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S1 E15

Criminal Minds · Season 1, Episode 15

“Unfinished Business” quotes from Criminal Minds

74,544 quotes · page 2186 of 4970

“Unfinished Business” · Season 1, Episode 15

In this episode: Dean Winchester (940), Damon Salvatore (715), Sam Winchester (665), Olivia Benson (637), Stephen Fry (608), Narrator (554), Clark Kent (523), Nate (486)

JJosie

[to Karen] You could do so much better, love.

Thank you, Josie, but this is my employee for your information, and we are not on a date. [Looks at Karen] Are we on a date?

Definitely not.

Okay, good because I was starting to worry you might be in love with me. What other explanation could there be? You hang around my office all day.

Well, I'm your secretary, Foggy.

You refuse to leave. You're always at your desk.

I'm a good secretary!

No. You gaze at me lovingly when you think I'm not looking. [Karen laughs] What? You might. How would I know? I'm not looking.

I found a man who needed help, so I helped him.

Oh yeah? That simple?

[glances at unconscious Russian] Do you really want to get into this in front of him?

He's out.

Maybe he's faking.

[listens] He's not.

Okay, that right there? That's what I'm talking about. Okay, I find a guy in a dumpster who turns out to be some kind of blind vigilante who can do all of this really weird shit like smell cologne through walls and sense whether someone's unconscious or faking it. Slap on top of that, he can take an unbelievable amount of punishment without one damn complaint.

The last part's the Catholicism.

JMJack Murdock

[into his wife's answering machine] Hey, it's, uh, it's me. I'm about to go do something…well, I'm about to go be me. You know better than anybody that doesn't always go so well. I don't know how this is gonna go, but if I were a betting man, Matty's gonna need you. More than ever. Look after him, okay? And I know what I'm asking here, but he's a good kid. He sure as hell didn't get that from me. So it's better this way. Just once, I want Matty to hear people cheer for his old man. Just once.

So, what? I'm supposed to take it on faith I'm on the right side of this?

You don't carry a masked man bleeding to death into your apartment on faith. You knew which side you were on the moment you found me. Why'd you help me, Claire?

I'm a nurse. Work the ER at Metro-General. A few weeks ago, cops bring in three men. Said they were robbing tourists, beating them up pretty bad. Apparently, a man in a black mask took issue with their activities and decided to step in. I counted nine broken bones between them. A few days after that, EMTs bring in a 19-year-old waitress, said some guy she knew waited for her after work in the parking lot, attacked her, tried to drag her in the alley. She said she screamed and screamed, and a man in a black mask heard her and he saved her life. So, yeah, word's getting around. And I want to believe in what you're doing.

[Matt and Foggy are arguing whether or not they should defend Healy]

You're the one that keeps saying we need real clients.

That's not a client. It's a shark in a skin suit.

[Matt delivers a closing statement at Healy's trial]

Ladies and gentlemen of the jury, forgive me if I seem distracted. I've been preoccupied of late with, uh, questions of morality. Of right and wrong, good and evil. Sometimes the delineation between the two is a sharp line. Sometimes it's a blur, and often it's like pornography: you just know when you see it. A man is dead. I don't mean to make light of that, but these questions... these questions are vital ones because they tether us to each other, to humanity. Not everyone feels this way. Not everyone sees the sharp line, only the blur. A man is dead. Um, a man is dead. And my client, John Healy, took his life. This is not in dispute. It is a matter of record, of fact, and facts have no moral judgment. They merely state what is. Not what we think of them, not what we feel. They just are. What was in my client's heart when he took Mr. Prohaszka's life, whether he is a good man or something else entirely, is irrelevant. These questions of good and evil, as important as they are, have no place in a court of law. Only the facts matter. My client claims he acted in self-defense. Mr. Prohaszka's associates have refused to make a statement regarding the incident. The only other witness, a frightened young woman, has stated that my client was pleasant and friendly, and that she only saw the struggle with Mr. Prohaszka after it had started. Those are the facts. Based on these and these alone, the prosecution has failed to prove beyond a reasonable doubt that my client was not acting solely in self-defense. And those, ladies and gentlemen of the jury, are the facts. My client, based purely on the sanctity of the law which we've all sworn an oath to uphold, must be acquitted of these charges. Now, beyond that, beyond these walls... he may well face a judgement of his own making. But here, in this courtroom, the judgement is yours and yours alone.

You've lost your strong-arm and the tape. You got nothing on juror eight now.

She's only a piece of the puzzle.

You ever try putting a puzzle together with a piece missing? It's damned aggravating.

[Healy has just given up Wilson Fisk's name to Matt]

JHJohn Healy

You think this is still about you? I gave up his name. You don't do that, not to him. He'll find me... and make an example... and then he'll find everyone I've ever cared about... and do the same to them... so that no one ever does what I just did. You should have just killed me. You coward. [turns and impales his head through a spike]

[Fisk is staring at a painting in an art gallery - it is made up of layers of textured white. Vanessa approaches him.]

There's an old children's joke. You hold up a white piece of paper and you ask, "What's this?" A rabbit in a snowstorm. You interested or just looking?

Interested.

People always ask me how can we charge so much for what amounts to gradations of white. I tell them it's not about the artist's name or the skill required, not even about the art itself. All that matters is "How does it make you feel?"

It makes me feel alone.

What? So that's it?

BUBen Urich

Stories like this are built on sources, Miss Page. Credible sources. I did some digging into your, uh... past activities.

Well, I did some digging, too. I read every big story with your byline. The VA kickbacks, toxic runoff, the Teachers Union scandal. Hell, you pretty much brought down the Italian mob back when I was in diapers! What ever happened to that reporter, Mr. Urich?

He got old. And a hell of a lot less stupid.

How are you enjoying "Rabbit in a Snowstorm"?

You remember.

Of course. It's one of my favorite pieces.

I hung it in my bedroom. It's the last thing I see every night.

That's either very romantic or very sad.

I like to tell myself it's the former.

The city's really changing.

Not fast enough.

I don't know. Be a shame to see all the character scrubbed away.

You didn't grow up here, did you?

[laughs] What gave it away?

When I was a kid, I used to dream what it would be like to, to live somewhere far away from Hell's Kitchen. Somewhere beautiful.

What made you stay?

I didn't. When I was 12 years old, my mother, she sent me to stay with relatives. Had a farm, middle of nowhere. Those were good years.

But you came back.

Yes. Time and distance, they afford a certain clarity. I realized that this city was a part of me, that it was in my blood. And I would do anything to make it a better place for people like you.

They say the past is etched in stone, but it isn't. It's smoke trapped in a closed room, swirling, changing. Buffeted by the passing of years and wishful thinking. But even though our perception of it changes, one thing remains constant. The past can never be completely erased. It lingers. Like the scent of burning wood.

You have X-ray fingers now?

I can hear your bones shift when you breathe. No grinding means nothing's broken.

What does a hairline fracture sound like?

[pause] An old ship?

[they both smile]

How do you…I mean, I know that you're blind, but you see so much. How?

I guess you have to think of it as more than just five senses. I can't see, not like everyone else, but I can feel. Things like balance and direction. Micro-changes in air density, vibrations, blankets of temperature variations. Mix all that with what I hear, subtle smells. All of the fragments form a sort of impressionistic painting.

Okay, but what does that look like? Like, what do you actually see?

[pause] A world on fire.

If all I saw was fire, I'd probably want to hit people too.

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