#casefic

Spencer Reid could say a lot about the phenomenon of transcorpal connections. The incidence of a level of mental connection between two individuals that manifests itself in the melanocytes in a person’s epidermal layer to reflect the markings that another person has exacted upon themselves. 

Or, if Prentiss forced him to speak ‘like you’re a human 27-year-old, please’, it was the instance of two supposed ‘soulmates’ where drawings or tattoos on one person’s skin are reflected on the others. 

Soulmates weren’t something Spencer took much stock in, to be honest. 

A fated partner that some amorphous being has assigned him is not something he really believes in, not just as Dr. Reid, man of science, but also as Spencer, the guy who’s had to watch every loving relationship he’d ever seen end. 

He’d seen his parents fall out of love, the little messages his father would write for his mother always there, until one day he’d seen his father write a to-do list on his forearm, the words never arising on his mother’s skin. He’d had whatever that was with Ethan, where he’d desperately hoped that his incoherent scribbles would eventually pop up on his friend-not-boyfriend’s arm, but never did. He’d seen Hotch, the last ‘Jack misses you’ message that Haley had written him still on his upper arm, no matter how long it had been. 

The connections between people’s skin wasn’t anything he aspired to, not anymore. He could rattle off facts and musings about the instances of ‘soulmate connections’ in history for hours, but it held no more significance for him than it did as a profiling tool.

Hence, Spencer never really held out for anything to show up on his skin, not until it did. 

You had spent years with your body, the parts of it you saw on the daily, and the parts you preferred to avoid in the mirror. The expanses of skin, littered with marks and scars from years of living, are familiar to you. Too familiar. 

You’d spent years watching your friends, acquaintances, and even strangers' skin change. Like the first time, in secondary school, whenever you saw lines begin to form on a friend's hand, it always filled you with a strange sense of melancholy. 

Of course, people lived whole, fulfilling lives without ever having a soulmate connection, and you’re sure your life wouldn’t be any different, but there was always that little thought in the back of your mind, every sighting of a couple on the street adding feathers to its wings. 

What if. What if all that skin finally changes? What if you’ll finally experience the life-shattering love that soulmates are supposed to be?

You had always been holding out for something to show up on your skin, but it wasn’t until you’d least expected it. 

Being the newest profiler in the famed BAU was more than daunting. It was terrifying, like hyper-aware-of-every-bone-in-your-body terrifying. Your transfer from Domestic Trafficking had been a long time coming, your experience in psychology and previous work under David Rossi making you the ideal candidate for the spot. You knew all of that, but somehow it didn’t dampen the nerves that coursed through your body every time you walked into the bullpen. 

It’s your third case as an official agent on the team, and your fear of messing up the biggest leap in your career hasn’t waned. In a lull in the briefing that Hotch gives on the jet, you refer to the case file, questioning the tiny Garcia shown on the screen set on the surface in front of you.

“And this witness who wasn’t present? What’s that about?” You point to a name noted on the case file, which has very little information listed next to it. 

“Yes, my love, that is a little strange.” Garcia’s slightly tinny voice floats through the interior of the cabin.

“She is a Mrs Amaya Walker, not technically a witness, seeing as, you know, she lives and works two hours away from the crimes, but there is a pickle.” As she speaks, Spencer slides into the seat across from you, and you flash him a quick smile as he slides a mug of coffee over the table to you.

“Our lovely Mrs Walker here saw a list pop up on her forearm, right when the last murder happened. Initially she didn’t think it was anything, but later she saw the press conference that the local P.D. did after the second murder-”

“Against my advice, by the way!” JJ pipes up from her spot on the sofa.

“Yes, against JJ’s advice, but once she saw it, she thought her little list might come as useful to the investigation.” Your tablets chime, a picture of a forearm you assume belongs to Amaya Walker popping up on the screen. The fax machine set up under the table whirs, and you pull out the printed version and pass it wordlessly to Spencer. The brown skin of her forearm is marred by scratchy handwriting, a list of household points of interest:

“Bedframe

Edge of coffee table

Light fixture

Oven door

Nightlight

Garage door

Silver spoon”

Your eyes widen, picking up your case file to compare.

“These are all…”

“Where the unsub left smears of the victim’s blood.” Spencer finishes your sentence, his eyes meeting yours with lines of confusion between them. The seemingly random smears of blood had been a point of confusion for you all when you did the initial walkthrough of the two murders back at the office. Each very far from the site of the murder, the team had concluded it had to be part of the unsub’s signature, although they were different for each murder. 

This was part of why JJ didn’t want it released to the public, on the off chance that the publicity causes the unsub to escalate or double down.

“Yes, wonderful profilers, you’re correct. The list correlates with all the different spills of blood and…” Garcia shudders, “gore left at every crime scene. Her husband has refused to speak to the police, and she insists he has nothing to do with it, but the police are working on a warrant, they should be getting them both to the station tomorrow.”

“Yes, that is strange. Reid, L/N, you two go to the ME’s office, figure out if there’s anything we can get out of the method of killing. Dave, you go with Morgan and JJ to the most recent crime scene. Maybe we can get something more out of it. Prentiss, you and I will head to the first crime scene, see what we can see. Hopefully we can correlate that with whatever we get from Walker tomorrow.” Hotch’s stern, no-nonsense voice cuts through the confusion, and you all straighten up, ready to get to work.

The medical examiner’s office is chilly, and you regret forgoing a blazer as you step into the bright building from the warm evening air. Spencer laughs softly next to you, and he nudges your shoulder. 

“Cold?”

“No.”

You speak resolutely, but the sparkle in his eye indicates he knows your lie. Grabbing the distinctive purple scarf from around his neck, he wraps it around yours, smiling when he meets your eye. The moment is only broken by the clip-clop of shoes coming down the hallway, and you both turn away hastily.

The ME walks up to you, his voice clipped and curt.

“You’re from the FBI? Come with me, please.”

You follow him into a room that smells overwhelmingly of formaldehyde. Two examining tables stand in the middle of the room, white sheets covering the bodies.

“The methods of killing were very different for each case, so much so that we didn’t put together that they were related until the police did.”

Spencer nods from beside you, accepting a clipboard from the doctor. Not bothering to read it, when he can do it in a fraction of the time, you converse with the doctor.

“Yes, we saw that one of the victims was stabbed, and the other strangled? That doesn’t track with any evolution we’ve seen before. Stabbing’s generally much easier than strangling, we usually see them go the other way around.”

He nods, pulling back the sheet on the second victim. You can see mottled bruises around his neck.

“Yes, the most recent victim, John Coulhain, was strangled. By the angle of the bruising, it’s clear he was attacked from behind, and by something that has both leather and metal in it. You see here, there’s a larger imprint from the metal segment.”

Spencer raises his head.

“It says here that he had just gotten out of the shower after work?”

“That’s right. He was found in only a towel. His clothes weren’t found.”

You frown, turning to Spencer.

“Leather and metal… that sounds like a belt to me. Coulhain was a lawyer. He wore suits to work.”

He picks up on your train of thought, continuing where you leave off.

“His clothes weren’t found. The unsub might have used his belt as a murder weapon, so he took the rest too.”

You turn to the medical examiner

“The first victim, Cohen Gibson, what sort of knife do you believe was used?”

He walks you over to the second table, drawing back the sheet so you can see the seemingly random pattern of wounds.

“They’re varying degrees of shallowness, but the shape of the wounds makes me think it was something medium-sized, probably stainless steel.”

Spencer leans forward, inspecting the wounds closely as he muses.

“Stainless steel isn’t the sort of knife you buy with the intention of violence. 54% of stainless steel knives are purchased for everyday purposes, like cooking.”

The ME walks you through the rest of the details of the murders, but the randomness of the methods of killing and the missing clothing stick with you.

An hour later, when you and Spencer walk out of the building into the dusk, it’s still on your mind.

“Reid, why would an unsub use a perfectly good knife for his first murder, but forgo bringing it to the next scene, and use his victim’s belt instead? That reads like a devolution, and this guy is still ramping up.”

“Maybe he’s relishing the deaths? Strangling takes longer, so maybe he realised that stabbing wasn’t going to give him the time with the body that he wanted.” He offers, but you can tell he’s not convinced.

“The scenes don’t show any sign of him lingering. And even if that’s the case, why not bring your own strangling equipment? A belt doesn’t give him the precision he needs in order to control the rate of death, especially one he just snatched off the floor.”

Spencer nods slowly as you approach the car.

“He doesn’t hesitate at all in killing them, but he doesn’t come prepared. It’s like he’s obscenely confident in himself, and doesn't think he needs to plan in order to pull it off.”

You slide into the car as your phone begins to buzz in your pocket. Fishing it out, you pick up the call.

“Hey Emily, you’re on speaker.”

She speaks immediately, forgoing any greeting.

“The first victim, Cohen Gibson. Was the weapon a stainless steel knife?”

You exchange a look with Spencer, replying quickly.

“Yeah, it was. Why do you ask?”

“Gibson’s wife just confirmed that their knife block is gone, along with six stainless steel knives.”

Spencer leans forward to speak into your phone.

“That makes sense. We think the unsub is showing up with no preparation because he believes he doesn’t need it. He’s a narcissist.”

She makes a distracted sound of affirmation.

“That sounds right. Okay, Hotch wants you to meet us at the hotel, we’re going to compare notes there.”

You go to hang up, before she speaks once more.

“Oh, one more thing, the local police department got the warrant to bring in Amaya Walker for an interview tomorrow. You guys should do that, she’ll be more relaxed with younger people there. If her husband has something to do with it, you have to get it out of her.”

Stepping out of the SUV the next morning, you and Spencer walk through the sliding doors of the Decorah P.D.'s office, greeted by the captain of the precinct. 

“Hi, I’m SSA L/N, this is Doctor Reid.” You shake her hand, chuckling under your breath as you watch Spencer awkwardly avoid doing the same. 

Once you’ve set up your things in the conference room they’ve allocated to you, Spencer turns to Captain Peretti. 

“So, is Mrs Walker here? We’d like to ask her a few questions.”

Spencer is sitting in the chair across from Mrs Walker in the interrogation room, while you are leaned against the desk next to him. 

“We really appreciate you coming in like this, I understand that this is a stressful time for you. Mrs Walker, what can you tell us about your husband’s whereabouts when the list showed up on your skin?” She’s being cagey, not answering your questions and clamming up whenever you mention her husband.

“Eric had nothing to do with it. I’m telling you, it was a mistake for me to come in, I’m sure it’s unrelated.”

She motions to the words on her arm, and you sigh. It looks like straight questioning isn’t going to get you anywhere. Spencer leans his elbows on the desk, looking at Mrs Walker, his brown eyes seeming larger in the dim light. His shirt sleeves ride up his arm a little, and a flash of dark lines shows before it’s covered again.

“Let me ask you this, have messages like this come up on your skin before? Whether they’re lists or not, have you ever seen anything show up on your left forearm?” She shakes her head mutely, eyes trained on the steel surface in front of her. You sigh, motioning discreetly at Spencer, and you both rise, walking out to the viewing area where Hotch and Emily are standing. 

“She won’t say anything?”

“Only that her husband has nothing to do with it. But…” Spencer trails off, and you take the opportunity to finish his thought.

“But, she clearly has some hangup about the messages. When Spencer asked whether they’d showed up before, she said no, but it’s clear there’s more there.” Hotch nods thoughtfully. Lost in thought, you spin a pen in your hand, tapping the uncovered tip against the inside of your wrist, accustomed to the ink blotches that appear on the skin there. 

Your eyes wander aimlessly as you do so, and land on Spencer, who is scratching at his forearm. It causes his shirt sleeve to ride up a little again. That’s when you see it. 

Small marks are on his skin, more muted than you usually see them, but you’d recognise them anywhere. Your eyes widen, looking down at your own wrist. A constellation of ink dots and lines are scattered across the delicate skin, identical to the ones on Spencer’s wrist. 

Is this really happening? Reid? Of course, you’d never been able to convince yourself you weren’t attracted to him, but he’s your coworker. He’s a large part of why you’re so nervous at the BAU. He’s not your soulmate… is he? 

Hotch’s unflapped voice breaks through your racing thoughts. “Okay. Head back in, press about their relationship, not the list. Let’s see if we can find a weak spot.”

Well. Looks like you’ll have to contain this revelation until you’re done for the day. Your head reels with the discovery, but you have to put it aside in favour of the case.

Your mind made up, you snatch the pen off the table before following Spencer back into the interrogation room, steeling yourself with a deep breath.

“We’d like to get to know you a little more, Mrs Walker, if that’s alright with you. How long have you been married?”

She shifts in her seat, uncomfortable, but answers readily. “Fifteen years. And no, there’s never been any red flags that make me think he would ever be capable of something like this.” 

From his spot next to you, Spencer nods once.

“Okay, we understand. In your relationship, do you guys have any rituals to do with your connection? Like writing to each other throughout the day, or a code system or something with your skin?” 

Her cheeks flush, eyes trained on her lap. You press further.

“What is it Mrs Walker? Whatever it is, we really need you to tell us.” No answer. Spencer leans forward.

“Mrs Walker, two men are dead. We’re doing our best to find whoever did it, but we need all the information you can give us in order to do that. You can help us prevent any more deaths.” She wraps her arms around her middle, but still doesn’t say a word. Following his lead, you slam a hand down on the metal table.

“Mrs Walker! I understand that, whatever this is, it’s personal, but this is not the time to be hiding information from us. Men are dead, and it's starting to look like the perpetrator had some connection to you. The local police have a warrant for your husband’s arrest. I want to help you get your family out of this mess, but you need to tell us everything you can. Now.” Her shoulders slump, and finally, you feel like she’s telling you the truth.

“I… I started getting the messages in September. They’re not- not from Eric.” A wordless conversation passes between you and Spencer. That was 4 months before the first murder. You turn back to her, nodding encouragingly as the words seem to spill past her parted lips.

“I never expected to have a soulmate. Or at least… to be able to speak with them. My husband and I, we’re happy! I didn’t care that we weren’t soulmates until…”

Spencer prompts her, leaning forward. “Until?”

“Until the first drawing showed up. It was just a doodle of something, I barely remember now, but we started writing to each other. In places that no one would see, the underside of my arm, or my ribcage. I didn’t- I never did anything! I love my husband, I do, and I would never-” She cuts herself off, holding up a hand to ask for a little time. A few minutes later, she pipes up again.

“I don’t know his name or anything. We talked about surface level stuff, you know? Favourite books, shows, things like that. I was never going to do anything about it, so I didn’t tell anyone.” You can’t help but raise your head, flashing a look at the one-way mirror, hoping Hotch will read the urgency on your face. 

“This is good, Mrs Walker. Thank you for telling us. It’s going to take us some time to deduce whether this is related to the murders or not, but I hope you won’t object to helping us further.” Wordlessly, Spencer slides your notepad and pen over to her.

“I’m going to need you to write down everything you can remember from your messages. If there are any still on you, I really need you to write them down as clearly as you can. In a few minutes, one of our teammates will be in, and they’ll walk you through a cognitive interview, try and see how much we can recover.” The two of you rise, nodding to the officer stationed inside the door, but you pause when she calls out to you.

“Do you- do you think that it’s wrong of me? To stay in this relationship, when I know there’s a soulmate out there for me?” You go to speak, but Spencer beats you to it.

“Mrs Walker, the phenomenon of connections like these doesn’t necessarily mean that the relationship would be perfect. You love your husband, and you have loved him for years. A ‘soulmate connection’ doesn’t mean you should even be in a relationship. Many people don’t even believe it has anything to do with compatibility, those relationships are just as flawed as any other. Honestly, I sometimes think the expectations could hinder a relationship.” 

It startles you a little, the emotion behind Spencer’s eyes when he speaks. Does he really not believe that a connection means anything? Your eyes can’t help but flick down to the faint marks on your wrist.

By the time you look up, Spencer is already in the doorway, looking back at you with concern in his eyes. 

“You okay?” His voice is hushed, intimate, but it’s all you can do to brush it off. Walking back into the conference room, the team is already hard at work. 

Spencer’s confused. Something clearly rattled you in the interrogation room, but despite his attempts to meet your eyes, it’s like you’re purposely avoiding his gaze. 

He hasn’t taken the time to think about it, but whether that’s because he’s busy or because he’s worried, who knows? 

What he does know is that you have quickly become one of his favourite people to work with. Hours spent hunching over maps together, inspecting crime scenes and interviewing witnesses have endeared you to him faster than he thought was possible. It’s this unexplainable fondness that leaves him reeling when the comforting smiles and shared looks are lost all of a sudden. 

He attempts to push it to the back of his mind as the team runs through the case once more, Garcia’s tinny voice streaming through the room. However, he’s not fully in it, and the team notices. By the time they’ve concluded that a reinspection of the crime scenes and interviewing Eric Walker was necessary, Emily is eyeing him weirdly, and Morgan all but frog-marches him out to the precinct’s kitchenette. 

“Kid. What’s going on?” The elder man braces his hands on Spencer’s shoulders, eyes blazing into his. 

“You’ve been acting weird ever since the second interview with Amaya Walker, and so has L/N.” A sense of relief floods through Spencer, and he speaks earnestly.

“I don’t know! We interviewed Mrs Walker again, and it was all fine, but the moment we left the room it’s like she can’t look at me anymore. It’s making me feel all awkward.” 

Morgan sighs, his fingers unintentionally digging into Spencer’s shirt. 

“What did you say when you left?” Spencer bristles a little at the implied accusation, but can’t help but run through the last few parts of the interview.

“It was all normal, but then she- Mrs Walker, asked if she was wrong to stay in her relationship when she has a ‘soulmate’ out there.” He nods, prompting Spencer to continue. 

“I told her what I think she’d agree with, that I don’t know if a connection would make a relationship stronger. I thought that was right, it felt like it soothed the witness.” A troubled look passes over Spencer’s face. He’s always struggled with social cues, but he thought he’d improved. Mrs Walker looked much calmer after he said that to her, and that was protocol. 

Calm the witness, make sure they think you are in their corner. Gideon’s voice rings through his head.

“And that was it! We left the room, and then she started acting all…”

Morgan’s features are unreadable, but his hands relax on Spencer’s shoulders. 

“Sounds like you need to figure out why she’s bothered. But, kid… Don’t let this affect the case.”

With that, he pats Spencer’s shoulder and walks off, leaving him pondering his words. Figure it out. 

Spencer Reid is good at figuring things out. Maybe he can’t tackle this like Spencer, your bumbling coworker, but as Spencer, the profiler.

You’ve been at the first crime scene for only a few minutes, but the awkwardness is thick in the air between you. 

Spencer has that infuriating look on his face, all furrowed brows and piercing gazes and so attractive it makes you want to pull your hair out. It’s making it so hard to try and detach yourself from him.

In an attempt to distract yourself, you sidle over to the evidence markers that tag the blood smears in this crime scene. 

“So we’ve got… A side table in the master bedroom, a heart pillow that was in the living room and an elephant painting on the wall in the landing. All far away from the site of the murder in the kitchen.”

Spencer steps up next to you, still gazing at you unreadably, but opens his mouth to follow your train of thought. 

“The blood spatters indicate that the attack began in the hallway, and the final blows in the kitchen. No blood anywhere else, nowhere near the smears.”

You nod, trying to run through the details of the case in your mind.

“The attack is rushed, hasty. All the stab wounds indicate a blitz attack and a lot of overkill, but the smears are calculated.” 

He smiles, and it’s all you can to not turn and reflect that back to him.

“Right, no blood dripping anywhere outside of the murder, not even when he takes some to the different areas of the house to smear. The murder itself is charged with anger, but this is something more. It’s deliberate, it’s…”

You meet his eyes, finally, and voice what you know you’ve both concluded.

“It’s a message. But to whom?”

He holds your gaze, going to reply to you, but is cut off by the shrill sound of his phone ringing. With a sigh, he fishes it out of his breastpocket, holding the brick-like device to his ear. 

Whatever he hears has him tensing, and you feel like a coiled spring, bracing yourself for whatever grim news is awaiting you.

“Okay Hotch, we’re leaving now, get Garcia to send all the photos to us.” He sets down the phone, looking at you.

“There’s been another murder.”

You stand at the clear whiteboard, surveying the images tacked on to it. The blood smears of the newest crime scene are pinned up next to those of the two previous ones, and it’s driving the two of you crazy trying to decipher what the patterns are. Spencer fiddles with his fingers, the marks on his wrist flashing as his sleeve shifts, sending your mind spiralling every time you notice them.

“A painting of a tree, and an orange. Let me ask you this, do you think the things themselves are significant or the locations of them?”

You shake your head slowly, trying to clear the fog from your mind. The both of you are silent, standing in front of the board with puzzled looks, when Morgan bursts in, waving around some papers.

“Got the pictures of Mrs Walker’s newest message.” He grabs a magnet and pins a picture of Mrs Walker’s calf to the centre of the board, two things listed there.

“Tree painting

Orange”

“Ok kids, we really need you to work your magic this time,” Morgan taps your shoulder.

“The cooling down period has gotten shorter and shorter. We can’t expect to get to tomorrow evening without another murder.” 

You sigh, rubbing your wrist absentmindedly. The marks and your newfound realisation about Spencer haven’t left your mind, but have been pushed to the background for the time being. However, the frustration brings it back up. The connection. Does it mean nothing to him? Does he not think that it would do something for a relationship? You’ve always thought it would indicate that you belong together, wouldn’t you…

Your body moves without your go-ahead.

Eyes widen.

Shoulders tense.

Your arms reach forward, haphazardly grabbing and moving the lists until three pictures sit side-by-side on the board in front of you.

One is printed, a crude attempt by the CSU team to catalogue the items marred by blood. Two are images, words on skin. Words, the first letters of which spell out…

You grip Spencer’s arm, pointing at the first image of Amaya Walker’s skin, the second murder.

“Belongs. Spencer, the second crime scene.” 

He doesn’t even acknowledge your use of his first name, leaning forward like you are. He zeroes in on the newest image.

“To. The third one. It’s an acrostic. The first letter of each item spell out his message.”

You move forward, writing the words ‘__ BELONGS TO’ on the board. You are feeding off of each other, thinking aloud in a way that has Morgan sighing to himself.

“She didn’t get a list for the first one.”

Spencer nods. “She didn’t notice. He had to show her.”

You grab the printed list of the items smeared in the first crime scene. “Side table, pillow, painting”

He leans over your shoulder. “He’s more specific than the crime scene techs were. Heart pillow, elephant painting.”

You turn to him, stomach dropping. “She. She belongs to…”

He writes in ‘SHE’ next to the two other words. “He’s possessive, something happened to make him think he doesn’t have her.”

“Narcissistic. Driven by ownership.”

“Eric Walker was here when the third murder happened. Who else would want to lay claim to her?”

You straighten up, meeting Spencer’s eyes, not looking away even as you address Morgan.

“Derek, where’s Eric Walker?”

“They released him from questioning an hour ago, he went home.”

You and Spencer spring into action, scooping up your abandoned holsters. 

“We need to get to the Walkers’ house, now. Our unsub is taking out what he sees as competition, and Mr Walker’s all he needs to get rid of.”

In the SUV, you are jittery. Morgan sits in the driver’s seat next to you, and Spencer in the back. As you fiddle with your vest straps, you can’t help but think of Mrs Walker, the woman who never wanted a soulmate. And now her soulmate is trying to kill the love of her life.

Maybe Spencer was right?

Hotch is barking orders at the gathered agents when you step out of the vehicle. Nodding along, you fall to the back of the group, your designated role until you’re called to enter the house. 

Your vest is uncomfortable. The straps are always too long or too short, and you have to get it right before you storm the house, but your thoughts are so loud, and Rossi on the phone with the unsub is so piercing, and it feels like you will never get comfortable.

Finally, you feel like giving up, until warm hands find purchase on your shoulders. Looking up, you see Spencer, standing before you with a slight, nervous smile. His hands gently move yours away from the straps, and he looks at you questioningly.

“Can I?” You nod dumbly, unable to tear your eyes away from him.

The touch is soft, tentative. He pulls at the straps dangling over your shoulders firmly, tightening the vest until it sits snugly over your chest. As if acting on instinct, he slips a finger under the kevlar, brushing the thin fabric of your shirt over your collarbone delicately. It makes you shiver.

“Is that good? Too tight?” His eyes are devastatingly soft, head tilted down to face you fully. 

“No, it’s good. Thanks, Reid.” You have to get yourself away from the magnetic pull of him, stepping back and letting out a sigh of relief. 

You walk away, heading Emily’s way, completely missing the look of confusion he aims at you as you brush past him.

Joining the circle of agents and officers, you tune into Morgan’s run down of the plan. 

“Hotch and JJ will take 5 officers and break down the front door. Now, we know there are two other doors that the unsub will probably make a break for once we enter. Prentiss and I will be at the northfacing one, Reid and Rossi at the westfacing one. L/N, you and Captain Peretti should be stationed in the land behind the house, secure the outbuildings before the unsub can think to rush to them and destroy evidence.”

You nod, exchanging a glance with the police captain. 

“Remember, this unsub is severely narcissistic and delusional. He won’t stop at anything to get what he wants, including opening fire on us. Do not engage him in a confrontation. Challenging his goals and views will push him further, and we don’t want any more casualties at the hands of this man.” 

With a decisive nod, Morgan breaks away from the group, the people beginning to station themselves at their posts. With the captain at your side, you walk around the house to the field behind it, directing officers to each of the small barns and outhouses dotting the land. 

With the captain, you stand ready at the large wooden door of what you think is a stable, when the crackling of your earpiece alerts you to JJ’s voice.

“We’re heading in on 5, 4…” You can hear a crash and a shout, and JJ’s voice turns hurried. “We head in now!”

A few minutes have you tapping your index against the side of your firearm, worried. 

“He’s not here. We have Mr Walker here, multiple stab wounds but a relatively steady pulse. House is clear.”

Emily starts speaking. “He hasn’t gone through our door. Rossi?”

Rossi crackles out a negative response. Bringing your wrist to your mouth, you speak into the mic embedded there. 

“If Walker’s still bleeding out, the unsub has to have just been there. Are there any other possible exit points?”

There’s silence for a second until Reid’s voice comes over the comms, frantic. 

“There’s a northwest facing window that’s unlocked! Footsteps leading away from it, into the field.”

Immediately you spring into action, autopilot taking over as you direct multiple officers to search the surrounding woods, and the rest to clear out the outbuildings. 

Counting down, the police captain kicks in the stable door, and you flick on your flashlight, advancing.

The large room is drafty, the old wood planks creaking with every gust of wind. At first glance, the dark room seems quiet and empty, and each movement of your flashlight seems to confirm this. 

The only thing of note you see is the row of stalls along the left wall, the angle of the opening making sure that you can’t see into all of them. 

Silently, you begin to walk towards them, signalling for the captain to follow. Despite the first few being completely empty save for some hay, a chill runs down your spine, bracing yourself for a confrontation that hasn’t happened. 

As you begin to inch your way to the second-to-last stall, you hear a shout from outside the building. 

“There’s someone in the woods!”

One of the officers rushes past the open door to the stable, and the captain raises her head immediately, dropping her defensive stance. 

“That must be him. Let’s go!” Without waiting for a response, she turns, running out of the stable, as if she can’t hear your hushed whispers. 

“Captain! This building hasn’t been cleared—” She’s gone. You can hear the rush of officers running past the building, towards the wooded area to the back of the property. Despite the high probability of the unsub being the person spotted there, you know you can’t leave this building without clearing it. 

You really should wait for someone to do this with you. Never enter a potential crime scene without backup. Rossi’s voice rings in your ears. 

But there’s only two stalls left. The rest of your team are still securing the house and the victim. The officers are gone. 

You can clear two stalls on your own. They’re probably empty anyway. 

Having made up your mind, you straighten up, tightening your grip on your gun and flashlight, and advance. 

Slowly walking to the first stall, you turn the corner, quickly flashing your light in the small space. Empty. 

One more.

The floorboards bend slightly as you walk across them. The wind rushing past the walls ruffles your hair. The metal of your gun is warm under your palm. 

The wall of the final stall comes closer, closer, until you’re stood behind it. One step forward and a turn to the left, and you’ll be at the doorway. 

It’ll be empty. They’ve all been empty.

You take the step, right foot planting in front of you, and turn on the balls of your feet, flashlight and gun extended in front of your chest.

“Hello, agent.”

Not empty.

The house is finally cleared, and Mr Walker loaded into an ambulance. As he watches the vehicle retreat down the road, Spencer hears the chatter over the comms. 

“Is it him?”

“The woods are thick, how did he get here without us seeing—”

“—in pursuit of the person we saw—”

“He’s a white man, late 60s—”

“It’s not him! You hear me, officer? That’s not him, do not arrest that man!” Morgan’s voice cuts through the jabbering, voice stern. 

They haven’t gotten the unsub? Spencer turns on his heels, striding back into the house, where Hotch, JJ and Rossi stand around the blood spatter on the floor. 

“Spence. Doesn’t look like the unsub could’ve gotten to the woods in time, not before we were stationed in the field he’d have to cut through anyway.” JJ stands with her hands on her hips, irritation clear on her face. 

“The other buildings on the property?” He comes to stand next to Hotch.

“I saw Captain Peretti. She said they were all cleared. CSU’s sending more units to secure all of them, but we’re not considering any of them crime scenes as she says it’s clear he hasn’t been in them. It’ll take a while for them to get here and secure them all.” Hotch replies, brows furrowed. 

The door opens, and Morgan and Prentiss walk in. 

“Everything okay?”

Emily huffs. “The locals almost arrested the elderly neighbour, but other than that, the woods are seemingly clear.”

Morgan adds, “There’s some trampled plants in the cornfield to the west of the property, so we’ve got officers searching that now, but that field backs up onto a major road. If he made it through that, he could be anywhere by now.”

Rossi sighs, shoulders slumping. 

“I’m getting sick of this son of a bitch slipping out of our hands.”

“I agree. Rossi, go with Prentiss and Morgan to the road by the cornfield. Canvass anyone you find, ask neighbouring homes if they saw anyone emerge from the crops onto the road or lone cars idling. If he took that way out, he'd have had a car waiting for him there.” They nod, shuffling out. 

JJ pipes up, her brow furrowed in thought.

“The smears were on a milk carton in the fridge and an envelope. Me. His message is finished, isn’t it? ‘She belongs to me’. What’s he going to do now?”

Spencer’s not sure. Hotch shakes his head exasperatedly.

“JJ, let’s go find Captain Peretti. We’ll head back to the PD and see what we can make with the old clues now that we think he had an intricate exit plan. Reid, stay here, get updating the geographical profile with the information from this crime scene. We’ll send L/N here to work on it with you.”

Spencer nods, heading to the SUV to grab his map, and settling at the Walkers’ dining table to get working. 

It’s hot, sweltering. A throbbing pain thuds in your skull, the feeling of dry hay against your face making your cheek itch. Instinctively, you attempt to bring your hand up to brush it away. It won't move.

You jerk your wrists, but find them bound, and a dull pain pangs in your thigh. It’s clear you’ve been out for a little while, your eyes feeling crusted shut. 

With a little effort, you prise your eyes open, feeling your pupils adjust to the darkness of the room. You’re still in the final stall, sprawled against the far wall. Another experimental tug on your wrist and you realise that they’re bound together, the coarse rope wound around your right thigh, forcing you to stay hunched over. 

It all comes rushing back. Losing the unsub. Peretti leaving. The empty- no, not empty stall. The raspy voice that met your ears before the resounding blow to your head.

Twisting your hands awkwardly, you begin to pick at the rough rope, trying to map out the knot that keeps you in your uncomfortable position. Sweat drips in rivulets down your back as you crane your neck.

Your position ensures that you can’t survey the entire stall, but he’s got to be close. The property’s crawling with officers. 

“I’m still here, sweetheart.” 

The voice rings out from somewhere behind you, dark and smug. Your hand automatically makes for your holster, but the rope digs into your skin, leaving you unable to reach it. 

“Don’t bother. You think I’d let you keep your gun?”

You can hear the bastard smirk, anger and fear running hot through your veins. Your gun is your lifeline in situations like this, as not only a means of attack, but a grounding feeling. Without it you feel unmoored. 

The only thing you have in your arsenal is your knowledge of the case. Of him.

“Why don’t you come stand here? Don’t tell me you’re afraid of showing me your face.” Your voice is low, cracking with dryness. 

Prodding him just enough should… there it is. You hear his footsteps, walking past your bent head until you can see his feet and legs, standing in front of you.

“That enough for you? You can see me now?” He crouches, squatting by your calves to show you his face. 

He’s surprisingly handsome, flushed from the heat, dark eyes boring into yours. Dressed in a suit that’s slightly too large for him, he looks out of place in the grimy stable. He’s playing the role of a businessman, save for the gun dangling from his left hand, and the telltale bulge of another— yours— in his pants pocket.

This unsub is severely narcissistic and delusional. Morgan’s words come back to you now. 

“You- you outsmarted us all. We were sure we’d catch you.”

A smile spreads over his face, his ego clearly swelling. You can see his shoulders relax slightly. 

“You thought so, huh? I guess even the FBI has hubris.” His lips form the word hubris with some effort, pronouncing it as huh-brus. It’s clear he’s putting on airs. 

You need to get the others here. You could wait it out, until the crime scene techs eventually make their way to this building towards the back of the Walkers’ land. 

But he has two guns, and he wants Amaya Walker, not you. Who knows how long he’ll be content to lord over you, until he inevitably gets tired of playing with you. He has two guns.

How do you get a message to them? There’s no way he’ll let you have your phone, and this guy has no reason to contact anyone but Mrs Walker. He doesn’t need a phone for that, just a pen, probably in his jacket.

A pen. Spencer. That’s it.

“So, you and Mrs— um, Amaya. Are you guys going to meet in person soon?” 

That does the trick. His eyes glaze over with an expression that would look love-drunk, if you didn’t know about the blood on his hands. 

“Soon. There’s nothing keeping us apart now. I’ll go to see her as soon as I’m done here.”

“That’s why you’re dressed up? I think she’ll like that suit.”

His voice is deceptively soft, almost tricking you into forgetting how dangerous he is.

“I think so too. I borrowed it from a friend, John. She’ll like it.”

John Coulhain. The second murder victim, the lawyer. You resist the urge to gag.

“Yeah. It’s- it’s hot in here, isn’t it? Maybe you should take off the jacket and save it for when you see her. You don’t want to sweat through it.”

His metaphorical hackles raise, and you can tell he’s getting ready to stand and walk away from you. 

“No, I don’t mean it in an insulting way, not at all. It’s just really- really warm in here. I’m sweating. Maybe Amaya would like to hug you when you meet her. She won’t want sweat on her.”

Your voice is wavering, eyes unable to move from the gun still in front of you. 

It takes a long minute before he speaks again.

“Maybe I should take off the jacket. Just for a little.” He’s clearly loathed to admit his perceived fault, muttering to himself rather than speaking to you. Straightening up, you hear rustling above you, until the jacket falls in a heap in front of your bound wrists, part of the fabric falling on the tips of your fingers. You grasp it in your hand, wincing as the rope rubs the sensitive skin on your wrists raw.

As smoothly as possible, you hunch over further, settling in the foetal position, pulling the jacket to cover your hands a little more. 

Seemingly not noticing your movement, you see his legs walk out of your eyesight, padding around you until he comes to a stop somewhere behind your body. 

“Now, we’re going to wait here until your police friends are all done at the house. Then I’m going to take you with me, and we’ll go see Amaya. You’re going to be our witness, and then I’ll get rid of you, got it?” 

His voice is unnervingly slow and deliberate, as if he’s fully convinced this plan will work. You wish you had that same conviction, but you’re sure you know how this is going to end. The stress of hiding out will surely break him, sending him into a spiral where he will either kill you and then himself, or kill you and let the police kill him. 

You have to get them here before that happens. Heart pounding, you slowly inch the jacket closer to you, until your hands are fully buried in the folds of fabric. Feeling around blindly, you trace the inner lining of the expensive fabric until you feel a lip of material. The inner pocket is welcoming to your aching fingers, and you sigh, nearly delirious with relief when your index brushes against a pen. You were right.

Thanking whatever deity there is, you grip the pen, shoving it between your bound wrists, out of sight. 

Tugging once more, you’re resigned to the fact that you don’t have the range of motion to write legibly on your forearm, hands laying uselessly against your clothed thighs. The nearest exposed skin is on your ankle, and you have no hope of contorting to reach that without him noticing.

Chancing a look behind you, you can see him hunched over his knees, muttering to himself. You don’t have much time left. 

Deciding to make a rash decision, you grip the pen once more. Shifting so your left leg is hiked up, your wrists shoved between your legs, you take the pen, jabbing harshly at the fabric of your pants. Without being able to see, your aim is sloppy, but after a few minutes of brute force, you’ve ripped a jagged hole in your pants, near where your left calf meets your knee. 

Tension runs through your body, shifting the pen in your hand so that you can write. 

‘Spencer’

Spencer is stumped. Standing over the large map spread over the dining table, he can’t think of a reason why the unsub would ever leave the scene. This was his endgame, his final target until he could have Amaya Walker to himself. Why would a narcissistic sociopath flee after that?

Garcia’s voice comes crackling over the comms.

“My good doctor, it’s a little ridiculous that I had to use the PD’s satellite phone to get in touch with you. Do any of you pick up the phone anymore?”

He huffs out a laugh.

“We’re in the middle of farm country, Garcia. None of us have signal. Have you got anything?”

“You know I do. I took a look-see into Mr Walker’s history to see if he’d been stalked, and in multiple stretches of CCTV footage he’s being tailed by a white SUV. Including two hours ago, when he was on his way home. The car followed him on the main road, and pulled into their private road after Walker.”

“The car probably belongs to our unsub then. Do you have a name?”

“Do you even need to ask? Name’s Randall Slater, seems to tick most of the boxes of the profile. I’ll call back when I have more, Garcia out!”

Spencer slumps back in his chair. Sure, they have a name, but until he gets anything else from Garcia, it does nothing to help him with the geographical profile.

Wracking his brain for any possible lead, he doesn’t hear Hotch and JJ walk back in, not until they stand at the table with him, the police captain in tow. 

“Reid. Where’s L/N?” Hotch speaks in a low and measured tone, but Spencer can tell that he’s worried. 

“She’s not here yet. I thought you guys were going to send her here?” He raises his head, meeting JJ’s concerned eyes. 

“She wasn’t with Captain Peretti.”

“When we were pursuing the neighbour in the woods, I lost her. I figured she’d come back to find you guys.” Peretti’s voice is tight with worry, and a tinge of something else that Spencer doesn’t have the time to decipher right now. 

“Morgan and the rest haven’t heard from her?” 

Hotch shakes his head no. 

“Her comms have gone silent.” JJ brings a hand up to rub her temples.

 “Captain, inform your officers that we are looking for Agent L/N as well. Hopefully there’s nothing wrong, but we can’t rule out the possibility that the unsub found a way to get close.” 

Peretti nods stiffly, striding out of the room hurriedly. 

He can barely wrap his head around it. You’re not checking in? If there was a word stronger than worried, he’d find it, but his brain seems to be wading through sludge at the moment. He hadn’t realised how untethered he feels when you’re not there, until now, where it feels like the only thing he can think of. 

He can’t just sit around. Spencer straightens up, snatching his FBI windbreaker off of a chair and beginning to put it on.

“Okay, I’ll head out into the crop fields. If he took her as he fled, there’s got to be evidence of it.”

He’s already halfway across the room when Hotch calls out after him. 

“Reid, no. You need to stay here. Work on the geoprofile.”

Spencer can feel the irritation bubbling up inside him, his voice straining with the effort of not yelling. 

“Hotch, I’m not going to sit around here and do nothing when the unsub could have Y/N with him. If I can find—” Hotch cuts him off. 

“We. Reid, I know you’re emotional, we all are, but you cannot forget that this is a team. We’re all prioritising this. You know that you are best used here. If the unsub took her, we need to locate that secondary location immediately, that’s what you need to be doing.”

Incensed, Spencer can’t help but raise his voice. 

“Do we even know that he left? We profiled him to be a delusional narcissist, why would he ever leave? Hotch, I’m telling you, something is wrong here!”

Hotch’s eyes flash with emotion, and he opens his mouth, presumably explaining why Spencer shouldn’t leave. It’s all a moot point, however, because in that moment, he feels a burning on his left calf. 

The one-sided conversation goes over his head as Spencer can’t help but tug up his pant leg, itching at his skin as he runs through possibilities in his head. The unsub could’ve done what they’d now theorised, taken you and dragged you through the cornfield, into a car that was waiting by the main road. But why? 

He huffs, sitting down in a dining chair as he continues scratching at his leg. Hotch falls silent, but he doesn’t notice, lost in his thoughts. 

“Spencer. Spence!”

 JJ’s voice snaps him out of his haze. 

“What, JJ?” He snaps, irked that he’s been pulled out of his thoughts.

“Spencer, your leg.” He follows her pointed finger to the exposed skin of his calf, red from his scratching. It looks normal, smattering of hair covering the dark moles and lines covering his skin. 

Wait. Lines? 

He shifts, hooking his ankle over his right knee so he can see his calf more clearly. Shaky lines are forming on the skin in jerky motions, spelling out words in a familiar script. 

‘Spencer 

unsub in stable 

west edge

2 guns

wants amaya’

The handwriting is slanted, letters running into each other and words misspelled. And he knows it’s yours. 

“Y/N. It’s her handwriting. She’s writing to me.” 

He feels like he’s in an out-of-body experience. He can hear JJ’s gasp, but it feels as though it’s coming from miles away. Hotch is saying something, but the words don’t register as anything more than misshapen sounds. 

Graphology is one of Spencer’s specialties, but now he wishes he’d never learned about it. He wishes he didn’t know that the harsh angles of your writing indicate that you have adrenaline pumping through your veins. He wishes he didn’t see the way your letters jumble together, a physical manifestation of your fear. 

He slowly comes back to his body, finally understanding what Hotch is saying into his comm. 

“—a stable on the west edge of the property. We need the three of you back immediately, JJ, Reid and I will coordinate with the locals to have the building surrounded. Reid, can you hear me? Reid!”

Spencer nods, looking up at Hotch. 

“We need to know what’s happening in there. Is she hurt? Can she overpower him?”

He agrees, snatching up a pen and wracking his brain on what to write.

‘Are you hurt?

Are you armed?

Can you talk him down?’

He writes carefully, focusing on the drag of the ballpoint pen on his skin rather than the pure fear riddling his body. Once finished, he doesn’t set down the pen, fiddling with it in an attempt to stop himself from running to the building immediately. 

JJ sets a hand on his shoulder, and although he’s grateful for her support, he can’t bring himself to look at her. He can’t look away from his leg. He has a soulmate.

You’re laying at an awkward angle, neck craned and back hunched over so that you can read what Spencer’s written. 

Are you hurt? Your head hurts like hell, and the rope has irritated your skin to no end, but nothing that impairs you. You write a shaky ‘N’ next to the question.

Are you armed? You chance another look behind you, looking longingly at your gun in his pocket. Another ‘N’.

Can you talk him down? Can you? You remember the many times Rossi tutored you on interacting with narcissistic unsubs. Learn what they want, promise they will have it, and don’t challenge them. What does he want?

You decide you can, writing a small ‘Y’. Next to that, you scrawl hurriedly, hearing him shift around. 

‘bring amaya’

With that, you stuff the pen in your sock, relaxing your body and hoping you don’t look like you’ve been up to something.

The unsub is unsettled, and you can hear him oscillate between standing and sitting repeatedly. 

If you want to take control of the situation, you need to act quickly. He’s losing patience with you and the officers outside. If you wait too long, he’ll snap, and then you’re done for. 

A final peek at your calf finds the words ‘5 minutes’ etched there. 

Five minutes to talk him down. You can do it for five minutes. 

You croak out lowly, vocal chords rasping against each other. 

“I— I spoke to Amaya. When we were investigating. She told me about you. About the two of you.”

You can hear him stop moving abruptly, and then the patter of his feet as he walks quickly to you. He comes to a stop right in front of your face, your eyeline taken up by his feet and ankles. He speaks in a hushed tone, as if tasting the words carefully before speaking.

“She did? What did she tell you?”

“She said you’d been talking for a while. That it started when you drew a flower on your upper arm? She drew it for us.”

His voice has regained some of its smugness as he replies. His feet are tapping softly, as if he has all the time in the world.

“Of course she did. She loves me.”

You nod jerkily, continuing with your waffle.

“It's clear she does. I'm— in the FBI, I'm a profiler. I'm an expert on human behaviour, and I could see it, despite…”

You trail off, hopeful that he'll take the bait. He does, voice gaining a dangerous edge.

“Despite? Don't let me stop you from speaking your mind, agent.”

“Well, she was scared when we spoke. You know, suddenly there were all these dead bodies that were linked to her. She was pretty shaken.”

His tapping stills.

“Because of the bodies? I did that for her. For us!”

“Yes, I know. It's romantic, really. But, it scared Amaya a bit. It's all so sudden, you see. She was a little freaked out, especially because you hadn't told her about it.”

He's silent for nearly a minute, breathing heavily.

“She's angry about what I did for her?”

“No, not angry. I know she'll understand. You did it for her, she'll love it. She just… wanted to know from you, instead of the police.”

There. You've set your trap, and hopefully he'll fall right in it. Rossi's good-natured lectures play out in your head. 

Never challenge a narcissist directly. Make them worried, but never tell them outright that the object of their desire isn't going to be theirs.

He feigns nonchalance, but you can hear in his voice that his narcissistic possessiveness  is warring with the uncertainty you've introduced.

“Your friends had better be leaving. I've got to get Amaya, and if that takes too long, it's on you.”

You fall silent, hearing him mutter to himself as he begins to pace. If you push further you might be toeing the line too far.

The five minutes are almost up, you've got to believe that you've done enough to help them talk him down. 

As if on cue, you hear the familiar crackle of a megaphone. Rossi's voice, albeit muffled, comes booming towards you, sending a shiver down your spine.

“Randall, we have the building surrounded! Let the agent go and we can end this peacefully!”

The unsub, Randall, you suppose, straightens up, and you see him walk cautiously away from you. He walks to the far wall of the wooded building, and you catch a glimpse of him peering through the wood planks. He swears, shoves his gun into his waistband and paces hurriedly back to you.

“You bitch. Did you tell them? Huh? Did you?” He grabs a hold of the rope binding your wrists to your thigh, tugging you up to face him. The rope cuts harshly into your skin, forcing your right leg up at an unnatural angle to follow your wrists.

“I didn’t! I didn’t tell them, I don’t have my phone!”

Wrong thing to say. His eyes darken, and you see his hand twitch toward his gun.

You’re so close, you just need to show him what he’s here for. You hope Spencer got Amaya here.

“I can get you to Amaya! I swear it, if you let me talk to them, I can get them to give you Amaya.”

It works. He doesn’t let you go, and you whimper at the feeling of the rope cutting you, but he pauses, and you can see him thinking it over in his head. It takes one long minute, but he seems to make up his mind.

“No funny business. I’m going to be right there, so don’t even try sending them any messages, got it?” 

You nod, and he whips out a pocket knife, using it to slice through the rope. You let out a deep sigh of relief, your right foot meeting the floor so you can finally stand alone. Blood seeps from the cuts on your wrists and thigh.

He grabs you by the throat, pressing himself to your back, and you register the cold barrel of a gun pressing against your side, where your vest doesn’t cover.

As he half marches, half drags you to the large door, he hisses in your ear.

“I don’t want to hear anything other than Amaya, got it? You say anything that doesn’t have to do with getting her here, I shoot you.”

You nod wordlessly, stumbling towards the door. He comes to a stop right behind it, and maneuvers around you to shove it open, thrusting you out into the fading light of the evening.

Blinking rapidly, you slowly focus on the cavalry in front of you. Multiple SUVs are parked at a three meter’s distance from the stable, doors flung side open so the officers and agents can huddle behind them. A few steps away from them stands Rossi, the sight of him sending a rush of comfort through you.

Rossi clutches the megaphone tighter, and you notice he’s speaking to someone by the SUV in front of him— Oh. Spencer is crouched at the car right in front of you, silver revolver glinting in his hand, and his eyes trained on you as he speaks to Rossi.

It feels rather stupid, but you can’t help but note how pretty he looks, hair tousled and jaw clenched.

You’re pulled out of your reverie when Randall jabs you in the side with his gun, making you yelp.

“Now.” He warns. You straighten your neck, making eye contact with Rossi.

“He’s demanding to see—” Another jab. “—to have Amaya Walker. Please bring her out.”

As you speak, you take your right hand, which was dangling at your side, and bring it up to your pants pocket. Making a gesture that resembles a gun, you slip it into your pocket softly. There’s no significant signal that they’ve understood, but you see the skin around Rossi’s eyes pinch, and you hope you’ve gotten the point across. 

If they can get him to move just a little, you can retrieve your gun from his pocket and incapacitate him. And the only thing that will get him to move now is Amaya.

Rossi brings the megaphone back up to his mouth.

“We can get her here, but we need a guarantee that you won’t harm this agent. Randall, can you do that? Give us Agent L/N, and we can get you Amaya.”

Incensed, Randall hits your side harder with the barrel of his gun. You see Spencer and Morgan twitch forward slightly.

“No! I want Amaya here, now, and I’m not letting your girl go until I see her!”

Rossi nods quickly, signalling to someone behind him. At that motion, JJ emerges from who-knows-where, Amaya Walker in tow. The older woman is wearing a bulletproof vest, her face ashen at the sight in front of her. 

They walk forward until they’re standing by the cars.

At the sight of her, Randall relaxes slightly, but not enough to where you can easily maneuver to your gun. Shaking your head slightly, you see JJ prompt Mrs Walker.

Her voice is shaky and quiet, but you know Randall is hanging on to every word.

“Randall. That’s your name? I’m—” She chokes back a sound. “I’m so glad to meet you.”

Randall makes a pitiful noise from behind you.

“They said you were scared of me.”

JJ prompts her again. 

“I- I could never be afraid of you.” 

At that, Randall lets his hand fall from your throat, and you move. Whipping around, you shove his gun away, diving into his pocket and retrieving yours. You straighten, pointing your gun at him as steadily as you can, with the wobble in your right leg.

He attempts to run to Amaya, but JJ’s already swept her away. 

“Randall, surrender now! You’re surrounded!” Rossi’s voice booms, but it only serves to madden him further.

With a roar of anger he begins to charge to you, and you squeeze, before collapsing. The bullet hits his thigh, the last thing you see before you pass out.

It feels like hours later when you come to, but it's clearly only been a few minutes. You’re sitting on something hard, cold metal, but your back is being supported by something warm.

Only a few beats pass until the sounds come rushing back. You hear the chatter of multiple people around you, but three voices come the clearest. One is deep, interjecting intermittently to the conversation.

The other is calm and melodic, speaking in a steady rhythm that doesn’t falter at all. 

The last is hurried, speaking so quickly that it feels as though it all runs into a pleasant hum. They’re clearly asking questions to the second voice, but you can’t fully understand what they’re saying. 

You want to know who it is. With an immense amount of effort, you prise your eyes open, blinking blearily at the lights. 

“Hey, there she is.” There’s that deep voice. Turning to it, you see a familiar face. Derek smiles at you softly, his hand coming up to rub your shoulder.

“You had us worried there, sunshine.”

Looking around dazedly, you can finally take in your surroundings. You’re sitting in the open doors of an ambulance, the evening having given away to the darkness of night. Headlights from multiple cars light up the area, leaving you spaced out.

There’s a medic standing next to Derek, tending to the cuts on your thigh. Who’s the last voice? 

You twist around, much to the chagrin of the medic, but their protests fall away when you see him. 

Spencer sits next to you, your back leaning against his side. His eyes are worried, pinched together, but still lovely. 

“Hey.” 

It’s simple, but the word seems to mean something more, when it’s coming out of his mouth, and when he’s looking at you like that.

You’re frozen, unable to speak. The medic pats your knee, saying that the rest of your patching up should be done at the hospital. Derek walks away after kissing your forehead. You can barely say goodbye to him. 

It’s only once you’re relatively alone that Spencer speaks again. You turn to face him, immediately missing the heat of his torso against your back.

“Was… this why you were acting differently?” He raises his leg, pulling up his pant leg to show you the words on his skin.

You nod.

“You said you didn’t think it was real. I didn’t know how to tell you yet, and then— it was the only way to contact you.”

You see his hands raise slightly, but refrain from touching you. You want him to touch you.

“I don’t know if I believe in it. But… Even without it, I wanted this.” His words are achingly sincere, and his hand comes to rest over yours. 

“Wanted it since we met.”

Your breath hitches slightly, and you turn your hand to hold his, your wrist with pen marks meeting his.

They start investigating! Well, they get snacks first - Shaggy and Scooby have to try Nasty Burger, and the rest of the gang should eat something too.

And who do they find there but Danny, Sam, Tucker and Valerie? Danny hears them talk about wanting to see a ghost, and very tiredly he leans over the booth divider and tells them that if they see a ghost attack, they really should run away. That's what he does, and his parents are professional ghost hunters!

Shaggy and Scooby have a new favorite civilian! Man, someone who understands that it's better to run from scary things! Hey do you want a milkshake and to go play video games while the others go their silly ghost hunting thing?

Tucker is down! Tucker is so down!

Fred is up at the counter talking ghost-catching-traps with Valerie, and she's lividly explaining how the ghost boy destroyed Axiom Labs, him and his monster dog, and the different things she- sorry, Red Huntress - has tried and how the ghost boy got out of them.

Sam is... squinting a little bit.

Here's the thing. Rich people don't all know each other, okay? Especially big rich families who only have one or two public facing heirs and have a bunch of other kids and cousins and niblings that aren't public-facing. But there are... stories... about the Rogers and Blake families. The Mansons are rich because they run a cellophane empire, they're new money - the Blakes have been rich since the 40s, with the main branch running a soap empire and lesser branches in acting, modeling, and managing family land overseas, and the Rogers have just been filthy rich for living memory. That's not the weird part. The weird part is that Daphne Blake and Norville Rogers were born in 1954, and they should not still be teenagers in 2007.

Sam's immediate suspicions are that the gang died in a car crash in 1969/1971, and these are ghosts trying to move into Amity, like Johnny and Kitty. But she can't bring it up in the middle of Nasty Burger. So when Velma and Daphne finish eating and say they're gonna go wander the town, Sam volunteers to come along. The boys are in a heated discussion about Doom versus Pac-Man and Captain Cool versus The Blue Falcon, and Fred is talking engineering with Valerie, so technically none of the other tourists are being left unattended.

So off they go! And dang it, these ghosts of a rich once-heiress and her genius friend are actually nice to hang out with. Sam mentions a charity and Velma has so much to say about the history of that charity and the people it helps! And that time they arrested a corrupt treasury officer to make sure that the charity actually did it's job.

man. Sam kinda likes these two. She really hopes they aren't secretly evil, she'll feel bad.

Meanwhile, Valerie's shift has ended and she's taking Fred to the ruins of Axiom. And he has decades of experience, so he notices - the ruins of the new security system. The abandoned dog kennels. The euthanizing equipment. The evidence of a mass grave for once-beloved security guards. Valerie hadn't known the dogs were put down. She thought they were rehomed.

...maybe the ghost dog wasn't acting out just to cause problems. Maybe the ghost dog is looking for his friends.

She still wants revenge. But Fred wants to know why the ghost dog and ghost boy would go after the lab, and his best theory is revenge for the guard dogs, and Valerie knows that revenge loops can only lead to disaster. Fred wants to investigate the dog trainers next, and Valerie is going with him because yes, she knows that these ghosts are real - but what if the ghost boy is the trainer's dead son?

Smashcut to Shaggy, Scooby, Tucker, and Danny - they are playing Doomed at Tucker's house, with copious snacks, having the time of their lives, and they're talking about creepy things going on.

Now, here's the thing. Rarely do the whole gang find real monsters. It happens, but it's rare. Shaggy and Scooby on their own? They find the real monsters. Shaggy has been kidnapped by vampires, turned into a werewolf at LEAST twice, he's taught gym to monsters, there was the mirror monster Shaggy, he's been haunted, The Rogers Family and the Doos are Always Intertwined. When Danny and Tucker talk about possession and how most ghosts - not all, but most - are just trying to live their lives and are causing problems in the process of that, and then they talk about the GIW... well, Scooby's hackles go up.

Monsters are scary, ghosts are scary, by virtue of being ghosts and monsters. But they're usually befriendable once the boys get over the shock.

They don't deserve to be hunted for being what they are.

Danny and Tucker look at each other, and decide hey, maybe we can test something. They take the boys to the park, and Danny calls Cujo. Fetch ensues.

Sam decides to take the girls to the Fenton Lab. Maybe it's because Daphne mentioned that she's a pretty good backup driver, or because Velma made an offhand comment about driving on dangerous mountain roads, and Sam, with her car crash theory, wants to know how they deal with constantly being around beloved friends they've killed.

The investigation derails that. But only a little bit. The girls figure out near-immediately that someone died for the portal. They can tell.

And then they can help Sam work through the trauma of not just killing her friend once but twice, because at one point she accidentally rewrote reality and saved his life and everything was worse for it.

And investigate the portal. :3 That's sure some really purposefully placed wires, guys. And buttons. The Scooby Girls can fiddle with the portal safely because they're Immortal with a capital I.

It could go Fenton parents being purposefully dangerous or it could be sabotage from someone else like in the one corpse au I can't find. I vote it's someone else because I like the Fenton Parents. But! This has become a murder investigation! And the girls are good at investigations.

The Scooby gang and the trio + Valerie meet up in the park; Fred and Valerie have a lot of information about Dalv Co and Axion labs. Daphne, Velma, and Sam have proof of portal tampering. Danny, Tucker, Shaggy, and Scooby have done their own little investigation into each other, more than anything else.

Valerie gets read in. It's also very important to me that she sees Cujo and works past the hate to pat him on the head. He's just happy to sniff her.

"Helsinki," Jay starts immediately. "Trinidad. Los Angeles, Coast City, Victoria—"

"That wallaby had it coming," Roy mutters, sinking in his seat.

"The other Victoria, asshole."

"Flukes! All flukes!"

"That excuse only works the first four times you try it," Kori cuts in, sounding amused. Four? Kylie mouths at Roy, and Roy just shakes his head, looking contrite. Whatever. There's time to milk the story out of him later.

The waitress passes by their table again, shooting Roy a flirtatious smile, and Roy lets go of Kylie's hand a second before she turns, leaning back in his seat and giving her his own heavy-eyed look under the brim of the stupid hat he's still wearing indoors, like an asshole. Kylie pulls her hand back, shifting in her seat and frowning when it makes her dress ride even lower. "What time is he supposed to get here again?" she asks.

"Ten minutes," he says, reaching over to stop her again when she tries pulling her dress up. "Stop it. You look hot."

"Roy," Kori chides, and Kylie's face only burns hotter at the reminder that Jay and Kori are still on the line.

"At this rate, I'm going to flash everyone," she mutters, like if she just talks quietly enough then Jay and Kori won't hear her.

Roy turns and leers at her. "Perfect," he says, and Kylie frowns, shifts closer like she's cuddling into his embrace and discreetly reaches over and pinches his thigh. "Ow! What was that for?"

"For being an ass."

"You're all so mean to me." Roy's hand skates up her spine, and Kylie shivers as he brushes away the small, fine hairs sweeping down from her updo, rough nails catching on her skin. The scrape of his calluses sends tingles tinges skipping down her back as he spreads his hand, gripping in a casually possessive gesture. She stares down at the pink umbrella floating in her drink as she feels his fingers instinctively seek out her carotid and jugular, before drifting down, over the hard knots of tension between her nape and shoulder.

"This okay?" His voice is a low, rough storm battering gently at the shell of her ear. Kylie realizes, belatedly, that he must've turned his mic off, and she reaches up, fumbles with the button hidden under the latch of her choker to do the same.

"Yeah," she says, and clears her throat. "Yeah."

"Good." His fingers press in, squeezing. Kylie wonders how they must look right now, her pressed to Roy's side wearing nothing but this skimpy little dress she dug out of her closet, back before being a Lantern had taken over her life. His fingers circling the back of her neck, pressing in just right to make her melt even more against him. Just follow my lead, Roy had said when Kylie asked him about what she should do at this part, like that fucking explains anything. Stupid Roy. Stupid Jay. This is the last time she agrees with their plans. And it's absolutely the last time she'll let them drag her along on their cases.

"Don't look," he whispers the next time he leans in. There's a whiff of cologne caught in his clothes that grazes ever so gently against Kylie's senses, something sweet and musky and faint like it was worn as an afterthought. "There's five of them. You think you can keep them covered?"

"Please. I'm not an amateur," she says, eyes sweeping across the floor, taking note of the same people she'd been eyeing for the last half hour. "Six," she adds when another man walks through the door, his jacket hanging off his body in the wrong way.

"Boudet," Roy curses under his breath. "That motherfucker." Kylie counts six different places he could he hiding a weapon on his person when he walks past their table, then narrows the count down to three or two after taking anatomy into consideration.

"Boudet?" Jay pipes up, and unlike Roy, she sounds gleeful. "I call dibs on that asshole."

"We can share," Kori says diplomatically.

"Do I want to know?" Kylie whispers to Roy, turning in time to see him grimace. He shakes his head, seemingly staring off into the distance, but she knows he must have the table trained in his peripheral.

"Jakey!" Roy yells, and his hand abruptly drops from the back of her neck. The guy that comes at them ambles in from the direction of the door, but he'd been sitting at a table for almost as long as they had, tucked into the patio just beside the window. Kylie had caught glimpses of his white-streaked blonde hair, and his eyes skate over her like oil over water as Roy pumps his hand in an enthusiastic handshake, and then pulls him in for a hug.

"Incoming," Jay says. "Seven minutes." The line goes dead.

"What's up, man?" Roy asks, pulling away from his embrace. His eyes droop down, heavy and exuberant. There's a languid ease to his movements when he drops back down beside Kylie, one arm splayed behind him over the beige, fake leather running over the sofa. The other falls around her waist, curling over the bare skin of her cut-outs and hauls her closer to him with casual disregard. "Long time no see."

Kylie reaches for her too-bright drink, gulping down a long sip in hopes that it can explain away the hot blush on her face. Again the other man – Jacob Boudet – looks at her like she's a particularly fancy poodle. "You know how it goes," he says, setting a folded piece of paper down on the table.

Roy snorts. "Don't be like that. We're friends, aren't we, Jakey?" Kylie sees the glimmer of distaste flash across Jacob's face at the nickname. "Don't be so stiff. C'mon, relax, have a drink." His vowels flow into each other, a slur interlacing his words. "It's on me, even."

"I really don't—" Jacob starts.

"Hey, sweetheart!" Roy hollers, waving another waitress over. "Can I get this gentleman a…" he falters, just long enough to make it seem like he's thinking, but not long enough for Jacob to actually cut in. "You a Jack's guy, Boudet? I'm kidding, I'm kidding." He grins at the waitress, but his eyes slide to Kylie, and it isn't apparent who his wink is meant to be directed at. "Get him the Dalmore, sweetie. Unless you're more of an Azul guy?"

Kylie gives the waitress an apologetic look as she banters with Roy about tequila. "Five minutes," Jay says in Kylie's ear as the waitress asks Roy if that will be all. "You better have your game face on, Rayner."

Kylie checks to make sure that Jacob is preoccupied with pretending he doesn't want to gut Roy. "Oh, fuck you," she says as she ducks her head, pretending to rummage around in her purse. "How many times have I saved your ass by now?"

"How many times have I saved yours?" Jay shoots back, and Kori's sigh crackles across the line.

"Focus, girls," she reminds them gently. Roy's soundlessly laughing beside her as he returns to his reclined position, his thumb pressing circles into her side like he's trying to get her to calm down. Which is bullshit, Kylie doesn't need to calm down. It's Jay who needs to stop being an aggravating idiot.

"This is a new girl," Jacob says, cutting off another stream of Roy's good-natured ribbing. "Where's the other one?"

"Oh, don't worry about her," Roy says dismissively. He turns to Kylie with a smarmy smile that makes her skin crawl. "You know how to keep your mouth shut, sweetheart, don't you?"

It's an act. Kylie knows it's an act, but she still sort of wants to hit him anyway. "Of course I do," she simpers instead, batting her lashes and giggling as she leans into his side. She mimes zipping her lips shut, and then leans forward, pressing a kiss to his cheek.

"Fuck, that's creepy," Jay mutters in her ear as Roy reaches up, runs his thumb over her lip.

"I know you do," he says, leaning in closer like he's besotted. "Pretty thing like you, I bet you've got all sorts of secrets."

It takes effort to keep a straight face, especially when Jay snorts and Kori starts to giggle. "Hehe," she says, in her dumbest California voice, batting her lashes at Roy. "I don't kiss and tell, if that's what you're asking." She nips at his thumb, flashing a peek of tongue before standing up, wobbling a little in her heels. Jay's feet are bigger than hers, and she likes her stilettos tall and unstable.

acob's watching them with an expression stuck between incredulous and murderous. "I'm going to the washroom," Kylie says, pretending to not notice. "I'll be back!" She waves her hands and ducks away before she can see their response, cheating a bit with her ring so that she won't look like a wobbling giraffe when she walks. "Time?" she asks, sweeping her eyes over the gathering crowd. Three new people are wearing jackets that don't hang the way they should, and she adds it to her mental checklist.

"Four minutes," Jay says.

"Three," Kori says, a few seconds later when Kylie steps into the bathroom. She pauses to check on her makeup, rubbing away a lipstick stain beside her mouth, and sweeps her hair away from her face, smiling at the lady who steps out and waiting for her to exit.

"There's five of them now," she says as she leans against the sink, frowning absently as she blots some excess oil and sweat off of her nose. "It's overkill, isn't it? Especially just for Roy."

"Just," Jay mocks. "There's no such thing as just Roy. People know who he is."

"One minute," Kori cuts in. "I believe now is when they will start their negotiations."

Kylie takes a moment to make sure that everything is in the right order before leaving, taking the long way back to their table. The dark interior or the bar makes people careless; she notes the dark grip of a gun sticking out from a man's jeans, notes the jacket tugging too much on her sleeve as a lady drags it down. A mental scan ensures that it's just a knife, and when Kylie makes her way back to her seat, she pretends not to notice the gun below that's aimed at Roy's belly, carelessly bumping it aside with her leg.

"Oops! Sorry!" She giggles, leaning into Roy. Makes sure to open her mouth wide as she takes another drink, pursing her lips around the straw and leaving a dab of red lipstick behind. "Did I miss anything fun?"

"Yeah, sweetheart." Roy's hand fits itself back around her waist like he's holding her up. "Jakey was just about to show us something interesting."

"I am going to show you something," Jacob grounds out. "The girl—"

"Hey, hey. Don't be like that." Roy reaches into his jacket, takes out a stack of bills and carelessly tosses them on the table. She sees Jacob trace over them, the covetous, greedy light in his eyes. "A friend of mine is a friend of yours."

Shouting comes over the earpiece – not from Kori or Jay – before the line clicks dead. Kylie pretends not to notice the way Roy's grip on her tightens a fraction before he forces himself to relax again. It's not a lack of faith, and Kylie gets it – gets the thrum of ever-present anxiety running through your blood on every mission. It's not baseless. It's never baseless. Even Superman can be brought down by a stroke of bad luck.

"Pretty please?" she asks, batting her eyes. She winks at Jacob and says, "If anyone asks, I saw nothing!"

She's glad that the flush on her face can be explained away as inebriation and not embarrassment over the role she's forced to play. This is the last time she's following Roy's lead.

*

"This sucks," Kylie whispers to Roy, grimacing in pain as she peels the tape away from her mouth. The van jostles over another pothole, shoving them together, and she bites back a sound of pain as Roy's elbow digs into her ribs. "Are you sure I can't just bag them and go?"

She can't see Roy right now, not with the way they're tied together, back to back, elbow to wrist, but she can still see the look that he's giving her. Roy kicks at her ineffectually where their ankles are tied together, and she relents, using another construct to peel the tape away from his mouth.

"Ow," Roy mutters, his voice getting lost in the rumble of the engine as it jars over another bump. Ahead, Kylie can hear raised voices as they argue, something about 'risks' and 'profits' and 'those damn vigilante shitheads always getting in the way'. "I didn't think they would kidnap us."

Kylie can just imagine the way Jay would roll her eyes, the severe downward slant of her mouth. You don't think, Roy, she would say as she fires off another blast from a ridiculously over-modded gun, helmet hiding her sweat-tousled hair from view, but Kylie would still know, the shiny strands whipping around her face like berry-dyed silk—

"I don't care!" Someone screams from up ahead. The van swerves, and Kylie and Roy both tense as the tires screech beneath them. "You get me? Take a dump and piss off the harbour after for all I care. If we miss this shipment, it's your ass that's going to be on the line."

"Do we," Kylie starts.

"No," Roy whispers back. "We'll meet at the rendezvous point. Now quick, put the tape back. We're almost there."

Kylie doesn't have time to ask Roy how he can even tell when they're tied together in the trunk of a van with no windows. She hurriedly smooths the tape back over their mouths, grabbing hold of the loosened knots binding their arms so that it looks like they're still tied together. It only takes a few minutes before the van comes to a screeching halt that throws them against the back of the seat.

Roy makes a muffled sound of protest when she knocks into him, and Kylie grimaces an apology, awkwardly trying to shuffle off the tender parts of his body. A shadow falls over them and they both freeze, Kylie looking up into the cold eyes of Jacob Boudet.

"Don't make a sound," he threatens. "You don't want to know the consequences of disobeying me."

Kylie just barely manages to refrain from rolling her eyes. Okay, asshole.

A sharp crack pops through the air. In the second it takes for Kylie to realize it was a gunshot, Roy's already pulled his arm free and yanked the tape off his mouth. Boudet shouts and scrambles back, pulling out his gun own and yanking the trigger back.

Click. Nothing. Kylie cuts through the rest of the rope, and Boudet backs away with wild eyes as Roy pushes himself up off the trunk, stretching leisurely and giving the dual shapes of Jay and Kori a salute.