MENTALIST Pilot Written by Bruno Heiler Warner Bros. Television Network Draft February 20, 2008

THE CALIFORNIA BUREAU OF INVESTIGATION-(CBI) =~ DANIEL JANE - On a consultancy contract with the CBI. In a previous chapter of his life, he was a fake psychic medium, making his living by guile and manipulation, using his ferocious intelligence and a keen understanding of human nature to fleece his fellow man. Now, he still has the charm and wit of a showman, and all the strange skills of his former calling, but that bravura style is tempered by hard earned wisdom, and honesty, and a singular dedication to his own brand of truth and justice. LEAD AGENT TERESA LISBON — A woman of serious faith and integrity, leavened by wit and compassion. She’s given up the idea of a love life or a family life to devote herself - nun-like - to homicide work. Her intense drive and self-discipline is born ofa subconscious urge for get the sense that there’s another more passionate and sensual woman inside the brusque persona. But for some reason, that inner Lisbon is almost always kept hidden. : SUPERVISOR RJ PATEL - The boss. Demonstrative, egotistical, brash, Machiavellian. Moved to suburban California from Uttar Pradesh, India, when he was eleven. Will do whatever it takes to protect his beloved Bureau and his status there. AGENT KENDALL CHO - From twenty generations of farmers back in Korea — A lugubrious, logical, stubborn, flat-footed, family man. He might seem rude, but it’s just Ken being his pathologically honest self. A relentless interrogator. AGENT WAYNE GILZEAN — Ex-college tight end, ex LAPD, in his mid to late twenties. A predatory bad boy with the women, but a diligent and honorable man on the job. Likes to think he’s a whole lot smarter than he’s given credit for by the CBI team,; but he’s wrong. He struggles with his propensity for violence, and his attraction to women who are attracted to that. : AGENT MELODY VAN PELT — College valedictorian, head cheerleader, and barrel racing champion from rural Idaho, Van Pelt was by far the smartest person she knew until she went to college. Hence a winningly naive confidence in her own intellect and capabilities. Devoutly spiritual, not to say gullible.

!\T’/ EXT. TUDOR MANSION. HIDDEN HILLS ~ DAY A leafy avenue in bright California sunshine. From a * shadowed garden gate, FOUR CORONER'S PERSONNEL emerge bearing the SHROUDED BODY OF A TEENAGE GIRL on a gurney. A somber crowd watches her go by. UNIFORM COPS, K-9 UNITS, CSI PERSONNEL, NEWS CREWS, STATE AND FEDERAL AGENTS, VOLUNTEER SEARCHERS in yellow vests. Bmong the crowd we find DANIEL JANE. He wears a photo ID Tag identifying him as a Contractor with the CALIFORNIA BUREAU OF INVESTIGATION (CBI). Late thirties, early forties; a Savile Row suit, flip flops, battered good looks and a romantic, unruly, theatrical air. Shambolic and graceful simultaneously. Big eyes, looking at everything with intense interest. You can see a couple of the cops wondering, who's the creep? He's with CBI SENIOR AGENT TERESA LISBON. Mid-to-late thirties. Lisbon keeps her hair short, wears no make-up, ' no jewelry but a gold cross on a chain, and Ross really did dress her for less; but she's still gorgeous, and compensates for this professional handicap with a workplace persona based mostly on NFL coach Bill Parcells. JANE'S POV - THE GIRL'S BODY is loaded onto an ambulance. We see the Grim Reaper tattoo on the arm of one of the Coroner's men, the photo of Jessica Alba smiling in a bikini scotch-taped to the ambulance interior, the pale white soles of the dead girl's feet, uncovered for a " second as she is lifted into the vehicle.. The ambulance -doors close. A SEVENTEEN YEAR OLD BOY in a deathmetal T-shirt, Lakers shorts and HANDCUFFS is escorted from the house next door by THREE GRIM POLICEMEN, placed in back of a POLICE CAR and . driven away.. . MORGAN and PAMELA TOLLIVER - the dead girl's parents - step up to an impromptu PHALANX OF MIKES and CAMERAS and REPORTERS. . Morgan, 55, is a big warm charismatic guy, stoically holding himself together. His wife Pamela, 49, a Tipper Gore blonde, is quivering, close to falling apart. Morgan has a firm grip on her hand, keeping her steady.

TN N/ (. From Jane's POV, we note the details. The crispness of his rolled up shirtsleeves. The run in her stockings. The big signet ring on his right hand. The way she shuts her eyes when he says her name. MORGAN (commanding) I want to take one moment to thank” everyone in law enforcement and all those volunteers who helped in the search for our beloved Grace. The way this community has come together to support me, and Pamela, in this terrible time has been a great comfort to us... Morgan lets go of his wife's hand to smooth his hair. ECU - When Morgan 'reaches out to take Pamela's hand again, she FLINCHES AWAY very slightly, as if from something dirty. A millimeter of repulsion, then she lets him take her hand. Jane glances at Lisbon to be sure she doesn't see him go, and drifts away. We follow him. MORGAN 0.5 . ...Now I would ask you all to give us some time and space and privacy to grieve for our daughter... Jane strolls casually up to the Tolliver's house, opens the unlocked front door and walks inside. INT. FRONT HALL. TOLLIVER HOUSE - CONTINUOUS Jane closes the front door. Takes a moment to look around. A grand hallway with a sweeping staircase and several doors leading off. There's a strong masculine flavor to the decor. Jane strolls around opening doors and peering into the rooms beyond. INT. KITCHEN. TOLLIVER HOUSE - A MOMENT LATER Janie enters via an open doorway. The kitchen is well equipped by someone who likes to cook. But, in sharp contrast to the rest of the house, it has a feminine cosy- _country-cottage ambience. Floral print pillows, drapes in soft colors, porcelain cats and mice etc. Photos of last year;s ski vacation - Pamela always smiling tightly, Tolliver's arms always wrapped around his wife and daughter.

N/ Looking -into the .cupboards..and drawers,.Jane finds alot of herbal tea and vitamins and homeopathic medicine, mostly aids to sleep. He puts water in an electric kettle, and turns it on. Then sets about assembling a HAM AND CHEESE SANDWICH with all the trimmings. Sandwich made, Jane sits down at the kitchen table to eat and studies the refrigerator door, which is covered in photos and postcards, notes and drawings held on by whimsical magnets: an oblique chronicle of the Tolliver family: Photos of Grace Tolliver as a happy toddler, a smiling fifth grader, and a beautiful but solemn adolescent, , kissed by Dad at a birthday party. Pamela Tolliver enters; shuffling, wild eyed, in a daze " of stress and shock. JANE Hello Mrs. Tolliver. PAMELA Who are you? He shows her his CBI Tag. His voice is soothing, hypnotic. JANE My name's Daniel Jane. I'm here to help you. Would you like a cup of tea? On cue, the kettle whistles a soft fluting note. PAMELA Yes, I would. Thank you. Jane sets about making two cups of tea. JANE . Camomile? PAMELA Yes. JANE Honey and lemon? PAMELA Yes.

N . JANE You must be tired. Why don't you sit down? Jane .helps her into a chair at the kitchen table, then brings the tea to her with a couple of cookies on a plate. Sits down facing her. She sips her tea. He does likewise. He synchronises his breathing with hers. JANE (CONT'D) This is a nice kitchen. It has a lovely soothing quality. Peaceful and soothing. Calm. He takes her hand in his, covertly checking her pulse. He's calmed her right down. Now he winds her up again. JANE (CONT'D) Pamela, I've been watching you and your husband and this whole situation, and I want you to know that-I understand what you're feeling right now. PAMELA (a bitter laugh) You have no idea. Believe me. JANE - No. I do. I know. I know and I want to help you. PAMELA You can't help me. (sharply) What do you know? JANE All sorts of things. For instance, you really only pretend to like ski-ing. Right? : PAMELA Yes, but... JANE Your best friend gained about five pounds this last year, and you were secretly pleased about that. You wish you'd been more adventurous when you were younger. You love India but you've never been there. (MORE)

) JANE (CONT'D) ) You have trouble sleeping. Your favorite color is blue. PAMELA (befuddled) I don't understand. You're a psychic? JANE No. Just paying attention. I want you to understand that there's no point hiding things from me. PAMELA (tensing up) Hiding what things? JANE . Do you know what I see when I look at your husband? PAMELA What? JANE I see a warm, loving, generous ' . man. A little vain maybe, selfish. Controlling. But a decent man. PAMELA Yes. JANE ‘So Pamela, why do you suspect him of murdering your daughter? Pamela catches her breath. PAMELA I don't. I don't. It was the McCluskey boy. JANE Yes, that's what the police say. But you think they're wrong. Why? Why do you think that? Tell me Pamela. Please. For Grace's sake. Tell me. Pamela breaks. VAR Ktw-g/

"\»..._»/: PAMEIA I don't know, I don't know! This last year, they've been so strange with each other. Neither of them would admit anything was wrong. I think once, she tried to tell me, but, but I didn't want to... oh God. Oh God. Jane strokes her hand, calms her. JANE Talk to me. PAMELA And when she disappeared, he was so calm. As if he already knew she was dead. JANE Yes. I see. But that's nothing is it? That's not proof of anything. JANE - Did you ask him if he killed her? PAMELA No. What would he say? JANE Most wives can tell when their husbands are lying. Pamela visualizes her husband being dishonest. PAMELA " Yes. JANE Ask him then. Put your mind at rest. ' PAMELA But if he didn't do it, he'll never forgive me for asking. -JANE (reluctantly) True. It's not a trust builder.

N S/ crazy. The boy did it. JANE Maybe. Maybe not.. PAMELA You think he did it too? Do you? JANE (shrugs) I trust a mother's instinct. Morgan Tolliver walks in. TOLLIVER There you are... (sees Jane) Who are you? Jane stands up and comes forward to meet him, hand outstretched. Tolliver automatically takes it. JANE I'm the police. Did you kill your daughter? Tolliver wrenches his hand free. TOLLIVER What the, how dare you?! Who are you? Who is this? JANE I asked a simple question sir. Did you kill your daughter? Tolliver waves his hands, chopping the air; and his ears turn red. : TOLLIVER No I did not! Kill my daughter! Get the hell out of my house! Jane looks to Pamela, who turns ashen, eyes wide in horror. Her husband lied. Tolliver sees her face and it flusters him. TOLLIVER (CONT'D) What's the matter with you? She shakes her head and backs away from him. Tolliver turns his anger on Jane. Puts a finger in his face. | . . _

o’ _TOLLIVER (CONT'D) I'm g01ng to have your badge! I'm going to see you on the goddamn street! JANE . An innocent man would have punched me by now. Tolliver balls a fist, steps forward. Jane steps back. (quivering with rage) I'm going to make--- Tolliver pauses because in the corner of his eye, he sees Pamela level a Colt 33 Lady's Revolver at him. TOLLIVER (CONT‘D) Oh for chrissake Pam! Don't be stup- Pamela empties the gun into her husband, making A GREAT DEAL OF NOISE; and then no noise. at all. She drops the gun.’ Footsteps come running. Lisbon enters in a crouch, gun drawn. Straightens up, crosses herself. LISBON Christ. JANE I know this looks bad, but it's really not. . Pamela walks robotically out the kitchen door into the garden beyond. With a withering glance to Jane, LleOD follows her. LISBON Mrs. Tolliver. Ma'am. Stop. Jane follows Lisbon out, but comes back in to retrieve his ham and cheese sandwich, then exits again. END OF TEASER -

P EXT. A COUNTRY CLUB COMMUNITY. INDIAN WELLS - DAY Early morning at The Lakes at Las Brisas; a high end residential development. Big flashy houses in various styles, Jack Nicklaus signature golf course on one side, Mojave desert on t'other. Birds sing, sprinklers twitter and spin. A coyote slinks back to it's cool dark daytime lair. A silver SUV approaches. INT. SILVER SUV - CONTINUOUS ELI RANDOLPH, 42, sits in the front passenger seat. Handsome, athletic, clean cut. Looks like a moderately successful Pro tour golfer with a big swing and.a streaky putting game, and that's what he is. TAG RANDOLPH, 36, drives. A nerdy balding, shorter, version of his older brother, for whom he acts as ‘business manager. He has a tiny phone in his ear, a blackberry on the belt of his slacks. He fiddles with . the radio and the A/C and the mirrors and his blackberry as he drives. Wound up real tight for some reason. In back we can see a couple of golf bags and other golfing paraphernalia. ELT (apropos nothing) Then the sonofabitch eagles seventeen. A goddamn eagle. TAG That course never suited you. You'll do better at Orlando. We have a nice spot on the draw. Mother says she might come down with us and visit aunt Judy in Boca. Eli pays no attention. Still reliving Fresno. ELI And I tell you what, Davis Love III can kiss my butt. EXT/INT. ELI RANDOLPH'S HOUSE - CONTINUOUS Tag stops the Merc outside a sort of Santa Fe Regency villa. As the brothers get out of the car, CAMERA moves ahead of them, into the house...

= 10. . THE FRONT HALL A slim, well dressed DEAD MAN lies on his face on the floor at the foot of the stairs, a big dark pool of congealed blood around his head. SLAM CUTS take us upstairs to... A BEDROOM A YOUNG BLONDE WOMAN lies dead on the bedf horribly butchered. On the wall there's A BIG SMILEY FACE, drawn in blood, like this - © 0.S We hear the Randolph Brothers discovering the body downstairs. A scream of horror. ELI Oh my God! Alison? Alison! Footsteps drumming up the stairs become the jet-engine roar of an airplane landing. INT. PAIM SPRINGS AIRPORT - DAY Agent Lisbon strides purposefully along the concourse, -with the rest of the CBI Serious Crimes Unit hustling to keep up. That's KENDALL CHO, WAYNE GILZEAN, and MELODY VAN PELT. Lisbon and the other two are pulling wheeled carry on bags. Van Pelt pauses at the baggage carousels. . VAN PELT Ah, sorry.. LISBON You checked luggage? What are you, Sigourney Weaver? VAN PELT No ma'am. Won't do it again. LISBON (keeps walking) When your trousseau arrives, pick up the second rental and go direct to the Sherriff's department, hustle us up a couple of rooms and furniture and phone lines. Ask for Manny Zapata in admin if you get static. VAN PELT Yes ma'am.

11. - her a . .- sympathetic shrug. EXT. PARKING LOT. RIVERSIDE. COUNTY MORGUE - DAY It's extremely hot. Lisbon, Cho, ‘and Gilzean have to park their white rental van some distance away from the building, and they are crossing the baking lot when a taxi-cab stops beside them. Jane gets out and casually falls into stride with them. JANE Morning everybody. How was your flight? Lisbon is unpleasantly surprised to see him. LISBON Go away. You're on suspension. JANE Mandated leave. Ends next week. LISBON So come back next week. Which one of you jackasses told him? Cho and Gilzean shake their heads. Lisbbn fixes them with her gaze. Cho looks away first. LISBON (CONT'D) It was you, wasn't it Cho? CHO Yes it was. Of course he called me. It's Red John. You can't keep me out of this. Why would you want to? LISBON You got a man killed. There's consequences. JANE A man that murdered his own daughter because she wouldn't have. sex with him anymore. LISBON You didn't know that. You did not know that. If she hadn't left a diary...

- 12. But she did though. Be reasonable. This is my case. Red John is mine. LISBON Red John doesn't belong to anyone. Jane stops her at the front doors, so that she has to look him in the eye. JANE (this is personal) He belongs to me. LISBON It's not my call. Rules are rules. Come back next week. She brushes past him and through the front doors of the " morgue, where a SECURITY GUARD stands duty. " LISBON (CONT'D) Don't let that man past. Cho and Gilzean throw rueful looks of helpless sympathy and go after her. Jane doesn't try to follow. He takes out his phone. INT. RIVERSIDE COUNTY MORGUE - DAY Lisboh, Cho, and Gilzean signing in at the front desk. Lisbon's phone buzzes. She sees the name, sighs, answers. LISBON Boss. INT. CBI OFFICES. SACRAMENTO - CONTINUOUS CBI Supervising Agent KJ PATEL at his desk computer, phone headset on. PATEL You know why I'm calling. CUT BETWEEN LISBON AND PATEL.

13. ~ _ LISBON- He s on suspension. . . PATEL Mandated leave. Not a problem. And it's Red John. That's his baby. LISBON We can manage without him. He's a liability. . PATEL He has issues. But he's a fabulous detective, you can't deny it. LISBON He's not a detective, he's a circus act. We should never have taken him on in the first place. : -PATEL Numbers Lisbon. Look at the numbers. ) LISBON ( Numbers aren't everything. PATEL Are you medicated? State's got huge budget cuts coming. We don't show “em good numbers, they will cut our asses and throw our business to the feds. Don't think they won't. ' Lisbon knows she's on the end of this argument, but she's not the type to give up easily. LISBON ‘We can manage without him. PATEL Liz, you're my best Agent, you're the heart and soul of the unit. I must respect your opinion. So I'1ll push this case to Cochrane's team. Take it off your hands. Lisbon curses silently.

14, ... . No. That won't be necessary. INT. STAIRWELL. RIVERSIDE COUNTY MORGUE - DAY Jane, Lisbon, Gilzegn, and Cho, climbing stairs. JANE I'm sorry I went over your head. You know how much I value your good opinion. I'll redeem myself, I promise. LISBON . You want redemption? Don't speak to me. Be silent. JANE Okay. LISBON If for once you would just be and watch this unit at work, maybe you'd learn how to do this job the right way, like a . professional. JANE I'1l do that. I'll be quiet and I'll watch and I'l; learn. . LISBON Sure you will. INT. AUTOPSY ROOM. RIVERSIDE COUNTY MORGUE - DAY Lisbon, Jane, Cho, and Gilzean are with the MEDICAL EXAMINER, a matronly blonde lady; looking at the BODIES OF ZACHARY TANNEN AND ALISON RANDOLPH - laid out naked on adjacent work tables. Jane is not grossed out or freaked, just deeply saddened by the bodies. If Lisbon, Cho, or Gilzean feel anything, they don't let it show. : MEDICAL EXAMINER (with help of clipboard) So. We have Zachary Tannen, caucasian male, 43, single. (MORE)

N 15. MEDICAL EXAMINER (CONT'D) Death caused by several blows to _the back of the skull, consistent = with a bloodied golf club found at the scene. The female is ah...Alison Randolph, 27, married, no children. They were found at her listed residence. On Alison we have tight black plastic ligatures. A precise incision from perineum to upper thorax using a very sharp knife or scalpel. Abuse of the viscera. Textbook Red John. Time of death was Tuesday, mid-evening, near enough. LISBON . Not as many defense wounds as usual. MEDICAL EXAMINER Fainted early perhaps... Jane tenderly strokes Alison's hair, as if soothing her. MEDICAL EXAMINER (CONT'D) ...Don't do that. LISBON Sorry. (to Cho) Who found the bodies? CHO This one's husband, at six this . morning, coming home from the airport with his brother. He's a pro golfer. GILZEAN (sports nut) Oh yeah? CHO Eli Randolph. Gilzean shrugs. Never heard of him. LISBON And these two? What's their deal?. CHO . He's on file as one of her physicians.

LISBON- - - — Making a house call? GILZEAN Lovers? JANE No, this one's gay. GILZEAN Come on. He's naked and dead. No jewelry, no tats. You can't tell. MEDICAL EXAMINER Doctor Wagner might know what . their relationship was. He's here to make the formal ID? INT. HALLWAY. RIVERSIDE COUNTY MORGUE - DAY LISBON Doctor Wagner, I'm Agent Lisbon, CBI. You know the victims? WAGNER Yes I do. I work with Zachary. And the Randolph family are long- time clients of our practice. LISBON Are house calls the norm at your practice? WAGNER No. Zach and Alison were close friends. JANE Lovers? WAGNER No. Zach was gay... WAGNER (CONT'D) ...Just friends. What in God's name happened to them? Who could have done such a terrible thing? 16. An older man.in a white lab coat stands up - DOCTOR LINUS WAGNER - roused from a sad reverie by Lisbon and Jane, Cho and Gilzean talking with the M.E. in BG. Lisbon throws Jane a look halfway between 'well spofted' and 'okay smartass'.

e 17. LISBON _ ' Looks like Red John. WAGNER - Who's Red John? ) LISBON Good question. EXT. RANDOLPH HOUSE. THE LAKES - DAY A cordon of yellow tape around the house. Various official vehicles. POLICE, CSI, and MEDIA CREWS going about their business. The CBI .team arrive in the white mini-van, Gilzean at the wheel, headbanging to KROQ on the van radio. ) fNT. GROUND FLOOR. RANDOLPH HOUSE. THE LAKES CSI TECHS nibble away at the evidence collection process.. These CSI people are not the hipsters that you see on the TV shows. These are plump middle-aged guys in Dockers, exuding all the glam drama of a Scrabble tournament. CSI leader is BRETT PARTRIDGE - exuding a very slight Ricky Gervais vibe; two phones and blackberry holstered on his belt. ACTING IT OUT, he takes Lisbon and Jane through the crime scene, starting at the jimmied back door. : PARTRIDGE Red John enters here... Partridge creeps toward the front of the house where the position of Tannen's body is indicated by tape and copious blood stains on the carpet. He crouches down in an alcove near the front door. PARTRIDGE (CONT'D) ...He sits and waits for her, expecting her to come home alone. Only she comes home with Tannen, for a Richard Gere and ice. cream orgy. So John improvises. He takes a five iron... (swings) ...And crushes Tannen's skull. Then takes his own sweet time dealing with Alison how he likes. Jane goes upstairs.

K‘Sfl/ N 18. INT. UPPER FLOOR. RANDOLPH HOUSE - CONTINUQUS Jane enters the bedroom. The bed soaked.in blood. Alison's body indicated with tape. The big smiley face drawn in blood on the wall. Her messy dressing table with silly photos stuck in the mirror. An inspirational diary, with Tuesday's message - 'Today is the first day of the rest of your life.' FLASHBACK INT. TV STUDIO - DAY Jane, five years younger. Slick and arrogant, dressed in hip showbiz black, performing a psychic medium act before a live audience on a local L.A. MORNING TV SHOW. The lights are dimmed. The audience is hushed .and still. JANE Jenny, your father's kneeling now. There are tears in his eyes. He says.. he says that he's sorry for all the pain he caused you and your mother, Deeply sorry. In the audience, homely JENNY, 32, is totally buying it, hand over her mouth, eyes brimming. JANE (CONT'D) He asks you to forgive him. Do you Jenny? Can you do that? Jenny nods, unable to speak. JANE (CONT'D) He needs to hear it. - JENNY (weeping) I forgive you daddy. I forgive you. JANE He's smiling now. There's such joy in his eyes. He says God bless you and keep you. (beat) He's gone.

- 19.. Jane comes out of his semi-trance. Jenny is sobbing. The audience applauds, deeply moved. takes-a seat with DAVIS and KELLY, the hosts. KELLY Amazing. Amazing. Amazing. DAVIS She's amazed. Daniel, T understand you're also a sort of paranormal detective. Is that right? JANE I help the police when I can. DAVIS - And you've been helping them hunt this scary serial killer? What's his name? Red John? PARTRIDGE O.S - Thar she blows... END FLASHBACK INT. BEDROOM. RANDOLPH HOUSE - DAY Lisbon entering, followed by Partridge. Only a few seconds have passed. PARTRIDGE ...The classic Red John smiley face. I'm stoked to finally see one in the flesh. - JANE Pretty exciting hub. PARTRIDGE You kidding me? These are the cases you live for. JANE This isn't Red John. . PARTRIDGE Ri-i-ight. Oh-kay. BAnd you know that how? JANE Red John thinks of himself as a showman, an artist. He has a strong sense of theater. (MORE)

.- (CONT'D) - In every previous killing, he made sure that the first thing anyone " sees is the face on the wall. You see the face first, and you know. You know what's happened, and you feel dread. And then, and only then, you see the body of the victim. Always in that order. Here, it's the opposite. The first thing you see is the body. You have to look around to see the face. It doesn't play nearly as well, does it? LISBON Depends on your taste I suppose. JANE No. Come on. The killer could have painted on the correct wall, here. But he didn't. Because he didn't know better. Because he's not Red John. PARTRIDGE Wow. Interesting. Good luck with that my friend. (to Lisbon) Who is this guy? JANE You know what your problem is? You enjoy your work a little too much. You're a ghoul. PARTRIDGE " How dare you? JANE If you don't get wood reading Fangoria, I'm Shirley Temple. LISBON Get out of here Jane. JANE I'm sorry. He irks me. He's irksome. LISBON Out. 20.

EXT. Jane and Lisbon walking back to the rental van. RANDOLPH HOUSE. THE LAKES — DAY LISBON (seething) Nice work with the quiet and the watching and the learning. JANE Come on, the man's a gigantic nimrod. Lisbon takes a deep breath to calm herself. LISBON A nimrod we have to work with. This is a job. A profession. There's a way to behave. JANE Yes. But you agree, right? It's not Red John. LISBON "We don't know that. JANE Yes we do. LISBON No. We don't. INT. WHITE RENTAL VAN IN MOTION - DAY Gilzean driving. GILZEAN I don't see it. A copycat. Sexual psychopaths do their own thing, they don't copy others. JANE This wasn't done by a psychopath. This was done by someone close to the woman, trying to lay a false trail. Husband or a lover probably. GILZEAN Cut up like she 159 Nah. That's psycho work. 21,

SN v\k-.lg/ 22. JANE With love, anything is possible. Would you drop me at the airport? GILZEAN The airport? It's way out of our way man. Sherriff's department is just along here. LISBON You're leaving? JANE . Well, I have to get my shoes X- rayed anyway, SO you know... LISBON And off you go on your way. If it's not Red John, these lives " lost heré mean nothing to you. JANE Not nothing. I'm confused. I thought you don't want me here. I'm going because it's not Red John, and you don't want me here. LISBON We don't know it's not Red John, and what I want is not the point... Oh wait, I get it. You're not going anywhere. You're just trying to get me to ask you to stay. JANE Why would you think that? . LISBON Because A, you have nowhere to go.. And B, you're an egomaniac. ’ You think it's impossible that I really truly do not want to work with you. You think deep down I have a grudging respect for your But the truth is deep down, I'm scared of you. You have no boundaries. You have no common sense. You're filled with..., with stuff that you refuse to acknowledge. One day, you're going to explode and create one mother of a shitstorm for yourself and everyone around you. ' (MORE)

23. LISBON (CONT'D) I do not want to be there when . that happens. So we'll drive you to the airport, no problem. It's not that far out of our way. Take left on Bob Hope. Jane smiles tightly, wounded, and trying to conceal how firmly she has struck home. Cho and Gilzean try to pretend they are not there. JANE That's okay. You can just let me out here. GILZEAN We can drive you. No problem. JANE Stop the car! Gilzean slows down and changes lanes... JANE (CONT'D) Thank you. Jane and Lisbon both wear expressions of lofty resolve., EXT. STRIP MALL. STREETS OF INDIAN WELLS - DAY The Minivan pulls over and Jane geté»out. The van drives off and is quickly out of sight round the corner. Jane is marooned on a lonely corner of a block size chain store mall, on the shore of a little island of improbably green grass, rubbery desert foliage, and a good size Japanese waterfall tumbling over fiberglass rocks. Jane almost immediately regrets the way he handled things and curses himself for a damn fool. JANE Stupid stupid stupid stupid. He kicks a fiberglass rock. END OF ACT ONE

24. INT. TOILET CUBICLE. MEN'S ROOM - DAY Jane sits on the loo, pants down, playing Tetris on his cell phone. INT. CBI TEMP OFFICES. SHERRIFF'S DEPARTMENT - DAY An almost bare room. In BG Van Pelt is efficientiy supervising the arrival of office furniture. Cho, Gilzean, and Lisbon gaze at a lap top computer screen - running through Hi-8 CRIME SCENE FOOTAGE from the Red John files. A macabre montage that makes clear Jane was right.. In all previous Red John killings the face comes first, then the body. In the killing of Alison Randolph, the body comes first. LISBON (grudging) Okay, so yes. This one fit the pattern. GILZEAN So... LISBON So? CHO So Jane was right. We have a copycat. LISBON Or we have Red John trying new things. Or Red John making a mistake. We don't know. We'll see what CSI has to say, and work the evidence. Meanwhile, go talk to ‘the husband. GILZEAN Will do boss. Neither man moves. LISBON What?

e’ 25. . CHO . We think you were too hard on Jane. Gilzean nods agreement. LISBON What are we in high school now? Go do your job. They still don't move. GILZEAN It's not that what you said isn't true. He's a loon. After the shit he's been through, it's only natural. But we can manage him. CHO He clears cases. LISBON This unit cleared cases before he came and we will clear cases after he's gone. Thanks for the input. Tacitly dismissed, Cho and Gilzean exit. Lisbon takes a - long beat, sighs, and reluctantly picks up her phone. Taps in a number. Gets an immmediate answer. LISBON (CONT'D) Hey. So I think you might be right, about this case. Might be. Thanks for the insight. - (listens) Yes. (listens) No. 'Did I say that? No. I'm not asking you to do anything. I'm simply acknowledging that you may be right. That's all. I mean, if you wanted to come back, I couldn't stop you. (listens) Yes. That's what I'm saylng (listens) ! Because. Because you're useful to ‘the team. : (listens) Fine. Fine. I am asking you to come back. (listens, bristles) No. No, I won't say pleaseé. Go screw yourself.

.- 26. shuts her phone - Clack! - like a castanet. Sits - back in her chair. Blows air. LISBON (CONT'D) Jackass.. Right then, Jane walks in the door, very casual. Lisbon restrains herself and just taps busily at the keyboard as if he weren't there. JANE Good morning. . VAN PELT Can' I help you? JANE You must be Van Pelt. A pleasure. Daniel Jane. VAN PELT (enthusiastic) . Oh, hi! Good to meet you. Agent Cho said you had left town. JANE No. Nowhere to go. VAN PELT Okay. You want that desk over there or this one? That one gets more light. JANE That one, thank you. More light, by all means. Van Pelt bustles away. JANE (CONT'D) What a pleasant addition to the Serious Crimes family. Jane pours himself a cup of coffee. Lisbon continues on the keyboard. Jane smiles taking in the familiar . surroundings. A dusty anonymous office, the gold chain around Lisbon's neck, Gilzean's dumb Tasmanian Devil screen-saver. Crap coffee. He's home, thank christ. JANE (CONT'D) Thank you for taking me back. I won't let you down. . I'm going to watch and learn, like you wanted me to.

C 27. Lisbon pretends she just now notices him. LISBON Oh, hi. When did you get here? INT. LIVING ROOM. EVELYN RANDOLPH'S HOUSE - DAY A big mid-century showpiece. At one .erid, Eli Randolph on a big overstuffed sofa, teary eyed, a tumbler of bourbon in hand - using the remote to re-run the same brief sequence over and over on a big flatscreen TV - FOOTAGE. from a lo-fi video camera-of ALISON RANDOLPH, in a garden on a summer day. Trying to dodge someone off- camera spraying her with a garden hose. She finally gets mad and shouts at them angrily and the clip ends.. Brother Tag is seated at a table watching the video also. At the other end of the room, EVELYN RANDOLPH enters with Gilzean and Cho. She's a chic fake wasp in her late sixties; yellow candyfloss hair, pearls. Torturing herself into a size 2 is her lifelong religious vocation. She stops the Agents... . EVELYN You will be low key won't you? My son is still very fragile. He was very fond of poor dear Alison. GILZEAN Yes ma'am. CHO . What did you think of her? EVELYN (a scary smile) Oh, a lovely girl. Always well groomed and well mannered. A MOMENT LATER Cho and Gilzean watch the Alison video with Eli; his mother beside him. ELI I lost a beautiful precious angel. GILZEAN -Yes sir. Good looking woman.

CHO You were in Fresno from Sunday night to Wednesday mfrorning, is that correct? . ELI Yes. GILZEAN Where did you stay in Fresno? ELT I don't know. The Westin something. TAG The Westin Valley Regal, Room 310. CHO You missed the tournament cut Tuesday morning, yes? But you didn't come home until Wednesday. What did you do with the rest of your time in Fresno? ELI I was in.my room. Room 310. CHO The whole time. ELI The whole time. CHO Is there someone who could vouch for A room service waiter perhaps? A maid? ELI " What is this? You people can't catch Red John so you want to lay this on me. Is that what's going on here? GILZEAN We're not accusing you of anything sir. We have that confirmation of where you were, it lets us exclude you from the investigation. EVELYN . Eli, socks up now. We must let them do their job. ’ 28.

- _Eli glances awkwardly at his mother. ELI I was with a massage therapist. Evelyn looks pained. CHO Name? ELI I don't recall. She was from the yellow pages. R CHO What was name of the service you called? ELI It had 'lady' in there somewhere. Lady', something like that. EVELYN (embarassed murmur) Forgodsake Eli. ELI Oh, I'm sorry to embarrass you mother. Really. Believe me, I - don't feel so good about it myself. Eli folds up and begins to sob. Evelyn takes him in her arms, and lets him cry it out. WE SEE, but Gilzean and Cho don't, that Tag wears an ILL CONCEALED LOOK OF CONTEMPT as he leaves the room. INT. WAGNER'S OFFICE. WELLNESS CENTER - DAY Doctor Wagner scrolls through a file on his desktop computer. Lisbon seated, waiting. Jane moving round the . room, which is more like a gentleman's study than a doctor's office. Filled with books and art and photography, much of it African. A little statue of a fertility goddess. Photos of Wagner receiving and giving awards. Several cool masks. WAGNER ...We're a full service private practice. (MORE)

30. - WAGNER (CONT'D) We deliver primary care, cosmetic surgery, psycho-therapy, sports medicine, you name it. - JANE Just so long as you're stinking rich and fully insured. WAGNER (cheerfully) Exactly. JANE What's -the African connection? WAGNER It's what this place is all about. Half of our profits go to build and staff basic health clinics in poor african communities. JANE Wow. Okay. That's cool. WAGNER It's a selfish pleasure really. There's no better feeling than saving kid's lives. Here we are. It's a thin file. Alison was a healthy young woman. LISBON Psychiatric history? WAGNER She didn't have one. Jane studies Wagner's bookshelves. Amongst the medical textbooks there's a section on forensics and criminal psychology. Jane casually pulls out a book - "The sociopathic mind - case studies in criminal psychology", leafs through it, .half listening to the Q&A. LISBON STDS? Abortions? Unexplained injuries? WAGNER No. WAGNER (CONT'D) No. Aside from routine check-ups with me, it's all Tannen. All aesthetic work.

JANE - - What about Tannen? Did he have any enemies? WAGNER None that I ever heard of. JANE . Did he keep a diary? last case was solved because the victim kept a diary. . Lisbon rolls her eyes. WAGNER A diary? - I don't think so. I take it from this line of questioning that you no longer suspect Red John. LISBON We're pursuing all lines of inquiry. Getting back to Alison Randolph. How was her marriage d'you think?. Happy? Unhappy? WAGNER . (rueful smile) I've known the Randolph family for nearly twenty years and happy is not-a word that springs to mind when their name is mentioned. Evelyn is a crocodile, and Eli's something of a mama's boy. Jealous to boot. Kept Alison on a tight leash. LISBON Did he have reason to worry? Wagner hesitates... WAGNER About six months ago, Tannen asked my advice. Alison Randolph had asked him to get her a year's supply of birth control pills. Off the books. Which is strictly against AMA code. I said sure, do it. Better us than some Tijuana drugstore. LISBON Why the secrecy? 31.

32. WAGNER Eli Randolph had a vasectomy. of '02. Cedars. Lisbon rises. LISBON Thanks for your help. WAGNER ) Please, if there's anything else I do to help... JANE Actually, yes there is. I'm out of sleeping pills: Could you fix me up? Anything strong will do. WAGNER Sure. Come in for a consultation. We could squeeze you in this afternoon. JANE Oh. No. I was hoping you could give me something, now. Without the chitchat. . WAGNER I'm sorry. Narcotic drugs are a very different thing from contraceptives. I wouldn't be comfortable prescribing without some sort of 'chit chat'. Jane's already halfway out the door. No way. JANE I understand. No problem. I'1l call you, maybe. INT/EXT. WELLNESS CENTER - DAY Jane and Lisbon leaving the elegant spa-like clinic. Lisbon is smiling to herself. JANE In reply to what you're about to say. Yes, No. I ‘can manage. But thanks for your concern.

- 33. LISBON I'm saying nothing. You don't want help with your mental issues, bon voyage. INT. CHAIN SEAFOOD RESTAURANT - NIGHT The CBI homicide unit eating dinner. JANE'S POV - Live lobsters churning slowly in a tank of dark green water. The sly smile and crazy eyes of a bosomy ship's figurehead on the wall. The tiny man in the crow's nest of a model whaling ship, his arm pointing, his mouth a black dot of alarm. LOBSTERS arrive. Jane works on his with the swift violence of a civil war field surgeon. Lisbon is methodical and neat; Cho is brutal and neat; Gilzean, brutal and messy. Van Pelt has a chicken cutlet. . CHO I like him. I like him for it. GILZEAN Only thing, he was getting a handjob in Fresno at the time of the murders. Sounded like a real handjob to me. CHO Nah. He hires some hooker he knows to create an alibi while he flies home, fillets the spouse, and flies back again. A classic elaborate and clever but ultimately stupid plan. JANE ] Have you looked at Eli Randolph's PGA tournament record? CHO It's not bad. Six mil career earnings. JANE Won at odd intervals over a decade for coming in second and third. Put him on the eighteenth tee with a big win on the line, like night follows day, he'll shank it. He's a choker. Hasn't got the nerve to kill his wife. Didn't do it. : (MORE)

. JANE (CONT'D) (hails a waitress) Miss... He gives the waitress his glass. JANE (CONT'D) A drop more of your vile scotch please. LISBON (irritated) You're suggesting we drop a prime suspect because he hasn't won a major. JANE No no. Just making idle conversation. (to Van Pelt) Hey, watch this. He makes a straw follow his finger, rolling across the table as though pulled by magnetism. VAN PELT (delighted) How did you do that? JANE Telekinesis. He resumes eating his lobster. VAN PELT Mister Jane, I have a question, regarding your previous career path? JANE Fire away Agent van Pelt. VAN PELT When you met with other psychics? Real psychics? Could they tell that you were only pretending? JANE There's no such thing as real psychics. VAN PELT Really. I beg to differ. My cousin Yolanda is a psychic.

JANE Your cousin is deluded or dishonest. Or both. GILZEAN Steady. VAN PELT No no, he's entitled to his opinion. He's wrong though. She | has power. She.can communicate with the other side. seen her do it myself. JANE She let you speak with someone who's gone. VAN PELT Yes. . JANE Someone that you love and still miss very much. VAN PELT Yes. JANE You wanted her power to be real. So it was. VAN PELT No. . GILZEAN You're so sure you're right. But science don't know everything. There's mysterious stuff out there. VAN PELT Five hundred years ago, radio would have seemed like magic. GILZEAN Exactly. VAN PELT Five hundred years into the - future, it might be totally normal to communicate with the other side. 35.

36. JANE The other side. Your father is a football coach, yes? . VAN PELT (wide eyed) How did you know that? JANE It's obvious from your whole demeanor. LISBON He read your file. JANE And I read your file. My point is, didn't dad always tell you that life is like football? When that final whistle blows, the game is over. Done. There is no more. There is no other side. This is it. Lobsters and bread rolls and nautical kitsch, then psssh. Nothingness. Lisbon signals a far away waitress for the check. VAN PELT You poor sad man. You are so wrong. JANE Play the game Melody. Make the most of it. Becauseé this, this is all there is. ' VAN PELT You are so wrong. The kingdom of God is a real place. JANE Later tonight, when Gilzean asks you to come back to his hotel room? Say yes. Do it. Gilzean blushes crimson and covers his face. VAN Excusé me? JANE I know, I know, you were planning on refusing ve-e-ry curtly. (MORE)

37. JANE (CONT'D) First week on the job, you want to set a tone, right? No monkey business. But why? Why? Live life Melody. Gilzean's an excellent lover, I'm sure. Tough but fair. Am I right? Gilzean is hiding his face in embarassment. Van Pelt rises serenely above the low talk. . VAN PELT The kingdom of God is a real place Mister Jane. And you have an immortal soul. ' JANE Oh I do so hope you're wrong. Lisbon beckons the waitress a second time, brusquely. LISBON Hey lady, check. EXT. HOTEL. INDIAN WELLS - NIGHT A ten storey 80s slab amid a cbmplex of malls and parking lots. The mountains looming darkly in a dramatic night sky make it look like the main set of a japanese monster movie. . . INT. HOTEL ELEVATOR - NIGHT Lisbon, Jane, Van Pelt, Cho, and Gilzean, going up. Elevator stops. Lisbon, Cho, and Jane get out. Leaving Van Pelt and Gilzean alone for two floors, painfully embarrased. Doors open. : GILZEAN This is me. Welcome to the unit, Agent Pelt. VAN PELT Thank you Agent Gilzean. Gilzean gets out. The doors close. INT. HOTEL CORRIDOR - LATER THAT NIGHT An eerily lit empty hallway. 'Strange noises off. INT. JANE'S HOTEL ROOM - CONTINUOUS TV - A PACK OF LIONS tear into a WILDEBEEST.

38. Jane lies on his bed stark NAKED, gazing idly at the carnage on TV. A bedside clock radio says it's just past eleven. A WHITE ENVELOPE slides under his door. Jane gets off the bed, picks it up, opens it. Inside is a FOLDED SHEET OF PAPER. Unfolded, A BLOOD SPATTERED SCRAP OF CLOTH falls out. The brief letter is typewritten, and in place of a signature - © Jane drops the letter, wrenches open the door and darts out into.. INT. HOTEL CORRIDOR - CONTINUOUS A very long narrow corridor. Jane catches a glimpse of a man's leg disappearing round the distant corner. Jane runs after him, banging on Lisbon's doors as hée goes by. JANE Lisbon! Lisbon opens her door and looks out in time to see Jane disappear round the corner. . JANE'S POV - He sees the same man disappear around the ‘far corner of an identical corridor. Jane races to the next-corner only to see another corridor dead-ended by a FIRE DOOR, slamming shut. Jane runs to the fire door, wrenches it open... INT. HOTEL STAIRWELL - CONTINUOUS Jane dashes precipitously down the stairwell. We catch glimpses of his quarry, one flight down. Jane is gaining on him fast. But then JANE STUMBLES AND FALLS DOWN a whole flight, crashing painfully on the landing. Losing precious time, he struggles up and limps down several more flights to another FIRE DOOR. He slams through it to... EXT. HOTEL AND ENVIRONS - CONTINUOUS Jane emerges on -the edge of a PARKING LOT, shared by the hotel, a vast OUTLET MALL, and a MOVIEPLEX. Jane's ‘quarry could have disappeared via any number of routes. He's gone. ' '