The Mentalist Draft Pilot - Part 1 - Scripts - File Catalog

Written by Bruno Heller

Warner Bros. Television Network Draft February 20, 2008

THE CALIFORNIA BUREAU OF INVESTIGATION (CBI)

DANIEL JANE - On a consultancy contract with the CBI. In a previous chapter of his life, he was a fake psychic medium, making his living by guile and manipulation, using his ferocious intelligence and a keen understanding of human nature to fleece his fellow man. Now, he still has the charm and wit of a showman, and all the strange skills of his former calling, but that bravura style is tempered by hard earned wisdom, and honesty, and a singular dedication to his own brand of truth and justice.

LEAD AGENT TERESA LISBON - A woman of serious faith and integrity, leavened by wit and compassion. She's given up the idea of a love life or a family life to devote herself- nun-like - to homicide work. Her intense drive and self-discipline is born of a subconscious urge for martyrdom. You get the sense that there's another more passionate and sensual woman inside the brusque persona. But for some reason, that inner Lisbon is almost always kept hidden.

SUPERVISOR RJ PATEL - The boss. Demonstrative, egotistical, brash, Machiavellian. Moved to suburban California from Uttar Pradesh, India, when he was eleven. Will do whatever it takes to protect his beloved Bureau and his status there.

AGENT KENDALL CHO - From twenty generations of farmers back in Korea - A lugubrious, logical, stubborn, flat-footed, family man. He might seem rude, but it's just Ken being his pathologically honest self. A relentless interrogator.

AGENT WAYNE GILZEAN - Ex-college tight end, ex LAPD, in his mid to late twenties. A predatory bad boy with the women, but a diligent and honorable man on the job. Likes to think he's a whole lot smarter than he's given credit for by the CBI team; but he's wrong. He struggles with his propensity for violence, and his attraction to women who are attracted to that. AGENT MELODY

VAN PELT - College valedictorian, head cheerleader, and barrel racing champion from rural Idaho, Van Pelt was by far the smartest person she knew until she went to college. Hence a winningly naïve confidence in her own intellect and capabilities. Devoutly spiritual, not to say gullible.

EXT. TUDOR MANSION. HIDDEN HILLS - DAY

A leafy avenue in bright California sunshine. From a shadowed garden gate, FOUR CORONER'S PERSONNEL emerge bearing the SHROUDED BODY OF A TEENAGE GIRL on a gurney. A sombre crowd watches her go by. UNIFORM COPS, K-9 UNITS, CSI PERSONNEL, NEWS CREWS, STATE AND FEDERAL AGENTS, VOLUNTEER SEARCHERS in yellow vests.

Among the crowd we find DANIEL JANE. He wears a photo ID Tag identifying him as a Contractor with the CALIFORNIA BUREAU OF INVESTIGATION (CBI). Late thirties, early forties; a Savile Row suit, flip flops, battered good looks' and a romantic, unruly, theatrical air. Shambolic and graceful simultaneously. Big eyes, looking at everything with intense interest. You can see a couple of the cops wondering, who's the creep?

He's with CBI SENIOR AGENT TERESA LISBON. Mid-to-late thirties. Lisbon keeps her hair short, wears no make-up, no jewelry but a gold cross on a chain, and Ross really did dress her for less; but she's still gorgeous, and compensates for this professional handicap with a workplace persona based mostly on NFL coach Bill Parcells.

JANE'S POV - THE GIRL'S BODY is loaded onto an ambulance. We see the Grim Reaper tattoo on the arm of one of the Coroner's men, the photo of Jessica Alba smiling in a bikini scotch-taped to the ambulance interior, the pale white soles of the dead girl's'feet, uncovered for a second as she is lifted into the vehicle.. The ambulance doors close. A SEVENTEEN YEAR OLD BOY in a deathmetal T-shirt, Lakers shorts and HANDCUFFS is escorted from the house next door by THREE GRIM POLICEMEN, placed in back of a POLICE CAR and,driven away MORGAN and PAMELA.

TOLLIVER - the dead girl's parents - step up to an impromptu PHALANX OF MIKES and CAMERAS and REPORTERS. Morgan, 55, is a big warm charismatic guy, stoically holding himself together. His wife Pamela, 49, a Tipper Gore blonde, is quivering, close to falling apart. Morgan has .a firm grip on her hand, keeping her steady. From-Jane's . P.OV, we note the details. .The crispness of his rolled up shirtsleeves. The run in her stockings. The big signet ring on his right hand. The way she shuts her eyes when he says her name.

MORGAN (commanding) I want to take one moment to thank everyone in law enforcement and all those volunteers who helped in the search for our beloved Grace. The way this community has come together to support me, and Pamela, in this terrible time has been a great comfort to us...

Morgan lets go of his wife's hand to smooth his hair. ECU - When Morgan -reaches out to take Pamela's hand again, she FLINCHES AWAY very slightly, as if from something dirty. A millimeter of repulsion, then she lets him take her hand. Jane glances at Lisbon to be sure she doesn't see him go, and drifts away. We follow him.

MORGAN O.S . .Now I would ask you all to give us some time and space and privacy to grieve for our daughter.

Jane strolls casually up to the Tolliver's house, opens the unlocked front door and walks inside. INT. FRONT HALL. TOLLIVER HOUSE - CONTINUOUS

Jane closes the front door. Takes a moment to look around. A grand hallway with a sweeping staircase and several doors leading off. There's a strong masculine flavor to the decor. Jane strolls around opening doors and peering into the rooms beyond.

INT. KITCHEN. TOLLIVER HOUSE - A MOMENT LATER

Jane enters via an open doorway. The kitchen is well equipped by someone who likes to cook. But, in sharp contrast to the rest of the house, it has a feminine cosy-. country-cottage ambience. Floral print pillows, drapes in soft colors, porcelain cats and mice etc. Photos of last year's ski vacation - Pamela always smiling tightly, Tolliver's arms always wrapped around his wife and daughter. Looking into the cupboards-and-drawers,.., Jane finds a lot of herbal tea and vitamins and homeopathic medicine, mostly aids to sleep. He puts water in an electric kettle, and turns it on. Then sets about assembling a HAM AND CHEESE SANDWICH with all the trimmings.

Sandwich made, Jane sits down at the kitchen table to eat and studies the refrigerator door, which is covered in photos and postcards, notes and drawings held on by whimsical magnets: an oblique chronicle of the Tolliver family: Photos of Grace Tolliver as a happy toddler, a smiling fifth grader, and a beautiful but solemn adolescent, ,,kissed by Dad at a birthday party. Pamela Tolliver enters; shuffling, wild eyed, in a daze of stress and shock.

JANE Hello Mrs. Tolliver.

He shows her his CBI Tag. His voice is soothing, hypnotic.

JANE My name's Daniel Jane. I'm here to help you. Would you like a cup of tea?

On cue, the kettle whistles a soft fluting note.

PAMELA Yes, I would. Thank you.

Jane sets about making two cups of tea.

JANE Honey and lemon?

ANE You must be tired. Why don't you sit down?

Jane helps her into a chair at the kitchen table, then brings the tea to her with a couple of cookies on a plate. Sits down facing her. She sips her tea. He does likewise. He synchronises his breathing with hers.

JANE This is a nice kitchen. It has a lovely soothing quality. Peaceful and soothing. Calm.

He takes her hand in his, covertly checking her pulse. He's calmed her right down. Now he winds her up again.

JANE Pamela, I've been watching you and your husband and this whole situation, and I want you to know that I understand what you're feeling right now.

PAMELA (a bitter laugh) You have no idea. Believe me.

JANE No. I do. I know. I know and I want to help you.

PAMELA You can't help me. (sharply) What do you know? JANE All sorts of things. For instance, you really only pretend to like ski-ing. Right?

PAMELA (frowns) Yes, but...

JANE Your best friend gained about five pounds this last year, and you were secretly pleased about that. You wish you'd been more adventurous when you were younger. You love India but you've never been there. You have trouble sleeping. Your favorite color is blue.

PAMELA (befuddled) I don't understand. You're a psychic?

JANE No. Just paying attention. I want you to understand that there's no point hiding things from me.

PAMELA (tensing up) Hiding what things?

JANE Do you know what I see when I look at your husband?

JANE I see a warm, loving, generous man. A little vain maybe, selfish. Controlling. But a decent man.

JANE So tell-me Pamela, why do you suspect him of murdering your daughter?

Pamela catches her breath.

PAMELA I don't. I don't. It was the McCluskey boy.

JANE Yes, that's what the police say. But you think they're wrong. Why? Why do you think that? Tell me Pamela. Please. For Grace's sake. Tell me.

Pamela sobs convulsively, breaks.

PAMELA I don't know, I don't know! This last year, they've been so strange with each other. Neither of them would admit anything was wrong. I think once, she tried to tell me, but, but I didn't want to... oh God. Oh God.

Jane strokes her hand, calms her.

PAMELA And when she disappeared, he was so calm. As if he already knew she was dead.

PAMELA But that's nothing is it?. That's not proof of anything.

JANE Did you ask him if he killed her?

PAMELA No. What would he say?

JANE Most wives can tell when their husbands are lying.

Pamela visualizes her husband being dishonest.

JANE Ask him then. Put your mind at rest.

PAMELA But if he didn't do it, he'll never forgive me for asking.

JANE (reluctantly) True. It's not a trust builder.

PAMELA I'm being crazy. The McCluskey boy did it.

JANE Maybe. Maybe not..

PAMELA You think he did it too? Do you?

JANE (shrugs) I trust a mother's instinct.

Morgan Tolliver walks in.

TOLLIVER There you are... (sees Jane) Who are you?

Jane stands up and comes forward to meet him, hand outstretched. Tolliver automatically takes it.

JANE I'm the police. Did you kill your daughter?

Tolliver wrenches his hand free.

TOLLIVER What the, how dare you?! Who are you? Who is this?

JANE I asked a simple question sir. Did you kill your daughter?

Tolliver waves his hands, chopping the air; and his ears turn red.

TOLLIVER No I did not! Kill my daughter! Get the hell out of my house!

Jane looks to Pamela, who turns ashen, eyes wide in horror. Her husband lied. Tolliver sees her face and it flusters him.

TOLLIVER What's the matter with you?

She shakes her head and backs away from him. Tolliver turns his anger on Jane. Puts a finger in his face.

TOLLIVER I'm going to have your badge! I'm going to see you on the goddamn street! J

ANE An innocent man would have punched me by now.

Tolliver balls a fist, steps forward. Jane steps back.

TOLLIVER (quivering with rage) I'm going to make ..

Tolliver pauses because in the corner of his eye, he sees Pamela level a Colt .33 Lady's Revolver at him.

TOLLIVER Oh for chrissake Pam!' Don't be stup-

Pamela empties the gun into her husband, making A GREAT DEAL OF NOISE; and then no noise at all. She drops the gun. Footsteps come running. Lisbon enters in a crouch, gun drawn. Straightens up, crosses herself.

LISBON Jesus Christ.

JANE I know this looks bad, but it's really not.

Pamela walks robotically out the kitchen door into the garden beyond. With a withering glance to Jane, Lisbon follows her.

LISBON Mrs. Tolliver. Ma'am. Stop.

Jane follows Lisbon out, but comes back in to retrieve his ham and cheese sandwich, then exits again.

I ACT ONE EXT. A COUNTRY CLUB COMMUNITY. INDIAN WELLS - DAY

Early morning at The Lakes at Las Brisas; a high end residential development. Big flashy houses in various styles, Jack Nicklaus signature golf course on one side, Mojave desert on t'other. Birds sing, sprinklers twitter and spin. A coyote slinks back to its cool dark daytime lair. A silver SUV approaches.

INT. SILVER SUV - CONTINUOUS

ELI RANDOLPH, 42, sits in the front passenger seat. Handsome, athletic, clean cut. Looks like a moderately successful Pro tour golfer with a big swing and a streaky putting game, and that's what he is.

TAG RANDOLPH, 36, drives. A nerdy balding, shorter, version of his older brother, for whom he acts as business manager. He has a tiny phone in his ear, a blackberry on the belt of his slacks. He fiddles with the radio and the A/C and the mirrors and his blackberry as he drives. Wound up real tight for some reason. In back we can see a couple of golf bags and other golfing paraphernalia.

ELI (apropos nothing) Then the sonofabitch eagles seventeen. A goddamn eagle.

TAG That course never suited you. You'll do better at Orlando. We have a nice spot on the draw. Mother says she might come down with us and visit aunt Judy in Boca.

Eli pays no attention. Still reliving Fresno.

ELI And I tell you what, Davis Love III can kiss my butt.

EXT/INT. ELI RANDOLPH'S HOUSE - CONTINUOUS

Tag stops the Merc outside a sort of Santa Fe Regency villa. As the brothers get out of the car, CAMERA moves ahead of them, into the house. ..

THE FRONT- HALL ..... A slim, well dressed DEAD MAN lies on his face on the floor at the foot of the stairs, a big dark pool of congealed blood around his head. SLAM CUTS take us upstairs to... A BEDROOM A YOUNG BLONDE WOMAN lies dead on the bed; horribly butchered. On the wall there's A BIG SMILEY FACE, drawn in blood. J O.S We hear' the Randolph Brothers discovering the body downstairs. A scream of horror.

ELI Oh my God! Alison? Alison!

Footsteps drumming up the stairs become the jet-engine roar of an airplane landing.

INT. PALM SPRINGS AIRPORT - DAY

Agent Lisbon strides purposefully along the concourse, with the rest of the CBI Serious Crimes Unit hustling to keep up. That's KENDALL CHO, WAYNE GILZEAN, and MELODY VAN PELT. Lisbon and the other two are pulling wheeled carry-on bags. Van Pelt pauses at the baggage carousels.

VAN PELT Ah, sorry...

LISBON You checked luggage? What are you, Sigourney Weaver?

VAN PELT No ma'am. Won't do it again.

LISBON (keeps walking) When your trousseau arrives, pick up the second rental and go direct to the Sherriff's department, hustle us up a couple of rooms and furniture and phone lines. Ask for Manny Zapata in admin if you get static.

Van Pelt peels off, crestfallen. -Gilzean-throws her a sympathetic shrug.

EXT. PARKING LOT. RIVERSIDE.COUNTY MORGUE - DAY

It's extremely hot. Lisbon, Cho, and Gilzean have to park their white rental van some distance away from the building, and they are crossing the baking lot when a taxi-cab stops beside them. Jane gets out and casually falls into stride with them.

JANE Morning everybody. How was your flight?

Lisbon is unpleasantly surprised to see him.

LISBON Go away. You're on suspension.

JANE Mandated leave. Ends next week.

LISBON So come back next week. Which one of you jackasses told him?

Cho and Gilzean shake their heads. Lisbon fixes them with her gaze. Cho looks away first.

LISBON It was you, wasn't it Cho?

JANE Of course he called me. It's Red John. You can't keep me out of this. Why would you want to?

LISBON You got a man killed. There's consequences.

JANE A man that murdered his own daughter because she wouldn't have sex with him anymore.

LISBON You didn't know that. You did not know that. If she hadn't left a diary...

JANE But she did though. Be reasonable. This is my case. Red John is mine.

LISBON Red John doesn't belong to anyone.

Jane stops her at the front doors, so that she has to look him in the eye.

JANE (This is personal) He belongs to me.

LISBON It's not my call. Rules are rules. Come back next week.

She brushes past him and through the front doors of the morgue, where a SECURITY GUARD stands duty.

LISBON Don't let that man past.

Cho and Gilzean throw rueful looks of helpless sympathy and go after her. Jane doesn't try to follow. He takes out his phone.

INT. RIVERSIDE COUNTY MORGUE - DAY

Lisbon, Cho, and Gilzean signing in at the front desk. Lisbon's phone buzzes. She sees the name, sighs, answers.

INT. CBI OFFICES. SACRAMENTO - CONTINUOUS

CBI Supervising Agent KJ PATEL at his desk computer, phone headset on.

PATEL You know why I'm calling.

CUT BETWEEN LISBON AND PATEL.

LISBON He's on suspension.

PATEL Mandated leave. Not a problem. And it's Red John. That's his baby.

LISBON We can manage without him. He's a liability.

PATEL He has issues. But he's a fabulous detective, you can't deny it.

LISBON He's not a detective, he's a circus act. We should never have taken him on in the first place.

PATEL Numbers Lisbon. Look at the numbers.

LISBON Numbers aren't everything.

PATEL Are you medicated? State's got huge budget cuts coming. We don't show em good numbers, they will cut our asses and throw our business to the feds. Don't think they won't.

Lisbon knows she's on the losing end of this argument, but she's not the type to give up easily.. LISBON We can manage without him.

PATEL Liz, you're my best Agent, you're the heart and soul of the unit. I must respect your opinion. So I'll push this case to Cochrane's team.

Take it off your hands. Lisbon curses silently.

LISBON No. That won't be necessary.

INT. STAIRWELL. RIVERSIDE COUNTY MORGUE - DAY

Jane, Lisbon, Gilzean, and Cho, climbing stairs.

JANE I'm sorry I went over your head. You know how much I value your good opinion. I'll redeem myself, I promise.

LISBON You want redemption? Don't speak to me. Be silent.

LISBON If for once you would just be quiet and watch this unit at work, maybe you'd learn how to do this job the right way, like a professional.

JANE I'll do that. I'll be quiet and I'll watch and I'll learn.

LISBON Sure you will.

Free web hosting — uCoz