THE RED BOX
(1.4.2010)
Guest casting:
Kevin Alejandro: Victor Bandino
Erich Anderson: Hopper Banks
Anthony Azizi: Louis Anglet
Mia Cottet: Maggie Blankman
John Troy Donovan: CBI Ron
Alastair Duncan: Francis Slocombe
Jadin Gould: Lainie Banks
Tamas Menyhart: Oliver Stans
Colleen Porch: Jolene Banks
Éxtérieur jour. Bâtiment du CBI
(Lisbon, Jane, Rigsby sortent du bâtiment)
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.
(Ils montent tous trois dans le 4X4 du CBI)
Éxtérieur jour. Hopper Banks Estate. Citrus Heights, California
(Lisbon, Jane, Rigsby, Vic Bandino)
(La voiture de Lisbon arrive sur les lieux du 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.)
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?
(un homme entre)
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 gunshot. Judging by the wound, looks like a .38. No weapon. Don't worry. It's a visual inspection. Didn't touch a thing.
(Jane met genou à terre près du corps)
Lisbon: No sign of assault 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 (renifle la main de la victime): Hmm.
Lisbon: Anything else? And this place must be alarmed.
(Jane repère sous le lit une boîte rouge)
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 ramasse la boîte)
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.
Générique
Éxtérieur de la propriété de Hopper Banks
(Rigsby, Lisbon, Jane)
(Des ambulanciers emportent la victime)
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 shooter. I need to go and talk to the little girl who found the body.
Rigsby: You got it.
(Non loin de là Jane inspecte des bacs de fleurs, Lisbon l'aperçoit)
Lisbon: What are you looking for?
Jane: The dirt under his nails smelled like rosemary. (trouuve quelque chose dans un des bacs de romarin) Yeah. (un emplacement creusé dans la terre, la boite rouge s'y loge parfaitement) Whatever was inside this box killed our man.
Lisbon(avec un sourire narquois, en partant): Well, the case is practically closed.
Jane: There's no reason to be snarky.
Intérieur. Salon des Banks.
(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 (montrant un diptyque de photo au mur): 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 (entre dans le salon): 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?
(une jeune ado entre )
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 lève 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? (montre la boîte rouge dans un sachet)
Jolene Banks(un verre d'alcool à la main): 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 (à son mari): 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 arrive à son tour, il mange)
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 regarde Jane mordre goulument dans son 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 (tend son assiette à Bandino qui fini par la prendre): Thank you. Cheers.
(il s'éloigne à son tour)
Dans les couloirs du CBI
(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 (à 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 retrouve Jane allongé sur son canapé)
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. (en montrant 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 (qui se tortillait sur le 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 se rend dans la cuisine, sort les tasses, les sachets de thé. Renifle un pamplemousse, le produit vaisselle, fini par trouver une bombe de désodorisant jaune. Verse de l'eau bouillante dans l'une des deux tasses, dans l'autre aussi en l'agrémentant généreusement avec la bombe)
Cho: Your son never mentioned anything? Money problems? Anything unusual?
Maggie Blankman: They just studied.
Jane (revient de la cuisine les tasses à la main, il en donne une à 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 porte la tasse à sa bouche) Oh, you might not want to drink that. That's a little... funky monkey. (il lui reprend la tasse des mains)
Éxtérieur jour. Devant la propriété de Banks
(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 (à un technicien qui travaille sur le chemin): Hey, you got anything?
Technicien: 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 et Rigsby (ensemble): 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 murder 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 gun. 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 gun. 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 et Rigsby se dirigent vers leur voiture)
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.
Bureau de Lisbon. CBI
(Cho, Lisbon)
(ils sortent du bureau)
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 gun.
(Rigsby, Van Pelt dans le bureau commun à l'équipe)
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 éclate de rire) 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 et sa femme regardent des photographies)
Hopper Banks: Do I own a gun?
Lisbon: Yes, Mr. Banks, a .38. Have you ever been in possession of one or owned one?
Hopper Banks: I never had a gun, any kind. I don't believe in them.
(dans la même pièce Jane et Lainie attablés)
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. (elle sort)
Hopper Banks: Okay.
Lisbon: Uh, would you mind taking a polygraph test?
Hopper Banks: No. Why would I do that?
Jane (regarde uen photo au mur): 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 ?Homosexuality? 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 weapon. Did you use your sexuality as a weapon 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 (arrive sa glace à la main): 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.
Éxtérieur jour. Dans la voiture de Lisbon
(Lisbon, Jane, L'homme à la sacoche)
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 (déguste un cornet de glace à la vanille): Well, that would be very unprofessional. (regarde dans son rétroviseur, une voiture semble les suivre) 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? (elle voit la voiture qui les suit dans son rétroviseur)
Jane: Cul-de-sac.
(Lisbon gare la voiture, descend sa vitre)
Lisbon: Nothing.
Jane (une voiture arrive): You sure? Uh-huh.
(la voiture se gare, un homme en descend sacoche à la main, Lisbon descend à son tour, suivi de Jane)
Lisbon: Excuse me. Why are you following us?
L'homme à la sacoche: Following you? Shoot, 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 (toujours en train de manger sa glace): 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?
L'homme à la sacoche: Uh, sure. It's in the car. I'll... hold on, I'll get it.
Jane (recule): Uh-oh.
Lisbon: Put your hands on the car. Now.
L'homme à la sacoche: 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.
L'homme à la sacoche: Quite right. Quite right, Mr. Jane.
Lisbon: Who are you?
L'homme à la sacoche: Francis Slocombe. Inspector Francis Slocombe. Scotland Yard Special Branch.
Jane: Eh.
Bureau commun à l'équipe, CBI
(Cho, Rigsby, Lisbon, Jane, Francis Slocombe)
Cho (au téléphone): 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 ( à Jane qui lui tend une tasse de thé): Oh, thanks. Lovely. Did you check Liverpool's score?
Jane: Up 1-nothing. End of the first half.
Francis Slocombe: Excellent.
Lisbon (à Jane en apparté): 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 killed? For the murder weapon?
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. (à 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. (donne un anneau à Lisbon qui l'examine)
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 passe l'anneau à Jane) May I? (à Cho. Il tapotte sur le clavier et un page apparaît)
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 killed Stans killed 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, assault. 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.
Salle d'interrogatoire de Slocombe
(Lisbon, Cho, Ron)
(Ron est écroulé, inconscient sur la table, Slocombe a disparu)
Lisbon: His gun's gone.
Cho: I'll get a search started.
Lisbon: Ron, can you hear me?
Bureau commun à l'équipe
(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 (la boîte rouge à la main): 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 (à Rigsby et 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 (s'approche): Agent Lisbon. Madeleine Hightower.
Lisbon: Special agent Hightower, welcome.
Hightower: Thank you.
Lisbon: This is Patrick Jane.
Hightower: The famous Mr. Jane. (Jane se lève pour lui serrer la main) 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 s'éloigne)
Jane: She likes you. I can tell.
Éxtérieur jour. Flamingo Motel. Citrus Heights, California
(Rigsby, Van Pelt)
Rigsby: places.
Van Pelt (fouille la chambre): That's shocking.
Rigsby (assis sur le lit): 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 (repère quelque chose qui dépasse de la grille d'aération au mur): Hold that thought.
Rigsby: What you got?
Van Pelt: Eureka. (elle a trouvé un porte-document en cuir)
Rigsby: Yeah, eureka. Is that mean you can get back here?
Van Pelt: This could be critical evidence.
Rigsby (défait le noeud de sa cravatte): Yes, it could be, but unless the critical evidence self-destructs n less than ten seconds, I suggest you get yourself back here. It's critical.
Van Pelt: Fine. (elle se laisse tomber sur le lit, ils s'embrassent. Un bruit de porte qu s'ouvre les remet sur les pieds)
Rigsby: Hey. Room's good.
Femme de ménage du motel: Thank you.
Rigsby: Yeah.
Bureau de Hightower. CBI
(Hightower, Lisbon)
Hightower (déballe ses affaires afin de s'installer dans son bureau): 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 sort du bureau)
Couloirs du CBI
(Van Pelt, Rigsby, Lisbon)
(Van Pelt et Rigsby sortent de l'ascenseur, Lisbon a un plateau repas à la main)
Van Pelt: Hey, boss. According to the information Slocombe dug up, Louis Anglet doesn't just deal in stolen antiquities.He's a hired gun, 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.
(ils entrent dans le bureau de Lisbon)
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 gun.
Rigsby: We don't have a search warrant.
Lisbon: We do now. Hightower got Withers to sign off on it.
Éxtérieur jour. Propriété de Hopper Banks
(Lisbon, Bandino, Cho, Hopper Banks, Van Pelt)
Lisbon (descend de sa voiture): Hey.
Bandino: Hey, about the gun... 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 (arrive un papier à la main): Look what I found in the home office.
(une photo noir et blanc de Jolene Banks borsalino sur la tête et colt à la main)
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 gun killed our victim.
Hopper Banks: A prop.
Lisbon: Why don't we sort out which one at our offices, Mr. Banks?
Hôpital. Chambre de James Smithson
(Francis Slocombe, Jane)
Francis Slocombe (entre dans la chambre, James est sous assistance respiratoire): Oh, Oliver, you idiot. You bloody idiot. (le rideau bouge)
Francis Slocombe: Who's that? Come out or I will shoot.
Jane (ouvre le rideau): 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 killer and kill 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 gun, and I have no real reason to stop you.
Francis Slocombe: Thanks for being sensible.
Jane: It's my middle name.
(Slocombe sort de la chambre)
Bureau de Hightower CBI
(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 murder. 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.
Salle d'interrogatoire du CBI
(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 gun now?
Hopper Banks: I have no idea. I haven't seen it since the shoot, 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 (entre dans la salle): Boss?
Lisbon (assiste à l'interrogatoire dans une pièce attenante): Yeah.
Van Pelt: I was going through the files on Banks' laptop, and I found this and this in his telephone records.
Lisbon (entre dans la salle d'interrogatoire): Cho, you mind?
Cho: All yours. (il sort)
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.
Canapé de Jane
(Jane, Lisbon, Van Pelt)
Jane (au téléphone): 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 (à Van Pelt): So good.
Éxtérieur jour. Une cour intérieure, des boutiques, un café
(Rigsby, Cho, Francis Slocombe, Louis Anglet, Lisbon, Jane)
Cho: I got Anglet.
Louis Anglet (à un marchand): 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 kill my boy?
Louis Anglet: No.
Francis Slocombe: Did you kill my boy?
(Slocombe assomme Anglet d'un coup de crosse)
Louis Anglet: Get off me!
Rigsby: CBI! On the ground! Slocombe! Slocombe, drop the weapon!
Cho: Drop it!
CBI. Bureau commun de l'équipe
(Francis Slocombe, Jane, )
Francis Slocombe (remue une cuillière dans une tasse de thé): 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 (bout une tasse de thé): No. It's human nature.
Francis Slocombe: Ah, it made me realize revenge is not for me. Pointless. More violence is just more violence. Doesn't make anything any better.
Jane: Mm, maybe. I'm not so, uh...
(Hightower les rejoint un papier à la main)
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 s'en va)
Jane (se lève et court vers un agent): Uh, th... that's mine.
(l'agent lui donne une enveloppe) Yep.
Salle d'interrogatoire du CBI.
(Lisbon, Louis Anglet, Hightower, Van Pelt, Jane)
Lisbon: Francis Slocombe, the man who was trying to kill you... Why was that?
Louis Anglet: I have no idea.
(Higtower assiste à l'interrogatoire derrière une vitre sans tain)
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 (entre dans la salle où se trouve Hightower): Anglet's lawyer's here.
Louis Anglet: What kind of ring is it
Hightower (entre dans la salle d'interrogatoire): Agent Lisbon.
Lisbon: Excuse me. (elle sort rejoiondre Hightower dans le couloir) 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 (entre dans la salle d'interrogatoire où se trouve Anglet): 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 kill Stans. You're too smart for that. But what you did do is you bought Cleopatra's wedding ring from his killer.
Louis Anglet: Oh, the Cleopatra?
(Hightower revient dans la salle afin d'assiter à l'interrogatoire mené par Jane)
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 (interrop l'interrogatoire): You can go now, Mr. Anglet. Your attorney's waiting.
Jane: See you. (Anglet sort)
Hightower: You stay.
Jane: Oh, I'm staying.
Hightower: The phone and internet evidence suggests that Hopper killed 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 (entre dans la salle): 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.
Éxtérieur jour. Terrasse, propriété de Hopper Banks
(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 kill 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.
Éxtérieur nuit. Une voiture devant la maison de Hopper Banks
(Vic Bandino,)
(Bandino sort de la maison en courant, un sac à la main, il entre dans la voiture. Le sac est rempli de billets. La voiture ne veut pas démarrer)
Vic Bandino: Oh, come on.
(Bandino sort pour regarder sous le capot, il reçoit un grand coup de poing dans la figure, tombe à terre. Anglet vient de le mettre à terre, il lui assène nombre de coup de pied)
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 gun in that guy's face. There's no way he'd hand over a fake.
(Sirènes de police, des agents en nombre)
Rigsby: Put the gun down! Drop the gun!
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 murder of Oliver Stans. Yeah, you think being a cop's stressful? Try being a cop in prison, jerk.
Salle d'interrogatoire du CBI
(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 kill 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.
Hôpital. Chambre de Oliver Stans
(Francis Slocombe, Oliver Stans, Jane)
Slocombe: Goodbye son. Okay. (Slocombe fait ses adieux à son fils. Jane assiste à la scène dans le couloir. L'équipe de transplantation emmène Oliver)
(Slocombe rejoint Jane dans le couloir)
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 killed 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.
Couloir du CBI
(Hightower, Lisbon, Jane)
(On entend Jane parler au loin, Hightower se dirige vers le bureau de Lisbon, découvre Jane allongé sur le canapé, Lisbon à son bureau)
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. (elle sort)
Lisbon: Good night.
(Jane s'assoie sur le canapé)
Jane (en parlant de Hightower): She's good.
The End
maiii