All language subtitles for The.Hunting.Party.S01E05.1080p.x265-ELiTE.srt - eng(2)

.

- Previously on
"The Hunting Party"...

- It's called the Pit.

It's home
to the most dangerous

and violent criminals
in history,

all of whom the world
believes are dead,

or at least it was
until the blast hit.

- How many inmates got out?

- The exact number is unclear,

but you're here,
Agent Henderson,

to help us catch 'em.
- How is Sam?

- Adopting her was
the best thing I ever did.

- Dr. Dulles.
- Hi, Dad.

- Right after Odell received
his mysterious phone call

warning him about the blast,

he drove
to this storage facility.

- What the hell
are we looking at?

- The one in blue are
the satellite coordinates

for the Pit.

[dramatic music]

[truck rumbles]

[Cypress Hill's
"Insane in the Brain"]

- * Damn, I feel like
the Son of Sam *

* Don't make me wreck,
hectic *

* Next get the chair got me
going like General Electric *

* And the lights are blinking,
I'm thinking *

* It's all over
when I go out drinking *

* Oh, making my mind slow *

- Make it quick.
- Thanks for stopping.

- * Bro, I got to maintain *

* 'Cause a [...] like me
is going insane *

* Insane in the membrane *

- * Insane in the brain *

- * Insane in the membrane *

[cd skipping]

[distorted hip-hop music]

* *

* *

- * Insane in the brain *

- * Insane in the membrane *

- [grunts]

[crowbar thudding]

[ominous music]

* *

[Cypress Hill's
"Insane in the Brain"]

- * Insane in the brain *

- * Do my [...] undercover *

* Now it's time
for the blubber *

* Blabber, to watch
that belly get fatter *

* Fat boy on a diet,
don't try it *

* I'll jack your ass
like a looter in a riot *

* My [...] fat, like a sumo *

* Slamming that ass *

* Leaving your face
in the grass *

* You know I don't take
a do low lightly *

* Punks just jealous 'cause
they can't outwrite me *

* Or kick that style,
wicked, wild *

* Happy face [...]
never seen me smile *

* Rip that mainframe,
I'll explain *

- [gasps]

- * A [...] like me
is going insane *

- [humming melody]

[solemn orchestral music]

* *

[deep rumble]

Come on.

[deep rumbling]

* *

- [sighs]
- You're gonna die tonight.

- [exhales]

[phone ringing]

* *

[phone chirps and clicks]

[line trilling]

- Mom, what's going on?

- Hey, honey.
- Hey, why can't you video?

- Uh, 'cause I gotta work.
- So?

I still want to see your face.
Why are you being so sketch?

Did you get bangs?
- [chuckles]

- Do they look awful?
- I did not get bangs.

It's just been a week, OK?

Things at the casino
have just been crazy.

[phone rumbles]

Can I call you back, actually?
- Whatever.

Later, Bex.

[phone clicks]

- Hey, what's up?
- Hey, I got an update.

I sent a friend of mine
the coordinates

that we found
in Odell's storage unit.

- What kind of friend?

- The kind that works
in counterintelligence.

Let's see what we find
in the satellite images

he comes back with,
but until then...

I need you to play nice
with Odell.

Just pretend
everything is normal.

- You mean pretend
that he hasn't been secretly

in contact with
my daughter behind my back?

- They're just birthday cards.
- [scoffs]

From my daughter
to the man who may

or may not have
blown up the Pit.

- I understand, but if you
confront Odell right now,

he'll know that we're onto him,

and he'll start
covering his tracks.

- If it was your daughter,
would you wait?

[knocking]

- No,
but you're going to have to,

'cause we just got a hit.

[tense music]

[indistinct radio chatter]

- Hey, we got a live one.

Morales, put it up.

[monitor beeps]

- Morning.
- Good morning.

- Facial recognition flagged
an escapee in the background

of an Instagram post.

Roy Barber,
outside of Eugene, Oregon.

- The Couples Killer.

We might have studied him
at Quantico.

- Might be the first time
a selfie's done

some good in the world.

- Roy Barber,
born to Lou and Lois Barber.

He was raised on
an isolated pecan farm

near the Florida-Georgia line
until, at 14,

his father killed his mother
in a murder-suicide.

After bouncing around various
juvenile detention centers,

Barber moved
to Orlando in 1988,

where he started making
a living as a caricature artist

outside of amusement parks.
- Ew.

- Starting in '93,
Barber terrorized

the roads of Florida and
Georgia for nearly a decade,

hiding out at rest stops
waiting for his ideal prey,

romantic partners.

He murdered 16 people,

one couple
every 10 to 14 months,

leaving no trace
of his victims except

for their
blood-drenched vehicles.

Finally, in 2001,
a hunting dog caught a scent

in the marshlands near Orlando.

Local authorities were able
to recover the skeletal remains

of Harry Caldwell.

He and his wife Bridget had
disappeared six months earlier.

It was this discovery
that cracked the case

and ultimately led
to Roy's arrest.

- But it wound up
being a massive PR disaster

for the local cops.
- Why?

- Because Barber had graduated
from being a caricature artist

to a police sketch artist.

He was working with all
the cops who just happened

to be investigating his case.

- He was working with the cops?
That is cocky as hell.

- It's also a great education
on how to escape detection.

- Get yourselves to Oregon.
- Yes, sir.

* *

[plane whooshing]

- Growing up, it was, uh,
just me and my mom

and my dad on our farm.

My mom and I,
we would work the farm,

you know, do the chores.
Long hours.

You know, it wasn't too bad.

My dad, he was a drinker,
you know?

Not a pleasant man,
a violent man.

And one year,
well, he lost his way.

Human beings are
solitary creatures, you know?

We're meant to live alone,
die alone,

not suffer the company
of others.

[chuckles]
You'd be surprised

the things people say when
they know the end is near.

It can be enlightening to test
a relationship to its limits.

* *

Mom.
[laughs]

- How about you just give us
the bullet points, huh?

- Yeah, why not?

Uh, the profiler who wrote
the case study

on Barber diagnosed him
as a textbook schizoid

with full-blown sociopathy.

- And for those of us
without psychology degrees?

- Schizoid personality disorder
refers to someone

with little to no interest
or ability

to form relationships
with others.

So it is of no surprise here
that our friend Barber

lived alone, had no
close friends or family,

and his sole interest
was his art.

- And killing.
Can't forget the killing.

- So the guy doesn't like
to socialize.

Trust me, I get it.

But wouldn't it be easier
to just be a hermit?

Why bother murdering couples?

- Because after being raised
by some, you know,

less-than-stellar parents,
he became absolutely

fascinated with love.

- He wasn't on my cell block,
but the other guards

had a nickname for him.

They called him
the Happy Camper.

- I mean,
according to his file,

he was the ideal prisoner.

He was well-behaved,
cooperative.

- So if isolation is his thing,

the Pit is basically
the Ritz-Carlton.

The question is,
now that he's out,

where does he go?

[Frank and Nancy Sinatra's
"Somethin' Stupid"]

- * I know I stand in line *

* Until you think
you have the time *

* To spend an evening
with me *

* *

* And if we go someplace
to dance *

* I know that
there's a chance *

* You won't be leaving
with me *

* *

* Then afterwards,
we drop into *

* A quiet little place *

* And have a drink or two *

* *

* And then I go *

[knocks]

* And spoil it all
by saying something stupid *

* Like I love you *

- [chuckles]
- You.

[tense music]

But you're-- you're dead.

- Aren't you going
to invite me in?

- Hon, who is it?

- [breathing heavily]

* *

- Crystal, go back inside.

Buddy, you got a problem?

* *

- I do now.

- John, run!

[dramatic music]

* *

.

[indistinct radio chatter]

[tense music]

- What do they know so far?
- Not much.

We intercepted
the neighbor's 911

that describes Barber.
Cops are grasping at straws.

Got us 15 minutes,
then we have to hand it

back over to the locals.
- OK.

What are we this time,
Homeland Security? DEA?

- Secret Service.
Governor lives a mile away.

* *

- [exhales sharply]

John and Crystal Resnick,
married May 10th, 2015,

Eugene, Oregon.
No kids, both retired.

No warrants or
outstanding litigation.

- Roy could have killed them
twice with a beating like that.

- Well, he hasn't lost
his flair for overdoing it.

- Where's the wife?

* *

- This couple is older
than Roy's usual victims.

That's new.
- Sure, and he's older too.

Maybe he thought
a younger couple would put up

too much of a fight.

- Somebody's awful quiet.

- Roy always chose
his victims at random.

The method was planned,
but the targets weren't.

This feels like the opposite.

He chose these victims...

but then he improvised
the kill.

- Improvised murder weapons
implies impulsivity.

- Huh.
- I've been reading up.

So why did he choose
this couple?

Do you think he knew them?

- I mean,
the guy had zero friends.

- Criminal associates?

- As far as we know,
Roy was a lone wolf.

[line trilling]

- Odell, it's Bex.

- What do you got?

- So this wasn't random.
Roy Barber chose these vics.

Can we get a deep dive
on John and Crystal Resnick?

- Odell.
- Hold on, hold on.

We just got something.

- Neighbor's camera caught
the car Roy was driving.

A blue Ford Escape,
Idaho plates,

registered to a Wendy Hosmer
out of Twin Falls.

Not reported stolen yet.

- Sir, the car popped on
a plate scanner 30 minutes ago.

- Where?
- Stand by.

Tracking it now.

The car's at the
Portland train station.

- So he has a car,
but he's taking the train?

- He just committed
a double homicide.

He's ditching the car.
- Get there.

- We're on our way.

And keep looking for
connections between John

and Crystal and Roy.

We need to know
where he's going.

* *

[train whistle blares]

- Attention Portland
passengers traveling

to Sacramento, your train
will be arriving

on track one in six minutes...

- How you doing?

One-way to San Francisco,
please.

- Sorry, no Amex.

- Seriously?

Fine.
Whatever.

- Driver's license or state ID?

- You want my
birth certificate too?

- Government ID is required
for all interstate rail travel.

* *

[keyboard clacking]

* *

Next.

[phone rumbles]

[indistinct chatter]

- I can't talk right now.
- I don't care.

Hassani is pulling
keyhole satellite images

of six silos.
One of them is Silo 12.

How does he know about 12?
- I have no idea.

- He knows something
about the blast.

Find out what.
[knocking]

- I gotta go.

- Sir, you got to see this.

- How is this possible?

[phone rings]

- Hey, we just landed.
What's up?

- You were right.

There's something else
going on.

We pulled info
on Crystal Resnick,

and there is no
Crystal Resnick.

According to our records,
she doesn't exist

prior to 2001.

- What is she,
some kind of con artist?

- This has government prints
all over it.

It looks like
witness protection.

- Maybe she was a witness for
the prosecution in Roy's case,

and this is payback
for testifying against him.

- Why would she need WITSEC?

Roy confessed to the killings
the day he was caught.

- Who was she before '01?

- Still digging.
- Dig faster.

We're on our way.

[train horn blares]

[siren blaring]

There it is.

[tires screech]

[suspenseful music]

- He's still in there.

* *

- Roy Barber, this is the FBI.

Step out of the car with
your hands open and raised.

- This is your only warning.

Get out of the car,
or we'll open fire.

* *

Go.

* *

- Shane, cover me.

- Moving.

Got you.

* *

- It's not him.
It's not him!

We need a medic over here.

- Call an ambulance.

- We need EMS immediately.

Portland train station.
- Bex.

- Roy's not here.

He ditched the car
and left a body.

This one's still breathing.
Oliver, are you listening?

- Yeah, I heard you.

But there's something else.
- What happened?

- We tracked down
Crystal Resnick's real name.

It's Bridget Caldwell.

- Wait, isn't that--

- She's one of Roy's
original victims.

The file says he killed her
two decades ago.

* *

.

[siren whooping]

[tires screech]

- Roy Barber killed
Bridget Caldwell 24 years ago.

How is this possible?

- We're trying
to figure that out.

Her husband's body was
the only one they found.

Hers was never recovered.

- What's the working theory?
She escaped?

- But why not go
to the authorities?

She knew that he was
arrested and convicted.

- Not to mention executed.

- No time for theories.

We need to find Barber
before he hurts anyone else.

- I'm on it.

[keyboards clacking]

[tense music]

Pull up CCTV
of the ticket booths

for the last two hours.

* *

There he is.
Play it.

- And there's Roy behind him.
- But why attack the guy?

- Dead men don't have valid ID.

- He nearly killed this guy
for a train ticket?

- Wrong place, wrong time.

Question is,
where was the suit going?

* *

[train rattling]

[train horn blares]

[ominous music]

* *

- Hey, what you got?

- Roy Barber is on
the 1:00 to San Francisco.

- Cameras on those trains?
- Negative.

- We need to stop that train.

- The moment we do, Barber
will know something is up,

and he'll bolt.
- OK.

What about USTrak security?

- I'm not getting
some rent-a-cop killed.

- If you leave now,
you can catch up to the train

at the Redding station.

[train rattling]

* *

- OK, ready?

One, two, and--

- B!

- That's a letter, bud.

[cereal clatters]
Sorry.

[tense music]

* *

Come on, buddy.

Let's go find Mom before
she thinks we're lost, huh?

* *

- Tickets, folks.

* *

[plane whooshes]

- I don't see how anyone walks
away from something like that.

Bridget Caldwell
survives this nightmare,

becomes Crystal Resnick,
and then lives

some kind of normal life?

- Maybe she didn't want
the attention.

A lot of victims
don't come forward.

- They do if they've been
through something like that.

* *

- Roy Barber obsessed over
his victims in the Pit.

He would draw them over
and over and over again.

I mean, this kind of
fantastic indulgence

is normal in
hedonistic killers,

but there's
something more here.

He's immortalizing them.

* *

- Ticket, sir.

* *

- It's dry skin, you know?

Cracks sometimes.

* *

[scanner chirps]

* *

[train whistle blares]

- Hey, look at this.

Roy drew all of his victims
hundreds of times.

Over the years,
some of the subjects would age.

Others wouldn't.

- Is there some kind
of pattern?

- None of the men age.

The women, they all do.

- Well, that's creepy as hell.
Why would he do that?

- Because Roy knew the women
weren't actually dead.

- So you're saying all
these women are still alive?

There's no way
they all escaped.

- No.

- So Barber let them go
in exchange

for what, their silence?

- What if the women were in
on all of the murders?

- * Insane in the membrane *

[crowbar thudding]

[Cypress Hill's
"Insane in the Brain"]

- [exhales]

- What do we do now?

- Roy gets rid of the husbands,
frames it as a double homicide.

- Why not just hire
a good old-fashioned hitman?

- Because these women know
that if their husband

randomly gets murdered,

they are
the number one suspect.

But you don't need an alibi
if everyone thinks you're dead.

- Right, and Roy's crime scenes
left no room for survivors.

I mean, no one would
have suspected a thing.

- Wait, hang on.
Slow down.

We have no evidence that any
of the other women survived.

And even if they did,
even if they were in on it,

how would they go about finding

brand-new identities
for themselves?

- Roy.

He worked at police stations
for years.

He knew the cracks
in the system.

He knew the blind spots.

He knew how to cover
his tracks.

[train rattling]

[train horn blares]

* *

- [breathing rapidly]

.

- Attention travelers,
please be reminded,

that parking at
the Mt. Shasta station

is limited
to designated areas.

[Billie Eilish's
"Bury a Friend"]

- * What do you want
from me? *

* Why don't you run from me? *

* What are you wondering? *

- Hey, what's up?

- Roy Barber
just got off the train.

- Where?
- Mt. Shasta.

- I'll tell the pilots.

- What the hell
is in Mt. Shasta?

- Not what.
Who.

- * Come here *
- * Say it, spit it out

* What is it exactly
you're paying? *

* Is the amount
cleaning you out? *

* Am I satisfactory? *

* Today I'm thinking about *

* The things that are deadly *

- That doesn't make any sense.

Why would any
of these women ask

a police sketch artist for
help killing their husbands?

- What if Barber was the one
that initiated contact?

His pathology was shaped
on the fact

that his abusive father
murdered his mother,

so what if he saw these women
as a surrogate for her?

He can't save her life,
so he decides to save theirs.

- There's no evidence
that any of these women

were in abusive relationships.

- Guys, in the year before
Bridget Caldwell's death,

her husband was arrested
for drunk and disorderly

three times.

She bailed him out each time.

- Roy worked at that police
station for a decade.

He would have crossed paths
with Bridget Caldwell,

and through the prism
of his childhood,

he would have seen her as
someone that needed saving.

Nice work, Morales.
- Here's another one.

Six months before Kyle
and Trisha Franklin's death,

they were both brought into
the Tampa Police Station

for petty larceny,
but were released

before charges were ever filed.

- OK, so that's two women
in messy marriages

that would have jumped
at the chance

to start over,
even if that means

killing their own husbands.

- There's just no way
that a schizoid personality

with little to no social skills
would approach these women.

- Unless the original profile
is wrong.

What if he's not
a true schizoid?

In those interviews,
he talks about himself

as if he was alone,
but he was always working

on the farm with his mother.

She was the only person
he actually cared about.

So what if he thought
that he was freeing

these women, from their lives,
from their marriages?

* *

- What do we do now?

- Well, we talked about this.

[blade clicks]

They need to find blood
from the both of you.

- * I wanna end me *

* I wanna, I wanna, I wanna *

- And then
you'll make me disappear?

- * What do you want
from me? *

* When we all fall asleep *

* Where do we go? *

- Morales, gather
the last known images

of Barber's
other female victims,

put them through the Bureau's
predictive aging program,

and then have our analysts
run the aged photos

through a facial
recognition database.

- Roger that.

- You know, Roy always claimed
the solitude of the Pit

was what made him so happy,

but I'm starting to think
that he was so content

'cause he knew
he had us all fooled.

- We land in five.

[doors squeaks, clicks]

- Hi, honey.

Wow, it smells great in here.

- Hi.

[ominous music]

Can you taste this for salt?

- Who the hell are you?

- An old friend of Linda's.

[chuckles]
Who the hell are you?

- I'm Linda's husband.

* *

- Yeah,
I'm so sorry to hear that.

* *

- Bex, I just got
those satellite images

back from my friend.

These are the six coordinates,

Including the rescue efforts
at the Pit.

This is where
Silo 12 is located.

You see that shadow?

- That photo's been doctored.

- Do you know the
security clearance you need

to doctor raw
keyhole satellite images?

And why doctor this
and not the Pit?

- What's more top secret
than the Pit?

- I don't know,
but whatever is out there

is important enough
to erase from every database

on the planet.

- Sir, we got a thousand
possible matches,

but only one in Mt. Shasta.

- Linda Agosti.

- Also known as
Trisha Franklin,

Roy's second victim.

- That's where he's going.
Nice work.

Tell the team.

[tense music]

* *

- Ger-bear, are you home?

* *

There you are.
How was tennis?

* *

[water sloshing]

* *

- Linda, Linda, Linda.

You just never learn, do you?

- How?

- Honey,
how do you know this man?

* *

- Why are you here?

- To teach you a lesson.

Again.

* *

.

[cork pops]

- Picture this.

22-year-old Linda.

Back then, she was Trisha.

Depressed, lost.

But she meets a handsome
charmer of a guy named Kyle,

and she thinks he's
a solution to all her problems.

My mom was the same way
when she met my dad.

It's a tale as old as time.

But Kyle's got problems, too--

debt, unfaithfulness.

Their marriage was troubled.

One night, those two
end up at the station,

and I could see
how trapped she was.

What did you say to me?

[together]
I want to be free.

- And I said I could help you.

[tense music]

- What are you saying?

Linda, what did you do?

[engine rumbling]

- Husband's name is Gerald.

Retired exec.
Worked at Avon.

- Let's hope Gerry can fight
better than her first hubby.

[tires squeal]

- Your story, it--
it can't be real.

- Well, it's as real
as that scar on her arm.

What did you tell him,
how you got that?

Pilates injury?

- A surgical scar.

- [laughs]

- I'm sorry.

- Did you ki--

- Kill her first husband?
No.

[laughs]
I did that for her.

Yeah, Kyle was a cancer
eating her alive.

I saw that she needed help,

saw where that path
would lead her.

She needed to start over.

She needed the second chance
that nobody gave my mother.

Poor Linda didn't learn
her lesson, did she?

Because then she went
and fell for you.

- Gerald isn't Kyle.

[sniffles]
I'm happy now.

I don't need your help.

- Yes, Trisha, you do.

Why doesn't anybody ever learn?

- Look, there's 10 grand
in my safe.

Take the watches
and the jewelry too.

[gun slams]
- Watches and jewelry?

Are you even listening to me?

- Please, don't hurt us.

- No!
Don't touch her!

- [grunts]

- Well, I guess we have
to try this again.

[door slams]

[suspenseful music]

* *

- Kitchen's clear!

* *

- There's nothing upstairs.
- We're too late.

- What'd you find?

* *

[line trilling]

- Hey, Morales.
- Talk to me.

- Barber is on the move,
and he's taking them with him.

I need a location on
Linda's silver Mercedes.

- On it.

* *

- [grunts]

- All right, come on.
- Where's Gerald?

- Let's go.
- [whimpering]

- Come on.

- [whimpers]
Where's Gerald?

[breathing heavily]

[ominous music]

* *

[engine rumbling]

* *

- Stand by.

Long straight, then left.

You're almost there.

- You know,
I'm not a bad person.

I believe in second chances
and forgiveness.

* *

- [gasps]
Oh, my God.

Gerald!
- [groaning]

- But forgiveness
must be earned.

[ropes creaking]

[engine roaring]

* *

Now, last time,
I did it for you.

But this time...

you get to do it yourself.

[tires screech]

* *

- The trunk is empty.

- Where the hell are they?

* *

- Set yourself free.

* *

Do it!
- Don't do this, baby.

- I'm sorry.

[gun clicks]

* *

[gun clicks]

[gasps]
Oh, no.

[gun clicking]

[sobs]
No.

[sobbing]
- [grunts]

* *

- You're breaking
my heart here.

- Please! Please!
No!

.

[suspenseful music]

* *

- No!

* *

Please.

* *

Don't do this.

Please, no!

- Put the gun down, Roy!

[gunshots]

[gunfire]

- Trisha, get down!

Cover me.

[gunfire]

[grunts]

- Barber, it's over!
- Stay down.

- No one else needs to die!

- I'm not afraid to die!

I've done it before!
[gunshot]

- Toss the gun, Roy!
Come on.

You love prison.
- Go to hell!

[gunshot]

* *

- Come on, Roy.
You're not a bad guy.

I know you were just
trying to help people.

Roy, you're just misunderstood.

- No!

I'm not a bad guy!

* *

I'm a protector!

- Roy.
[gunshot]

[body thuds]

- [groaning]

- Thank God.

He was going to kill me.

- Funny, I thought
he killed you years ago.

- [groaning, panting]

- Where are we going?

- To talk about
the six other women

who had you
kill their husbands.

[tense music]

* *

[door thuds]

- How's the arm?

- [chuckles]

- Oh, Roy.

Yeah, as flattering as that is,

that's not the list
I asked for, is it?

No, I wanted all six names.

These women are guilty
of first-degree murder.

- Hmm.

Second chances
are so rare, I think.

Why would I spoil that
for them?

- You know, we went through
your drawings at the Pit.

- Yeah?
- Yeah, all of them.

They were very intimate
and delicate.

It was a hard contrast
from the brutality

of your crime scenes.
It was impressive.

- Yeah, well, when you care
about something,

you put care into it.
- Right, right.

Except that you put evidence
of your crimes out there

for anyone paying attention
to see, so that's--

that's more pride.
That's less care, you know?

But I mean, why not be proud?

You, you fooled everyone,
didn't you?

You made sure that nobody would
go looking for those girls,

because you did such
a convincing job

of making sure
they looked dead.

Yeah, you waved your sketches
under the noses of the doctors

you were working with,
and they would just call it

criminal reverie
or victim attachment.

Yeah, never seeing it
for what it actually was,

a confession.

- [chuckles]

- You've gone decades
without talking about it,

though,
so why start now, right?

Why not just
let those girls go live

the lives that you gave them?

I mean, I get it, Roy.
I understand.

If I were the one that freed
them from their partners, I--

I wouldn't drop a dime
on them, either.

No, I mean,
this is your life's work.

This is the biggest item
on your savior résumé.

It's the one thing that
kept you going at the Pit,

and it's the one thing
that'll keep you going

when we send you back.

[laughter]

Right.

It's just-- it's tricky,
though,

because we literally
have no leverage.

I mean, what could we
possibly do to you

that hasn't already been done?
We could arrest you.

Check.
We could kill you.

Check.

Uh, we could lock you up
in total isolation

for the rest of your life.
- Check.

- [chuckles]
Exactly.

Well.
[clicks tongue]

It's just too bad that it's
all a load of crap, isn't it?

- What?

- You're not a savior, are you?

You didn't free
any of those women.

In fact, they used you

to kill their husbands.

And the one person that
actually needed you to save her

was your mother,
but you couldn't do it,

could you?
- Stop it.

- Because you were too weak.
You were too small.

You just--
- Stop!

I did free them,

and some are still free.

* *

- You went and visited them,
didn't you?

The other women.

Crystal wasn't the first one
you tracked down.

- Blue Ford Escape,
Idaho plates,

registered to a Wendy Hosmer
out of Twin Falls.

Not reported stolen yet.

- The Ford,
it wasn't reported stolen

because you never stole it.

No, Wendy Hosmer
gave it to you

because she was one
of yours, wasn't she?

* *

[door clicks]

[soft dramatic music]

* *

Thanks, Roy.

* *

[engine rumbles]

[whistle blows]

[indistinct TV chatter]

Come on, come on, come on.

- He's about to get ejected.

- This isn't live?
- Mm-mm.

- Why are we watching this,
then?

- Because it's on.
- [laughs]

- We got her,
and you were right.

Wendy Hosmer, formerly known
as Amanda Lewis,

assumed to have been murdered
by Roy Barber in 1995.

He went to her home
three days ago,

and she gave him her car.
- One down.

All right.
That's a good start.

- It's more than a start.

I accessed her computer,
and surprise, surprise,

our sketchy friend Roy searched
all the names of the women

he worked with in the past.

- We got them all?
- Yeah.

[chuckles]

- Cool.

Hey, maybe they'll all
make friends in prison.

- [laughs]
- Great work, everybody.

- Hey, uh,
my techs are starving.

Can we pass some of this out?

- But the game.
- But the techs.

- Ugh.
Take a piece.

- OK.
- Nice.

- This one's got
a bite out of it.

- That's all right.
It's still good.

Hey, pal.
- Hey, man.

This is an old game.

Why are you watching this?
- Uh, no, I don't know anymore.

[TV remote clicks]

- You know, I gotta say,

watching you today piecing
this whole thing together,

it felt like old times.

You haven't lost a step.

What?
- I don't know.

All this, the job.

I still haven't told Sam
what I'm doing.

- Are you going to?
- I don't know.

- How's she doing?
- She's good.

She-- she graduated
high school.

She's in college now.

You already knew that though.

- You said it when I first
saw you at the hospital.

- [chuckles]

Yeah, she, uh--

she still sends me
a birthday card every year,

to my place in DC.

I don't get a lot
of cards anymore.

I assumed you knew.
I wasn't trying to--

- It's OK.

Everyone should get a card
on their birthday,

or a cupcake.

- [chuckles]

Listen, whatever you decide
to tell Sam,

this is what
you're good at, you know?

See you in a bit.

* *

[phone ringing]

* *

- There's your face.
I missed that.

- I know.
I missed yours too.

- Wait.
Where are you?

- I am in Wyoming.

I took some time off
from the casino

because the FBI needed my help.

- Oh, are you sure
that's such a good idea?

* *

- Yeah.
No, this is where I should be.

- I know.
I'm living proof.

- [chuckles]

* *

[phone beeps]

- I hope you're calling
to congratulate me

on another job well done.

- I'm calling to ask you,
what the hell

do you think you're doing?
- It's been a long day.

Can we skip the guessing part?

- Do you have any idea
how many alarm bells

started ringing
when you had your guy

pull those satellite images?

Your job is to ensure
the recapture

of any and all
escaped inmates from the Pit.

- What is out there?

- I'm going to phrase this
as simply as I can,

Agent Hassani.

Some secrets
are better left buried.

* *

[phone beeps]

[phone beeps]

It's done.

* *

- In my experience,
a political solution

is always better
than a military one.

* *

Less cleanup afterwards.