(door bells chime)
(speaking inaudibly)
IT'S NOT EVEN WORKING. THE PUMP IS WORKING FINE.
(continues speaking inaudibly)
(police radio chatter)
(pump nozzle clicks)
(pump machines beeping)
(pounds)
(speaking inaudibly)
(pounds)
COFFEE, DOUBLE-SWEET.
WHY DO I ALWAYS HAVE TO GET THE COFFEE?
AND YOU'RE BUYING, BOOT.
(male dispatcher) Attention, all units.
A 2-11 has just occurred
at the CA$H in Motion located on 12th and Main.
(sighs) $50,000 taken.
Suspect--a white male seen driving a blue Volvo
heading north on Main.
HEY, CHECK THIS OUT. Proceed with caution.
Suspect may be armed. IT'S A BLUE VOLVO.
(man and woman speaking indistinctly)
READY?
(man speaking indistinctly with South Asian accent)
MAYBE YOUR CARD IS EXPIRED OR SOMETHING. (woman) OH, MY GOSH. NEVER MIND.
I'M JUST GONNA DEAL WITH THIS INSIDE. (door bells chime)
LET'S GO.
EXCUSE ME, SIR!
YOU IN THE COAT.
(car door closes)
OH, MY GOD.
SIR! SIR, TALKIN' TO YOU!
OH, MY... NO, NO!
NO POLICE!
GO AWAY! DOWN ON THE GROUND.
GO AWAY! GO AWAY! GET DOWN!
DON'T MOVE! DON'T MOVE! NO POLICE! I'VE GOT A BOMB!
PLEASE! GET ON THE GROUND!
PLEASE! DOWN ON THE GROUND!
GO AWAY! PLEASE! GET DOWN!
DOWN ON THE GROUND! GET DOWN ON THE GROUND!
BACK OFF! OR ELSE-- (cell phone rings)
(rapid beeping) AAH!
(woman screams)
(car alarms wailing)
(crowd shouting indistinctly)
(police radio chatter)
(officer speaking indistinctly)
(Lisbon) ALL RIGHT.
THE EXPLOSION MADE ONE GIRL GO BACK. SHE'S INJURED,
AND THEN SHE BOUNCED BACK FORWARD.
(indistinct conversations)
EXCUSE ME.
I DIDN'T CALL YOU.
WHAT ARE YOU DOING HERE?
FIGHTING CRIME. YOU?
SERIOUSLY.
SERIOUSLY. A MAN USES A BOMB TO ROB A BANK?
I MEAN, THIS--THIS IS... BAROQUE, MYSTERIOUS, EVEN.
WHAT DO WE KNOW?
WELL, FOR STARTERS, IT WASN'T A BANK.
DINKLER ROBBED HIS EMPLOYER. IT WAS A CA$H IN MOTION STORE.
CA$H IN MOTION? SOUNDS LIKE A GAME SHOW.
IT'S A PAYDAY LOAN AND MONEY TRANSFER CHAIN.
PEOPLE USE THEM TO WIRE MONEY ALL OVER THE WORLD.
IT'S A CASH BUSINESS, BUT IT'S GOT LESS SECURITY THAN A BANK.
NICE SOFT TARGET. DINKLER GOT AWAY WITH 50 GRAND.
ALMOST GOT AWAY WITH 50 GRAND.
YEAH, WELL, HE STOPPED FOR GAS,
AND SAC P.D. UNIS SPOTTED HIM.
LUCKY FOR US, THE LUNATIC ONLY KILLED HIMSELF.
IF IT'S SO CUT AND DRIED, WHY ARE YOU HERE?
THEM. DIRECTOR BERTRAM WANTED A CBI PRESENCE HERE.
DIRECTOR BERTRAM. LET ME ASK YOU SOMETHING.
IF DIRECTOR BERTRAM WANTED A CBI PRESENCE
TO JUMP OFF A CLIFF, WOULD YOU AND YOUR CBI PRESENCE
JUMP OFF THAT CLIFF?
IF THERE WAS OVERTIME, SURE.
THAT'S VERY SAD. EXCUSE ME.
SORRY.
I KNEW THAT MAN WAS TROUBLE.
I WAS LOOKING RIGHT AT HIM IN HIS CAR.
HE WAS, UH, MAKING GESTURES AT ME.
GESTURES?
HE KEPT POINTING AT ME LIKE THAT--REAL INSISTENT.
IT WAS CREEPY.
AND THOSE EYES-- CRAZY, ANGRY EYES.
MM.
POINTING. CRAZY, ANGRY EYES.
AND YOU, SIR? ANYTHING ELSE YOU REMEMBER ABOUT THE BOMBER?
I THOUGHT I WAS DEAD. I SAW THE BOMB AROUND HIS WAIST,
AND I THOUGHT... THIS IS IT. I'M DEAD.
(Patrick) LISBON!
WHAT'S UP?
THIS MAN WASN'T ANGRY OR CRAZY.
(exhaling)
HE WAS TERRIFIED.
INTERESTING, HUH?
**
GET DOWN! NO!
(woman screams)
(car alarms wailing) WELL, THIS IS HORRIBLE.
(click) HORRIBLE.
HIGH IMPACT VISUALS LIKE THIS--
MEDIA WILL CARRY THE STORY FOR DAYS.
YES, I'VE GOT A WOLF PACK OF JOURNALISTS OUTSIDE.
WHAT DO YOU HAVE, J.J.?
AGENT LISBON?
ALAN DINKLER, 27 YEARS OLD,
NO PRIORS. HE ROBBED HIS EMPLOYER--
A CA$H IN MOTION STORE.
WALKED INTO HIS BOSS' OFFICE, SHOWED HIM THE BOMB,
DEMANDED TO BE LET INTO THE VAULT. HE GOT $50,000.
WE BELIEVE THAT DINKLER WAS THE VICTIM HERE,
THAT HE WAS ABDUCTED, PUT INTO THE BOMB JACKET,
AND COERCED INTO COMMITTING THE CRIME.
THE BOMB SQUAD CONFIRMS THAT THE DEVICE WAS ACTIVATED
BY REMOTE CONTROL. HOW AWFUL. THAT POOR, POOR MAN, USED AS A PUPPET.
BUT... THE THING IS, THE PERSON BEHIND THIS WANTS MONEY,
SO THIS IS NOT TERRORISM, RIGHT?
IT DOESN'T LOOK THAT WAY, SIR.
HIS PLAN DIDN'T WORK, BUT ONLY THROUGH BAD LUCK.
WE STRONGLY EXPECT THE PERPETRATOR WILL TRY AGAIN.
IT'S GUESSWORK. "NOT A TERRORIST"
IS WHAT I'LL BE LEADING WITH. ISOLATED INCIDENT. CBI IN CHARGE
OF A SWIFT AND THOROUGH... ET CETERA, ET CETERA.
THAT'S JUST RIGHT, SIR.
THANK YOU ALL. LET MY ASSISTANT KNOW IF THERE'S ANYTHING NEW.
HEY, BOSS.
WHAT DO WE GOT?
DEVICE USED A PLASTIC EXPLOSIVE CALLED PE4--
STABLE, HARD TO ACQUIRE, VERY DEADLY.
USUALLY IN HUMAN BOMBS LIKE THIS,
THERE'S BALL BEARINGS OR SUCH LIKE WITHIN THE DEVICE
USED TO CREATE MAXIMUM DAMAGE TO BYSTANDERS. IN THIS CASE, NO.
JUST DEADLY IN A 10-FOOT RADIUS AROUND THE BOMB.
SO FORENSICS RECOVERED THE 50 GRAND FROM DINKLER'S CAR
PLUS SOME FAST FOOD WRAPPERS AND A COUPLE OF WRITEABLE CDs
FROM CA$H IN MOTION, OTHER CRAP. ANYTHING ON DINKLER'S CELL PHONE?
IT'S BADLY DAMAGED, BUT THE LAB IS TRYING TO SALVAGE THE CHIP.
THEY'LL LET US KNOW SOON AS THEY GET THE RESULTS.
GOOD. THE CELL PHONE IS PROBABLY
HOW THE BOMBER COMMUNICATED WITH DINKLER. RIGSBY, VAN PELT,
YOU GUYS GO AND TALK TO DINKLER'S CO-WORKERS.
CHO, YOU AND I WILL GO TO HIS APARTMENT.
DINKLER LEFT WORK LAST NIGHT AT 5:30.
AT 8:00 A.M., HE WENT BACK AND ROBBED THE PLACE.
SOMETIME IN BETWEEN, SOMEBODY PUT A BOMB ON HIM.
SO WE TRACK BACKWARDS, TRY AND FIGURE OUT
WHEN SOMEBODY COULD HAVE DONE THAT.
IF WE FIND OUT WHEN, MAYBE WE'LL FIND OUT WHO. LET'S GO. OKAY.
CBI, MA'AM. LOOKING FOR YOUR MANAGER, MR. VERMILLION?
OH, HE'S TALKING WITH THE OTHER AGENT.
I'LL BUZZ YOU IN. OTHER AGENT?
(door buzzes and unlocks) THANK YOU.
(click)
RIGSBY, VAN PELT, JOIN THE PARTY.
LISBON'S BEEN LOOKING FOR YOU. WHAT ARE YOU DOING HERE?
AH, YOU KNOW, CURIOUS. PUTTING AN EXPLOSIVE ON SOMEONE--
IT'S UNSPORTING, DON'T YOU THINK? DON'T YOU THINK?
UH... ALAN'S LOSS IS VERY UPSETTING TO ALL OF US
IN THE CA$H IN MOTION FAMILY.
CA$H IN MOTION FAMILY, RIGHT. OH, THIS IS DRAKE VERMILION,
CLEARLY AN ALIAS-- WHO KNOWS WHY?
THWARTED SHOW BUSINESS ASPIRATIONS
OR JUST AN UNFORTUNATE BIRTH NAME. WHAT--WHAT IS IT?
(scoffs) I-I DON'T THINK THAT'S GERMANE. DO YOU?
OOH, "GERMANE." DEFINITELY SHOWBIZ.
I HAD A VERY SUCCESSFUL CAREER
IN THE MUSICAL THEATER, ACTUALLY.
OF COURSE YOU DID, DRAKE. CAN YOU BELT OUT A TUNE FOR US? (giggles)
AH.
SMILING NOW, IS IT, TRACY?
ALL THAT SNIVELING, AND NOW YOU SMILE?
WHAT, I AMUSE YOU, DO I? NO, SIR.
OH, "NO, SIR," SHE SAYS. HEY, NOW EVERYONE'S STRESSED OUT HERE. IT'S UNDERSTANDABLE.
WOULD YOU PEOPLE PLEASE JUST GET TO THE POINT HERE?
THE POINT. YES, DRAKE.
WAIT. SIR, THAT IS A RESTRICTED AREA.
(Patrick) OH! LET'S SING NOW.
DINKLER TOOK THE MONEY FROM THIS VAULT.
YES. UH, HE MADE ME OPEN IT FOR HIM.
(beeps)
(clanks)
(click) AND HE MADE TRACY AND ME GO INSIDE THE VAULT WITH HIM
WHILE HE SHOVELED MONEY INTO A BAG.
THEN HE LOCKED US IN THE VAULT. HE PROBABLY THOUGHT
WE WOULD SUFFOCATE. NO, HE KNEW THERE WAS VENTILATION.
HE KNEW WE'D BE ALL RIGHT. OH. YOU--YOU THINK THAT, DO YOU?
WAIT. DO YOU HAVE SOME SPECIAL INSIGHT HERE? NO, SIR--
DID HE TALK TO YOU? NO, SIR--
OH, "NO, SIR." BUT HE WAS A GOOD PERSON. HE WOULDN'T WANNA HURT ANYONE.
HMM. THANK YOU, TRACY. USEFUL TO KNOW.
WAIT. YOU CANNOT GO IN THERE ALONE.
TRACY, CAN YOU SHOW ME DINKLER'S WORK SPACE?
(Tracy) SURE. THANK YOU.
HOW MUCH MONEY IS THIS? $10,000.
OH, WOW. HE LEFT A LOT MORE THAN HE TOOK.
IN A HURRY, I SUPPOSE.
OH, LOOK.
2 SECONDS. $50,000. HOW MUCH TIME DID HE NEED?
DID HE TAKE ANYTHING ELSE?
I-I-I DON'T KNOW. I HAD MY EYES CLOSED, TO BE HONEST.
PUT THAT BACK.
AND WHERE WERE YOU STANDING IN HERE, EXACTLY?
(sighs) EXACTLY.
UH... HERE. I WAS HERE,
AND--AND--AND TRACY WAS HERE.
MM-HMM. AND WHEN HE EXITED,
DID HE EXIT FACING YOU, OR DID HE HAVE HIS BACK TO YOU?
FACING US, JUST LIKE YOU'RE DOING NOW.
OH, HE DID. THEN WHAT DID DINKLER DO?
HE SHUT THE DOOR. JUST LIKE THIS?
YEAH. (door creaks and clanks)
THANK YOU! (beeps)
THANKS FOR YOUR HELP.
(muffled voice) WAIT, NO! WAIT, WAIT. (pounding on door)
OH, COME ON!
TRACY, THERE WERE SOME CDs IN ALAN'S CAR
THAT CONTAINED THESE LISTS.
OH, THESE ARE CLIENT TRANSACTION REPORTS
FROM THE PAST TWO MONTHS. ALAN MUST HAVE GOTTEN THEM
FROM THE VAULT. WE'RE NOT ALLOWED TO SEE THEM. BUT THEY COULD BE VALUABLE,
LIKE BANK ACCOUNT OR CREDIT CARD DATA?
NO, NO, ACCOUNT INFO IS ENCRYPTED ON A SEPARATE SYSTEM.
THESE ARE JUST NAMES OF CLIENTS WHO SENT MONEY AND LOCATIONS
THEY SENT IT TO.
IT'S NOT WORTH ANYTHING, I DON'T THINK.
(voice breaking) I'M S-- ALAN JUST... KEPT APOLOGIZING
WHEN HE FIRST CAME IN, AND I DIDN'T KNOW
WHAT WAS GOING ON AT FIRST, WHY HE KEPT SAYING "I'M SORRY.
I'M SO SORRY." WELL... YOU'VE HAD A ROUGH DAY, HUH?
WHY DON'T YOU HEAD OFF HOME, TRACY? GET YOURSELF SOME REST.
WE'RE DONE HERE. (sighs) YEAH. I'M SORRY I COULDN'T BE MORE HELPFUL.
OH, NO, ON THE CONTRARY.
YOU'VE PRACTICALLY SOLVED THE CASE SINGLE-HANDEDLY.
I HAVE? YEAH, YOU HAVE.
SHE HAS? (blinds rattle)
OKAY. ANY SUSPICIOUS VEHICLES? DRIVE-BYS?
(officer) NOT A ONE.
ALL RIGHT. THANKS FOR THE HELP.
(engine turns off)
SERGEANT SAYS HE'S BEEN SITTING ON DINKLER'S PLACE
SINCE THE INCIDENT.
HE KNOCKED, NO ANSWER. NOBODY'S BEEN IN OR OUT.
DINKLER HAD A ROOMMATE?
YEAH, A DEADBEAT, ACCORDING TO THE LANDLORD. ALWAYS HOME.
CHECK THE GARAGE. I GOT THE BACK. ALL RIGHT.
(door creaks)
HELLO?
POLICE.
(cat meowing)
(purrs)
(meowing resumes)
CHO? I THINK I'VE GOT SOMETHING.
(door creaks)
(Cho) ALL CLEAR, BOSS. NOTHING HERE.
CHO, GET IN HERE. GOT A VICTIM.
ROOMMATE?
LOOKS LIKE.
GUNSHOT TO THE HEAD.
(cell phone rings)
(ring, beep)
WHERE HAVE YOU BEEN?
OH. UH, YOU KNOW, OUT, ABOUT.
OH, THAT'S GOOD, BECAUSE WE JUST FOUND
another body at Dinkler's house.
HUH. FIGURES.
YOU WANNA COME AND HAVE A LOOK, MAYBE?
Do a little detective work? NOT REALLY.
I'm pretty sure it's collateral damage. Roommate, probably.
HEY, WHY DON'T YOU COME BY THE OFFICE, AND I WILL SHOW YOU
WHAT THE REAL MOTIVE IS BEHIND THE CRIME?
And it wasn't money. NO? WELL, WHAT WAS IT?
OH, AND WHILE I THINK OF IT, COULD YOU SEND SAC P.D. TO CHECK
ON THE CA$H IN MOTION OFFICES? Why?
(Drake, muffled voice) HELP!
(pounding on door)
HELP!
H--Y--HELP.
HELP!
(indistinct conversations, telephone ringing)
SOYOU KNOW THE REAL MOTIVE FOR THE ROBBERY?
WHAT'S UP WITH THE DEAD ROOMMATE?
MICHAEL TAKASHIMA.
MM. CORONER SAYS HE'S BEEN DEAD JUST UNDER 24 HOURS.
SO KILLED LAST NIGHT WAY BEFORE THE ROBBERY.
KILLER PUT THE BOMB ON DINKLER IN THE HOUSE.
ROOMMATE PROBABLY CAME HOME, HAD TO BE DISPOSED OF.
YEAH. DON'T KEEP ME IN SUSPENSE. WHAT'S THE MOTIVE
íF IT WASN'T ABOUT THE MONEY?
DINKLER LEFT AS MUCH AS HE TOOK AND HALF AS MUCH AGAIN,
JUST LEFT IT THERE IN THE VAULT. WHY?
THAT'S WEIRD. HIS LIFE WAS ON THE LINE.
HE'D BEEN CAREFUL TO DO WHAT THE KILLER TOLD HIM.
SO THE KILLER MUST HAVE TOLD HIM THE MONEY WASN'T THE OBJECT,
TOLD HIM--STEAL THE MONEY TO HIDE THE REAL THEFT.
AND WHAT'S THE REAL THEFT? THE LIST OF CUSTOMERS ON THE CDs YOU TOOK.
OH, YEAH? WELL, THE CDs ARE THE ONLY OTHER THING YOU TOOK.
ERGO, THAT WAS WHAT HE WAS AFTER--
2,000 OR SO NAMES OF PEOPLE THAT HAD SENT
MONEY ORDERS VIA THAT STORE AND WHERE THEY'D SENT THEM.
WHY WOULD HE WANT THAT? HAVEN'T FIGURED THAT OUT YET.
FRANKLY, THIS IS LESS THRILLING THAN YOU ADVERTISED
AND POSSIBLY WRONG. NO, HE WANTED THAT LIST.
OKAY. I'LL HAVE THE CLERICAL STAFF
START WRITING THE NAMES, SEE IF ANYTHING POPS. SOMETHING WILL.
HERE'S AN ODD THING. DINKLER'S CAR'S GAS TANK
WAS NEARLY FULL.
MAYBE HE FILLED IT AT THE GAS STATION. NOPE, NEVER ACTIVATED THE PUMP.
THEN WHY WOULD HE STOP THERE?
MM.
EXCUSE ME, BOSS. YOU MIND IF I...
NO, GO AHEAD. THANKS. SORRY.
HEY, SORRY TO INTERRUPT.
I WAS ACROSS THE STREET FOR A PRELIM.
JUST WANTED TO SAY HEY. HEY.
YOU WORKING THE MAD BOMBER CASE, HUH?
YEP. IT'S A WEIRD ONE. NO REAL BREAKS YET.
THEY'LL COME.
LOOK, I, UH... GOT A LITTLE SURPRISE FOR YOU--
KIND OF A PRE-WEDDING GIFT. I LOVE SURPRISES.
(gasps)
OH, IT'S BEAUTIFUL.
OHH.
IT WAS MY MOTHER'S. (gasps)
YOU LIKE IT? I LOVE IT.
HERE. LET ME GET IT FOR YOU.
(necklace clatters)
HOW'S IT LOOK?
LOOKS GREAT.
MM. OH, I LOVE YOU.
MMM. MMM.
JANE AND I ARE GOING BACK TO THE GAS STATION.
CHECK WITH THE LAB ABOUT THE CELL PHONE. YES, BOSS.
(chuckles)
(giggles)
ALL RIGHT. I'LL SEE YOU LATER.
OKAY. ALL RIGHT.
MORE QUESTIONS? EVERYONE HAS MORE QUESTIONS.
CHITCHAT, CHITCHAT, POLICE, JOURNALISTS, MORE POLICE.
MAKES WORK VERY DIFFICULT.
WE'LL TRY AND BE BRIEF. JUST WANNA ASK ABOUT DINKLER,
THE BOMBER. DID HE SAY ANYTHING,
INDICATE WHY HE WAS HERE, MAYBE?
HE ASKED FOR THE RESTROOM KEY.
THAT IS WHY I THOUGHT HE WAS SO AGITATED.
HE NEEDS TO URINATE.
BUT NO, HE DID NOT.
CAN WE HAVE IT?
WHAT?
THE RESTROOM KEY, PLEASE.
YES. (key jangling)
WHY WOULD HE COME IN HERE?
WELL, MAYBE HE JUST NEEDED TO GO TO THE BATHROOM.
STRESS WILL DO THAT TO YOU.
AH. OR...
HUH? "A.D."
ALAN DINKLER.
"297A6 WINDSOR."
LOCATION, MAYBE? WHERE TO GO NEXT?
YEAH. SCAVENGER HUNT. INTERESTING.
LET'S NOT JUMP TO CONCLUSIONS.
EXCUSE ME?
SIR? YES?
DOES THAT MEAN ANYTHING TO YOU?
"AD-297A6 WINDSOR"?
HALF AN HOUR OF VILLAINOUS SCRUBBING,
AND THIS SORT OF THING NEVER COMES OUT ENTIRELY.
SCAVENGER HUNT, THEN.
OKAY.
(indistinct conversations, telephone ringing)
297A6 WINDSOR.
MAYBE AN ADDRESS?
WE GOT A WINDSOR DRIVE, A, UH...
WINDSOR LANE, AND A WINDSOR POINT WAY.
A6?
LIKE AN APARTMENT?
KIND OF A LOW STREET NUMBER. I'M BETTING MAP COORDINATES.
BUT WHICH MAP?
GOOD QUESTION.
I GENERATED A LIST OF POSSIBLE LOCATIONS
USING PRETTY MUCH EVERY ROAD MAP ONLINE.
TRIPLE-A, U.S.G.S.
THERE'S A WHOLE BUNCH OF POSSIBILITIES.
DIVVY UP THE LIST BY PROXIMITY TO THE GAS STATION.
WE NEED TO RUN DOWN EVERY ONE OF THOSE LOCATIONS. OKAY.
ANY REVELATIONS?
NO. SCAVENGER HUNT, SECRET CODES.
I JUST CAN'T SEEM TO PUT MY FINGER ON IT.
IT'S ALL SO, UH... SO-- BAROQUE? MYSTERIOUS, EVEN?
YES.
I THOUGHT YOU LIKED THAT SORT OF THING. I DO, VERY MUCH.
ANY PROGRESS TO REPORT, AGENT?
UH, YES, SIR. WE'RE MOVING FORWARD ON SEVERAL FRONTS.
RIGHT NOW WE'RE WORKING ON GETTING THE LOCATION
OF A RENDEZVOUS THAT DINKLER WAS MEANT TO BE AT.
IS THERE SOMETHING CONCRETE I CAN TELL BERTRAM?
NOT REALLY, SIR.
HMM. THANK YOU, LISBON.
(Patrick) BYE.
GOD, I MISS HIGHTOWER.
ASIDE FROM THE MURDER STUFF, OBVIOUSLY.
SCREW IT. EVEN WITH THE MURDER STUFF,
HOW DOES HE JUST APPEAR OUT OF NOWHERE LIKE THAT?
HE'S A GHOST FROM THE FIFTH DIMENSION,
RIGHT, RIGSBY? HE'S THE BOSS. NOT GOING THERE.
DIVVIED UP THE LIST. THIS IS YOUR SHARE.
THANKS. ARE YOU COMING?
HMM. COME ALONG ON A METHODICAL GRINDING SEARCH
THROUGH SACRAMENTO COUNTY OR REARRANGE MY SOCK DRAWER.
I'LL GO WITH THE "OR." THANKS.
HAVE FUN WITH IT. THANK YOU.
(cell phone rings)
(beep) LISBON.
NO LUCK AT WINDSOR LANE OR WINDSOR ARMS PUB,
AND CHO AND RIGSBY HAVEN'T FOUND ANYTHING YET.
SAME HERE.
AND MORE BAD NEWS ABOUT THE CELL PHONE
FROM DINKLER'S CAR-- APPARENTLY THE KILLER
ROUTED ALL CALLS THROUGH CHINA AND BACK.
There's no way to trace where they originated. GREAT. THANKS.
OH, BUT GOOD NEWS.
THE DRESSES ARE READY AT THE TAILOR'S.
YOU CAN PICK YOURS UP ANYTIME.
BOSS?
My dress.
YES. RIGHT.
THE SATIN BOW LOOKS GORGEOUS. I CAN'T WAIT TO SEE IT ON YOU.
GREAT. WELL, THANK YOU.
Good night.
NIGHT.
(beep)
(cell phone rings)
(beep) YEAH?
Aye, Captain Ahab.
HOW GOES THE HUNT?
DONE. PRACTICALLY DONE. ONE MORE.
WINDSOR HIGH SCHOOL. IT'S OVER ON ALAMEDA.
Shut down a couple years ago.
HMM. THAT'S KIND OF AN IFFY AREA.
YOU HAVE, UH, PLENTY OF HARPOONS?
I'VE GOT A FEW 9-MILLIMETER ONES,
BUT IF IT LOOKS HINKY, I'LL CALL FOR BACKUP.
GOOD NIGHT.
(line disconnects)
(clears throat)
(gears shift, engine turns off)
(crickets chirping)
HEY, LISBON?
I WAS IN THE NEIGHBORHOOD.
SO I THOUGHT I'D DROP BY.
(creak, bang)
(rapid footsteps)
LISBON?
(door closes in distance)
(door creaks)
YOU DECENT?
(liquid dripping)
LISBON?
(moaning)
(ticking)
IT'S OKAY.
I WANT YOU TO JUST LET ME TRY AND HELP YOU
GET OUT OF THAT THING. IT'S GONNA BE OKAY. ALL RIGHT?
TALK ME THROUGH IT.
UM...
YOU SEE THE FLAP IN THE FRONT OF THE VEST?
THIS HERE?
YEAH. O-OPEN IT GENTLY. YEAH.
(sniffles)
(Velcro ripping) (sighs)
(whispers) SLOWLY.
(ripping continues)
OKAY. UM... IS THERE A LOCK INSIDE?
YES.
UH, DOES THE LOCK HAVE ANY WIRES ATTACHED TO IT, OR... UM...
THERE'S A BUNCH. THAT'S NOT GOOD, IS IT?
DON'T PICK THE LOCK.
NO, I WON'T. WHERE DOES THIS WIRE GO?
(cell phone rings) (gasps)
DID YOU DO THAT?
(ringing) I-I-I SWEAR, I DIDN'T DO ANYTHING.
I DIDN'T TOUCH A THING. IT'S A PHONE. YOU SHOULD ANSWER IT.
(ring) YOU SURE?
ABOUT 75%.
(ring)
YOU--YOU THINK WE SHOULD ANSWER? YEAH.
WH-WHAT IF--WHAT IF IT TRIGGERS THE BOMB?
(ring)
WE'LL NEVER KNOW.
(ring)
(ring, beep)
HELLO?
(distorted male voice) Hello, Agent Lisbon.
You must do exactly as I say if you want to live.
WHO IS THIS?
You will go to the CBI now.
WHY?
No questions, please.
You will obtain the two Ca$h in Motion disks
from the CBI Evidence Storage and bring them to me.
After delivery, I will give you the instructions
on how to disarm the bomb. You have 30 minutes.
NO. I W--I'M NOT--
NOT "NO." "YES." YES.
Who is that with you?
PATRICK JANE. I-I WORK WITH AGENT LISBON. HI.
Hello, Patrick.
You're welcome to join us if you'd like.
WELL... I GOTTA TELL YOU, THERE'S OTHER--
In fact, I insist on it.
You'll be of useful help to Agent Lisbon. WHAT DO WE CALL YOU?
No questions, please.
And some other ground rules.
NUMBER ONE--DO NOT ALERT ANYONE TO YOUR SITUATION. NO ONE.
IF YOU DO, I WILL DETONATE THE DEVICE.
NUMBER TWO--KEEP THIS LINE OPEN.
IF I LOSE PHONE CONTACT WITH YOU FOR ANY REASON AT ALL,
I WILL DETONATE THE DEVICE.
Now get a move on. You don't have very much time.
NO, I'M NOT GONNA DO IT-- DON'T LISTEN TO HER. SHE CAN'T THINK STRAIGHT.
WE'LL DO EXACTLY WHAT YOU ASK.
WE'RE ON OUR WAY TO THE CBI RIGHT NOW. (mouths words)
OKAY. LET'S GO, LISBON. WE DON'T HAVE TIME.
(lowered voice) HAIL MARY, FULL OF GRACE,
THE LORD IS WITH THEE.
BLESSED ART THOU AMONG WOMEN AND BLESSED IS THE FRUIT
of thy womb, Jesus. Holy Mary, mother of God,
PRAY FOR US SINNERS NOW AND AT THE HOUR OF DEATH. AMEN.
YOU'RE WHISPERING. STOP IT.
(Patrick) She's just praying.
SHE'S SCARED, AND SO AM I.
If I could find someone to pray to,
THEN I'D PROBABLY DO THE SAME.
Well, it's irritating.
BE QUIET.
You're not a religious man?
(scoffs)
OH. DEEPLY.
BUT NOT IN ANY WAY THAT YOU WOULD UNDERSTAND.
WELL, TRY ME.
I DO LIKE A GOOD THEOLOGICAL DEBATE.
How I would enjoy that.
BUT SOME OTHER TIME, PERHAPS.
JANE. CBI BUILDING IS FILLED WITH PEOPLE.
THIS ISN'T RIGHT. WE'RE PUTTING THEM IN HARM'S WAY.
HE DOESN'T WANNA BLOW UP THE CBI. HE JUST WANTS THE DISK.
YOU JUST WANT THE DISKS, RIGHT?
THERE'S NO CALL TO BLOW US UP FOR FUN.
Correct.
Dinkler was unlucky enough
TO RUN INTO THE POLICE. THAT'S THE ONLY REASON HE DIED.
I AM A RATIONAL AND HUMANE PERSON.
Obey me... and you will live.
HOW FAR AWAY ARE YOU?
(brakes squeal)
UH... YEAH, ABOUT FIVE MINUTES.
JUST, UH, AROUND THE CORNER.
(mouthing words)
YOU KNOW, WHEN WE GET INSIDE, IT GETS A LITTLE TRICKY.
BECAUSE, UH, THE EVIDENCE, UH, STORAGE UNIT
IS LOCKED THIS TIME OF NIGHT.
UH, SO WE'RE GONNA HAVE TO TRY AND SNEAK IN OR...
OR MAKE A WHOLE FUSS GETTING IT OPENED.
So sneak in.
DO WHATEVER YOU HAVE TO DO,
BUT IF I GET EVEN THE FAINTEST SUSPICION THAT
YOU ARE PLAYING GAMES WITH ME, I WILL DETONATE THE DEVICE.
Do you understand?
YES, SIR.
AGENT LISBON, DID YOU UNDERSTAND ALSO?
YES, SIR.
When we get the disks,
WHERE DO WE GO? GET THEM FIRST, AND THEN I'LL TELL YOU.
(horn honks in distance)
WE'RE ON THE THIRD FLOOR, APPROACHING THE EVIDENCE STORAGE
at the end of the hall.
Which door is it?
That one over there.
(footsteps)
Here.
(whispers) OKAY.
(rattles)
IT'S LOCKED.
(whispers) CAN YOU OPEN IT?
I THINK SO. SURE IT'S THE RIGHT DOOR?
I'M PRETTY SURE, YEAH.
(Patrick sighs)
LISBON?
YEAH?
Listen, uh...
IF THIS DOESN'T TURN OUT WELL, UM,
I-I just--well, there's been something I've been wanting
to tell you for a long time.
You know, the moment just hasn't presented itself, and--
Wait. Now?
Are you sure this is really the best time?
Well, if not now, then when?
(door bangs open)
DISARM THE BOMB.
(American accent) I PRESS THIS TRIGGER, YOU DIE.
SO DO YOU.
YOU LET ME GO...
I LET YOU LIVE.
NO, YOU HAVE TWO CHOICES-- DISARM THE BOMB,
OR DIE HERE WITH US. WITH ME.
JANE, YOU GO NOW.
OH, I WOULD IF I COULD. GO!
LOOK AT ME, SIR.
I DON'T WANNA DIE. I'M NOT AFRAID OF DEATH.
I'M AFRAID OF THE PAIN OF DYING
BECAUSE IT'S GONNA HURT.
YOU THINK IT'S GONNA HURT? YOU FEEL LIKE DYING?
JANE, GO! THAT'S AN ORDER! GO!
YOU'RE NOT THE BOSS OF ME. LOOK AT ME. JUST ONCE...
STAY HERE WITH ME. LISTEN TO ME, YOU PIGHEADED, ARROGANT--
STAY WITH ME. DON'T LOOK AT HER. LISTEN TO ME AND GO!
DON'T LOOK AT HER. STAY WITH ME. YOU'VE NOT LISTENED TO A THING I'VE SAID ALL THE--
(grunts) (thud)
(gun cocks)
YOU LISTEN TO ME.
YOU TELL ME RIGHT NOW HOW TO GET THIS DAMN VEST OFF,
OR GOD FORGIVE ME, I WILL KILL YOU.
YES, MADAM.
(police radio chatter)
THE DEVICE IS IN THE SOUTHEAST CORNER OF THE ROOM.
IT'S UNDER THE DESK. WON'T MISS IT.
LISBON, JANE, WELL DONE. WELL DONE INDEED.
HAS HE GIVEN YOU ANYTHING?
NOT A THING. WOULDN'T GIVE US HIS NAME.
WOULDN'T SAY WHY HE WANTED THE CA$H IN MOTION CLIENT LIST
SO BADLY EITHER.
THERE'S A REASON FOR EVERYTHING I DID.
HEY, YOU ARE NOT OFF THE HOOK.
OFF THE HOOK? OH, COME ON. ALL'S WELL THAT ENDS WELL.
ALL IS NOT WELL. PLEASE.
(handcuffs clicking)
DON'T SULK.
I GAVE YOU AN ORDER. IT IS MY JOB TO KEEP YOU ALIVE.
WHEN I GIVE YOU AN ORDER, YOU FOLLOW IT. THAT'S THE DEAL.
AND I WANTED TO LEAVE. I WANTED TO LEAVE DESPERATELY,
BUT I WOULD HAVE LOOKED LIKE A COMPLETE COWARD.
IT WAS MY EGO, MY SHEER VANITY THAT KEPT ME THERE,
AND THAT'S THE-- THAT IS NOT THE POINT.
(gunshots, glass shatters)
(crowd shouting indistinctly)
(police radio chatter)
HE TRIED TO ESCAPE. HE WENT FOR A GUN.
I HAD NO CHOICE.
(horn honks in distance)
(siren wailing)
WELL, YOU SEEM NO WORSE FOR WEAR, AND I DIDN'T THINK
IT WOULD WORK OUT THAT WAY, TO BE CANDID.
ME NEITHER.
SO... HOW THE HELL DID JANE KNOW
THAT IT WAS THE GAS STATION ATTENDANT?
THE CODE MESSAGE IN THE MEN'S ROOM.
WHEN JANE REALIZED THE BOMBER COULD SPEAK DIRECTLY TO DINKLER,
HE KNEW THERE WAS NO NEED TO LEAVE DINKLER A MESSAGE.
THE BOMBER COULD HAVE JUST TOLD HIM WHERE TO GO LIKE HE DID ME.
(LaRoche) SO THE MESSAGE HAD TO BE A FAKE.
AND THEN EVERYTHING FELL INTO PLACE.
IF THE MESSAGE WAS FAKE, THEN WHAT WAS THE REAL REASON
FOR DINKLER TO STOP AT THE GAS STATION?
(Bertram) TO DELIVER THE CUSTOMER LISTS.
ALL RIGHT, DINKLER WAS PROBABLY TOLD TO WAIT THERE,
AND SOMEONE WOULD APPROACH HIM.
(mouths words)
EXCUSE ME, SIR! YOU IN THE COAT.
(ticking)
(LaRoche) BUT SAC P.D. TUMBLED TO DINKLER... (officer) SIR!
AND SO HE HAD TO BE KILLED. (Dinkler) GO AWAY.
(officers and Dinkler shouting at once)
(office) LADY, STOP! (beeping, explosion)
AND THE LISTS WOUND UP IN EVIDENCE.
SO THE ATTENDANT SET UP A TRAP, LEAVING A SIMPLE CODE
FOR THE CBI TO FIND,
KNOWING THAT HE COULD SNAG A CBI AGENT
TO RETRIEVE THE LIST FOR HIM.
WELL, IT'S RISKY, BUT IT'S QUITE ELEGANT, REALLY.
WHAT WAS SO IMPORTANT ABOUT THOSE CLIENT LISTS?
UH, WE'RE STILL TRYING TO FIND THAT OUT.
WE'RE GOING THROUGH EVERY CUSTOMER NAME ON THE LIST,
BUT THERE'S A LOT OF 'EM.
OH. WELL, NEVER MIND. WITH THE CULPRIT DEAD,
THE CASE IS AS GOOD AS CLOSED. (bangs folders on table)
JOB WELL DONE, BOTH OF YOU. (mouths words)
THANK YOU, PEOPLE.
(indistinct conversations)
HEY. HI.
I'M SO GLAD YOU'RE OKAY. THANK YOU.
AND LOOK, I KNOW IT'S THE LAST THING ON YOUR MIND,
SO I THOUGHT I'D HELP OUT AND PICK UP YOUR DRESS FOR YOU.
SO THOUGHTFUL. THANKS.
I LEFT IT IN YOUR OFFICE. OKAY.
MAKE SURE IT FITS.
(telephone ringing, police radio chatter)
LISBON, ANY WORD ON THAT LIST YET? JEEZ, JANE! YOU MIND KNOCKING?
WHOA.
OH, MY.
VAN PELT MUST DIE.
NO, NO, NO, NO. YOU LOOK GOOD.
THIS IS...
BEAUTIFUL, LIKE A PRINCESS-- AN ANGRY LITTLE PRINCESS.
SOMEONE STOLE YOUR TIARA. SHE CAUGHT ME BY SURPRISE WHEN SHE ASKED ME.
OTHERWISE, I'D NEVER AGREE TO BE A BRIDESMAID.
AND WHY WOULD SHE EVEN ASK ME TO DO SOMETHING LIKE THIS?
SHE KNOWS I HATE THIS CRAP.
I TOLD HER TO ASK YOU. I TOLD HER THAT YOU WERE
SECRETLY DYING TO BE A BRIDESMAID. REALLY? WHY WOULD YOU DO THAT?
OH, FOR THE FUN OF IT, AND BECAUSE, UH, OF COURSE,
DEEP DOWN, YOU SECRETLY DO WANNA BE A BRIDESMAID.
GO AHEAD. CONFESS. CUSTOMER LISTS FROM THE CA$H IN MOTION CDs.
ONE NAME ON THERE IS MAX JAMES. THE SAC P.D. HOMICIDE
GOT AN ANONYMOUS CALL A FEW HOURS BACK--
DEAD MAN IN A HOUSE ON COSGROVE. TURNS OUT
IT'S THE SAME MAX JAMES. YOU MIGHT WANNA CHANGE FIRST. MM.
MAX JAMES.
LOOKS GOOD.
VERY FEMININE.
(police radio chatter)
MAX JAMES, AGE 59.
CORONER THINKS HE'S BEEN DEAD AT LEAST FOUR DAYS.
SO HE WAS DEAD BEFORE GUPTA PUT THE BOMB ON DINKLER.
AND GUPTA DID THIS ONE, TOO. THE BULLET WOUND IN THE KNEE--
SAME CALIBER AS DINKLER'S ROOMMATE. AH, BUT LOOK AT THE EAR AND THE EYE.
IT'S A COMPLETELY DIFFERENT M.O.
BECAUSE THE PURPOSE IS DIFFERENT.
THIS WAS TORTURE.
GUPTA WANTED SOMETHING FROM HIM.
WELL, JAMES DIDN'T DIE FROM THESE INJURIES.
CORONER THINKS HE HAD A HEART ATTACK. THERE YOU GO.
HE EXPIRED BEFORE THE KILLER GOT WHAT HE WANTED.
A CA$H IN MOTION RECEIPT.
THIS IS WHAT LED HIM TO DINKLER.
GUPTA CAME HERE, WANTED INFORMATION FROM JAMES,
TORTURED HIM, BUT THEN JAMES ENDED UP DYING.
HE FOUND THIS RECEIPT AND DECIDED THAT HE'D GO
AND GET THE INFORMATION SOME OTHER WAY.
BUT ALL THE LISTS HAD WERE CLIENT NAMES
AND CITIES WHERE THEY SENT MONEY.
AND GUPTA ALREADY HAD JAMES' NAME.
SO WHAT THE HELL DID THE LISTS GET HIM? YES, THAT IS THE QUESTION.
THIS IS WEIRD. MADELEINE HIGHTOWER.
WHAT?
THAT'S HIGHTOWER.
OH, CRAP.
I'LL CALL LaROCHE. NO, NO, NO, DON'T.
WHY NOT? IT'S HIS CASE.
WE GOTTA GET OUTTA HERE NOW.
FIX IT WITH SAC P.D. WE WERE NEVER HERE.
WHAT'S HE TALKING ABOUT?
I CAN'T TELL YOU WHAT'S GOING ON,
BUT YOU NEED TO KEEP THIS QUIET.
HIGHTOWER'S A FUGITIVE. SHE KILLED TWO PEOPLE.
SHE NEARLY KILLED JANE. WHAT CAN'T YOU TELL ME?
CHO, THIS IS AN ORDER. WE ARE GONNA WALK AWAY.
SAC P.D. IS GONNA HANDLE THIS CASE.
BOSS...
KIMBALL, I NEED YOU TO TRUST ME, PLEASE.
WHEN I CAN TELL YOU WHAT'S GOING ON, I WILL.
UNTIL THEN, IT'S BETTER YOU DON'T KNOW.
IT'S FOR YOUR OWN GOOD.
RED JOHN'S BEHIND THE BOMBS. HE'S HUNTING HIGHTOWER.
YEAH. MAX JAMES WAS A FRIEND OF HERS, OR A RELATIVE.
HE MUST HAVE KNOWN WHERE SHE IS.
WE HAVE TO WARN HER.
HOW? I DON'T KNOW WHERE SHE IS.
IF RED JOHN FAILED, WHAT DO YOU THINK HE'S GONNA DO NEXT? I HAVE TO THINK ABOUT THAT.
HE COULD COME AFTER YOU, JANE.
WHY? I TRULY DON'T KNOW WHERE HIGHTOWER IS RIGHT NOW.
IF I DON'T TOTALLY BELIEVE YOU,
RED JOHN PROBABLY DOESN'T EITHER.
IF RED JOHN WANTS ME, HE KNOWS WHERE TO FIND ME.
I CAN'T WORRY ABOUT THAT.
(keys jangle)
(wheels rattling)
(door beeps)
(card clatters)
(exhales deeply)
(water dripping)
(sighs)
(faucet squeaks)
HELLO?
HELLO, PATRICK.
WE NEED TO TALK.
HIGHTOWER.
ARE YOU ALONE?
YES, JUST ME AND MY DEMONS, AND THEY'RE NOT GONNA HURT YOU,
SO PLEASE, MADELEINE, COULD YOU PUT THE GUN DOWN?
YOU PEOPLE AND YOUR GUNS.
THANK YOU.
WOULD YOU LIKE SOME TEA?
YES.
CIVILIZED.
SO THIS IS WHERE YOU LIVE.
SOMETIMES.
OH, IT'S NICE.
COULD USE A FEW PERSONAL TOUCHES.
I GATHER YOU'RE NOT HERE
TO GIVE ME DECORATION TIPS, ARE YOU?
YOUR MURDER VICTIM TODAY, MAX JAMES...
HMM.
HE WAS MY COUSIN.
HE HAD BEEN HELPING ME OUT, SENDING ME MONEY.
WHEN HE STOPPED PICKING UP THE PHONE,
I WENT TO GO CHECK ON HIM. I'M SORRY.
YEAH. I SAW WHAT THEY DID TO HIM.
THEY TORTURED HIM A GOOD, LONG WHILE
BEFORE THEY KILLED HIM.
MUST HAVE BEEN ASKING HIM WHERE ME AND THE KIDS WERE.
AND HE KNEW.
HE KNEW.
BUT HE DIDN'T TELL.
A GOOD MAN.
HE WAS.
RED JOHN IS GETTING CLOSER.
HE'S GONNA FIND ME EVENTUALLY.
I KNOW IT.
NOT NECESSARILY.
I'VE HAD IT, JANE. I'M TURNING MYSELF IN.
I JUST WANTED YOU TO KNOW FIRST.
OKAY.
I'LL PROVE I'M INNOCENT OF TODD JOHNSON'S MURDER,
PROVE IT IN COURT.
AT LEAST I'LL KNOW MY KIDS
WILL BE PROPERLY TAKEN CARE OF, SAFE.
IT'S NO LIFE FOR KIDS, NO LIFE AT ALL.
WE'VE HAD ENOUGH RUNNING.
PLEASE DON'T TRY TO MAKE ME CHANGE MY MIND.
I-I UNDERSTAND. NO.
JANE, I'M SORRY. (sighs)
I KNOW THIS MESSES THINGS UP, YOUR PLAN,
BUT IT'S... IT'S NOT LIKE YOU'RE GETTING ANYWHERE, ARE YOU?
I MEAN, ARE YOU ANY CLOSER TO FINDING OUT
WHO RED JOHN'S ACCOMPLICE IS IN THE CBI?
YES. UH, WELL, I... IT'S COMPLICATED.
I'VE BEEN TRYING TO WORK
VERY SLOWLY AND CAREFULLY, BUT THIS...
THIS, UH... CHANGES THINGS.
I'VE GOT TO DO THIS. NO, I UNDERSTAND. IT'S THE RIGHT THING TO DO.
PLEASE, JUST GIVE ME 48 HOURS BEFORE YOU SURRENDER.
LISBON AND THE TEAM WILL PROTECT YOU AND YOUR KIDS,
AND I WILL FIND RED JOHN'S FRIEND.
HOW WILL YOU DO IN 48 HOURS
WHAT YOU HAVEN'T BEEN ABLE TO DO IN MONTHS?
I WILL BECAUSE I HAVE TO.
FOLLOW ME.
WHAT'S UP?
UH, WE HAVE A SITUATION.
GUYS, O'MALLEY'S, HALF AN HOUR.
RIGSBY, O'MALLEY'S, HALF AN HOUR.
WHAT KIND OF SITUATION?
(lowered voice) HIGHTOWER SITUATION.
(rock music playing)
WHEN I WAS HELD CAPTIVE BY RED JOHN,
I TOLD YOU THAT HE DIDN'T SAY ANYTHING TO ME.
UM... THAT WAS A LIE.
HE RECITED A POEM.
"TYGER TYGER. BURNING BRIGHT, IN THE FORESTS OF THE NIGHT:
WHAT IMMORTAL HAND OR EYE..." "WHAT IMMORTAL HAND OR EYE,
"COULD FRAME THY FEARFUL SYMMETRY?
"IN WHAT DISTANT DEEPS OR SKIES.
BURNT THE FIRE OF THINE EYES!"
THAT'S WILLIAM BLAKE. WHAT DOES IT MEAN?
WELL, GOD MADE THE LAMB, BUT HE ALSO MADE THE TIGER.
YOU CAN'T HAVE LIGHT WITHOUT DARKNESS, LIFE WITHOUT DEATH.
HERE'S THE THING. BEFORE HE DIED,
TODD JOHNSON
RECITED THE FIRST TWO WORDS OF THAT EXACT SAME POEM--
"TYGER TYGER."
OH. HE KNEW ABOUT RED JOHN. HE WAS GONNA TALK.
RED JOHN HAD HIM KILLED TO STOP HIM TALKING.
BUT HE WAS KILLED BY AGENT HIGHTOWER.
SHE'S WITH RED JOHN? SHE DIDN'T DO IT.
SHE WAS FRAMED TO CONCEAL THE IDENTITY OF THE REAL KILLER.
SOMEONE ELSE INSIDE THE CBI's WORKING FOR RED JOHN.
HIGHTOWER WANTS TO SURRENDER.
SHE WANTS TO PROVE HER INNOCENCE IN COURT.
SHE WANTS HER KIDS TO BE SAFE. I ASKED HER TO GIVE US 48 HOURS
BEFORE SHE TURNS HERSELF IN TO THE AUTHORITIES,
AND YOU GUYS WILL PROTECT HER. IN THE MEANTIME... WE ARE THE AUTHORITIES.
YES, WELL, YOU KNOW, YOU'RE NOT THE MAN.
YEAH, WE ARE. WE CAN'T LOOK AFTER HER.
IF WE SEE HIGHTOWER, WE'RE SUPPOSED TO ARREST HER.
SO ARREST HER. JUST DON'T TELL ANYBODY.
SHE GAVE YOU 48 HOURS TO DO WHAT?
48 HOURS TO FIND RED JOHN'S FRIEND
AND HAVE THAT FRIEND LEAD US TO RED JOHN.
AND HOW WILL YOU DO THAT?
LaROCHE HAD A LIST WITH HIGHTOWER'S NAME ON IT
AND FOUR OTHER SUSPECTS WHO WERE IN THE BUILDING
AT THE TIME OF THE MURDER. AND WHO ARE THE FOUR OTHER SUSPECTS?
I DON'T KNOW. DID YOU ASK LaROCHE?
NO. I DIDN'T,
BECAUSE IF ONE OF LaROCHE'S SUSPECTS
ISN'T RED JOHN'S FRIEND,
THEN LaROCHE IS RED JOHN'S FRIEND.
IF I ASK HIM ABOUT THE SUSPECTS,
HE'LL KNOW THAT I KNOW, AND I WILL LOSE
THE ONE ADVANTAGE I HAD OVER RED JOHN.
SO FIRST YOU HAVE TO GET THE LIST OFF LaROCHE. WHO DOESN'T LIKE TO TELL YOU THE TIME.
AND THEN YOU HAVE TO FIGURE OUT WHICH ONE OF THE SUSPECTS
IS RED JOHN'S FRIEND IF IT'S NOT LaROCHE HIMSELF.
IN 48 HOURS.
DON'T WORRY. I HAVE A BRILLIANT PLAN
WHICH REQUIRES YOUR HELP, BUT WE MUST ACT... NOW.
UGH.
I KNOW. I KNOW. THIS SCARES ME, TOO.
I'M GONNA DO THIS, BUT IF ANY OF YOU DO NOT WANNA TAKE PART,
THAT IS TOTALLY OKAY.
I'M IN.
YEP.
ME, TOO.
THANK YOU.
(door opens) CAN I HELP YOU?
YEAH, YOU CAN.
YES?
I NEED THE NAMES OF THE FOUR OTHER SUSPECTS
YOU IDENTIFIED IN THE TODD JOHNSON MURDER.
WHY?
MADELEINE HIGHTOWER CONTACTED ME.
SHE SAYS SHE'S INNOCENT. I BELIEVE HER...
WHICH MEANS ONE OF THOSE FOUR PEOPLE
IS THE REAL CULPRIT.
WHERE IS HIGHTOWER?
OH, YOU DON'T NEED TO KNOW.
SHE'S GONNA TURN HERSELF IN SOON,
FIGHT HER CASE IN COURT. WHY IS THIS YOUR BUSINESS?
IF THE CASE IS REOPENED, I WILL INVESTIGATE
ANY OTHER SUSPECTS IF NECESSARY.
YOU KNOW ME.
I'M INQUISITIVE, NOSY.
THE ANSWER IS NO, YOU CANNOT HAVE THE NAMES
OF THE OTHER SUSPECTS.
WHY NOT?
POLICY, RULES.
WELL, THAT'S A SHAME.
HOW ABOUT I MAKE SURE HIGHTOWER SURRENDERS TO YOU PERSONALLY?
I'LL TELL YOU WHERE SHE'S HIDING OUT.
YOU SHOULD DO THAT ANYWAY.
IT'S YOUR DUTY AS A CITIZEN.
(chuckles)
I LOVE YOU.
I'LL TELL YOU WHAT.
YOU GIVE ME THE LIST,
AND I WILL TELL YOU WHERE HIGHTOWER IS.
AND AS AN ADDED BONUS,
I PROMISE I WILL KEEP YOUR SECRET ENTIRELY TO MYSELF.
MY SECRET.
(sucks teeth) YEAH, LET ME JOG YOUR MEMORY.
DONALD CULPEPPER.
REMEMBER HIM?
BURGLARIZED YOUR HOUSE. YES.
HE WAS LOOKING FOR THE LIST. MY GUY.
YOU'RE ADMITTING TO A SERIOUS CRIMINAL OFFENSE.
I COULD ARREST YOU RIGHT NOW.
YEAH, YOU COULD. BUT YOU WON'T.
CULPEPPER DIDN'T COME UP WITH THE LIST,
BUT HE CERTAINLY SEARCHED YOUR HOUSE VERY THOROUGHLY.
OPENED THE SAFE.
LOOKED INSIDE THAT TUPPERWARE BOX YOU KEEP IN THERE.
INTERESTING.
THAT'S... PRIVATE.
YOU'RE NOT KIDDING. IT SHOULD BE.
I'D LOVE TO HELP YOU TRY AND KEEP IT THAT WAY.
YOU'RE A FASCINATING MAN, PATRICK.
WHO KNOWS WHAT YOU MIGHT HAVE ACHIEVED IN THIS WORLD... (paper rips, pen clatters)
WERE YOU NOT QUITE SO DAMAGED?
(paper rustles)
(rip)
YOU WERE GOING TO TELL ME WHERE HIGHTOWER IS.
OH, I'LL TELL YOU, BUT LISTEN, UH,
IT'S IMPORTANT TO LET HER BE UNTIL SHE'S READY TO COME IN.
SHE NEEDS TO MAKE ARRANGEMENTS WITH HER KIDS.
GIVE HER TWO DAYS. ALL RIGHT.
SO I HAVE HERE IN MY HAND,
LaROCHE'S FOUR SUSPECTS.
HOW DID YOU GET HIM TO TELL?
I THREATENED TO REVEAL HIS DARK SECRET.
WHICH IS WHAT? I HAVE NO IDEA.
I WAS BLUFFING. BUT IT MUST BE SOMETHING HORRIBLE.
WHO ARE THE SUSPECTS?
BRENDA SHETTRICK...
OSVALDO ARDILES...
GALE BERTRAM...
CRAIG O'LAUGHLIN.
CRAIG? CRAIG IS ON THE LIST?
THAT'S RIDICULOUS. NO DOUBT, NO DOUBT.
NOW THERE ARE THREE INNOCENT PEOPLE ON THAT LIST
AND ONLY ONE BAD GUY. OR THEY'RE ALL INNOCENT,
AND IT WAS LaROCHE.
LaROCHE DID KILL THE GAS STATION ATTENDANT,
MAYBE TO KEEP HIM QUIET. IT'S NOT CRAIG.
WELL, YOU NEVER KNOW. DIRECTOR BERTRAM?
BRENDA SHETTRICK? ARDILES?
NONE OF THEM LOOK LIKE VILLAINS, DO THEY? HE'S MY FIANCé.
GRACE, WHILE CRAIG'S A SUSPECT, HE'S A SUSPECT.
YOU UNDERSTAND THAT? MEANING YOU CAN'T TALK TO HIM ABOUT ANY OF THIS.
IT'S PROBABLY BEST TO AVOID HIM FOR A COUPLE OF DAYS.
YOU GO UP TO THE MOUNTAINS AND STAND GUARD OVER HIGHTOWER.
YOU CAN EXPLAIN EVERYTHING TO CRAIG
ONCE WE'VE I.D.'d RED JOHN'S ACCOMPLICE.
GRACE, IT'S A GOOD THING.
LITTLE COOLNESS KEEPS A MAN ON THEIR TOES.
SO HOW ARE WE GONNA WORK OUT WHICH ONE'S GUILTY?
RED JOHN IS OUT TO KILL HIGHTOWER. YEAH.
SO WE TELL ALL THE SUSPECTS WHERE HIGHTOWER IS.
AH, ONLY SHE WON'T BE THERE, AND WE WILL,
AND THEN ONE OF THE SUSPECTS WILL COME TO KILL HER. NICE. NO.
(Lisbon) NO?
NO. RED JOHN IS NOT GONNA SEND IN HIS INSIDE MAN IN CBI.
THAT IS A VERY VALUABLE ASSET.
HE WILL SEND IN AN ANONYMOUS ASSASSIN--
SOMEONE DISPOSABLE.
WELL, THEN HOW ARE WE GONNA KNOW
WHICH ONE OF THE SUSPECTS TOLD RED JOHN? W--
(dog barks)
OKAY.
ARE YOU READY? (knocks on door)
PACIFIC PALMS HOTEL. ROOM 705.
THANK YOU. GIVE HER TWO DAYS, YES?
THAT WAS OUR DEAL.
(knocks on door)
HEY, BRENDA.
HEY, TERESA. WHAT'S UP?
(receiver clatters)
LIKE YOU ASKED FOR--
IDEAS FROM THE UNIT FOR THE COMMUNITY OUTREACH PROGRAM.
REALLY? OH, THAT'S GREAT. THAT'S VERY EFFICIENT OF YOU.
MOST DEPARTMENTS JUST BLEW ME OFF ON THAT ONE.
WE AIM TO PLEASE.
(whistling)
"HIGHTOWER, PACIFIC PALMS ROOM 405"?
(knock on door)
MORNING, AGENT.
SPEAK.
HEADS UP ON A SITUATION, SIR.
JANE'S IN CONTACT WITH MADELEINE HIGHTOWER.
HE'S TRYING TO PERSUADE HER TO GIVE HERSELF UP.
YOU THINK SHE'LL DO IT?
YES, SIR. (newspaper rustles)
HELL. THAT'S WHAT WE NEED--
THAT DAMN SITUATION BACK IN THE NEWS.
SHE STILL INSISTS THAT SHE'S INNOCENT,
THAT SHE WAS FRAMED.
WELL, IF THAT'S TRUE, IT'S EVEN WORSE.
THE THING IS, SIR, WE KNOW WHERE SHE'S AT.
WE COULD GO IN AND GET HER, BUT I WOULD MUCH RATHER HAVE
JANE BRING HER IN PEACEFULLY THAN TO TAKE HER IN BY FORCE.
GOD FORBID SOMEBODY GET HURT. I'D LIKE TO GIVE JANE 48 HOURS.
IF THAT DOESN'T WORK, WE'LL GO IN AND ARREST HER.
YOU SURE YOU CAN CONTROL THE SITUATION?
YES, SIR. WE KNOW HER EXACT LOCATION.
SHE'S AT THE PACIFIC PALMS HOTEL, ROOM 605.
IF SHE LEAVES THAT BUILDING, WE'RE ON HER.
WELL, OKAY.
IT'S YOUR CALL.
I WISH HIGHTOWER AND THIS WHOLE MESS
WOULD JUST VANISH, FRANKLY.
BUT WHAT CAN YOU DO?
YES, SIR.
GRACIAS, RAQUEL.
ARDILES.
SO DID YOU FIND A GOOD SPOT FOR THE PACKAGE?
YOU MEAN HIGHTOWER? WE AGREED TO CALL HER "PACKAGE."
OH, RIGHT. SHE'S AT THE, UH, PACIFIC PALMS HOTEL.
YOU KNOW WHAT'S REALLY WEIRD?
PACIFIC PALMS IS THE NAME OF THE STREET MY MOM LIVES ON,
AND HIGHTOWER--I-I MEAN... THE PACKAGE IS IN ROOM 305,
WHICH IS MY MOM'S HOUSE NUMBER-- 305 PACIFIC PALMS.
HOW WEIRD IS THAT? AH, IT'S NOT VERY WEIRD.
I THOUGHT IT WAS REALLY WEIRD.
I'LL TAKE A MEDIUM NONFAT LATTE, PLEASE. I'LL HAVE THE SAME.
HEY. YOU, UH, YOU SEEN GRACE?
SHE'S NOT ANSWERING HER PHONE.
UH, NO, SHE'S KINDA SUPER-BUSY RIGHT NOW.
OH, YEAH? WHAT'S GOING ON?
(lowered voice) UM...
HIGHTOWER'S SURFACED. GRACE IS GUARDING HER.
HIGHTOWER?
WOW. WHAT'S THE DEAL?
WELL, IT'S, UM... IT'S KIND OF A LONG STORY.
YEAH, I BET. SO GRACE WILL BE GONE FOR A WHILE, I GUESS. YEAH, SHE COULD BE.
OH, THAT'S TOO BAD. OH, WHAT, YOU CAN'T LIVE WITHOUT HER NOW?
(laughs) WELL, WHAT CAN I SAY? ALL RIGHT?
I MISS HER WHEN SHE'S NOT AROUND.
I'M MAN ENOUGH TO ADMIT IT.
ALL RIGHT, WELL, SO YOU DON'T GET TOO ANXIOUS,
AND YOU DIDN'T HEAR THIS FROM ME,
BUT YOU MIGHT WANNA CHECK OUT THE PACIFIC PALMS HOTEL.
ROOM 505.
OKAY. GREAT. THANKS. APPRECIATE IT.
BUT I'LL PROBABLY TOUGH IT OUT, YOU KNOW?
I DON'T WANNA BE TOO CLINGY. WOMEN HATE THAT.
RIGHT.
I'LL SEE YA. SEE YA.
OH, THANK GOD. THERE IT IS. I GAVE YOU THE WRONG FILE.
YEAH. THERE YOU GO.
(lowered voice) YOU DIDN'T READ THIS, DID YOU?
I-IT'S TOTALLY TOP SECRET.
NO, NO, OF COURSE NOT. I MEAN, NO.
WHEW. LISTEN, PLEASE DON'T TELL ANYBODY I DID THIS.
I WOULD FEEL LIKE SUCH A FOOL.
UH... MY LIPS ARE SEALED. I SWEAR.
THANK YOU.
UM, TERESA?
WHAT ABOUT THE COMMUNITY OUTREACH?
OH! YEAH. I-I'M GONNA GET BACK TO YOU ON THAT.
(rapid footsteps depart)
(Patrick) EACH SUSPECT'S GIVEN THE SAME HOTEL
BUT A DIFFERENT ROOM NUMBER.
SO THE ROOM THE KILLER GOES TO
WILL TELL US WHICH SUSPECT TOLD RED JOHN.
(Cho) Hey, Rigsby, move the camera more to the right.
YEP. OKAY.
Better?
GOOD.
THERE.
SIMPLE, ELEGANT, FOOLPROOF.
WHO HAS A KEY TO THE MINIBAR?
I DO, AND I'M KEEPING IT. WE'RE ON THE JOB.
YOU'RE ON THE JOB. I'M AN AMATEUR.
BESIDES, ALL I WANT IS THOSE EXPENSIVE PEANUTS.
THANK YOU.
(cell phone beeps)
(phone rings)
(Van Pelt) HEY, BOSS. (Lisbon) Van Pelt, you all right?
EVERYONE'S SAFE AND SOUND. ALL GOOD HERE.
DID YOU TALK TO CRAIG? No, but I'm sure he's fine.
LOOK, I'LL COME AND SPELL YOU
AS SOON AS THIS THING PLAYS OUT HERE. THANKS, BOSS.
(whispers) TELL HER I SAID "HEY." MADELEINE SAYS "HEY."
"HI" BACK.
UH, TELL HIGHTOWER SHE'LL SOON BE EXONERATED.
I ALREADY HUNG UP, AND STOP BEING SO CONFIDENT.
MAKES ME NERVOUS.
THIS IS BEGINNING TO LOOK LIKE A HUGE WASTE OF TIME. (taps key)
WHENEVER YOU SAY THAT,
SUCCESS IS JUST AROUND THE CORNER.
THERE. LOOK.
THE ASSASSIN'S HERE.
(taps key)
WHAT, HER? HOW CAN YOU TELL? SHE'S CARRYING A LARGE BAG WITH VERY LITTLE IN IT,
NO JEWELRY, AND SHE HAS A KILLER'S FACE. COME ON.
(Rigsby) YEAH, SHE LOOKS KINDA NICE TO ME. NO. HOMICIDAL EYES. CLEAR AS DAY.
(elevator bell dings)
WHAT'S YOUR BET, JANE? WHICH ROOM WILL SHE GO TO?
IT'S A 5-HORSE RACE. FOOL'S BET.
YOU, BOSS? ANY GUESSES? FOR ALL WE KNOW, SHE'S A TOURIST FROM IOWA.
(elevator bell dings) (Lisbon) EIGHTH FLOOR?
THAT'S OUR FLOOR.
SHE JUST WENT BY.
TOLD YA. TOURIST. NO, SHE'S TAKING THE FIRE STAIRS.
SHE'LL APPEAR ANY MOMENT.
(Lisbon) OR SHE'S JUST GOTTEN BACK FROM DAY OF SIGHTSEEING--
THERE! THERE SHE IS.
BERTRAM. WOW.
BERTRAM. RED JOHN'S MAN IS THE CBI DIRECTOR?
HOW MESSED UP IS THAT?
(guns clicking)
READY.
NOW.
(click) DON'T MOVE! POLICE!
MA'AM, STAY RIGHT WHERE YOU ARE. I'M NOT GONNA HURT YOU.
HANDS. PUT YOUR HANDS IN THE AIR. NO, THANKS.
DAMN!
(thud)
(door closes)
(sighs)
KNOCKOUT DRUGS. ROBE.
BAG. LOOKS LIKE SHE WAS TRYING TO TAKE HIGHTOWER ALIVE,
BACK TO RED JOHN.
YEAH. MAYBE. LET'S GO.
WE'VE GOT A DEAD BODY OUT THERE. CALL IT IN.
IF WE'RE STILL HERE WHEN THE HOTEL SECURITY GETS HERE,
WE'RE GONNA BE HERE FOREVER.
WE GOT A LOT TO DO. WE GOTTA KEEP MOVING. WAIT. A LOT OF WHAT TO DO?
WE HAVE TO FIND A GOOD SPOT FOR A TRAP TO LURE BERTRAM,
A TRAP THAT RED JOHN WILL FOLLOW HIM INTO.
OH, SIMPLE, THEN. YOU'RE GETTING THAT CRAZY LOOK IN YOUR EYES.
CALM DOWN. PERFECTLY CALM.
RED JOHN IS ONE STEP BEHIND ME,
BUT HE THINKS HE'S ONE STEP AHEAD,
SO IN EFFECT, HE'S TWO STEPS BEHIND, AND HE DOESN'T KNOW IT.
HE'S GONNA BE OVERCONFIDENT WHEN HE WALKS INTO MY TRAP.
AND WHAT WILL YOU USE AS A LURE FOR THIS TRAP?
CAN WE MOVE, PLEASE?
BECAUSE I CAN ANSWER ALL YOUR QUESTIONS IN MOTION.
I'M CLEVER LIKE THAT. THANK YOU.
HEY. THERE YOU ARE.
HEY, STRANGER.
OKAY, I'M SORRY, BUT I HAVE A GOOD EXPLANATION.
UH, RIGSBY TOLD ME. 'CAUSE HIGHTOWER'S BACK.
LOOK, I DON'T SEE WHY THAT MEANS YOU CAN'T ANSWER YOUR PHONE.
I KNOW. IT'S A LONG STORY,
BUT I'VE BEEN GUARDING HIGHTOWER,
WHO'S TOTALLY INNOCENT, BUT WHOEVER KILLED TODD JOHNSON
IS WORKING WITH RED JOHN. WOW.
AND... YOU WERE A SUSPECT.
ME? YOU'RE KIDDING.
I KNOW, RIGHT?
BUT WE FOUND WHO'S THE REAL KILLER, SO... YOU'RE CLEARED.
OH, GLAD TO HEAR.
SO WHO IS IT? WHO'S THE REAL KILLER?
WHEN I TELL YOU, YOU'LL FREAK OUT.
BUT RIGHT NOW I HAVE TO GO RELIEVE LISBON
FROM GUARDING HIGHTOWER.
HEY, WILL YOU COME WITH ME?
IT'S A DRIVE.
I DON'T KNOW. THIS ALL SOUNDS KINDA SKETCHY, SO...
IT IS KINDA SKETCHY. PLEASE?
OF COURSE. I'LL GO WITH YOU.
THANK YOU.
MM. MWAH.
JANE?
YES?
YES? I'M-- I'M KIND OF IN A HURRY HERE.
OH, I CAN IMAGINE.
BUSY BOY.
HOW'S HIGHTOWER?
SHE'S FINE.
STILL AT THAT HOTEL, IS SHE?
YES. WHY DO YOU ASK?
NO REASON.
OKAY. WELL, NICE TALKING TO YOU.
(man) GOVERNOR BROWN'S EXPERTS ARE KEEPING AN EYE
ON RADIATION LEVELS AND WHETHER THEY POSE A THREAT.
(Brown) I DON'T THINK WE'RE AT THAT POINT IN CALIFORNIA.
THAT'S BECAUSE, EXPERTS SAY, THE AMOUNT OF RADIATION...
HI. HELLO.
(turns TV off)
UH, DID WE HAVE A MEETING SCHEDULED?
UH, NO. SO LISTEN, THINGS WENT A LITTLE HAYWIRE
WITH HIGHTOWER LAST NIGHT.
SOMEONE TRIED TO KILL HER. OH?
YES, WHICH SUGGESTS SHE'S TELLING THE TRUTH
ABOUT BEING FRAMED. WELL, MAYBE, BUT--
THE THING IS, I CAN STILL GET HER TO COME IN PEACEFULLY,
BUT SHE INSISTS SHE WANTS TO TALK TO YOU FIRST,
FACE TO FACE, NAIL DOWN A DEAL. ME?
SHE TRUSTS YOU. WELL, SHE SHOULD.
YEAH, SHE... SHOULD,
BUT I DON'T KNOW ABOUT ANY... DEAL MAKING.
SHE'S A LOOSE CANNON, TO SAY THE LEAST.
SHE WON'T COME IN OTHERWISE.
SHE SAYS SHE'LL TAKE HER STORY STRAIGHT TO THE MEDIA. THAT WOULD NOT BE GOOD.
NO. THAT WOULD BE BAD.
SO YOU'LL DO IT. EXCELLENT.
SHE WANTS TO MEET AT 2:00 P.M. ON THE DOT.
I WILL PICK YOU UP AT... 1:30. WAIT, WAIT. UH...
ALL RIGHT, I'LL DO IT.
GOOD MAN.
HERE YOU GO, BOYS.
HEY, APPRECIATE IT. HOW MUCH WE OWE YOU?
IT'S ON THE CBI. IT'S THE LEAST WE CAN DO. OH, THANK YOU.
MA'AM, WE WERE DEBATING WHO IT IS WHO WE'RE GUARDING IN THERE.
I'M THINKING IT'S A CELEBRITY.
IF I TOLD YA, I'D HAVE TO KILL YA.
(laughs) FAIR ENOUGH.
(click)
(gate whirring)
HEY, LOOK, A TADPOLE! GET IT!
GET IT, WILL! GET IT!
PIZZA'S HERE!
PIZZA!
YOU SAVED ME. THEY WERE ABOUT TO TURN ON ME.
HEY, GUYS. ARE YOU HUNGRY?
(Will) YES.
(horn honks)
WHY HERE? WELL, HIGHTOWER FIGURED NO ONE WOULD TRY TO KILL HER
AT A PUBLIC PLACE LIKE THIS.
HERE. HERE A SEAT.
(clears throat) EXCUSE ME.
UH, CAN I GET A POT OF YOUR LAPSANG SOUCHONG?
AND...
COFFEE, BLACK.
JANE, I CAN HEAR YOU LOUD AND CLEAR.
TAP THE TABLE IF YOU CAN HEAR ME.
YOU GOT HIM, RIGS? GOT HIM.
AND ALL THE DOORS IN AND OUT.
WE GOT TAPE ON EVERYONE WHO ENTERS THE MALL.
IF RED JOHN COMES, WE GOT HIM ON CAMERA.
IF HE COMES.
HE WILL.
I'M SORRY?
OH, JUST, UH... MUTTERING TO MYSELF.
(chuckles)
YOU DON'T SEEM NERVOUS.
NO. W-WELL, SHOULD I BE NERVOUS?
OH, THANK YOU. THANK YOU VERY MUCH.
DEAR LORD, WE THANK YOU FOR THIS GREAT FOOD
WE ARE ABOUT TO EAT.
WE THANK YOU FOR OUR FRIENDS.
WE THANK YOU FOR OUR MANY BLESSINGS. AMEN.
AMEN. AMEN.
AMEN. ALL RIGHTY.
WANT SOME? YEAH, THANKS.
THEY SHOULD BE AT THE MALL NOW.
THINK IT'LL WORK?
FRANKLY, NO. TRYING TO BE HOPEFUL.
YOU LIKE THAT PIZZA?
(sighs) SHE'S NOT COMING, IS SHE?
SHE'LL BE HERE.
JUST WHO EXACTLY IS TRYING TO KILL HER, ANYHOW?
WELL, IT'S HARD TO SAY.
WHO WOULD BE YOUR GUESS?
WELL, I RUN THE DEPARTMENT, PATRICK.
I DON'T READ CASE FILES. YOU HAVE NO IDEA AT ALL.
NONE. YOU TELL ME.
RED JOHN, OF COURSE.
OF COURSE.
I BELIEVE HE HAS A FRIEND INSIDE THE CBI.
OH, ANOTHER ONE. OH, GOOD LORD, THIS MAN'S A PRODIGY.
I BELIEVE HE HAS FRIENDS ALL OVER THE STATE--
POWERFUL FRIENDS.
(scoffs) COME ON.
I'M SERIOUS.
YOU KNOW, I BEG OF YOU, PATRICK, SEEK HELP.
I SOUND CRAZY, DON'T I? MAYBE I AM.
MAYBE I'M NOT.
NO, YOU DON'T SOUND CRAZY.
YOU JUST SOUND LIKE A MAN WHO'S PUSHED HIMSELF TOO HARD,
WHO'S REACHED THE END OF HIS ROPE.
YOU NEED TO TAKE A BREAK, CONSULT A THERAPIST, MAYBE.
YOU KNOW, I-I KNOW A LOT OF DOC--EXCELLENT DOCTORS
WHO HAVE HELPED PEOPLE--
ROPE. THE ROPE. DID YOU KILL TODD JOHNSON?
WHAT? N-NO. DID YOU KILL TODD JOHNSON?
NO! WHAT IS WRONG WITH YOU?!
RIGSBY, CHO, THE ASSASSIN NEEDED THE ROPE
TO CLIMB OVER THE BALCONY TO GET TO THE ROOM BELOW.
SHE WASN'T TARGETING ROOM 605. SHE WAS TARGETING ROOM 505.
HEY, GUYS.
HEY, VAN PELT.
THIS IS AGENT O'LAUGHLIN, FBI.
WE'RE HERE RELIEVING AGENT LISBON. GOOD TO MEET YA.
YEAH, LIKEWISE. (click)
(gate whirring)
OH, YOU KNOW WHAT? I LEFT MY PHONE IN THE CAR.
OH. CAN I HAVE THE KEYS? YEAH.
THANKS. WON'T BE A SEC, ALL RIGHT?
OKAY.
CAN YOU GET THE GATE?
(gate whirring)
(silenced gunshots)
YOU KNOW HOW BEAUTIFUL YOU LOOK?
OH, HUSH. (keys jangle)
(chuckles)
MMM.
(cell phone rings)
(ring)
OH, COME ON.
THIS IS TOTALLY UNACCEPTABLE.
IF I DON'T GET AN IMMEDIATE AND CLEAR EXPLANATION
ON WHAT THE HELL IS GOING ON HERE,
I'M WALKING AWAY RIGHT NOW. WALK AWAY. WALK AWAY.
ALL RIGHT, THERE WILL BE CONSEQUENCES.
MARK MY WORDS.
OH, COME ON. ANSWER YOUR DAMN PHONE.
(cell phone buzzing, water running in faucet)
(Mimi) MOMMY!
THIS IS IS WHAT YOU'RE WATCHING, MIMI. NO ARGUMENTS.
YOUR SHOWS ARE TOO GROWN UP FOR WILL. YAHOO!
YOU KNOW THAT. YOU KNOW IT!
WHAT YOU WAITIN' FOR?
(cell phone continues buzzing, water continues running)
(faucet turns off)
(buzz)
(knock on door)
(buzz)
(buzzing stops) JANE, OH, HOLD ON A SEC.
HEY, GUYS.
HI, BOSS. HEY.
WHAT'S UP?
Listen to me. It's not Bertram.
IT'S O'LAUGHLIN.
JANE, I-I CAN'T HEAR YOU. WHAT? O'LAUGHLIN.
Red John's man is O'Laughlin.
LISBON!
DON'T MOVE.
WHAT DID YOU DO, CRAIG?
SORRY ABOUT THIS, GRACE, TRULY.
I'VE GROWN GENUINELY FOND OF YOU.
(whispers) I DON'T UNDERSTAND. WHY ARE YOU DOING THIS?
IT'S NOT YOU. IT'S ME.
(gun clatters)
(Mimi) MOM!
STAY THERE.
(clatter)
(coughing) DON'T LOOK! DON'T LOOK!
GO IN THE ROOM. COME ON.
(Lisbon continues coughing)
(door closes)
OH, CRAIG. CRAIG.
OH.
(weakly) GRACE.
(breathes heavily)
(cries)
(Patrick) Lisbon!
LISBON!
(gasps)
Lisbon!
(panting) LISBON.
O'LAUGHLIN'S DEAD. I'M WOUNDED, BUT I'M OKAY.
(breathing heavily)
GRACE, CALL 9-1-1 FROM THE LANDLINE.
OKAY.
ARE YOU GONNA BE ALL RIGHT?
(panting) I THINK I'LL BE ALL RIGHT.
(breathing heavily)
(pants and coughs)
LISBON, LISTEN TO ME.
CAN YOU GET O'LAUGHLIN'S PHONE?
(groans)
(panting)
I got it.
GREAT.
PRESS "REDIAL" AND TELL WHOEVER ANSWERS--
TELL HIM O'LAUGHLIN IS DEAD.
(continues panting)
(cell phone rings)
(ring)
(high-pitched voice) HEY.
This is Agent Lisbon.
O'LAUGHLIN'S DEAD.
THAT'S TOO BAD.
NEVER MIND. YOU WIN SOME, YOU LOSE SOME, I GUESS.
(panting) HE SAID, "NEVER MIND.
Win some, lose some."
I'LL CALL YOU BACK.
(closes cell phone)
(normal voice) CAN I HELP YOU?
YEAH. WHO WERE YOU JUST SPEAKING TO?
WHY IS THAT YOUR BUSINESS? DON'T PLAY WITH ME.
SIR, I DON'T KNOW WHAT YOUR ISSUES ARE,
BUT YOU'RE MAKING ME VERY UNCOMFORTABLE.
WERE YOU NOT JUST SPEAKING TO TERESA LISBON? TO WHO?
WHO ARE YOU? WHAT'S YOUR NAME? DO I NEED TO CALL SECURITY?
I'M JUST MESSING WITH YA. (laughs)
YOU KNOW WHO I AM.
TELL ME ANYHOW.
I HAVE MANY NAMES.
SOME PEOPLE CALL ME "RED JOHN."
MM.
HOLLOW POINTS.
THEY MAKE A FIST-SIZED HOLE.
I WON'T HURT YOU IF I DON'T NEED TO.
IT'S GREAT TO MEET YOU, FACE TO FACE...
SO TO SPEAK.
YOU KNOW, THE LAST TIME I SAW YOU,
EVERYTHING WAS SO... HYPER...
SO UNRELAXED.
IT'S HARD TO TALK IN THAT KIND OF ENVIRONMENT.
HOW DO I KNOW YOU ARE WHO YOU SAY YOU ARE?
(high-pitched voice) THAT'S A DEEP QUESTION.
(normal voice) HOW DOES ANYONE REALLY KNOW WHO ANYONE IS?
WHO ARE YOU? WHAT DO YOU WANT?
WHEN O'LAUGHLIN TOLD ME ABOUT YOUR LITTLE TRAP,
I WAS SO HAPPY.
THE PERFECT OPPORTUNITY
TO TEACH YOU ONE LAST LESSON IN HUMILITY, BUT NO.
YOU PREVAILED FOR ONCE. BRAVO.
SINCERELY... BRAVO.
AND YOU KNOW WHAT? IT'S A GOOD THING.
IT CONFIRMS WHAT I'VE BEEN THINKING.
IT IS TIME TO QUIT.
QUIT.
YEAH, NO MORE KILLING, NO MORE BLOOD. ENOUGH.
BEEN THERE, DONE THAT. RETIRING.
GIVE MYSELF A NEW FACE, A NEW IDENTITY.
START A NEW LIFE.
I HAVE SKILLS AND--AND RESOURCES
THAT I CAN USE
TO REALLY MAKE A POSITIVE CHANGE IN THIS WORLD
FOR OTHER PEOPLE. YOU KNOW? FOR CHILDREN.
I GUESS I'VE BEEN...
PURSUING MY OWN DREAMS FOR SO LONG, THAT I JUST...
(chuckles) I... I LOST SIGHT
OF WHAT'S TRULY IMPORTANT IN THIS WORLD.
I THINK THAT HAPPENS TO A LOT OF PEOPLE, DON'T YOU? AM I SUPPOSED TO LAUGH?
WHY ARE YOU TELLING ME ALL THIS?
WELL...
I THINK WE HAVE A CONNECTION THAT NEEDS TO BE HONORED.
I-I WANNA SAY GOOD-BYE. I WANT TO APOLOGIZE...
FOR ANY PAIN I MIGHT HAVE CAUSED YOU,
AND I WANT TO RELEASE YOU FROM THIS CURSE YOU'VE BEEN UNDER.
I'M NOT UNDER A CURSE.
DOOMED TO AN ENDLESS, ANGRY SEARCH
FOR A VENGEANCE YOU WILL NEVER HAVE.
I WOULD CALL THAT A CURSE, WOULDN'T YOU?
I LOOK ON IT MORE AS A HOBBY, AND I WILL HAVE THAT VENGEANCE.
VENGEANCE? ON... ON... ON WHAT?
LOOK AT--LOOK AT ME. I'M JUST A REGULAR GUY.
I BET YOU--YOU THOUGHT I'D HAVE HORNS, HUH?
RIGHT? I'M NOT A MONSTER.
I'M NOT THE DEVIL.
I'M JUST ANOTHER HUMAN BEING WITH FLAWS
AND VICES AND PROBLEMS JUST LIKE ANYBODY ELSE.
FORGET ABOUT ME.
I'M NOT WORTH RUINING YOUR LIFE OVER.
WHEREVER YOU GO, YOU DELUSIONAL FREAK,
I WILL FIND YOU AND I WILL KILL YOU.
AND THEN... THEN I WILL FORGET ABOUT YOU.
TOUGH GUY.
HERE I AM.
LET'S SEE WHAT YOU CAN DO. COME ON.
YOU PUT THAT GUN AWAY, AND I'LL SHOW YOU WHAT I CAN DO.
(snorts) SEE HOW WE SOUND?
WE SOUND LIKE KIDS ON A PLAYGROUND.
DON'T YOU SEE THAT I'M-- I'M TRYING TO DO YOU A FAVOR?
SEEKING REVENGE IS A WASTE OF YOUR PRECIOUS TIME.
YOUR LIFE IS PRECIOUS, PATRICK.
GET ON WITH THAT PRECIOUS LIFE.
FIND YOURSELF A WOMAN TO LOVE.
START A FAMILY.
WHEN YOU'RE DEAD.
OKAY.
I THOUGHT YOU MIGHT TAKE THAT ATTITUDE.
OH, WELL. I TRIED.
GOOD-BYE.
HEY, YOU CAN'T JUST WALK AWAY.
I CAN'T?
YOUR COLLEAGUES ARE GONE.
WHAT CAN YOU DO TO STOP ME?
I DON'T KNOW THAT YOU REALLY ARE RED JOHN.
FAIR ENOUGH.
YOUR WIFE WAS VERY CLEAN.
SHE SMELLED LIKE COAL TAR SOAP AND LAVENDER.
YOUR DAUGHTER SMELLED LIKE SWEAT...
AND STRAWBERRIES AND CREAM.
SOME KIND OF KIDS' SHAMPOO.
PLEASE, WAIT.
(panting)
(gunshots)
(crowd screaming)
(thud)
(screaming continues)
CAN I GET THE CHECK, PLEASE?
(exhales)
(radio chatter)
STAY TUNED FOR SCENES FROM OUR NEXT EPISODE.