it in fears
Night and morning with my tears,
And I sunned it with smiles
And with soft deceitful wiles.'
Van Pelt looks up at Rigsby.
VAN PELT
Oh my god, you're right. It does sound like Jane. Always joking around, hiding his true feelings.
LISBON
Yeah, yeah, I guess. But we need to find clues about Red John, not Jane. Rigsby, keep looking. Cho, you find anything in the arrest file?
CHO
Maybe. Two guns were recovered from the scene. A .45 and a Glock 38. There's a partial serial number from the gun Jane used. We could run a trace on it, see if we can track the seller.
LISBON
Great. Van Pelt? Do that. And while you're at it, see if you can track down any fingerprint evidence they may have. Maybe Jane wasn't the only one who handled the gun he used; maybe whoever sold it did too. And see if you can get anything on the other gun found at the scene.
VAN PELT
Okay.
RIGSBY
Boss? I know you said to keep looking, but there's just something about this poem…it almost perfectly describes Jane's plan.
Lisbon's expression questions him.
RIGSBY
There are two more verses;
(He begins reciting.)
'And it grew both day and night,
Til it bore an apple bright…'
Morph into
Interior – Jane's Holding cell.
Jane is lying on his back on one of the benches at the side of the table. His hands are clasped loosely across his stomach. He is reciting the same poem from memory.
JANE
'And my foe beheld it shine,
And he knew that it was mine,-
And into my garden stole
When the night had veiled the pole;
In the morning, glad, I see
My foe outstretched beneath the tree.'
He finishes and an almost imperceptible contented grin forms on his lips.
Morph back to
Interior – Van Pelt's house
Rigsby finishes reciting the poem.
RIGSBY
…'My foe outstretched beneath the tree.'
They sit for a moment, contemplating. Then Grace's laptop beeps.
VAN PELT
Boss? I ran a check for fingerprint evidence like you asked. I enabled an alert system so that I could access any new evidence that was submitted on to the system at CBI … that's what the beeping was.
She sees Lisbon's eyes urging her to get to the point.
VAN PELT (contd)
New evidence has just been entered. Forensics apparently pulled two sets of prints off the gun Jane used. I'm running them through the database now. (The laptop pings, Van Pelt taps a key) One set belongs to Jane, and the other set belongs to… (taps on the keyboard again)…someone called Max Winters.
LISBON
(slight recognition in her tone)
Max Winters?
She begins flicking back through Jane's notebook.
CHO
Wasn't he the guy who killed his wife's murderer several months back?
RIGSBY
Yeah…But he didn't actually kill the guy. The real killer turned out to be someone whose wife was having an affair with the victim. Winters shot the guy in the face after he was dead.
VAN PELT
Oh yeah, I remember now. But why would Winters' prints be on a gun that Jane used?
LISBON
Got it! There's an entry here, dated around about the same time. Jane mentions an 'unexpected token of appreciation' with the initials MW.
VAN PELT
You think Winters gave Jane the gun as a thank you? But Jane hates guns. Why would he accept it?
LISBON
Let's go find out, shall we? Cho, you're with me. You two stay here and keep looking. I want an ID on the victim. And keep tracking the serial number of the gun. If Winters did give it to Jane, I want to know where he got it from… Rigsby? A word…
Lisbon gestures him over with a side nod of her head. He moves over to her and Cho.
LISBON (contd)
(in hushed tones)
I need you to run a full background check on Craig O'Laughlin. I want to know how he is connected to Red John, how he managed to get through the FBI checks and how the hell he managed to fool everybody. Got it?
RIGSBY
Got it, boss.
Rigsby wanders back over to Grace and half-smiles at her.
Cho and Lisbon leave.
VAN PELT
What was that all about?
RIGSBY
That? Oh, nothing really.
VAN PELT
Wayne, you always were a bad liar. It was something to do with Craig, wasn't it?
RIGSBY
Yeah…she wants me to run a full background.
Grace considers for a moment.
VAN PELT
I'll help.
RIGSBY
Grace, you don't have to.
VAN PELT
I know. I want to. I need to know who I was going to marry.
Wayne smiles at her compassionately, looking deeply into her eyes. She begins to tear up and looks immediately at her laptop, bites her lip and begins typing.
Fade to black
Open on
Exterior – night time– Lodi - Max Winters' Residence. An SUV pulls up. Cho and Lisbon exit the vehicle and make their way to the porch over the front door. Cho pushes the doorbell.
CHO
Crazy, huh?
LISBON
What?
CHO
This whole situation with Jane.
LISBON
Yeah, I could kill him. I mean where does he get off – ?
The door opens. Max Winters stands before them.
WINTERS
Yes? Can I help you?
LISBON
(flashing her badge)
Max Winters? I'm Agent Lisbon and this is Agent Cho. We're with the CBI.
WINTERS
Yes, I remember. What brings you to my door at this late hour, Agents?
LISBON
We'd like to talk to you about Patrick Jane.
WINTERS
Ah. I heard something on the news about one of your operatives being involved in a murder. Terrible business. It was Mr Jane, was it? They said he shot a man in cold blood. Is that true?
Lisbon and Cho glance at each other.
LISBON
Can we come inside?
WINTERS
(stepping to one side) Of course, of course. 'Though I'm not sure how I can help you.
They enter and the door shuts.
Cut to
Interior - CBI HQ – La Roche, wearing a pair of headphones, is looking at a computer monitor over the shoulder of a tech. He is listening intently to something and looking at a map overlay. There is a blinking light showing the whereabouts of a tracking device.
Cut to
Exterior –night time – Outside Van Pelt's place. Close up of a blinking tracking device affixed to the underside rim of the front wing of Jane's Citroen.
Pull back to
Exterior – night time – Several cars back from Jane's Citroen. Inside a black van are two men wearing headphones, one has a laptop on his knee; the other is holding what looks like a small satellite dish. It is pointed towards the window of Van Pelt's place.
Cut to
Interior – Van Pelt's living space. Rigsby and Van Pelt are seated in front of the laptop looking at an open file on Craig O'Laughlin.
RIGSBY
You sure you're okay to do this?
VAN PELT
I have to. (chastising herself) I can't believe I let him fool me like that.
RIGBSY
Hey, he fooled all of us. Don't beat yourself up about it.
VAN PELT
I just thought he was different, you know. Kind and sensitive…
She begins to tear up.
RIGSBY
Yeah…I know.
VAN PELT
God! I'm such a lousy judge of men!
Rigsby looks slightly wounded at her statement. She realises what she just said.
VAN PELT
Oh God! Wayne, I didn't mean –
RIGSBY
I know. Let's just get on with this, shall we? You want a coffee? I need a coffee.
He gets up and heads towards the kitchen area. He hovers in the doorway and glances back at Grace who is staring at the monitor with a look of desolation on her face, then he continues to head into the kitchen.
Cut to
Interior – Winters' Residence. The living area.
WINTERS
Please…have a seat.
LISBON
Mr Winters, we don't have a whole lot of time here so I'll get right to it. A gun found at the scene had your fingerprints on it. Can you explain how they got there?
WINTERS
Probably when I checked it over before I gave it to Mr Jane. I assume you are talking about the gun I gave to him.
Lisbon and Cho glance at each other, slightly taken aback by his candour.
CHO
You admit to giving him the gun?
WINTERS
Yes, of course.
CHO
Why?
WINTERS
Why do I admit it?
CHO
Why did you give him the gun?
WINTERS
Well, Mr Jane helped me out with my little legal problem… and I wanted to repay him.
LISBON
By giving him a gun?
WINTERS
It seemed apt.
LISBON
What was the real reason? You don't give someone a gun as a thank you. Did he ask you to get him a gun?
WINTERS
No, he didn't ask. He didn't need to.
Winters glances at Cho and then looks deeply at Lisbon. He's mulling over something in his head.
WINTERS (contd)
I've shared his pain, Agent Lisbon. That look in his eye? I've known it. Had it myself. Mr Jane was trapped and needed help, guidance. I gave him a tool to release his soul from an internal Hell…so that he could live again.
CHO
Only now he's facing the death penalty.
WINTERS
Yes, talk about ironic.
LISBON
(getting irate and a bit cranky from pain) You think this is funny?
CHO
Where did you get the gun?
WINTERS
You know, I don't recall.
LISBON
Bull!
WINTERS
No truly, I cannot remember.
CHO
Try.
WINTERS
Okay. (thinking) I believe I may have acquired it during a very dark period of my life. But then I found the light and had no further use for it…Ergo I passed it on to Mr Jane.
Cut to
Exterior- night time – Porch of Winters' Residence. Lisbon and Cho heading back to the SUV.
CHO
You believe any of that?
LISBON
You mean about 'finding the light' and moving on? No.
CHO
Sounds like the crap the followers of a cult come out with.
LISBON
Yes, it does, doesn't it?
She pulls out her cell phone and hits speed dial.
(into the handset)
Rigsby, have Van Pelt run a complete background check on Max Winters – specifically looking for any affiliation to Visualize or Bret Stiles.
(She flips her phone shut.)
CHO
You think Visualize is behind all of this?
LISBON
I don't know. Possibly.
Cut to
Exterior- daytime – CBI HQ
Cut to
Interior – Holding Cell. The door opens and Virgil Minnelli enters.
JANE
Ahh, Virgil. Good to see you again. To what do I owe the pleasure?
MINNELLI
Cut the crap, Jane. What the hell do you think you're playing at?
JANE
Been talking to Lisbon, have we? Yeah, she's a little irritated with me at the moment…she'll get over it.
MINNELLI
(incredulous) A little irritated - ? What the - ? Are you listening to yourself?
JANE
Not really. I find my voice a little bit whiney and irritating at times…So, how's life on the outside treating you?
MINNELLI
Much better now that I don't have to deal with your foolish shenanigans.
JANE
And yet, here you are.
MINNELLI
Yes, here I am, against my better judgement.
JANE
Lisbon asked you to come, didn't she? Her access has been denied and so she sent you instead to do her berating for her.
MINNELLI
I didn't come here to berate you.
JANE
No, you didn't. You came here to tell me something. What's troubling you, Virgil?
Minnelli's eyes look around the room. He glances over his shoulder to look at the closed door and then leans forward. Jane mirrors his actions.
Cut to
Interior – CBI HQ –Bullpen area – Van Pelt and Cho are at their desks. Rigsby and Lisbon wander in from the kitchen area, each holding coffee cups. La Roche enters the bullpen.
LA ROCHE
Agents Lisbon, Cho, Rigsby and Van Pelt, I'd like to see you all in my office immediately.
He walks off. The Agents look at one another and then towards Lisbon. She shrugs, puts her cup down and moves to follow La Roche. The others follow.
Cut to
Interior – La Roche's office. La Roche is seated behind his desk.
LISBON
You wanted to see us, sir?
LA ROCHE
Yes. (He pauses) I'd like you all to take out your badges and your weapons and place them on my desk please. As of now you are all on full suspension.
The team look confused. Expressions of protest form on their faces.
LISBON
What? On what grounds?
LA ROCHE
You were ordered to stay away from the Jane case. You blatantly flouted those orders.
LISBON
What?
LA ROCHE
Please don't make the situation any worse than it already is by denying it, Agent Lisbon. You have been gathering at Agent Van Pelt's home and accessing files on the CBI's databases, not to mention interrogating potential witnesses.
Guilt flashes across Lisbon's face.
LISBON
But how - ?
LA ROCHE
…do I know? I placed a simple tracking device on Jane's car which Agent Rigsby here seemed eager to remove from the crime scene. I wanted to know why. Surveillance teams have been following your every move….Jane's not the only one who can spy on his own unit. Now, if you don't mind…your badges and weapons…
Lisbon looks apologetically towards the rest of the team. They place their belongings on La Roche's desk.
LA ROCHE
Security will escort you from the premises. You will take nothing with you except personal items.
LISBON
Yes, sir.
They turn and leave La Roche's office. On the mezzanine outside, Rigsby begins to protest. Lisbon hushes him.
LISBON
Not here.
Rigsby looks at Cho. They descend the stairwell and make their way to their desks. Security is already waiting for them. Other agents pause to watch the events. The team are escorted from the bullpen.
Cut to
Interior – Director Bertram's Office.
BERTRAM
You did what?
LA ROCHE
They disobeyed a direct order.
BERTRAM
For God's sake, La Roche, this isn't the military. Have you any idea how bad this makes us look? It's bad enough we have a CBI operative in custody for murder, but now the whole unit? This is a PR nightmare.
LA ROCHE
Yes, it doesn't look good, sir.
BERTRAM
Doesn't look good? I've had the Governor on the phone calling me every goddamn hour asking me what kind of a circus I'm running here!
He pauses for several moments, running his hand over his head and back to his mouth.
BERTRAM (contd)
Did they at least find anything useful?
LA ROCHE
Jane was apparently given the murder weapon by a Max Winters; a previous suspect in a murder case – similar circumstances to Jane's own as I believe.
BERTRAM
Well, I assume you've questioned him?
LA ROCHE
I have Agents bringing him in now. However, it seems Agent Lisbon got there before us. We'll find out what he told her shortly. In the meantime, my team will continue looking into –
BERTRAM
(decisively)
In the meantime, I will reinstate Lisbon and her team to continue the investigation. You will give them full access to all of the evidence and files that they need. Clear?
LA ROCHE
What? But -?
BERTRAM
But nothing. They are the best damn team of investigators we've got. The Governor thinks very highly of them. If anyone can sort out this mess, they can. Besides, Jane trusts them. They may get more out of him than we would. We'll deal with any other infractions at another time. That will be all, Agent La Roche.
LA ROCHE
Yes, sir.
He turns and exits the office.
Cut to
Exterior – Coffee shop. The team are seated around an outdoor table.
RIGSBY
Can you believe the nerve of that guy?
VAN PELT
We did disobey his orders.
RIGSBY
Whose side are you on?
Grace shoots him a hurt look.
VAN PELT
Whose side are you on? You're usually stuck to the rulebook with superglue.
LISBON
Hey! Cut it out you two! We can't afford to turn on each other.
Rigsby and Van Pelt look apologetically at each other.
CHO
Fact is we broke the rules. Now we have to deal with it. (To Lisbon) What's our next move?
LISBON
I'm thinking…
Just as she is about to speak, her cell phone goes off. She looks at the display. Her face displays a puzzled frown.
LISBON
(answering it) Director Bertram?
CHO
(to the others)
This can't be good.
LISBON
Yes, sir. No, sir. I understand, sir. Yes, I'll pass that on. Uh-huh. No, sir, that won't be a problem.
She ends the call and stares down at her phone for several seconds.
CHO
So?
RIGSBY
When's the PSU hearing?
LISBON
There isn't going to be one.
CHO
What do you mean?
LISBON
I mean Bertram countermanded La Roche's order. We've just been re-instated and made lead unit on the investigation.
VAN PELT
That's great!...Isn't it?
CHO
(suspicious) Did he say why?
LISBON
Something about the Governor on his ass and him running a circus.
RIGSBY
Well…okay. Hey, how do you think La Roche took it?
Cut to
Interior – CBI HQ – La Roche's office
La Roche is looking irritated. There is a quiet rage behind his eyes. He stabs a pencil through a squeezy stress ball on his desk. Then extricates it and places everything back in its rightful place again.
Cut to
Interior – CBI HQ – the bullpen. Van Pelt is on her computer at her desk; Rigsby is on his computer, a pencil clamped between his lips; Cho is on the phone at his desk. Lisbon is looking over crime scene photos and notes that have been posted on a glass incident board.
CHO
(replacing the handset) Boss? That was the Coroner. She's just finished her report. She's emailing it over, says you're going to want to look at it immediately.
Lisbon wanders over to stand behind Cho.
LISBON
She give you any hints? It's not rocket science. The guy was shot three times. Hell, even Rigsby could tell what the cause of death was.
Cho taps on his computer. The report appears on the screen. They read intently.
LISBON
Wait. Am I reading this right?
CHO
Guess so.
LISBON
No, that can't be right. Get her on the phone again.
Cho picks up the handset, dials, then hands it to Lisbon. He then taps the keyboard to print the report.
LISBON
Hey, Sheri. I'm reading it now. Are you absolutely positive? …. You double-checked? And there is no doubt in your mind?... Okay…thanks Sheri.
Lisbon shakes her head slowly. The hint of a smile begins to form.
Rigsby has been listening in on the conversation.
RIGBSY
What does it say?
Cho passes back a copy of the report he has printed out. Rigsby begins reading. He looks up quickly at Cho, who nods. Van Pelt walks over to find out what seems to have everyone's curiosity. Rigsby hands her a sheet of paper. She reads. Her lower jaw drops and then she smiles.
VAN PELT
Does this mean-?
RIGSBY
I guess it does.
LISBON
Wait. Before we all get carried away, I need more information. Rigsby, you getting anywhere with O'Laughlin?
RIGSBY
Not really. Keep hitting brick walls. Can't really find anything on him until he enrolled at the University of Michigan(?) where he did a degree in Criminology whilst on a football scholarship. He played ball in the NFL as Wide Receiver for the Titans for a couple of years before joining the 81st Airborne and later the FBI. And according to his official FBI file he was the perfect agent, passed all his psych exams with flying colours, decorated for bravery – the all-round GI. Same thing with his military file... I'll keep digging… But Boss [?] I remembered something about when he first came on the scene. Something didn't feel right at the time but I let it go in the interest of multi-agency co-operation.
Lisbon cocks her head in curiosity.
RIGSBY
(glances nervously at Grace) That first meeting [?] when he slammed into the side of our car [?]
VAN PELT
(defensively) Hey, that was an accident. He couldn't have known that I was going to-
RIGBSY
Grace, hear me out, please…Yes, it was an accident. But it wasn't an accident that he was following us. You remember where we were coming from?
VAN PELT
(thinking) Yeah, from speaking to that girl…what was her name? She'd defected from-
LISBON
Visualize.
CHO
That's the second time Visualize has been mentioned.
LISBON
Yes it is.
RIGBSY
O'Laughlin claimed the FBI were investigating Visualize for tax fraud and racketeering. But maybe there was something else?
LISBON
(nodding) Maybe. Grace, did you find any connection between Max Winters and Bret Stiles.
VAN PELT
Nope. Nothing as yet.
LISBON
Dammit. There's got to be something. Keep looking. And while you're at it, I need more information on this curare thing the coroner is on about.
VAN PELT
On it, Boss.
Cut to
Exterior – CBI HQ-
Cut to
Interior – CBI Holding Cell – The door opens and Lisbon enters. She places a file on the table and sits down opposite Jane. She tries to look annoyed but there is the hint of a smirk on her face. Jane looks at her closely for a lengthy moment. The analysis is too much for Lisbon.
LISBON
What?
JANE
You want to be mad at me but something is holding you back.
LISBON
There's no 'want' about it, I am mad at you.
JANE
Yes, but there's something else. Something… that makes you… There's an air of smugness about you.
LISBON
Nope.
JANE
(surprised) That's not it?…Ok, (thinking) uhh…
Lisbon's facial expression denotes that he'll never guess.
JANE (contd)
(tapping his fingers on his lips) Hmmm, it's a conundrum…The tightness in your shoulders tells me that you've been experiencing stress, and yet your light-hearted response tells me that a burden has been lifted… (guessing) No longer agonising about the calories in that meatball sandwich you had for lunch?
Lisbon's mouth opens and her expression questions how he knows what she had for lunch.
JANE
You have a little of that special barbecue sauce you like to smother it in on your uh...
He gestures towards her front. Lisbon looks down and scrapes at her shirt.
LISBON
Dammit.
Jane's eyes drift down to the file on the table.
JANE
What's in the file?
LISBON
Coroner's Report.
Jane nods. He half smiles at Lisbon's expression of knowing something he doesn't.
LISBON (contd)
The victim - as yet unidentified -…
JANE
(certain) It's Red John.
Lisbon ignores him and continues.
LISBON
…received three gunshot wounds to the upper abdomen and chest area.
Jane rolls his eyes impatiently wanting to hear something he doesn't already know.
LISBON (contd)
None of which would have been fatal…amazingly. (pause) Jane…you didn't kill him.
Jane's mouth opens in shock and disbelief.
Fade to black
Open on
Interior – CBI Holding Cell – Jane and Lisbon are in the same positions.
JANE
What? No, I did. I pulled the trigger at close range. I watched the life drain from his eyes as he stood in front of me.
LISBON
Yes, you did all of that…but you didn't kill him.
JANE
(misreading her intentions)
Look…Teresa. You've very graciously allowed me to work with you for a long time now. I know you care about what happens to me and I appreciate that, but you don't need to try to smooth things over for me. I knew what I was doing. It would be foolish of you to risk your career for me by implicating yourself and others in a cover up.
LISBON
(incredulous) What?
JANE (contd)
You love the CBI. You are the CBI. You always said that if I ever succeeded in doing harm to Red John you'd bring down the full extent of the law on me... I appreciate it and all, but don't go back on your word. Makes you look weaker.
LISBON
(exasperated) Jane, would you shut up for one minute! You will have to face up to the consequences of your actions. There is nothing I can do about that, nor would I want to! You deserve to be punished for your stupidity. But you didn't kill Red John. You shot him, yes, but you didn't kill him. He was poisoned.
JANE
Poisoned? What? (shaking his head) No, no, no, no, no. You've got it all wrong. The coroner's got it wrong. There was no poison. He was fine until …well, you know…
He gestures sideways with his eyes and mimics firing a gun.
Lisbon flips open the file.
LISBON
The Coroner found a tiny splinter of wood embedded in the skin just below his right ear…. She also found large traces of something called (reading from the file) chondrodendron tomentasum . It's a paralytic used for hunting by some South American tribes. As soon as it hits the blood stream it paralyses all muscles in the victim including the diaphragm. It usually takes about 20 minutes for the victim to succumb but the coroner says the dosage in the victim was extremely high and would have only taken seconds to take effect…He died of asphyxia brought on by the poison. Coroner thinks he was struck on the neck by a blow dart laden with the stuff. It's called a curare. That's what killed him.
Jane is pensive, puzzled.
LISBON (contd)
(puzzled by his lack of response) What? That's good news. Gets you off death row… Jane?
No response.
LISBON (contd)
(closing the file)
Anyway, I gotta go. I'm meeting with the DA in 10 minutes.
JANE
Hmmm?
Jane is deep in thought, not really paying attention. He seems torn. Lisbon gets up to leave. She knocks on the door and turns back to him.
LISBON (contd)
(with light-hearted irritation)
Weaker? You think I'm weak? Really?
Jane shrugs.
JANE
No need to be ashamed about it. We all have moments of weakness now and again.
LISBON
(scoffing)
Yeah, right.
The door opens and she leaves.
Cut to
Interior – CBI HQ – the bullpen. Grace is at her computer. Rigsby is at his desk on the phone. Cho is flipping through a case file.
VAN PELT
Hey, look at this.
Cho goes over to her desk. At the same time, Rigsby ends his call.
RIGSBY
Thanks man, I owe you one.
He wanders over to Cho and Van Pelt.
RIGSBY
I just got off the phone with an old buddy of mine. He now works in Human Resources at the FBI. He couldn't give me anything solid but hinted that there was something hinky with O'Laughlin's personnel file. Told me there are sections of it that are highly classified.
CHO
That's weird.
RIGSBY
Yeah. Wonder what he was involved in to become 'highly classified'. (To Van Pelt) What do you have?
VAN PELT
I remembered Craig once told me about the small town he grew up in, so I ran a search of his birth date against his birth place to see if I could get some background on him. Strange thing is there is no listing for anyone under his name being born there.
RIGSBY
Well, that's not unusual. Maybe he wasn't born there, maybe his family moved there when he was really little.
VAN PELT
(shaking her head)
No. He told me this whole tale about being in an incubator in the town's hospital because he was premature [?] Anyway, I checked the hospital's birth records. There were five babies born that day, only one of which was a boy who was premature… (she pauses dramatically) Joshua Stiles Jameson spent his first two months in the Neo-natal Unit before being discharged into the care of his mother, Edith Jameson.
CHO
Joshua Stiles Jameson?
RIGSBY
And there's the link.
VAN PELT
Yeah. I ran a check. Joshua Jameson seems to have disappeared, along with his mother, Edith, a few months later. There are no official records of either of them anywhere, not even a social security number.
Lisbon enters the bullpen behind them.
LISBON
Not even a social security number for who?
CHO
Edith and Joshua Stiles Jameson.
LISBON
And they are? Wait…Stiles?
RIGSBY
Yeah. Grace thinks O'Laughlin wasn't O'Laughlin's real name.
LISBON
(To Van Pelt)
You think O'Laughlin is Joshua Jameson?
VAN PELT
Maybe. I mean, the timescales fit. It's possible they changed their names.
RIGSBY
Yeah, but why would they do that?
VAN PELT
I don't know. Maybe they didn't want someone to find them.
RIGSBY
Like who?
CHO
Bret Stiles maybe? Could be he was the biological father.
RIGSBY
Bret Stiles is O'Laughlin's father?
Cho shrugs. Grace looks horrified.
LISBON
Find out. I want something a little more than just a 'could be' if we're going to confront Stiles.
Cut to
Interior – CBI – later that day – Corridor. Lisbon spots Max Winters walking off towards the elevator as she leaves her office carrying a file. She wanders along the corridor towards him and spots La Roche exiting an interview room and walking off in the opposite direction. She jogs to catch up with him.
LISBON
We already talked with Max Winters.
LA ROCHE
Yes, he mentioned that.
LISBON
What else did he mention?
LA ROCHE
Lots of things.
LISBON
Sir, I understand that you are not exactly happy with the way things have turned out regarding this investigation, but we are all on the same team, right?
LA ROCHE
(stopping and turning to look at her)
That is my belief, Agent Lisbon.
LISBON
Good, then.
There is a pause as she waits for him to be forthcoming with information. La Roche's eyes dart in the direction he wants to go before looking back at Lisbon.
LISBON
Winters?
LA ROCHE
Yes. He provided Jane with the murder weapon.
LISBON
Actually, he didn't. The victim was poisoned.
She hands him the file.
LISBON
It's all in the coroner's report. We also think we've found a connection to a cult called Visualize. I've got Van Pelt looking into it now. Winters didn't say anything else?
LA ROCHE
No, he didn't. He claims to have told you all that he knows.
LISBON
Okay.
La Roche looks at her for a moment, then takes his leave.
LA ROCHE
Okay. Keep me informed. Director Bertram has requested regular updates on the investigation.
LISBON
Yes, sir.
La Roche leaves. Cho appears and walks over to Lisbon.
CHO
Van Pelt turned up more information about Edith Jameson. In the late 70s, a local paper ran a story about how some of the more 'naïve' girls in the town were being drafted into a new religious group against their families' wishes. Edith was one of them.
LISBON
Let me guess. The religious group was Visualize?
CHO
(nodding) Under a different name. They didn't become 'Visualize' until later on. Apparently Edith became one of the group leader's many wives before her parents managed to get her out. But not before things had turned bad. Threats were made. The FBI got involved because the parents had claimed Visualize had kidnapped their daughter and held her against her will. Edith volunteered to testify against Stiles with claims of rape and attempted abduction and the Jameson's were placed into the Witness Protection Program.
LISBON
O'Laughlin was in Witness Protection?
CHO
Looks that way. But we need higher clearance to find out for sure…and only a few people have that clearance. One of whom is -
LISBON
La Roche. Okay, I'll go fill him in. Meet me in the parking lot in five minutes, I think it's time we had a little chat with Bret Stiles.
Cut to
Exterior – Visualize HQ
Cut to
Interior – Bret Stiles' office.
STILES
(standing and outstretching a hand)
Ah, Agent Lisbon. Always a pleasure.
LISBON
Mr Stiles. This is Agent Cho.
STILES
Yes, I believe we've met. Welcome. Please have a seat. What brings you here again? Come to seek spiritual comfort after all the recent wretched business?
LISBON
Wretched business?
STILES
Yes, with Patrick Jane. It's most irritating when one of your own betrays you, don't you think? And I had such high hopes for Patrick…
LISBON
Yes, well, we're not here about Jane… We'd like to ask you some questions about Edith Jameson.
STILES
Good Lord! I haven't heard that name in years. Edith Jameson…yes, yes…lovely girl. Shame about the way things ended with her.
LISBON
Yes, about that. How exactly did they end?
STILES
I'm not sure I like the insinuation in your tone, Agent Lisbon.
LISBON
No insinuation. Just a question.
Stiles breathes deeply and glances at Cho.
STILES
Let's just say we lost one of the fold in rather less than amicable circumstances.
CHO
And what about Joshua Jameson?
STILES
Who?
LISBON
Edith's son.
STILES
(intrigued)
Edith had a son?
LISBON
You didn't know about him?
STILES
No, of course not. Why would I? She left us about… (mentally calculating) …goodness, it must be about 30 years ago now. I suppose she could have gone on to raise a family in all that time. (puzzled) Why, may I ask, is the CBI interested about something that occurred 30 something years ago? Has Edith made fresh accusations that I don't know about?
CHO
We believe 'Edith' no longer exists.
STILES
Oh. Well, I'm very sorry to hear that.
CHO
Are you? Tell us about the FBI investigation.
STILES
Which one? It would seem that our little family here has captured the abiding interest of the federal authorities. (To Lisbon with a degree of amusement) Personally, I believe that they are all seeking some kind of spiritual enlightenment and are trying to get Uncle Sam to pay for it.
CHO
The one where you made threats against Edith Jameson and her family.
STILES
Ah. Again, I'm intrigued as to the reason for your enquiry… The accusations were proven to be false, Agent Cho. We did not, in fact, kidnap Edith. She was a lost soul who found us and we helped guide her towards a more righteous path. Her parents had lost control of her and she was resorting to rather more carnal activities than a girl of her age should have been. We took her in and subsequently she became a more contented soul.
CHO
She became your wife.
STILES
Wife is such an ugly word. We spent time together…As I spend time with a number of our female family members. (To Lisbon) Is there a point to all of this, Agent Lisbon? Only I've a meeting scheduled with some of the brothers.
At that moment, Lisbon's cell phone rings.
LISBON
Excuse me.
She gets up and walks over to the other side of the room to answer her phone. Cho remains seated. He and Stiles continue to look at each other. Cho glances around the room.
CHO
So, you really think you can heal souls, huh?
STILES
Not 'heal', Agent Cho. We're not miracle workers! More of a 'Guiding Light' if you will.
CHO
Like on a runway for incoming planes?
STILES
I wouldn't have put it quite so –
Lisbon returns.
LISBON
(To Cho) That was Van Pelt. (To Stiles) Does the name Craig O'Laughlin mean anything to you?
STILES
No. Should it?
LISBON
What about Mary Hudson?
STILES
Never heard of her.
LISBON
No? Really? I guess you didn't get her name when you pushed her out of the way to get to Edith and your son in the hospital 30 years ago. She was one of the nurses on duty there when you tried to abduct them. She just identified you from your picture. So, do you care to revise your story about not knowing about Joshua Stiles Jameson?
STILES
(suddenly furtive) What is this? I'm afraid I'm not prepared to discuss this matter any further without my lawyer being present.
He presses a button on his phone intercom, stands up and gestures to the door with his arm.
STILES (contd)
Brother Simpson here will show you out. Good day.
Lisbon and Cho leave. Stiles sits at his desk, leaning back in his chair. His fingers are steepled and he is contemplating something.
Cut to
Exterior – Visualize HQ – Lisbon and Cho walk towards the SUV.
CHO
Mary Hudson?
LISBON
(playfully) Who?
CHO
(half questioning, half stating) You made her up. A bluff to lure him into evasive action. If he tried to get rid of us at that point it was a sign that he was lying.
LISBON
Took a shot. Good, huh?
CHO
Jane would be proud…So, Joshua Jameson was Bret Stiles' son…
LISBON
Yep.
CHO
And O'Laughlin was Joshua Jameson.
LISBON
Yep.
CHO
How does someone in a federal protection program become an FBI Agent who investigates the person who caused them to go in to the program in the first place?
LISBON
That is a very good question. But I have a better one…How does all of this connect to Jane and Red John?
They get into the car.
Cut to
Interior – Director Bertram's office. He is just finishing reading a report.
BERTRAM
This is excellent work, Agent Lisbon.
LISBON
Thank you, sir. I'll let the team know.
BERTRAM
Are we any closer to finding out who the deceased was?
LISBON
He's still a John Doe. Van Pelt has tried running his prints and DNA through several databases but there haven't been any matches as yet. Nor are there any missing person reports fitting his description. The victim doesn't appear to have any dental records on file anywhere. Rigsby has posted the odontologist's report on the internet to see if we can get any hits there. But it would seem the guy just doesn't exist.
BERTRAM
That's disappointing.
LISBON
Yes, it is…but we'll keep working it. I'll have Cho get on to the local papers, get his photo printed. And I'll speak to Brenda about getting his face out on the local news. Someone has to know who he is.
BERTRAM
Good, good.
There is a slight pause.
BERTRAM (contd)
I spoke with the DA's office. They've agreed to drop the murder charge against Jane. But they are still going ahead with felony assault with a firearm, plus several additional misdemeanors.
LISBON
(nodding)
Okay.
BERTRAM
He still faces quite a bit of jail time. But, in the meantime, the DA's agreed to keep him in the custody of the CBI rather than transfer him to County Jail, subject to bail requirements of course.
LISBON
(trying to conceal a smile)
Yes, sir.
BERTRAM
So, as of now Jane is in our custody – yours and mine, Agent Lisbon. He does not leave the building, period. He will be permitted to move within the confines of the premises during daylight hours and at night he will return to one of the holding cells until his hearing. Is that understood?
LISBON
Yes, sir.
BERTRAM
Nor is he allowed to take any role in the investigation. Clear?
LISBON
Yes, sir.
BERTRAM
I don't need to remind you of the severity of the consequences of any further infractions.
LISBON
No, sir.
BERTRAM
Okay, then. That will be all.
Lisbon turns and leaves. As the door closes behind her, she allows herself to smile.
Fade to black
Open on
Exterior – CBI HQ – Morning
Cut to
Interior – CBI kitchen area – Jane is placing a tea bag into his cup and saucer. He is wearing his usual attire. Van Pelt, Rigsby and Cho enter.
RIGSBY
Hey, jailie returns!
Jane turns as Rigsby grabs and shakes his hand, bumps his left shoulder against Jane's left, and slaps him on the back. Rigsby moves away as Cho steps forward to shake hands.
CHO
Yeah. It's good to have you back. The place was almost back to normal.
JANE
Thanks guys. I got to tell you it's good to be back. Liberty is a beautiful thing, not to be sniffed at…And orange? Not my colour.
Van Pelt steps forward and hugs Jane.
VAN PELT
I'm glad you're okay.
JANE
(lightly hugging her back) Thank you, Grace. (releasing her) I'm sorry about O'Laughlin. I know you thought you'd found 'the one', but he wasn't right for you. (A quick glance at Rigsby) It's for the best, you'll see.
He smiles reassuringly at her. Van Pelt returns a sad, half-bitten smile and looks away. Jane wanders over to the water dispenser for hot water.
JANE
So, what did I miss?
Lisbon wanders in.
LISBON
Ah, there you are.
JANE
Yep. Here I am. Thanks for springing me…again.
LISBON
Would you stop that? I did not 'spring you'.
JANE
(conspiratorially) Of course not. Enough said. (zipping his fingers across his lips) I'll say no more.
LISBON
Yeah, yeah. Promises, promises. (To Rigsby) Any hits on the dental web sites yet?
RIGSBY
Nope.
JANE
Dental websites? Finally thinking of having your teeth sorted out? Probably best. You'll get more women that way. They just love guys with good smiles.
Jane smiles widely and nods encouragingly at Rigsby. Rigsby shoots him an irritated look, but surreptitiously runs his tongue over his teeth.
LISBON
(To Rigsby) Keep checking. (To Grace) Van Pelt I need you to –
She stops herself, aware that Jane is listening in. She turns to him.
LISBON (contd)
You? (nodding towards the bullpen) On the couch. You can't hear any of this.
JANE
What?
LISBON
I mean it. Now!
She points with her arm.
JANE
(rolling his eyes sulkily) Yes, Ma'am.
He wanders off towards the bullpen.
LISBON
(To the others) I mean it. He is not to know anything about the investigation. No matter how much he tries to persuade you otherwise. You find anything, you come to my office. Do not leave anything lying around, do not discuss anything with him in the room. Director's orders. Got it?
OTHERS
Got it, boss.
LISBON
Okay. (lowering her voice slightly) Van Pelt I want you to follow up on the other gun found at the scene. Run down all the usual details. I want to know everything about it since it came into existence.
VAN PELT
Okay.
Grace heads off to her desk in the bullpen. Lisbon glances after her and checks to make sure Jane is on his couch.
LISBON
(To Cho and Rigsby) You two, come with me.
She heads off towards her office. Cho starts to follow but Rigsby catches his arm.
RIGSBY
Hey man, what's wrong with my teeth?
He opens his mouth, baring his clenched teeth. Cho looks at him, shakes his head, sighing, and walks off to Lisbon's office. Rigsby picks up a spoon from the kitchen work surface, checks his teeth and then replaces the spoon and follows.
Cut to
Interior – CBI – bullpen. Van Pelt is on her computer. Her phone rings.
VAN PELT
Grace Van Pelt. Oh hey, Lisbon. Yep, I'm just running it now. Oh, okay. Meet you there.
She hangs up and retrieves her holster from her drawer. She takes her jacket from the back of her chair. Then she taps on her keyboard and the monitor goes dark. Jane looks up from his book.
JANE
Going somewhere?
VAN PELT
Yep.
JANE
Need company?
Grace bites her lip and shakes her head slightly.
VAN PELT
Sorry, Jane
JANE
Oh, that's okay. You wouldn't be any fun anyway.
He looks back at his book with feigned indifference and misses Grace's irritated expression. She leaves. Almost immediately, Jane jumps up and taps on Grace's computer. A dialogue box pops up on the screen requiring a password. Jane takes a deep breath and thinks. He then exits the bullpen and hesitates outside Lisbon's office. He looks both ways down the corridor, gently pushes the door and enters.
Cut to
Exterior – Shopping Mall-
Cut to
Interior – Shopping Mall – scene of the shooting. Life is back to normal, the coffee stand is open. It is lunchtime and there are people milling about. The team is standing amongst them.
CHO
(Pointing to the upper level) Rigsby and I were positioned up there. (Now pointing at a table in front of him) Jane was seated here. That's where we left him when we found out it was O'Laughlin and headed out.
RIGSBY
According to witnesses, after Bertram left, Jane made a phone call and then walked over to the victim who was seated here.
He wanders over to a second table.
RIGSBY (contd)
They talked and then the victim got up and walked away in that direction (he points). Jane apparently said something to him and the victim stopped and turned. The girl behind the coffee counter says Jane walked up to the victim and then there were gunshots. She says it was, quote 'like slow motion' unquote. The victim fell and Jane sat down and asked for the check.
LISBON
Okay. So according to the crime scene photos, the victim fell here, right?
She moves across the court.
RIGSBY
(looking at a photo in the file) Yep. That's about it.
LISBON
(re-enacting the movement) He stops and turns to Jane.
She then looks across and up to the right of her position.
LISBON (contd)
The Coroner says the victim was struck beneath his right ear…so the killer must have been over there somewhere…Grace, get on to the manager of the Mall. I want to see all of the CCTV footage for that day. The killer has to be on it somewhere.
VAN PELT
On it.
She walks off, pulling out her cell phone.
LISBON
(To Cho) How would the killer know that Red John was going to be here? Or that Jane would be here at the same time?
CHO
I don't know. Maybe he followed one of them.
LISBON
What, in the hope that they would accidentally meet? I'm not buying that. The killer knew they would both be here and he knew that Jane would try to kill Red John. But who else would want Red John dead?
CHO
Another grieving relative, maybe?
Lisbon sighs heavily.
LISBON
Dammit, the more answers we get, the more questions are thrown up…Rigsby?
RIGBSY
(re-joining them) Yeah, boss.
LISBON
We're gonna need all of the Red John victim case files, relatives details, backgrounds etcetera.
Rigsby pulls a face, sighs and then pulls out his cell phone.
Van Pelt rejoins them.
VAN PELT
I spoke to the manager. He's going to messenger the discs across to CBI straight away. Says he has to locate the tech first to find out where they're stored.
LISBON
He's the manager and he doesn't know where they're stored?
VAN PELT
I guess not. He's only been in the job for a week.
CHO
He's getting off to one hell of a start.
Cut to
Exterior – CBI HQ –
Cut to
Interior – CBI – bullpen- early afternoon. Jane is lying on his couch. Lisbon storms in at the far end of the bullpen and shouts across the room.
LISBON
Jane! My office! Now!
She storms off. Jane sits up, raises his eyebrows and looks at Van Pelt.
JANE
She's a little tetchy today. You think she's getting enough painkillers?
Van Pelt shrugs with her eyes in response. Jane inhales deeply, then stands and walks through the bullpen towards Lisbon's office.
Cut to
Interior – CBI – Lisbon's office. Jane pushes the door open and enters, allowing it to close behind him. Lisbon is waiting for him in the middle of the office. There is a file on top of the desk.
LISBON
You read the file?
JANE
(Overly-defensive) No! …What file?
LISBON
(glaring at him, warningly) Dammit, Jane.
JANE
Meh…I was bored. Besides, you shouldn't have left it lying around. Anyone could have found it.
LISBON
It was locked in the top drawer of my desk!
Jane rolls his eyes petulantly.
LISBON
Look, I know this is frustrating for you, but the Director specifically ordered that you stay out of this investigation.
JANE
Since when does what the Director says stop you from doing something.
LISBON
Since you decided to play out your little one man version of Ahab's revenge.
JANE
Really? Ahab's revenge? That's very clever of you Lisbon, I'm impressed. Finally got around to joining the library, huh?
LISBON
The point is we can't afford to 'bend' anymore rules. You're facing some real time in prison and I don't especially want to join you. End of.
JANE
Come on, Lisbon. You can't keep me out of the loop on this. It's Red John. I need to know what you know.
LISBON
Why?
Jane drops his gaze.
LISBON (contd)
What did Red John say to you?
JANE
What?
LISBON
He said something right before you shot him. What did he say?
JANE
How do you kno-?
LISBON
There were witnesses, Jane. Just answer the question!
JANE
He told me…(uncomfortable, avoiding eye contact) He told me something only Red John would know. Alright? Now can we drop it and you just fill me in on what you've found out about him?
LISBON
No.
JANE
Lisbon -
LISBON
What do you care who he was? You got what you wanted, right? He's dead. Now you can move on.
Jane intakes a deep breath, bites his lip and gives a slight growl. His eyes narrow and he turns and leaves Lisbon's office. Lisbon watches him go, she intakes a deep breath flopping down into her chair. She takes some painkillers. Her phone rings. She snatches up the handset.
LISBON
What?
Cut to
Interior – CBI bullpen. The team, minus Jane, are seated around the conference table. They are looking through various files from a number of boxes piled up next to the table. Lisbon enters.
LISBON
Are we anywhere with the CCTV footage from the Mall?
VAN PELT
Still waiting for it to arrive. The Manager has promised it sometime this afternoon.
LISBON
(snapping) He understands that this is a murder investigation, right?
VAN PELT
(Uncertain of how to respond to Lisbon's tone)
Uh…yeah. He just –
LISBON
(under her breath) Dammit! (To the others, annoyed, but not with them) I just spoke with the AG's office. Apparently they don't want it to look like the CBI is spending all of their time trying to get one of their own off a murder charge, and because they don't think we have enough to do, they want us at a crime scene up in Rocklin.
RIGSBY
What? But Boss-
LISBON
I know. Don't get me started. But it's the price we pay if we want to be the lead unit on Jane's case.
She looks around.
LISBON (contd)
Where is he anyway?
RIGSBY
Uh…he said he needed to think. I think he went up to the roof space.
LISBON
Good. Last thing I need is for him to be moping about down here.
She throws the car keys at Cho.
You're with me. Rigsby, you and Grace take the second car just in case.
RIGSBY
Okay.
They all grab their stuff and leave.
Cut to
Exterior – CBI HQ – late afternoon
Cut to
Interior – CBI bullpen – There are few people around. Another Agent, 'Ron', is seated at the desk in front of Van Pelt's. A young guy in a postal uniform enters clutching a bunch of envelopes in one hand and a postcard in the other
POSTIE
I'm looking for a 'Patrick Jane'
RON
Think he's upstairs. Roof space.
He gestures upwards. Postie nods and leaves.
Cut to
Interior – CBI Roof space – The door is open. Jane is lying on his back on his makeshift bed, flicking through the pages of his red notebook which he recovered from Lisbon's desk. The postie knocks on the doorway.
POSTIE
Patrick Jane?
Jane looks over at him. The postie waves what looks like a postcard at him. Jane doesn't move. The postie places it on the floor near the doorway and leaves. After a few moments, Jane swings his legs down and wanders over to the door. He retrieves the card.
Cut to
Exterior – Apartment block in Rocklin, CA. Two vehicles pull up outside near to police vehicles.
Cut to
Interior – hallway of apartment block– Lisbon and the others arrive at the closed doorway of the crime scene. She shows her badge to the officer at the door.
Cut to
Interior – CBI Roof space - close-up of Jane holding the postcard. It is a picture of a bare-branched tree overlaid with a poem : The Poison Tree by William Blake.
Cut to
Interior – apartment block - crime scene – The officer nods and steps aside. Lisbon pushes the door open. The team step forward.
Cut to
Interior – CBI Roof space. Jane flips the card over and begins to read aloud.
JANE
My bullets pierced him; all of three
His breath extinguished – Oh such glee!
Cut to
Interior – apartment crime scene- Lisbon walks through the apartment to the bedroom.
V/O JANE
Yet so short-lived, for soon I'd know
Despite my zest, 'twas not my foe!
As Lisbon enters she sees a red smiley face smeared on the wall.
LISBON
(horrified) Oh no!
Rigsby, Cho and Van Pelt stand behind her. All have looks of horror on their faces.
Cut to
Interior – CBI HQ – Roofspace. End on Jane's look of horror and realisation.
Fade to black
End Credits
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