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Criminal Minds 2x08
mandraco wrote in tvtranscripts
SERIES: Criminal Minds (2005)
EPISODE NO.: Season 2, Episode 8
EPISODE TITLE: "Empty Planet"
ORIGINAL AIR DATE: November 8, 2006

We see a table set up with a bunch of bomb-making supplies, and instructions. Hands are assembling a bomb while a dial tone for a phone sounds.

OPERATOR (V.O.): National News Network. How may I direct your call?

MAN (V.O.): There's going to be an explosion this morning

The man finishes filling a pipe bomb and sets it aside.

OPERATOR (V.O.): Excuse me?

MAN (V.O.): I said, there will be an explosion this morning. A bomb.

OPERATOR (V.O.): Oh, I'm sorry. Did you say a bomb, sir? Sir?

A pipe bomb is attached to the inside of an umbrella.

MAN (V.O.): On a bus... in the city where it all began. Get my message out.

The MAN closes the umbrella so that the pipe bomb is completely hidden. The man pulls on black leather gloves and puts sunglasses on.

OPERATOR: Message? What message?

A bus pulls up at a stop.

MAN (V.O.): That this is only the beginning. Until it is brought back under control, people will die.

Commuters get onto the bus and we see among them is a MAN with a black-gloved hand holding a closed black umbrella. He is dressed in a business suit.

The GLOVED MAN takes a seat and the bus drives away.

J.J. is holding folders and walking onto the main floor with determination. REID pauses as she walks past.

REID: Hey! Mornin', J.J. How was your...

J.J. ignores REID and is gone before he can finish his sentence.

REID: Weekend?

MORGAN watches her go.

J.J. knocks on the door and walks in.

HOTCH: Yeah?

HOTCH is on the phone.

J.J.: Homeland Security just reported a bomb threat for an unspecified urban area. It was phoned into the National News Network

HOTCH: I'll call you back.

HOTCH sets down the phone.

HOTCH: When?

J.J.: Last half hour. They need a threat assessment ASAP.

HOTCH: Get the team together.

J.J.: Yeah.

J.J. leaves and shuts the door behind her. HOTCH gets up.

The gang, including GARCIA, are sitting around the table. GIDEON is standing, drinking coffee.

RECORDING: I'm sorry, Did you say a bomb, sir?
On a bus... in the city where it all began. Get my message out.
Message? What message?
That this is only the beginning. Until it is brought back under control, people will die.

J.J. clicks off the recording.

J.J.: In the last 20 minutes, virtually identical threats have been made to most of the coast-to-coast news networks in the country. It's the same information just slightly different words.

MORGAN: So it's not a recorded message or script. Displays a measure of confidence.

REID: He could have easily just called one network. This guy obviously wants attention.

GIDEON: It's typical behavior for a personal cause bomber. One bomb has a finite impact. It's just a little package. Make bunch of phone calls, that magnifies my explosion 100 times.

J.J.: We have the additional recorded calls being gathered for assessment. Networks say the calls came from a restricted number. Two have given limited permission to trap and trace the lines if we should need to.

HOTCH: You got a news organization to agree to a trap and trace?

GARCIA: Who could say "no" to me?

MORGAN: This is not likely Al-Qaeda. They don't call unless they bomb something.

J.J.: At Homeland Security's request, the networks are going to keep this quiet until we've assessed the situation.

HOTCH: It doesn't feel like a hoax. His voice is calm, resigned. He's made his decision. He's committed to it.

REID: Plus he said, "This is only the beginning" The beginning of what? And he also said, "Until it is brought back under control". What's "it"? He has to call back. And if this threat isn't followed by an event, no one will take any future calls seriously.

GARCIA: So, we're going to tell the media to go ahead with the story?

HOTCH: Absolutely not.

J.J.: Threats like this, with an unspecified location will just cause tremendous panic.

GARCIA: Then, what are we gonna do?

GIDEON: Unfortunately, all we can do is wait.

They all look at the map of the country displayed on the screen.

The GLOVED MAN pushes the umbrella bomb under the seat in front of him. He gets up and pulls the bell for the next stop. The bus pulls over and the GLOVED MAN gets out. The bus pulls away.

The GLOVED MAN presses a button on a remote and the bomb on the bus explodes. The bus careens into a parked car. and causes a traffic jam. Various car alarms go off.

The GLOVED MAN drops the remote on the ground and walks away.

The bus crash has been turned into a crime scene. Various marked police cars are parked next to the bus. It mostly looks undamaged, besides a few broken windows.

GIDEON (V.O.):  Robespierre wrote, "Crime butchers innocence to secure a prize and innocence struggles with all its might against the attempts of crime".

A black S.U.V. pulls up and the B.A.U. team get out.

REID: So Seattle's where it all began.

MORGAN: We just need to figure out what it is. And off the top of my head, I can think of grunge music and overpriced coffee.

An AGENT sees them and walks over.

REID: That doesn't seem significant enough for terrorism.

GIDEON: It's a personal cause bomber. It only needs to be of significance to him.

The AGENT shakes hands with HOTCH.

AGENT: Agent Nick Casey, Seattle Field Office.

HOTCH: S.S.A. Hotchner, how do you do? This is Dr. Spencer Reid, S.S.A. Morgan, Agent Jareau, and S.S.A. Gideon. Have you identified the device?

CASEY: Looks like a small pipe bomb attached to an umbrella.

MORGAN: I'd like to take a look at those bomb fragments as soon as possible. I've got bomb squad experience.

CASEY: As soon as they're catalogued.

GIDEON wanders away from the group and looks around.

REID: How many people were on the bus when the explosion went off?

The group walk closer to the bus.

CASEY: Twenty-five including the driver. Explosion killed two. The driver and a young male. Injured seven.

MORGAN: A pipe bomb on a crowded city bus and only two people are killed?

CASEY: Had a relatively small charge. The two dead were found closest to the bomb at the time of detonation.

CASEY pauses and looks down at his notes.

CASEY: Sylvia Cohen, an elderly passenger, found the umbrella on the floor at her feet. She said the young man volunteered to take it to the driver for her. She's pretty broken up about it.

HOTCH: Have you vetted and debriefed the rest of the passengers?

CASEY: I have their info if you want to talk to them.

HOTCH: Did you get their positions?

CASEY: Sorry?

HOTCH: Where they were on the bus?


HOTCH: J.J., maybe you can recontact the passengers and map their locations.

J.J.: Yeah, you got it

GIDEON: Nobody saw anyone leave the umbrella?

CASEY: No. But, you know, from the style it looks like a... remote detonator on the corner over there.

On one of the bus steps is a bloody shoe with the number 18.

MORGAN: You say remote?

CASEY: Limited frequency remote.

REID: Like a garage door opener?

CASEY: Something like that.

MORGAN: That's awfully risky. Anyone on this bus could have accidentally detonated the bomb just by pulling out of their garage.

CASEY: That's right.

GIDEON walks onto the bus and stares at the empty seats, mentally filling them. He walks down the aisle. The windshield has cracks and a bloodstain where the driver's head must have hit it.

HOTCH: He used a remote from the corner. Did he want to be close enough to see what happened? Or did he need to be mechanically?

MORGAN: Those remotes are pretty limited. He probably needed to be.

HOTCH: Then he might have been nervous.

J.J.: Maybe that made him stand out. I could set up a public service announcement encouraging anyone who was in the area of the time of the bombing to contact us.

GIDEON gets off the bus.

GIDEON: Well, we do need a press conference. But it'll be about getting this unsub to call us.

J.J. is presenting a press conference.

J.J.: We're still trying to determine what happened. Initial reports called it a bomb, but since no one has claimed responsibility, we can't rule out some kind of mechanical failure. Supervisory Special Agent Gideon will be handling any future communication on this incident. If anyone has any information they feel might be helpful, please contact S.S.A. Gideon at the number appearing on your screen.

HOTCH is watching.

The GLOVED MAN is watching J.J.'s press conference on a small T.V. screen.

J.J.: We will keep you posted with future developments. Thank you.


The GLOVED MAN gets up.

HOTCH and J.J. walk away from the press conference.

J.J.: Do you think that was enough?

HOTCH: It will definitely stress him that his message isn't getting out.

J.J.: What if he doesn't call?

HOTCH: Reid and Morgan are going over the device. Maybe they'll come up with something.

REID and MORGAN are examining pieces of the bomb.

MORGAN: You know, Reid, the bomber could have bought this detonator at any old toy store. You take a remote control car, plane, boat, attach a detonator like this to the motor, touch the remote, boom! Instant 4th of July.

A WOMAN walks in, carrying two pipe bombs on a rectangular base. She sets it on the table

MORGAN: How you doing? I'm Derek Morgan. This is Dr. Spencer Reid. We're with the B.A.U.

WOMAN: Cassondra Atkins. Cass or Cassy works, too. Bomb tech.

MORGAN picks up the bombs.

MORGAN: It's a really nice reconstruction.

ATKINS: Oh, it wasn't that hard. Explosive was limited and the fragments were comparatively easy to locate.

MORGAN: Okay so tell me what else you got here?

ATKINS: Well, besides the light explosive load, he used dried peas.

MORGAN: Dried peas...

MORGAN picks up an evidence bag of peas.

MORGAN: He chose a shrapnel that wouldn't do too much damage outside of a limited range. Why? What's he doing, trying to minimize his kills?

ATKINS: It also has a picture engraved on it.

She picks up the bombs and shows the end to REID.

REID: It's a robot with an arrow through it.

MORGAN: Anti-robotics?

REID: Doesn't the city center bus stop use smart buses?

MORGAN: Smart buses?

REID: Yeah, hi-tech buses that use time sensors on the buses and the bus stops to give out arrival and departure times.

ATKINS: Yeah. Went automated last year.

MORGAN: So he's anti-technology.

REID: Maybe.

MORGAN gets up and uses his phone to call GARCIA, who is in her office.

MORGAN: Hey, dollface, ready to work somme magic for me?

GARCIA: Challenge me, you beautiful, behavioral analyst.

MORGAN: Domestic terrorist activity in the Seattle area.

GARCIA: Morgan, challenge me. Doesn't even raise my blood pressure. Pacific Northwest is, like, ripe with the disgruntled. You have animal rights, zoning laws.

MORGAN: Specifically anti-technology?

GARCIA highlights 'Anti-technology' on her screen, which brings up an article titled: "Hooded Attacker Damages Science Lab Computers".

GARCIA: Ahh, yes. My loony opposites. Here's something! Month ago. Tacoma, Washington. Disguised young guy went crazy on a bunch of computers at a science lab, screaming, "We will soon be the slaves and the machines will be the masters." Yikes. That would totally suck for me. I'm surrounded in here...

MORGAN: Come on, what are you worried about? You got me to protect you.

GARCIA: Now that gets my blood up. I'm uploading the video to you now.

It's a video of a man in a computer lab bashing in a C.R.T. monitor.

GIDEON is playing the video on his computer. ATKINS, CASEY, HOTCH, REID and MORGAN are watching him.

GIDEON is tele-conferencing with GARCIA.

GIDEON: What else do you have, Garcia?

GARCIA: I also found an article in the St Dennis University college newspaper. Last spring, close to the school, an Internet cafe was attacked. Someone created floppy disk bombs that went off in four of the computers. No one was injured.

On Garcia's screen is the article titled: Campus Internet Café Bombing Attributed to FFT Brigade".

REID: Who uses floppy disks anymore?

GARCIA: Right, Agent Brain, that was the point of the attack. They left a note. "Ultimately, you'll be as obsolete as your graveyard technology".

The note on Garcia's screen is handwritten and signed by the "FFT Brigade" and has a drawing of a robot with an arrow through it.

HOTCH: Is the note signed?

GARCIA: F.F.T. Brigade. I'm finding references to a Freedom From Technology Brigade, a fringe group that's showing up lately.

HOTCH: Anything else in the note?

GARCIA: Yeah. There's a not very artistic drawing of what kind of looks like a...

GARCIA zooms in on the robot.

GARCIA: Robot with an arrow through it. I'm uploading it to you now.

GIDEON compares the robot on the note to a picture of one from the bomb. The one on the bomb has less detail.

REID: You know, Seattle's the birthplace of some of the most cutting edge technology in the world.

GIDEON: "Where it began." I think we're ready to give a profile.

HOTCH is briefing the agents, including CASEY and ATKINS, and some police.

HOTCH: We believe the unsub resides in Seattle. All of the attacks, most of which have just involved property damage, have taken place here, and the timing and location indicate knowledge of the area. Even though he escalated to a lethal bombing today, we don't believe that that was necessarily his intention.

MORGAN: In fact, anyone not directly next to the device received minor injuries. So we think fear may have been the larger motive.

CASEY: So he's a terrorist then.

REID: He is, but... that's too vague of a description for our purposes. Douglas and Olshaker categorize bombers as criminal, group cause, psychologically disorganized, and... personal cause bombers. And we believe this guy to be a personal cause bomber.

HOTCH: And personal cause bombers are motivated by an underlying emotional conflict.

REID: In an interview from prison, the unabomber, Ted Kaczynksi, admitted that while he was a graduate student at the University of Michigan, he started having fantasies of becoming a woman. Even got on a list to get a sex-change operation but, during a mandatory psychological exam prior to the procedure, he changed his mind. He told the psychologist that he made a mistake.

GIDEON: From that moment through the next three decades of his life, Ted Kaczynksi carried out a campaign of isolation and murder.

MORGAN: This unsub is male. He lives alone. He's possibly self-employed. He's highly organized. He's meticulous. And he's very smart.

HOTCH: And he seems odd to those who know him. Angry, distant, prone to sudden violent rage. This is not the kind of guy whose neighbors will be surprised to find out what he's arrested for. This guy's neighbors will have no trouble believing it.

GIDEON: Targets appear to be technology, but not the hi-tech variety. The kind of technology we're surrounded by.

GIDEON flashes on a variety of everyday technology uses. The last is an automated gas-station pump.

HOTCH: In a city the size of Seattle, we're talking 10,000 possible targets.

CASEY is on his phone.

CASEY: Yeah.

CASEY looks up.

CASEY: Agent Gideon, you got a call on the tip line.

GIDEON nods and walks into the next room followed by HOTCH and CASEY. They stand around the phone on a small table in the middle of the room.

GIDEON: OK, go ahead.

CASEY presses a button on the phone. They're using the speaker.

GIDEON: This is Agent Gideon.

The GLOVED MAN is using a payphone, wearing a knit cap and his gloves.

GLOVED MAN: Why did you say no one took responsibility?

GIDEON: I'm sorry.

The GLOVED MAN is agitatedly rubbing his temple.

GLOVED MAN: We called them all... all the networks before anything happened. They didn't tell anyone?

GIDEON: Well, the networks are incompetent if... you need to get your message out or you have a demand, I'm in a much better position to do that for you. You have a name, sir?

GLOVED MAN: We're the F.F.T. Brigade.

GIDEON: No, no, no. I mean you specifically. What... what can I call you?

GLOVED MAN: This is not about individuals. F.F.T.'s a major organization. we have hundreds of members.

GIDEON: But you... you have a name.

GLOVED MAN: You may call me Allegro.

GIDEON: So, Allegro, let's meet somewhere We can talk about your message... try to help you--

ALLEGRO: If the networks won't get our message out, then it is up to you. It's your responsibility.

GIDEON: So call this number. They'll put you through to me immediately.

ALLEGRO: I won't need to call again.

GIDEON: My message will be here when you arrive.

GIDEON: I'm sorry, when I arrive?

ALLEGRO pulls the phone away from his ear, pulls out a detonator and hits a button. The gas station across the road blows up.

GIDEON: What's that? Allegro?

ALLEGRO leaves the phone hanging and walks away.

GIDEON: Hello? Allegro?

The gas station is burnt, but generally still standing. A car is burnt out. The crime scene is crawling with cops as usual.

CASEY, HOTCH and REID walk toward the gas station, but GIDEON hangs back. He observes his surroundings and notices the payphone across the road.

MORGAN and HOTCH are by the bomb-car. ATKINS is looking inside it.

MORGAN: Can you smell that? Same explosive, just more of it.

ATKINS: Yeah. And same detonation device, too.

REID: The gas station closed 15 minutes prior to the explosion. Fortunately, the worker had already gone home.

HOTCH: No casualties, an escalation in the size of the explosion, and a decrease in the number of victims. We need to do a grid search as soon as possible.

CASEY: What do I tell them we're looking for?

GIDEON: Said his message would be here when we arrived.

ATKINS, in full bomb squad gear, opens a metal box labeled "F.F.T. Brigade". Inside is some bound paper and the box is sitting atop another robot drawing.

ATKINS: Clear!

MORGAN, REID and GIDEON come in.

ATKINS: It's a book.

REID: It's his manifesto.

GIDEON: Bag it.

The gang are brainstorming and have their usual whiteboards and boards of pictures set up.

HOTCH: His manifesto's main demand is completely unrealistic. Stop all automated machinery that's replaced American workers within a week.

J.J.: And if his demands aren't met, he says he'll detonate even larger bombs

HOTCH: So we have an anti-technology bomber who so far has attacked computers, an automated cashier, an automated gas station, and a smart bus.

GIDEON: Who calls himself Allegro.

REID turns away from the whiteboard he was looking at.

REID: What was that?

GIDEON: He told me to call him Allegro.

REID: Of course. Yeah, it's a book.

MORGAN: Yeah, it ought to be.

REID: No, no. It's an actual book, a novel. I read it as a kid. It's called "Empty Planet" by one-hit-wonder author David Hansberry. It's got it all: technoids, minutians. All that stuff's in there. It's robots that take over the world once they figure out how to reproduce with humans. Essentially, humanity's lost to technology and the hero of the book is a 12-year-old boy named Allegro who builds an army and fights for the humans.

GIDEON: Morgan, have Garcia get as much information as possible on the author of "Empty Planet". David Hansberry?

REID: Hansberry, yeah.

MORGAN: I'm on it.

MORGAN walks away. J.J. is looking at files.

J.J.: There was a passenger on the bus yesterday, a Dr. Emory Cooke. He's supposed to be some kind of computer genius, pioneer in artificial life?

REID: Yeah, Cooke. He developed software that mirrors the human reproductive system. Computers that can replicate themselves.

HOTCH: So maybe Cooke was the target and not the smart bus.

REID: If so, that would definitely be imitating events from the book. Allegro and his army not only destroyed robots, but they assassinate the scientists that are responsible for creating them.

J.J. walks over to the whiteboard on which there is a diagram of the bus with its passenger positions marked.

J.J.: Dr. Cooke was sitting right in front of Sylvia Cohen.

GIDEON: And the umbrella was initially found underneath Dr. Cooke's seat.

J.J.: Yeah.

GIDEON and REID sit on either side of a table. Dr. COOKE sits down at the end.

GIDEON: Thank you for coming so quickly, Dr. Cooke. People, particularly some religious fundamentalists, oppose the work you do. Do you receive any threatening letters or phone calls from anyone about your work?

COOKE: Never.

GIDEON: Really?

COOKE: I've managed to put to rest certain anxieties about the godlessness of artificial life by openly sharing my own personal beliefs.

GIDEON: Which are?

COOKE: No scientific knowledge precludes the existence of God.

GIDEON: There are also those with... very strong ethical concerns.

COOKE: Ethical concerns revolve mainly around the manipulation of already-existing life forms. My work is on creating artificial life, which presents far less ethical dilemma.

REID: Not from the man that put the bomb on the bus yesterday. He seems to be obsessed with the science fiction novel by David Hansberry called "Empty Planet".

GIDEON: Are you familiar with the book?

COOKE: I'm friends with the author.

GARCIA has a leg up and is sipping on a juice.

GARCIA: The author of the "Empty Planet" used David Hansberry as a pseudonym.

MORGAN is walking next to a bookshelf of files, somewhere in the F.B.I.'s Seattle Headquarters.

MORGAN: Come on, Garcia, I know you got his name, so give it up.

GARCIA: Her name, you cute little chauvinist, is Ursula Kent, and she's a literature professor at...

The article Garcia brings up has the headline, "ST DENNIS FACULTY IN THE NEWS Ursula Kent takes top honors at Nat'l Conference" and also has a picture.

GARCIA: Oh, my... In Seattle, St. Dennis University.

MORGAN: Where the floppy disk bombs were set.

GARCIA: Uh-huh.

MORGAN:  Oh, you are the light of my life, sweet lady.

GARCIA: Je suis toujours ici pour toi, mon cher.

MORGAN: Drives me crazy when you talk that "voulez coucher" stuff to me. Stop it! Au revoir, crazy girl.

Back to the interview.
COOKE: Ursula Kent is a brilliant woman. She's a post-modernist literature professor. Every semester I give a guest lecture in her class.

GIDEON: She... she's here? In Seattle?

COOKE: Is that not what I just said?

GIDEON: Sir, this guy reads "Empty Planet" like it's prophecy. He's targeting what he considers threats to the survival of human beings, and I believe that he finds you one of these threats, Dr. Cooke.

COOKE: As I've said, I rather doubt that.

GIDEON: Do you think the fact that you were on that bus and you're friends with the author is a coincidence?

COOKE: A cognitive scientist at M.I.T. once said, "Coincidences seem to be the source for some of our greatest irrationalities".

REID smiles and nods.

REID: Our minds see coincidences and--

GIDEON: I understood him. I'd like to attach a protective detail for you, Dr. Cooke, until we find the guy.

COOKE: No, thank you.

COOKE stands to leave.

GIDEON: Excuse me?

COOKE: Really, now. Do I seem like the sort who would want to be followed around all day by a government goon squad?

COOKE walks to the door, where MORGAN is waiting.

COOKE: I don't think so.

MORGAN: Goon squad?

GIDEON: Ever talk to someone who wants to continually show you he's smarter than you?

MORGAN nods at REID.

MORGAN: Everyday.

GIDEON: I really hate that.

MORGAN: Garcia found the author of the book. David Hansberry's just a pen name. The real name is--

REID: Ursula Kent. The professor of post-modern literature at St. Dennis University where the floppy disk bombs were sent.

MORGAN: Anyway, J.J.'s contacting her, we can go see her any time.

GIDEON: Let's go.

The three of them exit the room.

REID: We need to stop by a bookstore and get a copy of "Empty Planet". I want to re-read before we talk to the author. I haven't read it since I was six.

MORGAN: Six? I was still ridin' my big wheel at six-years-old.

REID: Do you mind? It'll only take ten minutes.

GIDEON stops at the whiteboard with the bus diagram.

GIDEON: To buy it or read it?

REID: Oh, both, actually.

REID keeps walking. MORGAN stops with GIDEON.

GIDEON: Have Agent Casey set up protection for Dr. Cooke. Like him or not, he's in danger.

COOKE drives a blue car in and parks it. He removes the key from the ignition, picks up his briefcase and opens the door.

The car blows up.

Crime scene time. GIDEON and HOTCH are examining the car. CASEY watches them. MORGAN walks up.

MORGAN: He used a compression detonator. Looks like it was under the seat. Once he sat down, it armed. Detonated when he released the pressure by getting up.

HOTCH: He wanted to make sure nothing went wrong this time. Nobody moved the umbrella.

MORGAN: Hotch, Gideon just talked to this guy. Offered him security but he refused. We were gonna set it up anyway.

HOTCH: I doubt it would have helped.

CASEY: What do you mean?

HOTCH: Compression detonator. It had to have been set when he was with us or it would have detonated when he arrived at the field office.

CASEY: I'll get security to start running tapes of the lot for the last two hours.

HOTCH: Good.

GIDEON is in a car. His phone rings and he answers it.

GIDEON: Gideon.

ALLEGRO: I'm glad no one but Dr. Cooke was hurt.

GIDEON: Dr. Cooke wasn't hurt. He was murdered.

ALLEGRO: Murder is not murder during war.

ALLEGRO is walking down a street wearing a knit cap.

GIDEON: But this... this isn't a war. You're... you're... you're livin'a novel. You're livin'a fiction.

ALLEGRO: Will you meet my demands?

GIDEON: I can't... Stopping all automation at a week, you know that's impossible.

ALLEGRO is walking past a library.

ALLEGRO: And I want my manifesto printed in the Seattle Ledger by tonight.

GIDEON: Not the New York Times, Washington Post? Somebody in Seattle important to you?

ALLEGRO: There's more work to be done. Much, much more. In fact, I'm going to visit an old acquaintance right now. I'd invite you, but you're all going to be very busy.

REID walks up to the car with a book in his hand as GIDEON hangs up his phone.

REID: Got it. It was the last copy left.

REID gets into the front passenger seat and shuts the door.

REID: According to the clerk, it's actually become a pretty popular novel in science fiction circles.

GIDEON's phone rings and he answers it.

GIDEON: Hotch.

HOTCH: A suspicious package was found at the water works. The report says it looks like a pipe bomb, We're on our way there now.

HOTCH, CASEY and MORGAN are walking away from the crime scene to their car.

GIDEON: OK, keep me posted. Unsub says we're gonna be busy.

HOTCH: Got it.

REID is reading the book.

GIDEON: Looks like a pipe bomb at the water works.

REID: Are we gonna go there?

GIDEON: No, we'll still go see Professor Kent.

GIDEON starts the car.

REID: Seatbelts.

GIDEON and REID both reach for their seatbelts one-handed.

A woman is walking down a flight of stairs. She meets GIDEON and REID on the landing.

WOMAN: Hello. Ursula Kent.


GIDEON shows her his badge. It's a little tricky since he's holding a folder.

GIDEON: My pleasure, Professor Kent. Jason Gideon, F.B.I. This is Dr. Reid.

REID: It's a real pleasure to meet you. I'm a fan of your work.

REID and KENT shake hands.

KENT: Well, that's very nice of you to say. We can speak in my office.

GIDEON: Lead the way.

The three of them start walking back up those same stairs.

GIDEON: Your book has become a significant part of our investigation.

KENT: So your colleague explained. I can't imagine how, though.

GIDEON: Bomber sees it is some kind of prophetic work. He's attempting to save humanity by stopping the proliferation of robotic technology.

They reach the next level and keep going.

KENT: Well, that's absurd.

REID: He's written a document-like manifesto called a guide to practical living, and several sections of it are lifted directly from "Empty Planet".

GIDEON: He's taken up what he believes to be your cause and... he's killing people for the sake of it.

KENT pulls a thick book from a bookshelf.

KENT: But "Empty Planet" is a fantasy.

GIDEON: Not for this man.

KENT: How could anyone think it's more than that?

KENT drops the book on her desk.

REID: Unfortunately, it's impossible to predict how an unstable mind will interpret something.

REID sits down in a chair in front of her desk.

KENT: And it's caused him to kill people?

GIDEON walks forward and leans on the chair beside REID's.

GIDEON: Do you know a Dr. Emory Cooke?

KENT: Very well.

GIDEON: He spoke to your classes?

KENT: Yes.

GIDEON: Dr. Cooke was murdered by the bomber an hour ago.

KENT drops into her chair.


ATKINS pulls a pipe bomb that was attached under a counter.

ATKINS: Clear!

HOTCH, MORGAN and CASEY walk toward her.

ATKINS: It's safe now, just another small charge. More meant to scare than to harm.

MORGAN holds the bomb, looking at it.

MORGAN: Definitely the same unsub. Same signature.

CASEY's phone rings and he answers.

CASEY: Casey.

CASEY listens to his caller.

CASEY: We'll get there A.S.A.P.

He hangs up.

CASEY: There's another bomb at the post office.

MORGAN: Let's go.

KENT plays with a robot charm on her necklace. It has an arrow through it.

REID: Professor, what is that?

KENT: This is something someone... a brilliant man gave me a long time ago, before he died.

REID leans forward to get a better look.

KENT: Actually, it's part of the inspiration for "Empty Planet". James was a rather early alarmist about how much we were letting technology control our lives. It's become a sort of talisman for me.

GIDEON: You wear it when you teach?

KENT: Sometimes, yes.

GIDEON steps forward and shows KENT two pictures of the robot carving.

KENT: This has been etched on the bomber's devices.

KENT: Oh, my god!

KENT slips her necklace over her head.

GIDEON: Bomber's written a manifesto he wants published, but not in the national newspaper. He wants it published in the Seattle Ledger. He wants someone here to read it.

REID: Have you ever had a student you think might be capable of doing something like this?

KENT: One of my students? Someone who hates technology? I'm a post-modernist. In my area of study, technological inventions are often viewed as art objects.

KENT hands the pictures to REID.

REID: That's true, but oftentimes the biggest critics of technology are those with scientific backgrounds, and... your students definitely fit that category.

GIDEON: I need you to read this.

GIDEON hands KENT Allegro's manifesto.

REID: Tell me if the writing seems at all familiar to you.

KENT claps her hands together as though praying. She makes no move to open the manifesto.

GIDEON: We'll wait.

KENT puts on her reading glasses. GIDEON's phone rings.

GIDEON takes the call in the hallway outside KENT's office.

GIDEON: Morgan.

MORGAN: Gideon, this guy's pissing me off right about now.

MORGAN is walking through the library that ALLEGRO was walking past earlier.

MORGAN: This is the fourth location in the last 50 minutes. All of them have been very small bombs.

GIDEON: What kind of locations?

MORGAN: Municipal Water works, main post office, social security office, and now we're at the main branch of the library.

MORGAN stops by the information desk.

GIDEON: Government buildings. Nothing involving technology.

MORGAN: No, nothing.

GIDEON: Then what's the purpose?

MORGAN: Distract us, keep us movin'. He's doing a damn good job, Gideon, I don't like this at all. We're chasing this guy, We gotta do somethin'to get ahead of him.

GIDEON: Professor Kent is reading the manifesto.

MORGAN: I hope she reads as fast as Reid.

GIDEON hangs up his phone.

GIDEON: No one reads as fast as Reid.

REID is reading "Empty Planet". He runs his fingers down each page and it doesn't take more than a few seconds. KENT watches him.

GIDEON: Is this the syllabus for your class?

GIDEON is holding a yellow piece of paper.

KENT: Yes.

GIDEON: Is it the same every semester?

KENT: Mostly, maybe a book or project changed.

GIDEON: You only have two guest lecturers listed.

KENT: Yes... Dr. Cooke and Dr. Brasier. I always have those two, they're the only two I invite. They speak to every new class. Dr. Cooke is... was... an expert on artificial life, and Dr. Brasier--

REID: Artificial intelligence.

GIDEON: Dr. Brasier have an office on campus?

KENT: No, it's cross town at Rolling Hills.

GIDEON gets out his phone and calls MORGAN.

GIDEON: Morgan, I may have something.

A WOMAN carrying a briefcase is walking through the lot. Her phone rings and she answers it.

WOMAN: Hey, Shelly.
I'm on my way to the symposium now.
Then save me a seat.
It's not rude.
Fine, then tell them a V.I.P. is coming and you'll lose your job if you don't save the seat.

The WOMAN stops next to a car.

MORGAN, HOTCH and CASEY are running up the stairs to the top level of the carpark.

MORGAN: How long ago did her assistant say she left?

HOTCH: Minutes.

MORGAN: Good, maybe she's not in the car yet.

The WOMAN gets into the car and sits in the driver's seat.

WOMAN: Yeah.

The WOMAN shuts her door. MORGAN, CASEY and HOTCH arrive on the top level of the carpark.

WOMAN: Me, Shelly. I'm the V.I.P. Yes, I am.

The WOMAN releases the hand brake and starts to drive.

WOMAN: I don't care what you tell them.

MORGAN runs toward the woman holding his hand up. He's followed by CASEY.

MORGAN: Stop the car!

WOMAN: This is long and I can't see, I'm tired and I need a seat.

MORGAN: Stop the car, ma'am! Stop the car!

MORGAN, HOTCH and CASEY run right in front of the car, forcing her to stop.

MORGAN: Listen to me, Do not touch the ignition. Put the car in park. Ma'am, put the car in park, don't touch the ignition.

The WOMAN does as MORGAN says.

MORGAN walks around to her open window. He shows her his badge.

MORGAN: Don't panic. I'm F.B.I.


MORGAN: Dr. Brasier?

BRASIER: Yes, I'm Dr. Brasier.

MORGAN: It's her.

HOTCH walks toward the window.

BRASIER: Girl, let me call you back.

MORGAN opens her door and squats down by the seat.

MORGAN: Doctor, do not move.

BRASIER: Excuse me?

MORGAN: I need you to sit as still as you can, please. Please.

MORGAN looks down under her seat. At the front, CASEY looks under the car.


HOTCH is standing at the back of the car. MORGAN removes his sunglasses.

MORGAN: Doctor, listen carefully. You must sit as still as you possibly can, you understand?


MORGAN: There is a bomb under your seat.

The bomb squad has arrived. Sirens blare.

BRASIER: Be good. Wait. Be of good courage and... He will strengthen thine heart.

MORGAN holds BRASIER's hand.

MORGAN: Doctor, you're gonna be just fine.

BRASIER: He will strengthen thine heart.

Tears fall from BRASIER's eyes.

Outside the car, CASEY, ATKINS and HOTCH discuss how to proceed.

ATKINS: Every device this guy has made has been fairly basic I'm guessing this is a simple... lever action compression detonator. Kinda like a door latch. I'm gonna use this use this...

ATKINS holds up a piece of metal.

ATKINS: Put it between the latch and the seat bottom to depress the latch, and then I think we should be OK.

HOTCH: Should?

ATKINS: Well, if there's mercury, we got problems.

HOTCH picks up his phone and dials.

GIDEON faces the window.

GIDEON: Thanks, Hotch. Yeah, I'm right here.

GIDEON hangs up his phone.


GIDEON: Bomb tech's just about ready.

REID: Maybe we should get over there.

GIDEON: No, I think we would just be in the way

GIDEON sits down on a couch.

REID: What about Morgan?

GIDEON: He hasn't changed his mind.

GIDEoN massages his forehead with a hand.

Both doors of the car are open. HOTCH steps to the side of the passenger seat so that a door is between him and MORGAN.

HOTCH: Morgan? I'm ordering you to step away from the car.

MORGAN: Hotch, you know I respect you.

MORGAN shakes his head.

MORGAN: I'm not leavin' her

BRASIER: You should listen to your friends.

MORGAN: Hey, don't do that. Don't you turn on me, doc. I'm right here, with you. Got it?


MORGAN: OK. My girl is using one of my hands.

MORGAN is referring to the hand BRASIER is holding.

MORGAN: Hey, Cassie.


MORGAN: You might need the other one, so come on. Do what you gotta do, let's do this.

ATKINS nods. CASEY nods at ATKINS.

ATKINS: Step back.

HOTCH and CASEY walk away from the car slowly. ATKINS puts on her helmet.

BRASIER: Thank you.


KENT: Aside from the sections of my novel that were blatantly plagiarized, I didn't recognize anything. It's just page after page of the ravings of a lunatic.

GIDEON stands up.

GIDEON: Right now, a young man I greatly respect and admire is putting his life on the line because of that lunatic.

KENT sighs and nods.

KENT: I'll look through it again.

GIDEON: Thank you.

Tears are still falling down BRASIER's cheeks.

MORGAN: You're gonna be just fine.

ATKINS pushes a piece of metal against the compression lever under BRASIER's seat, from behind.

BRASIER: Wait on the Lord, I say.

ATKINS pushes down with the piece of metal and removes the pipe bomb from under the seat. She presses down with her hand as she walks away from the car.


CASEY: That was lucky.

HOTCH: Yeah, this time.

HOTCH's phone rings as MORGAN and BRASIER walk away from the car together.

HOTCH: Yeah, they're OK.

GIDEON is on the phone.

GIDEON: Now blow the car up.

GIDEON ends the call.

KENT: You're blowing it up?

GIDEON: Best way to keep Dr Brasier safe is... by letting the bomber think he was successful in killing her. Neighbors will hear an explosion, it'll be on the news.

KENT: You have a complicated life.

GIDEON: Complicated world.

KENT: I'm sorry I couldn't be more help.

GIDEON: Yeah, me, too.

GIDEON, KENT and REID exit the office and start walking down the hallway.

REID: Give the manifesto a little more thought. Maybe something will occur to you without the pressure of us looming over you.

GIDEON: You could go back over your student list. Think about the males. Anything odd about them. Guy probably had a temper. Something... you maybe haven't thought about for years.

KENT: I'll have my T.A. pull the files.

They stop at the end of the hall.

REID: May I ask you something, ma'am?

KENT: Of course.

REID: Why didn't you ever write another book?

KENT: I guess it was the only story I needed to tell. I'll be working in my office most of the night, don't hesitate to call.

GIDEON: Thank you.

GIDEON shakes hands with KENT.

GIDEON: Have a good night.

KENT: You too.

GIDEON and REID continue down the hall.

KENT walks around her desk and sits down. She stares at the manifesto, then picks up her phone and dials.

KENT: Melissa, I need you to pull the file and thesis paper of a student from last year. Yeah, his name is Kenneth Roberts. Great, thanks.

KENT pulls off her glasses and hangs up.

KENT picks up the copy of her book, stares at it, then throws it into the waste paper bin beside her.

REID is writing on a whiteboard. It's a list of plot points from the book.

REID: So it begins with the father's suicide.

HOTCH: OK we got five crime scenes' worth of new information to go through. And the targets that the unsub chose for the decoy bombs. Do they force a change in the profile?

MORGAN: I don't think so, I think they are what they are. Decoys to throw us off the trail of Dr. Brasier.

HOTCH: Reid, what's that?

The whiteboard reads, "Allegro Becomes Hero -> Saves world; Allegro finally meets birth mom; Allegro Kills Birth Mom"

REID: It's the subplot of the Empty Planet book.

GIDEON: Allegro kills his mother?

REID: Yeah, at the end, he discovers he's adopted, he's reunited with his birth mom. He thanks her for having the strength to give him a better life, but... ironically, he realizes that she herself has become a robot, so he kills her. He sacrifices the one person in the world he has a biological connection with for the greater good.

J.J.: I thought we were talking about some geeky sci-fi book here.

HOTCH: That sounds like Greek tragedy.

REID: It's not played as a tragedy at all though. In fact, his mother's incredibly proud of this final act, like it's the ultimate fulfillment of his destiny, proof that... proof that she was right to have given him up in the first place.

MORGAN: Wait a minute, If he kills her, how do you know she was proud?

REID: It's told from her point of view, the whole book is. It's kind of like she's talking to the reader from heaven.

GIDEON: Mother's the narrator.

REID: Yeah it's really her story.

GIDEON: Only story she needed to tell.

HOTCH: And in order to fulfill the story, he's gotta kill his mother.

ALLEGRO pulls the book out of the garbage.

ALLEGRO: Don't hate the book

His voice startles KENT awake in her seat.

ALLEGRO: Without this, I never would have known you at all. Mother.

KENT puts her hand on Allegro's manifesto.

KENT: Kenneth, did you do this? Did you kill Dr Cooke?

ROBERTS: You've read my manifesto.

KENT: Yes, and... I thought some things seemed familiar.

ROBERTS: And I know why you wrote "Empty Planet". I know what you've been trying to say.

KENT: Kenneth, you've misunderstood.

ROBERTS: I don't... think so.

The B.A.U.'S S.U.V. has its lights on and is racing down the street.


KENT: Kenneth, the book is a work of fiction.

ROBERTS: The book is a gift!

KENT: No, it isn't. It's just a story.

ROBERTS: Then let me tell you a story, Professor! My mother died when I was eight. And then several years ago, my father needed a blood transfusion. And I tried to donate, only to discover that we had nothing genetically in common. I had to watch him wither away, but before he died, he told me I was adopted.

KENT: This is not what you think.

ROBERTS: I needed to find my mother, but the records were sealed. All I knew was that... I was adopted in Youngstown, Ohio. And then I came across an article about...

ROBERTS squats down in front of KENT.

ROBERTS: Professor Ursula Kent. Favorite daughter of Youngstown, famous writer of "Empty Planet", and do you know, do you know, what that article said?

KENT stands to get away from ROBERTS. He stands, too.

ROBERTS: It... it said that you had given up a baby for adoption and that baby was the inspiration for the book.

KENT: That is true. That is true, but that is not the whole story.

The law enforcement agents pull up. SWAT comes in with GIDEON and the B.A.U.

KENT's phone rings. She puts her hand out to answer it and ROBERTS pins her hand to it, stopping it from moving.

SWAT and the B.A.U. start going up the stairs.


ROBERTS: When did you give up your baby for adoption?

ROBERTS tightens his grip on KENT's hand. She pulls from his grasp and she backs away but he follows her step for step.

ROBERTS: Wasn't it 26 years ago? In Youngstown, Ohio?

CASEY points and SWAT members go left.

CASEY: Go, go!


KENT: Kenneth, listen to me.

ROBERTS: No! It's your turn to listen.

KENT tries to run and knocks over a display stand. ROBERTS grabs her.

GIDEON, MORGAN and HOTCH with their team of SWAT members is finally on the right floor.

They go into stealth mode.

ROBERTS drags KENT from her office and down the hall.

ROBERTS: Come on!

GIDEON sends two SWAT members down one hallway.

ROBERTS pushes the door open and they walk out onto the stage.

ROBERTS: I came out here to take your class. For a year, I sat right there.

ROBERTS points into the chairs.

ROBERTS: Right there! And you never saw me! How could you not recognize me?

KENT: If you'd just come to me, I could've explained...

ROBERTS: Then I realized, the only way to get you to see me was to live out the book, but guess what? I did that and now, you see me, don't you?

GIDEON, MORGAN and HOTCH are outside the lecture theatre.

ROBERTS (O.S.): This is our destiny!

GIDEON: Morgan, stairs, Go around.

MORGAN opens a door and a SWAT member goes through ahead of him.


KENT: The baby I gave up, it was a girl.

KENT nods, and finally loses her composure and starts to cry.

KENT: It was a daughter.

ROBERTS: That's a lie.

KENT: It was a girl.

ROBERTS: That's a lie!

KENT: I'm so sorry. I know the pain you're in.

ROBERTS: Why do you keep lying to me?!

KENT: You're not my son! I promise I will do everything I can to help you find your birth--

ROBERTS: Stop it!

GIDEON: Allegro!

GIDEON kicks open the door. ROBERTS slips a pipe bomb from his sleeve and holds it in his hand.

ROBERTS: I have a bomb!

With his gun drawn, GIDEON advances. CASEY and his SWAT member appear at the top of the lecture theatre.

KENT: Wait! Wait! Please wait.

GIDEON lowers his gun.

GIDEON: You don't want to hurt anyone.

HOTCH: You've gone to great lengths not to hurt anyone unintentionally...

ROBERTS: Leave us alone!

MORGAN enters on the other side of the stage.

GIDEON: No, we can't do that, Allegro. We cannot leave you alone.

KENT: OK, listen, I'm... I'm... I'm okay.

GIDEON: Doesn't have to end this way

ROBERTS: This is how it ends!

GIDEON: You can change the ending.

ROBERTS: This is how it ends!

GIDEON: How does it begin? I don't even know the story, tell me the story.

ROBERTS: You don't know the story!

GIDEON: I wanna know who you are. Are you in the story, Allegro?

A SNIPER at the back of the lecture theatre lines up his red dot on ROBERTS' head. KENT watches him.

GIDEON: Start the story!

ROBERTS: Leave us alone!

The dot finds its way to ROBERTS' chest. KENT pushes him out of the way as the SNIPER fires.

KENT falls to the ground. Two SWAT members grab ROBERTS.

GIDEON: Get an ambulance, get him out of here.

GIDEON applies pressure to KENT's wound.

GIDEON: It's your shoulder.

KENT: He's lost. He's just lost.

GIDEON: Just relax. It'll be all right.

KENT: Can't blame him.

KENT shuts her eyes. GIDEON puts a hand on the side of her face.

GIDEON: Your eyes, Ursula, I wanna see your eyes.

KENT opens her eyes.

GIDEON: Here they are. There you go.

KENT: You're listening?

GIDEON: I'm listening.

KENT: He just wants to know who he is. That's all.

GIDEON: I understand. Open those eyes, there you go. Right, Keep looking at me. It's gonna be all right. Just relax.

GIDEON is sitting by himself. REID and J.J. are playing cards. HOTCH stands and puts his cards face down on the table.

HOTCH: I'll be right back.

HOTCH points at REID.

HOTCH: Do not cheat.

REID picks up HOTCH's cards and looks at them.

REID: J.J., a lot of science fiction's deeper than you might think. There are some genuine human emotions...

GIDEON is writing in a notebook. MORGAN is wearing headphones, presumably listening to music.

J.J.: Yeah, let me save you the time, Reid. I am never going to Comic-Con with you.

REID: I...

J.J. puts her cards on the table.

J.J.: Gin.

J.J. laughs. REID looks at her cards.

J.J.: What, you don't trust me? Come on.

REID: Let's just make sure.

J.J.: It's fun beating a genius.

REID: Genius Dr. Reid let you win.

MORGAN sits down opposite GIDEON and removes his headphones.

MORGAN: I hear you were worried about me.

GIDEON finishes his sentence, then removes his glasses.

GIDEON: 'Scuse me?

MORGAN: The bomb at the garage under the car?

REID shuffles the cards.

MORGAN: "A young man that I greatly admire and respect is putting his life on the line."

REID: What? I do something?

GIDEON: What you did with the bomb was stupid.

MORGAN: Gideon, I couldn't leave that lady out there by herself like that.

GIDEON: I didn't say you were wrong. And what you said I said. I said.

MORGAN smiles and nods.

MORGAN: I knew that.

GIDEON goes back to his notes.

MORGAN taps the table between them before standing up and going back to his original seat. MORGAN grins and leans back in his seat, putting his headphones back on and hitting the button on whatever small electronic player he has in his hand.


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