[CROWD CHEERING]
MAN: Enjoy the show, ladies.
[SCREAMS]
We're gonna take them back across the street.
MAN: What happened? OFFICER: Will you stand back three feet?
MAN: Get them in.
Hey, boss. Driver sustained heavy lacerations and head trauma...
...but believe it or not, they're saying he'll live.
Lucky.
The victim's Sharon Warwick, 23.
She went off of a balcony, room 914.
Rigsby's up there with the forensics team.
Now, off the bruise on the cheek and the ripped vest, we're thinking it's murder.
Catering staff?
She was a cast member. Show's called Torch.
It's a story about intersecting lives and loves in a New York nightclub in the 1950s.
The event was a fund-raiser for the show.
Witnesses say the time of death is 8:01 p.m. when the performance was set to begin.
-What was she doing up there? -We don't know yet.
She was ID'd by Warren Dodge, the producer. He's in there with the director.
DODGE: Poor Sharon. Tragedy. Absolute tragedy.
But we're gonna regroup and move forward from this, better and stronger, you'll see.
Our star is in a cab, blotto, our second lead is dead.
How do you propose we do better and stronger?
LISBON: Mr. Dodge? -Yes.
I'm Agent Lisbon. I need to ask you some questions.
Of course. 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's solid.
That's 50 percent of our money. It's other investors we have to worry about.
You keep calm and reassure the cast and crew.
-Mr. Dodge. -Yes.
-You are? -Bran McTavish. The director.
Did either of you see Sharon Warwick fall?
-I was inside, the show was starting. -I arrived after it happened.
You have any idea what she was doing up in room 914?
We were using that area as a dressing room. She was supposed to be in the ballroom.
-She was third cue. -Third cue?
We had actors scattered about dressed as hotel guests, workers, caterers.
It was Bran's idea to start the show.
A guest breaks out into song, then a bellboy, then the waitress, that was Sharon.
-She was supposed to be in the ballroom. -You've been helpful.
If you'd go up to the room while we start the investigation, I'd be grateful.
Anything we can do.
[LINE RINGING]
[PHONE RINGING]
JANE: Hey, Lisbon.
LISBON: Where the hell are you?
Don't tell me you're at the hospital.
I'm not at the hospital.
LISBON: 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. What do you want? Make up your mind.
Get out of there.
If Jason Lennon wakes up and if he talks...
...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. Uh, gotta go.
Ah, Agent Kirkland.
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.
But I think you should go now before we start disturbing the patients.
-This way, sir. -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?
LISBON: Did anybody have access to this 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 Sylvia.
Have you spoken to Hanover? I wanna make sure he hears from us first.
Worry about the other investors. Let me deal with Hanover.
-This is Sylvia Clare, our publicist. -Sylvia, Agent Lisbon is with the CBI.
-Who's Hanover? -Our patron, our main investor.
Jane, there you are. This is--
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, not at all. -No?
We're a very happy family here at Torch.
Yes, of course, that's exactly what a good publicist should say, isn't it?
Where were you when the victim fell, Ms. Clare?
Oh. I was in the ballroom.
Mr. Dodge, what made you wanna cast Sharon Warwick as the second lead?
According to this, she doesn't have much theater experience.
Her paragraph's very short.
Well, Sharon came out here from New York.
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. -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. We're starting in Sacramento, but Torch will be on Broadway in six months.
And a Tony contender in nine.
The cast have much contact with the locals?
-Uh, I don't know. I don't think so. -I wouldn't think they'd have time.
-They'd be into rehearsal straight away. -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 in 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.
If you must break the rules, break them on your own time.
When am I not on my own time?
WOMAN [SINGING ON RECORDING]: Uh, uh, uh, uh, uh-oh
Better than nothing
Uh, uh, uh, uh, uh-oh Better than nothing
Grace!
-So good to see you. How was L.A.? -Hi.
I learned a lot of really great stuff, but I don't know how anybody lives there.
-I'm happy to be home. -Welcome back to the grindstone.
-Yeah. What's with the music? -Our victim's a singer.
She was pushed out a window. Kind of catchy, huh?
Was an Internet hit. Comes here to star in a musical, gets killed.
-Van Pelt, welcome back. -Thanks, boss.
-It's good to be back. -Good to see you.
-How are we doing so far? -Good.
-Found out Warwick was actually a local. -Really?
People from the theater think she was from New York.
I spoke to a Polly Datch. She was Warwick's foster mother in Sacramento.
She's on her way to CBI.
What about Warwick's timeline?
I've spoken to half the cast. Bad news is they left that door unlocked for ease of access.
-Anyone could've been there when she died. -Yeah. Good news:
We got a whole lot of video and photos to work off.
So the cast left the room at quarter of 8 to get into position.
Warwick was with them.
She leaves the ballroom at 7:52.
At 8:01, she hits the limo.
-Anyone else missing during that period? -Can't tell just yet. I'll keep digging.
-Anybody leave in a hurry after she fell? -One.
Deandra Sunderland, the star. Rumor among the cast is she's got a drinking problem.
They think she was getting soused in one of the hotel bars.
Fading diva with a drinking problem. Unusual.
Yeah. Check this out. This is her leaving.
-When was this? -A half hour after the murder.
-What about the hotel surveillance footage? -Cameras in the lobby and all elevators.
-Being sent over. -What about the investor?
-You got anything on him? -The cast had a lot to say about him.
He could buy Delaware.
We 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, the victim's foster mom, wants to talk to you.
LISBON: All right.
Mrs. Datch, I'm Agent Lisbon.
You were Sharon Warwick's foster parent?
-Yes, ma'am. -For how long?
Sharon came to live with me when she was 12.
Never knew her biological parents.
I stayed close with most of my kids, but Sharon was special.
That's the man you need to find.
-Billy Racine. -Who is he?
A 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 she 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 brushed it 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...
...but 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've done it. Guy's had a life.
Multiple assaults. Extortion.
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 contact Sharon Warwick that evening? -If I did, what's it matter?
You two had quite the tempestuous relationship before she moved.
Shouting matches. You even put your fist through a wall.
You pick up where you left off when she came back?
Don't even try to pin this on me. I know what's happened. I didn't kill her.
-Why should I believe you? -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. Said she fought them off, scratched one 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 it'd 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 them 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.
[SINGING] Ooh-a, ooh-a Ooh-a, ooh-a, ooh-a, ooh-a
Why do fools fall in love?
Yeah, okay, one second. One second.
That's your cue, Deandra.
Tell me again, why am I helping you audition replacements?
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.
You know, I don't think you really need me for this, Bran, okay?
I'll be in my dressing room.
No problem. Ahem.
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 I'm a fool, you see
ALL: For that fool is me
MANDY & BRIDGET: Tell me why HOWARD: Ooh-a, ooh-a
Sorry, sorry, wait, stop. This is a closed rehearsal.
-Yeah, we're investigating a murder. -Well, you won't find any clues here.
Actually, we can 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 strong instrument, 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.
JANE: Hmm.
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.
-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 you remain? -We'll stay out of your way.
-You'll hardly know we're here. -Pardon.
I've got confirmations from our bigger investors.
-They'll be at the rescheduled preview. -Excellent. Hanover?
-Still need to double-confirm. -Good, good.
-Busy, busy. -Indeed.
[PHONE VIBRATING]
-Will you excuse me? I have to take this. -Sure.
Ahem. Excuse me.
Sorry to bother you. 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?
I just overheard the director ranting about jazz hands...
...and I was curious to know what got him so worked up.
Ranting how?
Well, apparently, he hate, hate, hates jazz hands.
If he sees one jazzy little hand, that dancer is out of the show.
Good to know. Thanks.
No worries. 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 it when we see it.
-You like musicals? -What's not to like?
[PLAYING "FEVER"]
Wow.
They're so good. How many more are there?
Not sure, but our trouble-maker should reveal herself very shortly.
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? -I'm sorry, this may indirectly be my doing.
[SIGHS]
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.
-Uh, Rigsby. -Okay.
I'm sorry, what did you just call me?
-I'm sorry. -Get your hands off.
You mind stepping in and handling this?
MANDY: Get your hands off me. BRIDGET: You better stop. I'm sick of you.
I have an errand to run.
Are you kidding me?
RIGSBY: Help!
Okay. Okay.
I know you're only talking to me to get information out of me, but it's been nice.
You make me smile.
What's worth more than a smile?
True enough.
Mr. Lennon, he's 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.
Yeah, I understand.
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.
Hmm.
Sharon fought back against one of her attackers when she was mugged.
Know anything about that?
You know they found DNA samples under Sharon's nails after the murder?
It's amazing how a little DNA can tie people together.
Okay.
The mugging, that was me. I just wanted to scare her a bit. I didn't kill her.
Who was your accomplice?
A guy named Joey. He's my partner in salsa class.
Why did you want to scare her?
She was just some girl with an okay voice and no résumé.
-There she was headlining with Deandra. -And that made you mad.
Second lead should've been me, not Sharon.
When she showed up for the fund-raiser to launch her star-making turn...
-...you pushed her off that balcony. -I told you, I didn't kill her.
You admitted to organizing an assault.
Why is it so crazy to think you didn't finish the job?
Because I didn't want her dead, I just wanted her to leave.
If you're looking for suspects, you might want to check out the star.
Deandra Sunderland?
The Queen of Mean.
What makes you think Sunderland could've killed Warwick?
Because the director wanted to replace Deandra with Sharon.
Everybody knew it.
I mean, she's too old to be playing the ingénue, 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? -Mm-mm.
Not until rehearsal the next morning.
[PLAYING COLE PORTER'S "EV'RY TIME WE SAY GOODBYE"]
[SINGING] 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, how long are you gonna keep Mandy?
A while. That's what we do when people break the law.
Look, agent, I'm a pro. I can spin this tragedy.
It can add a 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
Ms. 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 learned 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, because 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.
[SOBBING]
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 you 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 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 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?
Yeah. Here he is before the murder getting into the elevator.
He goes to the floor Sharon Warwick was killed on, gets off.
And that's the last time we see him.
What do you mean? How can that be?
He never gets back on the elevator. 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 to the first floor.
Yeah, but how does he avoid being seen after that?
It's not like he's a guy who doesn't stand out.
True.
There's the room the murder took place, 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.
-He went down the 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? Do 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.
Deandra? Don't forget to wait three bars on the first intro, okay?
Darling, I've been doing this since before you learned to wipe your nose.
Worry about your own business.
Never direct. Never direct.
Ladies and gentlemen, if you will kindly enter the theater, take your seats, please.
JANE: Hey, Lisbon. You at the theater yet?
Jane, where are you?
Ah, on my way. Almost there. You head backstage.
-We'll see you in a minute. -We? Who's we?
I'll see you very soon, Lisbon, bye.
I don't know about this.
Ah, trust me, you'll have fun.
"Trust me, you'll have fun."
Was there ever a more suspicious phrase?
J.J., you have to live a little.
You spend your days chasing paperclip thieves.
When do you ever get the chance to nail a killer?
No, it's true. I'm happy to help.
Ahem. 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?
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.
[AUDIENCE APPLAUDS]
-Thank you. -Evening, Lisbon. You having fun yet?
-Where have you been? 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?
I've gotta tell you, Mr. Dodge, after watching rehearsals, we couldn't just stay away.
-Warren, you're supposed to say something. -Yes, I know.
Finally, let me introduce our esteemed producer, Warren Dodge.
-Ahem. 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 Sylvia Clare.
We spoke on the phone. Your trip was a good one?
Yes, it was very good. Thank you, Ms. Clare.
Excuse me. What is going on?
Warren, why don't you come out and talk to the lovely people?
Ahem. Ms. Clare, I have come to address my fellow investors.
Why don't I go and speak to them now?
-What? CLARE: Oh, terrific.
-That is a great idea, isn't it, Warren? -Who are you?
-Wait, what are you doing? -He's not Berndt Hanover. He's a fraud!
Warren, what is going on?
I don't know what he's playing. He's not Hanover.
-What are you saying? Then who is he? -His name's J.J. LaRoche.
Mr. Dodge is correct. It isn't Berndt Hanover.
Okay, I'm totally confused.
We faked it. The hat, the glasses, the cane, the coat. Et voilà, Berndt Hanover.
-But why? -A test.
You all believed it was him and it was easy to make you believe it.
For about 10 seconds until he said that I wasn't.
JANE: 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. -Produce him.
You're a producer, where is he?
-I just can't magically make him appear. -Call him.
Mr. Jane, I don't have his number on me.
-Hard to believe. -You know, it's at my office.
-I will call him there. -I have it, I'll call him.
-That's lucky. -I'm calling him.
Good idea.
-It's ringing. -Excellent.
He may not answer. He's a very busy man.
Of course.
[PHONE PLAYING BEETHOVEN'S "SYMPHONY NO. 5"]
Excuse me...
...your coat is playing the "Fifth Symphony."
Gonna answer that, Mr. Dodge?
Or should we call you Mr. 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 the fire escape.
Lisbon, he's all yours.
LISBON: 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.
She surprised me.
DODGE: 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 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.
DODGE: 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've ruined everything.
[SCREAMS]
[BODY CRASHES]
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've benefited.
If only she hadn't walked through that door.
[SOBBING]
I, uh....
I didn't have nearly enough time with her...
...but I still loved the person that she was and respected her.
Thank you for giving her justice.
It means a lot.
[PHONE RINGING]
I'm sorry.
Embarrassing. I have to take this.
Of course.
-Hello? SHEILA: Patrick, it's Sheila from the hospital.
-They're bringing him out of the coma. -When?
-You need to get over here. -Okay.
[JANE STAMMERS]
He's conscious, but keep an eye on him.
-Hit that button and we'll be right in. -Okay, thank you, nurse.
You are one tough SOB, Jason Lennon.
You really are.
Where am I?
-Ugh. 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.
Do you recognize me?
Have 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.
Now, don't be scared.
This will be quick.
With very little pain.
It's okay. It's all right.
[GASPS]
It's okay, I'm here for you.
I won't leave you.
[EKG BEEPING RAPIDLY]
[EKG FLATLINES]
Help! Nurse! Nurse!
He's in V-fib. Get that crash cart over here.
WOMAN [OVER PA]: Code Blue, 116. -Here.
WOMAN [OVER PA]: Code Blue, Code Blue, 116. Code Blue, 116.
Clear.
I'll get Mike.
SHEILA: No response.
Get Mike down here stat.
What happened?
Patrick, I'm sorry.
His heart gave out.
Never said a word.