Armed with the new clue that RJ has a tattoo on his left shoulder, Jane (Baker) tells his plan to Lisbon (Tunney) and the team: he wants to get his five remaining suspects to come to a big trap to identify who is the serial killer.
Ken Woodruff, writer of ‘Blinking Red Light’, presented us with another dramatically intense and emotionally charged episode. In spite of some easy options, the plot and suspenseful writing keep viewers on their toes and make for a good introduction for the long-awaited building climax.
Detailed AKA Humungous Analysis (spoilers galore)
VIS #1: the opening/flash forward
In the best tradition of films noirs and thrillers, the episode starts dramatically in medias res with Jane setting everything for another of his big plans to catch RJ. First, Patrick is coming in the night to his Malibu house, presented as the “Jane family residence”. Right away, there is then a reminder of the past, since technically the house hasn’t been occupied by his family for years now. Upon entering, Jane is seen taking out a shotgun in a room filled with furniture covered in linen, which hints that he isn’t in the main house (it was empty in the pilot). The tension kicks up a notch when Lisbon calls him on his phone and asks “don’t do this, not without me.” She adds that he’s in danger, that she’s begging him: « you do this and you’re throwing your life away ».
But, whereas Lisbon is worried about his safety and the consequences of what he has in mind, Jane is dismissive and tells her goodbye before hanging up on her. The gun he pulls out confirms both that what he plans is very dangerous, since he feels the need to have a second gun, and that he’s decided to commit a murder. Besides, Jane handles the weapon like a pro, like in ‘The Desert Rose’. He prepares the setting by hiding his firearms and waits, like a hunter laying in wait for his prey. When a shadow appears behind the glass and starts opening the door, the situation seems suddenly like the opposite of what he lived in the pilot: this time, he’s the one waiting behind a closed door, instead of his murdered family and it’s the other –presumably RJ or one of the other suspects – who is about to get a nasty surprise. This role reversal enlightens that here begins really the conclusion of this story arc. Things are coming full circle…
The suspects; five ducks in a row:
Two days earlier, we can see how he explained the situation with the help of Lisbon to the team in his CBI attic. In this council of war, he reveals the existence of the three dots tattoo and that RJ doesn’t know that he knows about it… He needs their help to gather all the suspects in one place to confront them. When the agents express their doubts about the suspects coming to him, he adds that he doesn’t plan of giving the men a choice (putting emphasis on the fact that he has no claim in premeditating violence…).
Truth be told, this master plan is very similar to Kirkland’s way of handling the list: to force them to come with him, getting them isolated and confronting them. To some point, this path Jane is willing to follow after Bob has been hinted in the previous episode: in ‘The Red Tattoo’, Jane was biting into the apple that in his reconstitution symbolized the weapon used in the murder. It looked like an inoffensive act, but might have had a deeper meaning. First, it could indicate that Jane was about to bit into the proverbial apple of knowledge: he’s about to discover who is RJ and is tempted to use violence to do so (cf. Genesis 2, 15, God said to Adam: “You may surely eat of every tree of the garden, but of the tree of the knowledge of good and evil you shall not eat, for in the day that you eat of it you shall surely die.”)… And that apple had been alluded to by Jane when Kirkland was threatening him: as Rose UK pointed out in the comments for the previous review, the consultant commented that “the apple doesn’t fall far from the tree, huh?”, giving the expression a new meaning in retrospective…
The difference between the two men is that Jane plans to get them all in one go and that he prefers not to use violence to lure them in…. which can be explained by the fact that, unlike Bob, he has allies who can work with him. Still, it shows that he’s in a comparable state of mind: he may not want to torture them or to kill them all if he can help it, but he’s driven by the same cold determination. And it’s obvious for who knows him, even without watching the opening, that he cannot involve the team in an intended murder. He’s planning to act à la ‘Strawberry and Cream’: to use them to clear the ground before leaving them behind to get to the suspect alone.
The problem is brought up by Lisbon: she states that she’s willing to get along with his scheme on one condition, she wants to be here. Jane agrees easily, but Lisbon is not fooled: she remarks that he doesn’t mean it and that this is non negotiable. Jane agrees on this point; unfortunately, it’s patent that the meaning he puts on this non negotiable condition is very different: he resolutely doesn’t plan to bring her along.
One by one, the five suspects are talked into joining Jane at an undisclosed meeting place.
1) Smith: he’s approached by Jane at a crime scene, which puts emphasis on his status as an investigator. The corpse is rather gory: there is blood and the man was hanged which may or not hint at a form of punishment –like what Jane is planning… The concrete urban setting reminds of the crime scene where they met at the beginning of ‘Red Listed’: in that episode, he accused Jane of being the murderer of one of the man on the fake list (kind of foreshadowing) and killed Kirkland himself as a member of that secret criminal organization Bob talked about…
And, almost exactly like Kirkland, Jane meets him alone and asks for his help, using almost the same words: « I’m not sure who I can trust so I’m trusting you». He truthfully dangles the bait of significant information on RJ. Reede is eager to be privy to that juicy tidbit and both play on the false truce they’d feigned coming to when Kirkland was arrested (no hard feelings and shaking hands). Jane finally gets him to agree to meet him two days later to give him some time to find a safe place to talk.
2) McAllistair: at night, it’s the good ol’ sheriff that Jane is calling. The man is hunting and the moment gives him a very creepy and dangerous vibe as he is holding a shotgun while still wearing his uniform and sitting in his car. In addition of foreshadowing Jane’s own lying in wait moment, that reminds of his remark about hunting anything with a face and it means that he doesn’t really makes a difference between his job and his hobby… Jane interrupts him when he’s spotted a deer (like the one Jane and Lisbon came across in ‘Red Moon’, in which RJ tried to set a trap for the consultant).
Like he did with Smith, “Patrick” plays the trust card: he pretends that he’s calling for help (« when we were in Napa, you said you were at my disposal »). He’s offering Tom the opportunity of getting closer to him and to get involved in the chase, instead of luring him with information like he did with Smith: he adapts the bait to each of them. And when the sheriff asks if it involves the case RJ, Jane hangs up, leaving the man even more intrigued.
3) Haffner: Lisbon meets him at a dinner; again, she pretends to need his help. The setting is cleverly casual, if not slightly secretive or friendly… yet Haffner promptly guesses that she has a hidden agenda. The anger Jane accused him of feeling in the previous episode flares at her: “you question me or you arrest me”. This underlines implicitly how tricky what they’re doing is: they don’t have legal reasons to gather them and Lisbon actually cannot do either of those things…
Lisbon then threatens him with the notion that Jane will come after him either way: what is the problem showing up then? Poor Lisbon, for her this is an empty threat, but Jane doesn’t share this point of view.
Moreover, it’s interesting that Lisbon tries to play both on the personal aspect (meeting him alone for a coffee, which might make him think it’s an almost date) and on the professional one (telling him that she will own him if he tells her where Stiles is hiding out). And, another telling point is that she cannot lie: Haffner understands what she’s after almost right away.
4) Bertram: Next on the list is their boss and Lisbon cannot hide her nervousness in front of Jane as they make their way towards his office. Indeed, in addition to the fact that she’s afraid of him –as her nightmare suggested-, there’s the problem that his position will cause major difficulties: there would be consequences if he happens to be RJ and even if he isn’t, this little stunt won’t be good for her career (cf. the way he was trying to get rid of them in ‘Little Red Book’). Hence her apprehension and their silence afterwards.
Again, they use the (true) pretext of a break in the RJ case, which has a double advantage: implicitly their next move will need his approval – he asked them to warn him beforehand unlike they did in the mess that took place in the desert with the FBI. And Gale has insistently stated in the premiere and repeats again that he wants to be here. Still, despite his enthusiasm at those « fantastic news », there is something speculative in his attitude. This is developed when Jane and Lisbon are gone, as Bertram closes the door (made of something that looks like red wood). He starts whistling an air that reminds a bit of the one Haffner was whistling after exiting Teresa’s hospital room, then calls someone to tell them about the talk he just had. In ‘Strawberry and Cream’, he did call someone too, after being told where Hightower was presumably hiding: he seemed to have been changing the date of a meeting, but who knows what else he said afterwards? More and more, the man seems to be part of something bigger like the ‘Tyger, Tyger” conspiracy. It was hinted by that secret reunion he had with Smith and McAllister and, like then, he seems to be taking orders or at the very least advice from someone else, may it be Smith again or someone else.
5) Stiles: the cult leader gets special treatment, probably because he hasn’t showed up during Jane’s investigation on the seven primary suspects and is the only one who didn’t get focused on during an episode. Therefore, his circumstances are explained in small parts in between the meetings with the others suspects
– First, as he was said to have vanished in ‘The Red Tattoo’, Cooper reveals that his master is actually dying, or, like the man put it, he’s elevating himself to another plan. Since Bret is associated with spirituality, the expression makes sense…
– … except that the reality behind those words is much more troubling. Usually, Bret is presented as a powerful cult leader, yet his power is expressed by his influence on his followers and the pressure he puts on them. Even though he’s a spiritual counsellor, his image reminds a bit of a calculating businessman eager to prey on more vulnerable souls. Therefore this episode is the first time we really get to see another side of his power: he’s not wearing his usual black suit and white dress shirt, but a floating white robe with a round medallion. This attire gives him a high priest look, while the robe alone reminds a bit of a Christian alb… When he enters a room behind closed doors, two young women walk next to him, both wearing white robes too and their hair in a bun; they remind a little of the idea people would have of Vestal Virgins of some kind… the candlelight adds to the mystical atmosphere of a secret sacred ceremony. In front of his many followers, Bret then takes a golden stylized chalice and pours what looks like blood on the naked skin of one of the two women, who has taken off her cloth. The whole act looks like a disturbing twisted version of a part of the Christian liturgy for Eucharist, when the priest drinks wine as a substitute for Christ’s blood, following the words Jesus said during the Last Supper while holding wine: “this is my blood”. Bret presents himself as a Savior too, before his death and his promised resurrection. Yet, the blood reminds of a satanic ceremony, at least like they are depicted in movies (naked women and blood); that aspect of Visualize was hinted at in ‘The Red Barn’, when the farmers were accused of using animals in satanic-like rituals… And this interpretation is reinforced when Stiles uses the blood to put a mark on the forehead and cheeks, in a twisted christening reminding again of the mark of the Beast in the Bible and the smiley drawn by RJ on Lisbon’s face. It may give a whole new dimension to the ending of ‘The Desert Rose’, as Brett Partridge might have been killed only to provide blood. Either way, blood seems to have a spiritual meaning for Visualize members, maybe linked to the notion of regeneration, as hinted by Stiles’ words « witness my ascension to a word beyond » and « I will return ». It’s become obvious that Visualize is not only an organization centred on self-development and spirituality, but a full on sect, with its beliefs and dogmas. It’s even more troubling since some of RJ’s followers expressed their attachment to the serial killer as a form of religion, like Gupta for instance who defined himself as a deeply religious person.
– Later, Lisbon decides to send Grace to the consulate where he’s hiding. The younger agent is afraid as is her husband: she tries to reassure him telling him « I’ll be fine, it’s my job »… which may be foreshadowing of something terrible happening to them. She meets Stiles, who obviously likes her since ‘His Thoughts Were Red Thoughts’ and has been keeping tabs on her since he knows she’s married. Yet, in spite of his nice greeting, he refuses to follow her even as she tries to convince him that she’d be acting behind the FBI back. He puts emphasis on the fact that he’s in a consulate, which protects him from any law enforcement agency.
– As a consequence; Jane decides to meet him behind the graceful appearance, soon starts threatening the cult leader. Bret’s response is brief: “a dying man doesn’t fear death” explaining that he has close to two weeks, a month left. He amends that “it’s nothing personal, it’s just that my time now is very precious”, which indirectly the urgency of the situation enlightens for Jane too). He adds: “it’s more to this than you know, more keeping me there”, as he is trapped because of the FBI; yet it might also hint at the idea that there is more to RJ than Jane knows. As a result of their talk, Jane helps him escape, like he did with Hightower (making the FBI think the other is in the car when it’s only him).
Also, taking Bret’s place in the limo reminds of the conclusion of the confrontation in ‘The Crimson Hat’- which puts discreetly emphasis on Jane’s plan to execute the serial killer, since both times he bought a gun to the meeting as indicated at the beginning of the episode.
VIS #2: Jane and Lisbon in the attic
After talking to Bertram, Jane and Lisbon go to the attic, where he decides to show her his shotgun and he says he would be “persuasive” if he is allowed to talk to Stiles, both things reinforcing the idea of violence.
Lisbon tells him then that he doesn’t want her here because he thinks she will stop him. She explains that she won’t because “some men, men like RJ”, don’t deserve a trial in front of a jury, but deserve what is coming to them and should face their comeuppance. Jane is skeptical: “let me get it straight. After close to twenty years working in law enforcement, you’re changing your mind?
– About RJ, yes.
– I’m surprised, Lisbon…
– Well, you don’t believe me?”
Jane answers: “I know you’d never lie about something like this, right?” Lisbon replies “right”, but there’s something of a hesitation in her voice. Jane concludes then “tomorrow night, then?
He knows she is lying which may explain why he act like he does afterwards… It’s probable Jane has been having his doubts about her reaction to the final act even after they’ve become closer: after all, he hesitated slightly before telling her about Kira’s clue.
VIS #3: sunset watching…
When everything is set up, Jane contacts the five suspects by texting them his Malibu address. Again, the phones have an important role, like when Lisbon was attacked by RJ (see the review for ‘The Desert Rose’). Besides, as a wink to last season, there are some white orchids and red roses in the truck Stiles is hiding into… is that a hint that there are two possible outcomes for Jane –to get out of it alive and victorious hence the hopeful orchids, or to die in a bloodbath? Either way, the huge bouquet has a solemn or even kinda mortuary vibe to it…
While Jane’s driving with Lisbon to his Malibu house, he abruptly stops by the roadside bathed in the sweet golden light coming from the sunset. His only explanation is “I want to see the sunset”, before getting off the car and walking towards the ridge. It’s interesting that he walks by her side of the car without opening her door: he indirectly makes her follow his lead instead of inviting her to come with him, just like he is doing with his plan as a matter of fact. He’s setting the rules and she isn’t aware of it.
Jane has obviously decided to have a heart to heart with his partner, in case he doesn‘t make it out alive, in the same way Van Pelt and Rigsby exchanged love words before she went to Stiles. He states that there’s something he wanted to tell her for a long time, like he did in ‘Strawberry and Cream’ in front of Gupta’s door. On both occasions, he wanted to express his attachment to her before getting himself in danger, but also that time, he also used his words as a distraction to trick Gupta… Patrick then says that he wants to thank her for everything she has done, adding “you have no idea what you’ve meant to me… What you mean to me.” And he hugs her tightly… tender words and a poignant moment: those are the ingredients he used in ‘The Crimson Hat’ to express what he felt… but the difference is that now Lisbon hugs him back. She’s moved, happy and embarrassed: it’s obviously a meaningful moment and the beautiful sunset and romantic setting only add to the emotional atmosphere…. And then, things go down and Jane officially wins the medal of the lamest ending for a confession ever: he pretends to have a surprise for her in the car and lets her stranded in the middle of nowhere without her phone… Poor Teresa’s incredulous eyes are heartbreaking… Ouch!
This scene is laced with references to previous episodes. In a way, it reminds of the night he spent with Lorelei on the beach when the sun was setting in ‘Red Sails in the Sunset’: the confrontation with RJ is the conclusion of his escapade with RJ’s girl, as she gave him then the clue of having shaken hands with the murderer. Also, it implicitly draws a comparison between Lisbon and Lorelei, as his confession to Lisbon is certainly more sincere (he confessed to loving her before, in ‘The Crimson Hat’, so it’s not a spur of the moment), nevertheless he plans to use her too. Besides, he’d been stranding her too in ‘Cackle-Bladder Blood’ (S3E2), when she was distracted with Daisy the elephant… and she paid him back in ‘Bloodhounds’ (S3E12): that’s part of their history, but they were supposed to have gotten past those tricks when he decided to trust her as his partner… Which brings the question: is he only tricking her in order not to be stopped from killing RJ? Or does he also want to protect her from the danger? He was frantic when the serial killer smeared her face with blood and he lied to Kirkland by telling him he never told anyone about the list… He’s probably as worried for her life as she is for his. The fact that he wants to kill RJ and make peace with his past doesn’t mean he doesn’t care about her: in the past seasons, his personal quest as been in par with protecting her, considering that when they were stranded in the middle of nowhere, he told her that he was always going to save her, may she want it or not. Here, she obviously doesn’t, but that doesn’t deter him… All in all, there were therefore an almost confession, a goodbye, an attempt at protecting her and a trick all wrapped into one golden moment…
VIS #4: in the guest house
His trip ends with the scene at the very beginning of the episode: Jane is driving to his house, his face hardened and determined. We follow his steps as more details are added to the first version of the scene: he goes to the bedroom where his family died, armed with his shotgun in a very symbolical gesture. He looks at the faded smiley in the cold moonlight (contrasting with the light of the sunset he left Lisbon in) and the moment has a poignant solemnity, almost like a silent prayer. Then, he climbs down the stairs, just like he climbed them up in the pilot: every step that takes him to concluding this part of his life is loaded with reminders of the past. He goes to what looks like a guest house in the garden and, upon entering, viewers realize that’s the place he was seen in the beginning; his two firearms were of the same kind he used previously in his quest to get to the serial killer. He used a shotgun to threaten Hightower when he thought she was the mole in ‘Red Queen’; he shot Carter with a handgun in ‘Strawberry and Cream’, after establishing a first list of potential suspects of RJ’s mole: everything is coming together. Still, there’s a big difference with his previous schemes to catch the elusive killer: before, his ideas were much more elaborated. Here, he builds everything based on one clue alone; no interrogation, no reading of human behaviour, only one visual proof. Like Lisbon pointed out in the premiere, he doesn’t know he is doing and bounces in the first opportunity that seems concrete enough… and that’s pretty risky.
After taking the gun from the safe (another locked door opening), Jane tries to calm himself: his stress is visible as he briefly alleviates the tension in his neck. Someone is coming at the door and the whistling makes viewer think it’s Bertram because the air sounds like the one heard in the office. But it’s Stiles. This detail is pretty unsettling, because it means that Bret, Bertram, Haffner and McAllister have in common this particularity discovered by Sophie Miller. It hints that Jane could be making a terrible mistake in placing all his hopes in another clue that may be as ambiguous as this one. Plus the whole thing may very well end up a trap to get to Jane, if the suspects share a common objective, since Jane is all alone with them…
Soon, the five suspects are sitting in front of him and he exposes the situation. When they start protesting and trying to grab their weapons, he coldly points his shotgun at them while stating « don’t. I will shoot you »… He forces them to pull out their guns and throw them on the floor; which enlightens that another problem might arise for Jane: he seems to assume each one has only one firearm, yet himself has two…
Jane keeps talking: RJ is one of them and this time, he made a mistake. He asks them to take off their shirt in order to see the tattoo. MacAllister has it. Seeing the obsessive look Jane casts his way, the sheriff is afraid and utters « you’ve got the wrong man, I’m not RJ »… Truth be told, the man is the suspects gathering the more leads – he whistles, hunts because “game’s game”, a vocabulary typically linked with RJ and has apparently a phobia of pigeons; not to mention that he appeared right after the pilot. Yet, Stiles diverts Jane’s attention by stressing “don’t, Patrick! Look, look!”, pointing that Bertram and Smith have one too… only the two Visualize members don’t have one in fact. Therefore, the trio meeting in Bertram’s office are the three main suspects, even more for viewers who knows that at least one of them is a murderer who is part of the “Tyger, Tyger” organization.
Jane recovers quickly and says “you three, all against the wall now” in a classic posture for an execution. The next shot shows the house from outside: we can hear shooting once… Now, who shot whom? There were three men and only one gunshot… and Jane was turning his back from the other two –among whom there’s a former cop. And anyone may have been carrying a second weapon. Has Jane made the very same mistake he did in the first case in the season premiere, not counting on the killer carrying the second gun in his waistband? Indeed, the possibility that they’re not RJ, according to Kira’s clue, doesn’t mean that they aren’t involved somehow… Like Visualize has been working to plant seeds years beforehand to get members in influential positions (like that politician who sheltered Stiles), it may have worked hand in hand with another organization using the same methods among cops… If that’s the case, the three tattooed men might work as a triumvirate at the head of the cop organization, like hinted by the interpretation of Renfrew’s last written words as « he is man(y) ». After all, there’s a literary precedent in the classic novel ‘The Murderer Lives at Number 21’ by Steeman. That could be the meaning behind the three dots: each of them works in a branch of law enforcement –local police, state agency and federal agency. And, on a side note, it might be a coincidence or me reading too much into details, but McAllister more or less matches Rosalind’s description: “just under 6 feet tall” (he’s 6’0’’, so he comes the closest), “not muscular, but not soft either; short, straight hair; a gentle voice; rough, strong hands; he smelled of pine and nails and earth” and he showed a similar sense of humor and disposition than Jane. And, as Anomalycommenter pointed out in the comments for the ‘Red Listed’ review, both Bertram and Smith were under thirty when the murders took place at the Ellis farm… Even if none of them fits on his own all the different criteria, together they do, or so it seems.
Meanwhile, Lisbon is coming to the rescue. After walking in the dark for hours, she has forcefully taken a car using her badge. Her façade is crumbling progressively: she introduced herself formally when she stopped this car, then she dismissively grabs the phone from the helpless diver’s hand while saying « good idea », before speeding up in the night and nearly causing an accident. When she arrives, she loses precious moments going inside the main house (has she the key or was the door open?) then runs towards the guest house calling Jane’s name. And there’s an explosion which blows her away from the building. Again, who placed the bomb? Is that one of the suspects or Jane himself to cover his tracks? In the second screening of his arrival, we got a lot more details. There can be more things he did that we were not privy to… Either way, Lisbon finds herself in the same situation Jane was at the end of the season premiere: he went alone into a vacant house and she doesn’t know if he’s alive.
– Truth be told, it’s frustrating to say the least that after every single clue Jane got, they made the last one the only effective of the series. It cheapens the trick a bit. Moreover, which proof has Jane that RJ killed Kira himself indeed, instead of sending a minion? If he had a gut feeling, they should have made it explicit. Same thing if they wanted to play with the ambiguity of the situation. And, honestly, those clues don’t add up or at least don’t explain Jane’s behavior: he could have discarded Rosalind’s description as a lie given that she was still very much in love with him, but what about the age range given by the farm? Normally, this clue should have excluded Stiles, for instance –unless the “kid” was a follower he groomed to help him commit his crimes and clean his sect of the druggies living here. A kid like Bertram, Reede , like I said, or even Sheriff Hardy for example… The other clues, like the whistling and the phobia, were obviously meant to plant some red herrings, but it remains that until further explanation, it seems to be a big problem of conception here. It feels like the end of the Volker arc, when they needed him to make some huge mistakes and put everything happening at the end under the cover explanation that he panicked and acted crazy. Here, the tattoo is mostly a pretext meant to explain why Jane didn’t decide to gather them before.
– Also, they should have shown a bit more of their arrival at the house: for instance, Bret claimed to be in trouble with the FBI and FBI agent Smith was here so it should have made an interesting situation…
“Tyger, tyger, burning bright/ In the forests of the night”… Has the Tyger burnt during this night or is that a trick? Either way, the explosion explains the “Fire” in the title and also refers to the Bible once again, reinforced by the religious context brought by Stile’s ritual.
Indeed, the ‘Fire and Brimstone’ is the way God chose to punish Sodom and Gomorrah (“Then the Lord rained on Sodom and Gomorrah brimstone and fire”, Genesis, 19, 23). But, more importantly, those things represent the wrath of God against the devil. In Revelation, 21, 8 (the following quotes are taken from the New American Standard translation), we have:
“But for the cowardly and unbelieving and abominable and murderers and immoral person and sorcerers and idolaters and all liars, their part will be in the lake that burns with fire and brimstone, which is the second death.”
Among the suspects, we have at least one unbelieving and idolater (Haffner is member of Visualize), one sorcerer (Stiles), a certain murderer (Smith) and one abominable (RJ is among them). And they’re all liars to some extent.
Before that, in Revelation, 14, 10, there’s also:
“He also will drink of the wine of the wrath of God, which is mixed in full strength in the cup of His anger; and he will be tormented with fire and brimstone in the presence of the holy angels and in the presence of the Lamb.”
The anger has been mentioned in reference to Haffner whom Jane noticed was angry for an unknown reason. And the torment imagined by Jane for his nemesis was to happen in his house “in the presence of the Lamb”, that is, of himself.
And, in Revelation, 20:
“Then I saw an angel coming down from heaven, holding the key of the abyss and a great chain in his hand. And he laid hold of the dragon, the serpent of old, who is the devil and Satan, and bound him for a thousand years […] And I saw the souls of those who had been beheaded because of their testimony of Jesus and because of the word of God, and those who had not worshiped the beast or his image, and had not received the mark on their forehead and on their hand; and they came to life and reigned with Christ for a thousand years. […] When the thousand years are completed, Satan will be released from his prison, and will come out to deceive the nations which are in the four corners of the earth, Gog and Magog, to gather them together for the war; the number of them is like the sand of the seashore. And they came up on the broad plain of the earth and surrounded the camp of the saints and the beloved city, and fire came down from heaven and devoured them. And the devil who deceived them was thrown into the lake of fire and brimstone, where the beast and the false prophet are also; and they will be tormented day and night forever and ever. Then I saw a great white throne and Him who sat upon it, from whose presence earth and heaven fled away, and no place was found for them. And I saw the dead, the great and the small, standing before the throne, and books were opened; and another book was opened, which is the book of life; and the dead were judged from the things which were written in the ooks, according to their deeds. And the sea gave up the dead which were in it, and death and Hades gave up the dead which were in them; and they were judged, every one of them according to their deeds. Then death and Hades were thrown into the lake of fire. This is the second death, the lake of fire. And if anyone’s name was not found written in the book of life, he was thrown into the lake of fire.”
There are some details common to the text and the last scene: the angel is bounding the dragon like Jane is trying to stop the serial killer. In ‘Wedding in Red’, he commented on not having wings, which compared him to an angel (there were one in front of the church and one on a stained-glass window inside). The mark on the forehead or on the hand indicate those who had worshipped the beast: the three-dot tattoo on the shoulder is a more discreet version of that mark and it also indicates who is working for this new kind of evil. The fire coming down from heaven to devour the devil’s warriors might or not remind of the explosion; either way, both “the beast and the false prophet” are thrown in the “lake of fire of brimstone”: the beast being RJ and the false prophet Stiles, since in theory both of them were caught in the fire….
The last part about the judgement of the souls, the corrupted ones being also thrown into the lake of fire, might refer to the last part of the investigation which might occur afterwards, if Jane goes after the rest of the organization: the minions ought to be identified and stopped altogether. That might be the meaning being the sheet-covered furniture in the house: Jane might be the one judging them from his “great white throne”, which might prove dangerous. That would mean is deeming himself the right to play God, to judge who is guilty and who is worthy. The problem is that he can make mistakes: that have been shown when he found himself with three possible RJ instead of one…
Anyway, the title indicates that the downfall of RJ is coming closer: the wrath of Jane is becoming a serious threat and the ‘Fire and Brimstone’ -symbols of the torment inflicted to the wicked in Hell for eternity- represents the comeuppance the serial killer will be getting for his murders.
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