02x23 - Red Sky in the Morning

[bunniefuu]

(night, terrace of a fancy restaurant. Giorgio's Italian Restaurant. Sacramento, California)

(Jane and Frye seated at table)

Jane: You clean up very nicely, if you don't mind me saying so.

Frye: I don't mind you saying so. Thanks. You look... pretty much the same as you always look.

Jane: Oh... good. This is my date outfit.

Frye: Really?

Frye: Is this your first date? I mean, um, since your wife d*ed?

Jane: Do I seem out of practice?

Gerard (waiter): Hi.

Jane: Hi.

Gerard: Uh, my name's Gerard. I'll be your server this evening. Would you like to hear our specials?

Frye (taking Gerard's left hand in hers): I'm sorry to interrupt, Gerard, but I'm getting a message from, uh, your mother. A Janette no, um, Janis.

Gerard: Yes.

Frye: Um... I'm sorry for your loss. She's happy now. And she wants you to know that she sends her deepest love. And, um... your Uncle... Ed says, "Roll Tide." Does that mean anything to you, Roll Tide?

Gerard: My mother's brother Edward. He d*ed five years ago. He was a tight end at Alabama in the '60s. Oh. Uh, they're called the Crimson Tide. Uh, that's their rallying cry- "Roll Tide."

Frye: Oh.

(Jane not happy, speaks up)

Jane: Well, uh, I'd like to have the soup Du jour and the lamb, medium, and the arugula salad and the fish for the lady. Thank you.

Gerard (taking the menu from Jane): Thank you.

Gerard (taking the menu from Frye): Thank you.

(Jane shakes his head)

Frye: What?

Jane: Oh, come on.

Frye: You're so ferocious in your lack of faith. I mean, is it so hard to imagine that I'm not putting on an act? That...that I really am what I say I am? His mother sent a message. I'm meant to help. That's all. It happens to me all the time.

Jane: Okay. I'm sorry. Roll Tide. (Jane toasts)

(Van Pelt at the CBI office, she is preparing to leave when an alarm sounds on her computer, she sits down, tired with a sigh. Rigsby, filing papers, notices.)

Rigby: Bad guys just keep on coming, huh?

Van Pelt: I hate the Internet.

Rigby: Listen, if you like, I can deal. You go.

Van Pelt: No, it's okay.

Van Pelt: It's just a Web alert for when a name we're interested in pops up. (she clicks on a video link on his screen. Sees the image, a surveillance camera, someone goes to a house, breaks in ...) Wayne?

Rigby: What is it? Oh.

Van Pelt: This is not good.

Rigby: Relax, it's... it's just a hoax. It's staged, almost certainly.

Van Pelt (goes into a bedroom, approaches the bed): Oh my god

At the restaurant

Frye: I didn't put... uh, no.

Jane: Yes.

Frye: No. No. You went to jail, really?

Jane: Yes, I did. What's so hard to believe?

Frye: For how long?

Jane: I was there for two days and two very luxurious nights.

Frye: Uh-huh. Yeah. And how'd you get out?

Jane: I just escaped.

Frye: Uh-huh. I don't believe you for one second.

Jane: It wasn't... it wasn't that difficult. It's all timing.

Frye (bursts out laughing): Uh-huh.

Jane: I'm not kidding. Okay.

Frye (still laughing): Huh.

Jane: Excuse me. I have to go to the bathroom. (Jane asks Gerard where the bathroom is) Ah, thank you.

(Jane retreats to the bathroom, rinses hands, dries them, turns his wedding ring on hisfinger, looks at it, throws the paper towels on the bin and exits, he returns to the restaurant terrace)

Jane (on return from the restroom): Hey. (picks up his napkin from the chair) Kristina, um... (he seems sad, probably about to say that he'd prefer to go home)

Jane (his phone rings): Oh. I'm so sorry. It's work. (he answers) Hello?

Van Pelt (in the office): Jane, you need to come to the office. Right now.

(On voit sur l'écran de Van Pelt, the face on the wall.)

(We see Van Pelt's screen)

(Rigsby puts her hand on Van Pelt's shoulder.)

[ CREDITS ]

CBI Office

(On Van Pelt's computer screen, we see the girl wake up, see the intruder and scream)

(Lisbon, Hightower Jane and Van Pelt look at the screen. Van Pelt speeds up the m*rder, we are left looking at the wall on the paused screen)

Van Pelt: It was posted on the Internet an hour ago on a popular notice board. There's a message that goes with it.

Van Pelt (reads the message): "I am becoming what I was meant to be. Your children's children will worship me."

Van Pelt: We don't know when or where the video was made.

Lisbon: There appears to be an '08 Silverado parked outside the house, so it's gotta be at least that recent.

Hightower: Has Red John made video? Or issued statements like this before?

Lisbon: No.

Jane (thanks Frye who brings him a cup of tea in a blue cup, she has a mug.): Oh, thank you.

Frye: Excuse me. Sorry to interrupt.

Hightower: Oh. Hi, Kristina. Uh, good to see you.

Frye: Yeah. That poor girl.

Hightower: Yeah, yeah.

Frye: For what it's worth, I'm getting a sense that she d*ed very recently. Her body will be discovered very soon. She's near water.

(Jane drinks his tea)

Hightower: Does this feel like Red John to you?

Frye: Uh, I'm not getting a read on that. The whole Internet aspect is interesting, though, isn't it? I mean, why put it up there?

Lisbon: This clip's had over a million viewers. A desire for fame?

Hightower: Patrick, you're being very quiet. What are you thinking?

Jane: Uh, I'd have to see the crime scene.

Rigsby: C. H.P. just reported a homicide in the Bay area. Smiley face on the wall. College student named Marley Sparrow. Roommate found her, called it in about a half-hour ago.

Lisbon: Let's get ready to go.

Frye (to Jane, while the others leave the office): Bay area?

Jane: Uh, yes. That is close to water. That's, uh, that's uncanny.

Hightower: Oh, come on. That's pretty good.

Frye: I am feeling a strong connection to this case somehow.

Jane: Madeline, can we have a word, please?

Hightower: Yeah. Excuse us.

Jane: She's gonna ask if she can come along with us. Now obviously, that's your call. But I hope that you refuse, because I won't work with her. I will quit.

Hightower: What's your objection? If she can help us, why not?

Jane: Nothing she says is more than clever guesswork.

Hightower: So she has essentially the same skills as you, without all the drama. What's the deal?

Jane: Red John is mine.

Hightower: Okay. Okay, I hear you.

Jane: Thank you.

Frye: I'm sorry to interrupt.

Jane (leaves the two women to discuss): Oh, please. Uh...

Frye: Um, I was going to offer my services, but I get the sense Mr. Jane is telling you that he won't work with me. The last thing I want to do is upset this investigation, but if I have any more feelings about the case, could I call you?

Hightower: Of course, Kristina. Always be glad to hear your thoughts. Have a good night.

Frye: Thank you.

(Jane joins Frye in the lift, cup of tea in hand)

Jane: Listen, uh, I...

Frye: I completely understand. No hard feelings.

Jane: Okay.

Frye: That was an unusual date, though, huh?

Jane: Yes, very.

Frye: Thank you. I'll see you soon, I hope. Um, would you... (hands him his mug, he takes it)

Jane: oh, yeah, sure. (Frye approaches Jane and gave him a kiss on the left cheek.) Oh.

Jane: Bye. (Frye enters, the doors close)

Frye: Bye.

The victim's house

(Jane enters the victim's bedroom)

Jane (to both scientists working): Guys give me a minute, please. Thank you.

Jane (to the victim, raising the clear plastic that covers the body): Hey, Marley. We'll get this sorted out for you. (He walks around the room)

Brett Partridge (bursting into the room): Hey, hey, Patrick Jane. Long time. So qué pasa, dude? My people need to do their thing.

Jane: I won't be long. (Jane looks at the photos, objects ...)

Brett Partridge: Oh. You hoovering up the, uh, ol' psychic ectoplasm?

Jane: Yeah, that's exactly what I'm doing.

Brett Partridge: We have a schedule to keep, amigo. Ticktock. Sooner you're done fooling around, sooner my people can find actual clues.

Jane: She's from Iowa. She played the guitar. She liked dark chocolate, sudoku and snowboarding. Shy, but strong. Honorable, modest. Didn't drink or smoke. Parents d*ed when she was very young. And after college, she wanted to go into family law and help foster kids like herself. Or become a singer. She hadn't made up her mind yet.

Brett Partridge: Yeah, that's great, dude. But where's Red John?

Jane: Oh, this wasn't Red John.

Brett Partridge: So you say.

Jane: So I say.

Brett Partridge (to Jane, as he leaves the room): Jerk.

Jane (snapping his fingers as he enters the room): Oh, make sure you have your people send those papers and journals to the CBI office.

Brett Partridge: Will do.

Jane: Thank you. (Jane leaves the room)

University of Pacific Heights campus, Orinda, California

(a chapel, students are there, one of them with a professional film camera)

(Lisbon and Jane face a couple of students)

Ruth: Marley was the best. The best person. A beautiful soul.

Lisbon: Ruth you found her body, yes? When you entered your house, did you notice anything unusual before you found the body? Something missing or out of place?

Ruth: No, I don't think so.

Lisbon: How long had you been gone?

Ruth: Two days, snowboarding. Marley was supposed to come, but then her boyfriend was coming over to see her, so she stayed.

Lisbon: Boyfriend's name?

Ruth: Grady Shipp. He's a policeman in San Francisco. They've been dating for, like, a month.

Lisbon: Okay. What was he like? Nice guy?

Ruth: Marley really liked him a lot. Said he was super nice but I don't know. We never actually met him.

Lisbon: No?

Ruth: She'd go to his place, mostly. And when he came by here, he'd wait for her in his car.

Jane: Weird, no?

Ruth: I think Marley was a bit embarrassed for hooking up with a cop, you know?

Jane: Ah.

Ruth: So she kept him on the down low.

Lisbon: Embarrassed, why?

Ruth: Marley was cool. And, well, cops are sort of nerds with g*ns, aren't they?

Daylan: Ruth, hello?

Ruth: No offense.

Jane (laughs out loud): Sorry.

In a university classroom.

(Lisbon and a professor)

Miss Ketchum (Professor of Criminology): Marley Sparrow? Yes, I was her academic advisor for two semesters. Nice enough girl, but not as clever as she likes to think she is. But none of 'em are, are they? Ha!

Lisbon: Did you notice any changes in her behavior recently?

Miss Ketchum: No. But nor do I pay close attention. They're all empty vessels to be filled with knowledge. Here is a horrible coincidence. Last semester, I taught a criminology elective. m*rder, myth and marketing the serial k*ller as commodity. Red John was actually mentioned in our class discussions. Isn't that eerie?

Lisbon: Who mentioned him? What'd they say?

Miss Ketchum: Oh, damned if I know. It was eight or nine months ago.

Lisbon: Do you have a student list from the class?

Miss Ketchum: You know, I do. I do. Somewhere. I do...

Lisbon: We would love toget a look at that list.

Night - O'Reilley Tavern. 21 Larry's Golf.

(Cho, Rigsby, Lisbon and Jane sit at table)

Cho: So there's no Grady Shipp with any San Fran police agency. There's no Grady Shipp, period.

Rigsby: There was a Grady Shipp once. He k*lled and ate his next-door neighbors in Little Rock back in the '90s. He was lethally injected by the state of Arkansas in '02.

Lisbon: Huh. So Marley's boyfriend doesn't want anybody to see his face, and he named himself after a cannibal. That's two strikes against him.

Cho: Shame we don't have a name or a description.

Lisbon: The roommate, Ruth, said that he never got out of his car. Maybe we can get a make and model from her.

Jane: Grady Shipp. In 1989, he did a 6-month spellin the same wing at Lompoc as Orval Tanner.

Rigsby: Orval Tanner?

Cho: Red John's friend.

Lisbon (to Jane): You have the entire Lompoc prison registry in your head?

Jane: Well, only the relevant sections.

Lisbon: Wh-what does it mean? Is it a joke?

(Jane looks at the TV screen. Journalist and Frye are sitting. Subtitles)

"Jackie: I'm talking with well known psyc medium Kristina Frye."

Cho: Marley's boyfriend is Red John. That doesn't make any sense.

Jackie (the Journalist): "In the hunt for this beast known as "Red John."

Frye: Well, he... he's not a beast, Jackie. He's a human being. Now he has done terrible thing but is still capable of redemption... like all of us.

Frye (s'adresse a l'écran): Red John... If you're listening to us now, I urge you to reach out and get help. You can change.

(written on the screen): you can step back into the light.

(Jane is shocked, he gets up and runs out of the tavern. The 3 others do not understand until Cho, Lisbon look to the TV screen, the 3 are glued!)

Hightower's Office

Jane (to Frye): What the hell are you thinking?! Don't you understand who you're dealing with?

Frye: I do understand, yes.

Jane: No, you don't. Clearly, you don't understand.

Hightower: I asked Miss Frye here so that I could fully express my deep dismay.

Frye: I was speaking from the heart.

Hightower: That may be, but you were also hustling for business. And that's okay, but you present me now with a problem. We don't have any obligation to protect you, but...

Frye: I wasn't asking for protection. It's completely unnecessary. Red John is not coming after me.

Jane: Are you blind? You've done exactly what I did. I went on television and talked about him as though I knew him, and he k*lled my wife and child.

Frye: Patrick, he was punishing you because you lied about him. I was telling the truth. He won't take offense with me. He might even listen to what I said. In fact, I-I believe he will. People do change, Patrick. It's possible. Agent Hightower, I'm truly sorry for dismaying you. Now if you'll excuse me, I have some other appointments. (Frye exits the office)

Jane (to Hightower): She needs 24 hour protection... the best that you can provide.

Lisbon (to Rigsby, in the CBI corridors): The SAC P. D. special protection unit will provide security, the CBI will be on the inside, bodyguarding Miss Frye. Jane and I will take the first shift. The next 24 hour rotation will be split among us, alternating with the Sparrow case.

Rigsby: Well, we're gonna have to stop protecting her sooner or later. That's when he'll go for her. He'll just wait.

Lisbon (entrant dans le bureau): Van Pelt, what do you got?

Van Pelt: We're looking for Grady Shipp, right? This is Marley's address book. (she holds pink address book)

Rigsby: That's different writing. Maybe that's Grady Shipp himself.

Van Pelt: Can I?

Lisbon: Keep digging. Rigsby, take Cho with you. Check it out.

Rigsby: Yeah, you got it.

Rigsby and Cho get out of the car in front of 1327 E. Alta Loma, Oakland, California. (address contained in Marley's address book)

Cho (through a padlocked gate): Hello?

(Rigsby knocks, no answer, he opens it and both enter)

Rigsby and Cho hear a noise coming from upstairs, they go up the stairs.

Rigsby: Hello?

(Up the stairs they take a left. A sofa, a table, a radio on it. In the middle of the room, a bucket.)

Cho: Blood.

Rigsby: Yep. (in the half-filled bucket of blood, a flat brush)

Cho (approaching to look in the bucket): Pig's blood, maybe.

Rigsby: For practice?

(footsteps coming from above, a glass roof, suddenly a sh*t through it, Cho and Rigsby take cover before going to the pursuit of the intruder)

Cho: Police! Stop! Police! Stop!

After a chase in the building, the person escapes on a motorbike.

Cho: I'll call it in.

(Rigsby catches his breath and notices a camera lens cap on the floor)

Cho: What is it?

In front of a townhouse, in Sacramento:
"pscychic healings by KristinA FRYE american board of medium ..."

(Jane and Lisbon have just entered Frye's house)

Jane: A lens cap. Interesting. Practicing the Red John symbol, and not just watching us pursue him, but filming the pursuit.

Lisbon: What does it mean?

Jane: It means Marley Sparrow's killerloves cameras. He's a voyeur... A fanboy, a slasher movie geek. Huh

Rigsby and Cho listen to Jane by speaker phone.

Rigsby: Great. But where does that take us now? Like in a car?

Jane: Well, try the campus film club.

Rigsby: All right.

Jane: Nice place, huh? Tasteful.

Lisbon: To me, it looks like we're about to pay way too much money to get our legs waxed.

Jane: Hmm.

Frye: Hi. I was just making some lunch. Would you like something to eat?

Lisbon: Sure, thanks.

Jane: I'm good. Thanks.

Frye: Patrick, uh, on reflection, I'm truly sorry for the situation I put you in. I hadn't thought through your involvement.

Jane: All right, I-I-I'll eat some lunch. Just please don't make a fuss.

university library

(Rigsby and Cho join Marley's teacher, Miss Ketchum)

Cho: Miss Ketchum?

Miss Ketchum: Oh, policemen. Okay. I knew I'd forgotten something. Uh... Okay. There it is. I thought for sure I'd sent that.

Rigsby: Sent what?

Miss Ketchum: Uhuh, the class list of the students in my criminology class. Your colleague had asked for it.

Rigsby: And you're chair of the film club also?

Miss Ketchum: I have that honor. You know what? I have the film club register here as well. Okay... Yes, yes. Would you like to see it?

Rigsby: Yes. That would be, uh, good.

Miss Ketchum: Okay. Ah, there you go.

Miss Ketchum: Oh, how thrilling!Am I a suspect?

Cho: And where were you Tuesday night, Miss Ketchum?

Miss Ketchum: Oh, how thrilling! Am I a suspect?

Cho: Are you?

Miss Ketchum: Well... I'd like to think I can still summon that kind of passion.

Rigsby: So where were you?

Miss Ketchum: Home. Alone. Reading a m*rder mystery, actually.

Cho: Now there's only one name onboth lists... Wesley Blankfein.

Rigsby: Oh, wait. You just made a face.

Miss Ketchum: Well, he is a sweet boy. Rather a good actor, actually. But, uh... strange.

Rigsby: Strange? How?

Miss Ketchum: I can't really put my finger on it. It's a look in his eyes.

City University corridor

(the caretaker reacts to the sight of a photocopy of Wesley Blankfein's student card. "pacific heights. student id card. Wesley Blankfein. 109340983. barcode + color photo)

Caretaker: Yep, that's him. I remember when he moved in. I mentioned to him he was a little older than most of our students, and he said he needed to escape from his mother. Which, uh, I thought was an odd response.

Cho: And when did you last see him?

Caretaker: Uh, three weeks ago... Excuse me. Uh, maybe. I figured he had a girlfriend.

Rigsby: Nothin here.

Dylan and Ruth arrivent dans le couloir.

Caretaker: Oh, hey, Dylan.

Rigsby: Oh, hey, you guys. Quick question.

Cho: Now you guys said Marley's boyfriend waited for her outside in a car?

Ruth: Yes.

Cho: Do you recall what type of car he drove?

Ruth: Um, it was black, I think. I'm bad with cars.

Dylan: It was a... it was a black S. U.V.

Rigsby: What car did Blankfein drive?

Caretaker: Uh, he didn't have a car.

Chez Frye.

Lisbon: Huh. Okay. Try locating Blankfein's mother. Maybe she knows where he is. All right. Let me know. Wesley Blankfein's in the wind. Looks like he might be good for this.

Frye: I don't think so. Marley made contact with me. The name "Blankfein" doesn't resonate.

Lisbon: Marley made contact with you?

Frye: Yes.

Jane: Of course. Uh, I think we might have had enough of your crime-fighting skills, Kristina. Might be best to stick to the crystal therapy and the, uh... foot massages?

Frye: Reflexology.

Jane: Right. Reflexology.

Lisbon (answers the phone): This is Lisbon.

Agent Senton, FBI: Agent Senton, FBI Yeah, we got a case here in Lake Tahoe. Looks like your boy Red John. Victim's name is a Jacqueline Sandoval. You wanna come take a look?

Frye: You can smile your arrogant smile and act like you know everything about everything, but you don't. There are whole worlds that you can't even begin to understand.

Jane: Synchronized swimming is, uh, the only world that Springs to mind. But I'm sure you're right. There may be many others.

Frye: What's the matter?

Lisbon: Red John k*lled the woman who interviewed you.

Frye: Oh, my God. (Jane looks as if to say, "I told you so!") Oh, my God.

Lake Tahoe, Nevada

(Jane is in the victim's room, the victim is covered with a yellow plastic sheet, he raises it, breaths faster, replaces it. Exits the room, the home, joins Lisbon)

Jane: It's Red John, all right.

Lisbon: Okay, uh, I'll reach out to the feds. I'll make sure they keep us in the loop.

Jane: We gotta get back to Kristina Frye's place.

Lisbon: There are cops all around her house. Van Pelt is with her, and there's other CBI agents on their way. She's safe. I am confident Red John's not gonna go there.

Jane: That is exactly why he might.

Lisbon: If he does, we'll get him. You really wanna hang out at Kristina's house, waiting for Red John to show up? Let's just go back to the office, and we'll work the Marley Sparrow case.

Jane: There's nothing useful that I can do there. This Blankfein character... he looks good for it, right?

Lisbon: Fine. Go and wait for Red John. It's not a good idea, though. (Lisbon s'en va and laisse Jane planté la)

Jane: Hey, we're in Nevada. You can't just walk off and leave me here.

Back in the CBI offices.

Lisbon: Hey.

Rigsby: Hey, boss. So Wesley Blankfein's mother is Myra Hauser-Blankfein. Address in Franklin heights.

Cho: And she owns a black S. U.V. Like Grady Shipp drives.

Lisbon: Good. Go check her out.

Rigsby: Now? Well, it's a long drive.

Lisbon: You leave now, you'll be there by the morning.

(night, Jane arrives at Frye's, enters the house, a policeman opens the outside door, another the door)

Jane: Grace, thank you. (Van Pelt gets up from the sofa and leaves the room, Jane walks towards Frye.) (to Frye) How you doing?

Frye: I'm doing fine.

Jane: Red John certainly made his point. Quite possibly, he'll leave things be now.

Frye: I know he will. I have a clear vision of him. He needs to create fear, that's all. He's done that now, and he feels calm.

Jane: Will you just stop that nonsense? You wanted to promote your psychic business, and...and you made a big mistake. Now will you just...will you please just own it?!

Frye: Why are you here?

Jane: I am here because I want to protect you.

Frye: And how are you gonna protect me? If Red John comes through that door right now, what are you gonna do, hypnotize him?

Jane: I will do what I need to do.

Frye: If Red John wants to reach me, he will. I choose to believe that he doesn't want to. Now please, go away.

Jane: I'm gone. (Jane marches off, Frye watches him leave)

Day - Rigsby and Cho knocking on the door of a motel apartment.

Madame Blankfein's Neighbor: Uh, you're wasting your time.

Rigsby: Ma'am, we're looking for Mrs. Blankfein and her son.

Madame Blankfein's Neighbor: Gone. And left the cats to starve. It's not right.

Rigsby: Do you know where they went?

Madame Blankfein's Neighbor: Uh, nope. Never leaves before. Never. Every day, 11:00, like a machine, she's watching her TV shows. Three days now I hear nothing. Quiet like the grave.

Cho: How about her son Wesley? Have you seen him?

Madame Blankfein's Neighbor: Nope. Gone, too.

Cho: Did it occur to you that Mrs. Blankfein might be dead in there?

Madame Blankfein's Neighbor: Yes, it did. But there'd be a smell, wouldn't there, if she was dead?

Cho: Step back inside, please, ma'am.

Rigsby: You good?

Cho: Yeah.

(They enter the apartment, a dozen cats meow)

Rigsby: Bedroom's clear.

(Cho opens a triptych mirror. Dozens of pictures of Marley, hearts drawn on it. Rigsby's face is drawn on the central mirror)

Rigsby: Oh, jeez.

Cho: "G. S." Grady Shipp.

Rigsby: Bingo.

CBI office

(thetriptych mirror is on an easel, Rigsby, Cho and Lisbon look it)

Rigsby: Inside the mind of Wesley Blankfein... A.K.A. Grady Shipp.

Lisbon: Not pretty.

Rigsby: What it looks like he's obsessed with Marley, so he builds a shrine and he fakes up all these photos of them together. Then he tries to turn the fantasy into reality, and posing as Grady Shipp, asks her out, and she says yes. Big mistake. Fantasy and reality collide, and she dies.

Lisbon: Sounds about right. Where the hell is he? Uh, where's his mom? You didn't find anything useful in the apartment? No computer, nothing?

Cho: No. A lot of cats.

Rigsby: Now the pictures of Marley they were all taken at different times and places. The pictures of Wesley were all taken in the same place. Nowhere we've been. Maybe that's a safe house for him.

Cho: Nothing to say where it is, though.

Lisbon (to Jane, who is going round in circles): Jane, you wanna take a look? See if you see anything useful?

Jane: Huh? Yeah, sure. If you like. Hmm. (Jane approaches the triptych and looks at length) Yep.

Lisbon: And...

Jane: There's a photo of Wesley with a sign in the distance... a yellow "kc" backward on a pole. His—his shadow is pointing right to it.

(Cho shows the photo in question to Rigsby)

Rigsby: Yeah. It's way small back there, but I see it.

Jane: Yeah, that's the logo for Kenny's Chili, Southern California fast food chain. There's about 50 or so outlets.

Rigsby: You memorize trademarks?

Jane: Well, with Wesley's long shadow and the golden light, that would say afternoon. And sun is in the West, so that puts Kenny's due East of this location... about a block and a half, I'd say.

Rigsby: Huh. He's right.

Lisbon: 50 or so outlets?

Jane: Hardware store and a liquor store on the block right next to it. That should narrow it down.

Rigsby: I'll get on it.

Lisbon: Thank you.

Jane: Oh. No.

Lisbon: You should make that call.

Jane: What call?

Lisbon: Right. Like I'm not a Detective, too?

(Jane makes a call)

(The image that appears during the call is a cove on the lake)

Van Pelt: Hey, Jane. It's Grace. Kristina's taking a nap. I can get her for you if you l like.

Jane: I'd appreciate that, Grace. Thank you.

(Van Pelt, phone in hand goes upstairs to look for Frye, Jane is on the line, he hears everything.)

Van Pelt: Kristina? Kristina, it's Jane for you.

Van Pelt (to the policeman posted at the door of the Frye's room): Open the door. Kristi?? Kristina? Kristina?!

(Jane at the end of the call sighs, closes his eyes, understands)

Van Pelt: Kristina

INT. CBI office

(Lisbon, Cho, Van Pelt are sitting at the conference table)

Cho: How did Kristina get past the guards?

Lisbon: We don't know. But she also packed a bag, she took her passport and her credit cards, so we can assume she wasn't abducted.

Jane: No, no, no, no. You, you, you can't assume. Red John could've gotten in and taken her.

Lisbon: Maybe. But the likelihood is she panicked and ran somewhere to hide.

Jane: Yeah. Or, or, or maybe he lured her out somehow.

Lisbon: We'll check the phone records. Let's start contacting her relatives and friends. She's out there somewhere.

Hightower: Forgive me, Agent Lisbon, but delay that order. The search for Kristina Frye will now be conducted by the missing persons unit.

Jane: What?

Hightower: They're the best at what they do. They will find her if she can be found. And, Van Pelt, snap out of it. Wasn't your fault.

Van Pelt: Yes, ma'am, but...

Hightower: Move on. All right. Where are we on the Marley Sparrow case?

Lisbon: We have a suspect at large by the name of Wesley Blankfein. He's been obsessed with both Red John and Marley Sparrow. He seems to have created an alter ego by the name of Grady Shipp. It's after a k*ller with Red John connections.

Hightower: Any leads?

Cho: Well, off photos he took, we've id'd six possible locations for what we assume is Blankfein's safe house.

Lisbon: It's pretty much a long sh*t, but it's all we have.

Hightower: Okay. All right. Go to it.

Lisbon: Let's start divvying up the locations. Cho, you take Riverside county. Bring Rigsby with you. Van Pelt and I will take the San Bernardino locations. Jane, you stay here. Take a break.

Jane: I don't need a break.

Lisbon: I think you do.

Jane: I, I, I'd rather keep active.

Lisbon: You're too hyped up to be out in the field.

Jane: Oh, that's nonsense.

Hightower: I agree with Lisbon. Get some rest.

Jane: Some rest? Oh, just... Lie down and catch up on some z's. Kick back with a good book. Rest? I'm fine.

Hightower: Debatable. Do you want me to ask the psych counselor for an evaluation?

(Jane is sitting in a chair, facing the couch, right leg in motion, gets up, goes to the triptych looks at it, takes a picture, Wesley, outside an empty store. A Sacramento CBI car arrives in the city of Salinger Mill, California. Jane goes down, the photo in hand)

Jane (crosses in front of a car): Sorry.

(stands in front of the store, across the street an abandoned hotel. Hotel del Corona, 52 North, Esperanza)

Lisbon (answering phone): Leave a message. I'll call you back.

Jane: Lisbon, it's Jane. Uh, I found it. It's 52 north Esperanza. Hotel Del Corona in Salinger Mill. Uh, I am gonna... Uh, I, I'm gonna wait for you at, uh, Kenny's. Okay? Give me a call when you get this message. Thank you.

(Jane hangs up the phone, returns to the Hotel Del Corona. Pushes open the door and enters, walks down 2 or 3 steps. A ceiling light come on, he looks up at the ceiling and receives a blow on the right side of his skull, he collapses unconscious)

(We find Jane bound on a chair. A shadow passes by)

Unknown: Welcome, Detective.

Wesley (we see his face): I'm Grady Shipp. So good of you to come visit me. You're a lucky man. Very lucky. Tonight... You will have the dying honor...

Wesley (to someone obviously behind Jane): Can we do that again? Tonight... You will have the honor of dying (Jane tries to look behind him) as a sacrifice to the Holy master, Red John. (Wesley heats the blade of his Kn*fe on a lighted candle) Behold... The blood sacrament of the master.

(Wesley approaches Jane)

Jane: Stop. You wanna try that again?

Wesley: Huh?

Jane: Just t-try it again. Uh, say it like you mean it. You know, where's the passion gone?

Wesley: Behold the blood sacrament of the master.

Jane: Oh, n-n-no. I'm not, I'm not. I'm not buying it. Come on. Just, just stoffor a second and think, think about what you're doing here, and then we'll start again from the top, okay?

Wesley: Uh... (looking behind Jane for help)

Jane: It's all right, Wesley. I know what's going on. They've got your mother, don't they?

Wesley: Yeah. How'd you know?

Jane: They're forcing you to play a part in their sick little movie.

Wesley: Yes.

Jane: You're playing the part of Grady Shipp, right?

Wesley: Yes.

Jane: It's okay. It's okay. Dylan! Ruth! We need to talk.

Dylan (approaches Jane): Thank you very much for totally ruining a freaking brilliant scene, you jerk.

Ruth: Hush, Dyl. How did you know it was us?

Jane: Well, you were the only people that mentioned Grady Shipp. He was your creation. And it was you that k*lled Marley, wasn't it, Dylan? Wesley couldn't hurt a fly. It was a truly sick individual that did that.

Ruth: It was me, actually.

Jane: Oh.

Ruth: Dyl's much better with the camera, and Marley... Deserved what she got, pious little bitch. (to Dylan) Keep the camera running. This is all good stuff.

Jane: No offense, but you wouldn't know good stuff if it smacked you in the face. This is just a corny slasher movie.

Dylan: Yeah, but real, dude. Real blood. Real guts. Yours. Wesley, let's, uh, wrap this scene up now, okay? Gonna pick it up right at the end, "behold the blood, " and cetera, and then s*ab this sucker, okay?

Wesley: I don't know.

Jane: That's it.

Dylan: What? Wh what are you, not—no! Okay, this—this man is dead. Okay, the only question is whether you and your mom want to live or you want to die like him, okay? That's your choice here.

Jane: These people are nuttier than a fruitcake. They're gonna k*ll you regardless. You don't have to do this.

Ruth: We are not monsters, Wesley. We're artists. We are making art. When the movie's done, of course you and your mom are free to go, with our gratitude for your help.

Jane: Stay calm.

Dylan: "Behold the blood." Wesley.

Wesley: I'm sorry.

Jane: Wesley. Wesley, Wesley, hey. Behold...

(Wesley leve le couteau vers Jane qui se penche sur son coté gauche pour essayer de l'éviter)

(Wesley raises the Kn*fe to Jane tries to avoid)

Wesley: The blood sacrament...

Jane: No, Wesley. No. It's okay. Wesley

Wesley: (raising the Kn*fe over Jane): Of the master!

Jane: Wesley!

(sh*ts ring out and we see Dylan and Ruth fall, the g*n is aimed at Wesley, he was sh*t on the left. We see a black dressed figure, pointed hood, Jane panics, he tries to free himself. Ruth is still alive, the character approaches her, she begs)

Red John: If there's one thing I can't tolerate, it's cheap imitations of my work.

(Ruth beckons him, meanwhile Jane tries desperately to escape ending up tipping the chair. He lands on his right, he is afraid. Wesley saw the arrival of the character in front of him, he breathes heavily)

Red John (to Jane): Do you know who I am?

Jane: Yes.

Red John, pushes the chair upright, puts his face, wearing a horror mask, to 4" from Jane who looks him in the eye)

Red John (still 4" from Jane's face): "Tiger, tiger, burning bright... In the forests of the night, what immortal hand or eye could frame thy fearful symmetry?"

(Jane has difficulty breathing, mouth closed, Red John moves to the right, Jane breathes a little easier)

(Suddenly a black-gloved hand lands on his left shoulder)

Jane: Ooh!

Red John: I almost forgot. Kristina, would want me to send her love. She's very fond of you, despite your differences. Roll Tide! (gives 2 pats on Jane's shoulder)

(still in the room, Jane catches his breath, thinking, smiling)

Two days later - the CBI offices.

(Jane is sitting on his couch, thoughtful)

Lisbon: You okay?

Jane: Yeah, I'm fine.

Lisbon: You're sure he said nothing? Nothing at all?

Jane (heavy sigh): Nothing.

(Lisbon leaves Jane. He has this little smile of one who has just realized something)

(Jane opens the door of his room, sits down on his makeshift, a diary in his right hand)

Jane: "Tiger, tiger, (stretches) "burning bright... In the forests of the night, what immortal hand or eye could frame thy fearful symmetry?" (still smiling, he closes his eyes)

(Jane lies on his bed topped by the "signature" Red John, like a recumbent figure of rebirth)