The Mentalist 1x04 - Ladies in Red (Aug 6 2008)

“Ladies in Red”
Written by
Gary Glasberg
Directed by
Chris Long
Episode 102
#3T7802
Warner Bros. Entertainment PRODUCTION DRAFT

4000 Warner Blvd. July 23, 2008
Burbank, CA 91522 FULL BLUE 7/25/08
FULL PINK 7/28/08
YELLOW REVS. 7/28/08
GREEN REVS. 7/29/08
GOLD REVS. 7/31/08
SALMON REVS. 8/01/08
CHERRY REVS. 8/06/08
© 2008 Warner Bros. Entertainment Inc.

This script is the property of Warner Bros. Entertainment Inc. No
portion of this script may be performed, reproduced or used by any
means, or disclosed to, quoted or published in any medium without the
prior written consent of Warner Bros. Entertainment Inc.
THE MENTALIST
“Ladies in Red”
Episode #102
August 6, 2008 – Cherry Revisions
REVISED PAGES
YELLOW REVISIONS – 7/28/08
35
GREEN REVISIONS – 7/29/08
2, 3, 6, 15, 16, 21, 22, 25, 28, 29, 31, 32, 34, 40, 40A,
41, 42, 43, 43A, 45, 55
GOLD REVISIONS – 7/31/08
43A-44, 45
SALMON REVISIONS – 8/01/08
1, 2, 2A, 15
CHERRY REVISIONS – 8/06/08
50, 51
TEASER
FADE IN:
1 INT. SANDS HOME. FOYER - DAY (D/1) 1
Early morning. A grand turn-of-the-century Victorian high on

a hill in Pacific Heights, San Francisco. A beautiful
combination of old and new; art and high-tech gadgets abound.
But tonight architectural charm has been compromised by a
break-in. The place appears mostly intact, but BFS TECHS are
already at work collecting forensic evidence.
JANE, LISBON, and RIGSBY are escorted through the photo

covered foyer by SFPD INSPECTOR COLLEEN MULVEY, 30’s.
ANGLE: Jane eyes assorted collectibles in the house -- an oil

painting, an antique vase, a new bag of golf clubs resting in
the corner. Nothing taken.
LISBON
Mind running it for us, Inspector?
MULVEY
(a tad sulky)
Not sure why you all were called
in. We could handle it. Place
belongs to Jason Sands. Investment
banker. Big-ass political
contributor.
LISBON
That’s why we were called in.
Attorney General likes to stay on
top of this kind of thing. But
hey, if you like political hot
potatoes, I’ll be happy to call the
boss, tell him SFPD wants it.
Mulvey gives Lisbon a sardonic beat.
MULVEY
Mister Sands’ wife Jennifer comes
home with their daughter about nine
o’clock last night. She finds her
husband gone. And this...
Mulvey leads the CBI team into...

THE MENTALIST "Ladies in Red" CHERRY 8/06/08 2.
2 INT. SANDS HOME. OFFICE - CONTINUOUS 2
Classic masculine decor -- leather seats, oak desk. The room

is covered with President’s Cup and sailing memorabilia.
Papers are strewn throughout, drawers open and things knocked
over. A big bloodstain mars the carpet and a heavy chair is
tipped over.
MULVEY
There’s been no ransom demand yet,
but I expect we’ll get something
soon. If you want our tech guys to
set taps I got to let them know...
LISBON
That’s okay. We can handle it.
Where’s his family now?
MULVEY
With friends. Mrs. Sands thought
it was best for the little girl and
we agreed.
RIGSBY
Any sign of forced entry?
MULVEY
Nope. Must have been a front door
job. Posing as a courier or what
have you.
We’re looking closer at the room now -- from Jane’s POV:

Lying on the floor near the overturned chair is a SIMPLE
REMOTE CONTROL UNIT, WITH A 123 KEYPAD with bloody handprints
on it. Jane’s focus lands on one specific sheet of paper
wedged partially under a wall unit bookcase.
JANE
He’s still here.
MULVEY
(eyeing his tag)
Uh, not unless he’s invisible he’s
not, Agent Jane.
LISBON
He’s not an agent. He’s a
consultant.
JANE
No badge no gun, they won’t even
give me a dental plan.
(CONTINUED)
THE MENTALIST "Ladies in Red" CHERRY 8/06/08 2A.
2 CONTINUED: 2
Mulvey looks at Jane, intrigued, but not in a good way.
MULVEY
Oh. Yeah. You’re the one they
were telling me about... the
psychic.
(MORE)
(CONTINUED)
2 CONTINUED: (2) 2
MULVEY (CONT'D)
Well I’m sorry, Gandalf, but we did
look around pretty good in our
bumbling way. He’s not here.
JANE
He’s here. And there’s no such
thing as psychics. They tortured
him in this chair...
He tilts the chair back up. It sits at the center of the

bloodstains, picks up the remote control unit...
JANE (CONT’D)
...To give them a pass-code.
Jane begins rapidly punching in the top ten pass-codes.
MULVEY
Pass-code to what?
Jane points to the sheet of paper under the bookcase.
JANE
Would you humor me, Inspector
Mulvey? Would you try to pick up
that sheet of paper?
Mulvey sees no reason not to, bends to pick it up, and the
paper tears in half, stuck under the bookcase. Beat... as
everyone gathers the significance of that.
MULVEY
The bookcase must have moved...
LISBON
After these papers were scattered
on the floor.
RIGSBY
It’s a door. To a safe?
LISBON
Or a safe room.
JANE
Yes.
He’s still tapping away at the keypad.
JANE (CONT’D)
The intruder must have been
distracted by something.
(MORE)
(CONTINUED)
2 CONTINUED: (3) 2
JANE (CONT’D)
Left Sands alone for a moment.
Sands punches in the code and
before they can stop him gets into
the safe room, shuts the door
behind him.
LISBON
Which will open if you press the
buttons a lot.
JANE
I’m entering the top ten pass-code
choices.
RIGSBY
But, if there was a safe room,
wouldn’t it have a silent alarm?
Connected to a security company?
JANE
Not if you’re the paranoid
secretive type. You make a safe
room only you know about.
He’s run thru his list of pass-codes. Mulvey turns to a UNI.
MULVEY
Go call a locksmith.
JANE
Hang on a second, Inspector.
ANGLE -- Jane looks around the room -- PHOTOS of Sands’ wife,

JENNIFER, and 7-year-old daughter, JULIE. PHOTOS of Sands
with sailing buddies. Trophies for sailboat races. Multiple
PICTURES of the boats he’s raced, their numbers prominently
displayed on their sails... 24, 44, 37.
JANE (CONT’D)
(sing song)
Farewell and adieu to you fair
Spanish maidens.
He types in the corresponding digits on the sails and -- Clunk.

Doesn’t work. Keeps tapping in the numbers in various order...
JANE (CONT’D)
Farewell and adieu to you ladies of
Spain. For we’ve received
orders...
(CONTINUED)
2 CONTINUED: (4) 2
CLICK. The bookcase releases and inches open ever-so-

slightly.
JANE (CONT’D)
...To sail back to Boston...
And pushing the door open, Lisbon and Rigsby reveal a beaten
and bloody, JASON SANDS, 30’s, slumped on the floor in a big
pool of blood. Very dead. Mulvey crosses herself.
FADE OUT.
END OF TEASER
ACT ONE
FADE IN:
3 EXT. YACHT CLUB. MEMORIAL SERVICE - DAY (D/2) 3
A bucolic garden setting with the marina in the b.g. A

PHOTOGRAPH of Jason Sands rests on an easel surrounded by
flowers. Family and friends have gathered to mourn Sands’
passing. JENNIFER SANDS, 30’s, dressed in black, forlorn but
naturally lovely, stands beside the photo trying her best to
receive well-wishers. Young JULIE, 7, stands alongside
stoically, doll in hand. Hovering nearby Jennifer is MICHAEL
BENNETT, 40’s, the family attorney, who appears equally
thrown by recent events.
Jane, Lisbon, Cho, VAN PELT and Rigsby (in business attire)
observe the crowd from a slight distance.
RIGSBY
I look around, I don’t see anyone
here could torture a man to death
with pliers and a lit cigar.
JANE
Picture them naked and ravenously
hungry.
VAN PELT
Eew.
CHO
Strictly speaking he wasn’t
tortured to death. He bled to
death on his own in his hidey hole
there.
RIGSBY
Kind of almost has himself to
blame, huh?
CHO
Kind of.
JANE
How’s the widow check out?
LISBON
Night of the murder she and the
daughter were at a concert. Peter
and the Wolf.
(CONTINUED)
3 CONTINUED: 3
CHO
She have stubs?
RIGSBY
Yup.
Jane is watching Jennifer closely. There’s something going

on between Bennett and the widow, in whispers and looks and
gestures. Hard to read though.
JANE
Who’s the suit hovering round her?
CHO
Michael Claymore Bennett the third.
Sands’ lawyer.
Lisbon sees the predatory gleam in Jane’s eye.
LISBON
What about him?
JANE
The widow’s scared of him. Or...
LISBON
Or?
JANE
Or they’re having an affair and
he’s reassuring her about something
else that she’s scared of.
CHO
Which is it?
JANE
Not sure. Could be both.
Beat on the team clocking the widow closely. Hmmm.
LISBON
Well, can’t question them here.
(to Van Pelt)
Let’s go get started on Sands’
computer files. You guys, stay
until this thing’s over.
RIGSBY
(a tad grumpy)
Yes boss.
(CONTINUED)
3 CONTINUED: (2) 3
LISBON
You never know, someone might
confess.
Lisbon exits. Van Pelt follows. Jane watches Rigsby

wistfully watch Van Pelt leave. As soon as Lisbon’s gone
Rigsby leads the way to THE BUFFET TABLE and they start
grazing....
JANE
Can I ask you a personal question?
RIGSBY
No.
JANE
Have you told her how you feel?
Rigsby has a visceral dislike of talking about his feelings.
RIGSBY
She’s a co-worker. It’s against
the rules. That’s how I feel.
JANE
That’s not how you feel.
RIGSBY
That’s none... I’m not...
I sent out the vibes. I got none
back. Okay? So I’m leaving it
alone.
JANE
Vibes. Really? Vibes?
CHO
That’s where he stares at the back
of her neck for several hours.
Women love that.
RIGSBY
Shut up, Cho.
JANE
You have to go get her, man.
Seduce her.
RIGSBY
(sheepish)
Seduction is not my strong point.
(CONTINUED)
3 CONTINUED: (3) 3
JANE
Meh, seduction is easy. Once you
grasp the basic principle. There’s
nothing to it.
RIGSBY
Really. I don’t see a crowd of
women following you around.
JANE
Why would I want a crowd of women
following me around?
Jane is watching the Widow argue very discreetly with

Bennett. Sees Bennett squeezes her hand a little tighter
than a lawyer squeezes a client’s hand. We can’t tell
whether it’s a gesture of passion or oppression. But
Jennifer looks horribly sad for a moment, before putting on a
brave face again. Or was that an angry face? The situation
between them is ambivalent, but clearly charged with emotion.
RIGSBY
Okay. I’ll bite. What’s the basic
principle?
JANE
Cost you a dollar.
RIGSBY
For what?
JANE
So you’ll pay attention.
Rigsby hands him a dollar.
JANE (CONT’D)
Love and affection.
RIGSBY
What?
JANE
Love and affection.
RIGSBY
Give me my dollar back.
JANE
When you seduce someone, what are
you offering? Love and affection.
Who doesn’t want love and
affection? It’s that simple.
(CONTINUED)
3 CONTINUED: (4) 3
RIGSBY
Seriously, give me my dollar back.
JANE
I’ll demonstrate. I bet you I can
seduce any woman here.
RIGSBY
Okay. The widow.
A big grin from Jane.
JANE
Watch me.
Jane hands Rigsby the bottle of water he’s holding,and heads

right for the widow.
RIGSBY
Wait a minute, what are you...
CHO
Good job.
RIGSBY
Jane, no... Jane!
Too late. Jane’s in the receiving line. He pats little

Julie on the head.
JANE
Hello, sweetheart.
Jane nods hello to Bennett, and takes Jennifer’s hand.
JANE (CONT’D)
Mrs. Sands... My name is Patrick
Jane. CBI. I’m sorry for your
loss.
She nods. He gazes very intently at her for a long beat -- a

Daniel Day Lewis/Madeline Stowe kind of a deal -- until she
gets uncomfortable.
JENNIFER
I uh, exc--
JANE
--I’m sorry. You surprised me.
Close up, you’re really very
beautiful.
(CONTINUED)
3 CONTINUED: (5) 3
JENNIFER
(thrown off balance)
Uh, that’s totally inappropriate
and I--
He takes her hands in his, speaks with both seductive

gentleness and firm authority.
JANE
--Listen to me, Jennifer. I don’t
know what kind of a hold this man
has over you, and--
BENNETT
Hey! Who the hell do you think--
Jane fixes him with a death glare that he turns on like a

flashlight.
JANE
--Back up. Now.
Bennett does as he’s told, hurrying off to find security

guards. Everyone’s watching. Jane switches off the glare
and turns his gaze back to Jennifer, who is transfixed.
JANE (CONT’D)
(calmly, quietly)
I don’t know exactly what kind of
trouble you’re in, but I’m
confident I can help you. Call me,
and I’ll come.
He lets go of her hand, turns and walks away as Rigsby and

Cho and a pair of blazered Security Guys converge on him.
CHO
(to security)
It’s okay. No problem. We’re
handling it. No problem.
As they escort Jane away...
RIGSBY
I think you owe me a hundred bucks.
JANE
Early days, Rigsby. Early days.
4 INT. CBI HQ. SACRAMENTO. KITCHEN - DAY (D/3) 4
Special Agent VIRGIL MINELLI, mid 50’s, glares balefully at

us as he fusses around making coffee for himself.
(CONTINUED)
4 CONTINUED: 4
A man whose soft features and unkempt seventies mid-level

bureaucrat style contradict his position at CBI. Minelli
must be damn good at his job because every other indicator
says he shouldn’t be.
Jane and Lisbon are taking the heat. Lisbon is a martyr to

her authority figures. Jane just lets Minelli roll off him
like water.
MINELLI
I’m disappointed I’m very
disappointed. And embarrassed.
How could you do this to me?
I told the mayor of San Francisco
I was putting my best people on
this.
(in annoyance)
Holy mother. Who takes off the
freaking labels? What is that?
Is this real or is it the decaf?
How you meant to know which is
which?
JANE
Mix `em half and half and drink
twice as much.
Minelli shrugs -- good idea -- and sets about doing as Jane

suggests.
MINELLI
What kind of idiot drinks decaf
anyhow? What’s the point?
And what the hell were you thinking
leaving this man alone at an event
like that?
LISBON
No excuses. I mistakenly treated
him as a responsible adult.
JANE
I do have a plan.
MINELLI
Which is?
JANE
First win the widow’s confidence...
(CONTINUED)
4 CONTINUED: (2) 4
MINELLI
Aside from her lawyer making an
official complaint to the Attorney
General, how’s that going for you?
JANE
She’s playing hard to get.
MINELLI
Jane, you close cases. You close
like a fiend. So I tolerate you
and I protect you and I let you
make Lisbon’s life a misery. But
there’s a line. There is a line,
and when you cross it, I’ll protect
myself and this unit, and I’ll
throw you to the wolves.
JANE
Okay.
MINELLI
As long as we’re clear.
Minelli’s PHONE BEEPS. He looks at it and frowns, answers

it.
MINELLI (CONT’D)
Yuh. Yuh.
(face falling)
Yuh.
Minelli hangs up, takes a beat.
MINELLI (CONT’D)
AG’s office. Mrs Sands is willing
to drop the matter if Jane
apologizes to her.
JANE
No problem. I’ll call her.
MINELLI
She wants to hear it in person.
At her house.
Jane grins.
5 INT. SANDS HOME. LIVING ROOM - DAY 5
Jane waits on a ridiculously big white sofa. Julie peers in,

clutching a raggedy old doll.
(CONTINUED)
5 CONTINUED: 5
JANE
Hello.
Julie nods warily. Stares at him a while.
JULIE
Do you want to see my trolls?
JANE
I’d love to.
6 INT. JULIE’S BEDROOM - DAY 6
Julie’s room has a sweet fairy tale castle decor.
ANGLE -- A mobile hangs from a CRYSTAL CHANDELIER above. As

the mobile turns, it plays a tinkly Frere Jacques...
Jane sits on a toy chest, admiring an array of trolls that

Julie produces one by one from a special box, using her doll
as a silent co-worker.
JULIE
...And this one’s a boy, his name
is Woody Sands.
JANE
You have a very nice room.
JULIE
Thank you. My daddy made it for
me. This one’s a girl called Wanda
Sands.
(off her doll)
This one is a girl too and her name
is W--
JANE
Wait don’t tell me. I bet I can
guess. Warren Moon.
JULIE
Nooo.
JANE
Wiley Post.
JULIE
(laughing)
Nooo.
JANE
Wendy Sands.
(CONTINUED)
6 CONTINUED: 6
JULIE
Yes!
Jane looks around to see that Jennifer is in the doorway,

trying to be strong for her girl and smile through grief and
worry.
7 EXT. SANDS HOME. BALCONY - DAY 7
Jennifer hands Jane a cup of tea. Jane glances down to the

pool area where Julie is playing with the Nanny, making
bubbles.
JENNIFER
Sugar?
JANE
Just milk, please.
She pours milk, hands him the cup and notes his wedding ring.
JENNIFER
(off his ring)
Are you married, Mr. Jane?
JANE
Was. She’s dead.
JENNIFER
I’m sorry. What happened?
JANE
(guarded/not cold)
Doesn’t matter.
Jane sips his tea, looks at her, waiting.
JENNIFER
You have a very strange way about
you, Mr. Jane.
JANE
Do I?
JENNIFER
After what happened at the memorial
service, I don’t know why I don’t
simply have you fired. Are you
usually so, so forthright?
JANE
What’s on your mind, Mrs. Sands?
Why am I here?
(CONTINUED)
7 CONTINUED: 7
JENNIFER
You know why. I, I want an
apology.
JANE
No you don’t.
Jane sits and looks at her without affect. Below Julie

squeals with delight as the Nanny makes a big bubble.
JENNIFER
(quavering)
You, you said if I was to need your
help that I should call you.
JANE
Yes. Here I am.
JENNIFER
You were right, Bennett did upset
me at the service. He told me the
truth about Jason.
JANE
Which is?
JENNIFER
His investment business was a sham.
It went broke ages ago. Our bank
accounts are empty. He’s left me
and Julie nothing but massive
debts. Penniless. We’re going to
have to sell the house and
everything else we own.
She crumples a little. Jane takes her hand.
JANE
I’m so sorry.
JENNIFER
The IRS and the SEC and I don’t
know who else were investigating
him for fraud.
JANE
He told you nothing?
JENNIFER
Nothing. Nothing. Turns out our
marriage was a lie. Our whole life
together was a lie.
(CONTINUED)
7 CONTINUED: (2) 7
JANE
Perhaps he was ashamed of his
failure.
JENNIFER
No. Jason? Ashamed? No. I knew
he had a secretive, mistrustful
side to him, but this...
JANE
Every couple has secrets.
JENNIFER
There are rooms in the house
I didn’t even know were there.
JANE
You asked me to help you, Mrs.
Sands.
JENNIFER
Yes.
JANE
How can I do that?
JENNIFER
If I know Jason, there’s something
left. He would have hid a nest-egg
somewhere. Just in case. Don’t
you think that’s possible?
JANE
Whoever killed him certainly
thought so.
JENNIFER
Yes, that’s true.
(beat)
What if they come back?
JANE
They won’t come back.
JENNIFER
Why not? What if they think I know
where it is?
BANG BANG BANG -- Someone bangs on the front door, hard.
8 INT. SANDS HOME. FOYER - DAY 8
A Maid opens the door to reveal three burly men -- Repo Men,
led by a SHERIFF’S DEPUTY -- who barge their way in and look
keenly around for valuables.
JENNIFER
What is this? Who are you?
REPO DEPUTY
Asset seizure. No trouble.
He offers up an OFFICIAL DOCUMENT. Jennifer is too stunned

to take it.
REPO DEPUTY (CONT’D)

Start upstairs, boys.
Jane flashes his ID badge and takes the document.
JANE
CBI Department of Justice. Wait
one moment.
(reads it)
This is in order, but where’s your
lethal toxins immunization papers?
REPO DEPUTY
Say?
Jane walks him discreetly away from Jennifer.
JANE
Did they not tell you the score
here? You didn’t get your shots?
REPO DEPUTY
Shots? What are you talking about?
Jane pulls up his sleeve quickly, points to the crook of his

arm as if showing him a shot, (though there’s nothing there).
JANE
Shots. There was a murder here.
REPO DEPUTY
I know.
JANE
We suspect poisoning.
(whispers)
Anthrax.
(CONTINUED)
8 CONTINUED: 8
The Repo Deputy is no fool and stares at Jane in disbelief.

Jane stares back, utter conviction on his face. Jennifer
watches in BG with a poignantly vulnerable expression.
9 EXT. SANDS HOME - DAY 9
Empty-handed, the Repo Deputy and his guys hurry to their

truck, and drive away.
10 INT. CBI HQ. SACRAMENTO. BULLPEN - DAY 10
Cho, Rigsby, and Van Pelt are going through stacks of

accounting ledgers and similar stuff ONSCREEN. Jane gets
debriefed by Lisbon.
LISBON
Sands was bust alright. He used to
be huge, but he made some very bad
calls in IT. Last five years, his
business has dwindled away to
nothing. No clients. No income.
There were indictments and
injunctions and the whole nightmare
coming, just down the road.
CHO
Strange thing is, until a couple of
weeks ago, there was ten million
dollars in his personal accounts in
cash and bonds and stocks. Most of
it deposited over the last year.
RIGSBY
His business is dead for years.
Where did he get ten million from?
VAN PELT
More to the point, where is it now?
CHO
That’s what his killers wanted to
know.
CHO (CONT’D)
Are you sure the widow doesn’t know
where it is?
JANE
No. She’s genuinely broke, looks
like. And genuinely scared.
LISBON
You’re not soft on her are you?
(CONTINUED)
10 CONTINUED: 10
JANE
No. Maybe a little. We need to
talk to the lawyer, whatshisname.
LISBON
Bennett. We need to talk to him.
You need to stay well away from
him. Did you say maybe a little?
JANE
She’s a gorgeous grieving widow.
Of course maybe a little. It’s not
going to effect my work. I’m a law
enforcement professional.
Lisbon smiles at that.
11 EXT. DOWNTOWN SACRAMENTO - LATER THAT DAY 11
The STATE CAPITAL looms in the distance. Lisbon and Bennett

walk together.
LISBON
Thanks for meeting me.
BENNETT
No problem. I was lunching with a
couple of your deputy AGs.
LISBON
My sincere apologies for the
behavior of our operative Jane by
the way. Unconscionable.
Supervising Agent Minelli gave him
a severe reprimand.
BENNETT
Think nothing of it. I can’t tell
you how sad I am about all this.
How can I help you?
LISBON
I’ll try and keep this brief.
You’re Sands’ lawyer. You must
have known he was in ruinous debt.
BENNETT
I knew there were difficulties,
yes. But I had no idea he was in
as deep as he was. I don’t deal
with his business affairs. I’m his
family lawyer.
(MORE)
(CONTINUED)
11 CONTINUED: 11
BENNETT (CONT'D)
I look after his personal financial
matters, and those were in good
shape, until very recently.
LISBON
Yes. Two weeks ago, he converted a
ten million dollar pension fund to
cash. Pretty much all he had.
BENNETT
As was his right. I only learned
of it from his accountants after
the fact. It was a large
withdrawal, but of course, I
thought he had much more in
reserve.
LISBON
Did you ask him what he was doing
with the money?
BENNETT
I did. He said he needed it to
surprise his wife.
LISBON
He did that alright.
BENNETT
I believed him.
LISBON
What do you believe now?
BENNETT
He was looking at jail time.
I think he grabbed all the cash he
could and he was going to run away.
LISBON
Who do you think stopped him?
Bennett shrugs.
BENNETT
You’re the detectives. You tell
me.
Lisbon extends a handshake.
LISBON
Thanks for your help, Counselor.
We’ll be in touch.
(CONTINUED)
11 CONTINUED: (2) 11
BENNETT
Whatever you need. I’m at your
service.
As Lisbon turns, he watches her go.
Van Pelt at her computer. Lisbon enters from her meeting

with Bennett.
VAN PELT
We found out where that money was
coming from. Sands has an office
supply company that supplied this
Happy Landings Entertainment with
copy paper. Over the last two
years, fifty-five point two million
dollars worth of copy paper.
LISBON
Who owns Happy Landings
Entertainment?
VAN PELT
A shell company hidden in a Swiss
trust wrapped in a dummy
corporation. It’ll take a while to
untangle. But Sands’ company?
It’s the only one of his businesses
with a separate corporate
address...
Lisbon looks at Van Pelt’s SCREEN...
LISBON
In Sausalito?
VAN PELT
Odd uh?
LISBON
Nice work.
VAN PELT
Are we going to have a look?
LISBON
We are. But you’re going to stay
here and keep digging. Who owns
Happy Landings Entertainment?
13 EXT. MARINA/YACHT - NIGHT (N/3) 13
Lisbon, Cho and Jane walk along the dock.
CHO
Doesn’t look like a copy paper
business, does it?
They get to a slip where a luxury yacht is moored.
LISBON
This is it. Coming aboard?
JANE
Why not.
They climb onto the stern.
14 INT. YACHT - CONTINUOUS 14
Cho and Lisbon step inside the rear cabin of the luxury boat.
The place has been completely trashed by someone on a very
thorough hunt. Pillows torn up, bookshelves emptied...
Cho and Lisbon silently draw their weapons and using hand
signals, they split up to search the place.
Jane stays quietly by the door, so quietly that ADRIANNA

JONOVIC -- a tough Serbian stripper-type, but classy -- slips
in next to him, small revolver in hand. She only starts a
little when she sees Jane.
ADRIANNA
Who are you?
JANE
Patrick Jane. CBI. Don’t shoot.
ADRIANNA
What’s that? CBI?
LISBON
Police.
Adrianna finds Lisbon has a gun to her head.
LISBON (CONT’D)
Lay that gun down. Now.
ADRIANNA
Show me a badge.
Lisbon shows her badge.
(CONTINUED)
14 CONTINUED: 14
ADRIANNA (CONT’D)
Police, okay. No problem.
I make no trouble.
Adrianna does as she’s told. Seems almost relieved.

Cho swiftly cuffs her.
JANE
Who did you think we were?
ADRIANNA
Nobody.
LISBON
Who are you? What are you looking
for?
ADRIANNA
This is my boat. I can do what I
like.
LISBON
Yes, you’ve made it very nice.
Very pulled together.
ADRIANNA
Eh?
LISBON
This boat belongs to Jason Sands.
ADRIANNA
Yes. Jason Sands was my fiancé.
FADE OUT.
END OF ACT ONE

ACT TWO
FADE IN:
15 INT. CBI HQ. SACRAMENTO. INTERROGATION ROOM - DAY (D/4) 15
Lisbon and Van Pelt opposite Adrianna, gazing at them with

stoic resignation. Jane observes from the back of the room.
VAN PELT
Adrianna, we can charge you right
now with burglary, vandalism,
assault with a deadly weapon...
That’s ten to fifteen right there.
Wouldn’t you rather talk to us
about your situation?
ADRIANNA
From you, I buy cookies. I don’t
talk about my situation.
With a nod from Lisbon, Van Pelt exits and Jane takes her
seat.
ADRIANNA (CONT’D)
Ah, the handsome one. Gay, yes?
LISBON
This is a murder investigation.
You have no alibi for the time
frame in question. We’re looking
at you as a suspect. You should
take this a little more seriously.
ADRIANNA
When I was this big? I am in
detention camp for two years. You
understand?
LISBON
I understand--
ADRIANNA
--No. You don’t. That was
serious. This, no.
LISBON
How d’you make your living,
Adrianna?
(CONTINUED)
15 CONTINUED: 15
ADRIANNA
I dance. Model. Acting.
LISBON
Is it a good living?
ADRIANNA
What’s good?
JANE
How long were you and Sands
lovers?
ADRIANNA
Two years. We were more than
lovers. We were engaged to be
married.
JANE
He was already married.
ADRIANNA
He was divorcing her.
LISBON
She doesn’t know that.
ADRIANNA
Sure she does. Why would she tell
you? He don’t want her no more.
It’s embarrassing.
JANE
What were you looking for?
ADRIANNA
We loved each other.
LISBON
You loved each other. We hear you.
What were you looking for?
ADRIANNA
Jason bought ten million dollars of
diamonds, for when we would run
away. I was looking for them.
Jane and Lisbon look at each other. Ah ha.
JANE
When did he buy them?
(CONTINUED)
ADRIANNA
A month ago. Once he showed me
them. Beautiful. Oh my God. Then
he hid them somewhere. I don’t
know where.
LISBON
You were going to run away?
ADRIANNA
Jason knew it was end of road here.
He was going to jail or be killed.
So we make a plan. We will run
away on the sailboat.
LISBON
(dubiously)
On the sailboat. You and him.
ADRIANNA
He’s good sailor. He teach me.
If those bastards hadn’t killed
him, me and him and Julie would be
in Tahiti now. Rich. Instead of
here. With you.
JANE
You were taking Julie?
Lisbon holds up her hand as to say ‘never mind that.’
LISBON
What bastards? You know who killed
him?
ADRIANNA
Sure I know.
JANE
So tell us.
Adrianna thinks a moment.
ADRIANNA
If I tell you, I leave here now.
You drop all this burglary
stupidness. I don’t testify.
Nothing. I give you names, that’s
it.
LISBON
Deal.
(CONTINUED)
ADRIANNA
These scum-pigs run nightclubs.
Jason cleans their drug and girl
money for them. It’s their money
he used to buy the diamonds.
LISBON
Do they have a company called Happy
Landings Entertainment out of
Oakland?
ADRIANNA
I don’t know. They live in
Oakland.
LISBON
These people have names?
ADRIANNA
Dieter Webb and Carter Lewis.
Scumpigs.
16 INT. BULLPEN. CBI HQ - DAY 16
The team gathers around Cho, laying out the score on Dieter
and Carter, with the help of a COMPUTER SCREEN.
CHO
Dieter and Carter. Started out as
college DJs. Nightlife impresarios
is what they say they are. They
own clubs, restaurants, boutique
hotels up and down the west coast.
Drugs and prostitution started as a
natural sideline and then became
their core business.
LISBON
Find them yet?
CHO
These guys like to glide under the
radar. According to official
records, they own no property and
live nowhere. Their only address
is a PO box. Working with San Fran
and Oakland PD as we speak.
They see Adrianna being escorted out by a CBI Agent.
RIGSBY
You’re letting her go?
(CONTINUED)
16 CONTINUED: 16
LISBON
She gave us Webb and Lewis.
I could charge her with waving a
gun at Jane, but what for?
RIGSBY
I don’t know boss. If I ever saw a
woman that could use pliers and lit
cigars on a man, that’s her.
JANE
Miss Jonovic, a moment.
ANGLE -- Jane heads over to Adrianna.
LISBON
Jane, tell her not to leave town.
BY THE EXIT
Jane stops Adrianna.
JANE
One last question. You said you
and Jason were planning on leaving
with Julie.
ADRIANNA
Yes.
JANE
You didn’t mind taking the kid?
ADRIANNA
No. I love Julie. Me and her are
good friends.
JANE
You were going to take her away
from her own mother.
(CONTINUED)
ADRIANNA
Yes?
JANE
It’s a cruel thing to do.
ADRIANNA
Depends. She’s a cold person.
Jennifer. She doesn’t care so
much about Julie. She pretends,
but she doesn’t really. You have
soft eyes. You are not police.
JANE
No.
ADRIANNA
Why are you here?
JANE
Long story.
She puts her hand on his chest.
ADRIANNA
I would like to hear it. Tell me
something. Do you think maybe
Jennifer has my diamonds?
He takes her hand away, cool. Smiles.
JANE
Maybe. I don’t know.
ADRIANNA
Maybe? Did you ask her?
JANE
Don’t leave town.
He walks away. Adrianna shrugs professionally.
ADRIANNA
As you like.
She exits. Jane grabs his jacket.
RIGSBY
Love and affection eh?
JANE
That’s it.
(CONTINUED)
RIGSBY
Where you going?
Jane considers lying.
JANE
(a tad embarrassed)
To speak with the widow.
LISBON
(raising an eyebrow)
Oh yes?
JANE
I want to know if she knew about
the mistress.
LISBON
Hey, whatever. I’m not your
mother.
Jane exits. Rigsby and Lisbon exchange a look.

FLASHBACK
17 EXT. BEACH - DAY 17
Jane’s POV -- His WIFE AND DAUGHTER playing happily at the
edge of the water. The girl draws something in the sand and
when we tilt down to look at it, it’s Red John’s smiley face.
END FLASHBACK
Deep sadness washing over him, Jane watches Jennifer lovingly

playing in the yard with Julie. Jennifer hands her daughter
off to the Nanny and joins Jane.
JENNIFER
Do you have children Patrick?
JANE
No.
JENNIFER
They are the greatest gift.
JANE
Yes they are.
They walk back toward the house.
(CONTINUED)
18 CONTINUED: 18
JANE (CONT’D)
Hey, it’s been bugging the hell out
of me. In Peter and the Wolf, is
the duck a flute or a bassoon?
I cannot remember.
JENNIFER
Oh, uh, a bassoon. I think.
JANE
Never mind. Trivia. Listen,
I have good news, and bad news...
19 INT. SANDS HOME. SUN ROOM - DAY 19
JENNIFER
Ten million dollars?
JANE
Yes. Just as you suspected. A very
nice nest-egg.
JENNIFER
That’s wonderful. We have to find
it.
JANE
Wouldn’t be a bad idea.
JENNIFER
Where shall we start?
JANE
I don’t know.
JENNIFER
You found the safe room in a
moment. You must be terribly
clever at that kind of thing.
Finding things.
JANE
I can try. But Jennifer, that was
the good news.
JENNIFER
Okay. Bad news?
(CONTINUED)
19 CONTINUED: 19
JANE
We’ve talked to a woman who appears
to have been Jason’s mistress.
Long beat.
JENNIFER
I knew it. I knew it. I knew it.
JANE
Sorry.
JENNIFER
How old is she?
JANE
You didn’t know about her?
JENNIFER
No. How old is she? What’s she
like?
JANE
Mid-twenties. Serbian. Tough.
JENNIFER
Good looking?
JANE
Not bad.
JENNIFER
Does she have the money?
JANE
It’s a strong possibility.
Jennifer is cast down again.
JENNIFER
Life is so complicated.
Jennifer takes a long beat.
JENNIFER (CONT’D)
Patrick? Will you hold me please?
I need someone to hold me.
Jane looks at her bleakly.
JANE
I’m sorry, Jennifer. I wish I
could.
(CONTINUED)
Mortified, Jennifer is frozen for a moment, then hurries out

and upstairs. Jane takes a beat, then heads for the door.
Leaves without another word. What’s to say.
Cho and Lisbon walk and talk.
CHO
Our dealer Dieter Webb’s
grandmother is 93 and lives in a
seniors’ assisted living center in
Tucson. Has for a decade. But...
LISBON
Let me guess. She’s leasing a high
end vehicle and recently bought a
nice house in Oakland.
CHO
You are good.
21 INT. CAR/EXT. OAKLAND HOUSE - DAY 21
Rigsby and Van Pelt sit in their car eyeing a big rundown
party house. The lawn is brown. A mint CADILLAC and
CORVETTE sit in the driveway.
ANGLE -- A neighboring Mom tries to corral her Kids and get

them in the car.
Rigsby and Van Pelt both wear Kevlar. Van Pelt studies the
rap sheets of CARTER LEWIS and DIETER WEBB, both early 30’s,
sleazy white hipsters. Rigsby looks around impatiently,
watches the Mom and her children across the way.
RIGSBY
Where’s the entry team? They were
supposed to be here twenty minutes
ago.
VAN PELT
Relax. It’s not even noon.
Way too early for guys like these
to be awake.
RIGSBY
They could be up from the night
before. They might go out for
breakfast.
VAN PELT
We can deal with them.
(CONTINUED)
21 CONTINUED: 21
RIGSBY
Suddenly she’s Steve McQueen.
Van Pelt laughs. Suddenly --
THEIR POV -- As WEBB and Lewis exit the house and head for
the Mercedes in the driveway. One tosses the other the keys.
RIGSBY (CONT’D)
They’re on the move.
VAN PELT
C’mon, let’s take ‘em.
Just as the suspects climb into their car, Rigsby flips on

the SIREN, guns the engine and screeches to a halt blocking
them in.
ANGLE -- Van Pelt jumps out, shotgun in tow, rushes to the

passenger window and levels it at a dazed Carter Lewis.
VAN PELT (CONT’D)

Police. Hands where I can see
them!
NEW ANGLE -- Dieter Webb decides to run. He leaps from the

driver’s side and bolts across the yard. Rigsby gives chase.
Both men race through a sprinkler. Dieter finds he is in a
dead end, fails to scale a wire fence, and is tackled by
Rigsby with great force. As Dieter moans in pain, Rigsby
handcuffs him.
ANGLE -- Van Pelt smiles and waves to the Mom and Kids
watching this all from their adjacent driveway, stunned.
22 INT. CBI HQ. SACRAMENTO. INTERROGATION ROOM - DAY 22
Cho talking to Dieter.
CHO
You don’t want to talk to me,
Dieter?
DIETER
I’ve got nothing to say. Call my
lawyer.
CHO
What do you know about Jason Sands?
DIETER
I know he’s dead.
(CONTINUED)
22 CONTINUED: 22
CHO
How much did he take from you?
DIETER
How much what?
CHO
We estimate he stole around ten
million dollars from you. Is that
about right?
DIETER
(laughs)
Me and my partner, we host parties.
I’m doing good, but not that good.
Ten million dollars. Jason didn’t
steal anything from me.
CHO
You and Carter broke into his
house, and you tortured him to
death because he stole from you.
DIETER
Lookit dude, I know people that
know how to do that stuff, you know
what I’m saying? If it was us had
tortured him, we’d have the money
right now and he’d have his life.
I wouldn’t kill him.
CHO
What money?
DIETER
Oooh. Caught me there. The
imaginary money you said he stole
from us.
(beat)
Somebody got there before us.
CHO
An imaginary somebody.
DIETER
You want my opinion?
CHO
Sure.
DIETER
This isn’t snitching, it’s just an
opinion. Write this down.
(MORE)
(CONTINUED)
DIETER (CONT'D)
Adrianna Jonovic. Crazy Serb
dancer that Jason was tapping.
CHO
Why?
DIETER
She’s a mercenary bitch. Made
Jason’s life a misery and made him
like it. She used to work for us,
so I know whereof I speak. Check
her out.
23 INT. CBI HQ. SACRAMENTO. OBSERVATION ROOM - DAY 23
Jane, Lisbon, and Minelli watching Cho and Dieter.
LISBON
The other one, Lewis, has the same
line. But we like ‘em for it.
The three leave the observation room and cross to the

bullpen.
LISBON (CONT'D)
There were Class A drugs all over
their place, so we can hold them as
long as it takes.
MINELLI
And Jonovic?
LISBON
I think she’s clean on this, but
We’ll bring her back in. Just to
be safe.
Minelli exits up the spiral stairs.
MINELLI
Don’t let up on `em. We need a
result here.
Jane’s PHONE RINGS.
INTERCUT:
JANE
Hello, Mrs. Sands...
(listens, his face falls)
Oh no.
(CONTINUED)
23 CONTINUED: 23
MINELLI
What now?
24 INT. SANDS HOME. JULIE’S BEDROOM - CONTINUOUS 24
Jennifer, panicked, distraught stands by the open window.

The bed is EMPTY. Tears are streaming down the widow’s
cheeks.
JENNIFER
(on phone)
...She’s gone. She’s gone! They
took her. My baby’s gone!
25 INT. BULLPEN. CBI HQ. SACRAMENTO - CONTINUOUS 25
On Jane, worried as hell, heading for the door.
JANE
(to phone)
We’re on our way.
FADE OUT.
END OF ACT TWO

ACT THREE
FADE IN:
26 INT. SANDS HOME. JULIE’S BEDROOM - NIGHT (N/4) 26
The place is buzzing with POLICE and BFS TECHS. Lisbon, with
Inspector Mulvey, tries to comfort a still shaken Jennifer
Sands.
Jane sits back, observing everything going on. Watching

Jennifer.
We PICK UP Rigsby and Van Pelt entering.
VAN PELT
You think the guys from Oakland are
behind this?
RIGSBY
Just because they’re in custody,
doesn’t mean they couldn’t have
ordered it.
And as they MOVE OUT OF FRAME, we land on Lisbon and Mulvey,

and Mrs. Sands.
JENNIFER
You said the men my husband stole
from are behind bars...
LISBON
They are.
JENNIFER
Then if they didn’t do this, who
did?!
LISBON
I assure you, we’re doing
everything we can to find Julie.
A PHOTOGRAPHER snaps a picture of the handwritten note left

on Julie’s bed. “YOU KNOW WHAT WE WANT. TELL THE POLICE AND
SHE DIES. WAIT FOR OUR CALL.”
LISBON (CONT’D)
The note left says that you know
what they want.
(CONTINUED)
26 CONTINUED: 26
JENNIFER
The money obviously. We have to
find the money. I have to give
them what they want.
MULVEY
Why would they think you have it?
JENNIFER
I don’t. I don’t know. You have
to find my baby.
LISBON
We’re trying, Mrs. Sands. CBI is
working in conjunction with federal
agents and local--
JENNIFER
(to Jane)
--I don’t care about that. Get my
little girl back. My little girl.
Off a pleading glance from Jennifer to Jane --
27 INT. CBI HQ. SACRAMENTO. INTERROGATION ROOM - NIGHT 27
Cho questions Dieter Webb.
DIETER
What are you talking about, steal a
kid? I’ve been locked up in this
place.
CHO
You have friends.
DIETER
So you think I’d be ass enough to
have somebody do it for me while
I’m in here?
28 OMITTED 28
29 INT. CBI HQ. SACRAMENTO. CONFERENCE ROOM - NIGHT 29
The team gathered, including Jennifer.
LISBON
Dieter has a point. He and Carter
are bad guys, but they’re not the
mafia. They don’t have this kind
of reach.
(CONTINUED)
THE MENTALIST "Ladies in Red" CHERRY 8/06/08 40A.
29 CONTINUED: 29
RIGSBY
Or those kind of stones.
(CONTINUED)
Nearby Van Pelt works the computer...
VAN PELT
We’re up!
A COMPUTER SCREEN is set up for INSTANT MESSAGING via a wired

link to Jennifer’s cellphone.
VAN PELT (CONT’D)

The kidnappers just IM’d Jennifer’s
cellphone...
It says ONSCREEN: I HAVE YOUR DAUGHTER. As we watch, the

message continues printing out... DO YOU HAVE WHAT I WANT?
JANE
Say yes. Say yes and tell them
I’ll bring it to them.
LISBON
What? No!
JANE
It’s okay. I know where the money
is. Honestly. Say yes.
ONSCREEN: DO YOU HAVE IT?

She hesitantly replies -- types in -- YES, I HAVE IT
30 INT. CAR/EXT. PARKING LOT - NIGHT 30
Darkness. Rain-slicked tarmac. Jane in Jennifer’s car,

engine running, wipers going, side-lights on. A long wait.
Jane looks up to a tiny camera in the visor.
JANE
Still awake?
30A INT. BULLPEN. CBI HQ. SACRAMENTO - CONTINUOUS 30A
Lisbon looking at Jane in a frame on a COMPUTER SCREEN.
LISBON
Wide. Jane, be careful. Don’t try
to stop them or get them to talk.
All we need is their phone.
30B INT. CAR / EXT. PARKING LOT - CONTINUOUS 30B
JANE
Don’t worry.
(sees something)
Ah. Someone’s coming.
A hooded figure holding an umbrella ghosts across the lot and

climbs into the passenger seat. It’s Adrianna. She holds a
gun on Jane with casual menace, like someone who’s done this
kind of shit before. She clutches a cellphone in her other
hand.
ADRIANNA
This better not be a trap. I will
kill you. Give me the diamonds.
JANE
You’re taking the wrong road,
Adrianna. Kidnapping...
ADRIANNA
(hissing)
I’m not a kidnapper. You think I
want to do this? I have to do
this. I don’t want Julie to die.
JANE
Tell me what’s going on. I can
help you.
ADRIANNA
I don’t know you. I don’t trust
you. Give me the diamonds.
Jane shows her a leather bag, opens it, flashes a look

inside.
JANE
Where’s Julie?
ADRIANNA
I call a number and tell them
I have the diamonds. We get Julie.
JANE
So call them.
Jane opens a bottle of water, drinks.
ADRIANNA
How do I know those are real
diamonds?
(CONTINUED)
30B CONTINUED: 30B
JANE
I don’t know. They look real to
me. Here, have a look at them.
You’ve seen them before.
Here Jane employs a classic mentalist street con known in the

trade as “the Russian scam.” It’s played slow and graceful,
rather than swift and comical.
He offers her the bag. She wants it, but is momentarily

stymied because she has a gun in one hand and a cellphone in
the other. He offers to take the cellphone with one hand and
offers to give the leather bag with the other. Adrianna
automatically complies, and gives him the phone. He hands
her the diamonds.
ADRIANNA
Hey.
JANE
Oh, sorry.
He takes back the leather bag, replaces them with a bottle of

water. He shakes his head no, that’s not right, just as she
does. He hands her back the diamonds and takes the gun.
Now he’s got the phone and the gun. But hey, she figures,
confused momentarily, I got the diamonds. She opens the bag.
Jane flips open the purloined phone and touches keys, whilst
doing the same with his own phone.
ADRIANNA
(off diamonds)
This is not diamonds.
JANE
No. Plastic.
(to phone)
Forwarding the last number dialed.
ADRIANNA
Hey! No!
31 INT. CBI HQ. SACRAMENTO. BULLPEN - NIGHT 31
Cho and Rigsby have some high-tech telephone electronics on

their desks into which they tap in the phone number.
A COMPUTER SCREEN gives them a WEB-BASED MAP REFERENCE.
CHO
Signal on that phone is coming from
an apartment building in the
Presidio.
THE MENTALIST "Ladies in Red" CHERRY 8/06/08 43A-44.
32 INT. CAR / EXT. PARKING LOT - NIGHT 32
Jane swaps back the phone for the water bottle.
ADRIANNA
Son of a whore.
He drinks some water.
ADRIANNA (CONT’D)
They will kill Julie now.
JANE
Who’s they?
ADRIANNA
I don’t know. They call me. They
send pictures to my phone.
Of Julie, tied up. Say I must give
them Jason’s money or she dies.
I don’t have Jason’s money. They
are going to kill Julie. So what
else can I do? I call Jennifer and
say I have Julie. Maybe she has
the diamonds. Now, now for sure
they kill her.
JANE
Wait. Did they ask for Jason’s
money? Or did they ask for
diamonds?
ADRIANNA
For money.
JANE
Then they won’t hurt Julie.
If you’re telling the truth.
ADRIANNA
No if. I’m telling the truth.
33 EXT. APARTMENT BUILDING - NIGHT 33
The rain has stopped. Adrianna hurries up the front steps

and RINGS the buzzer.
Our entire CBI team, dressed in Kevlar and windbreakers, come

up in the shadows behind her.
Adrianna RINGS again and after a brief moment, Bennett opens

the door, gun in hand.
Van Pelt flings Adrianna safely aside and Rigsby, Lisbon and
Cho go in after Bennett, who’s been knocked to the floor.
RIGSBY
Police! Freeze!
34 INT. APARTMENT HALLWAY - NIGHT 34
It all happens very quickly. As Rigsby, Cho and Lisbon

enter, Bennett retreats, but doesn’t drop his gun.
RIGSBY/CHO/LISBON
Drop it! Drop it. Police! No!
Etc.
Julie comes running downstairs. Bennett levels his gun and --

BANG! BANG! BANG! Unsure who’s been caught in the crossfire,
we --
CUT TO BLACK.
END OF ACT THREE

ACT FOUR
FADE IN:
35 INT. HOSPITAL. CORRIDOR - NIGHT (N/4 CONT’D) 35
Minelli has just arrived, roused from bed, bleary, and not
very happy. Lisbon greets him.
MINELLI
So far what I know is you guys have
shot and grievously wounded a
prominent and very well-liked
member of the San Francisco Bar.
What’s going on? In simple
declarative sentences.
LISBON
Bennett’s our man. Killed Jason
Sands for ten million in diamonds.
Kidnapped Julie Sands, same reason.
Either the widow or the mistress
acted as his accomplice.
MINELLI
Well, which?
LISBON
We’re trying to nail that down now.
Bennett could tell us, if he makes
it. But it doesn’t look like he
will. So we’ll need a confession
from his accomplice. So uh...
MINELLI
So uh?
LISBON
Jane has an idea, but if we
generate any complaints, as to how
we go about this, you have our
backs, right?
MINELLI
That depends obviously. We need a
win here. But I won’t sanction
anything underhanded or actionable.
LISBON
That’s kind of vague. No
disrespect. This being high
profile and so forth, maybe I
should have my orders on paper.
(CONTINUED)
35 CONTINUED: 35
MINELLI
(smiles sardonically)
Sure. On paper. The whole point of
this unit is subtlety and
discretion and judgment. I expect
you to do what’s right without
dragging me into it.
Lisbon gazes at him, patiently waiting.
MINELLI (CONT’D)
Yes, Lisbon. Of course. If I am
forced to it, I have your back.
I’m insulted you think to ask.
36 INT. HOSPITAL. WAITING ROOM - DAY (D/5) 36
Adrianna pacing the floor. A couple of Old Guys swivelling

their gaze like she’s a tennis match. Van Pelt and Cho
waiting patiently.
Jennifer Sands enters, hurries toward Van Pelt and Cho.
JENNIFER
Where is she? Where is she?
Is she okay?
VAN PELT
Yes. She’s a little in shock, but
she’s physically fine. Not a
scratch. The doctors are just
making sure.
Jennifer sees Adrianna. Adrianna smiles at her.
ADRIANNA
Hello, Jennifer.
JENNIFER
Adrianna. This is a surprise.
(to Van Pelt)
What is she doing here?
Shouldn’t she be in jail?
VAN PELT
Uh, out on bond ma’am.
JENNIFER
So quickly?
ADRIANNA
I screw better lawyers than you.
(CONTINUED)
36 CONTINUED: 36
Jennifer looks like she might go and smack Adrianna, and

Adrianna gets ready to fight with convincing alacrity.
Jennifer thinks better of it, and takes the high road.
JENNIFER
You’ve obviously led a very sad and
difficult life, to be so twisted.
Truly Adrianna, you have my
sympathy.
Adrianna does kind of feel that way about herself so it hits

home. She nearly goes for Jennifer. But instead, chokes off
her anger.
ADRIANNA
Lick my shoe, chicken-face.
The women move to opposite ends of the waiting room.
VAN PELT
Cho. We have to move.
CHO
Oh hey, what was that name?
VAN PELT
What name?
CHO
The one Jane thought was so
important?
VAN PELT
Wendy.
CHO
Yes. Wendy. Do either of you know
a woman named Wendy?
Both women think a beat. Shake their heads.
CHO (CONT’D)
No? Shame. She’d be worth
knowing.
He chuckles. Van Pelt frowns.
VAN PELT
Cho.
CHO
What.
(CONTINUED)
VAN PELT
Excuse his levity, ma’am.
ADRIANNA
This Wendy person, she has the
diamonds?
VAN PELT
It’s a possibility.
JENNIFER
Diamonds?
VAN PELT
(to Jennifer)
By the way, your friend Mister
Bennett is coming around nicely.
I expect we’ll be talking to him soon
if you’d like us to pass along--
ADRIANNA
--But the other police said he was
a dead man.
JENNIFER
Yes. They said he was dying.
VAN PELT
No no, he’ll live.
Both women frown at this news. Van Pelt and Cho exit.
Adrianna and Jennifer stare at each other as if Sergio Leone
was directing them, at each other, then at the exit door,
then back...
37 INT. HOSPITAL. STORAGE ROOM - CONTINUOUS 37
CPR DUMMIES on the shelves. Cho and Van Pelt enter. Lisbon
and Rigsby are waiting there already. Lisbon on her
blackberry.
LISBON
How’d it go?
VAN PELT
I think we sold it.
CHO
You kidding? We killed.
RIGSBY
Jane says give it a minute, then --
38 INT. HOSPITAL. WAITING ROOM - LATER 38
Rigsby pushes open the door, peers inside. The waiting room
is empty. He speaks into his phone.
RIGSBY
It’s empty. They’re both gone.
39 INT. HOSPITAL. CORRIDOR - CONTINUOUS 39
Lisbon on her cell.
LISBON
Both?
(dabs the flash button)
Jane, nobody’s there.
40 INT. HOSPITAL. ANOTHER HALLWAY - DAY 40
Lisbon and Cho run down hallway to...
41 INT. PATIENT’S ROOM - CONTINUOUS 41
Cho and Lisbon enter to find Julie sitting up in bed, locked

in a joyous hug with Adrianna.
ADRIANNA
It’s okay baby. Everything going
to be good now. Everything’s good.
JULIE
Where have you been?
42 INT. SANDS HOME. FOYER - DAY 42
Jennifer comes hustling in, slams the front door behind her,
runs upstairs.
43 INT. JULIE’S BEDROOM - CONTINUOUS 43
Curtains are closed. Jennifer flips on the LIGHTS and makes *

a beeline for Julie’s troll box. Starts frantically digging *
through it, looking for WENDY. *
JENNIFER
Damn! Damn!
JANE
What are you looking for?
(CONTINUED)
43 CONTINUED: 43
Jennifer turns to find Jane leaning in the doorway. Caught

red-handed as it were, she visibly discards her innocent
persona. But she’s not giving up quite yet.
JENNIFER
You know what I’m looking for.
JANE
Wendy the troll has got to be in *
there somewhere. *
JENNIFER
(exasperated) *
I can’t believe this. *
JANE
The police will soon be here to
arrest you. You might want to call
a lawyer now.
JENNIFER
What? Arrest me for what? *
JANE
Please don’t make this difficult
Jennifer. Bennett told us
everything.
Jennifer subsides into resignation, a leaden feeling in her

gut that she’s been caught.
JENNIFER
Nicely done. You made me think
Adrianna had the money, and made
her think I had it. Clever.
JANE
Thank you. Coming from a fine
actress like yourself, I’m
flattered.
JENNIFER
Is it really in diamonds? Or was
that part of the trick?
JANE
No trick. Diamonds.
JENNIFER
Do you know where?
JANE
I do.
(CONTINUED)
JENNIFER
Tell me.
JANE
(smiles)
Tell me what happened, and I’ll
tell you where they are.
Jennifer cocks her head, smiles back -- looking for an angle.

Moves closer.
JENNIFER
This whole time, you were just
playing me.
JANE
Not the whole time.
JENNIFER
That’s so sad. I thought we had a
real connection.
JANE
We did.
JENNIFER
We can again.
JANE
No, we can’t.
Breaking, she sits down, tears welling.
JENNIFER
I didn’t mean for any of this to
happen.
JANE
I know.
JENNIFER
It was Bennett. He forced me into
this. He planned the whole thing.
JANE
No. Bennett is an idiot who thinks
he’s in control. But you play him
like a violin, with those big eyes
and trembling lips. It’s a
dynamite act. Had me buying it.
(MORE)
(CONTINUED)
JANE (CONT'D)
If you’d known that the duck is an
oboe, I would probably have told
you where the diamonds were, and we
likely never would have solved this
one.
JENNIFER
(huh?)
The duck is an oboe.
JANE
In Peter and The Wolf...
FLASHBACK
44 INT. CONCERT HALL - NIGHT 44
Julie and the distinctive Nanny seated in a darkened
auditorium listening to the oboe part of Peter and the Wolf.
JANE (O.S.)
The duck is played by an oboe. The
wolf is a bassoon. And the flute
is a songbird. Anyone who’s seen
it knows that.
END FLASHBACK
JANE
But you didn’t. You didn’t go to
Peter and the Wolf. You were at
home torturing your husband to make
him give you his running away
money.
JENNIFER
Running away with my daughter and
ten million dollars and that dirty
whore. And leave me with nothing?
I don’t think so.
JANE
It’s not fair at all.
JENNIFER
How d’you think that feels when
your daughter says she prefers her
father’s whore? Loves her more
than her own mother. How do you
think that feels?
(CONTINUED)
45 CONTINUED: 45
JANE
Not good.
JENNIFER
No way he takes that money. That’s
my money.
FLASHBACK
46 INT. SANDS HOME. OFFICE - NIGHT 46

MOS Sands slumped in a chair, Being tortured with pliers by
Bennett as Jennifer looks on, captivated, repelled.
JENNIFER (V.O.)
I knew there was a safe in his
office. But he would never tell me
where or what the combination was.
Bennett puts the remote control unit into Jason’s hand. And
urges him to give them the code. Jason shakes his head - no.
Jason’s stubborn refusal to cooperate enrages Jennifer and
she starts screaming at him. Grabs the pliers from Bennett --
‘Let me do this like it’s meant to be done.’
JENNIFER V.O.
I had a real breakthrough insight.
I realized that our whole marriage
had been like this. Withholding.
Withholding. Always withholding.
They start arguing and shouting at each other. They

momentarily forget about Sands, who is not as out of it as he
looks. He presses a code into the remote...
The book shelf opens noiselessly and Sands throws himself

into the safe room before Bennett and Jennifer can stop him.
The door swings shut. Bennett frantically punches in numbers
while Jennifer screams at him.
END FLASHBACK
Jane and Jennifer tête-à-tête...
JENNIFER
Whatever it was I most needed to
nurture myself, that was what Jason
would refuse to give me.
The WAIL of POLICE CARS coming closer.
(CONTINUED)
47 CONTINUED: 47
JENNIFER (CONT’D)
Tell me. Where are they? The
diamonds?
Jane opens the curtains slightly and points upward. Jennifer

looks up at the CRYSTAL CHANDELIER suspended from the
ceiling. Her eyes go wide with revelation, then sharp with
indignation. And as the chandelier shimmers...
Jane and the CBI team watch as Inspector Mulvey puts a

handcuffed Jennifer into a SFPD vehicle. Jennifer looks at
Jane as the door closes.
CHO
When did you first suspect it was
her?
JANE
Oh, I had an idea at the funeral
service.
RIGSBY
No you did not.
JANE
I did so. She was looking way too
good. Nobody should glow at their
husband’s funeral.
LISBON
So you made that bet with Rigsby,
that you could seduce her, with the
deliberate intention of snaring
her?
JANE
Of course. I meant to win the bet
too. Only when it came to it,
I couldn’t.
Van Pelt comes over.
JANE (CONT’D)
Just because I lost doesn’t mean
you shouldn’t take my advice.
RIGSBY
(waving him away)
Yeah yeah. Hush.
(CONTINUED)
48 CONTINUED: 48
JANE
I’m serious man. Go for it.
Jane exits, tugging Cho with him.
VAN PELT
What’s he talking about?
Long beat, while Rigsby considers taking Jane’s advice.
RIGSBY
Nothing.
FADE OUT:
THE END

The Mentalist 1x04 - Ladies in Red (Aug 6 2008)

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“Ladies in Red”

Warner Bros. Entertainment PRODUCTION DRAFT

© 2008 Warner Bros. Entertainment Inc.

YELLOW REVISIONS – 7/28/08

GREEN REVISIONS – 7/29/08

GOLD REVISIONS – 7/31/08

SALMON REVISIONS – 8/01/08

CHERRY REVISIONS – 8/06/08

1 INT. SANDS HOME. FOYER - DAY (D/1) 1

Early morning. A grand turn-of-the-century Victorian high on

JANE, LISBON, and RIGSBY are escorted through the photo

ANGLE: Jane eyes assorted collectibles in the house -- an oil

Mulvey gives Lisbon a sardonic beat.

Mulvey leads the CBI team into...

2 INT. SANDS HOME. OFFICE - CONTINUOUS 2

Classic masculine decor -- leather seats, oak desk. The room

We’re looking closer at the room now -- from Jane’s POV:

Mulvey looks at Jane, intrigued, but not in a good way.

He tilts the chair back up. It sits at the center of the

Jane begins rapidly punching in the top ten pass-codes.

Jane points to the sheet of paper under the bookcase.

He’s still tapping away at the keypad.

He’s run thru his list of pass-codes. Mulvey turns to a UNI.

ANGLE -- Jane looks around the room -- PHOTOS of Sands’ wife,

He types in the corresponding digits on the sails and -- Clunk.

CLICK. The bookcase releases and inches open ever-so-

3 EXT. YACHT CLUB. MEMORIAL SERVICE - DAY (D/2) 3

A bucolic garden setting with the marina in the b.g. A

Jane is watching Jennifer closely. There’s something going

Lisbon sees the predatory gleam in Jane’s eye.

Beat on the team clocking the widow closely. Hmmm.

Lisbon exits. Van Pelt follows. Jane watches Rigsby

Rigsby has a visceral dislike of talking about his feelings.

Jane is watching the Widow argue very discreetly with

Rigsby hands him a dollar.

A big grin from Jane.

Jane hands Rigsby the bottle of water he’s holding,and heads

Too late. Jane’s in the receiving line. He pats little

Jane nods hello to Bennett, and takes Jennifer’s hand.

She nods. He gazes very intently at her for a long beat -- a

He takes her hands in his, speaks with both seductive

Jane fixes him with a death glare that he turns on like a

Bennett does as he’s told, hurrying off to find security

He lets go of her hand, turns and walks away as Rigsby and

As they escort Jane away...

4 INT. CBI HQ. SACRAMENTO. KITCHEN - DAY (D/3) 4

Special Agent VIRGIL MINELLI, mid 50’s, glares balefully at

A man whose soft features and unkempt seventies mid-level

Jane and Lisbon are taking the heat. Lisbon is a martyr to

Minelli shrugs -- good idea -- and sets about doing as Jane

Minelli’s PHONE BEEPS. He looks at it and frowns, answers

Minelli hangs up, takes a beat.

5 INT. SANDS HOME. LIVING ROOM - DAY 5

Jane waits on a ridiculously big white sofa. Julie peers in,

Julie nods warily. Stares at him a while.

6 INT. JULIE’S BEDROOM - DAY 6

Julie’s room has a sweet fairy tale castle decor.