Previously on The Mentalist...
We need to find Kira Tinsley. She either works for Red John, Ripped By mstoll
or she's about to become his next victim.
(GRUNTING)
Who did this to you? Tell me.
- LISBON: Jane, what did she say? - She told me Red John has a tattoo
on his left shoulder.
Three dots. That's my leverage.
(TIRES SCREECHING)
(CELL PHONE RINGING)
- LISBON: Jane. - Hello, Lisbon.
Jane, don't do this, not without me.
I said I'm sorry.
I am begging you. You're in danger!
It's gonna be okay. L-I'm gonna be okay.
No, you're not. You do this and you're throwing your life away.
Bye, Lisbon.
Jane, no.
(PHONE BEEPS)
(CAR APPROACHING)
(SIGHS) (MAN WHISTLING)
(LOCK CLICKS)
♪ (THEME MUSIC) ♪
- CHO: A tattoo? - Yes.
That we can use to identify Red John?
- Yes. - That's great.
Shall we check suspects one by one until we find out who has a tattoo?
No.
Why not?
Red John doesn't know I know about the tattoo.
Okay.
So if we start checking suspects, it's very likely that Red John will find out.
And disappear before we have a chance of getting him.
Exactly.
Then what do you want to do?
Gather all five suspects together at the same place, same time,
then start checking for the tattoo.
And how do we do that?
- We'll ask them. - You think they'll agree?
I wasn't planning on giving them a choice.
Even so there is a problem.
Bret Stiles is wanted by the FBI in connection to two homicides.
Yeah. Cold cases from over 20 years ago.
You're kidding. After all this time, the FBI is moving in now?
They must've found something new. Forensics, a witness.
- Where's Stiles? - That's the thing. Nobody knows.
Not even the FBI. Stiles disappeared weeks ago.
- We'll find him. - How?
I don't know, but we'll find him. We have to.
- I'm on board with your plan. - Good.
On one condition. I want to be there when you reveal Red John.
- Okay. - Seriously.
- I said okay. - But you didn't mean it.
Did I not? How can you tell?
- This is non-negotiable. - I agree 100 percent.
I think I've made myself clear, agents.
I have no knowledge of Bret Stiles' whereabouts.
Yes, Mr Cooper.
And we've made it clear that we're not buying it.
He leaves you in charge of Visualize, but he keeps you in the dark
about where he's hiding. It doesn't make sense.
He has and always will put the church's needs before his own.
This time is no different.
He doesn't want me to know because he wants to protect me.
And because he doesn't want to be found.
I doubt Bret Stiles is worried about being found.
You seem confident.
Call it faith.
You see, Stiles' time in our reality is limited.
As we speak, he's preparing his mind and body
for a departure from the confines of our material world.
He's dying?
That is a very naive, very ignorant way of looking at it.
Bret Stiles is not dying. Bret Stiles cannot die.
He's elevating himself to another plane.
One lesser men like ourselves can only strive to reach.
One some of us obviously can't comprehend.
- Coffee. One cream, one sugar. - Thanks, Russell.
- Forensics is here when you're ready. - Send them over.
Get his ID for me. You know how I am about heights.
Sure. Oh, and someone's here to see you.
Thanks.
There's been a breakthrough in the Red John investigation.
I have some new information. Some very significant information.
Okay. What is it?
No, no. Not yet.
I'm not sure who I can trust. I'm not even sure I can trust you.
Red John has very powerful allies.
Patrick, come on.
Okay, but not here. Meet me at 8:00 on Thursday night.
- Thursday? Why? - I need time to find a safe place to meet.
- Fine. Where? - I'll let you know the day of.
- This is crazy. - I've made the mistake
of underestimating Red John a number of times now.
I don't want to make that mistake again.
If you want the information, it's on my terms.
Okay. Thursday night.
(CELL PHONE RINGS)
This is Sheriff McAIlister.
Sheriff? Patrick Jane.
Hello, Patrick. How are things?
Good. Good. I'm calling because I had a question.
Shoot.
Last month when I was in Napa, you said that you're at my disposal.
- Yes, I remember. - Did you mean what you said?
I like to think I'm a man of my word.
I don't doubt it. But can I count on you for your help?
Can I count on you?
Of course.
Thursday night at 8:00 I'll need your help.
Then you've got it.
Thank you. I'll let you know where to be the day of.
- Patrick? - Yeah?
This is about Red John, isn't it?
Thursday night.
- They're ready for you, sir. - Thank you, Evelyn.
- Also, this came for you. - Hmm?
You are here tonight to witness my ascension.
My ascension from this world to a world beyond.
Do not mourn me, my children, for this is not a passing...
...but a departure.
And I promise...
...I will return!
(CHEERING)
Listen to me, Don. You don't have a mistress.
You have a vindictive screwball who's about to ruin your life.
Yes, well, it's very lucky for you my job is to fix problems,
so here's what you're gonna do.
You're gonna write her a check. It's gonna be a very big check.
And then you are gonna pray that this problem goes away.
If it doesn't, don't worry, Don.
There are plenty of ways to keep a woman quiet, okay?
All right. I gotta go. All right.
- Hello. - You're late.
Good to see you, too, Teresa. Excuse me, can I get coffee, black?
- Sure. - Thanks.
- Why am I here at 8:00 a. M? - I need help with an investigation.
- What investigation? - It's not important.
Really? It is if you want my help.
- I can't tell you. - Come on, Teresa.
I know you better than that.
You and Jane got something going on with the Red John case?
- Maybe. - Maybe. Yeah, right.
What is with all the secrecy?
Why are you always holding out on me? You don't think I'm Red John, do you?
You do, don't you?
Tell you what. You want to question me,
you arrest me, otherwise, you leave me the hell out of this.
Sit down. Sit.
If asking's not gonna work, I won't ask.
You're no longer with the CBI.
You don't get the same protection law enforcement gets.
- You threatening me? - No, Jane is.
He wants to see you tomorrow night.
If you don't show up, he'll assume you're Red John.
And Ray, he will come after you.
You gotta be kidding me.
You know Jane. You know what happened to him.
You know what Red John did to him.
If I were you, I wouldn't test him.
- I'm not afraid of Patrick Jane. - What's the problem with showing up?
If I do this, will you drop the whole that "I'm Red John" business?
For once and for all.
- What time? - 8:00.
I'm not done.
- There's one more thing that I need. - You're killing me here.
- Stiles. - Yeah?
- Where is he? - I can't help you.
Come on, Ray, you've been with Visualize for years.
I don't want to arrest him. I just want to talk to him.
You do this, and I will owe you.
In your line of work, sooner or later you're gonna need a favor.
Ray Haffner told me Stiles uses a private jet
to move around the country undetected.
It belongs to a guy named Ryan Parks.
Parks. Got it. I'll check it out.
- Has Jane been in yet? - No, I haven't heard from him.
(KNOCKING)
Mr. Lamotte?
Yeah? Can I help you?
Agents Cho and Rigsby from the CBI.
We were wondering if you could answer a few questions for us.
- Sure. - A G6 landed here late last night.
Tail number N550MT. Around 11:00.
- I remember. What about it? - Do you know who was on the flight?
No. Private aircraft aren't required to provide passenger manifests.
Did you see anyone getting off the plane?
No. Sorry. But whoever it was had a car service pick him up.
- They might be able to help you. - You have the name of that service?
Yes, I do.
What happened with the car service?
They said they picked up a silver-haired man with a British accent
from the airport last night.
- Stiles. - We think so.
- Where'd he go? - Ecuadorian Consulate, San Francisco.
Good job. You two go and check it out.
Van Pelt, why don't you go alone? Stiles likes you.
Maybe we can use that to our advantage.
- Is there a problem? - No.
- I'll be fine. - I know.
- It's my job. - I know.
Hey. I love you.
I know.
(CELL PHONE RINGS)
- Hey, Lisbon. - Where are you?
Just running some errands.
- Everything okay? - Right as rain. What's up?
- Haffner's in. - Good. What about Stiles?
Van Pelt may have a bead on his location. She's checking it out now.
That leaves one more Red John suspect left to talk to.
Bertram. I'm on my way to his office. You want to meet me there?
All right.
Grace Van Pelt. Well, how lovely to see you again.
Mmm.
Wow. So, please sit. To what do I owe this pleasure?
Jane. He needs a favor.
Clever, him, sending you.
So exactly what can I do for Patrick Jane?
He would like to meet with you. Tomorrow night at 8:00.
You've changed since we last met. You're married.
Yes.
Don't tell me you married that genial oaf.
Oh. Oh, well, congratulations.
Thank you.
So will you meet with Jane?
You know, nothing would please me more than to meet with him.
I mean, really, I would love to, but...
Unfortunately, my circumstances... It's probably not gonna happen.
Because of the FBI?
You have been doing your homework.
They don't know I'm here which means they don't know you're here.
But they will if you don't agree to meet with Jane.
You have changed, haven't you?
Have you ever been to Ecuador?
No.
I was there, oh, God, years and years ago doing missionary work.
Lovely people.
There was a young man there. He was underprivileged.
Ferociously ambitious.
I saw something in him. So I decided to try and help him.
I paid for his school fees, that sort of thing. Nothing really much, but...
Wouldn't you know it. All these years later,
that same man is now Minister of State.
I'm happy for him.
Anyway he invited me to stay in this palatial consulate.
This morsel of foreign soil.
Foreign soil which, as you know, is outside the jurisdiction of you, the FBI,
and all US law enforcement.
You see, Gracie, your idle threats are just that.
It's been lovely seeing you again. Please give my best to Mr. Jane.
(CHUCKLES)
Close the door on your way out!
- It's gonna be fine. - Thanks. I feel a lot better.
(KNOCKING)
Come on in.
We've made a breakthrough, sir.
- In... - The Red John case.
We're close to identifying him.
Well, then this is fantastic news. You really think you've got him?
I do.
I want to know the second you have something concrete.
- You will, sir. - I want to be there when you end it.
I was hoping you'd say that.
(WHISTLING)
Yeah, it's me.
I just had a very interesting conversation with Patrick Jane.
- How'd it go with Bertram? - He's in. What about Stiles?
- Not so good. - Did you find him?
- Yes. - Then what's the problem?
He's at the Ecuadorian consulate. We can't touch him.
What do you want to do?
- I'll handle Stiles. - He's not gonna come with you.
- He doesn't have to. - I'll be persuasive.
What is that?
A shot gun? You sure it's big enough?
We need to talk about tomorrow night.
- I've already told you. - Hear me out, please.
- You don't want me to be there. - No, I don't.
You don't want me to be there
because you think I'm gonna try and stop you from killing Red John.
Are you saying that you won't?
What I'm saying is some men, men like Red John,
they don't deserve a trial. They don't deserve ajury.
They deserve what they have coming at them.
Let me get this straight.
After close to 20 years working in law enforcement
you're just changing your mind?
About Red John? Yes.
I'm surprised, Lisbon.
What, you don't believe me?
Heavens no. You're the most honest person I know.
You would never lie. Not about something like this.
Right?
Right.
- Tomorrow night then. - Tomorrow night.
(SLIDES DOOR SHUT)
Patrick, dear boy. Well, how are you?
Well, I'm not your boy.
Oh, I see. So this is not a social meeting, eh?
You're gonna meet me tonight at 8:00.
- Patrick. - No, you listen to me.
You're gonna meet me tonight, or I'm gonna come back here,
and when I do, you'll need more than these walls to keep you safe.
Threats? That's so out of character.
- I mean every word of it. - Yes.
I believe you do.
But you see, a dying man does not fear death.
Oh, please. This charade might work on your disciples, it doesn't work on me.
You think too highly of me.
Unfortunately, it's not a charade.
How long have you got?
It's spread to the blood. There's nothing they can do.
I don't know two weeks, a month.
You see...
It's not personal. It's just that... my time now is very precious.
I'm still gonna need you tonight.
For God's sake, why? What's so damned important?
Red John. I'm close. Closer than I've ever been.
Red John?
Nothing would give me more pleasure than to be with you there tonight.
But?
There's more to this than you know. There's more keeping me here.
- The FBI? - Yeah, as a matter of fact.
They tracked me here. They're waiting for me to leave so they can arrest me.
I'm not choosing to stay here, but I'm trapped.
So the FBI's the only thing that's keeping you here.
MAN ON RADIO: Eyes up, we've got movement at the front entrance.
That's a Visualize car. I think they're sneaking someone out.
Get ready to move. Go now! Go! Go! Go!
(TIRES SCREECHING)
- Don't move! - Hands on your steering wheel!
Keep your hands where we can see 'em.
Hello, gentlemen. Something I can help you with?
Stiles is in.
We'd better get going. We've got a long drive ahead of us.
Come on!
(CELL PHONE VIBRATES)
Take him.
Well, then Sac PD's gonna have to wait.
I don't wanna pull rank but I will. (CELL PHONE VIBRATES)
Kevin, I gotta call you back.
(CELL PHONE VIBRATES)
I'll be needing a car.
LISBON: What are we doing?
I want to see the sunset.
There's something I want to tell you, Lisbon.
Something I should have said a long time ago.
I want to thank you for everything that you've done.
- You can thank me later. - No, I...
I need to say this now.
You have no idea what you've meant to me.
What you mean to me.
Thank you.
I almost forgot. I have a surprise for you.
Wait here.
(CAR ENGINE STARTS) Jane? Jane!
(KEYS CLATTERING)
Hello! Hey!
(BREATHING HEAVILY)
Hey! Stop! Police!
My name is Teresa Lisbon.
I'm an agent with the California Bureau of Investigation.
I need to borrow your car. It's an emergency.
- What?! No way. - Get out. Now. Come on.
- Come on. - This is outrageous.
- I'm calling the police. - Good idea. Thanks.
(MUTTERS ANGRILY)
(CELL PHONE RINGS)
- LISBON: Jane. - Hello, Lisbon.
Don't do this, not without me.
- I'm sorry. - I am begging you. You're in danger!
It's gonna be okay. L-I'm gonna be okay.
No, you're not. You do this and you're throwing your life away.
- Bye, Lisbon. - Jane. No.
(CAR APPROACHING)
(CAR DOOR OPENS) (MAN WHISTLING)
Oh. Hello, Patrick. Am I early?
No, right on time. Have a seat.
WOMAN: 911, what's your emergency?
This is Agent Teresa Lisbon with the CBI.
I need officers at 1309 Cedar Street in Malibu.
I have an agent who needs immediate assistance.
I brought you five together for a reason. Some of you may know that reason.
Some of you may have guessed. But one of you here...
...is Red John.
What? One of us?
One of us here is Red John? Well, that's very interesting.
- Who is it? - I don't know.
We're going to find out.
You're trying to say that one of us is a serial killer?
- I know it. - This is crazy.
I can assure you it's not.
Well, I can assure you I'm not sticking around for this crap.
Sit down. Do not move toward the door.
No one is leaving.
Take it easy, Patrick.
Do I look distressed?
Don't.
I will shoot you. That goes for the rest of you too.
Take out your weapons slowly, place them on the floor...
and push them toward me.
Thank you.
Okay, Patrick. This is... This is enough.
- It's gone far enough. - We're just getting started.
I've waited ten years for this moment.
All those years, Red John has been smart.
One of you has been smart. Careful.
But not this time. This time, you made a mistake.
Kira Tinsley told me something before she passed.
She told me that her killer, Red John, has a tattoo.
Three dots on his left arm. On the shoulder.
And you all are gonna show me.
Now.
Let's go. Come on.
That's it. Take it off.
Nonsense.
Very good.
It's not what you think.
- You got it wrong. - Enough.
I'm not Red John.
Patrick, wait. Patrick! Look. Here. Look.
On your feet. Over with those two.
You stay there. Okay, you three.
Over against that wall. Now.
MAN: Wait! No! (GUNSHOT)
(TIRES SKIDDING) (CAR HONKING)
Jane!
(GASPS)
(GRUNTS)
(DEBRIS CLATTERING) Ripped By mstoll
(English - SDH)