Provenza is upset and worried about the captain, and, if possible, he's even more upset and worried about Andy Flynn. In all the years Provenza has known Flynn, he has never seen him this agitated, not even the time Flynn initially refused to attend his own daughter's wedding before the captain rescued him. Flynn's face is getting redder and redder, and his voice is growing louder and louder on the phone with an official from San Quentin.

Flynn shouts into the phone, "Why the hell didn't you tell me that yesterday?" Furiously scribbling on a notepad, Flynn glances up to see Provenza staring at him. He gestures for the older man to come closer, and points down at the notepad on his desk. Leaning in, Provenza reads: Mark Evans and Phillip Stroh were cellmates.

Grabbing a marker, Provenza approaches the Murder Board, and adds this latest bit of information to the small amount of facts already written there. Hanging up the phone, Flynn joins Provenza at the board, and stares at the artist's rendering of Mark Evans hanging next to the photo of Evans supplied by the prison. Flynn sticks his hands in his pockets, and takes slow, deep breaths in an effort to calm himself. Provenza says, "Well, at least now we know the connection between Stroh and Evans." Flynn doesn't even acknowledge the statement. He just flexes his jaw, and switches his gaze to the prison picture. Staring into the cold, dead eyes of the sociopath who has abducted the woman he loves; he can do nothing, but curl his hands into fists in his pockets.

Sharon is also staring at a picture. It's in an elaborate wooden frame surrounded by several other framed pictures atop the nightstand next to the bed she's sitting on. She can hear Evans opening drawers in the bathroom until he finds what he's looking for in the third drawer. Picking up the small scissors from the drawer, he cuts the hospital ID band from his wrist, and tosses it in the bathroom trash. Next, he hunts for Band-Aids which he finds in the medicine cabinet. Sitting on the toilet, he carefully removes the IV line still embedded in his skin, tosses it in the trash, and applies a Band-Aid to the bloody puncture site. Reaching back into the drawer, he grabs a tube of lotion and heads into the bedroom. Sharon doesn't look at him; she continues to stare at the picture as he sits next to her on the bed. Releasing her from the cuffs, he gently rubs lotion into the marks on her wrists. He apologizes for cuffing her arms together too tightly in the trunk. She's not focused on his words; she's focused on the picture. Evans stops rubbing her skin, and turns away from her to get a better look at the picture that has her mesmerized. Her hands are free; he's distracted; she reaches in her pocket for the scissors, and wraps her fingers around the metal.

Detectives Nelson and Molina approach the two men standing at the Murder Board. Flynn moves out of the way, and points at the newest piece of information Provenza just wrote on the board. Nelson reads the sentence out loud and says, "Are you kidding me?"

Flynn responds with, "I wish I was."

Nelson looks from Molina to the two men standing by the Murder Board and asks, "Do you know each other?"

Sticking his hand out to shake Molina's hand, Provenza says, "Yes, I worked a case with you several years ago."

Molina shakes Provenza's hand, and turns to Flynn with his hand out. Andy's not paying any attention; he's studying the Murder Board intently. Provenza clears his throat. Andy realizes he has zoned out, and finally shakes the man's hand. Molina is familiar with Provenza, but he doesn't know Andy Flynn; he only knows the gossip he has overheard.

Evans turns back to Sharon just as she removes her hand from her pocket. He reaches for her wrist, and begins rubbing again. She refuses to make eye contact; she will not let him see the fear in her face. Her hand is clenched in a fist; she's holding her breath, and shaking slightly. Cupping her chin, Evans forces her to look at him. Staring in her eyes, he says, "Baby, I'm not going to hurt you as long as you do exactly as I say; just relax." Moving his hand off her face, he clutches her fisted hand. She relaxes her fist, and takes a deep breath. The scissors are still in her pocket. She desperately wants to stick them in his carotid artery, but she knows she has to wait for the right moment when she'll be able to run. Her feet are bound together and cuffed to the bed.

Evans releases her hand, and reaches for the picture on the nightstand. Showing it to her, he says, "I know you recognize my buddy. He was one hell of a guy, and a brilliant lawyer; I hated to kill him, but we wanted different things. He was so mad at me for getting caught in your condo. Of course, he was already mad at me for not following the plan and eliminating the kid and the blonde. I never gave a damn about either one of them. You're the one I've always wanted."

"Stroh is dead?" Sharon asks with confusion in her voice and on her face.

"He sure is. I killed him; you'll never have to worry about him again; I got it done. I didn't want to, but he was just too dangerous. I stalled him as long as I could, but he was out of patience, and I knew he would kill me, eventually. Now, he's out of our lives; you can stop worrying about him, and we can have some fun."

Her mind is working furiously to process what she's just learned. She hears him talking, but she's having a hard time processing all the words. Wondering if Evans is delusional or truly crazy, she continues to stare at the picture of Stroh standing between an attractive, older man and woman; there are three other people in the background; everyone is posing with champagne flutes in their hands, and big smiles on their faces. She doesn't say a word as Evans drones on. "The house we're in belongs to this couple," he says as he points to the man and woman on either side of Stroh in the picture. "I don't remember their names; they are venture capitalists; they spend a lot of their time in Europe, so they let Stroh stay here because he got their guilty daughter exonerated on a murder charge. He always bragged about the influential people who owed him favors. When I first met him, I didn't really believe all his big talk, but I do now. You wouldn't believe the kind of access he had. I saw it with my own eyes. He had plenty of money, and even guns; of course, he'd never give me a gun; that's why I had to take the gun off your boyfriend. Getting caught in your condo turned out to be a happy accident."

Sharon's detective instinct is urging her to keep him talking, she asks, "How did you kill him?"

Setting the picture on the nightstand, he turns back to her. Stroking her hair, he says, "I'm tired of talking about him." Moving his hand from her hair to the side of her face, he says, "I'll never forget the first time I saw you. Well, it wasn't really you. It was a picture of you that Jack kept on his desk. My God, you took my breath away. Your hair was up, and you were wearing an emerald green dress. Your smile was so shy; your eyes spoke to me in that picture. The minute I saw you; I knew I had to have you. I couldn't believe you were married to such a loser. I stole that picture off Jack's desk about a month later. I don't think he ever even noticed. Do you remember talking to me during the party at your house?" Sharon doesn't answer him; she remains still, and refuses to look him in the eye. He's not really focused on her at the moment. He's lost in his thoughts, his memories; he doesn't wait for her response; he just keeps talking and stroking her. "You're going to love the surprise I have for you." She can feel his breath on the side of her face; he leans in, picks up her hand, and brushes her palm with his fingers. She can hear him breathing heavier. He places her palm on his crotch, and uses his hand to manipulate her small hand. She is nonresponsive. "Come on, baby. You know what I want." He grinds himself into her hand and moans. Time seems to stop for Sharon, just like when she was in the trunk. Several seconds go by. She can hear a dog barking in the distance, and a car drive by. He's moving his lower body, and pressing her hand down. He puts his mouth on hers; she calmly turns her head away. He grips her hand harder, and says, "You know what to do; I've watched you with your boyfriend." She's as limp as a rag doll, so is he; flaccid, and completely frustrated with her lack of response. In his fantasies, he's imagined many different scenarios, but not this. He would prefer she be more like the others: scared, crying, pleading, and trying to fight him off. That's what he wants; that's what he needs, but there's no time right now. They need to leave before the cops finally figure out where they are. He never really believed he'd get this far in his plan.

Brushing her hand away with annoyance, he says, "Well, we can't sit here talking all day. We've got a long drive ahead of us." He moves off the bed, and roughly cuffs her hands together once again. Pointing at a suitcase near the door, he says, "I've already packed for us. I wanted to include some of your favorite outfits, but your boyfriend messed that up when he cornered me in your closet. It doesn't really matter though because I bought new things for you to wear while we're gone." Grabbing the suitcase, he says, "I'll be right back to help you to the car," before walking out the bedroom door.

Commander Taylor enters the room, and approaches the four detectives clustered near the Murder Board. Addressing Detective Nelson, Taylor says, "I just spoke with your supervisor; he's agreed to take on the murder case of the plastic surgeon to the stars, so Major Crimes can focus on finding Captain Raydor. He's assigned you to continue working with them and the Threat Management Unit."

Nelson nods her head, and asks, "Has anyone obtained security footage from the hospital?"

"Follow me," Provenza says as he leads the way to the Electronics Room.

Tao is studying the footage when they enter. Evans and Captain Raydor can be seen walking between a white SUV, and a black Cadillac; they disappear for several minutes, then the Cadillac emerges from the parking space driving away from the camera. Due to the dim lighting in the garage, it's hard to get a clear image of the license plate; however, there doesn't appear to be enough letters and numbers.

"What kind of license plate is that?" asks Nelson.

Tao attempts to zoom in on the image, but it's still hard to decipher. The room is very quiet as everyone stares at the screen. Suddenly, Tao shouts, "I've got it." A startled Provenza rolls his eyes. "That's a California State Senate plate," Tao says. "The S is for senate; the number is for the district, and that small r means retired. That Cadillac belongs to a retired state senator from the 24th district."

"Get on it, Tao, and let me know the minute you find out the name and address associated with that vehicle," Provenza says as he's walking out of electronics with Nelson hot on his heels.

Evans walks into the double-car garage carrying the suitcase. Walking past the black Cadillac, he heads straight for the Mercedes SUV, and stows the suitcase in the back. That's when he notices the license plates for the first time. "Shit," he yells. There are special state senate plates on both cars. He had been in too much pain earlier this morning to care about or pay attention to the license plates, and it's too late to do anything about it now. They need to get the hell out of Los Angeles, fast.

Andy's at his desk on the phone when Provenza and Nelson walk back into the Murder Room. Sykes looks up from the laptop she's sitting behind and says, "That's Rusty on the phone with Flynn. He's looking for his mom."

Andy is playing it cool with Rusty. He doesn't let on that there's anything wrong. Rusty just wants to say hi, and let Sharon know that he aced the big test in his communications class. Andy assures him that he'll pass the message on to Sharon when she's not busy. Hanging up the phone with a sheepish look on his face, he joins Sykes at her desk where she and Buzz are busy looking for evidence on the laptops seized yesterday in the condo Evans was using in his surveillance efforts.

Detective Molina is still talking to Commander Taylor; Nelson joins their conversation. Sanchez announces that he's going to Robbery-Homicide to get them up to speed on the murder of the plastic surgeon.

"Julio, before you go, I need to tell everyone that we may have just caught a big break," says Provenza. All eyes are on him as he proceeds to tell them about the special license plates.

"Why are we standing around? Let's get going," Andy says.

Traffic is flowing nicely as the Mercedes merges onto Interstate 5. Evans quickly glances over his right shoulder at Sharon lying across the backseat. He can see her face; he can't see her body under the blanket he tucked around her after he bound her hands and feet together. He'd much prefer her to be sitting in the front seat next to him talking, laughing, and planning where to stop for lunch, but he can't drive and hold a gun on her at the same time. At least she's not in the trunk; he thinks to himself. "I know you must be getting hungry," he says to her. "I want to get out of the city; then we'll stop and get some food. What sounds good?" She doesn't say a word. "I know you like Italian food," he says. "I'll keep an eye out for an Italian place."

The front door flies off its hinges the third time Fritz Howard uses the battering ram to breach the residence of retired California State Senator Craig Cope, and his wife, Lydia. Once inside, the silence is deafening, punctuated only by the sound of Andy shouting for Sharon.