Delko, in the meanwhile, is drawing on his people skills to fingerprint everyone. He is the only person in this episode who isn't in a bad mood yet. That'll change the minute Horatio summons him to the loo. As Delko fingerprints people, they show up in a database. Welcome to John Ashcroft's America, y'all. Just then, a yuppie in training cuts in line to announce his credentials: "I'm a third-year law student at U of M." Speedle offers his congratulations. The law student demonstrates that all that tuition isn't going to waste when he says, "I know it's illegal for you to keep us here." Hasn't he been paying attention to who the attorney general in this country is? Delko says, "You're right, actually. But as a human being, I think you have an obligation to cooperate like everyone else, so why don't you get back in line for me, okay?" It's an impressive moral stand, but Delko forgets he's dealing with a would-be lawyer. Speedle is glaring in disgust. This surprises no one, right? After Don Jackball, Esq., is escorted back to his place in line, a nervous-looking blond guy asks, "Is that true? Can I go?" Speedle, whose look of disgust has crystallized into something approaching unalloyed misanthropy, smacks an adhesive tape on the guy's chest, lifts off glitter, and says shortly, "No, you can't. You know why? Because now you're a suspect. So go ahead and get comfortable, legally." Delko smiles a little, and Speedle mutters, "Jackass." Heh.

Sonata For Dead Moppet in C minor commences as Megan and her cleavage scoop up some of Ruthie's hair. Horatio examines the lock on the bathroom door and notes that it's broken. He's all, "So how'd he keep people out? There's nothing --" and then stops as he notices the orange "out of order" cone. "This is how he secured his privacy," Horatio says, and we see a flashback of the pedophile putting down the cone, thus blocking off the bathroom from would-be intruders. He then gets to the heart of the matter: "How did a grown man steal a five-year-old girl from a public place and nobody noticed?" Megan muses that the abductor could have been someone Ruthie trusted. Horatio goes to talk to Ruthie's mom to find out. The mom is looking considerably the worse for wear, which is unsurprising. Horatio comes in and displays his usual flair to communing with the bereaved: "Mrs. Crichton, did you guys know anyone here? Somebody she would have trusted?" Mrs. Crichton tearily replies no, and Horatio takes a moment to empathize. Mrs. Crichton continues, "She was too good for this earth. Like an angel from Heaven. Maybe that's not even her in that room. How can you be so sure? Maybe she got out." Horatio just gazes upon Mrs. Crichton, being acutely empathetic. Why is she alone in all this? Where is Mr. Crichton? It doesn't matter -- he's never mentioned, not as Ruthie's father, and not as a suspect, so it's best just to drop it now. Horatio whispers how sorry he is, and the camera swings back down to the security stamp on Mrs. Crichton's hand as someone cranks up the volume on The Grief Etude in G Major. The camera transitions from the adult's stamp to the child's as we see someone stroking Ruthie's hand, and then we flash to the moment of stamping where Ruthie sweetly lilts, "We're twins, Mom!"