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dr-spencer-reids-queen · 2 years

Text

In Name and Blood: Final Part

Pairing: Spencer Reid x Female!Reader

Word Count: ~2k

Warnings: being inside a burning house, someone setting fire to a house with the reader inside, canon violence, canon language, canon talk of death, methods of kill

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

Just like you thought was going to happen, there is another body that was recently dumped. Much like you suspected, it's Claire. Strauss isn't used to seeing dead bodies or dealing with them like the rest of the team, so as soon as she gets to the new crime scene, she grows sad. She grows so sad that her emotions then become yours.

With the help of Hotch and Derek, she walks down to inspect the body, but she ends up slipping. Hotch is able to catch her, but the look on Strauss' face is heartbreaking.

"Are you alright?" Hotch asks.

"I stepped on her hair," she whimpers.

The words bring tears to your eyes.

"If you need a second, take a second. This is what it is. Just don't let the public see you break down," Hotch says. He nods to an officer to take Strauss away from the body, and you take Hotch's words to heart. He turns and sees you, immediately becoming concerned. "Are you okay?"

"I felt her sadness. I'm okay." You shake off the nerves and take some gloves because your team needs you to see if there is anything you can see on the body. "I'm okay."

"This is a different area from the other dumpsites, isn't it?" Emily asks.

"He's getting smart. He knows where all of our manpower will be so he's changing locations."

"How long before he changes when and where he abducts them?"

"If he does that, we're back at zero."

"Claire?" a voice comes from the police tape.

You turn to see her husband standing there, trying to get a look at the body on the ground.

"No, no, no, no. We gotta keep him out of here," Derek orders.

Three policemen head over to the husband to try and get him away, and you turn to the body and focus on Claire. With gloves on both your hands, you head down to the body and kneel next to her, moving her hair away from her open eyes. What they must have seen in her last moments. Eyes are a big issue for you since it's like they're begging you to bring them justice. You reach over and close the eyes for her, sighing deeply.

You close your own eyes and touch her body, trying to feel for the most sensitive part of her body with the most trauma to it. Flashes of a house come to your mind, and you can connect with the energy left behind by Claire to fit the puzzle. You can see the final moments of her life as if it's a movie playing inside your mind.

There is a man, but you can't see defining features right away. There is a kid, and he looks like the one you've seen in the video. You've come to learn that if you've seen a person before--through video, in person, or in photographs--then you can see them clearly in the visions you're having. You haven't seen this unsub before, which is good to know.

This man and Claire are at a kitchen table with the kid, and Claire is cooking a meal for both the unsub. The kid is doing homework at the table, so Claire is helping him do homework while cooking for the three of them. You can feel her fear and the unsub's panic, but you feel nothing from the kid. It's a vision, so it's not going to come off as anything right now, but even looking at this kid you know he isn't feeling anything.

The flashes in your head show Claire mothering the kid, and you finally know why this unsub is keeping these women for forty-eight hours. You take your hand away from the body and stand up, discarding the gloves.

"What did you see?" Hotch asks.

"Our unsub is looking for a woman to mother his son. If they don't make the cut, then he kills them. I saw Claire taking care of the child in that security footage from the mall. Helping him with his homework, cooking meals for them, and everything else a mother does. I don't know why he is looking for a mother for his son, but these women have to meet his criteria or he kills them. Why, I don't know."

"Good work," Hotch praises.

You look to your right and see Strauss staring at you with an unreadable expression. For someone who was sad a minute ago, you can't read what she's feeling. You gathered everything you needed from the crime scene, so your team heads back to the station to try and piece some of the puzzle together.

"So, what's around the dump site?" Hotch asks about the previous ones.

"The old printing press of quad graphics, the paving yard, and then the concrete factory where we found the body. None of them are visible from the highway," Vic shows through maps.

"You don't end up there by accident."

"So, we go back to the schools, we eliminate the third ward, and we target problem kids whose fathers have held blue-collar jobs over the last ten years."

"Have you considered a non-troubled kid? What if he isn't a problem?" you ask.

"I was just about to say that," Spencer blushes.

"What do you mean?" Derek asks.

"Well, if a parent is clearly this unstable, and the other one is out of the picture, then a kid would go to great lengths to be the perfect kid. To prevent this unstable parent from lashing out at them."

"Like helping your father abduct women?" Emily asks.

"Exactly."

"They're never late for school," Spencer backs you up. "Even with the abductions and the disposal of the bodies, it's always timed perfectly so the kid will be on time to school. I don't think the killer would care. I think the kid would."

"We need to go back to those schools and see who is on the principal's list."

That's exactly what you do, and you're with Spencer while the others scattered to different schools.

"I know we were just here, but we're looking for a different kind of student now. Here are the files we borrowed from you," you say and hand over the files. "We're looking for a model student."

"It's someone who tries to please in a way that the other teachers have probably talked about. Inventing extra-credit projects, volunteering to skip recess to help clean the classroom, and stuff like that."

"David Smith," the principal says without hesitation.

"Do you know his father?" you wonder.

"We all do. It's such a sad story. All the teachers all talk about it. He was diagnosed with an inoperable tumor six months ago, and his wife left the two of them."

"That's why he's looking for women," you whisper to Spencer so that the principal doesn't hear. "She just left?"

"Yeah. I don't know what's gonna happen to David. I can't imagine David's father being someone you're looking for. He's very involved. He drops David off and picks him up every day."

"Do you happen to know what kind of car he drives?"

"A van, maybe? I can't say. Something big. He makes hand-crafted furniture. I know he does deliveries."

"Could we please meet with David? Is he here at school?" you ask.

"Of course. Right this way."

The principal takes you and Spencer down the hall to David's classroom, where she grabs the teacher's attention.

"Miss Bennett. We're looking for David Smith."

"You just missed him."

"Do you know where he went?" you ask.

"He wasn't feeling well, so the nurse volunteered to drive him home to help out David's father."

"He's got another victim," you whisper to Spencer. "Where does David live?"

As soon as you grab the address from the principal, you let the rest of your team know you got a hit. Everyone met up outside of David's house in no time. In order for you to determine if this is the right house, you have to make sure David is home. He is home, and he's watching TV by himself. You don't see his father around, but you know this is the house.

You can see the panic and fear from the nurse that drove David home.

"Where are your other agents?" Strauss wonders.

Spencer and JJ have gone around back just in case someone tries to sneak out.

"Covering the other side. They have an eye-line just in case somebody tries to sneak out the back."

"Is there any sign of the nurse or the dad?"

"Visually, no," you begin to say, but Strauss cuts you off.

"Call in SWAT, secure the perimeter, and wait for him to come out."

"Ma'am, he's holding a woman inside the house."

"We don't know that for certain. We don't have probable cause."

"She's right."

"Sir, with all due respect, he doesn't know we're here. He's hurting her. I know this because I can see her energy and feel her fear. She's in his basement, and he will kill her if we don't make a move," you say to Hotch. "He didn't lure this one to him. He changed the dump sites. He could kill her right now."

"So, let's pound on the door. Maybe he'll panic," Vic offers.

"He could kill her if we do that," you say.

"Let me go in alone. David will let me in," Emily offers.

"No," Strauss shakes her head.

"We need to get invited in that door. He's looking for female authority figures. If he lets me in, I can signal as soon as I see anything that gives us cause."

"Technically, you're not even in the FBI."

"Then let me go in. Hotch, you know I can get this guy," you offer. "I know where she is, and she needs my help."

"Fine. As soon as you have probable cause, give us a signal and get out of there," Hotch says and hands you a button.

Once pressed, it will signal to the others to come inside. You take the button and look at Emily with a sympathetic look. You don't wear your vest because it could alarm anyone inside the house. Instead, you hide your gun so that it is out of view. You walk to the house and knock on the door, smiling when David opens it.

"Hi, are you David? Your dad asked me to come by."

"He's busy."

"Would it be okay if I came inside and waited for him?"

"I guess," David shrugs.

"Thank you," you smile.

You walk inside, and as soon as David closes the door, he locks it.

"My dad says it's unsafe to leave your door unlocked."

"Smart man. So, where is your dad?"

You know exactly where he is, but you need to get David's permission to enter any part of the house.

"He's working in there," he points to the basement door.

"Would it be okay if I let him know that I'm waiting for him?"

"He doesn't like me to go down there when he's working."

"That's okay, I can do it. I'm just going to see if he's okay to see me. We'll just both be really quiet. Can you be quiet?"

David shrugs and hops back onto the couch, continuing his TV show. You turn to the basement door and carefully walk to it, grasping the doorknob and opening the door. You descend the stairs and see the missing nurse tied to some kind of board. Her eyes widen when she sees you, but you react too late.

David's father has a 2x4 that he uses to hit the back of your head with. You go crumbling to the ground, and he grabs the gun you have hidden on your back. You moan in pain and look up at the father with a glare. David must have heard the commotion since he opens the door to the basement to see what went wrong.

"Who is this? Where did she come from?" his father demands.

"She said she knew you."

"What?"

"She said she knew you," he says in a softer tone.

The father gives the gun to David, but it's clear that David doesn't want this. However, his father makes it clear that this is what he wants of his son. He points the gun at you and lets go, and David doesn't move the gun from your body.

"It's okay, point it right there."

David's father walks over to you and grabs you, hauling you to your feet. He has you in front of him so that your back is against his chest. You're bleeding from where he hit you on your head, but you don't focus on that. You reach into your pocket before his father has a chance to see, and you push the button several times.

Several seconds later, Hotch and Derek come busting into the basement with their guns drawn

"Drop the weapon, son," Hotch says to David while Derek takes care of his father. "Give me the gun."

The father has no choice but to let you go since he doesn't have a weapon to hold you with. Derek handcuffs him, and you attend to the woman who is just scared.

"That's okay. Do what they say," the father says to his son.

"Are you okay?" Emily asks you.

"I'll be fine," you say and remove the ties on the woman's wrists.

"You're dying, and this is what you want to leave your son?" Vic asks the father as he takes him away.

The ambulance was called, and you had to be checked out to make sure that there were no other issues with your wound.

"How's your head?" Spencer asks like the concerned boyfriend that he is.

"I'll be okay," you smile at him, taking his hand in yours. "I just want to get home and sleep peacefully."

"In due time," Spencer laughs along with you.

It's been five hours since he got to your apartment building, and he's been sitting outside of it in his car... waiting for the right moment to sneak inside. He watched you enter the apartment two hours ago, how tired you looked from your day. How he ever let you go is beyond him, but it's time he's taken control of his actions.

He puts out the cigarette that he's been smoking since he entered the state and gets out of his car. He looks both ways before crossing the street, peeking through the window by the door to see if anyone was inside. He doesn't want to be remembered, so he takes out another cigarette and lights it, leaning against the building to make it look like he's a resident only out here for a smoke.

He inhales three puffs before someone opens the front door. This woman doesn't pay him any mind, and he waits until she isn't facing his way before slinking up to the door. He catches it right before it can close, giving him access where he wasn't wanted before. He uses the side of the building to put out his cigarette before tearing off the base of it. He tosses the lit side onto the ground and pockets the part that's been in his mouth.

He can't let anyone know that he was here.

He heads up the stairs with his head down, making sure not to draw attention to himself. He gets to your door and whips out his lock pick, using it expertly to get inside your apartment. It's everything he thought it would be. Everything has a place of its own, and nothing is out of place. He always imagined what your place would be like if you ever left...

... if he ever let you leave.

Without a sound, he carefully tiptoes to your bedroom, opening the door slowly so as to not make any noise.

There you are. A sleeping angel. The covers are half off you, and your hair is a mess around you, but you look so beautiful. You look as beautiful as the day he first laid his eyes on you. He smiles at the memory, savoring it for just himself. His own personal haven where you're the star of it. He walks over to you to get a closer look, and he gets so close that he can see the pores on your skin.

He knows this is a risk, but he can't ever see you and not touch you. He reaches out and gently slides the back of his finger down the length of your cheek. Your skin is so smooth, just the way he likes it. He moves your hair out of the way to get a better look at you, and if he's being honest, his pants tighten just a little bit at the sight.

He didn't come here for this, so he backs up and leaves your room knowing you're not going to wake up and catch him. He's learned you're a heavy sleeper, which is what he is counting on. He carefully moves about the apartment, looking at all of the pictures you have in there.

There is one of you and a skinny white guy with curly hair. You look so happy in his arms, and if he's being honest, his blood is boiling at the thought. He doesn't touch anything that he doesn't need to, but even if he does, he brought gloves with him. He slips those on and heads to the kitchen, grabbing your oven and slowly sliding it out. He makes sure not to make too much noise, but he only needs a tiny bit of room to reach down behind the oven.

He does so and grips the gas main line, breaking it off so that if the oven was turned on, then an explosion will happen. He leaves the oven where it is and heads to the pantry, quickly finding flour. Next, he looks through your cabinets and finds rubbing alcohol that he can use as an agent.

He pops the lid off the flour and begins to sprinkle it everywhere that he can, covering your apartment with the white powder. He takes the rubbing alcohol and covers the flour with the liquid. He smirks and fishes out a lighter from his pocket, fingering the small object for a few seconds.

Should he be doing this? No, but he was never the one to follow the rules.

Without another thought, he flips open the lid and ignites the lighter, tossing it onto a pile of rubbing alcohol. He turns and leaves your apartment, quickly escaping the building altogether before someone sees the flames. He opens his door and pauses, turning back to look at your closed window.

This is for the best.

If he can't have you, then no one can.

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dr-spencer-reids-queen · 2 years

Text

In Name and Blood: Part Two

Pairing: Spencer Reid x Female!Reader

Word Count: ~1.7k

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

By the time you got back to the police station, there is news of another kidnapping in the area.

"Hey. What do we know?" Vic asks.

"Woman's name is Claire Thompson. Her husband tried to reach her on the cell phone. When she didn't pick up, he drove to the department store. The car's in the parking lot, but she's not inside."

"Is that the husband?" JJ wonders, pointing to the man inside the station who looks distraught.

"Yeah. JJ, take Strauss with you," Derek informs.

The best thing he could have said by far.

"I had the department store uplink the security footage to your analyst in Quantico. My desk is over here," an officer says, leading your team to his desk.

Just then, Penelope requests a video chat. You lean over and press accept, and her face pops onto the screen.

"Garcia, baby girl, please tell me something I want to hear," Derek begs. "Did you locate the missing girl on the security footage?"

"On it. It's coming your way. Keep me on speaker, will you?"

The video pops up, and you can see the woman on screen looking through clothes and deciding what she wants to buy. Nothing seems out of the ordinary for this woman.

"She doesn't seem to be on anyone's radar," Spencer voices your thoughts.

Just then, a little boy comes into the frame and grabs her attention.

"Look. Who's the kid?"

"Does Claire have a son?" you ask.

"No, a two-year-old daughter."

"It looks likes the kid is lost."

Claire grabs the kid's hand and he escorts her out of the frame where you can no longer see her. You expect the video to change views, but nothing else comes.

"Penelope, this all you got?" you ask.

"That's it. They turned down a hallway without any security cameras, and we lose them."

"I'll get a list of missing kids, see if we can make out a resemblance to any of them," Vic offers.

"Shit," you sigh, thinking about what Hotch said. At this point, JJ and Strauss come back from talking to the husband. "It's something Hotch said. All the abductions and disposals have been timed around school time. We thought the unsub might work in the system. What if this guy's actually using his own son to lure his victims?"

"Then the profile changes, and we need to give it out as soon as possible," Derek says.

"I'll gather my men and women," Vic suggests and leaves the group.

Strauss has a look on her face that suggests she didn't like it when you said Hotch's name. It's like she doesn't want him being part of this team anymore. It worked really well before, why take him out now? Just because Elle went rouge, doesn't mean it was his fault. What happened with Gideon isn't his fault either, so she has no reason to bench him other than showing off that she is the boss of him, and whatever she says goes.

As soon as Vic gathers everyone on the force, your team stands in front to give the profile. Strauss stands off to the side to observe this since she doesn't really know how to participate in something like this.

"Detective Wolynski told us you're trying to single out trucks and vans. That's smart. The unsub is dumping his victims in the business district, so I'd agree with you--he's probably not driving something that would stand out. He may even have some type of company logo on the side of his vehicle as well," Derek begins.

"We know that he abducts the women in Wauwatosa and dumps their bodies somewhere in the third ward. Most unsubs keep their area of control--where they kill their victims--triangulated between the two points. This means that the unsub probably lives in Wauwatosa or the third ward. Somewhere in that area, and the people who live there know the unsub."

"There's no sexual component to these crimes, which means it's more about the unsub making a point. He's cutting their hearts out. It might just be that this is the sickest way the unsub knows to disfigure the women and to throw them out like trash. We can't really know," you add.

"The two most important questions to ask ourselves are: What is this guy doing with these women for forty-eight hours and why is he willing to use his own son to abduct them? If he is truly using his own son, then it's likely that he has what we call borderline personality disorder."

"Now, borderlines think that all relationships revolve entirely around them. When they set their mind to something, there is no gray area. It would also manifest in a way that would be visible to people around the unsub. Intense bouts of anger and depression or problems drinking. He would also be highly sensitive to rejection," Derek says.

"One last thing," you say before the meeting is disbanded. "It's not easy to crack a chest bone. This unsub knows how to work with his hands, and is used to hard labor. He's not afraid to get dirty."

"Thank you."

The officers all go their separate ways, and your team along with Vic meets in the empty conference room to talk about what to do next.

"I'll have triple the patrol in the area, and I've got every available unit recanvassing," Vic says.

"It's tough knowing they're out there and we're still a step behind," Derek sighs.

"You know, it used to be a running joke that if you told people you were from Milwaukee, all they wanted to talk about was Happy Days reruns. Then Dahmer happens and they ask you about it as if it's the same thing. As if it's entertainment, but I was in that apartment," Vic sighs.

You leave out the part where you helped capture Dahmer when you were traveling through the area. This isn't the time to get into that.

"Gideon, one of our bosses, says that there are things that attach to you that you can never wash off," Spencer adds.

"Alright, is it possible we're looking at this the wrong way?" JJ wonders.

"What do you mean?" Strauss asks.

"Well, we're trying to zero in on the unsub. Now, you guys tell me, but if he really is using his son, wouldn't the trauma manifest more clearly on the boy?"

"Can your analyst get a list of all the children in the area that we're targeting?"

"Garcia can get you whatever you want," Derek says.

He reaches for the phone in the middle of the room and dials her number by heart, placing her on speakerphone. You never know what you're going to get with Penelope when she knows that Derek is calling her. This is going to be good, you know it.

"Talk dirty to me," she answers.

You turn to Spencer's shoulder and giggle into it. Derek sighs knowing this isn't going to go well. Vic is just confused that this is how the FBI talk to each other. Straus... isn't amused at all. You smirk and look at Derek who just shakes his head.

"This is section chief Erin Strauss."

"Ma'am, I think it goes without saying that I was expecting it to be someone else."

"I need a list of every grade school in the third ward and Wauwatosa," she gets down to business.

"Yes, ma'am. The third ward has one public grade school, but there appear to be four private schools that draw from that area."

"And Wauwatosa?"

"That would be nine, ma'am."

"How many students?"

"Thirty-two hundred."

"Can you also get me a list of every guidance counselor that deals directly with the student body in that area?"

"Certainly, ma'am. And again, I'd like to a--"

Strauss doesn't care for her apology and hangs up on her, and your smile is lost at her behavior. Why is she acting like this? What stick does she have up her ass to make her so arrogant and rude? You'd like to show her where else that stick can go, but that wouldn't be the wisest decision to make.

"You need to present these counselors with a profile of a troubled kid."

She gives the orders, and you have to follow them in accordance with her liking. You and your team went to every school and talked to every single guidance counselor, but nothing ever came of it. You have so many files of troubled kids from every single one of them that your team now has to digress in order to figure out who might be luring these women to the unsub.

The boy you're looking for is possibly from a single-parent home. He's sullen and withdrawn who may have been caught stealing from the female teachers. He's more than likely clinging to maternal figures in inappropriate settings--hugging the female bus driver or the woman in the lunchroom. His classmates might notice this inappropriate behavior and tease him, which makes the boy incredibly angry.

With all the files matching this very vague descriptions, you have to now look through them with only five people to do it instead of seven.

"Alright, the boy doesn't look like he could be any older than seven," Derek says about the video of the kid taking the latest victim out of the store she was shopping in. "Let's work from youngest to oldest. Start with the worst behavior. Get the names of the parents, and send them over to Garcia. She can cross-check for criminal records. This guy is dumping bodies between 7:30 and 8:00. That gives us a little over twelve hours to make something hit. Let's get it done."

You're about to dive into your pile when you see two people who make your heart flip. Emily and Hotch are here, and they are here to help whether Strauss wants them to or not.

"Look who's here," Spencer smiles when he sees them.

"Hey, where do we start? How fast can you get us up to speed?"

"How fast can you sit down?" JJ jokes with her.

Straus chooses this moment to come in, and from the look of her face and the emotion you're feeling from her, she isn't happy about them being here.

"We're only here to help," Emily says before she has a chance to say something.

"We'll deal with this later."

Your entire team gets to work, going through all of the files, but nothing is coming up. You have one more hour left to keep looking, but by the pace you're all going at, you know that Claire is going to die before you figure out who took her. Another one dead, and you can't do anything about it.

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