WHERE IS SHE? OVER HERE.
YOU SAW THE SUSPECT? DETAILS, PLEASE. WHERE? WHEN?
UH, I WAS COMING OUT OF THE ELEVATOR AFTER LUNCH.
WHERE WAS THE SUSPECT HEADED? UH, UP THE STAIRS, WHICH I THOUGHT WAS STRANGE,
'CAUSE THAT LEADS TO THE ROOF, RIGHT? IT'S NOT JUST THE ROOF. IT'S WHERE JANE WORKS.
HAS ANYBODY SEEN HIM? NOT SINCE THIS MORNING.
COVER THE EXITS! ALL OF THEM!
USE WHOEVER YOU HAVE TO OUT HERE!
HASTEN SLOWLY.
THE TARGET WILL BE ARMED.
IT'S LOCKED.
JANE? YOU IN THERE?
(Patrick) YEAH, I'M COMING OUT.
YOU'RE GONNA HAVE TO STAND BACK. AND IF YOU'RE BEARING FIREARMS,
PLEASE LOWER THEM.
PLEASE.
(door rumbles)
(clank)
(Lisbon) AGENT HIGHTOWER.
STAND BACK...
OR HE DIES.
**
(Cho) SECURITY GUARD MAKING ROUNDS THIS MORNING
FOUND THE BODY. MULTIPLE STAB WOUNDS. ANYTHING MISSING FROM THE DISPLAY CASE?
YEAH, A MAYAN FIGURINE. GOLD. VALUED AT 200 GRAND.
WE GET AN I.D. ON THE VICTIM?
MANUEL MONTERO. HE WAS A PROFESSOR AT THE UNIVERSITY,
IN ANCIENT ART. SECURITY CAMERAS SHOW HIM
ENTERING THE MUSEUM ALONE AT 10:25 P.M.,
THEN HE TURNED OFF THE CAMERAS. (Patrick) HEY, LISBON.
LOOK AT THIS.
MEET CAROLINE--
ONE OF THE MOST WELL-PRESERVED TYRANNOSAURUS REX
EVER DISCOVERED. ISN'T SHE AWESOME?
WE'VE GOT A DEAD MAN OVER THERE.
DEAD MEN I'VE SEEN. BUT THIS...
COULD WE GET BACK TO WORK, PLEASE?
MUST I JUSTIFY MY EVERY ACTION?
PLEASE OBSERVE THE RIB CAGE
OF OUR SMALLER FOSSILIZED FRIEND HERE.
THERE'S A RIB MISSING.
YOU THINK SOMEBODY CLIMBED UP THERE AND STOLE IT?
WELL, TWO OPTIONS-- THE FIRST INVOLVES CLONING.
THE SECOND AND MORE LIKELY--
IT WAS USED TO BREAK A VERY THICK PIECE OF GLASS.
COULD WE GET SOMEBODY
TO DUST THE STEGOSAURUS FOR PRINTS, PLEASE?
IT'S NOT A STEGOSAURUS. IT'S A TRICERATOPS.
TRICERATOP... PS. ...PS.
...PS.
UGH.
(man, foreign accent) MY NAME IS CHRISTO PAPADAKIS.
I AM PROFESSOR OF ANTHROPOLOGY.
DID YOU KNOW THE VICTIM? MANUEL MONTERO. HE WAS PART-TIME FACULTY.
TOO BUSY TO TEACH FULL-TIME. (chuckles)
MONTERO WAS ON THE RUN.
ON THE RUN FROM WHO?
NOBODY. HE--HE TRAVELED.
HE WAS ALWAYS RUNNING TO SOUTH AMERICA.
HIS CAREER WAS IN RUINS. WELL, TOUGH TIMES FOR EVERYBODY.
NOT FOR MONTERO. HE HAD A LOT OF MONEY. WELL, YOU JUST SAID HE WAS IN RUINS.
YES, TOLTEC. MAYAN.
OH. MONTERO WAS AN ARCHAEOLOGIST?
SPECIALIZING IN PRE-COLUMBIAN ART.
MANY OF THE PIECES AROUND YOU ARE, UH, ON LOAN FROM HIM.
CAN YOU THINK OF ANYONE WITH A REASON TO KILL MONTERO?
WELL, HE WAS A TRAITOR.
OH, HE WAS A TRAITOR? WHO DID HE BETRAY? BETRAY? NOBODY.
WELL, YOU JUST SAID HE WAS A-- MONTERO WAS AN HONEST ANTIQUITIES DEALER.
ONE OF THE LAST. MOST TRADERS THESE DAYS ARE LOOTERS
AND NO-GOOD SON-OF-A-BITCHES.
SO, MONTERO WAS A TRADER...
HE TRADED ANTIQUITIES,
EXCAVATED FROM SOUTH AMERICAN RUINS.
ARE YOU REALLY PROFESSIONAL POLICE OFFICER?
SO THE MISSING PENDANT BELONGED TO THE VICTIM.
MONTERO LIKED TO VISIT THE MUSEUM AFTER HOURS
TO SHOW HIS PIECES TO PRIVATE BUYERS.
HE HAD A KEY TO THE BUILDING AND THE SECURITY CODE.
AT THE HEART OF ANY SALESMAN IS SHOWMANSHIP.
AND YOU'D BE HARD-PRESSED
TO FIND A MORE DRAMATIC PROSCENIUM THAN THIS.
YEAH, SMART STRATEGY UNLESS THE BUYER DOESN'T WANNA PAY.
(Lisbon) STABBED IN THE BACK, LITERALLY.
MONTERO PROBABLY DIDN'T EVEN SEE IT COMING. BUT HE HAD TIME TO THINK ABOUT IT BEFORE HE DIED.
LOOK AT HIS WATCH.
WOW. THAT'S AN UGLY WATCH.
IT'S A CALCULATOR WATCH. INDEED. VERY USEFUL ACCESSORY FOR THE SALES PRO ON THE GO.
IS THERE SOMETHING TYPED IN THERE?
IT'S UH, NUMBERS.
"6-0-7-8."
SUPPOSED TO MEAN SOMETHING?
TRY LOOKING AT THE NUMBERS UPSIDE-DOWN.
HUH.
IT SAYS "BLOG."
HIS CELL PHONE WAS CRUSHED BY THE KILLER,
SO MONTERO HERE IMPROVISED.
CALL VAN PELT AND SEE IF MONTERO PUBLISHED A BLOG.
I'M READY TO GO. I'VE SEEN ENOUGH. I HAVEN'T.
YOU KNOW THEY HAVE MASTODONS HERE? GIANT SLOTHS.
AND DIRE WOLVES. I-I'LL CATCH UP.
(Mimi) But, Mommy, I want to go.
YOU CAN SQUAWK ALL YOU LIKE, MIMI.
THERE'S NO SLEEPOVERS ON A SCHOOL NIGHT.
I have to.
NO.
Mommy, that's so unfair.
I'M SORRY, BABY. I GOTTA GO.
All right. Love you.
MM-HMM. LOVE YOU, TOO. BYE.
(hangs up telephone)
FORGIVE THE INTRUSION.
WHAT'S THIS ABOUT, AGENT LaROCHE?
(chair scrapes)
(clears throat) THE TODD JOHNSON CASE.
HMM.
I WOULD LIKE TO SHOW YOU A PHOTO
OF ONE OF THE LAW ENFORCEMENT OFFICERS
THAT HE MURDERED.
DID YOU KNOW THIS MAN?
RANCE HOWARD. C.H.P. OFFICER.
VERY POPULAR. A LOT OF OUR AGENTS WERE CLOSE TO HIM.
SOME MORE THAN OTHERS.
THERE'S A RUMOR THAT YOU AND HOWARD
WERE INTIMATELY INVOLVED. IS THAT TRUE?
EXCUSE ME?
SIMPLE QUESTION.
SIMPLE ANSWER--WHAT THE HELL IS THAT TO YOU OR ANYBODY ELSE?
JOHNSON WAS SET ON FIRE--
A CRIME OF PASSION IF THERE EVER WAS ONE.
IF YOU WERE HAVING AN AFFAIR WITH ONE OF JOHNSON'S VICTIMS,
YOU HAD PASSION AND MOTIVE.
YOUR INVESTIGATION SEEMS TO HINGE
ON WHAT YOU MAY HAVE READ ON A BATHROOM WALL.
GOOD LUCK WITH THAT, AGENT LaROCHE.
(chuckles)
(chair scrapes)
(clears throat)
(chair scrapes)
(papers rustle)
BACKGROUND ON MONTERO. WHAT DO WE KNOW ABOUT HIM?
SINGLE, SELF-EMPLOYED, SPENT HALF HIS TIME ABROAD
IMPORTING ANCIENT ART.
SOLD IT FROM A WAREHOUSE IN SAN FRANCISCO. FAMILY?
PARENTS RETIRED IN FLORIDA.
THEY'LL BE ON THE NEXT FLIGHT HERE. HEY, BOSS. I LOOKED INTO THE BLOG.
MONTERO DID PUBLISH ONE-- "I DIG DEAD PEOPLE."
ARCHAEOLOGY HUMOR. CUTE. ANYTHING USEFUL?
A LOT OF SELF-PROMOTIONAL ENTRIES
ABOUT HIS RELIC-HUNTING ADVENTURES. BUT THREE WEEKS AGO,
HE CAME BACK FROM A TRIP TO COLUMBIA WITH THE GOLD PENDANT
THAT WAS STOLEN FROM THE MUSEUM. AFTER MONTERO BLOGGED ABOUT IT,
A PRIVATE BUYER POSTED AN ANONYMOUS E-MAIL
TO ARRANGE A VIEWING. DID YOU PUT A TRACE ON THE E-MAIL?
NOT ME. FBI's COMPUTER FORENSICS LAB. ONE OF THE PERKS OF HAVING A FIANCé WITH THE FEDS.
PRELIMINARY FORENSIC REPORT. PULLED ABOUT A HALF DOZEN PRINTS
OFF THE STEGOSAURUS SKELETON.
IT'S GONNA TAKE A WHILE TO PROCESS THEM, THOUGH.
WHILE WE'RE WAITING ON FORENSICS,
LET'S WORK ON DEVELOPING SOME LEADS.
HEY, YOU SAID THAT MONTERO HAD A WAREHOUSE? YEAH, IN THE MISSION DISTRICT.
BUT THERE'S SOMETHING ELSE. I RAN HIS FINANCIALS.
THE PROFITS FROM HIS COMPANY HAVE BEEN GOING UP AT A TIME
WHEN OTHER ART AND ANTIQUITY DEALERS ARE CLOSING SHOP. CLOSING SHOP? WHY?
REPATRIATION LAWS. COUNTRIES ARE NOW SUING FOR THE RETURN
OF THEIR CULTURAL TREASURES. YOU AND RIGSBY GO TO THE WAREHOUSE.
SEE IF YOU CAN FIND ANYTHING.
HI, JANE. HEY.
THE BOYS ARE WORKING ON THE PARKING LOT TODAY.
NEED YOU TO PARK UNDERGROUND.
OH, NO PROBLEM. THAT KID OF YOURS, JIM--
IS HE INTO DINOSAURS AND PREHISTORIC STUFF? SURE LOVES HIS MOTHER.
(laughs) HERE. GIVE HIM THIS.
IT'S A REPLICA OF A DIRE WOLF'S TOOTH.
THANKS. LOOK AT THAT.
HAVE A GOOD DAY.
(engine turns off)
(car door closes)
WHAT?
I DIDN'T SAY ANYTHING.
(sighs) YOU WERE THINKING IT.
MENTALIZING ME. YOU CAN TELL?
I CAN READ IT ON YOUR FACE. SO STOP.
WELL, IF YOU CAN READ IT ON MY FACE,
THEN YOU'RE MENTALIZING ME. SO YOU STOP.
OH. NO, ON SECOND THOUGHT, KEEP GOING. WHAT AM I THINKING?
PLEASE GO AWAY, JANE. NOPE. THAT'S WRONG. TRY AGAIN.
YOU'RE THINKING I'M FREAKING OUT
BECAUSE SOME FOOL SPREAD A RUMOR
THAT I WAS HAVING AN AFFAIR WITH RANCE HOWARD.
THE C.H.P. OFFICER? YOU'RE THE ONE THINKING IT.
I FEEL NAKED.
THERE'S ONLY ONE PERSON THAT HAS THIS SINGULAR EFFECT ON PEOPLE.
YOU'VE BEEN LaROCHED, HAVEN'T YOU?
I SUPPOSE I HAVE. WELL, THERE'S NO SHAME IN IT.
WE'RE ALL POTS IN HIS KITCHEN, AND HE'S A SOUS CHEF,
JUST WAITING FOR ONE OF US TO BOIL OVER.
I WON'T GIVE HIM THE SATISFACTION. OF COURSE NOT. DID YOU?
DID I WHAT? DID YOU HAVE AN AFFAIR WITH RANCE HOWARD?
MY PERSONAL LIFE IS MY PERSONAL LIFE.
NOBODY ELSE HAS THE RIGHT TO IT. WELL YOU'RE WRONG ABOUT THAT.
LaROCHE DOES. WHATEVER THE TRUTH IS,
I WOULDN'T TRY TO HIDE IT FROM HIM.
HE'LL FIND OUT EVENTUALLY.
HO-HO-HO. IT'S OUR LUCKY DAY, BUDDY.
SEE THAT TACO TRUCK JUST AS WE GOT OFF THE FREEWAY?
THAT TACO TRUCK'S ALWAYS THERE. OH, YEAH. A LITTLE CARNE ASADA
AFTER WE CHECK OUT THE WAREHOUSE? MUY BIEN. NO.
WHY NOT? I DON'T WANNA CROSS HOBO ALLEY TO ORDER LUNCH FROM A TRUCK
THAT'S NEAR THE SEWAGE DITCH UNDER THE FREEWAY.
BUT THERE'S TACOS THERE.
THIS IS THE WAREHOUSE.
(door rattles)
LET'S CHECK OUT THE BACK.
(man speaks Spanish)
HEY!
CBI. WHO'S IN CHARGE HERE?
ESTAMOS CON LA POLICíA. ¿QUIéN ESTá A CARGO?
MAYBE THEY DON'T SPEAK SPANISH. MAYBE YOU DON'T.
GUN!
COVER ME!
(bullet ricochets)
(thud)
(under breath) ERES UN IDIOTA.
THROW OUT YOUR WEAPON!
LA PISTOLA!
DO IT NOW!
STEP INTO CLEAR VIEW! HANDS IN THE AIR!
FACE DOWN ON THE GROUND. HANDS OUT TO YOUR SIDES. DO IT NOW.
(click)
HEY! HEY, HEY, EASY! EASY!
YEAH, NOW HE UNDERSTANDS ENGLISH. SO...
WHAT KIND OF ANCIENT ART YOU BOYS SELLING TODAY, HUH?
OH.
ROBERTO SALVADOR.
YOU'RE ON A WORK VISA FROM COLUMBIA.
SO YOU WORK FOR MONTERO?
HMM. COULD BE.
COULD BE MONTERO WORKS FOR ME. (chuckles)
ATTITUDE. REALLY?
UH, WHERE ARE YOU GOING?
TO WRITE YOU UP ON CHARGES OF RUNNING GUNS,
RESISTING ARREST, ATTEMPTED MURDER...
HEY, HEY, HEY, CáLMATE. TRANQUILO.
I ONLY SHOT AT YOU BECAUSE YOU SHOT AT ME.
WHAT--WHAT CAN I DO HERE? I GOT A FAMILY, YOU KNOW.
I WANNA SEE THEM AGAIN. YOU ANSWER MY QUESTIONS. NO ATTITUDE.
MAYBE WE'LL FORGET ABOUT THE ATTEMPTED MURDER.
GOOD. SIT DOWN.
WHY DID MONTERO HIRE YOU?
TO RUN HIS SHIPPING OPERATION. WEAPONS OR ANTIQUITIES?
BOTH.
MANUEL WAS AN HONEST BUSINESSMAN FOR MANY YEARS,
BUT THE PROFIT IN THOSE MUSEUM PIECES WENT AWAY.
TOO MANY LEGAL BARRIERS.
POLíTICOS, CRIMINALES TO BRIBE.
SO MONTERO STARTED TRAFFICKING GUNS.
HE HAD HIS COMPANY ALL SET UP. HE COULD SHIP THEM
TO SOUTH AMERICA, NO QUESTIONS ASKED, THEN TRADE THEM
FOR ALL THE BLACK MARKET ANTIQUITIES HE COULD HANDLE.
DID MONTERO HAVE ANY ENEMIES?
NO. HE WAS BELOVED.
IN COLOMBIA, THEY CALLED HIM EL PROFESOR.
WHAT DO YOU THINK?
WELL, IT HAS A CERTAIN PULP APPEAL,
AS FAR AS MYSTERIES GO--
MURDER IN THE MUSEUM, STOLEN MAYAN GOLD,
COLOMBIAN GUN RUNNERS--
BUT IT'S A TAWDRY WORK OF FICTION,
COMPLETELY MADE UP.
OH, I'M PRETTY SURE MONTERO'S DEAD.
YES, BUT NOT FOR THE REASONS THAT WE'RE BEING LED TO BELIEVE.
HOW CAN YOU TELL?
I FIND IT EASIER TO SHOW THAN TO TELL.
UH, EXCUSE ME. (door closes)
COULD YOU PLEASE TELL ME
WHO MONTERO WAS TRADING WEAPONS TO IN SOUTH AMERICA?
ANSWER THE QUESTION. CARTELS, GANGS, PRIVATE ARMIES.
OH, MAKES SENSE.
IF THEY WANTED HIM DEAD, HOW WOULD THEY GO ABOUT THAT?
YOU WOULD NEVER KNOW HOW. HE WOULD JUST...
(blows air) DISAPPEAR.
OKAY.
AND IF THE BODY JUST HAPPENED TO BE FOUND MIRACULOUSLY,
WHERE MIGHT THAT BE?
UH, A MASS GRAVE. SIDE OF A ROAD.
WE FOUND HIM STABBED AND BLED OUT IN A PUBLIC MUSEUM.
WOULD YOU KILL A MAN THAT WAY?
HELL, NO. HEH. TOO HIGH-RISK.
SOMEBODY KILLED MONTERO FOR REASONS
THAT HAD NOTHING TO DO WITH PRE-COLUMBIAN ART
AND NOTHING TO DO WITH COLOMBIAN CARTELS.
THAT'S JUST WHAT THE KILLER WANTED US TO THINK.
OH, I ASKED CONWAY OVER AT GAMBLING CONTROL
TO JOIN OUR INVESTIGATION INTO THE LOAN SHARK SYNDICATE.
CONWAY'S A GOOD MAN, BUT HE CAN TALK THE PAINT OFF A CAR.
DON'T LET HIM RUN THE BRIEFINGS.
DIRECTOR BERTRAM.
J.J., YOU WAITING FOR ME?
SPECIAL AGENT HIGHTOWER, ACTUALLY.
HUH.
GOOD NIGHT.
NIGHT.
A VISUAL RECONSTRUCTION
OF THE NIGHT OF TODD JOHNSON'S MURDER,
BASED ON SECURITY FOOTAGE,
ACTIVITY LOGS,
AND 86 HOURS OF INTERVIEWS.
NICE PROJECT BOARD.
(portfolio hits desk)
BET YOU WON A FEW SCIENCE FAIRS.
HMM.
I WON ALL OF THEM.
THIS IS THE HOLDING CELL WHERE JOHNSON WAS BURNED ALIVE.
THE CIRCLES INDICATE
THE LOCATION OF PEOPLE WITHIN CBI,
MOMENTS BEFORE HIS MURDER.
MY RESEARCH REVEALED THAT
THIS GROUP OF PEOPLE DID NOT HAVE THE SECURITY CLEARANCE
TO ENTER THE HOLDING AREA.
THIS GROUP--
THEY WERE ALL TOO FAR AWAY TO HAVE SET THE FIRE.
THESE...
ALL HAVE AT LEAST
TWO OR MORE WITNESSES WHO CAN VERIFY
THEIR LOCATION AT THE TIME OF THE ATTACK.
FIVE CIRCLES.
THIS ONE IS... YOU.
IS IT?
I OFFER YOU THIS--
FIVE SUSPECTS...
WITHIN STRIKING DISTANCE...
OF JOHNSON...
EACH ONE HIGHLY CAPABLE...
BUT ONLY ONE...
WITH A CLEAR MOTIVE.
(sighs) OKAY.
OKAY.
I WAS SLEEPING WITH OFFICER HOWARD.
(clears throat)
BUT I DIDN'T... (sighs)
I-I... (sighs)
AT THE TIME HOWARD WAS KILLED, WE WERE NO LONGER TOGETHER.
HIS CHOICE OR YOURS?
MUTUAL DECISION. IT--IT--IT WASN'T...
(breathes heavily)
DID YOU SET TODD JOHNSON ON FIRE?
NO, I DID NOT.
YOU MUST HAVE BEEN...
GRIEVING...
ABOUT HOWARD.
HOW DID YOU DEAL WITH THAT?
I GOT ON MY KNEES
AND I ASKED THE LORD FOR STRENGTH AND FORGIVENESS.
THAT'S HOW I DEALT WITH THAT.
YOU MIGHT WANT TO WRITE THAT DOWN.
I THINK I'LL REMEMBER IT.
HEY, JANE. YOU WERE RIGHT.
WELL, OF COURSE. WHAT INSTANCE OF RIGHTNESS ARE WE SPEAKING OF?
YESTERDAY, WHEN YOU SAID MONTERO WAS KILLED FOR REASONS
HAVING NOTHING TO DO WITH THE STOLEN ARTIFACTS.
SO I STAYED UP LATE LAST NIGHT,
AND I RESEARCHED HIS PERSONAL LIFE. SOMEONE SHOULD STAY UP AND RESEARCH YOURS.
YOU'RE NEVER GONNA GUESS WHERE HE GREW UP. THEN I WON'T EVEN TRY.
(both) VINELAND, CALIFORNIA.
HOW DID YOU DO THAT? I FOLLOWED YOUR LIPS.
VINELAND? HOMETOWN OF INFAMOUS COP KILLER TODD JOHNSON?
FOLLOW ME.
DID YOU PRINT THAT PHOTO I SENT YOU LAST NIGHT? YEP. THAT'S JOHNSON AND MONTERO.
THEY WERE CO-CAPTAINS OF THEIR HIGH SCHOOL FOOTBALL TEAM.
ARE YOU GETTING THIS? OUR MURDER VICTIM
WAS BEST FRIENDS WITH THE SERIAL COP KILLER.
IT'S A GREAT PHOTO. AFTER I PUT THAT TOGETHER, I ASKED CHO TO GO TO MONTERO'S
WAREHOUSE LAST NIGHT, SEE IF HE COULD FIND ANY OTHER LINKS.
TELL HIM WHAT YOU FOUND. THE GUNS MONTERO WAS RUNNING? HE BOUGHT THEM FROM GUN SHOPS.
PAID PEOPLE WITH CLEAN RECORDS TO MAKE THE BUYS. MONTERO HAS
A RECORD OF EVERY PURCHASE, INCLUDING SERIAL NUMBERS.
LET ME GUESS. YOU TRACED ONE OF THE SERIAL NUMBERS
BACK TO A WEAPON THAT MONTERO GAVE TO HIS BUDDY JOHNSON. THAT'S RIGHT.
SAME WEAPON JOHNSON USED TO KILL HIS VICTIMS. WHOA.
HAVE YOU MENTIONED ANY OF THIS TO LaROCHE?
I SET A BRIEFING WITH TOP BRASS IN TEN MINUTES.
LaROCHE, BERTRAM, AND HIGHTOWER WILL ALL BE THERE.
TEN MINUTES, CHO.
YEP.
(rattle)
(sighs)
UH, EXCUSE ME.
I'M LOOKING FOR THE FINGERPRINT LAB.
THAT'S--THAT'S ME. WHO ARE... YOU?
PATRICK JANE.
ANY LUCK WITH THE CURIOUS CASE OF THE STEGOSAURUS RIB?
(chair scrapes)
LOOK, I DON'T REALLY...
FUNCTION EFFICIENTLY UNDER PRESSURE, SO...
HEY, NO PRESSURE. JUST WONDERING IF YOU'D FOUND ANY MATCHES YET.
WELL, I'VE SCANNED A TOTAL OF 32 FULL AND PARTIAL PRINTS
FROM THAT FOSSIL, BUT FOR EVERY PRINT THAT I SCAN,
DOZENS OF POSSIBLE MATCHES...
COME BACK. THEN I HAVE TO CHECK THEM
MANUALLY ONE BY ONE TO FIND A MATCH, SO...
YOU KNOW, I'M NOT DAVID CARUSO. IT TAKES TIME.
WELL, YOU DO YOUR THING.
I'M JUST GONNA TAKE A QUICK PEEK AT YOUR LIST, IF YOU DON'T MIND.
(tapping on keys)
PUSH HARD ON THIS ONE. WE NEED A RAPID RESPONSE.
REMEMBER, ANY TIME WASTED'S GONE FOREVER.
I'M NOT WASTING TIME.
ARE YOU SUGGESTING YOU DON'T HAVE ENOUGH TIME?
YOU HAVE EXACTLY THE SAME NUMBER OF HOURS IN THE DAY
THAT ALBERT EINSTEIN HAD. CAN YOU STOP?
THOMAS JEFFERSON. LOUIS PASTEUR. GANDHI.
JUST GET OUT OF... HERE. OH, MY GOD!
OH, MY GOD. WHAT DO I DO?
(groans) KEEP UP THE GOOD WORK.
(beeping) AAH...
MONTERO WAS FOUND AT THE ARCHEOLOGY MUSEUM
WITH STAB WOUNDS. NEXT TO HIM,
A DISPLAY CASE WITH A MISSING PENDANT WORTH OVER $200,000.
THE NIGHT OF THE MURDER,
MONTERO WAS SUPPOSED TO MEET A PROSPECTIVE BUYER.
FIRST, WE THOUGHT THE MISSING PENDANT... (lowered voice) HIGHTOWER.
We need to talk in private. I'll meet you in my perch.
I DON'T HAVE TIME NOW, JANE. I'M IN THE MIDDLE OF A BRIEFING.
YEAH. I CAN SEE THAT.
(Lisbon) MONTERO WAS RUNNING GUNS TO SOUTH AMERICA...
THE MONTERO CASE HAS TURNED INTO A HIGH-PRIORITY
MURDER INVESTIGATION. I CAN'T JUST WALK OUT.
I SUGGEST YOU RETHINK WHAT YOU CAN AND CANNOT DO
FROM THIS MOMENT FORWARD, BECAUSE I KNOW
WHO THE EVIDENCE IS ABOUT TO REVEAL AS THE KILLER.
WHO?
YOU.
(Lisbon) MANUEL MONTERO GREW UP IN THE SAME TOWN
AS TODD JOHNSON, OUR SERIAL COP KILLER.
AS A MATTER OF FACT, THEY WERE BEST FRIENDS.
WITH THE WEAPON THAT WAS USED TO KILL OUR FELLOW OFFICERS.
WE'RE WORKING ON THE THEORY
THAT WHOEVER TOOK OUT JOHNSON ALSO TOOK OUT MONTERO.
EXCUSE ME, AGENTS. URGENT MATTER TO DEAL WITH.
SO YOU'RE SUGGESTING
BOTH MURDERS WERE PART OF A VENGEANCE PLAY?
YES, I AM, SIR.
JANE, THIS BETTER BE...
GOOD. MY SENTIMENTS PRECISELY.
WHERE'D YOU GET THAT?
I BORROWED A KEY TO THE ARMORY FROM LISBON'S DESK.
ARE YOU A KILLER?
I DON'T KNOW YOUR GAME HERE, BUT I DON'T HAVE TIME
TO BE TAKEN ON ONE OF YOUR EMOTIONAL JOYRIDES.
SEEKING REVENGE ON MEN THAT ARE RESPONSIBLE FOR THE DEATH OF
SOMEONE YOU LOVE--IT'S A HOBBY I LIKE TO DABBLE IN MYSELF.
YOU THINK IT'S TRUE?
YOU THINK IT'S TRUE THAT--THAT I KILLED JOHNSON AND MONTERO?
WELL, LET'S JUST SAY I'M OPEN-MINDED.
ANY MINUTE NOW, THE LAB
IS GOING TO IDENTIFY YOUR PRINTS AT THE MONTERO CRIME SCENE.
I HAVE NEVER BEEN TO THAT MUSEUM.
WELL, THEN YOU'RE EITHER BEING FRAMED...
OR YOU'RE A LUNATIC KILLER.
IN EITHER CASE, YOU SHOULD PHONE YOUR FAMILY, 'CAUSE MY GUESS IS
THE POT ROAST IS GONNA BE SERVED A LITTLE LATE THIS EVENING.
IF YOU DON'T POINT THAT SHOTGUN AWAY FROM ME,
I SWEAR I WILL USE IT TO BEAT YOU LIKE A RENTED MULE.
SPOKEN LIKE A TRUE LUNATIC KILLER.
YOU'RE NOT GIVING ME MUCH TO WORK WITH HERE. I MEAN IT.
SO DO I.
DID YOU KILL THOSE MEN?
I HAVE TO KNOW.
WHY, JANE?
IF YOU THINK I'M GUILTY, TURN ME OVER TO LaROCHE.
I'LL GO.
NO. IF YOU KILLED TODD JOHNSON, THEN YOU'RE MINE,
AND YOU'RE GONNA LEAD ME STRAIGHT TO RED JOHN.
RED JOHN? WHAT DOES THIS HAVE TO D--
TODD JOHNSON WAS TAKEN OUT
BECAUSE HE KNEW RED JOHN'S SECRETS.
AS IF YOU DIDN'T KNOW THAT.
AND IF YOU DIDN'T KNOW IT, THE REAL INSIDER
MURDERED MONTERO TO FRAME YOU, WHICH BRINGS US THE FULL CIRCLE.
ARE YOU OR ARE YOU NOT A KILLER?
YOU KNOW WHAT I AM, JANE?
(voice breaking) I'M A SINGLE MOM...
WITH TWO INNOCENT CHILDREN AT HOME.
THERE'S NOTHING IN THE WORLD I WOULD DO
TO COMPROMISE THEIR SAFETY OR THEIR FUTURE.
(whispers) PLEASE, JANE.
(grunts)
(panting)
I'VE HEARD ENOUGH TO CONVINCE ME THAT WE'RE LOOKING
FOR ONE KILLER HERE. J.J., YOU TAKE LEAD.
THIS IS NOW A DOUBLE MURDER INVESTIGATION.
EXCUSE ME, DIRECTOR BERTRAM, I'M SORRY. SORRY, EVERYBODY.
UM, YOU ASKED FOR DEVELOPMENTS ON THE MONTERO CASE.
I THINK THIS QUALIFIES.
THIS HAS TO BE A FALSE POSITIVE.
NO, I CHECKED AND DOUBLE-CHECKED ALL THE BIFURCATIONS.
IT'S A CLEAR MATCH. WHAT IS IT?
A MISTAKE. HIGHTOWER'S PRINTS AT THE MONTERO CRIME SCENE?
I'M NOT SURPRISED. HAVE ANOTHER ANALYST VERIFY YOUR FINDINGS.
YES, SIR.
VAN PELT, START WORKING ON A SEARCH WARRANT
FOR AGENT HIGHTOWER'S HOME.
IS THAT REALLY NECESSARY?
SHE CAN ALWAYS GRANT US CONSENT. SHE'S IN HER OFFICE NOW.
I'LL CALL OVER.
CONTACT THE UNIVERSITY POLICE. FIND OUT IF THEY HAVE RECORD
OF A VEHICLE MATCHING AGENT HIGHTOWER'S ON CAMPUS
THE NIGHT OF THE MURDER. ASK THEM TO CHECK SECURITY FOOTAGE.
YES, SIR.
I DON'T LIKE THE WAY THIS IS BEING HANDLED.
CAN WE JUST TAKE A MOMENT BEFORE WE DESTROY A COLLEAGUE'S CAREER?
AGENT HIGHTOWER HAS BEEN ON TOP OF A SHORT SUSPECT LIST
IN THE JOHNSON MURDER FOR SOME TIME,
EVEN BEFORE DIRECTOR BERTRAM NOTIFIED ME
THAT SHE WAS ROMANTICALLY LINKED WITH ONE OF HIS VICTIMS.
NOW YOU'RE INTO HER SEX LIFE?
WOW, WHEN YOU BOYS DECIDE TO DESTROY A WOMAN'S REPUTATION,
YOU REALLY GO ALL OUT.
LISBON. YOU'RE THE ONE WHO JUST TOLD ME THAT THE JOHNSON
AND MONTERO MURDERS WERE LINKED. NOW WE HAVE EVIDENCE.
IF YOU'RE TOO CLOSE TO THIS,
LET ME KNOW, AND I'LL MOVE YOU OFF THIS INVESTIGATION.
I'LL BE FINE, SIR. HIGHTOWER NEVER WENT TO HER OFFICE.
I JUST SPOKE TO HER ASSISTANT. THAT'S MY FAULT. I LET HER WALK OUT.
I DIDN'T THINK SHE WOULD RUN.
WHO SAID SHE'S RUNNING?
FOR ALL WE KNOW, SHE'S IN THE LADIES ROOM. MAYBE YOU SHOULD CHECK.
WE'RE GOING TO CONDUCT A SEARCH OF AGENT HIGHTOWER'S OFFICE NOW.
(beep) (Hightower) Leave your name and number.
I'll get back to you as soon as I can.
IT'S LISBON. WHEREVER YOU ARE,
DO US BOTH A FAVOR, AND CALL ME AS SOON AS YOU GET THIS, OKAY?
I CAN'T BELIEVE WE HAVE TO GO THROUGH THE BOSS'S STUFF.
SUSPECT'S A SUSPECT.
(sighs)
(groans)
JUST FEELS SO WRONG, THOUGH.
(sighs)
WAIT A SECOND.
THIS DRAWER'S TOO HEAVY.
CHECK IT OUT.
FALSE BOTTOM.
HEY, BOSS.
OH, NO.
SEEMS WE FOUND YOUR MYSTERY BUYER.
PUT AN IMMEDIATE B.O.L.O. OUT ON MADELEINE HIGHTOWER.
SHE'S CONSIDERED TO BE ARMED AND DANGEROUS.
(Lisbon) WHERE IS SHE?
(Van Pelt) OVER HERE.
(LaRoche) YOU SAW THE SUSPECT? DETAILS, PLEASE. WHERE? WHEN?
UH, I WAS COMING OUT OF THE ELEVATOR AFTER LUNCH.
WHERE WAS THE SUSPECT HEADED? UH, UP THE STAIRS,
WHICH I-I THOUGHT WAS STRANGE, 'CAUSE IT LEADS TO THE ROOF,
RIGHT? NOT JUST THE ROOF. IT'S WHERE JANE WORKS.
HAS ANYBODY SEEN HIM? NOT SINCE THIS MORNING.
COVER THE EXITS, ALL OF THEM.
USE WHOEVER YOU HAVE TO OUT HERE.
(door rattles)
LOCKED.
JANE? YOU IN THERE?
(Patrick) YEAH, I'M COMING OUT.
YOU'RE GONNA HAVE TO STAND BACK, AND IF YOU'RE BEARING FIREARMS,
PLEASE LOWER THEM.
PLEASE.
(clink)
(door rumbling)
(clank)
STAND BACK, OR HE DIES.
LET US PASS.
IF YOU DON'T LET US PASS, YOU CAN TRY TO STOP ME,
BUT JUST KNOW THAT MY FINGER
WILL REFLEXIVELY PULL THIS TRIGGER
IF I STUMBLE OR IF I FALL.
AGENT HIGHTOWER.
DON'T BEAT YOURSELF UP, TERESA.
THERE'S NOTHING YOU COULD HAVE DONE TO PREVENT THIS.
I GOT MYSELF INTO IT, AND I'M GETTING MYSELF OUT,
SO CLEAR A PATH.
EVERYONE.
LOWER YOUR WEAPONS.
LET 'EM PASS.
WALK.
WALKING.
GO AHEAD, CHO.
MAKE YOUR MOVE. WATCH HIM DIE.
NOBODY MOVE.
EVERYBODY JUST STAY CALM.
PUT THE PHONE DOWN.
YOU HEARD HER. PUT THE PHONE DOWN NOW. PUT IT DOWN.
OKAY...
HERE'S HOW IT IS.
WE'RE EXITING THE BUILDING.
IF ANYONE TRIES TO STOP US, I PULL THE TRIGGER.
IF ANYONE IN HERE CALLS ANYONE OUT THERE, I PULL THE TRIGGER.
DO AS SHE SAYS.
LET'S GO. MOVE!
(tires screech)
(tires peal)
(tires screech)
(rattling)
(pounds on door)
HIYA, JANE.
THAT WOLF'S TOOTH YOU GAVE MY KID?
WAS A HUGE HIT. LOOK AT THIS.
HE DREW THIS. IT'S FOR YOU.
KIND OF IN A RUSH HERE, JIM.
(tires screech)
(shouts inaudibly)
AND NOTIFY EVERY AVAILABLE CBI FIELD UNIT.
I WANT VISUAL CONTACT
WITH THE TARGET, BUT MAINTAIN A SAFE DISTANCE.
YOU DRIVE.
I'M A POOR DRIVER AT SPEED.
(siren wails)
(tires screeching)
(police radio chatter)
(siren wailing)
I'M SORRY.
ABOUT WHAT?
YOUR BOSS. YOU ADMIRE HER.
THAT'S IRRELEVANT. WE NEED TO FOCUS ON JANE'S SAFETY.
(man) All units be advised,
a single-vehicle traffic collision on North Main.
Vehicle is a dark blue late-model SUV.
COPY. WE'RE EN ROUTE. 30 SECONDS OUT.
WAIT FOR BACKUP.
YOU WAIT.
HOLD ALL ONCOMING TRAFFIC.
(groans)
WE'VE GOT A SUSPECT MISSING. SET UP A 10-BLOCK PERIMETER.
NOTIFY THE T.A.C. TEAM AND CALL AN AMBULANCE.
(groans)
WHAT HAPPENED?
SHE WAS UNWRAPPING HER HAND...
THE MOMENT I WAS WAITING FOR.
TO CRASH THE VEHICLE?
IT SEEMED LIKE A SMART IDEA AT THE TIME.
THEY THINK JANE MAY HAVE A CONCUSSION.
THEY'VE TAKEN HIM TO THE HOSPITAL FOR A CT SCAN.
I'M JUST THANKFUL HE'S GONNA BE OKAY.
AND WHERE ARE WE AT WITH OUR MANHUNT? WE HAVE PERIMETER TEAMS
DEPLOYED AROUND THE COMMAND POST FOR 16 CITY BLOCKS.
U.S. MARSHALS HAVE JOINED THE HUNT. SO'S THE FBI.
THEY PUT HIGHTOWER ON THEIR "MOST WANTED" LIST.
SUCH A TRAGIC TURN OF EVENTS.
LOOK, THERE ARE WORSE THINGS THAT COULD HAPPEN HERE
THAN WE HAVE AN OPEN-AND-SHUT CASE.
IT'S A BLEMISH, TO BE SURE, BUT AT LEAST WE CAN
CLOSE THE BOOK ON THIS UGLY CHAPTER AT CBI.
"AND WHEN THY LITTLE HEART DOTH WAKE,
THEN THE DREADFUL NIGHT SHALL BREAK."
WHAT'S THAT?
AH, IT'S JUST A-- AN OLD POEM I LIKE.
WILLIAM BLAKE, I BELIEVE.
(speaking inaudibly)
(door creaks)
WHY AREN'T YOU ANSWERING YOUR CELL PHONE?
IS IT RINGING?
FOR TWO HOURS.
I'M SORRY. I THOUGHT IT WAS MY BRAIN.
DOCTOR SAID IT'S TO BE EXPECTED.
OF ALL PEOPLE TO USE TO EFFECT HER ESCAPE,
WHY WOULD HIGHTOWER CHOOSE YOU?
THEORETICALLY SPEAKING, I THINK IT MAKES PERFECT SENSE.
I'M ISOLATED IN THE RAFTERS, I DON'T CARRY A WEAPON,
AND I DON'T KNOW ANY OF THAT... HAND-TO-HAND COMBAT JIVE.
I DON'T WANT THEORIES. I WANT FACTS.
WHY WOULD SHE COME TO YOU?
YOU DON'T... HONESTLY BELIEVE...
THAT I HAD ANYTHING TO DO WITH HIGHTOWER'S ACTIONS TONIGHT,
DO YOU?
I HONESTLY DON'T KNOW WHAT TO BELIEVE,
BUT WHENEVER YOU'RE IN THE MIDDLE OF SOMETHING,
I HAVE REASON TO DOUBT. AND I LIKE HIGHTOWER.
WHEN IN DOUBT, DON'T.
WELL...
WHATEVER HAPPENED TONIGHT, I'M GLAD YOU'RE SAFE.
THANK YOU. HEY.
THANK YOU FOR COMING TO MY RESCUE.
I GUESS I SHOULD EXPRESS MY APPRECIATION TO HERR LaROCHE.
IS HE STILL OUT COMMANDING THE TROOPS?
NO. HE WENT HOME FOR THE NIGHT.
(raps on door)
JANE?
LaROCHE.
YOU HAVE A FLUFFY WHITE DOG AND AN ENTIRE...
HOUSE. ARE THOSE HUMMEL FIGURINES?
YEAH.
YOU FIND THAT AMUSING?
WELL, I JUST DIDN'T PICTURE YOU LIVING IN AN ACTUAL HOUSE.
WHERE DID YOU THINK I LIVED?
IN A BURROW ON A RIVERBANK. SOMEWHERE LIKE THAT.
WHAT CAN I DO FOR YOU, JANE?
YOU ALREADY DID FOR ME.
YOU LET HIGHTOWER EXIT THE BUILDING
INSTEAD OF SHOOTING ME IN THE BRAIN STEM,
AND FOR THAT, I'M THANKFUL.
HOW'D YOU KNOW I DRINK SCOTCH?
YOU DO?
THANK YOU.
IT'S MY PLEASURE.
IT'S TOO BAD SHE GOT AWAY, THOUGH, HUH? HIGHTOWER.
PERIMETER WILL REMAIN IN FORCE UNTIL WE FIND HER.
MAY TAKE A DAY OR TWO DAYS, BUT WE'LL FIND HER.
SHE CAN'T ESCAPE.
OH, SHE'S ESCAPED. I KNOW IT.
JUST LIKE YOU KNEW
I WAS WRONG ABOUT HIGHTOWER'S CAPACITY FOR MURDER?
THAT'S THE COUNTERPUNCH. LANDED IT.
ARE WE KIDS OR WHAT?
YES.
WE ARE KIDS.
WELL, GOOD NIGHT, JANE.
IT IS A GOOD NIGHT.
(trunk unlocks)
DID IT WORK? (whispers) RIGHT.
(whispers) YES, IT DID.
DID IT WORK? OKAY.
I CAN'T BELIEVE IT WORKED.
IT WILL WORK.
THIS IS CRAZY.
NOT AT ALL. ONCE THEY SET THE PERIMETER,
YOU WILL BE LIKE A RABBIT IN A TRAP.
THEY WILL SEARCH EVERY VEHICLE LEAVING
EXCEPT THE CAR OF THE MAN THAT IS IN CHARGE, SO HURRY, GET IN.
OKAY. ALL RIGHT. HOW LONG--HOW LONG DO I HAVE TO BE IN HERE?
UNTIL YOU HEAR THIS. (knocks rhythmically)
OKAY.
TURN YOUR CELL PHONE OFF SO THEY CAN'T TRACE.
HERE. TAKE MINE. OKAY.
WHISPER. ALL RIGHT.
HERE'S YOUR CELL PHONE. DID YOU MAKE ARRANGEMENTS?
YEAH, I TALKED TO MY SISTER.
SHE'S WAITING FOR ME JUST OUTSIDE TOWN WITH MY KIDS.
PERFECT. YOU'RE GONNA HAVE TO COMPLETELY VANISH, BECAUSE
IF RED JOHN FINDS OUT WHERE YOU ARE, HE WILL COME AFTER YOU.
SHE HAS A CABIN IN SARATOGA. WE CAN WAIT THERE FOR A FEW MONTHS.
PERFECT. HE'LL THINK HE WON THIS ROUND. RED JOHN HAS
A INSIDER AT THE CBI WHO FRAMED ME FOR MURDER.
I THINK IT'S SAFE TO SAY HE WON THIS ROUND.
YES, BUT NOW I HAVE THE ADVANTAGE.
WITH YOU GONE, WHOEVER IT IS THAT WORKS FOR RED JOHN
WILL START TO RELAX, AND THUS LEAD ME STRAIGHT TO HIM.
YOU RISKED A LOT FOR ME.
WELL, NOT FOR YOU ENTIRELY.
I UNDERSTAND. STILL...
THANK YOU FOR GETTING ME OUT OF THAT BUILDING
AND BACK TO MY FAMILY.
AND THANK YOU FOR NOT SHOOTING ME IN THE FACE.
NO ONE CAN KNOW ABOUT THIS. THIS HAS TO STAY BETWEEN YOU AND ME.
JANE, YOU SHOULD AT LEAST TELL LISBON WHAT'S GOING ON--
NOBODY. HE'S TOO SMART THAT WAY. HE'LL SENSE A TRAP.
I'M BETTER OFF ALONE.
NOBODY IS BETTER OFF ALONE.
(car door slams)
STAY TUNED FOR SCENES FROM OUR NEXT EPISODE.