Auctioneer: BID is 150. Do I have 200? 200. Do I have 250? A lot of stuff in this unit, people… 250. Do I hear 3?
Stu: 300.
Dwayne: Stu, what are you doing?
Stu: Making my move.
Dwayne: You said 250 was the cutoff.
Auctioneer: 300, going once... Twice...
Old man: 350!
Dwayne: Leave it alone, Stu.
Stu: 450.
Dwayne: Dude!
Stu: Gotta show this guy we're serious.
Auctioneer: The BID is 450.Do I hear 500?
Dwayne: There are 3 other units up today.
Stu: I've got a feeling about this one.
Auctioneer: 450 going once...
Dwayne: The last time you had a feeling, we ended up with a crate of dead car batteries and a dog bed.
Auctioneer: 450 going twice... Sold. It's all yours, boys. Settle up at the office.
Guy: Nice.
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Dwayne: Check it out.
Stu: Cha... Ching.
Dwayne: This is like a journal or something.
Stu: Uh, dude. That is wrong.
Dwayne: Where do you even find stuff like that?
Stu: No idea. There's gotta be a market for it, though, right?
Dwayne: I think we need to call the cops.
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Aaron Hotchner: You got something?
David Rossi: Not sure. It's from an old storage unit. Case agent from the Philly Field Office sent it to me.
Aaron Hotchner: Somebody you know?
David Rossi: She knows me. You know.
Aaron Hotchner: Ah. A fan. Your world's a very crowded place, isn't it?
David Rossi: You'd be surprised.
Aaron Hotchner: This is detailed.
Spencer Reid: Future tense. They're fantasies.
David Rossi: That agent thinks it could be more than that.
Aaron Hotchner: There's more of this?
David Rossi: A few boxes in the field office. I'd like to drive up there look at the rest of the material, make a judgment from that.
Aaron Hotchner: Take Reid with you.
Spencer Reid: Road trip--nice! I've got books on tape with Peter Coyote reading the entire Foundation Trilogy.
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Spencer Reid: How do you get used to the staring? I'd feel like I perpetually have something stuck in my teeth.
David Rossi: You learn to ignore it.
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Jill Morris: I'm not terribly interested in what you can't do, Roy. We have the best resources in the world, one of which is supposedly you. Just… Just get me that match… David Rossi in my office. Somebody pinch me.
David Rossi: You must be agent Morris.
Jill Morris: Jill, please. And can I get you anything? Coffee?
David Rossi: Actually, if you don't mind, I'd like for dr. Reid and I to get to this.
Jill Morris: Dr. Reid. Thank you both for coming. You won't be disappointed.
Spencer Reid: What other materials do you have?
Jill Morris: We found assorted artwork, torture porn, bondage. But what strikes me is the prose. It screams of high-order sexual predator. I think we're onto something big.
David Rossi: Let's not get ahead of ourselves. I assume you ran the name of whoever rented the unit.
Jill Morris: Yeah, the name was fake. Louis Ivey. There's no record of such a person.
Spencer Reid: Did he pay in cash?
Jill Morris: Till he went into arrears. 6 months without a payment and the owner is allowed to auction its contents.
David Rossi: What I've read so far suggests an orderly personality. Not likely to miss payments.
Jill Morris: Well, he screwed up. They all do eventually, right?
David Rossi: Maybe I will take that coffee.
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Jill Morris: Well, you were in there a long time.
David Rossi: I wanted to look at all of it, to be sure.
Jill Morris: And are you?
David Rossi: No.
Jill Morris: Really? You--I would be lying if I said I wasn't disappointed.
David Rossi: The materials are the product of a disturbed individual, but there's nothing there to convince me that the person has enacted on his fantasies.
Jill Morris: So you've come to say good-bye.
David Rossi: I'm afraid so. We've got real cases in Quantico, cases with bodies.
Jill Morris: But if I am right about this thing, there will be plenty of those.
David Rossi: It was nice meeting you.
Jill Morris: There was something else in the boxes… In eyes of a predator, you wrote that collection of integumentary items is a definitive precursor. Skin, nails... Hair. This guy's for real.
David Rossi: I'll call my team. We've got work to do.
Jill Morris: Great.
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David Rossi: "I know indeed what evil I intend to do, "but stronger than all my afterthoughts is my fury, fury that brings upon mortals the greatest evils." Euripides.
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Aaron Hotchner: Is this everything from the unit?
Jill Morris: No. We pulled the salient materials and had Philly P.D. process the rest of the items on site.
Emily Prentiss: What else was there?
Jill Morris: Just some books, albums, toys.
Derek Morgan: Toys?
Jill Morris: Yeah. Old stuff, like from his childhood. And we were able to lift some prints, but AFIS was a bust. He's not in our system.
Aaron Hotchner: Morgan and Prentiss, go back to the unit and see what else it can tell us about the man.
Jill Morris: I'll get you directions.
David Rossi: We have to establish if this guy's taking his fantasies to the next level.
Aaron Hotchner: We can use these materials to try to identify his signature and connect him to any open cases.
Spencer Reid: On the surface it reads like he wanted to try it all. I think isolating any one aspect might be tough.
Aaron Hotchner: Well, then dig deeper. Try linguistics. Look for patterns in the handwriting. Rossi and I will take the images.
David Rossi: Find the fetish, find the fiend.
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Emily Prentiss: Hey, you want to make this interesting? Best insights, loser buys lunch.
Derek Morgan: Ooh, bring it on, girl.
Emily Prentiss: Okay. It looks like we have a happy kid. Well-rounded, varied interests. This looks to have been drawn at about the schematic stage.
Derek Morgan: So that would make him about 6 years of age at the time, right?
Emily Prentiss: It's dated 1976. So that would make him about 38 now.
Derek Morgan: Kid's blond, assuming it's autobiographical.
Emily Prentiss: And he's Caucasian.
Derek Morgan: Oh, yeah, you hit that one on the head.
Emily Prentiss: Ohh... But, now, here, look. Look at how the drawings change over the years. A bright sun, a loving family, an idyllic home. But then, the mother goes away… Maybe she leaves them maybe she dies… The father struggles to make ends meet… The boy begins to withdraw, retreating within himself… This is his turning point… So what informed his fantasies, and when did it begin?
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Aaron Hotchner: This is the earliest one I found… 1982. It's tame in comparison to the later stuff.
David Rossi: Vintage.
Aaron Hotchner: Think he was a collector.
David Rossi: Or it was handed down.
Aaron Hotchner: From his father?
David Rossi: I can still remember my dad's less than skilfully hidden stash.
Aaron Hotchner: But this guy graduated to harder stuff… The torture porn. It's brutal.
David Rossi: It brought out certain desires. The early exposure was a trigger. When I interviewed Bundy, he had a theory about pornography. He said, if you want to stop people from becoming like me, don't burn Catcher in the Rye…
Aaron Hotchner: Burn Hustler. I read your books, too, Dave.
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Derek Morgan: Got some textbooks in here… Engineering… Mathematics… Cad manual.
Emily Prentiss: Trade school.
Derek Morgan: Okay, so he's in a fix-it field. Construction, home improvement.
Emily Prentiss: That's good. But I think I got you.
Derek Morgan: Not so fast… Look at these.
Emily Prentiss: Dresses… What... They're different sizes.
Derek Morgan: Mm-hmm. They were different sizes… They've been altered.
Emily Prentiss: Cross-dresser. Tch... Looks like I'm buying lunch.
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Spencer Reid: Extra-linguistic indicators in his writing suggest he's most excited by the prospect of electric shock.
David Rossi: As a method of torture. Be specific. When you're in a court, the judge will demand it.
Spencer Reid: See how heavy his handwriting becomes? At times he so exhilarated, he actually rips through the page. The idiolect supports it as well. I mean, nowhere else is he as creative in his descriptions.
David Rossi: Good work. You found a signature that's easy to track.
Spencer Reid: The electrical burns on his victims will be unmistakable.
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Jennifer Jareau: This is Dana Foster. She's a 34-year-old real estate agent from the suburb of Blue Bell. She was murdered 5 years ago when she went to meet a prospective buyer at a house in Bucks County. Her nude body was found in a cellar, and she was strangled and raped.
Aaron Hotchner: And here's the torture behaviour that Reid identified from the journals. The contact wounds are burn marks, most likely the result of electrical current.
Emily Prentiss: Any leads on the buyer she went to meet?
Jennifer Jareau: Fake name.
Jill Morris: Louis Ivey. Could this guy be any more perfect?
Emily Prentiss: Were her clothes found at the scene?
Jennifer Jareau: No. How'd you know?
Derek Morgan: He takes them as souvenirs, and he alters them to fit his own frame.
Jill Morris: So he's bisexual?
Spencer Reid: Actually, most cross-dressers are heterosexual. It's fairly common in sexual predators.
David Rossi: What about her hair? Was any of it missing?
Jennifer Jareau: Not that was reported.
Aaron Hotchner: J.J., contact Garcia and Widen the victim search. Rossi and I will go visit the crime scene.
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Boy: Watch this, daddy.
Mr. Overholt: Hold on, son. Let me get the door.
Aaron Hotchner: Mr. Overholt? I'm agent Hotchner. This is agent Rossi. We're with the FBI
Mr. Overholt: FBI?
David Rossi: You've lived in this house for 4 years, correct?
Mr. Overholt: Yeah.
David Rossi: I assume disclosures were made at the time of sale about what occurred here?
Mr. Overholt: Yeah… My son doesn't know about that, and I prefer to keep it that way.
Aaron Hotchner: Of course. We understand. We'll be discreet. We just need to take a look at your cellar.
Mr. Overholt: I've had it locked up since we moved in. You know, it's... Kind of useless, anyway. Floods when it rains, you know, it's really damp, and all the electrical's messed up.
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Mr. Overholt: Hope you guys don't mind if I stay up here.
David Rossi: We'll try not to take too long.
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David Rossi: So... He's done with the tour of the main house. Before he goes, he asks the realtor to see the cellar… And boom.
Aaron Hotchner: Contusion on the back of her head says he surprised her. He incapacitated her with a blunt object.
David Rossi: Thick walls. Neighbours are few and far between. He can make her scream as loud as he wants to.
Aaron Hotchner: Rope burns on her wrists. He probably suspended her… Here. Like in his drawings… And then he applied the current and watched her whole body spasm.
David Rossi: And makes her dance. But where does he get the juice? Cattle prod? Taser?
Aaron Hotchner: Contact wounds don't conform to that.
David Rossi: Outlet's been tampered with.
Aaron Hotchner: Careful.
David Rossi: Jerry-rigged. Clamp is still there.
Aaron Hotchner: He didn't have to use a taser. He pulled power from the house.
David Rossi: Handy guy.
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Jennifer Jareau: Dave and Hotch are back.
Jill Morris: Thanks. I'll be right in.
Jennifer Jareau: Wow. It's impressive.
Jill Morris: Oh, it's just stuff on the wall. You know, I didn't join the bureau to win awards.
Jennifer Jareau: Then, uh, maybe you can loan me a couple.
Jill Morris: Hey, um, J.J. What do you think of these?
Jennifer Jareau: What's this?
Jill Morris: Well, we can't call him the unsub forever.
Jennifer Jareau: We generally try not to mythologize these guys.
Jill Morris: All right. And these aren't very good, anyway.
Jennifer Jareau: The fact is, we don't even know if this guy's a serial.
Emily Prentiss: Actually, we do.
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Penelope Garcia: 3 females, age 31-38, discovered off freeways in Maryland, Jersey, and New York. All naked, burn wounds consistent with the signature.
Emily Prentiss: And he disposed of all of the bodies in different states to avoid detection.
Aaron Hotchner: Garcia, when were these bodies discovered?
Penelope Garcia: Between '02 and spring of '03.
Jennifer Jareau: After the real estate agent, he changed his methods.
Emily Prentiss: Fast learner.
Jill Morris: 4 kills by the age of 30.
Aaron Hotchner: And he was just getting started.
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Spencer Reid: We connected the 3 new bodies with missing person cases. So with a total of 4 victims on the board, we were able to narrow down the unsub's type.
Jill Morris: 30s, attractive, Caucasian, upwardly mobile?
Derek Morgan: Yeah. College grads, above-average income, career women.
Jill Morris: You establish a cycle?
Derek Morgan: 10 months between the realtor and the first of these victims. Then 7 months, 3 months.
Jill Morris: He's practically doubling his pace every time.
Spencer Reid: As with most prolific killers, the cooling-off period tends to shorten after each murder.
Derek Morgan: Last know victim was found almost 5 years ago.
Jill Morris: 5 years? So could he have stopped?
Derek Morgan: No, not this guy. It's more likely we just haven't found the bodies yet.
Spencer Reid: And there might not even be bodies. We know he wrote extensively about creating a homemade incinerator.
Jill Morris: So how many we talking, ballpark?
Spencer Reid: If you extrapolate the cycle in the last 5 years, he will have killed approximately 19 more women.
Jill Morris: It's great stuff, guys. Keep me posted.
Derek Morgan: She does know we don't work for her, right?
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Aaron Hotchner: With 4 known victims, we should start by re-interviewing friends and family. We're looking for a white male in his 30s to 40s. And with his knowledge of circuitry and wiring, we think that he's either an electrician or an electrical engineer.
David Rossi: It's a job that may give him access to a victim's home or workplace, the opportunity to observe his targets.
Emily Prentiss: They're attractive, professional women. He sees them as strong, righteous, unobtainable… So he seeks to tear them down, to reduce them to base sexual creatures and punish them.
Aaron Hotchner: He's a true sexual sadist… A typology we refer to as anger-excitation, meaning he becomes sexually aroused by the suffering of his victims.
David Rossi: Killing these women is an afterthought. Their pain is what he's after… And he takes his time to exact maximum stimulation.
Agent: What about his trophies? He keeps their clothes, right?
Emily Prentiss: Yes. We believe he's using them for rehearsal fantasies. By dressing as his victims, he can relive the torture. It's during this time that he most likely pleasures himself in order to reinforce his association between suffering and gratification.
Aaron Hotchner: And when he becomes dissatisfied with this, he seeks out a new victim.
David Rossi: Keep in mind, he's been doing this for a long time, and he's been thinking about doing it most of his life. He'll continue to evolve, finding new ways of challenging himself, increasing his stimulation threshold… There are no boundaries for this man.
Jennifer Jareau: Hotch.
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Jill Morris: He's an individual that we believe to be currently active within our community. If it were not for certain evidence brought to our attention in recent days, he may well have continued to operate without our knowledge. We're still investigating more specifics...
Aaron Hotchner: You know about this?
Jill Morris: Past murders and who might have been his victims. But now that he is on our radar, you can rest assured that we will find him and bring him to justice.
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Aaron Hotchner: Agent, I don't know how you usually do things, but you need to let my team know if you're planning on holding a press conference.
Jill Morris: No, it wasn't a conference. It was just an announcement.
Aaron Hotchner: I think you know what I mean.
Jill Morris: We're sending half the cops in the city out to canvass. The story would have leaked. I was just putting a reassuring face on the situation.
Aaron Hotchner: Your face.
Jill Morris: I'm the case agent.
Aaron Hotchner: And you're also outranked by every member of my team.
Jill Morris: Meaning what, you'll vote me off the island?
Aaron Hotchner: Nothing tears a case apart faster than an agent trying to make his or her name on it.
Jill Morris: I'm trying to protect my city from what could be the most prolific serial killer since Charles Cullen.
Aaron Hotchner: What about Michael Strenko, Florian Gall, Christopher Hardgrove?
Jill Morris: I don't know those names.
Aaron Hotchner: Those are Cullen's victims. Nobody remembers the victims. Everybody remembers the killer. And that's exactly what happens when an agent puts the story ahead of the case. And the bureau doesn't need any more agents like that. Do you understand?
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Spencer Reid: I have no doubt she's highly capable. I'm just--I'm saying that I find her excitement level at the prospect of finding more bodies somewhat unsettling.
Derek Morgan: Thank you. Yeah, J.J. said she was making up names for the killer.
Emily Prentiss: And yet, if she was a man, you'd say she had balls.
Derek Morgan: Oh, don't even go there. This is not a gender thing.
Emily Prentiss: Right. Let's get back to Reid's map.
Spencer Reid: All right, the nearness principle tells us that a killer won't travel far to abduct his victims, but this one's gone to great lengths to spread out his abduction and disposal sites.
Emily Prentiss: So the sites are irrelevant to the geographical profile?
Spencer Reid: The only location I can attach a real meaning to is the storage unit.
Derek Morgan: 4 victims and we got squat.
Spencer Reid: For years he's gone unchecked. I think it's only a matter of time before he grows comfortable and starts killing closer to home.
Emily Prentiss: Unfortunately, that only helps us if there's a fresh kill.
Derek Morgan: So there's a woman out there right now who has to die so we can do our job.
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Jill Morris: Hi.
David Rossi: Did something happen?
Jill Morris: Yeah. Uh, agent Hotchner tore me a new one, and I owe you an apology.
David Rossi: Why me?
Jill Morris: I got you to bring the whole team up here. And then... The press briefing.
David Rossi: It could have waited until morning.
Jill Morris: My conscience doesn't allow sleep in these situations… Looks like you could use a break.
David Rossi: There are no breaks.
Jill Morris: But there are drinks. Let me buy you one.
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Jill Morris: Female ambition can be unseemly in the eyes of some people. And I forget that sometimes. When I was in the academy in '97, I scored 99 on my defensive tactics test, which, needless to say, had an immediate chilling effect on all my relations with the male cadets.
David Rossi: I bet you can't remember a time when you didn't overachieve.
Jill Morris: Well, the youngest kid in a single-parent home, you learn to scratch and claw real quick.
David Rossi: Single parent. That would be your father?
Jill Morris: Go on.
David Rossi: A good man, who you came to see as weak, unable to provide, probably a drinker… I'm guessing scotch.
Jill Morris: Blended… I prefer single malt.
David Rossi: I think I did a seminar at the academy in '97.
Jill Morris: Yes. "Collateral materials on sex crimes." I was in the third row, hanging on every word.
David Rossi: Good memory.
Jill Morris: Well, your first book had just come out and you signed my copy… Yeah, I kind of had a thing for you… Come on. You were a star. No one in the bureau had made inroads into publishing and consulting like you had.
David Rossi: Your hair was lighter and a big longer then, wasn't it?
Jill Morris: Talk about a good memory.
David Rossi: No. I don't remember you.
Jill Morris: Oh.
David Rossi: But that would explain the hair that you claim to have found in that storage unit… The hair was a keepsake, I'm guessing? You held on to it as a vestige of the femininity you relinquished in the pursuit of your career ambitions?
Jill Morris: You can stop profiling.
David Rossi: You manufactured evidence to get a B.A.U. commitment.
Jill Morris: And it was for the greater good. I was right, wasn't I?
David Rossi: Look, Jill, I know you. When I was your age I wanted the same things… But I burned a lot of bridges in the process. People got hurt.
Jill Morris: Is that why you came back, to undo your past wrongs?
David Rossi: Just be careful… That ego of yours is going to get you into trouble… Now I've got to get some sleep… Your little press conference is gonna bury us tomorrow.
Jill Morris: Bury us how?
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Woman: I had a nightmare the night she went missing. It woke me up, but I forgot it instantly. You know how that happens? I know this sounds crazy. I feel like if I could remember that dream, I'd know what happened to her.
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Man: When she didn't show on time, I left her a message on her cell phone. I was... Angry with her for making us late. I didn't know… And that message is probably still on her phone somewhere. It keeps me up at night wondering if she ever heard it.
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Old woman: I just want to know if she's still alive. It's the not knowing. It's selfish, I know… Our own peace of mind… She disappeared 2 months ago on her way home from work… This is what she was wearing. We just want to know what happened to her.
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Victim: It hurts. It hurts me.
Jeremy Andrus: You like it.
Victim: What?
Jeremy Andrus: You like how it feels.
Victim: I like it.
Jeremy Andrus: Do you love the pain?
Victim: No.
Jeremy Andrus: Yes.
Victim: No.
Jeremy Andrus: No. Don't. Ask for it.
Victim: No, don't!
Jeremy Andrus: Don't!
Victim: Don't!
Jeremy Andrus: Please! No!
Victim: Please no more! Aah!
Jeremy Andrus: Oh, it hurts.
Victim: It's so bad. No! No! Just kill me!
Jeremy Andrus: Just kill me. Just kill me.
Victim: Aah!
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Dispatch: Philadelphia police department.
Jeremy Andrus: I think I saw something. It might have to do with the killings.
Dispatch: What did you see?
Jeremy Andrus: My car broke down on I-76. There was a field off the road. A man was digging a hole.
Dispatch: What kind of hole?
Jeremy Andrus: For the body. I saw it. A bleeder stripped of its clothes.
Dispatch: Can I have your name, sir?
Jeremy Andrus: Mile marker 115 on the eastbound. They'll find it.
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Jill Morris: Anything strike you?
Aaron Hotchner: Stripped of its clothes. Objectifies the victim.
Jill Morris: Exactly. Dehumanizing. This wasn't just any tipster.
Spencer Reid: The way that he referred to the body as a bleeder...
Jill Morris: Visible trauma to the corpse.
Spencer Reid: No, I don't think so. I noted usage of the same word in the pages from the storage facility. He refers to his targets as bleeders.
Aaron Hotchner: It's misogynistic. He's referring to menstruation.
Jill Morris: He'd use it as a weakness.
Aaron Hotchner: I think we need to see what's in that field.
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M.E.: Morning.
Emily Prentiss: Good morning… Body looks well-preserved.
M.E.: Been some cold snaps the last few months. Ground's frozen.
Derek Morgan: Check out her stomach.
Emily Prentiss: Electrical burns.
Derek Morgan: Fingers are in really bad shape. How are her teeth?
M.E.: Looks good for an I.D.
Derek Morgan: To say we need a rush on that would be an understatement. You understand?
M.E.: Yeah.
Derek Morgan: Thank you.
M.E.: Let's get her up. Gently.
Agent: Hey! You guys might want to stick around.
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Jill Morris: He calls in anonymously and hands us 2 more victims. Why?
Emily Prentiss: You vowed publicly to bring him in. He may be reacting to that.
David Rossi: To show you who you're dealing with. He's a narcissist. He's preening.
Jill Morris: Good. I hope he keeps it up.
Emily Prentiss: You don't want that.
Jill Morris: He will drop a breadcrumb every time he tries something like this.
Emily Prentiss: He'll drop bodies, too.
Jill Morris: If he's making it personal, he'll get sloppy and give himself away.
David Rossi: Maybe that's what he wants… It never tracked for me that this guy defaulted on that storage unit.
Emily Prentiss: You think he wanted us to find it?
David Rossi: Maybe he's decided it's time for the world to know his name.
Jill Morris: But if he wanted a coming-out party, then why not just send his victim photos, videos, something to prove what he is.
Emily Prentiss: He wanted us to start at the beginning, to chart his evolution.
David Rossi: Bright childhood grows into darkness. He's got us chronicling every step.
Jill Morris: So if this is his story, what chapter are we on?
David Rossi: The final one. He's writing it as we speak.
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Kat Townsley: Hey, honey, um, I think we have to cancel with your parents. I know, I know. I'm really sorry. It's just, I'm on deadline and I'm gonna be cutting it close as it is. I will make it up to you, I promise. Okay? First thing next week… Yes. No, we'll have… Uh… Gil? Yeah, I, uh… Someone rear-ended me. No, no, I-I'm fine. It's fine. Look, let me call you back. Yeah, okay.
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Jeremy Andrus: Hey, I'm sorry about that. Are you okay?
Kat Townsley: I'm fine. Ohh... I just wish I could say the same for my car.
Jeremy Andrus: Oh, it's my brakes. I've been meaning to get them fixed.
Kat Townsley: Well, just tell me you're insured.
Jeremy Andrus: Oh, yeah, of course. It's the law, right? Okay. Just let me get my card… Hey, you know, I should probably get your information, too, just to be safe.
Kat Townsley: Absolutely.
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Penelope Garcia: When I got shot, I kept wondering why god would program our bodies to register that kind of pain. And you know what got me through it?
Derek Morgan: No, Penelope, I don't. Tell me.
Penelope Garcia: Knowing that the pain would eventually end. But these women, they don't even have that. When he's torturing them, there's no end, just… And Philly lab matched the I.D.S of the dental records on the two women from the grave.
Derek Morgan: Go ahead. Guys.
Penelope Garcia: Mimi Adams and Sara Coswell. You'll find them in the missing person files we've flagged as possible victims.
Derek Morgan: Thanks, mama, we're on it.
Penelope Garcia: Wait, there's something else. Both women were reported missing 4 months ago... On the same day.
David Rossi: He's doing doubles.
Jill Morris: Doubles.
David Rossi: Killer got bored, upped the stakes, and did 2 women in one day.
Derek Morgan: Gerard Schaefer did it. He took his cue from Bundy. Said it was twice as hard, but twice as much fun.
Jill Morris: Yeah, so he kills with impunity for years without the slightest bit of heat and he needs a bigger fix.
Derek Morgan: So he starts doing two a day.
David Rossi: 4 months later he still can't get off, so he opens his storage locker for us.
Agent: Jill. Chronicle holding on 2.
Jill Morris: Yeah, I'll take that in my office.
Derek Morgan: Planning another press conference?
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Jill Morris: Agent Morris.
Kat Townsley: I-it's Kat Townsley.
Jill Morris: Look, Kat, I know I owe you, but I don't have anything right now. And even if I did, I couldn't tell you.
Kat Townsley: No, actually, I have something for you. Uh, check your e-mail.
Jill Morris: Just one second. You all right? You sure sound tired.
Kat Townsley: I'm fine. Um... Do you have it?
Jill Morris: Yeah. What is it?
Kat Townsley: It was sent to my by the guy claiming to be the person you're looking for.
Jill Morris: Breadcrumb.
Kat Townsley: What?
Jill Morris: I need to read the rest of this letter… I'll come meet you.
Kat Townsley: Okay.
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Jennifer Jareau: I heard we got I.D.s on these two bodies.
Spencer Reid: Mimi Adams and Sara Coswell.
Aaron Hotchner: What's up?
Jennifer Jareau: This woman's husband came in before. She fits the victim type. I thought maybe...
Spencer Reid: If you have her DNA, you might want to check it against the hair.
Jennifer Jareau: What hair?
Spencer Reid: From the storage unit. Agent Morris found it early on. It's the same color, so it might…
David Rossi: It won't match.
Spencer Reid: I know it's a long shot, but I think…
David Rossi: She didn't get the hair from the unit.
Aaron Hotchner: She lied? When were you gonna tell us?
David Rossi: Whatever she did to get us here, we're here now.
Aaron Hotchner: It's unacceptable behavior. Why do you keep defending her?
David Rossi: Because I know what she is. She's me 20 years ago.
Aaron Hotchner: She's nothing like you, Dave.
David Rossi: Come on, Hotch, I know what people think. I took serial killers mass market. Now everyone knows their names, but not the victims, right? Somewhere along the line, I put myself first. I admit it. I can't go back and change it… But it's not too late for her.
Emily Prentiss: Missing persons flagged a report that was just filed.
Aaron Hotchner: A possible victim?
Emily Prentiss: The subject's car was found idling at a stop sign, and there was some damage to the back end.
Spencer Reid: Sounds like a bump and grab.
Aaron Hotchner: Did she fit his profile career, age-wise?
Emily Prentiss: Katrina Townsley, 34. She's a reporter at the Chronicle.
David Rossi: Chronicle?
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Spencer Reid: What is it?
David Rossi: This letter… Did we have this?
Spencer Reid: No. I've never seen this before. Why would he send agent Morris a letter?
David Rossi: She's his final chapter.
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Jill Morris: Kat… Shh. Shh.
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Aaron Hotchner: They able to track her car?
Derek Morgan: No. She doesn't have a nav system, but her cell's got GPS.
Aaron Hotchner: Is the signal moving?
Derek Morgan: Stationary. Reid and Rossi are en route. Hey, girl. How you doing with that e-mail we sent you?
Penelope Garcia: I've got the sender's IP address. Goes to an internet café just outside Germantown.
Derek Morgan: Okay, good. Send us the address.
Emily Prentiss: I've just talked to Reid. They found Jill's phone on the ground near her car.
Aaron Hotchner: On the ground?
Emily Prentiss: In a parking garage north of center city.
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Spencer Reid: Blood here. A couple of drops. Looks like she was dragged.
David Rossi: This shouldn't have happened.
Spencer Reid: Her guard was down. He tricked her into thinking she was meeting a friend.
David Rossi: I told her, slow down, check your ego, use your team.
Spencer Reid: David, there's no way you could have known that she was gonna go off by herself.
David Rossi: I did know. Sure as I know myself.
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Kat Townsley: Aah! No!
Jeremy Andrus: You can go louder.
Kat Townsley: Don't, please! Aah!
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Aaron Hotchner: That computer was used exactly 4 hours and 12 minutes ago. Now, I need you to try to remember the man that was sitting there.
Manager: I can't remember. I mean, we get a lot of people in here.
Aaron Hotchner: I understand. He would have paid in cash. White, 30s to 40s… Solidly built, physically imposing, maybe blue collar.
Manager: There was this one guy. Big, kind of blond hair... Maybe left in a white van.
Aaron Hotchner: Good. Thanks.
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Jeremy Andrus: Are you ready? Beg me not to… You will.
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Spencer Reid: All right, here's the garage where Jill was taken.
Emily Prentiss: Presumably an area the unsub's familiar with.
Derek Morgan: You're not gonna abduct a federal agent outside your comfort zone.
Spencer Reid: Right. This is where we are right now, and the third point is the storage unit right here. It's a 4-mile radius.
Emily Prentiss: What do we have right here in the center?
Derek Morgan: Garcia, I need those pretty little hands of yours, mama. Listen up, I want you to bring up the citywide list we generated for the electricians, power company employees, and electrical engineers.
Penelope Garcia: They number in the thousands. Can you narrow this?
Derek Morgan: Reid just sent you 3 addresses. Triangulate and cross the names within that surface.
Penelope Garcia: Dozens. I need more.
Aaron Hotchner: Is that Garcia?
Derek Morgan: Yeah.
Aaron Hotchner: Search DMV records. The manager thought he saw him leave in a white van. Did you get that?
Penelope Garcia: Yahtzee.
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Jeremy Andrus: I'm gonna take my time with you.
Jill Morris: They're coming. It's over.
Jeremy Andrus: No, it'll never be over. Not for us.
Aaron Hotchner: FBI! Freeze! I need a medic. Get a medic!
Jill Morris: David.
David Rossi: It's okay. It's gonna be all right. It's okay. It's okay. It's okay. It's all right.
Jill Morris: I'm sorry.
David Rossi: It's okay. Don't worry about it. It's okay.
Jill Morris: I'm sorry.
David Rossi: You're gonna be allright. It's okay. It's okay, Jill.
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Aaron Hotchner: Jeremy Andrus, 41. Broken home, poverty, trade school, petty crime, lewd behaviour… The whole profile's here in black and white.
Emily Prentiss: That's a small consolation.
Aaron Hotchner: How many is he up to?
Jennifer Jareau: 17.
Emily Prentiss: They haven't even gotten through the 2006 pile.
Aaron Hotchner: Has he told us where to find the remains?
Jennifer Jareau: No. He doesn't speak. He just points.
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David Rossi: You're sure you're not rushing?
Jill Morris: I'm fine. And you didn't need to come here.
David Rossi: I just wanted to see if you were okay.
Jill Morris: In itself a passive-aggressive means of saying, "I told you so."
David Rossi: I don't need to tell you that what you've gone through, what you've witnessed, is a trauma.
Jill Morris: You're right. You don't.
David Rossi: The fact that you didn't ask about the condition of the other victim…
Jill Morris: Implying that I'm a victim when I'm not.
David Rossi: Leads me to believe that you're already in an early stage of denial.
Jill Morris: I can handle it.
David Rossi: She didn't make it, Jill.
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Agent: Agent Morris.
Reporter 1: There she is! Agent Morris! Agent Morris, what made you believe there was a killer out there when no one else did?
Reporter 2: How did his crimes go unnoticed for so long?
Reporter 3: Have you been approached by any publishers?
Reporter 4: Do you fear for your safety?
Jill Morris: If I can just have one question at at time. I promise I will get to all of you.
Reporter 3: Have you been approached by any publishers?
Jill Morris: No.
Reporter 2: Can you tell us, agent Morris, did you fear for your safety?
Jill Morris: Absolutely.
Reporter 1: What was it liked to come face to face with a serial killer? Is there a book deal in your future?
Reporter 3: What were your injuries?
Reporter 4: I hear there were multiple abductions.
Reporter 2: Multiple abductions.
Reporter 4: Serial killer.
Reporter 1: Do you have any further information?
Reporter 3: Do you have an agent yet?
Reporter 1: Are you still working on the case? Working on the case?
Jill Morris: No. At this point, the case is closed.
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David Rossi: "For we pay a price for everything we get or take in this world, and although ambitions are well worth having, they are not to be cheaply won." Lucy Maud Montgomery.
