"gideon:" "diane arbus once said:" ""a photograph is a secret about a secret." "the more it tells you, the less you know."" "spencer!" "spencer reid!" "dude!" "look at you!" "you look just the same." "ha ha!" "look at you, dude." "nothing's changed." "spencer was the only 12-year-old in our graduating class." "just the same." "thanks." "this is special agent jason gideon." "this is parker dunley." "we went to high school together, as you can probably gather." "how you doing?" "hey." "it's a beautiful gallery." "thank you. thank you." "jason's a big contemporary art enthusiast." "well, we're exhibiting 4 up-and-coming artists in this show everything's for sale, and i can definitely swing a nice discount for a friend." "lila." "hey." "guys, come on." "do i look 12 years old to you?" "14." "spencer, i'd like you to meet a real movie star." "movie star?" "please." "she has a supporting role on a television series about beach volleyball." "totally blue-collar." "i'm lila." "hi. i'm, uh, i'm doctor spencer reid." "uh--i'm spencer." "you don't have to..." "call me doctor." "i won't." "excuse me. hey!" "i told you!" "no photos in the gallery!" "out!" "and who are you?" "i'm jason gideon." "i'm a friend of-- have you seen my work?" "no." "thanks." "so, you're not from around here, are you?" "me?" "no." "no. i'm, uh... we're running a training service about profiling for the los angeles police department." "profiling?" "yeah, i'm with the behavioral analysis unit of the fbi." "we psychoanalyze crime scenes in order to gain a better understanding of the criminal who might have committed the crime." "psychoanalyze, huh?" "are you doing that to me right now?" "what?" "no." "i'm not psychoanalyzing you." "spencer, i'm kidding." "one of my earliest works." "totally boring." "oh, i don't think so." "nothing's just a picture." "if viewed correctly-- whatever that means-- one can see world views, obsessions, manifestations of the subconscious." "if i weren't a lesbian, i'd jump your bones." "i've always had this thing for middle-aged men." "you have these piercing, discerning eyes which remind me of my father who was a shrink." "and i'm like, god, i am so hot." "parker: pinky, some guy from artnews wants to talk to you." "don't go away." "does it make you feel anything?" "like what?" "i can't tell you how to feel." "right now, i feel pretty good." "we're leaving." "we're still looking at the exhibit." "now." "now. now." "yeah, i guess we're leaving." "reid, now." "nice to meet you." "on the way." "bye, spencer." "sorry." "[disco music playing[" "today, we thought we'd focus on what is probably the most important component of profiling, or for that matter, any investigative technique:" "victimology." "the word victim stems from the latin word victima which means "sacrifice."" "no, i can't go to the gym." "i'm waiting for my shooting script." "[doorbell rings] i think it just came." "uh, yeah. ok." "i'll see you at the gym, babe, bye." "reid:" "victims of violent crimes are brutalized by a subject who takes upon him or her self to decide life and death er a fellow human being." "hi." "are you gonna give it to me?" "aah!" "there are around 16 million people in the los angeles metropolitan area." "every time a person is killed, robbed, or raped, the most important question you will ask yourself is why?" "why did your unsub choose this victim-- hello?" "gideon: at this time." "natalie?" "gideon: is there anything done which provoked the criminal to act?" "or was the target available or weak, a causality of circumstance?" "natalie?" "natalie." "oh, my god!" "oh, my god!" "no!" "natalie!" "no!" "oh, my god!" "you know, we really can get ourselves to the airport." "i didn't invite the fbi here to let them make their own way around town." "we really appreciate it." "hey, i can't thank you guys enough for conducting the seminar." "well, don't hesitate to call if there's anything we can help help wit [call phone rings] [ring] kim here." "great." "yeah, i'll be there as soon as i drop the fbi agents at l.a.x." "everything all right?" "double murder at a hollywood bungalow." "a celebrity." "young movie star natalie ryan and her fianc?" "apparently shot to death." "it's gonna be a major pain in the ass." "you guys care to take a quick look before i drive you to the aport?" "it's on the way." "absolutely." "[police radio chatter]" "no sign of forced entry." "gideon: same weapon." "reid: the girl was shot execution style." "once in the head." "the male 3 times in the torso." "so you have 2 different m.o.s." "we have an image on the video surveillance camera." "looks like a messenger of some kind wearing a motorcycle helmet." "he's unidentifiable." "there's no sign of struggle between the girl and the unsub from the door to the couch." "he most likely forced her at gunpoint." "he told her to trust him." ""do what i say." "i won't hurt you."" "fatal mistake." "mm-hmm. he asked her to sit on the couch and then shot her in the head." "the fianc?" "wasn't expected." "his killing's messier." "it's less controlled." "it's less organized." "what do you think?" "i've had a couple other cases recently." "past few months." "same type of weapon, .22 caliber handgun." "both shot in the head." "e first was an established film producer, wally melman." "and the second was chloe harris, another young actress... but not as well known as natalie here." "any forensic evidence?" "no. and the guys have been going through this place all morning and haven't come up with anything." "so he clearly knows how to cover his tracks." "like a professional hit man?" "maybe." "gideon, there are people actually taking photographs of us from the next yard." "welcome to l.a." ".22's are small but efficient." "they bounce around inside a person like a pinball." "preferred weapon of the mafia." "you know, there's no obvious sexual component to these crimes which is usually the case with serial murders." "so are are thinking this is a serial killer?" "well, it's certainly a series of murders." "we don't know enough yet to call them serial." "would you consider hanging out in l.a. a little while, let me leaon your exptise until we do figure out what we've got?" "yeah. just cancelled our flights." "we'll have the rest of our team out here asap." "morgan: first 2 victims:" "wally melman and chloe harris." "both killed in public places." "chloe was lied while walking her dog on the beach in santa monica which she did every morning." "and wally was killed outside of a massage parlor." "in culver city." "which he went to every tuesday." "well, if he knows their schedules, maybe that means he follows his victims for a while." "and not a single witness." "so we know this unsub can blend in." "regardless of the location, he has the ability to hide in plain sht." "he's meticulous." "the media's calling natalie ryan's murder the biggest celebrity homicide since sharon tate." "what does that mean for us?" "that everybody will be watching this guy is an assassin?" "when you look at the victimolgy, there's no obvious links." "all the kills are clean except in the instance of the last victim, jeremy collins." "there's absolutely no evidence le at the crime scene." "there's no dna, no manifestation of psycho-sexual release, and there's no detectable signature of any kind." "remember, our profiles are formulated not just by what's present at the scene, but also what's absent." "from all the evidence that we've gathered, we believe that yore looking for a type-4 assassin." "type 4?" "type one's are political assassins, like john wilkes booth." "type 2's are egocentrics looking for simple recognition type 3's are psychopaths, cold-blooded killers who leave far messier scenes." "and type 4, our unsub, suffers from a major mental disorder and is frequently delusional." "the closer we come to figuring out that delusion, the closer we'll get to finding the unsub." "what's he going to be doing until we do?" "finding other victims." "excuse me." "[knocks on door] hi. is there a detective kim here?" "right here." "you're heading the investigation into t natalie ryan murder?" "yes." "um... my--i have a client." "she's, uh... is there another place we can be private?" "we're all working this murder." "well, um... she received a note, my client did, and she freaked out." "i told her not to worry about it." "where is the note?" "where's your client?" "she's waiting in the other room." "reid, let's go." "lila." "hi." "hotch: how well did you know natalie ryan?" "we spoke when we saw each other in public, but we were never friends." "how about wally melman?" "what?" "wally melman." "he's a producer who was killed a couple months ago." "the paper said that was a robbery the paper was wrong." "did you know him?" "we met a few times about a project, but... i didn't get the part." "they went a different way." "which way?" "he cast, um, another act." "oh, my god." "what is it?" "he cast natalie ryan." ""you owe me."" "i guess that's one way to ice out the competition." "don't look at me." "i broughher to the police station." "have you ever had a sense that someone is watching you, following you?" "from the moment i get to work, i have hair and make-up and wardrobe people, producers, writers, my agent, my manager, publicist." "not to mention the photographers." "it's part of the life." "anything seem out of the ordinary?" "happens on a regular basis or semi-regular basis?" "what do you mean?" "repetitive phone calls with hang ups." "gifts left anonymously." "i receive flowers on the seventh of each month." "they just appear in my trailer." "never a note." "just a plain glass bowl." "red anemones." "my favorite." "and u don't want to know who they're from?" "celebrities get anonymous gifts all the time." "she has fans, you know." "you remember meeting anyone on the seventh day of the month?" "or in july, the seventh month of the year?" "no." "wally melman was a producer who considered hiring you, but didn't." "and natae was a rival." "and chloe harris?" "she looks a lot like you, don't you think?" "who?" "a potential rival." "she was murdered, too." "so all these... people are being killed because of me?" "it's possible." "i'm sorry... i can't." "i--i have to go." "lila!" "lila." "lila." "what's happening, spencer?" "it's still rather speculative, but it appears there's a delusional assassin who's killing people to help further your career." "it probably started as a stalker." "an erotomanic stalker." "there's a psychopathology of the evolution of these types of stalkers." "and the fact that he's contacting you indicates that he believes you owe him something." "this model frequently concludes itself to one of 2 possibilities:" "either thetalker will kill himself, or he'll kill the object of his affection." "hotch: with this unsub, we're looking at a compound profile:" "a type-4 delusional assassin with an erotomanic fixation on the actress lila archer." "erotomanics are a form of stalker who posses the delusional belief that another person, usually of a higher social status, is in love with them." "in the unid states, at any given time, there are over 200,000 people being stalked." "our unsub is having a fantasy love affair with lila archer the way john hinkley did with jodie foster." "ms. archer was not aware of her stalker until yesterday." "he wasn't trying to impress her." "he was more like an unwanted, very violent guardian angel." "when the stalk feels as if they've been in some way betrayed by their love object, this often leads to violence against the target." "reid: in the case of john robert bardo when actress rebecca schaeffer took a role where she had to have a sexual relationship with another character, it was enough to force him to snap and seek her out to kill her." "though stalkers can be either male or female, it's most likely we're looking for a single male, a loner, in his late twenties to early forties, very intelligent, with ample time to follow his victim" "and study her habits." "as of yet, the unsub has not directed any violence towards ms. archer." "but he has shifted his focus from those around her to her directly." "is doesn't preclude the fact that anyone who has the vaguest association with ms. archer is a potential target." "[bell rings] i love you." "you're my favorite client." "no." "i haven't asked you anything yet." "i'm not stopping my life." "you can stay with me." "no." "a hotel?" "just until the police say you're safe?" "michael-- you know i worry." "good-bye, michael." "ok. call me..." "lots." "kisses." "hello. good-bye." "i'm leaving." "hey, mags." "he's an odd guy." "yeah, but who isn't a little odd out here?" "well, that's for sure." "look, we're ready to rehearse scene 43 and... this was taped to your trailer door." "thanks, hon." "i'm intrigued by this particular version of the verb "to be."" "past participle." "steady state of being." "preceding adverb." ""always." in english?" "that is english, actually." "we're discussing the verb tenses-- reid." "our stalker sounds like someone she knows." "reid: based on the tense of the verb." "maybe it's time to get her off the street." "there's been no physical threat to her." "she might be safe just staying put as opposed to anywhere else." "i'm standing right here, guys." "if we did remove you, we'd have to take you to an undisclosed location i'm sure your stalker knows where you live." "i'm not having the whole show close down." "i only need one more scene to shoot." "look, last night i decided i wasn't gonna be afraid of this lunatic." "am i safe here?" "the set's cleared of everyone except essential personnel, and we have increased security at the gate." "lila, they're ready for you." "i'm staying at work, gentlemen." "[trailer door closes] morgan:" "well, she's one tough girl." "yeah." "i didn't want to say anything in front of her, but his anger about her going to the police suggests he might alter his agenda." "morgan:" "typical for a stalker." "she didn't go alone to the police." "her manager took her." "you and reid stay here." "keep an eye on her." "i'll hang back, too." "where you going?" "to talk to her manager." "ahem." "sorry if i was, um, insensitive last night." "you were only doing your job, right?" "yeah." "then there's no need to apologize." "eww." "you don't mind sharing with me, do ya?" "no." "[mocking lila] you don't mind sharing with me, do ya?" "shut up." "go get 'em, lover." "elle: hello?" "hotch: mr. ryer?" "michael... until now, every victim's a person who can be perceived as a threat to ms. archer." "yeah, but michael wa a friend." "but he was a threat to the stalker" "get illa to a safe house." "reid:" "she's still working." "did you meet up with her manager?" "gideon: reid, take her home, have her pack some things." "what's going on?" "we were too late." "she's gonna beevastated." "i know. jj's keeping it out of the press for now." "let's not tell her yet." "not tell her?" "no, not yet." "we need her to cooperate with us... in order to protect her." "i'll talk to you later." "you gonna take her of the street?" "i'm gonna completely deny him access." "won't even give him a glimpse of her." "hopefully, that'll bring him out of the woodwork." "[police radio chatter]" "yeah. no, we're pulling up right now." "uh-huh. there's a marked car out front." "yeah." "got it. i'll check it out." "is everything ok?" "i just need to run through some security measures with you." "gideon, you better take a look at these." "morgan, it's elle." "yeah." "elle: we found a manila envelope on michael ryer's desk." "it's full of photos." "ok." "well, they're candid shots os lila archer nude." "i'm guessing he was probably paying someone off to keep them out of the press." "do we know who?" "um, the name on the envelope was joe martinez." "the paparazzo?" "you know him?" "yeah, i dealt with him a lot." "elle, we're on it." "wow." "i like your house." "i rent it." "nice. you should also probably change all your phone numbers." "i'm unlisted." "anytime you call an 800 number or an 888 number, your phone number's put into a databank that's been sold to telemarketers." "if someone gets your cell phone number, they can go on line and research all your records." "hanging out with you can be really depressing." "uh, you should also probably carry a piece of paper and a pen with you wherever you go in case you see any suspicious license plates that often reappear." "photographic collage." "i like it because it's like life, you know?" "you know, like obscure, difficult." "you should also get a dog." "uh, like a guard dog of some sort." "allergic." "um, earl grey or chamomile?" "what?" "what?" "would you like some tea?" "yes, yes, sure." "fbi!" "martinez." "it's clear." "see?" "this guy's a real scumbag." "you got that right." "what's this?" "it's a call sheet." "it's a shooting schedule for a film or television show." "that's lila's show." "yeah." "he's not supposed to have that, is he?" "no." "hey." "look." "that's reid." "that's an old picture." "he a target now?" "not if i can help it. let's go." "reid, it's morgan." "listen to me." "you got to watch your back over there." "we just found a bunch of close-up photos of you at this guy joseph martinez's studio." "looks like he could be the unsub." "he had a ton of photos of lila and natalie, plus a call sheet for lila's show." "we're on our way right now, but i need you to be real careful until we get there, all right?" "all right." "[groans] you all right?" "yeah." "just my shoulder." "all right, i'll call in for help." "officer down." "we need an ambulance" "how we doing?" "he'll make it." "caught one in the shoulder and shattered his collarbone." "you okay?" "i'm fine." "gideon: no sign of this martinez, e photographer?" "no." "whoever took a shot at you followed you from the set." "martinez has a bunch of paperwork in his studio that says where lila's gonna be every d." "[phone rings] gideon." "that's what i thought. thanks." "garcia's gone through every article written about lila." "she never says anything about red anemones being her favorite flower." "well, we're looking for someone pretty close to her." "this list gets shorter every day." "he's circling in." "we need to get to her house." "make sure the press doesn't get out of hand with this mess." "feel anything yet?" "there's something definitely appealing about this one." "it's a start." "what are you doing?" "going for a swim." "what?" "no. lila [camera shutter clicks]" "ahh." "ooh!" "lila, you cannot do this." "five minutes." "go get a suit in the house." "what?" "no!" "i don't wanna grab a suit." "are you kidding me?" "no." "join me." "no, i'm not gonna join you." "why not?" "you're being pursued by a psychotic killer who shoots people in the head." "i'm not gonna stop living my life." "i'm just not." "lila, i'm begging of you." "will you please get out of the pool?" "really, spence, you should live a little." "live a little?" "i've known you 48 hours, i feel like i've already aged 10 years." "[scoffs] i can't be that bad." "yes. no, you are that bad." "fine, can you help me out at least?" "[laughing] yes, very funny." "laugh it up, lila." "hilarious." "my gun's wet." "great." "[camera sutter clicking] [laughing]" "my clothes." "you should have worn the suit." "[camera sutter clicking] this is completely inappropriate." "this?" "what's this?" "this isn't" "[camera sutter clicking]" "no, there's this thing called transference." "you don't like me?" "what?" "you don't like me." "i do like you. i do." "i like you too." "just i'm a federal agent, you know, and i'm supposed to protect you." "then keep me close." "i'm just, uh, i'm a little bit worried." "you know, we're-- we're in a pool, and it's a--we're pretty much exposed." "[camera sutter clicking] we have cops." "we have cops posted out front." "there are coyotes out back." "and right here it's just you and me." "i, uh... stop. i'm sorry." "i have to, um, i have to tell you something." "what?" "i didn't want to tell you this before 'cause i was a little bit worried." "i didn't-- you don't-- i don't know how to say it, but i can't not tell you." "what is it?" "your manager, michael... what?" "gideon went to check on him, but he got there too late." "lila." "[camera sutter clicking] how could you" "how could you not tell me?" "i was afraid you'd be upset." "you... you knew what you knew, and-- how could you not-- i'm so sorry." "no, don't, don't touch me." "don't toucme." "[camera sutter clicking] give me a reason." "well, we found him in the bushes." "i told her she should cut those." "i, uh, fell in." "yeah, and i'm sure there's plenty of photos of it." "stop shoving me, man." "you're a suspect in the murder of wally melman, natalie ryan, and jeremy collins." "murder?" "what?" "whoa, whoa-- shut up with the whoa." "we know for a fact that you have hundreds of photographs of lila archer and natalie ryan on the walls of your studio." "you have miss archer's daily schedule on your desk." "you've been stalking her." "look, guys, look." "hold up." "every parazzo's a celebrity stalker." "if you don't stalk 'em, you don't get the shot." "if you don't make the shot, you don't sell no pictures." "well, this one is gonna cost you." "wha--no." "that's just wrong." "tell it to your lawyer." "i'm still being locked up?" "that's right." "very least, you're trespassing." "let's go." "you're welcome." "are you still-- are you okay?" "michael was like family." "i'm so sorry." "it's just so hard to trust people out here." "you don't--you don't know who to believe." "everybody wants something from you." "that's why i thought you were different." "i know i should have told you." "i told him not to." "he was only following my orders." "you know... the last time i was able to fully trust someone was at julliard." "before i was a somebody." "julliard." "and didn't you say you used to live on houston street?" "what?" "you were a waitress." "you lived on houston." "yeah." "i need to take this thing apart." "i'll-i'll put it back." "i--i think i see images of you." "guys." "lila, it looks like someone's been stalking you for years." "yeah, this tells your whole life story." "movie premieres, theater playbills." "everything since college." "that's our country house." "right here." "who gave you this collage?" "he did." "this guy?" "who is he?" "that's the guy i went to high school with." "parker dunley." "gaia." "parker dunley." "e-mail me a sheet on him, all right?" "oh, look who's here." "where's parker?" "i don't even get a hello?" "where is he?" "guess that follows since i never got a good-bye." "parker!" "friend of yours?" "no." "how could i help you?" "hey, spencer's friend, right?" "yes." "did you give lila archer a collage?" "what?" "there's a photographic collage above lila archer's sofa." "she says you gave it to her." "so?" "so it has your face hidden all over it." "i didn't make the damn thing." "so you... just happened to give her a work of art that contains most of her life in it?" "i--no." "no." "if there's something yoaren't saying, now would be a real good time to say it." "all right." "all right, i lied." "what aut?" "i just wanted her to like me." "i met her here." "she was a fan of art." "i figured if there was hip, young stars coming into the gallery, it would help business." "what was the lie?" "someone gave me the piece to give to her, but i told her it was from me." "i said i found it and i thought she'd love it." "and who gave it to you?" "her name's maggie lowe." "she, uh, she works on lila's show." "she said she went to college with li." "she's like a p.a. or a.d. or some acronym." "she wanted to make sure that lila got the collage, but she didn't want lila to know that she gave it to her." "she said to say that it was from a secret admirer." "but i told her it was from me, so... i have a name." "maggie lowe." "she's the unsub." "she's on lila's show." "we're on our way." "lila, do you know someone named maggie lowe?" "mags?" "yeah, of course i know her." "i've known her for years." "i got her a job on my show." "[phone ringing] what?" "that's her calling right now." "is she calling from a cell phone?" "yeah lila, we think maggie's the unsub." "the what?" "the stalker." "no way." "answer the phone." "that's-- that's crazy." "answer the phone." "act completely natural." "the longer you keep her on the line, the more likely we'll be able to trace the call." "trust me." "[ring] hello?" "hello, maggie?" "maggie, is it you?" "what's wrong?" "garcia: oracle of quantico." "speak if you deign to hear truth." "garcia, i need an emergency trace on a cell phone call to lila archer's cell phone." "sure, go ahead." "3-2-3 5-5-5 0-1-2-9." "okay, keep her talking." "keep her talking." "maggie?" "maggie: oh, i am so tired." "tired?" "mmm." "there's been so much upset." "in the world really." "i think it's just so tragic." "all of it." "i miss you." "i just do." "mags." "i saw you today." "it's never gonna be the same as it was." "it's just never gonna be the same." "i don't know what you're talking about." "i'm talking about that time in college when the heat in your apartment was off and the two of us stayed in my dorm room." "don't you remember?" "you were playing ophelia on the main stage." "i remember." "that was the happiest time of my life." "maggie... sweetheart, that was only for a weekend." "the happiest time, and you don't know anything about me at all." "and i did everything for you." "reid, is lila's address 6028 pike street?" "yeah." "she's calling from inside the house." "i'll get you some backup." "lila." "[thud] how is she in the house?" "she has keys." "why'd you have to bring these people here?" "put down the gun." "maggie." "don't call me maggie." "you don't know me." "come on, lila." "let's go." "we really got to go, baby." "come on." "maggie, don't hurt her." "you don't need to hurt her." "you don't know anything." "i would never do anything to hurt you." "no. i created you." "no, you didn't." "yes, i did." "i know i did." "god." "you stupid, ungrateful... god!" "i can't believe that i loved you." "maggie, she, uh, she loves me now." "what?" "she told me so." "we were in the pool." "she kissed me." "now she loves me, okay?" "no." "tell her we kissed in the pool." "no!" "yes, we kissed." "god!" "[gunshot]" "don't move." "please." "please kill me." "come on." "kill me please." "i'd be so much happier. please." "please!" "come on." "we're gonna get you help." "shh..." "[sobbing]" "back up." "let's go." "darling, e-scape wants to do a segment on you this evening on the stalking event." "i told them yes." "why'd you do that?" "it's okay." "it's gonna be fine." "the hair and makeup people are coming in 10 minutes." "there's also talk about 60 minutes." "this kind of publicity makes me really uncomfortable." "don't be ridiculous." "i'm talking about performing a public service, all ght?" "stalking is a major problem in this country." "it's good, it's good." "[phone ringing] all right, i got to take this." "looks like, uh, you're gonna be pretty busy." "i wish things had been... more normal when we met." "lila, believe me when i say this." "i've never known a normal day in my entire life." "hey, reid." "come on." "we got to move." "gotcha." "well, um... if i'm ever in washington and i were to give you a call, that would be okay?" "yeah, i'd like that a lot." "i don't want to intrude." "no, not at all." "reid, sorry, we're waiting." "lila, we got to go." "and i don't know when you're gonna be back here, you know, the next time you're in los angeles, if you'll be fit for time." "lila, we got to go." "gideon: bernard shaw once said," ""an american has no sense of privacy." ""he does not know what it means." "there is no such thing in the country."" "[laughs] night, hollywood." "come on, man." "you know, reid, you're lucky they didn't get a shot of you next to the pool trying to draw your gun." "you looked like a wet rat." "hey." "i was playing." "did you know that, um, she, uh, i kissed her in the pool?" "it's so weird." "it doesn't even feel like it really happened, you know?" "sure, sure." "she's a beautiful young actress." "yeah, you know, i kept explaining to her about transference and the fact that, you know, she probably only liked me because i was there to protect her." "reid." "you were her hero." "i wanted to think that." "no, no, no. don't go selling yourself srt, kid." "you took down an armed subject without firing a shot." "you saved her life." "that's pretty much a hero in my book." "let me ask you this." "have you ever crossed professional boundaries with a victim of a case you were working on?" "no." "it's pretty bad, right?" "some things you can't control even with that big ol' brain of yours." "no harm, no foul." "let it go." "hey, morgan?" "has there ever been a girl that you wanted to be with for more than, you know, st one night?" "excuse me?" "i've never seen you with the same girl twice." "what, are you calling me a dog?" "no, not at all." "i'm just trying to figure out if this feeling i have is ever gonna go away." "reid, what we do for a living, it takes up all our time." "and a relationship's hard enough even in the same city." "so, i mean, you're saying it's probably wise that i don't call her, right?" "i can't answer that one for you." "hey, i'll tell you what i do know." "you don't need to come up with that answer tonight." "i'm out." "have a good weekend." "yeah, you too, romeo."