(ship horn blows)
(thunder rumbling)
Good to go?
(TV playing muffled through wall)
(door closes)
NYPD!
On the floor! Get on the ground now!
NYPD! Hold it right there!
TAYLOR: I got a runner! Don't move!
Drop it! Drop it!
Drop it!
(thunder rumbling)
(officers shouting)
(thunder crashing)
Stay down!
Don't you move!
(thunder crashing)
(fan clattering)
(thunder crashing)
(Taylor yells)
(both grunting)
Sync by n17t01 www.addic7ed.com
♪ Out here in the fields ♪
♪ I fight for my meals ♪
♪ I get my back into my living ♪
♪ Yeah, yeah, yeah, yeah. ♪
(thunder crashing)
(gun clicking)
Mac? Mac?
FLACK: Turn over. Get your hands behind your back.
DANNY: Show us your hands now!
Hey, go ahead, give me your favorite move.
FLACK: You have the right to remain silent.
Anything you say can and will be used
against you in a court of law.
You have the right to an attorney.
(fading) If you cannot afford one...
SID: Hawkes, you and I should, uh, hook up after this meeting
and go over ballistic evidence
in relation to the autopsy report.
Okay.
DANVILLE: Danny, check your schedule.
You'll receive a "must appear" for Wednesday.
HAWKES: I can cover your cases for you
if you have any deadlines.
(distant, echoes): Ah, thanks, Doc.
You weren't even gonna offer, were you?
Solve your own damn cases.
(audio continues distant, echoing)
ROSS: I can't wait to get married.
So what this means is
everything in this case becomes our priority.
(distant thunder rumbling)
(thunder crashing)
(pen scribbling loudly)
(thunder rumbling)
(thunder crashes)
(thump)
(keys clicking)
(muffled chatter)
(pen thuds)
(thunder rumbling)
(paper crinkling)
(necklace clinking)
(pen clicking)
(thunder rumbling)
(gun clicking)
(thunder rumbling)
(distant): Yesterday was another priority list.
Will tomorrow be another one?
(quiet, normal chatter)
SID: And still relatively fresh.
Delivered not more than four to five hours prior to death.
♪ ♪
You want to clue me in on what you're up to?
There's no pattern to his movements.
Whose movement?
Mac, whose movements?
Kenny Hexton.
That's him nine years ago.
We would get tips, anonymous calls,
even sightings based on sketches.
But whenever we thought we were close,
he'd pick up and move again. Baltimore.
We were close in Baltimore, I know it.
And her?
TAYLOR: That's Jackie Thompson, Hexton's girlfriend back then.
She wouldn't give him up.
She still lives in Queens.
I pay her a visit every now and then
to see if her loyalty has shifted.
In exchange,
she sends me voice mails telling me to
go screw off.
What happened to you this morning?
This morning?
In the conference room.
You walking out like that.
Had to get some air.
Okay, what's going on, Mac?
I know you better than you think.
Something's up.
What suddenly compelled you to investigate
a robbery at a bodega on Austin and 123rd?
I'm the head of the Crime Lab, Jo.
I think that more or less entitles me to
reevaluate any case I want, whenever I want.
Fine. I have no problem with that.
But I'm your colleague and friend,
and I think that more or less entitles me to ask why.
Why this case?
Why now?
You know the cases I keep on the edge of my desk?
Yeah.
Unsolved, right?
This is the last one.
DANVILLE: You know, you're going old school with that string.
You'd be amazed
at what computers can do nowadays.
It's an old case.
Old habits.
We're not done talking about this.
KENNY: Move! Come on, let's go!
One hour
before I got to be downtown for COMPSTAT.
What's up?
You just killed two people--
Owner and an employee behind the counter.
FLACK: That sounds like me.
TAYLOR: Your weapon of choice was a revolver.
Give me the money, man.
Open the register. Let's go. Do it!
What, are you deaf, old man?
Open the register!
I know you know what I'm saying! Open it! Now!
Okay.
(shouting in Korean)
Put that gun down. You put the gun down right now!
(speaking Korean) What you gonna do, you gonna shoot me?
I will kill you right now! Put it down!
Let's go, let's just get out of here, man.
KENNY: No, no, I'm not going anywhere.
Come on! Not without the money.
What you gonna do, huh?!
(all shouting)
No, no!
(two gunshots)
(groans)
What are you doing?! What are you doing?
Watch the door! Watch the door!
Grab the cash out of the register.
Bleeding from a gunshot wound,
you and your accomplice exit which door?
All the action goes down right here?
No witnesses?
Here's your quickest exit right there.
So why'd they go out the far door?
What is this?
This was my first case when I became head of the Crime Lab.
Simple bodega robbery homicide, right?
Except for the exit.
FLACK: This is your shooter?
(cash register beeping)
Skipped town that night.
Girlfriend wouldn't give up where,
we never I.D.'d the accomplice.
Assumed he left with him.
This case has been sitting
on the edge of my desk for the last nine years.
Hmm. You got a new lead?
No.
Is the chief asking about it?
Nope.
Then, what's up? Why you looking into it now?
No reason.
Maybe the accomplice lived
in the direction of the far door,
and that's where they fled to first.
Or, after the shots,
they saw someone from the outside
walking toward this door. (whistles softly)
You don't look like you're buying it.
(sighs)
There was an accumulation of blood drops...
Let's go! (grunting)
TAYLOR: ...on the floor right here,
where, apparently, the shooter bumped into a shelf,
and then knocked some stuff to the ground.
FLACK: Was this all our shooter's blood?
TAYLOR: Yeah.
Do me a favor.
Uh, before you head downtown, go by the property clerk
and pick up the evidence and bring it by the lab.
No problem.
You all right, buddy?
Yeah. Yeah, I'm good.
(siren wailing)
Know what I'm thinking?
I want you to go into the bathroom, take these two
bricks of cocaine, and I want you
to strap them to your body.
All right? Then I'm going to meet you downstairs, okay?
I'm gonna get it home, I'm gonna cut it
and I'm gonna package it.
And I'm going to become...
(imitating Al Pacino): ...Danny Montana.
I'm a political prisoner from Staten Island.
So you have no problem using me as a drug mule?
No. If you want to be involved,
you're going to have to take on some of the risk.
Well, it sounds like I'm taking on all of the risk.
The only thing you risk is being mocked
for doing a bad Pacino impression.
Oh, all right.
So you're not a fan of being the wife
of a very powerful and-and-and very handsome--
Of I do say so myself-- Drug lord.
I anticipated that, because I know a little bit about you,
so I have a plan B for making some extra dough.
Well, does it involve you
dressing in drag and turning tricks?
Because that I'm totally okay with.
How does Sergeant Danny Messer sound?
Are you serious?
You're thinking about taking the sergeant's exam?
Maybe.
I think that's a great idea. Good.
'Cause I took it a few months ago
and I'm waiting for the results in a few days. What?
Why didn't you tell me?
I mean, I haven't told anyone.
I mean, I don't know if I-I want it.
I mean, it's more money.
It puts me on the path to possibly
running this lab one day, but it takes me away from here.
It would take me away from the team.
It would take me away from you.
Well, we'll cross that bridge when we come to it.
I love that you're thinking about our future like this.
Hey, Mac.
Ran all the blood samples from the bodega.
Swabs from the gun and the five dollar bill,
both confirmed to be Kenny Hexton's blood.
But the change purse--
The instrument picked up a second profile.
A minor donor in addition to Hexton's blood?
Barely detectable.
Probably from epithelials left behind after just touching it.
Well, I don't understand.
We processed this thing when the crime occurred,
and we never got a second donor.
Why would it be different now? Well, I used
a different genetic analyzer.
Every instrument varies in sensitivity.
If I ran it through a third one,
might not pick it up, but this one did.
Machines-- Sometimes there's no rational explanation
for why they do what they do.
Any customer in the store could have touched this.
This item was for sale.
I don't think so.
We got a hit on the DNA from the epithelials.
TAYLOR: Olivia Dalton.
Her mother reported her missing the morning after the homicides.
(gunfire)
Move! Come on! Let's go.
(bottles clattering on floor)
Hey. Where do you think you're going?
Come here!
(grunting)
Where do you think you're going? Huh?
Okay, okay. Come on!
Dude, where did she come from?
She been here this whole time?
Hey.
Tell me, what'd you see?
Huh? What'd you see?
Hey! Relax, Kenny. She's just a kid.
No, she's not a kid. She's a witness, man.
Where's your mom? Huh? You know where your mother is?
(siren wailing)
It's too late.
Come on. (Grunts) She's coming with us.
TAYLOR: That's why they went out the rear door.
She was in the bodega that night.
(horn honking)
WOMAN: I bought her this
about a week before she disappeared.
She wanted to be just like her mommy--
All grown up with her own little purse.
I suppose you read the reports-- the...
the ones that the police made that night.
I was a different person back then.
Ms. Dalton, I'm not here to judge you.
Based on what I've read here,
you're a mother who's never given up hope,
and I admire that.
Tell me about that night.
How did Olivia end up in that bodega alone?
I was more interested in getting loaded
than taking care of my baby girl.
(door opening)
Mommy! Mommy, look!
Oh, it's beautiful, baby.
It's really great.
It's great.
Do you have a headache, Mommy?
Mm-hmm.
Mommy's got a headache, and she needs to rest, okay?
TAYLOR: The bodega was just around the corner.
She went to get you some aspirin.
And when I woke up a couple hours later,
she was gone.
I went through the entire building,
knocked on every door.
Went through the streets screaming her name.
I haven't had a drink since that night.
That's what it took to open my eyes.
But it was too late.
It's never too late.
You've been looking for these men for nine years.
What makes you think
you're going to find them now?
Olivia.
DANVILLE: Come on, Jackie.
We both know you know where Kenny is.
I shouldn't have even let you in.
What happened to you?
You're a very pretty woman.
You seem like you have a good head on your shoulders.
What happened?
You can go now.
If I had to guess, I bet you had a father
who told you you would never amount to anything.
And after you heard that about a hundred times,
you started to believe it.
Get out.
So you started dating guys
who would smack you around.
Get the hell out.
Why are you protecting him, Jackie?
I loved him, okay?
Don't act like you know me.
'Cause you don't know anything about me. Or Kenny.
I know he killed two people in cold blood.
Okay, well, there's nothing I can do to change that.
So will you please go?
There is something you can change now.
Her name is Olivia.
She witnessed the murders.
Kenny and Wes took her
from the bodega that night.
And when they came to your place,
you didn't see a little girl?
No.
No, I didn't... I didn't see her.
Maybe we should just leave her here.
What?
You're out of your mind. No way.
Why not? Because I said so.
You hear me? She could take her
to the cops or something.
Take who to the cops?
KENNY: Nobody.
She must have been right there.
Her mother's been looking for her for nine years.
Oh, God.
What was he thinking?
Nine years.
You mean you have never heard from Kenny?
He sent this about a week after he left.
Kenny didn't know how to write so well,
so I'm guessing the other guy did it for him.
It's pretty faded, but...
DANVILLE: You can barely make anything out.
Look, I haven't spoken to Kenny in years.
Last thing I heard, he was headed up to Boston
to hook up with some friend.
Got a name?
(sighs)
Chris Carson.
(audio distant, echoing)
(distant thunder rumbling)
TAYLOR: NYPD! On the floor!
DANNY (distant): Mac, you good?
NYPD! Hold it right there!
(normal voice): Mac, you good?
Yeah, I'm good.
Let's go.
(horns honking, people chattering)
(indistinct chattering)
♪ ♪
(grunts)
Look out! Look out! Heads up! Move! Move!
Move! (crowd murmuring)
(sirens wailing)
Mac, he's cutting across!
(grunts)
Where is she?
Where's Olivia?
Where is she?
Where's Olivia?
Tell you what, we'll get back to that.
I want a last name for Wes.
I couldn't tell you.
We... we just met a couple weeks before the robbery.
I barely knew that guy.
After it all went south, we figured
the less we knew about each other, the better.
Just hit the road after that.
Nine long years.
That can't be easy.
Being on the run like that.
All that picking up,
moving.
New town, new faces.
None of that changes
once you're on the inside.
Not if I have anything to say about it,
and I will.
Where you going with this?
I want the girl-- Olivia.
Tell me where she is.
I don't know.
Well, then I don't know where you might end up.
I'm thinking maybe, uh, New Mexico right now.
How about that?
(scoffs) Look, you see this?
This is proof
that I ain't got nothing to do with that
and I don't know where that little girl is, all right?
Four days we been dragging that little girl around with us.
Enough already, man.
It's time to lighten the load.
(groaning, coughing)
You're sick, you know that?
(Kenny grunting, kicks landing)
Killing little kids is where we part ways.
(labored breathing)
KENNY: That was the last I ever saw of them, man.
I been on my own ever since.
I'm gonna find
that little girl, and when I do,
you better hope I don't find evidence you killed her.
Look,
I didn't kill her, man.
Wes and that little girl were alive the last time I saw them.
♪ ♪
(camera clicks)
ROSS: This is the infrared result
of the postcard Jo recovered from Hexton's girlfriend.
There's nothing to indicate whether or not
the girl was still with them.
Or where it is they were headed.
This writing style is very unique.
Look at the I's.
Exaggerated slant.
Alternating capital and lowercase letters between words.
Someone may be able to recognize it.
I'm not sure I follow.
We use it like a missing persons billboard.
Instead of a face,
we use this.
"If you recognize the handwriting,
call the NYPD tips line."
That kind of thing.
See? Out of the box thinking.
Get it out to every media source you can think of.
I want it on electronic billboards, too.
All over the state?
The country.
MAN (over TV): The New York City Police Department
is requesting the public's assistance in identifying
and locating the suspect in a double homicide inside...
WOMAN: ...a Queens bodega in 2002.
Take a look at the handwriting on this note.
The latest clue is seen here.
MAN: Detectives are not asking you to recognize the face,
but rather the perpetrator's handwriting.
Investigators recently discovered...
WOMAN: a connection between this note and the murder-robbery
in the New York bodega.
The style of writing is linked to the two murders.
MAN: If you recognize this handwriting,
you can contact the NYPD or your local authorities.
(phones ringing, people chattering)
DANNY: Oh.
Mac's idea paid off.
Handwriting got a hit.
Yep. Samantha Rogers.
Twin City, Georgia.
She called when she spotted our note
on an electronic billboard.
Locals check it out?
Guy matching Wes's description
was staying with her for a couple years.
Took off about nine months ago.
What about Olivia?
She was with him.
SAMANTHA: Why would Tony do that to me?
Lie to me like that?
We believe his real name is Wes.
He's a fugitive.
Been on the run since 2002.
For what?
Murder.
He killed someone?
He's also wanted for kidnapping.
Wait, you mean Madison?
Her real name
is Olivia Dalton.
She's not his daughter.
That can't be.
You should have seen them together,
the way he treated her.
You're young.
There's gonna be other boys.
Not like him.
You're one of a kind, you know that?
You're a real princess.
Now, if this guy
can't see that, you don't want to be with him anyway.
I could have a chat with him.
You know... (clicks tongue)
Little one-on-one.
Little man-to-man?
I can be pretty convincing.
He's 12.
So, what are you saying?
You saying I'm too old, I can't take him?
OLIVIA: Okay, yeah.
Go beat him up for me.
But leave me the last punch.
Deal.
It was all a lie.
Does she know?
Madison-- Does she know that he's not her father?
We don't know that yet.
Is there anything that you can think of,
anything that can help us find them?
She has a heart condition.
An irregular heartbeat.
Diagnosed about a year and a half ago.
She needs to take one of these every day.
TAYLOR: Lindsay, anything from the doctor who wrote
the prescription-- Robert Miller?
No contact in over a year.
So I called every pharmacy, cardiologist and pediatrician
within 500 miles of Twin City, Georgia.
Any hits?
Three Madison Stevens.
None of them the same age as our girl.
A lot of fugitives keep the same first name,
change only the last.
Tried that. Got me Madison Hughes, 13 years old.
Location?
LINDSAY: Shelby, North Carolina.
(wrench ratcheting)
WES: Hey, Maddie!
OLIVIA: Yeah?
Can you bring me a quarter-inch socket?
Okay.
You gonna teach me how to drive?
Yeah, when you're 16.
Okay, okay, okay.
Uh, I will give you
your first lesson as soon as
I'm finished with this. How about that?
Okay.
Thank you.
Mm-hmm.
(vehicle approaching)
(brakes squeak softly)
FLACK: I got an eyeball
on our subject.
It's definitely our guy.
TAYLOR (over radio): Nobody moves until
the girl is clear.
Go inside, Olivia.
Down, down, down. Keep that down.
Uh, say, Maddie,
what do you say you and I go get some donuts?
Okay.
TAYLOR: Stay put until she's inside.
OFFICER (over radio): Copy that.
Go! Now!
(tires screeching)
Let's go! Come on.
Come on. Where are those damn keys?
WES: Come on!
(sirens wailing)
Let's go, Maddie!
Move, move, move!
(sirens wailing)
Maddie, come on, honey. Come on, honey.
On the ground, Wes! Do it! Let's go. Come on, honey.
Come on! Let's go! Get in the car, Maddie.
Go back inside!
Maddie, let's go! Get in the car, honey.
It's over, Wes.
On the ground now! Do it!
OFFICER: He's going for it!
He's got a gun! No!
Hold your fire! Don't shoot!
OFFICER: Hold your fire!
(grunting)
You're gonna be okay.
We'll get you to a doctor right now.
(strained): Don't be sad, okay, princess?
(sobs)
You get to go home now.
(sobbing)
(pained grunting)
TAYLOR: Get back! Get back!
OFFICER: Tell 'em to back it up!
Get back!
I'm gonna put my gun away, okay?
(sobs quietly)
Just calm down.
Can you lower... lower the gun for me?
Can you do that for me?
Just put the gun down, Olivia. You don't want to do this.
Olivia-- That-that's right.
Olivia Dalton. That's your name.
You're from Queens, New York.
Your mom's name is Natalie.
Remember?
I saw her just before I came here.
She wanted you to know that she...
never forgot about you.
She never stopped looking for you.
She never stopped hoping that you were out here somewhere...
alive.
She loves you, Olivia.
He loved me, too.
My father loved me.
Yeah.
I know he did.
That's why this is so hard for you. I know.
I know you have a lot of questions.
But you just come with me, okay?
(sobs)
We'll sort this all out together.
(sobs)
All right? Okay?
Okay. Shh. (Olivia sobbing)
Nine years.
He could have dropped her off somewhere.
Sent her home.
Um...
thank you.
Both of you for all that you've done.
Is... is that her?
She's beautiful.
Can I go...?
Of course you can.
You're her mother.
DANVILLE: Hey.
Why didn't you say something
about what happened to you on that roof?
You put it in the paperwork,
but you didn't tell anyone. Why?
I'm still trying to wrap my head around a few things, Jo.
I've eluded death on many occasions,
but this time it was different.
It was staring me right in the eyes.
So you're struggling with it.
You're wondering why you?
What does all this mean?
A bit, yeah.
But mostly, when it was over, I just kept asking myself...
"What am I doing?
How much longer can I do this?"
So that's why you went back to the bodega homicide;
the last unsolved case.
You wanted to see if you could find some closure.
I've done a lot of good.
Yeah.
Maybe I've done my part.
Oh, did you get your results back?
(imitating Al Pacino): Say hello to Sergeant Messer.
(laughing): You passed?!
I passed!
(laughing)
FLACK: NYPD! Everybody get on the ground now!
♪ Is anybody out there? ♪
♪ Is anybody listening? ♪
Leading to massive internal hemorrhaging.
Strange thing is one of the perps must've moved
the victim while he was still alive.
That's strange.
Time of death?
Friday between 7:00 and 11:00 p.m.
(buzzing)
Oh, you should take it.
He's not going anywhere.
Hey, Camille.
Yeah, baby, where do you want to have dinner?
♪ Is all we're waiting for ♪
Okay.
♪ Sometimes the one would take you ♪
♪ Changes everyone before ♪
♪ It's everything you wanted ♪
♪ It's everything you don't ♪
♪ It's one door swinging open ♪
♪ And one door swinging closed ♪
♪ Some prayers find an answer ♪
♪ Some prayers never know ♪
♪ We're holding on ♪
♪ And letting go ♪
♪ Sometimes we're holding angels ♪
♪ And we never even know ♪
♪ Don't know if we'll make it ♪
♪ But we know we just can't let it show ♪
♪ It's everything you wanted ♪
♪ It's everything you don't ♪
♪ It's one door swinging open ♪
♪ And one door swinging closed ♪
♪ Some prayers find an answer ♪
♪ Some prayers never know ♪
♪ We're holding ♪
♪ Letting go ♪
♪ Yeah, we're letting go ♪
♪ It's everything you wanted ♪
♪ It's everything you don't ♪
♪ It's one door swinging open ♪
♪ And one door swinging closed ♪
♪ Some prayers find an answer ♪
♪ Some prayers never know ♪
♪ We're holding on ♪
♪ And letting go. ♪
Sync by n17t01 www.addic7ed.com