All language subtitles for The.Mentalist.S05E18.480p.HDTV.x264-mSD

Hi, boss.

Driver sustained
heavy lacerations

and head trauma,
but believe it or not,

they're saying he'll live.

Lucky.

Victim's Sharon Warwick, 23.

She went off of a balcony,
room 914.

Rigsby's up there right now
with the forensics team.

Now off the bruise on the cheek
and the ripped vest,

we're thinking it's murder.

Catering staff?

Actually, she was
a cast member.

Show's called "Torch".

It's a story about intersecting
lives and loves

in a New York night club
in the 1950s.

The event tonight
was a fund-raiser for the show.

Multiple witnesses say
the time of death is 8:01 p.m.,

right when the performance
was set to begin.

Well, what was she doing
up there?

We don't know yet.

She was I.D.'d
by Warren Dodge, the producer.

He's in there
with the director.

All right.

Poor Sharon.

Tragedy. Absolute tragedy.

But you know what?
We're gonna regroup,

and we'll move forward
from this, Bran,

better and stronger.
You'll see.

Warren, our star
is in a cab blotto,

our second lead is dead.

How do you propose
we do better and stronger?

Bran, listen--
uh, Mr. Dodge?

Yes?
I'm Agent Lisbon.

I need to ask you
some questions.

Of course. Of course.
Can you give me just one minute?

Bran, we are going
to get "Torch" to Broadway.

We are, all right?

I'll take care
of the investors.

Hanover is solid,
that's 50% of our money.

It's only the other investors we
have to worry about, all right?

Your job is to keep calm

and reassure
the cast and crew, all right?

Mr. Dodge.

Yes?
And you are?

Uh, Bran McTavish,
the director.

Did either of you actually
see Sharon Warwick fall?

I was inside.
The show was starting.

And I arrived

right after it happened.

Do you have any idea

what she was doing
up in room 914?

Well, we were using that area as
a dressing room for this event.

She was supposed to be
down in the ballroom.

She was third cue.

Third cue?
Yeah.

We had, uh, actors
scattered about

dressed as hotel guests,
workers, caterers.

It was Bran's idea
to start the show.

Yeah, a guest breaks out
into song,

then the bellboy,
then the waitress.

That was Sharon.

She was supposed to be
in the ballroom.

You've both
been really helpful.

If you wouldn't mind
going up to the room

while we start
the investigation,

I'd be grateful.

Anything we can do.

Hey, Lisbon.

Where the hell are you?

Don't tell me
you're at the hospital.

I'm not at the hospital.

We caught a case.

You're needed
at the crime scene.

I'll be there soon.

You're at the hospital,
aren't you?

You told me to tell you

I'm not at the hospital.

What do you want?
Make up your mind.

Get out of there.

If Jason Lennon
wakes up,

and if he talks,

and if he knows
Red John's identity,

Agent Kirkland
and Homeland Security

are perfectly capable
of handling it.

I disagree.

You're playing with fire.

There are worse things
to play with.

Oh, gotta go.

How did you get in?

This wing
is closed to visitors.

My Aunt Daphne's
in room 10.

Kidney failure.
Poor dear. Drinks like a fish.

You must be broken up about it.

Look at you. You're a mess.

We both know why you're here.

Although I find your need to
talk to Lennon now interesting.

You did stand by
while Lorelei Martins shot him.

How's he doing?

He'll live
to talk to us.

And I'll let you know if he has
anything interesting to say.

You're always good
to talk to you, Patrick.

But I think
you should go now,

before we start
disturbing the patients.

Hmm.
This way, sir.

Yeah. I'm going.
That's my arm.

You have two of your own.
Thank you.

How did you get in here?

Who let you in?

Well, if I told you that,
I wouldn't be able to get in

when I come back,
would I?

♪ The Mentalist 5x18 ♪
Behind the Red Curtain
Original Air Date on March 25, 2013

== sync, corrected by elderman ==

Uh, did anybody have access

to the suite besides Sharon?

This served as a sort of
communal dressing area

for this event,
so, everybody, really.

The whole cast plus myself,
Dodge, and, uh, Sylvia.

Hey, um, have you
spoken to Hanover?

I wanna make sure he hears
about this from us first.

Uh, Sylvia, you worry
about the other investors.

Let me deal
with Hanover, all right?

Um, this is Sylvia Clare,
our publicist.

Sylvia, uh, Agent Lisbon
is with the CBI.

Who's Hanover?

Our patron.
Our main investor.

Oh, Jane, there you are.

This is the--

No need. I just caught up
in the elevator.

Uh, Dodge, McTavish,
and Clare,

producer, director, publicist.

Was Sharon having any trouble
with the, uh, cast or crew?

No, no. Not at all.

We're a very happy family
here at "Torch."

Yes, of course. That's exactly
what a good publicist

should say, isn't it?

Uh, where were you when
the victim fell, Ms. Clare?

Oh, I was in the ballroom.

Mr. Dodge, uh,
what made you want

to cast Sharon Warwick
as the second lead?

According to this, she doesn't
have much theater experience.

Her paragraph's very short.

Well, uh, Sharon came
out here from New York,

and she just knocked
Bran out with her audition.

And, uh,
I trust his judgment.

She's a natural dancer,
big voice,

quick learner,
and she was hungry.

That's all you need.

Well, what was
in it for her?

I mean, it's a revival
in the sticks.

She was already
a well-known singer in New York.

She wanted to be a part
of something special.

Exactly. I mean, we're starting
out here in Sacramento,

but "Torch" will be
on Broadway in six months.

And a Tony contender in nine.

Did the cast have
much contact with the locals?

Uh, I don't know. I don't--
I don't think so.

Oh, I wouldn't think
they'd have the time.

They would have been right
into rehearsals straightaway.

Yeah. That's right.
So, yeah.

So you think like me.

The killer is connected
to your musical.

Any guesses?

No? Okay. Thanks.

I'm sorry. Who is that?

He's a consultant.

Thank you for your time.

The suspect pool is huge.

It's gonna be a nightmare.

Why start on such
a pessimistic foot?

Why are you so glum?

I call you up, and you're
creeping around Lennon,

getting into
Kirkland's business.

Of course I'm glum.

Oh, that.
Yeah. That.

We look bad enough after
the whole Lorelei Martins mess.

Lennon is a direct link
to Red John.

I need to talk to him.

You need to try and start
following the rules for a while.

And if you must
break the rules,

break them on your own time.

When am I not
on my own time?

♪ Oh, oh, oh, oh, oh, oh

♪ better than nothing

♪ oh, oh, oh, oh, oh, oh

♪ you're better than nothing,
than nothing ♪

♪ whoa, oh, oh, oh, oh, oh, oh ♪
Grace.

It's so good to see you.

Hi.
How was L.A.?

I learned a lot
of really great stuff,

but I don't know
how anybody lives there.

I'm really happy
to be home.

Well, welcome back
to the grindstone.

Yeah. What's with
the music?

Our victim's a singer.

She was pushed
out of a window.

It's kind of catchy, huh?

It was an Internet hit.

She comes out here to star
in a musical and gets killed.

Van Pelt! Welcome back.

Thanks, boss.
It's good to be back.

It's good to see you.

How we doing so far?

Good. Found out that Warwick
was actually a local.

Really? The people
from the theater company

seemed to think
she was from New York.

No, I spoke to
a Polly Datch.

Said she was Warwick's foster
mother here in Sacramento.

She's on her way to CBI.

What about Warwick's timeline
the night of the murder?

I've spoken to about
half the cast so far.

Bad news is they were leaving
the door to that room unlocked

for ease of access.

So anyone could have been
in there when she died?

Yeah. The good news is we got
a whole lot of video

and photos to work off.

So the cast left the room
at around a quarter of 8:00

to get into position.
Warwick was with them.

She leaves the ballroom
at 7:52.

At 8:04, she hits the limo.

Was anyone else
from production missing

during that period?
I can't tell just yet.

I'll keep digging.

Did anybody leave
in a hurry after she fell?

Yeah, one.
Deandra Sunderland, the star.

Now the rumor among the cast

is that she's got
a drinking problem,

so they think she's probably
getting sauced

in one of the, uh,
hotel bars.

A fading diva with a drinking
problem? That's unusual.

- Yeah. Check this out.
- This is her leaving.

Well, when was that?

About half-hour
after the murder.

Uh, what about the surveillance
footage from the hotel?

Cameras in the lobby
and all the elevators.

It's being sent over.

What about the investor--
Hanover?

Do you have
anything on him?

Yeah, the cast had a lot
to say about him, too.

Apparently he can buy Delaware.
We also found his arrival

in the party footage
the publicist sent over.

I looked him up
on the Internet.

He's a currency trader,
and he likes the arts.

Hey, boss, Polly Datch,
victim's foster mom--

wants to talk to you.
All right.

Uh, Mrs. Datch?
I'm Agent Lisbon.

Uh, you were
Sharon Warwick's foster parent?

Yes, ma'am.
Uh, for how long?

Sharon came to live with me
when she was 12.

Never knew
her biological parents.

I stay close
with most of my kids,

but Sharon was special.

That's the man you need to find--

Billy Racine.

Who is he?

No-good thug, that's who.

Is he an ex-boyfriend?

He was her one bad choice.

Had she been
in contact with Racine

since you came back to town?

I'm sure of it.

And I think he assaulted her
a week ago.

You think?

I don't really know because
she wouldn't talk about it.

She bursted off,
called it a botched mugging.

But I'm certain it was him.

Why else wouldn't she
report it?

Had he been violent
with her in the past?

Sharon said no, but...

I know Billy Racine
is a violent man.

Uh-huh.

Sure.

Of course, Mr. Hanover.
Thank you for your time.

Finally found Hanover?

Yeah. He didn't see
the crash either,

but he said he'd be
happy to talk to us

when he gets back in town.

Back in town?

He had to fly
to an art opening.

A piece
he just had to have.

Rich people.

What'd you get?

Lisbon got this
from the foster mom.

Name's Billy Racine.
Ex-boyfriend.

Foster mother thinks
he could have done it.

Guy's had a life.

Multiple assaults, extortion.

Hmm. That name
sounds familiar.

"Racine. William."

He's on the list of people
who purchased tickets

to the show's fund-raiser.

What was he doing there?

I'll see if I can
track him down.

Thanks.

What were you doing
at the fund-raiser for "Torch"

two nights ago?

Supporting the arts.

You don't look like
the type, Mr. Racine.

Did you have any contact with
Sharon Warwick that evening?

If I did,
what's it matter?

You two had quite
the tempestuous relationship

before she moved to New York.

Shouting matches. You even
put your fist through a wall.

Did you pick up
where you left off

when she came back
a month ago?

Don't even try
to pin this on me.

I know what's happened,
and I didn't kill her.

Why should I believe you?

Because I would never
put my hands on that girl.

I loved her.

I think you loved her
maybe too much.

She rejected you,

you didn't take "no"
for an answer,

you stalked her
to the fund-raiser.

And when she
rejected you again,

your hands
got the better of you.

I went there
to protect her.

Protect her from what?

She got mugged last week.

Said she fought 'em off

and scratched one of them up
pretty good,

but I could see
she was shook.

What does that have to do
with the fund-raiser?

Sharon thought someone
from the show set it up.

So when I heard
they were doing that party...

You went to find
her attackers?

I was gonna tune
some people up.

But Sharon said "be easy."
Said she'd handle it.

Did she say
who she suspected?

She wouldn't say.

She was scared I was gonna do
something bad to 'em.

And she was right.

So you're telling me everything
was good between you two?

You've been talking to
that old foster lady, huh?

She never liked me.

You can't believe
what she says.

♪

♪ ooh-wah, ooh-wah

♪ ooh-wah, ooh-wah

♪ ooh-wah, ooh-wah

♪ why do fools fall in love?

♪

Okay. One second.
One second.

Uh, that's your cue,
Deandra.

Tell me again--why am I helping
you audition replacements?

Uh, well, because our investor
performance was rescheduled,

and, uh,
we have to be ready.

So if we could try it
one more time,

that would be wonderful.

I-I don't think you really
need me for this, Bran, okay?

I'll be in my dressing room.

No problem!

Okay, um...

Mandy, Bridget, Howard,

uh, from where
we left off.

One, two, three.

♪

♪ love is a losing game

♪ love can be a shame

♪ I know of a fool you see

♪ for that fool is me

♪ tell me why

Sorry. Sorry. Wait.

This is a closed rehearsal.

Yeah. We're investigating
a murder.

Well, you won't
find any clues here.

Actually, we could learn a lot
from watching a rehearsal.

Oh, really?

Yes. The way a person sings
says a great deal about them.

For instance, Bridget, you have
a very sweet tone.

Thank you.

Yes, with nice shades
of pent-up anger and envy.

You hated Sharon on principle,

yet you may come
to replace her.

So obviously, you had very good
motive to want to kill her.

But I don't think you have
the stomach or the strength

to push someone off a balcony.

You, Mandy,
on the other hand,

are perfectly capable
of murder.

You have
a very strong instrument.

You could play Sharon's part.

But are you hungry enough
to kill?

Do you have
that kind of passion?

I don't know. Hmm?

Oh, don't even look at me.
Thank you.

Oh, please. Pitchy.

Very...
♪ pitchy

You done?

Yes. Well, that leaves you,
Mr. McTavish.

Vain. Controlling.
Neurotic. Egotistical.

Sleeping with, uh,

at least two of your actors.

Are you a killer?

You know, I never did
catch your name.

Mm. Damn.

I was sure it was you.

Never mind. Name's Jane.

Nice to meet you all.
Break a leg.

Uh...

Well, I thought
you sounded... great.

He's upsetting the performers.

I know. I know.
He's gonna throw their performances off.

Bran, I'll take care of it.
All right.

All right?

Mr. Jane.

Please. Your presence
isn't good for morale.

Everyone seems
to be handling it okay.

You've asked your questions.
Is it necessary that you remain?

We'll stay out of your way.
You'll hardly know we're here.

Pardon me. Okay,
so I've gotten confirmations

from all
of our bigger investors.

They will all be
at the rescheduled preview.

Excellent.
And, uh, Hanover?

Still need to double confirm.

Good. Good.

Busy, busy.

Indeed.

Ah.

If you'll excuse me,
I have to take this.

Sure.

Um...
Excuse me.

Sorry to bother you.

Uh, I was wondering if you knew
what jazz hands were?

Sure. It's the use of big
hand movements in choreography.

Why do you ask?

Oh, I just overheard
the director

ranting about jazz hands,

so I was curious to know
what got him so worked up.

Ranting how?

Well apparently, he hate,
hate, hates jazz hands.

And if he sees one
jazzy little hand,

that dancer
is out of the show.

Oh. Good to know.
Thanks.

No worries. Uh, you might
wanna pass that on

to the girl that
comes up after you.

Break a leg.

Okay, Maggie, you're up.

So what exactly
are we looking for

with these auditions?

We'll know when we see it.

You like musicals?

Oh, what's not to like?

Wow. They're so good.
How many more are there?

I'm not sure.

A troublemaker should reveal
herself very shortly.

♪

No! No! No, no, no,
no, no, no, no.

What are you doing, Bridget?

Suddenly we were in
a cabaret bar in Idaho.

I thought you wanted
bigger hand movement.

What gave you that idea?

Uh, I'm sorry, but this, uh,
might indirectly be my doing.

I told the first dancer
that the director

would fire anyone
that added big hand movements.

What?

And she, along with everyone
else who auditioned,

made sure that the dancer
that came after them

didn't use the jazz hands

so that they didn't
lose their job...

until Bridget.

Mandy came before me.

You can't be serious.

Only a scheming
and conniving person

would so callously try
to get a fellow cast mate fired.

There's no telling how far
someone like you will go.

Is he telling
the truth, Mandy?

What does it matter?

At least the hands
distract away

from the dreadful
syncopation problem you have.

You wanted me to fail?

That's not hard.

You bitch.

Oh!

Uh, Rigsby?

Okay.
I'm sorry. What did you just call me?

Oh, I'm sorry...
Get your hands off me!

You mind stepping in
and handling this?

Ladies, ladies,
ladies...

I have an errand to run.

Hey. Hey. Hey.
Okay, let's...

Help!

Aah!
Okay.

I know you're only talking to me
to get information out of me,

but it's been nice.

You make me smile.

Well, what's worth
more than a smile?

True enough.

Mr. Lennon
is pretty much stable.

His blood volume is up,

and the doctors could
bring him out of the coma

as early as tomorrow.

Thank you.
That's very good to know.

What is all this about?

And why are the federal guys
so weird and creepy?

They are? How are they
weird and creepy?

Like they're not
what they seem.

Like one day they might
pull their faces off,

and there'd be alien lizards
underneath, you know?

I know. Not impossible,
but very unlikely.

I know.
They just have that vibe.

I understand.

Will you call me when they bring
Mr. Lennon out of his coma?

Sure.

Thank you.
I appreciate that.

Interesting set
of scratch marks.

What happened?

Cat.

Hm.

Sharon Warwick fought back
against one of her attackers

when she was mugged.

Know anything about that?

You know they found
D.N.A. samples

under Sharon's nails
after the murder?

It's amazing
how a little D.N.A.

can tie two people
together.

Okay. The mugging,
that was me.

I just wanted
to scare her a little bit.

I didn't kill her.

Who was your accomplice?

A guy named Joey.

He's my partner
in salsa class.

And why did you want
to scare her?

Because she was just
some girl

with an okay voice
and no resume,

and there she was
headlining with Deandra.

And that made you mad?

Second lead should have
been me, not Sharon.

So when she showed up
for the fund-raiser,

ready to launch
a star-making turn,

you snapped and you
pushed her off that balcony.

I told you
I didn't kill her.

Well, you've already admitted
to organizing an assault.

Why is it so crazy to think

that you didn't decide
to finish the job?

Because I didn't
want her dead.

I just wanted her to leave.

If you're looking
for suspects,

you might wanna check out
the star of the show.

Deandra Sunderland?

The queen of mean.

What makes you think Sunderland
could have killed Warwick?

Because the director wanted to
replace Deandra with Sharon.

Everybody knew it.

I mean she's too old to be
playing the ingenue, right?

Did you see Sunderland
the night of the murder?

No.

She was nowhere to be found
when the overture began.

What about
after the accident?

Mnh-mnh.

Not until rehearsal
the next morning.

♪

♪ every time

♪ we say goodbye

♪ I die

♪ a little

♪ every time

♪ we say goodbye

♪ I wonder why

♪ a little

Yes, Mr. Hanover. Excellent.

Yeah. Yes.
No, that sounds good.

Uh, okay.
Sounds good. Sure.

We'll see you very soon.
Thanks.

Sorry. Um, how long
you gonna keep Mandy?

A while. That's what we do
when people break the law.

Okay, look, agent,
I'm a pro.

I can spin this tragedy.

It can even add
an air of fascination

to the production.

But if you arrest the cast

right before a performance
for the investors,

that makes my job
rather difficult.

You see, I need my investors
to stay... invested.

Well, brace yourself,

because now I need to talk
to Deandra Sunderland.

This is a nightmare.

♪ There's no love song

♪ finer

♪ but how strange

♪ the change

♪ from major to minor

Miss Sunderland.

My apologies
for interrupting.

We need to talk.

I'm rehearsing here.
I asked not to be disturbed.

This is important.

Where were you
when Sharon Warwick

fell off the balcony?

I was in the ballroom.

All of our evidence
points to the contrary.

Everybody involved
in the production

seems to think
you were off drinking.

I think you might have been
with Sharon.

I think you found out that
McTavish was planning

on replacing you with her,
and you got mad.

He wanted Sharon
to replace me?

She was studying film
of all of your performances

and memorizing your lines.

You don't understand.

She would if you told her
the truth.

You sing beautifully.

How long have you been
out there?

Long enough.

You know, I kept wondering
what brought Sharon Warwick

back to Sacramento.

She left Sacramento
because she wanted something,

and now she's back.

It's obviously connected
to "Torch,"

but it couldn't be acclaim
she was looking for,

'cause she got that
in New York City.

And then I heard you sing,
and it came to me.

What is it that every
foster child is looking for?

Lisbon, I'd like you to meet
Sharon Warwick's mother.

I was, uh...

Very young when I had Sharon.

Her father was my director,
and he was married.

The hardest thing I ever did
in my life was giving her away.

When did she learn
she was your daughter?

She came to my dressing room

after the first day
of rehearsals.

Must have been a shock.

I felt so happy seeing
the person that she had become.

So talented, so...

full of life.

Why did you keep it
a secret?

Guilt. Shame.

Something else.

You're hiding
something else.

You're quite a clever policeman,
aren't you?

I have multiple sclerosis.

Diagnosed six months ago.

Hmm. I'm sorry.

Symptoms of the disease
is what made people think

you were drinking.

Well, I've been sober
for 14 years.

Haven't touched a drop.

I heard the whispers
behind my back.

I thought
it might be better to quit.

Sharon was so mad.

Already protective
towards me.

She told me to be strong.

And you had an attack

right before the first
performance, didn't you?

You didn't have
your medication.

Yes.

Sharon said she'd go up
to the suite and get it for you.

She was
an incredible young woman.

That's why I can't quit
the show.

I have to go on with it--

to honor my child.

Morning.

Morning.
Morning.

We've been through
all the photos, videos,

and security footage.

Cross-indexed every guest,
hotel worker,

attendee, and person
connected to the play.

All their movements are
accounted for, except for him.

Berndt Hanover,
the investor?

He, uh, here he is
before the murder,

getting into the elevator.

He goes to the floor
Sharon Warwick was killed on

and gets off, and that's
the last time we see him.

What do you mean?
How can that be?

I don't know. He never gets
back on the elevator,

and he's never seen
leaving the building.

Okay, but how? Why?
How does he leave the building

without being seen?

If he waited until the hallway
was empty,

he could've taken the stairs
down to the first floor.

Yeah, but how does he avoid
being seen after that?

It--it's not like he's a guy
who doesn't stand out.

True.

This is the room
the murder took place.

That's the balcony. Doorway
out here to the corridor.

Past the stairs,
down to the elevators.

This, if I recall, was a window
out to a fire escape.

Could he have gone down
a fire escape?

He's a big man.
I don't think he's that agile.

Then what?

Hmm. Yes, it's a puzzle.

Why do you look so happy?

You have a way to solve
the puzzle?

Naturally.

Meet me at the theater.

This is good work.

Keep me informed
of your progress.

Why are you lurking
out there, Mr. Jane?

I need a favor.

Is this the type of favor
where...

You would then owe me
a favor?

Actually, you already
owe me a favor,

but I'll spot you another
if that pleases you.

What do you need?

I need you.

Okay, 15 minutes to curtain,
people.

Let's pick it up, pick it up.

Um, hey, Deandra, uh,
don't forget to wait

three bars
in the first intro, okay?

Darling, I've been doing this
since before you learned

to wipe your own nose.

Worry about
your own business.

Never direct. Never direct.

Ladies and gentlemen, if you
will kindly enter the theater

and take your seats, please.

Hey, Lisbon,
you at the theater yet?

Jane, where are you?

Uh, on my way.
Almost there.

You head backstage.
We'll see you in a minute.

We? Who's we?
Uh...

I'll see you very soon, Lisbon.
Bye.

I don't know about this.

Oh, trust me.
You'll have fun.

"Trust me.
You'll have fun."

Was there ever
a more suspicious phase?

J.J., you have to live
a little.

You spend your days
chasing paper clip thieves.

When do you ever get the chance
to nail a killer?

No, it's true.

I'm happy to help.

It's the performance aspect

that concerns me.

What performance aspect?

You go into a room.

If someone says anything
to you,

you say, "Ha ha ha",
or perhaps...

Ha ha ha.

Perhaps.

Good enough.

Would an accent help?

Eh...

Keep it simple.

As you know,
this, uh, show

has faced a great deal
of hardship and tragedy

the past few days.

But I can tell you that it has
only made us stronger.

Thank you.
Evening, Lisbon, you having fun yet?

There you are. Where have
you been and what's your plan?

I will tell you
in one minute.

Oh, good evening,
and what an evening it is.

Lisbon, you remember
Mr. Dodge?

Of course.

Agents, what are you doing here?

Ah, I've gotta tell you,
Mr. Dodge,

after watching
all those rehearsals,

we couldn't just stay away,
could we?

Okay, uh, Warren, you're
supposed to go say something.

Yes, I know. I'm ready.

Finally, let me
introduce our esteemed producer,

Warren Dodge, to tell you...

Who is that?

Hmm?

Oh, my goodness.
It's Berndt Hanover.

Mr. Hanover.
Hi.

What a wonderful surprise.

Mr. Hanover, such an honor.

I'm--I'm Sylvia Clare.
We spoke on the phone.

Your trip was a good one,
I hope?

Yes, it was very good.
Thank you, Ms. Clare.

Sure.
Excuse me.

What's going on?

Warren? Why don't you come out
and talk to the lovely people?

Ms. Clare, I have come
to address

my fellow investors.

Why don't I go and speak
to them now?

What?

Oh, terrific.
That is a great idea.

Isn't it, Warren?
Who are you, huh?

W-w-w-whoa. Wait.
What are you doing?

He's not Berndt Hanover.
He's a fraud!

Warren!
What is going on?

I don't know what game
he's playing,

but he's not Hanover.

Well, what are you saying?
Then who is he?

His name is J.J. LaRoche.

Mr. Dodge is correct.
It isn't Berndt Hanover.

Okay, I'm totally confused.

Ah, we faked it--the hat,
the glasses,

the cane, the coat.

Et voila. Berndt Hanover.

Why?

A test. You all believe
it was him,

and it was easy to make you
believe it.

For about ten seconds,
until he said that I wasn't.

And then nobody believed it
anymore,

just like I don't believe
anymore

that Berndt Hanover exists.

What?
Well, that's ridiculous.

Is it?
Of course Berndt Hanover exists.

Then produce him.
You're a producer. Where is he?

Well... I just can't magically
make him appear.

Call him.

Mr. Jane, I don't have
his phone number on me.

Hard to believe.

You know, uh,
it's at my office,

and I will call him there,
uh, when I'm--

I have it. I'll call him.
That's lucky.

I'm calling him.
Good idea.

It's ringing.
Excellent.

He might not answer.
He's a--he's a very busy man.

Of course.

Excuse me.

Your coat is playing
the "Fifth Symphony."

♪

Gonna answer that,
Mr. Dodge?

♪

Or should we call you
mister...

Hanover?

Hello? Sorry. Mr. Dodge

can't come to the phone
right now, Sylvia.

He's a little busy
getting arrested.

Hanover didn't come down
in the elevator,

because Hanover
never even existed.

Dodge was playing the part
from the beginning.

He took off his disguise,
eluded the cameras

by coming down a fire escape.

Lisbon, he's all yours.

You're under arrest.

Tell me that wasn't fun.

I cannot tell you that,
but we are even, yes?

Yes.

I wanted the show to work.
I was willing to do anything.

Even kill?

W...

She surprised me.

When I was changing
out of the Hanover costume,

nobody was supposed to be
in the room at that time.

Nobody.

I told her that I put every
penny I had into the show

and that Hanover was necessary
to give our investors

a confidence
and peace of mind

and that once I had the money
I needed,

I would make
Hanover disappear

and that everything
would work out in the end.

But she said no.

She wouldn't be
any part of it...

That she was going to
tell Sunderland,

which of course meant
that everyone would find out

and... that would have ruined
everything.

Yeah. I didn't mean
for this to happen.

So what happened next?

Uh, I left by the fire escape.
No one saw me.

And then I went and got
in my car around the corner,

and I drove up and introduced
myself to the police.

This was gonna be the hit show
that put me back on top.

Everyone would have benefited.

If only she hadn't
walked through that door.

I, um, I didn't have
nearly enough time with her.

And I so loved the person
that she was and respected her.

Thank you for giving her
justice.

It means a lot.

I'm sorry.

Embarrassing.
Uh, I have to take this.

Excuse me.
Of course.

Hello?
Patrick, it's Sheila from the hospital.

They're bringing him
out of the coma.

When?

You need to get over here.

Okay. Um... s-- I...

He's conscious,
but keep an eye on him.

Hit that button,
and we'll be right in.

Okay, thank you, nurse.
Mm-hmm.

You are one tough S.O.B.,
Jason Lennon.

You really are.

Where am I?

What happened?

You're in Sacramento.
You got shot.

Do you remember that?

Yes, I do.

Lorelei Martins.

Correct. Very good.
Good. Your mind is clear.

Now listen, I have a question
for you, Jason.

Look at me.

Look close.

You recognize me?

You ever seen me before?

No.

Are you sure?
It's important.

Yes.

I'm sure.

That's good to know.
Thanks.

Who are you?

I'm a friend.

Let's face facts, Jason.

If you recover and live,

you'll spend life in prison
for murder--

the plaything of monsters.

I just hope that if I'm
ever in your shoes,

I have a friend close enough
to do this for me.

Wait.

Don't be scared.

This'll be quick.

Very little pain.

It's okay.
It's all right.

It's okay.
I'm here for you.

I won't leave you.

Help! Nurse!

Nurse!

He's in V-fib.

Get that crash cart
over here.

What happened?

Patrick, I'm sorry.

His heart gave out.

Never said a word.

== sync, corrected by elderman ==

Stay tuned for scenes
from our next episode.