Back on the farm -- the server farm, that is -- Nicky's looking around with Vega and brainstorming, "No suspect, no motive, no weapon." Vega shows his deductive chops by pointing out, "You just don't spontaneously develop a head wound. Somebody had to kill him." Nicky muses, "A guy goes into a room with no windows and no doors -- how does he get out." I seem to remember the answer to this being, "He brings an egret, because eventually its mate, the egress, comes along, and you use that to escape," but that seems a little too cute for this scenario. Vega admits he doesn't know the answer, and Nicky smiles a little before replying, "Same way he got in. There is one thing that comes in and goes out of here all the time." He then looks up at the air-conditioning vent. The next shot is of Nicky peering up into the duct and saying, "Black P.E.T. as far as the eye can see -- and a possible transfer."
Would that Warrick were having as easy a time of it; he's in Phelps's house, asking, "Where were you last night?" Phelps claims he was home, and Warrick follows up uncomfortably, "I'm going to need to see your hands." Phelps stares at him. At that moment, his son finally emerges and calls for his dad, just to amp up the pathos, and Phelps calls back, "Trav, go to your room." Wow, is this scene uncomfortable. Major props to the actors for the way they play it. Warrick checks the hands, and unfortunately, the ring Phelps is wearing matches the probative pattern Gil pointed out earlier. Wow, that's unfortunate. It also raises the question of why Phelps didn't take off the ring and flush it down the toilet; he had to have known it might have incriminated him. Warrick gives Phelps an unhappy look and he argues, "Look, you went there too. That's how I knew where to go." "But I never touched the guy," counters Warrick, conveniently forgetting how his conversation with Gene ended. "He didn't kill your daughter!" shouts Phelps. Warrick says more angrily, "If he's guilty, then we'll put him away." Phelps expresses his doubts vis-à-vis the efficacy of the judicial system and concludes, "You wait ten years for somebody else's definition of justice, and they always put the criminal's rights before the victim's. The first good night of sleep I had was last night." Warrick looks anguished, and then he swings back to angry, saying, "Eye for an eye and the whole world goes blind. You taught me that!" Phelps is unrepentant: "Well, my perspective has changed. Aimee's dead." Warrick deflates, and he's near tears as he says, "I've got no choice here. My hands are tied. I gotta let them bring you in." Phelps gives him one last look, the music swells dramatically, and a few uniforms enter to cuff Phelps and take him away past the crowd of people surrounding his house. As he goes, his son starts toward him -- you know, I know it's all heart-tugging and dramatic, but given that his daughter was recently killed and he's a prominent community figure who's undoubtedly touched the lives of lots of people like Warrick, you'd think he'd have more people rallying behind him and taking care of his son so the kid's not left in the care of child services -- and Phelps calls out that it's going to be okay, and he loves his boy. Then maybe he should have thought about how his actions concerning his dead child affect the living one. Phelps turns to Warrick and says, "Make sure they take care of him, all right?" Warrick assures Phelps that he will. More poignant music, the camera zooming in on Warrick's desolate face, the crowd gradually dispersing. A deputy picks this convenient moment to come by and tell Warrick they've found the stolen rec center van.
What do you know? The van is silver, and it's got a lot of spent ammo in the back. Gil notes the blue paint transfer on the bumper. Warrick gives him a truly beleaguered look. Gil continues implacably, "I found a 9MM cartridge in the backyard of the house a few doors down from where Jaycobs said he found the gun, a house that had been broken into? You said he was a thief, right?" Warrick confirms this. Gil says, "See, I think he lied about where he found the gun so we wouldn't know he was breaking into houses. Apart from that, I think he was telling the truth." Cut to a shot of Jaycobs conducting a break-in when, from his perspective, the Firearm Fairy delivers an automatic to him. Back in the present, Warrick nods in understanding, so Gil jerks his head toward the bumper and asks, "Shall we?" The a cappella kicks in again as he scrapes the paint transfer on the bumper. Warrick, meanwhile, finds the fuzzy end of a lollipop wedged under the brake pedal. He call for Gil and explains, "Matt used to have this really harsh rule about no eating in the van," effectively telling all of us that the DNA of the shooter will probably be on the stick.