(ship horn blows)
(thunder rumbling)
Good to go?
(TV playing muffledthrough wall)
(door closes)
NYPD!
Get on the ground now!
NYPD! Hold it right there!
TAYLORDon't move!nner!
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)
♪ 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 rightto remain silent.
Anything you saycan and will be used
against youin a court of law.
You have the rightto 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 coveryour cases for you
if you haveany 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 waitto get married.
So what this means is
everything in this casebecomes 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 anotherpriority list.
Will tomorrowbe another one?
(quiet, normal chatter)
SID:And still relatively fresh.
Delivered not more than fourto five hours prior to death.
♪ ♪
You want to clue me inon what you're up to?
There's no patternto his movements.
Whose movement?
Mac, whose movements?
Kenny Hexton.
That's him nine years ago.
We would get tips,anonymous calls,
even sightingsbased on sketches.
But whenever we thoughtwe were close,
he'd pick upand move again. Baltimore.
We were close inBaltimore, I know it.
And her?
TAYLOR: That's Jackie Thompson,Hexton's girlfriend bak then.
She wouldn't give him up.
She still lives in Queens.
I pay her a visitevery now and then
to see if herloyalty has shifted.
In exchange,
she sends me voice mailstelling me to
go screw off.
What happened to youthis 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 youbetter than you think.
Something's up.
What suddenly compelled youto investigate
a robbery at a bodegaon Austin and 123rd?
I'm the head ofthe Crime Lab, Jo.
I think that more orless entitles me to
reevaluate any case I want,whenever I want.
Fine. I haveno problem with that.
But I'm your colleagueand friend,
and I think that more or lessentitles me to ask why.
Why this case?
Why now?
You know the cases I keepon the edge of my desk?
Yeah.
Unsolved, right?
This is the last one.
DANVILLE:You know, you're going oldschool with that string.
You'd be amazed
at what computerscan do nowadays.
It's an old case.
Old habits.
We're not donetalking about this.
KENNY:Move! Come on, let's go!
One hour
before I got to bedowntown for COMPSTAT.
What's up?
You just killed two people--
owner and an employeebehind 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!
What you gonna do,you gonna shoot me? Korean)
I will kill you right now!Put it down!
Let's go, let's justget out of here, man.
KENNY:No, no, I'm notgoing anywhere.
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 outof the register.
Bleeding from a gunshot wound,
you and your accompliceexit which door?
All the actiongoes down right here?
No witnesses?
Here's your quickest exitright there.
So why'd they go outthe far door?
What is this?
This was my first case whenI became head of the Crime Lab.
Simple bodega robberyhomicide, right?
Except for the exit.
FLACK:This is your shooter?
(cash register beeping)
Skipped town that night.
Girlfriend wouldn'tgive up where,
we never I.D.'dthe accomplice.
Assumed heleft with him.
This case has been sitting
on the edge of my deskfor the last nine years.
Hmm. You got a new lead?
No.
Is the chiefasking about it?
Nope.
Then, what's up?Why you looking into it now?
No reason.
Maybe theaccomplice lived
in the directionof the far door,
and that's wherethey fled to first.
Or, after the shots,
they saw someonefrom the outside
walking toward this door.(whistles softly)
You don't look likeyou're buying it.
(sighs)
There was an accumulationof blood drops...
(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 allour shooter's blood?
TAYLOR:Yeah.
Do me a favor.
Uh, before you head downtown,go by the property clerk
and pick up the evidenceand 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 intothe bathroom, take these two
bricks of cocaine,and I want you
to strap them to your body.
All right? Then I'm goingto 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 prisonerfrom Staten Island.
So you have no problemusing me as a drug mule?
No. If you want to be involved,
you're going to haveto take on some of the risk.
Well, it sounds like I'mtaking on all of the risk.
The only thing you riskis being mocked
for doing a badPacino impression.
Oh, all right.
So you're not a fanof being the wife
of a very powerfuland-and-and very handsome--
if I do say so myself--drug lord.
I anticipated that, becauseI know a little bit about you,
so I have a plan Bfor making some extra dough.
Well, does it involve you
dressing in dragand turning tricks?
Because thatI'm totally okay with.
How does SergeantDanny Messer sound?
Are you serious?
You're thinking about takingthe sergeant's exam?
Maybe.
I think thatGood.great idea.
'Cause I took ita few months ago
and I'm waiting for the resultsiWhat?ew days.
Why didn't you tell me?
I mean, I haven'ttold anyone.
I mean, I don't knowif I-I want it.
I mean,it's more money.
It puts me on the pathto possibly
running this lab one day,but it takes me away from here.
It would take me awayfrom the team.
It would take meaway from you.
Well, we'll cross that bridgewhen we come to it.
I love that you're thinkingabout our future like this.
Hey, Mac.
Ran all the blood samplesfrom 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 upa second profile.
A minor donorin addition to Hexton's blood?
Barely detectable.
Probably from epithelials leftbehind after just touching it.
Well, I don't understand.
We processed this thingwhen the crime occurred,
and we never got a second donor.
Why wouldWell, I usedrent now?
a different genetic analyzer.
Every instrument variesin sensitivity.
If I ran it through a third one,
might not pick it up,but this one did.
Machines-- sometimes there'sno rational explanation
for why they dowhat they do.
Any customer in the storecould have touched this.
This item was for sale.
I don't think so.
We got a hit on the DNAfrom the epithelials.
TAYLOR:Olivia Dalton.
Her mother reported her missingthe morning after the homicides.
(gunfire)
Move! Come on! Let's go.
(bottles clattering on floor)
Hey. Where do youthink you're going?
Come here!
(grunting)
Where do you thinkyou're going? Huh?
Okay, okay. Come on!
Dude, where didshe come from?
She been here this whole time?
Hey.
Tell me, what'd you see?
Huh? What'd you see?
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 bodegathat night.
(horn honking)
WOMAN:I bought her this
about a weekbefore she disappeared.
She wanted to bejust like her mommy--
all grown upwith her own little purse.
I suppose you readthe reports-- the...
the ones that the policemade that night.
I was a different personback then.
Ms. Dalton,I'm not here to judge you.
Based on whatI've read here,
you're a mother who'snever given up hope,
and I admire that.
Tell me about that night.
How did Olivia end upin that bodega alone?
I was more interestedin getting loaded
than taking careof my baby girl.
(door opening)
Mommy! Mommy, look!
Oh, it's beautiful, baby.
It's really great.
It's great.
Do you havea 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 upa couple hours later,
she was gone.
I went through the entire building,
knocked on every door.
Went through the streetsscreaming her name.
I haven't had a drinksince that night.
That's what it tookto open my eyes.
But it was too late.
It's never too late.
You've been lookingfor these men for nine years.
What makes you think
you're goingto find them now?
Olivia.
DANVILLE: Come on, Jackie.
We both know you know where Kenny is.
I shouldn't have evenlet you in.
What happened to you?
You're a verypretty woman.
You seem like you havea 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 neveramount to anything.
And after you heard thatabout a hundred times,
you started to believe it.
Get out.
So you starteddating 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 knowanything about me. Or Kenny.
I know he killed two peoplein cold blood.
Okay, well, there's nothingI can do to change that.
So will you please go?
There is somethingyou can change now.
Her name is Olivia.
She witnessed the murders.
Kenny and Wes took her
from the bodegathat night.
And when they cameto your place,
you didn't see a little girl?
No.
No, I didn't...I didn't see her.
Maybe we shouldjust leave her here.
What?
You're out of your mind.No way.
Because I said so.
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 lookingfor her for nine years.
Oh, God.
What was he thinking?
Nine years.
You mean you have neverheard from Kenny?
He sent this about a weekafter he left.
Kenny didn't knowhow to write so well,
so I'm guessing the other guydid it for him.
It's pretty faded, but...
DANVILLE:You can barelymake anything out.
Look, I haven't spoken to Kennyin 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!Move! Move!eads up!
(crowd murmuring)
(sirens wailing)
Mac, he's cutting across!
(grunts)
Where is she?
Where's Olivia?
TAYLOR:Where is she?
Where's Olivia?
Tell you what,we'll get back to that.
I want a lastname for Wes.
I couldn't tell you.
We... we just met a couple weeksbefore the robbery.
I barely knew that guy.
After it all went south,we figured
the less we knewabout each other, the better.
Just hit the roadafter that.
Nine long years.
That can't be easy.
Being on therun like that.
All that picking up,
moving.
New town, new faces.
None of that changes
once you're on the inside.
Not if I haveanything 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 knowwhere 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 gotnothing to do with that
and I don't know wherethat little girl is, all right?
Four days we been dragging thatlittle girl around with us.
Enough already, man.
It's time tolighten the load.
(groaning, coughing)
You're sick, you know that?
(Kenny grunting,kicks landing)
Killing little kidsis 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 findevidence you killed her.
Look,
I didn't kill her, man.
Wes and that little girl werealive the last time I saw them.
♪ ♪
(camera clicks)
ROSS:This is the infrared result
of the postcard Jo recoveredfrom Hexton's girlfriend.
There's nothing to indicatewhether or not
the girl was still with them.
Or where it is they were headed.
This writing styleis very unique.
Look at the I's.
Exaggerated slant.
Alternating capital andlowercase letters between words.
Someone may be ableto recognize it.
I'm not sure I follow.
We use it likea missing persons billboard.
Instead of a face,
we use this.
"If you recognizethe handwriting,
call the NYPD tips line."
That kind of thing.
See? Out of the box thinking.
Get it out to every media sourceyou can think of.
I want it onelectronic billboards, too.
All over the state?
The country.
MAN (over TV):The New York CityPolice Department
is requesting the public'sassistance in identifyig
and locating the suspectin a double homicide inside...
WOMAN:...a Queens bodega in 2002.
Take a look at the handwritingon this note.
The latest clue is seen here.
MAN:Detectives are not asking youto recognize the face,
but ratherthe perpetrator's handwriting.
Investigatorsrecently discovered...
WOMAN:...a connection between thisnote and the murder-robbery
in the New York bodega.
The style of writingis linked to the two murders.
MAN:If you recognizethis handwriting,
you can contact the NYPDor 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 calledwhen she spotted our note
on an electronicbillboard.
Locals check it out?
Guy matching Wes's description
was staying with herfor a couple years.
Took off aboutnine months ago.
What about Olivia?
She was with him.
SAMANTHA:Why would Tony do that to me?
Lie to me like that?
We believe hisreal name is Wes.
He's a fugitive.
Been on the runsince 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 akind, you know that?
You're a real princess.
Now, if this guy
can't see that, you don'twant to be with him anyway.
I could have achat 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 knowthat he's not her father?
We don't know that yet.
Is there anythingthat you can think of,
anything that can help usfind them?
She has a heart condition.
An irregular heartbeat.
Diagnosed abouta year and a half ago.
She needs to takeone 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 milesof Twin City, Georgia.
Any hits?
Three Madison Stevens.
None of them the same ageas our girl.
A lot of fugitives keepthe same first name,
change only the last.
Tried that. Got meMadison Hughes, 13 years old.
Location?
LINDSAY: Shelby, North Carolina.
(wrench ratcheting)
WES:Hey, Maddie!
OLIVIA:Yeah?
Can you bring mea 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 Igo 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.
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 gNo!
Hold your fire!Don't shoot!
OFFICER:Hold your fire!
(grunting)
You're gonna be okay.
We'll get you to a doctorright 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 mygun away, okay?
(sobs quietly)
Just calm down.
Can you lower...lower the gun for me?
Can you dothat for me?
Just put the gun down, Olivia.You don't want to do thi.
Olivia-- that-that's right.
Olivia Dalton.That's your name.
You're from Queens,New York.
Your mom's nameis Natalie.
Remember?
I saw herjust before I came here.
She wanted you toknow that she...
never forgot about you.
She never stoppedlooking for you.
She never stopped hoping thatyou 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 hardfor you. I know.
I know you havea lot of questions.
But you just come with me, okay?
(sobs)
We'll sort this all outtogether.
(sobs)
All right? Okay?
(Olivia sobbing)
Nine years.
He could have dropped her offsomewhere.
Sent her home.
Um...
thank you.
Both of you for allthat 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 yousay something
about what happenedto you on that roof?
You put it in the paperwork,
but you didn'ttell anyone. Why?
I'm still trying to wrap my headaround a few things, Jo.
I've eluded deathon many occasions,
but this timeit was different.
It was staring meright 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 backto the bodega homicide;
the last unsolved case.
You wanted to seeif you could find some closure.
I've done a lot of good.
Yeah.
Maybe I've done my part.
Oh, did you getyour 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 massiveinternal hemorrhaging.
Strange thing isone of the perps must've moved
the victimwhile he was still alive.
That's strange.
Time of death?
Friday between7:00 and 11:00 p.m.
(buzzing)
Oh, you shouldtake it.
He's not goinganywhere.
Hey, Camille.
Yeah, baby, where do you wantto have dinner?
♪ Is all we're waiting for ♪
Okay.
♪ Sometimes the onewould take you ♪
♪ Changes everyone before ♪
♪ It's everything you wanted ♪
♪ It's everythingyou 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 ♪
♪ Sometimeswe're holding angels ♪
♪ And we never even know ♪
♪ Don't know if we'll make it ♪
♪ But we knowwe just can't let it show ♪
♪ It's everything you wanted ♪
♪ It's everythingyou 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 everythingyou 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. ♪
Captioning sponsored by CBS
CSI NY PRODUCTIONS
Captioned byaccess.wgbh.org oup at WGBH