Ruiz does admits that he's sleeping at Cross's apartment, but on the couch. Alma marvels sarcastically, obviously not believing it. Ruiz tells her he wants to come back, but she says she doesn't want him. She says Gus is flunking out and Ruiz should talk to him if he cares about his family. She's off to work, and wants him gone when she gets back. Ruiz moodily watches her leave. And since talking to Gus is the one thing he's been avoiding all season, it'll be interesting to see if even his marriage is worth taking a crack at that now.
Cross is at her desk at work, peering into the disembodied eyes of the sketch provided by the police artist. At some point she's going to have to arrange a lineup of suspects to look at her through a rear view mirror. She breaks away to take a call about the provenance of the car found at the home of Peter Meadows, presumably left there by the killer. By the time Wade comes into the office at the decadent hour of 8:20 a.m., she reports that she has something. First, Wade wonders where Ruiz is. "He went home to argue with his wife," Cross chirps.
Anyway, about the car: the three digits of the VIN that the forensic grease monkeys were able to pull off the engine block don't match any stolen vehicles, but there is a partial match for one sold at auction, in Las Cruces, five years ago. The buyer turns out to have been a Jack Childress, who has been on disability for ten years. Wade says it's worth checking out, as Ruiz finally rolls in now that the day is more than 1/24 wasted. Cross leaves the two men alone, and Wade reluctantly asks Ruiz, "How's things at home?" "Bad," Ruiz admits. "Maybe worse." Wade is sympathetic, and suggests Ruiz stick with Cross as she goes to "follow up a dicey lead in the desert." Nice sales job, Wade.
Charlotte finds Ray paddling around in her pool wearing a snorkel and mask. There's some weak banter about pool boys before they get down to discussing his meeting with Graciela. "I got the money," Ray tells her. Charlotte asks if Graciela said anything else. "Nope," Ray says, leaving out the parts where he proposed sending guns down the tunnel before going down Graciela's tunnel himself. Well, she did say she didn't want to know.
Cross and Ruiz arrive at some beat-up looking collection of shacks and lean-tos that appear to have grown up around an old Airstream trailer. There's cardboard and aluminum foil behind the glass in the windows, and a security camera hanging over what passes for the front door. Very little curb appeal, in other words, even not counting the "KEEP OUT" sign. Cross and Ruiz ignore this, not only entering the makeshift porch to bang on the door but kicking it open when there's no answer. Cross loudly identifies herself as El Paso police while Ruiz shines a flashlight around in the gloom. It doesn't take long before they find a home command center that puts Cross's Mystery Board to shame. The centerpiece is a huge plasma screen displaying a map of the region, with certain key locations marked. Just the kind of thing one would expect the killer to have set up in his crib.