06x06 - Fire and Brimstone

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06x06 – Fire And Brimstone
Original Air Date on November 3, 2013
Updated by MaggieMay19: added character names to the dialogue, added descriptions of the scenes

VO: Previously on "The Mentalist"...

[From 06x05 The Red Tattoo]
JANE: We need to find Kira Tinsley. She either works for Red John, or she's about to become his next victim.

[KIRA TINSLEY answers her front door and an unseen person att*cks her. She struggles, fighting back. LISBON and JANE race to the scene. JANE leaps from LISBON’s car as it pulls up to the house but they are too late. TINSLEY has been stabbed and her attacker has fled. JANE approaches a dying Tinsley.]

JANE: Who did this to you? Tell me.

[Tinsley is unable to speak, but draws three dots on her bare shoulder in her own blood before she dies.]

LISBON: Jane, what did she say?

JANE: She told me Red John has a tattoo on his left shoulder— three dots. That's my leverage.

ACT 1
[Present. JANE is driving alone at night. He passes a road sign that reads Malibu Bluffs – he is near his house. He pulls into a driveway]

CAPTION: Jane Family Residence, Malibu, California

[JANE stops the car outside the house, picks up a long cardboard tube from the passenger seat and walks along a path and enters the office in the guest house at the rear of the property. It looks abandoned, the furniture covered with dust sheets. Jane opens the end of the cardboard tube and removes a shotgun, placing it on the desk. His cell phone rings. JANE answers it.]

LISBON (VO): Jane.

JANE: Hello, Lisbon.

LISBON (VO): Jane, don't do this, not without me.

JANE: Listen, I'm sorry.

LISBON (VO): Jane, I am begging you. You're in danger!

JANE: I-it's gonna be okay. I-I'm gonna be okay.

LISBON (VO): No, you're not. You do this, and you're throwing your life away.

JANE: Bye, Lisbon.

LISBON: [As JANE hangs up the cellphone] Jane! No!

[JANE puts the cellphone away and lifts the dust cover on his desk. He opens a wooden case and removes a handgun from it. He releases the clip, checks it is fully loaded, replaces it in the handgun and tucks the loaded p*stol into his waistband. He replaces the dust sheet then spends some time positioning the shotgun leaning up behind the desk, making sure it is concealed but the muzzle is in the exact place that he wants. He pauses, looking apprehensive and taking a deep breath. There is the sound of a vehicle approaching outside. As we hear a person approaching the door, whistling ‘Clementine’, JANE moves to stand near the door, nonchalantly leaning against a wall. The shadow of the person outside can be seen through the opaque glass of the door and the doorhandle turns. JANE’s expression changes to eagerness as we cut to the credits]

♪ The Mentalist by Bruno Heller ♪

CAPTION: Two Days Earlier

CAPTION: Tuesday

[SCENE: in JANE’s attic room at the CBI. JANE is sitting with LISBON, CHO, RIGSBY and VAN PELT also present – this is a secret meeting of the team]

CHO: A tattoo?

JANE: Yes.

VAN PELT: That we can use to identify Red John?

JANE: Yes.

RIGSBY: That's great. So all we have to do is check each one of the suspects one by one until we find out who has the tattoo.

JANE: No.

RIGSBY: Why not?

JANE: Red John doesn't know I know about the tattoo.

RIGSBY: Okay.

JANE: So if we start checking suspects, it's very likely that Red John will find out.

LISBON: And disappear before we have a chance of getting him.

JANE: Exactly.

CHO: Then what do you want to do?

JANE: Gather all five suspects together at the same place, same time, and then start checking for the tattoo.

CHO: And how do we do that?

JANE: We'll ask them.

CHO: And you think they'll agree?

JANE: Wasn't planning on giving them a choice.

VAN PELT: (Sighs) Even so, there's a problem. Bret Stiles—he's wanted by the F.B.I. In connection to two homicides.

RIGSBY: Yeah. Cold cases from over 20 years ago.

LISBON: You're kidding. After all this time, the F.B.I. is moving in now?

RIGSBY: Well, they must have found something new— forensics, a witness.

LISBON: Well, where's Stiles?

VAN PELT: Well, that's the thing. Nobody knows, not even the F.B.I. Stiles disappeared weeks ago.

LISBON: We'll find him.

RIGSBY: How?

LISBON: I don't know, but we'll find him. We have to.

[JANE and LISBON are talking as they descend the stairs from the attic room]

LISBON: I'm on board with your plan.

JANE: Good.

LISBON: On one condition. I want to be there when you reveal Red John.

JANE: Okay.

LISBON: Seriously.

JANE: I said okay.

LISBON: Yeah, but you didn't mean it.

JANE: Did I not? Uh, how can you tell?

LISBON: This is non-negotiable, Jane.

JANE: I agree 100%.

[SCENE: the interrogation room. JASON COOPER from Visualise is being questioned by CHO and RIGSBY]

COOPER: I think I've made myself clear, agents. I have no knowledge of Bret Stiles' whereabouts.

RIGSBY: Yes, Mr Cooper. And we've made it clear that we're not buying it.

CHO: Stiles leaves you in charge of Visualize, but he keeps you in the dark about where he's hiding? Doesn't make sense.

COOPER: Stiles has and always will put the church's needs before his own. This time is no different. He doesn't want me to know because he wants to protect me.

CHO: And because he doesn't want to be found.

COOPER: I doubt Bret Stiles is worried about being found.

CHO: You seem confident.

COOPER: Call it faith. You see, Stiles' time in our... reality is limited.

RIGSBY: Huh?

COOPER: As we speak, he's preparing his mind and body for a departure from the confines of our material world.

RIGSBY: He's dying?

COOPER: That is a very naive, very ignorant way of looking at it. Bret Stiles is not dying. Bret Stiles cannot die. He is elevating himself to another plane, one lesser men like ourselves can only strive to reach. And one some of us obviously can't comprehend.

[SCENE: a multi-storey car park. A dead man, his body riddled with b*llet holes, is hanging by the neck several storeys up. FBI Agent Smith is standing behind, contemplating it as a colleague walks up, bringing two cups of coffee]

RUSSEL: Coffee—one cream, one sugar.

SMITH: Thanks, Russell.

RUSSEL: Forensics is here when you're ready.

SMITH: Send them over. Get his I.D. for me, will you? You know how I am about heights.

RUSSEL: Sure. Oh, and, uh, someone's here to see you.

SMITH: Thanks.

JANE: There's been a breakthrough in the Red John investigation. I have some new information. Some very significant information.

SMITH: Okay. What is it?

JANE: No, no. Not yet. I'm not sure who I can trust. I'm not even sure I can trust you. Red John has some very powerful allies.

SMITH: Patrick, come on.

JANE: Okay, but not here. Meet me at 8:00 on Thursday night.

SMITH: Thursday? Why?

JANE: I need time to find a safe place to meet.

SMITH: Fine. Where?

JANE: I'll let you know the day of.

SMITH: This is crazy.

JANE: I've made the mistake of underestimating Red John a number of times now. I don't want to make that mistake again. If you want the information, it's on my terms.

SMITH: Okay. Thursday night.

{SCENE: night. SHERIFF MCALLISTER is watching something from the window of his squad car. He hears a noise and takes a r*fle from next to him, and we see he is hunting a stag. He takes aim but his cellphone rings before he can sh**t. He puts the g*n away and answers]

MCALLISTER: This is Sheriff McAllister.

[JANE is calling MCALLISTER from his attic room. The scene cuts between them]

JANE: Sheriff? Patrick Jane.

MCALLISTER: Hello, Patrick. How are things?

JANE: Good. Good. I'm calling because I had a question.

MCALLISTER: sh**t.

JANE: Last month when I was in Napa, you said that you were at my disposal.

MCALLISTER: Yes, I remember.

JANE: Did you mean what you said?

MCALLISTER: I like to think I'm a man of my word.

JANE: Oh, I don't doubt it. But can I count on you for your help? Can I count on you?

MCALLISTER: Of course.

JANE: Thursday night at 8:00 I'll need your help.

MCALLISTER: Well, then you've got it.

JANE: Thank you. I'll let you know where to be the day of.

MCALLISTER: Patrick?

JANE: Yeah?

MCALLISTER: This is about Red John, isn't it?

JANE: Thursday night.

[SCENE: An antechamber. BRET STILES, dressed in pope-like white robes, is sitting and waiting. An acolyte, EVELYN, approaches]

EVELYN: They're ready for you, sir.

STILES: Thank you, Evelyn.

EVELYN: Also, this came for you.
[EVELYN, proffers an envelope on a silver tray]

STILES: Hmm?

[STILES opens the envelope, we see the note reads PATRICK JANE IS LOOKING FOR YOU. STILES sighs, rises and approaches closed double doors. They are opened for him by two female acolytes also in white robes, but much simpler than those worn by STILES. A bell tolls quietly in the background, otherwise there is silence as we see STILES has entered a much larger, grander-looking room. It is full of disciples: those in red surround a raised circular dais in the middle of the room on which is a podium and a golden chalice, others in dressed in black stand further away – clearly this is a Visualise ceremony, and only a few dozen Visualise members are present. STILES and the women dressed in white climb onto the dais. One kneels and disrobes – she is now naked. STILES pours a liquid that greatly resembles blood from the chalice onto her shoulders. The other acolyte also kneels but remains clothed: STILES paints her face with the liquid from the chalice.]

STILES: You are here tonight to witness my ascension. My ascension from this world to a world beyond. Do not mourn me, my children, for this is not a passing, but a departure. And I promise... I... will... return!

[Cheers and applause from the crowd. The bloodstained acolytes look at STILES admiringly]

ACT 2
CAPTION: Wednesday

[SCENE: Daytime. RAY HAFFNER, on his cellphone, gets out of his car and approaches a diner, entering it as he finishes his conversation and hangs up]
HAFFNER (on cellphone): Listen to me, Don, you don't have a mistress. You have a vindictive screwball who's about to ruin your life… Yes, well, it's very lucky for you my job is to fix problems, so here's what you're gonna do… You are gonna write her a check— it is gonna be a a very big check— and then you are gonna pray that this problem goes away… If it doesn't, don't worry, Don… There are plenty of ways to keep a woman quiet… Okay? All right… I gotta go. All right.

[HAFFNER crosses the diner and sits at a booth where LISBON is already sitting]

HAFFNER: Hello.

LISBON: You're late.

HAFFNER: It's good to see you, too, Teresa. [to waitress] Uh, excuse me, can I get coffee, black, please? Thanks. [to LISBON] So why am I here at 8:00 a.m.?

LISBON: I need help with an investigation.

HAFFNER: What investigation?

LISBON: It's not important.

HAFFNER: Really? It is if you want my help.

LISBON: I can't tell you.

HAFFNER: Come on, Teresa. I know you better than that. What, you and Jane got something going on with the Red John case?

LISBON: Maybe.

HAFFNER: "Maybe." Yeah, right. (Inhales sharply) What is with all the secrecy? Seriously, why are you always holding out on me? You don't think I'm Red John, do you? You do, don't you? Tell you what. You want to question me, you arrest me. Otherwise, you leave me the hell out of this.

LISBON: Sit down. Sit. If asking's not gonna work, I won't ask. You're no longer with the CBI. You don't get the same protection law enforcement gets.

HAFFNER: What, you threatening me?

LISBON: No, Jane is. He wants to see you tomorrow night. If you don't show up, he will assume you are Red John. And, Ray, he will come after you.

HAFFNER: You gotta be kidding me.

LISBON: You know Jane. You know what happened to him. You know what Red John did to him. If I were you, I wouldn't test him.

HAFFNER: I'm not afraid of Patrick Jane.

LISBON: Well, what's the problem with showing up?

HAFFNER: If I do this, will you and Jane drop the whole that "I'm Red John" business?

LISBON: For once and for all.

HAFFNER: What time?

LISBON: 8:00. [HAFFNER turns as if to leave] I'm not done. There's one more thing that I ned.

HAFFNER: (Sighs) You're k*lling me here.

LISBON: Stiles.

HAFFNER: Yeah?

LISBON: Where is he?

HAFFNER: I can't help you.

LISBON: Come on, Ray, you've been with Visualize for years. I don't want to arrest him. I just want to talk to him. You do this, and I will owe you. And in your line of work, sooner or later you're gonna need a favor.

[SCENE: LISBON is walking to her car. VAN PELT is at the CBI office. Scene cuts between the two as they talk on the phone]

LISBON [on cellphone]: So Ray Haffner told me that Stiles uses a private jet to move around the country undetected. Belongs to a guy named Ryan Parks.

VAN PELT [on cellphone]: Parks. Got it. I'll check it out.

LISBON: Has Jane been in yet?

VAN PELT: No, I haven't heard from him.

[SCENE: JANE is at an anonymous-looking apartment complex. He climbs some stairs and knocks at a door. A man opens the door, checks JANE is alone and shakes his hand before inviting him inside. JANE also checks behind to see if anyone is there before he goes inside]

CAPTION: Palo Alto Airport, Palo Alto, California

[SCENE: A small airport with private jets and other small aircraft, a man with a clipboard is chatting with another man who then leaves. RIGSBY and CHO approach]

CHO: Mr. Lamotte?

LAMOTTE: Yeah? Can I help you?

CHO: Agents Cho and Rigsby from the CBI. We were wondering if you could answer a few questions for us.

LAMOTTE: Sure.

RIGSBY: A G6 landed here late last night, tail number N550MT. It would have been around 11:00.

LAMOTTE: I remember. What about it?

RIGSBY: Do you know who was on the flight?

LAMOTTE: No. Private aircraft aren't required to provide passenger manifests.

CHO: Did you happen to see anyone who was getting off the plane?

LAMOTTE: No. Sorry. Oh, but whoever it was had a car service pick him up. They might be able to help you.

RIGSBY: You don't happen to have the name of that car service, by any chance?

LAMOTTE: Yes I do.

[SCENE: LISBON, RIGSBY and VAN PELT are sitting at a table in the CBI bullpen]

LISBON: So what happened with the car service?

RIGSBY: Well, they said that they picked up a silver-haired man with a British accent from the airport last night.

LISBON: Stiles.

VAN PELT: We think so.

LISBON: Well, where'd he go?

RIGSBY: The address was for the Ecuadorian consulate in San Francisco.

LISBON: Good job. You two go and check it out. You know what? Van Pelt, why don't you go alone? Stiles likes you. Maybe we can use that to our advantage. Is... there a problem?

VAN PELT: Uh, no.

RIGSBY: No.

VAN PELT: I'll be fine.

RIGSBY: I know.

VAN PELT: It's my job.

RIGSBY: I know. [VAN PELT stands] Hey. I love you.

VAN PELT: I know.

[SCENE: JANE is leaving the apartment. He once again shakes the man’s hand, and we see he is now carrying the cardboard tube from the opening of the episode. JANE has just bought the shotgun from this man, who does not appear to be a licenced g*n dealer! As he leaves his cellphone rings, and he answers as he goes back to his car]

JANE: Hey, Lisbon.

[LISBON is calling from her desk at the CBI office. Scene cuts between the two]

LISBON: Where are you?

JANE: Oh, just running some errands.

LISBON: Everything okay?

JANE: Yeah, right as rain. What's up?

LISBON: Haffner's in.

JANE: Good. What about Stiles?

LISBON: Van Pelt may have a bead on his location. She's checking it out now. That leaves one more Red John suspect left to talk to.

JANE: Yes. Bertram. I'm on my way to his office. You want to meet me there?

LISBON: All right.

(Line clicks, snaps phone shut)

CAPTION: Ecuadorean Consulate, San Francisco, California

[SCENE: A large, opulent room: wood panelled walls, elegant furniture. STILES walks through, arms wide, welcoming]

STILES: Grace Van Pelt. Well... how lovely to see you again. [He shakes her hand and kisses her on both cheeks] Mmm. Wow. Well... so, please sit. What do I owe this pleasure?

VAN PELT: Jane. He needs a favor.

STILES: Oh. Clever, him, sending you. So exactly what can I do for Patrick Jane?

VAN PELT: He would like to meet with you. Tomorrow night at 8:00.

STILES: You've changed since we last met. You're married.

VAN PELT: Yes.

STILES: Oh, don't tell me you married that genial oaf. Oh. Oh, well. (Chuckles) Congratulations.

VAN PELT: Yeah. Thank you. So... will you meet with Jane?

STILES: Ah... you know, nothing would please me more than to meet with him. I mean, really, I would love to. But... (Inhales sharply) Unfortunately, my circumstances— it's probably not gonna happen.

VAN PELT: You mean because of the F.B.I.?

STILES: Mm. You have been doing your homework. (Chuckles)

VAN PELT: They don't know I'm here.

STILES: Ah.

VAN PELT: Which means they don't know you're here. But they will if you don't agree to meet with Jane.

STILES: You have changed, haven't you? Have you ever been to Ecuador, by any chance?

VAN PELT: No.

STILES: Oh. I was there—oh, God, years and years ago doing missionary work. Uh... Lovely people. Oh, yeah, but-but— there was a young man there... He was underprivileged, ferociously ambitious. I saw something in him. So I decided to try and help him. You know, I-I paid for his school fees, that sort of thing. N-nothing really much, but wouldn't you know it? All these years later, that same man is now minister of state.

VAN PELT: I'm happy for him.

STILES: Anyway, he invited me to stay in this palatial consulate. This morsel of foreign soil. Foreign soil, which, as you know, is outside the jurisdiction of you, the F.B.I., and all U.S. law enforcement. So, you see, Gracie, your idle threats are just that. Well, it's been so lovely seeing you again. (Clears throat) Please give my best to Mr. Jane. (Chuckles) Close the door on your way out! (Chuckles)

[SCENE: JANE and LISBON are walking towards BRTRAM’s office]

JANE: It's gonna be fine.

LISBON: Thanks. I feel a lot better. [Knocks on door]

BERTRAM: Come on in.

LISBON: We've made a breakthrough, sir.

BERTRAM: In...

LISBON: The Red John case.

JANE: We're close to identifying him.

BERTRAM: Well, then this is fantastic news. (Chuckles) After all these years. Y-you— you really think you've got him?

JANE: I do.

BERTRAM: I'll know the second you have something concrete.

LISBON: You will, sir.

BERTRAM: And I want to be there when you end this.

JANE: I was hoping you'd say that.

[SCENE: the meeting has ended and JANE and LISBON leave BERTRAM’s office. BERTRAM checks the doorway a moment later to make sure they have truly left, then he closes his door. Whistling as he walks back though his office, he dials someone on his cellphone]

BERTRAM: Yeah, it's me. I just had a very interesting conversation with Patrick Jane.

[SCENE: CBI bullpen. RIGSBY and VAN PELT are standing, LISBON enters the bullpen]

RIGSBY: How'd it go with Bertram?

LISBON: He's in. What about Stiles?

RIGSBY: Not so good.

LISBON: Did you find him?

VAN PELT: Yes.

LISBON: Then what's the problem?

[SCENE: Nighttime. JANE and LISBON are in the CBI attic room]

LISBON: He's at the Ecuadorian consulate. As long as he's there, we can't touch him. What do you want to do?

JANE: I'll handle Stiles.

LISBON: He's not gonna come with you. He doesn't have to.

JANE: I'll be persuasive.

[LISBON indicates the cardboard tube that is resting on the table against which JANE is leaning]

LISBON: What is that?

[JANE opens the tube and shows LISBON the barrel of the g*n he just bought while ‘running errands’]

LISBON: A shotgun! You sure it's big enough?

[JANE looks slightly shamefaced but says nothing as he fastens up the cardboard cylinder again. Lisbon also looking uncomfortable, changes the subject]

LISBON: We need to talk about tomorrow night.

JANE: I've already told you.

LISBON: Just hear me out, please. You don't want me to be there.

JANE: No, I don't.

LISBON: You don't want LISBON: to be there because you think I'm gonna try and stop you from k*lling Red John.

JANE: Are you saying that you won't?

LISBON: What I'm saying is some men— men like Red John— they don't deserve a trial. They don't deserve a jury. They deserve what they have coming to them.

JANE: Wait, l-let me get this straight. After close to 20 years working in law enforcement, you're just— you're changing your mind?

LISBON: About Red John? Yes.

JANE: I'm surprised, Lisbon.

LISBON: What, you don't believe me?

JANE: Heavens, no. You're the most honest person I know. You would never lie, not about something like this. Right?

LISBON: Right.

JANE: Tomorrow night then.

LISBON: Tomorrow night.

ACT 3
CAPTION: Thursday

[SCENE: JANE is shown into the opulent room at the Ecuadorean Consulate. STILES is still there.

STILES: Patrick, dear boy. Well, how are you?

JANE: Well, I'm not your boy.

STILES: Oh, I see. So this is not a social meeting, eh?

JANE: You're gonna meet me tonight at 8:00.

STILES: Patrick—

JANE: No, you listen to me. You're gonna meet me tonight at 8:00, or I'm gonna come back here, and when I do, you will need more than these walls to keep you safe.

STILES: Threats? Oh. That's so out of character.

JANE: I mean every word of it.

STILES: Yes. I believe you do. But you see, Patrick, a dying man does not fear death.

JANE: Oh, please. This charade might work on your disciples. It doesn't work on me.

STILES: You think too highly of me. Unfortunately, it's not a charade.

JANE: How long have you got?

STILES: It's spread to the blood. There's nothing they can do. I don't know... Two weeks, a month. You see... It's not personal. It's just that... My time now is very precious.

JANE: I'm still gonna need you tonight.

STILES: For God sake, why? What's so damned important?

JANE: Red John. I'm close. (Exhales) Closer than I've ever been. (Chuckles softly)

STILES: Red John... Look... Nothing would give me more pleasure than to be with you there tonight.

JANE: But?

STILES: There's more to this than you know. There's—there's more keeping me here.

JANE: The F.B.I.?

STILES: Yeah, as a matter of fact. You know, they tracked me here. They're just waiting for me to leave so they can arrest me. Look, I'm not choosing to stay here, but I'm trapped.

JANE: So the F.B.I.'s the only thing that's keeping you here?

[SCENE: outside the Consulate. Someone unseen gets into a limousine with blacked-out windows. We hear the FBI’s radio communication]
FIRST FBI AGENT [VO on radio]: Eyes up. We've got movement at the front entrance. That's a Visualize car. I think they're sneaking someone out.

SECOND FBI AGENT [VO on radio]: Get ready to move.

FIRST FBI AGENT [VO on radio]: Go now! Go, go, go!

[The limo pulls out and is chased by two unmarked FBI cars. One overtakes and skids to a halt in front of the limo as the other pulls in behind, forcing it to stop. Three armed FBI agents leap from the two vehicles, aiming at the doors of the limo and calling out to its occupants.

FBI #1: Don't move!

FBI #2: Don’t move!

FBI #1: Hands on the steering wheel!

[Agent #3 opens the rear door of the limo and points his g*n at the occupant]

FBI #3: Keep your hands where we can see 'em.

JANE: Hello, gentlemen. Something I can help you with?

[Meanwhile STILES and a bodyguard leave the Consulate by a service door. They approach a florist’s van which is full of flowers but also has a small padded seat. STILES enters the van and the bodyguard slides the van door closed. It drives away, unregarded]

[SCENE: Lisbon opens the door to JANE’s attic room at the CBI. JANE is sitting at his table in the window, typing at his cellphone]

JANE: Stiles is in.

LISBON: We'd better get going. We've got a long drive ahead of us.

[SCENE: FBI Agent SMITH gets a handcuffed man out of a car. He hands him over to another man]

SMITH: [to prisoner] Come on! [to FBI agent] Take him.

[SMITH’s phone beeps. He reads the text JANE has just sent, which says “Meet me at 8pm 1309 Cedar St. Malibu USE SERVICE ROAD”]

[Cut back to JANE, sending a message on his phone and leaving the attic room and taking the shotgun in the cardboard tube with him. Scene cuts to SHERIFF MCALLISTER is walking along a street, he receives JANE’s message and stops to read it]

[Still at the CBI JANE sends another message. Cut to Haffner, sitting in a bar. He receives and reads JANE’s message.]

[JANE sends another message, cut to BERTRAM on the desk phone in his office]

BERTRAM: Well, then SAC P.D.'s just gonna have to wait… Look, I-I don't wanna pull rank... [A cell phone which is sitting on BERTRAM’s desk vibrates] But I will. [it vibrates again. BERTRAM reads JANE’s message] Kevin, I gotta call you back.

[JANE sends the message yet again. This time we cut to STILES, still sitting in the back of the van surrounded by flowers. He reads the message and leans forward to speak to the van driver]

STILES: I'll be needing a car.

[Back with Jane – that was the last message. He puts his phone away and he and LISBON leave the attic room, closing the door behind them]

[SCENE: in JANE’s car, driving down to Malibu. The ocean is visible on the far side of the highway. Jane pulls over into a car park]

LISBON: What are we doing?

JANE: I want to see the sunset.

[JANE gets out of the car and walks to the top of the trail that leads down to the beach. LISBON follows]

JANE: There's something I want to tell you, Lisbon. Something I should have said a long time ago. I want to thank you for everything that you've done.

LISBON: You can thank me later.

JANE: No, I... I need to say this now. You have... No idea what you've meant to me. What you mean to me. Thank you.

[They hug]

JANE: I almost forgot. I have a surprise for you. Wait here.

[JANE runs back to the car and gets in. Lisbon hears the engine start but it is too late, JANE is gone]

LISBON: Jane? Jane!

[As JANE drives away he places LISBON’s cell phone, which he stole from her pocket as they hugged, on the passenger seat next to his own phone. He drives away as the sun goes down and the sky gets darker]

[SCENE: Night time. JANE pulls his car into the driveway from the opening scene of the episode]

CAPTION: Jane Family Residence, Malibu, California

[JANE sits collecting his thoughts for a moment in his car before he gets out, taking the cardboard tube with him. He enters his empty home and takes a look around]

[Meanwhile LISBON is trying to flag down a passing vehicle from the roadside where Jane abandoned her]

LISBON: Hello! Hey!

[The vehicle doesn’t stop. She begins walking]

[JANE climbs the stairs to the bedroom where his wife and daughter were k*lled. Jane looks at the Red John smiley face that is still visible on the wall then takes a deep breath with his eyes closed, as if steeling himself to the act of k*lling Red John. He then exits and locks up the house. He walks along the path towards the office in the guest house, as we saw him do at the start of the episode, enters the office and takes the shotgun out of the cardboard tube]

[Switch to LISBON successfully flagging down a car]

LISBON: Hey! Stop! Police!

[The car stops and the driver winds down the window]

LISBON: My name is Teresa Lisbon. I am an agent with the California Bureau of Investigation, and I need to borrow your car. It's an emergency.

DRIVER: What?! No way.

LISBON: Get out. Now. Come on. Come on.

DRIVER: This is outrageous. I'm calling the police.

LISBON: Good idea. Thanks. [LISBON gets into his car and before she drives away she takes his cell phone too]

DRIVER: Wh—hey!

[Switch to JANE, His cell phone rings. We switch between JANE in the office and LISBON speaking on the cell phone as she drives to the JANE home]

LISBON: Jane.

JANE: Hello, Lisbon.

LISBON: Jane, don't do this, not without me.

JANE: Listen, I'm sorry.

LISBON: Jane, I am begging you. You're in danger!

JANE: I-it's gonna be okay. I-I'm gonna be okay.

LISBON: No, you're not. You do this, and you're throwing your life away.

JANE: Bye, Lisbon.

LISBON: Jane... No.

[JANE hangs up and switches off his cell phone. He opens the office safe and takes out the box containing the handgun. He stows it in his waistband and arranges the shotgun as we saw before. The car pulls up, a whistling person approaches, the door handle turns and STILES enters]

STILES: Oh. Hello, Patrick. Am I early?

JANE: No, no. Right on time. Have a seat.

[Through the window we see other vehicles arriving.]

ACT 4
[LISBON is driving in the car she requisitioned. She dials a number on the cell phone]
WOMAN [VO]: 9-1-1. What's your emergency?

LISBON: This is Agent Teresa Lisbon with the California Bureau of Investigation. I need officers at 1309 Cedar Street in Malibu. I have an agent who needs immediate assistance.

SCENE: in JANE’s office the five suspects are sitting on the sofa that is still covered in a dust sheet]

JANE: I brought you five together for a reason. Some of you may know that reason. Some of you may have guessed. But one of you here... is Red John.

SMITH: What? ! One of us?

STILES: One of us here is Red John? Well, that's very interesting.

BERTRAM: Who is it?

JANE: I don't know. And that's what we're gonna find out.

SMITH: Wait, you're trying to say that one of us in this room... Is a serial k*ller?

JANE: I know it.

HAFFNER: No, this is crazy.

JANE: I can assure you it's not.

HAFFNER: Well, I can assure you I'm not sticking around for this crap.

[JANE moves very quickly to seize the shotgun and pump it to load the shell into the chamber]

JANE: Sit down. Do not move toward the door. No one is leaving.

MCALLISTER: Take it easy, Patrick.

JANE: Do I look distressed? [SMITH tries to reach for his service handgun. JANE turns the barrel of his shotgun on him] Don't. I will sh**t you. That goes for the rest of you as well. Take out your weapons slowly, place them on the floor, and push them toward me.

[All those who are armed – HAFFNER, MCALLISTER, SMITH and BERTRAM – slowly obey. STILES opens his jacket to show that he is unarmed]

JANE: Thank you. Thank you.

[JANE kicks all the g*ns out of reach]

BERTRAM: Okay, Patrick. This is... This is enough. It's gone far enough.

JANE: No, we're just getting started. I've waited ten years for this moment. All those years, Red John has been smart. One of you has been smart. Careful. But not this time. This time, you made a mistake. Kira Tinsley told me something before she passed. She told me that her k*ller— Red John— has a tattoo. Three dots on his left arm. On his shoulder. And you all... Are gonna show me... Now. Let's go. Come on. That's it. Take it off.

SMITH: Nonsense.

JANE: Very good.

[Neither HAFFNER nor STILES have a tattoo. MCALLISTER is next, and he has the three dot tattoo. JANE points the shotgun at him]

MCALLISTER: It's not what you think. You got it wrong. I'm not Red John.

STILES: Patrick, wait. Patrick! Look... here. Look!

[Behind JANE, both SMITH and BERTRAM are similarly tattooed with three dots to the shoulder]

JANE [to MCALLISTER]: On your feet. Over with those two.

[as MCALLISTER crosses the room to stand beside SMITH and BERTRAM, HAFFNER attempts to stand]

JANE [to HAFFNER]: You stay there. [to the three tattooed men] Okay, you three... Over against that wall— now.

[We switch to the view from outside looking into the office through the windows]

MAN’S VOICE: Wait! No!

[A bright flash, accompanied by a loud bang, is seen through the windows of the office. Scene changes to LISBON who is driving recklessly as she races to the JANE residence. She pulls into the driveway and runs to the main house – to find the door is locked]

LISBON: Jane!

[LISBON checks through the windows but the main house is dark. She runs along the path to the guest house, whose windows are lit up but curtained. As she approaches a large expl*si*n tears through the guest house, throwing LISBON to the ground, blowing out all the windows, showering the vehicles parked outside with debris and setting the entire guest house on fire]

LISBON: Aah! Aah!

[LISBON struggles into a sitting position but all she can see are flames pouring out of the ruined guest house]