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Red John's Footsteps

250px-Episode2the mentalist
Season Episode
1 23
Information
First aired May 19, 2009
Written by Bruno Heller
Directed by Chris Long
Guest-starring -
Previous episode Next episode
"Blood Brothers" "Redemption"

SCENE ONEEdit

CHO and RIGSBY are at a crime scene in a state park.

RIGSBY: Any place. The suspect could leave the body any place, but he dumped it on the only state land within a hundred miles of here making it ours. Great.

CHO: Why is that a bad thing?

RIGSBY: Oh, come on! You saw the body.

CHO: It's a coincidence.

RIGSBY: Nah. If Jane taught me one thing, it's...

LISBON, VAN PELT, and JANE arrive.

LISBON: Hi. What have we got?

CHO: The victim's name is Emma Plaskett. Nineteen. Local girl. First responder knew her from high school. Lives at home with her parents. Has an older brother and a twin sister, Maya, who went missing at the same time.

RIGSBY: Their car was found abandoned last night on the roadside 10 miles north of here.

LISBON: Who's coordinating the local search?

RIGSBY: Sheriff Hardy here is in charge.

HARDY: Ted Hardy. Good to meet you.

LISBON: Lisbon. That's Jane. This is Van Pelt.

HARDY: Well we called in all our people. Our sole priority is finding the missing twin sister.

A policeman shows JANE the body.

JANE: Lisbon! Look.

LISBON: Oh, damn.

JANEL Yeah.

LISBONL Nah, it's a coincidence.

CHO: That's what I said.

JANE: No. No such thing as a coincidence. Not with him.

HARDY: What are you talking about? Who's him?

VAN PELT: Red John. He's a serial killer. This is his style of cutting.

JANE: Look at the toenails.

LISBON: Yeah, I see them.

JANE: Painted in her own blood, just like my wife. This is Red John and he wants to make sure I was on this case.

LISBON: It's strange, I'll give you that. But you're jumping to conclusions. Okay, there's no way we can know for sure...

She is distracted by the sound of a plane in the sky. She looks up, followed by a few others.

HARDY: What the hell?

LISBON: Oh my God.

The plane is drawing a smiley face in the sky, leaving everyone shocked - it's the Red John symbol.

SCENE TWOEdit

Plaskett Residence. San Angelo, California.

HARDY, LISBON, and JANE approach the household.

HARDY: This nicotine gum is like chewing on a tire.

LISBON: What do we know about the family?

HARDY: Old money. Mr. Plaskett's an architect. Mom's a sculptor. There've been Plasketts in this county since before there was a county, which means something to people around here. Been here 10 years and I'm still the new guy.

HARDY knocks on the door. Mr. and Mrs. Plaskett answer.

MRS. PLASKETT: Have you found Maya? Is she alright? Where is she?

LISBON: We don't know as of yet, but every effort is being-

MRS. PLASKETT: Where is she?

MR. PLASKETT: They don't know where she is. You have to let them do their job.

JANE: Can we take a look at your girls' bedrooms?

MR. PLASKETT: Yes, of course.

JANE: Thank you.

HARDY: Come on, Mrs. Plaskett.

MR. PLASKETT shows JANE and LISBON the girls' room.

MR. PLASKETT: Here it is. We, uh, we tried having them sleep in separate bedrooms, but it never took. They prefer being together. (to LISBON) In your professional judgement, do you think that Maya is dead also?

JANE: Yes.

LISBON: (glaring at JANE) We keep an open mind. We're assuming that she's alive. There's always hope.

JANE: Not much.

MR. PLASKETT: I see. (to JANE) Well, thank you for your candor.

LISBON: Mr. Plaskett, perhaps your wife needs you to be with her right now.

MR. PLASKETT: Yes, of course.

He leaves. JANE and LISBON look around the room.

LISBON: Why so cruel?

JANE: Statistically it's dad that did it.

LISBON: Since when do you care about statistics?

JANE: Just wanted to raise his pulse a little.

LISBON: Hold on. This is a Red John case. The cutting style, the painted toenails, the skywriting. You put it all together, it's hard to dismiss.

JANE: Yeah, it's Red John alright. But someone else is involved, else why would he change his M.P. so radically? Skywriting?

LISBON: He wanted to make sure that the CBI, that you would be put on this case. He's obviously trying to lure you into some kind of trap.

JANE: Well, that's part of it. But why take them from a car, instead of catching them at home alone like he's always done before? And why two victims at once, twins? Why break pattern?

LISBON: He's broken pattern once before.

JANE: Yes, because it was personal. He wanted to punish me. I don't think these girls are random targets. I think there's something personal behind this. Red John either knows them, or knows someone close to them.

SCENE THREEEdit

Fogarty Skywriting. San Angelo, California.

VAN PELT approached a pilot.

VAL PELT: Hey. CBI.

PILOT: Hey.

VAN PELT: Are you the pilot that drew the face over San Angelo two hours ago?

PILOT: That was me. How'd it look? Clean? Good and round?

VAN PELT: Why'd you do that? Draw the face?

PILOT: I got an internet order from some company up in San Francisco. RJ Solutions, Inc., I think they were called.

VAN PELT: RJ?

PILOT: Yeah. They paid the full 1250 up front by cash transfer. So what's this about?

VAN PELT: Do you have an address for RJ?

PILOT: Yes, ma'am, I do. In my office.

VAN PELT: Okay.

SCENE FOUREdit

JANE, LISBON, and HARDY are with MR. and MRS. PLASKETT in their living room.

JANE: Is the brother...

MR. PLASKETT: He's on his way down. He lives up in Parkersville.

JANE: Boyfriends?

MR. PLASKETT: They had boyfriends, but nobody serious.

LISBON: Anyone at the moment?

MR. PLASKETT: (hesitant) No, nobody right now. No, it can often be hard for boys to have a chance. They're such a strong couple.

JANE: But still very different characters.

MRS. PLASKETT: Yes. If you know them well.

JANE: Emma, darker, moodier, the risk-taker. And Maya, she's a happier soul, more cautious, more conservative.

MRS. PLASKETT: Yes.

MR. PLASKETT: How do you know that about them?

JANE: Well, I tell you that only so you will know that there isn't any point in lying to us.

MR. PLASKETT: Why? Why would we lie to you?

JANE: Arden, do you always follow your husband's lead? Do you never struggle against his desire to control?

MR. PLASKETT: Excuse me?

JANE: Just because you drink too much, doesn't mean you don't have a say. I mean, I should think he's at least half the reason you drink in the first place. Yeah? A good man, but cold, pious.

MR. PLASKETT: You know, possession of that badge does not excuse you from acting with normal human decency.

MRS. PLASKETT: Quiet, Noah! Just be quiet! (to LISBON) We've been ashamed to talk about this, but for a few months, our girls have been mixed up with drugs and the low sort of people that come along with that. Drake, our son, heard that Emma was romantically involved with a dubious character. She denied it totally, so we don't really know for sure, but...

MR. PLASKETT: Exactly. We do not know for sure.

LISBON: Do you know his name?

MRS. PLASKETT: Mace Gutherie.

HARDY: I know Gutherie. Small-time thief.

SCENE FIVEEdit

HARDY, LISBON, JANE, and DEPUTY DRAKE approach GUTHERIE'S home.

HARDY: Here it is. This is Guthere's place. Nice, isn't it? (to JANE) You carry a gun?

JANE: No. Never.

HARDY: You hang back a tad, huh?

JANE: Oh, yeah, sure.

HARDY: Duke. Alright, we're going to do this nice and easy.

LISBON: Okay.

JANE hides around the corner. DUKE and LISBON wait with their hands on their guns. HARDY knocks on the door.

HARDY: Gutherie. Come on, Gutherie, open up. Gutherie.

HARDY opens the door slowly, but slams it closed again as a big dog goes for him, barking loudly. It jumps against the door. JANE ducks. The others just look at each other. DUKE turns to find GUTHERIE jumping out a side window.

DUKE: Gutherie, freeze!

GUTHERIE hits DUKE with a plank and runs off. LISBON and HARDY arrive too late to catch him.

HARDY: You okay, Duke?

DUKE: I'm okay.

HARDY: Shake it off, big guy.

JANE: That's a very loyal dog.

SCENE SIXEdit

Post office.

CHO and RIGSBY are talking to the owner.

CHO: Your store is listed as the mailing address for RJ Solutions Incorporated.

LADY: Yes. Okay?

RIGSBY: Suite 121.

LADY: Sure. Right here.

RIGSBY: Uh, no ma'am. A suite is like a room or an office.

LADY: A suite is a box. You're a small company, you look big.

CHO: Okay. We need to open box 121 and we need all the information you have on who rented it.

LADY: No problem. You have a warrant?

CHO: Ma'am, this is a murder investigation.

RIGSBY: We can get a warrant, but it takes time and times is of the essence here.

LADY: No problem. Go get a warrant and I'll be here, following the law. (to CHO) You have a wife?

CHO: No.

LADY: I have a niece.

CHO: Thanks, that's okay.

LADY: When you come back, I show you a picture. Very pretty.

RIGSBY: (amused) Thank you.

SCENE SEVENEdit

HARDY, LISBON, and JANE sit in HARDY'S car, outside of GUTHERIE'S house.

HARDY: (into walkie-talkie) Okay, open it up.

DUKE: (into walkie-talkie) You got it.

DUKE approached GUTHERIE's house cautiously, stick in hand.

HARDY: (into walkie-talkie) Be careful now, Duke.

DUKE opens the door and barking dog runs out and takes off down the road. HARDY drives after him. They follow him to a chain-link fence and get out of the car.

HARDY: Shh. Hey, buddy. Easy boy. Easy boy. You got something?

HARDY opens the gate and the dog runs through. They follow him to a shack with a closed door. The dog scratches frantically at it. HARDY and LISBON draw their guns and HARDY opens the door. The dog runs to his master, who is hiding inside.

HARDY: Hands up.

GUTHERIE: (to dog) Okay, okay, okay, okay.

(JANE steps in front of LISBON's gun. She rolls her eyes and puts her gun away)

JANE: (to dog) Oh, who's a good boy? (to GUTHERIE) That's a good dog!

SCENE EIGHTEdit

JANE and GUTHERIE are in an interrogation room. JANE raises the blinds on the one-way glass and starts to roll up his sleeves.

GUTHERIE: WHat?

JANE: Emma and Maya Plaskett.

GUTHERIE: What about them?

JANE: You didn't hear?

GUTHERIE: What?

JANE: Emma was found horribly murdered this morning and Maya is missing.

GUTHERIE: Oh, my God.

JANE: Were you having a sexual relationship with either of them?

GUTHERIE: No.

JANE: Really?

GUTHERIE: No! Never! I maybe hung out with them a couple of times, that's it.

JANE: Mace. I see you care for both of them and I can see that you're lying to me. That's a bad idea.

GUTHERIE: I got nothing to do with this.

JANE: (leaning forward) Please understand something. I have a very deep personal interest in this case. I'll do whatever it takes. I will have you framed for murder, I will torture you, I will kill you myself, if I have to. Whatever it takes.

GUTHERIE looks down and JANE shrugs at the glass. MINELLI and LISBON are on the other side.

MINELLI: Geez, Lisbon, come on! This is on tape! Control your man there.

LISBON: Cut him some slack. Look. He's just playing the guy. He doesn't mean it.

MINELLI: Doesn't he? You know what Red John does to him. He can't think straight. He would do all that he said and more, if you let him.

LISBON: I won't let him.

GUTHERIE starts to talk, so they turn back to the glass.

GUTHERIE: Emma and me had a thing. She, uh, I don't know what she saw in me, but she liked me, you know? Both of those girls had a way about 'em. They'd look at you like they really see you.

JANE: Yeah.

GUTHERIE: So me and Emma had been hooking up for about a month, then I get a phone call from some guy that I don't know saying stay away from her, or else. And he hangs up before I can tell him to eat it.

JANE: Can you describe his voice?

GUTHERIE: Uh, soft, quiet.

JANE: Did you do what he said?

GUTHERIE: No, of course not. I kept seeing her. And then I wake up one morning a couple of weeks later and there's a pig's head lying next to me. I lock and bolt my doors every night. There's no way somebody gets in there, but they did. It's mental, right? The thing is, me and Emma were on the down low. Nobody knew, she insisted on that. So how did he know? He must have been spying on her real close. How did you people know?

JANE looks at the glass where LISBON and MINELLI is. Then he picks up his jacket, ruffles GUTHERIE's hair, and leaves the room.

SCENE NINEEdit

LISBON'S car is driving through the countryside. MRS. PLASKETT is sitting near the front door drinking tea. Her son, DRAKE, answers a knock at the door. It's JANE and LISBON.

DRAKE: Good morning.

JANE: Morning.

DRAKE: I'm Drake Plaskett. I'm Maya and Emma's brother.

They shake hands.

LISBON: Agent Lisbon. This is Jane.

JANE: Patrick Jane.

MRS. PLASKETT: Have you found Maya?

LISBON: No ma'am. But I can assure you we're counting the search with every available resource.

MRS. PLASKETT: Please come in. Where have you been looking for her?

LISBON: I wouldn't know that, ma'am. To clarify, the CBI conducts the investigative aspects. Sheriff Hardy is very ably investigating the physical search.

DRAKE: Sheriff Hardy will call if he has news, Mom. How can we help you, Agent Lisbon?

LISBON: You told us it was Drake who told you about Gutherie.

MRS. PLASKETT: Yes.

LISBON: How'd you know about him?

DRAKE: Uh, about a month ago I'd say, I was staying the weekend and I overheard the girls talking. Emma telling Maya that this Gutherie character was dangerous and she should be careful. Naturally I was very concerned and I told my parents.

MR. PLASKETT: And then we decided to confront Emma about it.

LISBON: I see. If you could sit down with us, Drake, and give us a statement, it would be really helpful.

DRAKE: Of course. Anything you need.

LISBON and DRAKE go into another room. MR. and MRS. PLASKETT look at each other.

JANE: I'm just going to take another look at the girls' room, if I may?

MRS. PLASKETT: OF course.

MR. PLASKETT: Sure.

JANE looks around the girls' room and discovers a camera hidden in the curtains.

JANE: (frantic) Lisbon! Lisbon!

LISBON runs in, followed by the PLASKETTS.

JANE: Camera-microphone transmitter.

MR. PLASKETT: Someone was spying on our daughters?

JANE: Yeah.

LISBON: Who had access to this room?

MRS. PLASKETT: Nobody. Just us and Jean, the housekeeper.

LISBON: Nobody else?

MR. PLASKETT: No, nobody.

JANE: Drake, how's your electronic skills?

DRAKE: Are you accusing me of this?

JANE: Let's be fair here. You're the likeliest suspect. You can see that.

LISBON: You did say that you overheard an intimate, private conversation betwen the two of them.

DRAKE: No, they're my little sisters. I love them.

JANE: No one's doubting that.

LISBON: Where were you the night before last?

DRAKE: At home. Alone.

MR. PLASKETT: No, wait. Wait. There was a break in eight months ago.

MRS. PLASKETT: That's right.

MR. PLASKETT: They broke the kitchen door to get in. They took some cash, some liquor, broke a few vases. We just assumed it was teenagers on a spree.

LISBON: That'd be a good cover. Did you report it to the police?

MRS. PLASKETT: Yes we did. The sheriff will confirm it.

LISBON'S phone ring.

LISBON: Excuse me. (answers) Hey. Yeah.

SCENE TENEdit

RIGSBY is on his phone when he and CHO are at the post office again. RIGSBY is pulling on latex gloves as he talks to LISBON.

RIGSBY: We got the warrant and we're about to open the mailbox. Jane said he wanted to be on the line when we opened it. Yeah, okay. One minute.

LADY hands CHO a photo.

LADY: My niece. Beautiful, like a movie star, but well-behaved.

CHO: Yeah, she's attractive.

RIGSBY: Oh, yeah. Go for it, man.

CHO: I'm not looking to get married right now, ma'am. Thank you, though.

CHO gives her the photo.

RIGSBY: Yeah, I'm still here. Uh-huh. (to LADY) You ready, ma'am?

RIGSBY mouths to LADY, "I'll give you his number," with a wink and a thumbs up.

RIGSBY: Uh, yeah, open up. Okay. Ah, there's an envelope. It's type-written. Post-marked Hattuesburg, 28th December. It's addressed to a Roy Tagliaferro. (opens and reads letter) "Dear Roy. I found this address on a business card of yours that I discovered down the back of the sofa. And so I write to you today in the faint hope that this letter may find you. If it does..."

SWITCH SCENE to JANE reading the letter to LISBON as she drives.

JANE: "...and you are reading this, I just want to say that I still love you very much despite the very cruel way you treated me, and I hope you will come back to me one day. With all my heart, Rosalind." It's him. I know it. I know it. This Roy Tagliaferro is Red John.

LISBON: We don't know that.

JANE: Well, we know Red John killed Emma, so we can assume that Red John hired the skywriter. The skywriter was given the order by RJ Solutions. RJ Solutions is Roy Tagliaferro. Hence Roy Tagliaferro is Red John.

LISBON: Maybe.

JANE: This woman Rosalind has seen Red John. Lisbon, she, she knows Red John. This is him.

SCENE ELEVENEdit

JANE and LISBON walk towards ROSALIND'S house. The sound of a piano ca be heard.

JANE: Are you sure this is the right Rosalind?

LISBON: There's only two Rosalind's in the Hattiesburg phonebook. The other one is 73 and married.

LISBON knocks on ROSALIND'S door. She opens it.

LISBON: Rosalind Harker?

ROSALIND: Yes.

LISBON gets out her badge and shows it to ROSALIND.

LISBON: We're with the California Bureau of Investigation. May we come in?

ROSALIND: Would you show me some ID, please?

JANE looks dismayed as he realized that she is blind. LISBON hands ROSALIND her badge so she can feel it.

ROSALIND: Roy Tagliaferro. What are you investigating?

LISBON: We're with the homicide and serious crimes unit. What can you tell us about Roy?

ROSALIND: Not a thing until you tell me why you want to know.

JANE: We believe he could be a serial murderer named Red John.

ROSALIND: No. That's absurd.

LISBON: May we come in?

ROSALIND: No.

JANE: No, ma'am, we're not leaving.

She tries to close the door but JANE pushes his way inside. He and LISBON follow ROSALIND into the house quickly.

ROSALIND: You don't know him.

LISBON: Ma'am. Miss Harker.

ROSALIND: I'm not listening. I don't hear her.

LISBON: Ma'am. Miss Harker.

JANE: Rosalind.

ROSALIND: Go away.

JANE: I can't do that.

(JANE is outside of her bedroom door now)

JANE: There is a girl missing. Her name is Maya. She's nineteen. Her sister has already been killed by Red John. We don't know, but he might have her captive somewhere. This man, Red John, killed my wife and child. That's why I'm here, Rosalind. That's why I can't leave.

ROSALIND opens her door.

ROSALIND: I'm sorry. That's terrible.

JANE enters her room and closes the door. ROSALIND sits in her chair. JANE looks around and suddenly sees a smiley face on the wall above ROSALIND'S bed drawn in paint - Red John.

ROSALIND: I'm blind, but I'm not blind. I'm a good judge of human nature. I have to be. I know Roy very well. I know him intimately and I'm sure, as sure as this ground beneath my feet, I know that Roy is a good man.

JANE: I believe you. Uh, I'm sorry.

ROSALIND: That's okay. We all make mistakes, God knows.

JANE: Maybe this Red John is just using Roy's identity somehow. If we could find Roy, maybe he could help us find Red John.

They are all downstairs now. ROSALIND is pouring tea for LISBON and JANE. She gives the first cup to JANE and he gives it to LISBON. She hands the next one to LISBON, who quietly gives it to JANE.

ROSALIND: Roy came to my door one day when his car had broken down up the road. He had to use the telephone, so I made him some lemonade. We got talking about classical music and he didn't leave for two days.

LISBON: You two were lovers.

ROSALIND: Yes.

LISBON: That's very brave of you.

ROSALIND: I have to be.

LISBON: How long were you together?

ROSALIND: Roy was in my life for about five months. He would come and go as he pleased. He said he was doing business in the area.

LISBON: What kind of business?

ROSALIND: He didn't say.

JANE: You didn't ask? You weren't curious?

ROSALIND: No. I didn't care. I don't live in your world. I live here. I was glad when he came, sad when he left.

JANE: You said in your letter that he was cruel to you.

ROSALIND: Very cruel. He left and just never came back. He never said goodbye, why he was leaving, or where he was going. Just vanished. It's been nearly six months now.

JANE: Can you describe him?

ROSALIND: Just under 6 feet tall; not muscular, but not soft either; short, straight hair; a gentle voice; rough, strong hands; he smelt of pine and nails and earth; and he liked to listen to me play the piano.

JANE: What was his favorite music?

ROSALIND: Bach. He admired his rigor.

LISBON: Didn't anybody see him? The mailman? A cleaning lady?

ROSALIND: No. He led a fairly solitary life.

LISBON: Did he ever mention any friends? People from work>

ROSALIND: No. He did bring a friend of his over once, though. For Thanksgiving. Dumar.

LISBON: Dumar. Any other name?

ROSALIND: Just Dumar. Couldn't believe a blind woman could cook. Came over especially to see.

LISBON: Can you recall anything else about him?

ROSALIND: He smoked a lot. He said he was trying to quit but he smoked so much he had to run out to the store to buy more cigarettes. When he came back he had bought a stuffed toy elephant as a gift for me. That was a good day. Roy came a couple more times after that, and then that was it. Gone.

LISBON: Do you still have it? The stuffed elephant?

ROSALIND: Yes, I do.

ROSALIND gestures to the elephant.

SCENE TWELVEEdit

Night time now.

MINELLI, LISBON, CHO, RIGSBY, and VAN PELT are at the CBI headquarters. MINELLI is holding the stuffed elephant.

MINELLI: First thing in the morning check on all the convenience stores in that area. It was a few months ago, but it's possible someone will remember selling the elephant and the cigarettes together. It was Thanksgiving.

He throws the elephant to CHO.

CHO: Yes, sir.

RIGSBY: You got it, chief.

LISBON: And don't lose the elephant. She wants it back.

CHO: Alright.

RIGSBY: You know, it's ironic that she was blind.

CHO: How is that ironic?

RIGSBY: Whatever. It's messed up. You know, it would be funny...it if wasn't not funny, I mean...

CHO and RIGSBY leave.

MINELLI: Any luck on this end?

VAN PELT: Nope. There's nobody named Roy Tagliaferro anywhere in the database. It must be an alias.

MINELLI: Try the name in English. Tagliaferro means cut iron.

VAN PELT: Thank you, sir. That's a good idea.

MINELLI: (proud) Yes, it is.

SCENE THIRTEENEdit

JANE is listening to ROSALIND play Bach on the piano that night.

SCENE FOURTEENEdit

Morning - CBI headquarters.

VAN PELT comes in, checks her computer, and picks up the phone.

VAN PELT: Boss, I think I found something. Overnight I set up and ran a code script to search the probate courts' realties transaction records. I got a hit on the name Cut Iron.

LISBON is by her car outside ROSALIND'S house. HARDY drives up. JANE comes from the house.

LISBON: (on phone) Okay. Thanks, Van Pelt.

HARDY: Well?

LISBON: We've got a good lead. Eight months ago around the time Tagliaferro showed up, an old farm property was bought called Sparrows Peak, and it was bought by Cut Iron Properties Trust.

JANE: Let's go.

LISBON: Wait, there's more. The company credit card in the same name was used to purchase a large truckload of construction supplies.

JANE: Nails, earth, pine. He's building something.

JANE begins walking to LISBON'S car.

LISBON: Slow down. We need to find a judge who can give us a search warrant.

HARDY: Sure thing. Judge Felton in Eckerfield would be the quickest.

JANE: Nah. We don't have time for that.

LISBON: No choice. Look. No warrant, no case. We could catch Red John and he could walk.

JANE: If we catch Red John, he's not walking anywhere. He's mine.

LISBON: Don't talk like that. I can't let you anywhere near this case if you start talking crazy like that.

JANE: Crazy! You're crazy if you think you're going to stop me. Red John is mine. You try to stand in my way and you...you will regret it.

LISBON: Are you threatening me?

JANE: No, I'm just saying that if you stand in my way, you...

LISBON: I've had it with your egotistical crap. This isn't about justice or the law, this is about you and your wounded pride. I'm done with it.

LISBON walks away and turns to HARDY)

LISBON: Eckerfield, Judge Felton, right?

HARDY: Yes, ma'am.

LISBON: If he does anything wrong, if he jaywalks...shoot him!

LISBON gets in her car and drives away.

HARDY: Wow. Steamed up.

JANE: Nah. Let's go.

HARDY: Hold on. I don't know about that.

JANE: What if Maya is waiting out there for someone to help her? What if she dies while we're standing here doing nothing?

HARDY: Alright. Let's do it.

SCENE FIFTEENEdit

CHO and RIGSBY pull up outside of a store. CHO picks up the stuffed elephant as they get out of the car.

RIGSBY: What's this, store number 10?

CHO: 11.

RIGSBY: Ah. What a waste of time.

CHO: It's worth trying.

They approach the store owner, who notices the elephant.

CHO: Excuse me, sir, do you have...

MAN: Sorry, no returns.

RIGSBY: Excuse me?

MAN: You buy the elephant, you keep the elephant.

RIGSBY: You sold this elephant?

MAN: Yeah, last year. It's a good item. Comes in elephants, bears, rodents. 9.95.

CHO: Last Thanksgiving, do you recall a customer buying this elephant and some cigarettes?

MAN: No. How would I do that? Am I an elephant? You can look at the surveillance tape if you like.

CHO: You have the tape from 5 months ago?

MAN: Yeah.

RIGSBY: Yeah, we'd love to see the tape. Yeah.

MAN: My son's a big techno nerd. We've got state of the art cameas on a nine month loop.

They follow him into the store.

JANE and HARDY stop on a dirt road. They get out.

HARDY: 7645 Sparrow Peak. This is the place.

JANE: Let's go.

HARDY: Okay.

He cocks his shotgun and follows Jane, who is climbing through the wooden gate. They set off down a dirt driveway towards a derelict farmhouse.

RIGSBY and CHO are running through the store's security tape for 27 November 2008.

CHO: There we go. Thanksgiving afternoon. Alright, where's the elephant?

RIGSBY: There! Put it back.

CHO: I see it. (reaches for his phone)

RIGSBY: That...oh, my God. That's Sheriff Hardy. Dumar is Sheriff Hardy.

HARDY and JANE enter the farmhouse. We see the point of view of someone watching from behind a tree near the house as they go in. JANE tries a door handle, but the door is locked. We see someone moving inside the locked room, and we see a teacup from ROSALIND'S tea-set.

HARDY: Jane, look at this.

JANE is distracted from the locked room and follows HARDY to a hatch in the floor. HARDY opens it and they peer down.

CHO and RIGSBY are both on their phones as they leave the store.

CHO: Answer the damn phone.

VAN PELT: CBI.

RIGSBY: Van Pelt. Where's Jane and Lisbon?

VAN PELT: Hey. Following up a lead I gave them. Why? What's wrong?

SCENE SIXTEENEdit

JANE goes down the stairs into the basement first. HARDY follows him. JANE turns on the light and sees a door with a peephole. He looks through and sees MAYA sitting on a mattress.

JANE: Maya. It's okay, Maya. We're going to get you out of here. (to HARDY) She's alive!

HARDY points his shotgun at JANE.

JANE: What are you doing?

HARDY: You act smart, but really you're kind of dumb, huh? Don't move an inch.

JANE: I...I don't understand.

HARDY: No, you never really have. You recall a man by the name of Orville Tanner?

JANE: Yeah, Red John's accomplice in his first killing. He was caught. Died 10 years ago in jail.

HARDY: That's the man. I'm his son, Dumar. This is the family farm. He was a good man, good father. He wrote me every week till the day he died, you know. Taught me everything I know.

JANE: And Red John?

HARDY: Friend of my father's. And a close friend of mine, I'm proud to say.

JANE: He doesn't have friends. He has tools. He's using you.

HARDY: Red John is not using me. He gave me Maya. Gave me the woman I love, the woman I'm going to marry.

JANE: Love? She's in a cage.

HARDY: Love's cruel. At least she's safe. Not like out there with those degenerates. She'll grow to appreciate the security I'm giving her. Isn't that right, honey? Huh?

HARDY bangs on the door, frightening MAYA.

HARDY: She's going to love me the way I love her.

JANE: I wouldn't bet on that.

HARDY: I'm happy for the first time in my life, and Red John made that happen! So don't you go telling me he's no friend of mine!

JANE: And what did you have to give him in exchange?

HARDY: He got Emma. And you. He wanted you badly. He lured you in so sweetly. You just couldn't help yourself, could you? If that Rosalind wouldn't have popped up and spoiled things, we were going to get you here nice and quiet, so we could take our time. Now we'll have to find someplace else to keep you both, but that's life.

JANE: Keep us for what?

HARDY: Oh, well, you'll just have to wait and see. It's gonna be so much fun.

LISBON: Hardy, put the gun down. Put it down slowly.

LISBON comes down the stairs with her gun pointed at HARDY.

HARDY: Crap. Listen, he...

LISBON: Now!

HARDY throws his gun down.

LISBON: Put your hands behind you head.

HARDY: Well, you fooled us, huh? Bravo. You never did go see that judge.

JANE: Dammit, Lisbon, you were supposed to wait till Red John showed up.

LISBON: I couldn't take the chance. Red John is long gone, anyway.

HARDY: And you faked the warrant arguement.

LISBON: Turn around, sir!

HARDY: Lured me into the open. Slick. How'd you know it was me?

JANE is searching for the key to unlock the door to save MAYA.

LISBON: Don't move.

JANE: Rosalind said that Dumar was a heavy smoker who was trying to quit. And you, you chew on those nicotine gums all day long. And it was you that staged the break in at the Plaskett huse so you could plant the camera.

HARDY: Bet you think you're pretty cool right now, huh?

JANE: Oh, yeah. (finds the key) Bingo.

HARDY: Tell you what, release me now and...

LISBON: Don't turn around.

HARDY:...I'll try to persuade Red John to kill you quick and clean instead of slow and nasty.

LISBON: Turn around and shut up!

As LISBON takes his handgun away from him, someone closes the hatch. HARDY hits LISBON, but she grabs him and knocks him down. JANE ducks out of the way. We can see the action on a monitor in the upstairs room which had been locked. We see a teacup.

Police cars with sirens wailing come racing along the road and break through the gate without stopping.

LISBON is handcuffing HARDY. Steam is still rising off the tea in the cup. We see the screen door of the farmhouse bang as someone ducks out the back. CHO and RIGSBY, guns drawn, come in the front. They start to check the rooms. The locked room is no longer locked.

RIGSBY: Boss! This room's clear.

CHO: Clear.

JANE: (off-screen) Rigsby.

LISBON: (off-screen) We're down here. There's a hatch in the floor.

CHO lifts the hatch and LISBON blinks in the light.

RIGSBY: You guys okay?

LISBON: We're fine. We've got Maya. Call the paramedics.

JANE and LISBON unlock the door. LISBON shows MAYA her badge.

LISBON: It's okay. I'm here. You're safe now, Maya. Shh. It's okay. Shh.

JANE looks at LISBON holding a shivering MAYA.

SCENE SEVENTEENEdit

Evening. Outside of the farmhouse.

Police cars and ambulances are parked all around the farmhouse with lights flashing.

CHO and RIGSBY are leading MAYA out. She wears a police jacket. A paramedic takes her aside to be checked.

In the basement, JANE looks at the camera fed. LISBON appears behind him.

JANE: He was here. He was right here.

LISBON: We saved a girl's life, Jane. We saved her life. We have Hardy, okay? He's going to tell us what e need to know.

JANE: Oh, you think so? You should have waited. We agreed on that.

LISBON: What if Hardy had killed you right here?

JANE: And then he would have led you straight to Red John.

LISBON: You'd be dead.

JANE: But you would have Red John.

LISBON: I don't think you mean what you say. I think you choose life.

JANE: Well you think wrong.

LISBON: (upset) No. No, you think wrong. Can't you see there's people who care about you, who need you? You're being selfish and childish and I want you to stop it.

JANE: I wish that I could, but you know some things you just can't fix. Needn't be angry, it's just the way of the world.

LISBON: We still have Hardy. He's going to talk. He's going to give us Red John.

JANE: Right. We have Hardy. Yes.

LISBON: We saved a life.

JANE: Yes, we did. We did. Hooray for us.

A forensics guy puts Hardy's gun in the back of a vehicle. CHO and RIGSBY drive off. HARDY is lying unconscious on a stretcher. MAYA is leaning against a car not far from him. LISBON comes up to her.

LISBON: Maya, I'm going to fill out some paperwork with the forensics people and then we'll take you home.

MAYA: Okay.

HARDY opens his eyes.

JANE comes out of the house.

HARDY gets his handcuff keys and undoes his cuffs.

LISBON: Do you need anything?

MAYA: I'm good, thank you.

HARDY grabs the gun of the deputy standing next to him and shoots him in the chest. He then points the gun at LISBON, who has spun around but hasn't drawn her weapon in time. A shot rings out and HARDY falls down, coughing up blood. JANE tosses the shotgun away in disgust and goes over to HARDY, kneeling by his side.

HARDY: spluttering) Red John. Red John. Shh.

HARDY puts his finger to his lips and laughs. He then makes a choking sound and dies.

JANE looks down at him, speechless. LISBON looks painfully upset.

SCENE EIGHTEENEdit

Morning.

A police car is driving MAYA home with LISBON and JANE. They stop at the PLASKETT house and the policeman opens MAYA'S door. JANE open's LISBON's door. The PLASKETT's come running out, MAYA'S mother calling her name. MAYA runs to them and they all hug her. MR. PLASKETT approaches LISBON and shakes her hand, thankful. He nods to JANE in thanks.

JANE wanders down into a garden where there is a large, beautiful orange tree. He picks one of the oranges and smells it. He gives a small enigmatic smile and starts to peel the orange.

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