Episode   Transcript    

Red John's Friends

Episode11the mentalist
Season Episode
1 11
First aired January 6, 2009
Written by Bruno Heller
Directed by John Polson
Guest-starring Danielle Langlois, David Loren, Matt Sigloch, Vachik Mangassarian, Olivia Hardt, Corey Mendell Parker, Kathleen Gati, Todd Stashwick, Gabriel Olds, Charlotte Cornwell
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Scene OneEdit

Police and SWAT cars arrive in front of a mansion. They run inside to a locked bedroom door. The key is still in the door on the inside. The SWAT team break into the bedroom to find JARED sitting on a bed next to a girl, crying. The girl in dead. They are both in their undergarments.

One year later...

JANE shows his ID to a guard and is allowed into the prison yard where JARED is waiting for him.

JARED: Thank you for coming.

JANE: You said you had information on Red John.

JARED: Yes, I do. Killed your wife and daughter, huh? Heard a lot about you. They say you can tell when people are lying.

JANE: Do you have information about Red John?

JARED: I have dynamite information about Red John. Enough to catch him.

JANE: How do you come by this information?

JARED: Red John is a friend of a friend of mine.

JANE: Is that friend of yours in prison too?

JARED: (laughs) I have friends from all walks of life.

JANE: Tell me.

JARED: I am currently doing 25 years to life for a crime I didn't commit. My last appeal just failed. You get me out of here and I will give you Red John.

JANE: You raped and murdered your family housekeeper's daughter. If you do know a lot about me, you know that I'm not a real magician.

JARED: I didn't do it.

JANE: I read the case file. The physical evidence, the testimonies of all the witnesses including your own family said you did.

JARED: I didn't kill her.

JANE: What happened?

JARED: I don't know. We were partying, I did some blows of meth, we had sex, I fell asleep. And it's morning. Andine's dead, cops are busting in.

JANE: The door was locked from the inside. There were bars on the windows.


JANE: How is it physically possible that anyone else could have committed the murder?

JARED: I don't know. But I didn't, ergo someone else did. Someone you can find. You see me. Am I lying?

JANE: You seem to be telling the truth, but you're a very clever, unprincipled narcissist in a desperate corner. Even if you are innocent, doesn't mean you have information on Red John. Yeah, it's a tough call. (pauses) I'm gonna have to say no.

JANE begins to walk away.

JARED: Your wife. Red John painted her toenails, yes? Painted them with her own blood. Police didn't make that public, did they? She's the only instance he did that, huh? Touch of elegance, for you alone.

JANE: How do you know that?

JARED: I told you. Red John is a friend of a friend of mine.

JANE: What is this friend's name?

JARED: His name is get me out of here and I will tell you. That and much more. I'll sing like a bird.

JANE: Okay.

Scene TwoEdit

JANE, LISBON, and MINELLI are speaking in MINELLI'S office.

MINELLI: No! I said no and I mean no. It's not that I don't want to help you. I want to help you. It's just it's not physically possible. Jared Renfrew was tried and convicted. It's a closed case. I have no authority to re-open it without cause.

JANE: There is cause.

MINELLI: For you there's cause. Not for the State of California. We can't touch it.

JANE: Ah, but we could touch it if...

MINELLI: Closed case! Nothing to be done. The Justice Department doesn't go about undoing its own work.

JANE: I understand. No problem. If we can't touch it, we can't touch it.

MINELLI: I'm sorry.

JANE: No. The law's the law. My desire for revenge doesn't outweigh the rules. I have to accept that.

MINELLI: Glad you understand.

JANE: Thanks for your time.

(JANE leaves)

MINELLI: He's lying through his teeth, isn't he?


(LISBON leaves to talk to JANE)

LISBON: Jane. I know better than to try and stop you from doing what you think you have to do.

JANE: No, I'm fine about it. I can see Minelli's point. I can't be chasing every nut bag with a good story, can I?

LISBON: Yeah, sure you're fine with it. Just do me the favor of listening to me for a minute, so I can say, 'I told you so' later.

JANE: Sure.

LISBON: Jared Renfrew was found hugging the corpse of Andine Kopecki in a room locked from the inside, holding a bloody butcher knife in his hand. His semen was inside of her. He'd been stalking her for weeks. He's got a history of violence going back fifteen years.

JANE: What's your point?

LISBON: He's guilty. You're being conned.

JANE: Possible, but I don't think so. But I've got to find out one way or the other.

LISBON: Even if he's telling the truth about the murder, he could still be lying about Red John.

JANE: Also possible, but I've got to take the chance. What else can I do?

LISBON: Minelli wants me to keep a watch on you.

JANE: What are you going to do?

LISBON: Well, I'm not going to follow you around. Let's compromise. When you get into trouble, call me first so I can try and minimize the damage.

JANE: Deal.

LISBON: And don't use your CBI card. The bureau finds out you used it without authorization, you're done.

JANE: I hear you.

Scene ThreeEdit

JANE presses the intercom outside of the RENFREW'S mansion gates.

MAID: (through the intercom) Hello.

JANE: Hi, my name's Patrick Jane. I'd like to speak to Gardner Renfrew about his brother Jared.

MAID: (through the intercom) One moment, please. (pause) Mr. Renfrew says no thank you.

JANE: Tell Mr. Renfrew I can prove his brother is innocent and I know who really committed the murder.

JANE holds out his arms like he's doing a magic trick and the gate opens up.

JANE is now inside with GARDNER RENFREW and his wife, BRECK. The maid gives JANE some water.

JANE: Thank you very much. (pointing to a photo) Is that your father?

GARDNER: Yes. What's this all about, Mr. Jane? Who are you and what do you mean by this?

They sit down.

JANE: Do you think your brother is innocent?

GARDNER: You said you could prove he's innocent. You said you know who really did it.

JANE: No. That was just to get inside the house. I have no idea who might have done it. Might have been Jared. Hope not. He seems to be telling the truth. What do you think?

GARDNER: I think you had better leave. Right now, Mr. Jane. I don't have the time or the patience for tom-foolery.


JANE: So you think he's guilty. I'm wasting my time.

GARDNER: We're done talking.

JANE: Suppose I could prove he was innocent. Wouldn't you want that? Wouldn't you want that blot on your name expunged?

BRECK: Of course he would.

GARDNER: Nothing would make me happier, but my brother is guilty. He violated the poor girl, he violated this house, he violated this family.

JANE: That's all I needed to know. Thank you for your time. Your mother lives here in the guest house, doesn't she?

GARDNER: You leave my mother alone.

JANE: Well, that's not your call to make, is it?

JANE gets up and begins to walk about the house in search of MRS. GARDNER)

GARDNER: Breck, call the police.

JANE: Be sure and tell them I'm unarmed.

JANE rushes around the house mischievously until he finds the garden where MRS. RENFREW is.

GARDNER: Go inside, Mother! Go inside!

JANE approaches her.

JANE: My name's Patrick Jane. I want to speak to you about your son, Jared.

GARDNER: I'll deal with him, Mother. The police are on their way. Just go inside.

MRS. RENFREW: Don't order me about. And don't be so hysterical. (to JANE) What's your interest in Jared?

JANE: I'm a friend of his. Trying to prove his innocence.

MRS. RENFREW: Come and sit down.

JANE: Thank you.

GARDNER: Mother, you're being childish.

MRS. RENFREW: Go away, Gardner.

GARDNER: Mother!

MRS. RENFREW: Go away!

GARDNER leaves angrily. MRS. RENFREW and JANE sit at a table in the garden to talk.

MRS. RENFREW: Tell me why you want to prove my son's innocence.

JANE: Oh, I can promise you, I'm not up to anything sinister, ma'am. My motives are pure. Tell me about Jared.

MRS. RENFREW: He was a troubled child. Charming and bright, but a bully and a liar and something of a sadist.

JANE: Qualities you rather liked in him, I expect.

MRS. RENFREW: (laughs) Yes, I did. I found him rather amusing, at first. One doesn't want a wimp for a son. But there must be a sense of proportion and moderation. As he got older, he got worse. Fell in with bad people. It was one scandal after another, in and out of prison. A common criminal.

JANE: But he turned himself around, didn't he?

MRS. RENFREW: He gave up the drinks and the drugs and the gallivanting. Made peace with his brother and come home to help run the family businesses.

JANE: The prodigal son.

MRS. RENFREW: Yes. George, his father, was overjoyed. I was skeptical. Pleased, of course, but skeptical. As my mother always said, you are what you are.

JANE: I guess she's right.

MRS. RENFREW: Yes. Poor George dropped dead a week after the murder. Broke his heart, people said. George didn't really have a heart, in that sense. He died of embarrassment. A Renfrew in the pokey for murder. Quelle horreur.

JANE: Can you show me where it happened?

JANE and MRS. RENFREW are inside of the house, walking to the room where ANDINE was murdered.

JANE: Who else was in the house?

MRS. RENFREW: I had a small dinner party. Probably 10 people all told. After they left, it was just family. Gardner, Breck, George and I, and Jared, of course.

MRS. RENFREW gets the key from the top of the doorframe and unlocks the door.

JANE: Not Mariska, the housekeeper?

MRS. RENFREW: No. She lived out.

She opens the door.

MRS. RENFREW: Andine was only here to help the cook with the dinner party. She was a lovely girl, full of life and promise. Her mother, Mariska, had been with us twenty years. Part of the family.

JANE: Jared told me that he and Andine were having an affair. That he loved her and he'd never hurt her.

MRS. RENFREW: She told her mother that he was stalking her, that she was scared of him. She didn't go to the police out of respect for the family.

JANE: Hmm. I'd like to speak to the mother.

MRS. RENFREW: She left our employ, I'm afraid. It was too difficult for both of us.

JANE: Where is she now?

MRS. RENFREW: I have an address somewhere.

JANE: Can you get it for me now?

MRS. RENFREW: As you wish.

JANE: Thank you.

MRS. RENFREW leaves. JANE peers into the hall closet and sees fishing line. He begins to examine the door to the bedroom and the key. That's when GARDNER arrives with BRECK and some policeman.

POLICEMAN: Sir, would you come with us?

JANE: Why?

POLICEMAN: You're trespassing here.

JANE: No, I'm not.

POLICEMAN: Okay, sir, this man here says he's the homeowner and says you're trespassing, so let's go.

JANE: Officer, it's the other way around. I'm the homeowner, that man is the intruder.

GARDNER: That's a lie! He...he's lying!

JANE: Listen to the madness in his voice. Will you please take him somewhere he can get some help.

MRS. RENFREW returns with the address on a paper in her hand.

MRS. RENFREW: Here you are. I don't know that she'll still be there, but...

JANE: Thank you so much.

MRS. RENFREW now sees the policemen.

MRS. RENFREW: For heaven's sake, Gardner! Policemen?! How ridiculous! Send them away.

POLICEMAN: Ma'am, this man here is...

MRS. RENFREW: Yes, yes, it's quite alright, officer. You can go.

The policeman leave.

GARDNER: Thanks.

JANE: Well, goodbye, Mrs. Renfrew. I expect we'll speak again soon.

MRS. RENFREW: Good day to you.

JANE looks to GARDNER, raising his eyebrows to him as he leaves.

Scene FourEdit

JANE, LISBON, and MINELLI are in MINELLI'S office.

MINELLI: Gardner Renfrew is a player in this town. You can't go to his house and screw around with him.

JANE: Why not? It's a free country. I didn't use my ID. I didn't even mention the CBI.

MINELLI: You gave your real name.

JANE: It's my name!"

MINELLI: Well, you should have lied as you so often do, because now I have to give you an official reprimand and order you in the strongest possible terms to leave the Renfrew family alone and drop the matter.

JANE: Sorry, can't do that.

MINELLI: You have to. This is straight from the AG's office.

JANE: Jared Renfrew didn't kill Andine Kopecki.

LISBON: Do you have evidence of that?

JANE: Not yet. I have pieces that I'm piecing together. He's innocent.

MINELLI: Wake up, Dorothy. You're not in Kansas anymore. There are innocent men in jail. It happens. Is he one of them? I don't know. In any case, we can't re-open his case.

JANE: If I'm Dorothy, then who are you?

MINELLI: It doesn't matter who I am. We will find other ways of making Renfrew talk to you. There's a lot that can be done to make a prisoner's life easier if he cooperates.

JANE: It's not going to work. He's innocent.

MINELLI: Okay. Here it is. If you pursue this any further, I'm going to have to throw you out of the CBI. We can't take the liability. I very much do not want to have to do that.

JANE stands.

JANE: I know you don't, so I'll spare you the trouble.

JANE sets his CBI ID on MINELLI'S desk.

JANE: I quit.

LISBON: Don't do that.

JANE: No, it's okay. It's best this way. You are the good witch Glinda, obviously. Thank you.

JANE puts a hand on her shoulder.

JANE: I learned a lot.

JANE smiles at her and leaves.

LISBON walks into her office where CHO, RIGSBY, and VAN PELT are waiting for her.

LISBON: Don't bother. I know. I feel the same way. Nothing to be done.

RIGSBY: So now when he really needs our help, we're letting him down.

LISBON: I want to help him just as much as you do. Our orders state that we must stay away from this case.

VAN PELT: I don't care what our orders say. It's not right.

LISBON: We closed cases before he came, we'll close cases after he's gone.

CHO: Yeah, just not so many.

RIGSBY: Cases are not the point. It's not that we need him. He needs us.

LISBON: Yeah, he needs us on a fool's errand. Renfrew's a conman. He doesn't know anything about Red John.

VAN PELT: Suppose we found a connection between Renfrew and Red John?

LISBON: It would...wait, what's in the file? Let me guess, a connection between Renfrew and Red John?

VAN PELT: (smiling, handing her the file) Seven years ago, Renfrew was serving time on a narcotics conviction. He shared a cell in Lompoc with a man by the name of Orville Tanner. Tanner claimed in his 1998 trial for murder than he had only been an accomplice, that the real killer was a man by the name of Red John. Nobody believed him.

LISBON: '98. That's the beginning of Red John's career. Where's Tanner now?

VAN PELT: He died of heart disease in prison hospital.

LISBON: Of course. Our luck.

VAN PELT: It's a connection.

LISBON: Slim. Likely nobody believed him for a reason.

RIGSBY: But it's a connection.

LISBON: Okay. Check out Tanner's background, find the autopsy report, see if there's any credibility to his story. I mean, obviously we can't do that, but that's what I would tell you to do if we weren't ordered to stay away from the case.

RIGSBY is on the phone now at his desk. CHO is looking at the file. VAN PELT is at her computer.

RIGSBY: Okay, then let me speak to the assistant to the deputy records officer.

VAN PELT: Why do people say 'Eureka' when they do something good?

CHO: It's Greek for 'bingo.'

VAN PELT: Well, so, Eureka. I found the autopsy reports and they back up Orville Tanner's story. The body of the alleged victim - cut up Red John style.

RIGSBY: Which means that Renfrew is telling some kind of truth about his Red John connection.

RIGSBY and CHO see MINELLI approaching and try to look busy. VAN PELT doesn't notice her coming up behind her.

MINELLI: Van Pelt!

VAN PELT jumps.

MINELLI: What's that you're working on?

CHO: Sir, I asked her to...

MINELLI: I'm talking to Van Pelt.

VAN PELT: Sir, I'm doing research for Jane. No excuses, sir.

MINELLI: You too, I suppose?

LISBON enters.

LISBON: Hey, boss.

MINELLI: I gave this unit a direct written order and they have flagrantly disobeyed that order. Did they do that with your knowledge?

LISBON: I ordered them to do it. I told them you countermanded your earlier order. They had no knowledge whatsoever that they were doing anything irregular.

MINELLI: Nice try, Mother Teresa. They already gave themselves up.

RIGSBY: We never said a word!

LISBON: I stand by my story. They didn't know they were out of line.

CHO: Sir, the opposite is true. We forced Agent Lisbon to let us do it.

MINELLI: Very touching. My ex-wife would have loved this scene in a movie. I'm giving you all formal notice. Any further infractions will result in immediate suspension.

LISBON: Sir, you might as well suspend me now because there will be further infractions. Jane needs our help and he's going to get it. I'm not going to lay off because some fat cat's putting on the pressure.

CHO and RIGSBY: Me too.

VAN PELT: And me.

MINELLI: Moving. Eloquent. Two thumbs up. You shall have your wish. You're all suspended, starting right now, for gross insubordination.

MINELLI leaves.

LISBON: I'm sorry.

LISBON enters MINELLI'S office.

LISBON: That was kind of a rhetorical stand we were taking back there.

MINELLI: You take it back then?

LISBON: Well, no, but I wanted to talk...

MINELLI: This is the, um, the suspension paperwork right here.

LISBON: Look, I...

MINELLI: I have to go and visit my sister in Hawaii for a week. She's sick. Meanwhile, this paperwork is going to sit on my desk. For a week. Is that clear? One week.

LISBON: Yes, sir. Thank you.

MINELLI: Yes, be very grateful. Do not contact me. I do not want to know anything. And please do not dig the hole that you are standing in any deeper than you have already dug it.

LISBON: No, sir.

MINELLI: That hole is the grave of your very promising career.

LISBON: You should put a flashlight underneath your chin, just to complete the effect.

MINELLI: I'm not kidding.

LISBON: I know.

LISBON leaves. MINELLI smiles.

Scene FiveEdit

JANE is sitting alone on a step next to some garbage. He is looking at the housekeeper's address that MRS. RENFREW gave to him.


JANE finds the note on his bedroom door and the smiley face on the wall the night his family was killed.


JANE'S phone is ringing. He answers.

JANE: Hey, Lisbon. (pause) Oh, yeah, fine. Uh, just, uh, out...investigating stuff. (pause) Uh, sure, yeah. Pepperoni or plain? (pause) Okay. Uh, hey, Lisbon, um, thank you.

Scene SixEdit

JANE, LISBON, CHO, RIGSBY, AND VAN PELT are sitting around a table eating pizza.

JANE: Renfrew couldn't dispute the physical evidence. The core of his defense was that he loved Andine deeply and he would never hurt her. Andine's mother testified that was a lie. I went to go speak with her but she'd moved, left no forwarding address.

VAN PELT: Mariska Kopecki, right?

(VAN PELT goes to work on her laptop)

JANE: Yeah.

LISBON: How does the brother look?

JANE: He had motive. There's a moral turpitude clause in the family trust. Once convicted, all Jared's shares in the family business went to Gardner. But he would have also go the shares if Jared had died.

RIGSBY: So why not just kill Jared? Why kill Andine?

JANE: Exactly. Why kill Andine?

CHO: Wanted to see Jared suffer, maybe. Or had a thing for Andine himself.

VAN PELT: Eureka. I input Mariska Kopecki into the secure search engine. I get an IM link to a healthcare database that documents Mariska Kopecki's notification that she's changing her name to Vanna Clooney. I input the new name and get a hit. Four months ago someone named VK Clooney bought a condo in Marin.

LISBON: Nice work.

VAN PELT: Yeah, weird thing though. The original IM came from a civilian. Dr. Joe in New Hampshire. He couldn't have been logged onto the DOJ secure network, so how did he know what I was asking about and how did he have access to the healthcare database? Nobody is allowed to do that.

JANE: When you say Dr. Joe in New Hampshire, do you mean DR. JOE N.H.?

JANE changes the letters in DR. JOE N.H. to RED JOHN.

VAN PELT: Yeah. Oh my God. Oh my God.

JANE: Ask, 'Who are you?'

VAN PELT types it in and gets a response: "..... :-) ..... Is Jane there?" The smiley text is in red.

JANE: Yes.

JANE types in "This is Jane" and gets a response, "Keep up the good work." He then types, "Why?" He tries to trace the IM, but it fails)

VAN PELT: He's gone.

RIGSBY: What the hell was that about?

VAN PELT: He somehow tapped into the DOJ secure network/ He's been spying on us.

LISBON: Can we find the source of the IM?

VAN PELT: There's a self-destruct code built into the uplink. It dead ends at the secondary server. There's no way to trace it back.

JANE: He wants us to succeed. He wants Renfrew out of jail.

RIGSBY: Out where he can get at him to silence him.

JANE: Yes. Which means Renfrew is telling the truth, which means he has the goods on Red John.

LISBON: Slow down. We don't have anything yet.

JANE: Yes. We still have to get Renfrew out of jail first.

LISBON: That's all?

JANE: And we will and then Red John will go after him. He has to break cover, he has to, and we'll be waiting for him.

Scene SevenEdit

VANNA CLOONEY'S apartment.

LISBON knocks on the door and takes out her badge.

JANE: Uh...


LISBON puts it away.

JANE: How are you going to get us in there without your magic badge?

LISBON: You do the talking.

JANE: No, you try.

LISBON: Don't be childish, I'm not...

The door opens.

VANNA: Oh, I thought it was Harry. Who are you?

LISBON: Hi. Vanna Clooney?


LISBON: I'm Teresa and this is Patrick. Can...can we come in for a moment?

VANNA: What do you want?

JANE: It's to do with Harry.

VANNA: What about him?

JANE: Well, it's best not to speak out here in public.

Inside the apartment now.

JANE: Okay. I lied just now. We're here to talk about your daughter, Andine.

VANNA furiously stands up.

VANNA: Get out.

JANE: (sternly and forcefully) Sit down.

VANNA sits.

VANNA: Who are you?

JANE: Listen to me, or your guilt and pain and shame won't ever go away. It won't go away until you tell the truth.

VANNA: What truth? What are you crazy? You don't know me. You don't know what I feel.

JANE: I do know you. When you first came to this country, a young woman, you dreamed of such great things, what a life you'd have. And what did fate bring you? Twenty-five years of drudgery, a servant's life. You hated every day of it.

VANNA: Who wants to be a servant? Nobody.

JANE: You did it for her, for Andine, so that she would have a better life.


JANE: Then she was gone, taken from you in a flash. Your whole life, all those days of drudgery and humiliation wasted. What a joke, huh?

VANNA: Yes, a joke, ha ha. What do you want from me?

JANE: I want to know who killed her.

VANNA: What's it matter who killed her? She's gone.

JANE: Well, you didn't say Jared. That would be the obvious answer.

VANNA: Okay. Jared killed her. I don't care.

JANE: It's true. There's nothing you can do that will bring her back. So if you get paid to lie about what happened, then where's the harm?

VANNA: What? Paid? Nobody paid me anything.

JANE: Don't lie to me. Tell me the truth. You took your twenty pieces of silver and bought the life you always wanted, didn't you?


JANE: It's what you always wanted. It means nothing.


JANE: Look at me, Mariska. Look at me and tell me I'm wrong.

VANNA: You think you know everything. You know nothing.

JANE: I know that Jared and Andine were lovers, weren't they? And you were paid to say that they weren't. Say it out loud.

VANNA: Yes, they were lovers.

JANE: Who paid you to say that they weren't?

VANNA: I don't know. What you call a....a private investigator. He came to me and he offered me a lot of money. A lot of money, but I said no. He offered more. I took it.

LISBON: What was his name?

VANNA: Samson. Austin Samson.

Scene EightEdit

LISBON is talking on the phone back at the CBI, walking towards JANE'S desk.

LISBON: Okay, Cho. Thank you. (hangs up) Austin Samson is dead.

JANE: What?

LISBON: Hit by a bus.

JANE: Damn.

LISBON: We could get a court order for his records.

JANE: Remember, you're on suspension.

LISBON: If we don't get this closed up before Minelli gets back, we're done.

JANE: Plan B, then.

LISBON: What's Plan B?

JANE: Oh, you're not going to like it.

Scene NineEdit

LISBON and RIGSBY are at the RENFREW house. BRECK answers the door. LISBON shows her her badge.

LISBON: We need to speak with your husband, ma'am.

In the hallway outside of the bedroom ANDINE died in, GARDNER, BRECK, and MRS. RENFREW approach LISBON and RIGSBY.

GARDNER: Who is the agent in charge here?

LISBON: I'm Agent Lisbon. This is Agent Rigsby. And I believe you've met my colleague, Patrick Jane?

JANE pops out from another hallway.

JANE: Hello. I expect you're all wondering why I gathered you all here?

GARDNER: Breck, go call the police.

JANE: Ah, Mr. Renfrew, wait. Unless you want your family ruined of deluge of sordid scandal, you might want to listen to me.

GARDNER: What are you talking about?

JANE: Someone, I don't know why, paid Mariska Kopecki a lot of money to lie about Jared and Andine. They were lovers, as your brother said.

GARDNER: So what? The fact is, they were found in a locked room. It's not physically possible for someone to have gotten into the room to commit the murder.

JANE: Yes. There's the rub. The key was in the door. Watch closely.

JANE gets the key from the doorframe and unlocks and opens the door.

JANE: Rigsby, would you please go inside and lock the door?

RIGSBY hands JANE a newspaper he is holding and takes the key as Jane asked. Jane unfolds the newspaper)

JANE: Suppose Jared and Andine are inside sleeping.

JANE slides the newspaper under the door and uses a pen to knock the key out of the door and onto the newspaper, which he then slides back out through the gap under the door. He unlocks the door with a flourish, lets RIGSBY out and hands him back the newspaper)

BRECK: That's all very clever, but how do you get out again?

JANE locks the door from the outside, lays the key on the floor, gets some fishing line, which he twangs theatrically, before feeding it through the keyhole and back out under the door. He loops the end around the bottom of the key and pulls the other end so that they key is pulled up into the keyhole.

JANE: May I borrow your lighter, please?

GARDNER hands him his lighter.

JANE: Thank you.

JANE burns the fishing line where it disappeared into the keyhole and throws the lighter back to GARDNER.

JANE: And that is how Jared was framed. Cool, huh?

GARDNER: It doesn't mean Jared is innocent and it certainly doesn't mean that someone else is guilty. It's a party trick.

JANE: A party trick a jury will love. Put that together with Mariska's testimony and I think we have a pretty good chance of winning a new trial. Then the truth will come out, somehow. Unless...

GARDNER: Unless what?

LISBON: Unless we can make some kind of financial deal here that would make it worth our while dropping all of this.

GARDNER: You want money? You're blackmailing us?

JANE: Eh, call it leverage.

MRS. RENFREW: But you're state agents!

LISBON: Ex-state agents. Thanks to your son here, Jane was tossed out and we're going with him. We need to look after ourselves now. We won't be unreasonable.

GARDNER: You people are a disgrace! Get out!

JANE: Oh, we're going. We'll give you until four to call us with an offer. After that we're going to make some calls of our own.

GARDNER: I'll tell you who I'm calling. I'm calling the FBI!

Outside of the RENFREW house...

RIGSBY: Am I wrong, or did that go down not quite as you'd hoped?

JANE: I've had better responses, but I think we made a sale. Never can tell.

LISBON: We're doomed.

Scene TenEdit

The agents are waiting for a call back at the office.

JANE: Patience. Patience. Patience.

RIGSBY: If you say patience one more time...

RIGSBY is working on a Rubik's Cube.

JANE'S cell phone is ringing on his desk. He jumps up and answers it.

JANE: Hello. (listens) I'll be right there. (hangs up)

LISBON: Who was that?

JANE turns and smiles at her. She smiles back.

Scene ElevenEdit

JANE walks out to the RENFREW'S garden where MRS. RENFREW is waiting for him at the table having tea.

JANE: I confess. I thought it would be Gardner who called me.

MRS. RENFREW: Gardner?! (she chuckles) He hasn't the gumption. I will not see our family name dragged through the mud again. How much do you want to keep quiet?

JANE: Hmm. How much did you give Mariska?

MRS. RENFREW: I didn't say I paid her anything.

JANE: You needn't be evasive. Only a guilty person would respond this way to such naked extortion. I know you're guilty. I'm just not sure why.

JANE sits.

MRS. RENFREW: Your suspicions are neither here nor there. I asked you your price.

JANE: Your late husband was a handsome man.

MRS. RENFREW: Yes, he was. What's that got to do with it?

JANE: Domineering, though. Had to have things his way. He died how long after the murder?

MRS. RENFREW: A week. Aortic aneurism.

JANE: Hmm. And Mariska, she left your employ when?

MRS. RENFREW: At the same time.

JANE: After he died, though?


JANE grins and he points at the tea.

JANE: May I?

She nods.

JANE: Thank you.

He pours tea.

JANE: So you got rid of her as soon as you could after he died, because Andine was your husband's child, wasn't she?


JANE: And you never confronted him or Mariska?

MRS. RENFREW: No. I decided I liked my life as it was. I didn't want a drama and I didn't want to be lied to. They never knew I suspected.

JANE: Eighteen years of secret anger. How did you stand it?

MRS. RENFREW: Nobody's life is perfect.

JANE: And then when you found out about Andine and Jared's affair, you must have been enraged. It's practically incest.

MRS. RENFREW: It is. It is incest. When I found out, I told Jared he was not to continue the affair. He refused. Said he was in love with her. Refused to stop seeing her.

JANE: Didn't you tell him why you objected?

MRS. RENFREW: Certainly not. I couldn't tell him. It was too sordid. Too humiliating.

JANE: Instead you killed Andine, paid off her mother, and sent your son to jail for life.

MRS. RENFREW: No. I wouldn't do that.

MRS. RENFREW gets her bag and takes out a vial of blood.

MRS. RENFREW: Andine's blood.


MRS. RENFREW sees ANDINE and JARED kissing and going into his room. We then see them asleep and her getting into the locked room as JANE had shown. She cuts ANDINE'S throat and catches the blood in the vial.


MRS. RENFREW: It's proof I did it so I could confess and get Jared freed when I chose. Just as soon as he'd learned his lesson.

JANE: What lesson?

MRS. RENFREW: Everything in moderation. And listen to your mother.

JANE: Can't argue with that.

Scene TwelveEdit

It is two weeks later. CHO and RIGSBY are getting their guns and gear ready at the CBI.

JANE: Good?


JANE goes into LISBON's office where she is sitting at her desk.

JANE: We're ready to go get Renfrew. Is the safe house all set up?


JANE: Good. I guess I'll see you over there later.

LISBON: Jane, please be careful. Remember this is playing out just like Red John wants it to.

JANE: This is playing out just like it has to. He has no choice but to try and silence Renfrew. He has to show himself. We're getting close. I can feel it.

LISBON: You can feel it. Like a psychic thing?

JANE: (smiling) No. I am quietly confident that we will get a bite.

LISBON: You think you're playing him and he thinks he's playing you. One of you is wrong.

JANE smiles and leaves.

Scene ThirteenEdit

JANE, CHO, and RIGSBY wait by their SUV outside of the prison. A guard brings out JARED.

JARED: Thank you. Thank you.

He hugs JANE.

JANE: I kept my side of the bargain. Now it's your turn. Tell me what you know.

JARED: Absolutely. All will be revealed, Give me a chance to catch a breath of fresh air. And then we will sit and talk as long as you like and I've got a lot to tell and I owe you. Big time. I owe you my life. In the meantime, uh, I would kill for a cheeseburger and fries.

JANE: Drive through.

RIGSBY: Put this on.

RIGSBY hands him a bullet proof vest.

JARED: Can't you say please? I'm a free man now.

RIGSBY: (sighs) Put this on, please.

JARED: Sure.

The agents and JARED drive into a crowd of protestors carrying posters that say, "Fur is evil," "Save the Earth," and "Meat is murder." They are stuck amongst them.

RIGSBY: What the hell is this? Oh, geez, come on!

CHO: Relax.

As they are waiting there, JARED suddenly throws his coffee in CHO's face, jumps out the car, and disappears into the crowd. JANE, RIGSBY, and CHO chase him through the crowd, knocking against the protestors. But they give up the chase as JARED has now vanished. JANE looks distraught.

Scene FourteenEdit

CBI headquarters.

LISBON: He vanished five hours ago and we've heard nothing from him since. The town was on pretty good lock-down, so we're guessing he had friends to get him out of the area fast.

MINELLI: Planned it in advance, probably.

CHO slams a ball he had been holding onto the ground)

LISBON: Would you stop that? It's not your fault.

CHO: Well, whose fault is it then? It's mine. I have to accept that.

JANE: Ah, actually it's my fault. Okay everyone? My fault.

LISBON: What's done is done. Focus on now. We need to get to Renfrew before Red John does. Where is he now? Who are his friends? What are his options?

JANE'S cell phone rings. He goes to his jacket and gets it out.

JANE: Hello.

JARED: Mr. Jane. I just wanted to call and apologize for letting you down.

JANE waves an arm to alarm them that he is on the phone with JARED.

JANE: Hello, Jared.

JARED is in a motel room watching a hooker undress.

JARED: It was dishonorable, I know, but crossing Red John just seems too dangerous.

JANE: You've already crossed him. You need our protection.

JARED: I haven't given you a thing.

JANE: How is he to know that?

JARED: Oh, he'll know. He'll know. Like I said, I have friends and they'll put in a good word for me.

JANE: Friends. What friends? Who?

JARED: Ah. Wouldn't you like to know?

JANE: Jared, listen to me. You can't trust them. They're not your friends.

JARED: Vaya con Dios, amigo.

JARED hangs up.

JANE: Jared.

JANE hangs up.

JANE: Damn fool. Red John probably already has his location.

LISBON: Did you trace the line?

VAN PELT: Yes, I'm tracking the call now.

JANE: He's in Tijuana, Mexico, in a motel room with a hooker.

MINELLI: Because?

JANE: He wouldn't call if he didn't think he was out of reach. I could hear Latin music and sirens and horns and a whole neighborhood in the background, which suggests thin walls and a city. Hence Tijuana motel room.

LISBON: And the hooker?

JANE: He needs to use somebody's phone and he has been in prison for a year, hence the hooker.

VAN PELT: The phone belongs to Juana Porfiria Braga, Calle Rojas 65, Tijuana, Mexico. Five arrests on prostitution charges. Let me get a location on the call.

MINELLI: I'll go reach out to the federal police in Tijuana. You boys come with me.

CHO: Yes, sir.


JANE: Go ahead, say it.

LISBON: Say what?

JANE: You told me, you warned me, you get the privilege of saying, 'I told you so.'

LISBON: It's alright. Not now. This isn't over yet. We're gonna find Renfrew and he's gonna tell us what he knows.

VAN PELT: Got it. Motel Corona Del Norte.

Scene FifteenEdit

Zoom in on Google Earth map to Motel Corona Del Norte, Paseo de las Aguas 1618, Zona Rio, Tijuana, BC. A local cop breaks in the door. RIGSBY and LISBON come in, guns raised, with JANE behind them. RIGSBY turns on the bathroom light, puts away his gun and runs out the motel room. LISBON approaches next, putting away her gun. We see in the reflection in the mirror that she's seeing a Red John smiley and JARED and the hooker, bloody and dead in the bathtub. There is a bloody writing on the wall. She looks shocked and walks away. JANE comes and peers in cautiously. The writing says "He is Mar." He backs away to where LISBON is standing.

The bodies are being carried out in black body bags. JANE and LISBON are sitting next to each other on the unmade bed. They're not looking at each other.

JANE: Well, you can say it now.

LISBON: I don't really feel like saying it. Let me take a rain check on that.

JANE: Sure.

LISBON: What do you think it means?

JANE: It means Red John is far more powerful than I ever thought. He's been way ahead of me this whole time.

LISBON: I mean the writing on the wall.

JANE: Oh. I have no idea.

LISBON: Well it's a good clue though, isn't it? Jared was trying to tell us something important.

JANE: Maybe.

LISBON: Next time. We'll get him.

JANE: Next time.

A cell phone plays a Latin tune - the hooker's phone. JANE answers. He hears breathing.

JANE: Hello.

A voice laughs evilly on the other end.

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