Criminal Minds/Tear Jerker


Examples of Tear Jerkers in Criminal Minds include:

Season One

  • In the episode "The Fox", when Frank Fielding ( a mentally retarded man, who is the brother of one of the first victims ) realises that he saw the killer, and misinterpreted his sister saying 'help me' as 'go away'... his cries of anguish as he beats his hands against his head and has to be restrained by four of the BAU agents is just heart-wrenching.
  • The last ten minutes of "Riding The Lightning".

Sarah Jean: If it's not too much to ask...I'd like your face to be the last one I see.

    • The last half of that episode should be included here. Particularly that one point where Sarah Jean begs Gideon to let her be killed in the electric chair in order to giver her son, who she claimed she killed to protect him from her sadistic Complete Monster husband, a better life. She stood for 15 years in prison and died to protect her son. This may be the most selfless act evident in the series to date.

Season Two

  • "Revelations": Especially for all the Spencer Reid fangirls out there who need to run and purchase a box of tissues whenever this episode comes on.
    • One moment in particular, that verges on Nightmare Fuel: Gideon is talking to Reid over a one-way video feed, telling him he's strong and he can hold out, and Reid just... stares blankly at the screen, almost catatonic, looking like he's already broken.
  • At the end of "Jones", William LaMontagne Jr talks the woman who's been killing the men down by telling her his name and saying that she knew his father. The woman, who's been close to tears, cries when she finds out that William LaMontagne Sr died during Hurrican Katrina.
  • "Ashes and Dust":

Doctor: I'm giving her as much painkiller as I can. She asked about her husband and son. She passed out again before I had to answer.
Prentiss: She doesn't know?
Doctor: Whatever you tell her, she won't live long enough to know different.

    • And not much later...

Mrs. Cutler: Where are they? Are they okay?
Hotchner: They're fine. They're just outside in the waiting room.

Mrs. Cutler: I don't want them to see me like this. I'm not ready.

Hotchner: Agent Prentiss will tell them. I can stay with you until you're ready.

Mrs. Cutler: I'd like that.

  • The ending of "Distress":

Roy Woodridge: It wasn't safe.

Jason Gideon: I know.

Roy Woodridge: Is the boy all right?

Jason Gideon: Yes, sergeant... yes, the boy's all right.

  • The younger Unsub in "Open Season" dying and Gideon comforting him. Him begging Gideon not to hurt his brother because he is all he has left and him knowing his brother was shot and killed before dying himself was just heartwrenching.
  • Nathan Harris sitting in church, thinking the only way to help people in the future is to kill himself in the episode Sex, Birth, and Death.
    • At the end of the episode he picks up a prostitute and and, instead of playing out his fantasy, he attempts suicide to prevent himself from hurting others. He fails.

Season Three

  • "I guess I'm looking for it again. The belief in happy endings." ("I'm holding on... I'm barely breathing...)
  • Bit late to the party, but season three's "Seven Seconds" has a pretty major one when they're trying to revive Katie Jacobs
    • Not to mention the mother pleading over the mall intercom to get Katie back.
    • That one balloon during the speech was truly tearjerking.
  • "True Night's" ending ("Hey, this is Vicky! I can't come to the phone right now because I'm out living my life!")
    • The heartwrenching way the Unsub says "he made me watch". Just... that.
  • Reid's face in "3rd Life" after he watches Jack Vaughn kill his daughter's kidnapper. Like the saddest puppy in the world. It doesn't help by the way he follows it by whimpering, 'I tried... I tried, but I couldn't...'
  • "Elephant's Memory": The audience is led to believe that a sympathetic, teenaged unsub is about to get cut to pieces in Suicide by Cop. And then they start playing Johnny freaking Cash.
    • In the same episode Reid tells Morgan about a particularly cruel prank played on him high school; while in the library a girl told him that another girl, the prettiest in school, wanted to meet him later. Going to the meeting place Reid found the girls, the entire football team and several other students all there. Stripped naked, Reid was tied to the goal post and despite all his begging no one helped him. When he finally got loose around midnight and went home he discovered his mother, who was having one of her episodes, didn't even notice he was missing. Did we mention he was only twelve at the time?
    • And again in the same episode (poor Reid), Reid's speech at the 'Beltway Clean Cops' meeting.

Reid: That kids face is really, uh, stuck in my brain. It's really, uh, I can't... and I ... I wanna forget about him, and... I want to escape.

      • Even worse when you realize that the kid he's talking about is the unsub from "3rd Life," in the moment mentioned above.
  • All of "Penelope". Garcia almost dying on the table. Morgan not picking up his phone and his absolute despair at finding out Garcia's been shot. Battle trying again and Morgan pushing a crying Garcia into the corner and giving her his gun. Garcia talking about how everything has to happen for a reason, and if she stops believing that then nothing makes sense.
  • The arrest of the unsub in "Damaged" was difficult to watch. "Daddy!...Daddy!"

Season Four

  • Morgan and Garcia on the phone in "Mayhem", when Morgan is in the ambulance with the bomb about to go off:

Morgan: There's something I really want you to know, Garcia.
Garcia: Save it! Just get out!
Morgan: No, no, no, I'm not quite there yet.
Garcia: Morgan!
Morgan: Just listen to me.
Garcia: Morgan, please!
Morgan: You know what you are, Garcia? { the bomb goes off}
Garcia: Derek?!
Morgan: having jumped out at the last minute Garcia? I'll tell you what you are to me. You're my God-given solace. Woman, you promise me one thing - whatever happens, don't you ever stop talking to me.
Garcia: [crying] I can't right now, cause I'm mad at you.
Morgan: That's all right. I can wait.

Megan Kane: You're the first man who didn't let me down. Will you stay with me?

Hotch: Yes.

Megan Kane: Promise?

Hotch: I promise.

  • The ending of "Demonology", with Prentiss standing outside the church while the snow falls. It becomes even more poignant with her quote from Joyce's The Dead.
  • The entire last half of "The Big Wheel" is one big tearjerker. Especially when Vincent gives the speech to Stan before dying,and when Stan finds out that Vincent was the one who killed his mother, and how innocent and caring Vincent really is.
    • This becomes especially painful when you realise that Vincent was so traumatised by his mother's death that he was forced to relive it - to take on his father's role - over... and over... and over...
  • "Amplification" has Reid leaving a recorded message for his mother to hear in the event that his being infected with anthrax proves fatal. Understandably, he has trouble keeping it together, as does the audience.

Reid: Hi Mom, this is Spencer. I just, um, I just really want you to know that I love you and I, I need you to know that I spend every day of my life proud to be your son.

Season Five

  • The part when Hotch had to say goodbye to Jack at the end of "Nameless, Faceless."
  • Hotch watching Jack playing in the playground through a webcam in the beginning of "Reckoner". Oh, Hotch.
  • "100" - the entire thing, but specifically Haley saying good-bye to her son Jack and her and Hotch's final conversation before she's killed.
  • "The Slave of Duty" takes things to an extreme for Hotch and Jack.
  • "Mosley Lane": "He was alive yesterday?!"
    • Just the way Stephan's father says it as it dawns on him that his son had been alive all those years, only to die just before the children were rescued.
    • Let's face it, the whole end of that episode. Dry eyes are impossible.
  • Garcia in "Exit Wounds", when one of the victims dies in her arms, and later, when she and Morgan discuss if her being able to handle blood in person means she's losing her humanity.
  • The entire ending dialogue in "Uncanny Valley", culminating in one of many Crowning Moments of Awesome for Reid:

Samantha: "Don't leave me."
Victim: (just recovering from paralysis) "Let us go."
Samantha: "I can't."
Reid: (walking into the room) "Samantha? Hi. My name's Spencer. I'm with the FBI. Listen, I know what your father did to you, and I want you to know that he can never ever hurt you again."
Samantha: (mechanically) "He never touched me, he's a good father, he loves me."
Reid: "I know that he probably forced you to say those things. Punished you if you got it wrong, send you to the 'room with the lightning'?"
Samantha: "Yeah."
Reid: "The dolls that your father gave you, after he hurt you, what would happen to them?"
Samantha: "He...he kept them in his office with the other toys."
Reid: "And that's where he let you play with them?"
Samantha: "When I moved out, I had to take my friends with me, I couldn't...leave them behind."
Reid: "Of course. So you went to get them. What did...what did you find?"
*Flashback of adult Samantha walking into her father's office, seeing him stroking the hair of a little girl holding her dolls*
Reid: "Yeah. He gave them to another girl, didn't he? (Samantha nods) ...do you want them back?"

Samantha: "He couldn't. He said they were gone for good."

Reid: "He lied. He's been lying to you for a very long time. Do you want to see them?"

Samantha: "...Can I?"

Reid: "Yeah! Yeah, do you want to play with them?"

* Reid wheels out a child's suitcase and opens it, showing Samantha's dolls. She walks over with such a smile of childish delight as to inspire Manly Tears. She picks one up and starts to cry while cops and paramedics stream in.*

Reid: "Listen, Samantha? You need to go with these men. But your friends can go with you, okay?"

Samantha: "N-No one'll take them away?"

Reid: "I promise, no one will ever take them away again."

Season Six

  • Just a little thing, but Morgan shouting at Garcia for not doing well enough in "The Longest Night". Scary and saddening because he'd never done that before, and it showed just what a bad place Morgan was in. He makes up for it later, though, by begging for her forgiveness.
  • The last ten minutes of "JJ." Seriously, show? Did you really have to have JJ have a heart-to-heart with Garcia, with both of them crying, and then go to a montage that was basically "Why JJ Is Awesome"? *cries*
  • "Into the Woods" One Word: Sad. Sad made even worse by the unsub getting away.
  • "Coda": for some reason, Ali Sparks's breakdown over her husband's body was especially heartwrenching. Dead bodies are pretty common on this show, but this one just made this troper lose it.
  • "Valhalla": Emily's tearful, surreptitious departure from the BAU. Also, she has a few sweet interactions with her teammates, including the following exchange with Garcia:

Garcia: Are you okay?
Emily: Oh...um...yeah. I'm good.
Garcia: I'm not a profiler, but....
Emily: Don't start. (sees Garcia's hurt look) I'm sorry. I'm--I'm gonna be all right.
Garcia: Okay. I'm just really worried about you. The flu is going around...(new thought) Are you pregs?!
Emily: (laughs) No. No, I just...I'm not sleeping. I'm having this nightmare. It's a recurring nightmare. There's a hill and there's a little girl on top of the hill....She's, like, six years old, dark hair...and she's just dancing in the sun. But somehow I know she's waiting for me, so I start to walk up the hill, but the hill gets steeper and steeper, and by the time I climb to the top, the little girl's gone. And I, I look everywhere for her, and when I can't find her, I start to panic, and I panic because I know what's waiting out there for her. I know what the world can do to a girl who only sees beauty in it. Like you. (Garcia is taken aback, touched.) Somehow, you...you always make me smile. And I don't think I've ever thanked you for that.

  • "Lauren." Just..."Lauren." To explain, Emily goes rogue to keep the team safe, hunting down a terrorist she believed she'd put away years ago. She's captured by Doyle, branded, tortured, and almost killed, but Morgan gets to her in time. The team (with the exceptions of Hotch and JJ) are told that she died on the operating table, in order to put her into Witness Protection. The ending where we see the team at her funeral physically hurts to watch.
    • This troper broke down at the team's reaction, particularly when Reid tried to leave and J.J. stops him.

Reid: I didn't get to say good-bye. (JJ embraces him; he starts sobbing on her shoulder)

    • Also, during her one-woman stakeout, Prentiss chokes up to hear the following voicemail message:

Garcia: Come home. Please. God, Emily, what did you think? That we would just let you walk out of our lives? I am so furious with you right now! But then I think about how scared you must be, hiding in a dark place all alone. But you're not alone, okay? You are not alone. We are in that dark place with you, we are waving flashlights and calling your name, so if you can see us, come home. If you can't, then...then you stay alive. Because we're coming.

    • This is made a million times more touching simply because of how REAL it is. For anyone who's ever had a friend in danger you can't contact, or a missing person... It just hit the nail on the head so devastatingly perfectly. This Troper nearly had a hyperventilating nervous breakdown because of that little bit there. And she's still waving a flashlight.
  • "Hanley Waters". Sad in the parts revolving around the team elaborating grief for the events of Lauren. Sadder when the unsub has her husband express his grief for their son's death. Extremely sad when the unsub finally breaks down when Hotch talks to her about her child.
    • As well, the title is quite poignant. Everyone remembers the unsub but never the victims.

Season Seven

  • Morgan's eyes during Prentiss's return.
  • Reid acting horribly cold towards JJ in "Proof", because he feels like she betrayed his trust. And then we find out how he reacted to Prentiss' death.

Reid: I trusted you. I came to your house ten weeks in a row, crying over losing a friend. And not once did you have the decency to tell me the truth.
JJ: I couldn't.
Reid: You couldn't, or you wouldn't?
JJ: No, I couldn't.
Reid: What if I had started taking Dilaudid again? Would you have let me?
JJ: But... you didn't.
Reid: Yeah. I thought about it.

    • And later, Prentiss:

"You mourned the loss of a friend. I mourned the loss of six."

  • The revelation of the Unsub's motive in "Painless". If only the school principal had chosen him to appear on TV. If only the survivors had the balls to tell the truth that it was the Unsub who had saved their lives during the original bombing. If only the bomb had not made the Unsub unable to feel pain. If only the girl had invited him to join the survivors.
    • Those Top 10/9/8? You mean those who hid the truth from BAU on their first chance? You see the way that girl disowns the unsub on the way to restaurant? They are not innocent, otherwise they'd have come clean ten years ago already. The unsub saved their lives, all right; they owe him that much. Would it hurt if they at least thank him? Drop their pretense? Give him the credit he deserves?
  • The last scene in "From Childhood's Hour." Rossi's first wife reveals that she has ALS, and she asks him to be the one to pull the plug when the time comes. Especially jarring for Rossi since the case they just finished working dealt with an unsub who thought he was helping children by killing their mothers.
    • Even more poignant and heartbreaking when you remember that Rossi is Catholic. Suicide, even assisted suicide, is a mortal sin. He's now faced with a hell of a Sadistic Choice; does he watch the woman he loves die and do nothing to help her, or does he commit a mortal sin and help kill her?
  • The third mother in "From Childhood's Hour", saying truly awful things to her teenage daughter to provoke the girl into killing her, because she believes it's the only way the unsub won't kill them both. She's in tears even as she does it.
  • The end of "Epilogue", where Rossi's ex-wife Caroline takes the assisted-suicide decision out of Dave's hands by revealing she did it ten minutes ago. She dies in his arms, which is what she wanted.
    • The heartwrenching continues when Caroline asks Dave "will he be there?" Dave tells her yes, but it's not until the final scene of Dave at her grave that it's revealed that the "he" she's speaking of is their son who died in infancy. Their graves are next to each other.
  • JJ telling her son a bedtime story over the phone, because she's trapped in Kansas overnight as a result of the weather.
    • And she's got it entirely memorized. Not just the gist, but word for word.
  • In "Hope", the episode begins with Garcia talking about her parents' death. They were killed by a drunk driver while out looking for her. She had broken curfew again. It is interesting to know that the happy character has such guilt weighing on them.
  • "The Bittersweet Science": Hotch is in the room while the Unsub tells his cancer-stricken son that it is okay to "let go" of the pain and die. Hotch's eyes water, and then he sheds a single tear. It's especially tearjerking when you realize that Hotch shows emotion the most around his son Jack, and watching another man lose his son might be hitting Hotch closer to home than his single tear lets on.
  • "True Genius". Reid's self-doubt throughout the episode is utterly heartbreaking.

'I just... don't know why I'm in the FBI.'

  • Morgan and Angel, the escaped victim in "Foundation". Angel has been mute, after the trauma of being abducted and held captive by a sadistic killer, and attempted suicide. Morgan tells Angel the story of fighter pilots in World War II, how they knew each other when taken captive by the coins they carried, and the first words Angel speaks are to ask what happened to them. It takes a turn for the heartbreaking when Morgan tells Angel about Carl Buford (from "Profiler, Profiled"), the man who raped and abused him. He confesses that he thought about suicide himself, and that while he wished the shame could go away, he and Angel are the only ones who can punish men like Buford and the man who took Angel.
  • The ending of "Heathridge Manor" is a truly heartbreaking Hope Spot. After the Unsub is defeated, we see his sister Lara in their home. She is putting away all of her mothers old costumes, she's wearing white pastels, the sun is shining outside, and the mood is fairly calm and relaxed. Then the doorbell rings... "I've been waiting for you for so long, Lara. You have to come with me now." Also doubles as Major Nightmare Fuel material.
  • In "Profiling 101", after making a deal with the unsub to get the names of all his victims, Rossi personally goes to each family to report the tragic news. It is a rough scene to watch.

Moved from "Live-Action TV/Tear Jerker/Lists that need to be integrated into existing Tear Jerker pages", but not checked for duplicate entries

  • Adam/Amanda in Conflicted. Abused by his step-father until he developed DID. The second personality, Amanda, regards it as her job to protect him and takes over when she realises that, if he can be found competant, he'll go to jail for the crimes she committed. Reid's desperate 'Adam?' and Morgan replying 'He's gone' is heartbreaking.
  • In one of the few episodes of Criminal Minds where the unsub isn't evil, Frankie Muniz (of Malcolm in the Middle) plays a comic book artist who gets caught by a gang and forced to watch as they kill his fiancee, which causes him to have a psychotic break and run around systematically butchering the perps. The final scene has him sitting in a padded cell, calling his dead fiancee's cell phone over and over, just so he could listen to the away message. Hey, this is Vicky! I can't come to the phone right now because I'm out living my life. He thought up the away message for her.
    • There's also the episode "Distress" in which a veteran with PTSD believes himself to be in a war zone. When the cops find him he sees a young boy and, believing that there is shooting going on, he runs toward the child and is shot when his action is misconstrued. As he dies he can only ask if the boy is all right.
      • Considering that this is one of the episodes where Reid really starts to struggle with the aftermath of his own abduction in a pretty classic PTSD way, this blink-and-you'll-miss-it exchange between him and Hotch takes on a whole new light, too:

Reid: He's definitely suffering from PTSD.
Hotch: He's trapped in his own head, reliving the worst moment of his life over and over again. He must be terrified.
Reid: Y-yeah.

    • What about the episode when Reid befriends a young man struggling with his own violent fantasies. At the end the boy attempts suicide and a witness sees Reid's card and calls him. He desperately struggles to keep the boy alive, shouting for paramedics, and when he succeeds can only wonder if he's just condemned the boy's future victims.
    • Two words: "Profiler, Profiled." Oh God. The pair of scenes where Morgan -- big, cool, invulnerable, tough-guy Morgan -- finally breaks down and acknowledges that he was sexually abused as a child by this week's UnSub, and that he's been living with both the shame of that and the guilt of not having stopped him sooner for his entire adult life, with about half his team overhearing the second one, and then his visit to the grave of the unnamed first murder victim... Jesus.
      • The scene where Derek finally confronts his mentor, and after exposing him for what he is, telling him to go to hell while the man can only be dragged away begging for help from his victim. In a way it was sort of cathartic.
    • "Riding the Lightning." The scenes near the end where Gideon's forced to stand by and watch as a woman allows herself to be sent to the electrical chair for the murder of her young son, which she didn't commit... it doesn't hurt either that Mandy Patinkin is a scary genius when it comes to looking utterly crushed by despair.
    • Any time Reid is in pain or distress, which happens way too often. "Revelations" is agonizing to watch.
    • Morgan and Garcia have several excellent tearjerker moments. Most recently in "Mayhem", when we (and Garcia) think he's been killed by the bomb in the ambulance, and definitely in "Penelope" when Morgan tells Garcia he loves her.
    • "P911". The breaking point is the end, when the woman sees her kidnapped son for the first time since he was one year old. He introduces her to his action figure, named Jack, and (badly) holding back tears, she says, "Hello, Jack. My name is Jackie."
    • "Mayhem" covers up some questionable plot elements with sheer emotional trauma, especially Hotch sitting in the middle of the road screaming for help that isn't going to come. And if that doesn't shove you over the edge, there's Morgan quoting Semper Fi at the ex-Marine who's keeping people out of the area. (Yeah, he lets Morgan through.)
      • Morgan stuck in the ambulance with a bomb that's about to go off, Garcia pleading with him over the phone to get out.
    • In "Amplification", Reid, having been infected with a new and thus incurable strain of anthrax, calls Garcia to have her record a message from him so that his mother will be able to hear his voice in the event that he does not survive his ordeal. Both Garcia and Reid tear up, but are then forced to get back to work almost immediately.

Reid: "Hi mom, this is Spencer. I just, uh, really want you to know that I love you and I need you to know that I spend every day of my life proud to be your son."

    • If Hayley and Jack having to be taken into protective custody and allowed no contact with Hotch in "Nameless, Faceless" didn't invoke tears, the scene in "Reckoner" where Hotch is watching his son on the swings through a webcam on a car parked ten feet away will. When Garcia choked back tears as Hotch says "Happy birthday, buddy", to Jack on the camera.
    • The ending of "The Big Wheel" where the killer (who is incapable of controlling his severe OCD and wants to stop killing, but can't) takes his friend, a little blind boy, to a ferris wheel, the boy's greatest desire being to ride one. As he is describing the view the killer slowly dies from a gunshot wound he had sustained earlier, telling the boy that years earlier he had killed the kid's mother and that he is sorry, also telling the kid (who a few scenes ago had admitted to wishing he was dead) to never think like that again and that he's special.
    • The ending of "Damaged" when Rossi says goodbye to the Galen siblings, having finally caught the man who murdered their parents twenty years earlier.
    • "100". All of it. Especially THAT phone call, where Hotch listens to Foyet torturing his ex-wife and son, and as Foyet kills Haley. If you weren't crying then, you sure were when Hotch gets to the house, finds Haley's body, and beats Foyet to death with his own hands, then sobs over Haley's body while Morgan holds him back. The entire episode seems to delight in ripping your heart out through your chest.
    • And continuing the heartbreak, "Slave of Duty", especially the funeral, Hotch's eulogy and quoting from "Pirates of Penzance", the team having to leave the funeral to work a case, and Jack watching the home movies of himself and Haley, so he doesn't forget her.
    • The 2nd half of "Uncanny Valley," where the unsub is a childlike, severely disturbed young woman whose psychiatrist father raped her and subjected her to electroshock treatment as a child; when he took away her treasured doll collection, she started kidnapping real live replacements, dressing them up and keeping them paralyzed with drugs. When Reid comes for her, carrying her original collection and promising that no matter where she goes, no one will ever take them away again, she breaks the fuck down, and so does everyone watching.
      • "Don't leave me."
    • The end "Mosley Lane" when the parents of Steven, -who was abducted as an eight year old, seven years prior to the episode- discover that he had been alive right up until the day before the BAU cracked the case and found the missing children. Stevens parents (understandably) break down. As does the audience.
    • The end of "Normal" is gut-wrenching at least. The unsub was going nuts after his youngest daughter died after being hit by a car and was convinced everyone blamed him. The climax of the episode has him forcing his family to get into his car to run away where his motive is revealed, and he snaps and crashes his car at high speed after his wife screams at him for killing their little girl. He's caught when he gets out of the wreck and tells the police his family are still inside... and he realizes they were Dead All Along, he'd already killed them. He completely breaks down when he remembers and is arrested screaming "I'm sorry, I'm sorry".
  • Exit Wound has not only one of the Woobiest Unsubs ever who kills people who leave town because of SEVERE abandonment issues and has a home life that redefines 'terrible' but some really sad scenes as Garcia staying with a severely wounded victim of said killer as he dies, and then at the end explains that she did it because when she was shot she thought the last face she was ever going to see was her murderer's, and it was such a horrible feeling nobody deserves to feel. Also, when suspect Josh is told that while he had been locked up, the serial killer struck again, which means it's not him. Unfortunately, the victim was his mother, his lone surviving relative. Kudos to Eric Ladin (Josh).
  • "Elephant's Memory". It's bad enough that the killer, a brilliant but severely learning-disabled teenage boy intent on systematically wiping out the people who've made his life a living hell, is going to hit a nerve with anyone who ever had a bad day in high school; the real kicker, though, is the scenes of him and his girlfriend -- the only reason in the world he has to stay alive -- hiding out on a neighbor's property and talking about how one day they're going to have a house just like this...
  • Depending on where the turns of events in the second half of "Open Season" leave you, the episode can be downright agonizing to watch. In particular, a tip of the hat to Gideon, thank you for that, sir.
  • Coakley realising that he was responsible for his wife's death, resulting in him driving off the cliff. As he goes over the edge, he thinks he's holding his wife's hand again.
  • While not the most extreme of tearjerkers, the woman in the beginning of Ashes and Dust has her own depressingly optimistic moment. She has suffered burns so severe across her body that Hotch tells Prentiss that they should lie about the death of her family, because she will not survive to find out otherwise. Prentiss is barely able to keep up the lie without crying, and the woman passes her final few moments of life believing that she and her family will live Happily Ever After.
  • The soldier in "Outfoxed" coming home from the war to discover that his whole family has been murdered while he as away.
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