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Revelations - Recap

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The teaser opens right where we left off---the team, along with the Georgia State Police, is descending onto Tobias Hankel's farmhouse en masse, knowing that he is the unsub in the "Raphael" murders. While Hotch and Gideon clear the interior of the house, Morgan and Prentiss search the barn to find a shell-shocked JJ pointing her weapon at them. It becomes clear she's in shock after nearly being attacked by the same dogs that tore apart a woman in a nearby horse stall, and she tells Morgan and Prentiss what they already know---Tobias is the unsub. However, when asked about Reid, she directs them toward the cornfield, saying that they had split up.

As JJ is treated for her shock and some minor wounds, Morgan tells Prentiss that someone was dragged out of the cornfield---and neither Tobias nor Reid is anywhere to be found. Just then, the state policeman, Faraday, finishes a radio transmission and tells the two that a neighboring sheriff gave directions to a location in Fort Bend to a man fitting Tobias's description.

Tobias, meanwhile, is headed towards something...but it's not Fort Bend. He looks down at an unconscious Reid, who's lying on the floor of the truck's cab, and remembers an incident from his childhood---the day his father took him hunting for the first time. While the senior Hankel tells Tobias that he needs to find a place where he can be "right with himself" when he hunts---"it's a powerful thing, taking an animal's life"---a young Tobias plaintively states that he doesn't want to kill anything. The elder Hankel reacts to this with contempt and disgust, and tells the young Tobias to "stop that lip quivering" and suck it up.

In the present, Reid wakes and slowly registers three things---the sight of a bare bulb hanging from a wire, the smell of burning fish organs, and a powerful headache. Noticing that Reid's conscious, Tobias tells him that they're "alone" and that it's just "him" there. Reid queries as to who he's talking to, to which Tobias replies, "I'm Raphael." "Raphael" tells him that "they" think Reid can "see inside men's minds," which Reid tries to refute---he studies human behavior, nothing more.

"Raphael" isn't interested. He takes out a revolver, opens the ammunition cylander, and extracts a single bullet. He holds this in front of Reid, telling him that the bullet symbolizes "God's will." He then rechambers the bullet, spins the cylander, and snaps it into place, ready to fire. Reid pleads with "Raphael" not to fire, but "Raphael" pays him no mind as he takes aim at Reid and pulls the trigger.

In the morning Hotch picks up Garcia from the airport and brings her back to Tobias's farmhouse, where he explains that they have set up their base of operations. Garcia comments that if the house could talk, it would tell them to "get the hell out."

Inside Garcia walks in on a somber scene---the sight of the team, worried and bleary-eyed, commenting that though Tobias chronicled practically every waking moment of his life in journals, "they're still unpiling."

Morgan takes Garcia into Tobias's "war room" so she can begin analyzing what's on his computers. What she finds is a paradox---while they know the man is responsible for several grisly murders, she finds absolutely no trace of them on his hard drives. What's more, she can't find any of the usual things a mission based murderer like Tobias would keep on hand---images or notations that would reassure him that what he's doing is right. "If I had to guess who's system this belongs to, I would guess a crazy-smart high-school kid," she tells Morgan, who's just as confused.

Garcia does find one interesting thing---Tobias set up a website that he used to store the live feeds he got when he commandeered other people's webcams. Each feed is equipped with a running clock, and is bookmarked with a different heading outlining what sort of "sin" the person in the feed will most likely commit. When Morgan remarks that Tobias "just sits and waits for these people to commit a sin," Garcia counters that Reid is an innocent. Morgan replies that if you look deep enough, everyone has their sins...including Reid.

Reid, meanwhile, is now fully awake and taking stock of his surroundings. He's in a tiny cabin, and his wrists are bound in handcuffs which are themselves bound to a solid wooden chair by a thick strap of leather---trying to break his bonds would be nearly impossible.

As the door to the cabin opens, Reid stares wide-eyed at the man who enters---it's Tobias, carrying an armload of firewood and a deep scowl on his face. Noticing Reid's stare, he snaps "What are you staring at, boy?"

Reid clearly knows that this person is not "Raphael," and he receives a rebuke from him as he works with the fish organs burning on the stove. Reid remembers something "Raphael" said earlier---about how burning fish organs helped to keep away the devil---and Reid tries to curry favor from this new persona by thanking him for performing the burning ritual. However, this remark only angers his captor, who is convinced that Reid is nothing but a liar.

Reid's captor responds to Reid's protestations of innocence by removing Reid's shoes and one of his socks, telling him that he is a sinner, and that if Reid merely confesses his sins, "this" will be over quickly. Reid, trying desperately to keep his captor from what he's about to do, begins to recite from Leviticus---which his captor recognizes. When Reid tells him that he can recite the entire Bible chapter and verse, his captor merely states that "the devil knows how to read too."
With that, his captor takes his bare foot in one hand and a thick piece of wood in another and begins to beat the sole of his foot, causing Reid to cry out in pain with every stroke. When his captor tells him to confess, Reid pants that he has nothing to confess.

At the farmhouse, Prentiss finds a listing of Narcotics Anonymous meetings and information, but it's at least twelve years old. Gideon tells her to check into it---there are no bad leads, after all---while he prises open a peeling piece of wallpaper. Behind the paper the words "honora patrum tulem"---honor thy father---are scrawled onto the drywall hundreds of times.

In the bathroom, JJ is still trying to recover from the incident in the barn. She checks herself over, then stares into a mirror. As she does, the image of the wild dog she shot in the barn appears, snarling as if it's standing behind her. Freaked, JJ reaches for her sidearm and unholsters it just as Prentiss walks in, startling her. Noticing that JJ needs to get out of the house, Prentiss asks her to accompany her to speak with the NA contact in the morning. JJ agrees, then asks Prentiss a personal question---how, after coming off a desk job, can Prentiss look at things like grisly crime scenes and mutilated bodies and never flinch?

"I...guess...I compartmentalize better than most people," Prentiss replies.

Suddenly, Morgan calls out---he's found something underneath the house inside the root cellar. Both he and Hotch go inside, clearing the cellar but finding a body amidst walls of ice blocks. Morgan thinks it's Tobias, Hotch realizes that it's the elder Hankel, Charles.

Back at the cabin, Reid watches as his captor enters from the night, cradling a skinned animal in his arms. He looks at Reid and says in a soft, kind tone, that he needs to eat. Reid realizes this is not the same man who beat him earlier, and he asks this new persona what his name is.

"Tobias," the young man says, in the same kind tone.

Reid then ventures another question: if he's Tobias, then who was the person that was with him earlier?

"Probably my father," replies "Tobias." "Tobias" looks at Reid and notices his missing shoes and his bare foot; coupled with the look on Reid's face, he's certain that "his father" beat him, and "Tobias" apologizes for it. Suddenly, "Tobias" strips his belt off, and before Reid can protest "Tobias" wraps it around Reid's arm like a tourniquet. "Tobias" then takes a small vial and a syringe out of his coat pocket, and asks Reid not to tell "his father"---"he" doesn't know that "Tobias" has them.

Reid, realizing what "Tobias" is about to do, tries pulling against his bonds to avoid the needle, to no avail. He then begs "Tobias" not to inject him, telling him that "he doesn't want it."

"It helps," "Tobias" says kindly, trying to reassure him. "Tobias" then administers the drug.

Falling into a drug-induced stupor, Reid flashes back to the time when his father left him and his mother. The elder Reid refused to handle his mother's care any longer, stating that she refused to take care of herself and that he was out of options. When Reid's mother suggests that her husband take his son, even if only for a time, the elder Reid rebuffs the idea. At this, Reid's mother calls her husband weak--a tag he admits suits him. He then bids his son goodbye, and walks out the door. Reid--who's only about eight years old at this time--tells his mother that he's "not weak," to which his mother agrees and pulls him into a great hug.

In the present, Reid chants this admission---that he's not weak--- in a strange sort of litany. The persona of Tobias's father is present when Reid begins his chant, and tells him that for his part, he doesn't care whether Reid is weak or strong. He then informs a barely conscious Reid that no matter how loud his cries get, no one will hear him in their location.

The next morning, Faraday comes to the farmhouse with a bit of news from the coroner---Charles Hankel died at least six months ago. Morgan realizes that this is probably what set Tobias off. Meanwhile, Prentiss and JJ have found Tobias's NA sponsor, who's a bit surprised to hear that Tobias is still alive. It seems that Tobias's drug of choice was Dilaudid, a heroin-like narcotic compound which Tobias then cut with a psychedelic. When he learns that Tobias is suspected of murdering his father, he merely replies, "Good for him."

The sponsor also explains that Tobias's mother left his father for another man when Tobias was seven, sending the elder Hankel into a religious zealot state. He tells Prentiss and JJ that Tobias was beaten and abused horribly by his father, and that if someone ever "needed to self-medicate...it was that boy." When pressed for a place or a person Tobias might turn to, the sponsor draws a blank---as far as he knew, Tobias never left home.

At the farmhouse, Gideon, Hotch and Morgan continue the task of poring through Tobias's journals. Morgan notes that Tobias notated hour by hour, but that at one point the journaling ceased for days. Hotch, looking at another journal, notes that around December 6th Tobias made a notation about his father asking him to kill him---something Tobias couldn't reconcile inside his mind.

Morgan also notes that the journals---like the house---show characteristics of two distinct personas living in it. The journal Morgan has is in Charles Hankel's handwriting; Hotch's is in Tobias's script. Likewise, the upstairs bedroom is piled with clutter from floor to ceiling; the lower could pass a military inspection. Gideon realizes that once Charles Hankel asked his son to kill him, Tobias's black-and-white upbringing couldn't deal with the moral contradiction. As a result, his already fragile mind shattered into separate personalities so that he could keep his father alive. The persona of "Raphael" acts as a mediator between the two---as an archangel, he has no feelings or emotions whatsoever, as long as what is happening is God's will. Everyone agrees that they should also be profiling Charles Hankel as well as Tobias---it might yield a clue as to where Reid is being held.

Morgan goes into the "war room" and tells Garcia to log in as Charles Hankel. Though skeptical, Garcia complies---and suddenly the pieces fall into place. Under his father's name, there are scores of violent images, religious doctrination...all the earmarks of a mission-based killer.

At the cabin, Reid's captor---the persona of Charles Hankel---violently pulls Reid's head back across the back of his chair, asking him if he's ready. When Reid queries, his captor tells him that "his weakling son" (the persona of Tobias) believes that God gave Reid to him for a reason.
He then abruptly turns Reid's chair towards a small room and places a digital recorder in front of him.

At the farmhouse, the team trades information gathered from the journals and the NA sponsor when Faraday informs tham that a computer store was robbed during the night outside of Atlanta. The thief made off with several laptops, external hard drives, and a satellite. The team realizes that if it was Tobias who took these items, his operation is back on track.

In the "war room," Morgan and Garcia are scanning the information on the computers when all the monitors suddenly go blank. What they see next gives Morgan cause to call for the others---it's a live feed of a bound and beaten Reid being sent by Tobias. When asked if she can track the signal, Garcia explains that there are two tings stopping her from tracing it---a change of IP addresses every thirty seconds and the fact that Tobias is only streaming the feed to the computers in front of them. Gideon notes that Tobias knows that they're in his house and that what they're seeing is meant only for them.

In the cabin, "Charles" tells Reid to take a look at the people on each of four laptop screens. He then tells Reid to choose someone to die---in turn, he will also choose someone to live. Reid refuses, stating to his captor that he is both a sadist and in the midst of a psychotic break, and that his word cannot be believed. When told that "the other heathens are watching," Reid interprets this to mean the other members of his team and chooses his next few words carefully: "I won't choose who gets slaughtered and have you leave their remains behind like a poacher."

Enraged, "Charles" pulls Reid out of his chair to the extent of his bonds and tells him that he is not a liar. He then tells Reid to make a choice; otherwise, all of the people in the screens will be murdered.

Defeated, Reid tells him that he will choose, but he'll choose who lives. Satisfied, "Charles" steps back and lets Reid make his choice. As promised, he says the name and address of the woman Reid chose to be spared, to whom Gideon makes an urgent phone call from the farmhouse. As the screen goes blank, the persona of "Raphael" takes over and turns off the camera, cutting the feed to the farmhouse.

Some time later, a couple is getting ready to enjoy a bottle of wine. The man notes an open drawer as he searches for the corkscrew, but pays it little mind. In the living room, the woman is surprised by the sight of "Raphael" brandishing a butcher knife towards her throat. He calmly picks up he phone, dials 911, and tells the operator the address of his location. "Raphael" also states that he must "kill before their lies can free more sinners." With that, he cuts the woman's throat as a helpless Reid watches in horror through the computer screen.

At the crime scene, Faraday notes that the victims were defense lawyers, and that every available unit he has is on the road and working to find Tobias, but so far they've come up empty. Hotch privately worries how much longer Reid can continue to hold out. Gideon walks over to the webcam, which is still operational, and uses it to send a message to Reid: he is not responsible for the murders, as they're being committed by a man who's using God to justify murder. Gideon also tells Reid that he is stronger than his captor, and that his captor cannot break him. Reid receives the message, but is still in shock.

In the farmhouse kitchen, JJ goes to make a cup of coffee. Morgan asks her what she's still doing up---the rest of them can handle the task at hand, and she needs some rest. JJ muses that she should be working too, but what's really bothering her becomes clear---she's feeling responsible for what's happening to Reid. Morgan tells JJ that she needs to come to terms with this in her own way, as it's the only way she'll be able to move forward.

As Hotch and Gideon return from the latest crime scene, Hotch worries aloud that he's concerned about Reid---and about how long he can last. Gideon tells Hotch that Reid is brilliant, and that he'll be able to figure out a way to survive. Hotch muses that while he himself takes advantage of Reid's intellect, he has never taught Reid how to handle things on an emotional level. When Gideon tells him to "lead by example," Hotch wonders aloud what sort of example that might be, as neither he nor Gideon are any good at emotions either.

In the cabin, "Tobias" preps Reid for another round of drug injection. When "Tobias" apologizes for leaving Reid alone, Reid tells him that he can leave again---and he can take Reid with him. "Tobias" dismisses this idea, claiming that "his father" would get angry with him. Reid, trying desperately to avoid being shot up, tries to convince "Tobias" that if he tells Reid their location, Reid can have his friends come to save them both. "Tobias" continues preparing the injection, telling Reid that "we can't be saved." "Tell me it doesn't make it better," he says of the drugs, and Reid, defeated, does not reply.

In another drug-induced state, Reid flashes back to a memory of his mother lying in bed, her books strewn all over the covers. He tries to convince his mother to get out of bed, as her doctor has prescribed excercise, but his mother refuses. After arguing with her for a few minutes, the young Reid gives up, and tells his mother that he plans to go outside and play. When his mother offers to read to him, Reid agrees and hops up on the bed. He chooses a volume by Proust, and his mother begins to read, complimenting him on his choice.

As Reid continues in his drug-induced stupor, his captor looks on at his computer screens, content in what he's seeing.

In the "war room," JJ asks Garcia if there's been any sign of Reid. Garcia tells her no, but she also says that Tobias has posted the latest murder MPEG online---and it's received 17,000 hits in the first twenty minutes. JJ tells Garcia that she wants to see the file, but when Garcia balks, JJ tells her that if she can't handle seeing the sight of murder, she has no business being in the field. Garcia obliges her, but tells her that she won't join her while she watches.

Upstairs, Morgan and Prentiss run through the entire Hankel family history. Morgan notes that as Charles got more irate, Tobias got weaker and more desperate for an escape. He notes to Prentiss that wherever Reid is, it was a place Tobias chose, not his father. Just then, JJ walks in, looking for Gideon and noting that Tobias has just posted the latest murder file.

Within minutes Gideon is pleading with Garcia to do something--anything--to remove the file. Garcia tells him that it's not that simple---she can't pinpoint his IP to capture and erase it as he posts, and even if she could, it's out on the internet and "you can never take it back." When Gideon tells her that they need to take away Tobias's "pulpit," Garcia tells him that she can send out a mass warning that the file is actually a virus, and does so.

When the warning posts, "Charles" becomes enraged. He turns his anger on Reid, screaming that "they're trying to silence my message." Reid tries to reason with his captor, telling him that he has no influence over what the other do, as he's not with them---he's with him. "Charles" says nothing, but begins playing the message Gideon sent to Reid. Reid, terrified, squeaks that he has no idea what Gideon is talking about. "Charles" towers over Reid menacingly, then notices the sleeve that "Tobias" rolled up. Grabbing Reid's arm, he sees the injection marks on Reid's arm and declares that Reid is just as "pitiful" as his son.

"Charles" then activates the camera, telling Reid that "this ends now." As Gideon and Garcia watch from the "war room" in horror, "Charles" demands that Reid confess his sins. He begins beating Reid savagely, demanding that he "confess." Reid refuses, stating that he has nothing to confess, and between blows he cries out for "Tobias" to help him. "Charles" tells Reid that "Tobias" can't help him, and when Reid continues to proclaim his innocence, he shoves him over onto the floor, chair and all. The impact of the fall to the floor---coupled with the beatings and the drugs---send Reid into a grand mal seizure. As he seizes, gasping for air, "Charles" merely notes that the "devil" is leaving Reid's body. Finally, Reid falls unconscious.

Outside, Tobias's personalities clash. As "Charles" proclaims that "Tobias's" work is done, "Tobias" protests that God gave Reid to him for a reason. "Charles" smugly muses on what might save Reid now---the breath out of a killer's body? With that, "Tobias" races back into the cabin. To the surprise of everyone in the farmhouse, they see "Tobias" giving Reid CPR, which does the trick---Reid gasps, sputters, and regains consciousness.

Prentiss suddenly has a thought---how long was the time lapse between the actual murder and the post of the video online? The team determines that the lapse was seventeen minutes, and uses it to establish a seventeen-mile radius that they can use to pinpoint Reid's location.

As he regains awareness, "Raphael" emerges, stating that there must be a reason for Reid's miraculous recovery---other than the fact that he received CPR. Determined, "Raphael" asks Reid how many members are on his team. When Reid replies that there are seven, "Raphael" begins to recite from Revelations about the seven archangels versus the seven angels of death. He then sets Reid and his chair aright, Reid wincing in pain as he does so. Reid is then asked to choose one of the other members of the team to die.

Reid, incredulous, refuses. When "Raphael" insists, Reid chooses himself, but "Raphael" won't allow it---either Reid makes a choice or they continue to have a go at the game of Russian roulette "Raphael" continues to play, pointing the revolver at Reid's head and pulling the trigger. Finally, at the fourth prompting, Reid breaks down and makes a choice: Aaron Hotchner. Reid explains that Hotch is a classic narcissist, and quotes a passage from Genesis to prove his point. Back at the farmhouse, Hotch leaves the "war room" in a hurry, looking for a Bible.

As the other team members catch up to him, Hotch insists that he's not a narcissist. When Gideon tries to tell him that nothing Reid says at this point can be taken at face value, Hotch insists his point and has the others point out his worst personality traits. He admits to all those that the others bring up, but he states that he has never once put himself before the team, not ever, and that Reid knew that. Hotch also tells the team that he and Reid once had a lengthy discussion about the definition of classic narcissism, and that Reid knew he would remember it. He then hands the Bible over to JJ, who reads from the passage that Reid quoted. As JJ reads, it's clear that Reid got the passage wrong on purpose---rather than being about narcissism, the passage is about being in a cemetery.

In the "war room," Garcia is asked to bring up a detail of places within the radius that a cemetery might be located. When she does, the team notices a patch of green that represents an old plantation---one with a cemetery on the grounds. Gideon also recalls Reid's first appearance on the feed and has it recalled to hear something Reid said about "poachers." Through a cross-reference of poaching incidents and cemeteries, the team determines that the old plantation is where Reid is being held.

At the cabin, Reid drinks from a cup of water that "Tobias" holds out for him. As he drinks, Reid asks an important question: are they in a cemetery? "Tobias" tells him that they are---he used to come to this place to get high. Reid smiles, glad that he had gotten the location right. Reid also realizes that it was the persona of "Tobias" that saved his life, and he thanks him. However, "Tobias" gets a slack look on his face, and he apologizes for saving Reid, who asks why. "Tobias" tells him that in the end, his "father" will eventually win, Reid infers that "Tobias" believes he's only prolonged his suffering more.

"Tobias" then injects another dose of drugs into Reid's system, causing him to flash back to the day he institutionalized his mother. He was eighteen, and though it pained him to send her away, he realized that he could no longer care for his mother on his own. As he comes out of the stupor, he repeats the words "I'm sorry" over and over. When he does, "Charles" asks him what he's sorry for. When he tells him about sending his mother away, "Charles" references Exodus, which states that anyone who denies their father--or their mother--shall surely be put to death. He then walks over to Reid, kneels down, and unlocks his handcuffs. Reid, weak and in shock, can only look on as "Charles" tells him to "grab a shovel."

In the cover of night and beneath the trees "Charles" stands watch over Reid, who's being forced to dig his own grave. He tells Reid that he plans to bury him alive, so that he has time to think about what he's done.

Meanwhile, the rest of the team storms the cabin, finding Reid's bonds and chair but no sign of Reid himself. As they spread out over the grounds, Reid notices the light from their flashlights cutting through the dark. When "Charles" tells him to dig faster, Reid tells him that he's not strong enough to do so. "Charles" then takes off his coat and grabs the shovel, rebuking Reid for his weakness. However, he also notices Reid's face as the beams of light come closer, and before "Charles" can stop him Reid has drawn the revolver from his coat pocket---the one with only one bullet in the cylendar. As "Charles" makes a note of that fact, Reid pulls the trigger, ejecting the lone bullet from the revolver and striking his captor straight in the chest.

As he lies dying, the persona of "Tobias" congratulates Reid on killing his father. He then asks if he'll get to see his mom again, and then dies. Just then the team shows up, collecting a severely beaten and traumatized Reid from the ground. He hugs Hotch, thanking him for getting his message, and tells JJ that what happened wasn't her fault. Before he leaves, though, he asks if he can have a minute alone. The others head out, and Reid kneels over Tobias's body, deftly fishing out the vials of narcotics out of his pocket and placing them into his own.