Griffith: Get a good shot at her face.
———–
Elle Greenaway: Make a wish!
Derek Morgan: Come on man! Blow, baby blow!
Elle Greenaway: I thought you are a full of a hot air Reid.
Derek Morgan: Come on, Reid.
Jennifer Jareau: They're trick candles, Spence Okay? They gonna come back on every time.
Derek Morgan: Oh, mommy to rescue you!
Spencer Reid: Mommy?
———–
Aaron Hotchner: Is it amazing you knows what he knows he's only 24?
Jason Gideon: Imagine what he'll know by 50.
———–
Jennifer Jareau: Hope you like chocolate.
Agent: Agent Hotchner?
———–
Jason Gideon: You having fun?
Spencer Reid: Yes, definitely. I'm definitely having fun.
Jason Gideon: Make a wish?
Spencer Reid: Can I take this hat off?
Jason Gideon: I wouldn't.
Jennifer Jareau: Hey Spence, first piece for the birthday boy.
Spencer Reid: Do you know she's the only person in the whole world who calls me "Spence"?
———–
Spencer Reid: Thank you.
Derek Morgan: Birthday boy.
Aaron Hotchner: Sorry, guys, the party's over.
———–
Aaron Hotchner: We're going to San Diego.
Derek Morgan: Not for the surfing, huh?
Jennifer Jareau: They're calling him the Tommy killer.
Aaron Hotchner: 6 women raped and murdered in their homes in the last 3 weeks.
Elle Greenaway: 6 in 3 weeks?
Jason Gideon: That's a short fuse.
Aaron Hotchner: And getting shorter. The first 2 were 8 days apart then the next 4 in 2 weeks.
Spencer Reid: Rapid escalation. Do you think he's regressing to a psychopathic frenzy?
Aaron Hotchner: No, he's too controlled for that… See you on the plane.
Derek Morgan: Why the Tommy killer?
Aaron Hotchner: You know the rock opera? This unsub glues the victims' eyes wide open.
Spencer Reid: He wants them to see him.
Jason Gideon: And feel him.
———–
Jason Gideon: French poet Jacques Rigaut said "Don't forget that I cannot see myself that my role is limited to being the one who looks in the mirror."
———–
Aaron Hotchner: Brenda Samms was found yesterday by her children when they got home from school. She had been strangled with a thin ligature, possibly a wire.
Elle Greenaway: No weapon left at the scene.
Spencer Reid: Residue on the wrist and mouth indicate that duct tape was used and then removed.
Aaron Hotchner: Also not found at the scene.
Elle Greenaway: Brought it with him, took it with him.
Aaron Hotchner: He also started leaving messages at the fourth scene. This was on the mirrors. "Fair lady, throw those costly robes aside. No longer may you glory in your pride. Take leave of all your carnal, vain delight."
Spencer Reid: "I've come to summon you away this night." It's a ballad from the late 1600s. A dialogue betwixt death and a lady.
Elle Greenaway: A 17th century ballad?
Spencer Reid: Essentially, a woman begging death to live.
Elle Greenaway: What kind of person knows this ballad? Are we looking for a literature professor?
Spencer Reid: Anyone with an internet connection, actually. You should see what comes in when you type the word "death" into a search engine.
Derek Morgan: Reid, no wonder you can't get a date.
Jason Gideon: Reid, you stay on the messages. See if there's a deeper meaning.
Derek Morgan: It definitely looks like he ransacked the crime scene pretty well.
Aaron Hotchner: A lot of damage, nothing taken.
Jason Gideon: The eyes are the thing, the signature. The behaviour that isn't necessary for the murder, but necessary for the emotional release. That's what he's there for.
Spencer Reid: There used to be a widely held belief that the eyes record a snapshot of the last thing a person sees before they die.
Derek Morgan: Yeah, that's right. People used to write poems about talking to death.
Spencer Reid: Ballads.
Derek Morgan: Whatever.
Elle Greenaway: You think they'll ever run out of new things to do with their victims?
Jason Gideon: Well, finding new ways to hurt each other is what we're good at.
———–
Griffith: Captain Griffith, task force commander.
Aaron Hotchner: Sorry, we all get tunnel vision. I'm special agent Hotchner, this is agent Jareau, our liaison.
Griffith: I appreciate you coming out.
Aaron Hotchner: Thanks, hope we can help.
———–
Mrs Chandler: Hi, you've reached the Chandlers. Leave a message, and have a beautiful day… What a good soccer game… I'm so proud of you.
Girl: When's mommy coming in?
———–
Victim 2: Happy anniversary, honey. Love you.
Girl: Ready for bed, mom. Will you tuck me in?
Aaron Hotchner: This unsub glues the victims' eyes wide open.
Jennifer Jareau: They're calling him the Tommy killer.
Derek Morgan: It definitely looks like he ransacked the crime scene.
Victim 2: Do you have a lot of homework, sweetie?
Girl: Mom? Mom? Mom, where are you?
———–
Spencer Reid: "My name is death. Have you not heard of me? You may as well be mute..."
Jennifer Jareau: Creepy, huh?
Spencer Reid: Actually, conversations between death and his victims was a fairly popular literary and artistic theme throughout the renaissance… Yeah, creepy.
Derek Morgan: He strikes during the day in upper-middle-class neighbourhoods.
Jason Gideon: Extremely high-risk victims at a high-risk time. He's confident in his ability.
Derek Morgan: Looks to be about a 5-square mile radius.
Jason Gideon: So he probably has a vehicle.
Cornelius Martin: You wanna see that crime scene? It's still taped off. The husband won't go back inside.
Jason Gideon: Let's go.
———–
Aaron Hotchner: All right, so we need answers to these questions. What does the evidence tell you about the sexual aspect? What kind of rapist is he independent of the homicides?
Elle Greenaway: I'm on it.
Spencer Reid: It looks like what he's written at the scenes are most of the first 3 verses of the same ballad.
Aaron Hotchner: Most of?
Spencer Reid: It's only one part of the conversation. There's no "betwixt". Death speaks, but the lady never answers.
Elle Greenaway: Maybe he feels like their bodies are answer enough.
———–
Marcia Gordon: Very nice.
———–
Cornelius Martin: This profiling really works?
Derek Morgan: It's a tool.
Cornelius Martin: You can tell all about a guy from looking at the scene.
Derek Morgan: Well, the scene's only part of it. We also use victimology, precedent. We can usually get a fairly clear picture of the guy.
Cornelius Martin: Our guys went over it pretty well.
Derek Morgan: I'm sure they did.
Jason Gideon: Local officers aren't trained to look for the things we look for.
Cornelius Martin: What's that?
Jason Gideon: Hate, insecurity, fear, anger.
Cornelius Martin: That's all at the scene?
Derek Morgan: It's all in his behaviour.
Cornelius Martin: You know anything about our guy yet?
Derek Morgan: Yeah.
Jason Gideon: He isn't gonna stop until he's caught.
———–
Jason Gideon: You increased patrols in these neighbourhoods when the pattern was identified?
Cornelius Martin: After the fourth victim. Bosses cancelled days off, vacations.
Derek Morgan: Neighbourhood full of cruisers, and he still struck 2 more times.
Jason Gideon: He blends. Gideon.
Aaron Hotchner: There may have been another attempt 6 blocks from the station house.
Jason Gideon: Attempt?
Aaron Hotchner: The husband interrupted, and the attacker got away but Elle and I are headed over there right now.
Jason Gideon: Well, we're already at the last crime scene. Let us know if you identify a suspect.
Cornelius Martin: Suspect?
Jason Gideon: There might have been another attack not far from your station.
Derek Morgan: Hey. Hey. Hey. Where you going?
Cornelius Martin: Over there.
Jason Gideon: Well, units are already heading that way. We can get more accomplished here.
Cornelius Martin: You're kidding me, right?
Derek Morgan: No. If there's an arrest what we find here will help you prosecute.
Jason Gideon: The scene won't be pristine forever.
Cornelius Martin: Guys, knock yourselves out.
Jason Gideon: Thank you.
Derek Morgan: Hey, wait a minute. The unsub went through the back, right?
Cornelius Martin: The family room. It's the window full of print dust.
Derek Morgan: Gideon, I'm going around the house.
———–
Derek Morgan: Ok, not that easy to maneuver. That means I'm a little bit athletic.
———–
Derek Morgan: All right. I messed with something in here… Broken cappuccino machine. Took the appliances, which are upstairs. Why? Why would I take the time?
———–
Aaron Hotchner: Lucky woman.
Elle Greenaway: You know what, she's probably not feeling so lucky right about now.
Griffith: You're absolutely sure about that, Mr. Gordon?
Bill Gordon: He was black and 6 feet tall. I watched him run out that back door.
Griffith: Get a description out in the field A.S.A.P.
Aaron Hotchner: Inter-racial serial sex crimes are rare.
Griffith: Are they impossible?
Aaron Hotchner: No.
Griffith: Then what's your point?
Aaron Hotchner: Only to provide you with information.
Elle Greenaway: I'm gonna go talk to her.
Griffith: May I ask why?
Elle Greenaway: She's surrounded by men.
———–
Elle Greenaway: Mrs. Gordon? I'm Elle. Would you like to go outside? It's all right. We're just gonna go some place quiet.
———–
Derek Morgan: Here's where I got the china… The silver… I didn't take it, I broke it. Why wouldn't she hear me? Because I did it after.
———–
Jason Gideon: "You may as well be mute. There is no time at all for vain dispute your riches, gold, and garments, jewels bright your house and land must on new owners light."
———–
Marcia Gordon: I really don't know that much about him.
Elle Greenaway: Well, you don't have to. Just take a little time to collect your thoughts to just sit here, breathe.
Marcia Gordon: You don't want to ask me questions?
Elle Greenaway: Not until you're ready. I'll be right behind that doorway.
Marcia Gordon: I didn't even know he was in the house. Is that common?
Elle Greenaway: Very.
———–
Jason Gideon: She had a workout video on. Step aerobics.
Derek Morgan: Step aerobics? With the platforms? Step up, step down, step up, step down?
Jason Gideon: Where's the platform? He spent a lot of time here.
Derek Morgan: What, so he vacuumed? I mean, there's no marks from the platforms.
Jason Gideon: A lot of time.
Derek Morgan: The broken things. She must have already been dead or incapacitated when he did that. Cappuccino maker from the kitchen, dishes, vases, broken jewellery.
Jason Gideon: Symbols. "Your riches, gold, garments, jewels bright. Your house and land must on new owners light."
Derek Morgan: Her riches.
Jason Gideon: Right. Ever feel like there's something obvious right in front of you, you just can't see it?
Derek Morgan: Yeah, usually right before a woman dumps me.
———–
Marcia Gordon: He slapped me from behind he pulled me down on the floor. I tried to scratch him and bite him, but he was so strong. And then my husband came home from work. He screamed, and the man ran out the door.
Elle Greenaway: He was a black man.
Marcia Gordon: Bill was sure of it, but I...I only remember his eyes. When we were fighting, I kept staring him right in the eyes. I remember thinking, "if he's gonna kill me then he's gonna have to look at me while he does." And he just kept staring back at me through the ski mask.
Elle Greenaway: A ski mask.
Marcia Gordon: Yeah.
Elle Greenaway: It's all right. You did good.
———–
Spencer Reid: The verses.
Jason Gideon: Found something?
Spencer Reid: Not an answer, a question. I found the full text. He's pretty much following it to a t, at least the death side of the conversation.
Jason Gideon: But?
Spencer Reid: Why didn't he leave them at the first 3 murders? I mean, this ballad is 10 verses long just on the death side. He's got plenty to work with. But if it's not part of his signature it isn't something that he has to do for an emotional reason then, I mean, why start?
Jason Gideon: JJ, find out when the press ran the first story on this unsub.
Jennifer Jareau: When?
Jason Gideon: After which victim.
Jennifer Jareau: Yeah, you got it.
Derek Morgan: What're you thinking?
Jason Gideon: He wasn't getting enough attention.
Spencer Reid: The police department sometimes don't even realize they're looking at a pattern.
Derek Morgan: Yeah, until somebody tells 'em.
Jennifer Jareau: The first story ran the morning after the fourth victim was found.
Derek Morgan: The increased patrols didn't begin until after the fourth victim, either.
Jason Gideon: Yeah, the police didn't realize what was happening he writes his verse, and…
Spencer Reid: And everyone knows that he was there.
Aaron Hotchner: The offender in this new attempt is a black male.
Derek Morgan: Black male? That's cross racial. That doesn't happen.
Spencer Reid: What about Herbert Mullin? He killed 14 different people of completely varying ages, races, and creeds.
Elle Greenaway: But there was no sexual component to his crimes. And he wore a ski mask. This attacker wore a ski mask.
Jason Gideon: Tell 'em we're ready.
Derek Morgan: For a profile?
Jason Gideon: We're gonna make Tommy contact us.
———–
Jason Gideon: The unsub brought the weapons with him tape, glue, wire… He did not leave them at the scene. He took them when he left. He has a kind of killing kit that he carries.
Aaron Hotchner: Organized killers usually have a skilled job, likely technology related which may involve the use of the hands. The crime scenes are far enough apart that he needs a vehicle. This will be well kept, obsessively clean, as will be his home. He's diurnal, the attacks occurred during the day so the vehicle may be related to his work, possibly a company car or truck.
Derek Morgan: We believe he watches the victims for a time learns the rhythms of the home, knows his time frame.
Aaron Hotchner: You're not gonna catch him accidentally.
Jason Gideon: He destroys symbols of wealth in the victim's homes… He harbours envy of and hatred toward people of a higher social class. He feels invisible around them.
Spencer Reid: Class is the theme of the poem which he left at the various crime scenes. At one point in the poem, the women attempts to bribe death but he doesn't accept it. He says this is the one moment when riches mean nothing when death comes, the poor and the rich are exactly alike.
Griffith: So he's poor.
Aaron Hotchner: Probably middle-class. A decidedly lower-class person would stick out in a highly patrolled neighbourhood. This guy appears to belong there. He blends in.
Cornelius Martin: Why does he glue the eyes open?
Elle Greenaway: The unsub is an exploitative rapist. Most rape victims close their eyes during the attack, turn their heads. For some rapists, this ruins the fantasy. For this type of rapist, the goal is more related to the victim watching him than the act itself.
Aaron Hotchner: The verses, the staging, the aggressive language, "I am death," this is a guy who, while being in control of the crime scene almost certainly feels inadequate in the rest of his life.
Jason Gideon: That's why he couldn't wait for you to figure out what he'd done. Why he needed to make sure all his crimes were counted. His victims, they represent whatever it is that's controlling him and he wants that control back. He is under the thumb of a powerful woman who frightens him. And a final point. He is white.
Griffith: We have witnesses that identify him as a black male.
Jason Gideon: The attacker was black. He is not the Tommy killer.
Aaron Hotchner: Mrs. Gordon's husband came home at the same time that he always does. The Tommy killer would've known that.
Elle Greenaway: And Mrs. Gordon's attacker wore a ski mask. The unsub knows when he walks into a house he's going to kill the woman who lives there. If you're not leaving any witnesses, why wear a ski mask?
Derek Morgan: And he wants the victim to see him anyway.
Aaron Hotchner: Your attempted rapist is a garden variety disorganized young man.
Elle Greenaway: As the victim's age goes up, generally the attacker's age goes down. Mrs. Gordon is about 60, which puts her rapist at about 20.
Jason Gideon: And it takes years to develop the level of calm and sophistication that Tommy displays at a crime scene. The rapist is far too young for that.
Elle Greenaway: Mrs. Gordon told me that there's a young man who delivers groceries to their home. He fits a lot of what we're describing here.
Griffith: Great. So we're back to zero on Tommy.
Aaron Hotchner: Not at all. May I see you in your office for a moment?
———–
Aaron Hotchner: You have a tip line for the public?
Griffith: Yes.
Aaron Hotchner: We have a technician at quantico who can tap into your phone system.
Griffith: He's gonna call us?
Aaron Hotchner: Well, he's gone out of his way to show you how scary he is. And when the 11:00 news leads with the capture of a 6 foot tall black man in connection with his crimes he's gonna be furious. Furious enough to call.
———–
Delivery guy: Later, man. See ya.
Elle Greenaway: FBI. You're under arrest.
Derek Morgan: You're under arrest for the attempted rape of Marcia Gordon.
Delivery guy: What?!
———–
Jennifer Jareau: The FBI's behavioral analysis unit was called in yesterday afternoon by the San Diego police department to assist in the ongoing Tommy killer investigation. The unit is headed… I can now announce that our office has assisted in making an arrest in connection with the investigation. That's all I can say at this time.
———–
Elle Greenaway: He confessed to Mrs. Gordon's attack before we even got to the car.
Aaron Hotchner: Thanks, Elle.
Jennifer Jareau: Should just make the 11:00 news.
Aaron Hotchner: Did they get good footage?
Jennifer Jareau: Yeah, couldn't miss him.
Jason Gideon: Good. Now we wait. Contact Garcia.
———–
Penelope Garcia: Go for Mrs. Penelope Garcia.
Jennifer Jareau: Ready with the trap and trace?
Penelope Garcia: Peaches, this is the office of unmitigated superiority. I am always ready. With the awesome power I have in this room all I need is 15 seconds on the phone to nail this skeevy perv.
Jennifer Jareau: 15 seconds?
Penelope Garcia: If that.
———–
Jennifer Jareau: I can now announce that our office has assisted in making an arrest in connection with the investigation. That's really all I can say at this time.
Mother: Turn that damn television down!
Franklin Graney: I'm sorry.
———–
Jennifer Jareau: We're still waiting, Garcia.
Elle Greenaway: God, I hate waiting like this.
Spencer Reid: Do you think it's weird that I knew that ballad?
Elle Greenaway: I don't know how it is that you know half the things you know but I'm glad you do.
Spencer Reid: Do you think it's why I can't get a date?
Elle Greenaway: You ever ask anyone out?
Spencer Reid: No.
Elle Greenaway: That's why you can't get a date.
Cornelius Martin: Detective Martin… Hey. Hey.
Jennifer Jareau: Line 6, Penelope. Line 6.
Franklin Graney: You stupid, incompetent sons of bitches! I don't make mistakes! I am death! You hear me?! I am death! You'll see now. Tomorrow, mark my words, you will see. And while I'm taking her, I'm gonna be thinking of you.
Jennifer Jareau: Anything?
Penelope Garcia: Are you kidding me? I don't know how this is possible because there was definitely enough time for me to get a location but I got nothing. I got absolutely nothing. Let me work on this.
Jennifer Jareau: She said she got nothing.
Derek Morgan: Nothing?
Aaron Hotchner: We missed him?
———–
Griffith: We have an undercover car for each of your teams and the entire damn department out there, too.
Jason Gideon: Remember, a truck. Maybe a work truck in excellent condition.
Griffith: Everyone knows.
Aaron Hotchner: All right, he might make a mistake today. He's angry, and he probably hasn't done the kind of surveillance he'd like.
Derek Morgan: Yeah, well, neither have we. Let's go, Reid.
Elle Greenaway: I'll bring the car around.
Aaron Hotchner: We'll find him.
———–
Jason Gideon: That's the last place he watched. That house.
Elle Greenaway: Morgan said the family hasn't moved back in.
Jason Gideon: Probably never will… It's the eyes.
Elle Greenaway: Excuse me?
Jason Gideon: It's the eyes, Elle. Just something not right about the eyes.
Elle Greenaway: If you mean what he does to them, yeah, I agree.
Jason Gideon: No. It's almost a classic move for an exploitative rapist to force a victim to watch.
Elle Greenaway: But?
Jason Gideon: We're missing something about it.
———–
Derek Morgan: It's 10:30 already.
Spencer Reid: All he said was tomorrow. He didn't... Specify morning.
Derek Morgan: Reid, this guy's gotta spend a lot of time in that house.
Spencer Reid: A lot.
Derek Morgan: He needs it to be morning.
Spencer Reid: Are we sure this is a good spot?
Derek Morgan: 3 of the victims lived within a block of this street. It's the main artery through the neighbourhood.
Spencer Reid: True, but 3 victims in the same block could mean he's done with the area.
Derek Morgan: Or that he's just really familiar with it.
Spencer Reid: And comfortable in it.
Derek Morgan: But then, on the other hand the other victims lived more than a mile in either direction.
Spencer Reid: Right.
Derek Morgan: God, I hate not having a plan. We're looking for a needle in a haystack here.
Spencer Reid: Actually, it's more like we're looking for a needle in a pile of needles.
Derek Morgan: What?
Spencer Reid: A needle would stand out in a haystack.
Derek Morgan: Ok. And we're not looking for someone who stands out?
Spencer Reid: No. We're looking for a particular needle in a pile of needles.
———–
Officer: Can I help you folks with something?
Jason Gideon: FBI.
Officer: Oh, sorry.
Jason Gideon: After the fourth killing, P.D. Doubled the patrol in these neighbourhoods, then double them again after the fifth and sixth.
Elle Greenaway: Yet our unsub still watched the houses.
Jason Gideon: How could he not have been seen?
Elle Greenaway: Is that an oriole?
Jason Gideon: No. A black-headed grosbeak.
Elle Greenaway: Grosbeak?
Jason Gideon: Grosbeak, female… Orson Welles said all the birds that belong to our sex have prettier feathers 'cause males have got to try to justify their existence. We spend all our time screaming, "look at me. Look at me. Mommy, mommy. Look at me."
Elle Greenaway: Yeah? 25?
Jason Gideon: Look at me.
Elle Greenaway: Ok. Garcia couldn't get a fix on the call because it was routed through 25 different substations.
Jason Gideon: 25 substations.
———–
Jason Gideon: He wanted them to see him.
Elle Greenaway: We established that.
———–
Jason Gideon: He's meticulous. Nothing is an accident. He vacuumed… Seeing is about domination. His creation. He positioned everything exactly the way he wanted it.
Elle Greenaway: And?
Jason Gideon: If the eyes were so they could watch the attack why are they all facing away from it? In that position, they couldn't see him during… He wanted them to see him afterward.
———–
Penelope Garcia: Office of unfettered omniscience. Penelope Garcia is in. Speak, oh fortunate one.
Elle Greenaway: Garcia, it's Elle. Could you get into the phone repair records in San Diego?
Penelope Garcia: Sunshine... I can run centcom from here and still participate in simultaneous tetris tournaments.
Elle Greenaway: I'm looking for repairmen cross-referenced with the murders in San Diego. It could be as much as four or five days prior. See if there are any common names.
Penelope Garcia: Total cake. Stay on the line.
———–
Aaron Hotchner: What you got?
Jason Gideon: He's a phone technician, Hotch. Police are looking for someone walking around the neighbourhood in broad daylight. Who notices a phone guy up on a pole?
Aaron Hotchner: He can watch for husbands leaving for work watch for police patrols, know when the neighbourhood’s quiet.
Jason Gideon: He knows when he'll have plenty of time. He can even tap into a phone line to make sure someone's home. How about routing a call through 25 substations? Backyard? Hey, he's just looking for a pole. Got tape? Course he does. Wire? He's a repairman.
Aaron Hotchner: Sounds right, Jason.
Jason Gideon: It is right, and we have his name.
———–
Shelly Hart: There you go. Oh, that's a good boy. You want some juice, big boy? You want some juice? Ok.
Boy: Mommy.
Shelly Hart: Ooh, yes, I know. We're gonna have some apple juice, pookie. That's your favourite. I know. I know you love it.
———–
Derek Morgan: FBI. I need to know where one of your technicians is.
Receptionist: FBI?
Spencer Reid: Where are your technicians?
Receptionist: They're all out in the field.
Derek Morgan: Listen! I need Franklin Graney right now.
———–
Franklin Graney: Now you'll lay down.
Shelly Hart: Please. Please don't hurt me. I have a baby.
Franklin Graney: Cooperate and you'll be all right.
Shelly Hart: Please. Oh!
Franklin Graney: Cooperate and you'll be all right.
———–
Elle Greenaway: He's on service calls in the area of Orange and Chandler.
Jason Gideon: Get a hold of Hotch. Tell him to bring the team and any S.D. Cops he can round up.
———–
Jason Gideon: This is his truck… Fan out. Go through yards. Look at telephone poles. He's around here.
———–
Boy: Let me out. Let me out.
Jason Gideon: 875 Orange, Hotch. Back door.
———–
Franklin Graney: Never acknowledge me. Never... Think of me.
———–
Franklin Graney: I'll shoot her.
Jason Gideon: No, you won't, Franklin.
Franklin Graney: Yes, I will.
Jason Gideon: If you hurt her, I'll kill you. I'll just say we caught a low-life burglar. You didn't turn out to be Tommy after all. You will remain uncaught. After a while, people will forget you. You'll be nothing. Once every 5 or 10 years, they'll do a TV show. They'll ask, "what ever happened to that Tommy guy? Why'd he disappear?" Then they'll stop talking about it altogether… Put the gun down. Come on. Walk outta here with me. I'll make sure your face is splashed across every newspaper and TV in the country. Tommy killer: Franklin Graney. Everyone will see you then… Bundy, Dahmer, Graney. Whole world will know who you are. It's up to you, Franklin. You can be famous, or you can be invisible.
Franklin Graney: You'll tell everyone?
Jason Gideon: I have a media specialist outside right now… It is your choice.
Franklin Graney: Promise?
Jason Gideon: Yes, sir. I promise… Back away from the gun.
Shelly Hart: Where's my baby? My baby!
Elle Greenaway: He's fine. He's just fine.
Jason Gideon: You're ok.
Shelly Hart: Thank you.
Jason Gideon: It's ok. It's ok.
———–
Jason Gideon: Rose Kennedy once said, "Birds sing after a storm. Why shouldn't people feel as free to delight in whatever sunlight remains to them?"
———–
Jason Gideon: Oh, I almost forgot. I have something for you.
Spencer Reid: Oh, yeah?
Jason Gideon: Forgot to give it to you at the party.
Spencer Reid: But you don't give birthday presents… The "Red... Skins."
Jason Gideon: It's a V.I.P. Box.
Spencer Reid: Thank you so much.
Jason Gideon: Every been to a pro football game?
Spencer Reid: No, I honestly didn't even know this was football.
Jason Gideon: You're gonna love it.
Spencer Reid: We are. You're coming with me, right?
Jason Gideon: No. Someone else on the plane is a huge skins fan.
Spencer Reid: Who?
Jason Gideon: Only person in the world who calls you Spence.
Spencer Reid: JJ?
Jason Gideon: She's a huge redskins fan.
Spencer Reid: Wh-what should I say? Checkmate.
———–
Spencer Reid: Heard you're, uh, a fan of football.
