
| | "... A THOUSAND WORDS" | airdate: May 5, 2010 written by: Edward Allen Bernero directed by: Rosemary Rodriguez
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| The BAU team must profile a serial killer covered in tattoos who commits suicide, but leaves clues to the whereabouts of his last victim.
Set in: Tallahassee, FL Read the full episode recap ► | |
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| Said By: | Quote: | Author: | | Rossi | "A sincere artist tries to create something which is, in itself, a living thing." | William Dobell, painter | | Hotch | "I have seen children successfully surmount the effects of an evil inheritance. That is due to purity being an inherent attribute of the soul." | Mohandas Gandhi |
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| Criminal Minds Quotes ► |
| | The Turning Point in the Investigation |
|  | - Robert Matthew Burke (Bob) kept his victims for a year before murdering them. He would wait for their bodies to be found before taking another woman.
- He was a convicted rapist that met Juliet, his future wife, in prison while she visited her father
- His wife kept his last victim with the intention of fulfilling her husband's wishes but dies giving child birth before she can do this.
- He was scheduled to undergo an interview with the authorities but chose to give himself up, committing suicide to protect his wife and unborn son
- He was covered in tattoos each depicting an image of his victim and the year she died, except for one open space on his back which hides a secret tattoo visible only under ultraviolet light.
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| | Best Moments | - The team is at the tattoo parlor and the artist curiously asks if there's any chance he could see the Unsub's body. Rossi says, "None."
- When Prentiss beats Reid at cards and Reid is completely befuddled.
- Detective Barton's simple but moving testimonal to Hotch, very eloquently voicing the emotional trauma that the man on the street feels when faced with such senseless violence.
- Hotch congratulating Barton on his commitment to the job which led them to not only rescue Becky but close nine other unsolved murders.
- Prentiss and Morgan convince Reid to read the journals.
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| | Best Lines | - Morgan: Hey Prentiss, Sin to Win.
Prentiss: I'm sorry, what? Morgan: Come on now, I gotta know, what the hell is a Sin to Win weekend in Atlantic City? Prentiss: Derek, I have a tremendous amount of respect for you, but there are some questions that if you have to ask them, it means you probably couldn't handle the answer. (gets up and walks away) Morgan: There is a whole other side to that women. Reid: I never lose. Morgan: Whole other side
- Garcia: Emily don't get ahead of my dramatic telling.
- Rossi (to troopers as to why female suicides are not messy): Women worry about who has to clean up. Men don't give a damn.
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| - Greg Jennings (Tech Jennings)
- Dean Norris (Detective Barton)
- Jolene Andersen (Juliet)
- Holland Roden (Rebecca)
- Kimberly Van Luin (Police Dispatcher One)
- Dana Lyn Baron (Police Dispatcher Two)
| - Tina Lifford (Nora)
- John Thaddeus (Unsub/Man)
- Fred Cross (Trooper Pasternak)
- David Stranbra (Trooper Creighton)
- Jason M. Roberts (Deliveryman)
- J.F. Pryor (Tommy)
- Reginald Mayo (Paramedic)
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- According to Reid, at the turn of the 16th century rose tattoos were put on men who were sentenced to death and if they escaped it served to identify them.
- The Illustrated Man is a 1951 book of eighteen science fiction stories by Ray Bradbury that explores the nature of mankind. A man is on a walking holiday in Wisconsin, it's a hot day and he meets a guy who has his clothing buttoned up tight as if it is winter.... They camp down for the night, and the guy takes off his thick shirt. His body is covered in illustrations, (not tattoos), and they are beautiful, they move, and have tiny voices. He tells how he met an old witch who looked a thousand years old one minute, and twenty one the next, and after she illustrated his entire body with her magic needles, she disappeared. Believing her to be a time-traveller, the man has spent his life trying to hunt her down. The series of short stories are linked by the other man seeing the actions take place within the illustrations. (review by Alan Burridge)
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