The Mentalist Draft Pilot - Part 4 - Scripts - File Catalog

FLASHBACK INT. TV STUDIO -DAY The younger Jane, seated opposite Davis and Kelly. . .

DAVIS What's his name, Red John?

JANE That's right. Red John. He's killed at least ten women that we know of. Terrible, brutal,sadistic crime's. The police asked me to try and get a psychic fix on him, to see if I could get some sense of who this man is.

DAVIS How do you do that? Get a psychic fix on someone?

JANE Davis, true demonic evil burns a sort of black scar, a darkness if you will, into the fabric of psychic space. I force myself to look into that darkness, and I see an image of the evil-doer.

KELLY You saw him? Red John?

JANE I did. As I told the police, He's a very ordinary looking man, mid thirties, medium height, thinning brown hair.. He's methodical and tidy, keeps himself very clean. He has a small speech impediment that he's deeply ashamed of. He works at a clerical job, and lives with his mother or a sister in a single story blue house with a citrus tree in the front yard. Lemon, I think.

The SOUND of APPLAUSE turns to distant CRASHING WAVES.

EXT MALIBU – NIGHT

Jane at the wheel of a BMW, cruising upward through hills overlooking the darkly glittering ocean, to an ELEGANT MODERN HOUSE.

INT MALIBU HOUSE – NIGHT

Jane comes in the front door quietly, slipping off his shoes, trying not to wake someone. He picks up a sheaf of mail and looks through it as he goes upstairs, pushing aside a kid’s tricycle on the way. Walking down a hallway, Jane sees a NOTE pinned to the door at the end of the hallway. Time begins to stutter, as in a nightmare. Jane takes the note from the door, reads.

Dear mister Jane, I do not like to be slandered in the media, especially by a dirty moneygrubbing fraud. If you were a real psychic, instead of a dishonest little worm, you wouldn’t need to open the door to see what I’ve done to your lovely wife and child.

Jane drops the letter and opens the door. On the far wall, he sees this - {smiley face}

INT WAGNER’S OFFICE. OAKS WELLNESS CENTER – NIGHT

Jane and Wagner facing each other. Only a second has gone by.

WAGNER What is it that keeps you awake? Jane gathers himself.

JANE Okay. I’ve never told anyone this before ...

WAGNER This is a safe place.

JANE When I was a boy, we had a farm.

JANE I was a lazy kid. I’d always be trying to get my little brother Jimmy do my chores for me. One day I promised him a dollar to cut the firewood. Well, he opened an artery in his leg with the band-saw and he bled to death. Died. Doing my chores for me.

WAGNER (analyst’s deadpan) How did that make you feel?

WAGNER You know, that’s pretty much the same thing that happened to Johnny Cash.

Jane affects surprise.

JANE Is it really? Wow. That’s spooky.

ACT FOUR INT. TEMP OFFICES SHERIFF’S DEPARTMENT – DAY

Red-faced with anger, Eli Randolph barges through swinging doors, followed by a perspiring LAWYER. Cho’s first to intercept him.

CHO Ah Mister Randolph, good ...

ELI Cut the crap. My brother’s done nothing and you know it. You scumbags haven’t got the stones to come after me, so you go after my family. It’s flat out persecution.

LAWYER Eli, what did we agree? I apologize for the disrespect. I’d like to see my client now. Lisbon has entered, but signals to Cho that he can deal with them.

CHO Mister Randolph, rest assured there’s no intent to persecute you. We scumbags are holding your brother because we have physical evidence linking him to the crime, and potential motive, in that he states whenever you weren’t around he was banging your wife like a big bass drum.

ELI Tag and Alison? (laughs) Bullshit.

CHO That’s what he states. He further states it was you that killed Alison, and you’re now trying to frame him, in revenge. ELI What?!

LAWYER Uh, Agent Cho, my client? Now?

ELI Are you out of your bloodsucking mind? My brother can rot in hell before he gets legal advice on my dime. CHO It’s good that you’re here. Maybe we can get to the bottom of this mess, huh?

INT WAGNER’S OFFICE. WELLNESS CENTER – NIGHT

Doctor Wagner writes a prescription, tears it off the pad. He offers Jane the scrip and a bottle of pills, but then pulls back slightly.

WAGNER (with a smile) Everything you told me was total fiction wasn’t it?

WAGNER Why? I can tell you’re in real pain. Why not tell the truth?

JANE The truth is mine. The truth is something I have to bear alone. Talking about it is weak. Talking about it is self-pity. I’m not going to give in to that. Wagner nods gently.

WAGNER I hear you. He hands over the scrip and pills.

WAGNER That’s a week’s supply to be getting on with.

INT HALL. OAKS WELLNESS CENTER – NIGHT

The rest of the staff have gone home. Wagner escorts Jane through the empty building to the front doors.

WAGNER I know it’s hard, but you should try to find a way to express your pain. It’s the surest route to healing. It doesn’t have to be therapy with a doctor. It could be poetry, or painting even.

JANE That’s an idea. I’ve often thought that – Oh... ...Noticing Tannen’s office, nameplate still on the door.

JANE Tannen. I was meaning to ask you something about him ... (thinks) Be damned if I can remember what it was. It’ll come to me.

They walk a little further. Jane thinking hard. He stops, claps his hands.

JANE Yes. Do you call we were talking about Tannen the other day? I asked if he kept a diary, and you said that he did...

JANE ....But there’s no diary among his effects. Sorry, no?

WAGNER Yes, no. You have it wrong. I said he didn’t keep a diary.

JANE Strange. Then it must have been someone else who told me. Either that or I’m going mad. Because I definitely 100% remember hearing that Tannen kept a diary.

WAGNER That is strange. But why does it matter if he kept a diary? JANE You’re right. It doesn’t matter. (walks on) Only I was thinking, you know why magicians have beautiful girl assistants.

JANE They’re reliable distracters of attention. People will look at a beautiful girl for a long time before they look where they should be looking if they want to see how the trick really works. Wagner laughs politely, affecting to not quite follow Jane’s drift. He opens the glass front doors with a swipe of a keycard which he then puts back in his jacket pocket.

JANE Anyhow, I’ll send over a couple of CSI techs tomorrow to search his office.

WAGNER Didn’t they already search his office? JANE Oh they never do it thoroughly the first time. One more for luck eh? It must be there somewhere. He gives Wagner a brief but strong hug in farewell.

JANE Thanks for everything Doc.

WAGNER Goodnight. He exits. Wagner closes the door. Watches Jane walk away toward the parking lot. Deep in thought, Wagner returns to his office. He pauses outside Tannen’s office. We can see the wheels turning. A diary? No. But what if there is one? What then? Wagner goes to the front desk, takes a bunch of keys from a hook under the counter.

INT TANNEN’S OFFICE – NIGHT Wagner enters, closes the door behind him. He looks around the room, two walls are lined with books, the others with framed photos and paintings and diplomas. Wagner starts methodically searching the place, looking for the diary. His temp builds until he’s frantically tearing books from the shelves in search of Tannen’s diary.

INT INTERROGATION ROOM. SHERRIFF’S DEPT – NIGHT

Gilzean and Cho interviewing Eli and his lawyer.

CHO Where were you around eleven thirty yesterday evening?

ELI In bed at my mother’s house. What the hell has that got to do with anything?

Gilzean answers his buzzing phone, listens.

GILZEAN (irritated) Now?

INT TANNEN’S OFFICE – NIGHT

The floor is carpeted in books, chairs and tables upended, drawers emptied. Wagner empties the last shelf and sits down in the middle of the wreckage, exhausted.

JANE Lost something? Jane’s standing in the open doorway.

WAGNER How did you get in?

JANE The door was open. I think I left my phone in your office.

WAGNER The door wasn’t open.

JANE Must have been, else how did I get in?

FLASHBACK INT FRONT DOORS WELLNESS CENTER

Jane gives Wagner a brief but strong hug, at the same time dipping into his jacket pocket and removing the keycard.

INT TANNEN’S OFFICE. OAKS WELLNESS CENTER – NIGHT

JANE What are you doing?

WAGNER I confess, the temptation to play detective was too strong. I thought about what you said, about the missing diary, and I decided I’d try to help out. I got a little carried away.

JANE No kidding. But no diary.

JANE Maybe I should have a gander. I’m good at finding things. Wagner can’t say no.

Jane studies the room intently, then moves slowly round it, searching by looking, touching, listening, smelling. It’s a compelling performance that has Wagner entranced. Jane zeros in on a narrow gap between a filing cabinet and the wall. He gets down on the floor and reaches in. He has to roll up his sleeve in order to squeeze his arm into the gap. After a moment of groping about, he pulls out THE RED DIARY that he bought at Rite-aid. It says DIARY in gold letters. Wagner pales. Jane opens the diary.

WAGNER’S POV – Page after page of tiny neat scribbling, punctuated by numbers and symbols. JANE Eureka. Wagner edges closer to try and see what’s written. Jane shuts the diary.

JANE My people have to see this right away. He puts out a hand to Doctor Wagner, who has to take it.

JANE Doctor Wagner, thank you for your help. With that, Jane is out the door.

INT HALLWAY OAKS WELLNESS CENTER

Jane heads to the front doors. Wagner comes out of Tannen’s office after him ...

WAGNER Mister Jane, your phone. Jane laughs at his absent-mindedness.

JANE Right. They turn and go to ...

INT WAGNER’S OFFICE. OAKS WELLNESS CENTER

Wagner comes in first, goes to his desk. Jane goes to the chair he was sitting in earlier, and picks up his phone.

JANE Silly of me. Goodbye again. He turns to go.

Wagner aims a SEMI-AUTOMATIC PISTOL with SILENCER attached.

WAGNER Give me the diary.

Jane gives him the diary. Putting the desk between himself and Jane, Wagner opens the diary, reads, and realizes he’s been had. He manages a twisted smile.

WAGNER Very amusing. He tosses the diary back at Jane, who catches it.

WAGNER I knew, I knew it might be a trick. But I had to be sure.

JANE Yes. That’s how the trick works.

WAGNER What led you to me?

JANE When we first met, you said you didn’t know who Red John was. But you have several books on criminal psychiatry there that have chapters on him. You were in a position to know where Tannen was that night. You’re a doctor, so you can cut up another human without difficulty. It was obviously you.

WAGNER That’s it? You have nothing. That’s just guesswork. Nothing.

JANE Oh I know. I just wanted to be sure I had the right answer. Because I was surprised, to be honest. You don’t seem to be a wicked man. But you are.

WAGNER You’re angry about the letter. That was a bit mean-spirited. I’m sorry about that. But I’m not a wicked man. My conscience is clear.

WAGNER Right now, in Africa, there’s three thousand beautiful children alive today that should be dead, but they aren’t, because of me. Me. Alive and fed and clothed and educated and happy. Tannen was going to ruin me and destroy all of that work. Over a stupid mistake. An accounting error. Theft he called it. Self righteous idiot. There are villages named after me. I took a rational moral decision for the greater good.

JANE What did Alison do wrong?

WAGNER As you said, she was the magician’s assistant. You’re a clear headed man. Truly, is killing two people worse than killing one? When thousands of lives are at stake? I don’t think so.

JANE Alright Doctor Doom, let’s go. You’re under arrest.

WAGNER I’m pointing a gun at you.

JANE Do you really think I would set you up so nicely and then let you draw a loaded gun on me? I took the bullets out earlier.

Wagner can’t help himself; he checks his gun, taking his eyes and the gun off Jane for a second. Jane throws the diary like a knife thrower, diving sideways as soon as the book is out of his hand. The book hits Wagner square between the eyes, knocking him backward. He fires wild, missing Jane, who darts out of the room.

INT HALLWAY. OAKS WELLNESS CENTER

Jane runs to the front door, which is propped open with a chair, and bumps into Gilzean coming in, very grumpy.

GILZEAN Okay, so here I am. What’s up? This better be good.

JANE It is. Draw your weapon.

GILZEAN Huh? Wagner comes tearing out of his office gun in hand. Gilzean swiftly pulls his gun and levels it.

GILZEAN DROP THE GUN! Wagner freezes, and drops the gun.

INT INTERVIEW ROOM. SHERIFF’S DEPARTMENT – NIGHT

Tag Randolph alone and disconsolate. Lisbon enters.

LISBON Sir, you’re free to go. We apologise for any inconvenience or discomfort you may have been caused.

She exits. Tag hesitates, then stands up.

INT BATHROOM SHERIFF’S DEPARTMENT –NIGHT

Tag splashes water in his face, washes his hands. He’s drying them when Eli enters. Eli swells with anger, ready to kill Tag, who stands his ground defiantly.

TAG I’m glad. I’m glad you know the truth.

The history of their lives together flashes across Eli’s face. He finds some small kernel of redemptive love inside himself and instead of punching Tag, pats him sadly but not unkindly on the shoulder.

He goes past Tag to the urinals. Unzips to take a piss. Tag wants to say something more but doesn’t. Exits.

INT TEMP OFFICES. SHERIFF’S DEPARTMENT – NIGHT

Tag exits the men’s bathroom and heads for the exit.

In the temp offices, Lisbon, Cho and Gilzean are doing bureaucratic chores and packing up their stuff to leave. Jane is eating pizza, unhappily aware of a chill in the air.

JANE Come on people. A cleared case is a cleared case.

JANE I just went to get sleeping pills, swear to God. I didn’t even want to go. You know I didn’t.

GILZEAN Lying doesn’t make it better.

JANE She said be quiet and watch and learn, so that’s what I did. That’s all I did. Stuff happens.

CHO Right. You didn’t set Wagner up. You didn’t figure it was him days ago.

LISBON You didn’t let us go down the wrong road and tear apart the victim’s family, simply to satisfy your childish egotistical need for drama and attention and surprise.

JANE Meh. That family was screwed anyway. Don’t blame yourselves.

Lisbon throws a balled up sheet of paper at Jane.

EXT MALIBU – EVENING

Jane at the wheel of a car, cruising upward through hills overlooking the darkly glittering ocean, to the same ELEGANT MODERN HOUSE we saw earlier in flashback.

INT MALIBU HOUSE – NIGHT Jane comes in through the front door. The house has been abandoned. Stripped, empty, trashed.

INT BEDROOM MALIBU HOUSE – NIGHT In the empty room, Jane uses a couple of blankets to make himself a rough bed. Curling up like a child, he at last falls into deep sleep.

CAMERA pushes in on the wall above him, where you can still see the faded remnant of Red John’s trademark – {smiley face}

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