"Soccer Mom in the Mini Van"
[SCENE_BREAK]
TEASER
(A minivan approaches a field where kids are playing soccer. A woman gets out of the car, throws her coffee cup away in a nearby trashcan and looks at the children playing. She then touches her locket, smiles and heads back towards the car. In the car, she tucks a note inside her bag. She backs out of the space and as she puts her car into drive, it explodes)
[Cut to: Crime scene a few hours later - crawling with FBI agents. Booth and Brennan get out of the car and approach the mini van]
BOOTH: Look, Bones, all I'm saying is that Caroline went though a lot of trouble to get you private visitation with your father, now you don't want it.
BRENNAN: The federal detention facility already has visiting areas.
BOOTH: Yeah, behind 2 inch glass. Now you'll be able to give your old man a hug.(he demonstrates on Brennan)
BRENNAN: I didn't ask for special treatment, Booth.
BOOTH: That's because you don't have to because you are special. And you are gonna tell me - whoa - what happened to whatever the hell is melted to that steering wheel and everything else.
BRENNAN (looking at the remains): Female. Mid 40's to late 50's. Pelvis indicates she's given birth.
BOOTH: Hey, Bones. Look at that. (points to a finger with a ring on it) Married, right?
BRENNAN: Wedding ring. Possibility. (to another FBI Agent) Don't just focus on the ground (she points to a leg in a nearby tree then to Booth) Why do you care about my relationship with my father, Booth? You were only too happy to arrest him and put him in prison.
BOOTH: Alright, look Bones. Ya know what, it's not about being happy, okay. It's about doing my job.
BRENNAN: Do we know if it was a bomb that caused the explosion?
BOOTH: Well, let's see. The roof is peeled back and the doors-
BRENNAN: I was asking him. (she points to another FBI Agent)
FBI AGENT: We found explosive residue all over the van and metal fragments in the bushes.
BOOTH: What is that? A Pipe bomb?
FBI: I can't really be sure until the explosives unit gets the van back to the lab.
BRENNAN: No, they can't have the van. There are remains seared all over the inside of the vehicle and they can't be compromised.
FBI AGENT: I have to call-
BRENNAN: This van will be brought to the Jeffersonian - your bomb techs can look at it there.
FBI AGENT: I'll....make the call?
BOOTH: That's - that's alright. You go, go make that call. Bones, come on . You're a little harsh there, maybe you want to talk it out.
BRENNAN: (pulls a necklace from the car) Look, Booth.
BOOTH: It's a locket. Ugh, probably her daughter.
BRENNAN: Who would want to blow up a soccer mom?
ACT I
(Cut to: Jeffersonian: Forensics area)
ANGELA: Hey, you have a skull for a facial reconstruction?
ZACK: Help yourself.
ANGELA: Oh, great. Is this all I have to work with? I always hated puzzles.
BRENNAN: Hodgins, before we take that hand from the wheel, you might want to check the fingernails for particulates.
HODGINS: You know I do.
ANGELA: Oh. My. God.
ZACK: Shouldn't you wait for the bomb tech before you gather the explosive residue?
HODGINS: Hey, just getting enough to verify his results. Remember, he's a government bureaucrat.
ANGELA: Hey, you're a government bureaucrat, babe.
HODGINS: In name only. I am a passionate, dedicated scientist who will not be cowed by authoritarian pressure.
CAM: Stay out of the van until the bomb tech comes, Hodgins.
HODGINS: But... CAM: Out.
HODGINS: Fine. I have to check the fingernails anyway.
CAM (to Angela): How close are we to ID'ing the victim?
ANGELA: Well. This is the skull. I'm good, but I'm not that good.
BRENNAN: Perhaps you could use these. There's a portion of tongue, hair and brain matter?
ANGELA: Okay. If anybody needs me, I'm gonna go throw up, then do some paper work.
(As Angela turns to leave, Booth enters with a female agent)
BOOTH: Okay, this is Special Agent Frost from the bomb unit.
AGENT FROST: Booth pulled me out of an important lunch. It took me months to set up that meeting. It better be good, Booth.
BOOTH: She'll be working with you, Hodgins.
HODGINS (starting at Frost): Yes, please. What? No, no. Um, hmm? Ja..Hodgins. Doc - Doctor. Okay.
AGENT FROST: I beg your pardon?
HODGINS: It's Ho-
ANGELA: He's Dr. Jack Hodgins. Angela. Montenegro. I do facial reconstructions - and him.
AGENT FROST: Please to meet you. (she walks over to where the stuff is ) I'm gonna need you to recover all the metallic particulates then I'm gonna need a chemical tray with-
FROST & HODGINS: Aqueous buffer solution.
HODGINS: Yeah. I know.
HODGINS: You wanna perform capillary electrophoresis?
FROST: We can do that?
HODGINS: Oh yeah. (Angela coughs in the background) And it will save time so Angela and I can have dinner. Alone.
ANGELA: Hm (she turns and leaves)
BOOTH: License plate was destroyed when we traced the VIN number on the van. It was registered to Jeremy Nash in Culpepper, Virginia.
BRENNAN: He looks familiar.
BOOTH: Man, our victim was traveling with a lot of stuff - clothes and personal items.
BRENNAN: Photo album. Most of the pictures were burned, but the man in this photo could be Nash.
CAM: She packed herself up, keepsakes and all, and took off in the van? Looks like Mrs. Nash was leaving Mr. Nash.
BOOTH: Ah, god. I hate domestic cases. Alright, so let's got talk to the husband.
BRENNAN: I can't. I'm seeing my father.
BOOTH: Now?
BRENNAN: You and Caroline went to a lot of trouble setting this up. I would hate to appear ungrateful.
BOOTH: But - (he starts to follow after her, but stops then - to Cam) I'll go talk to, um, the husband by myself.
(Cut to: Prison - Day. Max is escorted into a private visiting room to meet with Brennan)
PRISION GUARD: Alright, Max. There ya go.
MAX: Ooh, gee. Real chairs. It's nice to have an important daughter (he goes to kiss her but she moves away)
BRENNAN: This is Booth, not me.
MAX: Well, you thank him for me. I always liked Booth. Nicest guy that ever arrested me.
BRENNAN: Touching.
MAX: Well, you must like this. Me in here. I finally have to follow the rules.
BRENNAN: So that makes me less than you because I think people should follow the rules?
MAX: You're upset.
BRENNAN: Yeah, of course I'm upset. My father's a criminal.
MAX: No, outlaw. There's a difference.
BRENNAN: Subtle distinctions like that are lost on me and, I imagine, your victims.
MAX: I know you want some sort of, uh, nice, neat story that puts my life into perspective for you but it doesn't work that way.
BRENNAN: You could try. Don't I deserve that?
MAX: I guess I always had a problem with authority. I just always saw myself fighting the system. Kinda like Robin Hood.
BRENNAN: Do you realize how ridiculous you sound? You're here for murdering the Deputy Director of the FBI.
MAX: He was a crook. He was a killer and he was going to kill you.
BRENNAN: And you walked out on Russ and me when I was fifteen!
MAX: But that was to protect you, people were after us.
BRENNAN: Because you were a criminal.
MAX: Outlaw. See, I knew you weren't gonna understand.
BRENNAN: Ya know what? You're right. This is my fault for expecting we could get past-
MAX: We can get past this. We can. The court, they're gonna decide how to punish me but now, here - we'll make this whatever we want.
BRENNAN: (She reaches in her bag and pulls out a deck of cards) Here are the cards you asked for. I gotta go.
MAX: Wait. These are for us.
BRENNAN: What?
MAX: Come on. You remember that game we used to play when you were five years old?
BRENNAN: Blitz.
MAX: Blitz. Blitz. Come on. Let's play a couple of hands.
BRENNAN: You always beat me. I remember that too. A good father would occasionally allow his child to win.
MAX: I don't believe in encouraging all that, ah, that self esteem crap. You wanna win? Earn it. That's why you're so good at what you do now cause you know that nobody is gonna hand you anything.
BRENNAN: (sarcastically) So you were a great father.
MAX: Well, maybe just not as bad as you think. How 'bout this, one hand? Come on.
BRENNAN: (gets up and heads towards the door) Let me know if you need anything else.
MAX: Oh, oh, oh. Socks. Socks. You know the, uh, with the arch supports? I gotta stand on that chow line forever.
(Max watches her as she leaves the room without saying anything)
(Cut to: Nash Residence. Booth is questioning Jeremy Nash)
JEREMY NASH: A bomb?
BOOTH: Yeah, I'm sorry. Were you and your wife having any problems?
JEREMY NASH: What? What kind of problems?
BOOTH: Well, she was traveling with a lot of personal stuff: I mean, photo albums and more clothes than she -
JEREMY NASH: That "stuff" was for Celia's new dorm room. She was bringing her clothes, thing to help her decorate - You're FBI for God's sakes. You have no idea who did this? What is this your first case?
BOOTH: Just relax, okay? I'm just here to help, Mr. Nash, that's all.
JEREMY NASH: How do I tell Celia? How do I - tell my daughter-
(Cut to: Medico Legal Lab - Room. Focus on a clear box with flesh eating beetles inside.)
ZACK: Dermestes maculates. They clean the bones by eating the charred flesh.
HODGINS: But they leave behind pieces of shrapnel you might need.
AGENT FROST: Fascinating and very weird.
ZACK: (with pride) They're mine.
AGENT FROST: Not a surprise.
(BRENNAN enters.)
HODGINS: (to Brennan) Hey! Hi. How as your visit with your-
BRENNAN: Not germane to the investigation, Hodgins. (While Brennan is talking, Hodgins is looking at Agent Frost) Zack. Her left shoulder was badly shattered but still shows evidence of old trauma. I need the clean bones as soon as they're ready. I also would like you to look at the manubrium. These shadows look like pitting. Have you determined what kind of bomb was used?
AGENT FROST: I'm still sifting through the debris and waiting for whatever goodies these bugs leave behind.
BRENNAN: And Dr. Hodgins is just keeping you company?
HODGINS: What? No. I'm - working. Hard. (Brennan and Zack just look at him) I'm gonna go right now and work. Hard. Some-someplace else. So - (he turns to go - Brennan and Zack still staring at him and Agent Frost looking at the beetles)
(Cut to: Medico Legal Lab - Basement/Storage. Angela is at a computer trying to figure out some symbols for the Widows' Son case.)
HODGINS: Hey. What are you doing down here?
ANGELA: Oh, analyzing the iconography for the Widow's Son case until somebody needs me for the bomb victim.
HODGINS: Look, Angie, Um- Agent Frost is a colleague and I am a professional. Okay, so all that stammering and stuff - I mean that's not - that isn't - you know that's involuntary - it's a bodily thing. Yeah. That didn't come out right. Look, I'm not gonna deny that she is attractive -
ANGELA: Oh, totally hot.
HOGDINS: What?
ANGELA: The bombshell from the Bomb Squad. She's totally hot.
HODGINS: Yeah, I know. I mean -
ANGELA: Look, Jack. I really don't care what's going on in your pants as long as it stays in your pants.
HODGINS: You know who's totally hot? You. You are totally -
ANGELA: Okay, save it. What have you got?
HODGINS: (he hands her some singed pieces of paper found in the van) These were in Any Nash's bag.
ANGELA: There's writing on them.
HODGINS: Yeah. Yeah, Cam needs you to restore them.
ANGELA: Well, I'll give it a try.
AGENT FROST: (O.S.) Dr. Hodgins! I need your samples for the spectrometer.
HODGINS: I - I - I - I have to uh - so I love you and - (he kisses her on the cheek)
ANGELA: Go.
HODGINS: Okay.
(Cut to: Medico Legal Lab - Hallway. Booth & Brennan are walking)
BOOTH: Nash is gonna pick up his kid, tell her in person. I mean, I don't know how you do that. Tell your kid that your mother just got blown up?
BRENNAN: I would think a direct approach would be best.
BOOTH: What? As opposed to what? Sugar coating it? 'Hey, what do you say we go to the park oh and by the way, your mom just got blown up?' How's your dad? You haven't mentioned him.
BRENNAN: Apparently, his feet hurt.
BOOTH: You know, I mean his spirits.
BRENNAN: Well, he's a con man, Booth. He's always cheerful.
BOOTH: What? That's it?
BRENNAN: It's not like I ever really had a father. Max was absent for years.
BOOTH: Well, here's what I know. I know that Nash girl would give anything to spend one more day with her mother. I'm sure you'd feel the same way if something happened to your father.
(Hodgins approaches them)
HODGINS: I confirmed triphenylmethane dye and iron sulfate embedded in the manubrium and the flesh. (Booth looks at Hodgins, confused.) Both are found in ball point ink.
BOOTH: AH! It's a home made tattoo.
HODGINS: Angela's working on recreating the design.
(Cut to: Medico Legal Lab - Angela's Office. The computer is trying to render a design of the tattoo)
ANGELA: This tattoo appears to have been crudely executed.
BOOTH: Hm, you mean like a prison tat.
CAM: No record of her being in prison.
HODGINS: In Russia, prisoners made tattoo ink by burning the heel of a shoe and mixing it with soot and urine.
BRENNAN: This was a ball point pen, rigged with a sewing needle, pushed down so deep it penetrated her periosteum.
BOOTH: Ah! You mean - bone.
CAM: Doesn't seem like a very soccer mom thing to do.
ANGELA: And...here we go. (the computer starts to finish the rendering)
CAM: An inverted pentagram? Devil worship.
HODGINS: Mom had a little thing going on the side with Satan? Oh, the burbs.
ANGELA: There is a design in the center that I can't quite get.
HODGINS: Wait, wait, wait. Is that a fist?
BRENNAN: A fist?
BOOTH: A fist.
ANGELA: Yeah. Oh my God. It is a fist.
HODGINS: So she wasn't Satan's old lady - she was in the NLA.
ANGELA: NLA?
BOOTH: National Liberation Army.
HODGINS: Student radicals in the 70's. Thought they could change the world. Set off bombs in army recruiting offices, torched cop cars-
BOOTH: Yeah, real visionaries. They also shot and killed a cop in '75.
HODGINS: That was the burglary. They broke into house of a defense contractor to rip off his safe- said it was the people's money. Here. June Harris and her boyfriend, Neil Watkins were charged with the murder, but never found.
BOOTH: The FBI's been looking for them for 30 years.
CAM: And there they are.
ANGELA: And our victim? (she does a side by side comparison of June Harris & Amy Nash) It's the same woman.
BRENNAN: So, our soccer mom - was a killer.
ACT II
(Cut to: Medico Legal Lab - Forensics Platform.)
CAROLINE: People! Please tell me that all your fancy ass equipment is wrong.
BOOTH: Oh! (He covers his ears as she sets off the alarm as she enters the platform and a security guy swipes his card.)
BRENNAN: You're not supposed to be up here.
CAROLINE: Booth can shoot me later. (she looks at the remains laid out on the table) This can not be June Harris.
BRENNAN: But the dentals match. Angela's reconstruction matches.
BOOTH: Amy Nash was June Harris.
CAROLINE: Por qui moi? She couldn't have waited 4 days to turn herself into a charcoal briquette?
BRENNAN: I - don't understand.
BOOTH: Caroline? Why are you here?
CAROLINE: June Harris was turning herself in. I arranged with her attorney for the surrender. He was gonna deliver her on Thursday after she said goodbye to her family.
BRENNAN: What was the deal?
CAROLINE: 9 years.
BOOTH: 9 years for killing a cop?
CAROLINE: For turning herself in and laying this all to rest. And since she still maintained her innocence, this was going to be a tough case to prosecute.
BOOTH: Sam Reilly was the lead on this case for 30 years. He was okay with 9 years?
CAROLINE: He doesn't know. Part of the deal. He wasn't to be consulted.
BOOTH: Well, you know what? It's okay to tell him now. I know Sam. He deserves that much after 30 years.
CAROLINE: Up to you, you're the lead now, Cher. You should bring in Huntzinger. He was her attorney. He might know something.
HODGINS: Love Huntzinger. Real old time lefty. Worked the Chicago 7 Trial. Sued Nixon, the CIA, Bush -
BOOTH: That's great, let's get out of here before Hodgins gives him the pinko medal of honor. (to Brennan) Are you coming?
BRENNAN: I can't. Zack and I have to pull the rest of the shrapnel for the bomb tech and then I have to buy some socks for my dad.
CAROLINE: Leave her be, Cher. Absence makes the heart grow fonder.
BOOTH: (turning back to Brennan as Caroline drags him out) Socks?
(Cut to: FBI - Agent Sam Reilly, Booth & Caroline are coming out of a conference room - and start to walk down the hallway.)
AGENT SAM REILLY: I have worked this case for 30 years and you don't think I deserve a phone call?
CAROLINE: It was part of the deal.
SAM: And you Booth. I trained you. You think this is right? To blow me off like this?
BOOTH: I just got thrown the case, Sam. Don't go wailing on me.
SAM: Damn lawyers. Working the case for 30 years and you don't think it deserves a damn phone call. Hey. I'm talking to you. (Booth and Caroline turn around)
CAROLINE: No. You're yelling at me and my ears are starting to ring. Now I'm sorry after 40 years, as an agent for the FBI, you're still a little girl but I'd like to find out who killed June Harris. So how 'bout you stop whining and help. Okay, Cher?
(Caroline leaves)
BOOTH: So. How have ya been , Sam?
SAM: Shut up, Booth.
(Cut to: FBI - Observation Room. Sam watches as Caroline & Booth interrogate Leonard Huntzinger)
CAROLINE: So what's in the bag, Lenny.
HUNTZINGER: Toothbrush, change of underwear. You guys always find some reason to toss me in the can. No belt. No laces. I'm ready.
BOOTH: Yeah. Great. Well, we just want to ask you a few questions about June Harris's death.
HUNTZINGER: I loved June Harris. I loved what she stood for and what she did with her life. Nobody has her balls anymore.
CAROLINE: Except maybe, Neil Watkins.
HUNTZINGER: Yeah. You'd love that, wouldn't you. Blame another revolutionary.
BOOTH: Do you know where Watkins is?
CAROLINE: They were partners in crime. I don't think he would want to risk June turning him in.
HUNTZINGER: You ever hear of attorney/client privilege?
CAROLINE: Ever hear of Obstruction of Justice?
BOOTH: Ya know, a woman is dead. She's not a martyr to her family, just someone they loved.
CAROLINE: If you can understand that.
HUNTZINGER: Cooperating with that system (Sam leaves the observation room) perpetuates that system..
BOOTH: Yeah, yeah.
HUNTZINGER: If the system's corrupt-
BOOTH: Blah, blah, blah. So what's next, Leonard? Are ya gonna warn Watkins that we're on to him?
(Sam bursts through the door and goes after Huntzinger)
BOOTH: Sam. Sam. Sam. Sam.
SAM: You son of a bitch. Watkins are Harris are not heroes. (Booth holds Sam back) You want to know how they changed society? Ask the kid who's father they killed.
HUNTZINGER: I know that kid. He became a cop just like his father. Very touching.
(Sam goes to go after Huntzinger again and Huntzinger pushes him back.)
SAM: You son of a-
HUNTZINGER: Get out of here.
(Booth steps in again and holds Huntzinger back.)
BOOTH: Hey. Hey. Hey. Hey.
CAROLINE: You just hit a Federal Agent, Mr. Huntzinger. Good thing you brought your toothpaste.
HUNTZINGER: What a surprise. Lock me up to shut me up. You should be talking to that kid, Valenti, instead of busting my ass. The pig comes to me the other day, he wants to know where June is. He said he got a letter from her, as if she's write him or I'd give her up. Hey. (He lifts up his shirt) See these bruises? A gift - from your noble son of a cop.
(Cut to: Prison - Day. Max is in the visitors room with Brennan.)
MAX: Nice and soft. I'll be the best dressed on cell block 8. Thanks.
BRENNAN: Sure.
MAX: (sighs) Honey. I'm sorry.
BRENNAN: For what?
MAX: For- for being such a disappointment as a father. You deserve better. And I should have told you sooner. (Brennan says nothing) Well, that's it? Nothing?
BRENNAN: Well, what were you expecting? I agree with you.
MAX: I was expecting some tears or a hug or something. I did apologize. That's what you wanted, isn't it?
BRENNAN: Well, you didn't mean it?
MAX: Of course I meant it. Listen. Under any objective standard you have a horrible human being for a father but I'm trying to move on. I got caught so that I could be with you. I was hoping you'd meet me half way.
BRENNAN: I'm here, aren't I? (after a pause) I - (she reaches into her bag) got you shampoo. Soap isn't good for your hair.
MAX: Oh, nice. I - I don't want to smell to good, that could be a problem around here.
(Brennan smiles) There, see. That's better. Thanks.
BRENNAN: Sure.
MAX: So the prosecutor's gonna want to talk to you about me. It wouldn't hurt if you, uh, had some good things to say about your old man. Might even offer to testify on my behalf.
BRENNAN: Is that why you finally apologized?
MAX: What?
BRENNAN: To use me? Maybe you'd like me to alter evidence now. That way I could join the family business.
MAX: How could you think that?
BRENNAN: I don't know, Max. Maybe because I seem to pass in and out of your life when it's most convenient. Maybe because you built a whole career using your considerable charm to manipulate people?
MAX: Wait, listen. I know that it's hard to trust me, I know, and it's gonna take some time to fix things, but we can -
BRENNAN: No. No. Some things break and you can't put them back together again. That's just the way it is. I was find on my own, Max. I was just fine. (she gets up and leaves)
MAX: Wait, please. (he's left in the room, alone)
(Cut to: Medico Legal Lab - Hodgins work area)
AGENT FROST: Electrophoresis in HPLC shows potassium nitrate, charcoal and sulfur in a 75/15/10 ratio.
HODGINS: Graphite glaze, triple F goex. Supporting grade -
AGENT FROST: You are a constant surprise.
HODGINS: Yes. Yes, I am.
AGENT FROST: I don't know many people who get as excited as I do about the chemical makeup of explosives.
HODGINS: Well, I - complex molecular structures. Hey, how's it coming - with the-the-the detonator?
AGENT FROST: Seems to be a wristwatch. Pretty much destroyed in the blast.
HODGINS: (looking in the microscope) Microscopic glass chips. Probably the crystal. I'll, uh, take a look at the -uh (Frost leans over him and looks in the microscope) composition to see if I can - um - locate a - manufacturer.
AGENT FROST: Great. So, where do you want me to dump this junk?
HODGINS: You're tossing the air filter?
AGENT FROST: I tested it for explosive residue. There wasn't any. It was blown free from the car.
HODGINS: Yeah. Even better. Do you have any idea what kind of treasures might be trapped in here? Don't touch my things. (to security guard) Watch her.
(Cut to: Medico Legal Lab - Zack is showing Cam his findings)
CAM: She was shot too?
ZACK: The entry presented itself when I was removing shrapnel from the reconstructed shoulder.
CAM: Are you sure it's not from the bomb or the fire?
ZACK: No. The fragments are lead in a copper alloy coating.
CAM: Yeah. That's a bullet. I didn't find any dried blood on her clothes. When was she shot?
ZACK: Damage from the blast makes it difficult to tell when the shooting occurred. I'm going to check the remodeling to estimate a time.
CAM: Hitting the top of the shoulder wouldn't be severe injury.
ZACK: She could bandage herself and still be ambulatory.
CAM: You know you could say 'walk around' instead. I wouldn't fire you.
ZACK: 'Walk around' implies aimlessness, which I'm not able to determine.
CAM: Can't believe I still ask these things. Send every thing you got to ballistics at the FBI.
ZACK: I'll inform Dr. Brennan.
(Cut to FBI: Corridor. Booth, Brennan and Sam are walking)
SAM: Does not make any sense. The van was rigged blow up, why shoot her?
BRENNAN: Well, until we see what ballistics determines, it's absurd to speculate.
SAM: Speculating's kinda what we do here.
BOOTH: Listen. Danny Valenti is a cop. June Harris murdered his father. He has a gun.
SAM: He's a good kid, Booth. He didn't do it.
BOOTH: (Brennan bumps into him, then to Brennan) Out.
BRENNAN: But that is meaningless speculation.
SAM: Is she really necessary?
BOOTH: She's my partner.
BRENNAN: Mentors often feel threatened when their students surpass them.
BOOTH: Bones!
BRENNAN: Well, it's true, Booth. Change can be difficult to accept whether it comes in the form of a revolutionary or the simple passage of time.
SAM: If she were a guy, I'd deck her.
BRENNAN: Well, you know, that distinction is no longer necessary, but I wouldn't recommend it. (Booth pushes Brennan into the interrogation room)
BOOTH: Go, Sam. (Booth pushes Sam into the interrogation room) Thank you.
(Cut to: FBI - Interrogation Room.)
BOOTH: Officer Valenti, credit card records show that uh, you bought gas near June Harris's home.
VALENTI: I didn't know where she lived. Just the town from the post mark on the letter.
BOOTH: Her apology letter.
VALENTI: (scoffs) She should have had the nerve to come talk to me, face to face.
BOOTH: So that's when you went to Huntzinger.
VALENTI: Yeah.
BRENNAN: And hit him.
VALENTI: He protects people like her.
BRENNAN: That's his job.
VALENTI: I was five years old when my father was killed. My mother told me he wasn't coming home again, I didn't believe her. I sat by that window waiting, everyday, for months.
BOOTH: You seem pretty angry about that.
SAM: Why didn't you tell me what you were gonna do?
VALENTI: You'd try and talk me out of it.
BRENNAN: Did you know how little time she was going to serve?
BOOTH: Because that might make someone take matters into their own hands.
VALENTI: I'm a cop, man, I didn't blow her up.
SAM: Booth-
BOOTH: Sam, it's my investigation. Officer Valenti, I'm gonna need your gun.
VALENTI: Why?
BOOTH: Because June Harris was shot before she died.
BRENNAN: We'd like to make sure the bullet didn't come from your gun.
VALENTI: You're gonna let them do this to me, Sam?
SAM: It's just a formality, Danny.
VALENTI: Then let's be formal. Get a warrant.
[SCENE_BREAK]
ACT III
(Cut to: FBI - Booth's Office. Sam is alone reading a folder - as Booth & Brennan enter.)
BOOTH: Sam!
SAM: Ballistics says that the bullet was NOT a match for Danny's gun.
BRENNAN: Booth should have that report first. He's the lead.
SAM: You know, Booth. She must be really good in bed because I can't see any other reason you keep her around here.
BRENNAN: I am. Very good. But Booth has no direct knowledge of that fact.
BOOTH: Okay, okay. Let's all stay focused here, people. Okay. Sam, you know what - you should never-
SAM: But it was a match for the gun that killed Danny's father 30 years ago.
BOOTH: Right. The same gun that was registered to Harris's old boyfriend, Watkins, but it was never found.
SAM: Everyone we interviewed at the time said Harris would never make a move without talking to Watkins first. I told you, we need to find him.
BOOTH: Yeah, okay. We will, Sam. You just gotta give me some room.
(Booth goes to leave but Sam grabs him arm)
SAM: Hey, Booth. Don't cut me out. I've worked my whole career for this.
BOOTH: As soon as I find something out, I'll let you know, Sam. (he places him hand on Sam's arm and then heads out) (to Brennan) Come on, Bones.
(They leave, leaving Sam alone, once again, in Booth's office)
(Cut to: Nash Residence. Jeremy Nash is looking at a picture that Booth & Brennan gave to him to look at)
JEREMY: I remember seeing a picture of him before. I was going through some old photographs, cleaning out a closet. Amy said it was an old boyfriend.
BOOTH: Hmm. They keep in contact?
JEREMY: No. I mean, uh, she would have told me. Why? You don't think that - did he kill her?
BOOTH: How long did you know about your wife's real identity?
BRENNAN: Yeah, how long?
JEREMY: I only found out a couple weeks ago.
(His daughter, Celia, enters the room)
CELIA: Why didn't you tell me? What? You didn't think I should know about my own mother?
JEREMY: She didn't want me to tell you. She wanted to do it herself.
BRENNAN: Your wife never talked about her past?
CELIA: She used to say only the future was important. All we could do was change the world.
JEREMY: They didn't agree on how. Celia was, uh, a bit conservative for Amy.
CELIA: That never mattered. She wasn't some crazy radical to me. She was my mom.
BOOTH: You must have been relieved she got such a great deal.
JEREMY: What deal?
BRENNAN: She didn't tell you?
JEREMY: She mentioned she was thinking of talking to a Federal Prosecutor - but I talked her out of it.
BOOTH: Well, you do know it's a felony, aiding and abedding a fugitive.
JEREMY: You want to charge me? Fine. But saving my family doesn't feel like a crime. Amy was a good mother. A wonderful wife.
BOOTH: You mind if we take a look around? See if there's any evidence linking your wife to Watkins?
JEREMY: The house is yours. (to Celia) Come on, sweetie.
(Cut to: Medico Legal Lab.)
ZACK: The only reason we found any lead or copper in the shoulder was because of the blast. There was advanced bone remodeling.
CAM: So it's a very old injury.
ZACK: Yes. Bone had completely grown over it.
CAM: And since it was the same gun that killed the policeman and was never recovered, I think we can assume that June Harris was shot during the robbery.
ZACK: I also found microscopic lead particles on the metacarpals on the left hand with the same degree of remodeling at the shoulder.
CAM: Another gun shot?
ZACK: No. The same one. The metals are an identical match.
CAM: So she was shot in the hand and the shoulder with the same bullet? Is that even possible?
ZACK: Angela could give us a scenario that could tell us.
(Cut to: Medico Legal Lab - Angela's Office - everyone is standing around the Angelator)
ANGELA: I'm creating a trajectory analysis factoring in both the hand and the shoulder. These are photos from the crime scene, 30 years ago.
ZACK: That's the home of the defense contractor, Gerald Locklear, where the NLA burglary occurred.
CAM: June Harris and NealWatkins were in Locklear's office at the back of the house.
ANGELA: The original FBI photos were crude. Based on finger prints and scuff marks on the floor. It was assumed that June stood guard while Neal emptied the safe.
CAM: When officer Valenti walks in, surprising them, June fires - killing Valenti -
BRENNAN: But that wouldn't explain her injuries, unless - June emptied the safe while Neal stood guard.
ANGELA: Exactly. Neal aims at Office Valenti but June steps between them, raises her hand to stop Neal, but he fires.
BRENNAN: She was trying to protect the policeman.
CAM: June Harris was telling the truth. She didn't kill Valenti, Neal Watkins did.
(Hodgins enters)
HODGINS: He also made the bomb. The watch used to make the timer? Was coated with a volatilized pigment used by the Sawyer Time Company.
(They all head over to the computer. Hodgins pulls up a picture of a watch)
BRENNAN: An American flag watch.
CAM: Nice ironic touch.
HODGINS: Watkins always used the same type of watch when making bombs for the NLA. It was a signature. They found traces of them a ROTC headquarters, the IRS office-
CAM: June told him she was going to turn herself in.
HODGINS: He wasn't gonna let that happen. So he made a new bomb using an old watch and killed her. And he left a message for anyone who thought the revolution was over.
ANGELA: Sounds like a bad ex-boyfriend.
BRENNAN: That's assuming she was in contact with him.
CAM: And we have no way of knowing where that would have taken place if she had seen him.
HODGINS: Not so sure about that. I have her air filter. It's like an entomological GPS.
(Cut to: Medico Legal Lab - Cat walk. Booth is looking out over the balcony. Brennan approaches him, carrying a cup of coffee)
BOOTH: What's taking Hodgins so long?
BRENNAN: It's an exacting process.
(She hands him the cup of coffee)
BOOTH: (takes it) Ah, thank you. So um, how did your dad like his socks?
BRENNAN: Fine.
BOOTH: That's sorta a way to start a conversation there, Bones.
BRENNAN: I know.
BOOTH: Ya know, look. I'm - I should never have gotten in the middle of all this, I'm - I'm sorry. I was just - I'm just trying to help.
BRENNAN: He wanted me to testify on his behalf. He just wants to use me.
BOOTH: Well, he's s con man, Bones, that doesn't mean that he doesn't love you. He's just looking for a little payback.
BRENNAN: Payback?
BOOTH: Yeah. He's thinking that he got arrested so that he could spend some more time with you. I mean, you could at least return the favor by doing something nice for him.
BRENNAN: I'm not sure I want a father who's always keeping score.
BOOTH: Yeah. Sounds like you are too.
BRENNAN: You know what? You're right. This is none of your business.
BOOTH: You know what, Bones? You're never gonna forgive yourself if you don't cut the guy some slack just because you're afraid to get hurt.
BRENNAN: Ugh, what the hell is taking Hodgins so long?
(Cut to: Medico Legal Lab - Hodgins desk. He's looking through a microscope when Angela approaches)
ANGELA: Where's the bombshell from the bomb squad?
HODGINS: She went back to the FBI to catalog evidence. Thank god. She was driving me crazy. It was just science all the time. Then, she tries to destroy perfectly good evidence-
ANGELA: What about the breasts?
HODGINS: I started thinking about them dragging on the floor when she's 70. (Angela leans over and kisses him) How are you doing?
ANGELA: Well, that burned paper? Is a letter that she wrote. So I'm using the spectral comparator to locate the ink particles.
HODGINS: Cool...
ANGELA: The, uh, computer is rendering the content now, so. You?
HODGINS: I found pollen.
ANGELA: oh.
HODGINS: Most of it Pinus Appalachiana. Shenandoah (he has a realization about something) Pine - which is only found on Shenandoah Mountain in West Virginia. There was also crushed Pendleton Leather Flower in the tire treads which is only found here in the Shale Barrens along the upper Potamic - it is very secluded between the towns of Hendersonville and Maple Flats. Booth! (he calls up to Booth, still up on the catwalk with Brennan) I know where you can find Watkins! (They start to head down.)
ANGELA: That's nice work, Hodgins. You know, my computer, is gonna be rendering for a while. Wanna go to the Medieval storage room?
(He reaches down and pushes the head covering for a suit of armor out from under his desk with his foot)
ANGELA: Oh.
HODGINS: Booth! What the hell is taking you so long. (Angela kisses him again)
(Cut to: Booth's car.)
BRENNAN: You told Reilly where Watkins is?
BOOTH: Yeah, he's meeting us there.
BRENNAN: He's too emotional.
BOOTH: This is his case. He's invested.
BRENNAN: He's irrational. Probably male menopause.
BOOTH: What? He's a good man and you know what? There's no such thing. That is a sexist myth.
BRENNAN: Factually, hormone production drops in your 50's. Sexual desire decreases. You have to deal with the reduction of muscle mass, erectile dysfunction-
BOOTH: Hey, alright, hey. Let's just keep the conversation up, shall we?
BRENNAN: And, there's evidence that certain men become very unstable.
BOOTH: Do you want me to start talking about your father again?
BRENNAN: You're very testy.
BOOTH: And 35. I'm only 35.
BRENNAN: Okay, okay.
BOOTH: They have blue pills for that.
(Cut to: Watkin's Residence. Booth & Brennan get out of the car and walk towards the house.)
BOOTH: No. I don't like this, it's too quiet.
BRENNAN: Wasn't Reilly suppose to meet us?
BOOTH: Yeah.
(They go around the side of the house, trying to get a look inside. Brennan takes out her gun)
BOOTH: Gee, why didn't you bring the big one?
(They enter the house and walk through the rooms, still not seeing anyone. Suddenly, Brennan sees something in the other room.)
BOOTH: Okay. (he pushes her shoulder back, wanting her to stay behind him) Bones.
(They walk into the room and find Neal Watkins dead and Sam Reilly standing over him, holding a gun)
BOOTH: Easy, Sam. Put the gun down, step away from the body.
SAM: Booth, look at him. He did it to himself. I didn't do this, Booth.
(Sam places his gun on the arm of the couch)
ACT VI
(Cut to: Medico Legal Lab - Autopsy Bay.)
CAM: .38 caliber slug - matches the revolver found at the scene. Now positioning is consistent with a self inflicted gun shot wound but could easily have been staged.
(Brennan and Zack are looking at x-rays on a screen)
BRENNAN: Zack, bring up that hand x-ray. (it appears on the screen) Look at this.
ZACK: Asymmetric narrowing on the first metacarpal phalangeal joints.
BRENNAN: Ulna deviation, barely discernible.
ZACK: Would you like my finger Dr. Brennan?
BRENNAN: Please.
CAM: What are you two thinking?
BRENNAN: Neal Watkins had rheumatoid Arthritis in his hands. (she wraps Zack's finger with an ace bandage) This would approximate the strength of his arthritic finger. Pull. (she grabs Zack's finger and he tries to pull it away.) Harder.
ZACK: I'm trying, Dr. Brennan.
BRENNAN: Watkins fine motor function would be no greater than Zack's gauzed wrapped finger.
CAM: Neal Watkins wasn't able to pull the trigger.
BRENNAN: He couldn't have shot himself.
ZACK: If he couldn't pull the trigger, he wouldn't have the manual dexterity to assemble the bomb either.
CAM: There's one man who knew exactly how Neal made his bombs.
BRENNAN: The same man who worked the case for 30 years. I'll call Booth.
(Cut to: FBI - Interrogation Room. Sam is pacing. Booth & Caroline enter.)
BOOTH: Hi Sam. Dr. Brennan determined that it wasn't a suicide.
SAM: What?
CAROLINE: The gun was a plant. Wouldn't be the fist time - an Agent planted a gun, would it?
BOOTH: Well, Forensics searched the house and, uh, they determined that there wasn't enough evidence to suggest that Watkins made the bomb that killed Harris.
SAM: What about the watch?
BOOTH: That's the thing, Sam. It turns out that two Sawyer Company American Flag watches were confiscated in '74 in LA raid.
CAROLINE: We checked the evidence locker. A lot of things were missing - including a watch.
SAM: It was a dog case, Booth. That crap was moved off site years ago. You know what happens during a move.
CAROLINE: So, you had a 30 year obsession but you didn't keep track of your evidence. You have a good service record, cher. We can make a deal.
SAM: Look. I know you have to do this dance, but there is a real killer out there.
BOOTH: Look, I understand, Sam. I do. I think - you should find yourself a lawyer.
(Cut to: Medico Legal Lab - Hodgins approaches the platform)
HODGINS: I was cataloging the watch debris and noticed that the oxidation and bacterial erosion of the metal was inconsistent with watches that would have been stored in evidence for 30 years.
CAM: But weren't the watches discontinued after '76?
HODGINS: Yes, but I found a few available on line for collectors - still sealed.
BRENNAN: You traced one to a buyer?
HODGINS: Didn't have to. Since the watch was 30 years old, the bomber had to put in a new battery - he left behind a thumb print. The casing protected it during the blast. I asked the bureau to run the print.
(Angela enters)
ANGELA: The letter has finished rendering. It's not addressed to Watkins.
(Cut to: Medico Legal Lab - Angela's office. Brennan picks up a copy of the rendered letter)
BRENNAN: (V.O) Dear Celia. I've done terrible things in my life, things I can't change. I know how much pain this will cause you, but never forget how much I love you. I know we didn't always agree on how, but we both hope for the same thing, a just world.
(Cut to: Nash residence. Jeremy & Celia Nash heading out of their house as Booth & Brennan are walking up the walkway towards them.)
BRENNAN: (to Booth) Funerals today?
BOOTH: Yeah.
BRENNAN: They seem like every other, normal, grieving family.
BOOTH: That's what everyone seems, is it.
BOOTH: Mr. Nash? You're under arrest for the murder of June Harris, AKA Amy Nash.
CELIA: Oh, that's crazy.
BOOTH: I'm sorry, Celia. (Brennan hands her the letter) We know about the watch.
(Celia reads the letter while Brennan's V.O. continues)
BRENNAN: (V.O.) Even thought I didn't fire the gun that took that man's life, I have to take responsibility for it and for my cowardice, hiding all these years.)
JEREMY: I caught her sneaking out one night. She had been seeing him. She betrayed me, Celia. She betrayed us.
CELIA: How could you do this?
JEREMY: 25 years I believed she loved us but she used us to keep her cover-
BOOTH: Let's go.
(As Booth walks Nash to the car, Brennan stays behind with Celia - V.O. Continues)
BRENNAN: (V.O.) - I tried to spare you and your father pain. I know what your father thought when he caught me going to see Neal, but I would rather die than betray your father.
CELIA: (to Jeremy) She was trying to get him to surrender too! (Jeremy turns back to her) She was trying to do the right thing, daddy.
BOOTH: Let's go. You got the right to remain silent. Anything you say can and will be used against you-
(Celia continues reading the letter while Brennan comforts her)
BRENNAN: (V.O.) If I've learned anything, it's that we can never let the chaos and injustice make us so blind with anger that we become part of the problem. Understanding, compassion, kindness and the only true revolutionary ideas. When we compromise those, we become what we despise and we lose our humanity. The world might see my legacy of one of violence and destruction, but I know that you are my real legacy and for that - I will be thankful everyday.
(Cut to: Prison. Visitation Room.)
MAX: Hi! I wasn't sure I'd ever see you again.
BRENNAN: I thought maybe we could see if we remember that card game?
MAX: Yeah, sure. (He pulls out a deck of cards from his pocket)
(Cut to: FBI - Booth's office. Sam enters.)
SAM: You know, I've kept this bottle of single malt on my desk since '75. I always said when we put this case to bed, I'd open it. I'd like you to help me with that, Booth.
BOOTH: Listen, Sam. I - I want to apologize.
SAM: Hey. I would have done the same thing myself (he pours Booth some Scotch.) Well, maybe not quite the same thing. I would have slapped me around a little bit. (Booth laughs.) To the changing of the guard. (they clink glasses and drink)
(Cut to: Prison. Visitation Room. Brennan and her dad are playing cards.)
(Cut to: Lincoln Memorial. It's night and Booth and Brennan are on the steps, talking. Booth is playing with the lid on his cup of coffee.)
BRENNAN: How much scotch did you drink?
BOOTH: Oh, just enough. You know, I would have invited you, but Reilly. He just - wow - he doesn't like you.
BRENNAN: I understand.
BOOTH: I'm sorry. Was that rude?
BRENNAN: Not from someone who's been drinking.
BOOTH: God, you know, I love this place. I love it. I love this country. You know, I tell ya something. If I was working law enforcement back in the day when they threw all that tea, alright, in the harbor - I'm good, alright, I'm - I'm good. I would have rounded everybody up and we'd still be English.
BRENNAN: Ya think?
BOOTH: Yup. Yup. Definitely. (he signs and takes a sip of coffee)
BRENNAN: I saw my father.
BOOTH: Wow. I didn't think that you were gonna - do that.
BRENNAN: As an Anthropologist, I accept change as the natural order of things - but with him I didn't allow for transformation. Ya know, I predicated his behavior based on a set of outmoded preconceptions. It wasn't rational.
BOOTH: Wow. I - I didn't get any of that.
BRENNAN: If I was conducting an objective experiment on my father, observing his behavior, I'd have to conclude that he loves me.
BOOTH: Hmm. Why? What happened?
BRENNAN: We played cards.
BOOTH: Cool.
BRENNAN: I killed him.
BOOTH: Good for you.
(He leans up against Brennan's shoulder and it fades out with the two of them looking out at the Washington Monument)


Police and SWAT cars pull up in front of a mansion, and the SWAT team runs inside. They approach a locked room - we see the key is still in the door on the inside. They break in to find Jared sitting crying on the bed next to a dead girl. Both are in their underwear.
ONE YEAR LATER
A prison complex. Jane shows his ID and is allowed into the yard where Jared is sitting in his orange prisoner's clothes.
Jared: Thank you for coming.
Jane: You said you had information about Red John.
Jared: Yes, I do. Killed your wife and daughter, huh? Heard a lot about you. They say you can tell when people are lying.
Jane: Do you have information about Red John?
Jared: I have dynamite information about Red John. Enough to catch him.
Jane: How do you come by this information?
Jared: Red John is a friend of a friend of mine.
Jane: Is that friend of yours in prison too?
Jared [laughs]: I have friends from all walks of life.
Jane: Tell me.
Jared: I am currently doing 25 years to life for a crime I didn't commit. My last appeal just failed. You get me out of here and I will give you Red John.
Jane: You raped and murdered your family housekeeper's daughter. If you do know a lot about me, you know that I'm not a real magician.
Jared: I didn't do it.
Jane: I read the case file. The physical evidence, the testimonies of all the witnesses including your own family says you did.
Jared: I didn't kill her.
Jane: What happened?
Jared: I don't know. We were partying, I did some blows of meth, we had s*x, I fell asleep. And it's morning, Andine's dead, cops are busting in.
Jane: The door was locked from the inside. There were bars on the windows.
Jared: Yes.
Jane: How is it physically possible that anyone else could have committed the murder?
Jared: I don't know. But I didn't, ergo someone else did. Someone you can find. You see me. Am I lying?
Jane: You seem to be telling the truth, but you're a very clever, unprincipled narcissist in a desperate corner. Even if you are innocent, doesn't mean you have information on Red John. Yeah, it's a tough call. [Pauses to think.] I'm gonna have to say no. [Starts to walk away.]
Jared: Your wife. Red John painted her toenails, yes? Painted them with her own blood. Police didn't make that public, did they? She's the only instance he did that, huh? Touch of elegance, for you alone.
Jane: How do you know that?
Jared: I told you. Red John is a friend of a friend of mine.
Jane: What is this friend's name?
Jared: His name is get me out of here and I will tell you. That and much more. I'll sing like a bird.
Jane: Okay.
Jane, Lisbon and Minelli are in Minelli's office.
Minelli: No! I said no and I mean no. It's not that I don't want to help you. I want to help you. It's just it's not physically possible. Jared Renfrew was tried and convicted. It's a closed case. I have no authority to re-open it without cause.
Jane: There is cause.
Minelli: For you there's cause. Not for the State of California. We can't touch it.
Jane: Ah, but we could touch it if...
Minelli: Closed case! Nothing to be done. The Justice Dept doesn't go about undoing its own work.
Jane: I understand. No problem. If we can't touch it, we can't touch it.
Minelli: I'm sorry.
Jane: No. The law's the law. My desire for revenge doesn't outweigh the rules. I have to accept that.
Minelli: Glad you understand.
Jane: Thanks for your time. (Jane leaves the room.)
Minelli: He's lying through his teeth, isn't he?
Lisbon: Yes.
Lisbon comes out of Minelli's office into the bullpen where Jane is.
Lisbon: Jane. I know better than to try and stop you from doing what you think you have to do.
Jane: No, I'm fine about it. I can see Minelli's point. I can't be chasing every nutbag with a good story, can I?
Lisbon: Yeah, sure you're fine with it. Just do me the favour of listening to me for a minute, so I can say 'I told you so' later.
Jane: Sure.
Lisbon: Jared Renfrew was found hugging the corpse of Andine Kopecki in a room locked from the inside, holding a bloody butcher knife in his hand. His semen was inside of her. He'd been stalking her for weeks. He's got a history of violence going back 15 years.
Jane: What's your point?
Lisbon: He's guilty. You're being conned.
Jane: Possible, but I don't think so. But I've got to find out one way or the other.
Lisbon: Even if he's telling the truth about the murder, he could still be lying about Red John.
Jane: Also possible, but I've got to take the chance. What else can I do?
Lisbon: Minelli wants me to keep a watch on you.
Jane: What are you going to do?
Lisbon: Well, I'm not going to follow you around. Let's compromise. When you get into trouble, call me first so I can try and minimise the damage.
Jane: Deal.
Lisbon: And don't use your CBI card. The Bureau finds out you used it without authorisation, you're done.
Jane: I hear you.
Outside the Renfrew's imposing gates. Jane presses the intercom.
Maid [through intercom]: Hello.
Jane: Hi, my name's Patrick Jane. I'd like to speak to Gardner Renfrew about his brother Jared.
Maid [through intercom]: One moment, please. [Pause] Mr Renfrew says no thank you.
Jane: Tell Mr Renfrew I can prove his brother is innocent and I know who really committed the murder. Jane holds out his arms like he's doing a magic trick and the gates begin to open.
Jane is in inside with Gardner Renfrew and his wife, Breck. The maid has given Jane some water.
Jane: Thank you very much. [He points to a photo.] Is that your father?
Gardner: Yes. What's this all about, Mr Jane? Who are you and what do you mean by this?
They all sit down.
Jane: Do you think your brother is innocent?
Gardner: You said you could prove he's innocent. You said you know who really did it.
Jane: No. That was just to get inside the house. I have no idea who might have done it. Might have been Jared. Hope not. He seems to be telling the truth. What do you think?
Gardner: I think you had better leave. Right now, Mr Jane. I don't have the time or the patience for tom-foolery. [He and his wife stand up.]
Jane: So you think he's guilty. I'm wasting my time.
Gardner: We're done talking.
Jane: Suppose I could prove he was innocent. Wouldn't you want that? Wouldn't you want that blot on your name expunged?
Breck: Of course he would.
Gardner: Nothing would make me happier, but my brother is guilty. He violated the poor girl , he violated this house, he violated this family.
Jane: That's all I needed to know. Thank you for your time. Your mother lives here in the guest house, doesn't she?
Gardner: You leave my mother alone.
Jane: Well, that's not your call to make, is it? [He gets up and walks further into the house.]
Gardner: Breck, call the police.
Jane: Be sure and tell them I'm unarmed.
Jane ducks down a corridor with an annoyed Gardner behind him. He comes running out into the garden where Mrs Renfrew is.
Gardner [calling]: Go inside, Mother! Go inside!
Jane approaches Mrs Renfrew.
Jane: My name's Patrick Jane. I want to speak to you about your son, Jared.
Gardner: I'll deal with him, Mother. The police are on their way. Just go inside.
Mrs Renfrew: Don't order me about. And don't be so hysterical. [To Patrick] What's your interest in Jared.
Jane: I'm a friend of his. Trying to prove his innocence.
Mrs Renfrew: Come and sit down.
Jane: Thank you.
Gardner: Mother, you're being childish.
Mrs Renfrew: Go away, Gardner.
Gardner: Mother!
Mrs Renfrew: Go away! [Gardner leaves. Mrs Renfrew and Jane sit at a table in the garden.] Tell me why you wish to prove my son's innocence.
Jane: Oh, I can promise you, I'm not up to anything sinister, Ma'am. My motives are pure. Tell me about Jared.
Mrs Renfrew: He was a troubled child. Charming and bright, but a bully and a liar and something of a sadist.
Jane: Qualities you rather liked in him, I expect.
Mrs Renfrew [laughs]: Yes, I did. I found him rather amusing, at first. One doesn't want a wimp for a son. But there must be a sense of proportion and moderation. As he got older, he got worse. Fell in with bad people. It was one scandal after another, in and out of prison. A common criminal.
Jane: But he turned himself around, didn't he?
Mrs Renfrew: He gave up the drink and the drugs and the gallivanting. Made peace with his brother and came home to help run the family businesses.
Jane: The prodigal son.
Mrs Renfrew: Yes. George, his father, was overjoyed. I was sceptical. Pleased, of course, but sceptical. As my mother always said, you are what you are.
Jane: I guess she's right.
Mrs Renfrew: Yes. Poor George dropped dead a week after the murder. Broke his heart, people said. George didn't really have a heart, in that sense. He died of embarrassment. A Renfrew in the pokey for murder. Quelle horreur.
Jane: Can you show me where it happened?
Jane and Mrs Renfrew inside the house, walking to the room where the murder took place.
Jane: Who else was in the house?
Mrs Renfrew: I had a small dinner party. Probably 10 people all told. After they left, it was just family. Gardner and Breck, George and I, and Jared, of course. [She gets the key from the top of the doorframe and unlocks the door.]
Jane: Not Mariska, the housekeeper?
Mrs Renfrew: No. She lived out. [She opens the door.] Andine was only here to help the cook with the dinner party. [Jane looks around the room.] She was a lovely girl, full of life and promise. Her mother, Mariska, had been with us 20 years. Part of the family.
Jane: Jared told me that he and Andine were having an affair. That he loved her and he'd never hurt her.
Mrs Renfrew: She told her mother that he was stalking her, that she was scared of him. She didn't go to the police out of respect for the family.
Jane: Hmm. I'd like to speak to the mother.
Mrs Renfrew: She left our employ, I'm afraid. It was too difficult for both of us.
Jane: Where is she now?
Mrs Renfrew: I have an address somewhere.
Jane: Can you get it for me now?
Mrs Renfrew: As you wish.
Jane: Thank you.
Mrs Renfrew leaves. Jane peers into a hall closet and sees some fishing line. He closely examines the door of the room and the key. Gardner arrives with a couple of policemen and his wife.
Policeman: Sir, would you come with us?
Jane: Why?
Policeman: You're trespassing here.
Jane: No, I'm not.
Policeman: Okay, sir, this man here says he's the homeowner and says you're trespassing, so let's go.
Jane: Officer, it's the other way around. I'm the homeowner, that man is the intruder.
Gardner: That's a lie! He...he's lying.
Jane: Listen to the madness in his voice. Will you please take him somewhere he can get some help.
Mrs Renfrew comes back in looking at a piece of paper in her hand.
Mrs Renfrew: Here you are. I don't know that she'll still be there, but...
Jane: Thank you so much. [She sees the officers.]
Mrs Renfrew: For heaven's sake, Gardner! Policemen! How ridiculous! Send them away.
Policeman: Ma'am, this man here is...
Mrs Renfrew: Yes, yes, it's quite all right, officer. You can go.
The policemen start to leave.
Gardner: Thanks.
Jane: Well, goodbye, Mrs Renfrew. I expect we'll speak again soon.
Mrs Renfrew: Good day to you. [Jane raises his eyebrows at Gardner as he leaves.]
Jane, Lisbon and Minelli once more in Minelli's office.
Minelli: Gardner Renfrew is a player in this town. You can't go to his house and screw around with him.
Jane: Why not? It's a free country. I didn't use my ID. I didn't even mention the CBI.
Minelli: You gave your real name.
Jane: It's my name!
Minelli: Well, you should have lied as you so often do, because now I have to give you an official reprimand and order you in the strongest possible terms to leave the Renfrew family alone and drop the matter.
Jane: Sorry, can't do that.
Minelli: You have to. This is straight from the AG's office.
Jane: Jared Renfrew didn't kill Andine Kopecki.
Lisbon: Do you have evidence of that?
Jane: Not yet. I have pieces that I'm piecing together. He's innocent.
Minelli: Wake up, Dorothy. You're not in Kansas anymore. There are innocent men in jail. It happens. Is he one of them? I don't know. I doubt it. In any case, we can't re-open his case.
Jane [with a naughty smile]: If I'm Dorothy, then who are you?
Minelli: It doesn't matter who I am. [Lisbon looks amused.] We will find other ways of making Renfrew talk to you. There's a lot that can be done to make a prisoner's life easier if he co-operates.
Jane: It's not going to work. He's innocent.
Minelli: Okay. Here it is. If you pursue this any further, I'm going to have to throw you out of the CBI. We can't take the liability. I very much do not want to have to do that.
Jane [standing up]: I know you don't, so I'll spare you the trouble. [He puts his CBI ID on Minelli's table.] I quit.
Lisbon: Don't do that.
Jane: No, it's okay. It's best this way. [He goes over to her.] You are the good witch Glinda, obviously. Thank you. [He puts his hand on her shoulder.] I learned a lot.
He smiles at her. She looks upset. He leaves.
Lisbon walks into her office and finds Cho, Rigsby and Van Pelt waiting for her.
Lisbon: Don't bother. I know. I feel the same way. Nothing to be done.
Rigsby: So now when he really needs our help, we're letting him down.
Lisbon: I want to help him just as much as you do. Our orders state that we must stay away from this case.
Van Pelt: I don't care what our orders say. It's not right.
Lisbon: We closed cases before he came, we'll close cases after he's gone.
Cho: Yeah, just not so many.
Rigsby: Cases are not the point. It's not that we need him. He needs us.
Lisbon: Yeah, he needs us on a fool's errand. Renfrew's a conman. He doesn't know anything about Red John.
Van Pelt: Suppose we found a connection between Renfrew and Red John?
Lisbon: It would... Wait, what's in the file? Let me guess, a connection between Renfrew and Red John? Van Pelt [smiles and hands her the file]: Seven years ago Renfrew was serving time on a narcotics conviction. He shared a cell in Lompoc with a man by the name of Orville Tanner. Tanner claimed in his 1998 trial for murder that he had only been an accomplice, that the real killer was a man by the name of Red John. Nobody believed him.
Lisbon: '98. That's the beginning of Red John's career. Where's Tanner now?
Van Pelt: He died of heart disease in prison hospital.
Lisbon: Of course. Our luck.
Van Pelt: It's a connection.
Lisbon: Slim. Likely nobody believed him for a reason.
Rigsby: But it's a connection.
Lisbon: Okay. Check out Tanner's background, find the autopsy report, see if there's any credibility to his story. I mean, obviously we can't do that, but that's what I would tell you to do if we weren't ordered to stay away from this case. [They all grin conspiratorially.] The bullpen. Rigsby is on the phone, Cho is looking at a file, Van Pelt is on her computer.
Rigsby [on the phone]: Okay, then let me speak to the assistant to the deputy records officer.
Van Pelt: Why do people say 'Eureka' when they do something good?
Cho: It's Greek for 'bingo'.
Van Pelt: Well, so, Eureka. I found the autopsy reports and they back up Orville Tanner's story. The body of the alleged victim - cut up Red John style.
Rigsby: Which means that Renfrew is telling some kind of truth about his Red John connection.
Rigsby and Cho see Minelli approaching and try to look busy and innocent. Van Pelt doesn't notice him coming up behind her.
Minelli: Van Pelt! [She jumps.] What's that you're working on?
Cho: Sir, I asked her to...
Minelli: I'm talking to Van Pelt.
Van Pelt: Sir, I'm doing research for Jane. No excuses, sir.
Minelli [looking at the other two.]: You too, I suppose?
Lisbon comes into the room.
Lisbon: Hey, boss.
Minelli: I gave this unit a direct written order and they have flagrantly disobeyed that order. Did they do that with your knowledge?
Lisbon: I ordered them to do it. I told them you countermanded your earlier order. They had no knowledge whatsoever that they were doing anything irregular.
Minelli: Nice try, Mother Teresa, they already gave themselves up.
Rigsby: We never said a word!
Lisbon: I stand by my story. They didn't know they were out of line.
Cho: Sir, the opposite is true. We forced Agent Lisbon to let us do this.
Minelli: Very touching. My ex-wife would have loved this scene in a movie. I'm giving you all formal notice. Any further infractions will result in immediate suspension.
Lisbon: Sir, you might as well suspend me now because there will be further infractions. Jane needs our help and he's going to get it. I'm not going to lay off because some fat cat's putting on the pressure.
Cho and Rigsby: Me too.
Van Pelt: And me.
Minelli: Moving. Eloquent. Two thumbs up. You shall have your wish. You're all suspended, starting right now, for gross insubordination. [He walks out.]
Lisbon: I'm sorry.
Lisbon walks into Minelli's office.
Minelli: Oh, hi. Lisbon. [Sarcastically.] Still here?
Lisbon: That was more of a rhetorical stand we were taking back there.
Minelli: You take it back then?
Lisbon: Well no, but I wanted to talk...
Minelli: This is the, um, the suspension paperwork right here.
Lisbon: Look, I...
Minelli: I have to go and visit my sister in Hawaii for a week. She's sick. Meanwhile, this paperwork is going to sit on my desk. For a week. Is that clear? One week.
Lisbon: Yes, sir. Thank you.
Minelli: Yes, be very grateful. Do not contact me. I do not want to know anything. And please do not dig the hole that you are standing in any deeper than you have already dug it.
Lisbon: No, sir.
Minelli: That hole is the grave of your very promising career.
Lisbon [mischievously]: You should put a flashlight underneath your chin, just to complete the effect.
Minelli: I'm not kidding.
Lisbon: I know. [She leaves, and Minelli gives a small smile of amusement.]
Jane, sitting on a step next to some garbage, looking defeated. He's holding the piece of paper that Mrs Renfrew gave him with the housekeeper's address on it. Flashback to him finding the note on the door and the smiley face the night his family was killed. His phone ringing brings him back to the present. He answers.
Jane [on the phone]: Hey Lisbon. [Listens] Oh yeah fine. Uh, just, uh, out... investigating stuff. [Listens] Uh, sure, yeah. Pepperoni or plain? [Listens] Okay. [Listens] Uh, hey, Lisbon, um, thank you.
[SCENE_BREAK]
The bullpen. Night. Jane, Lisbon, Cho, Rigsby and Van Pelt are sitting around a table eating pizza.
Jane: Renfrew couldn't dispute the physical evidence. The core of his defence was that he loved Andine deeply and he would never hurt her. Andine's mother testified that was a lie. I went to go speak with her but she'd moved, left no forwarding address.
Van Pelt: Mariska Kopecki, right? [She starts typing on her laptop.]
Jane: Yeah.
Lisbon: How does the brother look?
Jane: He had motive. There's a moral turpitude clause in the family trust. Once convicted, all Jared's shares in the family business went to Gardner. But he would have also go the shares if Jared had died.
Rigsby: So why not just kill Jared? Why kill Andine?
Jane: Exactly. Why kill Andine?
Cho: Wanted to see Jared suffer, maybe. Or had a thing for Andine himself.
Van Pelt [looking at her computer]: Eureka. I input Mariska Kopecki into the secure search engine. I get an IM link to a healthcare database that documents Mariska Kopecki's notification that she's changing her name to Vanna Clooney. I input the new name and get a hit. Four months ago someone named VK Clooney bought a condo in Marin.
Lisbon: Nice work.
Van Pelt: Yeah, weird thing though. The original IM came from a civilian. Dr Joe in New Hampshire. He couldn't have been logged onto the DOJ secure network, so how did he know what I was asking about and how did he have access to the healthcare database? Nobody is allowed to do that.
Jane: When you say Dr Joe in New Hampshire, do you mean DR JOE N.H.? [He changes the letters to read RED JOHN.]
Van Pelt: Yeah. Oh, my god. Oh, my god.
Jane: Ask 'Who are you?' [She types this and gets a response ".....: -) ..... Is Jane there?" The smiley is in red.] Yes. [He types "This is Jane." And gets a response "Keep up the good work."] Keep up the good work. [He types "Why?" and tries to trace the IM, but it fails.]
Van Pelt: He's gone.
Rigsby: What the hell was that about?
Van Pelt: He somehow tapped into the DOJ secure network. He's been spying on us.
Lisbon: Can we find the source of the IM?
Van Pelt: There's a self-destruct code built into the uplink. It dead ends at the secondary server. There's no way to trace it back.
Jane: He wants us to succeed. He wants Renfrew out of jail.
Rigsby: Out where he can get at him to silence him.
Jane: Yes. Which means Renfrew is telling the truth, which means he has the goods on Red John.
Lisbon: Slow down. We don't have anything yet.
Jane: Yes, we still have to get Renfrew out of jail first.
Lisbon: That's all?
Jane: An we will and then Red John will go after him. He has to break cover, he has to, and we'll be waiting for him.
Vanna Clooney's apartment. Lisbon knocks on the door and takes out her badge.
Jane: Uh.
Lisbon: Damn. [She puts her badge away.]
Jane: How are you going to get us in there without your magic badge?
Lisbon: You do the talking.
Jane: No, you try.
Lisbon: Don't be childish, I'm not... [the door opens]
Vanna: Oh, I thought it was Harry. Who are you?
Lisbon: Hi. Vanna Clooney?
Vanna: Yes.
Lisbon: I'm Teresa and this is Patrick. Can... can we come in for a moment? [Jane is watching Lisbon with amusement.]
Vanna: What do you want? [Lisbon looks pleadingly at Patrick.]
Jane: It's to do with Harry.
Vanna: What about him?
Jane: Well, it's best not to speak out here in public.
Inside Vanna's apartment, Jane and Lisbon sit with Vanna in her living room.
Jane: Okay, I lied just now. We're here to talk about your daughter, Andine. [Vanna looks furious and stands up.]
Vanna: Get out.
Jane: Sit down. [She sits.]
Vanna: Who are you?
Jane: Listen to me, or your guilt and pain and shame won't ever go away. It won't go away until you tell the truth.
Vanna: What truth? What are you crazy? You don't know me. You don't know what I feel.
Jane: I do know you. When you first came to this country, a young woman, you dreamed of such great things, what a life you'd have. And what did fate bring you? Twenty-five years of drudgery, a servant's life. You hated every day of it.
Vanna: Who wants to be a servant? Nobody.
Jane: You did it for her, for Andine, so that she would have a better life.
Vanna: Yes.
Jane: Then she was gone, taken from you in a flash. Your whole life, all those days of drudgery and humiliation wasted. What a joke, huh?
Vanna: Yes, a joke, haha. What do you want from me?
Jane: I want to know who killed her.
Vanna: What's it matter who killed her? She's gone.
Jane: Well, you didn't say Jared. That would be the obvious answer.
Vanna: Okay, Jared killed her. I don't care.
Jane: It's true. There's nothing you can do that will bring her back. So if you get paid to lie about what happened, then where's the harm?
Vanna: What? Paid? Nobody paid me anything.
Jane: Don't lie to me. Tell me the truth. You took your 20 pieces of silver and bought the life you always wanted, didn't you?
Vanna: No.
Jane: It's what you always wanted. It means nothing.
Lisbon: Jane.
Jane: Look at me, Mariska. Look at me and tell me I'm wrong.
Vanna: You think you know everything. You know nothing.
Jane: I know that Jared and Andine were lovers, weren't they? And you were paid to say that they weren't. Say it out loud.
Vanna: Yes, they were lovers.
Jane: Who paid you to say that they weren't?
Vanna: I don't know. What you call a... a private investigator, he came to me and he offered me a lot of money. A lot of money, but I said no. He offered more. I took it.
Lisbon: What was his name?
Vanna: Samson. Austin Samson.
Lisbon talking on the phone in the bullpen, walking towards Jane's desk.
Lisbon: Okay, Cho. Thank you. [She hangs up.] Austin Samson is dead.
Jane: What?
Lisbon: Hit by a bus.
Jane: Damn.
Lisbon: We could get a court order for his records.
Jane: Remember, you're on suspension.
Lisbon: If we don't get this closed up before Minelli gets back, we're done.
Jane: Plan B, then.
Lisbon: What's Plan B?
Jane: Oh, you're not going to like it.
Lisbon and Rigsby are at the Renfrew house. Breck answers the door. Lisbon shows her badge.
Lisbon: We need to speak with your husband, Ma'am.
In the passage outside the room where Andine died. Gardner, Breck and Mrs Renfrew approach Lisbon and Rigsby.
Gardner: Who is the Agent in charge here?
Lisbon: I'm Agent Lisbon. This is Agent Rigsby. And I believe you've met my colleague, Patrick Jane? [Jane pops out from a side passage.]
Jane: Hello. I expect you're all wondering why I gathered you all here?
Gardner: Breck, go call the police.
Jane: Ah, Mr Renfrew, wait. Unless you want your family ruined in a deluge of sordid scandal, you might want to listen to me.
Gardner: What are you talking about?
Jane: Someone, I don't know who, paid Mariska Kopecki a lot of money to lie about Jared and Andine. They were lovers, as your brother said.
Gardner: So what? The fact is, they were found in a locked room. It's not physically possible for someone to have gotten into the room to commit the murder.
Jane: Yes. There's the rub. The key was in the door. Watch closely. [Jane hands his jacket to Lisbon with a flourish, gets the key from above the door and unlocks and opens the door.] Rigsby. Would you please go inside and lock the door. [Rigsby hands Jane a newspaper he is holding, takes the key and does as Jane asked. Jane unfolds the newspaper.] Suppose Jared and Andine are inside sleeping. [He slides the newspaper under the door and uses a pen to knock the key out of the door and onto the newspaper, which he then slides back out through the gap under the door. He unlocks the door with a flourish, lets Rigsby out and hands him back the newspaper.]
Breck: That's all very clever, but how do you get out again?
Jane locks the door from the outside, lays the key on the floor, gets some fishing line, which he twangs theatrically, before feeding it through the keyhole and back out under the door. He loops the end around the bottom of the key and pulls the other end so that the key is pulled up into the keyhole.
Jane: May I borrow your lighter, please? [Gardner hands him his lighter.] Thank you. [He burns the fishing line where it disappeared into the keyhole, and throws the lighter back to Gardner.] And that is how Jared was framed. Cool, huh?
Gardner: It doesn't mean Jared is innocent and it certainly doesn't mean that someone else is guilty. It's a party trick.
Jane: A party trick a jury will love. Put that together with Mariska's testimony and I think we have a pretty good chance of winning a new trial. Then the truth will come out, somehow. Unless...
Gardner: Unless what?
Lisbon: Unless we can make some kind of financial deal here that would make it worth our while dropping all of this.
Gardner: You want money? You're blackmailing us?
Jane: Eh, call it leverage.
Mrs Gardner: But you're state agents!
Lisbon: Ex-state agents. Thanks to your son here, Jane was tossed out and we're going with him. We need to look after ourselves now. We won't be unreasonable.
Gardner: You people are a disgrace! Get out!
Jane: Oh, we're going. We'll give you until four to call us with an offer. After that we're going to make some calls of our own. [He takes his jacket from Lisbon and they start walking away.]
Gardner: I'll tell you who I'm calling. I'm calling the FBI!
Outside the Renfrew home.
Rigsby: Am I wrong, or did that go down not quite as you'd hoped?
Jane: I've had better responses, but I think we made a sale. Never can tell.
Lisbon: We're doomed.
In the bullpen, just before 4pm.
Jane: Patience. Patience. Patience. [He's sitting with the phone on his lap.]
Rigsby: If you say patience one more time... [He's doing a Rubik's Cube. Cho and Lisbon are sitting tensely, waiting. Jane's cell phone rings on his desk. He jumps up and answers it.]
Jane: Hello. [Listens.] I'll be right there. [Hangs up.]
Lisbon: Who was that? [Jane turns and smiles at her. She smiles back.]
The Renfrew's garden. Jane walks out to where Mrs Renfrew is sitting having tea.
Jane: I confess. I thought it would be Gardner who called me.
Mrs Renfrew: Gardner! [She chuckles.] He hasn't the gumption. I will not see our family name dragged through the mud again. How much do you want to keep quiet?
Jane: Hmm. How much did you give Mariska?
Mrs Renfrew: I don't say I paid her anything.
Jane: You needn't be evasive. Only a guilty person would respond this way to such naked extortion. I know you're guilty. I'm just not sure why. [He sits down.]
Mrs Renfrew: Your suspicions are neither here nor there. I asked you your price.
Jane: Your late husband was a handsome man.
Mrs Renfrew: Yes, he was. What's that got to do with it?
Jane: Domineering, though. Had to have things his way. He died how long after the murder?
Mrs Renfrew: A week. Aortic aneurism.
Jane: Hm. And Mariska, she left your employ when?
Mrs Renfrew: At the same time.
Jane: After he died, though?
Mrs Renfrew: Yes. [Jane grins. He points at the tea.]
Jane: May I? [She nods.] Thank you. [He pours some tea.] So you got rid of her as soon as you could after he died, because Andine was your husband's child, wasn't she?
Mrs Renfrew: Yes.
Jane: And you never confronted him or Mariska?
Mrs Renfrew: No. I decided I liked my life as it was. I didn't want a drama and I didn't want to be lied to. They never knew I suspected.
Jane: 18 years of secret anger. How did you stand it?
Mrs Renfrew: Nobody's life is perfect.
Jane: And then when you found out about Andine and Jared's affair, you must have been enraged. It's practically incest.
Mrs Renfrew: It is. It is incest. When I found out, I told Jared he was not to continue the affair. He refused. Said he was in love with her. Refused to stop seeing her.
Jane: Didn't you tell him why you objected?
Mrs Renfrew: Certainly not. I couldn't tell him. It was too sordid. Too humiliating.
Jane: Instead you killed Andine, paid off her mother and sent your son to jail for life.
Mrs Renfrew: No. I wouldn't do that. [She gets her bag and takes out a vial of blood.] Andine's blood. [Flashback to her seeing Andine and Jared kissing and going into his room. We then see them asleep and her getting into the locked room as Jane had shown, cutting Andine's throat and catching some blood in the vial.] It's proof I did it. I took it so I could confess and get Jared freed when I chose. Just as soon as he'd learned his lesson.
Jane: What lesson?
Mrs Renfrew: Everything in moderation. And listen to your mother.
Jane: Can't argue with that.
CBI HQ. Two weeks later. Cho and Rigsby are getting their guns and gear ready.
Jane: Good?
Rigsby: Yip.
Jane goes to Lisbon's office. She's sitting at her desk. He pops his head in the doorway.
Jane: We're ready to go get Renfrew. Is the safe house all set up?
Lisbon: Yeah.
Jane: Good. [They look at each other.] I guess I'll see you over there later.
Lisbon: Jane, please be careful. Remember this is playing out just like Red John wants it to.
Jane: This is playing out just like it has to. He has no choice but to try and silence Renfrew. He has to show himself. We're getting close. I can feel it.
Lisbon: You can feel it. Like a psychic thing?
Jane [smiling]: No. I am quietly confident that we will get a bite.
Lisbon: You think you're playing him and he thinks he's playing you. One of you is wrong.
He smiles and leaves.
Jane, Cho and Rigsby wait by their SUV outside the prison. A guard brings out Jared.
Jared: Thank you. Thank you. [He hugs Jane.]
Jane: I kept my side of the bargain. Now it's your turn. Tell what you know.
Jared: Absolutely. All will be revealed, but... here? Give me a chance to catch a breath of fresh air. And then we will sit and talk as long as you like and I've got a lot to tell and I owe you. Big time. I owe you my life. In the meantime, uh, I would kill for a cheese burger and fries.
Jane: Drive through.
Rigsby: Put this on. [Hands him a bullet-proof vest.]
Jared: Can't you say please? I'm a free man now.
Rigsby [sighs]: Put this on, please.
Jared: Sure.
They drive into a crowd of protestors carrying posters that say "Fur is evil", "Save the Earth" and "Meat is murder" and get stuck.
Rigsby: What the hell is this? Oh, geez, come on!
Cho: Relax.
Jared suddenly throws his coffee in Cho's face, jumps out the car and disappears into the crowd. Jane, Rigsby and Cho give chase, but he's vanished. Jane looks distraught.
CBI HQ.
Lisbon: He vanished 5 hours ago and we've heard nothing from him since. The town was on pretty good lock-down, so we're guessing he had friends to get him out of the area fast.
Minelli: Planned it in advance, probably. [Cho throws slams the ball he's holding angrily into the ground.]
Lisbon: Would you stop that! It's not your fault.
Cho: Well, whose fault is it then? It's mine. I have to accept that.
Jane: Ah, actually it's my fault. Okay everyone? My fault.
Lisbon: What's done is done. Focus on now. We need to get to Renfrew before Red John does. Where is he now? Who are his friends? What are his options?
Jane's cell starts to ring. He goes to his jacket, which is by his desk, fishes it out and answers it.
Jane: Hello.
Jared: Mr Jane. I just wanted to call and apologise for letting you down. (Jane waves his arm to the others to let them know that he's on the phone with Jared.)
Jane: Hello Jared.
Cut to Jared sitting in a motel room watching a hooker undressing. As the conversation continues, we cut between Jane looking out of the window at the CBI and Jared in the motel room.
Jared: It was dishonourable, I know, but crossing Red John just seems too dangerous.
Jane: You've already crossed him. You need our protection.
Jared: I haven't given you a thing.
Jane: How is he to know that?
Jared: Oh, he'll know. He'll know. Like I said, I have friends and they'll put in a good word for me.
Jane: Friends. What friends? Who?
Jared: Ah. Wouldn't you like to know?
Jane: Jared, listen to me. You can't trust them. They're not your friends.
Jared: Vaya con Dios, amigo. [He hangs up.]
Jane: Jared. [He hangs up.] Damn fool. Red John probably already has his location.
Lisbon [turning to Van Pelt]: Did you trace the line?
Van Pelt: Yes, I'm tracking the call now.
Jane: He's in Tijuana, Mexico, in a motel room with a hooker.
Minelli: Because?
Jane: He wouldn't call if he didn't think he was out of our reach. I could hear Latin music and sirens and horns and a whole neighbourhood in the background, which suggests thin walls and a city. Hence Tijuana motel room.
Lisbon: And the hooker?
Jane: He needs to use somebody's phone and he has been in prison for a year, hence the hooker.
Van Pelt: The phone belongs to Juana Porfiria Braga, Calle Rojas 65, Tijuana, Mexico. Five arrests on prostitution charges. Let me get a location on the call.
Minelli: I'll go reach out to the federal police in Tijuana. [To Rigsby and Cho] You boys come with me.
Cho: Yes, sir.
Minelli, Cho and Rigsby leave. Lisbon walks up to Jane.
Jane: Go ahead, say it.
Lisbon: Say what?
Jane: You told me, you warned me, you get the privilege of saying 'I told you so'.
Lisbon: It's all right. Not now. This isn't over yet. We're gonna find Renfrew and he's gonna tell us what he knows.
Van Pelt: Got it. Motel Corona Del Norte.
Zoom in on Google Earth map to Motel Corona Del Norte, Paseo de las Aguas 1618,Zona Rio, Tijuana, BC. A local cop breaks in the door. Rigsby and Lisbon come in, guns raised, with Jane behind them. Rigsby turns on the bathroom light, puts away his gun and runs out the motel room. Lisbon approaches next, putting away her gun. We see in the reflection in the mirror that she's seeing a Red John smiley and Jared and the hooker, bloody and dead in the bathtub. There is bloody writing on the wall. She looks shocked and walks away. Jane comes and peers in cautiously. The writing says "He is Mar". He backs away to where Lisbon is standing.
The bodies are being carried out in black body bags. Jane and Lisbon are sitting next to each other on the unmade bed. They're not looking at each other.
Jane: Well, you can say it now.
Lisbon: I don't really feel like saying it. Let me take a rain check on that.
Jane: Sure.
Lisbon: What do you think it means?
Jane: It means Red John is far more powerful than I ever thought. He's been way ahead of me this whole time.
Lisbon: I mean the writing on the wall.
Jane: Oh. [He looks at her.] I have no idea. [She's looking at him now.]
Lisbon: Well, it's a good clue, though, isn't it? Jared was trying to tell us something important.
Jane: Maybe. [She touches him on the arm.]
Lisbon: Next time. We'll get him.
Jane: Next time. [They both looked pained at the idea of a next time.] A cell-phone starts to play a Latin tune. It's the hooker's phone lying on the table. Jane answers and hears breathing.
Jane: Hello.
A voice laughs evilly on the other end.
END.