At the wake, Charlotte comes up to Kate, who has a drink in her hand, and schoolmarms that it's not even noon. So this exchange already isn't getting off to a good start. And when Kate mentions being drunk at her mom's funeral and wondering what her dad was doing with Charlotte in Cabo at the time, that doesn't help. Charlotte tries to keep it civil, saying Karl loved Katie very much. Katie is less civil, saying, "Why don't you take your whore money and leave me alone?" Okay, good talk.
Charlotte rallies and goes out to mingle with a couple of ladies-who-lunch mourners, who ask if she's moving back to Orlando now. "Tampa," she corrects, much as she did with Flagman last week. Like the way Deputy Stokes says "of course" all the time, I'd call it a running gag if it were funny. They seem surprised that she's planning to stay, even as she says this is her home. Did they not see the gravestone waiting for her? In fact, she says she wants to start getting more involved in the community and asks them about getting involved in the Texas Art Walk, since they're co-chairs. They blow her off so politely you almost wouldn't know it happened. I'm pretty sure Charlotte does, though.
In a stunning coincidence, the trailer that Cross spotted turned out to be Linder's after all. What are the chances? Ruiz is banging on it, hollering in both English and Spanish to open up for the police while Cross takes down the trailer's plate number and checks out Linder's barbecue grill. When it becomes apparent that no one's there, Ruiz suggests breaking the lock, which Cross says they can't do. She also tells him to stop trying to unscrew the window frame with his handy multi-tool, but given that she's now using a board to root through the ashes in Linder's fire-drum, she may change her mind very shortly. "He burnt clothes," she reports to Ruiz. "Women's clothes." But she still insists they need a warrant to enter the trailer. Popping in one of her earbuds to make a phone call, she gets on her cell to request a secured scene in the mountains. And then they make themselves comfortable on a piece of Linder's patio furniture, which looks like an upholstered bench seat torn out of the back of a van. It's not classy, but it's cozy.
Frye is back at the police station, secretly taking a snort of something before presenting himself to Kitty at Reception. He says he's looking for his boss. "She's a haggard brunette woman?" Kitty points him toward Wade's office, adding, "You don't look so fresh yourself, you know." Truer words. Frye finds his editor waiting in Wade's office. He clearly doesn't want to be here on what is clearly a big news day for El Paso, but both Wade and the editor tell him they need to talk. Wade reminds him, "This guy chose you for a reason, son. He drove your car out onto the bridge and he picked you for this bomb nonsense. Now he tips you off to the location of these new victims. Why?" Frye pleads ignorance as to the killer's motives, so obnoxiously that I don't want to believe him even though I do. Wade warns, "This fella calls you again, you come right to us, you understand?" "In exchange for?" Frye snots.