The Mentalist

(Applause, indistinct conversations)

Cho: 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.

Man: 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.

Patrick: 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?

== sync, corrected by elderman == Resync for WEB-DL by lost0ne

5x18 Behind the Red Curtain

Lisbon: 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.

Dodge: 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?

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