Cross has a broken arm and various other injuries after getting t-boned by David Tate, but that's not going to stop her from helping Ruiz look for his son. Tate has taken Gus to an abandoned factory and stashed him inside a large plastic tank that's slowly filling with water. This frees Tate up to abduct Daniel Frye next, right outside Frye's very first AA meeting that he attended with Mendez. Meanwhile, Cross and Ruiz pursue a scavenger hunt-like string of clues across town that leads them from Tate's abandoned car in a cemetery, to the nursing home where Tate's uncle lives with Alzheimer's and the uncle's old house where a chest freezer once held the legs of Cristina Fuentes. That appears to be the end of the trail, until Ruiz gets a call from Tate telling him to come meet him -- alone. Ruiz borrows Cross's gun and asks her not to tell anyone where he went. Not that he knows where he's going either. All he can do is get in his car with his cell phone and follow Tate's directions while simultaneously enduring his taunting and scolding. Meanwhile, Cross has to return to the station and lie to Wade, then be mothered by Kitty of all people.
It's another bad day for Charlotte, who learns at the reading of the will that Karl left her nothing but the house and the land, with everything else going to her stepdaughter Kate. Ray looks on the bright side that she got the tunnel, too, and after clearing things up with Tim they should be in good shape. Except that when Tim confesses that he was put up to this by the ATF, Charlotte gets pissed enough to kill him. So it'll be interesting to see what happens when the ATF notices their snitch is missing.
Ruiz confronts Tate in person and physically attacks him, but backs off when he realizes Tate isn't going to tell him anything. All he can do is to get in Tate's car for a ride to wherever Tate decides to drive him. Let's hope for Gus's sake that it's to Gus, because that tank he's trapped in isn't getting any drier.
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After having abducted Gus from Cross's custody by the simple expedient of crashing a truck into hers, David Tate -- the Artist Formerly Known As Kenny Hasting -- drives calmly and quietly down the road. In a different vehicle from the one he crashed, obviously. From the back seat, Gus asks where they're going and why he's doing this. No answer. Tate instead asks Gus how old he is. "Nineteen," Gus answers, trying to wipe his eyes with the backs of his cuffed hands. Tate says, "Caleb would have been seventeen. You could have been friends. Caleb and Gus. Everything could have been…different." Yes, I remember having tons of nineteen-year-old friends when I was seventeen, and vice versa.
Gus asks what Tate's going to do. "To you?" Tate asks. "For Caleb it was the sins of the mother. For you, the father." That's neither an answer nor terribly encouraging. Gus tries to tell Tate that Ruiz is a good person. Yeah, that's going to be a tough sell in this room. "Is he a good dad?" Tate asks. Gus lamely says that he wants to be. "And it's the thought that counts, right?" Tate says wryly. In other words, I don't think Gus has managed to successfully talk him down.
Extended-dance-mix-for-tree-sloth credits! I become increasingly curious as to why Thomas M. Wright (Steven Linder) is in them, given that this is the second episode in which he doesn't appear. In fact, what's Steven Linder doing on the show? That weirdo's subplot better pay off big by the end.
Ruiz arrives at the scene of the crash, just as Cross is being loaded into an ambulance under Wade's supervision. He gently touches her forehead as she says, "He took Gus…" and mumbles part of the license plate number that was the last thing she saw before blacking out. Wade lets the EMTs finish getting her on board and takes Ruiz aside, saying they're working on where Tate could have taken Gus. He doesn't know how this happened, but promises to find him. He gets into the back of the ambulance with Cross before Ruiz can mention that Wade also said they were going to find the guy last week.
Mendez shows up at the El Paso Times office late at night, startling Daniel Frye awake at his desk. He appears to have fallen asleep in front of his computer, which is showing a blank Word document. I guess some people get writer's block so bad it knocks them unconscious. Oh, wait, there's also an empty glass on the desk with cut-up limes in the bottom, prompting Mendez to remark, "So much for the wagon, huh?" "Oops," Frye says unrepentantly, but then comes up with something more interesting to say: "Comfort the afflicted and afflict the comfortable." Of course that's an old quote about the purpose of journalism, but even if Frye didn't come up with it he was able to remember it accurately. Mendez says he can't go AWOL -- like there's someplace else Frye is supposed to be other than at the office, in the middle of the night -- and Frye asks if she knows the quote. Which she does, and she tells him to be a good journalist and quit drinking already. Again.