"MAN:" "C mark." "It's a show about someone with a tragic past who is nevertheless positive and almost joyful in his search for meaning in his life." "It was a procedural show that was slightly having a wink at itself." "A bit of an inside joke at procedural shows." "There are definitely deeper themes, especially with Simon's character." "On a pretentious level, it's a search for faith and for meaning and a search for redemption and revenge." "We've never discussed this, because I thought it went without saying but when I catch Red John I'm gonna cut him open and watch him die slowly like he did with my wife and child." "Bruno's script was tightly written but it allowed room for interpretation of the character." "What are you, clairvoyant or something, gizmo?" "You got psychic powers?" "No." "No powers." "There was great situations and circumstances and an interesting back story that could be broadened and expanded and pulled into a heavier, weightier situation." "Had them once." "I mean, I pretended I had them, obviously." " No such thing as psychic powers." " So, what is it that you do, exactly?" "The whole series is essentially triggered by this serial killer, Red John who killed Patrick Jane's family." "Your wife." "Red John painted her toenails." "Yes." "Painted them with her own blood." "Police didn't make that public, did they?" "I think finding Red John is this drive that keeps him going and keeps him coming back to work for our team." "When we catch Red John, we are gonna take him into custody he's gonna be tried in a court of law." " Not if I'm still breathing." "And that's the kind of darker anchor of the show but the show itself is not dark." "The show itself, on the contrary, is all about coming out of darkness and being able to deal with darkness in a light way." "It's an illuminating show in that sense." "Love is crazy, I guess." "No, it isn't." "You should seek psychiatric help." "[LAUGHING]" "But, ultimately, it's about, you know, how we interact with each other and that's sort of what lends to its..." "I think, partly, to its appeal." "What I liked about this was the blend of the familiar and the different." "I think people really do enjoy watching a formula that they're familiar with." "Well, we have two witnesses who saw a silver sedan deliberately chase her down." "We're getting paint off the trash cans." "Hopefully we'll get a make and model." "Now, we've also got a partial plate." "Sounds like you're on top of it." "Sure, but I don't mind getting your backup." " We're not backup." "We're lead." " Yes, ma'am." "So the procedural form fits into that nicely but it subverts it enough to give it a human side." "And that's, really, where I felt the life and the legs of the show were." " What was his previous employment?" " He was a musician." "Jazz guitarist." "Yes." "How did you know that?" " I looked at his fingers." "Guitarist fingers." " Yes." "He was playing a gig at one of these ghastly events you have to go to, and you struck up a conversation." "You love jazz, so you could talk with him easily." " But..." " I'm sorry, Ms. Kate." "He's showing off." "I started thinking about the elements of the show based on a couple of things, really." "First thing, driving around L.A., where I live on every block, in every part of the city, you'll see a storefront with a psychic or a fortune teller or some variation on that particular trade." "And it just seemed, to me, this is a huge underground world that, clearly, a lot of people are making a lot of money from." "A lot of people are going to these people for solace and advice and counsel." " Do you charge for your services?" " Yes." " How much did you charge Rosemary?" " Five hundred dollars per hour." " How many hours a week?" " Five to six." " Three grand a week." "Nice." " Rosemary was a troubled soul." " They know they're doing a trick." " Don't try to cold-read me." " Oh, I wouldn't know how." " We both know that's a lie." "On the other hand, they're doing something good." "They're giving people consolation and some sense of closure and redemption." "The veil will be drawn back, and Rosemary will come to us as long as we believe." "That just seemed like an interesting, morally ambivalent situation to be in and it's a great character for a hero." " Have you spoken to Rosemary yet?" " Yes, I have." " Did she mention who killed her?" " No." "So it starts out with this person who's essentially a charlatan." "How do you turn a charlatan into a hero?" "He says, "I'm sorry for all the pain I caused you and your mother."" "Your tears of joy." "Something has to happen that makes him see the error of his ways." ""Dear Mr. Jane, I do not like to be slandered in the media especially by a dirty, money-grubbing fraud."" "BAKER:" "I think the character is anchored or is sort of keeled by somewhat of a tragic story and in this case, the death of his family so I felt that the interesting thing about tragedy is the contrast of how people live with it." "I'm sorry about your mom." "Me too." "I just want her back." "She can't come back, you know that, don't you?" "I think great humor comes out of great tragedy." "HELLER:" "It's his commitment to dealing with the world with grace and lightness when the circumstances that he's been through would entitle him to be bitter and twisted and sad." "You any good with these, son?" "I'm okay." "The Charlie Chaplin song that he wrote. "Smile."" " Smile and the world smiles with you." " Smile though your heart is breaking." "BO Y:" "I got you." "[BO Y GRUNTING]" "Please, mercy." "Mercy." "The way he goes about it varies and shifts." "He's not necessarily an angry man that wants revenge although he's deeply pained and deeply troubled." "And I think he bears the burden in his private moments but doesn't let anybody else see what he's really feeling or thinking." "You protect your core self very fiercely." "What do you think is the reason for that?" "And he has a lightness and a brevity about him that can be deceptive." "You know, this is exactly how imagined it would be." "You gonna ask me about my mother?" "People associate beyond the grave with a certain amount of grim seriousness because it's a serious thing, death." "But the whole kind of priestly gravitas is just a show." "So a character like Patrick Jane who can treat death with the disdain that it deserves is a very attractive character." "So it's very important for me to have that balance and that was a big part of forming the character." "I have a question." "It's always bothered me." "Why do they call it football?" "People don't really use their feet much, do they?" "Are you trying to be rude or disrespectful or what?" "Could I use your bathroom, please?" " Down the hall, to your left." " Thanks." " What's his problem?" " Sorry about that." "Finding somebody who embodied the qualities of that character and could shoulder the weight of the show, I thought, was really difficult." "HELLER:" "The trick with heroic leads like Patrick is that you need to show just enough to create that vision of a real person and then leave it at that, because you need the mystery." "The more vague you are about the depth and the darkness of the character the more longevity the character has." "It's about his journey of coming out of this very painful situation and how the CBI sort of makes him feel like he has a family again." "Don't bother, I know." "I feel the same way." "Nothing to be done." "Now, when he really needs our help, we're letting him down." "I wanna help him just as much as you do." "Our orders state that we must stay away from this case." "I don't care what our orders say." "It's not right." "We closed cases before he came, we'll close cases after he's gone." "Not the point." "It's not that we need him." "He needs us." "Yeah, he needs us on a fool's errand." "Renfrew's a con man." " He knows nothing about Red John." " Suppose we found a connection?" "And until he resolves that issue it's very hard for him to be close to other people." "You looked kind of Lonely." "My friend and I were wondering if you'd like to join us." "Hi." "I'm sorry, I'm married." "Because that involves a certain degree of forgetting and relinquishing the past and he can't do that until he's done what he needs to do." "I do think Jane is darker than we suspect." "But he hides it well." "I have a daughter." "Be about your age if I hadn't caused her death." " How?" " Out of arrogance, stupidity." "I made an evil man very angry, and he killed them to teach me a lesson." "RIGHETTI:" "And I think that's part of the journey of Jane." "He hides it because he has to." " Tell me the truth." " Truth." "Darth Vader?" "Luke's father." "And has the potential to be able to lie and carry that off in a sort of a truthful way and use that to get the truth or to open people up or to disarm people." "There's always a slightly uncomfortable process, approaching Jane." "There's this knowledge that, any second, he could call you out." "Okay, later tonight, when Rigsby asks you to come back to his hotel room..." "[COUGHING]" "...say yes." " Excuse me?" "I know." "You were planning on refusing him very curtly." "First week on the job, you wanna set a tone, no monkey business, but why not?" "Rigsby's an excellent lover, I'm sure." "He's always gonna try and get your goat and push your buttons." "I know what you're thinking." "You're thinking my fiancée's a lot younger than me." "I'll let you in on a little secret." "I was her college professor." "Seduced her." "Okay, that's what I mean." "Come on, stop it." "I think that's part of his game." "He enjoys that." " You're father's a football coach, yeah?" " How do you know that?" "It's obvious from your whole demeanor." "HELLER:" "He's a kind of trickster-hero." "If you're talking about it in terms of, you know, the mythical archetypes he's a Brer Rabbit type of hero not a Thor-the-god-of-thunder type of hero." "I drew a lot from the idea of my character was a fake psychic so he was fraudulent." "In essence, a con man." "So I love con characters." "I love the idea of a grift, pulling the wool over someone's eyes." "YEOMAN:" "I think Simon plays that to the full, you know." "He has a charm and a playfulness in himself that feeds the vocabulary of that character." "I spent a lot of time on YouTube looking at mentalism." " What are you doing?" " Grace is mentally telling me where she hid the van keys." "And getting a bit of a feel of not necessarily the tricks they were doing but more the way in which they presented the tricks." "If I find them, I get to drive." "And, quite often, you've seen Jane using physical vocabulary to take your eye off what is actually going on." "Tell me with your mind only." "A psychic is someone that has powers." "A mentalist has honed, trained skills." " So now you're psychic." " No, no, no." "This is all science." "Anyone has the potential and capacity to be a mentalist if they put their mind to it and study." "It's more about observation and awareness and approaching things from a different perspective." "[JANE LAUGHS]" "Who's got shotgun?" "I think there's a lot of the showman about Patrick Jane and I think it feeds into his previous life." "One of the challenges with the show is that as Simon has become something of a mentalist himself you know, you can't lie to him, you can't pull the wool over his eyes." "When you're in the middle of it, it's coming at you at such a rate that, unconsciously, you do absorb certain elements..." "Absorb certain elements of the character into your psyche." "He already was sharp and good at getting to the nub of things but now he's scary." "That fire was a tragic accident and you have no proof otherwise." "Oh, someone out there doesn't need proof." "Someone out there needs revenge." "That's why he's terrified and shooting at cops." "You should be terrified." "I hope you burn like a candle, you miserable son of a bitch." "It can be unnerving, but I think it makes an interesting dramatic tension as well." "I have access to all of your innermost thoughts." " Yeah, right." " I'm serious." "But I don't think that Teresa believes he can read inside her mind." "You know, they have a dance about it every now and again but I don't think it's something that concerns her." "I think she thinks it's sort of bubkes." "What am I thinking right now?" "You're thinking, "I am so glad Jane is joking around." "That he can't actually read my mind."" "No." "Well, actually, yes, but not for the reason you think." "What reason do I think?" "Never you mind." "My character works in a procedural world as an unprocedural character." "He also works in a world where the thought processes are learned through the hierarchy of the police system." "He's still here." "Not unless he's invisible, he's not, Agent Jane." " He's not an agent, he's a consultant." " He has no procedure." "His job and his role in life is to disrupt the procedure." "No badge, no gun." "You're the one they were telling me about." "The psychic." "Sorry, Gandalf." "In our own bumbling way, we did look around pretty good." " He's not here." " He's here." "And there's no such thing as psychics." "Jane is the prodigy." "He sees things." "And it's quite humbling every week to admit that you're wrong." "[BEEPING]" "[SINGING]" "[RUMBLING]" "[JANE SINGING]" "So I'm trying to empower everyone to think outside of the box in a world that is very much within the box." "I'd like you to raise your hands above your heads like this." "TUNNEY:" "Teresa is somebody who sort of believes in the system and believes in the book." "And, you know, living by the book and that's, you know, the way it goes, and that that's what works." "And he's somebody who's a complete nonconformist who does everything he can to break the rules." "One of you here killed Kara Palmer and abducted Nicole Gilbert." "I want that person to lower their right hand now." "Okay, okay." "It usually gets a hit." "Forget I even spoke." "The toughest role to cast beyond Patrick Jane was Lisbon because, just on the technical level, it's a very tough role because it's essentially the Watson to Jane's Sherlock Holmes." "I liked my role simply because I had never done anything like that before." "I generally don't..." "I haven't played anybody who's really employed." "You also need someone with authority." "WOMAN [ON PA]:" "Flight 233 from Sacramento..." "Sorry." "You checked luggage?" "What are you, on vacation?" "This idea of, like, barking at people and sort of being difficult on them and with them." "And being in charge." "But I've just sort of now, completely comfortable with it." "When your trousseau arrives, pick up the second rental and go to the sheriff's department." "Hustle us up a couple of rooms, furniture, and phone lines." " Yes, ma'am." "LISBON:" "Come on, let's go." "I have absolutely no problem never saying please or thank you." "Not even addressing my subordinates by name." "There's a barrier between them." "There's a functional and a narrative barrier between them." "Damn it, Jane." "He's in a trance, isn't he?" "I feel like, sometimes, when I'm addressing him I'm addressing him as, you know..." "He's like the naughty 3-year-old and he's driving me crazy." "You hypnotized him." "I was doing a favor for the organized crime unit." "Those cowboys?" "Time to go, guys." "He killed two people." "If you walk very quietly to the door..." "How many times have I told you, no hypnotism?" "It's illegal and it's unethical, and you cannot keep on doing it." "And then, other times, it's sort of with your child, but more affection like he's the precocious child who's your favorite." "And then, at other times, he's a peer who I sort of count on." "And I, you know, think he's bright." "And I think, other times, you know, my character's sort of flirtatious with him." "I know those emeralds look lovely with your eyes." "Thank you." "It's beautiful, but I can't keep it." "I understand." "It shifts around between those three phases and the object, I believe, is to keep moving around like that so that we never..." "Neither one of us ever really gets comfortable with the other person so that there is always an element of surprise." "I think Teresa likes going to the CBI a lot more than she did before Patrick Jane got there." "And I think she does her hair for a longer amount of time in the morning." "And maybe even bought a new pair of boots." "Can I help you?" "You must be Van Pelt." "Pleasure." "Patrick Jane." "Oh, hi." "Good to meet you." "I don't think Jane knows much about Grace's heart and where her intentions are." "JANE:" "Very pleasant addition to the serious-crimes family." "I think there's..." "There's something very boxed in about Jane's perception of Grace." "It's nice to be nice." "But if you wanna get ahead, sometimes you have to be a bitch." "I know you know how." "That she's sort of just this gullible, naive cop." "I think you are psychic." "You're just afraid to admit it." "JANE:" "Mm-hm." "And I think there's more to Grace than that." "She's had a tough job, because she's the newbie." "And a tough job, also, because she has to do romantic scenes with me." " And I don't envy her for that." " It's not that I don't like you." "I do." "It's just..." "We work together." "It's sort of like, initially, the wool was pulled over her eyes and now, suddenly, things are becoming a little bit more clear and things aren't as curtained anymore." "I've been here nearly six months now." "Half a year." "What do you want, half a cake?" "I wanna take lead on this interview." "Okay." "Okay?" " Yeah." "Sure." " Thanks, boss." "I think, quite often, the straighter we play the procedural stuff the more it subverts Jane's process." "LISBON:" "What are you doing with it?" " Listening to music." " That's evidence." "You can't play with that." " Evidence of what?" "She likes music?" "It's in the log as physical evidence." "It's evidence." " What's with her?" " If it's in the log, it's in the log." "You can't touch it." "Really?" "All right." "Well, I'm sorry." "I..." "I didn't realize it was a sacred thing." "I'll put it right back." "I think the whole dynamic of the show relies on us being very, you know..." "Being extremely cop-like to be able to be subverted by him." "If the lover had done it, he'd have been closer to the victim." "And he wouldn't have had to shoot as many times." "And look." "Circular." "Which means a vertical drip from somebody standing right here, bleeding, right?" "Not spatter from the victim." "You're a forensics expert now?" "I think that there are moments where..." "Where each one of us, in turn, have surprised him." "I think all the characters hold their own secrets." "I mean, nobody walks around, you know, stone-faced and very straight all the time." "We have a name." "He's not a suspect." " Who is he?" " I'm not at liberty to say." " I want his name." " You can't have it." "Are you sure, Agent Cho?" "Because I can make one phone call, and your career is toast." "That's impressive." "The best I can get with one call is a pizza." "With a character like Patrick Jane walking in able to look at you and pick out everything that you're thinking totally undermines what Cho is trying to do." "That's what makes them interesting." "When was the last time you saw your husband?" "Yesterday." "Tuesday morning." "So we'll be having the procedural discussion and then the camera will pan back to Jane, who's a couple of steps behind and yet, in theoretical terms, miles ahead." "A lot of people think that Cho is skeptical of Jane's talent or skills or whatever makes him good." "I don't think that's the case." "Okay, great." "Thanks." "You can go." " No." " Sorry." "I'm sorry." "When Agent Cho says you can go, you can go." "It's more of a frustration that he sees that while this guy who has no training, no police training none of this stuff that I went through is able to solve these crimes." "Now, why can't I do that?" "Hey." "You can't dismiss my subjects like that." "I know." "I took it back." "Besides, we need him back out there in the saddle." "You will agree with me 100 percent when I explain to you my theory." "My little plan." "You know, everyone has a bit of Dorothy and a bit of the Cowardly Lion and a bit of the Scarecrow in them." "Wake up, Dorothy." "You're not in Kansas anymore." "That's the genius of those characters." "If I'm Dorothy, then who are you?" "The scene that really clicked for me, when I thought:" ""This is an interesting character that could go in a lot of different directions" was..." "The particular scene was with the shrink on the couch with the Johnny Cash story." "I'd always be trying to get my little brother, Jimmy, to do my chores for me." "One day, I promised him a dollar if he'd cut the firewood." "Well, he opened up an artery in his leg on the saw, and he bled to death." "You know that's almost exactly the same thing that happened to Johnny Cash." "Is it really?" "Wow." "That's spooky." "Over the life of a series, you get to explore all these buried facets in a character." "Why is Sophie Miller so important to you?" "She was my psychiatrist." "But you hate psychiatrists." "She was a good psychiatrist." "She must have been, if she managed to keep you in the room." "It was a locked room." "And there's a couple of instances that surprised me, certainly, as a character." "And will surprise an audience as well." "That's my boys." "Live it up." "It's a show about someone with a tragic past who is nevertheless positive and almost joyful in his search for meaning in his life." "Hey, can you believe he fell for that old cell-phone gag?" "Old cell-phone gag?" "I invented that right there and then rather brilliantly, I thought." "Oh, please." "I've seen that done a dozen times." " What do you mean?" "Where?" " On TV." "Oh, on TV." "Anything can happen on TV." "Question is, where have you seen that done in real life?" "Subripped by CLT-Team"