05x18 - Behind the Red Curtain

[bunniefuu]

(Applause, indistinct conversations)

(Cheering)

(Sirens wailing in distance)

(Camera shutters clicking)

(Police radio chatter)

Cho: Hi, boss.

Driver sustained heavy lacerations and head trauma, but believe it or not, they're saying he'll live.

Lucky.

Victim's Sharon Warwick, 23.

She went off of a balcony, room 914.

Rigsby's up there right now with the forensics team.

Now off the bruise on the cheek and the ripped vest, we're thinking it's m*rder.

Catering staff?

Actually, she was a cast member.

Show's called "Torch".

It's a story about intersecting lives and loves in a New York night club in the 1950s.

The event tonight was a fund-raiser for the show.

Multiple witnesses say the time of death is 8:01 p.m., right when the performance was set to begin.

Well, what was she doing up there?

We don't know yet.

She was I.D.'d by Warren Dodge, the producer.

He's in there with the director.

All right.

(Radio chatter continues)

Man: Poor Sharon.

Tragedy. Absolute tragedy.

But you know what?

We're gonna regroup, and we'll move forward from this, Bran, better and stronger. You'll see.

Warren, our star is in a cab blotto, our second lead is dead.

How do you propose we do better and stronger?

Bran, listen— uh, Mr. Dodge?

Yes?

I'm Agent Lisbon.

I need to ask you some questions.

Of course. Of course. Can you give me just one minute?

Bran, we are going to get "Torch" to Broadway.

We are, all right?

I'll take care of the investors.

Hanover is solid, that's 50% of our money.

It's only the other investors we have to worry about, all right?

Your job is to keep calm and reassure the cast and crew, all right?

Mr. Dodge.

Yes?

And you are?

Uh, Bran McTavish, the director.

Did either of you actually see Sharon Warwick fall?

I was inside. The show was starting.

And I arrived right after it happened.

Do you have any idea what she was doing up in room 914?

Well, we were using that area as a dressing room for this event.

She was supposed to be down in the ballroom.

She was third cue.

Third cue?

Yeah.

We had, uh, actors scattered about dressed as hotel guests, workers, caterers.

It was Bran's idea to start the show.

Yeah, a guest breaks out into song, then the bellboy, then the waitress.

That was Sharon.

She was supposed to be in the ballroom.

You've both been really helpful.

If you wouldn't mind going up to the room while we start the investigation, I'd be grateful.

Anything we can do.

(Clears throat)

(Cell phone beeps)

(Cell phone rings)

Patrick: Hey, Lisbon.

Where the hell are you?

Don't tell me you're at the hospital.

I'm not at the hospital.

We caught a case.

You're needed at the crime scene.

I'll be there soon.

You're at the hospital, aren't you?

You told me to tell you I'm not at the hospital.

What do you want?

Make up your mind.

Get out of there.

If Jason Lennon wakes up, and if he talks, and if he knows Red John's identity, Agent Kirkland and Homeland Security are perfectly capable of handling it.

I disagree.

You're playing with fire.

There are worse things to play with.

Oh, gotta go.

How did you get in?

This wing is closed to visitors.

My Aunt Daphne's in room 10.

Kidney failure. Poor dear. Drinks like a fish.

You must be broken up about it.

Look at you. You're a mess.

We both know why you're here.

Although I find your need to talk to Lennon now interesting.

You did stand by while Lorelei Martins sh*t him.

How's he doing?

He'll live to talk to us.

And I'll let you know if he has anything interesting to say.

You're always good to talk to you, Patrick.

But I think you should go now, before we start disturbing the patients.

Hmm. This way, sir.

Yeah. I'm going. That's my arm.

You have two of your own. Thank you.

How did you get in here?

Who let you in?

Well, if I told you that, I wouldn't be able to get in when I come back, would I?

♪ The Mentalist 5x18 ♪
Behind the Red Curtain
Original Air Date on March 25, 2013

Lisbon: Uh, did anybody have access to the suite besides Sharon?

This served as a sort of communal dressing area for this event, so, everybody, really.

The whole cast plus myself, Dodge, and, uh, Sylvia.

Hey, um, have you spoken to Hanover?

I wanna make sure he hears about this from us first.

Uh, Sylvia, you worry about the other investors.

Let me deal with Hanover, all right?

Um, this is Sylvia Clare, our publicist.

Sylvia, uh, Agent Lisbon is with the CBI.

Who's Hanover?

Our patron. Our main investor.

Oh, Jane, there you are.

This is the—

No need. I just caught up in the elevator.

Uh, Dodge, McTavish, and Clare, producer, director, publicist.

Was Sharon having any trouble with the, uh, cast or crew?

No, no. Not at all.

We're a very happy family here at "Torch."

Yes, of course. That's exactly what a good publicist should say, isn't it?

Uh, where were you when the victim fell, Ms. Clare?

Oh, I was in the ballroom.

Mr. Dodge, uh, what made you want to cast Sharon Warwick as the second lead?

According to this, she doesn't have much theater experience.

Her paragraph's very short.

Well, uh, Sharon came out here from New York, and she just knocked Bran out with her audition.

And, uh, I trust his judgment.

She's a natural dancer, big voice, quick learner, and she was hungry.

That's all you need.

Well, what was in it for her?

I mean, it's a revival in the sticks.

She was already a well-known singer in New York.

She wanted to be a part of something special.

Exactly. I mean, we're starting out here in Sacramento, but "Torch" will be on Broadway in six months.

And a Tony contender in nine.

Did the cast have much contact with the locals?

Uh, I don't know. I don't— I don't think so.

Oh, I wouldn't think they'd have the time.

They would have been right into rehearsals straightaway.

Yeah. That's right. So, yeah.

So you think like me.

The k*ller is connected to your musical.

Any guesses?

No? Okay. Thanks.

Dodge: I'm sorry. Who is that?

He's a consultant.

Thank you for your time.

The suspect pool is huge.

It's gonna be a nightmare.

Why start on such a pessimistic foot?

Why are you so glum?

I call you up, and you're creeping around Lennon, getting into Kirkland's business.

Of course I'm glum.

Oh, that. Yeah. That.

We look bad enough after the whole Lorelei Martins mess.

Lennon is a direct link to Red John.

I need to talk to him.

You need to try and start following the rules for a while.

And if you must break the rules, break them on your own time.

When am I not on my own time?

(Woman)
♪ Oh, oh, oh, oh, oh, o
♪ better than nothing
♪ oh, oh, oh, oh, oh, oh
♪ you're better than nothing, than nothing ♪
♪ whoa, oh, oh, oh, oh, oh, oh ♪

Grace. It's so good to see you.

Hi. How was L.A.?

I learned a lot of really great stuff, but I don't know how anybody lives there.

I'm really happy to be home.

Well, welcome back to the grindstone.

Yeah. What's with the music?

Our victim's a singer.

She was pushed out of a window.

It's kind of catchy, huh?

It was an Internet hit.

She comes out here to star in a musical and gets k*lled.

Van Pelt! Welcome back.

(Presses keys)

Thanks, boss. It's good to be back.

It's good to see you.

How we doing so far?

Good. Found out that Warwick was actually a local.

Really? The people from the theater company seemed to think she was from New York.

No, I spoke to a Polly Datch.

Said she was Warwick's foster mother here in Sacramento.

She's on her way to CBI.

What about Warwick's timeline the night of the m*rder?

I've spoken to about half the cast so far.

Bad news is they were leaving the door to that room unlocked for ease of access.

So anyone could have been in there when she d*ed?

Yeah. The good news is we got a whole lot of video and photos to work off.

So the cast left the room at around a quarter of 8:00 to get into position. Warwick was with them.

She leaves the ballroom at 7:52.

At 8:04, she hits the limo.

Was anyone else from production missing during that period?

I can't tell just yet.

I'll keep digging.

Did anybody leave in a hurry after she fell?

Yeah, one. Deandra Sunderland, the star.

Now the rumor among the cast is that she's got a drinking problem, so they think she's probably getting sauced in one of the, uh, hotel bars.

A fading diva with a drinking problem? That's unusual.

Yeah. Check this out. This is her leaving. (Presses key)

Well, when was that?

About half-hour after the m*rder.

Uh, what about the surveillance footage from the hotel?

Cameras in the lobby and all the elevators.

It's being sent over.

What about the investor— Hanover?

Do you have anything on him?

Yeah, the cast had a lot to say about him, too.

Apparently he can buy Delaware. We also found his arrival in the party footage the publicist sent over.

I looked him up on the Internet.

He's a currency trader, and he likes the arts.

Hey, boss, Polly Datch, victim's foster mom— wants to talk to you. All right.

Uh, Mrs. Datch?

I'm Agent Lisbon.

Uh, you were Sharon Warwick's foster parent?

Yes, ma'am. Uh, for how long?

(Pen clicks) Sharon came to live with me when she was 12.

Never knew her biological parents.

I stay close with most of my kids, but Sharon was special.

(Pushes picture across desk)

That's the man you need to find—

Billy Racine.

Who is he?

No-good thug, that's who.

Is he an ex-boyfriend?

He was her one bad choice.

Had she been in contact with Racine since you came back to town?

I'm sure of it.

And I think he assaulted her a week ago.

You think?

I don't really know because she wouldn't talk about it.

She bursted off, called it a botched mugging.

But I'm certain it was him.

Why else wouldn't she report it?

Had he been violent with her in the past?

Sharon said no, but...

I know Billy Racine is a violent man.

Uh-huh.

Sure.

Of course, Mr. Hanover. Thank you for your time.

Finally found Hanover?

Yeah. He didn't see the crash either, but he said he'd be happy to talk to us when he gets back in town.

Back in town?

He had to fly to an art opening.

A piece he just had to have.

(Exhales) Rich people.

What'd you get?

Lisbon got this from the foster mom.

Name's Billy Racine. Ex-boyfriend.

Foster mother thinks he could have done it.

Guy's had a life.

Multiple assaults, extortion.

Hmm. That name sounds familiar.

(Inhales deeply)

"Racine. William."

He's on the list of people who purchased tickets to the show's fund-raiser.

What was he doing there?

I'll see if I can track him down.

Thanks.

What were you doing at the fund-raiser for "Torch" two nights ago?

Supporting the arts.

You don't look like the type, Mr. Racine.

Did you have any contact with Sharon Warwick that evening?

If I did, what's it matter?

You two had quite the tempestuous relationship before she moved to New York.

Shouting matches. You even put your fist through a wall.

Did you pick up where you left off when she came back a month ago?

Don't even try to pin this on me.

I know what's happened, and I didn't k*ll her.

Why should I believe you?

Because I would never put my hands on that girl.

I loved her.

I think you loved her maybe too much.

She rejected you, you didn't take "no" for an answer, you stalked her to the fund-raiser.

And when she rejected you again, your hands got the better of you.

I went there to protect her.

Protect her from what?

She got mugged last week.

Said she fought 'em off and scratched one of them up pretty good, but I could see she was shook.

What does that have to do with the fund-raiser?

Sharon thought someone from the show set it up.

So when I heard they were doing that party...

You went to find her attackers?

I was gonna tune some people up.

But Sharon said "be easy." Said she'd handle it.

Did she say who she suspected?

She wouldn't say.

She was scared I was gonna do something bad to 'em.

And she was right.

So you're telling me everything was good between you two?

You've been talking to that old foster lady, huh?

She never liked me.

You can't believe what she says.

♪
♪ ooh-wah, ooh-wah
♪ ooh-wah, ooh-wah
♪ ooh-wah, ooh-wah
♪ why do fools fall in love?
♪

Okay. One second. One second.

Uh, that's your cue, Deandra.

Tell me again—why am I helping you audition replacements?

Uh, well, because our investor performance was rescheduled, and, uh, we have to be ready.

So if we could try it one more time, that would be wonderful.

I-I don't think you really need me for this, Bran, okay?

I'll be in my dressing room.

No problem!

(Clears throat)

Okay, um...

Mandy, Bridget, Howard, uh, from where we left off.

One, two, three.

♪
♪ love is a losing game
♪ love can be a shame
♪ I know of a fool you see
♪ for that fool is me
♪ tell me why Sorry. Sorry. Wait.

This is a closed rehearsal.

Yeah. We're investigating a m*rder.

(Chuckles) Well, you won't find any clues here.

Actually, we could learn a lot from watching a rehearsal.

Oh, really?

Yes. The way a person sings says a great deal about them.

For instance, Bridget, you have a very sweet tone.

Thank you.

Yes, with nice shades of pent-up anger and envy.

You hated Sharon on principle, yet you may come to replace her.

So obviously, you had very good motive to want to k*ll her.

But I don't think you have the stomach or the strength to push someone off a balcony.

You, Mandy, on the other hand, are perfectly capable of m*rder.

You have a very strong instrument.

You could play Sharon's part.

But are you hungry enough to k*ll?

Do you have that kind of passion?

I don't know. Hmm?

Oh, don't even look at me. Thank you.

Oh, please. Pitchy.

Very... (Voice warbles)

♪ pitchy You done?

Yes. Well, that leaves you, Mr. McTavish.

Vain. Controlling. Neurotic. Egotistical.

Sleeping with, uh, at least two of your actors.

Are you a k*ller?

You know, I never did catch your name.

Mm. Damn.

I was sure it was you.

Never mind. Name's Jane.

Nice to meet you all.

Break a leg.

Uh...

Well, I thought you sounded... great.

He's upsetting the performers.

I know. I know. He's gonna throw their performances off.

Bran, I'll take care of it.

All right.

All right? (Sighs)

Mr. Jane.

Please. Your presence isn't good for morale.

Everyone seems to be handling it okay.

You've asked your questions. Is it necessary that you remain?

We'll stay out of your way. You'll hardly know we're here.

Pardon me. Okay, so I've gotten confirmations from all of our bigger investors.

They will all be at the rescheduled preview.

Excellent. And, uh, Hanover?

Still need to double confirm.

Good. Good.

Busy, busy.

Indeed.

Ah.

If you'll excuse me, I have to take this.

Sure.

Um... (Clears throat)

Excuse me.

Sorry to bother you.

Uh, I was wondering if you knew what jazz hands were?

Sure. It's the use of big hand movements in choreography.

Why do you ask?

Oh, I just overheard the director ranting about jazz hands, so I was curious to know what got him so worked up.

Ranting how?

Well apparently, he hate, hate, hates jazz hands.

And if he sees one jazzy little hand, that dancer is out of the show.

Oh. Good to know. Thanks.

No worries. Uh, you might wanna pass that on to the girl that comes up after you.

Break a leg.

Okay, Maggie, you're up.

(Lowered voice) So what exactly are we looking for with these auditions?

Patrick: We'll know when we see it.

You like musicals?

Oh, what's not to like?

(Playing "Fever")

Wow. They're so good. How many more are there?

I'm not sure.

A troublemaker should reveal herself very shortly.

♪

No! No! No, no, no, no, no, no, no.

What are you doing, Bridget?

Suddenly we were in a cabaret bar in Idaho.

I thought you wanted bigger hand movement.

What gave you that idea?

Uh, I'm sorry, but this, uh, might indirectly be my doing.

(Sighs)

I told the first dancer that the director would fire anyone that added big hand movements.

What?

And she, along with everyone else who auditioned, made sure that the dancer that came after them didn't use the jazz hands so that they didn't lose their job... until Bridget.

Mandy came before me.

You can't be serious. Only a scheming and conniving person would so callously try to get a fellow cast mate fired.

There's no telling how far someone like you will go.

Is he telling the truth, Mandy?

What does it matter? At least the hands distract away from the dreadful syncopation problem you have.

You wanted me to fail?

That's not hard.

You bitch.

Oh!

Uh, Rigsby?

Okay. I'm sorry. What did you just call me?

Oh, I'm sorry... Get your hands off me!

You mind stepping in and handling this?

(Mandy and Bridget shouting over each other)

Rigsby: Ladies, ladies, ladies...

I have an errand to run.

(All shouting at once)

Hey. Hey. Hey. Okay, let's...

(Indistinct shouting at once continues)

Rigsby: Help!

Aah! Okay. I know you're only talking to me to get information out of me, but it's been nice.

You make me smile.

Well, what's worth more than a smile?

True enough.

Mr. Lennon is pretty much stable. His blood volume is up, and the doctors could bring him out of the coma as early as tomorrow.

Thank you. That's very good to know.

What is all this about? And why are the federal guys so weird and creepy?

They are? How are they weird and creepy?

Like they're not what they seem. Like one day they might pull their faces off, and there'd be alien lizards underneath, you know?

I know. Not impossible, but very unlikely.

I know. They just have that vibe.

I understand.

Will you call me when they bring Mr. Lennon out of his coma?

Sure.

Thank you. I appreciate that.

Interesting set of scratch marks.

What happened?

Cat.

Hm. Sharon Warwick fought back against one of her attackers when she was mugged. Know anything about that? You know they found D.N.A. samples under Sharon's nails after the m*rder? It's amazing how a little D.N.A. can tie two people together.

Okay. The mugging, that was me. I just wanted to scare her a little bit. I didn't k*ll her.

Who was your accomplice?

A guy named Joey. He's my partner in salsa class.

And why did you want to scare her?

Because she was just some girl with an okay voice and no resume, and there she was headlining with Deandra.

And that made you mad?

Second lead should have been me, not Sharon.

So when she showed up for the fund-raiser, ready to launch a star-making turn, you snapped and you pushed her off that balcony.

I told you I didn't k*ll her.

Well, you've already admitted to organizing an as*ault.

Why is it so crazy to think that you didn't decide to finish the job?

Because I didn't want her dead.

I just wanted her to leave.

(Sighs)

If you're looking for suspects, you might wanna check out the star of the show.

Deandra Sunderland?

The queen of mean.

What makes you think Sunderland could have k*lled Warwick?

Because the director wanted to replace Deandra with Sharon.

Everybody knew it.

I mean she's too old to be playing the ingenue, right?

Did you see Sunderland the night of the m*rder?

No.

She was nowhere to be found when the overture began.

What about after the accident?

Mnh-mnh.

Not until rehearsal the next morning.

♪
♪ every time
♪ we say goodbye
♪ I die
♪ a little
♪ every time
♪ we say goodbye
♪ I wonder why
♪ a little

(Deandra continues singing indistinctly in theater)

Yes, Mr. Hanover. Excellent.

Yeah. Yes. No, that sounds good.

Uh, okay. Sounds good. Sure.

We'll see you very soon. Thanks.

Sorry. Um, how long you gonna keep Mandy?

A while. That's what we do when people break the law.

Okay, look, agent, I'm a pro.

I can spin this tragedy.

It can even add an air of fascination to the production.

But if you arrest the cast right before a performance for the investors, that makes my job rather difficult.

You see, I need my investors to stay... invested.

Well, brace yourself, because now I need to talk to Deandra Sunderland.

(Sighs)

This is a nightmare.

♪ There's no love song
♪ finer
♪ but how strange
♪ the change
♪ from major to minor Miss Sunderland.

My apologies for interrupting.

We need to talk.

I'm rehearsing here. I asked not to be disturbed.

This is important.

Where were you when Sharon Warwick fell off the balcony?

I was in the ballroom.

All of our evidence points to the contrary.

Everybody involved in the production seems to think you were off drinking.

I think you might have been with Sharon.

I think you found out that McTavish was planning on replacing you with her, and you got mad.

He wanted Sharon to replace me?

She was studying film of all of your performances and memorizing your lines.

You don't understand.

She would if you told her the truth.

You sing beautifully.

How long have you been out there?

Long enough.

You know, I kept wondering what brought Sharon Warwick back to Sacramento.

She left Sacramento because she wanted something, and now she's back.

It's obviously connected to "Torch, " but it couldn't be acclaim she was looking for, 'cause she got that in New York City.

And then I heard you sing, and it came to me.

What is it that every foster child is looking for?

Lisbon, I'd like you to meet Sharon Warwick's mother.

(Crying)

(Sniffles)

I was, uh... (Sniffles)

Very young when I had Sharon.

Her father was my director, and he was married.

The hardest thing I ever did in my life was giving her away.

When did she learn she was your daughter?

She came to my dressing room after the first day of rehearsals.

Must have been a shock.

I felt so happy seeing the person that she had become.

So talented, so... full of life.

Why did you keep it a secret?

Guilt. Shame.

Something else.

You're hiding something else.

You're quite a clever policeman, aren't you?

I have multiple sclerosis.

Diagnosed six months ago.

Hmm. I'm sorry.

Symptoms of the disease is what made people think you were drinking.

Well, I've been sober for 14 years.

Haven't touched a drop.

I heard the whispers behind my back.

I thought it might be better to quit.

Sharon was so mad.

Already protective towards me.

She told me to be strong.

And you had an att*ck right before the first performance, didn't you?

You didn't have your medication.

Yes.

Sharon said she'd go up to the suite and get it for you.

(Inhales deeply)

She was an incredible young woman.

That's why I can't quit the show.

I have to go on with it— to honor my child.

Morning.

Morning. Morning.

We've been through all the photos, videos, and security footage.

Cross-indexed every guest, hotel worker, attendee, and person connected to the play.

All their movements are accounted for, except for him.

Berndt Hanover, the investor?

He, uh, here he is before the m*rder, getting into the elevator.

He goes to the floor Sharon Warwick was k*lled on and gets off, and that's the last time we see him.

What do you mean?

How can that be?

I don't know. He never gets back on the elevator, and he's never seen leaving the building.

Okay, but how? Why?

How does he leave the building without being seen?

If he waited until the hallway was empty, he could've taken the stairs down to the first floor.

Yeah, but how does he avoid being seen after that?

It—it's not like he's a guy who doesn't stand out.

True.

(Sighs)

This is the room the m*rder took place.

That's the balcony. Doorway out here to the corridor.

Past the stairs, down to the elevators.

This, if I recall, was a window out to a fire escape.

Could he have gone down a fire escape?

He's a big man. I don't think he's that agile.

Then what?

Hmm. Yes, it's a puzzle.

(Chuckles)

Why do you look so happy?

You have a way to solve the puzzle?

Naturally.

Meet me at the theater.

This is good work.

Keep me informed of your progress.

(Inhales deeply)

(Clears throat)

Why are you lurking out there, Mr. Jane?

I need a favor.

Is this the type of favor where...

You would then owe me a favor?

Actually, you already owe me a favor, but I'll spot you another if that pleases you.

What do you need?

I need you.

Okay, 15 minutes to curtain, people.

Let's pick it up, pick it up.

(Indistinct conversations)

Um, hey, Deandra, uh, don't forget to wait three bars in the first intro, okay?

Darling, I've been doing this since before you learned to wipe your own nose.

Worry about your own business.

Never direct. Never direct.

Ladies and gentlemen, if you will kindly enter the theater and take your seats, please.

(Indistinct conversations)

(Sighs)

Hey, Lisbon, you at the theater yet?

Jane, where are you?

Uh, on my way. Almost there.

You head backstage. We'll see you in a minute.

We? Who's we?

Uh... I'll see you very soon, Lisbon. Bye.

I don't know about this.

Oh, trust me. You'll have fun.

"Trust me. You'll have fun."

Was there ever a more suspicious phase?

J.J., you have to live a little.

You spend your days chasing paper clip thieves.

When do you ever get the chance to nail a k*ller?

No, it's true.

I'm happy to help.

(Clears throat)

It's the performance aspect that concerns me.

What performance aspect?

You go into a room.

If someone says anything to you, you say, "Ha ha ha", or perhaps...

Ha ha ha.

Perhaps.

Good enough.

Would an accent help?

Eh...

Keep it simple.

(Amplified voice) As you know, this, uh, show has faced a great deal of hardship and tragedy the past few days.

But I can tell you that it has only made us stronger.

McTavish: Thank you. Evening, Lisbon, you having fun yet?

There you are. Where have you been and what's your plan?

I will tell you in one minute.

Oh, good evening, and what an evening it is.

Lisbon, you remember Mr. Dodge?

Of course.

Agents, what are you doing here?

Ah, I've gotta tell you, Mr. Dodge, after watching all those rehearsals, we couldn't just stay away, could we?

Okay, uh, Warren, you're supposed to go say something.

Yes, I know. I'm ready.

McTavish: Finally, let me introduce our esteemed producer, Warren Dodge, to tell you...

(Clears throat)

Who is that?

Hmm?

(Applause)

Oh, my goodness. It's Berndt Hanover.

Mr. Hanover. Hi.

What a wonderful surprise.

Mr. Hanover, such an honor.

I'm—I'm Sylvia Clare. We spoke on the phone.

Your trip was a good one, I hope?

Yes, it was very good. Thank you, Ms. Clare.

(Whispers) Sure. Excuse me.

What's going on?

(Chuckles)

Warren? Why don't you come out and talk to the lovely people?

Ms. Clare, I have come to address my fellow investors.

Why don't I go and speak to them now?

What?

Oh, terrific. That is a great idea.

Isn't it, Warren?

Who are you, huh?

W-w-w-whoa. Wait. What are you doing?

He's not Berndt Hanover. He's a fraud!

(Lowered voice) Warren! What is going on?

I don't know what game he's playing, but he's not Hanover.

Well, what are you saying?

Then who is he?

His name is J.J. LaRoche.

Mr. Dodge is correct. It isn't Berndt Hanover.

Okay, I'm totally confused.

Ah, we faked it—the hat, the glasses, the cane, the coat.

Et voila. Berndt Hanover.

Why?

A test. You all believe it was him, and it was easy to make you believe it.

For about ten seconds, until he said that I wasn't.

And then nobody believed it anymore, just like I don't believe anymore that Berndt Hanover exists.

What?

Well, that's ridiculous.

Is it?

Of course Berndt Hanover exists.

Then produce him. You're a producer. Where is he?

Well... I just can't magically make him appear.

Call him.

Mr. Jane, I don't have his phone number on me.

Hard to believe.

You know, uh, it's at my office, and I will call him there, uh, when I'm—

I have it. I'll call him. That's lucky.

I'm calling him. Good idea.

It's ringing. Excellent.

He might not answer. He's a—he's a very busy man.

Of course.

(Beethoven's "Fifth Symphony" ringtone plays)

Excuse me.

Your coat is playing the "Fifth Symphony."

♪

Gonna answer that, Mr. Dodge?

♪

Or should we call you mister...

Hanover?

Hello? Sorry. Mr. Dodge can't come to the phone right now, Sylvia.

He's a little busy getting arrested.

Hanover didn't come down in the elevator, because Hanover never even existed.

Dodge was playing the part from the beginning.

He took off his disguise, eluded the cameras by coming down a fire escape.

Lisbon, he's all yours.

You're under arrest.

(Exhales deeply)

Tell me that wasn't fun.

I cannot tell you that, but we are even, yes?

Yes.

I wanted the show to work. I was willing to do anything.

Even k*ll?

W...

She surprised me.

When I was changing out of the Hanover costume, nobody was supposed to be in the room at that time.

Nobody.

I told her that I put every penny I had into the show and that Hanover was necessary to give our investors a confidence and peace of mind and that once I had the money I needed, I would make Hanover disappear and that everything would work out in the end.

But she said no.

(Speaks inaudibly)

She wouldn't be any part of it...

(Smack)

That she was going to tell Sunderland, which of course meant that everyone would find out and... that would have ruined everything.

(Thud, crash)

Yeah. I didn't mean for this to happen.

So what happened next?

Uh, I left by the fire escape. No one saw me.

And then I went and got in my car around the corner, and I drove up and introduced myself to the police.

This was gonna be the hit show that put me back on top.

Everyone would have benefited.

If only she hadn't walked through that door.

(Blinds clatter)

(Crying)

(Telephone ringing in distance)

I, um, I didn't have nearly enough time with her.

And I so loved the person that she was and respected her.

Thank you for giving her justice.

It means a lot.

(Cell phone ringing)

I'm sorry.

Embarrassing. Uh, I have to take this.

Excuse me. Of course.

Hello?

Patrick, it's Sheila from the hospital.

They're bringing him out of the coma.

When?

You need to get over here.

Okay. Um... s— I...

He's conscious, but keep an eye on him.

Hit that button, and we'll be right in.

Okay, thank you, nurse. Mm-hmm.

(Monitor beeping steadily)

(Door closes)

(Chair wheels rattle)

(Sighs)

You are one tough S.O.B., Jason Lennon.

You really are.

Where am I?

(Exhales) What happened?

You're in Sacramento. You got sh*t.

Do you remember that?

Yes, I do.

Lorelei Martins.

Correct. Very good. Good. Your mind is clear.

Now listen, I have a question for you, Jason.

(Inhales deeply)

Look at me.

Look close.

You recognize me?

You ever seen me before?

(Monitor continues beeping steadily)

No.

Are you sure?

It's important.

Yes.

I'm sure.

That's good to know. Thanks.

(Exhales) Who are you?

I'm a friend.

(Wheels roll)

(Steady beeping continues)

(Click)

Let's face facts, Jason.

If you recover and live, you'll spend life in prison for m*rder— the plaything of monsters.

(Steady beeping continues)

I just hope that if I'm ever in your shoes, I have a friend close enough to do this for me.

Wait.

Don't be scared.

This'll be quick.

Very little pain.

(Cap clicks)

(Gasping)

(Beeping quickens)

It's okay. It's all right.

(Gasps)

It's okay. I'm here for you.

I won't leave you.

(Wheels roll)

(Gasping)

(Monitor beeping erratically)

(Monitor emitting continuous tone)

Help! Nurse!

Nurse!

He's in V-fib.

Get that crash cart over here.

(Wheels roll)

(Monitor continues emitting continuous tone)

(Speaks indistinctly)

What happened?

Patrick, I'm sorry.

His heart gave out.

(Speaking indistinctly)

Never said a word.

Stay tuned for scenes from our next episode.