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مسلسل Criminal Minds مترجم - Episode 18
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00:00Come on, people in white, down in Hollywood, Hollywood, let your body go, let the funk take
00:09your soul, who you get to? Diane Arbus once said, a photograph is a secret about a secret.
00:17The more it tells you, the less you know. Spencer! Spencer-y! Dude, dude, dude, look at you.
00:24Oh, you look just the same. Look at you, dude, nothing changed. Spencer was the only 12-year-old
00:31in our graduating class. Just the same. Thanks. This is Special Agent Jason Gideon. This is
00:38Parker Dunley. We went to high school together, as you can probably gather.
00:41Hi, Horne. Hey. It's a beautiful gallery. Oh, thank you. Thank you. Jason's a big contemporary
00:46art enthusiast. Well, we're exhibiting four up-and-coming artists in this show. Everything's
00:53for sale, and I could definitely swing a nice discount for a friend of Lila. Hey, guys, come
01:02on. How many other 12 years old do you? Fourteen. Spencer, you ever meet a real movie star? Movie
01:15star? Please, she's a supporting role on a television series about beach volleyball. Totally blue-collar.
01:23I'm Lila. Hi, I'm Dr. Spencer Reed. I'm Spencer. You don't have to call me doctor.
01:37Excuse me. Hey, you. I told you. No photos in the gallery, right? Ouch.
01:45And who are you? I'm Jason Gideon. I'm a friend of Reed's. Have you seen my work?
01:51No. So, uh, you're not from around here, are you? Me? No. Um, no, I'm, uh, we're running
02:01a training service about profiling for the Los Angeles Police Department. Profiling?
02:06Yeah, I'm with a behavioral analysis unit of the FBI. We psychoanalyze crime scenes in order
02:11to gain a better understanding of the criminal who might have committed the crime. Psychoanalyze,
02:16self? Are you doing that to me right now? What? No. I'm not psychoanalyzing you. I mean,
02:23just... I'm kidding. One of my earliest works. Totally boring. No, I don't think so. I mean,
02:35nothing's just a picture. If viewed correctly, whatever that means. One can see world views,
02:41obsessions, manifestations of the subconscious. If I weren't a lesbian, I'd jump your bones.
02:52I've always had this thing for middle-aged men. And you have these piercing, discerning eyes,
03:00which remind me of my father, who was a shrink. And I'm like, God, I am so hot.
03:09Peaky, some guy from Art News wants to talk to you.
03:13Don't go away.
03:19To make you feel anything. Like what?
03:22I can't tell you how to feel. Right now, I feel pretty good.
03:26We're leaving. We're still looking at the exhibit. Now. Now, now.
03:34Uh, yeah, I guess we're leaving, so. Reed?
03:37It was nice to meet you. Now. On the way.
03:45That's it.
03:45Today, we thought we'd focus on what is probably
03:52the most important component of profiling, or for that matter, any investigative technique.
03:57Victimology. The word victim stems from the Latin word victima, which means sacrifice.
04:03Uh, no, I can't go to the gym. I'm waiting for my shooting script.
04:08Oh, I think it just came. Uh, yeah. Okay, I'll see you at the gym, babe. Bye.
04:13The victims of violent crimes are brutalized by a subject who takes it upon him or herself to decide
04:18life or death over a fellow human being. Thank you. Are you gonna give it to me?
04:29There are around 16 million people in the Los Angeles metropolitan area.
04:35Every time a person is killed, robbed, or raped, most important question you will ask yourself is why.
04:43Why? Why did your own sub choose this victim at this time? Natalie?
04:49Was there anything done which provoked the criminal to act? Or was the target available or weak?
04:54A casualty of circumstance.
04:59Natalie? Natalie? Oh, my God. Oh, my God. No, Natalie. No, Natalie. Oh, my God.
05:11Oh, my God.
05:50You know, we really can't get ourselves to the airport.
05:52I didn't invite the FBI here to let them make their own way around town.
05:56We really appreciate it.
05:57Hey, I can't thank you guys enough for conducting the seminar.
06:00Well, don't hesitate to call if there's anything we can help with.
06:04Got it?
06:05Yeah.
06:09Ken here.
06:15Great.
06:18Yeah, he'll be there as soon as I drop the FBI's and said LAX.
06:23Everything all right?
06:24Double murder at a Hollywood bungalow.
06:26A celebrity.
06:28A young movie star, Natalie Ryan, and her fiancé apparently shot to death.
06:33It's gonna be a major pain in the ass.
06:36Hey, you guys care to take a quick look before I drive you to the airport?
06:39It's on the way.
06:39Absolutely.
06:56No sign of forced entry.
07:01Same weapon.
07:02The girl was shot execution style.
07:05Once in the head, the male three times in the torso.
07:08So you have two different MOs.
07:10We have an image on the video surveillance camera.
07:13Looks like a messenger of some kind wearing a motorcycle helmet.
07:15He's unidentifiable.
07:17There's no sign of struggle between the girl and the unsub from the door to the couch.
07:20He most likely forced her at gunpoint.
07:22He told her to trust him.
07:24Do what I say.
07:24It won't hurt you.
07:25Fatal mistake.
07:26Mm-hmm.
07:27He asked her to sit on the couch and then shot her in the head.
07:30The answer wasn't expected.
07:31His killing's mess here.
07:33It's less controlled.
07:34It's less organized.
07:36What do you think?
07:37I've had a couple other cases recently.
07:39Past few months.
07:41Same type of weapon.
07:42.22 caliber handgun.
07:43Both shot in the head.
07:45The first was an established film producer, Wally Melman.
07:49And the second was Chloe Harris, another young actress.
07:52Though not as well known as Natalie here.
07:54Any forensic evidence?
07:56No.
07:57And the guy's been going through this place all morning and haven't come up with anything.
08:01So he clearly knows how to cover his tracks.
08:03Like a professional hitman.
08:05Maybe.
08:11Gideon.
08:12There are people actually taking photographs of us from the next yard.
08:15Welcome to L.A.
08:21.22s are small but efficient.
08:22They bounce around and set a person like a pinball.
08:24Preferred weapon of the mafia.
08:26You know, there's no obvious sexual component to these crimes, which is usually the case with serial murders.
08:31So you are thinking this is a serial killer?
08:33Well, it's certainly a series of murders.
08:34We don't know enough yet to call them serial.
08:37Would you consider hanging out in L.A. a little while?
08:40Let me lean on your expertise until we do figure out what we've got.
08:43Yeah.
08:43Just cancel the flights.
08:45We'll have the rest of our team out here ASAP.
08:48First two victims, Wally Melman, Chloe Harris, both killed in public places.
08:53Chloe was killed by walking her dog on the beach in Santa Monica, which she did every morning.
08:58And Wally was killed outside of a massage parlor.
09:01In Culver City.
09:01Which he went to every Tuesday.
09:02Well, if he knows their schedules, maybe that means he follows his victims for a while.
09:05And not a single witness.
09:07So we know this unsub can blend in.
09:09Regardless of the location, he has the ability to hide in plain sight.
09:12He's meticulous.
09:13The media is calling Natalie Ryan's murder the biggest celebrity homicide since Sharon Tate.
09:17What does that mean for us?
09:19That everybody will be watching.
09:23This guy is an assassin?
09:25When you look at the victimology, there's no obvious links.
09:29All the kills are clean except in the instance of the last victim, Jeremy Collins.
09:33There's absolutely no evidence left of the crime scene.
09:36There's no DNA, no manifestation of psychosexual release.
09:39And there's no detectable signature of any kind.
09:41Remember, our profiles are formulated not just by what's present at the scene, but also what's absent.
09:47From all the evidence that we've gathered, we believe that you're looking for a type 4 assassin.
09:53Type 4?
09:53Type 1s are political assassins, like John Wilkes Booth.
09:56Type 2s are egocentrics looking for simple recognition.
09:59Type 3s are psychopaths, cold-blooded killers who leave far messier scenes.
10:03And type 4, our unsub, suffers from a major mental disorder and is frequently delusional.
10:08The closer we come to figuring out that delusion, the closer we'll get to finding the unsub.
10:13What's he going to be doing until we do?
10:15Finding other victims.
10:16Excuse me.
10:18Hi.
10:19Is there a Detective Kim here?
10:21Right here.
10:23You're heading the investigation into the Natalie Ryan murder?
10:25Yes.
10:26Um, my...
10:28I have a client.
10:29She's, uh...
10:30Is there any place we could be private?
10:32We're all working this murder.
10:36Well, uh...
10:37She received a note, my client did, and she freaked out.
10:41I told her not to worry about it.
10:43Where's the note?
10:46Where's your client?
10:47She's waiting in the other room.
10:50Wait.
10:51Let's go.
11:02Lila.
11:06Hi.
11:07How well did you know Natalie Ryan?
11:09We spoke when we saw each other in public, but we were never friends.
11:13How about Wally Melman?
11:14What?
11:15Wally Melman.
11:16He was a producer who was killed a couple months ago.
11:18Well, the paper said that was a robbery.
11:20Well, the paper was wrong.
11:21Did you know him?
11:23Well, we met a few times about a project, but...
11:27I didn't get the part.
11:28They went a different way.
11:29Which way?
11:30He cast, um, another eye.
11:35Oh, my God.
11:36What is it?
11:37He cast Natalie Ryan.
11:40You owe me.
11:42I guess that's one way to ice out the competition.
11:45Hey, look at me.
11:46I brought her into the police station.
11:48Have you ever had a sense that someone is watching you?
11:51Following you?
11:52From the moment I get to work, I have hair and makeup and wardrobe people, producers, writers,
11:58my agent, my manager, publicist, not to mention photographers.
12:02It's part of the life.
12:03Anything that seems odd, out of the ordinary?
12:06Happens on a regular basis or semi-regular basis?
12:09What do you mean?
12:11Repetitive phone calls with hang-ups, gifts left anonymously.
12:15I receive flowers.
12:16On the seventh of each month, they just appear in my trailer.
12:21Never a note, just a plain glass bowl.
12:25Red anemones.
12:28My favorite.
12:29You don't want to know who they're from.
12:31Celebrities get anonymous gifts all the time.
12:34She has fans, you know.
12:36Do you remember meeting anyone on the seventh day of the month?
12:40Or in July, seventh month of the year?
12:43No.
12:44Wally Melman was a producer who considered hiring you, but didn't.
12:48And Natalie was a rival.
12:50And Chloe Harris, she looks a lot like you, don't you think?
12:56Who?
12:56A potential rival.
12:58She was murdered, too.
13:00So all these people are being killed because of me?
13:04It's possible.
13:06Oh, I'm sorry.
13:08I can't.
13:09I have to go.
13:18Wally.
13:21Lila.
13:22Lila.
13:23What's happening, Spencer?
13:25Well, it's still rather speculative, but it appears there's a delusional assassin who's
13:29killing people to help further your career.
13:31It probably started as a stalker, an erotomanic stalker.
13:35There's a psychopathology to the evolution of these types of stalkers.
13:38And the fact that he's contacting you indicates that he believes you owe him something.
13:44This model frequently concludes itself with one of two possibilities.
13:48Either the stalker will kill himself or he'll kill the object of his affection.
13:59With this unsub, we're looking at a compound profile, a type 4 delusional assassin with
14:06an erotomanic fixation on the actress Lila Archer.
14:09Erotomanics are a form of stalker who possess the delusional belief that another person usually
14:14of a higher social status is in love with them.
14:17In the United States, at any given time, there are over 200,000 people being stalked.
14:22Our unsub is having a fantasy love affair with Lila Archer, the way John Hinckley did
14:28with Jodie Foster.
14:29Ms. Archer was not aware of her stalker until yesterday.
14:33He wasn't trying to impress her.
14:34He was more like an unwanted, very violent guardian angel.
14:39Then the stalker feels as if they've been in some way betrayed by their love object.
14:44This often leads to violence against the target.
14:46In the case of John Robert Bardo, when actress Rebecca Schaefer took a role where she had to
14:51have a sexual relationship with another character, it's enough to force him to snap and seek
14:55her out to kill her.
14:56Though stalkers can be either male or female, it's most likely we're looking for a single
15:01male, a loner in his late 20s to early 40s, very intelligent, with ample time to follow
15:09his victim and study her habits.
15:11As of yet, the unsub has not directed any violence towards Ms. Archer, but he has shifted
15:16his focus from those around her to her directly.
15:19This doesn't preclude the fact that anyone who has the vaguest association with Ms.
15:24Archer is a potential target.
15:30I love you.
15:32You're my favorite client.
15:33I haven't asked you anything yet.
15:34I'm not stopping my life.
15:36You could stay with me.
15:37No.
15:38A hotel just until the police say you're safe?
15:40Michael.
15:41You know I worry.
15:43Bye, Michael.
15:43Okay.
15:45Call me.
15:45Lots.
15:46Kisses.
15:47Mwah, mwah.
15:49Hello.
15:50Goodbye.
15:51I'm leaving.
15:53Hey, Max.
15:55He's an odd guy.
15:58Yeah, but who isn't a little odd out here?
16:01That's for sure.
16:02Look, we're ready to rehearse scene 43, and this was taped to your trailer door.
16:08Thanks, hon.
16:27I'm intrigued by this particular version of the verb to be.
16:30Past participle.
16:31Steady state of being.
16:32Preceding adverb.
16:34Always.
16:34In English.
16:36That is English, actually.
16:37We're discussing the verb tenses of the...
16:39Our stalker sounds like someone she knows.
16:41Based on the tense of the verb.
16:43Maybe it's time to get her off the street.
16:45You know, there's been no physical threat to her.
16:46She might be safe just staying put as opposed to anywhere else.
16:50I'm standing right here, guys.
16:52If we did remove you, we'd have to take you to a non-disclosed location.
16:56I'm sure your stalker knows where you live.
16:58I'm not having the whole show close down.
17:00I only have one more scene to shoot.
17:03Look, last night I decided I wasn't going to be afraid of this lunatic.
17:07Am I safe here?
17:09Well, the set's cleared of everyone except essential personnel.
17:12And we have increased security at the gate.
17:16Alala.
17:17They're running for you.
17:19I'm staying at work, gentlemen.
17:27Well, she's one tough girl.
17:29Yeah.
17:31I didn't want to say anything in front of her, but his anger about her going to the police
17:34suggests he might alter his agenda.
17:36It's typical for a stalker.
17:38You know, she didn't go alone to the police.
17:39Her manager took her.
17:41You and Reed stay here.
17:42Keep an eye on her.
17:44I'll hang back, too.
17:45Where are you going?
17:45Talk to her manager.
17:59Sorry if I was, um, insensitive last night.
18:04You're only doing your job, right?
18:06Yeah.
18:08Then there's no need to apologize.
18:14Oh, you don't mind sharing with me, do you?
18:19No.
18:30You got it.
18:31You got it.
18:31You got it.
18:32Now, uh, you don't mind sharing with me, do you?
18:35Shut up.
18:36Go get them, lover.
18:41Hello?
18:44It's Ryder.
18:47Michael.
18:53Up until now, every victim was a person who could be perceived as a threat to Ms. Archer.
18:57Yeah, but Michael was a friend.
18:59He was a threat to the stalker.
19:06Get Lila to a safe house.
19:08She's still on set working.
19:09Did you, uh, meet up with her manager?
19:11Great.
19:12Take her home.
19:13Have her pack some things.
19:14What's going on?
19:17We were too late.
19:20She's gonna be devastated.
19:22I know.
19:23JJ's keeping an eye out of the press for now.
19:25Let's not tell her yet.
19:27Not tell her?
19:28No, not yet.
19:29We needed to cooperate with us.
19:32In order to protect her.
19:34Yeah, we'll talk to you later.
19:37Uh, just put your bird down.
19:40We gonna take her off the street?
19:42We're gonna completely deny him access.
19:44Won't even give him a glimpse of her.
19:47Hopefully that'll bring him out of the woodwork.
19:49Hopefully.
20:03Yeah, no, we're pulling up right now.
20:06Uh-huh.
20:07There's a marked car out front.
20:09Yeah.
20:11Got it.
20:12I'll check it out.
20:16Is everything okay?
20:16I just need to run through some security measures with you.
20:19All right.
20:24Gideon, you better take a look at these.
20:32Morgan, it's Elle.
20:34Yeah.
20:35We found a manila envelope on Michael Ryer's desk.
20:37It's full of photos.
20:39Okay.
20:39Well, they're candid shots of Lila Archer nude.
20:43I'm guessing he was probably paying someone off to keep him out of the press.
20:46Do we know who?
20:47Um, the name on the envelope was Joe Martinez.
20:51Paparazzo?
20:51You know him?
20:53Yeah, I dealt with him a lot.
20:55Elle, we're on it.
20:59Wow.
21:01I like your house.
21:03I rent it.
21:05Nice.
21:06Uh, you should also probably change all your phone numbers.
21:09I'm unlisted.
21:10Anytime you call an 800 number or an 888 number,
21:13your phone number is put into a data bank that's been sold to telemarketers.
21:16If someone gets your cell phone number,
21:17they can go online and research all your records.
21:23Hanging out with you could be really depressing.
21:27Uh, you should also probably carry a piece of paper and a pen with you wherever you go
21:30in case you see any suspicious license plates that often reappear.
21:35Photographic collage.
21:36I like it because it's like life, you know?
21:39You know, like obscure, difficult.
21:43You should also get a dog.
21:45Uh, like a guard dog of some sort.
21:47Allergic.
21:48Um, Earl Grey or Camomile?
21:50What?
21:51What?
21:52Do you want some tea?
21:53Yes, yes, uh, sure.
22:00Martinez!
22:05It's clear.
22:17See?
22:19This guy's a real scumbag.
22:21You got that right.
22:33What's this?
22:35A call sheet.
22:36It's a shooting schedule for a film or television show.
22:39That's Lila's show.
22:40Yeah.
22:40He's not supposed to have that, is he?
22:42No.
22:55Hey, who that?
22:57That's Reed.
22:58That's a whole bunch of them.
23:02You a target now?
23:04Not if I can help it.
23:05Let's go.
23:09Reed.
23:10It's Morgan.
23:11Listen to me.
23:11You've got to watch your back over there.
23:12We just found a bunch of close-up photos of you at this guy, Joseph Martinez's studio.
23:16It looks like he could be the unsub.
23:18He had a ton of photos of Lila and Natalie, plus a call sheet for Lila's show.
23:22We're on our way right now, but I need you to be real careful until we get there, all right?
23:26All right?
23:36You hit?
23:37Yeah, it's just my shoulder.
23:39All right, I'm calling for help.
23:42Officer down.
23:43We need an ambulance at La Brea and Wilshire.
23:54How we doing?
23:55He'll make it.
23:56Cut one in the shoulder and shattered his collarbone.
23:59You okay?
24:00Fine.
24:01No sign of this Martinez, a photographer?
24:03No.
24:03Whoever took a shot at you followed you from the set.
24:05Martinez has a bunch of paperwork in the studio that says where Lila's going to be every day.
24:09Get in.
24:12That's what I thought.
24:13Thanks.
24:14Garcia's gone through every article written about Lila.
24:16She never says anything about red anemones being her favorite flower.
24:19Well, we're looking for someone pretty close to her.
24:21Listen, let's get shorter every day.
24:22He's circling and we need to get to her house.
24:25I'll make sure the press doesn't get out of hand with this mess.
24:39Feel anything yet?
24:41There's something definitely appealing about this one.
24:48Start.
24:51What are you doing?
24:53Going for a swim.
24:54What?
24:55No, Lila!
25:05You cannot do this.
25:07Five minutes.
25:09Go get a suit in the house.
25:11What?
25:11No!
25:12I'm not going to grab a suit.
25:13Are you kidding me?
25:13No!
25:14Join me.
25:14No, I'm not going to join you.
25:16Why not?
25:17You're being pursued by a psychotic killer who shoots people in the head.
25:21I'm not going to stop living my life.
25:22I'm just not.
25:25Lila, I'm begging of you.
25:26Will you please get out of the pool?
25:29Really, Spence, you should live a little.
25:30Live a little?
25:31I've known you 48 hours.
25:32I feel like I've already aged 10 years.
25:34Oh, I can't be that bad.
25:36Yes.
25:37No, you are that bad.
25:41Oh.
25:46Fine.
25:48Can you help me out at least?
26:01Yes, very funny.
26:02Laugh it up, Lila.
26:03Hilarious.
26:04My gun's wet.
26:05It's great.
26:13My clothes.
26:15You should have worn the suit.
26:23This is completely inappropriate.
26:25This.
26:26What's this?
26:28This isn't...
26:39You know, there's this thing called transference.
26:42You don't like me?
26:43What?
26:44You don't like me?
26:45No, are you crazy?
26:46I do.
26:47I like you.
26:48Just, I'm a, uh, federal agent, you know?
26:51I'm supposed to protect you.
26:52Keep me close.
26:54I'm just, uh, I'm a little worried, you know?
26:57We're, we're in a pool, and it's, uh, we're pretty much exposed.
27:04We have cops.
27:05We have cops pushed out front.
27:08There are coyotes out back.
27:12And right here, it's just me and me.
27:19I, uh, I have to tell you something.
27:26What?
27:27I didn't want to tell you this before, because I was a little bit worried.
27:30I didn't, I, you don't, I don't know how to say it, but I can't not tell you.
27:34What is it?
27:35Your manager, Michael.
27:39What?
27:42Gideon went to check on him, but he got there too late.
27:59Myla.
28:05How could you, how could you not tell me?
28:10I was afraid you'd be upset.
28:15You, you knew what you knew, and how could you not?
28:20I'm so sorry.
28:26Don't, don't touch me.
28:27Don't touch me.
28:34Give me a reason.
28:41Well, we found him in the bushes.
28:43I told her she should cut those.
28:49I, uh, fell in.
28:50Yeah, now I'm sure there's plenty of photos of it.
28:52Stop shoving me, man.
28:55You're a suspect in the murder of Wally Melman, Natalie Ryan, and Jeremy Collins.
28:59Murder what?
28:59Whoa, whoa, whoa, whoa, whoa.
29:00Okay, shut up with the whoa.
29:01We know for a fact that you have hundreds of photographs of Lila Archer and Natalie Ryan
29:04on the walls of your studio.
29:05You have Miss Archer's daily schedule on your desk.
29:07You've been stalking her.
29:08Look, guys, look, hold up.
29:09Every paparazzi is a celebrity stalker.
29:11If you don't stalk him, you don't get the shot.
29:13If you don't make the shot, you don't sell no pictures.
29:15Well, this one is going to cost you.
29:17What?
29:18That's just wrong.
29:19Tell it to your lawyer.
29:20Still being locked up?
29:21That's right.
29:22At the very least, you're trespassing.
29:23Let's go.
29:26You're welcome.
29:36Lila?
29:46Are you still...
29:50Are you okay?
29:51Michael is like family.
29:55I'm so sorry.
29:58It's just so hard to trust people out here.
30:02You don't...
30:03You don't know who to believe.
30:06Everybody wants something from you.
30:09That's why I thought you were different.
30:13No, I should have told you.
30:15I told him not to.
30:17He was only following my orders.
30:29You know, last time I was able to fully dress was at Juilliard.
30:38Before I was a somebody.
30:44Juilliard.
30:48Didn't you say you used to live on Houston Street?
30:51What?
30:53You were a waitress.
30:54You lived on Houston.
30:56Yeah.
31:02I need to take this thing apart.
31:05What?
31:06I'll put it back.
31:07I didn't think I see images of you.
31:11Guys!
31:21Lila, it looks like someone's been stalking you for years.
31:23Yeah, this tells your whole life story.
31:25Movie premieres, theater playbills.
31:27Everything since college.
31:30It's our country house.
31:31Right here.
31:33Who gave you this collage?
31:35He did.
31:36This guy.
31:37Who is he?
31:38That's the guy I went to high school with.
31:39Parker Dunley.
31:44Garcia.
31:44Parker Dunley.
31:45Email me a sheet on him, alright?
32:01Oh, look, who's here?
32:04Where's Parker?
32:05I don't even get a hello.
32:08Where is he?
32:10As that follows, since I never got a goodbye.
32:13Parker!
32:14Parker!
32:16Friend of yours?
32:18No.
32:20How can I help?
32:22Hey.
32:23Spencer's friend, right?
32:24Yes.
32:26Did you give Lila Archer a collage?
32:28What?
32:29There's a photographic collage above Lila Archer's sofa.
32:32She says you gave it to her.
32:34So?
32:34So it has your face hidden all over it.
32:37I didn't make the damn thing.
32:40So you just happen to give her a work of art that contains most of her life in it?
32:46I...
32:47No.
32:48No.
32:49If there's something you aren't saying, now would be a real good time to say it.
32:54All right.
32:57All right, I lied.
32:59What about?
33:01I just wanted her to like me.
33:03I met her here.
33:05She was a fan of art.
33:06I figured if there was hip young stars coming into the gallery, it would help business.
33:10What was the lie?
33:11Someone gave me the piece to give to her.
33:14But I told her it was from me.
33:15I said I found it, and I thought she'd love it.
33:17And who gave it to you?
33:18Her name's Maggie Lowe.
33:19She, uh, she works on Lila's show.
33:23She said she went to college with Lila.
33:25She's like a P.A. or A.D. or some acronym.
33:30She wanted to make sure that Lila got the collage, but she didn't want Lila to know that she gave
33:34it to her.
33:34She said to say that it was from a secret admirer.
33:39But I told her it was for me.
33:41We have a name.
33:42Maggie Lowe.
33:44She's the unsub.
33:45She's on Lila's show.
33:46We're on our way.
33:49Wala, do you know someone named Maggie Lowe?
33:51Mags?
33:52Yeah, of course I know her.
33:54I've known her for years.
33:56I got her job on my show.
34:00What?
34:02That's her calling right now.
34:03Is she calling from cell phone?
34:04Yeah.
34:05Wala, we think Maggie's the unsub.
34:07The what?
34:08The stalker.
34:10No way.
34:11Answer the phone.
34:13That's crazy.
34:14Answer the phone, act completely natural.
34:15The longer you keep her on the line, the more likely we'll be able to trace the call.
34:19Trust me.
34:23Hello?
34:25Hello, Maggie?
34:28Maggie, is that you?
34:30What's wrong?
34:32Oracle of Quantico, speak if you deign to hear truth.
34:35Garcia, I need an emergency trace on a cell phone call to Lila Archer's cell phone.
34:39Sure.
34:40Go ahead.
34:41323-555-0129.
34:43Okay.
34:44Keep her talking.
34:45Keep her talking.
34:45Maggie?
34:46Oh, I am so tired.
34:49Lila.
34:50Tired?
34:51Yeah.
34:54There's been so much upset in the world, really.
34:58I think it's just so tragic, all of it.
35:02I miss you.
35:04I just do.
35:07Thanks.
35:09I saw you today.
35:10But it's never going to be the same as it was.
35:14It's just never going to be the same.
35:18I don't know what you're talking about.
35:21I'm talking about that time in college when the heat in your apartment was off and the two of us
35:28stayed in my dorm room.
35:30Don't you remember?
35:33You're playing Ophelia on the main stage.
35:40I remember.
35:41And that was the happiest time of my life.
35:45Maggie's.
35:48Sweetheart, that was only for a weekend.
35:52The happiest time.
35:55And you don't know anything about me at all.
36:00And I did everything for you.
36:05Reed, is Lila's address, 6028 Pike Street?
36:09Yeah.
36:11She's calling from inside the house.
36:13I'll get you some backup.
36:16Lila.
36:17You, you, you!
36:20How'd you get in the house?
36:22She has keys.
37:03Watch out to bring these people here.
37:05Put down the gun.
37:07Maggie?
37:09Don't call me Maggie.
37:10You don't know me.
37:11Come on, Lila.
37:12Let's go.
37:13We, we, we gotta go, baby.
37:15Come on.
37:16Maggie.
37:17Don't hurt her.
37:18You don't need to hurt her.
37:20You don't know anything.
37:20I would never do anything to hurt you.
37:25No.
37:27I created you.
37:29No, you didn't.
37:33Yes, I did.
37:37I know I did.
37:42You stupid.
37:44You stupid.
37:45Ungrateful.
37:47God.
37:48I can't believe that I loved you.
37:52Maggie, she, uh, she loves me now.
37:58What?
38:01She told me so.
38:02We were in the pool.
38:04She kissed me.
38:05Now she loves me, okay?
38:07No.
38:10Tell her we kissed in the pool.
38:11No!
38:18Yes, we kissed.
38:28Don't move.
38:29Please!
38:30Please!
38:30Okay, you don't...
38:31Kill me!
38:32Come on, shoot me, please!
38:34That'd be so much out of you!
38:36Please!
38:36Please!
38:39Come on.
38:42I'm ready to get you help.
38:47It's gonna be all right.
38:53Shh!
38:54Shh!
38:58Look at the lady, back up!
38:59Let's go!
39:01Darling, Eastgate wants to do a segment on you this evening
39:04at the stalking event.
39:05I told them yes.
39:06Why'd you do that?
39:06It's okay.
39:07It's gonna be fine.
39:08Their hair and makeup people are coming in 10 minutes.
39:09There's also talk about 60 minutes.
39:13This kind of publicity makes me really uncomfortable.
39:16Don't be ridiculous.
39:17We're talking about performing a public service, all right?
39:19Stalking is a major problem in this country.
39:21It's good.
39:21It's good.
39:22I gotta take this.
39:26It looks like you're gonna be pretty busy.
39:29I wish things had been more normal when we had met.
39:36Lila, believe me when I say this, I've never known a normal day in my entire life.
39:42Hey, Reed, come on.
39:44We gotta move.
39:45Gotcha.
39:46Well, um, if I'm ever in Washington and I were to give you a call, would that be okay?
39:52Yeah.
39:53I'd like that a lot.
39:55There you go, Lila!
39:57I don't want to intrude.
39:59No, not at all.
40:00Hey, sorry.
40:01We're waiting.
40:02I'm on it.
40:02Lila, we gotta go.
40:03And, you know, I don't know when you're gonna be back here, you know, next time you're in
40:07Los Angeles, if you'll be filming the time.
40:17Lila, we gotta go.
40:34Bernard Shaw once said, an American has no sense of privacy.
40:38He does not know what it means.
40:39There is no such thing in the country.
40:49Night, Hollywood.
40:50Come on, man.
40:52You know, Reed, you're lucky they didn't get a shot of you next to the pool trying to
40:56draw your gun.
40:56You look like a wet rat.
40:59Hey.
41:01How was playing?
41:03Did you know that, um, she, uh, I kissed her in the pool?
41:11It's so weird.
41:12It doesn't even feel like it really happened, you know?
41:15Sure, sure.
41:16She's a beautiful young actress.
41:17Yeah.
41:18Yeah, you know, I kept explaining to her about transference and the fact that, you know,
41:21she probably only liked me because I was there to protect her.
41:25Reed, you were her hero.
41:29I wanted to think that.
41:31No, no, no.
41:31Don't go selling yourself short, kid.
41:33You took down an armed subject without firing a shot.
41:36You saved her life.
41:38She's pretty much a hero in my book.
41:42Let me ask you this.
41:43Have you ever crossed professional boundaries with a victim, the case you were working?
41:52No.
41:53It's pretty bad, right?
41:55There's some things you can't control, even with that big old brain of yours.
41:59No harm, no foul.
42:02Let it go.
42:04Hey, Morgan?
42:06Is there ever been a girl that you wanted to be with for more than, you know, just one
42:11night?
42:13Excuse me?
42:15I've never seen you with the same girl twice.
42:18What, are you calling me a dog?
42:19No, no, no, not at all.
42:20I'm just trying to figure out if this feeling I have is ever going to go away.
42:26Reed, what we do for a living, it takes up all our time.
42:29And a relationship's hard enough even in the same city.
42:33So, I mean, you're saying it's probably wise that I don't call her, right?
42:38I can't answer that one for you.
42:41Here, I'll tell you what I do know.
42:43You don't need to come up with that answer tonight.
42:48I'm out.
42:50Have a good weekend.
42:51Yeah, you too, Romeo.
43:36You don't need to come up with that answer tonight.
43:49I'm out.
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