The sun sets over El Paso. Cesar is at home with his family, dressed in almost the opposite of his usual ranch-hand outfit. He's bareheaded, wearing mandals and knee-length jorts. In fact, only his plaid shirt might be worn on the job, but he's got it open over a t-shirt. Charlotte is paying him a visit, and after shoos his kids into the house, Charlotte hands him two envelopes; one with his salary and one with his cut from the tunnel. He tries to decline the latter, but as they walk across the grass, she insists, "We're partners. I assume you didn't have this arrangement with Karl." That would be a correct assumption. He thanks her and wonders what else is on her mind, so she asks if she's doing the right thing. "I think you're doing the only thing," Cesar says, and asks, "How long is your friend staying?" He wonders if Charlotte trusts him, and admits, "I don't think it's such a good idea to let him deal with Graciela. Senor Karl had a way of controlling her." Well, Ray might have found a way as well, depending on how good he is at it. Having said his piece, he thanks her for the money and heads inside. Charlotte promises to tell Ray to be careful. Which, she is unaware, is going to require investing in a dental dam.
At the station, Wade and Cooper are apparently working the graveyard shift. Or at least Wade is, as Cooper's sitting at his desk plucking a banjo and drinking straight from the bottle. "Stokes was a moron but he didn't deserve to get his head blown off," Cooper says. Wade invites Cooper to take a couple of days off, and says that what matters is they got the guy. They'd better hope so, given that half of El Paso's homicide detectives are about to be off duty. Cooper predicts that Childress is going to plead insanity "and spend the rest of his life beating off in knit socks." He also thinks Cross should have shot him between the eyes. "Yeah, that would have made him dead," Wade points out, which was kind of Cooper's point: "I don't see the problem with that, Hank." Wade pauses for a long time, no doubt thinking of another murder suspect he shot through the head, and says, "Give it fifteen years." Which was roughly the length of that pause.
Here's a photograph of Charlotte's late husband Karl on the wall, except it's inverted and it keeps thrusting up and down, almost as if we're looking at it while somebody fucks us on Karl's desk. Which, it turns out, is exactly what's happening to Charlotte. She asks Ray (who is the one doing the fucking) if she can trust him. He says he can, and she asks again, and he says the same thing. She lies back on the desk and says, "Come inside me," so I guess she's decided that if she's going to trust him, she's going all the way. No pun intended. Meanwhile, the camera backs out of the room discreetly. A little late for that, camera.