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1
00:00:16,100 --> 00:00:18,744
Woman on video:
STEP UP, KNEE UP.
2
00:00:18,768 --> 00:00:22,014
STEP DOWN. UP. ONE MORE.
2 KICKS.
3
00:00:22,038 --> 00:00:24,317
HERE WE GO.
ONE MORE TIME.
4
00:00:24,341 --> 00:00:28,188
KICK AND BACK,
2 MORE TIMES LIKE THAT.
5
00:00:28,212 --> 00:00:31,958
ONE MORE. 2 MORE TIMES.
6
00:00:31,982 --> 00:00:34,727
HANG WITH ME.
LEFT TAP. RIGHT HERE.
7
00:00:34,751 --> 00:00:36,262
2 KNEES UP. LET'S GO.
HERE WE GO.
8
00:00:36,286 --> 00:00:38,215
KNEES, ONE MORE.
9
00:00:38,239 --> 00:00:39,938
KICK IT OUT. 2 TIMES.
10
00:01:34,345 --> 00:01:38,275
STAY STRONG. KEEP GOING.
KNEE UP. TAP DOWN.
11
00:01:38,299 --> 00:01:39,442
ONE MORE TIME.
12
00:01:39,466 --> 00:01:42,913
ONE KICK.
AND TAKE IT OVER THE TOP.
13
00:01:42,937 --> 00:01:45,749
KNEE UP, TAP DOWN.
14
00:01:45,773 --> 00:01:48,623
UP. ONE MORE.
KNEES TO THE CORNERS.
15
00:01:50,611 --> 00:01:52,873
KICK IT OUT 2 TIMES.
16
00:01:52,897 --> 00:01:56,309
KICK. ONE MORE.
OVER THE TOP.
17
00:01:56,333 --> 00:01:59,629
2 MORE TIMES.
UP. LAST ONE.
18
00:01:59,653 --> 00:02:02,215
SINGLE. KNEES UP
TO THE CORNERS.
19
00:02:02,239 --> 00:02:04,450
REACH AND PULL. TAKE IT UP.
STAY STRONG.
20
00:02:04,474 --> 00:02:06,519
COME ON.
I KNOW YOU'RE TIRED.
21
00:02:06,543 --> 00:02:09,322
LAST ONE. LEAVE THAT.
HOLD IT HERE.
22
00:02:09,346 --> 00:02:10,656
KNEE AND TAP.
23
00:02:10,680 --> 00:02:12,614
DON'T GIVE UP NOW.
HERE WE GO.
24
00:02:33,336 --> 00:02:34,896
GET A GOOD SHOT
OF HER FACE.
25
00:02:40,126 --> 00:02:41,560
MAKE A WISH.
26
00:02:43,630 --> 00:02:46,143
COME ON, MAN.
BLOW, BABY! BLOW!
27
00:02:46,167 --> 00:02:48,061
I THOUGHT YOU WERE FULL
OF HOT AIR, REID.
28
00:02:48,085 --> 00:02:49,896
COME ON, REID.
29
00:02:49,920 --> 00:02:51,398
THEY'RE TRICK CANDLES,
SPENCE. OK?
30
00:02:51,422 --> 00:02:53,867
THEY'RE GONNA COME
BACK ON EVERY TIME.
31
00:02:53,891 --> 00:02:55,318
OH, MOMMY TO THE RESCUE.
32
00:02:55,342 --> 00:02:56,903
MOMMY?
33
00:02:56,927 --> 00:02:59,005
ISN'T IT AMAZING
HE KNOWS WHAT HE KNOWS,
34
00:02:59,029 --> 00:03:01,140
AND HE'S ONLY 24?
35
00:03:01,164 --> 00:03:03,715
IMAGINE WHAT
HE'LL KNOW BY 50.
36
00:03:04,969 --> 00:03:06,830
HOPE YOU LIKE CHOCOLATE.
37
00:03:06,854 --> 00:03:08,386
[TELEPHONE RINGS]
38
00:03:09,523 --> 00:03:10,523
AGENT HOTCHNER?
39
00:03:18,065 --> 00:03:19,209
YOU HAVING FUN?
40
00:03:19,233 --> 00:03:20,210
YES, DEFINITELY.
41
00:03:20,234 --> 00:03:22,212
I'M DEFINITELY
HAVING FUN.
42
00:03:22,236 --> 00:03:23,380
MAKE A WISH?
43
00:03:23,404 --> 00:03:25,599
CAN I TAKE
THIS HAT OFF?
44
00:03:25,623 --> 00:03:28,106
I WOULDN'T.
45
00:03:29,627 --> 00:03:30,670
HEY, SPENCE.
46
00:03:30,694 --> 00:03:32,727
FIRST PIECE
FOR THE BIRTHDAY BOY.
47
00:03:35,716 --> 00:03:36,759
DO YOU KNOW
SHE'S THE ONLY PERSON
48
00:03:36,783 --> 00:03:39,128
IN THE WHOLE WORLD
WHO CALLS ME "SPENCE"?
49
00:03:39,152 --> 00:03:41,314
SPENCE,
GET OVER HERE.
50
00:03:41,338 --> 00:03:42,916
HAPPY BIRTHDAY.
THANK YOU.
51
00:03:42,940 --> 00:03:45,056
BIRTHDAY BOY.
52
00:03:47,394 --> 00:03:50,545
SORRY, GUYS,
PARTY'S OVER.
53
00:03:55,185 --> 00:03:56,379
WE'RE GOING TO SAN DIEGO.
54
00:03:56,403 --> 00:03:58,014
NOT FOR THE SURFING, HUH?
55
00:03:58,038 --> 00:03:59,299
THEY'RE CALLING HIM
THE TOMMY KILLER.
56
00:03:59,323 --> 00:04:00,549
6 WOMEN RAPED
AND MURDERED
57
00:04:00,573 --> 00:04:02,135
IN THEIR HOMES
IN THE LAST 3 WEEKS.
58
00:04:02,159 --> 00:04:03,469
6 IN 3 WEEKS?
59
00:04:03,493 --> 00:04:05,222
THAT'S A SHORT FUSE.
60
00:04:05,246 --> 00:04:06,389
AND GETTING SHORTER.
61
00:04:06,413 --> 00:04:07,490
THE FIRST 2 WERE
8 DAYS APART,
62
00:04:07,514 --> 00:04:08,824
THEN THE NEXT 4
IN 2 WEEKS.
63
00:04:08,848 --> 00:04:09,825
RAPID ESCALATION.
64
00:04:09,849 --> 00:04:10,894
YOU THINK
HE'S REGRESSING
65
00:04:10,918 --> 00:04:11,928
TO A PSYCHOPATHIC FRENZY?
66
00:04:11,952 --> 00:04:13,832
NO, HE'S TOO CONTROLLED
FOR THAT.
67
00:04:16,790 --> 00:04:18,018
SEE YOU ON THE PLANE.
68
00:04:18,042 --> 00:04:20,820
WHY THE TOMMY KILLER?
69
00:04:20,844 --> 00:04:22,989
YOU KNOW THE ROCK OPERA?
70
00:04:23,013 --> 00:04:26,331
WELL, THIS UNSUB GLUES
HIS VICTIMS' EYES WIDE OPEN.
71
00:04:33,274 --> 00:04:35,918
HE WANTS THEM TO SEE HIM.
72
00:04:35,942 --> 00:04:38,093
AND FEEL HIM.
73
00:04:40,798 --> 00:04:44,158
CAPTIONING MADE POSSIBLE
BY TOUCHSTONE TELEVISION
PRODUCTIONS, LLC AND CBS
74
00:05:13,664 --> 00:05:15,809
Gideon: FRENCH POET
JACQUES RIGAUT SAID
75
00:05:15,833 --> 00:05:18,812
"DON'T FORGET
THAT I CANNOT SEE MYSELF,
76
00:05:18,836 --> 00:05:21,781
"THAT MY ROLE IS LIMITED
TO BEING THE ONE
77
00:05:21,805 --> 00:05:23,538
WHO LOOKS IN THE MIRROR."
78
00:05:24,941 --> 00:05:26,885
BRENDA SAMMS
WAS FOUND YESTERDAY
BY HER CHILDREN
79
00:05:26,909 --> 00:05:28,421
WHEN THEY GOT HOME
FROM SCHOOL.
80
00:05:28,445 --> 00:05:32,024
SHE HAD BEEN STRANGLED
WITH A THIN LIGATURE,
POSSIBLY A WIRE.
81
00:05:32,048 --> 00:05:33,826
NO WEAPON LEFT
AT THE SCENE.
82
00:05:33,850 --> 00:05:35,377
RESIDUE ON
THE WRIST AND MOUTH
83
00:05:35,401 --> 00:05:37,980
INDICATE THAT DUCT TAPE
WAS USED AND THEN REMOVED.
84
00:05:38,004 --> 00:05:39,366
ALSO NOT FOUND
AT THE SCENE.
85
00:05:39,390 --> 00:05:40,699
BROUGHT IT WITH HIM,
TOOK IT WITH HIM.
86
00:05:40,723 --> 00:05:41,918
HE ALSO STARTED
LEAVING MESSAGES
87
00:05:41,942 --> 00:05:43,803
AT THE FOURTH SCENE.
88
00:05:43,827 --> 00:05:46,105
THIS WAS ON THE MIRRORS.
89
00:05:46,129 --> 00:05:49,509
"FAIR LADY, THROW THOSE
COSTLY ROBES ASIDE.
90
00:05:49,533 --> 00:05:51,861
"NO LONGER MAY YOU
GLORY IN YOUR PRIDE.
91
00:05:51,885 --> 00:05:54,214
TAKE LEAVE OF ALL
YOUR CARNAL, VAIN DELIGHT."
92
00:05:54,238 --> 00:05:57,666
"I'VE COME TO SUMMON YOU
AWAY THIS NIGHT."
93
00:05:57,690 --> 00:06:00,937
IT'S A BALLAD
FROM THE LATE 1600s.
94
00:06:00,961 --> 00:06:03,023
A DIALOGUE BETWIXT DEATH
AND A LADY.
95
00:06:03,047 --> 00:06:05,775
A 17th CENTURY BALLAD?
96
00:06:05,799 --> 00:06:08,028
ESSENTIALLY, A WOMAN
BEGGING DEATH TO LIVE.
97
00:06:08,052 --> 00:06:10,030
WHAT KIND OF PERSON
KNOWS THIS BALLAD?
98
00:06:10,054 --> 00:06:12,248
ARE WE LOOKING
FOR A LITERATURE PROFESSOR?
99
00:06:12,272 --> 00:06:14,200
ANYONE WITH AN INTERNET
CONNECTION, ACTUALLY.
100
00:06:14,224 --> 00:06:15,534
YOU SHOULD SEE
WHAT COMES IN
101
00:06:15,558 --> 00:06:18,287
WHEN YOU TYPE THE WORD
"DEATH" INTO A SEARCH ENGINE.
102
00:06:18,311 --> 00:06:19,756
REID, NO WONDER
YOU CAN'T GET A DATE.
103
00:06:19,780 --> 00:06:21,374
REID, YOU STAY
ON THE MESSAGES.
104
00:06:21,398 --> 00:06:22,508
SEE IF THERE'S
A DEEPER MEANING.
105
00:06:22,532 --> 00:06:23,793
IT DEFINITELY
LOOKS LIKE
106
00:06:23,817 --> 00:06:25,879
HE RANSACKED
THE CRIME SCENE
PRETTY WELL.
107
00:06:25,903 --> 00:06:27,263
A LOT OF DAMAGE,
NOTHING TAKEN.
108
00:06:27,287 --> 00:06:29,015
THE EYES ARE THE THING,
THE SIGNATURE.
109
00:06:29,039 --> 00:06:31,718
THE BEHAVIOR
THAT ISN'T NECESSARY
FOR THE MURDER,
110
00:06:31,742 --> 00:06:33,686
BUT NECESSARY
FOR THE EMOTIONAL RELEASE.
111
00:06:33,710 --> 00:06:35,855
THAT'S WHAT
HE'S THERE FOR.
112
00:06:35,879 --> 00:06:37,357
THERE USED TO BE
A WIDELY HELD BELIEF
113
00:06:37,381 --> 00:06:38,858
THAT THE EYES RECORD
A SNAPSHOT
114
00:06:38,882 --> 00:06:41,161
OF THE LAST THING A PERSON
SEES BEFORE THEY DIE.
115
00:06:41,185 --> 00:06:43,897
YEAH, THAT'S RIGHT.
PEOPLE USED TO WRITE POEMS
ABOUT TALKING TO DEATH.
116
00:06:43,921 --> 00:06:44,898
BALLADS.
117
00:06:44,922 --> 00:06:46,900
WHATEVER.
118
00:06:46,924 --> 00:06:48,701
YOU THINK
THEY'LL EVER RUN OUT
119
00:06:48,725 --> 00:06:50,370
OF NEW THINGS TO DO
TO THEIR VICTIMS?
120
00:06:50,394 --> 00:06:54,379
WELL, FINDING NEW WAYS
TO HURT EACH OTHER
IS WHAT WE'RE GOOD AT.
121
00:07:35,455 --> 00:07:37,366
CAPTAIN GRIFFITH,
TASK FORCE COMMANDER.
122
00:07:37,390 --> 00:07:39,002
SORRY, WE ALL GET
TUNNEL VISION.
123
00:07:39,026 --> 00:07:41,538
I'M SPECIAL AGENT HOTCHNER,
THIS IS AGENT JAREAU,
OUR LIAISON.
124
00:07:41,562 --> 00:07:42,739
I APPRECIATE YOU COMING OUT.
125
00:07:42,763 --> 00:07:45,123
THANKS,
HOPE WE CAN HELP.
126
00:08:01,764 --> 00:08:04,026
Woman: HI, YOU'VE REACHED
THE CHANDLERS.
127
00:08:04,050 --> 00:08:06,712
LEAVE A MESSAGE,
AND HAVE A BEAUTIFUL DAY.
128
00:08:06,736 --> 00:08:08,614
Second Woman:
WHAT A GOOD SOCCER GAME.
129
00:08:08,638 --> 00:08:10,316
I'M SO PROUD OF YOU.
130
00:08:10,340 --> 00:08:12,740
Child: WHEN'S MOMMY
COMING IN?
131
00:08:17,447 --> 00:08:19,709
Third Woman:
HAPPY ANNIVERSARY, HONEY.
LOVE YOU.
132
00:08:19,733 --> 00:08:21,243
Second Child:
READY FOR BED, MOM.
133
00:08:21,267 --> 00:08:22,579
WILL YOU TUCK ME IN?
134
00:08:22,603 --> 00:08:24,380
Hotch: THIS UNSUB GLUES
HIS VICTIMS' EYES WIDE OPEN.
135
00:08:24,404 --> 00:08:26,015
Jennifer:
THEY'RE CALLING HIM
THE TOMMY KILLER.
136
00:08:26,039 --> 00:08:27,884
Morgan: IT DEFINITELY
LOOKS LIKE HE RANSACKED
THE CRIME SCENE.
137
00:08:27,908 --> 00:08:29,919
Fourth Woman:
DO YOU HAVE A LOT
OF HOMEWORK, SWEETIE?
138
00:08:29,943 --> 00:08:34,340
Second Child: MOM? MOM?
MOM, WHERE ARE YOU?
139
00:08:34,364 --> 00:08:38,044
"MY NAME IS DEATH.
HAVE YOU NOT HEARD OF ME?
140
00:08:38,068 --> 00:08:41,013
YOU MAY AS WELL BE MUTE..."
141
00:08:41,037 --> 00:08:43,149
CREEPY, HUH?
142
00:08:43,173 --> 00:08:47,186
ACTUALLY, CONVERSATIONS
BETWEEN DEATH AND HIS VICTIMS
143
00:08:47,210 --> 00:08:50,156
WAS A FAIRLY POPULAR
LITERARY AND ARTISTIC THEME
144
00:08:50,180 --> 00:08:52,046
THROUGHOUT THE RENAISSANCE.
145
00:08:54,985 --> 00:08:56,634
YEAH, CREEPY.
146
00:09:00,774 --> 00:09:04,520
HE STRIKES DURING THE DAY
IN UPPER-MIDDLE-CLASS
NEIGHBORHOODS.
147
00:09:04,544 --> 00:09:08,991
EXTREMELY HIGH-RISK VICTIMS
AT A HIGH-RISK TIME.
148
00:09:09,015 --> 00:09:12,295
HE'S CONFIDENT
IN HIS ABILITY.
149
00:09:12,319 --> 00:09:15,048
LOOKS TO BE ABOUT
A 5-SQUARE MILE RADIUS.
150
00:09:15,072 --> 00:09:17,600
SO HE PROBABLY
HAS A VEHICLE.
151
00:09:17,624 --> 00:09:20,603
YOU WANNA SEE
THAT CRIME SCENE?
152
00:09:20,627 --> 00:09:21,888
IT'S STILL TAPED OFF.
153
00:09:21,912 --> 00:09:24,023
THE HUSBAND
WON'T GO BACK INSIDE.
154
00:09:24,047 --> 00:09:25,391
LET'S GO.
155
00:09:25,415 --> 00:09:28,494
ALL RIGHT,
SO WE NEED ANSWERS
TO THESE QUESTIONS.
156
00:09:28,518 --> 00:09:30,980
WHAT DOES THE EVIDENCE TELL YOU
ABOUT THE SEXUAL ASPECT?
157
00:09:31,004 --> 00:09:33,415
WHAT KIND OF RAPIST IS HE
INDEPENDENT OF THE HOMICIDES?
158
00:09:33,439 --> 00:09:34,767
I'M ON IT.
159
00:09:34,791 --> 00:09:36,269
IT LOOKS LIKE
WHAT HE'S WRITTEN
AT THE SCENES
160
00:09:36,293 --> 00:09:38,721
ARE MOST OF THE FIRST
3 VERSES OF THE SAME BALLAD.
161
00:09:38,745 --> 00:09:40,073
MOST OF?
162
00:09:40,097 --> 00:09:41,740
IT'S ONLY ONE PART
OF THE CONVERSATION.
163
00:09:41,764 --> 00:09:42,847
THERE'S NO "BETWIXT".
164
00:09:44,935 --> 00:09:48,164
DEATH SPEAKS,
BUT THE LADY NEVER ANSWERS.
165
00:09:48,188 --> 00:09:51,088
MAYBE HE FEELS LIKE
THEIR BODIES ARE ANSWER ENOUGH.
166
00:09:59,415 --> 00:10:00,415
WHOA.
167
00:10:05,521 --> 00:10:07,188
VERY NICE.
168
00:10:22,889 --> 00:10:24,867
OH! OH!
169
00:10:24,891 --> 00:10:27,737
THIS PROFILING
REALLY WORKS?
170
00:10:27,761 --> 00:10:29,339
IT'S A TOOL.
171
00:10:29,363 --> 00:10:30,573
YOU CAN TELL
ALL ABOUT A GUY
172
00:10:30,597 --> 00:10:32,425
FROM LOOKING
AT THE SCENE.
173
00:10:32,449 --> 00:10:33,826
WELL, THE SCENE'S
ONLY PART OF IT.
174
00:10:33,850 --> 00:10:35,728
WE ALSO USE VICTIMOLOGY,
PRECEDENT.
175
00:10:35,752 --> 00:10:37,764
WE CAN USUALLY GET
A FAIRLY CLEAR PICTURE
OF THE GUY.
176
00:10:37,788 --> 00:10:40,767
OUR GUYS WENT OVER IT
PRETTY WELL.
177
00:10:40,791 --> 00:10:43,436
I'M SURE THEY DID.
178
00:10:43,460 --> 00:10:44,470
LOCAL OFFICERS
AREN'T TRAINED
179
00:10:44,494 --> 00:10:46,605
TO LOOK FOR THE THINGS
WE LOOK FOR.
180
00:10:46,629 --> 00:10:48,340
WHAT'S THAT?
181
00:10:48,364 --> 00:10:51,144
HATE, INSECURITY,
FEAR, ANGER.
182
00:10:51,168 --> 00:10:52,711
THAT'S ALL
AT THE SCENE?
183
00:10:52,735 --> 00:10:54,780
IT'S ALL
IN HIS BEHAVIOR.
184
00:10:54,804 --> 00:10:57,150
YOU KNOW ANYTHING
ABOUT OUR GUY YET?
185
00:10:57,174 --> 00:10:58,284
YEAH.
186
00:10:58,308 --> 00:11:01,042
HE ISN'T GONNA STOP
UNTIL HE'S CAUGHT.
187
00:11:29,422 --> 00:11:31,100
YOU INCREASED PATROLS
IN THESE NEIGHBORHOODS
188
00:11:31,124 --> 00:11:32,602
WHEN THE PATTERN
WAS IDENTIFIED?
189
00:11:32,626 --> 00:11:34,037
AFTER THE FOURTH VICTIM.
190
00:11:34,061 --> 00:11:35,471
BOSSES CANCELLED DAYS OFF,
VACATIONS.
191
00:11:35,495 --> 00:11:36,506
[CELL PHONE RINGS]
192
00:11:36,530 --> 00:11:37,573
NEIGHBORHOOD
FULL OF CRUISERS,
193
00:11:37,597 --> 00:11:38,641
AND HE STILL STRUCK
2 MORE TIMES.
194
00:11:38,665 --> 00:11:39,742
HE BLENDS. GIDEON.
195
00:11:39,766 --> 00:11:41,144
Hotch: THERE MAY
HAVE BEEN ANOTHER ATTEMPT
196
00:11:41,168 --> 00:11:42,211
6 BLOCKS FROM
THE STATION HOUSE.
197
00:11:42,235 --> 00:11:43,378
Gideon: ATTEMPT?
198
00:11:43,402 --> 00:11:44,914
THE HUSBAND INTERRUPTED,
AND THE ATTACKER GOT AWAY,
199
00:11:44,938 --> 00:11:46,683
BUT ELLE AND I ARE HEADED
OVER THERE RIGHT NOW.
200
00:11:46,707 --> 00:11:48,184
WELL, WE'RE ALREADY
AT THE LAST CRIME SCENE.
201
00:11:48,208 --> 00:11:49,936
LET US KNOW IF YOU IDENTIFY
A SUSPECT.
202
00:11:49,960 --> 00:11:50,970
SUSPECT?
203
00:11:50,994 --> 00:11:52,571
THERE MIGHT HAVE BEEN
ANOTHER ATTACK
204
00:11:52,595 --> 00:11:54,240
NOT FAR FROM YOUR STATION.
205
00:11:54,264 --> 00:11:55,942
HEY. HEY. HEY.
206
00:11:55,966 --> 00:11:57,527
WHERE YOU GOING?
207
00:11:57,551 --> 00:11:58,861
OVER THERE.
208
00:11:58,885 --> 00:12:00,963
WELL, UNITS ARE ALREADY
HEADING THAT WAY.
209
00:12:00,987 --> 00:12:02,699
WE CAN GET MORE
ACCOMPLISHED HERE.
210
00:12:02,723 --> 00:12:04,367
YOU'RE KIDDING ME, RIGHT?
211
00:12:04,391 --> 00:12:05,534
NO. IF THERE'S
AN ARREST,
212
00:12:05,558 --> 00:12:08,170
WHAT WE FIND HERE
WILL HELP YOU PROSECUTE.
213
00:12:08,194 --> 00:12:11,546
THE SCENE WON'T BE
PRISTINE FOREVER.
214
00:12:12,582 --> 00:12:14,660
GUYS, KNOCK YOURSELVES OUT.
215
00:12:14,684 --> 00:12:15,661
THANK YOU.
216
00:12:15,685 --> 00:12:17,997
HEY, WAIT A MINUTE.
217
00:12:18,021 --> 00:12:20,383
THE UNSUB WENT THROUGH
THE BACK, RIGHT?
218
00:12:20,407 --> 00:12:22,518
THE FAMILY ROOM.
IT'S THE WINDOW FULL
OF PRINT DUST.
219
00:12:22,542 --> 00:12:25,102
GIDEON, I'M GOING
AROUND THE HOUSE.
220
00:12:54,141 --> 00:12:56,885
OK, NOT THAT EASY
TO MANEUVER.
221
00:12:56,909 --> 00:12:59,076
THAT MEANS
I'M A LITTLE BIT ATHLETIC.
222
00:13:37,984 --> 00:13:40,562
ALL RIGHT.
223
00:13:40,586 --> 00:13:43,087
I MESSED WITH SOMETHING
IN HERE.
224
00:13:46,693 --> 00:13:48,471
BROKEN CAPPUCCINO MACHINE.
225
00:13:48,495 --> 00:13:51,841
TOOK THE APPLIANCES,
WHICH ARE UPSTAIRS.
226
00:13:51,865 --> 00:13:54,710
WHY?
227
00:13:54,734 --> 00:13:56,201
WHY WOULD I TAKE THE TIME?
228
00:14:02,625 --> 00:14:04,437
LUCKY WOMAN.
229
00:14:04,461 --> 00:14:05,938
YOU KNOW WHAT,
SHE'S PROBABLY
230
00:14:05,962 --> 00:14:08,140
NOT FEELING SO LUCKY
RIGHT ABOUT NOW.
231
00:14:08,164 --> 00:14:11,210
YOU'RE ABSOLUTELY SURE
ABOUT THAT, MR. GORDON?
232
00:14:11,234 --> 00:14:13,412
HE WAS BLACK
AND 6 FEET TALL.
233
00:14:13,436 --> 00:14:15,186
I WATCHED HIM RUN
OUT THAT BACK DOOR.
234
00:14:18,107 --> 00:14:20,574
GET A DESCRIPTION
OUT IN THE FIELD ASAP.
235
00:14:24,731 --> 00:14:26,959
INTER-RACIAL SERIAL
SEX CRIMES ARE RARE.
236
00:14:26,983 --> 00:14:28,878
ARE THEY IMPOSSIBLE?
237
00:14:28,902 --> 00:14:30,596
NO.
238
00:14:30,620 --> 00:14:32,131
THEN WHAT'S YOUR POINT?
239
00:14:32,155 --> 00:14:33,954
ONLY TO PROVIDE YOU
WITH INFORMATION.
240
00:14:37,544 --> 00:14:38,554
I'M GONNA GO
TALK TO HER.
241
00:14:38,578 --> 00:14:39,689
MAY I ASK WHY?
242
00:14:39,713 --> 00:14:41,746
SHE'S SURROUNDED BY MEN.
243
00:14:46,185 --> 00:14:48,648
MRS. GORDON? I'M ELLE.
244
00:14:48,672 --> 00:14:50,512
WOULD YOU LIKE
TO GO OUTSIDE?
245
00:14:51,591 --> 00:14:53,569
IT'S ALL RIGHT.
246
00:14:53,593 --> 00:14:56,113
WE'RE JUST GONNA GO
SOMEPLACE QUIET.
247
00:15:11,444 --> 00:15:13,877
HERE'S WHERE
I GOT THE CHINA.
248
00:15:16,282 --> 00:15:19,061
THE SILVER.
249
00:15:19,085 --> 00:15:21,452
I DIDN'T TAKE IT,
I BROKE IT.
250
00:15:23,289 --> 00:15:24,822
WHY WOULDN'T SHE HEAR ME?
251
00:15:27,961 --> 00:15:29,894
BECAUSE I DID IT AFTER.
252
00:15:37,270 --> 00:15:39,115
"YOU MAY AS WELL BE MUTE.
253
00:15:39,139 --> 00:15:43,085
"THERE IS NO TIME AT ALL
FOR VAIN DISPUTE,
254
00:15:43,109 --> 00:15:47,173
"YOUR RICHES, GOLD,
AND GARMENTS, JEWELS BRIGHT,
255
00:15:47,197 --> 00:15:51,832
YOUR HOUSE, AND LAND,
MUST ON NEW OWNER'S LIGHT."
256
00:15:54,654 --> 00:15:57,099
I REALLY DON'T KNOW
THAT MUCH ABOUT HIM.
257
00:15:57,123 --> 00:15:58,551
WELL, YOU DON'T HAVE TO.
258
00:15:58,575 --> 00:16:01,887
JUST TAKE A LITTLE TIME
TO COLLECT YOUR THOUGHTS,
259
00:16:01,911 --> 00:16:04,189
TO JUST SIT HERE, BREATHE.
260
00:16:04,213 --> 00:16:05,691
YOU DON'T WANT
TO ASK ME QUESTIONS?
261
00:16:05,715 --> 00:16:07,615
NOT UNTIL YOU'RE READY.
262
00:16:09,552 --> 00:16:10,901
I'LL BE RIGHT BEHIND
THAT DOORWAY.
263
00:16:17,243 --> 00:16:19,843
I DIDN'T EVEN KNOW
HE WAS IN THE HOUSE.
264
00:16:21,881 --> 00:16:23,314
IS THAT COMMON?
265
00:16:27,069 --> 00:16:28,553
VERY.
266
00:16:32,158 --> 00:16:35,554
SHE HAD A WORKOUT VIDEO ON.
267
00:16:35,578 --> 00:16:37,089
STEP AEROBICS.
268
00:16:37,113 --> 00:16:40,192
STEP AEROBICS?
WITH THE PLATFORMS?
269
00:16:40,216 --> 00:16:42,311
STEP UP, STEP DOWN,
STEP UP, STEP DOWN?
270
00:16:42,335 --> 00:16:43,901
WHERE'S THE PLATFORM?
271
00:16:52,112 --> 00:16:53,823
HE SPENT A LOT
OF TIME HERE.
272
00:16:53,847 --> 00:16:55,146
WHAT, SO HE VACUUMED?
273
00:16:56,549 --> 00:16:58,077
THERE'S NO MARKS
ON THE PLATFORMS.
274
00:16:58,101 --> 00:17:00,413
A LOT OF TIME.
275
00:17:00,437 --> 00:17:02,681
THE BROKEN THINGS.
276
00:17:02,705 --> 00:17:04,817
SHE MUST HAVE
ALREADY BEEN DEAD
OR INCAPACITATED
277
00:17:04,841 --> 00:17:06,002
WHEN HE DID THAT.
278
00:17:06,026 --> 00:17:07,636
CAPPUCCINO MAKER
FROM THE KITCHEN,
279
00:17:07,660 --> 00:17:09,438
DISHES, VASES,
BROKEN JEWELRY.
280
00:17:09,462 --> 00:17:10,973
SYMBOLS.
281
00:17:10,997 --> 00:17:14,844
"YOUR RICHES, GOLD,
GARMENTS, JEWELS BRIGHT.
282
00:17:14,868 --> 00:17:19,370
YOUR HOUSE, AND LAND,
MUST ON NEW OWNER'S LIGHT."
283
00:17:21,107 --> 00:17:22,151
HER RICHES.
284
00:17:22,175 --> 00:17:23,969
RIGHT.
285
00:17:23,993 --> 00:17:25,971
EVER FEEL LIKE
THERE'S SOMETHING OBVIOUS
286
00:17:25,995 --> 00:17:27,473
RIGHT IN FRONT OF YOU,
YOU JUST CAN'T SEE IT?
287
00:17:27,497 --> 00:17:30,297
YEAH, USUALLY RIGHT
BEFORE A WOMAN DUMPS ME.
288
00:17:32,752 --> 00:17:34,096
HE SLAPPED ME
FROM BEHIND,
289
00:17:34,120 --> 00:17:35,631
HE PULLED ME DOWN
ON THE FLOOR.
290
00:17:35,655 --> 00:17:37,666
I TRIED TO SCRATCH HIM
AND BITE HIM,
291
00:17:37,690 --> 00:17:40,152
BUT HE WAS SO STRONG.
292
00:17:40,176 --> 00:17:43,088
AND THEN MY HUSBAND
CAME HOME FROM WORK.
293
00:17:43,112 --> 00:17:45,324
HE SCREAMED,
294
00:17:45,348 --> 00:17:47,910
AND THE MAN
RAN OUT THE DOOR.
295
00:17:47,934 --> 00:17:50,413
HE WAS A BLACK MAN.
296
00:17:50,437 --> 00:17:52,147
BILL WAS SURE OF IT,
297
00:17:52,171 --> 00:17:56,168
BUT I... I ONLY
REMEMBER HIS EYES.
298
00:17:56,192 --> 00:18:00,723
WHEN WE WERE FIGHTING,
I KEPT STARING HIM
RIGHT IN THE EYES.
299
00:18:00,747 --> 00:18:04,142
I REMEMBER THINKING,
"IF HE'S GOING TO KILL ME,
300
00:18:04,166 --> 00:18:07,300
THEN HE'S GOING TO HAVE
TO LOOK AT ME WHILE HE DOES."
301
00:18:08,538 --> 00:18:12,918
AND HE JUST KEPT STARING
BACK AT ME
302
00:18:12,942 --> 00:18:14,608
THROUGH THE SKI MASK.
303
00:18:15,912 --> 00:18:17,907
A SKI MASK.
304
00:18:17,931 --> 00:18:18,931
YEAH.
305
00:18:22,852 --> 00:18:25,469
IT'S ALL RIGHT.
YOU DID GOOD.
306
00:18:32,611 --> 00:18:33,655
THE VERSES.
307
00:18:33,679 --> 00:18:34,723
FOUND SOMETHING?
308
00:18:34,747 --> 00:18:36,459
NOT AN ANSWER, A QUESTION.
309
00:18:36,483 --> 00:18:37,460
I FOUND THE FULL TEXT.
310
00:18:37,484 --> 00:18:39,394
HE'S PRETTY MUCH
FOLLOWING IT TO A T,
311
00:18:39,418 --> 00:18:41,597
AT LEAST THE DEATH SIDE
OF THE CONVERSATION.
312
00:18:41,621 --> 00:18:42,715
BUT?
313
00:18:42,739 --> 00:18:44,800
WHY DIDN'T HE LEAVE THEM
AT THE FIRST 3 MURDERS?
314
00:18:44,824 --> 00:18:47,136
I MEAN, THIS BALLAD
IS 10 VERSES LONG
315
00:18:47,160 --> 00:18:48,137
JUST ON THE DEATH SIDE.
316
00:18:48,161 --> 00:18:49,188
HE'S GOT PLENTY
TO WORK WITH.
317
00:18:49,212 --> 00:18:50,922
BUT IF IT'S NOT PART
OF HIS SIGNATURE,
318
00:18:50,946 --> 00:18:53,258
IT ISN'T SOMETHING THAT
HE HAS TO DO
FOR AN EMOTIONAL REASON,
319
00:18:53,282 --> 00:18:55,166
THEN, I MEAN, WHY START?
320
00:18:58,955 --> 00:19:01,867
JJ, FIND OUT
WHEN THE PRESS
321
00:19:01,891 --> 00:19:03,903
RAN THE FIRST STORY
ON THIS UNSUB.
322
00:19:03,927 --> 00:19:06,038
WHEN?
AFTER WHICH VICTIM.
323
00:19:06,062 --> 00:19:07,172
YEAH, YOU GOT IT.
324
00:19:07,196 --> 00:19:08,240
WHAT'RE YOU THINKING?
325
00:19:08,264 --> 00:19:09,458
HE WASN'T GETTING
ENOUGH ATTENTION.
326
00:19:09,482 --> 00:19:10,759
POLICE DEPARTMENTS
327
00:19:10,783 --> 00:19:12,628
SOMETIMES DON'T EVEN REALIZE
THEY'RE LOOKING AT A PATTERN.
328
00:19:12,652 --> 00:19:13,963
YEAH,
UNTIL SOMEBODY TELLS 'EM.
329
00:19:13,987 --> 00:19:16,231
THE FIRST STORY
RAN THE MORNING
330
00:19:16,255 --> 00:19:17,666
AFTER THE FOURTH VICTIM
WAS FOUND.
331
00:19:17,690 --> 00:19:18,867
THE INCREASED PATROLS
DIDN'T BEGIN
332
00:19:18,891 --> 00:19:20,169
UNTIL AFTER
THE FOURTH VICTIM, EITHER.
333
00:19:20,193 --> 00:19:21,670
YEAH, POLICE DIDN'T REALIZE
WHAT WAS HAPPENING,
334
00:19:21,694 --> 00:19:22,671
HE WRITES HIS VERSE, AND...
335
00:19:22,695 --> 00:19:24,140
EVERYONE KNOWS
THAT HE WAS THERE.
336
00:19:24,164 --> 00:19:26,976
THE OFFENDER
IN THIS NEW ATTEMPT
IS A BLACK MALE.
337
00:19:27,000 --> 00:19:28,761
BLACK MALE? CROSS RACIAL.
THAT DOESN'T HAPPEN.
338
00:19:28,785 --> 00:19:29,795
WHAT ABOUT HERBERT MULLIN?
339
00:19:29,819 --> 00:19:30,996
HE KILLED 14 DIFFERENT PEOPLE
340
00:19:31,020 --> 00:19:32,598
OF COMPLETELY VARYING AGES,
RACES, AND CREEDS.
341
00:19:32,622 --> 00:19:35,401
BUT THERE WAS
NO SEXUAL COMPONENT
TO HIS CRIMES.
342
00:19:35,425 --> 00:19:37,135
AND HE WORE A SKI MASK.
343
00:19:37,159 --> 00:19:39,410
THIS ATTACKER WORE A SKI MASK.
344
00:19:43,049 --> 00:19:44,593
TELL 'EM
WE'RE READY.
345
00:19:44,617 --> 00:19:45,617
FOR A PROFILE?
346
00:19:46,936 --> 00:19:49,686
WE'RE GONNA MAKE
TOMMY CONTACT US.
347
00:20:01,517 --> 00:20:03,546
Gideon: THE UNSUB BROUGHT
HIS WEAPONS WITH HIM.
348
00:20:03,570 --> 00:20:06,971
TAPE, GLUE, WIRE.
349
00:20:10,210 --> 00:20:13,305
HE DID NOT LEAVE THEM
AT THE SCENE.
350
00:20:13,329 --> 00:20:15,607
TOOK THEM WHEN HE LEFT.
351
00:20:15,631 --> 00:20:20,145
HE HAS A KIND
OF KILLING KIT THAT HE CARRIES.
352
00:20:20,169 --> 00:20:22,413
ORGANIZED KILLERS
USUALLY HAVE A SKILLED JOB,
353
00:20:22,437 --> 00:20:23,915
LIKELY TECHNOLOGY RELATED,
354
00:20:23,939 --> 00:20:25,618
WHICH MAY INVOLVE
THE USE OF THE HANDS.
355
00:20:25,642 --> 00:20:28,904
THE CRIME SCENES
ARE FAR ENOUGH APART
THAT HE NEEDS A VEHICLE.
356
00:20:28,928 --> 00:20:30,873
THIS WILL BE WELL KEPT,
OBSESSIVELY CLEAN,
357
00:20:30,897 --> 00:20:32,408
AS WILL BE HIS HOME.
358
00:20:32,432 --> 00:20:34,676
HE'S DIURNAL,
THE ATTACKS OCCURRED
DURING THE DAY,
359
00:20:34,700 --> 00:20:36,211
SO THE VEHICLE
MAY BE RELATED TO HIS WORK,
360
00:20:36,235 --> 00:20:37,880
POSSIBLY A COMPANY CAR
OR TRUCK.
361
00:20:37,904 --> 00:20:40,048
WE BELIEVE HE WATCHES
THE VICTIMS FOR A TIME,
362
00:20:40,072 --> 00:20:41,316
LEARNS THE RHYTHMS
OF THE HOME,
363
00:20:41,340 --> 00:20:42,656
KNOWS HIS TIME FRAME.
364
00:20:43,826 --> 00:20:46,004
YOU'RE NOT GONNA
CATCH HIM ACCIDENTALLY.
365
00:20:46,028 --> 00:20:49,496
HE DESTROYS SYMBOLS OF WEALTH
IN THE VICTIMS' HOMES.
366
00:20:53,503 --> 00:20:56,982
HE HARBORS ENVY OF
AND HATRED TOWARD
367
00:20:57,006 --> 00:20:59,235
PEOPLE OF A HIGHER SOCIAL CLASS.
368
00:20:59,259 --> 00:21:00,603
HE FEELS INVISIBLE
AROUND THEM.
369
00:21:00,627 --> 00:21:02,170
CLASS IS THE THEME
OF THE POEM
370
00:21:02,194 --> 00:21:04,139
WHICH HE LEFT
AT THE VARIOUS CRIME SCENES.
371
00:21:04,163 --> 00:21:06,941
AT ONE POINT IN THE POEM,
THE WOMEN ATTEMPTS
TO BRIBE DEATH,
372
00:21:06,965 --> 00:21:08,444
BUT HE DOESN'T ACCEPT IT.
373
00:21:08,468 --> 00:21:10,746
HE SAYS THIS IS
THE ONE MOMENT
WHEN RICHES MEAN NOTHING,
374
00:21:10,770 --> 00:21:14,333
WHEN DEATH COMES,
POOR AND THE RICH
ARE EXACTLY ALIKE.
375
00:21:14,357 --> 00:21:15,534
SO HE'S POOR.
376
00:21:15,558 --> 00:21:17,336
PROBABLY MIDDLE-CLASS.
377
00:21:17,360 --> 00:21:19,037
A DECIDEDLY
LOWER-CLASS PERSON
378
00:21:19,061 --> 00:21:20,873
WOULD STICK OUT IN A HIGHLY
PATROLLED NEIGHBORHOOD.
379
00:21:20,897 --> 00:21:23,092
THIS GUY APPEARS
TO BELONG THERE.
380
00:21:23,116 --> 00:21:24,293
HE BLENDS IN.
381
00:21:24,317 --> 00:21:26,378
WHY DOES HE GLUE
THE EYES OPEN?
382
00:21:26,402 --> 00:21:29,048
THE UNSUB IS
AN EXPLOITATIVE RAPIST.
383
00:21:29,072 --> 00:21:31,583
MOST RAPE VICTIMS
CLOSE THEIR EYES
DURING THE ATTACK,
384
00:21:31,607 --> 00:21:32,651
TURN THEIR HEADS.
385
00:21:32,675 --> 00:21:35,354
FOR SOME RAPISTS,
THIS RUINS THE FANTASY.
386
00:21:35,378 --> 00:21:37,088
FOR THIS TYPE OF RAPIST,
387
00:21:37,112 --> 00:21:40,059
THE GOAL IS MORE RELATED
TO THE VICTIM WATCHING HIM
388
00:21:40,083 --> 00:21:42,061
THAN THE ACT ITSELF.
389
00:21:42,085 --> 00:21:44,163
THE VERSES, THE STAGING,
THE AGGRESSIVE LANGUAGE,
390
00:21:44,187 --> 00:21:45,830
"I AM DEATH,"
THIS IS A GUY
391
00:21:45,854 --> 00:21:47,766
WHO, WHILE BEING IN CONTROL
OF THE CRIME SCENE,
392
00:21:47,790 --> 00:21:50,786
ALMOST CERTAINLY FEELS
INADEQUATE IN THE REST
OF HIS LIFE.
393
00:21:50,810 --> 00:21:51,987
THAT'S WHY HE COULDN'T
WAIT FOR YOU
394
00:21:52,011 --> 00:21:54,022
TO FIGURE OUT
WHAT HE'D DONE.
395
00:21:54,046 --> 00:21:55,424
WHY HE NEEDED
TO MAKE SURE
396
00:21:55,448 --> 00:21:56,492
ALL HIS CRIMES
WERE COUNTED.
397
00:21:56,516 --> 00:21:58,694
HIS VICTIMS,
THEY REPRESENT
398
00:21:58,718 --> 00:22:01,163
WHATEVER IT IS
THAT'S CONTROLLING HIM,
399
00:22:01,187 --> 00:22:02,798
AND HE WANTS
THAT CONTROL BACK.
400
00:22:02,822 --> 00:22:07,169
HE IS UNDER THE THUMB
OF A POWERFUL WOMAN
WHO FRIGHTENS HIM.
401
00:22:07,193 --> 00:22:10,039
AND A FINAL POINT.
402
00:22:10,063 --> 00:22:12,541
HE IS WHITE.
403
00:22:12,565 --> 00:22:16,145
WE HAVE WITNESSES
THAT IDENTIFY HIM
AS A BLACK MALE.
404
00:22:16,169 --> 00:22:19,631
THE ATTACKER WAS BLACK.
HE IS NOT THE TOMMY KILLER.
405
00:22:19,655 --> 00:22:22,467
MRS. GORDON'S HUSBAND
CAME HOME AT THE SAME TIME
THAT HE ALWAYS DOES.
406
00:22:22,491 --> 00:22:23,819
THE TOMMY KILLER
WOULD'VE KNOWN THAT.
407
00:22:23,843 --> 00:22:26,989
AND MRS. GORDON'S ATTACKER
WORE A SKI MASK.
408
00:22:27,013 --> 00:22:29,157
THE UNSUB KNOWS
WHEN HE WALKS INTO A HOUSE,
409
00:22:29,181 --> 00:22:32,060
HE'S GOING TO KILL
THE WOMAN WHO LIVES THERE.
410
00:22:32,084 --> 00:22:34,879
IF YOU'RE NOT LEAVING
ANY WITNESSES,
WHY WEAR A SKI MASK?
411
00:22:34,903 --> 00:22:37,700
AND HE WANTS THE VICTIM
TO SEE HIM ANYWAY.
412
00:22:37,724 --> 00:22:39,467
YOUR ATTEMPTED RAPIST
IS A GARDEN-VARIETY,
413
00:22:39,491 --> 00:22:41,336
DISORGANIZED YOUNG MAN.
414
00:22:41,360 --> 00:22:42,921
AS THE VICTIM'S AGE GOES UP,
415
00:22:42,945 --> 00:22:45,207
GENERALLY, THE ATTACKER'S
AGE GOES DOWN.
416
00:22:45,231 --> 00:22:46,759
MRS. GORDON IS ABOUT 60,
417
00:22:46,783 --> 00:22:48,711
WHICH PUTS HER RAPIST
AT ABOUT 20.
418
00:22:48,735 --> 00:22:52,898
AND IT TAKES YEARS
TO DEVELOP THE LEVEL
OF CALM AND SOPHISTICATION
419
00:22:52,922 --> 00:22:54,600
THAT TOMMY DISPLAYS
AT A CRIME SCENE.
420
00:22:54,624 --> 00:22:56,969
AND THE RAPIST IS
FAR TOO YOUNG FOR THAT.
421
00:22:56,993 --> 00:22:59,071
MRS. GORDON TOLD ME
THAT THERE'S A YOUNG MAN
422
00:22:59,095 --> 00:23:01,340
WHO DELIVERS GROCERIES
TO THEIR HOME.
423
00:23:01,364 --> 00:23:04,526
HE FITS A LOT OF WHAT
WE'RE DESCRIBING HERE.
424
00:23:04,550 --> 00:23:07,396
GREAT. SO WE'RE
BACK TO ZERO ON TOMMY.
425
00:23:07,420 --> 00:23:10,487
NOT AT ALL.
MAY I SEE YOU IN YOUR
OFFICE FOR A MOMENT?
426
00:23:12,058 --> 00:23:14,236
YOU HAVE A TIP LINE
FOR THE PUBLIC?
427
00:23:14,260 --> 00:23:15,904
YES.
428
00:23:15,928 --> 00:23:17,572
WE HAVE A TECHNICIAN
AT QUANTICO
429
00:23:17,596 --> 00:23:18,791
WHO CAN TAP
INTO YOUR PHONE SYSTEM.
430
00:23:18,815 --> 00:23:21,043
HE'S GONNA CALL US?
431
00:23:21,067 --> 00:23:22,044
WELL, HE'S GONE OUT
OF HIS WAY
432
00:23:22,068 --> 00:23:23,495
TO SHOW YOU
HOW SCARY HE IS.
433
00:23:23,519 --> 00:23:25,280
AND WHEN THE 11:00 NEWS
LEADS WITH THE CAPTURE
434
00:23:25,304 --> 00:23:26,515
OF A 6 FOOT TALL
BLACK MAN
435
00:23:26,539 --> 00:23:27,949
IN CONNECTION
WITH HIS CRIMES,
436
00:23:27,973 --> 00:23:29,984
HE'S GONNA BE FURIOUS.
437
00:23:30,008 --> 00:23:32,805
FURIOUS ENOUGH TO CALL.
438
00:23:32,829 --> 00:23:34,128
LATER, MAN. SEE YA.
439
00:23:40,203 --> 00:23:42,036
FBI. YOU'RE UNDER ARREST.
440
00:23:44,473 --> 00:23:46,785
YOU'RE UNDER ARREST
FOR THE ATTEMPTED RAPE
OF MARCIA GORDON.
441
00:23:46,809 --> 00:23:49,021
WHAT?!
442
00:23:49,045 --> 00:23:51,023
THE FBI'S BEHAVIORAL
ANALYSIS UNIT
443
00:23:51,047 --> 00:23:52,690
WAS CALLED IN
YESTERDAY AFTERNOON
444
00:23:52,714 --> 00:23:54,226
BY THE SAN DIEGO
POLICE DEPARTMENT
445
00:23:54,250 --> 00:23:56,895
TO ASSIST IN THE ONGOING
TOMMY KILLER INVESTIGATION.
446
00:23:56,919 --> 00:23:58,197
THE UNIT IS HEADED...
447
00:23:58,221 --> 00:23:59,519
[SIREN BLARES]
448
00:24:03,142 --> 00:24:05,286
I CAN NOW ANNOUNCE
THAT OUR OFFICE HAS ASSISTED
449
00:24:05,310 --> 00:24:08,189
IN MAKING AN ARREST
IN CONNECTION WITH
THE INVESTIGATION.
450
00:24:08,213 --> 00:24:10,653
THAT'S ALL I CAN SAY
AT THIS TIME.
451
00:24:11,867 --> 00:24:13,612
HE CONFESSED
TO MRS. GORDON'S ATTACK
452
00:24:13,636 --> 00:24:14,779
BEFORE WE EVEN GOT
TO THE CAR.
453
00:24:14,803 --> 00:24:16,014
THANKS, ELLE.
454
00:24:16,038 --> 00:24:17,281
SHOULD JUST MAKE
THE 11:00 NEWS.
455
00:24:17,305 --> 00:24:18,316
DID THEY GET
GOOD FOOTAGE?
456
00:24:18,340 --> 00:24:19,818
YEAH,
COULDN'T MISS HIM.
457
00:24:19,842 --> 00:24:21,085
GOOD. NOW WE WAIT.
458
00:24:21,109 --> 00:24:22,109
CALL GARCIA.
459
00:24:23,495 --> 00:24:25,540
GO FOR MS. PENELOPE GARCIA.
460
00:24:25,564 --> 00:24:26,842
YOU READY WITH THE TRAP
AND TRACE?
461
00:24:26,866 --> 00:24:29,410
PEACHES, THIS IS THE OFFICE
OF UNMITIGATED SUPERIORITY.
462
00:24:29,434 --> 00:24:30,946
I AM ALWAYS READY.
463
00:24:30,970 --> 00:24:33,148
WITH THE AWESOME POWER
I HAVE IN THIS ROOM,
464
00:24:33,172 --> 00:24:35,083
ALL I NEED IS 15 SECONDS
ON THE PHONE
465
00:24:35,107 --> 00:24:36,785
TO NAIL THIS SKEEVY PERV.
466
00:24:36,809 --> 00:24:37,853
15 SECONDS?
467
00:24:37,877 --> 00:24:39,793
IF THAT.
468
00:24:43,399 --> 00:24:45,477
Jennifer: I CAN NOW ANNOUNCE
THAT OUR OFFICE
469
00:24:45,501 --> 00:24:47,112
HAS ASSISTED
IN MAKING AN ARREST
470
00:24:47,136 --> 00:24:49,047
IN CONNECTION
WITH THE INVESTIGATION.
471
00:24:49,071 --> 00:24:50,349
THAT'S REALLY
ALL I CAN SAY AT THIS TIME.
472
00:24:50,373 --> 00:24:51,516
THANK YOU.
473
00:24:51,540 --> 00:24:53,573
Woman: TURN THAT
DAMN TELEVISION DOWN!
474
00:24:56,645 --> 00:24:58,195
Man: I'M SORRY.
475
00:25:07,339 --> 00:25:09,373
WE'RE STILL WAITING, GARCIA.
476
00:25:15,347 --> 00:25:18,560
GOD, I HATE WAITING
LIKE THIS.
477
00:25:18,584 --> 00:25:21,296
DO YOU THINK IT'S WEIRD
THAT I KNEW THAT BALLAD?
478
00:25:21,320 --> 00:25:23,431
I DON'T KNOW
HOW IT IS THAT YOU KNOW
479
00:25:23,455 --> 00:25:24,833
HALF THE THINGS
YOU KNOW,
480
00:25:24,857 --> 00:25:26,118
BUT I'M GLAD YOU DO.
481
00:25:26,142 --> 00:25:28,954
DO YOU THINK IT'S WHY
I CAN'T GET A DATE?
482
00:25:28,978 --> 00:25:30,261
YOU EVER ASK ANYONE OUT?
483
00:25:31,364 --> 00:25:32,374
NO.
484
00:25:32,398 --> 00:25:33,675
THAT'S WHY
YOU CAN'T GET A DATE.
485
00:25:33,699 --> 00:25:36,461
[TELEPHONE RINGS]
486
00:25:36,485 --> 00:25:39,464
DETECTIVE MARTIN.
487
00:25:39,488 --> 00:25:40,737
HEY. HEY.
488
00:25:42,441 --> 00:25:44,102
LINE 6, PENELOPE.
LINE 6.
489
00:25:44,126 --> 00:25:48,173
Man: STUPID, INCOMPETENT
SONS OF BITCHES!
490
00:25:48,197 --> 00:25:50,859
I DON'T MAKE MISTAKES!
491
00:25:50,883 --> 00:25:52,611
I AM DEATH!
YOU HEAR ME?!
492
00:25:52,635 --> 00:25:54,813
I AM DEATH!
493
00:25:54,837 --> 00:25:56,949
YOU'LL SEE NOW.
TOMORROW,
494
00:25:56,973 --> 00:25:59,651
MARK MY WORDS,
YOU WILL SEE.
495
00:25:59,675 --> 00:26:03,443
AND WHILE I'M TAKING HER,
I'M GONNA BE THINKING
OF YOU.
496
00:26:05,598 --> 00:26:08,393
ANYTHING?
ARE YOU KIDDING ME?
497
00:26:08,417 --> 00:26:09,728
I DON'T KNOW HOW
THIS IS POSSIBLE
498
00:26:09,752 --> 00:26:11,095
BECAUSE THERE WAS
DEFINITELY ENOUGH TIME
499
00:26:11,119 --> 00:26:12,564
FOR ME TO GET A LOCATION,
BUT I GOT NOTHING.
500
00:26:12,588 --> 00:26:14,733
I GOT ABSOLUTELY NOTHING.
501
00:26:14,757 --> 00:26:15,834
LET ME WORK ON THIS.
502
00:26:15,858 --> 00:26:16,835
SHE SAID
SHE GOT NOTHING.
503
00:26:16,859 --> 00:26:18,299
NOTHING?
WE MISSED HIM?
504
00:26:40,132 --> 00:26:43,311
WE HAVE AN UNDERCOVER CAR
FOR EACH OF YOUR TEAMS,
505
00:26:43,335 --> 00:26:45,513
AND THE ENTIRE DAMN
DEPARTMENT OUT THERE, TOO.
506
00:26:45,537 --> 00:26:49,784
REMEMBER, A TRUCK.
MAYBE A WORK TRUCK,
IN EXCELLENT CONDITION.
507
00:26:49,808 --> 00:26:51,385
EVERYONE KNOWS.
508
00:26:51,409 --> 00:26:53,054
ALL RIGHT, HE MIGHT
MAKE A MISTAKE TODAY.
509
00:26:53,078 --> 00:26:54,322
HE'S ANGRY,
AND HE PROBABLY
510
00:26:54,346 --> 00:26:56,024
HASN'T DONE THE KIND
OF SURVEILLANCE HE'D LIKE.
511
00:26:56,048 --> 00:26:57,358
YEAH, WELL,
NEITHER HAVE WE.
512
00:26:57,382 --> 00:26:58,660
LET'S GO, REID.
513
00:26:58,684 --> 00:27:00,150
I'LL BRING
THE CAR AROUND.
514
00:27:04,623 --> 00:27:05,922
WE'LL FIND HIM.
515
00:27:44,462 --> 00:27:47,125
THAT'S THE LAST PLACE
HE WATCHED.
516
00:27:47,149 --> 00:27:49,360
THAT HOUSE.
517
00:27:49,384 --> 00:27:51,535
MORGAN SAID THE FAMILY
HASN'T MOVED BACK IN.
518
00:27:53,038 --> 00:27:54,971
PROBABLY NEVER WILL.
519
00:27:57,142 --> 00:27:58,887
IT'S THE EYES.
520
00:27:58,911 --> 00:28:00,022
EXCUSE ME?
521
00:28:00,046 --> 00:28:01,512
IT'S THE EYES, ELLE.
522
00:28:03,882 --> 00:28:06,061
JUST SOMETHING NOT RIGHT
ABOUT THE EYES.
523
00:28:06,085 --> 00:28:08,647
IF YOU MEAN WHAT
HE DOES TO THEM,
YEAH, I AGREE.
524
00:28:08,671 --> 00:28:11,315
NO. IT'S ALMOST
A CLASSIC MOVE
525
00:28:11,339 --> 00:28:14,069
FOR AN EXPLOITATIVE
RAPIST TO FORCE
A VICTIM TO WATCH.
526
00:28:14,093 --> 00:28:15,093
BUT?
527
00:28:17,813 --> 00:28:19,693
WE'RE MISSING SOMETHING
ABOUT IT.
528
00:28:34,747 --> 00:28:36,290
IT'S 10:30 ALREADY.
529
00:28:36,314 --> 00:28:37,692
ALL HE SAID WAS TOMORROW.
530
00:28:37,716 --> 00:28:39,994
HE DIDN'T...
SPECIFY MORNING.
531
00:28:40,018 --> 00:28:42,396
REID, THIS GUY'S
GOTTA SPEND A LOT
OF TIME IN THAT HOUSE.
532
00:28:42,420 --> 00:28:45,088
A LOT. HE NEEDS IT
TO BE MORNING.
533
00:28:47,943 --> 00:28:49,321
ARE WE SURE
THIS IS A GOOD SPOT?
534
00:28:49,345 --> 00:28:51,088
3 OF THE VICTIMS LIVED
WITHIN A BLOCK OF THIS STREET.
535
00:28:51,112 --> 00:28:52,791
IT'S THE MAIN ARTERY
THROUGH THE NEIGHBORHOOD.
536
00:28:52,815 --> 00:28:54,726
TRUE, BUT 3 VICTIMS
IN THE SAME BLOCK
537
00:28:54,750 --> 00:28:56,394
COULD MEAN HE'S DONE
WITH THE AREA.
538
00:28:56,418 --> 00:28:58,997
OR THAT HE'S JUST
REALLY FAMILIAR WITH IT.
539
00:28:59,021 --> 00:29:01,199
AND COMFORTABLE IN IT.
540
00:29:01,223 --> 00:29:02,901
BUT THEN,
ON THE OTHER HAND,
THE OTHER VICTIMS
541
00:29:02,925 --> 00:29:04,635
LIVED MORE THAN A MILE
IN EITHER DIRECTION.
542
00:29:04,659 --> 00:29:05,904
RIGHT.
543
00:29:05,928 --> 00:29:07,873
GOD, I HATE NOT HAVING
A PLAN.
544
00:29:07,897 --> 00:29:09,791
WE'RE LOOKING FOR A NEEDLE
IN A HAYSTACK HERE.
545
00:29:09,815 --> 00:29:12,894
ACTUALLY, IT'S MORE LIKE
WE'RE LOOKING FOR A NEEDLE
546
00:29:12,918 --> 00:29:14,601
IN A PILE OF NEEDLES.
547
00:29:15,604 --> 00:29:17,265
WHAT?
548
00:29:17,289 --> 00:29:19,301
A NEEDLE WOULD STAND OUT
IN A HAYSTACK.
549
00:29:19,325 --> 00:29:20,935
[LAUGHS]
550
00:29:20,959 --> 00:29:24,356
OK. AND WE'RE NOT LOOKING
FOR SOMEONE WHO STANDS OUT.
551
00:29:24,380 --> 00:29:26,891
NO. WE'RE LOOKING
FOR A PARTICULAR NEEDLE
552
00:29:26,915 --> 00:29:29,366
IN A PILE OF NEEDLES.
553
00:29:50,155 --> 00:29:51,666
CAN I HELP YOU FOLKS
WITH SOMETHING?
554
00:29:51,690 --> 00:29:53,290
FBI.
555
00:29:55,327 --> 00:29:56,860
OH, SORRY.
556
00:29:59,782 --> 00:30:02,593
AFTER THE FOURTH KILLING,
P.D. DOUBLED THE PATROLS
IN THESE NEIGHBORHOODS,
557
00:30:02,617 --> 00:30:04,428
THEN DOUBLED THEM AGAIN
AFTER THE FIFTH AND SIXTH.
558
00:30:04,452 --> 00:30:06,982
YET OUR UNSUB STILL
WATCHED THE HOUSES.
559
00:30:07,006 --> 00:30:09,206
HOW COULD HE NOT
HAVE BEEN SEEN?
560
00:30:10,843 --> 00:30:12,904
[BIRD CHIRPING]
561
00:30:12,928 --> 00:30:13,993
IS THAT AN ORIOLE?
562
00:30:15,097 --> 00:30:17,497
NO. A BLACK-HEADED
GROSBEAK.
563
00:30:18,283 --> 00:30:20,450
GROSBEAK?
564
00:30:22,287 --> 00:30:24,950
GROSBEAK, TOO.
FEMALE.
565
00:30:24,974 --> 00:30:26,617
HUH.
566
00:30:26,641 --> 00:30:28,086
ORSON WELLES
SAID ALL THE BIRDS
567
00:30:28,110 --> 00:30:30,621
THAT BELONG
TO OUR SEX HAVE
PRETTIER FEATHERS,
568
00:30:30,645 --> 00:30:32,057
'CAUSE MALES
HAVE GOT TO TRY
569
00:30:32,081 --> 00:30:33,508
TO JUSTIFY
THEIR EXISTENCE.
570
00:30:33,532 --> 00:30:35,877
WE SPEND ALL
OUR TIME SCREAMING,
571
00:30:35,901 --> 00:30:37,078
"LOOK AT ME.
LOOK AT ME."
572
00:30:37,102 --> 00:30:38,079
[CELL PHONE RINGS]
573
00:30:38,103 --> 00:30:40,515
"MOMMY, MOMMY.
LOOK AT ME."
574
00:30:40,539 --> 00:30:41,539
YEAH?
575
00:30:45,110 --> 00:30:46,388
25?
576
00:30:46,412 --> 00:30:48,273
LOOK AT ME.
577
00:30:48,297 --> 00:30:50,108
OK.
578
00:30:50,132 --> 00:30:52,143
GARCIA COULDN'T GET
A FIX ON THE CALL
579
00:30:52,167 --> 00:30:55,030
BECAUSE IT WAS ROUTED
THROUGH 25 DIFFERENT
SUBSTATIONS.
580
00:30:55,054 --> 00:30:56,886
25 SUBSTATIONS.
581
00:30:59,225 --> 00:31:01,436
HE WANTED THEM
TO SEE HIM.
582
00:31:01,460 --> 00:31:02,992
WE ESTABLISHED THAT.
583
00:31:11,237 --> 00:31:13,281
HE'S METICULOUS.
584
00:31:13,305 --> 00:31:15,750
NOTHING IS AN ACCIDENT.
585
00:31:15,774 --> 00:31:18,085
HE VACUUMED.
586
00:31:18,109 --> 00:31:20,921
SEEING IS
ABOUT DOMINATION.
587
00:31:20,945 --> 00:31:22,674
HIS CREATION.
588
00:31:22,698 --> 00:31:26,895
HE POSITIONED
EVERYTHING EXACTLY
THE WAY HE WANTED IT.
589
00:31:26,919 --> 00:31:28,118
AND?
590
00:31:30,922 --> 00:31:34,735
IF THE EYES WERE SO
THEY COULD WATCH THE ATTACK,
591
00:31:34,759 --> 00:31:37,738
WHY ARE THEY ALL
FACING AWAY FROM IT?
592
00:31:37,762 --> 00:31:38,839
IN THAT POSITION,
593
00:31:38,863 --> 00:31:40,613
THEY COULDN'T
SEE HIM DURING.
594
00:31:42,851 --> 00:31:45,451
HE WANTED THEM
TO SEE HIM AFTERWARD.
595
00:31:51,310 --> 00:31:53,120
OFFICE OF UNFETTERED
OMNISCIENCE.
596
00:31:53,144 --> 00:31:54,522
PENELOPE GARCIA IS IN.
597
00:31:54,546 --> 00:31:56,374
SPEAK, OH, FORTUNATE ONE.
598
00:31:56,398 --> 00:31:57,775
GARCIA, IT'S ELLE.
599
00:31:57,799 --> 00:32:00,629
CAN YOU GET INTO
THE PHONE REPAIR RECORDS
IN SAN DIEGO?
600
00:32:00,653 --> 00:32:01,629
SUNSHINE...
601
00:32:01,653 --> 00:32:03,231
I CAN RUN CENTCOM FROM HERE
602
00:32:03,255 --> 00:32:05,433
AND STILL PARTICIPATE
IN SIMULTANEOUS
TETRIS TOURNAMENTS.
603
00:32:05,457 --> 00:32:07,068
I'M LOOKING
FOR REPAIRMEN
604
00:32:07,092 --> 00:32:09,337
CROSS-REFERENCED
WITH THE MURDERS
IN SAN DIEGO.
605
00:32:09,361 --> 00:32:11,705
IT COULD BE
AS MUCH AS FOUR
OR FIVE DAYS PRIOR.
606
00:32:11,729 --> 00:32:13,275
SEE IF THERE ARE
ANY COMMON NAMES.
607
00:32:13,299 --> 00:32:15,515
TOTAL CAKE.
STAY ON THE LINE.
608
00:32:17,536 --> 00:32:19,481
[CELL PHONE RINGS]
609
00:32:19,505 --> 00:32:20,782
WHAT YOU GOT?
610
00:32:20,806 --> 00:32:21,849
HE'S A PHONE
TECHNICIAN, HOTCH.
611
00:32:21,873 --> 00:32:23,050
POLICE ARE LOOKING
FOR SOMEONE
612
00:32:23,074 --> 00:32:24,552
WALKING AROUND
THE NEIGHBORHOOD
IN BROAD DAYLIGHT.
613
00:32:24,576 --> 00:32:26,454
WHO NOTICES A PHONE GUY
UP ON A POLE?
614
00:32:26,478 --> 00:32:27,956
HE CAN WATCH FOR HUSBANDS
LEAVING FOR WORK,
615
00:32:27,980 --> 00:32:29,090
WATCH FOR POLICE PATROLS,
616
00:32:29,114 --> 00:32:30,792
KNOW WHEN
THE NEIGHBORHOOD'S QUIET.
617
00:32:30,816 --> 00:32:31,959
HE KNOWS WHEN HE'LL
HAVE PLENTY OF TIME.
618
00:32:31,983 --> 00:32:32,960
HE CAN EVEN TAP
INTO A PHONE LINE
619
00:32:32,984 --> 00:32:34,245
TO MAKE SURE
SOMEONE'S HOME.
620
00:32:34,269 --> 00:32:36,881
HOW ABOUT ROUTING
A CALL THROUGH
25 SUBSTATIONS?
621
00:32:36,905 --> 00:32:38,816
BACKYARD?
HEY, HE'S JUST LOOKING
FOR A POLE.
622
00:32:38,840 --> 00:32:40,050
GOT TAPE?
COURSE HE DOES.
623
00:32:40,074 --> 00:32:41,720
WIRE? HE'S A REPAIRMAN.
624
00:32:41,744 --> 00:32:42,721
SOUNDS RIGHT, JASON.
625
00:32:42,745 --> 00:32:43,722
IT IS RIGHT,
626
00:32:43,746 --> 00:32:45,595
AND WE HAVE HIS NAME.
627
00:32:52,604 --> 00:32:54,665
[BABY BABBLES]
628
00:32:54,689 --> 00:32:56,418
THERE YOU GO.
629
00:32:56,442 --> 00:32:58,920
OH, THAT'S A GOOD BOY.
630
00:32:58,944 --> 00:33:00,722
YOU WANT SOME JUICE,
BIG BOY?
631
00:33:00,746 --> 00:33:03,246
YOU WANT SOME JUICE? OK.
632
00:33:07,018 --> 00:33:08,213
Baby: MOMMY.
633
00:33:08,237 --> 00:33:09,747
OOH, YES, I KNOW.
634
00:33:09,771 --> 00:33:12,550
WE'RE GONNA HAVE
SOME APPLE JUICE, POOKIE.
635
00:33:12,574 --> 00:33:14,341
THAT'S YOUR FAVORITE.
636
00:33:16,077 --> 00:33:17,054
[BABY BABBLES]
637
00:33:17,078 --> 00:33:18,656
[LAUGHS] I KNOW.
638
00:33:18,680 --> 00:33:20,580
I KNOW YOU LOVE IT.
639
00:33:22,051 --> 00:33:23,216
HERE YOU GO.
640
00:33:39,101 --> 00:33:40,278
FBI.
641
00:33:40,302 --> 00:33:42,213
I NEED TO KNOW WHERE ONE
OF YOUR TECHNICIANS IS.
642
00:33:42,237 --> 00:33:43,798
FBI?
WHERE ARE YOUR TECHNICIANS?
643
00:33:43,822 --> 00:33:45,300
THEY'RE ALL OUT
IN THE FIELD.
644
00:33:45,324 --> 00:33:46,301
LISTEN!
645
00:33:46,325 --> 00:33:48,391
I NEED FRANKLIN GRANEY
RIGHT NOW.
646
00:33:50,679 --> 00:33:51,789
Graney:
NOW YOU'LL LAY DOWN.
647
00:33:51,813 --> 00:33:53,691
Mother: PLEASE.
648
00:33:53,715 --> 00:33:55,593
PLEASE DON'T HURT ME.
649
00:33:55,617 --> 00:33:57,362
I HAVE A BABY.
650
00:33:57,386 --> 00:33:59,297
COOPERATE AND
YOU'LL BE ALL RIGHT.
651
00:33:59,321 --> 00:34:01,699
PLEASE. OH!
652
00:34:01,723 --> 00:34:04,163
COOPERATE AND
YOU'LL BE ALL RIGHT.
653
00:34:06,645 --> 00:34:10,325
HE'S ON SERVICE CALLS
IN THE AREA OF ORANGE
AND CHANDLER.
654
00:34:10,349 --> 00:34:11,831
[CAR SCREECHING]
655
00:34:14,469 --> 00:34:15,447
GET A HOLD OF HOTCH.
656
00:34:15,471 --> 00:34:16,514
TELL HIM
TO BRING THE TEAM
657
00:34:16,538 --> 00:34:18,778
AND ANY S.D. COPS
HE CAN ROUND UP.
658
00:34:30,952 --> 00:34:32,885
THIS IS HIS TRUCK.
659
00:34:39,027 --> 00:34:40,605
FAN OUT. GO THROUGH YARDS.
660
00:34:40,629 --> 00:34:41,806
LOOK AT TELEPHONE POLES.
661
00:34:41,830 --> 00:34:43,579
HE'S AROUND HERE.
662
00:35:16,532 --> 00:35:19,633
[BABY CRYING]
663
00:35:25,090 --> 00:35:27,569
AAH! MAMA! MAMA!
664
00:35:27,593 --> 00:35:30,522
AAH! AAH! AAH!
665
00:35:30,546 --> 00:35:32,157
MAMA!
666
00:35:32,181 --> 00:35:35,460
AAH! MAMA!
667
00:35:35,484 --> 00:35:39,280
MAMA. MAMA. MAMA.
668
00:35:39,304 --> 00:35:41,448
LET ME OUT. LET ME OUT.
669
00:35:41,472 --> 00:35:43,334
LET ME OUT.
670
00:35:43,358 --> 00:35:45,058
LET ME OUT.
671
00:35:47,963 --> 00:35:51,709
AAH! AAH!
672
00:35:51,733 --> 00:35:53,566
MAMA. MAMA...
673
00:36:09,518 --> 00:36:11,095
875 ORANGE, HOTCH.
674
00:36:11,119 --> 00:36:12,885
BACK DOOR.
675
00:36:13,839 --> 00:36:15,571
MAMA. MAMA...
676
00:36:55,097 --> 00:36:56,774
Graney: NEVER
ACKNOWLEDGE ME.
677
00:36:56,798 --> 00:36:59,527
NEVER... THINK OF ME.
678
00:36:59,551 --> 00:37:01,301
[FLOOR SQUEAKS]
679
00:37:12,864 --> 00:37:14,342
I'LL SHOOT HER.
680
00:37:14,366 --> 00:37:15,376
NO, YOU WON'T,
FRANKLIN.
681
00:37:15,400 --> 00:37:17,011
YES, I WILL.
682
00:37:17,035 --> 00:37:18,579
IF YOU HURT HER,
I'LL KILL YOU.
683
00:37:18,603 --> 00:37:20,481
I'LL JUST SAY WE CAUGHT
A LOW-LIFE BURGLAR.
684
00:37:20,505 --> 00:37:22,805
YOU DIDN'T TURN OUT
TO BE TOMMY AFTER ALL.
685
00:37:24,710 --> 00:37:26,804
YOU WILL REMAIN UNCAUGHT.
686
00:37:26,828 --> 00:37:29,779
AFTER A WHILE,
PEOPLE WILL FORGET YOU.
YOU'LL BE NOTHING.
687
00:37:30,882 --> 00:37:32,193
ONCE EVERY 5 OR 10 YEARS,
688
00:37:32,217 --> 00:37:33,594
THEY'LL DO A TV SHOW.
THEY'LL ASK,
689
00:37:33,618 --> 00:37:36,164
"WHAT EVER HAPPENED
TO THAT TOMMY GUY?
WHY'D HE DISAPPEAR?"
690
00:37:36,188 --> 00:37:38,554
THEN THEY'LL STOP TALKING
ABOUT IT ALTOGETHER.
691
00:37:40,392 --> 00:37:42,069
PUT THE GUN DOWN.
692
00:37:42,093 --> 00:37:44,038
COME ON. WALK
OUTTA HERE WITH ME.
693
00:37:44,062 --> 00:37:46,040
I'LL MAKE SURE
YOUR FACE IS
SPLASHED ACROSS
694
00:37:46,064 --> 00:37:48,325
EVERY NEWSPAPER
AND TV IN THE COUNTRY.
695
00:37:48,349 --> 00:37:51,129
TOMMY KILLER:
FRANKLIN GRANEY.
696
00:37:51,153 --> 00:37:53,164
EVERYONE WILL
SEE YOU THEN.
697
00:37:53,188 --> 00:37:55,500
BUNDY, DAHMER, GRANEY.
698
00:37:55,524 --> 00:37:57,252
WHOLE WORLD WILL
KNOW WHO YOU ARE.
699
00:37:57,276 --> 00:38:00,521
IT'S UP TO YOU,
FRANKLIN.
700
00:38:00,545 --> 00:38:03,274
YOU CAN BE FAMOUS,
701
00:38:03,298 --> 00:38:04,764
OR YOU CAN BE INVISIBLE.
702
00:38:07,836 --> 00:38:09,118
YOU'LL TELL EVERYONE?
703
00:38:10,405 --> 00:38:12,989
I HAVE A MEDIA SPECIALIST
OUTSIDE RIGHT NOW.
704
00:38:14,092 --> 00:38:16,403
IT IS YOUR CHOICE.
705
00:38:16,427 --> 00:38:17,405
PROMISE?
706
00:38:17,429 --> 00:38:18,429
YES, SIR. I PROMISE.
707
00:38:25,187 --> 00:38:26,187
BACK AWAY FROM THE GUN.
708
00:38:27,606 --> 00:38:29,405
[MOTHER WHIMPERING]
709
00:38:39,434 --> 00:38:41,179
WHERE'S MY BABY?
710
00:38:41,203 --> 00:38:42,713
MY BABY!
711
00:38:42,737 --> 00:38:43,881
HE'S FINE.
712
00:38:43,905 --> 00:38:46,083
Elle:
HE'S JUST FINE.
YOU'RE OK.
713
00:38:46,107 --> 00:38:47,218
THANK YOU.
714
00:38:47,242 --> 00:38:48,385
THANK YOU.
715
00:38:48,409 --> 00:38:50,454
YOU'RE WELCOME.
716
00:38:50,478 --> 00:38:51,806
IT'S OK.
717
00:38:51,830 --> 00:38:54,163
Elle: IT'S ALL RIGHT.
IT'S OK.
718
00:38:55,534 --> 00:38:57,578
Gideon:
ROSE KENNEDY ONCE SAID,
719
00:38:57,602 --> 00:38:59,714
"BIRDS SING AFTER A STORM.
720
00:38:59,738 --> 00:39:02,417
"WHY SHOULDN'T PEOPLE FEEL
AS FREE TO DELIGHT
721
00:39:02,441 --> 00:39:05,308
IN WHATEVER SUNLIGHT
REMAINS TO THEM?"
722
00:39:21,542 --> 00:39:23,687
OH, I ALMOST FORGOT.
I HAVE SOMETHING FOR YOU.
723
00:39:23,711 --> 00:39:24,688
OH, YEAH?
724
00:39:24,712 --> 00:39:26,679
FORGOT TO GIVE IT
TO YOU AT THE PARTY.
725
00:39:27,883 --> 00:39:30,443
BUT YOU DON'T GIVE
BIRTHDAY PRESENTS.
726
00:39:41,430 --> 00:39:42,607
WOW.
727
00:39:42,631 --> 00:39:44,025
THE "RED... SKINS."
728
00:39:44,049 --> 00:39:45,393
IT'S A V.I.P. BOX.
729
00:39:45,417 --> 00:39:46,861
WOW.
730
00:39:46,885 --> 00:39:48,085
THANK YOU SO MUCH.
731
00:39:49,771 --> 00:39:51,282
EVERY BEEN TO
A PRO FOOTBALL GAME?
732
00:39:51,306 --> 00:39:54,869
NO, I HONESTLY
DIDN'T EVEN KNOW
THIS WAS FOOTBALL.
733
00:39:54,893 --> 00:39:56,254
YOU'RE GONNA LOVE IT.
734
00:39:56,278 --> 00:39:58,039
WE ARE.
YOU'RE COMING
WITH ME, RIGHT?
735
00:39:58,063 --> 00:39:59,257
NO.
736
00:39:59,281 --> 00:40:02,126
SOMEONE ELSE
ON THE PLANE IS
A HUGE SKINS FAN.
737
00:40:02,150 --> 00:40:03,594
WHO?
738
00:40:03,618 --> 00:40:06,135
ONLY PERSON IN THE WORLD
WHO CALLS YOU SPENCE.
739
00:40:08,139 --> 00:40:09,350
JJ?
740
00:40:09,374 --> 00:40:11,374
SHE'S A HUGE REDSKINS FAN.
741
00:40:18,349 --> 00:40:21,484
WH-WHAT SHOULD I SAY?
742
00:40:31,129 --> 00:40:32,209
CHECKMATE.
743
00:40:39,454 --> 00:40:40,454
HMM.
744
00:40:47,495 --> 00:40:52,631
HEARD YOU'RE, UH,
A FAN OF FOOTBALL.
745
00:41:01,593 --> 00:41:04,605
CAPTIONING MADE POSSIBLE
BY TOUCHSTONE TELEVISION
PRODUCTIONS, LLC AND CBS
746
00:41:04,629 --> 00:41:08,030
CAPTIONED BY THE NATIONAL
CAPTIONING INSTITUTE
www.ncicap.org...
49092
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