When Reid is holding the Redskins tickets, sometimes the front of the tickets are visible from his perspective and they appear blank at other times.
During the scene before the credits, the team presents Reid with a birthday cake with trick candles. They mention it's Reid's 24th birthday in the accompanying dialogue.
Gideon: Ever feel like there's something obvious right in front of you, you just can't see it?
Morgan: Yeah, usually right before a woman dumps me.
Elle: (hearing a chirping bird and looking up) Is that an oriole?
Gideon: No. A black-headed grosbeak.
Elle: What kind's the other one?
Gideon: Grosbeak, too. Female. Huh (smiling at the two birds). 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."
Garcia: (answering the phone) Go, from Ms. Penelope Garcia.
JJ: (via phone) Are you ready with the trap and trace?
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.
JJ: (via phone) Fifteen seconds?
Garcia: If that.
Garcia: Office of Unfettered Omniscience. Penelope Garcia is in. Speak, oh fortunate one.
Elle: Garcia, it's Elle. Can you get into the phone repair records in San Diego?
Garcia: Sunshine, I can run CentCom from here and still participate in simultaneous Tetris tournaments.
Elle: You think they'll ever run out of new things to do with their victims?
Gideon: Well, finding new ways to hurt each other is what we're good at.
Morgan: Why the Tommy Killer?
Hotchner: You know the rock opera? Well, this unsub glues his victims' eyes wide open.
Reid: He wants them to see him.
Gideon: And feel them.
Hotchner: (discussing Reid) Isn't it amazing he knows what he knows, and he's only 24?
Gideon: (smiling) Imagine what he'll know by 50.
Elle: (seeing Reid having trouble blowing out the candles) I thought you were full of hot air, Reid.
Gideon: Someone else on the plane is a huge Skins fan.
Gideon: The only person in the world who calls you "Spence."
Morgan: God, I hate not having a plan. We're looking for a needle in a haystack here.
Reid: Actually, it's more like we're looking for a needle in a pile of needles.
Reid: A needle would stand out in a haystack.
Reid: Do you think it's weird that I knew that ballad?
Elle: Reid, I don't know how you know half the stuff you know, but I'm glad you do.
Reid: Do you think that's why I can't get a date?
Elle: Have you ever asked anyone out?
Reid: (shifting his eyes) No.
Ellie: That's why you can't get a date.
Elle: What kind of person knows this ballad? Are we looking for a literature
Reid: Anyone with an internet connection, actually. You should see what comes in when you type the word "death" into a search engine.
Morgan: Reid, no wonder you can't get a date.
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."
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?"
The song played at the beginning of this episode was "Respect" by Aretha Franklin. The song heard at the closing was "Doctor My Eyes" by Jackson Browne.
Reid mentions Herbert Mullin as someone who killed people of completely varying ages, races and creeds.
Herbert William Mullin was in and out of psychiatric facilities most of his life. In 1972-1973, in S. California, Mullins killed 13 people of different ages, races and creeds by various means at the urges of his schizophrenic hallucinations. The voices told him to kill in order to prevent earthquakes and tidal waves that threatened California.
The complete title of the ballad, Death and the Lady, is "The Great Messenger of Mortality or A Dialogue Betwixt Death and a Lady." When the lady is first approached, she does not recognize the speaker. Death must tell her who he is, and then challenges her, "have you not heard of me?" The killer is similarly focused on making sure people know who he is.
The killer in this episode is nicknamed the "Tommy Killer" after the rock opera Tommy by The Who. The killer glues his victims' eyes open, which reminded the authorities of the rock opera's recurring line, "See me, feel me, touch me."
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