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zizzlekwum · 3 months ago

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Stranger In A Not-So-Strange Land

Masterlist

CHAPTER TEN

The BAU investigates a series of murders in Texas. Follows the events of Criminal Minds Season 2 Episode 17 "Distress."

Trigger Warnings: descriptions of a prior toxic relationship

Word Count: 6,304

Tag List: @leftoverenvy @itsmeanobody @ctrljuls @theclassicgaycousin @fatherfigured [if you want to be added to the tag list, please comment or send me an ask]

You’re late to work on your first day back at the BAU due to red tape, so you get there just as JJ is beginning to present the next case.

“Welcome back,” Hotch says quietly as you take a seat at the table between him and Prentiss. You give him a nod before focusing your attention on JJ.

“This is Houston’s Fifth Ward,” she explains, pointing the remote at the TV. “It accounts for a large percent of the city’s growing homicide rate due to gang violence and a bustling narcotics trade. Although in the last forty-eight hours, there have been three distinctive murders in the ward.” She clicks a button on her remote, bringing up pictures of the crime scenes.

“Distinctive?” Morgan asks.

“Three men, three different socioeconomic groups, all killed on the street with their necks snapped,” JJ continues. “There appears to be no other injury, and there’s no apparent connections between the victim, or motive.” She shrugs.

You open your mouth to say something but stop as Reid enters the room, taking a sip of his coffee. He nods at JJ to continue while he sits down to your left.

“The ward’s detectives are inundated with homicides,” JJ explains. “Gang violence is a big problem. Shootings, armed robberies, it’s an everyday occurrence, but this type of street attack is new to them.”

“Could it be gang related,” Prentiss posits. “Maybe some type of new initiation rite?”

JJ shakes her head. “The gangs in the ward use guns. In fact, no known gangs exhibit this type of MO.”

“What about dope?” Morgan asks. “These guys come up with pretty freaky ways of killing the competition to get their message out.”

“But wouldn’t they want to leave a sign to tell others it was them?” you point out. “Kinda defeats the purpose if people don’t realize the killings are a targeted threat.”

“Yeah, and there just doesn’t seem to be any connection between the victims and the drug world,” JJ adds.

“Homeless man, a construction worker, security guard.” Gideon lists the victims.

JJ nods. “Just three dead men and no witnesses.”

“We’re looking for a homicidal serial criminal in a neighborhood populated by criminals,” Hotch notes. “The challenge will be separating him from the rest.”

“We have no evidence, no apparent interaction between the unsub and the victims pre- or postmortem, and an indistinguishable MO,” Reid says. “Should be simple.”

“Like finding a needle in a stack of needles,” you say. “Wonderful.”

* * * * *

On the plane, the team continues to try to make sense of the victims. “We got a construction worker, outsider in the community,” Morgan starts. “We got a security guard— that’s an authority figure. And then we got a homeless man. That’s a powerless victim that no one would notice missing.”

“They’re all over the place,” you note, jiggling your leg up and down, not looking up from where your hands are folded in your lap.

“So who’s he targeting?” Morgan asks.

“Let’s see if any of the victims frequented the same stores or sites,” Hotch says.

“He used blitz attacks,” Reid adds. “He most likely lacks the interpersonal skills he needed to coerce his victims into coming close, and he also used the element of surprise, which means he may have stalked his victims prior to killing them.” You swallow hard. Prentiss glances over at you, frowning.

“Well, if that’s the case, I wanna go to the last crime scene to see where he may have been hiding,” Morgan says.

“I want to see the neighborhood for myself,” Gideon says. “I’ll go with you.”

“Good,” Hotch says. “The rest of us can go to the precinct and set up shop.”

“I’ll map out the area and see if I can find any places the victims would have visited in the neighborhood,” Reid offers.

“Good, maybe we can find a connection between them,” Emily says, still watching you. “I’ll help you with that.”

Reid frowns. “I can handle it.”

Prentiss turns her attention from you to Reid, frowning. “I… wasn’t suggesting that you couldn’t.”

“Isn’t that what ‘I’ll help you with it’ means?” Reid snaps.

“Reid,” Hotch interrupts before he has a chance to continue. “Prentiss will help you with the geographical profiling and victimology.”

“Fine,” Reid says sharply, looking down at the papers in his hands.

Hotch sighs. “Remember, this is a high crime area. Be vigilant. Nobody goes anywhere alone. Y/L/N?”

You glance over at Hotch. You notice him watching your bouncing leg so you make an effort to stop. “Hmm?”

“I want you to stick with Prentiss and Reid for now,” he says with a frown.

You nod. “Gotcha, boss-man.”

He glances between you and Reid again before turning his attention away, and you let out a sigh. You really don’t want to go to Texas.

* * * * *

After you, Prentiss, and Reid get situated in the conference room, you begin to get to work, using a map of the neighborhood to get started. JJ walks in after a few minutes.

“What’s that?” Hotch asks. You turn to face them.

“One of the detective’s wives made us cookies,” JJ tells him.

“Wow, homemade cookies?” Prentiss says with a smile.

JJ sets the plate on the table and you go over to grab a cookie. “Yeah, I guess that’s what they mean by southern hospitality.”

Reid walks over to the window and fumbles with the blinds. “I need to concentrate— how can anybody hear anything with all this work going on?” He slams the window shut.

“Well, you’re gonna have to get used to it,” JJ tells him. “Construction crews are working around the clock.”

“Saw it on the way in,” Prentiss adds.

“City’s trying to return to its splendor, and that means that Houston’s poorest are being kicked out of their homes,” JJ explains as you nibble on a cookie.

Reid opens his mouth to respond but is interrupted by Morgan and Gideon entering the room, followed by a detective.

“Unsub might be homeless,” Gideon reports. “Appears to have been living in a building next to where the security guard was attacked.”

Reid gestures to the map. “These are the locations of the last three murders, all near abandoned buildings.”

“To be fair, there are a lot of abandoned buildings nearby,” you point out.

Hotch nods. “She’s right. I noticed the neighborhood, maybe he was recently displaced.”

“Could be a motive,” Emily adds. “Construction worker, security guard at a construction site. Payback?”

“What about the homeless man?” Morgan asks.

“We get a lot of beefs down there among the homeless. That one could have just been a fight about space or food,” Detective Fuller says.

“Let’s get a list of residents who’ve been kicked out of their homes by the gentrification.” He turns toward you and Prentiss. “You, Y/L/N, and Reid check the shelters?”

“Yeah, we’re on it,” Prentiss says, standing. You nod. Then she pauses. “Unless… you okay with that, Reid?”

Reid furrows his brow in confusion. “I’m fine with that.”

You and Emily share a concerned look as you follow him out of the room.

* * * * *

At one of the shelters, the three of you are looking for someone in charge when Prentiss’ phone rings. It’s Hotch, alerting you of another murder.

A woman walks up to the three of you just as Emily is hanging up her cell phone. “Heard y’all are looking for someone in charge? I’m Angie, one of the administrators.”

Emily holds out her hand to shake. “Hi, I’m Agent Prentiss, these are Agents Reid and Y/L/N. We’re with the FBI.”

“Really?” Angie says, surprised.

“Really,” Reid snarks as Emily shows her badge.

“It looks like you have your hands full,” Emily says.

Angie nods. “With the demolitions in the projects and the abandoned buildings, there’s no place else for people to sleep.”

Prentiss smiled. “Well, thank God there are people like you who take the ti—“

“Do you have a list of everyone who comes through here?” Reid interrupts.

“Uh, we have a sign-in sheet,” Angie tells him, frowning. “But we don’t force anyone to sign if they don’t want to. Some who do don’t even use their real names.” She smiles. “Elvis eats here a lot.”

“Do you think we could get a copy of any lists you might have?” you ask.

“Why?” Angie asks, frowning.

“Have you noticed anyone who acts unusually aggressive towards the other residents?” Reid asks.

Angie crossed her arms. “What’s this about?”

“A series of murders in the area. The perpetrator may be a homeless man. Maybe someone who stays here.” Reid looks around. “He may even be in this room as we speak.”

“Reid!” Prentiss says sharply as Angie looks around, nervous.

“Have you noticed anyone who acts paranoid or displays explosive, unprovoked bursts of violence, more than just pushing and shoving?” Reid continues, ignoring Emily. “I mean, someone who really tried to harm others.”

“There are territorial fights over food and places to sleep,” Angie says. “The nurse treats people for minor injuries all the time, but no one seriously hurt.”

“If anyone does come to mind, give us a call,” Reid tells her, giving her his card. “Thank you.” He turns and walks away as you and Prentiss share a concerned look.

Angie looks at Prentiss. “A murderer?”

Prentiss holds up here hands. “I-I’m sorry. This investigation is still—“ She pauses, flustered.

You glance over your shoulder at Reid’s retreating form. “No one’s actually been hurt in a shelter,” you reassure Angie.

Prentiss nods. “We’re just— we’re acting in an abundance of caution. So please, let the police know if anything unusual occurs. Thanks.”

Angie nods, and you and Prentiss head outside to find Reid, who is observing the people outside.

“There’s a high presence of mental disorders with the homeless,” he says.

“Yeah,” Prentiss says, not really paying attention to what he said. “What the hell was that in there?”

“What?” Reid asks.

“‘He may even be in this room as we speak?’ We have nothing to support that.”

“We’re investigating a serial homicide,” Reid argues. “Should I have pretended there’s no danger?”

“You just scared the shit out of that woman,” you say. “She’s probably afraid of every dude who walks in, now!”

Reid shrugs. “Again, until we find this unsub, how is that a bad thing?”

Prentiss frowns. “What is the matter with you?” she asks, not unkindly.

Reid raises an eyebrow. “What do you mean, what’s the matter with me?”

“I’ve never seen you act like this,” she explains.

Reid frowns, upset. “Oh really? In the months that you know me, you’ve never seen me act this way? Hey, no offense, Emily, but… you don’t really know what you’re talking about, do you?” He turns and storms off, leaving you and Emily standing there, shocked.

“What the fuck?” Emily mutters.

“He… he’s not okay,” you tell her, frowning. “It’s not you.”

She nods. “I know, but….”

You put a hand on her shoulder. “I’m worried about him, too,” you admit. “But I’m not sure there’s anything we can do.”

Emily looks over where Reid is walking away. “Let’s just get back to the station,” she says quietly. “There’s nothing left for us to do here.”

* * * * *

When the three of you walk into the station, Reid begins filling in Hotch. “We just got back from the local homeless shelter,” he says. “The administration hasn’t noticed anyone new displaying aggressive behavior.”

“He’s not in a homeless shelter,” Hotch says. “I just talked to Gideon and Morgan. They think that he’s killing to protect some makeshift shelter of his own.”

“Are we ready for a profile yet?” Reid asks.

“We’re missing something.” Hotch frowns. “How did this homeless man learn to kill so efficiently?”

“You know what we need?” Prentiss says.

“We need to get lucky,” Hotch tells her. “We need him to make a mistake.”

Everyone goes back to what they were doing while Emily pulls you aside. “Okay, what’s up with you?”

“Huh?” you ask, feigning ignorance. “What do you mean?”

“Don’t act like you don’t know what I’m talking about. You’ve been off ever since we were assigned this case.” She frowns, eyebrows furrowed in concern.

You sigh. “You’re not gonna drop this, are you?”

She shakes her head. “I just want to make sure you’re okay.”

“I….” You’re not sure how to word it, so you decide to just plow right ahead. “I was nineteen when I met my first boyfriend. We met online, which may seem crazy now, but where I’m from— or should I say when I’m from— that isn’t uncommon.” Prentiss nods, listening intently. You stare down at your hands, wringing them together and bouncing your leg. “Honestly, I try not to think about how many red flags I refused to see. It embarrasses me.”

Emily nods. “We’ve all been there,” she reassures you.

You laugh humorlessly. “Anyway, he was thirty. I mentioned I was nineteen at the time, right? Now, had I not still been a literal teenager, the age gap would’ve been less creepy, but I was just a kid. And he was the first person to have ever shown interest in me. We started off as fast friends, while I overlooked all the red flags, like I said, but then we started becoming something… more.”

You cringe before continuing. “You know how I said the first red flag should’ve been his age? Well, second red flag should’ve been that he was a convicted felon.”

“Oooh, yeah, that’s… not great,” Emily says sympathetically.

“To be fair— and this is the only concession I’ll give him— he was like twenty when his only friend, who also happened to be his fiancée, was killed in a car accident. He kinda went crazy and tried to rob a bank like, literally three days later.” You shake your head. “Dumbass got caught at a hot dog stand. And I’m not condoning it, but, I mean, temporary insanity exists as a legal defense for a reason.”

Prentiss nods. “No, I get it.”

“So yeah, red flags abound,” you continue. “And like I said, it was the first time anyone had ever been interested in me like that, so I was naive. I quickly became obsessed, but I didn’t recognize it as obsession and thought it was love. Stupid fucker ate that shit up. He eventually flew up to Mass to visit me for Halloween. I thought things were fine— other than the fact that I hated kissing him, but I chalked that up to sensory issues. He went back home, and that’s when shit started to hit the fan.

“Really soon after he went home, a celebrity followed me on Instagram— that’s a photo sharing website. Turns out that celebrity was the son of Lou Ferrigno, who was the Incredible Hulk. As I’m sure you know, I’m a huge Marvel fan.”

“Oh, I know,” Emily says with a chuckle.

“Anyway, I thought it was cool that the son of the Incredible Hulk followed me. I told the guy I was dating, and he got wicked jealous and spent the entire night at the 24-hour gym by his house.”

Emily blinks. “That’s fucking insane.”

“Yep,” you agree. “That’s when I started to lose interest, and got my first urge to break up with him. However, I was too nice, and knew that his family sucked— long story short, his step-dad was abusive and his mom allowed it— so I wanted him to spend Christmas with me and my family in Massachusetts, to have a good holiday.

“So I put up with his clinginess, along with other insane shit, until he flies up for Christmas. Christmas Eve night, while my extended family was over, he cornered me and tried to be clingy and I just shut down. He literally chased me to my room, and when I closed and locked the door, he stood and talked at me through the door. I had a meltdown and ended up cursing him out, after which my mom came up and convinced him to go downstairs, then reprimanded me about yelling and swearing while family was over. I spent hours in my room that night instead of enjoying Christmas Eve, and only came out after I called my aunt, who was in, like, Mexico or something for a holiday vacation, and she talked me down. I eventually went out and luckily, Fuckface was in the basement for the rest of the night. I decided to be nice and not break up with him on Christmas, and faked my way through the day.

“A couple weeks later, while I had been pretty much faking any interest in him to give him a couple nice weeks, I was invited to my friend’s baby shower. It was Patriots themed and everyone was expected to wear a Pats jersey. Since Fuckface hated the Patriots, I told him I wouldn’t make him go. He fucking thanked me, then had the gall to cry to my dad after I left that I didn’t take him with me. I came back home, missed the shower, and immediately broke up with him, but told him I wouldn’t insist upon him going home since, again, his family sucked and I wanted to be nice. Which, by the way, if you ever see me trying to be nice to someone to my own detriment ever again, please smack some sense into me.”

“Will do,” she tells you solemnly. “I’ve got your back.”

“Thanks.” You take a deep breath. “It all came to a head a few weeks later, when he found out that I had a date. He stormed upstairs and complained to my mom, right in front of me, that he just assumed we would, and I quote, ‘find our way back to each other,’ and what was he supposed to do? He then wondered aloud, in front of AJ, my nine-year-old little brother who had his own severe mental health issues, if he should hunt down my date and blow his brains out, and— again, I quote— ‘see that pink mist.’”

Prentiss takes a deep breath. “Fucking unhinged.”

You nod. “Seeing AJ becoming distressed, I yelled at Fuckface to shut up. He proceeded to storm over to me. I ducked, and he smacked my hat off of my head. Now, I’m convinced he tried to hit me, but my mom always insisted he was just trying to hit my hat off of my head. Not okay either way, of course, but one is worse than the other. I ran upstairs, afraid, and locked myself in my room and armed myself with the switchblade I got from camping that year that I kept next to my bed. I didn’t sleep at all that night, and he flew back home the next morning. That was the last I physically saw of him, but he proceeded to cyberstalk me for the following two years.” You take a shaky breath. “Anyway, to sum it all up, my crazy ex was from Texas, and even though I’m literally in a different universe, and Texas is so fucking huge that even if I weren’t in a different universe, the chances of running into him would be slim to none, I’m still anxious about being here.”

Emily puts a hand on your shoulder. “It’s a trauma response,” she tells you.

You nod. “I know. That doesn’t make me feel any less stupid for stressing over a nonissue.”

“It’s not a nonissue,” she insists. “It’s trauma. And even though you may be safe, your mind doesn’t fully recognize that.”

Sighing, you shake your head. “Maybe. I don’t know, I just—”

“Please help my daddy!” You’re interrupted by a young girl running into the police station, followed by a man with blood dripping from his nose.

“I-I need help, I was attacked!” the man shouts.

JJ hurries over to him. “Can I get some help here, please?”

You head over to the man’s daughter as he turns to JJ. “Please call my house to come get my daughter, please!”

You bend down to speak with the little girl. “Hi, I’m Y/N. We’re gonna take good care of your dad, okay?”

She nods as Emily comes over to you two and says something in Spanish to the girl. “Maria,” the girl says.

Emily glances at you. “Her name is Maria.”

You hold out a hand. “Maria, do you wanna come with me and Emily while my friends help your dad?” She nods, taking your hand, and you lead her to the unused conference room.

“Is my papa gonna be okay?” Maria asks as you direct her to a chair. Hotch sits down to her right as Emily takes the chair to her left, you staying crouched in front of Maria.

Hotch nods. “Yes.”

You glance at Hotch, who gives you a small nod. “Maria, do you think we could ask you a few questions?”

“It would really help us find the bad guy,” Emily adds. She waits for Maria to nod before continuing. “Did he say anything to your papa?”

Maria shakes her head. “No.”

“What were you and your papa doing before the bad guy came?” Hotch asks.

Maria takes a deep breath, squeezing your hand. “Papa took out the garbage. And then he jumped out and he hit my papa. I was screaming at him. I thought he was gonna hit me, too. But then he stopped… and he looked at me funny.”

You squeeze her hand. “What do you mean by ‘funny?’”

Maria looks at you. “He looked sad. He did say something. Not to my papa. To me.”

“What was it?” Emily asks.

“He said ‘are you okay? Why are you crying?’” Maria says. “And then we ran.”

“Maria,” Hotch says, giving her a small smile. “What you did was very brave. Can you help us with one more thing? Can you tell us what the man looked like?”

Maria nods. “He was white. And tall. And dirty.” She looks down at Hotch’s hand. “And he had a ring like yours.”

Hotch points to his wedding ring. “Like that?”

Maria nods again. “I remember his ring.”

You squeeze her hand. “Thanks. You did a good job.”

She opens her mouth to respond before focusing on something behind you. “Abuela!” She jumps out of her chair and runs toward a woman who just walked through the doors. Emily goes over to greet her while you and Hotch walk back to the conference room to update the team.

* * * * *

“He asked if she was okay and why was she crying,” Hotch says once he joins you, Emily, and Reid in the conference room. “He wasn’t aware of what he was doing to them.”

“Garcia’s on line one,” JJ says, pressing a couple buttons on the phone, next to an open laptop.

“Go ahead, Penelope,” Prentiss says.

“All right, cowgirls and boys,” Garcia says. “I’ve got the comparison satellite images of the before and after pictures, and I found something. Check it.” An image of the top of a building appears on the laptop screen. “See it yet?”

“Yeah,” Hotch says.

“Is that an SOS?” you ask.

“Yeah,” Garcia says. “It’s made of debris and other rocky bits of gobbledygook. This is the building where the security guard got killed.”

“He’s asking for help,” Hotch says.

“Wait, guys, listen outside,” Reid says.

“Chaos,” Hotch says. “The SOS.”

“He’s a war veteran,” Emily realizes.

“PTSD episode?” you ask.

Hotch nods. “He thinks he’s in a war zone.” He dials Morgan and Gideon, who are with the detective. “He left a distress signal on the roof of one of the buildings,” he tells them once Morgan picks up.

“The quick strikes are consistent with trained military tactics,” Morgan says.

“He must’ve served in a place that looked or sounded like this ward,” Emily suggests.

“Well, we were right about him being homeless, in a sense,” Gideon says. “Wherever he is, in his mental state, he’s certainly not at home.”

“He may not even be aware he’s killing,” Hotch says.

“Now how’s that?” the detective asks.

“When soldiers suffered from anxiety, depression, and flashbacks in World War One, it was called shell shock,” Reid says.

“Battle fatigue in World War Two,” you chime in. He nods.

“Now we refer to it as PTSD, Post-Traumatic Stress Disorder, war related, a side effect of which is slipping into dissociative states,” Reid finishes.

Prentiss nods. “The mind divorces itself from reality so it can cope with the trauma.”

“He’s reliving a memory,” Gideon says. “He’s trapped in his head in some war zone.”

“Hiding and defending himself from the enemy,” Morgan adds.

“Okay, but how do we find a man who’s trapped inside his head?” JJ asks, frowning.

“He’s got a wedding ring,” Prentiss points out.

“Someone’s probably missing him,” you add.

“Good,” Gideon says. “I’m on the way in with Detective Fuller. Morgan has one last crime scene to check.” He hangs up.

“JJ,” Hotch starts, “check missing persons reports, see if anyone matches the description. It would’ve been filed recently, the last two or three days.”

She nods. “Okay.”

* * * * *

JJ almost immediately finds a promising lead, inviting the wife of a missing man into the precinct. She and Detective Fuller lead the wife and another man into the unused conference room.

JJ turns to Hotch, just outside of the room. “Dana Woodridge and Max Weston. Her husband and his best friend, Roy Woodridge, has been missing since Tuesday.” Hotch nods and you follow him into the room.

“He was on his way home from work,” Dana starts. “He called before he left the office and said we needed to talk when he got home. He sounded upset.” She swallows hard. “That was the last I heard from him.”

“What was he upset about?” Prentiss asks.

Dana shakes her head. “He didn’t say.”

“Dana called me that night when Roy didn’t show up,” Max continues. “So the next morning we filed a missing persons report.”

“Mrs. Woodridge, where does your husband work?” Hotch asks.

“He’s a consultant at a security firm downtown,” she answers.

“Did your husband ever serve in combat?” Gideon asks tentatively.

“Excuse me?” Max says, frowning.

“Is he a war veteran?” Hotch asks again.

Max nods. “Y-yeah, we both are. We were in special ops. 75th Ranger Regiment, Bravo Company, Third Battalion. But Roy, he retired shortly after things went bad in Mogadishu.”

“That was back in 1993,” Reid says. “Let me ask you this— does he display any, uh, behavioral tics? Certain everyday things that make him jumpy or startled?”

“Why?” Dana asks.

“Does he?” Reid ignores her.

“Is this going to help find him?” Dana frowns, glancing at Max.

“Mrs. Woodridge, please,” Prentiss implores. “We need to know everything we can about your husband.”

Max sighs. “We all had a… hard time over there. You bring some things home with you.”

“Like what?” you ask.

“He has a hard time with loud noises,” Dana explains. “He can’t be in crowds. He has nightmares and wakes up in cold sweats.” She pauses. “The smells are the worst. He… if he smells something burning, like a barbecue, or gas, or fire… he gets sick.” Max rubs his face as Dana continues. “It really only got bad about a year ago.”

Gideon looks at Max. “What happened to him in Somalia?”

Max laughs uncomfortably. “Nothing. Combat happened.”

“What does that mean?” Gideon asks.

Max stands. “I’m gonna… get a drink of water.” Gideon follows him.

Hotch pours Dana a cup of coffee. “Thank you,” she says quietly. “Could somebody please tell me what’s going on?”

You and JJ look to Hotch. “There have been some people hurt, recently, and we think that there may be someone lost on the streets,” he explains. “Someone who thinks that he’s still at war.”

Dana shakes her head. “Well, Roy would never hurt innocent people. Why would he even be in this neighborhood?”

Prentiss goes to respond but the phone rings. JJ presses the speaker button. “Hey, Garcia. We have Mrs. Woodridge here with us.”

You can hear Garcia hesitate. “Oh, uh, well. I found an ‘02 white Ford F150 pickup truck.”

“Oh God,” Dana says. “That’s his truck.”

“It was impounded,” Garcia continues. “It had a flat tire and was picked up on Lyon Street about a quarter mile from Highway 59.”

“He takes the freeway to work every day,” Dana says.

You and Prentiss share a look. “Mrs. Woodridge, I’m very sorry,” Emily starts, “but this is definitely your husband.”

* * * * *

Back at the conference room, you’re updating the map when Gideon comes back in. “We need to put a SWAT team together. Plan a grid search, go building to building.”

“He’s reliving the war, isn’t he?” Hotch asks.

Gideon nods. “A specific incident in which he killed a child.”

“Guys, the SWAT team’s gonna have guns, right?” Reid points out. “What happens if he tries to fight them?”

You sigh. “You know what happens, Reid.” You and JJ leave the room and go look for Dana, who is grabbing another cup of coffee. She notices the cops suiting up in the room next door.

“Can I get you something, Mrs. Woodridge?” JJ asks.

“Those men are going after Roy?” Dana says. Her voice breaks. “Do they need so many guns? I mean, he’s just one man.”

JJ pulls her away from the doorway. “It-it’s protocol, ma’am.”

Dana looks at you. “How badly were they hurt? Y’all said that people were hurt.”

“Some people were murdered,” you tell her gently.

“Murdered?” she repeats quietly. She sighs. “He never really came home. I lost him fourteen years ago. It’s been like living with a ghost.” She grabs JJ’s arm. “Help him,” Dana pleads. “Please, help him.”

JJ swallows. “We’ll do everything we can.”

You go back to the conference room where Reid is messing with the map. “Reid, what are you working on?” Hotch asks, following you into the room.

“Three days ago, police shut down the freeway at 5PM for ten minutes. Cars were stalled and Roy must’ve tried to exit onto a surface street. Sadly, he ended up in an unfamiliar area with a flat tire.” Reid pauses. “He was changing that tire when an eight-story building on Market imploded five blocks away. He heard the explosion and the ground rattled like a mortar bomb had landed nearby.”

“You think that explosion is what triggered the dissociation,” you say.

“Exactly,” Reid tells you. “Since then, he’s been stuck in that state. Running when he needed to, sleeping when he could, camouflaging himself into his surroundings, and hiding from his perceived enemies.”

“He’s reliving the worst moment of his life,” Hotch says. “He’s gotta be terrified.”

Reid nods. “Yeah.” Hotch exits the room as Reid’s phone rings. “Yeah, Garcia, what do you have?”

“Why isn’t Derek answering his phone?” Garcia asks.

“He’s probably stuck underground somewhere,” Reid explains.

“Underground?”

“I’ll explain later,” Reid says.

“Oh, okay,” Garcia says. “Anyway, I finally got through all those recent police reports he asked me to check, which, by the way, was no hopscotch through the park because that precinct you’re at is kinda tragically behind on their paperwork.”

“They’re very undermanned,” you tell her.

“Oh, jeez, really? I can’t imagine what that feels like,” Garcia quips. You chuckle. “Oh no wait, yes I can, cuz—“

“Garcia, do you have anything for us?” Reid asks.

“Well, he told me to look for anything unusual, and it’s all… usual. Minor break-ins, apartment burglaries, televisions, stereos, car thefts, and smash and grabs. Common stuff in the world of burgling.”

“Nothing someone lost on the streets might use for survival?” you ask.

“No, nothing reported,” she says. “Like I said, it’s all petty. There’s a… some vandalism at construction sites. Communications radio missing from one.”

“Wait, stop,” you say.

“Did you say a radio?” Reid asks.

“Yeah, construction foreman reported that one of their trucks had been broken—“ Garcia’s voice cuts off as Reid hangs up, hurrying out of the room.

“Guys,” Reid interrupts Gideon, who is briefing the SWAT team. “He may have stolen a radio, a walkie-talkie.”

Hotch waves him over to the room Max is in.

Morgan walks into the room. “We were right. He had a nest of sorts right near every murder scene.”

“There was a burglary of a two-way radio from a construction site recently,” Reid reiterates.

Max nods. “That could be Roy. We only used UHF back then.”

“He’s looking for help,” Gideon says.

“And he’ll keep trying to contact operations command,” Max adds.

Hotch turns to the detective. “Detective, can we get a dozen UHF radios set up in this room, each of them tuned to each of the preset channel frequencies?”

“Right away,” Detective Fuller says.

“Wait a minute,” Max says. “When he calls, we need to be very careful with the communication, because we set up specific responses to contact op com so we could avoid hostile interception and to establish no danger signals. And we had specific names to identify our squad to the operator.”

“Do you remember the language you set up?” Gideon asks.

“I couldn’t forget it,” Max tells him. “Roy and I wrote it. The callout was ‘this is John Doe looking for Mark Rippen.’ Rippen was our hero at the time, number eleven, the quarterback for the Redskins in 1993.”

Gideon nods. “Now we know where he is in his head. If he calls in, we’ll be on the other end when he does.”

“What if he doesn’t call?” Detective Fuller asks. “What if he just kills someone else?”

“We’ll deal with that if it happens,” Gideon tells him.

Detective Fuller frowns. “Kinda easy for you to say. Now, this guy may be messed up, but that doesn’t change the fact that he has killed four innocent people. Now, why don’t we just do the grid search?”

“If you set up a grid search and he confronts one of your men, you’ll be planning a funeral,” Max tells him.

“I can guarantee you we’re right about his profile,” Gideon says confidently.

“He wants to get rescued,” you add.

Gideon nods. “All we’re asking is that you just give us a chance to bring him in.”

* * * * *

Once all the radios are set up, you all gather in the conference room.

“It’s channel eleven,” Detective Fuller says.

“You ready, Garcia?” JJ asks.

“I’ve got nat recon satellites all over the ward,” Garcia says over the phone.

“Stand by,” JJ says.

One of the radios makes a static noise. “This is John Doe looking for Mark Rippen.”

Gideon looks at Max. “Can you help us?” He hands him the radio. “You know how to do this better than we do.”

Max nods, taking the radio. “Roger that. This is number eleven, all clear.”

“Maxey,” Roy says over the radio. “Boy, am I happy to hear from you. I’m taking heavy fire. Request immediate extraction.”

Max takes a breath. “What are your coordinates?”

“Unknown,” Roy says. “I lost my land navigational aids. I went high but I don’t recognize anything. I don’t have a fix on my grid coordinates.”

You look at Max. “Is there any other way for him to signal his location?”

Max nods. “Did you put up any flags?”

Roy laughs. “Yeah, you bet your ass I did. I’m holding cover here!”

“Roger that,” Max says. “Hold your position.” He turns to Gideon. “He triangulated. We need to look for three large, colored flags. Maybe on rooftops. They’ll be identical in size and shape.”

“Did you get that, Garcia?” you ask.

“I got it,” she says. You can hear her keyboard clicking as she types.

“Number eleven,” Roy says over the radio. “Do you still read me?”

“Garcia!” Gideon says.

“I’m working as fast as I can,” she tells him.

“I can still read you, loud and clear,” Max says. “Stay put.”

“I found one!” Garcia exclaims. “I found one! I got them! I see… housing projects and a courtyard.”

“We need street names, Garcia,” Hotch says.

“Farmer and Capron! Farmer and Capron!” she says.

“I know where that is,” Detective Fuller says. “There’s some abandoned buildings right there. I’ll have construction sites to halt work and secure the streets.”

“He’s gonna expect men in fatigues,” Max says. “And a chopper as cover.”

“I can take care of the chopper,” Detective Fuller says.

“We’re in black SUVs,” Hotch says. “Tell him we’re security executives. You’re coming with us, we need to do this fast.”

“Tell him to stay there,” Gideon tells Max. “We’re coming to him.”

“Roy, we’re coming to you, buddy,” Max says over the radio.

* * * * *

You stay behind with JJ, Emily, and Reid as everyone else rushes out to meet Roy. Reid gets the call from Hotch and shakes his head at you and Prentiss. JJ is in the room with Mrs. Woodridge, who breaks down.

Later, once Mrs. Woodridge has left and everyone is packing up, Detective Fuller comes in. “Folks. Ah, look. Thank you so much for coming here,” he says. “No one ever makes this place a priority. We’re grateful to you.”

“I wish it had ended differently,” Emily says.

“Yeah,” the detective says. “Me too.”

You look around, frowning. “Has anyone seen Gideon?”

“Agent Gideon left some time ago,” Detective Fuller tells you. “Said he’d meet you all at the airport.”

JJ frowns. “Did he says where he went to?”

Hotch stands. “I think I know where he is.”

The rest of you pack up quietly and head to the airport.

NOTE: Fuckface, if you're reading this, fuck off and leave me alone and stop cyberstalking me.

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miraculouslbcnreactions · 6 months ago

Note

I was rooting for Gabriel having a redemption arch, but even I know that what we got in the show was anything BUT.

How would you handle it? If you were to succesfully redeem Gabriel? How would you do it?

I'm not opposed to a Gabriel redemption arc, but it would be very hard to do without some serious and careful character development or serious edits to canon. My preference is option two because option one risks something that is a hard no for me: glorifying the cycle of abuse. We'll still talk about both paths because it's worth discussion and we'll start with the easy one, which is rewriting canon to remove the abuse.

Rewriting Gabriel

The easiest way to give Gabriel a redemption is to make him a good father. Someone who clearly loves Adrien in a healthy, non-possessive way. Someone who is at least trying to have Adrien's best interests at heart. Someone who is willing to let Adrien do things that make Adrien happy.

To make Gabriel into this kind of character, we would need to remove all - or at least most - of the manipulation. Things like when Adrien asked to no longer be a model and Gabriel used that as an excuse to make an AI Adrien and then told Adrien that his options were to either tolerate the AI or go back to being a model:

Adrien: Dad, I'm not really comfortable with having my face on all these rings. That's actually why I didn't want to be a model anymore, to avoid that. Do you understand? Gabriel: Of course, I understand, my son. But that's the point; it's just an image, it's not you! And since this image frees you from your obligations, we, the Agrestes, are able to spend more time together. But if you'd rather everything went back to the way it was before, just say the word.

We'd also need to get rid of every moment when Adrien seemed to fear his father like this scene from Illusion where Adrien spilled spaghetti on Gabriel and then immediately started freaking out like he was afraid of being hit or otherwise punished:

Adrien: Yes, I forgot my school bag. (spills the spaghetti on Gabriel’s clothes, but Gabriel remains calm) Oops! Oh, sorry, Dad! You must be so angry! I'm sorry! I'm so sorry!

These moments are easy to write because they allow Gabriel to come across as evil and scary without the audience knowing anything about him. In other words, they work wonderfully with the whole "every episode must stand fully alone" rule. But if we ignore that rule and say that Gabriel is allowed to be nuanced, then we can replace this straightforward writing with more complex writing that requires you to watch multiple episodes in order to understand what's going on in the broader story.

In this new version of canon, we wouldn't have to change much story wise. We could keep the same general story beats. The only big change is that we'd see Gabriel struggle between his grief, his love for his son, and his desperation to restore his wife. This would mean little moments of nuance like Gabriel changing his mind about the day's akuma because his planned akuma would knowingly putting Adrien at risk and Gabriel won't do that, so he has to swap plans on the fly, leading to some of his more wacky akumas. This setup allows for a Gabriel who is still a super villain, but he's now a super villain with principles who refuses to let those he loves be harmed in his quest.

A more minor change is that Adrien's fear of his father would be replaced with a more complex setup. Instead of fear, Adrien is now held back grief because he's a teenage boy who is grieving and who knows that his parent is also grieving, but who doesn't know what to do about any of that. In this setup, the father-son conflict is not abuser and victim but two grief-stricken individuals who no longer know how to connect because a vital element of their relationship has forever changed. You know, the kind of setup you'd expect for a family where the relatively young mother died less than a year ago.

I've talked about this kind of setup leading to a corruption arc, but you could also use it for a redemption arc. If Gabriel never goes against his principles and always puts Adrien first even if it means losing Emilie, then you maintain Gabriel as a complex and nuanced character who would believably stop his quest as soon as he learned Chat Noir's identity or was otherwise put in a position to once and for all choose between his son and his wife. (Which could be how we get our next villain if the story doesn't end with Gabriel's lose.)

While I thought that the movie adaptation was too rushed to make it's ending really work, it does show the template for this path. A path I would have personally loved, but it's not the path we got in the show so let's talk about option two.

Redeeming Canon Gabriel

Whether or not he understands what he's doing, canon Gabriel is an abuser. He controls and manipulates his son without any concern for what Adrien wants because Gabriel seems to view Adrien as a perfect doll and not a real human being with his own wants and needs.

Quick senti rant: This is yet another reason that I hate the sentistuff. Because sentimonsters are so poorly defined, that the sentiplot does kind of validate Gabriel's POV and that's not a good thing. This is extra true since Gabriel's part in that plot ended with Gabriel essentially giving Marinette ownership of Adrien by passing on the rings. I talked about it at length here, but I think the only way to make the sentiplot work in the context of canon is for it to end with Gabriel realizing that he needs to view Adrien as more than a doll and I think the only way to really do that is to have Gabriel use the wish to free his son.

Back to the main discussion in which Adrien is a real boy and we ignore the senti complication!

In order for canon Gabriel to be redeemed, he must acknowledge his abuse and make recompense for what he's done. Adrien must also acknowledge his father's abuse and be allowed to decide what that means for their relationship as Adrien is the victim and, when it comes to reconciliation, the victim should be the one calling the shots, not the abuser. This is a complex and nuanced process that would take an intense amount of screen time to make work. I do think you could do it, but once again, it would require Miraculous to get rid of that whole, "every episode must stand fully alone" rule.

Off the top of my head, if I had to take this route, I'd have season five end with Gabriel losing. I also wouldn't let him die or do his grand plan. Instead, I'd have him lose without a big public reveal by having Felix or Nathalie reveal Gabriel's identity to Ladybug and Chat Noir. This would lead to Gabriel being stopped in an epic battle between our two heroes.

Once Gabriel has been subdued and the full story has been revealed (because it would be so much more satisfying coming from Gabriel and not freaking Felix), Ladybug would contact the guardians to see if Emilie could be saved. This is a path Gabriel never had the chance to take because the Guardians weren't around until quite recently. (I'd probably make it so that Gabriel didn't even know that the Guardians were back.) The Guardian's answer would, of course, be yes, but it would require some special lost item or other BS that the heroes need to get/do first.

At the same time, we'd learn that there is a new bigger, badder villain. I'm thinking Tomoe, but Lila, Felix, and/or Nathalie are also options. No matter which one we pick, Gabriel would have knowledge about the new villain that no one else does. Knowledge that is not easily given. In order to save his wife, Gabriel agrees to help the heroes with the new villain and they agree to help save Emilie (they would have done that anyway, but Gabriel doesn't need to know that).

Over the course of this plot line, Gabriel would become less of a recluse and, as a result, he'd get out of his own head and start to regret his actions as he comes to view the heroes as people, not obstacles. This plot line would really lean into the idea that Gabriel never viewed his actions as real because he'd always planned to reset everything with the wish, so what did it matter if he hurt people? It was all just a bad dream that they'd forget once he'd won and set everything right.

Now that his hope of resetting everything is gone and his actions have actual weight in his mind, he'd be incredibly remorseful about the way he treated Adrien, so he'd pull away from his son. At the same time, he'd be bonding with Chat Noir, whose identity was never revealed. This would eventually lead to a reveal whose time and place was fully chosen by Adrien. A reveal that would only take place once Adrien felt that his father had truly changed and come to regret what he'd done.

Bonus element to this idea: the Gabriel-Adrien reveal would be our new identity shenanigan hook, meaning that the love square could reveal themselves without removing that element of the story. It would just have a new main flavor.

The Cycle of Abuse

I mentioned at the top that you have to be incredibly careful about redeeming abusers because it can glorify the cycle of abuse. I wanted to end by talking about what I meant by that as I think that far too many pieces of media accidentally glorify this cycle because they don't put the necessary effort into their redemption arcs. When it's media aimed at teens and adults, I just kind of sigh and stop consuming it. When it's media aimed at kids, I get legitimately upset because the cycle of abuse is already hard enough to escape without media helping you internalize it at a young age where you don't have the skills to understand fiction vs reality.

There are a lot of in-depth articles and books about the cycle of abuse, so I won't go too deep here. I'll just link one article and go over the basics which is that abuse is often not constant. In many cases, it follows a clear pattern in which there's an incident of abuse, followed by some form of reconciliation, followed by a period of true calm and happiness, but that calm and happiness never lasts. There will eventually be another incident of abuse and the cycle will start all over again. It's an existence of the highest highs and lowest lows where the victim has true hope that things will get better only for that hope to be cruelly dashed to pieces again and again.

This cycle is one of the many things that can make it hard for victims to leave or even identify the abuse depending on what form the abuse takes. After all, no one is perfect and we want to support our loved ones. If a person does something mean and then apologizes, we want to believe that apology. This very normal series of events can be paired with the cycle of abuse to keep a victim trapped because they think that they're a bad person if they give up on their abuser who is, "trying to get better," or some other excuse. But that's not what's actually happening. While the abuser is saying what the victim wants to hear and may even mean it in the moment, if they're not actually doing any work to change, then it's just another reconciliation round in the cycle of abuse.

This is why it's so important to have media that tells you that it's okay to give up on people. That their happiness is not your responsibility. It's also a big reason why I like the idea of redeeming character A while not redeeming character B. That setup lets you have that positive message of redemption while also presenting the idea that redemption is never a sure path. You can only redeem those who want to change (even if it's for a selfish reason) and who are willing to put in the work. A thing that you can really highlight and drive home when you do the A vs B setup.

Before we move on, I will note that there are abusive relationships that don't look like the cycle. The cycle is simply a very common pattern. The thing that makes it "special" when it comes to writing is that it's the type of abuse that's easiest to glorify and/or romanticize if you're not careful in your writing, which brings us back to Miraculous.

Miraculous actually demonstrated the cycle of abuse horrifically well in season five. In this season, we see things like Gabriel giving Adrien apologies and permission to call him "dad." Acts of reconciliation that were followed by blissful happiness for Adrien who desperately wants his father's love. But of course, that happiness never lasted. In the end, Gabriel always destroyed it with a new act of abuse because he is an abuser. An abuser who loves his son, but an abuser none the less because love doesn't stop abuse.

Because of this, if you want to write a realistic redemption, then you cannot give Gabriel a simple redemption where he apologizes and everything is suddenly okay. You have to differentiate his "true" apology from the others. You have to make it clear that this isn't just another round in the cycle of abuse both to tell a good story and so that little kids can hopefully internalize the difference between when you need to run away and when it's safe to stick around.

Another important element in getting this message right is allowing the victim character to be the one who is in charge of the reconciliation. Generally speaking, the victim should be super wary about reconciling because - for this to work - they need to be fully aware that there has been past abuse so that they can make a fully informed choice about what that means for them and their relationship with their abuser. It's not a true reconciliation if the victim is totally oblivious to the fact that they've been wronged.

Because of this, the true reconciliation will usually be a drawn out process wherein the abuser and the victim don't reconcile until the abuser has unequivocally proven themself as changed to really highlight the difference between an actual reconciliation and the kind of temporary reconciliation we see in the cycle. This why my hypothetical solution has a love square reveal and Gabriel avoiding Adrien out of shame.

That route allows Adrien to have full control over the situation as Ladybug can accommodate his needs, allowing Chat Noir to have 0 required interactions with his father. All required interactions are handled by Ladybug or other teammates so that all of the interactions that happen between Gabriel and Chat Noir feel like Chat Noir's freely made choice. This setup also allows Adrien and Gabriel to be on more equal footing in terms of power, an extremely important element of reconciliation. A lot of damaged parent-child relationships don't fully heal until the child is an adult and the parent loses their power.

All of the above is why I'm wary of giving abusers redemption arcs into happy close relationships with their victims (I'm much more liberal with redemption arcs into happiness with people they never hurt and/or where they're redeemed, but not super close with their victims). I'm extra wary in the context of children's media as it can be harder for kids to understand nuance and this is an incredibly important topic to get right.

That doesn't mean it can't be done. It can! It just requires a lot of effort to do it right. Most of the time, stories with this type of redemption feel lackluster and honestly make me a little sick to my stomach because it's so common to go the lazy route where a single apology is all that's required. It's why I'm super wary of the whole "enemies to lovers" thing. I like the concept it in theory, but more often than not, it ends up being abuser-and-victim to lovers, which is a hard pass for me. I don't judge people who enjoy that stuff in fiction or role-play settings, it's just not my cup of tea. Be it fiction or reality, I want couples that feel healthy and families/teams that I'd love to be a part of.

Since this was a serious one, let's end on a topical, but humorous short from ProDZ where he very accurately sums up your standard bad-guy redemption and why I don't like it. I love the redeeming power of love, but like all tropes, part of doing it well is knowing what story setups are suited to it and which ones are not.

youtube

#ml writing critical #ml writing salt #ml season 5 salt #adrien deserves better #Gabriel deserves better #believe it or not this was me being brief about this topic because it's one in pretty passionate about #There are so many ways to make Gabriel interesting!#It's why I get so many fanfic ideas #Most of which will never see the light of day outside of vague summaries spawned by asks like this #While I writing this I was kind of tempted to write out the plot line I came up with because I think it could be interesting #But I doubt that I ever will #I'm pretty tolerant of low effort redemptions for characters that we're just straight evil bad-guys #It's when the abuser-victim dynamic shows up that I get real judgemental real fast

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viridian-house · 5 months ago

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Do you have any favorite naruto fics you’d recommend? Any pairing, complete or not, on-hiatus, gen, oneshots, anything is fine lol

I was legitimately just pruning my bookmarks the other day!! thank you so much for asking.

I don't read too much fanfic these days, and I'm picky when I do--only about grammar/punctuation and immersion though. I ship a LOT of stuff (I guess The Youth would call me a proshipper) and although I never read darkfic, I don't shy away from weirder kinks and unhealthy relationship stuff.

categorizing by pairing, if applicable. some of them are smutty, and please note that the first 3 come from FFN which doesn't have a tagging system, but there is some SA CW I'll give in advance.

KAKASAKU | my first OTP! formative fics that totally reshaped my understanding of what fanfiction could be, and how well-written chemistry can make it or break it

HOUSE OF CROWS is the quintessential kakasaku fanfic. it was written during shippuden and so is canon divergent because of that, but also tells a comprehensive story of its own right that is intriguing and well planned. excellent characterization and world building. leaves me gutted in the best way on my yearly reread.

DUTY BEFORE HONOR is another silvershine classic. I don't reread is as often as House of Crows but they are just about equal in quality. again, the chemistry between them is off the charts, and the world feels so alive.

WILL OF FIRE for me is up there with House of Crows in being essential kakasaku reading. cynchick is a multisaku champion and a wonderful storyteller. the stakes in this one are stressful, the romance tense and believable, and we once again get lovely world building and great chemistry.

ITAKISA | a pairing near and dear to me, because men who do everything wrong are so deeply relatable. they both know they don't deserve anything good ever again but they found each other!!!! ARE YOU GUYS SEEING THIS--

A SHARK HIDDEN INN THE LEAVES doesn't have my favorite version of Kisame, but he's plenty close enough. it's a lengthy oneshot that got me into certain *ahem* kinks. it is a very fun and wild fic that is entirely self-aware of how absurd it's being, and manages to have nothing but sincerity at the same time (and I highly recommend the author's other stories as well)

AN ORCHESTRA PLAYING ON, INSANE is a modern AU (extremely rare in my bookmarks) that absolutely tore my heart out. god is it SO much to ask for these losers to be happy?! yes, it is, and I love every moment of it

MADAMITO | a rarepair I am SUCH a sucker for that has some of the most talented authors writing for it. lots of them have ot3 elements between them and hashirama, often angsty, but stuff like that is part of the appeal for me, lol

A HANDFUL OF SKY is an unfinished fic that I genuinely think about like once a week. if it ever updates then I will be over the moon. technically hashimadamito but it hadn't quite gotten there yet

LIKE ALTARS is just such a beautiful piece of writing, mostly on madara. it is everything, that is all

BLOOD AND RIVER WATER is more mito-centric but has one of my favorite madaras of all time

YOURS ARE RATTLED BONES is another short, mito-centric but gut-wrenching piece featuring the opposite type of madara from the last one

OTHER | character-centric stuff that isn't necessarily shippy but also doesn't have a very "gen" vibe either?

A SERPENT IN THE RICE is a little series about orochimaru that makes me feel so so so many things. highly recommended

HERETIC is such a love letter to kushina, and kurama too. cannot stress enough how much I adore this one

there's a few others that I probably won't link on tumblr, mostly unhealthy and/or "problematic" smut hhfhdj but maybe I'll make a public rec list on ao3 for these different categories and stuff like that.

but yeah that's pretty much it!!! I know it's not a huge list with a lot of variety but it's what I've enjoyed over the last 15+ years in the naruto fandom.

#user728299292 #kakasaku #kisaita #madamito #I am SOOOO hesitant to tag all this stuff because I know how divisive kksk is. but sakura has been a grown adult in canon for 10 years now #so yknow. here I am. tagging kksk out in the open!!#also sorry I know I've been writing a lot of madasaku lately but I really don't read it at all...same with itasaku. mostly because those 2 #have a really specific vibe that I prefer to read with them. that other people just don't typically have...so I wrote them how I wanted LMA #I'm so incredibly choosy with characterization and prose. it's gotta 'feel' right. I gotta feel like I'm stepping into another world #and ask literally anyone in my life...the dialogue CANNOT be bad #and my bar for bad is pretty high admittedly LMAO like ask ANYONE in my life...and this applies to movies tv shows books and fanfic #if the dialogue is trash I will DNF that shit soooo fast regardless of how interesting I found the premise/summary #ok ok I think that's all ENJOY!!!!#asks

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spotaus · 5 months ago

Text

Thinking about Orchid and her connection to my take on Gender (because this was meant to be about her and the Crew but it just devolved into a character analysis kinda??? More trauma-dumping maybe???) This is very much an oc/personal rant so feel free to ignore it 🫡

So, Orchid started off as a character I didn't really think much of (hear me out this is going to be relevant) because I wanted to add a 'girl' character but didn't know what to *do* with her, y'know? She was always going to be the strongest one there, she had the odds stacked in her favor with her parents. She was always going to be the gloomy side-character to match Reset's energy. But I think she's gone through every stage of Generic Woman I could possibly find.

At first she was angry and abrasive (think Fell!Sans) where every other word was a curse and she was likely to throw the first punch then laugh as she kicks her enemy while they're down. This was when Reset was a cartoonishly self-centered villain whose goal was simply to prove others wrong. Then Orchid became a sort of sisterly figure. This was short-lived, but she was the one comforting people who Reset would torment, but would ultimately follow his orders, because at this point he was actually a danger and sadistic. And then there was the phase where the story mellowed out and she became the token Goth Girl who, yes she was strong, but was heavy on the 'whatever' energy. Then there was her Era of deep self-loathing and anxiety about her worth that held her back and made her a much more timid and meek character who would only lash out on occasion.

Now, Orchid is the best of those iterations I've written yet. She's calm, level-headed, and a natural leader. Her father raised those traits into her. But she's very reactive, and can be silly, and when she's comfortable it's likely that air of importance transforms into something more comfortable and familiar. She laughs loudly and grins wide, she likes loud video-games but loves to read in the quiet. She's extremely disciplined, and normally no one can get through her tough exterior besides her best friend, Reset. She does what she does for her own enjoyment, sure, but she's thought of every angle and makes her choice to help Reset and control the others with her whole chest. She still worries she won't live up to her invisible expectations, and that and her loyalty are her two driving forces.

I know that Orchid is important to me because she's the longest-running female oc I've had. I have a rough relationship with womanhood/girlhood and I know looking back that Orchid recieved every ounce of my distaste for being a woman that I could shovel into her. That never made her less of a character, she was actually always one of my favorites, and rarely was she a 'punching bag oc'. I just... projected onto her a lot. And she's a good sign of how I've learned who I am. I've decided that my own femininity is something I could live without. I'd rather not associate myself with it, and I'd like to leave it in my past, focusing on a future where I'm not tied down with any gender roles or expectations. That won't happen, but I've come to terms with it myself. Orchid though? I figured out through her that I don't have to hate women characters. My own distaste for my circumstances doesn't mean I have to push it onto my characters (on God I've never expressed anything rude to actual people, that'd be rude as hell and uncalled for, but I have a bad habit of disliking fictional women in media). So, Orchid is a well-roubded character finally. She has motivations abd goals and a *lot* more depth than I ever expected her to. She's happy with being a woman, she's content. She's not treated differently for it in unfair ways by those she cares about, so she doesn't mind it. She likes to wear pretty outfits and lets Reset add bows to her ribbons. She doesn't let being a woman hold her back in the slightest.

So, yeah. Orchid is one of my babies. If I ever leave this Fandom behind for good, she's one that's coming with (Ichor, Orchid, and Pretender all have human designs I can use elsewhere lol-) but in the meantime I'll just rotate her around in my brain for a while longer.

If I'm right, she's been with me for nearly 5-6 years and I went through a *lot* with her as an outlet. So, she's kinda just like an old stuffed animal. A lil ripped, matted fur, maybe a stain or two, but there's a story there and that makes it important beyond belief.

#spotatalk #i'm just gonna drop this in the queue I guess?#but I'm writing this on the last day of june so....#whenever this rolls around will be a jumpscare abd a half I guess?#I think honestly I coukd do a full breakdown of the Crew and why they're all expressions of me but like #quick summary is #Reset: Wants approval from people but mostly clings to the past. is afraid of losing his brother and acts on it to bring him back. i #<- I lack that conviction to do whatever you have to to get your way. i worry my brother and I have a weird gap between us we wont repair #Orchid: Uhhh woman. lots of pressure that she had at one time that's now no being pressed but she still tries to live up to it also.#<- I don't like the pressure of being a woman. also gifted-kid who cannot move past the pressures imposed to be 'perfect' and it's screwed #Stereo: Pulled into a situation he doesn't want to be in initially. it's bad for him but he likes the people so he decides to stay #<- I see the good in people. even when they hurt others around me. I was a bystander often and should've left the situations. paralelling.#Monochrome: Afraid. No purpose or preperation in life. soneone offers to guide him and he takes that offer because it's better than home.#<- Kinda self-explanitory but I've got little direction and feel lost a lot of the time. If I'm given a path I usually walk it no hesitation #and... for fun let's do some others!#Haphazard: Cleaning up after others since childhood. he's never really gotten a break and sees any sort of mess as an enemy #-> He's fixing rifts in universes I gotta patch relationships. there's so much conflict and I'm always so overwhelmed by it #Lost: He's got amnesia. no clue where he is. where he's from. who you are. who he is. he'll know when he gets there. he's sure.#-> I've been hsving minor issues with my memory for years. i coukd be forgetful but sometimes it just escapes me and that's spooky #Teddy: Isolated in her universe for years. she self-mutilated until she liked herself. when she finally met people she compulsively lied #-> Much more extreme version of how isolated I sonetines feel. hobbies can't replace human interaction but it's hard #oh and Ichor: God who loves mortals but cannot seem to find ones who will prove hin right for his trust and care #<- I've got a big heart. i express it often but the sentinent is scoffed off a lot. I get beat down about it and just keep moving forward #Pretender: Knows who he is. however the world doesn't like it much so he acts how they expect him to or isolates away #<- I still present femme when I'm nb/agender. i bend and break to people's perception of me. if I can't solve something I run.#okay I feel more insane than when ai started but these stupid skeletons have helped me through so many mental health problems it's only a #little bit funny 🙏

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nostalgia-tblr · 7 months ago

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Reminding myself that I resolved not to delete any fics that have a bookmark on them😭

#there's this one frostmaster fic that must be TERRIBLE cos it fails on any metric but for some reason people bookmarked it #though the visible ones seem to be mostly people who bookmark literally everything they read so...#it has one (1) comment and like a thousand hits :|#i think it's not a bad fic! but apparently i am wrong about that :'(#BUT if there's one person out there who silently loves it i don't want to take it from them #i have invented a silent yet adoring audience in my head for fics that “don't do numbers”. between this and the “reason other than quality”#that i preemptively invent for any fic to flop i am left perhaps overly confident in my skillz but also a bit less worried about stats.#btw 'fair alfrida' didn't go too well either but i had fun writing it so fuck it i don't care (...much)#more positively: the frigga gen did v well and the sylki-on-sakaar one i fretted about for months does not actually repel readers!#and this year i feel like i'm doing fairly well despite posting a few quite niche fics :D #tbh some of my own fics are things i probably wouldn't click on cos they wouldn't seem like my jam from the summary/tags #and i beat myself up less about only writing short oneshots now that i've posted a couple of longer works as well #the sylki arranged marriage fic is on-track to be my second-longest fic ever (the bar was low but shhhh)#...as you can see i still put too much importance on length of fic even though i prefer reading shorter works meself :|#ANYWAY STATS BACK OFF NOW I THINK

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hickeygender · 4 months ago

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just saw a fic tagged both as a #fix-it fic (for the noncanon gay pair) and as #widowed character (implying the character's beloved canonical wife died somehow). motherfucker, spousal death is NOT a fix-it! STOP fridging women just bc you find them inconvenient for their husbands' relationship statuses!! give me lavender marriages, infidelity, miscommunication, polycules, or any other form of complex dynamic but for the love of GOD stop killing them off for the combined benefit of avoiding unconventional and/or uncomfortable dynamics and also allowing you to focus on that sweet sweet man pain in your shitty fic. the next person to do this owes every wife on earth $500

#i'm a silm fan i understand the concept of schrödinger's wife and as long as she isn't central to his character i am fine with writing her #out or ignoring an unnamed and/or entirely irrelevant cardboard cutout written by a male author who didn't care to flesh her out BUT idk if #she's unnamed or has screentime - if she literally haunts the narrative to the point that her picture is one of the last shots of the film #and the mc can't even bear to speak of missing her due to grief - SHE'S PRETTY IMPORTANT!!!#also wanna clarify i am not and will never be a wife but i feel like people who do this needs to pay whatever $500 times 2.6 billion is to #every affected woman. my calculations didn't include data on how many married women on earth married each other so wlw get a bonus i guess #len speaks #god. i really need to go get drunk and smoke one million cigarettes bc i'm so fucking agitated over a fic summary. hypomania makes me such #a mean cunt. in addition to me spending too much money being stupidly hypersexual and being unable to concentrate on literally everything i #really want to throw down. and even knowing that i'm STILL ANNOYED. but hey i've literally never left a mean comment on a bad fic so i'd #rather preemptively block and vent here. more like ramble here apparently god i need to take a shot #delete later

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crazy-grrrl-on-the-computer · 6 months ago

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A Rose's Thorns - Girly411 - 美男高校地球防衛部LOVE! | Binan Koukou Chikyuu Bouei-bu LOVE! [Archive of Our Own]

Pairing: Miss Bara Beach/Hakone Goura

Rating: T (for some suggestive language and innuendo)

Summary: Years had passed since the fallout from the first alien invasion, but their battle wounds had barely begun to heal before news of the second generation had reached them… and that meant it was time for a reunion. Fortunately, that was nothing she couldn’t handle. After all, she was a rose and her thorns were sharp, but perhaps that was what he’d been afraid of.

Read on AO3.

Old Friends prompt for @rarepair-week

#rarepair week 2024 #boueibu #binan koukou chikyuu bouei-bu love!#cute high earth defense club love!#Gora Hakone #Goura Hakone #Miss Bara Beach #Driftwood shipping #Cloe tries to write #A Rose's Thorns #haha I'm still bad at summaries OH LOOK IT ONLY TOOK ME 9 YEARS TO FINISH THIS #and SINCE IT HAS TAKEN ME SO LONG I have elected to just post it on the first day instead of waiting for the end #because I don't know if I will get the second fic done in time and I need it off my chest NOW ;;w;;#the AO3 collection for this week is closed as of the time I posted it so I'll have to see about submitting it there later ^^'

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some-pers0n · 1 year ago

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I'm my villain era. The next time somebody posts something saying something self-degrading like "oh im so bad at art i should just give up" to fish for pity compliments and attention I'll reply and say "yes you should"

#Literally my biggest pet peeve #I get you don't have confidence and it's okay to feel as though your art isn't “good enough” (it is) but come ON man #If you're doing this mostly to get a rush out of things and exploit people and their natural want to comfort and help people for the short #high of attention GO AWAY #Especially if you repeatedly do this and know about it #It's hard to be proud and happy with your work I KNOW but COME ON man I don't want to see people constantly drag themselves down #Like if you write a fic and only out “omg this is so bad :(((” in the summary I'm OUT #Or if you just constantly go like: “god why do you people even care about me my art sucks” I'll go “YEAH WHY SHOULD WE??”#sp-rambles

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mortellanarts · 1 year ago

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2023 go bye bye

#999 spoilers #art summary #art summery 2023 #my art #shoutout to all my monster high drawings that are still in the oven #I haven't posted them anywhere but! my friends made them pins and I've sold them on cons throughout the year :3 #I only started drawing them as a request from a boothmate actually and they're such fun designs to draw!!!#I went to a lot of local conventions to participate in the artist's alley and made so many friends that way it was wonderful #I think the next thing I'll reblog will be the game I worked on!#found out the nda doesn't cover me simply saying 'hey I worked on this thing coming out in a few months!'#so I made artist and cosplayer friends selling my art on the beach and I got my first proper job #....then I proceeded to give me a shoulder inflammation because my setup was terrible and it had to catch up to me eventually #but! already managed to get a new tablet and desk for myself!! it's even a screen tablet so there'll be a learning curve but I'm excited #I'm hoping this display will make things easier I always had trouble sketching on digital #and I am more carefully taking breaks now also because turns out relying on hiperfocus is bad for you? never knew #I was going through some stuff in the middle of the year there though I had so many vent drawings of akane from may to october qwq #not featured here are the tons of utena and umineko wips I have accumulated those were my favorite new media I got to experience for sure #in fact I'm watching the adolescence movie rn!! what in tarnation is this last act lol whatever! go Anthy go!!! floor it queen #also not featured the tons of oc stuff I made :D I'm glad I feel like I can start properly working on them soon ^^#but yeah that's that I felt like writing a whole diary entry in these tags and you read it and that's what tumblrs all about ♡♥︎

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phoenixdaneko · 2 years ago

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So, these are the summaries for yet unnamed and unwritten fics-!

Fic 1 - Standard Au

You're a young adult, attending college for robotics, and looking for a good paying job to help pay off your loans. Sure, you could always just apply to a standard retail job, but that would end up making you pay off your loans so much slower.

So, it seems like it's fate that tosses this job directly into your lap in the form of taking your friend's young sister to the Daycare at Freddy Fazbear's Mega Pizzaplex.

Now, with a paid internship giving you college credits and many cryptic warnings in hand, you've signed away your soul, and have somehow secured a very well paying job with the Fazbear Family.

Good luck dear reader. You'll need it.

And

Fic 2 - Fantasy Au

Humans often wished for immortality. A foolish wish. To be alive for centuries? It was not as entertaining or fulfilling as they seemed to believe.

To try and gain that foolish idea of immortality, humans sought out magic. And what better source of magic than a dragon? Beings made of pure magic, some dragons reaching to be thousands of years in age.

Legends said acquiring a dragon's scale could grant you immortality if it was used correctly. An idiotic rumor, that lead to many humans attempting to steal scales and dying. It never stopped humans though.

It also never stopped you.

@maldefekt here's the summaries!

#Yeah #never had ideas for titles #I'm bad with those #So instead I've got summaries lmao #nix speaks #nix rambles #nix does writing

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zizzlekwum · 2 months ago

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Stranger In A Not-So-Strange Land

Masterlist

CHAPTER ELEVEN

The BAU goes to New Orleans to solve a series of murders. Follows the events of Criminal Minds Season 2 Episode 18 "Jones."

Trigger Warnings: mentions of and mild descriptions of sexual assault

Word Count: 6,396

Tag List: @leftoverenvy @itsmeanobody @ctrljuls @theclassicgaycousin @fatherfigured [if you want to be added to the tag list, please comment or send me an ask]

NOTE: Sorry it took so long. I was sick for a week, and then I was almost finished last night (I had one more scene to write) and then my bunny, Pippa, unexpectedly died, so that ruined the rest of the night and I basically stayed in bed crying.

You arrive at work early, yawning as you sit down at your desk. You’re not surprised to see Hotch already at work. He gives you a nod as you sit down at your desk and start researching crime statistics.

“Morning, Y/L/N.”

You look up to see Prentiss sitting down at her desk across from you, giving you a small smile. “Hey, Emily,” you greet before yawning again.

“Rough night?” she asks.

You shrug. “I’m bipolar,” you explain. “I’m medicated, but about once a month, like clockwork, I go three days without sleeping.”

She frowns, eyebrows furrowing in sympathy. “That sucks. What do you do all night?”

“I lay in bed and pretend I’m sleeping,” you tell her. “I read a study once that found that pretending to sleep is actually more beneficial than just saying ‘fuck it’ and not trying. Basically, laying down and trying to sleep will help you feel more rested, even if you don’t actually sleep.”

“That’s really interesting,” Emily says.

“I thought so, too,” you say. “I would try to find the study for you, but it was back in my own universe, so I’m not sure it exists yet.”

“You should tell Reid about it,” she says. “I’m sure he would be interested.”

“What would I be interested in?” Reid asks from behind her, walking through the doorway.

“Just a study I read years ago,” you tell him. You’re filling him in when Hotch comes out of his office.

“We have a case,” he says. “Conference room, please.” You all nod and follow him into the room, where JJ is standing in front of the TV.

“We’ve got a serial killer in New Orleans who killed at least three men pre-Katrina,” JJ informs you. “Until now, the New Orleans police department believed that the serial killer died in the storm.”

“What’s happened to tell them otherwise?” Morgan asks, taking a sip of his coffee.

“A fourth body was found in the French Quarter last night.” JJ pulls up an image of the victim. “Same MO. Another male. Throat slashed, eviscerated.”

Prentiss frowns. “A year and a half? That’s a long cooling-off period. Are we sure this is the same unsub?”

“Well, he was probably displaced by the storm,” you point out. “Maybe he kept committing murders in another jurisdiction?”

“Possible,” JJ says, nodding at you. “He send a letter to William LaMontagne, the head detective on the case, claiming to be the same unsub.”

Gideon crossed his arms in front of him. “LaMontagne have any leads?”

“He died in Katrina,” JJ says. “His son is actually heading the case now.” You fight back a smile at her unknowingly mentioning her future husband.

“That can’t be easy,” Morgan says, frowning.

“Well, we need to pour over the evidence from the first three murders and determine the pattern,” Hotch says.

JJ shakes her head. “Katrina washed everything away. The three victims we know of, their autopsy reports, witness statements, DNA test results.”

“So basically, all we have to go on is the latest victim?” Reid says.

“Until he kills again,” Hotch adds.

“Fun,” you say, sarcasm dripping from your voice.

* * * * *

On the jet, you’re playing Pokemon Diamond on your DS, since there aren’t any files to go over.

“Hey Reid,” Morgan says. “What’s going on up there?”

Reid shakes his head as if to clear his thoughts. “I was just thinking of this old friend of mine from Las Vegas— Ethan. I’m pretty sure he lives in New Orleans now.”

“Really? Gonna give him a call?” Morgan asks.

Reid shrugs. “We grew up competing against each other in absolutely everything. Spelling bees, science fairs. We also both had our hearts set on joining the Bureau, but… first day at Quantico, he backed out.”

“He probably just couldn’t take the heat,” Prentiss jokes with a smile.

“It’s not really for us to judge, is it?” Reid frowns.

Prentiss’ smile fades. “Right. My bad.”

JJ clears her throat. “These are copies of the newspaper articles on the murders, dating back to early August, 2005.” She hands you a stack of papers as you close your DS and put it back in your bag. “It’s all we have to go on.”

“He killed three times, he stopped for eighteen months, then he started killing again,” Hotch says.

“We should have Garcia run a list of any offenders in the area,” Gideon says. “Anyone who spent the last year and a half doing time, and like Y/L/N suggested, anyone who was forced to relocate after the storm and recently moved back.” He nods at you.

“What is the victimology in killing a mechanic, a real estate broker, and a cook, with ages ranging from twenty-two to forty-five?” Prentiss asks.

JJ nods. “And this latest is a thirty-three year old taxi driver. They just don’t seem to have very much in common.”

“Apart from being men,” you say.

“And walking the French Quarter at night,” Morgan adds.

“Which is notorious for muggings off the main drag,” JJ says.

Prentiss frowns. “Yeah, but this guy isn’t in a rush to flee the scene. A slaughter like this takes time.”

“Andrei Chikatilo fantasized that the men he killed were his captives,” Reid chimes in, “and that torturing and mutilating them somehow made him a hero.”

“The city’s barely back to life,” Gideon says. “Something like this could cripple its psyche.”

“So where do we start?” JJ asks.

“We don’t have any case files or anything,” you remind her. “We really only have one place to start.”

Hotch nods. “Square one.”

* * * * *

When the plane lands, the team splits up. You go with Reid and Prentiss to the ME to examine the body.

“Four layers of fatty tissue sliced through like butter,” the ME says, uncovering the body. “I only seen that three other times.”

“You work this case initially?” Reid asks.

The ME nods as you slip on a pair of latex gloves. “You don’t forget victims like this. It’s like they were dissected.”

“I can still smell the alcohol on him,” Prentiss notes, also putting on gloves.

The ME shrugs. “This is New Orleans. Dead or alive, it’s a smell you get used to.”

“No defensive wounds,” you note, carefully lifting up the victim’s arm.

“Most likely a blitz attack,” Reid adds. He examines the stab wounds. “No hesitation marks or rapid thrusts. Cuts were methodical. Almost procedural.”

“My guess?” the ME chimes in. “Whoever gutted this guy was taught to.”

“You’re thinking he might have some medical training?” Prentiss asks.

The ME nods. “How else could he carve around every organ and leave each one intact?”

“Has anyone come to claim the body yet?” you ask.

“Anyone we could speak with?” Prentiss says.

“No,” the ME says, shaking his head. “I’ll end up boxing up the poor bastard’s ashes, left to collect dust in storage. All the bodies I’ve been through in the last year and a half, it’s a wonder I still have room.”

* * * * *

When the three of you get back to the station, Hotch is looking at a projection on the wall.

“Is that the letter from the unsub?” Prentiss asks.

“Yeah,” Hotch says. He reads it aloud. “‘I’m back with a vengeance. I wanted you to know… the last guy made it easy, being out so late, stumbling home drunk. I enjoyed slicing around the organs, thought about sending you one. He was asking to be ripped. Don’t you think, Boss? Yours Truly.’”

“To say that the victims were asking to be killed denies all culpability,” Reid says. “Most sexual sadists rationalize their own behavior by blaming the victims like that.”

Prentiss shakes her head. “But there was no evidence of sexual assault in the autopsy. He could be a homosexual male stabbing because he needs violence for arousal.”

“Every kill he’s acting out a fantasy of revenge,” Hotch says.

“What if he’s trying to act out something else?” Reid says.

“Like what?” Hotch asks.

Reid glances at the projection of the unsub’s letter. “With the exception of the victims being men, it’s the same MO.”

“What are you talking about?” Prentiss asks.

“Oh!” you exclaim. “Jack the Ripper?”

Reid nods. “Exactly. All four victims were found with their throats slashed, eviscerated, and the murders perpetrated in semi-public places after dark. Investigators taunted with letters addressed to ‘Boss.’ The only difference is that case was a hundred years ago and the murders took place in London.”

“And the unsub wants us to think that he’s the modern-day version loose in New Orleans,” Hotch says.

* * * * *

The next day, you find yourself at the scene of another murder. You, Morgan, and Reid are questioning the victim’s friends.

“So the three of you were out together last night?” Reid asks.

The man to your left nods. “Mark had just paid his tab at one bar and was on his way to meet us at another.”

“You guys get in any trouble?” Morgan asks. “Drunken brawl? Anybody get out of hand?”

The other man shakes his head. “We were just out to have fun, you know? Minded our own business.”

You adjust your glasses on your nose. “Could Mark have met a girl? Maybe upset her boyfriend?”

“No, ma’am.” The man on the right shakes his head again. “He struck out like we all did.”

Morgan nods. “Thanks guys.” You, Morgan, and Reid turn back to the body, where Prentiss, Gideon, and Detective Will LaMontagne are standing around the victim.

Will crosses his arms. “I can hardly keep up with this guy.”

“Well, if he’s mimicking Jack the Ripper, that might be precisely the point,” Prentiss says. “He terrorized London for months without ever getting caught.”

Gideon looks at Will. “I’d appreciate it if you’d gather your men. We’d like to give you a profile of who you’re up against.”

* * * * *

Back at the precinct, the team stands in front of the New Orleans cops, ready to tell them the profile. Hotch stands in the middle, while Emily is leaning against the wall next to you.

“The offender we’re looking for is friendly, agile, somewhere between thirty and thirty-five,” Hotch starts.

“He’ll lure with charm, kill with rage,” Gideon continues.

“We believe he’s murdering men to reclaim his power,” Emily says. “This unsub suffers from low self-esteem, but he probably covers it well. He dresses impeccably to feed the facade. Jack the Ripper himself was an impetuous lust murderer, whereas this offender is organized, calculating. He might even stalk his victims for days before the actual kill.”

“We believe this killer identifies with Jack the Ripper because he’s lost his own identity,” Gideon says. “Maybe through years of child abuse or some catastrophic event.”

Hotch continues the profile. “Because he overcompensates to hide his insecurities, we believe he may hold a position of authority at work.”

“We also believe the unsub has had medical training,” you add. “Consider EMTs, doctors, and veterinarians, people who may have an advanced understanding of the human body.”

“Please be careful,” Gideon says. “For this unsub, the French Quarter is a hunting ground. He’s certainly already proven he knows the terrain.”

The cops disperse and you and Emily return to the conference room to look over the evidence when Emily’s phone rings.

“Prentiss,” she answers, putting the phone on speaker.

“What was the thing Jack the Ripper took from one of his victims?” Garcia asks. “Besides. Well, you know. Her life.”

“Oh, uh….” Prentiss trails off.

“Tick, tock,” Garcia says.

You think for a moment. “Kidney?”

“Ding ding ding! Y/N’s right,” Garcia exclaims. “How horrifyingly fantastic is that?”

Emily nods at you, making you smile. “Garcia, are you going anywhere with this?” she asks.

“Just that I found an unsolved murder that happened four months ago in Galveston, Texas, with the same MO, the victim missing that very organ. I amaze myself.”

“Hey, I did wonder if the unsub was displaced by the hurricane,” you point out.

“Y/N, you are also amazing,” Garcia says.

Emily laughs. “I agree,” she says, causing your cheeks to heat up. “Great work, Garcia,” she says.

“Who was that?” Gideon asks, walking into the room.

“I may have been right,” you tell him. “Garcia found a case in Texas that fits the Ripper’s MO, four months ago.”

Gideon nods. “A lot of Katrina refugees relocated there after the storm.”

“It could definitely be our unsub,” Prentiss agrees. “He removes the kidney, just like Jack the Ripper.”

Gideon gestures to you. “Call Reid and Morgan. I want the four of you on a plane to Texas tonight.”

You nod, biting your lip. “Will do,” you tell him quietly.

* * * * *

Emily glances back at you as you follow her up the stairs into the jet. “Are you okay? I know you had a hard time in Texas during the last case.”

You sigh, fiddling with your hands. “I’m treating it as exposure therapy,” you tell her with a shrug. “It’s how I got myself used to the grocery store during the weekend days when it was wicked crowded. Besides,” you say, shooting her a smile, “I know you wouldn’t let anything happen to me, even if my asshole ex somehow did show up.”

She chuckles, throwing an arm around you. “You got that right. We have your back.”

The two of you settle in and wait for Reid and Morgan to get there, chatting about the case as you wait. After a few minutes, Morgan walks onto the jet.

You nod at him. “Hey.”

“Hey,” he says, putting his bag down. “Where’s Reid?”

“He’s not with you?” you ask. Morgan shakes his head.

Next to you, Emily frowns. “We were hoping he was.”

“Thought you said you called him?” Morgan asks her.

She nods. “I did! Four times, nothing.” She glances at her watch. “The victim’s fiancée is expecting us.”

“What do we do?” you ask.

Morgan shakes his head. “We got one option. Wheels up.” He goes to tell the pilot to take off.

* * * * *

When you get to the fiancée’s house, it’s dark out. She invites you in and you take a seat next to Prentiss on the couch, Morgan on her other side.

“Everyone kept saying crime’s gonna skyrocket after the relocation,” the victim’s fiancée says. “You just never think it’s gonna happen to you.”

“The report said that your fiancé was bar-hopping for his bachelor party on the night he was killed,” Prentiss says.

“We were supposed to be married in October,” the fiancée says. She takes a deep breath. “He was just out celebrating that with friends.”

“Was there anyone at Leonard’s bachelor party you didn’t know?” Morgan asks.

She shakes her head. “We all grew up together. They’re like family to me. Whether they met somebody out, you know, that’s a different story.” She laughs humorlessly. “They’re a rowdy bunch. They’d party with anybody.”

You finish up the interview and leave the house. You hop in the back seat, giving Emily the passenger seat while Morgan drives. Emily sighs. “Each of the last two victims was traveling with a group. Both were drinking, both in public arenas, bar-hopping. So how could their friends not see anything?”

“It’s like when the lion preys upon an antelope,” Morgan says.

Emily frowns. “You lost me.”

Morgan laughs. “Well that’s because you, Emily Prentiss, have never been one of the antelope.”

“Oh, scratch that,” Emily says. “You totally lost me.”

“Me too,” you say, frowning.

“Okay, check this out,” Morgan says. “The antelope travel in packs. So the lion just sits and waits. Waits for just one of the antelope to break away from its herd, so when he’s alone, vulnerable, and completely unprotected, that’s when the lioness strikes. That’s when she makes her move.”

“Wait a minute, ‘her’ move,” Emily repeats.

Morgan nods. “There’s only one thing that’s gonna make a straight man leave his friends on a guys night out. And it’ll make him leave every time. One of the victims was out for his bachelor party. Another one out with just the guys. What’s the only temptation that’s gonna lure these men away from each other.” He takes out his phone and dials.

“The unsub’s a woman,” you finish.

* * * * *

Back at the precinct, you, Morgan, and Prentiss are looking through the case files again when Reid walks in.

“Hey, you guys are back from Galveston?” he asks, sitting down next to you.

“First light this morning,” Morgan replies. “Where were you?”

“I was out with a friend, I already told you,” Reid says casually.

“I called you four times,” Prentiss says.

“I didn’t have any cell phone reception, so I didn’t get your message until late,” Reid says.

Prentiss rolls her eyes. “Right.”

Reid looks to you. “What’s going on?”

“Unsub’s a woman,” you tell him. “We’re looking through the evidence again with that in mind.” He opens his mouth to respond when Hotch walks up behind him.

“We just found another body in the Quarter,” Hotch says. “Let’s go.”

* * * * *

At the scene of the newest murder, Morgan is examining the body as you, Prentiss, Gideon, and Reid watch him.

“Throat’s been cut,” Morgan says. “He’s been disemboweled, too.”

Gideon crouches down next to the body. “Reeks of booze,” he says. “It’s more than a pattern.”

“Only this time, she cut off the earlobe,” Morgan adds.

You nod. “Like Jack the Ripper.”

Prentiss looks at you. “What do you mean?”

“In one letter or correspondence, Jack the Ripper promised to cut the earlobe off his next victim, and he did,” Reid says.

“Wasn’t that the only day he killed twice?” you ask. Reid nods.

“So she’s gonna kill again by the end of the day,” Gideon says.

“Most likely,” you say. “Unless we can stop her by then.”

“Okay,” Prentiss starts, “what do we know about female serial killers?”

Gideon nods. “Basically, you have two types.”

“The Sante Kimes model,” Morgan says. “Cold, calculated. Preys on men for money. Takes her time building relationships.”

“Doesn’t sound like this unsub,” you say.

“It’s more likely we’re dealing with the Aileen Wuornos archetype,” Reid agrees, nodding at you. “Motivated by paranoia and fear, luring men with sex.”

“This unsub’s organized,” Gideon says. “She follows a routine. She meets men in a bar, flirts with them over drinks, and suggests they consummate the evening in an alley.”

“We should patrol the streets tonight,” you say. “Especially knowing we can expect another body by the end of the day.”

“Office just brought me this,” Detective LaMontagne says from behind you. You turn and see him holding out an evidence bag with what appears to be another letter from the unsub inside.

Emily takes it from him and reads. “Dear boss, by now I have rid the world of one more. So many men, so little time. I hope you don’t mind the mess. They make it so easy, I just can’t help myself. Yours truly.”

* * * * *

Later that night, you and Emily are patrolling the alleys together.

“Most of the women are in groups,” you note, looking around.

Emily nods from beside you. “We should be looking for someone on her own.”

You frown, thinking of the latest letter. “So many men, so little time,” you repeat. “She’s dead set on killing men. I wonder why?”

“She might be misplacing the rage from a father who molested her,” Emily suggests. “Some people think Jack the Ripper mutilated women after his mother sexually abused him for years.”

“She seems apologetic, weirdly enough,” you add. “At least for leaving a messy scene. I don’t understand why.”

Emily shrugs. “That might be what the detective’s father figured out before he died.”

You sigh. “Okay, I’m going to preface this with the fact that I’m not victim blaming, simply curious, but why are these men just fine with following a stranger into a random alley alone? I would never.”

Emily chuckles. “They’re not thinking with their head.”

“At least, not the correct one,” you respond. She laughs.

“Exactly.” The two of you continue looking around for anything that stands out, conversation lulling for a bit.

“Do you know what’s going on with Reid?” Emily asks after a little while.

You let out a long breath. “He… I mean, he hasn’t been the same since Tobias Hankel, and understandably so,” you tell her. “But I wish he’d let us in.”

She looks out at the crowd around you. “Not to change the subject, but I feel like we’re missing something. Let’s go meet up with the others, see if they’ve had any luck.”

You nod, following her through groups of people, fighting the urge to reach out and grab her hand so you don’t lose her. You find Morgan and Reid first.

“Hey,” Morgan says, shaking his head. “We got nothing.”

You frown. “Well, we’re running out of time. Day’s almost over.”

Emily sighs. “Hopefully Hotch and Gideon or JJ and the detective had better luck. Otherwise….” Her voice trails off, but you all know what she means.

Otherwise, you’re going to find another body.

* * * * *

The next morning, you arrive at the scene of the newest murder. Detective LaMontagne is kneeling next to the body, shaking his head.

“She’s mocking us,” he says, standing as you, Emily, JJ, Gideon, and Reid duck under the crime scene tape.

“And she’s true to her word,” Emily notes.

Reid crouches down next to the body. “Does anyone have any tweezers?” he asks. One of the crime scene techs hands him a pair. “Thank you.” He uses them to extract something white from the victim’s mouth.

“What is that?” JJ asks.

“I have no idea,” Reid says.

You look closer as Reid stands. “A note, maybe?”

Reid unfolds the paper and nods. “Y/L/N is right.” He looks over at the detective. “It’s addressed to your father.”

“Let’s see it,” Gideon says. Reid hands him the paper. “‘Dear boss,’” Gideon reads, “‘he wanted it, with that sharp tongue and vulgar hand. Thought you’d like to know, another will soon get what he deserves. Yours truly.’”

“It’s weird,” Reid notes.

You frown. “How so?”

“Typically offenders write letters to be heard,” he explains. “Jack the Ripper bragged about not being caught, but this unsub isn’t using correspondence to flaunt her latest kill, only to explain why she did it.”

“It’s possible that she considers herself a vigilante,” Prentiss suggests. “That the men she’s killing deserve to die.”

“Or maybe she’s contacting your father, not because he was the lead detective on the case, but… because she believes he’d understand,” Gideon tells the detective.

“You think he knew her somehow?” Detective LaMontagne asks.

“Can you think of a woman in your dad’s life he helped through a tough time?” JJ asks. “Might be another police officer, I don’t know, a prostitute he helped get off the street?”

The detective shakes his head. “Nah, he hasn’t dealt with prostitutes since he worked sex crimes.”

“The unsub wrote, ‘he was asking to be ripped,’ ‘I just couldn’t help myself,’ and ‘he wanted it,’” Reid says.

“Wait, that sounds a lot like what rapists say to excuse their behavior,” you say. You turn to the detective. “You said your dad worked sex crimes? Maybe she was one of his victims.”

Reid nods at you. “Exactly. She may be mirroring the man who raped her.”

“Detective, where are the files stored from your sex crimes division?” Gideon asks.

Detective LaMontagne shakes his head. “They were housed in the same place as homicide. Most of them washed away.”

“Did your dad have a partner?” JJ asks.

“Yeah, J.R. Smith,” the detective says. “Smitty, they called him.”

“Maybe he remembers something,” you suggest.

“Yeah, but they had a falling out,” Detective LaMontagne says.

Emily frowns. “What about?”

The detective shrugs. “I don’t know. They stopped talking when he left sex crimes. That was nine years ago. The guy didn’t even come to my daddy’s funeral, so….”

“Do you have a problem calling him?” Gideon asks.

“Not if it means breaking this case,” Detective LaMontagne says. He looks down at the body, frowning. “Honey, may I borrow your hand for a minute?” he asks JJ. She nods. The detective uses her to look at the victim’s hand, where there’s a stamp. “Well, I’ll be damned.”

“What?” you ask.

He gestures to the hand. “That stamp? It’s admittance into the Mon Cherie. It’s a bar in the French Quarter.” He stands. “Nine years ago? It was called Jones.”

“Bingo,” Gideon says. He turns to JJ. “Get Garcia on the phone.”

* * * * *

At the Mon Cherie, Detective LaMontagne leads you all towards a man sitting alone at a table. “Smitty, how are you?” he says, holding out a hand to shake.

Smitty stares at him. “I hope you got a good reason for dredging this crap up,” he says coldly.

Detective LaMontagne lowers his hand. “Well I was hoping you might remember being called here with my daddy nine years ago.”

“Is that a joke?” Smitty asks, glaring at him.

The detective shakes his head. “No?”

Gideon steps forward. “My name’s Jason Gideon. We’re from the FBI. We’re investigating the series of murders in the French Quarter.”

Smitty shrugs. “What’s that got to do with me?”

“We need you to tell us what happened the night you and Detective LaMontagne answered the call in this bar,” Emily says. Smitty just stares at her.

“Am I missing something?” the detective asks.

Smitty smiles, and it makes you want to take a step back. “You really don’t know, do you? After that night, your daddy tried to bring me up on sanctions.”

“Why?” Detective LaMontagne asks.

“It was Mardi Gras. Some girl claimed she was raped,” Smitty tells him. You grit your teeth at his wording and flippant attitude. “I wasn’t buying it.” You fight the urge to cross your arms.

“What did she say happened to her?” JJ asks.

“Brass backed me up,” Smitty continues, ignoring JJ. “They ended up transferring your daddy out to shut him up.”

“What happened here?” Emily asks, glancing at you with a frown.

“It almost cost me my career.” Smitty ignores her.

“Do you mind telling us what happened?” Gideon asks the question this time.

Smitty stands, walking across the room. “My best recollection, she said she was sitting at the bar with two friends. One of the boys asked her if she wanted to play some pool. Witnesses claim she was up for anything.” You grit your teeth again but say nothing.

“She followed him up here?” Emily asks as he gets to the stairs.

Smitty nods. “His friend not far behind. She knew he was there.” You bite your lip. “That girl was a tease,” Smitty says. You want to punch the smug look off his face. “She was looking for a good time. Anyway, a couple guys were going along with that.”

“Did she yell out for help?” JJ asks.

“She said she did,” Smitty says, rolling his eyes. “But not a single person claimed that they heard her.”

“That’s what you registered as a disturbance?” you ask incredulously, your voice coming out louder than you mean for it to.

“It was Mardi Gras,” Smitty tells you. “Listen to me, that girl had enough beads hanging from her neck to jewel a small city. Anyone who exposes themself that much in one day isn’t a credible witness in my book.” You flex your fingers in an attempt to not curl them into a fist, a habit you formed as a child when you would get upset.

“But she wanted to press charges,” Detective LaMontagne says.

“I told her it was a waste of time,” Smitty says. “I knew one of the accused. He was a good kid.” He shakes his head. “He didn’t need the stink of that accusation.” You grab the bottom of your shirt into a fist.

Gideon sits down next to Smitty. “So you protected a rapist.”

Smitty scoffs. “Well, that right there was a bone of contention between his daddy and I. As far as I was concerned, no such rape ever took place. Now are you gonna tell me why you went and dragged this dirt back through my life?”

There’s a pause, and then Gideon speaks. “You know the serial killed who’s cutting up men in the French Quarter? She was your victim.”

“We’re trying to find a name,” Detective LaMontagne says. Smitty shakes his head.

“You don’t even remember her name?” Emily says.

Smitty rolls his eyes. “It was nine years ago.”

“Okay then, how about the name of the ‘good kid?’” you ask. “You know, the one who raped her.” Smitty takes another sip of his drink, not responding.

“Smitty,” Detective LaMontagne says. “You tell me right now or I’ll file a new sanction against you, and I guarantee you, this time it’ll stick.”

“Ronnie Thibideaux,” Smitty grumbles.

You turn and stalk outside, where you allow yourself to clench your hands into fists.

“You okay?” Emily asks from behind you.

You turn to face her. “I don’t like him.”

She smiles softly. “I can tell.”

“Was I that obvious?” you ask.

She shrugs. “Maybe not to a normal person, but I am a profiler, and it was written all over your face.”

You sigh. “I’ve watched enough SVU to know how common his mindset it, but I can’t fucking stand it.” You kick a pebble. “Like, he’s supposed to help protect people, not victimize them further! God, I fucking hate people.”

She puts an arm around your shoulders as the others exit the bar. “Caring so deeply about other people is a good thing,” she tells you. “Don’t let anyone tell you otherwise.”

Gideon gives you a questioning look, and you nod resolutely at him. “I’m good. Let’s go interview a rapist.”

* * * * *

Back at the station, you’re watching from the other side of the glass as Emily and JJ talk to the rapist, Ronnie.

“Mr. Thibideaux,” Emily starts, “we need you to answer a few questions about a disturbance you were involved with in 1998.”

Ronnie looks at her, a small smirk on his face. “I don’t know what you’re talking about.”

“At a bar called Jones,” JJ adds. “It was Mardi Gras.”

“Well, then, I must’ve been drinking some, because I don’t remember a thing,” Ronnie says, that stupid smirk growing wider.

“We just need to know the name of your accuser,” Prentiss tells him.

Ronnie shakes his head. “Look, I told you I don’t know what you’re talking about.”

JJ shakes her head. “The statute of limitations is up,” she says, rubbing her face. “We just need a name.”

“Someone accuses me of rape, I’m gonna remember her name,” Emily says, sitting down across from the rapist.

“Unless you’re used to it,” you grumble to yourself. “Probably raped other women, too.”

“Well what can I tell you, cher?” Ronnie says, slight agitation creeping into his voice. “I guess she didn’t make that good of an impression.”

“Oh, that fucker,” you seethe, fidgeting. Your cross your arms, then uncross them.

“Unlike yourself, right now?” Emily is saying to Ronnie.

“Y/L/N, take a breath,” Hotch says quietly from beside you, his tone soft.

You sigh. “I’m fine,” you tell him. “Just really hate rapists.” You refocus on the interrogation room.

“You know,” Ronnie says, leaning forward, a dangerous glint in his eye, “I’m guessing if someone did do something to that girl that night, then she was probably asking for it. Maybe even liked it.”

“Oh, what a fucking ass hat,” you say. “He’s not even gonna tell us a name!”

“Guy’s not giving up anything,” Detective LaMontagne says from behind you.

“Reid, after the double murder, what was the Ripper’s next move?” Hotch asks.

“He mutilated and dismembered Mary Kelly in her one-room flat until she was unrecognizable,” Reid reports. “It’s believed to be his most vicious kill of all.”

“He had privacy,” you say.

“And time to torture his victim before killing her,” Morgan adds. “Maybe we’re not too late.”

You shift your attention back to the interrogation room, where JJ is showing Ronnie pictures of the victims. “She murdered these men, and I’m guessing it’s only a matter of time before she works her way back to the one she really wants to kill.” Ronnie looks at her abruptly, alarm written all over his face.

“She make an impression now?” Emily asks.

Ronnie swallows. “Sarah Danlin.”

You turn and walk away, grabbing a drink of water while JJ calls Garcia. She’s hanging up when you return, water in hand. “We got her,” she tells you.

* * * * *

At Sarah Danlin’s apartment, the team spreads out in groups to cover all entrances. You’re paired up with Hotch and Morgan, while Reid and Detective LaMontagne take the back entrance.

“Sarah Danlin! FBI! Open up!” Morgan yells. When there’s no answer, Hotch gives him a nod and he kicks the door in. You follow behind Hotch and Morgan, gun drawn, as you check each room.

“Clear!” you call out.

“Clear!” Morgan shouts.

You meet in the living room. “She’s definitely not here,” you say.

“Guys, there are some ripperologists who speculate that Mary Kelly was actually killed in a flat that Jack the Ripper rented for the night,” Reid says.

Morgan takes out his phone. “I’m gonna have Garcia check Sarah Danlin’s credit card accounts. It’s a long shot, but maybe we can trace her room back to her charge cards.”

You look closer at the coffee table. “Look.”

“Souvenirs,” Hotch says, picking up a paper. “These are from bars in the French Quarter. This is from Mon Cherie.”

Morgan shakes his head. “She’s trolling for victims in the place where it all began.”

“She can’t move on,” Hotch says. “The rape isn’t the whole story. I’ll bet there’s a history of sexual abuse that contributes to her rage as well.”

“It’s almost like by taking on the Ripper persona, she was trying to kill something within herself,” Reid says.

Morgan’s phone rings. He opens it and puts it on speaker. “Yeah, mama, what do you got?”

“Sarah Danlin’s Visa was charged an hour ago at the Royal Ruby Inn,” Garcia tells him.

Morgan smiles. “Ah, baby girl, you never disappoint. Thank you.” He hangs up and looks at the detective.

“That’s two blocks from here,” Detective LaMontagne says.

“Let’s go,” you say, everyone rushing out of the room and back to the SUVs.

It only takes a minute to get to the Inn, and you jump out of the car as soon as it stops, following Hotch at a run. He quickly describes Sarah Danlin to the desk attendant, who directs you to her rented room.

Hotch kicks the door open to find Sarah Danlin standing over a naked man who’s tied to the bed by his wrists. She has a knife in her hand. “FBI!” Hotch shouts.

“Drop the knife!” you tell her.

“Drop the weapon!” Hotch repeats.

“He wanted it,” Sarah says, pointing the knife at the man’s throat. “And he got it.”

“Put it down, now,” Morgan says.

Hotch raises his wrist to his mouth. “We need an EMT tech right away,” he says quietly into the receiver.

Sarah looks over her shoulder, focusing on you. “What are you waiting for?”

Morgan shakes his head. “Ma’am, we don’t want to shoot you,” he says.

She smiles humorlessly, looking at Morgan. “Be such a shame to waste this. Do you want it, too?��

“What we want is for you to please put the knife down,” Morgan says.

“Come on,” Sarah tells him. “Don’t fight it.”

You shake your head. “Sarah, please. We don’t want to hurt you.”

Detective LaMontagne comes into the room, lowering his weapon. “Sarah,” he says carefully. “My name’s William LaMontagne Jr. You knew my daddy?” Sarah’s eyes fill with tears as Detective LaMontagne inches his way closer to her. “Hey there. You trusted him, so trust me.”

“Where is he?” Sarah asks him.

“The storm took him,” the detective tells her. A tear rolls down her cheek. The detective puts a hand out, slowly reaching for the knife. “Come on. It’s over.” Sarah gives him the knife and breaks down, falling into his arms. “It’s over,” he repeats, carrying her out of the room.

You immediately start working to free the victim from his restraints, taking out your knife and slicing though the fabric. “You’re going to be okay,” you tell him as the EMTs rush into the room and begin their assessment.

You follow the EMTs as they load the victim into a stretcher and wheel him out to the ambulance, breaking away from them when you notice JJ and Prentiss pulling up.

“Hey,” you greet them. JJ gives you a nod as she walks over to where the detective is leaning against his car. You smile over at them.

“What’s that look for?” Emily asks, following your line of sight.

You shrug. “Wouldn’t you like to know?” you tease.

She laughs before her expression turns more serious. “I just wanted to check in on you, make sure you’re okay.”

You nod. “I’m good. I just hate that rape isn’t taken seriously a lot of the time. There’s a quote, something along the lines of, ‘rape is the only crime where you have to prove the victim’s innocence.’ I just hate that that’s pretty much true. It doesn’t matter if the victim was walking around naked, as long as they say don’t provide consent, it’s rape.” You sigh. “I’m lucky enough to never have been sexually assaulted, but I know a lot of women who were. Well, you know. I used to know a lot of women who were,” you correct yourself, frowning. “Anyway, as much as I miss my old life, I’m glad I found a new family, too. The BAU and the Jeffersonian team are the only reason I’m able to function, really. I’m not sure what I’d do without you guys.”

She smiles, putting an arm around you. “You’ll never find out.”

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