Patrick Jane's and Kristina Frye's first date is interrupted by a report of Red John striking again, which is discovered to be the work of a copycat. But when Kristina reaches out to the real Red John, both she and Jane find themselves in great danger.
Review & RecapEdit
Piggy backing off last week’s conclusion, Jane and Kristina are out on a date. It gets a little awkward when she gives their waiter an impromptu reading, but it’s not anything we can’t handle. The angst arrives abruptly, and Jane excuses himself to the restroom where it’s clear his calm is disturbed — a skillful scene, the handling of his wedding band being the only action giving us a clue into his thoughts.
He returns to the table, and starts to say something to Kristina — perhaps to end the date early — but his phone takes care of that for him. Grace is on the other end, and she has something he needs to see: Red John has struck again.Though Kristina winds up at the station with Jane, he makes a point of telling Hightower not to let her come investigate the body in the video sent to them: “Red John is mine.” Ten minutes into the episode and they are already bringing the crazy. After that Kristina leaves, bringing the most awkward first date ever to an end.
Marley’s friends Ruth and Dylan mention a boyfriend, Grady Shipp, and one of her professors mentions a criminology course she taught last year that Marley took. Red John was mentioned a few times, as the title of the course was basically “Serial Killers as Marketing,” which sounds like a something I would have taken for fun in college. When CBI regroups at a bar, Jane and then the rest of them watch on the television in horror as Kristina Frye reaches out to Red John, all compassion and bright-eyed hope for the future.
Hightower has Jane going off on Kristina in her office, and I have to say looks pretty calm about it all — much calmer than Jane. He points out that he’s doing exactly what he did, calling him out on television, and but Kristina is convinced the difference is that when Jane did it, he was lying. Hightower breaks in that the problem is they don’t have an obligation to protect her, but Kristina seems cool with that. Jane is not.
Grace finds an address in Marley’s address book not written in her handwriting while searching for the boyfriend, so Rigsby and Cho go to check it out. It leads them to an abandoned building where they find a room full of Red John smiley faces painted all over the walls with pig’s blood. Someone goes running and gets away, but drops a lens cap on his way out.
Taking Jane’s distracted suggestion to check the university film club, they reconcile the film club register with the professor’s criminology class list, and find they only share one name: Wesley Blankfeit. This case more or less falls into the background for a moment when Lisbon gets a call from the FBI — Red John has actually struck again, this time killing the woman who interviewed Kristina on TV.
After Jane checks out the crime scene with Lisbon and gets all shirty about being there instead of with Kristina, he does go to her home momentarily. They have a fight, because Jane wants to protect her, and then he leaves. When he makes the call later to apologize, Kristina is gone, having given a bunch of armed guards and Grace the slip.
A bag was packed and she took her passport and credit cards, but since Red John is ostensibly involved at this point Jane doesn’t allow them to rule out kidnapping or being lured away. Jane is irritated because the missing persons unit is taking over, and despite Lisbon and Hightower telling him to sit down and relax, he is clearly running a million miles a minute.
A threat to unleash the therapist on him finally gets him to back off, but instead of staying still, he takes a photograph found in Wesley’s Red John/Marley shrine and goes to that location. Instead of waiting for Lisbon like he said he would, he goes into the abandoned building and promptly gets knocked out and transported elsewhere.
He wakes up cling-wrapped to a chair. Wesley is in front of him, declaring he’s about to be sacrificed to the glory of Red John. He seems to finish, but Jane has picked up on the artifice and advises him to try again, directing his own death scene. Dylan and Ruth, Marley’s killers who were duping Wesley into it this whole time, don’t seem so amused.
Suddenly, all three are shot — Red John has arrived, and he is pissed at the imitation. Jane desperately tries to see what is going on, but the action is happening behind him. In his desperation, Jane accidentally knocks his chair over to the side, bringing him face-to-face with Wesley, who is lying on the floor moaning in pain from having been shot in the leg (the only one of the three to be shot at a non-fatal spot). While helpless on the floor, Jane hear's Ruth's tortured, dying screams as Red John ends her life by slashing her throat.
Finished with them, Red John approaches, rights Jane's chair and brings his grotesque, masked face right up to Jane. Jane reacts with barely concealed disgust and rage, but there is nothing he can do to get away as Red John tauntingly holds his now-bloodied knife near Jane's face and speaks a few words — the opening lines to a poem by William Blake (“Tyger, tyger, burning bright” etc), followed by, "Roll the tide".
Two days later at CBI, Lisbon asks Jane if he is okay. Jane brushes it off, goes home, and lays on his single mattress under the fading smiley face still murmuring the poem, “Tyger, tyger, burning bright, in the forests of the night, What immortal hand or eye could frame thy fearful symmetry?”
|Season 2 Episodes|
|Redemption · The Scarlet Letter · Red Badge · Red Menace · Red Scare · Black Gold and Red Blood · Red Bulls · His Red Right Hand · A Price Above Rubies · Throwing Fire · Rose-Colored Glasses · Bleeding Heart · Redline · Blood In, Blood Out · Red Herring · Code Red · The Red Box · Aingavite Baa · Blood Money · Red All Over · 18-5-4 · Red Letter · Red Sky in the Morning|