#Derek Conway

[augustusaugustus]

10.143 Fly on the Wall

Catherine Tate guesting in a surprisingly unexciting episode for one that includes an explosion.

[forensicated]

05x14 - Cock Up

TW: Racism and men being men of the 80's...!

Reg is dressed in a full referee kit whilst he practises his discipline in the mirror. He pretends to book Bryan Robson (at the time, Robson played for Manchester United and England.) He's the referee for the Inter School's five-a-side challenge which is being supported by Sun Hill as part of a Youth And Communities initiative of Brownlow's.

Bob is amused to find him threatening his reflection with a red card. Alec tells Bob that Reg was spouting off about the Police being society's referee in the canteen. Bob claims Reg is only the referee because he's the only one they know who had his own kit.

Brownlow, Yorkie, Tony and Taffy are also in attendance. Charles is dressed in full uniform for his speech and picture opportunity. Bob's youngest son, Danny, is playing for Medway Comprehensive. Brownlow tell the uniformed officers that it was good of them to volunteer to support the cause. Taffy scoffs as he walks off. "Volunteer? More like pressganged!" Alec can only stay for half an hour because he's promised his wife that he'll put up shelves for her. "You've got more shelves than anyone I know!" Bob laughs. Taffy playfully mocks him for being under the thumb. Alec wouldn't have it any other way. [Gif is Taffy's reaction to Brownlow's speech.]

Burnside is not happy about 'a bunch of louts kicking a bag of wind' meaning that the station has ground to a halt. Tosh claims it's all public relations but Burnside isn't appeased. He says there's a crime committed in London every 7 seconds and public relations will only improve when the police's record for catching criminals does.

At full time, Danny Cryer's team have lost and their supposed top scorer was off his form. As if it couldn't get any worse, Bob is left with the thought of Reg going off to the changing room to rub liniment into his calves. Bob and Reg overhear the Medway Comp boys having a row in the changing room and stop the boys fighting. Danny tells his dad that it was just an argument and not to worry about it but Bob won't let it drop as he heard Danny accuse the so called star player of being on drugs.

Bob takes 'the loud whisper' of information to Derek once he returns to the station. He admits Danny doesn't want to grass on his friend but if there's a chance that cannabis or worse is being dealt in the school then he can't let it drop. His main suspect, Colin Mellor, was clean last time he was raided by the Drug Squad. Derek invites Frank into the chat. Frank knows Mellor as a 'cocky scumbag who isn't known for keeping a low profile.' He agrees with Bob that it's likely he is supplying the drugs at Bob's son's school. He's angry that Mellor got off last time, claiming the Drug Squad cocked up and he had prior notice. Derek reminds them they need evidence. Frank says he'll put the shop under surveillance. Derek promises him he can use who he like from Uniform - just get Mellor and play it by the book.

Alistair sits outside the shop, hidden from view in one of those tents that workmen used to use on the streets. He's really not happy!

He documents Albert Johnson leaving Mellor's shop and meets Frank in a nearby café to update him. Alistair tells him that Johnson was nicked for dealing when he was at West End Central approx 18 months ago.

Reg reads the report of the football match out to the boys, oblivious to the fact they're laughing at him. He's genuinely proud and wants to send a copy of the article to his mother. He doesn't get what's funny.

Frank takes surveillance pictures to Reg for him to use his collator skills to locate the people in them. Reg recognises one as a pupil from Medway Comp who was cautioned a few months ago for possession of cannabis. He does however let himself down however by saying that 'could make a serious mistake with her!' She's 16, Reg! (oh the 80's!). Alistair reports that the girl frequently hangs around the shop during lunchtimes with different friends each time.

Frank arranges to arrest the girl as an inning to Mellor to avoid getting their fingers burnt again should he get wind of what they're planning. Frank and Derek lead a joint uniform and CID briefing to update everyone on Mellor. They're pinning their hopes on the girl having drugs on her - and also informing on Mellor.

Assorted officers get into place outside Mellor's shop and watch him unload a cash and carry delivery. Taffy sits in a lady's house observing Medway Comp's playground and Yorkie and June sit in a van ready to arrest the girl. This time it's Malcolm and Pete sat in the little tent (with Pete accusing Yorkie of brownnosing Bob)

The girls soon appear and Taffy follows them to the shops. June spots Johnson approaching the store too and Yorkie calls it through to Frank. The girls go inside the shop and are out within seconds, heading up the High Street. June spots a problem - a group of teenage boys from Medway School are approaching the girls and calling out to them. Yorkie tries to tell Frank that there's a problem, but Frank won't listen - he orders them to move in and arrest the girls.

With no choice they get out and identify themselves as police officers (but only verbally - no showing of warrant cards) and ask the girls to step into the van. The boys gallantly step in and tell them to let go of the girls, telling Yorkie and June to show them their Warrant Cards if they're really police. June says they don't have to show them to them. Frank orders Pete and Malcolm to go intervene. Pete literally ends up picking one young girl up to get her into the van as the boys fight against them to get them to let them go. One of the boys snaps 'Coconut' at Malcolm and tells him he's not a police officer. STILL none of the officers have shown any warrant cards to calm the situation down. "Aren't I?" Malcolm scoffs, grabbing him and pushing him into the van along with his friend who protests it. Honestly - they know the scene needs clearing quickly with minimal fuss. It could have been sorted a lot sooner and it shows some usually intelligent officers acting very stupidly!

Johnson is observed watching the van by Burnside who urges the officers to drive off. Thankfully they do but it's not enough, he's rattled and runs to tell Mellor. Bob reports they've been sussed so Frank yells at everyone to get in the shop before they lose potential evidence. The PC is ineffectual at breaking through the shop doors with a sledgehammer so Frank literally snatches it and starts slamming it into the doors himself.

At the station the four teenagers are brought in with the boys still kicking off. Pete pushes one of them into a wall and growls at him to behave. The other shouts at Tom that he'll have them for assault. The girls protest their innocence and claim they haven't got any drugs on them. Tom tells them that they're going to be strip searched and June drag the first girl - the main target - off. The second is obviously quieter and more nervous. She seems a little hesitant of her date of birth too when Tom asks for it.

Mellor is amused as Frank oversees the shop being searched. He claims he's going to see Frank walking the beat after messing up again. Frank snaps at him and sends Alistair out to check his car over.

Viv tells the younger and more nervous girl to 'put whatever she has on the side and just give them a statement'. She doesn't understand and insists she still hasn't got drugs on her. She digs into her pockets and brings out the contents - cigarettes. "We were buying fags, that's all, I swear!" Viv doesn't believe her and orders her to undress. The girls father reports to the front station and is shown through by Tony. He's obviously furious and asks Tom what the hell he thinks he's doing. Tom tells him why his daughter was arrested and that she's being strip searched. Her father is horrified and claims that they need his consent for that. Tom starts to say that his daughter is over the age of consent - but is interrupted. The girl is only 15.

In the FME's room the girl tearfully redresses. "I told you!" Viv snaps at her to be quiet because they know she had been buying dope from Mellor. She protests her innocence again. June knocks on the door and asks Viv if she's found anything - both girls are clean.

Mellor and Johnson continue to enjoy Frank's officers finding nothing in the search. Johnson tells Frank he's going to report him for breeching his civil liberties. "You try stirring things up for me sunshine, you step on the cracks in the pavement and I'll have you inside." Mellor gloats that he has a number of charges he can take up against Frank. Frank almost assaults him with Alistair stepping in and telling him to leave it.

June and Viv feels awful for what has happened to the young girls, telling Pete that the younger of the two lied abut her age because she thought she'd been arrested for buying cigarettes. Pete is unrepentant, telling June it'll teach her for lying. June worries that Brownlow is going to make an example of them because the head teacher has also been on as well as the girls father shouting blue murder. Viv admits that somewhere along the line they were all a bit out of order. "We were all acting under orders!" Pete reminds her.

"It's how you carry the orders out that counts, not who gives them." Yorkie glares at Pete who mocks him for being a suck up to the bosses.

"I was watching you, Ramsey! Don't forget that!"

In CID Frank is fuming about Mellor and claims that in 20 minutes of them leaving he'll be set back up again. He wants Tosh involved too and claims they'll watch him for as long as they need to. Alistair reminds him that there's no way the bosses will allow that. Tosh has to tell him that Derek wants to see him in his office - NOW!

[derekconway]

14.65 Watching the Detectives

[steveloxton]

10.151 An Unconventional Approach

[inspectormonroe]

9.128 Behind Closed Doors

[rodskase]

14.36 Powder My Nose

[reghollis]

13.1 The Old Pals’ Act

[jimcarver]

13.1 The Old Pals’ Act

[taylor-on-your-dash]

Anthology Credits

THE BLACK DOG

© 2023 TASRM Publishing, administered by Songs Of Universal, Inc. (BMI) / All Rights Reserved. Used By Permission. // Produced by Jack Antonoff and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Laura Sisk and Oli Jacobs at Electric Lady Studios (New York, NY) and Conway Recording Studios (Los Angeles, CA) / Assistant Engineered by Jon Sher and Jack Manning / Sean Hutchinson’s performance recorded by Sean Hutchinson and Michael Riddleberger at Hutchinson Sound (Brooklyn, NY) / Bobby Hawk's performance recorded by Jack Manning at Electric Lady Studios (New York, NY) / Mastered by Randy Merrill at Sterling Sound (Edgewater, NJ) // Drums, Bass, Juno, Acoustic and Electric Guitars, Programming, Piano, M1, Polysix, Mellotron, Cello, Rhodes, Vocoder by Jack Antonoff / Drums by Sean Hutchinson / Strings by Bobby Hawk / Lead Vocals, Background Vocals, Piano by Taylor Swift

IMGONNAGETYOUBACK

© 2023 TASRM Publishing, administered by Songs Of Universal, Inc. (BMI), Sony/ATV Songs LLC / Ducky Donath Music (BMI) / All Rights Reserved. Used By Permission. // Produced by Jack Antonoff and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Laura Sisk and Oli Jacobs at Electric Lady Studios (New York, NY) / Assistant Engineered by Jack Manning, Joey Miller and Jozef Caldwell // Percussion, Drums, Programming, Juno 60, Prophet 5, M1 Keyboard, Piano, Acoustic Guitars by Jack Antonoff / Piano by Jack Manning / Lead Vocals by Taylor Swift

THE ALBATROSS

© 2023 TASRM Publishing, administered by Songs of Universal, Inc. (BMI), Ingrid Stella Music, administered by SonyATV Tunes LLC (ASCAP) / All Rights Reserved. Used By Permission. // Produced by Aaron Dessner and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Jonathan Low and Bella Blasko at Long Pond (Hudson Valley, NY) / Arrangements by Bryce Dessner (Biarritz, FR) / Glenn Kotche's performance recorded by Bella Blasko at Narwhal Studios (Chicago, IL) / James McAlister's performance recorded by James McAlister (Los Angeles, CA) / Benjamin Lanz’s performance recorded by Benjamin Lanz (Paris, FR) / London Contemporary Orchestra's performance recorded by Jeremy Murphy at Air Studios (London, UK). Assistant Engineering by Laura Beck / Mastered by Randy Merrill at Sterling Sound (Edgewater, NJ) // Acoustic Guitar, Bass Guitar, Drum Machine Programming, Electric Guitar, High Strung by Aaron Dessner / Drums and Percussion by Glenn Kotche / Drum Machine Programming by James McAlister / Modular Synth by Benjamin Lanz / Lead Vocals by Taylor Swift // London Contemporary Orchestra: … // Conductor Robert Ames // Digital Recordist / Gianluca Massimo // Copyist / Tristan Noon // LCO Recording Projects Manager / Meg Monteith // LCO Orchestra Manager / Amy-Elisabeth Hinds

CHLOE OR SAM OR SOPHIA OR MARCUS

© 2023 TASRM Publishing, administered by Songs of Universal, Inc. (BMI), Ingrid Stella Music, administered by SonyATV Tunes LLC (ASCAP) / All Rights Reserved. Used By Permission. // Produced by Aaron Dessner and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Jonathan Low and Bella Blasko at Long Pond (Hudson Valley, NY) / Orchestration by Rob Moose at Long Pond (Hudson Valley, NY) / Taylor Swift's performance recorded by Christopher Rowe at Prime Recording (Nashville, TN) / Assistant Engineered by Derek Garten / Aaaron Dessner's performance recorded by Maryam Qudus at Long Pond (Hudson Valley, NY) / Glenn Kotche's performance recorded by Bella Blasko at Narwhal Studios (Chicago, IL) / Benjamin Lanz’s performance recorded by Benjamin Lanz (Paris, FR) // Acoustic Guitar, Bass Guitar, Drum Machine Programming, Electric Guitar, Keyboard, Mandolin, Piano and Synthesizer by Aaron Dessner / Drums by JT Bates / Drums and Percussion by Glenn Kotche / Modular Synth and Trombone by Benjamin Lanz / Lead Vocals by Taylor Swift

HOW DID IT END?

© 2023 TASRM Publishing, administered by Songs of Universal, Inc. (BMI), Ingrid Stella Music, administered by SonyATV Tunes LLC (ASCAP) / All Rights Reserved. Used By Permission. // Produced by Aaron Dessner and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Jonathan Low and Bella Blasko at Long Pond (Hudson Valley, NY) / Orchestration by Bryce Dessner (Biarritz, FR) / James McAlister's performance recorded by James McAlister (Los Angeles, CA) / Glenn Kotche's performance recorded by Bella Blasko at Narwhal Studios (Chicago, IL) / Thomas Bartlett's performance recorded by Thomas Bartlett at The Dwelling (New York, NY) / London Contemporary Orchestra's performance recorded by Jeremy Murphy at Air Studios (London, UK). Assistant Engineering by Laura Beck / Mastered by Randy Merrill at Sterling Sound (Edgewater, NJ) // Bass, Synth, Drum Machine Programming, Electric Guitar, Keyboards, Piano and Synthesizers by Aaron Dessner / Bass Drum, Keyboards, Omnichord and Synthesizers by James McAlister / Drums by JT Bates / Drums and Percussion by Glenn Kotche / Keyboards, Piano and Synthesizers by Thomas Bartlett / Lead Vocals by Taylor Swift // London Contemporary Orchestra: Violin I / Galya Bisengalieva (Leader) / Eloisa-Fleur Thom / Sophie Mather / Marianne Haynes / Alicia Berendse / Agata Daraskaite / Anna De Bruin / Akiko Ishikawa / Nicole Crespo O'Donoghue // Violin II / Emily Holland / Kirsty Mangan / Clara Laskaris / Ronald Long / Dan Oates / Iona Allan // Viola / Nicholas Bootiman / Matthew Kettle / Elisa Bergersen / Morgan Goff // Cello / Brian O'Kane / Reinoud Ford / Max Ruisi / Abi Hyde-Smith // Double Bass / Dave Brown / Chris Kelly / Sophie Roper // French Horn / David McQueen// Conductor Robert Ames // Digital Recordist / Gianluca Massimo // Copyist / Tristan Noon // LCO Recording Projects Manager / Meg Monteith // LCO Orchestra Manager / Amy-Elisabeth Hinds

SO HIGH SCHOOL

© 2023 TASRM Publishing, administered by Songs of Universal, Inc. (BMI), Ingrid Stella Music, administered by SonyATV Tunes LLC (ASCAP) / All Rights Reserved. Used By Permission. // Produced by Aaron Dessner and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Jonathan Low and Bella Blasko at Long Pond (Hudson Valley, NY) / James McAlister's performance recorded by Bella Blasko at Long Pond (Hudson Valley, NY) and James McAlister (Los Angeles, CA) / Glenn Kotche's performance recorded by Bella Blasko at Narwhal Studios (Chicago, IL) / Benjamin Lanz’s performance recorded by Benjamin Lanz (Paris, FR) / Mastered by Randy Merrill at Sterling Sound (Edgewater, NJ) // Bass Guitar, Bass Synth, Drum Machine Programming, Electric Guitar, Keyboards, Percussion, Piano and Synthesizers by Aaron Dessner / Drums, Drum Machine Programming, Electric Guitar and Synthesizers by James McAlister / Modular Synth and Synthesizer by Benjamin Lanz / Lead Vocals by Taylor Swift

I HATE IT HERE

© 2023 TASRM Publishing, administered by Songs of Universal, Inc. (BMI), Ingrid Stella Music, administered by SonyATV Tunes LLC (ASCAP) / All Rights Reserved. Used By Permission. // Produced by Aaron Dessner and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Jonathan Low and Bella Blasko at Long Pond (Hudson Valley, NY) / Orchestration by Bryce Dessner (Biarritz, FR) / Aaron Dessner's Banjo, Mandolin and Synthesizer recorded by Maryam Qudus at Long Pond (Hudson Valley, NY) / Benjamin Lanz’s performance recorded by Benjamin Lanz (Paris, FR) / James McAlister's performance recorded by James McAlister (Los Angeles, CA) / Thomas Bartlett's performance recorded by Thomas Bartlett at The Dwelling (New York, NY) / Glenn Kotche's performance recorded by Bella Blasko at Narwhal Studios (Chicago, IL) / London Contemporary Orchestra's performance recorded by Jeremy Murphy at Air Studios (London, UK). Assistant Engineering by Laura Beck / Mastered by Randy Merrill at Sterling Sound (Edgewater, NJ) // Acoustic Guitar, Banjo, Bass Guitar, Drum Machine Programming, Electric Guitar, High Strung Guitar, Mandolin, Percussion, Piano and Synthesizer by Aaron Dessner / Acoustic Guitar, Bass Guitar, Bass Synth, Percussion and Synthesizer by James McAlister / Keyboards, Piano and Synthesizers by Thomas Bartlett / Modular Synth by Benjamin Lanz / Drums and Percussion by Glenn Kotche / Lead Vocals by Taylor Swift

THANK YOU AIMEE

© 2023 TASRM Publishing, administered by Songs of Universal, Inc. (BMI), Ingrid Stella Music, administered by SonyATV Tunes LLC (ASCAP) / All Rights Reserved. Used By Permission. // Produced by Jack Antonoff, Aaron Dessner and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Jonathan Low and Bella Blasko at Long Pond (Hudson Valley, NY) and by Laura Sisk and Oli Jacobs at Sharp Sonic Studios (Los Angeles, CA) /Assistant Engineered by Jozef Caldwell / Orchestration by Bryce Dessner (Biarritz, FR) / Aaron Dessner's Banjo and Mandolin recorded by Maryam Qudus at Long Pond (Hudson Valley, NY) / Thomas Bartlett's performance recorded by Thomas Bartlett at The Dwelling (New York, NY) / Glenn Kotche's performance recorded by Bella Blasko at Narwhal Studios (Chicago, IL) / London Contemporary Orchestra's performance recorded by Jeremy Murphy at Air Studios (London, UK). Assistant Engineering by Laura Beck / Mastered by Randy Merrill at Sterling Sound (Edgewater, NJ) // Acoustic Guitar, Banjo, Bass Synth, Drum Machine Programming, Keyboard, Mandolin, Percussion and Synthesizer by Aaron Dessner / Drums and Percussion by Glenn Kotche / Keyboards, Piano and Synthesizers by Thomas Bartlett / Programming, Cello, Percussion, Drums, Electric Guitar, Background Vocals by Jack Antonoff / Lead Vocals by Taylor Swift // London Contemporary Orchestra: Violin I / Galya Bisengalieva (Soloist & Leader) / Eloisa-Fleur Thom/ Sophie Mather / Marianne Haynes / Alicia Berendse / Anna De Bruin / Akiko Ishikawa / Nicole Crespo O'Donoghue // Violin II / Emily Holland / Kirsty Mangan / Clara Laskaris / Ronald Long / Dan Oates / Iona Allan // Viola / Nicholas Bootiman/ Matthew Kettle / Elisa Bergersen / Morgan Goff // Cello / Brian O'Kane / Reinoud Ford / Max Ruisi / Abi Hyde-Smith // Double Bass / Dave Brown / Chris Kelly / Sophie Roper // French Horn / David McQueen / Paul Cott / Jonathan Farey // Percussion // George Barton // Conductor Robert Ames // Digital Recordist / Gianluca Massimo // Copyist / Tristan Noon // LCO Recording Projects Manager / Meg Monteith // LCO Orchestra Manager / Amy-Elisabeth Hinds

I LOOK IN PEOPLE'S WINDOWS

© 2023 Taylor Swift Music (BMI) administer by Songs Of Universal, Inc. / Sony/ATV Songs LLC / Ducky Donath Music (BMI) / Indiscipline AB (STIM), administered by Kobalt Music / All Rights Reserved. Used By Permission. // Produced by Jack Antonoff, Patrick Berger and Taylor Swift | Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer for Mix - Bryce Bordone / Recorded by Laura Sisk and Jack Antonoff at Electric Lady Studios (New York, NY) and Conway Recording Studios (Los Angeles, CA) / Assistant Engineer Jon Sher and Jack Manning // Acoustic Guitars, Juno, Cello, Programming by Jack Antonoff / Acoustic Guitar by Patrick Berger Lead Vocals by Taylor Swift

THE PROPHECY

© 2023 TASRM Publishing, administered by Songs of Universal, Inc. (BMI), Ingrid Stella Music, administered by SonyATV Tunes LLC (ASCAP) / All Rights Reserved. Used By Permission. // Produced by Aaron Dessner and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Jonathan Low and Bella Blasko at Long Pond (Hudson Valley, NY) / Orchestration by Bryce Dessner (Biarritz, FR) / James McAlister's performance recorded by James McAlister (Los Angeles, CA) / Thomas Bartlett's performance recorded by Thomas Bartlett at The Dwelling (New York, NY) / Glenn Kotche's performance recorded by Bella Blasko at Narwhal Studios (Chicago, IL) / London Contemporary Orchestra's performance recorded by Jeremy Murphy at Air Studios (London, UK). Assistant Engineering by Laura Beck / Mastered by Randy Merrill at Sterling Sound (Edgewater, NJ) // Acoustic Guitar, Drum Machine Programming, Programming and Electric Guitar by Aaron Dessner / Autoharp, Drum Machine Programming, Omnichord, Percussion and Synthesizer by James McAlister / Piano and Synthesizers by Thomas Bartlett / Drums and Percussion by Glenn Kotche / Drums by JT Bates / Lead Vocals by Taylor Swift // London Contemporary Orchestra: Violin I / Galya Bisengalieva (Soloist & Leader) / Eloisa-Fleur Thom/ Sophie Mather / Agata Daraskaite / Anna De Bruin / Akiko Ishikawa / Nicole Crespo O'Donoghue / Julian Azkoul // Violin II / Emily Holland / Kirsty Mangan / Clara Laskaris / Ronald Long / Dan Oates / Iona Allan // Viola / Nicholas Bootiman / Matthew Kettle / Amy Swain / Elisa Bergersen / Morgan Goff // Cello / Brian O'Kane / Reinoud Ford / Max Ruisi / Abi Hyde-Smith // Double Bass / Dave Brown / Chris Kelly / Sophie Roper // Bass Clarinet / Max Welford // Percussion // George Barton // Conductor Robert Ames // Digital Recordist / Gianluca Massimo // Copyist / Tristan Noon // LCO Recording Projects Manager / Meg Monteith // LCO Orchestra Manager / Amy-Elisabeth Hinds

CASSANDRA

© 2023 TASRM Publishing, administered by Songs of Universal, Inc. (BMI), Ingrid Stella Music, administered by SonyATV Tunes LLC (ASCAP) / All Rights Reserved. Used By Permission. // Produced by Aaron Dessner and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Jonathan Low and Bella Blasko at Long Pond (Hudson Valley, NY) / Orchestration by Bryce Dessner (Biarritz, FR) / James McAlister's performance recorded by James McAlister (Los Angeles, CA) / Thomas Bartlett's performance recorded by Thomas Bartlett at The Dwelling (New York, NY) / Glenn Kotche's performance recorded by Bella Blasko at Narwhal Studios (Chicago, IL) / London Contemporary Orchestra's performance recorded by Jeremy Murphy at Air Studios (London, UK). Assistant Engineering by Laura Beck / Mastered by Randy Merrill at Sterling Sound (Edgewater, NJ) // Bass Synth, Electric Guitar, Keyboards, Percussion, Piano and Synthesizer by Aaron Dessner / Drum Machine Programming, Keyboards, Modular Synth, Percussion and Synthesizers by James McAlister / Modular Synth and Trombone by Benjamin Lanz / Snare Drums and Vibraphones by Glenn Kotche / Lead Vocals by Taylor Swift // London Contemporary Orchestra: Violin I / Eloisa-Fleur Thom (Leader) / Sophie Mather / Marianne Haynes / Agata Daraskaite / Anna De Bruin / Akiko Ishikawa / Nicole Crespo O'Donoghue / Julian Azkoul // Violin II / Emily Holland / Kirsty Mangan / Clara Laskaris / Ronald Long / Dan Oates / Iona Allan // Viola / Nicholas Bootiman / Matthew Kettle / Amy Swain / Elisa Bergersen / Morgan Goff // Cello / Brian O'Kane / Reinoud Ford / Max Ruisi / Abi Hyde-Smith // Double Bass / Dave Brown / Chris Kelly / Sophie Roper // French Horn / David McQueen / Paul Cott / Jonathan Farey // Percussion // George Barton // Conductor Robert Ames // Digital Recordist / Gianluca Massimo // Copyist / Tristan Noon // LCO Recording Projects Manager / Meg Monteith // LCO Orchestra Manager / Amy-Elisabeth Hinds

PETER

© 2023 TASRM Publishing, administered by Songs Of Universal, Inc. (BMI) / All Rights Reserved. Used By Permission. // Produced by Aaron Dessner and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Jonathan Low and Bella Blasko at Long Pond (Hudson Valley, NY) / Mastered by Randy Merrill at Sterling Sound (Edgewater, NJ) // Bass Guitar, Drum Machine Programming, Keyboards, Piano and Synthesizers by Aaron Dessner / Lead Vocals by Taylor Swift

THE BOLTER

© 2023 TASRM Publishing, administered by Songs of Universal, Inc. (BMI), Ingrid Stella Music, administered by SonyATV Tunes LLC (ASCAP) / All Rights Reserved. Used By Permission. // Produced by Aaron Dessner and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Jonathan Low and Bella Blasko at Long Pond (Hudson Valley, NY) / Arrangements by Bryce Dessner (Biarritz, FR) / James McAlister's performance recorded by James McAlister (Los Angeles, CA) / Thomas Bartlett's performance recorded by Thomas Bartlett at The Dwelling (New York, NY) / Glenn Kotche's performance recorded by Bella Blasko at Narwhal Studios (Chicago, IL) / London Contemporary Orchestra's performance recorded by Jeremy Murphy at Air Studios (London, UK). Assistant Engineering by Laura Beck / Mastered by Randy Merrill at Sterling Sound (Edgewater, NJ) // Acoustic Guitar, Bass Guitar, Drum Machine Programming, Electric Guitar, High Strung, Percussion, Piano and Synthesizers by Aaron Dessner / Omnichord, Percussion and Synthesizers by James McAlister / Keyboards, Piano and Synthesizer by Thomas Bartlett / Drums and Percussion by Glenn Kotche / Violin and Viola by Rob Moose / Lead Vocals by Taylor Swift

ROBIN

© 2023 TASRM Publishing, administered by Songs of Universal, Inc. (BMI), Ingrid Stella Music, administered by SonyATV Tunes LLC (ASCAP) / All Rights Reserved. Used By Permission. // Produced by Aaron Dessner and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Jonathan Low and Bella Blasko at Long Pond (Hudson Valley, NY) / Orchestration by Bryce Dessner (Biarritz, FR) / Aaron Dessner's Drums and Synthesizer recorded by Maryam Qudus at Long Pond (Hudson Valley, NY) / Benjamin Lanz’s performance recorded by Benjamin Lanz (Paris, FR) / James McAlister's performance recorded by Bella Blasko at Long Pond (Hudson Valley, NY) and James McAlister (Los Angeles, CA) / Thomas Bartlett's performance recorded by Thomas Bartlett at The Dwelling (New York, NY) / Glenn Kotche's performance recorded by Bella Blasko at Narwhal Studios (Chicago, IL) / London Contemporary Orchestra's performance recorded by Jeremy Murphy at Air Studios (London, UK). Assistant Engineering by Laura Beck / Mastered by Randy Merrill at Sterling Sound (Edgewater, NJ) // Bass Guitar, Drum Machine Programming, Drums, Electric Guitar, Keyboards, Percussion, Pianos and Synthesizer by Aaron Dessner / Buchla, Clava, Percussion and Synthesizer by James McAlister / Keyboards, Piano and Synthesizers by Thomas Bartlett / Modular Synth and Synthsizer by Benjamin Lanz / Drums and Percussion by Glenn Kotche / Lead Vocals by Taylor Swift // London Contemporary Orchestra: Violin I / Galya Bisengalieva (Co-Leader) / Eloisa-Fleur Thom (Co-Leader) / Sophie Mather / Marianne Haynes / Agata Daraskaite / Anna De Bruin / Akiko Ishikawa / Nicole Crespo O'Donoghue / Julian Azkoul // Violin II / Emily Holland / Kirsty Mangan / Clara Laskaris / Ronald Long / Dan Oates / Iona Allan // Viola / Nicholas Bootiman / Matthew Kettle / Amy Swain / Elisa Bergersen / Morgan Goff // Cello / Brian O'Kane / Reinoud Ford / Max Ruisi / Abi Hyde-Smith // Double Bass / Dave Brown / Chris Kelly / Sophie Roper // French Horn / David McQueen / Paul Cott / Jonathan Farey // Percussion & Timpani // George Barton // Conductor Robert Ames // Digital Recordist / Gianluca Massimo // Copyist / Tristan Noon // LCO Recording Projects Manager / Meg Monteith // LCO Orchestra Manager / Amy-Elisabeth Hinds

THE MANUSCRIPT

© 2023 TASRM Publishing, administered by Songs of Universal, Inc. (BMI), Ingrid Stella Music, administered by SonyATV Tunes LLC (ASCAP) / All Rights Reserved. Used By Permission. // Produced by Aaron Dessner and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Jonathan Low and Bella Blasko at Long Pond (Hudson Valley, NY) / Arrangements by Bryce Dessner (Biarritz, FR) / Bryce Dessner's performance recorded by Bryce Dessner (Biarritz, FR) / James McAlister's performance recorded by James McAlister (Los Angeles, CA) / Thomas Bartlett's performance recorded by Thomas Bartlett at The Dwelling (New York, NY) / London Contemporary Orchestra's performance recorded by Jeremy Murphy at Air Studios (London, UK). Assistant Engineering by Laura Beck / Mastered by Randy Merrill at Sterling Sound (Edgewater, NJ) // Bass Synth, Piano and Synthesizers by Aaron Dessner / Drum Machine Programming, Filtered Brass and Winds, Piano and Synthesizer by Bryce Dessner / Drum Machine Programming and Synthesizers by James McAlister / Synthesizer by Thomas Bartlett / Lead Vocals by Taylor Swift // London Contemporary Orchestra: Violin I / Eloisa-Fleur Thom (Leader) / Sophie Mather / Marianne Haynes / Anna De Bruin / Akiko Ishikawa / Nicole Crespo O'Donoghue / Natasha Humpries // Violin II / Emily Holland / Kirsty Mangan / Clara Laskaris / Ronald Long / Dan Oates / Iona Allan // Viola / Nicholas Bootiman / Matthew Kettle / Meghan Cassidy / Elisa Bergersen / Morgan Goff // Cello / Brian O'Kane / Reinoud Ford / Max Ruisi / Abi Hyde-Smith // Double Bass / Dave Brown / Chris Kelly / Sophie Roper // French Horn / David McQueen / Paul Cott / Jonathan Farey // Percussion // George Barton // Conductor Robert Ames // Digital Recordist / Gianluca Massimo // Copyist / Tristan Noon // LCO Recording Projects Manager / Meg Monteith // LCO Orchestra Manager / Amy-Elisabeth Hinds

[eludin-realm]

Character Name Ideas (Male)

So I've been browsing through BehindTheName (great resource!) recently and have compiled several name lists. Here are some names, A-Z, that I like. NOTE: If you want to use any of these please verify sources, meanings etc, I just used BehindTheName to browse and find all of these. Under the cut:

A: Austin, Aiden, Adam, Alex, Angus, Anthony, Archie, Argo, Ari, Aric, Arno, Atlas, August, Aurelius, Alexei, Archer, Angelo, Adric, Acarius, Achilou, Alphard, Amelian, Archander B: Bodhi, Bastian, Baz, Beau, Beck, Buck, Basil, Benny, Bentley, Blake, Bowie, Brad, Brady, Brody, Brennan, Brent, Brett, Brycen C: Cab, Cal, Caden, Cáel, Caelan, Caleb, Cameron, Chase, Carlos, Cooper, Carter, Cas, Cash, Cassian, Castiel, Cedric, Cenric, Chance, Chandler, Chaz, Chad, Chester, Chet, Chip, Christian, Cillian, Claude, Cicero, Clint, Cody, Cory, Coy, Cole, Colt, Colton, Colin, Colorado, Colum, Conan, Conrad, Conway, Connor, Cornelius, Creed, Cyneric, Cynric, Cyrano, Cyril, Cyrus, Crestian, Ceric D: Dallas, Damien, Daniel, Darach, Dash, Dax, Dayton, Denver, Derek, Des, Desmond, Devin, Dewey, Dexter, Dietrich, Dion, Dmitri, Dominic, Dorian, Douglas, Draco, Drake, Drew, Dudley, Dustin, Dusty, Dylan, Danièu E: Eadric, Evan, Ethan, Easton, Eddie, Eddy, Einar, Eli, Eilas, Eiljah, Elliott, Elton, Emanuel, Emile, Emmett, Enzo, Erik, Evander, Everett, Ezio F: Faolán, Faron, Ferlin, Felix, Fenrir, Fergus, Finley, Finlay, Finn, Finnian, Finnegan, Flint, Flip, Flynn, Florian, Forrest, Fritz G: Gage, Gabe, Grady, Grant, Gray, Grayson, Gunnar, Gunther, Galahad H: Hale, Harley, Harper, Harvey, Harry, Huey, Hugh, Hunter, Huxley I: Ian, Ianto, Ike, Inigo, Isaac, Isaias, Ivan, ��sak J: Jack, Jacob, Jake, Jason, Jasper, Jax, Jay, Jensen, Jed, Jeremy, Jeremiah, Jesse, Jett, Jimmie, Jonas, Jonas, Jonathan, Jordan, Josh, Julien, Jovian, Jun, Justin, Joseph, Joni, K: Kaden, Kai, Kale, Kane, Kaz, Keane, Keaton, Keith, Kenji, Kenneth, Kent, Kevin, Kieran, Kip, Knox, Kris, Kristian, Kyle, Kay, Kristján, Kristófer L: Lamont, Lance, Landon, Lane, Lars, László, Laurent, Layton, Leander, Leif, Leo, Leonidas, Leopold, Levi, Lewis, Louie, Liam, Liberty, Lincoln, Linc, Linus, Lionel, Logan, Loki, Lucas, Lucian, Lucio, Lucky, Luke, Luther, Lyall, Lycus, Lykos, Lyle, Lyndon, Llewellyn, Landri, Laurian, Lionç M: Major, Manny, Manuel, Marcus, Mason, Matt, Matthew, Matthias, Maverick, Maxim, Memphis, Midas, Mikko, Miles, Mitch, Mordecai, Mordred, Morgan, Macari, Maïus, Maxenci, Micolau, Miro N: Nate, Nathan, Nathaniel, Niall, Nico, Niels, Nik, Noah, Nolan, Niilo, Nikander, Novak, O: Oakley, Octavian, Odin, Orlando, Orrick, Ǫrvar, Othello, Otis, Otto, Ovid, Owain, Owen, Øyvind, Ozzie, Ollie, Oliver, Onni P: Paisley, Palmer, Percival, Percy, Perry, Peyton, Phelan, Phineas, Phoenix, Piers, Pierce, Porter, Presley, Preston, Pacian Q: Quinn, Quincy, Quintin R: Ragnar, Raiden, Ren, Rain, Rainier, Ramos, Ramsey, Ransom, Raul, Ray, Roy, Reagan, Redd, Reese, Rhys, Rhett, Reginald, Remiel, Remy, Ridge, Ridley, Ripley, Rigby, Riggs, Riley, River, Robert, Rocky, Rokas, Roman, Ronan, Ronin, Romeo, Rory, Ross, Ruairí, Rufus, Rusty, Ryder, Ryker, Rylan, Riku, Roni S: Sammie, Sammy, Samuel, Samson, Sanford, Sawyer, Scout, Seán, Seth, Sebastian, Seymour, Shane, Shaun, Shawn, Sheldon, Shiloh, Shun, Sid, Sidney, Silas, Skip, Skipper, Skyler, Slade, Spencer, Spike, Stan, Stanford, Sterling, Stevie, Stijn, Suni, Sylvan, Sylvester T: Tab, Tad, Tanner, Tate, Tennessee, Tero, Terrance, Tevin, Thatcher, Tierno, Tino, Titus, Tobias, Tony, Torin, Trace, Trent, Trenton, Trev, Trevor, Trey, Troy, Tripp, Tristan, Tucker, Turner, Tyler, Ty, Teemu U: Ulric V: Valerius, Valor, Van, Vernon, Vespasian, Vic, Victor, Vico, Vince, Vinny, Vincent W: Wade, Walker, Wallis, Wally, Walt, Wardell, Warwick, Watson, Waylon, Wayne, Wes, Wesley, Weston, Whitley, Wilder, Wiley, William, Wolfe, Wolfgang, Woody, Wulfric, Wyatt, Wynn X: Xander, Xavier Z: Zachary, Zach, Zane, Zeb, Zebediah, Zed, Zeke, Zeph, Zaccai

[augustusaugustus]

14.121 S.A.D.

ACKLAND: All we can do is make her as comfortable as possible, and hope that the FME or the ambulance gets here soon. BOYDEN: Yeah, but what if he doesn’t come? ACKLAND: Then we need loads of hot water and clean towels. BOYDEN: Right. (pause) June? ACKLAND: Yeah? BOYDEN: What for? ACKLAND: …I don’t know. I’ll get the first aid book!

There’s a lot of great stuff in this one—the birth in the cells in particular—but there’s also just a lot of stuff full stop, which makes it feel a bit messy at times. Guest starring Judy Cornwell.

[forensicated]

04X40 - The Silent Gun

Malcolm attends a call at a house after a report of a disturbance. However upon talking to the complainants he realises it's much deeper. Bailiffs had been trying to force the door of a bedsit open when the man inside released several rounds from a gun, injuring one of the Bailiffs hands. Malcolm questions why he wasn't told that a gun was involved and the middle class woman admits she was rather flustered to find out her tenant had a gun. She also forgot to ask for an ambulance and to mention that the man with a gun is still inside the house, locked in his room on the top floor.

Brownlow has a holiday that he's just about to leave for as news of the shooting comes in. Malcolm has a look up the stairs but there's no movement.

Bob. Tony and Derek get their guns and bullets signed out to them by Brownlow and Derek is assigned negotiator. Brownlow will be the scene coordinator, Bob is to be his runner and the others are back up.

The woman tells Malcolm that his name is 'Dublin' and she assumes he's Irish because of his name but she's never actually spoken to him. He hasn't paid rent for 6 months and is rather reclusive. She's been through all the legal routes to get him out but he won't leave hence the bailiffs being there.

Jim is sent to try and get access to the house opposite to gain an observation point. A crowd gathers despite Yorkie trying to get everyone to go home and stay inside. Bob and Derek take up positions with their guns with Derek making his way into the house.

Derek slowly starts climbing the stairs. He gets outside the room in question without harm and takes a long deep breath in. "Derek, any sign of life?" asks Brownlow. "Just my guts turning over, sir."

Jim couldn't get in the house suggested as an observation point as the woman he encountered freaked out. He's had to go to the next house along and reports a thick curtain over the window in question.

The firearms boss arrives dressed in a suit and is introduced to Brownlow. Soon after a group of armed police arrive and take over from Bob to allow him inside to assist Derek and Charles. The boss of the firearms is awesome and asks for a canteen van to be brought because he's there to make sure everyone is safe and calm and that the job ends in the same way, however long it takes. If it's not and not everyone is alive at the end - he considers that he hasn't done his job.

Yorkie has to deal with an idiot who wants to leave his house and dodge the police to get to the local shop. He refuses to go out the back, even when Yorkie points out that he's likely to get shot! Thankfully Claire's neighbour is a lot more reasonable and agrees to keep out of the way and in the back of her house.

Derek attempts to make contact with the armed police around him. He asks Mr Dublin if he can hear him and is answered by a toilet flush and Ted making his way out of the bathroom.🤣 Derek tries again but Dublin remains silent. Derek tells him that the bailiff is OK and not seriously injured. He asks him to leave the gun in his room and come out for a chat so he can help him with his problems. Dublin doesn't answer and there's no movement inside. He asks for the man's first name and is still met with silence.

Alec reports to Brownlow that the press would like to come nearer. He refuses and tells Alec to nick them if they try it before muttering to Ted that perhaps they should let them through as the only good journalist is a dead one. The middle-class house owner beams at Charles as she tells him that her brother was a journalist for the Telegraph.

Viv shows Brownlow some post addressed to a Mr Lublin from Poland that haven't been collected. She suggests that the name they've been given for 'Mr Dublin' is wrong and that he's 'Mr Lublin' instead. There's also an old rent book in the same name.

Bob pops upstairs. "... Do you speak Polish?" he asks Derek.

Technical Support blunder into the house and ask Derek how he's going. Derek tells them he's asked for an interpreter as there's been no movement or response yet. The armed officer's boss silences them all when he hears movement...

Outside, the canteen van is doing a roaring trade. Taffy asks Claire how you get all the hedgehogs in the world on a single matchbox. Claire has no idea.

The extra we've been talking about, Bryan Jacobs gets to speak in this episode! He says 'not again' and 'he is!' when Yorkie asks him who's winning their game of cards in the back of the police van.

Robin moans about how long it's taking, claiming the sooner it's over the better. Yorkie takes Alec a tea, he pouts because it's not coffee and sends him back to get him a sandwich.

The house owner is starting to get concerned that it won't be over by the time two students she tutors are due to arrive at 8pm. Malcolm and Ken make them all jump - including startling the snoozing Ted - by celebrating as a goal is scored on TV. [Very surprised Brownlow doesn't bollock them given what they're there for!]

Derek gets the interpreter to ask if he'd like a drink, and Mr Lublin continues ignoring them. "Perhaps he's on the wagon." Derek drawls before checking in with the tech guys who tell him there's half an inch to go before their probes are through the wall. "... Let's hope you don't come out behind the wardrobe again." Derek mutters earning himself a glare.

Brownlow talks to the armed officer's boss who tells him it doesn't matter that they've been waiting four hours, he still needs to bring it to a peaceful resolution. Brownlow points out the streetful of people wanting to return to their homes and an MP moaning about overkill.

Yorkie heads to a local shop to buy a packet of biscuits and speaks to the shopkeeper who tells him that he thought the Polish tenant had gone because he hadn't been in for months whereas before he was a regular visitor for his cereal. Yorkie asks if he ever spoke to the man and the shopkeeper says no, there was no point. He's deaf.

Outside the crowd are getting moody and wanting to return to their homes. One man in particular tries to push his way through Alec. He gets rough and ends up getting bundled into a police van to calm down. Another old lady reports her rice pudding that she left on a low flame might be about to spoil so Taffy is sent in to turn it off!

Brownlow speaks to the armed officers and explains that he's deaf and claims that they've wasted time trying to speak to him. The armed officer points out that if he's heard nothing he's more dangerous as he'd panic and fire at them in shock. The police dog barks at Charles as the man walks off like he's telling him off 🤣

Ted goes over to relieve Jim who has needed a pee for an hour. He reckons they should have gone in as soon as they were in place and took him by surprise and the job now has too much heavy thinking.

Tech are now going for their third set of holes after the last set also didn't work. Derek points out it could be a wall-to-wall bookcase but the man insists he knows it'll be right that time. The heat monitor is also not helping as what is seen could be body heat or also could be a fire! "When you join up those once little holes you'd drilling we can lift the roof up and have a look, can't we!?" Derek snarks.

Taffy tries to get into the house of the old lady and ends up breaking the window of her back door as everything else is locked. He's in the wrong house as he's confronted by two men and finds no rice pudding on the stove.

With no further movement, the officers prepare to go in with a police dog. The armed officers and a light are prepared and Viv asks the lady to stay where she is. They break the door in and push through a barricade to get the dog in before pushing in themselves. Inside they find the dog sat beside the old man who has literally curled into a ball with his hands over his head. The gun is on the bed.

With everything resolved and the old man arrested, the specialist forces leave. Derek and the suspect are mobbed by the press. Jim and Ted watch on in silence with Ted turning to Jim.

".... So what was the score?"

[derekconway]

14.39 Shattered

[pleistocene-pride]

Happy Halloween: Anomalocaris is an extinct genus of radiodont, an order of early-diverging stem-group arthropods which lived during the Cambrian period around 521 to 497 million years ago. Anomalocaris has been misidentified several times, in part due to its makeup of a mixture of mineralized and unmineralized body parts; the mouth and frontal appendage was considerably harder and more easily fossilized than the delicate body. Anomalocaris fossils were first collected in 1886 and 1888 by Richard G. McConnell of the Geological Survey of Canada, these specimens were described and named in 1892 by paleontologist Joseph Frederick Whiteaves.The specimens are now known to represent isolated frontal appendages, but Whiteaves interpreted them as the abdomens of phyllocarid crustaceans. Noting its unusual anatomy for the abdomen of a crustacean, Whiteaves gave it the name Anomalocaris, meaning "unlike other shrimps". In 1928, Danish paleontologist Kai Henriksen recongnized that Tuzoia, a Burgess Shale arthropod which was known only from the carapace, represented the missing front half of Anomalocaris. In 1966, the Geological Survey of Canada began a comprehensive revision of the Burgess Shale fossil record, led by Harry B. Whittington. In the process of this revision, Whittington and his students Simon Conway Morris and Derek Briggs would establish the true nature of Anomalocaris and its relatives formally in 1985. Today at least 4 named species are known from Australia, Canada, China and the USA, including A. Canadensis, A. whiteavesi, A. gigantean, and A. cranbrookensis. ‬Reaching 1.5 to 3.5 feet in length, anomalocaris had a percular appearance, with two up to seven inch long hard but flexible Frontal appendages which protruded out of the head of the animal above an unusual disk-like mouth known as oral cone, and infront of two huge oval shaped compound eyes. It had a softer, wide body which sported flexible flaps on the sides. Each flap sloped below the one more posterior to it, this overlapping allowed the lobes on each side of the body to act as a single "fin", which when used in conjunction with its rudder like tail furcae and telson, allowed anomalocaris to swim quiet efficiently. In life anomalocaris dwelled in a variety of habitats from shallow coastal seas to the open ocean, and would have occupied the niche of apex predator, however the idea that Anomalocaris fed on hard-bodied animals such as trilobites, has been questioned, as its relatively weak radiodont mouthparts may not have been able to handle strong mineralized exoskeletons. Instead anomalocaris may have fed primarily upon jellyfish, worms, and other softer bodied creatures. Another possibility is that Anomalocaris fed by grabbing one end of their prey in its oral cone while using its frontal appendages to twist and rock the other end of the animal, causing the prey's exoskeleton to rupture and allow the predator to access its innards. This behavior may have provided an evolutionary pressure for trilobites to roll up, to avoid being flexed until they snapped.

Art can be found at the following links

[inspectormonroe]

9.115 A Life in the Day Of

[dr-spencer-reids-queen]

The Angel Maker: Final Part

Pairing: Spencer Reid x Female!Reader

Word Count: ~2.3k

Summary: You still feel guilty for what happened to you and Hotch even though you shouldn't. If you had seen that bomb before getting blasted back, then maybe you wouldn't have so many problems with your "abilities".

Warnings: canon violence, canon language, canon talk of death, methods of kill

Author’s Note: I do not own anything from Criminal Minds. All credit goes to their respective owners. If there are any warnings that exceed the normal death/kills from the show, I will list them. If you’ve seen the show, then it’s the same level of angst unless otherwise stated

x

Hotch and Emily headed over there while the rest of the team stayed back to work on the case. It turns out that the unsub wasn't the one who committed the crime, but Shara, the woman you and Rossi talked to. She figured if this killing spree could work for the unsub, then it could work for her.

It's already late, so you'll have to pick this up in the morning. The comment Emily made is stuck in your head for some reason. Why you're upset at this, you're not sure. You're sitting in the conference room and staring at Emily who is outside getting some coffee in the break room. You have a small pout on your face, and Spencer notices this when he enters the conference room.

"What's wrong?"

"Nothing," you say and look away.

"Is it your head? Are you okay?"

"Spencer, I'm okay. I took my pain meds before we left the hotel, so I'm good."

The rest of the team filters into the conference room while JJ is on the phone with Pen. Penelope is working her magic in trying to find out who this unsub could be. According to her, four hundred and sixty-three children were born in the lower Canaan area between 2006 and 2008, so you'll have to narrow the list a bit more to get accurate results.

One of the letters Spencer decoded says, "I knew even before they told me that the future had taken root", which can only mean that it was the date of conception. The date of that letter was January 7th, 2007, so Pen had to look between August to September of the same year. With that, she came up with nine names, which is a lot more manageable.

After she sent over the names, your team got to work eliminating them. The Sheriff would know more about these names than you would, so you bring him in to try and help.

"Hannah Dreyfus was in an auto accident. She could barely walk. Shannon Conway moved away when the plant closed a year ago," the sheriff goes down the list.

"Any other names you recognize?"

"No, I'm sorry." The sheriff does a double-take and grabs the paper when he recognizes another name. "Well, this one here sounds familiar but I can't really place it. Chloe Kelcher."

"Chloe Kelcher. That is familiar," Spencer says and grabs the file for Cortland. "She was on the jury."

"That makes sense. She would have been exposed to the case evidence and seen firsthand what he did to his victims. That's when she fell in love with him, sitting across the courtroom every day."

"Well, it's one thing to have a relationship with a killer, and it's another to become one," the sheriff scoffs.

"There might have been an incident that prompted the transformation," Spencer says and looks into Chloe's file. "There's a death certificate here. Microvesicular steatosis. Her baby died at the hospital."

It looks like Chloe is your unsub, so your entire team heads over to her house, but like you assumed, she isn't home. The judge signed the warrant very quickly, so you're allowed to enter her house without getting into trouble. After a thorough search, everyone gathers in the kitchen.

"All right. We all know what the end game is. She's looking for her final victim. She may have already chosen one. Let's tear this place apart and look for anything that might tell us who she's targeted," Hotch says.

You, Hotch, and Derek head toward the bedroom and come across a child's nursery with glow-in-the-dark stars stuck to the ceiling.

"Daddy's watching," you say and point to the stars.

"It must have devastated her to think that she could hold on to Ryan by having his child and then lose the baby. Completing his murders became the only way she could hold on to him."

Something isn't right. The second you entered the house, something felt off about the atmosphere. You pause and look around the room until you see it.

Cortland Ryan is sitting on top of some kind of chest located underneath the window.

"What is it?" Derek asks after he sees the look on your face.

Without saying a word, you grasp the end of the chest. As soon as you open it, Cortland mists away. Lying there inside is Cortland's rotting body.

"That's not the only way she's holding onto him," you gag.

"I assume that's who I think it is," Spencer says when he walks into the bedroom. "I have an appointment book here. There are meetings with Delilah Grennan and Maxine Chandler on the day of each murder."

"Sheriff, have you found her tools or the gun?" Hotch asks.

"Nothing yet."

"She has something for this morning: Faye Landreaux."

"She's a CPA," the sheriff sighs. "She does my taxes. She works out of her home."

"Let's go."

Your entire team heads over to Faye's house. As soon as you get there, you can feel how scared she is and also another energy: the unsub.

"My team's ready. Let's get in there," the Sheriff says eagerly.

"Sheriff, we didn't recover a gun at Chloe's house. We have to assume she's armed."

"So are we."

"If you storm in now, she'll shoot, and she'll start with Faye. We need to be smart about this," you say.

"What do we do?" Derek asks.

"I think you should look for an open window," Hotch takes charge. "Sheriff, I need you to bring all your vehicles around to the front, facing forward with lights off, and I need a megaphone."

The sheriff does what he's told, and Derek creeps around the house to try and find an open window to get inside. Chances are, she's locked all the doors so no one can get inside so Derek's only shot it getting through a window without alerting her.

"Hotch, you won't be able to get through to her," you say.

"No, but maybe you can," he says and hands the megaphone to you.

"Sir, the profile is clear. We won't be able to talk her down."

"No, but we can occupy her. If we're right about the MO, she's left a window open somewhere. Morgan will find a way in. We just need to buy him some time. Hit the lights," Hotch says to the sheriff.

Seconds later, lights flood the front of the house, no doubt letting Chloe know that you're here. You take a deep breath and clear your head.

"Chloe, this is the FBI. We know you're in there, and we know what you're trying to do. I know you think that finishing what Cortland started will bring you closer to him, but first, you should know who he really was. I know you thought you were special, but the truth is, he wrote the same things he wrote to you to other women. I've seen the letters." Hotch hands you copies of the letters for you to read to her. "Dozens read the same lines: 'Without the flesh, there is only the soul. You don't need to touch me to feel the love I have for you.' Does that sound familiar? Cortland wasn't who you thought he was. He was a narcissist, Chloe. He wasn't capable of loving anyone but himself.

"To Carla Kettinger, he wrote, 'Ever since your visit, I am crazed with thoughts of you. Already, you have entered my dreams. Each time you appear to me, I am embraced by a feeling of trust and belief as if I've known you all my life. It's clear to me now that you are my fate. We are destined to be together, and when I am gone, that will not change. I will live on in you. In death, our union will be eternal. All appeals are lost. Possessions matter little to a condemned man, but I cannot leave this world without seeing your face one last time.' 

"It isn't your fault that he made you feel these things, Chloe. It isn't your fault your baby died."

That gives Derek enough time to get Faye out of the house because as soon as you're done speaking, you see Derek usher Faye to safety. Second later, you hear Chloe yell out in anger.

"It's over, Chloe. We have Faye. You have nowhere to go," you say into the megaphone.

Still, she doesn't respond. 

"I think we got some tear gas. I'm assuming it's still good," the sheriff says.

"We're not gonna need it. She doesn't have any place to go."

"Well, maybe she'll do us all a favor and put herself down."

"She's not gonna do that, either. She's not done."

Just then, Chloe comes out of the house with the gun in her hand. All officers and agents draw their guns and point them at her, and she stops at the bottom step of the porch.

"Chloe, drop the gun!" Hotch orders, and repeats himself when she doesn't listen.

"I'm coming to you, baby," she grins at the sky.

She raises her gun to shoot knowing that everyone will shoot to stop her. She goes down in two shots, and you back away in pain from the gunshot. Rossi and Emily rush over to her, but she is already dead. Emily notices blood seeing from her jacket, and she lifts it to see the markings of the final constellation.

If we took her victim from her, then she became the last one.

With the case solved, your team gets ready to head to the airport. Hotch is in the police station finishing up, so everyone is waiting by the car for him.

"Hey, are you okay?" Spencer asks.

"Yeah, just tired," you sigh.

"Did anyone get directions back to the airstrip?" JJ asks when Hotch comes out with his bag in hand.

"This town's only got one road. We'll find it," Derek shrugs.

"Yeah, Morgan doesn't like to follow directions. You didn't know about that?" Emily laughs.

"Yeah, he likes to vibe it," Spencer smirks.

"Okay, smart ass. You drive," Derek says and tosses Spencer the keys.

He unlocks the car, and you're the first one in. The car has a row of seats behind the back seat, so that's the one you take. Spencer sees how much pain you're in, and he looks down at the keys in his hands. He likes driving every once in a while, but you clearly need him.

"Not this time," he says and hands the keys to Emily who takes them with a smile.

He sets his bag in the back before climbing in next to you. After putting both your seatbelts on, you shift and rest your head on his chest. He wraps an arm around you and kisses the top of your head.

You're always able to fall asleep a lot better when it's in his arms.

"The past is our definition. We may strive, with good reason, to escape it, or to escape what is bad in it, but we will escape it only by adding something better to it." - Wendell Berry

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