Better the Devil You Know: Haven Profiles (James Cogan aka The Colorado Kid)

Date: 11/5/2012 (updated 1/31/13)
Subject Name: James Cogan aka The Colorado Kid
DOB: 08/31/1956
DOD: 5/28/1983
Gender: Male
Age: 27 at alleged time of death/disappearance 1/31/13: subject has been held within barn for past 27 years and does not appear to have aged; unknown if he experienced any subjective passage of time though current data indicates he did not
Place of Examination: Data compiled at Chandler/Hammett Investigations offices
Occupation: Unknown
Marital Status:. Married (possibly widowed) 1/31/13: though separated from his wife for 27 years and both his and his wife's status unknown due to external interference
Race: Unknown, presumed Troubled
Classification: XX-####

Presents with: As this is a profile of a person presumed deceased, no interview or current presentation is possible. Analyst will confine herself to observations of current data and update as available.

Updated 1/31/13: Subject has been confirmed living, albeit in a fashion which prevents him from leaving the barn for any substantial length of time. It is unknown in what fashion and to what degree the barn heal(ed/s) subject, though this may be a side effect of his biological relationship to subject IN-####. Subject's affect was relatively flattened, likely due to culture shock and sickness, though he has clearly demonstrated the ability to express surprise, fear, disgust, concern, and hope, as a partial sampling. In this respect he appears relatively normal in emotional lability and reaction given his circumstances and known factors. Subject expressed belief that Lucy Ripley would have been willing to kill him to end the Troubles, but as subject was being manipulated by SR-BD-#### at the time and presumably not in full possession of his faculties we cannot take this as indicative of his past relationship with subject IN-####. This willingness to believe his wife's manipulation does indicate a strong emotional involvement and/or traditional cultural values attached to a loving romantic relationship.

On feeling threatened, subject engaged in mild subterfuge to make his escape into the one place he appears to feel safe (i.e., the barn). This suggests that subject is capable of at least some mid-level mental processing when experiencing fight-or-flight adrenaline rushes, and more importantly suggests that at some point he established the barn as a safe location. Along with subject's ability to avoid others within the barn when he wishes not to be found, this indicates that regardless of his subjective awareness of time within the barn, he is familiar with its workings to some degree. Since his memory is at least partially intact, we may also stipulate that the barn does not have the same effect on him as on his mother despite its disappearance from Haven.   

Observations: James Cogan, aka the Colorado Kid, was predominantly observed from a partially supine position with his back to the photographer. He was clearly a white male in his mid twenties to mid forties, with dark hair and presumably in good health before the circumstances of his demise; at least, no external old trauma was evident. He was dressed in somewhat durable, casual clothing for the time. Descriptions of the event are vague and varied, as all persons present at that time either have no memory of the event or are in an altered state of connection to reality. Two subjects have been established as potentially having knowledge of the situation, but have consistently refused to share information, and as yet enhanced interrogation is not an option.

Internal Memo: Surveillance & Speculation

Internal Memo: Chandler & Hammett
To: Kitty Chandler <kchandl@[redacted]>
CC: Daifyn Ifans <difans@[redacted]>, Ash Dunlevy <adunlev@[redacted]>, Danielle Matheson <dmathes@[redacted]>, Peter Torkarov <ptorkar@[redacted]>, Sam Connor <sconnor@[redacted]>, Eve Marlowe <emarlow@[redacted]>, Jared Engel <jengel@[redacted]>, Alec Cray <acray@[redacted]>
Date: 11/5/12
Subject: re: re: re: BGK speculation & photos

Several things! First, pull Johnny off the Teagues, the way things are going. Sam and Jared can team up for one shift, and Dee and Alec can take another. Second, pull Sam off Hendrickson and reassign him to Thomas. Eve, maybe start taking Thomas with, since Howard seems to have dried up into a dead end. The chances of them hanging around any of your (plural your, stupid English) current targets are pretty high, might as well have a floating surveillance team out there just in case.

Do we need to pull some people out of the SF/PDX offices for home base support in the meantime?

AH

To: Daifyn Ifans <difans@[redacted]>
CC: Adsartha Hammett <ahammet@[redacted]>, Ash Dunlevy <adunlev@[redacted]>, Danielle Matheson <dmathes@[redacted]>, Peter Torkarov <ptorkar@[redacted]>, Sam Connor <sconnor@[redacted]>, Eve Marlowe <emarlow@[redacted]>, Jared Engel <jengel@[redacted]>, Alec Cray <acray@[redacted]>
Date: 11/5/12
Subject: re: re: BGK speculation & photos

ANYway, you guys. While we're discussing the import of messages, who wants to volunteer for Teagues duty? Observations aside, it looks like they're interested in talking to at least the two of us, which means we get to be the public faces and you all get to do the clandestine legwork. There's two of them, at least in theory, so who wants to volunteer for long-term surveillance?

KC

Sunrise Sunset Haven S3E07 Magic Hour Part 1

Previously on Haven: Audrey is confused, Duke is chivalric, and Nathan is a jackass. The Guard is suspicious, Jordan is driven, and Nathan is still a jackass. The Bolt Gun Killer is seriously sick in the head, and Nathan is... well, actually Nathan hasn't been that much of a jackass over the Bolt Gun Killer case, so we'll give him that one. For all that we've been getting a shitpile of information as compared to the last two seasons, every answer leads to at least two more questions. It's both gratifying and incredibly annoying as we attempt to sift through all the noise for the signal. 

Chekhov's Intern is Fired Grimm S2E10 The Hour of Death

Previously on Grimm: Kitty was a Na'vi Balam and hid behind/under/on top of lots of furniture (nobody ever looks up). The Renard-Juliette plotline did not give us too much embarrassment squick, which means undoubtedly they'll make up for it tonight. We got a name on another Royal-related player, and Intern Chekhov Ryan was more firmly affixed to the mantel. Tonight, we find out what happens IN A WORLD WITH TWO GRIMMS. And if you didn't hear that in the right voice, you're watching an insufficiency of bad scifi movies. I spent most of this week hiding from the embarrassment squick and worrying about Bud the Eisbieber. You leave my Eisbiebers alone, dammit. Also I mutter a bunch about interns being left on the mantel for two acts. I mean eps. Stupid Intern Chekhov.

We open on a blue flame from a blowtorch, which is totally not doom-laden. Oh wait, yes it is. Especially with that brand. And that quote. "And branded on the beast, the mark of his kin. For none shall live whom they have seen." Although made up by the Grimm writers themselves, which is a first, it sounds awfully Biblical. Awful Revelatory, if we're going to be precise. They do a lot with fire and blood and overall brimstone-type cleansing symbols this ep. And yes, it's pretty obvious from the outset that that's a stylized G, I'm not sure why it took them THAT long to figure it the fuck out. Though my refrain through first watch of this was "Nick, be a better cop and a worse Grimm," so there's that to consider. We cut from that to a shot of Nick having a nightmare about a missing girl, and I continue to question why robbery/homicide gets all these kidnapping cases. Juliette wakes him up from the nightmare, the way you do. At this point I pause to note that we've had four dream sequences of Nick's: Juliette running through the woods in a red dress, Aunt Marie stabbing him in the hand, Juliette being fine and remembering everything and declaring that all the Grimm stuff made sense, and this one. So we have an alternating pattern of Juliette featuring in his dreams with Juliette waking him up/being there for him when he wakes from a nightmare, and that second one is deteriorating in the level of support offered. Oh everyone. Note how Juliette's in a dark camisole with a white lace top over; this will be important later. Also, she's clearly forgotten everything she knew about sleeping with a cop and she's damn lucky Nick didn't react violently. They're snappish at each other, which is the first time we've seen this degree of discord. There have been arguments and disagreements and disappointments, but even since Juliette woke up from the coma they've always been trying to be good to each other in the little day to day things that make up a relationship, as much or more than the grand gestures. But no, Nick's snippy about sleeping on the couch. I would be too after this many weeks, and I question why there's no guest room with a bed or at least a futon in a house that size. I also question not getting SOME kind of alternate bed solution so that Nick can be well-rested while they figure this shit out. I mean, guys, this is common sense. Juliette, in turn, snaps back at him that there's coffee in the kitchen and she's going in to work, probably because she feels pressured to accept this stranger back into her bed. Again, I would be too, so I'm judging you BOTH for not coming up with a better interim solution than the fucking couch. My god. Anyway, Nick tries to apologize and have a conversation about it which judging by his facial expressions was going to be along the lines of not blaming her but he needs a better solution (no SHIT), but Juliette shuts him the hell down.

I sigh and imagine all the things I'd like to do to Adalind right now, while we cut over to someone burning pictures of the missing girl while on the phone with an accomplice. It sounds one hell of a lot like there's a sex slave ring going on here, but we never really get any details on it. He's a sloppy perp, too, leaving pictures not fully engulfed in flames before going to answer the door. Hey look! Hank and Nick are doing the horrible slog of footwork that happens when you don't catch an initial break on a case. Zane is incredibly shifty here, and the fact that the guys don't press him harder is evidence of how tired they are. Oh boys. Hank, don't you have a guest room to put your partner up in for cases like this? Because again with the better solutions to this problem argh. Anyway, Nick spots the photos in the stove and Zane woges out and cue Grimming! Instead of policing! One of these days we'll find out what happens when Nick DOESN'T just grab and hit Wesen perps but waits for them to do something inadvisable in front of Hank. And then the world will end. I do love how that's just about Hank's first question, though, when he sees Nick doing Grimm-like things. "Is he a Wesen?" Yes, Hank, you get all the Wesen cases, I don't think I can even blame Renard for this one because the kidnapping vic doesn't appear to be Wesen.

Internal Memo: Updates

Internal Memo: Chandler & Hammett
To: Danielle Matheson <dmathes@[redacted]>
CC: Peter Torkarov <ptorkar@[redacted]>, Sam Connor <sconnor@[redacted]>, Eve Marlowe <emarlow@[redacted]>, Ash Dunlevy <adunlev@[redacted]>, Jared Engel <jengel@[redacted]>, Daifyn Ifans <difans@[redacted]>
Date: 11/3/12
Subject: Updated files

Attachment: (unsub919-11312.docx) 14k
Attachment: (tbowen-eval-11312.docx) 15k
Attachment: (haven-11212.docx) 50k

Scanned in the latest out of Maine. You'll want to have a look at this, talk to Johnny about these two specifically and get back to us. It's getting awfully cutthroat up there these days, could use some extra eyes and security.

KC, AH

When You're At Home: Hank Griffin

Next up in our rounds of studying people's houses to learn about them, one Detective Hank Griffin. This was so much less time-consuming before Over My Dead Body, when we had fewer shots and fewer well-lit shots of the interior. I'd complain, but then I'd get reminded that I love having more data and to quit my bitching. That said, we're going to take this in the order we were introduced to Hank's living quarters.

Our first glimpse of Hank's house is actually when Adalind comes up to give him the blood cookies. Catching him just outside his sanctuary so she can insert herself into his life and dreams, oh, I could go on and on about the symbolism THERE. Long shot up the driveway with what looks like an oak tree off to the right, though well-trimmed back so it's not overhanging the car. There's a fair bit of shrubbery (but no Knights of Ni) and we can even get a house number, 1403, which probably isn't significant but I mention here for completeness. (I can make it significant, but you can make ANY number significant, so we're going to ignore it until some symbolism leaps up and beats us over the head instead.) Rather than a more traditional front door, Hank has a side entrance off the driveway. Nice solid-looking wood door, mail slot, doorbell. Couple steps up, it's not particularly disability-friendly but it's not horribly unfriendly either, should Hank be laid up on the job, say. Eminently doable on crutches, at least, and there may be a back entrance that's more friendly. From the exterior, the place looks ranch-styled. Overall, though it doesn't scream "a cop lives here," it's certainly fairly security-conscious without being obvious about it.

The second glimpse we see is of his bedroom, so, from exterior straight to inner sanctum by way of blood magic, because that's still not symbolic or anything. I was using those toes. Dual-layered curtains, white gauzy ones for a bare minimum of privacy on warm nights (and I do mean bare minimum), heavier ones for real privacy and/or warmth. Shot with the standard trope of heavy curtains back for maximum creepy when Adalind's phantom hand pets Hank's hair, with either moonlight or streetlight shining in. The heavy curtains are a warm brown and gold pattern; the bedding is an even warmer red. Red to match the napkin in the basket of cookies, yes, but also red because Hank's the kind of person to be surrounded by warm colors. Cozy colors. On the small table to the left of the bed (as Hank lies in it, anyway) is a stack of magazines/newspapers, and that's all we see for now before the closeup on poor fevered bespelled Hank.

Better The Devil You Know: Haven Profile (Jordan McKee)

Date: 10/31/2012 (updated 12/3/12) (updated 10/22/13)
Subject Name: Jordan McKee
DOB: 06/20/1978

DOD: 05/??/2011

Gender: Female
Age: 34
Place of Examination: Data compiled at Chandler/Hammett Investigations offices
Occupation: Waitress at The Gun & Rose; member of The Guard
Marital Status: Single, former relationship PT-TR-####, suspected past relationship WR-####
Race: Troubled
Classification: TR-BD-####

Presents with: Subject is inclined to keep to herself; unknown at this time if this is a result of her Trouble activating or an innate tendency. Given her anger at her present state and her current occupation, it seems likeliest that subject enjoyed spending time around people prior to the Troubles and since that time considers it safest if she removes herself from society. This has led to a tendency to lash out verbally, followed by physical contact (gloved or ungloved depending on subject's sense of personal safety) should the verbal warning be ignored. Subject despises her Trouble and, quite probably, herself; this has created a feedback loop unlike most rape victims' where she is reminded of her initial assault every day. Worse, her affiliation with the Guard means that sometimes she is expected to use her Trouble as a weapon, making her mental state more fragile as such incidents add up. Wuornos is the first person able to touch her (though we believe subject IN-#### would be able to do so as well, we lack evidence), and as a result subject has a strong attachment to him, verging on addiction. Updated 12/3/12: Subject developed a fixation to the point of obsession with subject PT-TR-####, including the belief that she knew what was best for their relationship. This belief was founded solely on her experience as a member of the Guard, not on discussion or trading information with Wuornos. Subject believes that IN-#### is the source of the disruption to and ending of their relationship, rather than any actions or inactions she took. She deliberately manipulated and misled all parties in an attempt to gain influence over subjects PT-TR-#### (direct) and IN-#### (indirect), and continually protested that her actions were "for [them]." This speaks to her unwillingness (and perhaps inability) to do anything other than follow orders from the Guard. Updated 1/28/13: Subject may be second-in-command of the day to day operations of the Guard, or alternately may exist outside the hierarchy for reasons related to her Trouble and her positioning relative to subject PT-TR-####. When she appeared most recently, body language and assertive behavior indicated that she considered herself relatively high-ranking within the group, though this belief may have been wholly wrong due to her lack of knowledge regarding the ultimate authority. Subject was disdainful and upset by the indication that subject ST-BD-#### was in love with subject IN-#### designation Audrey Parker, in keeping with prior reactions to Parker as regarding relationships of any kind. This indicates a lack of knowledge about how subject IN-#### functions, along with the barn; we may extrapolate that subject believes that the two are linked only insofar as the alleviation of the Troubles for another 27 years, that subject IN-####'s purpose is to alleviate individual Troubles and protect Haven with each resurgence and then leave when the barn comes. Subject indeed proved unwilling to disobey orders from the Guard, though the revelation that subject TD-BD-#### was in charge of the group led her to finally choose her own target. This target was, as expected, subject PT-TR-#### due to his attempts to destroy the barn (see case file AG-####) once subject IN-#### entered it. Subject fired multiple shots at Wuornos upon his firing shots at subject AG-####; this was then followed by multiple shots fired at subject by Crocker, who was also present at the time. Subject's physical whereabouts and status are unknown at this time. It is notable that she fired on Wuornos after he presented a clear and present threat to subject AG-#### but before he fired; due to his Trouble he was unaffected by the pain as any other person would have been. It is unclear whether subject did not realize this, subject's aim was off, or subject was not shooting to kill in the first place. Subsequent shots may not lower the percentage of the latter's probability; rather, subject may have fired repeatedly in response to emotional stimuli rather than calculated thought. It is now clear that subject has several priorities: removal of her Trouble, reacquisition of her relationship with Wuornos, and removal of Parker from Haven, all of which are enmeshed in subject's attitude toward the Troubles in general and subject IN-####, the barn, and the Guard in specific.

Updated 10/22/13: Subject survived the incident at the artifact known as the Barn due to the efforts of subjects WR-#### and PT-TR-####, who were respectively competent in battlefield medicine and able to touch the subject. Following subject PT-TR-####'s departure from Haven due to his (not inaccurate) belief that he had caused a worse fate for all people in the town both Troubled and unTroubled, subject appears to have bolstered her position within the Guard. Concurrent with this appears to have been subject TD-BD-####'s loss of status within the organization, leading to an apparent schism within the group at subject's instigation. Subject entered a major yet functional depression, leading the Guard in daily operations and possibly working parallel to subject WR-#### in his new position as chief of police in order to assist civilians within the town. It is likely that had this continued unabated, subject would have died in the line of her duties with the Guard, as the Troubles appear to be increasing in lethality in recent months. However, with the reappearance of subjects ST-BD-#### and PT-TR-####, subject developed a new fixation (encouraged and abetted by said subjects) that despite her desire to kill subject PT-TR-#### for his part in allowing the Troubles to continue with no feasible end in sight, it was yet possible that subject IN-#### would reappear and that she would then carry out the supposed final solution to the Troubles, i.e., killing the man she loves. Though there is no evidence to suggest that subject IN-#### designation Audrey Parker (or, for that matter, any other designation) would be willing to commit such an act, all subjects involved in this plan have accepted it as their best case scenario. Subject's fixation with this scenario has been frequently indicated by her as a desire to end the Troubles so she can experience human contact again; citing every study that demonstrates the negative effects of denying a person physical contact for an extended period of time is beyond the scope of this profile but should be taken as read. As subject devolved as a result of IN-#### designation Audrey Parker/Lexie DeWitt's reappearance, providing hope without a fixed schedule, she developed a working theory that the Troubles were subject IN-####'s Trouble and could therefore be ended if an activated Crocker killed her. Unfortunately, subject did not take into account the data that indicates that the Troubles arrive several years (general pattern suggests approximately two) prior to subject IN-####'s arrival, and thus the theory is implausible at best. Nevertheless, subject continued to put plans in motion, going so far as to subdue and restrain subject TD-BD-#### to remove him from the field of play, and seduce subject BD-#### into willingly activating his Trouble with promises of power and future respect as the man who ended the Troubles for good. Subject TD-BD-#### chose this time to reveal information to her regarding Simon Crocker and the timing of the Troubles, subtly manipulating the subject into the realization that not only has she become the sort of person she despises but that her plan would not, in fact, work. When subject realized this, and upon learning that subject IN-#### designation Audrey Parker/Lexie DeWitt did in fact retain all of Parker's memories and much of her personality, subject appears to have further comprehended the enduring partnership and desire to help others above their own romantic preferences between subjects PT-TR-#### and IN-####. Subsequently, subject attempted to dissuade Wade Crocker from his already-established path of addiction to the rush provided by his Trouble, and in the process of this attempt, he killed her. Subject did not, despite all efforts, provide subject BD-#### with her theory that a Crocker could kill subject IN-#### and thereby end the Troubles.