I have to credit to Toykantopcu http://www.whoisredjohn.com/See-a-theory-Red-John/5941 for pointing this out.
I disagree with him/her about one thing: There's no smiley. But Toykantopcu is on to something. Thanks for mentioning Kubrick, that was key.
Toykantopcu observes a "Smiley" on the sign on The Rigsby's wedding carriage. Great observation. This is not insignificant, if the insight about Kubrick is on the mark. Here is what I'd like to add. (Since I cannot share the picture here, I will post the picture in the comments/argumentation section below right after I post this).
The hearts are eyes, the underline is a... frown. Not a smiley. But perhaps designing the sign in this way was intentional on the screen writers' part. They know people are looking for these kinds of things, people like toykantopcu, for instance, people looking for kubrickian symbology (Have you ever seen "Eyes Wide Shut"?).
If it is the case that placing it there is intentional, and we -- I include myself in the we -- are not just reading into it, and they are doing a kind of hat-tip to Stanley Kubrick, there's more to this than meets the eye.
Color scheme is important: Red and Blue.
Think of show titles. All red, shades of red, or red things up until episode nine of this season (2 exceptions: the "Pilot" and "Where in the World is Carmen O'Brien"). In this shot, two red hearts (okay, pink); two lovers departing from the scene on camera; they are also departing the show. We are very happy for them, but sad that they are leaving, hence the frown. The "red chapter" is also drawing to a close. Rigsby and Van Pelt were with us since the beginning of this chapter. And we are left standing here watching the ride away thinking, not only of their future, but the future of the show. Enter, Blue...
Blue flowers surround the frame. Rigsby and Rigsby (now) are are set in the frame, like the two pink hearts framed by the flowers (with almost "fearful symmetry" -- very Kubrik, indeed!).
Picture the sign on the carriage like the screen you are viewing. The frame of the screen never moves; what's in the frame is moving away. If the camera held this shot long enough, our "just married pink hearts" would eventually leave the screen. Applied to the sign, when the words just married and the pink hearts are removed, we are left with a blank slate surrounded by a blue frame. The next chapter, or the next episode at least, is Blue.
[Not quite a blank slate, though. More on that later… ]
Red and Blue are the only colors on the screen, besides black and white (ignore the green) This is intentional. Yet, there is one other thing. Red tail lights.
Ominous red tail lights, because we have a sense of foreboding for this couple, and we cannot help that, given the current state of affairs with Red John. Yet there is hope. The tail lights are not lit, which means two things. First, they are not stopping, they're going. --> Away.
Second, the are not as red as they could be. If they were lit -- carriage stopped -- they would really be red -- we'd be seeing RED and it would stand out. The lights are not red. Maybe we are being told not to worry.
Hence a frowny, not a smiley. Frown because we cry at weddings (did you cry?). Frown because this is NOT a sign for Red John, that is, RJ has not marked this couple -- a possible reading that I HOPE is right. Besides, why would Patrick, who I believe made this sign (he was late to the wedding because he was seeing to the details of their departure at the last minute -- 21 gun salute, carriage ride, and other little details from the detail man), why would he mark their carriage with Red John's mark? -- That man of attentiveness to details.
So, we are left with a happy ending for these two, after all. That's my theory anyway.
End of Theory.
RED GIVES WAY TO BLUE… I mentioned "more on this later," and I place this part in brackets to keep it separate from what I don't want mixed with anything I wrote above.
[Some of the things we find suspicious in the Red chapter are not things "Red John." They are things "Blue," things that were staring us right in the face and we were looking right at them, but we were looking for the wrong thing and looking at the wrong way. E.g., In episode 6.2, when Smith, McAllister, and Bertram are discussing Jane after he leaves Bertram's office, are you sure they are talking about how much he knows about Red John? Or could these creepy characters be talking about something else? Something will bleed into the next chapter, with blue blood, pun intended.]
One more thing. If you want to see more Red and Blue in this episode and eerily Kubrick-ish, go back as revisit the scene where Jane is taken hostage in the chapel. What do you see. The play on Red and Blue light in that dark chapel scene is eerily Kubrick-ish, in an eyes wide shut sort of way.
