Hotch's POV:

You rush towards Reid's apartment, you're almost there now. You jump out of your car and rush into the building, looking for the rest of your team. Prentiss is already there, looking hopeless. Morgan is coming in behind you followed by Rossi and JJ. "Have you gone in for him?" you ask her.

"No...I thought we might need back-up, y'know if it's...her"

"I understand. We'll split up into teams; Rossi and I will head upstairs and cover the entrance. Prentiss, you, JJ and Morgan will cover the exits down here; ensure that they don't get away. Alright, let's go for it."

You head upstairs with Rossi in your wake, and stop just behind Reid's door. Something isn't right about his apartment; it's too quiet, too calm and serene. Gently you push on the door to check if it's open, you're surprised to find that it is indeed open and unsecured. You lift your gun and torch ahead of you, creating a narrow tunnel of light for you to peer into. No sign of movement and the room is clear, you yell as much out to Rossi, who has busied himself with the room opposite – the kitchen. Running through you go into the bathroom and find it clear also. Finally you resign yourself to the room you had been dreading, the master bedroom. You tiptoe inside, and breathe a sigh of relief that the room is unoccupied. However, this also means that you have no idea where Reid is now, which only angers you further.

Now that you have ascertained your safety and Rossi's you move to turn on the lights, realising for the first time that they have been shut off, probably by the killer. You tug your mobile from its nest in your belt and call down to Prentiss, who answers on the first ring.

"Prentiss, have you had any sign of Reid and the killer?"

"No sir, no sign."

"Damn it. Right, well I need you to get into the mains of the apartment building and check if any of the circuits have been tripped, specifically the lights on Reid's floor. If she was unsure of which apartment Reid occupied but knew the floor she would have cut the whole floor's lights to make sure that there were no mistakes."

"Right sir I'm on it. But sir, how would she know which floor he's on? It's not exactly as if you can look at a person and say, "yeah, they look like a such-and-such floor kinda person" "

"You're right. We need to look at that in more detail also. Perhaps something he said in the car while driving her to HQ?"

"Maybe, but I don't think Reid would let something like that slip, do you?"

"No...In any case, check the lights for me, and turn them back on please, we need to get a proper look at the scene before we can assess the damage."

"Alright then."

Emily's POV:

You flip your phone closed, having just hung up on Hotch. You reach the basement and twist the knob of the door, only to find it locked. Great. Although, that now brings up the question, how did the killer get in? You mull this over for a while, finally deciding that, no matter how she got in, you have to somehow. So, you decide to do something that no FBI agent should do, but all know how to do, pick the lock. You fiddle for a while, and finally succeed in opening the door. You walk inside cautiously and flick on your torch. Good, nobody's waiting inside. You reach the circuit box and find that your suspicions were correct: the killer had cut the lights of all the apartments on Reid's floor. However, the motive behind doing this may differ from your initial thoughts. You notice the intricate method in which the killer actually bothered to short only the apartments, and not the entire floor's mainframe, something about this tells you that she knew which apartment was his, and she knew which floor he lived on, she just didn't want you and the team to know that she had that information.

You turn the lights back on for the entire floor, and go ahead and call Hotch to get an update on the situation upstairs.

Rossi's POV:

You hear Hotch's phone ring again, and hear the hum of electricity as it reaches all of the appliances that had been turned off. Finally, Emily must have returned electricity to the apartments, which also explains the incoming call to Hotch's phone. At the moment you are searching through Reid's bathroom, and, uncomfortable as that makes you, you know that it's your best chance of finding something he wanted to keep hidden. So far nothing. You take this as a good sign and move out towards the hallway to greet Hotch, now deep in conversation on the phone. What you don't realise until you've fully surveyed the scene is the complete mess the apartment is in. This, you note, is what's worrying Hotch. You look down and stare at the bland carpet on the floor, now decorated with artistic flourishes of blood. Anger strikes fast and deep, before you can even breathe you feel it punch you, and for a while all you can see is a haze of red, and the drops of blood that set you off, they hang in the air, mocking – no taunting- you.

So, the despicable woman had killed him. 'No, wait, deep breaths Dave', you think to yourself, desperately trying to keep your cool and retain your clear cut focus. You need it, now more than ever, so you can find Reid and stop his captor.

Hotch's POV:

You hear your phone ring, and the minute it does, you've whipped it to your ear.

"Hotch, what have you got for me?"

"It's Prentiss, looks like it was just the apartments of Reid's entire floor that were cut. What about the scene? How's it lookin'?"

"Well, it's weird to say the least. First off, there's blood, everywhere, yet it doesn't strike me as a murder. More like a staged, and purposely so, murder. Actually, it's more like a badly staged murder, she must've known we would never buy this and she's using that knowledge to antagonize us."

"I see" she chimed in.

"Secondly, the apartment's a mess. And it looks like there was a struggle, but from what JJ got from the phone call, she ambushed him and bound him shortly afterwards, somehow I don't think Reid would have been able to escape and cause this mess while bound and attempting to conceal a phone."

"So, the conclusion I can draw from this, is that she wants us to know that he's alive, possibly hurt, and that she intends on doing much worse." Said Prentiss.

"That could possibly be her agenda. Or, she could be doing this as a message to us. I've got him, you're powerless, but you're welcome to try and save him."

"I think we should discuss this further as an entire team sir."

"I agree, we'll all meet back in the conference room as soon as we've finished up at the scene."

You hang up the phone and find a seething Rossi attempting to calm down.

"Rossi. Come over here a second. Look at this" you point towards the mess created just in front of the door.

"What about it?" asks a now cold Rossi.

"Look closely at it. The mess, it looks like a struggle, but it doesn't match up to the struggle a bound and possibly subdued person could achieve. No, this was staged."

You see a look dawn on Rossi's face, almost as if he is silently chiding himself for jumping to conclusions. You guess, where family is concerned, even the coolest of cool can lose it. You would certainly know.

Sorry this one's a little late :/ I'm going to try and be more punctual with updates :)