How To Save A Life
Prompt: Final
AI/CM crossover
Adam: Some Sort Of Window To Your Right
Playing Roger in the Broadway production of RENT had been a dream for Adam since he'd been in high school. He had performed Seasons of Love in choir, and he had fallen instantly in love with the musical, despite knowing nothing about it. But he learned, and he even saw it a few times, with the original actors. The fact that Alisan had also signed on to play the female lead, Mimi, was icing on the cake.
What they weren't counting on, were things both small and large: They weren't counting on the instant camaraderie they felt with the cast. They hadn't counted on getting the chance to act with so many of the original Broadway cast. Adam Pascal and Daphne Rubin-Vega were not returning, which was why the roles of Roger and Mimi were up for the taking. Fredi Walker, who played the original Joanne, was not coming back either, but that role was filled by Tracie Thoms, who played Joanne both on Broadway, and in the 2005 film. Angel, who was originally played by Wilson Heredia, was played by Justin Johnston, who had done many a Broadway performance.
Adam and Alisan had needed to audition, just like everyone else, and Adam had been nervous as hell. It had been a long time since he'd done any theatre. What if they didn't see him as Roger, but just another pop star wanting to try Broadway? Alisan had it a little easier, as she auditioned for Mimi and was chased out of the room and immediately told that she had the role. Adam had to wait a little longer, but he got it.
They both felt reluctance at having to leave after a month. Adam thought the time would be sufficient, when he took a brief break from the music scene, and joined the touring company. As it turned out, he wasn't even close to right. This cast, unlike others in theatre and movies he had worked on, was cohesive and had a strong family atmosphere.
What they weren't counting on was how closely they would both identify with their characters. For two-and-a-half hours every day (sometimes twice a day) they literally became Roger and Mimi. It was draining and exhausting, but it was fulfilling, too.
Alisan just embodied Mimi, better than he had seen from anyone - except, perhaps, Tamyra Gray, an Idol alum - but he would never tell Alisan. Besides, the beauty of working in theater was seeing all the different nuances brought to a character. While she had done extensive research and watched video of almost every Mimi there ever was, Adam refused to watch anything, and instead, found out all he could about Jonathan Larson, the show's creator. Adam wanted to be as true to Jonathan's vision for Roger as possible.
Another Day was intense in the best way. He and Alisan got to get really aggressive. Himself in a more passive way, and Alisan was all fiery and amazing. When she sang, "There's only now. There's only here. Give in to love or live in fear." Adam immediately thought of a song they had co-written on his first album. Aftermath was all about loving yourself. This was about seizing the moment. They seemed to compliment each other.
During I'll Cover You, Adam and Alisan would sneak into the wings to watch Jesse and Justin play Collins and Angel, dancing in the snow. Because they had to keep quiet, and neither wanted to waste their voice anyway, they sent texts.
To: Alisan
From: Adam
May I have this dance?
Alisan had looked up and smiled, and without a word, the two of them danced with each other backstage, doing all the steps and twirls, and exchanging all the kisses.
Of course, that was before the FBI showed up to tell them to keep an eye out for suspicious behavior in the audience. Now, backstage was tense. There were no funny texts. It was his last performance.
Adam was going to make it count.
JJ: You Begin To Wonder
JJ sat in the packed audience near Kris and Katy Allen. She knew without looking that Derek was protecting Joan, and Rossi was near Tyler. So far, this unsub had done a good job making their lives hell, sneaking into theatres during the closing weekend of a particular show, and killing an audience member with no one the wiser.
So far, though, Garcia had done some brilliant tracking and with the team's profile, figured out that this was where their unsub would strike next. Hotch had been intent on staying ahead of this one, and had instructed the actors to go on as usual, but to keep their eyes open for anything unusual.
One of the leads, Adam Lambert, suggested angling their bodies toward whoever they suspected and interjecting the word "final", as soon as appropriate.
She remembered the conversation with him. She remembered his co-star, Alisan. How she stood close - both protective and protected.
"So, you suggest we just pretend that nothing's going on?" Adam had clarified.
"Right. The best thing you can do is not let on that you know anything."
"We'll be watching," Adam promised.
"So will we," JJ answered. "Have a good show."
Alisan: Between The Lines Of Fear And Blame
"Oh, wait. You lost your keys. You went for a walk. You had to help your mother," Adam says as Roger. He is angry and betrayed. "How's Benny?" he asks bitterly, and when Alisan tries to interject, he blows her off.
Alisan doesn't know how Adam does it. He is looking at her, away from her, he has his back to her. He is watching the audience, but he's in character. He never breaks. He is rigid. He is pissed.
"I'm working upstairs tonight."
To her right is Tracie, and to her left, Justin. This is supposed to be an intense scene, but Alisan is afraid she'll mess it up. She always watches the audience during this song, and what if she sees the murderer? What if he's just sitting in the front row, waiting? What if he changes his mind and attacks an actor instead? Sometimes they did that. She watched crime shows, so she knew. Alisan hated it when they devolved.
Still, she sits tentatively on the edge of the table, tossing the plastic bag away from her. It's supposed to be drugs. Mimi is an addict, trying hard to stay clean.
Alisan is an actor, trying hard to do her job. Live the piece. Stay in character, while out in the audience, a monster lurks.
"Without you, the ground thaws..."
Garcia: Pray
This musical is, without a doubt, one of Garcia's favorites. She watches the young actress playing Mimi kneel at the edge of the table and sing a sad and simple song of loss. On one table, half of a couple lays dejected and alone. On another, a couple lies together, curled around each other - one doing palliative care for the other - who is dying.
Still, Garcia can't get lost in this. Not as much as she would like. It's her job to watch the cameras set up at entrances and exits. All around the theatre. Her job is to pray, and to make sure no one dies on her watch.
Kris: He Hears You
Kris is clutching Katy's hand too tightly. Jesse L. Martin, who Kris totally knows from Law & Order, is singing this really sad song to his love, who just died. It's more than a little creepy considering right now there's a serial killer in here. Or, soon to be in here. He wasn't supposed to know about it, but it's not every day that the FBI from Quantico, Virginia shows up. Plus, he had asked Adam, and Adam had a crappy poker face.
Luckily for Katy, she doesn't mind and squeezes. They are both scared, even with the blonde media liaison sitting with them, keeping a practiced eye out for anything out of the ordinary.
"Live in my house.... I'll be your shelter..."
Adam is doing a great job, too. Kris can see why he got the part, even though Kris doesn't know much about theater. Roger has much more of a rock edge to him than Mark or any of the other male leads. It's great to see him in his element. Kris just wishes he could enjoy it a little bit more.
Morgan: Grant Him One Last Choice
"Yeah, Garcia," Derek whispers. He's trying to keep his voice down, but he still gets looks from Joan Cutler.
"Nothing yet, my love," she passes along apologetically. "Reid's watching for latecomers, though, and if he spots one, I'll let you know so fast!"
"Thanks," he says shortly.
"No cell phones!" Joan hisses. "Or whatever that tranceiver is in your ear! It's distracting!"
"My apologies, ma'am," he says. To her, Derek is just another person coming to a matinee.
Joan: He Smiles Politely Back At You
There is a very handsome black man in the same aisle as Joan is right now. Unfortunately for her, he is also very irritating, and doesn't seem to be aware of theatre etiquette. He keeps talking on an ear piece, like he's James Bond.
When she tells him to stay off of it, he gives her the nicest smile, and calls her ma'am. He apologizes, so Joan can go back to watching Adam.
He is doing such a nice job as this Roger character. Joan has never heard of RENT, but it has great music, and a message of love and hope. Her church friends would be shocked if they knew she were here, but she doesn't give a rat's patoot what they think. She is here to support Adam, who has overcome so much to be where he is right now.
Next is a song called Goodbye Love. Everyone is sad because the sweet young man in the Santa dress has passed away. They're at his funeral. Adam and his friend, who is also playing his love interest, are fighting onstage. It is very realistic, that's the way she likes to see her plays.
"Oh, you're words are nice, Mimi! But love's not a three-way street! You'll never share real love until you love yourself! I should know!"
Adam is angry, and the tiny actress, Adam's friend, has to be held back by one of the bigger ladies. She looks like she wants to fight him.
Now, Adam's character is going to leave and go west. He is afraid to love Mimi, because she's sick. Maybe because she is struggling with drugs. Joan has been afraid to love before.
In fact, she used to be afraid to love the very person she had come to support.
"Yes, you live a lie! Tell you why. You're always preaching not to be numb when that's how you thrive!"
Joan wipes a tear from her eye.
She can relate.
Reid: Lay Down A List Of What Is Wrong
Reid isn't watching the show. He is watching the people on camera. He is in the lair with Garcia. Reid watches door, while Garcia watches the audience.
"There's someone..." he points out.
It's a girl, in a hat, keeping her head down. Female doesn't fit their profile, but for some reason, Reid's eye keeps coming back to her. They have profiled that their unsub would be physically small. He might feel insecure about his appearance, and strive to hide certain distinguishing marks. He was unassuming. They have been wondering how their unsub manages to raise absolutely no suspicion.
"She's disguised her appearance," he says, leaning forward to study her. "In fact..."
"She may not be a woman at all," Garcia adds, finishing his thought. "Look at that long coat and the hat."
Just like that, Spencer knows. Most who see a slight woman won't feel threatened.
He dials a number.
"Hotch. We've got a something. Third door from the top. Righthand side."
Allison: We Need To Talk
Allison is so late, she is sure Adam will probably kill her. She knows by the song that's being done that the show is almost over. Allison is the lamest friend in the world. Her schedule is the worst. So busy. It's the one thing she doesn't like about being successful.
She is just inside the door when a dude stops her.
"FBI," he says quietly.
"Walk with us," a dark-haired chick adds.
Allison is frozen. All she is guilty of is disappointing a great friend. That shouldn't mean getting the FBI involved...
"Whoa...What's this about?" she asks.
"Sit down. It's just a talk," the chick says, so Allison obeys, taking a seat on a plush bench just outside the theater.
Hotch: Without Granting Innocence
"Take off your hat and jacket, please," Hotch instructs the suspect quietly. He is able to follow Reid's logic and realizes that this is the perfect rouse to get into the theatre unnoticed. That, and she is young. Maybe in her early twenties.
Prentiss takes both, and inspects them, not finding anything incriminating. She sends Hotch a look. They both know that this woman could still conceal a weapon in her boots. On her belt. In a pocket. The blade used in the previous attacks would be easy to conceal.
So far, the woman hasn't said anything. She's only looking at them with wide, scared eyes, but Hotch knows enough about behavior and about killers to know not to let her off the hook.
"Why were you late?" he asks evenly.
"I--I was just... I mean... I was late, and..." the girl stammers.
Prentiss interjects, playing the good cop. "Take a breath. Now. "Why were you late?"
Hotch knows that their unsub is likely uncomfortable with authority and socially awkward. So far, she fits the description perfectly, except for the gender. Hotch is still looking for telltale signs that she is lying about her sexual identity. They hadn't profiled gender identity confusion, but with this unsub, they have to be willing to consider other possibilities.
No one wants another death.
No one wants to be wrong.
Tyler: Stare Politely Right On Through
Something isn't right. Allison told her she would be here. Tyler has the empty seat beside her to prove it. But it isn't just this that puts Tyler on edge.
Something is wrong in this theatre. Adam is too watchful. Alisan is too...something. Tyler can't put her finger on it, but something is wrong. It's in the air. In the older man's body language as he casts subtle glances behind him.
Tyler feels the hair on her neck stand up.
She remembers Angel singing, "Take me! Take me! I love you!"
That gave her the same feeling.
Now, Tracie Thoms is carrying a sick-as-death Alisan all by herself. Idina is standing by, yelling for Adam and Anthony.
They can't get her up the stairs.
Tyler sits forward on instinct.
Prentiss: Somewhere Along In The Bitterness
"Allison. My name's Allison Iraheta. I'm a singer. I got stuck in the studio down the street and I couldn't get away until just now. I swear I was just recording!"
There is something about this girl.
Not only is Prentiss sure that she is female, she is just as sure that they have not found their unsub.
"Hotch," Emily says, shaking her head slightly.
Rossi: Tries To Slip Past His Defense
Rossi knows quite a few things. First, he knows theatre. And he can hear it in Adam Lambert's voice when he hears an anguished, "This is it." In the way the rest spontaneously follow him. Rossi has seen RENT and he knows that line is not in the script. He feels grateful that these kids think on their feet, and that they had not spent time trying to figure out a way to interject an oddly placed word. They improvised.
Rossi noticed immediately how Alisan Porter's lifeless hand isn't just lifeless.
She is pointing.
Katy: I Lost A Friend
Katy is bawling. She isn't ashamed. It's a sad play. Mimi just died, and Roger's holding her dead self in his arms, calling out her name. She feels the loss deeper than the surface. Alisan played the part so well, Katy feels like this loss is personal.
She leans her head closer to Kris, so they can see through the people seated ahead of them.
"It's not real, Katy," Kris whispers, not turning toward her. He barely moves his mouth.
She relaxes against the seat.
Then, all hell breaks loose.
JJ: Why You Came
JJ gets the message in her earpiece seconds and has seconds to react. Rossi's voice. "JJ. The unsub. Now."
Just like that, she's out of her seat. Her gun is trained on the seat directly behind Katy's, her intuition kicking in and telling her exactly where to look. Exactly where he is.
"Freeze!" she yells, standing up, training her gun on the young man in a dark hooded sweatshirt. The blade of a knife glints in his hand.
In her periphery, JJ can see Kris shoving Katy down between the rows of seats. People are screaming, but JJ is still and calm.
"Drop the knife," she says, because now, it's at his own throat, and JJ will be damned if she's going to watch somebody kill themselves in front of her.
But he doesn't.
There is nothing in his eyes, and in a flash, there is intention.
Without flinching, JJ pulls the trigger.
Adam: How To Save A Life
Adam hears JJ's voice. He sees Kris and Katy disappear behind a row of seats. In that same moment, he throws his body over Alisan's.
All around him, there is chaos. People are hitting the stage. Justin runs out from stage right grabbing Tracie and Jesse, who are closest. he wrenches them behind the curtain.
Then, it's over. He can hear Hotch and Rossi somewhere, reassuring them that it's okay, and they are safe.
Alisan's heart is racing underneath him. He can hear her breath hitching in her chest.
Protocol is to evacuate, but Adam isn't about protocol.
Slowly, they trickle off stage. Adam goes to each of the cast, making sure they are safe and okay. He kisses them on the forehead, the women and men alike, because they all look so shaken. Tracie gives him a long hug. She checks in with him and Adam is grateful.
He checks his text messages, and sends worried ones out, checking with his friends in the audience. Adam needs them to be okay.
One by one, he hears from them, and Adam breathes a sigh of relief.
Allison. Joan. Tyler. Katy. Kris. All of them are okay.
Adam peeks around the curtain, and is shocked to see that the audience is still there. Lucky for all of them, JJ had their backs. Lucky for all of them, she is a crack shot.
"Guys, the audience is still out there," Idina points out, shaking.
"The show's not over," Jesse says matter-of-factly.
No one has told them what to do. Adam expects the director to show up backstage, but so far, no one is coming.
"We can't just leave it like this," Alisan says, clutching Adam's hand.
"Let's go back out. Hang onto each other," Adam instructs, and they all join hands - a human chain.
"There is no future. There is no past. Thank God this moment's not the last," Adam sings, looking into the eyes of as many audience members as he can.
He finds Tyler, shell-shocked. Katy, pale and shaking. Kris, with his hand clamped tightly over hers. He finds Joan, sitting forward in her seat. Allison with tears on her cheeks.
None of the people who saved them are present, but that's not what matters.
This, he knows, is what's important. Not entertaining. Not even continuing with a job until it's done. But being there for one another. Holding tight to one another. Protecting them. Cherishing them, while they are here to cherish.
"No day but today."
AI/CM crossover
Adam: Some Sort Of Window To Your Right
Playing Roger in the Broadway production of RENT had been a dream for Adam since he'd been in high school. He had performed Seasons of Love in choir, and he had fallen instantly in love with the musical, despite knowing nothing about it. But he learned, and he even saw it a few times, with the original actors. The fact that Alisan had also signed on to play the female lead, Mimi, was icing on the cake.
What they weren't counting on, were things both small and large: They weren't counting on the instant camaraderie they felt with the cast. They hadn't counted on getting the chance to act with so many of the original Broadway cast. Adam Pascal and Daphne Rubin-Vega were not returning, which was why the roles of Roger and Mimi were up for the taking. Fredi Walker, who played the original Joanne, was not coming back either, but that role was filled by Tracie Thoms, who played Joanne both on Broadway, and in the 2005 film. Angel, who was originally played by Wilson Heredia, was played by Justin Johnston, who had done many a Broadway performance.
Adam and Alisan had needed to audition, just like everyone else, and Adam had been nervous as hell. It had been a long time since he'd done any theatre. What if they didn't see him as Roger, but just another pop star wanting to try Broadway? Alisan had it a little easier, as she auditioned for Mimi and was chased out of the room and immediately told that she had the role. Adam had to wait a little longer, but he got it.
They both felt reluctance at having to leave after a month. Adam thought the time would be sufficient, when he took a brief break from the music scene, and joined the touring company. As it turned out, he wasn't even close to right. This cast, unlike others in theatre and movies he had worked on, was cohesive and had a strong family atmosphere.
What they weren't counting on was how closely they would both identify with their characters. For two-and-a-half hours every day (sometimes twice a day) they literally became Roger and Mimi. It was draining and exhausting, but it was fulfilling, too.
Alisan just embodied Mimi, better than he had seen from anyone - except, perhaps, Tamyra Gray, an Idol alum - but he would never tell Alisan. Besides, the beauty of working in theater was seeing all the different nuances brought to a character. While she had done extensive research and watched video of almost every Mimi there ever was, Adam refused to watch anything, and instead, found out all he could about Jonathan Larson, the show's creator. Adam wanted to be as true to Jonathan's vision for Roger as possible.
Another Day was intense in the best way. He and Alisan got to get really aggressive. Himself in a more passive way, and Alisan was all fiery and amazing. When she sang, "There's only now. There's only here. Give in to love or live in fear." Adam immediately thought of a song they had co-written on his first album. Aftermath was all about loving yourself. This was about seizing the moment. They seemed to compliment each other.
During I'll Cover You, Adam and Alisan would sneak into the wings to watch Jesse and Justin play Collins and Angel, dancing in the snow. Because they had to keep quiet, and neither wanted to waste their voice anyway, they sent texts.
To: Alisan
From: Adam
May I have this dance?
Alisan had looked up and smiled, and without a word, the two of them danced with each other backstage, doing all the steps and twirls, and exchanging all the kisses.
Of course, that was before the FBI showed up to tell them to keep an eye out for suspicious behavior in the audience. Now, backstage was tense. There were no funny texts. It was his last performance.
Adam was going to make it count.
JJ: You Begin To Wonder
JJ sat in the packed audience near Kris and Katy Allen. She knew without looking that Derek was protecting Joan, and Rossi was near Tyler. So far, this unsub had done a good job making their lives hell, sneaking into theatres during the closing weekend of a particular show, and killing an audience member with no one the wiser.
So far, though, Garcia had done some brilliant tracking and with the team's profile, figured out that this was where their unsub would strike next. Hotch had been intent on staying ahead of this one, and had instructed the actors to go on as usual, but to keep their eyes open for anything unusual.
One of the leads, Adam Lambert, suggested angling their bodies toward whoever they suspected and interjecting the word "final", as soon as appropriate.
She remembered the conversation with him. She remembered his co-star, Alisan. How she stood close - both protective and protected.
"So, you suggest we just pretend that nothing's going on?" Adam had clarified.
"Right. The best thing you can do is not let on that you know anything."
"We'll be watching," Adam promised.
"So will we," JJ answered. "Have a good show."
Alisan: Between The Lines Of Fear And Blame
"Oh, wait. You lost your keys. You went for a walk. You had to help your mother," Adam says as Roger. He is angry and betrayed. "How's Benny?" he asks bitterly, and when Alisan tries to interject, he blows her off.
Alisan doesn't know how Adam does it. He is looking at her, away from her, he has his back to her. He is watching the audience, but he's in character. He never breaks. He is rigid. He is pissed.
"I'm working upstairs tonight."
To her right is Tracie, and to her left, Justin. This is supposed to be an intense scene, but Alisan is afraid she'll mess it up. She always watches the audience during this song, and what if she sees the murderer? What if he's just sitting in the front row, waiting? What if he changes his mind and attacks an actor instead? Sometimes they did that. She watched crime shows, so she knew. Alisan hated it when they devolved.
Still, she sits tentatively on the edge of the table, tossing the plastic bag away from her. It's supposed to be drugs. Mimi is an addict, trying hard to stay clean.
Alisan is an actor, trying hard to do her job. Live the piece. Stay in character, while out in the audience, a monster lurks.
"Without you, the ground thaws..."
Garcia: Pray
This musical is, without a doubt, one of Garcia's favorites. She watches the young actress playing Mimi kneel at the edge of the table and sing a sad and simple song of loss. On one table, half of a couple lays dejected and alone. On another, a couple lies together, curled around each other - one doing palliative care for the other - who is dying.
Still, Garcia can't get lost in this. Not as much as she would like. It's her job to watch the cameras set up at entrances and exits. All around the theatre. Her job is to pray, and to make sure no one dies on her watch.
Kris: He Hears You
Kris is clutching Katy's hand too tightly. Jesse L. Martin, who Kris totally knows from Law & Order, is singing this really sad song to his love, who just died. It's more than a little creepy considering right now there's a serial killer in here. Or, soon to be in here. He wasn't supposed to know about it, but it's not every day that the FBI from Quantico, Virginia shows up. Plus, he had asked Adam, and Adam had a crappy poker face.
Luckily for Katy, she doesn't mind and squeezes. They are both scared, even with the blonde media liaison sitting with them, keeping a practiced eye out for anything out of the ordinary.
"Live in my house.... I'll be your shelter..."
Adam is doing a great job, too. Kris can see why he got the part, even though Kris doesn't know much about theater. Roger has much more of a rock edge to him than Mark or any of the other male leads. It's great to see him in his element. Kris just wishes he could enjoy it a little bit more.
Morgan: Grant Him One Last Choice
"Yeah, Garcia," Derek whispers. He's trying to keep his voice down, but he still gets looks from Joan Cutler.
"Nothing yet, my love," she passes along apologetically. "Reid's watching for latecomers, though, and if he spots one, I'll let you know so fast!"
"Thanks," he says shortly.
"No cell phones!" Joan hisses. "Or whatever that tranceiver is in your ear! It's distracting!"
"My apologies, ma'am," he says. To her, Derek is just another person coming to a matinee.
Joan: He Smiles Politely Back At You
There is a very handsome black man in the same aisle as Joan is right now. Unfortunately for her, he is also very irritating, and doesn't seem to be aware of theatre etiquette. He keeps talking on an ear piece, like he's James Bond.
When she tells him to stay off of it, he gives her the nicest smile, and calls her ma'am. He apologizes, so Joan can go back to watching Adam.
He is doing such a nice job as this Roger character. Joan has never heard of RENT, but it has great music, and a message of love and hope. Her church friends would be shocked if they knew she were here, but she doesn't give a rat's patoot what they think. She is here to support Adam, who has overcome so much to be where he is right now.
Next is a song called Goodbye Love. Everyone is sad because the sweet young man in the Santa dress has passed away. They're at his funeral. Adam and his friend, who is also playing his love interest, are fighting onstage. It is very realistic, that's the way she likes to see her plays.
"Oh, you're words are nice, Mimi! But love's not a three-way street! You'll never share real love until you love yourself! I should know!"
Adam is angry, and the tiny actress, Adam's friend, has to be held back by one of the bigger ladies. She looks like she wants to fight him.
Now, Adam's character is going to leave and go west. He is afraid to love Mimi, because she's sick. Maybe because she is struggling with drugs. Joan has been afraid to love before.
In fact, she used to be afraid to love the very person she had come to support.
"Yes, you live a lie! Tell you why. You're always preaching not to be numb when that's how you thrive!"
Joan wipes a tear from her eye.
She can relate.
Reid: Lay Down A List Of What Is Wrong
Reid isn't watching the show. He is watching the people on camera. He is in the lair with Garcia. Reid watches door, while Garcia watches the audience.
"There's someone..." he points out.
It's a girl, in a hat, keeping her head down. Female doesn't fit their profile, but for some reason, Reid's eye keeps coming back to her. They have profiled that their unsub would be physically small. He might feel insecure about his appearance, and strive to hide certain distinguishing marks. He was unassuming. They have been wondering how their unsub manages to raise absolutely no suspicion.
"She's disguised her appearance," he says, leaning forward to study her. "In fact..."
"She may not be a woman at all," Garcia adds, finishing his thought. "Look at that long coat and the hat."
Just like that, Spencer knows. Most who see a slight woman won't feel threatened.
He dials a number.
"Hotch. We've got a something. Third door from the top. Righthand side."
Allison: We Need To Talk
Allison is so late, she is sure Adam will probably kill her. She knows by the song that's being done that the show is almost over. Allison is the lamest friend in the world. Her schedule is the worst. So busy. It's the one thing she doesn't like about being successful.
She is just inside the door when a dude stops her.
"FBI," he says quietly.
"Walk with us," a dark-haired chick adds.
Allison is frozen. All she is guilty of is disappointing a great friend. That shouldn't mean getting the FBI involved...
"Whoa...What's this about?" she asks.
"Sit down. It's just a talk," the chick says, so Allison obeys, taking a seat on a plush bench just outside the theater.
Hotch: Without Granting Innocence
"Take off your hat and jacket, please," Hotch instructs the suspect quietly. He is able to follow Reid's logic and realizes that this is the perfect rouse to get into the theatre unnoticed. That, and she is young. Maybe in her early twenties.
Prentiss takes both, and inspects them, not finding anything incriminating. She sends Hotch a look. They both know that this woman could still conceal a weapon in her boots. On her belt. In a pocket. The blade used in the previous attacks would be easy to conceal.
So far, the woman hasn't said anything. She's only looking at them with wide, scared eyes, but Hotch knows enough about behavior and about killers to know not to let her off the hook.
"Why were you late?" he asks evenly.
"I--I was just... I mean... I was late, and..." the girl stammers.
Prentiss interjects, playing the good cop. "Take a breath. Now. "Why were you late?"
Hotch knows that their unsub is likely uncomfortable with authority and socially awkward. So far, she fits the description perfectly, except for the gender. Hotch is still looking for telltale signs that she is lying about her sexual identity. They hadn't profiled gender identity confusion, but with this unsub, they have to be willing to consider other possibilities.
No one wants another death.
No one wants to be wrong.
Tyler: Stare Politely Right On Through
Something isn't right. Allison told her she would be here. Tyler has the empty seat beside her to prove it. But it isn't just this that puts Tyler on edge.
Something is wrong in this theatre. Adam is too watchful. Alisan is too...something. Tyler can't put her finger on it, but something is wrong. It's in the air. In the older man's body language as he casts subtle glances behind him.
Tyler feels the hair on her neck stand up.
She remembers Angel singing, "Take me! Take me! I love you!"
That gave her the same feeling.
Now, Tracie Thoms is carrying a sick-as-death Alisan all by herself. Idina is standing by, yelling for Adam and Anthony.
They can't get her up the stairs.
Tyler sits forward on instinct.
Prentiss: Somewhere Along In The Bitterness
"Allison. My name's Allison Iraheta. I'm a singer. I got stuck in the studio down the street and I couldn't get away until just now. I swear I was just recording!"
There is something about this girl.
Not only is Prentiss sure that she is female, she is just as sure that they have not found their unsub.
"Hotch," Emily says, shaking her head slightly.
Rossi: Tries To Slip Past His Defense
Rossi knows quite a few things. First, he knows theatre. And he can hear it in Adam Lambert's voice when he hears an anguished, "This is it." In the way the rest spontaneously follow him. Rossi has seen RENT and he knows that line is not in the script. He feels grateful that these kids think on their feet, and that they had not spent time trying to figure out a way to interject an oddly placed word. They improvised.
Rossi noticed immediately how Alisan Porter's lifeless hand isn't just lifeless.
She is pointing.
Katy: I Lost A Friend
Katy is bawling. She isn't ashamed. It's a sad play. Mimi just died, and Roger's holding her dead self in his arms, calling out her name. She feels the loss deeper than the surface. Alisan played the part so well, Katy feels like this loss is personal.
She leans her head closer to Kris, so they can see through the people seated ahead of them.
"It's not real, Katy," Kris whispers, not turning toward her. He barely moves his mouth.
She relaxes against the seat.
Then, all hell breaks loose.
JJ: Why You Came
JJ gets the message in her earpiece seconds and has seconds to react. Rossi's voice. "JJ. The unsub. Now."
Just like that, she's out of her seat. Her gun is trained on the seat directly behind Katy's, her intuition kicking in and telling her exactly where to look. Exactly where he is.
"Freeze!" she yells, standing up, training her gun on the young man in a dark hooded sweatshirt. The blade of a knife glints in his hand.
In her periphery, JJ can see Kris shoving Katy down between the rows of seats. People are screaming, but JJ is still and calm.
"Drop the knife," she says, because now, it's at his own throat, and JJ will be damned if she's going to watch somebody kill themselves in front of her.
But he doesn't.
There is nothing in his eyes, and in a flash, there is intention.
Without flinching, JJ pulls the trigger.
Adam: How To Save A Life
Adam hears JJ's voice. He sees Kris and Katy disappear behind a row of seats. In that same moment, he throws his body over Alisan's.
All around him, there is chaos. People are hitting the stage. Justin runs out from stage right grabbing Tracie and Jesse, who are closest. he wrenches them behind the curtain.
Then, it's over. He can hear Hotch and Rossi somewhere, reassuring them that it's okay, and they are safe.
Alisan's heart is racing underneath him. He can hear her breath hitching in her chest.
Protocol is to evacuate, but Adam isn't about protocol.
Slowly, they trickle off stage. Adam goes to each of the cast, making sure they are safe and okay. He kisses them on the forehead, the women and men alike, because they all look so shaken. Tracie gives him a long hug. She checks in with him and Adam is grateful.
He checks his text messages, and sends worried ones out, checking with his friends in the audience. Adam needs them to be okay.
One by one, he hears from them, and Adam breathes a sigh of relief.
Allison. Joan. Tyler. Katy. Kris. All of them are okay.
Adam peeks around the curtain, and is shocked to see that the audience is still there. Lucky for all of them, JJ had their backs. Lucky for all of them, she is a crack shot.
"Guys, the audience is still out there," Idina points out, shaking.
"The show's not over," Jesse says matter-of-factly.
No one has told them what to do. Adam expects the director to show up backstage, but so far, no one is coming.
"We can't just leave it like this," Alisan says, clutching Adam's hand.
"Let's go back out. Hang onto each other," Adam instructs, and they all join hands - a human chain.
"There is no future. There is no past. Thank God this moment's not the last," Adam sings, looking into the eyes of as many audience members as he can.
He finds Tyler, shell-shocked. Katy, pale and shaking. Kris, with his hand clamped tightly over hers. He finds Joan, sitting forward in her seat. Allison with tears on her cheeks.
None of the people who saved them are present, but that's not what matters.
This, he knows, is what's important. Not entertaining. Not even continuing with a job until it's done. But being there for one another. Holding tight to one another. Protecting them. Cherishing them, while they are here to cherish.
"No day but today."