02x17 - The Red Box

[bunniefuu]

Ext. Daytime. CBI Building

(Lisbon, Jane, Rigsby sortent du batiment)

Lisbon: Her name's Madeleine Hightower. She's been running Intelligence down in Fresno.

Rigsby: New boss?

Jane: New boss. Madeleine Hightower.

Lisbon: Chief Deputy A. G. says she'll be here sometime tomorrow. Word is she's hard as nails... Political, tight statehouse connections.

Rigsby: So this is good for us. We'll have some real muscle upstairs.

Lisbon: We'll see.

Jane: No need to be nervous.

Lisbon: I'm not nervous.

Jane: You're an exemplary agent. No reason for butterflies.

Lisbon: No butterflies. I'm fine.

Jane: Keep telling yourself that.

(The three get in the CBI 4X4)

Ext. Daytime. Hopper Banks Estate. Citrus Heights, California

(Lisbon, Jane, Rigsby, Vic Bandino)

(Lisbon's car arrives at the scene of the crime)

Vic Bandino: Vic Bandino, Alpha Bravo residential security. Appreciate your quick response.

Lisbon: Agent Lisbon. This is Patrick Jane, and this is Ag...

Vic Bandino: Wayne Rigsby. CBI, huh? You did okay.

Rigsby: Hi, Bandino. What's up? We worked a couple of cases together back in the day. San Diego P. D. Arson squad. Yeah.

Vic Bandino: Boy, those were the times, huh? Remember that stakeout in Pismo? You ever call that chick?

Lisbon: Yeah... would you show us the body, Mr. Bandino?

Vic Bandino: Yes, ma'am. Yeah, of course. Please. He's in the pool house. Name's James Smithson... 28, British citizen. He's a high-priced tutor for local kids. Daughter of the homeowner's one of the students. Couple months ago they let him move in here.

Lisbon: Rigsby, can you find out why the coroner's not here?

Rigsby: Yeah, sure.

Lisbon: Who found the body? You?

(Ils entrent dans une habitation, un corps est au sol.)

(They go into a house, a body is on the floor.)

Vic Bandino: The homeowner's kid. She was coming in for a lesson. She called her dad. He called me. I called you.

Lisbon: Not the local police? Why us exactly?

(A man enters)

Hopper Banks: What the hell, Vic? You were supposed to call me the second they got here.

Lisbon: Excuse me, sir?

Hopper Banks: I'm Hopper Banks.

Lisbon: Agent Lisbon, CBI. This is a crime scene.

Hopper Banks: It's my place.

(Jane trouve sur une table basse des sachets de thé au citron)

Lisbon: Mr. Banks, I need you to leave. Can you do that for me?

Hopper Banks: I'll be in the main house. I'll expect a full report. Let me konw when you get the body out of here.

Vic Bandino: That's why I called you. Old California money, lots of clout. Local P. D. won't cut it. He wants the best.

Rigsby: Coroner's on his way.

Vic Bandino: A single g*nsh*t. Judging by the wound, looks like a .38. No w*apon. Don't worry. It's a visual inspection. Didn't touch a thing.

(Jane finds tea bags and lemon on a coffee table)

Lisbon: No sign of as*ault or robbery?

Vic Bandino: Real fancy resume, this guy. Graduated from Eton and Oxford. Last employer was some hotshot prep school back east.

Jane: Meh, I wouldn't be so sure.

Vic Bandino: Excuse me?

Jane: The facial scar. Eton boy gets a cut on his head, and he needs a plastic surgeon, he gets a plastic surgeon. My guess... the whole resume is a fairy tale.

Vic Bandino: Excuse me?

Jane: You're excused.

Vic Bandino: I checked him out myself.

Jane: Well, I'm wrong then. Uh... No blisters or calluses on his hands. A lot of dirt under his fingernails.

Vic Bandino: Who is this guy?

Rigsby: It's a long story.

Jane (sniffs the hand of the victim): Hmm.

Lisbon: Anything else? And this place must be alarmed.

(Jane spots a red box under the bed)

Vic Bandino: Yeah, family never turn it on. I got the call at 3:35. I was at a client's residence nearby, working an alarm upgrade. Arrived here at 3:52.

(Jane picks up the box)

Body was still warm. So I guess the time of death was a good hour before that.

(Le corps de la victime a un sursaut)

Vic Bandino: What the hell.

Jane (interloqué): Guess again.

[ Credits ]

Outside the property of Hopper Banks

(Rigsby, Lisbon, Jane)

(Paramedics carry the victim)

Rigsby: It's called Lazarus syndrom. Guy's heart somehow caught an electrical charge and restarted. Hey, it happens.

Lisbon: So you're saying he's alive?

Rigsby: Well, if you can call that living. He's brain-dead. With no oxygen for more than ten minutes. He's not coming back.

Lisbon: There's security cameras out there. Have Bandino show you the footage. Maybe we'll get lucky and catch a look at the sh**t. I need to go and talk to the little girl who found the body.

Rigsby: You got it.

(Nearby Jane inspects trays of flowers. Lisbon notices.)

Lisbon: What are you looking for?

Jane: The dirt under his nails smelled like rosemary. (finds something in a bed of rosemary) Yeah. (a place dug in the ground, the red box fits there snugly) Whatever was inside this box k*lled our man.

Lisbon (smirking): Well, the case is practically closed.

Jane: There's no reason to be snarky.

Int. Banks' living room.

(Lisbon, Jane, Hopper Banks, Jolene Banks, Lanie Banks)

Hopper Banks: It was my wife Jolene, really. She saw how much James helped Lanie with her schoolwork, and when she heard he needed a place to live, she rented the pool house to him. I guess he's been here, uh... I don't know. A couple of months, maybe.

Jane: Very generous of your wife.

Hopper Banks: Jolene has a big heart.

Jane (pointing to a photo on the wall): Is this her?

Hopper Banks: My muse.

Jane: Good-looking.

Hopper Banks: Mm. She turned me into a real artist. Before I met her, I was taking snapshots.

Lisbon: Mr. Banks, we're gonna need to talk to your daughter.

Jolene Banks (enters the living room): I'm sorry. Lanie's too upset to talk at the moment. Please. Maybe later.

Lisbon: We need to speak to her when her memory's fresh.

Jolene Banks: She saw what you saw. She came home, went to the pool house for some homework help...

Lisbon: We're gonna have to hear that from her.

Jolene Banks: And she found a dead body. She's 12 years old. Don't... don't you get it?

(a teenager enters)

Lanie Banks: It's not homework. It's a project about the pyramids. I can talk to you.

Lisbon: Thanks, Lanie.

Hopper Banks: Lanie, sit right here, sweetie.

Lisbon: I'm Agent Lisbon, and that's Patrick Jane.

Lainie Banks: Hi.

Jane: What do you have to do for the pyramid project?

Lainie Banks: Describe the afterlife as depicted in the ancient egyptian mythology.

Jane: Ah, as depicted in the ancient egyptian mythology. Well, did you know that they believed that when you die, you are carried into the next life on the back of a sacred hippopotamus? That's true.

Lisbon: What time did you get home from school?

Lainie Banks: A little after 3:00.

Lisbon: What did you do?

Lainie Banks: I made lemonade. James loves my lemonade.

Lisbon: Who else was home?

Hopper Banks: Uh, nobody. Uh, I was at the gallery, and Jolene was at the gym.

Lisbon: Mr. Banks, please.

(Jolene Banks se leve du sofa)

Lainie Banks: No one was here. I took the lemonade to the pool house. I... I saw... so much blood.

Lisbon: Did you see anybody or hear anything? Voices? A car?

Lainie Banks: Just James.

Hopper Banks: I'm taking her upstairs now.

Jane: Does anybody know what was inside this? (indicating the red box in a bag)

Jolene Banks (a glass in his hand): No. Are we through?

Jane: Almost. Lanie, why didn't your mother want you to speak to us?

Lainie Banks: She's not my mother.

Hopper Banks: Honey, it... it's okay.

Jolene Banks: I was protecting her. She's been through a very traumatic experience.

Jane: Oh, I thought you were worried she was gonna say something about whatever it is you're trying to hide from us.

Jolene Banks: How dare you?

Jane: Really? How dare I? Is that the best comeback you've got?

Jolene Banks (to her husband): You're gonna let this man insult me?

Jane: Huh?

Jolene Banks: Stand there with your mouth open like a moron.

Hopper Banks: Baby. Baby. Really?

Lisbon: Whew. Well played.

Jane: Yeah. I'm starving.

Hopper Banks' home studio

(Vic Bandino, Rigsby, Lisbon, Jane)

Vic Bandino: We've got four cameras in the backyard. We ran the footage from sunup till we got here. Check this out. We found this at 2:37. Watch the window. It's a muzzle flash.

(Jane arrives, he is eating)

Lisbon: Who's in there? Wh... what camera had the door?

Vic Bandino: This is the only image we've got.

Lisbon: Nobody coming in or out or in the yard?

Jane: Whoever shot Smithson knew where those cameras were placed and how to avoid 'em.

(Lisbon watches Jane hungrily bite his sandwich)

This one's mine. If you want one, I can make one for you.

Lisbon: We need to check Jolene and Hopper's alibis.

Vic Bandino: None of these cameras are hidden. Anyone can see 'em... guests, students coming here for tutoring, their parents, everybody.

Jane: Oh. Good point.

Lisbon: Thanks for your time, Mr. Bandino.

Jane (passes his plate to Bandino): Thank you. Cheers.

CBI Corridors

(Van Pelt, Lisbon, Rigsby, Jane)

Van Pelt: The victim, James Smithson, doesn't exist. Passport's fake. His references are bogus. I ran his prints through all the databases. There's nothing, nothing at all.

Lisbon (a Rigsby): Your friend Bandino didn't do much of a background check.

Rigsby: Mm. That's not like him. He's not the sharpest knife in the drawer, but he always did the legwork.

Lisbon: Do you think maybe he's holding something back, protecting his clients?

Rigsby: Yeah, I'll check it out.

Lisbon: Take Van Pelt.

(Lisbon finds Jane on the couch)

Jane: Just stop worrying. It's gonna be fine with the new boss. I mean, sure, there'll be a settling-in period when she probes your psyche for weakness, but once that's out of the way...

Lisbon: Would you stop? You're being so childish. I think you're the one who's nervous.

Jane: Ooh. That sounds perceptive. Let me think about that... No. I find that I'm not. It's definitely you.

Cho: I'm gonna go talk to Smithson's regular students and their parents, fill in some of these blanks.

Lisbon: Good idea. Take him with you. (pointing at Jane)

Cho: Come on.

Blankman Residence. Citrus Heights, California

(Maggie Blankman, Cho, Jane)

Maggie Blankman: My god. It's so terrible. Do you have any idea who did it?

Cho: We're still investigating, Mrs. Blankman. Now the parents and students we've talked to all say he was a great tutor, but not much else. How well did you know Mr. Smithson?

Maggie Blankman: Not that well. James had only been tutoring my son for... three... four months. I'd drop off, pick up. You know, say hello. He seemed nice.

Jane (squirming on the sofa): E... excuse me, Mrs. Blankman. I... I'm sorry. Don't mean to interrupt. I'm a little parched. Could I bother you for a cup of tea?

Maggie Blankman: Oh. I'm sorry. I didn't offer you...

Jane: Oh, no no no, please. I... I can get it. You're shaking. Would you like a cup? Uh... Cho?

Cho: No, thanks.

(Jane goes to the kitchen, gets out cups, tea bags. Sniffs a grapefruit, dish soap, finally finds a yellow can of deodorant. Pours boiling water into the cups.)

Cho: Your son never mentioned anything? Money problems? Anything unusual?

Maggie Blankman: They just studied.

Jane (returns from the kitchen cups in hand, he gives one to Maggie Blankman): Smelled so good, I went and made you one. lemongrass, my favorite. Yeah, it's funny how smells work. They attach themselves to such specific memories. You know, like the, uh, kitchen of a childhood home, or having a cup of tea with a lover.

Maggie Blankman: Yes.

Jane: Yes. Yes, you and James were lovers.

Maggie Blankman: Yes.

Jane: Mm... hmm.

(Maggie raised the cup to her mouth) Oh, you might not want to drink that. That's a little... funky monkey. (he takes the cup from her hands)

Ext. Daytime. In front of Banks' house

(Rigsby, Bandino, Van Pelt)

Rigsby: What kind of background check did you do, Vic?

Vic Bandino: The usual. I called his last employer. I checked his credit.

Rigsby: Well, James Smithson isn't James Smithson. None of it's true.

Vic Bandino: Well, there's a limit to what I can do, you know? I'm not the CIA, here.

Rigsby: Aw, come on, man. You used to be more gung-ho than that.

Vic Bandino: That's why I'm not a cop anymore. It's too stressful. Unhealthy profession.

Rigsby: Yeah, no kidding.

Vic Bandino (to a technician, who is working): Hey, you got anything?

Technician: No.

Vic Bandino: Seriously, you hear about Hank Harrison? 39 years old, 5 years out from his pension... Boom. Heart attack. A wife, two kids. He had that, uh, that bachelor party, remember?

Rigsby: Uh, no.

Vic Bandino: Aw, come on. Sure you do. The stripper was all over his case, I'm telling ya.

Van Pelt: I bet she was.

Vic Bandino: Oh. oh, hey. Are you two, like, uh... Are you dating each other?

Van Pelt and Rigsby (together): No, we're not.

Vic Bandino: No? Because you both looked a little weird just now.

Rigsby: No.

Van Pelt: We're talking about a m*rder here.

Vic Bandino: Yeah. Yeah, hey, look, I'm sorry, all right? Uh, there is one thing. A couple months ago, Hopper was working on this photo thing. He, uh... he asked me to get him a g*n. Old-fashioned piece, like the FBI was using in some '60s movie he saw.

Van Pelt: Like a .38?

Vic Bandino: Yeah, I guess. We never got to that. I turned him down. Told him if he wanted it like the movie, get a prop g*n. I don't know what he did in the end, but it's worth mentioning, right? Yeah.

Rigsby: Yeah, it is. Thanks, man. Appreciate it.

Vic Bandino: Hey, absolutely.

Van Pelt: Thanks for your help.

(Van Pelt and Rigsby are heading to their car)

Vic Bandino: Yeah, no problem. Hey, listen. What say you and me go get a cup of coffee some time?

Van Pelt: No, thanks.

Vic Bandino: Huh? What's coffee? I'm a nice guy, right, Rigs?

Rigsby: See ya later, Vic.

CBI - Lisbon's office

(Cho, Lisbon)

(they come out of the office)

Cho: So Smithson was a big ladies' man, and they've both got solid alibis. Maggie Blankman's husband's been in Reno for the last three days, and Maggie was at a therapist's session from 2:00 to 4:00 p. m.... double session.

Lisbon: Jane and I are gonna go to Hopper's gallery, ask about the g*n.

(Rigsby, Van Pelt in the Team Office)

Rigsby: Hey. Want a coffee?

Van Pelt: No, thanks. So what was her name?

Rigsby: Who?

Van Pelt: The stripper.

Rigsby: O... oh. I, uh...

Van Pelt: We could double... date... Me and Bandino, you and your stripper.

Rigsby: Wh... I th... I thought y... you... (Van Pelt laughs) Oh. That's mean.

Van Pelt: Kidding.

Rigsby: Oh, her name was, uh, Kandy. Oh, yeah. Sweet Kandy, with a "k."

Van Pelt: Oh. Kandy with a "k." Mm... hmm.

Hopper Banks Gallery. Citrus Height, California.

(Hopper Banks, Jolene Banks, Lisbon, Jane, Lainie Banks)

(Hopper and a woman look at photos)

Hopper Banks: Do I own a g*n?

Lisbon: Yes, Mr. Banks, a .38. Have you ever been in possession of one or owned one?

Hopper Banks: I never had a g*n, any kind. I don't believe in them.

(Jane and Lainie sit together)

Jane: You're just not trying hard enough.

Lainie Banks: I am. You just can't read minds.

You close your eyes, okay? I'm the boss here. Concentrate. It's coming to me. Chocolate...Coconut... Swirl. Huh?

Lainie Banks: Vanilla. Pay up.

Jane: That's not funny.

Lainie Banks: Yeah, it is. Hey, Dad, just getting ice cream. (she leaves)

Hopper Banks: Okay.

Lisbon: Uh, would you mind taking a polygraph test?

Hopper Banks: No. Why would I do that?

Jane (looks at a photo on the wall): I'll give you this, Hopper... You have a very consistent vision. A little crazy, but consistent.

Hopper Banks: I wouldn't expect you to understand what I'm doing.

Jane: Let me give it a shot. You enjoy taking possession of your wife, but only on camera, not in the flesh. You were being cuckolded by James Smithson, and you let it happen. Why? Impotence? Masochism? h*m*? I'm not sure.

Jolene Banks: That's very perceptive, Mr. Jane. You have a talent.

Jane: Meh, it's just... I do. Thanks. It's just... It's an easy call. You're very attractive but unhappy and accustomed to using your sexuality as a w*apon. Did you use your sexuality as a w*apon against him?

Hopper Banks: Okay, you're done. Now... Go.

Jane: What does it take to get you mad, Hopper? Did Smithson rub your nose in it?

Hopper Banks: That's ridiculous!

Lainie Banks (arrives with some ice cream): What's wrong?

Hopper Banks: Uh, nothing, honey. Uh, these people were just leaving.

Jane: Yeah, we should leave.

Lisbon: Let's. Yeah.

Jane: How's the ice cream?

Lainie Banks: Good.

Jane: Yeah. Hard to beat vanilla.

Ext. Daytime. In Lisbon's car

(Lisbon, Jane, Man with a bag)

Lisbon: I know, I know. You were making stuff up to get the guy angry so you could get a read on him. Blah, blah, blah. The truth is, you just didn't like the guy.

Jane (eating a vanilla ice cream cornet): Well, that would be very unprofessional. (looks in his rearview mirror, a car behind) Um, could you take the next left, please?

Lisbon: Okay. Well, what did you read?

Lisbon: Did he do it?

Jane: Take the next left, and I'll tell you.

Lisbon: Well?

Jane: Well, maybe. He had a good motive. And maybe not. The red box didn't fit.

Lisbon: You picked up a tail? (sees the car behind them in his rearview mirror)

Jane: Cul-de-sac.

(Lisbon stops the car, opens the window)

Lisbon: Nothing.

Jane (a car arrives): You sure? Uh-huh.

(the car parks, and a man exits bag in hand, Lisbon gets out, followed by Jane)

Lisbon: Excuse me. Why are you following us?

The man with the bag: Following you? sh**t, I thought California was friendly. I'm just trying to make a sale here... life insurance. Cute young couple like yourselves, now you've gotta think about the future, right? You got kids yet?

Jane (eating ice cream): That's a terrible accent. Disguised British, yes? You gotta work on your glottal stop.

Lisbon: His what?

Jane: His glottal stop.

Lisbon: Can we see some identification, please?

The man with the bag: Uh, sure. It's in the car. I'll... hold on, I'll get it.

Jane (backs off): Uh-oh.

Lisbon: Put your hands on the car. Now.

The man with the bag: What's this about?

Lisbon: Turn around. A stranger asks to see your I. D., you ask them to show you theirs first.

Jane: Unless, of course, you're trying to hide something.

The man with the bag: Quite right. Quite right, Mr. Jane.

Lisbon: Who are you?

The man with the bag: Francis Slocombe. Inspector Francis Slocombe. Scotland Yard Special Branch.

Jane: Eh.

CBI - Team Office

(Cho, Rigsby, Lisbon, Jane, Francis Slocombe)

Cho (phone): Thank you. I can't reach your contact at Scotland Yard.

Francis Slocombe: Time difference. Tricky one, that.

Rigsby: Yep, Francis Slocombe, registered at the Flamingo Hotel.

Lisbon: Where's Jane?

Jane: Here.

Francis Slocombe (Jane hands him a cup of tea): Oh, thanks. Lovely. Did you check Liverpool's score?

Jane: Up 1-nothing. End of the first half.

Francis Slocombe: Excellent.

Lisbon (off-hand to Jane): Where are the cucumber sandwiches?

Jane: I'm being nice to him, because I think he might know what was in this.

Lisbon: Oh, what about our search warrant that got k*lled? For the m*rder w*apon?

Jane: You're not even a bit curious?

Lisbon: After your performance at the gallery, Banks made some phone calls. Now Judge Withers won't sign the warrant.

Jane: Oops. Sorry. Uh, she's a little cranky. New boss coming in.

Lisbon: Enough with that. (to Cho) Did his story check out?

Cho: Nope.

Francis Slocombe: About James Smithson... his real name's Oliver Stans. Nine months ago he stole an extremely valuable artifact from the British Museum... A pristine example of greco-roman art circa 50 B. C. A wedding ring, said to belong to Cleopatra, given her by Mark Antony. That's what was in the box. Here's a copy from the museum gift shop. Stans lifted the ring and replaced it with one of those. (gives a ring to Lisbon who studies it)

Cho: What was he doing in the United States?

Francis Slocombe: He knew we were building a case against him. Changed his name, disappeared. A week ago we picked up chatter that a dealer in stolen antiquities was gonna buy the ring here, had sent someone to pick it up. (Lisbon passes the ring to Jane) May I? (to Cho. Taps the keyboard and a page appears)

This is Louis Anglet... go to courier in the high-end stolen art market. I followed him here to Stans and the ring, but I arrived too late. That's why I was following you. Anglet has the ring now, and I need to get back on the trail.

Lisbon: You're not going anywhere until your story checks out.

Jane: Whoever k*lled Stans k*lled him for the ring.

Lisbon: Ron, take Mr. Slocombe to an interrogation room. Sit on him while I make a call.

Ron: Sure. Let's go.

Van Pelt: Slocombe's right. James Smithson is Oliver Stans. A few minor arrests... narcotics possession charge, as*ault. Looks like a bar fight. And yes, a person of interesting the British Museum theft.

Cho: Any next of kin? The hospital called. They need someone to sign off on organ donation.

Van Pelt: Uh... Stans' mother was a single parent. Died three years ago. No siblings.

Lisbon: Cho, come with me. We need to ask Slocombe some questions.

Interrogation Room with Slocombe

(Lisbon, Cho, Ron)

(Ron collapsed unconscious on the table, Slocombe has disappeared)

Lisbon: His g*n's gone.

Cho: I'll get a search started.

Lisbon: Ron, can you hear me?

Team Office

(Lisbon, Jane, Van Pelt, Rigsby, Hightower)

Lisbon: FBI says he's Scotland Yard, but he's got nothing to do with this case. Nine months ago when the ring was lifted, he went off the reservation. He's been tracking Stans ever since.

Jane (the red box in his hand): Hmm.

Rigsby: You think he helped with the robbery, and Stans double-crossed him?

Jane: No. No, Slocombe's just trying to get the ring back. "Why?" is the big question.

Lisbon (to Rigsby and Van Pelt): You two, go to his motel room. See if you can find anything there that'll help us.

Rigsby: Okay.

Cho: Hey, no sign of Slocombe. I got a grid search started.

Lisbon: This is perfect. It's perfect.

Hightower (approaches): Agent Lisbon. Madeleine Hightower.

Lisbon: Special agent Hightower, welcome.

Hightower: Thank you.

Lisbon: This is Patrick Jane.

Hightower: The famous Mr. Jane. (Jane gets up to shake his hand) Good to meet you.

Jane: You, too.

Hightower: I've gonna have a nice quite day-to-day but it seems there is trouble.

Lisbon: We lost somebody. We're looking for him.

Hightower: Then I'm sure you'll fight him. Let's talk to my office. Give me a half-hour to roll some calls.

Lisbon: Yes, ma'am.

(Hightower walks away)

Jane: She likes you. I can tell.

Ext. Daytime. Flamingo Motel. Citrus Heights, California

(Rigsby, Van Pelt)

Rigsby: places.

Van Pelt (looks around the room): That's shocking.

Rigsby (sat on the bed): Ooh, oh well, that is a good bed for a motel room. Very firm. You, uh... You wanna try it?

Van Pelt: Oh, come on.

Rigsby: What? There's nobody here. We can lock the door. Nobody's looking. Come on.

Van Pelt: We're on duty.

Rigsby: Yeah, I know. Totally wrong. Come on.

Van Pelt (spots something behind the air vent on the wall): Hold that thought.

Rigsby: What you got?

Van Pelt: Eureka. (finds a leather briefcase)

Rigsby: Yeah, eureka. Is that mean you can get back here?

Van Pelt: This could be critical evidence.

Rigsby (undoes his tie): Yes, it could be, but unless the critical evidence self-destructs in less than ten seconds, I suggest you get yourself back here. It's critical.

Van Pelt: Fine. (She drops on the bed, they kiss. The sound of a door opening gets them back on their feet)

Rigsby: Hey. Room's good.

Motel Maid: Thank you.

Rigsby: Yeah.

CBI - Hightower's Office

(Hightower, Lisbon)

Hightower (unpacks her things): Come in.

Lisbon: Ma'am, I assure you, today's incident is not at all indicative of the unit's overall confidence.

Hightower: You had a bad day, agent Lisbon. You screwed up. It happens. Now let's get to the work. This judge, the one who changed his mind about giving us our search warrant...

Lisbon: Judge Withers, ma'am. He's kinda like a stubborn old bull... won't budge once he takes a position. We try to get

Hightower: And he changes his mind because...

Lisbon: He said we had method

Hightower: Not what he said. The real reason. Patrick Jane insulted Hopper Banks, and Hopper Banks complained.

Lisbon: Jane has unusual methods, but...

Hightower: He closes cases, yes, he does. He's a valuable asset. We cannot afford to lose him. The way I see it... It's you that's in a tricky spot.

Lisbon: Ma'am?

Hightower: This bureau has seen some tough times lately. My mission is to turn that around and make the CBI the premier law enforcement agency in this state. Patrick Jane is a huge part of that goal. If you can't keep him in line, we'll find someone who can.

Lisbon: Yes, ma'am.

Hightower: You can go. I'll give Judge Withers a call, get you a warrant.

(Lisbon leaves the office)

CBI Corridors

(Van Pelt, Rigsby, Lisbon)

(Van Pelt and Rigsby get out of the elevator, Lisbon has meal in her hand)

Van Pelt: Hey, boss. According to the information Slocombe dug up, Louis Anglet doesn't just deal in stolen antiquities. He's a hired g*n, never indicted, but a prime suspect in three killings. And he hasn't left the country. He's still here.

Rigsby: Multiple IDs, multiple arrests, but no jail time. He's a slippery customer. He looks good for it.

(They enter Lisbon's office)

Lisbon: We don't even know where Anglet is. What we do know is that every time Slocombe opens his mouth, he lies. We've got a bolo out on him. In the meantime, let's just pursue the case we're developing. Hopper Banks is still our prime suspect. Let's check out his house for the g*n.

Rigsby: We don't have a search warrant.

Lisbon: We do now. Hightower got Withers to sign off on it.

Ext. Daytime. Hopper Banks' house.

(Lisbon, Bandino, Cho, Hopper Banks, Van Pelt)

Lisbon (gets out of the car): Hey.

Bandino: Hey, about the g*n... Did you find anything? If you did, I hope you keep my name out of it...

Lisbon: Go away, Mr. Bandino.

Cho: Nothing so far. I got some more guys coming. It's a big house.

Hopper Banks: Agent Lisbon, what is the CBI equivalent of Siberia? Because whatever it is, that's where you're going.

Lisbon: Hold that thought, Mr. Banks.

Van Pelt (arrives with paper in his hand): Look what I found in the home office.

(a black and white picture of Jolene Banks with a fedora on head and a colt in hand)

Hopper Banks: It's a picture of a prop.

Cho: It's a picture of a colt, detective special, 38 caliber, 4-inch barrel... The same kind of g*n k*lled our victim.

Hopper Banks: A prop.

Lisbon: Why don't we sort out which one at our offices, Mr. Banks?

Hospital. James Smithson's room.

(Francis Slocombe, Jane)

Francis Slocombe (enters the room, James is on life support): Oh, Oliver, you idiot. You bloody idiot. (the curtain moves)

Francis Slocombe: Who's that? Come out or I will sh**t.

Jane (opens the curtains): Uh, I checked for you. Liverpool lost. Bad season, huh?

Francis Slocombe: Injuries. You're expecting me, then? Nice work.

Jane: Oh, you dropped everything, you risked your whole career to, uh, find him before your colleagues at the Yard. You followed us after he was shot. You're both Liverpool fans. He's family. Your son?

Francis Slocombe: Yeah. My son. I was no father to him. Never married his mother. Never spent time with him at all, really. But I kept track. I tried. And look at him now. Look at my boy.
He was a brilliant young man. From nothing, under his own steam, he got himself a scholarship to Cambridge to study Classics. That's what got him invited to preview the museum's new collection.

Jane: And he stole the ring.

Francis Slocombe: That was an impulsive act. He's not a thief. He's a foolish, rebellious kid.

Jane: He took a copy of the ring in with him. It wasn't an impulsive act. It was a plan.

Francis Slocombe: He's not a thief.

Jane: You believe that, and that was your plan. If you could just talk to him, he'd return the ring, because he's... As you say, not a thief.

Francis Slocombe: I could have. If I made it in time, I could have done that.

Jane: And now you track down his k*ller and k*ll them.

Francis Slocombe: Yeah, well, you know how that works. I read all about you, Mr. Jane. I know what happened to your family.

Jane: Well, you'll end up in prison.

Francis Slocombe: Maybe. But right now I'me gonna out of here. And you gonna let me.

Jane: Obviously. You're holding a g*n, and I have no real reason to stop you.

Francis Slocombe: Thanks for being sensible.

Jane: It's my middle name.

(Slocombe leaves the room)

CBI - Hightower's office

(Hightower, Jane)

Hightower: Hey.

Jane: Hey.

Hightower: I made a private word with everyone here. A kind of... set up

Jane: Cool. It's, uh, an excellent practice.

Hightower: Have a seat.

Jane: Thank you.

Hightower: I spoke to Lisbon yesterday...

Jane: Mm-hmm.

Hightower: Told her how deeply I value your contribution to the bureau.

Jane: Nice to hear.

Hightower: I told her you're too good to lose to some smart-ass move you might make that turns bad. I told her that if and when it happens, it's her neck. You...You're golden. You're safe for anything short of m*rder. Lisbon... No. You mess up, she's out of here. Any questions?

Jane: Not that I can think of right now.

Hightower: Good. Thank you for your time. I look forward to working with you.

Jane: Likewise. Thank you. See you around.

CBI - Interrogation room.

(Hopper banks, Lisbon, Cho)

Hopper Banks: I knew the purchase was illegal. I just didn't want to get in trouble. Ironic.

Cho: Where's the g*n now?

Hopper Banks: I have no idea. I haven't seen it since the sh**t, which is what, like six weeks ago? I thought it might be somewhere in my studio, but you guys would have found it, I guess. Maybe somebody stole it.

Cho: That's not very credible.

Hopper Banks: It's the truth.

Van Pelt (enters the room): Boss?

Lisbon (assisting in the questioning in an adjoining room): Yeah.

Van Pelt: I was going through the files on Banks' laptop, and I found this and this in his telephone records.

Lisbon (enters the interrogation room): Cho, you mind?

Cho: All yours. (leaves)

Lisbon: Mr. Banks, do you know anything about the theft of a ring at the British Museum? Cleopatra's wedding ring, supposedly.

Hopper Banks: No. Why?

Lisbon: We checked your browser history on your office computer. You looked up the theft of the ring two months ago, right after you let Stans move into your pool house. Downloaded quite a bit about it.

Hopper Banks: I never did this.

Lisbon: You also made several phone calls to a man named Louis Anglet, who we believe may have purchased the ring.

Hopper Banks: Anglet? I've never heard of him.

Lisbon: The calls are in your phone records.

Jane's sofa

(Jane, Lisbon, Van Pelt)

Jane (on the telephone): I paid for overnight delivery. I was told guaranteed delivery before 10:00 a. m. And it's not here yet. Well, if it gets here by then that'll be fine. Thank you.

Lisbon: No word on Slocombe?

Jane: Never despair. Van Pelt brings hope.

Van Pelt: Uh, we've been tracking this Anglet guy via cell phone. Off that, we got a bead on his credit card. The thing is, someone else is tracking his purchases as well.

Jane: Has to be Slocombe.

Van Pelt: And at 3:00 this afternoon, Anglet has a massage booked at the Blue Willow Spa, right here in downtown Sacramento.

Jane: Mm-hmm. And chances are...

Lisbon: Slocombe will show up.

Jane (to Van Pelt): So good.

Ext. Daytime. A courtyard, shops, café.

(Rigsby, Cho, Francis Slocombe, Louis Anglet, Lisbon, Jane)

Cho: I got Anglet.

Louis Anglet (to a salesperson): Bottle of water, please.

Rigsby: I see Slocombe.

Francis Slocombe: Anglet?

Louis Anglet: What?

Francis Slocombe: Got a question for you.

Louis Anglet: Oh, sorry, I think you have the wrong guy, but...

Francis Slocombe: Hey. Did you k*ll my boy?

Louis Anglet: No.

Francis Slocombe: Did you k*ll my boy?

(Slocombe stuns Anglet with a r*fle butt)

Louis Anglet: Get off me!

Rigsby: CBI! On the ground! Slocombe! Slocombe, drop the w*apon!

Cho: Drop it!

CBI. Team Office.

(Francis Slocombe, Jane, )

Francis Slocombe (stirs a spoonful into a cup of tea): I just meant to question him. I don't know what came over me. I saw red. I'll end up in prison, just like you predicted. Very foolish.

Jane (after drinking his tea): No. It's human nature.

Francis Slocombe: Ah, it made me realize revenge is not for me. Pointless. More v*olence is just more v*olence. Doesn't make anything any better.

Jane: Mm, maybe. I'm not so, uh...

(Hightower joins them, paper in hand)

Hightower: You're booked on the 8:00 to London tomorrow morning. Take it, and there'll be no charges pending.

Francis Slocombe: Thank you.

Hightower: I don't want to see you again. Clear?

Francis Slocombe: Oh, yes, ma'am. Thank you.

(Hightower leaves)

Jane (gets up and bumps into an agent): Uh, th... that's mine.

(the agent gives him an envelope) Yep.

CBI. - Interrogation Room

(Lisbon, Louis Anglet, Hightower, Van Pelt, Jane)

Lisbon: Francis Slocombe, the man who was trying to k*ll you... Why was that?

Louis Anglet: I have no idea.

(Higtower attends a the interrogation behind a two-way mirror)

Lisbon: We know that Slocombe was tracking you. We know that you came here for the ring.

Louis Anglet: This ring must be very important.

Van Pelt (enters the room where Hightower is): Anglet's lawyer's here.

Louis Anglet: What kind of ring is it

Hightower (enters the interrogation room): Agent Lisbon.

Lisbon: Excuse me. (she leaves, joining Hightower in the corridor) He's tough.

Hightower: Yeah, well, there's a reason why he hasn't been in jail. That's his attorney. Probably gets about $1,500 an hour. Let's spend a little time with him, run up the meter.

Lisbon: Excuse me. I'm Agent Lisbon. Would you come to my office with me, please? Just up here.

Jane (entes the interrogation room where Anglet is): Hi.

Louis Anglet: Whoa. You don't look like my lawyer.

Jane: I'll take that as a compliment.

Louis Anglet: I'm not gonna answer any more questions.

Jane: No more questions. I know you didn't k*ll Stans. You're too smart for that. But what you did do is you bought Cleopatra's wedding ring from his k*ller.

Louis Anglet: Oh, the Cleopatra?

(Hightower returns to the room where Jane is questioning.)

Really? Queen of the Nile, the bride of Mark Antony?

Jane: And here's what you got... One of these... $39 fakies. Considerably more if you have to get the overnight delivery. Not your fault. No reason to think it was a fake, obviously. Stans did steal the ring. That's why it's such a great scam. He can sell the same ring over and over. Now the person you bought the ring for... I'm guessing they paid more than $39 for it. How much did they pay for it? Huh? $200,000? More? More than 2? I think they're gonna be pretty mad when they find out it's a fake. Ohh! What do you think? Oh, man.

Hightower (interrupts the interrogation): You can go now, Mr. Anglet. Your attorney's waiting.

Jane: See you. (Anglet leaves)

Hightower: You stay.

Jane: Oh, I'm staying.

Hightower: The phone and internet evidence suggests that Hopper k*lled Stans for the ring and sold it to Anglet.

Jane: Yes, it does suggest that.

Hightower: So you just put Hopper in a great deal of danger.

Jane: Nah.

Hightower: Nah? That's your considered reply?

Jane: Yep.

Hightower: Put a guard on Hopper asap.

Lisbon (enters the room): Will do, boss.

Hightower: You know, this is exactly the kind of scenario we talked about. Didn't think we'd get there so soon. You butt is on the line, Agent Lisbon. (elle sort)

Lisbon: What did you do?

Jane: Paid way too much for overnight delivery.

Ext. Daytime. Terrace, Hopper Banks' house.

(Jolene Banks, Hopper Banks, Vic Bandino, Lisbon, Jane)

Jolene Banks: Maybe we should consider...

Hopper Banks: Protective custody? No. No way.

Vic Bandino: I'll put a team together, sir. Full protection 24/7, my 4 best guys.

Lisbon: Mr. Banks, you don't understand...

Hopper Banks: Sure, I do. You people convinced Anglet that I cheated him, and then turned him loose to k*ll me. That pretty much how it goes?

Jane: Yeah, that's... that's pretty much how it goes. But for the record, Agent Lisbon had absolutely nothing to do with this.

Lisbon: Jane...

Hopper Banks: How gallant.

Jane: It was all my idea. A... and we could have held Anglet if you were man enough to admit selling him the ring in the first place.

Hopper Banks: That's it. Get out. You better pray nothing happens to my family.

Ext. Night. A car in front of Hopper Banks house

(Vic Bandino)

(Bandino runs out of the house, bag in hand, he gets in the the car. Car will not start)

Vic Bandino: Oh, come on.

(Bandino gets out to look under the hood, he receives a punch in the face, falls to ground. As soon as he hits the ground, he is kicked several times.)

Louis Anglet: Where is it? I want the real ring now.

Vic Bandino: What are you talking about? I gave it to you.

Louis Anglet: You sold me the fake. I want the real one now.

Vic Bandino: I... I gave you the real one, all right? Trust me. I put a g*n in that guy's face. There's no way he'd hand over a fake.

(Police sirens. Many officers.)

Rigsby: Put the g*n down! Drop the g*n!

Louis Anglet: All right, all right, all right. Hey, what did I do? I just helped you catch the guy. All right, relax.

Rigsby: On the ground!

Van Pelt: Put your hands on your head.

Rigsby: Let's see your hands. Up against the truck, Bandino. Go! Go! Let's see your hands. Victor Bandino, you're under arrest for the m*rder of Oliver Stans. Yeah, you think being a cop's stressful? Try being a cop in prison, jerk.

CBI Interrogation Room

(Vic Bandino, Cho)

Vic Bandino: I know my job. I do good background checks. I found out that Smithson was really Stans, found out about the ring. I approached him. We talked. He couldn't sell the ring. It was too hot. But I know some people who know some people that put me in touch with Anglet, and that was it. I brokered the deal.

Cho: Why'd you k*ll Stans?

Vic Bandino: He changed his mind. Didn't want to sell it. At the last minute, the idiot wanted to confess, return it to the museum. What was I supposed to do?

Cho: You shot him.

Vic Bandino: I had no choice. It was a spur of the moment thing.

Cho: Right. No premeditation, no death penalty. The only thing? You planned ahead. You planted the phone and internet evidence on Hopper Banks. That doesn't look good.

Hopital. Oliver Stans' Room.

(Francis Slocombe, Oliver Stans, Jane)

Slocombe: Goodbye son. Okay. (Slocombe says goodbye to his son. Jane watches from the hallway. The transplant team take Oliver)

(Slocombe joins Jane in the hallway)

Jane: Well, it appears I was... wrong about your son. He wasn't a thief. He wanted to return the ring.

Slocombe: Anglet cut a deal, traded for his freedom.

Jane: Way of the world.

Slocombe: Yeah. It doesn't feel any better. Knowing who k*lled him, knowing he'll be punished... It doesn't make a damn bit of difference. I thought it would. But this... is what he wanted. I can give that to him now, thanks to you.

Jane: Eh.

Slocombe: Well, I better not Miss my plane. Time to say good bye.

Jane: Yeah. Good bye.

Slocombe: I wasn't gonna hug you.

Jane: I know. Just making sure.

CBI Corridors

(Hightower, Lisbon, Jane)

(We hear Jane talk in the distance. Hightower heads to Lisbon's office, Jane lying on the couch, Lisbon at her desk)

Jane: Oh, no. there was a certain vulnerability, a certain rumpled gentleness to him.

Lisbon: Vulnerability?

Jane: Mm, I thought so. Yeah.

Hightower: Comfortable?

Jane: I'm getting there, yeah.

Hightower: Regarding Agents Rigsby and Van Pelt... they're in a romantic relationship.

Lisbon: Well, I mean... Well, romantic?

Hightower: You're too good of a cop not to have noticed, and since you haven't done anything about it, I'm gonna have to take action myself. Just wanted to let you know first. Good night. (she leaves)

Lisbon: Good night.

(Jane sits on the couch)

Jane (speaking of Hightower): She's good.

The End